Here's the first installment of Chopin's Piano Concerto in A minor, Opus No. 2. I've arranged it for guitar, and as you can see, it's not for the meek. But if you've been diligently practicing the chromatic exercises from my past few lessons, you should be ready to tackle it.
Improvising with arpeggios is a great way to dig into chord changes, bringing out the exact sound of each chord in your lines. While scales and modes are great for outlining keys and creating modal colors, when you want to sound each chord in a progression, arpeggios are the way to go. While they are great for outlining chord changes, arpeggios can often become boring or predictable when you overuse them in a solo.
A major stepping stone in my musical development was when I was introduced to the study of modes. Learning how modes work really opened my eyes and ears and gave me a lot of insight into how melodies relate to chords.
Hello there! Welcome to my first Guitar World column. I'm looking forward to sharing with you in these pages my thoughts on playing, equipment and the music business. Actually, this isn't the first time I've written a column — I used to do one many years ago for an English music magazine called Beat Instrumental. I did it for about eight months and it was great fun, and I'm sure this one will be too.
This week, I’ve built a new axe to add to my live arsenal: The DeltaLectric cigar box guitar. Based on a traditional three-string fretless cigar box guitar (played with a slide), I’ve hot rodded it with a vintage-style lipstick tube pickup in the bridge position. It’s a beautiful lie: It looks like a primitive blues instrument, but it screams like a bitch.
One of the most common alterations you will come across as a beginning and intermediate jazz guitarist is the 7#11 chord. Built by taking a normal dominant 7 chord, R 3 5 b7, and lowering the 5th by a 1/2 step, R 3 #11(b5) b7, these chord symbols come up time and again in big band charts and standard tunes.
Before I go any further, I'd like to say I'm sorry to my all my past teachers and instructors. After writing this blog post, I realized how, for the first 15 years of my career, I never really followed the advice I am now sharing with my readers. Please accept my humble apologies; I realize now that if I would've followed my own words, I would've saved myself a lot of time and grief over the years.
Heavy metal has lost all form of legitimacy as musical genre. I believe it has evolved, or devolved, to the point where it has become something so different from what it once was, that it now is a different genre all together. People could argue that music trends change constantly with new generations that influence what is popular. However, jazz is still jazz, blues is still blues, but metal is no longer metal.
For today's column and video (like last week's), I grabbed my ugly grey shirt and my Gibson Music City Jr. with B-Bender (a limited-edition guitar Gibson issued in 2013), to play a Clarence White-inspired country lick in A. As an electric guitarist, White built the bridge between country and rock in the late Sixties.
AC/DC are more than just a great rock band, they're an institution. Trends may come and go, but their unique brand of rhythm 'n bruise has proven to be timeless. Angus Young, the band 's lead playing livewire, has also deservedly attained a legendary standing in the business. In fact, one of modern rock's leading lights, Jerry Cantrell of Alice in Chains, recently refered to him as "the absolute god of blues-rock guitar."