Hello there and welcome to Natalia Buckley’s Quiet Room. I am Richard Nixon from Thebestbeginnerguitar.com.
In this column we’ll be looking at another composition of mine simply called Study n. 14. This piece features a few arranging and compositional ideas, the most recurring being shifting the melody line from the higher to the lower register. This is a simple but effective arranging strategy, which forces the guitarist to outline the melody, applying the appropriate pressure with the relevant picking hand finger.
Another melodic feature in this piece, is the use of the altered scale, also known as the ‘super-locrian’ or whole-tone-diminished scale. This is the seventh mode of the melodic minor scale and it is often associated to Jazz for it’s colourful connotations. This mode is mainly used over dominant seventh chords, in order to create a tension and release effect, especially on resolving dominant chords (V – I). The most interesting characteristic of this mode is the presence of both a minor and a major third. The former is often described as the #9 of the chord (For more info on this subject, you may want to research altered chords and melodic minor modes).
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Hi guys and welcome back to my Guitar blog! I hope you’ve all been practicing your intervals and enjoying the development of your fretboard knowledge along the way. For this issue we’re going to be focusing on scales and their application for practicing over chord changes.
Scales often get a bad rap for being unmusical and certainly not something to focus on during your improvisations for fear of producing very boring, shapeless lines. However, as I’ve mentioned before in previous columns, scales are a fantastic way of representing the chords or harmony that you’re playing over in a linear fashion. Since each scale contains all of the chord tones and extensions of each chord you’ll be soloing over, they are fantastic for training your ears and eyes on the fretboard and creating a linear connection between each chord.
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Written by Rick Graham
String bending, for me, is one of the most important techniques of all. 1 personally feel that guitarists often neglect it, even though its something which can help your musicianship immeasurably. Addressed in the right way, it can transform the way you approach phrasing and really help to improve your aural skills. Employing this technique can also help you to achieve a very vocal sounding approach to guitar playing, which can be extremely expressive and once you have the basics down there are many routes you can take which will give vour playing a very unique flavour.
The Style of Marty Friedman
Some Common Guitar Problems
I’d like to start by emphasising the importance of correct intonation when using string bending technique. A poorly executed string bend can sound absolutely awful if the intonation is even slightly olf. so I tend to do some warm-ups when practising, using simple ideas so I can focus on controlling the intonation. For instance I’d take an A minor pentatonic scale and focus on doing whole tone bends such as on the 3″1. 2nd and l’1 strings on frets 7, 8 and 8, respectively. When you do this, be sure to stay in complete control of the intonation.
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Welcome to another Guitar Interactive Tech Session, this time looking at the hugely unique style ex-Megadeth man, Marty Friedrn.
I’ve written a piece very much in style of Megadeth era Marty with a Dave Mustaine inspired riff so you can see just how Marty would use his unique phrasing ideas over a traditional Metal backing, the sort of thing you’ll be able to take and use in our own solos right away.
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