In the last few columns we've been zoning in on lead-playing and shit so let's get back to doing some hard-driving rhythm work for a while-'cos well-balanced players rip on rhythm as well as leads. As far as I'm concerned, it's no good being able to wail out smokin' leads if your rhythm chops hugg! I've been into playing rhythm from day one, and a lot of that has to do with having a brother who kicks ass on drums.
I had taught at this annual workshop a number of times and always looked forward to my week there, not only because I was able to teach a class of students who really wanted to learn guitar, but also for more selfish reasons. I liked meeting and learning from some of the other instructors and clinicians.
When you first learn the three-note-per-string and/or single position seven-note scale, you learn the patterns starting on the low E string and work your way up to the high E and back. You do this for each of the seven patterns up the neck, practicing and perfecting your scales. This is great! The only problem is, this is how you are training your hands and brain to approach them.
A couple of weeks ago, I gave you a short, 30-minute guitar workout designed for guitarists whose practice time is limited. The positive response I received prompted me to create an additional lesson, which, in combination with my original workout, will give you a good hour of intensive practice.
In this brand-new edition of Betcha Can't Play This, metal guitarist Ethan Brosh (using a Fender HM Strat) demonstrates a lightning-fast C Lydian lick that sounds a bit like The Simpsons theme song, at least at the very beginning.
When most people start learning guitar, the first chords that they learn are often the A, C, D, E and G open chords. And the CAGED chord system is a chordal shape that can be used to navigate the fretboard using the C, A, G, E and D open-chord shapes, in that particular order, to ultimately be able to spot any major chord all across your fretboard.
In this exclusive Guitar World lesson, watch Living Colour guitarist Vernon Reid talk about the band's The Chair in the Doorway album and teach you how to play their classic 1988 hit "Cult of Personality."
For this lesson, I want to explore some more applications of this technique and give you some ideas of how you can use it in your own playing. The technique can be applied to virtually any single-note sequence you come up with. I find it best to create a simple melodic line and then apply the technique to create a riff or motif. I've found it particularly useful in my solos as a way to create dynamics.