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Guitar TechniquesGuitar Techniques

Guitar Techniques

August 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

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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

MANY YEARS AGO I was asked to teach Blues Level 3 at the International Guitar Festival (IGF) Summer School. It was based at Bath Spa University campus on the edge of town, and so was local to where I lived. I’d never really contemplated teaching before. However, the various appeals to my vanity worked and I found myself sitting with my guitar in front of a class of 20 or so people, of all types, ages, nationalities and abilities. I remember it vividly: I’d done some planning, obviously, but when it came down to facing the group I had literally no idea what to say. Then I opened my mouth to speak and in a flash the whole week was gone. It was one of the best of my life and…

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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! * PLEASE NOTE: Only the Apple version contains interactive tab and audio. Zinio and others do not. DISC AUDIO (PRINT VERSION…

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food for thought

I’ve always wanted to collect all the cards, have the whole set. But as I get older and wiser I’m thinking that having only the things that make me happiest is most important. I’m working on a series of Legato Pentatonics (which may appear in next month’s column) and I’ve hit a conundrum which I’m still thrashing out, and thought it would make great food for thought for many of you who, like me, have very limited practice time. Melodic Sequences are where you apply a number sequence to a scale and end up with a pleasing sequence of notes that makes for interesting melodic ideas or a challenging exercise. These kind of patterns are used by almost everyone in one way or another. I’ll go into a bit of detail here about…

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session shenanigans

In retrospect, I had the luck to be a member of the last generation of musicians that served their apprenticeship on the stand and cut their teeth on the date itself. While it’s true that I also studied classical guitar with Carlos Bonell at The Royal College Of Music and have the piece of papyrus to prove it, that’s not strictly relevant to the thrust of my argument. Because back then there were no jazz degrees to be obtained at music colleges, no established rock schools to provide a structure and not even much in the way of enlightenment from specialist publications. Unless you include Autocar and Men’s Health UK. Basically, we had gigs. Gigs that were relatively plentiful, gigs that paid (just enough) money to pay the rent without teaching…

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instrumental inquisition!

GT: What is it about instrumentals that appeals to you? JK: The first guitar instrumental I listened to was the ‘96 G3, with Joe Satriani, Eric Johnson and Steve Vai. I was blown away by Steve Vai; the way he speaks through the guitar, expresses his emotions with notes. I was like “Wow, I haven’t heard anything like that before. This is a new world to me!” GT: What can an instrumental provide that a vocal song can’t? JK: It provides room for the audience to imagine freely. The audience feels instrumental music differently and imagination flows from the music alone. For example, when you listen to a singer’s sad break-up song, your mental picture is shaped by the words. If the listener doesn’t identify with those particular lyrics, the emotional impact is…

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