News http://www.guitarworld.com/taxonomy/term/4/all/www.facebook.com/%3Ehttp%3A/%3Ehttp%3A/www.guitartv.com/%3Cahref%3D en Beat It: A Guide to the Inspired Techniques of Percussive Acoustic Guitar Playing http://www.guitarworld.com/beat-it-guide-inspired-techniques-percussive-acoustic-guitar-playing <!--paging_filter--><p>Percussive acoustic playing has been around forever, and it’s easy to see why. </p> <p>The guitar is essentially a drum with strings stretched over it. (Its cousin, the banjo, uses a drumhead to cover the body.) </p> <p>As demonstrated in <a href="http://www.guitarworld.com/acoustic-fingerstylists-andy-mckee-jon-gomm-and-daryl-kellie-are-blazing-daring-style-percussive-alternate-tuned-shred">this issue’s feature on Andy McKee, Jon Gomm and Daryl Kellie</a>, there has been a resurgence of interest in the percussive-heavy, alternate-tuned style of progressive acoustic guitar playing pioneered in the Eighties by guitarists like Michael Hedges. </p> <p>Whatever style of music you play on the acoustic guitar, you can incorporate slaps, knocks, raps and other hands-on-wood effects into your playing that can enliven and add greater sonic interest to your performance. </p> <p>In this lesson, I’ll show you how to harness some of the percussive possibilities that the acoustic guitar offers through a pick-free playing approach that I’ve adopted over the years. I’ll demonstrate how to integrate tapping and thumping techniques into vamps and grooves that also incorporate fretted and open-string notes and chords played using conventional techniques. </p> <p>My own discovery of this technique was prompted by two things. First, my parents discouraged me from being a drummer because the instrument makes too much racket (you could say I’m a frustrated drummer at heart). </p> <p>Second, when I started out pursuing a career in music as a guitarist, I couldn’t afford to hire a band and was dissatisfied with the amount of music that came out of the acoustic guitar played in the conventional way. So I set out to create a kind of workaround—a “pocket band,” if you will—by incorporating various techniques of rapping on my guitar’s body with my bare hands, as if it were a drum, in order to emulate the feel of a rhythm section. </p> <p>If I’m writing a song and it seems to need a more rhythmically detailed pulse, I’ll start drumming on the instrument using my fingers and then try to get the strings to conform to my musical vision, typically by using an altered tuning. </p> <p>Of course, not every song is served by this approach, and it’s never been my intention to take any technique to the heroic level of a guitar god. My mission is simply to approximate the feel of a band and convey the sounds I’m hearing to facilitate the writing process. While the sound of drumming on an acoustic guitar is no replacement for a real drummer, the techniques that I’ll show you can communicate a rich rhythmic groove in a way that conventional guitar-playing techniques often can’t. </p> <p>We’ll begin with a look at the main pieces of a basic drum kit—bass drum, snare and hi-hat—as they relate to this technique. We’ll then move on to a discussion of tunings that can facilitate your use of the percussive-style playing, and conclude with some musical examples. </p> <p><strong>The Kick Drum </strong></p> <p>The kick sound that is most satisfying to me is found by striking the bottom three strings with my pick hand’s outstretched middle finger just in front of the bridge (see <strong>PHOTO A</strong>). If you’re using this technique in a live performance, make sure the sound technician understands what you’re going to do and provides a little more bottom end in the EQ to give your tone a satisfying <em>thump</em>. </p> <p><img src="/files/imce-images/photo%20a.png" width="391" height="276" alt="photo a.png" /></p> <p>If you’re recording, it often helps to mix in the direct signal from your guitar’s pickup with that of a microphone, as the pickup will capture more of the low-frequency energy of the thumping. In my recording endeavors, I’ll sometimes use tight kick-drum samples to help bolster the groove. (I told you I wanted to be a drummer!) </p> <p>As an added benefit, if you have a bass line going on the bottom strings, you can perfectly synchronize them with your kick pattern by attacking the notes with this same pick-hand finger. This guarantees that your virtual bassist and drummer will always be perfectly locked in together.</p> <hr /> <strong>The Snare </strong> <p>There are several ways to achieve a snare drum–like effect on an acoustic guitar, and they all involve striking the instrument’s body anywhere that produces a pitch that is higher than that of the kick sound, which is pretty much anywhere. </p> <p>My rule is that the snare is wherever I can reach it, based on whatever other duties either hand is performing. My go-to snare drum is at the top corner area of the body, which I likewise strike with my pick-hand middle finger (see <strong>PHOTO B</strong>). </p> <p>Other fingers can be used, and you should use whichever one you prefer.</p> <p><img src="/files/imce-images/photo%20b.png" width="620" height="443" alt="photo b.png" /></p> <p>This snare “cracks” pretty nicely, and its attack can be tempered by the way you strike the wood with your finger. For example, you can use the inner side of your first knuckle for that bone-on-wood sound, or the softer pad, or “paw,” between the knuckle and fingertip to smooth out the transient spikes that can be a bit shrill sounding and problematical for amplification or recording. </p> <p>When recording, I’ll sometimes use various makeshift damping devices. These include taping a cocktail napkin to that part of the body, much as a drummer will put a towel over his snare to dampen it or a lead guitarist will tie a sock around the neck in front of the nut to suppress sympathetic string vibration when recording a solo. (If you cringe at the idea of taping anything to a valuable or favorite guitar, you might want to consider using a less-precious instrument for this purpose.</p> <p>If your instrument isn’t a cutaway, the opposite corner area of the body will work well as a snare drum and can be easily reached with the fret hand from below the neck if your pick hand is busy picking or tapping a harmonic. </p> <p>This way of playing the guitar is similar to playing a conga drum and requires a bit of resourcefulness and creative problem solving, as any given groove can pose different physical challenges and restrictions and call for a certain pitch produced by striking the body at just the right place. Tapping on the side of the body (with either hand) produces a higher-pitched snare sound (akin to hitting a conga drum near the rim) that I like to use to achieve a cross-stick kind of effect. </p> <p>Another effective and convenient snare-like sound can be produced by tapping your fret-hand fingers on the back of the neck to create a grace-note flam effect or snare-drum “chatter,” akin to the way a drummer lets the stick bounce off the snare (<strong>PHOTO C</strong>). </p> <p><img src="/files/imce-images/photo%20c.png" width="364" height="299" alt="photo c.png" /></p> <p>It’s a subtle sound, but it can be very effective at enhancing a groove. You can also kill two musical birds with one stone by tapping a natural harmonic on one or more strings at the moment you’d expect to hear a snare hit, which is typically on beats two and four in 4/4 meter. In this way, you’re conveying harmonic and rhythmic information simultaneously. Efficiency is key when you’re trying to do the work of several instruments.</p> <p><strong>Hi-hat</strong></p> <p>By sweeping either hand along the wound strings, you can approximate the sound of closed or open hi-hats. Depending on your musical proclivities, you can conjure up a little old-school vinyl scratching by sweeping your hand over the strings in a way that visually resembles a DJ manipulating a record turntable (think Tom Morello).</p> <hr /> <strong>Tunings</strong> <p>Now that we understand the rhythmic part of the equation, let’s look at how to make your strings conform in a way that facilities the technique. </p> <p>Since you’re already doing as much as you can to wring sound out of the instrument, it makes sense to get as many of the strings involved at once. To do this, I’ll employ alternate tunings, my favorite being DADGAD. </p> <p>Occasionally, I’ll drop the sixth string to C (low to high, C A D G A D), or drop the G string to F#, which gives you a luscious open-D chord if you strum across the strings (open D tuning: low to high, D A D F# A D).</p> <p>Obviously, the strings provide the harmonic information, but they can also serve as drone notes to fill out your arrangement and provide an ambient environment for percussive playing. When playing this way, I’ll sometimes lay the guitar flat across on my lap, like a dobro. </p> <p>This obviously affects what you can do with your fret hand, as you now have to fret notes from above the top side of the neck, like a piano. </p> <p>When the guitar is on my lap, I’ll use droning open strings, typically the higher ones, and my fret-hand thumb to barre power-chord shapes across the bottom two or three strings (see <strong>PHOTO D</strong>). I also sometimes use my fret-hand middle finger to produce the previously mentioned snare-drum grace notes that provide some of the rhythmic finesse and chatter that a real drummer would. </p> <p>But that’s not where all of the harmonic information comes from. Many guitarists overlook that critical extra sound source—your voice. You can think of it as a seventh string, if you like, and it has the advantage of operating completely outside the confines of the instrument. </p> <p>Whereas open strings drone and remain static, sung melodies are able to move freely, and the voice can carry a lyric to the listener. With that, you’ve moved beyond percussive guitar and into songwriting, which, as I said in the beginning, is the whole reason I play. </p> <p><img src="/files/imce-images/photo%20d.png" width="384" height="314" alt="photo d.png" /></p> <p>Many guitarists are less sure of their voices than they are of their playing. If you’re too inhibited or self-conscious to sing, consider whistling, an old-timey practice that has made a comeback thanks to artists like Andrew Bird. Also try humming or playing a harmonica with a hands-free brace, Bob Dylan–style. Anything that helps you achieve what you hear in your mind is fair game.</p> <p><strong>PUTTING IT ALL TOGETHER</strong></p> <p>Now let’s see how these techniques can be put to use. </p> <p><strong>FIGURE 1a</strong> shows the basic two-bar vamp from my song “1,000 Miles” and is performed in the previously mentioned CADGAD tuning, which is one of my favorite tunings because of the wide pitch range between the low and high strings. </p> <p>The figure is a laid-back R&amp;B-style groove performed at a fairly slow tempo and serves as a good introduction to percussive fingerstyle acoustic playing. </p> <p>The slow tempo is ideal for our purpose here because it buys you valuable time to work on integrating percussive tapping/thumping with picking notes on the strings. The bass notes and kick drum are one and the same in this case and are picked with the thumb (a couple of quick hammer-ons are employed too). The Xs in the tablature indicate the virtual snare-drum hits, which fall on beats two and four as the bass notes are allowed to ring. </p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-29%20at%2012.08.31%20PM.png" width="620" height="445" alt="Screen Shot 2014-04-29 at 12.08.31 PM.png" /></p> <p><strong>FIGURE 1b</strong> builds upon the basic bass-and-drums groove pattern and introduces melodic licks played in the upper register on the higher strings. Here, snare-drum duty is shared by both hands, specifically on beat three of bar 2, where I use my momentarily available fret hand to do a snare tap (again, indicated in the tablature by Xs) as my pick hand simultaneously plucks the open first string. </p> <p>Note the use of a hammer-on and double pull-off combination on the first string at the end of bar 1, which I use to create a noodle-y, exotic-sounding trill, Jimmy Page style (à la “Dancing Days”). </p> <p>By exploring this playing approach, you’ll discover little tricks like this and learn how to sneak in bits of melody while keeping the rhythmic groove going. A vamp such as this one can be used as an accompaniment to a singer or another instrument and form the basis for an entire section of a song, such as a verse.</p> <p><strong>FIGURE 2</strong> is a passage from my song “Springtime.” It’s played in DADGAD tuning with a capo at the second fret and the guitar laid flat across the lap. In this example, I’m using the kick-drum string-tapping technique described earlier to sound the first two power chords on the bottom three strings. I then strum the remaining chords by brushing my pick-hand fingernails across the strings but continue to use the kick-drum technique to get a pitchless thump while the chords ring out. </p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-29%20at%2012.08.40%20PM.png" width="620" height="374" alt="Screen Shot 2014-04-29 at 12.08.40 PM.png" /></p> <p>Other techniques employed here include snare hits (indicated by Xs on the higher tab lines) and slapped natural harmonics (N.H.) at the 12th fret (actually the 14th fret because of the capo usage), which I perform by quickly bouncing my outstretched pick-hand middle finger against the strings directly over and parallel to the fret wire. </p> <p>This kind of playing is obviously a challenge to convey on paper, so be sure to check out the accompanying video below. Once you get the hang of this pattern, you’ll see that it’s pretty intuitive and not difficult to play. The critical thing is to get it to groove and create a tight pocket, so that you have a rhythm section to sing or play harmonica over. (In this song, I happen to do both.) </p> <p>Once you’ve addressed the internal tools available for playing the guitar like a percussion instrument, it’s a short leap to the external. Tambourines and stomp boards for your feet or the use of a digital looper pedal can greatly expand upon this technique and help you fully realize the musical ideas you’re hearing. When these tools serve a song, I find they transcend gimmickry. </p> <p>My goal here has been to make my techniques as simple as possible so that others can incorporate them into their songwriting. </p> <p>To hear and see more demonstrations of how I employ and combine the techniques covered in this lesson, check out the companion instructional video at guitarworld.com as well as numerous videos of me performing songs I’ve written live, which can be viewed at my web site, <a href="http://www.errico.com/">errico.com</a>, and on YouTube.</p> <p><strong>PART ONE</strong></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 https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3250151636001" 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="3250151636001" /> </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. 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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 --><p><br /><br /> <strong>PART THREE</strong></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 https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3250112965001" 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="3250112965001" /> </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 --> http://www.guitarworld.com/beat-it-guide-inspired-techniques-percussive-acoustic-guitar-playing#comments Acoustic Nation April 2014 Mike Errico Lessons Videos News Features Lessons Magazine Fri, 04 Sep 2015 20:29:18 +0000 Mike Errico 20577 at http://www.guitarworld.com Soul to Soul: 50 Iconic Albums That Defined 1985 http://www.guitarworld.com/bad-moon-rising-50-iconic-albums-defined-1985 <!--paging_filter--><p>Nineteen hundred and eighty-five was an endlessly intriguing year for music. </p> <p>Hair/glam metal was on the cusp of world domination, with Mötley Crüe exploring the sounds that would make them, and the genre they stood on top of, the biggest in the world in a few years time. </p> <p>As for speed and thrash metal, three of the genre's "Big Four" (Megadeth, Slayer and Anthrax), released new albums. Though these groups also hadn't fully formed their sonic identity yet, there was definitely a sense that these groups were also gaining quite a bit of momentum. </p> <p>And let's not forgot the releases from a trio of now-departed blues legends—B.B. King, Johnny Winter and Stevie Ray Vaughan. BTW, the "star" moment for Vaughan's brother's band, the Fabulous Thunderbirds, was still a year away.</p> <p>Rock's underground was an extraordinarily diverse and exciting place. </p> <p>The Smiths took over the U.K. with their melancholy, angst-driven jangle-pop. The Meat Puppets fused hardcore punk with healthy doses of laid-back, outlaw country. Sonic Youth turned guitar rock on its head with dark songs that embraced noise, unusual song structures and bizarre guitar tunings. The Replacements embraced the muscle and innocent romanticism of classic rock, while churning out their own thrilling, punk-indebted tales of youth. </p> <p>Singer/songwriters of all kinds dotted the musical landscape. Tom Petty released a strange but endearing LP that was half Eurythmics-style pop and half a gritty homage to his Southern roots. The gravelly voice of Tom Waits sang of the downtrodden and the out-of-luck. Nick Cave led the Bad Seeds through a gothic tour of American musical history, providing a darker, more primitive spin on the blues. </p> <p>Nineteen hundred and eighty-five was one of music's stranger years, but it had plenty worth remembering. Enjoy the photo gallery below. Remember you can click on each photo to take a closer look!</p> <p><strong>NOTE: This list is presented purely in alphabetical order, not an order of worst to best or best to worst. So there's no order of preference. And there might actually be 51 albums on this list; we're not great at math. Enjoy!</strong></p> http://www.guitarworld.com/bad-moon-rising-50-iconic-albums-defined-1985#comments Stevie Ray Vaughan News Features Fri, 04 Sep 2015 18:07:51 +0000 Guitar World Staff, Intro by Jackson Maxwell 24476 at http://www.guitarworld.com Bent Out of Shape: Learning Paganini's 16th Caprice in G Minor http://www.guitarworld.com/bent-out-shape-learning-paganinis-16th-caprice-g-minor <!--paging_filter--><p>A couple of weeks ago, <a href="http://www.guitarworld.com/bent-out-shape-intensive-30-minute-guitar-workout-musicians-go">I gave you a short, 30-minute guitar workout</a> designed for guitarists whose practice time is limited. </p> <p>The positive response I received prompted me to create an additional lesson, which, in combination with my original workout, will give you a good hour of intensive practice. </p> <p>For this lesson, I have selected a classical piece for you to learn: Paganini's 16th Caprice in G minor. Learning classical pieces is a great way to improve your technique and theory. It's also more beneficial to practice something musical, rather than just working on exercises. Use my 30-minute workout as a warmup and then spend an additional 30 minutes to an hour working on this piece. </p> <p>It's very challenging and features a good selection of arpeggios, wide intervals, chromatic runs, string skipping and sequences. It's very rewarding to learn and play in its entirety. Because of its length, I have the divided the piece into three parts. </p> <p>Your first task will be to memorize the notes, which in itself is a big challenge. I would suggest taking it one bar at a time, memorizing the notes and working out the fingering. Then attempt to perform the bar in full. Start at the beginning with bar 1, and add a new bar every day. Once the notes are memorized, you can begin to work with a metronome and build speed. </p> <p>Start at 80 bpm playing 8th notes and increase the metronome by 10 bpm after each successful performance. When you reach 120 bpm, go back to 60 bpm and play the piece as 16th notes. From there, take it as fast you can. </p> <p>It's meant to be at a tempo of 165 bpm, which is incredibly fast for a piece so complex. I can only get to around 120 bpm before it becomes too challenging. For this lesson, I have recorded myself performing the piece in full at the comfortable tempo of 100 bpm. Use this as a reference for yourself when learning. I have also marked in the Soundcloud link where each of the three parts begins to help you navigate.</p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F90255673"></iframe></p> <p><img src="/files/imce-images/caprice1.jpg" width="620" height="1145" alt="caprice1.jpg" /></p> <p>The first part begins with several arpeggios which you will need to play using sweep picking (bars 1 to 6). Everything else should be played with alternate picking. There's a tricky string skipping section at bar 7, which you can either play with your second finger or entirely with the pick. After bar 8, it repeats from the beginning. From bars 9 to 14, you have more arpeggios and string-skipping, but this time you will not need to sweep the arpeggios. Bar 14 ends with a long A# major arpeggio over three octaves. </p> <p>Next week, we will look into detail at the second part of the piece and also analyze some of the theory used in its composition. Best of luck, cheers!</p> <p><em>Will Wallner is a guitarist from England now living in Los Angeles. He recently signed a solo deal with Polish record label Metal Mind Productions for the release of his debut album, which features influential musicians from hard rock and heavy metal. He also is the lead guitarist for White Wizzard (Earache Records) and in 2012 toured Japan, America and Canada. Follow Will on <a href="https://www.facebook.com/wallnervain">Facebook</a> and <a href="https://twitter.com/willwallner">Twitter</a>.</em></p> http://www.guitarworld.com/bent-out-shape-learning-paganinis-16th-caprice-g-minor#comments Bent Out of Shape Niccolo Paganini Will Wallner Blogs News Lessons Fri, 04 Sep 2015 17:19:04 +0000 Will Wallner 18306 at http://www.guitarworld.com Eddie Van Halen Demos Peavey Wolfgang Guitar at 1996 NAMM Show — Video http://www.guitarworld.com/video-eddie-van-halen-demos-peavey-wolfgang-guitar-1996-namm-show <!--paging_filter--><p>How cool would it be to stumble upon the legendary Eddie Van Halen doing a guitar demo at a NAMM Show?</p> <p>It happened in 1996, as this just-uploaded video shows. The Van Halen guitarist was on hand to demo Peavey's Wolfgang Standard guitar.</p> <p>Best of all, Van Halen takes requests from NAMM Show attendees as he fires off riff after riff. After about four and a half minutes, he invites a spectator up to the "stage" area to try out the guitar for himself. Don't worry: The ax is back in Eddie's hands by 5:38.</p> <p>Enjoy!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/z274UXfVlew" 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="/eddie-van-halen">Eddie Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-eddie-van-halen-demos-peavey-wolfgang-guitar-1996-namm-show#comments Eddie Van Halen NAMM 1996 Peavey Videos News Fri, 04 Sep 2015 16:06:27 +0000 Damian Fanelli 20898 at http://www.guitarworld.com The DIY Musician: Five Reasons You Suck at Slide Guitar http://www.guitarworld.com/diy-musician-five-reasons-you-suck-slide-guitar <!--paging_filter--><p>Have you ever bought a guitar slide and had intentions of ripping new leads with it, only to discover when you get home that it’s damn near impossible to use? </p> <p>I’ve been there, too.</p> <p>Playing slide guitar, well, takes a little dedication in practice, but also in the way you set up your gear, too. </p> <p>Here’s a quick rundown of five roadblocks that might be keeping you from sliding:</p> <p>01. <strong>Your guitar is in standard tuning</strong>. This is the biggest killer of new slide players. Don’t try to play slide in standard tuning. As a starter, re-tune your guitar to open D (D A D F# A D) and rake that slide up to the 12th fret like Elmore James! With an open tuning, the slide becomes a moveable chord up and down the neck.</p> <p>02. <strong>Your strings are too light, and the action is too low</strong>. Slide guitar is different than shred guitar. If you want to grind out some deep grooves with that new slide on your finger, get some heavier strings on your guitar that will maintain pressure as you slide. (My electric guitars are strung with .012 sets with wound G strings.) Also, raising your action keeps your slide from clacking on the frets. </p> <p>03. <strong>Your non-slide friends told you to study Sonny Landreth and Derek Trucks.</strong> That’s like learning to drive a car using a Lamborghini! Sonny and Derek are amazing players, but they’re the top-level masters. Start where they started, with the foundational slide heroes. Fill your playlist with Hound Dog Taylor, Elmore James, Muddy Waters and even some George Thorogood. </p> <p>04. <strong>You’re putting the slide on an uncomfortable finger.</strong> So which finger is correct for slide? The answer is, there is no correct finger! If the slide feels comfortable on your pinkie, then that’s where you should wear it. I use my ring finger. Bonnie Raitt puts her wine bottleneck slide on her middle finger. Australian slide wizard Dave Hole uses his index finger and plays with his hand over the top of the neck! </p> <p>05. <strong>Your slide doesn’t fit right.</strong> This one has a simple solution: Collect more slides! I now have more than 50 guitar slides, from generic slides sold in guitar stores to <a href="http://shanespeal.com/shop-guitar-slides">hand-cut wine bottlenecks,</a> spark-plug sockets (they make awesome slides!), medicine bottles found at flea markets and even strange contraptions like <a href="http://shanespeal.com/shop-guitar-slides">The Edge Slide,</a> which mimics Blind Willie Johnson’s pocketknife. </p> <p><strong>One extra suggestion:</strong> Get a dedicated slide guitar. Heavy-gauge strings and higher action might not be the best thing for your main axe. Instead, find the cheapest, gnarliest guitar and convert it to slide. Hound Dog Taylor played the shittiest, cheapo Japanese guitars through old Silvertone amps with blown speakers, and it was the greatest sound ever. For some reason, slide guitar sounds fantastic when played on junky guitars. Old electrics such as Silvertone, Teisco, Harmony and other off-name brands from the Sixties are prime axes. But your kid brother’s abandoned First Act electric guitar will work, too.</p> <p>Good luck! Don’t forget to share this all over Facebook. I'll see you at <a href="http://shanespeal.com/shows">McGarvey's Bar in Altoona, Pennsylvania,</a> this Saturday night (March 28). It'll be a slide guitar buffet.</p> <p>Until then, I’ll leave you with the late, great Hound Dog Taylor—all 12 fingers of 'im. Turn it up!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/nK_GfjDfqAY" frameborder="0" allowfullscreen></iframe></p> <p><em>Photo: Kevin Stiffler</em></p> <p><em>Shane Speal is the "King of the Cigar Box Guitar" and the creator of the modern cigar box guitar movement. Hear the music, see the instruments and read about his Cigar Box Guitar Museum at <a href="http://www.shanespeal.com/">ShaneSpeal.com</a>. Speal's latest album, </em><a href="http://shanespeal.com/holler">Holler!</a><em> is on C. B. Gitty Records.</em></p> http://www.guitarworld.com/diy-musician-five-reasons-you-suck-slide-guitar#comments Hound Dog Taylor Shane Speal The DIY Musician Videos Blogs News Fri, 04 Sep 2015 15:02:09 +0000 Shane Speal 23773 at http://www.guitarworld.com Cigar Box: Build a Guitar Pickup in Under Five Minutes for Less Than $2 http://www.guitarworld.com/cigar-box-make-guitar-pickup-less-five-minutes-under-2 <!--paging_filter--><p>Can you make your own pickup out of a wall wart plug in under five minutes and less than $2?</p> <p>Yes, it can be done! I saw a clip on YouTube a while ago where someone made a pickup from pieces of a plug, so I thought I'd give it a try. The method described in the video is a bit dangerous, including separating the metal plates from the coil (I stabbed myself with a screwdriver attempting to do so), so here's a safer, faster way.</p> <p>If you don’t already know, pickups are made with electric magnets. The string vibrations interfere with the magnetic field around the pickup, and that sound is transferred to your amp. Don’t worry, this is about as technical as I'll get for this part, but it's pretty neat how it works. </p> <p>Note: See the sidebar article below on the live-rig secrets of several pro cigar box guitarists. </p> <p><strong>In terms of parts for this project, here's your recon mission:</strong></p> <p>• One wall wort plug. You know those big, clunky plugs that seem to be on just about everything nowadays. I suggest scoping out your local thrift store for one. That way, you don’t destroy a plug you might need later. I picked up some for 50 cents. Yep!</p> <p>• Three or four (depending on how many strings you have on your CBG — cigar box guitar) Rare Earth Neo Neodymium disc magnets. I used a N35 12mm-by-3mm magnet I got on eBay for less than 40 cents.</p> <p>• Some bits of wire and solder</p> <p>• 1 1/4-inch jack</p> <p><strong>Tools you'll need</strong> </p> <p>• Proper safety gear, including work gloves and protective glasses</p> <p>• A hammer</p> <p>• Soldering Iron</p> <p>The photo gallery below will walk you through the steps to make your own pickup in under five minutes (and less than $2). Note that if you use this pickup in your CBG, you should probably cut hole the size of the metal plates so only the plates will be exposed above the guitar body, leaving the coils hidden under the top of the box. Also, make sure to ground your negative wire to your bridge to prevent unwanted noise. </p> <p>Check out the videos below of testing out our DIY guitar pickup. Also Elmar Zeilhofer of <a href="http://www.original-flatpup.com/">The Original-Flatpup</a> made one as a test video as well from one he made (He separated the coils on his DIY pickup). </p> <p><iframe width="620" height="349" src="http://www.youtube.com/embed/3Uwpt6z0RbI" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="349" src="http://www.youtube.com/embed/QPlDnH6uSso" frameborder="0" allowfullscreen></iframe> </p> <p><strong>SIDEBAR: RIGS OF SEVERAL PRO CIGAR BOX GUITARISTS</strong></p> <p>Let me talk about the gear some cigar box guitar artists used at this year's Pennsylvania Cigar Box Guitar Festival. </p> <p>I had a chance to talk to Glenn Kaiser, Shane Speal and Justin Johnson. Playing a cigar box guitar for a gig can be tricky. Cigar box guitars have a great lo-fi sound, but playing them cranked up can create problems with feedback. Here are the amplifiers and effects they prefer. </p> <p><strong><a href="http://www.grrrrecords.com/welcome.cfm">Glenn Kaiser</a> (Former frontman of REZ Band &amp; Kaiser/Mansfield)</strong></p> <p><strong>Amp</strong>: ”Trimmed &amp; Burnin' Spanky model mostly (a small, 3-watt amp with a Weber speaker) and an original Pignose. I have a lot of amps, but at this point, those two."</p> <p><strong>Effects</strong>: “For non-cigar box or found-object guitars, I always use a Korg tuner and a Blackstone Appliance Mosfet Overdrive. For CBG's, I usually prefer a small amp cranked.”</p> <p>Most of Kaiser's live cigar box guitars are loaded with piezo buzzer pickups, giving him a more acoustic tone. However, he gets some extra buzz, grind and distortion from the Trimmed &amp; Burnin' tube amp. </p> <p><strong><a href="www.shanespeal.com">Shane Speal</a></strong></p> <p>Shane was kind enough to send us a photo of his live rig. Check it out in the photo gallery below.</p> <p>• As for his gear: homemade electric stomp board; provides percussion for Speal's show. It's just a couple pieces of plywood sandwiched together with a large piezo disc inserted in the middle. The piezo acts as a contact mic.</p> <p>• Pre-amp for the stomp board. Speal used an inexpensive acoustic guitar preamp/EQ that is attached to the piezo so he can control the tone of hs stomp board.</p> <p>• An old Ibanez digital delay set for slapback echo only</p> <p>• Arion Octave pedal: Used sparingly in concert, usually during his one-string diddley bow songs or when he wants to kick into a total funk-infused fury.</p> <p>• Fender tuner</p> <p>• Jay Turser Classic 25 amp. Although it's covered with tweed and sports a classic radio wooden face, this amp is just a cheapo solid state. “It has reverb, distortion and a goofy tremolo,” Speal says. “What more do you want?” Speal bought it on eBay for $85. </p> <p><strong><a href="http://www.justinjohnsonlive.com/">Justin Johnson</a></strong></p> <p><strong>Amp</strong>: “Fender Blues Jr. When I am performing with cigar box guitars, I prefer to keep as much of the natural tone of the CBG as possible. There is something about the tone you get from the cigar box that really distinguishes itself from the electric guitar. They sound more open and unrestrained than a solid-body and more guttural and swampy than a standard semi-hollow."</p> <p><strong>Effects</strong>: “I generally just use a little reverb or some light overdrive before going into my Fender Blues Jr. It’s also a good a idea to have an EQ pedal on hand to make minor adjustments to the volume and tone when necessary.”</p> <p><strong>ONE LAST DOSE OF CIGAR BOXES...</strong></p> <p>You all know I couldn’t write one of these with out letting you hear some tunes. Below is a clip I put together of Shane Speal preforming a version of “Personal Jesus” at this year's Speal's Tavern Guitar-b-Que. The photos are from <a href="www.spealstavern.com">The Cigar Box Guitar Museum</a> in New Alexander, Pennsylvania, inside <a href="http://www.spealstavern.com/fr_home.cfm">Speal's Tavern</a>. More on the Guitar-b-Que and Speal's Tavern along with making winding our own single coil cbg pickup, next time ... </p> <p><iframe width="620" height="349" src="http://www.youtube.com/embed/-rePzYFO17o" frameborder="0" allowfullscreen></iframe> </p> <p>A big thanks to Glenn Kaiser, Shane Speal, Justin Johnson, Elmar Zeilhofer, Original-Flatpup and Speal's Tavern for being a part of this. </p> <p>Stay tuned ... It's going to get loud!</p> <p><em>Brian Saner owns Saner Cigar Box Guitars, which makes custom handmade guitars and amps using local dry-aged wood in every guitar. These guitars are handmade and might have imperfections, but that's what makes them unique. Once you hear the howl of a CBG, you might not want to play a Fender or Gibson again. Get one at <a href="http://www.sanercigarboxguitars.com/">sanercigarboxguitars.com</a>, <a href="http://www.devildownrecords.com/guitars">devildownrecords.com/guitars</a> and Main Street Gallery. Check out <a href="http://www.facebook.com/pages/Saner-Cigar-Box-Guitars/266654393366376">his Facebook page.</a></em></p> http://www.guitarworld.com/cigar-box-make-guitar-pickup-less-five-minutes-under-2#comments Brian Saner Cigar Box Saner Cigar Box Guitars Accessories Blogs News Gear Fri, 04 Sep 2015 14:13:53 +0000 Brian Saner 17141 at http://www.guitarworld.com The Top 10 Concept Albums of All Time http://www.guitarworld.com/top-10-concept-albums-all-time <!--paging_filter--><p>Rock music went to college in the Sixties. First it started pilfering from classical music and theater. Then someone had the psychedelic-induced idea to carry a single story over an entire album, just like in opera. </p> <p>And thus the genie was unleashed: the concept record, simultaneously emblematic of rock at its most ambitious and its most pompous. </p> <p>Some damn musicologist determined these to be the best examples of this form.</p> http://www.guitarworld.com/top-10-concept-albums-all-time#comments list lists Top 10 Guitar World Lists News Features Fri, 04 Sep 2015 14:02:32 +0000 Guitar World Staff 1995 at http://www.guitarworld.com Best Acoustic Rock Song of All Time Poll: "Stairway to Heaven" Vs. "Wish You Were Here" http://www.guitarworld.com/best-acoustic-rock-song-all-time-poll-stairway-heaven-vs-wish-you-were-here/25398 <!--paging_filter--><p>There’s no doubt that acoustic songs have played a lead role in in rock and roll. </p> <p>And while we’ve talked about many of these songs and their origins, taught you how to play them and shared many a thought about ‘em, we think it’s time to get down to brass tacks.</p> <p>While it’s been ridiculously hard to whittle our list down, we now present you with what we think are some of the best acoustic rock songs of all time. </p> <p>Over the next several weeks, we’ll be giving you a chance to vote for your favorites as we aim to name the Best Acoustic Rock Song of All Time, presented by <a href="http://www.tcelectronic.com/">TC Electronic</a>!</p> <p>So come back every day and vote. And check out today’s entries below.</p> <p><strong>"STAIRWAY TO HEAVEN," LED ZEPPELIN<br /> <em>Led Zeppelin IV</em> (1971)</strong> </p> <p><em>Led Zeppelin III</em> was largely an unplugged affair, but "Stairway to Heaven," from the band's follow-up, wins the prize for acoustic guitar excellence. </p> <p>Jimmy Page's delicately fingerpicked arpeggios made the song Zeppelin's—and rock's—definitive acoustic moment. </p> <p>Over the years, "Stairway to Heaven" has dominated countless "greatest rock song ever" lists, thanks to its spellbinding mix of lyrical mysticism, compositional and production genius and instrumental virtuosity. </p> <p>But its most celebrated moment remains Page's unaccompanied intro: whether heard on a radio or played by some pimply kid in a guitar store, all it takes is those first few acoustic guitar notes and you can instantly name that tune.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/BcL---4xQYA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>”WISH YOU WERE HERE,” PINK FLOYD<br /> <em>Wish You Were Here</em> (1975)</strong></p> <p>The gorgeous title track off of Pink Floyd’s <em>Wish You Were Here</em> hails as the band's best-known song, and the guitar line serves as one of the most recognizable in rock history. </p> <p>Written by Roger Waters and David Gilmour about feelings of alienation, it also refers to former Pink Floyd member Syd Barrett and his downward journey. </p> <p>The acoustic feel is supported by a 12-string guitar, which is produced to sound as if it’s playing through an old AM radio at the beginning of the track, giving the song a strong sentimental feel that goes hand in hand with the sense of mourning.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/DPL_SV3n7IU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> VOTE NOW: </p> <script type="text/javascript" charset="utf-8" src="http://static.polldaddy.com/p/9056193.js"></script><p><noscript><a href="http://polldaddy.com/poll/9056193/">Best Acoustic Rock Song of All Time: "Stairway to Heaven" Vs. "Wish You Were Here"</a></noscript></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 4 bracket on Scribd" href="https://www.scribd.com/doc/278331473/4-bracket" style="text-decoration: underline;" >4 bracket</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/278331473/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_33384" width="100%" height="400" frameborder="0"></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="/pink-floyd">Pink Floyd</a> </div> <div class="field-item even"> <a href="/led-zeppelin">Led Zeppelin</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/best-acoustic-rock-song-all-time-poll-stairway-heaven-vs-wish-you-were-here/25398#comments Acoustic Nation Best Acoustic Rock Song of All Time Led Zeppelin News Pink Floyd Blogs News Fri, 04 Sep 2015 07:26:35 +0000 Guitar World Staff 25398 at http://www.guitarworld.com Keith Richards Calls Metallica and Black Sabbath "Great Jokes" http://www.guitarworld.com/keith-richards-calls-metallica-and-black-sabbath-great-jokes/25406 <!--paging_filter--><p>In a new interview with the <a href="http://www.nydailynews.com/entertainment/music/keith-richards-plenty-plenty-article-1.2346653">New York Daily News,</a> legendary Rolling Stones guitarist Keith Richards slammed the current rock scene—and, to some degree, Metallica and Black Sabbath.</p> <p>Of rock in 2015, Richards said, "It sounds like a dull thud to me. For most bands, getting the syncopation is beyond them. It's endless thudding away, with no bounce, no lift, no syncopation."</p> <p>Of two heavy metal legends he said, "Millions are in love with Metallica and Black Sabbath. I just thought they were great jokes."</p> <p>Early last month, in an interview with <a href="http://www.esquire.com/entertainment/music/interviews/a36899/keith-richards-interview-0915/">Esquire,</a> Richards sounded off on the Beatles, essentially calling their landmark 1967 album, <em>Sgt. Pepper's Lonely Hearts Club Band,</em> a "mishmash of rubbish."</p> <p>“There's not a lot of roots in that music. I think they got carried away. You're starting to do <em>Sgt. Pepper.</em> Some people think it's a genius album, but I think it's a mishmash of rubbish, kind of like their <em>Satanic Majesties</em> [the Rolling Stones' stab at psychedelia]—'Oh, if you can make a load of shit, so can we.'</p> <p>"The Beatles, chicks wore those guys out. They stopped touring in 1966—they were done already. They were ready to go to India and shit.”</p> <p>Back to Metallica for a second ...</p> <p><a href="http://www.blabbermouth.net/news/the-rolling-stones-guitarist-keith-richards-calls-metallica-and-black-sabbath-great-jokes/#WYiw0DITZbsS1rvL.01">As Blabbermouth.net points out,</a> in a 2007 interview, Metallica's Lars Ulrich discussed opening for the Stones in 2005.</p> <p>"It's the second show—[we played] two shows [with the Stones] in a row—and some assistant with, like, five walkie-talkies and a water-bottle holder, whatever, comes in before the show and says, 'Do you want your picture taken with the Rolling Stones?' We were like, 'You know what? Sure. Why not?'" he told <em>The Opie &amp; Anthony Show.</em> "So after our show and then they're getting ready to go on, this assistant comes in and says, 'OK, be ready in five minutes' or whatever. </p> <p>"So she comes in, she escorts us into this place in the tunnel leading into the stadium and she says, 'Wait here.' As we're standing in this tunnel, literally, and this band Everclear—who were playing also—they were kind of like over there on their 'X.' So we're standing there and we go over and say 'Hello' to the guys in Everclear, 'Hey, how was your show?' And this assistant comes back and says, 'No. The guys in Metallica stay here, and the guys in Everclear stay over here.' We were like, 'Whoaaah.' </p> <p>"So then about five minutes later the Stones come in, and I swear they didn't stop—they slowed down their pace, or their walk, just slow enough to get, like, two or three pictures taken, two or three frames shot with Everclear, and then they came over to where we were standing waiting, and they all looked at us… No, actually, Charlie Watts said 'Hello' and I think Keith [Richards] nodded or something, and Mick [Jagger] looked like we were all gonna give him pneumonia or something—he had this disgusting look on his face. And then they slowed down long enough while the photographer took two or three frames, and then they walked off. And then the assistant came over and said, 'If the band approves the photo, we'll send you a copy.' That kind of sums up the Rolling Stones experience."</p> <p>Richards' new album, <em>Crosseyed Heart,</em> will be released September 18 via Virgin EMI/Universal Music. It's his first solo album in 23 years. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/_btCZWi1jkg" 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 class="field-item even"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/keith-richards-calls-metallica-and-black-sabbath-great-jokes/25406#comments Keith Richards Metallica News Thu, 03 Sep 2015 19:10:16 +0000 Guitar World Staff 25406 at http://www.guitarworld.com Watch Jimi Hendrix's Death Announcement from ABC News — Video http://www.guitarworld.com/watch-jimi-hendrixs-death-announcement-abc-news-video <!--paging_filter--><p>Guitar legend Jimi Hendrix died in London 45 years ago this month—on September 18, 1970. He was only 27.</p> <p>Although all these facts have become common knowledge for rock and guitar fans, there was a moment when it was actual news—the sort of announcement that makes you always remember where you were when you heard it.</p> <p>For instance, I remember I was in my crib with a fresh bottle of baby formula in my hands.</p> <p>Regardless, check out this actual ABC News announcement of the guitarist's death. </p> <p>Although it was totally normal and expected at the time, it's amusing how the reporter treats rock music as if it's something from another planet, a sign of the generation gap that still distanced reporters from a growing segment of the people they were reporting to. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/wpgkRYeBoKw" 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="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/watch-jimi-hendrixs-death-announcement-abc-news-video#comments Jimi Hendrix Videos News Thu, 03 Sep 2015 18:06:45 +0000 Damian Fanelli 22435 at http://www.guitarworld.com Metallica Imitate Slayer and Other Bands at Donington 1995 — Video http://www.guitarworld.com/metallica-imitate-slayer-and-other-bands-donington-1995-video/25402 <!--paging_filter--><p>This one is straight out of the "in case you missed it 20 years ago" department.</p> <p>In this decent-quality clip, which was shot at the U.K.'s Donington Park in 1995, the members of Metallica imitate several of the bands that shared the Donington bill that year, including Slayer.</p> <p>They also have some fun with a few of the imitations. When James Hetfield asks the fans if they enjoyed Machine Head, guitarist Kirk Hammett, drummer Lars Ulrich and then-bassist Jason Newsted start playing "Smoke on the Water" from Deep Purple's <em>Machine Head</em> album.</p> <p>They also imitate White Zombie—or is that Whitesnake? You get the idea.</p> <p>Consider it a random trip down memory lane!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/pRR7kPB13MU" 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> http://www.guitarworld.com/metallica-imitate-slayer-and-other-bands-donington-1995-video/25402#comments Metallica Videos News Thu, 03 Sep 2015 15:56:23 +0000 Damian Fanelli 25402 at http://www.guitarworld.com Freddie King Lesson: Going In Deep with a Blues Guitar Legend — with Video and Tab http://www.guitarworld.com/freddie-king-lesson-texas-blues-video-tab-andy-aledort-in-deep <!--paging_filter--><p>Freddie King is among the triumvirate of the greatest and most influential electric blues guitarists ever, revered with equal respect alongside the legendary blues gods B.B. King and Albert King. </p> <p>Together, they are often referred to as "The Three Kings"—all complete masters of their craft and essential subjects of study for any inspiring blues guitar enthusiast. </p> <p>In this edition of In Deep, we'll examine a few of the trademark Freddie King-isms that have earned him his rightful place as the forefront of electric blues guitar.</p> <p>Of the three Kings, Freddie had a hard-driving intensity that gave his guitar lines and solos a fiery spirit. And though he was blessed with what were arguably the most powerful vocal pipes of the three, he distinguished himself as a player and composer by penning the greatest blues guitar instrumentals in the genre’s history, such as the classic masterpieces “Hideaway,” “The Stumble,” “Sen-Sa- Shun,” “San-Ho-Zay,” “Side Tracked,” “In the Open,” and many others, all songs that have been covered brilliantly by such blues-rock heroes as Eric Clapton, Jeff Beck, Johnny Winter, ZZ Top and Stevie Ray Vaughan.</p> <p>Freddie King was born as Frederick Christian on September 3, 1934. Though his mother’s maiden name was King, in his early days as a performer he was thought to have changed his last name to King to align himself with B.B. King, then a rising star of blues guitar. </p> <p>His earliest records are credited to “Freddy,” but by 1968 he changed the spelling to “Freddie.” His recording career began in 1956, and by 1960 he had recorded the soon-to-be hit songs “Have You Ever Loved a Woman?,” “Love Her with a Feeling” and the instrumental smash "Hideaway," covered brilliantly by Eric Clapton with John Mayall on the <em>Blues Breakers</em> album, recorded in 1966. </p> <p>Early photos of King show him playing a mid-Fifties Gibson gold-top Les Paul with P-90 pickups, which he used along with a Gibson GA-40 amplifier. Shortly thereafter, he switched to his trademark Gibson ES-345 guitars, cranked to massive volume through Fender Quad Reverbs. </p> <p>He picked with his fingers, using a plastic thumb pick along with a metal index-finger pick, and his string gauges were very unusual: the top three string gauges were .010, .011 and .012—very light for the B and especially the G—while the wound strings were normal light-medium-gauge electric strings.</p> <p>King scored many early instrumental hits, the biggest being the aforementioned “Hideaway,” an easy-grooving 12-bar shuffle in E with a distinct, memorable melody. <strong>FIGURE 1</strong> illustrates a similar melody played within the 12-bar form. </p> <p>As melodic lines are played on the top two strings with abundant use of open notes—akin to the country blues of Lightnin’ Hopkins—a rhythm part is equally attended to, built from palm-muted two-note forms on the bottom two strings and balanced against the melodic development.</p> <p>In bar 2 of the example, a simple open- to-second-fret hammer-on is replaced with a “rolling” hammer-on, wherein the middle finger is hammered onto the first fret, instead of the second, followed by a slide up to the second fret. (This more intricate technique was later adopted and employed frequently by Stevie Ray Vaughan.) </p> <p>Throughout this example, notice the subtle inclusion of single-note phrases that serve to connect the elements of the part while keeping it moving forward.</p> <p>Freddie revisited this melody for another of his classic instrumentals, “The Stumble.” <strong>FIGURE 2</strong> illustrates a similar form, which begins with a melodic line close to that of “Hideaway” but is played over a different chord progression, starting on the IV(four) chord, A, in the key of E. </p> <p>In this 16-bar form, a descending sliding double-stop lick, based on a sixth interval, is played on the G and high E strings, executed by picking the G string with the thumb and the high E string with either the index or middle finger. Pick each pair sharply and in a staccato manner (short and detached), and strive for absolute accuracy as you move quickly down the fretboard.</p> <p>Freddie showcased a similar lick in “Hideaway,” with a band “breakdown” (the band lays out from playing the groove, supplying accented chordal stabs only). <strong>FIGURE 3</strong> offers a lick along these lines, initiated with a very cool and unusual E7add2 chord voicing. The band comes back in at bar 5, over A, and, in this example, further melodic development is performed on the top two strings.</p> <p>A great example of King’s relentlessly hard-driving style is a song called “Boogie Funk,” essentially a one-chord vamp played in A. The roots of this song can be found in the John Lee Hooker classic, “Boogie Chillen.”</p> <p><strong>FIGURE 4</strong> presents a repeating riff, built around an A5 chord, that features muted- string accents along with subtle half-step bends on the low E and A strings. This is played with a “triplet feel,” so what is written as eighth notes is intended to be played as a quarter-note/eighth-note combo within a triplet bracket. I use a pick to play this part, alternating evenly between downstrokes and upstrokes, but Freddie would fingerpick such a part, so try using the thumb for the downstrokes and the index or middle finger (or both) for the upstrokes. In <strong>FIGURE 5</strong>, I add a melodic figure to the form.</p> <p>After building intensity by riding on the I (one) chord, Freddie would switch briefly to the IV (four) chord and play a similar rhythmic lick. <strong>FIGURE 6</strong> offers a part along these lines, to be performed with the pick hand in the same manner as <strong>FIGURES 4</strong> and <strong>5</strong>.</p> <p>These examples just scratch the surface of Freddie King’s genius, so dig deep into his catalog to discover even more for yourself.</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 https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience1699133089001" 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="1699133089001" /> </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. 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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 --><p><br /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-13%20at%2011.35.41%20AM.png" width="620" height="442" alt="Screen shot 2015-07-13 at 11.35.41 AM.png" /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-13%20at%2011.36.04%20AM.png" width="620" height="584" alt="Screen shot 2015-07-13 at 11.36.04 AM.png" /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-13%20at%2011.37.10%20AM.png" width="620" height="589" alt="Screen shot 2015-07-13 at 11.37.10 AM.png" /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-13%20at%2011.38.06%20AM.png" width="620" height="461" alt="Screen shot 2015-07-13 at 11.38.06 AM.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="/freddie-king">Freddie King</a> </div> <div class="field-item even"> <a href="/andy-aledort">Andy Aledort</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/freddie-king-lesson-texas-blues-video-tab-andy-aledort-in-deep#comments August 2012 blues Freddie King In Deep 2012 Videos In Deep with Andy Aledort News Lessons Magazine Thu, 03 Sep 2015 11:26:25 +0000 Andy Aledort 16113 at http://www.guitarworld.com Best Acoustic Rock Song of All Time Poll: "Dust in the Wind" Vs. "Crazy on You" http://www.guitarworld.com/acoustic-nation-barsoat-best-acoustic-rock-song-all-time-dust-wind-vs-crazy-you/25382 <!--paging_filter--><p>There’s no doubt that acoustic songs have played a lead role in in rock and roll. </p> <p>And while we’ve talked about many of these songs and their origins, taught you how to play them and shared many a thought about ‘em, we think it’s time to get down to brass tacks.</p> <p>While it’s been ridiculously hard to whittle our list down, we now present you with what we think are some of the best acoustic rock songs of all time. </p> <p>Over the next several weeks we’ll be giving you a chance to vote for your favorites as we aim to name the Best Acoustic Rock Song of All Time presented by <a href="http://www.tcelectronic.com/">TC Electronic</a>!</p> <p>So come back every day and vote. And check out today’s entries below.<br /> <br /><br /> <strong>"DUST IN THE WIND," KANSAS<br /> <em>Point of Know Return</em> (1977)</strong> </p> <p>When Vicci Livgren overheard her husband, Kansas guitarist Kerry, practicing finger exercises on his acoustic one day, she told him she heard a song there and suggested he add some lyrics. He listened, and the result was "Dust in the Wind." </p> <p>A departure from Kansas' characteristic prog-rock bombast, "Dust in the Wind" was a stark, plaintive meditation on the meaning of life. </p> <p>While many assume that the track features a 12-string acoustic, the rich unplugged sound is actually the result of multiple six-strings (a few in Nashville tuning), played by Livgren and co-guitarist Rich Williams. </p> <p>The song became Kansas' only Top 10 single, charting at Number 6 in 1978. In the years since, it has become something of a cultural touchstone, popping up everywhere from TV shows like <em>The Simpsons</em> and <em>Family Guy</em> to movies like <em>Bill &amp; Ted's Excellent Adventure</em> and <em>Old School</em>.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/tH2w6Oxx0kQ" frameborder="0" allowfullscreen></iframe><br /> <br /> <strong>”CRAZY ON YOU," HEART<br /> <em>Dreamboat Annie</em> (1976)</strong></p> <p>Beginning with an impressive acoustic guitar intro by Nancy Wilson followed by words of lust and the desire sang by Ann Wilson, Heart debuted strong with their first American single. </p> <p>Off of 'Dreamboat Annie,' released in 1976, the song was played heavily on the airwaves and received attention because of a rarity at the time—the guitar player was female. </p> <p>Nancy Wilson remarked that the quick acoustic rhythm intro was inspired by “Question” by the Moody Blues. The lyrics were written about the stress that social unrest and the Vietnam War had caused in the U.S. in the early Seventies, and the want to forget about it all in the heat of the moment. Although only peaking at Number 35 on the <em>Billboard</em> Hot 100, “Crazy on You” still remains a Heart classic. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/OZuW6BH_Vak" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> VOTING IS CLOSED! </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 TC Acoustic Bracket on Scribd" href="https://www.scribd.com/doc/277830756/TC-Acoustic-Bracket" style="text-decoration: underline;" >TC Acoustic Bracket</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/277830756/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_53111" width="100%" height="400" frameborder="0"></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="/kansas">Kansas</a> </div> <div class="field-item even"> <a href="/heart">Heart</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/acoustic-nation-barsoat-best-acoustic-rock-song-all-time-dust-wind-vs-crazy-you/25382#comments Acoustic Nation News Blogs News Thu, 03 Sep 2015 11:23:58 +0000 Acoustic Nation 25382 at http://www.guitarworld.com PureSalem Guitars Introduces Vintage-Inspired Cardinal http://www.guitarworld.com/puresalem-guitars-introduces-sixties-inspired-cardinal/25396 <!--paging_filter--><p>PureSalem Guitars adopts an inspired approach and attitude while honoring the electric guitar’s glorious past. It‘s about simplicity in design—wood, wire and strings. It’s rock and roll, not rocket science.</p> <p>To quote David Fair (Half Japanese), "The idea is to put a pick in one hand and a guitar in the other and with a tiny movement rule the world.”</p> <p>PureSalem's Cardinal model combines quality construction and components with off-kilter styling’s and transports us back to an era when rock and roll was free and memories yet to be made. </p> <p>This new 2015 models come equipped with a Bigsby and Vibrola tremolos, Grover tuners, vintage cloth wiring, carved headstock, a new PS logo and the company's custom-wound pickups.</p> <p><strong>TECH SPECS</strong><br /> • Mahogany Body<br /> • Mahogany Neck with binding and Block Inlays<br /> • Rosewood Fret Board<br /> • 24 3/4 Scale Length<br /> • 42.75 Nut Width<br /> • 2 1/16 String Spacing<br /> • Modern C-Shape Neck / Light Satin Finish<br /> • 12 Inch Radius<br /> • Grover tuners<br /> • Vibrola Tremelo<br /> • Roller bridge<br /> • Single coil pickup in bridge, custom wound to vintage specs<br /> • Custom wound PureSalem “MENDIOLA” humbucker in neck<br /> • Vintage style cloth wiring<br /> • 3-Way Toggle with Master Volume and Master Tone<br /> • Med Jumbo Frets<br /> • Dual Truss Rod</p> <p>The Cardinal model carries a retail price of $1,015.</p> <p><strong>For more about PureSalem Guitars, visit <a href="http://www.puresalemguitars.com/">puresalemguitars.com.</a></strong></p> http://www.guitarworld.com/puresalem-guitars-introduces-sixties-inspired-cardinal/25396#comments PureSalem PureSalem Guitars Electric Guitars News Gear Wed, 02 Sep 2015 18:21:34 +0000 Guitar World Staff 25396 at http://www.guitarworld.com Five Finger Death Punch Guitarist Jason Hook Says "Betcha Can't Play This" — Video http://www.guitarworld.com/five-finger-death-punch-guitarist-jason-hook-says-betcha-cant-play-video/25397 <!--paging_filter--><p>This just-posted "Betcha Can't Play This" video features Five Finger Death Punch guitarist Jason Hook.</p> <p>Check it out below and have a crack at his lick!</p> <p>The band's new album, <em>Got Your Six,</em> will be released this Friday, September 4.</p> <p>For more about Hook and Five Finger Death Punch, visit <a href="http://www.fivefingerdeathpunch.com/">fivefingerdeathpunch.com.</a></p> <p><strong>Be sure to subscribe to <a href="https://www.youtube.com/channel/UCqHkFMEmOPFO3ahcrrBAj4w">Guitar World's YouTube channel,</a> where you'll find new videos every day.</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/88q9R4LILns" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/five-finger-death-punch-guitarist-jason-hook-says-betcha-cant-play-video/25397#comments 5FDP Betcha Can't Play This FFDP Five Finger Death Punch Jason Hook Videos News Lessons Wed, 02 Sep 2015 17:58:57 +0000 Guitar World Staff 25397 at http://www.guitarworld.com