With so many scales, arpeggios, licks, chords and patterns to learn in the practice room, sometimes we can overlook rhythm when working on our jazz guitar soloing concepts. Keeping a focus on rhythms and rhythmic motives in your solos can help take your playing to the next level, without having to learn any new concepts, just new approaches to the concepts you already have under your fingers.
One of the many tools that can be used to learn the higher positions is the CAGED system. Though the application can be very useful, aspects of it can be simplified and studied in a more musical approach. Doing this might help you have a better understanding of chord voicing and harmony.
This exercise, or finger twister, is a moveable arpeggio pattern, but it will be in G major for this exercise. The first measure is an ascending I chord/arpeggio of the major scale, which extended out (1 3 5 7), is a major 7th chord/arpeggio, which is a G major 7th chord/arpeggio (G,B D,F#).
Regarded by many as the three most vital purveyors of pure hard rock/heavy metal sonic evil, AC/DC’s Angus Young, Led Zeppelin’s Jimmy Page and Black Sabbath’s Tony Iommi have each forged a distinct, instantly recognizable guitar style and sound. After more than three decades of dedicated service, all three players continue to influence countless up-and-coming metalheads the world over, and an in-depth study of each guitarist’s distinct musical personality is mandatory for any aspiring hard rock player.
You'll notice this video is much longer than the typical Betcha Can't Play This video, since it goes into greater left-hand detail — and into greater detail in general. You'll also notice there's no tab included (Again, the longer video explains the fret positions and a lot more).
We recently had acoustic guitar legend Tommy Emmanuel stop by the Acoustic Nation studio. Luckily for you, we didn’t let him leave without passing on some valuable picking tips! Emmanuel has an uncanny ability for thumb and fingerstyle picking, and it’s our guess that hanging around Chet Atkins certainly helped too.
I love runs like this, and I play these types of elongated patterns often. Here, I pick the first note on each string and use hammer-ons, pull-offs and legato slides, at times in combination, to give the notes some variation in attack and create smooth phrasing.
Here's a crazy-sounding video game–type lick that requires flexibility and dexterity to execute accurately. The object is to move seamlessly across the fretboard, using a wide-stretch symmetrical diminished arpeggio shape with the fret hand’s first, second and fourth fingers, coupled with a right-hand tap, which makes it a diminished-seven arpeggio.
The thinking behind this run is to get you from the fifth fret all the way up to the 17th fret with a smooth, connected flow of notes. It’s played as if it were in A minor, but I tune down one half step [low to high: Eb Ab Db Gb Bb Eb], so it sounds in Ab minor. I use alternate picking for the most part, which produces a burning staccato sound and gives your picking hand a great workout.