BRAZILIAN GUITAR STAR KIKO Loureiro was first profiled in GP back in the 11/07 issue, where we described him as a player with uncommon facility not just in rock and shred, which he was known for at the time, but also jazz, fusion, and traditional Brazilian and Bossa Nova music. At this year’s NAMM show, Loureiro sat for a private lesson and discussed some of his monster techniques, including the clever application of arpeggios in his tunes.
“In my song ‘Gray Stone Gateway’ off my latest album Sounds of Innocence,” he explains, “I wanted to use the clave rhythm with some Steve Morse-, Eric Johnson-style open triads.” As he launches into Ex. 1, he’s quick to point out that it’s played with strict alternate picking. “For me it’s very difficult to play, but it’s all alternate picking. From the Em, it goes up to the Am, then to the dominant,” he says, as he walks diatonically through the Em, F#m, G#m7b5, B7, and B7b9 triads.
When it comes time to descend from Em to D#, D, C, and B (“A very Spanish, flamenco kind of thing.”), Loureiro does break into hybrid picking for some of the arpeggios in Ex. 2. “It shouldn’t be, but it just happened,” he laughs. “It’s easier somehow.” The moral of this story is, treat this line as a great exercise for alternate picking, hybrid picking, fingerpicking, string skipping, open-voiced triads, diatonic harmony, or all of the above.
Speaking of hybrid picking, the tune “Twisted Horizon” off the same album is a great showcase of Loureiro’s command of that technique. “This song has very ‘happy’ harmony,” he says as he lays out the D-ABm- G-F#m-A progression that makes up Ex. 3. As he gets to the F#m, he breaks into a pentatonic minor scale for that chord and then a hip, pseudo-pentatonic major run for the A that swaps the 2 for the 4, making for a super guitar-friendly shape. When he reprises the harmony in Ex. 4, Loureiro inserts a IIm-V turnaround that features blazing arpeggiated runs over the Em before wrapping it up with the Amaj figure from before.
Although he plays this piece at breakneck speed, the fact is it sounds great at slow tempos too. If you’re not hip to the Johnsonian approach to open-voiced triads and their inversions, this is a great way to learn them. If you are, consider this a righteous tune-up. Try it with every picking technique you can, and watch how your fluidity and accuracy with the shapes and the string skipping improve.
Wayne Jones Audio Endorsees Nate Phillips, David Dyson, and Carl Young Discuss Their Rigs (VIDEOS)
Victor Wooten On Playing DR Pure Blues Bass Strings (VIDEO)
Eminence Lightens the Load for Bass Players With Their New Basslite SC10 Speakers
Win Blend's Waves Synth Workout Contest for Free Plug-ins
Women’s Audio Mission Presents Star-Studded Female Drummer Workshop
UVI Announces Attack EP88
Win Waves Plug-ins in the Blend Waves Synth Workout Contest
Weekend Chops Builder: Synthesizer Technique - A Jan Hammer Solo
Prince Asked Journey’s Permission Before Releasing “Purple Rain”
Watch David Gilmour Perform “Purple Rain” with “Comfortably Numb”
A Little Thunder and Marconi Lab Announce Signature Model Guitar
Saudade, featuring Deftones’ Chino Moreno, Premieres Debut Song
Interview: Babymetal Talk New Album, Colbert Performance, Wembley Stadium, and More [Video]
Abnormality Premiere New Album, ‘Mechanisms of Omniscience’
History of the Blues in 50 Guitar Riffs
Expand Your Melodic Colors with 9th Arpeggios
John Entwistle's Isolated Bass Track from The Who's "Won't Get Fooled Again" at Shepperton Studios
Copyright ©2016 by NewBay Media, LLC. All Rights Reserved. 28 East 28th Street, 12th floor, New York, NY 10016 T (212) 378-0400 F (212) 378-0470