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15
minute
technique
FIX 1
SPE E D U P Y O U R U
pon mention
of the word
rhythm, you might
progression and theyre
designed to promote
instantaneous and
G E S
assume that picking-hand independent fretting finger
R D C H A N
technique is the subject of movement one of the
CH O
discussion. In fact, a finely most challenging aspects of
tuned rhythm workout chord playing for players of
should begin with your fret all levels.
hand. Tricky chord changes Practise each exercise
of your rhythm
must be tackled before you slowly so that you can
e fun da m en ta ls start thinking about picking identify any problem areas
Get th
itar te chn ique up to speed with TGs and strumming. and work on them. Once you
gu The two exercises weve get a feel for the changes
e exercises
basic chord chang
written follow a basic chord start work on your rhythm.
.. 2
4 2
1
1
2
..
4
3 3
3
1
T . 0
1
3
0
0
1
0
0
1
1
1
0
0
1 .
B
. 0
2
3
0
0
2
2
2
0
1
0
2
2
3
3
0
0
2
0
2
3
.
3 0 1 3
ALTHOUGH THIS exercise is in open position, your fingers constantly change string/fret quite the challenge! Tricky changes such as F to G7 need care to avoid scuffs
and buzzes, so practise slowly until the movements start to feel fluent. Gradually challenge yourself with faster tempos.
.. ..
T . 8
8
7
8
5
5
7
9
5
6
3
3 5 .
B
. 9
10
10
7
9
10
5
7
7
7
9
7
5
7
8
4
3
5
5
5
3
.
8 5 3
THERE IS much more movement here and several shapes include all four fingers for added difficulty. Getting your fingers into position for the C shape (the G and F
chords) is the most challenging part. Work very slowly at first and watch out for any dead notes and buzzes.
32 FEBRUARY 2016
TRANSFORM YOUR PLAYING
15 FIX YOUR
minute
technique FING E R P I C K I N Gan d ge t your digits into shap
e
Put that pick do w n
ing exercises
FIX 2 with our ha nd y fin ge rpic k
A
lthough musical trends for many. Ultimately, it boils down to
constantly change, it seems developing independent movement
theres always a place in the in your picking fingers and the
UK charts for a little folk-tinged musical exercises on this page are
acoustic material. Most recently designed to promote these skills.
Jamie Lawson and Ed Sheeran have As a general rule, the thumb usually
been occupying that space but its takes care of the bass strings
a tradition that goes back to the (strings four to six), the first, second
British folk scene of the 1960s and and third fingers play the third,
its a sign of the acoustic guitars second and first strings respectively,
enduring popularity. and the fourth finger is rarely used.
Guitarists tend to develop You can find a brief explanation of
strumming skills early on, but the pima fingerpicking notation Keeping your thumb to one side of your fingers helps prevent it
fingerpicking remains a challenge style on p110. colliding with your fingers
APPROACH THIS exercise in three ways: 1) Thumb-pick the bass notes this will help you get used to the steady quarter note pulse on the fourth, fifth and sixth strings;
2) Pick the treble strings to get used to the basic first, second and third finger movements; 3) Finally, put both bass and treble together for the full fingerstyle workout.
# .. ..
let ring throughout
. 0
1
0
1
2
0
2
0
0
0
0
0
0
0
0
0 .
B
. 3
0
2
0
2
2
1
2 0
2
0
2
0
2
0
.
0
p i a p i a p i a p i a p i a p i a p i a p i a
m m m m m m m m
IT CAN be useful here to secure the second and third fingers of your picking hand against one another so they move as one when playing the two-string chord. It can also
help to begin by practising the Em shape in bar 2. As with the first example, you can break up the arpeggios into separate bass note/treble note parts initially.
FEBRUARY 2016 33
TRANSFORM YOUR PLAYING
15 BETTER W
hether youre into rock, blues or metal,
as soon as you start playing guitar solos
youll likely find yourself using string
BENDS
bends and this calls for a slick, tight technique.
minute
It takes a combination of strength, control, feel
and a lot of practice, but these six short licks guide
you through some great techniques thatll raise your
technique string bending skills to new heights. The licks can
Upgrade your
easily be adapted into any key and style, so you can
FIX 3
apply the techniques to your own solos.
soloing skills with Weve compiled all six licks into one audio file over
a simple backing track. Each lick is played twice
TGs lesson on the before a short space for you to play back the same
ad
most expressive le
lick in a listen and repeat style. Each lick provides a
different challenge, getting gradually more difficult
guitar technique as they progress.
TRACK 23
1. BASIC BEND LICK 2. PENTATONIC LINE
q = 81 Bm Bm
3j
j
j
j 3
j
j
3j j
1 1
1 1
1
1
3 3 3 3 3 3
3 3
BU BU BU BU BU BU
7 7 7 7 7 7
T 10 (12) 7 10(12) 7 10(12) 7 10(12) 7 T 10 (12) 7 BU 7 10 (12) 7 BU 7
9 (11 ) 7 9 (11 ) 7
B B
THIS IS a basic bend lick spread over two strings. Its a great exercise to get your THIS LICK develops the previous idea across three strings. Continue to use your
third finger warmed up. Remember to support the bend with your second finger. third finger for each bend, focussing on good intonation and avoiding note bleed.
3 3 3
~~~~~~~~~
PB 10 PB 9 PB 9 hold bend
BU BD BU
BU BD 10 9 (10 ) ( 9 ) 7 BD BU BD BU
T 9(11) (12) (11) (9 ) 7
T 10 (12)
(11 ) (9) 7 9 (11 ) ( 9 ) 14 (16)
15
(16)
B B
THIS STEVE Lukather-inspired lick adds a fretted note to a one-tone bend on the AS A by-product of the initial second-string bend youll pre-bend the third string.
same string (at the end of beat 1). Its a tricky but highly expressive technique. Next, pick the third string, then release the pre-bend for a Jimi Hendrix-style line.
3 3
hold bend
7 10
BU BD T 10 (12)
T 9 (11 )
10 10
(11 ) ( 9 ) 7
(10)
9 (11 )
10
(9) 9 7
BU BD 11 (12) (11 ) 9
BU BD
B B
BU BD
1
THE IDEA here is to hold the bend (the first note) so it rings out as you play the rest THIS LICK helps nail down the idea of keeping the upper string still while the bends
of the notes. This is great for finger strength as you cant support your bend. are being executed. As always, support the bend with any spare fingers you have.
34 FEBRUARY 2016
TRANSFORM YOUR PLAYING
Start A Band
Playing music with other people can be one
of the best ways to quickly improve your
playing and all-round musicianship. Here
are 10 ways to kick-start your band in 2016
FEBRUARY 2016 35
TRANSFORM YOUR PLAYING
BUILD YO U R F O U R T H
15 R S T R E N G T H
minute
technique FING E
For mos t play ers it s th e ir weakest digit.
es to improve
FIX 4 Follow TGs le
your fourt h-f
g
in
a
g
to
e r
le
fr
a
e
d
tt
e
in
x ercis
g performance
M
any players take a three-fingered
approach to lead guitar, relegating their
fourth finger to just occasional use.
If this sounds like you, we urge you to add one or
two dexterity exercises into your regular practice
routine youll broaden your soloing horizons as
wide stretch licks, impressive scale runs and slick
legato lines all become easier to play.
Were taking a two-pronged attack, homing in
on pull-offs and hammer-ons to help you develop
strength and coordination in this under-used
finger. You can easily simplify each exercise by
focusing your attention on a shorter four- or
eight-note section.
.. .. .. ..
1 1 1 1
1 1 1 1 1 1 1 1
1 1 1 1
. 10 7
8
10 7
8
10 7
8
10 7
8 . . 10 7
7
12 7
7
10 7
7
12 7
7 .
B
. 9 9 9 9
. . 7 7 7 7
.
THIS LICK is all about improving the snap you should get when executing a pull-off. Aim for a square pull-off, ie, towards the floor, rather than angling towards the nut.
Try the Em shape with your first finger barred over the three strings this will allow an easier transition to the Bm shape.
. 5 9 5 9 7 10 7 10 9 12 9 12 7 10 7 10
.
B
. 6 9 6 9 7 10 7 10 9 14 9 14 7 11 7 11
.
INCREASING SPEED will inevitably up the difficulty of this rock lick, so only raise your tempo when you can play the line cleanly and comfortably. To increase the
difficulty, you could try adding pull-offs to each group of four notes.
36 FEBRUARY 2016
TRANSFORM YOUR PLAYING
FEBRUARY 2016 37
F
songwriting
2INS0PIRING CHORDS
If you're in need of
as we show you
inspiration, read on
ite chord shapes
some of our favour
to take your
that are guaranteed
hts
playing to new heig
If you compare an A major chord to A minor you will shapes all exploit that minor 3rd, to create a dark, TRACK 31
hear that the former sounds bright and cheerful, moody atmosphere. The open strings enable you
whereas the other is sad and mournful. This is thanks to reach notes that can't necessarily be fretted and
to the change from a major 3rd to a minor 3rd. These have a sad, droning sound.
x o o o o o o o o o x o
1 T 1 1
5 7 5
1 2
3 3 4 3 4
The C#m9 and Am11 shapes shown here are very perfect for folky acoustic material. Weve played the
TRACK 32
common jazz guitar chords as used by players such Fmaj7 chord thumb over the neck-style, but if this is
as George Benson or Wes Montgomery. The Eadd9 too much of a challenge, you can simply omit the
and Fmaj7 chords have an open, airy sound thats lowest two strings all together.
x o o o o x x o
1 3 1 T 1
1 2 2
2 3 4
3 4
2 3 4 4
38 FEBRUARY 2016
TRANSORM YOUR PLAYING
Tension in music works best in small doses, so, rather predictable feel. You can enhance things by TRACK 34
than using these chords for a whole song or section, switching to the tense sounding E7#9 chord.
use them fleetingly. For example, if you have a song in The Caug chord works in a similar way in the
the key of A, going to an E chord has a natural, key of F major.
x x o o x o x o o
1 1 1 2 1
6
2 3 2 3 2 3
4 3 4 4
x o o o o x o o o o
5 1 7 1
1 2 1 2
3 4 3 4
2 3
3 4
15 TWEAK YOUR E
minute PICKING T E C H N I Q U
technique e sm all ad ju s tm ents to your pick
Making som G s exe rcises will give your
T
FIX 5 isin g
angle and pract
lease of life
lead playing a new
P
icking cleanly while
moving from one
string to another is a
key part of guitar playing, no
matter what genre youre
into, be it metal, funk or folk.
A lot of players experience
the problem of hitting the
wrong string or just not
developing enough speed,
despite practising regularly.
Monster pickers such as
Zakk Wylde and John 1 USE THE EDGE OF YOUR PICK 2 USE THE POINT OF YOUR PICK
Petrucci have a trick up their Angle your pick so that the edge hits the string first; this Only the tip should touch the string; if your pick sits too
sleeve and the answer lies in helps the pick to glide across the string. deep it can catch, making it harder to play the next note.
their pick angle.
The biggest myth with
picking is that the tip of the
pick simply moves down and
up. This is true, but it also
needs to move in and out, to
enable it to move from string
to string without hitting an
idle string.
In the following exercises,
play the downstrokes so that
the tip of your pick ends up
just in between two strings,
but play the upstrokes with
a slight outward motion, 3 MOVE AWAY FROM THE STRING 4 ...BUT DONT MOVE TOO FAR
moving your pick away from Following an upstroke move your pick up and out to Ideally, the distance your pick moves for a downstroke
the strings, ready to shift to make it easier to move to the next string. Aim to be no should be the same as for an upstroke to maintain even
the next one. more than about 10mm away from the string. timing, so keep your up and out movements small.
#
q =130
.. 4 1 3
1 .. .. 1 4 3
1
3 4
..
3 3
. . . 5 .
.
8 5
7 5
8 5
7 5
. B
. 8 7 5 7 8
.
B
THIS LICK has two notes on each string, so use down up style alternate picking. THIS TRIPLET feel lick has one note on the second string and five notes on the
Use the up and out motion as you change from the third string back to the second. third string. An up and out motion on the last note of the bar sets up the repeat.
40 FEBRUARY 2016
TRANSFORM YOUR PLAYING
PLAY O U T S I D E T H E
15 T O N I C B O X
minute
technique PEN TA
The minor pen ta to n ic is a fan tastic-sounding sca
le
een the notes
etw
FIX 6 in s o m e g ap s b
on its own. TG fills pro-style edge
your solo s th a t
to give
T
he name minor pentatonic tells you a pentatonic scale as a framework, but add other THE MINOR
lot about this essential scale; there are notes for a more colourful, yet still blues-rock PENTATONIC SCALE
five (penta-) notes or tones (-tonic), sound. So you get the sound of the more Learn the all-important
and minor tells you that one of these notes is a unusual intervals, but without having to learn intervals and notes
minor 3rd, giving you a dark, moody sound loads more scale shapes.
much like minor chords. The likes of BB King The b5th interval is a good interval to start MINOR PENTATONIC INTERVALS
and Eric Clapton have played amazing solos adding to your pentatonic lines and the major 1 b3 4 5 b7
using just this scale. 2nd will almost always sound good. The major NOTES IN COMMON KEYS
However, you can take these basics a step 6th sounds nice in passing, but there are no A minor pentatonic: A C D E G
further. Players such as Joe Bonamassa and hard and fast rules. Weve written a lick to fuel E minor pentatonic: E G A B D
Kenny Wayne Shepherd use the minor your inspiration. D minor pentatonic: D F G A C
THERE ARE a lot of notes here, but at the heart is the A minor pentatonic scale shown with black and red dots. Black dots are root notes and red dots are other notes from the
scale. Weve highlighted in green the outside notes that you can experiment with.
FEBRUARY 2016 41
TRANSFORM YOUR PLAYING
42 FEBRUARY 2016
TRANSFORM YOUR PLAYING
15 L
egends such as Jimmy Page, Slash, Stevie Ray
Vaughan, Peter Green and others all use the
minor pentatonic scale extensively. And,
despite their differing playing styles, they all share
minute
one thing: they rarely confine themselves to just one
area of the fretboard.
The notes of the minor pentatonic scale can be
technique found all over the fretboard and are usually learned
as five different shapes covering all six strings. In this
FIX 7
lesson were simplifying things and spreading of the
five shapes over just three strings. Practise each
shape on its own, then take a look at the two licks
weve written to see how you can join the shapes
THE NECK
o ard
Explore the fretb k ing scale shapes
sso n on lin
with TGs le
SHAPE 2 SHAPE 4
EACH OF the five shapes starts and finishes on a root note (marked with a black dot) and covers one octave of the A minor pentatonic scale. Play shapes 1, 2, 4 and 5
starting on your first finger; for shape 3, youll need to start on your fourth finger (or your third if you prefer). Take note of where notes are shared between shapes.
..
~~~~~~
.. #
q = 80
3 .~~~~~
1 1
1
.. 1
1 ..
1
~~~~~~~
1
~~~~~~
3
T . . . 12 14 12 15 17
.
. .
James Fortune/REX Shutterstock
7 9 7 T 15 15 17 15
B 5 7
7 10 10 7 10
B
. 14
12 14 17 17
.
5 8
THIS LICK moves through shapes 1 and 2 of the scale. Try to keep track of the THIS LICK is based in shapes 4 and 5 and is best played using only your first and
shape youre in as you move up the fretboard. The final note is a first-finger slide third fingers. Use your first finger for the 12th fret notes until the slide (shown
to the 12th fret so you could say you are in shape 3 here. Were joining this lick up with a short diagonal line between two notes) sees you move up to the 14th fret.
with the next one so this slide helps with the change of position. Sliding is an easy way to make the position shifts easier.
FEBRUARY 2016 43