Lessons http://www.guitarworld.com/taxonomy/term/8/all en Beat It: A Guide to the Inspired Techniques of Percussive Acoustic Guitar Playing http://www.guitarworld.com/beat-it-guide-inspired-techniques-percussive-acoustic-guitar-playing <!--paging_filter--><p>Percussive acoustic playing has been around forever, and it’s easy to see why. </p> <p>The guitar is essentially a drum with strings stretched over it. (Its cousin, the banjo, uses a drumhead to cover the body.) </p> <p>As demonstrated in <a href="http://www.guitarworld.com/acoustic-fingerstylists-andy-mckee-jon-gomm-and-daryl-kellie-are-blazing-daring-style-percussive-alternate-tuned-shred">this issue’s feature on Andy McKee, Jon Gomm and Daryl Kellie</a>, there has been a resurgence of interest in the percussive-heavy, alternate-tuned style of progressive acoustic guitar playing pioneered in the Eighties by guitarists like Michael Hedges. </p> <p>Whatever style of music you play on the acoustic guitar, you can incorporate slaps, knocks, raps and other hands-on-wood effects into your playing that can enliven and add greater sonic interest to your performance. </p> <p>In this lesson, I’ll show you how to harness some of the percussive possibilities that the acoustic guitar offers through a pick-free playing approach that I’ve adopted over the years. I’ll demonstrate how to integrate tapping and thumping techniques into vamps and grooves that also incorporate fretted and open-string notes and chords played using conventional techniques. </p> <p>My own discovery of this technique was prompted by two things. First, my parents discouraged me from being a drummer because the instrument makes too much racket (you could say I’m a frustrated drummer at heart). </p> <p>Second, when I started out pursuing a career in music as a guitarist, I couldn’t afford to hire a band and was dissatisfied with the amount of music that came out of the acoustic guitar played in the conventional way. So I set out to create a kind of workaround—a “pocket band,” if you will—by incorporating various techniques of rapping on my guitar’s body with my bare hands, as if it were a drum, in order to emulate the feel of a rhythm section. </p> <p>If I’m writing a song and it seems to need a more rhythmically detailed pulse, I’ll start drumming on the instrument using my fingers and then try to get the strings to conform to my musical vision, typically by using an altered tuning. </p> <p>Of course, not every song is served by this approach, and it’s never been my intention to take any technique to the heroic level of a guitar god. My mission is simply to approximate the feel of a band and convey the sounds I’m hearing to facilitate the writing process. While the sound of drumming on an acoustic guitar is no replacement for a real drummer, the techniques that I’ll show you can communicate a rich rhythmic groove in a way that conventional guitar-playing techniques often can’t. </p> <p>We’ll begin with a look at the main pieces of a basic drum kit—bass drum, snare and hi-hat—as they relate to this technique. We’ll then move on to a discussion of tunings that can facilitate your use of the percussive-style playing, and conclude with some musical examples. </p> <p><strong>The Kick Drum </strong></p> <p>The kick sound that is most satisfying to me is found by striking the bottom three strings with my pick hand’s outstretched middle finger just in front of the bridge (see <strong>PHOTO A</strong>). If you’re using this technique in a live performance, make sure the sound technician understands what you’re going to do and provides a little more bottom end in the EQ to give your tone a satisfying <em>thump</em>. </p> <p><img src="/files/imce-images/photo%20a.png" width="391" height="276" alt="photo a.png" /></p> <p>If you’re recording, it often helps to mix in the direct signal from your guitar’s pickup with that of a microphone, as the pickup will capture more of the low-frequency energy of the thumping. In my recording endeavors, I’ll sometimes use tight kick-drum samples to help bolster the groove. (I told you I wanted to be a drummer!) </p> <p>As an added benefit, if you have a bass line going on the bottom strings, you can perfectly synchronize them with your kick pattern by attacking the notes with this same pick-hand finger. This guarantees that your virtual bassist and drummer will always be perfectly locked in together.</p> <hr /> <strong>The Snare </strong> <p>There are several ways to achieve a snare drum–like effect on an acoustic guitar, and they all involve striking the instrument’s body anywhere that produces a pitch that is higher than that of the kick sound, which is pretty much anywhere. </p> <p>My rule is that the snare is wherever I can reach it, based on whatever other duties either hand is performing. My go-to snare drum is at the top corner area of the body, which I likewise strike with my pick-hand middle finger (see <strong>PHOTO B</strong>). </p> <p>Other fingers can be used, and you should use whichever one you prefer.</p> <p><img src="/files/imce-images/photo%20b.png" width="620" height="443" alt="photo b.png" /></p> <p>This snare “cracks” pretty nicely, and its attack can be tempered by the way you strike the wood with your finger. For example, you can use the inner side of your first knuckle for that bone-on-wood sound, or the softer pad, or “paw,” between the knuckle and fingertip to smooth out the transient spikes that can be a bit shrill sounding and problematical for amplification or recording. </p> <p>When recording, I’ll sometimes use various makeshift damping devices. These include taping a cocktail napkin to that part of the body, much as a drummer will put a towel over his snare to dampen it or a lead guitarist will tie a sock around the neck in front of the nut to suppress sympathetic string vibration when recording a solo. (If you cringe at the idea of taping anything to a valuable or favorite guitar, you might want to consider using a less-precious instrument for this purpose.</p> <p>If your instrument isn’t a cutaway, the opposite corner area of the body will work well as a snare drum and can be easily reached with the fret hand from below the neck if your pick hand is busy picking or tapping a harmonic. </p> <p>This way of playing the guitar is similar to playing a conga drum and requires a bit of resourcefulness and creative problem solving, as any given groove can pose different physical challenges and restrictions and call for a certain pitch produced by striking the body at just the right place. Tapping on the side of the body (with either hand) produces a higher-pitched snare sound (akin to hitting a conga drum near the rim) that I like to use to achieve a cross-stick kind of effect. </p> <p>Another effective and convenient snare-like sound can be produced by tapping your fret-hand fingers on the back of the neck to create a grace-note flam effect or snare-drum “chatter,” akin to the way a drummer lets the stick bounce off the snare (<strong>PHOTO C</strong>). </p> <p><img src="/files/imce-images/photo%20c.png" width="364" height="299" alt="photo c.png" /></p> <p>It’s a subtle sound, but it can be very effective at enhancing a groove. You can also kill two musical birds with one stone by tapping a natural harmonic on one or more strings at the moment you’d expect to hear a snare hit, which is typically on beats two and four in 4/4 meter. In this way, you’re conveying harmonic and rhythmic information simultaneously. Efficiency is key when you’re trying to do the work of several instruments.</p> <p><strong>Hi-hat</strong></p> <p>By sweeping either hand along the wound strings, you can approximate the sound of closed or open hi-hats. Depending on your musical proclivities, you can conjure up a little old-school vinyl scratching by sweeping your hand over the strings in a way that visually resembles a DJ manipulating a record turntable (think Tom Morello).</p> <hr /> <strong>Tunings</strong> <p>Now that we understand the rhythmic part of the equation, let’s look at how to make your strings conform in a way that facilities the technique. </p> <p>Since you’re already doing as much as you can to wring sound out of the instrument, it makes sense to get as many of the strings involved at once. To do this, I’ll employ alternate tunings, my favorite being DADGAD. </p> <p>Occasionally, I’ll drop the sixth string to C (low to high, C A D G A D), or drop the G string to F#, which gives you a luscious open-D chord if you strum across the strings (open D tuning: low to high, D A D F# A D).</p> <p>Obviously, the strings provide the harmonic information, but they can also serve as drone notes to fill out your arrangement and provide an ambient environment for percussive playing. When playing this way, I’ll sometimes lay the guitar flat across on my lap, like a dobro. </p> <p>This obviously affects what you can do with your fret hand, as you now have to fret notes from above the top side of the neck, like a piano. </p> <p>When the guitar is on my lap, I’ll use droning open strings, typically the higher ones, and my fret-hand thumb to barre power-chord shapes across the bottom two or three strings (see <strong>PHOTO D</strong>). I also sometimes use my fret-hand middle finger to produce the previously mentioned snare-drum grace notes that provide some of the rhythmic finesse and chatter that a real drummer would. </p> <p>But that’s not where all of the harmonic information comes from. Many guitarists overlook that critical extra sound source—your voice. You can think of it as a seventh string, if you like, and it has the advantage of operating completely outside the confines of the instrument. </p> <p>Whereas open strings drone and remain static, sung melodies are able to move freely, and the voice can carry a lyric to the listener. With that, you’ve moved beyond percussive guitar and into songwriting, which, as I said in the beginning, is the whole reason I play. </p> <p><img src="/files/imce-images/photo%20d.png" width="384" height="314" alt="photo d.png" /></p> <p>Many guitarists are less sure of their voices than they are of their playing. If you’re too inhibited or self-conscious to sing, consider whistling, an old-timey practice that has made a comeback thanks to artists like Andrew Bird. Also try humming or playing a harmonica with a hands-free brace, Bob Dylan–style. Anything that helps you achieve what you hear in your mind is fair game.</p> <p><strong>PUTTING IT ALL TOGETHER</strong></p> <p>Now let’s see how these techniques can be put to use. </p> <p><strong>FIGURE 1a</strong> shows the basic two-bar vamp from my song “1,000 Miles” and is performed in the previously mentioned CADGAD tuning, which is one of my favorite tunings because of the wide pitch range between the low and high strings. </p> <p>The figure is a laid-back R&amp;B-style groove performed at a fairly slow tempo and serves as a good introduction to percussive fingerstyle acoustic playing. </p> <p>The slow tempo is ideal for our purpose here because it buys you valuable time to work on integrating percussive tapping/thumping with picking notes on the strings. The bass notes and kick drum are one and the same in this case and are picked with the thumb (a couple of quick hammer-ons are employed too). The Xs in the tablature indicate the virtual snare-drum hits, which fall on beats two and four as the bass notes are allowed to ring. </p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-29%20at%2012.08.31%20PM.png" width="620" height="445" alt="Screen Shot 2014-04-29 at 12.08.31 PM.png" /></p> <p><strong>FIGURE 1b</strong> builds upon the basic bass-and-drums groove pattern and introduces melodic licks played in the upper register on the higher strings. Here, snare-drum duty is shared by both hands, specifically on beat three of bar 2, where I use my momentarily available fret hand to do a snare tap (again, indicated in the tablature by Xs) as my pick hand simultaneously plucks the open first string. </p> <p>Note the use of a hammer-on and double pull-off combination on the first string at the end of bar 1, which I use to create a noodle-y, exotic-sounding trill, Jimmy Page style (à la “Dancing Days”). </p> <p>By exploring this playing approach, you’ll discover little tricks like this and learn how to sneak in bits of melody while keeping the rhythmic groove going. A vamp such as this one can be used as an accompaniment to a singer or another instrument and form the basis for an entire section of a song, such as a verse.</p> <p><strong>FIGURE 2</strong> is a passage from my song “Springtime.” It’s played in DADGAD tuning with a capo at the second fret and the guitar laid flat across the lap. In this example, I’m using the kick-drum string-tapping technique described earlier to sound the first two power chords on the bottom three strings. I then strum the remaining chords by brushing my pick-hand fingernails across the strings but continue to use the kick-drum technique to get a pitchless thump while the chords ring out. </p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-29%20at%2012.08.40%20PM.png" width="620" height="374" alt="Screen Shot 2014-04-29 at 12.08.40 PM.png" /></p> <p>Other techniques employed here include snare hits (indicated by Xs on the higher tab lines) and slapped natural harmonics (N.H.) at the 12th fret (actually the 14th fret because of the capo usage), which I perform by quickly bouncing my outstretched pick-hand middle finger against the strings directly over and parallel to the fret wire. </p> <p>This kind of playing is obviously a challenge to convey on paper, so be sure to check out the accompanying video below. Once you get the hang of this pattern, you’ll see that it’s pretty intuitive and not difficult to play. The critical thing is to get it to groove and create a tight pocket, so that you have a rhythm section to sing or play harmonica over. (In this song, I happen to do both.) </p> <p>Once you’ve addressed the internal tools available for playing the guitar like a percussion instrument, it’s a short leap to the external. Tambourines and stomp boards for your feet or the use of a digital looper pedal can greatly expand upon this technique and help you fully realize the musical ideas you’re hearing. When these tools serve a song, I find they transcend gimmickry. </p> <p>My goal here has been to make my techniques as simple as possible so that others can incorporate them into their songwriting. </p> <p>To hear and see more demonstrations of how I employ and combine the techniques covered in this lesson, check out the companion instructional video at guitarworld.com as well as numerous videos of me performing songs I’ve written live, which can be viewed at my web site, <a href="http://www.errico.com/">errico.com</a>, and on YouTube.</p> <p><strong>PART ONE</strong></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3250151636001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="3250151636001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. 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If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> http://www.guitarworld.com/beat-it-guide-inspired-techniques-percussive-acoustic-guitar-playing#comments Acoustic Nation April 2014 Mike Errico Lessons Videos News Features Lessons Magazine Fri, 04 Sep 2015 20:29:18 +0000 Mike Errico 20577 at http://www.guitarworld.com Jazz Guitar Corner: Using One-String Scales to Break Out of Box Patterns http://www.guitarworld.com/jazz-guitar-corner-using-one-string-scales-break-out-box-patterns <!--paging_filter--><p>One of the most beneficial ways to learn scales on the guitar is to break them down and work them out using the common “box patterns” for each scale. This system is a solid way to organize the neck and get any scale under your fingers when first exploring these melodic devices on the fretboard. </p> <p>But while they can be very helpful when first learning scales on the guitar, there comes a time when most guitarists yearn to break out of these box patterns and play across the neck with a more open and free approach to scale fingerings. </p> <p>After getting a very positive response to last week's blog post, “<a href="http://www.guitarworld.com/jazz-guitar-corner-using-out-box-scale-fingerings-master-fretboard">Using Out of the Box Fingerings to Master the Fretboard</a>,” I’ve decided to follow up on that lesson. Here's a second exercise you can bring to your practice routine in order to break out of box patterns, learn the notes of any key you are in and improve your soloing chops at the same time. </p> <p><strong>The One-String Scales Exercise</strong></p> <p>Here's a breakdown of the one-string scales exercise that you can see demonstrated in the video lesson below. </p> <p>Because this way of seeing the neck will be new to many players, try practicing these exercises without a metronome at first, playing with free time to get the notes down before bringing time and tempo into the equation. </p> <p>• Pick a key and scale you would like to work on, C major for example, then pick a string to focus on for this key.<br /> • Find the lowest possible note in that key on your chosen string. If it was C major on the sixth string, then the lowest possible note in that key would be open E.<br /> • Play the scale up the string until you reach the octave or the highest possible note you can grab. Whichever you chose is fine. Then play back down the scale from there.<br /> • Improvise on that scale, on one string, in one key<br /> • Repeat this exercise on all other strings, 5-4-3-2-1, until you have covered the entire neck in that key, one string at a time. </p> <p><strong>How to Practice the One-String Scales Exercise</strong></p> <p>Once you have worked this exercise in one key on all six strings, you can take it to a variety of keys and patterns in order to expand on these one-string scales in your daily workout. </p> <p>Here are some of my favorite ways to expand on this exercise in the practice room: </p> <p>• Play through all 12 keys of one scale/key across all six strings.<br /> • Apply this exercise to different scale and mode families such as melodic minor, harmonic minor, harmonic major, pentatonic and more.<br /> • Practice different scale patterns such as 3rds, triads and more through each scale, key and individual string.<br /> • Improvise with all of the above exercises as well as play them in a technical manner.</p> <p>As you can see, there is enough variety with the one-string scales exercise to keep you busy in the woodshed for a very long time. But you don’t have to do all of these approaches in a single session. </p> <p>I would recommend picking one idea, one exercise, and focusing on it for 10 to 20 minutes during one practice session. The next day, pick a different version of the exercise to focus on. This will ensure that you benefit from practicing one-string scales but don’t get overwhelmed or bored with the exercise in the process. </p> <p><strong>One-String Scales Exercises Video Lesson</strong></p> <p><iframe width="640" height="360" src="http://www.youtube.com/embed/d6OSB_vND-4" frameborder="0" allowfullscreen></iframe></p> <p>When it comes time to break out of the common box patterns for any scale you’ve learned on the guitar, playing scales on one string is a fun and engaging way to open up your neck, learn the notes of any key you're in and take your soloing skills to the next level at the same time. This provides for a well-rounded exercise in your daily jazz guitar practice routine. </p> <p>What do you think about practicing scales and soloing on one string? Share your thoughts in the comments section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com/">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a senior lecturer at the Leeds College of Music and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-using-one-string-scales-break-out-box-patterns#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Fri, 04 Sep 2015 18:33:31 +0000 Matt Warnock 17394 at http://www.guitarworld.com Bent Out of Shape: Learning Paganini's 16th Caprice in G Minor http://www.guitarworld.com/bent-out-shape-learning-paganinis-16th-caprice-g-minor <!--paging_filter--><p>A couple of weeks ago, <a href="http://www.guitarworld.com/bent-out-shape-intensive-30-minute-guitar-workout-musicians-go">I gave you a short, 30-minute guitar workout</a> designed for guitarists whose practice time is limited. </p> <p>The positive response I received prompted me to create an additional lesson, which, in combination with my original workout, will give you a good hour of intensive practice. </p> <p>For this lesson, I have selected a classical piece for you to learn: Paganini's 16th Caprice in G minor. Learning classical pieces is a great way to improve your technique and theory. It's also more beneficial to practice something musical, rather than just working on exercises. Use my 30-minute workout as a warmup and then spend an additional 30 minutes to an hour working on this piece. </p> <p>It's very challenging and features a good selection of arpeggios, wide intervals, chromatic runs, string skipping and sequences. It's very rewarding to learn and play in its entirety. Because of its length, I have the divided the piece into three parts. </p> <p>Your first task will be to memorize the notes, which in itself is a big challenge. I would suggest taking it one bar at a time, memorizing the notes and working out the fingering. Then attempt to perform the bar in full. Start at the beginning with bar 1, and add a new bar every day. Once the notes are memorized, you can begin to work with a metronome and build speed. </p> <p>Start at 80 bpm playing 8th notes and increase the metronome by 10 bpm after each successful performance. When you reach 120 bpm, go back to 60 bpm and play the piece as 16th notes. From there, take it as fast you can. </p> <p>It's meant to be at a tempo of 165 bpm, which is incredibly fast for a piece so complex. I can only get to around 120 bpm before it becomes too challenging. For this lesson, I have recorded myself performing the piece in full at the comfortable tempo of 100 bpm. Use this as a reference for yourself when learning. I have also marked in the Soundcloud link where each of the three parts begins to help you navigate.</p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F90255673"></iframe></p> <p><img src="/files/imce-images/caprice1.jpg" width="620" height="1145" alt="caprice1.jpg" /></p> <p>The first part begins with several arpeggios which you will need to play using sweep picking (bars 1 to 6). Everything else should be played with alternate picking. There's a tricky string skipping section at bar 7, which you can either play with your second finger or entirely with the pick. After bar 8, it repeats from the beginning. From bars 9 to 14, you have more arpeggios and string-skipping, but this time you will not need to sweep the arpeggios. Bar 14 ends with a long A# major arpeggio over three octaves. </p> <p>Next week, we will look into detail at the second part of the piece and also analyze some of the theory used in its composition. Best of luck, cheers!</p> <p><em>Will Wallner is a guitarist from England now living in Los Angeles. He recently signed a solo deal with Polish record label Metal Mind Productions for the release of his debut album, which features influential musicians from hard rock and heavy metal. He also is the lead guitarist for White Wizzard (Earache Records) and in 2012 toured Japan, America and Canada. Follow Will on <a href="https://www.facebook.com/wallnervain">Facebook</a> and <a href="https://twitter.com/willwallner">Twitter</a>.</em></p> http://www.guitarworld.com/bent-out-shape-learning-paganinis-16th-caprice-g-minor#comments Bent Out of Shape Niccolo Paganini Will Wallner Blogs News Lessons Fri, 04 Sep 2015 17:19:04 +0000 Will Wallner 18306 at http://www.guitarworld.com Freddie King Lesson: Going In Deep with a Blues Guitar Legend — with Video and Tab http://www.guitarworld.com/freddie-king-lesson-texas-blues-video-tab-andy-aledort-in-deep <!--paging_filter--><p>Freddie King is among the triumvirate of the greatest and most influential electric blues guitarists ever, revered with equal respect alongside the legendary blues gods B.B. King and Albert King. </p> <p>Together, they are often referred to as "The Three Kings"—all complete masters of their craft and essential subjects of study for any inspiring blues guitar enthusiast. </p> <p>In this edition of In Deep, we'll examine a few of the trademark Freddie King-isms that have earned him his rightful place as the forefront of electric blues guitar.</p> <p>Of the three Kings, Freddie had a hard-driving intensity that gave his guitar lines and solos a fiery spirit. And though he was blessed with what were arguably the most powerful vocal pipes of the three, he distinguished himself as a player and composer by penning the greatest blues guitar instrumentals in the genre’s history, such as the classic masterpieces “Hideaway,” “The Stumble,” “Sen-Sa- Shun,” “San-Ho-Zay,” “Side Tracked,” “In the Open,” and many others, all songs that have been covered brilliantly by such blues-rock heroes as Eric Clapton, Jeff Beck, Johnny Winter, ZZ Top and Stevie Ray Vaughan.</p> <p>Freddie King was born as Frederick Christian on September 3, 1934. Though his mother’s maiden name was King, in his early days as a performer he was thought to have changed his last name to King to align himself with B.B. King, then a rising star of blues guitar. </p> <p>His earliest records are credited to “Freddy,” but by 1968 he changed the spelling to “Freddie.” His recording career began in 1956, and by 1960 he had recorded the soon-to-be hit songs “Have You Ever Loved a Woman?,” “Love Her with a Feeling” and the instrumental smash "Hideaway," covered brilliantly by Eric Clapton with John Mayall on the <em>Blues Breakers</em> album, recorded in 1966. </p> <p>Early photos of King show him playing a mid-Fifties Gibson gold-top Les Paul with P-90 pickups, which he used along with a Gibson GA-40 amplifier. Shortly thereafter, he switched to his trademark Gibson ES-345 guitars, cranked to massive volume through Fender Quad Reverbs. </p> <p>He picked with his fingers, using a plastic thumb pick along with a metal index-finger pick, and his string gauges were very unusual: the top three string gauges were .010, .011 and .012—very light for the B and especially the G—while the wound strings were normal light-medium-gauge electric strings.</p> <p>King scored many early instrumental hits, the biggest being the aforementioned “Hideaway,” an easy-grooving 12-bar shuffle in E with a distinct, memorable melody. <strong>FIGURE 1</strong> illustrates a similar melody played within the 12-bar form. </p> <p>As melodic lines are played on the top two strings with abundant use of open notes—akin to the country blues of Lightnin’ Hopkins—a rhythm part is equally attended to, built from palm-muted two-note forms on the bottom two strings and balanced against the melodic development.</p> <p>In bar 2 of the example, a simple open- to-second-fret hammer-on is replaced with a “rolling” hammer-on, wherein the middle finger is hammered onto the first fret, instead of the second, followed by a slide up to the second fret. (This more intricate technique was later adopted and employed frequently by Stevie Ray Vaughan.) </p> <p>Throughout this example, notice the subtle inclusion of single-note phrases that serve to connect the elements of the part while keeping it moving forward.</p> <p>Freddie revisited this melody for another of his classic instrumentals, “The Stumble.” <strong>FIGURE 2</strong> illustrates a similar form, which begins with a melodic line close to that of “Hideaway” but is played over a different chord progression, starting on the IV(four) chord, A, in the key of E. </p> <p>In this 16-bar form, a descending sliding double-stop lick, based on a sixth interval, is played on the G and high E strings, executed by picking the G string with the thumb and the high E string with either the index or middle finger. Pick each pair sharply and in a staccato manner (short and detached), and strive for absolute accuracy as you move quickly down the fretboard.</p> <p>Freddie showcased a similar lick in “Hideaway,” with a band “breakdown” (the band lays out from playing the groove, supplying accented chordal stabs only). <strong>FIGURE 3</strong> offers a lick along these lines, initiated with a very cool and unusual E7add2 chord voicing. The band comes back in at bar 5, over A, and, in this example, further melodic development is performed on the top two strings.</p> <p>A great example of King’s relentlessly hard-driving style is a song called “Boogie Funk,” essentially a one-chord vamp played in A. The roots of this song can be found in the John Lee Hooker classic, “Boogie Chillen.”</p> <p><strong>FIGURE 4</strong> presents a repeating riff, built around an A5 chord, that features muted- string accents along with subtle half-step bends on the low E and A strings. This is played with a “triplet feel,” so what is written as eighth notes is intended to be played as a quarter-note/eighth-note combo within a triplet bracket. I use a pick to play this part, alternating evenly between downstrokes and upstrokes, but Freddie would fingerpick such a part, so try using the thumb for the downstrokes and the index or middle finger (or both) for the upstrokes. In <strong>FIGURE 5</strong>, I add a melodic figure to the form.</p> <p>After building intensity by riding on the I (one) chord, Freddie would switch briefly to the IV (four) chord and play a similar rhythmic lick. <strong>FIGURE 6</strong> offers a part along these lines, to be performed with the pick hand in the same manner as <strong>FIGURES 4</strong> and <strong>5</strong>.</p> <p>These examples just scratch the surface of Freddie King’s genius, so dig deep into his catalog to discover even more for yourself.</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience1699133089001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="1699133089001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. 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If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p> <br /></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience1699133013001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="1699133013001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p><br /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-13%20at%2011.35.41%20AM.png" width="620" height="442" alt="Screen shot 2015-07-13 at 11.35.41 AM.png" /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-13%20at%2011.36.04%20AM.png" width="620" height="584" alt="Screen shot 2015-07-13 at 11.36.04 AM.png" /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-13%20at%2011.37.10%20AM.png" width="620" height="589" alt="Screen shot 2015-07-13 at 11.37.10 AM.png" /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-13%20at%2011.38.06%20AM.png" width="620" height="461" alt="Screen shot 2015-07-13 at 11.38.06 AM.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/freddie-king">Freddie King</a> </div> <div class="field-item even"> <a href="/andy-aledort">Andy Aledort</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/freddie-king-lesson-texas-blues-video-tab-andy-aledort-in-deep#comments August 2012 blues Freddie King In Deep 2012 Videos In Deep with Andy Aledort News Lessons Magazine Thu, 03 Sep 2015 11:26:25 +0000 Andy Aledort 16113 at http://www.guitarworld.com Five Finger Death Punch Guitarist Jason Hook Says "Betcha Can't Play This" — Video http://www.guitarworld.com/five-finger-death-punch-guitarist-jason-hook-says-betcha-cant-play-video/25397 <!--paging_filter--><p>This just-posted "Betcha Can't Play This" video features Five Finger Death Punch guitarist Jason Hook.</p> <p>Check it out below and have a crack at his lick!</p> <p>The band's new album, <em>Got Your Six,</em> will be released this Friday, September 4.</p> <p>For more about Hook and Five Finger Death Punch, visit <a href="http://www.fivefingerdeathpunch.com/">fivefingerdeathpunch.com.</a></p> <p><strong>Be sure to subscribe to <a href="https://www.youtube.com/channel/UCqHkFMEmOPFO3ahcrrBAj4w">Guitar World's YouTube channel,</a> where you'll find new videos every day.</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/88q9R4LILns" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/five-finger-death-punch-guitarist-jason-hook-says-betcha-cant-play-video/25397#comments 5FDP Betcha Can't Play This FFDP Five Finger Death Punch Jason Hook Videos News Lessons Wed, 02 Sep 2015 17:58:57 +0000 Guitar World Staff 25397 at http://www.guitarworld.com Talkin’ Blues Lesson: Cliff Gallup’s Smooth, Lyrical Ballad-Playing Style — with Tab and Audio http://www.guitarworld.com/talkin-blues-keith-wyatt-cliff-gallup-s-smooth-lyrical-ballad-playing-style <!--paging_filter--><p><a href="http://www.guitarworld.com/talkin-blues-keith-wyatt-tribute-cliff-gallup-s-legendary-flash">Last time,</a> we examined the high-energy style of Cliff Gallup, whose innovative solos with rockabilly icons Gene Vincent and His Blue Caps set a new standard for sound, technique and imagination. </p> <p>Below, we’ll look at how Gallup explored the opposite end of the musical universe—romantic ballads—with an equally successful balance of skill and attitude.</p> <p>While best known for sweat-soaked rockers, Vincent filled out his repertoire by recording a number of pre-Fifties standards from the “Great American Songbook” era, including chestnuts such as “Peg O’ My Heart,” “Ain’t She Sweet” and “Up a Lazy River.” </p> <p><strong>FIGURE 1</strong> illustrates a ballad combining melodic and harmonic features typical of countless pop songs like these, including a six-two-five-one harmonic cycle in the key of G (E7-A7-D7-G), a melody closely based on the chord structure, and strong, recurring rhythmic motifs. </p> <p>Although quite sophisticated by today’s standards, pop songs then as now were built around catchy, intuitive melodies and rhythms––not coincidentally, the same values we look for in a well-phrased solo.</p> <p>Compare this melody to <strong>FIGURE 2</strong>, which shows a Gallup-style solo built on the same song. His approach generally alternated between quoting the vocal melody, which gives the solo a strong backbone, and inserting improvised phrases to provide the (even then) dated material with a dose of spontaneity and energy. </p> <p>Analysis reveals that bars 1 and 2 repeat the vocal melody with some bluesy adornments, and bars 3 and 4 combine the same melodic rhythm with an improvised melody based on an A9 arpeggio (A C# E G B). The vocal melody returns in bars 5 and 6, answered by a straight-up rock and roll lick in bars 7 and 8. After more melodic embellishment in bars 9 and 10, the solo takes another unexpected turn with a double-timed blues lick in bars 11 and 12 before settling back into the vocal melody for the final few bars. </p> <p>For guitarists learning to “play changes,” ballad solos like this demonstrate how to navigate through chords without getting tangled up in theory and technique or sacrificing style and energy. Gallup erased the perceived lines between rock and roll, blues, rockabilly, pop, country, and jazz, and his approach directly inspired generations of eclectic and sophisticated electric guitar stylists, including Jeff Beck and Brian Setzer. </p> <p>Given his impact on rock guitar, it is ironic to note that Gallup’s professional career lasted barely six months before he left the band, returned to his home and family in Virginia and took a job outside music. He continued to play locally until his death in 1988, but his obituary mentioned nothing of his days as a Blue Cap. </p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/46871673&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe></p> <p><img src="/files/imce-images/Talkin%3B%20Blues.png" width="620" height="302" alt="Talkin; Blues.png" /><br /> <img src="/files/imce-images/Talkin%27%20Blues.png" width="620" height="486" alt="Talkin' Blues.png" /></p> http://www.guitarworld.com/talkin-blues-keith-wyatt-cliff-gallup-s-smooth-lyrical-ballad-playing-style#comments Cliff Gallup Gene Vincent October 2014 Talkin Blues Lessons Magazine Wed, 02 Sep 2015 17:27:55 +0000 Keith Wyatt 22119 at http://www.guitarworld.com "Boogie Uproar" — The Up-Tempo Soloing Style of Clarence "Gatemouth" Brown http://www.guitarworld.com/talkin-blues-signature-tempo-soloing-style-clarence-gatemouth-brown <!--paging_filter--><p>Sixty years ago, barely a decade into the electric guitar era, Clarence “Gatemouth” Brown unleashed one of the wildest guitar instrumentals ever captured on record. </p> <p>“Boogie Uproar” was just that, a dose of pure, in-your-face electric energy that musically linked the past—the sophistication of swing—to the future: the raw ferocity of rock and roll.</p> <p>Brown launched his career in 1947 on the heels of fellow Texas guitarist T-Bone Walker, the original architect of the electric blues guitar single-note soloing style. While influenced by Walker, Brown favored a far more aggressive barehanded attack through a cranked-up amp, a sound that he further enhanced by ditching his hollowbody Gibson L-5 for the radical new Telecaster. </p> <p>Combined with an impeccable sense of rhythm and a wild imagination, the result was a distinctive, white-knuckled style that inspired players like Guitar Slim, Johnny “Guitar” Watson and Albert Collins.</p> <p>“Boogie Uproar” is essentially a musical sparring match between Brown and various members of his band over a fast 12-bar blues in G. The main theme (similar to <strong>FIGURE 1</strong>) is a syncopated twist on the standard jump blues walking-bass pattern. </p> <p>To emulate Brown’s sound and playing approach, capo at the third fret, in which case all notes tabbed at the third fret are equivalent to open strings, and pluck aggressively with your bare thumb and fingers to create a dynamic, percussive attack.</p> <p> One of the prime lessons of “Boogie,” and of Brown’s style in general, is the importance of a strong opening phrase. Each of his five solo choruses opens with a distinctive idea, ranging from classic blues (similar to <strong>FIGURE 2</strong>) to pure energy (<strong>FIGURE 3</strong>; note the unorthodox fingering and the recommended picking pattern) to twisted (a rubbery bass-string lick like <strong>FIGURE 4</strong>) to silly (“Here Comes the Bride”) to mocking (a playground taunt, like the first four bars of <strong>FIGURE 5</strong>). </p> <p>Once we’re hooked, Brown can opt either to stretch the same idea or switch to more interchangeable phrases (similar to the last eight bars of <strong>FIGURE 5</strong>) while preparing the next treat.</p> <p>Brown’s more restrained 1954 instrumental masterpiece “Okie Dokie Stomp” would ultimately become his signature tune, but few moments in guitar history match the pure reckless enthusiasm of “Boogie Uproar.” It’s a one-finger salute from a true American original.</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Fplaylists%2F4322126%3Fsecret_token%3Ds-JNGFE"></iframe></p> <p><img src="/files/imce-images/Talkin%27%20Blues-%20May%202013.png" width="600" height="511" alt="Talkin' Blues- May 2013.png" /><br /> <img src="/files/imce-images/Talkin%27%20Blues-%20May%202013%202.png" width="600" height="470" alt="Talkin' Blues- May 2013 2.png" /></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/tkKzSJeRWt0" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/talkin-blues-signature-tempo-soloing-style-clarence-gatemouth-brown#comments Clarence Gatemouth Brown Keith Wyatt May 2013 Talkin' Blues Lessons Magazine Tue, 01 Sep 2015 21:10:03 +0000 Keith Wyatt 18093 at http://www.guitarworld.com How to Construct Classic Eighties-Style Metal Guitar Parts http://www.guitarworld.com/metal-life-metal-mike-how-construct-classic-eighties-style-metal-guitar-parts-video <!--paging_filter--><p>Back in the Eighties, during the heyday of metal, bands like Van Halen, Judas Priest and the Scorpions were releasing incredible, killer albums packed with amazing guitar playing. </p> <p>Today, I feel that the majority of metal is more focused on rhythmic parts with less harmonic movement than what I think of as the approach representative of Eighties-style metal. It is from that perspective that I put together the three “classic” metal-style riffs.</p> <p>During the NWOBHM (New Wave of British Heavy Metal) days of the late Seventies and early Eighties, bands like Iron Maiden and Judas Priest were forging blazing, melodic metal earmarked by powerful and memorable song riffs. </p> <p><strong>FIGURE 1</strong> is indicative of Iron Maiden’s style: above the progression of three different pedal tones, shifting two- and three-note chord shapes create the melodic content that keeps this part interesting and moving forward. </p> <p>I begin with an open D5 power chord, using the D string as a repeating pedal tone, and by simply changing the note on the G string, I can move from D5 to Bb/D to G5/D. Be sure to palm-mute all of the open D pedal tones while allowing the higher strings to ring clearly. In bar 3 into bar 4, I shift to an F5 power chord followed by C/F, sounded by lowering the high F on the B string one fret to E, played in unison with the open high E string. </p> <p>After the second ending (bar 5), I transition to the key of A minor, with sliding two-note power chord shapes fretted on the D and G strings, supported by an open A-string pedal tone that is picked in consecutive 16th notes. In bar 8, I move down two whole steps to F5 and use the fretted F note as the pedal tone, followed at the end of bar 9 with a shift from F5 to C5, performed by simply moving from F to G on the D string while keeping the C note on top.</p> <p><strong>FIGURE 2</strong> is played at a slower tempo, and, as with <strong>FIGURE 1</strong>, the melodic content in this riff is provided by the simple movement of two-note chord shapes sounded above a pedal tone. In bars 1–3, the open A string provides the pedal tone, over which I play a sequence of double-stops that imply Bm, Am, G and F chords. In this example, the melodic element comes from the highest note in each double-stop. </p> <p>Let’s wrap up with a lick reminiscent of George Lynch with Dokken or Queensrÿche, specifically from the latter band’s <em>Operation: Mindcrime</em> period, in terms of the overall approach to the riffs and the feel of the rhythms. </p> <p>In <strong>FIGURE 3</strong>, I begin with an A5 power chord followed by a repeating open A-string pedal tone, and at the end of bar 1 I use sliding two-note power chords to transition to F5, followed by D7/A, which I sound by moving from F up one fret to F# on the D string. In bar 4, I use the opposite movement, shifting down one fret from D to C# on the A string to change from D5 to A/C#. At the end of the riff, I use pull-offs on the A string to set up the two-note C5 and D5 power chords. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/a3BpNvJ9rgI" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/May2015.jpg" width="620" height="763" alt="May2015.jpg" /></p> http://www.guitarworld.com/metal-life-metal-mike-how-construct-classic-eighties-style-metal-guitar-parts-video#comments May 2015 Metal For Life Metal Mike Chlasciak Videos Blogs Features Lessons Magazine Tue, 01 Sep 2015 15:38:39 +0000 Metal Mike Chlasciak 23801 at http://www.guitarworld.com Wild Stringdom with John Petrucci: Combining Triad Arpeggios to Form Polytonal Chordal Allusions http://www.guitarworld.com/wild-stringdom-john-petrucci-combining-triad-arpeggios-form-polytonal-chordal-allusions <!--paging_filter--><p>I often use triadic arpeggio forms within my riffs and solos as a tool to create rich-sounding, poly-chordal sounds. </p> <p> I’d like to continue in that vein by presenting different ways in which to move from one arpeggio form to another, using a series of specific triads that complement one another well.</p> <p> Let’s start with the triads F# diminished and D major, as shown in <strong>FIGURES 1</strong> and <strong>FIGURE 2</strong>, respectively. The F# diminished triad is built from the notes C, F# and A, and the D major triad is built from almost the same set of notes, D, F# and A. Both <strong>FIGURES 1 and 2</strong> show these triads as played in fifth position for comparison. </p> <p> If I wanted to get a bluesy vibe, I’d use the D major triad and combine it with the F# diminished triad, as demonstrated in <strong>FIGURE 3</strong>. Here, the C note is heard as the b7 (flat seventh) of D, implying a D dominant-seven tonality.</p> <p> Now let’s try combining the F# diminished arpeggio with an A minor arpeggio—A C E—as shown in <strong>FIGURE 4</strong>. The combination of these two sets of notes gives an F#m7b5 arpeggio (F# A C E: see <strong>FIGURE 5</strong>). These licks work well over an Am chord, as the inclusion of the F# note, the major sixth of A, implies an Am6, A Dorian–mode type of sound.</p> <p> As you probably have noticed, all of these arpeggios are played on the top three strings, and I often like to incorporate sweep picking when using arpeggios like this. <strong>FIGURE 6</strong> illustrates a combination of an Em7 arpeggio—E G B D—and a Gmaj7 arpeggio—G B D F#. As denoted in the example, in order to sweep pick these arpeggio shapes properly, begin with an upstroke on the first note and then use a single down-stroke to rake across the top three strings to play the next three notes. </p> <p> The form ends with another upstroke. I then slide up to 10th position and reverse the process, beginning with a down-stroke and then using a single upstroke to rake across the top three strings, moving from high to low. <strong>FIGURE 7</strong> offers an example of applying this approach to the chord progression Em7 Am9 F#m7b5 Gmaj7.</p> <p> This is the last installment of Wild Stringdom for now. I hope these columns have been useful to you and have served to broaden your knowledge of the guitar while building up your chops. Thanks for reading, and I’ll see you out on the road!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/hvBm_lza1N8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/Screen%20Shot%202014-04-30%20at%2010.38.33%20AM.png" width="620" height="693" alt="Screen Shot 2014-04-30 at 10.38.33 AM.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202014-04-30%20at%2010.39.19%20AM.png" width="620" height="339" alt="Screen Shot 2014-04-30 at 10.39.19 AM.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/wild-stringdom-john-petrucci-combining-triad-arpeggios-form-polytonal-chordal-allusions#comments April 2014 Dream Theater John Petrucci Wild Stringdom Videos Blogs Lessons Magazine Tue, 01 Sep 2015 15:00:44 +0000 John Petrucci 20542 at http://www.guitarworld.com Guitar Tricks: Eight Things You Need to Know About Arpeggios http://www.guitarworld.com/guitar-tricks-eight-things-you-need-know-about-arpeggios <!--paging_filter--><p>As you advance in your guitar studies, you'll surely come across the term "arpeggio." </p> <p>Arpeggios are a great way to add color and complexity to your playing. You can make riffs out of them, use them in solos or even create melody lines with their fluid sound. </p> <p>Nearly all of the greats use arpeggios. Yet, if you're like a lot of guitarists, you might be shying away from them because you fear being overwhelmed by the "Twin Ts": theory and technique. If you have a basic understanding of how chords work, though, it's high time to get your feet wet. </p> <p>Here are eight things you need to know to help demystify the arpeggio. </p> <p>01. <Strong>What an arpeggio is exactly</strong> The word arpeggio (ar-peh-jee-oh) comes from the Italian word arpeggiare, which means "to play a harp." (If you can visualize harpists, they often articulate notes by plucking the strings one at a time.) Arpeggios, often called broken chords, are simply notes from a chord played individually instead of strummed together. </p> <p>02. <strong>What arpeggios can do for you</strong>. Arpeggios create a fast, flowing sound. Besides using them for speed in playing, arpeggios add a kick to improvisation skills. Because an arpeggio contains all the notes of its chord, you can use them in your solos and link them to what's going on in the chord structure beneath you to create cool sounding licks. Arpeggios always sound good over their matching chord in a progression, therefore, they generally form the melodic home bases and safe notes for improvising guitarists. <a href="http://www.guitartricks.com/v2/chords">This guitar chord chart will help visualize the notes of each arpeggio on the guitar neck.</a></p> <p>03. <strong>Scales vs. arpeggios.</strong> Let's clear up any confusion you might have between scales and arpeggios. Scales are a series of notes played one by one that fit sonically within a particular key signature (e.g., G major scale would be G, A, B, C, D, E, F#). Arpeggios, on the other hand, are a series of notes played one by one that consists of the notes within a particular chord (e.g., G major arpeggio would be G, B, D). Like a scale, an arpeggio is linear: it's a set of notes you play one at a time. Unlike scales that contain some extra notes not always played in chords, arpeggios use only the notes found in a single chord. Both scales and arpeggios can be played in ascending, descending or random order.</p> <p>04. <strong>Arpeggio shapes.</strong> As with scales, there are a variety of shapes to learn when playing arpeggios. There are generally five CAGED shapes for each arpeggio, except the diminished 7th, for which there is just one. Learn arpeggios in different positions on the neck so you become familiar with the shape of the arpeggio rather than concentrating on which frets to put your fingers in. Learn the shapes one at a time. Although you need to get all five of the shapes down—eventually—it's far better to be able to play one perfectly than five poorly. Practice moving from one arpeggio shape to another, back and forth and back and forth.</p> <p>05. <strong>Which arpeggios to learn first.</strong> The best guitar arpeggios to learn first are the major triad (1, 3, 5) and the minor triad (1, b3, 5). The major and minor triads are the most common and most used guitar arpeggios in all of music. While a triad contains only three notes, an arpeggio can be extended with chords like a major seventh, a 9th, 11th, 13th, etc., giving you endless possibilities.</p> <p>06. <strong>Different picking styles.</strong> There are several ways you can play arpeggios—alternate picking, legato, <a href="http://www.guitartricks.com/guitarglossary.php?term=Hammer-on">hammer-ons</a> and <a href="http://www.guitartricks.com/guitarglossary.php?term=Pull-off">pull-offs</a>, sweep picking and tapping are among them. (For the more experienced player, there also are lead techniques you should be confident with for playing arpeggios at higher speeds, such as string skipping and finger rolling.) Experiment with each way of playing these arpeggios to see which one works best for you and your particular style. </p> <p>A note here about fingerpicking: While fingerpicked chords are technically arpeggios since the chords are broken up, the individual notes aren't typically muted after they're played and thus ring together. The listener can literally hear the entire chord from the vibrations of each individual note. Arpeggios typically only have one note playing at any given time and are a slightly different idea from broken chords. </p> <p>07. <strong>Grab the arpeggio by the "root."</strong> When you're brand new to arpeggios, you always want to start and end on a root note (the note upon which a chord is built. Literally, the root of the chord.) This will help train your ears to hear the sound of the scale. Start on the lowest pitched root note, play up as far as you can, then go back down as low as you can, and then back up to the root note.</p> <p>08. <strong>Form and speed.</strong> To play arpeggios, you should mute each note immediately after picking it by lifting the fretting finger. This will keep the notes from "bleeding" into one another and sounding like a strummed chord. Every note needs to sound individually. Start off slowly. Perfect your form before you add speed to the mix. You don't want to develop bad habits that you will have to correct later. </p> <p>For more on playing arpeggios, give <a href="http://www.guitartricks.com/guitarglossary.php?term=Arpeggio">some of these "how to play arpeggios" guitar lessons</a> a try, as well as Ben Lindholm's <a href="http://www.guitartricks.com/lesson.php?input=17379&amp;s_id=1310">"10 Ways to Play Arpeggios."</a> </p> <p><em>Kathy Dickson writes for the online guitar lesson site <a href="http://www.guitartricks.com">Guitar Tricks.</a></em></p> http://www.guitarworld.com/guitar-tricks-eight-things-you-need-know-about-arpeggios#comments Guitar Tricks Blogs Lessons Mon, 31 Aug 2015 14:38:02 +0000 Kathy Dickson 22866 at http://www.guitarworld.com In Deep with Andy Aledort: Using Various Major-Pentatonic Shapes for Soloing — Video http://www.guitarworld.com/deep-andy-aledort-using-various-major-pentatonic-shapes-soloing/25281 <!--paging_filter--><p>Most guitarists will agree that the study of scales is an endeavor that will reap many benefits. </p> <p>Along with helping one to learn the “map” of the fretboard in any given position, studying scales reinforces note recognition all over the fretboard while also instilling a broader range of muscle memory in regard to the way one physically navigates the board via repetitive finger movement. </p> <p>In other words, your fingers will adapt to new specific movement patterns as you move from one pattern and position to the next. </p> <p>The greatest benefit of this endeavor is that it helps you from habitually falling into “lick”-type phrases that so many guitarists find themselves stuck with. We all must learn licks in the pursuit of developing our soloing abilities, and the next step is to break those lick habits and instead use your ear to listen to the many melodic possibilities that can be discovered as you play.</p> <p><strong>FIGURE 1</strong> illustrates the E major pentatonic scale played in first position, utilizing open strings. A great way to play this pattern is to keep your index finger at the first fret and your remaining fingers at the second, third and fourth frets. This way, there will be no need for moving out of position while playing the notes of the scale. </p> <p>As a general guideline, ascending and descending through groups of threes and fours is a great way to memorize a scale position; <strong>FIGURE 2</strong> illustrates descending in three-note groups through the pattern, and <strong>FIGURE 3</strong> has you descending in groups of four. </p> <p>Now let’s look at how you can improvise melodies while staying within this position of E major pentatonic. <strong>FIGURE 4</strong> offers an example. As I play, I’m simply moving my fingers among notes that are found in the scale in a variety of different patterns and listening to the results. In this way, I’m thinking more about navigating through the scale in this position as opposed to playing licks that I know or licks that I might always find myself typically playing. </p> <p>And as you move up the fretboard, you will discover that each scale position and pattern will offer different melodic patterns as a product of the way the notes lay on the board.</p> <p><strong>FIGURE 5</strong> shows E major pentatonic as it falls in fourth position, and <strong>FIGURES 6</strong> and <strong>7</strong> illustrate descending groups of threes and fours, respectively, played in this pattern, or shape. Once your fingers become accustomed to the shape, try soloing in a free and random way while listening to the melodic contour of the lines and letting your ear decide which note to play next. </p> <p>The next step is to continue the process by moving up through all scale positions of E major pentatonic and then improvising in each new area.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/1cFMGcmZ7Y0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/Screen%20shot%202015-08-13%20at%202.36.55%20PM.png" width="620" height="488" alt="Screen shot 2015-08-13 at 2.36.55 PM.png" /></p> <p><img src="/files/imce-images/Screen%20shot%202015-08-13%20at%202.37.27%20PM.png" width="620" height="356" alt="Screen shot 2015-08-13 at 2.37.27 PM.png" /></p> <p><em>Photo: Cindy Moorhead</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/andy-aledort">Andy Aledort</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/deep-andy-aledort-using-various-major-pentatonic-shapes-soloing/25281#comments Andy Aledort In Deep October 2015 Videos Lessons Magazine Fri, 28 Aug 2015 12:59:10 +0000 Andy Aledort 25281 at http://www.guitarworld.com Stevie Ray Vaughan Lesson: How to Play "Couldn't Stand the Weather" http://www.guitarworld.com/deep-stevie-ray-vaughans-playing-couldnt-stand-weather <!--paging_filter--><p>Stevie Ray Vaughan’s distinctive playing style is earmarked by equal parts pure power, intensity of focus, razor-sharp precision and deeply emotional conviction. And then there’s his tone—probably the best Stratocaster-derived sound ever evoked from the instrument. </p> <p>Stevie tuned his guitar down one half step (low to high, Eb Ab Db Gb Bb Eb), a move inspired by one of his biggest influences, Jimi Hendrix. He also preferred heavy gauge strings: high to low, .013, .015, .019, .028, .038, .058, occasionally switching the high E string to either a .012 or .011. To facilitate the use of such heavy strings, Stevie’s guitars were re-fretted with large Dunlop 6100 or Stewart-MacDonald 150 fretwire.</p> <p>Let’s begin this lesson with a look at the title track from Stevie’s second album, <em>Couldn’t Stand the Weather</em>. The song begins in “free time” (no strict tempo). </p> <p>While brother Jimmie Vaughan tremolo-strums the opening chords—Bm-A7-G7-F#7—Stevie adds improvised solo lines (see transcription bars 1-8): over Bm, Stevie sticks with the B blues scale (B D E F F# A), over A7 he utilizes the A blues scale (A C D Eb E G) and over G7 he uses G blues (G Bb C Db D F). Strive to recreate Stevie’s precision when it comes to his articulation. </p> <p>Over Jimmie’s F#7 chord, Stevie plays a first inversion F#7#9, which places the third of the chord, A#, in the bass (as the lowest note). (Stevie employed this same unusual voicing for E7#9 in “Cold Shot.”) </p> <p>A four-bar, R&amp;B/soul-style single-note riff follows, doubled in octaves by guitar and bass (see bars 9-17). Played four times, two extra beats of rest are added the third time through. This is shown as a bar of 6/4 in bar 13 of the transcription.</p> <p>In bars 18-23, Stevie adds a very Hendrix-y rhythm guitar part, played in 10th position and beginning on beat two with an F octave fretted on the G and high E strings, strummed in 16th notes. Stevie maintains the rhythmic push of steady 16ths through most of the riff by consistently strumming in a down-up-down-up “one-ee-and-a” pattern. </p> <p>At the end of bar 18, barre your middle finger across the top three strings at the 12th fret, and then bend and release the G and B strings one half step. As the notes are held into the next bar, add subtle finger vibrato. Keep your fret-hand thumb wrapped over the top of the fretboard throughout the riff, using it to fret the D root note on the low E string’s 10th fret. Stevie intersperses this low root note into the lick in a few essential spots, akin to Hendrix on his songs “Freedom” and “Izabella.” </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/HppszdNQNXs" frameborder="0" allowfullscreen></iframe></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_1.jpg" /></p> <p>Stevie displays his true brilliance as an improviser when playing over a slow blues. All of the following examples are played in the key of G, utilizing the G blues scale (G Bb C Db D F) as a basis. Across the first two bars of <strong>FIGURE 1</strong>, I play two- and three-note chord figures against the low G and C root notes, fretted with the thumb. On beat three of both bars, I play a trill by barring the index finger across the D and G strings and then quickly hammering on and pulling off with the middle finger one fret higher on the G string. </p> <p>When playing bar 3, keep your index finger barred across the top two strings at the third fret while bending notes on the G and B strings. On beat two, quickly hammer on and pull off to the fourth fret on the high E string. This G-Ab-G hammer/pull is a staple for Stevie, used in myriad different and creative ways.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_2.jpg" /></p> <p>Another essential element of Stevie’s slow-blues lead playing approach is the use of Albert King–style multiple-string bends. As shown in <strong>FIGURE 2a</strong>, I bend the high E string up one whole step at the eighth fret using the ring finger (supported by the middle) and simultaneously catch the B string under the fingertip and bend it up a whole step as well so that it “goes along for the ride.” In <strong>FIGURE 2b</strong>, I catch the top three strings under the fingertip. It will take practice to build up the strength and “finger traction” to execute these bends properly.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_3ab.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_3c4a.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_4b.jpg" /></p> <p><strong>FIGURES 3a and 3b</strong> illustrate another way to add pull-offs on the high E string, this time fretting A and then pulling back from Ab to G. This is followed by repeated pull-offs on the B string, illustrated more clearly in <strong>FIGURE 3c. FIGURES 4a and 4b</strong> offer two more permutations of this idea.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_5ab.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_5c.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_5de.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_5f.jpg" /></p> <p>Another nod to Albert is the use of fingerpicking to accent notes on the high E string. I use my middle finger to pick and snap the string back against the fretboard, as illustrated in <strong>FIGURES 5a–5f</strong>. Notice in <strong>FIGURES 5b, 5c and 5e</strong> the use of a half-step bend at the seventh fret on the high E string. Albert was a master of microtonal bending, a technique learned well by Stevie.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_6.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_7.jpg" /></p> <p>Stevie devised some unique position shifts, utilizing bends and slides on the G string. <strong>FIGURES 6a–c</strong> present three examples. </p> <p>The use of the notes A, Ab and G on the high E string allude to the V (five) chord, D, and the D blues scale (D F G Gb A C). <strong>FIGURE 8a</strong> illustrates the scale, and <strong>FIGURES 7 and 8b–d</strong> offer examples played over the V chord. Another staple of Stevie’s style is the use of slides on the G string, exemplified in <strong>FIGURES 9a–c</strong>.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_8ab.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_8c.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_8d.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_9a.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_9b.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_9c.jpg" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> <div class="field-item even"> <a href="/andy-aledort">Andy Aledort</a> </div> <div class="field-item odd"> <a href="/jimmie-vaughan">Jimmie Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/deep-stevie-ray-vaughans-playing-couldnt-stand-weather#comments In Deep Jimmie Vaughan July 2010 Stevie Ray Vaughan Videos In Deep with Andy Aledort Blogs Lessons Magazine Thu, 27 Aug 2015 14:23:58 +0000 Andy Aledort 17124 at http://www.guitarworld.com Jazz Guitar Corner: Five Steps to Walking Basslines on Guitar http://www.guitarworld.com/jazz-guitar-corner-five-steps-walking-basslines-guitar <!--paging_filter--><p>When learning how to play jazz guitar, one of the things that many players want to explore and get under their fingers is walking basslines.</p> <p>Though learning how to walk a bassline (and comp at the same time) can take a lot of experience and time in the woodshed, there are a few rules and pointers you can follow in order to get you off on the right foot as you begin to explore the world of basslines for jazz guitar.</p> <p>In this lesson, we’ll be looking at five easy steps you can take to create a cool-sounding and fun-to-play bassline over a ii-V-I chord progression. </p> <p>Check out the notation examples below as a reference, and then view the video for an in-depth look at each of the five steps, including hearing these lines in action. </p> <p>To read more about walking basslines for guitar, check out my series “<a href="http://www.mattwarnockguitar.com/category/jazz-guitar-basslines">How to Walk Basslines for Jazz Guitar</a>.” And be sure to read <a href="http://www.guitarworld.com/user/161515">my other Jazz Guitar Corner columns here!</a></p> <p><strong>Step 1: ii V I Chords</strong></p> <p>Start off by finding the chord voicings for the ii V I you want to practice with a bassline. In this lesson, we’re using the following chords in the key of G major. Get these chords under your fingers first before moving on to the bassline section of the lesson. </p> <p><img src="/files/imce-images/Example%201%20jPG.jpg" width="620" height="154" alt="Example 1 jPG.jpg" /> </p> <p><strong>Step 2: Add Root on Beat 1</strong></p> <p>Once you have the chords down, you can now start building your bassline by adding in a root note on the first beat of each bar. </p> <p><img src="/files/imce-images/Example%202%20JPG_6.jpg" width="620" height="165" alt="Example 2 JPG_6.jpg" /> </p> <p><strong>Step 3: Add Chromatic Note on Beat 4</strong></p> <p>Once you have the root note on the first beat, you can add a chromatic approach note on beat 4 that leads into the next chord by a half-step above or below that root note. </p> <p><img src="/files/imce-images/Example%203%20JPG_7.jpg" width="620" height="165" alt="Example 3 JPG_7.jpg" /> </p> <p><strong>Step 4: Add Chromatic Note on Beat 3</strong></p> <p>You can now add another chromatic note on beat 3 of the bar. Again, you can use two chromatic notes below the next root, two above the next root, one above and one below, or one below and one above the next root note in the progression. </p> <p><img src="/files/imce-images/Example%204%20JPG_3.jpg" width="620" height="165" alt="Example 4 JPG_3.jpg" /> </p> <p><strong>Step 5: Add Diatonic Note on Beat 2</strong></p> <p>Lastly, you add a diatonic note from the chord or scale you are on to beat 2 of the bar. This completes all four quarter notes and you are now walking a bassline over a ii V I chord progression. </p> <p><img src="/files/imce-images/Example%205%20J.jpg" width="620" height="165" alt="Example 5 J.jpg" /> </p> <p>Learn how to play walking basslines can seem tough at first. But, with a few simple guidelines such as the five presented above, you’ll be walking basslines on your guitar in no time. </p> <p>How do you practice Walking Basslines for guitar? Share your thoughts in the Comments section below! </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/IxelR5unAPk" frameborder="0" allowfullscreen></iframe></p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com/">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a senior lecturer at the Leeds College of Music and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-five-steps-walking-basslines-guitar#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Wed, 26 Aug 2015 19:33:22 +0000 Matt Warnock 16839 at http://www.guitarworld.com Three Essential Rockabilly Guitar Licks — Video http://www.guitarworld.com/three-essential-rockabilly-guitar-licks-video/25354 <!--paging_filter--><p>Hey there.</p> <p>This time around, I decided to grab my rapidly aging black Levi's shirt, my awesome new <a href="http://www.levysleathers.com/music">Levy's guitar strap</a> and my <a href="http://www.gibson.com/Products/Electric-Guitars/Les-Paul/Gibson-USA/Music-City-Jr-B-Bender.aspx">Gibson Music City Jr. with B-Bender</a> and show you three essential rockabilly licks.</p> <p>Bear in mind, I could've chosen three <em>other</em> "essential" rockabilly licks, but these seemed like nice ones to start with. Hey, there's always next month.</p> <p>I'm really sorry for the lack of tabs, but I think the video does a fine job of showing my fingering, plus there's not really any "shredding" going on here.</p> <p>So, to elaborate (a bit) on the three licks in the video ... </p> <p><strong>The first lick</strong> is a great way to kick off a rockabilly guitar solo; also, since I probably absorbed it as a result of listening to Stevie Ray Vaughan's "Scuttle Buttin'" for three decades, it can be used in upbeat blues situations and maybe even country (the good kind of country; not the crap they play on country radio in 2015). </p> <p>Although a mere word probably won't help anyone, I always imagine that the lick is just "rolling" off the fretboard. I start things off with the open G string, followed quickly by a hammer-on on the first fret (a G#), followed quickly by an open B and an open E—and the rest of it just sort of happens. Sorry I can't be more technical; that's just not gonna happen.</p> <p><strong>The second lick:</strong> As I say in the clip, it's the perfect way to end the I (one) portion of a rockabilly solo or intro before going into the IV. I've heard Brian Setzer do this a million times with Stray Cats. To hear how he uses it (on a nice, newish high-quality studio recording), check out "Rooster Rock," a track from his often-overlooked 2001 rockabilly masterpiece, <em>Ignition!</em> In fact, I've included the song below (second/middle YouTube clip). The lick occurs within the first four seconds.</p> <p>Seriously, if you want to hear one hell of a guitar album, check out <em><a href="http://www.amazon.com/68-Comeback-Special-Brian-Setzer/dp/B00005JIWV">Ignition!</a></em> It's one of my top 10 "guitar albums" of all time. Maybe top 15, but you get the idea.</p> <p><strong>The third lick:</strong> Some of you might recognize this sort of thing from Gene Vincent's "Be-Bob-A-Lula" (which features the great <a href="http://www.guitarworld.com/talkin-blues-keith-wyatt-tribute-cliff-gallup-s-legendary-flash">Cliff Gallup</a> on lead guitar) or, now that I think about it, John Lennon's cool mid-Seventies version of "Be-Bob-A-Lula" (bottom YouTube clip). The first guitar solo, and this very lick, starts at the 54-second mark in the Lennon clip below.</p> <p>Stay tuned for more videos like this ... although I think I'll use a different guitar in my next video. I feel sorry for the other ones. Whatever. Enjoy! </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/t-Rf-QK5sQo" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="100" src="https://www.youtube.com/embed/m2vhS_PP010" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="100" src="https://www.youtube.com/embed/RtLnZnxSF7E" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="https://soundcloud.com/damian-fanelli/mister-neutron-comanchero-1">Damian Fanelli</a> is the online managing editor at </em>Guitar World<em> and </em><a href="http://www.guitaraficionado.com/">Guitar Aficionado</a><em>. His New York-based band, <a href="https://www.facebook.com/pages/The-Blue-Meanies/226938220688464?fref=ts">the Blue Meanies,</a> has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/swing/rockabilly band <a href="http://www.thegashousegorillas.com/">the Gas House Gorillas</a> and New York City instrumental surf-rock band <a href="http://www.cdbaby.com/Artist/MisterNeutron">Mister Neutron,</a> also <a href="https://www.youtube.com/watch?v=NsQ9pIkLXiA">composes</a> and <a href="https://www.youtube.com/watch?v=w7ICimc774Y">records film soundtracks.</a> He writes GuitarWorld.com's <a href="http://www.guitarworld.com/next-bend-clarence-white-inspired-country-b-bender-lick-video">The Next Bend</a> column, which is dedicated to <a href="http://www.guitarworld.com/next-bend-10-essential-b-bender-guitar-songs-damian-fanelli">B-bender guitars and guitarists.</a> His latest liner notes can be found in Sony/Legacy's </em><a href="http://www.amazon.com/The-Complete-Epic-Recordings-Collection/dp/B00MJFQ24W">Stevie Ray Vaughan: The Complete Epic Recordings Collection.</a><em> Follow him on <a href="https://www.facebook.com/damianfanelliguitar">Facebook,</a> <a href="https://twitter.com/damianfanelli">Twitter</a> and/or <a href="https://instagram.com/damianfanelligw/">Instagram.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/brian-setzer">Brian Setzer</a> </div> <div class="field-item even"> <a href="/john-lennon">John Lennon</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/three-essential-rockabilly-guitar-licks-video/25354#comments Brian Setzer Cliff Gallup Damian Fanelli John Lennon rockabilly Videos Blogs Lessons Wed, 26 Aug 2015 16:58:48 +0000 Damian Fanelli 25354 at http://www.guitarworld.com Joe Satriani Lesson: Go "Pick Surfing" with Satch! — Video http://www.guitarworld.com/betcha-cant-play-joe-satriani-goes-pick-surfing-video <!--paging_filter--><p>Earlier this summer, Joe Satriani visited <em>Guitar World</em> to shoot a few lesson videos. In fact, you can see his new column in the October 2015 issue of <em>Guitar World</em>—<a href="http://www.guitarworld.com/shredding-alien-joe-satriani-two-effective-approaches-building-melodies/25278">or right here.</a></p> <p>Anyway, he had some time left over to shoot a few licks. We've shared two of them already, and here's the third!</p> <p>This lick features fast pick tapping on the high E string, with a wah pedal used as a filter effect. You might recognize it from <a href="http://www.guitarworld.com/100-greatest-guitar-solos-no-30-surfing-alien-joe-satriani">"Surfing with the Alien."</a></p> <p>We're calling it "Pick Surfing." Enjoy!</p> <p><strong>For more about Satch and his new studio album, <em>Shockwave Supernova,</em> visit <a href="http://www.satriani.com/splash/">satriani.com.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/tvZYWoRjMPE" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/betcha-cant-play-joe-satriani-goes-pick-surfing-video#comments Joe Satriani Surfing With the Alien Videos News Lessons Wed, 26 Aug 2015 15:04:13 +0000 Guitar World Staff 24820 at http://www.guitarworld.com