Guitarists who improvise in any style-rock, blues, country, bluegrass, jazz, metal-have to have an arsenal of hot licks to draw upon. Little tricks which, played at just the right moment, can elevate the music to another level and blast an audience right out of their seats. All of my favorite players have their own signature licks that kill me every time I hear them. This is what inspired me to take up the guitar in the first place.
Guitar World asked Smithereens guitarist Jim Babjak to dissect 11 key songs from the band's catalog. He discusses the guitars and amps he and Pat DiNizio used on "Blood and Roses," "Behind the Wall of Sleep" and "A Girl Like You" straight through to their recent single, 2011's "Sorry." His descriptions also put the songs in context, providing an insider's view into what many feel is New Jersey's greatest rock band.
In this lesson, we will go over two unique voicings of tapped arpeggios that, once mastered, will open other creative doorways for you to expand upon this approach and apply it to other avenues of your playing. These arpeggios are demonstrated here in groupings of four. Like most of my licks that require unassisted hammer-ons, a string dampener would be recommended here.
Who’s the “Most Interesting Man in the World”? Is it really the Dos Equis beer guy? Naahhh! It could be guitar builder Boaz Elkayam! The highly respected luthier and musician travels the world, sometimes by motorcycle, building stringed instruments to support traveling the world for the purpose of meeting other luthiers and discovering more methods, materials and building techniques, in spite of language barriers and other cultural differences.
Lzzy Hale signed up for the rock and roll lifestyle at age 13. Now fronting and getting loud on guitar with Halestorm, Hale is just about as rockin’ as they come. With a new album at the top of the charts, the band is in full on touring mode, and it don’t get better than this.
It often seems there are limited voicings for the iim7b5 chord that consistently appears in minor keys, and too many options for the V7alt chord that follows the iim7b5 in a ii V I minor progression. In today’s lesson, we’re going to look at three different licks, with each using different ways of playing the iim7b5 chord as well as specific ways to connect those voicings to the tonic chord through the V7alt chord in various alterations.
Using open strings is a great way to add texture and atmosphere to any chord progression. By adding open strings to even the simplest chords, you can create voicings that sound sophisticated, but are really easy (and fun) to play. They're practical, not intimidating, and most certainly don't sound like "jazz chords."
In this Sick Lick, I'm using the E Pentatonic Blues Scale (Pentatonic Flat 5). Whenever I'm soloing, this is the scale I naturally gravitate toward because I love its aggressive sound and power! For me, Stevie Ray Vaughan used this scale better than anyone, and he was my inspiration to explore the possibilities with this scale and sound.
Yo! Last week I was talking about the fleeting moments of being a new artist and about how crucial a time in your career that may be. I was reflecting on those times after I wrote the post. Man, my head was completely up my ass when it came to playing the game. I thought y'all might enjoy a classic music business slip up I made then out of the goodness and purity of my muse.
Hi, gang! Been busy these past few weeks. One session after another. This week I'd thought you'd like to hear about what I've been doing because it may help answer a question I often get asked. The question is: How much theory do I really need to know to be a session player?