Blogs en The GAS Man: Turn Your Vices Into Virtues — and Buy More Gear <!--paging_filter--><p>I don't smoke. Hardly drink. Don't do drugs. I don't gamble, drive a fancy car or chase after fancy women. Or plain ones (in case you're reading this, honey.)</p> <p>Two things have resulted from my abstinence from moral decay:</p> <p>• <em>Rolling Stone</em> never calls for an interview.<br /> • I've been able to afford pretty much every guitar, pedal and amp I've ever wanted. </p> <p>In my case, I gave up smoking (completely) and drinking (mostly) at 13 and took up the guitar right after. That was probably not a coincidence. It turned out the guitar was a pretty good substitute for a variety of cravings.</p> <p>What I learned is that if you've already got a bad habit you'd like to drop, guitar gear can be a fine incentive to exchange a vice for a virtue. </p> <p>According to the American Psychological Association, this kind of cognitive behavior modification is “a therapeutic approach that combines the cognitive emphasis on the role of thoughts and attitudes influencing motivations and response with the behavioral emphasis on changing performance through modification of reinforcement contingencies.” </p> <p>According to American rock guitarists, it's a perfectly good excuse to buy another fuzz pedal.</p> <p>The best part is kicking a bad habit can kickstart a good one. (Psychologists call this contingency management.) Suppose you feel you smoke too much. Think of what you could get by diverting your finances from cigarettes to guitars. </p> <p>A pack of cigarettes ranges from about $5 to $15, depending on where you live. Let's take $10 as a nice median number. If you smoke even half a pack a day, that comes to a bit more than $1,800 a year. Cut back on your smoking and you can put that money toward a nice Les Paul. You'll end up with fresher breath and probably gain as much satisfaction from playing as you do from smoking, the difference being the more you play, the better you feel.</p> <p>On the other hand, maybe you already have your few remaining bad habits set up just the way you like. What if you don't have any more vices you're willing to exchange for musical instruments? You can't exactly go to your parents or spouse and say, "On the plus side, I haven't whore-mongered at all this month. Please stamp my rewards card, I want a new amp."</p> <p>That's when it's time for Plan B: proving you are so fiscally conservative that you have earned that amp.</p> <p>It's impressive how putting aside just a few dollars each week adds up. </p> <p>Start by figuring out how much disposable income you really have. Now it may be that you don't have any, in which case acquiring more gear is probably not your priority. But most folks do have a bit of spare change after setting aside money for food, clothing, rent, the kids, retirement, emergencies and that second-story addition to the kitty condo you're building for Mr. Fluffypants.</p> <p>So where's that extra money going to come from? Think about it. Be creative. Are you buying a cup of coffee on your way to work each morning? That's at least $2 a day. Make your own instead and take it in a Thermos. Put the money saved into your personal tip jar. </p> <p>Of course, this is the real world, and for many of us it's not just a matter of convincing ourselves that the money is available—which is the easy part—it's often a matter of convincing our parents or significant other as well. </p> <p>Here's how I did it. Shortly after I got married, my wife and I made up a budget. And part of that budget included the idea that each of us still wanted to be able buy what was, to the other person, totally frivolous crap. Our budget would set aside enough that we could occasionally get something with no explanations, apologies or misdirection required; she wouldn't have to cram two pairs of red high-heels into one shoebox and I wouldn't be stashing my new Turbo Rat behind the expired box of Cheerios.</p> <p>So then the question became, “What price happiness?” </p> <p>We asked each other, “How much money would you not care if I essentially threw it away on junk?”</p> <p>“Ten bucks a week”—this was back in the Eighties—was the answer.</p> <p>We made it all very formal. We each set up a separate bank account for our “no questions asked” fund and auto-deposited $10 weekly from our paycheck into it.</p> <p>What have I bought with my 10 bucks a week over the past 30 years? Here's a partial list:</p> <p>• A 1952 Tele<br /> • A 1956 Strat<br /> • A 1950 Gibson J-45<br /> • A 1966 Deluxe Reverb<br /> • Not one but two late-Fifties Tweed Princetons<br /> • An original TS-9 and first-version Big Muff<br /> • A 1964 Fender Reverb Unit.</p> <p>Etc. You get the idea.</p> <p>So that's it, three cheap, simple ways to save for guitars: diverting cash from bad habits to good ones, reclaiming wasted money, and creating a “fun account.” Of course, you could just stick to smoking, gambling, and drinking grande venti frappuccinos instead of getting a shiny new guitar. </p> <p>But according to the American Psychological Association, that's just nuts.</p> <p><em>William Baeck is a writer, photographer and hack guitarist living in London. You can check out his webpage at <a href=""></a> and reach him on <a href="">Facebook</a> and <a href="">Twitter.</a></em></p> The GAS Man William Baeck Blogs Wed, 30 Jul 2014 19:05:33 +0000 William Baeck A Camp with Bite: The Winery Dogs' First-Ever Dog Camp — Review <!--paging_filter--><p>Every year, Full Moon Resort, a cozy plot of land in Big Indian, New York, hosts a series of Music Masters Camps. </p> <p>Music Masters Camps offer attendees the chance to get hands-on learning experience from a host of musical greats, including Paul Gilbert and Dweezil Zappa — and to meet and play with like-minded musicians from around the globe. </p> <p>Last week, the Winery Dogs — guitarist Richie Kotzen, bassist Billy Sheehan and drummer Mike Portnoy — hosted their first-ever Dog Camp, and I was fortunate enough to attend. </p> <p>Monday, July 21, also known as arrival day, featured an open bar (which ceased to be an open bar sooner than my bassist, James, and I would have preferred). There was an opportunity to chat with some of the other campers, plus a Q&amp;A/meet-and-greet with the band and counselors. </p> <p>Counselors (beyond members of the Winery Dogs) included John Moyer of Disturbed/Adrenaline Mob fame, Dylan Wilson and Mike Bennett (bass and drums for Richie Kotzen’s solo band, respectively) and Dave Wood, an accomplished jazz guitarist. Afterwards, we ate an excellent dinner and headed to a building called the Roadhouse to watch an intimate performance by the Winery Dogs.</p> <p>Day 2 began with Richie’s clinic. He discussed everything from his fingerstyle technique to his vocals and songwriting approach. This was followed by Dave Wood’s clinic, “Jazz Funk Guitar 101," during which he spoke about improv, interesting scale tones, mixing records and one of my favorite moments of the Camp: networking and being kind to your fellow musician. We had lunch, followed by visits to what were called “Discovery Rooms,” select classes with various counselors that took place in different locations all over the campgrounds. Since they took place simultaneously, they provided a much more one-on-one atmosphere. </p> <p>The first day of Discovery Rooms, James and I made our way to Billy Sheehan’s tent. He answered questions tirelessly, let campers play his bass, gave James some great exercises for his right hand and jammed with everyone and anyone for about two and a half hours. I can only imagine he was exhausted, but that didn’t stop him from talking to whoever approached him, even after the event was over. Afterwards, we made our way to dinner and then the Roadhouse, this time for a powerhouse performance by Richie’s solo band.</p> <p>Day 3 kicked off with Mike Bennett’s class, “Demystifying Drumming." After giving a wonderful description of his own back story and development, he gave useful advice on odd time signatures, playing styles, dynamics and his approach to playing musically. </p> <p>Billy’s class followed shortly. Again, he answered questions and discussed his rig, signal chain and playing. We had lunch, and then it was time once again for Discovery Rooms. This time, James went to Dylan Wilson and Dave Wood’s room, and I went to Richie’s. </p> <p>Richie answered a variety of questions and then pulled players up individually to work on whatever they felt was weakest in their playing. He gave me some killer exercises for utilizing odd passing tones and a few licks to put them in a musical context. Meanwhile, in Dylan and Dave’s room, Dave Wood took the time to write out a chart and explain its practical application to help James in his quest to utilize more “outside” tones. After dinner, Bennett, Wilson and Wood performed as a jazz trio, one of the highlights of the week. </p> <p>Day 4, the last full day, opened with John Moyer’s clinic, “Live Performance Do’s and Don’ts.” He discussed everything from being on time to connecting with your audience to utilizing a proper power stance. This was followed by Dylan Wilson’s clinic, “Bass for Hire,” where he discussed pocket playing, learning material, choosing proper attire/sound for a gig and networking. </p> <p>Later that night, the Winery Dogs played a killer set at the Roadhouse. Afterwards, everyone grabbed drinks together and Billy DJ’d a set of old bootlegs, deep cuts and rare recordings, all while telling amazing stories about the material, his early years and everything else you could imagine. </p> <p>Overall, it was a tremendously unique experience. If they choose to do it again next year, I’ll see you there, campers!</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="/billy-sheehan">Billy Sheehan</a> </div> <div class="field-item even"> <a href="/richie-kotzen">Richie Kotzen</a> </div> </div> </div> </fieldset> Billy Sheehan Mike Portnoy Richie Kotzen The Winery Dogs Blogs News Tue, 29 Jul 2014 18:37:30 +0000 Nick Vallese LessonFace with Steve Stine: Spread Fingering — Absolute Fretboard Mastery, Part 7 <!--paging_filter--><p><strong>Steve Stine, highly sought-after guitar educator, teaches live online group and private classes at <a href=""></a>.</strong></p> <p>Hey, guys! Welcome back to my ongoing "Absolute Fretboard Mastery" series. </p> <p>In this month’s edition, we’re going to be drawing on the knowledge of chord progressions we touched on <a href="">last month</a> and the pentatonic expansion theories we covered in the months before to finally get into a fully fledged major scale. </p> <p>By the way, be sure to check out all the previous parts of "Absolute Fretboard Mastery" under RELATED CONTENT, which you'll find directly below my photo to the left. Also, before we start, larger versions of all the fretboard diagrams in this column can be found in the photo gallery at the very bottom of this story.</p> <p>So, to start things off this month, let’s take a look at a C major scale in the following shape: </p> <p><img src="/files/imce-images/01%20620.png" width="620" height="208" alt="01 620.png" /></p> <p><strong>This is what is called a "spread fingering shape."</strong> When I was first learning my scales, I didn’t learn them in this spread-fingering shape. I learned them in what’s commonly referred to as the "box positions." The same C major scale played using a box position would look like this:</p> <p><img src="/files/imce-images/02%20620.png" width="620" height="206" alt="02 620.png" /></p> <p><strong>While these box positions are great for navigating the fretboard</strong>, something I've learned with them is that they can feel pretty awkward to play and to speed up — which is why the spread-fingering position made a lot more sense to me when I started learning it. </p> <p>For one thing, the symmetry of the spread fingering position is far easier to process on a visual level. If we were to break up the note groupings on each two strings, they would look like this:</p> <p><img src="/files/imce-images/03%20620_0.png" width="620" height="212" alt="03 620_0.png" /></p> <p><strong>As you can see, the patterns of notes is the same on the sixth and fifth, fourth and third and second and first strings.</strong> This visual symmetry of the spread-fingering shape make it far easier to memorize and also far easier to navigate while playing. Something you also will notice with this spread-fingering shape is that, because you are playing three notes on each string, instead of switching between two and three notes like in the box positions, it is far easier to maintain a consistent picking pattern throughout the scale. This, in turn, makes this shape far smoother to play and far easier to speed up. </p> <p>Another great thing about this spread-fingering shape is that, from a theoretical perspective, it makes it much easier to visualize your scale intervals and to navigate across them. Say, for instance, you want to figure out how your I, III and V intervals sound when played together. You can do so easily by using this spread fingering position. </p> <p><img src="/files/imce-images/04%20620_0.png" width="620" height="209" alt="04 620_0.png" /></p> <p><strong>When it comes to your soloing, this familiarity with your scale intervals is important because it can help you get a feel of what notes to play and when to play them.</strong> Say, for instance, you’re soloing over a C chord. </p> <p>By now you’ll know that the I, III and V intervals of the scale are going to sound comfortable. But ideally at this point you should start experimenting with adding the II, IV and VI notes to add more color to your solos. The visual ease of recognizing these scale intervals with the spread fingering position will make it much easier for you to expand your playing into what we call "intervallic playing" instead of simply playing up and down the scale. </p> <p>You see, memorizing these scale positions and notes is the easy part about playing guitar. The real challenge is in using this knowledge and theory to create actual music. So the first thing I want you to do this month is to learn and memorize this shape, not just in C but across the entire fretboard. </p> <p>The second thing I want you to do is to start experimenting with it over a C major jam track. And while you’re doing that, what I really want you to focus on is going beyond the I, III and V notes and really exploring the sound of the II, IV and VI notes over the jam track. </p> <p>Another small thing I want you to work on this month is learning and memorizing the notes on your G string. If you’ve followed my Absolute Fretboard Mastery series from the beginning (Again, see RELATED CONTENT above), you will remember we’ve already learned and memorized the notes on the sixth, fifth and fourth strings. And like with those strings, remember to cross reference the notes you learn on the G string with the notes on the three strings above it. </p> <p><img src="/files/imce-images/notes-on-guitar-lato.jpg" width="620" height="286" alt="notes-on-guitar-lato.jpg" /> </p> <p><strong>The reason I want you to cross reference these notes you learn is because it will help you ultimately visualize the notes across your entire fretboard easily and clearly</strong>. And this, along with the scale knowledge that we’ve been working on the past few months, all contribute towards your absolute mastery of the fretboard. So as always, practice hard and have fun with your playing, and I’ll see you next month. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><em>Steve Stine is a longtime and sought-after guitar teacher who is professor of Modern Guitar Studies at North Dakota State University. Over the last 27 years, he has taught thousands of students, including established touring musicians, and released numerous video guitar lesson courses via established publishers. A resident of Fargo, North Dakota, today he is more accessible than ever before through the convenience of live online guitar lessons at <a href=";aff_id=1001"></a></em></p> LessonFace Steve Stine Videos Blogs Lessons Fri, 25 Jul 2014 18:49:09 +0000 Steve Stine Gear Review: StellarVerb Reverb Pedal by Center Street Electronics <!--paging_filter--><p>Put a Sixties Fender Twin next to a modern Crate practice amp, and you won’t see or hear many similarities — besides reverb. </p> <p>The effect is used to add dimension to your sound and help smooth out dynamics — to sound less like a textbook, if you will. Reverb is, hands down, the reason terrible singers think they sound great in the shower!</p> <p>The StellarVerb by Center Street Electronics is a two-knob, true-bypass reverb pedal. It claims to sit between a hall and a spring reverb. The two knobs are "Tone" and "Reverb Level." The 9-volt power jack along with input/output jacks are mounted on the sides of the pedal. </p> <p>First impression: I thought the Tone knob would be redundant, but the more I played with the pedal, the more it made sense. Turned up, it cops a bright Fender-style spring reverb; rolled back, it’ll give you a darker, ambient reverb. If you simply want your bedroom to sound like Madison Square Garden, leave the Tone at 12 o’clock, and it won’t alter your tone at all.</p> <p><strong>On to the clips!</strong></p> <p><strong>Clip 1</strong>: Using a Strat, I wanted to see how close I could get my Bassman to sound like a Twin Reverb. The StellarVerb’s Tone is cranked up and the Level is about halfway.</p> <p><strong>Clip 2</strong>: I cranked everything up to get a drenched Sixties surf tone.</p> <p><strong>Clip 3</strong>: Here’s a more subtle reverb sound with the Tone at 12 o’clock and the Level barely on.</p> <p><strong>Clip 4</strong>: (After getting requests for heavier sound clips) Here’s an AMT Metalizer after the StellerVerb set with the Tone and Level both around 9 o’clock.</p> <p><strong>Web</strong>: <a href=""></a><br /> <strong>Street Price</strong>: $149.99</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src=";auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Billy Voight Billy's Breakdown Center Street Electronics Effects Blogs Gear Fri, 25 Jul 2014 18:20:26 +0000 Billy Voight Jazz Guitar Corner: Three Steps to Avoiding Practice Fatigue <!--paging_filter--><p>When I asked my Facebook followers what they wanted me to write about this week, I was excited to see a question about maintaining physical and mental health in the practice room. </p> <p>As guitarists, it’s easy for us to put our heads down for hours at a time, only coming up when we’ve gotten hungry or tired enough to eat or sleep, before jumping back on the instrument we love so much. </p> <p>Because it’s easy to get swept away when practicing guitar, it is important to maintain your physical health and mental focus in order to get the most out of any time spent in the practice room. </p> <p>In this column, I’ll lay out some of the concepts I apply to my own routine in order to avoid back, shoulder, leg and arm pain, as well as help me keep focused mentally when working for short or long periods in the woodshed. </p> <p>Check out these items, and then please share (in the comments below the lesson or on Facebook) your tips for maintaining physical and mental strength in the guitar practice room. </p> <p><strong>Step 1: Scheduling Practice Breaks</strong></p> <p>The first issue to address when it comes to maintaining physical health in the practice room is scheduling regular breaks into your routine. </p> <p>Taking a five-minute break every 30 minutes, or a 10-minute break every 60 minutes, will not only give you a chance to stand up and stretch out your muscles, but it allows you to rest your focus for a bit before moving on to the next exercise in your routine.</p> <p>Sometimes we feel we have to press on and do hours at a time in the practice room. But after a while, our minds and bodies will burn out, and at that point you are just wasting energy on exercises that aren’t producing much of a return for your time. </p> <p>It is always better to work in short, highly focused bursts in the practice room than to slog on and become distracted mentally or sore physically. Therefore, scheduling breaks into your routine can help remind you when to take a few minute mental and physical stretch before going back refreshed to the next stage in your practice routine for that day. </p> <p><strong>Step 2: Correct Posture and Using a Strap</strong></p> <p>One of the biggest questions I get asked by guitarists is, “How should I sit when practicing, especially for long periods of time, in the practice room?”</p> <p>The answer to this question differs for each person, but there are some common principals we can all use to ensure that our posture is helping us and not hindering us in the practice room. Depending on your physicality, you might prefer to have both feet flat on the floor and your back straight against the chair you’re sitting in. </p> <p>If this is the case, you might want to use a footstool or guitar cushion support such as the one made by Dynarette to help support your guitar when sitting in this position. Though, if you’re like me, you might be more comfortable with one leg crossed over the other and your back slightly curved over the guitar, but not hunched, as that can cause shoulder and back problems pretty quickly. </p> <p>If you prefer the second type of posture, then resting the guitar on your picking-hand thigh, right for right-handers and left for left-handers, will allow you the closest access to the instrument compared to resting it on the opposite thigh when practicing. </p> <p>Either way can work for you as far as posture is concerned, so try them both out. </p> <p>I used footstools for many years, but having my hips displaced like that caused me back issues, and after switching to the cross-legged position, that went away. But I have had friends with the opposite experience, so test and see for yourself. </p> <p>Sitting in a chair is always preferential to sitting on the corner of a bed or on a couch, especially for long practice sessions, as chairs will provide more support regardless of which posture you choose. </p> <p>Lastly, using a strap in the practice room can help take some of the weight of the guitar off of your arms and move it onto your shoulders and body as a whole. This will prevent you from feeling like you have to hold the guitar in place with your arms as you play, which can cause undo tension and prevent you from being able to play at the best of your ability as you have to expend energy to hold the instrument on your thigh. </p> <p><strong>Step 3: Exercise and Stretching</strong></p> <p>Over the years, I’ve found that exercising and stretching throughout the day is very helpful for preventing strain issues, such as back, leg and arm pain, as well as injury in the practice room. I stretch out my fingers every 10 to 15 minutes and my arms every 30 or so in when practicing. </p> <p>Throughout the day I do exercises to help strengthen my arms, legs and core such as crunches, push-ups, walking and yoga. </p> <p>If you find you have a hard time sitting for a long time practicing, or that you are experiencing sore muscles, especially your arms and back, then exercising and stretching as part of your daily routine might be the thing you need to get over these physical humps in the woodshed. </p> <p>To maintain mental stamina and focus in the practice room, mediation or floating can be excellent ways to boost your mental strength, as well as provide creative influence away from the instrument. </p> <p>Though not music related, thinking about the physical side of practicing, and preparing yourself physically for time in the practice room, can go a long way in ensuring that you avoid injury and are able to get the most out of your time on the instrument. </p> <p>How do you approach maintaining your arm, hand and body health as a guitarist? 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 Fri, 25 Jul 2014 17:28:40 +0000 Matt Warnock Betcha Can't Play This: Bill Hudson's Lydian Cascade <!--paging_filter--><p>This is a scalar run based on the F Lydian mode [F G A B C D E], which is the fifth mode of C major. It incorporates several different lead-playing techniques and sounds cool when played over an F or F5 chord.</p> <p>I start off with an ascending F major triad [F A C] sweep across the top four strings, played in a rhythm of 16th-note triplets. </p> <p>Once I hit the high E string, I switch to legato phrasing, continuing the triplet rhythm and using all four fret-hand fingers, spread out wide, to perform "stacked" hammer-ons and pull-offs, capped off by a pick-hand tap with the middle finger.</p> <p> Once I come back down to the F note at the 13th fret, I skip over to the G string, where I play another legato sequence, this time incorporating a descending finger slide followed by two hammer-ons and three consecutive taps with the pick hand, using the first, second and fourth fingers.</p> <p> When performing this tapping sequence, I temporarily clamp the pick between my thumb and the top side of the fretboard. I then jump back up to the high E string and perform another ascending legato sequence, incorporating taps with the first and third fingers. </p> <p> After the last tapped note, I switch to straight alternate picking and play a descending sequence of cascading 16th notes and 16th-note triplets across the top four strings, followed by an ascending climb that finishes with a high bend. When practicing this lick, be mindful of the different rhythmic subdivisions used.”</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-14%20at%201.08.38%20PM.png" width="620" height="379" alt="Screen Shot 2014-04-14 at 1.08.38 PM.png" /></p> Betcha Can't Play This Bill Hudson February 2011 Videos Blogs News Lessons Magazine Thu, 24 Jul 2014 16:01:22 +0000 Bill Hudson Gig Review: Richie Sambora Pays Tribute to Les Paul at the Iridium <!--paging_filter--><p>Back in the late Eighties, Bon Jovi’s Richie Sambora was considered to be one of the true guitar heroes of the day. While less flashy than, say, Jake E. Lee or George Lynch, Sambo was generally acknowledged to be one of rock’s most tasteful and melodic players.</p> <p>However, as time went on and Bon Jovi became more of a pop band, his role changed. He became less of a spotlighted soloist and more of a talented colorist, adding just the right notes and textures to the band’s radio-ready songs. While his skill was still undeniable, there was clearly less opportunity for him to solo and strut his stuff. </p> <p>A series of impressive solo albums, including the underrated 2012 <em>Aftermath of the Lowdown</em>, attempted to remedy the situation. But last night’s (July 22) warmup performance at New York City's Iridium—which was filmed for a PBS <em>Front and Center</em> special that will air this fall—was guitarist’s real bid to show he still has the chops to be considered one of the greats. </p> <p>The show started on a dramatic note, with Sambora crooning Leon Russell’s intimate “Song For You,” but soon heated up with a huge riff rocker titled “Burn the Candle Down.” With his hat cocked over one eye and wearing a shirt proclaiming that he was just a “Working Class Hero,” the New Jersey rocker traded lightning-fast licks with talented co-guitarist Orianthi for an ending that brought the audience to its feet. </p> <p>While the show was meant to be mark the late Les Paul’s birthday, who was something of a mentor to Sambora, the 90-minute concert was equally a tribute his other classic rock influences: Jimmy Page, Jeff Beck and Johnny Winter, to name a few. Playing several beautiful Les Pauls, including a white one Paul personally present to the guitarist, through a custom-made Freidman combo amp, Richie summoned the gigantic tones of the Seventies as he performed songs primarily from his solo albums, with a few Bon Jovi classics sprinkled in for good measure. </p> <p>Highlights included an arena-sized version of “Stranger in This Town” and a thundering “Seven Years Gone,” featuring exciting fretwork from Sambora and Orianthi. While Ori gave Richie most of spotlight, she wasn’t shy when it was her turn to solo. Her incredible technique and more trebly, biting tone lit a fire under the ass of the frontman, who clearly enjoyed being challenged. </p> <p>It is rumored that the two guitarists are working on an album together. If it comes to pass, it should be a corker. At one point in the show, Sambora said, “Les Paul is the reason we all have jobs.” I’m sure somewhere Les is smiling and saying in that gruff voice of his, “Hey, Sambora—job well done.”</p> <p><em>Brad Tolinski is the editor-in-chief at </em>Guitar World.</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="/orianthi">Orianthi</a> </div> </div> </div> </fieldset> Brad Tolinski Iridium Orianthi Review Richie Sambora Blogs News Wed, 23 Jul 2014 21:41:07 +0000 Brad Tolinski "Spring (The Return)": Combine Arpeggios, Octave Displacement and Scales for Gloriously Melodic Results <!--paging_filter--><p>In this lesson, I show you how to play the main theme for my song “Spring (The Return)." </p> <p>Getting this song’s main theme under your fingers will help your right- and left-hand technique by tackling string skipping, octave displacement and large intervals, with the added benefit of helping you visualize how chords and scales work together. </p> <p>I wrote the song’s main theme by adding a melodic element to an arpeggio idea I was exploring, borrowed from guitarists Steve Morse and Eric Johnson. The idea is to arpeggiate barre chords whose roots are on the fifth string, but only play the root, fifth and third — leaving out the octave. </p> <p>This produces an interesting sound where the third degree in the arpeggio is placed an octave higher than normally performed. Instead of barring the chord, I use my left hand’s first finger on the root, third finger on the fifth, and fourth finger on the third. (See the photo below.)</p> <p><img src="/files/imce-images/Galysh%20Fig%201.jpg" width="620" height="451" alt="Galysh Fig 1.jpg" /></p> <p>The song's main theme is a series of sixteenth note triplets in the key of E major. The passage starts on the I chord (E major), moves to the vi chord (C# minor), then to the V chord (B major) and finally to the IV chord (A major). Each part of the passage uses the Root-5th-3rd voicing as the basis for its phase, which adds a melodic element on the B string and E string. Notice in the video, I start the phrases by picking: down-up-up-up-up…</p> <p><img src="/files/imce-images/Spring_%28The_Return%29_Lesson.jpg" width="620" height="661" alt="Spring_(The_Return)_Lesson.jpg" /></p> <p>Start slow, and get used to visualizing the E major scale on the first and second strings to help you anticipate where the melody notes will be in each position. I found that it took some practice to really get the triplets to be right in time and play the melody accurately.</p> <p>The play-along track for “Spring (The Return)” is on my new jam-track album, <em>Stripped</em>, which will be available September 2 at <a href=""></a> as well as iTunes, and </p> <p><strong>In the meantime, online readers can <a href="">enjoy a FREE download of the song by clicking HERE.</a></strong></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><em>Guitarist Adrian Galysh is a solo artist and education coordinator for Guitar Center Studios. He's the author of the book </em>Progressive Guitar Warmups and Exercises<em>. For more information, visit him at <a href=""></a></em></p> Adrian Galysh Videos Blogs Lessons Tue, 22 Jul 2014 17:40:37 +0000 Adrian Galysh Session Guitar: Musicians Are in the Service Industry <!--paging_filter--><p>Hello again!</p> <p>Thank you for your patience and continued interest in my columns. My schedule has been busier than ever, and it's been hard to find time for this. So thanks for sticking with me.</p> <p>I was asked a very important question by my friend Joe Hand. Joe happens to be an incredible songwriter, vocalist, engineer, producer and multi-instrumentalist. </p> <p>The question was: How do we find our place in the sound, in the fabric of the musical/gig/studio/creative world? Playing an instrument is tough, and once you've learned something musically and muster enough nerve to share it with others, where do you go? To whom to you turn? </p> <p>Great question! It has everything to do with the world of session guitar playing! We all must first truly know where our passion lies in the world of our own music. What got you started? Why guitar? What vision did you have of yourself as a musician? If you can answer these questions, and answer them honestly, you will have the answers to Joe's question. As for whom we turn can to for help, if you know who you are musically, you will know where to turn and whom to turn to! </p> <p>We, as musicians, are in the service industry. When most people think of the service industry, they think of waiters, housekeepers, etc. But we are all in the service industry! First and foremost, we must be of service to ourselves! You cannot give your best to others till you have given your best to yourself. Have you truly been honest with yourself? Have you really done the work, practiced and paid your dues? Tried out various musical jobs, worn many hats, talked to people doing exactly what you want to do? </p> <p>And why do you want to do this, anyway? Why do you want to be a musician or a session musician? To make money? To be famous? To play on hit records? If those are your reasons, money and fame, you will fail. Guaranteed. Even if you make a ton of money, I promise you won't be happy. Money has never been able to buy happiness. As a musician, the only way to personal happiness is to understand how your talent, your expertise, your years of practice, your songs, can be of service to others. Get it? Because now it is you. You are offering what is only yours to give: yourself. There is more behind music than notes. It is the person playing those notes. I believe we ask too many questions out of the frustration of not knowing our true path. </p> <p>So what is the right question? </p> <p>The right question is: To whom can I be of service? How can I best offer all I have to give, and who can really benefit from my unique musical view?</p> <p>Put your passion where it belongs! Service is our true career. What is your passion? I see so many people trying to put their music and words and lives and souls into the wrong situations! They walk into a studio and decide they like the vibe and want to be part of it. Well, what can you offer? It's just a place that records things. It's the people themselves who make each moment unique! </p> <p>If you want to find your place in the musical fiber, decide where your musical heart belongs. If you want to help others selflessly realize their dream, the studio is for you. Don't bring your dream anywhere near theirs unless it is to put yourself fully into fulfilling someone else's song. Their happiness is your happiness. If you can do that, you will be a successful studio musician. </p> <p>If you like to show off, and insist that technique and speed are what the world needs, the studio is not for you! However, we need you too! If that is your passion, then you can be an inspiration! Show what we are capable of utilizing technique! And if you can be musical and have incredible technique, for God's sake, start a band! The guitar world needs more of this. </p> <p>If you get easily frustrated and do not work well with other people, the studio world is not for you. Even if you work alone, it will be wrong. I've done sessions where the solo was just killing, only to have me asked to play something better, ya know, more Keith Richardsy! And I love Keith, but I also love Petrucci! But they wanted Keith, and that's what I had to give. Their dream, not mine, and that was fine.</p> <p>So to sum up, be sure you know who you are musically and personally. The direction to go, and the people you seek will be right before your eyes. If you really want to entertain, write songs, be the boss, teach, win the record for most notes played, etc. Don't be a session player. You will only find frustration. Be something else. You will only be wasting your talent in a place it doesn't belong. And wasting time. The most valuable commodity we have.</p> <p>Till next time…</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 Tue, 22 Jul 2014 17:08:56 +0000 Ron Zabrocki Betcha Can't Play This: Tapping and Skipping with Andy Wood <!--paging_filter--><p>This is a tapping run that incorporates string skipping and a couple of fret-hand finger slides.</p> <p> It’s based on the A natural minor scale [A B C D E F G], but the notes are organized into arpeggios, which imply some interesting "tall" chord sounds. </p> <p>Although it is played in steady 16th notes, it sounds and feels out of time because of the unusual melodic contour.</p> <p> When skipping to another string, often the first note is hammered on "from nowhere" by one of the fret-hand fingers [indicated by "H"]. Strive for an even attack and volume note to note, making each hammer-on quick and firm. When pulling off, flick the string slightly sideways, in toward the palm. </p> <p>I tap a couple of the notes on the high E string with my ring finger, which makes the jumps across the strings a little easier. Mute the strings you’re not playing on with your pick-hand palm to keep them from ringing.</p> <p> The lick ends with a big bend on the B string, which I perform by tapping the string then bending it upward with both hands, using the fret hand’s fingers to help the tapping finger bend the string.</p> <p> For more on Wood and his band, Down from Up, visit <a href=""></a> and <a href=""></a>. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-07%20at%203.43.33%20PM.png" width="620" height="393" alt="Screen Shot 2014-04-07 at 3.43.33 PM.png" /></p> Andy Wood Betcha Can't Play This Down From Up June 2010 Betcha Can't Play This Blogs News Lessons Magazine Mon, 21 Jul 2014 16:37:02 +0000 Andy Wood Wild Stringdom with John Petrucci: Combining Triad Arpeggios to Form Polytonal Chordal Allusions <!--paging_filter--><p>As I have discussed in previous columns, I often use triadic arpeggio forms within my riffs and solos as a tool to create rich-sounding, poly-chordal sounds. </p> <p> I’d like to continue in that vein in this month’s column by presenting different ways in which to move from one arpeggio form to another, using a series of specific triads that complement one another well.</p> <p> Let’s start with the triads F# diminished and D major, as shown in <strong>FIGURES 1</strong> and <strong>FIGURE 2</strong>, respectively. The F# diminished triad is built from the notes C, F# and A, and the D major triad is built from almost the same set of notes, D, F# and A. Both FIGURES 1 and 2 show these triads as played in fifth position for comparison. </p> <p> If I wanted to get a bluesy vibe, I’d use the D major triad and combine it with the F# diminished triad, as demonstrated in <strong>FIGURE 3</strong>. Here, the C note is heard as the b7 (flat seventh) of D, implying a D dominant-seven tonality.</p> <p> Now let’s try combining the F# diminished arpeggio with an A minor arpeggio—A C E—as shown in <strong>FIGURE 4</strong>. The combination of these two sets of notes gives an F#m7b5 arpeggio (F# A C E: see <strong>FIGURE 5</strong>). These licks work well over an Am chord, as the inclusion of the F# note, the major sixth of A, implies an Am6, A Dorian–mode type of sound.</p> <p> As you probably have noticed, all of these arpeggios are played on the top three strings, and I often like to incorporate sweep picking when using arpeggios like this. <strong>FIGURE 6</strong> illustrates a combination of an Em7 arpeggio—E G B D—and a Gmaj7 arpeggio—G B D F#. As denoted in the example, in order to sweep pick these arpeggio shapes properly, begin with an upstroke on the first note and then use a single down-stroke to rake across the top three strings to play the next three notes. </p> <p> The form ends with another upstroke. I then slide up to 10th position and reverse the process, beginning with a down-stroke and then using a single upstroke to rake across the top three strings, moving from high to low. <strong>FIGURE 7</strong> offers an example of applying this approach to the chord progression Em7 Am9 F#m7b5 Gmaj7.</p> <p> This is the last installment of Wild Stringdom for now. I hope these columns have been useful to you and have served to broaden your knowledge of the guitar while building up your chops. Thanks for reading, and I’ll see you out on the road!</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><script language="JavaScript" type="text/javascript" src=""></script><object id="myExperience3250126572001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="365" /> <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="3250126572001" /> </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 --><p><br /><br /> <img src="/files/imce-images/Screen%20Shot%202014-04-30%20at%2010.38.33%20AM.png" width="620" height="693" alt="Screen Shot 2014-04-30 at 10.38.33 AM.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202014-04-30%20at%2010.39.19%20AM.png" width="620" height="339" alt="Screen Shot 2014-04-30 at 10.39.19 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="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> April 2014 Dream Theater John Petrucci Wild Stringdom Blogs News Lessons Magazine Fri, 18 Jul 2014 18:25:55 +0000 John Petrucci Betcha Can't Play This: Luis Carlos Maldonado's Add9 Roller Coaster <!--paging_filter--><p> This is an alternate-picking run based on an add9 arpeggio shape on the top three strings that’s moved up and down the neck to four different positions and tonal centers, with a slight variation in bar 2. </p> <p>It begins in E, moves down to C with a little twist—more on that in a moment—then up to D and finally A.</p> <p> The first thing you’ll notice is that the pinkie is the lead-off finger in each bar and that a five-fret stretch is required between it and the index finger for the first two notes. [Fret-hand fingerings are indicated throughout the run.] </p> <p>Be sure to ease into these stretches and warm up with them in the upper area of the fretboard before attempting them in the lower positions.</p> <p> For bar 2, I felt it sounded more colorful and interesting to alter the basic Cadd9 arpeggio [C D E G] by incorporating the #11, or #4, F#, into it, and in so doing the notes on the B and G strings are played two frets higher than where they would be if I would have simply applied the initial add9 shape from bar 1 to this position. In bar 3, the pinkie does a quick slide up to D, and the initial cell from bar 1 is used again, only a whole step lower.</p> <p> Notice the common tones on the B and G strings in bars 2 and 3. The run concludes with a long pinkie slide up to A at the 17th fret—be careful not to overshoot it—and an Aadd9 arpeggio.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-14%20at%204.32.24%20PM.png" width="620" height="238" alt="Screen Shot 2014-04-14 at 4.32.24 PM.png" /></p> Betcha Can't Play This Luis Carlos Maldonado May 2010 Videos Blogs News Lessons Magazine Fri, 11 Jul 2014 16:33:07 +0000 Luis Carlos Maldonado Bent Out of Shape: Improve Your Fretboard Knowledge with This Arpeggio Exercise <!--paging_filter--><p>In this lesson, I'm going to teach you an arpeggio exercise that will help improve your music theory and knowledge of the fretboard.</p> <p>Players often play exercises only to improve technique, but it's important to vary your exercises to focus on other important parts of guitar playing. Although this exercise is based on arpeggios, it is meant to help you visualize scales differently from the standard "three note per string" shapes. </p> <p>How can learning an arpeggio exercise help with scales? </p> <p>The answer is simple: Arpeggios are derived from scales. A big problem for guitarists is not being able to switch between the two in a musical way. When you listen to solos, particularly in rock/metal, when guitarists play arpeggios, they are usually played with a sweeping or tapping technique, playing exclusively arpeggio sequences. Then when you hear scales, it's the same problem, but usually they are being played as ascending or descending alternate-picked sequences. </p> <p>Hardly ever will you hear a player integrate the two and sound musical and melodic. It all comes back to the age-old problem of guitar players whose solos sound like a bunch of exercises stuck together. There's the metaphor about players who sound like robots. These "robot" guitar players usually have two modes of lead playing: "scale mode" and "arpeggio mode." In the following weeks, I'm going to be working on a series of lessons to help you play less like a robot. </p> <p>My exercise is very simple and based off building arpeggios from scales. A simple way to look at building arpeggios is by stacking third intervals or simply skipping notes within a scale. For example, from the A minor scale (A B C D E F G), you would make an A minor arpeggio (A C E). You skip the B and D notes to make the arpeggio. You can carry on skipping notes within the scale to make larger arpeggios until you have eventually used every note from the scale to make an A minor 13th chord (A C E G B D F).</p> <p>This exercise applies that same system to every note within the key of A minor to make seven different 13th arpeggios. From every note of the A minor scale we build a 13th arpeggio by stacking thirds and play them in order. </p> <p>When playing this exercise, don't just memorize the frets from the tab; learn each note you are playing and visualize how ascending and descending through each arpeggio relates to the key scale of A minor. The way I have arranged the notes on the fretboard is not important, and if you have a good understanding of the theory behind the exercise, you should experiment with your own fretting. </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><img src="/files/imce-images/tab_8.jpg" width="620" height="279" alt="tab_8.jpg" /></p> <p>The goal of this exercise is to help develop your fretboard knowledge of scales. For that reason, each arpeggio is built strictly using only notes from the A minor scale. Some of the arpeggios in this exercise are not "normal" 13th arpeggios, which would usually involve flattening of certain intervals. However, if you can visualize how an arpeggio is derived from a scale, you can better incorporate them into your solos without relying on arpeggio shapes, which will usually end up sounding like exercises. </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 Will Wallner Blogs Lessons Tue, 08 Jul 2014 21:40:16 +0000 Will Wallner Harmonic Minor and Beyond: Great Scales for Heavy Metal Guitar Playing <!--paging_filter--><p>For this column, I've responded to a great question from a reader — Zachary in Houston, Texas.</p> <p><em>"Dave: What is your favorite scale to use when playing heavy metal?"</em></p> <p>Thanks for the question! Harmonic minor is always a very cool choice and a favorite of mine. It’s great to use when you’re improvising or coming up with song ideas and lead parts. </p> <p>So many impressive players have made great use of it in their songs — guys like Uli Jon Roth, Yngwie Malmsteen, Ritchie Blackmore, Steve Vai and many others. Mozart also was a big fan.</p> <p>If you want to hear how I use it, check out my song “Devils Roadmap” below: </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p>Listen to my guitar solo from 3:22 to 3:40 to hear the scale in action. It’s a fun scale; you can map out crazy three-note-per-string runs all across the fretboard.</p> <p>I also like the pentatonic scale. Pentatonic is huge in metal for a reason: It sounds good in so many situations. Zakk Wylde, Frank Marino and Dave Mustaine are amazing players who have used it to great effect over the decades.</p> <p>• <strong>Pentatonic Scale</strong> (1, b3, 4, 5, b7). For example, in the key of E, that would be E, G, A, B, D.</p> <p>My solo on “I Just Don’t Want to Say Goodbye” is a favorite of mine, and I basically stick to straight-up minor pentatonic. The solo is from 3:26 to 4:37:</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p>Even though I'm a trained musician, I'm still very much a self-taught player in my heart and mind and in the way I think and approach things. </p> <p>I use the approach of just going for it and seeing what happens when I play leads and improvise. Knowledge is great as a guide, but when I’m writing, I just go for it. Usually, my best stuff happens when I'm not over-thinking it.</p> <p>I come from the Marty Friedman school of thought when it comes to scales. Marty had a great instructional DVD out where he talked about how players can get caught up thinking that they need to know tons of scales. He goes on to say you can just make up your own scales.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p>I teach my students to think in this freethinking style. For example, take the simple pentatonic scale and improvise over a riff or chord progression and throw in any chromatic passing tones you like. Practice this approach and see what sounds cool to your ears!</p> <p>The so-called “wrong notes” people might tell you to not play are sometimes the ones that sound amazing against the riff and really make your playing stand out. Take Marty's playing on Megadeth's <em>Rust In Peace.</em> He is throwing in all kinds of exotic scales and interesting note choices all over the place. </p> <p>Below, check out some great scales to add into your arsenal when you're trying to write. I’ll put these in the key of E to keep it easy, but you can move these to any key.</p> <p>• <strong>Harmonic Minor</strong> (1, 2, b3, 4, 5 b6, 7) or (E, F#, G, A, B, C, D#). Like I said, Yngwie Malmsteen and Uli Jon Roth love this scale, but you can hear it from Michael Schenker, Ritchie Blackmore and many others.</p> <p>• <strong>Phrygian Dominant</strong> (1, b2, 3, 4, 5, b6, b7) or (E, F, G#, A, B, C, D). This scale is simply the 5th mode of the harmonic minor scale. If you listen to Iron Maiden’s “Powerslave” you can hear this scale in action: </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p>Al Di Meola’s “Egyptian Danza” is another great example of this scale in action. Notice a theme? This scale gets a very Egyptian-type sound! </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Gypsy Scale</strong> (1, b2, 3, 4, 5, b6, 7) or (E, F, G#, A, B, C, D#). This scale is the same as Phrygian dominant except for the natural 7, which this scale has. Any time you are improvising over a chord progression that has major chords that are a half step apart, this scale (as well as the Phrygian dominant) is a good choice. The Gypsy scale is cool to use when you're going for that whole snake-charming, exotic, "magic carpet ride" sound. Blackmore captured it very well on many tunes. “Gates of Babylon” by the Ronnie James Dio-fronted Rainbow is a good example.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Hungarian Minor</strong> (1, 2, b3, #4, 5, b6, 7) or (E, F#, G, A#, B, C, D#). This is a cool-sounding scale. This works well over a minor (major 7) chord. The Hungarian gypsy minor and harmonic minor scales are used on Chris Broderick’s solo on Megadeth's “Head Crusher” from 2:58 to 3:24.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Persian</strong> (1, b2, 3, 4, b5, b6, 7) or (E, F, G#, A, Bb, C, D#). This scale is cool and has that whole dark Middle Eastern feel to it. It’s got the flat 5 or “tri-tone” in there, which is always great for metal. That’s the interval that Marilyn Manson used on “The Beautiful People” or that Black Sabbath used on one of my all-time favorite songs, “Symptom of the Universe." You can get some crazy-sounding metal riffs out of this scale. It also works well for soloing over a (maj 7 #11) chord.</p> <p>• <strong>Japanese Scale</strong> (1, b2, 4, 5, b6) or (E, F, A, B, C). Friedman, Jason Becker and so many other greats have used this one. Give it a try in your soloing. It works well in minor and major key progressions. Also, with the b2 in there, it makes for a good choice when working in a Phrygian-style situation. </p> <p>• <strong>Chinese Scale</strong> (1, 2, 3, 5, 6) or (E, F#, G#, B, C#) In the Western world, we know this scale by its other name: major pentatonic. Bands like the Allman Brothers really dig its sound and use it quite a bit, as well as bluesmen like B.B. King.</p> <p>Don’t forget the different modes of the major scale. These can be very helpful. Learn them and practice how to apply them all over your fretboard. I will put these in C to keep things easy.</p> <p>• Ionian (Major Scale) (1, 2, 3, 4, 5, 6, 7) or (C, D, E, F, G, A, B)<br /> • Dorian (1, 2, b3, 4, 5, 6, b7) or (D, E, F, G, A, B, C)<br /> • Phrygian (1, b2, b3, 4, 5, b6, b7) or (E, F, G, A, B, C, D)<br /> • Lydian (1, 2, 3, #4, 5, 6, 7) or (F, G, A, B, C, D, E)<br /> • Mixolydian (1, 2, 3, 4, 5, 6, b7) or (G, A, B, C, D, E, F)<br /> • Aeolian (Minor Scale) (1, 2, b3, 4, 5, b6, b7) or (A, B, C, D, E, F, G)<br /> • Locrian (1, b2, b3, 4, b5, b6, b7) or (B, C, D, E, F, G, A)</p> <p>Here's a cool trick someone showed me to help remember what order these modes go in: “I Don’t Punch Like Muhammad A Li.”</p> <p>I= Ionian<br /> Don’t= Dorian<br /> Punch= Phrygian<br /> Like= Lydian<br /> Muhammad= Mixolydian<br /> A= Aeolian<br /> Li= Locrian.</p> <p><em><a href="">Dave Reffett</a> is a Berklee College of Music graduate and has worked with some of the best players in rock and metal. He is an instructor at (and the head of) the Hard Rock and Heavy Metal department at The Real School of Music in the metro Boston area. He also is a master clinician and a highly-in-demand private guitar teacher. He teaches lessons in person and worldwide via Skype. As an artist and performer, he is working on some soon-to-be revealed high-profile projects with A-list players in rock and metal. In 2009, he formed the musical project Shredding The Envelope and released the critically acclaimed album The Call Of The Flames. Dave also is an official artist endorsee for companies like Seymour Duncan, Gibson, Eminence and Esoterik Guitars, which in 2011 released a Dave Reffett signature model guitar, the DR-1. Dave has worked in the past at Sanctuary Records and Virgin Records, where he promoting acts like the Rolling Stones, Janet Jackson, Korn and Meat Loaf.</em></p> <p><em>Dave Reffett headshot photo by Yolanda Sutherland</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="/deep-purple">Deep Purple</a> </div> <div class="field-item even"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> Dave Reffett Blogs Features Lessons Thu, 03 Jul 2014 17:35:42 +0000 Dave Reffett Stevie Ray Vaughan, Steve Vai, Yngwie Malmsteen, Slash and More Play "The Star-Spangled Banner" — Video <!--paging_filter--><p>Happy Independence Day, everyone!</p> <p>In honor of this week's holiday, I originally — and simply — wanted to share a grainy, vintage video of my all-time favorite guitarist, Stevie Ray Vaughan, performing "The Star-Spangled Banner" in ancient times. </p> <p>But then I noticed Steve Vai's particularly awesome version of the song ... and Yngwie Malmsteen's recent version ... and Eric Johnson's version — and then I found versions by Slash and Dave Mustaine ... and, of course, there's the granddaddy of them all, Jimi Hendrix at Woodstock.</p> <p>So I figured the more, the merrier! I could've kept on going (There's always Cliff Burton's version, and a commenter mentioned Neal Schon), but I think eight versions of the same song gets the point across, and this represents a nice mix of styles. </p> <p>Feel free to compare and contrast!</p> <p>Happy holiday! </p> <p><strong>TED NUGENT</strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>STEVE VAI</strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>YNGWIE MALMSTEEN</strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>SLASH</strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>DAVE MUSTAINE</strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>ERIC JOHNSON</strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>STEVIE RAY VAUGHAN</strong> <em>NOTE: This one needs to be edited!</em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>JIMI HENDRIX</strong></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at Guitar World.</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="/ted-nugent">Ted Nugent</a> </div> <div class="field-item even"> <a href="/eric-johnson">Eric Johnson</a> </div> <div class="field-item odd"> <a href="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> Damian Fanelli Dave Mustaine Eric Johnson Jimi Hendrix Slash Steve Vai Stevie Ray Vaughan Ted Nugent Zakk Wylde Blogs News Thu, 03 Jul 2014 15:47:11 +0000 Damian Fanelli