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Guitar TechniquesGuitar Techniques

Guitar Techniques

October 2019

Take the UK's foremost guitar teachers and players, and transfer their finesse and passion for music into a magazine! The magazine has established itself with guitarists who wish to better themselves as musicians in both the UK, Europe and as far afield as the USA and Hong Kong! When it comes to choosing music, GT's Abba to Zappa policy means that there's always something for everyone! Please note: This digital version of the magazine does not currently include the covermount items or content you would find on printed newsstand copies

Land:
United Kingdom
Taal:
English
Uitgever:
Future Publishing Ltd
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4,75 €(Incl. btw)
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13 Edities

IN DEZE EDITIE

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just a few of your regular gt technique experts...

SIMON BARNARD Simon is a graduate of ACM and The Guitar Institute, holding a Masters degree in music. He teaches, examines and plays everything from rock to jazz. SHAUN BAXTER One of the UK’s most respected music educators, Shaun has taught many who are now top tutors themselves. His Jazz Metal album is considered a milestone. RICHARD BARRETT One of the finest blues and rock guitarist we know, Richard is a stalwart columnist for Total Guitar, Guitarist and GT. He’s also Tony Hadley’s touring six-stringer. JON BISHOP Jon is one of those great all-rounders who can turn his hand to almost any style. He’s also rock legend Shakin Stevens’ touring and recording guitarist. MARTIN GOULDING One of the world’s foremost rock and metal guitarists, Martin teaches for dime-online.org and has written for many of the world’s top guitar mags. CHARLIE…

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welcome

IT’S GUITAR TECHNIQUES’ 300th issue! Actually that’s not quite true: it’s the 300th issue since Future Publishing bought GT in 1996. We’d been going since March of 1994 so in reality it’s more like issue 332. But what the heck? We need no excuse to celebrate the fact that we’ve lasted 25 years and counting - especially as such a specialist title, struggling for your attention in these times of free Internet lessons (bad as many of them are), and the desire to have it now! We began in simpler times when what we offered simply wasn’t available elsewhere - certainly not at such high quality and with the sheer class of tutor that GT brought to you. Today’s roster of writers is just as amazing, and the breadth of styles that…

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check out our amazing digital edition

Tap the links Finding your way around the magazine is easy. Tapping the feature titles on the cover or the contents page, takes you straight to the relevant articles. Any web and email links in the text are tappable too! Animated tab & audio All the mag’s main lessons have the audio built in with a moving cursor that shows you exactly where you are in the music. Simply tap the ‘play’ button and you’re off - you can fast-forward or scroll back at will. Play the videos Certain articles have accompanying videos full of useful insight and additional information. Once again, tap the play buttons to enjoy video masterclasses on your iPad (recommended) or smartphone. PLUS! * PLEASE NOTE: Only the Apple version contains interactive tab and audio. Zinio and others do not. DISC AUDIO (PRINT VERSION…

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jam tracks tips

➊ Slow Blues (A) We start with this simple slow 12-bar blues shuffle in A. Use A Minor Pentatonic (A-C-D-E-G) and A Major Pentatonic (A-B-C#-E-F#) as your starting point and then see if you can work in the arpeggios: A7 (A-C#-E-G), D7 (D-F#-A-C) and E7 (E-G#-B-D). These work a treat. ➋ Minor acoustic blues (Am) Here we have a really simple A Minor blues progression, strummed on an acoustic guitar. Our favourite A Minor Pentatonic (A-C-D-E-G) works great here, as does the A Minor scale (A-B-C-D-E-F-G). ➌ I-VI-II-V jazz jam (F) The I-VI-II-V is one of the most basic progressions in jazz, so it’s a great thing to practise, whether you’re a beginner or advanced improviser. Arpeggios: F (F-A-C), D7 (D-F#-A-C), Gm7 (G-B b -D-F), C7 (C-E-G-B b ). F Major scale (F-G-A-B b -C-D-E)…

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phil hilborne’s one-minute lick

THIS LICK IS TYPICAL of the combined chordal embellishment and single-note phrasing that the legendary Joe Pass might have played at the end of a tune. It’s based on a simple II-V-I idea: D13-G13-CMaj7. Notice the D13 dominant II chord here. This is known as a V of V secondary dominant as opposed to the diatonic II minor chord of Dm7. This is a very common jazz substitution. You will find some chromaticism in the opening descending line from the D13 chord, a b5 substitution (Ab7#5), and finally a closing line that uses a typical‘scale note above, chromatic note below’, C Major chord tone idea that ends up on a natural harmonic triad that becomes a full Cmaj7 chord when the final C bass note is played. On the recorded…

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hindsight is 20-20 vision!

With GT reaching its 300th issue we’ve been reflecting on the vast amount of tuition we’ve presented you since March 1994. To augment this, we’ve been in touch with a colourful array of our celebrity friends to reflect on their early developments as musicians. Looking back, what areas did they feel could have improved their early years of playing? Read on to check out their fascinating replies... 1 JOHN MCLAUGHLIN Founding father of jazz-rock fusion guitar 1) A technique based ‘I wish’. I wish I could have had either a drum kit and teacher, or the possibility to learn and be able to articulate the fundamentals of rhythm. In improvised music, 99% of the time we play with drummers, and to fully understand what they are playing is essential in this world. 2) A theory…

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