by Tom Hes
Like you probably have done, I have read a ton of interviews with great players and articles written by many of these same players. I often found it frustrating whenever the subject of learning to play guitar came up or when advice was offered on improving one's playing. With a small number of exceptions, very little time and space was offered on this. Its not uncommon to see the player's advice be summed up in a grand total of three words: Practice! Practice!! Practice!!! Well of course we all know that practicing is the main ingredient. But rarely are we told much more than that. In my long quest to become an excellent player and to help my students do the same, I carefully took note of what worked and what didn't. What parts of conventional wisdom is accurate and what parts are not (at least in my opinion). I believe the twenty concepts that have proven to bring great results to those who use them are:
1. Educate yourself!
No matter what level you are at today, you can be (and should be) learning more. If you are currently studying with a teacher or enrolled in a music program at a high school, college or university, you are on the right track. If you aren't doing this (or if you feel that your current teacher is not helping you enough in reaching your goals) I strongly recommend looking for a new teacher. (I have written an article on this exact topic titled: Choosing a Teacher ) I can't stress enough how important it is to find the teacher that is right for you! Your teacher (or music program) should always be Goal Orientated. If its not, look for another teacher or school to study with! You don't need a teacher to simply give you information or things to practice - you can get those things anywhere, what you need is a teacher who:
A. Knows what your goals are. B. Cares about helping you reach your goals. C. Knows how to help you reach your goals.
2. Listen to more music.
Find more of the same music you already like. There is a lot of music out there that you haven't heard. I am sure you can find something you really like and that would inspire you. Look on the internet if you can’t find it on the conventional radio. Check out internet radio, you can customize what you here based on your preferences, its a great tool! Check out web sites that you know feature a lot of the music in the style you like.
3. Frustration
Turn your musical frustrations into an asset in the form of a motivating force. I wrote a whole article called Musical Frustration. I don’t want to repeat here everything that I wrote in that article, so read it if you haven’t already. If you have read it, it may be worth your time to read it again now.
4. Believe in yourself.
You have probably heard that phrase many times before. Its unfortunate how many people still refuse to invest their own beliefs into themselves. I wrote an article on Perseverance which deals indirectly with believing in yourself. Please read it if you have a problem believing that you can reach your goals.
5. Be a Musician
Understand that becoming a better guitarist means becoming a better musician as well. When developing your musical skills, make sure to think beyond skills that are specific to guitar. Of course you will be working on many guitar skills: various guitar techniques, chords, scales, soloing, etc., but don't neglect other skills that are not guitar specific like, ear training (also called aural skills), songwriting, improvising, creativity, reading music, music theory, etc.
6. Learn From Other Players
Surround yourself with better players (or at least with those on your same level.) When you started out playing guitar, everyone was better than you, but now you have grown and there are less people better than you than before. The better you get, the harder it will be to find others who are superior to you to hang around or jam with. But no matter how good you get, there will always be something you can learn from someone else. Seek out those people, get to know them, jam with them, discuss music and guitar with them. Be willing to give as much (or more) as you want to take. If you are fortunate enough to be above the level of other guitarists in your area, seek out great bassists, pianists, violinists, drummers, etc. You can learn from them as well. (Even if you are not better than your guitar player friends, seek out musicians that play other instruments as well anyway).
7. Get Inspired!
Find out what inspires you and soak yourself in that. For me, going to concerts to see great players or bands inspires me to practice more. Listening to great singers inspired me to refine my vibrato and phrasing. Listening and studying the music of great classical composers inspired me to study music composition. I wanted to write great music. Watching the movie Star Wars when I was a kid, reading Lord of the Rings, etc. inspired me as well. There are lots of non musical things that have been inspiring to me. The greatest source of inspiration has been my own personal experiences in life and within myself. The desire to express that was (and still is) a constant burning desire and powerful force that thrusts my desire to improve and propel me forward. Know what truly inspires you, seek it out, surround yourself with it and soak there.
8. Define your purpose.
What is your definite purpose? Do you really know what it is? If I were standing in front of you right now and asked you this question, could you give me specific answers and explanations? Can you write it on paper in specific terms? This is critical to setting goals, planning strategy and monitoring the results, etc. When all the enemies of progress start to creep into your mind, you will need to bring your definite purpose to the forefront of your thinking. I have seen procrastination, fear of failure, self doubt, lack of motivation, temporary setbacks, and other negative things bring people with great potential to a halt. Knowing your definite purpose and reminding yourself of it when a negative thought comes into your mind will help you overcome it.
9. Define exactly why your purpose exists in your mind.
I specifically choose to list this separately from defining your purpose because I did not want you to let the WHY get lost in the act of DEFINING. Trust me, this is important.
10. Create a strategy!
You need a strategy that will layout exactly how you are going to reach your goals. Dreaming alone won’t take you anywhere. Telling yourself that you are going to play your guitar everyday isn't enough. There is a lot more that goes into being an excellent player than simply playing your guitar. Ultimately you should work backwards. State your ultimate goals (on paper) then make a bunch of short and medium range goals. Think of reaching your goals as a relay race, NOT as a marathon. Each short term and medium term goal is the end of one segment of your plan and the beginning of the next segment (just like a relay race.) There are many benefits of looking at things this way as you will discover for yourself in your own way.
If you clearly know what your ultimate goals are, you can do this yourself. But if you need help in planning out the short and mid term goals to plan your strategy. Consult a teacher whom you trust and believe can help you with this - its worth it believe me. If you can't find a teacher who can do this for you, pay someone (YES I said PAY) to help you develop a specific plan to do this. The best person to approach for this is someone who is already doing whatever it is that you want to be doing.
Remember that its ok to daydream and fantasize about where you are planning to go, but it can't stop there. Don’t wish without planning! Don’t dream without doing! And always, always, have a strategy. You may need to revise certain aspects of your strategy as time goes on and that's ok, but don't try to go forward without one if you want the maximum results in the shortest amount of time. In my early days learning to play guitar, I wasted a lot of time aimlessly desiring to get better without having a clue as to how to plan for it. Sure I practiced a lot, but without direction and without an efficient path to follow. Most of my substantial progress as a musician came only after I developed a strategy and worked with it. If you are wondering why I haven't given you a detailed explanation of the strategies I used in the past, it would be pointless for me to tell you what my strategy was, because it was specific only to my goals. Chances are, your goals may differ greatly from mine in many different ways. That is why you need your own strategy for your own personal goals. One last piece of advice before we move on, write everything on paper and read it everyday! It will keep you focused and on target.
The Twenty Steps You Need to Become a Great Guitar Player!
Samtriggy on Sail Of Charon
His name is Hisham. He is from Malaysia. That is the only thing we know about this really talented guitarist. He is a righthanded, a lefthanded, and also play with his foot. He is a master of three guitar tapping.
In this video, Samtriggy play Sail of Charon using Oud, two guitar tapping, and shred line.
How To Buy Guitars
Electric Guitars
# Always be aware of what are your favorite guitar players' instruments. Probably you can't afford exactly the same guitar but at least you can try to get closer to the sound you have in mind.
# Read and listen on the net to as many guitars as you can. But never buy without actually touching and trying the guitar. Find out what others have to say about the guitar you want, there are lots of users' reviews on the net.
# In the music store or at someone's home (if you try a second - hand guitar), play as loud as possible, listen to the sustain and eventual buzzing. Play over all the frets, on every string, there are many guitars that buzz or are out of tune. Also play all of the pick-up combinations, a lot of guitars get pick-up noise. You should like the sound in low, middle and treble registers.
# Ask for warranty if you buy from a store.
# Don't dismiss used guitars. They may look battered because they are good and were played a lot.
A little history:
An electric guitar is a type of guitar with a solid or semi-solid body that utilizes electromagnetic " pickups " to convert the vibration of the steel-cored strings into electrical current. The current may be electrically altered to achieve various tonal effects prior to being fed into an amplifier , which produces the resultant sound.
In contrast to most stringed instruments , the solid-body electric guitar does not rely as extensively on the acoustic properties of its construction to amplify the sound produced by the vibrating strings; as such, the electric guitar does not need to be naturally loud, and its body can be virtually any shape. In fact, since all the sound produced by the amplifier comes from string vibrations detected by the electric pickups, an electric guitar that produces minimal acoustic sound will actually have maximal sustain. (Since less of the energy from the string oscillations is radiated as sound energy.)
Electric guitars were originally designed by an assortment of luthiers , electronics buffs, and instrument manufacturers, in varying combinations. Some of the earliest electric guitars used tungsten pickups and were manufactured in the 1930s by Rickenbacker . The popularity of the electric guitar began with the Big band era, the amplified instruments being necessary to compete with the loud volumes of the large brass sections common to jazz orchestras of the thirties and forties. Initially, electric guitars consisted primarily of hollow "archtop" acoustic guitar bodies to which electromagnetic transducers had been attached.
The version of the instrument that is most well known today is the "solid body" electric guitar: a guitar made of solid wood, without resonating airspaces within it. One of the first solid body electric guitars was built by musician and inventor Les Paul in the early 1940s, working after hours in the Epiphone Guitar factory. His "log" guitar, so called because it consisted of a simple rectangular block of wood with a neck attached to it, was generally considered to be the first of its kind until recently, when research through old trade publications and with surviving luthiers and their families revealed many other prototypes, and even limited production models, that fit our modern conception of an 'electric guitar.' At least one company, Audiovox, built and may have offered an electric solid-body as early as the mid-1930s. Rickenbacher (later spelled 'Rickenbacker') offered a solid Bakelite electric guitar beginning in 1935 that, when tested by vintage guitar researcher John Teagle, reportedly sounded quite modern and aggressive.
Gibson, like many luthiers, had long offered semi-acoustic guitars with pickups, but it was in 1954 that the Gibson Les Paul , the instrument that would become their trademark, was introduced to the market. In the late 1940s , electrician and amplifier maker Leo Fender , through his eponymous company, designed the Fender Telecaster . In 1954 Fender introduced the Stratocaster , or Strat , which had become by the late sixties the most widely played guitar on the market. Fender is also credited with inventing the electric bass , although solidbody electric basses had appeared elsewhere as prototypes and limited production models.
Unlike the more traditionally styled and crafted Gibson instruments, Fender's guitars and basses pioneered the modular, and hence much less expensive, method of guitar making in which the body and neck of the guitar were crafted separately, using commonly available woodworking tools, and then bolted together to form a complete guitar. Today, the design of electric guitars by most companies echoes one of the two classic designs: the Les Paul or the Stratocaster.
There are several different types of guitars available, and each has a characteristic sound. Often, a guitarist will play one type of guitar but ask you to make it sound like another type of guitar. This can be very difficult but not always impossible. It's crucial that you're familiar with these basic guitar sounds.
Even within the basic electric guitar types, there are many different combinations of pickups and design configurations. The type of wood, style of body and precision of assembly all play an important part in the sound of the instrument. All considerations aside, we can still break the electric guitar sounds into three recognizable categories:
Image 1: Stratocaster: single coil
Image 2: Les Paul: double coil
Image 3: Hollow body electric jazz guitar: double coil
Guitar Brilliant Kid
This kid is really an expert. Believe it or not, this video has been watched by more than 28.5 mil people. Unbelievable!
Top 10 Greatest Guitar Solos
Here's the top 10 guitar solos from "Guitar World" magazine's top 100 guitar solo, I sure the hell ain't gonna do all 100 solos
Jimi Hendrix - His Guitar Legacy
Hendrix's emergence coincided with the lifting of post-war import restrictions (imposed in many British Commonwealth countries), which made the instrument much more available, and after its initial popularizers Buddy Holly and Hank B. Marvin, Hendrix arguably did more than any other player to make the Stratocaster the biggest-selling electric guitar in history. Before his arrival in the UK, most top players used Gibson and Rickenbacker models. After Hendrix, many leading guitarists including Jeff Beck, Ritchie Blackmore and Eric Clapton switched to the Stratocaster. Hendrix bought dozens of Strats and gave many away as gifts, including one to ZZ Top guitarist Billy Gibbons, although a former ZZ Top roadie claimed this was one of Gibbons' many made-up stories to the press. Many others were stolen, and a few were destroyed during his notorious guitar-burning finales. One formerly sunburst Strat which was mutilated by Hendrix at the 1968 Miami Pop Festival was given to Frank Zappa by a Hendrix roadie. Zappa had it hanging on a wall in his basement for years. He posed for the cover of Guitar Player Magazine holding this instrument, and recent news and an image of the refurbished instrument are available in the August 2006 issue of Guitar Player. In 1969, Hendrix met film director Edmund Darris in front of the Baby Grand Night Club where Hendrix was to meet with Albert King. Hendrix gave Edmund Darris tips on how to tune cross Spanish and how to play guitar. Edmund Darris went on to become a great guitarist because of this meeting.
The Strat's easy action and narrow neck were also ideally suited to Hendrix's evolving style and enhanced his tremendous dexterity: Hendrix's hands were large enough to fret across all six strings with his thumb, and he could play lead and rhythm parts simultaneously. Another remarkable fact about Hendrix is that he was left-handed, yet used right-handed guitars, playing them upside-down but re-strung for playing left-handed, so that the heavier strings were in their standard position at the top of the neck.[17] He preferred this layout because the tremolo arm and volume and tone controls were more easily accessible above the strings, but it also had an important effect on the sound of his guitar: because of the stagger of the pickups' pole pieces, his lowest string had a bright sound while his highest string had a mellow sound—the opposite of the Strat's intended design.[18] This effect was exaggerated by the slant of the Strat's bridge pickup.
A new Stratocaster model (with a wide headstock) was launched in late 1968, and as the cohesion of the Experience began to deteriorate, Hendrix wished to vary his playing and his repertoire with this new design. Choosing Stratocasters with a light-tone maple fretboard (giving a "brighter" sound than the "darker" rosewood), he wanted to balance the high-power play with further versatility and velocity, so in early 1969, he opted for heavy-gauge strings which he combined with a tuning lowered a half-step from normal pitch, a technique which he picked up from Albert King in 1966. This enhanced the possibilities offered by the interlaced rhythm and solos during the Olmstead Studios sessions of April 1969. Later on tour, this stringing caused the drawback of more frequent losses in tuning after pushing down (or pulling) the tremolo bar; Hendrix would often ask the audience for a "minute to tune up" several times during the same concert.
In addition to Fender Stratocasters, Hendrix was also photographed playing Fender Jaguars, Gretsch Corvette, Duosonics and Jazzmasters, and Gibson Les Paul Customs and SGs. Jimi used a white Gibson SG Custom for his performance on the Dick Cavett show in the summer of 1969, and the Isle of Wight film shows him playing a Gibson Flying V. While Jimi owned a number of Flying Vs throughout his career (included a black model with hand-painted designs by Hendrix), the Flying V used at the Isle of Wight was a unique left-handed guitar. Custom ordered from Gibson, Jimi's example featured gold hardware, a bound fingerboard and "split-diamond" fret markers that were not found on other 60s-era Flying Vs.
On December 4, 2006, one of Hendrix's custom 1968 Fender Stratocaster guitars with a sunburst design was sold at a Christie's auction for USD$168,000
Metallica Guitar Lesson
This lesson is inpired by the Kirk Hammett style lesson at WWW.GUITARMASTERCLASS.NET . The site also features a daily free video-lick-lesson, which you might want to check out.
As soon as you get any of the licks down - spend as much time as possible jamming over the provided backings.
Yngwie Malmsteen - His Equipment
Scalloped necks
The guitars he uses are recognisable by the addition of custom scalloped fretboards. This is similar to a regular fretboard, but with wood 'scalloped' or scooped away to form a concave shape in between the frets. Malmsteen allegedly conceived this design as a teenager while working in a music store in Stockholm, Sweden when he came across a 17th century lute with a scalloped neck using the raised wood as frets. However, this can also be viewed as an influence from Ritchie Blackmore, one of his most readily admitted idols, who also favours scalloped neck Fender Stratocasters. Malmsteen himself has said he learned most from Ritchie Blackmore's guitar riffs and solos soon after he started learning the guitar. Also, jazz-fusion guitarist John McLaughlin used scalloped fingerboards long before Malmsteen gained fame.
Even for the experienced guitar player, the scalloped fingerboard proves very difficult to perform on, as there is no surface contact between finger and wood to aid in the feel of the vibrato motion. The strings of the guitar, when fretted, are easily pushed sharp and out of tune. The highly accurate, yet delicate, controlled touch required to play properly with Malmsteen's modified Stratocaster is elusive for most, and an integral part of Malmsteen's technique.
Malmsteen briefly used Schecter Guitars in the 1980s, who built him strat-style guitars similar to his Fenders.
Live Equipment
Throughout the years, Malmsteen has stayed true to the basic equipment he uses on stage. Malmsteen continues to use strictly vintage 1971 Marshall amplifiers for his live performances. Often wowing his audiences with his vintage Marshall collection, Malmsteen regularly performs with a literal wall of up to 27 vintage Marshall 4x12 Cabinets with G30 Celestion speakers (30 Watt). All of the 24 heads on the cabinets are Vintage 1971 Mark II Marshall 50 Watt heads. All wireless units are Samson. Floor pedals consist of a Boss CS-3 Compression Sustainer, Roland DC-10 analog echo pedal, vintage Dunlop Cry-Baby Wah Pedal, Roland PK-5 MIDI pedal, Boss OC-2 Octave, DOD 250 Overdrive Pre-Amp pedal, Boss NS-2 Noise Suppressor and a floor switch box for his effects rack by Bob Bradshaw. Malmsteen's guitars onstage are strictly 1968-1972 Fender Stratocasters. Malmsteen has claimed in an instructional video when asked why he chooses the Stratocasters from the late 1960s & early 1970s that the "bullet" truss rod in the neck and the large headstock design added a richer, fuller tone to the guitar that set it apart from Stratocasters from other eras. Fender discontinued the large headstock in the late 1970s and has since produced a re-issue of the "70s Series" Stratocaster. For his acoustic sets, Malmsteen uses a nylon stringed electro-acoustic black or white Ovation Viper. These guitars are equipped with Piezo pickups run into the Boss CS-3 pedal direct into the mixing desk, out to the PA and stage monitors. Prior to the Ovations, Malmsteen used Aria, Alvarez & Gibson classical acoustics on stage. All live microphones are Shure SM57's.
Strings and Picks
Over the years, Malmsteen has used various brands of strings from Ernie Ball, Fender and now recently, he has his own signature string sets available from Dean Markley entitled "Electric Magic." The string weights vary, but Malmsteen regularly performs onstage with a custom light top,heavy bottom string gauge ranging from 0.08 through 0.48 gauge which are considered by most guitarists to be very thin especially with the downtuning. Malmsteen's picks are Jim Dunlop 1.5 mm white with his signature on them. Malmsteen regularly goes through many picks during a live show which he flicks out into the audience throughout the entire set.
096 Guitar Lesson - Finger Tapping 2
Here is the promised 2nd installment in finger tapping. This covers tapping 3 note per string scales and moving positions. Taught by Justin Sandercoe. Support notes at www.justinguitar.com Filmed by Jedi Master Wardley
Guitar Lesson - Finger Tapping 1
Learn basic finger tapping techniques and some cool licks based in A minor pentatonic. This lesson makes it easy and shows you from the start. Taught by Justin Sandercoe (Guitar Institute Instructor, Katie Melua Band) Big Thanks to Jedi Master for filming and editing :) Support notes can be found at www.justinguitar.com (more)
Eric Clapton's Guitars
With the Yardbirds, Clapton played a Fender Telecaster and a cherry-red Gibson ES-335. He became exclusively a Gibson player for a period beginning in mid-1965, when he purchased a used Gibson Les Paul Sunburst Standard guitar from a local guitar store in London. It is not known of the exact year of the guitar, but Clapton commented on the slim profile of the neck, which would indicate it as a 1960 model. He would later use the guitar on the 1966 album with John Mayall & the Bluesbreakers and was largely responsible for Gibson's reintroduction of the original Les Paul body style in 1968 after it had been replaced by the Gibson SG.
Early during his stint in Cream, Clapton's treasured Les Paul Standard was stolen. He continued to play Les Pauls exclusively with Cream (one bought from Andy Summers was almost identical to the stolen guitar) until 1967 when he acquired his most famous guitar in this period, a 1964 Gibson SG. The guitar was noted for its remarkable psychedelic appearance. In early 1967, just before their first US promotional tour, Clapton's SG, Bruce's Fender VI and Baker's drum head were repainted in eye-popping psychedelic designs created by the visual art collective known as The Fool. In 1968 Clapton bought a Gibson Firebird and started using the Gibson ES-335 again. The aforementioned 1964 ES-335 had a storied career. Clapton used it at the last Cream show in November, 1968. It was also used during Blind Faith, played sparingly for slide pieces in the 1970s, heard on Hard Times from Journeyman and the From the Cradle sessions and tour. It was sold for $847,500 at the 2004 auction. Gibson produced a limited run of 250 "Crossroads 335" replicas. The 335 was only the second electric guitar Clapton bought.
Clapton played a red Les Paul on the Beatles' studio recording of "While My Guitar Gently Weeps." He later lent his SG to singer Jackie Lomax, who subsequently sold it to musician Todd Rundgren for US$500 in 1972. Rundgren restored the guitar and nicknamed it "Sunny," after "Sunshine of Your Love." Rundgren played the guitar extensively on record and in concert in the mid-1970s, eventually retiring it in 1977. He retained it until 2000, when he sold it at an auction for US$150,000.
In early 1970, Clapton made the switch to the Fender Stratocaster. "I had a lot of influences when I took up the Strat. First there was Buddy Holly, and Buddy Guy. Hank Marvin was the first well known person over here in England who was using one, but that wasn't really my kind of music. Steve Winwood had so much credibility, and when he started playing one, I thought, oh, if he can do it, I can do it." First was "Brownie" used during the recording of Layla and Other Assorted Love Songs which in 1971 became the backup to the most famous of all Clapton's guitars, "Blackie." In 1970, Eric bought 6 Fender Stratocasters from the Sho-bud guitar shop in Nashville, Tennessee. He gave one each to George Harrison, Steve Winwood and Pete Townshend. He used the best components of the remaining three to create "Blackie", which was Clapton's favourite stage guitar until its retirement in 1985. Clapton called the 1956/57 Strat a "mongrel". On 24 June 2004, Clapton sold "Blackie" at Christie’s Auction House, New York for $959,500 to raise funds for his Crossroads Centre for drug and alcohol addictions. It held the world record for most expensive guitar until a white Fender Stratocaster, signed by Clapton and a number of other artists, was auctioned to help raise money for victims of 2004's tsunami disaster.
Another moment involving Clapton's guitars and Pete Townshend resulted in Hard Rock Cafe's unique and gigantic collection of memorabilia. In 1971, Clapton, a regular at the original Hard Rock Cafe in Hyde Park, London, gave a signed guitar to the cafe to designate his favourite bar stool. Pete Townshend, in turn, donated one of his own guitars, with a note attached: "Mine's as good as his! Love, Pete." From there, the collection of memorabilia grew, resulting in Hard Rock Cafe's atmosphere.
During Clapton's heroin addiction, he began to sell off his collection of guitars to pay for his drug habit. Seeing Clapton selling his most treasured possessions was one of the reasons Pete Townshend was prompted to help him get over his addiction. Slowhand occasionally used a double-bound sunburst Fender Custom Telecaster with a Stratocaster neck during a 1969 Blind Faith concert at Hyde Park.
During the "Edge of Darkness" period in 1985, Clapton briefly played a red Roland G-505 synth guitar controller with two synthesizers (Roland GR 700 and PG 200 floor pedals). This Japanese Strat copy from 1982 was also used for the "Never Make You Cry" track from the "Behind the Sun" album (recorded that same year) and during The Pros and Cons of Hitch Hiking tour with Roger Waters in 1984. The guitar was sold in the 1999 Clapton Crossroads auction at Christie's for $29,000 and went for $36,000 at the Rock 'n' Roll / Hollywood Auction presented by the London-based Cooper Owen auction house in association with Barrett-Jackson of Scottsdale (AZ) on January 15, 2007.
In 1988 Fender honoured Clapton with the introduction of his signature Eric Clapton Stratocaster. These were the first two artist models in the Stratocaster range and since then the artist series has grown to include models inspired by both Clapton's contemporaries such as Mark Knopfler, Jeff Beck and those who have influenced him such as Buddy Guy. The late Stevie Ray Vaughan also has an artist series model. Clapton uses Ernie Ball Slinky and Super Slinky strings.
Clapton has also been honoured with signature-model 000-28EC and 000-42EC acoustic guitars made by the famous American firm of C.F. Martin & Co.. His 1939 000-42 Martin that he played on the Unplugged album sold for $791,500 at auction. Clapton plays a custom 000-ECHF Martin these days.
In 1999, Clapton auctioned off some of his guitar collection to raise over $5 million for continuing support of Crossroads Centre in Antigua, which he founded in 1997. The Crossroads Centre is a treatment base for addictive disorders like drugs and alcohol. In 2004, Clapton organised and participated in the Crossroads Guitar Festival to benefit the Centre. A second guitar auction, including the "Cream" of Clapton's collection--as well as guitars donated by famous friends, was also held on 24 June 2004. The total revenue garnered by this auction at Christie's was US $7,438,624.
110 Guitar Lesson - Jimi Hendrix Style Rhythm Part 2
This lesson covers the Jimi Hendrix tricks for the E Shape barré chords, one of the most copied rhythm styles of all time, and sounds cool. Taught by Justin Sandercoe.
109 Guitar Lesson - Jimi Hendrix Style Rhythm Part 1
In this lesson you will learn a few Jimi Hendrix Style rhythm guitar tricks that you can use in many situations. This first part shows a trick with the A Shape barré chord. Part 2 will look at E Shape tricks, useful progressions and sounds. Taught by Justin Sandercoe. Support notes at http://www.justinguitar.com
The World Is Full Of Great Guitar Solos
by: Peter Jones
Do you have a favourite guitar solo? You know, one that sends a cold chill down the back of your neck? One, that for some unknown reason seems to fit the song so perfectly that you couldn't imagine any other guitar solo being played in that song? I bet you have a few you could mention. I'm going to list five all time classic solos that influenced me when I was starting out. See what you think.
Something by George Harrison - A beautiful solo for a beautiful song. I heard a story that the final solo used on the Abbey Road album was actually a mix of a few solos George had recorded. There is no doubting that he excelled himself on this song. It just goes to show that sometimes the simplest of licks will suffice. Thanks for the memories George....
All Right Now by Paul Kossoff - An absolute classic rock solo!!. A composition within itself you might say. This solo features no right hand tapping, no full throttle speed licks and no wammy bar heroics. Instead we have a brilliantly constructed solo with a definite beginning, middle and end. Check out the way Paul gently pulls the listener in by using a couple of licks to introduce the solo and then builds up to a fantastic ending. This solo is a prime example of how to play a great rock solo.
All Along The Watchtower by Jimi Hendrix - Jimi plays Dylan. This is probably one of my all time favourites. This is one of those solos that I really do not want to analyse. I just want to sit back, listen and enjoy. To be honest, there are many of Jimi solos I could have included in this but, to me, this one is simply outstanding. It's one I never, ever tire of listening to. Each and every time it just blows me away. The whole feeling of this track is just amazing.
Cliffs Of Dover by Eric Johnson - This is a prime example of great technique being mixed with a great feel for the music being played. As with Jimi, there are many Eric Johnson tracks I could have chosen. I decided on this one because it was the first thing I ever heard Eric Johnson play. Back in the mid to late 80's Guitar Player magazine included it as a freebie flexidisc in one of its issues. I loved it then and I love it now. If you haven't heard this track check it out as soon as you can.
I'm Goin' Home by Alvin Lee - A song by helicopter! This is just plain old rock n' roll from the wonderful Alvin Lee. I've chosen this one because it was a big favourite of mine when I was first starting to play. It is raw, exciting, and it makes you want to play. I remember being knocked out by the sheer speed of Alvin's fingers when I first heard this one. A gem from one of the greats.
Obviously there are many great solos I have had to miss from this list. Who could forget, Django Reinhardt's Nuages, Larry Carlton's Kid Charlemagne, Elliott Randall's Reeling In The Years, Brian May's Bohemian Rhapsody, Eddie Van Halen's Beat it, Albert Lee's Country Boy, Bert Jansch's Angie, David Gilmour's Comfortably Numb, Jimmy Page's Stairway To Heaven, Steve Vai's For The Love Of God, Eric Clapton's Sunshine Of Your Love, Brian Setzer's I Won't Stand In Your Way, Mason Williams' Classical Gas, Jimi's Little Wing, Chet Atkins' Yakety Axe, Scotty Moore's That's All Right Mama.....etc...etc....etc.... The list goes on and on.
The five I chose were important in my early years as a player. If compiling the same list next week, I might come up with something completely different. My tastes have changed over the years and I am sure they will continue to do so.
What five guitar solos would you list and why?
Tips on Buying Guitars
by: Mantius Cazaubon
There are so many guitar models on the market today. So many types including electric, acoustic, acoustic electric, nylon string, and steel string guitars. How does one make a selection? Here are a few tips to help you choose one that meets your needs.
1. It depends on how much you can afford.
With such a wealth of guitars available, a working person shouldn't have a problem finding one that fits their budget. But this doesn't mean that you should settle for anything. As the old adage goes, you usually get what you pay for. Usually the more money you invest, the greater the returns. You're going to be spending a lot of time practicing so choose an instrument that you can enjoy. An instrument that you can look forward to playing.
2. What style of music will you be playing?
The style of music to be played should influence your choice of guitar. For instance if you plan on playing rock you should buy an electric guitar, since Rock music is better suited to be played on that type of guitar. If Jazz and blues is your thing you may prefer a semi-acoustic guitar from the start. An acoustic nylon string guitar may be better suited to classical music and smooth Jazz.
3. Child or adult.
Are you a parent looking to buy a guitar for your child? Consider buying a 1/2 size or 3/4 size guitar. Your child doesn't have the reach that an adult has, so these smaller guitars are better suited. Regular size guitars will be more difficult to play and can cause a lack of interest.
You may also want to look into buying an electric guitar for your child if you can afford it. They have a small neck and very light thin strings and are therefore easier to play. If money is an issue a second hand electric guitar may be the answer.
4. Wood type and its relation to tone.
Although there are no rules for choosing guitar woods, there is a guide that you can follow. Generally, darker woods produce a brighter tone while darker woods produces a deeper, richer tone. Medium tone wood like mahogany produce a very even smooth sound spectrum. You should compare various wood colors. The best thing to do is to listen to the tones that a guitar produces before deciding.
5. Pay attention to the guitar's features.
Your guitar must have certain important features. Don't simply focus on looks.
For example, your guitar should have die-cast machine heads (or tuning gears). With this feature, you will be able to tune your instrument more accurately and your guitar will stay in tune longer.
A solid top is also very important. A solid top usually consists of 2 solid matched pieces glued together side by side. This is of better quality than a laminated top where various woods are glued together on top of each other. With a solid top the guitar's tone will be more even and accurate and you can expect a sustaining vibration throughout the guitar's body.
6. Buy a guitar that feels good to you.
You're the one who will be playing that guitar. So you'd better buy one that feels comfortable to you, whether you're sitting or standing. For instance, if the strings are too far from the fretboard, playing will be difficult. An expensive guitar that is not comfortable is a waste. Spend time with the guitar before deciding.
7. The bottom line is sound.
If it sounds good, buy it. No two guitars can ever be the same. It's never about looks. It's about the sound that is generated through the use of the right type of wood and through superior craftsmanship.
You should be able to find a guitar easily online. You can order one that suits your needs today. Some of the best guitar prices can be found on the Internet. You even get free shipping to your door
100 Greatest Rock Guitarists
Criteria: - Guitarists are ranked for their impact, influence, creativity, versatility, originality, technical skill and lasting popularity in the genre of Rock guitar.
1. Jimi Hendrix* - Jimi Hendrix Experience
2. Eric Clapton - Yardbirds, Cream, Derek & The Dominos, Solo
3. Jimmy Page - Yardbirds, Led Zeppelin, The Firm
4. Jeff Beck - Yardbirds, Jeff Beck Group, Solo
5. Eddie Van Halen - Van Halen
6. Stevie Ray Vaughan* - Stevie Ray Vaughan & Double Trouble
7. Joe Satriani - Solo
8. Ritchie Blackmore - Deep Purple, Rainbow, Blackmores Night
9. Steve Vai - David Lee Roth, Whitesnake, Solo
10. David Gilmour - Pink Floyd, Solo
11. John Petrucci - Dream Theater, Liquid Tension Experiment
12. Randy Rhoads* - Quiet Riot, Ozzy
13. Allan Holdsworth - Solo
14. Paul Gilbert - Mr. Big, Racer X, Solo
15. Yngwie Malmsteen - Rising Force, Solo
16. Phil Keaggy - Glass Harp, Solo
17. Jason Becker - Cacophony, David Lee Roth Band, Solo
18. John Mclaughlin- Mahavishnu Orchestra
19. Duane Allman* - Allman Brothers Band, Derek & the Dominos
20. Chuck Berry - Solo
21. Eric Johnson - Solo
22. Steve Howe - Yes, Solo
23. Neal Schon - Santana, Journey, Solo
24. Brian May - Queen
25. Gary Moore - Thin Lizzy, Colosseum II, Skid Row, Solo
26. Bo Diddley - Solo
27. Steve Morse - Deep Purple, Dixie Dregs, Steve Morse Band, Solo
28. Carlos Santana - Santana
29. Tony Iommi - Black Sabbath
30. Buckethead - Solo, Praxis, Thanatopsis, The Deli Creeps, Cornbugs, GNR,
31. Mark Knopfler - Dire Straits, Solo
32. Marty Friedman - Cacophony, Megadeth, Solo
33. Nuno Bettencourt - Extreme, Mourning Widows
34. Shawn Lane* - Black Oak Arkansas, Willy, Solo
35. Kirk Hammett - Metallica
36. Uli Jon Roth - Scorpions, Solo
37. Terry Kath* - Chicago Transit Authority
38. Alex Lifeson - Rush
39. Frank Zappa* - Mothers of Invention, Solo
40. Rory Gallagher* - Solo
41. Dimebag Darrell* - Pantera
42. Peter Green - Fleetwood Mac, Solo
43. Robin Trower - Procal Harum, Solo
44. Slash - Guns N' Roses, Slash's Snakepit, Velvet Revolver
45. Mick Taylor - John Mayall's Bluesbreakers, Rolling Stones
46. Robert Fripp - King Crimson
47. Tom Morello - Rage Against the Machine, Audioslave
48. Michael Schenker - Scorpions, UFO, MSG, Contraband
49. Ry Cooder - Solo
50. Angus Young - AC/DC
51. Keith Richards - Rolling Stones, Solo
52. Michael Angelo Batio - Nitro, Solo
53. John Squire - Stone Roses
54. Pete Townshend - The Who
55. Steve Hackett - Genisis
56. Zakk Wylde - Ozzy Osbourne, Black Label Society
57. George Harrison* - Beatles, Traveling Wilberys, Solo
58. Alvin Lee - Ten Years After
59. Dave Davies - Kinks
60. Jerry Cantrell - Alice In Chains, Solo
61. Steve Stevens - Billy Idol
62. Johnny Winter - Solo
63. Dickie Betts - Allman Brothers Band, Dickey Betts & Great Southern
64. John Cipollina* - Quicksilver Messenger Service
65. Kenny Wayne Shepherd - Kenny Wayne Shepherd Band
66. Steve Cropper - Booker T. & MG's/Stax sessions
67. Adrian Belew - King Crimson
68. Joe Bonamassa - Solo
69. Steve Lukather - Toto, Solo
70. Jerry Garcia* - Grateful Dead
71. Joe Perry - Aerosmith
72. Prince - Prince & The Revolution
73. Kim Mitchell - Max Webster, Solo
74. Adrian Smith - Iron Maiden
75. Dave Murray - Iron Maiden
76. Neil Young - Buffalo Springfield, CSNY, Solo
77. Billy Gibbons - ZZ Top
78. Tony MacAlpine - Solo
79. Mike McCready - Pearl Jam
80. Adam Jones - Tool
81. Gary Hoey - Solo
82. Leslie West - Mountain, Solo
83. Peter Frampton - Humble Pie, Frampton's Camel, Solo
84. Dick Dale - Del-Tones
85. Vito Bratta - White Lion
86. Mickey "Guitar" Baker - 50's sessions/ Mickey & Sylvia
87. John Frusciante - Red Hot Chili Peppers
88. Ronnie Montrose - Montrose, Edgar Winter Group
89. Mick Ronson* - David Bowie, Solo
90. Roy Buchanan* - Solo
91. Warren Haynes - Allman Brothers Band, Gov't Mule
92. Vinnie Moore - Alice Cooper, Solo
93. Robbie Krieger - Doors, Solo
94. Chris DeGarmo - Queensryche
95. Jake E. Lee - Cutting Crew, Ozzy, Badlands, Solo
96. Glen Tipton - Judas Priest
97. Joe Walsh - James Gang, Eagles, Solo
98. K.K. Downing - Judas Priest
99. Eddie Hazel* - Funkadelic
100. Alex Skolnick - Testament
(*=R.I.P.)
Sweep Picking | Sweep Arpeggio
Sweep Picking Arpeggio Guitar Lesson. Full Lesson with tablature here: http://www.fret-master.com/sweeparpeggios.htm This is a hybrid pattern for maj/min meant to be used over power chords and most notably over ambiant single root-note backings such as synthesized strings or just the root played on another guitar. So for a major chord you would play D6 in the 1st example instead of D5, or for minor chords leave the D5 and play E3 on the high e string. And no I am not in standard tuning but it does not effect the usefulness of this lesson.