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Tim Lerch is a phenomenal guitarist. Specializing in jazz and blues, he leads his own trio and is a long-time member of Pearl Django, one of the most respected groups in the Hot Club style popularized by Django Reinhardt.

Lerch is an absolute master fingerstyle guitarist who is supremely comfortable in duo and solo settings. He’s had the benefit of studying one-to-one with legendary jazz guitarists such as Joe Pass, Joe Diorio, Lenny Breau and Ted Greene, the American fingerstylist and author of the classic reference book Chord Chemistry.

His lesson focuses on some of his favorite chord moves. In it he covers chord forms for minor and major II V I sequences, use of half-whole and diminished based chords, sophisticated chromaticism and melodic approaches within chord changes.

As there's a lot to take from this article, start by learning the examples as written, guided by Tim’s clear video demonstrations on his 2000 Fender Custom Shop ’51 Nocaster Relic Reissue. Once you’re familiar with each concept, explore moving them through a selection of different keys, or perhaps find alternative fingerings on different sets of strings.

Once you’ve finished the lesson, put these new shapes and concepts to work in the music you play. Pick a familiar tune — perhaps a jazz standard or a blues-based piece — and explore some of ideas within the context of playing real music. Don’t worry if things feel a little contrived at first. Be patient, play these ideas little but often and you’ll be using them naturally and easily in no time at all.

Example 1a: Dm7b5 phrase

Tim begins by using the same voicing in different ways by moving in parallel. Here you're using the initial chord form to spell out a Dm7b5 (D-F-Ab-C), albeit with some decorative melodic motion with the highest voice on the second string.

Example 1b: G7#9b9#5 phrase

By moving this exact voicing up a minor 3rd, physically raised by three frets, you can use the exact same chord form along with melodic decoration to outline a G7#9b9#5 chord (G-D-D#-F-Ab-A#), the V7 in the chosen key of C minor.

Example 1c: Cm(maj7)/A phrase

This time you're shifting up by a major 3rd, four frets in distance to give you the Im (the minor one chord). Specifically, you're outlining Cm6/9 (C-Eb-G-A-D), although the melodic extensions give you all of these intervals plus the mysterious sounding maj7 (B).

Example 1d: Dm7b5 - G7#9b9#5 - Cm(maj7)/A

Finally, Tim connects these voicings together to create one cohesive musical phrase, neatly outlining a minor II V I in the key of C minor.

Example 2: Dmadd9 - Bbmadd9 - Cmaj7

For the second example, Tim’s using a beautiful wide-spaced voicing featuring a semitone cluster situated between the third and fourth strings, and maintains cohesion in terms of shape.

Initially he positions this chord at the 10th fret to create Dmadd9 (D-F-A-E), functioning as the IIm chord in the key of C. He moves this down four frets to spell out Bbmadd9 (Bb-Db-F-C), although this could also be reinterpreted as G7sus(#9b5), to provide an altered V7 sound.

Finally, he moves this voicing down a semitone, albeit with a modified root, for a resolving Cmaj7 (C-E-G-B).

Example 3: Ebmaj9/G - Bmaj9/D# - Abmaj9/C - D7#9 - G6

For this cinematic progression in the key of G, Tim’s using a shifting Major 9th voicing with the 3rd positioned as the lowest note.

Initially he selects both Ebmaj9/G (Eb-G-Bb-D-F), and Bmaj9/D# (B-D#-F#-A-C#), which when considered along with the destination key of G major gives a set of harmonic changes associated with the legendary tenor saxophonist John Coltrane.

However, Tim breaks from this pattern for the second bar, dropping down to Abmaj9/C (Ab-C-Eb-G-Bb), and D7#9 and b9 (D-F#-A-C-E#/Eb), to provide a clear V7 to I (D7-G) resolution to end the phrase.

Example 4a: Em7 - A/Bb - Dmaj9

For the next set of transferable shapes, Tim once again is outlining a IIm7 V7 Imaj7 progression. Here, you're in the key of D major (D-E-F#-G-A-B-C#), and both the IIm7 (Em7) and Imaj7 (Dmaj9) come directly from this note pool. The V7 adds tension, derived from the A half-whole diminished scale (A-Bb-B#-C#-D#-E-F#-G).

In this example it’s possible to think of the V7 from two perspectives, either as an A triad with a flattened 9 (A-C#-E-Bb), or as a Bb diminished triad with a major 7th (Bb-Db-Fb-A), exactly the same notes, just with enharmonic respellings.

Example 4b: Em7 - A13b9 - Dmaj9

The beauty of the half-whole diminished scale is in its symmetry, so here you can see the exact same voicing transposed down by a minor third, or down three frets. As the scale repeats via this intervallic leap, you stay completely in the scale but highlight a different selection of notes.

Example 4c: Em7 - C(b9) - A7#9 - Dsus2

Similarly, you can also move up by a minor third, this time up three frets, to allow the use of C(b9) (C-E-G-Db) as the V7. Again, this is possible as all the notes are coming from the host A half-whole scale (A-Bb-B#-C#-D#-E-F#-G).

Example 4d: Sophisticated V-I moves up the fretboard

In this example, Tim shows all four possible resolutions for this symmetrical voicing.

Example 4e: Dm7(maj7) voicings to imply A7alt, resolving to Dmaj9

Again, Tim connects each A7alt voicing — consider how the notes also create variations of Dm7/maj7 — with additional melodic activity on the second string before finally resolving to a sweet-sounding Dmaj9.

Example 5a: Cm9 - F7alt (descending series) - Bb6/9

This collection of connected examples feature a useful voicing for spelling out an altered dominant 7th V7 chord. As Tim points out, the initial form can be considered from multiple perspectives, such as the 3-b7-#9-#5-R of D7alt, or the b7-3-6-9 from Ab13.

Here however, he suggests not worrying too much about the specific intervals within each selection; simply move the chord form in descending parallel motion to create a smooth connected chord melody. Use this voicing to create consonance, tension and release while traveling between Cm9 (IIm), F7alt (V7) and Bb6/9 (I).

Example 5b: Cm9 - F7alt (descending series) - Bb6/9 (variation)

Your second ambiguous shifting example introduces some chromatic sliding between these F7alt voicings.

Example 5c: Cm9 - F7alt (descending series) - Bb6/9 (variation)

For the third variation, Tim introduces ascending motion, although again sticking to the same shape moved wholesale along the fretboard.

Example 6: Blues groove in A minor

This example uses small first inversion triads (3-5-R), derived from the D major scale (D-E-F#-G-A-B-C#). Tim initially demonstrates this by harmonizing the entire scale using these three-note voicings, following this specific pattern: D-Em-F#m-G-A-Bm-C#dim-D.

The transcribed musical example below uses a selection of major and minor options but juxtaposes these sounds over an A bass note. This creates the modal tonality of A Mixolydian (A-B-C#-D-E-F#-G), perfect for creating melodic chordal passages in an A blues progression. Make sure to observe all the expressive slides and embellishments, as these really help to convey the bluesy feeling to this simple but highly effective chordal concept.

Example 7a: Parallel 13th chord shapes with the blues scale

Tim's final concept sticks with a static, grooving bluesy theme, although here you're shifting to a Bb7 tonality (Bb-D-F-Ab).

For the first pair of musical examples, Tim begins by defining an effective voicing for Bb13, although he’s selectively focusing on just the b7, 3, 6 and root (Ab-D-G-Bb). The trick here is to move this voicing in parallel along the top four strings, harmonizing a blues scale (R-b3-4-b5-5-b7), to create riffs, licks and lines, like a section in a swinging big band.

Example 7b: Stacked 4th chord shapes with the blues scale

For the final examples, Tim uses the same type of movement, but this time he selects a quartal voicing, constructed by stacking perfect 4th intervals, initially providing the 6, 9, 5 and root of Bb (G-C-E-Bb), but again moved in parallel through the Bb blues scale (Bb-Db-Eb-Fb-F-Ab).

“I use open and alternate tunings to get music out of the guitar,” says fingerstyle master Martin Simpson. “Do you want to move people? You can’t be struggling with holding down the damn strings. Alternate tunings can help you unlock chords and melodies that might be difficult or impossible to play in standard tuning.”

With its evocative and enigmatic sound, DADGAD is one of the guitar’s best-kept secrets. Blues and folk guitarists often delve into open D (low to high, D A D F# A D) and open G (low to high, D G D G B D) tunings, but only the most intrepid pickers investigate DADGAD.

Yet Simpson, one of the world’s preeminent DADGAD players, insists that it’s not a difficult tuning.

“DADGAD’s open A, D and G strings are the same as in standard tuning," he points out. “That means 50 percent of this tuning is completely familiar to you.”

For that matter, he notes, the tuning is inherently beautiful.

“It’s quite easy to get gorgeous sounds,” Simpson says. “I’ll show you two ways to approach DADGAD, but first, just listen to the open strings.”

These open strings are shown, from low to high, in FIGURE 1. To move from standard tuning to DADGAD, simply drop the first and with strings down a whole step to D, and then lower the second string, B, a whole step, to A.

FIGURE 1

DEMYSTIFYING DADGAD

“The first thing you’ll notice,” says Simpson, “is that DADGAD is neither major nor minor—you can go either way. Open-D and open-G tunings push you in a particular harmonic direction, whereas DADGAD is delightfully ambiguous. To play songs, you need I, IV and V chords, right? In DADGAD, you can play rich harmony by merely fretting one note with your index finger [FIGURE 2].

FIGURE 2

“For a I chord, you get D5. There’s no 3, so melodically you can go major or minor. All the strings are open, except the third, which you play at the second fret.

“Now simply move your index finger over to the fourth strings and you’ll get A7sus4—a vibey V chord that uses five strings. Again, there’s no 3, so you have a nebulous sound. Finally move your index finger to the fifth string and strum the same five strings. Here we get Gsus2 with B, the 3, in the bass. This is our IV chord.”

Once you’ve moved back and forth through the chords to hear their sound, play FIGURE 3. With little effort you can adapt this arpeggiated IV-V-I progression to fit dozens of folk and country ballads.

FIGURE 3

Carefully follow the picking-hand fingering. Like a classical guitarist, Simpson uses his thumb (p), index (i), middle (m) and ring (a) fingers for chordal passages. In addition to opening your ears to the lush melodic and harmonic possibilities of DADGAD, this lesson’s exercises will invigorate your fingerstyle chops.

LINGERING FINGERS

“The next step,” says Simpson, “is to ornament three ringing chords with scale-tone runs. You can fill out D5, Gadd2 and A7sus4 using notes from this D major scale pattern.”

As he plays FIGURE 4A, Simpson is careful to keep all the strings sustaining as long as possible. In the upper octave, played on the top four strings, he leaves his fingers on fretted notes long after they’re attacked. This “park your fingers until needed elsewhere” technique creates a jangly harp-like effect. For instance, if you keep your 3rd and 4th fingers planted on F# and C#, as indicated by the “hold” markings in FIGURE 4B, you’ll wind up with FIGURE 4C’s deliciously dissonant four-string cluster. The two minor seconds (F#-G and C#-D) lend a welcome clang to the otherwise straight-laced D major scale.

FIGURE 4A

FIGURE 4B

FIGURE 4C

This is an essential technique. Simpson often creates piquant harmony within a melodic passage by sustaining a fretted note against an adjacent open string. The resulting intervals—typically major or minor seconds—add ear-tweaking tension to a line. To make this work, you need to arch your fretting fingers so they don’t impede the open strings’ vibrations.

FIGURE 5 illustrates the process. When you hammer onto F# (the and of beat three), hang onto it until you need to pull off to E (the and of beat four). For your efforts, you’ll be rewarded with a cool minor second—open G against F#—in the middle of your run. Repeat the Gsus2-D passage until the notes ripple smoothly through your instrument.

FIGURE 5

In a similar vein, FIGURE 6 moves from A7 to Dadd4. This time, the minor second occurs at the end of the phrase. “You’re accomplishing two things with this progression,” says Simpson. “You’re learning where the scale tones lie in DADGAD, and you’re introducing the 3 into the chorus—C# for A7sus4 and F# for D5.

FIGURE 6

“It doesn’t take much to embellish the three chords we’ve learned,” he adds, playing FIGURE 7. “A simple bass line can create momentum and keep the harmony interesting.” In bar 1, be sure to sustain D5’s top three strings against beat two’s ornament and beat three’s C#.

FIGURE 7

“You can learn so much about arranging for guitar by experimenting with different registers,” says Simpson. “Listen to these voicings [FIGURE 8]. Can you hear what happens when I pay C# in the bass as opposed to the melody? The difference is enormous.”

FIGURE 8

Here’s a tip: Whenever you discover a new DADGAD voicing, try shifting any note up or down an octave. Some fingerings will “click,” and you’ll quickly multiply your harmonic options. “By changing registers,” Simpson adds, “You’ll begin to realize what bass and melody each contribute to an arrangement.”

OLD WINE, NEW BOTTLES

“We’ve been looking at DADGAD through the lens of our I, IV and V chords,” says Simpson. “But there’s another way to understand it. Up to this point, our examples have involved a new way of thinking, yet DADGAD’s open A, D and G strings are the same as in standard tuning! That means 50 percent of this tuning is completely familiar. If you’ve learned triads in standard tuning, you can apply this knowledge to DADGAD.”

In FIGURE 9, the C, G and D triads sound special when accompanied by the open first (D), second (A) and sixth (D) strings. As notated, use your thumb to strum the triads—this keeps them physically distinct from the picked open strings. Once you can loop the two-bar passage smoothly, try developing our own p-i-m-a patterns.

FIGURE 9

“You can fret major and minor triads on the fourth, fifth and third strings,” Simpson says. “And you don’t have to play all three strings. Can you see where these shapes come from?” He plays FIGURE 10A. “I’m thinking Bm, A, G and D, but I’m only playing the top two notes of each triad.”

FIGURE 10A

To visualize these intervals as part of a triad, refer to the brackets in this example. As you slide from position to position, keep the top strings ringing—these recurring fourths (A-D) supply a hypnotic drone.

“Now here’s where the tuning really opens up,” Simpson says. “In DADGAD, we have three D strings. Whatever happens on the fourth string can be fingered an octave lower on the sixth sting or an octave higher on the first sting—at the same fret.”

FIGURE 10B shows what happens when you play the previous example but drop the fourth string’s notes down an octave, to the sixth string.

FIGURE 10B

FIGURE 10C moves these tones up an octave, to the first string.

FIGURE 10C

“Now you have several news ways to play along the fretboard in DADGAD,” Simpson says. “Simply find your triads, and then experiment with moving the middle note to one of the outside strings. Imagine the possibilities!

“Also, we have two A strings in DADGAD, so we can shift the bottom voice of any triad up an octave. Just move the note from the fifth to the second string.”

To get a feel for this, first play FIGURE 11A, which features an ascending chromatic line on the fifth string. Now play FIGURE 11B, an extrapolation of this line. Notice how the notes on the fifth string are doubled an octave higher on the second string.

FIGURE 11A

FIGURE 11B

Take the time to create your own moves on the fifth, fourth and third strings, and then shift one or two voices to a different octave. Be patient. Sooner or later, the sonic and visual logic will reveal itself.

MINOR MATTERS

So far, we’ve explored DADGAD in a major context. FIGURE 12 illustrates how DADGAD can work equally well for minor riffs and progressions. As you play this D minor riff—keep it slow and steady—notice how the tuning lets you create lush harmony using only one finger. In this two-bar phrase, we cruise through Dmin11, Gsus2, F6/9, Bbmaj7/6 and C6/9sus4 with minimal fret-hand movement. The action is in the flowing picking-hand patterns.

FIGURE 12

Though DADGAD excels as an impressionistic folky tuning, Simpson proves it’s also potent for blues.

“I play [Howlin’ Wolf’s Willie Dixon–penned] ‘Spoonful’ in DADGAD,” he says, picking FIGURE 13’s syncopated riff. “Unless you hit the third string, it’s the same as open-D tuning.”

FIGURE 13

FINAL POINTERS

Be sure to try DADGAD with a capo. “It sounds wonderful at the 7th fret,” says Simpson,”in the register of a high-tuned five-string banjo.”

He also offers this advice for arranging songs in DADGAD:

“Usually I start with the bare melody. If you incorporate open strings, single-note runs can sound chordal, even through they’re not. Then I look for harmony. When I find it, I’m so happy. I work melodies into intervals and then intervals into chords. I get where I want to be through the sheer joy of examining all the internal mechanics. It can take years to really learn a tune, but I like to let the music prepare itself. It’s a different form of discipline.”

WANT MORE? TRY THESE FOUR TIPS!

1. Exploit Drones and Suspensions

DADGAD is highly effective for creating a rich, orchestral range of sounds by allowing open strings to ring against moving fretted notes. A practical approach is to barre the lower three strings to create a fifth and slide this formation around the neck while letting the higher three strings drone open, suspending sounds in the air as you play.

2. Utilize Third-Less Fingerings

Jimmy Page utilized ascending series of third-less D5, D(#5), D6, and D7 fingerings in DADGAD to create the iconic, exotic riff for Led Zeppelin's "Kashmir.” Give it a try.

3. Adjust String Gauges

When dedicating an instrument to DADGAD, standard guitar string gauges can sometimes feel inadequate due to the lowered tension on three of the strings. Acoustic virtuoso Pierre Bensusan compensates by using medium gauges on the plain strings and light gauges on the wound ones, specifically employing an acoustic set gauged .053, .042, .032, .022, .017, and .013.

4. Like It? Commit to It!

While alternate tunings offer immediate gratification, switching between them can hinder fretboard mastery. Pierre Bensusan became so frustrated by the limitations of multiple tunings that he adopted DADGAD as his exclusive standard in 1978, twisting its uncolored sonic framework to suit all his improvisational needs.

Every professional guitarist starts a session the same way: by warming up.

Whether you’re playing a gig or recital, planning a monstrous guitar practice session, or preparing to impress your friends at home with your killer chops, a precursory limbering up session is mandatory. A thorough warm-up will help bring your playing to peak level and prevent hand injuries.

Here are 11 ways to get your hands and fingers ready for action, both off and on the guitar.

GET ’EM HOT

Here’s an excellent way to get the blood circulating in your fingers and hands and make everything nice and loose.

Simply head to the nearest sink and crank up the hot water. It doesn’t have to be that hot—you don’t want to scald yourself—but it should be warm enough to get your hands loose.

While running your hands under the water, stretch out your fingers. Don’t apply any external pressure to your hands or fingers; simply stretch them out just as you do when you’re playing.

Now before “prune hands” take effect, let’s start working on the warm-up execises.

GET A GRIP

Before you do anything else, spend one or two minutes reacquainting your fretting hand with the guitar. Play a variety of familiar chords in different positions across the neck. Start with open-position shapes such as C, D, E, A and G major, along with Em, Am and Dm. This simple exercise helps wake up your fingers, reestablish your sense of the fretboard and prepare your muscles for the work ahead.

Next, move on to major and minor barre chords, playing them at various points along the neck. Take your time and enjoy the process. The goal isn’t speed or precision; it’s simply to reconnect with the instrument and develop a feel for the strings, the fretboard and the amount of pressure needed to fret notes cleanly.

This is also a good opportunity to check for tension in your hand, wrist, forearm and shoulder. Stay relaxed and use only as much force as necessary. Excess pressure wastes energy and can lead to fatigue, while a light, efficient touch will help you play more comfortably and consistently.

Ready? Let’s move on to the next part of the lesson.

FOUR-FINGER EXERCISES

The four examples that follow are designed to loosen up all four of your fret-hand fingers as well as your picking hand.

Before you get started with the specifics of each example, there are a couple of general rules to follow for all the exercises here.

First, always start at a slow tempo to ensure that you’re playing the music correctly, and then gradually increase your tempo as you progress. Remember: it’s always better to play something slowly and correctly rather than quickly and sloppily.

Second, alternate picking (down-up-down-up, etc.) is essential for all of the single-note exercises in this workout. This technique may seem difficult at first, but you’ll develop much more speed and accuracy in the long run.

FIGURE 1 is a relatively simple starter—a pseudo-chromatic line in 5th position. We’ll use this example as our “base” pattern for the three examples that follow. Pay strict attention to the fingering, making sure to use all four fret-hand fingers (including the pinkie) for each string grouping. Once you’ve got this base pattern down, move on to its more extensive—and more challenging—offshoots.

FIGURE 1

FIGURE 2 is a “double-back” pattern reminiscent of a Charlie Parker–style bebop line. Notice how it develops independence between your first two (index and middle) fingers and your last two (ring and pinkie) fingers. To extend the exercises in FIGURE 1 or FIGURE 2, simply shift the entire pattern down one half step (one fret) at a time.

FIGURE 2

FIGURE 3 kicks things up another notch by applying the original base pattern to sequential strings (E A D G). (From a harmonic standpoint, this one probably won’t win any Prettiest Ballad awards, but remember that the goal here is to warm up your hands and fingers.)

FIGURE 3

Once you’ve completed the initial four notes, simply invert the pattern, playing in a descending fashion. This completes the motif. To get the fullest impact possible, try this one on all three sets of these four adjacent strings.

FIGURE 4 adds notes between those that compose the base pattern. An octave is added between the first two notes, a minor 6th between the second two. This example is a great dexterity builder and, again, you should move it up and down the fretboard.

FIGURE 4

CHORDAL WARM-UPS

Feeling loose yet? Good. Let’s get back to doing some more chord work.

Have you ever seen a show in which the lead guitarist does nothing but solo? Me neither. So obviously at some point you’ve got to be a rhythm guitarist. Since rhythm playing varies so from genre to genre, I’ve included a nice cross-section of different chord voicings that will get both of your hands active. Even if you don’t jive with the style of a certain exercise here, try it anyway. It may open some new paths in your musical evolution.

FIGURE 5 is a descending open-chord sequence in the key of C, shown here as an arpeggiated exercise (though strumming your way through is also a viable option). For the sake of variety, try transposing this chord sequence to other keys as well. For instance, this same chord sequence in the key of G major would be G–D/F#–Em–D–C–D–G.

FIGURE 5

FIGURE 6 is a great power-chord workout that doubles as a dandy barre-chord workout. Try it with the power chords first, and then extend them to full barre chords simply by adding the notes in parentheses.

FIGURE 6

FIGURE 7—a James Brown–style funk rhythm using E9 and E13 chord shapes—is a great workout for your pick hand. Work through the rhythm slowly until you perfect it, and then gradually bump up your tempo. For some tonal variety, try moving the exercise to different areas of the fretboard. For instance, if you wish to play this as a typical blues sequence, such as a I–IV–V progression, you can play the IV chord—in this case, A9—with the root on the 12th fret. The V chord, B9, is located on the 14th (or 2nd) fret.

FIGURE 7

STRING SKIPPERS

Now that your pick hand is moving, let’s kick it into high gear, this time with two devilish string-skipping exercises, each written here as a three-notes-per-string pattern in A major (A B C# D E F# G#).

FIGURE 8 is simple enough in nature. Start on the low E string with the first three notes of the scale and then skip to the D string for the next three notes. At that point, backtrack to the A string, which you skipped, and continue the pattern in the same fashion. Use alternate picking throughout, even when skipping strings. That is, start by picking the first three notes (on the low E string) in a down-up-down sequence, and then pick the first three notes on the D string in an up-down-up sequence. (Repeat this picking pattern for the skip from the A string to the G string and so forth.) Taking this approach makes for a challenging sequence, but you’ll be rewarded in the long run.

FIGURE 8

FIGURE 9 is a pivot-picking, or pedal-tone, exercise. The concept here is to return to the root of the scale between the other scale tones. This technique is used often in classical music, both in ascending and descending fashions. Each of these string-skipping figures is pattern based, so try using various scales or modes to maximize your warm-up.

FIGURE 9

THE FINAL STRETCH

FIGURE 10 uses some stacked power chords (or sus2 chords) to great effect. These chord shapes are a staple of quite a few rock classics. Thumb placement is key here. For instance, since the first chord covers a four-fret distance (the 5th fret to the 9th fret), your thumb should be centered on the back of the neck at the 7th fret. This allows you to reach back to the 5th fret and forward to the 9th without shifting your hand position.

FIGURE 10

The same can be said for FIGURE 11, which covers a whopping five-fret span. This exercise is based in A minor, and as a bonus it makes for a pretty crazy soloing line if you so choose.

FIGURE 11

That concludes our warm-up exercises. Note that we aren’t suggesting you should perform each of these guitar exercises before you play, but working through at least two or three will benefit your playing, whether you’re hitting the stage, the studio or the rehearsal room.

Marcus Deml is a Stratocaster-wielding virtuoso with a massive tone and amazing technique to boot. Our sister title Guitar World called his last album, Pure, "among the most breathtaking instrumental releases you’ll hear in 2025."

Marcus attended the legendary GIT (Guitar Institute of Technology) in Los Angeles, studying with Paul Gilbert, Scott Henderson and Frank Gambale, who inspired him to woodshed for up to 12 hours a day. The hard work paid off as Deml has since recorded on more than 500 albums as a session musician. He’s also helped found the band Errorhead while maintaining an impressive solo career.

Deml’s unique Stratocaster-based electric guitar playing style has a balance of energy, excitement and intent that nods toward the blues-rock influences of Gary Moore and Jimi Hendrix. There is also harmonic sophistication and phrasing intelligence reminiscent of Allan Holdsworth, Steve Lukather and Larry Carlton.

Marcus has graciously contributed this video article based on his dynamic and expressive approach to string bending. Each idea is derived from the the E Major scale (E-F#-G#-A-B-C#-D#), although he chooses to use this collection of notes to highlight either C# Aeolian (a minor sound) or A Lydian (a major sound).

Once you are familiar with each concept or technique, aim to come up with a similar idea of your own, perhaps modifying the initial idea to fit a different chord or rhythmic feel. Creating variations is a very powerful strategy for integrating new ideas into your own style. Enjoy!

Example 1a: A major bending lick

This first example features A Lydian (the fourth mode of E major). Marcus skilfully implies this by defining an A major 7 arpeggio (A-C#-E-G#), although he omits the perfect 5th interval (E). Extra interest is provided by bending up to the major 7th (G#) from the tone below (F#), the major 6th.

Marcus resolves the phrase to this note, adding judicious vibrato and expression. He then moves the arpeggio motif through other possible choices in this tonality. If you're looking to use bends to get in and out of melodic notes, this is a great approach to explore.

Example 1b: C# minor bending lick

There’s a definite David Gilmour influence to this second variation, based around a C# minor tonality. Here, you're bending between the b7 (B) and the root (C#), and then between the b7 (B), and major 2nd (D#).

In total, you're bending four semitones (a major third), so preserve your hands by allocating the heavy lifting to a turn of the forearm, reserving finger manipulation to intonation fine tuning. Fretting the notes further toward the fingerprint, rather than the fingertip, will push unwanted bass strings out of the way, and give added purchase against the tension of the strings pushing against your bends.

Example 2: Arpeggio based lick with bends

Here Marcus is mixing C#m9 arpeggio ideas (C#-E-G#-B-D#) with pentatonic blues-based material. It includes a great Hendrix-inspired exchange bend in bars 2–3 that swaps between the second and third strings. Mixing legato phrasing, sweeping, bending, sliding and rapid pull-offs, he creates a cohesive musical line that typifies his entire style.

Example 3: A Lydian bending lick

Here, Marcus highlights A Lydian. He reinforces this by focusing on its two most crucial notes: the major 7th (G#), and the augmented 4th (D#). Notice how he uses his first finger for the semitone bend between G# and A on the second string.

He then shifts position when moving to the first string so he can use his stronger third finger for the tone bend between C# and D#. Pay attention to all the articulation nuances as the variety of vibrato, the micro pauses, rakes and attack all provide character and individuality.

Example 4: C# minor blues phrasing with b5

You're in blues territory here: Marcus integrates slides, bends and hammer-on and pull-offs for a snappy C# minor blues line (C#-E-F#-G-G#-B). Blues guitar licks are often associated with two-notes-per-string shapes, favoring the first and third fingers. However, this line illustrates the potential to play more notes on a single string and how to use each and every finger.

Another takeaway here is the value of knowing the guitar fretboard well. Deml fluently connects multiple scale positions with complete authority and control.

Example 5: Allan Holdsworth–inspired playing

Marcus begins this Allan Holdsworth–inspired collection of lines with tremolo bar scoops, initially derived from chromatically decorated C# minor vocabulary. Toward the end of the phrase, he leans on legato ideas derived from the symmetrical augmented scale (C#-E-F-G#-A-C).

This scale, one of Allan’s favorites, is built on the alternate intervallic structure of minor third and minor second (three frets, one fret, three frets, one fret, etc.). Marcus configures these three-notes-per-string to facilitate fluidity and speed with hammer-ons and pull-offs. You can also configure this as a two-notes-per-string diagonal pattern, a favorite device of another terrifyingly good player, the late Shawn Lane.

Example 6: Three-note pattern with bending

To close, here's a rapid-shifting pentatonic lick connecting the same phrase in three different octaves, negotiating these transitions with assured and aggressive slides. The initial demonstration is played at a slow speed and then increased in tempo. While the example uses C# minor pentatonic throughout (C#-E-F#-G#-B), it ends with an idiomatically appropriate C7#9 (C#-E#-G#-B-Dx), otherwise known as the Hendrix chord.

Marcus Deml in action

Marcus Deml: “Persecución”

Featured on Marcus Deml's latest album, Pure, “Persecución” is a shining example of his uptempo blues-rock playing that highlights the precision in his fast runs and the expression of his string-bending technique.

Jennifer Batten sure has been busy over the decades: monumental world tours with Michael Jackson, performing and recording with Jeff Beck and releasing a stunning portfolio of her own albums.

As one of the world’s most accomplished performers of two-handed tapping, Batten is well known in guitar education circles and hosts masterclasses and clinics all over the world. She has also released critically acclaimed instructional products, including Two Hand Rock (Hal Leonard), Ultra-Intervallic Guitar Licks and Truefire courses.

In 1979, Batten became the first woman to graduate from the Guitar Institute of Technology (GIT) in Los Angeles. Two guitarists made a huge impact on her playing during her time as a student there. One was fellow classmate Steve Lynch, whose two-handed tapping techniques were quite advanced.

The second was her lecturer, Joe Diorio, a pioneer in the use of wide intervallic ideas to create progressive and modern-sounding lines designed to push the boundaries in jazz and bebop. Batten worked tirelessly on making these sounds her own, and following graduation, she was appointed by the school as their first female instructor.

For this bespoke Guitar Player tutorial, Batten has kindly contributed a trio of licks that evoke her time as a student at GIT. First, she looks at a Diorio-inspired line based around A minor pentatonic, but phrased in a non-bluesy way by using consecutive 4th leaps. Her second example is a bebop phrase in E minor, perhaps inspired by Joe Pass, who was also a regular visiting instructor at the school. And her final example showcases the tension and release produced by superimposing two major arpeggios a tritone apart, reminiscent of saxophonist Michael Brecker and pianist McCoy Tyner.

Batten plays and then analyses her three licks, explaining the underlying concept and the suggested harmonic application for each. While these ideas are undoubtedly inspired by jazz, she delivers them with an energetic high-gain rock tone that makes them shine. In keeping with the rhythmic backing, she slightly swings the 16th-note phrasing here, so pay attention to the feel and listen closely to pick up crucial articulation details.

We suggest learning these examples exactly as written to begin with. Once you’re fluent and familiar with each, you can get to work creating variations and transformations. You should try moving each idea through a selection of different keys, or perhaps try them over different chords. Aim to find each line in a different area of the fretboard, or consider changing the rhythm, tempo or time feel. Your aim here is to develop fluency so you can improvise in the moment, using each concept as inspiration for any number of musical ideas reacting to any musical scenario in real time.

Example 1: 4th based intervallic lick for A minor

Batten starts with an A minor line inspired by her teacher and mentor at GIT, Joe Diorio. The majority of the melodic material is based around A minor pentatonic scale (A-C-D-E-G), with just one additional 2nd interval (B) at the end of bar 2, allowing you to use this phrase in either Dorian (A-B-C-D-E-F#-G) or Aeolian scenarios (A-B-C-D-E-F-G).

The interest here is largely provided by the intervallic contour of the line. You'll begin with two chains of four consecutive notes, all positioned a perfect 4th apart (A-D-G-C, E-A-D-G), although the last note of each group is displaced down by an octave. As Batten suggests, keep each note distinct and clear by articulating with a roll of the finger, so that the notes don’t bleed together, especially when using distortion.

Example 2: Rock-meets-bebop lick for E minor

This second example moves to E minor and showcases how Batten reflects her bebop influences, albeit using an overdriven rock tone.

In the first bar, you're moving a six-note phrase up in octaves, derived from E minor pentatonic with an added second (E-F#-A-B-D). Toward the end of this opening bar, Batten starts to add more chromaticism, initially by surrounding the root (E), with the semitone below (D#) and scale tone above (F#), a common move in bebop, before descending chromatically between the root and 5th (B). She ends the line with a bluesy slide-and-bend combination, adding the b5 (Bb) into the mix.

Example 3: Ascending A and Eb triad licks for A7

This final example illustrates how Batten creates tension and release while outlining an A7 tonality (A-C#-E-G), initially by alternating between two major triads (A and Eb) situated a tritone (diminished 5th) apart.

First, she ascends A major (A-C#-E), before moving the same pattern up by one string and a fret, to play Eb major (Eb-G-Bb). When considering these intervals against A, this provides b5 (Eb), b7 (G) and b9 (Bb). The second bar is based around a decorated A major triad, descending chromatically from the 5th (E) to the major 3rd (C#), before approaching both the root and 3rd with the consonant scale-tone found above (2nd to root: B-A, 4th to 3rd: D-C#).

Batten reflects on her time at GIT

"From 1985, I taught a couple of different classes at GIT. One was to help kids stay up or catch up with the curriculum, but the class I remember most was called open counseling, which was basically a free-for-all where they could come in at random and jam and ask questions.

“Every single day I felt like I told them everything I know about music. I would go home exhausted, feeling like there was nothing left of me. So I worked really hard to always have something new to deliver.

“I also put a lot of effort into bringing in alternate approaches, like breaking up teaching with reading about two-headed aliens out of the Weekly World News. This is because I was aware that you just can’t focus on learning hour after hour without getting burnt out. So these little breaks were a way to provide a little time out.

“As it turns out, that is the perfect way to learn, because the brain can only truly focus on something new intensely for 15 to 20 minutes before it starts spinning out. Later I learned from a brain science course that when your mind goes onto something else after learning something new, it’s actually finalizing what you just learned in the background.

“I hit that realization when I learned a Joe Pass chord solo and brought it in. That is some pretty rich stuff to expect them to remember more than a few bars without having time to absorb it.

“After 20 minutes I could see the players eyes rolling back in their heads, so I knew they needed a break! So really, those classes were a combination of entertainment and teaching. I think that combination is the best way to learn anything in the end."

Michael Jackson - Beat It (the solo)

Here's Batten playing Eddie Van Halen's famous “Beat It” solo with the legendary Michael Jackson. She played lead guitar on all three of his world tours between 1987 and 1997.

Allen Hinds is no stranger here on GuitarPlayer.com. His legato tutorial and interview about his GIT days and studying alongside Jeff Buckley have been seen by many around the world.

But these are just reflections on his colorful career as both a sideman for artists like Gino Vanelli or Randy Crawford and his many solo albums (we particularly like 2011's Monkeys and Slides). Schooled, intuitive and open minded: These are the components that sum up his stunning musicianship.

For this video article, Allen focuses on his favorite chords that straddle jazz, fusion and blues rock. Instead of just playing numerous random chords though, Allen takes a more considered, real-world approach. For many of his examples, he takes a vibrant-sounding chord and recycles it by elaborating and/or changing the context. This is achieved by keeping the bass note the same, shifting the shape up and down the neck, or keeping the chord fragment the same but changing the bass note.

When talking about chords, Allen often refers to its voicing. Put simply, this references the notes in the chord in the order and register in which the notes are played.

For the purposes of this article, it's helpful to talk about chord notes in terms of their intervallic property. So here's a quick reminder of all of the interval names: root, minor 2nd, major 2nd, minor 3rd, major 3rd, perfect 4th, augmented 4th/diminished 5th, perfect 5th, augmented 5th, major 6th, minor 7th, major 7th and octave.

For the higher extensions, simply add the number 7 to the 2nd, 4th and 6th intervals. So a 2nd becomes a 9th (2+7=9), a 4th becomes an 11th (4+7=11), and a 6th becomes a 13th (6+7=13).

As many of the examples are performed free time, we have provided notation with the most obvious rhythmic subdivisions. When practicing, we recommend getting familiar with Allen's fingerings and the sound of the chords, rather than getting caught up in playing the examples verbatim.

Allen — whose electric guitars include signature Xotic models, like the Strat-style California Classic XSC-AH and Tele-style XTC-AH and XTC-AH2— plays with a clean tone throughout, with plenty of ambience and chorus. Whatever you choose, we’d recommend you dial in your favorite clean tone so you can hear all notes clearly.

Example 1: Drop D chords

Allen starts out in a drop D tuning — standard tuning with the sixth string detuned from E to D (D A D G B E). This allows him to add an extra bass note on the bottom, which would be hard to do otherwise.

Here the same fingering is recycled through three positions. With the open D bass note, a Dmaj9 chord is produced. By using a barre, a great-sounding minor 11 chord fingering is produced. Allen plays this one in fifth and second positions, creating Gm11 and Em11, respectively.

Example 2: Gm9/Gm11

Allen retunes to standard tuning, and shares a great-sounding open-position chord. He starts out calling this one Gm9, but after analyzing the notes and intervals (root, b3, 5th, b7 and 11), he updates the name to Gm11. He likes to incorporate open strings as much as possible as they provide extra sustain, as well as a chorusing effect not found on other instruments.

Example 3: D minor

Allen views the guitar neck as a slide rule and often repurposes nice-sounding chord shapes up and down the fretboard. Here you are shifting the lowest three notes of the Gminor9 chord from Example 2 up to the 10th fret. This creates a rich-sounding open-voiced D minor triad.

Example 4: Smooth chord movement

Using the D minor triad chord from Example 3 as a starting point, Allen demonstrates how this fingering can be modified. The key here is to use your ear as a guide and change the intervals by one or two frets at a time.

Allen uses the same strings and fingers, and it frees him up to create the part, with the theory analysis coming later down the line if required. Dominic Miller also used this concept when creating the memorable chords in Sting’s “Shape of My Heart.”

Example 5: Staggering notes in chords

Allen often staggers out the intervals within a chord's fretting. This provides many melodic options and can facilitate sophisticated sounds. Allen uses a fingerstyle approach, employing the thumb, first finger and third finger to pick out notes on the fifth, fourth and second strings. The first and third fingers can then be used to play the first and third strings together. This example is fun to play and sounds quite pianistic.

Example 6: Amaj9 - Fdim7/A

Here Allen shares one of his favorite major7 chord fingerings. To create this, he combines the E and A shapes to provide a pleasant-sounding open-position grip. This chord can transition into a great-sounding Fdim7/A. To make the notation easier to work with, we have notated only the two chord fingerings in the tab.

Example 7: Tight chord voicings

For this next example, Allen uses the sixth interval played on the first and third strings as a foundation. This leaves the second string free to sandwich in a crunchy second interval. All of the fingerings here are performed free time, so we have used the most logical rhythm to make the notation user-friendly.

Example 8: Tight chord fingerings v2

Here is another permutation of the idea in the previous example. Again, the sixth interval is played on the first and third strings. This time, however, the note on the second string is placed higher up. This creates a different type of dissonance and is a great way to improve your chord vocabulary without studying lots of music theory.

Example 9: A13

This is a chord fingering that Allen has used for years: a great sound with just enough jazz in it. The A13 chord has almost every note of the A Mixolydian scale (A B C# D E F# G) despite this being hard to achieve on a six-string guitar. This fingering is successful as it contains the root, b7, 9, 3rd and 13.

Example 10: Amaj7b5 or Amaj7#11

To create new sounds, Allen keeps the A bass note the same and simply moves the fingering up the fretboard. If the shape from Example 9 is played with the first finger on the 4th fret, a Lydian type sound is created. As Allen explains, this one is an A major triad with the 7th (G#) and #11 (D#) added.

Example 11: Asus4b9

If you move up another semitone, keeping the A bass note going, an A Phrygian (A, Bb, C, D, E, F, G) sound is produced. The core chord that goes with the harmonized A Phrygian mode is Am7b9. This chord is rarely used due to its dissonant nature (the Bb rubs against the A root note). Here the b3 (C) is replaced by a 4th (D), which helps the chord's overall sound.

Example 12: Am9add6

Allen moves the shape up another two frets for a tasty-sounding Am9. As this chord is constructed from the root (A), b3 (C), 5th (E), 6th (F#) and 9th (B), we can refer to it more concisely as Am6/9.

Example 13: A7#9#5

If you move the same shape up another fret so the first finger is on the 8th fret, a really strong voicing for an A altered dominant chord is produced. The intervals here are the root (A), 3rd (C#), #5 (E#), b7 (G), and #9 (B#), creating A7#9#5.

Example 14: A7sus4b5

If we move the same shape up another two frets, so the first finger is on the 10th fret, we get A7sus4b5 chord. This is often used as a substitution for Am7b5.

Example 15: A7sus4b5 - D7alt - G6/9

In this example, Allen takes the opportunity to demonstrate how the A7sus4b5 chord can function as the first chord in a II-V-I progression in G. The chords are A7sus4b5 – D7alt – G6/9.

D7alt is short for D7 altered, implying that chord tones such as b5, #5, b9 and #9 could be included (often at the player's discretion). Here the alterations are #5 (A#) and #9 (E#).

Allen links these three chords with a simple melody built from notes near to each chord. It’s a great way to smooth over tense- or advanced-sounding chords.

Notice the G6/9 chord is without a G note and features stacked 4th intervals that fit well on the frets. Not all chords need the root note in them (and that can often be played by the bassist anyway).

Example 16: Bbmaj7sus2/D

This is another of Allen's favorite voicings, as it has an open sound and can be many different chords if the bass note is changed. Here the D is in the bass and this is the third of the chord. The other intervals in play are the root (Bb), 2nd (C), 5th (F) and 7th (A). So we can refer to this chord as either Bbmaj7sus2/D or Bbmaj9/D.

Example 17: Em9

This one sounds especially effective and the secret is the dissonant-sounding b2 interval (F# and G) sandwiched between perfect fifths (E-B and G-D). The easiest way to play the b2 interval with chords like this is between the third and second strings. If the root note is changed to a G, a rather pretty Gmaj9 sound is produced.

Example 18: E7(no3rd)

Allen shares a no-nonsense fingering for E7. This one has an ambiguous tonality, due to the third being omitted. The intervals here are the root, b7, and 5th.

Example 19: Blues Jazz Groove in E9

Here Allen demonstrates how one good chord fragment can be adapted and reused in a bluesy setting. The chords are played on the top three or four strings so you can funk out on it (and be cleanly heard above the rhythm section!).

Example 20: C/G - Dmaj7/A - Ebmaj7/Bb

Allen is fond of playing notes other than the root in the bass. Even a simple C chord can be thickened by adding the fifth in the bottom. Allen moves this shape around, creating a different vibe than if he'd used the root in the bass each time. The open third string's G note adds further color and serves as a pivot note in the middle of each chord's voicing.

Example 21: Bb6/9 - E6/9 - Bb6/9 - G6/9

These 6/9 chords are built from harmonized fourths (quartal harmony) and have a beautiful sound. The 6/9 chord is often used in bossa nova and jazz music as a colorful substitute for a maj7 chord. Here Allen cycles though three positions on the neck, keeping the chord fingering the same. Interestingly, you can use a sixth or fifth string root note and the 6/9 chord shape remains the same on the top four strings.

Example 22: Amaj9add6 (no3rd)

While we are in 6/9 chord mode, Allen also shares the closely related Amaj9add6(no3rd) chord. This type of sound is inspired by Joni Mitchell. The chord name may sound complicated, but playing-wise it's only one note different. To finger this one, it’s just a case of using the first finger to barre right across to the 4th fret on the first string.

Example 23: Bbadd9b5

This leads on from the previous fingering. This time we are letting the open fourth string (D) and open first string (E) ring out. The intervals in play here are root, 3rd (D), 5th (F), 9th (C) and b5 (Fb or E).

Example 24: Dsus2#11 - D

Allen further expands on ways to create the Lydian sound by moving between the 9th fret and 7th fret double-stop on the second and third strings. The D5 power chord remains unchanged underneath, and this provides a solid, consistent foundation. Moving between the two double-stops while keeping the D5 drone going provides a floating “Flying in a Blue Dream” vibe, à la Joe Satriani.

Example 25: E - F#/E - G/E - A/E - E

Here's another way to create a host of different sounds with one chord fragment. Allen lets the sixth, second and first strings ring while moving the classic E chord shape up the fretboard. Songs like the Who’s “I Can See for Miles” also use this concept to create a rich and spacey sound.

Example 26: A - D/A (repeated)

For this example, Allen once again demonstrates the power of alternating between chord fragments, while maintaining an A open-string pedal tone. Hammering onto the 7th fret adds to the delivery and may take a little practice to get the dynamics consistent.

Example 27: A/D - D (repeated)

Allen repurposes the previous example by changing the root note to D. The chord fingering and hammering remains the same. A/D (A chord on top of a D bass note) is the most concise way to label the first chord.

Example 28: Chord-tastic Finale!

To finish, Allen plays a flowing chord solo that incorporates several of the ideas covered previously. An ideal aim for you is to appreciate how each chord passage is linked with a single-line melody. If you are new to this idea, it may take a little practice to get used to. In the second-to-last bar, the Bbmaj7sus2/D chord is raised up a tone using a finger slide, but only the F note on the second string is re-picked.

Virtuoso Romanian guitarist Erlend Krauser originally came to prominence as the guitarist for the renowned big-band leader James Last. He joined Last’s orchestra in the early ’90s and stayed with him until his passing in 2015.

These days, Erlend is best known for his YouTube performances with the Kemper Profiler amp, as well as his portfolio of solo albums that feature beautiful compositions and staggering guitar playing. His most recent release, The Time of Talking Hearts, is available via his website.

From a technical perspective, Krauser plays overdriven electric guitar with his fingers, similar to Jeff Beck, Ritchie Kotzen and Matteo Mancuso. He mixes plucked notes with hammer-ons and pull-offs, whammy-bar scoops and two-hand tapping. It's an impressive display of high musicianship, exhibiting a masterful command of technique and expression.

In this unique video, Erlend demonstrates expressive and detailed soloing over a backing track in D minor. Against this track he gives us two extended performances full of intervallic tapping and legato lines with detailed articulation.

Erlend discusses his compositional process, highlighting how distinct elements can impact the sense of mood, emotion and drama as the music unfolds. Alongside the performances, he breaks down his playing approaches and technical concepts with four concise unaccompanied examples (all transcribed below).

These include articulating large intervals with tapping, mixing bends with tapped notes using multiple fingers, and adding expression with the whammy bar. He also explains how he interacts with a backing track by pushing and pulling his sense of time, moving on and off the rhythmic grid. Again, all of these examples are in D minor.

Example 1: Large intervals with tapping

One advantage of using both hands to articulate notes on the fretboard is that you’re not restricted to the reach of just the fretting hand. Here Erlend uses fretting and picking-hand hammers and taps to execute some beautiful intervallic ideas to create a smooth legato sound brimming with subtle whammy-bar scoops and vibrato.

You’ll need to keep a watchful eye and ear out for extraneous open-string noise: Erlend uses a combination of left- and right-hand muting, assisted with a string dampener at the end of the fretboard. The notes here outline an implied D minor tonality (D-E-F-G-A-Bb-C).

Example 2: Tapping, bends and whammy

Here Erlend demonstrates an effective method of embellishing a note by combining tapping with bending, and then quickly replacing this tapped note with a second tap, one or two frets higher to match the range of the previous bend. He then quickly releases the bend to end at the same pitch.

This is much easier to see than describe, so make sure to pay attention to the video example. The end result is not dissimilar to the bends John McLaughlin employed during his Mahavishnu period, although Erlend has uniquely modified this approach to incorporate tapping.

As Erlend points out, much of the heavy lifting from a bending perspective is undertaken by the fretting hand, rather than the tap. Once again, you're based around a D minor note pool.

Example 3: Whammy bar scooping into a note

While this musical example is short and sweet, there is plenty to take away. Erlend holds the whammy bar between his third and fourth fingers, allowing him to use the heel of the picking hand to assist with muting. This also gives him the option to articulate any picked notes with his thumb, first or second fingers.

With just one solitary D note to listen to, you're focusing on the minutiae of the articulation. Krauser depresses the bar before picking and then releases the tension to bring the note back to pitch. Once there, he adds vibrato to add color. All of this expressive detail happens in just a second or two!

Example 4: Whammy bar vibrato, scoops and dips

This example is focused on the expressive detail within Erlend’s beautifully melodic and nuanced phrasing. Pay attention to the small but critical modifications he makes to his picking-hand technique, either by holding the bar between his third and fourth fingers or by releasing his grip slightly for a rapid turn of the wrist to provide a more extreme scoop into a note.

Erlend also employs the back of his second and third fingers on his picking hand to bounce off the bar, mixing these techniques effortlessly and gracefully all within four short bars. Again, you're in D minor, although the note selection implies a harmonic shift to G minor (IVm) and A7 (V7).

Erlend Krauser in action

Hymn Of Joy

Erlend plays the first song from his latest album, The Time of Talking Hearts. His emotive tapping, legato, vibrato and whammy bar skills are to the fore in this exquisite performance.

Jimmy Westerlund is a busy man. He's the guitarist and producer of One Desire and lead guitarist on the latest album by legendary AOR rock band Giant. If you like soaring guitar chops in the style of Steve Lukather, Neal Schon and (of course!) Dan Huff, Giant’s Stand and Deliver shows Jimmy's sophisticated phrasing and thick rock tone in spades.

For this video, Jimmy is tuned down a half step, to Eb tuning. To get into this, simply drop every string down a semitone (Eb-Ab-Db-Gb-Bb-Eb). Our notation suggests you detune to Eb to play along, but it is shown in standard E tuning because that's easy to read and understand. Just imagine you’re playing in E after detuning and all will be well.

Contextually, the chords in his bespoke backing track are all from the key of E minor. To complement this, he uses the E minor pentatonic (E-G-A-B- D) and the E natural minor scale (E-F#-G-A-B-C-D) throughout the first two sections of the solo. To keep you on your toes, the third section moves up a tone, to the key of F# minor, so the F# minor pentatonic (F#-A-B-C#-E) and F# natural minor scale (F#-G#-A-B-C#-D-E) are used.

The electric guitar is a very expressive instrument, and Jimmy sells every phrase with a variety of techniques and articulations. These include runs with fast picking, string bending, pedal tones, double-stop string bending, finger slides, whammy-bar scoops, finger vibrato and tapped harmonics. He makes using the whammy bar look easy, but if you are new to the idea of scooping into notes and adding vibrato, it’ll take a bit of practice to get it sounding controlled and consistent.

Jimmy's guitar of choice here is a Fender Stratocaster with a Seymour Duncan Hot Rails pickup in the bridge. He manipulates the guitar's controls to access a wide sonic palate, moving between the neck and bridge pickups depending on where he is on the fretboard and what is played.

Tone-wise, Jimmy has dialed up a rich and thick overdrive with reverb ambience and delay added. To clean up the sound, the guitar's volume control is rolled back to make the articulation of more intricate passages clearer.

If you want a similar tone, dial in a crunchy overdrive tone from your amp or pedals and then add a liberal amount of delay and reverb for an arena rock vibe.

Once you’ve learned the phrases in Jimmy's solo, it would be a good pursuit to expand your fretboard skills by playing them in different keys.

Hopefully there will be new techniques and licks in here for you to perfect. If you find some you like, memorize them and use in your own solos. Enjoy!

Example 1: Section 1

Jimmy's solo starts with a melodic motif that is augmented with the whammy bar. If you let the notes in bar 4 ring together while scooping the whammy bar, a cool dissonance is produced. This is followed by a fiery descending picked run in bar 5. Think G major pentatonic (G-A-B-D-E) with an added C note.

The opening motif is repeated in bar 6 and punctuated by a dramatic-sounding string bend in bar 7. For this, Jimmy grabs the second string as he bends the first string up and then picks both. This produces a wild double-stop bend reminiscent of Stevie Ray Vaughan. The section is topped off with another fiery run in bar 9, and some tasteful licks to take you into Section 2.

Example 2: Section 2

For this section, Jimmy switches to the neck pickup for a warmer tone and rolls the guitar volume down. This cleans up the fast hammer-on and pull-off trills. The articulation of the motif in bars 7, 8 and 9 is enhanced with whammy-bar vibrato.

In bar 10, the guitar volume is tuned up full and the bridge pickup selected for a big rock tone. Certainly, this allows the tapped harmonics to really sing out. To articulate these, tap down on the second string directly above the 17th and 12th frets while fingering the 5th fret. Tip: Tap at the actual fret wire for best results, not either side of it.

To finish off the section, Jimmy plays repeating patterns that exploit the open second string as a pedal tone. The open first string is used at the end as a drone to thicken up the melodies played on the second string.

Example 3: Section 3

For the final section, you change gear by moving into the new key of F# minor. The opening bends are played with conviction and augmented with finger vibrato. Then there's a stunning descending run that uses the F# natural minor scale (F#-G#-A-B-C#-D-E) as a foundation. Take this slowly, learning the fingering and honing the picking requirements in bite-sized sections before tackling it at speed.

At the end of this is a classic Lukather-ism: a fast and precise zoom down the fretboard for a low note. It sounds exciting and is full of attitude.

The solo finishes with tasty riffing on bass notes that alternates with double-stop chord fragments.

Virtuosic, expressive and sophisticated: All the hallmarks of great AOR soloing. Enjoy!

If you’ve ever wanted to improve your fingerstyle blues playing with direct guidance from a modern-day master, this tutorial presented by Eric Bibb is for you.

Eric is a Grammy-nominated acoustic blues stylist who has performed and recorded with a wide range of blues, folk and roots musicians, including Taj Mahal, Mavis and Pops Staples, Bonnie Raitt and Charlie Musselwhite.

At age 11, he got some sage advice from Bob Dylan, who told him, “Keep it simple, forget all that fancy stuff.” Eric took that to heart, building on a “less is more” philosophy that emphasizes steady, alternating bass lines combined with intricate, often arpeggiated melodic playing on the higher strings.

Here, Eric takes some time out from his 2026 tour to share five of his favorite fingerpicking exercises on acoustic guitar. These examples outline ideas he uses all the time and are also elements he has gleamed from earlier roots legends such as Mississippi John Hurt.

As a jumping-off point for the examples, Eric isolates various parts of the blues, such as the move from chord I to chord IV (the first change of any blues progression), and the turnaround (usually featured at the back end of a blues progression). This will allow you to focus in on specific techniques and sections of blues progressions without getting overloaded with long parts to learn.

Integral to all this is a versatile fingerstyle approach that combines driving bass lines with a syncopated melody. While the bass line and melody can often be simple in nature, when combined they produce a composite guitar part that’s perfect for singing or soloing over. In short, you’ll be crafting your skills at being a one man blues band.

Eric begins with his guitar tuned to drop D tuning (D-A-D-G-B-E), with a capo on the 2nd fret. The low D on the sixth string makes playing octave bass lines easier, as no fretting is required. As for the capo, this changes the key without having to change the fingering pattern. Alternatively, the fret numbers in the tab will work in open position if you don’t have a capo, but they will just sound one whole step lower than what Eric plays.

As for the chord names, you’ll see two listed above the notation when the capo is used. For instance, Example 3 shows a D chord above a C chord, (C). The D chord is what you hear; the (C) refers to the chord shape you’ll play. As the capo is placed on the second fret, the C shape will sound as a D chord.

For the last three examples, Eric returns to standard tuning (E-A-D-G-B-E) both with and without a capo. All tuning and capo directions are labeled in the tab/notation below.

Throughout this lesson, Eric talks through his approach to using syncopated melodies, which make his playing so appealing. The melody notes can fall on the beat and be played at the same time as the bass note. This is facilitated with a pinch of the thumb and first or second finger. The melody note can alternatively anticipate the bass note or be placed in between the bass notes for a more sophisticated sound.

Another technique to watch out for is when Eric uses his fretting-hand thumb to play the bass notes on the sixth string. The thumb hooks over the top of the neck and traps the sixth string. This may take a bit of practice to get right. Both the size or your hands and the size of the guitar neck are limiting factors.

Example 1: Moving between I (E) and IV (A)

Here, Eric is in drop D tuning (D A D G B E). To achieve this, simply drop the sixth string down a whole step, from E to D. You’ll also need to place a capo on the 2nd fret.

The bass notes are plucked exclusively with the thumb, and a light palm mute is used to increase the attack and thicken the tone. We recommend starting slowly and spending some time getting comfortable with the bass pattern.

The melody is played on the top three strings and fits in the gaps between the bass notes, resulting in a syncopated line.

Says Eric, “I syncopate a lot. I like to have that ‘hiccup’ in the playing. It’s just a little hipper, I think.”

If you’re new to this style of playing, you’ll find slow practice and perseverance are the keys to success.

Example 2: Blues turnaround in B: V(F#7) - IV (E7) - I (B)

This second example is a blues turnaround that can be used in the key of B (or A without the capo). Again, you are in drop D tuning with the capo on the 2nd fret. Use your thumb to fret the low F# notes (2nd fret, sixth string) in bar 1.

This example has a shuffle feel in a 12/8 time signature, making it easy to see how the rhythms (three notes per beat) tie in with the bass notes. Remember to experiment with a light palm mute to accentuate the bass notes with punch and warmth.

This is another example that benefits from being played slowly, especially when separating the bass line from the melody so you can achieve the most performance clarity.

Example 3: Moving between I (D) and IV (G)

Time for a tuning change as Eric opts for standard tuning (E A D G B E). To get into this tuning, simply bring the sixth string back up a whole step, from D to E. The capo can remain on the 2nd fret.

This time you’re starting with a C shape chord. Again, the bass notes are plucked exclusively with the thumb with a light palm mute. Notice that the eighth notes have a lilting, straight feel that provides a sense of summertime.

This example uses hammer-ons and pull-offs to create fluidity and a smooth tone. It’s well worth isolating the melody and ensuring that the legato phrasing is even with respect to velocity and timing.

Example 4: Bluesy picking with I (F#) - IV (B) - I (F#)

Once again, you’re moving from chord I to chord IV in B major (F# - B), but this time using E and A shape chords. This example uses a hammer-on idea that players like John Hurt made popular.

Start slowly and spend time getting the bass pattern dialed in. Again, the melody is played on the top three strings, and fits both in the gaps and on the beat. When the melody note falls on the same beat as a bass note, you’ll need to pick simultaneously with the thumb and second finger.

Example 5: Pick and strum with I (G) - IV (C) - I (G)

This final example is in the key of G and played in standard tuning, with no capo. In the video, Eric demonstrates his preference for the open G5 fingering. The picking pattern is a little unusual as it combines the thumb for plucking the bass notes with a down strum using the second finger.

The nail strum adds brightness and attack to the top three strings, and is a great way to push your projection forward. We have notated the bass note plucks with ‘p’ and the down strums with ‘m’ in the first bar, so you can clearly see how this part functions.

Eric Bibb in action

Eric Bibb – “This One Don’t”

This playful, yet powerful song is the first single from Eric’s latest album, One Mississippi. With Robbie McIntosh’s searing slide guitar, Greger Andersson’s harmonica, and the communal shouts of Shaneeka Simon and Sara Bergkvist Scott, it speaks directly to the times, reminding us that in a world full of noise and division, music — and a solid groove — still brings people together.

“I’ve seen a lot of guys who don't use a pick — George Benson, Bruce Bolen, Jerry Reed, Roy Clark — but never, never me, man,” B.B. King told Guitar Player in 1984. “Always the pick. I'm really lost if I've got to play without it. I'm horrible at chords without one. I'm terrible at fingerpicking. In fact, I'm even ashamed to try it. But I do know how to use a pick.”

As B.B. himself admitted, he wasn’t a particularly fast player, simply because “I play mostly downstrokes,” he said. Furthermore, he added, “I use a medium pick that isn't very flexible at all. I'm old-fashioned: I was taught to hold it with two fingers in the first place, so I still do it that way most times. I hold it with my thumb and index, and control it with my middle finger.”

To that end, he was a hard player, attacking the strings of his electric guitars more ferociously than a jazz player and even many rock guitarists. “I fight the strings at times for presence,” he said, “to get that force.”

Despite this, B.B.’s playing was dynamic and tonally varied. He played guitar licks and solos like he was talking to you, with all the variances and nuances of speech. A key to this was his pick handling. As he told us, there are a range of tones you can create on a guitar simply by varying your pick’s angle of attack and where it lands on the strings .

“Most times when you're playing, you don't hold your pick completely flat against the strings, like a shovel against the ground,” he said. “You turn it and have it so that it's not exactly flat with the string, but has a little bit of an edge or angle to it.”

That’s how you get a mellow sound, playing midway between the end of the neck and the bridge.

“But when I want a real staccato sound. I play near the bridge and hold the pick flat so I won't get that ‘whoosh’ sound,” B.B. explained. “I take the extra effort to make sure I'm hitting the string where I want to hit it. and the way I want to hit it.

“It's almost like playing golf or pool: You've got a certain bit of English that you're going to use,” he added, referring to the spin a player will put on a ball to affect its course.

“Now, most of us that have been playing a long time do these things without thinking about them. If you're new at playing or haven't tried different ways of holding the pick, give them a try.“

Shane Theriot is nothing if not busy. In addition to session work (he's worked with great like Dr. John and the Neville Brothers), performing with Daryl Hall and recording his own albums, Shane creates content for his YouTube channel or runs his own interview-based riff-raff podcast. He's a good personification of the saying "Change is as good as a rest!"

Through his work, Shane has cultivated an expansive musical vocabulary that is as much about foot-tapping rhythmic phrasing as it is about harmonic savvy that draws upon jazz, rock and funk stylings.

For this article, Shane delves into one of the most frequently used modes, the Mixolydian (R 2 3 4 5 6 b7). This is a seven-note major-based mode because it has a major 3rd. But rather than having a major 7th interval (like the standard major scale), it has a minor 7th interval. Due to this, the Mixolydian is the most ideal mode to use with dominant 7th chords, as they have a major 3rd and minor 7th too.

Basing his introduction in the key of A, Shane says the Mixolydian mode fingering can be figured out by playing the A major scale (A B C# D E F# G#) and then flattening the 7th by moving its interval lower by one fret. As the A Mixolydian mode contains the notes A B C# D E F# G, it fits perfectly with an A7 chord because it features the notes A C# E G. An A Mixolydian fretboard diagram is shown below: The black circles are A notes, and the numbers reflect fretting-hand fingers.

With this fingering foundation, Shane is free to add chromatic passing tones. These can fill the gaps between A Mixolydian notes, adding a jazzy and sophisticated quality.

One of the most popular chromatic notes to add is the minor 3rd (C), which creates bluesy grit within the major-key sound. Typically, a minor 3rd is followed by a "resolving" major 3rd when playing lead phrases.

You'll see this minor/major 3rd interval interplay at work in Shane's examples, and he uses various articulations to move between the two. He cites legendary electric guitar player Joe Walsh as an influence; you can hear similar ideas from Joe in the James Gang song "Funk #49." If you're after the most common approach, hammer-on from the minor 3rd to the major 3rd.

The other chromatic note Shane adds is the major 7th interval, which can set up a four-note chromatic passage from the root note (A) down to the major 6th (F#), or vice versa. The A Mixolydian mode with the added major 7th creates an eight-note scale and is often referred to as the Bebop scale (A B C# D E F# G G#) due to its common usage in jazz.

If both the minor 3rd and major 7th are added to the Mixolydian mode, a big A Mixolydian hybrid scale is produced (A B C C# D E F# G G#).

Shane also covers various major triads to create riffs. In the key of A, you can lock in the sound of the Mixolydian mode by moving between the A major, D major and G major triads. These can be played over an A root to create the slash chords of G/A and D/A.

To demonstrate how playing in a closed position is advantageous, Shane moves into the keys of D and E. We have used the appropriate major-scale key signatures so you can see where the accidentals and chromatic notes are featured.

Another concept worth taking onboard is the use of smaller sections, or "cells." Shane demonstrates a few of these in the video lesson. Learning these smaller segments is the key to developing vocabulary for improvisation, as you can then jumble ideas up to create your own phrases on the fly.

From a guitar tone perspective, Shane selects either the bridge or middle pickup on his Ibanez guitar (a gift from John Scofield) and plays with a crunchy overdrive. Feel free to use whatever tone you want, as these examples have considerable flexibility.

Example 1a: A7 riff

In this first example, Shane isolates the A root note on the 5th fret of the sixth string by playing it with his thumb. A classic playing choice is to bend the minor 3rd (C) up to the major 3rd (C#). This interplay between the minor/major 3rd is an approach that is revisited throughout the video. Shane uses a choppy strumming style, and all the notes are kept short with fret-hand muting.

Example 1b: D7 riff

Shane moves the riff up to the 10th fret, into the key of D. This helps demonstrate the power of playing the bass note with the thumb as opposed to using the open fifth-string A root note. Once you have this under your fingers, challenge yourself in other positions and keys.

Example 2: A7 riff (on lower strings)

Here, drawing on Joe Walsh's influence, Shane demonstrates a similar idea to the first example, using the lower strings. This involves hammering-on from the minor 3rd to the major 3rd, 5th to 6th frets on the third string. This provides a double-stop of the dominant 7th and major 3rd: two essential intervals that define the Mixolydian sound.

Example 3. A7 riff (with triads)

This uses various triad chords over an A bass note. The A7 moves to the A major triad and then the G triad, moving between these two over an A bass note locks in the sound of A Mixolydian. The D major triad is also used and this rounds out a strong collection of major triads to create Mixolydian riffs.

Example 4a: Mixolydian-based lick

Now it’s time to look at ideas for lead licks. This example takes a basic descending fingering for A Mixolydian mode as a foundation. To this, Shane adds the major 7th to set up a four-note descending chromatic passage from the root note (A) to the major 6th (F#). The Mixolydian mode with the added major 7th evokes the A Bebop scale (A-B C# D E F# G G#) due to its common usage in jazz. Play it a few times and then try it out for your own lead lines.

Example 4b: Mixolydian based lick (extended)

Here Shane lets fly with some rapid-fire improvised ideas that demonstrate the potential of including chromatic notes into the Mixolydian mode. The main notes to look out for are the major 7th (G#) and the minor 3rd (C). In the second part of the lick, the open fifth string is left ringing out to provide context. This is well worth slowing down and taking in bite-sized pieces.

Example 5: A Mixolydian motif

This is inspired by melodic lines a jazz saxophonist would play. Shane employs the same three-notes-per-string fingering pattern as before, but this time he uses more hammer-ons and pull-offs to get a smooth legato sound. This line is made up of smaller sections, or "cells", and Shane demonstrates each one. Learning these smaller segments is the key to developing your own vocabulary for improvisation.

Example 6a: A Mixolydian hybrid phrase

To finish up, Shane shares a pattern that is easy to play but sounds impressive, especially when played at fast speeds. Once you have this under your fingers, it’s easy to change various notes to create variations. In the notated example, notice the chromatic note of interest is the minor 3rd (C). Again, the minor/major 3rd adds considerable spice for a bluesy jazz vibe.

Example 6b: A Mixolydian hybrid phrase (extended)

This pivots over to the key of E Mixolydian so the main chromatic notes of interest are the minor 3rd (G) and the major 7th (D#). This features lots of great creativity so take your time getting the most from it.

About a decade ago, I took the fingerstyle plunge and got fake nails on the advice of Kaki King. She told me to get acrylics — the hardest and most durable nail — at a professional salon. She even specifically mentioned going to, and I’ll paraphrase, “a Vietnamese salon where all the ladies in your neighborhood with nice nails go.”

That’s exactly what I did. A few years later I encouraged Sonny Landreth to do the same. The electric slide star was complaining about his real nails not holding up on the road, and he was starting to play more acoustic as well.

What’s it like? Would we do it again? Read on.

Primary Pros

The main advantage to fake nails is that you essentially have five picks instead of one. Players that were already hybrid pickers, or perhaps full-on fingerpickers, will rejoice at the transformation.

It’s practically a sanctimonious feeling when you finally free your fingers. Your playing changes overnight. It’s like the difference between pedaling and riding an eBike.

Plectrum players will need time to adjust. You’ll feel like Edward Scissorhands at first.

I had to force myself not to play with a pick for about a year before it felt truly comfortable, but then it was like opening a door to a fantastical kingdom of finger freedom. A million new plucking approaches were literally at my fingertips. And of course, I can still pick up a plectrum and play that way anytime I want.

What’s the Biggest Difference?

Now that I’ve become accommodated to picking with my index fingernail, I don’t want to play with a pick most of the time. That’s the weirdest thing, because it’s a sideways brushing motion rather than a vertical attack like a plectrum.

However, you must get the shape of the nail just right, or it’s like playing with an odd pick. When I do use a pick nowadays, I prefer a small one such as a Dunlop Jazz III because it’s more like the size and thickness of an index fingernail.

I’ll still go with a pick when covering other plectrum players, such as when I’m doing Dickey Betts in my tribute to the Allman Brothers Band. It just sounds more appropriate and authentic, but otherwise going freehand feels fabulous, especially on acoustic.

Primary Cons

Of course, it takes time and money to maintain fake nails. The cost of doing so has doubled over the past decade. You also need to find a salon tech you like. Even though I’ve moved about 45 minutes away, I still go back to my girl Ha “Hannah” Nguyen, because she’s the only one that gets it just right!

Maintenance is a constant. The first week or two after getting the nails is the best, and then you must do some filing. You need a big thick file to bring down the overall length. I like mine medium to short. The longer they are, the more they affect the attack and brighten the tone.

You also need a little file for homing in on the shape, and for reducing the ridge that forms a little way up from the base of the fingertip as the real fingernail underneath grows and starts to show. For those final touches, it’s best to use a very fine file.

Ignore that ledge where the real nail meets the fake one at your own peril. When it becomes dramatic, that ridge acts like a little hook. Strings start to get caught under there and it can practically tear the fake nail off if you’re not careful!

It was a nightmare when COVID shut down the salons. Players like Peppino D’Agostino begin calling me asking what to do. James Taylor literally takes matters into his own hands. He’s got his DIY method down and always carries a box of nail stuff around. I don’t, so if something goes terrible wrong with a key nail at an inconvenient time or place, I’m kind of screwed.

That’s when I must grab a plectrum and play hybrid style, which is a whole different universe because all the plucking-hand attack digits change once the thumb and index finger are occupied with the pick.

Polish or No Polish?

I don’t always get my nails colored, but when I do, I go all in and get sparkling aqua gels! The advantages are mainly that they look cool, or at least lots of people tell me so and the ones who don’t think so keep quiet. And any kind of coating makes the nails last longer without chipping.

The disadvantages are that they cost a bit more and take a bit more time to do at the salon. There’s also a small playability factor. The nails are a little thicker and have a slightly dulled attack. Think of it like coated strings.

And when the colored finish starts chipping off, a tiny little ridge forms up near the top of the nail where the string attack eats away at the coating. It’s never a big deal, but the further that advances, the more you notice. You can file it down a few times but will eventually need a touch up or a new coat of paint.

Would You Do It Again?

Hell yeah. The heaven of having a whole clawed hand is worth the hassle in the end. I play things I never would have dreamed of playing before, without even thinking about it much.

I checked in with Sonny to see if he still has his fake nails as well.“Yes indeed,” he replied. “I got on the path right after asking you about them years ago and never looked back.”

Should You Too?

Only if you’re serious. Otherwise, it’s not worth the trouble. But if you are, then take the plunge. It’s a bona fide improvement and the right tool for the job, especially if you play fingerstyle, and even more so if you play acoustic, because those wound steel strings rip away at real nails relentlessly.

If you gig a lot, or even practice a lot before each gig, fake nails will be there for you when your real nails fail. That’s what made me pull the trigger. I had no nails at all once I got to a very big gig and I missed them so much that I took action. They are a pain in the ass and get in the way of lots of things including typing this column, but when it comes to playing the guitar, especially the acoustic steel-string, fake nails are a godsend.

What is it?

The Gibson: Learn to Play Guitar app is the brand’s move into the crowded world of digital guitar tuition, taking on heavy hitters like Fender Play, Yousician, and Simply Guitar. Launched in 2021, Gibson’s online guitar lesson app isn’t necessarily a newbie, and over the years, it has aimed to merge its heritage as a guitar icon with the accessibility of modern app-based learning.

Like Simply Guitar and Yousician, Gibson has gone for a ‘gamified’ learning experience, taking much inspiration from the video game Guitar Hero, offering an interactive fretboard that tracks your playing in real time.

It’s designed to take players from day one through to advanced techniques, with a clear, structured ‘pathway’ layout that builds confidence step by step. Lessons are split into intuitive modules covering rhythm, melody, and genre-based playing, supported by an ever-expanding song library featuring well-known tracks across rock, blues, and pop.

A ‘Guides’ section offers deeper dives into specific techniques and styles, while handy built-in tools like a tuner, metronome, and a surprisingly capable digital amplifier round out the package.

Available on both iOS and Android, the app feels right at home on a smartphone or tablet. For this review, I used an iPhone 16 Pro Max and relied on the internal microphone to test its lesson tracking, real-time feedback, and overall usability from a beginner’s perspective. Having taught guitar myself, I was particularly interested to see how Gibson handled the fundamentals without the ability to answer direct questions, all while keeping learners on track and motivated.

Can Gibson’s Learn to Play Guitar really stand up to the competition and carve out its space in an already packed field? Let’s take a look.

Who is it for?

Being a tool primarily designed for newbies, the Gibson app is aimed at beginners and early intermediates; however, there are features that will still appeal to more seasoned players.

If you’re just starting your guitar journey, its structured pathway system provides clear, easy-to-follow steps that will help deliver real progress. Those returning to guitar after a long break will also find it a handy refresher, as will self-taught players looking to refine their technique or fill in gaps in their guitar knowledge.

The song library leans heavily toward rock, pop and blues, with a few forays into folk and classic metal. Players with a jazz or modern metal preference may find it a little limited for now, but Gibson has stated that new material is added regularly. There are also lessons taught by artists themselves, including Judas Priest’s Richie Faulkner and Jared James Nichols, which adds an inspiring, behind-the-scenes feel.

Unexpectedly, there are also a few classical pieces in the library, tailored for nylon-string guitars. While they’re a nice inclusion, they do feel somewhat like an afterthought compared to the main focus on electric and acoustic material.

If you’re looking to build strong fundamentals, basic fretboard awareness in an engaging, video-game style-structured environment, this app is a perfect starting point. For more experienced players, the ‘Guides’ section is where the real value lies. These deep dives explore more nuanced topics, from practical scale application to stylistic breakdowns that offer tips on achieving tones and phrasing inspired by icons like Brian May and Jimi Hendrix.

Usability

The app feels premium from the moment you open it. Navigation is clean and intuitive, and Gibson’s design team clearly took cues from its heritage, as everything feels considered, uncluttered, and unmistakably ‘Gibson’. The slickness reflects Gibson’s recent website update, and the coherence across its digital landscape is pleasing.

Setting up is straightforward: you’re asked to calibrate your device’s microphone and choose your playing level before diving into lessons. Once you’ve made your selection, the onboarding lesson and introductory video are tailored to your level, and certain sections of the app are highlighted accordingly. For example, advanced players are shown the deeper ‘Guides’ section exploring different styles, scales, and exercises, while beginners are directed to tools like the built-in tuner.

From there, you’re let loose on the pathway curriculum. This isn’t necessarily a ‘tailored’ experience beyond onboarding, but you can only progress by completing each lesson step by step. Gibson is currently developing a more adaptive experience that evolves with the user, so it’s one to watch for future updates. However, for now, progression is largely self-directed.

During testing through lessons, the note tracking proved mostly reliable and accurate, with the app doing a commendable job of recognising single notes and simple chords. On more note-heavy playalongs, like the tremolo section in the introduction to Black Sabbath’s War Pigs, the tracking sometimes struggled when using an unplugged electric guitar.

In general, I think the Learn & Play app performs best with an acoustic guitar or an electric guitar connected via a smartphone interface such as an iRig, as the built-in microphone can sometimes miss softer notes or faster sections of heavy chord usage.

The animated fretboard system works well, offering a gamified learning experience without ever feeling childish. It certainly takes cues from Guitar Hero and it largely works in a similar fashion; a note will appear on the fretboard, and when you play the note in time, it will rate your playing.

Progressing through lessons earns you points that are automatically added to an online leaderboard, allowing you to compete against other players. It won’t appeal to everyone, but it’s a fun, motivating way to keep practice engaging.

The built-in tools – the tuner, metronome, and Amp & Jam feature – are genuinely useful, particularly the digital amp simulation. The amp can be activated while playing along with songs or lessons and does a fantastic job of adding realism to your tone. It only works with wired headphones, as Bluetooth introduces latency, but if you can access it, you’ll unlock a range of clean, crunch, heavy, and lead amp tones, plus a solid suite of effects, including phaser, flanger, and reverb.

Verdict

The Gibson Learn to Play Guitar app delivers a polished, thoughtfully designed experience that feels unmistakably Gibson. It’s one of the most visually cohesive and intuitive guitar learning platforms available right now, and its step-by-step pathway makes it especially accessible for beginners. Everything from the navigation to the built-in tools has been crafted with care, and it’s clear Gibson has taken its time to ensure the learning process feels guided rather than overwhelming.

The integration of real artists teaching their own material adds an extra layer of inspiration that few competitors can match. Hearing lessons directly from players like Richie Faulkner or Jared James Nichols bridges the gap between student and stage in a genuinely engaging way.

That said, intermediate and advanced players may find themselves running out of material fairly quickly. The core curriculum focuses on fundamentals, and while the ‘Guides’ section offers more advanced insights, it’s not enough to sustain long-term progression for experienced players. Also, while the song library covers classic rock and blues brilliantly, it lacks diversity across genres, and the microphone tracking can occasionally be inconsistent during faster passages.

Still, for its intended audience, fresh-faced guitarists, the Gibson Learn and Play App gets far more right than wrong. It makes learning feel structured, inspiring, and enjoyable, with enough polish to rival or even surpass the likes of Fender Play or Simply Guitar in presentation.

Guitar Player verdict: A slick, modern, and well-executed learning platform that feels every bit as premium as the Gibson brand upholds. It’s ideal for beginners looking for a guided start and intermediate players brushing up on fundamentals, but advanced players may want to look elsewhere for something more engaging and challenging.

Also try

Hands-on videos

There's a special vibe about funk. It's often not considered as virtuosic as rock, as emotive as blues or as intimate as folk. Rather, its selling point is all about the groove. Core to this is the rhythm section, which consists of drums, bass and electric guitar. If this trio of instruments is really cooking as a unit, the rest of the band — from keys and horns to vocals — gets to dine on the rhythmic ecstasy. James Brown knew this. So did Kool and the Gang, Earth Wind and Fire, and Chic.

Randy Jacobs knows this too.

More importantly, he knows what the guitar needs to do to be truly funky.

Respected for his work with Was Not Was, Randy has enjoyed numerous collaborations over the years with artists like Bonnie Raitt, Ringo Starr, Willie Nelson and Billy Preston. His guitar grooves are both infectious and tight, something that holds true from his 1980s pop-funk playing through to his current blues-funk band, the Boneshakers, whose latest album is Live to Be This.

In this exclusive article, you'll see Randy play deep grooves with his thumb, Wes Montgomery style, and explain what he's doing to make them so powerful. But here's the twist: For each of the six examples, Randy uses only one drum and a bass groove featuring the notes E, A and B. With that as a bare foundation, he demonstrates how beneficial a broad rhythmic and harmonic vocabulary is by using 16th note–based grooves, muted strings and classic funk chords.

One groove, six different guitar performances — all killer funk.

Example 1: Spank a Lank groove

Here Randy lays down solid funk guitar, combining chord fragments, single-note popping and muted strokes. The picking-hand thumb is used for strumming, and Randy keeps his hand moving over the strings to ensure good timing. Although based in E Dorian (E F# G A B C# D), the briefly played Am9 chords dip into E natural minor (E F# G A B C D) territory.

Example 2: Dancing Shoes

Slash chords feature here, creating colorful movement: the G/E (G chord over E bass) to F#m/E movement sounds great. The A/B chord (sometimes also called B11) is used a lot in funk and R&B. For the embellishments in bar two/beat 4, simply hammer onto the 9th fret while letting the first string ring out. The second string can be muted by the fretting-hand fingers.

Example 3. Bluish Hump groove

This groove is inspired by bands like the Rolling Stones. Instead of using high-pitched chords, it features meaty low-string notes. The move from B to E/B is classic Keith Richards terrain. To play this, place a first-finger barre on the 4th fret, and then use the second and third fingers to add the E/B chord.

Example 4: I Can Smell It groove

Randy turns the funk up a notch more now by incorporating several concepts already showcased, including muted strokes, low-end riff work and funky chord fragments. To create the spank, he slides a tritone double-stop up a semitone, from the 4th fret to 5th fret, and then strums the open first and second strings. The B7#9sus4 chord is a classic sound used by many acts, including the Average White Band and Prince.

Example 5: Smooth Strum Funk groove

Here, Randy changes direction and uses smooth-sounding major 7 chords. To add more movement, he slides into the Emaj7 from a semitone below (Ebmaj7). This sets up a pleasing tension and release. The E/A chord provides a rich Amaj9 sound. Another vibrant choice is the use of double-stops. Randy slides a first finger barre between the 7th and 9th frets on the first and second strings. Slinky!

Example 6: Spankala groove

For the final fretboard funking, Randy mostly plays two notes of an Em9 chord for a big and confident sound. This can be changed to an Em7 by dropping the first finger off. To provide some light and shade, the Em9 chord can also be played in full. Randy allows the open first and second strings to ring when fingering the Bm11 chord, providing a very resonant sound.

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In chess, American football and musical theater, there is a reverential term known as a triple threat. It refers to somebody with three outstanding and separate attributes that, together, put them at the top of their game.

It can also be applied to musicians such as Brett Garsed.

His triple threat comes from his skills at hybrid picking, legato and slide guitar. Fully primed with this tasty trio of techniques, the modest virtuoso positively oozes with precision and expression in equal measure.

But while his picking and fretting hands are phenomenal, this tutorial aims to both demonstrate his skill as a slide player and inspire you to push beyond the norms of slide guitar tropes.

This tutorial will uncover just how far you can actually go. So if slide is a style you already enjoy playing (or, indeed, plan to), this is especially for you.

And if you want to learn even more, check out Brett's new book, Modern Slide Guitar Techniques in Standard Tuning.

Brett's slide journey started as a teenager but changed after he saw Joe Walsh play "Rocky Mountain Way" on TV. Like Joe, he was using open E tuning (E B E G# B E). This gives a varied set of intervals between the strings, but many are unobtainable in standard tuning.

Unless you’re super resourceful and creative like Brett.

Frustrated with having to switch tuning or guitars, he explored blending slide playing with his conventionally tuned non-slide playing. Brett started holding the slide at an angle, aided by his decision to place the slide on his second finger. This allowed him, with some micro adjustments guided by his ear, to access open-E tuning intervals without having to change from standard tuning.

This discovery opened up a whole new vocabulary, allowing him to blend traditional open-tuning lines and pedal-steel ideas with melodic patterns and shapes in a fluid way, and without leaving standard tuning.

Before you tackle the examples, the two main considerations with slide guitar are tuning and muting. For the former, you could consider playing the following 12 exercises with static drone notes from a keyboard to help refine your intonation. Tip: Always aim to play above the actual fret wire.

As for muting, Brett lightly rests the third and fourth fingers of his picking hand on any unplayed strings. Unusually for a slide guitar player, he sticks to his regular hybrid-picking combination of pick and second finger (m) for most of these examples, bringing in the third finger (a) for three-note chords and arpeggios.

Brett's slide examples

Example 1: Straight and angled slide playing

The conventional approach to slide guitar is to position the slide straight across the strings, which is completely fine for single notes but gives you a limited range of useful intervals when considering double-stops and chord fragments, particularly in standar tuning. To provide a wider selection of intervallic options, Brett shows how he angles the slide to sound a minor third between the second and third strings.

Example 2: Bluesy descending phrase

Here an angled-slide technique is used to play a Joe Walsh–inspired blues line that the James Gang/Eagles legend would normally execute in open E tuning. However, in this case and for all of the examples that follow, Brett's using standard tuning. Take care to observe his picking-hand articulation too, as he chooses to use the pick and second finger (m) predominantly.

Example 3: Slide double-stops

In this example, Brett alternates between angled and straight slide placement to harmonize an E Mixolydian scale (E F# G# A B C# D) in diatonic thirds. Pay attention to the detail here and aim to capture some of the slides, vibrato and grace-note dips that all add to his bluesy delivery.

Example 4: Diminished phrase

Keeping with the minor-thirds theme, this spells out a symmetrical diminished-7th sound (F G# B D) by moving this fixed shape along a pair of strings in three-fret slides. Keeping to the E7th tonality, this could also be considered as four from the five notes found in E7b9 (E G# B D F).

Example 5: G and C chords as 6th intervals

Brett expands the double-stop concept here by skipping strings, allowing him to highlight the sixth intervals found at the heart of both a G and C triad. Here he’s selecting the second and fourth strings, muting the third string located between with the third finger (a).

Pay attention to the smoothness of his vibrato. It’s good to acknowledge just how many of these ideas end with a rapid descending slide to no fixed pitch. The little details definitely accumulate in terms of delivery and musical personality.

Example 6: 6th intervals in G (second and fourth strings)

Sticking with the sixth-interval idea, Brett neatly defines G Mixolydian (G A B C D E F) with an alternation between angled and straight postures, choosing between major and minor sixths. Adopt a muting technique similar to what was used in Example 5 to keep extraneous noise at bay.

Example 7: Sixth intervals in B Dorian (first and third strings)

With a switch of location and tonality, Brett neatly articulates a phrase in B Dorian (B C# D E F# G# A). Again, he's using diatonic sixths with a combination of straight and angled slide approaches, although this time these are situated on the first and third strings.

Example 8: 5th interval with slide

Returning to the second and fourth string, Brett angles the slide even further to span two frets, allowing him to articulate the fifth interval found between E (14th fret, fourth string) and B (12th fret, second string). Again, this could be relocated between the first and third strings using the exact same shape, situated one string down.

Example 9: Major triads with angled slide

As Brett states, it’ll take a bit of micro adjustment to get these fifths in tune, but once you achieve this, you can also add the third string to create a complete major triad. Notice the use of the third finger (a). These shapes can also be slid up and down the fretboard to articulate a shifting major sequence.

Example 10: B octave on second and fifth strings

"These are quite tricky to get in tune," Brett admits.

Taking the string skipping technique a little further, here he articulates an octave found between the second and fifth strings. This means two strings need to be muted between the desired notes. Brett uses his third and fourth fingers to achieve this. Take it slow, getting the right slide angle and muting the inner strings.

Example 11: Octaves on second and fifth strings

Once again, you’ll need to make some micro adjustments to get these octaves in tune, but once that’s secure you can start to move them horizontally along the length of the fretboard. Again, Brett’s sticking to the second and fifth strings here.

Example 12: Octaves on first and fourth strings

You can take this angled shape and locate it now on the first and third strings, giving you an octave shape that can be moved horizontally along the length of the fretboard. Get these examples nailed, then enjoy the sonic rewards — and the looks of surprise from other guitarists!

Slide Q&A with Brett Garsed

Slide guitar is often played with a high action, but your guitars are set the same for both slide and standard playing. What is your action preference?

I try to find a balanced action that lets me do my regular playing but is also high enough to allow me to play slide as well. It is a compromise that has to be made for the convenience of just carrying a bottleneck around instead of another guitar.

I use D’Addario NYXL .010–.052 strings these days. I used .011’s for quite a while but I prefer the lighter top three strings now. I find that the heavier bottom strings help to support the slide and prevent me from hitting the frets too much. That can happen a lot on the high E string so I have to adjust my technique quite a bit to try and prevent it.

You use a glass slide. What weight/thickness is it?

I use a Jim Dunlop 211 glass slide, and if I see one in a store I buy it as they’re not easy to find. They’re just the right weight and mass, and I really like the way they fit firmly on the top part of my second finger as the don’t come off and it also gives me more reach for the angling techniques.

I find glass and chrome sound very similar, so I’d like to try chrome again as I really like Paul Gilbert’s idea of using a magnet to attach it to the guitar, but I can’t find a chrome slide long enough. I’ll keep looking, and if I find one, I’ll have to ask Paul where he gets his magnets from!

What type of overdriven tone do you like best for slide as regards amp settings and maybe the guitar's controls?

I’m using the Axe FX III or the FM9 for my tone and I use the Euro Blue amp model which I believe is emulating a Bogner Ecstasy. I have just enough top end in my sound so I can use the front pickup with it’s tone control on 10. I have the tone control for the back pickup on 3 or 4 to tame that top end when I’m using it.

I’m using a Suhr Riot overdrive model which is in the Axe FX III and I really like it. Fuzz pedals sound great on slide but I don’t like them for non-slide soloing, so I prefer to use my regular tone all the time. That way, I can decide to play slide or not depending on my mood in the moment.

You've a slide book available. What's in it and where can people get it?

Modern Slide Guitar Techniques in Standard Tuning is released through the publishing company Guitar Vivo. I cover standard slide techniques and then go over angling techniques in great detail. There's a lot more content, in addition to these topics, as I have many ideas about slide guitar.

It was great fun to do, getting much of what I love about slide all into one book. The tuition books I do for Guitar Vivo also have accompanying video and I narrate them so there’s a visual aspect as well as full transcriptions of everything, including various improvised solos.”

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Guitar Tricks is currently Guitar Player's best online lessons top pick; we love it thanks the huge lessons catalog (11,000 and counting), the quality of tuition for beginner and intermediate players in particular, plus the healthy song library covering a range of blues and rock artists. And right now, with their excellent Labor Day deal, you can save 65% on a one-year All-Access plan. That discount drops the price to just $10.47 per month, which is far less than you'd ever pay for weekly lessons.

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Brazilian guitarist João Gaspar is known for his versatility and ability to blend traditional music with jazz, rock and contemporary styles. Through this fusion blend, Gaspar has developed a distinctive approach that combines rhythmic complexity with melodic sophistication while incorporating classic elements found in samba, choro, bossa nova and rhumba.

In this exclusive video, he plays a nylon-string guitar and a few clean-toned electric guitars for six different Brazilian examples. The nylon-string guitar is a classic sound linked heavily to Brazilian music. Early trailblazers such as Baden Powell and João Gilberto adapted fingerstyle nylon-string tone and fused it with Afro-Cuban rhythms and Brazilian music styles, helping to form a popular template for samba and bossa nova guitar playing.

For the electric guitar, a clean amp tone is ideal for extended chords and crisp rhythms that are easily heard and can cut through a typical song mix. However, when you tackle these six examples, feel free to experiment on whatever guitar you have available.

For each example, João first plays at an ideal tempo and then again slowly, so you have more time to watch the playing in detail. After this, he discusses and demonstrates the techniques, chords and general theory involved.

Certainly, if you hanker for new rhythms or sophisticated chord voicings, you'll go from simple open-position fingerings, such as Dm and Bbmaj7, right through to extended harmony that you’d expect to hear in Brazilian music (e.g. Gm13 and C#7alt).

To help you get these examples under your fingers, we've included key picking and strumming directions, as João is great with both fingerstyle technique and using a pick.

As ever, the devil is in the detail. With slow practice and an awareness of what you're aiming for, you'll soon develop a consistent feel and groove that people would like to dance to. Now, on to the examples!

Example 1: Rhythmic fingerstyle chords

This fingerstyle example uses the open first and second strings to enhance the fretted notes. First off, it's worth singing the rhythm to get the right feel, especially if it's new to you. We then recommend playing the rhythm slowly as you master the chord fingerings, then increasing the tempo. The pattern moves between great-sounding voicings of Emaj9 and B9sus4 (also referred to as A/B). The colorful Lydian chord at the end (Emaj7#11) is the icing on the cake and adds a little exotic tension.

Example 2: 16th-note strumming

This features a fingers-based strumming pattern that is repeated throughout. Start with a thumb pluck (shown as p under the tab), followed by a first-finger pluck (shown as i under the tab) and then a down-up-down strum (again, using the first finger).

The fundamental harmony is quite straightforward (it's a I-bVII-bVI-V progression), and the chords are played in the open position. However, the smooth Bbmaj7 and the spicy Asus4b9 are more jazzy sounding and help to enrich the progression.

Concentrate on the picking-hand strumming in bar 1 first as it's largely the same for each bar. Then work your way through each chord shape so they flow smoothly under your fretting-hand fingers.

Example 3. Funky single notes and chord bursts

This next example is pretty demanding, as it introduces a funky Latin flavor in the style of the great Brazilian guitarist and singer Djavan. The fingerpicking pattern uses a mix of syncopated muted strings and clipped single notes that dart around the main beats, so dial this in slowly.

The pattern starts with a muted hit down on the strings, followed by a muted pluck from the first finger and then a thumb bass note. Each bar is finished off with a four-string chord using down-down-up strums. Get this sorted and you'll sound very funky!

Example 4: Muted down picking

This example has a pop Latin feel, enhanced by extended minor-chord arpeggiating on a clean-toned electric guitar. The key technique to work on here is down picking accurately while maintaining the palm-muted down picks. You're after consistent dynamics and a warm tone.

Practice this slowly at first to improve precision and stamina and reduce strain. To finish, João breaks out of the patterns with a blues-style lick in G minor.

Example 5: Colorful double-stop strumming

This is a crossover of styles, with the harmony inspired by Ivan Lins and the rhythms of Djavan. The rhythmic accents are on beats two and four of the bar, with much of the playing involving double-stops (two notes sounded together). Again, João sings the rhythm before performing it.

The strumming is split across the bottom and top portions of the chord. This is reminiscent of funky strummers like Nile Rodgers, who break chord shapes into high/low string zones to create more variety.

Example 6: Funky and sophisticated chord syncopation

This final example is a fast jazz funk–style offering. The chords use extended harmony (e.g. 9ths and 11ths, plus altered chords), which creates a sophisticated sound. Observe that all the chords are mainly played on the top four strings. This higher string playing allows the guitar to sound bold and bright, cutting through the overall band mix — a key strength of experienced groove-based guitarists.

Don't overlook the ghost notes, as they are an essential ingredient, providing hi-hat–like percussion to the rhythm. Lastly, sliding into chords from a semitone below is an expressive funk element, and João uses it several times here.

Three Brazilian Groundbreakers You Should Know

João Gilberto

João Gilberto is widely credited with being one of the pioneers of bossa nova. He played intricate, subtle fingerstyle parts on a nylon-string guitar. His chord progressions often borrowed a lot from jazz-style harmony using mellow-sounding chords, including major 7, minor 7 and the 6/9 chord. Gilberto’s recording of "So Danco Samba" typifies the style, with Gilberto’s understated vocal floating on top of his gentle, yet rhythmically precise guitar accompaniment.

Djavan

Djavan is a widely celebrated Brazilian singer-songwriter known for blending jazz, funk, samba and pop. His smooth vocals, poetic lyrics and sophisticated sense of harmony have earned him a lasting place in Brazilian music history. One of his most famous songs, "Oceano," showcases a classic use of romantic lyrics and musical depth. This live version, reminiscent of the original studio recording, features a great nylon-string guitar solo from 2:28.

Baden Powell

Baden Powell was a groundbreaking guitarist known for fusing classical nylon-string guitar techniques with Afro-Brazilian rhythms, in the bossa and samba styles. His recording of "Canto De Ossanha," by Vinicius de Moraes, is a rhythmically intricate piece that blends samba and candomble. The syncopated guitar rhythms and dramatic vocals create a powerful fusion that has a haunting and intoxicating vibe.

Allen Hinds is an L.A.-based guitarist, renowned as much for instrumental albums like Monkeys and Slides (2011) as for a stylistic vocabulary that has served artists like Natalie Cole, the Crusaders, Roberta Flack and Randy Crawford over the years.

For this tutorial, Allen demonstrates his fretting-hand legato technique and the ways it can be used to inspire new ideas for your own playing.

For many of these examples, Allen takes inspiration from previous legato masters like Eddie Van Halen and Allan Holdsworth. Both players used classic legato techniques, such as hammer-ons, finger slides, wide interval stretches and string skipping. Putting their influence into new contexts, Allen demonstrates how to establish small motifs or patterns that can be learnt easily. Once mastered, they function as both warm-up exercises and approaches to develop your soloing vocabulary.

Allen advises that, once you've learned the short patterns, play with your timing and implement them into different rhythmic subdivisions. For this way of working, it’s more about opening up the possibilities than learning the exact licks per se. Allen finds that this conceptual approach helps students get out of ruts by finding new channels to explore without micro-adherence to every single playing nuance.

To cultivate an effective hammer-on technique you have to be accurate with where your fingers hammer onto the string. Too close or too far back from the intended fret will deaden the sound. With pull-offs, make sure to actively pluck the string with the fretting-hand finger to sound the lower note as opposed to just lightly lifting it off the string.

Also be careful with the timing of the pull-off pluck, as it is possible to pull the string sharp. This upward pitch bend is a sound that Allan Holdsworth didn’t like, so he famously preferred to hammer-on for all his notes, even during descending runs. Not easy!

To keep it simple, all of the examples are in A Dorian (A B C D E F# G) with the F# note providing the Dorian flavor within the minor tonality. This is a popular scale for blues, soul and fusion as it works great over a minor 7 chord.

As many of the examples are performed free time, the notation is the most obvious and easy to use as regards rhythmic subdivisions. When practicing along with a groove as Allen does, we’d recommend using the subdivision in the notation as a starting point and then changing it up as you get more comfortable. Also, the time signature and groove style could be changed later on for new lead ideas.

All of these conceptual frameworks will work in other tonalities, and Allan advises to try placing these patterns into A major for different results.

Allen also advises practicing with a clean tone. This helps to develop power and authority with hammer-ons and pull-offs, as the notes need to be clearly heard. Using distortion compresses dynamics, so it’s easy for a poorly sounded note to still sound acceptable. Now, on to the examples.

Example 1a: 4-note pattern phrasing

In this first example, Allen demonstrates how effective a simple pattern of four notes can be. Once the pattern of pick, pull-off, hammer-on, pick is established, it can be applied to any part of the A Dorian fretboard roadmap. As the position shift is implemented, a cool-sounding double note (last and first notes of each grouping) is produced.

Example 1b: Introducing string skips

Here, Allen transfers the pattern to the third string, jumping over the second string. This introduces a wider interval leap to sound more interesting. Again, knowledge of the A Dorian mode fingering roadmap is important. Combining these first two examples provides a great framework for improvisation.

Example 2: String jumping and sliding

In this example, Allen introduces a new pattern. It starts on the third string with a down pick, hammer-on and pull-off followed by a fifth string pick, pull-off and hammer-on. This can be shifted up the fretboard to get more mileage, and Allen uses a finger slide to shift position.

Example 3: Groupings of 4

Here’s a colorful four-note pattern that Allen demonstrates, with pauses to talk, as reflected in our notation. In terms of technique, the pattern is pick, hammer-on, pull-off and hammer-on. Again, this can be shifted around using A Dorian and a three-notes-per-string fingering roadmap.

Example 4a: Descending while ascending the fretboard

Allen is a fan of using position shifts to open up various fingering possibilities. This example was inspired by Allan Holdsworth when he descended in pitch but actually ascended the fretboard. Using a two-notes-per-string approach, this sounds fluid and smooth.

Example 4b: Longer descending phrase while ascending

Further possibilities of extended position shifts are shown here. To catch all the nuances, consider using the slow-down feature on YouTube's playback settings when learning this.

Example 5a: Legato with chromaticism

Chromatics can add spice and new color to lead lines, especially when placed in sequential patterns. Inspired by Allan Holdsworth, with a nod to Eddie Van Halen too, the pattern here is pick, pull-off, pull-off, hammer-on and then a picked note on an adjacent string. This creates an intriguing "outside" modern-rock and fusion-based electric guitar sound.

Example 5b: More chromatics for legato spice

Here Allen stretches out and demonstrates how the simple chromatic motif from the previous example can be used to create interest. Pause markings (fermatas = a curve with a dot underneath it) are used at the end of each phrase, reflecting Allen's presentation.

Example 6a: Finger slides

Finger slides are a great way to add fluidity to phrases. In this example, several semitone intervals are played using a slide to get into the final notes.

Example 6b: Slides and same-fret/different-strings shifts

For this example, the slide-and-stretch idea is used across all six strings. The basic pattern is down-pick, finger slide and pull-off, with the large interval leaps grabbing the ear. Again, it’s well worth digesting this one slowly. We finish on a pleasantly floating A7sus4 chord with no confirming minor (or major) third.

Example 7: Legato and note doubling

This is a great demonstration of finger stretching to produce double notes across the second and third strings. While demonstrated fast, it’s important to start slowly to bed it in well.

Example 8a: Four notes for a wealth of variety

While this contains only four notes, the 8th-to-12th-fret stretch adds big intervals, and the varied ordering provides a lot of color. With a mix of picked and pulled-off notes, it's fascinating to hear and fun to play.

Example 8b: Working the legato stretch

To finish, Allen takes the conceptual framework established in Ex 8a and incorporates the third string into the 8th-and-12th-fret mix. It's a unique way to sound fusion-like (due to the legato) and bluesy (thanks to the diminished 5th, b5). The occasional B note (12th fret, second string) adds a richer 9th interval when playing over the Am7 chord.

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The guitar landscape is always changing, and today, new guitar players can tap into a wealth of information, lessons and more with just a few clicks. It’s a far cry from the world that today's guitar legends grew up in.

When Tony Iommi first picked up a guitar, his best chance of learning how to play came from jamming along to Hank Marvin records, learning his parts note by note, with only his ears as his guide. Likewise, Brian May got a valuable lesson in gear and tone by hanging around backstage after a show by his hero Rory Gallagher.

Those days are a distant memory now. Today, the internet is a treasure trove for knowledge, for tips and tricks, and for tailored learning experiences that cut straight to the good stuff.

However, Lita Ford believes that the ease of access to guitar-related material can harm a player’s progress. The former Runaways guitarist believes it can keep players away from the sharpest learning curve.

“Things are so different now in 2025, and the digital world has kind of taken over everything,” she says, answering The Horror Nerd podcast’s question about tips for beginner shredders. “I didn't come from that world.”

Understanding the generational divide, she glances back to her earliest playing days and the adventures that shaped her as a player and a professional.

“It’s good to be a little bit of a street gutter rat and get out there and jam with people,” she develops. “Go to some nightclubs and listen to your favorite musicians and learn as much as you can from them instead of Googling it or watching it on YouTube.”

Her comments echo a sentiment ex-Megadeth guitarist Marty Friedman laid out last year. In an age of the so-called "bedroom guitarist," and one of increased digital emphasis, he says the best chances to master the art of the electric guitar come from leaving one's comfort zone behind.

“If you practice at home, you're going to get good at practicing at home,” he said. “If you go out and do the real thing, you're going to get good at doing the real thing.

“Your top priority has got to be creating opportunities to play in front of people,” he emphasizes. “That is going to suit your end goal much better.”

Indeed, Ford feels the most powerful lessons come from establishing a connection with the instrument and experiencing things in the flesh, not through a screen.

“It comes from the heart and soul, and those kind of things don't teach you a lot of that,” she explains. “So it's good to just be a gutter rat and get out there, and get down and dirty, and sweat, and play guitar.

“There's a lot of things that have changed over the world, but that's how I learned. And if I had to give anybody a piece of advice — it's doing it the hard way. When you learn how to feel, that’s what does it for me.”

Ford has also recalled the unlikely scenario of a guitarist auditioning for a spot in her solo band and arriving with her stolen B.C. Rich Mockingbird.

Tragically, Ford didn't have the heart to ask for her guitar back, and when she picked another guitarist for the spot, it disappeared out of her life for a second time.

She was also recently asked by Guitarist to clarify what piece of gear is more important, a guitar or the amplifier it plugs into, she has an interesting take.

“I mean, you’d be surprised what you can plug a guitar into,” Ford says.“If it makes a noise, you could probably use it as an amplifier. If I had a heap-of-shit amplifier, I would probably find something to modify it with. In these electronic digital days, there’s a lot of that stuff.”

The guitar, she adds, can’t be cheaped out on, and likewise, when it comes to learning how to play it, real-life experiences will always trump what delights the internet can offer.

Steve Morse is a remarkable guitarist, with an equally remarkable career.

Over the past 50 years, he's performed in the Dixie Dregs, the Steve Morse Band, Kansas and Deep Purple, with whom he spent a colossal 28 years — almost double the tenure of founding member Ritchie Blackmore. In addition, he's played countless mind-blowing gigs and released numerous solo records over that time.

Steve has also collaborated with other heavyweight guitarists, including Eric Johnson, Albert Lee and Peter Frampton. In 2012 he was invited by Joe Satriani, John Petrucci and Steve Vai to join them on their G3 tour.

It's small wonder he was voted Best Overall Guitarist by Guitar Player for five years in a row, qualifying him for its Guitar Player Hall of Fame. As the crowning achievement, he has his own Ernie Ball signature electric guitar.

And now Steve has delivered a Guitar Player lesson just for you.

In this exclusive video lesson, Steve showcases five conceptual and technical approaches that he employs when improvising or arranging guitar parts. These include melodic arpeggios, 16th-note patterns, sextuplet-based picking, melody with ostinato bass and rhythmic variations. To close, he brings all these together for a final long cohesive etude that is both technically challenging and musically fulfilling.

Central to all the approaches is Morse’s stunning alternate picking prowess, which has long been admired and celebrated by countless guitar players the world over. Unfortunately, arthritis in Steve’s picking hand has caused him to have to reconsider and partially reconstruct his picking technique.

As a testament to his amazing work ethic and his considerable talent, he continues to sound incredible and his blazing picking and super precise articulation are still a joy to behold. This is also thanks to his positive outlook, which has helped him keep going when the going gets tough.

We’d encourage you to take inspiration from Steve's playing here and create a series of short exercises for yourself, one for each concept listed here and then link them all together. By creating a contextualized technical study you will develop your own personal interpretation of Steve's great techniques and approaches.

Tip: For each tab/notation example, click on the lower left symbol with four arrows pointing outwards. This will increase the size of the music, whether you're on a desktop computer or a smartphone.

Ex. 1: Melodic arpeggios

Steve kicks things off with an idea that combines a high melodic line with a broken arpeggio-derived supporting figures that move to follow the underlying harmony. The key to this concept is to be completely aware of the chord sequence. It’s also extremely helpful to acknowledge which interval you’re dealing with for every important melody note.

Like all things Steve plays, it’s clear that he has considered his fingering choices carefully, so it makes sense to at least begin here before modifying any of the fingerings to suit your preferences. The picking shown in the tab below is what Steve uses in the video, so start with this before considering other options.

Ex. 2: Upper melody with ostinato bass and chromaticism

Steve continues with the two-part theme here, although this time he’s supporting a shifting melodic line with a lower ostinato chromatic figure, giving the impression of a continuous stream of notes, although we’re leaping alternately between both parts. The rhythmic phrasing is of particular interest, as each phrase could be considered as a six-note group, traveling in 16th notes to create a six-over-four cross rhythm.

As with much of Morse’s technical articulation, we’re sticking to strict alternate picking here, with each and every note picked, with the exception of the grace note hammer-on for our final double-stop.

Ex. 3: Sextuplet-based alternate picking

More alternate picking here, although for this example Steve is playing an ascending linear group of six notes in sextuplets coming from the A Natural Minor/Aeolian scale (A B C D E F G). While he favors alternate picking, here he also provides us with some other articulation options, such as pick-hammer-hammer or pick-hammer-pick for each group of three notes arranged on each string.

Ex. 4: Melody with ostinato bass

This example shares some similarities with Example 2, as we’re revisiting the two-part theme, although here the melody note shifts while the bass notes remains stationary, moving only when required to outline and support the moving harmony.

Again, we’re looking at cross-rhythmic phrasing action: Here we see a three-note idea moving through a 16th-note subdivision. Steve is clearly aware of the intervalic relationship between melody note and supportive ostinato. Once again, his articulation involves using consistent alternate picking throughout.

Ex. 5: Melody with 16th note rhythm and triplet phrasing

For his final example phrase, Steve swings the 16th notes a little, providing a relaxed and bouncy feel to each line. This is also helped with the mixed articulations, blending pre-bends, bend releases, vibrato and slides throughout. Yet more cross rhythms are at work here, with each six-note melodic cell moving against an underlying 16th-note subdivision. This provides color with different accents and syncopations throughout the phrase.

You might find it easier to appreciate these syncopations in the final track, which brings all the previous examples together, as you will feel how these phrases sit against the stability of the backing track.

Ex. 6: The approaches all together

Steve rounds his video up by connecting all his examples together to create a cohesive whole. There are some very minor articulation embellishments here, along with a short outro phrase inspired by his first example, but reharmonized to articulate the closing chord changes.

We hope that you enjoy this collection of concepts, licks, lines and ideas and find creative ways to put it to use in your own playing.

Niwel Tsumbu is a Congolese-born musician with a distinct musical voice on the acoustic guitar which he has described as a melting pot of styles, fusing Congolese folk with global popular styles like jazz, rumba, classical and pop, to name but a few.

Having settled in Ireland, Tsumbu’s career has flourished in an environment that values artistic experimentation. He has become a beloved figure in the Irish music scene, celebrated for his collaborations with renowned artists like Sinead O’Connor, Glen Hansard, and the Crash Ensemble.

Further afield Tsumbu’s collaborations include Buena Vista Social Club and American folk artist Rhiannon Giddens, landing Tsumbu appearances on Jimmy Kimmel Live and various news channels, including CBS and France 24 in the process. Despite being an ardent collaborator, 2024 saw the release of Tsumbu’s first solo album, Milimo, which has received high praise from all corners of the jazz world.

The five examples included in this tutorial highlight Tsumbu’s technical style as a solo guitarist and highlight his expertise with Congolese rhythms.

Tsumbu plays all the examples at relatively fast tempos. To be able to perform at these speeds it's important to initially approach each at a slow tempo with your focus on the picking hand as that is where most of the technical demands are.

With the picking hand in mind, aim to employ a "golden hand position" rule where the thumb (shown as p under the tab) covers notes on the fourth, fifth and six strings, and the first (i), second (m), and third (a) fingers cover the third, second and first strings, respectively.

All notes are to be plucked free stroke, which means you pick the string and then the finger comes away, not resting on the next string down (this is called rest stroke). To accommodate this picking technique, hover the hand over the center of the six strings to maintain a static position as the fingers and thumb pluck.

To be able to speed up the tempos. ensure you pick with shallow and swift, but relaxed, movements. Being relaxed is crucial, as any tension in the fingers can cause the hand to cramp when pushing up to higher tempos.

As for the fretting hand, you can see in the video that Tsumbu flows with extreme ease between chord positions. He achieves this by using minimal pressure when holding notes. Some shifts may feel awkward, which makes minimizing pressure a challenge, so be sure to break short passages down into bite-size repeatable chunks to allow yourself to focus on this one aspect.

The examples

Example 1 - complimentary melody and bass in 12/8 time

While a 12/8 time signature was the simplest way to present this example, it could also be counted like alternating 4/4 and 2/4 bars. To get a feel for the syncopated rhythm, explore tapping it out with your hands, tapping the upper voice with the right hand and the lower voice with the left. The repeated picking patterns are rather intricate so be sure to practice slowly with a metronome sounding each main beat. Watch Niwel play this in the video below.

Example 2 upper and lower voicings in 7/8 time

This example in 7/8 time (7 eighth beats make up each bar) consists of ascending 8th notes with upper and lower voicings. The upper voice is the final three notes of each bar (the note stems are upward in the notation) and the lower voicing being the first four notes of each bar (these note stems are downward in the notation). Practice both voicings separately to get the best feel before joining them together. As with all the examples, listening and watching Niwel will greatly help how you interpret the tab and notation. See him play this in the video below.

Example 3 - doublestops in 9/8 time

Here you have double-stops (two notes played together) played in 9/8 time (9 eighth beats in a bar) with the intervals being largely 3rds or 6ths, the two sweetest-sounding intervals in music. Practice the double-stops as single notes, choosing the upper or lower note each time. This way, you'll enhance their clarity when you combine the two and develop a deeper appreciation of the melodic content.

Use your fretting hand's first finger as an anchor when moving between positions, keeping a loose thumb behind the neck of the guitar. Pick the lower voicing with the thumb (p), keeping the first (i) and second (m) fingers alternating in the upper voicing. Watch Niwel play this in the video below.

Example 4 - 10ths in 4/4 time

This has a 4/4 flow (four quarter beats to a bar) with an energetic rhythmic groove in the bass. Many of the double picked notes (e.g. bar 1, beat 1 - C and E notes) are 10th intervals: a third interval that is widened further by taking the 3rd up to the next octave. This is a very nice sound, common to guitaristic chord arpeggiating.

Maintain a stable picking hand position to keep the rhythmic groove consistent. Pick all lower voice notation with the thumb (p). Keep the melody lively by connecting all of the notes as legato as possible (played smoothly with sustain). Watch Niwel play this in the video below.

Example 5 - Ornate pull-offs in alternating 4/4 and 2/4 time

The snappy pull-off notes throughout this example are ear catching but can add tension to the fretting hand. Because of this, treat each pull-off instance as an exercise, practicing each one in isolation in three or four-note bursts, using a relaxed hand. Watch Niwel perform this below.

Niwel Tsumbu in action

Human Nature

This Michael Jackson song from the huge-selling Thriller album gets a wonderful solo guitar arrangement by Niwel here. He uses the fretboard well to cover the opening synth riff up high and then down to the lower frets to play chords and the vocal line. With a relaxed posture and intricate fingerpicking it's an excellent example of both his technique and musicianship.

Kanzenzenze

"Kanzenzenze" is a beautiful arrangement of a traditional African folk song. "It’s a song we’d sing as kids while playing a game," Niwel says. "You sit close to each other in line, pointing at your feet, singing while counting your feet with your fingers. Whoever the last note ends on, he or she is out."

Tears Of Joy

Niwel's tone and technical detail is to the foreground here with a piece that blends elements of world music, flamenco and jazz. Notice how clear his fretting hand pull-offs are alongside his fingerpicking chord fluidity.

John Etheridge has enjoyed a long career, having collaborated with many artists ranging from Stephane Grappelli to John Williams and Soft Machine to Andy Summers. He's also released much of his own music alongside leading his Hot Club inspired ensemble, Sweet Chorus and Frank Zappa tribute band, Zappatistas. His more recent release is Blues Spirits Live which features a variety of great performances including the classic Jeff Beck instrumental, "Cause We've Ended as Lovers."

In this tutorial, John showcases six conceptual approaches that he might employ when improvising. He begins with a trio of ideas against a II V I chord progression loop in the key of G major, specifically the chords of Am7, D7 and Gmaj7.

For the first example, he showcases the value of rhythmic placement and phrasing by simply using the G major scale (G A B C D E F#) throughout. Next, he adds chromatic passing tones to provide melodic tension and release, although still thinking in terms of the parental G major scale throughout. Chord by chord, you can consider this as A Dorian (A B C D E F# G) against Am7, D Mixolydian (D E F# G A B C) against D7 and G major/Ionian (G A B C D E F#) against Gmaj7. Notice all three modes have the same seven notes but they are ordered differently to match the underlying chord.

For the third II V I example, John ramps up the tension by juxtaposing the D Altered scale (D Eb F F# Ab A# C) against the D7 chord, using the intervals of b9 (Eb), #9 (F/E#), b5 (Ab) and #5 (A#/Bb), moving to more stable melodic choices when the chord resolves to Gmaj7.

The final three examples are based around static chord grooves. The first features the G Mixolydian mode (G A B C D E F) over G7, harmonized in diatonic fourth intervals and moved throughout the scale off each note. The concluding two examples shift to an A7 chord and introduce more melodic tension with the A Half/Whole Diminished scale (A Bb C C# Eb E F# G). This is a symmetrical scale based on a repeating pattern of semitones and tones, perfect for moving any idea up or down the fretboard in three-fret/minor third intervals.

As John is freely improvising for most of these playing examples, don’t get too caught up in the micro detail, especially from a rhythmic perspective. Figure out which elements of the examples you like the most and then work them into your own playing.

Performance examples

Ex. 1: Am7-D7-Gmaj7 progression, G major scale soloing

John begins by illustrating just how effective the G Major scale (G-A-B-C-D-E-F#) can be for soloing over the chords of Am7, D7 and Gmaj7. He’s using varied rhythms along with choice note selection and melodic development to maintain interest. Crucially, he wants to avoid making his improvisation sound boring by just going up and down the G major scale.

Watch him play example 1 below then tackle the accompanying tab and two G major scale diagrams which highlight the fretboard positions he plays in.

Ex. 2: Am7-D7-Gmaj7 progression, G major scale plus passing tones

Here, John highlights how expressive passing tones in a solo are by using the notes found in-between the notes of the G major scale.

With your own playing, it’s a good idea to go on the hunt for all the tone gaps in common scales like G major. These gaps are where you'll find chromatic opportunities, such as between G and A, or A and B. Remember, if there are seven diatonic tones within any major scale tonality, then there must be five chromatic connections too.

Watch John play example 2 below then check out the tab and the G major scale diagram which shows the fretboard position he's playing in. Where there are gaps between the fretboard diagram's notes, feel free to add in chromatic notes.

Ex.3: Am7-D7-Gmaj7 progression, using the D Altered scale

John now ramps up the tension and release by using all the available alterations over the D7 chord. Specifically, these are the b5, #5, b9 and #9 (Ab, A#, Eb & E#, respectively). Managing this type of information can prove difficult on the fly, but fortunately all of these notes are encapsulated in the D Altered scale (D Eb E# F# Ab A# C). As an aside, the D Altered scale (also known as D Superlocrian) is the seventh mode of Eb melodic minor (Eb F Gb Ab Bb C D).

Watch him play this example below then check out the tab and two D Altered scale diagrams.

Ex. 4: G7 groove - G Mixolydian soloing using quartal chords

Quartal chord voicings were made popular in jazz by the pianist Bill Evans and specifically his contribution to the seminal Miles Davis album Kind of Blue. As the name suggests, these chords are created by stacking the notes not in thirds, like conventional triads and 7th chords, but in fourths.

Quartal chords sound uniquely sophisticated because they either feature three notes without the 3rd interval (which makes a chord sound major or minor) or four notes where the 3rd is featured higher up, above the 4th which implies a dominant 11th type sound.

Using G Mixolydian (G A B C D E F) as our host tonality, a G quartal chord using four notes would give us (low to high) G-C-F-B. The next four note quartal chord from G Mixolydian would be based on the A note, creating a four note stack of A-D-G-C. You can continue with this approach to complete quartal chords on every note from G Mixolydian.

John's performance and the accompanying tab is below. The fretboard diagram presents G Mixolydian's various quartal chords found on the upper strings.

Ex. 5: A7 groove - using the A Diminished scale (the Half Whole Scale)

Here, John departs from the improvisational ethos of the previous examples to provide two specific intervallic motivic lines derived from the A Half Whole Diminished scale (A-Bb-C-C#-Eb-E-F#-G). As this scale is constructed from a symmetrical pattern or repeating semitones and tones, any phrase, lick, line or idea can be repeated up or down in three-fret intervals.

Watch John use this scale below then tackle the tab of his performance and learn the scale's shape at the 5th fret position.

Ex. 6: A7 groove - improvising with the A Diminished scale

In direct contrast to the specifically composed nature of example 5, here we see John improvise freely with the same scale. Treat the rhythmic notation as a guide, as he’s freely flowing in an expressive fashion, although predominantly staying within the constraints of the A Half/Whole Diminished scale.

This example showcases just how effective moving away from the rhythmic grid can sound. Feel free to explore lines that float over the underlying pulse. As always, it’s good to maintain an aesthetic balance between being meticulous in time, and expressively loose and relaxed.

Watch John use the Half Whole Diminished scale below and then work through the transcription, looking for phrases that you find particularly pleasing. To be complete, memorise the extended fretboard diagram so you can use this unique scale freely.

John Etheridge in action

Soft Machine – Tale Of Taliesin

Live performance of a track by the late-'70s Soft Machine lineup with Etheridge (guitar), Roy Babbington (bass), John Marshall (drums) and Karl Jenkins (keys).

Soft Machine - John's elongated soloing

John is soloing flat out here — blues inflections, cascading chromatics, altered scales, blazing sextuplet phrasing, shred picking and wailing string bends. Stunning!

“I’m just happy that I got to do it,” says jazz-fusion guitar legend Mike Stern, speaking about his most recent album, Echoes and Other Songs.

As it turns out, he’s not being overdramatic: Back in 2016, after breaking both of his arms following a New York street accident, there was some real question whether Stern would be playing at all, let alone making records.

Fortunately, he quickly regained near total use of his left hand, but he endured lasting nerve damage to his right hand that prevented him from holding onto a pick.

After experimenting with a few workarounds, the guitarist spoke to a drummer friend who managed to keep playing after badly damaging his hands in a fire.

“He said, ‘Try some wig glue,’ Stern says. “So that’s what I did. I got this kind of wig glue that’s very sticky but doesn’t hurt your skin. I glue my pick between my thumb and index finger, and I’m able to pretty much play what I want.”

He pauses.

“There’s certain things I can’t do anymore, but people tell me I sound like I always did, and that means a lot. You make adjustments and do what you have to.”

Stern is also grateful to have worked on the album with longtime friend, producer and colleague Jim Beard, who passed away shortly before the record’s release last year.

“Jim has played with so many brilliant artists, and he’s always been so helpful to me,” the guitarist says. “He had ways of influencing my music in ways that were big and obvious, but sometimes he’d suggest something subtle that made a huge difference. I’m going to miss him.”

A general feeling of sunny optimism runs through Echoes and Other Songs – Stern’s fluid, rollicking lines bristle with irrepressible energy. Even some of the titles – “Could Be,” “Stuff Happens,” “I Hope So” – reflect a playful vibe.

“Anytime you get to work with [drummers] Antonio Sanchez and Dennis Chambers, you gotta feel good,” he says. “The thing is, I’m the happiest when I’m playing music, and I think it’s important to stick a little humor in my songs.”

He takes a deep breath.

“The world can be a dark place, particularly now. But music can pull you out of it every time. It’s one of the best gifts we have. More and more, it carries me along. If I have any kind of advice for people, that would be it.”

It just so happens that Stern has a few more words of wisdom for guitarists. Here his top five tips.

1. Keep Your Time Together

“Nobody has perfect time, but you should try to be aware of it while you’re playing. Whether the music is swinging or rocking, there’s a pocket you need to get inside of. This is especially true when you’re soloing; it’s easy to get out of the groove because you’re kind of doing your own thing. Phrases might go a little faster or slower — you might want to push things or you might want to lay back. That doesn’t change the time of the music, though.

“There’s no specific way to work on your time. One thing that I’ve found helpful is listening to great time-keeping players like Wes Montgomery and B.B. King. No matter where the music was going, they knew where to put the notes.

“If you’re a relatively new player, you might want to try a metronome or a drum machine, but you don’t want to be married to them. At the end of the day, you need to keep your own time. If you’re mindful about it, you’ll get there.”

2. Smile

“Sometimes you might not be vibing with another musician — it happens. Whatever the reason, I find the best and fastest way to get through a gig or a rehearsal is to just smile through it. You don’t have to send up a flare or jump up and down — it doesn’t have to be obvious. But you want to send off a positive vibe to keep the music positive. If somebody is being a drag, try not to concentrate on it. Maybe the drummer’s having a bad day. Let me feel his way through it. If you get in his face, you might wind up making things worse.

“It helps to bring whatever positive energy you can. Sometimes it can be hard to find, especially if you’re playing a gig and you’re like, ‘I gotta get through this show.’ There is some value to exploring that, like, ‘Okay, tonight’s gonna be a kind of dark gig.’ But I usually try to make a joke of it and find some humor in the situation. After all, we’re playing music — you gotta celebrate that!

“This might surprise people, but Miles Davis had a great sense of humor, even when things were pretty hard for him. His chops were down, he had pneumonia. At one point when I was playing with him, he had just had a stroke. He showed up, man, and dealt with whatever he had, and a lot of times he’s get through it with humor. It's very inspiring to see that.”

3. Persevere

“Life can get tough sometimes. I’ve had all sorts of things challenge me, and there have been times when it was hard to keep going. But then I remember, ‘Wait… I’m a musician. I love to play music.’ And that’s what it comes down to: If you love something enough, you’re going to find a way to continue.

“The process of making music can also be hard. Sometimes I’ll be working on something and I’ll get stuck or depressed. I’ll be like, ‘Shit, I don’t know if I can make something out of this.’ It can get maddening.

"There are times when you can push through it and break down the wall, but you also have to know when to take a break from it all. Chill out, walk around the block. Unravel your thoughts and unburden yourself.

“Another thing: Don’t be afraid to reach out to people. Talk it out. Find people who can give you good advice. I’ve played stuff for people and said, ‘How’s this sounding? Is it okay?’ Maybe they’ll say, ‘You’ve done better,’ or they might say, ‘Are you kidding? It’s really great.’ Your perception can be off. The point is, just find a way to keep going.”

4. Think About Your Touch

“The way you touch the guitar when you play is very important, and it’s something you need to work on. Tone doesn’t just come from what kinds of pickups you use or where your controls are set — much of your sound is right there in your fingers.

“When I was a kid just starting to play electric guitar, I learned ‘House of the Rising Sun.’ Every day after school I practiced that song for an hour, and one of my goals was to play it cleanly with a great tone. I experimented with different dynamics until I got it just right. Certain parts were soft, other parts were louder and tougher, but I tried to play each line clearly and cleanly. That’s when I started to understand how your touch affects a song. Drummers understand this, and that’s why they use brushes on some songs.

“Of course, there’s other factors that play into your touch: the strings, the amp and even the guitar itself. All of those elements determine how you’re going to play the instrument. Touch is such a unique thing, and it’s different from person to person. But when you’re in the zone, you’re able to channel your emotions though the strings and into the guitar.”

5. Spend Five Minutes a Day on Songwriting

“If you want to develop your own style on the guitar, spend some time on songwriting. It focuses you in a highly personal way because you’re creating something that’s all your own, and that’s bound to affect how you play. Songwriting kind of works as a gel. Miles Davis used to say that. He didn’t write many songs, but he always used to talk about how it made him a better musician.

“Songwriting feels like this big concept to people, but it doesn’t have to be. Break it down into smaller bites. I used to take lessons from a guy who had gone to Julliard. He would play me some classical stuff and say, ‘Okay, those first few bars, do something with them.’ It was an exercise to spark your writing — you do a few bars, then a few more and then a few more.

“Pat Metheny writes a song a day. He doesn’t use all of it — he doesn’t use most of it — but it keeps his creativity and songwriting muscles in good shape. Somebody once told me, ‘Try to write for five minutes a day,’ and it was the greatest advice in the world. Five minutes — I mean, who can’t manage that? If you work on writing for five minutes a day, you’re doing something. You’re involved and you’re being creative, and one day something is going to happen in those five minutes that will surprise you.”

As a go-to session guitarist, Pete Thorn has spent the better part of his career working in the service of hit-makers like Chris Cornell, Don Henley, Melissa Etheridge and Alicia Keys. And as the rhythm guitarist in Joe Satriani and Steve Vai’s new SatchVai Band, the L.A.-based guitarist will be bringing his talents to stages this summer on the group’s Surfing With the Hydra tour.

There are plenty of reasons why A-listers like Thorn. But beyond his talent — and, in Vai’s estimation, his remarkable ability to play rhythm guitar in tune — the guitarist puts in the time required to do the job right and has the interpersonal skills to make each session a positive experience for all concerned

“I always say, ‘I’m there to be of service,’” Thorn told us when we spoke with him recently about joining the electric guitar gods in SatchVai. But that statement could apply to any of his gigs over the years.

And as these top five tips for guitarists make clear, Thorn's game is all about being at his best not only as a player but also as a person. And take note: These tips are great advice whether you're a session guitarist or play in a band.

1. Prepare

“This sounds basic, but you’d be surprised how many people don’t prepare adequately for an audition or a gig. Having yourself together on all levels is huge. That means knowing the material you’re going to play, but also having your guitars and gear prepped as much as possible. Don’t think that you’re going to walk in the room and make everybody wait while you put your pedalboard together.

“I’ve seen that happen with greater frequency recently with younger players. They’re like, 'I thought the tech was going to make the sounds for me!' You should never assume something like that. It’s really simple: Be that person who isn’t a problem. Know the parts, have your sounds together, know your gear. I can’t stress this enough.”

2. Be a Good Hang

“This is so important. You want to be the kind of person that people want to have dinner with, or ride on the bus with. That’s massive. Knowing your guitar parts and playing well — those are prerequisites.

“But those skills go out the window if you’re not a good person or a good listener — somebody who can read the room. You have to remember, everybody’s got stuff they’re dealing with, and those issues can be magnified on the road.

“People have personal lives and different stresses — it’s important to tune into that. Somebody could be having a really bad day — that goes for bus drivers, guitar techs, monitor engineers and everybody else. Be kind to those people.”

3. Get Out

“Social media is great for getting your name out there and showing off your skills, but it’s no substitute for going out and actually playing. Interacting with musicians is what it’s all about — performing with human beings, networking, being on an actual stage. You won’t know how to conduct yourself in gigging situations unless you put yourself out there.

“Plus, there are aspects to social media that can be suspect. If somebody posts a video online, sure, it might sound amazing, but was that their first take or their 45th take? How do we know it wasn’t corrected in some way? There’s no faking it live — people can see what you can do. Ultimately, that’s what it will come down to when you get in a room with an artist: Can you perform live?”

4. Compose — It’s a Good Thing

“At my first meeting with Joe Satriani, he mentioned that he’d listened to my album, and he could tell from my compositions and my playing that rock and roll is intrinsic to what I do. Joe comes from that mindset — he’s a rock guitar player — so he thought I had the basis of what he was looking for.

“I love writing songs. It’s one thing to play covers and other people’s music — playing licks is always fun. But if you can put a song together and get it out there, it’s like you’re making a statement. And you never know where it’ll lead. Maybe Joe Satriani became aware of me through social media, but then he dug deeper. I'll just use that as an example. Composing is always a good thing.”

5. Take Care of Yourself

“I recommend reading the book Touring and Mental Health: The Music Industry Manual [by Tamsin Embleton]. It’s a great, one-stop shopping reference. If you’re about to hit the road, pick the book up and read it. It talks about conducting yourself with other musicians and all kinds of people skills.

“And, of course, it covers substance abuse and things of that nature. Music is a hard industry in many ways, but it’s also wonderful. I’ve traveled all over the world and have seen it all. Life on the road can be a rollercoaster, so it’s important to take care of yourself. Eat well, good sleep, and don't drink too much.

“Everybody is human, and eventually you’ll get sick on the road. This can be tricky, because one person going down can derail a show or even a tour. I once played through a Don Henley show when I had food poisoning. I’ve played shows with 103-degree fevers. It’s unavoidable, but you have to take care of yourself as best you can.”

Jesse Cook is a Canadian flamenco guitarist renowned for his ability to blend traditional Spanish flamenco with a fusion of world music, jazz, and contemporary pop elements. His erudite technical approach combines intricate fingerstyle techniques, percussive rhythms, and dynamic melodies; all of which marry together to create a distinctive flamenco sound.

Here you will explore five different flamenco ‘licks’ by Cook, all of which involve a variety of specialized flamenco techniques that each present their own unique challenges. You will then explore a short piece in which Cook synthesizes all five techniques into a fiery flamenco solo which is played over the rumba pattern found in Example 1.

The use of golpes (plucking finger taps on the soundboard) through much of the music adds an extra layer of complexity and can make the notation seem complex. To decipher this notation remember that golpe taps on the acoustic guitar top nearest the floor are notated as a cross above the notation/tab, and conversely golpe taps on the guitar top nearest your head are notated by a cross below the notation/tab.

Approaching the characteristically fast runs of picado (picked) notes found in flamenco solos is often daunting but can be simplified by considering some technical approaches employed by the classical school of technique.

When it comes to the plucking hand, focusing on shallow plucking movements can greatly help with accessing higher tempos since the fingers don’t need to travel as far to reset into position for subsequent notes.

Furthermore, when alternating the first (i) and second (m) picking hand fingers, focus on an alternating ‘kicking up’ motion of each finger after each pluck (much like the motions of a footballer doing ‘keepie uppies’ with their knees and a football).

An efficient way to get a feel for this motion is to tap your alternating first and second fingers on a flat surface as fast as you can and observe how one finger goes up as the other comes down. The fretting hand also benefits from shallow movements: explore lifting fingers off notes by only a millimeter or so.

Not only does this continually give the fingers quick access to notes, it helps maintain a stable fretting hand shape which is vital for getting speedy passages technically secure. In short, less movement = more speed.

The examples

Ex. 1: Rumba Rhythm (French style)

Keep your forearm as still as possible during strums with the motion coming instead from a loose wrist. This will make the simultaneous double golpes on the main beats feel more intuitive and secure. Be sure to practice the triplet strumming pattern as slow as possible at first, keeping each individual strum snappy and strong. Click on the video below to watch example 1.

Ex. 2: Tango Style Arpeggios

The opening triplets can be played conventionally p-i-m but if you play them p-p-i as seen in the video, a strong flamenco-esque attack on the first of each triplet is created. With p-p-i the first two notes of each triplet should be played with one continuous rest stroke motion of the thumb (p). Click on the video below to watch example 2.

Ex. 3: Strumming and Picado Picking

When playing the scalic runs keep your plucking fingers flat in order to forcefully drive each rest stroke. Practice slowly at first with a pizzicato plucking hand (i.e. planting the fingertips early), then as you increase the tempo focus more on the lifting motion of the alternating fingers. Click on the video below to watch example 3.

Ex. 4: Alzapua Thumb Technique

This is mostly about thumb picking with down and up motion. To get you started, initially practice just the motion of the thumb notes, keeping the tip of the first finger perched on the first string to keep the hand anchored and still. Use the arrows displayed below the notation to guide the motion of your thumb with the down arrows directing you to catch the string with the back of the thumbnail. Once the thumb motion is secure with the first finger perched on the first string, perform the golpes (shown as muted x in the tab and notation) with the second finger (m). Again, keep focused on keeping the wrist still. Click on the video below to watch example 4.

Ex. 5: Solea

Solea is a slower, sadder style of flamenco music. Once again, focus on a still plucking hand wrist when executing the speedy ascending and descending arpeggiated runs, keeping plucks shallow to allow for speed. When playing golpes and swiped chords simultaneously, focus on swiping the thumb through the strings into the palm of the hand whilst dropping the fingernails onto the soundboard with a loud tap. Click on the video below to watch example 5.

Ex. 6: Final Piece

This combines each of the previous five examples but with slight alterations. Practice each passage separately and slowly at one slow unified tempo until it's all secure. Your metronome is your best friend here: consider a slow 60bpm initially once you've got the physical requirements comfortable then raise the tempo. Click on the video below to watch example 6.

Jesse Cook in action

Luna Llena

This live performance from late 2024 shows Jesse debuting a new piece, Luna Llena. Watch for his emotive melodies, vibrant chords and speedy picato runs!

Solace

This features one of Jesse's favourite styles, Rumba flamenco in a beautiful ballad-like setting. Notice how his single note phrasing sings with a warm tone.

In this video, country guitar wizard Matheus Canteri’s helps to unlock the secrets of hot country picking by sharing six of his favorite licks. Matheus is best known as a Brazilian born solo artist and as a sideman now working in Nashville and touring all the major music festivals.

The electric guitar tone here fits perfectly in the classic country style. Matheus plugs his home made Telecaster-style guitar straight into a clean Vox amp. The bridge pickup is selected which provides that signature Tele-style twang. If you’d like to get a similar tone with your setup we'd recommend dialing in a lively clean tone from your amp and selecting your bridge pickup. You can also experiment with adding a touch of slap-back delay. Simply set your delay pedal to a single, fast repeat which is nearly as loud as the original note.

In the video, Matheus plays various, classic country lines that will work over an E7 chord. To bring the phrases to life Matheus uses various articulations such as finger slides, hammer-ons and pull offs.

One of the key tricks to facilitate the effortless speed and accuracy on display here is the hybrid-picking technique. Hybrid picking means the plectrum is combined with the fingers of the picking hand. These fingers are are shown below the tab as m (second finger) and a (third finger) - as the thumb and first finger are holding the pick they won't be used for fingerpicking (but for the record they are p and i, respectively). This is a potent technique for this style of delivery, so we have notated the picking directions from the video examples for you to study. Using the fingers to pluck the strings not only increases facility, but also adds a pleasing warm snap to the tone.

Matheus typically uses the open strings, which is another classic country technique. The main scale of choice here is the E major pentatonic scale (E-F#-G#-A-C#) and this can be combined with the E minor pentatonic scale (E-G-A-B-D) to create one big hybrid scale. Furthermore, the chromatic tones can be used to link the notes of the E7 chord (E-G#-B-D) which is a key way those more advanced sounding country guitar lines can be created.

Playing lead guitar ideas at breakneck speed on a moderately clean, electric guitar with the bridge pickup selected can feel very exposed, but it’s rewarding to build up your ability to articulate with consistency and musicality in this setting. The examples are performed on the video at a blistering 300bpm with a slower version afterwards to help you identify the nitty gritty. We’d recommend practicing even slower to start with as it’s essential that all the picking directions are dialed in before turning up the tempo.

Once you’ve learned and mastered these licks it is a good exercise to challenge yourself and play them in a variety of keys other than E.

Hopefully there will be a new technique, lick or phrase in here for you to perfect. If you find one you like, then you can memorize it and use it in future solos.

The examples

Example 1 - Phrasing over E7

This first lick has a bit of everything in it including open strings and a mixture of the E major and E minor pentatonic scales. Lots of passing tones are used here to make a smooth line with plenty of color. The main concept for the picking is any note on an adjacent string that would require an up pick is replaced with a pluck of the second finger (m). This may feel a little awkward at first, but with a bit of practice you should find it easier to play faster with consistency. Watch the video below to see this being played.

Example 2 - Wide fretboard coverage over E7

This example moves all over the fretboard and the position shifts are made to sound more musical with finger slides. To slide between two notes simply keep your finger pressed down as you move from one fret to the next. This lick may take at bit of time to memorize in full, but it is made up of lots of snippets of great vocabulary. These snippets can be jumbled up to create new phrases. Watch the video below to see this being played.

Example 3 - Sliding around on two strings over E7

This example features the E minor pentatonic scale. The lick is created using a two string, horizontal pattern that ascends and descends. The basic pattern of picking, finger slides and hammer ons is the same in each position so once you have learned it, it’s just a case of memorizing the fingering positions. Watch the video below to see this being played.

Example 4 - Doublestop phrasing over E7

For this example Matheus uses double stops (two notes together) and these are plucked with the second and third fingers of the picking hand. A classic trick is to use finger slides to slide in and out of the double stops by a semi tone. The lower notes are played with a down pick and can be muted by lightly fretting them. This creates a percussive sounding country guitar line. Watch the video below to see this being played.

Example 5 - High fretboard phrasing over E7

Example five combines hammer ons and pull offs with hybrid picking. The use of repeating patterns is a great way to build phrases. The top note of this pattern can be changed to provide some variety. You can repeat and vary the pattern as much as you wish to build longer and more varied lines. Watch the video below to see this being played.

Example 6 - Using the E blues scale over E7

This final example uses the E minor pentatonic for its foundation. The use of subtle string bending adds attitude when going back and fourth from the B note pedal tone. The Bb passing tone is the diminished fifth (b5) from the E blues scale (E-G-A-Bb-B-D) - E minor pentatonic with the b5 added to make a six note scale (hexatonic). Watch the video below to see this being played.

Matheus in action

Improvisation in D

This video shows Matheus improvising over a country track in D with his B-Bender guitar.

One Horse Town

The Matheus Canteri Band playing a Blackberry Smoke classic titled One Horse Town.

Molly Miller has become a force over the past several years, not least for the vibrant lead lines and rhythmic grooves that have graced her work with the Molly Miller Trio and her performances with Jason Mraz.

In this lesson, Molly unlocks elements of her guitar style by sharing six of her favorite licks derived from the modes of the major scale and the melodic minor. Her guitar tone is simplicity itself: Molly plugs her Gibson ES-335 straight into a clean amp, using the neck and middle pickups and a touch of reverb. For a similar sound, dial in a clean tone and select your neck or middle pickup (or both if you have a Strat-style guitar). For a more traditional jazz guitar sound, try rolling off the guitar's tone control.

In this video Molly brings her phrases to life using techniques such as hybrid picking, finger slides, hammer-ons and pull-offs. She also combines single-note melodies with chords, a style of self-accompaniment that works particularly well in a stripped-down band where the guitar is the main harmony instrument. Playing lead lines on a clean-toned electric guitar can feel exposing, but it's a good way to measure consistency and musicality.

To keep you on your toes, all the licks are in different keys and a couple are in different time signatures (3/4 and 4/4). All of the examples are performed without a click but are strongly rhythmic (having consistent inner timing is vital for all musicians). Once you’ve learned and mastered these six examples, challenge yourself to play them in different keys so they're versatile for your own music making. The only lick that is key specific is example six, which uses the open second string (B), but you can change this to suit your own musical scenario.

Ex. 1: E Mixolydian (E7) Lick

Here Molly outlines the E7 chord sound by linking the chord tones (E-G#-B-D) with chromatic notes. The interplay between the minor 3rd (G) and major 3rd (G#) is a classic blues trick which Molly uses several times. Click on the video below to watch her play example 1.

Ex. 2: D Lydian Dominant (D7#11) Lick

The D Lydian Dominant scale (D-E-F#-G#-A-B-C) is the fourth mode of A melodic minor (A-B-C-D-E-F#-G#) and works well over a D7 chord. It's similar to the popular D Mixolydian (mode 5 from the G major scale), but the augmented 4th (G# note) is what makes it different. To outline the sound of the D Lydian Dominant, Molly groups together the minor 7th (C), root (D), major 3rd (F#) and augmented 4th (G#) to create a moveable whole-tone pattern. The lick is finished off with three-note chords that evoke the mode's unique sound. Without going into too much detail with chord-naming conventions, an augmented 4th (#4) is the same as an augmented 11th (#11), hence the chord being D7#11 and not D7#4. Click on the video below to watch her play example 2.

Ex. 3: G Lydian (Gmaj7#11) Lick

For this major 7–based lick, Molly uses hybrid picking (pick and fingers together), which makes playing it easier. To help you articulate the notes well, the picking directions are positioned under the tab (i.e. down pick, a = third finger, m = second finger). Notice that for the majority of this, the sound could easily be considered as G major (G Ionian), but the final chord is where spice is added, as the C# note clearly outlines the sound of G Lydian (G-A-B-C#-D-E-F#). Click on the video below to watch her play example 3.

Ex. 4: E Dorian (Em6) Lick

This uses the E Dorian mode (E-F#-G-A-B-C#-D) to create a flowing jazz-style line. The key color of the minor-oriented Dorian mode is the major 6th interval. Here, it's the C# note that flavors E Dorian. Notice the way Molly targets the C# in both the lines and the three-note chords, adding brightness to the minor sound. Click on the video below to watch her play example 4.

Ex. 5: G Dorian (Gm6) Lick

Molly heads into funky territory here by using G Dorian (G-A-Bb-C-D-E-F) and a 16th note–based rhythmic feel that shines with numerous syncopations. The Db/C# notes are assertive "blue" notes (i.e. the diminished 5th), which add further attitude to the phrasing. Click on the video below to watch her play example 5.

Ex. 6: B Ionian (B major) Lick

This final example is ear catching due to the amount of sweet-sounding 6th intervals, which evokes B Ionian (B-C#-D#-E-F#-G#-A#), also known as B major. Hybrid picking will greatly help you play so many string jumps at this speed. Use a down pick on the fourth string's low notes and the second finger (m) to pluck the open second string. These picking suggestions are shown under the tab. With three-note groupings played against a 16th-note rhythm, the syncopated patterns are sure to catch everyone's attention. Click on the video below to watch her play example 6.

Carl Verheyen knows a thing or two about guitar playing. He's been an A-list LA session guitarist for the likes of the Bee Gees and Dolly Parton, played on Hollywood soundtracks such as Dusk 'til Dawn and The Crow, plus plays guitar for Supertramp. On top of all that, he has had a long solo career with vibrant albums such as Garage Sale (1994) through to Sundial (2021), where his trademark string skips, wide intervals and whammy-bar bends stun all those who hear them.

So we asked him to discuss and play some of his favorite whammy licks and riffs so a little of his magic can rub off on you too! Using a variety of Stratocaster-style guitars equipped with a whammy bar, he selected the bridge pickup and a musical sounding overdrive to provide sonic bite and sustain to his playing.

To begin, Carl talks through his floating whammy bar setup, which is quite specific and makes playing the examples more fruitful.

When the bar is pulled fully up, the open third string reaches a Bb note, which is a minor third higher (three frets worth) than the open G. Likewise, the second string raises up to a C# note which is a major 2nd (two frets higher) above the open B. Finally, the open first string becomes an F note with the bar fully pulled up, a semitone higher than the open E.

To achieve this with your own guitar's setup, you (or your local guitar repair shop) will likely need to alter the height of the bridge's posts and adjust the tension on the springs at the back of the guitar's body. See the photo below of Carl’s guitar: the spring claw's angle (to the left of the photo) isn’t as acute as might be expected to achieve these pitch changes.

Carl makes using the whammy bar look and sound easy, but if you are new to bending notes and double stops with it, you may find it’ll take some practice to get it consistently in tune.

To keep you on your toes, the licks are in a variety of keys. Once you’ve learned and mastered the ideas in these licks, it would be a good exercise to challenge yourself and play them in a variety of different keys.

Hopefully there will be a new technique, lick or phrase in here for you to perfect. If you find one you like, then you can memorize it and use it in future solos.

Ex. 1: Whammy Doublestop Bending

This has a swing feel to the 1/8th notes and is a classic blues-style riff. For the whammy bar bend, barre the second and third strings at the 9th fret and pull the whammy bar up. The tricky element is to let the whammy bar go back down to pitch while moving the finger barre back to the 10th fret.

Ex. 2: Shuffle Groove With Whammy Doublestops

This is a slow blues shuffle in the key of E. When the bar is pulled fully back, the C# and the F# bend up to, respectively, E and G automatically. When the bar is released, beat 2&'s chord is re-fretted at the 7th fret for the D and F# notes. These notes are the upper notes found in an E9 chord, the 7th and 9th respectively.

Ex. 3: Whammy Bends on the Top Two Strings

This is in the key of A and is based around a ZZ Top–style groove. Again the D and F# notes on the top two strings turn into the E and G when the bar is fully pulled up. The lick is finished off with a Keith Richards–style string bend on the third and forth strings from the 4th fret to the 5th fret. No bar is required for that!

Ex. 4: The Harmonica Lick

Carl says this lick is inspired by the guitarist Jimmy Herring and phrased like a classic harmonica lick. First, rake the pick for the D major ascending triad and as you hit the 10th fret of the second string quickly bend the A note down a semitone to G# with the whammy bar. At bar 1, beat 4, use the bar to bend the F# note ( 11th fret, third string) down to an F note (a virtual 10th fret, hence the brackets shown in the tab). Despite some opinions to the contrary, you can play a major third followed by a minor third over major chords, especially when played with mournful drop bends such as this. Shake some vibrato into the root note D at bar 2.

Ex. 5a: Whammy Bar Workout

This demonstrates a great way to add musical-sounding bends when descending a scale. Any notes on the first string are bent up a semitone, notes on the second string are bent up a tone and the third-string notes move in three-fret intervals. Tasty phrasing indeed!

Ex. 5b: Whammy Bar Workout (Extended)

This is a slightly extended version of example 5a. It demonstrates that once you have this concept under your fingers it’s easy to keep it going. You may choose to adapt this idea so it works ascending too.

Ex. 6: Whammy Bar Riff

This final lick is a culmination of many of the approaches covered in the previous examples. Now it’s a case of putting everything together and being mindful of your whammy-bar intonation. Enjoy!

By his early 20s, Oz Noy was already an in-demand session and live guitarist. Upon his arrival in New York City in the mid ’90s, he won acclaim on the scene and before long was sitting in on jams and maintaining a busy recording and performing schedule. His success was at least partly due to his impeccable chops and versatility: Rock, jazz, blues, funk and R&B — he does it all. As a result, Noy has worked with an impressive range of artists, including Cyndi Lauper, Harry Belafonte, Sting, Nile Rodgers, Gov’t Mule, Natasha Bedingfield, Don Henley and Mike Stern. And that’s when he’s not releasing his own music, which has filled more than a dozen solo albums to date.

Oz isn’t sure why he’s so popular, but he knows what he brings to every session and gig. “Nobody’s ever told me what they like about my playing or why they hire me,” he says. “I think they know that I can play a lot of different styles of music, and they figure that I’ll do what’s right for them. I try to go to each job with the same attitude: Know what to play and what not to play.”

Elaborating on that point, he says, “I’m not going to bring my jazz stuff into the pop world, and vice versa. You have to be able to draw the line somewhere and give the artist what they want, unless they specifically ask for something a little different, and then you change gears. But I enjoy it all. If somebody wants me, I’m there.”

The iconoclastic guitarist — whose main electric guitar is a Fender Custom Shop 1968 Heavy Relic Stratocaster — has some insightful pieces of wisdom for fellow guitarists, but as he notes, “There are some things that I think can help any guitarist, no matter what they want to play. But on the other hand, playing the guitar is something that’s highly personal and you should always do what’s right for you.”

1. Tune Your Guitar By Ear

“I’ve noticed a lot of younger players, and quite a few players in general, can’t tune a guitar without a guitar tuner. It’s an unfortunate trend, as people should know how to tune by ear. Not only does it help ensure your guitar’s intonation is accurate but it also helps develop your hearing.

“It’s really not hard. You start with an A-440 tone — you can get it on a piano or another guitar, or maybe even Google it to get the tone, because a piano or another guitar might not be in tune. Once you get your tone, you’ll be set. You can look up how exactly to tune one string to the next, but the point is, this is the way to do it — with your own ears.

“And what’s funny is that, while you’re playing, your guitar’s tuning will change a little bit as it adjusts to how you play. But if you start from a proper tuning, you’ll be fine. You’ll know this when you play an E chord and then a C chord. If both chords sound good, you’re okay. If there’s something a little off with the C chord, you need to make adjustments. Again, do it by ear.”

2. Practice Scales

“Here’s the truth about playing the guitar, and music in general: You must, must, must practice scales. Melodies, harmonies, chords, intervals — everything comes from scales, so you must learn them and practice them.

“A lot of people say, ‘I don’t want to get bogged down with that stuff. I just want to play.’ But your playing will improve in every way because of your knowledge of scales. You’ll know your way around the entire neck of the guitar, which will open up all sorts of possibilities.

“Start out with major and pentatonic scales. If you master the major scale all over the neck in all keys and the relative minor pentatonic scale all over the neck in all keys, you’ll already be in good shape. If you play the blues and you practice in a pentatonic scale, you’ll have at your fingertips everything that Clapton and Hendrix played. It doesn’t come from anywhere else.

“Once you’ve gotten those scales down, you can do more advanced stuff, like jumping thirds or different kinds of intervals. And then the next advanced move will be playing triads from each degree of the scale, or seventh arpeggio melodies. That’s when you can get some really cool stuff, because you’ll be playing the harmonies within the scales. All the music is in the scales.

“A lot of people don’t find practicing scales to be fun, but you can make it entertaining. Put on a backing track in the key you’re playing and do your exercise. Before you know it, it will sound like music.”

3. Practice Voice Leading

“Voice leading is when you have the voice moving over a scale to smoothly connect chord tones. The voice is the melodic line that’s part of a harmonic progression, such as when you’re in the C major scale and you move the melody one note at a time. But you don’t have to move it by one note — you can do multiple notes at a time. You can take two notes, which we call double-stops, and voice lead symmetrically to the next notes in the scale. I can do that all over the neck. You can do this with any interval: thirds, whatever you like. You can play sevenths all over the neck in the same scale. If you know how to connect the dots, you’re going to be playing music.

“You can play one note, two, three or four. Mix them all up and get fancy. This is how you get into cool chords and a lot of deep stuff. Some players might not even know they’re voice leading, but I think it’s important to understand the relationship between the notes and why you’re going to each one. If you know where something comes from, you can do more with it, and there won’t be any mystery. Once again, it all comes out of scales. That’s the basis for everything.”

4. Play Horizontally on the Guitar

“When most people start playing, they learn things vertically on the neck in relation to how their eye sees things. Their fingers are locked in these boxes and they only stay within a few frets at a time. It’s very limiting; they’re not opening up all the possibilities on the neck. If you learn to play horizontally, you can easily move from the top of the neck to the bottom, or the other way around.

“One good exercise is to limit yourself to two strings at a time. You can practice this over jazz standards. ‘Autumn Leaves’ is a good one, although you can do it with anything, really. You take the E and the B strings, say, and by limiting yourself to two strings while playing the melody, you’re going to have to play horizontally. You’re going to move from one end of the neck to the other. I guarantee you’ll be surprised how easy it is once you get the hang of it, and it’ll really open things up for you.

“You can mix this up and do two, three or four notes per string. You’ll be all over the neck instead of being locked into this fixed position all the time.”

5. Make Sure Your Body Is Relaxed

“It’s very important that you don’t put any undue stress on your body when you play. Make sure your body is relaxed and that you have good posture, and remember to breathe.

“Keep your hands loose, not tight. You don’t want to put too much tension on your tendons, because your hands and fingers won’t respond well. There shouldn’t be too much pressure in your fingers when they hit the notes. Don’t grind them down. They should move around softly and fluently. Once you feel tension or pain, give yourself a break, whether it’s for five minutes or an hour or a whole day. If you think you can push through the pain, you’re going to mess yourself up and you’ll be in sad shape.

“Next, keep your arms and shoulders relaxed. That’s the whole point to everything here: You don’t want to feel any stiffness when you play. Finally, breathe. A lot of players seem to hold their breath when they play. I think it’s because they’re locked in this overall tension. Breathe. Relax. Let the music flow.”

6. Don’t Obsess Over Your Picking Hand

“Picking technique should happen naturally. There is no proper way to hold a pick. Everybody is different, so do what feels right for you. Your hand knows how it wants to play.

“Also, don’t stress out about playing up- and downstrokes. I’ve seen people try to play down-down, up-up — maybe it works for some people, but it won’t work for everybody. Just try to play music naturally and let it flow. If the music sounds good, and you feel no pain when you play, you’re doing it right.”

Havingn separate signal processing is a huge advantage when it comes to using dual pickup signal chains. Plus it’s just plain fun! Suddenly your electric pedals become viable options for increasing the X factor of your amplified acoustic guitar tone.

In the previous Learn column, we addressed how to take advantage of the dual channels found standard on most modern acoustic amps. The concept is to capture body tones with a piezo or body sensor transducer, and get focused string tones by adding a magnetic pickup in the sound hole. Once you’re on the path to dual-signal glory, myriad new signal processing possibilities become available. The general M.O. here is to get a fat, true acoustic sound on the first signal, and process effects to your heart’s desire on the second one.

PIEZO SIGNAL PROCESSING

Some acoustic-oriented manufacturers have been developing effects pedals specifically for acoustic players in recent years. Prime examples include the L.R. Baggs Align Series and the Fishman AFX Mini Series. They’re optimized to accommodate the typical piezo undersaddle pickup found on modern acoustic-electric guitars.

That said, most pedals are designed with electric guitar signals and electric guitar amps in mind, and that’s especially true for gain pedals. Fender’s Smolder Overdrive is one of the few designed to work with a piezo signal. Ukulele star Jake Shimabukuro once told me that he specifically seeks out gain pedals with bad reviews from electric guitarists because they might be better for acoustic instruments. But once you add a magnetic pickup in the sound hole, such limitations become meaningless and new strategies come into play.

I try to keep the piezo signal as an acoustic baseline using perhaps a pre-amp and some compression to bolster the tone, and maybe a Boss OC-5 Octave in Poly mode for some bass in the bottom end. I’ll put my looper on this signal too because you only want the basic stuff on the loop. I may add any of the aforementioned effects pedals that are designed to process a piezo signal, but the primary goal is to have a robust acoustic tone that’s not too washed out with ambiance or modulation effects.

MAGNETIC SIGNAL PROCESSING

Here’s where the real fun begins. I put an array of “electric” effects in play on the magnetic pickup signal chain, starting with a wah, followed by gain and distortion, modulation (such as chorus or vibrato), and finally ambient effects, including delay and reverb. It’s cool to experiment with everything from heavy gain to spacey echoes while your basic signal remains fat and unfettered.

Most modern acoustic amps include at least a decent reverb. That’s usually the last thing I’ll dial. I generally leave channel 1 either completely dry or add just a touch of room reverb, and leave the cosmic stuff for channel two. That usually comes from pedals such as a Roland RE-202 Space Echo or UAFX Galaxy ’74. Both emulate the classic Roland Space Echo, and I love these stompbox versions because you can hold down a pedal for performance effects such as whooshing, blast-off kind of sound at any moment.

BLEND IN WITH VOLUME PEDALS

Once you’ve picked the pedals for each signal path, it’s all about getting a great blend. It's a good idea to start each signal chain with a volume pedal and end the pedalboard portion with a muteable tuner. Passive magnetic sound-hole pickups don’t have volume controls. Active ones do, but they can be difficult to access on the fly. Flywheel-style piezo controls in the lip of the sound hole are pretty good, but not as groovy as having a gas pedal at your foot. Having a pair of them is especially handy if you gig with more than one acoustic and need to balance volumes on the fly.

No matter how well you get your basic levels set at home, it’s always going to be a bit different on the gig. When you have a pair of volume pedals controlling the levels of a basic acoustic signal from your piezo pickup, and another at the ready for blending in some funky wah or spacey echoes, you not only have the best of both worlds at your fingertips — you’ve got a world of wonder at your feet.

In case you're wondering if you can feed the magnetic signal chain into an electric amp, the answer is a resounding yes. Can you leave the electric amp at home in favor of using a simulator pedal to totally transform your acoustic amp? Hell yeah! You can use tube amp emulator pedals such as the latest UAFX gems to turn your acoustic amp into everything from a shimmering Fender sound-alike to smoldering Dumble clone or even a fire-breathing Marshall. We’ll do a deep dive on turning your acoustic amp into an electric amp via emulation pedals in the next column.

Bumblefoot… Returns! might strike some as a strange album title. After all, its creator, Ron “Bumblefoot” Thal, never really went away; in fact, since the release of his first record, 1995’s Bumblefoot, the electric guitar virtuoso been downright omnipresent, issuing nine other solo albums while spreading his guitar and vocal talents across a diverse array of bands, chief among them, Guns N’ Roses, Sons of Apollo and Asia.

“I’ve been around a good while,” Thal says, “long enough to see everything change in the way we make records. Thirty years ago, I was signed to Shrapnel Records. They handled distribution and oversaw the business. I did the writing, playing and mixing, and I designed my album cover on Windows 95. It wasn’t so easy to put music out 30 years ago. There were gatekeepers who controlled what people got to hear. The process could really grind you down.”

These days, Thal is his own boss, recording albums at his New Jersey home that he says “sound just as good as something I could do in a big studio. Creatively, it’s a dream come true — I can record a song and in two days the whole world can hear it. Economically, the situation could be better. This is why artists tour so much — we can’t depend on just one revenue stream.”

The all-instrumental Bumblefoot… Returns! is a sustained blast of musical razzle-dazzle, encompassing everything from molten metal to turbo-charged orchestral pieces to high-velocity cosmic blues.

“A lot of the songs come from random moments of inspiration, Thal says. “I could be driving my car and a melody will come to me. In the case of ‘Moonshine Hootenanny,’ I watched a documentary about blues players, and I saw this clip of Lonnie Johnson. He was playing a zydeco rhythm that reminded me of guys playing washboards in jug bands. It just made me smile, so I grabbed my fretless guitar and playing. I felt like I was in the movie Raising Arizona.”

The aptly named “Monstruoso” is a sci fi metal stunner that features more dazzling guitar goodness than any song has a right to. But Thal doesn’t keep all the fun to himself: Those wicked, harmonized sheets of seven-string sound are courtesy of no less than Steve Vai, who is currently on tour with Beat, the Robert Fripp–approved King Crimson tribute band.

“I’m so happy that Steve is on the record,” Thal says. “I didn’t impose any restrictions on him; I just sent him the track and reveled in what he sent back.” He adds with a laugh. “I’m still trying to figure out what he did.”

Thal followed a similar tactic with another iconic guest, Brian May, who has been recovering from a minor stroke he had last September. May's instantly recognizable guitar work shines on Bumblefoot's lush ballad “Once in Forever.”

“When you ask Brian May to play on your song, you want Brian May to be Brian May,” Thal says. “Which means, he can do whatever he wants. He and I have been emailing each other for the past 15 years. We also played together at a festival called Starmus. It's a combination of astrophysics and music. Playing with Brian is unreal. He’s very humble and gracious, and I was thrilled when he agreed to do my record.”

Bumblefoot… Returns!, which also features collaborations with Guthrie Govan and Derek Sherinian, among others, will be released on January 24. After chatting about his album, Thal was only too happy to share a few sage pieces of advice for fellow guitarists. That’s the kind of guy he is.

1. Play Along to Songs You’re Unfamiliar With

“This is something I started doing as a kid. Over time, it really helped me build pitch recognition and intuition.

"I would take an album I was totally unfamiliar with, put it on the turntable, and I’d play along to it and try to catch on. It was crazy at first: ‘What’s going on in the verse? Oh, is that the chorus?’ But by the time I heard the verse again, I had an idea what to do. Then a bridge would come up, and I’d have to figure that out.

“It was an adventure. I would play along to both sides of a record, and then I’d do my normal practice routine. What I took away from it was that I didn’t have to be afraid to play. Not knowing what to expect was very liberating and confidence building, and that came in handy when I started to play with other people. And because I was strictly going by my ears — I was listening and reacting instantaneously — it sharpened my pitch recognition. You’re on one chord, and then it switches and you have to find your next move fast. Pretty soon, you don’t have to think about the distance between chords. You can predict that C chord and jump to it.”

2. Play Quick Trills With Every Combination of Fingers

“There are different types of muscle fibers in the body. There's slow-twitch and there's fast-twitch fibers. A lot of times for quicker playing, you're engaging the fast twitch reflex muscles. So by doing quick trills at 80 bpm with every finger combination, you’re loosening your digits up and building your endurance. I can’t overemphasize the word ‘loose’ here. You shouldn’t tense your hand or fingers; everything must be relaxed.

“This kind of exercise should feel like a burst of electricity that jumps out of your hand. I liken it to when you look down and you see a spider crawling on your hand. Suddenly, your hand shakes like crazy and you don’t even think about it. Play the trills the same way, and do it a lot.”

3. Be Overly Prepared, Be Extra Early

“If you’re given a song to learn for rehearsal or maybe a recording, go that extra step and learn all the parts — drum fills, bass lines, vocal melodies and harmonies. It’s just a good idea to know the whole song when people are discussing parts and changes, and there will always be changes. But you never know when you might be asked to sing something or play another instrument. Be prepared.

“And whatever you do, be on time — as in when you arrive. If you need to be there at 3 p.m., be there at 2:30. Don’t make people wait for you. It shakes their faith in your reliability, commitment and respect for other people. Being on time is a sign of respect. It tells people in action, not words, that this matters to you. I’ve seen it happen: Somebody doesn’t show up, and everybody’s going, ‘Who is this guy? Is he blowing us off? Does he not care?’ Don’t be that guy.

“I’m never, ever late for anything. In fact, I’m the kind of guy who gets somewhere 15 minutes early and sits in his car. That’s just the way I do things. I’ll call the other people and be like, ‘Hey, I’m here,’ just to let them know they don’t have to worry about when I’m showing up.”

4. Support the Team

“If you’re in a band, you’re part of a team. You’re partners with other people. Let’s say your band is made up of five people; if everybody gets to have a say — which isn’t always the case, but here it is — out of five ideas you should expect to get one of yours through. At the same time, you’re probably going to have four out of five of your ideas shot down. That’s okay – don’t be offended. Every time you get your way, the other four people may have had their ideas shot down.

“Put your ego aside. When somebody gets their way about something they feel passionate about, be selflessly happy for them. They deserve to see their idea through. Don’t be controlling — just go with the flow and see where it goes. In the end, you may find that their ideas were better than yours. That’s okay, too — the whole band looks good.”

5. Play One Note Per Chord

“All too often, guitarists blast out flurries of notes over whatever chord the rest of the band is playing. They go through scales and patterns mindlessly. It all sounds like something they do by habit, and after a while, it all sounds the same. It makes it clear that they’re not really thinking about the music — they’re just engaging in an exercise.

“I have a good tip for connecting to the music: Play one note per chord. Play a whole note, let it ring out, and watch what happens. What that will do is, it will force you to think about what should come next. You’re giving yourself a break and allowing yourself to hear the tones, how they blend, where they go. You can hear the structure of sounds as they connect, and you’ll have a better sense of where to go next. It might take a while to get this down — you’ll want to break into the usual flurry of notes. But trust me, you’ll hear the music in a more interesting way with this one-note-per-chord technique.”

6. Character Means More Than Contracts

“If someone is going to do the right thing, they'll do it on their word and a handshake, whether there's a contract or not. On the other hand, if someone is going to screw you, they're going to whether there's a contract or not. If you sense that someone might be a manipulative, lying sleazebag, don't ignore your gut and gamble on hope. You're passionate and hungry to achieve your goals, which makes you an easy target. The 'industry' is filled with opportunistic frauds. Always trust your gut, and remember that character matters most. Try to minimize exposure to the ticks and leeches; they're hard to get rid of cleanly once they attach themselves to you.”

In a recent interview with Guitar Player, while discussing the 10 albums that changed his life, Joe Bonamassa had kind words for Steve Morse. “I really hold Steve Morse in such high regard,” he said.

“Not only as a player but as a good, humble guy. Unfortunately, he doesn’t get named in the same sentences as a lot of other players of that era, like Eddie Van Halen, Allan Holdsworth and Bill Nelson. He’s the last to be named or not named at all.”

Turns out that Joe B. was right. As Morse himself checked in with GP, his affable personality and endless humility were apparent from the hump. After some 50 years making music, the 70-year-old guitarist remains unpretentious and clear-eyed about the art of playing guitar.

“It’s a never-ending struggle,” Morse admits. “But when you look at anything worth doing, there’s always going to be struggles.”

“It’s like a NASCAR race,” he continues. “There are guys on the pit crew struggling to keep things reliable, but everything is always deteriorating. As a musician, my skills and technique will deteriorate, so I always have to replenish them. It’s a constant struggle; it’s never going to change.”

It’s not all bad, of course, and Morse still loves the game. “The joy of creating music and playing music is a constant,” he beams. “It’s always great. It’s like, ‘Okay, we had a terrible gig,’ but you can have a great gig under the same conditions. It’s about fighting for it and finding balance.

“I started off as an annoying teenager with an electric guitar,” he laughs. “I slowly transformed to the place I’m at now, where I’m humbled and impressed by anybody willing to work hard and play a great solo,”

Starting with your Dixie Dregs days, what were the biggest challenges you faced while on the road, and how did you overcome them?

In the early days, the sound systems weren’t that good. Some places just had a P.A. for a vocalist, and we didn’t have one. So these places wouldn’t have enough inputs and headroom to mic everything. We got this idea to have everybody play through two sound sources — basically, two cabinets. We had two Leslies, two bass cabinets and two guitar cabinets, which, for the most part, allowed us to play shows without monitors.

Did you find that to be reliable?

The only reason that fell apart was that it was similar to the mutually assured destruction of nuclear power that was written about in the ‘60s, where everybody had the ability to destroy the world. And that was supposed to deter things because that meant that if anybody acted up, they’d get blown up.

With our equipment wars, all it took was one person playing a little bit too loud for another band member on the other side of the stage to turn up their equipment. The person that turned up loud to begin with would hear more of that instrument on their side of the stage, so they’d turn up again. That made us revert to a traditional band setup and letting everyone be the loudest thing.

Was there a specific turning point for you regarding your personal equipment on the road?

When I came across the idea of muting the output of the speakers. That was before there were power attenuators that went between the speaker and the amp. I tried running higher impedance on the speakers by putting them in series, and I employed a cover for the speakers — basically, anything thick that I could cover the speakers with. By doing that, I could turn the amp up enough to get the tube saturation I was looking for.

Once you joined Kansas, how did your challenges on the road change?

With Kansas, we had a team, including roadies, so my interaction with my equipment was about finding a place and a volume for me to fit in. At the time, the vocals were loud through the side fills, and that’s when I started using earplugs for every show because I was next to that side.

This is around the time you started using Engl equipment, right?

Yes. I started using Engl front cabinets and putting them on their side so the two 12s would be pointed in one direction. The other two 12s would be pointed in a slightly different direction, rather than being pointed up at my head. That gave me a little bit more headroom, and I could hear myself without the monitors.

A lot of players are fine with sound through the monitors. Why was that an issue for you?

For some reason, to me, when I hear a guitar through monitors, it sounds like it has a little bit too much presence. Unless I hear the whole band through the monitors, it seems like the guitar doesn’t fit in sonically. So I try to limit the monitors as much as possible so that I get more ambient sound.

In those early days, was there ever a time when you felt like you failed onstage?

Yeah. Those times are what I referred to as “normal shows.” [laughs] Music has always been challenging enough that, at some point in the show, you miss something that you know you can play.

How do you overcome that?

You just have to keep going. The good thing about playing music day in and day out is it keeps you very humble. I got to a point where I just accepted the fact that when I play a solo, the best score I can get is 75 precent. Well, that’s the best average performance; I can play a horrible solo, and sometimes I play a great solo. But the average of that is 75 percent.

Has that ever impacted your ability to enjoy yourself onstage?

It’s still fun for me. If you’re enjoying yourself onstage, that sense of excitement, — and in a small way some risk taking — conveys something to the audience. To this day, when I play a show, there’s a point where I screw up, and I just work around it and immediately fix it. I’ll hit a wrong note or mess up a chord change, and I’ll take those wrong notes, bend it in one or two ways, and it’ll fit.

What were some of the biggest challenges you faced shifting from Kansas to Deep Purple?

My first encounter with Deep Purple was a really good jam session, and my first encounter with Kansas was a writing session. Those were different things, but they were the things that I connected on with each band. With Kansas, it was more about writing, but with Purple, it was about the feel of everybody improvising, listening and reading each other’s minds. With Purple, that connection grew very organically.

Did you need a whole new setup to cover Ritchie Blackmore’s parts?

I eventually changed the amplifiers four times before I ended up going with Engl. When I first started with Purple, I was using a 5150 setup. I used that through the [1996] Purpendicular album. That setup worked fine, but the gear needed to be turned up in order for the type of distortion I needed to convey the notes. The search began to find a rounder tone with more impact. That led me to the Marshall Jubilee to the Marshall 2000 series to Engl.

What made Engl Amps perfect for Deep Purple?

At the time, I liked some of the characteristics, but I really wanted to make some changes. Luckily, the designer started bringing prototypes to the shows with breakout boards attached to the amps that let me adjust the tone centers of the tone controls. It was awesome. That begat my signature amp.

What’s the most significant stumbling block for any guitar player trying to survive in a rock band on the road?

Oh, boy. To ensure success within a band, you have to give respect. If the lobby call is at 10 a.m., you need to be there at 10 a.m. the latest, and be prepared. You better learn your parts and really learn the arrangements before soundcheck so you can work on sound changes and figure out what pickups you’ll use and whatever else.

When you’re in a band, you’re on a team, just like a football player. It takes a whole team to do well before you’re going to be a great band. Every minute of your life needs to be spent becoming a better player. It goes back to basics; if you have a road crew, treat them with respect, help them when you can, and realize they’re just like you; they’re just doing a different job.

What challenges do you face today on the road, and how do they differ from your early days?

The equipment is just better and more reliable. And with digital tuners, things are better right off the bat. Usually, you have fewer excuses for screwing up. [laughs] Things are easier, I think, than they’ve ever been on the equipment front.

So what’s not easier?

What’s not easier is getting the gig experience that we got back in the ’60s and ’70s. I always want to support anybody who’s doing live music because we need to keep that alive, to give young people a chance to develop their craft. Nothing can take the place of live performances for honing your art. Nothing can be as exciting as a live performance from a listening standpoint.

Last year, Los Angeles-based guitarist and social-media sensation Kiki Wong famously beat out some 10,000 online applicants and was chosen as the newest member of the Smashing Pumpkins. Three months after being tapped for the gig, Wong hit the road with the superstar alt-rock outfit, playing festival and arena shows for much of 2024. She admits there’s still certain aspects of major band perks she’s getting used to — for instance, backstage riders.

“I’ve always toured broke,” she says. “I mean, I learned how to take a bath at a Starbucks. When I first joined the Pumpkins, they asked me what I wanted to add to the rider, and I just didn’t know. I still haven’t added anything because I’m literally the person who goes, ‘Why don’t we stop at a gas station for some Slim Jims?’”

During the past few years, Wong achieved a significant level of notoriety via her social media posts — everything from a travel blog to irresistible videos of heavy metal electric guitar covers — and has amassed millions of online followers. Though her success might appear to be the result of some grand agenda, she rejects the notion outright.

“The only plan I’ve had is to just keep going,” she says. “Don’t worry if something seems crazy. If you want to do it, do it — even things that sound terrible can catapult you to the next level. Learn to say ‘yes’ more than you say ‘no.’ Most of the time, we say no to protect ourselves from fear and rejection — which you will have, so accept that and move on.”

If all of that sounds like good advice, you’re in luck: Wong has other choice pieces of wisdom for guitarists trying to figure out how to get from point A to point B.

1. Fail Like You’ve Never Failed Before

“I’ve failed more times than I’ve succeeded. I’ve almost become numb to failure. But there’s an upside to it: I’ve learned to look at the benefits of failure. I know that sounds strange, but I started to realize that I gained some type of strength or experience from each opportunity I’ve had — even the ones that didn’t pan out.

“I don’t know anybody who’s had success after success and never experienced any stumbles. Nobody’s that lucky. People might look and think that I’m just this TikTok personality. They don’t know that I’ve been playing since 2010 and have done these crazy bootleg tours with three people sleeping in the back of a trunk. I’ve played gigs to nobody. There was one show I played where half the audience left. They just took off, yelling, ‘You suck!’ Believe me, I’ve been beat down a lot.

“But that’s the thing: A lot of people quit when they experience those failures. They’re like, ‘I’m just gonna put the guitar down and do something else.’ I get it — this stuff can be tough. But I think there’s a turning point where failure can eventually lead to success, and that’s when the magic happens.”

2. Shred What You Can Get

“I’m a gearhead. I love gear, and I have too many guitars. I’ve got almost 40 guitars, and I keep getting more, which is insane. But I strongly believe that you can make the best out of a cheap instrument. I started playing guitar at 13, and for the longest time I played a Hamer Slammer. I played the crap out of it and learned my stuff.

“If you’re just starting out, don’t focus on all the beautiful guitars you see online or in magazines. Shred what you can get. If all you have is a cheap guitar, that’s the guitar you’re meant to play right now. Make that guitar sing. One day you’ll have something nicer, and you’ll sound amazing on it. Remember: Race car drivers don’t start out driving race cars.”

3. 10,000 Hours of Practice, 10,000 More in the Industry

“There’s the whole theory that you need to put in 10,000 to master something, and I’m a big proponent of that idea. If anybody thinks I’ve had it nice my whole life and had all the breaks, think again. In high school, I was a total nerd and spent hours each day practicing and practicing. I was obsessed with guitar and put all of my effort into playing and learning technique.

“Later on, when I joined this all-Asian female pop-rock band called Nylon Pink, I realized that the visual aspect of performing was also important, and that made me realize that there was a lot about the industry that I needed to learn about. If you don’t understand the business, you’re going to limit your opportunities. So make a plan for yourself: As much time you spend learning your instrument, spend as much, if not more, time learning everything you can about the music industry. And like I mentioned before, don’t be afraid to fail. Failure is another way of learning.”

4. Be Humble, But Celebrate Your Wins

“I’m a big believer in humility and respect. You need to appreciate every opportunity that comes to you, and no matter what happens, have respect for it.

“I remember going into the Smashing Pumpkins audition. I had practiced the songs, and as I stood outside the studio door I thought, Even if I don’t get chosen to join, right now in this moment I’m about to play with the Smashing Pumpkins — how cool is that? Even if they hated me, I told myself to enjoy the moment. In my mind, I was already a winner.

“What happened next was, I went in and forgot to perform. I was just smiling and having a good time, and my whole vibe was ‘This is way too cool!’ At that moment, I was grateful for the chance to be there. I remember thinking, Even the bad stuff was worth it, because I got through it and it allowed me this opportunity. And I know there will be struggles in the future, but I also know that I’m going to press on and achieve. It’s important to celebrate your wins, but always be humble. That’s what will keep you going.”

5. You’re Not Selling Out If You’re On Social Media

“I built my fame on social media. I just decided, ‘I’m going to take my love of heavy metal, and I’m going to make all of these fun and crazy videos of me playing metal covers.’ I read a lot of negative stuff: ‘Oh, look at all the stupid faces you make’ or ‘What are you doing on TikTok?’ TikTok’s for kids.’ Some people even called me a sell-out. I didn’t care.

“Sure, I wrote my own music and spent thousands of hours in the studio, but I also know that people related to music they knew. I just kept doing what I wanted, and it got me fans and all this recognition, and it took me to the level of playing with the Pumpkins. I also helped inspire other female guitarists to put their own videos online, and that’s a great thing.

“Social media is here to be used. I find it perplexing that musicians would have a hard time accepting it at this point. You can promote yourself and find other musicians, or build an audience. And you can get good gigs, too. You can get chosen to open for bigger bands. It used to be that you had to book a gig somewhere, and sometimes pay to play that gig, to have somebody notice you. Now you can put a video online and it’ll be seen by thousands of people — eventually, it could be somebody who can do something for you. I don’t call any of that ‘selling out.’”

Sue Foley is renowned for her dynamic electric blues playing. Even so, the Texas blues woman took a stylistic detour on her latest album, One Guitar Woman, by covering a range of styles, including flamenco, classical and Tejano — all on a nylon-string acoustic guitar — while paying tribute to female guitarists like Memphis Minnie, Maybelle Carter and Sister Rosetta Tharpe.

“That’s the great thing about guitar playing,” Foley says. “There’s always a new mountain to climb. I tend to be restless and adventurous in general, and that certainly extends to my guitar playing. I’ve spent a lot of my life playing the blues, and I’ll always return to it, but there’s other kinds of music I still want to learn.”

Such as? “Well, jazz, for sure,” she says. “I can’t play jazz — yet. Harmonically, I’m really challenged. I know if I were to really try to stretch myself, that’s where I would probably try to go.”

Foley recently heard she's received a Grammy nomination for “Best Traditional Blues Album” on behalf of One Guitar Woman. It's her first nomination, and one that is clearly well deserved. She was kind enough to take some time from her busy schedule to offer choice bits of advice for Guitar Player readers.

“There’s a lot of technical tips you can get out there, but to me a big part of guitar playing is mental,” she says. “It’s funny how a lot of players can talk themselves out of trying something new or breaking out of their boxes. Just remember: There’s no rights and no wrongs. Play fearlessly and it’ll all sort itself out.”

1. Ask Yourself Big Questions

“Learning the fundamentals of blues isn’t that difficult, really. Once you familiarize yourself with how the I, IV and V operate in the circle of fifths, you’re in a good place. To me, those are the primary colors you need in order to paint a picture. But what I find fascinating about the blues — and much of it is mysterious, in a way — is just how many ways there are to express yourself using only a few colors.

“Blues music asks you some big questions, like, Who am I? What do the blues mean to me? What do I really want to say? It almost dares you to expand your mind and express yourself through your playing. It wants you to go to a deeper place all the time. I find that fascinating. To me, it’s a challenge every time I play, like, How am I going to play this solo and these licks that have been regurgitated countless times for almost 100 years in a way that sounds fresh and alive? How am I going to make them sound like me?

“Asking yourself these types of questions is as important as any kind of technical practice you undertake. I guarantee you, whenever you listen to the greats, you
can bet they’ve asked themselves these questions. I know this sounds kind of spiritual, but when you get down to it, that’s really the essence of the blues. This is music born from a certain time and place, and whenever we play it, we’re paying homage to those spirits and keeping them alive.”

2. Tone Comes From Your Picking Hand

“Of course, you need decent equipment to get a good sound — a good-quality guitar and amp, decent strings that aren’t too old. But the real secret about tone is that it comes from your picking hand. Your fretting hand is doing one kind of work, but for the most part it’s flowing in the same kind of general moment. But your picking hand is where you control your tone. It’s surprising to me that so few people really talk about it.

“When I was coming up, I spent a lot of time watching people’s picking hands. I used to go see Clarence ‘Gatemouth’ Brown a lot, and he had this amazing right-hand technique. He didn’t use a pick, and he did all these really interesting flourishes using all his fingers. It was like each finger was a paintbrush that he’d run across the strings. He could play fast and wild, but when I’d watch his right hand, it was like he put no effort into it. It was all graceful swing. That’s where his tone came from.

“In a different way, there was Albert Collins. He had another great right hand, and his tone could slice your head off. He used his fingers, too, and he played with very light strings. The way he dug his fingers into his strings and pulled the sound from them, it was like sparks flew.

“These kinds of players made an impression on me, and I decided to do away with a flatpick. I use a Golden Gate thumbpick, which I take on and off. Mostly I just play with my fingers so I can feel the flesh on the strings. What I like about that is how intimate it feels — there’s nothing that separates me from each string. I can pluck each string lightly, or I can dig in and get tough. I can run my fingers softly across the strings, or I can hit ’em hard. Playing this way, my tone comes straight from my picking hand, whether I’m going through an amp or not.”

3. If You Play Electric, Try an Acoustic

“It’s easy to let your pickups and amp do a lot of the work for you, but if you want to expand your playing — and if you want a dose of humility — pick up an acoustic from time to time. I started on an acoustic, so I’ve always felt comfortable playing one. The way I generate sound on it is vastly different than on an electric guitar. The sound basically comes from my stomach, which is pressed right against the instrument.

“It’s an unforgiving instrument, which freaks a lot of people out. This is especially true if you’re playing a nylon-string acoustic, which I’ve been doing a lot of lately. Don’t expect it to have the same behavior and response as your electric. It’s a whole different animal. So right away, adjust your expectations and approach. You’re going on a new adventure.

“I would also recommend people either use a thumbpick or an open hand when playing acoustic. There are so many things you can do using your whole hand, and you can experiment in so many ways. But be patient. You’re going to have to take baby steps. I remember my first flamenco guitar lesson: I had been playing for a couple of decades and I thought I was pretty good. I went for my first flamenco guitar lesson, which was open hand, no picks, on a nylon-string acoustic. Between the time signatures and the techniques, it was like I’d never played guitar before. Believe me, it was a good dose of humility.

“The more I played on a nylon-string acoustic, the more I fell in love with its sound and feel. I surrendered to the sound and didn’t fight it. And what was cool was when I found I could use a lot of the right-hand techniques I learned and apply them to my Telecaster playing. My fingers just flew across the strings.”

4. Embrace Your Suckiness

“We all hit a wall with our playing sometimes. I got in a rut myself with my blues playing. I’d been out on the road, and I could play different styles of electric blues, but then I started to think, What else is there? That’s when I started to get into learning flamenco and classical techniques. It was this mountain I wanted to climb, and the only way to do it was through baby steps.

“Whether you want to learn a different style of playing or not, the important thing is that you can’t give into your fear. If you’re trying something new or difficult, you can’t get freaked out if you suck at first. Keep going. In a way, you have to be honest and sort of embrace your suckiness. Say to yourself, Okay, I really suck at this, but I’m not going to stop. Each day you’ll be a little bit better, and one day you’ll be able to say, Hey, I don’t suck anymore.”

5. Speak Through Your Instrument

“Music is a conversation, and if you’re a guitar player, you’re speaking through your instrument. Think about it: If you’re having a conversation with somebody, are you just going to blather all over them and yell at them? That’s not a very effective way of communicating. Better to sit back and wait until it’s your turn to speak, and when you do, try to add something meaningful to the exchange.

“If you try to adopt this attitude, you’re going to find that you don’t have to say everything all at once to make a point. Jimmie Vaughan once told me, ‘Solos are
like little paragraphs in a story.’ That’s a lesson I took with me, and it’s guided me through the years. I don’t need to blather on in my solos. If I have something to say, I’ll say it. If I don’t, I won’t. If I perform a ballad that just requires me to play a melody, is that really so bad? I think not. That’s what I need to add to the conversation.”

One of the most distinctive aspects of George Benson's soloing has been his use of octaves. Not since Wes Montgomery and Django Reinhardt has anyone utilized octave playing as extensively as Benson.

For Guitar Player's August 1976 issue, George was kind enough to share his approach to this tricky technique. His lesson and timeless advice are reprinted here.

My first encounter with octave solos was hearing a record by Django Reinhardt quite a few years before Wes Montgomery used them to any great extent. Django Reinhardt didn't dwell on octaves, but it was a part of his work. I started playing them immediately after hearing him use them. But to a great degree Wes Montgomery sort of mastered the octave concept. Plus he had a lot of finesse which gave it a much better presentation. I would imagine, since I came along after both of those artists, that I was more or less putting to use some of the things that they made available.

After recognizing their beauty and how octaves have a tendency to stick out, I realized that it was a good way to communicate. Since Wes gained such a wide popularity by using octaves, I realized there was something in them very appealing to the listener. It takes out the one-dimensional, thin sound and adds body to the electric guitar. It's a richer sound, because you're using the lower octave, which doesn't have quite the sharpness a higher note might have. This, I think, is comparable to the cornet as opposed to a trumpet — it's a much mellower sound, more pleasant to the ear.

I use octaves in several different ways, such as with chords, because sometimes by playing just octaves I feel my solo is very empty. I don't use them exclusively — I'm basically a single-line player — but when I want to add fullness, I'll use either octaves or certain formulas which use octaves.

Sometimes I'll take these formulas and play with them rhythmically, and that's when the fun starts. The octaves are tools from which I've derived a lot of different gimmicks to make them interesting and different from, say, those of Wes Montgomery or Django. I was very impressed by their uses of octaves — Wes using them in a very romantic and sentimental con- text that added a pretty side to even the funky things he played; and Django using them as a very dynamic interlude to what he was playing.

What I do with octaves began years ago when I heard a guy play this certain this formula, which consists of octaves and another note. I don't know if he played it accidentally or not, but I thought it was just gorgeous. I asked him to show it to me, and I always planned to use it one day.

In involves the use of a 6th tone in addition to the octave. I may use a G with an E and a G an octave higher, and then the 6th tone would move in and out depending on the change of the chord. For instance, if I was going to play in G minor, and during the G minor scale I was going to use the A tone, I would use A, F, A. This involves moving or positioning my fingers a half-step closer on the inside—which is the 6th. But that's only one formula [Fig. 1].

Another formula I use places the 5th and 4th in between the octave. I may play C, F, and C an octave higher to produce a certain sound, and that would also change positions as I change notes. To stay in context with the melodic scale, I might have to reposition the inside of the chord, which is the 4th, F, and change it to the 5th, G, in certain instances so that I don't clash with the harmony of things [Fig. 2].

Then there's another form I've recently discovered that has a D as the first note, then the 4th (in this case G), a B and another D. So it consists of the root, the 4th, the 6th, and then the octave [Fig. 3].

I started experimenting with these forms rhythmically, where instead of playing the root and the octave simultaneously, I'd play them at different times. I'd play them against each other, and it would sound like octaves in rhythm. Also I'd drop the pick at certain times and use a shape with the 4th in it to get a sound similar to [jazz pianists] Fats Waller or Erroll Garner.

So there are many different things that can be done with octaves. They have a definite color of their own, different from anything else on the guitar, and their possibilities are unlimited.

Octaves really excel on guitar because of the characteristics of the instrument. They do for the guitar what a mute does for a trumpet. There's nothing like a good trumpeter, but sometimes the instrument has a tendency to become hard and unpleasant because of the characteristics of the notes that come out of it. They can get harsh to the ear, but the mute takes that harshness out and leaves that pleasant sound —that brass sound that isn't too brassy.

With octaves, the low note has a tendency to round off that high shrill note. When you play a high note on the guitar, it can be very obnoxious to the ear. But when you add the octave, it softens it up by becoming a compromise between the two, because you don't really hear either note, but rather something in between. It's like a marriage!

Octaves have been used in a variety of different lights since Montgomery first popularized them. They sound very good in the background, as a matter of fact. You can use octaves to add a soft backdrop behind singers or other solo instruments, where strings might be used. When you play them behind a singer, they add definition to the background music, as opposed to chords which leave the matter open of what the listeners might choose to hear. They can pick out any note in the chord to listen to, whichever note has meaning to them. But the octave eliminates that; it says this is the color I want, and this is what I want you to hear in the background, and this is what you're going to hear.

I use octaves intermittently wherever I hear a need for them. They're incidental within any given place. Some good examples would be "When Love Has Gone" from Body Talk, "No Sooner Said Than Done" off Bad Benson, and "So This Is Love" on Breezin'.

But with octaves you have to find your own way. Listen and learn as much as you can, but then put it to your own use. It's certainly worth putting a little time into, and I'm sure that when you get tired and run out of ideas playing single-line, you'll find freshness and comfort in the octaves

Dreamcatcher Events and Ibanez have announced Breezin' With the Stars – an immersive four-day event with George Benson.

Taking place 3-6 January 2025 at the Wigwam Resort in Phoenix, Arizona, guests can rub shoulders with guitar greats including Steve Lukather, Cory Wong, and Tommy Emmanuel, alongside Benson, in an intimate but relaxed environment.

Ani DiFranco may not have tried every guitar tuning, but listening to her unique brand of dynamic and percussive folk/punk/rock songs, it can certainly seem that way. What is clear, however, is that she is a genuine trailblazer. DiFranco fearlessly navigated uncharted waters, carving out a successful career as an acoustic guitar playing singer-songwriter without any support from the music industry establishment. This was unheard of in the “before times,” prior to the cultural explosion that is the internet.

Entirely self-made, she is one of the first truly independent or “indie” artists, establishing her very own record label, Righteous Babe Records, in 1990, at only 19 years of age. Since then, she has released 20 studio albums on Righteous Babe, as well as those of over 30 other recording artists who are or have been on the label’s roster. Her most recent release is 2021’s Revolutionary Love, which features a string quartet, among a host of other instruments.

DiFranco considers folk icon Pete Seeger to be one of her primary mentors (he made a guest appearance on her 2012 album ¿Which Side Are You On?), and, like Seeger, she is outspoken politically, championing causes such as LGBTQ and abortion rights. A woman of many talents, in 2023, Ani authored her first children’s book, The Knowing, and, in February of 2024, made her Broadway debut as Persephone in Hadestown, which won multiple Tony awards in 2019, including Best Musical. But at her core, she is at once a unique and original guitarist and a songwriter of great depth. So, for this lesson, we’ll embark on a tuning journey through her songs, carefully curated so as to require as few tuning-peg turns as possible.

Some business first, though, as we’d be remiss not to talk about the guitarist’s unorthodox approach to playing fingerstyle. DiFranco strums or plucks her strings with her fingers, but to achieve her often aggressive style, she applies thick, plastic fingernails, made by Nailene. On occasion, one of her strummed onslaughts will cause one to fly off, so she reinforces them with black electrical tape, down to her second knuckle, to keep them securely in place. In the event that a nail does happen to fly off, it’ll conveniently stick to the tape, allowing her to quickly reapply it. Plus, it protects her skin from the beating it would take from how hard she often strums. (If you have an interest in following Ani's example, check out our informative guide to acrylic nails.)

Despite using all sorts of open and alternate tunings, Ani’s catalog is also chock full of songs in standard tuning, and that’s where we’ll begin. The guitarist began playing in bars and coffee shops in Buffalo, New York at just nine years old, accompanying her guitar teacher and mentor, Michael Meldrum; she quickly learned that it was no easy feat to attract the attention of bar patrons, who were there more to drink than to listen to an unknown folk singer. This led her to develop a powerful and dynamic style, with sudden bursts of volume, as if to say, “Hey! I’m over here!”

A perfect example of this is “Both Hands” from her debut album, Ani DiFranco (1990), which inspired Ex. 1. DiFranco is quite adept at plucking in such a way as to create a smooth and gradual uptick in volume, known as a crescendo. Before attempting the entire example, simply repeat the first bar, with the goal being to seamlessly move from soft (“p” for piano) to loud (“f” for forte) as you swell through the dynamic range. Once you’re ready to tackle the entire progression, the main challenge will be to quickly go from each chord’s final loud pluck — the accent mark indicates to pluck with just a little extra oomph — to immediately playing the next chord softly. Lastly, each chord should be plucked as staccato (short) as possible, by quickly resting your pick-hand fingers on the strings directly after each one is played.

Ani wrestles with her own identity in “In or Out,” from 1992’s Imperfectly. (She came out as bisexual in her 20s.) The song gives us an introduction to the guitarist’s signature aggressive strumming style, where her guitar is again in standard tuning, this time capo-ed at the 2nd fret. Ex. 2 brings the song to mind and employs two of her approaches to creating memorable guitar parts. The guitarist will often move a single chord shape around the neck, adjusting the fingering to stay in key or add colorful notes. These shapes often include a host of jangly open strings, creating a swirling sonic landscape that lends a welcome fullness, especially when playing solo, which the guitarist often does.

Keeping your pick-hand relaxed, strum with the tips of your fingers. You need not apply Ani’s aforementioned fake nails, but they do facilitate a more percussive attack. This effect is especially noticeable on beat 2 of each bar; deaden the strings with your fret hand (indicated with X’s), striking them with gusto, and giving the illusion of the sharp attack of a snare drum. DiFranco frequently plays through an amplifier (more on this later), and this effect is made extra impactful by using some reverb. The example ends with some aggressive Ani-style strumming, so hit those accented beats hard! Lastly, note the indicated strum pattern.

Now that we’ve gotten a feel for the guitarist’s playing style, let’s begin to explore her creativity with tunings. One often thinks of tuning strings down, but tuning them up is also a fine option. (One just has to be mindful of string breakage; if tuning up more than roughly a whole step, lighter gauge strings are recommended.) For the title track to 1995’s Not a Pretty Girl, DiFranco does both, tuning her 5th string up to B, her 4th string down to that very same pitch and her 1st string down to D, resulting in what could be called “open Em7 tuning” (E, B, B, G, B, D).

Ex. 3 is reminiscent of this ballad. The guitarist finds a chord shape that works well in the tuning, moving it around the neck (again with slight variations). Notice the rasquedo markings on beat 3 of each bar; in this case, it means to strike the strings by fanning your fingers out one at a time to create an arpeggiated effect, as heard in the Spanish flamenco guitar style. Begin with your index finger or pinky first, whichever is more comfortable. Songwriters like Ani often employ these tunings to discover new chord voicings with note combinations that would be difficult, if not impossible, to play in standard tuning. This often results in chord shapes that are unique, but still as comfortable to play on the fretboard as the familiar standard-tuned variety. Note how this particular tuning allows for unisons in bars 1 (beat 1) and 4 (beat 3) and how they create a hypnotic, droning effect. Strum with your nails as before; play the single notes with your thumb (indicated with “p”).

“Independence Day” from 1998’s Little Plastic Castles explores themes of love, war and the nature of relationships. Ex. 4 is along the lines of a brief interlude in the song, and features some nifty hammer-ons and finger slides. The tuning is just a minor alteration from the previous one, with the 3rd string lowered to F# and the 1st raised back to E. Ringing open strings support the low fretted notes, evoking a dreamy vibe.

Ex. 5 is inspired by “Blood in the Boardroom,” from 1993’s Puddle Dive, in which Ani narrates the thoughts of a woman getting her period in the midst of a male-dominated business meeting. In DADGAD tuning, she forthrightly strums big power chords and sus2 voicings. Notice in the example how adding the sus2 couldn’t be more convenient, as it simply requires fretting one additional note; making this change would be awkward as part of a barre chord in standard tuning. Plus, DADGAD tuning allows for power chords comprising all six strings, sounding open and atmospheric, which is again of great advantage when playing solo.

Let’s take a quick break to explore DiFranco’s gear. She mainly plays a variety of Alvarez guitars (including a baritone), but also has an assortment of others that includes an old Martin D-28. In the studio and on stage, she mic’s her guitar, mixing it with a direct signal — but there’s more: She currently achieves her variety of acoustic tones by employing two Magnatone Twilighter amplifiers from the ’60s, which are no longer made. One is set for an overdriven tone, while the other is cleaner, often with tremolo added. Ultimately, she mixes the mic’d and direct signals with the two amp tones to achieve the sound she desires.The guitarist summons some intriguing tones, an example of which can be heard in her 2017 NPR Music Tiny Desk Concert, available on YouTube.

Ex. 6 is not unlike DeFranco’s lovely intro to “Even More,” from 2017’s Binary, in which she varies DADGAD tuning ever so slightly by lowering the 1st string to C (low to high: D, A, D, G, A, C). Open-string-based hammer-ons and pull-offs sound more curiously melodic as they climb up the neck, mixing with the bass notes and an open G-string drone. The harmonics in the last bar, beautifully dissonant, offer another feature of altered tunings, as this combination of natural harmonics would be virtually impossible to play in standard.

In “Two Little Girls,” from Little Plastic Castles, DiFranco tells the story of two friends who first meet as teenagers. Here, she uses a different variation of DADGAD, this time with the 4th string lowered to C (D, A, C, G, A, D), and don’t forget to tune your 1st string back up to D! The guitarist employs a variation of Carter-style picking, a type of playing named for Maybelle Carter, who introduced it as a member of the Carter Family band in the 1920s. In this style, the featured melody is played on the guitar’s lower strings with accompaniment above, instead of the usual other way around. In Ex. 7, reminiscent of the song’s intro, notice that all of the notes on the 5th string are to be fretted with your middle finger, as indicated below the tab.

Our final destination is a lush, low tuning (C, G, C, G, C, D). The previous tuning is altered by lowering the 6th string even further to C and the 5th string to G, then tuning the 2nd string up to C. Ex. 8 is inspired by “Falling Is Like This,” from 1994’s Out of Range, a song about balancing the joy of finding new love with the poignant awareness of its possible demise. Here, DiFranco combines some of the approaches she used above; octave hammer-ons and finger slides are juxtaposed with droning open strings, plucked in a descending pattern. The overall result has an ethereal quality, evoking both hope and despair.

The songs DiFranco mines from her cornucopia of tunings often blossom with airy voicings, suspended chords and harmonically-nondescript but rich, colorful soundscapes; the tunings covered in this lesson are a mere introduction to the palette of colors she creatively draws upon for her emotive songwriting. DIY musicians of all sorts who have followed her owe a warm debt of gratitude to this uncommon and innovative artist.

At 64, Warren Haynes has had a rich and fruitful career. Few guitarists can match his tastefulness as a lead guitar player. And while others could play rings around him technically, he’s proven that the magic of blues guitar isn’t always about virtuosity. He drove that point home when he delivered two useful pieces of advice in a new interview with Rick Beato.

The YouTube host has a knack for pulling insightful anecdotes and masterful tips from his interview subjects — David Gilmour explaining how he turned his inability into his greatest asset chief among them — and his chat with Haynes proved no different.

Haynes’ advice forces players to look beyond the six strings of their instruments for inspiration. The guitarist knows something about that — although he's best known for his work in the Allman Brothers Band and Gov't Mule, the guitar wasn't his first instrument.

“I started singing first,” he says. “And so all the guitar players that I became enamored with were either singers, or players like Santana that sounded like they were singing through their instrument.

“I loved B.B. King's voice before I cared about guitar. Freddie King I always say would be one of my favorite singers even if he didn't play guitar.”

That saw him offer his first piece of wisdom.

“Some people take offense to it,” he says, “but every musician should listen to singers and drummers. Every musician should learn how to play drums and to sing at least some. It's only going to help with your musicality.”

There’s an interesting discrepancy, he says, between what guitarists can do with their instruments and what singers can do with their voices. Yet the limitations that singers face force them to make more tasteful decisions for their phrasing.

“The great singers that we grew up hearing are the best phrasers,” Haynes adds. “You can learn how to phrase better by listening to the greatest singers in the world and translating that into how you play guitar.

“The fact that singers have to breathe automatically gave them this sense of punctuation that you [otherwise] have to learn as a musician. We all know players who play great and have chops but don't know when to take a breath. They need to listen to Aretha Franklin, Ray Charles, or Otis Redding. You can learn from all of them.

“The great singers have tone,” he adds. “They sing one note and it sounds unbelievable; that's the most valuable lesson. You should be able to play one note and have it sound really good. If not, you don't have the right tone.”

Hayne's other nugget of wisdom came after Beato praised his ability to leave acres of space in his lead playing — meaning he takes plenty of breaths throughout his solos. Haynes says he has Miles Davies to thank for that.

“I used to hear people saying, 'It's what you don't play' and I thought, What the hell does that even mean?” he admits.

"Miles supposedly once said 'Listen to what's in your head and then don't play it — play in the spaces.' I thought, Whether that's true or not it's a cool concept.”

Haynes then demonstrates what he means with his sunburst Les Paul, singing archetypal blues lines and then playing only in the spaces between each phrase. His playing is to provide punctuation rather than deliver full sentences. You can find this demonstration at 6:40 in the video above.

“It opens up a whole other door,” he says. “And they open less frequently when we get older, so it's important to run with it.”

The interview comes just after Haynes opened up about the story behind his stunning reinterpretation of the U2 classic, One, and explained how one of the best-loved songs in the Allman Brothers’ catalog was almost lost.

"This one poured right out of us in the studio,” he had said. “We were on a real roll.”

If you’re an acoustic guitar player who’s unhappy with your live tone, you might not be getting the most out of your setup. If, like many acoustic performers, you have a dedicated two-channel amp — which is very much the standard today — you may be missing out if you’re using only one of the channels. That second input is a golden opportunity to take your tone to the next level by adding a second pickup signal.

STEP 1: PLUG IN A PIEZO (SIGNAL 1)

While more guitars are starting to incorporate multiple pickups, most acoustic-electrics still come with a single onboard piezo pickup located under the bridge saddle. It may be a dual system that includes a second element such as a microphone, but a built-in preamp generally combines them and sends a summed signal into a single 1/4-inch output jack. For our purposes, plugging that into the first channel is just the first step.

STEP 2: USE THE POWER OF MAGNETISM (SIGNAL 2)

Here we’re adding a magnetic sound hole pickup signal to channel 2. This type of acoustic pickup works exactly like an electric guitar pickup: Magnetic pole pieces pick up string vibrations and convert the energy into electricity that we hear in the form of amplified notes.

The Sunrise pickup is one of the most coveted of these. Leo Kottke once told me, “It’s the only thing that gives you the goddamned note.” Actually, any magnetic pickup will focus more on the strings and deliver a faster attack than a piezo pickup, which must wait for that energy to transmit down the string and into the bridge, where piezoelectric crystals or ceramic elements detect vibrations. It stands to reason that the piezo pickup gathers more overall information from the guitar top, while the magnetic pulls the lion’s share of the string sound. So why not use both?

STEP 3: TWO IS BETTER THAN ONE

In my setup, I usually use channel 1 for the onboard piezo signal and boost the bass a bit for a bodacious body-driven tone, while channel 2 delivers the string tone from the sound hole pickup. The piezo provides plenty of high-end detail as well. I sometimes cut the mids a bit to make room for the naturally midrange magnetic tone. Once you’ve got both signals happening, you can find the ultimate balance between them.

But a word of warning: Once you do this, you’ll never again be as happy with the sound of either pickup on its own. And you’ll begin to understand why a player like Mike Dawes, who blends modern percussive techniques with fingerpicking and uses traditional electric guitar effects such as overdrive and octave processing needs multiple signals to gather all that information for amplification.

OPTIONS

There are tons of variations on this theme. If you’ve mainly been using a magnetic pickup, add a piezo. And if you can’t get past the piezo “quack,” try a soundboard-sensor-style pickup, such as the L.R. Baggs HiFi. If the somewhat dull sound of an old-fashioned, inexpensive magnetic pickup doesn’t turn you on, audition a tonally flexible active one like the Seymour Duncan Active Mag. Baggs’ modern magnetics, such as the M-80, are designed to pick up body vibrations along with the strings, which can eliminate the need for additional soundboard sensors or a mic.

Permanent installation may require additional technical expertise and perhaps some modification, such as an extra output jack or a signal-splitting stereo output jack. In addition, pedals such as Fishman’s AFX Pocket Blender can help separate and mix signals before they enter an amplifier. And if you need channel 2 for vocals, an auxiliary input or effects loop return can often accommodate a second guitar signal.

The possibilities are practically endless, but in the end, two pickup signals are better than one, and having two different kinds on two independent channels for blending is the bomb.

When I was learning to play guitar, we didn’t have tab or platforms like Fender Play – now 50% off for Black Friday. No sir. Back in the mid-80s, you had go to a human for a guitar lesson (if you knew one and had the money), or you worked it out by ear (I, uh, didn’t have the talent ears).

Or you did the same as hundreds of thousands of guitarists across the world did: You bought an instructional cassette by Arlen Roth.

Arlen Roth was “the master of the Telecaster”. A columnist for this very magazine, no less. When they needed someone to teach actor Ralph Macchio how to play guitar for the movie Crossroads, they knew there was only man to turn to: Roth.

Arlen was probably the no.1 guitar teacher in the world back then, thanks to Hot Licks, his cassette series of guitar lessons. Eventually, he’d move into video but that was yet to come – I don’t think we even had a VCR. So I bought Rock Guitar, on tape, and I sat down with my Strat copy and got to work.

From memory, Arlen started us off with a simple blues riff. I knew a handful of chords, but this was new. I was picking notes and starting to get a nice blues shuffle going when, suddenly – and I’m talking 10 minutes into the tape – Arlen said something I just didn’t understand. I dunno what it was: his Bronx accent in my Scottish ears, or the use of a musical term I just didn’t get, I dunno.

But I couldn’t follow him.

I rewound that tape a million times to try and understand what he was saying. But… nothing. Bear in mind, this is the 80s: I couldn’t Google it. I was lost. I couldn’t move on to the next part, because I’d missed a bit. It didn't make sense. The chain was broken. I was stuck with C, F and G until the VCR revolution.

I think the same thing must’ve happened to Noel Gallagher.

All I’m saying is: YOU OWE ME ROTH!* I coulda been somebody. Instead, [Ray Liotta voice] I had to live the rest of my life like a schnook.

And you, reader: you don’t know how lucky you are in this world of tab and YouTube videos and platforms like Fender Play. 50% off for a year! It’s so much of a bargain that I would consider suing Fender for discrimination against old blokes. Except I’m gonna get it myself. Time to brush up on those blues shuffles.

*If you’re reading this, Mr Roth, sir, I’m only joking, clearly. You’re still the boss.

What is Fender Play?

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With Fender Play you get everything from step-by-step lessons for total beginners and bespoke lesson plans, to song lessons covering tracks by contemporary artists like Ed Sheeran and Billie Eilish, to heavy hitters like Pantera and Nirvana through to classic rock numbers from The Beatles and The Stones, back to Elvis Presley. There’s thousands more to work through. Put it this way, you’re not going to be short of inspiring material to keep you playing, especially at this price.

Fender Play also includes fun features such as the Chord Challenge, which will make sure you develop key skills like quick, tidy chord changes without getting bored. You also get access to the Fender Play community, which is full of players on a similar journey, and a great place to get – and give – advice and tips!

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So you think your bandmates are happy with your contribution as guitarist? That you’re doing a great job and everything is peachy? Well, I conducted an expansive investigation to find out just what they’re whispering to each other when we guitarists aren’t around. This is information you need to know if your goal is to be a sought-after working musician — or if you just want to stop driving your bandmates crazy. Or even just really impress them.

The idea for this piece hit me when an old bass-playing friend contacted me over the holidays to purchase a block of lessons as a gift for the guitarist in his band. He presented a long and well thought-out list of grievances, ranging from “his tones are awful” to “he plays too loud and doesn’t pay any attention to the rest of the band’s feel.” He ended with an exasperated, “He just won’t listen to me.”

Sometimes it’s difficult to look in the mirror and be honest with ourselves about where we could use improvement as guitarists. So I sought out advice from some great bassists and drummers to get their points of view on how guitarists can become better bandmates. The players I interviewed are all successful working musicians who have had countless experiences interacting with guitarists in all types of situations.

The key here is not to take criticism personally. And while I’m sure we could tell bass guitar players and drummers a thing or two, let’s sit back, take a deep breath and be open to improving our game, whatever level we may be at.

Watch Your Stage Volume

Cat Popper has been a sought-after bassist for many years, performing with everyone from Willie Nelson and Levon Helm to Jack White and Ryan Adams. She began our exchange by offering advice for electric guitar players about how to set our stage volume.

“Keep in mind that with blaring stage volume comes low-mid frequencies that can screw up lower-voiced singers and, definitely, the bass guitar, especially when there are keyboards or piano onstage,” she says. “There are many gigs I’m at where I know I won’t hear myself much at all — because if I turn up, it starts a stage-volume war, and the house suffers.” Sounds like we can be more aware that our volume and tone choices impact our band.

Cat also wants us to know, “I am listening to your solos and accompanying you! I got your back!” In turn, let’s pay more attention by listening to what’s going on around us, and consider what our bandmates are playing when we create our own rhythm parts and solos.

Quit Playing the Same Old Things

Jon Price is a veteran of the New York City live music scene and a rock-solid part of any rhythm section and a brilliant improviser. Jon offers this piece of tasty advice. “I often wish guitarists wouldn’t play the same stock chord voicings and licks,” he says. “It’s good practice to ensure you are hearing an idea before you start playing it, otherwise you just end up playing something similar to what you’ve done countless times before.”

And how about putting the guitar down and using your head? “I encourage players to literally not hold the guitar when they are coming up with a part. Listening and hearing, even singing, an idea is essential, rather than just letting your hand position dictate what idea you’ll come up with next.”

Practice As If You’re Onstage

Jon also stresses how we can be better prepared for performing. “When you’re practicing, make sure you set up all the elements as close as you can to the upcoming live situation.” This means practicing standing up, if that’s how you’ll be performing, using the same guitar, and even singing into an unamplified mic, if you’ll be contributing vocals. These “dress rehearsal” elements all contribute to helping you acquire the desired muscle memory for the upcoming performance.

Ryan Vaughn has been a freelance drummer for over 20 years. His credits include expansive TV work such as The Masked Singer, Zoe’s Extraordinary Playlist, and most recently as the house drummer for ABC’s The Bachelor Presents: Listen to Your Heart. Like Jon Price, Ryan brought up gig preparation — or lack thereof — as a problem.

“The biggest thing that I notice in young players is a general lack of ‘homework’,” Ryan says. “Lots of players can play, but very few truly prepare for a gig.” He encounters this often when playing gigs featuring cover material or songs by well-known artists. “Young players often don’t really spend time dialing in the sounds from the records that they are learning. In contemporary pop-rock music, sounds are everything.” (Ah, so we shouldn’t just buy the effects, we have to actually learn how to use them? Point taken.)

Be Prepared

Ryan concludes by adding, “No one really cares about the gear or the chops a player might have. It always comes down to their preparedness and ability to make the band feel like they are living in the sound of the recorded songs that they are recreating live.” I learned early on just how awful it feels to be unprepared in rehearsal or onstage, and this can leave a lasting impression on other musicians. That’s not great if you desire a career in music. Using some of your practice time to fully prepare for a gig will always serve you well in the end.

Know Your Pedals

Julia Adamy is a bassist with an extraordinary list of credits. She has performed at illustrious New York City venues such as Carnegie Hall and Radio City Music Hall, done TV work like The Late Show with Stephen Colbert, Jimmy Kimmel Live and The Today Show, and been a member of the pit orchestra for major Broadway shows such as Hamilton, Mamma Mia! and more.

Echoing Ryan Vaughn, she points out, “Some of the most creative players have a strong pedal game! Spend some time getting to know the ins and outs of effect pedals so that you know the full capabilities of them individually and paired together.”

Get a Feel for Feel

As for feel, Julia advises, “Really work on pocket and being intentional about where the groove is placed, practicing along to records that feel good to you and trying to dissect where in the beat they’re playing.”

Not surprisingly, this emphasis on “feel” in relation to rhythm and time was also addressed by some of the drummers I spoke with. Understanding these concepts is a key element of what makes great players sound so good.

Elliot Jacobson has drummed with many artists, including Elle King and Ingrid Michaelson, and is also a busy session player. “Feel — in terms of straight to swing, on top of the beat to behind the beat — has always been huge,” he says, “the way playing 16th notes can sound so different from player to player, and how some players can’t adjust their feel at will.” This inability to adjust will inspire rancor from producers and bandmates alike, and conversely, having this skill will make you stand out in the crowd.

As Julia Adamy recommends, one way to accomplish this is to play along with your favorite records while focusing your attention squarely on the feel created by the bassist and drummer — as if they’re actually in the room with you. You can also watch any number of great videos where drummers and bassists talk about and demonstrate how to approach different feels and tempos.

Consider Yourself Part of the Rhythm Section

An accomplished drummer, Stephen Chopek has toured and recorded with artists such as John Mayer, Charlie Hunter and Jesse Malin. He’s also a power pop singer/songwriter, who plays all the instruments on his 2021 EP, Dweller. Here, Stephen takes us a step further inside the concepts of feel and time. “First and foremost,” he says, “consider yourself a rhythm guitarist and member of the rhythm section. Keeping good time doesn’t mean you have to play mechanically or sacrifice good feel, and the best ensembles are those that are all feeling the time together.”

He implores us to be an active part of creating a song’s tempo and feel, and indicates that it shouldn’t all fall to the drummer. “The role of timekeeper shouldn’t fall solely on any one member of the band. That’s a lot of weight to put on one person’s shoulders, and if one player is feeling overburdened or stifled by the responsibility of having to do someone else’s job, the whole group will suffer.”

Stephen also points out some of the lingo we might recognize but not fully understand. “There’s a lot to be said for knowing how to play on the beat, behind the beat or ahead of the beat,” he says. “A more helpful way to conceptualize these ideas is to play within the beat. Find where it is as a band and sit inside of it. As with most things, this is easier said than done!” That said, to accomplish this, Stephen recommends using a metronome when practicing — but he knows that some will be turned off by this advice. “If a metronome isn’t your thing, then set up a few loops and apply some practice routines to them at different tempos.”

Again, digging into some YouTube videos will reveal a wealth of information and make these concepts seem not so esoteric. Feel is somewhat esoteric, but that’s the nature of music and what makes it magical. The best musicians are in touch with how to actively contribute to creating this magic in an ensemble setting, and by simply making yourself aware of these concepts you’re taking a huge step toward achieving this goal. As Stephen points out, “The only way to get better at playing with other people is by playing with other people!”

So, in the end, are we perfect? No. But working toward being more skilled as bandmates and listening to others in the verbal and musical senses will help make articles like this no longer necessary!

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I’ll admit it - I was a total online guitar lessons skeptic before I started using Til. As a child of YouTube and online guitar tabs, I’ve not had loads of experience in one-on-one guitar lessons but that all changed when I was asked to review Til’s guitar lessons platform. Pairing you with a professional guitar player, Til gives you old-school guitar lessons with the convenience of the modern age, and in this exclusive Black Friday guitar deal for Guitar Player readers, you can get $20 off your first lesson.

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To take a flyover of Steve Lukather’s long and storied career is to essentially reminisce about the heights of the past 40 years of pop and rock music. He is both an original member of Toto — who have sold more than 40 million records worldwide, including timeless hits like “Africa” and “Rosanna” — and a prolific solo artist, with an impressive nine albums to his credit, including 2023’s Bridges. These accomplishments alone would have most of us gratefully calling it a day.

But when you look at the 18-page discography on Steve’s website — a comprehensive list of every session he’s ever done, for a veritable who’s who of iconic artists over a broad range of genres — the enormous impact he and his guitar have had on the world of music becomes clear. In this lesson, we’ll look at some of the industrious guitarist’s most celebrated classic works, starting from the very beginning.

In 1977, Luke, as he’s often called, recorded his first sessions for singer/songwriter Boz Scaggs, who hired the then 20-year-old guitarist to lay down two solos on his album Down Two Then Left. Throughout Lukather’s solo in “A Clue,” one can already hear hallmarks of his distinctive playing as he creatively combines searing melodies, modern rock licks (that still sound that way today) and a polished, sublime finger vibrato. What also stands out is the guitarist’s rare ability among rock players to deftly negotiate challenging chord changes, a skill that is more commonly found among jazz musicians. To that end, Luke was inspired by one of his guitar heroes, the session legend Larry Carlton.

Ex. 1 brings to mind Lukather’s stirring solo in “A Clue” and reflects his well-developed melodic savvy. The entire phrase is based on the Bb major scale(Bb, C, D, Eb, F, G, A) and is used over a chord progression so ubiquitous in jazz that it has made its way to pop music: the ii - V - I (“two minor - five - one”), with the numbers corresponding to the degrees of the scale. Here that means Cm7 - F7 - Bbmaj7. Immediately, bar 1 targets a “color” tone, also referred to as an extension, a note of a chord that goes beyond the 7th. This is yet another jazz concept, and, right off the bat, we immediately target Cm7’s 9th, D. Also note bar 3’s use of an F triad (F, A, C) over the Bbmaj7 chord, which touches on the 7th (A) and 9th (C).

Lukather loves to emphasize wide intervals in his single-note lines, and, after the first note, bar 3 sets up a series of 4ths (notes two and one-half steps apart) and 5ths (three and one-half steps apart) between the F, C and G notes. Notice the accent marks above the G and F notes, indicating to pick these notes louder than normal, and how they fall on “16th-note upbeats” (between eighth notes), making us feel rhythmically off balance for a moment.

In the last bar, we encounter a chord that might cause you to wince at first, but it’s not as complex as it looks, and Lukather knows this. Ready for another jazz concept? (Last one!) The E7b5 (E, G#, Bb, D) is the tritone substitution of Bb7 (Bb, D, F, Ab), a tritone, or “augmented 4th,” being three whole steps. Briefly, these chords can be substituted for each other because they share two defining notes, their 3rd and the minor, or “flatted,” 7th. For E7b5, these key notes are G# and D, respectively. Since G# is just another way of saying “Ab,” you can see that Bb7 also shares those same two notes; the E7b5 just has a bit of a funny bass note, and jazzers love that sort of thing.

So what does Luke do? Similar to bar 4, he simply plays over it as if it’s a standard Bb chord, never venturing outside the major scale. He targets a D note, which is the 3rd of our key, Bb, and also the colorful flatted 7th of E7b5. The main takeaway here is that by treating the E7b5 as if it’s a Bb chord, Luke chooses the simplest option, knowing this will most often sound best. This is key to understanding why he has been
a first-call session player for decades.

Let’s take a break from all of these sharps and flats to have some fun with vibrato. Lukather often wields his like a samurai sword, and it’s on full display in Toto’s very first single, 1978’s “Hold the Line” (from Toto). Ex. 2 is not unlike Luke’s solo — brash, aggressive and just plain nasty in the best possible way. To cop this bold attitude, your vibratos will need to be wide and even. Think of them as being like a series of bends and releases occurring in rapid succession, with the motion coming purely from your wrist. Notice in the tablature the prescribed use of the 2nd finger to fret and shake the E note on the B string’s 17th fret, which offers you better control of the vibrato instead of your 1st, giving you more leverage for pushing the string upward (toward the lower strings).

Fast-forward to 1982, when Michael Jackson is at Westlake Recording Studios in Los Angeles, working on what would become one of the most seminal albums in music history, Thriller. By request of legendary producer/arranger Quincy Jones, Lukather appears on three of the album’s songs. For “Beat It,” Eddie Van Halen rightfully gets most of the attention, due to the rock guitar icon’s master class of a solo. But Luke’s rhythm part beforehand sets up the legend’s guest appearance perfectly, creating tension that portends something special is about to happen. This sort of thing is what the best session players do every day, and without much fanfare. Ex. 3 is reminiscent of the guitarist’s killer funk-rock riff in this classic track.

During the recording of Jackson’s “Human Nature,” Jones felt the track didn’t have the proper level of funkiness and tasked Lukather with resolving the issue. A tried-and-true move for session guitarists, and one that is often heard in classic Motown and R&B songs, is to add a “popcorn” part, consisting of stealthy, palm- and fret-hand-muted single notes that contribute a percussive, almost conga drum–like backing part that fortifies the groove with notes that “agree” with the key. Not surprisingly, Luke added just the right amount of funkiness. In fact, Jones was so taken with his parts that he gave him an arranging credit on the album, a very rare occurrence for a session player. Ex. 4 is reminiscent of the guitarist’s main part. To achieve the palm muting (“P.M.”), lightly rest your picking hand on the guitar’s bridge, resulting in a subdued attack and quick decay when notes are struck. Keep in mind that the pitchless, fret-hand-muted “dead” notes (indicated with Xs) are just as important, if not more so, to achieving the desired level of funkiness. To deaden notes, simply lift your finger so that it lightly rests on the string.

That very same year, Toto released what would become the group’s most successful album to date, Toto IV. The debut single, “Rosanna,” features Lukather playing two classic solos. He does something particularly nifty in the middle solo, along the lines of Ex. 5. After bending the initial note, continue to hold it while fretting the same string one fret higher with your pinkie. Doing this allowed Lukather to reach a note (C) that would otherwise be quite awkward to play, first having to release the bend, then reaching for it up at the 20th fret. As indicated, notes are played with a swing, or “shuffle,” feel. And be sure to nail the Luke-style wide, sexy vibrato on the last note.

As the story goes, while recording the song, drummer Jeff Porcaro continued playing when the rest of the band expected it to have ended, resulting in a spontaneous “outro jam.” Lukather immediately hits the ground running, delivering a 54-second blistering tour de force. Ex. 6 is inspired by one of its many great moments. Over the G7 vamp, he begins by spitting blues fire then suddenly switches gears, playing a Dm7 arpeggio (D, F, A, C) which notably targets G7’s 9th (A) and 11th (C). Once again, because he’s aware of the available extensions, Luke can creatively introduce new colors to shift to a different gear. The guitarist follows the arpeggio up with a cool chromatically descending lick, which is an especially clever way to move down the fretboard. Ex. 6 brings this crafty section to mind, and, as the song fades, we’re left to wonder what sort of additional magic ended up on the cutting room floor.

Lukather clearly excels at outro solos, and in 1983, he would record another for ex-Commodore Lionel Richie’s “Running with the Night,” from Can’t Slow Down, an album that would go on to sell over 20 million copies worldwide. In the studio, Lukather was playing along while listening to the track for the very first time. When the song ended, Richie declared, to the guitarist’s surprise, that no further takes would be required; they had been recording and the solo was a keeper.

We can sense Lukather is playing quite freely here — possibly even a bit busier than he would have if he had known the red “record” light was on. His opening is a great example of the adage, “you never get a second chance to make a first impression,” as how one begins a solo might just be the most important part. Luke is about to go into beast mode, but it’s notable that he doesn’t start there. Instead, he instinctively creates a motif, which, in a musical sense, refers to melodic and/or rhythmic patterns that can be repeated. Here it involves combinations of just three notes and a robust amount of space, either in the form of rests or a long-held bend. Leaving space builds anticipation, keeping the listener guessing as to what’s coming next, and Ex. 7 is informed by the guitarist’s entrance here.

Ex. 8 brings to mind a later section where Steve again builds tension, this time with more notes, including a nod to the ’80s shred ethos.

A couple of years earlier, in 1981, Lukather co-wrote and played on the Tubes’ classic track “Talk to Ya Later,” from The Completion Backward Principle. It remains a rock radio staple and is packed with great Lukather moments. Ex. 9 brings to mind his dynamic intro, and it’s challenging to keep up its blistering pace. Dyads (two-note chords) on the 2nd and 3rd strings alternate with chugging palm-muted 5th-string bass notes, requiring the 4th string to be repeatedly skipped over. Picked with
all downstrokes, it’s quite a workout.

Lastly, there’s a cool pedal point lick in Lukather’s earlier solo, some-thing he does often. A pedal point is a sustaining or rearticulated note that’s generally played below or sometimes above a melodic figure or accompaniment. Ex. 10 is reminiscent of the guitarist’s ping-ponging phrase at 3:38. Played on the G string’s 16th fret, the pedal tone, B, is left to ring under the higher-pitched, staccato (short) notes with which it alternates. To keep each higher note from ringing, simply loosen your grip on the string so that it breaks contact with the fret.

Perhaps even more than his extraordinary guitar skills, it’s Steve Lukather’s uncanny aesthetic sense of what a song ultimately needs to blossom that has distinguished him for over 40 years. Whether providing subtle background parts or enduringly listenable solos, the guitarist remains an active and highly sought-after top gun in contemporary music.

When asked to describe how his guitar playing has evolved over the years, Zakk Wylde lets out a chortle. “Bro, there’s no way I can answer that,” he insists. “I’m
still evolving!”

Simply put, the rock legend finds joy and purpose in doing the work. Whether he’s on tour or recording (and there’s little time out of the year when he’s not involved with one of the other), he maintains the same sort of rigorous practice routine that he followed as a guitar-obsessed teenager more than 40 years ago.

“It’s like anything. If you want to get good at something, you put the time in,” Wylde says. “I’m always going over my technique and trying to better myself. It’s not going to happen just by wishing it. And I come up with surprises all the time. I’ll be running through Pat Martino stuff, practicing his chromatic licks, and then I’ll say, ‘Hey, what if I incorporate that into “Voodoo Chile”?’ The more you play and practice, the more likely you are to stumble on those kinds of ideas.

“I guess that’s all part of evolution. But like I said, as long as you keep at it, it never ends. It only ends when you stop.”

As Wylde notes in his tips for Guitar Player readers, there’s no substitute for diligence and dedication, but he also stresses individuality. “Don’t let anybody tell you what’s good and what’s not good,” he says. “If it’s what you feel, eventually people will come around. Or maybe they won’t. Who cares? You can’t dwell on that stuff. You do what you do. That’s all that matters.”

1. Play What You Love

“I can’t stress this enough: Play what you love — always. If something moves you, that’s what you should be doing. If something doesn’t move you, don’t worry about it. I know there’s guys that say things like, ‘Get out of your comfort zone.’ That’s fine for some people, but if you just don’t dig something, you can’t force yourself to like it. It’s like trying to eat food that you don’t like. No matter how many times somebody says it’s good for you, all you can think is, I just don’t like it.

“I remember reading an interview with Johnny Winter. He was talking about how amazing classical guitar players were. He could admire their dedication and technical proficiency and all that, but in the end, he said that classical music didn’t move him like the blues. He’d rather listen to Albert King or B.B. or Buddy Guy.

“I can relate to that. I can only do what I love. I’m not going to try to do something just to show how diverse I can be, because it wouldn’t be real. You need to be authentic.”

2. Be Yourself

“Originality is a hard one. I mean, who’s an original? Let’s face it: We’re all taking bits from somebody else. Even the guitar players that we say, ‘Oh, so and so’s an original.’ Well, c’mon! They’re borrowing things from somebody they used to listen to.

“On the other hand, you don’t want to sound like a carbon copy of somebody, so that means you have some decisions to make. When I was a teenager, obviously
I loved Sabbath and Randy Rhoads and Jake E. Lee. And, of course, there was Eddie Van Halen doing his whole thing. I loved them all, but I didn’t want to sound like them.

“I made a conscious decision not to do the things these other guys were known for.
I wrote out a list of things I wasn’t going to do. Everybody started playing with a Floyd Rose, so I wrote, ‘No Floyd Rose.’ People started playing three notes per string, so that was another: ‘No three notes per string.’

“Pretty soon, it was like, ‘All right, I guess I’ll just do pentatonics. Let me see how much I can get away with this.’ But that’s the beauty of it all: If you limit yourself to working with just a few elements, it forces you to be creative. It’s like, you’ve got two crayons and that’s all you’re allowed to color with. What are you gonna do?

“Did that make me an original? That’s up to other people to judge. I just knew that I didn’t want to be compared to anybody else.”

3. Make Vibrato Meaningful

“Vibrato is a weird aspect of guitar playing. I’ve heard a lot of players who have great technique — they’re clean and flawless — but when it comes time for them to end a phrase, their vibrato is a little off. It’s like they’re not confident about how to work that final note, so they just kind of shake it around or something. It doesn’t sound pleasing to the ear. It’s like a bee buzzing around your head.

“Listen to some of the greats: Eddie Van Halen, Paul Kossoff, Angus Young, Neal Schon — all of them have vibrato that’s pleasing to the ear. Jimi, Frank Marino, Robin Trower, David Gilmour — I could go on and on. Jared James Nichols is a new guy who really knows what he’s doing.

“Playing a note means knowing how to work it, and there’s a lot of different ways
to get inside that note. You want to try to convey some emotion through your playing, particularly when you’re bending strings. Try playing around with different speeds of string bending. There are times when it’s cool to go fast, but you don’t want to sound like you’ve had 650 cups of coffee — not all the time, at least. Slow down and explore all the little shades of the bend. Think of your vibrato like you’re singing. That’s a great frame of mind to put yourself in. Instead of using your throat, you’re putting your finger on a string, but the sound is similar.”

4. Scales: They’re Not for Everybody

“I never minded working and training. When I played little league and high-school football, I enjoyed the practice and the workouts. Same thing applied to guitar, even from an early age: I loved practicing my scales. Even now, I have a great time sitting down and running through scales. I’ll put on some Pat Martino or Joe Pass or maybe some Mahavishnu, and I’ll do my scales. But hey, that’s just me. I always saw the benefit of working hard at something and keeping at it till I got it right.

“That doesn’t work for everybody, and I’m not going to tell them, ‘You must learn scales!’ I mean, do you think Kurt Cobain sat around practicing scales? Do you think he was knocking himself out trying to play ‘Eruption’?

“I really don’t think people are missing out on anything if they don’t know scales.
If that kind of thing doesn’t move them, they don’t have to go there. For me, I think it adds to what I do. I like being able to move around and throw different note patterns in solos. My advice to anybody about scales is, if you think you’re going to get something out of it, go for it. Start out slow and work on it till you can play faster. You’ll see the results.”

5. Don’t Be Afraid to Write

“I don’t put much thought into songwriting. If I allowed it to be some daunting task, I’d probably never write another song. I don’t have a process for writing. I’ll just play until something hits me, like a riff or a cool chord pattern.

“Sometimes I’ll land on something right off the bat, and it’s like, Okay, that one’s no problem. Other times you get something that doesn’t want to be a song today, so you come back to it. There’s lots of bits that sit around for years waiting for their turn.

“Again, don’t overthink it. And if you come up with something that’s simple and sounds good, don’t tell yourself you gotta make it more complicated. Look at songs like ‘Heart of Gold’ by Neil Young or Tom Petty’s ‘Free Fallin’’ — they’re just a few chords, but they’re awesome. Anything more in one of those songs would have been all wrong.

“Songwriting is a craft like anything else; the more you do it, the better you get at it. And I think the more you do it, the more likely you are to get inspired. Just try to enjoy the process along the way.”

Rival Sons guitarist Scott Holiday recalls a conversation he had early in his career with an older, more experienced musician. “I said to him, ‘I don’t know if people are going to get the music I’m making,’” he says. “I was sort of questioning everything. ‘Is what I’m doing going to work? Will it ever become popular?’”

The other musician looked Holiday in the eye and gave him a piece of advice that served him well throughout the years. “He said, ‘You simply have to love what you’re doing. If you do that, you’ll never have to worry about finding your audience. They will find you.’”

It was a life-changing moment for Holiday, who has, over the course of nine blistering albums with Rival Sons, established himself as one of the most creative and dynamic guitarists of his generation. “I take our audience very seriously, but I don’t serve them. That’s how the whole band operates: We serve ourselves. We make music that we feel, and that’s the relationship we have with our fans. If we tried to cater to the audience, it would be a quick or slow death. It just wouldn’t work.”

With that in mind, Holiday — who plays a range of electric guitars by Gibson, Fender, Gretsch and Kauer — has some sage advice of his own for fellow guitarists. “I’m not really one for teaching people theory, and there’s lots of other players who are better at that than me,” he says. “But I do have some thoughts on the business and some ideas about making music that might come in handy. A few of them might be a little esoteric, but they’re the kinds of things I like to tell young guitar players who come to our shows.”

Keep Your Assets

“Whenever you can, try to make sure you can keep your assets. By that I mean your publishing, your recordings, your merchandising and the money you make from touring. There are people who want to dip into each and every one of those revenue streams. When you’re just starting out, you’re probably eager to sign any deal that is presented to you. I get it. But don’t be so quick to sign a deal, because you could be giving away the rights to your music for a long, long time, and it might not always be possible to get them back.

“Rock and roll isn’t the moneymaker it once was; it’s probably closer to jazz now that pop and hip-hop and country have taken over. And, of course, recorded music — meaning albums — doesn’t sell like it used to. Given all that, it’s crucial that you safeguard yourself, and ownership of your music and merch is key.

“Traditionally, whenever the big labels used to sign an artist, they’d own the artist’s albums for years and years — sometimes forever. If you’re in a position to sign with a major, or even an independent, it’s better to license your masters for a brief period of time. Let’s say you sign for two albums — at the end of those two records, those masters are yours. Same thing with publishing: You can grant somebody temporary license, but it should eventually come back to you. As far as merch, try to hold on to that, because it could be a huge part of what you make on the road. For the most part, we’ve kept everything, and we own everything. Not every company is going to go for this, because they want as much of the pie as they can get. Just be careful. This is your only career.”

Get Out of a Rut with Alternate Tunings

“If things are sounding the same and you’ve hit a creative wall, try alternate turnings. I’m all about DADGAD, open G, open A, open C — all sorts of different tunings. There’s no rule that says you can only play guitar in standard tuning. I love to tune my guitar a new way and slide my fingers around to see what happens. I can do that for hours. As guitarists, we have a tendency to play the same patterns in these box shapes — we all do it — but when you’re in a different tuning, your fingers can’t stick to the same routine. It’s strange at first, but before long it becomes exciting.

“I got into alternate tunings early on. I think I was 12 when I got into slide playing, and I listened to guys like Muddy Waters. Before then, I already felt as if I had hit a wall; I was like, ‘Something isn’t adding up.’ The minute I figured out some alternate tunings, it was like the sky opened up, and I started to take it further and further.

“It drives my guitar tech a little crazy. On our last tour, I brought 10 guitars out with me, and quite a few of them had alternate tunings. I even had two double necks with capos and alternate tunings. But they sure sounded great.”

Listen to the Melodies in Your Mind

“You don’t always have to be sitting with a guitar to land on a musical idea. I hear music in my head all the time whether I’m in the city or walking around in nature. There are sounds and rhythms all around you — natural melodies. I love to tune in and listen for anything that can sound like it could be a musical idea. Sometimes it’s subconscious and you don’t even know it’s happening; you find sometime stuck in your head, and you have no idea where it came from. The important thing is to capture that moment whenever it comes to you. When that happens, I’ll try to sing it to myself so I can remember it.

“Now that we’ve got phones that we carry around with ourselves, it’s much easier to record ideas that come to you in everyday life. I’ll hum or sing a melody to myself, and then I’ll sit down with my guitar and try to play it.

“When we were making our album Great Western Valkyrie, I dreamed a melody. I woke up humming it — it was just a few notes, but I kept it in my head. I took a shower and kept singing it to myself, working out the cadence and the pitch. When I got to the studio, I said, ‘I’ve been humming this thing, and I know it’s something.’ I picked up the guitar and worked it out, and everybody in the control room went, ‘Wow, that’s incredible!’ Eventually, it became our song ‘Electric Man.’

“Not everything that you hear in your head is going to become a song. There are diamonds that are out of reach. But don’t torture yourself. Be easy on yourself. Just know, there are ideas floating around all the time. Great songs are made from feeling inspired and learning to trust your instincts, and ideas can happen when you least expect.”

Connect With Your Fellow Musicians

“We play notes. We play songs. But more than that, we’re playing with human beings that have their own energy and feelings, and they’re interpreting those feelings into music. I think musicians tend to play together by the book — ‘This is the way it goes. This is the way you should play it.’ We get frustrated when somebody in the group doesn’t play something just the way you hear it.

“On the other hand, maybe what they’re playing is the better idea, or at least it’s something you should consider before discarding it. With Rival Sons, we always make it a point to connect with one another. We want to be together. We want to lift each other up and make everybody feel good. It’s all about listening. Listen to the holes somebody leaves in — connect with that space. Be a good listener.

“Sometimes you get together to rehearse, and somebody isn’t in the right frame of mind. It happens — we’re all people. Instead of just powering through, take some time to talk it out. Lift that person up, find out what’s going on in his head. Maybe you have two hours to rehearse, but the better way to use that time is to talk as a group. If you only play music for 20 minutes, that might be a solid 20 minutes instead of just slogging it out. Don’t beat up on one another. If somebody says, ‘I’m not right to play today,’ let them go home and come back better tomorrow. Making music is a spiritual thing. People are special, and your connection to them is what matters.”

Do You — It Makes a Real Difference

“Be mindful of your intent when you make music. Create with purpose and consider the reason why you’re doing what you do. And don’t underestimate the audience. They can innately hear when something sounds authentic. It all has to start with you.

“Your tone, your riffs, every part you play — it’s all connected to being truthful. It’s like when you hear a singer you love; you probably respond to that singer because you believe every word they sing. They’re feeling it. They’re centered and they’re focused. The same is true for guitar players. You can tell when somebody is having a moment of realization on his instrument. It’s because he believes in what he’s doing, and from that belief, a moment of authenticity is created. It doesn’t have to be complex; most of the time, it can be something ultra-simple. But in there is a moment of truth, and you know it when you hear it.”

In his book Outliers: The Story of Success, author Malcolm Gladwell asserts that at least 10,000 hours of practice are required to excel at any given skill. If that’s indeed the case, Australian acoustic guitar maestro Tommy Emmanuel certainly has a lot more than that under his belt. One of only five guitarists to be bestowed the title “Certified Guitar Player” by the legendary Chet Atkins — a “C.G.P.” inlay marks the 12th fret of his signature TE series Maton guitars — Emmanuel is a master of precision, control, touch and tone, with a signature style honed by decades of writing and interpreting a vast array of songs, while relentlessly refining his technique.

It would be a daunting task to try to cover the totality of Emmanuel’s style in one lesson, as he is both a master fingerpicker and flatpicker. So, here, we’ll be exploring just some of the guitarist’s favorite fingerstyle approaches and techniques. Lucky for us, one of New York City’s finest fingerstylists, Gilber Gilmore (Instagram: @gilber_gilmore, YouTube: 1972f1972,), has graciously joined us once again to create videos to accompany all of this lesson’s examples, which you’ll find at guitarplayer.com.

As you’ll see in these musical examples, fingerstyle guitar music is often notated with opposite stemming, also known as divisi notation, which allows two independent melodic or harmonic “voices” to be clearly shown and visualized for the reader. Up-stemmed notes are generally picked with the fingers, and down-stemmed notes are most often picked with the thumb. In addition, much the same way that fret-hand fingers are indicated with numbers, pick-hand fingers are traditionally assigned a letter, based on the Spanish words for the various digits: p (thumb), i (index), m (middle) and a (ring).

Note that Emmanuel most often uses a thumbpick, but it’s optional here, as is his use of the fret-hand thumb to play certain notes on the 6th string, indicated in the examples by the abbreviation “Th.” Okay, now we’re ready to discover just what makes this guitar genius tick.

One of the foundational techniques of Emmanuel’s style is Travis picking, named for Merle Travis, the iconic country and western singer, songwriter and guitarist. Its hallmark feature is the use of alternating bass notes on different strings, picked with the thumb, with a fairly consistent palm mute applied to the low E, A and D strings to prevent the bass notes from ringing, or “bleeding,” into each other and keep the bass notes sounding tight and punchy while notes on the higher strings are allowed to ring. When Travis picking, you’ll find that lightly palm muting the bass strings will additionally help you feel them more easily and better control your fingerpicking accuracy.

Ex. 1 is inspired by Travis’ classic “Cannonball Rag,” which appears as part of a medley on Emmanuel’s 2006 release The Mystery. To get a feel for Travis picking, start by playing only the thumbpicked notes while holding each of the full chord forms. Once you feel comfortable doing this, add the up-stemmed notes (picked with the fingers). Keep in mind that one of the “secrets” to TE’s success has been repetition, taking the time to work out complex movements slowly, and with a metronome, before bringing them up to tempo. How slow? A good rule of thumb is to start playing something as slow as it takes to work your way through, while playing with good time and no mistakes, at least twice. This gives your brain time to absorb all the nuanced movements involving both hands.

Ex. 2 demonstrates a nifty use of Travis picking to scamper up and down the neck. Notice there’s an open G note between each chord form, allowing for more seamless position shifts, while adding a bit of a country “chicken pickin’” sound. The focus here is mainly on your pick-hand thumb, as your middle finger handles most of the remaining notes, which are generally found on the 3rd string. There are two spots, however, beat 3 of bar 6 and the very last chord, where TE would likely strum with his thumbpick, so as to accentuate these beats. (Notice the accent marks, indicating to play these beats a bit louder for emphasis.) No problem if you don’t have a thumbpick; strumming with the backs of your fingernails will produce a similar bite.

Ex. 3 is reminiscent of “Son of a Gun,” from 2004’s Endless Road. Written for Travis’s son, Thomas Bresch, it has Emmanuel in full freight train mode. You won’t find much new material technique-wise, but it does require working the different phrases up to a breakneck speed. To do this, repeat each two-bar phrase multiple times until you get the hang of it; then work on connecting them. Breaking music down into more digestible chunks is another effective way to learn parts more quickly.

Next up, Ex. 4 is along the lines of classical guitarist and composer Mason Williams’ “Classical Gas,” which Emmanuel often performs. While it has some elements of Travis picking, there’s a different interplay between the melody and accompaniment. Welcome to the art of arranging — creating a unique rendition of a song by melding the melody and accompaniment in a compelling way. This is at the heart of what Tommy has dedicated himself to, as he has forged his signature style by combining his adventurous musical instincts with a vast arsenal of blistering techniques. Notice how, in bars 2 and 4, the whole-note melody leaves space for the accompaniment to take over, allowing for descending bass lines to mingle with higher, droning notes. In similar fashion, Bar 5 introduces hammer/pull double-stops, giving our ears something new and unexpected.

Emmanuel introduces all kinds of ingenious techniques into his arrangements to pique the listener’s interest. One example is his use of banjo rolls, via fingerpicking patterns more commonly associated with banjo players. Ex. 5 is a great example; after getting it under your fingers, try playing it as an intro to Ex. 3 to get a sense of how TE uses different techniques to create musical drama in his arrangements and propel a song forward.

Another way the guitarist keeps things interesting is by employing lightning-quick single-note licks. Ex. 6 uses clever open-string pull-offs to again tap into chicken pickin’s bouncy quality. It’s one of those licks that sounds intimidating, but in actuality is easier to play than it sounds. As indicated, you’ll need only your pick-hand thumb and middle finger to create the repeating pattern, and note how the cagey pull-offs create darting, angular lines that really keep things moving.

Ex. 7 presents us with a different sort of challenge. Inspired by Tommy Emmanuel’s arrangement of the Beatles’ “Day Tripper,” part of his sensational “Beatles Medley,” from 2005’s Live One, it requires us to keep a steady quarter-note rhythm on top of a melodic bass riff. But before exploring this aspect of the figure, let’s take a moment to notice how the first two bars have virtually no down-stemmed (thumb-picked) notes. This is a clever arranging technique to keep in your bag of tricks, as it creates a tangible anticipation, setting the stage for a dramatic entrance by the bass line. Listening to some of Emmanuel’s arrangements, it quickly becomes apparent that they’re chock-full of these musical signposts, keeping us on our toes. Note the staccato dots appearing above each beat, indicating to play these notes short. This is accomplished here by lightly resting your pick-hand fingers on the strings quickly after sounding the notes. Things really get interesting during the last two beats of bars 3 and 4, when your pick-hand finger independence and overall rhythmic equilibrium are both put to the test, as eighth-note bass lines are played over the static quarter-note pulse.

It’s crucial to note that creating a compelling arrangement does not necessarily mean it has to be a complex one. Emmanuel has said that one of his main focal points when arranging is a song’s melody and how best to interpret and convey it on guitar, both from a rhythmic standpoint and in terms of employing the guitar’s articulation nuances, such as bends, finger slides and vibrato. A great way to do this is to actually sing the melody, then try to capture what you’ve sung. Let’s look at the basic melody to the traditional song “Amazing Grace” and see if we can find a creative way to play it so that it sounds more natural and soulful on guitar. Ex. 8a is a bare-bones rendition of a snippet of the tune’s melody, as you might find it in a beginner’s fingerstyle method book.

Ex. 8b brings the same melody new life by using some basic arranging techniques. Looking at the melody, now incorporated are a pull-off, finger slide and hammer-on, which ornament the articulations and phrasing over the first three bars, with grace-note finger slides added to beat 4 of bar 3. Note also how we’ve changed the rhythm on that beat, so that the G note now anticipates the final bar. In the accompaniment, notice how the chords are quickly arpeggiated on beat 1 of bars 1 and 3, and how some rhythmic motion has been added in bar 2. Finally, a gentle hammer-on rounds out the phrase in bar 4. Now you’re playing music, instead of just notes.

Let’s finish things off with one of TE’s most favorite techniques, the harp harmonic (“H.H.”). Invented by Chet Atkins and developed even further by Lenny Breau, a harp harmonic is sounded by fingerpicking a fretted note while touching the string very lightly with the tip of your pick hand’s index finger at a node, typically 12 frets higher, to generate an octave-higher harmonic. While doing this, pluck the string with your thumbnail (or thumb-pick). The result should be a harmonic one octave above the fretted pitch, comparable to a 12th-fret natural harmonic on an open string. Note that, just as other, higher natural harmonics can be sounded on an open string — for example, seven or five frets above the nut or “zero fret” — the same is true with harp harmonics.

Ex. 9 employs these harmonics to an open D chord, adding some extra sparkle. Next to the initial tab number indicating the fretted note or open string, you’ll find another number in parentheses, which indicates the fret above which you are to lightly touch the string as you pick it. Just as you would with a natural harmonic produced with open strings, be sure to touch the string directly over the fret indicated, in order to correctly target the harmonic node.

Like Breau, Emmanuel often mixes harp harmonics with regular fretted pitches, creating a lush, cascading effect. Ex. 10 is inspired by his version of “Somewhere Over the Rainbow” from Endless Road, which begins with a beautiful harp harmonics-fueled intro. The key is to let the notes ring over each other by having each chord form fretted before sounding the first note of each bar. Notice how incorporating harmonics into basic chord shapes produces a smooth, scalar line.

If you are to take just one thing away from having spent this time with Emmanuel’s music, remember that it’s how he plays the notes, by way of his daring arranging choices and masterful use of charismatic techniques, that contributes so much to his being a most exceptional player — a Certified Guitar Player, that is.