Lessons http://www.guitarworld.com/taxonomy/term/8/all en Bent Out of Shape: An Intensive 30-Minute Guitar Workout for Musicians On the Go http://www.guitarworld.com/bent-out-shape-intensive-30-minute-guitar-workout-musicians-go <!--paging_filter--><p>Whether you're a professional guitarist or a hobbyist, finding time to practice can be difficult. </p> <p>We all have busy lives and responsibilities that distract us from our playing. For this reason, I've developed a quick, intensive guitar "workout" that can be completed in 30 minutes. You can use this by itself as a quick practice when time is limited or incorporate it into a longer practice session. Either way, this workout will help develop your playing in a number of important areas.</p> <p>The workout involves playing a diatonic scale with specific sequences chosen to improve important areas of your playing. You will improve your knowledge/theory of the scale across the whole fretboard and also improve the speed/accuracy of your picking technique. For this workout, you are going to need a metronome. </p> <p>For my examples, I am using the A minor scale. You will play each of these sequences to a metronome; when completed, you will increase the tempo and repeat all of the sequences again. You want to begin at a slow tempo, around 80 bpm, and after completion increase by 10 bpm (90, 100, 110, 120, etc.). </p> <p>The sequences are of varying difficulty, and as soon as one becomes too difficult, you should drop that sequence and continue with the rest. You should make a note of the highest tempo reached for each sequence so you can chart your progress over time. I have included target bpm's for each sequence. If you start at 80 bpm and take each sequence to its target, you should complete the workout in around 30 minutes. Of course, if you are an advanced player, you might be able take each sequence much higher than the target tempos.</p> <p>For each sequence, I've given you the tab and an audio example playing the sequence at 80 bpm and then at the target bpm. </p> <p><strong>Linear Sequences (Target: 160 bpm) </strong></p> <p>These sequences focus on playing the diatonic scale as "four-notes per sting" instead of the usual "three-notes per string." The idea is to use all four fingers when fretting the scale, as highlighted in the first sequence.</p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F88630142"></iframe></p> <p><img src="/files/imce-images/tab1.jpg" width="620" height="420" alt="tab1.jpg" /></p> <p><strong>Interval Sequences (Target 120 bpm)</strong></p> <p>These focus on playing the diatonic scale in intervals across three octaves. For this workout, we are using 3rd's, 4th's and 5th's. Note: Advanced players also will be able to play the scale in 6th's and 7th's.</p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F88630059"></iframe></p> <p><img src="/files/imce-images/tab2.jpg" width="620" height="409" alt="tab2.jpg" /></p> <p><strong>Arpeggio Sequences (Target 120 bpm)</strong></p> <p>You've probably seen the previous sequences before, but here's something I came up with that's fairly unique. These sequences involve playing the scale across two octaves as arpeggios. The first sequence is played as triad arpeggios (I-III-V). The second sequence is played as 7th arpeggios (I-III-V-VII).</p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F88629993"></iframe></p> <p><img src="/files/imce-images/tab3.jpg" width="620" height="278" alt="tab3.jpg" /></p> <p>These sequences could be applied to any diatonic scale in any key. After mastering A minor, try experimenting with different scale. If you have any questions or suggestions, feel free to leave me a comment. Good luck!</p> <p><em>Will Wallner is a guitarist from England now living 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 in 2012 toured Japan, America and Canada. 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-intensive-30-minute-guitar-workout-musicians-go#comments Bent Out of Shape Will Wallner Blogs Lessons Tue, 03 Mar 2015 22:22:13 +0000 Will Wallner http://www.guitarworld.com/article/18203 Rut-Busters for Guitarists, Part 2 of 8: Metronomes and Acoustic Guitars http://www.guitarworld.com/rut-busters-guitarists-part-2-8-metronomes-and-acoustic-guitars <!--paging_filter--><p>Welcome to Part 2 of my new series of lessons, "Rut Busters for Guitarists." You can find <a href="http://www.guitarworld.com/rut-busters-guitarists-part-1-8-setting-goals">Part 1</a> under RELATED CONTENT, just below my photo.</p> <p>These lessons are aimed at breaking through barriers that might be preventing you from improving on the guitar. </p> <p>Some of these lessons will simply give you some good food for thought, and some will be more hands-on. Written to help you get past that plateau, these lessons are here to help you mix things up and keep your relationship with the guitar an interesting one.</p> <p>This second lesson discusses how using a metronome and acoustic guitar when practicing will help you achieve more speed, strength, coordination and dexterity, helping you break down any physical barriers that might be slowing you down.</p> <p>There is some debate as to whether practicing with a metronome is beneficial or not. I think the crux of the argument is whether playing to a metronome will improve your timing. I don’t think it will. I do think the process of playing in time to a metronome does, though. To play in time requires that you engage your mind and your body. </p> <p>To engage your mind, subdivide the pulse by counting in eighth notes i.e., “One &amp; Two &amp; Three &amp; Four &amp;." Subdividing the beat helps you anticipate the next beat in an more even and manageable manner. If you can count and play at the same time, you are well on your way.</p> <p>To engage your body, move to the beat. You need to internalize the pulse, and the simplest way to do that is to tap your foot to the pulse. If you can count, tap your foot, and play at the same time, you are very well on your way to having great musical timing.</p> <p>Once you have a grasp of how to play in time, using a metronome becomes a valuable tool for gauging your progress. Anytime you are learning material, whether it’s a scale, phrase, rhythm, arpeggio, etc., start at a tempo that you can manage to play the part correctly. This may be a slow tempo, but its important to learn the material correctly before accelerating it. </p> <p>As mentioned in the previous “Rut Busters” lesson, make your practice session is goal-oriented. If you are starting at 60bpm on the metronome, your goal may be to play the material at hand at 70bpm by the end of your practice session. It should feel like you are pushing yourself to your limit by the end of the session, and you may hit a ‘wall’, but rest assure that over time, you’ll become stronger and the tempo will continue to rise.</p> <p>If you are practicing on an electric guitar and are hitting that proverbial brick wall, having plateaued at a certain metronome setting, I highly suggest you try practicing with an acoustic guitar. The acoustic’s higher action and tighter string tension will surely make things more difficult—but that’s good. You might find at first that you can’t play the musical passage at the previous tempo, but give it a few days, feel the burn, and when you do return to the electric guitar, it will feel much easier. The trick is to mix it up, keep your fingers engaged and keep pushing.</p> <p>Take a look at the accompanying video. I hope it inspires you to start using a metronome more regularly, and to mix up your practice routine with an acoustic guitar.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/2VD5VCw5Xts" frameborder="0" allowfullscreen></iframe></p> <p><em>Guitarist Adrian Galysh is a solo artist, session musician, composer, as well as Education Coordinator for Guitar Center Lessons. He's the author of the book Progressive Guitar Warmups and Exercises. Adrian uses SIT Strings, Seymour Duncan Pickups and Effects, Brian Moore Guitars, and Morley Pedals. For more information, visit him at <a href="http://adriangalysh.com/">AdrianGalysh.com.</a></em></p> <p><strong>GuitarWorld.com readers can enjoy a FREE download of Galysh's song "Spring (The Return)" by clicking <a href="http://adriangalysh.com/download.html">HERE.</a></strong></p> http://www.guitarworld.com/rut-busters-guitarists-part-2-8-metronomes-and-acoustic-guitars#comments Adrian Galysh Rut-Busters for Guitarists Videos Blogs Lessons Tue, 03 Mar 2015 21:17:11 +0000 Adrian Galysh http://www.guitarworld.com/article/23647 Monster Licks Unleashed: Tapping Into the Blues Scale — Video http://www.guitarworld.com/monster-licks-unleashed-tapping-blues-scale-video <!--paging_filter--><p>I'm using the pentatonic flat five scale (blues scale) in the key of B for this lick. The notes in this scale are B, D, E, F, F#, A, with the F being the flat five or added note. </p> <p>Without a doubt, the blues scale is one of the most frequently used scales in rock soloing, and for good reason! </p> <p>When played slow and clean, it sounds very dark, dirty and bluesy. When played more aggressively with legato and tapping, it sounds incredibly modern. It’s adaptable to so many different genres of music; this is why it's the scale of choice for so many guitarists. </p> <p>My love of this scale really helped enhance my technique. It made me constantly push for new ideas and ways to play, rather than search for new tonalities. I focused on how to get more out of this one scale. </p> <p>I could never really connect to the modal approach to guitar playing. For me it always sounded too jazzy. This is why I spent so much time developing my pentatonic playing. </p> <p><strong>The Lick:</strong></p> <p>I start this lick in the first position of the pentatonic scale. By adding the flat five, it gives me the three notes on the G string, which enables me to launch into the legato pattern to kick off the lick. </p> <p>Once the legato is rolling, I take this idea through to the high E string. From there I start incorporating tapping into the lick. The tapping section begins with three consecutive tapped notes with my second and third fingers on my right hand (tapped notes are marked with a "T" on the transcript). The reason for tapping with these fingers is so I don't have to change my pick grip; this allows for me to swap in and out of these techniques with ease. </p> <p>It's important to identify the transitions between legato and the tapping sections and to focus on these parts, as they are the key to pulling off the lick. You want the transitions to be seamless, as if you're not changing techniques at all. This is done by slowing down the lick and practicing hard. I suggest you work through the lick slowly and identify any parts that are problematic. From there, focus your practice time on those problematic parts. This is the best way to maximize your practice and get the best results. </p> <p>As with all of these licks, the idea is for you to incorporate some of these techniques into your own playing. This lick is an example; you don't need to be able to play it exactly as I do. Just understand how I created it and play it. This is done by understanding where the tonality comes from and working hard on the technical aspects of the lick. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/WePBYtTx93o" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202015-03-03%20at%201.46.06%20PM.png" width="620" height="515" alt="Screen Shot 2015-03-03 at 1.46.06 PM.png" /></p> <p><strong>I hope you enjoy this Monster Lick Unleashed! Join me on <a href="https://www.youtube.com/user/atomicguitaraudio">YouTube right here!</a> Contact me through <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><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's available on iTunes and at <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a>. His brand-new instrumental album — </em>Ineffable<em> — is out now and is available through <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a> and <a href="https://itunes.apple.com/au/album/ineffable/id914342943">iTunes</a>.</em></p> http://www.guitarworld.com/monster-licks-unleashed-tapping-blues-scale-video#comments Glenn Proudfoot Monster Licks Monster Licks Unleashed Videos Blogs Lessons Tue, 03 Mar 2015 18:53:45 +0000 Glenn Proudfoot http://www.guitarworld.com/article/23645 In Deep with Andy Aledort: Constructing Solo Phrases in the Style of Jimi Hendrix http://www.guitarworld.com/deep-andy-aledort-constructing-solo-phrases-style-jimi-hendrix <!--paging_filter--><p>All things that are truly great only become greater with the passing of time, an attribute that can certainly be applied to the incredible music of the legendary Jimi Hendrix. </p> <p>The power, passion, individuality and influence of Jimi’s instantly recognizable style are more apparent now than ever and his legacy will continue to grow as the years pass. </p> <p>This month, I’d like to explore the intricacies of Hendrix’s soloing style with specific attention on phrasing, melodic content and groove.</p> <p>One of the earmarks of Jimi’s 1969/1970 Band of Gypsys period was a focus on fat, funky grooves, provided by one of the rock’s greatest rhythm sections—drummer Buddy Miles and bassist Billy Cox. </p> <p>The line-up of Jimi, Buddy and Billy occurred in order to fulfill a contractual obligation for an album, and the three musicians subsequently recorded the truly revolutionary <em>Band of Gypsys</em> album live, on New Year’s Eve, December 31, 1969. Throughout each track, Miles and Cox lay down a rock-solid foundation while Hendrix soars above, delivering consistently iconic performances.</p> <p> The album’s opening track, “Who Knows,” consists of a repetitive three-chord progression played over a churning groove. <strong>FIGURES 1 and 2</strong> are played over a “Who Knows”-type feel, offered here in the key of C# and built from a chord progression starting on the four chord, F#7, moving to the flat-three, E7, then to the one, C#7. The majority of the soloing in these examples is based on the C# minor pentatonic scale (C# E F# G# B), with brief reference to C# major pentatonic (C# D# E# G# A#), via the inclusion of the major sixth, A#.</p> <p> A key element to capturing the Hendrix vibe is to seamlessly shift between phrases built from even, or “straight,” 16th notes to phrases played with a triplet feel, either through the use of steady 16th-note triplets or leaning on the swing feel of an eighth- note/16th-note figure within a triplet bracket.</p> <p> Bars 1-4 of <strong>FIGURE 1</strong> are played in ninth and seventh positions and rhythmically phrased with an emphasis on straight 16th notes, with 16th-note triplets adding rhythmic push to the line. Jimi’s crystal-clear sense of melody is emulated here; blazing speed and acrobatic technique are not part of the equation. </p> <p> Bar 5 begins with a shift down to second position after which I work my way back up to ninth position. When playing these lines, strive above all else for rhythmic accuracy and clear note definition.</p> <p> <strong>FIGURE 2</strong> begins with the signature Hendrix technique of bending two strings at once under a single fretting finger: I start with a whole-step bend at the 12th fret on the high E string, and while this string is bent, I catch the B string under the fingertip so that it is pre-bent up a whole step, after which the bend is picked and released; this is then replicated on the B and G strings. Most of this example places the emphasis on a triplet feel, but at the end of bar 4 into bar 5, I switch to straight 16ths, offering contrast to the swinging feel of the bass and drums.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/NFhY-DxOspM" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202015-03-02%20at%204.10.31%20PM.png" width="620" height="732" alt="Screen Shot 2015-03-02 at 4.10.31 PM.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202015-03-02%20at%204.10.49%20PM.png" width="620" height="105" alt="Screen Shot 2015-03-02 at 4.10.49 PM.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="/jimi-hendrix">Jimi Hendrix</a> </div> <div class="field-item even"> <a href="/andy-aledort">Andy Aledort</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/deep-andy-aledort-constructing-solo-phrases-style-jimi-hendrix#comments Andy Aledort February 2015 In Deep Jimi Hendrix Videos News Lessons Magazine Mon, 02 Mar 2015 21:16:34 +0000 Andy Aledort http://www.guitarworld.com/article/23201 Path of Least Resistance: Finding Easier Ways to Alternate Pick — Video http://www.guitarworld.com/path-least-resistance-finding-easier-ways-alternate-pick-video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the April 2015 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-april-15-abasi-satriani-govan?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=April2015VideosPage">Guitar World Online Store</a>.</em></p> <p>I used to do a lot of things the hard way. </p> <p>As a young man studying jazz guitar in college, I went through a period of several years during which I was obsessed with alternate (down-up) picking and being able to “muscle through” the most difficult patterns and shapes with the goal of attaining technical virtuosity. </p> <p>To that end, I would spend long, lonely hours, seven days a week, dedicated to practicing every conceivable scale and arpeggio I learned, drilling on every possible fingering shape and melodic interval pattern and repeating each exercise in all 12 keys. Then I would do it all over again, starting on an upstroke! </p> <p> Much of this practice time spent in the prime years of my life turned out to be a big waste of effort. While the campaign was beneficial for learning the fretboard, the technical benefit was ultimately disappointing. I did all this picking-practice drudgery with the hope and expectation that one day I would wake up, pick up my guitar and be able to fluently rip through any melodic pattern like a chainsaw. </p> <p>It never really happened. Instead, my picking hand became chronically fatigued and sore. I’m fortunate to have not developed tendonitis or carpal tunnel syndrome during this period! The fact that I had always been athletic and had good circulation probably helped my hands cope with the repetitive stress I was subjecting them to on a daily basis and saved them from ruin.</p> <p>My touch and feel, which I was so proud of as an unschooled, hard-rocking teenager, became rather stilted and mechanical sounding. I’d go to play some real music but, because my chops were worn-out from doing battle with difficult exercises all morning, my playing would sound tired and lifeless, and, even worse, I would sometimes, when jamming with a drummer, inadvertantly “turn the time around”—slowing down or speeding up to the point where the downbeats and upbeats are reversed. It was unfair and maddening!</p> <p><strong><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-april-15-abasi-satriani-govan?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=April2015VideosPage">For the rest of this column, including the tabs, check out the April 2015 issue of Guitar World.</a></strong></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="myExperience4079860273001" 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="4079860273001" /> </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. 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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 --> http://www.guitarworld.com/path-least-resistance-finding-easier-ways-alternate-pick-video#comments April 2015 Jimmy Brown Videos News Lessons Magazine Mon, 02 Mar 2015 20:32:22 +0000 Jimmy Brown http://www.guitarworld.com/article/23616 Eric Johnson Lesson: Cracking the Code, Season 2, Episode 3: "Eric the Right" — Video http://www.guitarworld.com/eric-johnson-lesson-cracking-code-season-2-episode-3-eric-right-video <!--paging_filter--><p>Today we bring you the latest lesson video by Troy Grady of <a href="http://www.guitarworld.com/cracking-code-troy-grady-yngwie-malmsteens-rotational-picking-mechanic">Cracking the Code</a> fame.</p> <p>The new video, titled "Eric the Right," is actually Episode 3, Season 2 of <a href="http://www.guitarworld.com/cracking-code-eric-johnsons-pickslanting-pentatonics">Cracking the Code.</a> You can find this season's previous episodes under RELATED CONTENT, below the photo.</p> <p>From Grady:</p> <p>"This is our Eric Johnson episode, and we really wanted to make this the definitive investigation of as many of his signature innovations as possible. There's a lot pickslanting in here, from pentatonic and arpeggio ideas, to the infamous <em>Hot Licks</em> “bounce technique” scene that pretty much baffled everyone 25 years ago."</p> <p>Enjoy! P.S.: Here's more info about Grady:</p> <p><em>Troy Grady is the creator of <a href="http://troygrady.com/code/">Cracking the Code</a>, a documentary series with a unique analytical approach to understanding guitar technique. Melding archival footage, in-depth interviews, painstakingly crafted animation and custom soundtrack, it’s a pop-science investigation of an age-old mystery: Why are some players seemingly super-powered?</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/fETQ-DecOyM" frameborder="0" allowfullscreen></iframe></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="/eric-johnson">Eric Johnson</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/eric-johnson-lesson-cracking-code-season-2-episode-3-eric-right-video#comments Eric Johnson Troy Grady Videos News Lessons Mon, 02 Mar 2015 16:11:48 +0000 Guitar World Staff http://www.guitarworld.com/article/23630 Man of Steel with Steel Panther's Satchel: How to Play "If You Really, Really Love Me" — Video http://www.guitarworld.com/man-steel-steel-panthers-satchel-how-play-if-you-really-really-love-me-video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the April 2015 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-april-15-abasi-satriani-govan?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=April2015VideosPage">Guitar World Online Store</a>.</em></p> <p>When you see me holding an acoustic guitar, I know what you’re thinking...Satchel! Have you gone country? </p> <p>Hey, if I just played music to become rich, then yes, I’d go country. But I'm a metal guitar player, and I play the guitar because I love metal! A lot of great metal music features the acoustic guitar all over the place. Go ask Jimmy Page!</p> <p> Our unbelievably good album, <em>Balls Out</em>, features the song “If You Really, Really Love Me,” for which I performed the rhythm guitar tracks on acoustic and played the solo on electric. </p> <p><strong>FIGURE 1</strong> shows the verse rhythm part: for every chord in this progression, I include the open top two strings, which fills out the sound of the chords while also widening them harmonically. For example, the first chord is constructed from a fretted B5 power chord shape on the A, D and G strings but also includes the open B and high E strings. </p> <p>The B string doubles the root note while the high E string adds the fourth, resulting in a Bsus4 chord, or B5add4. For the second chord, I lift my ring finger off the D string and move my index finger from the A string over to the D string’s second fret, while keeping the top three strings the same as the previous chord, with the pinkie still planted on the G string’s fourth fret. </p> <p><strong><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-april-15-abasi-satriani-govan?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=April2015VideosPage">For the rest of this column, including the tabs, check out the April 2015 issue of Guitar World.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/hrNhzHFqRP0" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/HAvXHpLwJA4" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/man-steel-steel-panthers-satchel-how-play-if-you-really-really-love-me-video#comments April 2015 Man of Steel Satchel Steel Panther Videos News Lessons Magazine Sat, 28 Feb 2015 16:18:01 +0000 Steel Panther&#039;s Satchel http://www.guitarworld.com/article/23613 Yngwie Malmsteen Lesson: The "Sevens" Mechanic — Video http://www.guitarworld.com/yngwie-malmsteen-lesson-sevens-mechanic-video <!--paging_filter--><p>In his latest instructional video (posted February 5), guitarist Troy Grady investigates one of the unusual asymmetrical groupings of Yngwie Malmsteen’s scale playing: a concept known as "sevens."</p> <p>"Although Malmsteen is known for launching a wave of interest in three-note-per-string scale playing, he is ironically a pioneer of unorthodox note groupings that fit better with his unique combination of downward pickslanting and sweeping," Grady says. </p> <p>"In this lesson, we examine Malmsteen’s ingenious use of groups of seven as a device for moving up the fretboard. The uneven distribution of notes in this pattern—three on one string, and four on another—makes string-switching super efficient, and a blazing Malmsteen classic is born.</p> <p>For more about Grady's Masters in Mechanics series, visit <a href="http://troygrady.com/mechanics/">troygrady.com.</a></p> <p><strong>Grady is also writing and producing lessons for GuitarWorld.com these days. Be sure to check out his first two installments of "Cracking the Code with Troy Grady"—<a href="http://www.guitarworld.com/cracking-code-troy-grady-yngwie-malmsteens-rotational-picking-mechanic">Yngwie Malmsteen's Rotational Picking Mechanic</a> and <a href="http://www.guitarworld.com/cracking-code-eric-johnsons-pickslanting-pentatonics">Eric Johnson's Pickslanting Pentatonics</a>.</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/-Q7Umihv-0I" frameborder="0" allowfullscreen></iframe></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="/yngwie-malmsteen">Yngwie Malmsteen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/yngwie-malmsteen-lesson-sevens-mechanic-video#comments Troy Grady Yngwie Malmsteen Videos News Lessons Tue, 24 Feb 2015 15:06:39 +0000 Guitar World Staff http://www.guitarworld.com/article/23585 Johnny Winter Lesson: Slide Riffing in Open A Tuning http://www.guitarworld.com/acoustic-nation-lesson-slide-riffing-open-johnny-winter <!--paging_filter--><p><em>From the Archive: This column was originally published in Issue 53 of </em>Guitar World Acoustic. <em>The audio examples in this lesson were performed by </em>Guitar World's<em> Jimmy Brown.</em></p> <p>I’d like to acquaint you with some great slide licks I like to play in open A tuning. </p> <p>These riffs and runs are super-versatile. You can use them to hop up your own blues pieces, employ them as solos in a classic blues song or even just entertain yourself with them on a back porch in the middle of a scorching heat wave. </p> <p>Before taking on the licks, let’s take the time to briefly discuss the proper slide-playing technique. The slide should sit with even pressure across the strings, parallel to and directly above the indicated frets. </p> <p>If you wear the slide on your pinky (like I do), lightly rest your index, middle and ring fingers across the strings behind the slide (toward the headstock). Muting the strings behind the slide with your fingers like this will help eliminate unwanted string noises and overtones.</p> <p>Now let's look at open A (low to high: E A E A C# E). In this tuning, the low E, high E and A strings remain at standard pitch, while the D, G and B strings are each raised one whole step, to E, A, and C#, respectively (<strong>FIGURE 1</strong>).</p> <p><img src="/files/imce-images/figure%201_0.jpg" width="222" height="194" align="left" style="padding:10px 20px 10px 0;" alt="figure 1_0.jpg" /><br /> <iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/121759444"></iframe></p> <p><strong>FIGURE 2</strong> shows the single notes that are most often used in open A tuning licks and solos played within the first five frets. These notes are all derived from the A minor pentatonic scale (A C D E G), and in this example the scale is spread across two octaves.</p> <p><img src="/files/imce-images/figure%202.jpg" width="382" height="192" align="left" style="padding:10px 20px 10px 0;" alt="figure 2.jpg" /><br /> <iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/121759440"></iframe></p> <p>You’ll notice some of the notes are indicated twice, on two adjacent strings. This is because they are commonly played in more than one position. Practice playing these notes, first without the slide, then with it, ascending and descending until you’ve memorize their locations on the fretboard.</p> <p>Now let’s play some licks using these notes in this position. <strong>FIGURES 3a-e</strong> illustrate a handful of open A slide licks that I use all the time; many of them are staples of the “country” blues style. </p> <p><img src="/files/imce-images/figure%203a.jpg" width="620" height="184" align="left" style="padding:10px 20px 10px 0;" alt="figure 3a.jpg" /><br /> <iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/121759439"></iframe></p> <p><img src="/files/imce-images/figure%203b.jpg" width="619" height="142" align="left" style="padding:10px 20px 10px 0;" alt="figure 3b.jpg" /><br /> <iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/121759443"></iframe></p> <p><img src="/files/imce-images/figure%203c.jpg" width="620" height="147" align="left" style="padding:10px 20px 10px 0;" alt="figure 3c.jpg" /><br /> <iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/121759441"></iframe></p> <p><img src="/files/imce-images/figure%203d.jpg" width="620" height="158" align="left" style="padding:10px 20px 10px 0;" alt="figure 3d.jpg" /><br /> <iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/121759445"></iframe></p> <p><img src="/files/imce-images/figure%203e.jpg" width="619" height="176" align="left" style="padding:10px 20px 10px 0;" alt="figure 3e.jpg" /><br /> <iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/121759442"></iframe></p> <p>You can hear me play licks along these lines on my recordings of songs like “Come On in My Kitchen” (<em>Best of Johnny Winter</em>), “Feel Like Going Home” (Muddy Waters: <em>Blues Sky</em>) and “Sittin’ in the Jailhouse” (<em>Johnny Winter: A Rock N’ Roll Collection</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="/johnny-winter">Johnny Winter</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/acoustic-nation-lesson-slide-riffing-open-johnny-winter#comments Acoustic Nation Johnny Winter News Lessons Blogs News Lessons Sun, 22 Feb 2015 20:20:36 +0000 Johnny Winter http://www.guitarworld.com/article/19848 In Deep with Andy Aledort: Jamming Rhythm and Lead Guitar Over a Classic Blues-Type Form — Video http://www.guitarworld.com/deep-andy-aledort-jamming-rhythm-and-lead-guitar-over-classic-blues-type-form-video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the March 2015 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-march-15-black-sabbath?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=March2015VideosPage">Guitar World Online Store</a>.</em></p> <p>When going to an open jam, it’s important to be prepared to improvise over any one of the dozens of standard blues-type songs that are routinely played at jams all over the world. </p> <p>Along with the typical 12-bar and eight-bar blues forms, there are a few specific songs that feature their own distinct patterns and forms. </p> <p>One of these tunes is the Albert King classic, “Born Under a Bad Sign,” a track covered brilliantly by Eric Clapton, Jack Bruce and Ginger Baker on the essential Cream album, <em>Wheels of Fire</em>. </p> <p>Cream played the song in the key of G, but it was originally recorded by King in the key of C#. The following examples are played in the song’s original key of C#. </p> <p><strong><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-march-15-black-sabbath?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=March2015VideosPage">For the rest of this column, including the tabs, check out the March 2015 issue of Guitar World.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/MZblpuT67KE" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/deep-andy-aledort-jamming-rhythm-and-lead-guitar-over-classic-blues-type-form-video#comments Andy Aledort In Deep March 2015 Videos News Lessons Magazine Sun, 22 Feb 2015 20:15:40 +0000 Andy Aledort http://www.guitarworld.com/article/23393 Guitar World Launches 'Guitar World Lessons' App and Webstore http://www.guitarworld.com/guitar-world-launches-guitar-world-lessons-app-and-webstore <!--paging_filter--><p>Today, <em>Guitar World</em> is kicking off something we're pretty excited about—our new <strong>Guitar World Lessons</strong> <a href="https://itunes.apple.com/us/app/guitar-world-lessons/id942720009?mt=8">app</a> and <a href="http://www.guitarworldlessons.com/?&amp;utm_source=guitarworld.com&amp;utm_medium=scroller&amp;utm_campaign=15launch">webstore.</a></p> <p><strong>Guitar World Lessons,</strong> which is live right now (<a href="http://www.guitarworldlessons.com/?&amp;utm_source=guitarworld.com&amp;utm_medium=scroller&amp;utm_campaign=15launch">Go take a look!</a>), provides downloadable video guitar lessons—for purchase—in a host of genres—from blues to metal to bluegrass and jazz (and let's not forget shred!)—at the click of a button. </p> <p>In fact, <strong>Guitar World Lessons</strong> offers immediate delivery of hundreds of lessons from the massive and impressive <em>Guitar World</em> catalog. </p> <p>The <strong>Guitar World Lessons</strong> app is <a href="https://itunes.apple.com/us/app/guitar-world-lessons/id942720009?mt=8">available now at the iTunes store</a> for the iPhone and iPad. Note that the app download itself is free; instructional guitar and bass lessons can be purchased and downloaded by individual lesson or full download of the instructional product. </p> <p>The search function allows guitarists to search lessons and products by artist, song, genre or instructor. Some of <em>Guitar World</em>’s best-selling lesson products are featured, including <em>Guitar World</em> Senior Music Editor Jimmy Brown’s <em>Mastering Fretboard Harmony</em> and more. </p> <p>You can learn from Brown, Paul Gilbert, Dale Turner, Michael Angelo Batio or <em>Guitar World</em> Associate Editor Andy Aledort—and go <em>In Deep with Stevie Ray Vaughan, Play Rock Bass!, Learn Slide Guitar</em> and much more! </p> <p>We're especially proud of <strong>Guitar World Lessons'</strong> all-access functionality across platforms. Users can gain access anywhere, anytime by using a single login created when downloading lessons. Access your purchases on your iPhone, iPad or through the web on a personal computer via <a href="http://www.guitarworldlessons.com/?&amp;utm_source=guitarworld.com&amp;utm_medium=scroller&amp;utm_campaign=15launch">guitarworldlessons.com.</a></p> <p>“Creating a platform for digital delivery of our lessons allows our audience to download and play in real time and makes us available to a new audience of guitar players,” says <em>Guitar World</em> Editor-in-Chief Brad Tolinski.</p> <p>Each product in the <strong>Guitar World Lessons</strong> app includes one free lesson to download as a sample of the instructional product. Never has it been easier to demo lessons before making a purchase or purchase lessons and get instant access! There are more than 200 individual lessons available on the platform, and we have plans to double that in 2015.</p> <p><strong>We at <em>Guitar World</em> invite you to stop waiting and start playing today! Visit <a href="http://www.guitarworldlessons.com/?&amp;utm_source=guitarworld.com&amp;utm_medium=scroller&amp;utm_campaign=15launch">guitarworldlessons.com.</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/8NRrFMqZsV0" frameborder="0" allowfullscreen></iframe></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="/jimmy-brown">Jimmy Brown</a> </div> <div class="field-item even"> <a href="/andy-aledort">Andy Aledort</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitar-world-launches-guitar-world-lessons-app-and-webstore#comments App Guitar World Lessons News Features Lessons Fri, 20 Feb 2015 13:14:48 +0000 Guitar World Staff http://www.guitarworld.com/article/23235 LessonFace with Steve Marion: Sliding Toward Fretboard Fluidity — Video http://www.guitarworld.com/lessonface-steve-marion-sliding-build-fluidity-fretboard <!--paging_filter--><p><strong>In this lesson, I'll lay out a few tools I use in crafting guitar melodies and solos to make the instrument feel more fluid.</strong></p> <p>The first exercise is a way to double a note on the neighboring B and G strings. </p> <p>This kind of thing reminds me of a Johnny "Guitar" Watson move. It also helps get fingers accustomed to sliding very quickly. And this kind of sliding technique might help you see connections on the fretboard while giving you an alternative to standard blues solos.</p> <p>Start with your index finger on the third fret of the B string and slide your ring finger from the fifth to seventh fret of the G string. See below:</p> <p>e|------------------------------------------------------------------------------<br /> b|--------3--------------------------------------------------------------------<br /> G|---------------5----s----7--------------------------------------------------<br /> D|------------------------------------------------------------------------------<br /> A|------------------------------------------------------------------------------<br /> E|------------------------------------------------------------------------------</p> <p>After you are comfortable with the above, you can slide back down from the seventh to fifth fret on the B string.</p> <p>e|-----------------------------------------------------------------------------<br /> b|------3------------------------5----s----3---------------------------------<br /> G|--------------5----s----7--------------------------------------------------<br /> D|-----------------------------------------------------------------------------<br /> A|-----------------------------------------------------------------------------<br /> E|-----------------------------------------------------------------------------</p> <p>Here’s another one you can try just picking three notes. For this, we’ll use three notes on the B string at the 12th, ninth and seventh frets, and focus on going between them smoothly. Hopefully, this exercise will get your fingers more fluid and get you more comfortable sliding between notes without breaking them up, sort of like using a slide without actually wearing a slide.</p> <p>Start with your ring finger on the 12th fret of the B string, then slide down to the ninth fret, and then pull off onto the seventh fret. </p> <p>e|------------------------------------------------------------------------------<br /> b|------12----s----9----p----7-----------------------------------------------<br /> G|------------------------------------------------------------------------------<br /> D|------------------------------------------------------------------------------<br /> A|------------------------------------------------------------------------------<br /> E|-------------------------------------------------------------------------------</p> <p>You want to get comfortable doing this in a way where you don’t have a pronounced attack between the notes on the ninth and seventh fret. You want to do the pull off very softly, so it feels like the note is sliding off. I do that by letting go of the string rather than emphasizing the pull-off.</p> <p>From there you can just slide back up to the ninth fret by doing the following:</p> <p>e|------------------------------------------------------------------------------<br /> b|------12----s----9----p----7----s----9------------------------------------<br /> G|------------------------------------------------------------------------------<br /> D|------------------------------------------------------------------------------<br /> A|------------------------------------------------------------------------------<br /> E|-------------------------------------------------------------------------------</p> <p>Again, stuff like this can help you conceptualize the guitar in a different way, where everything isn’t linked in with your right/plucking hand. You could combine this exercise with the one we did above, to get something like the following:</p> <p>e|--------------------------------------------------------------------------------------<br /> b|------12----s----9----p----7----s----9--------------------------11----s----9---<br /> G|-----------------------------------------------11----s----13----------------------<br /> D|-------------------------------------------------------------------------------------<br /> A|--------------------------------------------------------------------------------------<br /> E|--------------------------------------------------------------------------------------</p> <p>A lot of what we talk about in this video (below) so far involves sliding with one or two fingers on one or two strings to give rubbery, blending effects to your guitar. These are good ways to get your fingers comfortable with slide-type techniques before you pick up a slide, if you’re hesitant to pick up a slide for any reason. And these are good ways to get your wrist comfortable with stopping at points along the way so you can get a lot of notes in a single movement with your fretting hand.</p> <p>Of course, you also can do these kinds of things with a slide on your fretting hand. Stepping back to the first exercise we talked about, you can do this same kind of thing with a slide, which has an interesting effect. And it can be a technique to get your fretting hand comfortable with a basic slide move. If you practice this, you can develop more fluidity going between two frets and two strings using a slide.</p> <p>e|------------------------------------------------------------------------------<br /> b|--------3--------------------------------------------------------------------<br /> G|---------------3----s----5-----s----7--------------------------------------<br /> D|------------------------------------------------------------------------------<br /> A|------------------------------------------------------------------------------<br /> E|------------------------------------------------------------------------------</p> <p>e|------------------------------------------------------------------------------<br /> b|--------3--------------------------------------------------------------------<br /> G|---------------5----s----7--------------------------------------------------<br /> D|------------------------------------------------------------------------------<br /> A|------------------------------------------------------------------------------<br /> E|------------------------------------------------------------------------------</p> <p>e|------------------------------------------------------------------------------<br /> b|--------3--------------------------------------------------------------------<br /> G|---------------3----s----7--------------------------------------------------<br /> D|------------------------------------------------------------------------------<br /> A|------------------------------------------------------------------------------<br /> E|------------------------------------------------------------------------------</p> <p>As for slide technique, I generally use the slide on my ring finger of my left hand, and I use the fingers of my right hand to pluck the notes. As for the fretting hand, I like to play the slide without muting fingers behind it and with the slide not quite pressed down all the way. This can help you develop a frail sound with less sustain that sounds like a singer with a raspy voice or a sore throat, which I think is more interesting than a straight-ahead slide sound.</p> <p>Hopefully, these exercises will give you some stuff to think about—specifically focusing on what’s coming before and what’s coming after the notes you play, not just on the note you are playing. If you focus on these aspects of your compositional approach and playing, hopefully they can help you inject more depth into your notes and what’s behind them.</p> <p><strong><em>Steve is now offering online lessons to those who are interested in learning more about his guitar style. His schedule is somewhat irregular due to touring, but you can contact him and set up a time <a href="https://www.lessonface.com/delicatesteve">right here.</a></em></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/O_1hnGMJdzc" frameborder="0" allowfullscreen></iframe></p> <p><em>Steve Marion, also known as "Delicate Steve," is a guitarist from New Jersey. He has released two albums on David Byrne's Luaka Bop label, collaborated with Paul Simon, Ra Ra Riot, Dirty Projectors and Built to Spill (among others) and is a member of Saint Rich (Merge Records). Delicate Steve’s first album, </em>Wondervisions,<em> was named a </em>New York Times<em> Critic's Choice. He has been named one of the "30 Best Guitarists Under 30" by Red Bull Music. Critics have said, “Marion is one of those rare guitarists whose instrument sings in place of vocals...crystalline and futuristic...like George Harrison’s guitar reanimated...” (Pitchfork), and that he is “a true guitar hero" (Kevin Parker of Tame Impala).</em></p> http://www.guitarworld.com/lessonface-steve-marion-sliding-build-fluidity-fretboard#comments Delicate Steve LessonFace Steve Marion Videos Blogs Lessons Tue, 17 Feb 2015 22:15:38 +0000 Steve Marion http://www.guitarworld.com/article/23533 Diatonic Scale Workout: Increase Left-Hand Strength and Produce Great-Sounding Sequences http://www.guitarworld.com/diatonic-scale-workout-increase-left-hand-strength-and-produce-great-sounding-sequences <!--paging_filter--><p>This lesson takes the same ideas discussed in my last lesson, <a href="http://www.guitarworld.com/string-skipping-pentatonic-workout-increase-left-hand-strength-produce-great-sounding-sequences">"Pentatonic Workout: Increase Left-Hand Strength and Produce Great-Sounding Sequences,”</a> and applies them to the diatonic major and minor three-note-per-string scales. </p> <p>This lesson will help you get the seven positions of the major scale memorized and under your fingers, increase your left-hand strength, solidify your alternate picking and deliver some great-sounding sequences. It even includes some string skipping!</p> <p>We’ll use the A major scale at the fifth position as our example in this lesson, but you’ll want to make sure you can perform this set of sequences back to back in all seven positions.</p> <p>This workout starts with playing the A major scale ascending and descending (<strong>Example 1</strong>), using consistent alternate picking. After this “establishes” the fingering for your left hand, the workout continues with a two-string sequence, where you ascend six notes, go back two notes and start again, ascending another six notes. </p> <p><img src="/files/imce-images/Ex._1.jpg" width="620" height="324" alt="Ex._1.jpg" /></p> <p>This continues across the fretboard until you run out of strings. At this point, you simply turn the sequence around (Don’t repeat the top note, D), and play the two-string sequence in reverse: From the high D note, you descend six notes, go back two notes, descend another six, etc. (<strong>Example 2</strong>).</p> <p><img src="/files/imce-images/Ex._2.jpg" width="620" height="322" alt="Ex._2.jpg" /></p> <p>This sequence tends to be a very friendly pattern for guitarists, as it starts on the first note on each string as it travels across the six strings. </p> <p>The third part of this workout is a sequence that ascends in nine note groups (three strings' worth of major scale), then back a string. Start on D (fifth string) and ascend another nine notes (three strings). Continue this pattern until you start the sequence on the G string, at which point you simply turn the pattern around (Don’t repeat the top note, D), then perform the sequence in reverse: From the high D note, you descend nine notes (three strings), go back a string, start the nine-note pattern again on the A note (second string) and continue back in the same fashion (<strong>Example 3</strong>).</p> <p><img src="/files/imce-images/Ex._3.jpg" width="620" height="321" alt="Ex._3.jpg" /></p> <p>The fourth and final part of this pentatonic workout involves string skipping. Playing the three notes on the low E string, skip the A string, play the three notes on the D string, go back to the A string and play the three notes on it, then skip the D string and play the three notes on the G string. This pattern continues, gets turned around just like before and works its way back in reverse (<strong>Example 4</strong>).</p> <p><img src="/files/imce-images/Ex._4.jpg" width="620" height="155" alt="Ex._4.jpg" /></p> <p>I like to string these four elements together, playing them back to back without stopping. This forces me to think ahead and be able to change gears and mix things up in my regular playing more easily.</p> <p>Once you are able to play these four elements back to back without problems, try it with the other six diatonic three-note-per-string scale positions. Use a metronome to gauge your progress, and push yourself to play these at a faster tempo once they become comfortable.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Rvoyy55-JXQ"; 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/diatonic-scale-workout-increase-left-hand-strength-and-produce-great-sounding-sequences#comments Adrian Galysh Videos Blogs Lessons Tue, 17 Feb 2015 16:21:29 +0000 Adrian Galysh http://www.guitarworld.com/article/20472 Metal for Life with Metal Mike: Exploring Drop-D Tuning’s Unique Melodic Possibilities — Video http://www.guitarworld.com/metal-life-metal-mike-exploring-drop-d-tuning-s-unique-melodic-possibilities-video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the March 2015 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-march-15-black-sabbath?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=March2015VideosPage">Guitar World Online Store</a>.</em></p> <p>In the Holiday 2014 and January 2015 installments of Metal for Life, I talked about the advantages of using drop-D tuning (low to high, D A D G B E) and demonstrated some cool things you can do with it. </p> <p>This month I’d like to revisit this topic and show you some additional metal-style riffs played in this tuning, with an emphasis on unusual melodic intervals. </p> <p>As I mentioned previously, drop-D tuning is great for metal because, along with the extended low range and resulting additional “heaviness” provided by the detuned sixth string, it enables one to conveniently fret power chords on the bottom two or three strings by simply barring one finger across the strings at any given fret. </p> <p><strong><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-march-15-black-sabbath?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=March2015VideosPage">For the rest of this column, including the tabs, check out the March 2015 issue of Guitar World.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/GJEnKZKzy78" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/metal-life-metal-mike-exploring-drop-d-tuning-s-unique-melodic-possibilities-video#comments March 2015 Metal Mike Metal Mike Chlasciak Videos News Lessons Magazine Mon, 16 Feb 2015 13:50:53 +0000 Metal Mike Chlasciak http://www.guitarworld.com/article/23394 Inventing the Steel: How to Solo Like Angus Young, Jimmy Page and Tony Iommi http://www.guitarworld.com/inventing-steel-how-solo-angus-young-jimmy-page-and-tony-iommi <!--paging_filter--><p>Regarded by many as the three most vital purveyors of pure hard rock/heavy metal sonic evil, AC/DC’s <strong>Angus Young</strong>, Led Zeppelin’s <strong>Jimmy Page</strong> and Black Sabbath’s <strong>Tony Iommi</strong> have each forged a distinct, instantly recognizable guitar style and sound. </p> <p>After decades of dedicated service, all three players continue to influence countless up-and-coming metalheads the world over, and an in-depth study of each guitarist’s distinct musical personality is mandatory for any aspiring hard rock player.</p> <p>Young, Page and Iommi share a few similarities in their respective crafts. </p> <p>All three have relied on Gibson solidbody/dual-humbucker-style guitars for the majority of their careers, inspiring signature models of their respective axes: Angus Young has favored Gibson SG-type guitars and has his own Gibson signature model; Jimmy Page is most closely associated with the 1959 sunburst Les Paul, replicated in limited quantity by Gibson (with a retail price of more than $20,000); and Tony Iommi’s long association with the ’61 SG led to the creation of the similarly designed Gibson Tony Iommi model (as well as the custom-made SG-type Patrick Eggle and JayDee models that Iommi also uses). When soloing, all three guitarists most often use the bridge pickup. </p> <p>Armed with their respective axes, the three defined the sound of metal in the late Sixties and early Seventies by relying on specific amplification: Jimmy Page favors Marshall SLP-1959 100-watt amps modified with KT-88 tubes, while also employing Voxes, Hiwatts, Fender Super Reverbs and Orange amps. </p> <p>Angus Young has generally used Marshall 100-watt “Plexi” models along with JTM-45 “Plexis.” Iommi is also known for his use of Marshall and Orange gear and has long been a fan of Laney amplification; he even has his own Laney 100-watt signature amplifier.</p> <p>Another commonality among the three guitar gods is their choice of scale for soloing. In the spirit of their American blues guitar heroes, all three rely most heavily on the minor pentatonic scale. <strong>FIGURE 1a</strong> shows the A minor pentatonic scale (A C D E G) played in fifth position; <strong>FIGURE 1b</strong> shows the same scale as played in an extended pattern that traverses the neck from the third fret to the 12th. The root notes are circled in each figure; once you have become familiar with these fingering patterns, be sure to move them to all other keys.</p> <p><img src="/files/imce-images/1_5.png" width="620" height="113" alt="1_5.png" /></p> <p>Let’s now look at these two patterns one octave and 12 frets higher: <strong>FIGURE 2a</strong> depicts A minor pentatonic played in 17th position while <strong>FIGURE 2b</strong> shows an extended pattern that spans the 15th–22nd frets, ending with a whole step bend from D to E. Young, Page and Iommi all cover the highest reaches of the neck in many of their solos, so be sure to practice the minor pentatonic scales in every key and all over the fretboard.</p> <p><img src="/files/imce-images/2_3.png" width="620" height="120" alt="2_3.png" /><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">Angus Young</span></p> <p>With his comedic school-boy outfit and hyperenergetic stage antics, Angus Young has been both celebrated and reviled for his over-the-top persona. But in truth, he is simply one of the greatest rock soloists ever. His intense, exciting playing style is equal parts adrenaline, blues rock fire, and precision, all of it spiked with a crash-and-burn attitude. In other words, it’s hard rock at its absolute best.</p> <p>One of Young’s greatest solos is the one he recorded in the AC/DC classic, “You Shook Me All Night Long” (<em>Back in Black</em>). <strong>FIGURE 3</strong> presents a solo played in this style: it’s played over a repeating I-IV-V-IV chord progression in the key of G—G-C-D-C—and is based primarily on the G minor pentatonic scale (G Bf C D F); bars 1–4 are played in third position, and then the next phrase shifts one octave higher to 15th position in bars 5–8. </p> <p>The figure begins with a whole-step bend from C to D on the G string that is sustained and played with vibrato for three beats. Use your ring finger to fret the note and both your ring and middle fingers to push the string, with the middle finger one fret behind the ring finger. This two-finger bending technique is known as reinforced fingering and is used extensively by Young as well as Page and Iommi. </p> <p>The first note in <strong>FIGURE 3</strong> is a prime example of Young’s signature bend vibrato: upon bending the string with the ring and middle fingers (the index finger may also be used to help push the string for additional strength and support), the bend is then repeatedly released partially—somewhere between a quarter step and a half step—and restored to a whole step (“full”) in quick, even rhythm. </p> <p><img src="/files/imce-images/3_1.png" width="620" height="259" alt="3_1.png" /></p> <p>When executing this type of bend vibrato, you’ll find that it helps to push your fret-hand thumb against the top side of the neck, as this provides leverage for the fingers that are pushing and releasing the string. Young’s vibrato is relatively fast and not very wide and will require practice and keen listening to emulate authentically.</p> <p>The C-to-D bend is followed with an index-finger barre across the top two strings at the third fret, and in bar 2 the pinkie frets F (second string/sixth fret), followed by the same reinforced ring-finger bend and release on C (third string/fifth fret). At the end of bar 2, after fretting the G note, roll the tip of the ring finger from the fourth string over to the fifth string and then back. This “finger roll” may take some practice to get used to, but it’s a very useful technique that is worth learning. </p> <p>What makes a solo like this great is its simplicity and melodic quality. Each idea is balanced against the next in an effortless way, and the overall result is a memorable solo that one could easily sing—an earmark of every great hard rock guitar solo. </p> <p>Beginning in bar 5 of <strong>FIGURE 3</strong>, the second half of the solo relates to the first half in that it also leads off with a sustained bend, this time from a high F, the flatted seventh, to G, the root note, which is played vibrato in a similar manner. When playing minor pentatonic licks like these in high positions, many blues, blues/rock and hard rock players adopt a three-finger approach—index-middle-ring—for the majority of their licks, presumably because of the closeness of the frets. Young, however, chooses to use his pinkie in many of his licks, regardless of his fretboard position. </p> <p>I wrap the solo up in bar 8 by switching to a riff based on G major pentatonic (G A B D E). A staple of blues soloing is to alternate between the “sweet” sound of major pentatonic and the darker sound of minor pentatonic, and Young does just this in many of his solos. </p> <p>Another great example of Young’s masterful soloing can be heard on the title track to <em>Back in Black</em>. <strong>FIGURE 4</strong> shows a solo played in a similar style. This example is played over a simple repeating chord progression in the key of E: E-D-A (I-fVII-IV). The majority of the solo is based on the E minor pentatonic scale (E G A B D), although I begin with a phrase that incorporates notes from the E Dorian mode (E Fs G A B Cs D) by including the sixth, Cs. The placement of this pitch is critical in relation to the accompanying chord progression, as it lands on the A chord, and Cs is the major third of A. </p> <p><img src="/files/imce-images/4.png" width="620" height="366" alt="4.png" /></p> <p>Like <strong>FIGURE 3</strong>, the goal with this example is to illustrate Young’s clear sense of melody and melodic development: <strong>FIGURE 4</strong> begins with a “hooky” phrase that is developed by descending the G string in a similar manner across the first two bars. At bar 3, I jump up to the 12th-position E minor pentatonic “box” pattern, beginning with a high D-to-E bend and vibrato that is sustained through the first two beats of the bar, followed by a fast phrase based on descending 16th-note triplets. </p> <p>The solo then stays rooted in 12th position through the remainder of bar 3, all the way to the end of bar 7. As with the high-position pentatonic licks in the previous example, the majority of these licks may be played comfortably with three fingers. </p> <p>Particularly noteworthy is the classic lightning-fast blues/rock/metal run that spans bar 7 of <strong>FIGURE 4</strong>: based entirely on descending 16th-note triplets, the run begins with a pull-off from a high G (first string/15th fret) to E (12th fret) followed by D (second string/15th fret). The next 16th-note triplet starts one note lower, on E, and is followed by a pull-off from D to B (15th fret to12th fret). The pattern of starting one note lower with each subsequent 16th-note triplet and using pull-offs wherever possible is repeated throughout the run. </p> <p>As the solo develops, analyze each beat and notice how the progression of the lines contributes to the overall phrase. Young is a master of “phrase-ology,” a skill/gift that lends an almost effortless quality to his solos and the feeling of constantly pushing the music forward and telling a story. </p> <hr /> <span style="font-size:18px;font-weight:bold;">JIMMY PAGE</span> <p>Jimmy Page was inspired by many of the same American blues guitar heroes as his British blues/rock contemporaries Eric Clapton, Jeff Beck and Peter Green. These heroes include the three Kings—Albert, B.B. and Freddie—as well as T-Bone Walker, Buddy Guy and Otis Rush. </p> <p>Page was also equally influenced by the fiery intensity of rockabilly guitarists Cliff Gallup (Gene Vincent and the Blue Caps) and Scotty Moore (Elvis Presley), as well as the futuristic daring of Les Paul. A student of many different styles of guitar playing, Page always combines in his solos a well-balanced structure and sense of melodic development with true depth of feeling. His progressive approach to soloing has pushed the nature of blues/rock guitar to previously unimagined territory. </p> <p><strong>FIGURE 5</strong> is an eight-bar solo representative of Page’s improvisation style. It’s played in the key of A minor over a repeating Am-G-F (i-fVII-fVI) chord progression. The majority of the solo is based on A minor pentatonic (A C D E G), beginning in fifth position with a D-to-E bend on the G string. This note is bent and shaken using the same reinforced fingering and thumb leveraging techniques described earlier in reference to <strong>FIGURE 3</strong>.</p> <p><img src="/files/imce-images/5_0.png" width="620" height="351" alt="5_0.png" /></p> <p>This initial bend is followed by a stream of cascading 16th notes played across the next four beats on the top three strings, with notes quickly alternating between either the fifth and seventh frets or the fifth and eighth frets. Through the majority of this solo, a balance of eighth and 16th notes is achieved, giving the solo a forward-leaning quality as each phrase flows seamlessly into the next. </p> <p>Over an F chord in bars 2, 4, 6 and 8, I occasionally incorporate an F note into the A minor pentatonic-derived lines in order to clearly relate the solo line to the backing chord progression; this approach is a Page trademark. Adding this one note also serves to broaden the solo beyond the strict blues territory while also strengthening the melodic quality of the licks. </p> <p>Bar 5 begins with a descending run wherein a stream of 16th notes are phrased in two six-note groups that form an interesting melodic contour. A similar phrasing approach is used in bar 6 with successive four-note descending groups. The solo develops interestingly and builds to a climax in bars 7 and 8 with a repeated melodic “shape” that ascends the A minor pentatonic scale in seven-note phrases, starting from either the root note or the fifth each time. </p> <p>While this may sound overly analyzed, in truth it is the application of these melodic phrasing techniques that gives the solo its clear sense of structure, which is a hallmark of all of Page’s best lead work.</p> <hr /> <span style="font-size:18px;font-weight:bold;">TONY IOMMI</span> <p>As the progenitor of the heaviest of heavy metal, Tony Iommi set high standards for the writing of demonic-sounding riffs while he simultaneously created the template for the heavy metal soloing of future generations.</p> <p>As a teenager, Iommi, a left-handed player, was the victim of an unfortunate accident in which he lost the tips of his right hand’s middle and ring fingers while working in a sheet metal factory. Discouraged but not defeated, the resourceful guitarist devised plastic covers made from bottle caps to wear over those fingertips. </p> <p>In later years, he would wear custom–fitted leather finger protectors. Iommi also switched to using super light-gauge strings: .008, .008, .011, .018w, .024 and .032, which are much easier to fret and bend than a standard set of .009s or 010s. </p> <p>In its earliest days, Black Sabbath tuned to concert pitch, but soon after Iommi began tuning his strings down one half step (low to high: Ef Af Df Gf Bf Ef) and subsequently tuned down even further by one and a half steps (low to high: Cs Fs B E Gs Cs), all the while continuing to use very light strings. </p> <p>A signature element in the characteristically dark vibe of Iommi’s solos is the incorporation of minor modes. In his outro solo for “War Pigs” (<em>Paranoid</em>), Iommi utilizes the E Aeolian mode (E Fs G A B C D) along with E minor pentatonic (E G A B D). <strong>FIGURE 6</strong> illustrates a solo played with a similar approach. </p> <p>Within the key of E minor, the chord progression simply alternates between Em and D, and in his solo, Iommi’s ties his licks squarely to the chord progression with the use of chord tones that relate to each specific chord. Bars 1–4 of <strong>FIGURE 6</strong> demonstrate this approach by favoring the notes E and G, the root note and minor third, respectively, over Em, and the notes D and Fs, the root and major third, respectively, over D. The additional notes and overall phrasing serve to fill in the space and effectively set up the incorporation of these shifting chord tones (also known as guide tones). </p> <p><img src="/files/imce-images/6_0.png" width="620" height="339" alt="6_0.png" /></p> <p>Another key aspect of Iommi’s soloing style that <strong>FIGURE 6</strong> demonstrates is the intensity of both the pick attack and vibrato. Iommi’s playing is well-loved for its aggressive power, so lean into the lines with both hands, and listen closely to his recorded works to get a clear picture of and feel for his playing style. </p> <p>Beginning on beat two of bar 5, I repeatedly bend E, third string/ninth fret, up one and one half steps (the equivalent of three frets) to G. When performing “overbends” like this, it’s even more important to harness the strength of at least two fingers, the ring and middle, if not three (the ring, middle and index). This is followed in bar 6 by fast whole-step bends that alternate with hammer-on/pull-of combinations between the seventh and ninth frets on the G string. This is a challenging lick that will take a bit of slow practice to master.</p> <p>In the second half of bar 7, I borrow a signature phrasing technique of Iommi’s, with a 16th-note run that descends the E Aeolian mode in three-note groups on a single string, using pull-offs and finger slides. This type of line serves to add both rhythmic and melodic interest to a pentatonic- or mode-based solo.</p> <p><strong>FIGURE 7</strong> offers another example of soloing in Iommi’s style, this time incorporating the detuning of one and one half steps. (All notes and chords sound in the key of C# minor, one and one half steps lower than written.) This example demonstrates Iommi’s penchant for using fast hammer-ons and pull-offs within repeated short phrases, as he does on his solo in “Supernaut” (Vol. 4).</p> <p><img src="/files/imce-images/7_0.png" width="620" height="365" alt="7_0.png" /></p> <p>The solo is based entirely on the E minor pentatonic scale, played in 12th position, and begins with a repeated phrase that starts with a quick hammer/pull on the first string from the 12th fret to the 15th, followed by D, second string/15th fret. This sequence is played four times through bar 1, and bar 2 consists entirely of trills in 12th position. (A trill is executed by quickly alternating between two notes, usually using hammer-ons and pull-offs in combination.) </p> <p>Bars 3 and 4 are similar in that both feature fast phrases based on 16th-note triplets; in bar 3, note bursts are performed with hammer/pulls on the D string, and in bar 4 the hammers occur on the G string. Bars 5 and 6 offer an example of the “threes on fours” concept—16th notes phrased in groups of three—and bars 7 and 8 wrap up the solo with fast hammer/pulls, played in 16th-nopte triplets, that traverse the strings, moving from high to low. </p> <p>In all of their solos, Young, Page and Iommi combine well-structured melodic ideas, solid execution and spirited performance—essential factors in any great, memorable guitar solo that you should strive to achieve in your own solos.</p> <p><em>Painting: Tim O'Brien</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="/tony-iommi">Tony Iommi</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item odd"> <a href="/andy-aledort">Andy Aledort</a> </div> <div class="field-item even"> <a href="/acdc">AC/DC</a> </div> <div class="field-item odd"> <a href="/led-zeppelin">Led Zeppelin</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/inventing-steel-how-solo-angus-young-jimmy-page-and-tony-iommi#comments Angus Young Articles GW Archive JamPlay Jimmy Page May 2007 Tim O'Brien Tony Iommi In Deep with Andy Aledort News Features Lessons Magazine Wed, 11 Feb 2015 17:37:43 +0000 Andy Aledort http://www.guitarworld.com/article/19211