News en Shred City! Santa Cruz Premiere "We Are the Ones to Fall" Playthrough Video <!--paging_filter--><p>Earlier this month, Finnish shredders Santa Cruz visited the <em>Guitar World</em> studio in New York City to play "We Are the Ones to Fall," a track off their self-titled 2015 album.</p> <p>They also caused a bit of mayhem and destruction!</p> <p>Check out the new clip below, which features Santa Cruz guitarists Archie Cruz and Johnny Cruz. </p> <p>For more about the band, including their tour dates, new album and more, visit <a href=""></a> and follow them on <a href="">Facebook.</a></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Santa Cruz Videos News Thu, 28 May 2015 18:40:08 +0000 Damian Fanelli 24570 at “The Star Spangled Banner” Played in 10 Styles with Jared Dines and Anthony Vincent <!--paging_filter--><p>YouTuber Jared Dines and Anthony Vincent of “Ten Second Songs” have teamed up and collaborated to create a cover of “The Star Spangled Banner” in 10 different song styles, including one in the form of death metal. </p> <p>Check it out below and let us know what you think in the comments!</p> <p>For more on Jared Dines, follow him on YouTube and Facebook. You can also follow Anthony Vincent on YouTube, Facebook, and Twitter as well.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Anthony Vincent Jared Dines Videos News Thu, 28 May 2015 17:34:54 +0000 Guitar World Staff 24568 at Pat Metheny's 42-String Manzer Picasso Guitar — Video <!--paging_filter--><p>Below, behold the 42-string Picasso guitar!</p> <p>The bizarre instrument, which was built for jazz god Pat Metheny about 30 years ago by luthier Linda Manzer, was inspired by the cubist paintings of its well-known-painter namesake (as in Pablo Picasso).</p> <p>Besides the video below, the guitar can be heard on Metheny's “Into the Dream” and on the albums <em>Quartet, Imaginary Day, Jim Hall &amp; Pat Metheny, Trio Live</em> and more. </p> <p>For more about Manzer, visit <a href=""></a>.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Manzer Guitars Pat Metheny Videos News Thu, 28 May 2015 17:25:53 +0000 Damian Fanelli 21665 at The 25 Greatest Pantera Songs of All Time <!--paging_filter--><p><em>Guitar World</em> celebrates the heaviest of the heavy—from "Revolution Is My Name" to "This Love" ... from "Cemetery Gates" to "Cowboys from Hell" ... </p> <p>Check out our guide to the 25 greatest Pantera songs of all time!</p> <p>Note: This list is from GW's recent Dimebag Darrell tribute issue. To check out a video of our exclusive tour of Dime's guitar vault, home and recording studio, <a href="">step right this way.</a></p> <p><strong>25. “10’s”</strong><br /> <em>The Great Southern Trendkill</em> (1996)</p> <p>One of Pantera’s most haunting compositions, “10’s” comes into focus slowly, floating in on an ethereal, if crusty-sounding, bent-note Dimebag riff. The warped guitars and slow pacing provide an appropriately uneasy environment for a weary vocal from Phil Anselmo, who documents a man “disgusted with [his] cheapness” and destroying himself from the inside out through addiction. </p> <p>An acoustic guitar interlude and a liquid Dime solo that, for a few bars at least, unexpectedly wanders into major-key territory, allow a few seconds of sunshine to poke through the black clouds. But overall, “10’s” is positively chilling and all-consuming in its atmosphere of impending doom.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>24. “Goddamn Electric”</strong><br /> <em>Reinventing the Steel</em> (2000)</p> <p>Pantera’s final studio album didn’t actually reinvent the steel, but thanks to tracks like “Goddamn Electric” they certainly reclaimed their title as the masters of metal heading into the new millennium. This song’s main riff stomps along like Godzilla slowly moshing to “Walk,” and the entire tune wouldn’t have sounded out of place on <em>Vulgar Display of Power</em>. </p> <p>Dimebag’s solo is killer, but the thriller is a guest spot by Slayer’s Kerry King, who delivers a wicked whammy-bar blast to close out the song’s final 45 seconds. Pantera rarely featured guests on their albums, so this appearance by Dime’s blood brother is an unexpected surprise.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>23. “It Makes Them Disappear”</strong><br /> <em>Reinventing the Steel</em></p> <p>“It Makes Them Disappear” kicks off with a psychedelic, cleanly voiced guitar lick, but from there the song quickly descends into a molasses-thick pit of sludge. The downtuned, wobbly guitars and bloated bass, not to mention Anselmo’s raw-throated delivery, suggest a song that could have been tackled just as appropriately by the singer’s doomy southern metal side project, Down. </p> <p>And yet, the final two minutes of the tune are largely a Dimebag showcase, with the guitarist ripping out an incredibly bluesy and melodic solo, albeit one that sounds like it’s being delivered from the depths of a tar pit.</p> <p>“The majority of <em>Reinventing the Steel</em> was recorded with the guitar tuned down a whole step [low to high: D G C F A D],” Dime told <em>Guitar World</em> in early 2000. “The cool thing about this tuning, besides sounding heavy, is that your guitar feels totally different—the strings are real loose and spongy, which means you can get some big-assed bends and killer wide vibrato happening.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>22. “P*S*T*88”</strong><br /> <em>Power Metal</em> (1988)</p> <p>Pantera’s pre-<em>Cowboys</em> albums aren’t particularly highly regarded—even by the band members themselves—but out of all of those efforts <em>Power Metal</em> had more than a few worthy moments. “P*S*T*88” (“Pussy Tight”) is particularly noteworthy as it features one of Dimebag’s rare performances as lead vocalist. </p> <p>The overall recording resembles a mash-up of Judas Priest and <em>Kill Em All</em>–era Metallica, and Dimebag even sounds like the mutant offspring of James Hetfield and Rob Halford, proving that he could have been a frontman if he so desired. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>21. “Planet Caravan”/“Hole in the Sky”</strong><br /> <em>Far Beyond Driven &amp; The Best of Pantera (2003)</em></p> <p>The list of Pantera influences is long and includes bands like Judas Priest, Slayer and even King’s X, Kiss and Van Halen, but Black Sabbath were their biggest influence. </p> <p>They name-checked them in the lyrics to “Goddamn Electric,” and of the six cover songs they recorded in the studio during their career, three of them were Black Sabbath tunes. “Planet Caravan” was originally intended for the <em>Nativity in Black</em> tribute album, but when it was cut due to a record company dispute, they added it to the end of <em>Far Beyond Driven</em>. </p> <p>Pantera’s faithful rendition of “Hole in the Sky” debuted on the Japanese 2001 “Revolution Is My Name” EP along with the non-LP track “Immortally Insane.” </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>20. “Floods”</strong><br /> <em>The Great Southern Trendkill</em> <p>Despite the fact that Pantera called the album that “Floods” appeared on <em>The Great Southern Trendkill</em>, this song sounds an awful lot like grunge (particularly Soundgarden), one of the many musical genres at which the cocky album title takes aim. </p> <p>Regardless, it’s still a very good song, which was made great by what many consider to be the finest guitar solo Dimebag ever laid down in the studio. </p> <p>The sweetly melodic main guitar figure in the intro and ending often gets overlooked, but it’s a fine example of Dimebag’s emotional range, proving that there was much more to his playing than his usual blunt-force trauma.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>19. “Shedding Skin”</strong><br /> <em>Far Beyond Driven</em> (1994)</p> <p>“Shedding Skin” continues the theme of emotional cleansing that Phil Anselmo began on <em>Far Beyond Driven</em>’s previous track, “25 Years.” </p> <p>Only here the singer’s object of ire is not his father but rather a former girlfriend. The song comes crashing in right out of the gate with a choppy, staircase-like unison riff from Dime and Rex. But then it abruptly shifts gears into a mellow verse punctuated by Dimebag’s gently plucked guitar harmonics, over which Anselmo paints a vivid and disturbing picture of a relationship as a scabrous membrane needing to be excised from his body. </p> <p>By the song’s climactic finale, Anselmo finds the only escape is to shed his own skin “to peel you off of me.” Dimebag then punctuates the singer’s cathartic metamorphosis with an appropriately anguished and squealing solo.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>18. “25 Years”</strong><br /> <em>Far Beyond Driven</em></p> <p>Both this song and the same album’s “Becoming” are said to deal with Phil Anselmo’s difficult relationship with his father. But whereas the latter wraps the singer’s paternal purging in a catchy riff and an almost inspirational lyric, “25 Years” is a dark and twisted descent into the deepest recesses of his pain. </p> <p>Anselmo delivers his lyrics to a “weakling” and a “liar” in a monotone bark, and each syllable he utters is backed by a similarly minimal one-note chord hit. It’s a brilliantly corrosive, almost claustrophobic arrangement that finally breaks four-and-a-half minutes in—Dime, Rex and Vinnie open up the song with a quicker groove and Anselmo turns the tables, announcing himself the bastard father to Pantera’s unwashed and unwanted masses of fans. </p> <p>“We’re fucking you back!” he screams repeatedly, exorcising his demons and finding a little bit of redemption in the almighty power of the riff. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>17. “Strength Beyond Strength”</strong><br /> <em>Far Beyond Driven</em></p> <p>Hardcore punk and thrash were always closely related, but rarely did the twain meet more effectively than on “Strength Beyond Strength.” Fans who popped new copies of <em>Far Beyond Driven</em> into their CD players in 1994 and were greeted by the initial sonic assault of “Strength Beyond Strength” can be forgiven for thinking that the Exploited’s latest album was mistakenly inserted in the case. </p> <p>When the breakneck pace slows to a grind a little more than a minute into the song, the mood and attitude becomes unmistakably Pantera, especially after Dimebag unleashes an eerie harmonized guitar interlude about another minute later. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>16. “War Nerve”</strong><br /> <em>The Great Southern Trendkill</em></p> <p>By the time of <em>The Great Southern Trendkill</em>, Pantera were bona fide rock stars. As such, their music and, in particular, Anselmo’s lyrics and actions as a frontman, had started to be put under a mainstream microscope. </p> <p>Among other things, the band and singer had been hit with charges in the media of racism and homophobia, and “War Nerve” was in a way Anselmo’s response to these and other accusations: “For every fucking second the pathetic media pisses on me,” he rants in the chorus, “Fuck you all.” The band backs him up with one of the leanest and most direct arrangements to be found in their post Vulgar-output. </p> <p>In fact, “War Nerve” is a rare instance in which there’s no Dime solo to be found. That said, his brother Vinnie picks up the slack with a vicious and unusually busy drum performance.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>15. “Mouth for War”</strong><br /> <em>Vulgar Display of Power</em> (1992) <p>“Mouth for War” is a prime example of Pantera at the height of their early Nineties powers: Vinnie Paul bashes out a machine-gun beat, Dimebag and Rex pair up on a wickedly intricate yet incredibly catchy riff built on sheets of sliding power chords, and Phil Anselmo barks out a self-empowerment lyric with searing rage and intensity. </p> <p>And the music video, which presented the band mostly in stark black-and-white and with plenty of chaotic strobe lighting for effect, only further cemented their status as the new kings of metal. When people think of Pantera, it is most likely this iteration of the band, led by a shaven-headed, bare-chested Anselmo, that comes to mind. By the time they break into a ferocious double-time groove and Anselmo signs off with the line, “No one can piss on this determination,” only a fool would dare to disagree with the sentiment. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>14. “5 Minutes Alone”</strong><br /> <em>Far Beyond Driven</em></p> <p>When the pissed-off father of a Pantera heckler who was beaten up at a show said that he wanted five minutes alone with Phil Anselmo, the band turned that threat into this song. </p> <p>Of course anyone who knows Anselmo also knows that five minutes alone with him is the last thing anyone would want. The slow, ground-and-pound groove behind this song suggests that Phil would probably take his sweet time delivering the beat down, but while the instigator who influenced this song would probably be screaming for mercy by the song’s end, listeners are begging for more as the riff fades into oblivion.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>13. “Domination”</strong><br /> <em>Cowboys from Hell</em> (1990)</p> <p>Pantera are often seen as the progenitors of groove metal, and you’d be hard pressed to find a more defining example of the style than the first 30 seconds of this classic. </p> <p>In fact, from the raging intro/chorus riff, to the stop-start verse, to the brutal breakdown that ends the song, “Domination” is basically one ridiculously savage power-groove after another. Given this fact, the song was also used as the band’s live set opener during shows in 1990 and 1991, as it was guaranteed to immediately whip a crowd into a batshit-crazy frenzy. As for what is screamed at the very beginning of the song? </p> <p>General consensus points to “Fart stinks like a motherfucker!” Which might help to explain the ferocity with which the band then tears into the opening riff.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>12. “I’m Broken”</strong><br /> <em>Far Beyond Driven</em></p> <p>Pantera wisely placed <em>Far Beyond Driven</em>’s three best songs (“Becoming,” “5 Minutes Alone,” “I’m Broken”) near the album’s beginning. “I’m Broken” was the last of this triple threat, neatly completing the band’s most devastating studio recording hat trick. </p> <p>“I think that ‘I’m Broken’ is the riff of all riffs,” Rex Brown says, and for most Pantera fans it would be hard to disagree. Anselmo compares the song to the blues, but has there ever been a blues song with lyrics as cryptic and critical as “Too young for one’s delusion the lifestyle cost/Venereal mother embrace the loss”?</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>11. “Becoming”</strong><br /> <em>Far Beyond Driven</em></p> <p>Anyone who went to a Pantera concert between 1994 and 2001 knows why “Becoming” is revered by the band’s fans. The combination of Vinnie Paul’s military drum corps–inspired double-kick rumble and Dimebag’s gut-pummeling riff instantly instigated the most violent mosh pits known to mankind, and the energy that filled the room was so electric that no one would have been surprised if thunder clouds suddenly formed. </p> <p>Dimebag’s solo is the ultimate anti-solo, saying more in an obnoxious burst of noise than most players say in entire careers. The way he uses a Whammy Pedal to make his guitar sound like a howler monkey in a Vitamix is simply brilliant. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>10. “The Art of Shredding”</strong><br /> <em>Cowboys from Hell</em> <p>A classic Eighties-style thrasher, “The Art of Shredding” combines the heavily scooped guitar tone and speed-metal attack of bands like Testament and Overkill with the type of meta subject matter and gang-shouted background vocals that have always been Exodus’ stock in trade. </p> <p>In that respect, it’s hardly the most progressive moment on <em>Cowboys from Hell</em>. But with its rollercoaster ride of whiplash riffs and rhythms, it is one of the most enjoyable. Furthermore, Dimebag tops off the proceedings with a gonzo, whammy-filled solo that ably demonstrates that shredding is, in fact, very much an art. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>9. “Revolution Is My Name”</strong><br /> <em>Reinventing the Steel</em> <p>While Dimebag’s atonal guitar howls on this song’s intro may be the weirdest sounds ever to grace a Grammy-nominated song, the remainder of this tune wouldn’t have been out of place on an early Black Sabbath album. </p> <p>Anselmo even sounds a bit like Ozzy in a few parts—perhaps after Ozzy woke up hung over and gargled with benzene and razor blades. Beyond the classic metal melodiousness, what makes this song so damn good is the way it seamlessly darts between dramatic tempo and rhythmic shifts and somehow sounds cohesive. </p> <p>After delivering a note-perfect metal solo, complete with harmonies, Dimebag returns to the groove with sounds that defy transcription, proving revolution was <em>his</em> name.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>8. “Drag the Waters”</strong><br /> <em>The Great Southern Trendkill</em> <p>As one of the most straightforward and definitively Pantera songs on <em>The Great Southern Trendkill</em>, “Drag the Waters” was the obvious choice to be the album’s first single. </p> <p>While it mostly treads familiar ground, it also finds the band growing in new directions. Dimebag’s guitar tone in particular is more massive than ever, and you don’t need to be Bruce Dickinson to love the cowbell that Vinnie Paul lays down with his drum track. </p> <p>Anyone needing a track to explain what Pantera’s “power groove” means would be wise to choose “Drag the Waters,” as it’s heavy as hell, but you can still shake your ass to it.</p> <p>The solo is particularly tasty, as Dimebag goes for more of a slow burn than his usual balls-to-the-wall explosions of speed. “That lead is kinda like an old Van Halen thing, where the band breaks to feature the solo,” Dimebag said in 1996. “Actually, on this one I ended up keeping a lot of the original guide-track stuff I laid down while we were cutting the drums. Sometimes you record something that you plan on redoing later, but then when you listen back to it you decide to keep it because you realize that it’s gonna be real tough to beat!”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>7. “Message in Blood”</strong><br /> <em>Cowboys from Hell</em> <p>This deep <em>Cowboys</em> cut comes on like a demented sonic funhouse, replete with eerie atmospherics, detached voices laughing behind Anselmo’s vocal (with lyrics ostensibly about the Charles Manson murders) and constantly changing tempos and attacks. </p> <p>The first half is an all-out creepfest highlighted by Anselmo’s blood-curdling screams. Then the tone abruptly shifts as Dimebag steps up with an intensely layered and textured solo, which only leads into more instrumental twists and turns. </p> <p>A disorienting and disturbing prog-metal death trip.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>6. “Walk”</strong><br /> <em>Vulgar Display of Power</em> <p>Pantera wasn’t the kind of band that radio warmed up to during the Nineties, but in the rare instances when Pantera did get airplay it was usually this song. </p> <p>Dimebag often described Pantera’s music as “power goove,” and “Walk” may be the best example of what he meant, even though it swaggered along to an unorthodox 12/8 time signature. The chromatic open low E string and first-fret riff seems simpler than it actually is, thanks to Dimebag’s expert string bends, salacious swing and impeccable feel. </p> <p>To match the menace of Phil Anselmo’s Travis Bickle–inspired taunts, he tuned his guitar down a little more than a whole step, until the strings growled through his solid-state Randall amps.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>5. “This Love”</strong><br /> <em>Vulgar Display of Power</em> <p>Back in 1992, “This Love” was a staple video on MTV and even climbed to Number 6 on the Billboard Hot 100 singles chart. </p> <p>With a verse consisting of watery guitar arpeggios and Phil Anselmo’s crooned vocals offset by a mammoth, aggro chorus, the song signified Pantera’s big mainstream power-ballad moment—except other power ballads didn’t feature lyrics like, “I’d kill myself for you/I’d kill you for myself,” or a video in which a prostitute murders an overly frisky john in the back of a taxicab. </p> <p>The song also wraps with a breakdown so crushingly slow and heavy that it could make a thousand metalcore bands wet their pants. But these moments still didn’t save the band from ridicule at the hands of the ultimate metalheads of the day, Beavis and Butt-head: “Is that a tear, Pantera?” taunted Beavis while watching the “This Love” video in an episode of the MTV cartoon. “Is daddy’s little girl upset?”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>4. “Shattered”</strong><br /> <em>Cowboys from Hell</em> (1990) <p>One listen to Phil Anselmo shrieking his way through the verses on “Shattered” might lead you to wonder whether somebody slipped a Judas Priest disc into your Pantera jewel case. </p> <p>But the singer’s histrionics are just one of many ways in which this <em>Cowboys</em> track deviates from the Pantera norm. From Anselmo’s vocals to Dimebag’s nimble, racing riff to his uncharacteristically traditional-sounding shred solo, “Shattered” is three-minutes-and-twenty-one seconds of steroid-injected, Eighties-style Technicolor metal, and one of the few post-major-label nods to Pantera’s “glam era” output. </p> <p>And yet, while the song is miles away in tone and temperament from, say, “Suicide Note Pt. II,” it’s hardly a puff piece. The jackhammer pace and explosive guitar pyrotechnics (both Abbott brothers shine here)—not to mention its sheer “otherness” in relation to the rest of the post–Power Metal Pantera catalog—make “Shattered” something of a hidden and enormously entertaining gem. </p> <p>As an added bonus, the song is spackled with a nice helping of Eighties-metal cheese: Anselmo’s castrato screams on the song’s title (harmonized for our pleasure); Dime’s whiz-bang outro solo; and a finale that climaxes with the sound of—you guessed it—a piece of glass being shattered.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>3. “A New Level”</strong><br /> <em>Vulgar Display of Power</em> (1992) <p>Though it was never issued as a single, “A New Level” is arguably as well known as any of the <em>Vulgar Display of Power</em> cuts that were. Its intro riff, built on a slowly ascending barrage of crushing chromatics, is as iconic as the opening of “Walk” or “Mouth for War.” </p> <p>The song also features some subtle shifts in dynamics, such as the chromatic half-step modulation that occurs as Anselmo’s vocal enters at the verse, and the way Dimebag varies his attack on the intro, sometimes playing the chords wide open, at other times with slight palm muting and yet at others with an extremely tight chunk. Of course, subtle is hardly the word to describe “A New Level.” Rather, it’s a classic Pantera rager that finds the band in full-on anthem mode, with Anselmo issuing a call to arms for the shit-, pissed- and spit-on metal masses. But it was Dime’s riffing that also helped the tune reach beyond those metal masses. </p> <p>On the 2008–2009 Sticky &amp; Sweet tour, Madonna ended performances of her retro-disco hit “Hung Up” by leading her band through a few bars of the song’s intro. What’s more, the Material Girl herself even riffed along on a black Les Paul. A new level, indeed.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>2. “Cemetery Gates”</strong><br /> <em>Cowboys from Hell</em> (1990) <p>As far as heavy metal epics go, “Cemetery Gates” belongs in the company of celebrated classics like Black Sabbath’s “War Pigs” and Metallica’s “One.” </p> <p>Clocking in at 7:03, it’s the longest studio song Pantera recorded. It’s also by far the pinnacle songwriting achievement of Dimebag Darrell, Phil Anselmo, Rex Brown and Vinnie Paul when they worked together in Pantera, with a masterfully structured arrangement that seamlessly ebbs and flows to support the eerie mood before it builds to its dramatic conclusion. </p> <p>Dimebag’s virtuoso performance, from his melodic solos to the harmonic whammy-bar screams at the song’s climax, features some of his finest work. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>1. “Cowboys from Hell”</strong><br /> <em>Cowboys from Hell</em> (1990) <p>With its razor-sharp riff, pummeling groove and ominous “we’re taking over this town” refrain, “Cowboys from Hell” started life as a rallying cry for the reborn version of Pantera circa 1989. </p> <p>As the first track on Pantera’s major-label debut of the same name, it quickly became the band’s anthem for the rest of its existence. The song proclaimed in no uncertain terms that Pantera meant serious business as the next contenders to metal’s throne, while Dimebag Darrell’s delicious solo boldly announced that a new guitar hero was in town and loaded for bear.</p> <p>Although “Cowboys from Hell” was allegedly the first song that Pantera wrote for the album, by the time Pantera finished recording <em>Cowboys from Hell</em> they contemplated cutting it from the final version. The band felt that the song seemed too tame and commercial compared to the album’s other material, particularly the newer songs they wrote in the studio while recording. </p> <p>Pantera’s manager, Walter O’Brien, convinced them otherwise. “I knew that Pantera were going to be called the Cowboys from Hell from then on,” he says. </p> <p>“Every great band has a nickname. Bruce Springsteen is the Boss. ZZ Top is that Little Ol’ Band from Texas. Cowboys from Hell was perfect for them. I rarely insist on anything creative from a band, but I just knew it was a massive song. Dimebag put the CFH logo on everything, and he lived that persona.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/pantera">Pantera</a> </div> <div class="field-item even"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> </div> </div> </fieldset> Dimebag Darrell February 2015 Pantera Guitar World Lists News Features Magazine Thu, 28 May 2015 16:10:27 +0000 Richard Bienstock, Chris Gill 24535 at July 2015 Guitar World: 25 Greatest Lynyrd Skynyrd Songs, Kirk Hammett, Whitesnake, Slayer and More <!--paging_filter--><p><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWJUL15">The all-new July 2015 issue of Guitar World is available now!</a></p> <p><em>Guitar World</em>’s July 2015 issue features <strong>Lynyrd Skynyrd</strong>. As they gear up to release their latest live record, <em>One More for the Fans!,</em> guitarist <strong>Gary Rossington</strong> reflects on his career as the sole surviving original member of the Southern rock giants. </p> <p>Then, in an excerpt from his new biography on the rise of <strong>Lynyrd Skynyrd</strong>, <em>Whiskey Bottles and Brand-New Cars: The Fast Life and Sudden Death of Lynyrd Skynyrd</em>, author <strong>Mark Ribowsky</strong> provides a harrowing account of the 1977 plane crash that rocked the music world.</p> <p>Also, from "Free Bird" to "That Smell" and "Swamp Music" to "Call Me the Breeze," we pay tribute to the legends of Southern rock by ranking their <strong>25 best tracks</strong>. </p> <p>Also in the issue, <em>Guitar World</em> gets freaky with <strong>Kirk Hammett</strong> as the second annual Kirk Von Hammett's Fear FestEvil, the Metallica guitarist's star-studded celebration of all things metal and horror. </p> <p>Finally, <em>Guitar World</em> presents a selection of 15 of the tastiest <strong>seven- and eight-string axes</strong> on the market today.</p> <p>PLUS: Tune-ups: <strong>Whitesnake play Deep Purple, Slayer in the studio, Mark Tremonti, Kitty, Daisy &amp; Lewis and more,</strong> Soundcheck: <strong>Eventide</strong> H9 Max multi-effect pedal, <strong>EVH</strong> Wolfgang WG Standard electric, <strong>Orange</strong> Rockerverb 100 MKIII amp and much more!</p> <p><strong>Five Songs with Tabs for Guitar and Bass:</strong></p> <p>• Lynyrd Skynyrd - "I Know A Little"<br /> • System of a Down - "Chop Suey!"<br /> • Grateful Dead - "Sugar Magnolia"<br /> • 38 Special - "Hold On Loosely"<br /> • Metallica - "Stone Cold Crazy"</p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWJUL15">The all-new July 2015 issue of Guitar World is available now at the Guitar World Online Store!</a></strong></p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-19%20at%201.20.05%20PM_0.png" width="620" height="805" alt="Screen Shot 2015-05-19 at 1.20.05 PM_0.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/lynyrd-skynyrd">Lynyrd Skynyrd</a> </div> </div> </div> </fieldset> July 2015 Lynyrd Skynyrd News Features Thu, 28 May 2015 16:03:46 +0000 Guitar World Staff 24567 at Hear Metallica's "Master of Puppets" with the Snare Sound of "St. Anger" — Video <!--paging_filter--><p>Ever wanted to hear Metallica's "Master of Puppets" with the drum sound of "St. Anger"? Probably not. </p> <p>But in case curiosity strikes you, YouTube user data_dreams 2000 has created a mix of "Master of Puppets" with the infamously dull drum sound of "St. Anger." </p> <p><em>St. Anger</em> is one of the least-loved items in Metallica's discography, and its flat drum sound certainly hasn't helped its standing. Ergo, hearing the much-criticized drums of <em>St. Anger</em> transplanted onto one of Metallica's most famed tracks is a strange experience, to say the least.</p> <p>Check it out for yourself below, and let us know what you think in the comments and on Facebook!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> Master of Puppets Metallica St. Anger News Thu, 28 May 2015 15:35:07 +0000 Jackson Maxwell 24566 at The Rolling Stones Premiere Alternate Version of "Dead Flowers" — Video <!--paging_filter--><p>The Rolling Stones have premiered an alternate version of "Dead Flowers" that will appear on the upcoming reissue of the band's legendary 1971 album, <em>Sticky Fingers</em>. </p> <p>This newly unearthed version is an interesting alternate, in that it's both bluesier and more hard-edged than the country-fied take that ended up on <em>Sticky Fingers</em>. </p> <p>The reissue of <em>Sticky Fingers</em> is due June 9 and also will feature a version of "Brown Sugar" recorded with Eric Clapton, an acoustic version of "Wild Horses" and alternate takes of "Bitch" and "Can't You Hear Me Knocking." </p> <p>Check out the alternate take of "Dead Flowers" below, and let us know what you think in the comments and on Facebook!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/keith-richards">Keith Richards</a> </div> </div> </div> </fieldset> The Rolling Stones News Thu, 28 May 2015 15:31:10 +0000 Jackson Maxwell 24565 at Guitar Tricks: Eight Things You Need to Know About Arpeggios <!--paging_filter--><p>As you advance in your guitar studies, you'll surely come across the term "arpeggio." </p> <p>Arpeggios are a great way to add color and complexity to your playing. You can make riffs out of them, use them in solos or even create melody lines with their fluid sound. </p> <p>Nearly all of the greats use arpeggios. Yet, if you're like a lot of guitarists, you might be shying away from them because you fear being overwhelmed by the "Twin Ts": theory and technique. If you have a basic understanding of how chords work, though, it's high time to get your feet wet. </p> <p>Here are eight things you need to know to help demystify the arpeggio. </p> <p>01. <Strong>What an arpeggio is exactly</strong> The word arpeggio (ar-peh-jee-oh) comes from the Italian word arpeggiare, which means "to play a harp." (If you can visualize harpists, they often articulate notes by plucking the strings one at a time.) Arpeggios, often called broken chords, are simply notes from a chord played individually instead of strummed together. </p> <p>02. <strong>What arpeggios can do for you</strong>. Arpeggios create a fast, flowing sound. Besides using them for speed in playing, arpeggios add a kick to improvisation skills. Because an arpeggio contains all the notes of its chord, you can use them in your solos and link them to what's going on in the chord structure beneath you to create cool sounding licks. Arpeggios always sound good over their matching chord in a progression, therefore, they generally form the melodic home bases and safe notes for improvising guitarists. <a href="">This guitar chord chart will help visualize the notes of each arpeggio on the guitar neck.</a></p> <p>03. <strong>Scales vs. arpeggios.</strong> Let's clear up any confusion you might have between scales and arpeggios. Scales are a series of notes played one by one that fit sonically within a particular key signature (e.g., G major scale would be G, A, B, C, D, E, F#). Arpeggios, on the other hand, are a series of notes played one by one that consists of the notes within a particular chord (e.g., G major arpeggio would be G, B, D). Like a scale, an arpeggio is linear: it's a set of notes you play one at a time. Unlike scales that contain some extra notes not always played in chords, arpeggios use only the notes found in a single chord. Both scales and arpeggios can be played in ascending, descending or random order.</p> <p>04. <strong>Arpeggio shapes.</strong> As with scales, there are a variety of shapes to learn when playing arpeggios. There are generally five CAGED shapes for each arpeggio, except the diminished 7th, for which there is just one. Learn arpeggios in different positions on the neck so you become familiar with the shape of the arpeggio rather than concentrating on which frets to put your fingers in. Learn the shapes one at a time. Although you need to get all five of the shapes down—eventually—it's far better to be able to play one perfectly than five poorly. Practice moving from one arpeggio shape to another, back and forth and back and forth.</p> <p>05. <strong>Which arpeggios to learn first.</strong> The best guitar arpeggios to learn first are the major triad (1, 3, 5) and the minor triad (1, b3, 5). The major and minor triads are the most common and most used guitar arpeggios in all of music. While a triad contains only three notes, an arpeggio can be extended with chords like a major seventh, a 9th, 11th, 13th, etc., giving you endless possibilities.</p> <p>06. <strong>Different picking styles.</strong> There are several ways you can play arpeggios—alternate picking, legato, <a href="">hammer-ons</a> and <a href="">pull-offs</a>, sweep picking and tapping are among them. (For the more experienced player, there also are lead techniques you should be confident with for playing arpeggios at higher speeds, such as string skipping and finger rolling.) Experiment with each way of playing these arpeggios to see which one works best for you and your particular style. </p> <p>A note here about fingerpicking: While fingerpicked chords are technically arpeggios since the chords are broken up, the individual notes aren't typically muted after they're played and thus ring together. The listener can literally hear the entire chord from the vibrations of each individual note. Arpeggios typically only have one note playing at any given time and are a slightly different idea from broken chords. </p> <p>07. <strong>Grab the arpeggio by the "root."</strong> When you're brand new to arpeggios, you always want to start and end on a root note (the note upon which a chord is built. Literally, the root of the chord.) This will help train your ears to hear the sound of the scale. Start on the lowest pitched root note, play up as far as you can, then go back down as low as you can, and then back up to the root note.</p> <p>08. <strong>Form and speed.</strong> To play arpeggios, you should mute each note immediately after picking it by lifting the fretting finger. This will keep the notes from "bleeding" into one another and sounding like a strummed chord. Every note needs to sound individually. Start off slowly. Perfect your form before you add speed to the mix. You don't want to develop bad habits that you will have to correct later. </p> <p>For more on playing arpeggios, give <a href="">some of these "how to play arpeggios" guitar lessons</a> a try, as well as Ben Lindholm's <a href=";s_id=1310">"10 Ways to Play Arpeggios."</a> </p> <p><em>Kathy Dickson writes for the online guitar lesson site <a href="">Guitar Tricks.</a></em></p> Guitar Tricks Blogs News Lessons Thu, 28 May 2015 14:47:20 +0000 Kathy Dickson 22866 at Milk Carton Kids Guitarist Kenneth Pattengale Talks Tone, Playing in a Duo and New Album, 'Monterey' <!--paging_filter--><p>The Milk Carton Kids' Kenneth Pattengale and Joey Ryan are studied craftsmen of the folk tradition. </p> <p>Over the course of their five years together as a band, they have mastered the delicate vocal harmonies, sophisticated songwriting and subtle musical interplay set forth by seminal folk duos such as Simon &amp; Garfunkel or Gillian Welch and David Rawlings. </p> <p>Words like "enchanting" and "haunting" get tossed around when describing this intimate format, but the Milk Carton Kids have more than earned such distinctions.</p> <p>The two singer-songwriters formed the group in 2011 and promptly hit the road, touring the country. </p> <p>Since then, they have earned numerous accolades, including a Grammy nomination for <em>Ash &amp; Clay,</em> the 2014 Group of the Year Award from the Americana Music Association and a spot in the T Bone Burnett and Coen Brothers-produced concert film documentary, <em>Another Day/Another Time: Celebrating the Music of ‘Inside Llewyn Davis’</em>—in which their performance literally moved Marcus Mumford to tears. </p> <p>When first hearing the Milk Carton Kids, Pattengale’s guitar jumps out immediately. His counterpoint accompaniment is tasteful and undeniably impressive, utilizing a mix of cross-kicking, double-stops and single-note lines to create an elegant style that has made him one of the most exciting contemporary voices on the acoustic guitar. </p> <p>I spoke with Kenneth about achieving tone, his sense of harmony, playing in a duo and recording the Milk Carton Kids’ new album, <em>Monterey.</em></p> <p><strong>GUITAR WORLD: You play a very small-bodied acoustic guitar. What model is it?</strong></p> <p>It’s a Martin 0-15 from 1954. Outside of the little turn-of-the-century parlor guitars and the guitars that predate the OM model, it’s the smallest short-scale guitar Martin has made in the modern era. It's funny; yesterday we were doing a thing with Béla Fleck in Nashville and he walked by the guitar and said, “What, did your guitar shrink in the dryer?” </p> <p>So it’s from ’54 and it’s kind of beat to shit. I bought it off a lady on the Internet, sight unseen. I’ve bought a number of guitars that way, but this one just seems to have its own thing. And after touring it for five years with this band, it’s developed a kind of tone that’s hard to replace when I’m swapping guitars in and out. Every time that one’s in the mix, it seems to be saying the right thing.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>You incorporate a ton of single-note lines into your playing while always retaining a very even, full tone. I know the bluegrass guys have a very specific approach to achieving their tone on an acoustic instrument, but you seem to be going after something different.</strong></p> <p>I feel like tone is the most important thing. My impression of the bluegrass thing is really funny. I think those players are really precious about tone, but often times I feel like those guys are relying on their instrument more than their technique in a strange way. That big, clear, open, bell dreadnought sound you hear out of all those guys is such a particular thing. For me, maybe I had access to too many guitars, or maybe I didn’t have an ear for it … to feel comfortable in what I was playing, the only thing I could manipulate or change was just my technique. </p> <p>We’ll see if it hurts me in the end, but I think if there’s anything that sets me apart from other people is that when I know that I like what’s coming out of my instrument, it’s because literally I press down on the fingerboard harder than most players. I’ve always found that to get a really warm, sustained and clear tone that’s still sort of real and gritty, in order to get that out of the instruments I play, I always have to really take that string across the frets. </p> <p>I guess you could compare it to the way you need to make sure joints in woodworking are sound. When you glue two pieces of wood together, the closer you can get them to existing as a fundamental structure, and the more you create that bond, the more structural integrity it has. In a metaphorical way, that holds true in my mind for the guitar. The more you can establish a totally firm intentionally with which you play, and in how that’s represented physically, the truer it sounds. </p> <p>But then again I don’t know … I might be shooting myself in the foot. I might not be able to play the guitar when I’m 60 [laughs].</p> <p><strong>Is that something you’re aware of while playing? I’ve talked before with Julian Lage, whom I know you produced a record with, and he spoke of having a similar intentionality to his playing.</strong></p> <p>I think I’m more aware of it when I’m not playing. If I don’t play the guitar for a few weeks, and then I start to play again, the first four or five days I’m in excruciating pain. My calluses go away and my hand cramps up and feels overused. The opposite is like Joey, who doesn’t have light strings on his guitar, but to get the sound he gets out of his instrument he doesn’t have to press the guitar as hard. He can go months without playing and then do some strumming and it won’t really matter. </p> <p>When I’m actually playing and in the zone and not distracted by anything, I think I’m far enough in where I don’t have to think about technique anymore. When you’re performing, technique probably isn’t a good thing to focus on because you might miss some artistic information. </p> <p>You mentioned Julian; I’ve never had more conversations about technique with anyone than Julian. Not necessarily about playing the guitar but everything that surrounds playing the guitar. He’s given a lot of thought and made a lot of personal choices and corrections based on body posture and breathing and all of these theoretical ideas about what it means physically to play the guitar. Obviously, when you hear that guy play the guitar, anything that’s going into it is valuable information because what’s coming out of it is pretty astounding. </p> <p><strong>You have such an interesting and sophisticated sense of harmony in your playing. I hear half-step moves, close intervals, 9ths and 13ths. How did you develop this sound?</strong></p> <p>I think it comes from having global influences. I spent long stretches listening to Tom Waits recordings, long stretches listening to Duke Ellington recordings—composers that seem not to be afraid to work in the margins. Duke’s a perfect example of where there’s so much intentionally, and clearly composition, but he’s also not afraid to challenge the ear. </p> <p>Secondarily, not to be bashful about it, but I’m not the most consistent guitar player around. I feel like I kind of backed into this job. Joey and I started a band where there are only two guitars and two voices. There are a few ways to arrange those four elements, and to our ear the best way is to really be interesting with those four things. When we’re striving to sing as one with our voices, and Joey’s fundamentally providing rhythm, there’s all this wide-open space for me to play the guitar as counterpoint in and around that. There’s a lot of room to fill there and I guess I was the guy for the job. </p> <p>And I’m not the greatest guitar player, so a lot of that comes from trying to be ambitious on the guitar and then landing in the wrong place and having to find my way out of it while trying to make it musical. In that a lot of discovery happens. Sometimes I’d land in the wrong place but I’d really like how it sounded and what it did for the music. </p> <p>In some ways this feels like a running experiment for me trying to seek out the guitar in the public forum. I’ve also got a band mate and collaborator who can tell me if I sound shitty or if I’ve gone too far. I’m not necessarily stuck in my own world thinking this stuff sounds great or not. There’s always somebody else to tell if it’s working. </p> <p><strong>Even though you play a lot of very defined single note lines, it never sounds like you’re playing “lead guitar." It seems like you always make an effort to accompany the song even while you’re doing all this cool guitar stuff.</strong></p> <p>Yeah and that’s intentional. When we perform we do maybe 20 songs, and of the those 20, there are only ever two or three songs where we get to a point and it feels like, “Oh and now for a guitar solo.”</p> <p>There’s a song of ours, “Girls Gather Round” that has a guitar solo in the middle. But it’s really only there because the structure of the song is so traditional that when you get to that point in the song, everybody knows that it’s time for the guitar solo. </p> <p>We’re conscious of writing parts in our songs, sections that while they’re instrumental, usually have different chord patterns than in the verses and chorus. Sometimes these songs, over the course of a year or two will change from the recorded version to something we feel more comfortable in or something that can be lightly improvised around. Throughout that process we try not to reach points in songs where it’s just time for me to show off on the guitar. </p> <p>First I’m not capable of that, but more importantly, we found to have a clear idea of what the direction of my guitar part is really strengthens the songwriting. Or at least it gives an identity to the song that without it our band doesn’t actually work. It’s never supposed to feel like a guitar solo. It’s exactly like you said, it’s supposed to feel like accompaniment; it’s supposed to feel like it’s contextual and that it’s purposeful and serves the song. </p> <p>If somebody was going to pick guitar solos over our tunes there are plenty of other guys that would do that better. Julian Lage or Elbridge or Rawlins can all play a way better guitar solo than I can. </p> <p><strong>For the new album, I read you recorded it in empty rooms and halls to utilize their natural reverb. Was that the concept for making this record?</strong></p> <p>You know, that’s actually how I thought about the Critter [Chris Eldridge] and Julian album. That duo-guitar thing is a format that’s happened a few times, and my frustration with those recordings is that it seems like those type of players, who are so good and so detailed, the production aesthetics are always … you get this really close-mic’d, precise, pristine sound. It sounds so close and detailed; it’s hard for me to hear the context when I listen to those. </p> <p>I wanted to get them into a room where I could back all the mics off so that the context would be more firmly established before the listener hears it. In fact, we recorded that album in the middle of the tour that Joey and I recorded our album on. It was the same recording rig, and I found a hall in Easton, Maryland, to take them into. What ended up happening, standing on stage in this empty room with all of this reverb, is that all of a sudden everything was different. Just playing guitar sounded different than playing in the studio or sitting on the edge of your bed. You’d strike the guitar and hear the sounds in just an entirely different way. And it seemed to not only make you play differently, but that different context alone painted the whole picture differently.</p> <p>For Joey and me, it was important because we’ve done close to 500 shows, and we’ve only been in the studio eight days over those five years. At this point, he and I are much happier thinking about our accomplishments onstage rather than our accomplishments in the studio. And we’ve spent so much damn time out there; it occurred to us, “Why don’t we just record it here?” We thought it would feel a lot more natural and take away the preciousness of what going into the studio means. Every time you go into the studio, everyone gets emotionally psyched up, and you can’t expect that it’s not going to change what you do. </p> <p>I know that if I sit down at the studio and try to cut a song for three hours, knowing that at end of it I’m going to have to move on and that’s going to be the one, it means that I’m less ambitious playing the guitar and that sometimes I’m thinking about the wrong things—worrying about how the guitar sounds rather than thinking about how to make the guitar sound good.</p> <p>On that tour, I think we played 55 shows. We’d set up the recording studio every day on stage in these halls and play for a few hours and then take it down. We didn’t even listen to anything for about six months. So during that whole time we never thought, “Oh, this has got to be the one,” or “We gotta play this right.” Instead, we’d set up for the day and either we’d play or we wouldn’t. </p> <p>When we went back and listened, we found that the songs sounded totally different than if we were in the studio and precious about it. As a result, I think it’s much more reflective of what we do every day. It captures a side of our music that definitely hasn’t been captured on any of the previous records. But more importantly, it represents what we think we’re good at and how we think we found it. </p> <p><em>For more about the Milk Carton Kids, visit <a href=""></a></em></p> <p><em>Ethan Varian is a freelance writer and guitarist based in San Francisco. He has performed with a number of rock, blues, jazz and bluegrass groups in the Bay Area and in Colorado. <a href="">Follow him on Twitter.</a></em></p> Acoustic Nation Kenneth Pattengale The Milk Carton Kids Interviews Blogs Interviews News Features Wed, 27 May 2015 20:51:31 +0000 Ethan Varian 24561 at Betcha Can't Play This: The Commander-In-Chief Revisits "Introduction and Rondo Capriccioso" — Video <!--paging_filter--><p>Earlier this year, premiered a new performance video by the Commander-in-Chief, a Norwegian seven-string guitarist who lives in the U.K.</p> <p>The video was a <a href="">performance clip of Camille Saint-Saëns' "Introduction and Rondo Capriccioso" as played by the Commander-in-Chief and classical guitarist Craig Ogden.</a></p> <p>Earlier this month, the Commander-in-Chief visited <em>Guitar World</em>'s basement studio in New York City to shoot several videos. Among them is a new "Betcha Can't Play This" clip based on "Introduction and Rondo Capriccioso," which Saint-Saëns wrote in 1863 for virtuoso violinist Pablo de Sarasate; the Commander-in-Chief arranged the piece for seven-string guitar. </p> <p>"This is my favorite song of all the classical ones I have recorded," said the Commander-In-Chief in February. "It has a very sad but also unpredictable and playful vibe to it." You can check out the video and transcription below.</p> <p>"Introduction and Rondo Capriccioso" can be found on the Commander-in-Chief's new album, <em>2 Guitars: The Classical Crossover Album</em>, which she recorded with Ogden. Since late 2014, has premiered several songs (and videos) from <em>2 Guitars</em>, including <a href="">"Introduction and Rondo Capriccioso,"</a> <a href="">Niccolo Paganini's Caprice No. 24</a>, <a href="">"Por una Cabeza,"</a> and <a href="">an original song called "Let It Go."</a></p> <p><strong>For more information on the album and the Commander-in-Chief, visit <a href=""></a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Betcha Can&amp;#x27;t Play This: Commander-in-Chief Revisits on Scribd" href="" style="text-decoration: underline;" >Betcha Can&amp;#x27;t Play This: Commander-in-Chief Revisits</a></p> <p><iframe class="scribd_iframe_embed" src=";view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_21547" width="100%" height="600" frameborder="0"></iframe></p> Betcha Can't Play This The Commander-In-Chief Videos Betcha Can't Play This News Wed, 27 May 2015 19:34:09 +0000 Guitar World Staff 24560 at Want a Career in the Music Industry? Six Things You Should Consider <!--paging_filter--><p>If you dream of having a successful career in today's competitive music industry, you'll want to start at the right place. That means thinking about gaining the knowledge, skills and experience that can only be taught at a music college.</p> <p>Musicians Institute, the College of Contemporary Music, has a state-of-the-art campus in the epicenter of the entertainment industry: Hollywood, California. The school's newly revised, hi-tech curriculum was designed by MI's vice president of Academic Affairs—experienced touring musician, session drummer and educator Donny Gruendler.</p> <p>Musicians Institute has a variety of programs to match your needs and interests. No matter where you decide to study music, knowing what it takes to have a successful career in the music industry should be your starting point. </p> <p><strong>MI's new e-book, <em><a href="">6 Things You Should Consider When Choosing a Music College,</a></em> is full of useful pointers!</strong></p> <p><a href="">You can check it out here.</a></p> <p><strong>For more about Musicians Institute, visit <a href=""></a></strong></p> Musicians Institute News Wed, 27 May 2015 18:48:41 +0000 Guitar World Staff 24559 at LessonFace with John Heussenstamm: Introduction to Electric Blues Guitar — Video <!--paging_filter--><p> <strong>This video and article offer introductory electric blues guitar concepts from guitarist and music educator John Heussenstamm. Author and co-author of multiple widely distributed books and videos from major music education publishers, and recipient of more than 10 million views on YouTube, Heussenstamm now can be reached for live online lessons via <a href="">Lessonface.</a></strong></p> <p>As you can see in the brief video below, the addition of certain key techniques can add a great deal of expression to your playing. In this video, I demonstrate some simple introductory concepts using the first position of the A minor pentatonic scale.</p> <p><img src="/files/imce-images/1-a-minor-scale.jpg" width="620" height="152" alt="1-a-minor-scale.jpg" /></p> <p>I also discuss how 7th chords allow you to interact with the major and minor pentatonic scales, and I briefly demonstrate the difference between these sounds.</p> <p><img src="/files/imce-images/2-common-chord-inversions.jpg" width="620" height="192" alt="2-common-chord-inversions.jpg" /></p> <p><img src="/files/imce-images/3-vibrato-riffs.jpg" width="620" height="180" alt="3-vibrato-riffs.jpg" /></p> <p>Of course, there's a lot more to learn after you digest this video. Before we can explore all the possibilities related to the electric blues style of guitar playing, we need to be familiar with concepts that relate to positions and keys. </p> <p>Even if we feel we are getting good at the techniques of the blues, such as hammer-ons, pull-offs, sliding, bending, vibrato, etc., sooner or later we have to focus on the different keys and ways to correctly position ourselves. For me, the most important thing to know is where the root notes are in the key the song is in. I chose the key of E for this lesson because there are more E notes on the fretboard due to open E strings. The first line shows E notes up and down the neck.</p> <p><img src="/files/imce-images/4_2.jpg" width="620" height="152" alt="4_2.jpg" /></p> <p>Did you notice an E note can be played on every string? Did you know the same E note or unison note can be played on different strings? The first five notes were all in the same register. The other E notes are organized in octaves.</p> <p>For me the best way to remember where these notes are and the significance of knowing that is learning how to play the same melody in different positions. The following nine riffs or melodies are all the same but in different positions and some in different octaves.</p> <p><img src="/files/imce-images/5_1.jpg" width="620" height="438" alt="5_1.jpg" /></p> <p>This knowledge really can boost your confidence. When you know where the root notes are in any key, you have the foundation points for improvisation and chord building. If you wanted to play in the key of F move everything up one fret. It's as easy as that. </p> <p>The next challenge would be to take a riff or melody and move it into other positions like I did without examples or any help. Find the E note within the riff and move it to another E note and repeat or recreate the same melody. If you succeed at this with full comprehension of what you are doing you're on your way to becoming a competent player. For me this became really important when I got interested in jazz.</p> <p><img src="/files/imce-images/6_0.jpg" width="620" height="150" alt="6_0.jpg" /></p> <p>Blues riff between two octaves. There's more to come in the future. </p> <p><img src="/files/imce-images/7.jpg" width="620" height="152" alt="7.jpg" /></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>If you found this information to be helpful and wish to continue studying along these lines, please follow our future articles with John Heussenstamm and look for Heussenstamm on <a href="link">Lessonface.</a></strong></p> <p><em>John Heussenstamm offers live online lessons and classes on <a href=""> Learn more.</a></em></p> John Heussenstamm LessonFace Videos Blogs News Lessons Wed, 27 May 2015 18:12:39 +0000 John Heussenstamm 24558 at B.B. King Tribute: 10-Year-Old Guitarist Toby Lee Plays "The Thrill Is Gone" — Video <!--paging_filter--><p>Here's one we intended to share last month, when blues legend B.B. King was still in hospice, suffering from diabetes-related health issues.</p> <p>It's a clip of 10-year-old U.K. guitarist Toby Lee performing an instrumental version of King's "The Thrill Is Gone" as a get-well tribute to his favorite guitarist.</p> <p>The video went viral, thanks to Joe Bonamassa and Gibson Guitar, both of whom shared the touching clip via social media. At this point, the video has been watched more than 5 million times.</p> <p>"I put up a tribute to B.B. King because at that moment he was my favorite guitarist," Toby said. "Joe Bonamassa helped. He's also one of my favorite guitarists, and he's really, really good, and I nearly fell down the stairs because I was so shocked [that he shared it]."</p> <p>King died May 14 at age 89.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/bb-king">B.B. King</a> </div> </div> </div> </fieldset> B.B. King Toby Lee Videos News Wed, 27 May 2015 16:53:31 +0000 Guitar World Staff 24557 at Review: EarthQuaker Devices Afterneath Reverb Pedal — Video <!--paging_filter--><p><strong><em>GOLD AWARD WINNER</em></strong></p> <p>While many reverb pedals can reproduce traditional spring-tank reflections or heavenly cathedral-like dimensions, reverb is most often handled as a “set and forget” effect, especially if you play splashy surf guitar or just add a smidgen of ambience to your overall guitar sound. </p> <p>And while that common approach is sufficient for many guitarists, some of us crave the unconventional when it comes to exploring the depths of the effect’s cavernous sound. </p> <p>And for that purpose, the EarthQuaker Devices Afterneath is a novel stomp box that combines bottomless pits of reverb with self-oscillating warp-driven delays, which in turn, create spatial soundscapes unlike anything you’ve ever heard.</p> <p><strong>FEATURES</strong> One look at the pedal’s screen-printed wizard-in-a-cave graphic makes it instantly clear that some otherworldly magic will be conjured from it. The Afterneath is housed in a sturdy chassis with a heavy-duty footswitch, a bright pale blue on/off LED and six controls crammed onto its compact surface. The length, diffuse and reflect knobs independently govern the digital reverb parameters, while drag hastens or slows its multiple pinging delays, and dampen and mix act like tone and wet/dry mix controls respectively. The pedal is true bypass with mono input and output jacks, and powered by a nine-volt adapter.</p> <p><strong>PERFORMANCE</strong> Six knobs may seem like overkill for a reverb, but the way the controls interact allows for sweeping aural pandemonium that’s fantastic for creating background ambience, static white noise or atmospheric layering. </p> <p>It should be noted that it’s difficult to coax traditional reverb sounds from the Afterneath. Even with the drag (short delays) and reflect (reverb regeneration) knobs fully counterclockwise, the pedal quickly begins to regenerate, with notes bubbling up to the surface and launching into a perpetual swirl. The effect is mesmerizing but what makes it even more intriguing is to turn drag clockwise as you play and hear how those same sounds start to stretch into hyperspace and ultimately get swallowed up into a black hole. It would be nice if drag had an expression pedal jack for hands-free control, but that’s just a minor quibble. </p> <p>For even more reverberation, diffuse adds washed-out spread when turned fully clockwise, and when it’s combined with both reflect and drag set close to noon, chords oscillate and ping into dense chaos. Twisting the drag control counterclockwise in this setting creates a pitch-bending effect of a descending alien spacecraft. </p> <p><strong>STREET PRICE</strong> $225<br /> <strong>MANUFACTURER</strong> EarthQuaker Devices, <a href=""></a></p> <p>Twisting the drag knob spits out short, ping-pong delays that can be slowed down or sped up for warped-out sounds. At high settings, the reflect knob regenerates the reverb into frenzied self-oscillation that lingers. </p> <p><strong>THE BOTTOM LINE</strong> The Afterneath is a captivating special effects pedal that pumps out cavernous reverbs and shimmering short delays for total orchestral-sounding ambience.</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><script language="JavaScript" type="text/javascript" src=""></script><object id="myExperience4243292211001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="4243292211001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> EarthQuaker Devices July 2015 Videos Effects News Gear Magazine Wed, 27 May 2015 15:30:14 +0000 Paul Riario 24517 at Cracking the Code with Troy Grady: The Puzzle of Pentatonic Fours — Video <!--paging_filter--><p>We recently gave <a href="" target="_blank">Cracking the Code</a> viewers a cool homework assignment: find a way to play ascending fours, against the pentatonic scale, using the Yngwie Malmsteen and Eric Johnson downward pickslanting system.</p> <p>The assignment seems simple enough. </p> <p>After all, the pentatonic scale is nearly ubiquitous as a cornerstone of modern rock lead playing. And fours is a common rhythmic grouping, especially considering that most rock songs are written in 4/4 time. As a result, we hear pentatonic fours patterns in rock leads all the time, especially in keyboard and horn parts.</p> <p>Just not very often on guitar!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p>In fact, if we make a mental list of the most famous pickers of the last 50 years, I can think of none of them who play sequential pentatonic fours, fully picked, across the neck, at elite levels of speed and accuracy. </p> <p>And while I'm sure that out there in internet-land there are talented players who can do it, the fact remains that this feat is simply far less common than we'd expect.</p> <p>And it turns out, there's good reason for this. The complicated picking patterns that occur as we cycle the box in units of four can make life woefully difficult for the picking hand. On top of this, the barre fingerings that arise as we do this can make it tricky to avoid overlapping notes, which can sound messy on a high gain amp.</p> <p><strong>Pickslanting to the Rescue</strong></p> <p>But with a basic understanding of downward pickslanting mechanics, we can design a couple of really nice solutions to this problem that pay fantastic creative dividends.</p> <p>Cracking the Code viewers are already familiar with the downward pickslanting system, where upstrokes are used to switch strings with extreme efficiency. In fact, <a href="">we've written about this here at before,</a> with respect to both Yngwie Malmsteen and Eric Johnson's use of the technique.</p> <p>In Johnson's case, his legendary accuracy derives from his focus on two-note-per-string picking sequences. By starting these two-note units on a downstroke, Johnson can ensure that the second note on the string—the final note—is an upstroke. </p> <p>This is critical. In the downward pickslanting system, upstrokes "escape" the strings naturally as a result of the slanted picking movement. As long as that escape happens on the last note of the string, Johnson can transition effortlessly to the next string no matter how fast the picking hand is playing.</p> <p><strongEJ Fours</strong></strongej></p> <p>By harnessing the power of the escaped upstroke, we can reap instant performance benefits:</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/ej%20fours.png" width="620" height="515" alt="ej fours.png" /></p> <p>The key to this approach is position shifting. Each two-string, four-note unit is perfectly efficient thanks to the escaped upstroke. So by simply shifting up to the next position, we can maintain our two-note-per-string structure, and achieve the exact same efficiency for the next repetition of the sequence. After the second repetition, we simply move up to the next pair of strings, and repeat. Straightforward and elegant.</p> <p>The challenge of this approach is the fretting. By using three-note-per-string fingerings, we encounter third- and fourth-finger combinations that you may not be used to. </p> <p>But mastering these dramatically reduces the fatigue of always reusing the same two fingers. It also completely eliminates the error-prone jumping of the fretting hand between positions. Baking this coordination into your long-term memory is great exercise. And it also opens the door to all kinds of cool patterns and sequences you might come up with in the process.</p> <p><strong>Volcano Fours</strong></p> <p>In Season 2 Episode 2 of Cracking the Code, "Inside the Volcano," we encountered Malmsteen's famous expansion of the downward pickslanting system: sweeping. By using a single downstroke to move to the next higher string, we can completely sidestep the athletic challenges of switching strings with alternate picking.</p> <p>Because the pick is slanted downward, sweeping in the Malmsteen system only happens only during melodically ascending string changes. That works out fine for us, since that's precisely the direction in which our pentatonic sequence is moving:</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/volcano.png" width="620" height="515" alt="volcano.png" /></p> <p>By combining Yngwie's mastery of sweeping with the escaped upstroke of downward pickslanting, we experience a double-dip boost in efficiency. The first unit of four uses a downward sweep for the string change. The second unit uses an escaped upstroke and a sweep. So in other words, we have a formula: sweeping in the ascending direction, and alternate picking in the descending direction. </p> <p>This is the Malmsteen way. It's the key to the stunning speed of the "Volcano Lick," which we examine in <a href="">"Inside the Volcano,"</a> and it's the secret to Malmsteen's seemingly impossible accuracy in playing ascending scalar lines.</p> <p>Although it looks complicated on the surface, this Volcano-style solution is actually even easier to execute than the pure alternate picking method of the Eric Johnson-style approach. Gone are the awkward third- and fourth-finger fretting combinations. </p> <p>In fact, although the Volcano solution relies on three-note-per-string stretches, it only does so only every other repetition, instead of every repetition. The fact that sweeping makes two of the string changes nearly effortless is simply the icing on the cake.</p> <p><strong>Whole Diminished Power</strong></p> <p>These clever mechanical solutions are only two of the many possibilities that arise as a result of pickslanting thinking. But how can we make use of all this picking power? Well, if the pentatonic scale is just a two-note-per-string fingering, then we should be able to apply these picking patterns to almost any idea that we fret using two notes per string. How about diminished?</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/dim%204.png" width="620" height="417" alt="dim 4.png" /></p> <p>Very cool. Malmsteen is famous for his use of diminished sweep shapes on the top three strings. But here we've discovered a way to take this exotic tonality across the entire guitar. No how about whole tone?</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Ht4.png" width="620" height="807" alt="Ht4.png" /></p> <p>Also very cool. Like the diminished scale, the symmetrical nature of whole tone fingerings make them ideal for sequential ideas. And these shapes are even easier to reach than the diminished fingerings thanks to their more compact fretboard spans.</p> <p>But there's no need to play favorites. All three of these ideas—pentatonic, diminished and whole tone—can live happily together in a modern blues context. Here's what that can sound like:</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/funk1.png" width="620" height="697" alt="funk1.png" /><br /> <img src="/files/imce-images/funk%202.png" width="620" height="133" alt="funk 2.png" /><br /> <img src="/files/imce-images/funk%203.png" width="620" height="147" alt="funk 3.png" /></p> <p>Diminished and whole tone sounds work well with blues riffing because of their inherent tritone intervals. By lining these intervals up with the tritones that already exist in the blues scale—between the root and the flatted fifth, for example—you can generate some really cool fusion sounds that seem to protrude just beyond what the listener expects. Mixing in little bits of the sequenced feel takes this one step further as a kind of counterpoint to the looser, funkier feel of box-style blues riffing.</p> <p>And that's really the point. In Cracking the Code, mechanical explorations are never academic. Instead, finding interesting mechanical concepts and matching them with interesting tonalities is an incredibly powerful source of creativity.</p> <p><strong>If this kind of discovery appeals to you, you'll find much more of it in <a href="" target="_blank">Cracking the Code</a>, the show, as well as in our <a href="" target="_blank">Masters in Mechanics Series</a>, a monthly subscription series exploring an even wider array of fascinating topics at the intersection of mechanics and music.</strong></p> <p><em>Troy Grady is the creator of <a href="">Cracking the Code</a>, a documentary series with a unique analytical approach to understanding guitar technique. Melding archival footage, in-depth interviews, painstakingly crafted animation and custom soundtrack, it’s a pop-science investigation of an age-old mystery: Why are some players seemingly super-powered?</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/eric-johnson">Eric Johnson</a> </div> <div class="field-item even"> <a href="/yngwie-malmsteen">Yngwie Malmsteen</a> </div> </div> </div> </fieldset> Cracking the Code Eric Johnson Troy Grady Yngwie Malmsteen Videos Blogs News Lessons Wed, 27 May 2015 15:15:13 +0000 Troy Grady 24555 at