Lessons http://www.guitarworld.com/taxonomy/term/8/all en String Theory with Jimmy Brown: Hillbilly Shred — How to Sound Like a Bluegrass Mandolin Player http://www.guitarworld.com/string-theory-jimmy-brown-hillbilly-shred-how-sound-bluegrass-mandolin-player <!--paging_filter--><p>A while back, I came across a book of traditional bluegrass and old-timey fiddle tunes, which intrigued and inspired me. </p> <p>I had always enjoyed the sound of those upbeat, “honest” folk melodies, with their sprightly contours and swinging eighth-note rhythms, despite their harmonic simplicity—the vast majority of the tunes are based on “one-four-five”-type major-key chord progressions. </p> <p>As the book was written for violinists (the violin and fiddle are the same instrument), the tunes were notated in standard sheet music, without tablature. Being a sightreader, however, I was able to cop the notes, and I began studying some of the tunes and attempting to adapt them to the guitar, pick-style, just as a bluegrass acoustic guitarist or mandolin player would. </p> <p>This month, I’d like to show you how I’ve arranged one of these fiddle tune for guitar and demonstrate a neat trick I came up with to make the guitar sound like a mandolin.</p> <p>The violin has four strings, which are tuned in perfect fifths, low to high, G D A E, the G note being the same pitch as the guitar’s open G string. <strong>Figure 1</strong> shows a way to play the violin’s four open-string notes together on a standard-tuned guitar. As you can see, the violin not only is tuned quite differently than the guitar but also encompasses a higher pitch range, though there is some overlap. The mandolin, the violin’s sister instrument and fretted equivalent, uses this same tuning, except it has four pairs of closely spaced strings, known as courses, with each course tuned in unison, just like a 12-string guitar’s B and high E strings. </p> <p>I attempted to play these fiddle melodies on the guitar, mandolin-style, using alternate (down-up) picking, which is commonly referred to in bluegrass as flatpicking. In doing so, I discovered that they were challenging to articulate and perform with any kind of speed, as they typically require frequent string crosses, which is a huge technical challenge for the pick hand. This presented me with a problem to solve, as I refused to just doggedly muscle through the difficult string crosses, which was quite arduous at times and no fun at all. </p> <p>My creative solution—the previously mentioned trick—was to deploy a capo way up at the 12th fret (on a cutaway electric guitar equipped with a piezo pickup). Doing so enabled me to play the melodies in their original register—an octave higher than you would if looking at the music as if it were written for guitar. It also gave me additional fingering options, as the frets in this upper area of the neck are much closer together, effectively extending my reach. The result is that the instrument sounds and feels more like a mandolin.</p> <p><strong>Figure 2</strong> presents my take on the popular bluegrass standard “The Eighth of January,” arranged for pick-style guitar, capo-12. (If you play this arrangement on acoustic guitar, you will need to lower the capo at least two frets and perform it in a lower key, due to the instrument’s wider neck joint.) </p> <p>I’m using alternate picking, and you’ll see that I strategically arranged the note fingerings so that every string cross is executed with what’s known as “outside-the-strings picking,” which is much easier on the pick hand than “inside-the-strings picking.” There are a few quick position shifts, but they’re not difficult to make because of the short scale.</p> <p>This arrangement sounds cool all by itself, especially if you tap your foot loudly on beats one and three. But for an authentic, bluegrass-style second-guitar accompaniment, I additionally offer the set of chord voicings shown in <strong>Figure 3</strong>, which are played as if the tune were in the key of C, with a capo at the second fret transposing them up a whole step to the key of D. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/RP5LS8Tvcig" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/Screen%20Shot%202014-08-04%20at%204.14.57%20PM.png" width="620" height="616" alt="Screen Shot 2014-08-04 at 4.14.57 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-04%20at%204.15.07%20PM.png" width="620" height="135" alt="Screen Shot 2014-08-04 at 4.15.07 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-jimmy-brown-hillbilly-shred-how-sound-bluegrass-mandolin-player#comments Jimmy Brown May 2014 String Theory Videos News Lessons Magazine Wed, 24 Dec 2014 15:44:47 +0000 Jimmy Brown http://www.guitarworld.com/article/20789 Jazz Guitar Corner: Melodic Minor Modes Made Easy http://www.guitarworld.com/jazz-guitar-corner-melodic-minor-modes-made-easy <!--paging_filter--><p>When learning how to play jazz, and other improvisational genres of music, learning how to play the seven modes of melodic minor is an essential skill any guitarist should have in their soloing tool belt. </p> <p>While we know that learning the seven modes of melodic minor is important, sometimes it can seem like a tough task, and we feel we have to start from scratch when learning these seven modes. </p> <p>But that doesn’t have to be the case. </p> <p>In this lesson, you will learn how to simply change one note of each major mode in order to quickly learn all seven modes of the melodic minor scale. </p> <p>If you are new to the major modes, check out my previous lesson, <e href="http://www.guitarworld.com/jazz-guitar-corner-learn-all-seven-major-modes-easy-way">Major Modes Made Easy, for a refresher on these important melodic devices. </e></p> <p><strong>Melodic Minor Mode 1</strong></p> <p>To begin, let’s take a look at how you can alter one note from the Ionian mode to create the first mode of melodic minor, otherwise known as the melodic minor scale itself. </p> <p>In order to do this, you play an Ionian mode but lower the third note of the fingering to form the first mode of melodic minor. Because of this alteration, you can think of the MM 1 fingering as being an Ionian b3 shape. </p> <p>Here is how those two interval patterns compare. </p> <p><strong>Ionian</strong>: R 2 3 4 5 6 7<br /> <strong>MM 1</strong>: R 2 b3 4 5 6 7</p> <p>Here's how that interval pattern looks on the fretboard, with one note difference between the two being indicated by the blue highlight in the MM 1 shape. </p> <p><img src="/files/imce-images/Melodic%20Minor%201.png" width="620" height="467" alt="Melodic Minor 1.png" /></p> <p>Once you have learned the MM 1 shape, you can practice applying it to a minor family chord, such as m7, m6, m9, or mMaj7, in order to bring this shape to your improvisational practice as well as technical. </p> <p><strong>Melodic Minor Mode 2</strong></p> <p>Let’s now take a look at how you can alter one note from the Dorian mode to create the second mode of melodic minor. In order to do this, you play a Dorian mode but lower the 2nd note of the fingering to form the second mode of melodic minor. </p> <p>Because of this alteration, you can think of the MM 2 fingering as being a Dorian b2 shape. </p> <p>Here is how those two interval patterns compare. </p> <p><strong>Dorian</strong>: R 2 b3 4 5 6 b7<br /> <strong>MM 2</strong>: R b2 b3 4 5 6 b7</p> <p>Here's how that interval pattern looks on the fretboard, with one note difference between the two being indicated by the blue highlight in the MM 2 shape. </p> <p><img src="/files/imce-images/Melodic%20Minor%202.png" width="620" height="451" alt="Melodic Minor 2.png" /></p> <p>Once you've learned the MM 2 shape, you can practice soloing with this mode over a 7th chord, bringing out a 13susb9 sound, in order to apply this shape to your improvisational practice as well as technical. </p> <p><strong>Melodic Minor Mode 3</strong></p> <p>We’ll now move on to altering one note from the Phrygian mode to create the third mode of melodic minor, otherwise known as the Lydian augmented scale. </p> <p>In order to do this, you play a Phrygian mode but lower the root note of the fingering to form the third mode of melodic minor. Because of this alteration, you can think of the MM 3 fingering as being a Phrygian b1 shape. </p> <p>This may seem funny, lowering the root note, but it makes it very easy to turn a Phrygian mode into the third mode of melodic minor on the fretboard from a fingering standpoint. </p> <p>Here's how those two interval patterns compare. </p> <p><strong>Phrygian</strong>: R b2 b3 4 5 b6 b7<br /> <strong>MM 3</strong>: R 2 3 #4 #5 6 7 (or bR b2 b3 4 5 b6 b7 when compard to Phrygian)</p> <p>Here's how that interval pattern looks on the fretboard, with one note difference between the two being indicated by the blue highlight in the MM 3 shape. </p> <p><img src="/files/imce-images/Melodic%20Minor%203.png" width="620" height="451" alt="Melodic Minor 3.png" /></p> <p>Once you have learned the MM 3 shape you can practice soloing with this mode over a maj7th chord, bringing out a maj7#5 sound, in order to apply this shape to your improvisational practice as well as technical. </p> <p><strong>Melodic Minor Mode 4</strong></p> <p>Let’s now alter one note from the Lydian Mode to create the fourth mode of Melodic Minor, otherwise known as the Lydian dominant scale. </p> <p>In order to do this, you play a Lydian mode but lower the seventh note of the fingering to form the fourth mode of melodic minor.<br /> Because of this alteration, you can think of the MM 4 fingering as being a Lydian b7 shape. </p> <p>Here's how those two interval patterns compare. </p> <p><strong>Lydian</strong>: R 2 3 #4 5 6 7<br /> <strong>MM 4</strong>: R 2 3 #4 5 6 b7</p> <p>Here's how that interval pattern looks on the fretboard, with one note difference between the two being indicated by the blue highlight in the MM 4 shape. </p> <p><img src="/files/imce-images/Melodic%20Minor%204.png" width="620" height="460" alt="Melodic Minor 4.png" /></p> <p>Once you've learned the MM 4 shape you can practice soloing with this mode over a dominant family chord such as 7th, 9th or 13th, bringing out a #11 sound, in order to apply this shape to your improvisational practice as well as technical. </p> <p><strong>Melodic Minor Mode 5</strong></p> <p>Moving on, you can now alter one note from the Mixolydian mode to create the fifth mode of melodic minor. In order to do this, you play a Mixolydian mode but lower the sixth note of the fingering to form the fifth mode of melodic minor. </p> <p>Because of this alteration, you can think of the MM 5 fingering as being a Mixolydian b6 shape. Here's how those two interval patterns compare. </p> <p><strong>Mixolydian</strong>: R 2 3 4 5 6 b7<br /> <strong>MM 5</strong>: R 2 3 4 5 b6 b7</p> <p>Here's how that interval pattern looks on the fretboard, with one note difference between the two being indicated by the blue highlight in the MM 5 shape. </p> <p><img src="/files/imce-images/Melodic%20Minor%205.png" width="620" height="474" alt="Melodic Minor 5.png" /></p> <p>Once you've learned the MM 5 shape, you can practice soloing with this mode over a dominant family chord such as 7th, 9th or 13th, bringing out a b13 sound, in order to apply this shape to your improvisational practice as well as technical. </p> <p><strong>Melodic Minor Mode 6</strong></p> <p>Let’s now alter one note from the Aeolian mode to create the sixth mode of melodic minor, otherwise known as the Locrian Natural 2 scale. In order to do this, you play an Aeolian mode but lower the fifth note of the fingering to form the sixth mode of melodic minor. </p> <p>Because of this alteration, you can think of the MM 6 fingering as being an Aeolian b5 shape. </p> <p>Here's how those two interval patterns compare. </p> <p><strong>Aeolian</strong>: R 2 b3 4 5 b6 b7<br /> <strong>MM 6</strong>: R 2 b3 4 b5 b6 b7</p> <p>Here's how that interval pattern looks on the fretboard, with one note difference between the two being indicated by the blue highlight in the MM 6 shape. </p> <p><img src="/files/imce-images/Melodic%20Minor%206.png" width="620" height="429" alt="Melodic Minor 6.png" /></p> <p>Once you've learned the MM 6 shape, you can practice soloing with this mode over a m7b5 chord in order to apply this shape to your improvisational practice as well as technical. </p> <p><strong>Melodic Minor Mode 7</strong></p> <p>Lastly, you can alter one note from the Locrian mode to create the seventh mode of melodic minor, otherwise known as the altered scale. In order to do this, you play a Locrian mode but lower the 4th note of the fingering to form the seventh mode of melodic minor. </p> <p>Because of this alteration, you can think of the MM 7 fingering as being a Locrian b4 shape. </p> <p>Here's how those two interval patterns compare. </p> <p><strong>Locrian</strong>: R b2 b3 4 b5 b6 b7<br /> <strong>MM 7</strong>: R b3 b3 b4 b5 b5 b7</p> <p>Here's how that interval pattern looks on the fretboard, with one note difference between the two being indicated by the blue highlight in the MM 7 shape. </p> <p><img src="/files/imce-images/Melodic%20Minor%207.png" width="620" height="435" alt="Melodic Minor 7.png" /></p> <p><em>Matt Warnock is the owner of <a href="http://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 U.K., where he teaches Skype guitar students all over the world, and is an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-melodic-minor-modes-made-easy#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Fri, 19 Dec 2014 19:18:31 +0000 Matt Warnock http://www.guitarworld.com/article/23155 Bent Out of Shape: Guitar Rehab, Part 2 — Building Finger Strength with String Bends http://www.guitarworld.com/bent-out-shape-guitar-rehab-part-2-building-finger-strength-string-bends <!--paging_filter--><p>Welcome to part 2 of my new series of lessons for guitarists who have spent a period of time away from playing. </p> <p>"Guitar Rehab" is designed to get you back into playing, and each lesson will help you rebuild your technique. </p> <p><a href="http://www.guitarworld.com/bent-out-shape-guitar-rehab-part-1-picking-hand-warmups">In the last lesson,</a> we focused on a rhythm guitar exercise to help warm up your picking wrist, build stamina and increase the accuracy of your picking and fret-hand coordination</p> <p>For this lesson, we're going to focus on building our fretting-hand muscle strength with a series of exercises built around string bends and vibrato. This lesson will mix rhythm and lead playing using the same backing track from <a href="http://www.guitarworld.com/bent-out-shape-guitar-rehab-part-1-picking-hand-warmups">part 1.</a></p> <p>When I started playing again after taking a few months off, I immediately noticed how weak my fretting hands where when trying to execute string bends and vibrato. These exercises will gradually build up your finger strength and stamina. Each exercise will become progressively more difficult and require stronger technique. </p> <p>Before we begin, just a quick word of caution: If your hands start to ache or you feel tension/cramp-like feeling in fretting fingers when bending strings, it's time to take a break. You can injure yourself if you try too much too soon. Try to start gradually by practicing for about 30 minutes and then taking a 30-minute break. In the next lesson, I'll talk more about how to schedule your practicing when starting to play again.</p> <p><img src="/files/imce-images/fig1_0.jpg" width="620" height="147" alt="fig1_0.jpg" /></p> <p>This first exercise is the same open-string pedal riff from part 1 with a simple phrase at the end involving two string bends. The first is a unison bend that involves anchoring your first finger on the string above and bending up to that pitch with your second and third finger on the string below. The second is a regular bend. I suggest using your first, second and third fingers to execute it.</p> <p><img src="/files/imce-images/fig2_0.jpg" width="620" height="163" alt="fig2_0.jpg" /></p> <p><strong>Exercise 2</strong> is a unison bend exercise following the bass line of the backing track. You descend through the A minor scale playing unison bends on the B and G strings, ending with the same phrase from <strong>Exercise 1.</strong></p> <p><img src="/files/imce-images/fig3_0.jpg" width="620" height="272" alt="fig3_0.jpg" /></p> <p>After that, we combine whole step and half-step bends to create a simple melody. You bend up a full step and hold the note. Then you bend up another half step so you are now three semitones higher than the original fretted note. </p> <p><img src="/files/imce-images/fig4_0.jpg" width="620" height="84" alt="fig4_0.jpg" /></p> <p>The final exercise is another style of bend similar to unison but where you alternate pick each string one at a time instead of playing them both together. On the backing tracking after playing this exercise I have left this section looped for several times so you can improvise a solo at the end. Good luck!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/vxSmjC58gd4" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/181072176&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p><em>Will Wallner is a guitarist from England who now lives 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 toured Japan, the US and Canada in 2012. 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-guitar-rehab-part-2-building-finger-strength-string-bends#comments Bent Out of Shape Guitar Rehab Will Wallner Blogs Lessons Fri, 19 Dec 2014 17:04:30 +0000 Will Wallner http://www.guitarworld.com/article/23152 An Introduction to Effective Use of Melody http://www.guitarworld.com/introduction-effective-use-melody <!--paging_filter--><p><strong>Steve Stine, highly sought-after guitar educator, teaches live group and private classes at <a href="https://www.lessonface.com/">LessonFace.com.</a></strong></p> <p>For many guitarists learning to play solos, it can be easy to fall into a rut — based on a certain hand position of a scale — and, in doing so, forget to play melodically. </p> <p>In this lesson, we will focus on learning to effectively incorporate melody into a solo. After all, iconic melodies are what set great guitar solos apart in many instances.</p> <p>For this example, we will work with a chord progression moving from G major to E minor to D major, and we will solo in the G major scale. </p> <p>And in this exercise, we will focus on a single string to help avoid getting stuck in a rut of simply playing from string to string across a familiar particular position of the major scale. </p> <p>Although we will use the second string, or B string, you really could replicate this exercise with any of the strings. So, as a first step, let’s think about the G major scale in terms of only the second string. </p> <p><img src="/files/imce-images/1_6.png" width="620" height="140" alt="1_6.png" /></p> <p>Then let’s think about where these three chords in our progression (G major, E minor and D major) fall on the fretboard, so we can chase these chords around on the neck, so to speak. (A quick note on this point: One system many players use to learn to locate chords all over the neck is the CAGED system, and a simple Google search for “CAGED system” will bring up a host of websites explaining this relatively straightforward method for learning scale positions on the fretboard.) </p> <p>For example, there is a standard G barre chord at the third fret, the G chord falls at the seventh and eighth frets on the first through third strings using your open D major triad shape, and there is fifth-string G barre chord at the 10th fret. What we will try to do is visualize these G chords all over the fretboard along with the notes in the G scale falling on the second string, so that we can use them when the G chord is playing in the progression. </p> <p><img src="/files/imce-images/2_4.png" width="620" height="144" alt="2_4.png" /></p> <p>Considering playing the G major scale on the second string, the note at the third fret (within the barre chord is a D), there is a G at the eighth fret (within the open D major triad shape), and there is a B at the 12th fret (within the fifth-string G major barre chord). Don’t worry or feel intimidated if you don’t understand a ton of music theory at this point, which you can learn more about separately. These are just examples, and you see how they can be used in this exercise.</p> <p><img src="/files/imce-images/3_2.png" width="620" height="292" alt="3_2.png" /></p> <p>Our goal here is to plot points on the fretboard corresponding to notes we can emphasize when the G major chord plays in the progression. And, likewise, we can plot similar points for the E minor and D major chords to have options for what to emphasize when these chords are played: </p> <p>• Considering the second string and the E minor chord: There is an open B (within the open E minor chord), and there is a G at the eighth fret (within the fifth-string E minor barre chord). </p> <p>• Considering the second string and the D major chord: There is a D at the third fret (within the open D major chord), and there is a G at the eighth fret (within the fifth-string D major barre chord).</p> <p>As you will see, you can use these notes to play a solo within the chord progression, developing a melody. Obviously, at this point, we are not trying to play the fastest or flashiest solo incorporating the most notes possible. We just want to play something simple and focus on developing a melody that moves the song forward coherently. </p> <p><img src="/files/imce-images/4_0.png" width="620" height="145" alt="4_0.png" /></p> <p>As you’ll notice in this example solo, we start with the G on the eighth fret of the second string, playing it over the G major chord and again over the E minor chord, because the note G is found in both of those chords. From there, we move down to the F# at the seventh fret of the second string over the D chord, as F# is a note found in that chord. </p> <p>I use a D at the third fret of the second string over the D major chord. The second pass begins again with the G on the eighth fret of the second string over the G major chord, walks up to the B at the 12th fret of the second string over the E minor chord, and then walks down to the F# at the seventh fret of the second string. The A notes in the solo, played at the tenth fret of the second string between notes, are used to keep the solo moving and provide additional color.</p> <p>Once again, although this particular solo is not the most exciting thing you will ever play, this exercise is worth pursuing to help develop a focus on melody, because most memorable guitar solos incorporate strong melodic components to get beyond merely being an incoherent jumble of guitar acrobatics.</p> <p>From there, of course, you can continue to build additional notes onto the solo, and your ability to add additional notes, color, and motion to your melodies will only increase as you grow in your knowledge and understanding of the guitar fretboard and other more general aspects of music like music theory and ear training.</p> <p><img src="/files/imce-images/Screen%20Shot%202013-10-09%20at%204.30.23%20PM.png" width="620" height="411" alt="Screen Shot 2013-10-09 at 4.30.23 PM.png" /></p> <p>Ultimately, you’ll find that the more you know about the fretboard, the more you can visualize the scales and the chord shapes; and you can use this knowledge to think in visual terms about your options of what to play in connection the different chord progressions you want to solo over. </p> <p>Doing this will help you develop a broader understanding of the notes that will sound natural and melodic, giving you the building blocks you need to create melodies of your own.</p> <p><iframe width="620" height="400" src="//www.youtube.com/embed/3_7y79ELOhI" frameborder="0" allowfullscreen></iframe></p> <p><em>Steve Stine is a longtime and sought-after guitar teacher who is professor of Modern Guitar Studies at North Dakota State University. Over the last 27 years, he has taught thousands of students, including established touring musicians, and released numerous video guitar lesson courses via established publishers. A resident of Fargo, North Dakota, today he is more accessible than ever before through the convenience of live online guitar lessons at <a href="https://www.lessonface.com/">LessonFace.com</a>.</em> </p> <p><em>LessonFace.com offers live online music lessons via videoconference, allowing you to access top teachers in a wide variety of instruments from anywhere with a broadband connection. Steve is offering a live online group class for intermediate players this summer called “The Players Series” via the LessonFace.com platform. More information about live online lessons with Steve is available at <a href="https://www.lessonface.com/player">lessonface.com/player</a>.</em></p> http://www.guitarworld.com/introduction-effective-use-melody#comments LessonFace Steve Stine Blogs Lessons Fri, 19 Dec 2014 15:59:38 +0000 Steve Stine http://www.guitarworld.com/article/19428 Monster Licks Unleashed: Stretching the Limits with Glenn Proudfoot http://www.guitarworld.com/monster-licks-unleashed-stretching-limits-glenn-proudfoot <!--paging_filter--><p>In this Monster Lick Unleashed, I'm using the diminished 7th scale in the key of E. The notes used in the scale are E, G, Bb and C#. </p> <p>I particularly love this scale for the intense sound it creates when played fast or slow. This scale is perfect to use in combination with the pentatonic. </p> <p>This lick combines some of my favorite techniques for creating runs and passages in solos. I'm always looking to keep a flow going with my soloing. My goal is always to be able to switch in and out of different techniques with ease and fluidity. </p> <p>Obviously, I practice every separate technique with intensity until I have it mastered, but when it comes time to add the ideas to my soling, I focus very heavily on the transitions between the different techniques. </p> <p>This lick is very fast and out there, but the thing to take from it is how you can combine these techniques. This is an extreme example, but you can apply the same ideas to any style of solo. </p> <p>When I'm writing music, I tend to break up these techniques more and focus on melody rather than pure shred. There are sections in some of my songs where things get really crazy, but for the most part when using these techniques I wouldn't shred them out like this. </p> <p>But this is how I practice them. I push myself to the maximum when practicing things like this, so when it comes time to write, I can whip out these ideas with no problem. This should be your focus, too. Push yourself to your limits. </p> <p>All of us have different ways of playing and various styles; it's not important to play this exactly the way I do. What's important is that you understand the ideas and techniques behind the lick and create your own version. </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> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Za15JBqPj-4" frameborder="0" allowfullscreen></iframe></p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Monster Licks - Unleashed No 5a on Scribd" href="https://www.scribd.com/doc/250512223/Monster-Licks-Unleashed-No-5a" style="text-decoration: underline;" >Monster Licks - Unleashed No 5a</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/250512223/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_84838" width="100%" height="600" frameborder="0"></iframe></p> http://www.guitarworld.com/monster-licks-unleashed-stretching-limits-glenn-proudfoot#comments Glenn Proudfoot Monster Licks Monster Licks Unleashed Videos Blogs Lessons Thu, 18 Dec 2014 22:36:24 +0000 Glenn Proudfoot http://www.guitarworld.com/article/23146 Wild Stringdom with John Petrucci: Recognizing Repetitive Fretboard Shapes on All String Groups http://www.guitarworld.com/wild-stringdom-john-petrucci-recognizing-repetitive-fretboard-shapes-all-string-groups <!--paging_filter--><p>Hello, and welcome to my new <em>Guitar World</em> instructional column. </p> <p>In the coming months, I’ll share with you some of the guitar-playing concepts and approaches that have helped me develop my technique and overall playing style. I’d like to start off with an examination of ascending scalar shapes that, by design, cover the majority of the fretboard. </p> <p>I have found such patterns to be very useful for both melodic and shred-style playing and also very helpful in regard to the “greater mission,” which is to gain a fuller and deeper understanding of the construction of musical ideas within the framework of the guitar’s fretboard. </p> <p>The following examples are built from phrases made up of three notes per string that are played across two strings, resulting in various six-note shapes. I play these shapes in a rhythm of straight 16th notes, however, so there is an inherent “threes on twos” kind of rhythm that is alluded to throughout. </p> <p>All of the phrases in this lesson are based on the E natural minor scale (E F# G A B C D), also known as the E Aeolian mode. </p> <p>In <strong>FIGURE 1</strong>, using alternate (down-up-downup) picking throughout, I ascend the D and G strings, beginning on the note E on the D string’s second fret, fretted with the index finger. I follow with two more notes on the D string, fretted with the ring finger and pinkie, and then I move over to the G string and play three ascending notes fretted in exactly the same manner—index to ring to pinkie.</p> <p>On the upbeat of beat two, I shift up to the next fretboard position of E natural minor and use my index finger, middle finger and pinkie to sound three notes per string on the D and G strings. A third six-note shape then appears when we move up one more time, with the index finger, middle finger and pinkie employed for the wider stretch needed for the subsequent pair of three-note shapes.</p> <p>Notice that, as you ascend through this riff, there are slight variances in the shapes used on each specific string in order to accommodate the notes of E natural minor. If we move the idea down to the bottom two strings, as shown in <strong>FIGURE 2</strong>, we find that the same fretting shapes are used, albeit in a different sequence. </p> <p>And the same is true when we move the idea up to the top two strings, as illustrated in <strong>FIGURE 3</strong>. Only three different physical shapes are used to form the three-note patterns, and this is good, because it enables one to develop muscle memory in the fret-hand, which is immeasurably beneficial.</p> <p>The only exception to this consistency of shapes occurs when playing similar patterns on the G and B strings. That’s because these two strings are tuned a major third apart, whereas the adjacent strings in the other pairs are tuned a perfect fourth apart. </p> <p>As shown in <strong>FIGURE 4</strong>, one must move up an additional half step—one fret—when crossing from the G string to the B. <strong>FIGURE 5</strong> offers a clearer representation of this B-string shift within a longer example that moves across all of the strings. Once you have these shapes under your fingers, experiment with moving them to every area of the fretboard, and then transpose the patterns to all 12 keys.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-03-13%20at%2011.10.34%20AM.png" width="620" height="530" alt="Screen Shot 2014-03-13 at 11.10.34 AM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-03-13%20at%2011.10.45%20AM.png" width="620" height="305" alt="Screen Shot 2014-03-13 at 11.10.45 AM.png" /></p> <p><strong>PART ONE</strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/e3qIi5FA7AQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>PART TWO</strong></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience2717386885001" 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="2717386885001" /> </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 --><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="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/wild-stringdom-john-petrucci-recognizing-repetitive-fretboard-shapes-all-string-groups#comments December 2013 Dream Theater John Petrucci Wild Stringdom Blogs News Lessons Magazine Wed, 17 Dec 2014 19:10:28 +0000 John Petrucci http://www.guitarworld.com/article/19402 Guitar Chalk Sessions: Adding Dynamic Appeal to your Power Chords with Intervals and Dyads http://www.guitarworld.com/guitar-chalk-sessions-adding-dynamic-appeal-your-power-chords-intervals-and-dyads <!--paging_filter--><p>Power chords, once your fingers are comfortable with the stretching, are <a href="http://www.guitarchalk.com/2014/09/guitar-chords-for-beginners-infographic-cheat-sheet.html">mind-numbingly simple</a>. </p> <p>That's not a bad thing and I wouldn't say that power chords are "cheap" or "too easy."</p> <p>That's dumb.</p> <p>Because they get the job done, right? So why wouldn't we use them? They’re functional and adequate to the task.</p> <p>In the right context, power chords are a beautiful thing. When music demands a <a href="https://www.youtube.com/watch?v=gGQUlaCYg7k">heavy, smooth and easy-to-digest chord progression</a> (like in modern rock, pop, metal, etc.), a root note, a consonant interval (perfect fifth) and perhaps an octave thrown in for good measure, are all you really need.</p> <p>We can play as many chords as we want all using the same shape; just shift frets or strings.</p> <p>But what if we wanted to dress things up a little bit? What if we wanted to make our power chords more dynamic and <a href="http://www.guitarchalk.com/2014/08/how-creating-melody-sets-you-apart-as-guitar-player.html">melodic?</a></p> <p>Adding some flavor and variety to your power chord progressions can really take your playing up a notch and set you apart. It's an especially handy technique for those who fill the role of both a lead and rhythm guitar player.</p> <p>There are two primary techniques you can use to do it; intervals and dyads. Let’s cover intervals first.</p> <p><strong>First Technique: Add Major or Minor Intervals</strong></p> <p>Assume you're lucky enough to be playing a chord progression that is entirely in a major key. Even better, let's just say you're going from D to A. Tabbing it out would look like this:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.14%20PM.png" width="99" height="120" alt="Screen Shot 2014-12-06 at 3.49.14 PM.png" /></p> <p>What if you wanted to add some melody or even just variety? We can use major intervals to do so, since we're theoretically dealing with two major chords. So where do we put these intervals?</p> <p>You'll need to target areas where you have long pauses or holds on a single chord. So in this situation, we can assume (for illustrative purposes) that the D chord gets held for a short few beats, while the A chord is held longer.</p> <p>That means the A chord is where we can move a bit more and add some creative intervals.</p> <p>Use the open A note to play your second A chord (bracketed).</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.20%20PM.png" width="101" height="118" alt="Screen Shot 2014-12-06 at 3.49.20 PM.png" /></p> <p>We can now start adding intervals to our A chord. Here are a few options:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.29%20PM.png" width="223" height="261" alt="Screen Shot 2014-12-06 at 3.49.29 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.37%20PM.png" width="256" height="121" alt="Screen Shot 2014-12-06 at 3.49.37 PM.png" /></p> <p>It's a simple, but effective, strategy.</p> <p>You can employ the same interval shifts with any other power chord. Say we don't have an open chord to work with, like in the case of this G:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.45%20PM.png" width="70" height="116" alt="Screen Shot 2014-12-06 at 3.49.45 PM.png" /></p> <p>We can still add intervals by shifting the note at the fifth fret, currently a perfect fifth, in relation to the root note at the third fret.</p> <p>Here's what I came up with.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.51%20PM.png" width="365" height="118" alt="Screen Shot 2014-12-06 at 3.49.51 PM.png" /></p> <p>As you can see, the only note that needs to change is the interval of the root. The root note itself doesn't move.</p> <p>That means you can use this tactic as often as you want within any power chord in any given progression.</p> <p>If the progression contains minor chords, you'll have to make sure to hit notes that resolve to a minor tune. But that will come with habit, muscle memory and time.</p> <p><strong>Second Technique: Add Octave Dyads</strong></p> <p>A second strategy is to use <a href="http://www.guitarchalk.com/2014/09/learning-simple-guitar-chords-using-dyads-triads.html">simple, two-note dyads</a> to add short melodies over power chords. This has become a widely used technique in the post-grunge era and has been typified by many modern guitarists.</p> <p>To illustrate this example, I find it best to start with an open D chord in drop-D, like the following tab:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.58%20PM.png" width="71" height="119" alt="Screen Shot 2014-12-06 at 3.49.58 PM.png" /></p> <p>Start with your D root note on the second string (fifth fret), add its corresponding octave (third string, seventh fret) and reapply some of the intervals we already covered by simply moving the octave shape up the fretboard.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.50.06%20PM.png" width="196" height="119" alt="Screen Shot 2014-12-06 at 3.50.06 PM.png" /></p> <p>We can apply the same principle with the G chord as our base and the 2-3-5 fret climb is our melody.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.50.17%20PM.png" width="154" height="121" alt="Screen Shot 2014-12-06 at 3.50.17 PM.png" /></p> <p>Once you get comfortable, start planting these runs in between chords. Like this:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.50.23%20PM.png" width="349" height="121" alt="Screen Shot 2014-12-06 at 3.50.23 PM.png" /></p> <p>Not only does this break the monotony of a chord progression, but it adds some melodic flavor to what is otherwise a one-dimensional and linear sound.</p> <p>Because sometimes a guitar player needs to handle both rhythm and lead, especially today when many groups employ only one guitarist. Being able to play heavy, while also having enough skill and musical awareness to add melody and variety to your chord progressions makes you a far more valuable musician.</p> <p>And while they aren't all you need to accomplish that, dyadic octaves and intervals can give you a lot of mileage as they're excellent tools to work with.</p> <p>If you play a lot of power chords you shouldn’t feel bad about it.</p> <p>Just learn how to make them count.</p> <p><em>Flickr Commons Image Courtesy of <a href="https://www.flickr.com/photos/maurymccown/">maury.mccown</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-adding-dynamic-appeal-your-power-chords-intervals-and-dyads#comments Bobby Kittleberger Guitar Chalk Sessions Blogs Lessons Fri, 12 Dec 2014 16:10:55 +0000 Bobby Kittleberger http://www.guitarworld.com/article/23089 Bent Out of Shape: Guitar Rehab, Part 1 — Picking-Hand Warmups http://www.guitarworld.com/bent-out-shape-guitar-rehab-part-1-picking-hand-warmups <!--paging_filter--><p>Welcome to my new series of lessons titled Guitar Rehab. </p> <p>If you follow my column, you might've noticed that I haven't written any new lessons in the past few months. I had a problem with my arm that required surgery. As a result, I was unable to play guitar for three months. </p> <p>Now that I'm able to play again, I'm excited to get back to writing and have many new lessons planned for the following weeks.</p> <p>Lack of inspiration, time commitments such as work, medical problems, loss of interest, even video games are all valid reasons people take a break from playing guitar. </p> <p>For that reason, I decided to start this series of lessons for anyone who has spent a period of time away from playing. These lessons will help you get back into playing regularly and give you some useful exercises to help rebuild your technique. When I started playing again, the first thing I noticed was how stiff my fingers felt and how uncoordinated my picking had become. My stamina was also very bad and my hands felt tired after only an hour of playing.</p> <p>This first lesson will focus on a rhythm guitar warmup, which is primarily geared toward your picking hand. The goal is to warm up your picking wrist and gradually increase your alternate-picking accuracy. </p> <p>For this series, all of the exercises will be played to a backing track, which I think will make them more enjoyable as opposed to just playing to just a click/metronome.</p> <p><img src="/files/imce-images/fig1.jpg" width="620" height="110" alt="fig1.jpg" /></p> <p>This first exercise is a 16th note pedal rhythm. You begin on the open A and play straight open notes. Try to relax your picking wrist and rest your palm on the bridge to mute the strings a little. Your alternate picking should sound smooth and flow with the music.</p> <p>I'm going take a short break from the lesson to give my personal opinion about pedaling. I've read many lessons where they tell you to develop your alternate picking technique to a point where your down and up strokes sound identical. In my opinion, that’s good advice if you want to sound like a robot. </p> <p>Humans will naturally play the down stroke slightly heavier to create a slight dynamic within alternate picking. Again, this is only my opinion, but I prefer to hear this dynamic as opposed to playing each note identically. Pedaling will groove much better to the music if you have this dynamic.</p> <p><img src="/files/imce-images/fig2.jpg" width="620" height="235" alt="fig2.jpg" /></p> <p>Back to the lesson! After the straight 16th note pedaling of the open A string, you will begin to play notes in sets of four across two stings (Exercise 2). You will play a descending pattern through the A minor scale with the open A between each note. This doesn't require too much coordination between picking and fretting hands but advances the exercise from a single string.</p> <p><img src="/files/imce-images/fig3.jpg" width="620" height="241" alt="fig3.jpg" /></p> <p>The next step is to move from sets of four to sets of two across three stings (Exercise 3). This does start to get challenging, especially when changing stings. For this exercise I move away from A minor and play the same pattern in the keys of B minor, D minor and E minor.</p> <p><img src="/files/imce-images/fig4.jpg" width="620" height="235" alt="fig4.jpg" /></p> <p>The final stage of the lesson is 16th notes, where you change note with every pick (Exercise 4). For this exercise, we just move through the common progression of A minor, G major and F major. I looped this chord progression of this exercise at the end of the backing track for you to improvise some solos over when you've finished.</p> <p>As you can see, with each stage of the exercise it becomes slightly more challenging and requires more accuracy between the fretting and picking hands. I've made a video demonstration and also given you the backing track to practice along to. Cheers!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/6PkrUZujzNk" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/181072176&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p><em>Will Wallner is a guitarist from England who now lives 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 toured Japan, the US and Canada in 2012. 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-guitar-rehab-part-1-picking-hand-warmups#comments Bent Out of Shape Guitar Rehab Will Wallner Blogs Lessons Thu, 11 Dec 2014 20:51:37 +0000 Will Wallner http://www.guitarworld.com/article/23080 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 Matthias Young Videos Blogs Lessons Thu, 11 Dec 2014 17:35:48 +0000 Matthias Young http://www.guitarworld.com/article/22123 Video Lesson: Jimmy Brown Shows You How to Play "Silent Night" on Guitar http://www.guitarworld.com/video-how-play-silent-night-guitar <!--paging_filter--><p>In this video, <em>Guitar World's</em> Jimmy Brown shows you how to play "Silent Night" — just in time for Christmas.</p> <p>Brown goes over several different arrangements of the song, from basic to more involved. Then he covers the melody line. Then you see him play the melody over the chords.</p> <p>This video lesson of "Silent Night" is from the <a href="http://store.guitarworld.com/products/play-christmas-songs-on-the-guitar-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=JimmyLessonSNight">How to Play Christmas Songs on the Guitar</a> DVD, which is available now at the Guitar World Online Store. </p> <p>Other songs on the DVD include "Oh Come All Ye Faithful," "Deck the Hall," "Jingle Bells," "The First Noel," "Hark! The Herald Angels Sing," "Jingle Bell Rock" and "Auld Lang Syne," plus a Christmas medley for electric guitar featuring "Little Drummer Boy," "Silent Night" and "Auld Lang Syne."</p> <p>There are more than 80 minutes of lessons. For more information or to order, <a href="http://store.guitarworld.com/products/play-christmas-songs-on-the-guitar-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=JimmyLessonSNight">head to the Guitar World Online Store.</a></p> <p><iframe width="620" height="345" src="http://www.youtube.com/embed/tpVA1DuSdpA" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jimmy-brown">Jimmy Brown</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-how-play-silent-night-guitar#comments Christmas Jimmy Brown News Features Lessons Wed, 10 Dec 2014 17:05:43 +0000 Guitar World Staff http://www.guitarworld.com/article/13886 Bent Out of Shape: Guitar Workout 2014 — Symmetrical Scales http://www.guitarworld.com/bent-out-shape-guitar-workout-2014-symmetrical-scales <!--paging_filter--><p>Last year, I gave you <a href="http://www.guitarworld.com/bent-out-shape-intensive-30-minute-guitar-workout-musicians-go">a 30-minute guitar workout designed for guitarists with limited practice time.</a> </p> <p>The goal of the workout was to give you an intense 30 minutes of practice. The positive response to this workout inspired me make a new version for 2014. As with my previous workout the goal is the same: 30 minutes of intense practice.</p> <p>My original workout was based around taking a diatonic scale playing different sequences, intervals and arpeggios derived from that scale. This workout focuses on using symmetrical scales to create similar sequences. "Symmetrical Scales" is not a musical term, but I've used it to describe the three scales this workout is based around.</p> <p>To begin, I've written the three symmetrical scales, all in the key of A for you to see how each scale is constructed. These are all scales you've seen before, starting with the chromatic scale. The chromatic scale uses all semitone (one-fret) intervals to create a 12-note scale. </p> <p>The second scale is the whole tone scale, which uses all whole tone (two-fret) intervals to create a six-note scale. The third scale is technically a diminished 7th arpeggio, which uses all minor third (three-fret) intervals; this also is commonly known as the diminished scale. As you can see from the TAB, each scale has a unique arrangement on the fretboard, which makes the sequences we derive from the scales more challenging.</p> <p><img src="/files/imce-images/tab1_7.jpg" width="620" height="137" alt="tab1_7.jpg" /></p> <p><img src="/files/imce-images/tab2_8.jpg" width="620" height="160" alt="tab2_8.jpg" /></p> <p><img src="/files/imce-images/tab3_7.jpg" width="620" height="160" alt="tab3_7.jpg" /></p> <p>For a detailed explanation on how the following exercises should be practiced, see my original workout. You should begin each exercise at a slow speed of around 80 bpm. Every time you succesfully play the vivien203, increase the tempo by 10 bpm. Keep increasing the tempo until you reach the target bpm for each exercise.</p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/154661543&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p><strong>Part 1: Chromatic Warm Up (Target Speed: 160 bpm)</strong></p> <p><img src="/files/imce-images/tab4_3.jpg" width="620" height="132" alt="tab4_3.jpg" /></p> <p>The first exercise combines a linear chromatic sequence with string skipping. This exercise is basically a warm up to get your alternate picking and fretting fingers sync'd up. This should be very easy to build speed up to the target tempo of 160 bpm. Every string has 4 notes which is makes alternate picking very simple.</p> <p><strong>Part 2: Whole Tone Scale Intervals (Target Speed: 120 bpm)</strong></p> <p><img src="/files/imce-images/tab5_0.jpg" width="620" height="132" alt="tab5_0.jpg" /></p> <p><img src="/files/imce-images/tab6.jpg" width="620" height="132" alt="tab6.jpg" /></p> <p>After warming up, we now move to the whole tone scale, which we will play as interval sequences. As this is a symmetrical scale, every interval is the same for every note of the scale. We start by playing the scale in thirds, which in this case is major thirds. </p> <p>Due to the more complicated picking pattern, I set a target speed of 120 bpm for this exercise. After thirds we play the scale in 4th's which in the whole tone scale is augmented 4th's. This exercise is great for developing an "outside picking" technique. Each pair of 4th's is played across two adjacent strings, and using strict alternate picking means you pick outside each string.</p> <p><strong>Part 3: Diminished Scale Sequences (Target Speed: 160 bpm)</strong></p> <p><img src="/files/imce-images/tab7.jpg" width="620" height="160" alt="tab7.jpg" /></p> <p><img src="/files/imce-images/tab8.jpg" width="620" height="141" alt="tab8.jpg" /></p> <p>To finish, we will play diminished scale sequences in triplets and 16th notes. Because this scale has much wider intervals than regular diatonic scales these sequences can be very challenging to play at higher speeds. As each string only has two notes and the scale moves in a diagonal direction across the fretboard you will find your picking and fretting hand working much harder than with diatonic sequences. </p> <p>Hopefully you'll find this workout useful and use it as an alternative for my previous workout. I usually use these as a warm up for more intense/lengthy practice sessions but alone they provide you with a good technical practice which should keep your chops in shape, cheers!</p> <p><em>Will Wallner is a guitarist from England who now lives 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 toured Japan, the US and Canada in 2012. 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-guitar-workout-2014-symmetrical-scales#comments Bent Out of Shape Will Wallner Blogs Lessons Wed, 10 Dec 2014 15:37:55 +0000 Will Wallner http://www.guitarworld.com/article/21570 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 Wed, 10 Dec 2014 15:36:23 +0000 Steve Booke http://www.guitarworld.com/article/22302 Metal for Life with Metal Mike: Continuing Our Look at Drop-D-Based Metal Riffage http://www.guitarworld.com/metal-life-metal-mike-continuing-our-look-drop-d-based-metal-riffage <!--paging_filter--><p><em>These videos and audio files are bonus content related to the January 2015 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-january-15-ac-dc?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=January2015VideosPage">Guitar World Online Store</a>.</em></p> <p>Last month, we investigated the great advantages of using drop-D tuning in the development of metal-style riffs and licks. This month, I’d like to continue with this topic and show you some additional advantages that this tuning offers.</p> <p>Drop-D tuning is achieved by tuning the guitar’s low E string down a whole step, to D, resulting in a tuning of, low to high, D A D G B E. As I stated, in this tuning, the bottom two strings are now a fifth apart—D to A—instead of the normal fourth apart—E to A. </p> <p>As the higher D string is tuned a fourth above the A string, sounding the bottom three strings open, or fretting across all three strings at any given fret, will yield a three-note root-fifth-root power chord. This makes it very easy to slide and shift this fat-sounding voicing, as a single finger can be barred across the strings to fret the power chord shape. </p> <p>Alice in Chains guitarist Jerry Cantrell makes very effective use of this technique in songs like “Dam That River,” “We Die Young” and “Them Bones.” Pantera’s Dimebag Darrell was also a big fan of using drop-D tuning to perform heavy riffs in songs like “Walk” and “A New Level,” and Metallica relied on drop-D for “The Thing That Should Not Be.” </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/QcubfA2iL5Y" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/metal-life-metal-mike-continuing-our-look-drop-d-based-metal-riffage#comments January 2015 Metal For Life Metal Mike Chlasciak Videos News Lessons Magazine Fri, 05 Dec 2014 13:24:01 +0000 Metal Mike Chlasciak http://www.guitarworld.com/article/23009 Guitar World's Jimmy Brown and Paul Riario Play Rock Arrangement of "Deck the Halls" — Video http://www.guitarworld.com/guitar-worlds-jimmy-brown-and-paul-riario-play-rock-arrangement-deck-halls-video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the January 2015 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-january-15-ac-dc?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=January2015VideosPage">Guitar World Online Store</a>.</em></p> <p>To help folks get into the holiday spirit this year, <em>Guitar World</em> presents my rock guitar ensemble arrangement of the classic Christmas/holiday song “Deck the Halls,” which begins on Page 111 in the January 2015 issue of GW. </p> <p> It’s set for three electric guitars, all played with distortion and a bright, hard-rock/metal tone (bridge pickup), and electric bass, preferably played with a pick, punk style. The arrangement also works well with just two guitars, or one guitar and bass.</p> <p>Below, you can watch a video of <em>Guitar World's</em> Paul Riario and me performing the entire song. </p> <p>For the complete transcription, plus plenty of performance notes by me, check out the new issue of <em>Guitar World</em>, which is <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-january-15-ac-dc?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=January2015VideosPage">available now at the Guitar World Online Store!</a></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="myExperience3920137070001" 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="3920137070001" /> </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 --><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/guitar-worlds-jimmy-brown-and-paul-riario-play-rock-arrangement-deck-halls-video#comments January 2015 Jimmy Brown Paul Riario Videos News Lessons Magazine Wed, 03 Dec 2014 21:59:13 +0000 Jimmy Brown http://www.guitarworld.com/article/23022 Thrash Course with Dave Davidson: Applying the Diminished Scale to the Pre-Chorus and Chorus of “Deathless” http://www.guitarworld.com/thrash-course-dave-davidson-applying-diminished-scale-pre-chorus-and-chorus-deathless <!--paging_filter--><p><em>These videos and audio files are bonus content related to the January 2015 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-january-15-ac-dc?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=January2015VideosPage">Guitar World Online Store</a>.</em></p> <p>Last month, I introduced the two different primary forms of the diminished scale, which I use as the basis for the riffs heard on the title track of the latest Revocation release, Deathless. This month, I’d like to go over the song’s pre-chorus and chorus sections.</p> <p>The two primary forms of the diminished scale are very similar. In essence, they are exactly the same, except the second form simply starts from the second note of the first form. </p> <p>One of the forms is often referred to as “whole-half,” or “W-H-W-H,” etc., which signifies the pattern of ascending a whole step, then a half step, then a whole step, then a half step, etc. If we were to instead start from the second degree of this pattern and make that note the root note, the result would be “half-whole,” or “H-W-H-W,” etc. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/UzZq2mL6xIY" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/thrash-course-dave-davidson-applying-diminished-scale-pre-chorus-and-chorus-deathless#comments Dave Davidson January 2015 Revocation Thrash Course Videos News Lessons Magazine Wed, 03 Dec 2014 20:43:36 +0000 Dave Davidson http://www.guitarworld.com/article/23007