This kind of thing reminds me of a Johnny "Guitar" Watson move. It also helps get fingers accustomed to sliding very quickly. And this kind of sliding technique might help you see connections on the fretboard while giving you an alternative to standard blues solos.
This lesson takes the same ideas discussed in my last lesson, "Increase Left-Hand Strength and Produce Great-Sounding Sequences,” and applies them to the diatonic major and minor three-note-per-string scales. It will help you get the seven positions of the major scale memorized, increase your left-hand strength, solidify your alternate picking and deliver some great-sounding sequences.
Winter. I’m not big on it. If you play any instrument that involves dexterous finger work, you probably aren’t big on it, either. How many times have you started playing a fast riff or lick onstage and quickly realized your fingers weren’t moving as fast as your brain?
The heaviest album of all time, you ask? This distinction belongs not to Black Sabbath’s Master of Reality or Slayer’s Reign in Blood. No, the heaviest, sludgiest, most wicked album ever recorded is none other than Sleep’s doom metal masterpiece, Dopesmoker.
This guitar was never built to be a gimmick. I made it because I wanted a steel-bodied Dobro guitar but couldn’t afford one. Back in 1998, I was in the lowest point of my life: lost marriage ... living in a tiny apartment ... no TV ... no internet. Yet in all my boredom and depression, I was still obsessed with music. Most importantly, I wanted to own a metal-bodied Dobro guitar.
They call this tenor guitar the Sawyer’s Legacy. It features a soundboard made from wood from a 150-year-old Maine barn. You can still see the massive sawmill grooves burned in the surface! The back of the guitar has an even more interesting cross-cut saw pattern. Its primitive shape, similar to a cigar box guitar, seems to be the perfect choice as it shows off the wood in its original “plank” form.
The most fundamental challenge in fast picking is also the easiest to spot from halfway across the room: the motion mechanic. To play notes with a pick, we need a way of moving it back and forth in the classic alternating down-up picking sequence. Historically, this movement, or motion mechanic, has been the most visible and most commonly discussed component of picking technique.
Dennis told me he had a guitar pedal that would rock the world, and he had been trying for 20 years to get it on the market. I played it…and it’s amazing. I must have spent two hours experimenting with it. Warbles, fuzzes, bleeps and strange Ed Wood sounds came out. It was like nothing I've ever heard. This thing puts the mythical Ludwig Phase II Synthesizer guitar effect to shame.
We all have a story about "the one that got away." What can we do about it? Rob from Fool Audio Research did something about it. He built the Ignatz, which is based on a no-name set-neck Strat-style guitar he missed out on. There's clear evidence this guitar was built by an actual guitar player and not a team of "experts."
One of the most common questions I get from students and readers alike is, “I've learned tons of jazz chords, but how do I make them sound like music?” Alongside your study of chord voicings on their own, one of the best ways to learn how to apply those chords to your comping and chord soloing is to learn sample chord studies based on the changes to popular jazz tunes.