I have tried just about everything as far as how to handle traveling with a guitar, and I think I have it down pretty well. I thought I might share my findings with those of you who might be wondering what the best way is for getting your axe from one place to another. Here goes...
My recent column, "Has Heavy Metal Become a Joke?," provoked some very interesting responses — positive and negative. I was surprised by the amount of comments the article received, many of which were very in-depth critiques of my column. This is surprising because it took me only 15 minutes to write — and I was simply thinking out loud, trying convey my opinions in the clearest possible way.
When recording With The Beatles, producer George Martin frequently bounced tracks from one two-track tape recorder to another in order to add additional overdubs. The technique became less necessary when Abbey Road began making four-track recorders available to The Beatles around the time of A Hard Day's Night.
In my previous column, we explored how you could visualize four seemingly separate scales as one unified concept. To illustrate this point, I used the major scale to produce the major pentatonic, the natural minor and the minor pentatonic scales. How did I do this? Well, it's all a matter of perspective. Simply by changing the tonal center of the given scale, our ears perceive dramatically different flavors and musical moods.
Even with this cable being more secure than Fort Knox, it is incredibly flexible compared to my other cables I have around. The F15 plugs gripped everything I plugged them into firmly. The ends screw off for easy maintenance by chance you ever need it. The cables do come with a limited one-year warranty. Another nice touch is the included Velcro cable tie.
What makes this a little more difficult than usual are the stretches. They require a lot of practice and getting used to. The techniques in this lick are nothing unusual (apart from the over-the-top section) but the techniques, in conjunction with the stretches, become very difficult. So like anything else, be patient and work on it slowly.
As a session guy, I never really know what to expect. I have to be prepared to play as many styles as possible. And this week I will definitely have to call upon my experience to make this happen! Here are my thoughts on gear and how to tackle this week in heaven or hell! We'll have to wait and see how it turns out!
For many guitarists, the pentatonic scale is the first thing you will learn when developing your lead guitar playing. It's incredibly simple and easy to remember. As musicians develop further, they try to move away from playing pentatonics when soloing by adding notes from outside of the scale to break out of the regular shapes or by playing different scales altogether.
Nathanson, a veteran of folk-laced rock, sings a path to my heart with this latest amalgam of longing mixed with bouncy fun. His many references to San Francisco also hit close to my part of the globe and bring the album a fresh, sincere vibe. Last of the Great Pretenders is a window into what it’s like to be inside of Nathanson’s head.
Today, we will continue to work with a scale we covered in my June 2013 column. We will explore that same scale, the Phrygian dominant, in a two-note-per-string sequence. We'll also add a sitar-style bending phrase. The notes of the scale are as follows: E – F - G# - A – B – C – D – E