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Guitar Techniques

Guitar Techniques January 2020

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

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United Kingdom
Future Publishing Ltd
4,45 €(VAT inclusa)
35,71 €(VAT inclusa)
13 Numeri

in questo numero

2 minuti
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…

2 minuti

YEARS AGO I had no idea what modes were. In fact I couldn’t believe you could use scales from ‘other’ keys to create a solo in the key in which you were playing. Yet I’d hear guitarists whose improvisations sounded completely different to what I was doing. I recall a moment with the great Allan Holdsworth. It was 1986 Summer NAMM and we were there for SynthAxe: me as an employee and he as our number one ambassador and player. We were all having dinner at an Indian restaurant in Chicago and I was sitting next to Allan. As he ordered his “ring of fire” I asked how it was that he could play notes that in his music sounded amazing, but were I to play them would sound awful, or…

1 minuti
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…

4 minuti
food for thought

When I got a scholarship to study at The Guitar Institute back in 1996, I was honestly expecting to be the worst in the class. I showed up on the first day thinking that I was going to be the awkward kid from some distant island that wouldn’t be able to keep up. After chatting with a few of the guys, I discovered they all felt the same way. It worked out that I was one of the more experienced players and could indeed hold my own, but I never forget the fear I felt on that first day. Today I see it in students at almost every workshop I run; that first-day fear - everyone feels they’re not good enough and going to be the runt of the litter, all…

4 minuti
session shenanigans

“Everybody dance, do-do-do Clap your hands, clap your hands Everybody dance, do-do-do” (Alfred Lord Tennyson, 1809-1892. Or Nile Rodgers, 1952- present. Not sure.) Back in the day, where would an impecunious plectrist have been without the all the gigs that offered employment to bands for dances, weddings and anniversaries? And, since the dark day of the DJ had yet to dawn, music-making was digital only in the anatomical sense. If your alcohol-fuelled, family feud-ridden, acrimony-filled function needed musical accompaniment, it had to be either live or lacking. Hence the opportunity to fill your Ryman’s career-to-view diary with two or three jobs per weekend, a fortnight of pre-Christmas office orgies and well remunerated New Year’s Eve descents to the depths of Auld Lang Syne, The Conga, and Twist And Shout. Throw a…

5 minuti
instrumental inquisition!

GT: What is it about guitar instrumentals that particularly appeals to you? JA: A good friend and songwriter came up with a great lyric, “Words are made to lie” which is very appropriate, and I’m too lazy to lie about that which is a luxury not everyone can afford, so to speak. GT: What can an instrumental provide a listener that a vocal song can’t? JA: One could say the same about the book or the film about the bible, but in this case I like the film better because it has both. But the mystery in music is greater and takes your spirit to different places. Imagine Django Reinhardt playing on Montmartre at the Hot Club du France on just an acoustic guitar, with Stephan Grappelli on violin. GT: Are there any tendencies…