Each of these eight solo techniques is a squeeze from the playing of such venerable blues guitarists as Stevie Ray Vaughan, BB King, Albert King, Jimi Hendrix and others.
All these guitarists used approximately the same techniques and ideas in their playing. They can be the foundation that will help you learn and develop your blues playing technique: learn the basic licks and phrases, and then remake them in your own way.
Gradually, you will begin to notice that these phrases run through the recorded history of the blues. Finally, remember that you don't have to be afraid to play blues clichés. they have become so mainly because they sound great.
This feature will help to add life to ordinary notes. It's a band, but the band is less than a semitone, so it should be barely noticeable.
When you hit the band all the way to the top, mute the sounding string, otherwise the note will sound lower again, which can be heard as dissonance.
2. Reiki on strings
Reiki can be played in both directions, up or down. The point is to play the muted strings, but leave only the pressed notes sounding.
You can mute the strings with one of your "spare" fingers. Just put it on the strings that you don't want to sound, and with your other finger, hold down the desired note.
3. Dissonant doublestop bands
This technique was used by more aggressive blues guitarists such as Eric Clapton and Gary Moore.
The idea is to pull two strings at the same time, pulling the top string more than the bottom one. Thus, we get a little dissonance. For this technique, you can use both two fingers, and one, for example, the ring finger. In the first case, the bands will be more accurate.
4. Twos
Numerous guitarists from Hendrix to Mayer have used these two-note chords to give their solos a more chord-like style.
By moving our face along the neck, we can play it in different keys.
5. Moving deuces
The sliding minor third in 2 sounds great with the blues progression in A.
This is because we hit all the important notes, like the A7 chord and minor pentatonic scale. It's common in blues to use both a minor and a major third, so in the example we're doing both (C and C#), plus a minor seven (G).
6. Fluid bands
This face is taken from the arsenal of Albert King. It is built on a stepped upward bend of the second string.
It is important to note that this lick is easiest to do in the middle of the string, the lower we go down, the more difficult it is to bend. Therefore, in order to achieve maximum strength of the band, it is worth helping the ring finger with the index and middle fingers.
7. Two-note trill
Jimi Hendrix used this technique well, for example, in the notorious Voodoo Child. This technique converges to a series of fast hamer-ons and 2 note pull-offs.
Start slowly, especially you need to follow the rhythm. Should be smooth and stable. Also pay attention to the correct movement of the "break" when playing the pull-off. Each note should sound clear and loud.
8. B.B. King's Zinger
The original Bibeking zinger is just a slide off the high root note, whatever key you're in, it's always somewhere high on the first string.
This is an effective trick that can break ideas based on the pentatonic scale.
"Decorate your game with lots of tricks and tricks!"
Who is this course for?
- Do you already have some results in guitar playing, but you don't want to stop?
- Want to add something new to your game?
- Would you like to make your game more spectacular by decorating it with lots of tricks and tricks?
- Would you like to increase the speed of your game many times over?
- Do you want your playing to make a lasting impression on your listeners?
If any of the above is about you, then you just need to read the information below!
The course is combined with our other instructional videos. Therefore, if you have already studied with us, you will find yourself in an easy, relaxed atmosphere, where it will be familiar and easy for you to master the course program.
What does this course include?
Our course includes detailed exercises, techniques, tricks, tricks and everything you need to master this instrument. All information is presented in a detailed, understandable language.
Summary:
- Introduction. Tools. Examples. Usage. Equipment
- Basic tricks. Slide
- Basic tricks. Flageolets: natural, artificial, mediator
- Vibrato. Regular/linear ("rock" vibrato), classical, ring
- Basic tricks: suspenders / bends. +vibrato
- Muting solo
- Tapping. open strings. Tapping mediator. Tapping after the band
- Volume knob. Fade in. "violin"
- Tremolo. Compatible with vibrato, slides and harmonics
- Lever arm. Types of levers. How to use. Basic tricks
- Chips on a guitar without a lever (bell, squeaky board, playing behind the head, playing over the fretboard and more than a dozen tricks!)
- Chips on a guitar with a lever. Any tremolo system will do (about 10 different tricks!)
- Chips on a guitar with a Floyd-Rose lever (about 10 different tricks!)
- Tricks using foreign objects
But that's not all!
Who is the author?
Hello, my name is Yakub Agishev and I am the author of this course. I have been playing electric guitar since 2004. I've been playing in bands for about 7 years. Started teaching in 2008. I spend individual sessions with students (both in person and online).
During my time teaching, I have accumulated quite a lot of experience in terms of learning to play the electric guitar.
How to get a course?
The course is provided in in electronic format(get a link to the archive and download to your computer).
You only need to take 3 simple steps:
- Click the yellow button below
- Pay in a convenient way
- Download the course to your computer
Important! During the checkout process, you will be offered our other courses at a discount. If you are interested in the topics of our other courses, then you can take advantage of this offer and get the courses with the maximum benefit.
After over 35 years of publishing, Guitar World should have given guitarists thousands of useful tips- in printed or electronic form. There are only six of them in this short article! But even such a modest amount of information will benefit beginner guitarists - especially in anticipation of all that awaits them in the near future! So grab your guitar and let's get started!
1. Learn something new every day
Every day find something new related to the guitar What you didn't know, learn it - and play. It could be a riff, a passage, a chord, a scale, an exercise, a song, a melody, a different scale, a rhythm pattern, a part of a song in which you know all the riffs but never bothered to learn how they fit together - basically, what whatever.
The daily habit of discovering, playing and absorbing a new piece of guitar science will feed your subconscious musical instincts, help you integrate a lot of new things into your muscle memory, and ultimately allow you to develop the ability to express yourself and play the guitar with ease. Put this on your daily to-do list and you will notice how, slowly at first, step by step, over time, you will begin to absorb more guitar information than you ever dreamed possible!
2. Learn Major Scale Intervals
Major scale - it is on its basis that many chords and scales are built with which you have to work. With understanding major scale structures will come the ability to add various intervals to it and get triads, seventh chords and extended chords, as well as the awareness of which modes correspond to them.
There are seven intervals in the major scale: tonic, major second, major third, perfect fourth, perfect fifth, major sixth, and major seventh. The distance between each of the intervals can be represented as a sequence of "T-T-P-T-T-T-P", where T is a tone and P is a semitone.
3. “See the C and Be the B” or “Let the salt not be on the wound”
How many ways do you know how to play a C major chord? A good guitarist knows that it can be played in at least five places on the fretboard, thanks for that. CAGED system. Play the chord for 4 bars and for each beat, play it on a new section of the neck. Of course, the same can be easily done with the E major, and with the major seventh chord from the note si (B7), and with the A major nonchord (A9). But still, start with C major.
4. Run through all the chords you know
The author of this tip is Joe Satriani: Maybe it sounds silly, but if your fingers don't reach somewhere, it's because you didn't force them. Once, when I was still a teenager, I decided that I would learn all the chords from the Joe Pass Chord Book. I worked on it every day; stupid repetition can not be replaced by anything. And here's the great thing - once you get used to this exercise, you literally start to force your fingers to go from chord to chord - and they will not have anything to do with each other - and something amazing can come out of this.
5. Learn your favorite note-for-note solos
The first years of his guitar life Eddie Van Halen spent over playing under the pluses of various compositions, playing until his notes blended with the sound of the recording. This lesson will significantly expand your “vocabulary” and help develop presentation, taste, teach you to understand styles and feel the form of a solo.
6. Write down your achievements
The development of any guitarist accelerates when he sees and realizes his successes and achievements. As you develop the habit of learning new things and playing the instrument daily, it is important to keep a record book or diary of your progress, which will allow you to further perfect your guitar playing at high speed.
The easiest way to do this is keep track of classes. You will find that summing up your sessions will help you decide what to focus on next, help you move forward by recording your results, and also highlight the most productive activities in the past, which can be repeated and supplemented when you feel that progress is missing. Create your own "training report" or print and use it.
Today I will talk about 10 chips on the guitar to help mimic the sound of other instruments. Some things may not seem completely revolutionary to you, since many guitarists are now trying to push the limits of understanding the guitar as a musical instrument. And among them there is someone to remember.
Namely:
- Jeff Beck (Jeff Beck), skillfully imitating screams on the harmonica and the bleating of car horns;
- Adriana Belew (Adrian Belew) with all its musical zoo, where there was a place for seagulls, and elephants, and rhinos, and insects from the jungle, and feints on overload with feedback;
- David Thorne (David Torn), a traveler in the world of microchromatics;
- trickster Steve Vai (Steve Vai) with his "vocal" antics;
- undefinable Allan Holdsworth (Allan Holdsworth);
- Heavenly Messenger Jimi Hendrix (Jimi Hendrix).
And this is good, because there is someone to draw ideas and new approaches from.
From the very beginning I was drawn to the study of other musical instruments. It was driven by both curiosity and necessity. In those days there were no synthesizers, computers and sample libraries. Cover bands rarely had necessary tools or musicians to recreate every desired recording. So we had to adapt. The organists and pianists reproduced the parts originally played by brass and strings. Guitarists were often asked to do the same. This led me to study, play and transcribe songs. Gentle Giant, Tower Of Power, Todd Rundgren, Mahavishnu Orchestra and many other artists and bands. All these compositions not only greatly fascinated me, but also became at the origins writing career which is still ongoing.
To date, I think at least 40 before 50 percent of my playing are chips taken from the techniques of playing other instruments and adapted to the guitar. In fact, Guitar Player editor Michael Molenda, after Todd Rundgren's performance, once noticed that I had not used chords on the whole evening. This is not entirely true, but very close to the principles that I profess. Why limit your musical vocabulary learning music only from guitarists, if there is a whole world of other instruments besides the guitar?
All of the following examples have been selected from over 40 years personal experience from all the performances with popular and not so popular cover bands and songwriters. From concerts Project Percolator by Jimm Weider, Mahavishnu Project by Gregg Bendian, Jim McCarthy and several world tours with Todd Rundgren and Tony Levin's band. Therefore, I can say with confidence that the proposed feints really work.
You don't need any additional signal processing or special tools other than the floating tremolo system in one of the examples. Just pure technique of playing other instruments. So plug in your guitar. We begin to steal and rob this innumerable wealth of sounds and approaches. Let's see what this one has in store for us. new world other tools.
1. Chip on the guitar number 1. We sound like drums.
The king of music time. It rules every side of our Everyday life. And all the music that we learn to play obeys its laws. Rhythm is time subject to division. It's the glue that sticks together and creates melody and harmony and holds the band together. Thus, an impeccable sense of time and rhythm has importance for any successful musician. Fortunately, we guitarists have chosen an instrument that provides us with a wide range of percussive sounds that can be used not only in almost any musical context, but also to train and improve our own rhythmic skills.
We all did "waka-waka" on muted strings. But how many used the top and lower strings to imitate the sound of a bass drum and a snare drum?
In exercise Ex. 1a muffled notes ( X) in the key "to" shows groups of sounds, each on three strings, reminiscent of funky chips. This excerpt is suitable for a wide range of tempos. Use down strokes ( ∏ ) and up ( ˅ ). Keep your wrist loose, accentuate the second beats and... download. Advice: try swinging sixteenth notes and add "wow" to taste.
An exercise Ex. 1b shows what happens when you apply the same concept to Hendrix's choppy intro to Machine Gun.
Speaking of Jimi, exercise Ex. 1c illustrates how he masterfully manages time and space in the now classic rock composition Foxy Lady. This is achieved by varying the use of basses and the 7#9 chord.
Jimi Hendrix - Foxy Lady (no video in the original article)
Let's do the exercise Ex. 1d let's rise to the very heights and try to reproduce the high percussion sounds in the Latin style. To do this, we use the E string outside the fretboard. This muting guitar trick around an imaginary 36th fret works great, but you should try to avoid places where overtones from the .
Want to transform your guitar into a sensual saxophone? Then we move on to the next chip of playing the guitar.
2. Guitar chip number 2. Smoothly capture the sound of the saxophone
If you have ever tried to imitate the saxophone, you may have noticed how many parts of this instrument translate well into the guitar language. Let's start with some be-bop phrases, imitating Charlie Parker. During my 1978 training at the Institute of Guitar Technology*, the great Joe Diorio** taught a be-bop class. He constantly emphasized the importance of smooth sounding for such imitation. To do this, we use ascending (hammer-on) and descending (pull-off) legato, sliding (glissando, slide) and sweep (sweep picking). The trick is to find a fingering that seamlessly combines these techniques.
The first step of the exercise Ex. 2a shows typical Parker-style phrasing - a descending arpeggio-like line that beats . All this sounds against the background of the chord of the II degree Dm7. The use of Fmaj7 (IV steps to the subdominant (II)), along with other innovations, was first introduced into music by this saxophonist. The trick here is that the chord is played using notes one tone higher than those included in it. ( Advice: play this passage with a G7 chord in the background). After hitting down the 9th step of the chord (note E), we smoothly move to the second beat, where we play a triplet with the help of a sweep (the pick slides up along the strings). On the third beat we play up and down again, swinging the notes.
We transfer the taken fingering three frets up to a G7 chord, continuing to create tension. And we jump into the third measure, resolving all this into the Cmaj7 tonic. Play these three bars around. So, the chip on the sequence II-V-I removed.
In exercise Ex. 2b progression shown I-VI-II-V. It fits perfectly into the 7-10 bars of be-bop blues in the key of C. Charlie Parker's constructions are adorned with Joseph Diorio's strategically placed legato (hammer-s, pull-ofs) and string-sweeps (sweeps). Pay attention to variations of a previously learned exercise. Ex. 2a.
Have you ever imagined that you could play with the strings pulled up? trills? These trills on the bands work well for most blues and R&B stuff. Try to play them in the keys of C major and A minor, as in the exercise Ex. 2c at the next show. And keep a close eye on how the audience twists their heads, watching such guitar chips. Follow the note notes in this example and hopefully you can add that sensuality that the saxophone has to your playing.
* GIT (Guitar Institute of Technology)- Institute of Guitar Technology, a private non-profit music school. Hollywood, California.
** Joe (Joseph) Diorio famous American jazz guitarist and teacher. Played with such jazz masters as Sonny Stitt, Horace Silver, Ira Sullivan, Stan Getz, Eddie Harris, Pat Metheny and Freddie Hubbard.