The following content is related to the September 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.
For most of the past five decades, British guitarist Eric Clapton has been at the forefront of blues/rock guitar playing. Though he has incorporated many different stylistic elements into his music during his long and very successful career, Clapton’s legacy was forged long ago on his brilliance as a virtuoso soloist, and he will long be remembered as one of the most important and influential guitarists ever.
In this series of videos, Guitar World's Andy Aledort explores the classic Jimi Hendrix track "Freedom," as heard on The Cry of Love. After discussing Hendrix's tuning, Andy jumps into the intro, the verses and the solos.
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.
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.
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).