These videos and audio files are bonus content related to the December 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.
Stevie Ray Vaughan’s distinctive playing style is earmarked by equal parts pure power, intensity of focus, razor-sharp precision and deeply emotional conviction. And then there’s his tone—probably the best Stratocaster-derived sound ever evoked from the instrument.
These videos and audio files are bonus content related to the November 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.
These videos and audio files are bonus content related to the October 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.
One of the most commonly addressed topics with my students is how one goes about connecting scale positions while playing an improvised solo. Many guitarists learn licks that are played on certain strings in specific areas of the fretboard.
In this lesson, I’ll demonstrate how to use chromatic passing tones to connect scale positions up and down the fretboard and how to introduce some unusual and unexpected melodic twists and turns.
Often when jamming, guitarists are required to play rhythm accompaniment for long stretches of time over repeating chord progressions or vamps. This can be tedious and monotonous for the player (as well as the listener), but it doesn’t have to be.
Students have often asked how I go about building creative, interesting rhythm parts when playing over a repeating one- or two-chord vamp.
As touring guitarist for Great Southern, the group formed by Allman Brothers Band founding guitarist Dickey Betts, I’m required to lay down musical rhythm parts behind extended solos on songs like “Blue Sky” and “In Memory of Elizabeth Reed,” and it’s a challenge to craft supportive rhythm parts that will both enhance the power of the soloing instrument while also locking in with the rhythm section to drive the groove along.
This month I’d like to address this worthwhile topic.
Born from the boogie-woogie sounds of jazz piano in the very early 20th century, the swinging shuffle groove is built from an insistent and repetitive forward-leaning rhythm that is generally written in 12/8 meter—wherein four consecutive beats are each subdivided into three evenly spaced eighth notes—and comprises a repeating quarter-note/eighth-note rhythm that sounds like “da—da, da—da, da—da, da—da.”
Delta blues giant Robert Johnson is one of the most fascinating and mysterious performers in music history. He created an essential body of blues guitar music, recording 29 songs in 1936 and 1937 that would exert a powerful influence on the likes of Eric Clapton, Jimi Hendrix, Keith Richards, Johnny Winter and many others.
Over the past two columns, we covered many of the common chord forms and licks used when playing slide guitar in open G tuning (low to high, D G D G B D).
If you have gone through all of the examples illustrated in these past two In Deep columns, you should have a strong grasp of how the licks in an open G tuning “fall” on the fretboard. Now we will transpose those licks to open D tuning.