Lessons http://www.guitarworld.com/taxonomy/term/8/all en More Open-String Lick Ideas from Metallica's Kirk Hammett http://www.guitarworld.com/open-string-lick-ideas-metallicas-kirk-hammett/25635 <!--paging_filter--><p><em>This is a classic "The Sound and The Fury" column by Metallica's Kirk Hammett. It's from the July 2000 issue of </em>Guitar World.</p> <p>Last month, we took a class look at the opening four bars of my solo in "Of Wolf and Man" (<em>Metallica</em>). </p> <p>As you may remember, I broke down the lead section into two two-bar phrases, both of which relied heavily on open-string notes. I also told you about something I read in a <a href="http://www.guitarworld.com/how-jeff-beck-twists-blues-something-entirely-new/25633">Jeff Beck</a> interview when I first started playing. </p> <p>It really struck me, but took a few years for me to understand what he was talking about. He said he liked to play things that are easy but sound really hard. </p> <p>As we learned from the beginning of my "Of Wolf and Man" solo, using open notes is a very easy way to achieve this—as long as it's done with a bit of thought, of course. So, as promised at the end of last month's column, this time we're gonna explore more lead ideas that use open-string notes. As you'll see, using open notes can add extra life, dimension and character to your leads.</p> <p>The ironic thing about open strings is that we all use them like there's no tomorrow when we're riffing, but most of us tend to forget about them when it comes time to solo. That's a crying shame as far as I'm concerned, because, as we discovered last month, using open strings during a solo can be very effective.</p> <p>In addition to being east to play, open-string notes have some very useful advantages: They're instantly accessible, regardless of where your fretboard hand is on the neck. They work well in a bunch of different keys (think about it), and they have a naturally bright and twangy sound that can't be matched by any of their fretted counterparts. Compare the open high E string with the exact same note at the fifth fret on the B string, and you'll hear exactly what I mean.</p> <p>To illustrate just how effective open-string notes can be during a solo, I'm going to give you a few examples. <strong>FIGURE 1</strong> is an ascending E natural minor (E F# G A B C D) run that uses the open G-string note as a <em>pedal point</em> while the left hand climbs the neck using a series of rapid hammer-on and pull-off combinations. In addition ti satisfying Jeff Beck's "easy to play but sounds hard" criterion, <strong>FIGURE 1</strong> allows me to move seamlessly up the neck without missing a beat.</p> <p><strong>FIGURE 2</strong> is another slurred, ascending lick in E minor, but this time the open string being used as the pedal point is B. As you can see, all I'm doing is moving a simple two-note, pull-off pattern <em>chromatically</em> up the neck. Due to the chromatic nature of the run, I hit quite a few "outside" notes (notes outside the prevailing key of E minor). This line still makes sense, though, because of the continually repeated B note (the fifth of the E minor scale) and the fact that I <em>resolve</em> it by coming back into key at the end.</p> <p>Using open-string notes can provide you with a very simple and effective way of playing arpeggios: <strong>FIGURE 3</strong> is a good example of this approach in action. The arpeggios being played (B Em E Am) are indicated above the tablature. You can hear me making good use of the B and E minor arpeggios on the B string during the intro to "Am I Evil?" (<em>Kill 'em All</em>).</p> <p><strong>FIGURE 4</strong> is the minor line I play in the third and fourth bars of my solo in "The God That Failed" (<em>Metallica</em>). Here, I play an E harmonic minor (E F# G A B C D#) pattern on the B string while using the open high E-string note as a <em>drone</em>. I got the idea from the Rolling Stones' "Paint It Black." In both songs, the droning string adds a distinctly Eastern, sitar-like vibe. Just so you know, I use strict alternate picking on this run: downstrokes on all the B-string notes and upstokes on all the open E's.</p> <p><img src="/files/imce-images/kirkhammett620.jpg" width="620" height="732" alt="kirkhammett620.jpg" /></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/B4NcJkG4HuE" 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="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/open-string-lick-ideas-metallicas-kirk-hammett/25635#comments July 2000 Kirk Hammett Metallica The Sound and The Fury Artist Lessons Blogs Lessons Magazine Tue, 13 Oct 2015 11:47:29 +0000 Kirk Hammett 25635 at http://www.guitarworld.com Jazz Guitar Corner: Five Must-Know Jazz Guitar Turnarounds http://www.guitarworld.com/jazz-guitar-corner-five-must-know-jazz-guitar-turnarounds <!--paging_filter--><p>When learning how to play jazz guitar, one of the most important chord progressions you can spend time practicing room is the “turnaround.”</p> <p>Turnarounds often occur at the end of a tune, or a section of a tune, and they essentially are used to “turn the tune back around” to the top of the form or start of the next section. Hence the name.</p> <p>Because they are so often used in the standard jazz repertoire, it’s important to not only be able to play the basic version of this progression, which you can see in the first example below, but it’s important to have at least a handful of variations that you can use for these chords in order to keep things fresh and exciting in your playing.</p> <p>In this lesson, we’ll be exploring five common variations of a two-bar turnaround progression, using tri-tone substitutions to build up and expand your options when comping and soloing over these common changes. </p> <p>To learn more about the techniques used in this lesson, check out my article <a href="http://jamieholroydguitar.com/chord-substitution-vs-chord-superimposition">“Chord Substitution vs. Chord Superimposition</a>.”</p> <p><strong>Turnaround 1: I VI ii V</strong></p> <p>In this first example, we’ll take a look at one of the most common turnarounds in jazz, the I-VI-ii-V turnaround. </p> <p>Since this is such a common way to turn around any tune or progression, we’ll use it as the basis for the other four turnarounds in this article, making slight adjustments and alterations to expand on this fundamental progression.</p> <p>The thing to notice in the progression is that you have a D7b9 chord in the second half of the first bar, where you might be expecting a Dm7 chord, which is the diatonic vim7 chord in the key of F major. </p> <p>The reason you find a D7b9 chord there is that it is acting as a V7 of iim7 in this case, so D7b9 is the V7b9 chord of the Gm7 chord that follows, adding a “mini-cadence” within the longer two-bar turnaround. </p> <p>Replacing a vim7 chord with a VI7b9 chord, when leading to a iim7 chord, is a common occurrence in jazz and so it is worth exploring further in the practice room. </p> <p><img src="/files/imce-images/Example%201.jpg" width="620" height="90" alt="Example 1.jpg" /></p> <p><strong>Turnaround 2: I VI ii bII</strong></p> <p>The next turnaround we’ll look at uses the first variation in bar two, where you now have a Gb7 in place of a C7 chord to end the progression. This is referred to as a “tritone substitution,” where you are replacing the given chord, C7 in this case, with a chord located a tritone away from that root, Gb7 in this case.</p> <p>The reason that Gb7 can work in place of a C7 chord is twofold. The first reason is that the Gb7 and C7 share the same 3rd and 7th intervals, they’re just switched around for each chord. The 3rd and 7th of C7 are E and Bb, while the 3rd and 7th of Gb7 are Bb and Fb (E), so they are the same notes just inverted. As well, the Gb7 then resolves to the Imaj7 chord, Fmaj7 in this case, by a half-step, which is a very strong resolution movement in jazz or any genre. </p> <p><img src="/files/imce-images/Example%202.jpg" width="620" height="90" alt="Example 2.jpg" /></p> <p><strong>Turnaround 3: I bIII ii V</strong></p> <p>The next turnaround uses the same tritone substitution technique, but now applied to the VI chord in the second half of the first bar.<br /> In this instance, you are replacing D7b9 with an Ab7 chord, which is a tritone away from D7 and resolves by a half-step to the Gm7 chord at the start of the next bar. </p> <p>You can hear this progression used in the first four bars of the classic Standard “A Foggy Day” if you want to see a real-life example of the I bIII ii V progression. </p> <p><img src="/files/imce-images/Example%203_0.jpg" width="620" height="89" alt="Example 3_0.jpg" /> </p> <p><strong>Turnaround 4: I bIII bVI V</strong></p> <p>We’ll now use two tritone subs in the following turnaround, where you keep the Ab7 from the previous example, and now bring in a tritone sub in the first half of the second bar where Db7 is replacing Gm7. Now, you’re probably thinking, “But Db7 and Gm7 don’t share the same 3rd and 7th. How does this work?”</p> <p>You’re right in thinking that Db7 and Gm7 don’t share the same 3rd and 7th intervals. But the movement of Db7 to C7 by a half-step is a strong resolution point, and Ab7 is the 5th of Db so that movement of a 5th into the Db7, the out of it by a half-step, is a strong progression that works well as a turnaround. </p> <p>Try it out on the guitar to see how it sounds. It might be more “outside” than you’re used to hearing with a normal turnaround, but it’s a cool sounding progression nonetheless. </p> <p><img src="/files/imce-images/Example%204.jpg" width="620" height="89" alt="Example 4.jpg" /> </p> <p><strong>Turnaround 5: I bIII bVI bII</strong></p> <p>The last turnaround will build on the previous example, where you used two tritone subs to expand the progression, by adding in the tritone sub for the C7 chord, Gb7, in the second half of bar 2. </p> <p>You now have a tritone sub being used for every chord but the Imaj7 chord that starts the turnaround. And, when you look at the chords Ab7-Db7-Gb7 in a row, not only are they a series of tritone subs that resolve by a half-step between Gb7 and Fmaj7, but they also form a cycle progression as each chord is the V7 of the next chord. </p> <p>Check out the tune “Lazdybird” for an example of this root movement in a musical example, though in that case the bVI is a Maj7 chord, but you can hear the root movement being used over a Standard tune nonetheless. </p> <p><img src="/files/imce-images/Example%205%20JPG_1.jpg" width="620" height="89" alt="Example 5 JPG_1.jpg" /></p> <p><strong>Practice Guide</strong></p> <p>Now that we’ve looked at each of the five different turnarounds in this article, here are a few pointers on how to practice them in order to make the most out of your time in the woodshed. </p> <p>• Practice playing the first and second turnarounds back to back to compare those two sounds together</p> <p>• Repeat this process by pairing the first and third, first and fourth then first and fifth turnarounds</p> <p>• Mix each of the turnarounds together to hear how the subtle differences changes in chords make a difference with the overall sound of the turnaround</p> <p>• Pick a tune you know that has a turnound, then each time you reach this part of the tune practice using all of the 5 examples above to take them to a practical, musical situation</p> <p>• Practice comping and soloing over these changes in the practice room to see how they sound from a harmonic and melodic standpoint</p> <p>• Try navigating these different turnarounds using various chord voicings such as Drop 2 Chords, Drop 3 Chords, Drop 2 and 4 Chords and 3 to 7 Triads</p> <p>What's your favorite turnaround to use in your jazz guitar playing? Share your thoughts in the comments section below. </p> <p><em>Matt Warnock is the owner of <a href="http://www.mattwarnockguitar.com/">mattwarnockguitar.com</a>, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a senior lecturer at the Leeds College of Music and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-five-must-know-jazz-guitar-turnarounds#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Mon, 12 Oct 2015 19:38:46 +0000 Matt Warnock 16671 at http://www.guitarworld.com This In-Depth Guide to Hybrid Picking Will Have You Playing Like a Pro in No Time at All http://www.guitarworld.com/depth-guide-hybrid-picking-will-have-you-playing-pro-no-time-all/25634 <!--paging_filter--><p>Guitarists are always searching for new ways to express their musical ideas on the instrument. </p> <p>Be it a new chord voicing, scale, arpeggio, lick or riff, their attention is most often focused on the fretboard. But a lot of musical expression comes from the pick hand, where tone, dynamics, and the elusive touch factor are all produced in great part. </p> <p>There are several ways to attack a string and cause it to vibrate and create sound, such as flatpicking, fingerpicking, tapping and slapping, but one of the most versatile, style-crossing techniques is what has come to be known as hybrid picking, which refers to the use of a flatpick in conjunction with the bare fingers. </p> <p>There are variations on the technique, but generally, they all follow the same basic guidelines: the pick, held in the conventional manner between the thumb and index finger, strikes downward on lower strings, and the middle and/or ring fingers (and sometimes the pinkie) pluck upward on the higher strings, either alternately or simultaneously.<br /> <br /><br /> <strong>Advantages of Hybrid Picking</strong></p> <p>For rhythm guitar applications, hybrid picking lets you pick two or more strings at precisely the same time, making it possible to attack two-, three- and four-note chords the way a piano player would, whereas a standard strumming technique with a pick would require you to sound the notes in succession, one at a time. Hybrid picking also allows you to easily and cleanly attack nonadjacent strings together for a wide separation between the notes of a chord or double-stop. </p> <p>For arpeggiating—playing the notes of a chord one at a time—hybrid picking can often produce smoother or more desirable results than straight fingerpicking or flatpicking and enable you to give the bass notes a crisp, flatpicked articulation while achieving a softer, fingerpicked sound on the higher strings. And unlike fingerpicking, hybrid picking lets you quickly revert to strumming or alternate picking, or vice versa, which comes in handy in many playing situations.</p> <p>When it comes to soloing, hybrid picking can considerably up the ante by making it easier to play flashy licks. The technique can be used in many situations to conveniently increase speed with less movement and effort than what would be required with flatpicking, especially when it comes to one-note-per-string patterns, such as string-skipping phrases, chicken-pickin’ licks and hot banjo rolls.<br /> Intrigued? Well, let’s get started!<br /> <br /><br /> <strong>Basic Hybrid Picking Exercises</strong></p> <p><strong>FIGURES 1a–f</strong> are designed to get your hybrid picking chops up and running at a fundamental level. You can grip an open D chord shape for all of these exercises, so that you can concentrate on just the pick hand. Our first exercise (<strong>FIGURE 1a</strong>) represents a primary hybrid-picking move: picking a downstroke on a lower string (in this case, the D string) with the pick, and picking an upstroke on an adjacent higher string (here the G) with the middle finger. </p> <p>If you’re in the habit of holding the pick with your thumb, index finger and middle finger, you’ll need to make an adjustment and clasp the pick between your thumb and index finger only. This frees up your middle finger to immediately pluck the G-string note. If you have short nails, just use the fleshy fingertip to “snap” the string. If your nails are medium length, you might want to let the edge of the nail, the part closest to the index finger, catch the string slightly as the finger passes over it. This will produce a slightly brighter attack. </p> <p> <strong>FIGURE 1b</strong> will help get your ring finger into hybrid-picking shape. This exercise may feel a little more awkward because of the string jump. Again, start by picking a downstroke on the open D-string with the pick, and then pick an upstroke on the B-string note with your ring finger. Feel free to catch the G string with a bit of your fingernail if possible. <strong>FIGURE 1c</strong> is a pattern-based exercise that incorporates both the middle and ring fingers. Try not to let the fingers come down onto the ringing strings between strokes and inadvertently mute them, and keep them up and hovering (like spider legs) ready to strike the strings at the appropriate moment. <strong>FIGURE 1d</strong> is an arpeggio exercise that rolls up and down the notes of a D5 chord. </p> <p> <strong>FIGURE 1e</strong> has you picking a double-stop (two-note chord) on adjacent strings. The pick handles the droning open-D pedal tone while the middle and ring fingers pick the G- and B-string notes simultaneously. <strong>FIGURE 1f</strong> encompasses a full open D chord, played with an alternating bass line. The pick alternately hits the root and fifth of the chord (D and A, respectively) while the middle and ring fingers pick the double-stops on the higher pairs of adjacent strings. As you work your way through this pattern, and all the previous exercises, strive for accurate articulation of the notes, an even volume level between the notes attacked with the pick and bare fingers, and a steady rhythm and tempo.</p> <p><img src="/files/imce-images/hybrid%2001%20to%2004.png" width="620" height="659" alt="hybrid 01 to 04.png" /><br /> <br /><br /> <strong>Rhythm Guitar Applications</strong></p> <p>Now that we’ve gotten the fundamentals down, let’s take a look at some useful applications of hybrid picking for rhythm guitar styles. <strong>FIGURE 2</strong> is an example of arpeggiating chords for a rock ballad in 12/8 meter, à la “I Want You (She’s So Heavy)” by the Beatles. Notice that the pick uses an upstroke on each return to the G string after the B and high E strings are fingerpicked. </p> <p>This is purely a matter of taste and personal preference, as a downstroke could easily be substituted, especially when playing at a slow tempo. It’s important to note here that while this example could be played entirely pick-style, many players find it easier to play rhythmically “in the pocket” and with more precision using hybrid picking. </p> <p><strong>FIGURE 3</strong> is a piano-like pedal-point chord figure similar to Aerosmith’s “Dream On.” Here, the upper two notes of each chord are fingerpicked together by the ring and middle fingers and in opposition to the G-string pedal tone (B), which is flatpicked with downstrokes. Try to stay consistent with your timing, and use the fret-hand fingering suggestions to help with the unusual chord shapes. </p> <p><strong> FIGURE 4</strong> is a Seventies-rock-style example that has you arpeggiating the chord changes with a specific hybrid-picking pattern. Following the first note in each bar, the pick-hand pattern never changes through each successive bar. </p> <p><strong>FIGURE 5</strong> is a classic example of an alternating bass-line figure widely used in folk and country styles. The key here is to keep the flatpicked notes, the root and fifth, flowing in a steady quarter-note rhythm while the fingers pick the notes that fall on the eighth-note upbeats. </p> <p><img src="/files/imce-images/hybrid%2005%20to%2006.png" width="620" height="331" alt="hybrid 05 to 06.png" /><br /> <br /><br /> <strong>FIGURE 6</strong> is a progressive-rock-style example that strews fingerpicked triads across the D, G and B strings while the pick drives an open-A string pedal with palm-muted “pumping” downstrokes. Notice that the pinkie comes into play here to pick all the B-string notes. While not often used in hybrid picking, the pinkie comes in handy in certain situations such as this. </p> <p><strong> FIGURE 7</strong> demonstrates a musically advantageous and tasteful application of hybrid picking. The barre chords in the example are very commonplace, but when played in “broken form” like this with hybrid picking, they take on a whole new character and added appeal, with an emphasis on the intervals of sixths and sevenths. </p> <p><strong>FIGURE 8</strong> is an example of a syncopated, Latin jazz–style fingerpicked part adapted for hybrid picking. Although more harmonically complex than the previous examples, this passage is essentially just another variation on the alternating bass-line patterns introduced in <strong>FIGURES 1f and 5</strong> and is actually not very difficult to play.<br /> <br /><br /> <strong>Lead Guitar Applications</strong></p> <p><strong>FIGURES 9a–g</strong> are exercises based on the ever-popular A minor pentatonic scale’s (A C D E G) fifth-position “box” shape and demonstrate typical hybrid-picking moves used by “hot country” lead guitarists, as well as country-influenced rock and metal players. <strong>FIGURES 9a–c</strong> ascend the pattern in a series of adjacent-string moves, while <strong>FIGURES 9d–f</strong> descend with string-skipping maneuvers. As you play through these examples, keep accuracy, dynamics and timing in mind, as emphasized earlier.</p> <p><img src="/files/imce-images/hybrid%2007%20to%2009.png" width="620" height="684" alt="hybrid 07 to 09.png" /></p> <p>Hybrid picking often comes in handy for licks based on a cycled passage—a series of repeating notes—that incorporate frequent string crosses. <strong>FIGURE 10a</strong> offers an example of a three-note sequence that is played three times before moving to a similar move in bar 2. The tempo marking is just a starting point; to help you build up speed, keep your middle and ring fingers resting on their designated strings, cocked and ready to go for when it’s time to “pull the trigger.” <strong>FIGURE 10b</strong> employs a four-note sequence that is played three times before resolving to a bluesy, double-stop hammer-on.</p> <p> <strong>FIGURE 11a </strong>snakes its way down the A minor pentatonic scale in a series of adjacent-string crosses. Feel free to emphasize the upper notes with an aggressive snap from the middle finger. <strong>FIGURE 11b</strong> illustrates how just a touch of hybrid picking can spice up a standard rock lead phrase. Again, pull extra hard on the high-E string note. </p> <p><img src="/files/imce-images/hybrid%2010%20to%2011.png" width="620" height="308" alt="hybrid 10 to 11.png" /></p> <p><strong>FIGURE 12</strong> is a progressive funk-rock example that features string-skipping maneuvers that produce wide intervals. Stay faithful to the hybrid picking and fret-hand fingering suggestions and you’ll probably find you can get this up to lightening speed with a little bit of practice. </p> <p><strong>FIGURE 13</strong> is an example of the country technique known as chicken pickin’, but in more of a rock context. Based on Joe Walsh’s classic intro to the James Gang song “Funk #49,” it’s performed almost entirely on the G string. This one is tricky, so take some extra time with it, be patient and make sure you’re executing it correctly. Regarding the fret hand, launch the whole-step bend and hold it throughout the first bar. Release the bend by a one half step on the and of beat one in bar 2 and sustain the bend until the and of beat three. The final bend is just a quarter-step “curl.” Regarding the pick hand, make sure you mute each “ghost” note (indicated by an X) with the tip of your middle finger as you pick the string with a downstroke. </p> <p><img src="/files/imce-images/hybrid%2013%20to%2015.png" width="620" height="662" alt="hybrid 13 to 15.png" /></p> <p><strong>FIGURE 14</strong> is pure country. Although it’s crafted from the C major pentatonic-add-b3 scale (sometimes referred to as the bluegrass scale or major blues scale: C D Eb E G A), it may be easier to think of it as the A blues scale (A C D Eb E G) with C as the root note instead of A. In any case, accented hybrid picking and string muting give the lick that signature chicken-pickin’ sound. </p> <p> <strong>FIGURE 15</strong> is a “banjo roll” lick that emulates the celebrated, fiery banjo lines heard in Earl Scruggs’ bluegrass classic “Foggy Mountain Breakdown.” Banjo rolls are a fixture in the hot country lead-guitar style of players like Albert Lee, Brent Mason and Brad Paisley, and they also can be crafted to work well in a rock context, as players like Zakk Wylde, John 5 and Eric Johnson have demonstrated with dazzling results. </p> <p>Start very slow with this example, getting the fingerpicking pattern down first. Make sure you allow the B and high E strings to ring together. <strong>FIGURE 16</strong>, a country-rock-style example, utilizes banjo-roll techniques to blaze a path across a G–Fsus2–C–G chord progression. Be sure to keep the open G string ringing throughout.</p> <p> For the a grand finale, <strong>FIGURE 17</strong> presents a cool, challenging lick inspired by some of Wylde’s breathtaking hybrid-picking moves. Using the G blues scale (G Bb C Db D F) as the catalyst, this example includes banjo-style rolls, cycled patterns and wide-interval open-string hammer-ons and pull-offs, capped off by a screaming pinch harmonic (P.H.) and whole-step bend, adorned with some hearty, macho finger vibrato.</p> <p><img src="/files/imce-images/hybrid%2016%20and%2017.png" width="620" height="332" alt="hybrid 16 and 17.png" /></p> http://www.guitarworld.com/depth-guide-hybrid-picking-will-have-you-playing-pro-no-time-all/25634#comments May 2014 Lessons Magazine Mon, 12 Oct 2015 19:35:15 +0000 Tom Kolb 25634 at http://www.guitarworld.com Unlocking the Mysteries of Open G Tuning with Slide Guitar — Video http://www.guitarworld.com/deep-andy-aledort-unlocking-mysteries-open-g-tuning-slide-guitar <!--paging_filter--><p>Open tunings have been exploited for use with slide guitar since the earliest days of Delta blues. </p> <p>The most commonly used open tunings for slide are E, D, G and A. There are, of course, others that are utilized, with many distinctive variations, depending on the musician and style of music. </p> <p>Joni Mitchell has employed a wide variety of unusual tunings in her songs, as have Stephen Stills and Ry Cooder and many other contemporary musicians operating primarily in styles of music outside of blues, such as pop, rock and folk. </p> <p>This edition of In Deep will focus on open G tuning and how it is used in blues slide-guitar playing.</p> <p>As illustrated in <strong>FIGURE 1</strong>, open G tuning, also known as “Spanish tuning,” is spelled (low to high) D G D G B D. To tune to open G from standard tuning (E A D G B E), tune the sixth, fifth and first strings down one whole step. In this tuning, strumming across all of the open strings will sound a G major chord, with the G root note being on the fifth and third strings. Legendary Delta blues guitarist Robert Johnson used open G tuning for many of his greatest songs, such as “Crossroad Blues,” “Walkin’ Blues,” and “Come On in My Kitchen,” among others. </p> <p>Just as strumming across all of the open strings yields a major chord, laying a fretting finger or a slide across all six strings at a given fret will yield a major chord based on a different, higher root note, which is likewise found on the fifth and third strings. As shown in <strong>FIGURE 2</strong>, the I, IV and V (one, four and five) chords in the key of G—G, C and D, respectively—can be sounded by using the open strings to sound G, fretting at the fifth fret to sound C and fretting at the seventh fret to sound D. In bar 2, I demonstrate some standard open G-style slide licks over D and C, followed in bars 3 and 4 with slide licks in G and the G major chord sounded by at the 12th fret. </p> <p>Now let’s look at some standard scale positions in open G that are commonly used for soloing, either with or without the slide. As shown in <strong>FIGURE 3</strong>, the G minor pentatonic scale (G Bb C D F) can be sounded by using a nearly symmetrical fretboard pattern, or “shape,” across all the strings except the second. In this example, I ascend the scale in one pattern and descend in a slightly different one. Practice and memorize both patterns, with and without a slide. When playing with a slide, be sure to keep it parallel to the fretwire and positioned directed over it in order to sound properly in tune. </p> <p>In <strong>FIGURE 4</strong>, I run through a few solo-type phrases that employ G minor pentatonic played in this pattern. Like many guitarists, I prefer to fingerpick when playing slide, as this facilitates the use of pick-hand muting, or damping, techniques, which are used to suppress string vibration and sounds on strings you no longer want to ring. For example, when moving from one string to another, I’ll often stop the previously played string from ringing by touching it with one of my pick-hand fingers before picking the next note. This way, each note rings clearly without any others ringing, or “bleeding,” into it, which can create a muddy sound, especially if you’re playing with an overdriven tone. </p> <p>The great Johnny Winter is a true master of slide guitar in open G tuning (as well as other tunings). Johnny used the similarly structured open A tuning (open G up one whole step: low to high, E A E A C# E) to perform his masterpiece “Dallas,” recorded for his 1969 self-titled album. <strong>FIGURE 5</strong> offers a seven-bar solo played in Winter’s style. Notice the ongoing use of open strings throughout, which serve to facilitate moving from one string and position to the next while keeping the solo sounding rich and full. At the end of the phrase, I jump up to 12th position and lay the slide across the top three strings at the 12th fret to sound a G major triad, followed by licks that move between the 10th and 12th frets. </p> <p><strong>FIGURE 6</strong> illustrates a useful G “hybrid” scale for slide soloing in open G tuning wherein notes are played at the 10th and 12th frets of each string along with the inclusion of the ninth fret of the fourth and sixth strings. As demonstrated in <strong>FIGURE 7</strong>, practice sliding down from the 12th to the 10th fret on each string, as well as sliding up to each note. Additional higher notes can be added to this scale pattern by sliding up to the 15th and 17th frets (see <strong>FIGURE 8</strong>). Again, practice sliding into and out of each position with careful attention to achieving good intonation (pitch centering). </p> <p>Let’s wrap up with two examples of how to navigate through two full choruses of a 12-bar blues in G. In <strong>FIGURE 9</strong>, a G7 chord is sounded without the slide by barring the fret-hand index finger across the top two strings at the third fret while sounding the open third and fourth strings simultaneously. In bars 1–3, I alternate between conventional fretting and sounding notes with the slide. In bars 11 and 12, I outline the V and IV chords, D7, and C7, Muddy Waters–style, by playing a single-note melody that simply outlines the aforementioned chords. </p> <p><strong>FIGURE 10</strong> is in the style of “Dallas.” The opening chordal figure, played in bars 1–3, 6 and 7, is performed without the slide and moves alternately from G7 to G6, with the sixth sounded by dropping down to the first string’s second fret. In bar 5, C7 is fretted conventionally, and in bars 9 and 10, D7 and C7 are sounded with useful first-position voicings, after which I return to the I chord, G7, and play some free-style licks utilizing the open strings. </p> <p><strong>Be sure to check out my brand-new website, <a href="http://www.andyaledort.com/">andyaledort.com</a>, which has all of the latest gig info, gear, lesson (private and Skype), session availability and more!</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/n-fBRwI4On8" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202015-10-12%20at%202.34.14%20PM.png" width="620" height="846" alt="Screen Shot 2015-10-12 at 2.34.14 PM.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202015-10-12%20at%202.34.29%20PM.png" width="620" height="128" alt="Screen Shot 2015-10-12 at 2.34.29 PM.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202015-10-12%20at%202.34.52%20PM.png" width="620" height="540" alt="Screen Shot 2015-10-12 at 2.34.52 PM.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202015-10-12%20at%202.35.05%20PM.png" width="620" height="467" alt="Screen Shot 2015-10-12 at 2.35.05 PM.png" /></p> http://www.guitarworld.com/deep-andy-aledort-unlocking-mysteries-open-g-tuning-slide-guitar#comments Andy Aledort April 2014 In Deep Videos Lessons Magazine Mon, 12 Oct 2015 18:39:18 +0000 Andy Aledort 20545 at http://www.guitarworld.com How Jeff Beck Twists the Blues Into Something Entirely New — Lesson http://www.guitarworld.com/how-jeff-beck-twists-blues-something-entirely-new/25633 <!--paging_filter--><p><em>This is a classic "Rock This Way" column by Aerosmith's Joe Perry and Brad Whitford. It's from the August 2003 issue of </em>Guitar World.</p> <p><strong>JOE PERRY:</strong> The great British blues guitarists of the Sixties—people like Eric Clapton, Jeff Beck, Jimmy Page and Peter Green—could play like virtuosos, but they also understood the importance of energy and intensity. </p> <p>For me, Beck is the most fascinating of all. It always seemed that Jeff had bigger demons to conquer; with a brash sense of daring, he was willing to do anything to find a new way. His career has reflected that, too. He has always tried to top himself as a player and as a guitarist playing instrumental music. He has the drive to constantly go to new places.</p> <p><strong>BRAD WHITFORD:</strong> I find that whatever it is I'm playing, in part of my mind I am wondering what Beck's approach would be. And this is true every time I pick up the guitar; his impact is that strong. Beck's influence is always there because his playing is so <em>beyond.</em> From the very beginning until today, the fire and the spontaneity of his playing always leaves me shaking my head.</p> <p>What those British guys were doing back them is virtually the same approach we're taking with our upcoming blues record (2004's <em>Honkin' on Bobo</em>). All these years later, it's still a viable route of musical creativity. We'd like to shine a light on the great blues music of the past while also creating something new. Taking a close loo at how our heroes twisted the blues into new sounds is just as inspiring today as ever.</p> <p><strong>PERRY:</strong> As far as I'm concerned, Beck stretched the concept of modernizing the blues further and anyone. He never really played blues in the traditional sense anyway, even in his earliest days with the Yardbirds, which was close as he ever got. (<em>2015 Editor's Note: Be sure to check out Beck's pre-Yardbirds blues playing with the Tridents.</em>) </p> <p>Beck took great liberties; he always made it funky, twisted it into heavy metal and wrapped all of that stuff around the lyrics, which was an exciting thing to hear. His early records display such a left-field take on the old traditions. He was busting down the doors and the walls of the accepted standards. If you listen to the live recordings of the Jeff Beck Group from that era, with Rod Stewart on vocals, Ronnie Wood on bass and Mickey Waller on drums, they really did cut loose. That was a wild band on the live stage.</p> <p><strong>WHITFORD:</strong> Beck's greatest influence on me came from seeing him play live. He floored me every time. The first time I saw him, he was playing the oxblood Les Paul, made famous by the <em>Blow by Blow</em> album cover (shown in the photo gallery below). Beck's playing is so unique and expressive that even being able to emulate his sound with a single note or phrase adds a lot of fuel to your own arsenal.</p> <p><strong>PERRY:</strong> In the original jam band I had with Tom Hamilton, we used to play "Rice Pudding" (top video) from <em>Beck-Ola.</em> The way Beck played the stuff was very punk; so much brash attitude combined with blistering virtuosity. He didn't give a shit, and he was an incredible player. He knew the rules, and the he <em>obliterated</em> them. In art, you can't go outside the box until you know how to paint one, and he'd done his homework well.</p> <p><strong>WHITFORD:</strong> The truth is, we took that "Rice Pudding" lick and twisted it around melodically and rhythmically, and it became the main heavy riff in "Sweet Emotion."</p> <p><strong>PERRY:</strong> Beck's version of Elvis Presley's "All Shook Up" (bottom video) from <em>Beck-Ola</em> is so intense. His approach finds its roots in the blues, but blues had never been played like that before. <em>Beck-Ola</em> was even a huge departure from Beck's first solo record, <em>Truth.</em> It seems that Jeff really doesn't concern himself with what people think he'll do next. He's always followed his muse and pushed the envelope as far as he could.</p> <p><strong>FIGURES 1-3</strong> are three licks that are representative of Beck's style. <strong>FIGURE 1</strong> is played at a fast tempo with a shuffle/swing feel. These licks reveal the influence of the great Les Paul, as well as Paul Burlison of the Rock and Roll Trio, who was known for flashy pull-off-to-open-strings licks, like the one in bar 4.</p> <p><strong>FIGURES 2 and 3</strong> illustrate some bluesy licks in Beck's style that he might play over a slow blues; <strong>FIGURE 2</strong> is based on the B minor pentatonic scale (B D E F# A) and reveals his unusual sense of phrasing. <strong>FIGURE 3</strong> is based on the F# minor blues scale (F# A B C C# E) and utilizes some more cool pull-offs to open strings.</p> <p><img src="/files/imce-images/BecksBoogie620.jpg" width="620" height="567" alt="BecksBoogie620.jpg" /></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/hvz1RNIJ3Fk" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/neqUG0CX0dc" 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="/jeff-beck">Jeff Beck</a> </div> <div class="field-item even"> <a href="/aerosmith">Aerosmith</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/how-jeff-beck-twists-blues-something-entirely-new/25633#comments Aerosmith August 2003 Brad Whitford Jeff Beck Joe Perry Rock This Way Artist Lessons Blogs Lessons Magazine Mon, 12 Oct 2015 17:48:54 +0000 Joe Perry, Brad Whitford 25633 at http://www.guitarworld.com Learn Five Classic Blues Turnarounds: Bars 11 and 12, Delta Blues Style! http://www.guitarworld.com/learn-five-classic-blues-turnarounds-bars-11-and-12-delta-blues-style/25629 <!--paging_filter--><p>A blues turnaround occupies the final two measures—11 and 12—of the 12-bar form. </p> <p>Bar 11 typically contains some sort of lick or phrase over the I chord harmony, and bar 12 shifts to the V chord, resulting in tension that sets up resolution to the I chord at the top of the form.</p> <p>Often, however, early acoustic Delta bluesmen would just sit on the I chord in bar 12. For example, in Charlie Patton’s “Screamin’ and Hollerin’ the Blues,” the turnaround that's similar to the one shown in <strong>FIGURE 1,</strong> begins on the b7th (D) and descends down the Mixolydian mode to the major 3rd (G#), skipping the 4th (A) along the way. </p> <p>Notice that measure 2 sticks with the I chord (E).</p> <p><strong>FIGURE 1</strong></p> <p><img src="/files/imce-images/blues-turnarounds-FIG1.jpg" width="620" height="179" alt="blues-turnarounds-FIG1.jpg" /><br /> <br /><br /> <strong>FIGURE 2A</strong> features a 6ths-based turnaround lick similar to the one Patton used in his signature tune, “Pony Blues,” while <strong>FIGURE 2B</strong> varies things by inserting the V chord in bar 12.</p> <p><strong>FIGURES 2A-B</strong></p> <p><img src="/files/imce-images/blues-turnarounds-FIG2.jpg" width="620" height="171" alt="blues-turnarounds-FIG2.jpg" /><br /> <br /><br /> Likewise, Baptist preacher-turned-bluesman Son House would occasionally focus his turnaround entirely on the I chord. In “Downhearted Blues,” House made use of descending and ascending 7th chords to turn the tune around, as in <strong>FIGURE 3.</strong></p> <p><strong>FIGURE 3</strong></p> <p><img src="/files/imce-images/blues-turnarounds-FIG3.jpg" width="620" height="175" alt="blues-turnarounds-FIG3.jpg" /><br /> <br /><br /> Robert Johnson wasn’t called the King of the Delta Blues for nothing. By the time of his death in 1938, he had solidified many of the stylistic elements that have come to define modern-day blues.</p> <p>One such element was the descending turnaround pattern seen in <strong>FIGURE 4.</strong></p> <p><strong>FIGURE 4</strong></p> <p><img src="/files/imce-images/blues-turnarounds-FIG4.jpg" width="620" height="164" alt="blues-turnarounds-FIG4.jpg" /><br /> <br /><br /> The distinguishing characteristic of this turnaround—featured in such tracks as “Kind Hearted Woman Blues” and “Milk Cow Blues”—is the top-string note, which acts as a pedal tone against the descending chromatic line from the b7th to the 5th. For easiest execution, anchor your 4th finger on the 1st string’s 5th fret, then begin string 4’s descending pattern with your 3rd stinger at the 5th fret.</p> <p><strong>FIGURE 5,</strong> meanwhile, is a variation on a turnaround that Johnson played in the intro of “Me and the Devil Blues.”</p> <p><strong>FIGURE 5</strong></p> <p><img src="/files/imce-images/blues-turnarounds-FIG5.jpg" width="620" height="164" alt="blues-turnarounds-FIG5.jpg" /></p> http://www.guitarworld.com/learn-five-classic-blues-turnarounds-bars-11-and-12-delta-blues-style/25629#comments blues Lessons Sun, 11 Oct 2015 18:57:50 +0000 Guitar World Staff 25629 at http://www.guitarworld.com Guitar Tricks: 10 Beginner Guitar Songs That Are Easy and Fun to Play http://www.guitarworld.com/guitar-tricks-10-beginner-guitar-songs-are-easy-and-fun-play/24959 <!--paging_filter--><p>The idea of beginner guitar songs can often seem extremely limited.</p> <p>And unfortunately there are a lot of places where you’ll see lists of easy songs that don’t give you much variety. In fact, a beginner guitar song is often dreadfully boring to play, which doesn’t do much for inspiration or for pushing an aspiring guitarist to continue learning.</p> <p>But the truth is, many of the songs you’ve heard (and know) are actually quite easy to play.</p> <p>And some are more interesting than others. But how do we know they’re easy?</p> <p>If you focus on just the <a href="https://guitartricks.com/v2/guitar-chords-for-beginners.php">chord progressions</a> for each song, what you play on the guitar can become as simple or as difficult as you want.</p> <p>It’s often a matter of placing only a few chords. This means that most of the songs you’re used to hearing are probably much easier than they sound. In other words, you can learn them.<br /> <br /><br /> <strong>Our List of Songs</strong></p> <p>So we’ve come up with a list of beginner guitar songs that are easy but interesting and fun to play. They’re also songs that, initially, might be a little intimidating. Rest assured, they’re easier than they sound. If you’re just starting out—looking to expand your song vocabulary—this is the place to do it.</p> <p>Here’s the process we’re using to set these songs up for you:</p> <p><strong>1. Focus on only the chord progression, as loosely determined by the bass line (we’ll show you the chord progression—or at least the chords you need to know).</strong><br /> <strong>2. Give you the key of the song.</strong><br /> <strong>3. Link to a chord sheet to illustrate a basic progression.</strong></p> <p>Try not to be overwhelmed by what you hear when you listen to the track. Instead, simply recognize that all you need to worry about is the chord progression. Think about those chords, memorize them and listen for the changes in the song.</p> <p>This process will help to train your ear and improve your ability to recognize chords and <a href="https://www.guitartricks.com/v2/change-chords-fast.php">change chords quickly</a> within a piece of music.</p> <p>Otherwise, it’s just a great opportunity to learn some new music. </p> <p>Let’s get started.<br /> <br /><br /> <strong>1. “Lay ‘em Down” by Needtobreathe</strong></p> <p><strong>Key:</strong> C<br /> <strong>Chord Progression:</strong> C - Cadd9 - G - F<br /> <a href="http://www.e-chords.com/chords/needtobreathe/lay-em-down">Chord Sheet</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/k1QMmWlOmEQ" frameborder="0" allowfullscreen></iframe></p> <p>Though it’s played in an alternate tuning (open C) “Lay ‘em Down” can be in standard tuning with a basic lyric and chord sheet, which we’ve linked to above. The song’s pace is slow and bluesy, giving you plenty of time to get used to the chord changes.</p> <p>Watch for the Am thrown into the “We’re all dirty like corrupted small towns…” line.<br /> <br /><br /> <strong>2. “Folsom Prison Blues” cover by Everlast</strong></p> <p><strong>Key</strong>: E<br /> <strong>Chord Progression</strong>: E - A - B or B7<br /> <a href="http://www.e-chords.com/chords/johnny-cash/folsom-prison-blues-%28key-of-e%29">Chord Sheet</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/zmt6OyRqb8A" frameborder="0" allowfullscreen></iframe></p> <p>To be honest, you can play the Johnny Cash or Everlast version of this song, all the same. In both cases you’ll be playing in the key of E—the same chord progression. The Everlast rendition is just a lot more fun to play along with, so that’s what we’ve linked to in the video.</p> <p>Think 12-bar blues while you’re following the progression. It’s a bit fast, but with only a few chord changes. You should have no trouble keeping up.<br /> <br /><br /> <strong>3. “Doesn’t Remind Me” by Audioslave</strong></p> <p><strong>Key</strong>: E<br /> <strong>Chord Progression</strong>: E - A - D<br /> <a href="http://www.songsterr.com/a/wsa/audioslave-doesnt-remind-me-acoustic-chords-s168139">Chord Sheet</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/lBFdX37Qpnk" frameborder="0" allowfullscreen></iframe></p> <p>Almost the entirety of this song hinges on E, A and D, with the verses being just E and A. The bridge diverts from this pattern as you’ll see in the chord sheet, though it’s still easy to pick up if you want to learn the entire song. Now, as far as the solo goes, all bets are off.</p> <p>Tom Morello is a machine of a guitar player, so we recommend holding off on the solo until you feel really comfy with the rest of the tune.<br /> <br /><br /> <strong>4. “Born Free” by Kid Rock</strong></p> <p><strong>Key</strong>: E<br /> <strong>Chord Progression</strong>: E - A<br /> <a href="http://www.songsterr.com/a/wsa/kid-rock-born-free-tab-g-s209347">Chord Sheet</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/bu3rsha1ZtI" frameborder="0" allowfullscreen></iframe></p> <p>Though you’ll find an F#m in the chord sheet, this song is almost entirely made up of E and A. In the bridge you’ll need to place a D and Db, but the chord sheet makes it pretty easy. This song is ideal for an acoustic or electric guitar cover.<br /> <br /><br /> <strong>5. “Teardrop” by Massive Attack</strong></p> <p><strong>Key:</strong> A<br /> <strong>Chord Progression:</strong> A - G - D - A - F - G - A<br /> <a href="<iframe width="420" height="315" src="https://www.youtube.com/embed/BAVUPu7URbc" frameborder="0" allowfullscreen>"Chord Sheet</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/BAVUPu7URbc" frameborder="0" allowfullscreen></iframe></p> <p>Though the lengthy progression might feel a bit intimidating, I’d encourage you to look at the chord sheet and give it a try. Because you’re only dealing with four chords.</p> <p>The only tricky part is to hear the chord changes, which can be easily identified by the piano chords that come down at each change. You might also recognize this song from the House TV intro or the Assassin’s Creed video game soundtracks.<br /> <br /><br /> <strong>6. “Rockstar” by Nickelback</strong></p> <p><strong>Key:</strong> G<br /> <strong>Chord Progression:</strong> G - C - F - Am<br /> <a href="http://www.e-chords.com/chords/nickelback/rockstar">Chord Sheet</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/DmeUuoxyt_E" frameborder="0" allowfullscreen></iframe></p> <p>Nickelback’s 2007 hit is made up mostly of four chords, with only G, C and F used during the verses and the Am thrown in for each chorus. It’s a fun listen and you’ve got to appreciate the diversity in the music video. The pace of this song is slow, which will give you plenty of time to get your chord changes in.<br /> <br /><br /> <strong>7. “Inside Out” by Eve 6</strong></p> <p><strong>Key:</strong> E<br /> <strong>Progression:</strong> E - A - B - A - E - F#<br /> <a href="http://www.songsterr.com/a/wsa/eve-6-inside-out-chords-s20561">Chord Sheet</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/T8Xb_7YDroQ" frameborder="0" allowfullscreen></iframe></p> <p>It’s one of the more difficult songs in this list, simply because of the higher number of chord changes and the faster pace. If you’re having trouble keeping up, just go with one section of the song at a time, working through the verse, chorus and bridge. If you can get comfortable with the pace, the chord changes are well-defined and easy to identify.<br /> <br /><br /> <strong>8. “Fireflies” by Owl City</strong></p> <p><strong>Key:</strong> C (actual is Bb)<br /> Chord Progression:<strong> C - G - Am - F (if capo on third fret)<br /> <a href="http://www.e-chords.com/chords/owl-city/fireflies-%28acoustic%29">Chord Sheet</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/psuRGfAaju4" frameborder="0" allowfullscreen></iframe></p> <p><a href="http://www.e-chords.com/chords/owl-city/fireflies">The actual key is Bb</a> and is a bit tricky for beginners. I prefer to use capo-three and play the song in C, which is what I’ve linked to above. It sounds the same and is significantly easier.<br /> <br /><br /> <strong>9. “Lightning Crashes” by Live</strong></p> <p><strong>Key: D</strong><br /> <strong>Chord Progression:</strong> D - A - E (capo 2)<br /> <A href="http://tabs.ultimate-guitar.com/l/live/lightning_crashes_ver6_crd.htm">Chord Sheet</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/xsJ4O-nSveg" frameborder="0" allowfullscreen></iframe></p> <p>Note that the chord sheet is written for a capo 2, if you want to play along with the track. If not, feel free to drop the capo and just play the song with these open chords.<br /> <br /><br /> <strong>10. “Pumped Up Kicks” by Foster the People</strong></p> <p><strong>Key:</strong> Dm<br /> <strong>Chord Progression</strong>: Dm - F - C - G<br /> <a href="http://www.e-chords.com/chords/foster-the-people/pumped-up-kicks">Chord Sheet</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/SDTZ7iX4vTQ" frameborder="0" allowfullscreen></iframe></p> <p>The entire song is Dm, F, C and G, in that order. You’ll hear the bass line as the most pronounced element of the song, but if you strum the chords along with the chord sheet, you’ll hear the changes more distinctly.<br /> <br /><br /> <strong>More Songs</strong></p> <p>If you get through all these and you’d still like to learn more songs (I applaud this decision), here are a few resources you can access to do so:</p> <p>1. <a href="https://www.guitartricks.com/songs.php?input=masterlist&amp;sort=3">Guitar Tricks Beginner Songs Database</a><br /> 2. <a href="https://www.guitarchalk.com/easy-guitar-songs/">Ultimate List of Beginner Guitar Songs</a><br /> 3. <a href="http://www.guitarhabits.com/top-30-easy-guitar-chord-songs-beginners/">Guitar Habits List of 30 Beginner Songs</a></p> <p>There are enough songs to keep you busy for a long time. So it should be clear that even if you’re a beginner, you don’t need to be bored with your instrument. In fact, that’s one of the worst things that can happen to you in the early stages of your guitar playing.</p> <p>Because a bored musician doesn’t get better and they usually don’t hold an interest in their instrument.</p> <p>My encouragement to you is to use these songs to stoke your interest in the guitar. Find stuff you like and play it as a way to <a href="https://www.guitartricks.com/v2/blog/How-I-motivate-myself-to-practice-guitar-every-single-day">motivate yourself</a> to continue learning and becoming a better player. I’ve always been of the opinion that there’s no better way to learn something aside from digging in and doing it.</p> <p>Take these songs as opportunities to dig in and get your hands dirty.</p> <p><em>Flickr Commons Image Courtesy <a href="https://www.flickr.com/photos/frf_kmeron/">Kmeron</a></em></p> <p><a href="https://plus.google.com/+BobbyKittleberger? rel=author">— Bobby Kittleberger</a></p> <p><em>Guitartricks.com is an online subscription service that has provided <a href="https://www.guitartricks.com/v2/online-guitar-lessons.php"> online video guitar lessons</a> since 1998. The site has more than 11,000 video lessons with 600-plus song tutorials and more than 2 million members. With an unending appetite for improvement, via ongoing course production and licensing negotiations, the site continues to expand and progress.</em></p> http://www.guitarworld.com/guitar-tricks-10-beginner-guitar-songs-are-easy-and-fun-play/24959#comments Bobby Kittleberger Guitar Tricks Blogs Lessons Sun, 11 Oct 2015 17:42:34 +0000 Bobby Kittleberger 24959 at http://www.guitarworld.com Rut-Busters for Guitarists, Part 5 of 8: Get Out of Your Basement and Play with Real People http://www.guitarworld.com/rut-busters-guitarists-part-5-8-get-out-your-basement-and-play-real-people/25623 <!--paging_filter--><p>Welcome to Part 5 of my new series of lessons, "Rut Busters for Guitarists."</p> <p>These lessons are aimed at breaking through barriers that might be keeping you from improving as a guitarist. Some lessons will simply supply you with food for thought, and some will be more hands-on. Written to help you get past that plateau, these columns are here to help you mix things up and keep your relationship with the guitar an interesting one.</p> <p>If you feel your playing is getting stale and is in a rut, you might be suffering from the same problem faced by many aspiring guitarists and weekend warriors. The solution is simple: You need to get out of your house and play music with some real people.</p> <p>I understand how easy it is to fall into a routine of practicing the same material over and over, jamming to the same play-along tracks and hoping to find inspiration on YouTube, only to be overwhelmed by what you find and underwhelmed by your own progress. </p> <p>If you take anything away from this pep talk, it's that music is like a language. It's a form of expression that is structured similar to how a book is comprised of chapters, paragraphs, sentences, phrases, questions, answers, words, syllables, etc. Your goal as a practicing musician is to expand your vocabulary, because saying the same thing over and over again isn't very interesting. </p> <p>There's no better way to expand your vocabulary than to play with other musicians. Your melodic, harmonic and rhythmic vocabulary will improve the more you jam with other talented singers, keyboard players, guitarists, bassists and drummers. Jamming with as many musicians as possible is beneficial, but try to arrange it so you're the least-experienced musician in the room. You want your performances to become fluent, and jamming with musicians that are fluent on their instruments will inform your vocabulary in the most positive way. </p> <p>Whether it's just a drummer or another guitarist, or a whole band, jam with as many musicians as you can as often as possible. If you're in school, sign up for the jazz band. If you're an adult, seek out your local jam night!</p> <p>Click on the accompanying video to find out how jamming with musicians is a lot like my vacation in Italy.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/wXVJHb04dmo" frameborder="0" allowfullscreen></iframe></p> <p><em>Guitarist Adrian Galysh is a Los Angeles-based solo artist, session musician, composer and education coordinator for Guitar Center Lessons. He's the author of </em>Progressive Guitar Warmups and Exercises.<em> Adrian uses SIT Strings, Seymour Duncan pickups and effects, Brian Moore Guitars, Voodoo Lab and Morley pedals. For more information, visit him at <a href="http://adriangalysh.com/">AdrianGalysh.com.</a></em></p> <p><strong>GuitarWorld.com readers can enjoy a FREE download of Galysh's song "Spring (The Return)" by clicking <a href="http://adriangalysh.com/download.html">HERE.</a></strong></p> http://www.guitarworld.com/rut-busters-guitarists-part-5-8-get-out-your-basement-and-play-real-people/25623#comments Adrian Galysh Rut-Busters for Guitarists Videos Blogs Lessons Fri, 09 Oct 2015 17:58:48 +0000 Adrian Galysh 25623 at http://www.guitarworld.com Expert Advice: 25 More Ways to Play (and Sound) Better Right Now http://www.guitarworld.com/expert-advice-25-more-ways-play-and-sound-better-right-now/25620 <!--paging_filter--><p>We figure that if you’re going to expand and maximize your talents, you might as well learn from the best.</p> <p>So we offer these 25 tips from guitarists who know their stuff—from rock royalty to jazz patriarchs to any-and-all, top-of-their-game bad asses. Hopefully, you’ll find something in these cosmic, practical and musical nuggets of wisdom that will kick that rut-raddled mind of yours into higher gears of inspiration.</p> <p>If you’re locked away in a basement for eight hours a day with a metronome and a torturous practice book that is equal parts Mel Bay/Guantanamo Bay, you’re still not assured of transcendent six-string skills.</p> <p>Sure, you might get stenographer-like dexterity and harmonic book-smarts up the f-hole, but playing soul-shaking music often requires a more diverse skill set. But this doesn’t mean that attaining the level of expression produced by someone like Jeff Beck necessitates a life of guitar monk-dom. First, don’t worry about the transcendent and unattainable talent of Jeff Beck. That’s just silly.</p> <p>What you need to do is ensure that whatever you play makes the hair on your arms stand up and quiver with bliss and excitement.</p> <p>Here's part two of this series. You can find part one, <a href="http://www.guitarworld.com/expert-advice-35-ways-play-and-sound-better-right-now/25578">"Expert Advice: 35 Ways to Play (and Sound) Better Right Now," right here.</a></p> <p><strong>1. Renew!</strong><br /> “Moving into uncharted territory is a key ingredient to making your practice sessions a success. Playing the same stuff over and over will only take you so far. Introduce a new set of chord voicings, tunings, or scale patterns to your routine every week. It’s not necessary to know how to implement the stuff right away, just make your fingers go to new places, and let the musicality follow naturally.” <em>—Joe Satriani</em></p> <p><strong>2. Beat on the Brat</strong><br /> “Here’s an unconventional technique for building your rhythmic chops and expanding your ideas about inventing phrases for solos—and it involves zero notes! Mute the strings with your fretting hand. Now, forget about that hand completely, and start a groove with your right hand by scratching a beat on the muted strings. The minute you start getting bored, challenge yourself to come up with a variety of rhythmic phrases—both busy and sparse. Think of the exercise as a drum solo that maintains the groove, and try to keep going for five minutes or more.” <em>—Bob Brozman</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/uRRBKY_JMOE" frameborder="0" allowfullscreen></iframe></p> <p><strong>3. Unmask Your Sound</strong><br /> “Try cutting back on the effects in your setup. It may help you to better discover the music.” <em>—Bill Kirchen</em></p> <p><strong>4. Mess With Your Head</strong><br /> “Try to keep your playing as fresh as possible, and not rely on set patterns. When I practice, for example, I often tie off some strings with rubber bands to force myself to look at the fretboard differently. I might practice on the G and D strings only, or even the G and A strings.” <em>—Jim Hall</em></p> <p><strong>5. Cut Back</strong><br /> “Sometimes that massive, high-gain, mid-cut, huge bass tone can sound about two inches tall in a concert setting. The guitar’s voice is in the midrange, so try adding some midrange and cutting the bass. For even more punch, attack, and clarity, cut your gain and distortion levels. Too much gain can be counterproductive, as it compresses your tone and kills dynamics.” <em>—Greg V.</em></p> <p><strong>6. Shift Priorities</strong><br /> “Play what you would like to hear, rather than what you would like to play.” <em>—Bill Kirchen</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/77Rl1zNIpzg" frameborder="0" allowfullscreen></iframe></p> <p><strong>7. Try Rhythmic Soloing</strong><br /> “If the band is playing in 7/4 time, try to play in 4/4. When you do that sort of thing, you begin to notice certain ways in which the two rhythms synchronize over a long period of time. Thinking in these long lengths, you automatically start to develop rhythmic ideas that have a way of interconnecting.” <em>—Jerry Garcia</em></p> <p><strong>8. Grease Up</strong><br /> “Want to make a solo greasy? Start on the ‘and’ of one.” <em>—Dave Wronski</em></p> <p><strong>9. Get Funky</strong><br /> “Forget about the fancy chords, and just concentrate on a funky beat.” <em>—John Lee Hooker</em></p> <p><strong>10. Lighten Up the FX</strong><br /> “It’s best if people don’t notice effects that much. If you overdo it, and everybody realizes you’re using a phaser, then you’re on the wrong track already. You’ve got to use those things with a certain degree of subtlety.” <em>—Keith Richards</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/lj6y6tohW_0" frameborder="0" allowfullscreen></iframe></p> <p><strong>11. Get Your Rhythm Chops Together</strong><br /> “To become a better rhythm player, you must listen to the drummer. I’d also advise that you listen to the masters of rhythm guitar. The work that Steve Cropper did on the Stax records is the definitive document of how to play songs and accompaniment parts. Also listen to Chuck Berry. His rhythm playing is so intense that he can go out and perform with bands he has never seen or heard before and hold them together like glue.” <em>—Danny Kortchmar</em></p> <p><strong>12. Play, Don’t Worry</strong><br /> “Don’t spend more time worrying about what it is you’re supposed to be doing, rather than just doing the work. Once I was stuck while trying to write some new music, and I asked my friend Wayne Horvitz how he did it. He gave me a pencil sharpener. The moral? There are no short cuts, so stop whining and get on with it!” <em>—Bill Frisell</em></p> <p><strong>13. Move in Stereo</strong><br /> “Try using two amps and some stereo effects to get a bigger sound onstage. A ping-pong delay sounds huge when you stand between both amps, and any type of stereo chorus, flanger, phaser, or, in my case, a Leslie simulator, creates the illusion of an even wider sound. Panning your signal from side-to-side is a cool effect. I do it using a stereo Ernie Ball volume pedal. I like the amps to be almost identical, while others—including Stevie Ray Vaughan—prefer two amps that have different sounds that compensate for each other. Finally, it’s important to understand that unless both of your amps are miked, and panned left and right in the house, nobody except you will hear the stereo effect.” <em>—Oz Noy</em></p> <p><strong>14. Be a Sponge</strong><br /> “Listening is just as important as practicing. Your ears are your greatest assets, and they work on a subconscious level. You should steal from as many different guitarists as possible, as opposed to picking one and trying to emulate that person’s style. Once you have assimilated a number of different approaches, try to blend them into one vision, instead of jumping from one style to another.” <em>—Will Bernard</em></p> <p><strong>15. Vibe a Little Vibrato</strong><br /> “Strengthen your vibrato technique by using each finger to play a note and bending it up and down continuously, in half steps. As you move to fingers two, three, and four, remember that all available fingers can help you attain this half-step movement.” <em>—Jim Campilongo</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/HV_qNXhKdX4" frameborder="0" allowfullscreen></iframe></p> <p><strong>16. Alternate Pick</strong><br /> “A good way to work on alternate picking is to choose three or four notes, and work on those. Too often, players who are trying to improve their right hand dexterity get hung up by trying to play too many notes with the left hand. I hear a lot of players running whole scales from the sixth string to the first, and playing them really sloppy. Keeping it very basic—using only a few notes—and playing slowly with perfect rhythm is a task in itself.” <em>—Al DiMeola</em></p> <p><strong>17. Ignore the Obvious</strong><br /> “When you’re comping behind a vocalist or soloist, don’t always play the root of the chord on the low strings—especially if there’s a bassist on the gig. Sometimes the third and the seventh of the chord is all you need if the bass player is playing the root. It will still sound full, and the sound won’t be muddy.” <em>—Tal Farlow</em></p> <p><strong>18. Use Stage Smarts</strong><br /> “A good band is not all about playing your instruments. You have to work on your stage sound, too, so that you sound good out front. For the guitarist, that means not being so loud. Now, I love loud, but I soon realized that if I turned down, there would be more separation between the instruments, and people would actually hear me better.” <em>—Peter Frampton</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/GkhKdGgycN8" frameborder="0" allowfullscreen></iframe></p> <p><strong>19. Get Down</strong><br /> “For heavy rhythm, it has to be downpicking. It’s absolutely key. It’s tighter sounding, and a lot chunkier.” <em>—James Hetfield</em></p> <p><strong>20. Stay Hot</strong><br /> “Keep your guitar out of the case and handy. Practice short periods—anywhere from five to 45 minutes—many times throughout the day, rather than for one prolonged period. Often times, five minutes is enough time to work on a technique or musical passage. The whole idea of practice is to get your reflexes working like a gunfighter’s, so you can pull out that gun and be instantly hot.” <em>—Barney Kessel</em></p> <p><strong>21. Get Classical</strong><br /> “When playing while sitting, rest the guitar on your left leg—just like classical-guitar legend Andrés Segovia. This way, the guitar will be in the same position as when you stand. You can even get yourself one of those little foot stands to really anchor the guitar to your body when playing aggressive music.” <em>—Dave Wronski</em></p> <p><strong>22. Use Cruise Control</strong><br /> “Fast playing begins with careful and sharply targeted slow playing. You must develop the ability to ‘hear’ and ‘think’ every note. A fast passage is a rapid succession of musical notes—not the product of a frantic, panic-stricken flapping of the fingers. Begin practicing with scales or patterns, which allow you to concentrate on getting your actions and timing in good shape. Always start slowly and deliberately. Increase speed gradually. Use some form of metronome or drum machine to monitor your work. When you reach a speed at which you can no longer get things right, stop. Any further attempted acceleration will do damage, not good.” <em>—John Duarte</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/6nCjkJzfv2M" frameborder="0" allowfullscreen></iframe></p> <p><strong>23. Don’t Peek</strong><br /> “Adjust your amp’s volume and EQ settings by listening, rather than looking at the settings. Simply shut your eyes, and turn the knobs to where the amp sounds best. I’m consistently surprised when I open my eyes to discover things such as the Bass being nearly full up in one situation, or the Treble on 10 in another.” <em>—Cameron Williams</em></p> <p><strong>24. Use Teamwork</strong><br /> “When you sit in with musicians you’ve never played with before, do your thing in a way that compliments their sound. Listen attentively, and make sure that what you’re doing isn’t stepping on anyone’s toes. Play as if you were a member of the unit, and keep your eyes open to allow for good communication.” <em>—Dan Lebowitz</em></p> <p><strong>25. Get in Touch</strong><br /> “Tone has more to do with touch than gear, and the most important thing is dampening anywhere you’re not playing. Dampening can be done underneath your fretting fingers or thumb, or with the outside of your strumming-hand palm or thumb. Also, the way your finger makes contact with the frets makes a big difference. You need to learn the sweet spots on your guitar like a violin player would.” <em>—Eric Johnson</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/OOR8II_Cb3g" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/expert-advice-25-more-ways-play-and-sound-better-right-now/25620#comments News Features Lessons Fri, 09 Oct 2015 12:25:30 +0000 Guitar World Staff 25620 at http://www.guitarworld.com Guitar Tricks: Eight Things You Need to Know About Arpeggios http://www.guitarworld.com/guitar-tricks-eight-things-you-need-know-about-arpeggios <!--paging_filter--><p>As you advance in your guitar studies, you'll surely come across the term "arpeggio." </p> <p>Arpeggios are a great way to add color and complexity to your playing. You can make riffs out of them, use them in solos or even create melody lines with their fluid sound. </p> <p>Nearly all of the greats use arpeggios. Yet, if you're like a lot of guitarists, you might be shying away from them because you fear being overwhelmed by the "Twin Ts": theory and technique. If you have a basic understanding of how chords work, though, it's high time to get your feet wet. </p> <p>Here are eight things you need to know to help demystify the arpeggio. </p> <p>01. <Strong>What an arpeggio is exactly</strong> The word arpeggio (ar-peh-jee-oh) comes from the Italian word arpeggiare, which means "to play a harp." (If you can visualize harpists, they often articulate notes by plucking the strings one at a time.) Arpeggios, often called broken chords, are simply notes from a chord played individually instead of strummed together. </p> <p>02. <strong>What arpeggios can do for you</strong>. Arpeggios create a fast, flowing sound. Besides using them for speed in playing, arpeggios add a kick to improvisation skills. Because an arpeggio contains all the notes of its chord, you can use them in your solos and link them to what's going on in the chord structure beneath you to create cool sounding licks. Arpeggios always sound good over their matching chord in a progression, therefore, they generally form the melodic home bases and safe notes for improvising guitarists. <a href="http://www.guitartricks.com/v2/chords">This guitar chord chart will help visualize the notes of each arpeggio on the guitar neck.</a></p> <p>03. <strong>Scales vs. arpeggios.</strong> Let's clear up any confusion you might have between scales and arpeggios. Scales are a series of notes played one by one that fit sonically within a particular key signature (e.g., G major scale would be G, A, B, C, D, E, F#). Arpeggios, on the other hand, are a series of notes played one by one that consists of the notes within a particular chord (e.g., G major arpeggio would be G, B, D). Like a scale, an arpeggio is linear: it's a set of notes you play one at a time. Unlike scales that contain some extra notes not always played in chords, arpeggios use only the notes found in a single chord. Both scales and arpeggios can be played in ascending, descending or random order.</p> <p>04. <strong>Arpeggio shapes.</strong> As with scales, there are a variety of shapes to learn when playing arpeggios. There are generally five CAGED shapes for each arpeggio, except the diminished 7th, for which there is just one. Learn arpeggios in different positions on the neck so you become familiar with the shape of the arpeggio rather than concentrating on which frets to put your fingers in. Learn the shapes one at a time. Although you need to get all five of the shapes down—eventually—it's far better to be able to play one perfectly than five poorly. Practice moving from one arpeggio shape to another, back and forth and back and forth.</p> <p>05. <strong>Which arpeggios to learn first.</strong> The best guitar arpeggios to learn first are the major triad (1, 3, 5) and the minor triad (1, b3, 5). The major and minor triads are the most common and most used guitar arpeggios in all of music. While a triad contains only three notes, an arpeggio can be extended with chords like a major seventh, a 9th, 11th, 13th, etc., giving you endless possibilities.</p> <p>06. <strong>Different picking styles.</strong> There are several ways you can play arpeggios—alternate picking, legato, <a href="http://www.guitartricks.com/guitarglossary.php?term=Hammer-on">hammer-ons</a> and <a href="http://www.guitartricks.com/guitarglossary.php?term=Pull-off">pull-offs</a>, sweep picking and tapping are among them. (For the more experienced player, there also are lead techniques you should be confident with for playing arpeggios at higher speeds, such as string skipping and finger rolling.) Experiment with each way of playing these arpeggios to see which one works best for you and your particular style. </p> <p>A note here about fingerpicking: While fingerpicked chords are technically arpeggios since the chords are broken up, the individual notes aren't typically muted after they're played and thus ring together. The listener can literally hear the entire chord from the vibrations of each individual note. Arpeggios typically only have one note playing at any given time and are a slightly different idea from broken chords. </p> <p>07. <strong>Grab the arpeggio by the "root."</strong> When you're brand new to arpeggios, you always want to start and end on a root note (the note upon which a chord is built. Literally, the root of the chord.) This will help train your ears to hear the sound of the scale. Start on the lowest pitched root note, play up as far as you can, then go back down as low as you can, and then back up to the root note.</p> <p>08. <strong>Form and speed.</strong> To play arpeggios, you should mute each note immediately after picking it by lifting the fretting finger. This will keep the notes from "bleeding" into one another and sounding like a strummed chord. Every note needs to sound individually. Start off slowly. Perfect your form before you add speed to the mix. You don't want to develop bad habits that you will have to correct later. </p> <p>For more on playing arpeggios, give <a href="http://www.guitartricks.com/guitarglossary.php?term=Arpeggio">some of these "how to play arpeggios" guitar lessons</a> a try, as well as Ben Lindholm's <a href="http://www.guitartricks.com/lesson.php?input=17379&amp;s_id=1310">"10 Ways to Play Arpeggios."</a> </p> <p><em>Kathy Dickson writes for the online guitar lesson site <a href="http://www.guitartricks.com">Guitar Tricks.</a></em></p> http://www.guitarworld.com/guitar-tricks-eight-things-you-need-know-about-arpeggios#comments Guitar Tricks Blogs Lessons Thu, 08 Oct 2015 21:03:23 +0000 Kathy Dickson 22866 at http://www.guitarworld.com Killer Vibrato: How to Master Five Essential Performance Techniques http://www.guitarworld.com/killer-vibrato-how-master-five-essential-performance-techniques/25237 <!--paging_filter--><p>How many times have you read an interview in which a guitarist talks of “speaking through” the instrument or making it “sing”? </p> <p>This is because emulating the sound of the human voice is a great way to add personality to your playing. In this lesson, we’ll cover a form of vocal mimicry called “vibrato”—the repeated fluctuation of a note’s pitch.</p> <p>B.B. King’s singing lines and less-is-more approach to soloing were legendary. His much-emulated “butterfly vibrato”—named for the visual effect created by shaking a note with the first finger while fanning out the other three fingers—used perpendicular-to-the-string finger movement to achieve tight, rapid pitch fluctuations. </p> <p><strong>FIGURE 1</strong> is a King-like line in B minor pentatonic (B D E F# A). To achieve his trademark vibrato (notated in wavy horizontal lines), anchor your thumb at the top edge of the neck and rotate your wrist back and forth, producing a series of slight bends and releases.</p> <p><img src="/files/imce-images/Screen%20Shot%202015-08-10%20at%2012.12.42%20PM.png" width="620" height="198" alt="Screen Shot 2015-08-10 at 12.12.42 PM.png" /></p> <p>Eric Clapton also opts for perpendicular movement, but he gets a free-floating effect by rotating his elbow rather than his wrist. This results in slower, more even pitch fluctuations. <strong>FIGURE 2</strong> is a Clapton-inspired line over a blues turnaround in Bb. Use your 3rd finger to fret both vibratoed notes.</p> <p><img src="/files/imce-images/Screen%20Shot%202015-08-10%20at%2012.12.51%20PM.png" width="620" height="187" alt="Screen Shot 2015-08-10 at 12.12.51 PM.png" /></p> <p>Parallel vibrato—favored by classical guitarist as well as rockers like George Lynch and Warren DeMartini—is achieved by rocking a finger along the length of (or parallel to) a string, between two frets. As you move your finger toward the bridge, there is a slight decrease in the string’s tension, resulting in a lowering of pitch. Conversely, as you move toward the nut, the pitch is raised due to an increase in tension. The fingerstyle example in <strong>FIGURE 3</strong> contains parallel vibrato.</p> <p><img src="/files/imce-images/Screen%20Shot%202015-08-10%20at%2012.12.59%20PM.png" width="620" height="210" alt="Screen Shot 2015-08-10 at 12.12.59 PM.png" /></p> <p>Some players prefer to use whammy-bar vibrato. Pink Floyd’s David Gilmour is a master of this technique. To achieve his vibrato (<strong>FIGURE 4</strong> à la “Comfortably Numb”), repeatedly depress your whammy bar and return the note to pitch in a tight, controlled motion.</p> <p><img src="/files/imce-images/Screen%20Shot%202015-08-10%20at%2012.13.05%20PM.png" width="620" height="210" alt="Screen Shot 2015-08-10 at 12.13.05 PM.png" /></p> <p>You can also top off bends with vibrato. In <strong>FIGURE 5</strong>—rooted in E minor pentatonic (E G A B D)—first reach the target pitch, then shake the string without releasing the bend.</p> <p><img src="/files/imce-images/Screen%20Shot%202015-08-10%20at%2012.13.13%20PM.png" width="620" height="196" alt="Screen Shot 2015-08-10 at 12.13.13 PM.png" /></p> http://www.guitarworld.com/killer-vibrato-how-master-five-essential-performance-techniques/25237#comments Guitar One Lessons Thu, 08 Oct 2015 20:49:08 +0000 Guitar World Staff 25237 at http://www.guitarworld.com Private Blues Lesson from ZZ Top's Billy Gibbons — Video http://www.guitarworld.com/private-blues-lesson-zz-tops-billy-f-gibbons-video/25615 <!--paging_filter--><p>About seven years ago, ZZ Top guitarist extraordinaire Billy F. Gibbons sat down with Gretsch Billy-Bo in hand to give us a lesson in playing the blues tunes that inspired him to play guitar. We not only got the lesson, we got it on video!</p> <p>Below, we’ve provided the video, along with the relevant TAB figures for the parts that Billy plays. </p> <p>To help you follow along, we’ve provided the quote from Billy associated with each figure, as well as the time at which the figure appears in the video.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/XHtPYZRVeGI" frameborder="0" allowfullscreen></iframe></p> <p><strong>FIGURE 1 (0:22)</strong><br /> “One good starting point for learning the blues might be to go back to the roots with Jimmy Reed. It doesn’t get much simpler than this.”</p> <p><img src="/files/imce-images/1_14.png" width="620" height="183" alt="1_14.png" /></p> <p><strong>FIGURE 2 (1:02)</strong><br /> “Jimmy Reed was accompanied by Eddie Taylor, who complemented that particular riff with this move [a IV-I change, with a b3rd-3rd grace slur]. And you can combine the two.”</p> <p><img src="/files/imce-images/2_12.png" width="620" height="192" alt="2_12.png" /></p> <p><strong>FIGURE 3 (1:40)</strong><br /> “And, of course, the famous answer [turnaround], from the V back to the I, goes all the way back to Robert Johnson.”</p> <p><img src="/files/imce-images/3_10.png" width="620" height="193" alt="3_10.png" /></p> <p><strong>FIGURE 4 (1:54)</strong><br /> “And then Elmore James comes in [with the classic ‘Dust My Broom’ lick].”</p> <p><img src="/files/imce-images/4_6.png" width="620" height="200" alt="4_6.png" /></p> <p><strong>FIGURE 5 </strong><br /> “The second most important thing is to learn your I and V [Gibbons is referring to playing 6th intervals]. In the key of A, it sounds like this.”</p> <p><strong>FIGURE 5A (2:48)</strong></p> <p><img src="/files/imce-images/5a.png" width="620" height="184" alt="5a.png" /></p> <p><strong>FIGURE 5B (3:20)</strong></p> <p><img src="/files/imce-images/5b.png" width="620" height="193" alt="5b.png" /></p> <p><strong>FIGURE 6 (4:25)</strong><br /> “Now, one of my favorite cornerstone licks of the blues comes from B.B. King, and that is sliding up to the I [root] from the I. That’s my all-time favorite—the I on I.”</p> <p><img src="/files/imce-images/6_4.png" width="620" height="162" alt="6_4.png" /></p> <p><strong>FIGURE 7 (5:00)</strong><br /> “Now we’re starting to get into the real, real finite side of things with harmonics. You don’t necessarily have to use a pick either [plays pinch harmonics with his pick-hand fingers].”</p> <p><img src="/files/imce-images/7_4.png" width="620" height="160" alt="7_4.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="/zz-top">ZZ Top</a> </div> <div class="field-item even"> <a href="/billy-gibbons">Billy Gibbons</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/private-blues-lesson-zz-tops-billy-f-gibbons-video/25615#comments Billy Gibbons ZZ Top Videos Lessons Thu, 08 Oct 2015 15:44:21 +0000 Guitar World Staff 25615 at http://www.guitarworld.com Acoustic Nation with Dale Turner: The Soulful Acoustic Work of Warren Haynes http://www.guitarworld.com/acoustic-nation-dale-turner-soulful-acoustic-work-warren-haynes/25610 <!--paging_filter--><p>Warren Haynes—the eclectic electric-guitar ace behind Gov’t Mule and longtime Allman Brothers Band member and touring guitarist for the Dead—is no stranger to <em>Guitar World</em> readers. </p> <p>His virtuosic, polished blues-rock playing owes just as much to Jimi Hendrix, Eric Clapton and Johnny Winter (Haynes’ earliest influences) as it does their influences—the three Kings (B.B., Freddie and Albert) and Howlin’ Wolf, Muddy Waters and Elmore James. </p> <p>Haynes’ slide playing is also top notch. However, what GW readers are likely unaware of is the amount of acoustic-based “singer-songwriter”-type songs Haynes has penned over the years. With the July 24, 2015, release of <em>Ashes &amp; Dust</em>—a record showcasing Haynes’ songwriting influences, like Johnny Cash, Bob Dylan, James Taylor and Jackson Browne—that secret is out. This lesson looks at some of <em>Ashes &amp; Dust</em>’s many acoustic highlights, which Haynes picked on his Rockbridge, Washburn, Epiphone and Guild axes.</p> <p> Haynes had actually composed Celtic-style, Appalachian folk-flavored, “Americana” tunes his whole life, but none have fit into the stylistic framework of his various electric-guitar projects. A few years ago, Haynes envisioned a “singer-songwriter”-oriented album with legends Levon Helm (drums), Leon Russell (piano) and T-Bone Wolk (bass), but Wolk’s and Helm’s passing unfortunately put an end to those plans. </p> <p>When New Jersey–based modern bluegrass band Railroad Earth opened for the Allman Brothers Band, Haynes finally found the right sonic setting for his largely unheard music: a mix of Railroad Earth’s upright bass, drums, fiddle, mandolin and banjo, as well as numerous other instruments (including additional acoustic guitar) played by RE’s Andy Goessling (more on him later). Holed up in NJ’s Barber Shop Studios for two weeks, Haynes and Co. cut all their Ashes &amp; Dust tracks live, with the exception of a few slide overdubs and other instrumental touches.</p> <p> “Glory Road” is one of many <em>Ashes &amp; Dust</em> gems—ripe with fingerpicked slides and open-position hammer-ons and pull-offs, akin to <strong>FIGURE 1</strong>—that intermingles acoustic guitars with the aforementioned bluegrass instruments, all providing an organic foundation for Haynes’ emotive voice. (Note: On the album, Haynes’ playing is generally panned center and/or slightly to the right, while Goessling is panned to the left.) Meanwhile, the improvisation heavy “Blue Maiden’s Tale” is Celtic (Irish/Scottish)-inspired and features 6/8 and 4/4 meter changes, not unlike <strong>FIGURE 2.</strong> For the 6/8 bars, quickly fingerpick each chord’s root then upper notes in alternation; for the 4/4 bars, use down/up finger strums for Am and D.</p> <p> Haynes penned “Company Man” in honor of his father; its lyrics detail a man who, in face of his employer’s plant closing, rather than relocate his entire family to another state where that company still thrived, opted to remain where his roots lie and “start over.” The song’s verses, similar to <strong>FIGURE 3,</strong> are structured from bar 1’s fingerpicked arpeggio.</p> <p> <strong>FIGURE 4</strong> features some tasteful melodic embellishments/decorations to open E, D and A chords, à la the those Goessling contributes to the track “Hallelujah Boulevard” and others.</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/152660598&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe><br /> <br /><br /> <strong>Acoustic Nation December 2015, FIGURE 1<br /> <iframe src="https://www.soundslice.com/scores/34141/embed/" width="100%" height="500" frameBorder="0" allowfullscreen></iframe></strong></p> <p><strong>Acoustic Nation December 2015, FIGURE 2<br /> <iframe src="https://www.soundslice.com/scores/34142/embed/" width="100%" height="500" frameBorder="0" allowfullscreen></iframe></strong></p> <p><strong>Acoustic Nation December 2015, FIGURE 3<br /> <iframe src="https://www.soundslice.com/scores/34143/embed/" width="100%" height="500" frameBorder="0" allowfullscreen></iframe></strong></p> <p><strong>Acoustic Nation December 2015, FIGURE 4</strong><br /> <iframe src="https://www.soundslice.com/scores/34144/embed/" width="100%" height="500" frameBorder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/dale_0.png" width="620" height="683" alt="dale_0.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="/warren-haynes">Warren Haynes</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/acoustic-nation-dale-turner-soulful-acoustic-work-warren-haynes/25610#comments Acoustic Nation acoustic nation Dale Turner December 2015 Warren Haynes Lessons Blogs Lessons Magazine Wed, 07 Oct 2015 20:53:55 +0000 Dale Turner 25610 at http://www.guitarworld.com In Deep with Andy Aledort: Expanding Major Pentatonic Ideas to Major Hexatonic — Video http://www.guitarworld.com/deep-andy-aledort-expanding-major-pentatonic-ideas-major-hexatonic-video/25609 <!--paging_filter--><p>Over the course of the last few columns, we’ve examined both the five-note E major pentatonic (E F# G# B C#) and six-note E major hexatonic (E F# G# A B C#) scales in various positions and patterns/sequences that are formed when traversing up and down individual strings. </p> <p>To review, the intervallic formula for major pentatonic is 1 (root), 2 (major second), 3 (major third), 5 (fifth) and 6 (major sixth), and major hexatonic adds the fourth (4), resulting in a six-note scale, spelled 1, 2, 3, 4, 5, 6. </p> <p>Another helpful way to remember the major hexatonic scale formula is to think of it as the major scale with the seventh degree omitted. Utilizing both additive and subtractive approaches will yield different but equally effective results, while also enforcing a more complete and inclusive way of understanding the fretboard. </p> <p><a href="http://www.guitarworld.com/deep-andy-aledort-major-pentatonic-soloing-patterns-part-2-video/25437">Last month,</a> I demonstrated the E major hexatonic scale played up and down the B and high E strings individually, and then we combined the patterns by playing both strings simultaneously in harmony, staying diatonic to (within the parameters of) the major hexatonic scale. One of the cool benefits of harmonizing major hexatonic is that there is a natural shift between thirds and fourths as you pair the notes up and down the fretboard, making for a less predicable set of two-note harmonies.</p> <p>Let’s now apply this approach to the D and G strings, as shown in <strong>FIGURES 1 and 2.</strong> If we combine both patterns, in two-part harmony, the result is <strong>FIGURE 3.</strong> As the first four notes of the major hexatonic scale are identical to the first four notes of the major scale, the first four harmonized pairs remain thirds apart, just as they would be if we were harmonizing the major scale in diatonic thirds. </p> <p>The intervallic relationship between the two harmony notes changes to fourths in major hexatonic when you get to the fifth and sixth pairs (B and E, and F# and C#), then reverts back to a third once you reach the octave (E and G#). This “four-and-two” pattern represents the structure of thirds and fourths in major hexatonic. </p> <p>Once you have the sequence down, try improvising harmonized melodies along the lines of FIGURE 4, wherein I move freely between the pairs in the quest for an implied melodic line. </p> <p>Now let’s apply this approach to the A and D strings together, as shown in <strong>FIGURES 5 and 6</strong>. Be aware of the same “four-and-two” pattern of thirds and fourth as it lays on this pair of strings, and try using it to improvise some harmonized E major hexatonic melodies of your own. </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="myExperience4537507413001" 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="4537507413001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p><br /><br /> <strong>In Deep December 2015, FIGURE 1<br /> <iframe src="https://www.soundslice.com/scores/34132/embed/?zoom=-5" width="100%" height="500" frameBorder="0" allowfullscreen></iframe></strong></p> <p><strong><br /> <strong>In Deep December 2015, FIGURE 2<br /> <iframe src="https://www.soundslice.com/scores/34133/embed/?zoom=-5" width="100%" height="500" frameBorder="0" allowfullscreen></iframe></strong></strong></p> <p><strong>In Deep December 2015, FIGURE 3<br /> <iframe src="https://www.soundslice.com/scores/34134/embed/?zoom=-5" width="100%" height="500" frameBorder="0" allowfullscreen></iframe></strong></p> <p><strong>In Deep December 2015, FIGURE 4<br /> <iframe src="https://www.soundslice.com/scores/34135/embed/?zoom=-5" width="100%" height="500" frameBorder="0" allowfullscreen></iframe></strong></p> <p><strong>In Deep December 2015, FIGURE 5<br /> <iframe src="https://www.soundslice.com/scores/34136/embed/?zoom=-5" width="100%" height="500" frameBorder="0" allowfullscreen></iframe></strong></p> <p><strong>In Deep December 2015, FIGURE 6</strong><br /> <iframe src="https://www.soundslice.com/scores/34137/embed/?zoom=-5" width="100%" height="500" frameBorder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/andy_0.png" width="620" height="849" alt="andy_0.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="/andy-aledort">Andy Aledort</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/deep-andy-aledort-expanding-major-pentatonic-ideas-major-hexatonic-video/25609#comments Andy Aledort December 2015 In Deep Videos In Deep with Andy Aledort Lessons Magazine Wed, 07 Oct 2015 19:49:20 +0000 Andy Aledort 25609 at http://www.guitarworld.com Joe Satriani's Shredding with the Alien: Synthesizing Different Musical Styles in the Quest for Inspired Improvisation — Video http://www.guitarworld.com/joe-satrianis-shredding-alien-synthesizing-different-musical-styles-quest-inspired-improvisation-video/25608 <!--paging_filter--><p>From my earliest days as a guitar player, my musical tastes were very broad—I loved rock, blues, jazz and a variety of other styles. </p> <p>The sounds and emotions evoked by these different types of music had, and continues to have, a profound effect on the formation of my own musical sensibilities. This, of course, is most readily apparent in the types of musical lines I will play when improvising. </p> <p> In my early days, I think I lost a lot of gigs because my musical interests were not focused on one specific thing. </p> <p>I’d be asked, “Why are you playing all of those other notes?” and I thought, well, one day people might find out what I’m really about, and maybe I’ll get rewarded for playing those “other” notes. It may sound a bit esoteric, but I think this is at the heart of what a lot of musicians ask themselves when they are practicing: Why am I doing this? What really is my style? What am I trying to say? And “what’s allowed?” which is a very important question to ask. </p> <p> The truth is that anything is allowed, because there really are no rules. Whether a musical idea works or not often comes down to the way in which one presents it, so, if you are feeling it, you might as well try it. </p> <p> To put this in more practical terms, if I were going to start playing freely in the key of A, without any particular guidelines to follow, I would utilize the freedom to follow my musical whims. </p> <p> <strong>FIGURE 1</strong> presents a 14-bar improvisation in the key of A, within which I touch on different musical ideas, sounds, rhythmic syncopations and phrasings, all performed and developed in as “free” a way as possible. I begin in bars 1 and 2 with lines that I think of as falling within the blues-rock genre, starting by sliding up to the ninth, B, and then using a quick hammer/pull to get back to the A root note at the high E string’s fifth fret. From there, the line descends and then resolves in bar 2 to an A5 chord. </p> <p> In bar 3, I begin with strummed octaves—a technique and musical device that Jimi Hendrix and Wes Montgomery used often as a means of presenting melodic ideas—and then I return to blues-flavored lines. The last note of bar 5 is B, the ninth, and this inspired me to move into an Am7 arpeggio at the start of bar 6, after which I instigate a modal approach, staying within the confines of A Dorian (A B C D E F# G). </p> <p> While skirting on the edge of bluesiness through the next several bars, I evolve the melody toward the more exotic, world-music-flavored A harmonic minor scale (A B C D E F G#), starting at bar 12, and I remain within that general tonality through the rest of the improvisation.</p> <p> This type of playing works well over a pedal point—one held or reiterated note that represents the home key. It also works over a suspended chord, such as a sus4 or sus2, wherein the tonality feels unresolved. The notes of the chord are just “suggestions” for melodic pivot points, and there are so many different directions one can travel from them. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/wQFNdN9ZzTA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <iframe src="https://www.soundslice.com/scores/34138/embed/?zoom=-5" width="100%" height="500" frameBorder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/satch.png" width="620" height="758" alt="satch.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="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/joe-satrianis-shredding-alien-synthesizing-different-musical-styles-quest-inspired-improvisation-video/25608#comments December 2015 Joe Satriani Shredding With the Alien Videos Lessons Magazine Wed, 07 Oct 2015 19:42:21 +0000 Joe Satriani 25608 at http://www.guitarworld.com