There's a certain level of pride many musicians feel when they claim they are self-taught, and I can understand why. By considering themselves self-taught, some people enjoy the fact that, by not taking “lessons,” they discovered the ins and outs of playing an instrument on their own time, their own way, through their own skills.
I stress that because I couldn't do a live gig if you paid me. However, because of midi, combined with my knowledge of theory and studying the styles and sounds of great players, I can fool people into believing I'm keyboard player. I also can sing, play drums and program incredibly realistic-sounding drums that fool many drummers. Bass? No problem!
In the last few columns we've been zoning in on lead-playing and shit so let's get back to doing some hard-driving rhythm work for a while-'cos well-balanced players rip on rhythm as well as leads. As far as I'm concerned, it's no good being able to wail out smokin' leads if your rhythm chops hugg! I've been into playing rhythm from day one, and a lot of that has to do with having a brother who kicks ass on drums.
For this lesson, I want to explore some more applications of this technique and give you some ideas of how you can use it in your own playing. The technique can be applied to virtually any single-note sequence you come up with. I find it best to create a simple melodic line and then apply the technique to create a riff or motif. I've found it particularly useful in my solos as a way to create dynamics.
The fourth finger is often neglected when it comes to playing guitar. Well, rock/blues guitar, at least. I notice players opt to do wide stretches between their second and third fingers rather than using the fourth. As a result, the fourth finger is very underused and gets weak. This generally begins when someone first starts playing guitar.
Van Halen’s impact on Dimebag’s playing is unmistakable. The “vibe” of early Van Halen is by far the most recognizable influence in Dimebag’s playing. From the grooving rhythms played like leads of their own, to the tone, to the phrasing in his lead playing, Dimebag took the inspiration of Edward Van Halen and forged his own identity.
Chris Kringel pieced together 21 separate lessons into one book that will help define your playing style as a bassist. The book starts off with simple right-hand plucking concepts and ends with complex two-handed tapping techniques.
I use this particular variation of the scale a lot, especially when Im creating melodies that need to have a bit of "cheek" about them. This sound reminds me of something Steve Vai would use. The character Steve injects into his playing is genius, and this is a way (tonally) that I've found that helps me capture a bit of that.
With so many scales, arpeggios, licks, chords and patterns to learn in the practice room, sometimes we can overlook rhythm when working on our jazz guitar soloing concepts. Keeping a focus on rhythms and rhythmic motives in your solos can help take your playing to the next level, without having to learn any new concepts, just new approaches to the concepts you already have under your fingers.
Many bands perform covers of artists they admire as a way to pay homage or share their love of a song with the audience. Sometimes the band chooses to play it exactly like the record, and if it's a tricky song it's all the more impressive. If I saw a random band at a bar flawlessly pull off “Satch Boogie” or any Periphery songs note for note I'd be blown away.