Lesons In­tro­duc­tion

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

Guitar Techniques - - CONTENTS -

Mu­sic ed­i­tor Ja­son dis­cusses what you’ll learn from this month’s se­lec­tion of lessons.

Choice is an im­por­tant fac­tor when cre­at­ing, and it’s greatly en­hanced when we have a de­cent sized pool of knowl­edge to draw from. It’s also an un­der­ly­ing prin­ci­ple that fuels Gui­tar Tech­niques in re­gard to styles, artists and abil­ity lev­els; we want breadth so all ar­ti­cles have ap­peal and ‘real world’ use. This means if you want to play E ma­jor in dif­fer­ent fret­board po­si­tions you will have gleaned this from learn­ing How Can I Keep From Singing (p50). If you want to add some fret­ting-hand stretch to your rock legato, Ex­am­ple 6 from 30-Minute Lick­bag will in­spire (p59). If you’re keen to add 4ths-based vo­cab to your Mixoly­dian play­ing, we demon­strate how this can be done in Cre­ative Rock (p82). And if you’re af­ter some magic mo­ments to sound more like gui­tar he­roes, we do that too (Bob Mar­ley on p32, Gary Clark Jnr on p60, Grant Green on p68 or Brad Pais­ley on p74).

As you can see, this is­sue is a great ex­am­ple of the ben­e­fits of choice, from the first ar­ti­cle on Elec­tric Gui­tar Mas­tery (gear, the­ory, technique, etc) to the last, where we present fresh al­ter­na­tives to the 7#9 or

‘Hen­drix’ chord. Think of all those iconic mo­ments in gui­tar mu­sic that choice en­hanced; Eric choos­ing to knock the con­trol back for his ‘woman tone’; Ritchie choos­ing thumb and first fin­ger to play Smoke On The Water’s dou­ble-stops; Tony do­ing a pre-bend be­hind the nut for the in­tro to Iron Man; Ed­die us­ing his pick­ing hand’s sec­ond fin­ger to tap on the fret­board in­spired both by Jimmy’s solo in Heart­breaker and clas­si­cal vi­o­lin arpeg­gios; Slash fine-tun­ing a fin­ger ex­er­cise to cre­ate the in­tro for Sweet Child O’ Mine; Het­field choos­ing an un­usual fin­ger­ing for the clean gui­tar in­tro for En­ter Sand­man. And as you watch the won­der­ful Brett Garsed solo­ing with a slide this is­sue, con­sider how his choice of put­ting the slide on his sec­ond fin­ger al­lows him to ex­e­cute phrases not pos­si­ble any other way. All these and many more are mag­i­cal mo­ments driven by cre­ativ­ity and choice. All of us at GT hope that you find this is­sue hugely in­spir­ing for all man­ner of rea­sons, but pri­mar­ily be­cause we pro­vide you with more choices to get­ting bet­ter as a rounded mu­si­cian. En­joy!

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