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category_outlined / Film, Télé et Musique
Guitar TechniquesGuitar Techniques

Guitar Techniques

September 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

Pays:
United Kingdom
Langue:
English
Éditeur:
Future Publishing Ltd
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J'ACHÈTE CE NUMÉRO
6,88 $(TVA Incluse)
JE M'ABONNE
55,14 $(TVA Incluse)
13 Numéros

DANS CE NUMÉRO

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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

ALTHOUGH THE GUITAR industry is changing fast, with online instrument sales soaring while certain retailers struggle, the perception that the six-string is in trouble couldn’t be more wrong. Despite Gibson’s well reported troubles they too have seen a recent rise in sales. The National Association of Music Merchants (NAMM) in the States reports guitar purchases up by a significant margin over the past 10 years. While the big ‘heritage’ guitar companies continue (and indeed need) to cater to the old guard who can’t live without their vintage-style Strats, Les Pauls and D-28s, many have begun seeking out a new breed of player that couldn’t care less what Peter Green, Hank Marvin or CSN&Y played; they simply want a guitar that does the job And that’s good news for the future. When we…

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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! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go…

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food for thought

I’m writing this in an airport lounge having just spent a week in Italy. I was running a workshop aimed at acoustic guitarists getting into playing electric with a band for the first time. There were a few more experienced guys but the majority were electric virgins. The song the first day was Satisfaction. After the morning song prep lessons we have lunch and then offer further lessons related to song, developing solos and that kind of thing. But it became apparent over lunch that people were in shock and needed more time working on the song. “But it’s so simple,” said a doctor, “Why are we struggling so much?” “Simple ain’t easy” is one of my favourite catchphrases, and while often applied to AC/DC, I think it works across the board…

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session shenanigans

If you were offered the chance to board a Time Machine Airways flight to 1960, travel Business Class at the speed of light with unlimited complementary canapés for the entire fifty-second journey, and then date Marilyn Monroe every day of the week for the rest of your life upon arrival, here’s the thing. After about a fortnight of chauffeured limousines to a succession of Michelin starred restaurants complete with obsequious attention to your every whim, followed by chaperoning said young lady back to her Manhattan hotel hovel for a series of entertaining nights discussing Proust, guess what? You’d tire of it, is what. In the rather more elegant words of Mark Twain, “Work consists of whatever a body is obliged to do. Play consists of whatever a body is not obliged to…

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instrumental inquisition!

GT:What is it about guitar instrumentals that appeals to you? JM: I guess that I don’t have to write lyrics, lol. Also, in the absence of lyrics you have to find ways to be expressive and unusual melodically without the lyrical vehicle. Plus you have a legitimate reason to let rip at some point. GT: What can an instrumental provide a listener that a vocal song can’t? JM: That’s it’s painting a picture without words. Lyrics have a visual pointer so in some ways that sets the precedent for mental imagery off the bat. GT: What do you embrace or avoid with instrumentals? JM: I aim to avoid at all costs pointless shredding from the outset. It has to be about dynamics. If you start a song playing 32nd notes you have literally nowhere to…

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