Colin Reid – Griz’s Golden Ticket

Colin Reid Griz's Golden TicketThis time we’re taking a look at the music of Irish fingerstyle guitarist Colin Reid. Tickets, please! A few bits will require some practise to get your hands around, particularly the third section at bar 58. I was as much entertained by his precise and delicate guitar compositions as I was by his Ardal O’Hanlon-style banter between tunes. A great musician and entertainer, Colin Reid is one of the brightest hopes for British acoustic fingerstyle guitar in the new millennium. When Bert Jansch says that Colin reminds him of “myself and John Renbourn fused together”, you realise it’s well worth checking him out. His album, eponymously titled Colin Reid. (more…)

C, R
26 Dec 2012

Melodic Minor Modes. Superlocrian Scale

Pat Martino. Superlocrian scale To play over this progression, you will have to learn how to shift convincingly between one scale and another throughout. We look at ways of using the seventh mode of melodic minor over functional dominant chords. In previous articles (Modal Study. The Lydian Scale Flat 7, Modal Soloing Locrian Nat 2 Scale, Jazz Waltz. Lydian Sharp Five Scale) going back some time now, we’ve been studying the various modes of melodic minor. This time, (do we hear a sigh of relief?) we are going to take a close-up look at the final mode in our series, Superlocrian. The last lesson is Jazz Metal. Melodic Minor Licks. For the sake of convenience, we’ve been focusing on C melodic minor, as it has only one flat note: (more…)

Steve Vai – For the Love of God

Steve Vai For the Love of God Guitar TabsBefore tackling this piece you may feel the need to fast for a few days while meditating under a metal pyramid… Failing that you could just grab a strong coffee and jump right in! All the picks there are. There are loads of techniques to master if you want to play this tune convincingly. Take your time, patience will be rewarded. There are obviously various transcriptions of this track in existence already, but my main criticism with these is with the tab. I go to great (sometimes ridiculous) lengths to ensure that the fingering is as accurate as possible. I’ve seen Steve play this song a couple of times and he usually starts the first four bars like this: (more…)

S, V
16 Dec 2012

Dave Edmunds – Sabre Dance

Dave Edmunds Sabre Dance Sheet music15 years before Yngwie Malmsteen’s Baroque-through-a-Marshall stylings first wowed the guitar community, Dave Edmunds took this Khachaturian composition and turned it into a rock classic… The somewhat furious tempo and the double-stopped sections take ‘Sabre Dance’ toward the hard category. Edmunds has worked (as guitarist or producer) with everyone from Jeff Beck and Eric Clapton to the Everlys and kd lang. However, this selection is probably his best-known recording, here it is once again in its entirety! (more…)

D, E
15 Dec 2012

Hoagy Carmichael – I Get Along Without You Very Well

Hoagy Carmichael I Get Along Without You Very WellWe take a look at a song that knows more than it’s telling… This time we dip once again into the repertoire of one of the 20th century’s greatest songwriters: Hoagy Carmichael. I Get Along Without You Very Well has a nice little story attached to it -one which I’ve heard from several sources and therefore believe to be true. Apparently, Hoagy wrote the tune around a poem sent to him by a fan who had recently lost her husband. In the poem, she is saying that she misses her husband, but she’s fine and not to worry. Hoagy was so touched by the sentiment expressed in what the lady concerned had written that he set it to music and it subsequently became a big hit. (more…)

C, H
12 Dec 2012

Albert Lee Lesson. Why Not?

Albert Lee Lesson. Why NotCountry Boy Albert Lee gives us the full monty in this masterclass – the whole circus act, in fact… AIbert Lee and Hogan’s Heroes (Gerry Hogan on pedal-steel guitar, Pete Baron on drums, Brian Hodgson on bass and Pete Wingfield on keyboards) recorded a special masterclass including a backing track. It took ages to figure out positions for certain licks (Albert shifts fretting hand position at a frightening rate, and even if you see him live it’s still difficult to follow by eye) so figuring out how the sounds heard match up with where his hands are generally involves a reasonable amount of speculation. (more…)

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