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Guitar TechniquesGuitar Techniques

Guitar Techniques

December 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

Country:
United Kingdom
Language:
English
Publisher:
Future Publishing Ltd
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13 Issues

IN THIS ISSUE

access_time2 min.
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. 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. CHRIS BROOKS Aussie metal and prog guitarist Chris’s Speed Strategies For Guitar is published by Fundamental Changes. CDs include Axis Of All Things and The Master Plan. 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 GRIFFITHS Guitar Institute…

access_time2 min.
welcome

I CAN VIVIDLY remember the moment I discovered legato. And where. And what guitar I was playing. I lived at home in Essex and I was 18. I was a huge fan of all the late 60s bluesy-rockers and listened and played to Cream records for hours a day. I was using my brother’s six-guinea Egmond and had detuned it, Albert King style, so I could bend notes on the wholly unsuitable strings. There was a thing Clapton and others used to do where they seemed to play impossibly quick clusters of notes. I couldn’t pick anywhere near that fast so believed they were possessed of superhuman powers. Then one day I was noodling on the Egmond, when my third finger accidentally slipped off the edge of the fretboard and off the…

access_time1 min.
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…

access_time4 min.
food for thought

I’m just starting a new podcast series in which I interview teachers, academics and skilled players about the future of music education and how students should approach learning music in this ‘new world’ where information is mostly free and there is a LOT of content available (from a vast range of people with varied quality of output). It’s been fascinating and I’ve only just scratched the surface. One thing that became apparent very quickly is that the modern musician requires a much broader skillset than they did when I was learning my craft – and it’s that that I’d like to explore today. If you want to be a pro (or semi-pro) musician you need to be able to play – and the path you take to learn your instrument and songs…

access_time4 min.
session shenanigans

“Working for other people is important. It’s what separates us from the animals. And those with individual voluntary arrangements.” I like to think that Homer Simpson, the bard of broadcasting and sage of our age, would have said that eventually. But no matter. It’s always a source of considerable satisfaction and no little relief to produce musical performances that meet an acceptable minimum standard commensurate with prompt payment. However, it’s also equally important to find the time and energy to do your own thing. I mean, that’s why we chose our instrument in the first place, right? Delightful as it may be to stun the client with one’s virtuoso banjo stylings on McDongle’s Spicy Rabbit Pellets, man lives not by cat food commercials alone. Nor do cats, in all fairness. “SOMEDAY WE’LL…

access_time7 min.
album inquisition!

GT: Thirty-one years have passed since the release of It Bite’s second studio album. Why do a tour to celebrate it now? FD: I’ve been touring for years. I normally play three electric shows per year in January and this is just another one of them. I think the marketing is more forceful, that’s why you may think its new. GT: You talk of doing the whole album note for note. That level of reproduction is a considerable challenge for everyone. FD: When you have the original members it’s very easy because they know exactly what to play and how to play it. But with a new band you spend most of the time shaping the approach. It Bites always had a weird approach to songs. They sound easier than they are. To…

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