If you want to be a well-rounded guitarist, you need to learn and be able to perform barre chords.
One question that comes up consistently from my students is, “How do I develop the ability to play long phrases at mind-numbing tempos and increase my understanding of the fretboard?”
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.
One of the most distinctive sounds in blues and rock music is that of a slide guitar.
These chords sound like a million bucks, and they can be yours.
There aren’t many rock songs whose hook is performed on a marimba. The Rolling Stones’ classic “Under My Thumb” is one of them.
In the recently posted clip below, TDOVmusic, the guys who brought you "10 Essential Whammy Bar Techniques in One Song," present "10 Essential Metal Rhythm Guitar Techniques in One Song."
If you use your whammy bar only to bend notes and add vibrato, you’re missing out on some of its more nuanced, and more extreme, applications.
If you’ve been playing guitar long enough, you probably already know about inside picking and outside picking.
A song that many fans have asked me about is “Blast Inc.,” which I recorded with my side project, Haunted Shores.
This month, I’d like to discus the art of improvising over a key change, using a modulation of chords that are a half step apart.
If you’re tired of playing stock minor pentatonic runs when you solo over a rock or blues progression, guitar virtuoso Paul Gilbert has a couple of neat tricks you can use to jazz up your licks.
Are your blues licks and solos sounding tired? Want to make your lead work sound different from what every other blues player is doing?