Lessons http://www.guitarworld.com/taxonomy/term/8/all en Betcha Can't Play This: Building Suspense with Andy Timmons — Video http://www.guitarworld.com/betcha-cant-play-building-suspense-andy-timmons-video <!--paging_filter--><p> Here's a cool, suspenseful-sounding climbing run that’s based on the A minor pentatonic scale [A C D E G] and the A Dorian mode [A B C D E F s G].</p> <p> The concept is to ascend the neck on just two strings—in this case the G and D—using a uniform alternate picking pattern applied to shifting positions. </p> <p> What I’m essentially doing here is stringing together groups of 16th notes played in four-note shapes, or modules, and playing mostly two notes per string, with a couple of exceptions here and there wherein I stay on the G string and repeat the first two notes instead of crossing over to the D string.</p> <p> Notice how the contour of the line climbs and falls—kind of like a statistics graph chart—as I ascend a couple of positions, take a step back and then continue ascending. I find this kind of ‘up two, back one’ or ‘up three, back one’ contour more interesting and dramatic than just a straight ascent. It also enables you to prolong a lick by not running out of fretboard as quickly.</p> <p> One valuable thing about this approach, which I’ve worked on a lot, is that it helps you to learn scales up and down the neck, or horizontally, as opposed to just learning them vertically in separate positions. This way of playing and thinking can help you connect ‘blind spots’ and also enables you to maintain a consistent timbre by staying on the same strings throughout a run.</p> <p> As is almost always the case when you’re playing any kind of fast lick like this, it’s important to try to use both hands to mute the strings you’re not playing on to suppress any sympathetic vibrations, which create noise that distortion unfortunately amplifies. The bass strings are best muted by lightly resting the palm of the picking hand on the bridge saddles as you pick the higher strings, while the treble strings may be muted with the fleshy side of the fret-hand fingers.</p> <p>Equally important is that you resolve a lick smoothly. Notice here how I conclude the run with a bend and a hearty finger vibrato, which serves as the icing on the cake.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/n5p-i-jGc0s?list=PL198C391437BDEA9D" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/andy.jpg" width="620" height="205" alt="andy.jpg" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/andy-timmons">Andy Timmons</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/betcha-cant-play-building-suspense-andy-timmons-video#comments Andy Timmons Betcha Can't Play This February 2009 Videos Betcha Can't Play This News Lessons Magazine Thu, 24 Jul 2014 16:42:40 +0000 Andy Timmons http://www.guitarworld.com/article/21923 Betcha Can't Play This: Bill Hudson's Lydian Cascade http://www.guitarworld.com/betcha-cant-play-bill-hudsons-lydian-cascade <!--paging_filter--><p>This is a scalar run based on the F Lydian mode [F G A B C D E], which is the fifth mode of C major. It incorporates several different lead-playing techniques and sounds cool when played over an F or F5 chord.</p> <p>I start off with an ascending F major triad [F A C] sweep across the top four strings, played in a rhythm of 16th-note triplets. </p> <p>Once I hit the high E string, I switch to legato phrasing, continuing the triplet rhythm and using all four fret-hand fingers, spread out wide, to perform "stacked" hammer-ons and pull-offs, capped off by a pick-hand tap with the middle finger.</p> <p> Once I come back down to the F note at the 13th fret, I skip over to the G string, where I play another legato sequence, this time incorporating a descending finger slide followed by two hammer-ons and three consecutive taps with the pick hand, using the first, second and fourth fingers.</p> <p> When performing this tapping sequence, I temporarily clamp the pick between my thumb and the top side of the fretboard. I then jump back up to the high E string and perform another ascending legato sequence, incorporating taps with the first and third fingers. </p> <p> After the last tapped note, I switch to straight alternate picking and play a descending sequence of cascading 16th notes and 16th-note triplets across the top four strings, followed by an ascending climb that finishes with a high bend. When practicing this lick, be mindful of the different rhythmic subdivisions used.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/9Btp369CEsg" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-14%20at%201.08.38%20PM.png" width="620" height="379" alt="Screen Shot 2014-04-14 at 1.08.38 PM.png" /></p> http://www.guitarworld.com/betcha-cant-play-bill-hudsons-lydian-cascade#comments Betcha Can't Play This Bill Hudson February 2011 Videos Blogs News Lessons Magazine Thu, 24 Jul 2014 16:01:22 +0000 Bill Hudson http://www.guitarworld.com/article/21007 Slash Shows You How to Play Guns N' Roses' "Paradise City" — Video Lesson http://www.guitarworld.com/video-lesson-slash-shows-you-how-play-guns-n-roses-paradise-city <!--paging_filter--><p>Around the release of his eponymous debut solo album, Slash took the time out to show us how to play some of his favorite riffs, both new and old. </p> <p>In the <em>Guitar World</em> video below, Slash talks about writing the classic Guns N' Roses tune "Paradise City." He also shows you how to play the key parts of the <em>Appetite for Destruction</em> track.</p> <p>Slash's new studio album — which is still without a title at this point — will be released later this year. You can watch Slash at work on the new album (courtesy of Ernie Ball) <a href="http://www.guitarworld.com/video-slash-and-myles-kennedy-studio-ernie-balls-real-reel-slash-volume-7">right here,</a> in a series of seven behind-the-scenes videos.</p> <p>Enjoy!</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="myExperience1510754330001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="365" /> <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="1510754330001" /> </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> Photo: Robert John</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="/slash">Slash</a> </div> <div class="field-item even"> <a href="/guns-n039-roses">Guns N&#039; Roses</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-lesson-slash-shows-you-how-play-guns-n-roses-paradise-city#comments Guns N' Roses May 2010 Slash Videos News Lessons Magazine Wed, 23 Jul 2014 14:49:20 +0000 Guitar World Staff http://www.guitarworld.com/article/15012 "Spring (The Return)": Combine Arpeggios, Octave Displacement and Scales for Gloriously Melodic Results http://www.guitarworld.com/spring-return-combine-arpeggios-octave-displacement-and-scales-gloriously-melodic-results <!--paging_filter--><p>In this lesson, I show you how to play the main theme for my song “Spring (The Return)." </p> <p>Getting this song’s main theme under your fingers will help your right- and left-hand technique by tackling string skipping, octave displacement and large intervals, with the added benefit of helping you visualize how chords and scales work together. </p> <p>I wrote the song’s main theme by adding a melodic element to an arpeggio idea I was exploring, borrowed from guitarists Steve Morse and Eric Johnson. The idea is to arpeggiate barre chords whose roots are on the fifth string, but only play the root, fifth and third — leaving out the octave. </p> <p>This produces an interesting sound where the third degree in the arpeggio is placed an octave higher than normally performed. Instead of barring the chord, I use my left hand’s first finger on the root, third finger on the fifth, and fourth finger on the third. (See the photo below.)</p> <p><img src="/files/imce-images/Galysh%20Fig%201.jpg" width="620" height="451" alt="Galysh Fig 1.jpg" /></p> <p>The song's main theme is a series of sixteenth note triplets in the key of E major. The passage starts on the I chord (E major), moves to the vi chord (C# minor), then to the V chord (B major) and finally to the IV chord (A major). Each part of the passage uses the Root-5th-3rd voicing as the basis for its phase, which adds a melodic element on the B string and E string. Notice in the video, I start the phrases by picking: down-up-up-up-up…</p> <p><img src="/files/imce-images/Spring_%28The_Return%29_Lesson.jpg" width="620" height="661" alt="Spring_(The_Return)_Lesson.jpg" /></p> <p>Start slow, and get used to visualizing the E major scale on the first and second strings to help you anticipate where the melody notes will be in each position. I found that it took some practice to really get the triplets to be right in time and play the melody accurately.</p> <p>The play-along track for “Spring (The Return)” is on my new jam-track album, <em>Stripped</em>, which will be available September 2 at <a href="http://www.adriangalysh.com/">AdrianGalysh.com</a> as well as iTunes, amazon.com and CDBaby.com. </p> <p><strong>In the meantime, GuitarWorld.com online readers can <a href="http://adriangalysh.com/download.html">enjoy a FREE download of the song by clicking HERE.</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/oseL5_3Fcgo?list=UULNeEhPB9EghJaSxfIoZyWg" frameborder="0" allowfullscreen></iframe></p> <p><em>Guitarist Adrian Galysh is a solo artist and education coordinator for Guitar Center Studios. He's the author of the book </em>Progressive Guitar Warmups and Exercises<em>. For more information, visit him at <a href="http://www.adriangalysh.com/">AdrianGalysh.com.</a></em></p> http://www.guitarworld.com/spring-return-combine-arpeggios-octave-displacement-and-scales-gloriously-melodic-results#comments Adrian Galysh Videos Blogs Lessons Tue, 22 Jul 2014 17:40:37 +0000 Adrian Galysh http://www.guitarworld.com/article/21888 Betcha Can't Play This: Tapping and Skipping with Andy Wood http://www.guitarworld.com/betcha-cant-play-tapping-and-skipping-andy-wood <!--paging_filter--><p>This is a tapping run that incorporates string skipping and a couple of fret-hand finger slides.</p> <p> It’s based on the A natural minor scale [A B C D E F G], but the notes are organized into arpeggios, which imply some interesting "tall" chord sounds. </p> <p>Although it is played in steady 16th notes, it sounds and feels out of time because of the unusual melodic contour.</p> <p> When skipping to another string, often the first note is hammered on "from nowhere" by one of the fret-hand fingers [indicated by "H"]. Strive for an even attack and volume note to note, making each hammer-on quick and firm. When pulling off, flick the string slightly sideways, in toward the palm. </p> <p>I tap a couple of the notes on the high E string with my ring finger, which makes the jumps across the strings a little easier. Mute the strings you’re not playing on with your pick-hand palm to keep them from ringing.</p> <p> The lick ends with a big bend on the B string, which I perform by tapping the string then bending it upward with both hands, using the fret hand’s fingers to help the tapping finger bend the string.</p> <p> For more on Wood and his band, Down from Up, visit <a href="http://www.andywoodmusic.com/">andywoodmusic.com</a> and <a href="http://www.downfromup.com/">downfromup.com</a>. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/uvyxn2kkEVY" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-07%20at%203.43.33%20PM.png" width="620" height="393" alt="Screen Shot 2014-04-07 at 3.43.33 PM.png" /></p> http://www.guitarworld.com/betcha-cant-play-tapping-and-skipping-andy-wood#comments Andy Wood Betcha Can't Play This Down From Up June 2010 Betcha Can't Play This Blogs News Lessons Magazine Mon, 21 Jul 2014 16:37:02 +0000 Andy Wood http://www.guitarworld.com/article/20956 Wild Stringdom with John Petrucci: Combining Triad Arpeggios to Form Polytonal Chordal Allusions http://www.guitarworld.com/wild-stringdom-john-petrucci-combining-triad-arpeggios-form-polytonal-chordal-allusions <!--paging_filter--><p>As I have discussed in previous columns, I often use triadic arpeggio forms within my riffs and solos as a tool to create rich-sounding, poly-chordal sounds. </p> <p> I’d like to continue in that vein in this month’s column by presenting different ways in which to move from one arpeggio form to another, using a series of specific triads that complement one another well.</p> <p> Let’s start with the triads F# diminished and D major, as shown in <strong>FIGURES 1</strong> and <strong>FIGURE 2</strong>, respectively. The F# diminished triad is built from the notes C, F# and A, and the D major triad is built from almost the same set of notes, D, F# and A. Both FIGURES 1 and 2 show these triads as played in fifth position for comparison. </p> <p> If I wanted to get a bluesy vibe, I’d use the D major triad and combine it with the F# diminished triad, as demonstrated in <strong>FIGURE 3</strong>. Here, the C note is heard as the b7 (flat seventh) of D, implying a D dominant-seven tonality.</p> <p> Now let’s try combining the F# diminished arpeggio with an A minor arpeggio—A C E—as shown in <strong>FIGURE 4</strong>. The combination of these two sets of notes gives an F#m7b5 arpeggio (F# A C E: see <strong>FIGURE 5</strong>). These licks work well over an Am chord, as the inclusion of the F# note, the major sixth of A, implies an Am6, A Dorian–mode type of sound.</p> <p> As you probably have noticed, all of these arpeggios are played on the top three strings, and I often like to incorporate sweep picking when using arpeggios like this. <strong>FIGURE 6</strong> illustrates a combination of an Em7 arpeggio—E G B D—and a Gmaj7 arpeggio—G B D F#. As denoted in the example, in order to sweep pick these arpeggio shapes properly, begin with an upstroke on the first note and then use a single down-stroke to rake across the top three strings to play the next three notes. </p> <p> The form ends with another upstroke. I then slide up to 10th position and reverse the process, beginning with a down-stroke and then using a single upstroke to rake across the top three strings, moving from high to low. <strong>FIGURE 7</strong> offers an example of applying this approach to the chord progression Em7 Am9 F#m7b5 Gmaj7.</p> <p> This is the last installment of Wild Stringdom for now. I hope these columns have been useful to you and have served to broaden your knowledge of the guitar while building up your chops. Thanks for reading, and I’ll see you out on the road!</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="myExperience3250126572001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="365" /> <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="3250126572001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p><br /><br /> <img src="/files/imce-images/Screen%20Shot%202014-04-30%20at%2010.38.33%20AM.png" width="620" height="693" alt="Screen Shot 2014-04-30 at 10.38.33 AM.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202014-04-30%20at%2010.39.19%20AM.png" width="620" height="339" alt="Screen Shot 2014-04-30 at 10.39.19 AM.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/wild-stringdom-john-petrucci-combining-triad-arpeggios-form-polytonal-chordal-allusions#comments April 2014 Dream Theater John Petrucci Wild Stringdom Blogs News Lessons Magazine Fri, 18 Jul 2014 18:25:55 +0000 John Petrucci http://www.guitarworld.com/article/20542 Full Shred with Marty Friedman: Using Various Articulation Techniques to Expressively Interpret a Melody — Video http://www.guitarworld.com/full-shred-marty-friedman-using-various-articulation-techniques-expressively-interpret-melody-video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the September 2014 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=SeptemberVideosPage">Guitar World Online Store</a>.</em></p> <p>An essential element of guitar soloing, one that to me separates the grownups from the kids, is the player’s ability to interpret single-note melodies in a musical way, with emotion and expression. </p> <p>There are countless ways in which one could play a note or series of notes on the guitar, and if you do not focus on being in control of how each note sounds, you’re wasting an opportunity for expression, via articulation, which is the one of the most important tools that is available to you as a soloist. </p> <p>The little details in the manner by which you choose to play each note in a melody is what will give you the opportunity to sound different than any other guitar player and develop a unique sound and musical “voice.” </p> <p>Using articulation as an expressive element is the one thing I concentrate on the most when playing live or recording, simply because there are so many options. The way in which you ultimately interpret a melody is the way you reveal your musical personality, which, to me, is the whole point in making music in the first place! </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="myExperience3676486982001" 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="3676486982001" /> </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="/marty-friedman">Marty Friedman</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/full-shred-marty-friedman-using-various-articulation-techniques-expressively-interpret-melody-video#comments Full Shred Marty Friedman September 2014 Artist Lessons Videos News Lessons Magazine Wed, 16 Jul 2014 09:06:22 +0000 Marty Friedman http://www.guitarworld.com/article/21798 Full Shred with Marty Friedman: Finding Your Path to Musical Individuality — Video http://www.guitarworld.com/full-shred-marty-friedman-finding-your-path-musical-individuality-video <!--paging_filter--><p>When it comes to evaluating a musician, individuality is the characteristic that I hold in highest regard. We all have our heroes and favorite players from whom we’ve learned a great deal through trying to emulate their playing styles. </p> <p>In rock, for example, most players list Jimi Hendrix, Jeff Beck and Jimmy Page as major influences, and in metal it’s not uncommon to hear the names Eddie Van Halen, Randy Rhoads, Zakk Wylde or Dimebag Darrell mentioned as primary influences. </p> <p> In that sense, many of us have learned from the same sources. The trick is to take those influences and push yourself in your own unique and distinct direction. Though it may be easier to learn other people’s solos—which is fine if that’s the goal you’re pursuing—I believe it’s much more rewarding to go out on a limb and take some musical chances, just to see what new and different sounds you can discover in the pursuit of forming a style that you can eventually call your own.</p> <p> For example, playing fast is not the be-all and end-all of anything. In fact, it’s utterly unimportant. But if you are like most guitar players, you’ll want to be able to play fast, because everyone wants to play fast. So to my mind, you might as well try to do it in a way that’s cool and different from everyone else.</p> <p> The first step to playing fast in a unique way is to find things that are easy for you to play. For this, I suggest using patterns rather than things that you hear on recordings or have found in a book or magazine. <strong>FIGURE 1</strong> is a pattern built from four notes—D Cs Bf A—that is played between the B and G strings quickly, using hammer-ons and pull-offs, and can be thought of as something one might play over an A chord.</p> <p> Notice that the order of the notes is altered slightly as the lick progresses, which gives it its “unpredictable” sound. Just the fact that this phrase is not constructed from an identifiable repeated pattern makes it appealing to me right away.</p> <p> If we use this type of idea as a jumping off point, we can move it up the fretboard and change one of the notes in the pattern. <strong>FIGURE 2</strong> is played in fifth position and can be thought of as working over a C chord, Am or even A7. The one twist I add here is to alternately change one of the notes on the B string from F to G. My penchant is to constantly change the order of the notes to create a random feeling and sound.</p> <p> In <strong>FIGURE 3</strong>, I elaborate on the idea of using F to E and Df to C by playing lines based on the C Phrygian-dominant mode (C Db E F G Ab Bb). In <strong>FIGURE 4</strong>, I take a simple idea based around a B7 arpeggio (B D# F# A) and add a few passing tones to make the phrase more interesting.</p> <p> It’s fine to copy other players just to learn about the guitar and to see how things tick. Ultimately, though, what’s most important is to find your own musical identity. Hopefully, these examples will help get you on your way.</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="myExperience3578183555001" 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="3578183555001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p><br /><br /> <img src="/files/imce-images/Screen%20Shot%202014-07-14%20at%204.29.23%20PM_0.png" width="620" height="635" alt="Screen Shot 2014-07-14 at 4.29.23 PM_0.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202014-07-14%20at%204.29.40%20PM.png" width="620" height="150" alt="Screen Shot 2014-07-14 at 4.29.40 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="/marty-friedman">Marty Friedman</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/full-shred-marty-friedman-finding-your-path-musical-individuality-video#comments Full Shred July 2014 Marty Friedman Artist Lessons Videos News Lessons Magazine Mon, 14 Jul 2014 20:34:53 +0000 Marty Friedman http://www.guitarworld.com/article/21313 Betcha Can't Play This: Luis Carlos Maldonado's Add9 Roller Coaster http://www.guitarworld.com/betcha-cant-play-luis-carlos-maldonados-add9-roller-coaster <!--paging_filter--><p> This is an alternate-picking run based on an add9 arpeggio shape on the top three strings that’s moved up and down the neck to four different positions and tonal centers, with a slight variation in bar 2. </p> <p>It begins in E, moves down to C with a little twist—more on that in a moment—then up to D and finally A.</p> <p> The first thing you’ll notice is that the pinkie is the lead-off finger in each bar and that a five-fret stretch is required between it and the index finger for the first two notes. [Fret-hand fingerings are indicated throughout the run.] </p> <p>Be sure to ease into these stretches and warm up with them in the upper area of the fretboard before attempting them in the lower positions.</p> <p> For bar 2, I felt it sounded more colorful and interesting to alter the basic Cadd9 arpeggio [C D E G] by incorporating the #11, or #4, F#, into it, and in so doing the notes on the B and G strings are played two frets higher than where they would be if I would have simply applied the initial add9 shape from bar 1 to this position. In bar 3, the pinkie does a quick slide up to D, and the initial cell from bar 1 is used again, only a whole step lower.</p> <p> Notice the common tones on the B and G strings in bars 2 and 3. The run concludes with a long pinkie slide up to A at the 17th fret—be careful not to overshoot it—and an Aadd9 arpeggio.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/FVUgmYFhH7Q" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-14%20at%204.32.24%20PM.png" width="620" height="238" alt="Screen Shot 2014-04-14 at 4.32.24 PM.png" /></p> http://www.guitarworld.com/betcha-cant-play-luis-carlos-maldonados-add9-roller-coaster#comments Betcha Can't Play This Luis Carlos Maldonado May 2010 Videos Blogs News Lessons Magazine Fri, 11 Jul 2014 16:33:07 +0000 Luis Carlos Maldonado http://www.guitarworld.com/article/21011 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 Tue, 08 Jul 2014 21:40:16 +0000 Will Wallner http://www.guitarworld.com/article/21765 Harmonic Minor and Beyond: Great Scales for Heavy Metal Guitar Playing http://www.guitarworld.com/harmonic-minor-and-beyond-great-scales-heavy-metal-guitar-playing <!--paging_filter--><p>For this column, I've responded to a great question from a reader — Zachary in Houston, Texas.</p> <p><em>"Dave: What is your favorite scale to use when playing heavy metal?"</em></p> <p>Thanks for the question! Harmonic minor is always a very cool choice and a favorite of mine. It’s great to use when you’re improvising or coming up with song ideas and lead parts. </p> <p>So many impressive players have made great use of it in their songs — guys like Uli Jon Roth, Yngwie Malmsteen, Ritchie Blackmore, Steve Vai and many others. Mozart also was a big fan.</p> <p>If you want to hear how I use it, check out my song “Devils Roadmap” below: </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/t1nDO69kLxY" frameborder="0" allowfullscreen></iframe></p> <p>Listen to my guitar solo from 3:22 to 3:40 to hear the scale in action. It’s a fun scale; you can map out crazy three-note-per-string runs all across the fretboard.</p> <p>I also like the pentatonic scale. Pentatonic is huge in metal for a reason: It sounds good in so many situations. Zakk Wylde, Frank Marino and Dave Mustaine are amazing players who have used it to great effect over the decades.</p> <p>• <strong>Pentatonic Scale</strong> (1, b3, 4, 5, b7). For example, in the key of E, that would be E, G, A, B, D.</p> <p>My solo on “I Just Don’t Want to Say Goodbye” is a favorite of mine, and I basically stick to straight-up minor pentatonic. The solo is from 3:26 to 4:37:</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/ObL-XYTdy24" frameborder="0" allowfullscreen></iframe></p> <p>Even though I'm a trained musician, I'm still very much a self-taught player in my heart and mind and in the way I think and approach things. </p> <p>I use the approach of just going for it and seeing what happens when I play leads and improvise. Knowledge is great as a guide, but when I’m writing, I just go for it. Usually, my best stuff happens when I'm not over-thinking it.</p> <p>I come from the Marty Friedman school of thought when it comes to scales. Marty had a great instructional DVD out where he talked about how players can get caught up thinking that they need to know tons of scales. He goes on to say you can just make up your own scales.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/uSaTAGsIBEI" frameborder="0" allowfullscreen></iframe></p> <p>I teach my students to think in this freethinking style. For example, take the simple pentatonic scale and improvise over a riff or chord progression and throw in any chromatic passing tones you like. Practice this approach and see what sounds cool to your ears!</p> <p>The so-called “wrong notes” people might tell you to not play are sometimes the ones that sound amazing against the riff and really make your playing stand out. Take Marty's playing on Megadeth's <em>Rust In Peace.</em> He is throwing in all kinds of exotic scales and interesting note choices all over the place. </p> <p>Below, check out some great scales to add into your arsenal when you're trying to write. I’ll put these in the key of E to keep it easy, but you can move these to any key.</p> <p>• <strong>Harmonic Minor</strong> (1, 2, b3, 4, 5 b6, 7) or (E, F#, G, A, B, C, D#). Like I said, Yngwie Malmsteen and Uli Jon Roth love this scale, but you can hear it from Michael Schenker, Ritchie Blackmore and many others.</p> <p>• <strong>Phrygian Dominant</strong> (1, b2, 3, 4, 5, b6, b7) or (E, F, G#, A, B, C, D). This scale is simply the 5th mode of the harmonic minor scale. If you listen to Iron Maiden’s “Powerslave” you can hear this scale in action: </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/0NYiOHGapRk" frameborder="0" allowfullscreen></iframe></p> <p>Al Di Meola’s “Egyptian Danza” is another great example of this scale in action. Notice a theme? This scale gets a very Egyptian-type sound! </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/XrO29hsWgto" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Gypsy Scale</strong> (1, b2, 3, 4, 5, b6, 7) or (E, F, G#, A, B, C, D#). This scale is the same as Phrygian dominant except for the natural 7, which this scale has. Any time you are improvising over a chord progression that has major chords that are a half step apart, this scale (as well as the Phrygian dominant) is a good choice. The Gypsy scale is cool to use when you're going for that whole snake-charming, exotic, "magic carpet ride" sound. Blackmore captured it very well on many tunes. “Gates of Babylon” by the Ronnie James Dio-fronted Rainbow is a good example.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/qu8HiZepRWo" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Hungarian Minor</strong> (1, 2, b3, #4, 5, b6, 7) or (E, F#, G, A#, B, C, D#). This is a cool-sounding scale. This works well over a minor (major 7) chord. The Hungarian gypsy minor and harmonic minor scales are used on Chris Broderick’s solo on Megadeth's “Head Crusher” from 2:58 to 3:24.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/XurU3TPHjzY" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Persian</strong> (1, b2, 3, 4, b5, b6, 7) or (E, F, G#, A, Bb, C, D#). This scale is cool and has that whole dark Middle Eastern feel to it. It’s got the flat 5 or “tri-tone” in there, which is always great for metal. That’s the interval that Marilyn Manson used on “The Beautiful People” or that Black Sabbath used on one of my all-time favorite songs, “Symptom of the Universe." You can get some crazy-sounding metal riffs out of this scale. It also works well for soloing over a (maj 7 #11) chord.</p> <p>• <strong>Japanese Scale</strong> (1, b2, 4, 5, b6) or (E, F, A, B, C). Friedman, Jason Becker and so many other greats have used this one. Give it a try in your soloing. It works well in minor and major key progressions. Also, with the b2 in there, it makes for a good choice when working in a Phrygian-style situation. </p> <p>• <strong>Chinese Scale</strong> (1, 2, 3, 5, 6) or (E, F#, G#, B, C#) In the Western world, we know this scale by its other name: major pentatonic. Bands like the Allman Brothers really dig its sound and use it quite a bit, as well as bluesmen like B.B. King.</p> <p>Don’t forget the different modes of the major scale. These can be very helpful. Learn them and practice how to apply them all over your fretboard. I will put these in C to keep things easy.</p> <p>• Ionian (Major Scale) (1, 2, 3, 4, 5, 6, 7) or (C, D, E, F, G, A, B)<br /> • Dorian (1, 2, b3, 4, 5, 6, b7) or (D, E, F, G, A, B, C)<br /> • Phrygian (1, b2, b3, 4, 5, b6, b7) or (E, F, G, A, B, C, D)<br /> • Lydian (1, 2, 3, #4, 5, 6, 7) or (F, G, A, B, C, D, E)<br /> • Mixolydian (1, 2, 3, 4, 5, 6, b7) or (G, A, B, C, D, E, F)<br /> • Aeolian (Minor Scale) (1, 2, b3, 4, 5, b6, b7) or (A, B, C, D, E, F, G)<br /> • Locrian (1, b2, b3, 4, b5, b6, b7) or (B, C, D, E, F, G, A)</p> <p>Here's a cool trick someone showed me to help remember what order these modes go in: “I Don’t Punch Like Muhammad A Li.”</p> <p>I= Ionian<br /> Don’t= Dorian<br /> Punch= Phrygian<br /> Like= Lydian<br /> Muhammad= Mixolydian<br /> A= Aeolian<br /> Li= Locrian.</p> <p><em><a href="http://en.wikipedia.org/wiki/Dave_Reffett">Dave Reffett</a> is a Berklee College of Music graduate and has worked with some of the best players in rock and metal. He is an instructor at (and the head of) the Hard Rock and Heavy Metal department at The Real School of Music in the metro Boston area. He also is a master clinician and a highly-in-demand private guitar teacher. He teaches lessons in person and worldwide via Skype. As an artist and performer, he is working on some soon-to-be revealed high-profile projects with A-list players in rock and metal. In 2009, he formed the musical project Shredding The Envelope and released the critically acclaimed album The Call Of The Flames. Dave also is an official artist endorsee for companies like Seymour Duncan, Gibson, Eminence and Esoterik Guitars, which in 2011 released a Dave Reffett signature model guitar, the DR-1. Dave has worked in the past at Sanctuary Records and Virgin Records, where he promoting acts like the Rolling Stones, Janet Jackson, Korn and Meat Loaf.</em></p> <p><em>Dave Reffett headshot photo by Yolanda Sutherland</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="/deep-purple">Deep Purple</a> </div> <div class="field-item even"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/harmonic-minor-and-beyond-great-scales-heavy-metal-guitar-playing#comments Dave Reffett Blogs Features Lessons Thu, 03 Jul 2014 17:35:42 +0000 Dave Reffett http://www.guitarworld.com/article/12389 JamPlay with Kenny Ray: Enhancing Blues Progressions with Seventh and "Jimi Hendrix" Chords http://www.guitarworld.com/jamplay-kenny-ray-enhancing-blues-progressions-seventh-and-jimi-hendrix-chords <!--paging_filter--><p><strong><em>Kenny "Blue" Ray is a life-long blues musician who has played with greats such as Stevie Ray Vaughan. Kenny also is a <a href="http://www.jamplay.com/">JamPlay</a> instructor who teaches live and pre-recorded classes on blues guitar.</em></strong></p> <p>In this lesson, Kenny discusses 7th chords and how they can be used to enhance any blues progression. </p> <p>He also demonstrates short forms of the chords that can be used for a softer sound. While discussing the 7th chords, he also talks about some of Jimi Hendrix's favorites.</p> <p>Check out the lesson video below — complete with video. For more JamPlay lessons on GuitarWorld.com, check out Andy James' <a href="http://www.guitarworld.com/jamplay-andy-james-three-pentatonic-hybrid-picked-runs-increase-speed-and-dexterity">"Three Pentatonic Hybrid-Picked Runs to Increase Speed and Dexterity"</a> and Glen Drover's <a href="http://www.guitarworld.com/jamplay-glen-drover-mysterious-harmonic-minor-walk-down-video">Mysterious Harmonic Minor Walk Down.</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="myExperience3654019848001" 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="3654019848001" /> </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 /></p> <p><strong>PART 1</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-07-01%20at%204.39.28%20PM.png" width="620" height="762" alt="Screen Shot 2014-07-01 at 4.39.28 PM.png" /></p> <p><strong>PART 2</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-07-01%20at%204.39.40%20PM.png" width="620" height="699" alt="Screen Shot 2014-07-01 at 4.39.40 PM.png" /></p> <p><strong>PART 3</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-07-01%20at%204.40.06%20PM.png" width="620" height="791" alt="Screen Shot 2014-07-01 at 4.40.06 PM.png" /></p> <p><strong>PART 4</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-07-01%20at%204.40.19%20PM.png" width="620" height="348" alt="Screen Shot 2014-07-01 at 4.40.19 PM.png" /></p> http://www.guitarworld.com/jamplay-kenny-ray-enhancing-blues-progressions-seventh-and-jimi-hendrix-chords#comments JamPlay Kenny Ray Blogs News Lessons Tue, 01 Jul 2014 20:38:50 +0000 Kenny Ray http://www.guitarworld.com/article/21728 JamPlay with Glen Drover: Mysterious Harmonic Minor Walk Down — Video http://www.guitarworld.com/jamplay-glen-drover-mysterious-harmonic-minor-walk-down-video <!--paging_filter--><p><strong><em>Glen Drover is best known as the former guitarist for Megadeth and is now an instructor on <a href="http://www.jamplay.com/">JamPlay</a>. He teaches live and pre-recorded lessons.</em></strong></p> <p>In this lesson, Drover teaches a "mysterious" harmonic minor walk down in the key of E. </p> <p>This lick can be played by using alternate picking, or alternatively as a blazing-fast legato run.</p> <p>Check out the lesson video below — complete with video. For another JamPlay lesson on GuitarWorld.com, check out Andy James' <a href="http://www.guitarworld.com/jamplay-andy-james-three-pentatonic-hybrid-picked-runs-increase-speed-and-dexterity">"Three Pentatonic Hybrid-Picked Runs to Increase Speed and Dexterity."</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="myExperience3653966944001" 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="3653966944001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p><br /><br /> <img src="/files/imce-images/Screen%20Shot%202014-07-01%20at%203.52.35%20PM.png" width="620" height="633" alt="Screen Shot 2014-07-01 at 3.52.35 PM.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202014-07-01%20at%203.52.48%20PM.png" width="620" height="452" alt="Screen Shot 2014-07-01 at 3.52.48 PM.png" /></p> http://www.guitarworld.com/jamplay-glen-drover-mysterious-harmonic-minor-walk-down-video#comments Glen Drover JamPlay Videos Blogs News Lessons Tue, 01 Jul 2014 20:02:11 +0000 Glen Drover http://www.guitarworld.com/article/21726 Secrets of Shred with Sammy Boller: Eddie Van Halen-Style Speed-Picking Technique — Video http://www.guitarworld.com/secrets-shred-sammy-boller-eddie-van-halen-style-speed-picking-technique-video <!--paging_filter--><p>In this lesson, I’ll be showing you a relatively unknown picking technique used by my favorite guitarist, Eddie Van Halen. It can be heard in countless Van Halen songs, including "I’m the One," "Spanish Fly" and "Jump."</p> <p>This technique is based on a combination of hammer-on notes and alternate-picked notes. Eddie likes to take a fingering pattern and hammer on the notes on one string, then alternate pick the same pattern on an adjacent string. </p> <p>This creates the illusion that he’s picking every note, when he’s really not. It allows him to rip up and down the neck with minimal effort from his picking hand. The technique is shown in <strong>EXAMPLE 1</strong> below and is demonstrated as a simple pattern in the key of B minor.</p> <p>Now, let’s take a look at <strong>EXAMPLE 2</strong>. This example takes the picking approach from <strong>EXAMPLE 1</strong> but extends the scale up the neck in the key of B minor. This time, the pattern utilizes only the B and E strings. This scale pattern allows you to quickly transition up and down the neck and not get caught in complex fingerings or picking. Even though a few notes are not completely diatonic, they provide color and sound great in many musical contexts.</p> <p><strong>EXAMPLE 3</strong> is the exact same pattern as <strong>EXAMPLE 2</strong>, just moved down an octave to the D and G strings. This is a great trick that every guitarist should know. Whenever you have a lick on the B and E strings, you can move it down an octave simply by sliding it down three frets and playing it on the D and G strings. For precision, make sure to use the same left-hand fingering so that it feels the same in both octaves.</p> <p>Expanding on this idea, <strong>EXAMPLE 4</strong> is the same pattern as <strong>EXAMPLE 3</strong> just moved down two more frets to the E and A strings. Remember to use the same EVH picking pattern: three hammer-on notes on the E string followed by three notes using alternate picking on the A string. Once you have the scale down on one grouping of strings (<strong>EXAMPLE 2</strong>), you should be able to play the scale at the same speed on the other two groupings of strings. (<strong>EXAMPLE 3, EXAMPLE 4</strong>)</p> <p>Finally, in <strong>EXAMPLE 5</strong>, we’re going to move back to our original position and play a run that combines patterns from all of our previous examples. This illustrates how you can take these patterns that move vertically up and down the neck and use them to create runs that stay in one position. If you play it quick, you’ll notice it sounds eerily similar to EVH.</p> <p>Once you have these examples down, try using this approach to create runs and different scale patterns of your own. Combining the EVH picking technique with these scale fingerings will hopefully open up some new doors for your playing, creativity and technique. Cheers. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/m69WeKUBErc?rel=0" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-06-27%20at%202.16.54%20PM.jpg" width="620" height="727" alt="Screen Shot 2014-06-27 at 2.16.54 PM.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-eddie-van-halen-style-speed-picking-technique-video#comments Eddie Van Halen Sammy Boller Secrets of Shred Videos Blogs Lessons Fri, 27 Jun 2014 18:21:34 +0000 Sammy Boller http://www.guitarworld.com/article/21688 Monster Licks: G Wiz — Experimenting with Different Shades of G http://www.guitarworld.com/monster-licks-g-wiz-experimenting-different-shades-g <!--paging_filter--><p>In this Monster Lick, I'm using a variation of the G pentatonic scale. The scales used are the flat five (or blues scale), major 3rd and major 6th pentatonic. This is achieved simply by adding the above scale tones to the standard minor pentatonic. </p> <p>The notes in the G minor pentatonic are G, Bb (or A#), C, D, F. The flat five is a Db (or C#), the major 3rd is a B and the major 6th is an E. </p> <p>You simply add these notes to the minor pentatonic to get the sound. You don't substitute any note; you add one of the above notes to the straight minor pentatonic. </p> <p>It's very important to practice every variation individually, as every scale has a very specific sound and requires a lot of practice to master. Bunching up these scales, as I've done in this lick, has only been achievable by understanding each scale by itself first. This took an incredible amount of study and was something I've developed over years of practice. </p> <p>Today, this style of playing comes naturally to me. I'm able to add these notes randomly at any time as I know each individual scale inside and out — all over the fretboard. </p> <p>For players who are just starting out or have only been playing for a while, I suggest you use this lick as a guide to how far you can take the idea. Practice the actual scale in the first position (Box 1). Once comfortable, start adding the other notes. First practice the straight minor pentatonic, then add the flat 5, then the major 3rd and finally the major 6th. Once you feel confident and understand the individual scales, start to have some fun with your improvising.</p> <p>This tonality works great with blues, rock, jazz and even metal. The pentatonic scale is found through all styles of music.</p> <p><strong>The lick:</strong></p> <p>When played at speed, the added notes are less dissonant but certainly create a very intense-sounding run. What's interesting, though, is that when played slow, you can really start to hear the dissonance between the major and minor notes. This is a great thing to remember when improvising over a more mellow blues or jazz piece or even when wanting to create a fusion outside side with your rock playing. </p> <p>As with all of these licks the important thing is to understand the idea behind the lick, as the goal should be to take this idea and create your own style. </p> <p>The pentatonic scale is a key ingredient for all guitar players; it's the most-used scale for soloing. My advice is to practice and understand as much as possible when it comes to these scales. </p> <p><strong>I hope you enjoy this Monster Lick! Please join me on <a href="https://www.youtube.com/user/atomicguitaraudio">YouTube right here!</a> Or contact me at <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><iframe width="620" height="365" src="//www.youtube.com/embed/8sfAIcoNnhg" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-06-24%20at%2012.20.43%20PM.png" width="620" height="433" alt="Screen Shot 2014-06-24 at 12.20.43 PM.png" /></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 is available on iTunes and at <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a>. His latest album — a still-untitled all-instrumental release — will be available in March 2014.</em></p> http://www.guitarworld.com/monster-licks-g-wiz-experimenting-different-shades-g#comments Glenn Proudfoot Monster Licks Videos Blogs Lessons Tue, 24 Jun 2014 21:18:06 +0000 Glenn Proudfoot http://www.guitarworld.com/article/21660