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.
This exercise, or finger twister, is a moveable arpeggio pattern, but it will be in G major for this exercise. The first measure is an ascending I chord/arpeggio of the major scale, which extended out (1 3 5 7), is a major 7th chord/arpeggio, which is a G major 7th chord/arpeggio (G,B D,F#).
Forty-eight years ago this summer — in late July and August 1966 — the Beatles found themselves in a touchy situation. On July 29 of that year, a teen magazine called Datebook published segments of a nearly 5-month-old interview with John Lennon. Among the republished segments was this quote by Lennon: "We're more popular than Jesus now; I don't know which will go first — rock 'n' roll or Christianity."
I'm definitely a tone freak. Getting my tone to come out of my amps the way I hear in my head is actually an exciting journey, and a never-ending one! On the road right now, my signal starts from my hands. The most important part of my tone is how I play, because that's the sound that goes into each of my four guitars.
In the first two installments of Chop Shop, we looked at some arpeggio-based runs that were spiced up with octaves, finger taps, pinch harmonics and behind-the-nut bends. This time, as promised, I’m going to talk about the ways in which I’ve employed ideas I’ve learned from guitarists in different genres to my own playing.
This is my first column for GuitarWorld.com. So let me risk it being my last one by offering a suggestion that goes against one of the deepest desires of guitarists and a basic premise of this magazine: Maybe you should rethink your dream guitar, because owning one can be a nightmare.
I start off with an Amaj7 arpeggio, beginning on the seventh, G#. The first three beats incorporate legato phrasing [hammer-ons and pull-offs used in combination]. I play a total of five notes using the "2-2" form [two notes per string]. I then move to a D augmented arpeggio with a #11, again using the 2-2 form but only playing a group of four notes this time.
CJ Guitar Tooling offers three-saddle sets that are compensated (angled) for better intonation. Each set is hand-made the “old school” way to bridge the gap between vintage tone and modern convenience.
Built yourself a cigar box guitar, eh? Chances are, you'll want to plug it in and annoy your neighbors. So let's build a cigar box amp! There are two kits, or amp modules, I'd recommend for making your first cigar box amp ...
In this lesson, I’ll be taking the most common pentatonic positions and showing you how to string them together to create ripping-fast riffs and runs. It’s a great way to break out of typical pentatonic licks and is easy to visualize all over the neck.