Musicians Institute, the College of Contemporary Music in Hollywood, California, is going beyond the classroom in fall 2014 with a new paperless “Bring Your Own Device” (B.Y.O.D.) policy and a "flipped classroom" model. The school's blended learning system will deliver music lessons digitally—anywhere, anytime.
As the Black Label Society's leader (and Ozzy's guitarist for more years than anyone else), Zakk Wylde has become infamous for his brew-tal riffage and lethal lead style. Remarkably, though, he also has a soul-stirring softer side.
Hybrid picking—the practice of interspersing flatpicked notes with notes plucked by your middle or ring finger—is a technique that many metalheads mistakenly believe is just for country, blues and jazz players. The fact that it remains underutilized by the shred guitar community means that hybrid picking can be smartly employed as a shredder’s “secret weapon”— just ask Zakk Wylde, John 5, Jason Becker ...
Pete Townshend is a killer tunesmith who has penned such rock classics as “My Generation,” “Baba O’Riley” and “Won’t Get Fooled Again.” But the Who guitarist and band leader is also among the most skilled and influential rock rhythm players in history.
Last month we examined the role of the picking hand, particularly the use of bare fingers, in creating dynamics and adding dimension to your phrasing. Early in the electric blues era, this bare-handed approach was especially popular among “down-home” (rural southern) players, who also developed a variation on bare-fingered technique called chicken pickin’. The musical potential of imitating hens clucking in a barnyard may be somewhat limited, but the technique also opens the door to a variety of funky, percussive phrases.
Of the four Beatles, George Harrison brought to the group an assortment of electric and acoustic guitar approaches, flavors influenced by everyone from Chet Atkins and Carl Perkins to the Byrds and Bob Dylan.
Last month, we analyzed the densely layered rhythmic blend of tresillo, backbeat and triplets that powered many classic New Orleans-based R&B hits. This month, we'll look at the city's unique spin on one of the fundamental grooves of humanity itself: the two-beat.
In the late Fifties, Brazilian guitarist/pianist/vocalist Antonio Carlos Jobim took his fascination with jazz harmony and the guitar compositions of Heitor Villa-Lobos, combined it with influences as varied as composers like Debussy, Chopin, Ravel and Rachmaninoff, and helped give birth to a whole new style: bossa nova. (Translated from Portuguese, bossa nova means the “new way of doing” something.) This fresh-sounding, über-groovy, guitar-centric music (typically played on a nylon-string acoustic, accompanying a vocalist) required fluid fingerstyle chops, flawless time feel, a command of seventh and extended/altered chords—what’s known as “upper-structure harmony”—and the ability to improvise.
American music—blues, jazz, R&B, country and all the rest—were formed from the blending and reblending of African, Caribbean and European musical elements in the social cauldron of these United States. New Orleans, Louisiana—a.k.a. NOLA—was a crucial first point of cultural contact and cited mainly as the birthplace of jazz, but by the early Fifties, New Orleans was also home to a distinctive style of rhythm and blues. The difference was in the rhythm itself. Records coming out of the city began featuring an unusual blend of ingredients like tresillo, triplets, backbeat, two-beat and second line (or parade beat).