Blogs http://www.guitarworld.com/taxonomy/term/61/0 en Gig Review: Richie Sambora Pays Tribute to Les Paul at the Iridium http://www.guitarworld.com/gig-review-richie-sambora-pays-tribute-les-paul-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, Sambo’s 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, Smabora 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> http://www.guitarworld.com/gig-review-richie-sambora-pays-tribute-les-paul-iridium#comments Brad Tolinski Iridium Orianthi Review Richie Sambora Blogs News Wed, 23 Jul 2014 21:41:07 +0000 Brad Tolinski http://www.guitarworld.com/article/21916 "Spring (The Return)": Combine Arpeggios, Octave Displacement and Scales for Gloriously Melodic Results http://www.guitarworld.com/spring-return-combine-arpeggios-octave-displacement-and-scales-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="http://www.adriangalysh.com/">AdrianGalysh.com</a> as well as iTunes, amazon.com and CDBaby.com. </p> <p><strong>In the meantime, GuitarWorld.com online readers can <a href="http://adriangalysh.com/download.html">enjoy a FREE download of the song by clicking HERE.</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/oseL5_3Fcgo?list=UULNeEhPB9EghJaSxfIoZyWg" 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="http://www.adriangalysh.com/">AdrianGalysh.com.</a></em></p> http://www.guitarworld.com/spring-return-combine-arpeggios-octave-displacement-and-scales-gloriously-melodic-results#comments Adrian Galysh Videos Blogs Lessons Tue, 22 Jul 2014 17:40:37 +0000 Adrian Galysh http://www.guitarworld.com/article/21888 Session Guitar: Musicians Are in the Service Industry http://www.guitarworld.com/session-guitar-musicians-are-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="http://www.ronzabrocki.com/fr_home.cfm">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> http://www.guitarworld.com/session-guitar-musicians-are-service-industry#comments Ron Zabrocki Session Guitar Blogs Tue, 22 Jul 2014 17:08:56 +0000 Ron Zabrocki http://www.guitarworld.com/article/21880 Betcha Can't Play This: Tapping and Skipping with Andy Wood http://www.guitarworld.com/betcha-cant-play-tapping-and-skipping-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="http://www.andywoodmusic.com/">andywoodmusic.com</a> and <a href="http://www.downfromup.com/">downfromup.com</a>. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/uvyxn2kkEVY" 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> http://www.guitarworld.com/betcha-cant-play-tapping-and-skipping-andy-wood#comments 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 http://www.guitarworld.com/article/20956 Wild Stringdom with John Petrucci: Combining Triad Arpeggios to Form Polytonal Chordal Allusions http://www.guitarworld.com/wild-stringdom-john-petrucci-combining-triad-arpeggios-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 https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="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> http://www.guitarworld.com/wild-stringdom-john-petrucci-combining-triad-arpeggios-form-polytonal-chordal-allusions#comments April 2014 Dream Theater John Petrucci Wild Stringdom Blogs News Lessons Magazine Fri, 18 Jul 2014 18:25:55 +0000 John Petrucci http://www.guitarworld.com/article/20542 Betcha Can't Play This: Luis Carlos Maldonado's Add9 Roller Coaster http://www.guitarworld.com/betcha-cant-play-luis-carlos-maldonados-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="//www.youtube.com/embed/FVUgmYFhH7Q" 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> http://www.guitarworld.com/betcha-cant-play-luis-carlos-maldonados-add9-roller-coaster#comments 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 http://www.guitarworld.com/article/21011 Bent Out of Shape: Improve Your Fretboard Knowledge with This Arpeggio Exercise http://www.guitarworld.com/bent-out-shape-improve-your-fretboard-knowledge-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="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/157832888&amp;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="https://www.facebook.com/wallnervain">Facebook</a> and <a href="https://twitter.com/willwallner">Twitter</a>.</em></p> http://www.guitarworld.com/bent-out-shape-improve-your-fretboard-knowledge-arpeggio-exercise#comments Bent Out of Shape Will Wallner Blogs Lessons Tue, 08 Jul 2014 21:40:16 +0000 Will Wallner http://www.guitarworld.com/article/21765 Harmonic Minor and Beyond: Great Scales for Heavy Metal Guitar Playing http://www.guitarworld.com/harmonic-minor-and-beyond-great-scales-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="http://www.youtube.com/embed/t1nDO69kLxY" 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="http://www.youtube.com/embed/ObL-XYTdy24" 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="http://www.youtube.com/embed/uSaTAGsIBEI" 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="//www.youtube.com/embed/0NYiOHGapRk" 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="http://www.youtube.com/embed/XrO29hsWgto" 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="http://www.youtube.com/embed/qu8HiZepRWo" 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="http://www.youtube.com/embed/XurU3TPHjzY" 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="http://en.wikipedia.org/wiki/Dave_Reffett">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> http://www.guitarworld.com/harmonic-minor-and-beyond-great-scales-heavy-metal-guitar-playing#comments Dave Reffett Blogs Features Lessons Thu, 03 Jul 2014 17:35:42 +0000 Dave Reffett http://www.guitarworld.com/article/12389 Stevie Ray Vaughan, Steve Vai, Yngwie Malmsteen, Slash and More Play "The Star-Spangled Banner" — Video http://www.guitarworld.com/video-eight-solo-guitar-versions-star-spangled-banner <!--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="http://www.youtube.com/embed/NepNJO2nwU0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>STEVE VAI</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/tyCRSZjtYBI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>YNGWIE MALMSTEEN</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/anWu1WUwnSk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>SLASH</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/hKco_PvmUHw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>DAVE MUSTAINE</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/D8GHCpjlpwY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>ERIC JOHNSON</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/rCKCbdLxBoQ" 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="http://www.youtube.com/embed/UnyvPZSvLW8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>JIMI HENDRIX</strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/i0WG-ZUUOsg" 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> http://www.guitarworld.com/video-eight-solo-guitar-versions-star-spangled-banner#comments 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 http://www.guitarworld.com/article/11505 JamPlay with Kenny Ray: Enhancing Blues Progressions with Seventh and "Jimi Hendrix" Chords http://www.guitarworld.com/jamplay-kenny-ray-enhancing-blues-progressions-seventh-and-jimi-hendrix-chords <!--paging_filter--><p><strong><em>Kenny "Blue" Ray is a life-long blues musician who has played with greats such as Stevie Ray Vaughan. Kenny also is a <a href="http://www.jamplay.com/">JamPlay</a> instructor who teaches live and pre-recorded classes on blues guitar.</em></strong></p> <p>In this lesson, Kenny discusses 7th chords and how they can be used to enhance any blues progression. </p> <p>He also demonstrates short forms of the chords that can be used for a softer sound. While discussing the 7th chords, he also talks about some of Jimi Hendrix's favorites.</p> <p>Check out the lesson video below — complete with video. For more JamPlay lessons on GuitarWorld.com, check out Andy James' <a href="http://www.guitarworld.com/jamplay-andy-james-three-pentatonic-hybrid-picked-runs-increase-speed-and-dexterity">"Three Pentatonic Hybrid-Picked Runs to Increase Speed and Dexterity"</a> and Glen Drover's <a href="http://www.guitarworld.com/jamplay-glen-drover-mysterious-harmonic-minor-walk-down-video">Mysterious Harmonic Minor Walk Down.</a></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3654019848001" 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="3654019848001" /> </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 /></p> <p><strong>PART 1</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-07-01%20at%204.39.28%20PM.png" width="620" height="762" alt="Screen Shot 2014-07-01 at 4.39.28 PM.png" /></p> <p><strong>PART 2</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-07-01%20at%204.39.40%20PM.png" width="620" height="699" alt="Screen Shot 2014-07-01 at 4.39.40 PM.png" /></p> <p><strong>PART 3</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-07-01%20at%204.40.06%20PM.png" width="620" height="791" alt="Screen Shot 2014-07-01 at 4.40.06 PM.png" /></p> <p><strong>PART 4</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-07-01%20at%204.40.19%20PM.png" width="620" height="348" alt="Screen Shot 2014-07-01 at 4.40.19 PM.png" /></p> http://www.guitarworld.com/jamplay-kenny-ray-enhancing-blues-progressions-seventh-and-jimi-hendrix-chords#comments JamPlay Kenny Ray Blogs News Lessons Tue, 01 Jul 2014 20:38:50 +0000 Kenny Ray http://www.guitarworld.com/article/21728 JamPlay with Glen Drover: Mysterious Harmonic Minor Walk Down — Video http://www.guitarworld.com/jamplay-glen-drover-mysterious-harmonic-minor-walk-down-video <!--paging_filter--><p><strong><em>Glen Drover is best known as the former guitarist for Megadeth and is now an instructor on <a href="http://www.jamplay.com/">JamPlay</a>. He teaches live and pre-recorded lessons.</em></strong></p> <p>In this lesson, Drover teaches a "mysterious" harmonic minor walk down in the key of E. </p> <p>This lick can be played by using alternate picking, or alternatively as a blazing-fast legato run.</p> <p>Check out the lesson video below — complete with video. For another JamPlay lesson on GuitarWorld.com, check out Andy James' <a href="http://www.guitarworld.com/jamplay-andy-james-three-pentatonic-hybrid-picked-runs-increase-speed-and-dexterity">"Three Pentatonic Hybrid-Picked Runs to Increase Speed and Dexterity."</a></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3653966944001" 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="3653966944001" /> </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%202014-07-01%20at%203.52.35%20PM.png" width="620" height="633" alt="Screen Shot 2014-07-01 at 3.52.35 PM.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202014-07-01%20at%203.52.48%20PM.png" width="620" height="452" alt="Screen Shot 2014-07-01 at 3.52.48 PM.png" /></p> http://www.guitarworld.com/jamplay-glen-drover-mysterious-harmonic-minor-walk-down-video#comments Glen Drover JamPlay Videos Blogs News Lessons Tue, 01 Jul 2014 20:02:11 +0000 Glen Drover http://www.guitarworld.com/article/21726 Gear Review: Blue Nessie USB Plug-and-Play Microphone http://www.guitarworld.com/gear-review-blue-nessie-usb-plug-and-play-microphone <!--paging_filter--><p>I have a beautiful recording setup, but there’s a problem; I have to set it up! </p> <p>This means running cables, plugging in things and figuring out why I’m not getting sound. Next I’ll mull over recording my idea on a cell phone, but I always forfeit that thought knowing I’ll get lackluster results.</p> <p>The Nessie by Blue is a USB plug-and-play microphone. There are no drivers to download, no access codes to enter; just plug it in, click on your recording software and you’re recording.</p> <p>There are three presets on the mic to help capture the best audio quality: Voice, Music and Raw. Voice is a custom setting for singing or spoken word. Music is best for acoustic instruments with a little bit of presence added. Raw is a flatter response, which I used when recording speaker cabinets or loud amps.</p> <p>The Nessie has a mute button, a headphone out and a playback volume knob to monitor playback at a safe volume. Other features include an internal shockmount and pop filter. Its sample rate is 48kHz, and it has a frequency response of 20Hz-20kHz. The head of the mic angles up and down to accommodate sound capture. When powered on, the base of the Nessie lights up; when muted the base blinks.</p> <p><strong>Let's get to the clips!</strong></p> <p><strong>Clip 1</strong> is a 12-string guitar with the Nessie set to Music mode. I had the mic about 10 inches away from the guitar centralized between the neck and the sound hole. </p> <p><strong>Clip 2</strong> is a Les Paul cranked up with Nessie on Raw mode. I doubled and panned the track to give it a deeper stereo sound.</p> <p><strong>Clip 3</strong> is a P-bass with the Nessie still set on Raw mode. I had to move the mic back about 18 inches to avoid overdriving the mic.</p> <p><strong>Web:</strong> <a href="http://bluemic.com/">bluemic.com</a><br /> <strong>Street Price</strong>: $99.99</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/41680221&amp;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 thisguyonbass@gmail.com.</em></p> http://www.guitarworld.com/gear-review-blue-nessie-usb-plug-and-play-microphone#comments Billy Voight Billy's Breakdown Blue Accessories Blogs Gear Fri, 27 Jun 2014 20:09:55 +0000 Billy Voight http://www.guitarworld.com/article/21690 Secrets of Shred with Sammy Boller: Eddie Van Halen-Style Speed-Picking Technique — Video http://www.guitarworld.com/secrets-shred-sammy-boller-eddie-van-halen-style-speed-picking-technique-video <!--paging_filter--><p>In this lesson, I’ll be showing you a relatively unknown picking technique used by my favorite guitarist, Eddie Van Halen. It can be heard in countless Van Halen songs, including "I’m the One," "Spanish Fly" and "Jump."</p> <p>This technique is based on a combination of hammer-on notes and alternate-picked notes. Eddie likes to take a fingering pattern and hammer on the notes on one string, then alternate pick the same pattern on an adjacent string. </p> <p>This creates the illusion that he’s picking every note, when he’s really not. It allows him to rip up and down the neck with minimal effort from his picking hand. The technique is shown in <strong>EXAMPLE 1</strong> below and is demonstrated as a simple pattern in the key of B minor.</p> <p>Now, let’s take a look at <strong>EXAMPLE 2</strong>. This example takes the picking approach from <strong>EXAMPLE 1</strong> but extends the scale up the neck in the key of B minor. This time, the pattern utilizes only the B and E strings. This scale pattern allows you to quickly transition up and down the neck and not get caught in complex fingerings or picking. Even though a few notes are not completely diatonic, they provide color and sound great in many musical contexts.</p> <p><strong>EXAMPLE 3</strong> is the exact same pattern as <strong>EXAMPLE 2</strong>, just moved down an octave to the D and G strings. This is a great trick that every guitarist should know. Whenever you have a lick on the B and E strings, you can move it down an octave simply by sliding it down three frets and playing it on the D and G strings. For precision, make sure to use the same left-hand fingering so that it feels the same in both octaves.</p> <p>Expanding on this idea, <strong>EXAMPLE 4</strong> is the same pattern as <strong>EXAMPLE 3</strong> just moved down two more frets to the E and A strings. Remember to use the same EVH picking pattern: three hammer-on notes on the E string followed by three notes using alternate picking on the A string. Once you have the scale down on one grouping of strings (<strong>EXAMPLE 2</strong>), you should be able to play the scale at the same speed on the other two groupings of strings. (<strong>EXAMPLE 3, EXAMPLE 4</strong>)</p> <p>Finally, in <strong>EXAMPLE 5</strong>, we’re going to move back to our original position and play a run that combines patterns from all of our previous examples. This illustrates how you can take these patterns that move vertically up and down the neck and use them to create runs that stay in one position. If you play it quick, you’ll notice it sounds eerily similar to EVH.</p> <p>Once you have these examples down, try using this approach to create runs and different scale patterns of your own. Combining the EVH picking technique with these scale fingerings will hopefully open up some new doors for your playing, creativity and technique. Cheers. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/m69WeKUBErc?rel=0" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-06-27%20at%202.16.54%20PM.jpg" width="620" height="727" alt="Screen Shot 2014-06-27 at 2.16.54 PM.jpg" /></p> <p><em>Sammy Boller is the guitarist for the Detroit rock band <a href="https://www.facebook.com/citizenzero">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 info@sammyboller.com or follow him on <a href="https://twitter.com/sammyboller">Twitter</a>.</em></p> http://www.guitarworld.com/secrets-shred-sammy-boller-eddie-van-halen-style-speed-picking-technique-video#comments Eddie Van Halen Sammy Boller Secrets of Shred Videos Blogs Lessons Fri, 27 Jun 2014 18:21:34 +0000 Sammy Boller http://www.guitarworld.com/article/21688 Elvis Costello Digs Deep at Carnegie Hall Debut — Review http://www.guitarworld.com/elvis-costello-digs-deep-carnegie-hall-debut-review <!--paging_filter--><p>Elvis Costello made what was billed as his Carnegie Hall debut this week, playing two solo shows that were nothing short of masterclasses in singing and songwriting, with some stellar solo guitar work thrown in for good measure.</p> <p>Costello, who will celebrate his 60th birthday in August, has enjoyed a storied career by any standard. He's collaborated <a href="https://www.youtube.com/watch?v=lrcNnIV6FV8">with Burt Bacharach</a> and, most notably <a href="http://www.youtube.com/watch?v=dgyPs5bS3DM">Paul McCartney</a>, on the former Beatle’s best material since working with the original bespectacled Angry Young Man, John Lennon; opened for Bob Dylan numerous times, effortlessly sharing a microphone often with the legend; and his excellent talk show <em>Spectacle</em> a few years back brought discussions about fame, and the art of songwriting and performance, to television in a new and remarkable way, culminating with Costello <a href="http://www.youtube.com/watch?v=5uKGWpqnS8E">nearly being brought to tears by Jessie Winchester</a>. </p> <p>Along the way, Costello has made wildly divergent records, pushing the boundaries of popular music in the process.</p> <p>But few things could likely be sweeter for Costello in that amazing career than playing for nearly three hours to a packed house at Carnegie Hall, alone with just a guitar (or an electric keyboard), only occasionally playing hits and even then stripping them bare and reworking them in a way that would have made Dylan himself proud.</p> <p>Costello’s Tuesday-evening show was talked of as his Carnegie Hall debut in that austere tone PR people love to use for such occasions, but the singer joked that it was, in fact, a lie: He’d guested with Spinal Tap when the band played there in 2001.</p> <p>Similarly, Costello was loose and engaging throughout the long set, which he dubbed alternately an evening of songs about “love and deceit” and “tragedy and exile,” telling finely detailed and witty stories about his childhood and family that had the audience on pins and needles and gave an insight into Costello’s choice of songs and perhaps even his reason for appearing without his band, the Imposters, or longtime cohort Steve Nieve.</p> <p>Without a band to fall back on, Costello went wherever his muse took him. Nods to the Beatles, Al Green and Dylan were woven into Costello’s own re-imagined originals.</p> <p>“Everyday I Write the Book” was delivered in an arrangement diehard fans would recognize from his performances with Nieve, but without Nieve's accompaniment it was even further from the pop confection of the original record. As he has mentioned before, Costello joked that it’s a song he hates but was enough of a hit that he’s been obliged to play it since. “Alison,” “Watching the Detectives,” — complete with rabid soloing over looping guitar delay — and “Veronica” also were featured, as were a clutch of songs from his spectacular <em>Imperial Bedroom</em> album. <a href="http://www.youtube.com/watch?v=HSeH-gDxt9Q">“Town Cryer,”</a> <a href="http://www.youtube.com/watch?v=Humx7z669bk">“Beyond Belief”</a> and “Man Out of Time” were all stunning. <a href="http://www.youtube.com/watch?v=HYks4PngNMw">“Shabby Doll”</a> was another highlight, a far cry from its original incarnation but stunning and beautiful nonetheless.</p> <p>Costello used five Gibson acoustic and electric guitars, relying most heavily on his battered old J-160E, which has the original P100 pickup run through an amp for a deep, guttural gain, and a bridge pickup for a clean, acoustic tone, simultaneously. He also brought out his trusty Fender Jazzmaster a few times, most notably on a searing and stunning “I Want You.” Costello isn’t a masterful player — he once dubbed himself “little hands of concrete” — nor did the cavernous acoustics of the Hall do his melodies any favors at times, but his passion in delivery and the breadth of his catalog more than made up for that. </p> <p>“Shipbuilding” and “Almost Blue," performed on electric piano, were also highlights, as it was when Costello went off mic and sang unadorned.</p> <p>But the evening wasn’t really about the hits. The set also included “Come the Meantimes,” “Either Side of the Same Town,” “Church Underground,” “Last Boat Leaving,” “Jimmie Standing in the Rain” and “The Last Year of My Youth,” which Costello said he’d written and performed in one day when Late Night with David Letterman called up desperate for a last-minute replacement for Carly Rae Jepson, though in completely reworked form.</p> <p>And “Poison Moon” — a demo included on recent deluxe versions of Costello’s debut, <em>My Aim Is True</em> — was introduced as the first song of his he’d heard played on the radio, while sitting at his kitchen table looking out at a streetlamp. It was a shocking experience, he recounted, and he felt like he could hear the sound of a million radios being turned off. But the song was, in fact, a harbinger of things to come, and, with Costello’s introduction in mind, you could easily pick out nearly a dozen snippets of melody or lyrics used in later classics.</p> <p>“Less Than Zero” was a sprightly surprise and “(What’s So Funny About) Peace, Love and Understanding” closed things out to one of several long and loud standing ovations. But the night was really about a twisting, strange and intelligent trip through Costello’s catalog, curated by the composer himself, with equal weight given to his recent work as to his early, halcyon days, and a keen touch toward challenging his audience in a setting befitting a serious and remarkable artist.</p> <p><em><a href="http://www.digitalretro.com/jeffslate.htm">Jeff Slate</a> is a NYC-based solo singer-songwriter and music journalist. He founded and fronted the band the Badge for 15 years beginning in 1997 and has worked with Pete Townshend, Earl Slick, Carlos Alomar, Steve Holley, Laurence Juber and countless others. He has interviewed and written about everyone from the Beatles and Kiss to Monty Python and rock musicals on Broadway. He is an avid collector of rock and roll books and bootlegs and has an encyclopedic knowledge of all things Dylan and the Beatles. For more information, visit <a href="http://www.digitalretro.com/jeffslate.htm">jeffslate.net.</a></em></p> http://www.guitarworld.com/elvis-costello-digs-deep-carnegie-hall-debut-review#comments Elvis Costello Blogs News Thu, 26 Jun 2014 10:06:32 +0000 Jeff Slate http://www.guitarworld.com/article/21670 Monster Licks: G Wiz — Experimenting with Different Shades of G http://www.guitarworld.com/monster-licks-g-wiz-experimenting-different-shades-g <!--paging_filter--><p>In this Monster Lick, I'm using a variation of the G pentatonic scale. The scales used are the flat five (or blues scale), major 3rd and major 6th pentatonic. This is achieved simply by adding the above scale tones to the standard minor pentatonic. </p> <p>The notes in the G minor pentatonic are G, Bb (or A#), C, D, F. The flat five is a Db (or C#), the major 3rd is a B and the major 6th is an E. </p> <p>You simply add these notes to the minor pentatonic to get the sound. You don't substitute any note; you add one of the above notes to the straight minor pentatonic. </p> <p>It's very important to practice every variation individually, as every scale has a very specific sound and requires a lot of practice to master. Bunching up these scales, as I've done in this lick, has only been achievable by understanding each scale by itself first. This took an incredible amount of study and was something I've developed over years of practice. </p> <p>Today, this style of playing comes naturally to me. I'm able to add these notes randomly at any time as I know each individual scale inside and out — all over the fretboard. </p> <p>For players who are just starting out or have only been playing for a while, I suggest you use this lick as a guide to how far you can take the idea. Practice the actual scale in the first position (Box 1). Once comfortable, start adding the other notes. First practice the straight minor pentatonic, then add the flat 5, then the major 3rd and finally the major 6th. Once you feel confident and understand the individual scales, start to have some fun with your improvising.</p> <p>This tonality works great with blues, rock, jazz and even metal. The pentatonic scale is found through all styles of music.</p> <p><strong>The lick:</strong></p> <p>When played at speed, the added notes are less dissonant but certainly create a very intense-sounding run. What's interesting, though, is that when played slow, you can really start to hear the dissonance between the major and minor notes. This is a great thing to remember when improvising over a more mellow blues or jazz piece or even when wanting to create a fusion outside side with your rock playing. </p> <p>As with all of these licks the important thing is to understand the idea behind the lick, as the goal should be to take this idea and create your own style. </p> <p>The pentatonic scale is a key ingredient for all guitar players; it's the most-used scale for soloing. My advice is to practice and understand as much as possible when it comes to these scales. </p> <p><strong>I hope you enjoy this Monster Lick! Please join me on <a href="https://www.youtube.com/user/atomicguitaraudio">YouTube right here!</a> Or contact me at <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a> or <a href="https://www.facebook.com/glenn.proudfoot">my Facebook page</a>.</strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/8sfAIcoNnhg" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-06-24%20at%2012.20.43%20PM.png" width="620" height="433" alt="Screen Shot 2014-06-24 at 12.20.43 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="http://www.glennproudfoot.com/">glennproudfoot.com</a>. His latest album — a still-untitled all-instrumental release — will be available in March 2014.</em></p> http://www.guitarworld.com/monster-licks-g-wiz-experimenting-different-shades-g#comments Glenn Proudfoot Monster Licks Videos Blogs Lessons Tue, 24 Jun 2014 21:18:06 +0000 Glenn Proudfoot http://www.guitarworld.com/article/21660