The most fundamental challenge in fast picking is also the easiest to spot from halfway across the room: the motion mechanic. To play notes with a pick, we need a way of moving it back and forth in the classic alternating down-up picking sequence. Historically, this movement, or motion mechanic, has been the most visible and most commonly discussed component of picking technique.
Dennis told me he had a guitar pedal that would rock the world, and he had been trying for 20 years to get it on the market. I played it…and it’s amazing. I must have spent two hours experimenting with it. Warbles, fuzzes, bleeps and strange Ed Wood sounds came out. It was like nothing I've ever heard. This thing puts the mythical Ludwig Phase II Synthesizer guitar effect to shame.
We all have a story about "the one that got away." What can we do about it? Rob from Fool Audio Research did something about it. He built the Ignatz, which is based on a no-name set-neck Strat-style guitar he missed out on. There's clear evidence this guitar was built by an actual guitar player and not a team of "experts."
One of the most common questions I get from students and readers alike is, “I've learned tons of jazz chords, but how do I make them sound like music?” Alongside your study of chord voicings on their own, one of the best ways to learn how to apply those chords to your comping and chord soloing is to learn sample chord studies based on the changes to popular jazz tunes.
Before you click away to the next Slipknot article, consider this: Playing for kids might not be your first choice of a career, but being on stage with a guitar in your hand is a helluva lot better than scooping French fries or sitting in a cubicle. We play music because we love music. Why not get paid to play, even if it’s a non-traditional audience?
Hey! Satchel here, with part two of our look at the Steel Panther classic, “Gang Bang at the Old Folk’s Home,” from our latest release, All You Can Eat. It never gets old, does it? I mean, it does get old, no pun intended, but no matter how old it gets, it’s still fun—that’s what I’m trying to say! This month we are going to examine the bitchin’ bridge and solo sections of this bitchin’ song.
Players often only play exercises to improve technique, but it's important to vary your exercises to focus on other important parts of guitar playing. Although this exercise is based on arpeggios, it really is meant to help you visualize scales differently from the standard "three note per string" shapes.
For those who might not be familiar with intervals, we’ll start by reviewing the core concept. The term sounds kind of advanced, but an “interval” simply refers to the distance between two notes, while a harmonic interval is when you play two notes at the same time.
In this lesson, Drover teaches a "mysterious" harmonic minor walk down in the key of E. This lick can be played by using alternate picking, or alternatively as a blazing-fast legato run. Check out the lesson video below — complete with video!
For these licks, I employ fretboard tapping in conjunction with string skipping to achieve a very smooth and even sound throughout. I know many guitarists prefer to use sweep picking when playing arpeggios, but to me, the sound of dragging the pick up and down across the strings is a little too abrasive and percussive.