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Blues Power: An In-Depth Guide to the Amps and Effect Pedals in Stevie Ray Vaughan’s Arsenal

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Lessons

Kirk Hammett: How to Play Like Stevie Ray Vaughan

Posted 02/01/2013 at 2:06pm | by Kirk Hammett

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It’s definitely true that Stevie Ray Vaughan is one of my all-time favorite guitarists. Ironically, I was never really into Stevie while he was alive. Then, shortly after he died, I got hold of a video of him playing a live show and was just totally blown away by his timing, his tone, his feel, his vibrato, his phrasing — everything. Some people are just born to play guitar, and Stevie was definitely one of them.

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In Deep: Broaden Your Soloing Horizons by Improvising on Only One, Two or Three Strings

Posted 02/01/2013 at 9:03am | by Andy Aledort

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The following content is related to the March 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.

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String Theory: How to Compose and Improvise Melodies Over a Chord Progression, Part 2

Posted 01/31/2013 at 12:32pm | by Jimmy Brown

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The following content is related to the March 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.

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In Deep: Getting to Know the Eight-Bar Blues Progression

Posted 01/30/2013 at 8:57am | by Andy Aledort

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The blues is a style of music that guitar players have explored extensively for more than a century, and will no doubt continue to explore, expand on and creatively reinvent forever. Though standard blues forms may seem simple, the greatest musicians in virtually every genre have been known to dedicate a great portion of their musical study on a further and deeper understanding of the blues in its many different incarnations. In this edition of In Deep, we’ll focus specifically on the eight-bar, as opposed to the more commonly used 12-bar, blues form.

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In Deep: Dickey Betts

Posted 01/28/2013 at 8:03am | by Andy Aledort

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Forrest Richard “Dickey” Betts, founding member of the legendary Allman Brothers Band, successful solo artist and leader of his own ensemble, Great Southern, possesses one of the most distinct and influential guitar styles in the history of rock. Combining elements of blues, rock, jazz, country, folk, bluegrass and world music, Dickey Betts forged his signature sound while laying the groundwork—along with Grateful Dead guitarist/leader Jerry Garcia—for the unique, progressive and forever mysterious genre known as “jam band” music. In this edition of In Deep, we’ll take a look at a few of the scales Dickey relies on most when weaving his classic solos and melodic patterns.

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Metal For Life: How to Build Power Chord Variations for Maximum Sonic Effect, Part 1

Posted 01/25/2013 at 1:56pm | by Metal Mike Chlasciak

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My students often ask me how they can break away from typical root-fifth power-chord rhythm figures. My solution is to devise a variety of different two-note chord shapes—built from pairs of notes, like root-fifth power chords—that sound great when applied to metal, even though these chord shapes can be used in virtually every style of guitar-based music.

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Guitar Strength: A Guide to Shape-Shifting, Part 2

Posted 01/25/2013 at 1:55pm | by Scott Marano

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In the last installment of Guitar Strength, I showed you how to take a simple two-string fretboard shape and move it across three octaves in order to create long, fluid lines that traverse a wide range. This time, I’ll show you how to take the technique to the next level by combining “neighboring” shapes.

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Talkin' Blues: Using Tremolo Picking to Pump Up a Simple Melody

Posted 01/25/2013 at 9:45am | by Keith Wyatt

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Tremolo is the technique of sustaining (actually rearticulating) a note with fast, controlled alternate picking (not to be confused with amp tremolo, which varies the volume). Tremolo originated as a way to maintain notes on acoustic stringed instruments beyond their natural decay time to emulate the long, sustaining notes of the human voice or a wind instrument. While the electric guitar offers other options for sustaining a note, tremolo picking a simple melody gives it a kinetic quality that can transform it into something energetic and memorable and create a virtual “wall of sound.”

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Sick Licks: Shredding-Good Fun With the Diminished 7th Scale

Posted 01/23/2013 at 5:29am | by Glenn Proudfoot

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Comment

The diminished 7th scale is a great way to maneuver around the the guitar, especially when you adapt three string arpeggios. The shapes you can create have a fantastic flow and make it easy to move up and down the neck freely.

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Jazz Guitar Corner: Expand Your Melodic Colors with 9th Arpeggios

Posted 01/22/2013 at 6:17pm | by Matt Warnock

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Many of us know it is important to use arpeggios to outline chords in our licks, phrases, melody lines and solos. While we know learning arpeggios is important, we can become bored with our playing if we stick to using root-position, R-3-5-7 arpeggios to build our licks and melodies.

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