These videos are bonus content related to the February 2014 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.
Spearheaded by Yngwie Malmsteen and Randy Rhoads, inspired by Uli Jon Roth and Ritchie Blackmore (and Bach, Mozart, Paganini, etc.) and taken to its heights by Jason Becker, Marty Friedman, Tony MacAlpine and the other early Shrapnel Records artists, the neo-classical period in modern rock guitar was a time of previously unimaginable technical progress and harmonic inventiveness.
In this lesson, we’ll be adding to your tritone sub soloing vocabulary as we explore how to add scale ideas to your soloing phrases. We'll also check out a few common licks that use scales to outline tritone subs in a ii V I chord progression.
As 2014 rapidly approaches, Guitar World is taking a nostalgic look back at the most popular GuitarWorld.com stories, videos, lessons and features of 2013. Be sure to check out our other Year in Review stories here!
For many guitarists learning to play solos, it can be easy to fall into a rut based on a certain hand position of a scale, and in doing so forget to play melodically. In this lesson, we will focus on learning to effectively incorporate melody into a solo. After all, iconic melodies are what set great guitar solos apart in many instances.
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.
As you might know, the minor blues scale has that unique note that distinguishes it from the pentatonic scale (the augmented 4th or diminished 5th). In Am blues, for example, it’s Eb or D# (They are enharmonic tones, same pitch, different names). But when should we call it the first or the latter — and what’s the difference?
Good rhythm is one of the most important skills to have as a professional musician. Other musicians don’t care what scales or chord shapes you know. They just know if they can groove with you or not. And really, the same goes for your audience.
It's no secret that virtually every kid who picks up a guitar dreams of one thing — playing super fast. And I don’t blame them. Playing fast is fun. It is exhilarating. And it sounds awesome when done right. But here's the thing when it comes to guitar playing and speed: It is fairly easy to learn but hard to master.
The notion of sweeping (or raking) the pick across the strings to produce a quick succession of notes has been around since the invention of the pick itself. Jazz players from the Fifties would use the approach in their improvisations, and Chet Atkins was known to eschew his signature fingerstyle hybrid-picking technique from time to time and rip out sweep-picked arpeggios.