As a musician, Paul McCartney is probably best known for his creative, melodic Beatles and Wings bass lines, but he's always been a guitarist at heart. The guitar was, after all, his first instrument (if you ignore the trumpet his father gave him for his 14th birthday), and it's always been his main songwriting tool. Here are McCartney's top five electric guitar solos as a Beatle.
Just a few days ago, I spent a week with 42 metalheads aged 10 to 19 at a destination Metal Camp at Camp Lakota in Wurtsboro, New York. It was a fantastic, positive experience on several levels, fueled by young energy, enthusiasm and "go get ‘em" attitude from the young rockers. Many of them wanted to make metal music their life. While I was there, I started to collect my thoughts the definitiuon of "success," and what it could mean to them as metal musicians.
I find that the Speaker Cranker is an essential stompbox if you use a single-ended amplifier, such as the Marshall JCM 800, or a two-channel amp with a rhythm and lead channel to deliver much-needed gain for harmonics and solos. The pedal does color your sound, but in a good way, slightly darkening the tone to take out any high-end harshness.
With this post, I’d like to discuss a somewhat disturbing condition I’ve observed over the years, one that seems to afflict a lot of my songwriting compadres. Believe it or not, sadly I’ve noticed … (He whispers) …many don’t actually listen to all that much music.
So your band is looking to take it to the next level. Or perhaps someone has offered to pay your way out of the home studio scene and into a big studio you've only seen pictures of. This week I want to discuss the pitfalls I have witnessed and how to avoid them. I swear I could make a living saving bands money -- if they would only listen. You don't have to trust me, but read on. I may just be saving you not only thousands of dollars but your actual career.
This edition of Exposed is a little different than those I’ve done in the past. Why? Because it has a theme. You might know I'm producing an event at the end of August called the Women’s Music Summit. In the throes of creating this event, I’ve come across a slew of talented guitarists. Some I’ll have the pleasure of meeting at the Summit; others have just crossed my path while I’m knee deep in the event’s production.
When we first recorded our demo and pushed it out online, we primarily posted our music on forums and sites that we were regulars on and/or familiar with. You want to be sure that you are taken seriously; spamming sites/people with your music is never a productive way of getting it out there.
When learning how to play jazz guitar, we can often get bogged down with learning scales and arpeggios and find ourselves not spending time learning the vocabulary that makes up the traditional and modern jazz language. One of the best ways to build your jazz vocabulary, and your scale knowledge, is to work on both at the same time.
The first time I came across this style of picking was in an article by guitarist Shawn Lane. I was totally blown away by his use of the traditional sweep picking while combining the use of his right-hand fingers to pick notes within the arpeggios. This technique works particularly well with major/minor scales or modal playing, as it is very easy to create three-string shapes that flow very nicely and closely together.