In photography, the term depth of field is often used to describe what object retains the focus and what is blurred out. In a long depth of field, everything is sharp and ready for examination while in short dept of field you will see the sharpness emphasizing the main subject, while the remainder of the picture is blurred out.
In this Sick Lick, I'm using the A Minor Pentatonic Scale. The lick is played high on the neck, which makes some of the transitions very difficult, but the results are worth it. We start this lick with a five-string arpeggio, then slide up to the 22nd fret and start moving back down the neck. You'll notice most of the really fast sections are created with three- and five-string arpeggios.
Anyone who’s ever made an effort to learn some music theory knows that one of the biggest turn-offs is the sound of the major scale harmonized in triads (three-note chords). But before you dismiss the intellectual approach to learning music as being hopelessly tedious and uninspiring, realize that it doesn’t have to be that way.
In this post, I thought I’d touch on the subject of performance rights organizations (PROs), what they do and why they’re important to us as songwriters. (I realize this topic might be a bit old hat for the seasoned songwriters among, us but stick around, fogies; there’s something for you at post’s end.)
One of the first progressions many guitarists tackle when learning to improvise in the jazz idiom is the ii-V-I. This common three-chord progression can be found in countless jazz tunes, and improvising over these chords in a convincing fashion is a must-know skill for any budding jazz guitarist to have under their fingers.
Some of you may know I am co-producing a groundbreaking event at the end of the summer from August 27 to 31, 2012: The Women’s Music Summit. What?! Women need their own summit? I know some of you are thinking that, and as you may guess my answer is YES. And here’s why.
I did it. I played electric guitar live with the band for the first time. And by golly, it wasn’t as terrifying as I thought it would be. In fact, it was really fun! Honestly, even though I’ve played acoustic guitar for many years, most of the time when I perform live, my duties consist of singing only. No playing. Why? I dunno.
I woke up this morning in the parking lot of a resort hotel in Orlando, Florida. I grabbed my guitar and room key and headed through the lobby to find the elevator bank. There's a talking red parrot being heckled by chubby kids in shorts and swim goggles. I can’t quite hear the parrot’s retort.
This week's blog marks my first post about song structure, a recurring topic going forward here on Songcraft. These pieces will attempt to demystify song construction by dismantling popular tunes in various styles, taking a peak under the hood, so to speak, to see what makes them tick.
Guitarist Walter Trout has a resume that reads like a who’s who of rock and blues legends. From his days in Canned Heat, John Mayall & The Bluesbreakers to playing lead for John Lee Hooker, Big Mama Thornton and Bo Diddley Walter paid his dues and then some. I spoke with Walter to hear all about his new CD Blues For The Modern Daze, which was released April 24 via Mascot Music Productions.