I recently gave you some simple pentatonic licks that are ideal for beginners or even advanced players. I want to continue that theme and share some ideas I use in my own playing. As with my previous lesson, all of these licks can be learned and practiced in as little as five to 10 minutes and are great for players with limited time. Think of these as a 'quick fix' for busy musicians.
For many young musicians, going out on tour is an early goal we set for ourselves. We read stories of legendary bands on tour, and we dream of the fun times that come from being out on the road. The reality is far different. Most likely, your first experiences on tour will be with your band as you begin to outgrow your local scene. Especially if you come from a small city like me (Portsmouth, England).
My recent column, "Has Heavy Metal Become a Joke?," provoked some very interesting responses — positive and negative. I was surprised by the amount of comments the article received, many of which were very in-depth critiques of my column. This is surprising because it took me only 15 minutes to write — and I was simply thinking out loud, trying convey my opinions in the clearest possible way.
For many guitarists, the pentatonic scale is the first thing you will learn when developing your lead guitar playing. It's incredibly simple and easy to remember. As musicians develop further, they try to move away from playing pentatonics when soloing by adding notes from outside of the scale to break out of the regular shapes or by playing different scales altogether.
Heavy metal has lost all form of legitimacy as musical genre. I believe it has evolved, or devolved, to the point where it has become something so different from what it once was, that it now is a different genre all together. People could argue that music trends change constantly with new generations that influence what is popular. However, jazz is still jazz, blues is still blues, but metal is no longer metal.
If you've been following my blog posts, you will know I recently recorded guitar solos for the new White Wizzard album, The Devil's Cut. I recently got together with my band mate and fellow White Wizzard guitarist, Jake Dreyer, to go over our favorite solos from the album and show you how to play them.
A couple of months ago, I started a studio diary documenting the process of recording a new album with White Wizzard. I covered everything from pre-production to instrument tracking. Now I will discuss the final stages of music production — mixing and mastering. After tracking all the instruments and vocals, the next step is to mix everything into a single stereo track.
I forgot to tell you that in some circumstances, you might find it easier to arrange some of the notes differently than what the tab states in certain sections. As long as you are playing the exact same notes, it is totally fine to rearrange the positions on the fret board in order make it easier for you to play. The tab is just a suggestion for where the notes should be played.
This week, I wanted to take a break from my lesson-style blog posts and take a moment to review a special release, or rather, re-release, I just received in the mail. Imported from England via Rock Candy records, is the newly remastered debut album from power trio/supergroup Blue murder. The band was by formed by guitarist John Sykes and featured bassist Tony Franklin and drummer Carmine Appice.
Vibrato is one of the most expressive techniques for any soloist. It allows you the opportunity to imprint your own touch or feel into any performance. Much like a fingerprint, every guitarist will have his or her own unique and individual vibrato. Many new guitarists may overlook the technique, but as you begin to develop your own style, you will realize it's an extremely powerful technique.