Blogs en 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 Are You Being Held Hostage by Your Guitar? <!--paging_filter--><p>This is my first column for </p> <p>So let me risk it being my last one by offering a suggestion that goes against one of the deepest desires of guitarists and a basic premise of this magazine: Maybe you should rethink your dream guitar, because owning one can be a nightmare.</p> <p>One of the contributors to a guitar forum I read owned a gorgeous original 1950s Telecaster. Every so often, he would post photos of it, just to get our hearts racing.</p> <p>It was everything you could want in a classic, vintage Tele. The guitar was in nearly mint condition, with ash grain swirling in eddies beneath the surface of a flawless nitro finish. Light sparkled off shiny metalwork as it sat like a jewel in its original case.</p> <p>That guitar was breathtaking, and we all coveted it. I needed both hands to count the number of commandments I’d have been willing to break to make it mine.</p> <p>Yet its owner hardly ever played it. Why? From what he said, it sounded and played as good as it looked. But having bought such a pristine and valuable instrument, he came to realize that if he actually played the guitar, eventually it wouldn’t be quite so pristine or valuable anymore.</p> <p>And so that wonderful Tele stayed mostly locked away, shown only to other guitarists who could appreciate its unmarred beauty, with perhaps a tune or two played gently on it before being returned to the safety of its case.</p> <p>The last I heard, he was planning on selling his guitar, because he just couldn’t bring himself to use it.</p> <p>Lessons are an integral part of <em>Guitar World</em>. The lesson here is that before you chase after the guitar of your dreams, think about what that dream really is. Is your ultimate guitar a piece of art, an investment to be held somewhere safe that won’t affect its resale value? If so, that’s fine; talk to your insurance agent, call your accountant, and if they agree, go for it.</p> <p>But if you want to play the thing, let me suggest a different definition of a dream guitar: something to make memories on with your friends, at jam nights in bars, with your band — in short, wherever you want to create music with all the emotion that the right guitar can inspire in you. And that means a willingness to go out there and use it, wear it down in spots, get it dinged, and even take a chance that eventually it may get hurt or broken.</p> <p>Yeah, something like your heart.</p> <p>I have guitars ranging from a Squier Bullet to a pre-war Gibson. What makes each a dream guitar for me is that each gets played regularly, whenever and wherever I want. I’ve never bought a guitar — even a vintage one — that I wasn’t willing to take a chance with damaging or losing as long as it also meant the chance to play and enjoy it.</p> <p>So consider whether your personal dream guitar will look as intoxicating in the sober light of ownership. You might fantasize about that $6,000 handmade acoustic. But will you actually play it more often than you brag about it? If not, maybe a $600 off-the-shelf model that you’ll play every day, everywhere, will give you more guitar happiness in the long run.</p> <p>In the meantime, here’s hoping you get the guitar you truly want. Even if it’s a Martin with three humbuckers and a whammy bar.</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> William Baeck Blogs Mon, 04 Aug 2014 16:01:33 +0000 William Baeck Betcha Can't Play This: "Colorful" 16th-Note Run by Francesco Artusato of All Shall Perish <!--paging_filter--><p>This is a 16th-note run built with melodic ideas, shapes and arpeggios borrowed from some of Claude Debussy’s <em>Preludes for Piano</em>. </p> <p>It combines a variety of shapes and tonalities into an unbroken line that moves between various harmonic "colors," but it’s also fast, technically exciting and challenging to play. </p> <p>I start off with an Amaj7 arpeggio, beginning on the seventh, G#. The first three beats incorporate legato phrasing [hammer-ons and pull-offs used in combination]. I play a total of five notes using the "2-2" form [two notes per string]. I then move to a D augmented arpeggio with a #11, again using the 2-2 form but only playing a group of four notes this time.</p> <p>After this, I play a series of arpeggios, using the 2–1–2 form, that move intervallically up, down and across the neck. At this point the melody no longer accentuates the downbeats and starts developing an interesting rhythmic pattern that keeps moving around.</p> <p>For the remainder of the run, the 16th notes are grouped in fives [2-1-2] and sevens [2-2-1-2], and everything is based on sweep and alternate picking. It’s important to keep the pick-hand’s movement relaxed, efficient and flowing when transitioning from one technique to the other. The goal is to keep the 16th notes even.</p> <p>There are two consecutive down-strokes with a string skip in between, first seen in bar 2, beat one, and repeated throughout the remainder of the run. Executing this while maintaining the sweep-picking motion will probably require the most amount of attention and practice. The objective is to create a continuous flow of notes. Use a metronome, start slowly and gradually build up to speed. </p> <p>Good luck!</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="myExperience808134293001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="808134293001" /> </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/fran.jpg" width="620" height="556" alt="fran.jpg" /></p> All Shall Perish Betcha Can't Play This Francesco Artusato Holiday 2010 Videos Betcha Can't Play This Blogs News Lessons Magazine Mon, 04 Aug 2014 16:00:06 +0000 Francesco Artusato Gear Review: CJ Guitar Tooling Compensated Telecaster Saddles <!--paging_filter--><p>Perhaps the most passionate debate among Telecaster players concerns the bridge. Specifically, which is better: three or six saddles?</p> <p>Originally, Fender Telecasters came with a three-saddle bridge. Then, in the late Seventies and early Eighties, six-saddle Tele bridges began to show up. </p> <p>The six-saddle argument offers more precise intonation while the three-saddle argument offers a more classic Tele sound.</p> <p>CJ Guitar Tooling offers three-saddle sets that are compensated (angled) for better intonation. Each set is hand-made the “old school” way to bridge the gap between vintage tone and modern convenience. </p> <p>While CJ offers saddle sets made from cold-rolled steel, aluminum and brass in 5/16-inch or ¼-inch sizes, I chose 5/16-inch brass saddles for my 2006 Fender MIM Standard Telecaster.</p> <p>To get everything to line up, I needed a different bride plate. Fender offers a vintage-style bridge plate. Installation of the bridge plate, saddles and a new set of strings took about 20 minutes.</p> <p>After a few days and some minor adjustments, the saddles really settled in. The Tele plays great and in tune, up and down the neck. </p> <p>Acoustically, the instrument is louder and clearer. In terms of being plugged in, I recorded Before and After clips for you to judge (Check them out below). The difference is subtle, but the After clip offers a less muddy bottom and a more sparkling high end. Also, the rattle in my old bridge in the first clip is remedied via the new saddles. </p> <p><strong>Web: <a href=""></a><br /> <strong>Price</strong>: $30 for brass 5/16-inch saddles ($10 for the Fender bridge plate)</strong></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><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 Accessories Blogs Gear Thu, 31 Jul 2014 22:16:40 +0000 Billy Voight Cigar Box: It Goes to 11 — How to Build a Cigar Box Amp <!--paging_filter--><p> Built yourself a cigar box guitar, eh? Chances are, you'll want to plug it in and annoy your neighbors. So let's build a cigar box amp!</p> <p>There are two kits, or amp modules, I'd recommend for making your first cigar box amp. </p> <p>The first is <a href="">C.B. Gitty's 2.5w amp kit</a> (Check out photos below of the step-by-step build). The second is a Low Voltage Audio Amplifier NJM386D LM386, which can be found on eBay and similar sites. </p> <p>They both work great, and I've used them regularly when making these mini-amps of mayhem. Some of the advantages of the C.B. Gitty kit is that it has everything you need to make an amp. All the wires are neatly labeled so you don’t have to worry about reading a diagram, and it has a gain pot that can be adjusted with a screwdriver to give your amp a dirty tone. </p> <p>The NJM386D LM386 module costs a little less, but by the time you buy a speaker, jack, volume knob and 9-volt battery lead, they are practicality the same price. The NJM386D LM386 module is a no-solder kit as well, so you can just connect your leads to the chip using a small screwdriver. </p> <p><Strong>Tools you will need:</strong></p> <p>• Soldering iron and solder<br /> • A drill and drill bits<br /> • A hole saw (that matches the size of your speaker)<br /> • Sandpaper<br /> • Screwdriver<br /> • Safety goggles<br /> • Gloves<br /> • Not-so-common common sense.</p> <p><strong>Some Quick Tips</strong></p> <p>I tend to use old book-shelf stereo speakers in cigar box amps. A bigger speaker = bigger sound, plus the only way to open most of the speaker cabinets is to crack them open with a hammer. It's great fun and works wonders for stress relief (Kids, don't go smashing your parents speakers! Instead, pick one up at your local thrift store).</p> <p>For a grill cover I use a gutter guard, the likes of which you can find at your local hardware store. It looks cool and it's really inexpensive. </p> <p>To keep the bolts on your speaker from rattling around, put a small bead of hot glue on the thread of the bolt after you have tightened them down. It will keep everything nice and quiet. </p> <p>Before we dive in to our amp project, let's talk about some cigar box guitar bands that “go to 11.”</p> <p>The first band is Shane Speal's Snake Oil Band. You might remember Shane from some of my earlier columns, although he's using a Musicvox MVX-15 Spaceranger tube amp (It's a pretty freaking sweet amp if you ask me) in lieu of a cigar box amp. It's too damn cool not to talk about it. </p> <p>Below is a leaked track from their soon-to-be-released album, <em>Holler</em>, a mix of blues riffs, field chants and classic rock fuzz that gets your foot stomping. </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>I had a chance to catch one of their shows last year, and what a show it was: cigar box guitar, washboard, harmonica, washtub bass, confetti cannons, rubber chickens ... Well, see for yourself:</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p>Next, the Lo-Fi Project (Yeah, it's my band), recently reviewed as “a cross between the hard electric blues of Muddy Waters and raw punk angst of the Sex Pistols' first album, <em>Never Mind the Bollocks</em>.” — <em>Mark Miller</em></p> <p>Well, that’s good enough for me. </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>Check our the photo album below to walk you through step-by-step of building your cigar box amp! </p> <p>How do these amps sound, you may ask? Here's a video sent to me by JT Woodruff of Hawthorne Heights. It's a clip of one of my amps he was using in the studio. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p>'Til next time, keep on playing!</p> <p><em>Brian Saner owns Saner Cigar Box Guitars, which makes custom handmade guitars and amps using local dry-aged wood in every guitar. These guitars are handmade and might have imperfections, but that's what makes them unique. Check out his cigar box guitar band, <a href="">the Lo-Fi Project</a>. Get a cigar box guitar of your own at <a href=""></a>, <a href=""></a> and Main Street Gallery. Check out his <a href="">Facebook page.</a></em></p> Brian Saner Cigar Box Amps Blogs Gear Thu, 31 Jul 2014 21:19:17 +0000 Brian Saner Secrets of Shred with Sammy Boller: Combining Pentatonics with Tapping <!--paging_filter--><p>In this lesson, I’ll be taking the most common pentatonic positions and showing you how to string them together to create ripping-fast riffs and runs. </p> <p>It’s a great way to break out of typical pentatonic licks and is easy to visualize all over the neck. </p> <p>First, let’s take a look at <strong>EXAMPLE 1</strong>. This is a basic D minor pentatonic scale on the 10th fret. This whole lesson is based on expanding this scale—so make sure you have it down before you move on to the following examples. </p> <p><strong>EXAMPLE 2</strong> also uses the Dm pentatonic scale, this time starting on the next degree of the scale (F). This position is crucial for expanding on your basic pentatonic scale (<strong>EXAMPLE 1</strong>). It also works great for transitioning up and down the neck when you’re shredding fast leads.</p> <p>Moving on to <strong>EXAMPLE 3</strong>, we’re going to move our Dm pentatonic scale up one more position, this time starting on the note G. This position works great for many musical contexts and works particularly well for playing slow and melodically.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-07-31%20at%202.31.05%20PM.png" width="620" height="417" alt="Screen Shot 2014-07-31 at 2.31.05 PM.png" /></p> <p><strong>EXAMPLE 4</strong> is where things are going to get a little more interesting. This example combines <strong>EXAMPLE 1</strong> and <strong>EXAMPLE 2</strong> into one position. Notice that there are now three notes per string. For this, you can use any left hand fingering you’d like; however, I use my pinky on the highest note of every string. For me, it makes it easier to play fast and keeps everything consistent.</p> <p>Now, for <strong>EXAMPLE 5</strong>, we’re going to combine <strong>EXAMPLES 1, 2 and 3</strong> into one large position. We’re going to accomplish this is by tapping the highest note on every string. When I am tapping and changing strings, I like to transition between strings by playing the tapped note first. This helps me groove harder and generally sounds more interesting than going directly up and down a scale.</p> <p>TIP: If you’re having a hard time visualizing <strong>EXAMPLE 5</strong> on the neck, notice that you tap the 17th fret on every string except the B string, where you tap the 18th fret. You can get away with tapping the 17th fret on every string, however for the sake of keeping everything completely pentatonic, try making the change on the 18th fret of the B string.</p> <p>Once you have <strong>EXAMPLE 5</strong> up to speed, try to move it other keys and positions. The final example is a great gateway into modern shred guitar. I hope you enjoy playing it as much as I do. Cheers.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-07-31%20at%202.31.25%20PM.png" width="620" height="358" alt="Screen Shot 2014-07-31 at 2.31.25 PM.png" /></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><em>Sammy Boller is the guitarist for the Detroit rock band <a href="">Citizen Zero</a>. They’re touring and recording their first full-length album with Al Sutton and Marlon Young (Kid Rock, Bob Seger, Uncle Kracker). In 2012, Boller was selected by Joe Satriani as a winner of Guitar Center’s Master Satriani competition. He studied music at the University of Michigan. For more about Boller, or to ask him a question, write to him at or follow him on <a href="">Twitter</a>.</em></p> Sammy Boller Secrets of Shred Blogs Lessons Thu, 31 Jul 2014 18:38:33 +0000 Sammy Boller