A few years back, the editors of Guitar World magazine compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time. The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (Number 100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (Number 1).
GuitaWorld.com is revisiting Steve Vai's classic mag column, "The Ultra Zone," for this crash course in ear training. As I mentioned last time, a valuable method of training your ear is to practice singing the notes that you play on the guitar. I’d like to elaborate on this fun approach and offer you some specific advice on how to go about doing this on your own.
My first two ear training columns (Part 1 and Part 2) outlined techniques intended to strengthen your note-recognition abilities, using the guitar as an ear training tool. This month, I’d like to turn you onto some ear training techniques that use chords.
Check out this cover of Jimi Hendrix's "Purple Haze" by 2CELLOS. These guys might look familiar; they're the Croatian cellists who had a taste of online success when their dueling-cellos version of Michael Jackson's "Smooth Criminal" went viral a few months ago.
Tosin Abasi strides into a Hollywood photo studio dressed in a crisp striped jersey, jeans and a pair of horn-rimmed glasses that make him look a bit like the young Dizzy Gillespie. He’s toting a pair of the Ibanez eight-string guitars that have become his stock in trade, sleek-bodied instruments with broad, massive necks that carry the heft and menace of weaponry.
The sight of Steve Vai conversing amiably in his Hollywood studio with Korn's James "Munky" Shaffer and Incubus' Mike Einziger, both of whom could serve as alternative poster boys, is surprising, to say the least. But these guitarists, their dreadlocks, Adidas trainers and baggy pants notwithstanding, have come not to bury Vai, but to praise him.
“I was always one of those guys who was a seeker after truth,” Steve Vai says. “I want to know what’s going on.” True enough. Vai’s relentless quest “to know what’s going on” has enabled him to plumb the transductive, vibratory mysteries of the electric guitar and come up with tonalities and techniques never before imagined. His place of honor in guitar history is secure. After all, of all the guitarists who emerged in the Eighties shred scene, Vai is quite arguably the most innovative.