When Bob Marley brought the Jamaican sounds of reggae to the U.S. in the early Seventies, he created a musical revolution. His first two Island Records releases, Catch a Fire and Burnin’ (both issued in 1973), included the hits “Stir it Up,” “Get Up, Stand Up” and the mega-smash “I Shot the Sheriff,” which when covered in 1974 by Eric Clapton helped catapult Marley to international acclaim.
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Sooner or later, guitarists in every genre of music begin to wonder about the modes: what they are, how best to learn them and how to use them effectively when improvising. In this edition of In Deep, we’ll take a look at the theoretical basis for the modes and cover a few useful ways to apply a modal approach to soloing over commonly used chord vamps.
Nearly half a century has passed since the Allman Brothers Band released their ground-breaking eponymous debut album on Capricorn Records, in 1969. Combining elements of blues, rock, jazz and country, the Brothers forged a unique sound that emphasized virtuoso guitar playing, powerfully emotive vocals, and deft, inspired group interplay and improvisation.
In How to Play Guitar Weirdness DVD, Guitar World editor and instructor Andy Aledort shows how to play outside the box using chromaticism, pentatonic superimpositions, symmetrical diminished scales and more!
With the growing popularity of rock music in the mid-to-late Sixties, a great many young up-and-coming musicians were inspired — and encouraged — to push the limits of the musical form beyond anything that had come before.
Freddie King is among the triumvirate of the greatest and most influential electric blues guitarists ever, revered with equal respect alongside the legendary blues gods B.B King and Albert King. Together, they are often referred to as "The Three Kigns" — all complete masters of their craft and essential subjects of study for any inspiring blues guitar enthusiast.
Like Jimi Hendrix, Eric Clapton, Jimmy Page and Jeff Beck, legendary rock guitarist Carlos Santana is one of the most significant players to emerge from the Sixties music scene. By fusing elements of electric blues, rock, jazz and Latin, he created a signature sound that is instantly recognizable and inspirational to guitarists across the spectrum of musical genres.
In last month’s column, I demonstrated a variety of ways to transform standard A minor pentatonic-based licks into modal runs and patterns using the A Aeolian mode (a.k.a. the A natural minor scale: A B C D E F G). This month, I will expand on the concept by applying a slight rhythmic variation to a standard A minor pentatonic pattern, again transforming it to A natural minor, and then examine these newly realized melodic shapes in different areas of the fretboard. We will then transpose the new melodic ideas to another very commonly used mode: A Dorian (A B C D E Fs G).