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    We are the storytelling species. It’s part of what creates and shapes our humanness.

    But it’s not just ourselves we surround with stories, it’s things as well. Stories enable us to humanize objects and thereby imbue them with greater personal value.

    When it comes to our guitars, the story behind each forms part of what we guitarists call its “mojo.”

    Let’s take a simple example. Suppose you bought a guitar and then found out months later that its previous owner was one of your favorite guitarists. I suspect that guitar would suddenly become even more important to you. And in that way might well come to sound and play better to you. In guitar terms, its mojo would have increased.

    The story is therefore part of its worth.

    This applies to entire categories of guitars. Why would you buy a Les Paul? Maybe because it’s the best guitar in the shop. But partly, I’m guessing, it’s because of the history, the legacy, the story. This is the guitar of Les Paul, Eric Clapton, Jimmy Page and Slash. The iconic instrument behind songs like “Money for Nothing” and “Whole Lotta Love.”

    Often it’s not just the type of guitar, it’s how you bought it that makes the story. Think of this as “The Story of the Hunt.” Maybe you got a great deal at your local BBGS (Big Box Guitar Store). We all love to say we got a bargain. Paradoxically, the opposite story applies as well. And here I’m talking to you, Mr. “I Just Dropped 10 Large on a Vintage Acoustic.”

    In the first case, it’s that we got a more valuable guitar than what we paid, which implies value added to the gear above its cost. In the second case, it’s coming right out and saying that because we paid so much, it must be that valuable. At least that’s the hope, right?

    The type of story that adds value to our guitars can change over time. What detracts value to one generation might add value to the next. Let me show you what I mean.

    Originally a new guitar was, quite logically, worth more than a used one. A used guitar was merely older and pre-owned—as indicated by the lower price tag. But at some point in the 1950s, players began seeking out certain older instruments—Martin and Gibson acoustics, for instance. They felt that the older models were better than what was currently being sold.

    Not long after, the idea of a guitar or amp (or even pedal, eventually) being “vintage” acquired cache. It became a magical term. Vintage automatically added two stories—that it was better merely “used” and that it lead an interesting life before it came into your hands. We enjoyed imagining all the bars and stages and jams where it had been played.

    Guitar manufacturers became aware of this, and they now offer both kinds of stories pre-made in new instruments, by issuing recreations not only of vintage models but of specific guitars played by various guitar heroes. Nowadays you can go to your local dealer and buy a brand-new guitar that has echoes of the stories of vintage and fame—at a sizable upcharge, naturally. Such is the cost of storytelling.

    And of course, there are relic-ed guitars that imply their own stories of years of use.

    But it’s the personal story I like best. The one intrinsic to that individual guitar that helps make it unique.

    When I look at my own favorite pieces of gear, I can recall the story behind each one—where it came from and how I came to own it—from the ‘27 Martin that was a 40th birthday gift from my wife to the ‘66 Deluxe Reverb I bought from the proverbial trunk of a car.

    But the story doesn’t end there.

    If we allow that stories add value to our gear, then it’s worth noting that the story isn’t finished the day we buy that guitar or amp. In fact, for a new piece of equipment, it’s really just the first chapter. By playing it in all sorts of situations, it gains a history. Each recording a guitar was used on, that jam with friends, even the repaired headstock crack from where you tried to show off but ended up crashing into your drummer’s hi-hat, every time you make a memory with your guitar you add a story.

    And that just makes your guitar more valuable. So go out and play. It’s story time.

    William Baeck is a writer, photographer and hack guitarist living in London. You can check out his webpage at williambaeck.com and reach him on Facebook and Twitter.

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    We don't normally share (or care about) stories have have anything to do with "air guitar," but this viral video of actor Bradley Cooper on The Tonight Show Starring Jimmy Fallon just isn't going away. And it's actually pretty cool.

    In the clip, which you can check out below, Cooper—who has starred in The Hangover series, Silver Linings Playbook and American Hustle—plays air guitar to Neil Young's famous (and perhaps even perfect) guitar solo on "Down by the River," a tune Young recorded with Crazy Horse in 1969.

    Early in the clip, Cooper (who is wearing a wig) admits he has very little musical talent—although he does a damn fine job with his performance (he looks like he really knows where the notes are)—I mean, in the context of "air guitar," of course.

    The video also gives you a new appreciation for the solo itself, for Young's note choices, timing, spacing, attack, etc.

    For your viewing pleasure, we've included a live 1970 TV performance of the song by Crosby, Stills, Nash and Young. In that version, Stephen Stills and Young play the solo on their respective Gretsch guitars.

    The Fallon video was posted to YouTube January 5. Cooper's "solo" starts around the 2:00 point in the clip.

    Enjoy! Or "air enjoy"! And yes, Fallon is also wearing a wig.

    Additional Content

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    Metallica guitarist Kirk Hammett has announced the details of the next Kirk Von Hammett Fear FestEvil.

    The annual event, now in its second year, will include a murder-mystery dinner/VIP party at the Winchester Mystery House in San Jose, California, April 10, followed by a two-night Fear FestEvil musical punch at RockBar Theater April 11 and 12.

    On the 10th, guests attending the Fear FestEvil VIP party will enjoy a night of "whodunnit" mystery madness, dining alongside Hammett, touring the eerie and atmospheric mansion and trying to figure out who killed whom. Guests can expect twists, turns and clues from some "horror royalty" as they try to crack the mystery.

    On the 11th and 12th, Fear FestEvil friends heading to the RockBar Theater can expect to see some of the finest pieces in any modern horror collection as Kirk Von Hammett unveils more of The Crypt publicly, before throwing down some heavy music courtesy of Meshuggah, High On Fire, Orchid, Blues Pills, Agnostic Front and Asada Messiah. Sirius Radio's Liquid Metal host Jose Mangin and 107.7 the Bone's Nikki Blakk will preside over the proceedings.

    "It has always been my intention that Fear FestEvil events carry both the weird and the loud," Hammett says, "and what better way to achieve another extension of what we want to do than eat dinner in a haunted house while solving criminal acts before a weekend of super kick-ass music?!"

    Kirk Von Hammett's Fear FestEvil kicked off last year in San Francisco at the Regency Ballroom. The inaugural event featured highlights of Hammett's famous Crypt Collection, an array of panels and guest speakers, live musical performances and various on-site vendors.

    For tickets and details, visit FearFestEvil.com.

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    Guitarist Troy Grady hosts a web series called "Cracking the Code."

    In each episode, he breaks down a phrase—or something awesome that he has learned or figured out—and then explains it in a detail-packed way that includes an information- and graphics-packed video.

    In the recent past, we've shared two "Cracking the Code" videos dedicated to Yngwie Malmsteen's picking:

    Yngwie Malmsteen Lesson: Cracking the Code, Season 2, Episode 1: "Get Down for the Upstroke"

    Yngwie Malmsteen Lesson: Cracking the Code, Season 2, Episode 2: "Inside the Volcano."

    Today we bring you Grady's new Paul Gilbert-themed lesson, "The Truth About Inside & Outside Picking."

    "Chapter 24 of the Antigravity seminar explores the amazing Paul Gilbert and the often-misunderstood concepts of inside and outside picking," Grady says. You can learn more about Grady's Antigravity series right here.

    For more about Grady and his instructional videos, visit troygrady.com and gumroad.com. Enjoy!

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    Here's a word-for-word reprint of something the uber-talented Paul Gilbert recently posted to his Facebook page. It does a perfect job of setting up the new video below.

    "I was making a video for DiMarzio pickups recently, when I felt a sudden urge to make a 'public service announcement' about rock-and-roll strap length.

    "I suspect I might get in trouble with the high-strap-wearing crowd, but if even one guitarist gets better vibrato because of my message, it will all have been worth it.

    "And no matter what height you prefer, DiMarzio makes some great straps."

    Additional Content

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    Guild continues to build out its Newark St. Collection with new options on popular models.

    For the first time in decades, guitarists can easily get a hold of a Guild Starfire III, Starfire IV or Starfire V in a sleek, Black finish.

    This highly desired option was only available for a short period of time and continues to be one of the most sought after on the Starfire models. All three of these guitars are built with mahogany tops, backs and sides, have a comfortable, extra thin body depth and include a hardshell case.

    Guild’s “Anti-Hum” dual-coil neck and bridge pickups are replicas of the original 1960s pickups, featured on all three models. The Starfire III is the only fully hollow model of the three, boasting a graceful single Florentine cutaway and a Guild vibrato tailpiece. The Starfire IV is a semi-hollow guitar with a double cutaway, most famously paired with Buddy Guy in the 1960s, and more recently in the hands of Feist.

    The Starfire V is also a semi-hollow guitar with a double cutaway, block inlays, additional master volume knob, and comes equipped with a Guild vibrato tailpiece. The Starfire III, IV, and V remain the heart of the Newark St. Collection, offering Guild’s classic vibe and vintage tone.

    Starfire III Black Street: $1099.99
    Starfire IV Black Street: $1099.99
    Starfire V Black Street: $1199.99

    Visit Guild Guitars’ exhibit at the 2015 Winter NAMM Show, located at Booth 5308. For more about Guild, visit guildguitars.com.

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    Here’s a fabulous acoustic version of country hit master Montgomery Gentry’s “Headlights.”

    This expertly written and performed song by the duo of Troy Gentry and Eddie Montgomery is from their upcoming release, due out in 2015.

    “Headlights” is the first single and it hit the charts hard when it came out in Fall of 2014. You can purchase the studio recording here: http://smarturl.it/fn1qbr

    Some fun harmonies, a laid back vibe and expert playing take center stage here.

    They share, “We love this song, it’s one of our most favorite songs we’ve done in a long time, especially when we play it live. We played the House of Blues down in New Orleans recently did this acoustic version in the green room. It’s fun to strip songs down like that in that kind of setting. It’s so different than our stage show."

    Check it out here:

    As a duo, Montgomery Gentry secured Top 10 singles, including five No. 1s which include "Something To Be Proud Of", "If You Ever Stop Loving Me", "Back When I Knew It All" and "Roll With Me"

    In 2000, Montgomery Gentry claimed the CMA Duo of the Year award, breaking an eight year winning streak by Brooks & Dunn. They also won the ACM New Duo or Group award, an American Music Award for Favorite New Country Artist, and Radio and Records Readers Poll named them Top Country Duo.

    In 2009 they were inducted into the Grand Ole Opry. Acknowledged by the Academy of Country Music as the 2010 winners of its Humanitarian Award, they devote their time and energy into making the needs of others a priority. They are active participants in many charitable organizations, including the U.S. military and numerous charitable organizations such as the TJ Martell Foundation, Camp Horsin' Around and the Make-A-Wish Foundation of Middle Tennessee, among numerous others.

    Find out more at montgomerygentry.com

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    The Women’s International Music Network is thrilled to announce the complete lineup for the 2015 She Rocks Awards, taking place Fri., Jan. 23, 2015, from 6 p.m. to 8:30 p.m. at the Anaheim Hilton Hotel in Anaheim, Calif., during the 2015 Winter NAMM show.

    Tickets are available at www.sherocksawards.com.

    With an impressive artist lineup and co-hosting duties being shared between WiMN Founder and Acoustic Nation editor, Laura B. Whitmore, and platinum-selling guitarist and solo artist Orianthi, the 2015 She Rocks Awards promise to be the most dynamic She Rocks Awards ceremony yet.

    Honorees include:
    - Grammy Award-winning, multi-platinum artist Colbie Caillat*
    - Grammy Award-nominated saxophone player and singer-songwriter Mindi Abair*
    - Iconic, platinum-selling all-female pop band The Bangles*
    - Avedis Zildjian CEO Craigie Zildjian
    - Beacock Music Co-Owner Gayle Beacock
    - Vice President for Online Learning and Continuing Education/ CEO for Berklee’s award-winning online continuing education program, Berklee Online, Debbie Cavalier
    - Vice President of Brand Marketing for C.F. Martin & Co, Amani Duncan
    - Editor of Music Inc. and UpBeat Daily magazines, Katie Kailus
    - Vice President of iconic Capitol Studios Paula Salvatore
    *Also performing

    The She Rocks Awards will be kicked off by Americana band SHEL, and throughout the evening will feature an all-star house band led by acclaimed guitarist Gretchen Menn, and include Zepparella members Angeline Saris on bass, Clementine on drums, and guest keyboardist Jenna Paone.

    With featured performances, food and beverages, giveaways, a silent auction, networking opportunities and more, the third annual She Rocks Awards brings together industry professionals, music icons, artists, fans, and media to celebrate women in music. A portion of the proceeds of the event will go to benefit the Girls Rock Camp Alliance.

    This event has sold out for the past two years and does not require a NAMM badge to attend.
    The She Rocks Awards is sponsored by The Gretsch Company, Guitar Center, Seymour Duncan, The Avedis Zildjian Company, C.F. Martin & Co, Weber Mandolins, Fishman, 108 Rock Star Guitars, Casio, PRS Guitars, Yamaha, Berklee Online, Roland, Kind, LAWIM, International Musician, Making Music Magazine, 95.5 KLOS, OC Weekly, as well as NewBay Media, and their publications Guitar World, Guitar Player, Acoustic Nation, Bass Player, Electronic Musician and Keyboard Magazine.

    Purchase tickets and find out more about the She Rocks Awards at www.sherocksawards.com.

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    Cordoba is proud to introduce the new Cordoba Mini, a uniquely sized travel instrument available with three different wood options.

    Designed to be the perfect companions for road trips, vacations, and hanging out at home, the Minis provide the playability of a full size nylon string guitar in a compact, lightweight body with an impressively loud voice.

    The Cordoba Minis are offered in the classic wood combinations of spruce/mahogany (Mini M) and spruce/rosewood (Mini R), with an exotic all-ovangkol option rounding out the trio (Mini O).

    The Minis feature a thin U-shaped neck and 50mm (1.96”) nut width, offering the comfortable feel and string spacing of a full size guitar. With a 510mm (20”) scale length, the Minis are tuned to A, and come strung with custom Aquila strings. Each Cordoba Mini has a solid top, matte finish, and includes a gig bag.

    Cordoba Mini M – Street $199.99
    Cordoba Mini R – Street $249.99
    Cordoba Mini O – Street $279.99

    Founded in 1997, Cordoba seeks to guide the evolution of acoustic guitars and ukuleles, blending traditional craftsmanship of the early master luthiers with modern developments. Inspired by the organic beauty and honesty of acoustic instruments, every Cordoba is lightweight, responsive, and a direct descendant of the Spanish tradition. Cordoba continues to challenge the definition of the acoustic guitar without sacrificing the authenticity of its heritage.

    Learn more at www.cordobaguitars.com.


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    On the heels of legendary guitarist Paco De Lucia’s tragic passing, Cordoba has released a new flamenco model, called the F7 Paco. Inspired by various instruments in De Lucia’s arsenal, the F7 Paco features non-traditional body woods for a flamenco guitar.

    Built with a solid Canadian cedar top and Indian rosewood back and sides, this guitar has a warmer, darker sound than traditional flamencos, which are typically built with brighter woods like spruce and cypress.

    The F7 Paco has the projection, response, and feel of a flamenco guitar, but the cedar/rosewood combination provides a softer attack, deep tone, and rich sustain.

    This guitar also features a traditional 52mm nut width, high gloss finish, clear Spanish golpeadores, Savarez strings, and includes a deluxe Cordoba gig bag.

    Cordoba F7 Paco Specs:
    Solid Canadian cedar top, Indian rosewood back and sides, mahogany neck with rosewood fingerboard, maple binding, natural high gloss PU finish, 52mm nut width, 650mm scale length, clear Spanish golpeadores, Savarez Cristal Corum strings. Includes deluxe Cordoba gig bag.

    Street price: $529.99

    Learn more at www.cordobaguitars.com.


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    Rock/fusion power trio supergroup the Aristocrats—featuring Guthrie Govan on guitar, Bryan Beller on bass and Marco Minnemann on drums—will release Culture Clash Live, a new live CD/DVD, January 20.

    Captured in six different locations in five countries on three continents during the band’s 100-plus-show Culture Clash World Tour, it showcases the Aristocrats at their best: virtuosic, melodic, spontaneous, outrageous and fun.

    Today, GuitarWorld.com presents the exclusive premiere of a live version of "Culture Clash" from the new DVD. The performance was filmed in Bangkok, Thailand. Check it out below; as always, tell us what you think in the comments or on Facebook.

    Culture Clash Live will be released via BOING Music and will be available as a CD/DVD package containing eight audio tracks on the CD and nine cuts on the DVD.

    Only three tracks are the same performance on both CD and DVD; all the others are unique, giving fans a chance to hear how the songs evolved. DVD bonus features include a look behind the scenes at the video setup in Tokyo; an extra drum solo shot with 20 cameras; and demos from the Culture Clash album.

    “Every time we play a song live, it seems to evolve slightly,” Govan says. “However hard we might try to capture definitive versions in the studio, the true nature of any given composition inevitably reveals itself during the subsequent touring process, mutating incrementally from one night to the next as we do our best to maintain the element of spontaneity and encourage the occurrence of little musical ‘accidents.’”

    Physical units will first be sold through the band’s webstore and are already available for pre-sales. The digital audio-only will be available through iTunes and other e-tailers.

    The band is also releasing a 2CD, Secret Show: Live In Osaka. The first 1,000 units of Secret Show will be signed by the band, and the limited release will be available only at the band’s website and merch tables.

    You can check out complete track listings of all these releases below the video. Enjoy!

    For more information on the Aristocrats, visit the-aristocrats-band.com and follow them on Facebook.

    Culture Clash Live CD Track Listing:
    Sweaty Knockers (Whittier, CA, USA)
    Ohhhh Noooo (Whittier, CA, USA)
    Get It Like That (Whittier, CA, USA)
    Culture Clash (Whittier, CA, USA)
    Gaping Head Wound (Whittier, CA)
    Louisville Stomp (Manchester, UK)
    Desert Tornado (Bangkok, THAILAND)
    Living The Dream (Zoetermeer, NL)

    Culture Clash Live DVD Track Listing:
    Furtive Jack (Tokyo, JAPAN)
    Ohhhh Noooo (Bangkok, THAILAND)
    Louisville Stomp (Manchester, UK)
    Get It Like That (Tokyo, JAPAN)
    Culture Clash (Bangkok, THAILAND)
    Blues F***ers (Mexico City, MX)
    Gaping Head Wound (Mexico City, MX)
    Desert Tornado (Bangkok, THAILAND)
    Living The Dream (Zoetermeer, NL)

    Secret Show: Live In Osaka Track Listing:
    Disc One
    Furtive Jack
    Sweaty Knockers
    Ohhhh Noooo
    Get It Like That
    Culture Clash
    Disc Two
    Parental Advisory (pronounced "Blues F***ers")
    Gaping Head Wound
    Twister (pronounced "Desert Tornado")
    Washed Passport (pronounced "Living The Dream")
    Erotic Cakes

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    Are two really better than one?

    They are when it comes to these duets!

    Here amazing performers pair up for some fabulous acoustic playing that is double the fun.

    Got a favorite creative couple of your own? Please clue me in!

    And check ‘em out here!

    Rodrigo y Gabriela

    These two have built their entire career on the duet direction. And it works!

    With a background in metal paired with an aggressively classical sensibility, Mexican duo Rodrigo Sanchez and Gabriela Quintero have really pinned down what makes a duet great. That sense of complimenting each other’s strengths so perfectly.

    These two have so many videos to choose from it’s hard to pick just one.

    Here’s a sick acoustic performance with a really great video for their song “Hanuman.” This song appears on their album 11:11.

    Acoustic Gangsters: Josef Scheiner and Peter Luha

    I love their name, Acoustic Gangsters! I love everything about this.

    Here’s a very cool duet of acoustic guitar and mandolin.

    It’s an original composition for Piazzolla by mandolinist Jozef Scheiner from his instrumental solo mandolin album Perinmama.

    The instruments used in the video include a Godin A8 mandolin and an acoustic Klema guitar (recorded through K&K Trinity sound system).

    Find out more at Peterluha.com and www.facebook.com/pages/Jozef-Scheiner/1404346406451126

    Tommy Emmanuel and Jake Shimabukuro

    Two masters of their instruments paired together? You betcha!

    Here the incomparable Tommy Emmanuel gets together with ukulele legend Jake Simabukuro for this touching performance.

    Both of these artists partner for performances quite a bit and this pairing makes so much sense.

    Here they perform George Harrison’s “While My Guitar Gently Weeps”

    Tracy Bundy and Sungha Jung

    I recently came across the genius of Sungha Jung, and he is simply mesmerizing to watch.

    Hailing from South Korea, this young guitarist started early and got a boost from his fabulous videos on YouTube.

    Here he pairs with Trace Bundy from Boulder, Colorado, also known as “The Acoustic Ninja.”

    Their performance here of Michael Jackson’s “Billy Jean” is inspired!

    Gabriella Quevedo and Salomon Jakobsson

    What is it about the name Gabriella? Are they all fabulous guitarists? This one is!

    Another YouTube sensation, the teenaged Gabriella Quevedo calls Sweden her home. Her Argentinian dad was the one who influenced her to pick up the guitar.

    Her partner here, Salomon Jakobsson, started playing violin at age 10 but switched to guitar when he turned 13. Currently 19, he also hails from Sweden.

    Here they perform “Fake” by Depapepe

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    Late last week, when Foo Fighters told the universe about frontman Dave Grohl's "surprise" birthday show scheduled for this past Saturday at the Forum in LA, we knew we'd have some interesting clips to share with you this morning. Turns out we were correct!

    Below, check out videos freshly posted, fan-filmed of Foo Fighters performing with:

    01. David Lee Roth for a version of Van Halen's "Panama" and "Ain't Talkin' Bout Love"

    02. Tenacious D and Slash for Led Zeppelin's "Immigrant Song."

    03. Paul Stanley for a version of Kiss'"Do You Love Me?"

    Of course, we'll have more videos for you as they become available on YouTube. In the meantime, enjoy the following three clips!

    According to Rolling Stone, Zakk Wylde, Lemmy Kilmeister of Motorhead, Perry Farrell of Jane's Addiction and Trombone Shorty also made appearances during the marathon set. That didn't stop the band from making their way through a host of Foo Fighters hits, including "Learning to Fly" and "Everlong."

    DAVID LEE ROTH, "Panama" and "Ain't Talkin' Bout Love"

    TENACIOUS D and SLASH, "Immigrant Song":

    PAUL STANLEY, "Do You Love Me?":

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    On January 6, PRS Guitars announced its new signature model for Periphery's Mark Holcomb.

    Earlier today, Holcomb posted his very own demo video, which was filmed and edited by Jeff Holcomb.

    Check out all the specs below.

    For more information about this model, visit prsguitars.com/markholcomb. You also can check out a short Q&A with Holcomb where he discusses his signature model, offers advice for aspiring musicians and more right here.


    • 25.5" scale length
    • 20" fretboard radius
    • Mark's signature Seymour Duncan Alpha (neck) and Omega (bridge) pickups
    • String-thru body with new proprietary PRS stoptail bridge
    • Jumbo PRS DGT frets
    • Mahogany body, quilted or flamed maple top, maple neck
    • Hipshot hardware, 5 way pickup selector
    • Satin finish on body, neck and headstock
    • Currently available in Jade, Black Gold Burst, Charcoal Burst, Black Cherry, Faded Whale Blue or Holcomb Burst (featured)
    • Glow-in-the-dark side dots.

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    In this lesson, I'm going to show you a two-hand tapping workout based on the foundation of my previous lesson, “Pentatonic Workout: Increase Left Hand Strength and Produce Great-Sounding Sequences."

    Assuming you're already comfortable with the five positions of the pentatonic scale and the sequences discussed in this previous lesson, we'll now take it to the next level.

    We’ll use the A minor pentatonic scale at the fifth position as our example, but you will want to make sure you can perform this routine in all five positions of the pentatonic scale.

    This workout starts with the A minor pentatonic scale ascending and descending, with the added element of our right hand, tapping an additional note normally found in the next position of the scale (Example 1).


    After this establishes the fingering for your left and right hands, the workout continues with a two-string sequence, where you play the “high note-low note-middle note” tapping pattern across sixth and fifth strings. This pattern starts again on the fifth string, continues to the fourth string, then repeats in a similar fashion ascending across all six strings. Turn the direction around to descend (Example 2).


    The third part of the workout is a sequence that ascends in nine-note groups (three strings’ worth of tapped pentatonic scale), then back a string, start on the D (fifth string) and ascend another nine notes (three strings).

    Continue this pattern until you start the sequence on the G string, at which point you simply turn the pattern around and perform the sequence in reverse: From the high E string, you play the tapping pattern descending nine note (three strings), go back a string and start the pattern again on the B string, and again, continuing in the same fashion (Example 3).


    The fourth and final part of the tapping workout involves string skipping. Using the same tapping pattern (high note-low note-middle note) as before, start on the low E string, skip the A string, play the pattern on the D string, go back to the A string and start the pattern again, then skip the D string, and play the tapping pattern on the G string. This pattern continues, gets turned around like before, and then works its way back in reverse (Example 4).


    I like to string these four examples together, playing then back to back, without stopping. I find this forces me to think ahead, be able to change gears and mix things up in my regular playing more easily.

    Practice these as straight eighth notes, as well as triplets. Once you are able to play these four elements back to back without any problems, try it with the other four pentatonic positions. Use a metronome to gauge your progress, and push yourself to play these at a faster tempo once they become comfortable.

    Guitarist Adrian Galysh is a solo artist, and education coordinator for Guitar Center Studios. He's the author of the book Progressive Guitar Warmups and Exercises. For more information, visit him at AdrianGalysh.com.

    GuitarWorld.com readers can enjoy a FREE download of Galysh's song "Spring (The Return)" by clicking HERE.

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    Live online group and private classes are starting in January at Lessonface.com.

    In this month’s installment of Absolute Fretboard Mastery (which happens to be the final installment), we’ll be going a little bit deeper into the modes we learned last month by learning how to apply them across our fretboard.

    But before we get into that, I want to address a common misconception a lot of guitarists have when learning the modes. They think of modes as completely separate entities, as opposed to different aspects of one scale.

    This was something that confused me too when I started learning about modes, so I want to make sure we’re absolutely clear on exactly what modes are and how they function.

    Let’s start off by taking a look at the first position of the A minor pentatonic we’ve learned:


    Say we were playing in the key of A minor; the pitches we would emphasize in this first position are the A notes, which are highlighted in the chart above. Of course, there are various other notes we could emphasize on in this position, but as long as the chord is A minor, we stick to emphasizing those A notes.

    When we move to the second position of the A minor pentatonic scale, the structure of this position looks different from the first, but as long as we’re playing in the key of A minor, we’d still be trying to find those A notes to emphasize them.


    In the same way, as we keep moving through the remaining three positions of the A minor pentatonic scale, we’d keep emphasizing those A notes.

    When we move onto the diatonic scale, things can get a bit confusing because sometimes we label the first shape of the diatonic scale as Ionian, the second as Dorian and the third as Phrygian, and so on and so forth. To clear things up, let’s take a look at the first spread-finger shape of the G major scale:


    Remember that if you want to change to a different key, you can simply move this shape around. For example, C major would be:


    Going back to our example, let’s take a look at the second shape of the G major scale:


    Sometimes people refer to this second position as Dorian. But we know from last month’s lesson that Dorian simply means “two,” and when we say we’re playing in A Dorian, we’re still in the key of G major and simply emphasizing the note A and the chord A minor.

    But here’s the thing: Instead of moving to the second position, we can still stay in the first position of G major and target the A notes in that shape.


    Stop thinking that if you want to play in Dorian you HAVE to move to the second position. Or that if you want to play in Phrygian you HAVE to move to the third position, and so on. Just as the five pentatonic shapes allow you to navigate across your entire fretboard, I want you to internalize the fact that the seven shapes of the diatonic scale allow you to play across your whole fretboard while emphasizing any note you want, in any position you want.

    Instead of looking at your fretboard and visualizing the first position as Ionian, the second position as Dorian, the third as Phrygian and so on, work on being able to visualize all seven positions across your fretboard while remembering you also can emphasize whichever note you want across all seven positions.

    A good way of approaching this is to first memorize all seven positions of the diatonic scale across the fretboard. You can do this by tackling a couple of positions at a time, then connecting them to each other, the same way we did with the pentatonic scales, until you can connect them across the entire fretboard.

    Once you’ve done that, and once you’ve also internalized what we learned in last month’s lesson, when someone says you need to play in G Dorian, all you’ll have to do is understand that you’re really in F major. Move all seven positions to coincide with the key of F and then emphasize the G notes across all the scale shapes.

    By doing this, you prevent yourself from falling into the trap of segregating yourself to specific scale shapes when wanting to play in a specific mode. In addition, this helps with your absolute understanding of modes and how they relate to the major scales they are a part of.

    Say you need to play in a specific mode; all you need to do is grasp which major scale you’re in, visualize the seven shapes of that scale across your fretboard and then decide on the notes to emphasize across these scale shapes. For instance, if you need to play in D Mixolydian, you need to first understand that you’re in the key of G.

    Then you can visualize the seven shapes of the G major scale across your fretboard and finally target and emphasize the D notes in these shapes to play in D Mixolydian. If you’re having trouble spotting the notes across your frets, you might want to revisit some of the earlier lessons in this series where we talked about learning the notes across each string.

    As always, I hope you practice hard and work on these concepts until you internalize them. I’ll talk to you soon!

    Try any lesson or class on Lessonface.com.. Your satisfaction is guaranteed. You’ll find great teachers in a multitude of instruments, genres and levels. For more information, head here.

    Steve Stine is a longtime and sought-after guitar teacher who is professor of Modern Guitar Studies at North Dakota State University. Over the last 27 years, he has taught thousands of students, including established touring musicians, and released numerous video guitar lesson courses via established publishers. A resident of Fargo, North Dakota, today he is more accessible than ever before through the convenience of live online guitar lessons at Lessonface.com.

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    Martin guitar has announced its new offerings to be presented at the 2015 Winter NAMM Show next week.

    New models to be showcased include the CS-00041-15, CEO 8 and two new Authentics Series models.

    Details on the products featured at the showcase are below and complete product specs can be found right here.

    Martin also will introduce its new Martin Vintage Tone System (VTS), which uses a unique recipe based on the historic torrefaction system. The VTS system acts much like a time machine in which craftsmen can target any decade and age the top and braces to the specific era. This focused method allows the team to re-create not only the pleasing visual aesthetics of an old guitar, but also reproduce the special tones previously reserved for vintage instruments.

    · Dreadnought Junior: Martin introduces a new body size with the solid wood Dreadnought Junior, which is fashioned for player comfort, clear powerful tone and easy action. The affordably priced Dreadnought Junior is ideal for smaller players, students, travelers, or anyone who aspires to the clarity and depth of tone that has defined Martin instruments for more than 180 years. (MSRP: $799)

    · OM-28 Authentic 1931: This guitar shares Martin’s significant 14-fret neck Orchestra Model innovation and is based on a rare 1931 OM-28 model originally owned by Mike Seeger. The specifications have been closely followed with the following exceptions: Madagascar rosewood replaces the rarer Brazilian rosewood, vintage gloss finish and torrefied Adirondack spruce top and braces – Martin’s Vintage Tone System (VTS) - used to replicate the aged appearance and tonality of the 1931 original. (MSRP: $8,499)

    · OM-45 De Luxe Authentic 1930: Drawing inspiration and specifications from the 1930 OM-45 Deluxe, only 11 guitars (like the original run made in 1930) are offered in this edition. Each is a hand-crafted replica of the original model featured in the Martin Guitar museum collection. The model boasts a torrefied Adirondack spruce top and braces - Martin’s Vintage Tone System (VTS) - to replicate the aged appearance and tonality of the 1930’s original and Brazilian rosewood back and sides. We also replaced elephant ivory on the guitar, which is in line with Martin’s advocacy with The Nature Conservancy’s Save Elephants campaign to bring awareness to the senseless slaughter of elephants for their ivory. Each guitar comes with a Harp Tone guitar case. (MSRP: $99,999)

    · CS-00041-15: Limited to 75 special guitars, the Martin Custom Shop offers this stunning edition for 2015. The back and sides of brilliant orange and black grained solid cocobolo are combined with a torrefied Adirondack spruce top - Martin’s Vintage Tone System (VTS) - delicately scalloped with high performance bracing for a complex and vibrant tone - a perfect example of The Custom Shop’s skill and taste. (MSRP: $9,999)

    · D-41 Purple Martin Cocobolo: The Purple Martin is the largest North American swallow and produces sounds that have been described as “throaty and rich,” much like the limited edition guitar that bears its name. A favorite theme of CEO & Chairman Chris Martin, this 2015 version is the second in a series of Purple Martin Limited Editions. The black pickguard as well as the ebony fingerboard and bridge are all inlaid with a dramatic Purple Martin motif. With no more than 50 produced, each D-41 Purple Martin will bear an interior label personally signed by C. F. Martin IV and numbered in sequence with the edition total. (MSRP: $12,499)

    · SS-GP42-15: Martin’s Anaheim NAMM Show Special for 2015 is a spectacular stage performance guitar with an aged torrefied European spruce soundboard - Martin’s Vintage Tone System (VTS) - and highly flamed Hawaiian koa back and sides. Personally signed by C. F. Martin IV and numbered in sequence, no more than fifty of these special guitars will be offered. (MSRP: $10,999)

    · SSC-OM35-15: This is the second in a series of NAMM Show Special guitars created specifically for the Canadian marketplace. The unique style 35 3-piece back features solid cherry wings with a Pacific big leaf flamed maple center wedge. Each instrument bears an interior label signed by C. F. Martin IV and numbered in sequence. (MSRP: $4,699)

    · 000-15M Burst: The 000-15M Burst, constructed with solid mahogany top, back, sides and neck, is already an extremely popular and affordable Martin model, exhibiting a clear, powerful, expressive and balanced tone. With a beautifully applied sunburst, this model is joining its Dreadnought visual counterpart in the Martin line – the D-15M Burst. (MSRP: $1,849)

    · CEO 8: This is the eighth incarnation of C. F. Martin IV’s “CEO’s Choice” series, with favored specifications selected by Chris Martin. Martin’s largest acoustic body size, the Grand Jumbo, delivers great value for all of the included features. Each CEO-8 Special Edition comes with stage ready D-TAR Wave-length Multi-Source electronics and bears an interior label individually numbered in sequence and personally signed by C. F. Martin IV. (MSRP: $6,999)

    For more information, visit martinguitar.com.

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    As any good GuitarWorld.com follower knows, we often share the very highly detailed and entertaining lesson videos of a guitarist named Troy Grady.

    Here are two recent examples:

    Paul Gilbert Lesson: The Truth About Inside and Outside Picking — Video

    Yngwie Malmsteen Lesson: Cracking the Code, Season 2, Episode 2: "Inside the Volcano."

    Well, in the video below, Grady tackles what he calls Steve Vai's "Intimidation Lick" from the guitar-duel scene in the 1986 feature Crossroads. As always, it's fascinating to watch Grady break down and explain the lick. Check out the video below, and you'll see what I mean.

    As Grady points out in the comments below, you can find tablature for this lesson right here.

    For more about Grady and his instructional videos, visit troygrady.com and gumroad.com. Enjoy!

    Additional Content

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    One of the most venerated guitarists ever to grace hard rock music, the late Randy Rhoads (Ozzy Osbourne, Quiet Riot) will be celebrated in the truest of fashions with the release of Immortal Randy Rhoads: The Ultimate Tribute on March 3 via UDR Music.

    A collection of 11 classic Rhoads co-written songs, Immortal Randy Rhoads: The Ultimate Tribute is performed by 20 top contemporary artists, including old friends and performing partners Rudy Sarzo and Frankie Banali, Rhoads' brother Kelle Rhoads and more designated musicians like Serj Tankian, Tom Morello, Vinny Appice, Tim “Ripper” Owens, Chuck Billy, Alexi Laiho, George Lynch, Gus G., Bruce Kulick, Doug Aldrich, Dweezil Zappa and others.

    The album was produced and compiled by the Grammy-award winning guitarist and producer Bob Kulick at his own studio.

    Along with the album, Immortal Randy Rhoads: The Ultimate Tribute will contain a bonus DVD available in the digipack version, including interesting interviews with some of the involved artists, hosted by Kulick and a feature on the Musonia School of Music, a teaching school on North Hollywood, California, set up by Rhoads' mother and run by his brother.

    Pre-order details are coming soon! Immortal The album also will be available in double vinyl gatefold and digital formats.

    Full track listing with performers:

    01. Crazy Train
    Vocals: Serj Tankian
    Gtrs: Tom Morello
    Bass: Rudy Sarzo
    Drums: Vinny Appice

    02. Over the Mountain
    Vocals: Tim “Ripper” Owens
    Gtrs: Jon Donais
    Bass: Rudy Sarzo
    Drums: Frankie Banali

    03. Mr. Crowley
    Vocals: Chuck Billy
    Gtrs: Alexi Laiho
    Keyboards: Kelle Rhoads
    Bass Rudy: Rudy Sarzo
    Drums: Vinny Appice

    04. Believer
    Vocals: Tim “Ripper” Owens
    Gtrs: Doug Aldrich
    Bass: Rudy Sarzo
    Drums: Vinny Appice

    05. Back To The Coast (Quiet Riot)
    Vocals: Kelle Rhoads
    Gtrs: Bruce Kulick
    Bass: Rudy Sarzo
    Drums: Frankie Banali

    06. I Don't Know
    Vocals: Tim “Ripper” Owens
    Gtrs: George Lynch
    Bass: Rudy Sarzo
    Drums: Brett Chassen

    07. S A T 0
    Vocals: Tim “Ripper” Owens
    Rhythm guitars: Bob Kulick
    Lead guitar: Dweezil Zappa
    Bass: Rudy Sarzo
    Drums: Vinny Appice

    08. Killer Girls (Quiet Riot)
    Vocals: Tim “Ripper” Owens
    Gtrs: Joel Hoekstra
    Bass: Rudy Sarzo
    Drums: Brett Chassen

    09. Goodbye to Romance
    Vocals: Tim “Ripper” Owens
    Gtrs: Gus G.
    Bass: Rudy Sarzo
    Drums: Brett Chassen

    10. Suicide Solution
    Vocals: Tim “Ripper” Owens
    Gtrs: Brad Gillis
    Bass: Rudy Sarzo
    Drums: Brett Chassen

    11. Flying High Again
    Vocals: Tim “Ripper” Owens
    Gtrs: Bernie Torme
    Bass: Rudy Sarzo
    Drums: Brett Chassen

    For more information on this release, visit udr-music.com.

    Additional Content

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    I love when folks turn me on to amazing talent. Especially when they are super talented themselves.

    That’s why when the amazing Jon Gomm shared this link from young guitarist Jacky Bastek, I took notice.

    The lovely Ms. Bastek artfully masters this original acoustic tune but also lays down some gorgeous vocals on top of its pretty sick arrangement. Now that’s coordination!

    Bastek hails from Frankfurt, Germany, and combines fingerstyle picking, tapping and multiple capos for a very interesting result.

    Find out more about her at facebook.com/jackybastekmusic

    Check out “No Exit” here:

    Warnning: Do NOT Get Caught While Searching!!
    Your IP : - Country : - City:
    Your ISP TRACKS Your Online Activity! Hide your IP ADDRESS with a VPN!
    Before you searching always remember to change your IP adress to not be followed!

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