Guitar Techniques - - CONTENTS - Neville Marten, Ed­i­tor neville.marten@fu­turenet.com

Nev ex­plores the value of teach­ing tech­niques.

Dur­ing my years on gui­tar mags, and hav­ing done a bit of teach­ing my­self, one mis­con­cep­tion still crops up: “if i learn that scale, i’ll be able to play like that per­son.” ev­ery teacher will tell you how many times he or she gets asked to show a stu­dent the mixoly­dian so they can sound like Larry, the half-di­min­ished so they can sound like robben, or the Har­monic mi­nor so they can sound like yn­g­wie. sadly, this ig­nores the fact that th­ese play­ers aren’t about ‘scales’. They’re mu­si­cians who’ve put in years of prac­tice, done 1,000s of gigs, trained a nat­u­rally gifted ear and in­nate sense of taste to be­come the fab­u­lous artists that they are. They’ve de­vel­oped sub­lime touch and feel, and prob­a­bly a few tasty chops into the bar­gain.

it’s tempt­ing to be­lieve that there are ‘se­cret’ notes that such peo­ple play: “i know they’re on my gui­tar’s fret­board; if only some­one would show me

The truth is that, what­ever new ‘thing’ we learn, we also have to learn to ap­ply it. if you’ve got rub­bish vi­brato and your string bend­ing sucks, learn­ing a new mode won’t fix it; if you don’t know all five mi­nor Pen­ta­tonic shapes, what makes you think you’ll ap­ply your­self bet­ter to a scale that’s got two ex­tra notes in it? it’s tough, but this is the re­al­ity of be­ing a mu­si­cian.

But there is some good news! Here at gT when we show you a new scale, we also show you how to use it in con­text, with a bit of back­ground the­ory thrown in. Hence the al­tered ideas in this month’s exotic Blues fea­ture will let you ap­ply some cool sound­ing notes to licks that will make you sound great. But you’ll need to dig deeper, dis­cover how to make th­ese notes work over other chords, and then ap­ply such ideas to your own play­ing - in­clud­ing that ever-im­prov­ing bend­ing and vi­brato!

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