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Guitar TechniquesGuitar Techniques

Guitar Techniques March 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

United Kingdom
Future Publishing Ltd
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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. No ‘Jack of all trades and master of none’, he nails every one with ease!. MARTIN GOULDING One of the world’s foremost rock and metal guitarists, Martin teaches for dime-online.org and has written for many of…


neville.marten@futurenet.com ROCK AND ROLL is where modern guitar playing started for a host of now famous players. Whether it’s Clapton and Keith Richards citing Chuck Berry, Jimmy Page bigging up Scotty Moore, Jeff Beck saying Cliff Gallup was his man, Mark Knopfler’s stating of his love for Hank Marvin, or George Harrison’s fixation with Carl Perkins, Paul McCartney with Buddy Holly, or Albert Lee and Jimmy Bryant; these players from the previous generation certainly ignited something. Especially so over this side of the pond. We’ve covered rock and roll before in GT, but thought the time was right to take a fresh look. So we asked Stuart Ryan - usually our Acoustic columnist but also a fabulous electric player - to take it on. Stuart also took the immense trouble to do it…

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…

food for thought

Anyone who explores music theory will start to see mathematical patterns – they’re all over the place. In this article I’d like to share with you some ideas on using numerical patterns applied to scales – I call them ‘melodic sequences’ and they’re super useful, often sound great and are awesome exercises to help your fingers break out of old patterns. You will find that the things you practise are the things you play when you improvise and so running scales up and down can be a dangerous thing to practise too much, since they rarely sound cool in an improvisation. However, melodic sequences can sounds really musical and are in my opinion a much more fun and usable thing to practise – and the king of them all is ‘3rds’. Chords…

session shenanigans

I think it’s about time (or more accurately, long overdue) that I confronted the inner child in me and the outer anorak in my loyal readership, and treated you to a rundown of what future historians will fail to call, ‘The Mitch Dalton Electric Guitar Collection’. And what one fine day eBay will doubtless refer to as, ‘Job lot of assorted fretted instruments for sale - opening bid £5.’ To be scrupulously and unusually fair to myself, I’ve never been much of a collector of guitars per se, purchasing instruments during my career solely on the basis of ‘fitness for purpose’ (or any other hackneyed media phrase that you may care to insert here). My theory as to why I drool not at gold-plated pickups, fail to salivate at the sight…

instrumental inquisition!

GT: What is it about instrumentals that appeals to you? MR: As a guitar player, there are a lot of different things I listen for with instrumental guitar music, or even instrumental music in general: the song, the melody, the phrasing, vibrato, tone and having some chops in there is cool, too. It doesn’t matter if it’s fast or slow, it just has to say something. GT: What do you think an instrumental can provide a listener that a vocal song can’t? MR: I guess that depends on the listener and on the particular piece of music. I think with a vocal and a lyric, the message is clear; but with instrumental music, there is, maybe, more left to the imagination. A great melody is a great melody, either on a vocal or…