"Twist it! Pull it!" OK, this review has nothing to do with the late-'90s handheld game Bop It, but the Push me Pull me overdrive pedal by Custom 77 is just as addicting. The French-designed pedal is like having three different overdrive sounds at your disposal in one box. Without any cheat or CAPTCHA codes to enter, the Push me Pull Me couldn’t be any easier to use.
I tend to base the runs around the pentatonic shapes or boxes, so even if I'm not using the pentatonic, I'm constantly thinking what box of the pentatonic I'm passing through (or in) when playing runs. This enables me to switch in and out of different scales very freely. You can apply this thinking to any scale, not just the pentatonic.
One of my favorite things to do is take a classically flavored chord progression, like the one shown in FIGURE 1, and use it in a rock guitar context. This particular progression is based for the most part on what is known as the cycle of fourths, in that the root note of each of the first five chords is the interval of a fourth above the previous root note.
A record deal is the holy grail for any up-and-coming band. The truth is, the industry has changed so much in the last five years; very few bands are actually ready or suitable for a record deal. I have come up with three questions bands need to answer to see if they're ready to start approaching record labels.
“I forget who makes those orange-colored amps,” said no one ever. The iconic Orange Amplification has been building amps since the late '60s. They recently expanded into the cable market, and their website lists speaker, instrument and XLR cables. I recently checked out the speaker and instrument cables.
I’d like to focus on an approach to chord playing inspired by Johann Sebastian Bach’s chorales. The chorale originated as a vocal hymn of the Lutheran church, often constructed in four-part harmony wherein the top voice is the melody. Bach composed many chorales of incredible beauty; the way he harmonized for four voices was impeccable, and his chorales served as the textbook for studying Western harmony for over 100 years.
Everyone loves a good concert. You know, those rare times the artists on stage are having as much fun as people out in the crowd, and it changes from an event to an experience. It's something Facebook photos don't get close to describing. Concerts are the ultimate music-appreciation service, but as music is evolving so that even your grandma can effortlessly get her Bieber fix from iTunes, sometimes concerts seem a little less inviting.
The first time I heard Jessie Murphy and We Are The Woods, I thought maybe they were a bit too sweet and pretty for Guitar World. But on further inspection, Murphy has proved me wrong. She can enrapture and wail! Part rocker, part quirkster, part folky, part songstress. Murphy’s parts make a very delightful whole.
One of the most common alterations you will come across as a beginning and intermediate jazz guitarist is the 7#11 chord. Built by taking a normal dominant 7 chord, R 3 5 b7, and lowering the 5th by a 1/2 step, R 3 #11(b5) b7, these chord symbols come up time and again in big band charts and standard tunes.
It’s been five years since we last visited the US. It was one of the most memorable tours we have ever done, both in a bad and good way. We shared a van with our Finnish comrades, Swallow the Sun, and drove from coast to coast.