Last year, I gave you a 30-minute guitar workout designed for guitarists with limited practice time. The goal of the workout was to give you an intense 30 minutes of practice. The positive response to this workout inspired me make a new version for 2014. As with my previous workout the goal is the same: 30 minutes of intense practice.
The main inspiration for my version came after hearing several live bootlegs, some of which were about 30 minutes long! This gave me the idea to have an improvised intro and outro section with the main song/theme in the middle. Stylistically I wanted it to be more of a natural blues sounding arrangement as opposed to the large amounts of synths featured on the Moore version.
When soloing, I try to use a balanced mix of scales, intervals and arpeggios. Something I always struggle with is trying to incorporate arpeggios into my solos without having them sound too generic. A lot of the common arpeggio shapes are difficult to use without sounding "cliche" or like a bad Yngwie Malmsteen clone.
I cannot describe the audience reaction as the entire venue shook with a deep growl. With that single move, Blackmore reminded everyone that he was still the rock guitar god he's always been. As the song ended, I couldn't help but notice the man next to me was crying. I was also relieved that my friend got the moment on film!
For this lesson, I want to explore some more applications of this technique and give you some ideas of how you can use it in your own playing. The technique can be applied to virtually any single-note sequence you come up with. I find it best to create a simple melodic line and then apply the technique to create a riff or motif. I've found it particularly useful in my solos as a way to create dynamics.
For everyone who has followed me throughout this series, I hope you found it rewarding and challenging. Hopefully this piece has helped you improve as a player in terms of technique and theory. When I began learning the piece, I was looking for something easier technique-wise than my previous Paganini series.
We are very close to the end, and — for everyone who has followed me with this series — I hope you've found it useful. For this lesson, much like with Part 7, we're going to play something that follows a previous section (in this case, from Part 4) but within a different relative key.
Part 7 is very interesting because it relates very closely to Part 3. This new section follows the same themes within Part 3, but in a different relative key. Part 3 was based around Bb major, which is the relative major scale of G minor. Part 7, however, features the same themes but played in G minor and, in some sections, G harmonic minor.
Welcome to part 6 of "Learning Mozart's 25th Symphony in G Minor." We are getting close to finishing this piece, which might sound surprising considering we have only learned four minutes out of the full 10-minute piece. However, don't worry, because there's going to be a lot of repetition between now and the end.
As a rock/metal guitarist, I am continuously working on writing better guitar riffs. From my perspective, the guitar riff has suffered in modern music in terms of creativity and usage. A good, creative riff is the most important ingredient when writing any rock/metal song. Here are a few tips that might help you write better riffs.