Improvising with arpeggios is a great way to dig into chord changes, bringing out the exact sound of each chord in your lines. While scales and modes are great for outlining keys and creating modal colors, when you want to sound each chord in a progression, arpeggios are the way to go. While they are great for outlining chord changes, arpeggios can often become boring or predictable when you overuse them in a solo.
A major stepping stone in my musical development was when I was introduced to the study of modes. Learning how modes work really opened my eyes and ears and gave me a lot of insight into how melodies relate to chords.
Hello there! Welcome to my first Guitar World column. I'm looking forward to sharing with you in these pages my thoughts on playing, equipment and the music business. Actually, this isn't the first time I've written a column — I used to do one many years ago for an English music magazine called Beat Instrumental. I did it for about eight months and it was great fun, and I'm sure this one will be too.
This month, I’d like to illustrate a very clear and effective way to memorize the series of scales that are collectively known as the seven fundamental modes. I consider these modes to be essential learning for any aspiring metal soloist. The majority of them are also equally useful for soloing in other styles, such as blues, rock, jazz and country.
One of the most common alterations you will come across as a beginning and intermediate jazz guitarist is the 7#11 chord. Built by taking a normal dominant 7 chord, R 3 5 b7, and lowering the 5th by a 1/2 step, R 3 #11(b5) b7, these chord symbols come up time and again in big band charts and standard tunes.
Bass is more than just a guitar with two fewer strings. It has a different tone, scale length, feel and musical role, and in many cases it requires a different conceptual and technical approach. Guitarists who are new to playing bass will often double the guitar part one octave lower. There is certainly a place octave doubling — just listen to Aerosmith's "Sweet Emotion," Led Zeppelin's "The Ocean" and Pantera's "I'm Broken." But there is so much more that can be done with the bass guitar.
Today we bring you the latest lesson video by Troy Grady, the guitarist who brings you those ultra-intriguing "Cracking the Code" lesson videos that appear on GuitarWorld.com. "This is 'Cascade,' a chapter from our latest Masters in Mechanics seminar," Grady says. "It explores Eric Johnson’s use of sweeping in pentatonic playing.
These videos and audio files are bonus content related to the May 2015 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.
For today's column and video (like last week's), I grabbed my ugly grey shirt and my Gibson Music City Jr. with B-Bender (a limited-edition guitar Gibson issued in 2013), to play a Clarence White-inspired country lick in A. As an electric guitarist, White built the bridge between country and rock in the late Sixties.