Online Guitar Courses
A consumer research site that has thoroughly searched the internet to determine what are the best guitar courses currently in the market. This site reveals their findings.
]]>The electric guitar opened up to musicians an incredibly diverse palate of sounds. Jimi Hendrix playing his Strat through a Marshall sounded a world away from Pete Townsend playing his Les Paul through a HiWatt. Although Steve Vai and Eric Johnson both play Stratocaster style guitars, their approach, sound, articulation, and phrasing are vastly different. Just watch any of the “G3” videos to see this for yourself.
Sound or tone is the medium through which our musical ideas come to life. Some great players are so serious about their tone that they give them names. Clapton called the warm, bassy sound produced by the humbucker neck pickup his “woman tone” (check out Sunshine of Your Love); Eddie Van Halen named the sharp, biting yet thick sound he used on Eruption his “brown sound.”
The player has as much to do with the sound as the equipment. Ted Nugent once asked to play Eddie Van Halen’s rig when the two were touring together. When asked what he sounded like, Eddie Van Halen replied, “Ted Nugent.”
A player’s originality (or style) is really the sum of his technique, taste/feel, and sound/tone. It is how he combines all these to create a fresh, new voice.
We all stand on the shoulders of those who came before us, meaning that we all are—to one degree or another—the product of our influences. But the best ones took what inspired them and made it their own, even though you can still hear traces of their heroes.
Hubert Sumlin, Wes Montgomery, Curtis Mayfield, and other R-n-B guitarists of the 60’s influenced Jimi Hendrix. Eric Clapton, Jeff Beck, Ritchie Blackmore, and Allan Holdsworth influenced Eddie Van Halen. Charlie Parker and John Coltrane influenced Allan Holdsworth.
The great adventure continues. Now it’s up to you to find your own voice.
]]>So what are the elements that make for a great player?
Most great guitarists have mastered the basic techniques of the guitar. They are adept at hammer-ons, pull-offs, string bends, and artificial harmonics.
They also often layer over their technique either a staccato (choppy) or legato (smooth) feel. Al DiMeola, John McLaughlin and Yngwie Malmsteen are classic examples of staccato players; John Scofield, Joe Satriani and Allan Holdsworth are legato players.
Perhaps the most important thing about technique is that it should never be an end in itself, but a foundation that lets the player express what is inside. Allan Holdsworth and John McLaughlin have superhuman technique, yet they always use it to express something musical—instead of just a blizzard of meaningless notes.
Great players have an incredible sense of musicality and phrasing—meaning how they play what they play. Jeff Beck is a shining example of this: he can play four notes in a way that is drenched with feeling and expression. Just listen to Cause We’ve Ended as Lovers from Blow by Blow, or Goodbye Porkpie Hat from Wired to hear great musicality and taste.
David Gilmour, Jimi Hendrix, B.B. King, Steve Howe, and Carlos Santana are other examples of guitarists who play with incredible passion, taste, and feeling. Comfortably Numb, All Along the Watchtower, and Europa are just a few solos that are etched in the mind of every guitarist because they are packed with emotion.
Anybody can learn their scales and practice techniques endlessly, but it is a master who makes magic with them.
—To be continued.
]]>Jay Graydon ‘s solo on the classic Steely Dan tune, Peg, is one of the great moments in contemporary guitar. In just 12 bars that run for 24 seconds, Graydon lays down one musical lick after the other over some very challenging harmonic terrain (you can hear the six other guitarists tripping over themselves from 4:15-6:25 at http://bit.ly/9s4kfG).
Graydon plays four major ideas, each one incredibly melodic and memorable. But here was the chord sequence he had to survive to make such great music:
The chord sequence is basically a major blues with three different IV to I cadences. A G pentatonic might have gotten you through it with lots of luck and prayer, but that is not the path Graydon took.
For the first four measures (1:46 to 1:54) Graydon plays a G Mixolydian (G, A, B, C, D, E, F), when the chords really call for a G Ionian (G, A, B, C, D, E, F#). Mixolydian creates a much edgier sound that Ionian, which is why the first few licks he plays immediately grab you.
The second phrase goes from 1:55 to 2:02. It is pretty much straight G Mixolydian, but the phrasing is fantastic. The use of a G Mixolydian over F maj7 and Cmaj7 also is extremely creative and aurally arresting. In the hands of a lesser guitarist, the solo would probably have fallen to pieces at this point. This is really obvious when Graydon pulls off a cool ascending chromatic lick at the end of this section. It also creates tension that sets up the third phrase and sets up the solo for harmonic resolution at 2:11.
The third phrase goes from 2:02 to 2:06. Graydon starts it with a D major pentatonic scale (D, E, F#, G, A, B), takes it out harmonically, and then resolves to a high G (he’s actually alternating between an F# and a G, which works nicely over the Fmaj7 to Cadd2/E).
Graydon segues into the last phrase (2:07 to 2:11) by bending an A up to a B. This brings a nice resolution to the solo, whose ending chords are Cmaj7 to Gadd2/B.
When Steely Dan tours, guitarists in the band had to take on the challenge of Peg. Check out Drew Zinng, Georg Wadenius, Wayne Kratz, and Jon Herington giving it their best shot—with all paying homage to Graydon by quoting his solo (http://bit.ly/aD4euu).
So what’s the lesson here, other than Peg is one difficult tune to solo over?
Maybe Graydon worked out the solo before he went into the studio. Maybe be was the lucky recipient of Gods guitar solo grace that day. Maybe he knew he modes inside and out, upside and down.
Whatever the reason, it is one heck of a solo.
]]>Online Guitar Courses
A consumer research site that has thoroughly searched the internet to determine what are the best guitar courses currently in the market. This site reveals their findings.
]]>VideoGuitarLessons.com has thousands of guitar lessons online. Features include an All Access Pass to view all lessons, free guitar tools, chord charts and more. Check out the artist section where you can sell your own music and videos.
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“I am really impressed with the entire package, and I’m a guy who’s been playing for about 40 years. Master the Modes is VERY clear, professional and deep…it’s not a toy. You invite the young player into the room here…and the more seasoned player as well.
“The pre-recorded examples (great player!!) and the clarity of each step along the way are fantastic. I intend to use this as a refresher that has already helped me re-address such an important part of being a well-balanced, fluent and solid musician. Great product, guys. I wish you well-deserved luck with it!”
George Petit is a professional jazz guitarist and audio engineer/producer living in Manhattan. He’s played clubs and jazz festivals all over the world since the age of 15, and has more than 100 releases as engineer/producer to his credit. Petit has worked with many of jazz’s household names, including: Terrence Blanchard, Victor Lewis, Donald Harrison, Drew Zingg, Carl Allen; while his music has been used commercially for Alitalia Airlines, GMC, Cadillac, Time Warner, National Public Radio, and many others.
George Petit
Guitarist/musician
Engineer/producer
www.petitjazz.com
Wes Montgomery is one of the titans of jazz guitar—a soulful, unique voice that has inspired generations of guitarists. We’re not alone in our admiration: Eric Johnson, Steve Vai, Stevie Ray Vaughn, Pat Martino, Pat Metheny, and many other great guitarists have cited Wes as a major influence.
Wes really shines on Impressions, a classic jazz composition written by the legendary saxophonist John Coltrane. Impressions has a simple melody and is based on the Dorian mode—16 bars of Dmin9 (D Dorian), 8 bars of Ebmin9 (Eb Dorian), and then 8 bars of Dmin9 (D Dorian). This is a classic 32-bar AABA form.
The Dorian mode is on full display once the guitar solo starts (D Dorian = D, E, F, G, A, B, C). Wes emphasizes the 2nd (or 9th) degree of the scale (an E) and the 6th (or 13th) degree of the scale (a B). Playing the upper extended notes of a mode or scale is a trademark of jazz.
Because the changes to Impressions are fairly simple, it’s ideal for developing melodic ideas, and that is one of the first characteristics of Wes’ soloing: he plays a phrase, pauses, and then patiently develops it. Instead of ripping off a series of licks, Wes plays ideas , embellishing them as inspiration strikes.
This is evident at 0:40, when Wes continues the idea he’s developing as the chord changes from Dmin9 to Ebmin9. Rather than start a whole new idea, he carries it over, creating thematic continuity. Wes does the same thing but in reverse when the tune returns to Dmin9.
You can see Wes discovering a new melodic idea at 1:11 and then playing with it until 1:14, creating tension and interest along the way. This improvisation is jazz at its best, and shows the depth and beauty of the art form.
Looking at the solo as a whole, it is obvious that Wes is building a musical narrative throughout the tune. His note choices and phrasing serve this greater end. The result is that his solo has a beginning, middle, and end, and this makes it extremely musical and engaging.
Here are some other noteworthy elements to the solo. Wes plays with his thumb instead of a pick, creating a smooth, thick sound. And he is extremely proficient with this unorthodox technique; check out his playing at 1:01. Wes developed the technique because he would practice very late at night, and he didn’t want to wake up his family. Plus, the thumb gives a warmer, softer sound.
Wes also pioneered the use of octaves in solos. He had an amazing facility with this, and it’s on full display at 1:43.
Maybe the most important thing: Wes loved playing the guitar, and his smile at 1:00 comes straight from the heart. It is an attitude to which we all can aspire.
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Here you’ll find an encyclopedia of information about playing the guitar. A great resource. Check out the section on scales.
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FreeJamTracks.com: This great website has tons of jam tracks and lots of great information about playing the guitar and bass. Webmaster Nick, a good friend of Master the Modes, is truly devoted to becoming the best musician he can be, and that means sharing what he has for free.
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Oz Noy is one of the most innovative jazz fusion guitarists today, with four solo albums under his belt (Schizophrenic is his newest release). AllAboutJazz.com called him, “A guitarist who’s as good as any of the larger fusion names out there and is, in many cases, a more accomplished writer.”
We at Master the Modes are a big fan of Oz’s playing, and he’s a fan of our instructional materials. Check him out at OzNoy.Com.
]]>“I just reviewed Master the Modes. It’s excellent , very clear and informative!!!”
Guitarist Oz Noy is known in jazz circles for his pioneering albums, especially Schizophrenic. He has played with the Brecker Brothers, Steve Khan, Dr. John, Robben Ford, and Will Lee.
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“If you want to play guitar better, check out Master The Modes. Broken down into simple yet understandable blocks of information, it lets you hear Rob, himself a great player/performer, demonstrate each example. But then a backing track is provided for you practice what you’ve just learned. Highly recommended!”
Grammy-nominated producer, mixer, composer, and guitarist Rich Tozzoli has an impressive resume. He’s written music for hit shows including Haunted (Animal Planet), Pawn Stars (History Channel) and Bravo’s upcoming Fashion Show. Vintage Guitar Magazine featured Rich in its Summer 2010 issue, disusing his new album, Rhythm Up, and his work with Al DiMeola, Ace Frehely, Daryll Hall and John Oats, and other artists.
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Andrew Parker is one of Australia’s top guitarists. From session playing, to performing with popular rock and country acts, to teaching, Andrew covers it all - with taste and style.
]]>“Surfing With the Alien” is the title track from Satriani’s 1987 debut recording. The track is filled with interesting and inspired ideas, and one is the dramatic contrast between the happy-go-lucky blues/rock licks played during the main part of the song, and the exotic sounding shred scales he plays during the solo.
Most of the tune is revolves around G7 to C7 and then back to G, but the solo features Phrygian major—an exotic sounding mode/scale that is arresting to the ear.
Phrygian Major is the Phrygian mode played with a major 3rd instead of a minor 3rd.
C Phrygian: C, D♭, D, F, G♭, A♭, A, B.
C Phrygian Major: C, D♭, E, F, G, A♭, B♭.
The solo begins at 1:09 with a lick that clearly demonstrates Satch’s technical skill. Using his pick as an extra finger (some players like Eddie Van Halen prefer to use the index finger of the right hand for this effect), he plays a descending pattern with the left hand that outlines Phrygian Major in the key of D♭ (D♭, E♭, F, G, A♭, B♭, B). At 1:15 he plays an awesome hammer-on/pull-off sequence that could justifiably be called “shredtastic”!! Satch’s solo continues as the chord progression transposes up a whole step to Eb. Using the same Phrygian Major scale/mode in the key of E♭ (E♭, E, G, A♭, B♭, B, D♭), Satch plays a memorable melody at 1:26. He then does a stellar job of balancing jaw-dropping shred passages with more simple, melodic material.
After the melody at 1:26, the progression goes up another whole step to F. Still using Phrygian Major, but now in F (F, G♭, A, B♭, C, D♭, E♭) Satch blows our minds again with his technical skill. As opposed to Metal shredders like Yngwie Malmsteen who pick every note, Satriani prefers a smoother more legato sound that’s achieved through the use of hammer-ons and pull-offs.
The solo concludes with some down-home bluesy rock licks played over a G chord, highlighting one last time the stark contrast between a major scale and the exotic Phrygian Major.
Joe Satriani’s solo on “Surfing With the Alien” clearly shows that a command of different modes and scales can make a player’s soloing more rich and colorful. Spend some time with Phrygian Major and add another dimension to your solos!!