Lessons http://www.guitarworld.com/taxonomy/term/8/all en Acoustic Nation with Dale Turner: The Complex and Groovy Fingerpicking of Guitarist/Actor Jerry Reed http://www.guitarworld.com/acoustic-nation-dale-turner-complex-and-groovy-fingerpicking-guitaristactor-jerry-reed <!--paging_filter--><p>Jerry Reed (1937–2008), known by many as Burt Reynolds’ truck-driving partner in crime in the 1977 film <em>Smokey and the Bandit</em>, was also a highly accomplished and influential guitar picker—influencing the likes of Eric Johnson, Brent Mason, John Jorgensen, Tommy Emmanuel, Steve Morse and countless others—revered for his mind-boggling “guitar dueling” records with Chet Atkins, as well as a thriving songwriting career that spawned tunes that even Elvis Presley covered (“Guitar Man”). </p> <p>How Reed managed to maintain his guitar chops while being a major film star—in later years, Jerry also appeared in Adam Sandler’s <em>The Waterboy</em> and with Robin Williams in <em>The Survivors</em>—is anyone’s guess.</p> <p>Let’s look at some of the technical and stylistic elements that made Reed a great player. </p> <p>He used a thumbpick, so if you have one, use it in every instance a thumbstroke (p) is indicated in the following examples.</p> <p>In 1967, after having had songwriter success with “Crazy Legs” (as recorded by Gene Vincent and His Blue Caps) and “That’s All You Gotta Do” (as recorded by Brenda Lee), Reed struck gold with “Guitar Man” (<em>The Unbelievable Guitar and Voice of Jerry Reed</em>), a groovy acoustic blues played in the highly unusual Dbmaj9sus4 tuning (low to high, Db Ab Db Gb C Db). (Think “drop-D, down a half step,” with the B string then tuned up a whole step.) </p> <p>The song is propelled by a bass line similar to that in <strong>FIGURE 1a</strong>. Fret the bass notes with your index and middle fingers, reserving the ring finger and pinkie for the double-stop in <strong>FIGURE 1b</strong>; pick as indicated for the complete verse riff.</p> <p>Atkins, long enamored with Reed’s playing (Chet produced JR’s “If I Don’t Live Up to It” single in 1965), joined forces with Reed in 1970 on the devastating guitar duo record, <em>Me &amp; Jerry</em>, earning the two a Grammy for Best Instrumental Performance. </p> <p>They paired up again in 1972 with <em>Chet &amp; Me</em> (Jerry in the left speaker, Chet in the right), which opens with the blistering “Jerry’s Breakdown,” the signature line from which informs <strong>FIGURE 2</strong>. Fingerpick as indicated and let the notes ring together as much as possible. <strong>FIGURE 3</strong> is similar to the tune’s middle section, where Reed fingerpicks arpeggios at lightning speed. Perfect the pattern in bar 1 first; in later bars, the fourth string’s notes descend in half steps.</p> <p>In 1975, Reed issued <em>Mind Your Love</em>, an album ending with the drop-D-tuned solo guitar piece, “Struttin’,” its fret-hand insanity hinted at in <strong>FIGURE 4</strong>. Barre your index finger across the top four strings, then fret the opening chord, add an extra note, A (first string, fifth fret), with the middle finger “pre-fretting” a chord fragment that opens bar 2, and don’t move the fingers otherwise. You can then barre all the seventh-fret partial chords in measures 1 and 2 with the pinkie.</p> <p><strong>FIGURE 5</strong> is inspired by the “free-time” ending of Reed’s signature solo instrumental “The Claw,” one of the most covered “super chops” solo guitar pieces by students interested in Reed/Atkins/Travis–style fingerpicking.</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/85760640&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe></p> <p><img src="/files/imce-images/Screen%20shot%202015-06-29%20at%2011.11.11%20AM.png" width="620" height="470" alt="Screen shot 2015-06-29 at 11.11.11 AM.png" /></p> <p><img src="/files/imce-images/Screen%20shot%202015-06-29%20at%2011.11.33%20AM.png" width="620" height="337" alt="Screen shot 2015-06-29 at 11.11.33 AM.png" /></p> http://www.guitarworld.com/acoustic-nation-dale-turner-complex-and-groovy-fingerpicking-guitaristactor-jerry-reed#comments Acoustic Nation acoustic nation April 2015 Dale Turner Jerry Reed Lessons Blogs Lessons Magazine Mon, 29 Jun 2015 20:30:14 +0000 Dale Turner 23633 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, 29 Jun 2015 18:40:32 +0000 Chris Breen 21251 at http://www.guitarworld.com Metal for Life with Metal Mike: How to Reinvent a Modal Melody by Changing Only One Note — Video http://www.guitarworld.com/metal-life-metal-mike-how-reinvent-modal-melody-changing-only-one-note-video <!--paging_filter--><p>Most of us are familiar with at least a few of the modes, which are various reorientations of the notes of a standard scale, such as the major scale, around a different root note. </p> <p>To review, the major scale’s minor modes are Dorian (intervallically spelled 1 2 b3 4 5 6 b7), Aeolian (1 2 b3 4 5 b6 b7), Phrygian (1 b2 b3 4 5 b6 b7), and Locrian (1 b2 b3 4 b5 b6 b7), and its major modes are Ionian, which is the major scale itself (1 2 3 4 5 6 7), Lydian (1 2 3 #4 5 6 7) and Mixolydian (1 2 3 4 5 6 b7). </p> <p>The great majority of metal music is based on the Aeolian mode, and in this month’s column I’d like to show you a simple, effective way to take any Aeolian line and change and mutate its character, which entails altering only one note. </p> <p><strong>FIGURE 1</strong> is a single-note run based on the A Aeolian mode (A B C D E F G), which is comprised of the same seven notes as the C major scale but rooted on A instead of C. The line is performed with alternate picking (down-up-down-up) throughout, so strive to maintain an even and consistently precise articulation. </p> <p>The line’s melodic contour begins with four ascending notes, followed by three descending notes, then five ascending notes, and then 11 descending notes, after which the pattern of five ascending notes followed by 11 descending notes repeats. </p> <p>In <strong>FIGURE 2</strong>, I use essentially the same structure but move the minor, or “flatted,” seventh, G, up a half step to the major seventh, G#, which mutates the scale to A harmonic minor (A B C D E F G#), intervallically spelled 1 2 b3 4 5 6 7. Using a similar melodic approach, I begin by ascending through one and a half octaves of the scale, followed by a three-note descent and then an eight-note ascent. </p> <p>Using this pattern, the phrase gradually works its way up the fretboard. Notice how, by simply changing the flatted seventh, G, to the major seventh, G#, the musical character and mood of the line is altered in a very distinct way, illustrating how one can easily substitute one note in any Aeolian melody to transform it into a harmonic-minor melody. </p> <p>Now let’s try doing this same sort of thing in E minor. The first three bars of <strong>FIGURE 3</strong> consist of a long, descending line played in steady 16ths and based on E Aeolian (E F# G A B C D), played in 15th position. </p> <p>In bar 5, I switch to ascending eighth notes based on the same scale, but then, in the next bar, I substitute the major seventh, D#, for the minor, or flatted, seventh, D. The reason this note stands out from the rest is it functions as a brief allusion to the major five chord, B, as D# is that chord’s major third. </p> <p>Try taking any other E Aeolian-based melody you know and changing the D notes to D# to transform it to an E harmonic minor melody. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/hNnp1Ty_J8M" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20shot%202015-06-17%20at%201.51.33%20PM.png" width="620" height="460" alt="Screen shot 2015-06-17 at 1.51.33 PM.png" /></p> <p><img src="/files/imce-images/Screen%20shot%202015-06-17%20at%201.52.11%20PM.png" width="620" height="288" alt="Screen shot 2015-06-17 at 1.52.11 PM.png" /></p> http://www.guitarworld.com/metal-life-metal-mike-how-reinvent-modal-melody-changing-only-one-note-video#comments August 2015 Metal For Life Metal Mike Metal Mike Chlasciak Videos Lessons Magazine Mon, 29 Jun 2015 14:47:15 +0000 Metal Mike Chlasciak 24745 at http://www.guitarworld.com In Deep: Stevie Ray Vaughan's Playing on "Couldn't Stand the Weather" http://www.guitarworld.com/deep-stevie-ray-vaughans-playing-couldnt-stand-weather <!--paging_filter--><p>Stevie Ray Vaughan’s distinctive playing style is earmarked by equal parts pure power, intensity of focus, razor-sharp precision and deeply emotional conviction. And then there’s his tone—probably the best Stratocaster-derived sound ever evoked from the instrument. </p> <p>Stevie tuned his guitar down one half step (low to high, Eb Ab Db Gb Bb Eb), a move inspired by one of his biggest influences, Jimi Hendrix. He also preferred heavy gauge strings: high to low, .013, .015, .019, .028, .038, .058, occasionally switching the high E string to either a .012 or .011. To facilitate the use of such heavy strings, Stevie’s guitars were re-fretted with large Dunlop 6100 or Stewart-MacDonald 150 fretwire.</p> <p>Let’s begin this lesson with a look at the title track from Stevie’s second album, <em>Couldn’t Stand the Weather</em>, transcribed in this issue (see page 110). The song begins in “free time” (no strict tempo). </p> <p>While brother Jimmie Vaughan tremolo-strums the opening chords—Bm-A7-G7-F#7—Stevie adds improvised solo lines (see transcription bars 1-8): over Bm, Stevie sticks with the B blues scale (B D E F F# A), over A7 he utilizes the A blues scale (A C D Eb E G) and over G7 he uses G blues (G Bb C Db D F). Strive to recreate Stevie’s precision when it comes to his articulation. </p> <p>Over Jimmie’s F#7 chord, Stevie plays a first inversion F#7#9, which places the third of the chord, A#, in the bass (as the lowest note). (Stevie employed this same unusual voicing for E7#9 in “Cold Shot.”) </p> <p>A four-bar, R&amp;B/soul-style single-note riff follows, doubled in octaves by guitar and bass (see bars 9-17). Played four times, two extra beats of rest are added the third time through. This is shown as a bar of 6/4 in bar 13 of the transcription.</p> <p>In bars 18-23, Stevie adds a very Hendrix-y rhythm guitar part, played in 10th position and beginning on beat two with an F octave fretted on the G and high E strings, strummed in 16th notes. Stevie maintains the rhythmic push of steady 16ths through most of the riff by consistently strumming in a down-up-down-up “one-ee-and-a” pattern. </p> <p>At the end of bar 18, barre your middle finger across the top three strings at the 12th fret, and then bend and release the G and B strings one half step. As the notes are held into the next bar, add subtle finger vibrato. Keep your fret-hand thumb wrapped over the top of the fretboard throughout the riff, using it to fret the D root note on the low E string’s 10th fret. Stevie intersperses this low root note into the lick in a few essential spots, akin to Hendrix on his songs “Freedom” and “Izabella.” </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/HppszdNQNXs" frameborder="0" allowfullscreen></iframe></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_1.jpg" /></p> <p>Stevie displays his true brilliance as an improviser when playing over a slow blues. All of the following examples are played in the key of G, utilizing the G blues scale (G Bb C Db D F) as a basis. Across the first two bars of <strong>FIGURE 1</strong>, I play two- and three-note chord figures against the low G and C root notes, fretted with the thumb. On beat three of both bars, I play a trill by barring the index finger across the D and G strings and then quickly hammering on and pulling off with the middle finger one fret higher on the G string. </p> <p>When playing bar 3, keep your index finger barred across the top two strings at the third fret while bending notes on the G and B strings. On beat two, quickly hammer on and pull off to the fourth fret on the high E string. This G-Ab-G hammer/pull is a staple for Stevie, used in myriad different and creative ways.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_2.jpg" /></p> <p>Another essential element of Stevie’s slow-blues lead playing approach is the use of Albert King–style multiple-string bends. As shown in <strong>FIGURE 2a</strong>, I bend the high E string up one whole step at the eighth fret using the ring finger (supported by the middle) and simultaneously catch the B string under the fingertip and bend it up a whole step as well so that it “goes along for the ride.” In <strong>FIGURE 2b</strong>, I catch the top three strings under the fingertip. It will take practice to build up the strength and “finger traction” to execute these bends properly.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_3ab.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_3c4a.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_4b.jpg" /></p> <p><strong>FIGURES 3a and 3b</strong> illustrate another way to add pull-offs on the high E string, this time fretting A and then pulling back from Ab to G. This is followed by repeated pull-offs on the B string, illustrated more clearly in <strong>FIGURE 3c. FIGURES 4a and 4b</strong> offer two more permutations of this idea.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_5ab.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_5c.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_5de.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_5f.jpg" /></p> <p>Another nod to Albert is the use of fingerpicking to accent notes on the high E string. I use my middle finger to pick and snap the string back against the fretboard, as illustrated in <strong>FIGURES 5a–5f</strong>. Notice in <strong>FIGURES 5b, 5c and 5e</strong> the use of a half-step bend at the seventh fret on the high E string. Albert was a master of microtonal bending, a technique learned well by Stevie.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_6.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_7.jpg" /></p> <p>Stevie devised some unique position shifts, utilizing bends and slides on the G string. <strong>FIGURES 6a–c</strong> present three examples. </p> <p>The use of the notes A, Ab and G on the high E string allude to the V (five) chord, D, and the D blues scale (D F G Gb A C). <strong>FIGURE 8a</strong> illustrates the scale, and <strong>FIGURES 7 and 8b–d</strong> offer examples played over the V chord. Another staple of Stevie’s style is the use of slides on the G string, exemplified in <strong>FIGURES 9a–c</strong>.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_8ab.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_8c.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_8d.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_9a.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_9b.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep710_9c.jpg" /></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="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> <div class="field-item even"> <a href="/andy-aledort">Andy Aledort</a> </div> <div class="field-item odd"> <a href="/jimmie-vaughan">Jimmie Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/deep-stevie-ray-vaughans-playing-couldnt-stand-weather#comments In Deep Jimmie Vaughan July 2010 Stevie Ray Vaughan Videos In Deep with Andy Aledort Blogs Lessons Magazine Mon, 29 Jun 2015 14:27:20 +0000 Andy Aledort 17124 at http://www.guitarworld.com Download a Free 'Talkin' Blues, Part 1' Lesson at the 'Guitar World Lessons' Store — Video http://www.guitarworld.com/get-your-free-talkin-blues-lesson-guitar-world-lessons-store-video <!--paging_filter--><p><em>Talkin’ Blues, Part 1</em> an impressive compilation of 10 instructional video lessons and tabs by Keith Wyatt, is now available through the Guitar World Lessons <a href="https://guitarworldlessons.com/product/CBEB4D84-3F62-A0EB-E670-4FD53D1B33F9?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TalkinBluesP1">Webstore</a> and <a href="https://itunes.apple.com/us/app/guitar-world-lessons/id942720009?mt=8">App.</a></p> <p>It joins the ranks of the many lessons already available through <a href="https://guitarworldlessons.com/product/CBEB4D84-3F62-A0EB-E670-4FD53D1B33F9?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TalkinBluesP1">Guitar World Lessons.</a></p> <p>To celebrate this new release, <em>Guitar World</em> is offering the first <em>Talkin’ Blues, Part 1</em> lesson, "Stretch Marks," as a FREE download! Note that all 10 <em>Talkin' Blues, Part 1</em> lessons are available—as a package—for only $14.99.</p> <p>Below, you can watch the trailer for lesson 1, "Stretch Marks," which tackles the mechanics of proper string bending.</p> <p><a href="https://guitarworldlessons.com/product/CBEB4D84-3F62-A0EB-E670-4FD53D1B33F9?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TalkinBluesP1">This new collection,</a> which was produced by Wyatt for his <em>Guitar World</em> print column, "Talkin' Blues," offers a gold mine of blues guitar knowledge and stylistic authority. </p> <p>Wyatt skillfully teaches and inspires as he shows you how to play convincingly in the styles of such legendary guitarists as <strong>Chuck Berry, Albert King, Jimi Hendrix, B.B. King, T-Bone Walker, Albert Collins, Clarence “Gatemouth” Brown, Freddie King, Howlin’ Wolf, Bo Diddley, Johnny “Guitar” Watson</strong> and others. </p> <p>Topics include how and when to use fills effectively, making licks groove with accents and swinging eighth notes, jazz-blues chord extensions and substitutions, “chicken pickin’,” low-register phrasing and more, including:</p> <p>• <strong>Chapter 1: Stretch Marks</strong> Keith explains and demonstrates the mechanics of proper string bending technique and provides examples of how to incorporate half-step and whole-step bends into the A Dorian mode and the A minor pentatonic scale, with an emphasis on achieving good intonation (pitch accuracy). He then offers a stylistically authentic 12-bar blues guitar solo, inspired by Albert King, B.B. King and T-Bone Walker, that features a variety of bends applied to the one, four and five chords in the progression. Check out the trailer below.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/EbRmoDK840o" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Chapter 2: Hey, Bo Diddley</strong> This chapter pays tribute to the rhythm guitar grooves, chord riffs and bass-line figures pioneered by Bo Diddley, with a look at their musical and cultural origins and their impact on other distinguished blues and rock guitarists who were inspired by Diddley, such as Chuck Berry, Buddy Holly, Pete Townshend, George Thorogood and the Edge. </p> <p>• <strong>Chapter 3: The Art of the Fill</strong> This chapter covers the art of playing interactive, “call-and-response”-type lead guitar fills between a blues vocalists’ phrases and using good taste and discretion, so as to not to interrupt or overshadow a singer’s melody. Keith offers abundant examples of short and sweet licks inspired by such great players as Bobby Bland, Albert King, B.B. King, Freddie King and Guitar Slim. </p> <p>• <strong>Chapter 4: Three Into Two</strong> This lesson addresses the musically exciting “clash” that occurs between even, or “straight,” eighth notes played on the guitar and swing eighth notes played by a drummer, as pioneered by legendary players like T-Bone Walker on “Strollin’ with Bone,” and, more famously, by Chuck Berry on “Johnny B. Goode.” </p> <p>• <strong>Chapter 5: Lowdown and Dirty</strong> Keith explores the guitar’s low register and demonstrates how it can be effectively used when soloing to expand one’s range and put a fresh, ear-catching spin on phrases. Drawing inspiration from players like Freddie King, Johnny “Guitar” Watson, Clarence “Gatemouth” Brown and Albert Collins, Wyatt crafts an appealing 12-bar solo that’s played entirely on the guitar’s bottom two strings and mostly within the first five frets, employing a combination of open and fretted notes. </p> <p>• <strong>Chapter 6: Accented Speech</strong> This chapter focuses on the importance and musical effectiveness of using accents and varied articulations to make certain notes stand out among others in a melodic phrase, in the same way that a dynamic public speaker enthralls an audience by varying pitch and volume word to word. </p> <p>• <strong>Chapter 7: Chicken Pickin’</strong> Keith begins by offering one-string exercises that have you alternating between picked downstrokes and upstrokes plucked with the bare middle finger, a technique known as hybrid picking, then shows you how to combine hybrid picking with some fret-hand muting to create pitchless “clucks” and how to craft soulful, rhythmically animated licks that also incorporate string bends, using the key of C and the C minor pentatonic scale to demonstrate. </p> <p>• <strong>Chapter 8: “Ain’t Got that Swing?”</strong> Wyatt delves into jazz-blues rhythm guitar playing and introduces big-band-style seventh-chord voicings and the signature “four-on-the-floor” comping (accompaniment) style popularized by guitarist Freddie Green in Count Basie’s rhythm section, as well as Jimi Hendrix on songs like “Up from the Skies.” </p> <p>• <strong>Chapter 9: Taking it Uptown</strong> Building upon the previous chapter, this lesson explores more sophisticated, “uptown” jazz harmony and chord voicings that utilize harmonic “extensions,” such as ninths, 11ths and 13ths, and alterations, such as flat-fives and flat-nines, to inject an exciting feeling of harmonic “tension and release” into a blues progression without fundamentally altering it. </p> <p>• <strong>Chapter 10: Substitute Teacher</strong> This final chapter completes Keith’s fascinating three-part exploration of jazz-blues guitar playing with examples of how great guitarsts like Walker employ passing chords and substitutions within a blues progression to create constant harmonic motion within the 12-bar framework. Keith demonstrates how to use altered dominant chords—dominant seven chords with a sharped or flatted fifth and/or ninth—and diminished-seven chords in conjunction with a chromatic root-note approach to a subsequent chord from a half step above or below to create smooth, slick voice-leading and a dramatically rich harmonic environment. </p> <p><strong>For more information, visit the Guitar World Lessons <a href="https://guitarworldlessons.com/product/CBEB4D84-3F62-A0EB-E670-4FD53D1B33F9?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TalkinBluesP1">Webstore</a> and download the <a href="https://itunes.apple.com/us/app/guitar-world-lessons/id942720009?mt=8">App</a> now.</strong></p> http://www.guitarworld.com/get-your-free-talkin-blues-lesson-guitar-world-lessons-store-video#comments free lesson Guitar World Lessons Keith Wyatt Talkin Blues Videos News Features Lessons Thu, 25 Jun 2015 17:52:32 +0000 Guitar World Staff 24805 at http://www.guitarworld.com Playing Tips: Joe Satriani on Improving Your Legato Technique http://www.guitarworld.com/playing-tips-joe-satriani-improving-your-legato-technique <!--paging_filter--><p>In this bite-sized lesson, Joe Satriani provides some useful exercises for improving your legato technique. </p> <p>From Satch: </p> <p>"Here’s a great exercise that’s cool because it’s a repeated symmetrical pattern that has nothing to do with any specific key signature [<strong>FIGURE 17</strong>]. </p> <p>"I play three notes per string, picking each string only once and then sounding the next two notes with hammer-ons. Then you can change the fingering to this [<strong>FIGURE 18</strong>] or this chromatic pattern [<strong>FIGURE 18,</strong> the last pattern]. You will find that every note that you play on every fret will require a slightly different attack with the fretting fingertip."</p> <p>For more from this lesson, consider our <em>Play Like a Guitar Wizard</em> special issue—which also includes lessons from Steve Vai, Zakk Wylde, Michael Angelo Batio and more—in our <a href="http://store.guitarworld.com/products/guitar-legends-play-like-a-guitar-wizaard">online store</a>.</p> <p><img src="/files/imce-images/satchlegato.jpg" width="620" height="261" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/playing-tips-joe-satriani-improving-your-legato-technique#comments Joe Satriani Playing Tips Blogs Lessons Thu, 25 Jun 2015 16:41:16 +0000 Guitar World Staff 17432 at http://www.guitarworld.com Robert Johnson's Ferocious Guitar Style — Lesson with Tab and Audio http://www.guitarworld.com/acoustic-nation-robert-johnsons-ferocious-guitar-style <!--paging_filter--><p>Regarded as one of the greatest guitarists of all time, Delta blues wizard Robert Johnson recorded only 29 songs (plus 13 alternate takes, in two sessions) during his 27 years of life. </p> <p>They were cut when he wasn’t playing for tips on street corners, in juke joints or in front of barbershops and other commercial establishments. </p> <p>In his youth, Johnson copped licks directly from Son House, who later in his life vividly recalled how Johnson developed from a bad guitarist to a “master” in just two years. </p> <p>Ike Zinnerman allegedly inspired Johnson to practice guitar in a graveyard at night while perched atop tombstones. These are only a few of the stories that helped cultivate the legend that Johnson earned his chops by making a deal with the devil. </p> <p>Johnson played his Gibson L-1 using a thumb pick and occasionally used a slide. His recordings were largely unknown until they were rereleased in 1961. Their raw intensity and gut-wrenching soulfulness laid the foundation for bands like the Rolling Stones, Cream and Led Zeppelin as well as players like Jimi Hendrix, Billy Gibbons and Jack White. </p> <p>In this column I’ll examine Johnson’s genius with a study of “Cross Road Blues,” “Walking Blues” and other songs. All examples are in open-G tuning (low to high, DGDGBD), though Johnson employed numerous other tunings, often in conjunction with a capo.</p> <p><strong>FIGURE 1</strong> mimics Johnson’s hugely influential “boogie blues” riff, as heard in “I Believe I’ll Dust My Broom.” Prior to Johnson’s recording of the song, this groove was played only on piano, but it became the basis for countless guitar-based tunes after he used it. </p> <p>Thumb-picked thumps of low-register notes like these are at the core of Johnson’s style, and they often support a melodic component,such as that shown in <strong>FIGURE 2</strong>, which is reminiscent of Johnson’s moves in “Love in Vain.” Though these passages work only in open position, others, like <strong>FIGURE 3</strong>, lend themselves to higher fretting positions, as Johnson used in “Walking Blues.”</p> <p>Another key component of Johnson’s style was his use of a slide. <strong>FIGURES 4</strong> and <strong>5</strong> illustrate two of Johnson’s favorite slide phrase styles, informed by “Traveling Riverside Blues” and “Walking Blues,” respectively. </p> <p>Wear the slide on your fret-hand’s ring finger or pinkie, and use your remaining digits to dampen the strings behind the slide to lessen extraneous string noise. Position the slide parallel to and directly over the indicated frets for intonation accuracy, and lay the slide lightly against the strings, making sure they don’t touch the frets. Pluck the indicated strings with your bare fingers, and try to dampen strings you don’t wish to sound by touching them with your unused pick-hand fingers.</p> <p><strong>FIGURE 6</strong>, a composite of “Cross Road Blues” and “Walking Blues,” weaves many of the above approaches—including a tasty turnaround move (bars 5–6)—into an extended stylistic tribute.</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Fplaylists%2F3516148%3Fsecret_token%3Ds-u6l6U&amp;show_artwork=true&amp;secret_url=true"></iframe></p> <p><img src="/files/imce-images/Screen%20shot%202015-06-23%20at%2011.12.28%20AM.png" width="620" height="528" alt="Screen shot 2015-06-23 at 11.12.28 AM.png" /></p> <p><img src="/files/imce-images/Screen%20shot%202015-06-23%20at%2011.12.43%20AM.png" width="620" height="342" alt="Screen shot 2015-06-23 at 11.12.43 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="/robert-johnson">Robert Johnson</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/acoustic-nation-robert-johnsons-ferocious-guitar-style#comments acoustic nation Dale Turner Hole Notes March 2013 Robert Johnson Lessons Magazine Wed, 24 Jun 2015 14:33:41 +0000 Dale Turner 17693 at http://www.guitarworld.com Playing Tips: Derek Trucks on Incorporating Harmonics Into Your Slide Playing http://www.guitarworld.com/playing-tips-derek-trucks-incorporating-harmonics-your-slide-playing <!--paging_filter--><p>In this bite-sized lesson, Derek Trucks gives you some insights on incorporating natural and artificial harmonics into your slide lines.</p> <p>From Derek: "I learned this technique from the sacred steel players. Using harmonics is a great way to get a phrase to jump out of the mix, especially when playing live.</p> <p>"There are two types of harmonics: artificial harmonics [A.H.], which are sounded from “fretted” notes, and natural harmonics [N.H.], which are sounded from open strings. In this lick [FIGURE 5a], I generate an artificial harmonic by placing the slide on the high E string at the eighth fret while simultaneously picking the string and lightly touching it with my pick-hand index finger exactly 12 frets higher, directly above the 20th fret. The result is an artificial harmonic that sounds one octave higher than the original note. </p> <p>"In this lick [FIGURE 5b], I start with a natural harmonic that’s sounded by lightly touching the high E string at the 12th fret while picking it conventionally. This produces a harmonic one octave higher than the open string. I then begin with the slide from behind the nut and quickly slide up to the 17th fret so that it raises the pitch of the harmonic."</p> <p>For more from this lesson, pick up our <em>Play Like a Guitar Wizard</em> special issue — which also includes lessons from Joe Satriani, Steve Vai, Zakk Wylde, Michael Angelo Batio and more — in our <a href="http://store.guitarworld.com/products/guitar-legends-play-like-a-guitar-wizaard">online store</a>.</p> <p><strong>All examples are performed fingerstyle in open E tuning (low to high: E B E G# B E).</strong></p> <p><img src="http://dl.guitarworld.com/tabs/derektruckstip.jpg" /></p> http://www.guitarworld.com/playing-tips-derek-trucks-incorporating-harmonics-your-slide-playing#comments Derek Trucks The Allman Brothers Band Blogs News Lessons Tue, 23 Jun 2015 16:20:04 +0000 Guitar World Staff 17510 at http://www.guitarworld.com Jazz Guitar Corner: 9th Chords Made Easy http://www.guitarworld.com/jazz-guitar-corner-9th-chords-made-easy <!--paging_filter--><p>As many of you readers begin to dig deeper into learning jazz guitar harmony and voicings, you'll undoubtedly come across various 9th chords, Maj9, m9, 9 etc., in your jazz-guitar explorations. </p> <p>Since these chords pop up time and again, it is important to have a variety of 9th chords under your fingers so that you can bring them into your comping, chord melody and chord soloing ideas when needed. But this doesn’t mean you have to learn a bunch of new chords. You can use previous knowledge to build great-sounding and authentic jazzy 9th chords. </p> <p>In today’s lesson, we’ll be looking at how you can use “rootless” 9th chords to expand your jazz-guitar chord vocabulary without having to learn any new shapes, simply adapting four-note chords you already have under your fingers to a new musical situation. </p> <p><strong>Building 9th Chords With Common Voicings</strong></p> <p>To begin, let’s take a look at four common jazz chords with their 1357 and rootless 9th-chord voicings. </p> <p>Notice that each chord pair shares three notes in common: the 3-5-7 of each chord, but that in the second voicing the 9th has replaced the root, which is why we call them “rootless” 9th chords, as they contain no root in the voicing. </p> <p>To get you started, here's a quick reference for the four chords used below. </p> <p>• Maj7 - m7 from the 3rd<br /> • 7 - m7b5 from the 3rd<br /> • m7 - Maj7 from the 3rd<br /> • mMaj7 - Maj7#5 from the 3rd</p> <p>This means that if you see a Dm7 and you want to make it Dm9, you simply play Fmaj7, a Maj7 chord starting on the 3rd of Dm7. Try this out with each of the following chords, Maj7-7-m7-mMaj7, using the quick guide above as a reference, through all 12 keys and with as many voicings for each 9th as you can come up with. </p> <p><img src="/files/imce-images/Jazz%20Guitar%209th%20Chords%201%20JPG.jpg" width="620" height="169" alt="Jazz Guitar 9th Chords 1 JPG.jpg" /></p> <p><strong>Major ii V I With 9th Chords</strong></p> <p>Here are two examples of how you can apply rootless 9th chords to a Major Key ii V I progression, one using Drop 2 and one using Drop 3 chord voicings. As a quick reference, here are the three normal chords, 1357, next to the related rootless 9th chords. If you can memorize these formulas, you will be able to quickly and easily use these chords in any jam or gig you’re on. </p> <p>• m7 - Maj7 from 3rd<br /> • 7 - m7b5 from 3rd<br /> • Maj7 - m7 from 3rd</p> <p>Try these chords out in all 12 keys, both all Drop 2 and Drop 3, then come up with your own rootless 9th chords and bring them into your Major ii V I progressions 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=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F91114182%3Fsecret_token%3Ds-Rfitv"></iframe></p> <p><img src="/files/imce-images/Jazz%20Guitar%209th%20Chords%202%20JPg.jpg" width="620" height="169" alt="Jazz Guitar 9th Chords 2 JPg.jpg" /></p> <p><strong>Minor ii V I With 9th Chords</strong></p> <p>To help get you started in the minor-key area, here is an example of a minor ii-V-I chord progression using both Drop 2 and Drop 3 rootless 9th chords. </p> <p>For the m7b5, we don’t normally include a 9th with that voicing, and so you will notice that I used a plain, 1357 chord in those instances. For the other two chords, G7b9 and CmMaj7, I used a Bdim7 over G7b9, producing a rootless 7b9 chord, and an Ebmaj7#5 over CmMaj7, producing a rootless mMaj9 chord. </p> <p>As a quick guide, here are the three chords and their related 9th versions: </p> <p>• m7b5 - stays as is<br /> • 7b9 - dim7 from the 3rd<br /> • mMaj7 - Maj7#5 from the 3rd</p> <p>Check out the example below, taking it to all 12 keys if possible, and then build your own 9th voicings for minor ii V I progressions using the rules given above. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F91114223%3Fsecret_token%3Ds-i88UT"></iframe></p> <p><img src="/files/imce-images/Jazz%20Guitar%209th%20Chords%203%20JPG.jpg" width="620" height="182" alt="Jazz Guitar 9th Chords 3 JPG.jpg" /></p> <p><strong>9th Chord Practice Guide</strong></p> <p>After you have checked out the different examples above, here are a number of ways that you can explore 9th chords further in your jazz guitar practicing schedule. </p> <p>01. Play any/all of the above examples in all 12 keys at various tempos.<br /> 02. Play the rootless 9th chord for any voicing you are working on and sing the root below the chord.<br /> 03. Take a tune you are working on and learn all of the chords as rootless 9th voicings, using the above lesson as a guide to find each 9th chord in the tune.<br /> 04. Practice any 9th chord that you learn with a number of different jazz guitar chords such as Drop 2 Chords, Drop 3 Chords and Drop 2 and 4 Chords.<br /> 05. Practice arpeggiating each of the rootless 9th chords in the above examples and begin to bring this concept into your soloing ideas as well. </p> <p>Playing 9th chords, and especially rootless 9ths, is an important skill for any jazz guitarist to have under their fingers. </p> <p>Check out the above examples and exercises to get started in your exploration of these handy and cool-sounding jazz guitar chords. If you have any questions about these chords, or anything jazz-guitar related, feel free to post it 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-9th-chords-made-easy#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Tue, 23 Jun 2015 14:27:16 +0000 Matt Warnock 18316 at http://www.guitarworld.com Guitar Strength: Journey to the Core of Zakk Wylde’s Pentatonic Shred http://www.guitarworld.com/guitar-strength-journey-core-zakk-wylde-s-pentatonic-shred <!--paging_filter--><p>With the release of Ozzy Osbourne’s <em>No Rest for the Wicked</em> in 1988, a sound was unleashed on the world that changed the lexicon of rock guitar and redefined the meaning of “Guitar God." </p> <p>Plucked from anonymity in Jackson, New Jersey, at age 20, Zakk Wylde (formerly Jeff Wielandt) forged a new path of style, personality and tone that continues to grow and evolve to this day.</p> <p>Zakk Wylde is an amalgam of his influences, performed with his own personal "Jersey fury." Zakk was (and is) a bull in a china shop with a guitar in its hands, with an appetite to devour and regurgitate licks and tricks learned from masters such as Randy Rhoads, Tony Iommi, Eddie Van Halen, Al Di Meola, Jimi Hendrix and (especially) <a href="http://www.guitarworld.com/bent-out-shape-john-sykes-back">John Sykes</a> and <a href="http://www.guitarworld.com/perfectly-frank-frank-marino-sets-record-straight-about-his-career-music-industry-and-how-guitar-saved-his-life">Frank Marino.</a></p> <p>Add to that a massive, unique tone achieved with a minimal amount of carefully selected, effective tools and it’s easy to see how so many guitarists respect and admire him, and how no generation of guitarists that has followed him has not been influenced and inspired in one way or another by his contributions to the vocabulary of modern guitar (the prevalence of heavily vibrato'ed pinch harmonics on the low strings, for example—usually the third, fifth or sixth fret of the lowest string—is almost a cliché in today’s modern metal, but you didn't hear them a lot before the song “Crazy Babies” was released).</p> <p>Other than tone, huge riffs and sheer style, Zakk’s major contribution to the guitar world was his use of pentatonic scales in previously unheard of ways. When Zakk first came on to the scene in the late Eighties, three-note-per-string scales and sweep picking were the norm, and only (then) underground players like Eric Johnson were using creative manipulation of pentatonic scales to define their individual niche. </p> <p>Zakk had his own take on the pentatonic scale that helped him forge his own style that has continued to develop over his long career, yet at the core of that style/take on performing that scale, there are a few simple patterns that define the fundamentals on upon which the whole of the “Zakk style” is built.</p> <p>Boiled down to its most basic form, the Zakk Wylde-style of executing fast pentatonic licks can be found in <strong>Example 1A, 1B and 1C</strong>. Using an A minor pentatonic scale (A, C, D, E, G), <strong>Example 1A</strong> is the simplest dilution of Zakk’s trademark licks, simply running a two-notes-on-two-strings pattern fretted with the ring and index fingers. </p> <p>Be careful not to barre the 17th fret to cover both strings. Instead, “walk” the index finger from string to string when necessary. The lick will be much cleaner and more articulate for it, and with sufficiently aggressive pick attack (You can really dig in since it’s always a downstroke when you switch strings), you’ll be ready to channel the Wylde in you in no time! </p> <p><strong>Example 1B</strong> manipulates the pattern to work as sextuplets (six per beat. Say: “O-zzY-O-zzY-Os-Bourne”), and example 1C changes it slightly more into a syncopated pattern.</p> <p><img src="/files/imce-images/A.jpg" width="620" height="492" alt="A.jpg" /></p> <p>Zakk likes to add more interest to these patterns by adding in the next higher note adjacent to the pattern. In this case, it’s the D note on the high E string, 22nd fret, fretted with the pinky. <strong>Examples 2A-C</strong> shows this “afterburner” (as Zakk calls it) in action.</p> <p><img src="/files/imce-images/B.jpg" width="620" height="488" alt="B.jpg" /></p> <p><strong>Example 3</strong> is a six-note pattern descending the scale three strings at a time. The first example is the six-note pattern played with a 16th (four per beat) note rhythm. The cool thing to note here is that the start of each group of six doesn’t coincide with the downbeat. <strong>Example 3B</strong> shows what it looks like relative to the beat if it were played as sextuplets.</p> <p><img src="/files/imce-images/C.jpg" width="620" height="346" alt="C.jpg" /></p> <p><strong>Examples 3C and 3D</strong> mirror the previous examples not only in terms of their rhythmic difference, but with their directions reversed as well.</p> <p><img src="/files/imce-images/D.jpg" width="620" height="408" alt="D.jpg" /></p> <p><strong>Example 4A</strong> is an Am pentatonic scale moving up the neck through all of its positions/shapes, culminating in <strong>Example 4B,</strong> where a six-note pattern is syncopated as 32nd notes, bringing an epic climax to the whole line through its switch of rhythm and intervallic complexity. Be sure to add a fast, wide vibrato to the bend on the last note.</p> <p><img src="/files/imce-images/E.jpg" width="620" height="297" alt="E.jpg" /></p> <p><img src="/files/imce-images/F.jpg" width="620" height="349" alt="F.jpg" /></p> <p><strong>Example 5</strong> moves the trusty pentatonic shapes to D minor and employs the use of economy picking. Fretted with the pinky, ring and index fingers, the lick moves though Dm pentatonic (D, F, G, A, C) and D Blues (D, F, G, G#, A, C) and requires that you mix alternate and sweep picking to properly execute it. </p> <p>To start the pattern, you’ll begin on a downstroke, but as the pattern repeats, you’ll need to perform the first note of the pattern with an upstroke. This is easy, though, since the economy picking will set that upstroke as the only option. To perform the lick, pick the first note, do the pull-offs, then pick “down-up-down” on the B string, and then let your pick follow gravity and fall through the B toward the high E string, coordinate your pick “pushing through” the high E index finger anchor note, then come around with an upstroke (with your pinky fretting the first note of the pattern) and repeat. </p> <p>For extra Zakk-style attitude, be sure to finish off the lick with the pull-down bend on the G string, 17th fret, the ensuing simultaneous grab of the B string, 17th fret and shaking it like you mean it!</p> <p><img src="/files/imce-images/Roger%20That.jpg" width="620" height="398" alt="Roger That.jpg" /></p> <p>I am confident this will let you channel the spirit and style of Zakk Wylde and that you’ll find a way to work these into your own solos. Happy shredding!</p> <p><em>Scott Marano has dedicated his life to the study of the guitar, honing his chops at the Berklee College of Music under the tutelage of Jon Finn and Joe Stump and working as an accomplished guitarist, performer, songwriter and in-demand instructor. In 2007, Scott developed the Guitar Strength program to inspire and provide accelerated education to guitarists of all ages and in all styles through state-of-the-art private guitar lessons in his home state of Rhode Island and globally via Skype. <a href="http://www.guitarstrength.com/">Visit Scott and learn more at GuitarStrength.com.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/zakk-wylde">Zakk Wylde</a> </div> <div class="field-item even"> <a href="/ozzy-osbourne">Ozzy Osbourne</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitar-strength-journey-core-zakk-wylde-s-pentatonic-shred#comments Guitar Strength Ozzy Osbourne Scott Marano Zakk Wylde Blogs News Features Lessons Tue, 23 Jun 2015 14:24:19 +0000 Scott Marano 14645 at http://www.guitarworld.com Jazz Guitar Corner: An Introduction to the Tritone Scale http://www.guitarworld.com/jazz-guitar-corner-introduction-tritone-scale <!--paging_filter--><p>Guitarists who've starting exploring the different possibilities for soloing over dominant 7th chords have probably quickly realized there are a lot of different scales and modes you can use to bring color to this common chord in your solos. </p> <p>While mixolydian, diminished, Lydian dominant and the altered scale are all fairly common choices when playing over 7th chords in various situations, there is one scale that is often overlooked, but that can add a freshness to your lines and take your playing in new directions at the same time. </p> <p>This is the tritone scale. </p> <p>Built by pairing two major triads a tritone apart, and then placing those notes in scale order, the tritone scale brings a nice level of tension to your lines that you can use to build energy when soloing over 7th chords in a jazz or fusion context. </p> <p>Let’s explore this scale as we check out a short introduction to the tritone scale, its construction, how to use it and some basic fingerings for this scale on the guitar. </p> <p><strong>What is the Tritone Scale?</strong></p> <p>To begin our exploration of this uncommon but cool-sounding scale, let’s look at how the scale is built. Basically, the tritone scale is built by taking the notes of a 7b9#11 chord and turning it into a scale. Here's what I mean on paper. Then we’ll dig deeper after you’ve had an initial look at this comparison over a C tritone scale. </p> <p><img src="/files/imce-images/Tritone%20Scale%201%20JPG.jpg" width="620" height="158" alt="Tritone Scale 1 JPG.jpg" /></p> <p>As you can see, the C7b9#11 chord has the notes C E F#(Gb) Bb and Db. There is also a G in this chord, but we don’t usually have enough fingers to play it, so it gets left out. </p> <p>In the second bar of the example, you can see these notes divided into two major triads, one from the root and one from the tritone note (Gb in this case). </p> <p>These are the notes of the C7b9#11 chord, C E G + Gb Bb Db, and when placed in note order, C Db E Gb G Bb, they become the C Tritone Scale, as shown in the third bar of the example. </p> <p>Because of this relationship, between the tritone scale and the 7b9#11 chord, the tritone scale is often used over a 7alt chord to produce the b9 and #11 alterations, or over a dominant 7th chord where you want to create tension you can later resolve over the same chord, or over the next chord in the progression. </p> <p>The tritone scale has the intervals, Root-b2-3-b5-5-b7, so all of those juicy notes we saw in the C7b9#11 chord in the first bar of the example. Now that you know how to build a tritone scale, R-b2-3-b5-5-b7, let’s take a look at a few common fingerings for this scale on the guitar. </p> <p><strong>Tritone Scale Fingerings</strong></p> <p>There are a number of ways to play the tritone scale on the guitar, but here are two of my favorites. </p> <p>Check out these fingerings, one off of the sixth string and one from the fifth-string root, and see how they lay under your fingers and if they sit comfortably for you as well. </p> <p><img src="/files/imce-images/Tritone%20Scale%202%20JPG.jpg" width="620" height="144" alt="Tritone Scale 2 JPG.jpg" /></p> <p>Once you've learned these two fingerings in the key of C, take them to all of the other 11 keys around the neck to build a full understanding of these scale shapes across the entire fretboard. </p> <p>If you feel ready, you also can put on a 7b9#11 or 7th-chord vamp and practice using the tritone scale to solo over those chord changes before bringing it to ii V I chord changes as well as tunes you’re working on, or already know, in the practice room. </p> <p><strong>Tritone Scale Licks</strong></p> <p>To help get you started with the tritone scale, here's a fun little lick I came up with using the C tritone scale over the C7 chord in this ii-V-I-vi chord progression in F major. </p> <p>Learn the lick and work it in a few keys around the neck, and at different tempos if possible. Then try coming up with a few tritone scale licks of your own to add to your jazz-guitar soloing vocabulary. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F81798688"></iframe></p> <p><img src="/files/imce-images/Tritone%20Scale%203%20JPG_0.jpg" width="620" height="146" alt="Tritone Scale 3 JPG_0.jpg" /></p> <p><strong>Practicing the Tritone Scale</strong></p> <p>In order to further your exploration and understanding of the tritone scale, here are five exercises I like to do with this scale, and you can add them to your practice routine this week. </p> <p>01. Sing the note C and play the tritone scale from that root. Repeat in 12 keys.<br /> 02. Play a C7b9#11 chord and sing the tritone scale from that root. Repeat in 12 keys.<br /> 03. Jam on a C7 vamp using only the C tritone scale to build your solo lines. Repeat in 12 keys.<br /> 04. Play a ii V I in the key of C major and use the tritone scale to build your solo lines over the V7 chord in that progression. Repeat in 12 keys<br /> 05. Put on a blues backing track and solo over each 7th chord using the tritone scale to build your lines and phrases. </p> <p>Though it is not a commonly used scale, the tritone scale is worth exploring in your practice routine as it can add a welcome freshness to any 7th-chord soloing line, taking your jazz-guitar playing in new directions at the same time. </p> <p>What do you think of this scale? Share your thoughts!</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-introduction-tritone-scale#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Tue, 23 Jun 2015 14:18:47 +0000 Matt Warnock 17919 at http://www.guitarworld.com Acoustic Nation with Dale Turner: The Inimitable, Soulful Guitar Style of Joseph Spence http://www.guitarworld.com/acoustic-nation-dale-turner-inimitable-soulful-guitar-style-joseph-spence-video <!--paging_filter--><p>What happens when you mix bluesy, Robert Johnson–style fingerpicking and tropical “Calypso” grooves, with repertoire consisting of spiritual hymns and sea shanties (maritime work songs, akin to your <em>Pirates of the Caribbean</em> soundtrack faves), sung by a gruff-voiced, scat-singing, foot-stomping stonemason? </p> <p>You get the inimitable Joseph Spence (1910–1984), an Andros Islands, Bahamas-born super picker who, once his late Fifties Folkways/Smithsonian recordings were discovered, profoundly influenced the likes of Ry Cooder, Richard Thompson, David Lindley, the Grateful Dead and Taj Mahal, among others. </p> <p>Jazz fans have likened Spence to “what Thelonious Monk might sound like, if he played guitar.” (Monk was known for, among other things, angular melodies, dissonant improvisations and unpredictable rhythms.) </p> <p>Sprinkle in the rhythmic grunts, groans and other guttural sounds Spence emits while improvising (think “Popeye mixed with Tom Waits”), and the breadth of his unique musicality becomes clear. </p> <p>But verbal descriptions alone do not do Spence’s guitar style justice; seek out recordings of the tracks mentioned herein (and more) for a harrowing aural treat. And before we get started, note that virtually all of Spence’s works are performed in drop-D Tuning (low to high, D A D G B E).</p> <p>We’ll kick off this lesson with a pair of relatively conventional passages, beginning with a blues turnaround and tag that’s similar to what Spence plays in “Coming in on a Wing and a Prayer” (see <strong>FIGURE 1</strong>), which opens <em>Music of the Bahamas, Vol. 1: Bahaman Folk Guitar</em> (recorded soon after music historian Sam Charters discovered Spence in 1958). </p> <p>Note that pick-hand fingerings shown in this lesson are merely suggestions; there is no video footage of Spence performing, though he purportedly picked with only his thumb and index finger. </p> <p><strong>FIGURE 2</strong>, a bouncy passage in 3/4 meter that’s not unlike Spence’s playing in “There Will Be a Happy Meeting in Glory,” gives you a taste of the guitarist’s snappy, staccato phrasing. Pull on the strings a bit, and let them snap back against the frets, for percussive effect.</p> <p><strong>FIGURE 3</strong>, also inspired by “Coming in on a Wing and a Prayer” (the version issued on Spence’s 1971 release, <em>Good Morning Mr. Walker</em>) shows how he could create a “call-and-response” effect by himself, playing a melody on the upper strings (the “call”), followed by a bass register fill (the “response”). Keep in mind Spence would also sing while playing these types of passages, with the two elements combining to create an otherworldly solo performance. (This song’s gurgling scat solo is a must-hear!)</p> <p>Spence released three other solo albums in his lifetime: 1964’s <em>Happy All the Time</em> (recorded in his living room), 1971’s <em>Good Morning Mr. Walker</em> and 1980’s <em>Living on the Hallelujah Side</em> (a collection of various recordings from 1972 and 1978). </p> <p>But it is the 1978 compilation, <em>The Real Bahamas: Vol. 2</em>, that includes “That Glad Reunion Day” (also featured in the soundtrack to the 2003 film, <em>Open Water</em>), which informs <strong>FIGURE 4</strong>.</p> <p>This extended example showcases much of what Spence was all about: Thumping bass notes supporting blazing single-note lines (bars 1 and 2) and chord partials (bars 3 and 4), bluesy bends (bar 5) and polyrhythmic phrasing (bars 5 and 6), with an eight-note melody that suggests a different meter and tempo played across two bars of 3/4.</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/118848780&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe></p> <p><img src="/files/imce-images/Screen%20shot%202015-06-17%20at%202.09.14%20PM_0.png" width="620" height="314" alt="Screen shot 2015-06-17 at 2.09.14 PM_0.png" /></p> <p><img src="/files/imce-images/Screen%20shot%202015-06-17%20at%202.09.38%20PM_0.png" width="620" height="376" alt="Screen shot 2015-06-17 at 2.09.38 PM_0.png" /></p> http://www.guitarworld.com/acoustic-nation-dale-turner-inimitable-soulful-guitar-style-joseph-spence-video#comments Acoustic Nation acoustic nation August 2015 Dale Turner Joseph Spence Lessons Blogs Lessons Magazine Mon, 22 Jun 2015 18:37:03 +0000 Dale Turner 24746 at http://www.guitarworld.com Jazz Guitar Corner: Three Essential Jazz Guitar Chord Soloing Lines — Video http://www.guitarworld.com/jazz-guitar-corner-three-essential-jazz-guitar-chord-soloing-lines-video <!--paging_filter--><p>One of the most common roadblocks many jazz guitarists face is that after learning your essential chord shapes, how do you take those inversions and make them into cool-sounding jazz chord lines?</p> <p>While learning chord shapes is important—since it builds an understanding of jazz harmony and the fretboard in your studies—studying classic jazz guitar chord lines is the next step in turning these chord shapes into music. </p> <p>In this lesson you’ll study three essential jazz guitar chord soloing lines that will bridge the gap between your study of chord shapes and applying those shapes to a real, musical situation. </p> <p>The lines are written out in one key, so make sure to transpose them in your practice routine as well as work them at different tempos in your practice routine. </p> <p>Once you can play these three lines from memory, in a number of keys, try writing out three chord lines of your own over the same progressions as you begin to create your own jazz guitar chord soloing phrases in the woodshed.<br /> <br /><br /> <strong>Jazz Guitar Chord Soloing Line 1</strong></p> <p>To begin your study of these three chord soloing lines, here is a phrase that is used to outline a turnaround progression in the key of G major. The line itself is pretty straight forward, but notice how the G#dim7 chord uses a few diatonic notes to run up the fretboard over that part of the tune. </p> <p>When playing dim7 chords on the guitar, you can take any note in that chord shape and raise it by 2 frets to reach the next diatonic note over that chord. You can see this in action as the Ab moves to Bb and B moves to Db(C#) over the second half of the first bar in the line. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/hyW3ljvmpaY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Jazz Guitar Chord Soloing Line 2</strong></p> <p>In this minor ii-V-I chord soloing line you will be using a number of different E7alt shapes as you navigate the chord changes. Notice how the E7 chord is in the second bar of the progression, but that the chord soloing line begins to outline that chord three beats earlier, in beat 2 of the first bar. </p> <p>This is a common technique used in jazz guitar lines, where you are anticipating the next chord as you apply it to the previous chord in the progression. </p> <p>Lastly, there is an F7#9 chord at the end of the first bar that adds a bit of tension as you move up and back by a half step from E7-F7-E7 in that part of the line. This type of chord line is often used to create tension, as the F7 is tense over the E7, which you then resolve when you bring the line back to the original chord, in this case E7alt. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/9RYFSUjwxbI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Jazz Guitar Chord Soloing Line 3</strong></p> <p>Here's a ii-V-I chord line that move up and down the fretboard as you navigate the changes, Gm7-C7-Fmaj7. Notice the use of a triad pair over the Gm7 chord, where you are playing Bb and C triads over that chord. </p> <p>When playing over m7 chords, you can use major triads from the bIII and IV of that underlying chord, which highlight the intervals b3-5-b7 and 11-6-R respectively. There's also a b9 used over the C7 chord that creates a bit of tension before resolving it down to an Fmaj7 chord to end the phrase in bar 3 of the line. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Hj8FZfmad3A" frameborder="0" allowfullscreen></iframe></p> <p>What do you think about these jazz guitar chord soloing lines? 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-three-essential-jazz-guitar-chord-soloing-lines-video#comments Jazz Guitar Corner Matt Warnock Videos Blogs Lessons Fri, 19 Jun 2015 20:48:20 +0000 Matt Warnock 24780 at http://www.guitarworld.com Time to Burn with Michael Angelo Batio: Applying Sweep Picking to Chord Progressions — Video http://www.guitarworld.com/time-burn-michael-angelo-batio-applying-sweep-picking-chord-progressions-video <!--paging_filter--><p>As useful as sweep picking can be for playing an ascending or descending arpeggio over a single chord, developing the ability to seamlessly transition from one arpeggio shape to another within a lead phrase will greatly aid in one’s complete understanding and ultimate mastery of the technique. </p> <p>With this in mind, this month I’d like to demonstrate how to apply the sweep picking techniques I presented in the previous two columns to playing arpeggios over moving chord progressions.</p> <p>As a brief review, sweep picking, or sweeping, entails dragging the pick across a group of adjacent strings in a single direction and stroke, i.e., downward or upward, with only one note picked per string. </p> <p>A downstroke sweep is used to play an ascending arpeggio, moving from lower strings to higher strings, and an upstroke sweep is employed to perform a descending arpeggio, moving from higher strings to lower strings. </p> <p>Let’s envision a four-chord progression in the key of A minor that moves from Am down one whole step to G, then down one and a half steps to Em and finally down another whole step to D. As shown in <strong>FIGURE 1</strong>, I use downstroke and upstroke sweeps across the top five strings to perform an ascending and descending arpeggio over each chord, picking mostly one note per string, the exceptions being on the high E string, where I change the direction of the sweep (followed by a pull-off), and when I briefly alternate pick two notes on the A string on the Em and D arpeggios (an upstroke followed by a downstroke in each case). </p> <p><strong>FIGURE 2</strong> illustrates a pattern wherein each of the ascending and descending arpeggios from <strong>FIGURE 1</strong> is repeated before moving on to the next arpeggio in the progression. Notice that, when repeating the Am and G arpeggios in bars 1 and 2, I “double pick” the lowest note with a quick up-down sequence. When playing the Em and D arpeggios, however, the notes that were hammered onto the A string are included in the upstroke sweep during the descent.</p> <p>Another useful twist on this approach is to focus only on the top three strings, as demonstrated in <strong>FIGURES 3–5</strong>. <strong>FIGURE 3</strong> begins with what’s called a first-inversion Am triad, for which the third of the chord, C, is the lowest note, played on the G string. In <strong>FIGURE 4</strong>, I move up the fretboard to a second-inversion A minor triad shape, for which the fifth of the chord, E, is the lowest note, again played on the G string. </p> <p>In <strong>FIGURE 5</strong>, I likewise move up the neck again to the next chord tone of Am sounded on the G string, which is the A root note, resulting in what’s called a root-position A minor triad. Be sure to memorize all of these shapes and patterns, then try transposing them to other string groups and keys and areas of the fretboard. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/QfQYGptLZS0" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20shot%202015-06-17%20at%201.07.51%20PM.png" width="620" height="483" alt="Screen shot 2015-06-17 at 1.07.51 PM.png" /></p> <p><img src="/files/imce-images/Screen%20shot%202015-06-17%20at%201.08.08%20PM.png" width="620" height="268" alt="Screen shot 2015-06-17 at 1.08.08 PM.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/michael-angelo-batio-0">Michael Angelo Batio</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/time-burn-michael-angelo-batio-applying-sweep-picking-chord-progressions-video#comments August 2015 Michael Angelo Batio Time to Burn Videos Blogs News Lessons Magazine Thu, 18 Jun 2015 19:33:19 +0000 Michael Angelo Batio 24742 at http://www.guitarworld.com String Theory with Jimmy Brown: The Oddly Fascinating Pairing of Two Completely Unrelated Triads — Video http://www.guitarworld.com/strange-bedfellows-oddly-fascinating-pairing-two-completely-unrelated-triads-video <!--paging_filter--><p>Last month, I presented a neat formula for generating two unusual and exotic hexatonic (six-note) scales, which I called D “gypsy-minor hexatonic” (D E F G# A B) and E “Phrygian-dominant hexatonic” (E F G# A B D), both of which we formed by combining two triads, D minor (D F A) and E major (E G# B). </p> <p>I’d now like to show you how altering only one note in one of these triads produces a different and profoundly mysterious and otherworldly sounding hexatonic scale that, to me, brings to mind numerous, memorable film scores I’ve heard over the years, in such epic cinematic works as <em>Jurassic Park</em>, the <em>Batman</em> franchise and the <em>Lord of the Rings</em> trilogy.</p> <p>Here’s how it works: take our D minor triad and raise its A note a half step to Bb, which transforms the triad to Bb major (Bb D F). Now, combine that with the E major triad, the root note of which is a tritone (three whole steps) away from Bb. The two triads are diametrically opposed, meaning they are musically as far apart as can be and have absolutely nothing in common. </p> <p>Together, they give us an odd- and enigmatic-sounding six-note entity that I like to call the E “odyssey” scale—E F G# Bb B D. <strong>FIGURE 1</strong> shows a good way to lay out the notes on the guitar, by alternating inversions of E and Bb major triads up the fretboard. Structurally, the scale is spelled 1 b2 3 #4 5 b7, which gives us, against an E root note, three tense-sounding notes—the b2, F, the #4, or b5, Bb, and the b7, D. </p> <p>Interestingly, if we were to start on Bb and think of that note as our root, we would get the very same interval structure, relative to that root. So the two scales, E odyssey and Bb odyssey, are not only built from the same six notes, they are also identical in form and character. This is comparable to the symmetrical interchangeability of diminished seven chords that are minor thirds apart, or augmented triads major thirds apart. </p> <p><strong>FIGURES 2–4</strong> are examples of runs that can be crafted using the E odyssey scale. They each have that “outside” quality that jazz and metal musicians love and sound “spooky” and sinister when played over an E7 or E5 chord, or just an E bass note. </p> <p><strong>FIGURE 2</strong> flies right up and down the scale in a linear fashion, using hammer-ons and pull-offs liberally. Notice the quick, silent position shift to the higher octave that occurs in bar 4, as indicated by the fret-hand fingerings below the tab. <strong>FIGURE 3</strong> is a blistering alternate-picking run that cascades diagonally across all six strings with a recurring, symmetrical three-note shape. </p> <p>Again, note the use of quick, silent position shifts (no finger slides used). </p> <p><strong>FIGURE 4</strong> takes a similar approach, this time with alternating E and Bb major arpeggios that “climb,” then “tumble,” with palm-muted alternate picking used on the ascent, followed by descending upstroke sweeps in the final three bars, which creates a lopsided, “slinky”-like effect.</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience4302847247001" 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="4302847247001" /> </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. 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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> <img src="/files/imce-images/Screen%20shot%202015-06-17%20at%201.33.13%20PM.png" width="620" height="413" alt="Screen shot 2015-06-17 at 1.33.13 PM.png" /></p> <p><img src="/files/imce-images/Screen%20shot%202015-06-17%20at%201.33.51%20PM.png" width="620" height="313" alt="Screen shot 2015-06-17 at 1.33.51 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/strange-bedfellows-oddly-fascinating-pairing-two-completely-unrelated-triads-video#comments August 2015 Jimmy Brown String Theory Videos News Lessons Magazine Thu, 18 Jun 2015 18:04:00 +0000 Jimmy Brown 24744 at http://www.guitarworld.com