Lessons from the world’s great­est teach­ers and schools...

Guitar Techniques - - CONTENTS -

Ja­son Sid­well beck­ons in yet an­other fun-filled Gui­tar Tech­niques lessons sec­tion.

As long term read­ers know, we cover a wide gamut of top­ics that con­cern to­day’s gui­tarists. Be it sound­ing like great play­ers, de­vel­op­ing tech­niques and learn­ing new ones, or ex­pand­ing your gen­eral play­ing, GT has been con­sis­tently pro­vid­ing fresh stim­u­lus ev­ery month for over two decades.

This is­sue, you’ve al­ready read Jon Bishop’s in-depth fea­ture that fo­cuses on the gui­tarists from one of the most so­phis­ti­cated bands around, Steely Dan; taken a fresh look at how dy­namic finger­pick­ing con­trol will make your play­ing sound more pro­fes­sional, courtesy of Will McNi­col; then delved into the ‘se­cret’ world of three-string sets for fret­board nav­i­ga­tion as favoured by Wes Mont­gomery, Nile Rodgers et al. John Wheatcroft is your guide and he’s done a stel­lar job. Then you’ve the con­tem­pla­tive Mozart piece, Ave Verum Cor­pus as ar­ranged by our clas­si­cal gui­tar ex­pert, Brid­get Mer­mikides. So al­ready you’ve had anal­y­sis, tech­nique, har­mony and reper­toire; the four lanes of devel­op­ment we all jour­ney on to be­come pro­fi­cient. You’ve now a se­ries of shorter ar­ti­cles to get your eyes, ears and hands into, from licks to mini so­los, tech­nique to modal ap­pli­ca­tion. I’d like to draw your at­ten­tion to this month’s In The Wood­shed, by Rockschool’s Char­lie Grif­fiths (p92); us­ing chord tones for Mi­nor blues solo­ing. We’ve pre­sented large ar­ti­cles on this in the past (more to come) but this serves as an easy en­try into this hugely pow­er­ful ap­proach. Hav­ing a solid frame­work will mean you should find solo­ing much more pleas­ing, with ‘good notes’ be­com­ing more prom­i­nent in your play­ing. Once you start clearly see­ing notes from each chord un­der your fin­gers (as im­por­tant for BB King’s The Thrill Is Gone as jazz’s ‘tune of doom’, John Coltrane’s Gi­ant Steps), you can aim for them when the band changes chord. Glue this to­gether with your Mi­nor Pen­ta­tonic ‘licks’ and you will sound more di­rec­tional with your phras­ing. Your band mates and au­di­ences will ap­pre­ci­ate it too. En­joy the is­sue!

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