Every musician should have a clear understanding of the fundamentals of rhythm. Even if you consider yourself an “ear player,” knowing how to count and play different rhythms while keeping a steady beat is a valuable skill that will help you in a variety of real-life musical situations. By learning the arithmetic of rhythm on paper, you’ll be able to accurately read and learn music from transcriptions, and you will no longer have to rely entirely on the recording for the timing and phrasing of the notes.
One of my favorite things about heavy metal music is the brutal rhythm guitar parts that have been devised by the genre's greatest bands, such as Megadeth, Metallica, Slayer and mothers. In this month's column, I'd like to show you some of the effective techniques for developing cool-sounding and very metal rhythm guitar parts.
In today’s lesson, we’ll be looking at how you can use two common arpeggios, 7th and m7th shapes, in combination to outline the 7#9 sound in your jazz guitar lines and solos, allowing you to dig into this fun and interesting chord without worrying about learning any new scales or modes before you can nail this chord in your solos.
"Earth Departure" is one of the most adventurous tunes on the new Animals As Leaders album, Weightless. The song features some very intense, complex figures that require extremely tight band interplay.
Over my past two columns, I've been investigating different approaches to improvisation on the guitar, specifically addressing ways to combine chordal and single-note-line ideas effectively to create rhythm parts that are both harmonically and rhythmically interesting and inspired.
The most important part of this process is to find a way to do this as instantly and spontaneously as possible, and this is true for anything this is truly improvisational.
When learning how to play jazz guitar, one of the things that many players want to explore and get under their fingers is walking basslines. Though learning how to walk a bassline (and comp at the same time) can take a lot of experience and time in the woodshed, there are a few rules and pointers you can follow in order to get you off on the right foot as you begin to explore the world of basslines for jazz guitar.
Back by popular demand, it's Jimmy Brown's classic Guitar World column, Guitar 101. In the first installment, Jimmy begins a 3-part series on one of the first things a new guitarist wants to do: play fast!
Nearly half a century has passed since the Allman Brothers Band released their ground-breaking eponymous debut album on Capricorn Records, in 1969. Combining elements of blues, rock, jazz and country, the Brothers forged a unique sound that emphasized virtuoso guitar playing, powerfully emotive vocals, and deft, inspired group interplay and improvisation.
We often spend a lot of time working on pentatonic, blues, major and melodic minor scales and patterns on the guitar and then practice bringing these sounds into our solos. While learning the aforementioned scales is essential for any improvising guitarist, there is also another group of scales that are worth spending time on in the woodshed and bringing into our solos on the bandstand: symmetrical scales.