In this lesson, I’ll be demonstrating one of the best ways to transition up and down the neck on the fly. I frequently utilize this technique because it’s easy to play fast and expand into many complex riffs and ideas. The premise of this lesson is based on visualizing the pentatonic scale on one string and expanding it into two, three, or four note patterns using adjacent strings.
Sure, we could've packed this list with songs with mind-blowing B-bender solos by Diamond Rio's Jimmy Olander, the Hellecasters' Will Ray or the Byrds' Clarence White. Instead, we've gone for a more well-rounded approach, attempting to include as many different guitarists as possible, not to mention a few super-accessible (even "classic") songs. We might've even thrown in an 11th song. Our math isn't too good.
I tap with my middle finger and begin this lick by flicking the string with the finger to get the sound going, doing a "phantom" pull-off to the A note at the fifth fret. I then play a sequence that goes "hammer, tap, pull" and repeats as I move across the strings, initiating the first note on each lower string with a "hammer-on from nowhere."
This month’s column focuses on an original composition of mine that acknowledges the influence of classical pianists on my playing style, specifically the way in which pianists will play arpeggios across several octaves very quickly (see FIGURE 1). In order to emulate that sound on the guitar, I’ve devised a few fretboard tapping techniques. In fact, much of my two-hand tapping technique is based on that goal and approach.
In this lesson I discuss a few options I use when playing over dominant 7 chords. I’ll take you through a methodical process of using scales that progressively use more and more dissonant notes. It will be this intermingling of consonant and dissonant sounds that will add a lot of interesting elements to your playing and give your solos the contrast that will keep your audience listening.
Many of us fall into the trap of practicing the same old stuff over and over again. This is why so many players find they hit a point where they don't get better. This has nothing to do with age or physical limitations; it's because they are not practicing or challenging themselves. They are doing nothing but maintaining.
When you're recording, you can use all kinds of exotic instruments for embellishing sections of a song. But you probably would like to be able to recreate your recorded performance live. It would be cool to be playing something on a six-string and have certain notes of the melody jump out with a 12-string sound and attack.
I ended up playing on an additional few songs and adding backing vocals to a few more. I also was asked my opinion on the mixes. Of course, by day three of sneaking in all this work (approximately 17 hours), I was pretty spent ... but happy. Saying no in this situation wasn't going to happen. I knew there were other guitarists available. Competition.
In this Monster Lick, I'm incorporating the diminished 7th scale in the key of E minor. Don’t be fooled by the way I'm playing this lick. I'm targeting a heavy sound and style, but you can just as easily use this combination for blues or jazz. You should be able to hear these qualities in the lick when you watch the slow demonstration in the video below.
When learning how to play jazz guitar, many of us know we need to learn scales, arpeggios and chords, but we are sometimes stuck when looking for jazz tunes to learn that are appropriate for our level of development. In this lesson, you will check out five introductory jazz tunes, each focusing on specific concepts that will help you develop strong jazz-guitar fundamentals while expanding your repertoire.