There are those people who can fit in in a wide variety of genres, and it's not just the licks or music theory knowledge or clothing that gets them the gig, but the tones as well. I'm not saying you can't bring your Kramer to a country gig; just know how to make it sound twangy.
Where else can one buy a 64-ounce Mountain Dew, a sandwich under a hot lamp, a bagged pickle and an alligator head under one roof? More over, why the fuck would you buy any of these items in the first place? I do not hold the answer to these questions but rest assured I have purchased one or more of these items.
Let me just put this out there: I love my Martin. I'm the type of person that would want to keep my Martin in a glass case at all times. With that said, when I go on the road I like to take an acoustic guitar with me to write. When traveling on a bus it's really easy to be able to carry an acoustic guitar on board and stow it away in a junk bunk or back lounge.
The majority of what I play during this section is built from sweep arpeggios of B minor triads (B D Fs) that shift through a variety of positions. There’s a lot happening in this little four-bar section, so let’s get to it. For this last section of the solo, illustrated in FIGURE 1, I’m playing over the same rhythm part that was illustrated in last month’s column.
Amps are heavy and you'd have to be borderline insane/Captain America to carry them all around a city, especially New York City during rush hour. A computer, a charger, two cables and a quarter-inch to eighth-inch adapter all in one bag is my go-to for all the smaller gigs that come my way.
This month, I’d like to delve deeper into concepts for expanding scalar ideas across the fretboard. As in the previous columns, I’ll demonstrate how to move diagonally across the fretboard to connect scale positions, an approach that I employ to a great extent to play melodic phrases and solos.
It's hard to imagine how rock or heavy metal music would have evolved without this essential cast of characters. However, it's important to be objective and to look at both sides of the fence when evaluating the impact these players' fame and reputation have had on future guitarists as well as their own musical growth.
This is a wide-stretch, legato string-skipping idea that’s based on a symmetrical fretboard shape that moves across the neck in a single position. It’s articulated entirely with fret-hand hammer-ons and pull-offs, and I use my pick hand as a string damper by reaching over behind the fret hand and grabbing the neck to mute the idle strings and prevent them from ringing.