In this Sick Lick, I'm using the A Minor Pentatonic Scale. The lick is played high on the neck, which makes some of the transitions very difficult, but the results are worth it. We start this lick with a five-string arpeggio, then slide up to the 22nd fret and start moving back down the neck. You'll notice most of the really fast sections are created with three- and five-string arpeggios.
Anyone who’s ever made an effort to learn some music theory knows that one of the biggest turn-offs is the sound of the major scale harmonized in triads (three-note chords). But before you dismiss the intellectual approach to learning music as being hopelessly tedious and uninspiring, realize that it doesn’t have to be that way.
In this post, I thought I’d touch on the subject of performance rights organizations (PROs), what they do and why they’re important to us as songwriters. (I realize this topic might be a bit old hat for the seasoned songwriters among, us but stick around, fogies; there’s something for you at post’s end.)
One of the first progressions many guitarists tackle when learning to improvise in the jazz idiom is the ii-V-I. This common three-chord progression can be found in countless jazz tunes, and improvising over these chords in a convincing fashion is a must-know skill for any budding jazz guitarist to have under their fingers.
Some of you may know I am co-producing a groundbreaking event at the end of the summer from August 27 to 31, 2012: The Women’s Music Summit. What?! Women need their own summit? I know some of you are thinking that, and as you may guess my answer is YES. And here’s why.
I did it. I played electric guitar live with the band for the first time. And by golly, it wasn’t as terrifying as I thought it would be. In fact, it was really fun! Honestly, even though I’ve played acoustic guitar for many years, most of the time when I perform live, my duties consist of singing only. No playing. Why? I dunno.
I woke up this morning in the parking lot of a resort hotel in Orlando, Florida. I grabbed my guitar and room key and headed through the lobby to find the elevator bank. There's a talking red parrot being heckled by chubby kids in shorts and swim goggles. I can’t quite hear the parrot’s retort.
This week's blog marks my first post about song structure, a recurring topic going forward here on Songcraft. These pieces will attempt to demystify song construction by dismantling popular tunes in various styles, taking a peak under the hood, so to speak, to see what makes them tick.
Guitarist Walter Trout has a resume that reads like a who’s who of rock and blues legends. From his days in Canned Heat, John Mayall & The Bluesbreakers to playing lead for John Lee Hooker, Big Mama Thornton and Bo Diddley Walter paid his dues and then some. I spoke with Walter to hear all about his new CD Blues For The Modern Daze, which was released April 24 via Mascot Music Productions.