So last Thursday, I brought my Gibson SG Faded Special with the snapped-off headstock to my pal Matt Brewster, luthier extraordinaire, all-around great guy and owner-proprietor of 30th Street Guitars in New York City. He had the guitar completely fixed, restrung and ready to rock by Monday ...
I had just gotten to work in the morning and went to sit down at my desk, right next to where I had precariously balanced my Gibson SG Faded Special before leaving work the previous day. I inadvertently bumped into the guitar, causing it to slide and fall sideways onto the floor, which is concrete covered with a thin carpet.
In part 1, we learned how to count and play basic rhythms in 4/4 time and subdivide beats into eighth notes by counting "one and, two and, three and, four and, one and, two and, three and, four and," etc.
Back by popular demand, it's Jimmy Brown's classic Guitar World column, Guitar 101. In the first installment, Jimmy begins a 3-part series on one of the first things a new guitarist wants to do: play fast!
Finally, somebody came out with a beginner instructional guitar method book series for adults and teenagers that’s not an outdated, depressing turn-off that makes you want to throw your guitar off a cliff after having struggled to learn embarrassingly unsatisfying versions of the audience favorites “Mary Had a Little Lamb” and “Three Blind Mice.”
Over the past three columns we’ve looked at several cool-sounding hexatonic (six-note) scales and learned how to create new ones by combining two triads (three-note chords) that don’t duplicate any notes. Now I’d like to show you an easy way to transpose your favorite hexatonic scales to different keys and get more musical mileage out of them by viewing them from different harmonic perspectives.
At the end of my last column I promised you that we would continue surveying some more cool-sounding hexatonic (six-note) scales, with the emphasis gradually shifting toward the exotic. But first I need to address a small, but important, mistake that accidentally got printed in that lesson (June 2001 issue): the final chord in last month’s FIGURE 1, which was correctly labeled E, should have been tabbed two frets higher up the neck, as depicted here in FIGURE 1E. Sorry about that!
Last time we learned how to combine two completely different triads (three-note chords) to create a six-note hexatonic scale. Using E major and F# minor triads to illustrate, we generated the blissful, gospel-flavored E major hexatonic scale (E F# G# A B C#) and looked at some neat examples of the many things you can do with it. As I mentioned at the end of the lesson, there’s a virtual mother lode of cool and unusual hexatonic scales waiting to be unearthed. All you have to do to find them is combine any two triads that don’t share any common tones (hint: combining E major and E minor won’t give you six different notes because both triads contain E and B).
Anyone who’s ever made an effort to learn some music theory knows that one of the biggest turn-offs is the sound of the major scale harmonized in triads (three-note chords). But before you dismiss the intellectual approach to learning music as being hopelessly tedious and uninspiring, realize that it doesn’t have to be that way.
In part 4 we covered quarter-note triplets, 16th-note triplets and sextuplets and learned how to create tricked-out hemiola licks by taking a repeating note pattern and changing its rhythm so that the pattern begins, or "pops," on a different part of the beat each time it's repeated (rhythmic displacement). Now we're going to dive deeper into the rhythmic realm and explore a new subdivision, quintuplets-five evenly spaced notes per beat-and learn how to create psychedelic "nightmare" licks.