Lessons http://www.guitarworld.com/taxonomy/term/8/all en 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 Cracking the Code with Troy Grady: Yngwie Malmsteen's Rotational Picking Mechanic http://www.guitarworld.com/cracking-code-troy-grady-yngwie-malmsteens-rotational-picking-mechanic <!--paging_filter--><p>The most fundamental challenge in fast picking is also the easiest to spot from halfway across the room: the motion mechanic.</p> <p>To play notes with a pick, we need a way of moving it back and forth in the classic alternating down-up picking sequence.</p> <p>Historically, this movement, or motion mechanic, has been the most visible and most commonly discussed component of picking technique. The sheer variety of motion mechanics used by elite players has been a source of fascination and bewilderment. </p> <p>While rotational forearm techniques are probably the most common, elbow and even finger-based motion mechanics are also possible.</p> <p>Yngwie Malmsteen, to take a highly relevant example for the <a href="http://www.troygrady.com/code">Cracking the Code</a> documentary series, uses all three. Malmsteen's legendarily fast rotational motion mechanic, which he employs for pure alternate picking, is a highly capable all-rounder and also a great introduction to rotational picking techniques that are so common in guitar.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/UcT7hAb3auM" frameborder="0" allowfullscreen></iframe></p> <p><strong>Finding the Slant</strong></p> <p>If you haven't already settled on a motion mechanic for alternate picking, or if you'd like to experiment with a new one, Malmsteen's rotational mechanic is natural, it's easy to replicate and it's fast and effective. So it's an ideal companion to his entire system of one-way pickslanting, even numbered note groupings and sweeping.</p> <p>Here's how to do it: From an anchor position, with the right side of the palm resting on the bridge, simply rotate the hand downward so that the pick assumes the classic downward slant. This hand position should feel completely natural, similar to what happens when you hook your thumb into your belt loop. There should be no tension anywhere in the hand or arm because no real effort is required to make this happen. You're simply resting the hand against the body of the guitar and allowing gravity to do its work. Here's what it looks like when Malmsteen does it:</p> <p><img src="/files/imce-images/malmsteen-dwps_0.jpg" width="620" height="349" alt="malmsteen-dwps_0.jpg" /></p> <p>This is the classic downward pickslanting hand position that is key not just to Malmsteen's style, but also the styles of Randy Rhoads, Steve Vai, <a href="http://www.guitarworld.com/cracking-code-eric-johnsons-pickslanting-pentatonics">Eric Johnson</a>, and so many other guitar legends.</p> <p>You'll know you're doing it correctly when pickstrokes are no longer parallel to the strings, but angled with respect to them. Downstrokes now bury themselves between the strings—or hit the guitar's body. Upstrokes pull away from the guitar's body, and break free of the strings. This classic "escaped" upstroke is the key to switching strings in the downward pickslanting system, and the reason that nearly all of Yngwie's purely alternate picked phases are designed to switch strings exclusively after upstrokes.</p> <p><strong>Making it Rotate</strong></p> <p>A powerful effect of Malmsteen's default hand position is what it does to the picking movement itself. Because of the way the hand rolls away from the body on upstrokes, the path it now traces in doing so is curved. This movement, known as forearm supination, is actually a type of rotation: the appropriately named radius is actually rotating around the other forearm bone, the ulna, which remains static. You can feel this pretty clearly if you simply place a finger under your forearm as you turn an imaginary doorknob: that bone doesn't move. Cool!</p> <p>For the most part, the muscles involved in doing this are forearm muscles. They're small, they're fast, and they don't tire easily. This is where the speed in this technique comes from. But you'll notice that you can still hit the strings pretty hard this way if you want to. And that's because part of the power in this technique comes from above: the biceps.</p> <p><img src="/files/imce-images/pronation-supination.jpg" width="620" height="349" alt="pronation-supination.jpg" /></p> <p>You may be familiar with the larger and more powerful biceps as a component of Arnold Schwarzenegger's legendary Mr. Olympia-winning profile. They're in the upper arm, but they actually attach directly to the radius in the forearm. </p> <p>This means they can also function as forearm supinators. This provides serious power on the upstroke, which is actually the <a href="http://www.ncbi.nlm.nih.gov/pubmed/12121684">stronger of the two movements</a> when the elbow is bent, as it is in guitar playing. It's an incredible system, and the way it works in conjunction with the design of the guitar is, again, a fascinating coincidence of instrument design, anatomy and physics.</p> <p>When these supination and pronation movements are small, it may not be completely obvious to you that the system is rotational. And that's fine. In fact, the best way to execute the movement is not to think about rotation at all. The rotation is simply the natural consequence of the hand position needed for downward pickslanting.</p> <p><strong>Magic Fingers</strong></p> <p>Astute observers will also note that Malmsteen also mixes a small amount of finger movement into the rotational mechanic. This is a fascinating bit of his intuitive genius for economic movement, and a hallmark of his sweeping technique in particular. But when it comes to pure alternate picking, this finger movement is subtle, and not the aggressive thumb bending that is sometimes attributed to him. A quick comparison of a consecutive upstroke and a downstroke, moments apart, makes this clear:</p> <p><img src="/files/imce-images/malmsteen-upstroke-vs-downstroke.jpg" width="620" height="349" alt="malmsteen-upstroke-vs-downstroke.jpg" /></p> <p>This graceful flexing of the thumb complements the prono-supination of the forearm by reducing the amount of movement necessary. But its effect is subtle, and not really the aggressive "circular" movement that is sometimes described. In fact, probably the simplest way to begin investigating Malmsteen's fascinating alternate picking mechanic is by focusing on its foundation in rotation first.</p> <p><strong>Evil Eye</strong></p> <p>And in that regard, once you assume the correct hand position, everything else should fall into place. In this example, a classic single-string Malmsteen gem from the song "Evil Eye," it's not immediately apparent from the wide-angle clip what's happening. But as soon as we switch to the close-up camera, the rotational mechanic becomes apparent. Notice how the palm rolls away from the guitar on the upstroke and closes up against it on downstrokes. This is the rotational mechanic in action:</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ZY-y2mhs7i0" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202015-02-09%20at%2011.30.56%20AM.png" width="620" height="357" alt="Screen Shot 2015-02-09 at 11.30.56 AM.png" /></p> <p><strong>The Viking-Gypsy Connection</strong></p> <p>Now, if the motion mechanic you already have is working for you, I'm not suggesting you run out and change it. The real value in deconstructing Yngwie's system is understanding that specific motion mechanics like this are learnable by almost anyone. For too long, guitarists have been told they need to play the way "that's right for you." </p> <p>This seemingly innocuous piece of advice has sent generations of players on a needless quest for technical unicorns. In reality, there is nothing special about human physiology that requires everyone to play differently. And there is nothing unusual about Malmsteen's motion mechanic that would prevent most people from learning it, regardless of their prior playing habits.</p> <p>In fact, we only have to look at the gypsy jazz style and culture for evidence that specific motion mechanics can be taught with success to a wide range of players. The gypsy technique is one of the few standardized systems for motion mechanics and string switching mechanics that exist in guitar. Their motion mechanics are also based on supination/pronation, but with a distinctly arched forearm anchor on the guitar's body, rather than the bridge. This "acoustic arch" is common among players in many acoustic styles, even outside of gypsy jazz:</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/u1hLJ_wz1Gk" frameborder="0" allowfullscreen></iframe></p> <p>Critically, in the gypsy style, these mechanics are introduced at the earliest stages of instruction, so that gypsy players benefit from a common foundation in proven, efficient picking motion. This standardized approach has resulted in generations of players with extremely similar, and uniformly impressive abilities.</p> <p>And this makes sense. When you remove the uncertainty from the equation, and allow dedicated players to focus their energies on proven systems with expected results, amazing skills can develop. And most of all, amazing music can be played.</p> <p><strong>For more on Malmsteen's ingenious approach to picking mechanics, check out our <a href="http://www.troygrady.com/mechanics/">Masters in Mechanics "Inside the Volcano" seminar</a>, an exhaustive four-hour investigation of the master's system in action. And stay tuned to this space right here at GuitarWorld.com, as we tackle more interesting topics at the intersection of music and mechanics.</strong></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="/yngwie-malmsteen">Yngwie Malmsteen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/cracking-code-troy-grady-yngwie-malmsteens-rotational-picking-mechanic#comments Cracking the Code Troy Grady Yngwie Malmsteen Videos Blogs News Lessons Tue, 10 Feb 2015 15:44:44 +0000 Troy Grady http://www.guitarworld.com/article/23461 Thrash Course with Dave Davidson: More Melodic Options for Combining Sweeping and Tapping Techniques — Video http://www.guitarworld.com/thrash-course-dave-davidson-more-melodic-options-combining-sweeping-and-tapping-techniques-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>Last month, I demonstrated some effective ways to incorporate the techniques of sweep picking and fretboard tapping into a single arpeggio-based run. </p> <p>As you recall, we started out using minor seven arpeggios and then mutated them into minor seven flat-five. </p> <p>This month, I’d like to apply these same concepts to other arpeggio types, or qualities, namely major seven, major seven sharp 11 and major seven sharp five.</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/7LWjvDYrWb0" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/thrash-course-dave-davidson-more-melodic-options-combining-sweeping-and-tapping-techniques-video#comments Dave Davidson March 2015 Revocation Thrash Course Videos News Lessons Magazine Mon, 09 Feb 2015 21:59:42 +0000 Dave Davidson http://www.guitarworld.com/article/23396 Joe Bonamassa Posts Fretboard Knowledge Lesson Video for Les Paul Forum http://www.guitarworld.com/joe-bonamassa-posts-fretboard-knowledge-lesson-video-les-paul-forum <!--paging_filter--><p>Last week, Joe Bonamassa was feeling a bit under the weather, but he still had time—and the desire—to whip up a quick lesson video for the gang on the Les Paul Forum.</p> <p>"At home nursing a pretty good head cold and sinus infection," wrote Bonamassa January 28 on <a href="https://www.facebook.com/JoeBonamassa">his Facebook page.</a> "I was bored and thought I would do a lesson for my friends at <a href="http://www.lespaulforum.com/finalframes/frameset.htm">the Les Paul Forum.</a>"</p> <p>You can check out his video, which is about fretboard knowledge, below. </p> <p>Hope you're feeling better, Joe!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ZBzdyd37ZUQ" 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="/joe-bonamassa">Joe Bonamassa</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/joe-bonamassa-posts-fretboard-knowledge-lesson-video-les-paul-forum#comments Joe Bonamassa Videos News Lessons Fri, 06 Feb 2015 17:16:22 +0000 Guitar World Staff http://www.guitarworld.com/article/23451 In Deep: Breaking Down the Signature Elements of Gary Moore's Immediately Identifiable Guitar Style http://www.guitarworld.com/deep-gary-moore <!--paging_filter--><p>In this edition of In Deep, we’ll examine some of the signature elements of the brilliant blues-rock guitarist Gary Moore’s stunning, immediately identifiable guitar style.</p> <p>Born in 1952, in Belfast, Northern Ireland, Moore picked up the guitar at the age of eight, inspired by the music of Elvis Presley, the Shadows and the Beatles. </p> <p>But his strongest influences were John Mayall’s Bluesbreakers guitarists Eric Clapton and Peter Green, as well as legendary electric blues progenitors Albert King, B.B King and Albert Collins. Another important influence was Jimi Hendrix; Moore would regularly include Hendrix’s slow blues “Red House” in his live shows. </p> <p>Though Moore was often seen playing a beautiful Fiesta Red 1961 Strat, his signature sound is more closely associated with the beloved 1959 Les Paul Standard that he played for many years (see sidebar on page 36). He purchased that guitar from Peter Green in 1970 and, fittingly, used it to record his 1995 tribute to his mentor, <em>Blues for Greeny.</em> </p> <p>Often, Moore would begin a song using the warm tone of his Les Paul’s neck pickup, with which he would perform melodic, vocal-like lines, then switch over to the bridge pickup for his solos to achieve a more aggressive and biting sound. </p> <p>Moore often employed a fair amount of gain—courtesy of Marshall heads (often JTM45s), 4x12 basketweave Marshall cabinets and Marshall Guv’nor and Ibanez Tube Screamer pedals—and was known for conjuring tremendous sustain, such as the celebrated “endless note” featured in his live performances of his classic song “Parisienne Walkways.” </p> <p>A great way to approach incorporating Gary Moore–style licks into your playing is to start with the most essential scale for blues/rock soloing, the minor pentatonic. <strong>FIGURE 1</strong> shows the A minor pentatonic scale in fifth position.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep0511_1.jpg" /></p> <p>The fingering I use for this scale is index-pinkie on the low E string, switching to index-ring finger for the rest of the scale. One of the unusual things about Moore’s style is that he preferred to use his middle finger in conjunction with his index for a great many of his licks, similar to the fretting approach of Gypsy jazz great Django Reinhardt. When playing this type of scale in this position, Moore would often use his index and ring fingers on the top two strings and the low E string but would switch to index-middle for all the other strings.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/pWCZSVkGn8g" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> Occasionally, Moore would stick with the index-middle approach across virtually all of the strings, along the lines of <strong>FIGURE 2</strong>. In this lick, I start by barring the index finger across the top two strings at the fifth fret and use the middle finger to execute the quick half-step bends on the B string, as well as the fast hammer-ons and pull-offs across the B and G strings.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep0511_3.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep0511_4.jpg" /></p> <p><strong>FIGURE 3</strong> details a “traditional” fingering for descending the minor pentatonic scale in this position within groups of 16th-note triplets. </p> <p>A staple of Moore’s soloing style was to unleash fast flourishes of notes, executed with free-form “crammed” phrasing that rushed over the top of the groove. He would balance these fiery blasts with simpler, more vocal-like phrases that would effectively pull his improvisations back into the groove. For many of these runs, Moore would rely on quick hammer-on/pull-off figures between pairs of notes on a given string, as demonstrated in <strong>FIGURES 4a and 4b. </strong></p> <p><img src="http://dl.guitarworld.com/tabs/indeep0511_5.jpg" /></p> <p>In FIGURE 5a, I apply this concept to every string as I descend A minor pentatonic in a symmetrical fashion. FIGURE 5b offers a similar, albeit simpler, idea, and FIGURE 5c presents a similar approach applied to an ascending lick.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep0511_6.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep0511_6c.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep0511_7.jpg" /></p> <p>Further permutations on this concept are shown in <strong>FIGURES 6a–c</strong>. Once you’ve got a handle on these, try moving to other areas of the fretboard and apply the concepts to other keys, as demonstrated in <strong>FIGURES 7a and 7b</strong>.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep0511_8.jpg" /></p> <p><strong>FIGURE 8</strong> offers an example of soloing in Gary’s style over a medium straight-eighths funk groove along the lines of his cover of Albert King’s “Oh, Pretty Woman.’</p> <p><img src="http://dl.guitarworld.com/tabs/indeep0511_9.jpg" /></p> <p>The title track of Moore’s hit album <em>Still Got the Blues</em> (a complete transcription of which appears in the May 2011 issue of <em>Guitar World</em>) featured a “cycle of fourths” chord progression more common to jazz than blues or rock. </p> <p><strong>FIGURE 9</strong> is a melodic solo played over this type of progression in the key of Am. Notice that each phrase makes direct reference to the accompanying chord by targeting its third. Also, bar 6 features a fast pull-off lick to the open high E string, a technique Moore utilized in a great many of his solos.</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> </div> </fieldset> http://www.guitarworld.com/deep-gary-moore#comments 2011 Andy Aledort Gary Moore In Deep May 2011 Thin Lizzy In Deep with Andy Aledort News Lessons Magazine Fri, 06 Feb 2015 16:04:38 +0000 Andy Aledort http://www.guitarworld.com/article/17397 Jazz Guitar Corner: "Summertime" — Time to Use Your New Jazz Chords http://www.guitarworld.com/jazz-guitar-corner-summertime-time-use-your-new-jazz-chords <!--paging_filter--><p>One of the most common questions I get from students and readers is, “I've learned tons of jazz chords, but how do I make them sound like music?” </p> <p>Alongside your study of chord voicings on their own, one of the best ways to learn how to apply those chords to your comping and chord soloing is to learn sample chord studies based on the changes to popular jazz tunes. </p> <p>In this jazz guitar lesson, you will expand your knowledge of jazz chords in a practical, musical situation, as well as learn how to play a chord study based on the chord changes to the classic jazz tune, “Summertime.“</p> <p><strong>Chord Shapes in This Study</strong></p> <p>Before you dig into the chord study below, or after you have learned the study and are looking for a reference for those chords, here are the general chord shapes used to create the comping etude in this lesson. </p> <p>Because a lot of these chords are “rootless voicings,” which mean they don't have a root in their construction, or are chord inversions, where the root isn't the lowest note of the chord, working through these shapes outside of the study can be a helpful way to expand your knowledge and understand how the comping etude below was built. </p> <p>Each of the chords in the charts below is written in the order that they appear in the study below, and the name of each chord is written above each shape on the fretboard. As well, the intervals for each chord are labelled on each shape in order to understand the construction and colors used in each shape in the study. </p> <p><img src="/files/imce-images/chords%201.png" width="620" height="911" alt="chords 1.png" /></p> <p><img src="/files/imce-images/chords%202.png" width="620" height="936" alt="chords 2.png" /></p> <p><img src="/files/imce-images/chords%203.png" width="620" height="920" alt="chords 3.png" /></p> <p><strong>Jazz Guitar Chord Study</strong></p> <p>Now that you've looked into the chord shapes used in this study, here's the study itself that you can learn and apply to your own playing. </p> <p>When first working on this chord etude, try learning one phrase at a time, four bars each. This will make it easier to digest the material and memorize the chord shapes in your studies. From there, you can piece the four, four-bar, phrases together to play the study as a whole. </p> <p>Also, a great exercise when working on studies such as this one is to play the study along with a backing track, and then in the second chorus you improvise the comping with your own chords. </p> <p>From there you keep alternating, one chorus of the study and one chorus of your own playing, which will help you integrate the material in this etude into your playing in a very natural and flowing manner. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/189644028&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/summertime%20new.jpg" width="620" height="750" alt="summertime new.jpg" /></p> <p>Do you have a question about this "Summertime" chord study? 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-summertime-time-use-your-new-jazz-chords#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Thu, 05 Feb 2015 18:06:17 +0000 Matt Warnock http://www.guitarworld.com/article/23444 In Deep with Early Blues Masters John Lee Hooker and Lightnin' Hopkins — Video http://www.guitarworld.com/deep-john-lee-hooker-and-lightnin-hopkins <!--paging_filter--><p>The blues is ripe for endless and constant reinvention. </p> <p>Through the decades, it has developed in many different incarnations. </p> <p>These include plantation field hollers; the acoustic guitar playing and songwriting mastery of Charlie Patton, Blind Blake, Blind Lemon Jefferson, Blind Willie McTell and Robert Johnson; the Chicago, Memphis and Texas blues of Muddy Waters, Howlin’ Wolf and T-Bone Walker; and the mid-to-late-Sixties blues-rock revolution spearheaded by Cream and the Jimi Hendrix Experience. </p> <p>Today, bands such as the North Mississippi All-Stars, the Black Keys and Alabama Shakes continue to explore new ways to navigate the dark, swampy sounds honed through this long tradition of blues interpretation. In this edition of In Deep, we’ll be taking a look at the guitar work of two essential early blues guitar masters: John Lee Hooker and Lightnin’ Hopkins.</p> <p>John Lee Hooker was born in 1917 in Coahoma County, Mississippi, and learned to play guitar from his stepfather, Willie Moore, who, conveniently for John Lee, was friends with Blind Lemon Jefferson and Charlie Patton. Hooker went on the road at age 14, joining legendary bluesman Robert Nighthawk in Memphis. </p> <p>In 1948, Hooker began his recording career in style, cutting two incredible tunes—“Boogie Chillen’ ” and “Sally Mae”—at his first sessions, cut in Detroit. The songs were released on the Modern label, owned by the Bihari Brothers (who also recorded B.B. King’s earliest sides), and Hooker’s ascent to blues superstardom was underway. </p> <p>Hooker performed and recorded a great many tunes on both acoustic and electric guitar in open A tuning (low to high, E A E A Cs E), oftentimes using a capo at the first, second or third fret to perform in different keys. He picked with his fingers, primarily using his thumb to strike the bass strings and index finger to pluck the higher strings, and achieved a warm and very percussive sound, often performing alone or with another guitarist for accompaniment. </p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_1.jpg" /></p> <p>FIGURE 1 illustrates a rhythm figure along the lines of “Boogie Chillen’.” Though written in 4/4, this figure is played with a triplet, or swing-eighths, feel, which means that notes indicated as pairs of eighth notes are actually sounded as a quarter note followed by an eighth note within a triplet bracket. </p> <p>Throughout this passage, the thumb and index finger alternate striking the lower and higher strings, with a quick, rolling double hammer-on occurring at the end of each bar. In bar 1, the hammer-on begins on the fourth fret and moves chromatically (one fret at a time) up to the sixth fret. In bar 2, the hammer-on starts on the second fret and moves up chromatically to the fourth fret. In bar 3, rapid slides up to the third fret are executed with an index-finger barre across the top two strings.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_2.jpg" /></p> <p>One of the fascinating aspects of Hooker’s open A playing was that he often used only two primary chords, the “I” (one) and the “IV” (four), forgoing the use of a “V” (five) chord that is common to the majority of blues music. In open A tuning, Hooker would use a standard C “cowboy” chord grip as his four chord, which yields an unusual Dadd9/C sound, as illustrated in FIGURE 2. </p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_3.jpg" /></p> <p>Another interesting aspect of Hooker’s solo work is that he would often shift from a swinging triplet feel to the use of even, or “straight,” eighth notes, which provides great rhythmic contrast and tension. As shown in FIGURE 3, I begin with straight eighths on a sliding A7 chord voicing and then move back to the swinging feel when the initial riff is restated in bars 5–7.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_4.jpg" /></p> <p>Hooker also often used the D7/A voicing shown in FIGURE 4 for his four chord: with the index finger barred across the top three strings at the fifth fret, the pinkie is added and removed from the high E string’s eighth fret. Robert Johnson often used this pattern to great effect as well.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_5.jpg" /></p> <p>Hooker devised some great and very distinct licks in open A tuning, a few of which are presented in FIGURE 5. Following index-finger slides on the top two strings, different A and A7 voicings are followed by great single-note and double-stop licks played on the middle strings using a bit of rhythmic syncopation. You can hear Hooker play riffs like these on his classic song “Sally Mae.” ZZ Top’s Billy Gibbons is a Hooker fanatic, and you can hear many of these kinds of licks on Top classics like “La Grange” and “Jesus Just Left Chicago.”</p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_6.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_7.jpg" /></p> <p>Combining open strings with single-note riffs is a central element of Hooker’s style, made more effective with fingerpicking. FIGURE 6, inspired by “Crawling Kingsnake,” and FIGURE 7, a nod to “Tease Me,” offer a few more examples of how Hooker would combine a catchy melody with an insistent root-note, open-string pedal tone. </p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_8.jpg" /></p> <p>In later years, Hooker relied more often on standard tuning, while still using the capo on the first few frets for changing keys. A great example of his playing style in standard tuning can be heard on “Boom Boom Out Go the Lights.” FIGURE 8 offers an example in this style, marrying a repeated melody, based on E minor pentatonic (E G A B D) to an alternating bass line. </p> <p>Lightnin’ Hopkins was born in 1912 in Centerville, Texas. Like Hooker, he learned directly from encounters with Blind Lemon Jefferson. He began his recording career in 1946 and went on to become one of the most influential blues guitarists ever. Elements of his style are clear in the playing of Jimi Hendrix, Eric Clapton, Jimmy Page, Jeff Beck, Stevie Ray Vaughan and just about everyone that played or plays blues guitar.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_9.jpg" /></p> <p>Hopkins often performed unaccompanied acoustic guitar (or amplified acoustic), picking with his fingers in a manner similar to Hooker but with the use of a thumb pick. FIGURES 9 and 10 offer examples of a mid-tempo swinging 12/8 blues played in his style, akin to his take on the blues classic “Goin’ Down Slow.”</p> <p><strong>Part 1</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/qVfzkTSFS9w" frameborder="0" allowfullscreen></iframe></p> <p><strong>Part 2</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="myExperience1783865990001" 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="1783865990001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> http://www.guitarworld.com/deep-john-lee-hooker-and-lightnin-hopkins#comments In Deep John Lee Hooker Lightnin’ Hopkins October 2012 2012 Videos In Deep with Andy Aledort News Lessons Magazine Wed, 04 Feb 2015 16:20:49 +0000 Andy Aledort http://www.guitarworld.com/article/16556