Lessons http://www.guitarworld.com/taxonomy/term/8/all en Mark Tremonti Lesson: How to Play “Another Heart” — Video http://www.guitarworld.com/mark-tremonti-lesson-how-play-another-heart-video <!--paging_filter--><p>In the video below, Mark Tremonti shows you how to play “Another Heart,” the latest single from the new Tremonti album, <em>Cauterize.</em></p> <p>Note that Tremonti's tuning for this lesson is C# G# C# F# A# D#.</p> <p><em>Cauterize,</em> which was released last month, is available now via <a href="https://itunes.apple.com/us/album/cauterize/id994986717?app=itunes">iTunes.</a></p> <p>For another <em>Cauterize</em> lesson video featuring Tremonti, <a href="http://www.guitarworld.com/mark-tremonti-premieres-cauterize-playthrough-video-exclusive">head here.</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/8oOXJPi1WcY" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/mark-tremonti-lesson-how-play-another-heart-video#comments Cauterize Mark Tremonti Tremonti Videos News Lessons Tue, 07 Jul 2015 16:14:38 +0000 Damian Fanelli 24878 at http://www.guitarworld.com Ragdoll's Leon Todd: How to Play "Rewind Your Mind" — Video http://www.guitarworld.com/ragdolls-leon-todd-how-play-rewind-your-mind-video <!--paging_filter--><p>Today, GuitarWorld.com and Australian rockers Ragdoll have teamed up to bring you this exclusive "Rewind Your Mind" lesson featuring Ragdoll guitarist Leon Todd.</p> <p>The track is from the band's latest album, <em>Ragdoll Rewound,</em> which merges the swagger of the Seventies, the anthemic melodies of the mid-Eighties and the sonic intensity of modern times.</p> <p>The band's approach is best described by lead vocalist/bassist Ryan Rafferty: "We bring together all the things that we, as rock music fans, love about all our favorite bands; power, melody and groove." Drummer Cam Barrett rounds out the band.</p> <p><strong>For more about Ragdoll, follow them on <a href="https://www.facebook.com/ragdollrock">Facebook</a> and <a href="https://twitter.com/ragdoll_rock">Twitter.</a></strong></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience4340592621001" 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="4340592621001" /> </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 --> http://www.guitarworld.com/ragdolls-leon-todd-how-play-rewind-your-mind-video#comments Leon Todd Ragdoll Videos News Lessons Tue, 07 Jul 2015 14:05:01 +0000 Damian Fanelli 24874 at http://www.guitarworld.com Talkin’ Blues with Keith Wyatt: How to Use Slapping and Raking in Blues Guitar http://www.guitarworld.com/talkin-blues-keith-wyatt-massive-attack-slapping-and-raking <!--paging_filter--><p>For guitarists accustomed to channel switching and distortion pedals, the thought of being forced to plug straight into a clean amp can be a nightmare. But the big, bad guitar sounds of classic blues are all “straight in,” so how do players turn this apparent handicap to an advantage? The secret is to attack. </p> <p>Your sound begins at the point of impact between the pick and the string. Modern rock technique, particularly shred, minimizes the range of pick motion to maximize speed. The initial sound is small, but electronic effects, such as distortion and compression, magnify the result after the fact. </p> <p>In blues, the idea is to shape your tone before it leaves the guitar. A big sound requires a big attack, so you don’t pick the strings—you slap them. Since this means hitting several strings at once, you must also train your fretting hand to mute the strings on either side of the desired note. </p> <p> <strong>FIGURE 1</strong> illustrates fret-hand muting applied to an A minor pentatonic scale (Xs indicate muted notes). Fret each note just behind the tip of your first or third finger. From the A string up, let your fingertip rest against the adjacent lower string, and on all but the high E string let the fleshy underside of the finger mute the adjacent upper string. </p> <p> Drape your thumb over the top of the neck to mute the lowest strings while your index finger lies lightly across the highest ones. Slap across the strings aggressively with the pick. If your muting technique is accurate, you will hear the single fretted note surrounded by the percussive thwack of the muted strings (on the B and high E strings, aim the pick more carefully to avoid hitting the unmuted middle strings).</p> <p><strong>FIGURE 2</strong> applies slapping to a phrase similar to Stevie Ray Vaughan’s “Cold Shot.” On the upbeats, strum the open strings with upstrokes, then immediately mute them with your fret hand. In <strong>FIGURE 3</strong>, we apply the same fretting technique to a Hendrix-style riff on the blues classic “Rock Me Baby.”</p> <p>A related technique is the rake, a stylistic trademark of B.B. King, which is demonstrated in <strong>FIGURE 4</strong>. Lay the heel of your pick hand lightly across the lower strings—what is known as palm muting (P.M.)—and drag the pick across them before striking the highest note loud and clear with an emphatic “pop.” When you respond to a clean tone with a dynamic attack, your sound becomes more present and the details of your touch shine through. Cleanliness is a virtue, after all.</p> <p><iframe width="100%" height="350" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/21655708&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true"></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202015-07-06%20at%204.09.06%20PM.png" width="620" height="863" alt="Screen Shot 2015-07-06 at 4.09.06 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="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/talkin-blues-keith-wyatt-massive-attack-slapping-and-raking#comments Cold Shot Keith Wyatt March 2014 Stevie Ray Vaughan Talkin' Blues Lessons Magazine Mon, 06 Jul 2015 20:54:37 +0000 Keith Wyatt 20328 at http://www.guitarworld.com Metallica's Kirk Hammett: How to Play Like Stevie Ray Vaughan — Lesson http://www.guitarworld.com/kirk-hammett-how-play-stevie-ray-vaughan <!--paging_filter--><p>It’s definitely true that Stevie Ray Vaughan is one of my all-time favorite guitarists. </p> <p>Ironically, I was never really into Stevie while he was alive. </p> <p>Then, shortly after he died, I got hold of a video of him playing a live show and was just totally blown away by his timing, his tone, his feel, his vibrato, his phrasing—everything. Some people are just born to play guitar, and Stevie was definitely one of them. </p> <p>The VH1 <em>Behind the Music</em> program on Stevie showed some old footage of him playing guitar when he was a little kid—he was so good it made me want to cry.</p> <p>It’s difficult to emulate SRV’s tone because his hands and soul had so much to do with it. Having said that, in my opinion, if there’s a player whose sound you really admire, you might be able to emulate his tone by investigating the gear he used. </p> <p>For example, if you really want to get a sound similar to Stevie Ray’s, then buying a Les Paul and a high-gain Marshall stack definitely isn’t the way to go, because that’s not even close to what he used. </p> <p>However, you might get close if you buy a Strat—and probably even closer if you buy a vintage Strat [<em>Fender offers an SRV signature model Strat that’s based on his legendary “Number 1” guitar, which was a 1959 body with a 1962 Rosewood neck and a left-hand tremolo unit—GW Ed.</em>]. You’ll get even closer if you get a vintage Strat and a vintage Fender amp, because that’s what he used. I also know that Stevie used an old Ibanez Tube Screamer and a Vox Wah, too.</p> <p><img src="/files/imce-images/kirksrv1.jpg" width="620" height="148" /></p> <p>Another real big factor in Stevie’s killer tone was the gauge of his strings and how hard he used to play. A lot of people try to do the SRV thing using a set of .009s, and you just can’t do what he did with slinky strings like that. Stevie used real heavy strings—.013 (high E) to .058 or even .060 (low E). So, to get even close you need to start with at least a set of .011s.</p> <p><img src="/files/imce-images/kirksrv2.jpg" width="620" height="148" /></p> <p>In addition to using heavy strings, you also really need to attack the guitar if you want to get that big, percussive sound Stevie had. He was a super-aggressive player, and he didn’t really pick from his wrist—he picked with his entire arm! </p> <p>If you watch video footage of him, you’ll see exactly what I mean. Stevie also used a lot of downstrokes and a lot of that “string raking” thing too (more about this technique in a moment), which really added to the unique rhythm and lead sound that he got. Of the newer blues players out there, Kenny Wayne Shepherd definitely has that heavy string, high action, percussive attack thing happening—and he does it really well, in my opinion.</p> <p>Like all great players, Stevie’s style contained a bunch of cool nuances—some of which are really hard to nail. Take the intro riff to “Scuttle Buttin’ ” [Couldn’t Stand the Weather] for example. I’ve been messing around with it for years but I still can’t play it with Stevie’s feel. There’s a weird slide he does near the beginning that I just can’t get exactly right, no matter how hard I try. I can play the riff note-for-note, but there’s that little nuance that I just can’t get, and I’ve been chasing it for a long time.</p> <p><strong>String Raking</strong></p> <p>As I just mentioned, SRV often used a technique called string raking, which is a relatively easy way to spice up your lead playing. As you’re about to discover, it’s kind of like percussive sweep picking. <Strong>FIGURE 1</strong> shows a simple C minor blues lick that starts with a string rake. </p> <p>To play this, mute the A, D and G strings by lightly resting your left-hand index finger across them, then quickly rake your pick across them using a single, smooth downstroke that ends with the half-step bend at the 10th fret on the B string. Adding this simple move to the lick definitely adds extra emotion, attitude and emphasis to the lick—try playing it without the rake and you’ll hear what I mean.</p> <p><strong>Quarter-tone Bends</strong></p> <p>Another SRV move that definitely adds both bite and a nice bluesy tension to a solo is to bend certain notes just a tad so they end up sitting right between two notes. <strong>FIGURE 2</strong> is an A minor run that features this technique. As you can see, the second-to-last note you play, the C note at the 5th fret on the G string, is bent up a quarter step so that it sits right between C and C#. </p> <p>Great blues players do this kind of thing all the time, and Stevie was especially good at it—hell, he’d even add a quarter note bend to notes he’d already bent up by one or even two steps. <strong>FIGURE 3</strong> is a Stevie Ray style, bluesy, E minor lick that utilizes both of the techniques we’ve just discussed—string raking and quarter-tone bends.</p> <p><strong>Vibrato</strong></p> <p>Being able to shake a note in a way that compliments both the song and the mood of the solo is a highly expressive art that Stevie Ray Vaughan definitely perfected. I especially love his vibrato because it is so damned wide and muscular. </p> <p>Unfortunately, this technique is almost as difficult to describe as it is to do. So, to learn more about this, I recommend that you listen closely to his albums and also watch videos of him in action, zoning in on what he does with his left hand. Check out SRV’s <em>Live at the El Mocambo</em> video (below)—it’s a jaw-dropping experience and, if you watch closely, you’ll learn a lot.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/PP0vzZk8Olg" 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="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/kirk-hammett-how-play-stevie-ray-vaughan#comments Big Four Kirk Hammett Metallica Sound and Fury Stevie Ray Vaughan Blogs News Lessons Magazine Mon, 06 Jul 2015 20:26:19 +0000 Kirk Hammett 10968 at http://www.guitarworld.com Joe Satriani Lesson: How to Play a String-Skipping Chicken Pickin' Lick — Video http://www.guitarworld.com/joe-satriani-lesson-how-play-string-skipping-chicken-pickin-lick-video <!--paging_filter--><p>Joe Satriani recently dropped by <em>Guitar World's</em> studio in New York City to shoot a few videos, including several quick lessons concerning handy licks you can use in different situations.</p> <p>Here's one of them—a cool string-skipping chicken pickin' lick in A minor. </p> <p>The lick involves fingerpicking sixth intervals and pulling off to the open high E string. Stay tuned for more!</p> <p><strong>For more about Satriani and his new album, <em>Shockwave Supernova,</em> <a href="http://www.guitarworld.com/joe-satriani-premieres-new-song-if-there-no-heaven">step right this way</a> (and check out the story below Satch's photo to the left).</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/c5sP1Sgd_Ag" 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="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/joe-satriani-lesson-how-play-string-skipping-chicken-pickin-lick-video#comments Joe Satriani Videos Lessons Mon, 06 Jul 2015 14:42:43 +0000 Guitar World Staff 24869 at http://www.guitarworld.com Professor Shred with Guthrie Govan: Using Chromatic Passing Tones to Add Color to Your Soloing Ideas http://www.guitarworld.com/professor-shred-12-step-program-using-chromatic-passing-tones-add-color-your-soloing-ideas <!--paging_filter--><p>I am often asked how I incorporate chromatic notes into my solos and how I approach playing “outside” the given key center of a song.</p> <p>If you have ever used the blues scale, then you have already employed chromatic notes in some of the most musical ways possible.</p> <p><strong>FIGURE 1</strong> shows the A minor pentatonic scale. To get the A blues scale, we simply add Eb, the flatted fifth (f5), as shown in <strong>FIGURE 2.</strong></p> <p>Now, that Eb can sound like the worst note in the world—if you land on it and stop, you’ll be hurting people—but most of us use it as a passing tone, as I do in four spots in <strong>FIGURE 3</strong>: in the key of A, at the end of bar 1, I slide from Eb up to E, the fifth, which is a nice solid chord tone, and in bar 2, I move from beat one to beat two by sliding down from Eb to D, the fourth.</p> <p>I use the same concept into beat four and on beat one of the next bar. Here, I use the b5 as an ornament to add “funkiness” to the lines. If you can employ this concept successfully, in theory you know everything you need to know in order to use any one of the 12 notes as a passing tone at any point—as long as you use it responsibly. The safest approach is to follow every jarring, passing note with a “good” note that sits close by melodically.</p> <p>Moving into a chord tone immediately justifies the jarring note you played right before it. It’s also important that the “good” notes land rhythmically on the more important parts of the beat or groove.</p> <p>Let’s go back to A minor pentatonic and simply fill in the gaps between the scale tones with most of the available passing tones, as I do in <strong>FIGURES 4 and 5</strong>. You can also go back to basics and start with chord tones only. <strong>FIGURE 6a</strong> shows the triadic chord tones for C major: C, G and E, played through three octaves. </p> <p><strong>FIGURE 6b</strong> shows how to add the chromatic “approach note,” or “lower neighbor,” one half step below each chord tone. <strong>FIGURE 7</strong> illustrates a typical way to use this concept in a swinging, bluesy line. This approach can be heard in well-known songs like “Politician” by Cream, and Henry Mancini’s “The Pink Panther.”</p> <p>When people talk about playing “outside,” it’s often just a broader approach to creating lines. Instead of a “wrong” note followed by a “right” note, it’s often the wrong key followed by the right key. In <strong>FIGURE 8,</strong> I play a long line based around B minor, using as many passing tones as possible but ending up squarely back in B minor.</p> <p>If you can “get lost” without traveling too far away and then land on your feet, you’ve done a successful job at weaving chromaticism into a solo phrase. The key is to keep your ears wide open and don’t be afraid to explore uncharted musical waters.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Z9Hg4JdwMMg" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-03-06%20at%203.30.55%20PM.png" width="620" height="555" alt="Screen Shot 2014-03-06 at 3.30.55 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-03-06%20at%203.31.07%20PM.png" width="620" height="354" alt="Screen Shot 2014-03-06 at 3.31.07 PM.png" /></p> http://www.guitarworld.com/professor-shred-12-step-program-using-chromatic-passing-tones-add-color-your-soloing-ideas#comments 2011 Guthrie Govan November 2011 Professor Shred November Blogs Lessons Magazine Mon, 06 Jul 2015 12:23:00 +0000 Guthrie Govan 12748 at http://www.guitarworld.com Guitar Chalk Sessions: Methods for Targeting Problem Areas in Your Guitar Solos http://www.guitarworld.com/guitar-chalk-sessions-methods-targeting-problem-areas-your-guitar-solos <!--paging_filter--><p>I’ve noticed something about my soloing in the last couple of weeks.</p> <p>First, I’m not what you would consider a “lead guitarist.” I can hang, sure. But it’s not my area and I’ve never really been comfortable playing at higher speeds.</p> <p>That’s OK, because I make my musical living on the rhythm and layering side of the business. But I also noticed I had some consistent problem areas as I moved across the fretboard. I was messing up in the same spots over and over again.</p> <p><strong>What are “problem areas?”</strong></p> <p>For me, these were spots where I'd consistently fail to mute other strings, incur excess buzzing or make other noisy mistakes that took away the integrity of my solos. I could tell because I would hear a note that wasn’t supposed to be played or I would play a note that didn’t ring out like it should.</p> <p>Take this simple, three-note run.</p> <p><img src="/files/imce-images/Tab_1.png" width="129" height="126" alt="Tab_1.png" /></p> <p>I noticed that frequently, the last note in this sequence (highlighted in red) would ring out only partially when I played this run quickly — although it only happened when the run occurred on the third and fourth strings. I would pull off the fifth fret, ring out the note at the third fret and then hammer the fifth fret (G) on the fourth string. That last G just wasn’t ringing, for some reason. With this happening over and over again, a “problem area” I needed to work on was made evident.</p> <p><strong>How I Fixed the Problem Areas</strong></p> <p>I needed to target the specific movement on those strings and simply practice different ways of playing it, being careful to do the following three things:</p> <p><strong>01. Make sure every note rang out like it should.</strong></p> <p>I found this was usually a matter of playing too fast. If the goal is to get every note to come out clean, slowing down until that’s happening is a necessary first step before you start the next two.</p> <p><strong>02. Use different picking and playing tactics to play through the sequence.</strong></p> <p>As I've already mentioned, my approach was to use a pull-off and hammer-on. I continued to practice that, but I also practiced alternate picking every note, picking the first and last note and sliding through the sequence. I found that playing the run with pull-offs and hammer-ons wasn’t always the most optimal approach.</p> <p><strong>03. Come up with exercises to promote the movement.</strong></p> <p>For a pattern so simple, anything that involved moving a whole step between the third and fourth string could be considered an exercise. You can always come up with your own, but a good standard is to be sure that whatever you’re playing as an “exercise” is more difficult than playing the riff itself.</p> <p><img src="/files/imce-images/Tab_2.png" width="366" height="471" alt="Tab_2.png" /></p> <p>The exercises don’t have to be complex or vastly different from the movement itself. The point is to come up with a way to practice whatever you’re having trouble with and up the difficulty so that the original tab gets easier to handle.</p> <p>If you isolate the problem down to just a few notes, the exercises get pretty basic.</p> <p>Let’s try another example.</p> <p>Another transition that gave me trouble was getting to and from the four-note interval on the second string, to the three-note interval (major second) on the third string.</p> <p><img src="/files/imce-images/Tab_3.png" width="177" height="129" alt="Tab_3.png" /></p> <p>I approached the problem similarly by slowing down, picking each note and experimenting with a few different ways of playing the pattern.</p> <p>Once I got a little more comfortable with it, I ran through a few exercises to help strengthen the movement.</p> <p><img src="/files/imce-images/Tab_4.png" width="290" height="305" alt="Tab_4.png" /></p> <p>Once again, the solution and exercises are painfully simple, but the real key is being able to identify where you’re making the most mistakes and improving those areas.</p> <p><strong>Recycling the Method</strong></p> <p>Perhaps you’ve got other areas that you want to work on that the examples don’t address. The process is the same, no matter what part of the fretboard or what kind of movement you’re trying to improve. </p> <p>Here’s how to practically approach the method:</p> <p><strong>01. Practice soloing for a while and pay attention to where you’re making mistakes.</strong><br /> <strong>02. Jot down the tabs of those areas, isolating the problem to five or so notes. </strong><br /> <strong>03. Practice that movement using different techniques and picking styles. </strong><br /> <strong>04. Come up with exercises that allow you to intentionally strengthen that movement. </strong></p> <p>If you give practice time to even just a few different spots where your solos are falling short, you should notice significant improvement in your lead playing after a week or two. It’s no different than the way an athlete works on different aspects and parts of his or her game.</p> <p>Be willing to critique yourself and to put in the boring practice time fixing the areas where you’re falling short. Getting good at the guitar (particularly soloing) means spending time working on mundane movement. There’s just no way around it.</p> <p>Agree, disagree? Think you have a better way to target problem areas in solos? Let me know in the comments below. </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-methods-targeting-problem-areas-your-guitar-solos#comments Bobby Kittleberger Guitar Chalk Sessions Blogs Lessons Mon, 06 Jul 2015 12:14:53 +0000 Bobby Kittleberger 21497 at http://www.guitarworld.com Hole Notes: The Acoustic Stylings of the Grateful Dead's Jerry Garcia http://www.guitarworld.com/hole-notes-acoustic-stylings-late-jerry-garcia <!--paging_filter--><p>Jerry Garcia is best known as the lead guitar player and primary singer/songwriter of the Grateful Dead. </p> <p>Though they are regarded as pioneers of the “jam band” genre that rose to prominence in the late Sixties, the Grateful Dead, unlike many of their counterculture contemporaries, never faltered with the changing times. </p> <p>Up until Garcia’s passing in 1995, they toured tirelessly, followed on the road by their loyal Deadhead fans for months—or years—on end. </p> <p>The Dead (as the surviving members rechristened themselves in 2003) still thrive, honoring Garcia’s memory with shows that feature superpickers like Jimmy Herring and/or Warren Haynes playing in Garcia’s place. </p> <p>This month, I want to honor Jerry with an examination of his funky bluegrass- and folk-tinged acoustic passages, all of which take place in open position. </p> <p><img src="http://dl.guitarworld.com/tabs/holesnotes1213_1.jpg" /></p> <p>Garcia’s bluegrass influences—he was a huge fan of Doc Watson and Arthur Smith—inform his tasty picking on “Ripple” (American Beauty), which inspires <strong>FIGURE 1,</strong> a passage comprising melody (notes coinciding with accent marks, “>”) and strums of fragmented open G, C and D chords. </p> <p>Garcia really cut his teeth on this style in the early-to-mid Sixties with Sleepy Hollow Hog Stompers and Mother McCree’s Uptown Jug Champions (the latter of which morphed into the Grateful Dead in 1965). In this example, as you hold each chord shape, alternate-pick swing eighth notes, hitting the strings in the prescribed rhythm. The majority of non-open-string melody notes can be fretted with the middle finger. </p> <p><img src="http://dl.guitarworld.com/tabs/holesnotes1213_2.jpg" /></p> <p>In 1972, Jerry released his first solo album, <em>Garcia.</em> Many of the album’s tracks, including “Bird Song,” which informs <strong>FIGURE 2,</strong> found a permanent home in the Grateful Dead’s set lists. “Bird Song” showcases Garcia’s funky, syncopated approach to playing, as its groovy strums (bars 1 and 3) and single-note riffs (bars 2 and 4) indicate. (Note that most of these riffs are derived from arpeggiated C, G and D chords.) </p> <p>To cop the intended feel of this passage, play with a “bouncy” 16th-note swing feel, and be sure to heed the 16th-note rests (don’t play each time you see the symbol that first appears during beat three in bar 1). </p> <p><img src="http://dl.guitarworld.com/tabs/holesnotes1213_3.jpg" /></p> <p>Though the traditional blues “Deep Elem Blues,” similar to what’s shown in <Strong>FIGURE 3,</strong> had been a Grateful Dead concert staple since 1966, they never recorded it until their live acoustic release, <em>Reckoning,</em> in 1981. Played on the bottom three strings, this riff is essentially a supercharged blues boogie pattern—a guitaristic adaptation of “boogie-woogie” blues piano accompaniment, coupling a root-fifth power chord with additional tones (usually the sixth and flat-seventh). </p> <p>These are played on higher strings in alternation with the chord’s fifth. Garcia takes this framework and funks up the joint with a slinky 16th-note groove, squeezing out numerous variations as the form unfolds (refer to the original recording). For another classic “Jerry” interpretation of this track (and “Ripple”), check out <em>Almost Acoustic,</em> the first of a pair of releases by the Jerry Garcia Acoustic Band. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/_YP4050e6hs" 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="/grateful-dead">Grateful Dead</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/hole-notes-acoustic-stylings-late-jerry-garcia#comments Dale Turner Hole Notes Holiday 2012 Jerry Garcia 2012 Blogs Lessons Magazine Sun, 05 Jul 2015 15:43:27 +0000 Dale Turner 17475 at http://www.guitarworld.com Betcha Can't Play This: Ethan Brosh's Cascading Harmonics — Video http://www.guitarworld.com/betcha-cant-play-ethan-broshs-cascading-harmonics-video <!--paging_filter--><p>In this new edition of Betcha Can't Play This, guitarist Ethan Brosh demonstrates his way of playing cascading harmonics.</p> <p>You'll notice this video is much longer than the typical Betcha Can't Play This video, since it goes into greater left- and right-hand detail—and into greater detail across the board. You'll also notice there's no tab included (Again, the longer video explains the fret positions and a whole lot more).</p> <p>For two other Betcha Can't Play This columns by Brosh, check out <a href="http://www.guitarworld.com/betcha-cant-play-guitarist-ethan-brosh-lays-down-challenge">Betcha Can't Play This: Guitarist Ethan Brosh Lays Down the Challenge</a> and <a href="http://www.guitarworld.com/betcha-cant-play-diminished-madness-guitarist-ethan-brosh">Betcha Can't Play This: Diminished Madness with Guitarist Ethan Brosh</a>. You'll find a third one under RELATED CONTENT, below the photo.</p> <p><strong>For more about Brosh, visit <a href="http://ethanbrosh.com/">ethanbrosh.com</a>.</strong></p> <p>As always, good luck! We have more on the way!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/-VIGjUeI8uw" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/betcha-cant-play-ethan-broshs-cascading-harmonics-video#comments Betcha Can't Play This Ethan Brosh Videos Betcha Can't Play This News Lessons Thu, 02 Jul 2015 14:51:14 +0000 Guitar World Staff 22094 at http://www.guitarworld.com Betcha Can't Play This: Nita Strauss Solo Lick from Alice Cooper Tour http://www.guitarworld.com/betcha-cant-play-nita-strauss-solo-lick-alice-cooper-tour <!--paging_filter--><p>Here's a brand-new edition of Betcha Can't Play This featuring Alice Cooper guitarist Nita Strauss, who recently visited <em>Guitar World</em> HQ.</p> <p>Last time, she played a <a href="http://www.guitarworld.com/betcha-cant-play-nita-strauss-descending-legato-lick-video">Descending Legato Lick.</a> This time, she demonstrates a lick from her solo spotlight section from her shows with Cooper.</p> <p>As with the other <a href="http://www.guitarworld.com/betcha-cant-play-ethan-broshs-cascading-harmonics-video">new "Betcha Can't Play This" videos</a>, this is an expanded version of the usually brief "Betcha" videos on GuitarWorld.com.</p> <p>Also, note that there are no tabs, since Strauss explains key left- and right-hand techniques in the clip. </p> <p>For other recent Betcha Can't Play This columns, check out <a href="http://www.guitarworld.com/betcha-cant-play-guitarist-ethan-brosh-lays-down-challenge">Betcha Can't Play This: Guitarist Ethan Brosh Lays Down the Challenge</a> and <a href="http://www.guitarworld.com/betcha-cant-play-diminished-madness-guitarist-ethan-brosh">Betcha Can't Play This: Diminished Madness with Guitarist Ethan Brosh</a>. </p> <p>As always, good luck! We have more on the way!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/f7W24uUt4Qo" 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="/alice-cooper">Alice Cooper</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/betcha-cant-play-nita-strauss-solo-lick-alice-cooper-tour#comments Alice Cooper Betcha Can't Play This Nita Strauss Videos News Lessons Thu, 02 Jul 2015 14:49:02 +0000 Guitar World Staff 22935 at http://www.guitarworld.com Betcha Can't Play This: Eric Johnson-Inspired Blues Shred in A Minor by Elliott Klein http://www.guitarworld.com/betcha-cant-play-eric-johnson-inspired-blues-shred-minor-elliott-klein <!--paging_filter--><p>It's time for another edition of Betcha Can't Play This!</p> <p>Welcome a new Betcha Can't Play This guitarist—Elliott Klein—and his first lick, a bit of Eric Johnson-inspired blues shred in A minor.</p> <p>As with the other <a href="http://www.guitarworld.com/betcha-cant-play-ethan-broshs-cascading-harmonics-video">new "Betcha Can't Play This" videos</a>, this is an expanded version of the usually brief "Betcha" videos on GuitarWorld.com.</p> <p>Also, note that there are no tabs, since Klein explains key left- and right-hand techniques in the clip. </p> <p>For other recent Betcha Can't Play This columns, check out <a href="http://www.guitarworld.com/betcha-cant-play-guitarist-ethan-brosh-lays-down-challenge">Betcha Can't Play This: Guitarist Ethan Brosh Lays Down the Challenge</a> and <a href="http://www.guitarworld.com/betcha-cant-play-diminished-madness-guitarist-ethan-brosh">Betcha Can't Play This: Diminished Madness with Guitarist Ethan Brosh</a>. You'll find more under RELATED CONTENT, below the photo.</p> <p>For more from Klein, check out his lessons on <a href="http://www.guitarworld.com/tags/elliott-klein">guitarworld.com</a>.</p> <p>As always, good luck! We have more on the way!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/3iGfMs3xaLM?list=UUqHkFMEmOPFO3ahcrrBAj4w" 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="/eric-johnson">Eric Johnson</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/betcha-cant-play-eric-johnson-inspired-blues-shred-minor-elliott-klein#comments Betcha Can't Play This Elliott Klein Eric Johnson Videos Lessons Wed, 01 Jul 2015 21:34:36 +0000 Guitar World Staff 22697 at http://www.guitarworld.com Get a Free 'Mastering Arpeggios Part 2' Lesson at the 'Guitar World Lessons' Store — Video http://www.guitarworld.com/get-free-mastering-arpeggios-part-2-lesson-guitar-world-lessons-store-video <!--paging_filter--><p><em>Mastering Arpeggios Part 2,</em> an impressive compilation of nine instructional video lessons and tabs by Jimmy Brown, is now available through the Guitar World Lessons <a href="https://guitarworldlessons.com/product/EF57BA06-4DBD-DB72-635C-2E213E3A8004?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=arpeggios2">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/EF57BA06-4DBD-DB72-635C-2E213E3A8004?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=arpeggios2">Guitar World Lessons.</a></p> <p>To celebrate this new release, <em>Guitar World</em> is offering the first <em>Mastering Arpeggios Part 2</em> lesson, "G Major Seven Arpeggios in Positions," as a FREE download! Note that all nine <em>Mastering Arpeggios Part 2</em> lessons are available—as a package—for only $14.99.</p> <p>You can watch the trailer for <em>Mastering Arpeggios Part 2</em> below.</p> <p><a href="https://guitarworldlessons.com/product/EF57BA06-4DBD-DB72-635C-2E213E3A8004?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=arpeggios2">This new collection</a> is the 90-minute-plus follow-up to <em>Mastering Arpeggios</em>. It introduces and covers everything you need to know about the five essential seventh-chord arpeggio qualities: major seven, dominant seven, minor seven, minor-seven flat-five and diminished seven. </p> <p>Again focusing on the popular guitar key of G, your instructor, longtime GW Senior Music Editor Jimmy Brown, presents all possible fretboard positions and two-octave fingering patterns for these arpeggios and shows you ways to transpose them to any other key, either by progressing through the cycle of fourths/fifths or taking each shape you’ve learned and moving up or down the fretboard chromatically (in one-fret increments). </p> <p>Jimmy then shows you extended two-notes-per-string “monster” patterns that move diagonally up and across the neck, spanning three octaves. Also covered are the seven diatonic seventh-chord arpeggios that live in the key of G major, demonstrated in all positions, and interval patterns of fourths, fifths, sixths and sevenths applied to the arpeggios. The lesson product concludes with an entertaining performance of an original interpretation and tab arrangement of “Presto” from “Sonata 1 For Solo Violin” by Johann Sebastian Bach, which serves as an effective and musically satisfying practice piece.</p> <p><em>Mastering Arpeggios Part 2</em> includes:</p> <p>• <strong>Chapter 1 (Part 1): G Major Seven Arpeggios in Positions</strong> his first part of Chapter 1 begins with a quick review of the G major scale and G major triad arpeggio, played up and down one string for purposes of illustration. Jimmy then demonstrates all of the fixed-position two-octave fingerings for a G major seven arpeggio between fourth and seventh positions, along the way showing you a bunch of useful “alternate picking shred cells” and a neat application for improvisation—playing Gmaj7 over an E bass note or Em or Em7 chord to create a cool, jazzy Em9 sound. </p> <p>• <strong>Chapter 1 (Part 2): G Major Seven Arpeggios in Positions (continued)</strong> This conclusion of Chapter 1 demonstrates all the remaining possible fretboard positions and fingerings for playing G major-seven arpeggios across two octaves, with additional “speed picking cells” presented along the way that reside within the larger patterns. Also covered are patterns in first and second position that combine open strings with fretted notes. </p> <p>• <strong>Chapter 2: G Dominant Seven and Minor Seven Arpeggios in Positions</strong> Using all the two-octave G major-seven shapes shown in the previous segment, this chapter shows you how to convert them to G dominant- and minor-seven shapes, by “flatting” the seventh and third. Necessary fingering adjustments are covered, as the shapes morph from major-seven to dominant-seven to minor-seven. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/L8Y3aXxGiwQ" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Chapter 3: G Minor Seven Flat-five and Diminished Seven Arpeggios in Positions</strong> Working off of all the G minor-seven shapes presented in the previous chapter, this lesson shows you how to go from minor-seven to minor-seven flat-five to fully diminished-seven, including any necessary fingering adjustments that need to be made to accommodate the lowering of certain notes by one fret. </p> <p>• <strong>Chapter 4: The Circle of Fifths/Fourths and Practicing Drills</strong> Before continuing with extended arpeggio shapes and applications, this chapter presents a concise review of what is called the “circle of fifths,” or “circle of fourths,” and demonstrates a couple of easy ways to visually remember the cycle on the fretboard and ways to use it to practice all arpeggio shapes learned thus far in all 12 keys. </p> <p>• <strong>Chapter 5: Two-notes-per-string Patterns</strong> This chapter shows you how to take the five seventh-chord arpeggio qualities covered in the previous chapters and expand them into extended “monster” runs that span three octaves by moving diagonally across the fretboard using two notes per string with quick position shifts. Different “launching points” are presented, starting on the root, third, fifth and seventh of any given arpeggio. </p> <p>• <strong>Chapter 6: Diatonic Seventh-chord Arpeggios in G</strong> This lesson offers some practical, useful music theory and technical studies by presenting a set of seven different seventh-chord arpeggios that live within the key of G major, consisting of Gmaj7, Am7, Bm7, Cmaj7, D7, Em7 and F#m7b5. </p> <p>• <strong>Chapter 7: Interval Patterns</strong> This chapter takes the two-octave shapes for the seven diatonic seventh-chord arpeggios from the previous lesson and shows you how to “scramble” the notes by playing them in melodic patterns of fourth and fifth intervals that have you continually crossing strings, which makes for a great alternate picking workout, as well as some neat sounds. </p> <p>• <strong>Chapter 8: “Presto,” from “Sonata 1 For Solo Violin” by Johann Sebastian Bach</strong> This final chapter presents a performance of Jimmy’s own guitar adaptation and fingering arrangement of a beautiful violin piece by legendary classical composer Johann Sebastian Bach called “Presto,” from “Sonata 1 for Solo Violin.” </p> <p><strong>For more information, visit the Guitar World Lessons <a href="https://guitarworldlessons.com/product/EF57BA06-4DBD-DB72-635C-2E213E3A8004?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=arpeggios2">Webstore</a> and download the <a href="https://itunes.apple.com/us/app/guitar-world-lessons/id942720009?mt=8">App</a> now.</strong></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/get-free-mastering-arpeggios-part-2-lesson-guitar-world-lessons-store-video#comments arpeggios Guitar World Lessons Jimmy Brown Videos News Features Lessons Wed, 01 Jul 2015 20:54:39 +0000 Guitar World Staff 24859 at http://www.guitarworld.com Quick Lick: Pantera — "Cowboys from Hell" — Video http://www.guitarworld.com/quick-lick-pantera-cowboys-hell <!--paging_filter--><p><em>In Quick Licks, we bringing you short, bite-sized video lessons that show you how to play classic riffs from your favorite songs.</em></p> <p>In this Quick Lick, Matt Scharfglass shows you how to play the intro to Pantera's "Cowboys from Hell." </p> <p>The song begins with a lick that's based on an E-minor blues scale played in the 12th position before sliding down to play a slightly altered version an octave lower.</p> <p>Since you're in a "Cowboys from Hell" mood, <a href="http://www.revolvermag.com/news/viral-video-panteras-cowboys-from-hell-ukulele-cover.html">check out Rob Scallon's new ukulele cover of the tune.</a> </p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience963446465001" 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="963446465001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/pantera">Pantera</a> </div> <div class="field-item even"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/quick-lick-pantera-cowboys-hell#comments Dimebag Darrell Pantera Quick Licks Videos Lessons Tue, 30 Jun 2015 17:06:15 +0000 Matt Scharfglass 11032 at http://www.guitarworld.com 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