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Hi, and welcome to my Web site! I'm glad you found your way here. On these pages, you can read about my work as a guitarist, guitar teacher, and audio engineer. If you would like to learn more about my new playalong and guitar lesson series "JamTracks“, please visit my shop for further details. You can also keep up with the latest news by reading my blog (in German). If you have any questions or comments, I'd love to hear from you.
Learn & Master Guitar - Session 9 - The Secret of Great Strumming - Part 5 In this course Steve covers Proper Strumming Technique , gives you a Simple Strumming Pattern , and teaches some Creative Strumming . In the How Music Works section he talks about Intervals .
Home > Rhythm > Strumming This series of guitar strumming lessons will take you from the basics (literally, how to strum the guitar) right through to more advanced strumming patterns and techniques. There'll be video, audio and clear diagrams to help you, plus some backing tracks you can strum along to. Strumming is a staple rhythm guitar technique that all guitarists should be confident with. It underpins many songs, as one way of providing the underlying, rhythmic chord progression or melody. In genres like funk, it plays a more prominant role in shaping rhythm and timing.
This month we are going to take a look at some new cool chords that sound great when added to a blues progression. Instead of using dominant chords throughout the progression, we will add a diminished seventh chord as well as some minor seventh chords. Let’s get started. In Fig. 1 I’ve added a diminished 7th passing chord in the sixth measure. The diminished 7th (1–b3–b5–bb7) is a great way to move from the IV chord back to the I chord. In this example, the diminished chord is a tritone away from the key we are in, in the case, A.
I am not a car person. I like to have a trunk big enough to fit a 2x12 combo amp and a backseat big enough to fit some guitars and a pedalboard. A good stereo is nice too, so I can sing along with my Johnny Cash CDs on the way to rehearsal. But the engine and other parts under the hood remain mysterious to me. The first few cars that I owned were the cheapest possible vehicles I could find, and I still have nightmares about being responsible for them and the safety of others in their vicinity. These were dangerous old gas-guzzlers with brakes that worked 95 percent of the time.
For the past few weeks, Guitar Techniques have been posting sections of this bumper feature showing you how to dramatically increase your rock soloing potential, and boost your fingerboard knowledge at the same time. Here, though, are all 50 licks in the same place for the first time. Scroll down for the full tutorial, and check out the gallery for larger tab… The main focus here in terms of vocabulary is classic rock, which we're going to define for the purposes of this study as pre-Van Halen, so you'll find no eight-finger tapping, no three-octave sweep picked arpeggios and no 32nd-note legato monster licks. What you will find, however, is a choice selection of medium-tempo classic rock phrases that are stylistically diverse, melodically flexible, and display a wide range of articulation and dynamic devices.
Guitar Lesson Overview I am trying a new camera angle again. Let me know what you think. This lick is cool. Very funky and a little bit like a horn player might play.
I love the creativity and the musical conversations that develop between a soloist and rhythm section in jazz. Comping is one of my favorite things to do, as I find it brings together the best of harmony, melody, and rhythm all in one. It’s also a fun challenge to play something that enhances the solo, as opposed to just holding down the same rhythm, or even worse, overpowering the soloist. “Comp” means not only to accompany, but also to complement. It’s the “complement” part that I’m going to focus on here. Let’s look at a ii–V–I chord progression in the key of C, shown in Fig. 1 , for starters.
Greetings, pedal stompers, and welcome back to Stomp School. It occurs to me that I might have lost a few of you in last month’s discussion of technologies such as surface-mounted devices (SMDs). I initially considered addressing this by following up with a lengthy dissertation on the history of surface-mount technology. Then I thought, “Wait a minute—I’m not an engineer, I’m a guitar player!” My interest in electronics and technology is mainly focused on how it relates to music gear, and I imagine the same is true for most of you.
In this month’s column we’re going to look at how we can utilize the modes of the major scale to enhance our soloing. Over a typical blues progression, we use three dominant-seventh chords. Dominant-seventh chords occur naturally when you build a chord based on the 5th degree of the major scale. Also, when you play through a major scale starting on the 5th degree it creates the Mixolydian mode.
I’m a huge fan of many different types of blues guitarists—everyone from SRV to B.B. King. I’m also a real sucker for jazz guitarists like Joe Pass and Wes Montgomery.
Gary Moore, born in Belfast in 1952, first picked up an acoustic at age eight. Like many other aspiring players at the time, Moore was influenced by the rock 'n' roll greats such as Elvis Presley and later on The Beatles. But when John Mayall's Bluesbreakers played in his home town, there was no going back... Check out the video above for Gary Moore-style blues licks and scroll down for each example's tab (click to enlarge). Example 1 Moore often establishes the mood of a solo carefully before tearing into anything blistering.
There seems to be a preference in funk music to use chord shapes that have the root on the first string. Since the first and sixth string are both "E" strings, learning to use these chord shapes should be easy for guitarists who have already learned their note-names on the sixth string. The major chord above gets used reasonably often, although many times, funk guitarists will only play the top two notes of the chord, which makes it identical to the 5th chord displayed above. The minor chord above is also used extensively.
Guitar Lesson Overview Are you looking for ideas for how to use the Blues Scale in a more musical way? Does your lead playing suck? Well, I know the feeling.
Guitar Lesson Overview Here are 2 cool blues guitar licks, played in the key of E. This lesson has the tab built-in to the video.