When you first learn the three-note-per-string and/or single position seven-note scale, you learn the patterns starting on the low E string and work your way up to the high E and back. You do this for each of the seven patterns up the neck, practicing and perfecting your scales. This is great! The only problem is, this is how you are training your hands and brain to approach them.
Taking techniques from different instruments and applying them to the guitar can open up a whole new approach to the instrument and add freshness to your playing and ideas. In this lesson, we will look at approaching the guitar in the style of a sitar and Indian mandolin. A sitar has many strings (up to 20, to be exact). Ironically, out of all of these strings, most of the time only one of them is used to do the actual playing.
Originally written for violin, there are many different versions you will find for guitar. There is no, single, master version for guitar, since it wasn't written for the instrument. Learning a few different versions would be a good idea. The different approaches will present varying techniques and interpretations.
The focus of this lesson will be on ornamentation in Celtic music. Most ornamentations are notated as grace notes. A grace note is performed by playing the note(s) as fast as you can, ending on the target melody note. Grace notes are notated as smaller notes preceding the target note.
There are 11 strings on the oud: five courses, or sets, of doubled strings and a single low string, usually a C. It is still widely popular in many places in the world. Learning basic techniques from this instrument can add a cool sound to your playing and maybe help to inspire new and fresh ideas.
Today we have an exclusive demo video of Seymour Duncan's Vise Grip compressor pedal, which was introduced at the 2015 Winter NAMM Show. The video stars guitarist Steve Booke, who also happens to write the "What in the World" lessons for GuitarWorld.com.
The fourth finger is often neglected when it comes to playing guitar. Well, rock/blues guitar, at least. I notice players opt to do wide stretches between their second and third fingers rather than using the fourth. As a result, the fourth finger is very underused and gets weak. This generally begins when someone first starts playing guitar.
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