This kind of thing reminds me of a Johnny "Guitar" Watson move. It also helps get fingers accustomed to sliding very quickly. And this kind of sliding technique might help you see connections on the fretboard while giving you an alternative to standard blues solos.
Back in 2000, in Los Angeles’ Conga Room, as a guest of a Virgin Records publicist, I had my mind blown by my friend’s new client, singer-songwriter Joseph Arthur. When actress Rosanna Arquette came onstage for a duet on Arthur’s “Invisible Hands,” I was hooked.
In last month’s column, I discussed some of the ways I will often expand on single-note riff ideas by substituting full-voiced chords for individual notes. This month, I’d like to continue with that topic and talk about my approach to using dissonant intervals in chords and as double-stops (two-note chords).
Just like the headline says, here's an official Guitar World video of Joe Satriani showing you how to play his signature 1987 tune, "Satch Boogie." The track is from Satch’s landmark Surfing with the Alien album, which garnered tremendous AOR play and, ultimately, gold record status—both almost unheard of for a guitar instrumental lap.
In this lesson, Kenny discusses 7th chords and how they can be used to enhance any blues progression. He also demonstrates short forms of the chords that can be used for a softer sound. While discussing the 7th chords, he also talks about some of Jimi Hendrix's favorites. Check out the lesson video below — complete with video.
The Eighties was a decade of unrivaled guitar heroism. And one of its greatest heroes is also one of its greatest villains. Steve Vai's nefarious turn in the 1986 film Crossroads sent legions of kids scurrying to their metronomes in hot pursuit of his blistering neoclassical chops.
One key to becoming a more versatile blues soloist is learning to combine the minor pentatonic and major pentatonic scales to create guitar lines that go beyond the minor pentatonic scale. As a prerequisite to this lesson, you should have a basic understanding of the finger positionings for the minor pentatonic and major pentatonic scales, particularly the first and second positions of both scales.