The fourth finger is often neglected when it comes to playing guitar. Well, rock/blues guitar, at least. I notice players opt to do wide stretches between their second and third fingers rather than using the fourth. As a result, the fourth finger is very underused and gets weak. This generally begins when someone first starts playing guitar.
Van Halen’s impact on Dimebag’s playing is unmistakable. The “vibe” of early Van Halen is by far the most recognizable influence in Dimebag’s playing. From the grooving rhythms played like leads of their own, to the tone, to the phrasing in his lead playing, Dimebag took the inspiration of Edward Van Halen and forged his own identity.
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.
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) that I've found that helps me capture a bit of that.
With so many scales, arpeggios, licks, chords and patterns to learn in the practice room, sometimes we can overlook rhythm when working on our jazz guitar soloing concepts. Keeping a focus on rhythms and rhythmic motives 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.
Many bands perform covers of artists they admire as a way to pay homage or share their love of a song with the audience. 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 band at a bar flawlessly pull off “Satch Boogie” or any Periphery songs note for note I'd be blown away.
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.
Our recent story about Jimmy Page's five best guitar solos as a member of the Yardbirds got us thinking about another legendary pre-Led Zeppelin recording featuring Page. 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.
This exercise, or finger twister, is a moveable arpeggio pattern, but it will be in G major for this exercise. 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#).
Forty-eight years ago this summer — in late July and August 1966 — the Beatles found themselves in a touchy situation. On July 29 of that year, a teen magazine called Datebook published segments of a nearly 5-month-old interview with John Lennon. Among the republished segments was this quote by Lennon: "We're more popular than Jesus now; I don't know which will go first — rock 'n' roll or Christianity."