Índice para August 2017 em Guitar Techniques

RICHARD BARRETT One of the best players around, Richard is adept at most styles but truly excels in the bluesier side of rock. He currently plays with Spandau’s Tony Hadley. SHAUN BAXTER One of the UK’s most respected music educators, Shaun has taught many who are now top tutors themselves. His Jazz Metal album is considered a milestone. JON BISHOP Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease! LES DAVIDSON Les has worked with Mick Taylor, Rumer, Jon Anderson, Pete Townshend, Tina Turner & more. He also runs a recording studio and teaches at BIMM London. CHARLIE GRIFFITHS Guitar Institute tutor Charlie first came to fame in…

LONGER CLASSICAL TUNES Greetings form the north of Quebec ! My very first issue that I still have was purchased in December 1994 and I have been a subscriber for close to ten years now, so me complaining about the magazine would be kinda hard to do. But I have two suggestions I’d like you to consider. I always give a try to Bridget’s columns, and even have one of my classical guitars always tuned to drop D, just in case! How about asking Bridget to commit to something of a long run like Bach’s Chaconne? Not in a single issue, of course, but spread over the number of months that would be required to master this, section by section. I would also look forward to what she would have…

NAME: James Ledley TOWN: Lurgan, Craigavon, Co. Armagh, N Ireland STYLES TAUGHT: Bass - rock, pop, blues; acoustic guitar - rock, pop, blues, fingerstyle; electric guitar - rock, pop, blues, reggae, jazz (beginners) SPECIALITY: Rock, pop and blues QUALIFICATION: DipLCM Electric Guitar (Perf.) Grade 8 Electric Guitar LEVELS TAUGHT: From Beginners right up to dvanced players from age six upwards. Students can also take their grades (up to Grade 8). I will also be offering ukulele grades very soon SIGHT-READING: Beginner only CHARGES: £10 per 30-min lesson paid four weeks in advance; 45-min and 60-min lessons also available SPECIAL: I have been playing for 30 years and teaching for 13. I enjoy watching students advance (sometimes from never having lifted a guitar) to gaining a great enthusiasm for guitar and…

GETTY IMAGES  ON THE CD TRACKS14-36 “AS USUAL, WE HAVE A FINAL EXAMPLE SOLO SHOWING HOW THESE CONCEPTS CAN BE USED IN THE ‘REAL WORLD” ABILITY RATING Info Key Various Tempo Various CD TRACKS 14-36 Will improve your… Harmonic theory Soloing (and comping) vocabulary Understanding of jazz styles The conventional roles of the lead and rhythm guitarist are quite clear: the rhythm guitarist plays chords that accompany the lead guitarist who plays the (usually higher, faster and more ‘important’ single-note material). This dichotomy, however, is not always true, or helpful musically – and the long (and ongoing) history of the instrument involves many players who have chosen to explore the middle ground: soloing using a variety of chords for both harmonic support and textural variation. It can however be overwhelming…

REX / SHUTTERSTOCK “ RABIN’S STYLE OF PLAYING WAS A BLEND OF CHUGGING ROCK RHYTHMS AND RIFFS MIXED WITH FUNK” ON THE CD TRACK46 ABILITY RATING Info Key: C Tempo: 123 bpm CD: TRACK 46 Will improve your: General rhythm and lead Part writing and producing Theory knowledge Vocalist Jon Anderson and bass player Chris Squire, formed Yes inLondon in 1968. They went on to become perhaps the biggest band in all of progressive rock. With a revolving door of almost 20 members over the years (including guitarist Steve Howe and keyboard wizzard Rick Wakeman) they have also undergone numerous changes in style. They originally disbanded in 1981 but reformed in 1983 with Trevor Rabin on guitar, scoring a US Number 1 single with Owner Of A Broken Heart. This…

DAVID LYTTELTON “RATHER THAN PLAYING UP AND DOWN EACH SCALE WE’LL USE 7TH ARPEGGIOS TO BE MORE SELECTIVE WITH OUR NOTE CHOICE” ON THE CD TRACK57 ABILITY RATING Info Key: A (A7) Tempo: 120bpm CD: TRACK 57 Will improve your… Seeing 7th arpeggios in a scale Playing 7th arpeggios on the guitar Laterally shifting lines Most rock guitar players are adept at presenting ideas that are either slow but have sonic interest (using vibrato, bends, slides, pinched harmonics, whammy dive-bombs and gargles etc) or extremely fast (shred, using tapping and sweep picking); however, in comparison, their medium-paced lines are relatively under-developed. So, rather than simply playing up and down each scale, we’re going to use 7th arpeggios as a way of helping us to be more selective with our note…

“ AL DI MEOLA, STEVE MORSE, JOHN PETRUCCI AND PAUL GILBERT ARE POSSIBLY THE MOST WELL-KNOWN MEMBERS OF THE ALTERNATE PICKING FRATERNITY” ON THE CD TRACKS 64-68 ABILITY RATING Info Key: Various Tempo: Various CD: TRACKS 64-68 Will improve your General picking skills Economy of effort Speed and efficiency Alternate picking means moving your pick in alternate down and upstrokes throughout a passage of notes, regardless of whether those notes are all on the same string or on different strings. Players like Al Di Meola, Steve Morse, John Petrucci and Paul Gilbert are possibly the most well-known members of the alternate picking fraternity. The technique offers a more weighty, consistent sound due to the momentum of the hand propelling the pick through the strings. When alternate picking successive notes on…

I HAVEN’T DONE a ‘gear’ editorial for a while, but last weekend I was playing an outdoor gig in Bristol and had a bit of a revelation. You may know from my years of waffling, and of endless pictures of me with nice guitars and amps, that I like my gear. Well, the backline on this gig was supplied, and to save humping the Marshall mini-stack (my latest must-have!), I decided to risk it. When the gear list arrived I was heartened to see ‘my’ amp was a Fender Hot Rod Deluxe - the older, American-made, 40w, 1x12 one. I also elected to use my faded Fiesta Custom Shop Strat rather than the Candy Apple Tele that’s been floating my boat on recent gigs. I also took a small board…

 GT: What is it about instrumentals that appeals to you? I’VE TRIED [HARMONISING] ON A FEW TRACKS BUT IT CAME ACROSS AS CHEESY OR RIDICULOUS SOUNDING NJ: I grew up in a very small town, and being the only musician in my family, I didn’t really have contact with a circle of people who played music. I listened to a lot of soundtracks and classical music and never really noticed the absence of vocals in the music. I think a combination of the music I was listening to, and the lack of musicians in my proximity, allowed me to consider writing music on my own where the guitar was the voice. GT: What can an instrumental provide that a vocal song can’t? NJ: When I listen to instrumental music, I…

IN THE NEVER ENDING QUEST for the‘Super S-style’PRS introduces the EG3. With extra contouring to the body horns and the distinctive headstock shape, edge mounted jack socket and with all the single-coil pickups angled, PRS have claimed this design as their own. Some things remain like the alder body, maple neck and rosewood fingerboard with dot inlays and spring loaded trem. The electronics are conventional too; it’s the neck joint that singles this out as it runs under the scratchplate to allow easier access to the uppermost frets. PRIME MINISTER MARGARET THATCHER resigns from power and John Major steps into the top job as Labour leader Neil Kinnock watches expectantly. East and West Germany reunify and Checkpoint Charlie is dismantled; the daily rum ration in the Royal New Zealand Navy…

ALAMY  ON THE CD TRACK CD-ROM “GARSED HEARD IN ALLAN HOLDSWORTH’S STYLE A FLUIDITY TOWARDS WHICH HE’D ALREADY BEEN GRAVITATING IN HIS OWN GUITAR EXPLORATIONS” ABILITY RATING Info Key: Various Tempo: Various CD: CD-ROM Will improve your Fretting-hand legato Fretboard knowledge Chord voicings The Australian rock and fusion guitarist Brett Garsed is one of the nice guys of the guitar world; a deeply talented and dedicated player who has over the years crafted an extraordinarily individualistic and recognisably fluid and melodic style. Brett’s amazing hybrid picking and legato technique combined with an engaging melodic sensibility has produced some truly awe-inspiring fusion guitar recordings, such as his work with John Farnham, Nelson and his hugely regarded collaboration with the similarly awesome TJ Helmerich. Despite his virtuosity and high acclaim from guitar…

ON THE CD TRACKS 38-43 EASY LICKS EXAMPLE 1 WHEATUS CD TRACK 38 A marvellously simple band with a wonderful approach to straightforward guitar parts. You can pick this example using entirely downstrokes or use alternate picking as suggested in the tab below to sharpen your timing. A great one to learn for a light-hearted teen punk feel. EASY LICKS EXAMPLE 2 KK DOWNING CD TRACK 39 This is a straightforward Major-Minor triad tapped on the first string. Played with authority it creates a simple but effective melodic movement. Use your picking hand’s second finger for the high tapped notes and use fretting hand pull-offs for the lower notes. INTERMEDIATE LICKS EXAMPLE 3 JOHNNY MARR CD TRACK 40 Arpeggiated triads are a good way of turning a basic chord progression…

“ PAT METHENY, JOHN ABERCROMBIE, BILL FRISELL, MIKE STERN AND JOHN SCOFIELD HAVE ALL EXPRESSED ADMIRATION FOR HALL” ON THE CD TRACKS47-55 ABILITY RATING Info Key: Various Tempo: Various CD: TRACKS 47-55 Will improve your Use of intervals Motific development Outlining chord changes James Stanley Hall was born in New York in 1930 and first picked up the guitar aged 10. He began performing professionally in his teens and studied music theory and piano at the Cleveland Institute of Music. Initially influenced by Benny Goodman’s guitarist, Charlie Christian, young Hall was also interested in assimilating the legato sound of saxophonists such as Coleman Hawkins and Lester Young, along with studying classical guitar with Vincente Gomez. His unique approach, with exquisite taste, touch and sophistication soon brought him to the attention…

EVERETT COLLECTION / ALAMY YOU MIGHT FIND IT BETTER TO SET A SPARE GUITAR ASIDE, STRING IT WITH A HEAVIER GAUGE AND RAISE THE ACTION ON THE CD TRACKS58-62 ABILITY RATING Info Key: Open G Tempo: Various CD: TRACKS 58-62 Will improve your Blues slide phrasing Open G tuning knowledge Intonation using a slide Having looked at the fundamentals of slide playing in standard tuning, this month we explore playing with a slide in open tuning, starting with open G. Open G tuning is hugely popular among slide players and was widely used by early country blues players. Today, Dobro players such as Jerry Douglas and Eric Clapton (Unplugged album) also favour this tuning. Far from just being an acoustic guitarist’s tuning, open G was the choice for George Thorogood’s…

JULY GT271 TAPPING CHORDS Tapping whole chord based pieces is a really wonderful sound - think Stanley Jordan. We show you how! GT pays its respects to the amazing Allan Holdsworth with tributes from great players and a ‘doable’ style guide. Huge 10pp Jimmy Page style guide & loads extra! JUNE GT270 SESSION SECRETS Learn what’s required on a studio or show session, then let nine studio legends tell you their inside stories. From the vault: Play like the great ‘fingers only’ electric bluesmen! The Wedding March tabbed. Learn two David Gilmour-style solos; new slide series & more! MAY GT269 BLUES TURNAROUNDS Learn how to make the end of each blues verse really count. We look at how 10 blues legends do it! From the vault: Electric Blues Fingerpicking. Play…

GT: Do you have a type of pick (brand, thickness, etc) that you can’t live without? KWS: Someone once gave me a genuine tortoiseshell pick and I must say that I’ve never found another pick that feels quite the same. Currently I’m using KWS edition heavy gauge picks made by Dunlop. GT: If you had to give up all your effects pedals but three, what would they be? KWS: My original Vox Clyde McCoy wah-wah pedal because I still haven’t found a wah pedal that sounds better than that one. My original Ibanez TS-808 Tube Screamer. It’s been everywhere with me and has never failed to deliver great tone. Finally, my Analogman King Of Tone pedal. It’s a fantastic sounding overdrive pedal that I use constantly. GT: Do you play…

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 to 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. PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to…

TINA K This month’s lick uses notes from a D Minor add9 arpeggio - D-F-A-E. This sort of idea can be used in any style, although in jazz and blues it would probably be appropriate to‘swing’the phrasing. It’s surprising how much the addition of that one note can make. It turns a humble Minor arpeggio into something a lot more interesting and sophisticated. Technically, there isn’t that much to worry about here – just make sure you follow the picking and palm muting indications and keep the timing as metrical as possible. As always, try to compose similar phrases of your own using the same concept. The same ideas will also work with Major add 9 arpeggios (1-3-5-9) and these are well worth spending time exploring.…

➊ Slow D Minor Blues Let’s start with this easy-to-play-on minor Blues, which has a touch of Gary Moore about it. Use D Minor Pentatonic (D-F-G-A-C) and D Minor scale (D-E-F-G-A-B b -C) - Gary loved mixing the two. You can also use D Harmonic Minor (D-E-F-G-A-B b -C#) to great effect on the A chords, adding that crucial C# note, which leads nicely back to the D. ➋ 2-5-1 Jazz Jam (Cm) Practice track for that most classic Jazz progression, the II-V-I. Use C Minor scale (C-D-Eb-F-G-A b -B b ) for the two (Dm7 b 5) and one (Cm7) chords and then C Harmonic Minor (C-D-E b -F-G-A b -B) for the five (G7) chords. The arpeggios will help tremendously: Dm7 b 5 (D-F-A b -C), G7 (G-B-D-F)…

FRANCESCA MOORE / ALAMY “AT THE HEIGHT OF THE POINTY HEADSTOCK ERA SLASH REMINDED US OF THE RAW APPEAL OF A LES PAUL, MINIMUM PEDALS AND A MARSHALL AMP” ON THE CD TRACKS 4-13 ABILITY RATING Info Key Various Tempo Various CD TRACKS 4-13 Will improve your… All types of picking Improvisation and vocabulary Stylistic knowledge Many of the best-known players switch guitar to suit their material. For instance, Peter Frampton played Show Me The Way on a Strat and Eric Clapton also eschewed his trusty Gibsons for Layla and Other Assorted Love Songs; but it’s interesting to view this from the other side of the fence and see how different guitars, with their inherent characteristics, have influenced the styles of those who play them. Arguably, the first mass-produced ‘signature…

 ON THE CD TRACK 37 “THIS PIECE HAS AN INNOCENT AND DREAMY QUALITY REFLECTING NEW WORLDS AS SEEN THROUGH THE EYES OF A CHILD” ABILITY RATING Info Key G Tempo 50 bpm CD TRACK 37 Will improve your… Melody and accompaniment separation Playing triplets against semiquavers Playing melody in 3rds In this issue we return to one of the most important composers of the Romantic era, Robert Schumann (1810-1856). Schumann embodied all the expected characteristics of the Romantic composer: a virtuoso pianist, genius composer with a tragically short life filled with mental anguish, physical health issues and a passionate love affair. However, Schumann’s works engaged with a huge range of emotions and style, and he was not only a prolific composer, but also a great contributor to the appreciation of…

ALAMY “I FEEL THE RESPECT AND AFFECTION FOR HIM THAT A FATHER FEELS FOR HIS SON. HE IS ONE OF THE MOST SERIOUS BLUES GUITARISTS YOU CAN FIND TODAY. HE MAKES ME FEEL VERY PROUD” BB King ON THE CD TRACKS 44-45 ABILITY RATING Info Key: Various Tempo: Various CD: TRACKS 44-45 Will improve your Blues-jazz solosing Authentic urban blues feel Groove and timing Ronnie Earl, born Ronald Hovarth in 1953, was a relative latecomer to music, only picking up the guitar as a student in Boston in the early 1970s after having seen Muddy Waters perform live. His love of blues, however, stretched back much further. Growing up in Queens, New York City, Ronnie was enchanted by blues, jazz, soul and rock – when he started his musical career…

ALAMY “SHEERAN GREW UP LISTENING TO CLASSIC ARTISTS LIKE THE BEATLES AND ERIC CLAPTON, BUT LATER WAS DRAWN TO DAMIEN RICE AND EMINEM” ON THE CD TRACK56 ABILITY RATING Info Key: Am/C Tempo: 92 bpm CD: TRACK 56 Will improve your Double-stop rhythm parts Knowledge of sus chords Rhythmic pop strumming This month we are taking a look at the guitar style of one of the world’s true pop phenomena. Sheeran, like John Mayer, is one of those figures that some guitar players love to deride but in today’s climate of pre-packaged pop music it can only be a good thing that artists like Sheeran and Mayer are keeping the guitar at the fore of what they do. At just 26 years of age Sheeran is a globe-straddling pop star…

LIVEPIX ON THE CD TRACK63 Bob Marley, along with his band The Wailers, rose to fame through the ‘70s and brought reggae to an international arena after being signed to Island Records and releasing several acclaimed albums including Catch A Fire, Burnin’, Rastaman Vibration and Exodus. These recordings have provided a wealth of great grooves that define the reggae style and he had several hits from these releases, such as Jammin’, I Shot The Sheriff (covered by Eric Clapton), No Woman No Cry, One Love, Exodus, and Get Up Stand Up. Let’s take a look at the reggae grooves of his rhythm section. EXAMPLE 1 GUITAR 1: SINGLE-NOTE LINES TRACK 63 In reggae you can play exactly the same part as the bassline and this would be a‘link’guitar part. The…

WHAT OUR RATINGS MEAN Album of the Month ROGER WATERS IS THIS THE LIFE WE REALLY WANT? Columbia Roger Waters’ first solo rock album since 1992 starts off with the familiar heartbeat and a vocal montage that immediately harks back to Dark Side Of The Moon, implying that there is still very much a Floydian connection here – and it’s not alone. Picture That references the mood of One Of These Days, for instance, and there are many more. But let’s not dwell on the past. The word ‘dystopian’ is often used in association with Waters’ work and that’s very much the case here. Tracks like The Last Refugee fit in with the subject matter he addressed on the very excellent Amused To Death, to the extent that this album…

FEATURE #2 STRING SKIPPING Sound fresh and surprising String skipping will give a new and exciting sound to your playing. Richard Barrett shows you how. CLASSICAL TAB MOSES-TOBANI Hearts And Flowers Bridget tabs this Theodore Moses-Tobani tune, often used in silent movies to evoke sadness or pathos. VIDEO LESSON CHORD TAPPING Part 2 Paul Bielatowicz continues his video series on an evocative style beloved of Stanley Jordan and others. TECHNIQUE & THEORY THINGS TO LEARN & PLAY Inside/outside picking, G tuning Lean how combining inside and outside picking is the best of both worlds. Plus, play slide in open G. Try one of the swinging-est styles ever! PLAY JUMP BLUES! Jump blues is an intriguing mix of big-band swing, jazz and a touch of country, all wrapped up to create…