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Guitar TechniquesGuitar Techniques

Guitar Techniques January 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...

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 the world’s top guitar mags. CHARLIE GRIFFITHS Guitar Institute tutor Charlie first came to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s top…


neville.marten@futurenet.com I’D BEEN AT Guitarist mag just months when my boss bumped into Brian May at an event and asked if he’d be willing to talk to us. He agreed and it was arranged for me to visit Queen’s office in Notting Hill. Brian’s one stipulation was, “Don’t be late, as I have to be elsewhere later that day.” I’ve always had an issue with poor punctuality so no problem there. How wrong could I be? I lived in north Essex so gave myself 90 minutes extra just in case. The office was the other side of London, it was pre sat-nav and mobile phone but I was confident I’d get there on time. I would have done, too, had it not been for an accident that shut the A12 for two…

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

“DON’T BE AFRAID TO STEP OUTSIDE THE MINOR PENTATONIC PATTERN. IF WE ADD 6TH AND 9TH WE GET DORIAN MODE” A few days ago I had a workshop at the UK Guitar Show. In it I explored the various scales (alphabets) of the blues and how they effect the language (words). I got a lot of positive feedback so I thought I’d share it with the wider readership. And to keep things very guitar-centric all of this lesson is in the key of A. The Minor Pentatonic is the alphabet from which most people learn their first blues words and sentences. Many times they do a whole lot of scale playing and not enough ‘word’ learning so, if this is where you are at be sure to spend the majority of your…

session shenanigans

I recently wrote myself an arrangement of When You Wish Upon A Star, the hit song from Disney’s 1940 classic, Pinocchio. It was a chord melody thing for fingerstyle guitar. I threw in a few altered voicings, one or two harmonic devices and some of my own particular clichés and jotted it down the old-fashioned way, utilising papyrus and pencil. In all fairness, I thought it wasn’t bad. A couple of committed fretting chums showed interest and I scanned it and sent it over to them upon request, thus combining traditional rustic skills with cutting-edge modern technology. One recorded his interpretation and emailed it back and the other afforded me a live rendition. Both of which gave me food for thought concerning the mechanics of practicing our common instrument. Putting to…

instrumental inquisition!

“INSTRUMENTAL MUSIC AFFORDS YOU THE OPPORTUNITY TO BUST OUT ALL THE TOYS AND CREATE SONIC LANDSCAPES” GT: What is it about guitar instrumentals that most appeals to you as a writer? GL: Two things ; I like to hear guitar phrasing that emulates or takes the place of a melodic vocal line and two, it’s a chance to hear a guitarist stretch out in a way that they can’t in the context of a traditional vocal based arrangement. GT: What can an instrumental provide a listener that a vocal song can’t? GL: The guitar is so flexible by design that in the creative hands of a Beck or Hendrix the sonic options become almost endless. Even the best vocalists have to work within the physical constraints of the human physiology. But still nothing compares…