Blogs en Session Guitar: What You Can Offer Clients to Increase Your Value As a Session Player <!--paging_filter--><p>Hi, gang!</p> <p>I've been busy, busy, busy in the studio! </p> <p>Today I'd like to talk about how you can increase your value as a studio player. </p> <p>You might consider yourself a guitarist. I know I do. But because I've studied music, as I am certain many of you have, I have certain other assets to offer clients. </p> <p>I'm a decent keyboard player in the studio. I stress that because I couldn't do a live gig if you paid me. However, because of midi, combined with my knowledge of theory and studying the styles and sounds of great players, I can fool people into thinking I'm a keyboard player. I also can sing, play drums and program incredibly realistic-sounding drums that fool many drummers. Bass? No problem!</p> <p>Allow me to offer a perfect example using a session I'm working on now. </p> <p>I received an email through <a href="">my website</a>. The client was looking for a guitarist to play on his tracks. (You DO have website, don't you? I use Bandzoogle.) My rates are clearly posted. He sent a track consisting of stems, submixes of drums, percussion, bass, guitars, keys and vocals. This way, I can mix to taste. A chart and BPM are always requested and supplied. I check the files' bit and hertz to make sure I will be supplying compatible files the client doesn't have to change. Be thorough. Be professional.</p> <p>I added what I thought to be appropriate parts consisting of many different sounds. Heavy to shimmering, direct clean sounds. I gave several options and sent it off. He was quite pleased and used only the tracks he liked, which is fine. Now I know what he likes to hear! He asked me to play on a few more songs, and each time I was able to have him use more and more tracks. I know what he liked now. And even better, I gained his trust.</p> <p>I noticed some weakness in the keyboard parts consistently. The keys sounded like head arrangements as opposed to well-thought-out parts. I politely offered to try something on keys for him. If he didn't like it, there'd be no charge. It was a gamble, but I didn't want my guitar parts to be heard next to someone playing bad notes! Always show yourself in a good light! Anyway, Hhe agreed and was happy. So happy, that I played keys on five more songs. You can see where this is leading, right? </p> <p>On another song, I replaced all the instruments, and he used 12 out of 15 tracks. I'm adding backing vocals to some of the songs. I suspect I might end up mixing the project. I'm "inside" now and part of the production team. Why? Because I cared. I became part of the project. I showed that I cared. I went the extra mile. This is what it takes these days. It is an incredibly hard, competitive business. But you can't be in it just for the money. That will come if you deserve it. </p> <p>So, what are your assets? What else can you offer a client? If the door is there to be opened, will you have the guts to lay yourself out there and take the chance? </p> <p><em><a href="">Ron Zabrocki</a> is a session guitarist from New York, now living in Connecticut. Says Ron: "I started playing at age 6, sight reading right off the bat. That’s how I was taught, so I just thought everyone started that way. I could sight read anything within a few years, and that helped me become a session guy later in life. I took lessons from anyone I could find and had some wonderful instructors, including John Scofield, Joe Pass and Alan DeMausse. I’ve played several jingle sessions (and have written a few along the way). I’ve “ghosted” for a few people who shall remain nameless, but they get the credit and I get the money! I’ve played sessions in every style, from pop to jazz.</em></p> Ron Zabrocki Session Guitar Blogs Thu, 21 Aug 2014 14:39:00 +0000 Ron Zabrocki Riffer Madness: Dimebag Darrell on Syncopated Rhythms, Part 1 <!--paging_filter--><p><em>This entry comes from Dimebag Darrell's classic </em>Guitar World<em> column, "Riffer Madness."</em></p> <p>In the last few columns we've been zoning in on lead-playing and shit so let's get back to doing some hard-driving rhythm work for a while-'cos well-balanced players rip on rhythm as well as leads. </p> <p>As far as I'm concerned, it's no good being able to wail out smokin' leads if your rhythm chops hugg! I've been into playing rhythm from day one, and a lot of that has to do with having a brother who kicks ass on drums. I grew up jamming with Vinnie [Paul, Darrell's brother and Pantera's skin-basher] and he definitely taught me the importance of timing and playing tight-and that, along with some great chops, is what rhythm playing is all about.</p> <p><strong>Percussive Picking</strong></p> <p>In a way, I'm kind of a percussionist when it comes to picking because a lot of my rhythm patterns are almost like drum patterns-take the front of "A New Level" (<em>Vulgar Display Of Power</em>) (Figure 1) which is a hard-driving power groove based on one note, the open low E string (tuned down a whole step to D). </p> <p>I actually came up with the idea for this riff by beating on one of those little crystal glasses with some chop sticks at Benihana's! Most riffs are recognizable by their melody, and the fact that you can immediately identify Figure 1 as being "A New Level" from just its rhythmic pattern shows you how important timing and rhythm is! So, in the case of this riff, the focus is on right-hand chops rather than melody.</p> <p><img src="" /></p> <p><strong>Psychotic Syncopation</strong></p> <p>A lot of Pantera's riffs are tight, syncopated grooves like the one we've just looked at. Check out the riff shown in FIGURE 2, which is the beginning of "Psycho Holiday" (<em>Cowboys From Hell</em>).</p> <p><img src="" /></p> <p>Once again, only one note is being hit (F), but you know exactly what the song is, thanks to the rhythmic pattern being pounded out. Anyway, before we go any further, I guess I should explain what syncopation is all about, just so we're clear.</p> <p>All syncopation means is accenting beats that you don't normally accent. If this sounds complicated, don't wig, just hold tight and we'll clean this scene up. Let's say you're chugging out a simple eighth-note pattern on the open low-E string, like in FIGURE 3a.</p> <p><img src="" /></p> <p>The notes you'd normally accent would be the ones that fall on counts "one," "two," "three" and "four." This is shown in FIGURE 3b(the notes to be accented are indicated by the symbol >). All we have to do to make this basic rhythmic idea syncopated is to accent the notes that fall on the "and" counts instead-the eighth-note up-beats. This is shown in FIGURE 3c.</p> <p>FIGURES 4a + 4b are the same shit, but this time applied to a simple 16th-note groove. FIGURE 4a is the unsyncopated version (accents on "one," "two," "three" and "four") while FIGURE 4b is syncopated (accents NOT on "one," "two," "three" and "four").</p> <p><img src="" /></p> <p>I know these are real basic illustrations, but remember, simple is bad-assed, if done aggressively! So, attack those accents 'cos that's where the magic is! Check out how much more interesting FIGURE 4b sounds compared to FIGURE 4a, which is pretty straight-sounding. And the only difference between 'em is where we've placed the accents. That's the whole trip with syncopation!</p> <p><img src="" /></p> <p>Shit, I'm outta space again. Next time we'll be getting into more power groove stuff, such as picking techniques and muting tricks. Until then, go crank your rig on 12, let it feedback wide open for a good two minutes, freak your neighbors out and ENJOY THE POWER OF THE GUITAR! "Oh, what a feeling," and it ain't no damned Toyota!!</p> <p><em>The "Dimebag Darrell Riffer Madness" DVD is available through Alfred <a href="">here</a></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="/pantera">Pantera</a> </div> <div class="field-item even"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> </div> </div> </fieldset> Dimebag Darrell Pantera Riffer Madness Blogs News Lessons Magazine Wed, 20 Aug 2014 14:52:31 +0000 Dimebag Darrell Bent Out of Shape: Jake E. Lee-Inspired, Staccato-Style Riffs <!--paging_filter--><p>A couple of weeks ago, <a href="">I showed you how to play a solo I recorded for the new White Wizzard album.</a></p> <p>In that solo, I highlighted a riff/lick where I double-picked each note with palm muting to create a staccato-style effect. </p> <p>The inspiration for this lick came from former Ozzy Osbourne guitarist Jake E. Lee, who used this effect in several Osbourne songs. The pre-chorus and chorus of "Bark at the Moon" use this technique, as well as the main riff from "Waiting for Darkness." </p> <p>For this lesson, I want to explore some more applications of this technique and give you some ideas of how you can use it in your own playing. The technique can be applied to virtually any single-note sequence you can come up with. </p> <p>I find it best to create a simple melodic line and then apply the technique to create a riff or motif. I've found it particularly useful in my solos as a way to create dynamics.</p> <p>To start, here's the lick from my previous lesson. Its just a very simple D minor pentatonic idea, which, combined with the technique, creates a much more memorable passage. This also is a good way to use pentatonics outside of the traditional rock-style licks. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src=""></iframe></p> <p><img src="/files/imce-images/tab1_1.jpg" width="620" height="87" alt="tab1_1.jpg" /></p> <p>Here's a riff inspired by Jake E Lee's "Waiting For Darkness." It features a simple B natural minor melody followed by descending thirds. This is taken from one of my own compositions, where I used it as the main theme within the song.</p> <p><img src="/files/imce-images/tab2_1.jpg" width="620" height="65" alt="tab2_1.jpg" /></p> <p>This is similar to the previous idea, but it uses A harmonic minor and a flat 5th to create a darker-style riff. This is taken from another solo I recorded. I was struggling to find something that sounded good over the backing music. There was no chord progression, rather just quick-moving power chords through a harmonic minor/diminished hybrid scale. </p> <p><img src="/files/imce-images/tab3_0.jpg" width="620" height="52" alt="tab3_0.jpg" /></p> <p>If you don't like to sweep pick, this technique will allow you to play arpeggios with some speed. My final example features a simple A minor to G major chord progression played as arpeggios across all six strings. This is a great application for this technique. </p> <p><img src="/files/imce-images/tab4.jpg" width="620" height="150" alt="tab4.jpg" /></p> <p>Hopefully you can take my examples and come up with your own ideas. It's also worth mentioning Jake E. Lee has a new album coming out sometime soon, which is a much welcomed return to the world of music for the highly influential guitarist. </p> <p><em>Will Wallner is a guitarist from England who now lives 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 toured Japan, the US and Canada in 2012. Follow Will on <a href="">Facebook</a> and <a href="">Twitter</a>.</em></p> Bent Out of Shape Jake E. Lee Will Wallner Blogs Lessons Wed, 20 Aug 2014 14:48:47 +0000 Will Wallner What in the World: Fourth-Finger Warmups and Strengthening Exercises <!--paging_filter--><p>The fourth finger is often neglected when it comes to playing guitar. Well, rock/blues guitar, at least. </p> <p>I notice players opt to do wide stretches between their second and third fingers rather than using the fourth. </p> <p>As a result, the fourth finger is very underused and gets weak. </p> <p>This generally begins when someone first starts playing guitar. They gravitate to the stronger fingers so they can begin playing right away, so they use their fourth finger very infrequently and develop a style that excludes it. </p> <p>By strengthening and using your fourth finger, many doors will open for you, playing-wise and eventually, you might even discover it’s even easier to play certain things. Aside from developing your fourth finger’s strength, the exercises below also can serve as efficient warmup exercises.</p> <p>This first exercise is a pentatonic shape, string-skipping lick. If you want to work on hybrid picking, you can pluck the high E string with the middle finger of your right hand. I only covered the first position in the example to show what the pattern is, but you can take this lick up to the 12th fret. You will definitely feel this one after a few frets!</p> <p><strong>Example 1</strong></p> <p><img src="/files/imce-images/ex%201.jpg" width="620" height="300" alt="ex 1.jpg" /></p> <p>The second exercise is a take on a common chromatic finger exercise, but instead of using the first finger, you will use only the second, third and fourth fingers. The third and fourth fingers will get tired after a while, and the clarity of the notes might start to suffer, so slow it down if that becomes the case. </p> <p>Remember, you always want to practice something and have it sound perfect, so slow it down if necessary. Once again, I only covered the first position in this example, but go up to the 12th fret. The finger pattern for this exercise is: 4 – 3 – 2 – 3</p> <p><strong>Example 2</strong></p> <p><img src="/files/imce-images/ex%202.jpg" width="620" height="302" alt="ex 2.jpg" /></p> <p>The third exercise might look familiar to those who checked out my “Flight of the Bumblebee” lesson. This exercise is the main theme. It’s a great workout for the fourth finger, since there is a five-fret jump between the first finger and the fourth, followed by a descending line with the 4-3-2 fingers and then the fourth again. I’m showing it in one position, but move this around the neck to work out the different fret spacings. </p> <p>The left hand fingering for this should be:</p> <p>4 – 3 – 2 - 1 – 1 – 4 – 3 – 2 – 4 – 3 – 2 – 1 – 1 – 2 – 3 – 4</p> <p><strong>Example 3</strong></p> <p><img src="/files/imce-images/ex%203.jpg" width="400" height="168" alt="ex 3.jpg" /> </p> <p>The final exercise is a hammer-on/pull-off sequence. There are really two exercises in one. The first one works out fingers 1, 3 and 4. The second one works out fingers 1, 2 and 4. Try and work your way up to do each for around a minute, but start off for maybe 10 to 15 seconds at a time. This one will build up a lot of strength in your left hand.</p> <p>Part 1 fingering: 1 – 4 – 1 – 3 – 1. Part 2 fingering: 1 – 4 – 1 – 2 - 1</p> <p><strong>Example 4</strong></p> <p><img src="/files/imce-images/ex%204.jpg" width="520" height="159" alt="ex 4.jpg" /></p> <p>These exercises/warmups are geared more for endurance as opposed to speed, so there's no need to try and blaze through them. Also, it's generally a good idea to dial in a sound that's not that forgiving, something that will let you hear the flaws and inconsistencies in your playing. Definitely use a dry sound with low gain if you use distortion. Try and be as honest as possible with yourself, and you will see quick results for all of your efforts. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><em>Steve Booke is a composer for film and TV from the New York area. His compositions range from orchestral to metal to world styles from every corner of the planet. A graduate of Berklee College of Music, Steve has played guitar for more than 28 years. He has recorded 10 albums of his own and has played on countless others. He plays gigs in the NY area and tours the East Coast with a variety of bands. He has performed with Ben E. King and members of Mahavishnu Orchestra. He endorses D'Addario/Planet Waves, Larrivee Guitars, Levy's Leathers, Peavey, Stylus Pick, Finale PrintMusic, Pigtronix, Tech 21, Toontrack, Graph Tech, Seymour Duncan, Waves, Studio Devil and L.R. Baggs. His music is available on iTunes and Amazon. Steve is now offering Skype lessons and can be contacted at Visit <a href=""></a> and <a href=""></a>.</em></p> Steve Booke What In the World Videos Blogs Lessons Wed, 20 Aug 2014 14:45:54 +0000 Steve Booke Guitar Strength: 10 Commandments of Playing Guitar in the Style of Dimebag Darrell, Part 1 <!--paging_filter--><p>This is a two-part column; part 1 is below, <a href="">and part 2 is right here.</a></p> <p><strong>Commandment 1: Honor Thy Van Halen</strong></p> <p>... and ZZ Top, Kiss, Judas Priest, Black Sabbath, Ted Nugent, Pat Travers, early Metallica (<em>Kill ‘em All</em>, <em>Ride the Lightning, Master of Puppets</em>) and Randy Rhoads.</p> <p>Van Halen’s impact on Dimebag’s playing is unmistakable. The “vibe” of early Van Halen is by far the most recognizable influence in Dimebag’s playing. From the grooving rhythms played like leads of their own, to the tone, to the phrasing in his lead playing, Dimebag took the inspiration of Edward Van Halen and forged his own identity.</p> <p>Pieces such as “Eruption” and “Spanish Fly” were favorites of Dimebag, who would play them in his unaccompanied guitar solos back in Pantera’s early club days.</p> <p>Dime has been noted as being Texas’ “Van Halen clone,” the local hotshot who could play all of the most impressive licks of his hero. Further, the brotherly bond of the Van Halen brothers (Eddie on guitar and Alex on drums) was mirrored in Pantera (Vinnie on drums and Dime on guitar).</p> <p>Van Halen’s impact is further felt as the words “Van Halen” were actually Dimebag’s last words spoken before he was tragically murdered. “Van Halen” was something Dime would say to his brother Vinnie before a live performance to inspire them both to play a fun, lively, rocking show. Also, Dime was actually buried with the guitar that inspired him most -- Eddie Van Halen’s yellow and black striped guitar featured on the back cover of <em>Van Halen II</em>.</p> <p>To truly understand Dimebag’s playing, it is crucial to absorb the “Van Halen” feel, as well as the techniques and attention to tone that were such a part of the early Van Halen experience.</p> <p><strong>[[ 2012 marks the 20th anniversary of Pantera's <em>Vulgar Display of Power</em>. What better way to celebrate the greatest album by one of the greatest metal band ever than with the collector's box-set edition of <em>Revolver</em>'s new special issue devoted to the group? The box set comes with five copies of the issue with four exclusive covers not available anywhere else, a massive 15" x 21" double-sided poster, and <em>Guitar World</em>'s <em>Learn the Best of Pantera</em> DVD with 90 minutes of shredding lessons, all packaged in a cool collector's box. <a href=";;utm_medium=article&amp;utm_campaign">It's available now at the Guitar World Online Store.</a> ]]</strong></p> <p><strong>Commandment 2: Thou Shalt Use the Major 3rd</strong></p> <p>Always wearing his Van Halen influence on his sleeve, Dimebag was never one to shy away from using the interval of a major 3rd in his heavy playing. Shunned by most “metal” players, the major 3rd was an essential tool in Dime’s bag of tricks.</p> <p>When playing in E (minor), the major third is G#, which adds a unique feel to riffs and licks that also utilize the minor 3rd (G). Theoretically, this major 3rd lends lines a Mixolydian quality, though it essentially gives a bluesy type of sound and adds tension/dissonance to minor key tonalities (For more information, check out <a href="">Guitar Strength Volume 1: Mastering the Modes</a>.)</p> <p>Example 1 is a Dimebag-inspired riff using this major 3rd in a minor key.</p> <p><img src="/files/imce-images/Example1_0.jpg" width="620" height="156" alt="Example1_0.jpg" /></p> <p>Notice also how Dime gets extra mileage out of the interval by using it in a pattern that also makes use of the flat 9 (F in E minor). Example 2 is another Dimebag-inspired riff using the same intervals. (For another riff using the major 3rd, which was clearly an influence on Dimebag, check out the end of “Sabbath Bloody Sabbath” by Black Sabbath.)</p> <p><img src="/files/imce-images/Example2.jpg" width="620" height="140" alt="Example2.jpg" /></p> <p>The major 3rd was not just essential to Dimebag’s riffs, it was also extensively used in his lead playing. Example 3 is an E minor fingering of the “Dimebag Scale,” a minor pentatonic scale with the addition of a flat 5, major 6th (omitted on the A string and used only on the B string, 14th fret for ease of fingering), and major 3rd. </p> <p><img src="/files/imce-images/Example3.jpg" width="620" height="141" alt="Example3.jpg" /> </p> <p>Example 4 is a Dimebag-inspired lick using this scale.</p> <p><img src="/files/imce-images/Example4.jpg" width="620" height="161" alt="Example4.jpg" /></p> <p>When attempting to conjure the influence of Dimebag in your own playing, experimentation with the integration of this major 3rd into more “standard” minor phrases is highly encouraged. Don’t be afraid of sounding “happy”; play the note like you mean it and you’ll be amazed at its versatility and its ability to make your playing substantially more interesting.</p> <p><strong>Commandment #3: Embrace Symmetry</strong></p> <p>Another Van Halen-inspired technique employed by Dimebag was the use of symmetrical fingerings. This technique is extremely easy to learn but requires taste and skill for successful implementation. To perform this technique, simply devise a fingering shape on one string and apply it across all six. </p> <p>Example 5 is a Van Halen-esque lick, based on a root, major 3rd, 5th shape in E, continuing down to the A string and resolving on a B string bend from D to E (and back down to D for some minor 7th tension).</p> <p><img src="/files/imce-images/Example5.jpg" width="620" height="300" alt="Example5.jpg" /></p> <p>Clearly inspirational to Dime, example 6 is a variation in the same (12th) position, this time using the minor 3rd (G), 5th (B), and a slide to and from the flat 6th (C). This expanded symmetrical shape still uses a simple 1-2-4 fret hand fingering across all six strings, yet the pinky slide gives it some extra range and movement.</p> <p><img src="/files/imce-images/Example6.jpg" width="620" height="170" alt="Example6.jpg" /></p> <p>Further examples of simple, yet effective symmetrical patterns used by Dimebag can be seen in examples 7 and 8. Example 7 is another shape, this time using the major 7 (Eb in E), the root (E), and the minor 3rd (G) as its basis. In this case, the pattern is an ascending climb combining both picking and legato phrasing, again using the 1-2-4 fingering. </p> <p><img src="/files/imce-images/Example7.jpg" width="620" height="212" alt="Example7.jpg" /></p> <p>In example 8, based on one of Dimebag’s favorite patterns, the shape uses a 4-3-1 fingering in a descending sequence on the top three strings. This shape in this position is a throwback to the playing of Pat Travers, and can be quite effective when playing over rhythms in A minor and E minor. </p> <p><img src="/files/imce-images/Example8.jpg" width="620" height="145" alt="Example8.jpg" /></p> <p>Feel free to transpose it into other keys and use it often, just as Dime did.</p> <p>It is important to notice that though Dimebag possessed astounding picking technique, he tended to favor executing most of his lines in a legato fashion (another homage to Mr. Edward Van Halen). Dimebag’s love of legato gave his lines a fluid, lively quality, and his powerful left hand technique was extremely important when effectively implementing these symmetrical patterns into his lead licks.</p> <p><strong>Commandment 4: Give Chords New Found Power</strong></p> <p>Never content with “standard” guitar techniques, Dimebag was an avid user of the “other” power chords. Instead of relying on normal root-5th and root-4th (inverted 5th) power chords (though he was an obvious master when it came to using them), Dimebag would often come up with and use alternative dyads (two-note chords) in place of standard power chords. These chords were usually major or minor thirds stacked on top of the root. Example 9 is the two basic versions of these chords with 6th and 5th string roots. The first is the “major 3rd” variation and the second is the “minor 3rd” version.</p> <p><img src="/files/imce-images/Example9.jpg" width="620" height="195" alt="Example9.jpg" /></p> <p>Example 10 is a figure using the minor 3rd power chord. Notice how the chords act to add texture and movement to the riff, as they work well when used in the same riff as the more pedestrian root-5th power chords. The chords also add a nice tension, as they are not as “homogenous” and “neutered” sounding as the standard root-5th chords. Also, when used with a rocking distorted tone, these chords have an extremely powerful sonic fingerprint with their unique overtones. </p> <p><img src="/files/imce-images/Example10.jpg" width="620" height="132" alt="Example10.jpg" /></p> <p>These overtones are, in fact, what makes these chords so special and useful. With usual major or minor chords and triads, playing them with distortion often results in a cluttered, un-musical noise. There is just too much information present to allow sonorous, musical sounds when using the standard major or minor chord shapes. However, by just playing the root and 3rd, a vibrant, tense, rich sound is created, really putting the “power” in power chord.</p> <p>Experiment often with substituting these root-3rd power chords for standard root-5th chords in your riffs. Also, try varying your usage of major and minor 3rds, as often times the “wrong” (out of key) 3rd will sound most interesting in a riff. Example 11 is a Dimebag inspired riff using these harmonically “wrong” power chords. </p> <p><img src="/files/imce-images/Example11.jpg" width="620" height="278" alt="Example11.jpg" /></p> <p><strong>Commandment 5: Know your Nodes</strong></p> <p>No discussion of Dimebag would be complete without mentioning his penchant for playing with harmonics. Dimebag’s playing was peppered with any and every type of harmonics: natural, artificial, tapped, etc.</p> <p>Playing with an overtone-rich, distorted sound, harmonics (whether naturally or artificially produced) are an integral component in the beast of electric guitar. Harmonics can occur almost anywhere and can be produced by a myriad of means, and can occur many times as an accidental consequence of playing with a loud, distorted sound.</p> <p>Dimebag, however, excelled at controlling the beast, and was able to skillfully use harmonics as one of the most expressive elements in his playing. To understand how Dime would use harmonics, we’ll first look at the naturally occurring harmonic nodes that occur across the fretboard. Example 12 is a basic depiction of the most common, “easy” harmonics that occur when a fret hand finger is used to lightly touch a plucked string (without actually pushing it down and fretting it) and produce a harmonic. </p> <p><img src="/files/imce-images/Example12.jpg" width="620" height="154" alt="Example12.jpg" /></p> <p>Example 13 shows some more difficult to produce harmonics along the same string, many of which were used extensively by Dime.</p> <p><img src="/files/imce-images/Example13.jpg" width="620" height="159" alt="Example13.jpg" /></p> <p>Dime was never content to just play the harmonics, though, as he would often use a variety of techniques to produce and manipulate them. The most famous of these techniques was Dime’s signature “harmonic scream” technique. The basic maneuver is depicted in example 14. </p> <p><img src="/files/imce-images/Example14.jpg" width="620" height="388" alt="Example14.jpg" /></p> <p>To perform this technique as Dimebag would, a floating tremolo bridge (able to bend a note below and above) is necessary (preferably a locking Floyd Rose or its equivalent). First, get the string moving by “plucking” it with a silent fret hand pull-off while simultaneously dumping / depressing the bar and bending the tremolo down. As the open string is lowered in pitch and its tension is reduced, lightly tap the selected harmonic node with the fret hand “bird”/middle finger. Next, after the harmonic has been sounded, slowly return the bar to pitch, pull it up higher, and apply vibrato with the whammy bar. Note that the actual time the open/dumped string rings is only a fraction of a second, it is only sounded so as to allow the string movement enough to produce the fret hand “tapped” harmonic. </p> <p>Also note the importance of fret hand muting, being sure to use the fret hand thumb (wrapped over the top of the neck) and fret hand fingers to mute any unwanted noise from the unused strings. Experiment with different harmonic nodes, as some will be easier to execute and some will sound more interesting than others. </p> <p>While Dimebag was also quite adept at using Zakk Wylde/John Sykes/George Lynch/Billy F. Gibbons style “pings” (artificial harmonics, A.K.A. pick harmonics) he was especially adept at using multiple, combined harmonics as a way to spice up his rhythm playing. </p> <p>Example 15 shows this technique at play. </p> <p><img src="/files/imce-images/Example15.jpg" width="620" height="164" alt="Example15.jpg" /></p> <p>Notice first that Dime loved using “in-between” harmonics, those that had a particularly shrieking/squealing sound. Also notice that in combining two or more harmonics, an extremely cool set of screaming, dissonant overtones is created. Try any and all combinations of harmonics on various string sets and at various node points, and also experiment with manipulating the combinations with your whammy bar and/or effects pedals. Example 16 is several available combinations.</p> <p><img src="/files/imce-images/Example16.jpg" width="620" height="365" alt="Example16.jpg" /></p> <p>The possibilities are endless. <a href="">Check out Part 2!</a></p> <p><em>Scott Marano has dedicated his life to the study of the guitar, honing his chops at the Berklee College of Music under the tutelage of Jon Finn and Joe Stump and working as an accomplished guitarist, performer, songwriter and in-demand instructor. In 2007, Scott developed the Guitar Strength program to inspire and provide accelerated education to guitarists of all ages and in all styles through state-of-the-art private guitar lessons in his home state of Rhode Island and globally via Skype. <a href="">Visit Scott and learn more at</a></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="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item even"> <a href="/pantera">Pantera</a> </div> <div class="field-item odd"> <a href="/damageplan">Damageplan</a> </div> </div> </div> </fieldset> Damageplan Dimebag Darrell Guitar Strength Pantera Scott Marano Blogs Features Lessons Wed, 20 Aug 2014 14:44:16 +0000 Scott Marano Review: Three New Hal Leonard Books for the Bassist in All of Us <!--paging_filter--><p>Whether you’re a bona fide bassist or a guitar player who dabbles in bass, I won’t tell. </p> <p>What I <em>will</em> say is, here are three new books from Hal Leonard that will fine tune your way around the low end. </p> <p><strong><em>Essential Bass Guitar Techniques</em></strong>: Chris Kringel pieced together 21 separate lessons into one book that will help define your playing style as a bassist. The book starts off with simple right-hand plucking concepts and ends with complex two-handed tapping techniques. </p> <p>Packed in between are lessons on picking, fretting, slapping, muting and harmonics. Each lesson includes pictures, TAB, musical notation and recorded audio examples to get you the right track. <strong>$19.99</strong></p> <p><strong><em>Best Bass Lines Ever</em></strong>: This is volume 46 of Hal Leonard’s "Bass Play-Along" series. It contains TAB and musical notation for eight songs; “Billie Jean” by Michael Jackson, “Hysteria” by Muse, “Longview” by Green Day, “Roundabout” by Yes, “Sweet Child O' Mine” by Guns N’ Roses, “Taxman” by the Beatles, “Under Pressure” by Queen and “YYZ” by Rush. </p> <p>The book comes with a link and access code to Hal Leonard’s My Library, where you’ll be able to download or stream a play-along track with or without bass accompaniment for each song. <strong>$17.99</strong></p> <p><strong><em>Paul McCartney</em></strong>: Also from Hal Leonard’s "Bass Play-Along" series, this book offers TAB and notation following Sir Paul’s career with the Beatles and as a solo artist. The nine songs featured in this book are “Band on the Run," “Hey Bulldog," “I Want You (She’s So Heavy)," “Live and Let Die," “Maybe I’m Amazed," “Penny Lane," “Rain," “Silly Love Songs” and “With a Little Help from My Friends.”</p> <p>Not only does the "Play-Along" CD have backing tracks with and without bass, it also works with Hal Leonard’s <a href="">"Amazing Slow Downer" software.</a> The free software allows you to slow down or speed up audio examples as you get them under your fingers. You also can modify the pitch to avoid tuning down or playing in uncomfortable keys. <strong>$17.99</strong></p> <p><em>You can't believe everything you read on the Internet, but Billy Voight is a gear reviewer, bassist and guitarist from Pennsylvania. He has Hartke bass amps and Walden acoustic guitars to thank for supplying some of the finest gear on his musical journey. Need Billy's help in creating noise for your next project? Drop him a line at</em></p> Billy Voight Billy's Breakdown book review Hal Leonard Review Blogs News Tue, 19 Aug 2014 17:44:38 +0000 Billy Voight Monster Licks: Your Basic "Over the Top" Shred Lick <!--paging_filter--><p>In this Monster Lick, I'm using what I call the "E pentatonic major 3rd" scale — E, G#, A, B, D, E.</p> <p>I'm substituting the minor 3rd (G) for the major 3rd (G#). Often, I'll keep the minor 3rd in the scale as well, because it gives it a harder edge. </p> <p>Tonally, when you add the major 3rd and substitute it for the minor 3rd, you get a real Mixolydian sound. It is very important to understand what happens when you add and subtract notes, too — or from a scale.</p> <p>I use this particular variation of the scale a lot, especially when Im creating melodies that need to have a bit of "cheek" about them. This sound reminds me of something Steve Vai would use. The character Steve injects into his playing is genius, and this is a way (tonally) I've found to help me capture a bit of that.</p> <p>That said, this is a total shred lick. There is no character or melody in this; it's purely an example of how far you can take the scale idea. </p> <p><strong>The Lick:</strong></p> <p>I start this lick on the 12th fret of the low E string. From there I play two three-string arpeggios moving down the neck until I hit the B string. Once I reach the B string, I play a four-string arpeggio leading back up to the A string then into two more three-string arpeggios. There's a small legato transition before a six-string arpeggio that leads into the over-the-top section. </p> <p>NOTE: Whenever you see an arpeggio (They are easy to identify because they run diagonally across the transcript), they are all picked using sweep picking, meaning one continuous stroke up or down the strings, like strumming a chord. Even though the picking is all in one direction, it must be a controlled motion. It's essential to make sure your right and left hands are syncopated, no matter what speed you're playing at.</p> <p>As explained in previous Monster Licks columns, the over-the-top sections are great for a challenge but not necessary. I certainly don’t concern myself with techniques like this when I'm writing music, and neither should you. But they are fun to rip out and show your friends! Just look at it as a challenge, nothing more. </p> <p>The important thing is to get a grasp tonally on what is happening here, and also to understand how the arpeggios are constructed. Like all of these licks, it's not important to be able to play them note for note or as fast as I do here. What's important is that you take something away from it and add it to your arsenal of licks!</p> <p><strong>I hope you enjoy this Monster Lick! Please join me on <a href="">YouTube right here!</a> Or contact me at <a href=""></a> or <a href="">my Facebook page</a>.</strong></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-02-12%20at%204.20.42%20PM.png" width="620" height="477" alt="Screen Shot 2014-02-12 at 4.20.42 PM.png" /></p> <p><em>Australia's Glenn Proudfoot has played and toured with major signed bands and artists in Europe and Australia, including progressive rockers Prazsky Vyber. Glenn released his first instrumental solo album, </em>Lick Em<em>, in 2010. It is available on iTunes and at <a href=""></a>.</em></p> Glenn Proudfoot Monster Licks Blogs Lessons Tue, 19 Aug 2014 16:56:14 +0000 Glenn Proudfoot Jazz Guitar Corner: Rhythmic Soloing Exercise for the Improvising Guitarist <!--paging_filter--><p>With so many scales, arpeggios, licks, chords and patterns to learn in the practice room, sometimes we can overlook rhythm when working on our <strong>jazz guitar soloing</strong> concepts. </p> <p>Keeping a focus on rhythms and <strong>rhythmic motives</strong> in your solos can help take your playing to the next level, without having to learn any new concepts, just new approaches to the concepts you already have under your fingers. </p> <p>In this lesson, you’ll learn a fun and <strong>essential jazz guitar rhythm</strong> exercise you can apply to your practice routine and take your playing to the next level of interest and creativity today. </p> <p><strong>Rhythmic Soloing Exercise</strong></p> <p>Here is the exercise in a nutshell so you can get the idea into your head before taking it to the fretboard.</p> <p>01. Pick a short, <strong>one-bar rhythm</strong> to focus on in your solo<br /> 02. Pick a chord progression or tune to solo over with a <strong>backing track</strong><br /> 03. Solo over the tune, using <strong>any notes you want</strong>, but every bar has the same rhythm<br /> 04. Practice these exercises at <strong>various tempos</strong> and with tunes of various lengths such as 8, 12, 16, 24 and 32 bars each</p> <p>Now that you know how to build the exercise, here's a sample motive that you can begin using, as well as a sample solo using that motive to give you an idea of how the exercise could sound in the woodshed. </p> <p><strong>Sample Rhythmic Motive<strong></strong></strong></p> <p>Here's a sample rhythm I might use in my practicing that you can start with when first exploring these concepts in the practice room. The rhythm relies on <strong>three up beats</strong>, 1&amp;, 2&amp;, 3&amp;, as well as a downbeat, 4, to build the one-bar long phrase. </p> <p>As an example, here is this rhythmic motive applied to a <strong>ii V I VI chord progression</strong> in the key of C major. </p> <p><img src="/files/imce-images/Open%20String%20Fingerpicking%20Pattern%201.jpg" width="620" height="156" alt="Open String Fingerpicking Pattern 1.jpg" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src=";color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p>Once you have learned the sample lick above, try soloing over the same chord progression but make up your own notes to use with that static rhythm in order to take this motive further in the practice room.</p> <p><strong>Rhythmic Motive Blues Solo</strong></p> <p>To finish off our rhythmic motive study, here is a sample solo over an <strong>F blues progression</strong> that uses the same rhythm from the previous section. </p> <p><img src="/files/imce-images/Open%20String%20Fingerpicking%20Pattern%202.jpg" width="620" height="481" alt="Open String Fingerpicking Pattern 2.jpg" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src=";color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p>When you have this short solo under your fingers, try improvising over an F blues using the same rhythm, but changing the notes as you work this idea into your own improvisational studies. </p> <p>As you can see, focusing on rhythms when soloing can bring a new dimension to your soloing ideas. While you won’t play a single rhythm for an entire chorus in a real-life situation, focusing on one rhythm in the woodshed will allow you to keep rhythms in the forefront of your lines and improvised solos. </p> <p>Do you have a questions or comments about this lesson? Share your thoughts in the COMMENTS section below. </p> <p><em>Matt Warnock is the owner of <a href=""></a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> Jazz Guitar Corner Matt Warnock Blogs Lessons Mon, 18 Aug 2014 21:40:16 +0000 Matt Warnock Find Your Way: How to Spice Up a Cover Song <!--paging_filter--><p> Whether it be for a video or live, many bands perform covers of artists they admire as a way to pay homage or share their love of a song with the audience. </p> <p>Sometimes the band chooses to play it exactly like the record, and if it's a tricky song it's all the more impressive. If I saw a random bar band flawlessly pull off Joe Satriani's “Satch Boogie” or any Periphery song note for note, I'd be blown away. </p> <p>Other times it's a cover of something simpler like Bob Dylan's “Don't Think Twice It's Alright,” or in this case, “Find My Way” by Nine Inch Nails. It's easier and more exciting for the band to put their unique twist on the song and try to make it their own by using different techniques and textures. </p> <p>Here's a guide as to how we made a cover song a band and fan favorite.</p> <p>First, it's important to check if there are other versions of the song out there. Trent Reznor included remixes with the album, so we decided to start the song with the chord used on the "Oneohtrix Point Never Remix." That's about the only similarity, but it's still a shout-out to that version. We make that section our own by having electronic drums come in and having a “turnaround,” per se, as a way to end the section.</p> <p>Then here comes guitar! I wanted the guitar pattern to mimic the drums in the original song. It's tough to make a guitar part percussive with alternate picking, especially if you're not playing loud. A way I found to achieve that is courtesy of Tosin Abasi of Animals As Leaders, who uses a double-thumbing technique. I imagine seeing him play is similar to seeing Eddie Van Halen use tapping for the first time. </p> <p>Using that technique, I was able to make a part that was a bit more bouncy while outlining the E major chord. As the chorus returns, everyone in the band does as well and for the rest of the song, although still not at 100 percent volume yet.</p> <p>In the final verse, the bass uses a unique tapping lick, as the guitar line is already keeping a thumping pulse. This is why it's important to be a bit curious about the various techniques of guitar playing. Because although they may not necessarily come up in a cover band setting, they can really make a cover song very creative and unique. The more you have to work with, the better. </p> <p>In the final chorus, we go from electronic drums to real drums, and that's when the song gets to 100 percent. That's a definition of a slow burn and a wonderful payoff for the band and the audience. </p> <p>Watch/see it here:</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><em>Elliott Klein is a New York City-based guitarist/singer/songwriter who plays in <a href="">Bright and Loud</a>, <a href="">Party Lights</a> and many more.</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="/nine-inch-nails">Nine Inch Nails</a> </div> </div> </div> </fieldset> Elliott Klein Nine Inch Nails Videos Blogs Sun, 17 Aug 2014 20:38:24 +0000 Elliott Klein From Bach to Rock: Expanding Your Musicality and Fretboard Knowledge Using Triads and Inversions (Guitar, Un-CAGED) <!--paging_filter--><p>When first learning to play guitar, transitioning between chords and playing a few progressions can allow you to play hundreds of songs. </p> <p>While this can keep you entertained for quite a while, you might find there is a large amount of the fretboard that is lacking your attention.</p> <p>One of the many tools that can be used to learn the higher positions is the CAGED system. Though the application can be very useful, aspects of it can be simplified and studied in a more musical approach. Doing this might help you have a better understanding of chord voicing and harmony.</p> <p>The CAGED system uses five guitar chord shapes — C, A, G, E and D — to create barre chords for playing in higher positions. The problem with this system is that its functionality has nothing to do with music itself. It is simply a physical device that works based on the tuning of the strings. It cannot be applied to music in general and is specific only to the guitar.</p> <p>These five chords are all root-position chords, meaning the letter name of the chord is the lowest-sounding note. But music does not always consist of root-position chords, so why should it on the guitar? In this column, I’ll demonstrate another approach for expanding your fretboard knowledge using triads and their inversions.</p> <p>First of all, what is a chord? If you’re asked to play a G chord, what really does that mean? Sure, it can be a shape from a chord diagram, but why that shape? And if it’s different from one diagram to the next, is one of those wrong?</p> <p>As guitarists, we often think about chords as shapes, and we have “go-to” shapes for certain chords. But that’s not thinking musically. So that we can develop a stronger sense of musicianship, we need to understand how chords are constructed. To demonstrate, I’ll use a simple I-V-vi-IV progression in the key of A, so the chords will be A, E, F♯m and D. </p> <p>First, we need to know what notes are in the key of A.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.45.03%20PM.png" width="620" height="92" alt="Screen Shot 2014-08-13 at 5.45.03 PM.png" /></p> <p>The basic chord is called a triad and consists of a root, a third and a fifth. The chords in this progression will have these notes:</p> <p><strong>A</strong>: A, C♯, E<br /> <strong>E</strong>: E, G♯, B<br /> <strong>F♯m</strong>: F♯, A, C♯<br /> <strong>D:</strong> D, F♯, A</p> <p>Your “go-to” shapes for these chords might look something like this:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.47.01%20PM.png" width="620" height="173" alt="Screen Shot 2014-08-13 at 5.47.01 PM.png" /></p> <p>When first learning to play a chord progression, we’re typically using our basic “guitar” chords. I use quotations because many guitarists think of a chord as a certain shape. That may suffice for a beginner, but to make those root-position chords even more musical, we need to take advantage of the rest of the fretboard. We can do so by learning different chord inversions. </p> <p>As there are three different notes in a basic chord (triad), there are three basic forms for these chords. These forms are presented only on the top four strings. The reasoning for this is twofold: 01. Historically, the developing guitar was a four-string instrument until the Baroque era, when a fifth string was added, and then a sixth. Therefore, chords had to be formed on fewer strings. 02. Chords formed on the top four strings involve a systematic, musical approach to triadic harmony and the use of chord inversions.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.51.05%20PM.png" width="620" height="352" alt="Screen Shot 2014-08-13 at 5.51.05 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.51.58%20PM_0.png" width="620" height="87" alt="Screen Shot 2014-08-13 at 5.51.58 PM_0.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.52.19%20PM_0.png" width="620" height="271" alt="Screen Shot 2014-08-13 at 5.52.19 PM_0.png" /><br /> <strong>Form I Voicing</strong>: 1-3-5-1 (root, third, fifth, octave)—“root-position.”<br /> <strong>Form II Voicing</strong>: 3-5-1-3 —“first inversion.”<br /> <strong>Form III Voicing</strong>: 5-1-3-5—“second inversion.”</p> <p>There is a clear pattern of intervals with this system of chord inversions. While the official term is “inversion,” using form numbers can help to identify where the root of the chord is. For example, the root in Form I is on the first string, it’s on the second for Form II, and the third for Form III. This applies to both Major and Minor Forms.</p> <p>Applying these forms to the chord progression, A, E, F♯m, D, will give us three different fretboard locations, with each of these having a different sound because of the different chord voicings. The transition from one form to the next is designed so that common chord tones may be used where applicable, and shifting is kept to a minimum.</p> <p><strong>Example 1:</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-14%20at%202.59.01%20PM.png" width="620" height="146" alt="Screen Shot 2014-08-14 at 2.59.01 PM.png" /></p> <p><strong>Example 2:</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-14%20at%203.01.25%20PM.png" width="620" height="144" alt="Screen Shot 2014-08-14 at 3.01.25 PM.png" /></p> <p><strong>Example 3:</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-14%20at%203.02.22%20PM.png" width="620" height="149" alt="Screen Shot 2014-08-14 at 3.02.22 PM.png" /></p> <p>Each of these examples systematically moves through the different chord inversions, and they create sounds very different from the basic, root-position shapes. </p> <p>Learning these six total forms can be much easier than the learning CAGED system. With its musical approach, the focus is on specific chord voicing rather than just root-position chord shapes. Through using these, you can expand your fretboard knowledge in a musical way and gain a better understanding of how chords function. Sonically, if you’re playing the same progression with another guitarist, each of you can play the same chords, but in different positions, creating a wider spectrum of sound.</p> <p>This method of learning chords is presented in my new iBook, <em>Beginning Guitar Method</em>, <a href="">which is available in the Apple iBookstore.</a> </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe> </p> <p><em>Matthias Young teaches online guitar lessons at <a href=""></a> and is the Head of Guitar at <a href="">Callanwolde Fine Arts Center</a> in Atlanta, Georgia. His book and DVD, <em><a href="">Metal Guitar Method</a></em>, has sold thousands since its publication in 2012. His most recent release, <em>Beginning Guitar Method</em>, is <a href="">available in the Apple iBookstore</a>. You can follow Matthias on <a href="">Facebook</a>, <a href="">Twitter</a>, <a href=";list=PLXAcBwcIb4bXcUIM8jk2tdqO4p-i8BKmV">YouTube</a> and <a href="">Google+.</a></em></p> From Bach to Rock Matthias Young Videos Blogs Lessons Thu, 14 Aug 2014 19:11:32 +0000 Matthias Young The 1969 Album Jimmy Page, Robert Plant, John Paul Jones and John Bonham Recorded Before 'Led Zeppelin' <!--paging_filter--><p>Our recent story about <a href="">Jimmy Page's five best guitar solos as a member of the Yardbirds</a> got us thinking about another legendary pre-Led Zeppelin recording featuring Page.</p> <p>This project, however, features all four members of Led Zeppelin — Page, Robert Plant, John Paul Jones and John Bonham — recording together before there even was a Led Zeppelin.</p> <p>While still in "New Yardbirds" mode, the four pre-Zeps took part in the August 1968 recording sessions for P.J. Proby’s 1969 album, <em>Three Week Hero.</em></p> <p>Page and Jones were successful session musicians at this point, and when Jones got the Proby gig, he invited his fellow New Yardbirds along. A recent <a href="">Dangerous Minds</a> story quotes Jones as saying, “I was committed to doing all the arrangements for the album. As we were talking about rehearsing at the time, I thought it would be a handy source of income. I had to book a band anyway, so I thought I’d book everybody I knew.”</p> <p>The sessions started August 25, 1968, and led to an album that didn't cause much of a stir when it was released the following April.</p> <p>“The boys told me they were going over to play in San Francisco and all that, and I said, ‘Look, from what I’ve heard and the way you boys played tonight, not only are you not going to be my backing band, I’m going to say goodbye right now, because I don’t think I’m ever going to see you again'," Proby says in the DM story. </p> <p>"'That’s how successful you’re going to be. You’re exactly what they want, you play all that psychedelic stuff and everything.' I said, ‘You’re going to go over there and go down so great I don’t think you’re ever going to come home.’ They didn’t ever come back until they changed their name to Led Zeppelin and stayed over there and came back huge huge stars. … I said goodbye that day when I cut that album, and I haven’t seen one of them since.”</p> <p>Check out some samples from the album (and a non-album B-side) below.</p> <p><strong>"Jim's Blues"</strong></p> <p>Is there any doubt this is Led Zeppelin? This is part of the eight-minute medley that closed the album. I admit, this track really "shook me" ... all night long.</p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“The Day That Lorraine Came Down”</strong></p> <p>Here's track two from the Proby album, which was released on CD in 1994. It's easy to picture Plant on vocals — not that there's anything wrong with Proby's voice.</p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Mery Hopkins Never Had Days Like These"</strong></p> <p>Here's a non-album B-side from the same sessions. This song is interesting because Proby calls out each member of the band, who then plays a little solo, starting with bassist John Paul Jones. By the way, for a little more info about about the album, check out good ol' <a href="">Wikipedia.</a> (PS: It seems the word "Mery" in the song title is supposed to be spelled like that; it's obviously a fun reference to then-popular Welsh singer Mary Hopkin.)</p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World<em>.</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="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item odd"> <a href="/robert-plant">Robert Plant</a> </div> </div> </div> </fieldset> Jimmy Page Led Zeppelin PJ Proby Robert Plant Blogs News Thu, 14 Aug 2014 12:23:21 +0000 Damian Fanelli The Complete Guitarist: Finger Twisters — Re-Thinking Solos Over the I IV V Progression <!--paging_filter--><p>Hey there, faithful readers! In this second installment of Finger Twisters (<a href="">Click here for Part 1</a>), I'd like to examine, or shall I say re-examine, soloing over the I IV V progression. </p> <p>I know what you're thinking: Not another column about blues licks! Rest assured, that is not the case.</p> <p>This exercise, or finger twister, is a moveable arpeggio pattern, but it will be in G major for our purposes today. The first measure is an ascending I chord/arpeggio of the major scale, which extended out (1 3 5 7), is a major 7th chord/arpeggio, which is a G major 7th chord/arpeggio (G,B D,F#). </p> <p>The second measure is a descending IV chord arpeggio, which is also a major 7th chord and is a C major 7th chord/arpeggio (C,E,G,B). The third measure is an ascending V7 chord/arpeggio, which spells out a D7 chord/arpeggio (D,F#,A,C). Lastly, to end up back where we started, we have the descending I chord/arpeggio again, which is the G major chord/arpeggio (G,B,D,F#).</p> <p>As I stated above, these are moveable patterns, so you can play them all over the fretboard. Try them in A, C and Bb major, for example. </p> <p>Be creative with it. It does stand alone as a string-skipping, alternate-picking, "get from one end of the fretboard to the other" exercise, but if you incorporate some of the ideas melodically into your lead playing the next time you're jamming a I IV V with fellow musicians or bandmates, you will come up with something new and fresh on your way to discovering your own voice on the instrument. That, at the end of the day, is what my column is about. </p> <p>I left suggested left-hand fingerings out for this reason; I want you to find out what works best for you. As always, practice this with a metronome slowly and eventually build up to a faster tempo.</p> <p>I want to thank you for checking out my column over the past year! I wish you a happy and healthy holiday season. Now pick up that guitar and play, just like yesterday!</p> <p><img src="/files/imce-images/1%204%205%20Arpeggio%20Connection.jpg" width="620" height="477" alt="1 4 5 Arpeggio Connection.jpg" /></p> <p><em>Guitarist Richard Rossicone is a veteran of the New York City and Long Island original and cover band scene. He's been playing since he was 8, when he attended his first concert (Kiss) and saw Pete Townshend smash a guitar. He has studied with various instructors over the years, which led him to a career in music therapy. He began his educational journey at Queensboro Community College, where the faculty introducing him to classical music. He received his associate's degree in fine arts in 1997 and went on to receive his bachelor's in music therapy in 2001 and his master's in music therapy from New York University in 2004. He's been Board Certified as a music therapist since 2002. Richard continued his studies at C.W. Post University, pursuing a second master's degree in classical guitar performance and music history, studying under Harris Becker. He's been teaching guitar, piano and theory since 2002 and in 2006 started his own company, Rossicone Music Studios. Visit him at <a href=""></a></em> and his <a href=";_rdr">Complete Guitarist Facebook page.</a> <a href=";qid=1379709490&amp;sr=8-1&amp;keywords=richard+rossicone">Check out Richard's new book, 'The Complete Guitarist Handbook: Vol. 1,' which is available at</a></p> Richard Rossicone The Complete Guitarist Blogs Lessons Thu, 14 Aug 2014 12:18:04 +0000 Richard Rossicone August 8, 1966: "Hundreds of Beatles Records Are to Be Pulverized in a Giant Municipal Tree-Grinding Machine ..." <!--paging_filter--><p>Forty-eight years ago this summer — in late July and August 1966 — the Beatles found themselves in a touchy situation. </p> <p>On July 29 of that year, a teen magazine called <em>Datebook</em> published segments of a nearly 5-month-old interview with John Lennon. Among the republished segments was this quote by Lennon: </p> <p>"Christianity will go. It will vanish and shrink. I needn't argue with that; I'm right and I will be proved right. We're more popular than Jesus now; I don't know which will go first — rock 'n' roll or Christianity. Jesus was all right but his disciples were thick and ordinary. It's them twisting it that ruins it for me."</p> <p>The quote, which originally appeared in a March 1966 <a href="">London Evening Standard</a> story by Maureen Cleave (a reporter who was friendly with Lennon and the other Beatles), didn't cause much of a stir in the UK or the rest of the world when it was originally published. After all, the Jesus line was just a tiny part of a lengthy piece full of tidbits like:</p> <p><em>In the sitting room are eight little green boxes with winking red lights; (Lennon) bought them as Christmas presents but never got round to giving them away. They wink for a year; one imagines him sitting there till next Christmas, surrounded by the little winking boxes.</em></p> <p>However, with its publication in <em>Datebook</em>, the quote reached a wider audience — including the American South. On Sunday, July 31, a disc jockey in Birmingham, Alabama, kicked off a drive to ban the Beatles from the airways. He said their radio station would no longer play records by the Beatles, who "grew wealthy as the music idols of the younger generation."</p> <p>By early August, deranged knuckleheads began hoisting "Ban The Beatles" signs and burning Beatles albums, even establishing pickup points where "Beatles trash" (including records, photos and other memorabilia that would've been worth a lot of money today had they not been destroyed by deranged knuckleheads) could be dropped off, stomped on — and burned, of course. </p> <p>Forty-eight years ago today (August 8, 1966), <em>The Daily Gleaner</em> of Birmingham published the following notice:</p> <p>"Hundreds of Beatles records are to be pulverized in a giant municipal tree-grinding machine here because of what Beatle John Lennon said about Christ, a disc jockey revealed today. 'After going through the "Beatle-grinder" borrowed from Birmingham City Council, all that will be left of the records will be fine dust.' A box full of the dust will be presented to the British pop stars when they arrive in Memphis, Tennessee, not far from here, for a concert Aug. 19, said local disc jockey Rex Roach." </p> <p>That summer, the <em>London Evening Standard</em> piece and its <em>Datebook</em> excerpt grew more notorious as the storm of controversy escalated. Lennon was forced to apologize, which he did at a Beatles press conference during the band's final tour in August. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>EPILOGUE:</strong> With its nearly 42 million fans, <a href="">the Beatles' Facebook page</a> is much more popular than any single Jesus-related Facebook page. Hey, I'm just pointing it out! Please don't pulverize this website in a giant municipal tree-grinding machine! </p> <p>As you contemplate all this nonsense, check out a spoof of this interesting slice of the Beatles' history. It's a scene from <em>All You Need Is Cash,</em> a 1978 made-for-TV film about a fictional band called the Rutles. The film was written and narrated by Eric Idle of Monty Python:</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World.<em> He uses big words with uncertainty.</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="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/john-lennon">John Lennon</a> </div> <div class="field-item odd"> <a href="/george-harrison">George Harrison</a> </div> </div> </div> </fieldset> Damian Fanelli John Lennon Monty Python Neil Innes The Beatles The Rutles Blogs News Features Fri, 08 Aug 2014 15:56:09 +0000 Damian Fanelli Tone Freak: Talking Gear with Adelitas Way Guitarist Rob Zakaryan <!--paging_filter--><p>I'm definitely a tone freak. Getting my tone to come out of my amps the way I hear in my head is actually an exciting journey, and a never-ending one! On the road right now, my signal starts from my hands. </p> <p>The most important part of my tone is how I play, because that's the sound that goes into each of my four guitars:</p> <p>• Gibson 2011 Wine Red LP Traditional Pro<br /> • Gibson 2012 Black LP Traditional<br /> • Gibson Custom '57 Reissue LP Junior TV White<br /> • James Trussart Custom Steelcaster </p> <p>I used a lot of Telecaster on our new album, <em>Stuck,</em> and I really dig the Custom Trussart Tele live for songs like "Dog on a Leash" (See the video — and more info about the new album — below), "We Came" and "Stuck." My main guitar is the '57 Junior, and the P90 pickup is a big part of my sound. My Les Pauls are about to be fitted with the new Seymour Duncan Whole Lotta Humbucker pickups, which focus more on the mid-range, Jimmy Page/Angus Young-style bark I'm into. </p> <p>Moving away from my guitars and into my pedal board ...</p> <p>My main modulation/filter effects have been Dunlop/MXR from the beginning. Starting off the chain, I use a Polytune into the Dunlop Slash SW-95 Wah, then into some of my favorite little pedals, the EP Booster and the SL Drive from Xotic Effects. They have really killer clean boost and overdrive, derived from classic U.K. guitar sounds. </p> <p>Next in line is the trusty Fulltone OCD overdrive pedal, followed by the one of best fuzz boxes I've heard, the ProAnalog MK III. That thing is hand built by Scotty Smith, and it's a crushing fuzz/drive pedal made with high-quality vintage transistors. </p> <p>At the end of the pedal chain are all my colorful sounds, MXR Phase 90, Analog Delay and Micro Chorus. They all sound killer and are super-simple to dial! (Be sure to check out all the photos in the gallery below, by the way!)</p> <p>All my effects and boosts/drives aren't used the same way every day. I dial in my pedals and amps a little differently for each show, as the same setup can sound "off," depending on the environment I'm playing in. </p> <p>Finally, all this gets blasted out of two heads I use simultaneously using a Lehle splitter. That sends my guitar to a 100-watt Marshall JCM 800 2210 and a 30-watt Cornford Hellcat. Those are British-built and tube-powered! I love the combination of the Cornford Hellcat with my Marshall. They both come out of straight Marshall 1960BV cabinets loaded with Vintage 30 speakers. This all ends up in someone telling me turn down my stage volume somewhere, but that's rock and roll!</p> <p><em>Rob Zakaryan is the lead guitarist in Adelitas Way. Their new album, </em>Stuck<em>, was released July 29 through Virgin Records. Check out the video for “Dog on a Leash” below. For more about Adelitas Way, visit <a href=""></a>. Also be sure to check out </em>Stuck<em> on <a href="">iTunes!</a></em></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Adelitas Way Rob Zakaryan Blogs News Gear Thu, 07 Aug 2014 17:51:49 +0000 Rob Zakaryan Chop Shop with John 5: A Country-Influenced Application of Hybrid Picking for Blues and Rock <!--paging_filter--><p>In the first two installments of Chop Shop, we looked at some arpeggio-based runs that were spiced up with octaves, finger taps, pinch harmonics and behind-the-nut bends. </p> <p>This time, as promised, I’m going to talk about the ways in which I’ve employed ideas I’ve learned from guitarists in different genres to my own playing. To start off, I’m going to show you a lick in the key of B that I use on the track “The Nightmare Unravels,” from my latest solo CD, <em>The Art of Malice</em>.</p> <p>To perform this lick, I use the technique known as hybrid picking, which involves using the bare fingers to pluck strings in conjunction with a flatpick. The best way to describe the technique and how it sounds is through demonstration, so check out the performance of <strong>FIGURE 1</strong> on this column’s accompanying video lesson to hear it in a rock context. </p> <p>Note the unique “popping” sound created by the combination of finger picking and flat picking.</p> <p>Country guitar great Albert Lee is a master of this technique, and it is used to great effect in a rock context by players such as Steve Morse and Zakk Wylde. While hybrid picking can provide you with another cool way to vary your tone, it also allows you to easily perform string-skipping runs that would be arduous to play using just a pick. </p> <p>Some country purists wouldn’t involve the use of a pick, just the thumb and first two fingers of the picking hand (see <strong>PHOTO 1</strong>). But since I like to incorporate this technique into my rock playing, I often use my pick in conjunction with my middle and ring fingers. </p> <p>As you can see in <strong>FIGURE 1</strong>, with the exception of the very last note (the B at the 19th fret on the high E string), this run is played entirely on the D and B strings. I use my pick to down-pick the D string and my middle finger (marked m above the TAB) to alternately pluck the B-string notes, making the numerous string skips a breeze to negotiate. The open B note is sounded often, which is very useful because, as it is the root note, it clearly anchors the run to the key of B.</p> <p>This run may seem a little complicated at first, but when you break it down you’ll see that it’s really just a repeating seven-note fingering-and-picking pattern that is applied to different positions on the neck. This very rhythmic pattern is isolated in <strong>FIGURE 2</strong>. All that is required to master this lick is to nail this shorter pattern, which includes a hammer-on on the D string, from the index finger to the ring, and an index-finger pull-off on the B string. </p> <p>The longer lick in <strong>FIGURE 1</strong> is based on this same pattern and shaped-shifted up and down the neck to various positions. Like anything new, start off slowly and build up speed slowly, concentrating first on the fingering and picking pattern and then incorporating some palm muting, which will help keep things neat and tight sounding. </p> <p>Also, start with a clean sound and introduce distortion later. Stick with it, and before you know it you’ll be playing <strong>FIGURE 1</strong> at speed. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="" /></p> <p><img src="" width="620" /></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="/john5">John5</a> </div> </div> </div> </fieldset> 2011 Chop Shop GW Archive John 5 May 2011 Rob Zombie Blogs Lessons Magazine Tue, 05 Aug 2014 17:20:56 +0000 John 5