Lessons http://www.guitarworld.com/taxonomy/term/8/all en Rut-Busters for Guitarists, Part 1 of 8: Setting Goals http://www.guitarworld.com/rut-busters-guitarists-part-1-8-setting-goals <!--paging_filter--><p>Welcome to my new series of lessons, "Rut Busters for Guitarists." </p> <p>These lessons are aimed at breaking through barriers that may be preventing you from improving. </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 first lesson discusses how to get the most out of your practice time by making them goal oriented.</p> <p>Often, a guitarist’s progress might be stagnant due to a lack of goals and structure when practicing. Musicians tend to fall back on what they know and spend time noodling somewhat aimlessly instead of making goal-orientated progress during their practice sessions. There's nothing inherently wrong with “noodling” and jamming, as this can be a creative place for people to write and compose. However, just spending time with the guitar is much different than having a specific goal-oriented agenda in mind when it comes to practicing and making progress.</p> <p>I'm often asked by students’ parents, "How long should Billy practice?" They expect a canned answer like, "30 minutes a day, three times a week." While the repetitive nature of some technical aspects of learning guitar could require a bit of time, I find that asking “how long” misses the point. </p> <p>The more important concept is: When you sit down to practice, you should end up a better guitarist at the end of the session than when you began it.</p> <p>If your musical goals include improving your sight-reading skills, then maybe reading through a whole page or two of unfamiliar music should be that day's practice goal. </p> <p>If you're interested in improving your technical abilities, maybe your goal for the day's practice session is to play warm-up patterns or scales that you currently max out at with a certain metronome setting and push yourself to be able to play them at a few beats-per-minute faster. </p> <p>If you are trying to learn a new song, then your day’s goal might be to learn the intro and verse parts. The next day, it might be the chorus and solo section. Once you've learned the separate components of the song, work to be able to play it from beginning to end. </p> <p>These examples could take just five minutes or a few hours; it all depends on the goal, your skill level and the amount of time you have available.</p> <p>Sometimes the reason for those aimless practice sessions is that you are simply overwhelmed with all the different material (scales, songs, chords, arpeggios, improvising and music theory) that seems to endlessly beg for your attention, and you don't know where to even start. </p> <p>So you fall into your comfort zone and tinker around, noodling ... again. For this, I recommend making a to-do list. Think of just a few important elements of your playing that you feel need improvement. I like to email myself a four- to five-point list of things to practice and improve on for the week. I might not cover all of these goals in the same day, but I can check them off as I do, over the course of the week. </p> <p>How you manage your schedule is up to you, but by creating this list, you've at least thought about, and now know what you NEED to work on. If email isn't your thing, simply write it down in a notebook. This is a great way to track your progress, check off your achievements, revisit problem areas and create new goals. </p> <p>Take a look at the accompanying video. I hope it inspires your to organize your practice routines and make them more goal-oriented.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/VfSLAhVgyNI" 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 Progressive Guitar Warmups and Exercises. 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-1-8-setting-goals#comments Adrian Galysh Rut-Busters for Guitarists Videos Blogs Lessons Tue, 20 Jan 2015 16:19:13 +0000 Adrian Galysh http://www.guitarworld.com/article/23327 Slash Shows You How to Play Guns N' Roses' "Paradise City" — Video Lesson http://www.guitarworld.com/video-lesson-slash-shows-you-how-play-guns-n-roses-paradise-city <!--paging_filter--><p>Around the release of his eponymous debut solo album, Slash took the time out to show us how to play some of his favorite riffs, both new and old. </p> <p>In the <em>Guitar World</em> video below, Slash talks about writing the classic Guns N' Roses tune "Paradise City." He also shows you how to play the key parts of the <em>Appetite for Destruction</em> track.</p> <p>Slash's new studio album—<em>World on Fire</em>—was counted among <em>Guitar World's</em> <a href="http://www.guitarworld.com/guitar-worlds-50-best-albums-2014">50 Best Albums of 2014.</a> </p> <p>Enjoy!</p> <p><em>Photo: Robert John</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/nEq1tKM4v2k" 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="/slash">Slash</a> </div> <div class="field-item even"> <a href="/guns-n039-roses">Guns N&#039; Roses</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-lesson-slash-shows-you-how-play-guns-n-roses-paradise-city#comments Guns N' Roses May 2010 Slash Videos News Lessons Magazine Fri, 16 Jan 2015 19:33:56 +0000 Guitar World Staff http://www.guitarworld.com/article/15012 Cracking the Code with Troy Grady: Eric Johnson's Pickslanting Pentatonics http://www.guitarworld.com/cracking-code-eric-johnsons-pickslanting-pentatonics <!--paging_filter--><p>The cascading waterfall of sound that is Eric Johnson's lead playing has captivated players and listeners for 30 years. </p> <p>Sonically, it's an almost formless wash of sunshine. In Johnson's ethereal soundscape, all the edges are smoothed away. </p> <p>Even the distinction between scales and arpeggios seems to blur. His patterns tumble imperceptibly through positions, like falling through clouds. And his limitless supply of sparsely voiced diatonic chord substitutions only enhances the vertigo. And it's the seemingly imperturbable precision of Johnson's right hand that makes it all possible. </p> <p>And now, armed with a modern understanding of picking mechanics, we can actually begin to understand and recreate Johnson's wondrous style.</p> <p>The foundational skill of Johnson's lead style is the ability to play two-note-per-string passages at high speed. And of course, the ideal mechanical system for playing this is downward pickslanting.</p> <p>Wait a minute, downward what?</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/NdKUIx3fw98" frameborder="0" allowfullscreen></iframe></p> <p><span style="font-size:18px;font-weight:bold;">Getting Straight with the Slant</span></p> <p>If you haven't watched <a href="http://www.guitarworld.com/yngwie-malmsteem-lesson-cracking-code-season-2-episode-1-get-down-upstroke-video">Season 2, Episode 1 of Cracking the Code,</a> now might be a good time to do so! Because it turns out the secret to Johnson's picking technique is precisely the same one that powers Yngwie Malmsteen's legendary scalar accuracy. And it is ingenious and easy to replicate.</p> <p><img src="/files/imce-images/slant-vs-edge.jpg" width="620" height="413" alt="slant-vs-edge.jpg" /></p> <p>By simply rotating the picking hand downward, toward the floor, Johnson and Malmsteen create a subtle but powerful change in the pick's travel. </p> <p>In this position, called downward pickslanting, downstrokes tend to bury themselves between the strings. But upstrokes are where the magic happens: The pick breaks free of the surrounding strings and pulls away from the guitar's body. This makes the upstroke the ideal time to switch strings, because nothing can get in the way. The pick simply drops down on the next chosen string and continues playing.</p> <p>The genius of this solution is that the upstroke itself becomes the string-switching movement. There is no longer any need to jump from string to string, and this removes the primary source of sloppiness and mistakes most players face. Once you remove the error-prone process of "stringhopping" from string to string, it becomes dramatically easier to play with great accuracy.</p> <p>Note also that downward pickslanting is not the same as edge picking. That's a completely different and much more commonly discussed pick angle. And it solves a totally separate problem. Players use the edge of the pick to reduce the resistance of the picking motion against the strings. But pickslanting uses rotation of the hand and/or fingers to change the entire trajectory of the pick's travel. The key is that these two happen simultaneously in Johnson's technique.</p> <p><span style="font-size:18px;font-weight:bold;">Ah Via Pentatonic</span></p> <p>In retrospect, this all should have been obvious. Johnson is a one-way pickslanter, and he maintains a pronounced downward pickslant at nearly all times. This pickslant is more aggressive than Malmsteen's, and it's plainly visible, even on standard-definition footage like his 1990 <em>Hot Licks</em> instructional video, <em>Total Electric Guitar</em>. Here's a screen cap of just how clear that is:</p> <p><img src="/files/imce-images/ej-dwps.jpg" width="620" height="465" alt="ej-dwps.jpg" /></p> <p>This pickslant dovetails perfectly with the cornerstone of his lead playing: the pentatonic scale. Thanks to its two-note-per-string design, the pentatonic scale is actually perfectly efficient. By simply starting on a downstroke, and using downward pickslanting, the sequence changes strings cleanly after every upstroke:</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/4MdRgbE2GTs" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202015-01-14%20at%204.55.18%20PM.png" width="620" height="253" alt="Screen Shot 2015-01-14 at 4.55.18 PM.png" /></p> <p>As you can see clearly in this closeup footage, captured with our prototype iPhone slow-motion analysis rig, the smoothness and accuracy of the string switching is readily apparent. There is no jumping from string to string whatsoever. </p> <p>Thanks to downward pickslanting, each upstroke is the string change. And this is true whether you're ascending or descending. The mechanics don't change based on the direction of the lick; once the upstroke is in the air, it can drop down in any direction it chooses, either higher or lower.</p> <p>Astute observers also will notice that when played descending, with a down-up sequence on each string, the pentatonic scale is an outside picking lick. When played ascending, that same down-up picking sequence becomes inside picking. Of course, it's still the same picking sequence, and because of this, there is no mechanical difference in difficulty between them. </p> <p>In other words, in a downward pickslanting world like Johnson's, inside and outside picking as concepts have little relevance to actual difficulty. The only thing that matters is making sure that every string change happens after an upstroke.</p> <p><span style="font-size:18px;font-weight:bold;">The Pentatonic Cascade</span></p> <p>Now, when you combine the power of the downward pickslanting upstroke with a little sweeping, amazing things start to happen:</p> <p><img src="/files/imce-images/Screen%20Shot%202015-01-14%20at%204.57.56%20PM.png" width="620" height="392" alt="Screen Shot 2015-01-14 at 4.57.56 PM.png" /></p> <p>This is an example of Johnson's rich pentatonic vocabulary, which I like to call the "cascade," and you can watch the original and my version in the video at the top of this lesson. It combines the power of downward pickslanting with ascending sweeping to create the descending ripple of pentatonic sound that has become Johnson's trademark.</p> <p>This particular cascade moves from the pentatonic box position down to the mid-neck third pentatonic position. Along the way, we see a variety of Johnson's signature moves: the initial ascending pickup, a single-string legato turnaround, a battery of slides and pull-off position shifts and more. It's a vocabulary that is uniquely his, but also immensely powerful as a tool chest in creating your own pentatonic, downward pickslanting explorations.</p> <p>You'll note that every alternate-picked string change in the lick is still an upstroke. But now, we've augmented the mechanical formula with sweeping for switching strings after downstrokes. This is the same formula Malmsteen uses, and the results are truly stunning.</p> <p><span style="font-size:18px;font-weight:bold;">Cracking the EJ Code</span></p> <p><strong>If you're interested in learning more about Johnson's picking mechanics, we'll be doing exactly that in the very next episode of <a href="http://www.troygrady.com/code">Cracking the Code, Season 2</a>. That episode, "Eric the Right," is set to roll out soon and includes an extremely detailed pack of more than 30 slow-motion clips and 25 pages of written analysis. That pack is available to our Season Pass holders now, and the episode will arrive shortly.</strong></p> <p>In the meantime, I'll leave you with a sample of some of the amazing and timeless sounds in Johnson's larger repertoire. All of these can be created by following the simple rules we've outlined here. Ah Via Pentatonic, indeed!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/mB0a4KtigKY" frameborder="0" allowfullscreen></iframe></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> <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/cracking-code-eric-johnsons-pickslanting-pentatonics#comments Cracking the Code Eric Johnson Troy Grady Videos Blogs News Features Lessons Fri, 16 Jan 2015 13:19:25 +0000 Troy Grady http://www.guitarworld.com/article/23288 Guitar Chalk Sessions: A Clean Guide to Understanding Seventh Chords http://www.guitarworld.com/guitar-chalk-sessions-clean-guide-understanding-seventh-chords <!--paging_filter--><p><em>This is a compressed version of <a href="http://www.guitarchalk.com">The Complete Guide to Actually Understanding Seventh Chords,</a> which is published at <a href="http://www.guitarchalk.com/">guitarchalk.com.</a> Both versions contain the same core information.</em></p> <p>We can always <a href="http://www.amazon.com/gp/product/0785820833/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&amp;camp=1789&amp;creative=9325&amp;creativeASIN=0785820833&amp;linkCode=as2&amp;tag=theguitblac-20&amp;linkId=XMFR6XGESGEY5MW7">memorize new chords.</a> That’s not hard.</p> <p>But what if we learned the structure and the music theory behind those chords first? What if we put the time into gaining a complete, academic understanding of what we’re playing?</p> <p>People shy away from music theory because it’s hard. And I’m not going to tell you otherwise.</p> <p>Quite the opposite, in fact; music theory is incredibly difficult.</p> <p>But if you take it one piece at a time, theory isn’t nearly as daunting, and it eventually comes together as you understand why you’re playing what you’re playing.</p> <p>It’s a better alternative to raw memorization because it provides structure.</p> <p>Learning and memorizing, though they can cross paths, are not the same and certainly don’t benefit the human mind in the same manner.</p> <p>So we’ll tackle some <a href="https://www.guitartricks.com/v2/trial_splash.php">real, substantive learning</a> by looking at the theory behind seventh chords. We’ll learn how to build them from the ground up.</p> <p><strong>Step 1: Learn the Formal Definition of Chords and Triads</strong></p> <p>To begin, we need to know the formal definitions of a chord and, more importantly, a triad.</p> <p><img src="/files/imce-images/%231.jpg" width="620" height="296" alt="#1.jpg" /></p> <p>Chords are straightforward, either two/three or more notes depending on who you ask. Now, a triad:</p> <p><img src="/files/imce-images/%232.png" width="620" height="309" alt="#2.png" /></p> <p>Howard Hanson and Carlton Gamer, 20th-century music theorists, expanded the term “triad” to refer to any collection of three different pitches, regardless of interval. While that definition is more palatable, we need to stick with the formal definition here.</p> <p>Thus, our triads are constructed in three parts:</p> <p><strong>01. A root note</strong><br /> <strong>02. Third interval (major or minor)</strong><br /> <strong>03. Fifth interval (diminished, perfect or augmented).</strong></p> <p>The following is an example of a triad.</p> <p><img src="/files/imce-images/%233.jpg" width="620" height="290" alt="#3.jpg" /></p> <p>In order to find each interval, we have to count semitones (frets) from the root note. For example, a perfect fifth is seven frets from the root, a major third is four frets from the root and so on. For help counting, refer to this <a href="http://3.bp.blogspot.com/-_rhqDPgWVMk/VJGvIwfeCVI/AAAAAAAAT1o/Hp5puQFEtRo/s1600/Guitar%2BIntervals.png">guitar interval chart</a> or the full article at <a href="http://www.guitarchalk.com">Guitar Chalk.</a></p> <p>If you’re comfy, we’re ready to define and build our seventh chord.</p> <p><strong>Step 2: Learn the Formal Definition of a Seventh Chord</strong></p> <p>Yes, they have a “bluesy” sound, but what does that mean? A seventh chord is a triad with an added seventh interval from the root. That seventh interval can be either major, minor or diminished, and is typically what makes the chord sound bluesy.</p> <p>Thus we need the following components to build our seventh chord:</p> <p><img src="/files/imce-images/%234.jpg" width="620" height="364" alt="#4.jpg" /></p> <p>When building our seventh chords, we want to focus primarily on the root note and the three additional intervals. To do that, we’ll build two common (tertian) seventh chords:</p> <p><strong>01. Major Seventh</strong><br /> <strong>02. Minor Seventh</strong></p> <p>We’ll start with a root note, examine the necessary intervals for our chord (<a href="http://en.wikipedia.org/wiki/Seventh_chord">available on the seventh chord wiki page</a>) and then build out accordingly.</p> <p><strong>1: Major Seventh</strong></p> <p><em>Interval Pattern: Major Third - Perfect Fifth - Major Seventh</em></p> <p>Consider the following root note:</p> <p><img src="/files/imce-images/%235.png" width="160" height="149" alt="#5.png" /></p> <p>Per the interval pattern, we can start by adding a major third and perfect fifth. The major third is four semitones above the root while the perfect fifth is going to be seven semitones above the root.</p> <p><img src="/files/imce-images/%236.png" width="151" height="146" alt="#6.png" /></p> <p>If you count straight up, seven spots from the second fret on the sixth string, the note you fall on is C#. That means the same C# note at the fourth fret on the fifth string will suffice as our perfect fifth. The same reasoning can be applied to the major third (third string and third fret).</p> <p>We can use the same counting tactic to place our major seventh interval.</p> <p><img src="/files/imce-images/%237.png" width="151" height="147" alt="#7.png" /></p> <p>Our major seventh interval (an F) falls on the fourth string at the third fret. How did we get there?</p> <p>If we know that a major seventh interval falls 11 semitones from the root note (<a href="http://3.bp.blogspot.com/-_rhqDPgWVMk/VJGvIwfeCVI/AAAAAAAAT1o/Hp5puQFEtRo/s1600/Guitar%2BIntervals.png">from this graphic</a>), which is an F sharp, we count up 11 frets giving us our F, which can also be played at the fourth string on the third fret.</p> <p><strong>2: Minor Seventh</strong></p> <p><em>Interval Pattern: Minor Third - Perfect Fifth - Minor Seventh</em></p> <p>Start with the following root note.</p> <p><img src="/files/imce-images/%238.png" width="152" height="146" alt="#8.png" /></p> <p>Per the interval pattern, we add a minor third and perfect fifth.</p> <p><img src="/files/imce-images/%239.png" width="81" height="146" alt="#9.png" /></p> <p>The perfect fifth is easy, since it forms a power chord shape (fifth string, seventh fret) with our root note. Since a minor third on the fifth string falls at the third fret (three semitones above the root) we can use the octave of that note on the third string at the fifth fret, to grab our minor third.</p> <p>Lastly we add our minor seventh interval, falling ten frets up from the root.</p> <p><img src="/files/imce-images/%2310.png" width="83" height="146" alt="#10.png" /></p> <p>Ten frets up from the root note (A) would be a G, which can be played by your pinky finger on the second string at the eighth fret.</p> <p><strong>Other Chords and Resources</strong></p> <p>Some other tertian seventh chords would include the dominant, diminished and half-diminished, all of which are covered in <a href="http://www.guitarchalk.com">the full article.</a> Now that you know how to build a seventh chord, it’ll be a great deal easier to understand and memorize others.</p> <p>Best of luck!</p> <p><em>Robert Kittleberger is the founder and editor of <a href="http://www.guitarchalk.com">Guitar Chalk</a> and <a href="http://www.guitarbargain.net">Guitar Bargain</a>. You can get in touch with him <a href="http://www.guitarchalk.com/p/about-me.html">here</a>, or via <a href="https://twitter.com/guitarchalk">Twitter</a>, <a href="https://www.facebook.com/guitarchalk">Facebook</a> and <a href="https://plus.google.com/u/0/109221824688243850332/posts">Google Plus.</a></em></p> http://www.guitarworld.com/guitar-chalk-sessions-clean-guide-understanding-seventh-chords#comments Bobby Kittleberger Guitar Chalk Sessions Blogs Lessons Wed, 14 Jan 2015 20:04:49 +0000 Bobby Kittleberger http://www.guitarworld.com/article/23286 Nita Strauss Lesson: How to Play Alice Cooper's "I'm Eighteen" — Video http://www.guitarworld.com/nita-strauss-lesson-how-play-alice-cooper-im-eighteen-video <!--paging_filter--><p>In this new video, former Iron Maidens guitarist Nita Strauss, a new member of the Alice Cooper Band, shows you how to play Cooper's late-1970 hit, "I'm Eighteen" (also commonly known as "Eighteen").</p> <p>As Strauss points out in the video, which you can check out below, Cooper's original studio version of the song doesn't offer much in the way of a solo section. </p> <p>As a result, Strauss wrote her own parts and solo section for the tune; essentially, this is what she plays when Cooper and the band perform it live.</p> <p>Strauss' lovely and talented guest stars in the video are courtesy of Ibanez and Blackstar. </p> <p>For your viewing pleasure, we've included a fan-filmed 2014 clip of Strauss performing the song with Cooper at the Hollywood Bowl. </p> <p>For more information about Strauss, including more videos, news and other Strauss-isms, visit <a href="http://nitastrauss.com/">nitastrauss.com</a> and follow her on <a href="https://www.facebook.com/NitaStrauss">Facebook</a> and/or <a href="https://twitter.com/hurricanenita">Twitter.</a> As always, enjoy!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/WfdtYz6pbpE" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/VBIQLaJiSeY" 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="/alice-cooper">Alice Cooper</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/nita-strauss-lesson-how-play-alice-cooper-im-eighteen-video#comments Alice Cooper Nita Strauss Videos News Lessons Wed, 14 Jan 2015 16:09:33 +0000 Damian Fanelli http://www.guitarworld.com/article/23276 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 Wed, 14 Jan 2015 16:08:59 +0000 Guitar World Staff http://www.guitarworld.com/article/23235 Jazz Guitar Corner: Jazz Guitar Chord Exercises — with Tab and Audio http://www.guitarworld.com/jazz-guitar-corner-jazz-guitar-chord-exercises-tab-and-audio <!--paging_filter--><p>One of the most common questions I get from my students and readers is, “I know what jazz chords to study, but how to I practice them in a practical, musical way?” </p> <p>To help answer this question, I’ve put together an exercise that uses all the inversions of any chords you are learning, while playing them in a common chord progression at the same time. </p> <p>In this lesson, you will learn how to practice Drop 2 and Drop 3 chords in all inversions, applied to a major ii-V-I chord progression to keep these shapes practical and musical in your woodshedding. </p> <p>I’ve provided examples for one string set of each chord shape, Drop 2 and 3, but feel free to apply this exercise to any string set your are working on in your jazz guitar studies. </p> <p>I’ve also written out each example in the key of C, so to take this exercise further, make sure to work these shapes together in all 12 keys around the fretboard in order to get an in-depth understanding of how they lay on the neck of the guitar. </p> <p><strong>The Jazz Guitar Chord Exercise</strong></p> <p>The exercise is a fairly straightforward concept, but applying it to the fretboard can take some time and effort in the practice room. </p> <p>Here is the exercise:</p> <p>01. Pick a chord shape such as Drop 2<br /> 02. Pick a string set, top four strings for example<br /> 03. Play the root position iim7 chord, such as Dm7<br /> 04. Move to the closest V7 chord, G7 in this case, without moving your hand if possible<br /> 05. From there, move to the closest Cmaj7 chord without moving your hand<br /> 06. Repeat but start on the next inversion of iim7, Dm7 in this key<br /> 07. Repeat until you’ve covered all four inversions of the iim7 chord and the closest V7 and Imaj7 chords from those four shapes.</p> <p>That’s it. Pretty simple, but playing and memorizing these shapes in four areas on the neck can take some time in the woodshed. So, let’s take this exercise and see how it lays on the fretboard in the next section of this lesson. </p> <p><strong>Drop 2 Chord Exercises</strong></p> <p>Now that you understand what the exercise is, let’s take it to the fretboard, beginning with Drop 2 chords on the top four strings. You will begin with a root position Dm7 chord, moving to the closest G7 chord, and finally landing on the closest Cmaj7 chord from there. </p> <p>I’ve written the inversion under each chord so you can memorize that movement as well, which will make it easier to transfer this exercise to other string sets and keys in your practicing. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/185893658&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/chord%20exercises%201.jpg" width="620" height="183" alt="chord exercises 1.jpg" /></p> <p>Now, you’ll move on to the first inversion Dm7 chord, with the other chords being as close to that initial chord as possible. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/185893659&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/chord%20exercises%202.jpg" width="620" height="166" alt="chord exercises 2.jpg" /></p> <p>Next, you are playing a second inversion Dm7 chord and following on to the closest G7 and Cmaj7 chords from that initial shape on the fretboard. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/185893661&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/chord%20exercises%203.jpg" width="620" height="171" alt="chord exercises 3.jpg" /></p> <p>Lastly, here is a third inversion Dm7 chord that then leads to the closest G7 and Cmaj7 chords from there. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/185893662&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/chord%20exercises%204.jpg" width="620" height="172" alt="chord exercises 4.jpg" /></p> <p><strong>Drop 3 Chord Exercises</strong></p> <p>To help you take this exercise to another common jazz chord shape, here are four examples of applying this idea to Drop 3 chords on the 6th-string root groupings. </p> <p>Again, you can take these shapes to other keys on the sixth-string root, as well as apply them to other string sets for Drop 3 chords as you expand on them in your studies. </p> <p>To begin, here is a root-position Dm7 chord that then moves to the closest G7 and Cmaj7 chords from there. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/185893663&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/chord%20exercises%205.jpg" width="620" height="166" alt="chord exercises 5.jpg" /></p> <p>Then, you can move on to a first inversion Dm7 chord, which moves to the closest G7 and Cmaj7 from that initial shape. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/185893664&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/chord%20exercises%206.jpg" width="620" height="172" alt="chord exercises 6.jpg" /></p> <p>Following our pattern, the next example uses a second inversion Drop 3 Dm7 chord, which moves to the closest G7 and Cmaj7 chords from there. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/185893666&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/chord%20exercises%207.jpg" width="620" height="172" alt="chord exercises 7.jpg" /></p> <p>And finally, you can start with a third inversion Dm7 chord that moves to the closest G7 and Cmaj7 shapes from that starting point. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/185893667&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/chord%20exercises%208.jpg" width="620" height="172" alt="chord exercises 8.jpg" /></p> <p>Do you have a question or comment about these chord exercises? Share your thoughts in the COMMENTS section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-jazz-guitar-chord-exercises-tab-and-audio#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Tue, 13 Jan 2015 20:36:09 +0000 Matt Warnock http://www.guitarworld.com/article/23277 In Deep Lesson with Andy Aledort: How to Play "Little Wing" by Jimi Hendrix http://www.guitarworld.com/deep-jimi-hendrixs-little-wing <!--paging_filter--><p>Jimi Hendrix's stature as rock's greatest guitarist is by now an absolute and indisputable fact. In this month's edition of "In Deep," I'll examine his genius within the realm of rhythm guitar.</p> <p>Let’s begin with a breakdown of the intro to the live version of “Little Wing,” transcribed in this issue [see page 136 of the December 2011 issue of <em>Guitar World</em>]. Before we begin, keep in mind that, as was his nature, Jimi never played any song exactly the same way twice. </p> <p>Live or in the studio, he always strove for spontaneously inspired performances of every song. For guitarists, this offers a vast treasure of musical lessons to be learned when studying any one of Hendrix’s compositions.</p> <p>This version of “Little Wing,” recorded at what is acknowledged as the Jimi Hendrix Experience’s greatest live performance—on February 24, 1969, at London’s Albert Hall—differs in many subtle but fascinating ways from the studio track heard on <em>Axis: Bold as Love</em>. </p> <p>In the pickup and through bar 1, Jimi first strikes muted strings by lightly laying his fret hand across the fretboard. This is followed by an expressive slide down from the 12th fret; Jimi barres across the top two strings while lightly fretting the sixth string at the 12th fret by wrapping his thumb over the top of the fretboard.</p> <p>Across beats three and four, he works off a 12th-position Em7 chord shape, striking different pairs of strings in conjunction with single notes to create a “chord/melody” effect.</p> <p>In bar 2, Jimi plays a third-position G major chord by fretting the sixth-string bass note with his thumb and choosing not to barre the index finger across all six strings or fret the A string with the ring finger, which frees up his pinkie to embellish the chord with fast hammer-ons and pull-offs on the G and high E strings. The same approach is used for bar 3 over Am.</p> <p>Notice how he moves smoothly from sounding pairs of strings to single notes while weaving an evolving and forward-moving rhythm part. Back over Em7 on bar 4, Jimi uses the seventh-position shape to execute a series of delicate hammer-ons and pull-offs, setting up the chord change to Bm in the next bar, which is also played in seventh position.</p> <p>Using Bf to shift down to Am in fifth position, on beat two he begins with a ring-finger barre across the D, G and B strings at the seventh fret to hammer up to the ninth fret on the D string with the pinkie. This is followed by a full arpeggiation of C on beat three into incorporation of C/E on beat four, sliding up to E on the A string’s seventh fret.</p> <p>Bar 7 features Hendrix’s signature “sliding sus2” voicings, as Gsus2 slides up to Asus2 and then down to Fsus2. Though the thumb is used to fret the low bass notes throughout, keep this finger loose as to limit the amount of pressure that the palm of the hand exerts against the back of the neck. In bars 8 and 9, Jimi utilizes fifth-string-root voicings of C and D major, wrapping up the intro with chord-melody figures based on D/Fs.</p> <p>Let’s now expand on the rhythm techniques Jimi uses on this version of “Little Wing.” In <strong>FIGURE 1</strong>, I begin with the same G major voicing found in bar 2, but I incorporate more elaborate hammer-ons and pull-offs on the top three strings as well as utilize quick finger slides and hammer-ons based on the G major pentatonic scale (G A B D E).</p> <p>Another great example of Jimi’s inventiveness with this chord form is heard on his Monterey Pop version of Bob Dylan’s “Like a Rolling Stone.” In <strong>FIGURE 2</strong>, I fret only the sixth, fourth and second strings while sliding between G and Fsus2 chord voicings, incorporating the open G string throughout to provide a powerful sustaining quality.</p> <p>Similar in execution is Jimi’s rhythm part to the intro and verse sections of “Love or Confusion” from Are You Experienced. In <strong>FIGURE 3</strong>, I emulate this part by adding quick hammerons and pull-offs on the B and G strings within both the G5 and Fsus2 voicings. The “sliding sus2” chords of “Little Wing,” alluded to in <strong>FIGURE 4</strong>, also appear in another great Hendrix ballad, “Castles Made of Sand.” <strong>FIGURE 5</strong> offers an extended version of sliding these chord forms up and down the fretboard.</p> <p>Now let’s apply these techniques to a few chord progressions. In <strong>FIGURE 6</strong>, I move from sixth-string-root G, Am, Bm and C voicings back to G while adding quick hammers and pulls within each voicing. In <strong>FIGURE 7</strong>, a similar approach is taken for C-Bf-F along the lines of Hendrix’s classic “The Wind Cries Mary.” Live versions of this song reveal great inventiveness over the one chord, F, along the lines of <strong>FIGURES 8 and 9.</strong></p> <p>In <strong>FIGURE 10</strong>, fifth-string-root voicings are used to illustrate other chord embellishment ideas. As always, feel free to experiment with your own inventions once you have these techniques firmly under your fingers.</p> <p>The last example, <strong>FIGURE 11</strong>, illustrates a few more commonly used Hendrix techniques for embellishing a sixth-string-root chord, with quick hammer/pulls on the G string followed by a chord resolution to A/Cs. You’ll hear great examples of this on Jimi’s “Bold as Love.”</p> <p><iframe width="620" height="370" src="http://www.youtube.com/embed/XKSjRfDfP5A?rel=0" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202015-01-13%20at%202.50.48%20PM.png" width="620" height="723" alt="Screen Shot 2015-01-13 at 2.50.48 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202015-01-13%20at%202.50.58%20PM.png" width="620" height="272" alt="Screen Shot 2015-01-13 at 2.50.58 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202015-01-13%20at%202.56.11%20PM.png" width="620" height="730" alt="Screen Shot 2015-01-13 at 2.56.11 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202015-01-13%20at%202.56.20%20PM.png" width="620" height="407" alt="Screen Shot 2015-01-13 at 2.56.20 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-jimi-hendrixs-little-wing#comments 2011 Andy Aledort December December 2011 In Deep Jimi Hendrix In Deep with Andy Aledort News Lessons Magazine Tue, 13 Jan 2015 20:04:13 +0000 Andy Aledort http://www.guitarworld.com/article/13150 School of Shred: Paul Gilbert on the Art and Science of Playing Lead Guitar http://www.guitarworld.com/school-shred-paul-gilbert-teaches-isightful-lesson-art-and-science-lead-guitar-playing <!--paging_filter--><p>When it comes to shred, few guitarists can rip like Paul Gilbert. As the driving force behind shred-progenitors Racer X and the chart-topping late-Eighties outfit Mr. Big, Gilbert dazzled with his unhuman fretboard range that included wide stretches and intervallic leaps.</p> <p>But he was a reluctant guitar hero. </p> <p>When he went solo in 1996, Gilbert shied from the shred spotlight and pursued a pop vocal direction. It took more than 10 years, but in 2007, he returned to the land of big guitar chops with his solo debut, <em>Get Out of My Yard</em>, an album that represents the perfect meld of his amazing technique, harmonic gifts and off-the-wall sense of humor. </p> <p>As anyone who has seen him on a G3 tour with Joe Satriani and John Petrucci can tell you, Gilbert’s talent for ripping guitar lines has only grown stronger.</p> <p>An articulate and effective teacher, Gilbert presents an insightful multipart lesson in which he breaks down the mechanics of his various playing techniques and his conceptual approaches to the instrument.</p> <p><strong>Rhythmic Ideas</strong></p> <p>As Gilbert explains in this first section of the lesson, a great way to generate ideas for melodic and rhythmically grooving solo licks is to play a simple rhythmic vamp made up of a few notes and some “scratch” strums, then use it as a springboard for improvising melodic ideas. This is easier said than done, especially for shredders who are used to tearing up and down the fretboard with little consideration for rhythm and playing “in the pocket.”</p> <p>Gilbert suggests starting out with simple ideas that are rhythmically interesting but don’t have a lot of notes, such as the funky A minor pentatonic-based vamp shown in <strong>FIGURE 1</strong>. By thinking like a drummer and focusing on playing something that really grooves, you’ll pay more attention to playing with feeling and soul. When playing this vamp, pick aggressively and try to get the most out of each note, and be sure to tap your foot in steady quarter notes to really get into the groove.</p> <p><img src="/files/imce-images/1_7.png" width="620" height="120" alt="1_7.png" /></p> <p>Once you get used to this approach, you can start to introduce more notes, and that’s where the fun really begins. As Gilbert demonstrates, you can use a simple vamp as a launch pad for improvising more ambitious, note-inclusive licks and fills, like those shown in <strong>FIGURES 2 to 4</strong>. Gilbert advises that it’s very helpful to think of each of these phrases as being played as a drum solo, something that inspires him creatively and helps him remember ideas.</p> <p>The fret-by-fret chromatic movement in <strong>FIGURE 2</strong> shouldn’t be too difficult to master. When playing it, use whatever fingering you like; make sure to mute the lower strings to suppress unwanted noise and to count and perform the rhythms correctly. </p> <p><img src="/files/imce-images/2_5.png" width="620" height="112" alt="2_5.png" /></p> <p><strong>FIGURE 3</strong>, while based on the harmonically straightforward A minor pentatonic scale, is a more challenging fill, as it involves some string skipping. As when learning any new piece of music, start out slowly and gradually increase the tempo while streamlining and economizing your movements. </p> <p><img src="/files/imce-images/3_3.png" width="620" height="121" alt="3_3.png" /></p> <p>The lick in <strong>FIGURE 4</strong> doesn’t follow a set pattern but uses ideas similar to those in the three previous examples. The muted notes will help you maintain your groove throughout, so concentrate on making the pick hand comfortable before targeting all the notes.</p> <p><img src="/files/imce-images/4_1.png" width="620" height="130" alt="4_1.png" /></p> <p><strong>“Reverse” String Bends</strong></p> <p><strong>FIGURE 5</strong> is an example of a slick, country pedal-steel-style bending technique Gilbert demonstrates whereby he picks a fretted note on the B string, bends the string with his ring finger (supported by the middle finger) and simultaneously bends the G string at the same fret with the tips of the same fingers. Upon completing the B-string bend, he picks the G string for the first time and releases the bend, creating a drop in pitch on that string (from Eb to D). This cool-sounding move is often called a “pre-bend and release” or a “reverse bend.”</p> <p>Most of your practice should be centered on executing the half-step bends in tune. You can reference the target pitches of the bends by playing the unbent notes one fret higher. Once you get the techniques under your fingers, move the lick around the neck in different positions and keys. The technique also works quite well on the first and second strings.</p> <p>In true Gilbert style, our maestro demonstrates the lick in a fast blues context at the end of a blazing run in A (see <strong>FIGURE 6</strong>).</p> <p><img src="/files/imce-images/%205%206%20.png" width="620" height="256" alt=" 5 6 .png" /></p> <p><strong>Fast, Repeating Blues Licks</strong></p> <p>Gilbert plays many note patterns that are familiar to most rock guitarists, but there is always more than meets the eye when one attempts to play any of his licks. The resourceful guitarist often begins a fast run with an upstroke. </p> <p>This may seem unusual, but it allows Gilbert to maintain an outside picking motion as he moves from the second string to the third, as he demonstrates with the repeating A minor blues scale lick shown in <strong>FIGURE 7</strong>. This kind of economical picking movement becomes even more important when string skipping, as the guitarist goes on to demonstrate in <strong>FIGURES 8 and 9</strong>. </p> <p><img src="/files/imce-images/7%208%209%20.png" width="620" height="131" alt="7 8 9 .png" /></p> <p>In <strong>FIGURE 10</strong>, Gilbert performs a double pull-off on the third string, changing the rhythm from three- note groups to four-note groups. When playing all four of these examples, keep your fret-hand index finger barred at the fifth fret.</p> <p><img src="/files/imce-images/10.png" width="620" height="121" alt="10.png" /></p> <p><strong><a href="http://www.guitarworld.com/shred-alert-dvd-let-paul-gilbert-teach-you-how-shred">[[ 'Shred Alert' DVD: Let Paul Gilbert Teach You How to Shred</a> ]]</strong></p> <hr /> <strong>Blazing Pentatonics</strong> <p>Many of Gilbert’s licks are based on patterns that he moves around the fretboard, as he demonstrates with the climbing A minor pentatonic legato run in <strong>FIGURE 11</strong>. The initial melodic pattern is eight notes long and is repeated with different notes across the remaining strings.</p> <p>Although Gilbert has long fingers, he uses his fret-hand pinkie a lot. It’s a point worth noting, because you might think that he would rely on his extended reach and not use his pinkie much at all. Gilbert advises students with similarly endowed hands to develop the use if their pinkie because it will pay off in the long run. </p> <p>The earlier you build its strength, the sooner it can become useful. Be sure to use the pinkie to finger all the eighth-fret notes in <strong>FIGURE 11</strong>.</p> <p><img src="/files/imce-images/11.png" width="620" height="121" alt="11.png" /></p> <p>When playing this example, it’s easy to start thinking in triplets, as the grouping of the first three notes suggests. Keep in mind that you’re playing 16th notes; tapping your foot, or at least nodding your head on each downbeat as Gilbert does in the video, will help you feel the 16th-note subdivision.</p> <p><strong>FIGURE 12</strong> is a descending, pattern based A minor pentatonic lick that Gilbert demonstrates, this one incorporating more hammer-ons than pull-offs. Notice the wide interval jump between the fifth and sixth notes (C down to E). Gilbert begins this lick with a downstroke and alternate picks the notes that aren’t slurred, avoiding the use of two consecutive downstrokes or upstrokes, which in this case would slow him down. Try moving this lick to other areas of the neck and repeating it in different octaves, as Gilbert often does. </p> <p><img src="/files/imce-images/12.png" width="620" height="129" alt="12.png" /></p> <p><strong>Natural Harmonics</strong></p> <p>In <strong>FIGURE 13</strong>, Gilbert demonstrates how a scale, in this case C major, may be played melodically in diatonic thirds. The pattern is “down one note, up two notes,” and it stays within the scale. Gilbert does something similar in <strong>FIGURE 14</strong>. Here, he uses a symmetrical fingering pattern across the strings, but the notes don’t comprise any particular scale.</p> <p>Players like Eddie Van Halen and Dimebag Darrell have used symmetrical patterns like this in their lead playing. Be sure to concentrate on the fingering pattern used in this example and notice how it’s similar to the first example, in terms of contour.</p> <p><img src="/files/imce-images/13.png" width="620" height="122" alt="13.png" /></p> <p>Gilbert then takes the same fingering pattern from <strong>FIGURE 14</strong> and plays natural harmonics (N.H.) instead of fretted notes, creating a very cool and unusual note sequence with lots of wide intervals. When executing each natural harmonic, be sure to lightly touch the string with the fret-hand finger directly over the fret rather than press the string down to the neck behind the fret. The harmonics at the fourth fret are a little more challenging to nail and must be performed accurately. Otherwise you’ll just produce a dull mute.</p> <p><img src="/files/imce-images/14.png" width="620" height="123" alt="14.png" /></p> <p><strong>Piano-Style Licks</strong></p> <p><strong>FIGURE 16</strong> is a cool piano-style lick that Gilbert plays, and it’s a pointed example of his efficient picking technique. As in <strong>FIGURES 7 to 10</strong>, the guitarist begins with an upstroke to economize the movement from the high E string to the lower strings. </p> <p><img src="/files/imce-images/15.png" width="620" height="129" alt="15.png" /></p> <p><img src="/files/imce-images/16%2017.png" width="620" height="124" alt="16 17.png" /></p> <p>A lot of Gilbert’s super-fast alternate picking is based around this principle. When playing this example, keep the alternating notes on the high E and B strings separate so that they don’t bleed into each other. You can do this by releasing each fretting finger’s pressure against the string immediately after the note is picked. Also, avoid moving your fret hand excessively; it should move very little, in fact, so work on keeping the movement as efficient as possible.</p> <p><strong>Three-Octave Licks</strong></p> <p>Gilbert points out that a 24-fret guitar has a four-octave range (not including harmonics) and that the fretboard’s layout lends itself well to repeating note sequences in different octaves up and down the neck using the same fingering shape. A cool technique the guitarist likes to use is to take a short melodic idea and transpose it up and down and across the neck in octaves, as he demonstrates with the three-note A major arpeggio shape in <strong>FIGURE 17</strong>. </p> <p>This technique helps develop your skill at shifting positions quickly and offers a great way of extending a short lick into a mammoth one. Notice that the initial three-note sequence is repeated on the next two higher strings using the same pattern, two frets higher and then on the top two strings, three frets higher. </p> <p>This two-string concept is particularly useful for guitarists since it relies on each pair of adjacent strings, except the G and B, being tuned the same way, in fourths. <strong>FIGURE 18</strong> is another example of this technique that Gilbert offers, this based on a more interesting six-note pattern in the A Mixolydian mode (A B C# D E F# G), which works well over an A7 chord. </p> <p><img src="/files/imce-images/18.png" width="620" height="132" alt="18.png" /></p> <p>To help switch from his fourth finger to his second finger between each six-note group, Gilbert uses a subtle finger slide, which is easier than trying to perfectly nail each position shift “from the air” and sounds very cool. You’ll find it helpful to first practice each six-note group separately before stringing them together. Also, keep your fret hand arched high, be- cause flattening your fingers will cause noise and slow you down.</p> <p><strong>Untranscribable Lick</strong></p> <p>“Here’s my secret lick that’s been impossible to transcribe,” says Gilbert. “I know the mental process involved and can teach your brain how to get it. There’s this kid in Japan who’s apparently an expert on my style. He plays all the stuff that I’ve done, which is kind of frightening for me! Every time I see him play, I’m like, ‘I’ve gotta learn something new!’ And so I came up with a seemingly untranscribable, lightning-fast legato lick that I’m hoping even he can’t play!”</p> <p>Not letting Gilbert’s “untranscribable” tag deter us, we’ve tabbed out the lick he plays on the video in <strong>FIGURE 19</strong>. The best approach is to start with you fret hand only, which maps out the initial 11-note pattern upon which the lick is based. Gilbert uses this pattern all the time, so it’s worth getting to grips with it before adding the tapped notes.</p> <p><img src="/files/imce-images/19.png" width="620" height="131" alt="19.png" /></p> <p>The general principal behind the taps can be a little bit confusing at first, because Gilbert doesn’t quite do exactly what he thinks he does; even though he starts of by tapping the B note at the D string’s ninth fret on the video, when the lick is in full swing he begins taps the E note at the same fret on the G string instead. When he moves to other positions and strings, he then alternates the tapping between the two strings, but for our main lick, stick to tapping the ninth fret E on the G string. </p> <p>This tap will serve as your “pulse” as you ramp the lick up to speed. Paul demonstrates this on the video, alternating between the original legato lick and the tapped lick. Listen for the rhythmic accents of each tap in the lick. This is the key to working with the odd set of notes and making the lick flow.</p> <p>We can see why this lick has never been transcribed before, but it’s reassuring to see that even a player as precise and technically accomplished as Gilbert finds the lick so intuitive that it’s hard to explain.</p> <p>One of the trickiest parts of playing <strong>FIGURE 19</strong> is executing the fret-hand tap with the pinkie. This needs to be done quickly and firmly in order to generate sufficient volume for the note to be heard in balance with the other notes. Try practicing the first eight notes as a separate lick, aiming for even volume and tone between the notes. This will help with the transition between the third and fourth strings.</p> <p><strong><a href="http://www.guitarworld.com/shred-alert-dvd-let-paul-gilbert-teach-you-how-shred">[[ 'Shred Alert' DVD: Let Paul Gilbert Teach You How to Shred</a> ]]</strong></p> <hr /> <strong>Tapping Licks</strong> <p>Gilbert prefers to use his index finger to tap, favoring an upward flick to produce the initial pull-off. Experiment with your index or middle finger, using either an upward or downward flick. Your tapping hand will experience more up-and-down movement than usual, so try to avoid looking at your fretting hand at all, if possible.</p> <p><strong>FIGURE 20</strong> is a tapping lick that incorporates both an ascending and descending arpeggio shape. In <strong>FIGURE 21</strong>, the guitarist introduces his unique “Gilbertism” of tapping and hammering on at the same fret, in this case the fourth. The effect created in this example is a double effect on the B note. Gilbert uses this technique to great effect in many of his blazing solos. As he breaks it down in the video, you can see that it’s more a matter of coordination than hand speed.</p> <p><img src="/files/imce-images/20%2021.png" width="620" height="261" alt="20 21.png" /></p> <p>Notice in both figures that Gilbert uses the same pattern on each three-note shape. You should see the potential of using this idea on different strings and scales. In <strong>FIGURE 22</strong>, Gilbert takes this idea up the neck on the G string, staying within the A natural minor scale (A B C D E F G). The main difficulty here is getting the tapping finger out of the way of the fret hand’s third finger as both hands move up the string. Strangely, you may find this lick slightly easier to coordinate than the previous one, even though it looks more difficult!</p> <p>In <strong>FIGURE 23</strong>, Gilbert applies the same idea to the A minor pentatonic sale to make it sound more “rock.” Since the shapes are bigger, with the notes being spread further apart, there will be more movement between both hands, so start off by learning two or three shapes at a time and at a slower speed, then connect them and crank up the tempo. You’ll find it helpful to first get acquainted with the fret-hand shapes before adding the tapped notes. This will make it easier to work out the most comfortable fingering patterns for each. Try moving this idea onto other strings, and introduce new scales for variety.</p> <p><img src="/files/imce-images/22%2023.png" width="620" height="256" alt="22 23.png" /></p> <p><img src="/files/imce-images/23%20more.png" width="620" height="260" alt="23 more.png" /></p> <p>To make your fret-hand shifts easy, use your index finger to slide to the note you have just vacated. You should be able to see this from the side without looking away from your tapping finger. Similarly, your fretting hand doesn’t move as soon as you change shape; it simply taps the same fret as the highest note in the previous shape.</p> <p><strong><a href="http://www.guitarworld.com/shred-alert-dvd-let-paul-gilbert-teach-you-how-shred">[[ 'Shred Alert' DVD: Let Paul Gilbert Teach You How to Shred</a> ]]</strong></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="/paul-gilbert">Paul Gilbert</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/school-shred-paul-gilbert-teaches-isightful-lesson-art-and-science-lead-guitar-playing#comments Paul Gilbert School of Shred September 2007 Paul Gilbert's Shred Alert News Features Lessons Magazine Tue, 13 Jan 2015 17:41:17 +0000 Paul Gilbert and Guitar World Staff http://www.guitarworld.com/article/19370 Troy Grady Breaks Down Steve Vai's "Intimidation Lick" from 'Crossroads' — Video http://www.guitarworld.com/troy-grady-breaks-down-steve-vais-intimidation-lick-crossroads-video <!--paging_filter--><p>As any good GuitarWorld.com follower knows, we often share the very highly detailed and entertaining lesson videos of a guitarist named Troy Grady.</p> <p>Here are two recent examples: </p> <p>• <a href="http://www.guitarworld.com/paul-gilbert-lesson-truth-about-inside-and-outside-picking-video">Paul Gilbert Lesson: The Truth About Inside and Outside Picking — Video</a></p> <p>• <a href="http://www.guitarworld.com/yngwie-malmsteem-lesson-cracking-code-season-2-episode-2-inside-volcano-video">Yngwie Malmsteen Lesson: Cracking the Code, Season 2, Episode 2: "Inside the Volcano."</a></p> <p>Well, in the video below, Grady tackles what he calls Steve Vai's "Intimidation Lick" from the guitar-duel scene in the 1986 feature <em>Crossroads.</em> As always, it's fascinating to watch Grady break down and explain the lick. Check out the video below, and you'll see what I mean.</p> <p>As Grady points out in the comments below, you can find tablature for this lesson <a href="http://troygrady.com/2014/01/22/steve-vai-crossroads-intimidation-breakdown/">right here.</a></p> <p><strong>For more about Grady and his instructional videos, visit <a href="http://www.troygrady.com/code/">troygrady.com</a> and <a href="https://gumroad.com/l/ccseason2">gumroad.com</a>.</strong> Enjoy!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/7M8GfYMqfWM" 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="/steve-vai">Steve Vai</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/troy-grady-breaks-down-steve-vais-intimidation-lick-crossroads-video#comments Cracking the Code Steve Vai Troy Grady Videos News Lessons Mon, 12 Jan 2015 21:38:57 +0000 Damian Fanelli http://www.guitarworld.com/article/23270 LessonFace with Steve Stine: Absolute Fretboard Mastery, Part 12 — Applying the Modes http://www.guitarworld.com/lessonface-steve-stine-absolute-fretboard-mastery-part-12 <!--paging_filter--><p><strong>Live online group and private classes are starting in January at <a href="http://lessonface.go2cloud.org/SHK">Lessonface.com.</a></strong></p> <p>In this month’s installment of Absolute Fretboard Mastery (which happens to be the final installment), we’ll be going a little bit deeper into the modes we learned last month by learning how to apply them across our fretboard. </p> <p>But before we get into that, I want to address a common misconception a lot of guitarists have when learning the modes. They think of modes as completely separate entities, as opposed to different aspects of one scale. </p> <p>This was something that confused me too when I started learning about modes, so I want to make sure we’re absolutely clear on exactly what modes are and how they function.</p> <p>Let’s start off by taking a look at the first position of the A minor pentatonic we’ve learned: </p> <p><img src="/files/imce-images/graphic1620.jpg" width="620" height="286" alt="graphic1620.jpg" /> </p> <p>Say we were playing in the key of A minor; the pitches we would emphasize in this first position are the A notes, which are highlighted in the chart above. Of course, there are various other notes we could emphasize on in this position, but as long as the chord is A minor, we stick to emphasizing those A notes. </p> <p>When we move to the second position of the A minor pentatonic scale, the structure of this position looks different from the first, but as long as we’re playing in the key of A minor, we’d still be trying to find those A notes to emphasize them. </p> <p><img src="/files/imce-images/graphic2620.jpg" width="620" height="286" alt="graphic2620.jpg" /></p> <p>In the same way, as we keep moving through the remaining three positions of the A minor pentatonic scale, we’d keep emphasizing those A notes. </p> <p>When we move onto the diatonic scale, things can get a bit confusing because sometimes we label the first shape of the diatonic scale as Ionian, the second as Dorian and the third as Phrygian, and so on and so forth. To clear things up, let’s take a look at the first spread-finger shape of the G major scale:</p> <p><img src="/files/imce-images/graphic3620.jpg" width="620" height="286" alt="graphic3620.jpg" /></p> <p>Remember that if you want to change to a different key, you can simply move this shape around. For example, C major would be: </p> <p><img src="/files/imce-images/graphic4620.jpg" width="620" height="286" alt="graphic4620.jpg" /> </p> <p>Going back to our example, let’s take a look at the second shape of the G major scale: </p> <p><img src="/files/imce-images/graphic5620.jpg" width="620" height="286" alt="graphic5620.jpg" /></p> <p>Sometimes people refer to this second position as Dorian. But we know from last month’s lesson that Dorian simply means “two,” and when we say we’re playing in A Dorian, we’re still in the key of G major and simply emphasizing the note A and the chord A minor. </p> <p>But here’s the thing: Instead of moving to the second position, we can still stay in the first position of G major and target the A notes in that shape. </p> <p><img src="/files/imce-images/graphic6620.jpg" width="620" height="286" alt="graphic6620.jpg" /></p> <p>Stop thinking that if you want to play in Dorian you HAVE to move to the second position. Or that if you want to play in Phrygian you HAVE to move to the third position, and so on. Just as the five pentatonic shapes allow you to navigate across your entire fretboard, I want you to internalize the fact that the seven shapes of the diatonic scale allow you to play across your whole fretboard while emphasizing any note you want, in any position you want. </p> <p>Instead of looking at your fretboard and visualizing the first position as Ionian, the second position as Dorian, the third as Phrygian and so on, work on being able to visualize all seven positions across your fretboard while remembering you also can emphasize whichever note you want across all seven positions. </p> <p>A good way of approaching this is to first memorize all seven positions of the diatonic scale across the fretboard. You can do this by tackling a couple of positions at a time, then connecting them to each other, the same way we did with the pentatonic scales, until you can connect them across the entire fretboard. </p> <p>Once you’ve done that, and once you’ve also internalized what we learned in last month’s lesson, when someone says you need to play in G Dorian, all you’ll have to do is understand that you’re really in F major. Move all seven positions to coincide with the key of F and then emphasize the G notes across all the scale shapes. </p> <p>By doing this, you prevent yourself from falling into the trap of segregating yourself to specific scale shapes when wanting to play in a specific mode. In addition, this helps with your absolute understanding of modes and how they relate to the major scales they are a part of. </p> <p>Say you need to play in a specific mode; all you need to do is grasp which major scale you’re in, visualize the seven shapes of that scale across your fretboard and then decide on the notes to emphasize across these scale shapes. For instance, if you need to play in D Mixolydian, you need to first understand that you’re in the key of G. </p> <p>Then you can visualize the seven shapes of the G major scale across your fretboard and finally target and emphasize the D notes in these shapes to play in D Mixolydian. If you’re having trouble spotting the notes across your frets, you might want to revisit some of the earlier lessons in this series where we talked about learning the notes across each string. </p> <p>As always, I hope you practice hard and work on these concepts until you internalize them. I’ll talk to you soon! </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/5IMdvk8QVkw" frameborder="0" allowfullscreen></iframe></p> <p><strong>Try any lesson or class on <a href="http://lessonface.go2cloud.org/SHK">Lessonface.com.</a>. Your satisfaction is guaranteed. You’ll find great teachers in a multitude of instruments, genres and levels. For more information, <a href="http://lessonface.go2cloud.org/SHK">head here.</a></strong></p> <p><strong><em>Steve Stine is a longtime and sought-after guitar teacher who is professor of Modern Guitar Studies at North Dakota State University. Over the last 27 years, he has taught thousands of students, including established touring musicians, and released numerous video guitar lesson courses via established publishers. A resident of Fargo, North Dakota, today he is more accessible than ever before through the convenience of live online guitar lessons at <a href="http://lessonface.go2cloud.org/aff_c?offer_id=7&amp;aff_id=1001">Lessonface.com.</a></em></strong></p> http://www.guitarworld.com/lessonface-steve-stine-absolute-fretboard-mastery-part-12#comments LessonFace Steve Stine Videos Blogs Lessons Mon, 12 Jan 2015 19:01:53 +0000 Steve Stine http://www.guitarworld.com/article/23268 Two-Hand Tapping Workout, Part 1: Pentatonic Scales http://www.guitarworld.com/two-hand-tapping-workout-part-1-pentatonic-scales <!--paging_filter--><p>In this lesson, I'm going to show you a two-hand tapping workout based on the foundation of my previous 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> </p> <p>Assuming you're already comfortable with the five positions of the pentatonic scale and the sequences discussed in this previous lesson, we'll now take it to the next level. </p> <p>We’ll use the A minor pentatonic scale at the fifth position as our example, but you will want to make sure you can perform this routine in all five positions of the pentatonic scale. </p> <p>This workout starts with the A minor pentatonic scale ascending and descending, with the added element of our right hand, tapping an additional note normally found in the next position of the scale (<strong>Example 1</strong>).</p> <p><img src="/files/imce-images/Ex._1_0.jpg" width="620" height="107" alt="Ex._1_0.jpg" /> </p> <p>After this establishes the fingering for your left and right hands, the workout continues with a two-string sequence, where you play the “high note-low note-middle note” tapping pattern across sixth and fifth strings. This pattern starts again on the fifth string, continues to the fourth string, then repeats in a similar fashion ascending across all six strings. Turn the direction around to descend (<strong>Example 2</strong>).</p> <p><img src="/files/imce-images/Ex_2.jpg" width="620" height="192" alt="Ex_2.jpg" /> </p> <p>The third part of the workout is a sequence that ascends in nine-note groups (three strings’ worth of tapped pentatonic scale), then back a string, start on the D (fifth string) and ascend another nine notes (three strings). </p> <p>Continue this pattern until you start the sequence on the G string, at which point you simply turn the pattern around and perform the sequence in reverse: From the high E string, you play the tapping pattern descending nine note (three strings), go back a string and start the pattern again on the B string, and again, continuing in the same fashion (<strong>Example 3</strong>).</p> <p><img src="/files/imce-images/Ex._3_0.jpg" width="620" height="175" alt="Ex._3_0.jpg" /></p> <p>The fourth and final part of the tapping workout involves string skipping. Using the same tapping pattern (high note-low note-middle note) as before, start on the low E string, skip the A string, play the pattern on the D string, go back to the A string and start the pattern again, then skip the D string, and play the tapping pattern on the G string. This pattern continues, gets turned around like before, and then works its way back in reverse (<strong>Example 4</strong>).</p> <p><img src="/files/imce-images/Ex._4_0.jpg" width="620" height="191" alt="Ex._4_0.jpg" /> </p> <p>I like to string these four examples together, playing then back to back, without stopping. I find this forces me to think ahead, be able to change gears and mix things up in my regular playing more easily.</p> <p>Practice these as straight eighth notes, as well as triplets. Once you are able to play these four elements back to back without any problems, try it with the other four pentatonic 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/L7eZOH6QmBA" 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 Progressive Guitar Warmups and Exercises. 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/two-hand-tapping-workout-part-1-pentatonic-scales#comments Adrian Galysh Videos Blogs Lessons Mon, 12 Jan 2015 18:12:55 +0000 Adrian Galysh http://www.guitarworld.com/article/23267 Paul Gilbert Lesson: The Truth About Inside and Outside Picking — Video http://www.guitarworld.com/paul-gilbert-lesson-truth-about-inside-and-outside-picking-video <!--paging_filter--><p>Guitarist Troy Grady hosts a web series called "Cracking the Code."</p> <p>In each episode, he breaks down a phrase—or something awesome that he has learned or figured out—and then explains it in a detail-packed way that includes an information- and graphics-packed video.</p> <p>In the recent past, we've shared two "Cracking the Code" videos dedicated to Yngwie Malmsteen's picking:</p> <p>• <a href="http://www.guitarworld.com/yngwie-malmsteem-lesson-cracking-code-season-2-episode-1-get-down-upstroke-video">Yngwie Malmsteen Lesson: Cracking the Code, Season 2, Episode 1: "Get Down for the Upstroke"</a></p> <p>• <a href="http://www.guitarworld.com/yngwie-malmsteem-lesson-cracking-code-season-2-episode-2-inside-volcano-video">Yngwie Malmsteen Lesson: Cracking the Code, Season 2, Episode 2: "Inside the Volcano."</a></p> <p>Today we bring you Grady's new Paul Gilbert-themed lesson, "The Truth About Inside &amp; Outside Picking." </p> <p>"Chapter 24 of the <em>Antigravity</em> seminar explores the amazing Paul Gilbert and the often-misunderstood concepts of inside and outside picking," Grady says. You can learn more about Grady's <em>Antigravity</em> series <a href="http://www.troygrady.com/mechanics/">right here.</a></p> <p><strong>For more about Grady and his instructional videos, visit <a href="http://www.troygrady.com/code/">troygrady.com</a> and <a href="https://gumroad.com/l/ccseason2">gumroad.com</a>.</strong> Enjoy!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/y1Na-NdRrOQ" 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="/paul-gilbert">Paul Gilbert</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/paul-gilbert-lesson-truth-about-inside-and-outside-picking-video#comments Cracking the Code Paul Gilbert Troy Grady Videos News Lessons Fri, 09 Jan 2015 19:32:36 +0000 Damian Fanelli http://www.guitarworld.com/article/23253 Led Zeppelin, "Babe I'm Gonna Leave You" — In Deep Video by Andy Aledort http://www.guitarworld.com/led-zeppelin-babe-im-gonna-leave-you-deep-video-andy-aledort <!--paging_filter--><p>In this video from the vast <em>Guitar World</em> archives, Andy Aledort shows you how to play "Babe I'm Gonna Leave You," a track from Led Zeppelin's debut 1969 album.</p> <p>An acoustic masterpiece, this song features a bittersweet circular chord progression presented as ringing, fingerpicked arpeggios. Particularly noteworthy is the way Jimmy Page spins numerous subtle melodic variations on the theme throughout the song (check out the one at 3:40 in the original recording), sweetening the aural pot with dramatic dynamic contrasts.</p> <p>This might be one of the most perfectly recorded and mixed acoustic guitar tracks ever. Notice how, in the song’s intro, the “dry” (up-front and un-effected) acoustic guitar is in the left channel while the right channel is mostly “wet,” saturated in cavernous reverb.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/_zadFCjVG0Q" 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="/andy-aledort">Andy Aledort</a> </div> <div class="field-item even"> <a href="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item odd"> <a href="/jimmy-page">Jimmy Page</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/led-zeppelin-babe-im-gonna-leave-you-deep-video-andy-aledort#comments Andy Aledort Jimmy Page Led Zeppelin Videos News Lessons Fri, 09 Jan 2015 13:15:33 +0000 Guitar World Staff http://www.guitarworld.com/article/22668 Jazz Guitar Corner: Soloing with the Mixed Blues Scale http://www.guitarworld.com/jazz-guitar-corner-soloing-mixed-blues-scale <!--paging_filter--><p>Learning to play the blues in a jazzy style means stepping outside the minor blues scale and exploring other melodic options in your solos. </p> <p>But you don’t need to go very far to find a cool-sounding scale that can jazz up your blues solos in no time. </p> <p>In today’s lesson, we’ll be looking into the mixed blues scale, which combines the notes from the minor and major blues scales to outline the underlying blues chord changes, while retaining a healthy dose of the blues at the same time. </p> <p><strong>Major and Minor Blues Scales</strong></p> <p>To begin, here's a quick review of the minor and major blues scales, written over an A7 chord in the example below. </p> <p>The minor blues scale contains the notes R-b3-4-#4-5-b7, and the major blues scale contains the notes R-2-b3-3-5-6, so they share a few notes and have a few different notes between them. </p> <p>The notes they share are the root, b3 and 5th, while the other notes are different between the two scales; minor blues has the 4, #4 and b7; while the major blues scale has 2, 3 and 6.</p> <p>Try playing both of these scales back to back over an A7 chord, with a backing track if possible, in order to hear how they both sound when applied to a chord such as A7. </p> <p><img src="/files/imce-images/Jazz%20Blues%20Scale%201.jpg" width="620" height="154" alt="Jazz Blues Scale 1.jpg" /></p> <p><strong>Mixed Blues Scale</strong></p> <p>Now that you've looked at both of these scales separately, we’re going to combine the major and minor blues scales in order to build what I like to call the mixed blues scale. </p> <p>This scale contains all of the notes from both scales, R-2-b3-3-4-#4-5-6-b7, and has a sound that outlines the chord, since it has the R-3-5-b7 arpeggio built into it, and remains bluesy with the b3 and #4 at the same time. </p> <p>While you could play all of these notes in order, as I wrote out in the previous paragraph, you’ll see in the example below that I leave out certain notes along the way, notes that get added in later in the scale. </p> <p>This is mostly due to the fact that many famous players who use this scale tend to use certain notes in specific octaves, so I’ve written it out in that way to get you into that style quickly and accurately when adding this scale to your soloing repertoire. </p> <p>Try putting on an A7 backing track and play up and down this scale to hear how it sounds over that chord, and then begin to improvise over an A7 harmony using only the A mixed blues scale as the basis for your lines to hear how it sounds in a soloing situation. </p> <p><img src="/files/imce-images/Jazz%20Blues%20Scale%202.jpg" width="620" height="154" alt="Jazz Blues Scale 2.jpg" /> </p> <p><strong>Mixed Blues Scale Lick</strong></p> <p>Lastly, here’s an example of a lick over A7 built with the notes from the A mixed blues scale. </p> <p>Since this scale contains the notes of the A7 arpeggio, you need to treat it more like an arpeggio than a blues scale, meaning that if you have an A7 chord, you play the A mixed blues scale. If you have a D7 chord, you play a D7 mixed blues scale and so on. </p> <p>Try this lick out and see how it sounds over an A7 chord, before transposing it to other keys, adding it to your solo vocabulary and writing/learning a number of mixed blues scale licks of your own as you explore this concept further in the woodshed. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/118098721"></iframe></p> <p><img src="/files/imce-images/Jazz%20Blues%20Scale%203.jpg" width="620" height="162" alt="Jazz Blues Scale 3.jpg" /></p> <p>Do you have a question about this mixed blues scale lesson? Share your comments and questions in the COMMENTS section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-soloing-mixed-blues-scale#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Thu, 08 Jan 2015 19:33:35 +0000 Matt Warnock http://www.guitarworld.com/article/19640