Music has no boundaries.

with hope in their heart, our premium Guiltfree guitar teachers reached deaf and mute children to know if they are able to communicate with them with no special tools and training to teach them guitar. with a tough and tiring day and a days hard work and efforts from both sides, nothing could be achieved.

objective was to understand if deaf and mute person can play guitar and enjoy it, if yes what technique can be used to say that yes because they definitely cant listen and guitar can only be listened in brutally practical world.

results were shocking. it was observed that deaf and mute person does not even feel normal with a normal person, and a normal person feels disturbing muteness around himself with a deaf and mute person; if they ever try to communicate.

after a disturbingly rough day everyone was exhausted.

our teachers did not lose their hope and kept trying with kids for a week. with all support from the kids as it was equally tough for them too. both sides opened their minds towards musical algorithm of life and suddenly it starts to fall in place. fourth day we saw everybody trying to play together without being able to hear each other. though we were still age far from what we wanted to achieve. yet this was a drop in drought.

after months of shirt wetting, mind annihilating workout by both sides here is the video of what was achieved.








Watch the video of final Guiltfree group guitar performance by deaf and mute kids



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A Brief History of the Guitar
by Paul Guy
The guitar is an ancient and noble instrument, whose history can be traced back over 4000 years. Many theories have been advanced about the instrument’s ancestry. It has often been claimed that the guitar is a development of the lute, or even of the ancient Greek kithara. Research done by Dr. Michael Kasha in the 1960’s showed these claims to be without merit. He showed that the lute is a result of a separate line of development, sharing common ancestors with the guitar, but having had no influence on its evolution. The influence in the opposite direction is undeniable, however – the guitar’s immediate forefathers were a major influence on the development of the fretted lute from the fretless oud which the Moors brought with them to to Spain.

The oldest preserved guitar-like instrument










At 3500 years old, this is the ultimate vintage guitar! It belonged to the Egyptian singer Har-Mose. He was buried with his tanbur close to the tomb of his employer, Sen-Mut, architect to Queen Hatshepsut, who was crowned in 1503 BCE. Sen-Mut (who, it is suspected, was far more than just chief minister and architect to the queen) built Hatshepsuts beautiful mortuary temple, which stands on the banks of the Nile to this day. 

Queen Hatshepsut
bushi do training method
the concepts of training are founded on importance of master.
A six string samurai believed that his guitar held his soul. That made the sword the most important thing he had.
string samurais were allowed to play anywhere people show them proper respect. Every string had to be tested, repaired, rewinded, remounted, caliberated multiple times throughout its lifetime. A six string Samurai must led their lives according to the ethical code of bushi do (“the way of the warrior”).
That meant loyalty to one’s master, self-discipline and respectful, ethical behaviour. When a samurai lost his master, also called daimyo, he became a Ronin.
Ronin is a samurai without a master. Hundreds of years ago in Japan, it was very important for every samurai to have a master.
The bushi’s training methods, like meditation, judo and kendo, are still followed today. There is no longer a samurai class in modern Japan, but the successors of these families are well-respected.




insights on chordmaking formula

(mobile users should go to this page to see correct version


1 3 5
Named after the major 3rd interval between root and 3
1 b3 5
C Eb G
Named after the minor 3rd interval between root and b3
1 3 5 b7
C E G Bb
Also called DOMINANT 7th
Major 7th
1 3 5 7
Named after the major 7th interval between root and 7th major scale note
Minor 7th
1 b3 5 b7
C Eb G Bb
1 3 5 6
Major chord with 6th major scale note added
Minor 6th
1 b3 5 6
C Eb G A
Minor chord with 6th major scale note added
1 b3 b5
C Eb Gb
Diminished 7th
1 b3 b5 bb7
C Eb Gb Bbb
Half diminished 7th
1 b3 b5 b7
C Eb Gb Bb
Also called minor 7thb5
1 3 #5
C E G#
7th #5
1 3 #5 b7
C E G# Bb
1 3 5 b7 9
C E G Bb D
7th #9
1 3 5 b7 #9
C E G Bb D#
The ‘Hendrix’ chord
Major 9th
1 3 5 7 9
Added 9th
1 3 5 9
 Chords extended beyond the octave are called ‘added’ when the 7th is not present.
Minor 9th
1 b3 5 b7 9
C Eb G Bb D
Minor add 9th
1 b3 5 9
C Eb G D
1 (3) 5 b7 9 11
C E G Bb D F
The 3rd is often omitted to avoid a clash with the 11th
Minor 11th
1 b3 5 b7 9 11
C Eb G Bb D F
7th #11
1 3 5 b7 #11
C E G Bb D F#
often used in preference to 11th chords to avoid the dissonant clash between 11 and 3
Major 7th #11
1 3 5 7 9 #11
C E G B D F#
1 3 5 b7 9 (11) 13
C E G B D (F) A
The 11th is often omitted to avoid a clash with the 3rd.
Major 13th
1 3 5 7 9 (11) 13
C E G B D (F) A
The 11th is often omitted to avoid a clash with the 3rd.
Minor 13th
1 b3 5 b7 9 11 13
C Eb G B D F A
Suspended 4th (sus, sus4)
1 4 5
Suspended 2nd (sus2)
1 2 5
Sometimes considered as an inverted sus4 (GCD)
5th (power chord)
1 5