Lessons http://www.guitarworld.com/taxonomy/term/8/all en Guitar Chalk Sessions: Adding Dynamic Appeal to Your Power Chords with Intervals and Dyads http://www.guitarworld.com/guitar-chalk-sessions-adding-dynamic-appeal-your-power-chords-intervals-and-dyads <!--paging_filter--><p>Power chords, once your fingers are comfortable with the stretching, are <a href="http://www.guitarchalk.com/2014/09/guitar-chords-for-beginners-infographic-cheat-sheet.html">mind-numbingly simple</a>. </p> <p>That's not a bad thing and I wouldn't say that power chords are "cheap" or "too easy."</p> <p>That's dumb.</p> <p>Because they get the job done, right? So why wouldn't we use them? They’re functional and adequate to the task.</p> <p>In the right context, power chords are a beautiful thing. When music demands a <a href="https://www.youtube.com/watch?v=gGQUlaCYg7k">heavy, smooth and easy-to-digest chord progression</a> (like in modern rock, pop, metal, etc.), a root note, a consonant interval (perfect fifth) and perhaps an octave thrown in for good measure, are all you really need.</p> <p>We can play as many chords as we want all using the same shape; just shift frets or strings.</p> <p>But what if we wanted to dress things up a little bit? What if we wanted to make our power chords more dynamic and <a href="http://www.guitarchalk.com/2014/08/how-creating-melody-sets-you-apart-as-guitar-player.html">melodic?</a></p> <p>Adding some flavor and variety to your power chord progressions can really take your playing up a notch and set you apart. It's an especially handy technique for those who fill the role of both a lead and rhythm guitar player.</p> <p>There are two primary techniques you can use to do it; intervals and dyads. Let’s cover intervals first.</p> <p><strong>First Technique: Add Major or Minor Intervals</strong></p> <p>Assume you're lucky enough to be playing a chord progression that is entirely in a major key. Even better, let's just say you're going from D to A. Tabbing it out would look like this:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.14%20PM.png" width="99" height="120" alt="Screen Shot 2014-12-06 at 3.49.14 PM.png" /></p> <p>What if you wanted to add some melody or even just variety? We can use major intervals to do so, since we're theoretically dealing with two major chords. So where do we put these intervals?</p> <p>You'll need to target areas where you have long pauses or holds on a single chord. So in this situation, we can assume (for illustrative purposes) that the D chord gets held for a short few beats, while the A chord is held longer.</p> <p>That means the A chord is where we can move a bit more and add some creative intervals.</p> <p>Use the open A note to play your second A chord (bracketed).</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.20%20PM.png" width="101" height="118" alt="Screen Shot 2014-12-06 at 3.49.20 PM.png" /></p> <p>We can now start adding intervals to our A chord. Here are a few options:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.29%20PM.png" width="223" height="261" alt="Screen Shot 2014-12-06 at 3.49.29 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.37%20PM.png" width="256" height="121" alt="Screen Shot 2014-12-06 at 3.49.37 PM.png" /></p> <p>It's a simple, but effective, strategy.</p> <p>You can employ the same interval shifts with any other power chord. Say we don't have an open chord to work with, like in the case of this G:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.45%20PM.png" width="70" height="116" alt="Screen Shot 2014-12-06 at 3.49.45 PM.png" /></p> <p>We can still add intervals by shifting the note at the fifth fret, currently a perfect fifth, in relation to the root note at the third fret.</p> <p>Here's what I came up with.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.51%20PM.png" width="365" height="118" alt="Screen Shot 2014-12-06 at 3.49.51 PM.png" /></p> <p>As you can see, the only note that needs to change is the interval of the root. The root note itself doesn't move.</p> <p>That means you can use this tactic as often as you want within any power chord in any given progression.</p> <p>If the progression contains minor chords, you'll have to make sure to hit notes that resolve to a minor tune. But that will come with habit, muscle memory and time.</p> <p><strong>Second Technique: Add Octave Dyads</strong></p> <p>A second strategy is to use <a href="http://www.guitarchalk.com/2014/09/learning-simple-guitar-chords-using-dyads-triads.html">simple, two-note dyads</a> to add short melodies over power chords. This has become a widely used technique in the post-grunge era and has been typified by many modern guitarists.</p> <p>To illustrate this example, I find it best to start with an open D chord in drop-D, like the following tab:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.58%20PM.png" width="71" height="119" alt="Screen Shot 2014-12-06 at 3.49.58 PM.png" /></p> <p>Start with your D root note on the second string (fifth fret), add its corresponding octave (third string, seventh fret) and reapply some of the intervals we already covered by simply moving the octave shape up the fretboard.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.50.06%20PM.png" width="196" height="119" alt="Screen Shot 2014-12-06 at 3.50.06 PM.png" /></p> <p>We can apply the same principle with the G chord as our base and the 2-3-5 fret climb is our melody.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.50.17%20PM.png" width="154" height="121" alt="Screen Shot 2014-12-06 at 3.50.17 PM.png" /></p> <p>Once you get comfortable, start planting these runs in between chords. Like this:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.50.23%20PM.png" width="349" height="121" alt="Screen Shot 2014-12-06 at 3.50.23 PM.png" /></p> <p>Not only does this break the monotony of a chord progression, but it adds some melodic flavor to what is otherwise a one-dimensional and linear sound.</p> <p>Because sometimes a guitar player needs to handle both rhythm and lead, especially today when many groups employ only one guitarist. Being able to play heavy, while also having enough skill and musical awareness to add melody and variety to your chord progressions makes you a far more valuable musician.</p> <p>And while they aren't all you need to accomplish that, dyadic octaves and intervals can give you a lot of mileage as they're excellent tools to work with.</p> <p>If you play a lot of power chords you shouldn’t feel bad about it.</p> <p>Just learn how to make them count.</p> <p><em>Flickr Commons Image Courtesy of <a href="https://www.flickr.com/photos/maurymccown/">maury.mccown</a></em></p> <p><em>Robert Kittleberger is the founder and editor of <a href="http://www.guitarchalk.com">Guitar Chalk</a> and <a href="http://www.guitarbargain.net">Guitar Bargain</a>. You can get in touch with him <a href="http://www.guitarchalk.com/p/about-me.html">here</a>, or via <a href="https://twitter.com/guitarchalk">Twitter</a>, <a href="https://www.facebook.com/guitarchalk">Facebook</a> and <a href="https://plus.google.com/u/0/109221824688243850332/posts">Google Plus.</a></em></p> http://www.guitarworld.com/guitar-chalk-sessions-adding-dynamic-appeal-your-power-chords-intervals-and-dyads#comments Bobby Kittleberger Guitar Chalk Sessions Blogs Lessons Thu, 28 May 2015 14:50:46 +0000 Bobby Kittleberger 23089 at http://www.guitarworld.com Bent Out of Shape: Improve Your Fretboard Knowledge with This Arpeggio Exercise http://www.guitarworld.com/bent-out-shape-improve-your-fretboard-knowledge-arpeggio-exercise <!--paging_filter--><p>In this lesson, I'm going to teach you an arpeggio exercise that will help improve your music theory and knowledge of the fretboard.</p> <p>Players often play exercises only to improve technique, but it's important to vary your exercises to focus on other important parts of guitar playing. Although this exercise is based on arpeggios, it is meant to help you visualize scales differently from the standard "three note per string" shapes. </p> <p>How can learning an arpeggio exercise help with scales? </p> <p>The answer is simple: Arpeggios are derived from scales. A big problem for guitarists is not being able to switch between the two in a musical way. When you listen to solos, particularly in rock/metal, when guitarists play arpeggios, they are usually played with a sweeping or tapping technique, playing exclusively arpeggio sequences. Then when you hear scales, it's the same problem, but usually they are being played as ascending or descending alternate-picked sequences. </p> <p>Hardly ever will you hear a player integrate the two and sound musical and melodic. It all comes back to the age-old problem of guitar players whose solos sound like a bunch of exercises stuck together. There's the metaphor about players who sound like robots. These "robot" guitar players usually have two modes of lead playing: "scale mode" and "arpeggio mode." In the following weeks, I'm going to be working on a series of lessons to help you play less like a robot. </p> <p>My exercise is very simple and based off building arpeggios from scales. A simple way to look at building arpeggios is by stacking third intervals or simply skipping notes within a scale. For example, from the A minor scale (A B C D E F G), you would make an A minor arpeggio (A C E). You skip the B and D notes to make the arpeggio. You can carry on skipping notes within the scale to make larger arpeggios until you have eventually used every note from the scale to make an A minor 13th chord (A C E G B D F).</p> <p>This exercise applies that same system to every note within the key of A minor to make seven different 13th arpeggios. From every note of the A minor scale we build a 13th arpeggio by stacking thirds and play them in order. </p> <p>When playing this exercise, don't just memorize the frets from the tab; learn each note you are playing and visualize how ascending and descending through each arpeggio relates to the key scale of A minor. The way I have arranged the notes on the fretboard is not important, and if you have a good understanding of the theory behind the exercise, you should experiment with your own fretting. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/157832888&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p><img src="/files/imce-images/tab_8.jpg" width="620" height="279" alt="tab_8.jpg" /></p> <p>The goal of this exercise is to help develop your fretboard knowledge of scales. For that reason, each arpeggio is built strictly using only notes from the A minor scale. Some of the arpeggios in this exercise are not "normal" 13th arpeggios, which would usually involve flattening of certain intervals. However, if you can visualize how an arpeggio is derived from a scale, you can better incorporate them into your solos without relying on arpeggio shapes, which will usually end up sounding like exercises. </p> <p><em>Will Wallner is a guitarist from England who now lives in Los Angeles. He recently signed a solo deal with Polish record label Metal Mind Productions for the release of his debut album, which features influential musicians from hard rock and heavy metal. He also is the lead guitarist for White Wizzard (Earache Records) and toured Japan, the US and Canada in 2012. Follow Will on <a href="https://www.facebook.com/wallnervain">Facebook</a> and <a href="https://twitter.com/willwallner">Twitter</a>.</em></p> http://www.guitarworld.com/bent-out-shape-improve-your-fretboard-knowledge-arpeggio-exercise#comments Bent Out of Shape Will Wallner Blogs Lessons Thu, 28 May 2015 14:49:09 +0000 Will Wallner 21765 at http://www.guitarworld.com Guitar Tricks: Eight Things You Need to Know About Arpeggios http://www.guitarworld.com/guitar-tricks-eight-things-you-need-know-about-arpeggios <!--paging_filter--><p>As you advance in your guitar studies, you'll surely come across the term "arpeggio." </p> <p>Arpeggios are a great way to add color and complexity to your playing. You can make riffs out of them, use them in solos or even create melody lines with their fluid sound. </p> <p>Nearly all of the greats use arpeggios. Yet, if you're like a lot of guitarists, you might be shying away from them because you fear being overwhelmed by the "Twin Ts": theory and technique. If you have a basic understanding of how chords work, though, it's high time to get your feet wet. </p> <p>Here are eight things you need to know to help demystify the arpeggio. </p> <p>01. <Strong>What an arpeggio is exactly</strong> The word arpeggio (ar-peh-jee-oh) comes from the Italian word arpeggiare, which means "to play a harp." (If you can visualize harpists, they often articulate notes by plucking the strings one at a time.) Arpeggios, often called broken chords, are simply notes from a chord played individually instead of strummed together. </p> <p>02. <strong>What arpeggios can do for you</strong>. Arpeggios create a fast, flowing sound. Besides using them for speed in playing, arpeggios add a kick to improvisation skills. Because an arpeggio contains all the notes of its chord, you can use them in your solos and link them to what's going on in the chord structure beneath you to create cool sounding licks. Arpeggios always sound good over their matching chord in a progression, therefore, they generally form the melodic home bases and safe notes for improvising guitarists. <a href="http://www.guitartricks.com/v2/chords">This guitar chord chart will help visualize the notes of each arpeggio on the guitar neck.</a></p> <p>03. <strong>Scales vs. arpeggios.</strong> Let's clear up any confusion you might have between scales and arpeggios. Scales are a series of notes played one by one that fit sonically within a particular key signature (e.g., G major scale would be G, A, B, C, D, E, F#). Arpeggios, on the other hand, are a series of notes played one by one that consists of the notes within a particular chord (e.g., G major arpeggio would be G, B, D). Like a scale, an arpeggio is linear: it's a set of notes you play one at a time. Unlike scales that contain some extra notes not always played in chords, arpeggios use only the notes found in a single chord. Both scales and arpeggios can be played in ascending, descending or random order.</p> <p>04. <strong>Arpeggio shapes.</strong> As with scales, there are a variety of shapes to learn when playing arpeggios. There are generally five CAGED shapes for each arpeggio, except the diminished 7th, for which there is just one. Learn arpeggios in different positions on the neck so you become familiar with the shape of the arpeggio rather than concentrating on which frets to put your fingers in. Learn the shapes one at a time. Although you need to get all five of the shapes down—eventually—it's far better to be able to play one perfectly than five poorly. Practice moving from one arpeggio shape to another, back and forth and back and forth.</p> <p>05. <strong>Which arpeggios to learn first.</strong> The best guitar arpeggios to learn first are the major triad (1, 3, 5) and the minor triad (1, b3, 5). The major and minor triads are the most common and most used guitar arpeggios in all of music. While a triad contains only three notes, an arpeggio can be extended with chords like a major seventh, a 9th, 11th, 13th, etc., giving you endless possibilities.</p> <p>06. <strong>Different picking styles.</strong> There are several ways you can play arpeggios—alternate picking, legato, <a href="http://www.guitartricks.com/guitarglossary.php?term=Hammer-on">hammer-ons</a> and <a href="http://www.guitartricks.com/guitarglossary.php?term=Pull-off">pull-offs</a>, sweep picking and tapping are among them. (For the more experienced player, there also are lead techniques you should be confident with for playing arpeggios at higher speeds, such as string skipping and finger rolling.) Experiment with each way of playing these arpeggios to see which one works best for you and your particular style. </p> <p>A note here about fingerpicking: While fingerpicked chords are technically arpeggios since the chords are broken up, the individual notes aren't typically muted after they're played and thus ring together. The listener can literally hear the entire chord from the vibrations of each individual note. Arpeggios typically only have one note playing at any given time and are a slightly different idea from broken chords. </p> <p>07. <strong>Grab the arpeggio by the "root."</strong> When you're brand new to arpeggios, you always want to start and end on a root note (the note upon which a chord is built. Literally, the root of the chord.) This will help train your ears to hear the sound of the scale. Start on the lowest pitched root note, play up as far as you can, then go back down as low as you can, and then back up to the root note.</p> <p>08. <strong>Form and speed.</strong> To play arpeggios, you should mute each note immediately after picking it by lifting the fretting finger. This will keep the notes from "bleeding" into one another and sounding like a strummed chord. Every note needs to sound individually. Start off slowly. Perfect your form before you add speed to the mix. You don't want to develop bad habits that you will have to correct later. </p> <p>For more on playing arpeggios, give <a href="http://www.guitartricks.com/guitarglossary.php?term=Arpeggio">some of these "how to play arpeggios" guitar lessons</a> a try, as well as Ben Lindholm's <a href="http://www.guitartricks.com/lesson.php?input=17379&amp;s_id=1310">"10 Ways to Play Arpeggios."</a> </p> <p><em>Kathy Dickson writes for the online guitar lesson site <a href="http://www.guitartricks.com">Guitar Tricks.</a></em></p> http://www.guitarworld.com/guitar-tricks-eight-things-you-need-know-about-arpeggios#comments Guitar Tricks Blogs News Lessons Thu, 28 May 2015 14:47:20 +0000 Kathy Dickson 22866 at http://www.guitarworld.com Jazz Guitar Corner: B.B. King Blues Lines for Jazz Guitar http://www.guitarworld.com/jazz-guitar-corner-bb-king-blues-lines-jazz-guitar <!--paging_filter--><p>After learning about B.B. King’s recent passing, I went back and spent some time listening to my old B.B. King records, enjoying spending time with one of my favorite guitarists. </p> <p>While listening to B.B.’s playing for a few hours, I began to hear lines in his vocabulary that were not only great blues ideas, but that could be applied to a jazz guitar solo and fit perfectly in that genre as well. </p> <p>In this lesson, I’ve laid out three classic B.B. King lines that Jazz guitarists can study, break down and apply to their playing in order to translate the vocabulary of this legendary guitarist into their jazz soloing lines and phrases. </p> <p><strong>B.B. King Blues Line 1</strong></p> <p>The first line is a typical B.B. King minor blues lick that you can apply to your jazz blues soloing, here written out in the key of Bb. </p> <p>Once you have this line under your fingers, try playing it in different keys, as well as putting on a Bb jazz blues backing track and inserting this line into your improvised solos over that progression. </p> <p><img src="/files/imce-images/1_12.png" width="620" height="172" alt="1_12.png" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/207536361&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>B.B. King Blues Line 2</strong></p> <p>We’re moving over to the other side of the blues with a B.B. King major pentatonic scale line in this example. Though he is mostly known for his minor blues phrases, B.B. King also was a master at crafting interesting and creative major sounding lines and using them in just the right moments to create contrast in his solos. </p> <p>If the major pentatonic scale is new to you, it looks similar to the minor pentatonic scale on the fretboard, but you need to treat it as an arpeggio in your soloing. This means that if you have a Bb7 chord, such as you do in this example, you solo over that chord with the major pentatonic scale. </p> <p>When you move to the Eb7 chord, the next chord in the jazz blues in Bb progression, you have to move to an Eb major pentatonic scale. </p> <p>Each chord gets its own major pentatonic scale, as opposed to the minor pentatonic scale, which can be used over the entire blues or jazz blues chord progression. </p> <p>You will also notice a few chromatic notes in the second bar, E-Eb, that connect the 5th of the scale, F, and the third of the scale, D. These chromatic notes will bring a jazzy sound to your major pentatonic lines, and they’re the reason that this B.B. King line in particular works so well in a jazz situation. </p> <p>When you have this lick under your fingers, put on a jazz blues backing tack and practice applying this line to the three 7th chords in that progression, Bb7, Eb7 and F7, using a different major pentatonic scale for each chord in the tune. </p> <p><img src="/files/imce-images/2_10.png" width="620" height="168" alt="2_10.png" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/207536465&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>B.B. King Blues Line 3</strong></p> <p>The final line mixes the major and minor blues sounds over a Bb7 chord, in a classic B.B. line that you can apply to your jazz blues soloing phrases. </p> <p>Again, because it mixes sounds from both scales, you will need to play this line over just a Bb7 chord, then when you move to Eb7 you need to move this line in order to fit that new chord. </p> <p><img src="/files/imce-images/3_8.png" width="620" height="170" alt="3_8.png" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/207536578&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>B.B. King Sample Blues Solo</strong></p> <p>To finish of our studies of these B.B. King blues lines for jazz guitar, here's a sample solo over a jazz blues progression in the key of Bb that uses the previous three lines in its construction. Try learning the solo one phrase at a time, and then piece it all together as you play the solo as a whole in your studies. </p> <p>You also can slow it down with a metronome at first, then work up to playing along with the sample audio as you build it up to speed in the woodshed. </p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-27%20at%205.45.32%20PM.png" width="620" height="518" alt="Screen Shot 2015-05-27 at 5.45.32 PM.png" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/207536713&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <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="/bb-king">B.B. King</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/jazz-guitar-corner-bb-king-blues-lines-jazz-guitar#comments B.B. King Jazz Guitar Corner Matt Warnock Blogs Lessons Wed, 27 May 2015 21:52:34 +0000 Matt Warnock 24563 at http://www.guitarworld.com LessonFace with John Heussenstamm: Introduction to Electric Blues Guitar — Video http://www.guitarworld.com/lessonface-john-heussenstamm-introduction-electric-blues-guitar-video <!--paging_filter--><p> <strong>This video and article offer introductory electric blues guitar concepts from guitarist and music educator John Heussenstamm. Author and co-author of multiple widely distributed books and videos from major music education publishers, and recipient of more than 10 million views on YouTube, Heussenstamm now can be reached for live online lessons via <a href="http://lessonface.go2cloud.org/SHW">Lessonface.</a></strong></p> <p>As you can see in the brief video below, the addition of certain key techniques can add a great deal of expression to your playing. In this video, I demonstrate some simple introductory concepts using the first position of the A minor pentatonic scale.</p> <p><img src="/files/imce-images/1-a-minor-scale.jpg" width="620" height="152" alt="1-a-minor-scale.jpg" /></p> <p>I also discuss how 7th chords allow you to interact with the major and minor pentatonic scales, and I briefly demonstrate the difference between these sounds.</p> <p><img src="/files/imce-images/2-common-chord-inversions.jpg" width="620" height="192" alt="2-common-chord-inversions.jpg" /></p> <p><img src="/files/imce-images/3-vibrato-riffs.jpg" width="620" height="180" alt="3-vibrato-riffs.jpg" /></p> <p>Of course, there's a lot more to learn after you digest this video. Before we can explore all the possibilities related to the electric blues style of guitar playing, we need to be familiar with concepts that relate to positions and keys. </p> <p>Even if we feel we are getting good at the techniques of the blues, such as hammer-ons, pull-offs, sliding, bending, vibrato, etc., sooner or later we have to focus on the different keys and ways to correctly position ourselves. For me, the most important thing to know is where the root notes are in the key the song is in. I chose the key of E for this lesson because there are more E notes on the fretboard due to open E strings. The first line shows E notes up and down the neck.</p> <p><img src="/files/imce-images/4_2.jpg" width="620" height="152" alt="4_2.jpg" /></p> <p>Did you notice an E note can be played on every string? Did you know the same E note or unison note can be played on different strings? The first five notes were all in the same register. The other E notes are organized in octaves.</p> <p>For me the best way to remember where these notes are and the significance of knowing that is learning how to play the same melody in different positions. The following nine riffs or melodies are all the same but in different positions and some in different octaves.</p> <p><img src="/files/imce-images/5_1.jpg" width="620" height="438" alt="5_1.jpg" /></p> <p>This knowledge really can boost your confidence. When you know where the root notes are in any key, you have the foundation points for improvisation and chord building. If you wanted to play in the key of F move everything up one fret. It's as easy as that. </p> <p>The next challenge would be to take a riff or melody and move it into other positions like I did without examples or any help. Find the E note within the riff and move it to another E note and repeat or recreate the same melody. If you succeed at this with full comprehension of what you are doing you're on your way to becoming a competent player. For me this became really important when I got interested in jazz.</p> <p><img src="/files/imce-images/6_0.jpg" width="620" height="150" alt="6_0.jpg" /></p> <p>Blues riff between two octaves. There's more to come in the future. </p> <p><img src="/files/imce-images/7.jpg" width="620" height="152" alt="7.jpg" /></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/-TakYICY84Y" frameborder="0" allowfullscreen></iframe></p> <p><strong>If you found this information to be helpful and wish to continue studying along these lines, please follow our future articles with John Heussenstamm and look for Heussenstamm on <a href="link http://lessonface.go2cloud.org/SHW">Lessonface.</a></strong></p> <p><em>John Heussenstamm offers live online lessons and classes on <a href="http://lessonface.go2cloud.org/SFS">Lessonface.com. Learn more.</a></em></p> http://www.guitarworld.com/lessonface-john-heussenstamm-introduction-electric-blues-guitar-video#comments John Heussenstamm LessonFace Videos Blogs News Lessons Wed, 27 May 2015 18:12:39 +0000 John Heussenstamm 24558 at http://www.guitarworld.com Cracking the Code with Troy Grady: The Puzzle of Pentatonic Fours — Video http://www.guitarworld.com/cracking-code-troy-grady-puzzle-pentatonic-fours-video <!--paging_filter--><p>We recently gave <a href="http://www.troygrady.com/code/" target="_blank">Cracking the Code</a> viewers a cool homework assignment: find a way to play ascending fours, against the pentatonic scale, using the Yngwie Malmsteen and Eric Johnson downward pickslanting system.</p> <p>The assignment seems simple enough. </p> <p>After all, the pentatonic scale is nearly ubiquitous as a cornerstone of modern rock lead playing. And fours is a common rhythmic grouping, especially considering that most rock songs are written in 4/4 time. As a result, we hear pentatonic fours patterns in rock leads all the time, especially in keyboard and horn parts.</p> <p>Just not very often on guitar!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/GgqYebTmLuQ" frameborder="0" allowfullscreen></iframe></p> <p>In fact, if we make a mental list of the most famous pickers of the last 50 years, I can think of none of them who play sequential pentatonic fours, fully picked, across the neck, at elite levels of speed and accuracy. </p> <p>And while I'm sure that out there in internet-land there are talented players who can do it, the fact remains that this feat is simply far less common than we'd expect.</p> <p>And it turns out, there's good reason for this. The complicated picking patterns that occur as we cycle the box in units of four can make life woefully difficult for the picking hand. On top of this, the barre fingerings that arise as we do this can make it tricky to avoid overlapping notes, which can sound messy on a high gain amp.</p> <p><strong>Pickslanting to the Rescue</strong></p> <p>But with a basic understanding of downward pickslanting mechanics, we can design a couple of really nice solutions to this problem that pay fantastic creative dividends.</p> <p>Cracking the Code viewers are already familiar with the downward pickslanting system, where upstrokes are used to switch strings with extreme efficiency. In fact, <a href="http://www.guitarworld.com/tags/cracking-code">we've written about this here at GuitarWorld.com before,</a> with respect to both Yngwie Malmsteen and Eric Johnson's use of the technique.</p> <p>In Johnson's case, his legendary accuracy derives from his focus on two-note-per-string picking sequences. By starting these two-note units on a downstroke, Johnson can ensure that the second note on the string—the final note—is an upstroke. </p> <p>This is critical. In the downward pickslanting system, upstrokes "escape" the strings naturally as a result of the slanted picking movement. As long as that escape happens on the last note of the string, Johnson can transition effortlessly to the next string no matter how fast the picking hand is playing.</p> <p><strongEJ Fours</strong></strongej></p> <p>By harnessing the power of the escaped upstroke, we can reap instant performance benefits:</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ijhgBmX1Ugg" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/ej%20fours.png" width="620" height="515" alt="ej fours.png" /></p> <p>The key to this approach is position shifting. Each two-string, four-note unit is perfectly efficient thanks to the escaped upstroke. So by simply shifting up to the next position, we can maintain our two-note-per-string structure, and achieve the exact same efficiency for the next repetition of the sequence. After the second repetition, we simply move up to the next pair of strings, and repeat. Straightforward and elegant.</p> <p>The challenge of this approach is the fretting. By using three-note-per-string fingerings, we encounter third- and fourth-finger combinations that you may not be used to. </p> <p>But mastering these dramatically reduces the fatigue of always reusing the same two fingers. It also completely eliminates the error-prone jumping of the fretting hand between positions. Baking this coordination into your long-term memory is great exercise. And it also opens the door to all kinds of cool patterns and sequences you might come up with in the process.</p> <p><strong>Volcano Fours</strong></p> <p>In Season 2 Episode 2 of Cracking the Code, "Inside the Volcano," we encountered Malmsteen's famous expansion of the downward pickslanting system: sweeping. By using a single downstroke to move to the next higher string, we can completely sidestep the athletic challenges of switching strings with alternate picking.</p> <p>Because the pick is slanted downward, sweeping in the Malmsteen system only happens only during melodically ascending string changes. That works out fine for us, since that's precisely the direction in which our pentatonic sequence is moving:</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/bILT9Ee2pBQ" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/volcano.png" width="620" height="515" alt="volcano.png" /></p> <p>By combining Yngwie's mastery of sweeping with the escaped upstroke of downward pickslanting, we experience a double-dip boost in efficiency. The first unit of four uses a downward sweep for the string change. The second unit uses an escaped upstroke and a sweep. So in other words, we have a formula: sweeping in the ascending direction, and alternate picking in the descending direction. </p> <p>This is the Malmsteen way. It's the key to the stunning speed of the "Volcano Lick," which we examine in <a href="http://www.guitarworld.com/yngwie-malmsteem-lesson-cracking-code-season-2-episode-2-inside-volcano-video">"Inside the Volcano,"</a> and it's the secret to Malmsteen's seemingly impossible accuracy in playing ascending scalar lines.</p> <p>Although it looks complicated on the surface, this Volcano-style solution is actually even easier to execute than the pure alternate picking method of the Eric Johnson-style approach. Gone are the awkward third- and fourth-finger fretting combinations. </p> <p>In fact, although the Volcano solution relies on three-note-per-string stretches, it only does so only every other repetition, instead of every repetition. The fact that sweeping makes two of the string changes nearly effortless is simply the icing on the cake.</p> <p><strong>Whole Diminished Power</strong></p> <p>These clever mechanical solutions are only two of the many possibilities that arise as a result of pickslanting thinking. But how can we make use of all this picking power? Well, if the pentatonic scale is just a two-note-per-string fingering, then we should be able to apply these picking patterns to almost any idea that we fret using two notes per string. How about diminished?</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/F4MkvNjBn2k" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/dim%204.png" width="620" height="417" alt="dim 4.png" /></p> <p>Very cool. Malmsteen is famous for his use of diminished sweep shapes on the top three strings. But here we've discovered a way to take this exotic tonality across the entire guitar. No how about whole tone?</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Dja8SeTxfco" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Ht4.png" width="620" height="807" alt="Ht4.png" /></p> <p>Also very cool. Like the diminished scale, the symmetrical nature of whole tone fingerings make them ideal for sequential ideas. And these shapes are even easier to reach than the diminished fingerings thanks to their more compact fretboard spans.</p> <p>But there's no need to play favorites. All three of these ideas—pentatonic, diminished and whole tone—can live happily together in a modern blues context. Here's what that can sound like:</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/XhlWnE5hR7M" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/funk1.png" width="620" height="697" alt="funk1.png" /><br /> <img src="/files/imce-images/funk%202.png" width="620" height="133" alt="funk 2.png" /><br /> <img src="/files/imce-images/funk%203.png" width="620" height="147" alt="funk 3.png" /></p> <p>Diminished and whole tone sounds work well with blues riffing because of their inherent tritone intervals. By lining these intervals up with the tritones that already exist in the blues scale—between the root and the flatted fifth, for example—you can generate some really cool fusion sounds that seem to protrude just beyond what the listener expects. Mixing in little bits of the sequenced feel takes this one step further as a kind of counterpoint to the looser, funkier feel of box-style blues riffing.</p> <p>And that's really the point. In Cracking the Code, mechanical explorations are never academic. Instead, finding interesting mechanical concepts and matching them with interesting tonalities is an incredibly powerful source of creativity.</p> <p><strong>If this kind of discovery appeals to you, you'll find much more of it in <a href="http://www.troygrady.com/code/" target="_blank">Cracking the Code</a>, the show, as well as in our <a href="http://www.troygrady.com/mechanics/" target="_blank">Masters in Mechanics Series</a>, a monthly subscription series exploring an even wider array of fascinating topics at the intersection of mechanics and music.</strong></p> <p><em>Troy Grady is the creator of <a href="http://troygrady.com/code/">Cracking the Code</a>, a documentary series with a unique analytical approach to understanding guitar technique. Melding archival footage, in-depth interviews, painstakingly crafted animation and custom soundtrack, it’s a pop-science investigation of an age-old mystery: Why are some players seemingly super-powered?</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="/eric-johnson">Eric Johnson</a> </div> <div class="field-item even"> <a href="/yngwie-malmsteen">Yngwie Malmsteen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/cracking-code-troy-grady-puzzle-pentatonic-fours-video#comments Cracking the Code Eric Johnson Troy Grady Yngwie Malmsteen Videos Blogs News Lessons Wed, 27 May 2015 15:15:13 +0000 Troy Grady 24555 at http://www.guitarworld.com Acoustic Nation with Dale Turner: The "Folk Baroque" Stylings of John Renbourn http://www.guitarworld.com/acoustic-nation-dale-turner-folk-baroque-stylings-late-john-renborun <!--paging_filter--><p>On March 26, 2015, the guitar community lost a legend: progressive folk master and founding member of Pentangle, John Renbourn, a picker who literally did what he loved—playing and teaching—up until the end. (When Renbourn didn’t appear at a concert in Glasgow, Scotland, police checked his nearby home, where he was found deceased from an apparent heart attack.) </p> <p>With a steady stream of albums issued since 1965, Renbourn is among the first of the influential English fingerstyle “folk baroque” heavyweights (a list which includes Davey Graham, Bert Jansch and Martin Carthy); he had a profound impact on pickers in the U.K.—everyone from Jimmy Page and Richard Thompson to Nick Drake and John Martyn—and abroad (Jorma Kaukonen, Jerry Garcia, Pierre Bensusan and many others). </p> <p>A fan of music beyond “folk,” Renbourn incorporated classical (in the mid Eighties, he studied composition and orchestration at Dartington Collage of Arts), jazz, blues and “early” music (Medieval, Elizabethan and other eras) into his overall artistic vision. He also played a key role in exposing the Renaissance music of John Dowland to the masses in the late Sixties. Let’s pay our respects to Renbourn with a retrospective look at his influential solo output.</p> <p>In 1965, around the time he issued his self-titled solo debut, Renbourn met Bert Jansch at a London club. The two became roommates and began playing duo renditions of traditional and contemporary folk songs with an emphasis on counterpoint (creative musical interplay between two or more single-note “voices”). The results are documented in 1966’s <em>Bert and John</em> album, marking the birth of “folk baroque.” </p> <p>In 1967, Renbourn’s <em>Another Monday</em> hit the streets, an LP containing the bluesy fan favorite “Buffalo,” which informs <strong>FIGURE 1</strong>. That same year, Renbourn and Jansch made a full-time “band” commitment, forming the seminal “folk-jazz” group Pentangle, a collaboration that continued until 1973.</p> <p>When Pentangle disbanded, Renbourn prioritized his solo career and released <em>The Hermit</em>, a record ripe with intricate cuts like “Faro’s Rag,” not unlike <strong>FIGURE 2</strong>, the latest challenge for Renbourn’s hardcore “picking” fan base (the album art even included guitar transcriptions). </p> <p>Interestingly, Renbourn’s revitalized direction was a direct reaction to having been in a band for several years; after Pentangle, the guitarist realized he’d become a bit out of touch with developments on the solo acoustic guitar scene and felt compelled to contribute in impressive fashion. This pursuit continued throughout the decade, evidenced in 1979’s <em>The Black Balloon</em> title track, a feast of pianistic voicings and strategically placed natural harmonics, like those in <strong>FIGURE 3</strong>.</p> <p>In his later years, which included Pentangle reunions, as well as collaborations with Stefan Grossman and Wizz Jones, Renbourn would conjure more impressionistic sounds from his ax, which were chiefly facilitated by his use of unorthodox tunings, such as open G minor, used in the Celtic-flavored title track to <em>The Nine Maidens</em>, which informs <strong>FIGURE 4</strong>. This tuning is somewhat similar to the D A D G Bb E tuning Renbourn used in the title track to his final album, 2011’s <em>Palermo Snow</em>, akin to <strong>FIGURE 5</strong>.</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/109513617&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/dalekkkkk.jpg" width="620" height="722" alt="dalekkkkk.jpg" /></p> http://www.guitarworld.com/acoustic-nation-dale-turner-folk-baroque-stylings-late-john-renborun#comments acoustic nation Dale Turner John Renbourn July 2015 News Lessons Wed, 27 May 2015 11:21:59 +0000 Dale Turner 24532 at http://www.guitarworld.com What In the World: Using String Skipping to See Scales Differently http://www.guitarworld.com/what-world-using-string-skipping-see-scales-differently <!--paging_filter--><p>When you first learn the three-note-per-string and/or single position seven-note scale, you learn the patterns starting on the low E string and work your way up to the high E and back. </p> <p>You do this for each of the seven patterns up the neck, practicing and perfecting your scales. </p> <p>This is great! The only problem is, this is how you are training your hands and brain to approach them. </p> <p>Rather than viewing the scales as the available notes you have to choose from in a given key/mode, the order of the notes sometimes becomes how you rely on playing them in an improvising and/or composing situation. </p> <p>There is absolutely nothing wrong with this; it has worked fine and beautifully for hundreds of years. The melody for “Joy to the World” is simply a descending major scale. Learning to approach your scales in a different way will shake things up and hopefully change your habits of approaching scales in only an A-to-Z fashion. </p> <p>String skipping is mostly associated with being a shred technique, covering a lot of ground quickly on the guitar by skipping over adjacent strings. The approach I am presenting is not so much a shred thing, but more of a way to know the scale on only two strings at a time, rather than all six, as most people generally learn them. If anything, this will force you to know the notes of the scale better, rather than relying on muscle memory to get through them. Remember the most important thing when playing music is to consciously create, rather than go through the motions of learned patterns that are embedded in our brains from constant repetition. </p> <p>For the examples, I have written the scales out in the key of F. Once the concept is learned, it should be applied to all keys/modes. As you play through these, you will notice different shapes that repeat across each set of two strings according to the degree of the scale you start on. Eventually you will see that if, for instance, you start a pattern on the third degree of the scale, you will be playing one shape; if you start on the root of the scale, you will be playing a different one, etc. </p> <p><strong>String set 1, High E and G strings:</strong></p> <p><img src="/files/imce-images/Lesson-10-1.jpg" width="620" height="445" alt="Lesson-10-1.jpg" /><br /> <br /><br /> <strong>String set 2, B and D strings:</strong></p> <p><img src="/files/imce-images/Lesson-10-2.jpg" width="620" height="461" alt="Lesson-10-2.jpg" /><br /> <br /><br /> <strong>String set 3, G and A strings:</strong></p> <p><img src="/files/imce-images/Lesson-10-3_0.jpg" width="620" height="463" alt="Lesson-10-3_0.jpg" /><br /> <br /><br /> <strong>String set 4, D and low E strings:</strong></p> <p><img src="/files/imce-images/Lesson-10-4.jpg" width="620" height="461" alt="Lesson-10-4.jpg" /></p> <p>To further learn and integrate this approach to your playing, try improvising with this technique using only one string set at a time. Move up and down one string and then hop over to the other string in the set, keeping in mind to be as melodic as possible at all times, rather than trying to shred through the scale. </p> <p>Being limited to only two strings at a time will force you to approach the instrument in a way that you may not have possibly explored before.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/0d5nGfbLifc?list=UUozoKYJmat8MUYcdRo40cHA" frameborder="0" allowfullscreen></iframe></p> <p><em>Steve Booke is a composer for film and TV from the New York area. His compositions range from orchestral to metal to world styles from every corner of the planet. A graduate of Berklee College of Music, Steve has played guitar for more than 28 years. He has recorded 10 albums of his own and has played on countless others. He plays gigs in the NY area and tours the East Coast with a variety of bands. He has performed with Ben E. King and members of Mahavishnu Orchestra. He endorses D'Addario/Planet Waves, Larrivee Guitars, Levy's Leathers, Peavey, Stylus Pick, Finale PrintMusic, Pigtronix, Tech 21, Toontrack, Graph Tech, Seymour Duncan, Waves, Studio Devil and L.R. Baggs. His music is available on iTunes and Amazon. Steve is now offering Skype lessons and can be contacted at info@stevebooke.com. Visit <a href="http://stevebooke.com">stevebooke.com</a> and <a href="https://www.facebook.com/SteveBookeGuitaristComposer">Facebook.com/SteveBookeGuitaristComposer</a>.</em></p> http://www.guitarworld.com/what-world-using-string-skipping-see-scales-differently#comments Steve Booke What In the World Videos Blogs Lessons Tue, 19 May 2015 22:18:28 +0000 Steve Booke 22302 at http://www.guitarworld.com Time to Burn with Michael Angelo Batio: More on Developing Proper Sweep Picking Technique — Video http://www.guitarworld.com/time-burn-more-developing-proper-sweep-picking-technique-video <!--paging_filter--><p>Sweep picking is an incredibly useful and exciting technique that allows guitarists to perform arpeggios in a flashy, keyboard-like manner. </p> <p>It has become a huge part of my playing style, and I’m always looking for new and different ways to incorporate sweep picking into musical ideas I come up with. Last month, I detailed the basic mechanics of the technique, and now I’d like to further demonstrate its proper execution. </p> <p>To review, a sweep is the movement of the pick across two or more adjacent strings in a single, continuous stroke, a downstroke being used to play an ascending melodic line and an upstroke used to play a descending one. Sweeping across only two adjacent strings is also often referred to as economy picking, or rest-stroke picking, typically when applied to phrases that are more scalar than arpeggio-based. </p> <p>Some of the fastest guitarists ever, from gypsy jazz legend Django Reinhardt to jazz-fusion wizard Frank Gambale, have relied on economy, rest-stroke and sweep picking techniques to perform their breathtaking high-velocity solos and make them sound seemingly effortless.</p> <p>For now, we’re going to focus specifically on arpeggios that move across the top five strings. <strong>FIGURE 1</strong> illustrates a sweep-picked A major arpeggio (A C# E). I begin with my index finger on A, fifth string, 12th fret, and pick this note with a downstroke. I then hammer-on with my pinkie to C# at the 16th fret. </p> <p>Then, with my middle finger barred across the D, G and B strings at the 14th fret, I continue the initial downstroke by dragging the pick across these strings and then the high E string, using my index finger to fret the E note at the 12th fret. I then fret the high A at the 17th fret with my pinkie and pick that note with an upstroke. I follow this with a pull-off back to the 12th fret then continue the upstroke by dragging the pick across the B, G, D and A strings in one continuous, unbroken motion, followed by a downstroke on the A note on the fifth string’s 12th fret. <strong>FIGURE 2</strong> illustrates the complete pattern cycled repeatedly in a continuous, even flow of sextuplets. </p> <p>An essential component of proper sweep picking technique is muting unused strings with both hands. When sweeping, I always lightly rest the edge of the pick-hand palm across the strings in front of the bridge (what is known as palm muting), which helps prevent the strings not being picked from ringing. Additionally, when fretting on the lower strings, I use the fleshy “paws” of my fretting fingers to mute the adjacent higher strings, aiding in clear articulation of each note as it is picked, with no other strings ringing. </p> <p>The next step is to work on applying sweeps to other arpeggio shapes in different positions, as demonstrated with a ninth-position A major shape in <strong>FIGURES 3–5</strong>. When played in this position, a one-note-per-string fingering scheme is used, except on the high E string. <strong>FIGURE 3</strong> presents the basic shape, and <strong>FIGURE 4</strong> demonstrates one way you can continuously cycle the pattern. I myself usually double-pick the initial A note when repeating this pattern, as shown in <strong>FIGURE 5</strong>. </p> <p>A great way to practice your sweeps is to alternate between parallel major and minor triads, such as A and Am. <strong>FIGURES 6</strong> and <strong>7</strong> illustrate this approach applied to 12th and ninth positions, respectively. </p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience4244566020001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="4244566020001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p><br /><br /> <img src="/files/imce-images/time%20to%20burn.png" width="620" height="679" alt="time to burn.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/michael-angelo-batio-0">Michael Angelo Batio</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/time-burn-more-developing-proper-sweep-picking-technique-video#comments July 2015 Michael Angelo Batio Time to Burn Videos Blogs News Lessons Magazine Tue, 19 May 2015 19:46:24 +0000 Michael Angelo Batio 24518 at http://www.guitarworld.com Secrets of Shred with Sammy Boller: Whipping Sweep Arpeggios — Video http://www.guitarworld.com/secrets-shred-sammy-boller-whipping-sweep-arpeggios-video <!--paging_filter--><p>In this lesson, I’m going to show you how to expand your sweep picking skills by adding slides to create a chaotic, whipping sound. </p> <p>I’m going to show you two different patterns, then combine them to create longer runs all the way down the neck. </p> <p>Let’s jump right into our first example in the key of D minor.</p> <p><strong>EXAMPLE 1</strong> is a diatonic sweep pattern starting in the 17th position. For this example, I slide between positions by utilizing slides on the high E string. To create a whipping sound, accent the slides as much as possible with your fourth finger. This riff ends with a short D minor pentatonic run in the 10th position. </p> <p>Moving on to <strong>EXAMPLE 2</strong>, I take the same sweep as our first example, but this time shift down to the 10th position using a slide on the G string. For this example, I accent the slide with my third finger. This riff also ends with a short run with the D minor pentatonic scale.</p> <p>For <strong>EXAMPLE 3,</strong> we take the slides of <strong>EXAMPLES 1 and 2</strong> and combine them into a longer descending run. This example starts with the same sweep in the 17th position, but this time, we utilize slides on the G and E strings to reach the pentatonic run in the 10th position. To bring out the whipping effect, be sure to focus on exaggerating the slides between positions as much as possible. Remember, how you play a riff is often more important than executing every note perfectly.</p> <p><strong>EXAMPLE 4</strong> takes things one step further by extending our sweep patterns down the neck to the fifth position. I achieve this by utilizing slides on the high E , B and G strings. In each position, I play notes that are diatonic to D minor. This example ends with a short blues run in the fifth position.</p> <p>When soloing, you can sweep any combination of notes that are in a key—not just diatonic arpeggios. A lot of shredders get stuck only sweeping arpeggio shapes, but sweep picking can be utilized in many different ways. Try coming up with sweep patterns of your own and use exaggerated slides to shift between positions. Hopefully using this whipping slide technique will help break you out of your comfort zone and ultimately expand your dynamic range on the guitar. </p> <p>Cheers!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4a5XKlCqTw0" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Sliding_Sweep_Arpeggios.jpg" width="620" height="644" alt="Sliding_Sweep_Arpeggios.jpg" /></p> <p><em>Sammy Boller is the guitarist for the Detroit rock band <a href="https://www.facebook.com/citizenzero">Citizen Zero</a>. They’re touring and recording their first full-length album with Al Sutton and Marlon Young (Kid Rock, Bob Seger, Uncle Kracker). In 2012, Boller was selected by Joe Satriani as a winner of Guitar Center’s Master Satriani competition. He studied music at the University of Michigan. For more about Boller, or to ask him a question, write to him at info@sammyboller.com or follow him on <a href="https://twitter.com/sammyboller">Twitter</a>.</em></p> http://www.guitarworld.com/secrets-shred-sammy-boller-whipping-sweep-arpeggios-video#comments Sammy Boller Secrets of Shred Videos Blogs Lessons Mon, 18 May 2015 20:51:42 +0000 Sammy Boller 24504 at http://www.guitarworld.com Guitar Chalk Sessions: Four Actionable Practice Methods to Help You Improve Every Day http://www.guitarworld.com/guitar-chalk-sessions-four-actionable-practice-methods-help-you-improve-every-day <!--paging_filter--><p><strong><em>FROM THE AUTHOR: If you disagree, keep it kosher. We’re just talking guitars.</em></strong></p> <p>If you’re like me, you would love to spend more time playing guitar.</p> <p>Or at least you’d like to figure out <a href="https://www.guitartricks.com/v2/trial_splash.php?a_aid=55097c8e80b04">how to be more productive</a> with the time you already spend. Because even if you get to play sporadically, it doesn’t always feel like you’re accomplishing anything.</p> <p>It’s possible that you’re not.</p> <p>For most, the tendency when picking up the guitar is to “fiddle” or jam <a href="http://www.guitarchalk.com/48-of-greatest-guitar-driven-songs-youve-never-heard/">whatever song is in our heads.</a> We seldom tackle the instrument with intentionality and aggression, unless we have a lot of time to play.</p> <p>The problem is, we usually don’t have more than 15 or 20 minutes.</p> <p>So I’ll show you how to make the most of that time—and to improve—even if you don’t have hours to spare.</p> <p>We’ll cover four <a href="http://www.amazon.com/gp/product/0876390114/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&amp;camp=1789&amp;creative=9325&amp;creativeASIN=0876390114&amp;linkCode=as2&amp;tag=theguitblac-20&amp;linkId=IRXUNFYJHKN346G3">specific practice methods</a> you can use to improve your guitar playing. And none of them take much time.</p> <p><strong>1. Play Through a Loose-Fitting Pentatonic Scale</strong></p> <p>First up is what I’m calling the “loose-fitting pentatonic scale.” That means we’re looking to practice the general pentatonic shape or sound, which should be familiar to you. Here’s the structure:</p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-15%20at%203.22.56%20PM.png" width="378" height="127" alt="Screen Shot 2015-05-15 at 3.22.56 PM.png" /></p> <p>This shape is what many blues and rock lead patterns are derived from. Learn it, then practice your own variations for five or ten minutes at a time. </p> <p>Perhaps something like this:</p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-15%20at%203.24.40%20PM.png" width="538" height="123" alt="Screen Shot 2015-05-15 at 3.24.40 PM.png" /></p> <p>Change keys, use different techniques or just work on your speed. The better you are at improvising and navigating this shape, the better your foundational lead play will be.</p> <p>And the details don’t matter as much. As long as you’re practicing the shape, you’re doing something worthwhile and substantive.</p> <p><strong>2. Target an Uncomfortable Chord Shape</strong></p> <p>Find a chord shape that doesn’t come naturally to you. By that I mean that you can’t just pop to it without thinking; it’s difficult and awkward. For me, that shape has always been anything where my pinky plays the deep root note.</p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-15%20at%203.25.34%20PM.png" width="100" height="133" alt="Screen Shot 2015-05-15 at 3.25.34 PM.png" /></p> <p>The plan is to simply work on it, and that can look however you want. Practice going in and out of that chord, moving the shape or work on picking through it in an arpeggiated pattern.</p> <p>It’ll be tough, because chances are you haven’t bothered much with a shape that gives you a lot of trouble.</p> <p>But if you work on it intentionally, even for a few minutes, it’ll be easier the next time around. You’ll have <a href="http://www.guitarchalk.com/guitar-dexterity-session-motor-skill-development-fingers-lesson/">improved dexterity,</a> finger strength and—over time—added another layer to your rhythm playing.</p> <p><strong>3. Actually Track a Solo</strong></p> <p>Tracking a solo is tedious, though not as time consuming as you might think. Pick a solo that has some complexity to it—something that <a href="http://www.amazon.com/gp/product/B00HZ2M5KE/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&amp;camp=1789&amp;creative=9325&amp;creativeASIN=B00HZ2M5KE&amp;linkCode=as2&amp;tag=theguitblac-20&amp;linkId=MIQVFQ6EOAQN4LLO">will challenge you</a>—that you wouldn’t expect to come easy.</p> <p>Then, look up the tabs (I recommend printing them out) and take a small portion of the solo every day.</p> <p>Let’s say the solo lasts for 16 measures.</p> <p>Take two measures per day. In just over a week, you’ll know the solo and you’ll have played a lot of lead patterns that you’re not used to.</p> <p>Our hands and fingers fall into what I’ll call “lead ruts” where we gravitate to certain patterns and movements and get into the habit of playing them most of the time.</p> <p>Tracking solos help us break out of those ruts by playing patterns and runs that we’re not used to.</p> <p>It’s a win-win.</p> <p><strong>4. Memorize the Sound of a Common Chord Progression Interval</strong></p> <p>If you want to be a better ear player and perhaps free yourself from looking at chord sheets, learning to recognize (by ear) common chord progression intervals is a huge step in the right direction.</p> <p>First, consider that most of the chord progressions we use in the west are the same. </p> <p>Take G, C and D for example. You use it all the time, and if you can remember how it sounds then you’ll establish auditory familiarity that will help you anticipate chord changes and free you from always looking at sheet music.</p> <p>So how do you do it?</p> <p>Note that what you’re actually memorizing is a series of intervals between the roots of the chords. And the location of those intervals can change; for example:</p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-15%20at%203.29.06%20PM.png" width="135" height="127" alt="Screen Shot 2015-05-15 at 3.29.06 PM.png" /></p> <p>This interval and the following interval are exactly the same, because they share the same root notes.</p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-15%20at%203.29.39%20PM.png" width="157" height="127" alt="Screen Shot 2015-05-15 at 3.29.39 PM.png" /></p> <p>However, keep in mind we’re talking about intervals which means the root intervals of a chord progression can move. In that case, you’ll have new chords, but the intervals between them will be the same.</p> <p>Let’s say we move the previous shape up one whole step (two frets). We’d have the following tab:</p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-15%20at%203.31.49%20PM.png" width="160" height="127" alt="Screen Shot 2015-05-15 at 3.31.49 PM.png" /></p> <p>At this point, our chord progression has changed to A, D and E, yet our interval is still the same. </p> <p>So it’s helpful to train our minds, not just to a specific chord progressions, but to the intervals that separate those progressions.</p> <p><a href="http://www.guitarchalk.com/how-to-teach-recurring-patterns-in-modern-chord-progressions-guitar-lessons/">This article on recurring patterns in chord progressions</a> delves a little deeper into this topic.</p> <p>If you take one progression at a time and familiarize yourself with the sounds of the root notes, it won’t take more than 10-15 minutes a day to make substantial progress in this area. Here are the steps you’ll want to take:</p> <p>1. Choose a common chord progression to start working with.</p> <p>2. Play through the most conventional form you know (usually open chords) and pay close attention to what it sounds like, while familiarizing yourself with the chord changes.</p> <p>3. Then play through just the root notes and remember the intervals between each one.</p> <p>4. Now, move the progression to a new set of roots and continue to focus on the changes between each interval.</p> <p>5. Repeat this process for several days, until you can easily recognize the progressions and intervals.</p> <p><strong>Follow Up</strong></p> <p>Have thoughts or questions about this lesson? Leave it in the comments or get in touch via <a href="https://www.facebook.com/guitarchalk">Facebook</a> and <a href="https://twitter.com/guitarchalk">Twitter.</a></p> <p><em>Flickr Commons Image Courtesy of <a href="https://www.flickr.com/photos/frf_kmeron/">Kmeron</a></em></p> <p><em>Robert Kittleberger is the founder and editor of <a href="http://www.guitarchalk.com">Guitar Chalk</a> and <a href="http://www.guitarbargain.net">Guitar Bargain</a>. You can get in touch with him <a href="http://www.guitarchalk.com/p/about-me.html">here</a>, or via <a href="https://twitter.com/guitarchalk">Twitter</a>, <a href="https://www.facebook.com/guitarchalk">Facebook</a> and <a href="https://plus.google.com/u/0/109221824688243850332/posts">Google Plus.</a></em></p> http://www.guitarworld.com/guitar-chalk-sessions-four-actionable-practice-methods-help-you-improve-every-day#comments Bobby Kittleberger Guitar Chalk Sessions Blogs Lessons Fri, 15 May 2015 19:37:10 +0000 Bobby Kittleberger 24490 at http://www.guitarworld.com Monster Licks Unleashed: Take the Blues Scale to Ferocious New Places — Video http://www.guitarworld.com/monster-licks-unleashed-take-blues-scale-ferocious-new-places-video <!--paging_filter--><p>In this Monster Lick, I'm using the E "blues scale." This also is known as the flat five pentatonic scale. The notes in this scale are E, G, A, Bb, B and D. </p> <p>This lick ventures way outside the traditional "blues" use of this scale. </p> <p>It always amazes me how the same six notes, when played with a new spin, can have such a drastic impact. Obviously, speed is a factor here, but for the most part it's all about accentuation or a focus on the flat five note, the Bb. </p> <p>You'll notice throughout the lick that I'm utilizing the dissonance of the flat five to create the intensity of the tonality. This enables me to use this traditional blues scale in a more ferocious environment—sonically and musically. </p> <p>Because my influences are the greats of blues-rock guitar—Jimi Hendrix, Eric Clapton, Stevie Ray Vaughan, etc.—I wanted to be able to stick to the same tonality but adapt it to the heavier, more aggressive style of music I tend to lean toward; certainly in the rock genre, anyway. Don’t get me wrong; there's nothing I love more than blasting away over a slow blues, but my natural style is on the heavier side of rock. </p> <p><strong>The Lick:</strong></p> <p>The lick features legato, wide intervals and tapping. Notice the use of the flat five note; you'll see how I use this note almost as a pivot point in the first half of the lick to create the intensity, at least tonally.</p> <p>From there I move into the tapping section. You'll notice I tap three consecutive notes with my second and third fingers on my right hand. I always keep grip of the pick with my thumb and index finger to help with the transitions in and out of the tapping. </p> <p>The next section is by far the trickiest. It requires hard hammering with the left hand to sound the notes correctly while transitioning up and down the neck. It looks cool and sounds even cooler, so it's well worth the effort!</p> <p>Please reference the video and transcript below and work through each section at your own pace. Most of all, have fun!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/XafMn1g9eP0" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/proud.jpg" width="620" height="467" alt="proud.jpg" /></p> <p><strong>I hope you enjoy this Monster Lick Unleashed! Join me on <a href="https://www.youtube.com/user/atomicguitaraudio">YouTube right here!</a> Contact me through <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a> or <a href="https://www.facebook.com/glenn.proudfoot">my Facebook page</a>.</strong></p> <p><em>Australia's Glenn Proudfoot has played and toured with major signed bands and artists in Europe and Australia, including progressive rockers Prazsky Vyber. Glenn released his first instrumental solo album, </em>Lick Em<em>, in 2010. It's available on iTunes and at <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a>. His brand-new instrumental album — </em>Ineffable<em> — is out now and is available through <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a> and <a href="https://itunes.apple.com/au/album/ineffable/id914342943">iTunes</a>.</em></p> http://www.guitarworld.com/monster-licks-unleashed-take-blues-scale-ferocious-new-places-video#comments Glenn Proudfoot Monster Licks Monster Licks Unleashed Videos Blogs Lessons Fri, 15 May 2015 18:06:59 +0000 Glenn Proudfoot 24489 at http://www.guitarworld.com Troy Grady Breaks Down Steve Vai's "Intimidation Lick" from 'Crossroads' — Video http://www.guitarworld.com/troy-grady-breaks-down-steve-vais-intimidation-lick-crossroads-video <!--paging_filter--><p>As any good GuitarWorld.com follower knows, we often share the very highly detailed and entertaining lesson videos of a guitarist named Troy Grady.</p> <p>Here are two recent examples: </p> <p>• <a href="http://www.guitarworld.com/paul-gilbert-lesson-truth-about-inside-and-outside-picking-video">Paul Gilbert Lesson: The Truth About Inside and Outside Picking — Video</a></p> <p>• <a href="http://www.guitarworld.com/yngwie-malmsteem-lesson-cracking-code-season-2-episode-2-inside-volcano-video">Yngwie Malmsteen Lesson: Cracking the Code, Season 2, Episode 2: "Inside the Volcano."</a></p> <p>Well, in the video below, Grady tackles what he calls Steve Vai's "Intimidation Lick" from the guitar-duel scene in the 1986 feature <em>Crossroads.</em> As always, it's fascinating to watch Grady break down and explain the lick. Check out the video below, and you'll see what I mean.</p> <p>As Grady points out in the comments below, you can find tablature for this lesson <a href="http://troygrady.com/2014/01/22/steve-vai-crossroads-intimidation-breakdown/">right here.</a></p> <p><strong>For more about Grady and his instructional videos, visit <a href="http://www.troygrady.com/code/">troygrady.com</a> and <a href="https://gumroad.com/l/ccseason2">gumroad.com</a>.</strong> Enjoy!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/7M8GfYMqfWM" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/steve-vai">Steve Vai</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/troy-grady-breaks-down-steve-vais-intimidation-lick-crossroads-video#comments Cracking the Code Steve Vai Troy Grady Videos News Lessons Fri, 15 May 2015 16:03:18 +0000 Damian Fanelli 23270 at http://www.guitarworld.com Guitar Strength: 10 Commandments of Playing Guitar in the Style of Dimebag Darrell, Part 1 http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-1 <!--paging_filter--><p>This is a two-part column; part 1 is below, <a href="http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-2">and part 2 is right here.</a></p> <p><strong>Commandment 1: Honor Thy Van Halen</strong></p> <p>... and ZZ Top, Kiss, Judas Priest, Black Sabbath, Ted Nugent, Pat Travers, early Metallica (<em>Kill ‘em All</em>, <em>Ride the Lightning, Master of Puppets</em>) and Randy Rhoads.</p> <p>Van Halen’s impact on Dimebag’s playing is unmistakable. The “vibe” of early Van Halen is by far the most recognizable influence in Dimebag’s playing. From the grooving rhythms played like leads of their own, to the tone, to the phrasing in his lead playing, Dimebag took the inspiration of Edward Van Halen and forged his own identity.</p> <p>Pieces such as “Eruption” and “Spanish Fly” were favorites of Dimebag, who would play them in his unaccompanied guitar solos back in Pantera’s early club days.</p> <p>Dime has been noted as being Texas’ “Van Halen clone,” the local hotshot who could play all of the most impressive licks of his hero. Further, the brotherly bond of the Van Halen brothers (Eddie on guitar and Alex on drums) was mirrored in Pantera (Vinnie on drums and Dime on guitar).</p> <p>Van Halen’s impact is further felt as the words “Van Halen” were actually Dimebag’s last words spoken before he was tragically murdered. “Van Halen” was something Dime would say to his brother Vinnie before a live performance to inspire them both to play a fun, lively, rocking show. Also, Dime was actually buried with the guitar that inspired him most -- Eddie Van Halen’s yellow and black striped guitar featured on the back cover of <em>Van Halen II</em>.</p> <p>To truly understand Dimebag’s playing, it is crucial to absorb the “Van Halen” feel, as well as the techniques and attention to tone that were such a part of the early Van Halen experience.</p> <p><strong>Commandment 2: Thou Shalt Use the Major 3rd</strong></p> <p>Always wearing his Van Halen influence on his sleeve, Dimebag was never one to shy away from using the interval of a major 3rd in his heavy playing. Shunned by most “metal” players, the major 3rd was an essential tool in Dime’s bag of tricks.</p> <p>When playing in E (minor), the major third is G#, which adds a unique feel to riffs and licks that also utilize the minor 3rd (G). Theoretically, this major 3rd lends lines a Mixolydian quality, though it essentially gives a bluesy type of sound and adds tension/dissonance to minor key tonalities (For more information, check out <a href="http://www.guitarstrength.com/">Guitar Strength Volume 1: Mastering the Modes</a>.)</p> <p>Example 1 is a Dimebag-inspired riff using this major 3rd in a minor key.</p> <p><img src="/files/imce-images/Example1_0.jpg" width="620" height="156" alt="Example1_0.jpg" /></p> <p>Notice also how Dime gets extra mileage out of the interval by using it in a pattern that also makes use of the flat 9 (F in E minor). Example 2 is another Dimebag-inspired riff using the same intervals. (For another riff using the major 3rd, which was clearly an influence on Dimebag, check out the end of “Sabbath Bloody Sabbath” by Black Sabbath.)</p> <p><img src="/files/imce-images/Example2.jpg" width="620" height="140" alt="Example2.jpg" /></p> <p>The major 3rd was not just essential to Dimebag’s riffs, it was also extensively used in his lead playing. Example 3 is an E minor fingering of the “Dimebag Scale,” a minor pentatonic scale with the addition of a flat 5, major 6th (omitted on the A string and used only on the B string, 14th fret for ease of fingering), and major 3rd. </p> <p><img src="/files/imce-images/Example3.jpg" width="620" height="141" alt="Example3.jpg" /> </p> <p>Example 4 is a Dimebag-inspired lick using this scale.</p> <p><img src="/files/imce-images/Example4.jpg" width="620" height="161" alt="Example4.jpg" /></p> <p>When attempting to conjure the influence of Dimebag in your own playing, experimentation with the integration of this major 3rd into more “standard” minor phrases is highly encouraged. Don’t be afraid of sounding “happy”; play the note like you mean it and you’ll be amazed at its versatility and its ability to make your playing substantially more interesting.</p> <p><strong>Commandment #3: Embrace Symmetry</strong></p> <p>Another Van Halen-inspired technique employed by Dimebag was the use of symmetrical fingerings. This technique is extremely easy to learn but requires taste and skill for successful implementation. To perform this technique, simply devise a fingering shape on one string and apply it across all six. </p> <p>Example 5 is a Van Halen-esque lick, based on a root, major 3rd, 5th shape in E, continuing down to the A string and resolving on a B string bend from D to E (and back down to D for some minor 7th tension).</p> <p><img src="/files/imce-images/Example5.jpg" width="620" height="300" alt="Example5.jpg" /></p> <p>Clearly inspirational to Dime, example 6 is a variation in the same (12th) position, this time using the minor 3rd (G), 5th (B), and a slide to and from the flat 6th (C). This expanded symmetrical shape still uses a simple 1-2-4 fret hand fingering across all six strings, yet the pinky slide gives it some extra range and movement.</p> <p><img src="/files/imce-images/Example6.jpg" width="620" height="170" alt="Example6.jpg" /></p> <p>Further examples of simple, yet effective symmetrical patterns used by Dimebag can be seen in examples 7 and 8. Example 7 is another shape, this time using the major 7 (Eb in E), the root (E), and the minor 3rd (G) as its basis. In this case, the pattern is an ascending climb combining both picking and legato phrasing, again using the 1-2-4 fingering. </p> <p><img src="/files/imce-images/Example7.jpg" width="620" height="212" alt="Example7.jpg" /></p> <p>In example 8, based on one of Dimebag’s favorite patterns, the shape uses a 4-3-1 fingering in a descending sequence on the top three strings. This shape in this position is a throwback to the playing of Pat Travers, and can be quite effective when playing over rhythms in A minor and E minor. </p> <p><img src="/files/imce-images/Example8.jpg" width="620" height="145" alt="Example8.jpg" /></p> <p>Feel free to transpose it into other keys and use it often, just as Dime did.</p> <p>It is important to notice that though Dimebag possessed astounding picking technique, he tended to favor executing most of his lines in a legato fashion (another homage to Mr. Edward Van Halen). Dimebag’s love of legato gave his lines a fluid, lively quality, and his powerful left hand technique was extremely important when effectively implementing these symmetrical patterns into his lead licks.</p> <p><strong>Commandment 4: Give Chords New Found Power</strong></p> <p>Never content with “standard” guitar techniques, Dimebag was an avid user of the “other” power chords. Instead of relying on normal root-5th and root-4th (inverted 5th) power chords (though he was an obvious master when it came to using them), Dimebag would often come up with and use alternative dyads (two-note chords) in place of standard power chords. These chords were usually major or minor thirds stacked on top of the root. Example 9 is the two basic versions of these chords with 6th and 5th string roots. The first is the “major 3rd” variation and the second is the “minor 3rd” version.</p> <p><img src="/files/imce-images/Example9.jpg" width="620" height="195" alt="Example9.jpg" /></p> <p>Example 10 is a figure using the minor 3rd power chord. Notice how the chords act to add texture and movement to the riff, as they work well when used in the same riff as the more pedestrian root-5th power chords. The chords also add a nice tension, as they are not as “homogenous” and “neutered” sounding as the standard root-5th chords. Also, when used with a rocking distorted tone, these chords have an extremely powerful sonic fingerprint with their unique overtones. </p> <p><img src="/files/imce-images/Example10.jpg" width="620" height="132" alt="Example10.jpg" /></p> <p>These overtones are, in fact, what makes these chords so special and useful. With usual major or minor chords and triads, playing them with distortion often results in a cluttered, un-musical noise. There is just too much information present to allow sonorous, musical sounds when using the standard major or minor chord shapes. However, by just playing the root and 3rd, a vibrant, tense, rich sound is created, really putting the “power” in power chord.</p> <p>Experiment often with substituting these root-3rd power chords for standard root-5th chords in your riffs. Also, try varying your usage of major and minor 3rds, as often times the “wrong” (out of key) 3rd will sound most interesting in a riff. Example 11 is a Dimebag inspired riff using these harmonically “wrong” power chords. </p> <p><img src="/files/imce-images/Example11.jpg" width="620" height="278" alt="Example11.jpg" /></p> <p><strong>Commandment 5: Know your Nodes</strong></p> <p>No discussion of Dimebag would be complete without mentioning his penchant for playing with harmonics. Dimebag’s playing was peppered with any and every type of harmonics: natural, artificial, tapped, etc.</p> <p>Playing with an overtone-rich, distorted sound, harmonics (whether naturally or artificially produced) are an integral component in the beast of electric guitar. Harmonics can occur almost anywhere and can be produced by a myriad of means, and can occur many times as an accidental consequence of playing with a loud, distorted sound.</p> <p>Dimebag, however, excelled at controlling the beast, and was able to skillfully use harmonics as one of the most expressive elements in his playing. To understand how Dime would use harmonics, we’ll first look at the naturally occurring harmonic nodes that occur across the fretboard. Example 12 is a basic depiction of the most common, “easy” harmonics that occur when a fret hand finger is used to lightly touch a plucked string (without actually pushing it down and fretting it) and produce a harmonic. </p> <p><img src="/files/imce-images/Example12.jpg" width="620" height="154" alt="Example12.jpg" /></p> <p>Example 13 shows some more difficult to produce harmonics along the same string, many of which were used extensively by Dime.</p> <p><img src="/files/imce-images/Example13.jpg" width="620" height="159" alt="Example13.jpg" /></p> <p>Dime was never content to just play the harmonics, though, as he would often use a variety of techniques to produce and manipulate them. The most famous of these techniques was Dime’s signature “harmonic scream” technique. The basic maneuver is depicted in example 14. </p> <p><img src="/files/imce-images/Example14.jpg" width="620" height="388" alt="Example14.jpg" /></p> <p>To perform this technique as Dimebag would, a floating tremolo bridge (able to bend a note below and above) is necessary (preferably a locking Floyd Rose or its equivalent). First, get the string moving by “plucking” it with a silent fret hand pull-off while simultaneously dumping / depressing the bar and bending the tremolo down. As the open string is lowered in pitch and its tension is reduced, lightly tap the selected harmonic node with the fret hand “bird”/middle finger. Next, after the harmonic has been sounded, slowly return the bar to pitch, pull it up higher, and apply vibrato with the whammy bar. Note that the actual time the open/dumped string rings is only a fraction of a second, it is only sounded so as to allow the string movement enough to produce the fret hand “tapped” harmonic. </p> <p>Also note the importance of fret hand muting, being sure to use the fret hand thumb (wrapped over the top of the neck) and fret hand fingers to mute any unwanted noise from the unused strings. Experiment with different harmonic nodes, as some will be easier to execute and some will sound more interesting than others. </p> <p>While Dimebag was also quite adept at using Zakk Wylde/John Sykes/George Lynch/Billy F. Gibbons style “pings” (artificial harmonics, A.K.A. pick harmonics) he was especially adept at using multiple, combined harmonics as a way to spice up his rhythm playing. </p> <p>Example 15 shows this technique at play. </p> <p><img src="/files/imce-images/Example15.jpg" width="620" height="164" alt="Example15.jpg" /></p> <p>Notice first that Dime loved using “in-between” harmonics, those that had a particularly shrieking/squealing sound. Also notice that in combining two or more harmonics, an extremely cool set of screaming, dissonant overtones is created. Try any and all combinations of harmonics on various string sets and at various node points, and also experiment with manipulating the combinations with your whammy bar and/or effects pedals. Example 16 is several available combinations.</p> <p><img src="/files/imce-images/Example16.jpg" width="620" height="365" alt="Example16.jpg" /></p> <p>The possibilities are endless. <a href="http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-2">Check out Part 2!</a></p> <p><em>Scott Marano has dedicated his life to the study of the guitar, honing his chops at the Berklee College of Music under the tutelage of Jon Finn and Joe Stump and working as an accomplished guitarist, performer, songwriter and in-demand instructor. In 2007, Scott developed the Guitar Strength program to inspire and provide accelerated education to guitarists of all ages and in all styles through state-of-the-art private guitar lessons in his home state of Rhode Island and globally via Skype. <a href="http://www.guitarstrength.com/">Visit Scott and learn more at www.GuitarStrength.com.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item even"> <a href="/pantera">Pantera</a> </div> <div class="field-item odd"> <a href="/damageplan">Damageplan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-1#comments Damageplan Dimebag Darrell Guitar Strength Pantera Scott Marano Blogs Features Lessons Thu, 14 May 2015 14:33:28 +0000 Scott Marano 13074 at http://www.guitarworld.com Bent Out of Shape: Learning Paganini's 16th Caprice in G Minor http://www.guitarworld.com/bent-out-shape-learning-paganinis-16th-caprice-g-minor <!--paging_filter--><p>A couple of weeks ago, <a href="http://www.guitarworld.com/bent-out-shape-intensive-30-minute-guitar-workout-musicians-go">I gave you a short, 30-minute guitar workout</a> designed for guitarists whose practice time is limited. </p> <p>The positive response I received prompted me to create an additional lesson, which, in combination with my original workout, will give you a good hour of intensive practice. </p> <p>For this lesson, I have selected a classical piece for you to learn: Paganini's 16th Caprice in G minor. Learning classical pieces is a great way to improve your technique and theory. It's also more beneficial to practice something musical, rather than just working on exercises. Use my 30-minute workout as a warmup and then spend an additional 30 minutes to an hour working on this piece. </p> <p>It's very challenging and features a good selection of arpeggios, wide intervals, chromatic runs, string skipping and sequences. It's very rewarding to learn and play in its entirety. Because of its length, I have the divided the piece into three parts. </p> <p>Your first task will be to memorize the notes, which in itself is a big challenge. I would suggest taking it one bar at a time, memorizing the notes and working out the fingering. Then attempt to perform the bar in full. Start at the beginning with bar 1, and add a new bar every day. Once the notes are memorized, you can begin to work with a metronome and build speed. </p> <p>Start at 80 bpm playing 8th notes and increase the metronome by 10 bpm after each successful performance. When you reach 120 bpm, go back to 60 bpm and play the piece as 16th notes. From there, take it as fast you can. </p> <p>It's meant to be at a tempo of 165 bpm, which is incredibly fast for a piece so complex. I can only get to around 120 bpm before it becomes too challenging. For this lesson, I have recorded myself performing the piece in full at the comfortable tempo of 100 bpm. Use this as a reference for yourself when learning. I have also marked in the Soundcloud link where each of the three parts begins to help you navigate.</p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F90255673"></iframe></p> <p><img src="/files/imce-images/caprice1.jpg" width="620" height="1145" alt="caprice1.jpg" /></p> <p>The first part begins with several arpeggios which you will need to play using sweep picking (bars 1 to 6). Everything else should be played with alternate picking. There's a tricky string skipping section at bar 7, which you can either play with your second finger or entirely with the pick. After bar 8, it repeats from the beginning. From bars 9 to 14, you have more arpeggios and string-skipping, but this time you will not need to sweep the arpeggios. Bar 14 ends with a long A# major arpeggio over three octaves. </p> <p>Next week, we will look into detail at the second part of the piece and also analyze some of the theory used in its composition. Best of luck, cheers!</p> <p><em>Will Wallner is a guitarist from England now living in Los Angeles. He recently signed a solo deal with Polish record label Metal Mind Productions for the release of his debut album, which features influential musicians from hard rock and heavy metal. He also is the lead guitarist for White Wizzard (Earache Records) and in 2012 toured Japan, America and Canada. Follow Will on <a href="https://www.facebook.com/wallnervain">Facebook</a> and <a href="https://twitter.com/willwallner">Twitter</a>.</em></p> http://www.guitarworld.com/bent-out-shape-learning-paganinis-16th-caprice-g-minor#comments Bent Out of Shape Niccolo Paganini Will Wallner Blogs News Lessons Thu, 14 May 2015 14:28:03 +0000 Will Wallner 18306 at http://www.guitarworld.com