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Guitar Techniques - - CONTENTS -

Mu­sic edi­tor Ja­son in­tro­duces an­other ac­tion­packed Gui­tar Tech­niques lessons sec­tion.

Good is good, re­gard­less of the mu­sic pack­ag­ing. One of the ‘big pic­ture’ top­ics we at GT find is that the more one fo­cuses on ac­tu­ally mak­ing mu­sic, the less con­strained one gets with su­per­flu­ous la­bels. Think about it: a string bend in coun­try isn’t too far re­moved from a string bend in hard rock (be in tune!); al­ter­nate pick­ing 16th notes with a neck pickup jazz tone isn’t par­tic­u­larly dif­fer­ent from a bridge pickup rock tone (be in time and play with clar­ity); a well per­formed ham­mer-on or pull-off will do the job well re­gard­less of one be­ing a blueser or a funkster (it should be clearly heard); the Mixoly­dian mode may rel­ish all man­ner of sonic dress­ings but it re­mains the scale of truth for dom­i­nant 7th en­vi­ron­ments (the scale mir­rors the chord). It’s the nitty gritty, ‘how to do’ prac­ti­cal­i­ties which bind us all to­gether as evolv­ing mu­si­cians and it’s how we main­tain high qual­ity tu­ition in GT.

Take this is­sue’s spe­cial guest, Josh Smith (p32). To my mind, he’s part of the ‘new breed’ of gui­tarist that blends a very broad pal­ette of ap­proaches, in­flu­ences and gen­res but his tech­nique, the­ory savvy and taste re­mains high qual­ity which­ever hat (metaphor­i­cal or lit­eral) he’s wear­ing. Trad­ing blues licks with Joe Bon­amma or tour­ing with neo-soul icon D’An­gelo, Josh ex­cels at what­ever he’s in­volved with. After you’ve watched his blues based mas­ter­class (one of the best the­ory-cum-tech­nique pre­sen­ta­tions we’ve ever done in our 25 year his­tory I might add), you’ll be much the wiser. It’s the same with our solo­ing video guest artist, Allen Hinds (p42) who draws on his ad­mirable tech­nique and the­ory knowl­edge to suit what­ever he’s do­ing, be it burn­ing jazz-fu­sion or south­ern blues. Watch and learn from him!

What I’d sug­gest you do this is­sue is look for the play­ing ‘truth’ in each ar­ti­cle, even if the sub­ject doesn’t ap­peal. You may not play acous­tic, use a pick or even im­pro­vise much. No mat­ter; take each ar­ti­cle’s tech­nique and the­ory ad­vice as if you were in­gre­di­ent sourc­ing and then use it to shape the best mu­si­cal ‘you’ that you can be. En­joy the is­sue!

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