Thirty years ago this November, Stevie Ray Vaughan and Double Trouble laid down the tracks that would become Texas Flood, and among the many jaw-dropping skills Vaughan displayed on his debut album was the massive shuffle groove on "Pride and Joy."
Of the four Beatles, George Harrison brought to the group an assortment of electric and acoustic guitar approaches, flavors influenced by everyone from Chet Atkins and Carl Perkins to the Byrds and Bob Dylan.
When learning how to play jazz guitar, one of the most important chord progressions you can spend time practicing room is the “turnaround.” Turnarounds often occur at the end of a tune, or a section of a tune, and they essentially are used to “turn the tune back around” to the top of the form or start of the next section. Hence the name.
In last month’s column, I discussed some techniques one can apply when soloing, specifically using both a single-note and a chordal approach in combination to create a kind of “harmonic” improvisation that helps us discover new chords and sounds.
Anyone learning how to play jazz guitar will know that the blues makes up a large part of the jazz soloing, comping and writing traditions. From the licks famous jazzers play, to the chord progressions they write their tunes over, the blues is deeply integrated into jazz soloing and composition.
When learning how to play jazz guitar, we can often get bogged down with learning scales and arpeggios and find ourselves not spending time learning the vocabulary that makes up the traditional and modern jazz language. One of the best ways to build your jazz vocabulary, and your scale knowledge, is to work on both at the same time.
The first time I came across this style of picking was in an article by guitarist Shawn Lane. I was totally blown away by his use of the traditional sweep picking while combining the use of his right-hand fingers to pick notes within the arpeggios. This technique works particularly well with major/minor scales or modal playing, as it is very easy to create three-string shapes that flow very nicely and closely together.
Van Halen’s impact on Dimebag’s playing is unmistakable. The “vibe” of early Van Halen is by far the most recognizable influence in Dimebag’s playing. From the grooving rhythms played like leads of their own, to the tone, to the phrasing in his lead playing, Dimebag took the inspiration of Edward Van Halen and forged his own identity.