Lessons http://www.guitarworld.com/taxonomy/term/8/all en The Ultra Zone: Steve Vai's Course In Ear Training, Part 1 http://www.guitarworld.com/ultra-zone-steve-vais-course-ear-training-part-1 <!--paging_filter--><p><em>GuitarWorld.com is revisiting Steve Vai's classic mag column, "The Ultra Zone," for this crash course in ear training.</em></p> <p>I could never overstate the importance of a musician’s need to develop his or her ear. Actually, I believe that developing a good “inner ear” — the art of being able to decipher musical components solely through listening — is the most important element in becoming a good musician. Possessing a healthy imagination is a necessary ingredient for creativity. </p> <p>But without the ability to bring those imagined sounds into the real world, one’s creative aspirations will remain crippled. Training one’s ears to understand and recognize musical sounds and concepts is one of the most vital ways to fortify the connection between the musical ideas in one’s mind and the musical sounds created on one’s instrument.</p> <p>All musicians practice ear training constantly, whether or not they are cognizant of it. If, when listening to a piece of music, a musician is envisioning how to play it or is trying to play along, that musician is using his or her “ear” — the understanding and recognition of musical elements — for guidance. </p> <p>This is also true when trying to emulate a piece of music, or transcribe it, or even just finding inspiration in it. No matter what one is playing, one’s ear is the navigational device that steers the musical ship where it will go. Without a good ear at the helm, you could find yourself musically adrift at sea.</p> <p>I have always been fascinated with looking at music written on paper. When I was in college, I took a class called solfege, which entailed learning how to sight-sing. Sight-singing is the art of looking at a piece of written music and singing it. First, you identify the key center, and then you sing the written pitches, using the “doe-ray-me” phonetic structure, just like that song in the movie The Sound of Music. “Do-Re-Mi-Fa-Sol-La-Ti-Do” (pronounced “Doe-ray-me-fa-so-la-tee-doe”) represents a major scale; there are other monosyllabic sounds that represent the other pitches that reside within a 12-tone octave. These solfege classes in college were difficult courses, but they were well worth the time invested. A thorough study and analysis of solfege within the confines of this column would be impractical, so I can only encourage you to investigate it on your own.</p> <p>I’ve always considered transcribing to be an invaluable tool in the development of one’s musical ear and, over the years, I have spent countless glorious hours transcribing different kinds of music, either guitar-oriented or not. The most well-known example of my guitar-based transcribing labors is The Frank Zappa Guitar Book (Hal Leonard), for which I transcribed, among other things, the entire Shut Up and Play Yer Guitar series of recordings. Many musicians, however, do not have the ability to pull the sounds — guitar solos, rhythm parts, melody lines, etc.—off the records that they love. Transcribing is an art that takes a lot of practice and a study that I encourage everyone to experiment with.</p> <p>But fear not: you do not need to have the ability to sight-read or transcribe in order to practice ear training exercises. If you are just sitting there with a guitar, there are still a great many ways to develop your ears, in the quest to strengthen the connection between your head and your fingers. Below, I have outlined some of the ways a guitarist can work on ear training exercises using just the guitar.</p> <p>As guitarists, there are certain things that most of us do that are simply part of the program: we learn some scales, develop some exercises intended to improve our physical abilities, work on chord forms on different parts of the neck, etc. I believe it is extremely important to put aside some time dedicated solely to focusing on ear training.</p> <p>One of the easiest ways to begin working on ear training is to sing what you play. For example, you can play a C major scale (C D E F G A B) in any position — preferably one that is physically comfortable for you—and sing each note of the scale as you play it, being very careful to sing on pitch as accurately as possible. Start with one note: play the note, sing it, and then play and sing the note simultaneously. Then go to two notes. Once you feel comfortable, take a little piece of that scale, say, the notes C, D, E and F, and create a very simple melody with these notes for you to sing simultaneously, à la jazz guitarist George Benson. </p> <p>This is an easy way to get your ear in sync with the sounds your fingers are creating. Whether you’re soloing over a rhythmic vamp or are playing alone in free time, you have to really stick with it, and don’t allow yourself to slip up or drift into something else. The idea is to endlessly improvise and sing what you are playing, using any key.</p> <p>Another good thing to do is to record a simple one-chord vamp to play over. First, only play/sing notes that fall within the key, staying within a basic note structure of a five-, six- or seven-tone scale. Don’t start wandering off into your favorite guitar licks to play; save that for another time, when you’ve developed your ear to the point where you can sing just about anything you can play. This is an exercise in discipline: do not play anything that you cannot follow perfectly with your voice. Whether you stay within one octave of the guitar, or you sing the notes an octave lower than the sounding pitches, or you use falsetto to hit the high notes, you must be able to recreate all of the notes played on the guitar with your voice.</p> <p>If you work on this every day, you’ll find yourself getting better and better at it, and it will become easier to do. The cool thing that happens is that you’ll begin to hear music more clearly in your head, allowing you to formulate musical ideas—write music—within your head, without the aid of a guitar. When you finally do pick up the instrument, you will discover that you will instinctively be able to play these ideas that have taken form in your mind.</p> <p>To take this a step further, try this exercise: without a guitar at your disposal, picture the guitar’s fretboard in your mind, and then envision playing something so that you will “hear” and “see” the notes as they are played. It may be helpful to sing the notes as you imagine them being played. This is an excellent exercise that will fortify your mind-fretboard relationship and actually improve your ear by strengthening the acknowledgment of “pitch relativity” (how one pitch relates to another, in terms of sound and placement) on the guitar’s fretboard. You may discover some cloudy areas in your mind’s eye/ear, but if you work through it, the picture will soon become clearer and clearer.</p> <p>These techniques do not address the act of playing one thing on the guitar and singing something completely different. Someone like Jimi Hendrix had the uncanny ability to play very complex rhythm parts and single-note riffs while singing complementary parts. This technique requires a whole different set of brain muscles and is very difficult for many players. Playing one thing while singing another must be worked on as an independent field of study. If I could play the guitar and sing at the same time, hey, I might have a career! I’ll be back next time with some more effective ways to help you to develop your ear.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/steve-vai">Steve Vai</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/ultra-zone-steve-vais-course-ear-training-part-1#comments Steve Vai Ultra Zone Artist Lessons Blogs News Lessons Magazine Wed, 29 Apr 2015 15:22:07 +0000 Steve Vai 11024 at http://www.guitarworld.com Guitar Chalk Sessions: The Role of a Lead Guitarist in the Songwriting Process http://www.guitarworld.com/guitar-chalk-sessions-role-lead-guitarist-songwriting-process <!--paging_filter--><p>The mind of a songwriter is often wired differently than that of a guitarist.</p> <p>Though the two cross paths often, it’s rare to see a pro-level guitar player (particularly a lead guitarist) and a successful songwriter embodying the same human being.</p> <p>Some exceptions might include Kenny Wayne Shepherd, Eric Clapton and Brad Paisley.</p> <p>But usually it takes two.</p> <p>Duos like Tom Morello and Chris Cornell, Mark Tremonti and Myles Kennedy or Hank Garland and Elvis Presley are far more common when it comes to creating music that’s appealing to both the soul and the technical guitarist.</p> <p> But if you’re that guitar player, the guy or gal who’s expertise is wrapped up in solos, arpeggios and all the technical abilities thereof, how do you approach the songwriting process? What’s your role?</p> <p>If you’re good, you’ll find yourself getting invitations for session work and opportunities to contribute to other people’s music. When that time comes, here’s what your job description will entail.</p> <p><strong>1. To Increase the Originality of the Music</strong></p> <p>A chord progression by itself doesn’t make a song.</p> <p>In fact, there are only a few commonly used chord progressions for most of the primary music genres and a ton of music that’s derived from them.</p> <p>The melody and layering, whether it comes from a vocalist or a guitar player, are the primary ways one piece of music can be differentiated from another. It makes music better by increasing the quality and originality of the end product.</p> <p>When it comes to songwriting, it’s your job to make sure you increase a song’s quality by using melody and layering.</p> <p><strong>2. To Add Melody and Melodic Accents</strong></p> <p>Melody is one of the most crucial parts of a lead guitarist’s job description, especially when you’re talking about songwriting. If you’re working with a songwriter, they’ve likely already come up with lyrics and a chord progression, so melody will build on that material.</p> <p>Loosely, this is the process you’ll follow:</p> <p><strong>1. Learn the chord progression.</strong><br /> <strong>2. Memorize the melody of the lyric line.</strong><br /> <strong>3. Accent either or both with a secondary melody from your guitar.</strong></p> <p>To do this, most guitar players will follow the chord progression, as opposed to the lyrical melody. An exception would be Kurt Cobain’s solo on “Smells Like Teen Spirit,” where he closely mimics to the lyrical melody of the song’s verse. </p> <p>Though the more functional solution is to reference the chord progression. One of the simplest ways to do that is to create an arpeggiated version of the bass line.</p> <p>So if the song’s chorus is G, C and D, your “melodic accent” would be something like this:</p> <p><img src="/files/imce-images/tab1.png" width="361" height="113" alt="tab1.png" /></p> <p>When recording you could minimize it even further by removing the root notes and playing only the higher notes on the second and third strings.</p> <p><img src="/files/imce-images/tab2_0.png" width="281" height="111" alt="tab2_0.png" /></p> <p>So “melodic accent” is really just a fancy term to describe simple fills. </p> <p>Additionally, this can be a solo, a short lead pattern or any note-by-note, non-chord lick that you come up with to contribute to the sounds that are already there. If you’re careful, you’ll be able to walk the line between a melody that’s too intrusive and one that’s hard to notice.</p> <p>Artists who do this well would include the Edge (David Evans) of U2, Brian Welch of Korn and Joe Satriani, to name just a few. They’re good names to learn from and emulate.</p> <p>So keep in mind that anytime you’re adding a short fill or a solo, you’re creating some kind of melody.</p> <p>In that instance, you’re sharing just as much responsibility as a vocalist. Thus it becomes more important for you to be musical, melodic and complimentary with your guitar than it does to be technical and fun to watch.</p> <p><strong>3. To Develop and Add Layering</strong></p> <p>Though it can involve melody, the practice of layering is an altogether different discipline and an equally important part of a guitar player’s role in the songwriting process.</p> <p>While contributing melody requires a certain level of creative input, layering is a matter of adding something to a vocal line or guitar track that’s already in place. It can even be a guitar part you came up with.</p> <p>Whatever the case may be, it’s assumed you’re layering over something that’s already recorded. Layering can involve one or more of the following practices.</p> <p><strong>1. Simply duplicating a chord progression or lead pattern.</strong><br /> <strong>2. Adding an effect layer to a chord progression or lead pattern.</strong><br /> <strong>3. Recording separate guitar tracks for the left and right channels.</strong></p> <p>The details are largely up to the songwriter, though most people who hire a session guitarist will accept ideas and input in this area. If you’ve got session work in your future, reading up on layering guitars in the studio would be a practical way to prepare.</p> <p>How to sum it all up?</p> <p>If you had to condense the answer to this question, you might say your role is to invoke an emotional response from those who might listen to the music you’re creating.</p> <p>Adding melody, layering, effects and harmony are all about increasing a song’s ability to appeal to someone’s emotions.</p> <p>That’s your job, not just as a guitar player, but as a musician.</p> <p>So sure, your mind might bend a completely different way than those who compose and write music, but you both share a common mission. Different roles, with the same destination.</p> <p><em>Robert Kittleberger is the founder and editor of <a href="http://www.guitarchalk.com">Guitar Chalk</a> and <a href="http://www.guitarbargain.net">Guitar Bargain</a>. You can get in touch with him <a href="http://www.guitarchalk.com/p/about-me.html">here</a>, or via <a href="https://twitter.com/guitarchalk">Twitter</a>, <a href="https://www.facebook.com/guitarchalk">Facebook</a> and <a href="https://plus.google.com/u/0/109221824688243850332/posts">Google Plus.</a></em></p> http://www.guitarworld.com/guitar-chalk-sessions-role-lead-guitarist-songwriting-process#comments Bobby Kittleberger Guitar Chalk Sessions Blogs Lessons Wed, 29 Apr 2015 15:17:56 +0000 Bobby Kittleberger 21581 at http://www.guitarworld.com Professor Shred with Guthrie Govan: Using Four Fingers to Tap Arpeggios, and How to Play the Lick to "Sevens" http://www.guitarworld.com/professor-shred-take-four-using-four-fingers-tap-arpeggios-and-how-play-lick-sevens <!--paging_filter--><p>This month I’d like to demonstrate the technique I use to perform the two-handed-tapping riff that occurs during the bridge/chorus section of the song “Sevens,” from my <em>Erotic Cakes</em> album. </p> <p>Before getting to the “Sevens” lick, I’m going to break down the technique involved so that you will be able to apply this idea to creating riffs of your own. The genesis of the lick was in trying to find a new way to play a major-seven arpeggio. I started out by breaking it down into two notes per string, as shown in <strong>FIGURE 1a</strong>. </p> <p>Using the index finger and pinkie only, I descend from the major seventh of Eb, D, at the 22nd fret of the high E string, to a low Eb on the sixth string’s 11th fret. I then took this idea and performed it with fretboard tapping, as shown in <strong>FIGURE 1b.</strong> Now, the higher note in each pair is sounded with a pick-hand fretboard tap, and the lower note is sounded with a fret-hand “hammer-on from nowhere.” Be sure to tap hard onto each note so that it will sound clearly, and try to not allow any of the notes to ring into each other.</p> <p>The next step was to break up the descending pattern and play it non-sequentially. What I arrived at was <strong>FIGURE 2</strong>. Here, I sound consecutive single notes on the high E and B strings, both sounded with fretboard taps, followed by the lower associated notes on the top two strings, sounded with fret-hand hammer-ons. The fret hand mirrors this approach by also using the pinkie and middle fingers. Start by playing this pattern slowly and then increase the speed.</p> <p>Now let’s take this same approach and apply it to the four-note groups on the lower pairs of strings, starting with the B and G strings, as shown in <strong>FIGURE 3</strong>. I use the same technique here but switch to the ring and middle fingers for both the pick-hand taps and the fret-hand hammer-ons. </p> <p>In <Strong>FIGURE 4</strong>, I’ve moved the idea down one more pair of strings to the G and D. Here, I tap with the middle and ring fingers of the pick hand but use my frethand pinkie and middle finger to fret the other notes. </p> <p><strong>FIGURE 5</strong> then runs the three patterns together. You can take this idea further by continuing onto the two bottom pairs of strings, as demonstrated in <strong>FIGURES 6a and 6b.</strong> Now that you’ve got the idea, try some different arpeggios: <strong>FIGURE 7</strong> outlines Ebm7, and <strong>FIGURE 8</strong> begins with Ebsus4 and then moves through Ebmaj7 and Ebm7.</p> <p>Finally, the “Sevens” lick, appropriately played in a meter of 7/4, is shown in <strong>FIGURE 9</strong>. Using the same technique, I move through the different pairs of strings in a specific alternating pattern.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/k7-TWcPR9Y4" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-03-13%20at%2011.23.40%20AM.png" width="620" height="607" alt="Screen Shot 2014-03-13 at 11.23.40 AM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-03-13%20at%2011.23.51%20AM.png" width="620" height="301" alt="Screen Shot 2014-03-13 at 11.23.51 AM.png" /></p> http://www.guitarworld.com/professor-shred-take-four-using-four-fingers-tap-arpeggios-and-how-play-lick-sevens#comments 2011 Guthrie Govan Holiday 2011 Professor Shred Holiday Blogs News Lessons Magazine Wed, 29 Apr 2015 15:16:52 +0000 Guthrie Govan 13550 at http://www.guitarworld.com Extreme Harmonics Lesson: Making Sick Sounds with Guitarist Mattias Eklundh — Video http://www.guitarworld.com/extreme-harmonics-lesson-sick-sounds-guitarist-mattias-eklundh-video <!--paging_filter--><p>Since we guitarists tend to enjoy sick sounds, we thought we'd share this lesson video by Swedish guitar whiz Mattias Eklundh.</p> <p>In the clip, which is titled "Harmonics #5," Eklundh lays down some basics about how harmonics work.</p> <p>Then, starting around 1:31, 2:15 and (especially) 2:45, things start getting freaky, courtesy of some extreme—even dissonant—harmonics.</p> <p>As always, check out the video and try to incorporate Eklundh's methods into your own playing. (I mean, if you're into that sort of thing, of course.)</p> <p>If you'd like to hear more of Eklundh's playing, be sure to watch <a href="http://www.guitarworld.com/caparison-guitars-ah8-eight-string-guitar-demo-video-featuring-mattias-eklundh">this demo video of Caparison Guitars' eight-string AH8 model, which we posted in June.</a></p> <p>For more about Eklundh, visit the appropriately named <a href="http://www.freakguitar.com">freakguitar.com.</a></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/zI3PJXbCaOU" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/extreme-harmonics-lesson-sick-sounds-guitarist-mattias-eklundh-video#comments Mattias Eklundh Videos News Lessons Wed, 29 Apr 2015 15:15:56 +0000 Damian Fanelli 22659 at http://www.guitarworld.com How to Adjust Your Guitar's Truss Rod — Video http://www.guitarworld.com/how-adjust-your-guitars-truss-rod-video <!--paging_filter--><p>In this new <em>Guitar World</em> video, GW's tech editor, Paul Riario, shows you how to make basic adjustments to your guitar's truss rod. </p> <p>In the clip, which you can check out below, Riario is joined by an Epiphone ES-339 PRO and a Fender Road Worn Strat.</p> <p>Fear no more, folks! You can do this!</p> <p><strong>For the latest and greatest guitar accessories, visit <a href="https://www.amplifiedparts.com/">amplifiedparts.com</a>.</strong></p> <p>P.S.: If you just can't get enough of Paul Riario telling you what to do, check out <a href="http://www.guitarworld.com/video-guitar-worlds-guide-building-pedal-board">Guitar World's Guide to Building a Pedal Board — Video.</a></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/_jchVLCzZF0" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/how-adjust-your-guitars-truss-rod-video#comments Paul Riario Videos News Gear Lessons Wed, 29 Apr 2015 15:15:00 +0000 Guitar World Staff 22698 at http://www.guitarworld.com Jazz Guitar Corner: Soloing with the Mixed Blues Scale http://www.guitarworld.com/jazz-guitar-corner-soloing-mixed-blues-scale <!--paging_filter--><p>Learning to play the blues in a jazzy style means stepping outside the minor blues scale and exploring other melodic options in your solos. </p> <p>But you don’t need to go very far to find a cool-sounding scale that can jazz up your blues solos in no time. </p> <p>In today’s lesson, we’ll be looking into the mixed blues scale, which combines the notes from the minor and major blues scales to outline the underlying blues chord changes, while retaining a healthy dose of the blues at the same time. </p> <p><strong>Major and Minor Blues Scales</strong></p> <p>To begin, here's a quick review of the minor and major blues scales, written over an A7 chord in the example below. </p> <p>The minor blues scale contains the notes R-b3-4-#4-5-b7, and the major blues scale contains the notes R-2-b3-3-5-6, so they share a few notes and have a few different notes between them. </p> <p>The notes they share are the root, b3 and 5th, while the other notes are different between the two scales; minor blues has the 4, #4 and b7; while the major blues scale has 2, 3 and 6.</p> <p>Try playing both of these scales back to back over an A7 chord, with a backing track if possible, in order to hear how they both sound when applied to a chord such as A7. </p> <p><img src="/files/imce-images/Jazz%20Blues%20Scale%201.jpg" width="620" height="154" alt="Jazz Blues Scale 1.jpg" /></p> <p><strong>Mixed Blues Scale</strong></p> <p>Now that you've looked at both of these scales separately, we’re going to combine the major and minor blues scales in order to build what I like to call the mixed blues scale. </p> <p>This scale contains all of the notes from both scales, R-2-b3-3-4-#4-5-6-b7, and has a sound that outlines the chord, since it has the R-3-5-b7 arpeggio built into it, and remains bluesy with the b3 and #4 at the same time. </p> <p>While you could play all of these notes in order, as I wrote out in the previous paragraph, you’ll see in the example below that I leave out certain notes along the way, notes that get added in later in the scale. </p> <p>This is mostly due to the fact that many famous players who use this scale tend to use certain notes in specific octaves, so I’ve written it out in that way to get you into that style quickly and accurately when adding this scale to your soloing repertoire. </p> <p>Try putting on an A7 backing track and play up and down this scale to hear how it sounds over that chord, and then begin to improvise over an A7 harmony using only the A mixed blues scale as the basis for your lines to hear how it sounds in a soloing situation. </p> <p><img src="/files/imce-images/Jazz%20Blues%20Scale%202.jpg" width="620" height="154" alt="Jazz Blues Scale 2.jpg" /> </p> <p><strong>Mixed Blues Scale Lick</strong></p> <p>Lastly, here’s an example of a lick over A7 built with the notes from the A mixed blues scale. </p> <p>Since this scale contains the notes of the A7 arpeggio, you need to treat it more like an arpeggio than a blues scale, meaning that if you have an A7 chord, you play the A mixed blues scale. If you have a D7 chord, you play a D7 mixed blues scale and so on. </p> <p>Try this lick out and see how it sounds over an A7 chord, before transposing it to other keys, adding it to your solo vocabulary and writing/learning a number of mixed blues scale licks of your own as you explore this concept further in the woodshed. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/118098721"></iframe></p> <p><img src="/files/imce-images/Jazz%20Blues%20Scale%203.jpg" width="620" height="162" alt="Jazz Blues Scale 3.jpg" /></p> <p>Do you have a question about this mixed blues scale lesson? Share your comments and questions in the COMMENTS section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-soloing-mixed-blues-scale#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Wed, 29 Apr 2015 15:14:15 +0000 Matt Warnock 19640 at http://www.guitarworld.com Metal for Life with Metal Mike: Using Drop-D Tuning to Write Heavy Riffs — Video http://www.guitarworld.com/metal-life-metal-mike-using-drop-d-tuning-write-heavy-riffs <!--paging_filter--><p>For decades, a common practice in rock and metal has been to use drop-D tuning, wherein the guitar’s low E string is tuned down one whole step to D, one octave below the fourth string. </p> <p>Aside from the additional heaviness this tuning provides by extending the instrument’s range downward, having the bottom two strings tuned a fifth apart—D to A—enables one to play a root-fifth power chord simply by strumming the two strings open or barring a finger across them at any given fret. </p> <p>And with the fourth string included, a three-note, root-fifth-octave power chord can be sounded just as easily. </p> <p>My favorite way to use drop-D tuning is to combine one-finger power chords with single-note riffs that utilize the open low D note as a pedal tone. To do this, I will play on the sixth string as if it were tuned normally, to E, but move all notes on the other strings two frets lower than where I would ordinarily play them. </p> <p>This results in some unusual shapes when moving between the sixth and fifth strings. </p> <p>For example, in <strong>FIGURE 1</strong>, I begin with two open low D notes followed by a two-note ascending pattern on the sixth string. I then alternate between single notes on the fifth string and fretted and unfretted accents on the sixth string, resulting in shifting three-note melodic shapes. </p> <p>If the sixth string were tuned normally, some of these shapes would be much more difficult to fret, so the drop-D tuning, in additional to sounding really cool, facilitates the execution of this melodic pattern. In bars 2 and 4, I use my fret-hand index finger to sound two-note power chords, E5-to-F5 and G#5-to-A5, that fall on beat two of each bar, respectively.</p> <p> <strong>FIGURE 2</strong> offers another example of alternating three-note melodic shapes, again using the open sixth string as a low D pedal tone. I begin on the major third of D, F#, which alternates against a D root note on the fifth string, but in bar 3 I switch to the minor third, F, which is repeatedly bent up a quarter step and pulled off to the open low D string. </p> <p>The last bar of the pattern moves to four-note rhythmic shapes and incorporates a sliding octave shape fretted on the fifth and third strings. The figure ends with a “spread voicing” of Dsus2, with the index, middle finger and pinkie fretting the fifth, fourth and third strings, respectively.</p> <p><strong>FIGURES 3–5</strong> illustrate three approach- es to what is basically the same riff. <strong>FIGURE 3</strong> represents the two-note version, as only the fourth and third strings are used. In <strong>FIGURE 4</strong>, I expand the idea by adding a high D note on the B string’s third fret. In <strong>FIGURE 5</strong>, the open fourth-string D pedal tone is replaced with an open sixth-string D pedal, resulting in a much heavier-sounding riff.</p> <p>Now that you have the idea, try inventing some of your own killer drop-D riffs using these and other techniques.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/9zhBlYXsr7Y" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202015-04-29%20at%2011.01.55%20AM.png" width="620" height="668" alt="Screen Shot 2015-04-29 at 11.01.55 AM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202015-04-29%20at%2011.02.07%20AM.png" width="620" height="117" alt="Screen Shot 2015-04-29 at 11.02.07 AM.png" /></p> http://www.guitarworld.com/metal-life-metal-mike-using-drop-d-tuning-write-heavy-riffs#comments Holiday 2014 Metal For Life Metal Mike Chlasciak Videos News Lessons Magazine Wed, 29 Apr 2015 15:11:12 +0000 Metal Mike Chlasciak 22777 at http://www.guitarworld.com Full Shred with Marty Friedman: How to Play Fast and Musical Arpeggio-Based Licks Without Sweep Picking http://www.guitarworld.com/full-shred-marty-friedman-how-play-fast-and-musical-arpeggio-based-licks-without-sweep-picking <!--paging_filter--><p>I’ve often been associated with players that use specific picking techniques, such as sweep picking, economy picking, hybrid picking and so on. In truth, I have no idea what any of these terms mean. Sweep picking does not appeal to me at all. </p> <p>To my ears, it sounds like, “bd<em>LOOP</em>, bd<em>Loop</em>, bd<em>LOOP</em>, bd<em>Loop</em>,” as notes go up and down, over and over again. It’s nothing more than a fancy technique that guitar players learn so that they can play fast arpeggios up and down. </p> <p>To my ears, it’s very unmusical. In my music, you will hear some insane, fast arpeggio-based lines, but it’s never simply straight up and down through the arpeggios, the way sweep picking usually is performed. This month, I’d like to demonstrate some cool ways you can achieve the effect of fast arpeggio-based sounds while avoiding the predictability of standard sweep-picking licks. </p> <p>My preference is to use a little bit of repetitive arpeggio-based lines and then grab some cool notes, bends or vibratos. I try to never lean on any one technique too much and always try to play with an ear toward melody. Playing straight triads up and down is, to me, neither creative nor melodic. Any monkey can learn how to execute a fast technique on the guitar, but technique in and of itself is not music. </p> <p><strong>FIGURE 1</strong> is based on the notes of a Bm7 arpeggio: B D F# A. In bar 1, I outline the basic melodic “shape.” I begin on the third string with a hammer-pull between F# (11th fret) and A (14th fret). Following the D (fourth string/12th fret), I hammer-on from F# up to A and end the phrase with three ascending notes, B D F#. In bars 2–5, I elaborate on the idea by repeating the lick over several beats, adding a half-step bend and vibrato from the b5 (flatted fifth), F, in bar 4. I end the phrase with a half-step bend from A# to B, which I adorn with some vibrato. </p> <p>Now that you have the idea, try the same premise, but change the end of the lick. For me, elaboration on a basic idea is the most natural and musical way to play. Incorporating the arpeggio licks into melodic lines is far more interesting than an arpeggio that simply is repeated in an up-and-down fashion.</p> <p>Let’s wrap up with a few permutations of our initial idea. In <strong>FIGURE 2</strong>, I change the shape of the lick a little, and the result is odd-metered lines in 15/16 and 9/8 meters. In <strong>FIGURES 3-8</strong>, I take a basic G triad idea and morph it into Gmaj7 and Gm-maj7 ideas.</p> <p>I certainly understand why guitar players are into speed. When I first started playing, I heard Alvin Lee—who was notoriously fast—and thought it was the coolest thing I’d ever heard. Since then, I’ve found that playing fast is only cool when you can’t do it. Once you can, you’d rather play something musical. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/KMkb4pxOc30" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202015-04-29%20at%2010.52.40%20AM.png" width="620" height="711" alt="Screen Shot 2015-04-29 at 10.52.40 AM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202015-04-29%20at%2010.52.54%20AM.png" width="620" height="233" alt="Screen Shot 2015-04-29 at 10.52.54 AM.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="/marty-friedman">Marty Friedman</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/full-shred-marty-friedman-how-play-fast-and-musical-arpeggio-based-licks-without-sweep-picking#comments August 2014 Full Shred Marty Friedman Videos News Lessons Magazine Wed, 29 Apr 2015 14:58:50 +0000 Marty Friedman 21595 at http://www.guitarworld.com Thrash Course with Dave Davidson: Exploiting Odd-Time Meters, and How I Play “Madness Opus” and “Witch Trials” http://www.guitarworld.com/thrash-course-dave-davidson-exploiting-odd-time-meters-and-how-i-play-madness-opus-and-witch-trials <!--paging_filter--><p>A favorite compositional technique of mine in the songs I record and perform with Revocation is to incorporate the use of odd and shifting meters in the writing of primary riffs. </p> <p>Another cool approach I often take is to combine straight 4/4 time with odd meters to create some interesting and unique amalgamations. </p> <p>For the song “Madness Opus,” I set the main figure, which is phrased in a rhythm of steady eighth-note triplets, in 3/4 meter, as shown in <strong>FIGURE 1</strong>. If we think of the initial note, F, as the tonic, or root, the chord that is alluded to is Fm-maj7b5. </p> <p>The use of pull-offs on the sixth string is essential to the proper articulation and sound of this riff. The one-bar pattern is played three times, after which I transpose it down a step and a half, or a minor third, so that the initial note is D, at which point the chordal allusion is Dm-maj7b5. Regarding the pick-hand, I pretty much stick with alternate (down-up) picking throughout, starting with two downstrokes on the low F notes and then switch to alternate picking for the notes that are consecutively picked. </p> <p> On the recording, after this phrase cycles through a few times, I bring in an overdubbed guitar part, illustrated in <strong>FIGURE 2</strong>, that plays the same riff but transposed up a minor third, or a step and a half. This results in a harmonized line known as a parallel harmony, for which every fretted note is a minor third above the melodic line.</p> <p> Given that the line itself is very dissonant sounding, the harmony of a minor third above it pushes the musical effect even further into “alien” territory. I love to harmonize riffs using different intervallic distances like this, and playing a line a minor third above always works well.</p> <p> Another great example of the incorporation of odd meter is the primary riff to “Witch Trials,” shown in <strong>FIGURE 3</strong>. The majority of this phrase is played in 5/4 time, after which I shift very unexpectedly to 3/4. The figure is played in straight 16th notes but phrased in five-note groups, so that the initial note, the open low E, steadily shifts one 16th note later in the bar through each five-note group. The very nature of the phrasing of the melody creates the 5/4 meter in that it takes five beats of the pattern before the open low E will once again fall squarely on beat one. At the end of the phrase, I play a very atonal chord that my be analyzed as C#(b9)/E#.</p> <p> For our final example, also from “Witch Trials,” (see <strong>FIGURE 4</strong>), I begin in 4/4 but then wrap up the idea in 3/4. I think of the riff as being in A natural minor (A B C D E F G) with pairs of intervals placed against the low A pedal tone. I begin with a pair of notes—E and B, a fourth apart— followed by F and C, a fifth apart, then by A and F, an augmented (sharped) fifth apart. When I shift to 3/4, I simply bring the open low A pedal tone back in after playing the phrase across three quarter notes. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/f9D2sYxq2mQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/Screen%20Shot%202015-04-21%20at%203.45.06%20PM.png" width="620" height="802" alt="Screen Shot 2015-04-21 at 3.45.06 PM.png" /></p> http://www.guitarworld.com/thrash-course-dave-davidson-exploiting-odd-time-meters-and-how-i-play-madness-opus-and-witch-trials#comments Dave Davidson June 2015 Revocation Thrash Course Videos News Lessons Magazine Wed, 29 Apr 2015 09:47:22 +0000 Dave Davidson 24345 at http://www.guitarworld.com What In the World: Sitar- and Indian Mandolin-Style Linear Scales for Guitar http://www.guitarworld.com/what-world-sitar-and-indian-mandolin-style-linear-scales-guitar <!--paging_filter--><p>Taking techniques from different instruments and applying them to the guitar can open up a whole new approach to the instrument and add freshness to your playing and ideas. </p> <p>In this lesson, we will look at approaching the guitar in the style of a sitar and Indian mandolin. A sitar has many strings (up to 20, to be exact). Ironically, out of all of these strings, most of the time only one of them is used to do the actual playing. The others are sympathetic and drone strings. A sitar player plays mostly in a linear fashion up and down on that one string. </p> <p>As guitar players, we started out learning our scales in box shapes across the neck from E to E. Many players can play a scale from low E to high E at blinding speeds, but if you ask a lot of players to now play those scales only up and down on one string, they will probably not be able to play them quite as fast for two reasons. </p> <p>First, they don’t know the scales as well note-wise as they do finger-memory-wise. Second, playing up and down on one string requires rapid position changes they might not be used to. </p> <p>In the following examples, two different ways are given to play these scales: picking, which is more of a sitar approach, and legato using slides, which is more of a Indian mandolin approach. The Indian mandolin isn't like the double-stringed, Western mandolin. It has six single strings like a guitar and is a little larger than the Western mandolin. You will often hear legato-type phrasing on this instrument.</p> <p>In <strong>Example 1</strong>, we have a scale in the key of D, starting on the root D on the G string in the middle of the neck. The scale descends to the fifth degree, A, jumps back to the root and ascends to the higher octave A, and then back down to the root D.</p> <p>Start out practicing the scale slowly. Focus on the position changes that occur between the fourth and fifth notes and the sixth and seventh notes on the ascent, and the third and fourth notes on the descent, and then finally the last note with the first finger, back to the starting point again with the fourth finger. Also, notice that sometimes you have to use the same finger to play two consecutive notes. Work on this transition as well. </p> <p><img src="/files/imce-images/Screen%20Shot%202013-02-21%20at%204.23.29%20PM.png" width="620" height="182" alt="Screen Shot 2013-02-21 at 4.23.29 PM.png" /></p> <p>In <strong>Example 2</strong>, we have a scale in the key of A, starting on the root. This will take you from the low part of the neck straight up to the higher octave of the root with no adjacent fingers but more position changes. </p> <p><img src="/files/imce-images/Screen%20Shot%202013-02-21%20at%204.23.36%20PM.png" width="481" height="186" alt="Screen Shot 2013-02-21 at 4.23.36 PM.png" /> </p> <p>Practice each of these scales, picking every note. After you are comfortable with the position shifts, try playing them legato. </p> <p>For the legato approach of <strong>Example 1</strong>, pick only the first note, pulling off the rest and then sliding down to the notes that would use the same finger (B – A), and then slide up again to the root D with the first finger and hammer on the next note E. Then jump to the next position, picking the first note only and hammering on and pulling off the rest and finally slide from the 11th fret down to the ninth and start over again.</p> <p>The legato approach to <strong>Example 2</strong> would be to hammer on the first two notes (A-B) and then slide up to the next 2 (C#-D), pick the fifth note (E) with the first finger and hammer on to F#, slide up to G# and then A. To descend this scale, start with your fourth finger on A and pull off the next two notes, and then slide down from F# to E, then put your 4th finger again on D on the G string seventh fret, pulling off the next two notes and finally sliding down to the last two notes. </p> <p>You will find that the legato approach gives you more of an Indian or slinky sound. Practice this very slowly so that it always sounds relaxed and comfortable. Eventually, practice these scales without having to look at the guitar neck. This is how sitar players are forced to play because of the size and positioning of the instrument. </p> <p>After you feel comfortable in these keys, try this approach in different keys and modes.</p> <p><iframe width="620" height="349" src="http://www.youtube.com/embed/mVZ-vl0dyx8?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 earth. A graduate of Berklee College of Music, Steve has played guitar for more than 27 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, Make Music, Pigtronix, Tech 21, Digitech, Graph Tech, Seymour Duncan, Waves, Studio Devil and L.R. Baggs. His music is available on iTunes and Amazon. He can be contacted at info@stevebooke.com. Visit <a href="http://www.stevebooke.com/">stevebooke.com</a>.</em></p> http://www.guitarworld.com/what-world-sitar-and-indian-mandolin-style-linear-scales-guitar#comments Steve Booke What In the World Blogs Lessons Tue, 28 Apr 2015 17:44:22 +0000 Steve Booke 17841 at http://www.guitarworld.com Beyond the Fretboard: Visualizing Your Own Scales, Part 1 http://www.guitarworld.com/beyond-fretboard-visualizing-your-own-scales-part-1 <!--paging_filter--><p>As guitar players, we sometimes get too comfortable with certain scale shapes because they can be easy to remember.</p> <p>For example, think about the minor pentatonic scale; almost immediately, the mental image of that familiar box shape is probably conjured in your mind's eye. The fact that we can instantly recall various patterns due to their spacial layout over the fretboard is a great thing. But what if we're relying too heavily on existing scale shapes?</p> <p>Scales are just pre-determined paths that get us from point A (root note) to point B (the octave). Some scales sound very musical, while others have a less-conventional harmonic architecture.</p> <p>For some younger rock guitarists, the process of learning and memorizing existing scales might be the extent of their development when it comes to improvising.</p> <p>But what about arpeggios? Arpeggios seem to be an intimidating concept to beginners, intermediates and even some advanced players for a few reasons:</p> <p>01. The name seems "elitist" in nature and sounds like it should be reserved for classical music.</p> <p>It simply comes from the italian word "arpeggiare," which either translates to "play on a harp" or "broken chord." All this means is we're playing each note of a chord separately, without any of the notes ringing out simultaneously. On a theoretical level, arpeggios and chords are basically the same thing. The only difference is in their execution; one is monophonic (one note at a time), while the other is polyphonic (multiple notes at the same time).</p> <p>02. Arpeggios are viewed as being "synonymous with sweep picking."</p> <p>Not everyone wants to be a shredder. For this reason, some people tend to underestimate or even completely ignore arpeggios because they have been popularly linked with sweep picking. Yes, a lot of technically advanced axe-slingers love using arpeggios. But truth be told, you NEVER have to learn sweep picking in order to effectively use arpeggios.</p> <p>03. Some of the more popular arpeggio shapes seem difficult to play and memorize.</p> <p>Since arpeggios are 'broken chord' patterns, they're usually laid out over the fretboard in familiar chord shapes (derived from the CAGE system). But this brings us back to the previous problem. After all, the most economical way to execute a "C shape" minor arpeggio would be to sweep pick it (because that shape consists of a one-note-per-string sequence).</p> <p>So what's the best way to make arpeggios accessible to ALL guitarists? One way is to visualize them as if they are scales (the only difference is that they consist of chord tones).</p> <p>That sounds reasonable, but there are a few practical limitations to this proposal. First, the most basic arpeggio (triad) is comprised of a meager 3-note grouping. This makes it rather difficult to plot the notes on the fretboard in a 'boxed' format without invoking the sweep picking approach.</p> <p><img src="/files/imce-images/diagram%201.png" width="620" height="855" alt="diagram 1.png" /></p> <p>As you can see, it's doable but challenging if you're not used to a wide shape, which involves tough hand stretching and some tricky finger rolling. But if you're up to the task, these patterns can definitely be useful.</p> <p>Let's try adding an additional note to the mix. The most obvious way to do this would be to experiment with 7th arpeggios (or 7th chords). These chords definitely have a unique harmonic texture that distinguishes itself from the more conventional-sounding triads.</p> <p>The quick theoretical explanation as to why they're called "7th chords" is pretty straightforward; both the major and minor scales each contain seven notes. Triads are simply the first, third and fifth notes of a particular scale played together (becoming a chord) or individually (becoming an arpeggio). If we add the seventh note in a scale to the existing triad, we arrive at a 7th chord (essentially, all of the odd-numbered notes in a 7-note scale played simultaneously; 1,3,5,7).</p> <p>So let's see how these guys help in our quest of creating visually friendly shapes on the fretboard without resorting to sweep picking. </p> <p><img src="/files/imce-images/diagram%202.png" width="620" height="858" alt="diagram 2.png" /></p> <p>(Note: the numbers inside the circles are suggestions for which fingers to use for each note. These are just suggestions, so feel free to use alternate fingering schemes and even slides in some instances) </p> <p>Not bad, but there's still some stretching involved and the shapes are a little too abstract. But at least we've started to look at arpeggios in a two-note-per-string context. Hopefully this is helpful for those of you who do not sweep pick and aren't interested in learning the technique anytime soon. </p> <p>In my next column, we'll dig deeper and try to arrive at some comfortable box shapes rooted in the concept of more extended arpeggios. We might even sprinkle in a few passing tones.</p> <p><em>Chris Breen is a New Jersey-based guitarist with 14 years of experience under his belt. He, along with his brother Jon (on drums) started the two-piece metal project known as <a href="https://www.facebook.com/ScarsicBand">SCARSIC</a> in 2011. They've recently been joined by bassist Bill Loucas and have released an album, </em>A Tale of Two Worlds<em> (available on iTunes, Amazon and Spotify). Chris also is part of an all-acoustic side project called <a href="http://www.reverbnation.com/EyesTurnStone">Eyes Turn Stone</a>. Chris teaches guitar lessons (in person or via Skype). For more information, visit <a href="http://www.breenmusiclessons.com/">BreenMusicLessons.com</a>.</em></p> http://www.guitarworld.com/beyond-fretboard-visualizing-your-own-scales-part-1#comments Beyond the Fretboard Chris Breen Blogs Lessons Mon, 27 Apr 2015 20:14:26 +0000 Chris Breen 21251 at http://www.guitarworld.com Metal For Life with Metal Mike: Mega-Metal Licks in the Style of Metallica, Testament and Pantera http://www.guitarworld.com/metal-life-metal-mike-mega-metal-licks-style-metallica-testament-and-pantera <!--paging_filter--><p>I’d like to focus on riffs and rhythm ideas that represent what I think of as “the real deal” metal. </p> <p>I’ve designed these riffs to help you build up both your pick-and fret-hand technique in regard to executing pure metal ideas like these with power and precision.</p> <p> <strong>FIGURE 1</strong> is inspired by the heavy riffs of Testament and Pantera and is built from combining a few different scales, such as E major (E F# G# A B C# D#) and E Phrygian-dominant (E F G# A B C D), with sliding two-note power chords. </p> <p> Across beats one and two, I begin with two-note E5 and F5 power chords that alternate against open low E string accents, all of which are executed with aggressive down-strokes. Across beats three and four, I switch to alternate (down-up) picking. In bar 2, I begin with the same figure over the first two beats, but I switch to a higher single-note riff for beats three and four, one that moves from E major to E Phrygian-dominant.</p> <p>In bar 3 I repeat the figure from bar 1, which I then follow with sliding two-note power chords, fretted on the bottom two strings, first sliding down one half step, from A5 to G#5, and then up one whole step, from A5 to B5.</p> <p> <strong>FIGURE 2</strong> is inspired by some of Testament’s heavy rhythm parts, such as the one heard in “Over the Wall,” and utilizes a classic metal “gallop” rhythm, which is an eighth note followed by two 16ths. This type of gallop rhythm was previously popularized by Iron Maiden, who used it on many of their biggest songs, such as “Run to the Hills.” </p> <p> The gallop figure shown here is executed with fast downdown-up picking in conjunction with palm muting on beats one through three, followed by eighth-note sliding power chords. This example is played at a rather quick tempo—194 beats per minute—and practicing it at that tempo will definitely add strength and precision to your pick-hand technique. You’ll hear sliding power chord figures like these on Metallica’s “Master of Puppets” as well as Pantera’s “Mouth for War.”</p> <p> For our last example, <strong>FIGURE 3</strong>, I’ve put together a riff comprised entirely of single notes, and I intentionally made it obscure in terms of outlining a specific tonality. Though the open low E note is accentuated, creating a connection to E5 or E minor, the notes themselves do not stick within the structure of any scale. My goal was simply to come up with a cool, heavy-sounding riff that features a few different articulation techniques. </p> <p> Through all of bar 1 and the first half of bar 2, I repeatedly play pairs of open low E accents in 16th notes, followed by a variety of three-note melodic shapes. Bar 3 presents a shift to 2/4 meter for the fast trills, after which bars 1 and 2 are repeated. </p> <p>The riff ends with quick pull-off phrases on the bottom two strings, fretted with the index and ring fingers. Apply these techniques to some heavily brutal metal riffs of your own design and have fun with them!</p> <p><strong>Part 1</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="myExperience1423597117001" 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="1423597117001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p><br /><br /> <strong>Part 2</strong></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience1423597026001" 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="1423597026001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p><br /><br /> <img src="/files/imce-images/Screen%20Shot%202014-04-22%20at%201.17.24%20PM.png" width="620" height="688" alt="Screen Shot 2014-04-22 at 1.17.24 PM.png" /></p> http://www.guitarworld.com/metal-life-metal-mike-mega-metal-licks-style-metallica-testament-and-pantera#comments March 2012 Metal For Life Metal Mike Chlasciak Videos Blogs News Lessons Magazine Mon, 27 Apr 2015 20:10:57 +0000 Metal Mike Chlasciak 14453 at http://www.guitarworld.com Jazz Guitar Corner: Modernize Your Jazz Blues Chords http://www.guitarworld.com/jazz-guitar-corner-modernize-your-jazz-blues-chords <!--paging_filter--><p>Comping over a jazz blues chord progression is something every jazz guitarist needs to be able to do in order to function in a jam or gig situation. </p> <p>While many of us study traditional chord shapes such as 3rds and 7ths, Drop 2 and Drop 3 chords over a jazz blues, sometimes we want to bring a more modern sound into our chord lines over this common jazz progression. </p> <p>One of the best ways to modernize your jazz blues comping is to use 4th chords in your comping phrases, chords that are built by stacking 4th intervals rather than 3rds, as is the case in more traditional chord shapes. </p> <p>In this lesson, you will learn how to play and apply 4th chords to the I7, IV7 and V7 chords of a blues progression in order to bring a modern vibe to your comping ideas, as well as learn a study that you can use to hear these shapes in a musical situation. </p> <p><strong>Modern Jazz Blues Chords Position 1</strong></p> <p>To begin, here are three 4th-chord shapes you can use over the three chords in a 12-bar G blues, using the I7, IV7 and V7 chords, which are G7-C7-D7 in this key. </p> <p>Notice how each chord is built by starting on a chord tone, 7th, root and 2nd in this case, and then stacking 4th intervals on top of these initial chords. </p> <p>This stacking of 4th intervals, which we call 4th chords, creates that cool, modern sound in your chord voicings, and it is the reason these chords can make a jazz blues tune sound modern when applied to those changes. </p> <p>Once you have these shapes under your fingers, put on a G blues backing track and practice applying them to the I7, IV7 and V7 chords over that tune. </p> <p><img src="/files/imce-images/Modern%20Blues%20Chords%201.jpg" width="620" height="191" alt="Modern Blues Chords 1.jpg" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/202821225&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe><br /> <br /><br /> <strong>Modern Jazz Blues Chords Position 2</strong></p> <p>To help you expand upon these chord shapes in your practice routine, here are the same notes, but now in a different position of the fretboard. </p> <p>Notice that the G7 chord now uses the shapes from the C7-D7 chords in the first example, and the C7-D7 chords now use the same shapes as the G7 chord in the previous example. This will allow you to quickly move these shapes around the fretboard as you don’t have to learn new chords, you just have to practice playing them in a second position on the neck. </p> <p>Once these chords are familiar, put on a backing track and comp over those chords using both positions on the fretboard to create your lines and phrases. </p> <p><img src="/files/imce-images/Modern%20Blues%20Chords%202.jpg" width="620" height="191" alt="Modern Blues Chords 2.jpg" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/202821215&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe><br /> <br /><br /> <strong>Chromatic Passing Chords</strong></p> <p>Besides playing these three chords over each change in the blues progression, you also can add a passing chord between the 2nd and 3rd shapes to bring a sense of chromaticism to your chord lines. Because the 2nd and 3rd chords have the same shape, and are two frets apart, you can fill in the space between those chords with a chromatic chord, which you can see and hear in the example below. </p> <p>When applying these chromatic chords to your comping and chord soloing ideas, you don’t always have to play these chords in order, such as inside-outside-inside. </p> <p>Instead, just think about the chromatic chords as creating tension, which you then need to resolve in your lines by moving to an inside chord by the end of your phrase. </p> <p>Once you have explored the chord shapes below, put on a G blues backing track and comping over those changes using the following chord shapes to create you lines and phrases. </p> <p><img src="/files/imce-images/Modern%20Blues%20Chords%203.jpg" width="620" height="191" alt="Modern Blues Chords 3.jpg" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/202821210&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe><br /> <br /><br /> <strong>Modern Jazz Blues Comping Study</strong></p> <p>To finish your study of these three-note, modern-sounding jazz blues chords, here's a comping study written out over a 12-bar G blues that you can learn and explore in the practice room. Try memorizing this study and playing it along with a backing track, as well as writing out a chord study of your own using the shapes learned in this lesson. </p> <p><img src="/files/imce-images/Modern%20Blues%20Chords%204.jpg" width="620" height="525" alt="Modern Blues Chords 4.jpg" /> </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/202821207&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe><br /> <br /><br /> Do you any questions about these modern jazz blues chords? Share your thoughts in the COMMENTS section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com/">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a 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-modernize-your-jazz-blues-chords#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Mon, 27 Apr 2015 18:42:29 +0000 Matt Warnock 24394 at http://www.guitarworld.com Acoustic Nation with Dale Turner: The Deft Fingerpicking and Odd-Tuning Riffage of Stephen Stills http://www.guitarworld.com/acoustic-nation-dale-turner-deft-fingerpicking-and-odd-tuning-riffage-stephen-stills <!--paging_filter--><p>Stephen Stills’ status as a rock legend stems just as much from his singing and songwriting contributions in Buffalo Springfield, Crosby, Stills &amp; Nash (and Young) and his own solo work as it does from his innovative acoustic and electric guitar offerings. </p> <p>A hybrid stylist steeped in rock, blues, gospel, Latin, country and folk, Stills’ unique acoustic approach mixes a variety of fingerpicking techniques, a distinctive tone, and assorted odd tunings—one of which comprises only the notes E and B! He counts Joe Bonamassa, Ray LaMontagne and Kenny Wayne Shepherd (with whom Stills recently collaborated on the Rides’ <em>Can’t Get Enough</em>) as some of his many guitar celebrity fans. </p> <p>Let’s dig deep into this ax man’s bag of finger tricks.</p> <p>Buffalo Springfield’s roots trace back to Stills’ and songwriting guitarist Richie Furay’s early stints with the Au Go Go Singers (a nine-voice harmonizing group); a tour took them to Canada, where they met Neil Young. By 1966, the three converged in California, added bassist Bruce Palmer to the mix and quickly became the Whisky a Go Go’s “house band,” issuing Buffalo Springfield by year’s end. </p> <p>But it was Buffalo Springfield Again that contained breakout hits like “Rock &amp; Roll Woman,” Stills’ signature drop-D-tuned double-stop riff informing <strong>FIGURE 1</strong>. This song was the result of a jam at Byrds member David Crosby’s house, an interesting fact given that months later, tensions within the Byrds, Hollies (with Graham Nash) and Buffalo Springfield camps would lead to the formation of Crosby, Stills &amp; Nash.</p> <p> During this “band turmoil,” Stills, on April 26, 1968, took matters into his own hands and recorded a songwriter demo. Previously considered “lost,” these gems were commercially released in 2007 as <em>Just Roll Tape</em>, a guitar-and-vocal-only demo containing many future classics. Among these is the double-drop-D-tuned “Treetop Flyer,” akin to <strong>FIGURE 2</strong>, a nod to Stills’ Chet Atkins influence. Ray LaMontagne has continuously cited this track (first officially released on 1991’s <em>Stills Alone</em>) as the inspiration for his musical career path.</p> <p> In 1969, Crosby, Stills &amp; Nash released their self-titled debut, showcasing their unique three-part vocal harmonies and layered acoustic guitars—the polar opposite of the era’s blues-based “loud guitar” rock, as popularized by bands like Cream, Led Zeppelin and the Doors. CSN contains many of Stills’ best-known songs, among them “Helplessly Hoping,” a standard-tuned gem propelled by fingerpicking similar to what you see in <strong>FIGURE 3</strong>. </p> <p>CSN also introduced the world to “Bruce Palmer modal tuning” (low to high: E E E E B E), which Stills learned from the former Buffalo Springfield bassist and used in “Suite: Judy Blue Eyes,” as well as <em>Déjà vu</em> (CSN’s follow-up album with Neil Young) cuts like “4+20,” “Carry On” and “Word Game” from Stills’ 1971 solo album, <em>Stephen Stills 2.</em> </p> <p>Detune your A string to match the low open E, raise the D string one whole step to E, then detune the G string to match the open fourth string; this creates unison E notes on the bottom two and middle two strings. <strong>FIGURES 4-5</strong> show a mix of moves in this tuning, inspired by the aforementioned Stills songs.</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/100530926&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%202015-04-21%20at%204.48.52%20PM.png" width="620" height="721" alt="Screen Shot 2015-04-21 at 4.48.52 PM.png" /></p> <p><em>Musician’s Institute instructor and author/transcriber Dale Turner played all the instruments/voices on his latest CD, <em>Mannerisms Magnified</em>. Visit <a href="http://intimateaudio.com/">intimateaudio.com</a> for more information.</em></p> http://www.guitarworld.com/acoustic-nation-dale-turner-deft-fingerpicking-and-odd-tuning-riffage-stephen-stills#comments Acoustic Nation Dale Turner June 2015 Stephen Stills Lessons Blogs News Lessons Magazine Fri, 24 Apr 2015 18:13:20 +0000 Dale Turner 24352 at http://www.guitarworld.com Metal for Life with Metal Mike: A Practice Piece That Incorporates Useful, Challenging Techniques http://www.guitarworld.com/metal-life-metal-mike-practice-piece-incorporates-useful-challenging-techniques <!--paging_filter--><p>In my quest to raise my guitar-playing game to the highest level, I find it essential to devise practice techniques that will push my pick- and fret-hand abilities as far as possible. </p> <p>A great way to go about this is to combine the focus on these technical issues with the creative endeavor of writing original riffs and patterns that will hopefully spark new song ideas. </p> <p><strong>FIGURE 1</strong> is a 19-bar etude—a musical exercise that sounds like a mini-composition—I came up with that effectively addresses several fret- and pick-hand techniques that I consider crucial to mastering the art of metal guitar playing. </p> <p>In bars 1–4, I alternate a series of two-note power chords on the A and D strings against the palm-muted open low E string, which functions as a pedal tone. Notice that the E note on the A string’s seventh fret is common to each of the two-note chord shapes as the higher note on the D string ascends chromatically (one fret at a time). </p> <p>In this way, I’ve incorporated a melodic idea into a hard-driving rhythm part. At the end of bar 2, the note on the D string descends in order to set up the restatement of the pattern in a musically satisfying way.</p> <p>In bars 5 and 6, I initially accentuate an E5 power chord on the downbeat of beat one, and then repeatedly accent this chord every three 16th notes. The twist here is that, after the initial attack on each E5 chord, I hammer on from B to C on the A string, which creates a subtle grind that makes the riff sound heavy. </p> <p>Then, in bars 7 and 8, I switch to a single-note figure played in straight 16th notes across the bottom two strings, palm-muting the low E virtually the entire time in order to enhance the idea’s rhythmic power. In bars 9–12, I bring back the rhythmic approach from bar 1 but with different chords: here, a low E5 power chord is followed by C, Cs and D voicings on the A, D and G strings. Once again, I employ quick hammer-ons as I shift from chord to chord.</p> <p> The idea then wraps up in the final seven bars, starting in bars 13–15 with a lick played in steady 16th notes and built around consecutive pull-offs that are performed quickly while rapidly moving across the bottom three strings. I use a different fretting finger on each string—index on the low E, middle on the A and ring on the D—and it will take some practice to master this lick and get it up to the desired brisk tempo. </p> <p>The aggression culminates in bar 16 with a fast descending run that also moves across the bottom three strings, starting with 16th-note-triplet double pull-offs that incorporate a four-fret stretch as I move from the pinkie to the middle finger to the index finger. At the end of the pattern—bar 16, beat four—I shift up the neck slightly and switch the fretting fingers to pinkie, ring and index. </p> <p> All in all, this is a fun and challenging etude. Be sure to work it up to tempo gradually with attention paid to clear and precise articulation. </p> <!-- 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="myExperience4186713775001" 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="4186713775001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p><br /><br /> <img src="/files/imce-images/Screen%20Shot%202015-04-21%20at%204.23.46%20PM.png" width="620" height="776" alt="Screen Shot 2015-04-21 at 4.23.46 PM.png" /></p> http://www.guitarworld.com/metal-life-metal-mike-practice-piece-incorporates-useful-challenging-techniques#comments June 2015 Metal For Life Metal Mike Chlasciak Videos News Lessons Magazine Fri, 24 Apr 2015 14:38:16 +0000 Metal Mike Chlasciak 24347 at http://www.guitarworld.com