Inhaltsverzeichnis für January 2022 in Guitar Techniques

SIMON BARNARD Simon is a graduate of ACM and The Guitar Institute, holding a Masters degree in music. He teaches, examines and plays everything from rock to jazz. RICHARD BARRETT One of the most gifted guitarists around Richard has been playing with Tony Hadley for almost 20 years. He’s great in all styles but excels at blues and rock. JON BISHOP Jon is one of those great all-rounders who can turn his hand to almost any style. He’s also rock legend Shakin’ Stevens’ touring and recording guitarist. MARTIN COOPER A tutor at BIMM Brighton, Martin’s Rock columns show an incredible breadth of technique and style. His 2006 album State Of The Union is out on iTunes. CHARLIE GRIFFITHS Guitar Institute tutor Charlie first came to fame in Total Guitar’s Challenge…

To my surprise, I have managed to retain friendships with a respectable number of persons along life’s rocky (and rolly) road. Furthermore, I’m still on speaking terms with several. For example, I recently enjoyed an al fresco, socially distanced pub luncheon with one such chum on the bucolic Hertfordshire-Bedfordshire border, (or within easy walking distance of the runway at Luton Airport, depending on your estate agent). For reasons of confidentiality and data protection, I must refer to him only by his real name - Robin King. Among other things, we share a mutual interest in vintage guitars. Thus far in our relationship he has sold a fabulous Tele. To someone else, to my chagrin. Then he decided that I must own his retro Gibson Firebird by way of compensation. However,…

Before returning predominantly to his earliest influences in 1990 with a series of blues albums, Gary turned his hand successfully to a wide variety of styles, always managing to sound utterly convincing. In this feature, I’ll be looking at his transition from fusion to rock between circa 1975-1989 via four ‘in-the-style-of’ solos, with an emphasis on his aggressive, ‘take no prisoners’ fast-picking style. For his 70s ‘fusion’ period, Gary tended to use a Strat most often, frequently adding manic vibrato with the whammy bar. You’ll hear this on Colosseum II’s Electric Savage, Variations (with Julian Lloyd Webber) and Back On The Streets - though the Peter Green Les Paul did of course also appear on a few tracks - notably Parisienne Walkways. By this time, Gary was about to play…

We all have Wes Montgomery to thank for popularising one of the most beautiful and iconic sounds in jazz and more besides. Arranging intelligent and hip melodic lines doubled in octaves, perhaps brushed with the thumb, creates such a romantic and expressive sound that you’ll undoubtedly want to add this to your repertoire of improvisational and compositional ideas. You’ll be joining a huge club that includes such illustrious members as Django Reinhardt, Wes, Kenny Burrell, George Benson, Jimi Hendrix, SRV and many more. For what is essentially such a simple device, the sonic rewards are huge, giving you access to an almost three-dimensional bold and secure sonic idea that gives your sound projection, drive and sophistication. Simply put, Wes Montgomery was a monumentally significant jazz musician and one of the…

Brought to you by… EASY LICKS EXAMPLE 1 DAVE DAVIES This riff features powerchords moving along the bottom three strings and a brittle overdriven tone. To get the sound, use your bridge pickup, dial in a light amount of gain on the amp, boost the mid EQ dial, add a splash of reverb and dig in with your pick. If you have a distortion pedal, use it to add a touch more gain. This will emulate a 60s amp being pushed to its limits. Davies in fact slashed the cone in his amp’s speaker to get the sounds on the band’s early songs. They called that amp the ‘fart box’. EASY LICKS EXAMPLE 2 LENNY KRAVITZ Lenny gets a lot of milege from Major chords. This riff is built around a…

Missed one of our recent fabulous issues? Get one now while stocks last. DECEMBER GT328 JOHN MAYER John Mayer Blues! He’s a fine player in many styles, but he’s a natural bluesman. We offer 10 examples and three full solos, Mayer style. Plus: Rory Gallagher, Molly Tuttle, Jennifer Batten, Allen Hinds with Jon Herington & much more! NOVEMBER GT327 GROOVE GIANTS Using ideas from 21 great groove guitarists, take your rhythm playing to the next level. Joel Hoekstra plays and explains a great rock solo. Learn a Celtic fingerstyle piece, a Fenando Sor study, SRV blues, Paul Gilbert rock, & more! OCTOBER GT326 ALBERT KING Through the playing of stars who idolised him, learn how Albert King influenced the greatest blues and rock guitarists. Reb Beach rock video lesson. Kirk…

Brought to you by… One of the tunes that regularly featured on our set list with Oscar was his original composition Nigerian Marketplace. Unusually for Oscar, it was more modal in its approach. Beginning with an Am9 chord, the progression descends a whole tone to Gm9. It then shifts down another tone to Fm9, followed by an E9#11 then a resolution to Ebmaj9#11. When the sequence changes to Fm9, this is a ‘disguised’ II-V-I in the key of Eb Major. Normally, the sequence would read Fm9- Bb7-Ebmaj7. In Nigerian Marketplace, the Eb9#11 chord is a b5 substitution for Bb7, and the Ebmaj7 has been extended and altered to become an Ebmaj9#11. Building on the motival theme of last month’s article, here are some ideas you can use when jamming over…

BACK IN 1978 I witnessed an amazing concert featuring Colosseum II with a young Gary Moore on guitar. It was called a ‘simulcast’, where BBC TV showed the film footage, and BBC radio broadcast the audio simultaneously - hence the name. At the time I shared a house with my mother, a great musician and a lover of all the music I liked, including Jimi, Eric and so on. We both knew of Gary Moore from his stints with Thin Lizzy, and his album Back On The Streets which had come out the same year. We also knew Hiseman’s original Colosseum, with James Litherland on guitar, so were interested to see what the new line-up with Moore, Hiseman (drums), Don Airey (keys) and John Mole (bass) would be like. It…

From GT329 onwards all GT’s audio and video lessons will be accessible online via a link to our website at guitarworld.com. This takes you to our page, where animated tab versions of every lesson can be found (the same as previously only available in our digital version). What’s more, you can view these on any type of computer, making for an ultimately rewarding experience. All the audio - backing tracks, etc - is also located here on guitarworld.com’s Soundcloud page. Here’s your link to this month’s lessons: https://bit.ly/GTMAG329…

This time, we’re moving away from block chords and into more of a ‘harmonised riff’ territory. Our starting point is a chromatically descending blues turnaround cliché that we’ve probably all played a few too many times. The chord names are approximate, because the whole thing is really just a melodic extension on a static E chord. Pay attention to the moving notes: starting from B-D, we descend through A#-C# and A-C, ending on G#-B, which is part of the E Major chord. We’re simply going to invert those note pairs, moving the top one down an octave, giving D-B instead of B-D. See how it works? The original B note is in the same place, but we’re now playing a lower D on the fifth string. This turns the original…

Kirk Fletcher is known for his work as a superb solo artist, with The Fabulous Thunderbirds, and for collaborations with Joe Bonamassa and Josh Smith. His rich, blues orientated style has won favour with guitar fans all over the world. The chord progression for The Get Down is largely built on the I-IV-V chords in the Bb Major scale these are: Bb -Eb -F. In classic blues fashion these three chords are all turned into Dominant 7ths, to create Bb7-Eb7-F7. It’s the classic 12-bar format with the addition of a snazzy I-VIm-IIm-V turnaround at the end of each repetition: Bb7 -Gm7-Cm7-F7. The only other section to negotiate is a standard blues-style middle eight, which starts on the IV chord (Eb7) and ends on the V (F7). The feel is a…

Head 40 miles north from Perth, up into the heart of the Scottish Highlands, and there you will find Blair Castle: a vast 750 year old stately home nestled among the plush green Scottish hills. Inside you will find an 18th century portrait of a Scotsman holding a violin in a peculiar fashion. This just so happens to be the fiddler and composer Niel Gow, the man considered by many the most influential exponent of Scottish folk music to have ever lived. Gow was born into humble beginnings in Strathbraan, a remote area along the river Tay from Inver, the district his family later moved to when he was an infant. Expected to follow in the family tradition of weavers it was discovered as a child that Gow had a…

Brought to you by… The late great Deborah Coleman was a blues powerhouse. With singing guitar tone, and rich vocals to boot, she took the blues world by storm in the the early 90s. The award winning musician showcases a deep variety of blues and roots music throughout her back catalogue, all characterised by her thick and powerful guitar tone, usually generated by her Les Paul or Fender Tele. Born in Portsmouth, Virginia in 1956, Deborah grew up in a musical household. Her father was a pianist, and her brothers and sister all played guitar, so it was inevitable that Deborah would get the bug. But it wasn’t her family members who inspired her to get into music, but a performance by The Monkees that sparked her desire to perform.…

Brought to you by… Marty joined Megadeth in 1990 and the Rust In Peace album put Friedman’s playing on the map, as well as changing the perception of what thrash metal could be. The combination of Dave Mustaine’s intricate, intense riffing and Marty’s otherworldly note choice and fluid style was a turning point in metal history. The follow-ups Countdown To Extinction and Youthanasia cemented Marty as a metal guitar icon. But after 10 years in the band he decided to focus on his solo work, as well as having a successful TV career in Japan. Marty’s approach is based in rock and roll style blues, coupled with a fluid legato and sweeping arpeggio style; all of which he combines with exotic note choices which often cite Japanese influences (where he…

One of the UK’s most legendary folk artists, singer-songwriter Richard Thompson came to prominence in the 1960s with folk-rock group Fairport Convention. He followed this with a successful solo career that’s still going strong today. While the English folk sound is prevalent in Thompson’s style there’s no denying that a strong Celtic element runs through his playing too. This is especially evident in his instrumental guitar work which is full of Celtic style ornamentations and common fingerstyle devices like the alternating bass lines and altered tunings. One of his most famous compositions, ‘1952 Vincent Black Lightning’ is a a veritable masterclass in this. Thompson is a ‘guitarist’s guitarist’ and has released some great instructional material focusing on the Celtic influence on his playing. This month’s study examines how he may…

MORE OF THE WORLD’S BEST LESSONS… FEATURE #2 VIDEO OZ NOY Guzzle This stunning New York based player takes a jaw-dropping solo over Jason’s blues-fusion track, Guzzle. CLASSICAL TAB FRANCISCO TÁRREGA Pepita Declan Zapala arranges and transcribes a stunning piece from one of the fathers of classical guitar. FEATURE #3 BLUE NOTE RECORDS 10 essential attributes John Wheatcroft outlines 10 musical elements that created the sounds you hear on jazz’s greatest record label. NEW SERIES! DARREL HIGHAM Rockabilly Rebellion! The UK’s top rockabilly axeman begins a new series showing how to master this exhilarating guitar style! MORE GREAT LESSONS 30-Minute Lickbag Six licks in a cool variety of styles Johnny Winter Two fantastic blues solos Orianthi Alice Cooper’s axe-woman Tom Misch Great British neo-soul artist Greg Howe Five dazzling shred…

Tap the links Finding your way around the magazine is easy. Tapping the feature titles on the cover or the contents page, takes you straight two the relevant articles. Any web and email links in the text are tappable too Animated tab & audio All the mag’s main lessons have the audio built in with a moving cursor that shows you exactly where you are in the music. Simply tap the ‘play’ button and you’re off - you can fast-forward or scroll back at will. Play the videos Certain articles have accompanying videos full of useful insight and additional information. Once again, tap the play buttons to enjoy video masterclasses on your iPad (recommended) or smartphone.…

I’ve always wondered how it was that some things are remembered well and others not so much. Why some songs would stick in my head and others not; how I could still recall complex classical studies I learned 30 years ago but not the easy pop chords of a song I learned and taught last week. So being me, I needed to research what the heck was going on and figure out how to solve it. I found at least a few of the answers as I’ve been testing on myself the last couple of months. It really works. It’s super interesting, and with some simple changes to how you learn things, you’ll find you can do so much faster and for longer. It’s okay to forget. It’s normal, it’s…

1 G Minor Jam This vamp was specifically designed for exploring the G Minor scale (G-A-Bb-C-D-Eb-F) in a blues context. You can always start with G Minor Pentatonic (G-Bb-C-D-F) and then add the remaining twonotes (A and Eb). 2 Feel-good Reggae Blues (A) You’ll get off to a great start mixing happy sounding A Major Pentatonic (A-B-C#-E-F#) with the bluesier A Minor Pentatonic (A-C-D-E-G) on this feel-good jam. JOHN ATASHIAN / GETTY IMAGES 3 G Major Jazz Jam (I-VI-II-V) Here we have a I-VI-II-V progression in G Major. Chords are G-E7-Am7-D7, although you will hear extensions along the way. G Major scale (G-A-B-C-D-E-F#) works throughout, except on the E7 chords, where A Harmonic Minor (A-B-C-D-E-F-G#) does it. 4 Slow Jazzy Blues (B) This slow jazzy blues is perfect for anyone…

GT: Do you have a type of pick that you can’t live without? DK: I use the D’Addario Duralin .85mm - the green ones. They’ve been my go-to for years. GT: If you had to give up all your pedals but three, what would they be? DK: That’d be the Vemuram Myriad Fuzz, a FoxRox Octron and a fab preamp that Brandon at Bludotone amps built for me. That thing is such a lifesaver. GT: Do you play another instrument well enough to be in a band? If so, what, and have you ever done it? DK: I play mandolin and banjo too. I’m learning the fiddle. I’ve played the mandolin live a whole bunch, but haven’t been brave enough yet on the other two. GT: If a music chart…

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Brought to you by… Lynyrd Skynyrd came together in embryonic form in 1964, in Jacksonville, Florida by lead singer Ronnie Van Zant, guitarists Gary Rossington and Allen Collins, bassist Larry Dunstrom and drummer Bob Burns. By the time their debut album appeared in 1973 they had settled on the name Lynyrd Skynyrd and a line-up that featured Van Zant and Rossington, with Ed King on guitar, bassist Leon Wilkeson and keysman Billy Powell. The band began to reach towards the massive success they would gain with songs such as Sweet Home Alabama and Free Bird, which have transcended music and achieved global pop culture status. In 1977 tragedy struck when the plane the band had chartered crashed, killing Van Zant and Steve Gaines who had replaced King on guitar. They…

Brought to you by… As a teenager Isaiah Sharkey cut his teeth playing in and around the jazz and blues clubs of Chicago. Contrast that with his most recent gig, as guitarist on John Mayer’s The Search For Everything world tour, and his work as a prolific session musician (he received a Grammy for his six-string contributions to D’Angelo’s 2016 album, Black Messiah), and you’ll see just how in demand and respected Isaiah Sharkey is. Since 2005 Isaiah has featured on numerous albums and singles with a host of big name acts, and is still a highly sought-after studio player. After all, if the likes of John Mayer take you out on the road, you’re definitely doing something right. Isaiah Sharkey’s musical roots stem from his father, who was a…

Brought to you by… This month we’ll look at using C Major Pentatonic scale (C-D-E-G-A) over the chords C Maj7 and C6. The recorded vamp briefly touches on G7sus4 but it’s not really heard for long enough to justify making that change. Using this Pentatonic thoughtfully way we can figure out some interesting patterns and come up with some really strong phrases. I started off exploring the intervals within the scale but then called on the influence of Peter Frampton and Vince Gill. Frampton is an often under-appreciated player but he’s a master of the Major Pentatonic and uses it very musically. Vince Gill is a another superb player who uses the Major Pentatonic inventively. Example 7 expands on this by adding the occasional 4th degree for some extra colour,…