Lessons http://www.guitarworld.com/taxonomy/term/8/all/%22http%3A/secure.nps1.net/guitarworld/13800%2Cthis en Time to Burn with Michael Angelo Batio: Applying Sweep Picking to Chord Progressions, Part 2 — Video http://www.guitarworld.com/time-burn-michael-angelo-batio-applying-sweep-picking-chord-progressions-part-2-video/24934 <!--paging_filter--><p>Last month, I introduced the concept of applying different sweep-picked arpeggio shapes to a series of chords within a repeating progression. </p> <p>This month, I’d like to expand our view to a greater variety of sweep-picked shapes, as well as a more complex, ambitious chord progression.</p> <p>To quickly review, a sweep—also often referred to as a rake—is the term used to describe dragging the pick across a series of adjacent strings in a single stroke, either a downstroke or an upstroke. Ascending melodies are played with downstroke sweeps and descending melodies are played with upstroke sweeps.</p> <p>Sweep picking is the most effective guitar technique for replicating the fast arpeggio-based lines often heard in classical piano and violin music. Johann Sebastian Bach, for example, composed a suite of musical etudes (exercises) for violinists called the Sonatas and Partitas for Solo Violin, many of which feature long passages of arpeggios that melodically outline a chord progression using only single notes, with no accompaniment. </p> <p>A common progression heard in these pieces is one that moves through the cycle of fourths. </p> <p><strong>FIGURE 1</strong> offers a seven-bar exercise that does this in the key of D minor: starting on Dm, the progression moves up a fourth to Gm, followed by C, F, and Bb, each arpeggio being rooted a fourth above (or a fifth below) the previous chord. In bar 6, I move from Bb down to A7b9 as a means to set up a V-i (five to one-minor) resolution back to Dm. This A7b9 chord may also be analyzed as Edim7, Gdim7, Bbdim7 or C#dim7, superimposed over an A root note. Once I resolve the diminished-type sound of A7b9 to A major, I then resolve back to Dm.</p> <p>For virtually every chord in the progression, a sweep arpeggio based on a steady rhythm of 16th-note triplets is employed, with an upbeat “pickup” used on the preceding eighth-note upbeat, so that the highest note of each arpeggio shape falls on the downbeat of beat one or three. Additionally, for each chord, the initial arpeggio shape is played across two beats, followed by a shift to the next higher arpeggio shape, or inversion, for one beat, followed by a return to the previous lower-voiced arpeggio shape. </p> <p>Be sure to follow the pick stroke indications above the tablature, and strive to articulate each note clearly and distinctly. Use fret-hand muting to quickly silence the previous notes you’ve just played so that they don’t ring, or “bleed,” together, which takes away from the melodic sweep effect and makes it sound like you’re just strumming a chord shape.</p> <p>At the very end of bar 5 and into bar 6, I sequence through three different inversions and positions of a diminished-seven shape across the top three strings, starting in 12th position and then quickly shifting down down in minor-third (three-fret) intervals twice, to ninth and sixth positions. At the end of bar 6 and into bar 7, I switch to a larger A major arpeggio shape that spans the top five strings in a faster quintuplet rhythm before finally resolving to Dm on beat two of bar 7. Be sure to play through this long sequence slowly and deliberately before ramping up the tempo. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/l_dx2hkbN6Q" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-13%20at%2012.35.37%20PM.png" width="620" height="328" alt="Screen shot 2015-07-13 at 12.35.37 PM.png" /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-13%20at%2012.35.54%20PM.png" width="620" height="407" alt="Screen shot 2015-07-13 at 12.35.54 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="/michael-angelo-batio-0">Michael Angelo Batio</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/time-burn-michael-angelo-batio-applying-sweep-picking-chord-progressions-part-2-video/24934#comments Michael Angelo Batio September 2015 Time to Burn Artist Lessons Videos Lessons Magazine Mon, 27 Jul 2015 13:06:24 +0000 Michael Angelo Batio 24934 at http://www.guitarworld.com Sublime With Rome: "Wherever You Go" Lesson with Rome Ramirez — Video http://www.guitarworld.com/sublime-rome-wherever-you-go-lesson-rome-ramirez-video/25056 <!--paging_filter--><p>Today, GuitarWorld.com presents an exclusive Sublime with Rome lesson video featuring Rome Ramirez.</p> <p>The track, "Wherever You Go," is from the band's new album, <em>Sirens,</em> which was released July 17 via BMG Chrysalis. You can hear the official audio of the track in the YouTube player at the bottom of this story.</p> <p>Co-produced by Paul Leary and Rome, the 11-song album follows the band’s 2011 debut, <em>Yours Truly.</em> Sublime with Rome features original Sublime bassist Eric Wilson, vocalist and guitarist Rome and drummer Josh Freese.</p> <p>The band also just kicked off their biggest North American tour to date. You can check out all the remaining summer dates below the lesson video.</p> <p><strong>For more about Sublime with Rome, visit <a href="http://sublimewithrome.com/">sublimewithrome.com</a> and follow them on <a href="https://www.facebook.com/sublimewithrome?fref=ts">Facebook.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/6I3BeqMpR00" frameborder="0" allowfullscreen></iframe></p> <p><strong>SUBLIME WITH ROME – 2015 TOUR DATES:</strong></p> <p>07/23 – Maryland Heights, MO @ Hollywood Casino Amphitheatre<br /> 07/24 – Indianapolis, IN @ Farm Bureau Insurance Lawn at White River State Park<br /> 07/25 – Rochester Hills, MI @ Meadow Brook<br /> 07/26 – Toronto, ON @ TD Echo Beach<br /> 07/28 – Cleveland, OH @ Jacobs Pavilion at Nautica<br /> 07/29 – Cincinnati, OH @ PNC Pavilion<br /> 07/30 – Glen Allen, VA @ Innsbrook After Hours/Innsbrook Pavilion<br /> 07/31 – Philadelphia, PA @ Festival Pier at Penn’s Landing<br /> 08/01 – Mt. Pocono, PA @ Sherman Theatre Summer Stage<br /> 08/02 – Holmdel, NJ @ PNC Bank Arts Center<br /> 08/04 – Canandaigua, NY @ Constellations Brands – Marvin Sands PAC<br /> 08/05 – New York, NY @ JBL Live at Pier 97<br /> 08/06 – Uncasville, CT @ Mohegan Sun Casino<br /> 08/07 – Boston, MA @ Blue Hills Bank Pavilion<br /> 08/08 – Baltimore, MD @ Pier Six Pavilion<br /> 08/10 – Raleigh, NC @ Red Hat Amphitheater<br /> 08/11 – Charlotte, NC @ Uptown Amphitheatre at the Music Factory<br /> 08/12 – Charleston, SC @ Family Circle Cup Stadium<br /> 08/14 – Tampa, FL @ MIDFLORIDA Credit Union Amphitheatre<br /> 08/15 – Miami, FL @ Klipsch Amphitheater at Bayfront Park<br /> 08/16 – St. Augustine, FL @ St. Augustine Amphitheatre<br /> 08/18 – Nashville, TN @ Riverfront Park<br /> 08/19 – Kansas City, MO @ Power &amp; Light District<br /> 08/20 – Chicago, IL @ FirstMerit Bank Pavilion at Northerly Island<br /> 08/22 – Morrison, CO @ Red Rocks Amphitheatre<br /> 08/23 – Salt Lake City, UT @ USANA Amphitheatre<br /> 08/25 – Albuquerque, NM @ Isleta Amphitheatre<br /> 08/27 – Nampa, ID @ Idaho Center Amphitheatre<br /> 08/28 – Eugene, OR @ Cuthbert Amphitheatre<br /> 08/29 – Redmond, WA @ Marymoor Amphitheater<br /> 08/30 – Redmond, WA @ Marymoor Amphitheater<br /> * 09/05 – South Padre Island, TX @ Clayton’s Beach Bar</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/c2vD4vHc4to" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/sublime-rome-wherever-you-go-lesson-rome-ramirez-video/25056#comments Lesson Rome Ramirez Sublime Sublime With Rome Wherever You Go Videos News Lessons Thu, 23 Jul 2015 15:51:54 +0000 Guitar World Staff 25056 at http://www.guitarworld.com Jazz Guitar Corner: Channel Allan Holdsworth with Four-Note-Per-String Scales http://www.guitarworld.com/jazz-guitar-corner-channel-allan-holdsworth-four-note-string-scales <!--paging_filter--><p>I often get asked about two topics: How to play in a modern style and how to break out of box patterns. Though these are two separate ideas, I often start by giving one answer: Check out four-note-per-string scales.</p> <p>Used by modern players such as Allan Holdsworth, whose playing inspired me to check out these fingerings, four-note-per-string scales can help bring a more modern flavor to your lines, expand your knowledge of the neck and allow you to cover a large amount of fretboard real estate with just one scale shape, all of which are beneficial to players looking to explore non-traditional scale fingerings in their playing. </p> <p>In this week’s article, we’ll be looking at how to play and practice four-note-per-string scales, as well as how to add slurs into the mix in order to get a bit of that “slippery” Holdsworth legato sound into your lines. </p> <p><strong>4 Note Per String Scales</strong></p> <p>These scales are built exactly as their name suggests, by playing four notes on each string as you climb up the neck, then simply reversing this approach on the way down. </p> <p>While these scales lie nicely under the fingers once you get them down, there are two roadblocks many players face when exploring these scales for the first time, finding the notes and finding a fingering that works for you.</p> <p>When first digging into a new four-note-per-string scale, such as the F major scale below, you will need to figure out the notes on the scale and build your fingering up from there. </p> <p>Here is the process I used to work out the notes in the example below. </p> <p>• Pick a scale, in this case F major<br /> • Write out the notes of that scale, F G A Bb C D E<br /> • Start on the tonic, F, and play the first four notes of the scale on the 6th string, F G A Bb<br /> • Then, move to the next note in the scale, C, on the 5th string and play the next four notes, C D E F<br /> • Repeat this process up all 6 strings</p> <p>So the process for learning the fingering for this scale is different from a typical box pattern or in-position two-octave scale, which can make it a bit tricky at first. But it does have the added side effect of shoring up your knowledge of the notes on the neck at the same time that you learn the scale, so it’s a worthwhile exercise for both of these reasons. </p> <p>As far as the fingering is concerned, it will depend on your hand and finger size and dexterity. I play these scales with one finger per note, 1-2-3-4 across each string, but not everyone will feel comfortable with this fingering. </p> <p>If you find that the 1-2-3-4 fingering on each string is uncomfortable, you also can try 1-1-2-4, 1-2-4-4 or other combinations of these fingers that sit well with your hands on the guitar. </p> <p>Check out this scale below, and then take it to as many keys as you can across the neck before moving on to the slur exercises that follow. Depending on how many frets you have, you may be able to get it up to the key of C, if you have 24 or Bb if you have 22. </p> <p><img src="/files/imce-images/Example%201%20JPG_1.jpg" width="620" height="158" alt="Example 1 JPG_1.jpg" /></p> <p><strong>Adding 1 Slur To 4NPS Scales</strong></p> <p>Now that you’ve checked out a four-note-per-string fingering on the guitar, we’ll begin to add in slurs, hammers and pull-offs in order to give these scales that “slippery” sound you hear when they’re used by players such as Holdsworth. </p> <p>All of the exercises below are also great for building fretting-hand technique, but they can also be very tiring on the fingers and fretting hand. So go slow with these exercises, and if your hand begins to feel sore or overtired, just take a break, go have a cup of coffee or take the dog for a walk, then come back to this exercise when your hands are fresh. </p> <p>We’ll being the slur exercises with three different ways to add one hammer on the way up the scale and one pull-off on the way down. In the first example you will see a slur added between the first and second notes on each string. </p> <p>When you are coming down the scale, keep that same approach, putting a slur between the first and second notes on each string, but just use a pull-off when descending the scale fingering. </p> <p><img src="/files/imce-images/Example%202%20JPG_1.jpg" width="620" height="158" alt="Example 2 JPG_1.jpg" /></p> <p>The next variation will feature a slur between the second and third notes on each string. Again, use a hammer going up the scale and a pull-off on the way back down. To get the most out of these exercises, make sure to use a metronome, starting at a slow tempo and slowly increasing the speed as you work these scale and slur variations in different keys across the neck. </p> <p><img src="/files/imce-images/Example%203%20JPG_2.jpg" width="620" height="161" alt="Example 3 JPG_2.jpg" /></p> <p>The last one-slur example we’ll check out features a slur between the third and fourth notes. Once you have any/all of these slurs under your fingers, put on a backing track, maybe a static Fmaj7 chord or a ii-V-I progression in the key of F major, then improvise using this scale fingering and slur variations. </p> <p>The best way to see if you have really learned a new concept is to take it out and make some music with it. So, don’t feel like you have to get all of these ideas down before you begin to solo with them, just learn one slur option then go blow with it for a bit over a backing track. Then when that’s comfortable move on to the next slur and repeat the technique-improv loop. </p> <p><img src="/files/imce-images/Example%204%20JPG_1.jpg" width="620" height="163" alt="Example 4 JPG_1.jpg" /></p> <p><strong>Adding 2 Slurs to 4 NPS Scales</strong></p> <p>Since there are four notes on every string when using these fingerings, you can also practice adding two slurs in a row on each string of the scale. The concept is the same as when you added one slur, use hammers on the way up and pull-offs on the way down to complete the exercise. </p> <p>In the first example you will be adding a slur between the first, second and third notes on each string. </p> <p>If you are using the 1-1-2-4 fingering instead of 1-2-3-4, you can use a slide between the first two notes so that the slur becomes a slide plus a hammer on the way up and a slide plus a pull-off on the way down. This will allow you to work these slurs into the scale if you use an alternate fingering. </p> <p><img src="/files/imce-images/Example%205%20JPG_0.jpg" width="620" height="161" alt="Example 5 JPG_0.jpg" /></p> <p>You can also add two slurs to the back end of each string but placing a slur between the second, third and fourth notes on each string in the scale. Again, if you are using the 1-2-4-4 fingering for each string, then you could do a hammer plus a slide going up and a pull-off plus a slide going down to achieve the same effect. </p> <p><img src="/files/imce-images/Example%206%20JPG.jpg" width="620" height="163" alt="Example 6 JPG.jpg" /></p> <p><strong>Adding 3 Slurs to 4 NPS Scales</strong></p> <p>Lastly, you can use slurs on all of the notes on each string, so only picking the first note and then slurring for the rest of the notes on each string in the scale. This type of legato approach is indicative of the Holdsworth style, so if you are going for that sound, this is a variation that you will want to check out and get under your fingers. </p> <p>Since there are more slides than picks, many players tend to lose focus on the time and rhythm with this exercise. A good way to avoid this is to set the metronome to 8th notes and then play one note per click to make sure each note is accurately placed within the bar. </p> <p><img src="/files/imce-images/Example%207%20JPG.jpg" width="620" height="163" alt="Example 7 JPG.jpg" /></p> <p>Though not as common as in-position, the CAGED system or three-note-per-string scales, using four notes on each string can help you learn the notes of the neck, add more legato to your lines and break you out of box patterns at the same time. </p> <p>Do you use four-note-per-string scales in your playing or have a favorite way to practice them in the woodshed? Please share your thoughts in the comment section below. </p> <p><em>Photo: Matt Warnock</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/PvEs8KvcBmY" frameborder="0" allowfullscreen></iframe></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 senior lecturer at the Leeds College of Music and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-channel-allan-holdsworth-four-note-string-scales#comments Allan Holdsworth Jazz Guitar Corner Matt Warnock Blogs Lessons Thu, 23 Jul 2015 15:09:28 +0000 Matt Warnock 15867 at http://www.guitarworld.com Slash Shows You How to Play Guns N' Roses' "Paradise City" — Video Lesson http://www.guitarworld.com/video-lesson-slash-shows-you-how-play-guns-n-roses-paradise-city <!--paging_filter--><p>Around the release of his eponymous debut solo album, Slash took the time out to show us how to play some of his favorite riffs, both new and old. </p> <p>In the <em>Guitar World</em> video below, Slash talks about writing the classic Guns N' Roses tune "Paradise City." He also shows you how to play the key parts of the <em>Appetite for Destruction</em> track.</p> <p>Slash's latest studio album—<em>World on Fire</em>—was counted among <em>Guitar World's</em> <a href="http://www.guitarworld.com/guitar-worlds-50-best-albums-2014">50 Best Albums of 2014.</a> </p> <p>Enjoy!</p> <p><em>Photo: Robert John</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/nEq1tKM4v2k" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/slash">Slash</a> </div> <div class="field-item even"> <a href="/guns-n039-roses">Guns N&#039; Roses</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-lesson-slash-shows-you-how-play-guns-n-roses-paradise-city#comments Guns N' Roses May 2010 Slash Videos News Lessons Magazine Thu, 23 Jul 2015 14:10:48 +0000 Guitar World Staff 15012 at http://www.guitarworld.com Metal for Life: Examining Five Essential Minor Mode Scale Patterns — with Tab and Video http://www.guitarworld.com/metal-life-modal-citizen-examining-five-essential-minor-mode-scale-patterns <!--paging_filter--><p>This month, we will continue our modal study by focusing on two essential minor modes, Dorian and Aeolian. </p> <p>Both of these modes can be looked at as “extensions” of the scale that is used most prominently for soloing in metal, minor pentatonic. A scale well familiar to most rock, blues and metal players, minor pentatonic is a five-note scale, spelled 1 b3 4 5 b7, in terms of its interval structure. </p> <p>Both the Dorian and Aeolian modes are seven-note scales, and in each case two scale degrees are added to minor pentatonic. Dorian adds the major second (2) and major sixth (6) degrees, resulting in an intervallic structure of 1 2 b3 4 5 6 b7. Aeolian adds the major second and minor, or “flat,” sixth (b6) scale degrees and is spelled 1 2 b3 4 5 b6 b7.</p> <p>Let’s focus on the Dorian mode first, using the key of G minor. In <strong>FIGURES 1–5</strong>, I progress through five fretboard positions of G Dorian (G A Bb C D E F), first hitting a G5 power chord in order to strengthen our connection to the key of G.</p> <p>In <strong>FIGURE 1</strong>, I ascend and descend through G Dorian in a pattern that spans second and third positions. The intervals/scale degrees are indicated for the first seven notes below the tab. Recite the names of the scale degrees as you play each note, and strive to memorize each note’s intervallic role as well as the order in which they fall.</p> <p>In <strong>FIGURE 2</strong>, I move up to the next scale pattern for G Dorian, for which the index finger is rooted at the fifth fret throughout. Likewise, play this scale ascending and descending several times in order to work it into your fret-hand muscle memory as well as to memorize the scale in this position.</p> <p>In <strong>FIGURES 3–5</strong>, I progressively move up to higher scale positions. <strong>FIGURE 3</strong> is played in seventh-eighth position, <strong>FIGURE 4</strong> spans ninth-10th position, and <strong>FIGURE 5</strong> is played in 12th position. </p> <p>For these patterns, I like to use alternate picking throughout when ascending and descending, playing through each slowly so that every note sounds clearly. Once you have the patterns memorized and comfortable under your fingers, increase the speed while keeping your focus on clear articulation and precision with both hands.</p> <p>The next step is to switch from Dorian to Aeolian, which requires the altering of only one note: the sixth degree of G Dorian, E, moves down one fret, or half step, to Eb. Altering this one note yields the G Aeolian mode (G A Bb C D Eb F), illustrated in five essential fretboard patterns in <strong>FIGURES 6–10</strong>.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/pmv-2VhJPtA" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20shot%202015-07-22%20at%201.51.09%20PM.png" width="718" height="510" alt="Screen shot 2015-07-22 at 1.51.09 PM.png" /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-22%20at%201.51.29%20PM.png" width="620" height="555" alt="Screen shot 2015-07-22 at 1.51.29 PM.png" /></p> http://www.guitarworld.com/metal-life-modal-citizen-examining-five-essential-minor-mode-scale-patterns#comments July 2013 Metal For Life Metal Mike Chlasciak Videos Lessons Magazine Wed, 22 Jul 2015 20:32:16 +0000 Metal Mike Chlasciak 18428 at http://www.guitarworld.com Jazz Guitar Corner: Using Two-Note Chords to Play the Blues, Part 1 http://www.guitarworld.com/jazz-guitar-corner-using-two-note-chords-play-blues-part-1 <!--paging_filter--><p>When learning how to play jazz guitar, one of the main items we need to tackle is playing effective, jazzy-sounding chords that properly outline the chord changes all at the same time. </p> <p>While this may seem like a tall order, there are some easy-to-play and effective shapes we can learn in order to quickly and effectively outline any tune or progression we are jamming on in the woodshed or on the bandstand. </p> <p>In today’s lesson, we’ll be looking at some of my favorite chord shapes, 3rds and 7ths, as applied to the third and fourth strings of the guitar, and then played over an A blues chord progression. We will be exploring these shapes further in this series of articles, so make sure to check back for more articles that dig further into two-note chords as applied to various jazz-guitar situations. </p> <p><strong>What Are 3rd and 7th Chords?</strong></p> <p>Before we learn how to apply these shapes to the third and fourth string set on the guitar, let’s take a look at exactly what 3rd and 7th, two-note shapes are and why they work so well when used in a harmonic situation on the guitar. </p> <p>The biggest reason these shapes work so well on the guitar? They are small, easy-to-play shapes—but they still outline the underlying chords and progression at the same time. </p> <p>Here's an example of an A7 chord broken up into an arpeggio and then laid out as a chord, with the 3rd and 7th from each of those shapes extracted in the bar next to the arp and chord. </p> <p><img src="/files/imce-images/3rds%20and%207ths%20A%20Blues%20JPG.jpg" width="620" height="156" alt="3rds and 7ths A Blues JPG.jpg" /></p> <p>As you can see, the 3rd and 7th are found in both the A7 arpeggio and chord. You are simply removing the root and 5th of both of those shapes, leaving you with a two-note chord grip on the fretboard. </p> <p>You may be asking yourself, “But if we remove the root, how can we hear the underlying chord?” That’s a good question and something we should address before moving on. </p> <p>Even though there is no root in these shapes, you can still hear the underlying chord and progression when applying it to a tune for the following reasons: </p> <p>01. The 3rd of any chord tells you whether it’s a major- or minor-based chord. </p> <p>02. The 7th of any chord tells you whether a major based chord is a maj7 or 7th chord—and whether a minor based chord is a m7 or mMaj7 chord. </p> <p>So, as you can see, even though the root isn’t in the chord, these two notes can still outline the given harmony very effectively when applied to any tune you know or are working on. </p> <p>There are some situations where you would need another note to fully outline a chord, such as m7b5 or dim7 chord, but for now, we’ll just be looking at m7 and 7th chords over a blues chord progression. We will deal with those shapes in future articles in this series. </p> <p><strong>3rds and 7ths Over A Blues Chords</strong></p> <p>Now that you have an idea of what 3rd and 7th, two-note chord shapes are and how they are built, let’s take a look at how you can apply these fun and cool-sounding chords to an A blues chord progression. </p> <p>Start by playing these chords on your own, with no backing track, so that you can hear how they can sound the harmony of the tune without needing any more accompaniment. </p> <p>From there, try putting on a backing track and using these chords to comp along over an A blues progression to hear how they sound when applied to the underlying harmony. </p> <p>Here's an example of applying 3rd and 7th chords on the third and fourth strings beginning with the notes G and C# for the A7 chord in bar one of the form. </p> <p><img src="/files/imce-images/3rds%20and%207ths%20A%20Blues%202%20JPG.jpg" width="620" height="493" alt="3rds and 7ths A Blues 2 JPG.jpg" /></p> <p>And here's an example of applying those same 3rds and 7ths, on the same string set, but this time with C# and G being the starting notes for the A7 chord in bar one of the form.</p> <p><img src="/files/imce-images/3rds%20and%207ths%20A%20Blues%203%20JPG.jpg" width="620" height="493" alt="3rds and 7ths A Blues 3 JPG.jpg" /> </p> <p>Though you are only using two notes per chord, when you play through the above examples, you can still hear the harmonic movement and chord progression for the underlying A blues form. </p> <p>This is one of the reasons two-note chords are so important to learn. They perfectly outline a chord progression and they also are very easy to play on the guitar, freeing up your fingers to add extensions and other colors on top of these shapes as you take them further. </p> <p><strong>Practicing 3rds and 7ths Over Blues</strong></p> <p>After sampling the two-note chords in the above examples, here are five exercises you can try in order to take these shapes further in the practice room: </p> <p>01. Sing the root of each chord in an A blues while playing the 3rds and 7ths from the first example on the guitar. </p> <p>02. Sing the root of each chord in an A blues while playing the 3rds and 7ths from the second example on the guitar. </p> <p>03. Comp through an A blues with the shapes from Example 1, varying the rhythms as you move through the changes. </p> <p>04. Comp through an A blues with the shapes from Example 2, varying the rhythms as you move through the changes. </p> <p>05. Repeat the above four exercises in 12 keys and at various tempos on the metronome. </p> <p>There you have it—a brief introduction to using two-note chords to play an A blues on the guitar. Simple, fun to play shapes that are highly effective and sound great when applied to a solo, duo or combo situation. </p> <p>Do you have a question about these two-note chords? Post 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-using-two-note-chords-play-blues-part-1#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Wed, 22 Jul 2015 17:49:50 +0000 Matt Warnock 18921 at http://www.guitarworld.com Get a Free '50 Expert Guitar Licks' Gus G Lesson at the 'Guitar World Lessons' Store — Video http://www.guitarworld.com/get-free-50-expert-guitar-licks-lesson-guitar-world-lessons-store/25035 <!--paging_filter--><p>Want to expand and diversify your guitar skills and repertoire and learn how to alternate pick, sweep and tap like a pro? And even get the first lesson for free?</p> <p><em><a href="https://guitarworldlessons.com/product/580B25AB-5950-59CF-0571-7BDAF0F53F40?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=50expert">50 Expert Guitar Licks</a></em> helps you do it with great guitar phrases written and presented by some of the biggest virtuosos in rock, metal, shred, prog, jazz, blues, fusion and other styles, including Joe Satriani, Marty Friedman, Alex Skolnick, Gus G, Joel Hoekstra, Joel Kosche of Collective Soul, Jeff Loomis, Glenn Proudfoot, Andy Timmons, Michael Angelo Batio, Zane Carney, Mike Errico, Rob Math, Gary Potter, Dave Reffett and <em>Guitar World’s</em> own resident expert, Senior Music Editor Jimmy Brown. </p> <p>Each lick includes tab, a written explanation to guide you through the lick and—best of all—video from the artist who created it. Offering more than two hours of pro-level training, <em><a href="https://guitarworldlessons.com/product/580B25AB-5950-59CF-0571-7BDAF0F53F40?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=50expert">50 Expert Guitar Licks</a></em> is the most comprehensive instructional course of its kind!</p> <p><em><a href="https://guitarworldlessons.com/product/580B25AB-5950-59CF-0571-7BDAF0F53F40?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=50expert">50 Expert Guitar Licks</a></em> is now available through the Guitar World Lessons <a href="https://guitarworldlessons.com/product/580B25AB-5950-59CF-0571-7BDAF0F53F40?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=50expert">Webstore</a> and <a href="https://itunes.apple.com/us/app/guitar-world-lessons/id942720009?mt=8">App.</a> It joins the ranks of the many lessons already available through <a href="https://guitarworldlessons.com/product/580B25AB-5950-59CF-0571-7BDAF0F53F40?utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=50expert">Guitar World Lessons.</a></p> <p>To celebrate this new release, <em>Guitar World</em> is offering the first <em>50 Expert Guitar Licks</em> lesson, "Gus G—“Losing My Mind” Tapping," as a FREE download! Note that all 50 <em>50 Expert Guitar Licks</em> lessons are available—as a package—for only $14.99.</p> <p><strong>For more information, visit the Guitar World Lessons <a href="https://guitarworldlessons.com/product/580B25AB-5950-59CF-0571-7BDAF0F53F40?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=50expert">Webstore</a> and download the <a href="https://itunes.apple.com/us/app/guitar-world-lessons/id942720009?mt=8">App</a> now.</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/OIJnpfl3iiU" 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="/gus-g">Gus G</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/get-free-50-expert-guitar-licks-lesson-guitar-world-lessons-store/25035#comments 50 Expert Guitar Licks Guitar World Lessons Gus G Videos News Lessons Tue, 21 Jul 2015 21:19:32 +0000 Guitar World Staff 25035 at http://www.guitarworld.com Metal for Life: How to Unlock the Secrets of the Seven Fundamental Modes Favored by Randy Rhoads — Tab and Video http://www.guitarworld.com/metal-life-unlocking-secrets-seven-fundamental-modes-favored-randy-rhoads <!--paging_filter--><p>This month, I’d like to illustrate a very clear and effective way to memorize the series of scales that are collectively known as the seven fundamental modes. </p> <p>I consider these modes to be essential learning for any aspiring metal soloist, and indeed, Randy Rhoads put a spotlight on the modes within the context of metal guitar. The majority of them are also useful for soloing in other styles. </p> <p>The fundamental modes are derived from the major scale. The major scale is considered the Ionian mode and is recognized as the first of the seven fundamental modes. Modes can be derived from other scales, such as harmonic minor and melodic minor, just as they are derived from the major scale.</p> <p>Western music is based on what is known as the 12-tone system, wherein there are 12 pitches, half steps apart, that fall within one octave (from a given note to a higher note with the same name, such as E to E). The guitar fretboard is divided up in half steps, as the intervallic distance between each fret is one half step. A span of two frets equals a whole step. </p> <p>The major scale, or Ionian mode, is based on a specific progression of whole and half steps, and the other six modes are reorientations of this whole step–half step sequence.</p> <p>A great way to visualize this on the guitar is to play the major scale (Ionian mode) on one string. <strong>FIGURE 1</strong> illustrates the G major scale(G A B C D E F#) ascending the low E string. When examining the distance between each note in the scale, we see the progression of whole and half steps is whole-whole-half- whole-whole-whole-half (W-W-H-W-W- W-H). Memorize this sequence, as this pattern will be revisited in different incarnations as we go through all of the fundamental modes.</p> <p>The way to find the second fundamental mode is to start from the second note of the major scale and ascend to the same note one octave higher. <strong>FIGURE 2</strong> illustrates the A Dorian mode, starting from the fifth fret of the low E string and ascending to the 17th fret. We can see that the series of whole and half steps is different for the Dorian mode, as we have begun from the second note and the series shifts up. For Dorian, the pattern is W-H-W- W-W-H-W. </p> <p><strong>FIGURE 3</strong> illustrates the third mode, B Phrygian, which begins from the third note of the G major scale, B. The interval series for Phrygian is H-W-W-W-H-W-W.</p> <p>Now let’s play each of these three modes in one position, moving across all of the strings.</p> <p><strong>FIGURES 4–6</strong> show G Ionian, A Dorian and B Phrygian all played in second position. In <strong>FIGURES 7–9</strong>, I begin with the associated power chord for each mode and follow it by ascending and descending through each mode. Next month we’ll look at the remaining four fundamental modes: Lydian, Mixolydian, Aeolian and Locrian.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/1oxO_lV2kBE" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/OVagrVFraF8" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20shot%202015-07-21%20at%203.14.43%20PM.png" width="620" height="536" alt="Screen shot 2015-07-21 at 3.14.43 PM.png" /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-21%20at%203.15.09%20PM.png" width="620" height="394" alt="Screen shot 2015-07-21 at 3.15.09 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="/randy-rhoads">Randy Rhoads</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/metal-life-unlocking-secrets-seven-fundamental-modes-favored-randy-rhoads#comments April 2013 Metal For Life Metal Mike Randy Rhoads Videos Lessons Magazine Tue, 21 Jul 2015 19:35:36 +0000 Metal Mike 17879 at http://www.guitarworld.com From Bach to Rock: Expanding Your Musicality and Fretboard Knowledge Using Triads and Inversions (Guitar, Un-CAGED) http://www.guitarworld.com/bach-rock-expanding-your-musicality-and-fretboard-knowledge-using-triads-and-inversions-guitar-un-caged <!--paging_filter--><p>When first learning to play guitar, transitioning between chords and playing a few progressions can allow you to play hundreds of songs. </p> <p>While this can keep you entertained for quite a while, you might find there is a large amount of the fretboard that is lacking your attention.</p> <p>One of the many tools that can be used to learn the higher positions is the CAGED system. Though the application can be very useful, aspects of it can be simplified and studied in a more musical approach. Doing this might help you have a better understanding of chord voicing and harmony.</p> <p>The CAGED system uses five guitar chord shapes — C, A, G, E and D — to create barre chords for playing in higher positions. The problem with this system is that its functionality has nothing to do with music itself. It is simply a physical device that works based on the tuning of the strings. It cannot be applied to music in general and is specific only to the guitar.</p> <p>These five chords are all root-position chords, meaning the letter name of the chord is the lowest-sounding note. But music does not always consist of root-position chords, so why should it on the guitar? In this column, I’ll demonstrate another approach for expanding your fretboard knowledge using triads and their inversions.</p> <p>First of all, what is a chord? If you’re asked to play a G chord, what really does that mean? Sure, it can be a shape from a chord diagram, but why that shape? And if it’s different from one diagram to the next, is one of those wrong?</p> <p>As guitarists, we often think about chords as shapes, and we have “go-to” shapes for certain chords. But that’s not thinking musically. So that we can develop a stronger sense of musicianship, we need to understand how chords are constructed. To demonstrate, I’ll use a simple I-V-vi-IV progression in the key of A, so the chords will be A, E, F♯m and D. </p> <p>First, we need to know what notes are in the key of A.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.45.03%20PM.png" width="620" height="92" alt="Screen Shot 2014-08-13 at 5.45.03 PM.png" /></p> <p>The basic chord is called a triad and consists of a root, a third and a fifth. The chords in this progression will have these notes:</p> <p><strong>A</strong>: A, C♯, E<br /> <strong>E</strong>: E, G♯, B<br /> <strong>F♯m</strong>: F♯, A, C♯<br /> <strong>D:</strong> D, F♯, A</p> <p>Your “go-to” shapes for these chords might look something like this:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.47.01%20PM.png" width="620" height="173" alt="Screen Shot 2014-08-13 at 5.47.01 PM.png" /></p> <p>When first learning to play a chord progression, we’re typically using our basic “guitar” chords. I use quotations because many guitarists think of a chord as a certain shape. That may suffice for a beginner, but to make those root-position chords even more musical, we need to take advantage of the rest of the fretboard. We can do so by learning different chord inversions. </p> <p>As there are three different notes in a basic chord (triad), there are three basic forms for these chords. These forms are presented only on the top four strings. The reasoning for this is twofold: 01. Historically, the developing guitar was a four-string instrument until the Baroque era, when a fifth string was added, and then a sixth. Therefore, chords had to be formed on fewer strings. 02. Chords formed on the top four strings involve a systematic, musical approach to triadic harmony and the use of chord inversions.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.51.05%20PM.png" width="620" height="352" alt="Screen Shot 2014-08-13 at 5.51.05 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.51.58%20PM_0.png" width="620" height="87" alt="Screen Shot 2014-08-13 at 5.51.58 PM_0.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.52.19%20PM_0.png" width="620" height="271" alt="Screen Shot 2014-08-13 at 5.52.19 PM_0.png" /><br /> <strong>Form I Voicing</strong>: 1-3-5-1 (root, third, fifth, octave)—“root-position.”<br /> <strong>Form II Voicing</strong>: 3-5-1-3 —“first inversion.”<br /> <strong>Form III Voicing</strong>: 5-1-3-5—“second inversion.”</p> <p>There is a clear pattern of intervals with this system of chord inversions. While the official term is “inversion,” using form numbers can help to identify where the root of the chord is. For example, the root in Form I is on the first string, it’s on the second for Form II, and the third for Form III. This applies to both Major and Minor Forms.</p> <p>Applying these forms to the chord progression, A, E, F♯m, D, will give us three different fretboard locations, with each of these having a different sound because of the different chord voicings. The transition from one form to the next is designed so that common chord tones may be used where applicable, and shifting is kept to a minimum.</p> <p><strong>Example 1:</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-14%20at%202.59.01%20PM.png" width="620" height="146" alt="Screen Shot 2014-08-14 at 2.59.01 PM.png" /></p> <p><strong>Example 2:</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-14%20at%203.01.25%20PM.png" width="620" height="144" alt="Screen Shot 2014-08-14 at 3.01.25 PM.png" /></p> <p><strong>Example 3:</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-14%20at%203.02.22%20PM.png" width="620" height="149" alt="Screen Shot 2014-08-14 at 3.02.22 PM.png" /></p> <p>Each of these examples systematically moves through the different chord inversions, and they create sounds very different from the basic, root-position shapes. </p> <p>Learning these six total forms can be much easier than the learning CAGED system. With its musical approach, the focus is on specific chord voicing rather than just root-position chord shapes. Through using these, you can expand your fretboard knowledge in a musical way and gain a better understanding of how chords function. Sonically, if you’re playing the same progression with another guitarist, each of you can play the same chords, but in different positions, creating a wider spectrum of sound.</p> <p>This method of learning chords is presented in my new iBook, <em>Beginning Guitar Method</em>, <a href="https://itunes.apple.com/us/book/beginning-guitar-method/id898277915?mt=11">which is available in the Apple iBookstore.</a> </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/aO1XZJvFXu8" frameborder="0" allowfullscreen></iframe> </p> <p><em>Matthias Young teaches online guitar lessons at <a href="http://www.freeguitarvideos.com/">FreeGuitarVideos.com</a> and is the Head of Guitar at <a href="http://matthiasyoung.com/callanwolde-fine-arts-center-guitar-lessons.html">Callanwolde Fine Arts Center</a> in Atlanta, Georgia. His book and DVD, <em><a href="http://matthiasyoung.com/metal-guitar-method.html">Metal Guitar Method</a></em>, has sold thousands since its publication in 2012. His most recent release, <em>Beginning Guitar Method</em>, is <a href="https://itunes.apple.com/us/book/beginning-guitar-method/id898277915?mt=11">available in the Apple iBookstore</a>. You can follow Matthias on <a href="https://www.facebook.com/MatthiasYoungMusic">Facebook</a>, <a href="https://twitter.com/MatthiasYoung">Twitter</a>, <a href="https://www.youtube.com/watch?v=8hksBbos-LY&amp;list=PLXAcBwcIb4bXcUIM8jk2tdqO4p-i8BKmV">YouTube</a> and <a href="https://plus.google.com/112484027885679013277/posts">Google+.</a></em></p> http://www.guitarworld.com/bach-rock-expanding-your-musicality-and-fretboard-knowledge-using-triads-and-inversions-guitar-un-caged#comments From Bach to Rock How to Matthias Young Videos Blogs Lessons Tue, 21 Jul 2015 19:00:06 +0000 Matthias Young 22123 at http://www.guitarworld.com Shred Fest: Chris Broderick and Gus G Trade Licks, Talk Guitar — Video http://www.guitarworld.com/shred-fest-chris-broderick-and-gus-g-trade-licks-talk-guitar-video/25015 <!--paging_filter--><p>What's it like to sit around with Chris Broderick and Gus G? </p> <p>It's probably a lot like this! </p> <p>Check out this new video featuring <em>Guitar World</em>'s <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-15-future-of-shred?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=GusChrisVideo1">latest cover stars,</a> Chris Broderick and Gus G. It's fun (and a little intimidating) to see these two insanely talented guitarists trade licks, talk inspiration, influences and more. </p> <p>A few things while we have your attention: </p> <p>• <strong>Check out</strong> the new issue of <em>Guitar World</em> (with Chris and Gus on the cover) <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-15-future-of-shred?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=GusChrisVideo1">right here.</a> </p> <p>• <strong>Enjoy</strong> our premiere of <a href="http://www.guitarworld.com/gus-g-premieres-new-song-quest-exclusive/24982">"The Quest" from Gus G's new solo album, <em>Brand New Revolution.</em></a> </p> <p>• <strong>Check out</strong> <a href="http://www.guitarworld.com/betcha-cant-play-chris-brodericks-arpeggio-etude-tapping-hammer-ons-and-attitude">one of the most insane "Betcha Can't Play This" videos,</a> ever, featuring Chris Broderick. </p> <p>• <strong>Read</strong> this random story about <a href="http://www.guitarworld.com/carlos-santana-stevie-ray-vaughan-jimmie-vaughan--los-lobos-cesar-rosas-1988-video/25004">Stevie Ray Vaughan jamming with Carlos Santana</a> in 1988. </p> <p><strong><em>For more about Chris Broderick, <a href="http://www.chrisbroderick.com/">head here.</a> For more about Gus G, <a href="http://www.gusgofficial.com/">head in this general direction.</a> Stay tuned for the next exclusive GW video featuring these two shredders!</em></strong> </p> <p><iframe src="https://www.youtube.com/embed/ZPzGpsi4gO4" width="620" height="365" frameborder="0"></iframe></p> <p><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-15-future-of-shred?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=GusChrisVideo1"><img src="/files/imce-images/Screen%20Shot%202015-07-15%20at%2011.50.40%20AM.png" alt="Screen Shot 2015-07-15 at 11.50.40 AM.png" width="620" height="809" /></a></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="/gus-g">Gus G</a> </div> <div class="field-item even"> <a href="/chris-broderick">Chris Broderick</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/shred-fest-chris-broderick-and-gus-g-trade-licks-talk-guitar-video/25015#comments Chris Broderick Gus G September 2015 shred trade licks Videos Features Lessons Tue, 21 Jul 2015 11:18:20 +0000 Damian Fanelli 25015 at http://www.guitarworld.com Paul Gilbert Lesson: The Truth About Inside and Outside Picking — Video http://www.guitarworld.com/paul-gilbert-lesson-truth-about-inside-and-outside-picking-video <!--paging_filter--><p>Guitarist Troy Grady hosts a web series called "Cracking the Code."</p> <p>In each episode, he breaks down a phrase—or something awesome that he has learned or figured out—and then explains it in a detail-packed way that includes an information- and graphics-packed video.</p> <p>In the recent past, we've shared two "Cracking the Code" videos dedicated to Yngwie Malmsteen's picking:</p> <p>• <a href="http://www.guitarworld.com/yngwie-malmsteem-lesson-cracking-code-season-2-episode-1-get-down-upstroke-video">Yngwie Malmsteen Lesson: Cracking the Code, Season 2, Episode 1: "Get Down for the Upstroke"</a></p> <p>• <a href="http://www.guitarworld.com/yngwie-malmsteem-lesson-cracking-code-season-2-episode-2-inside-volcano-video">Yngwie Malmsteen Lesson: Cracking the Code, Season 2, Episode 2: "Inside the Volcano."</a></p> <p>Today we bring you Grady's new Paul Gilbert-themed lesson, "The Truth About Inside &amp; Outside Picking." </p> <p>"Chapter 24 of the <em>Antigravity</em> seminar explores the amazing Paul Gilbert and the often-misunderstood concepts of inside and outside picking," Grady says. You can learn more about Grady's <em>Antigravity</em> series <a href="http://www.troygrady.com/mechanics/">right here.</a></p> <p><strong>For more about Grady and his instructional videos, visit <a href="http://www.troygrady.com/code/">troygrady.com</a> and <a href="https://gumroad.com/l/ccseason2">gumroad.com</a>.</strong> Enjoy!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/y1Na-NdRrOQ" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/paul-gilbert">Paul Gilbert</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/paul-gilbert-lesson-truth-about-inside-and-outside-picking-video#comments Cracking the Code Paul Gilbert Troy Grady Videos Lessons Mon, 20 Jul 2015 20:23:35 +0000 Damian Fanelli 23253 at http://www.guitarworld.com Practice Tips from Joe Satriani http://www.guitarworld.com/practice-tips-joe-satriani <!--paging_filter--><p><em>Originally published in <em>Guitar World</em>, July 2004.</em></p> <p><strong>Check out these practice tips from super-shredder Joe Satriani!</strong></p> <p><strong>01. Don’t spend more than an hour on any one thing.</strong></p> <p>The brain can only hold so much new information before it says “enough.” Scientists have studied the changes that occur to the brain when a person learns something new. They’ve found it takes a while for the brain to recover before it can process new information. So limit yourself to one hour a day on anything that is new or especially challenging.</p> <p><strong>02. Keep it fun.</strong></p> <p>This ties in with tip No. 1. Practicing isn’t always fun, but there are ways to lessen the boredom. When I was a kid, I’d get up and practice guitar for an hour before school, and during that hour I’d do all the boring stuff just to get it over with. That way I could come home, do my homework and then jam with my friends.</p> <p><strong>03. Find the note everywhere.</strong></p> <p>As an exercise, learn how to locate the note E everywhere, on every string. Once you’ve mastered that, go on to B, and then the other notes. Once you’ve demystified the placement of notes, you’ll be amazed at how freely you’ll be able to move about the neck. </p> <p><strong>04. Stay in tune.</strong></p> <p>When you practice, you’re sending musical messages to your ears and your brain. Even if you don’t realize you’re out of tune, the brain does, and it sends a little message back; “This doesn’t sound good. Stop practicing.” So buy a tuner, use it and stay in tune. You’ll practice longer.</p> <p><strong>05. Run through every chord you know.</strong></p> <p>It seems silly, but if your fingers don’t go to a certain place it’s because you haven’t challenged them. One day, when I was a teenager, I decided that I was going to learn every chord in a Joe Pass chord book I had. I worked on it every day; there’s no substitute for bonehead repetition. The great thing is, once you get used to this exercise, you’ll literally force your fingers to go from chord to chord to chord—chords that have no relation to each other—and great things can come from that.</p> <p><strong>Recommended DVD:</strong> <em>Tommy Emmanuel—Live at the Sheldon Concert Hall </em></p> <p>Tommy Emmanuel is an Australian virtuoso acoustic guitarist, and he’s beyond amazing. He leans on the positive side—it’s all very “up” sounding—but he’s well worth checking out.</p> <p><strong>Recommended Book:</strong> <em>Guitar Secrets </em>(Cherry Lane Music)</p> <p>At the risk of appearing self-serving, I’m recommending my own book. I cover lots of ground here, from warm-up exercises to the mind-boggling stuff.</p> <p><strong>Recommended School:</strong> The National Guitar Workshop in Los Angeles</p> <p>For years I avoided playing guitar clinics; I’m more of a one-on-one instructor. Once, however, we were trying to get into China to play some shows, and Ibanez thought we could break down a few doors by playing clinics. Lo and behold, I enjoyed them. I agreed to do a few more in the states, and my favorite one was at the National Guitar Workshop. Kids who attend it get to spend a week meeting with industry professionals. It was very loose and informal. I brought with me 10 CDs that I could play along to, and the kids were real close so they could see everything I was doing. We were able to talk and joke, and it was great.</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-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/practice-tips-joe-satriani#comments Joe Satriani July 2004 Artist Lessons Practice Tips Lessons Magazine Mon, 20 Jul 2015 20:10:23 +0000 Joe Satriani 2144 at http://www.guitarworld.com 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 Fri, 17 Jul 2015 12:51:57 +0000 Steve Marion 23533 at http://www.guitarworld.com Acoustic Nation with Dale Turner: The Surreal Soundscapes of Singer-Songwriter and Visual Artist Joseph Arthur http://www.guitarworld.com/acoustic-nation-dale-turner-surreal-soundscapes-singer-songwriter-and-visual-artist-joseph-arthur/24986 <!--paging_filter--><p>A rare, personal anecdote: Back in 2000, in Los Angeles’ Conga Room, as a guest of a Virgin Records publicist, I had my mind blown by my friend’s new client, singer-songwriter Joseph Arthur. </p> <p>Performing solo and armed with only an acoustic guitar, his uniquely resonant voice, harmonica, piano on select songs, E-bow and some delay/looping devices, Arthur was the first singer-songwriter I’d heard use “live looping” with real effectiveness and creativity—beating his acoustic to build up grooves, adding exotic lead lines (inflected with interesting effects), then singing and playing while kicking in/out various looped parts to fabricate an arrangement on the spot. </p> <p>Nothing came across as a “gimmick,” and all of his songs were superb. When actress Rosanna Arquette (with whom Arthur had appeared in the film <em>Hell’s Kitchen</em> two years earlier) came onstage for a duet on Arthur’s “Invisible Hands,” I was hooked. </p> <p>Today, over a dozen studio albums and EPs later, ever the industry innovator/oddball, Arthur has just issued <em>Days of Surrender</em>—an album only available as a USB Credit Card (which ships with an original JA art print). Only one CD exists, packaged inside JA’s exotically hand-painted (and for sale) touring van (check it out at <a href="http://www.josepharthur.com/">josepharthur.com</a>).</p> <p>Initially a self-described “jazz-fusion bassist,” and as a teenage bassist, having opened for Stevie Ray Vaughan twice, in the mid Nineties Arthur changed musical course dramatically, inspired by the Velvet Underground, Nirvana, Bob Dylan and Vic Chesnutt to go the singer-songwriter route. </p> <p>When an early JA demo found its way to Peter Gabriel, Arthur was signed to Real World Records, releasing his 1997 debut, <em>Big City Secrets</em>. But it was 2000’s <em>Come to Where I’m From</em> that broke Arthur into the mainstream, led by “In the Sun,” a song likely familiar to most from its placement in the films <em>The Bourne Identity</em> and <em>Saved!</em> and the TV shows <em>Scrubs</em>, <em>Grey’s Anatomy</em> and <em>The L Word</em>. <strong>FIGURE 1</strong> recalls the tune’s signature upper-register common tones, the notes shared between chords on the B and G strings.</p> <p>By all accounts, 2002 was a year of unprecedented creativity for Arthur, yielding four EPs (sold only at shows that year and later issued collectively as <em>Junkyard Hearts</em> in 2012) and the full-length <em>Redemption’s Son</em>. </p> <p><strong>FIGURE 2</strong> is in the style of “Tiny Echoes” (JH) and “Innocent World” (RS), which contain similar fingerstyle approaches, chord voicings and use of “ornaments,” namely the tasty hammer-ons from open strings to various second-fret notes within each shape.</p> <p>In late 2003, a long-running bout with alcohol abuse threatened to derail Arthur’s musical activities; recording in New Orleans put the musician back on track and, in 2004, <em>Our Shadows Remain</em> resulted, among its high points the fan favorite “A Smile that Explodes,” which informs <strong>FIGURE 3</strong>—delicate fingerpicking (Capo VI), highlighted by the half-step note spacing between the D and G strings.</p> <p>We’ll close this lesson with a look at two tracks from Arthur’s exclusively guitar-vocal and mainly acoustic album, <em>The Graduation Ceremony</em> (2011). The disc showcases a variety of Arthur’s guitar approaches, from almost Hendrix-like open chord embellishments in “Almost Blue” (<strong>FIGURE 4</strong>) to lilting 6/8 arpeggiations in “This Is Still My World” (<strong>FIGURE 5</strong>).</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/125690457&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe><br /> <br /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-16%20at%202.02.07%20PM.png" width="620" height="453" alt="Screen shot 2015-07-16 at 2.02.07 PM.png" /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-16%20at%202.02.27%20PM.png" width="620" height="245" alt="Screen shot 2015-07-16 at 2.02.27 PM.png" /></p> http://www.guitarworld.com/acoustic-nation-dale-turner-surreal-soundscapes-singer-songwriter-and-visual-artist-joseph-arthur/24986#comments Acoustic Nation acoustic nation Dale Turner Joseph Arthur September 2015 Lessons Blogs Blogs Lessons Magazine Thu, 16 Jul 2015 18:11:06 +0000 Dale Turner 24986 at http://www.guitarworld.com Holcomb-Mania with Mark Holcomb: Using Dissonant, Close Intervals to Create Jarring Chords — Video http://www.guitarworld.com/holcomb-mania-mark-holcomb-using-dissonant-close-intervals-create-jarring-chords/24935 <!--paging_filter--><p>In last month’s column, I discussed some of the ways I will often expand on single-note riff ideas by substituting full-voiced chords for individual notes. </p> <p>By applying this technique, I discovered a whole new approach to riff writing, and it has informed the music I create for my bands Periphery and Haunted Shores. This month, I’d like to continue with that topic and talk about my approach to using dissonant intervals in chords and as double-stops (two-note chords). </p> <p>If you are familiar with Periphery’s music, you know that we love the sound of dense, atonal, dissonant chords. Personally, I love the tension created by stacking dissonant tones against each other in the formation of unusual and unexpected chords. </p> <p>Oftentimes, these chords are formed by placing notes that are a half or whole step apart (or a major seventh, or minor or major ninth). The sound of these notes clashing against each other is a desired quality, if done right on our part. </p> <p>There’s a chord in “Omega” (<em>Juggernaut: Omega</em>) that I’m often asked about. <strong>FIGURE 1</strong> illustrates the chord in question, which can be analyzed as a very innocuous sounding Dmaj9(no3), voiced, low to high, D C# D C# D E. (As a reminder, my guitar is tuned to drop D down a whole step, but everything is thought of and notated as if it were in regular drop D, with the understanding that everything is going to sound a whole step lower.) </p> <p>As shown in <strong>FIGURE 2</strong>, there is a major seventh interval between the sixth and fifth strings (this can be thought of as “half steps apart” because the pitches are D and C#), a half step between the fifth and fourth strings, a major seventh between the fourth and third strings, another half step between the third and second strings, and then a whole step between the second and first strings, which results in a very dense-sounding chord. It might, in fact, be the ugliest chord one can imagine! But we applied it in a place where what we wanted was a disastrous sounding chord.</p> <p><strong>FIGURE 3</strong> illustrates a section of “Omega”—sort of the second half of the verse section—and I begin with the chord in question, striking it first and then sounding a repeated upbeat syncopation on palm-muted open sixth-string root notes. </p> <p>The chord is struck again in bar 2, after which an atonal ascending line is played which is based on no particular scale at all. It is a “random” sounding collection of notes that serves to set up the following chord, Dm6/9+5; this chord could also be analyzed in a few different ways due to its very dissonant quality. </p> <p>I follow in bars 4 and 5 with sliding octave figures fretted on the sixth and fourth strings; when in drop-D tuning, the octave shape is formed by fretting notes at the same frets of these two strings. Bar 6 begins with a twist on the opening chord as the majority of the pitches are simply moved up one fret, resulting in D(f)9no3, “resolved” in bar 7 to D7#11, which is another chord that could be reckoned a few different ways. </p> <p>The figure ends with syncopated strumming of upbeat accents and a return to the opening chord. </p> <p>Next month, I will move on to more of the very unusual chords we devised in the writing of “Omega.” See you then. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/VJNgxS1qam4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-13%20at%2012.54.41%20PM.png" width="620" height="324" alt="Screen shot 2015-07-13 at 12.54.41 PM.png" /><br /> <img src="/files/imce-images/Screen%20shot%202015-07-13%20at%2012.54.54%20PM.png" width="620" height="302" alt="Screen shot 2015-07-13 at 12.54.54 PM.png" /></p> http://www.guitarworld.com/holcomb-mania-mark-holcomb-using-dissonant-close-intervals-create-jarring-chords/24935#comments Holcomb-Mania Mark Holcomb Periphery September 2015 Videos Blogs Lessons Magazine Thu, 16 Jul 2015 15:50:17 +0000 Mark Holcomb 24935 at http://www.guitarworld.com