My very first guitar was a nylon-string classical instrument. Since then, I’ve bought well over 100 other guitars, but none of them was a classical.
With the introduction of Cordoba’s C10 Crossover, I may have finally found the affordable classical guitar I’ve been looking for, and I’m sure many other electric and steel-string players will feel the same way.
There was a time when the name Eric Clapton meant one thing and one thing only: guitar god. His incendiary six-string exploits with the Yardbirds, followed by a pair of mind-blowing 1966 albums—Blues Breakers with Eric Clapton and Fresh Cream—briefly put the passionate young Clapton atop the U.K.’s, if not the world’s, guitar hierarchy.
“After this, Mötley’s done!” proclaims Mick Mars. He’s talking about Mötley Crüe’s recently announced Final Tour, which will see the band crisscross the globe—with Alice Cooper in tow for the North American leg—for one last hurrah. It’s a farewell celebration of the highest order, and one that is, Mars assures, truly a farewell.
I often get asked about my chord work, particularly about the voicings I use. My chord style initially developed as a result of my dissatisfaction with the way traditional guitar voicings, particularly triads, sounded.
When news broke in the early evening of May 2, 2013, that longtime Slayer guitarist Jeff Hanneman had succumbed to liver failure at age 49, a shockwave of atomic force rippled its way across the metal community that left many stunned.
Little Walter served his musical apprenticeship in Delta roadhouses during the early Forties and intently studied the style and techniques of down-home blues harmonica masters such as John Lee “Sonny Boy” Williamson, but he also took the instrument into new territory by emulating the jazz-tinged phrasing of jump-blues saxophonists.
Last month, we looked at the intro rhythm parts and the intro guitar solo to the title track of the latest Nevermore album, The Obsidian Conspiracy. This month, I’ll go over the remaining single-note intro theme and primary verse riff. As you’ll see, the latter is a lower-octave version of the final intro lick.