For guitar players, an element that is essential to recording as well as writing a song is choosing the right guitar for the job. I love a lot of different guitars – all guitars, really! – but especially Gibson guitars fitted with P-90 “soapbar” pickups.

For those unfamiliar, a P-90 is a large single-coil pickup that was standard issue on Gibson electric guitars prior to 1957, when the double-coil humbucker pickup replaced the P-90 on most of their instruments. I love the sound of P-90s! They’re loud and clear and have more top-end than a humbucking pickup.

When choosing a specific guitar for its tonal qualities, for me it will often happen when I’m writing the song. The riff itself will “decide” whether it needs to be played with a single coil pickup, a humbucker or something else entirely. There are Blackberry Smoke songs played on Gretsch and Rickenbacker guitars. So it’s all over the map!

When I sat down to write Workin’ for a Workin’ Man, recorded for our 2016 album, Like an Arrow, the guitar that brought the song to life was a 1953 Gibson Les Paul Standard, fitted with P-90s and a Bibsby vibrato tailpiece. The “honk” of the bridge-position P-90, with its accentuated midrange, was perfect for a hard-driving riff like this.

Figure 1 illustrates the song’s primary riff, which for me felt so “at home” on a P-90 guitar set on the bridge pickup. I begin with an A5 power chord and then play two-note voicings on the D and G strings against the open A string, making brief reference to G/A and D/A. Bar 2 incorporates the A minor blues scale (A, C, D, Eb, E, G). In bar 3, the two-note voicings move over to the A and D strings.

Figure 2 shows the song’s pre-chorus, which is built around two-note 6th intervals, fretted on the A and G strings, which are played against an open low E pedal tone. In bar 1, I begin in 9th position and then slide down to 6th position. In bar 2, I begin in 9th position and slide up to 11th position. Be sure to allow your open low E string to ring out while playing the two-note 6ths on the other strings.

About midway through the song, we hit a breakdown section that features the riff shown in Figure 3, which is primarily a single-note riff based on the A blues scale. Here, I utilize double-stops along with D5 and C5 power chords.

At the guitar solo section, shown in Figure 4, I switch from the bridge to the neck pickup. Bars 1-2 are based on the E major pentatonic scale (E, F#, G#, B, C#). Bar 3, played over a G chord, is based on G major pentatonic (G, A, B, D, E), and bar 4, which is played over an A chord, is based on A minor pentatonic (A, C, D, E, G).

After this, it’s back to the bridge pickup for a recap of the main riff for the final verse. To me, this song is a prime example of how the right guitar, in this case a 1953 Les Paul Standard, serves every aspect of the song perfectly.

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As guitar players, we need to take a flexible approach to how we voice our chords. Not to suggest that there’s anything wrong with open-position ‘cowboy’ chords, but we have the practical consideration of six strings and five fingers, as opposed to the 88 keys and 10 fingers available to a keyboard player…

Of course, preference does come into this at some stage. It’s just that this tends to be secondary in the face of finding a suitable chord voicing for a given song.

That’s where this article comes in. The below examples are all based around a C chord, but they show how we can juggle the voicing to have different notes on the top – or bottom, as none of these examples take the conventional approach of having the root down there.

This has a sound of its own, as well as opening up the higher strings for embellishments, whether that be chord extensions or licks, in the way Jimi did. More details below!

Example 1. C/E

This C/E chord has the 3rd (E) on the bottom and the C major triad (G-C-E) on the fourth, third and second strings respectively. But if you look at the chord box, you’ll see that there’s a G added at the 8th fret of the second string. Feel free to hammer on/pull off like Curtis Mayfield, or try hammering on some of the other strings.

Example 2. C9/E

This C9/E is perfect for Stormy Monday-style blues playing, though in that song the bass does play the root underneath – sometimes it’s about reaching the higher notes/extensions, rather than shifting the root for its own sake. This can be used anywhere there is a dominant 7th voicing for some added finesse.

Example 3. C/G

Shifting back to the regular C major triad, here is a C/G chord. In this case, the G (5th) at the bottom seems to have a profound effect, giving the chord quite a grandiose sound. Be sure to mute the fifth string.

Eric Clapton used to play the 5th on the bottom of his powerchords with Cream, knowing that Jack Bruce would underpin it with the root on the bass.

Example 4. C/Bb

Taking the same triad and putting the dominant 7th (Bb) on the bottom gives a very different effect from a regular C major chord.

This works particularly well resolving to an Am7 (see Example 5), or an F/A chord. Classical types would likely call this a ‘third inversion’, but it’s more helpful for us guitarists to look at this as a C/Bb.

Example 5. Am7

So good we’ve named it twice: this can be viewed as a C/A chord, but it makes more sense to call it an Am7. The C major triad is identical to Am7 in this context, with the A on the bottom. So I guess there are some root notes in here after all!

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One of the most individual guitarists of the 1980s, Johnny Marr is a master of rhythm guitar.

One of the hallmarks of his style in the Smiths is his extensive use of open strings. You can tell he spent time working on his chord voicings and developing exciting vocabulary that often combines rhythm and lead approaches.

There are two main approaches to Marr’s use of open strings which are covered in the following examples. Sometimes the open strings are applied to common major and minor chord shapes. In this case, the open strings are adding extensions of 6ths, 9ths or 11ths on top of Marr’s modified chord shapes.

As you’ll see, he frequently re-shapes a barre chord – instead of barring across all six strings he’ll re-finger the chord and then use an open string or two. It’s a simple way of obtaining jangly chords that have a lot of personality. Check out Heaven Knows I’m Miserable Now to hear how this works in action.

At other times Marr will use two-finger chords with open strings, fleshing things out to create a big and colorful sound. This approach is particularly effective on uptempo tracks where he can move around the neck rapidly, using deft crosspicking to create lively rhythm parts.

The open strings remain consistent whilst the two-finger chord shapes move against them, creating sounds that are full of color while remaining consistent. There’s much to learn from Johnny, so let’s get started!

Match My Sound: play-along enhancements

For this lesson, we've partnered with MatchMySound to offer the ability to record yourself and see how close you are. MatchMySound is a great tool to help track your progress.

Click on the word 'options' (lower left, below the tab/notation) to select from 'demo audio track' (just guitar), 'backing track' (just the backing), 'full audio' (backing and real guitar audio) and 'metronome' (just a click to play along to).

Below that, select 'options' for how you can record your performance.

At the upper right, the magnifying glass images let you alter the playback speed for learning and pushing your playing onwards.

Follow the cursor to keep up with the tab/notation accurately on screen.

Lastly, to view the music better by filling your desktop/tablet/phone screen, click on the square brackets at the top right.

Johnny Marr open string examples

Example 1a - Modified barre chords (0:59 in the video)

Here’s an example of Marr’s modified barre chords. The open strings serve two purposes here; on the A and C chords the open first (E) string is already a chord tone but doubling this with an open string creates a bigger ‘jangly’ sound.

On the G and D chords, the open first string is adding more color: E is the 6th on the G chord and the 9th on the D.

Example 1b - Condensed chords (1:20 in the video)

Here, chords are condensed onto just two strings, with open strings ringing around them.

This is a great way to move around this chord progression quickly – simple open chord shapes or barres would make this more difficult, and the open strings add a consistency and jangle that other chords can’t provide. This is also a great example of Marr’s deft picking hand technique.

Example 1c - Using triads (2:02 in the video)

This example is based on Em, D and C triads played against open strings. The resulting chords are Em, D6add11/F#, and Cmaj7.

Example 2 - Top four strings (4:00 in the video)

In this example, we see how Marr often focuses on the top four strings for chords. He can move these shapes around, change notes in them quickly, and release fingers to add open strings.

Essentially it’s all triads with open strings and extensions adding more color Using this stripped back approach, you can create a busy sounding rhythm part that won’t stifle the rhythm section and low end. You can also hear his funk influence in the picking hand's 16th note strumming patterns.

Example 3 - Capo at 4th fret (7:18 in the video)

Marr does play larger chords over five or six strings, but using open strings in these chords does open up the sound of the chord. If the results sound too muddy, he’ll use a capo, typically at the 2nd or 4th fret. In this example, the capo is at the 4th fret and it serves to brighten up the sound considerably.

Instead of sitting on one chord, he will often utilize different voicings or those with color. His parts often feel like they are moving around, even though there may be only one underlying chord in the harmony. To get this sounding right use the capo, preferably use a brightish sounding guitar (Tele, Jaguar, Jazzmaster) and a clean amp tone.

Example 4 - Full track example (9:29 in the video)

Here's a fuller example that demonstrates how Marr's approach works over bass and drums. You're after a jangly sound that uses modified triads moving up and down the neck, staying away from the bassline. Open strings are used as much as possible.

Johnny Marr in action

The Smiths - This Charming Man

Syncopated and uptempo picking are prominent here as well as enriching open strings, making the chords more unique than full barre shapes would provide.

The Smiths - Heaven Knows I'm Miserable Now

Major 7ths, chiming strums, intricate cross picking and open strings feature clearly in this live performance.

A simple, effective way to discover new sounds on the guitar is to use a capo along with 1st-position open chords, commonly referred to as “cowboy” chords.

A great example of this approach can be heard in the title track to my 2012 album, Driving Towards the Daylight, which I co-wrote with the great Danny Kortchmar. Danny is renowned for his work with James Taylor, Jackson Browne, Linda Ronstadt, Don Henley, Ringo Starr and many others.

In truth, this was a song that I had forgotten all about. Around 15 years ago, I had a Korg multitrack machine that I was going to get rid of, but before I did, I decided to go through it to hear what had been recorded on it. I saw the title and thought, “What is that?” and when I heard it I remembered it was a song Danny and I started but never finished. I decided to finish it, and it became the title track of my next record.

The song is played in the key of F minor, because that is the best key for my voice. But I opted to use a capo at the 1st fret and play the song as if it were in E minor. The capo allows me to play 1st-position “cowboy” chords throughout the song, along with many open-string embellishments that 1st-position chord shapes facilitate.

Stylistically, the song has a country/Americana feel. Personally, I like all kinds of music, and this song affords me the opportunity to visit that musical terrain.

Figure 1 illustrates the first four bars of the intro/verse section of the tune, wherein I play a single-note melody that connects the chord progression of Em-G-D-C. For each chord, I allow all the strings to ring together.

When it comes to soloing, there’s an old adage that you can’t do a lot of string-bending if you’re using a capo. The truth is that you can, as long as you have a good capo.

It needs to be affixed to the guitar tightly, so that when you bend and release a string, it will go back to the proper unbent position.

Figure 2 presents a nine-bar solo that moves loosely between Em and C; you can imagine a G and D chord played in bars 2 and 3, as well. This improvised solo is based primarily on the E hexatonic minor scale (E, F#, G, A, B, D) with brief use of C, C# and D#.

When using a capo, it can get a little disorienting when playing more than five frets away from it because all the fret numbers are relative to the capo. In this case, a note tabbed or visualized to be at the 9th fret is actually at the 10th.

Because we’re thinking in E minor here, I wouldn’t play country-type licks such as that shown in Figure 3, because these phrases are more suited to the key of E major.

Figure 4 is a better example of sitting firmly within the key of Em by sticking with E minor pentatonic (E, G, A, B, D) or hexatonic.

Driving Towards the Daylight is inherently a rock song with country elements, akin to the music of the Eagles, Jackson Browne and the music that came out of Laurel Canyon in the late ’60s.

And in this application, the capo helps to achieve some chordal sounds that would otherwise be unavailable.

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When I was a kid, my dad played acoustic guitar and sang around the house, and he played everything from bluegrass to old folk and gospel songs. I was fascinated watching one man do that. It was just a guy and his guitar doing a troubadour kind of thing.

This really informed my initial understanding that music could be just a person and a guitar. He could hold my attention for as long as he wanted to! He could do it with just the combination of rhythm, musicality, melody and lyrics. He liked to sing a song to me called The Wreck of the Old 97, which was about a train crash. It had adventure, speed, death, and there’s a woman involved too. Everything that you need in one song!

As I got older, I realized that what I really wanted to do, other than to play the guitar, was to create songs: to get an acoustic guitar and do exactly what my dad did. I ended up falling in love with the music of Hank Williams, Townes Van Zandt, Guy Clark, Billy Joe Shaver, Steve Earle – so many masters of this craft. These are all guys that could put a guitar on their back, drive from town to town and stand on the sidewalk and entertain you.

This can be said for Barbeque Bob – Robert Hicks – Curly Weaver, Buddy Moss and Blind Willie McTell, who played in front of a barbeque place in Atlanta called Pig n’ Chick. The list goes on and on.

Fast-forward to me writing my own songs and having writing sessions with others. It was awkward at first, but one day I met Travis Meadows, and within two days we wrote two songs, Pretty Little Lie and One Horse Town, which has gone on to be a big song for my band, Blackberry Smoke.

Figure 1 illustrates the verse section of Pretty Little Lie. While strumming in a steady eighth-note rhythm, the progression is a stream of nice minor-to-major chordal resolutions, one that I was able to weave a story around with some very direct lyrics.

I realized I could take that kind of feeling, with just an acoustic guitar and my voice, and play and sing that to anybody for the rest of my life. And then you have the enjoyable option to take it to four other musicians, turn it up to 10, hit the drums really hard and put background and harmony vocals on it, to make it a big production. But when you boil it all down, it goes back to one guitar and one voice.

Figure 2 shows the chorus section, which combines different minor-to-major resolutions with lyrics that move the story forward.

The very next day, we were back in a minor mood, and, as shown in Figure 3, the intro features a single-note line and then moves from Am to C. Travis and I are both from very small southeastern towns, and this is how One Horse Town was born.

For the verse, what better place to go than another minor chord! So, as illustrated in Figure 4, the verse starts on Dm and then weaves its way through to F/C, C then G. This is a perfect example of a lyrical idea carrying and inspiring the day.

The possibilities are endless when it comes to strumming chords and singing a melody. It’s a beautiful thing to create songs and make other people happy, just like my dad did.

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In this month's column, I’d like to demonstrate a really cool technique that I learned from the great Larry Carlton that’s commonly referred to as the “super arpeggio.” It’s based on stacking major and minor triads on top of a chord, yielding much longer arpeggios that move through different triadic forms and sounds.

Let’s start with a Cmaj7 chord, as shown in Figure 1. The most natural triad to play over this chord is C major, which consists of the notes C, E and G.

The “super arpeggio” concept is based on forming successive triads off the second note of each triad. As shown in Figure 2, we start with a C triad and then play a triad based on the second note, E; this yields an E minor triad formed by the notes E, G and B. We then form a triad from G, the second note of Em, which yields a G major triad with the notes G, B and D.

In Figure 3, I play over a static vamp on a Cmaj7 chord by outlining the C major, E minor and G major triads.

In Figure 4, I use this approach to play a solo-type line, moving from C major to E minor to G major in steady 16th notes before resolving the line with a lick based on the C major pentatonic scale (C, D, E, G, A).

Figure 5 offers an example of “bookending” the three triadic shapes with lines based on C major pentatonic at the beginning and end of the improvised melody.

It’s useful to be aware of what intervals each triad includes: a C major triad consists of the C root note, the major 3rd, E and the 5th, G. Relative to C, the E minor triad gives us the major 3rd, E, the 5th, G, and the major 7th, B. Superimposing a G major triad over a C root gives us the 5th, G, major 7th, B, and the 9th, D. All together that gives us a Cmaj9 arpeggio (C, E, G, B, D).

These triads can and should be played everywhere on the fretboard. In Figure 6, the three triadic forms are moved down to 2nd/3rd position.

A great place to go from here is to apply this concept to a minor chord. The relative minor of C major is A minor, so many of the same notes will appear but within the triadic forms built from A minor.

If I were to play a static Am vamp, I can play lines based on the triadic forms of Am (A, C, E), C (C, E, G), and Em (E, G, B).

In Figure 7, I move through all three of these triadic forms with an improvised line played in a rhythm of 16th notes and 16th-note triplets. Notice that I end the phrase with a lick based on A minor pentatonic (A, C, D, E, G). You’ll find that combining the progression of triads with minor pentatonic lines will sound very musical and also offer many different options for improvisation.

This will be the last installment of Blues Expansions for now, so I hope you have enjoyed these columns and that the concepts presented have been useful to you in your soloing endeavors. Thanks for reading, and please check out more of my lessons at Corey Congilio.

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Hello everybody, and welcome to my new column for Guitar World. In this series of lessons I will demonstrate the techniques and approaches that are essential to my playing style. I hope that the material we cover will be beneficial to you in your own musical endeavors.

I’d like to begin by talking about the importance of the blues and blues-influenced music, such as gospel, soul and R&B, in my approach to music and the guitar. I come from a family of musical brothers, and blues and gospel played a big part in our lives and provided a strong foundation for me as a musician.

Like all aspiring blues guitarists, my brothers and I listened to B.B. King, Albert King, Freddie King, T-Bone Walker, and all of the blues guitar greats. I learned as much as I could from all of them, as well as gospel music, in trying to develop a sound and approach of my own.

Figure 1 illustrates a solo played over medium-slow shuffle in the key of B. I begin in bars 1-5 with simple melodic phrases based on B major pentatonic (B, C#, D#, F#, G#) that are supported by chordal accents, such as B9 in bars 1 and 3, and E7 in bars 2 and 5.

To me, these single-note phrases are very vocal-like; maintaining a “vocal” mindset helps me to stay focused on speaking in a musical way in the lines that I play.

I must mention that I choose to play the guitar “upside down.” I take a guitar strung for a right-handed player and flip it over and play it left-handed, in the same manner as Albert King, Otis Rush and a variety of other players, including my late brother Emmanuel Gales, aka Little Jimmy King.

Playing this way completely changes the riffs, phrases and chords that are available to you. One of the big differences is that, to bend one of the treble strings, I need to pull it downward, as opposed to pushing it up as most players do.

Additionally, with the guitar strung and played this way, it’s easy for me to finger some unusual chord voicings that would be unnatural for “normal” players; a good example is the F7#11 chord in bar 4, wherein the high B note, the #11 (or b5), is fretted by wrapping my thumb around the top of the neck at the 7th fret.

Figure 2 illustrates a few more examples of my pull-down string bends, with many of the accented notes in the phrases treated with a wide, fast vibrato, a la Albert and B.B. King. If playing the guitar in the conventional way, you would, of course, need to push the strings upward to perform these bends and vibratos.

As I move through the I-IV-V (one-four-five) blues chord progression – B7-E7-F#7 in the key of B – I like to reference each chord with the chord tones. Over B7, I’ll accentuate B, D#, F# and A. Over E, I’ll touch upon E, G#, B and D. And over F#7, I’ll emphasize F#, A#, C# and E, resolving back to the I chord, B7 when necessary.

Having a firm grasp and understanding of the blues lays an essential groundwork for all guitar players, regardless of the specific style of music they choose to explore and perform.

Just about every style of music has had an influence on me as a player, but blues is definitely at the core of my playing style.

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You can find suspended (sus) chords in guitar music of all genres. They’re lush, ambiguous, and harmonically enticing. Used by many top players, they build movement, mystery, and color into rhythm parts, arpeggio passages and lead lines.

However, despite their pleasant sound and countless uses, sus chords often escape the understanding of guitarists. If you’ve seen sus chords show up in songs you’ve learned but aren't sure where they come from or how to use them together, this article is for you.

So, what is a sus chord? In simple terms, a suspended chord replaces the tonality defining third of a major or minor chord with either the second (sus2) or the fourth (sus4) scale degree.

For example, a regular C major chord includes the notes C – E – G. Replace the E with a D and you get Csus2 (C - D - G). Replace it with an F, and you’ve got Csus4 (C - F - G). The result is an unresolved consonant chord.

This is a unique quality. Most unresolved harmony is dissonant, using notes from outside the musical key or unstable intervals like the tritone or altered 2nd. Sus chords are in a class of their own. When the typical third is gone, the harmonic character of the chord floats in suspense. That’s where the name comes from: a note is “suspended” before typically resolving back to its home base.

In classical music, one voice would often hold a note over into the next chord for smoother voice leading, creating tension until it resolved to the third. For example, when moving from a G to a C chord, one singer might hang onto the G chord's D note while the rest of the chorus transitions to the notes in the C chord.

The singer holding the D note is suspending the resolution from G to C, creating a brief Csus2 chord in the process. It may seem a small thing but it greatly enriches the music.

In modern playing and songwriting, sus chords aren’t always resolved. In fact, many artists have built entire progressions from sus chords without ever involving the third. This creates an emotional tone that's open to interpretation – perfect for pop, new wave, ambient, and alt rock.

Two great sus2 loaded songs are The Police's Message In The Bottle and Edie Brickell and New Bohemians' What I Am. The use of the sus2 chords in each song does create a notion of a home key (C# minor and B minor, respectively) but not from any one single chord.

This article explores nine essential sus chord applications: open chords, barre shapes, sus2 and sus4 contexts, and even 7sus combinations. Each example is accompanied by slow and at-tempo playthroughs, tab, and backing tracks so you can absorb and apply the sound of suspended harmony in your own music.

Whether you’re into jangly rhythms or ambient layering, sus chords are your path to adding sophistication without complication.

Open position sus4 chords (Esus4, Asus4, Dsus4)

Let’s get started with the bread-and-butter sus4 shapes. Below are the common open sus4 chords in the open position: Esus4, Asus4, Dsus4, Csus4, and Gsus4.

They’re very popular and immediately recognizable. You might actually already know a few of these. The open Dsus4 (third chord along) is a particular go-to: check out classic tracks like Free Fallin’, Hide Your Love Away and Crazy Little Thing Called Love.

Barre shape sus4 chords (Gsus4, Csus4)

Sus chords can also be played as barre chords all over the fretboard. Typically, you can use the E and A shapes from the CAGED system: the sus4 shape with the root on the fifth string is a favorite of players like Eddie Van Halen and Keith Richards.

However, the sus4 shape with the root on the low sixth string can be impractical. It uses all your fretting hand fingers so doesn’t allow for fast resolution to a major or minor and doesn't allow for melodic embellishments.

Instead, it's common to use the thumb to fret the sixth string and avoid the fifth string: Pete Townshend did this on the strummed intro for The Who's Pinball Wizard. Or, avoid both the bottom two strings and simply play the chord with the root on the fourth string, D. This provides a clean sus4 chord shape that can easily resolve back to the major triad.

Example 1. Sus4 chords in a musical context (5:36 in the video)

Here, you can combine sus4 chords into an exciting progression. This demonstrates how suspensions can build tension and delay resolution, making a simple progression feel emotionally dynamic.

First, you'll play Gsus4 to G with the root on the fourth string. The second bar outlines a Csus4 chord with a legato embellishment, before shifting down by a whole step for a Bbsus4 chord in a bar of 2/4. This chord is borrowed from another key, but the transition flows well, thanks to the suspension, as the melody descends chromatically from E, to Eb, to D.

Finally, a classic Dsus4 to D move followed by resolution to the tonic chord G. The final chord plays Gsus4 for a half beat before resolving the G chord using a quick pull-off, bringing the progression home and demonstrating another cool way we can use suspensions in passing.

Open position sus2 chords (Esus2, Asus2, Csus2, Dsus2)

Next, here are some open sus2 shapes. These chords have a shimmering, open quality, due to the distance between the 2nd and 5th intervals. These voicings are rampant throughout every decade of pop music, from songs like the Beatles’ Ticket to Ride and Every Breath You Take by the Police.

Again, you're covering the chords in the CAGED system, with the F thrown in as well. The open third string allows for a hybrid open/closed position Fsus2 chord beginning on the 3rd fret.

Barre shape sus2 chords (Csus2, Fsus2)

Barre sus2 chords are a bit trickier but incredibly useful. These include a five-string barre for the A shape chords. You’ll need to properly barre with the first finger across five strings, which can be a bit tough starting out. If you need some pointers, check out my 10 Guitar Tips article, which covers useful barre chord hacks.

Example 2 – Sus2 chords in a musical context (8:37 in the video)

Now you can explore a longer example with sus2 chords. What differences do you hear in the tonality of the sus4 progression versus the sus2 progression? This example includes the first sus to minor third resolution, as the F# in the Esus2 chord resolves to the minor third (G) in bar 3.

Sus2 chords can sound better resolving to minor chords than sus4 chords, which typically sound best resolving to the major third.

You’ll also notice the final two chords, Csus2 and Gsus2 never resolve to their respective thirds. This demonstrates the parallel suspension concept we discussed earlier, where the suspension is carried from chord to chord without ever resolving to a clear major or minor tonality.

Adding 7ths to sus chords

Finally, you can add a b7 flavour to both sus chord varieties to unlock new tonal colors. As the b7 is harmonically versatile (it's used in both dom7 and m7 chords) it pairs beautifully with the equally ambiguous suspended tones of the 2nd or 4th.

Just like sus2 and sus4 triads resolving to a major/minor triad built on the same root note, 7sus chords (eg G7sus4) can resolve to the standard dominant 7th chord built on the same root note.

You can turn any of the sus chords you’ve worked on here into 7sus chords: below are seven chords to start you off.

Example 3 – Putting it all together (11:32 in the video)

This final piece is a combination of everything you’ve covered; sus2, sus4, and 7sus chords, all in a nine-bar mini piece that is designed for practicing transitions and chord changes in a musical way.

You start with funky strumming, using dead notes and sus4 chords on A and G, and then transition to a Beatles-esque 7sus picking section. Notice how some of the notes in the arpeggio carry into the first beat of the next bar. This is a cool trick the Beatles often used during the Revolver era to add to their psychedelic sound.

Bar 6 demonstrates how you can pivot around sus2 and sus4 voicings at the same time, enclosing the major third of the D7 chord by dancing around it with both suspensions.

Start adding these chords into your practice routine, songwriting, and riffing. Consistency will help integrate them into your vocabulary and enrich your tonal palette for the long haul. Enjoy!

While ‘no 5’ isn’t an official theoretical term, there are a couple of reasons why we might choose to omit the 5th interval of a chord.

The first is that on the guitar we can often run out of fingers and/or strings to make up a complex chord voicing.

Leaving out the 3rd takes away the harmonic information needed to differentiate between a major or minor chord – which is common in blues and rock but not so much in jazz.

Omitting the root isn’t a problem if there’s a bass to cover for us, but in a solo guitar arrangement this may not work so well.

Taking out the 5th from a chord allows us to retain both the root and the major/minor 3rd, plus also provides the potential to add in an extension, such as the 7th or 9th.

But the 5th isn’t always omitted from chords out of necessity; sometimes it’s removed to make the sonic space to hear the other notes in the chord.

The root and 5th played together is called a powerchord for a reason! Have a go at the chords below and see how ‘no 5’ affects the feel and sound.

Example 1. Dmaj7

This voicing of Dmaj7 has a very different feel from more conventional voicings that include the 5th (A). The 3rd (F#) and maj7th (C#) are allowed to breathe more, not so anchored by the ‘powerchord’ overtones of the root and 5th played together. As this shape uses no open strings, it’s also movable.

Example 2. Dm7

By shifting everything but the root down a semitone, we get this Dm7. It seems much darker and more jazzy sounding without the 5th.

Note, we have a double of the minor 3rd (F) on the second string. By lowering this a semitone to E, we can create a lovely Dm9 chord.

Example 3. Cmaj7

This Cmaj7, like all the other examples, features no open strings. This gives it a much warmer sound than the open string voicings we might want to use on acoustic guitar.

We skip straight from the root (C) to the major 3rd (E) then the maj7th (B) going across the strings. Note there is another E on the third string.

Example 4. Cm7

Using the same principle as Example 2 – dropping everything but the root by a semitone – we get this Cm7 chord.

It’s a notably different flavour from the regular ‘chordbook’ Cm7, conjuring images of a dimly lit jazz club, rather than the more rock ’n’ roll feel of the former.

Example 5. Bbmaj9

Moving beyond major and minor 7ths, this Bbmaj9 hints at the further extensions that are available if we relieve our fretting hand fingers of the responsibility of playing the 5th – which, in this case, would be F. Again, there are no open strings and this voicing is movable to any position.

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One thing that has always appealed to me about blues guitar soloing is that it can express emotions much in the same way as the human voice.

A key factor in making the most of what the instrument has to offer is articulation. It’s all about the many variables in the pick attack, as well as fret-hand technique.

But another option is to “hide” the pick and incorporate a fingerpicking approach. I do this by tucking the pick into the flexed knuckle joint of my index finger and then pick the strings primarily with my thumb and middle finger.

To demonstrate, Figure 1 is a fingerpicked phrase based on the F minor pentatonic scale (F, Ab, Bb, C, Eb). I use my thumb to pick the lower strings and my middle finger to pick the higher strings. There is a “pop” to the notes and a breadth of tonal variations that can only be achieved with fingerpicking.

One of the greatest purveyors of fingerpicked blues soloing is Albert King, and you’ll find yourself in A.K. Land pretty fast when taking this approach. In Figure 2, I begin by thumbpicking the G string then use my middle finger to pick the B string, leading into a big, two-step “overbend” and release, from Ab to C to Ab.

On beat 4, I bend and release the Bb note on the 1st string’s 6th fret with my index finger (practice those index-finger bends!) and then slide the finger down to the 4th fret.

In bar 3, I make reference to the V (five) chord, C, via the C major pentatonic scale (C, D, E, G, A), with some chromatic passing tones added. In bar 4 I reference the IV (four) chord, Bb, by playing a few notes from Bb major pentatonic (Bb, C, D, F, G), before wrapping up with a return to the I (one) chord, F with lines based on F minor pentatonic.

By fingerpicking a note, you can greatly vary its volume, tone and character, more so than when using a pick. In Figure 3, I stick to picking only with my thumb on the low strings to demonstrate just how much warmth this way of playing can produce.

Herein lies the beauty of the blues: each simple melodic line can be phrased and articulated in so many different ways, which is dictated by how you feel. And this is greatly impacted by how you perceive the audience to feel.

When performing live, there’s a rapport between you and the audience. You know it’s right when you hear cheers, and you know something’s not right when everyone heads for the bar.

A good example of how I build from a blues approach to branch off into other sounds can be heard on The Ballad of John Henry. As shown in Figure 4, there’s an E minor pentatonic lick (E, G, A, B, D) that alternates with G5 and A5 power chords.

When soloing over it, I can start with the blues element by fingerpicking, as I do in bars 1-2 of Figure 5, then shift to using the pick (bars 3-4) and incorporating the more exotic sound of the E Phrygian-dominant mode (E, F, G#, A, B, C, D) before returning to straight blues. You can start with rock and end with B.B. King! Or vice versa.

• This article first appeared in Guitar World. Subscribe and save.

Angus Young is undeniably a fiery guitarist. He fuses the larger than life rock ’n’ roll swagger of Chuck Berry and the fiery blues licks of Buddy Guy into a high voltage lead guitar style, a perfect counterpoint to the rhythm playing of his late brother, Malcolm. Decade after decade, the Young brothers excited fans everywhere with their iconic songs and riffs that often came to a climax with Angus’ legendary lead breaks.

Angus’ bends, vibrato and phrasing are instantly recognizable and often imitated, but it's his stunning use of open strings that you'll cover here. In particular, his use of open strings in conjunction with fretted notes has created many memorable riffs and burning solos, the wide intervallic gaps helping to build excitement and tension.

Below are three exercises inspired by Angus’ use of open strings in his guitar solos. These exercises are designed to help you build core techniques around open string soloing, as well as providing a starting point for your own creative ideas. The following examples are all in the key of E minor, and make use of the E blues scale (E-G-A-Bb-B-D) with some occasional chromatic passing tones.

These examples should all be approached slowly and for short periods at a time, allowing you to build your technique with confidence and clarity.

MatchMySound: play-along enhancements

For this lesson, we've partnered with MatchMySound to offer the ability to record yourself and see how close you are. MatchMySound is a great tool to help track your progress.

Click on the word 'options' (lower left, below the tab/notation) to select from 'demo audio track' (just guitar), 'backing track' (just the backing), 'full audio' (backing and real guitar audio) and 'metronome' (just a click to play along to).

Below that, select 'options' for how you can record your performance.

At the upper right, the magnifying glass images let you alter the playback speed for learning and pushing your playing onwards.

Follow the cursor to keep up with the tab/notation accurately on screen.

Lastly, to view the music better by filling your desktop/tablet/phone screen, click on the square brackets at the top right.

Example 1: Open third string with fast pull-offs

Here's a fast pull-off phrase on the open third string played in triplets (groups of three). A trademark Angus technique is to use a repetitive fretting hand sequence that gradually ascends the neck, moving from a controlled sound to utter rock ’n’ roll chaos. Focus on accenting the first note in each group of three to keep the timing tight.

Example 2: Open string riffing

Angus’ use of open strings wasn’t just for his lead breaks and solos; they formed the backbone of his most iconic riffs and intros as well. Here you'll be alternating fretted notes with open strings, enabling fast playing with big intervallic jumps.

While the note groupings are in three (one high fretted note then two open strings, at least at the start) the overall rhythm is based on 16ths (four notes per click). This makes high notes pop out in varying places during constantly fast soloing. Aside from Angus, other players that do this include Michael Schenker, Joe Satriani and Paul Gilbert.

Example 3: Open strings, slurring and the minor pentatonic

Incorporating open strings and fretting hand slurs that use pentatonic based notes can be used to build excitement and unpredictability in a solo. Use this as a starting point to experiment with your own ideas: take a familiar rock or blues phrase and insert an extra open string, hammer-on or pull-off to spice it up.

Example 4: Putting it all together

Here's a mini solo to finish with, utilizing each of the previous open string examples that you’ve worked on so far. Don’t be afraid to sacrifice a little accuracy for extra rock’n’roll attitude intensity as you progress. Angus has always given his all and so should you!

Angus Young in action!

AC/DC - Thunderstruck

This is arguably the greatest example of Angus's use of open strings in a popular AC/DC rocking classic. The intro certainly confirms this – they decided the best approach to filming was not to focus on the audience but instead, plenty of close ups of Angus's blazing fretting hand on the open second string (no picking, too). Masterful and majestic, let there be rock indeed!

In this column I’d like to talk about the oft-used drop-D tuning, wherein the guitar’s low E string is tuned down a whole step to D (low to high: D, A, D, G, B, E). Drop-D tuning creates the opportunity for all kinds of otherwise inaccessible riffs and chords, plus it’s a great and easy way to expand the instrument’s low range into new subsonic territory.

I play the song Trigger Finger, from 2025’s Breakthrough, in drop-D. What I find most useful about the tuning is that it simply presents more options to me as a guitarist. For example, as shown in Figure 1, I can play the song’s main riff in 8th-10th position in standard tuning, but as you’ll notice, I sneak in the open low D root note in bar 3 on the upbeat of beat 2.

Another option is to tune all six strings down a whole step, to D standard (low to high: D, G, C, F, A, D). But only dropping the 6th string down a whole step gives you the best of both worlds – you’ve got your low D note while the other five strings are tuned normally.

Figure 2 illustrates the main riff as I play it on the track. Performed mostly in 3rd position, it’s based on the D blues scale (D, F, G, Ab, A, C) with the inclusion of the major 3rd, F#. Notice how I utilize the open low D note, bouncing off it for rhythm and sonic emphasis in a few spots.

One of my favorite purveyors of drop-D riffing is the late, great Chris Whitley, whose playing I love, especially on his 1998 album Dirt Floor. My band and I opened up for Chris in 2000, at a place called the Patio in Indianapolis. I’d heard of him but didn’t know his music or his playing. In all honesty, his solo performance blew us off the stage! He was a brilliant player, and I recommend you check out Dirt Floor, as well as his many other albums.

Chris used drop-D to play some fantastic octave figures, fretted on the 6th and 4th strings. In drop-D tuning, each note of the octave is located at the same fret.

Figures 3 and 4 present Whitley-esque passages. In Figure 3, the phrase moves up and down the fretboard in the aforementioned octave shapes.

In Figure 4, I combine these octave-based phrases with shifting power chord licks in bars 4, 8 and 9. In bars 8 and 9, I barre my index finger across all of the strings at the 7th fret while playing a single-note melodic line on the 5th and 4th strings.

This is along the lines of Whitley’s approach to using drop-D tuning. As you play the figure, you’ll notice how unusual the rhythmic patterns are. Chris would play in this type of “choppy” style, and he blew me away when I saw him perform. His standard guitars of choice were both a National steel acoustic and an electric Les Paul Junior in “TV” yellow.

If you really want to get adventurous, try dropping both your low and high E strings down to D, what’s called double drop-D tuning (low to high: D, A, D, G, B, D). This will get you into some CSN&Y territory, as both Neil Young and Stephen Stills have explored this tuning to great effect, as has Jimmy Page on Led Zeppelin’s Going to California.

• This article first appeared in Guitar World. Subscribe and save.

Canadian rock fusion virtuoso Nick Johnston sure has had a colorful career. Spanning 20+ years, he has released six stunning rock fusion based instrumental albums, enjoyed numerous collaborations with everyone from Guthrie Govan to Polyphia and worked with Schecter for his signature S-style guitars.

Now as a member of Mastodon and an integral part of their new album, Marrow Deep, Nick has created an exclusive lesson on five of his favorite playing approaches.

Heavily influenced by Stevie Ray Vaughan, Eddie Van Halen, Joe Satriani and Yngwie Malmsteen, Nick's style is a blend of legato, hybrid and sweep picking plus tapping. His vocabulary blends post-SRV blues licks and Malmsteen-like intensity with a compositional sophistication influenced by film composers such as Bernard Hermann (Citizen Kane, Psycho, Taxi Driver).

All this adds up to a versatile technique that provides numerous options for his large intervals and chromatic passing notes.

In his video, Nick plays all the examples free time without a backing. For context, we have included the chord type that these licks would ideally fit over.

In terms of vocabulary, Nick often uses the minor pentatonic scale as a foundation and then adds chromatic notes to create color and sophistication. With his style of intricate lead guitar, the devil is in the detail. So we have written in all the picking directions, and would encourage you to use the slow-motion feature available on YouTube for detailed study.

Nick performs all of the examples on his signature Schecter guitar, and uses a saturated lead overdrive with a bit of reverb and delay.

Example 1a - Hybrid picking and string crossing (version 1) (0:31 in the video)

Nick starts out with an impressive-sounding line that fits in with an A minor tonality. He combines accurate picking and use of the picking hand's second finger (shown as m below the tab) to deal with the string jumps. The basic rule is the second finger pluck can be used after a down pick, in place of an up pick.

Example 1b - Hybrid picking and string crossing (version 2) (1:24 in the video)

Here Nick demonstrates how the approach from Example 1a can be moved and adapted to work in different keys. Here you'll move up to the key of E minor. The line sounds more sophisticated due to the inclusion of choice chromatic notes (Bb and D#). The hammer-on and pull-off technique helps with speedy articulation and a fluid delivery.

Example 1c - Hybrid picking and string crossing (version 3) (1:27 in the video)

For this third variation, Nick lets rip in the key of B minor. This line has the same road map and fingering as the previous two examples. However, Nick adds in an extra B minor 7 arpeggio flourish to end with a colorful chromatic note (E# or F note). This is the b5 interval often used by guitarists in the context of the six note B blues scale (B-D-E-E#/F-F#-A). This creates a run of three chromatic notes that can be played quickly with hammer-ons and pull-offs.

Example 2a - Fast legato chromatics (version 1) (2:04 in the video)

This is a good workout for your hammer-on and pull-off technique. The phrase starts with a down pick followed by two hammer-ons. The second finger (m) then plucks the D note on the first string.

This is followed by a six-note sequence of hammer-ons and pull-offs. Finally, there is a fast down and up pick. It may be worth experimenting here by replacing this up pick with a second finger pluck.

Example 2b - Fast legato chromatics (version 2) (2:11 in the video)

Nick demonstrates how the previous example can be used in a different key. To fit in with the key of G major, the fingering pattern needs to be adapted from before. To get more mileage out of this idea, it would be a fun exercise for you to migrate it to other major and minor keys.

Example 2c - Fast legato chromatics (extended) (2:14 in the video)

Here you'll move back to the key of A minor and see how the pattern can be extended. There is a large A minor 7 arpeggio to negotiate at the end. This fits nicely under the fingers, and includes fretting hand tapping notes on the 17th and 19th frets on the first string.

The final part of the arpeggio is completed with fretting hand hammer-ons/taps (a favorite approach with Richie Kotzen to descend an arpeggio).

Example 3a - Bluesy phrasing (version 1) (3:03 in the video)

Time for some blues as this draws inspiration from Nick’s SRV influences. Here there is a great sounding string bend that plays in many of his lines. First, the note on the 10th fret of the third string is played (beat 1&e), then the note below (9th fret) which is then immediately bent up a semitone to a virtual 10th fret. This is reminiscent of Eric Johnson, ball parking his koto-like technique.

For a strong SRV nod, check out the 8th-9th-8th fret slide on the first string - the C-Db-C looks odd on paper within the Cm7 context but actually enriches the greasy blues sound here. To end, the notes on the first and second strings are played with fingers, the tone and extra pop helps to create an authentic bluesy bite.

Example 3b - Bluesy phrasing (version 2) (3:51 in the video)

Here's a further demonstration of the string bending from a semitone below you looked at in the previous example. Nick refers to this as an “outside to inside” sound.

With this example, you have three opportunities to bend into 10th fret notes on the fourth, third and first strings. Very slinky, very greasy!

Example 4 - Picking and intervallic variations (4:48 in the video)

This demonstrates how effective a pattern can be. The phrase starts out by linking the chord tones of A minor with chromatic notes such as G#, Eb and Bb. The legato technique is very effective for this.

For the descending portion, the A minor pentatonic is phrased in a groups of four pattern. Guitarists like Eric Johnson and Joe Bonamassa are fond of using this approach.

Example 5 - Percussive phrasing (6:41 in the video)

This final example has a bit of everything Nick has demonstrated including chromatic notes, legato, hybrid picking and the semitone approach bending.

In addition to adding extra facility, the hybrid picking technique is ideal for adding extra tone, bite and snap to the notes. If the string is popped with the picking hand's second finger, a percussive attack is added.

Hear Mastodon!

Mastodon - Snakes For Dinner

The first video track from Mastodon's new album features Nick as well as an appearance from the band's longtime friend, Josh Homme.

When people discuss slide guitar, they often presume the guitar will be open-tuned to a chord. This is fair enough as it’s a time-honoured method that allows a lot of flexibility.

However, unless you’re going to play the whole gig in an open tuning, it might feel a bit excessive to keep retuning or to carry an extra guitar for a couple of songs. If you’re just looking to play solos, or even just getting into slide, it isn’t necessary to go to such lengths.

Bear in mind that in standard tuning the second, third and fourth strings give us a G major triad, with a 4th interval available by playing the first and second strings together, and a 5th available on the fourth and fifth strings, so there are more than a few authentic-sounding licks available.

If we add in the convenience of the pentatonic shapes also being available on the fretboard as usual, then I think we have a pretty compelling case for staying with standard tuning – at least for now.

We’d be in pretty good company. Muddy Waters, Ariel Posen and Blackberry Smoke’s Charlie Starr all favour standard tuning for slide playing.

However, we need not limit ourselves here – there are lots of Duane Allman, Lowell George and even George Harrison licks you can emulate once you’ve developed enough technique.

On that subject, a light touch with a medium/lightweight slide should work with the average action and string gauge. You can experiment with wearing the slide on the second, third or fourth finger of your fretting hand.

We’d suggest trying the first finger, too, but this is best used to mute behind the slide and control unwanted ringing. Be prepared to put some practice time in, but you will be rewarded! Hope you enjoy and see you next time.

Example 1

Using the 4th interval available on the first and second strings, this first example stays very much ‘in the box’ between the 1st and 3rd frets until the end of the phrase.

Note there isn’t automatically vibrato on every sustained note, plus there are a few staccato notes, facilitated mainly by muting with the picking hand. You’ll also see there’s what we would normally call a quarter-tone bend. This is executed by moving the slide slightly sharp instead.

Example 2

Shifting up the fretboard slightly, this example kicks in with a sustained dominant 7th (F), before making use of the triads available when playing the second, third and fourth strings together.

We move through a Bb, then a C triad, with a cheeky sus4 in the shape of that F, before holding a sustained D, which slides slowly upwards in anticipation of the next phrase. Keep an eye on details such as staccato and ‘let ring’ instructions.

Example 3

Starting with some doublestopped 4ths on the third and fourth strings played together, this example stays exclusively between the 10th and 13th frets.

Look out for details such as vibrato (or not!), staccato hits, a G major triad linking bars 1 and 2, plus a quarter-tone ‘bend’ near the end of the phrase.

This one is a little trickier, especially where it moves to Bb, but it demonstrates the available vocabulary in this zone of the fretboard, plus being aware of the backing chords.

Example 4

Hear it here

Little Feat – The Last Record Album

Lowell George mainly used an open A tuning, but this gave a major triad on the fourth, third and second strings just like regular tuning. It’s perfectly possible to steal a few ideas from here without having to retune.

Check out Romance Dance and you’ll hear that you don’t need to be all over the fretboard, just adding some touches and sustained notes here and there to make your presence felt. Elsewhere, check out Long Distance Love and Mercenary Territory.

Ariel Posen – Bannatyne

The slide player of 2026 would be well advised to check out this guitarist’s work. There are some great ideas to be taken from Future Present Tense, Dead To Me (with its cool vibrato/detune effect) and Shed Your Skin.

This is something to aspire to, rather than expect to emulate straight away, but with the right attitude and some vintage-style fuzz effects, you may be surprised how quickly you can get into the ballpark. Give it a go.

George Harrison – All Things Must Pass

Known for his nimble and melodic playing generally, it’s no surprise that George was just as meticulous with a slide. Check out My Sweet Lord (with its lovely multi-tracked acoustics), Isn’t It a Pity and I Dig Love, which sees him cut loose with some deft phrasing.

The message from George’s playing is to add to the song without feeling the need to display technique for technique’s sake. As the old saying goes, if you don’t have the songs, you don’t have anything!

• This article first appeared in Guitarist. Subscribe and save.

The late queen of country Dolly Parton’s career was astonishing when you put it into numbers: over 3,000 songs penned including mega-smash I Will Always Love You, made doubly famous by Whitney Houston in the film The Bodyguard. 

A true crossover artist, Dolly took country into the mainstream charts with hits Jolene and 9 To 5, which many a function guitarist will have had to master.

Dolly’s glittering, rhinestone-laden onstage image belied her humble beginnings. She was born in Tennessee and raised in a one-room shack, but music proved to be an early way out of poverty. By age 10, she was performing on local radio and, staggeringly, by 13 she was appearing on the legendary Grand Ole Opry stage.

After leaving school, the obvious move was to Nashville where she became a professional songwriter, penning hits for other artists and raising her profile with weekly appearances on country star Porter Wagoner’s TV show. 

She gained her first big hits duetting with Wagoner before going solo and earning success with 1973’s chart-topper Jolene, and I Will Always Love You which hit the top spot in 1974 (again in 1984) and her first Grammy in 1979. 

As with many artists in the country and pop worlds, the parts you hear on record are typically played by studio musicians. However, watch footage of Dolly live and she plays guitar, banjo and dulcimer.

While her guitar playing usually served the role of simple accompaniment – largely due to her long fingernails, which shaped her entire six-string style – she would often play short, bluegrass-inspired solos the like of which I’ve included here. It’s a great example of melodic, scale-based country playing and is a good way into the genre if you are new to it.

Dolly’s playing is driven by the Maybelle Carter-style ‘thumb and flick’ approach and the Hank Williams/Johnny Cash alternating bassline style. You can play this with a pick but if you opt for the Carter style then the picking-hand thumb plucks a bass note followed by the first finger flicking down to sound the corresponding chord. Aim to strike the strings with the nail on the finger for a more percussive characteristic. 

While there are few demands on the fretting hand here, as Dolly mostly played simple open-position chords, you may find the picking-hand thumb needs some work so as to ensure you strike the correct bass notes.

For the first-finger flick, make sure you have sufficient power to strike the strings but not so much that they overshadow the bass notes. It’s a balancing act between thumb and finger to get this sounding right. 

Get the tone

Amp settings: Gain 3, Bass 7, Middle 6, Treble 7, Reverb 2

Dolly often performed with her custom Taylor GS Mini and Martin 5-18 Terz – she is a fan of small-scale three-quarter acoustic guitars. Typically within this style, though, you’ll want to use a larger-bodied instrument, although of course this isn’t vital. I recorded this lesson with a Martin Custom Expert 1937 D28 and a Soyuz 017 fet microphone. 

Playing notes

[Bars 1-16] Classic country strumming is very easy on the surface, but there are elements that make it a challenge. 

Timekeeping is the obvious one, but you also have to be really accurate with the alternating bass notes otherwise things start to sound uneven, and if you catch the wrong string you will really hear it! 

All of this becomes even more real when you perform this stuff with a bassist as they will typically be playing the same basslines as you, albeit in a lower register. 

[Bars 17-32] Dolly had a great and practical approach to soloing that just works – she generally builds licks around chord shapes, in this case triads. Using this method means you can’t really go wrong as you are always hitting chord tones (root, 3rd, 5th, etc). 

Add the typical country/bluegrass rhythmic phrasing of mostly quavers and crotchets along with some legato (hammer-ons and slides in this case) and you have the perfect melodic country solo.

An essential rhythm playing technique every guitarist should learn is what I call eighth-note “pendulum” strumming. It involves keeping your pick hand constantly moving down and up across the strings in a steady, unbroken eighth-note rhythm – “1 and, 2 and, 3 and, 4 and” – with downstrokes on the downbeats and upstrokes on the upbeats (the “and” counts).

The movement is comparable to that of a pendulum on a grandfather clock that swings back and forth, the only difference being the horizontal orientation of your arm, as opposed to the vertical hang of a pendulum.

The technique takes a bit of practice to master, but once you get the hang of it, it makes your strumming feel natural, flowing and automatic, to the point where you don’t even need to think about it and can just feel the eighth-note groove. As always, it helps to tap your foot on each downbeat as you play.

Note, however, that this down-up-down-up eighth-note strumming technique isn’t universally applicable to every style of music and at every tempo.

In some styles, such as punk rock and metal, most songs call for the eighth-note rhythms to be strummed with consecutive downstrokes, oftentimes in conjunction with palm muting (P.M.), to create an urgent, “pumping” effect, which is totally cool.

But in many other genres, such as pop, rock, folk, country and R&B, you want to create a more laid-back strum feel, and that’s where eighth-note pendulum strumming works best.

To demonstrate the differences between all-downstrokes strumming (aka “downpicking”) versus down-up strumming, FIGURES 1 & 2 show the same repeating G-to-C chord change strummed two different ways but with the same eighth-note rhythms. (Note the use of the “all-purpose passing chord”.) Notice the difference in the sound and feel of the rhythms.

Sometimes you don’t want to just play a continuous stream of eighth notes and prefer to mix up the rhythms with various combinations of quarter notes and eighth notes, or decide to strum a chord on an eighth-note upbeat and hold it into the next beat, what’s known as a tie. This is where eighth-note pendulum strumming is especially useful and effective.

The key is to keep the pick hand in perpetual motion, without stopping, even while you’re letting a chord ring for longer than an eighth note.

FIGURE 3 shows our G-to-C chord change again, this time with some quarter notes and tied eighth notes used, to break up the “busy-ness” of the continuous eighth-note rhythms.

Notice that, for the quarter notes, you have two consecutive downstrokes and, for the ties, two consecutive upstrokes. Unless you’re performing Pete Townshend-style “windmills,” you’re going to automatically do a silent, “phantom” upstroke between two downstrokes and, likewise, a phantom downstroke between two upstrokes.

The key is to allow your pick hand to silently pass over the strings during these moments where you’re letting the previous strum ring and to not freeze up and “stop, start, stop, start.”

To the observer, it looks like you’re strumming continuous eighth notes, even though you’re playing various combinations of eighth and quarter-note rhythms and using ties.

Again, as always, I recommend counting “1 and, 2 and, 3 and, 4 and” as you play and tapping your foot only on the downbeats, like a human metronome. This will help ingrain the coordination of your technique.

Also keep in mind that, in some songs, there may be parts where you’ll want to momentarily switch from pendulum strumming to all downstrokes, say, for a buildup leading into a chorus.

A good example that comes to mind is the Foo Fighters song Big Me, where guitarist Dave Grohl uses eighth-note pendulum strumming for most of the song but briefly switches to pumping downstrokes in a few spots.

Last time, I talked about how coming up with a great, catchy lick or riff can inspire an entire song. Great riffs have the power to do that, and the best ones do it instantly.

From the Beatles’ I Feel Fine, to the Rolling Stones’ Honky Tonk Women, to Lynyrd Skynyrd’s Sweet Home Alabama, these are all songs that pull the listener in immediately.

A great guitar solo can do the same thing, offering the listener an unexpected journey to a new place before steering the music back to familiar territory. Many players refer to this as the “song within a song” approach to crafting an effective, memorable solo.

The song we covered last month was Let It Burn, from our 2017 album, Like An Arrow. This song is built from a rock-and-roll-meets-country feel, and the solo needed to stay in that wheelhouse while elevating the music to another level.

Right before the solo, we play a bridge/breakdown lick that serves as a hook of its own. As shown in Figure 1, I arpeggiate the notes of an open G chord into a C chord, followed by a reference to Bb. In bar 4, I incorporate 6th intervals into the phrase. The guitar solo is then played over that lick and similarly blends the sounds of rock and roll and country.

I like to envision my guitar solo as being another voice that’s singing a new melody. To my ears, a melody is a great place to start, as opposed to just a flurry of notes. The solo needs to “sing,” so I thought, “What would I sing over that breakdown lick?” Figure 2 shows the solo.

In bars 1-4, I play a singable melody based on the G minor pentatonic scale (G, Bb, C, D, F), starting with two-note double-stops played 3rds apart. At the end of bar 4 into bar 5, the solo is based on G major pentatonic (G, A, B, D, E), and in bar 6 I play a couple of 6th intervals. The solo then wraps up with a return to G minor pentatonic.

The solo is concise so that it gets out of the way and brings us back to the big chorus, shown in Figure 3 with the ringing C, F/C, G5 chords.

Those initial 3rd intervals work really well over the feel of the breakdown lick underneath. Following the return to the chorus, we reprise the song’s intro lick in order to wrap up the song, with all its elements pulled together in an effective way.

When we play Let It Burn live, I like to stretch out the intro by soloing in this style. Sometimes I stretch it out so much that our bass player will yell, “Hey, start the song!”

Figure 4 offers an example of the types of licks that live in that world where the lines between country music and rock and roll become blurry. In this example, I begin with hybrid-picked double-stops that shift to straight country/blues in bar 3.

There really are countless ways to craft a solo by drawing upon one’s various stylistic influences, so never be afraid to push the envelope in your quest for a captivating and expressive feel and sound.

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When I first learned the Mixolydian mode, I found it elusive to incorporate into my improvised solos.

For those unfamiliar with Mixolydian, it is one of the seven modes of the major scale. Each mode is derived from the same sequence of half steps and whole steps that make up the major scale’s structure, but starting on a different note, which serves as the root of that unique mode.

For example, the C major scale comprises the notes C, D, E, F, G, A and B. The formula for the major scale is based on the intervallic distances between these notes. As there is a whole step between C and D and another whole step between D and E, the formula for the scale begins “whole,” “whole,” often indicated as “W W.”

If we reckon all the intervals of the major scale, the resulting formula is W W H W W W H, with H signifying a half step. The harmony inherent in the scale/mode is derived from the first, third and fifth notes (1-3-5). So, in C major these notes are C, E and G, which form a C major triad.

The C major scale is also known as the C Ionian mode. If one were to start on the second scale degree, D, and think of that as the root note, or tonic, the note sequence would be D, E, F, G, A, B, C. This is known as the D Dorian mode. Continuing this process, D Dorian is followed by E Phrygian, F Lydian, G Mixolydian, A Aeolian and B Locrian.

Figure 1 shows the G Mixolydian mode: G, A, B, C, D, E, F. The harmonic color, or flavor, conveyed by it is G7. For myself, I did not find it appealing to just play the notes of G Mixolydian over a G7 chord; it was not a sound I found to be compelling.

I was aware of all of the modes and thought that, since G is the fifth degree of the C major scale, maybe I can superimpose all or some of the triad arpeggios built from C major over a G7 chord in order to find another approach to using G Mixolydian.

Figure 2 illustrates the seven triad arpeggios that live within the C major scale, followed by a bluesy lick built around a G major triad (G, B, D). These are also the triad arpeggios of G Mixolydian.

A great way to explore using this approach is to jam over a G7 vamp and alternate between playing familiar blues licks in G and short phrases that outline these triadic forms.

Figure 3 presents a stock G blues lick. In Figure 4, I improvise over a G7 vamp, purposefully moving through the related triad arpeggios, starting on bar 1 with Dm and C, then descending to Bdim, Am, G and F. I then wrap up the phrase with a G7 blues lick.

Figure 5 offers a more ambitious example of this approach, again alternating between bluesy G7-flavored licks and the related G Mixolydian triadic forms, with a little chromaticism added in for a more interesting sound.

This approach offers a great way to unlock new sounds based on G Mixolydian while also opening up your fretboard vision and knowledge.

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This lesson is about something that many players already do intuitively without even thinking about it or realizing they’re doing it, and that is using what I call the “all-purpose passing chord,” which is simply strumming one or more open strings when switching from one fretted chord shape to another.

For example, in the laid-back intro and verses to Soundgarden’s Blow Up the Outside World, when changing from an open E chord to C every two beats, guitarists Chris Cornell and Kim Thayil would momentarily lift their fretting fingers off the strings during the last 16th note of the beat that precedes the next chord and strum the open top four strings with an upstroke.

FIGURE 1 shows a similar move, with strumming prompts included.

Notice how, by briefly letting go of the strings during those upstroke strums, you’re buying your fretting fingers valuable time to move to the next chord shape in an easy way, and doing so while keeping the rhythm flowing.

Of course, you could just omit the 16th-note upstroke strum entirely and simply strum another eighth note with a downstroke then switch to the next chord. But using the all-purpose passing chord offers you a convenient way to fill out the rhythmic feel and convey a more detailed 16th-note groove with an occasional pair of down-up 16th-note strums.

It also allows you to let go of the chord a little sooner than you would if holding it for an eighth-note duration.

When playing open “cowboy” chords in the guitar-friendly keys of C, G or D, or their relative minor keys of A minor, E minor or B minor, the open-string notes – E, A, D, G, B, E – all live within the parent C, G or D major scales and musically “agree” with each of these keys.

So briefly playing the open strings between chords in these keys sounds totally natural. It also adds a mild feeling of tension and release to the proceedings. Mind you, strumming all six open strings or the lower ones draws more attention to the open notes than does only strumming the top three or four strings, which is why many players typically only strum the higher open strings between chords. That also has to do with the act of strumming an upstroke, versus a downstroke.

FIGURE 2 offers another example of this useful technique, with a progression of four open chords that brings to mind the chorus to Alive by Pearl Jam. Again, notice how we simply let go of the strings on the last 16th note of the beat immediately before each chord change while keeping a flowing groove that mixes eighth- and 16th-note rhythms.

While the all-purpose passing chord is usually strummed with an upstroke, it can also be used with a downstroke, say, if you’re playing a punk or metal song that has you strumming all downstrokes for an urgent feel and “pumping” effect. In this case, the downpicking technique would dictate that you hit the bottom two or three open strings instead of the higher ones.

The all-purpose passing chord can also work well with barre chords in these same keys. Bear in mind, though, that, if you’re playing in another key, the open-string notes may fall outside its related scale and end up clashing and sounding odd or sour.

For example, in the Green Day song American Idiot, guitarist Billie Joe Armstrong plays the series of barre chords Ab5 - Db5 - Gb5 - Db5 - Ab5 and briefly strums his open low E and A strings between the first three chords.

Then, after returning to Ab5 at the end of the progression, the guitarist intentionally whacks his open G, B and high E strings with a downstroke, so as to add a brief splash of ugliness to the proceedings. The open B and E notes are obviously alien to the key of Ab, but they contribute to the riff’s and song’s expression of angst.

A classic example of this same kind of artistic ugliness can be found in the iconic two-bar intro and chorus chord riff to Smells Like Teen Spirit by Nirvana. Here, guitarist Kurt Cobain is playing in the key of F minor, strumming the repeating chord progression F5 - Bb - Ab5 - Db.

Between Bb and Ab5, he deliberately lifts his fingers off the fretboard and strums his open bottom five strings with a downstroke. He later does the same thing between Db and F5. As with the previously cited example, these fleeting dissonances add a feeling of angst and rebelliousness to the chord riff.

One more thing to bear in mind when using the all-purpose passing chord is the tempo of the song you’re playing. The slower the tempo, the more noticeable these passing chords will be. Something that sounds acceptable and cool when played at a brisk tempo could sound strange and bizarre when played slower.

So, keeping all this in mind, feel free to employ the very useful all-purpose passing chord as you see and hear fit to do.

Today’s Quick Tip is for intermediate and “pro” guitarists who are always looking for more cool ways to embellish basic chord shapes and spice up their rhythm playing.

Instead of always playing a low F chord as a standard 1st-position barre chord across all six strings, consider not barring it and instead using the 6th-string thumb fretting technique to form the shape illustrated in FIGURE 1.

Doing this offers you two benefits:

1) It’s often more convenient and comfortable to not have to rotate your wrist to form the full F barre chord shape when playing a progression of mostly open chords.

2) As shown in the example, this non-barre fingering allows you to easily toggle between F and Fsus2, which is a beautiful and very musical way to embellish an F chord, in the same way many players do with C and Csus2 (see FIGURE 2).

Countless guitarists have used this technique and the F-Fsus2 embellishment to decorate and add melodic interest to their chord playing.

A well-known example can be heard in the intro and verses to Californication by the Red Hot Chili Peppers, where guitarist John Frusciante creates a melodic chord riff by first using his open B string to play Asus2 to Am, then uses his open G string with the thumb-fretted F grip to play Fsus2 to F.

Another noteworthy example can be found in the intro and verses to Fleetwood’s Mac’s Go Your Own Way, where guitarist Lindsey Buckingham, using a capo at the 5th fret, plays the Csus2 to C then Fsus2 to F, using the shapes illustrated in FIGURE 2.

As I demonstrate in the video, by using the thumb-fretted, non-barre F grip, you can embellish the F chord with pull-offs and hammer-ons to and from the open G string to A at the 2nd fret to create elegant-sounding, James Taylor-like sus2 decorations to your chordal accompaniments, in the same way many players will often do with D and Dsus2 or with A and Asus2.

Note that, by not barring the 1st string in the thumb-fretted F or Fsus2 grip, you can add an open high E note to it to sound a beautiful, full-sounding Fmaj7 voicing, or Fmaj7sus2, as demonstrated in FIGURE 3. Or you could barre only the B and high E strings with your index finger to get a full F chord, with the same six notes as the conventional barre chord.

Keep in mind that sometimes the chord you are to play in a given song is simply F and not Fmaj7. So be mindful not to gratuitously add that “color” tone where it’s not needed or wanted.

As guitar players, we rely on shapes and patterns – consciously or not. This includes both scales and chords. Some chord shapes are described as ‘movable’, meaning they can be relocated to anywhere on the fretboard with predictable results.

Conversely, others – usually shapes including open strings – are not described in this way, implying that they only work in one position.

Regular readers will know that we frequently test this imaginary boundary by taking such shapes and moving them to different positions, often with surprising and pleasing results.

In this case, rather than starting in a conventional position then moving the shape, we’ve gone straight to a non-standard position – hence the term ‘recycled’.

The shape looks familiar, but the sound is not. Sometimes this can result in a complex-sounding name, but if we’re inspired by the sound this is just a detail. Coincidentally, three of these are add2 chords, so clearly this isn’t always the case.

Example 1. Fmaj7add6/A

By moving an Amaj7 up a fret/semitone, we get this jazzy Fmaj7add6/A chord. The name can be distracting – and there are other ways this could be approached, perhaps A with an augmented 5th and a sus4?

But what’s important is the sound: Jimmy Page appears to have thought so when he used this chord in Ten Years Gone.

Example 2. Fadd2

By recycling a C major shape and moving it to the 8th position, we get this Fadd2 courtesy of the G on the open third string.

If we were to allow the high E/first string to sound, this could add a maj7, too, but we’ve opted to keep things a little more concise for this example.

Example 3. Fadd2

Another take on Example 2, this is also an Fadd2 but with an extra high C (the 5th) added on the first string. We’ve sacrificed the sixth string for this, but we get a chord with extra detail in the high end.

Steve Howe moves this shape around to great effect during the ‘Würm’ section of Starship Trooper by Yes.

Example 4. Cadd2

This recycled G shape gives us this Cadd2 when moved to the 8th position. This chord has found its way into the songs of Supergrass, The Pretenders and Rush.

For clarity on the name, an add2 means that the 3rd of the chord (in this case E) is present. In sus2 chords, the 3rd is replaced by the sus note.

Example 5. E7

Taking a B7 chord and shifting it to the 7th position gives us this jangly E7. While we can’t think of an obvious example of this one in use, there will be a song out there somewhere…

The open second string (B) fits in here perfectly, giving us the 5th of the chord.

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Kim Thayil and Jimmy Page know that imperfection can be an important aspect of guitar playing with emotion. They understand that something technically incorrect can be something different when executed correctly. Learning the basics and practicing technique is essential, but once you know the rules, you have the power to twist and bend them in your own unique way.

The idea of making a mistake on purpose can be applicable to all aspects of your playing – vibrato, timing, even the notes you play. Amongst the guitarists who execute this are Alex Lifeson, Jimmy Page, John Frusciante, Jimi Hendrix and Kim Thayil.

For a specific example, Kim Thayil of Soundgarden is known for bending to notes outside the key he is soloing in. Although this is harmonically incorrect, it did help shape his sound and the overall grunge movement during the early 1990s.

Another time period to demonstrate this is the early blues sound of the late 1800s-1920s. This is where history began to see an alternative guitar style develop. Bending notes, loose time and sliding inbetween pitches were some of the first signs that guitar players were developing their own musical vocabulary.

Fast forward to the birth of rock music in the early 1960s–1970s. Its purpose seemed focused on feelings of exhilaration. Feedback, aggressive string bends and unpredictable improvisation would become the new standard among rock guitarists.

The story of Tony Iommi of Black Sabbath is an amazing ode to what embracing imperfection can result in. During a work accident, the Black Sabbath guitarist cut off the tips of his fingers, forcing him to alter his approach to the guitar. His solutions to his injury – very thin strings, drop tunings, and simple riffs – would double as the foundation of heavy metal.

History has proven that when a guitarist leans into imperfection, the result can be nothing short of revolutionary. Through this article, you will learn alternative techniques and philosophies that will hopefully inspire your own unique approach to guitar – and who knows what that could lead to…

Example 1. Imperfect vibrato (3:05 in the video)

Imperfect vibrato refers to an alternative vibrato style that was popularized by BB King and then developed later by guitarists like Kim Thayil. The approach produces a tight, fast vibrato that can sound a little frenzied, blending vertical and horizontal finger movement, sometimes without the thumb on the back of the neck.

To customize this vibrato, consider how to marry the vertical and horizontal motions. For example, you could use horizontal (along the string) motion before pulling the string downward at the end of the note, creating a sharp, inbetween note (think either side of a 1/4 tone bend).

Since many listeners can detect a stylised note/unique note during melodic phrasing, this subtle sharpness can prove expressive without being too jarring.

Example 2. Hitting the wrong note with pizzazz! (5:48 in the video)

Playing wrong notes when soloing is often to be avoided but it can have merit. Importantly, they can be turned into a moment of interest, rather than a glaring mistake that makes you embarrassed. There's truth in the saying 'you’re only a half step away from the right note' meaning you can use these brief 'wrong' moments to provide anticipation before resolving to a note within the key you’re playing in.

A guitarist who executes this wonderfully is Kim Thayil. When soloing, he bends to notes outside of the key, plays incorrect passing notes, and even performs small licks in entirely different keys.

But (at least to my ears), it all sounds amazing due to his ability to resolve each phrase with confidence and build motifs throughout his solos. In this example, you are going to practice these three approaches to hitting the wrong note with pizzazz.

Example 3. Quickly Resolved Chaos (7:40 in the video)

For this example, you are going to hit all of the open strings then resolve with a bend. Your goal should be to make the open strings sound as chaotic as possible, creating a stark contrast to the single-note bend.

This technique was often used during Jimi Hendrix's live performances (and later by Gary Moore), putting audiences in a trance due to how unique it sounded. It's the equivalent of a vocalist gulping in air (the noise) before blasting out a strong sustained note (the resolution).

A tip to guarantee you maximize this approach is a strongly distorted guitar tone – the louder and messier, the better.

Example 4. 1-3-5 will keep you alive (10:22 in the video)

To be wrong well, it's important to know what correct is. When soloing, you can play wrong notes that don't sit well against a chord (or chords) as long as you resolve to strong notes that are from the key you're playing in. This way, the imperfections will sound calculated.

The correct notes can most easily be played using the root, third, or fifth note of the chord (or probably the key) you’re playing in.

Welcome to the notion of “1-3-5 will keep you alive.”

These three notes are the foundations to every chord so will always be safe to play. For example, if you're playing over a C major chord, the notes C (the 1 or the root), the E (the 3rd) and the G (the 5th) are the required notes to hone in on.

Below shows one way to ascend the fretboard while playing the 1-3-5 of a G chord. These notes being G (root), B (3rd) and D (5th). If you spend time knowing the fretboard then beauty can be aligned to your playing's developing anarchy.

Enjoy making your mistakes on purpose!

An often overlooked aspect of playing guitar that many beginners aren’t aware of is the importance of silencing the open low E string when moving from an open Em chord to an open D chord, or from E to D.

In most cases, you do not want to have that ringing open low E note “lingering” into the D chord because it will sound dissonant, muddy and sloppy, as the note does not musically “agree” with those that make up the D chord (D, F#, A), especially in that low register.

Check out FIGURE 1, which has us changing from Em to D a couple of times. If you look at the fretboard frame for the D chord above the tablature, you’ll see that the low E and A strings each have an “X” above them. That signifies that those two strings are not to be included in that chord voicing.

A hollow circle, on the other hand, indicates that the string is to be played open, and a black circle indicates where a string is to be fretted, such as at the 2nd or 3rd fret, with the fret-hand finger indicated below.

So, the open D chord is officially only on the top four strings, with the open D string being its low root note. However, inadvertently sounding the open A string, or allowing it to linger from a previous chord, such as Am, doesn’t sound bad at all, as A happens to be a chord tone of D major – its 5th – and the open low A note can add warmth and “fatness” to the chord voicing, which is sometimes desirable. But not the low E note. That just sounds like doo-doo under a D chord, with all six strings ringing.

When you pick an open string, it will continue to ring for a while unless you actively stop it from vibrating. This can easily be accomplished by lightly touching it, a technique known as muting, or dampening. One way to do this is to lightly touch the low E string with the tip of your fret-hand thumb, briefly hooking it around the top side of the neck at the 2nd fret as you form the D chord shape with your fingers.

Alternatively, you could mute the low E string with the palm of your pick hand, a technique known as palm muting (indicated in guitar music by the abbreviation P.M.)

While palm muting “after the fact” like this achieves the objective of muting the string, it could in some cases disrupt the flow of your strumming. So I recommend using the fret-hand-thumb muting method first and foremost, to help ensure a smooth, flowing change from Em to D, or E to D.

Another commonly committed error beginners typically make is they inadvertently strum their open low E string when playing an open C chord, which in the vast majority of cases should only include the top five strings, as opposed to the rarely used C/E (“C over E”) chord illustrated in FIGURE 2. Again, note the “X” over the chord frame for C and the “O” over the frame for C/E.

An effective way to prevent your low E string from sounding or vibrating sympathetically when playing an open C chord is to lightly touch it with the “paw” of your fret-hand ring finger (3) as it frets the C root note on the A string’s 3rd fret.

Doing this will ensure that the chord sounds pleasing and proper and allow you to strum a little more loosely, casually or aggressively, without having to worry about accidentally grazing the low E string with the pick because, even if you do, the string will remain silent.

One of the great benefits of playing 7- and 8-string guitars in various tunings is that they continually inspire me to discover cool and unusual chords and voicings. A great example of this is the song Keep Sweet, which I recorded with Spiritbox for 2025’s Tsunami Sea.

For this track, I play a 7-string guitar tuned to drop-A, transposed down a whole step, what’s often referred to as “drop-G” tuning (low to high: G, D, G, C, F, A, D). This is not a tuning I use often, but it turned out to be perfect here.

Figure 1 illustrates the song’s initial, primary riff. This part is not played very fast and is fairly easy to navigate. The tonal center for the song is B minor (concert key of A minor, due to the whole-step-down tuning transposition), and I begin with an unusual B5b6 chord voicing on the 6th, 5th and 4th strings, which requires a finger stretch between the 9th and 5th frets (allow your wrist to rotate as needed).

As shown in Figure 2, The G note sounded on the 4th string serves as the b6 (flatted 6th) above the foundational B5 chord and lends a dissonant and somewhat atonal quality to the chord.

I then shift to a bassline-like riff on the 7th string that includes a whole-step bend from B to C# at the end of bars 1, 3 and 5. At the ends of bars 2 and 4, I play D5 power chords that set up the return to the top of the phrase. After playing bars 1-4, bars 1 and 2 repeat and are then followed by the second ending (bar 5), which culminates with natural harmonics (N.H.) sounded at the 5th fret of the 5th string.

The key to playing this song well is to have clear separation between the dissonant B5b6 chords and the consonant D5 power chords. Additionally, when playing the B octave notes at the 2nd fret on the 7th and 5th strings, you want to keep them separated.

The trickiest part of playing this riff is transitioning smoothly between the D5 chord and the B5b6. This is highlighted in Figure 3. Strive to keep the transitions clean so that each chord will sound sharply defined.

Figure 4 shows the riff I play during the first verse. In bars 1-6, I shift between referencing the chords D5, A5 and B5, starting with full power chord strums and then following with arpeggiated chords and two-note voicings.

In bars 7-9, I outline Bm and A chords with arpeggios and, on beat 3 of bar 10, make brief reference to Asus4, followed by a 5th-fret natural harmonic on the 5th string, ending the phrase with an open low A note.

I like to present “themes” as I structure the guitar parts for a song. In this case, the initial theme is based on the contrast between B5b6 and D5, and the second theme is the balance between B5 and A5. Another theme is the reiterations of the whole-step bends on the 7th string, which serve to tie the riffs together.

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In this column, I’d like to talk about guitar playing as it relates to songwriting. And as every guitarist knows, it’s all about the riff!

All great riffs have that instant allure that immediately captures the listener’s ear and attention. This is true in every style of guitar-based music. Songs like (I Can’t Get No) Satisfaction, Purple Haze and Walk This Way are all great examples of the power of the almighty riff.

I wrote a song called Let It Burn for our 2017 album, Like an Arrow, that is built from a simple, catchy riff based on an open G chord. It all started, as is often the case, during a soundcheck. I was playing a Fender Telecaster or Esquire, and I said to our late drummer, Brit Turner, “Hey man, play the ‘train’ beat!”

I began playing Figure 1, which became the main riff in Let It Burn. With my fret-hand in a 3rd-position G chord shape, I begin by repeating the low G root note in a syncopated, punctuated rhythm, followed by oblique bends and releases on the G and B strings.

In these bends, the note on the G string is bent while the note on the B string remains stationary. These bends are followed by single-note riffs based on the G major pentatonic scale (G, A, B, D, E).

We jammed on that for about five minutes, setting up the “runka-runka” feel of typical Chuck Berry-style rock and roll. I then went home and put the verse section together by singing over the G5 - G6 rhythm part. As shown in Figure 2, I moved from the rock and roll figure to a ringing C/G chord, and then back to the runka-runka part.

This is how I began to put the lyrics and melody together, and a song evolved from the initial riff idea. This prompted me to map out the first half of the verse section, shown in Figure 3.

The alternating G and C/G chords in bars 1-5 led me to the D5 - C5 - D5 in bars 6-9. At that point, I felt that it’d be great to bring in some kind of harmonic twist. When it comes to mixing rock and roll with the unexpected, in my opinion, the three of the greatest bands are Rockpile, NRBQ and, of course, the Beatles.

I thought, “What would they do?,” and came up with the musical curve ball shown in Figure 4. Starting on the relative minor chord, Em, I arpeggiate the chord and then chromatically drop (descend) from the E root note to D#, D and C#, resulting in the progression Em - D#aug - G/D - A9/C#.

The verse section then wraps up with a return to rock and roll in Figure 5.

All of this set up the chorus, and I now had my story; the protagonist in the song’s lyrics had had enough of this town and wanted to see it in his rearview mirror, and, preferably, on fire, so the vocal line is, “Let it burn!”

Figure 6 illustrates the end of the chorus section, which balances the rock and roll approach of the D5 - D6 chord movement with a heavier Bb - F figure in bar 2, which then brings us back to the intro.

Now that all the elements were there, I had to put on my arranger/producer hat and give the song some order and structure and sharpen the picture so that it would work as effectively as possible. And herein lies the balance between initial inspiration and a completed, fully realized song.

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A great way to devise a creative and unusual rhythm part is to superimpose a variety of triads over a static one-chord vamp. As you may know, a triad is a three-note entity that, in its most universal function, represents a specific type of chord.

The most common types of triads are major – built from a root, major 3rd and 5th – and minor – built from a root, minor 3rd and 5th.

When playing over a one-chord vamp, that chord represents a key center from which many different triads can be built.

Let’s begin with a simple, funky rhythmic vamp built on an A7 chord, as shown in Figure 1. This is a repeating one-bar pattern that starts with hammer-ons on the A and G strings, followed by syncopated accents on the top four strings.

You could just play different voicings and inversions of A7 over this groove all day long and it’ll sound great.

But the way to get the most out of this approach is to recognize A7 as a chord derived from the A Mixolydian mode (A, B, C#, D, E, F#, G), which is the fifth mode of the D major scale (D, E, F#, G, A, B, C#).

This means you can use all of the scale’s triads – D, Em, F#m, G, A, Bm and C#dim – to discover new rhythm patterns to play over A7 that are even more colorful and interesting.

Figure 2 illustrates the triads Em (E, G, B) and F#m (F#, A, C#) played on the top three strings alongside the A7 chord voicing. If you know your triads on the neck, you can devise some really cool rhythmic ideas.

For example, Figure 3 demonstrates Em and F#m triads played on the D, G and B strings before moving over to the top three strings.

Figure 4 offers an example of utilizing the F#m and Em triads over the funky A7 rhythm part.

Notice that the triads are strummed in syncopated 16th-note rhythms and shift smoothly from one to another via finger slides. Figure 5 switches things up by ending with a dyad/single-note type of riff.

In Figure 6, I branch out from minor triads by including some triadic inversions: on beat 2 of bar 1, I bring in a 1st-inversion G triad (G, B, D), sounded with B, the 3rd, as the lowest note. On beat 3, I include a 2nd-inversion D major triad (D, F#, A), with A, the 5th, on the bottom.

​As you can see, these options provide more sounds than does simply riding on voicings of A7. There are Em and F#m triad shapes to be found all over the fretboard and on different string groups, so be sure to explore every area of the neck to discover where these triad shapes reside.

As long as we return to our key center of A7, we have some cool options to explore. In Figure 7, I incorporate some chromatic movement between G and A triads to bring in another variation.

Look to map out all of the voicings of the aforementioned triads that live within the D major scale and try to find inventive ways to move between them when playing over a static A7 vamp.

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Among all the great blues guitarists, Buddy Guy holds the crown as the most expressive when it comes to playing solos with rhythmic variety. In particular, he’s got an uncanny knack of drifting away from the band’s time, particularly in a slow blues, where there’s more space to play with. Clipped notes, sustained vibrato notes, quick-fire note bursts, accelerating repetitive licks and moments of silence: these and more have become his beloved rhythmic trademarks for blues soloing.

One of my favorite eras of Buddy’s is the mid-to-late ’60s, and this encompasses albums such as I Left My Blues in San Francisco (1967), and A Man and the Blues (1968), as well as his incredible work with Junior Wells. There’s something special about this period, where his playing was cleaner, and yet more raw-sounding. He was considerably ahead of his time.

And don't forget his renowned tone: neck and middle pickups on a Strat (legend has it that he originally taped his three-way selector to get the sound). I’ve gone for this pickup position in all the examples, with some mild breakup on the amp. He has also used neck and (especially) bridge positions, so feel free to experiment.

All of the examples are in C# major. This is perhaps an unusual key for guitar players but one that Buddy has enjoyed playing in over the years. The benefit of this key is when you’re using minor pentatonic shapes 1 and 2, you're in the middle of the fretboard, so bending and vibrato is easier. But it’s rhythm that we’re really going to dig into, so let’s get into it!

Match My Sound: play-along enhancements

For this lesson, we've partnered with MatchMySound to offer the ability to record yourself and see how close you are. MatchMySound is a great tool to help track your progress.

Click on the word 'options' (lower left, below the tab/notation) to select from 'demo audio track' (just guitar), 'backing track' (just the backing), 'full audio' (backing and real guitar audio) and 'metronome' (just a click to play along to).

Below that, select 'options' for how you can record your performance.

At the upper right, the magnifying glass images let you alter the playback speed for learning and pushing your playing onwards.

Follow the cursor to keep up with the tab/notation accurately on screen.

Lastly, to view the music better by filling your desktop/tablet/phone screen, click on the square brackets at the top right.

Buddy Guy rhythmic examples

Example 1a - On the grid time feel

Before you explore playing around with time or playing ‘off grid’, it's important to be able to play on the grid, showing you can synchronise with the band. In a 12/8 blues groove, most players gravitate to underlying groups of three (played on the hi-hat on the backing).

In this example, this is evident but also there are fast pull-offs that come from a smaller 12-note grid. Even though you’re playing with different rhythmic groups here, notice that almost every line begins on one of the strong beats.

Example 1b - Shifting the rhythm

Buddy Guy is about vibe and spontaneity rather than precision. This extends to some of his string bending as well as his timing. Here you're shifting some of the lines to either side of the strong beats as this will make your phrasing sound less predictable. Experiment with the speed and placement of the faster pull-offs.

With repeating licks like this, it’s worth making it sound more conversational and expressive, as opposed to being completely uniform.

Example 2a - On the grid time feel

One of Buddy’s trademark ideas is using pedal note bluesy double-stops. He does this with thumb and first finger (or you could use hybrid picking as I’ve done in the video), which means you can easily achieve wide intervals that jump strings.

On this first ‘on the grid’ version, view the whole phrase as a classic blues call and response line.

Example 2b - Off the grid time feel

Here you're letting go of the grid. The ‘dragged’ sound should feel a little lazy in the picking hand as this will give you a behind the beat feel. The second half of this line includes a ‘4 over 3’ grouping that’s common in slow 12/8 blues.

Don't overthink this, as aiming for precision can often ruin the effect. Just as with harmony, you can create considerable tension with rhythms like this, with a feel good release when you hit the final note.

Example 3a - On the grid time feel

Buddy loves to milk simple blues phrases over time (and often over an entire 12-bar solo). Here you’ll start off with a typical pentatonic lick that’s grouped as six notes per beat.

As before, the bends can be loose in terms of tuning (anything from a ¼ note to a ½ note bend will sound good). The first finger bend is a Buddy Guy trademark but it can be tricky: explore bending towards your face rather than towards the floor, as it can feel easier to do.

Example 3b - Elastic/bungee time feel

The notation can be a little bit daunting here but all you’re going for is a “start slow and soft, then gradually get faster and louder” vibe. As with the previous example, the release of tension will be at some future point – ideally when the chord changes.

Again, it’s not about precision. You can put the brakes on if you feel yourself going too fast, but if you end the line too early or late it doesn’t really matter. For added expression, try picking close to the bridge for a spikier sound and vary the dynamics from whisper quiet to loud.

Example 4 - Putting it all together

In this longer 12-bar solo all of the previous ideas are put together so you can see the examples are interchangeable over different parts of the progression. There are also some extra Buddy-isms, including the ‘catch bends’ in bar 2.

Normally, the fretting fingers push a lower string out of the way during a bend up, but here you can allow the fingers to be slightly flatter to push onto the second string. It’s got a glorious out of tune sound that’s worth getting into your playing (you can also hear where the great SRV got this from).

This line resolves in bar 3 with the second finger bending down from F# to E# for a sus4 to major 3rd sound that Buddy was fond of using. You're also being more explicit with the harmonic change to the V chord (G#7) during the turnaround by playing notes from G# minor blues, rather than C# (this is another trick that SRV loved to use).

Buddy Guy in action

Damn Right, I've Got The Blues

Here are two live performances by Buddy Guy of one of his most famous songs, Damn Right, I've Got the Blues. The first is from 1994 and he's in full showman mode, bursting with enthusiasm and sporting a rich neck pickup overdriven amp tone. His searing string bends, on-grid/off-grid rhythmic phrasing and shredding speed bursts are nothing short of stunning.

The second performance is from 2019 and while he's slightly less animated here, his soloing displays gorgeous string bends and expressive vibrato. His rhythmic phrasing is masterful as he weaves around the band's feel with sustained notes and dragging lead licks.

A big challenge for anyone starting out playing the guitar is training their fret-hand fingers to memorize the proper placement on the strings to form various chord shapes, so that the notes ring clearly when strummed.

I’ve seen many beginner students struggle to form open chords cleanly and accurately and switch from one chord to another in a timely manner, meaning in a prescribed rhythm, such as every two or four beats, at a steady tempo.

A simple, effective exercise to address this technical issue is to practice switching back and forth between any two chords at a relaxed (fairly slow) tempo, holding each chord for a few beats or just a single beat. Ideally, this should be done along with a metronome or while tapping your foot in steady quarter-note beats.

For example, practice moving back and forth between open G and C chords repeatedly (see FIGURE 1). Start out with easy whole-note rhythms, holding each chord for four beats while counting “1, 2, 3, 4.” This gives you a good amount of time to mentally get ready for the next chord.

Do this a few times then “double-up” the rhythm to half notes, for which you’ll hold each chord for only two beats before changing to the next chord. This is more challenging, as you now have half as much time to mentally prepare for the next chord change.

Do this at least a couple of times, then double-up the rhythm again, to quarter notes, now changing chords on every beat, which, again, is twice as challenging. Doing this will help ingrain the movement into your brain and fingers.

A couple of things to keep in mind when performing this chord changing exercise:

1) Try to hold the chord for its full prescribed duration before moving to the next chord. I’ve seen beginner students strum a chord that’s supposed to be held for four beats (a whole note) but “let go” of the shape too early, on beat 4 or beat 3, in order to give their fingers more time to get ready to form the next chord shape “on time.”

This is a bad habit. You should strive to not cheat a rhythmic value out of its full duration. Try to hold the chord as long as possible, letting go of the shape “at the last second,” which is sometime during beat 4, such as on the eighth-note upbeat (on “4 and”).

2) When changing from one chord to another, make a point of setting your fretting fingers down onto the strings together, at the same time, not one at a time, which is another bad habit I’ve seen beginners fall into; doing that ultimately ends up slowing you down mentally and physically.

The fingers need to learn to move together as a team and “stick the landing” in tandem. This is the only way you’ll be able to keep up with the tempo. Try applying this exercise to any chords you’ve recently learned. Doing so will help to quickly establish the neurological connections between your brain, fingers, ears and eyes.

Here’s another example. Toggle back and forth between Em and Am (see FIGURE 2). Or do the same thing with Em and D, Em and C, G and B7, or any other newly acquainted chords that you want to quickly get to know, in terms of muscle, visual and auditory memory.

Starting in 1996, Guitar World was honored to publish a handful of lesson columns authored by Led Zeppelin bassist John Paul Jones. The following column, from our April 1997 issue, has been edited for use online.

A mature musician exercises restraint when the situation calls for it. In other words, what you don’t play is just as important as what you do. It actually takes more discipline to stick to an ostinato (repeating) figure for eight or 16 bars than it does to throw in gratuitous fills that don’t necessarily add to the music.

There are times, however, when playing a high melodic figure is most effective. The key is to know when to walk and when to run, or when to “stomp” and when to “noodle.” I’d like to illustrate this concept by citing a few contrasting examples of bass (and keyboard) parts I’ve played, and explain why I chose to play what I did.

First, let’s look at Trampled Under Foot, from Physical Graffiti. For the main verse figure in G minor, I simply stayed on the low G root note and locked in with Bonzo [John Bonham]’s kick drum. I also took this same “four-on-the-floor” approach with the clavinet part. The lesson here is: don’t mess with a great groove.

A fine example of a tune that epitomizes both approaches – “hard” and “soft” – is The Song Remains the Same, which we looked at briefly in one of my previous columns.

For the D-Dsus4 parts I played a tight, punctuated bass figure together with the drums. But when it came to the “floaty” part (:36-:42), where Jimmy Page quietly strums Dm9 and G13 chords, I played a lofty melodic run high up on the neck using the D Dorian scale.

The slow part of the tune (the half-time verse section) also illustrates these contrasting approaches. After hitting the big kicks (C-C-G) with Page and Bonzo (2:02), I played a descending scalar figure (F# Mixolydian) and then an ascending arpeggio (F) behind Page’s jangly F#7-Fmaj7 changes.

For most of Kashmir (Physical Graffiti), I played rather straightforward and repetitive bass and Mellotron keyboard parts. The only exceptions were the sinuous “Arabian string symphony” Mellotron parts I improvised during the two choruses. If you listen to the recording, you’ll notice how those string melodies move independently of the rhythm of the underlying groove.

In quite a different vein is Ramble On, from Led Zeppelin II. Behind Page’s two-bar chord vamp during the verse sections, I repeated an upper-register bass counter-melody that ended up becoming one of the more memorable parts of the tune.

I took a similar approach in What Is and What Should Never Be (Led Zeppelin II), but with a bit more variation. Playing in this sort of casual, melodic way seemed like the best thing to do at the moment, considering the fact that Jimmy’s part was so simple and subdued (E9-A13 chords).

Notice on the recording how well all the parts mesh during the verse sections, especially the bass and drums, and how everyone comes together in locked-step fashion for the chorus.

The main point here is that when it comes to playing music, there’s a time and a place for everything. Listen carefully to the overall sound of the rhythm section, and make wise, unselfish decisions as to what you should play at any given moment.

Approaching every arrangement in terms of opposites or contrasts between different sections – loud vs. soft, loose vs. tight, floaty vs. busy – will ultimately make your music more interesting.

The old adage is ‘a good song can stand on its own played on acoustic guitar’. But is it really that black and white? A specific chord voicing can make a significant contribution to the feel of a song.

For example, if the Beatles’ The Fool On the Hill started with a regular D major, rather than D6, it would definitely lose something. The common thread linking together all the examples in this lesson is that they are what we might call a ‘deluxe’ alternative to the regular major and minor chords we hear every day, particularly on acoustic guitar.

Another thing they all have in common is the use of open strings, even if that’s just a single string. Acoustic guitar chords always seem to jangle and jump out of the mix better when they feature open strings.

Finding voicings that do this in keys such as F and Bb can be a challenge, so the examples are aimed at some of these less obvious keys. Chords that stray from the mainstream can really make a big difference!

Example 1. Bm(add11)

This B minor omits the usual barre at the 2nd fret, so we get this nice ringing E at the top. If this were a Bm7, we’d call it a Bm11. However, there is no 7th (A), so we refer to this as a Bm(add11). It can go wherever a regular B minor goes if you fancy a change.

Example 2. F#m11

This F#m11 is another that would normally be a barre chord, but instead we’re making use of the open first and second strings to give us an 11th (B) and 7th (E) respectively.

The root note (F#) on the sixth string is optional, but it’s a nice finishing touch. Try using your thumb (Hendrix style) or a spare finger if you’re feeling nimble.

Example 3. C#m7

This C#m7 adopts similar thinking to Example 2, using the open first and second strings to add a jangly extension at the top. In this case we’re adding the 7th (B) on the second string and the minor 3rd (E) on the first. Moving this shape around the fretboard will also give a few more useful ideas.

Example 4. Bb6

This Bb6 isn’t the most jangly of the examples, but it does give us a nice alternative to the regular Bb. As in Example 3, you can move this shape around for some nice variations. You can also get a Bbm6 by shifting from the 3rd to the 2nd fret on the second string.

Example 5. Fsus2/C

F can sometimes sound a bit ‘blocky’ when used together with other open position chords. This version leaves the third string open for a sus2 voicing (over C).

This can be used instead of F major or F minor. You can also leave the first string open to add a major 7th. You could potentially add in the Root (F) at the 1st fret of the sixth string – if your thumb will comply!

• This article first appeared in Guitarist. Subscribe and save.
  

The foundation of virtually every genre of modern, guitar-driven music is the blues. I’m known as a blues-rock player, and even within the rockier side of my music, I always start and end with the blues.

For example, if I’m playing in the key of F, I will very often rely on melodic single-line figures that originate from my love of and time spent listening to single-note blues guitar improvisation.

Figure 1 illustrates five bars of improvised soloing that are very vocal-like. I begin in the 6th-position “B.B. box,” which positions the index finger on the F root note on the B string’s 6th fret. The surrounding notes – D, G, Ab, Bb, and C – make reference to both the F major pentatonic (F, G, A, C, D) and F minor pentatonic scales (F, Ab, Bb, C, Eb).

Bars 2 and 3 shift up the board to focus more on F minor pentatonic, but at the end of bar 3 into bar 4, I move from F major pentatonic back into F minor pentatonic. Switching between these two scales is a staple of blues guitar that I learned from listening to all of my heroes: B.B. King, Otis Rush, Eric Clapton, Peter Green, and many others.

With that familiar ground firmly established, it feels like a natural transition to broaden the harmony into other modes. In Figure 2, I add the notes Gb and Db to F minor pentatonic while substituting the major 3rd, A, for the minor 3rd, Ab.

The result is the F Phrygian-dominant mode (F, Gb, A, Bb, C, Db, Eb), which is the fifth mode of the Bb harmonic minor scale (Bb, C, Db, Eb, F, Gb, A), made up of the same seven notes. In bar 3, I move back into blues territory with a phrase based on F minor pentatonic.

I’ll begin most solos with lines rooted in the blues, even if it’s not a blues song. I learned that from Eric Clapton; I saw an interview where he said, “I always start with the blues.” You will certainly hear great examples of this in his recordings with John Mayall and the Bluesbreakers and Cream.

To my mind, it’s not just about the scales; it’s about the phrasing and how tactile you are in your articulation and execution. The thought process is, which notes should sting, which notes should moan, and how can I effectively express emotion.

Figure 3 picks up at the fourth bar of an improvised phrase, kicking off with an F major triad (F, A, C). This is a good example of how a triad can function as a “stepping stone” when moving from one phrase or area of the neck to another.

In bar 5 and into bar 6 of the figure, I lean a bit heavier into the gas pedal with fast phrases inspired by another one of my big influences, Eric Johnson.

I’ve found it very useful to have built a foundation in the blues, which helps me to move into broader musical territory. Next month, we’ll explore this further.

• The Spirit of Rory Live From Cork is out now via J&R Adventures
• This article first appeared in Guitar World. Subscribe and save.

One worthwhile thing every beginner guitarist should learn is that there are two different useful fingerings for an open G chord, as shown in FIGURE 1.

Either can be more advantageous, depending on what chord you play immediately before or after G. The guiding principle is to use the fingers that are closest to where they need to be for the next chord, or the previous one. In other words, it’s all about where you’re coming from and where you’re going.

For example, when switching from G to C, or from C to G, as shown in FIGURE 2, use your ring and middle fingers to fret the bottom two notes of each chord and have them do a small, tandem “bunny hop” to the next higher or lower string.

This “3-2-4” fingering for G, with the ring finger (3) on the low E string, the middle finger (2) on the A string and the pinkie (4) on the high E string, makes for a convenient, efficient transition from G to C and back, with minimal motion of the fingers and wrist. The key is to move economically from chord to chord.

Now, if you’re switching from G to D, or from D to G, it makes more sense to use the “2-1-3” fingering for G, with the middle finger on the low E string, the index finger on the A string and the ring finger on the high E string (see FIGURE 3).

This fingering officially puts your hand in 2nd position and requires less movement when changing from G to D and back, as an open D chord, fretted with the first three fingers, is also in 2nd position.

Oftentimes, you’ll find yourself playing a progression that uses all three chords — G, C and D – in various orders, along with other chords. So, what do you do if you’re playing G - C - D - G? Or G - C - G - D - G? Use whichever G-chord fingering works best at any given moment. Sometimes you’ll end up using both fingerings within the same song, which is totally fine!

The 1st-position 3-2-4 fingering for G is the more commonly used one, as it works best when moving to and from other 1st-position chords, such as Am, Em, E or F.

There’s also this commonly used four-finger open G chord, which is considered a different voicing of G, with a D note on the B string’s 3rd fret instead of the open B note (see FIGURE 4).

This chord shape has been used to great effect in countless songs, such as Wish You Were Here by Pink Floyd, Poison’s Every Rose Has Its Thorn and Wonderwall by Oasis (with a capo at the 2nd fret).

Get to know all three open G chord fingerings well, so that you’ll have the technical facility to rock out on a variety of progressions and songs!

Before we start, let me qualify that the ‘four notes’ part of this lesson’s title refers to four fretted notes (E, F#, A, B), plus whatever string bends I can use to squeeze more out of them!

This is an exercise in getting a lot out of a little, inspired by the likes of Albert and B.B. King and Peter Green. If you’ve never tried this before, it’s really surprising to discover how much we rely on patterns and shapes when we’re playing – and this can potentially be at the expense of thinking melodically or rhythmically.

A slow blues like this example is the ideal way to experiment with such minimalism, not because it’s easy, but because it’s so challenging! We’re really exposed here… One thing that isn’t particularly emphasised here is the use of space. But just as Albert King advised Gary Moore to play “every other lick”, we should consider each phrase and try to put ourselves in the place of the listener.

We encourage you to ask yourself questions such as: am I using enough rhythmic variation? Am I always starting or finishing on the root note? and so on. The idea isn’t to completely disregard the vocabulary and chops you’ve already developed, but rather to, ultimately, put you more in control of them.

The nature of the guitar does make it tempting to rely completely on the patterns and shapes we’ve discovered over the years and not venture outside of them. This can lead to us becoming a little jaded about our own playing. But a four-note blues such as this one is a great way to break out of that cycle.

As you play through the examples here, consider other details such as bends, vibrato and slides. Recording our playing and listening back later with an objective ear is also enlightening. I hope this approach is useful and see you next time!

Example 1

This first example makes use of short staccato notes and contrasting longer held ones. Though all these examples are transcribed as faithfully as possible, there is a little bit of ‘push and pull’ in the timing, which is to be encouraged.

One of the things great players such as Albert King, Jimmy Page and B.B. King have in common is that they don’t always play squarely across the beat. It’s also a good idea to check out the rhythmic phrasing of other instruments, or even vocals, to see if there are any ideas worth stealing.

Example 2

Making use of the note groupings on the fretboard, this second example begins with a few doublestop-type ideas. There is potential to space these out more or play with the rhythms, but that didn’t seem the best use of the space available here.

In the following bar, there’s a tone and a half bend from B up to D, the only way we can get this note without breaking our self-imposed ‘four-note’ rule… The pre-bend to C immediately afterwards follows the same rationale.

Example 3

Another tone-and-a-half bend here – it was really tempting to just play a G at the 12th fret, but that’s not in the spirit of this idea! Also, Albert King and David Gilmour are no strangers to this type of bend, and it does force us to concentrate on the pitching, which can’t be a bad thing.

As mentioned earlier, do experiment with pushing and pulling against the beat. None of this is written in stone.

Example 4

Having held a note over from the end of Example 3, we’re rejoining the action here with this Albert (or perhaps B.B.) King-style lick. Another wide bend up to D leads to a quick shift in hand position.

This allows for changing the fretting hand fingers around, giving the strength to bend the E at the 9th fret of the third string up rhythmically up to F#. This finally lands back on the E to finish.

Hear it here

Albert King – Various

Albert’s solos are a masterclass of economy and wild string bends. This is partly facilitated by his unusual tunings and ‘upside down’ playing orientation, but there’s no reason why we can’t take lessons from this to use in our own playing.

Check out Born Under Bad Sign, the version of Oh Pretty Woman where he duets with Gary Moore, and Laundromat Blues to get a taste of how he creates excitement and dynamics without moving far around the fretboard.

B.B. King – Various

Another player who wasn’t afraid to leave space and didn’t feel compelled to play long complicated runs was B.B. King, who maintained that his objective was to play simply and honestly – in his words, “like never lying”.

Check out his sparse phrasing on The Thrill Is Gone, Don’t Answer The Door and Why I Sing The Blues. It’s also worth pointing out that B.B. felt it was important to improvise and play from the heart, rather than rehearse his licks.

Peter Green – Various

Revered by players as diverse as B.B. King and Gary Moore, Peter brought a finesse to simple lines that reached players and non-players alike.

The tracks most people know are Need Your Love So Bad and Albatross, but it’s worth investigating a little more deeply to find gems like Long Grey Mare, A Fool No More and Apostle.

It’s often said that the primary objective of solo guitar playing should be to benefit the song; Peter certainly seemed to agree with this.

In this lesson, I’d like to share a cool way to add harmonic color to a melody played over a dominant 7 chord, and that is to play a minor 7 arpeggio that’s rooted a 5th higher. To demonstrate, I’ll use Dm7 arpeggios over a G7 chord.

D is the fifth note, or degree, of the G major scale. When playing in the key of G, a D major chord is the V (five) chord, and a D minor chord (Dm) is the Vm (five minor, alternatively indicated by a lowercase v).

Figure 1 shows a 3rd-position G7 barre chord, as well as the individual notes that make up the chord – G, B, D and F. G is the root, B is the major 3rd, D is the 5th and F is the minor, of “flatted,” 7th (m7, or b7).

Figure 2 illustrates a Dm7 arpeggio, built from the notes D, F, A and C. Relative to a D tonal center, D is the root, F is the minor, or “flatted,” 3rd (m3, or b3), A is the 5th and C is the minor, or “flatted,” 7th (m7, or b7). But when you play these four notes over a G chord or G bass note, D is heard as the 5th, F becomes the minor, or “flatted,” 7th, A is the 2nd, or 9th and C is the 4th, or 11th.

Figure 3 begins with a descending riff built from these notes that sounds great over G7. In bar 2, I initially ascend a Dm7 arpeggio and then end the phrase with a descending line that’s based on the G minor pentatonic scale (G, Bb, C, D, F) with the inclusion of the major 3rd, B.

To me, it always sounds pleasing to resolve the Vm7 (or v7) arpeggio to a bluesy line based on the tonic or home key. For example, in Figure 4, the Dm7 arpeggio is moved down to 2nd position and begins on the 5th string, and is followed by a G minor pentatonic line.

A good way to practice incorporating Dm7 arpeggios over a G7 chord is to set up a G7 vamp with a looper. Figure 5 illustrates a simple, funky vamp based on a repeating G7 voicing, with a hammer-on from Bb, the minor 3rd, to B, the major 3rd, each time.

A typical tried and true approach is to play straight blues over this vamp, like the riff in Figure 6, which is based on G minor pentatonic.

Now, let’s kick off the line with a Dm7 arpeggio and then hand off to G minor pentatonic. In Figure 7, I begin with the straight Dm7 arpeggio then end the phrase with a lick based on G minor pentatonic.

Next, we’ll try moving the concept to different areas of the fretboard. In Figure 8, I begin in bars 1 and 2 with a Dm7 arpeggio in 10th position.

In bar 3, I move down to 7th/8th position for the arpeggio and then wrap up the line with G minor pentatonic in 3rd position. Bar 5 starts with Dm7 in 2nd position then gradually shifts up to 6th position, before once again resolving the line to G minor pentatonic in 3rd position.

As you can see, starting on a Vm7 arpeggio and then resolving to the tonic with a more conventional blues phrase sounds really cool and satisfying and offers a great way to add harmonic depth to your solo improvisations. Try doing this in different keys.

• This article first appeared in Guitar World. Subscribe and save.

Welcome to the world of Manuel Gardner Fernandes, the guitar virtuoso from German metalcore masters Unprocessed. In this band, Manuel is a stunning representative of the new wave of chops-heavy guitarists (think Tim Henson, Plini and Tosin Abasi) impressing guitar fans around the world with their new music and social media content.

These players combine elements of '80s rock virtuosity (legato, tapping, speed picking) with newer math/prog elements such as slap bass articulations, extended use of legato/selective picking phrasing and application of harmonics. It makes for a heavy and impressive brew of sonic wizardy, be it with crisp clean tones or thick saturated distortion.

While his five chosen techniques here are advanced, especially when performed at fast tempos, Manuel has been considerate enough to demonstrate and explain them clearly. Certainly, a key tip is to start slowly when initially tackling each example yourself.

The first technique is fast strumming. This involves using a lot of dead notes (percussive muted notes). To achieve these, simply lay your fretting hand fingers lightly across the strings without pushing them down on the frets. Manuel demonstrates the strumming directions and we have written these in the tab for reference.

The second technique is hybrid picking (pick and fingers). Manuel likes to use the pick for downstrokes and then adds in the picking hand's second finger (shown as m under the tab) and third finger (shown as a under the tab). This makes playing adjacent strings and wider string skips a lot easier. Using the fingers to pluck the strings also helps the notes to sound percussive, like the sound of a slapped bass. Again, Manuel walks you through the order of picking.

The third technique is tapped harmonics, created by tapping the string directly above the fretwire. This works especially well when tapping 12 frets above the fretting hand's note. So if you are fretting a note on the 1st fret, it's the 13th fret that needs to be tapped.

We recommend starting with just one finger of the tapping hand to get dialed into the technique (the second finger - m - makes most sense so you can still hold the pick conventionally). Then it’ll be possible to add in other fingers of the tapping hand to increase the facility.

Manuel's fourth technique choice is his James Hetfield-inspired downpicking. For the fast flourishes, he advises a snap of the wrist as opposed to using the whole of the strumming arm.

The final technique is inspired by players like Tosin Abasi from Animals As Leaders. Manuel refers to this as 'selective picking' and involves picking a note and then tapping/hammering-on other notes with the fretting hand. If these techniques are combined with light palm muting, stunning percussive guitar parts can be created.

Many thanks to Manuel for his time and creativity and be sure to check out the latest Unprocessed album, Angel.

Example 1. Percussive strumming

This example uses percussive strumming to create a fast and impressive latin/flamenco-esque performance. The picking pattern for the fastest rhythm is down, down, down, up, down, down.

Manuel strums some great-sounding chord fingerings that make effective use of the open strings. Start slowly and then build up speed, as you emulate the pattern and feel it dialing in.

Example 2a. Hybrid picking riff

This example is inspired by the sound of slap bass players and uses hybrid picking. The pick is used to play the notes on the sixth string with a key part of the sound being the muted notes.

These are produced by laying the fingers of the fretting hand lightly on the string and then picking it. The notes on the fourth string are plucked with the second finger (m), and the harder these are plucked, the more it will sound like a slap bass.

Example 2b. Hybrid picked lick

Here, Manuel elaborates on the benefits of hybrid picking by playing a fast lick that uses natural harmonics.

To produce the harmonics, lightly rest your fretting hand finger directly above the fret (wire) indicated in the tab. As the note is plucked, the fretting hand finger can be lifted to release the harmonic.

Example 2c. Hybrid picked chord

Here is another exciting way to exploit the benefits of hybrid picking. The picking pattern here is three down picks followed by a second finger (m) pluck.

Example 3. Tapped harmonics

This next example is tricky and may take a little experimentation to get right. The harmonics are created by tapping the string directly above the fret. This works especially well when tapping 12 frets above the fretted note.

We have notated the fretting hand positions in the tab (diamond encased fret numbers) and then the tapping positions above the tab (eg TH15 = tap a harmonic at the 15th fret).

For this example, the tapping positions can always be found 12 frets above the fretted hand. We recommend using just one finger of the tapping hand at first to get used to the technique. Add other fingers of the tapping hand when you're more comfortable.

Example 4. Down picking

This next example is inspired by Manuel’s love of James Hetfield's playing. All the notes are down-picked or hammered onto. This makes the example relatively easy to play at slow tempos. As with all the other examples, add the speed in once the technique is perfected at the slow tempo.

Example 5a. Selective picking and hammer-ons

This final technique is inspired by guitarists like Tosin Abasi from Animals As Leaders. Manuel refers to this as “selective picking”, which involves picking a note and then tapping notes with the fretting hand.

We recommend using a light palm mute for the open B note on the second string. Once you get this dialed in, vibrant percussive guitar parts can be created.

Example 5b. Selective picking with chords

To finish off, Manuel adds in more tapping positions all over the fretboard to create a pleasing chord progression.

Hear it here

Unprocessed - Deadrose

This contextualizes a couple of the techniques covered in this article. The introduction and verse sections feature a part created with fast arpeggios played with the tapping harmonics technique. This is followed by some of that fast snappy strumming. Towards the end the down-picking technique is used to play a percussive, heavy riff.

Unprocessed - Perfume

This is taken from the latest Unprocessed album, Angel. The introduction uses fast chord arpeggios played with the hybrid picking technique featured in Example 2c. The second finger and third fingers of the picking hand can get involved. This makes playing adjacent strings at speed more economical and also provides some variety in the tone.

Although the 7-string guitar is my go-to instrument for virtually all of the music I write for Spiritbox, there have been instances where I was inspired to expand my range to 8-string guitar.

Even though I’m not all that familiar with the 8-string, I look at it as a cool tool that can enable me to compose riffs that are lower than anything else I’ve ever played.

To that end, I used an 8-string to come up with something powerful, to serve as the opening track to our 2025 album Tsunami Sea, Fata Morgana. We’ve been opening our sets with this song for the last year, and it has proven to be a fantastic way to kick off the show.

The 8-string tuning I use here is standard 7-string tuning down a whole step, and the eighth string is tuned down to a very low B. So, low to high, it’s B, A, D, G, C, F, A, D. In this tuning, I can play a B octave with the open 8th string and the B at the 2nd fret on the 7th string, using what looks like a power chord.

Figure 1 shows the song’s primary riff, which revolves around that low B octave figure sounded along with the tritone, F, sounded at the 3rd fret on the 6th string.

In bars 1-6, I alternate between this Bdim(no3) voicing and a high natural harmonic (N.H.) sounded between the 2nd and 3rd frets on the 7th string, notated as 2.4. In bar 4, I sound natural harmonics in this same position across the top seven strings with a quick upstroke rake.

While lightly resting a single fret-hand finger across these strings at the theoretical 2.4 location, I drag the pick in an upward motion, resulting in an aggressive “scrape” sound.

To me, the articulation of the Bdim(no3) chord needs to create a specific type of bloom wherein all of the notes morph together in an effective way. It needs to sound warm, heavy and disgusting! This is achieved by positioning the pick-hand with a slight amount of palm-muting while striking the strings in just the right place, which is above the bridge pickup.

At the end of bar 6 into bar 7, I play a series of big two-and-a-half-step bends on the 8th string, moving between the 4th and 3rd frets. Figure 2 offers a look at these bends and releases.

Proper intonation of these bends is essential; as shown in Figure 3, the notes we are looking to sound are G#, followed by a half-step bend and release on G one fret lower.

The manner in which you strike the strings when performing these bends and releases is very important, in order to achieve the type of clarity necessary for the phrase to jump out. The way to attain the right sound is by picking very hard. This is also true for the natural harmonics, in order for them to properly cut through the mix.

Overall, focus on your pick-hand attack throughout, and strive for consistency in sound as you move from one pattern to the next.

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Last month, I delved into the world of fingerpicking in the Piedmont/Mississippi John Hurt/Rev. Gary Davis/Blind Blake style, with a look at the basics of this technique.

As I detailed, it’s built around alternating-bass figures picked with the thumb in a steady eighth-note pattern while rhythmically syncopated melodies are fingerpicked on the higher strings.

A great example of this technique is heard on the Blackberry Smoke song Ain’t Got the Blues, from The Whippoorwill. I’d now like to continue covering this technique and demonstrate an unusual Csus2 tuning that opens up a whole new world of sounds and chordal possibilities.

This tuning was taught to me by my good friend Levi Lowery. He grabbed a guitar and strummed it, and I said, “What the hell tuning is that?” As he explained, it’s a slight variation on an open C tuning, which is Csus2.

As shown in Figure 1, start by tuning your A string down a whole step to G, your D string down a whole step to C and your low E string down two whole steps to C. Leave your G string as is.

Finally, tune your B string up a half step to C and your high E string down a whole step to D. Strumming all six open strings in this tuning yields a Csus2 chord, as shown in Figure 2. Since most of the strings are tuned down, you might want to put medium-gauge strings on your guitar to avoid it sounding like a mousetrap!

When Levi played in this tuning, he said, “You can just use one finger!” He used mostly barre chords on the bottom three strings while leaving the top three open, as demonstrated in Figure 3. He said, “There’s not a bad chord anywhere – everything works!”

I developed a fingerpicking pattern based on this tuning and came up with Azalea, which we recorded for our 2024 album Be Right Here.

As shown in bars 1-3 of Figure 4, I thumbpick alternating eighth notes on the open 6th and 4th strings below a syncopated melody on the higher strings.

In bars 4 and 5, I switch to Eb and F chords, for which I thumb-fret the 6th string and barre my index finger barres across the top three strings. The 4th string, tuned to C, remains open throughout.

Figure 5 illustrates the alternating bass pattern, after which the full fingerpicking pattern from Figure 4 is added.

Figure 6 focuses on the Eb and F chords formed with the thumbed bass notes on the 6th string and index-finger barres across the top three strings. The droning C note on the open 4th string ties the whole pattern together.

You might think you’re “stuck” in this tuning – surrounded by C notes – but there are other great voicings to discover.

Figure 7 shows the song’s bridge, which starts on the V (five) chord, G: these chord shapes are built from pairs of notes played at the same fret on the 4th and 2nd strings along with the open 5th, 3rd and 1st strings. In bar 3, the pattern resolves back to C.

It takes practice for this fingerpicking pattern to become second nature, so take your time with it. Start slowly and gradually increase the tempo until it sounds smooth and even throughout.

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As a guitarist that plays a lot of blues, I find myself performing many different kinds of shuffles, from slow to medium to fast. One of my all-time favorite blues recordings is Steppin’ Out, as covered by John Mayall on Blues Breakers with Eric Clapton. (The original version is by Memphis Slim and features Matt “Guitar” Murphy, of The Blues Brothers fame, on guitar.)

Steppin’ Out is a hard-driving medium-up shuffle in the key of G, and Clapton’s guitar playing on that track is just incredible. He plays with so much fire and creativity, as well as this distinctly youthful British exuberance.

Figure 1 is a two-bar phrase along the lines of the signature lick in Steppin’ Out. It’s played in the key of G and is based on the G minor pentatonic scale (G, Bb, C, D, F), with an abundance of quarter- , half- and whole-step bends on the G string.

I love the way Eric draws from his Freddie King influence, in terms of his melodic phrasing and articulation, as demonstrated in the pickup bar and bar 1 of Figure 2, into the Freddie-style reverse-rake “slurs” at the end of bar 2 into bar 3. Throughout the example, notice all of the subtle, expressive bends on the top three strings.

In bars 8-12, the melody and phrasing is so simple – just swinging eighth notes – but the lines are delivered in a way that is also a nod to the great T-Bone Walker, in the use of hammer-ons from the minor 3rd, Bb, to the major 3rd, B, as well as the inclusion of the 2nd, or 9th, A.

In bar 12 into bar 13, I switch to G major pentatonic (G, A, B, D, E), moving back into G minor pentatonic in bar 16. In bar 17, I play a series of D notes on the B string, all on the eighth-note upbeats, that are bent in increasing increments, ending with a one‑and-a-half-step bend that is shaken. In bars 19 through the end of the example, I move freely between G minor and major pentatonic ideas.

Clapton also loves to go up high on the neck and hit you with aggressive unison bends on the top two strings, a la the phrases that kick off Figure 3. This lick begins with F, at the 18th fret on the B string, bent up a whole step to G while a G note at the 15th fret on high E string is strummed together with the B string, ultimately adding aggressive vibrato to the unison bend.

The remainder of the example is played in the 15th-position G minor pentatonic box and features fast hammer-ons and pull-offs as well as vocal-like, wide and fast vibratos.

When soloing over a shuffle like this, it’s wise to hold back some ideas at first, so that you don’t play everything you know in the first chorus! Take your time, hold and shake some notes and let the solo build in a musically natural way. Follow your stream of consciousness and use dynamics to tell a musical story.

Just about every blues show I attended in the ’80s and ’90s started with an uptempo shuffle like Steppin’ Out, and the Mayall-Clapton version is a great vehicle for learning what blues soloing is all about.

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In crafting the primary riffs for Spiritbox songs, I’ll often combine aggressively strummed, atonal power chords with fast single-note phrases and some hammer-ons and pull-offs. A good example of this approach is heard in Angel Eyes, from our 2023 EP The Fear of Fear.

I play this song on a seven-string guitar in the tuning I use most often, which is drop-A transposed down a minor 3rd, commonly referred to as “drop F#” (low to high: F#, C#, F#, B, E, G#, C#).

Angel Eyes is an unapologetically heavy track that’s pretty simple, in terms of the fret hand. It’s more of a pick-hand exercise, in terms of the rhythmic precision required to give the riffs the right amount of intensity.

Figure 1 shows the verse riff, which combines eighth- and 16th-note rhythms. In bars 1-3, I play palm-muted two-note chords on the bottom two strings, with the 6th string open and the 7th string fretted at the 1st fret. These two notes form a b5 interval (Bb and E), which has an atonal sound.

In bar 4, on beats 3 and 4, I perform a series of hammer-ons and slides on the 7th and 5th strings that roll into bar 5. I follow this with a pair of strummed natural harmonics (N.H.) on the top three strings, located a point a little ways past the 3rd fret, as indicated by 3.2.

I use a moderate amount of palm-muting here, so that the strings aren’t too choked. I like the notes to sustain a bit, which goes hand in hand with how much force I’m using while striking the strings. My suggestion is to pick really hard and dig in with the pick hand.

Figure 2 focuses on the quick hammer-on/slide phrase from bar 4 of Figure 1. I fret the notes on the 7th string with my index finger and the notes on the 5th string with my middle finger. To make the riff “pop,” I palm-mute the 7th string while allowing the notes on the 5th string to ring.

Figure 3 illustrates the chorus riff. In bars 1-4, after initially sounding the open low A note, I play Bb octave shapes on the 7th and 5th strings, followed by Bb octaves on the 6th and 4th strings, sliding up to the 6th fret on the 6th string each time. In bar 4, the phrase ends with a gradual whole-step bend at the 5th fret on the 6th string.

In bars 5-8, I drop the phrase down a half-step, sounding an A octave on the 7th and 5th strings, followed by additional A notes higher up the fretboard, including a fast slide up to the 12th fret of the 7th string.

The first seven bars then repeat, and in bar 9 of the example, I close out the phrase with alternating two-note b5 power chords on the bottom two strings, before restating the first two bars of the verse riff.

There’s a lot of string-skipping here. Strive to jump between the strings with economy of movement. The goal is to make the octaves sound as clear and seamless as possible. Try to keep your pick hand moving quickly and decisively throughout the figure.

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Pinch harmonics are one of the most exciting and expressive sounds on the guitar. They can be used to add aggressive squeals to riffs and leads (think Billy Gibbons and Zakk Wylde) or produce different pitches off a single note for melodic application (a la Steve Vai and Eric Johnson).

Put simply, playing pinch harmonics involves a combination of the pick and the side of the picking hand thumb making almost simultaneous contact with a string during a down pick. There are many areas along a string that can produce a harmonic in this way, but they're commonly favored above the pickups which suits where the picking hand is naturally positioned when playing.

When starting out, sounding pinch harmonics can seem elusive. This is because you're aiming to combine the 'pick and side of thumb' technique while exploring exactly where the best harmonics are. Initially, you will find the process a hit and miss affair (especially if you're varying open strings and fretted notes) until you chance across a your first few successes.

This is part of the joy (and frustration) of playing them. Some will sound partially (often called semi-pinch harmonics), others will be bold and screaming. With a developing technique and armed with a distorted amp and the bridge pickup selected (a humbucker tends to be more fruitful than a conventional single coil), you will find where the juicy harmonic spots are along a string.

Over time, your ratio of 'squealers versus snifflers' with improve, allowing your guitar to scream at will more consistently.

Pinch Harmonics - getting them to squeal

To achieve a great pinch harmonic, angle the pick so after you pass the string, the side of the thumb can lightly make contact. This is all done as one movement that occurs very quickly. As for velocity, aim for medium to strong force when picking - harmonic screamers are less likely to happen with light contact.

Exiting the string with the pick may take some practice; while you want to make string contact with the thumb, you don’t want it to accidentally mute the string which will create a dead sounding note so watch out for this.

Examples

Example 1 - One open string to sound two pinch harmonic notes

This example shows the fundamental approach to pinch harmonics. The tab shows just a low E note played on the open sixth string but with two pitches in the notation.

Using the pinch harmonics technique, you will sound a low E and then a higher E by moving the pick's position from the neck pickup (shown as 'neck' above the tab) to the middle pickup ('mid' shown above the tab). Spend time experimenting with different positions until you find the sweet spots for clear E note pinch harmonics.

Example 2 - One open string to sound four pinch harmonic notes

Here, you will expand on example 1 by sounding four different notes: two different octaves of the E note as well as G# and B.

First practice locating your exact picking points so the notes all sound clear, then engage with the exercise so you can perform this within a specific rhythmic context.

Master these notes and you'll likely be astounded that you achieve so much without the fretting hand being involved at all!

Example 3 - Riffing with fretted note pinch harmonics

Here's a short riff incorporating the pinch harmonic technique applied to fretted notes. It is primarily based around E minor pentatonic (E, G, A, B, D), pedaling off the open sixth string.

The pinch harmonics in the riff scream out, resulting in a very dynamic and exciting delivery. Be sure to spend time perfecting the picking hand positions where you get the pinch harmonics.

At the end (bar 9) you will shift the position of the pick from the middle pickup to the neck pickup to sound different harmonic pitches on the open sixth string.

Example 4 - Soloing with pinch harmonics

Here's a short melodic solo that includes pinch harmonics to achieve different pitches. Those achieved with pinch harmonics help to underpin the accompanying chord progression and highlight chord tones.

Pay attention to achieving accurate 'squealers', playing a static note whilst moving the position of your picking hand to achieve a new pitch (the directives of 'neck' and 'mid' shown above the tab will help).

Example 5 - Whammy bar aided pinch harmonics

This explores whammy bar movements with pinch harmonics - ideally you'll have a guitar with a whammy bar that floats (ie it can both drop/doop and raise/scoop the strings). This combination is a favorite of Joe Satriani (eg Flying In Blue Dream, Ice 9).

To begin, perform a pinch harmonic on the open third (G) string. You will hold the whammy bar by reaching over with your fretting hand, depressing it just before you strike the pinch harmonic, and then raise it to achieve a high squeal. Use the tab as a guide and treat the pitches as approximate guides.

Example 6 - Pinch harmonics galore!

For your final piece, the earlier examples have been combined to create a short hard rock groove that mixes melodic phrases with pinch harmonics and stylistic squeals. For the latter, consider the pitches as a guide, whereas the melodic examples are more specific with the pitch and picking hand placement.

Bars 1-8 kick off with a Zakk Wylde inspired riff based around Em7, embellished with power chords. During the riff you'll see pinch harmonics performed on the third and sixth strings. This section repeats, with the final bar leading into the solo.

The solo starts at bar 9 with a single note figure that follows the chord progression. These are performed with pinch harmonics, picking at different points above the pickups to highlight chord tones derived from the accompanying chords.

Bars 12-13 feature a screaming string bend followed by a descending blues run. The piece finishes with a Satriani inspired, whammy bar enhanced pinch harmonic squeal. Enjoy!

Three rock legends that use pinch harmonics

Black Label Society - Stillborn

The riffs and solo to Stillborn really come to life with Zakk Wylde's searing squealers. Achieving strong pinch harmonics on lower strings can be demanding but Zakk makes them sound effortless.

To emulate him, use a bridge humbucker with a Marshall amp-styled distorted tone (he favored JCM800s for many years). For his lead tone, add a dash of chorus and stomp on a wah pedal (push toe down for the pinch harmonics - they'll scream even more due to exaggerated brightness).

After The Burial - Behold The Crown

Screaming pinch harmonics, low string pedaling and a deep distorted guitar tone form the riff from this modern metal stomper. Featured as the opening track for After The Burial's Evergreen (2019), Behold The Crown features Trent Hafdahl on guitar duties, showing how a great pinch harmonic technique can be pushed to consistently produce bold squealers!

Billy Gibbons (ZZ Top) - La Grange

Texas Bluesman Billy Gibbons is arguably the godfather of pinch harmonics. His unique approach is more about digging into the note to see what squeals will come out, making his solos dynamic and organic.

Surprisingly, Billy doesn’t use a lot of amp gain, and is able to produce pinch harmonics with a clean-ish Marshall amp tone. La Grange includes excellent examples in the second solo: in places he’ll play one note but move his picking hand to different positions over the pickups, altering the pitches of the harmonics.

Most of us guitarists are perpetually chasing ways to raise our game. That is part of the fun, after all. But sometimes what we seek is already freely available, without studying music theory, learning scale/arpeggio shapes or drilling picking exercises.

I’m talking about the rhythm of what we play, which is arguably 50 per cent (if not more) of what makes phrases appealing and memorable.

If we feel we should be working harder, this is when we’re most at risk of overplaying, filling all the gaps and overcomplicating things (take it from someone who’s done it). Sometimes what feels good to play doesn’t translate to what sounds good to the listener, who may not play guitar or be wowed by rippling arpeggios.

If we listen closely to the greats, especially in this genre, you can hear that not only do they leave spaces, but when they do play, there’s a rhythmic signature to their phrasing.

For example, Clapton in Crossroads, Gilmour in Comfortably Numb and Peter Green in Black Magic Woman all have their own take on how they approach rhythms in the phrasing, giving a uniqueness while using the very same pentatonic shapes.

One thing that isn’t demonstrated explicitly here is the spaces in between. That would certainly be easy to transcribe (and read!), but ultimately not particularly helpful, so do bear in mind that even these examples are a concentrated version of what you might want to play in a real-life musical scenario.

The four phrases were played separately, but could be joined up to make a solo if you prefer. That being said, the fourth example is really an alternative take on Example 1, or perhaps a suggestion of how you might continue onwards in a similar style. I hope these examples are useful and enjoyable. See you next time!

Example 1

A quick rake leads into a contrasting held bend, giving a sense of space to start. Bar 2 then features some repeated triplets – feel free to pull back and play these late, you’ll know when you’ve gone too far.

Note the quarter-tone bends in bars 2 and 3. These are very subtle but add so much in terms of attitude. The final phrase crosses bars 3 and 4 – it’s a smooth bend/release leading to a quick flurry, similar in essence to the introductory phrase.

Example 2

Keeping with the triplet theme to start, this example then takes a leaf out of Peter Green’s book, especially in bar 3 where the rhythmic groupings feel as though they’re floating independently of the beat.

They aren’t really in this case, though the last four semiquavers do pull back in tempo noticeably.

This shouldn’t be set in stone, keep experimenting – you can always dial it back if you think you’ve lost the feel. The pre-bend with fast vibrato in bar 3 is another detail worth spending some time on.

Example 3

This rhythmic idea is similar to some of Eric Clapton’s phrasing during his solos in Crossroads. The rhythmic groupings are quite funky and you will want to use down- and upstrokes to aid with this.

Use this idea as a basis for further experimentation, rather than conforming precisely to any rhythm. There are no rules, but you can pick up some hints from watching the video. Also, watch for details such as quarter-tone bends, staccato/short notes and vibrato.

Example 4

An alternative opening phrase, or a suggestion for how things might continue, this example draws on David Gilmour’s phrasing from the solos in Comfortably Numb, Another Brick In The Wall (Pt 2) and Have A Cigar.

As with Example 3, it’s questionable how useful it would be to duplicate this exactly. This is more of a ‘feel’ thing, based around choppy/staccato or muted up- and downstrokes.

We finish with a classic pentatonic lick, the last note of which (D) holds, adding a slow quarter-tone bend after crossing into bar 4.

Hear it here

Eric Clapton – Crossroads

One of the details which makes Eric’s playing so appealing is his use of rhythm. Check out the solos in Crossroads and you can hear him experimenting – and really pulling against the beat at times. He can also be heard (in a more restrained manner) on the Bluesbreakers (‘Beano’) album a few years earlier.

More recently, he revisited this approach in Bad Love. Like anything, the rhythm is just a part of the picture, so often isn’t as blatant as some of the examples.

Albert Collins – Truckin' With Albert Collins

The Iceman himself, Albert used an unusual F minor tuning (low to high: F C F Ab C F) often with a capo at the 5th to 7th fret, which contributed to his sound, but that need not concern us too much here. All the same, check out Frosty from the 1969 album Truckin’ With Albert Collins.

On that same album, see if you can sit comfortably with the lilt between the guitar and brass on Tremble! Finally, have a listen to his playing alongside Gary Moore on his cover of Too Tired.

Peter Green – The Pious Bird of Good Omen

Peter’s manipulation of rhythms is perhaps the most subtle of the players cited here, but his rhythmic groupings on Black Magic Woman, Supernatural and Need Your Love So Bad demonstrate a free flowing ‘push and pull’ against the beat, with some unexpected pentatonic flurries that sound easier to play than they actually are.

All are great demonstrations of the use of space, plus you can hear the intention behind each and every note.

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Throughout his playing with Ozzy Osbourne and his own band Badlands, Jake E. Lee created stunning riffs and solos that combined melodic blues-rock licks with fast shredding. But there is one technique that really made him stand out: his fretting hand versatility, which included using his thumb to achieve otherwise impossible stretches with fingers alone.

Using the thumb to play low notes was popularized in the late 1960s by Jimi Hendrix and a decade later by jazzer Pat Metheny, to name two guitar icons. But incorporating the thumb over the fretboard in conjunction with the fretting hand fingers for high strings is a much rarer technique. Using large note intervals and making difficult stretches possible are just two of the applications for this barrier-pushing technique.

The following four examples are inspired by Jake E. Lee’s playing with Ozzy during the mid ’80s. They can be used to increase your fretting hand stretching and stamina, as well as introducing the “thumb over the neck” fretting technique. All are in the key of E minor and make use of the E natural minor scale (E-F#-G-A-B-C-D) with some occasional chromatic passing tones.

These examples should be approached slowly and for short periods at a time. Angle the guitar neck upwards, and place the thumb in line with the second finger. For ideal posture, maintain relaxed and level shoulders to attain these stretches and avoid injury.

MatchMySound: play-along enhancements

For this lesson, we've partnered with MatchMySound, to offer the ability to record yourself and see how close you are. MatchMySound is a great tool to help track your progress.

Click on the word 'options' (lower left, below the tab/notation) to select from 'demo audio track' (just guitar), 'backing track' (just the backing), 'full audio' (backing and real guitar audio) and 'metronome' (just a click to play along to).

Below that, select 'options' for how you can record your performance.

At the upper right, the magnifying glass images let you alter the playback speed for learning and pushing your playing onwards.

Follow the cursor to keep up with the tab/notation accurately on screen.

Lastly, to view the music better by filling your desktop/tablet/phone screen, click on the square brackets at the top right.

The Four Jake E. Lee Examples

Example 1: six-note legato sequence

This starts with a classic six-note legato sequence popular with '80s and '90s shredders. It is phrased in triplets at three notes per click and introduces increasingly larger stretches to avoid a predictable scalar sound and provide a work out for all four fretting hand fingers.

If you are new to this technique, break the exercise down into four separate exercises based on what's played for each bar. After you've built some precision and stamina, aim to double your speed with six notes per click instead of three.

Example 2: two note extended pentatonics

Your second example uses a two note extended pentatonic approach, with stretches that decrease in size and have a distinct feeling of moving inward and relaxing, while also exercising all four fingers.

Pay attention to the notes on the second (B) string as they'e all picked as well as any notes that are played in multiple positions. Also watch where your fretting hand thumb sits on the back of the neck: keep it in line with your second finger for good hand posture.

Example 3: Using the thumb to fret higher strings

Here you are introduced to fretting with the thumb over the neck. Each bar uses a finer rhythmic subdivision so you can become comfortable with the technique. Aim to use the fleshy area adjacent to the outer side of your thumb.

If you've never used this technique before, be mindful that this will be uncomfortable at first as you get used to the posture and develop new thumb calluses. That said, you should notice how easy it is to play stretches over 7 frets (or more!) using this technique. Once you're comfortable with this, experiment with your own ideas.

Example 4: all three techniques used together

To finish, here's a short solo study that utilizes each of the three previous exercises. Choose a combination of techniques and approaches that suits you the best.

Jake E. Lee in action!

Jake's thumb on the fretboard technique

This shows Jake playing the solo for Ozzy's Suicide Solution. Using his thumb on a lower fret, he varies which fingers are used on the higher frets.

Jake uses his thumb here for chordal playing with a clean tone. This demonstrates how versatile (and freeing) thumb fretting can be.

When we talk about phrasing on blues guitar, this can often translate to rhythm. It’s possible to play a great solo without many notes if the rhythm is interesting.

Obviously, the same goes for rhythm parts – so the example piece concentrates on this area but using a hybrid ‘rhythm/lead’ approach favoured by John Mayer, SRV, Nile Rodgers and Jimi Hendrix, among others. Blurring the boundaries between the traditional distinctions of rhythm and lead guitar also serves a trio format well, and, as you’ll hear, the backing track consists of only bass and drums.

While we can be minimal at times, there is a responsibility (some might say freedom!) to fill the harmonic and/or rhythmic gaps. Not all blues is ‘funky’ per se, but there is a lot to be gained from understanding displaced/off-kilter rhythms, and this is what the example piece is designed to help you with.

A good starting point is to think of each beat in the bar as divided into four semiquavers. Initially, mute all of the strings then play alternating ‘down-up-down-up’ strokes, four per beat of the bar/16 to the whole bar. You’ll sometimes hear this described as a ‘1-e-and-a’ pattern.

Accent the first downstroke on each beat of the bar, then try moving the emphasis around, maybe to the ‘e’ or ‘a’ on the upstrokes. This is the basis of the approach used in the example piece, though you’ll notice I’m not playing every single semiquaver beat, even though my picking hand often goes through the motions.

Another thing to bear in mind is to keep it relaxed and don’t hit the strings too hard. This is an easy trap to fall into when playing tight staccato rhythms. Finally, remember you can mute with both picking and/or fretting hands to control ringing strings. Hope you enjoy and see you next time!

Example 1

Almost every bar is 'locked down' with a double hit on an A5 power chord and a more rhythmic answering phrase in the subsequent three beats.

This can often be a repeated phrase, but it’s more useful to show you a range of options in this context. Though the muted hits are notated as faithfully as possible, this is not an exact science, so allow yourself a little flexibility, rather than attempting to duplicate anything precisely.

Example 2

Moving to the IV chord (D), this second phrase plays around with the initial chord hits using a dotted rhythm. This is a bit of a liberty as the bass and drums stay with two straight quavers, but I think we'll get away with it...

Concentrate on the drums to aim your accents/pauses as precisely as possible, and note that not every 1-e-and-a’ space is filled, even if your picking hand does go through the motions to keep the timing.

Example 3

The C and D chords use a similar pattern in this final example. Note the tied/held chords going across the rhythm – slow the whole thing down if that helps make sense of what’s happening on the various subdivisions of the beat.

Like Example 1 (and 2), the muted hits should be played without over-thinking which strings you’re hitting – just make sure everything is muted and it won’t matter too much. For the last bar, it was fun to change to the bridge pickup and go for a rockier feel. This is optional!

Hear it here

John Mayer Trio – Try!

Recorded live, this album is a particularly great example of what a trio can sound like – and it was a major inspiration for the example piece, especially Who Did You Think I Was. Also on this album, check out I Got A Woman and Wait Until Tomorrow.

Bonus mention goes to Another Kind Of Green for combining Little Wing-type chordwork with a funky shuffle feel. There are a good many ideas waiting to be used here – it’s an ample source of inspiration!

Jimi Hendrix – Band of Gypsys

Though he loved to overdub complementary rhythmic parts in the studio, Jimi was adept at making it work live, too. Check out out Freedom from The Cry Of Love for an example of his studio savvy, then compare with Who Knows from Band Of Gypsys to hear it live in a trio format.

Also, listen to Message To Love from the same album, with funky and unison riffing. This really makes the distinction between rhythm and lead guitar seem obsolete.

Nile Rodgers – Various

We’re going unapologetically funk for the last suggestion here – and Nile Rodgers is still the definitive example of a funk rhythm player. Check out his work with Chic: Le Freak, Good Times and I Want Your Love.

Alternatively, try Sister Sledge with Thinking Of You, We Are Family or Lost In Music. Elsewhere, why not check out I’m Coming Out by Diana Ross, or Get Lucky by Daft Punk. All these parts are based on the ‘1-e-and-a’ rhythm described earlier.

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A great way to break away from the typical blues soloing sound of pentatonic scales is to incorporate dominant 7 arpeggios into your improvised lines. As the name implies, a dominant 7 arpeggio is sounded by playing the notes of a dominant 7 chord, such as G7, C7 or D7, individually and in succession.

Let’s use the key of G as our point of reference: in Figure 1, a G7 chord is shown in 3rd position, followed by a G minor pentatonic scale (G, Bb, C, D, F) played in the same position.

What I often like to do, in order to create more interesting solo lines, is combine the notes of the minor pentatonic scale with those of a dominant 7 arpeggio, which, as you’ll notice, share three notes – the root, 5th and minor, of “flat” 7th.

Figure 2 illustrates a G7 arpeggio, built from the notes G, B, D and F. The first three notes give us a G major triad, and F is the minor, or “flatted,” 7th, which provides the dominant 7 sound. Figure 3 shows the same notes played in a descending manner on the lower strings.

Articulation devices like finger slides and string bends offer great ways to incorporate the dominant 7 pitches into phrases.

For example, Figure 4 begins with a series of slides into the notes G, B, D and F, all from a half step below, after which I finish the phrase with more typical blues lines based on the G blues scale (G, Bb, C, Db, D, F).

A great way to practice improvising with dominant 7 arpeggios is to loop a rhythm part then solo over it. Figure 5 shows a simple shuffle-based rhythm part that sits on a G7 chord.

Figure 6 sounds the notes of a G7 arpeggio played over the loop, first ascending then descending.

To some people, this is more of a “jazzy” sound; the reason for this is, as is often the case in jazz, the chord tones are emphasized when playing arpeggios. The inclusion of B, the major 3rd, in addition to F, the minor, or “flatted,” 7th, builds a strong connection to the harmony of the G7 chord.

Figure 7 offers a longer example of how to combine phrases built from the G minor pentatonic and G blues scales with G7 arpeggio shapes. Bars 1 and 2 emphasize the G blues scale, followed in bars 3 and 4 with emphasis on the major 3rd, B, which brings in the dominant 7 arpeggio sound.

In bars 5-8, I move back and forth between straight G minor pentatonic and blues scale phrases and the inclusion of the major 3rd, B, in order to bring the arpeggio sound back to the forefront. Throughout the remainder of the example, I move freely between the two approaches, striving for musicality in the way the different elements work together.

As you work with this dualistic approach, think of it as an ongoing hand-off between scales and arpeggios. Use your ears to discern the differences in the musical effects created and to inform your note choices.

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As discussed last time, open/alternative tunings are a great way to expand our chordal horizons without getting our fingers in a twist. However, we also mentioned that there are quite a few expansive voicings available without having to retune.

There’s no doubt that open/alternative tunings facilitate some unique sounds, but in a world where artists such as Davey Graham (who introduced us to the DADGAD tuning in the 1960s) plus Joni Mitchell, Nick Drake, Jimmy Page and Keith Richards have all given their unique spin on multiple angles of this idea, perhaps exploring regular tuning is equally interesting!

The five examples are selected on a fairly random basis, but they could work together to create an interesting piece or accompaniment. It’s also worth mentioning that each example has the potential to yield some interesting variations, by shifting a note within each shape, or simply moving to a different position on the fretboard. The constant, if anything, is the inclusion of open strings.

Example 1. G#m9

This G#m9 is a little reminiscent of Joni Mitchell’s jazzier moments (check out the 1980 Shadows And Light album), but no strings were retuned to create it! It’s important to mute the fifth string, but this can be a movable shape if you’re discerning. One useful idea is to shift it down a fret for a nice G9 chord.

Example 2. E5add9add#11

This E5add9add#11 (yes, that really is the simplest way to describe it!) is a handful at first. It’s the result of changing around the bass notes from Example 1 to give an E5 on the fifth and sixth strings. Keeping the same notes on top gives the add9 (F# on the fourth and first strings) and #11 (A# on the third string).

Example 3. C#m9

Here’s a real stretch – until you find the optimum hand position. Try shifting your fretting hand thumb down to the centre of the back of the neck. This C#m9 is surprisingly useful as a movable chord, functioning similarly to an open tuning in that the open first and second strings function as a drone.

Example 4. Esus2sus4

There are shades of Jimmy Page in Led Zeppelin’s Ramble On in this Esus2sus4, one of the only examples of a ‘double’ sus voicing we’ve ever come across.

Remember, these complex-sounding names are just music theory struggling to explain what is actually a very simple chord to play. Once again, treat this as a movable shape for some nice results.

Example 5. A7

This A7 is one of many similar shapes that can be moved up and down the fourth and second strings. The wonderful Gordon Giltrap used shapes like this (albeit in open A tuning) in his signature composition Heartsong. Be sure to mute the sixth string; it isn’t a horrible clash exactly, but it does mess with the resonance overall.

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I consider fingerpicking to be essential to my playing, as it’s a technique I have utilized in a variety of ways for many years. When recording, I often use my 1945 Gibson J-45 acoustic guitar. If you’re familiar with this instrument, you know how wonderful it is to play and how great it sounds.

Figure 1 illustrates a very basic fingerpicked pattern: while holding an E chord, my pick-hand thumb basically alternates between the 6th and 4th strings while the index, middle and ring fingers pick the higher strings.

The open low E bass note alternates with the higher notes in an eight-note rhythm. Note that the thumb often catches the next higher string, as demonstrated here.

Years ago, a friend of my dad’s came over and played some beautiful fingerpicking on a Martin D-28 acoustic, and I was blown away. He said, “That’s Mississippi John Hurt.” So I thought, well, I need to listen to more of that!

When I got hipped to this music, I discovered that the patterns were rooted in alternating bass notes sounded by the thumb while melodic patterns were fingerpicked on the higher strings in a syncopated rhythm.

Figure 2 offers an example of this style: bars 1 and 2 establish an eighth-note thumbpicking pattern, and in bars 3 and 4 a fingerpicked melody is introduced on the top three strings. As shown in Figure 3, the thumb always keeps the rhythm of the bassline going, in this case in the key of G.

It will take dedicated practice to get the coordination together to execute the low-string/high-string syncopations properly, so start out slowly and focus on how the two parts work together.

The Blackberry Smoke song Ain’t Got the Blues, from our 2012 album,
The Whippoorwill, is built from this style of fingerpicking. As shown in Figure 4, bar 1 establishes an alternating bass pattern on the tonic G chord, and in bar 2 I introduce a melody played on the G and B strings.

In bar 4, I move to C, the IV (four) chord, and the melody is transposed up a 4th and played on the top two strings. In bars 7 and 8, the pattern is played over the V (five) chord, D, and in bars 9 and 10 I return to the tonic, G.

Another good example of this style of fingerpicking is a section I play in our song Holding All the Roses, which is in drop-D tuning (low to high: D, A, D, G, B, E). Figure 5 illustrates the similar manner in which this is played.

I asked my dad’s friend where guitarists like Mississippi John Hurt got the idea to play in this way, and he said. “I think they’re trying to imitate the sound of a player piano on a riverboat.”

I think that’s a good theory, because the type of fingerpicking you hear from the great “Piedmont”-style players, like Blind Blake, Blind Willie McTell and Reverend Gary Davis, does work in the same way as stride piano, with consistently alternating bass notes driving the rhythm and joined by syncopated melodies in a higher octave.

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Brett Garsed is one of the guitar world's most revered triple threats. His virtuosity with legato, hybrid picking (he picks with his fourth finger, too) and slide is nothing short of masterful. His reputation goes all the way back to the '80s when his growing reputation resulted in him playing on John Farnham's 1986 album, Whispering Jack.

Handling all guitar duties on the biggest-selling album by an Australian in Australia's history, Brett's guitar chops were well used. None more so than the solo at the end of the album's huge hit single, You're the Voice.

How huge?

On last check, the numbers were 259M plays on Spotify and 35M views on YouTube.

You’re the Voice is a rousing anthem written by British songwriters Chris Thompson, Andy Qunta and Maggie Ryder that incorporates rock and Celtic influences, plus an actual bagpipe solo. Asked to provide an outro guitar solo, Brett incorporated bagpipe-style phrasing, chord tone driven melodies and a blazing string skipped arpeggio.

Up until now, this stunning solo has gone unnoticed due to being so quiet in the mix. To remedy the situation, Brett agreed to deep dive what he played for Guitar World.

“What you hear on the album is the first take, the only take we did,” Brett explains. “It’s a little haphazard in structure, but that’s the spontaneity of the moment. The fast section in the middle is an old faithful lick I used to simulate sweep picking arpeggios, but I did it with string skipping.”

Brett provides further insights into his solo: “I was, and still am, a completely ear-driven player, and I was trying to follow the chord progression F - Eb - Bb/D. Everything I’m playing is trying to follow those chords.

“You’ll hear a sliding ascending line in the solo featuring my old black Strat with a 21-fret neck. I bent up to the high F from the 21st fret and broke the first string! Since the Strat bridge couldn’t be pulled up it stayed in tune, so I played the rest of the solo with one less string!”

F major arpeggio - the fundamental shape

This outlines the basic string skipping F Major arpeggio (F A C) that Brett utilised for part of his solo on You're The Voice. Using the fourth (D), third (G) and first (high E) strings, it's a shape favoured by various players (including Paul Gilbert and Nuno Bettencourt) to replicate the sound of one note per string sweep picked arpeggios.

A useful approach to familiarize yourself with the shape is to play the first note on each string first before adding the higher notes on the third and first strings.

Brett utilizes hybrid picking as shown under the tab (m = second finger pluck), along with hammer-ons and pull-offs.

Example 1 - F major arpeggio phrasing (4:35 in the video)

This is what Brett demonstrates in the video, improvising around the F major arpeggio in a similar way to what he played during his You're the Voice solo. Hybrid picking makes crossing from the third string to the first string efficient and smooth. Pay close attention to the way the different rhythmic subdivisions and legato phrasing give this example a feeling of acceleration and excitement.

Brett Garsed in action

John Farnham - You're The Voice

At 3:45 Brett's guitar solo begins. Masked by the big production and wall of euphoric vocals, he builds his phrases with masterful melodic moves with that stunning F major arpeggio happening at 4:09. The huge C# to F bend (21st fret to a virtual 25th fret!) which broke his first string occurs at 4:24.

In his GW video, Brett demonstrates this bend (without breaking a string!) using his fourth finger with other fingers behind to strengthen it. To make this even more daunting to play, Brett uses 0.011 gauge strings in standard tuning. Gulp.

Brett Garsed - Breathe

Breathe featured on Brett's Big Sky album from 2002. Throughout the performance, Brett demonstrates masterful melodic phrasing, tasty string bends, bluesy licks and impressive speed bursts.

Brett Garsed - Slam Bam

Here's Brett in an funk fusion workout, written for him by Jason Sidwell as part of a soloing series in Guitar Techniques from 2016. Brett twists, darts and blasts through this funk groover with an array of slippery legato and hybrid picked moves using bluesy licks, altered scales and tension/release note choices. Slamming indeed!

A topic that’s near and dear to guitar players everywhere is pickups – what to use, what we love about them, and how to set them up for optimal performance. For our discussion, I’ll be using two examples of what is essentially the same guitar — a 1958 goldtop Gibson Les Paul Standard with PAF humbucking pickups and a 1956 goldtop Les Paul Standard with P-90 pickups.

Let’s first talk about setting up the pickups. I like the pickup height to be close to the strings, especially the bridge pickup. This results in the most output and brightness, which is the kind of attack I like to hear.

Pickup height is adjusted by using a screwdriver to turn the mounting screws clockwise or counterclockwise. With humbuckers, I like the front, or neck, pickup to be “wooly” – fat-sounding and with some distortion – but clear.

Be careful, however, not to raise it too close to the strings, as the magnets can start to interfere with the strings’ vibrations and cause notes to sound out of tune.

Figure 1 is an E minor pentatonic-based phrase played with the neck humbucker. When I switch to the bridge pickup, as I do in Figure 2, I like the output to be balanced with that of the neck pickup, so that the only thing changing is an increase in the amount of high end, which serves as a sort of solo boost.

In Figure 3, bars 1-5, I have both pickups on, which produces a nice blend between the fatness of the neck pickup and the “cut” of the bridge pickup. This example is played in the key of A, with lines based on the A minor pentatonic scale (A, C, D, E, G), with the inclusion of the major 3rd, C#, alluding to an A7 chord. In bar 5, I switch to the bridge pickup only.

With some P-90-equipped guitars, the neck pickup is too close to the strings and the bridge pickup is too far away. If you were to leave it that way, the instrument will never sound sonically balanced, so follow the same height adjustment guidance given for humbuckers.

P-90s are single-coil pickups, so their overall sound is more sparkly and clear than that of humbuckers, especially with a clean tone. But when overdriven, they will deliver a fat sound that’s killer. Being single-coil pickups, however, they can be prone to noise and hum, so you have to try and address that.

Figure 4 is played with the neck P-90, featuring lines based on the C# minor pentatonic scale (C#, E, F#, G,# B).

In Figure 5, I switch to the bridge pickup, and move from B7 to E7 with lines based on E minor pentatonic.

Both humbuckers and P-90s have their ideal applications, and for many players, including me, the variations in sound, feel and texture are indispensable.

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Alternate tunings can be a gateway to creative ideas and new textures, but they often require re-orienting yourself with the fretboard. Nashville tuning, however, requires no such effort, as you can replicate anything you play in standard tuning.

There is one caveat: you have to restring the guitar in order to get this tuning. In practice, it’s not hard at all – you start with a 12-string set and use the higher octave sixth, fifth, fourth and third strings in place of your standard gauge strings. The first and second strings remain the same.

Get these strings in place and you’ll be greeted by a phenomenal sound – part 12-string, part high-strung guitar. The real magic comes in the relationship between the high octave strings and the standard gauge first and second strings. Even just strumming simple CAGED chords yields a unique timbre and this sound can add brightness and definition, particularly if a song is missing some high end sparkle and vitality.

A secret weapon of the country world (hence the Nashville monicker), you’ve heard this tuning many times, even if it’s not immediately apparent – everyone from Keith Richards (Wild Horses) and David Gilmour (Comfortably Numb) to Taylor Swift (Love Story features it in the band mix) has employed it.

There are various reasons for using Nashville tuning, as you’ll discover in this lesson. Sometimes it’s a subtle layering tool, sitting back in a track or doubling a regular tuned guitar, whilst at other times it’s more upfront, adding brightness and energy to a track.

One of the great things about Nashville tuning is that it makes any guitar sound great. You don’t need an expensive instrument – a cheap, smaller-bodied guitar will come alive when strung in Nashville tuning.

Check out David Gilmour's Nashville-tuned guitar below and then delve into the following examples to see how it can inspire your own music-making.

Example 1: Simple chords made chimey, Nashville style

The open position is the obvious starting point for any new tuning and you’ll immediately hear how simple CAGED shape chords are given new life with the Nashville sheen and jangle. Indeed, many studio players are just overlaying chords like these onto a rhythm track when using Nashville tuning.

Example 2: Nashville strumming

This simple strummed two chord pattern demonstrates how useful Nashville tuning can be when creating simple rhythm parts. Give the chords some added color with added 9ths or 11ths and you’ll basically hear the sound of modern country pop.

Use common tones (notes shared between the chords) for added glue. The first audio example is at 75bpm (beats per minute), the second at 112bpm.

Example 3: Nashville picking

Picked parts sound fantastic in Nashville tuning and can be useful when you want to bring the Nashville part to the fore. What’s more you can double these parts on a standard tuned guitar to get a faux 12-string effect. Indeed, doing this can even be easier than playing an actual 12-string guitar!

Example 4: Nashville doubling

Doubling simple strummed open chords is another great way to use Nashville tuning. On its own an acoustic guitar could sound overly full or even muddy when playing chords like these but introduce a Nashville guitar and pan both instruments and the sound will both thicken and brighten up.

Example 5: Nashville to the foreground

You can create more complex parts in Nashville tuning, and this Pat Metheny-inspired example shows how evocative the tuning can be when played on its own. Adding a capo introduces an even brighter, richer tonality. This could also be used in a track for more dramatic effect when you want the part to leap out.

Example 6: Exploring all the benefits of Nashville tuning

This puts the previous examples into practice on a modern country pop-inspired track. Before playing this, have a listen to the full track and the backing track with the Nashville guitar removed so you can really appreciate what the high-strung guitar is bringing to the track.

As you’ll hear, it can work as both a blending tool with the other instruments or as a more prominent voice when arpeggiating higher up the neck. Listen to the full track first, then play along with the backing track using your Nashville tuned guitar. Enjoy!

Players who use Nashville tuning

Pat Metheny - Sueño Con Mexico

This is a great track for hearing Nashville tuning up front and center instead of as a layering tool. Metheny’s rich, picked arpeggios immediately get to the heart of the magic of this tuning. This tuning excels with rapid picked parts as there’s no low-end mud build up to worry about.

Taylor Swift - Love Story

Swift’s modern pop classic showcases Nashville tuning in its more common format as a layering tool. In this track, it’s more subtle, adding a top-end sheen with simple chords but it’s the kind of thing you’ll miss if it’s removed. You’ll hear a similar effect on Lady A’s Bartender…and pretty much most modern country pop!

The Rolling Stones - Wild Horses

The combination of a 12-string and a Nashville-tuned acoustic give this track its super-rich sound. Keith Richards is a big fan of Nashville tuning though it’s possible that Mick Taylor was playing the Nashville guitar on this track. Listen to this one and the guitars are the very definition of ‘sheen’.

A key element in many of the riffs I write is rhythmic string bending. A good example of this can be found in the main riff to Holy Roller, which I recorded with Spiritbox for our 2021 album, Eternal Blue.

As was the case last month with Jaded, I perform this song on a seven-string guitar tuned to drop-F# (low to high: F#, C#, F#, B, E, G#, C#), which is drop-A tuning transposed down a minor 3rd, or one and one half steps, so everything sounds a minor 3rd lower.

Figure 1 illustrates the main riff to Holy Roller, which I play during the intro and outro. The first six bars are performed entirely on the 7th string and feature repeating pull-down bends and releases.

I begin in bar 1 with two unbent eighth notes at the 12th and 9th frets, followed in beats 2 and 3 by two quick ¾-step bends and releases at the 13th fret, phrased in a 16th-note rhythm. The bar ends with a return to the unbent notes.

Syncopation (emphasizing the upbeats, or “weak” parts of the beat) comes into play in bar 2, where, on beat 3, I bend the 9th-fret note up a half step and hold the bend into beat 4. The final note in bar 2 is tied (held over) to the beat 1 of bar 3, which creates more syncopation, then bent up a half step. Bars 3 and 4 mostly replicate bars 1 and 2, but bar 4 ends with a pair of palm-muted eighth notes on an open A5 chord.

Bars 5 and 6 essentially restate bars 1 and 2, after which I play a big F#sus2 barre chord across all seven strings, which I shift up and down the neck in a syncopated dotted-eighth rhythm, holding each chord for one and one half beats, which, when done in succession like this, creates a jarring effect.

The riff ends with another pair of palm-muted open A5 chords, followed by high natural harmonics (N.H.) chords on the top three strings, strummed as 16th notes with alternate (down-up) strumming.

To sound the harmonics, lightly rest your fret-hand pinkie across the top three strings at the “3.2” location indicated, which is a little ways past the 3rd fret.

As is the case with many of the riffs I write, without the added bends, this riff would sound a little stale and boring. When performing the 13th-fret bends here, strive to consistently raise the pitch 3/4 of a step, which is midway between a half step (equal to one fret) and a whole step (equal to two frets).

Figure 2 shows the song’s breakdown verse riff, which is built from a two-note F/A chord played on the bottom two strings and strummed in a syncopated rhythm with palm-muting (P.M.). I use all downstrokes here, except for the pairs of 16th notes, which are strummed down-up.

The syncopation is created by accentuating certain eighth-note upbeats (the “and” counts) and holding the chord into the following downbeat. To properly feel and internalize the phrasing, play through the figure while tapping your foot squarely on each beat. Start out slowly then gradually ramp up the tempo to that of the recording.

In bar 8, I play “3.2” natural harmonics again, this time across the top six strings. I strum the harmonics with upstrokes on each eighth-note upbeat. The key to getting the desired sharp pick attack here is to get a little bit of the flesh of your thumb into the strum. Doing so will also help bring out the harmonics.

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