These videos are bonus content related to the October 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.
In last month’s column, I discussed a variety of phrasing techniques that can be applied effectively while creating improvised solos—for instance, starting each phrase from a specific chord tone, such as the root, third or fifth of the “tonic,” or “home key.”
We used as our rhythm track a chord progression along the lines of the classic Allman Brothers Band song “Melissa,” with the improvised solos based on both the E major pentatonic (E Fs Gs B Cs) and E major hexatonic (E Fs Gs A B Cs) scales. This month, I’d like to expand upon our exploration of phrasing approaches and use the A minor pentatonic (A C D E G) and A blues scales (A C D Ef E G) as played over a rhythm part along the lines of Stevie Ray Vaughan’s “Cold Shot” (Couldn’t Stand the Weather).
PART ONE
PART TWO
“We often overlook this humble technique, yet it’s such an important tool for expressive rhythm and lead playing”: Palm muting is an essential guitar technique – but there’s a lot more to it than just chugging. Are you using it to its full potential?
How to introduce “murder mystery” guitar chords to your playing – without getting your fingers in a twist
