Lessons http://www.guitarworld.com/taxonomy/term/8/all en What In the World: Using String Skipping to See Scales Differently http://www.guitarworld.com/what-world-using-string-skipping-see-scales-differently <!--paging_filter--><p>When you first learn the three-note-per-string and/or single position seven-note scale, you learn the patterns starting on the low E string and work your way up to the high E and back. </p> <p>You do this for each of the seven patterns up the neck, practicing and perfecting your scales. </p> <p>This is great! The only problem is, this is how you are training your hands and brain to approach them. </p> <p>Rather than viewing the scales as the available notes you have to choose from in a given key/mode, the order of the notes sometimes becomes how you rely on playing them in an improvising and/or composing situation. </p> <p>There is absolutely nothing wrong with this; it has worked fine and beautifully for hundreds of years. The melody for “Joy to the World” is simply a descending major scale. Learning to approach your scales in a different way will shake things up and hopefully change your habits of approaching scales in only an A-to-Z fashion. </p> <p>String skipping is mostly associated with being a shred technique, covering a lot of ground quickly on the guitar by skipping over adjacent strings. The approach I am presenting is not so much a shred thing, but more of a way to know the scale on only two strings at a time, rather than all six, as most people generally learn them. If anything, this will force you to know the notes of the scale better, rather than relying on muscle memory to get through them. Remember the most important thing when playing music is to consciously create, rather than go through the motions of learned patterns that are embedded in our brains from constant repetition. </p> <p>For the examples, I have written the scales out in the key of F. Once the concept is learned, it should be applied to all keys/modes. As you play through these, you will notice different shapes that repeat across each set of two strings according to the degree of the scale you start on. Eventually you will see that if, for instance, you start a pattern on the third degree of the scale, you will be playing one shape; if you start on the root of the scale, you will be playing a different one, etc. </p> <p><strong>String set 1, High E and G strings:</strong></p> <p><img src="/files/imce-images/Lesson-10-1.jpg" width="620" height="445" alt="Lesson-10-1.jpg" /><br /> <br /><br /> <strong>String set 2, B and D strings:</strong></p> <p><img src="/files/imce-images/Lesson-10-2.jpg" width="620" height="461" alt="Lesson-10-2.jpg" /><br /> <br /><br /> <strong>String set 3, G and A strings:</strong></p> <p><img src="/files/imce-images/Lesson-10-3_0.jpg" width="620" height="463" alt="Lesson-10-3_0.jpg" /><br /> <br /><br /> <strong>String set 4, D and low E strings:</strong></p> <p><img src="/files/imce-images/Lesson-10-4.jpg" width="620" height="461" alt="Lesson-10-4.jpg" /></p> <p>To further learn and integrate this approach to your playing, try improvising with this technique using only one string set at a time. Move up and down one string and then hop over to the other string in the set, keeping in mind to be as melodic as possible at all times, rather than trying to shred through the scale. </p> <p>Being limited to only two strings at a time will force you to approach the instrument in a way that you may not have possibly explored before.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/0d5nGfbLifc?list=UUozoKYJmat8MUYcdRo40cHA" frameborder="0" allowfullscreen></iframe></p> <p><em>Steve Booke is a composer for film and TV from the New York area. His compositions range from orchestral to metal to world styles from every corner of the planet. A graduate of Berklee College of Music, Steve has played guitar for more than 28 years. He has recorded 10 albums of his own and has played on countless others. He plays gigs in the NY area and tours the East Coast with a variety of bands. He has performed with Ben E. King and members of Mahavishnu Orchestra. He endorses D'Addario/Planet Waves, Larrivee Guitars, Levy's Leathers, Peavey, Stylus Pick, Finale PrintMusic, Pigtronix, Tech 21, Toontrack, Graph Tech, Seymour Duncan, Waves, Studio Devil and L.R. Baggs. His music is available on iTunes and Amazon. Steve is now offering Skype lessons and can be contacted at info@stevebooke.com. Visit <a href="http://stevebooke.com">stevebooke.com</a> and <a href="https://www.facebook.com/SteveBookeGuitaristComposer">Facebook.com/SteveBookeGuitaristComposer</a>.</em></p> http://www.guitarworld.com/what-world-using-string-skipping-see-scales-differently#comments Steve Booke What In the World Videos Blogs Lessons Tue, 19 May 2015 22:18:28 +0000 Steve Booke 22302 at http://www.guitarworld.com Time to Burn with Michael Angelo Batio: More on Developing Proper Sweep Picking Technique — Video http://www.guitarworld.com/time-burn-more-developing-proper-sweep-picking-technique-video <!--paging_filter--><p>Sweep picking is an incredibly useful and exciting technique that allows guitarists to perform arpeggios in a flashy, keyboard-like manner. </p> <p>It has become a huge part of my playing style, and I’m always looking for new and different ways to incorporate sweep picking into musical ideas I come up with. Last month, I detailed the basic mechanics of the technique, and now I’d like to further demonstrate its proper execution. </p> <p>To review, a sweep is the movement of the pick across two or more adjacent strings in a single, continuous stroke, a downstroke being used to play an ascending melodic line and an upstroke used to play a descending one. Sweeping across only two adjacent strings is also often referred to as economy picking, or rest-stroke picking, typically when applied to phrases that are more scalar than arpeggio-based. </p> <p>Some of the fastest guitarists ever, from gypsy jazz legend Django Reinhardt to jazz-fusion wizard Frank Gambale, have relied on economy, rest-stroke and sweep picking techniques to perform their breathtaking high-velocity solos and make them sound seemingly effortless.</p> <p>For now, we’re going to focus specifically on arpeggios that move across the top five strings. <strong>FIGURE 1</strong> illustrates a sweep-picked A major arpeggio (A C# E). I begin with my index finger on A, fifth string, 12th fret, and pick this note with a downstroke. I then hammer-on with my pinkie to C# at the 16th fret. </p> <p>Then, with my middle finger barred across the D, G and B strings at the 14th fret, I continue the initial downstroke by dragging the pick across these strings and then the high E string, using my index finger to fret the E note at the 12th fret. I then fret the high A at the 17th fret with my pinkie and pick that note with an upstroke. I follow this with a pull-off back to the 12th fret then continue the upstroke by dragging the pick across the B, G, D and A strings in one continuous, unbroken motion, followed by a downstroke on the A note on the fifth string’s 12th fret. <strong>FIGURE 2</strong> illustrates the complete pattern cycled repeatedly in a continuous, even flow of sextuplets. </p> <p>An essential component of proper sweep picking technique is muting unused strings with both hands. When sweeping, I always lightly rest the edge of the pick-hand palm across the strings in front of the bridge (what is known as palm muting), which helps prevent the strings not being picked from ringing. Additionally, when fretting on the lower strings, I use the fleshy “paws” of my fretting fingers to mute the adjacent higher strings, aiding in clear articulation of each note as it is picked, with no other strings ringing. </p> <p>The next step is to work on applying sweeps to other arpeggio shapes in different positions, as demonstrated with a ninth-position A major shape in <strong>FIGURES 3–5</strong>. When played in this position, a one-note-per-string fingering scheme is used, except on the high E string. <strong>FIGURE 3</strong> presents the basic shape, and <strong>FIGURE 4</strong> demonstrates one way you can continuously cycle the pattern. I myself usually double-pick the initial A note when repeating this pattern, as shown in <strong>FIGURE 5</strong>. </p> <p>A great way to practice your sweeps is to alternate between parallel major and minor triads, such as A and Am. <strong>FIGURES 6</strong> and <strong>7</strong> illustrate this approach applied to 12th and ninth positions, respectively. </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="myExperience4244566020001" 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="4244566020001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p><br /><br /> <img src="/files/imce-images/time%20to%20burn.png" width="620" height="679" alt="time to burn.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="/michael-angelo-batio-0">Michael Angelo Batio</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/time-burn-more-developing-proper-sweep-picking-technique-video#comments July 2015 Michael Angelo Batio Time to Burn Videos Blogs News Lessons Magazine Tue, 19 May 2015 19:46:24 +0000 Michael Angelo Batio 24518 at http://www.guitarworld.com Secrets of Shred with Sammy Boller: Whipping Sweep Arpeggios — Video http://www.guitarworld.com/secrets-shred-sammy-boller-whipping-sweep-arpeggios-video <!--paging_filter--><p>In this lesson, I’m going to show you how to expand your sweep picking skills by adding slides to create a chaotic, whipping sound. </p> <p>I’m going to show you two different patterns, then combine them to create longer runs all the way down the neck. </p> <p>Let’s jump right into our first example in the key of D minor.</p> <p><strong>EXAMPLE 1</strong> is a diatonic sweep pattern starting in the 17th position. For this example, I slide between positions by utilizing slides on the high E string. To create a whipping sound, accent the slides as much as possible with your fourth finger. This riff ends with a short D minor pentatonic run in the 10th position. </p> <p>Moving on to <strong>EXAMPLE 2</strong>, I take the same sweep as our first example, but this time shift down to the 10th position using a slide on the G string. For this example, I accent the slide with my third finger. This riff also ends with a short run with the D minor pentatonic scale.</p> <p>For <strong>EXAMPLE 3,</strong> we take the slides of <strong>EXAMPLES 1 and 2</strong> and combine them into a longer descending run. This example starts with the same sweep in the 17th position, but this time, we utilize slides on the G and E strings to reach the pentatonic run in the 10th position. To bring out the whipping effect, be sure to focus on exaggerating the slides between positions as much as possible. Remember, how you play a riff is often more important than executing every note perfectly.</p> <p><strong>EXAMPLE 4</strong> takes things one step further by extending our sweep patterns down the neck to the fifth position. I achieve this by utilizing slides on the high E , B and G strings. In each position, I play notes that are diatonic to D minor. This example ends with a short blues run in the fifth position.</p> <p>When soloing, you can sweep any combination of notes that are in a key—not just diatonic arpeggios. A lot of shredders get stuck only sweeping arpeggio shapes, but sweep picking can be utilized in many different ways. Try coming up with sweep patterns of your own and use exaggerated slides to shift between positions. Hopefully using this whipping slide technique will help break you out of your comfort zone and ultimately expand your dynamic range on the guitar. </p> <p>Cheers!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4a5XKlCqTw0" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Sliding_Sweep_Arpeggios.jpg" width="620" height="644" alt="Sliding_Sweep_Arpeggios.jpg" /></p> <p><em>Sammy Boller is the guitarist for the Detroit rock band <a href="https://www.facebook.com/citizenzero">Citizen Zero</a>. They’re touring and recording their first full-length album with Al Sutton and Marlon Young (Kid Rock, Bob Seger, Uncle Kracker). In 2012, Boller was selected by Joe Satriani as a winner of Guitar Center’s Master Satriani competition. He studied music at the University of Michigan. For more about Boller, or to ask him a question, write to him at info@sammyboller.com or follow him on <a href="https://twitter.com/sammyboller">Twitter</a>.</em></p> http://www.guitarworld.com/secrets-shred-sammy-boller-whipping-sweep-arpeggios-video#comments Sammy Boller Secrets of Shred Videos Blogs Lessons Mon, 18 May 2015 20:51:42 +0000 Sammy Boller 24504 at http://www.guitarworld.com Guitar Chalk Sessions: Four Actionable Practice Methods to Help You Improve Every Day http://www.guitarworld.com/guitar-chalk-sessions-four-actionable-practice-methods-help-you-improve-every-day <!--paging_filter--><p><strong><em>FROM THE AUTHOR: If you disagree, keep it kosher. We’re just talking guitars.</em></strong></p> <p>If you’re like me, you would love to spend more time playing guitar.</p> <p>Or at least you’d like to figure out <a href="https://www.guitartricks.com/v2/trial_splash.php?a_aid=55097c8e80b04">how to be more productive</a> with the time you already spend. Because even if you get to play sporadically, it doesn’t always feel like you’re accomplishing anything.</p> <p>It’s possible that you’re not.</p> <p>For most, the tendency when picking up the guitar is to “fiddle” or jam <a href="http://www.guitarchalk.com/48-of-greatest-guitar-driven-songs-youve-never-heard/">whatever song is in our heads.</a> We seldom tackle the instrument with intentionality and aggression, unless we have a lot of time to play.</p> <p>The problem is, we usually don’t have more than 15 or 20 minutes.</p> <p>So I’ll show you how to make the most of that time—and to improve—even if you don’t have hours to spare.</p> <p>We’ll cover four <a href="http://www.amazon.com/gp/product/0876390114/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&amp;camp=1789&amp;creative=9325&amp;creativeASIN=0876390114&amp;linkCode=as2&amp;tag=theguitblac-20&amp;linkId=IRXUNFYJHKN346G3">specific practice methods</a> you can use to improve your guitar playing. And none of them take much time.</p> <p><strong>1. Play Through a Loose-Fitting Pentatonic Scale</strong></p> <p>First up is what I’m calling the “loose-fitting pentatonic scale.” That means we’re looking to practice the general pentatonic shape or sound, which should be familiar to you. Here’s the structure:</p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-15%20at%203.22.56%20PM.png" width="378" height="127" alt="Screen Shot 2015-05-15 at 3.22.56 PM.png" /></p> <p>This shape is what many blues and rock lead patterns are derived from. Learn it, then practice your own variations for five or ten minutes at a time. </p> <p>Perhaps something like this:</p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-15%20at%203.24.40%20PM.png" width="538" height="123" alt="Screen Shot 2015-05-15 at 3.24.40 PM.png" /></p> <p>Change keys, use different techniques or just work on your speed. The better you are at improvising and navigating this shape, the better your foundational lead play will be.</p> <p>And the details don’t matter as much. As long as you’re practicing the shape, you’re doing something worthwhile and substantive.</p> <p><strong>2. Target an Uncomfortable Chord Shape</strong></p> <p>Find a chord shape that doesn’t come naturally to you. By that I mean that you can’t just pop to it without thinking; it’s difficult and awkward. For me, that shape has always been anything where my pinky plays the deep root note.</p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-15%20at%203.25.34%20PM.png" width="100" height="133" alt="Screen Shot 2015-05-15 at 3.25.34 PM.png" /></p> <p>The plan is to simply work on it, and that can look however you want. Practice going in and out of that chord, moving the shape or work on picking through it in an arpeggiated pattern.</p> <p>It’ll be tough, because chances are you haven’t bothered much with a shape that gives you a lot of trouble.</p> <p>But if you work on it intentionally, even for a few minutes, it’ll be easier the next time around. You’ll have <a href="http://www.guitarchalk.com/guitar-dexterity-session-motor-skill-development-fingers-lesson/">improved dexterity,</a> finger strength and—over time—added another layer to your rhythm playing.</p> <p><strong>3. Actually Track a Solo</strong></p> <p>Tracking a solo is tedious, though not as time consuming as you might think. Pick a solo that has some complexity to it—something that <a href="http://www.amazon.com/gp/product/B00HZ2M5KE/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&amp;camp=1789&amp;creative=9325&amp;creativeASIN=B00HZ2M5KE&amp;linkCode=as2&amp;tag=theguitblac-20&amp;linkId=MIQVFQ6EOAQN4LLO">will challenge you</a>—that you wouldn’t expect to come easy.</p> <p>Then, look up the tabs (I recommend printing them out) and take a small portion of the solo every day.</p> <p>Let’s say the solo lasts for 16 measures.</p> <p>Take two measures per day. In just over a week, you’ll know the solo and you’ll have played a lot of lead patterns that you’re not used to.</p> <p>Our hands and fingers fall into what I’ll call “lead ruts” where we gravitate to certain patterns and movements and get into the habit of playing them most of the time.</p> <p>Tracking solos help us break out of those ruts by playing patterns and runs that we’re not used to.</p> <p>It’s a win-win.</p> <p><strong>4. Memorize the Sound of a Common Chord Progression Interval</strong></p> <p>If you want to be a better ear player and perhaps free yourself from looking at chord sheets, learning to recognize (by ear) common chord progression intervals is a huge step in the right direction.</p> <p>First, consider that most of the chord progressions we use in the west are the same. </p> <p>Take G, C and D for example. You use it all the time, and if you can remember how it sounds then you’ll establish auditory familiarity that will help you anticipate chord changes and free you from always looking at sheet music.</p> <p>So how do you do it?</p> <p>Note that what you’re actually memorizing is a series of intervals between the roots of the chords. And the location of those intervals can change; for example:</p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-15%20at%203.29.06%20PM.png" width="135" height="127" alt="Screen Shot 2015-05-15 at 3.29.06 PM.png" /></p> <p>This interval and the following interval are exactly the same, because they share the same root notes.</p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-15%20at%203.29.39%20PM.png" width="157" height="127" alt="Screen Shot 2015-05-15 at 3.29.39 PM.png" /></p> <p>However, keep in mind we’re talking about intervals which means the root intervals of a chord progression can move. In that case, you’ll have new chords, but the intervals between them will be the same.</p> <p>Let’s say we move the previous shape up one whole step (two frets). We’d have the following tab:</p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-15%20at%203.31.49%20PM.png" width="160" height="127" alt="Screen Shot 2015-05-15 at 3.31.49 PM.png" /></p> <p>At this point, our chord progression has changed to A, D and E, yet our interval is still the same. </p> <p>So it’s helpful to train our minds, not just to a specific chord progressions, but to the intervals that separate those progressions.</p> <p><a href="http://www.guitarchalk.com/how-to-teach-recurring-patterns-in-modern-chord-progressions-guitar-lessons/">This article on recurring patterns in chord progressions</a> delves a little deeper into this topic.</p> <p>If you take one progression at a time and familiarize yourself with the sounds of the root notes, it won’t take more than 10-15 minutes a day to make substantial progress in this area. Here are the steps you’ll want to take:</p> <p>1. Choose a common chord progression to start working with.</p> <p>2. Play through the most conventional form you know (usually open chords) and pay close attention to what it sounds like, while familiarizing yourself with the chord changes.</p> <p>3. Then play through just the root notes and remember the intervals between each one.</p> <p>4. Now, move the progression to a new set of roots and continue to focus on the changes between each interval.</p> <p>5. Repeat this process for several days, until you can easily recognize the progressions and intervals.</p> <p><strong>Follow Up</strong></p> <p>Have thoughts or questions about this lesson? Leave it in the comments or get in touch via <a href="https://www.facebook.com/guitarchalk">Facebook</a> and <a href="https://twitter.com/guitarchalk">Twitter.</a></p> <p><em>Flickr Commons Image Courtesy of <a href="https://www.flickr.com/photos/frf_kmeron/">Kmeron</a></em></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-four-actionable-practice-methods-help-you-improve-every-day#comments Bobby Kittleberger Guitar Chalk Sessions Blogs Lessons Fri, 15 May 2015 19:37:10 +0000 Bobby Kittleberger 24490 at http://www.guitarworld.com Monster Licks Unleashed: Take the Blues Scale to Ferocious New Places — Video http://www.guitarworld.com/monster-licks-unleashed-take-blues-scale-ferocious-new-places-video <!--paging_filter--><p>In this Monster Lick, I'm using the E "blues scale." This also is known as the flat five pentatonic scale. The notes in this scale are E, G, A, Bb, B and D. </p> <p>This lick ventures way outside the traditional "blues" use of this scale. </p> <p>It always amazes me how the same six notes, when played with a new spin, can have such a drastic impact. Obviously, speed is a factor here, but for the most part it's all about accentuation or a focus on the flat five note, the Bb. </p> <p>You'll notice throughout the lick that I'm utilizing the dissonance of the flat five to create the intensity of the tonality. This enables me to use this traditional blues scale in a more ferocious environment—sonically and musically. </p> <p>Because my influences are the greats of blues-rock guitar—Jimi Hendrix, Eric Clapton, Stevie Ray Vaughan, etc.—I wanted to be able to stick to the same tonality but adapt it to the heavier, more aggressive style of music I tend to lean toward; certainly in the rock genre, anyway. Don’t get me wrong; there's nothing I love more than blasting away over a slow blues, but my natural style is on the heavier side of rock. </p> <p><strong>The Lick:</strong></p> <p>The lick features legato, wide intervals and tapping. Notice the use of the flat five note; you'll see how I use this note almost as a pivot point in the first half of the lick to create the intensity, at least tonally.</p> <p>From there I move into the tapping section. You'll notice I tap three consecutive notes with my second and third fingers on my right hand. I always keep grip of the pick with my thumb and index finger to help with the transitions in and out of the tapping. </p> <p>The next section is by far the trickiest. It requires hard hammering with the left hand to sound the notes correctly while transitioning up and down the neck. It looks cool and sounds even cooler, so it's well worth the effort!</p> <p>Please reference the video and transcript below and work through each section at your own pace. Most of all, have fun!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/XafMn1g9eP0" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/proud.jpg" width="620" height="467" alt="proud.jpg" /></p> <p><strong>I hope you enjoy this Monster Lick Unleashed! Join me on <a href="https://www.youtube.com/user/atomicguitaraudio">YouTube right here!</a> Contact me through <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a> or <a href="https://www.facebook.com/glenn.proudfoot">my Facebook page</a>.</strong></p> <p><em>Australia's Glenn Proudfoot has played and toured with major signed bands and artists in Europe and Australia, including progressive rockers Prazsky Vyber. Glenn released his first instrumental solo album, </em>Lick Em<em>, in 2010. It's available on iTunes and at <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a>. His brand-new instrumental album — </em>Ineffable<em> — is out now and is available through <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a> and <a href="https://itunes.apple.com/au/album/ineffable/id914342943">iTunes</a>.</em></p> http://www.guitarworld.com/monster-licks-unleashed-take-blues-scale-ferocious-new-places-video#comments Glenn Proudfoot Monster Licks Monster Licks Unleashed Videos Blogs Lessons Fri, 15 May 2015 18:06:59 +0000 Glenn Proudfoot 24489 at http://www.guitarworld.com 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 Fri, 15 May 2015 16:03:18 +0000 Damian Fanelli 23270 at http://www.guitarworld.com Guitar Strength: 10 Commandments of Playing Guitar in the Style of Dimebag Darrell, Part 1 http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-1 <!--paging_filter--><p>This is a two-part column; part 1 is below, <a href="http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-2">and part 2 is right here.</a></p> <p><strong>Commandment 1: Honor Thy Van Halen</strong></p> <p>... and ZZ Top, Kiss, Judas Priest, Black Sabbath, Ted Nugent, Pat Travers, early Metallica (<em>Kill ‘em All</em>, <em>Ride the Lightning, Master of Puppets</em>) and Randy Rhoads.</p> <p>Van Halen’s impact on Dimebag’s playing is unmistakable. The “vibe” of early Van Halen is by far the most recognizable influence in Dimebag’s playing. From the grooving rhythms played like leads of their own, to the tone, to the phrasing in his lead playing, Dimebag took the inspiration of Edward Van Halen and forged his own identity.</p> <p>Pieces such as “Eruption” and “Spanish Fly” were favorites of Dimebag, who would play them in his unaccompanied guitar solos back in Pantera’s early club days.</p> <p>Dime has been noted as being Texas’ “Van Halen clone,” the local hotshot who could play all of the most impressive licks of his hero. Further, the brotherly bond of the Van Halen brothers (Eddie on guitar and Alex on drums) was mirrored in Pantera (Vinnie on drums and Dime on guitar).</p> <p>Van Halen’s impact is further felt as the words “Van Halen” were actually Dimebag’s last words spoken before he was tragically murdered. “Van Halen” was something Dime would say to his brother Vinnie before a live performance to inspire them both to play a fun, lively, rocking show. Also, Dime was actually buried with the guitar that inspired him most -- Eddie Van Halen’s yellow and black striped guitar featured on the back cover of <em>Van Halen II</em>.</p> <p>To truly understand Dimebag’s playing, it is crucial to absorb the “Van Halen” feel, as well as the techniques and attention to tone that were such a part of the early Van Halen experience.</p> <p><strong>Commandment 2: Thou Shalt Use the Major 3rd</strong></p> <p>Always wearing his Van Halen influence on his sleeve, Dimebag was never one to shy away from using the interval of a major 3rd in his heavy playing. Shunned by most “metal” players, the major 3rd was an essential tool in Dime’s bag of tricks.</p> <p>When playing in E (minor), the major third is G#, which adds a unique feel to riffs and licks that also utilize the minor 3rd (G). Theoretically, this major 3rd lends lines a Mixolydian quality, though it essentially gives a bluesy type of sound and adds tension/dissonance to minor key tonalities (For more information, check out <a href="http://www.guitarstrength.com/">Guitar Strength Volume 1: Mastering the Modes</a>.)</p> <p>Example 1 is a Dimebag-inspired riff using this major 3rd in a minor key.</p> <p><img src="/files/imce-images/Example1_0.jpg" width="620" height="156" alt="Example1_0.jpg" /></p> <p>Notice also how Dime gets extra mileage out of the interval by using it in a pattern that also makes use of the flat 9 (F in E minor). Example 2 is another Dimebag-inspired riff using the same intervals. (For another riff using the major 3rd, which was clearly an influence on Dimebag, check out the end of “Sabbath Bloody Sabbath” by Black Sabbath.)</p> <p><img src="/files/imce-images/Example2.jpg" width="620" height="140" alt="Example2.jpg" /></p> <p>The major 3rd was not just essential to Dimebag’s riffs, it was also extensively used in his lead playing. Example 3 is an E minor fingering of the “Dimebag Scale,” a minor pentatonic scale with the addition of a flat 5, major 6th (omitted on the A string and used only on the B string, 14th fret for ease of fingering), and major 3rd. </p> <p><img src="/files/imce-images/Example3.jpg" width="620" height="141" alt="Example3.jpg" /> </p> <p>Example 4 is a Dimebag-inspired lick using this scale.</p> <p><img src="/files/imce-images/Example4.jpg" width="620" height="161" alt="Example4.jpg" /></p> <p>When attempting to conjure the influence of Dimebag in your own playing, experimentation with the integration of this major 3rd into more “standard” minor phrases is highly encouraged. Don’t be afraid of sounding “happy”; play the note like you mean it and you’ll be amazed at its versatility and its ability to make your playing substantially more interesting.</p> <p><strong>Commandment #3: Embrace Symmetry</strong></p> <p>Another Van Halen-inspired technique employed by Dimebag was the use of symmetrical fingerings. This technique is extremely easy to learn but requires taste and skill for successful implementation. To perform this technique, simply devise a fingering shape on one string and apply it across all six. </p> <p>Example 5 is a Van Halen-esque lick, based on a root, major 3rd, 5th shape in E, continuing down to the A string and resolving on a B string bend from D to E (and back down to D for some minor 7th tension).</p> <p><img src="/files/imce-images/Example5.jpg" width="620" height="300" alt="Example5.jpg" /></p> <p>Clearly inspirational to Dime, example 6 is a variation in the same (12th) position, this time using the minor 3rd (G), 5th (B), and a slide to and from the flat 6th (C). This expanded symmetrical shape still uses a simple 1-2-4 fret hand fingering across all six strings, yet the pinky slide gives it some extra range and movement.</p> <p><img src="/files/imce-images/Example6.jpg" width="620" height="170" alt="Example6.jpg" /></p> <p>Further examples of simple, yet effective symmetrical patterns used by Dimebag can be seen in examples 7 and 8. Example 7 is another shape, this time using the major 7 (Eb in E), the root (E), and the minor 3rd (G) as its basis. In this case, the pattern is an ascending climb combining both picking and legato phrasing, again using the 1-2-4 fingering. </p> <p><img src="/files/imce-images/Example7.jpg" width="620" height="212" alt="Example7.jpg" /></p> <p>In example 8, based on one of Dimebag’s favorite patterns, the shape uses a 4-3-1 fingering in a descending sequence on the top three strings. This shape in this position is a throwback to the playing of Pat Travers, and can be quite effective when playing over rhythms in A minor and E minor. </p> <p><img src="/files/imce-images/Example8.jpg" width="620" height="145" alt="Example8.jpg" /></p> <p>Feel free to transpose it into other keys and use it often, just as Dime did.</p> <p>It is important to notice that though Dimebag possessed astounding picking technique, he tended to favor executing most of his lines in a legato fashion (another homage to Mr. Edward Van Halen). Dimebag’s love of legato gave his lines a fluid, lively quality, and his powerful left hand technique was extremely important when effectively implementing these symmetrical patterns into his lead licks.</p> <p><strong>Commandment 4: Give Chords New Found Power</strong></p> <p>Never content with “standard” guitar techniques, Dimebag was an avid user of the “other” power chords. Instead of relying on normal root-5th and root-4th (inverted 5th) power chords (though he was an obvious master when it came to using them), Dimebag would often come up with and use alternative dyads (two-note chords) in place of standard power chords. These chords were usually major or minor thirds stacked on top of the root. Example 9 is the two basic versions of these chords with 6th and 5th string roots. The first is the “major 3rd” variation and the second is the “minor 3rd” version.</p> <p><img src="/files/imce-images/Example9.jpg" width="620" height="195" alt="Example9.jpg" /></p> <p>Example 10 is a figure using the minor 3rd power chord. Notice how the chords act to add texture and movement to the riff, as they work well when used in the same riff as the more pedestrian root-5th power chords. The chords also add a nice tension, as they are not as “homogenous” and “neutered” sounding as the standard root-5th chords. Also, when used with a rocking distorted tone, these chords have an extremely powerful sonic fingerprint with their unique overtones. </p> <p><img src="/files/imce-images/Example10.jpg" width="620" height="132" alt="Example10.jpg" /></p> <p>These overtones are, in fact, what makes these chords so special and useful. With usual major or minor chords and triads, playing them with distortion often results in a cluttered, un-musical noise. There is just too much information present to allow sonorous, musical sounds when using the standard major or minor chord shapes. However, by just playing the root and 3rd, a vibrant, tense, rich sound is created, really putting the “power” in power chord.</p> <p>Experiment often with substituting these root-3rd power chords for standard root-5th chords in your riffs. Also, try varying your usage of major and minor 3rds, as often times the “wrong” (out of key) 3rd will sound most interesting in a riff. Example 11 is a Dimebag inspired riff using these harmonically “wrong” power chords. </p> <p><img src="/files/imce-images/Example11.jpg" width="620" height="278" alt="Example11.jpg" /></p> <p><strong>Commandment 5: Know your Nodes</strong></p> <p>No discussion of Dimebag would be complete without mentioning his penchant for playing with harmonics. Dimebag’s playing was peppered with any and every type of harmonics: natural, artificial, tapped, etc.</p> <p>Playing with an overtone-rich, distorted sound, harmonics (whether naturally or artificially produced) are an integral component in the beast of electric guitar. Harmonics can occur almost anywhere and can be produced by a myriad of means, and can occur many times as an accidental consequence of playing with a loud, distorted sound.</p> <p>Dimebag, however, excelled at controlling the beast, and was able to skillfully use harmonics as one of the most expressive elements in his playing. To understand how Dime would use harmonics, we’ll first look at the naturally occurring harmonic nodes that occur across the fretboard. Example 12 is a basic depiction of the most common, “easy” harmonics that occur when a fret hand finger is used to lightly touch a plucked string (without actually pushing it down and fretting it) and produce a harmonic. </p> <p><img src="/files/imce-images/Example12.jpg" width="620" height="154" alt="Example12.jpg" /></p> <p>Example 13 shows some more difficult to produce harmonics along the same string, many of which were used extensively by Dime.</p> <p><img src="/files/imce-images/Example13.jpg" width="620" height="159" alt="Example13.jpg" /></p> <p>Dime was never content to just play the harmonics, though, as he would often use a variety of techniques to produce and manipulate them. The most famous of these techniques was Dime’s signature “harmonic scream” technique. The basic maneuver is depicted in example 14. </p> <p><img src="/files/imce-images/Example14.jpg" width="620" height="388" alt="Example14.jpg" /></p> <p>To perform this technique as Dimebag would, a floating tremolo bridge (able to bend a note below and above) is necessary (preferably a locking Floyd Rose or its equivalent). First, get the string moving by “plucking” it with a silent fret hand pull-off while simultaneously dumping / depressing the bar and bending the tremolo down. As the open string is lowered in pitch and its tension is reduced, lightly tap the selected harmonic node with the fret hand “bird”/middle finger. Next, after the harmonic has been sounded, slowly return the bar to pitch, pull it up higher, and apply vibrato with the whammy bar. Note that the actual time the open/dumped string rings is only a fraction of a second, it is only sounded so as to allow the string movement enough to produce the fret hand “tapped” harmonic. </p> <p>Also note the importance of fret hand muting, being sure to use the fret hand thumb (wrapped over the top of the neck) and fret hand fingers to mute any unwanted noise from the unused strings. Experiment with different harmonic nodes, as some will be easier to execute and some will sound more interesting than others. </p> <p>While Dimebag was also quite adept at using Zakk Wylde/John Sykes/George Lynch/Billy F. Gibbons style “pings” (artificial harmonics, A.K.A. pick harmonics) he was especially adept at using multiple, combined harmonics as a way to spice up his rhythm playing. </p> <p>Example 15 shows this technique at play. </p> <p><img src="/files/imce-images/Example15.jpg" width="620" height="164" alt="Example15.jpg" /></p> <p>Notice first that Dime loved using “in-between” harmonics, those that had a particularly shrieking/squealing sound. Also notice that in combining two or more harmonics, an extremely cool set of screaming, dissonant overtones is created. Try any and all combinations of harmonics on various string sets and at various node points, and also experiment with manipulating the combinations with your whammy bar and/or effects pedals. Example 16 is several available combinations.</p> <p><img src="/files/imce-images/Example16.jpg" width="620" height="365" alt="Example16.jpg" /></p> <p>The possibilities are endless. <a href="http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-2">Check out Part 2!</a></p> <p><em>Scott Marano has dedicated his life to the study of the guitar, honing his chops at the Berklee College of Music under the tutelage of Jon Finn and Joe Stump and working as an accomplished guitarist, performer, songwriter and in-demand instructor. In 2007, Scott developed the Guitar Strength program to inspire and provide accelerated education to guitarists of all ages and in all styles through state-of-the-art private guitar lessons in his home state of Rhode Island and globally via Skype. <a href="http://www.guitarstrength.com/">Visit Scott and learn more at www.GuitarStrength.com.</a></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="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item even"> <a href="/pantera">Pantera</a> </div> <div class="field-item odd"> <a href="/damageplan">Damageplan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-1#comments Damageplan Dimebag Darrell Guitar Strength Pantera Scott Marano Blogs Features Lessons Thu, 14 May 2015 14:33:28 +0000 Scott Marano 13074 at http://www.guitarworld.com Bent Out of Shape: Learning Paganini's 16th Caprice in G Minor http://www.guitarworld.com/bent-out-shape-learning-paganinis-16th-caprice-g-minor <!--paging_filter--><p>A couple of weeks ago, <a href="http://www.guitarworld.com/bent-out-shape-intensive-30-minute-guitar-workout-musicians-go">I gave you a short, 30-minute guitar workout</a> designed for guitarists whose practice time is limited. </p> <p>The positive response I received prompted me to create an additional lesson, which, in combination with my original workout, will give you a good hour of intensive practice. </p> <p>For this lesson, I have selected a classical piece for you to learn: Paganini's 16th Caprice in G minor. Learning classical pieces is a great way to improve your technique and theory. It's also more beneficial to practice something musical, rather than just working on exercises. Use my 30-minute workout as a warmup and then spend an additional 30 minutes to an hour working on this piece. </p> <p>It's very challenging and features a good selection of arpeggios, wide intervals, chromatic runs, string skipping and sequences. It's very rewarding to learn and play in its entirety. Because of its length, I have the divided the piece into three parts. </p> <p>Your first task will be to memorize the notes, which in itself is a big challenge. I would suggest taking it one bar at a time, memorizing the notes and working out the fingering. Then attempt to perform the bar in full. Start at the beginning with bar 1, and add a new bar every day. Once the notes are memorized, you can begin to work with a metronome and build speed. </p> <p>Start at 80 bpm playing 8th notes and increase the metronome by 10 bpm after each successful performance. When you reach 120 bpm, go back to 60 bpm and play the piece as 16th notes. From there, take it as fast you can. </p> <p>It's meant to be at a tempo of 165 bpm, which is incredibly fast for a piece so complex. I can only get to around 120 bpm before it becomes too challenging. For this lesson, I have recorded myself performing the piece in full at the comfortable tempo of 100 bpm. Use this as a reference for yourself when learning. I have also marked in the Soundcloud link where each of the three parts begins to help you navigate.</p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F90255673"></iframe></p> <p><img src="/files/imce-images/caprice1.jpg" width="620" height="1145" alt="caprice1.jpg" /></p> <p>The first part begins with several arpeggios which you will need to play using sweep picking (bars 1 to 6). Everything else should be played with alternate picking. There's a tricky string skipping section at bar 7, which you can either play with your second finger or entirely with the pick. After bar 8, it repeats from the beginning. From bars 9 to 14, you have more arpeggios and string-skipping, but this time you will not need to sweep the arpeggios. Bar 14 ends with a long A# major arpeggio over three octaves. </p> <p>Next week, we will look into detail at the second part of the piece and also analyze some of the theory used in its composition. Best of luck, cheers!</p> <p><em>Will Wallner is a guitarist from England now living in Los Angeles. He recently signed a solo deal with Polish record label Metal Mind Productions for the release of his debut album, which features influential musicians from hard rock and heavy metal. He also is the lead guitarist for White Wizzard (Earache Records) and in 2012 toured Japan, America and Canada. Follow Will on <a href="https://www.facebook.com/wallnervain">Facebook</a> and <a href="https://twitter.com/willwallner">Twitter</a>.</em></p> http://www.guitarworld.com/bent-out-shape-learning-paganinis-16th-caprice-g-minor#comments Bent Out of Shape Niccolo Paganini Will Wallner Blogs News Lessons Thu, 14 May 2015 14:28:03 +0000 Will Wallner 18306 at http://www.guitarworld.com Metal for Life with Metal Mike: A Practice Piece That Incorporates Useful, Challenging Techniques http://www.guitarworld.com/metal-life-metal-mike-practice-piece-incorporates-useful-challenging-techniques <!--paging_filter--><p>In my quest to raise my guitar-playing game to the highest level, I find it essential to devise practice techniques that will push my pick- and fret-hand abilities as far as possible. </p> <p>A great way to go about this is to combine the focus on these technical issues with the creative endeavor of writing original riffs and patterns that will hopefully spark new song ideas. </p> <p><strong>FIGURE 1</strong> is a 19-bar etude—a musical exercise that sounds like a mini-composition—I came up with that effectively addresses several fret- and pick-hand techniques that I consider crucial to mastering the art of metal guitar playing. </p> <p>In bars 1–4, I alternate a series of two-note power chords on the A and D strings against the palm-muted open low E string, which functions as a pedal tone. Notice that the E note on the A string’s seventh fret is common to each of the two-note chord shapes as the higher note on the D string ascends chromatically (one fret at a time). </p> <p>In this way, I’ve incorporated a melodic idea into a hard-driving rhythm part. At the end of bar 2, the note on the D string descends in order to set up the restatement of the pattern in a musically satisfying way.</p> <p>In bars 5 and 6, I initially accentuate an E5 power chord on the downbeat of beat one, and then repeatedly accent this chord every three 16th notes. The twist here is that, after the initial attack on each E5 chord, I hammer on from B to C on the A string, which creates a subtle grind that makes the riff sound heavy. </p> <p>Then, in bars 7 and 8, I switch to a single-note figure played in straight 16th notes across the bottom two strings, palm-muting the low E virtually the entire time in order to enhance the idea’s rhythmic power. In bars 9–12, I bring back the rhythmic approach from bar 1 but with different chords: here, a low E5 power chord is followed by C, Cs and D voicings on the A, D and G strings. Once again, I employ quick hammer-ons as I shift from chord to chord.</p> <p> The idea then wraps up in the final seven bars, starting in bars 13–15 with a lick played in steady 16th notes and built around consecutive pull-offs that are performed quickly while rapidly moving across the bottom three strings. I use a different fretting finger on each string—index on the low E, middle on the A and ring on the D—and it will take some practice to master this lick and get it up to the desired brisk tempo. </p> <p>The aggression culminates in bar 16 with a fast descending run that also moves across the bottom three strings, starting with 16th-note-triplet double pull-offs that incorporate a four-fret stretch as I move from the pinkie to the middle finger to the index finger. At the end of the pattern—bar 16, beat four—I shift up the neck slightly and switch the fretting fingers to pinkie, ring and index. </p> <p> All in all, this is a fun and challenging etude. Be sure to work it up to tempo gradually with attention paid to clear and precise articulation. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/qJFZQLl-dWo" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-11%20at%204.26.02%20PM.png" width="620" height="775" alt="Screen Shot 2015-05-11 at 4.26.02 PM.png" /></p> http://www.guitarworld.com/metal-life-metal-mike-practice-piece-incorporates-useful-challenging-techniques#comments June 2015 Metal For Life Metal Mike Chlasciak Videos News Lessons Magazine Wed, 13 May 2015 17:17:51 +0000 Metal Mike Chlasciak 24347 at http://www.guitarworld.com String Theory: Fun with Two Bright-Sounding, Uniquely Flavored Scales Built from the Same Six Notes http://www.guitarworld.com/string-theory-fun-two-bright-sounding-uniquely-flavored-scales-built-same-six-notes <!--paging_filter--><p><a href="http://www.guitarworld.com/string-theory-jimmy-brown-intriguingly-exotic-sound-c-lydian-hexatonic-video">Last month, I presented the intriguingly exotic C Lydian hexatonic scale</a>, which is formed by combining C and D triads (C E G + D F# A = C D E F# G A). </p> <p>Now, as we had done with E minor and D major hexatonic in the preceding lesson (<a href="http://www.guitarworld.com/string-theory-jimmy-brown-e-minord-major-hexatonic-connection-video">April 2015 issue</a>), I’d like to reveal the flip side of the musical coin and introduce an appealing mode of C Lydian hexatonic, D Mixolydian hexatonic, which has a bright and playful quality and is comprised of the very same six notes, only reoriented around a D root—D E F# G A C (see <strong>FIGURE 1</strong>). </p> <p>As I will demonstrate, this modal relationship between the two scales is very convenient and useful for crafting sweet-sounding melodies over a C-to-D or D-to-C chord vamp. But first, some more helpful insight into D Mixolydian hexatonic.</p> <p> Another way to think of this scale is to take the seven-note D Mixolydian mode (D E F# G A B C) and omit the sixth, B, which creates a wide, minor-pentatonic-like gap—a minor third interval, between the fifth, A and the minor, or “flat” seventh, C (see <strong>FIGURE 2</strong>). </p> <p>As I pointed out with C Lydian hexatonic versus the full C Lydian mode last month, D Mixolydian hexatonic retains the signature notes of D Mixolydian, in this case the minor seventh, C, and the major third, F#, in a way that sounds slightly less dense and more “open” and arpeggio-like, while offering more useful rhythmic phrasing options, due to the lesser and even number of notes (six instead of seven). </p> <p>You could also think of D Mixolydian hexatonic as being nearly identical to D major hexatonic (D E F# G A B), the only difference being the inclusion of the minor seventh, C, instead of the sixth, B, which subtly changes the scale’s character and flavor (see <strong>FIGURE 3</strong>). To me, this distinction makes D Mixolydian hexatonic sound more “Celtic” than “country.” Speaking of which, <strong>FIGURE 4</strong> is a sprightly, Irish fiddle–style melody in 6/8 meter that’s based on alternating D and C major arpeggios and makes me think of leprechauns. </p> <p><strong>FIGURE 5</strong> is a slippery legato run played across the top three strings that alternates between C Lydian hexatonic and D Mixolydian hexatonic and ascends the fretboard through higher “inversions” of each scale, using finger slides to shift positions and create a seamless flow of notes. Try applying this same type of pattern to other string groups. </p> <p>Inspired by Jeff Beck, Joe Satriani and Warren Haynes, <strong>FIGURE 6</strong> is a tumbling lead phrase that descends the fretboard diagonally and exploits a quick, decorative half-step bend and release from F# to G in three different octaves to create a noodle-y, sitar-like effect.</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="myExperience4186823015001" 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="4186823015001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p><br /><br /> <img src="/files/imce-images/Screen%20Shot%202015-04-21%20at%203.58.48%20PM.png" width="620" height="834" alt="Screen Shot 2015-04-21 at 3.58.48 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="/jimmy-brown">Jimmy Brown</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/string-theory-fun-two-bright-sounding-uniquely-flavored-scales-built-same-six-notes#comments Jimmy Brown June 2015 String Theory Videos News Lessons Magazine Wed, 13 May 2015 14:33:55 +0000 Jimmy Brown 24346 at http://www.guitarworld.com In Deep with Andy Aledort: How to Create Flowing, Stylish Licks Like Eric Clapton — Video http://www.guitarworld.com/deep-andy-aledort-how-create-flowing-stylish-licks-eric-clapton-video <!--paging_filter--><p>The eternally great Eric Clapton—sometimes known as “God” in certain circles—turned 70 this year, and is set to celebrate this milestone with a pair of spring concerts at New York’s legendary Madison Square Garden. </p> <p>What better time than to examine his effortlessly beautiful and seamlessly flowing soloing technique, first heard in full bloom on his timeless recordings with Cream, featuring the late, great Jack Bruce on bass and Ginger Baker on drums. </p> <p>When it comes to spontaneous, improvised phrasing, there is perhaps no better blues-rock guitarist than Eric, especially when heard within the context of the many extended jams he performed with Cream and Blind Faith. </p> <p>He has the innate ability to move smoothly from one great, imminently melodic phrase into the next while also both riding the groove and pushing it along. When improvising, Clapton will subtly mix up the rhythms of his lines to create clearly defined syncopations that serve to strengthen the melodic quality of his solos. </p> <p><strong> FIGURE 1</strong> presents an extended solo that moves through an entire 12-bar blues progression in the key of D, the three chords being D7, G7 and A7. The tempo is a fairly slow 80 beats per minute, which allows for the steady articulation of 16th-note rhythms that employ subtle phrasing variations. In bars 1–3, I stick with the notes from the D minor pentatonic scale (D F G A C). At the end of bar 3, I transition to sliding sixth intervals by sounding pairs of notes that are six scale degrees apart within the D Mixolydian mode (D E F# G A B C), with all of the notes played on the D and B strings. </p> <p> This sets up the move to the four chord, G7, in bar 5, and here I play a simple melody based on G minor pentatonic (G Bb C D F), returning to D minor pentatonic in bar 6 to anticipate the change back to the one chord, D7, in bar 7. </p> <p>On beat three of bar 7, I make very brief reference to the parallel D major pentatonic scale (D E F# A B), used to add some brightness and warmth to the melody and also as a transition to get back into D minor pentatonic in 10th position. Alternating between parallel minor and major pentatonic scales is a standard technique used by all blues guitar greats, such as T-Bone Walker, B.B. King, Buddy Guy and many others, and Clapton learned this technique from his intense study of the recordings of all of these masters and made it one of the hallmarks of his unique style.</p> <p> Bar 9 moves to the five chord, A7, and bar 10 shifts to the four chord, G7, and for each of these chords I base my lines on the associated minor pentatonic scales (A minor pentatonic: A C D E G). At the return to the tonic in bars 11 and 12, I revert to D minor pentatonic and move freely between third and fifth positions. </p> <p> When playing these melodic shapes and ideas, strive for smooth articulation and, as always, listen closely to the many great live recordings of Cream—and the studio recordings of Blind Faith—to hear priceless examples of Clapton’s stellar soloing. <strong>FIGURES 2 and 3</strong> illustrate extended patterns for D minor pentatonic and D major pentatonic, so be sure to study these too. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/zo69fF8FmFE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/Screen%20Shot%202015-04-21%20at%204.32.55%20PM.png" width="620" height="783" alt="Screen Shot 2015-04-21 at 4.32.55 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="/eric-clapton">Eric Clapton</a> </div> <div class="field-item even"> <a href="/andy-aledort">Andy Aledort</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/deep-andy-aledort-how-create-flowing-stylish-licks-eric-clapton-video#comments Andy Aledort Eric Clapton In Deep June 2015 Videos News Lessons Magazine Tue, 12 May 2015 13:59:19 +0000 Andy Aledort 24348 at http://www.guitarworld.com The Ultra Zone: Steve Vai's Course In Ear Training, Part 1 http://www.guitarworld.com/ultra-zone-steve-vais-course-ear-training-part-1 <!--paging_filter--><p><em>GuitarWorld.com is revisiting Steve Vai's classic mag column, "The Ultra Zone," for this crash course in ear training.</em></p> <p>I could never overstate the importance of a musician’s need to develop his or her ear. Actually, I believe that developing a good “inner ear” — the art of being able to decipher musical components solely through listening — is the most important element in becoming a good musician. Possessing a healthy imagination is a necessary ingredient for creativity. </p> <p>But without the ability to bring those imagined sounds into the real world, one’s creative aspirations will remain crippled. Training one’s ears to understand and recognize musical sounds and concepts is one of the most vital ways to fortify the connection between the musical ideas in one’s mind and the musical sounds created on one’s instrument.</p> <p>All musicians practice ear training constantly, whether or not they are cognizant of it. If, when listening to a piece of music, a musician is envisioning how to play it or is trying to play along, that musician is using his or her “ear” — the understanding and recognition of musical elements — for guidance. </p> <p>This is also true when trying to emulate a piece of music, or transcribe it, or even just finding inspiration in it. No matter what one is playing, one’s ear is the navigational device that steers the musical ship where it will go. Without a good ear at the helm, you could find yourself musically adrift at sea.</p> <p>I have always been fascinated with looking at music written on paper. When I was in college, I took a class called solfege, which entailed learning how to sight-sing. Sight-singing is the art of looking at a piece of written music and singing it. First, you identify the key center, and then you sing the written pitches, using the “doe-ray-me” phonetic structure, just like that song in the movie The Sound of Music. “Do-Re-Mi-Fa-Sol-La-Ti-Do” (pronounced “Doe-ray-me-fa-so-la-tee-doe”) represents a major scale; there are other monosyllabic sounds that represent the other pitches that reside within a 12-tone octave. These solfege classes in college were difficult courses, but they were well worth the time invested. A thorough study and analysis of solfege within the confines of this column would be impractical, so I can only encourage you to investigate it on your own.</p> <p>I’ve always considered transcribing to be an invaluable tool in the development of one’s musical ear and, over the years, I have spent countless glorious hours transcribing different kinds of music, either guitar-oriented or not. The most well-known example of my guitar-based transcribing labors is The Frank Zappa Guitar Book (Hal Leonard), for which I transcribed, among other things, the entire Shut Up and Play Yer Guitar series of recordings. Many musicians, however, do not have the ability to pull the sounds — guitar solos, rhythm parts, melody lines, etc.—off the records that they love. Transcribing is an art that takes a lot of practice and a study that I encourage everyone to experiment with.</p> <p>But fear not: you do not need to have the ability to sight-read or transcribe in order to practice ear training exercises. If you are just sitting there with a guitar, there are still a great many ways to develop your ears, in the quest to strengthen the connection between your head and your fingers. Below, I have outlined some of the ways a guitarist can work on ear training exercises using just the guitar.</p> <p>As guitarists, there are certain things that most of us do that are simply part of the program: we learn some scales, develop some exercises intended to improve our physical abilities, work on chord forms on different parts of the neck, etc. I believe it is extremely important to put aside some time dedicated solely to focusing on ear training.</p> <p>One of the easiest ways to begin working on ear training is to sing what you play. For example, you can play a C major scale (C D E F G A B) in any position — preferably one that is physically comfortable for you—and sing each note of the scale as you play it, being very careful to sing on pitch as accurately as possible. Start with one note: play the note, sing it, and then play and sing the note simultaneously. Then go to two notes. Once you feel comfortable, take a little piece of that scale, say, the notes C, D, E and F, and create a very simple melody with these notes for you to sing simultaneously, à la jazz guitarist George Benson. </p> <p>This is an easy way to get your ear in sync with the sounds your fingers are creating. Whether you’re soloing over a rhythmic vamp or are playing alone in free time, you have to really stick with it, and don’t allow yourself to slip up or drift into something else. The idea is to endlessly improvise and sing what you are playing, using any key.</p> <p>Another good thing to do is to record a simple one-chord vamp to play over. First, only play/sing notes that fall within the key, staying within a basic note structure of a five-, six- or seven-tone scale. Don’t start wandering off into your favorite guitar licks to play; save that for another time, when you’ve developed your ear to the point where you can sing just about anything you can play. This is an exercise in discipline: do not play anything that you cannot follow perfectly with your voice. Whether you stay within one octave of the guitar, or you sing the notes an octave lower than the sounding pitches, or you use falsetto to hit the high notes, you must be able to recreate all of the notes played on the guitar with your voice.</p> <p>If you work on this every day, you’ll find yourself getting better and better at it, and it will become easier to do. The cool thing that happens is that you’ll begin to hear music more clearly in your head, allowing you to formulate musical ideas—write music—within your head, without the aid of a guitar. When you finally do pick up the instrument, you will discover that you will instinctively be able to play these ideas that have taken form in your mind.</p> <p>To take this a step further, try this exercise: without a guitar at your disposal, picture the guitar’s fretboard in your mind, and then envision playing something so that you will “hear” and “see” the notes as they are played. It may be helpful to sing the notes as you imagine them being played. This is an excellent exercise that will fortify your mind-fretboard relationship and actually improve your ear by strengthening the acknowledgment of “pitch relativity” (how one pitch relates to another, in terms of sound and placement) on the guitar’s fretboard. You may discover some cloudy areas in your mind’s eye/ear, but if you work through it, the picture will soon become clearer and clearer.</p> <p>These techniques do not address the act of playing one thing on the guitar and singing something completely different. Someone like Jimi Hendrix had the uncanny ability to play very complex rhythm parts and single-note riffs while singing complementary parts. This technique requires a whole different set of brain muscles and is very difficult for many players. Playing one thing while singing another must be worked on as an independent field of study. If I could play the guitar and sing at the same time, hey, I might have a career! I’ll be back next time with some more effective ways to help you to develop your ear.</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/ultra-zone-steve-vais-course-ear-training-part-1#comments Steve Vai Ultra Zone Artist Lessons Blogs News Lessons Magazine Wed, 29 Apr 2015 15:22:07 +0000 Steve Vai 11024 at http://www.guitarworld.com Guitar Chalk Sessions: The Role of a Lead Guitarist in the Songwriting Process http://www.guitarworld.com/guitar-chalk-sessions-role-lead-guitarist-songwriting-process <!--paging_filter--><p>The mind of a songwriter is often wired differently than that of a guitarist.</p> <p>Though the two cross paths often, it’s rare to see a pro-level guitar player (particularly a lead guitarist) and a successful songwriter embodying the same human being.</p> <p>Some exceptions might include Kenny Wayne Shepherd, Eric Clapton and Brad Paisley.</p> <p>But usually it takes two.</p> <p>Duos like Tom Morello and Chris Cornell, Mark Tremonti and Myles Kennedy or Hank Garland and Elvis Presley are far more common when it comes to creating music that’s appealing to both the soul and the technical guitarist.</p> <p> But if you’re that guitar player, the guy or gal who’s expertise is wrapped up in solos, arpeggios and all the technical abilities thereof, how do you approach the songwriting process? What’s your role?</p> <p>If you’re good, you’ll find yourself getting invitations for session work and opportunities to contribute to other people’s music. When that time comes, here’s what your job description will entail.</p> <p><strong>1. To Increase the Originality of the Music</strong></p> <p>A chord progression by itself doesn’t make a song.</p> <p>In fact, there are only a few commonly used chord progressions for most of the primary music genres and a ton of music that’s derived from them.</p> <p>The melody and layering, whether it comes from a vocalist or a guitar player, are the primary ways one piece of music can be differentiated from another. It makes music better by increasing the quality and originality of the end product.</p> <p>When it comes to songwriting, it’s your job to make sure you increase a song’s quality by using melody and layering.</p> <p><strong>2. To Add Melody and Melodic Accents</strong></p> <p>Melody is one of the most crucial parts of a lead guitarist’s job description, especially when you’re talking about songwriting. If you’re working with a songwriter, they’ve likely already come up with lyrics and a chord progression, so melody will build on that material.</p> <p>Loosely, this is the process you’ll follow:</p> <p><strong>1. Learn the chord progression.</strong><br /> <strong>2. Memorize the melody of the lyric line.</strong><br /> <strong>3. Accent either or both with a secondary melody from your guitar.</strong></p> <p>To do this, most guitar players will follow the chord progression, as opposed to the lyrical melody. An exception would be Kurt Cobain’s solo on “Smells Like Teen Spirit,” where he closely mimics to the lyrical melody of the song’s verse. </p> <p>Though the more functional solution is to reference the chord progression. One of the simplest ways to do that is to create an arpeggiated version of the bass line.</p> <p>So if the song’s chorus is G, C and D, your “melodic accent” would be something like this:</p> <p><img src="/files/imce-images/tab1.png" width="361" height="113" alt="tab1.png" /></p> <p>When recording you could minimize it even further by removing the root notes and playing only the higher notes on the second and third strings.</p> <p><img src="/files/imce-images/tab2_0.png" width="281" height="111" alt="tab2_0.png" /></p> <p>So “melodic accent” is really just a fancy term to describe simple fills. </p> <p>Additionally, this can be a solo, a short lead pattern or any note-by-note, non-chord lick that you come up with to contribute to the sounds that are already there. If you’re careful, you’ll be able to walk the line between a melody that’s too intrusive and one that’s hard to notice.</p> <p>Artists who do this well would include the Edge (David Evans) of U2, Brian Welch of Korn and Joe Satriani, to name just a few. They’re good names to learn from and emulate.</p> <p>So keep in mind that anytime you’re adding a short fill or a solo, you’re creating some kind of melody.</p> <p>In that instance, you’re sharing just as much responsibility as a vocalist. Thus it becomes more important for you to be musical, melodic and complimentary with your guitar than it does to be technical and fun to watch.</p> <p><strong>3. To Develop and Add Layering</strong></p> <p>Though it can involve melody, the practice of layering is an altogether different discipline and an equally important part of a guitar player’s role in the songwriting process.</p> <p>While contributing melody requires a certain level of creative input, layering is a matter of adding something to a vocal line or guitar track that’s already in place. It can even be a guitar part you came up with.</p> <p>Whatever the case may be, it’s assumed you’re layering over something that’s already recorded. Layering can involve one or more of the following practices.</p> <p><strong>1. Simply duplicating a chord progression or lead pattern.</strong><br /> <strong>2. Adding an effect layer to a chord progression or lead pattern.</strong><br /> <strong>3. Recording separate guitar tracks for the left and right channels.</strong></p> <p>The details are largely up to the songwriter, though most people who hire a session guitarist will accept ideas and input in this area. If you’ve got session work in your future, reading up on layering guitars in the studio would be a practical way to prepare.</p> <p>How to sum it all up?</p> <p>If you had to condense the answer to this question, you might say your role is to invoke an emotional response from those who might listen to the music you’re creating.</p> <p>Adding melody, layering, effects and harmony are all about increasing a song’s ability to appeal to someone’s emotions.</p> <p>That’s your job, not just as a guitar player, but as a musician.</p> <p>So sure, your mind might bend a completely different way than those who compose and write music, but you both share a common mission. Different roles, with the same destination.</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-role-lead-guitarist-songwriting-process#comments Bobby Kittleberger Guitar Chalk Sessions Blogs Lessons Wed, 29 Apr 2015 15:17:56 +0000 Bobby Kittleberger 21581 at http://www.guitarworld.com Professor Shred with Guthrie Govan: Using Four Fingers to Tap Arpeggios, and How to Play the Lick to "Sevens" http://www.guitarworld.com/professor-shred-take-four-using-four-fingers-tap-arpeggios-and-how-play-lick-sevens <!--paging_filter--><p>This month I’d like to demonstrate the technique I use to perform the two-handed-tapping riff that occurs during the bridge/chorus section of the song “Sevens,” from my <em>Erotic Cakes</em> album. </p> <p>Before getting to the “Sevens” lick, I’m going to break down the technique involved so that you will be able to apply this idea to creating riffs of your own. The genesis of the lick was in trying to find a new way to play a major-seven arpeggio. I started out by breaking it down into two notes per string, as shown in <strong>FIGURE 1a</strong>. </p> <p>Using the index finger and pinkie only, I descend from the major seventh of Eb, D, at the 22nd fret of the high E string, to a low Eb on the sixth string’s 11th fret. I then took this idea and performed it with fretboard tapping, as shown in <strong>FIGURE 1b.</strong> Now, the higher note in each pair is sounded with a pick-hand fretboard tap, and the lower note is sounded with a fret-hand “hammer-on from nowhere.” Be sure to tap hard onto each note so that it will sound clearly, and try to not allow any of the notes to ring into each other.</p> <p>The next step was to break up the descending pattern and play it non-sequentially. What I arrived at was <strong>FIGURE 2</strong>. Here, I sound consecutive single notes on the high E and B strings, both sounded with fretboard taps, followed by the lower associated notes on the top two strings, sounded with fret-hand hammer-ons. The fret hand mirrors this approach by also using the pinkie and middle fingers. Start by playing this pattern slowly and then increase the speed.</p> <p>Now let’s take this same approach and apply it to the four-note groups on the lower pairs of strings, starting with the B and G strings, as shown in <strong>FIGURE 3</strong>. I use the same technique here but switch to the ring and middle fingers for both the pick-hand taps and the fret-hand hammer-ons. </p> <p>In <Strong>FIGURE 4</strong>, I’ve moved the idea down one more pair of strings to the G and D. Here, I tap with the middle and ring fingers of the pick hand but use my frethand pinkie and middle finger to fret the other notes. </p> <p><strong>FIGURE 5</strong> then runs the three patterns together. You can take this idea further by continuing onto the two bottom pairs of strings, as demonstrated in <strong>FIGURES 6a and 6b.</strong> Now that you’ve got the idea, try some different arpeggios: <strong>FIGURE 7</strong> outlines Ebm7, and <strong>FIGURE 8</strong> begins with Ebsus4 and then moves through Ebmaj7 and Ebm7.</p> <p>Finally, the “Sevens” lick, appropriately played in a meter of 7/4, is shown in <strong>FIGURE 9</strong>. Using the same technique, I move through the different pairs of strings in a specific alternating pattern.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/k7-TWcPR9Y4" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-03-13%20at%2011.23.40%20AM.png" width="620" height="607" alt="Screen Shot 2014-03-13 at 11.23.40 AM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-03-13%20at%2011.23.51%20AM.png" width="620" height="301" alt="Screen Shot 2014-03-13 at 11.23.51 AM.png" /></p> http://www.guitarworld.com/professor-shred-take-four-using-four-fingers-tap-arpeggios-and-how-play-lick-sevens#comments 2011 Guthrie Govan Holiday 2011 Professor Shred Holiday Blogs News Lessons Magazine Wed, 29 Apr 2015 15:16:52 +0000 Guthrie Govan 13550 at http://www.guitarworld.com Extreme Harmonics Lesson: Making Sick Sounds with Guitarist Mattias Eklundh — Video http://www.guitarworld.com/extreme-harmonics-lesson-sick-sounds-guitarist-mattias-eklundh-video <!--paging_filter--><p>Since we guitarists tend to enjoy sick sounds, we thought we'd share this lesson video by Swedish guitar whiz Mattias Eklundh.</p> <p>In the clip, which is titled "Harmonics #5," Eklundh lays down some basics about how harmonics work.</p> <p>Then, starting around 1:31, 2:15 and (especially) 2:45, things start getting freaky, courtesy of some extreme—even dissonant—harmonics.</p> <p>As always, check out the video and try to incorporate Eklundh's methods into your own playing. (I mean, if you're into that sort of thing, of course.)</p> <p>If you'd like to hear more of Eklundh's playing, be sure to watch <a href="http://www.guitarworld.com/caparison-guitars-ah8-eight-string-guitar-demo-video-featuring-mattias-eklundh">this demo video of Caparison Guitars' eight-string AH8 model, which we posted in June.</a></p> <p>For more about Eklundh, visit the appropriately named <a href="http://www.freakguitar.com">freakguitar.com.</a></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/zI3PJXbCaOU" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/extreme-harmonics-lesson-sick-sounds-guitarist-mattias-eklundh-video#comments Mattias Eklundh Videos News Lessons Wed, 29 Apr 2015 15:15:56 +0000 Damian Fanelli 22659 at http://www.guitarworld.com