Today we’re going to pick things up where we left off by tackling the notes on the fourth string. And remember, we’re going to be focusing on the prime pitches — that is A, B, C, D, E, F, G — like we did with the fifth and sixth strings. I do this because I’ve learned that simplifying the notes across the fretboard can make things easier for students to master them.
These videos are bonus content related to the April 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at our online store.
I often think of a “tough love” quote from an old teacher of mine: “People at venues have their food to eat, drink to drink, friends to talk to and every other venue in town to go to. Can you keep their attention?” While that seems a tad harsh, it is good to some extent, as long as you use it to challenge yourself and surprise yourself with the music and guitar parts you come up with.
This month’s column focuses on an original composition of mine that acknowledges the influence of classical pianists on my playing style, specifically the way in which pianists will play arpeggios across several octaves very quickly (see FIGURE 1). In order to emulate that sound on the guitar, I’ve devised a few fretboard tapping techniques. In fact, much of my two-hand tapping technique is based on that goal and approach.
Of the myriad contributions Jimi Hendrix has made to the lexicon of modern guitar, one of the most enduring is the legendary “Hendrix chord." The chord, an E7#9, was definitely nothing new when Hendrix famously used it in “Purple Haze” (Jazz and R&B guitarists used it extensively, and the Beatles featured it years earlier on “Taxman”), but its use by Jimi inspired its use by generations of guitarists in a wide range of styles.
I've been rediscovering pentatonic patterns lately. While searching for new licks and scales to incorporate into my playing, I occasionally like to re-examine pentatonic shapes. In this lesson, I want to give you some tips on how to construct your own ascending and descending pentatonic patterns. To begin, we must make a pattern of notes from the pentatonic scale.
This week, it's all about making the guitar sound as beautiful as possible. For me, the masters of this are Eric Johnson and Tim Miller (who was actually a teacher of mine at one point). We'll get to what they both do that sounds very unique. We'll also go over ways I like to doll up some otherwise normal-sounding guitar parts.