Lessons http://www.guitarworld.com/taxonomy/term/8/0 en Betcha Can't Play This: Ethan Brosh's C Lydian Voyage, with Tap and Bend http://www.guitarworld.com/betcha-cant-play-ethan-broshs-c-lydian-voyage-tap-and-bend <!--paging_filter--><p>In this brand-new edition of Betcha Can't Play This, metal guitarist Ethan Brosh (using a Fender HM Strat) demonstrates a lightning-fast C Lydian lick that sounds a bit like <em>The Simpsons</em> theme, at least at the very beginning.</p> <p>As with the other <a href="http://www.guitarworld.com/betcha-cant-play-ethan-broshs-cascading-harmonics-video">new-for-2014 "Betcha Can't Play This" video by Brosh</a>, which we shared last week, this is an expanded version (nearly six minutes long) of the usually brief "Betcha" videos on GuitarWorld.com.</p> <p>Also, note that there are no tabs, since Brosh explains key left- and right-hand techniques in the clip. </p> <p>For two other Betcha Can't Play This columns by Brosh, check out <a href="http://www.guitarworld.com/betcha-cant-play-guitarist-ethan-brosh-lays-down-challenge">Betcha Can't Play This: Guitarist Ethan Brosh Lays Down the Challenge</a> and <a href="http://www.guitarworld.com/betcha-cant-play-diminished-madness-guitarist-ethan-brosh">Betcha Can't Play This: Diminished Madness with Guitarist Ethan Brosh</a>. You'll find more under RELATED CONTENT, below the photo.</p> <p>For more about Brosh, visit <a href="http://ethanbrosh.com/">ethanbrosh.com</a>.</p> <p>As always, good luck! We have more on the way!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kDFQ0tJbGRA" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/betcha-cant-play-ethan-broshs-c-lydian-voyage-tap-and-bend#comments Betcha Can't Play This Ethan Brosh Videos News Lessons Mon, 25 Aug 2014 20:42:57 +0000 Guitar World Staff http://www.guitarworld.com/article/22196 LessonFace with Steve Stine: Understanding the CAGED System — Absolute Fretboard Mastery, Part 8 http://www.guitarworld.com/lessonface-steve-stine-understanding-caged-system-absolute-fretboard-mastery-part-8 <!--paging_filter--><p><strong>Steve Stine, highly sought-after guitar educator, teaches live online group and private classes at <a href="https://www.lessonface.com/">Lessonface.com</a>. His popular course, "the Players Series," kicks off September 6, 2014. <a href="http://lessonface.go2cloud.org/aff_c?offer_id=7&amp;aff_id=1001">Head here for more information.</a></strong></p> <p>Hey, guys. Welcome back to my Absolute Fretboard Mastery series. In this month’s edition of the column we’re going to be delving into a very useful visual technique called the CAGED chord system.</p> <p>There are quite a few ways of approaching the CAGED chord system, but what I’m going to try to do is keep it as simple as possible and give you a practical understanding of the system so you can start applying it in your own playing.</p> <p>When most people start learning guitar, the first chords that they learn are often the A, C, D, E and G open chords. </p> <p>And the CAGED chord system is a chordal shape that can be used to navigate the fretboard using the C, A, G, E and D open-chord shapes, in that particular order, to ultimately be able to spot any major chord all across your fretboard.</p> <p>Let’s start off by learning the CAGED chord system in the key of C so that you can bridge this theory with what we learned about the C major scale in <a href="http://www.guitarworld.com/lessonface-steve-stine-spread-fingering-absolute-fretboard-mastery-part-7">last month’s lesson.</a> </p> <p><strong>What I want you to do first is play a C major chord in its first open position:</strong></p> <p><img src="/files/imce-images/diagram-1-620.jpg" width="620" height="208" alt="diagram-1-620.jpg" /></p> <p>In terms of the CAGED chord system, this is the first or “C” position. The next position in the system is the “A” position. So the next step in the system is to move up to the third fret and play a fifth string C major bar chord. Which, as you should know by now, uses the “A” chord shape:</p> <p><img src="/files/imce-images/diagram-2-620.jpg" width="620" height="208" alt="diagram-2-620.jpg" /><br /> You also can keep in mind at this point that if you ever play a fifth-string barre chord, the “C” position of the chord is to the left. </p> <p><strong>The next position of the C chord in the CAGED system, which is the “G” position, looks like this:</strong></p> <p><img src="/files/imce-images/diagram-3-620.jpg" width="620" height="208" alt="diagram-3-620.jpg" /></p> <p>Something I should mention at this point is that the first step here is in understanding how a chord is spread out over these five positions across the fretboard. Actually playing these chords might take some getting used to since they’re fairly foreign.</p> <p><strong>The next position of C is the “E” shape in the CAGED system, and that looks like this:</strong></p> <p><img src="/files/imce-images/diagram-4-620.jpg" width="620" height="208" alt="diagram-4-620.jpg" /></p> <p>This is a position that should look familiar because it is, in fact, the sixth-string barre chord.</p> <p><strong>The fifth position of the C chord in the CAGED chord system is the “D” position, which looks like this:</strong></p> <p><img src="/files/imce-images/diagram-5-620.jpg" width="620" height="208" alt="diagram-5-620.jpg" /></p> <p><strong>And then we go back to the “C” position for a C chord, which is one octave higher than our starting chord.</strong></p> <p><img src="/files/imce-images/diagram-6-620.jpg" width="620" height="208" alt="diagram-6-620.jpg" /></p> <p>And that’s how you play the same chord across the fretboard using these five chordal shapes; which is what the CAGED system is all about. </p> <p>This might seem pretty complicated at first, so I don’t want you to make things harder for yourself by thinking you need to learn each and every chord across the fretboard using the CAGED system right away. Instead of trying to learn seven different chords in the CAGED system off the bat, start off by absolutely mastering one chord until you can easily spot it and play it across the fretboard.</p> <p>Once you’ve done this, using the CAGED chord system for any other chord becomes a cinch. If you know your sixth-string barre chords (and, if you’ve been following this series, you should), you’ll know that whenever you play a sixth-string barre chord, which is an “E” shape in the CAGED system, your “G” shape is below you and the “D” shape is above you.</p> <p><strong>So if we were to take an A chord, the “E," “G” and “D” positions would look like this:</strong></p> <p><img src="/files/imce-images/diagram-7-620.jpg" width="620" height="208" alt="diagram-7-620.jpg" /></p> <p>And in the same way, when you play any fifth-string barre chord, you’ll know that according to the CAGED system, the “C” shape is below you and the “G” shape of your chord is above you. Which means as long as you know your sixth- and fifth-string barre chords, you pretty much have the CAGED system covered.</p> <p>So, for example, if you needed to figure out the CAGED positions of the G chord, the first thing you need to do is figure out the lowest position of the G chord you can play, which in this case is the open G chord. Then you’ll know that next you’ll have a G chord in the “E” position and a “D” position and so on and so forth. The other shortcut is to simply find a G sixth- or fifth-string barre chord and figure out the surrounding CAGED positions of the chord.</p> <p>Remember, the point of this month’s lesson isn’t to be able to play one chord all over the fretboard. There's a much bigger picture to this that we will get into next month. For now, master this concept of the CAGED chord system until you’re able to visualize any chord across your fretboard with ease. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/LhAApi9H1Gg" frameborder="0" allowfullscreen></iframe></p> <p><strong>"The Players Series," a 12-week course with Steve Stine covering rock fundamentals, soloing and blues, starts September 6, 2014. <a href="http://lessonface.go2cloud.org/aff_c?offer_id=7&amp;aff_id=1001">Click here for more information and to enroll.</a></strong></p> <p><strong><em>Steve Stine is a longtime and sought-after guitar teacher who is professor of Modern Guitar Studies at North Dakota State University. Over the last 27 years, he has taught thousands of students, including established touring musicians, and released numerous video guitar lesson courses via established publishers. A resident of Fargo, North Dakota, today he is more accessible than ever before through the convenience of live online guitar lessons at <a href="http://lessonface.go2cloud.org/aff_c?offer_id=7&amp;aff_id=1001">Lessonface.com.</a></em></strong></p> http://www.guitarworld.com/lessonface-steve-stine-understanding-caged-system-absolute-fretboard-mastery-part-8#comments LessonFace Steve Stine Videos Blogs Lessons Mon, 25 Aug 2014 19:11:20 +0000 Steve Stine http://www.guitarworld.com/article/22193 In Deep with Early Blues Masters John Lee Hooker and Lightnin' Hopkins — Video http://www.guitarworld.com/deep-john-lee-hooker-and-lightnin-hopkins <!--paging_filter--><p>The blues is ripe for endless and constant reinvention. </p> <p>Through the decades, it has developed in many different incarnations. </p> <p>These include plantation field hollers; the acoustic guitar playing and songwriting mastery of Charlie Patton, Blind Blake, Blind Lemon Jefferson, Blind Willie McTell and Robert Johnson; the Chicago, Memphis and Texas blues of Muddy Waters, Howlin’ Wolf and T-Bone Walker; and the mid-to-late-Sixties blues-rock revolution spearheaded by Cream and the Jimi Hendrix Experience. </p> <p>Today, bands such as the North Mississippi All-Stars, the Black Keys and Alabama Shakes continue to explore new ways to navigate the dark, swampy sounds honed through this long tradition of blues interpretation. In this edition of In Deep, we’ll be taking a look at the guitar work of two essential early blues guitar masters: John Lee Hooker and Lightnin’ Hopkins.</p> <p>John Lee Hooker was born in 1917 in Coahoma County, Mississippi, and learned to play guitar from his stepfather, Willie Moore, who, conveniently for John Lee, was friends with Blind Lemon Jefferson and Charlie Patton. Hooker went on the road at age 14, joining legendary bluesman Robert Nighthawk in Memphis. </p> <p>In 1948, Hooker began his recording career in style, cutting two incredible tunes—“Boogie Chillen’ ” and “Sally Mae”—at his first sessions, cut in Detroit. The songs were released on the Modern label, owned by the Bihari Brothers (who also recorded B.B. King’s earliest sides), and Hooker’s ascent to blues superstardom was underway. </p> <p>Hooker performed and recorded a great many tunes on both acoustic and electric guitar in open A tuning (low to high, E A E A Cs E), oftentimes using a capo at the first, second or third fret to perform in different keys. He picked with his fingers, primarily using his thumb to strike the bass strings and index finger to pluck the higher strings, and achieved a warm and very percussive sound, often performing alone or with another guitarist for accompaniment. </p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_1.jpg" /></p> <p>FIGURE 1 illustrates a rhythm figure along the lines of “Boogie Chillen’.” Though written in 4/4, this figure is played with a triplet, or swing-eighths, feel, which means that notes indicated as pairs of eighth notes are actually sounded as a quarter note followed by an eighth note within a triplet bracket. </p> <p>Throughout this passage, the thumb and index finger alternate striking the lower and higher strings, with a quick, rolling double hammer-on occurring at the end of each bar. In bar 1, the hammer-on begins on the fourth fret and moves chromatically (one fret at a time) up to the sixth fret. In bar 2, the hammer-on starts on the second fret and moves up chromatically to the fourth fret. In bar 3, rapid slides up to the third fret are executed with an index-finger barre across the top two strings.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_2.jpg" /></p> <p>One of the fascinating aspects of Hooker’s open A playing was that he often used only two primary chords, the “I” (one) and the “IV” (four), forgoing the use of a “V” (five) chord that is common to the majority of blues music. In open A tuning, Hooker would use a standard C “cowboy” chord grip as his four chord, which yields an unusual Dadd9/C sound, as illustrated in FIGURE 2. </p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_3.jpg" /></p> <p>Another interesting aspect of Hooker’s solo work is that he would often shift from a swinging triplet feel to the use of even, or “straight,” eighth notes, which provides great rhythmic contrast and tension. As shown in FIGURE 3, I begin with straight eighths on a sliding A7 chord voicing and then move back to the swinging feel when the initial riff is restated in bars 5–7.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_4.jpg" /></p> <p>Hooker also often used the D7/A voicing shown in FIGURE 4 for his four chord: with the index finger barred across the top three strings at the fifth fret, the pinkie is added and removed from the high E string’s eighth fret. Robert Johnson often used this pattern to great effect as well.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_5.jpg" /></p> <p>Hooker devised some great and very distinct licks in open A tuning, a few of which are presented in FIGURE 5. Following index-finger slides on the top two strings, different A and A7 voicings are followed by great single-note and double-stop licks played on the middle strings using a bit of rhythmic syncopation. You can hear Hooker play riffs like these on his classic song “Sally Mae.” ZZ Top’s Billy Gibbons is a Hooker fanatic, and you can hear many of these kinds of licks on Top classics like “La Grange” and “Jesus Just Left Chicago.”</p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_6.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_7.jpg" /></p> <p>Combining open strings with single-note riffs is a central element of Hooker’s style, made more effective with fingerpicking. FIGURE 6, inspired by “Crawling Kingsnake,” and FIGURE 7, a nod to “Tease Me,” offer a few more examples of how Hooker would combine a catchy melody with an insistent root-note, open-string pedal tone. </p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_8.jpg" /></p> <p>In later years, Hooker relied more often on standard tuning, while still using the capo on the first few frets for changing keys. A great example of his playing style in standard tuning can be heard on “Boom Boom Out Go the Lights.” FIGURE 8 offers an example in this style, marrying a repeated melody, based on E minor pentatonic (E G A B D) to an alternating bass line. </p> <p>Lightnin’ Hopkins was born in 1912 in Centerville, Texas. Like Hooker, he learned directly from encounters with Blind Lemon Jefferson. He began his recording career in 1946 and went on to become one of the most influential blues guitarists ever. Elements of his style are clear in the playing of Jimi Hendrix, Eric Clapton, Jimmy Page, Jeff Beck, Stevie Ray Vaughan and just about everyone that played or plays blues guitar.</p> <p><img src="http://dl.guitarworld.com/tabs/indeep1012_9.jpg" /></p> <p>Hopkins often performed unaccompanied acoustic guitar (or amplified acoustic), picking with his fingers in a manner similar to Hooker but with the use of a thumb pick. FIGURES 9 and 10 offer examples of a mid-tempo swinging 12/8 blues played in his style, akin to his take on the blues classic “Goin’ Down Slow.”</p> <p><strong>Part 1</strong></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience1783866015001" 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="1783866015001" /> </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> <strong>Part 2</strong></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience1783865990001" 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="1783865990001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> http://www.guitarworld.com/deep-john-lee-hooker-and-lightnin-hopkins#comments In Deep John Lee Hooker Lightnin’ Hopkins October 2012 2012 Videos In Deep with Andy Aledort News Lessons Magazine Fri, 22 Aug 2014 17:28:54 +0000 Andy Aledort http://www.guitarworld.com/article/16556 Living Colour's Vernon Reid Shows How to Play "Cult of Personality" and More http://www.guitarworld.com/living_colour039s_vernon_reid_shows_how_to_play_quotcult_of_personalityquot_and_more <!--paging_filter--><p>In this exclusive <em>Guitar World</em> lesson, watch Living Colour guitarist Vernon Reid talk about the band's <em>The Chair in the Doorway</em> album and teach you how to play their classic 1988 hit "Cult of Personality."</p> <p>Speaking of 1988, here's a piece of <em>Guitar World's</em> interview with Reid from 1988, where he discusses "Cult of Personality" and more.</p> <p><strong>GUITAR WORLD: How were your solos recorded, and is there a personal favorite?</strong></p> <p>"Cult Of Personality" was a first take, as was "Funny Vibe." "Desperate People" wasn't a first take, but none of the solos were stitched together. I purposely had our producer turn off my rhythm tracks and just send bass and drums when I recorded my solos. I wanted to keep a raw edge. </p> <p>I like the "Cult" solo because I felt I was able to connect with the lyrics and feel of the song. I like "Funny Vibe," "Memories Can't Wait" and "Which Way To America" because there's something out of control about them. I'm not an every-hair-in-place kind of player.</p> <p><strong>How have non-guitar influences like Eric Dolphy affected your style?</strong></p> <p>Well, I don't play like Eric Dolphy, but technically, his incredible use of interval skips is something I try to apply, specifically in the "Cult Of Personality" solo. I have a book by Joe Diorio called Intervallic Design which addresses how to use interval skips smoothly.</p> <p>When I studied with Rodney Jones, Bruce Johnson and Ted Dunbar, they had me play with a metronome on 2 and 4, which exposed me to the concept of swinging. I still practice with a metronome. Right now, a lot of people are playing very diatonically and modally. Even the arpeggios sound diatonic. I incorporate that, as well as pentatonic, chromatic and whole-tone ideas, and I like to experiment with moving tonal centers which I learned about while working with the Decoding Society.</p> <p><strong>How do you approach soloing?</strong></p> <p>My best solos come when I get into a stream of consciousness and there are no stylistic considerations like, "Now I'm going to use some two-handed tapping technique or play a hip bebop phrase."</p> <p>There are times when you can feel yourself thinking things out, but for the most part, if you're in touch with your capabilities, ideas will begin to flow. What musicians don't realize is that as you play over a long period of time, you pick up a lot of things. If you could unlock what you've learned from the time you started playing, you would be amazed.</p> <p>To read the rest of this 1988 <em>Guitar World</em> interview, <a href="http://www.guitarworld.com/archive-living-colour-guitarist-vernon-reid-talks-vivid-1988-interview">head here.</a></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Gxr2zINiH3c" 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="/living-colour">Living Colour</a> </div> <div class="field-item even"> <a href="/vernon-reid">Vernon Reid</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/living_colour039s_vernon_reid_shows_how_to_play_quotcult_of_personalityquot_and_more#comments Living Colour Vernon Reid Artist Lessons Videos Interviews News Features Lessons Magazine Fri, 22 Aug 2014 17:20:07 +0000 Guitar World Staff http://www.guitarworld.com/article/2935 Riffer Madness: Dimebag Darrell on Syncopated Rhythms, Part 1 http://www.guitarworld.com/riffer-madness-dimebag-darrell-syncopated-rhythms-part-1 <!--paging_filter--><p><em>This entry comes from Dimebag Darrell's classic </em>Guitar World<em> column, "Riffer Madness."</em></p> <p>In the last few columns we've been zoning in on lead-playing and shit so let's get back to doing some hard-driving rhythm work for a while-'cos well-balanced players rip on rhythm as well as leads. </p> <p>As far as I'm concerned, it's no good being able to wail out smokin' leads if your rhythm chops hugg! I've been into playing rhythm from day one, and a lot of that has to do with having a brother who kicks ass on drums. I grew up jamming with Vinnie [Paul, Darrell's brother and Pantera's skin-basher] and he definitely taught me the importance of timing and playing tight-and that, along with some great chops, is what rhythm playing is all about.</p> <p><strong>Percussive Picking</strong></p> <p>In a way, I'm kind of a percussionist when it comes to picking because a lot of my rhythm patterns are almost like drum patterns-take the front of "A New Level" (<em>Vulgar Display Of Power</em>) (Figure 1) which is a hard-driving power groove based on one note, the open low E string (tuned down a whole step to D). </p> <p>I actually came up with the idea for this riff by beating on one of those little crystal glasses with some chop sticks at Benihana's! Most riffs are recognizable by their melody, and the fact that you can immediately identify Figure 1 as being "A New Level" from just its rhythmic pattern shows you how important timing and rhythm is! So, in the case of this riff, the focus is on right-hand chops rather than melody.</p> <p><img src="http://guitaraficionado.com/GW/dime/sync1.gif" /></p> <p><strong>Psychotic Syncopation</strong></p> <p>A lot of Pantera's riffs are tight, syncopated grooves like the one we've just looked at. Check out the riff shown in FIGURE 2, which is the beginning of "Psycho Holiday" (<em>Cowboys From Hell</em>).</p> <p><img src="http://guitaraficionado.com/GW/dime/sync2.gif" /></p> <p>Once again, only one note is being hit (F), but you know exactly what the song is, thanks to the rhythmic pattern being pounded out. Anyway, before we go any further, I guess I should explain what syncopation is all about, just so we're clear.</p> <p>All syncopation means is accenting beats that you don't normally accent. If this sounds complicated, don't wig, just hold tight and we'll clean this scene up. Let's say you're chugging out a simple eighth-note pattern on the open low-E string, like in FIGURE 3a.</p> <p><img src="http://guitaraficionado.com/GW/dime/sync3.gif" /></p> <p>The notes you'd normally accent would be the ones that fall on counts "one," "two," "three" and "four." This is shown in FIGURE 3b(the notes to be accented are indicated by the symbol >). All we have to do to make this basic rhythmic idea syncopated is to accent the notes that fall on the "and" counts instead-the eighth-note up-beats. This is shown in FIGURE 3c.</p> <p>FIGURES 4a + 4b are the same shit, but this time applied to a simple 16th-note groove. FIGURE 4a is the unsyncopated version (accents on "one," "two," "three" and "four") while FIGURE 4b is syncopated (accents NOT on "one," "two," "three" and "four").</p> <p><img src="http://guitaraficionado.com/GW/dime/sync4.gif" /></p> <p>I know these are real basic illustrations, but remember, simple is bad-assed, if done aggressively! So, attack those accents 'cos that's where the magic is! Check out how much more interesting FIGURE 4b sounds compared to FIGURE 4a, which is pretty straight-sounding. And the only difference between 'em is where we've placed the accents. That's the whole trip with syncopation!</p> <p><img src="http://guitaraficionado.com/GW/dime/sync5.gif" /></p> <p>Shit, I'm outta space again. Next time we'll be getting into more power groove stuff, such as picking techniques and muting tricks. Until then, go crank your rig on 12, let it feedback wide open for a good two minutes, freak your neighbors out and ENJOY THE POWER OF THE GUITAR! "Oh, what a feeling," and it ain't no damned Toyota!!</p> <p><em>The "Dimebag Darrell Riffer Madness" DVD is available through Alfred <a href="http://alfred.com/riffermadness">here</a></em>.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/pantera">Pantera</a> </div> <div class="field-item even"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/riffer-madness-dimebag-darrell-syncopated-rhythms-part-1#comments Dimebag Darrell Pantera Riffer Madness Blogs News Lessons Magazine Wed, 20 Aug 2014 14:52:31 +0000 Dimebag Darrell http://www.guitarworld.com/article/13492 Bent Out of Shape: Jake E. Lee-Inspired, Staccato-Style Riffs http://www.guitarworld.com/bent-out-shape-jake-e-lee-inspired-staccato-style-riffs <!--paging_filter--><p>A couple of weeks ago, <a href="http://www.guitarworld.com/bent-out-shape-white-wizzard-devils-cut-guitar-solo-lesson-part-1">I showed you how to play a solo I recorded for the new White Wizzard album.</a></p> <p>In that solo, I highlighted a riff/lick where I double-picked each note with palm muting to create a staccato-style effect. </p> <p>The inspiration for this lick came from former Ozzy Osbourne guitarist Jake E. Lee, who used this effect in several Osbourne songs. The pre-chorus and chorus of "Bark at the Moon" use this technique, as well as the main riff from "Waiting for Darkness." </p> <p>For this lesson, I want to explore some more applications of this technique and give you some ideas of how you can use it in your own playing. The technique can be applied to virtually any single-note sequence you can come up with. </p> <p>I find it best to create a simple melodic line and then apply the technique to create a riff or motif. I've found it particularly useful in my solos as a way to create dynamics.</p> <p>To start, here's the lick from my previous lesson. Its just a very simple D minor pentatonic idea, which, combined with the technique, creates a much more memorable passage. This also is a good way to use pentatonics outside of the traditional rock-style licks. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F99867732"></iframe></p> <p><img src="/files/imce-images/tab1_1.jpg" width="620" height="87" alt="tab1_1.jpg" /></p> <p>Here's a riff inspired by Jake E Lee's "Waiting For Darkness." It features a simple B natural minor melody followed by descending thirds. This is taken from one of my own compositions, where I used it as the main theme within the song.</p> <p><img src="/files/imce-images/tab2_1.jpg" width="620" height="65" alt="tab2_1.jpg" /></p> <p>This is similar to the previous idea, but it uses A harmonic minor and a flat 5th to create a darker-style riff. This is taken from another solo I recorded. I was struggling to find something that sounded good over the backing music. There was no chord progression, rather just quick-moving power chords through a harmonic minor/diminished hybrid scale. </p> <p><img src="/files/imce-images/tab3_0.jpg" width="620" height="52" alt="tab3_0.jpg" /></p> <p>If you don't like to sweep pick, this technique will allow you to play arpeggios with some speed. My final example features a simple A minor to G major chord progression played as arpeggios across all six strings. This is a great application for this technique. </p> <p><img src="/files/imce-images/tab4.jpg" width="620" height="150" alt="tab4.jpg" /></p> <p>Hopefully you can take my examples and come up with your own ideas. It's also worth mentioning Jake E. Lee has a new album coming out sometime soon, which is a much welcomed return to the world of music for the highly influential guitarist. </p> <p><em>Will Wallner is a guitarist from England who now lives in Los Angeles. He recently signed a solo deal with Polish record label Metal Mind Productions for the release of his debut album, which features influential musicians from hard rock and heavy metal. He also is the lead guitarist for White Wizzard (Earache Records) and toured Japan, the US and Canada in 2012. Follow Will on <a href="https://www.facebook.com/wallnervain">Facebook</a> and <a href="https://twitter.com/willwallner">Twitter</a>.</em></p> http://www.guitarworld.com/bent-out-shape-jake-e-lee-inspired-staccato-style-riffs#comments Bent Out of Shape Jake E. Lee Will Wallner Blogs Lessons Wed, 20 Aug 2014 14:48:47 +0000 Will Wallner http://www.guitarworld.com/article/18740 What in the World: Fourth-Finger Warmups and Strengthening Exercises http://www.guitarworld.com/what-world-fourth-finger-warmupsstrengthening-exercises <!--paging_filter--><p>The fourth finger is often neglected when it comes to playing guitar. Well, rock/blues guitar, at least. </p> <p>I notice players opt to do wide stretches between their second and third fingers rather than using the fourth. </p> <p>As a result, the fourth finger is very underused and gets weak. </p> <p>This generally begins when someone first starts playing guitar. They gravitate to the stronger fingers so they can begin playing right away, so they use their fourth finger very infrequently and develop a style that excludes it. </p> <p>By strengthening and using your fourth finger, many doors will open for you, playing-wise and eventually, you might even discover it’s even easier to play certain things. Aside from developing your fourth finger’s strength, the exercises below also can serve as efficient warmup exercises.</p> <p>This first exercise is a pentatonic shape, string-skipping lick. If you want to work on hybrid picking, you can pluck the high E string with the middle finger of your right hand. I only covered the first position in the example to show what the pattern is, but you can take this lick up to the 12th fret. You will definitely feel this one after a few frets!</p> <p><strong>Example 1</strong></p> <p><img src="/files/imce-images/ex%201.jpg" width="620" height="300" alt="ex 1.jpg" /></p> <p>The second exercise is a take on a common chromatic finger exercise, but instead of using the first finger, you will use only the second, third and fourth fingers. The third and fourth fingers will get tired after a while, and the clarity of the notes might start to suffer, so slow it down if that becomes the case. </p> <p>Remember, you always want to practice something and have it sound perfect, so slow it down if necessary. Once again, I only covered the first position in this example, but go up to the 12th fret. The finger pattern for this exercise is: 4 – 3 – 2 – 3</p> <p><strong>Example 2</strong></p> <p><img src="/files/imce-images/ex%202.jpg" width="620" height="302" alt="ex 2.jpg" /></p> <p>The third exercise might look familiar to those who checked out my “Flight of the Bumblebee” lesson. This exercise is the main theme. It’s a great workout for the fourth finger, since there is a five-fret jump between the first finger and the fourth, followed by a descending line with the 4-3-2 fingers and then the fourth again. I’m showing it in one position, but move this around the neck to work out the different fret spacings. </p> <p>The left hand fingering for this should be:</p> <p>4 – 3 – 2 - 1 – 1 – 4 – 3 – 2 – 4 – 3 – 2 – 1 – 1 – 2 – 3 – 4</p> <p><strong>Example 3</strong></p> <p><img src="/files/imce-images/ex%203.jpg" width="400" height="168" alt="ex 3.jpg" /> </p> <p>The final exercise is a hammer-on/pull-off sequence. There are really two exercises in one. The first one works out fingers 1, 3 and 4. The second one works out fingers 1, 2 and 4. Try and work your way up to do each for around a minute, but start off for maybe 10 to 15 seconds at a time. This one will build up a lot of strength in your left hand.</p> <p>Part 1 fingering: 1 – 4 – 1 – 3 – 1. Part 2 fingering: 1 – 4 – 1 – 2 - 1</p> <p><strong>Example 4</strong></p> <p><img src="/files/imce-images/ex%204.jpg" width="520" height="159" alt="ex 4.jpg" /></p> <p>These exercises/warmups are geared more for endurance as opposed to speed, so there's no need to try and blaze through them. Also, it's generally a good idea to dial in a sound that's not that forgiving, something that will let you hear the flaws and inconsistencies in your playing. Definitely use a dry sound with low gain if you use distortion. Try and be as honest as possible with yourself, and you will see quick results for all of your efforts. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/MZxQQZraFfM?list=UUozoKYJmat8MUYcdRo40cHA" frameborder="0" allowfullscreen></iframe></p> <p><em>Steve Booke is a composer for film and TV from the New York area. His compositions range from orchestral to metal to world styles from every corner of the planet. A graduate of Berklee College of Music, Steve has played guitar for more than 28 years. He has recorded 10 albums of his own and has played on countless others. He plays gigs in the NY area and tours the East Coast with a variety of bands. He has performed with Ben E. King and members of Mahavishnu Orchestra. He endorses D'Addario/Planet Waves, Larrivee Guitars, Levy's Leathers, Peavey, Stylus Pick, Finale PrintMusic, Pigtronix, Tech 21, Toontrack, Graph Tech, Seymour Duncan, Waves, Studio Devil and L.R. Baggs. His music is available on iTunes and Amazon. Steve is now offering Skype lessons and can be contacted at info@stevebooke.com. Visit <a href="http://stevebooke.com">stevebooke.com</a> and <a href="https://www.facebook.com/SteveBookeGuitaristComposer">Facebook.com/SteveBookeGuitaristComposer</a>.</em></p> http://www.guitarworld.com/what-world-fourth-finger-warmupsstrengthening-exercises#comments Steve Booke What In the World Videos Blogs Lessons Wed, 20 Aug 2014 14:45:54 +0000 Steve Booke http://www.guitarworld.com/article/20622 Guitar Strength: 10 Commandments of Playing Guitar in the Style of Dimebag Darrell, Part 1 http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-1 <!--paging_filter--><p>This is a two-part column; part 1 is below, <a href="http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-2">and part 2 is right here.</a></p> <p><strong>Commandment 1: Honor Thy Van Halen</strong></p> <p>... and ZZ Top, Kiss, Judas Priest, Black Sabbath, Ted Nugent, Pat Travers, early Metallica (<em>Kill ‘em All</em>, <em>Ride the Lightning, Master of Puppets</em>) and Randy Rhoads.</p> <p>Van Halen’s impact on Dimebag’s playing is unmistakable. The “vibe” of early Van Halen is by far the most recognizable influence in Dimebag’s playing. From the grooving rhythms played like leads of their own, to the tone, to the phrasing in his lead playing, Dimebag took the inspiration of Edward Van Halen and forged his own identity.</p> <p>Pieces such as “Eruption” and “Spanish Fly” were favorites of Dimebag, who would play them in his unaccompanied guitar solos back in Pantera’s early club days.</p> <p>Dime has been noted as being Texas’ “Van Halen clone,” the local hotshot who could play all of the most impressive licks of his hero. Further, the brotherly bond of the Van Halen brothers (Eddie on guitar and Alex on drums) was mirrored in Pantera (Vinnie on drums and Dime on guitar).</p> <p>Van Halen’s impact is further felt as the words “Van Halen” were actually Dimebag’s last words spoken before he was tragically murdered. “Van Halen” was something Dime would say to his brother Vinnie before a live performance to inspire them both to play a fun, lively, rocking show. Also, Dime was actually buried with the guitar that inspired him most -- Eddie Van Halen’s yellow and black striped guitar featured on the back cover of <em>Van Halen II</em>.</p> <p>To truly understand Dimebag’s playing, it is crucial to absorb the “Van Halen” feel, as well as the techniques and attention to tone that were such a part of the early Van Halen experience.</p> <p><strong>[[ 2012 marks the 20th anniversary of Pantera's <em>Vulgar Display of Power</em>. What better way to celebrate the greatest album by one of the greatest metal band ever than with the collector's box-set edition of <em>Revolver</em>'s new special issue devoted to the group? The box set comes with five copies of the issue with four exclusive covers not available anywhere else, a massive 15" x 21" double-sided poster, and <em>Guitar World</em>'s <em>Learn the Best of Pantera</em> DVD with 90 minutes of shredding lessons, all packaged in a cool collector's box. <a href="http://store.guitarworld.com/collections/revolver/products/revolver-presents-the-pantera-box-set/?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign">It's available now at the Guitar World Online Store.</a> ]]</strong></p> <p><strong>Commandment 2: Thou Shalt Use the Major 3rd</strong></p> <p>Always wearing his Van Halen influence on his sleeve, Dimebag was never one to shy away from using the interval of a major 3rd in his heavy playing. Shunned by most “metal” players, the major 3rd was an essential tool in Dime’s bag of tricks.</p> <p>When playing in E (minor), the major third is G#, which adds a unique feel to riffs and licks that also utilize the minor 3rd (G). Theoretically, this major 3rd lends lines a Mixolydian quality, though it essentially gives a bluesy type of sound and adds tension/dissonance to minor key tonalities (For more information, check out <a href="http://www.guitarstrength.com/">Guitar Strength Volume 1: Mastering the Modes</a>.)</p> <p>Example 1 is a Dimebag-inspired riff using this major 3rd in a minor key.</p> <p><img src="/files/imce-images/Example1_0.jpg" width="620" height="156" alt="Example1_0.jpg" /></p> <p>Notice also how Dime gets extra mileage out of the interval by using it in a pattern that also makes use of the flat 9 (F in E minor). Example 2 is another Dimebag-inspired riff using the same intervals. (For another riff using the major 3rd, which was clearly an influence on Dimebag, check out the end of “Sabbath Bloody Sabbath” by Black Sabbath.)</p> <p><img src="/files/imce-images/Example2.jpg" width="620" height="140" alt="Example2.jpg" /></p> <p>The major 3rd was not just essential to Dimebag’s riffs, it was also extensively used in his lead playing. Example 3 is an E minor fingering of the “Dimebag Scale,” a minor pentatonic scale with the addition of a flat 5, major 6th (omitted on the A string and used only on the B string, 14th fret for ease of fingering), and major 3rd. </p> <p><img src="/files/imce-images/Example3.jpg" width="620" height="141" alt="Example3.jpg" /> </p> <p>Example 4 is a Dimebag-inspired lick using this scale.</p> <p><img src="/files/imce-images/Example4.jpg" width="620" height="161" alt="Example4.jpg" /></p> <p>When attempting to conjure the influence of Dimebag in your own playing, experimentation with the integration of this major 3rd into more “standard” minor phrases is highly encouraged. Don’t be afraid of sounding “happy”; play the note like you mean it and you’ll be amazed at its versatility and its ability to make your playing substantially more interesting.</p> <p><strong>Commandment #3: Embrace Symmetry</strong></p> <p>Another Van Halen-inspired technique employed by Dimebag was the use of symmetrical fingerings. This technique is extremely easy to learn but requires taste and skill for successful implementation. To perform this technique, simply devise a fingering shape on one string and apply it across all six. </p> <p>Example 5 is a Van Halen-esque lick, based on a root, major 3rd, 5th shape in E, continuing down to the A string and resolving on a B string bend from D to E (and back down to D for some minor 7th tension).</p> <p><img src="/files/imce-images/Example5.jpg" width="620" height="300" alt="Example5.jpg" /></p> <p>Clearly inspirational to Dime, example 6 is a variation in the same (12th) position, this time using the minor 3rd (G), 5th (B), and a slide to and from the flat 6th (C). This expanded symmetrical shape still uses a simple 1-2-4 fret hand fingering across all six strings, yet the pinky slide gives it some extra range and movement.</p> <p><img src="/files/imce-images/Example6.jpg" width="620" height="170" alt="Example6.jpg" /></p> <p>Further examples of simple, yet effective symmetrical patterns used by Dimebag can be seen in examples 7 and 8. Example 7 is another shape, this time using the major 7 (Eb in E), the root (E), and the minor 3rd (G) as its basis. In this case, the pattern is an ascending climb combining both picking and legato phrasing, again using the 1-2-4 fingering. </p> <p><img src="/files/imce-images/Example7.jpg" width="620" height="212" alt="Example7.jpg" /></p> <p>In example 8, based on one of Dimebag’s favorite patterns, the shape uses a 4-3-1 fingering in a descending sequence on the top three strings. This shape in this position is a throwback to the playing of Pat Travers, and can be quite effective when playing over rhythms in A minor and E minor. </p> <p><img src="/files/imce-images/Example8.jpg" width="620" height="145" alt="Example8.jpg" /></p> <p>Feel free to transpose it into other keys and use it often, just as Dime did.</p> <p>It is important to notice that though Dimebag possessed astounding picking technique, he tended to favor executing most of his lines in a legato fashion (another homage to Mr. Edward Van Halen). Dimebag’s love of legato gave his lines a fluid, lively quality, and his powerful left hand technique was extremely important when effectively implementing these symmetrical patterns into his lead licks.</p> <p><strong>Commandment 4: Give Chords New Found Power</strong></p> <p>Never content with “standard” guitar techniques, Dimebag was an avid user of the “other” power chords. Instead of relying on normal root-5th and root-4th (inverted 5th) power chords (though he was an obvious master when it came to using them), Dimebag would often come up with and use alternative dyads (two-note chords) in place of standard power chords. These chords were usually major or minor thirds stacked on top of the root. Example 9 is the two basic versions of these chords with 6th and 5th string roots. The first is the “major 3rd” variation and the second is the “minor 3rd” version.</p> <p><img src="/files/imce-images/Example9.jpg" width="620" height="195" alt="Example9.jpg" /></p> <p>Example 10 is a figure using the minor 3rd power chord. Notice how the chords act to add texture and movement to the riff, as they work well when used in the same riff as the more pedestrian root-5th power chords. The chords also add a nice tension, as they are not as “homogenous” and “neutered” sounding as the standard root-5th chords. Also, when used with a rocking distorted tone, these chords have an extremely powerful sonic fingerprint with their unique overtones. </p> <p><img src="/files/imce-images/Example10.jpg" width="620" height="132" alt="Example10.jpg" /></p> <p>These overtones are, in fact, what makes these chords so special and useful. With usual major or minor chords and triads, playing them with distortion often results in a cluttered, un-musical noise. There is just too much information present to allow sonorous, musical sounds when using the standard major or minor chord shapes. However, by just playing the root and 3rd, a vibrant, tense, rich sound is created, really putting the “power” in power chord.</p> <p>Experiment often with substituting these root-3rd power chords for standard root-5th chords in your riffs. Also, try varying your usage of major and minor 3rds, as often times the “wrong” (out of key) 3rd will sound most interesting in a riff. Example 11 is a Dimebag inspired riff using these harmonically “wrong” power chords. </p> <p><img src="/files/imce-images/Example11.jpg" width="620" height="278" alt="Example11.jpg" /></p> <p><strong>Commandment 5: Know your Nodes</strong></p> <p>No discussion of Dimebag would be complete without mentioning his penchant for playing with harmonics. Dimebag’s playing was peppered with any and every type of harmonics: natural, artificial, tapped, etc.</p> <p>Playing with an overtone-rich, distorted sound, harmonics (whether naturally or artificially produced) are an integral component in the beast of electric guitar. Harmonics can occur almost anywhere and can be produced by a myriad of means, and can occur many times as an accidental consequence of playing with a loud, distorted sound.</p> <p>Dimebag, however, excelled at controlling the beast, and was able to skillfully use harmonics as one of the most expressive elements in his playing. To understand how Dime would use harmonics, we’ll first look at the naturally occurring harmonic nodes that occur across the fretboard. Example 12 is a basic depiction of the most common, “easy” harmonics that occur when a fret hand finger is used to lightly touch a plucked string (without actually pushing it down and fretting it) and produce a harmonic. </p> <p><img src="/files/imce-images/Example12.jpg" width="620" height="154" alt="Example12.jpg" /></p> <p>Example 13 shows some more difficult to produce harmonics along the same string, many of which were used extensively by Dime.</p> <p><img src="/files/imce-images/Example13.jpg" width="620" height="159" alt="Example13.jpg" /></p> <p>Dime was never content to just play the harmonics, though, as he would often use a variety of techniques to produce and manipulate them. The most famous of these techniques was Dime’s signature “harmonic scream” technique. The basic maneuver is depicted in example 14. </p> <p><img src="/files/imce-images/Example14.jpg" width="620" height="388" alt="Example14.jpg" /></p> <p>To perform this technique as Dimebag would, a floating tremolo bridge (able to bend a note below and above) is necessary (preferably a locking Floyd Rose or its equivalent). First, get the string moving by “plucking” it with a silent fret hand pull-off while simultaneously dumping / depressing the bar and bending the tremolo down. As the open string is lowered in pitch and its tension is reduced, lightly tap the selected harmonic node with the fret hand “bird”/middle finger. Next, after the harmonic has been sounded, slowly return the bar to pitch, pull it up higher, and apply vibrato with the whammy bar. Note that the actual time the open/dumped string rings is only a fraction of a second, it is only sounded so as to allow the string movement enough to produce the fret hand “tapped” harmonic. </p> <p>Also note the importance of fret hand muting, being sure to use the fret hand thumb (wrapped over the top of the neck) and fret hand fingers to mute any unwanted noise from the unused strings. Experiment with different harmonic nodes, as some will be easier to execute and some will sound more interesting than others. </p> <p>While Dimebag was also quite adept at using Zakk Wylde/John Sykes/George Lynch/Billy F. Gibbons style “pings” (artificial harmonics, A.K.A. pick harmonics) he was especially adept at using multiple, combined harmonics as a way to spice up his rhythm playing. </p> <p>Example 15 shows this technique at play. </p> <p><img src="/files/imce-images/Example15.jpg" width="620" height="164" alt="Example15.jpg" /></p> <p>Notice first that Dime loved using “in-between” harmonics, those that had a particularly shrieking/squealing sound. Also notice that in combining two or more harmonics, an extremely cool set of screaming, dissonant overtones is created. Try any and all combinations of harmonics on various string sets and at various node points, and also experiment with manipulating the combinations with your whammy bar and/or effects pedals. Example 16 is several available combinations.</p> <p><img src="/files/imce-images/Example16.jpg" width="620" height="365" alt="Example16.jpg" /></p> <p>The possibilities are endless. <a href="http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-2">Check out Part 2!</a></p> <p><em>Scott Marano has dedicated his life to the study of the guitar, honing his chops at the Berklee College of Music under the tutelage of Jon Finn and Joe Stump and working as an accomplished guitarist, performer, songwriter and in-demand instructor. In 2007, Scott developed the Guitar Strength program to inspire and provide accelerated education to guitarists of all ages and in all styles through state-of-the-art private guitar lessons in his home state of Rhode Island and globally via Skype. <a href="http://www.guitarstrength.com/">Visit Scott and learn more at www.GuitarStrength.com.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item even"> <a href="/pantera">Pantera</a> </div> <div class="field-item odd"> <a href="/damageplan">Damageplan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-1#comments Damageplan Dimebag Darrell Guitar Strength Pantera Scott Marano Blogs Features Lessons Wed, 20 Aug 2014 14:44:16 +0000 Scott Marano http://www.guitarworld.com/article/13074 Metal for Life with Metal Mike: Combining Metal-Style Rhythm-Playing Techniques to Create Memorable Riffs http://www.guitarworld.com/metal-life-metal-mike-combining-metal-style-rhythm-playing-techniques-create-memorable-riffs <!--paging_filter--><p><strong>NOTE: The incorrect tabs appear in the Metal for Life column in the October 2014 issue of <em>Guitar World</em>. We've included the correct tabs below, just below the lesson video.</strong></p> <p>As a working metal guitarist, I’m always faced with different challenges, whether I’m working with an artist like Rob Halford from Judas Priest or fronting my own band and performing my own music. </p> <p>In both situations, I’m required to come up with inspired, heavy metal–approved guitar parts that will fuel the music in an ideal way. Whether a specific guitar part is comprised of single-note lines against a pedal tone or fast-shifting chord voicings against different root notes, it’s essential that I have my rhythm/riff chops together for whatever situation I find myself in. </p> <p>In this month’s column, I’d like to detail a handful of riffs designed to sharpen up very specific and different aspects of proper heavy-metal guitar technique.</p> <p><strong>FIGURE 1</strong> presents an eight-bar rhythm part built using a few different techniques. I begin in bar 1 with an A5 power chord, followed by open-A-string pedal tones that alternate against two-note chords on the D and G strings. There is an inherent melodic line played on the G string through this bar. In bar 2, I move to two-note voicings of G and Am, played against the A pedal, after which I wrap up the initial two-bar idea with a single-note line. </p> <p>Now that a theme has been established, in bar 3 I restate the riff from bar 1, and in bar 4, I wrap up this two-bar figure with a very unusual line that moves between the third and fifth frets on the D and G strings. </p> <p>To me, this line has a Randy Rhoads–like quality. Bars 5 and 6 are very similar to bars 1 and 2, except I end this phrase with an alternative melody. Bars 7 and 8 complete the idea, wrapping with a very specific idea. </p> <p>A three-note phrase, played in straight 16th notes, ends with a pull-off to the open D string. This three-note phrase moves up to each higher interval within the scale structure of the A Aeolian mode (A B C D E F G) until I finish on a two-note G major chord. Play through this eight-bar phrase slowly and carefully, striving for crystal-clear articulation as well as a rock-solid rhythmic feel.</p> <p> One of my favorite things to do is devise metal riffs played in odd meters, such as 7/8 and 9/8. <strong>FIGURE 2</strong> offers a riff in 9/8 that is performed almost entirely on the low E string. I begin with an index-finger pull-off from the third fret to the open low-E pedal note, and after riding on the low-E pedal in straight, palm-muted 16th notes for four more notes, I pull off from Bf at the sixth fret.</p> <p>The phrase in bar 1 ends with an ascending line that comes in at an unusual place, on the second 16th note of beat four. Notice that there are two extra 16th notes in the bar, which results in a phrase played in 9/8. As the riff progresses, these pull-offs are moved to different locations, and the riff ends with repeated pull-offs on the bottom two strings.</p> <p><strong>FIGURE 3</strong> is a little more straight-ahead, in terms of Maiden/Priest-type metal. Based primarily on A minor pentatonic (A B C D E), repeated pull-offs on the D and A strings are followed with three-note chord accents. Each two-bar phrase ends with a different descending line. </p> <p>Now that you have the idea, try putting these techniques to use in your own metal riffs.</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="myExperience3725935016001" 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="3725935016001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p><br /><br /> <img src="/files/imce-images/Screen%20Shot%202014-08-19%20at%206.34.03%20PM.png" width="620" height="871" alt="Screen Shot 2014-08-19 at 6.34.03 PM.png" /></p> http://www.guitarworld.com/metal-life-metal-mike-combining-metal-style-rhythm-playing-techniques-create-memorable-riffs#comments Metal For Life Metal Mike Chlasciak October 2014 Videos News Lessons Magazine Tue, 19 Aug 2014 22:38:26 +0000 Metal Mike Chlasciak http://www.guitarworld.com/article/22108 Monster Licks: Your Basic "Over the Top" Shred Lick http://www.guitarworld.com/monster-licks-your-basic-over-top-shred-lick <!--paging_filter--><p>In this Monster Lick, I'm using what I call the "E pentatonic major 3rd" scale — E, G#, A, B, D, E.</p> <p>I'm substituting the minor 3rd (G) for the major 3rd (G#). Often, I'll keep the minor 3rd in the scale as well, because it gives it a harder edge. </p> <p>Tonally, when you add the major 3rd and substitute it for the minor 3rd, you get a real Mixolydian sound. It is very important to understand what happens when you add and subtract notes, too — or from a scale.</p> <p>I use this particular variation of the scale a lot, especially when Im creating melodies that need to have a bit of "cheek" about them. This sound reminds me of something Steve Vai would use. The character Steve injects into his playing is genius, and this is a way (tonally) I've found to help me capture a bit of that.</p> <p>That said, this is a total shred lick. There is no character or melody in this; it's purely an example of how far you can take the scale idea. </p> <p><strong>The Lick:</strong></p> <p>I start this lick on the 12th fret of the low E string. From there I play two three-string arpeggios moving down the neck until I hit the B string. Once I reach the B string, I play a four-string arpeggio leading back up to the A string then into two more three-string arpeggios. There's a small legato transition before a six-string arpeggio that leads into the over-the-top section. </p> <p>NOTE: Whenever you see an arpeggio (They are easy to identify because they run diagonally across the transcript), they are all picked using sweep picking, meaning one continuous stroke up or down the strings, like strumming a chord. Even though the picking is all in one direction, it must be a controlled motion. It's essential to make sure your right and left hands are syncopated, no matter what speed you're playing at.</p> <p>As explained in previous Monster Licks columns, the over-the-top sections are great for a challenge but not necessary. I certainly don’t concern myself with techniques like this when I'm writing music, and neither should you. But they are fun to rip out and show your friends! Just look at it as a challenge, nothing more. </p> <p>The important thing is to get a grasp tonally on what is happening here, and also to understand how the arpeggios are constructed. Like all of these licks, it's not important to be able to play them note for note or as fast as I do here. What's important is that you take something away from it and add it to your arsenal of licks!</p> <p><strong>I hope you enjoy this Monster Lick! Please join me on <a href="https://www.youtube.com/user/atomicguitaraudio">YouTube right here!</a> Or contact me at <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a> or <a href="https://www.facebook.com/glenn.proudfoot">my Facebook page</a>.</strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/sh0_2xB7kX4" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-02-12%20at%204.20.42%20PM.png" width="620" height="477" alt="Screen Shot 2014-02-12 at 4.20.42 PM.png" /></p> <p><em>Australia's Glenn Proudfoot has played and toured with major signed bands and artists in Europe and Australia, including progressive rockers Prazsky Vyber. Glenn released his first instrumental solo album, </em>Lick Em<em>, in 2010. It is available on iTunes and at <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a>.</em></p> http://www.guitarworld.com/monster-licks-your-basic-over-top-shred-lick#comments Glenn Proudfoot Monster Licks Blogs Lessons Tue, 19 Aug 2014 16:56:14 +0000 Glenn Proudfoot http://www.guitarworld.com/article/20479 In Deep with Andy Aledort: The A Mixolydian Mode, Up and Down Each String http://www.guitarworld.com/deep-andy-aledort-mixolydian-mode-and-down-each-string <!--paging_filter--><p><em>These videos and audio files are bonus content related to the October 2014 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-october-14-stevie-ray-vaughan/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=OctoberVideosPage">Guitar World Online Store</a>.</em></p> <p>When jamming, guitarists are always challenged by the task of creating interesting, evolving rhythm parts behind a soloist. </p> <p>In my experiences, I have found the study of modal chord patterns and structures to be tremendously useful in this regard and endlessly interesting. </p> <p>I recently devoted a few columns to the study of building chord shapes, or “grips,” and patterns from modal structures, focusing on two of the most widely used minor modes, Dorian and Aeolian. This month, I’d like to turn your attention to one of the major modes, Mixolydian.</p> <p>The Mixolydian mode is spelled: 1(root) 2 3 4 5 6 f7. It is essentially a major scale with the seventh degree lowered, or “flatted.” </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="myExperience3725935018001" 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="3725935018001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/andy-aledort">Andy Aledort</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/deep-andy-aledort-mixolydian-mode-and-down-each-string#comments Andy Aledort In Deep October 2014 Videos In Deep with Andy Aledort News Lessons Magazine Tue, 19 Aug 2014 16:52:32 +0000 Andy Aledort http://www.guitarworld.com/article/22109 Yngwie Malmsteem Lesson: Cracking the Code, Season 2, Episode 1: "Get Down for the Upstroke" — Video http://www.guitarworld.com/yngwie-malmsteem-lesson-cracking-code-season-2-episode-1-get-down-upstroke-video <!--paging_filter--><p>Guitarist Troy Grady hosts a web series called "Cracking the Code." </p> <p>In each episode, he breaks down a phrase — or something awesome that he has learned or figured out — and then explains it in a detail-packed way that includes an information- and graphics-packed video.</p> <p>Below, we present Season 2, Episode 1 of "Cracking the Code." It's an Yngwie Malmsteen-related lesson called "Get Down for the Upstroke."</p> <p>From Grady:</p> <p>"Season 2 of 'Cracking the Code' launches a new chapter in the understanding of advanced picking technique. With the discovery of downward pickslanting and its companion technique, chunking, a window opens on a world of speed and clarity we've only dreamed was possible.</p> <p>"Over the course of the first two episodes of Season 2, we'll discover the power of Yngwie's fascinating and genre-defining asymmetrical approach to picking and come to understand the vast importance of downward pickslanting as a cornerstone of some of the greatest techniques in guitar history."</p> <p>So yes — get ready to learn about pickslanting, chunking and lots more in the new video below (posted in July 2014)!</p> <p>For more about Troy Grady and his instructional videos, visit <a href="http://www.troygrady.com/code/">troygrady.com</a>.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/7TnddE2k598" 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="/yngwie-malmsteen">Yngwie Malmsteen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/yngwie-malmsteem-lesson-cracking-code-season-2-episode-1-get-down-upstroke-video#comments Cracking the Code Troy Grady Yngwie Malmsteen Videos News Lessons Tue, 19 Aug 2014 14:58:26 +0000 Damian Fanelli http://www.guitarworld.com/article/22150 Jazz Guitar Corner: Rhythmic Soloing Exercise for the Improvising Guitarist http://www.guitarworld.com/jazz-guitar-corner-rhythmic-soloing-exercise-improvising-guitarist <!--paging_filter--><p>With so many scales, arpeggios, licks, chords and patterns to learn in the practice room, sometimes we can overlook rhythm when working on our <strong>jazz guitar soloing</strong> concepts. </p> <p>Keeping a focus on rhythms and <strong>rhythmic motives</strong> in your solos can help take your playing to the next level, without having to learn any new concepts, just new approaches to the concepts you already have under your fingers. </p> <p>In this lesson, you’ll learn a fun and <strong>essential jazz guitar rhythm</strong> exercise you can apply to your practice routine and take your playing to the next level of interest and creativity today. </p> <p><strong>Rhythmic Soloing Exercise</strong></p> <p>Here is the exercise in a nutshell so you can get the idea into your head before taking it to the fretboard.</p> <p>01. Pick a short, <strong>one-bar rhythm</strong> to focus on in your solo<br /> 02. Pick a chord progression or tune to solo over with a <strong>backing track</strong><br /> 03. Solo over the tune, using <strong>any notes you want</strong>, but every bar has the same rhythm<br /> 04. Practice these exercises at <strong>various tempos</strong> and with tunes of various lengths such as 8, 12, 16, 24 and 32 bars each</p> <p>Now that you know how to build the exercise, here's a sample motive that you can begin using, as well as a sample solo using that motive to give you an idea of how the exercise could sound in the woodshed. </p> <p><strong>Sample Rhythmic Motive<strong></strong></strong></p> <p>Here's a sample rhythm I might use in my practicing that you can start with when first exploring these concepts in the practice room. The rhythm relies on <strong>three up beats</strong>, 1&amp;, 2&amp;, 3&amp;, as well as a downbeat, 4, to build the one-bar long phrase. </p> <p>As an example, here is this rhythmic motive applied to a <strong>ii V I VI chord progression</strong> in the key of C major. </p> <p><img src="/files/imce-images/Open%20String%20Fingerpicking%20Pattern%201.jpg" width="620" height="156" alt="Open String Fingerpicking Pattern 1.jpg" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/163727455&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p>Once you have learned the sample lick above, try soloing over the same chord progression but make up your own notes to use with that static rhythm in order to take this motive further in the practice room.</p> <p><strong>Rhythmic Motive Blues Solo</strong></p> <p>To finish off our rhythmic motive study, here is a sample solo over an <strong>F blues progression</strong> that uses the same rhythm from the previous section. </p> <p><img src="/files/imce-images/Open%20String%20Fingerpicking%20Pattern%202.jpg" width="620" height="481" alt="Open String Fingerpicking Pattern 2.jpg" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/163727547&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p>When you have this short solo under your fingers, try improvising over an F blues using the same rhythm, but changing the notes as you work this idea into your own improvisational studies. </p> <p>As you can see, focusing on rhythms when soloing can bring a new dimension to your soloing ideas. While you won’t play a single rhythm for an entire chorus in a real-life situation, focusing on one rhythm in the woodshed will allow you to keep rhythms in the forefront of your lines and improvised solos. </p> <p>Do you have a questions or comments about this lesson? 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 lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).</em></p> http://www.guitarworld.com/jazz-guitar-corner-rhythmic-soloing-exercise-improvising-guitarist#comments Jazz Guitar Corner Matt Warnock Blogs Lessons Mon, 18 Aug 2014 21:40:16 +0000 Matt Warnock http://www.guitarworld.com/article/22144 From Bach to Rock: Expanding Your Musicality and Fretboard Knowledge Using Triads and Inversions (Guitar, Un-CAGED) http://www.guitarworld.com/bach-rock-expanding-your-musicality-and-fretboard-knowledge-using-triads-and-inversions-guitar-un-caged <!--paging_filter--><p>When first learning to play guitar, transitioning between chords and playing a few progressions can allow you to play hundreds of songs. </p> <p>While this can keep you entertained for quite a while, you might find there is a large amount of the fretboard that is lacking your attention.</p> <p>One of the many tools that can be used to learn the higher positions is the CAGED system. Though the application can be very useful, aspects of it can be simplified and studied in a more musical approach. Doing this might help you have a better understanding of chord voicing and harmony.</p> <p>The CAGED system uses five guitar chord shapes — C, A, G, E and D — to create barre chords for playing in higher positions. The problem with this system is that its functionality has nothing to do with music itself. It is simply a physical device that works based on the tuning of the strings. It cannot be applied to music in general and is specific only to the guitar.</p> <p>These five chords are all root-position chords, meaning the letter name of the chord is the lowest-sounding note. But music does not always consist of root-position chords, so why should it on the guitar? In this column, I’ll demonstrate another approach for expanding your fretboard knowledge using triads and their inversions.</p> <p>First of all, what is a chord? If you’re asked to play a G chord, what really does that mean? Sure, it can be a shape from a chord diagram, but why that shape? And if it’s different from one diagram to the next, is one of those wrong?</p> <p>As guitarists, we often think about chords as shapes, and we have “go-to” shapes for certain chords. But that’s not thinking musically. So that we can develop a stronger sense of musicianship, we need to understand how chords are constructed. To demonstrate, I’ll use a simple I-V-vi-IV progression in the key of A, so the chords will be A, E, F♯m and D. </p> <p>First, we need to know what notes are in the key of A.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.45.03%20PM.png" width="620" height="92" alt="Screen Shot 2014-08-13 at 5.45.03 PM.png" /></p> <p>The basic chord is called a triad and consists of a root, a third and a fifth. The chords in this progression will have these notes:</p> <p><strong>A</strong>: A, C♯, E<br /> <strong>E</strong>: E, G♯, B<br /> <strong>F♯m</strong>: F♯, A, C♯<br /> <strong>D:</strong> D, F♯, A</p> <p>Your “go-to” shapes for these chords might look something like this:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.47.01%20PM.png" width="620" height="173" alt="Screen Shot 2014-08-13 at 5.47.01 PM.png" /></p> <p>When first learning to play a chord progression, we’re typically using our basic “guitar” chords. I use quotations because many guitarists think of a chord as a certain shape. That may suffice for a beginner, but to make those root-position chords even more musical, we need to take advantage of the rest of the fretboard. We can do so by learning different chord inversions. </p> <p>As there are three different notes in a basic chord (triad), there are three basic forms for these chords. These forms are presented only on the top four strings. The reasoning for this is twofold: 01. Historically, the developing guitar was a four-string instrument until the Baroque era, when a fifth string was added, and then a sixth. Therefore, chords had to be formed on fewer strings. 02. Chords formed on the top four strings involve a systematic, musical approach to triadic harmony and the use of chord inversions.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.51.05%20PM.png" width="620" height="352" alt="Screen Shot 2014-08-13 at 5.51.05 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.51.58%20PM_0.png" width="620" height="87" alt="Screen Shot 2014-08-13 at 5.51.58 PM_0.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202014-08-13%20at%205.52.19%20PM_0.png" width="620" height="271" alt="Screen Shot 2014-08-13 at 5.52.19 PM_0.png" /><br /> <strong>Form I Voicing</strong>: 1-3-5-1 (root, third, fifth, octave)—“root-position.”<br /> <strong>Form II Voicing</strong>: 3-5-1-3 —“first inversion.”<br /> <strong>Form III Voicing</strong>: 5-1-3-5—“second inversion.”</p> <p>There is a clear pattern of intervals with this system of chord inversions. While the official term is “inversion,” using form numbers can help to identify where the root of the chord is. For example, the root in Form I is on the first string, it’s on the second for Form II, and the third for Form III. This applies to both Major and Minor Forms.</p> <p>Applying these forms to the chord progression, A, E, F♯m, D, will give us three different fretboard locations, with each of these having a different sound because of the different chord voicings. The transition from one form to the next is designed so that common chord tones may be used where applicable, and shifting is kept to a minimum.</p> <p><strong>Example 1:</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-14%20at%202.59.01%20PM.png" width="620" height="146" alt="Screen Shot 2014-08-14 at 2.59.01 PM.png" /></p> <p><strong>Example 2:</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-14%20at%203.01.25%20PM.png" width="620" height="144" alt="Screen Shot 2014-08-14 at 3.01.25 PM.png" /></p> <p><strong>Example 3:</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-14%20at%203.02.22%20PM.png" width="620" height="149" alt="Screen Shot 2014-08-14 at 3.02.22 PM.png" /></p> <p>Each of these examples systematically moves through the different chord inversions, and they create sounds very different from the basic, root-position shapes. </p> <p>Learning these six total forms can be much easier than the learning CAGED system. With its musical approach, the focus is on specific chord voicing rather than just root-position chord shapes. Through using these, you can expand your fretboard knowledge in a musical way and gain a better understanding of how chords function. Sonically, if you’re playing the same progression with another guitarist, each of you can play the same chords, but in different positions, creating a wider spectrum of sound.</p> <p>This method of learning chords is presented in my new iBook, <em>Beginning Guitar Method</em>, <a href="https://itunes.apple.com/us/book/beginning-guitar-method/id898277915?mt=11">which is available in the Apple iBookstore.</a> </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/aO1XZJvFXu8" frameborder="0" allowfullscreen></iframe> </p> <p><em>Matthias Young teaches online guitar lessons at <a href="http://www.freeguitarvideos.com/">FreeGuitarVideos.com</a> and is the Head of Guitar at <a href="http://matthiasyoung.com/callanwolde-fine-arts-center-guitar-lessons.html">Callanwolde Fine Arts Center</a> in Atlanta, Georgia. His book and DVD, <em><a href="http://matthiasyoung.com/metal-guitar-method.html">Metal Guitar Method</a></em>, has sold thousands since its publication in 2012. His most recent release, <em>Beginning Guitar Method</em>, is <a href="https://itunes.apple.com/us/book/beginning-guitar-method/id898277915?mt=11">available in the Apple iBookstore</a>. You can follow Matthias on <a href="https://www.facebook.com/MatthiasYoungMusic">Facebook</a>, <a href="https://twitter.com/MatthiasYoung">Twitter</a>, <a href="https://www.youtube.com/watch?v=8hksBbos-LY&amp;list=PLXAcBwcIb4bXcUIM8jk2tdqO4p-i8BKmV">YouTube</a> and <a href="https://plus.google.com/112484027885679013277/posts">Google+.</a></em></p> http://www.guitarworld.com/bach-rock-expanding-your-musicality-and-fretboard-knowledge-using-triads-and-inversions-guitar-un-caged#comments From Bach to Rock Matthias Young Videos Blogs Lessons Thu, 14 Aug 2014 19:11:32 +0000 Matthias Young http://www.guitarworld.com/article/22123 Man of Steel with Steel Panther's Satchel: How I Play “If I Was the King” http://www.guitarworld.com/man-steel-steel-panthers-satchel-how-i-play-if-i-was-king <!--paging_filter--><p><em>These videos and audio files are bonus content related to the October 2014 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-october-14-stevie-ray-vaughan/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=OctoberVideosPage">Guitar World Online Store</a>.</em></p> <p>Hey, kids, I’m back! Did you miss me? Don’t answer that. Here I am, back in the glorious Guitar World studios in Bakersfield, California.</p> <p>Why am I back? Uh…to teach you how to rock, that’s why! I’m also here to talk about the brand-new Steel Panther album, <em>All You Can Eat</em>, which you are no doubt listening to right now! I came back just so that I could teach you how to play some of the incredible riffs on our new record, and I’d like to start with the song “If I Was the King.” </p> <p>This song is pretty basic rock and roll in that just about everything in it is based on either the minor pentatonic scale or the blues scale—the biggest scales in rock, right? These scales come in handy. </p> <p>Don’t just practice the Phrygian and Mixolydian modes—you should be basing everything on the blues and minor pentatonic scales. You might not listen to B.B. King very much, but everything he played is the foundation for all that Testament and Megadeth stuff you listen to, and it’s the foundation of Steel Panther’s music too.</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="myExperience3727154877001" 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="3727154877001" /> </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 /> <iframe width="620" height="365" src="//www.youtube.com/embed/NuyXMS02tGM" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/man-steel-steel-panthers-satchel-how-i-play-if-i-was-king#comments Man of Steel October 2014 Satchel Steel Panther Videos News Lessons Magazine Thu, 14 Aug 2014 14:36:44 +0000 Steel Panther&#039;s Satchel http://www.guitarworld.com/article/22104