Lessons

All That Jazz: Hitting the Pocket — The Importance of Dynamics and Grooving When Soloing

Mike Stern — Thu, 23 May 2013 16:31:08 +0000

The following content is related to the July 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.

Two of the most important and effective elements in creating expressive improvisations are the incorporation of dynamics and groove. Dynamics—the use of variations in volume and articulation that can span from quiet, delicate and gentle to loud, forceful and aggressive—and groove—the way in which a player chooses to place the notes against the backbeat—are both key aspects of musicality that come into play.

Awareness of one’s rhythmic pacing, or time, and the way in which it connects with a rhythm section is among the most important aspects of ensemble playing. It’s very beneficial to record yourself both when practicing and when playing with other musicians. When you listen back, you’ll be able to listen more objectively and hear if you’re playing in the pocket or if you’re rushing or slowing down, and this will serve to heighten your awareness to your groove overall.

PART ONE

PART TWO

Metal For Life: Modal Citizen — Examining Five Essential Minor Mode Scale Patterns

Metal Mike Chlasciak — Wed, 22 May 2013 10:30:44 +0000

The following content is related to the July 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.

This month, we will continue our modal study by focusing on two essential minor modes, Dorian and Aeolian. Both of these modes can be looked at as “extensions” of the scale that is used most prominently for soloing in metal, minor pentatonic. A scale well familiar to most rock, blues and metal players, minor pentatonic is a five-note scale, spelled 1 f3 4 5 f7, in terms of its interval structure.

Both the Dorian and Aeolian modes are seven-note scales, and in each case two scale degrees are added to minor pentatonic. Dorian adds the major second (2) and major sixth (6) degrees, resulting in an intervallic structure of 1 2 f3 4 5 6 f7. Aeolian adds the major second and minor, or “flat,” sixth (f6) scale degrees and is spelled 1 2 f3 4 5 f6 f7.

Let’s focus on the Dorian mode first, using the key of G minor. In FIGURES 1–5, I progress through five fretboard positions of G Dorian (G A B f C D E F), first hitting a G5 power chord in order to strengthen our connection to the key of G.

Prog-Gnosis: Roller-Coaster Ride — Seven-String Arpeggios

Tosin Abasi — Tue, 21 May 2013 17:13:19 +0000

The following content is related to the June 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.

To me, one of the most valuable study practices has been the exploration of arpeggios (also known as “broken chords,” wherein each note of a chord is played individually and in succession) played across all the strings. Like most guitarists, I began on six-string and soon graduated to seven- and then eight-string guitar. This month, I’d like to demonstrate some cool ways to perform a variety of arpeggios on the seven-string guitar.

An approach that has worked well for me is to devise a specific arpeggio fingering pattern diagonally across the strings, spanning over two octaves, for which I can then alter one or two notes in each octave to morph from one chord quality to another, for example, from minor seven to dominant seven or major seven. This way, the fingerings are visually and physically similar and thus easier to memorize.

Shred Zeppelin: How to Play Like Jimmy Page

Jimmy Brown — Tue, 21 May 2013 15:11:28 +0000

That his solos in such Led Zeppelin classics as "Good Times, Bad Times," "Heartbreaker," "Rock And Roll" and "Stairway To Heaven" are so firmly etched in two generations of guitarists' memories is testimony to his compositional and improvisational genius.

[[ Be sure to check out the "How to Play the Best of Led Zeppelin" DVD, available now at the Guitar World Online Store. ]]

In this lesson, we'll examine the main technical elements and improvisational approaches that characterize Page's soloing style, and we'll look at some of his signature licks.

The Smear Box

Jimmy relies heavily on the minor pentatonic "box" pattern illustrated in FIGURE 1 for many of his licks, using mostly the top three or four strings. When he does go down to the bottom string, he'll shift positions with his middle or ring finger on the 5th string, as indicated here.

FIGURE 2 shows this fretboard pattern in the key of E with the root note E falling on the top and bottom strings at the 12th fret. Using this visual pattern as a template, Jimmy will often begin a phrase by playing the Chuck Berry-influenced "smear" motif shown in FIGURE 3 in the key of E.

This lick begins with a whole-step bend on the G string from the fourth up to the fifth (A to B). The bend is executed with either the ring or middle finger while the index-finger barres the root-fifth doublestop on the top two strings.

Page utilizes this smear motif as a springboard to dive into blazing E minor pentatonic speed licks like those shown in FIGURES 4-6. As you play through these figures, notice the use of pull-offs on the top three strings, as well as whole-step bends, such as from the minor third up to the fourth (G to A) on the 1st string at the 15th fret. You can hear Jimmy playing licks along these lines in his solos in "Good Times, Bad Times" (1:30), "Dazed and Confused" (3:52), "The Lemon Song" (1:51) and "Communication Breakdown."

Jimmy also uses these same types of repeating smear/pull-off licks in different keys. For example, in his outro solo to "Black Dog" (4:12), he plays a lick similar to the one shown in FIGURE 6, but in the key of A using the 5th-position A minor pentatonic (A C D E G) box pattern illustrated in FIGURE 7. In his first two lead phrases in "Moby Dick" (:36 and :41), he uses this same fretboard shape in the 10th position (see Figure 8) to play scorching blues licks in D minor pentatonic.

Page utilizes this same fretboard shape to play major pentatonic licks as well. He does this by simply moving the minor pentatonic box pattern shown in FIGURE 1 down three frets, transforming it into a major pentatonic box pattern in the same key, as illustrated in FIGURE 9.

If you compare the E minor and E major pentatonic box patterns depicted in FIGURES 2 and 10, you'll notice that the fingering patterns are identical, but that the notes assume different harmonic functions. This simple three-fret transposition enables Jimmy to transform minor pentatonic licks into major pentatonic licks (and vice versa) in the same key using the same fretboard shapes and fingering patterns.

Jimmy applies this transposition principle brilliantly in his "Communication Breakdown" solo. After playing several measures of rather dark sounding E minor pentatonic blues licks in the 12th position, he suddenly creates a lighter shade of blue by playing E major pentatonic licks using the exact same fretboard pattern in the 9th position.

Page uses this same major pentatonic box pattern illustrated in FIGURE 9 to play bright-sounding country-style licks, most notably in "The Song Remains the Same" (in D, 7th position, at :58, and in A, 2nd position, at 4:19), "Celebration Day" (in C, 17th position, at 1:46, and 5th position at 1:53) and "Houses of the Holy" (in A, 2nd position, at 1:11).

FIGURE 11 is a signature Jimmy Page "wall of notes" triplet run played in the 12th-position E minor pentatonic box pattern illustrated in FIGURE 2. You can hear him playing similarly blistering runs, both ascending and descending, in "Good Times, Bad Times" (at 1:30, 2:02 and 2:33) using this same fretboard pattern. In "I Can't Quit You Baby" (2:29), he plays almost the same lick in A minor pentatonic using the box pattern depicted in FIGURE 7.

Though he's mostly revered for his huge-sounding, eternally cool riffs, inventive altered tunings, acoustic fingerpicking masterpieces and otherworldly, ambient soundscapes, Jimmy Page is also one of the most influential lead guitarists in rock. That his solos in such Led Zeppelin classics as "Good Times, Bad Times," "Heartbreaker," "Rock And Roll" and "Stairway To Heaven" are so firmly etched in two generations of guitarists' memories is testimony to his compositional and improvisational genius. In this lesson we'll examine the main technical elements and improvisational approaches that characterize Page's soloing style and look at some of his signature licks.

Sweet Bends

One of the things that makes Page such a great lead player is his tasteful, lyrical use of string bending (he prefers extra light gauge strings because they're easy to bend and shake). FIGURE 12 illustrates a minor pentatonic box pattern Jimmy uses to play soaring Albert King-style bends like those shown in the key of E in FIGURE 13. (Notice the inclusion of the major third in this shape. Jimmy will often teeter between the major third and fourth when playing in a major or dominant seventh tonality.)

As this example demonstrates, this compact little box shape lendsitself to performing a variety of soulful half-step and whole-step bends, such as from the fourth to the lowered fifth (A to Bb), from the minor third to the major third (G to G#), from the fourth to the fifth (A to B) and from the root to the second/ninth (E to F#). It's also great for playing screaming one-and-a-half-step and two-step "overbends," such as from the root to the minor third (E to G), from the root to the major third (E to G#) and from the fourth to the major sixth (A to C#). Jimmy uses this box pattern in the 15th position to play these types of bends in E in "Good Times, Bad Times" (1:43), and in A (8th position) in "I Can't Quit You Baby" (2:48).

Vibrato

One the most distinctive features of Jimmy's lead "voice" is his polished vibrato, especially his bend vibrato (vibrato applied to a bent note). His vibrato is fast, even and shimmering. A classic example of Page's impeccable bending and vibrato technique, as well as his phrasing genius, is his lead break beginning at 3:05 in "Whole Lotta Love." This excerpt is comprised of six succinct, punctuated phrases and each one reveals at least one signature Jimmy Page move. This solo is also a great example of how he uses notes from the E minor pentatonic scale (E G A B D), the E blues scale (E G A Bb B D) and the E major pentatonic scale (E F# G# B C#) in combination to create soulful, bittersweet melodies.

Jimmy plays phrases 1 and 3 in the trusty 12th-position E minor pentatonic box, which, as we've already seen, facilitates the rapid execution of pull-offs, hammer-ons and bends on the top three strings. He begins the first phrase with the whole-step smear bend on the G string, then plays a slick descending lick using the E blues scale. Notice the smooth double pull-off from Bb to A to G. He finishes the phrase with the same bend from A to B, which he then adorns with a haunting, wide vibrato. This bend vibrato is produced by partially releasing the whole-step bend and pushing it back up to the "target" pitch (B) in a quick, steady rhythm, as illustrated in FIGURE 14.

Phrase 2 demonstrates Page's judicious use of the "open-position" E minor pentatonic scale pattern. Notice how he takes full advantage of the open-string notes by playing a slick double pull-off (B to A to G) to the open G string, followed by a descending succession of fast single pull-offs to the open G and D strings.

Jimmy returns to the 12th-position E minor pentatonic box in phrase 3 and plays a smear lick on the top three strings, which he follows with a bend on the 2nd string at the 15th fret from the minor seventh (D) up to the root (E). Notice how he then plays the minor third (G) on the 1st string at the 15th fret, then quickly bends the D note up to E again and sweetens the bend with a robust vibrato, using the same partial-release-and-rebend technique detailed for the bend vibrato in phrase 1.

B.B.'s Box

Phrases 4-6 demonstrate Jimmy's tasteful use of a fretboard pattern many guitarists endearingly refer to as "B.B.'s box" (in honor of the legendary blues guitarist B.B. King, who relies on it for most of his signature licks). This pattern is based around the index finger on the root note on the 2nd string and facilitates the playing of major pentatonic, minor pentatonic and blues scale licks, all in the same position and key, with the index finger functioning as an "anchor" on the root note. FIGURE 15 illustrates this box pattern in E, with the root note located on the B string at the 17th fret. Jimmy begins phrase 4 on this note, then performs a gut-wrenching two-and-half-step overbend at the 20th fret on the same string, bending the G note all the way up to C (the lowered sixth) using both his ring and middle fingers to push the string (this technique is known as reinforced fingering). After releasing the bend he picks the E note again then plays the natural sixth (C#) below the root on the 3rd string at the 21st fret.

Jimmy begins phrase 5 on the root, E, at the 17th fret, then plays a screaming one-and-a-half-step overbend on the 1st string at the 20th fret, bending the fifth, B, up to the lowered seventh, D. Again he employs both his ring and middle fingers to push the string for added strength and control. After releasing this bend, he plays a descending lick using notes from the E blues scale. You can hear Jimmy playing a similarly wailing lick using this same box pattern (and an Echoplex) in his "You Shook Me" solo (4:18).

At the end of this solo, 3, Page contrasts the harmonically darker sound of the blues scale by playing a brighter sounding E major pentatonic lick in the same position. Notice how he bends the second/ninth, F#, up a whole step to the major third, G#, then overbends it an additional half step to the fourth, A, again using two fingers to push the string.

Unison Bends

Another signature move in Page's lead lexicon is the unison bend. This technique involves strumming two fretted notes that are a whole step apart on two adjacent strings (either the G and B, or B and E), thenquickly bending the lower note up a whole step to match the pitch of the higher note. This maneuver works best on the B and G strings, as the notes are comfortably fingered two frets apart with the index finger on the B string and the ring finger on the G string (the middle finger can help the ring finger bend the lower note up to pitch). Properly executed, this technique produces a natural chorusing effect and makes the doubled note cut through the roar of the rhythm section like a laser beam through fog. Page uses unison bends to emphasize notes during key melodic phrases and licks. You can hear him utilizing this technique on the G and B strings in "Dazed and Confused" (3:39), "Stairway to Heaven" (7:29) and "Communication Breakdown."

Open-string Licks

Some of Page's fattest sounding and most memorable licks are performed in the lower fretboard positions and involve the use of open strings. FIGURES 16 and 17 are twangy 1st- and 2nd-position licks that use single and double pull-offs to the open strings. You can hear Jimmy playing similar types of open-string licks in his solos in "The Song Remains the Same" (4:30) and "Moby Dick" (:46).

Behind-The-Nut

Another cool move Jimmy does is bend a string behind the nut by pressing down on it with his fingers. A classic example of this is the slinky, psychedelic lick he plays in his a capella solo in "Heartbreaker" (2:06). This lick is performed using double pull-offs to the open G string with the left hand as the right hand repeatedly bends the string behind the nut to raise the pitch of the C note (5th fret) a whopping two whole-steps. Jimmy uses a similar technique in his "Dazed and Confused" solo (4:04). In this case, he bends and shakes the open string behind the nut using his first two left-hand fingers as he repeatedly picks the stringwith his right hand. He uses the same technique during the song's intro (:14), where he sounds a G natural harmonic (N.H.) on the 3rd string at the 12th fret, then, as the harmonic is still ringing, bends its pitch up a whole-step to A by pressing the string downward behind the nut with his left hand.

Lateral Mobility

Jimmy will often shift from one position to another in the middle of a phrase to play long, smooth ascending runs like those shown in FIGURES 18 and 19, using finger slides to seamlessly connect the notes and transport his left hand up and down the fretboard. You can hear him playing similar types of ascending runs in "Moby Dick" (:52), "Black Dog" (3:36) and "Heartbreaker" (2:35 and 3:08).

"Since I've Been Loving You" is a fine example of the expressive use of "crammed" phrasing in a slow blues context (the "wall of notes" approach). Notice also how he effectively exploits the minor pentatonic box pattern introduced back in FIGURE 1, this time in the key of C minor, and uses the ninth (D) as a "color" tone.

This primer is but a glimpse into one aspect of Jimmy Pages' unique, multifaceted guitar style. The best way to truly understand and appreciate his diverse, inventive approach to melody is to study complete transcriptions of classic Led Zeppelin songs, many of which have appeared in these pages over the years. (Complete album folios are available from Warner Bros. Publications, Miami, Florida.) If you really want to emulate Jimmy, then do what he did early on and open your mind and ears to a healthy variety of guitar styles and musical genres.

Additional Content

Bent Out of Shape: Learning Paganini's 16th Caprice in G Minor, Part 2

Will Wallner — Mon, 20 May 2013 11:27:38 +0000

Last time, we started to learn Paganini's 16th Caprice in G Minor.

The first part took you to bar 14 of the piece. This week, we will continue with the second part.

After receiving a few questions from readers concerning Part 1, I wanted to quickly address an important issue. I forgot to tell you that in some circumstances, you might find it easier to arrange some of the notes differently than what the tab states in certain sections.

As long as you are playing the exact same notes, it is totally fine to rearrange the positions on the fret board in order make it easier for you to play. The tab is just a suggestion for where the notes should be played.

Now, let's look at the next part of the piece. Here is the 16th Caprice performed by me, in its entirety, at 100 bpm. Feel free to use it as a guide. Part 2 begins at 0:42 and ends at 1:18. I've also put markers on the file to help you navigate.

Starting at the first bar (bar 15), we have some linear sequences that are a nice break from the wide intervals and arpeggios from the previous part. At bar 18, there is a tricky jump from low E to high E, but it shouldn't be too tricky with some practice. After this section, we move back to an A# major arpeggio in bar 21 followed by some pedal point sequences in bar 22.

This motif is mimicked in the next two bars with a C diminished arpeggio followed by another pedal point sequence with some extremely wide intervals in bar 24. Use your pinky to play the D note on the high E string and your first finger to play the descending bass notes. This bar could be picked using a hybrid of the pick and fingers or entirely with the pick.

Bars 25 and 26 have an interesting chromatic pedal point motif, which requires you "skip strings" between the A and high E. The next three bars will challenge you with some wide stretches. They contain ascending arpeggio sequences played in two note groupings.

The tab suggests you should use legato hammer-ons for each group, but I prefer to pick each note. This section can be difficult due to the wide stretches and amount of notes/positions to remember for each bar. I use my first finger and pinky exclusively for these sequences. As I said in Part 1, begin very slow and master each section at a slow comfortable pace before increasing the tempo.

Following this section is a much-welcomed descending sequence at bar 30 using thirds over much smaller intervals. Then we finish Part 2 with some descending chromatic runs, which compared to previous sections, should be fairly easy to execute.

Next week, we will look at the final part of the piece with an ending review on how learning this piece will help improve your playing.

Will Wallner is a guitarist from England now living in Los Angeles. He recently signed a solo deal with Polish record label Metal Mind Productions for the release of his debut album, which features influential musicians from hard rock and heavy metal. He also is the lead guitarist for White Wizzard (Earache Records) and in 2012 toured Japan, America and Canada. Follow Will on Facebook and Twitter.

Monster Licks: Embrace Your Inner-Monster with the Pentatonic Scale!

Glenn Proudfoot — Fri, 17 May 2013 15:12:27 +0000

In the first installment of my new Monster Licks series, I'm going to take you through my extensive pentatonic lick library.

These licks are the product of many years of hard work, and I'm glad to be sharing them with you!

The straight (minor) pentatonic scale often gets overlooked when soloing. I find that most guitarists tend to head to the blues scale or other variations of the pentatonic because they find the straight scale a little limiting. The reality is that this scale is incredibly powerful and versatile. Tonally, it’s found in all kinds of music, anything from traditional Chinese music to blues, onto modern heavy/hard rock — literally everything.

I've found that part of the issue with this particular scale is the box form it is taught in. It is limiting for guitarists. This is why I approach it with a combination of three and two notes per string to open up the scale and fingerings, while also incorporating arpeggios and legato, etc.

My goal with this scale is to be able to utilize the modern techniques of players such as Steve Vai and Joe Satriani, but to keep the rock/blues tonality of the pentatonic scale. Shawn Lane was a major influence on my playing in this area; he was a player who knew no limits or boundaries.

The Monster Lick (I suggest breaking down the lick as written below)

01. This lick starts with a series of three-string arpeggios. I'm incorporating legato and some slides into these arpeggios to maintain a nice, even flow and make the transitions smooth. The stretches can be a little tricky to grasp at first; I suggest making sure your left thumb (for you right-handers) is placed right behind the neck in a more classical approach. This immediately creates more separation in your fingers and allows for greater stretches.

02. From here, I move into a long legato/tapping line, all on the high E string. This then leads into two six-string arpeggios, then back into another legato/tapping line. This section is a really great example of how to branch out of the box form of the pentatonic by combining two of the box forms. I suggest you really spend some time understanding this section and mastering it, because it will start to open up a lot of new possibilities for your playing and soloing.

03. This leads us into the section where I swing my hand over the top of the neck and play a six-string arpeggio. Now, this is pure guitar gymnastics. You should view this technique as a challenge only. It is NOT essential; it's there so you can blow the minds of your friends when you're sitting around jamming. Just have some fun with it! The keys to performing this are the notes from which I pivot my hand to swing it over the top. The first pivot point is the 10th fret on the high E; the next is the 12th fret of the low E. Make note of these. It's very clear in the video when played slow.

04. I finish this lick with a legato line starting on the high E and finishing on the low E. I find that legato works so great with the pentatonic scale. It can be a little challenging at times due to the wide intervals, but I'm sure you will agree it creates a very cool sound.

I hope you enjoy! Please join me on YouTube right here! Or just contact me at glennproudfoot.com.

Australia's Glenn Proudfoot has played and toured with major signed bands and artists in Europe and Australia, including progressive rockers Prazsky Vyber. Glenn released his first instrumental solo album, Lick Em, in 2010. It is available on iTunes and at glennproudfoot.com.

United Stringdom: Using Alternate and Economy Picking to Play Blazingly Fast Runs

Jacky Vincent — Tue, 14 May 2013 20:00:19 +0000

The following content is related to the June 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.

Two of my essential techniques for playing the fastest lead passages in my performances with Falling in Reverse are alternate picking and economy picking. As the names imply, alternate picking involves alternating between downstrokes and upstrokes, while economy picking entails reducing, or economizing, the amount of pick-hand motion used to perform single-note runs while picking every note.

This month, I’d like to show you some examples of both picking techniques and demonstrate how I integrate them to play a fast three-bar passage from my guitar solo in the song “Goodbye Graceful.”

A Clean Sweep: Mastering Sweep Arpeggios with John Petrucci

John Petrucci — Tue, 14 May 2013 15:58:30 +0000

Here's a classic column from the pages of Guitar World magazine.

I always get frustrated when I hear someone talking about sweep arpeggios.

Though there are plenty of licks and examples out there, no one has ever really broken down the mechanics of the technique. As a result, guitarists have had to figure them out by trial and error. This became all the more evident when I was teaching.

My students repeatedly made the same mistake: they'd hold a barre chord while articulating each note. To play sweep arpeggios correctly, you have to mute each note with the left hand immediately after picking it.

The best way to learn sweep picking is to first isolate the right- and left-hand techniques, master them separately and then coordinate them. Let's begin with the right hand. Basically, you have to let the pick "fall" from string to string as if you were strumming a chord. Don't try to separate the pick strokes!

This technique feels weird at first, but picture your right hand as a Slinky going down from step to step-just let it fall. When executing an upstroke sweep, drag the pick upwards over the strings. Keep your hand loose and relaxed, as if it were being lifted by a string tied around your wrist.

Now let's look at the left hand. In order to use the sweeping technique, you can only play one note per string. As I noted earlier, you need to mute each string with the left hand immediately after picking it to keep the notes from "bleeding" into each other and sounding like an ordinary strummed chord. FIGURE 1 is an atonal-sound sweep picking exercise that is designed to coordinate you left-hand muting and right-hand sweeping techniques. Practice it slowly at first, concentrating on keeping the notes separate and distinct. The try playing it faster.

Muting the strings with the left hand can be difficult whenever two or more consecutive notes are on the same fret, as when sweeping a familiar barre chord shape. The key to muting the strings properly and keeping the notes separate when barring is using what's know as the rolling technique. Rolling involves fully extending your barring finger so that it becomes slightly arched. This is absolutely essential in order to make the technique work. If your fingers don't seem to want to bend backwards, you can work on increasing your flexibility by fully extending all your knuckles and pressing your opposite fingertips together gently. When performing this limbering exercise, be careful not to press too hard, as you could overextend your joints and injure them.

Let's look at an example of the rolling technique, using a major triad shape on the D, G and B strings (Figure 2). In order to make the rolling technique work you'll need to fret the D string note with the tip of your finger, using the fleshy underside of the finger to fret the G- and B-string notes. To execute the first roll in Figure 2, pick the D string. Then, as you go to pick the G string, arch the first knuckle of your barring finger and roll the finger in the direction of the sweep, so that the tip of the finger mutes D string. As you pick the B string, continue rolling the finger to mute the G string. Done correctly, the notes will sound separate and distinct. When performing the descending (upstroke) sweeps in Figure 2, roll your barring finger in the opposite direction. Keep repeating the C and D triads in Figure 2 until you can sweep them quickly and cleanly. The rolling movement should be like that of a rocking chair. Practice rolling with all four fingers of your left hand.

Once you master Figure 2, try FIGURE 3, which will help you gain left-hand facility across the fingerboard while sweep picking. Make sure you follow the right-hand picking pattern indicated above the tablature. It's tricky, but well worth the effort!

As you coordinate the right-hand sweeping with the left-hand rolling and muting, you'll start to develop the speed and definition that makes sweep picking such an exciting technique. FIGURE 4 is a jazzy sounding lick that combine sweep picking, alternate picking, rolling and quick position shifting. The lick is just chromatically descending minor-sever arpeggios, but listen to how cool Ebm7 and Dbm7 sound over A7 altered and G7 altered, respectively.

This lick sounds great when played with the sweep technique. Work on coordinating both hands. Proceed slowly at first and concentrate on maintaining a steady flow of 16th notes. Though it'll feel awkward at first, you'll be truly amazed how you'll sound when it clicks.

Guitar Strength: A Guide to "Symmetrical" Shredding

Scott Marano — Tue, 14 May 2013 14:13:28 +0000

I remember someone telling me that George Lynch once said he heard B.B. King say something that instantly improved his guitar style.

It went something like this: “If you play a wrong note, play it again like you mean it and it’ll sound like the best note you played all night."

The dubious origins of this gem aside, I've always found this to be an almost religious concept to strive toward, where any note can work anywhere if it is done with purposeful conviction.

In a guitar-player-friendly form, an easy way to play a lot of these purposefully performed “wrong” notes with conviction is through the use of licks and phrases composed of symmetrical fingerings. The trick with these is that they use the same fingering and fretting on all six strings and don’t adhere to any pure scale continuity, so you need to fit them into a fretboard context that relates to the key or chord (and its associated fingerings) you’re playing in/over.

In the case of these examples, I’ll show you how these symmetrical shapes relate to E for the convenience of performing the necessary stretches and for their ease of use over E major or E minor harmonies. But there are keys-inside-the-key that you might also notice that can be used as well. Just try to find at least two strings of the six whose fingerings sync up in some way to the key you’re playing in, and you’re ready to rock this!

Symmetrical fingerings can work with any fretting or fingering pattern (Any 1-2-3, 1-2-4, -1-3-4 pattern will work). Most almost-the-same-as-the-scale fingerings sound only OK, so I’ll be basing most of the examples on arpeggio-related shapes, since they have a wide intervallic stretch on each individual string, while having much smaller jumps when moving from string to string.

This creates a lot of interesting and unexpected melodic movement related to the fingering contour, depending on how the fingering patterns are phrased.

Based on a 1-2-4 fingering E diminished arpeggio on the E string, Example 1A is a shape often used by Zakk Wylde, John 5 and the aforementioned George Lynch.

Example 1B uses the shape in a ridiculously simple way to execute a pattern moving in groups of nine across successive patterns of three notes on three strings (E-A-D, A-D-G, D-G-B, G-B-E, then back the other way E-B-G, B-G-D, G-D-A, D-A-E).

Stretch the pinky one fret further into an E minor arpeggio on the E strings (E,G,B) and you get the shape in Example 2A, which was used to great effect by Dimebag Darrell all over the Cowboys From Hell album as well as many other examples from throughout his career.

Example 2B uses “The Dime” in a Paul Gilbert-inspired, shred-friendly string skipping legato pattern that covers a vast intervallic range with a smooth, yet aggressive flow. Note the picking instructions and pay particular attention to the muted alternate-picked “turnaround and re-launch” in the latter half of the pattern on beat three of each bar. Be sure to try out this pattern within some of your favorite three-note-per-string scale fingerings!

Of course, no discussion of symmetrical fingerings would be complete without mentioning Edward Van Halen, whose ever-unique guitar style has always utilized this technique with extreme sophistication, taste and conviction.

While EVH has used many different forms and variations of these fingerings throughout the years, Example 3A depicts the E major (E, G#, B)-based shape made famous on songs like “Ice Cream Man” from Van Halen. Note the wider shift between the root note (E) and the 3rd (G#) of the arpeggio relative to the previous examples. Try both the 1-2-4 and 1-3-4 fingerings to see which allows you to most efficiently play through the shape.

On the topic of Eddie’s “Ice Cream Man” solo, Example 3B is inspired by spirit and feel of the original lick. This is a great legato stretch exercise that utilizes the EVH-approved “hammer-on-from-nowhere” (More on that technique can be found in my previous article HERE) on the transitions from higher to lower strings and has a unique and challenging truncation of the shape at the end of each phrase that adds a very cool intervallic and melodic curve ball to the overall flow of the line.

Going to the extreme in both the physical stretch and the intervallic leaps between the notes, Example 4A is based on an E augmented arpeggio (E, G#, C). I have affectionately named this one the “Shawn Lane” as he was known to use this shape often, and licks based around this pattern channel the spirit of the wide stretched, intervallically complex “outside” licks that flowed effortlessly from his fingers. This fingering (I highly recommend a 1-2-4) is not for the faint-of-heart, so be sure to warm up sufficiently before attempting it (Stop playing it IMMEDIATELY if you feel any sharp pain in your fingers or wrist!).

To have some fun with this shape, Example 4B uses a Zakk Wylde-inspired picking pattern that combines both economy picking and alternate picking. Also, to continue in the Shawn Lane-vein, the patterns are grouped in 7's, which lend horn-like flow to the lick.

To perform each pattern, start on the middle finger note on the low string with a downstroke, push through the index finger-fretted note on the adjacent string with another downstroke, and continue through the remaining notes with alternate picking (up-down-up on the 4-2-1 fingered notes on the same string, and down-up on the 2-1 fingered notes on the next higher string in the pattern). If the stretch is too much, try the pattern with any of the other symmetrical shapes depicted or with a comfortable fingering pattern of your own.

The remaining examples add in a right-hand tapping element to further expand the symmetrical shapes. Example 5A is a shape that would be right at home in George Lynch’s style, relating to the first four notes in E Phrygian Dominant (E,F,G#,A,B,C,D) and possessing a lot of chromatic movement, overlap and half-steps.

Example 5B begins with a “hammer-on from nowhere” that is then again used throughout the pattern, and you’ll find that in combination with the tapped notes that is makes it very easy to facilitate the string-skipped basis of the pattern. This one is very cool when you’re looking for something flashy and exotic! Be sure to finish off with a tapped artificial harmonic, fretting the 12th fret on the E and lightly tapping right above the 24th fret (or right where the 24th fret would be for those of us with 22 frets).

Finally, Example 6A and Example 6A continue in this Lynch-esque vein, adding a legato tap and slide into the mix and expanding the pattern even further. I’ve kept the left-hand stretch to a minimum, but you should obviously try your own variation with both the left-hand stretch pattern and the “tap-slide” spread.

In the case of these examples, the close-knit half-step relativity between the 12th and 13th frets and the 17th and 18th will create a lot of overlapping echo-type effects as you cross the pattern from string to string, especially due to the legato tap-slide-and return slide in Example 6B. Get the pattern down, experiment and have fun!

I’ve really only begun to scratch the surface here with what is possible through the use of symmetrical fingerings. The best part with these is that since you’re not necessarily restricted to a key, there are essentially no rules, so let ‘er rip and just be sure to play, as you should always, like you MEAN IT.

Happy shredding!

Scott Marano has dedicated his life to the study of the guitar, honing his chops at the Berklee College of Music under the tutelage of Jon Finn and Joe Stump and working as an accomplished guitarist, performer, songwriter and in-demand instructor. In 2007, Scott developed the Guitar Strength program to inspire and provide accelerated education to guitarists of all ages and in all styles through state-of-the-art private guitar lessons in his home state of Rhode Island and globally via Skype. Learn more at GuitarStrength.com.

Guitar Strength: The Ins and Outs of Supersonic Alternate Picking

Scott Marano — Fri, 10 May 2013 17:55:06 +0000

New students are always coming to me asking, “How do I improve my sloppy, inaccurate, clumsy and slow picking technique?”

More often than not, the first thing I notice about their playing is that they employ an unpolished technique that lacks the discipline of a steady, consistent and controlled use of strict alternate picking.

What I find with these students, especially those who were previously self-taught, is that their technique is a haphazard (yet sometimes logical) combination of alternate, economy and awkward sweep picking.

While being skilled at economy picking and sweep picking is essential in every guitarist’s bag of tricks, I find that these students are not performing these techniques deliberately, but instead as an accidental consequence of dealing with the tricky nature of crossing from string to string when dealing with 1-per or 3-note-per-string style phrasing patterns.

The “tricky” bit that seems to trip these students up comes when specific mechanical movements come into play, specifically those found when crossing from a lower-pitched string with a downstroke to a higher-pitched string with an upstroke (“outside” picking), and when crossing from a higher-pitched string with a downstroke to a lower-pitched string with an upstroke (“inside” picking).

The following examples are exercises and licks I have found will clean up any guitarist’s picking technique and give them the control and accuracy to greatly improve their ability to achieve the speed and fluidity they desire. Though there are exceptions to this rule, for the sake of these exercises, make sure the alternating pick strokes are accomplished with firm, yet relaxed grip of the pick and a rotation of the pick hand wrist similar to that of turning a key in a door.

Example 1a shows “outside” picking at its most basic. After picking down on the B string, you’ll swing back around, to the outside of the high E string, and strike the string with an upstroke, swinging back around the outside of the B string and striking it with a downstroke, etc. Example 1b is the opposite, “inside” picking, going down on the high E and coming back up inside the E and B with an upstroke on the B.

Most guitarists I encounter with problem pick technique usually have no difficulty using strict alternate picking with pentatonic derived lines, as more often than not they are using a downstroke when going to a new string, regardless of whether going upwards or downwards on the strings, so to get them used to the adjustment of crossing strings with more complex scale patterns, I often have them perform the simple three-note per string pattern in Example 2a.

The simplicity of the fingering pattern will allow for focus on the “swing” of the pick hand. Example 2b is similarly simple as far as the fingering, but many students find that the inside picking motion slows them down.

In the case of any difficulty with either variation, stick with it! Practice slowly and methodically at first with a metronome, focusing on coordination of rhythmic fretting and a well-timed rotation of the wrist. Also note that in each exercise, every new beat begins on a downstroke, so let the physicality of the rhythm guide you and slightly emphasize each beat to help create thrust throughout the pattern.

In a similar vein but more focused on pure speed mechanics, Examples 3a and 3b are inspired by the “Paul Gilbert Exercise,” running a four-note pattern in a circle. Note that while the notes are the same, the rhythmic shift of where the downstrokes are changes the feel of the pattern dramatically (and the “snap” of the high E on the beat in Example 3b can be addictive at high speeds!).

The next obvious step is to combine the two styles of picking into one line/exercise. Examples 4a through 4d are variations on these combinations using two different six-note patterns in each loop. Example 4a goes up Pattern 1 and down Pattern 2, Example 4b goes down Pattern 1 and up Pattern 2, Example 4c goes up Pattern 2 and down Pattern 1, and Example 4d goes down Pattern 2 and up Pattern 1.

Other than the obvious differences in the fingering and picking of each of these, pay attention to the relativity between their melodic contour and the relation to their respective beats. Practiced properly, each of these will have dramatically different feels! Be sure to try variations like this with some of your favorite practice patterns and licks.

Example 5 demonstrates the concept of combining both inside and outside picking in a real world scenario. This Gus G-style “solo crescendo” lick combines three different shapes in an expanded loop in Dm, shifting positions with each beat.

So far the examples have dealt with repetitive patterns on two strings, but the Paul Gilbert-inspired Example 6 takes outside picking further in a connective pattern ascending across all 6 strings. In this case, the pattern expands beginning on the low E, then the A, then the D, etc., culminating in an Am arpeggio beginning with a tapped C note at the 20th fret on the high E and then continuing through the arpeggio with pull-offs and sweep picking.

This maneuver, and the alternate picked notes on the A string at the end of the phrase, will greatly emphasize your overall control of your picking, as you’ll find that momentum can be difficult to overcome when you switch techniques.

Finally, Example 7 works a Buckethead/Greg Howe-style ascending E Major (D# Locrian fingering) pattern emphasizing inside picking. As with the previous example, this example once again focuses on controlling momentum, rising to a crescendo by shifting the angle of the pattern from vertical to horizontal.

All players, regardless of their skill level can benefit from breaking down and focusing on the mechanics of their alternate picking technique. Beginners and intermediates will get the most benefit by practicing the above exercises with a metronome and focusing on rhythmic accuracy and finger articulation with the goal of relaxed speed, moving the picking patterns into any scale patterns they know, and advanced players should expand the patterns mathematically across the fretboard and/or increase the difficulty of the exercises by incorporating string skipping.

Happy shredding!

Jazz Guitar Corner: Channel Allan Holdsworth with Four-Note-Per-String Scales

Matt Warnock — Thu, 09 May 2013 14:25:23 +0000

I often get asked about two topics: How to play in a modern style and how to break out of box patterns. Though these are two separate ideas, I often start by giving one answer: Check out four-note-per-string scales.

Used by modern players such as Allan Holdsworth, whose playing inspired me to check out these fingerings, four-note-per-string scales can help bring a more modern flavor to your lines, expand your knowledge of the neck and allow you to cover a large amount of fretboard real estate with just one scale shape, all of which are beneficial to players looking to explore non-traditional scale fingerings in their playing.

In this week’s article, we’ll be looking at how to play and practice four-note-per-string scales, as well as how to add slurs into the mix in order to get a bit of that “slippery” Holdsworth legato sound into your lines.

4 Note Per String Scales

These scales are built exactly as their name suggests, by playing four notes on each string as you climb up the neck, then simply reversing this approach on the way down.

While these scales lie nicely under the fingers once you get them down, there are two roadblocks many players face when exploring these scales for the first time, finding the notes and finding a fingering that works for you.

When first digging into a new four-note-per-string scale, such as the F major scale below, you will need to figure out the notes on the scale and build your fingering up from there.

Here is the process I used to work out the notes in the example below.

• Pick a scale, in this case F major
• Write out the notes of that scale, F G A Bb C D E
• Start on the tonic, F, and play the first four notes of the scale on the 6th string, F G A Bb
• Then, move to the next note in the scale, C, on the 5th string and play the next four notes, C D E F
• Repeat this process up all 6 strings

So the process for learning the fingering for this scale is different from a typical box pattern or in-position two-octave scale, which can make it a bit tricky at first. But it does have the added side effect of shoring up your knowledge of the notes on the neck at the same time that you learn the scale, so it’s a worthwhile exercise for both of these reasons.

As far as the fingering is concerned, it will depend on your hand and finger size and dexterity. I play these scales with one finger per note, 1-2-3-4 across each string, but not everyone will feel comfortable with this fingering.

If you find that the 1-2-3-4 fingering on each string is uncomfortable, you also can try 1-1-2-4, 1-2-4-4 or other combinations of these fingers that sit well with your hands on the guitar.

Check out this scale below, and then take it to as many keys as you can across the neck before moving on to the slur exercises that follow. Depending on how many frets you have, you may be able to get it up to the key of C, if you have 24 or Bb if you have 22.

Adding 1 Slur To 4NPS Scales

Now that you’ve checked out a four-note-per-string fingering on the guitar, we’ll begin to add in slurs, hammers and pull-offs in order to give these scales that “slippery” sound you hear when they’re used by players such as Holdsworth.

All of the exercises below are also great for building fretting-hand technique, but they can also be very tiring on the fingers and fretting hand. So go slow with these exercises, and if your hand begins to feel sore or overtired, just take a break, go have a cup of coffee or take the dog for a walk, then come back to this exercise when your hands are fresh.

We’ll being the slur exercises with three different ways to add one hammer on the way up the scale and one pull-off on the way down. In the first example you will see a slur added between the first and second notes on each string.

When you are coming down the scale, keep that same approach, putting a slur between the first and second notes on each string, but just use a pull-off when descending the scale fingering.

The next variation will feature a slur between the second and third notes on each string. Again, use a hammer going up the scale and a pull-off on the way back down. To get the most out of these exercises, make sure to use a metronome, starting at a slow tempo and slowly increasing the speed as you work these scale and slur variations in different keys across the neck.

The last one-slur example we’ll check out features a slur between the third and fourth notes. Once you have any/all of these slurs under your fingers, put on a backing track, maybe a static Fmaj7 chord or a ii-V-I progression in the key of F major, then improvise using this scale fingering and slur variations.

The best way to see if you have really learned a new concept is to take it out and make some music with it. So, don’t feel like you have to get all of these ideas down before you begin to solo with them, just learn one slur option then go blow with it for a bit over a backing track. Then when that’s comfortable move on to the next slur and repeat the technique-improv loop.

Adding 2 Slurs to 4 NPS Scales

Since there are four notes on every string when using these fingerings, you can also practice adding two slurs in a row on each string of the scale. The concept is the same as when you added one slur, use hammers on the way up and pull-offs on the way down to complete the exercise.

In the first example you will be adding a slur between the first, second and third notes on each string.

If you are using the 1-1-2-4 fingering instead of 1-2-3-4, you can use a slide between the first two notes so that the slur becomes a slide plus a hammer on the way up and a slide plus a pull-off on the way down. This will allow you to work these slurs into the scale if you use an alternate fingering.

You can also add two slurs to the back end of each string but placing a slur between the second, third and fourth notes on each string in the scale. Again, if you are using the 1-2-4-4 fingering for each string, then you could do a hammer plus a slide going up and a pull-off plus a slide going down to achieve the same effect.

Adding 3 Slurs to 4 NPS Scales

Lastly, you can use slurs on all of the notes on each string, so only picking the first note and then slurring for the rest of the notes on each string in the scale. This type of legato approach is indicative of the Holdsworth style, so if you are going for that sound, this is a variation that you will want to check out and get under your fingers.

Since there are more slides than picks, many players tend to lose focus on the time and rhythm with this exercise. A good way to avoid this is to set the metronome to 8th notes and then play one note per click to make sure each note is accurately placed within the bar.

Though not as common as in-position, the CAGED system or three-note-per-string scales, using four notes on each string can help you learn the notes of the neck, add more legato to your lines and break you out of box patterns at the same time.

Do you use four-note-per-string scales in your playing or have a favorite way to practice them in the woodshed? Please share your thoughts in the comment section below.

Photo: Matt Warnock

Matt Warnock is the owner of mattwarnockguitar.com, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a senior lecturer at the Leeds College of Music and an examiner for the London College of Music (Registry of Guitar Tutors).

In Deep: Unlocking the Guitar Mysteries of Delta Blues Great Robert Johnson

Andy Aledort — Wed, 08 May 2013 16:54:24 +0000

Delta blues giant Robert Johnson (May 8, 1911–August 16, 1938) 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. In this edition of In Deep, we’ll examine the variety of picking techniques and tunings that Johnson used to craft his timeless, deeply emotional music.

One of the staples of Johnson’s style is his ability to sound at times like two guitar players, combining driving rhythms on the lower strings with melodic figures on the higher strings. Due to the fact that his recordings were intentionally sped up when first released, definitive analyses of his tunings and capo positions is near impossible. That said, the interpretations offered here are practical and easily achieved.

Johnson’s tunings can be broken down into four categories: standard tuning, open G, open D and drop D. Some of the songs interpreted as open G or open D may have in fact been performed in open A or open E, respectively.

Let’s start with standard tuning, which is the tuning Johnson used for the recordings “Kind Hearted Woman Blues,” “I’m a Steady Rollin’ Man,” “Love in Vain” and “Sweet Home Chicago.” The last song was performed in standard tuning with a capo at the second fret. A complete transcription of “Sweet Home Chicago” begins on page 126 (note that all tab numbers represent the distance from the capo; i.e., “12” represents 12 frets above the capo, though the note is actually played at the 14th fret).

The intro is a “turnaround,” normally found in the last two bars of a 12-bar blues progression. Johnson started many of his songs in this way: through bars 1 and 2, the high E tonic note is used as a pedal tone while other notes descend the D string. At the end of bar 2 into bar 3, he transitions to B7, the five chord. The verse is initiated at bar 3, and at this point Johnson creates the sound of two “voices” by playing a solid rhythm on the bottom two strings, alternating between root-fifth, root-sixth and root-flatted seventh chords while adding melodic notes on the G and high E strings. In bars 13 and 14, he performs a different turnaround, alternating between descending two-note figures on the G and B strings and the open high E.

Johnson achieved great definition between the low and high string parts by fingerpicking and using a thumb pick. I perform these licks using hybrid picking, holding a pick between the thumb and index fingers and using the other pick-hand fingers, primarily the middle and ring, to fingerpick.

Played in the same tuning and capo position, “When You’ve Got a Good Friend” features a similar intro, albeit one slightly more complex in the fingerpicking pattern. Here, Johnson incorporates irregular bar lengths, a common practice among country blues guitarists. FIGURE 1 includes a bar of 3/8 at the end of the intro, which functions as a pick-up for singing. In evidence again is the inclusion of simple melodic additions on the G and high E strings played against the driving rhythm of the low strings.

“Love in Vain” was performed in standard tuning in the key of G, with the capo at the first fret, as approximated in FIGURE 2. This excerpt starts with a turnaround consisting of chromatically descending double-stops (two-note figures), thirds apart and played on the top two strings.

In the verse section, the strong rhythm is maintained on the bottom strings while harmonic interest is added through subtle changes in chord voicings on the top two strings. While these high notes are allowed to ring, the lower notes should be slightly palm muted and played with staccato accents. Bar 9 offers a twist, with a shift to the II7 (two-dominant seventh) chord, A7, before resolving to the five chord, D7/Fs, for which the low Fs bass note is thumb-fretted.

Johnson employed open G tuning (low to high, D G D G B D: see FIGURE 3) for tunes such as “Crossroad Blues,” “Walkin’ Blues” and “Come on in My Kitchen.” He utilized specific chord voicings designed to work with open tunings, as shown in FIGURE 4, akin to “Stones in My Passway.” The example begins with slide guitar (Johnson wore a metal slide on his pinkie), before switching to chord voicings made up of all open strings combined with notes fretted on the top two strings.

The verse section (bar 5) features classic Johnson chord voicings for G6 and G7 on the downbeats of beats two, three and four. In bar 5, the four chord, C7, is sounded by barring across the top three strings at the fifth fret, adding and removing a high Bf note at the eighth fret of the first string.

The final example is played in open D tuning (low to high: D A D Fs A D), illustrated in FIGURE 6. FIGURE 7 offers an example in the style of “Ramblin’ on My Mind” and features slide guitar extensively. The example begins with slide figures, positioned on the top four strings at the 12th fret and played against the open low-string “rhythm” part. When playing these slide licks and vibratos, position the slide directly over the fretwire for proper intonation.

The verse (bar 6) consists of four bars of the one chord, followed by two bars on the four chord, G7, fretted at the fifth fret. Likewise, the five chord, A7 (bar 14) is positioned at the seventh fret.

Each Robert Johnson composition offers an invaluable lesson in country blues guitar. Hopefully this column has shed light on his playing style and will inspire you to investigate his music further.

Additional Content

Hole Notes: Robert Johnson's Ferocious Guitar Style

Dale Turner — Wed, 08 May 2013 14:44:10 +0000

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.

Regarded as one of the greatest guitarists of all time, Delta blues wizard Robert Johnson recorded only 29 songs (plus 13 alternate takes, in two sessions) during his 27 years of life. They were cut when he wasn’t playing for tips on street corners, in juke joints or in front of barbershops and other commercial establishments.

In his youth, Johnson copped licks directly from Son House, who later in his life vividly recalled how Johnson developed from a bad guitarist to a “master” in just two years. Ike Zinnerman allegedly inspired Johnson to practice guitar in a graveyard at night while perched atop tombstones. These are only a few of the stories that helped cultivate the legend that Johnson earned his chops by making a deal with the devil.

Additional Content

Jazz Guitar Corner: 9th Chords Made Easy

Matt Warnock — Tue, 07 May 2013 15:31:04 +0000

As many of you readers begin to dig deeper into learning jazz guitar harmony and voicings, you'll undoubtedly come across various 9th chords, Maj9, m9, 9 etc., in your jazz-guitar explorations.

Since these chords pop up time and again, it is important to have a variety of 9th chords under your fingers so that you can bring them into your comping, chord melody and chord soloing ideas when needed. But this doesn’t mean you have to learn a bunch of new chords. You can use previous knowledge to build great-sounding and authentic jazzy 9th chords.

In today’s lesson, we’ll be looking at how you can use “rootless” 9th chords to expand your jazz-guitar chord vocabulary without having to learn any new shapes, simply adapting four-note chords you already have under your fingers to a new musical situation.

Building 9th Chords With Common Voicings

To begin, let’s take a look at four common jazz chords with their 1357 and rootless 9th-chord voicings.

Notice that each chord pair shares three notes in common: the 3-5-7 of each chord, but that in the second voicing the 9th has replaced the root, which is why we call them “rootless” 9th chords, as they contain no root in the voicing.

To get you started, here's a quick reference for the four chords used below.

• Maj7 - m7 from the 3rd
• 7 - m7b5 from the 3rd
• m7 - Maj7 from the 3rd
• mMaj7 - Maj7#5 from the 3rd

This means that if you see a Dm7 and you want to make it Dm9, you simply play Fmaj7, a Maj7 chord starting on the 3rd of Dm7. Try this out with each of the following chords, Maj7-7-m7-mMaj7, using the quick guide above as a reference, through all 12 keys and with as many voicings for each 9th as you can come up with.

Major ii V I With 9th Chords

Here are two examples of how you can apply rootless 9th chords to a Major Key ii V I progression, one using Drop 2 and one using Drop 3 chord voicings. As a quick reference, here are the three normal chords, 1357, next to the related rootless 9th chords. If you can memorize these formulas, you will be able to quickly and easily use these chords in any jam or gig you’re on.

• m7 - Maj7 from 3rd
• 7 - m7b5 from 3rd
• Maj7 - m7 from 3rd

Try these chords out in all 12 keys, both all Drop 2 and Drop 3, then come up with your own rootless 9th chords and bring them into your Major ii V I progressions as you explore this concept further in the woodshed.

Minor ii V I With 9th Chords

To help get you started in the minor-key area, here is an example of a minor ii-V-I chord progression using both Drop 2 and Drop 3 rootless 9th chords.

For the m7b5, we don’t normally include a 9th with that voicing, and so you will notice that I used a plain, 1357 chord in those instances. For the other two chords, G7b9 and CmMaj7, I used a Bdim7 over G7b9, producing a rootless 7b9 chord, and an Ebmaj7#5 over CmMaj7, producing a rootless mMaj9 chord.

As a quick guide, here are the three chords and their related 9th versions:

• m7b5 - stays as is
• 7b9 - dim7 from the 3rd
• mMaj7 - Maj7#5 from the 3rd

Check out the example below, taking it to all 12 keys if possible, and then build your own 9th voicings for minor ii V I progressions using the rules given above.

9th Chord Practice Guide

After you have checked out the different examples above, here are a number of ways that you can explore 9th chords further in your jazz guitar practicing schedule.

01. Play any/all of the above examples in all 12 keys at various tempos.
02. Play the rootless 9th chord for any voicing you are working on and sing the root below the chord.
03. Take a tune you are working on and learn all of the chords as rootless 9th voicings, using the above lesson as a guide to find each 9th chord in the tune.
04. Practice any 9th chord that you learn with a number of different jazz guitar chords such as Drop 2 Chords, Drop 3 Chords and Drop 2 and 4 Chords.
05. Practice arpeggiating each of the rootless 9th chords in the above examples and begin to bring this concept into your soloing ideas as well.

Playing 9th chords, and especially rootless 9ths, is an important skill for any jazz guitarist to have under their fingers.

Check out the above examples and exercises to get started in your exploration of these handy and cool-sounding jazz guitar chords. If you have any questions about these chords, or anything jazz-guitar related, feel free to post it in the COMMENTS section below.

Bent Out of Shape: Learning Paganini's 16th Caprice in G Minor

Will Wallner — Mon, 06 May 2013 14:48:59 +0000

A couple of weeks ago, I gave you a short, 30-minute guitar workout designed for guitarists whose practice time is limited.

The positive response I received prompted me to create an additional lesson, which, in combination with my original workout, will give you a good hour of intensive practice.

For this lesson, I have selected a classical piece for you to learn: Paganini's 16th Caprice in G minor. Learning classical pieces is a great way to improve your technique and theory. It's also more beneficial to practice something musical, rather than just working on exercises. Use my 30-minute workout as a warmup and then spend an additional 30 minutes to an hour working on this piece.

It's very challenging and features a good selection of arpeggios, wide intervals, chromatic runs, string skipping and sequences. It's very rewarding to learn and play in its entirety. Because of its length, I have the divided the piece into three parts.

Your first task will be to memorize the notes, which in itself is a big challenge. I would suggest taking it one bar at a time, memorizing the notes and working out the fingering. Then attempt to perform the bar in full. Start at the beginning with bar 1, and add a new bar every day. Once the notes are memorized, you can begin to work with a metronome and build speed.

Start at 80 bpm playing 8th notes and increase the metronome by 10 bpm after each successful performance. When you reach 120 bpm, go back to 60 bpm and play the piece as 16th notes. From there, take it as fast you can.

It's meant to be at a tempo of 165 bpm, which is incredibly fast for a piece so complex. I can only get to around 120 bpm before it becomes too challenging. For this lesson, I have recorded myself performing the piece in full at the comfortable tempo of 100 bpm. Use this as a reference for yourself when learning. I have also marked in the Soundcloud link where each of the three parts begins to help you navigate.

The first part begins with several arpeggios which you will need to play using sweep picking (bars 1 to 6). Everything else should be played with alternate picking. There's a tricky string skipping section at bar 7, which you can either play with your second finger or entirely with the pick. After bar 8, it repeats from the beginning. From bars 9 to 14, you have more arpeggios and string-skipping, but this time you will not need to sweep the arpeggios. Bar 14 ends with a long A# major arpeggio over three octaves.

Next week, we will look into detail at the second part of the piece and also analyze some of the theory used in its composition. Best of luck, cheers!