After an hour of slicing off maple, 10 minutes on the spruce is a real pleasure. Outline here is still quite rough, to allow for any weird chipping out at the edges. I know how I work. Maybe a little too fast at this point, but I compensate for that failing by leaving a good margin. It's easy enough to work down as the plates get thinner.
Here are the back and the top, with the edges cleaned up a little, still out from the final shape.
Last month I demonstrated how to expand the range of a sweep-picked arpeggio by adding a fretboard tap above the highest note.
This month, I’d like to show you how to use arpeggio sweeps, with and without taps, to melodically outline, or describe, a chord progression. Just because I show you a run in one key and fretboard location it doesn’t mean that that’s the only place to play it.
When you practice any sweep-picked arpeggio, once you have the fingering and shape down, you’ll want to begin moving it around the neck to other positions and keys. By doing this with the various major, minor and other shapes I’ve shown you, you’ll be able to apply the technique to changing chords in a progression.
In FIGURE 1, I outline a Dm-C-Bb-A-Dm chord progression using a series of sweep-picked arpeggios with taps added. The notes of each arpeggio are sounded in ascending and descending order and are performed in a continuous sextuplet rhythm (six evenly spaced notes per beat).
As I initially move from the A string to the high E, the pick is dragged across the strings in a single downstroke, followed by hammer-on, tap and double pull-off on the high E string, which begins the descent. The final three notes of each bar are played by dragging the pick across the B, G and D strings in a single upstroke.
I play the ascending and descending Dm arpeggio twice then shift down two frets to sound the notes of a C major arpeggio. Notice that the shape is altered slightly to accommodate the change from minor to major. I then move this same major shape down two frets to Bb, and then one more fret to A. The entire phrase then resolves satisfyingly with a return to the initial Dm arpeggio. For reference, FIGURE 2 illustrates the Dm-C-Bb-A chord progression from FIGURE 1.
In bar 1 of FIGURE 3, I demonstrate the Dm sweep without the tap added on top, using a quintuplet rhythm (five evenly spaced notes per beat). Practice this arpeggio in ascending and descending manner until all the notes sound crystal clear and you get the rhythm flowing. In bar 2, for the sake of comparison, I restore the tapped high D note from FIGURE 1, with the added hammer-on and pull-off, using the slightly faster sextuplet rhythm.
Now let’s try applying sweep arpeggios to a more complex and unusual chord progression. FIGURE 4 is a five-bar run that features a steady flow of sextuplet arpeggios that melodically outline quickly changing chords, with a few surprise modulations to unexpected tonal centers. The entire figure is performed on the top three strings. While playing through this figure, notice the similarity between the arpeggio shapes, such as the symmetrical shapes used for the 7b9 arpeggios, which can be moved up or down three frets to outline the very same chord.
Former Pantera bassist Rex Brown has premiered the music video for his song, "FaultLine."
The video for the Smoke on This track shows Brown, his band and his crew setting up for a performance. You can watch it above.
“Sometimes you’ve got to go backward to go forward,” Brown told Guitar World this summer regarding Smoke on This. “You don’t want to sound like those old bands, but by god those are your influences.”
“Anybody that’s going to listen to this record thinking it’s a Pantera record, just don’t bother. It’s not. And it doesn’t sound like Down or like Kill Devil Hill,” he said. “If you’re a musician and you’re not stretching your boundaries, if you haven’t found that 13th note even though there’s 12, then you ain’t looking, Jack. That’s all there is to it! Any respected artist that’s been as successful as I have that ain’t looking for that 13th note is either dead or they’re fucking stupid.”
To read our full interview with Brown from the July 2017 issue, look no further.
Known for his killer speed and awesome technical ability demonstrated in Mr. Big and beyond, Paul Gilbert and DiMarzio are proud to announce the new PG-13 Mini Humbuckers. Check them out in the video below.
According to DiMarzio, the tone of a mini humbucker falls somewhere between a full-sized humbucker and a single-coil, and the main characteristic of these pickups is clarity. “It still has the beef; it’s not harsh. I just plugged it in, played it, and went, ‘Oh, this is good,’” Gilbert says.
If you’re wondering how mini humbuckers compare to full-sized humbuckers, they’re smaller, and have a distinctive sound. They sense a narrower length of string vibration, and that reduces lower harmonics for clearer, brighter tones.
Being on the road with Mr. Big can be challenging when it comes to tones because there are so many different styles the band plays, whether it be acoustic ballads or heavier, bluesy material. Gilbert needs a pickup that allows him to achieve all of the sounds.
The PG-13 Bridge Model has a good balance of clarity, chime, and fullness, and it’s never harsh. Cranked up through a loud amp, it’s still full and produces nice harmonics. Power chords have impact and crunch, yet they’re still friendly.
The PG-13 Neck Model is slightly fatter and creamier than the Bridge model, making it great for jazz and blues solos. Plus, its lower output and smaller size help keep it from getting muddy.
Check out the video below to hear the humbuckers in action, and for more, visit dimarzio.com.
Guitar Workshop Plus has announced its 2018 schedule and early registration discounts. Confirmed session dates are as follows:
San Diego, CA Session: June 17 - 22, 2018
Nashville, TN Session: July 15 - 20, 2018
Toronto, ON Session: July 23 – 28, 2018
Seattle, WA Session: August 19 – 24, 2018
Now in its 17th year, Guitar Workshop Plus—the premier summer music education program in North America—has announced 2018 dates, locations, and some limited time registration incentives including discounts and gear giveaways.
After expanding last year to add another location, Guitar Workshop Plus had a successful season and is returning to all locations in 2018. Of the company’s recent expansion and new locations, GWP Director Brian Murray said, “We are happy to be returning to all these great cities and offer attendees outstanding music facilities and learning environments at all of our locations. Our new facilities in San Diego overlook the ocean, Nashville is a music lover’s dream, and Toronto and Seattle are both world class cities with vibrant music scenes so we couldn’t be happier.”
He continues, “All of the locations offer fantastic modern facilities including spacious classrooms, performance theatre, practice room units, accommodations, dining facilities, and more. We have a pretty unique niche that offers people the opportunity to learn from and play with top ranked faculty and their musical heroes. Therefore, it’s important to have great locations and facilities to provide that ultimate experience that people have come to expect from us.”
In addition to an outstanding faculty roster of first call musicians and teachers, the list of artists who have worked with the administration is truly astounding. Joe Satriani, Alex Lifeson (Rush), Robben Ford, John Scofield, Steve Vai, Rik Emmett, Randy Bachman, Paul Gilbert, Andy Summers (The Police), Billy Sheehan, Pierre Bensusan, John Petrucci (Dream Theater), Orianthi, John Abercrombie, Duke Robillard, Tommy Emmanuel, John Knowles, John Jorgenson, Victor Wooten, Jennifer Batten, Tosin Abasi, Guthrie Govan, and Stu Hamm are just a few of the world class artists on this list.
Designed for aspiring musicians of all ages including teenagers, adult hobbyists, students pursuing music careers, semi-professional and professional musicians, the program offers students a unique setting for intense musical and personal growth. As well, this program allows for group development (entire bands will sometimes attend) and the family experience (father and son, mother and daughter, brothers and sisters, etc.). The program provides students with the opportunity to study multiple styles, courses, and levels with some of the industry’s leading musicians.
Having enjoyed the experience of a lifetime, students leave each session with enough material to work on until the following year. By directing instruction to the student’s personal style, level of experience, and musical goals, the program creates a healthy, non-competitive environment in which to learn.
Courses are offered for all levels (beginner to advanced), ages (12 through adult), and styles including blues, jazz, rock, acoustic, and classical. The intensive bass, drum, keyboard, vocal, and songwriting courses cover many styles and afford students with many rhythm section and ensemble performance opportunities. Each day consists of morning and afternoon classes that involve a hands-on approach, late afternoon clinics (songwriting, improvisation, vocal, etc.), ensemble performances, and evening concerts.
To register or find out more, visit guitarworkshopplus.com.
The minor scale is the most commonly used scale in metal. This month, I’d like to detail the most prevalent minor scales in metal: natural minor (also known as the Aeolian mode), the Dorian mode, the Phrygian mode and the harmonic minor scale.
The minor scale is the most commonly used scale in metal. This month, I’d like to detail the most prevalent minor scales in metal: natural minor (also known as the Aeolian mode), the Dorian mode, the Phrygian mode and the harmonic minor scale.
To begin, let’s play each of these scales in the key of E, starting with E natural minor. FIGURE 1a shows this scale played in one octave, starting from the open low E string and staying on the bottom two strings. You can see the symmetry in the fingering pattern, as the second, third and fifth frets are played on both the low E and A strings.
The same type of symmetry occurs in the second octave, as shown in FIGURE 1b, as well as in the third octave (see FIGURE 1c). FIGURE 2 shows E natural minor played across three octaves. Another essential minor scale is the Dorian mode.
FIGURE 3 illustrates this scale in three octaves. Be aware that, as compared to natural minor, there is only one note that is different in Dorian: the sixth scale degree. In natural minor, the sixth is minor, or “flatted,” whereas in Dorian, the sixth is major, or “natural.”
The Phrygian mode, shown in FIGURE 4, sounds slightly darker than natural minor and Dorian minor. The intervallic structure of Phrygian is almost identical to natural minor, with the exception of the second scale degree, which in Phrygian is minor, or “flatted”—F in the key of E, as opposed to the major second, F#, present in natural minor. The Phrygian mode can be used to play long runs of symmetrical licks across all six strings.
As shown in FIGURE 5, I can play fast triplet figures articulated with pull-offs on every string and create a seamless sound while moving down through three octaves. Also essential to metal guitar is the harmonic minor scale, shown in the key of E in FIGURES 6a and 6b. Harmonic minor is also very similar to natural minor, with the exception of the seventh scale degree.
In harmonic minor, there is a major, or “natural,” seventh, which in the key of E would be D#. Harmonic minor is a great scale for heavy single-note licks, as demonstrated in FIGURE 7. A great twist is to play double-stops, or two-note figures, against the open low E pedal, as I do in FIGURE 8, something heard often in the music of In Flames and At the Gates.
Brooklyn singer/songwriter Jeremy Bass is currently prepping the release of his newest album, The Greatest Fire. Today, GuitarWorld.com presents the exclusive premiere of the album's title track. You can listen to it above.
"I wrote this tune in the turmoil leading into the election season. I wish I could say it was about Trump himself, but it's almost better that it's more about a state of mind that if felt like our entire culture was sinking into," Bass said of the song.
"Lies, deception, sugar-coating truths, hiding behind labels and names and rhetoric. The fact that politicians can still be so brazen to lie directly to their citizens' faces when we know they're lying in the first place, it creates a cyclical pattern where the value of words and the truth itself is distorted and degraded."
"I was sick of it," he continued, "and felt that so much effort, so much trying to uncover whatever the truth was supposed to mean was sapping my strength and the will to live and create which, moreso over any political moment or discovery, is where I feel the marrow of life is. And I felt distracted, like I was avoiding facing my own fears and anxieties by becoming wrapped up in the fears and anxieties of culture at large, which wasn't going to help anyone, least of all me."
"So this was an attempt to get back to that place, to tell all the negative chatter and destructive energy to go to hell, to face my own fears and desires that were burning inside of me."
The Greatest Fire is set for a January 19 release via Jungle Strut Music.
For more on Bass, follow along on Facebook.
It's not exactly a controversy on the level of Brian Williams' fibbing he was shot down in a helicopter over Iraq, but for some guitarists, the giddy thrill of determining exactly who played the solos on Aerosmith's 1974 version of "Train Kept A Rollin’" has kept band, bar and tour-bus arguments rocking for some time—even as clues exist on Wikipedia and elsewhere.
Hopefully, you did not have your money on Aerosmith guitarists Joe Perry and Brad Whitford.
Karen Ann Hunter recently let the riffs out of the bag once and for all in a recent Detroitrocknrollmagazine.com article that revealed that the "usual suspects"—session greats Steve Hunter and Dick Wagner—took those incredible solos on the track. Karen should know, as she is Steve's wife. (Check out the Detroit Rock N Roll Magazine piece here.)
The story goes that Jack Douglas, co-producer of Get Your Wings, the Aerosmith album on which the track appeared, found Hunter outside the Record Plant Studios taking a break from another session and dragged him into Aerosmith's room.
"Aerosmith was in Studio C, and I was doing work with [producer] Bob Ezrin in Studio A," recalled Steve Hunter. "I had a long wait between dubs, and I was waiting in the lobby. Jack popped his head out of Studio C and asked 'Hey, do you feel like playing?' I said, 'Sure,' and I grabbed my guitar and went in. I had two run-throughs, and then Jack said, 'Great—that's it!' That turned out to be the opening solo on 'Train Kept A Rollin'.'"
Steve believes he used his 1959 Les Paul Special for the track. "I got paid about $750 for doing it," he said.
At the time, Hunter was unaware that Douglas had also brought in his session mate Dick Wagner to solo over the song's "simulated" live section that occurs later on.
As was the case back in the days when session musicians often "ghosted" parts thought to be played by band members, neither Hunter nor Wagner were given credit on Get Your Wings. But now, if you want to challenge a fervent Perry or Whitford fan to a "bar bet" about who played the solos on "Train Kept A Rollin'," you can use Hunter's statement (above) to win yourself a few beers. Go get 'em!
Tonight, movie theaters around the United States (it has already premiered in select other locations around the world) will premiere the eighth Star Wars film, The Last Jedi.
To get yourself in the mood, check out this endlessly entertaining video of guitarist Cooper Carter covering the "Imperial March."
Carter truly went all out for the cover, which features 70 guitar tracks, 28 orchestra parts and a small army of Ernie Ball Music Man guitars, including the Cutlass, the JP15, JP6, Armada, St. Vincent, StingRay Bass, John Petrucci BFR and Luke 3. You can watch it above.
Terror Universal—a masked metal supergroup comprised of current and former members of Ill Nino, Machine Head, Upon A Burning Body and Soulfly, among other groups—recently announced their debut album, Make Them Bleed. Today, GuitarWorld.com presents the exclusive premiere of the guitar playthrough of one of the album's most explosive tracks, the appropriately titled "Welcome to Hell."
Make Them Bleed—which is set for a January 19 release via minus HEAD Records—is a volcanic record, with vicious moments of sonic bloodletting, and equally tantalizing moments where the listener is in the eye of the storm.
You can see those qualities in this playthrough, which features the band's guitarist, THRAX. You can watch it above.
You can preorder Make Them Bleed here.
For more on Terror Universal, follow along on Facebook.
If you’re looking for a great guitar gift or need to pick up a special present for yourself or another guitarist, look no further. Our 2017 Ultimate Guitar Gift Guide is just what you need. There are a range of awesome guitar gifts from less than $10, under $500, and even a few big ticket…
There’s something sophisticated and cool about jazz guitarists that solo and comp for themselves over a tune. Players such as Jim Hall, Joe Pass, Lenny Breau, and others have made this type of soloing, mixed chords and single notes, a stable of their jazz guitar voice.
While you may love those players, and mixed chords-notes soloing, you might not know where to start.
In this lesson, you learn about exercises you can work on to develop this side of your jazz guitar improvisational approach.
As well, there’s a study over All of Me that you can learn to bring a practical, musical example of this approach into your studies.
Soloing and Comping Exercise
Before you learn the study below, you can work on creating your own mixed single note and comping solo over this, or any, jazz standard.
To work on this concept in your own playing, use the following outline as a progressive way to work the exercise.
When soloing, you can use any device you’re studying, such as scales, arpeggios, and licks.
As well, you can use any chord voicing that you know or are studying, such as drop 2, drop 3, or 4th chords.
Here’s the breakdown for working soloing and comping over any jazz standard in your guitar solos.
- Solo for 8 bars – Comp for 8 bars
- Solo for 4 bars – Comp for 4 bars
- Solo for 2 bars – Comp for 2 bars
- Solo for 1 bar – Comp for 1 bar
- Solo and comp at will
After you work on the study below, or even before if you feel ready, give these exercises a try over All of Me.
Then, take these exercises to any jazz standard you know or are studying to take these concepts further in your practice routine.
Soloing and Comping Study
Now that you know how to practice adding comping to your solos, you can learn a study that mixes single notes and chords over All of Me.
In this study, you solo for two bars and then comp for two bars, running the form with that formula for a whole chorus.
Notice that the single lines start at least an 8th note after the last chord, and end about an 8th note or more before the next chord. This allows you to switch from comping to soloing and back again without tripping up on a fast change. Keep this in mind when working on your own mixed single note and comping solos.
Once you have this study under your fingers, you can expand upon this exercise to use it as a stepping-stone in your own playing.
To do this, follow these steps:
- Play the chords as written but you make up the single notes.
- Change the rhythms for the chords but keep notes same.
- Keep the single notes as written but make up your own chords.
- Make up your own single notes and chords throughout.
Lastly, because it’s a long solo, 32 bars, start learning it one 4-bar phrase at a time. Learn bars 1-4, then when that’s comfortable, learn bars 5-8. Then, mix bars 1-4 and 5-8 together as you build an 8-bar phrase.
Continue through the study this way to make it more manageable to learn and not overwhelming in the practice room.
Now that you know how to practice this study, have fun learning it!
Check out our Jazz Standard Study Guides, 10 eBooks that teach you how to play the chords and solo over 10 classic jazz standards:
Jazz Standard Study Guides Volume 1: All of Me, Autumn Leaves, Corcovado, In a Sentimental Mood, Summertime
Jazz Standard Study Guides Volume 2: Blue Bossa, Four on Six, Misty, Take Five, There Will Never Be Another You
Click here to get a discount and buy the Jazz Standard Study Guides Volume 1 & 2 Bundle
The post All of Me – Chord and Single Note Soloing appeared first on Jazz Guitar Online | Free Jazz Guitar Lessons, Licks, Tips & Tricks..
Many people secretly aspire to be "the artist", but they have been told their entire lives that only those "with the magic" can see the world as it is and portrait it as such. It is unfortunate that so many people believe what they are told and never try to "look" at the world and "see it". We are told that we "that special something", talent, to draw, sculpt or create any thing.
Let me tell you that you don't need "talent" or "magic" to create, you need to have the desire to draw well, to learn how to read music, to play the piano, or take an axe to a piece of wood to make an idea you in your head into something that is tangible and stands in front of you.
I want to recommend a book to buy for yourself, or anyone on your holiday list,
The Zen of Seeing, by Frederick Franck.
Never has it been more urgent to speak of seeing. Ever more gadgets, from cameras to computers, from art books to videotapes, conspire to take over our thinking, our feeling, our experiencing, our seeing. Onlookers we are, spectators...
Franck was a well known artist, who's works are in great art museums in the United States, Europe and Japan. He was also a medical doctor that worked closely with the great Dr. Albert Schweitzer.
The main premise of this book is to go outside and sit quietly, to look and to draw what you see and not to worry about the outcome. Leave behind your academic training and all the things you were ever told about how you can't draw, sit down in a meadow and draw blades of grass, or your hand, leaves on a tree, or the sash in the window of a Victorian house. Why not pull out that old Stanley plane, set it on your workbench and really look at it, then draw it? You might be surprised at the results. And think, drawing skills can carry over into woodworking, music, cooking and how to converse with folks, just to mention a few areas of life that we all need to work on.
The book was written in 1973, but everything Franck says is valid today, perhaps more so because we are so inundated by media, Facebook, Twitter, Instagram, etc., that as a species we need to step back and reconnect to nature, to ourselves.
Buy the book and give it a try, because as it states on the back cover of the book,
Even if you have never thought of drawing, if you claim to be one of those people who cannot draw a straight line, this book will make you want to pick up a pencil and begin...to SEE.
Can you guess what book I will be re-reading the next couple of days?
Ernie Ball Music Man artist Cooper Carter just released an electric guitar orchestra tribute to legendary Star Wars saga composer, John Williams. (Just in time for Star Wars: The Last Jedi premiere on Thursday, December 13th). The video features 70 guitar tracks, 28 orchestra parts, and 8 of our Music Man guitars. Let the riffs flow through you….
Music Man Guitars featured:
The Cutlass features updated vintage spec electronics, a super smooth modern tremolo system and a lightweight alder body.
The JP 15 is powered by twin custom Dimarzio Illuminator pickups, piezo bridge system and on board 20db gain boost.
JP6 is the original Music Man John Petrucci signature model. The basswood body features a high gloss durable finish with stylish lines and an ergonomic scooped arm contour.
The Armada’s combination of tone woods coupled with a set of Music Man designed classic humbuckers delivers a big and beefy sound with a surprisingly sparkly clean tone you may not expect from such a powerhouse instrument.
The St. Vincent is a unique electric guitar designed with Ernie Ball Music Man tremolo, gunstock oil and hand-rubbed rosewood neck and fingerboard. St. Vincent inlays, Schaller locking tuners, 5-way pick up selector with custom configuration and 3-mini humbuckers.
The iconic StingRay Bass features a solid roadworthy construction, massive hardened steel bridge, elegant oval pick guard, 3+1 tuning key configuration, and the ever popular Music Man humbucker.
The JP BFR is powered by Dimarzio Liquifire & Crunchlab pickups, piezo bridge system and a coil splitting tone pot. Available in 6 or 7 string with Music Man JP tremolo, 3 way Toggle pickup selector and Music Man hardshell case.
Floating vintage tremolo, 5 way pickup pickup selector and 12db adjustable active boost give the Luke 3 a variety of tonal combinations suitable for any musical style.