One of the greatest and most influencial electric blues guitar players of all time is T Bone Walker. Apart from playing very musical sounding single lines his chord voicings and double stops were outstanding. He died in 1975 at 64 years of age. When you hear Hendrix play a slow blues it’s hard not to hear T Bone Walker. His playing was a lot more sophisticated than a lot of other players. The video Youtube blues song is called “Don’t throw Your Love on me so Strong”
When I listen to some of the players out there now on electric guitar it shows me how far we have come in the last 30 years. This guy is exceptional and his interpretation of Pacelbels Canon is a great lesson in being yourself, well at least taking the techniques that define your particular style and applying them to an already existing piece and giving it a new life.
It’s very hard to have an electric guitar site that specializes in electric guitar and not to include Gary Moore – Still Got the Blues for You. This song is a minor blues, I’ve always found the minor blues (Built from using Minor chords instead of a standard seventh chords much more soulful and this tune is a perfect example of the emotion and depth of sadness that can come from minors. I just love that singing Les Paul sound. And in a way it reminds me at times of Carlos Santana at times on the slow notes. Gary Moore has exceptional control right up the top of the fretboard. I can’t imagine how many players have been influenced by this tune and how many will be in the future. Hats off to Gary Moore.
Previously I posted about Gary Moore doing The Thrill is Gone with B B King, so if you enjoy this video, you’ll like the other one. Click the link to got to the Article The Thrill is Gone
Daryl Stuermer is not a guitar player that many people will know of. I first saw him with Jean Luc Ponty live playing the most incredible acoustic guitar in the seventies. He’s also worked with Phil Collins and on many other projects, you may not know of him but I have no doubt you’ve heard him play.
If you are a guitar player you may be interested in what he has to say because he discusses the changes that have happened in the way that musicians now get their work out there into the music world.
Here is a link to his site Daryl Stuermer
Here’s a great classic sounding youtube video of Creedence Clearwater Revival with John Fogarty’s incredibly swampy sound playing the soul hit Heard it through the Grapevine.
Ronnie Jordan is a very good contemporary jazz player, he plays very musically compared to a lot of other players and his emphasis is very much on feel. In this youtube video he is playing the jazz standard by Miles Davis called So What.
Robben Ford is probably the guitarist that I have been most surprised with over the years. When I first heard him in about 1979 he was a good solid player, at that point I had no idea he’d develop into the player that he has. In the blues rock field he’s second to none. If you’ve heard him do Talk to Your Daughter and Born Under a Bad Sign you’ll know what I’m talking about. It wasn’t until about 10 years ago that I was asked to play one of his tunes in a band that it struck me how far he’d come as a player.’ His ability to control the dynamics of a tune and change gears instantly is what I find extraordinary.
This video also includes a great Tutorial on what Scales Robben Ford uses in a blues.
Like many guitar players I comfortably move between electric and acoustic guitar, I also swap from plectrum to fingerstyle without even giving it a second thought and will often play both in the one song. This wasn’t always so and it took quite some years to get to the point where the transiton was seamless, or in a way thoughtless, in this case thoughtless means without thought, not careless.
In the initial stages, as a rule most players want to be able to play just like the great or famous and not so great players and it takes quite some time to develop ones own musical voice, this means our own particular way of expressing through the guitar. But there are many players that don’t develop their own musical voice but just rehash the work of others, to be honest with you I am not interested in that sort of guitar playin at all, and if that’s where you are at you’re probably at the wrong site.
Generally, if a person doesn’t undertake some sort of formal or semi formal lessons that are well structured to take a player through a step by step process, which is well thought out to cover all aspects of music, the player will be missing a lot of real musical pieces and much of what they do will be imitating riffs and solos and playing rhythm parts of songs that they like. This is all very well but in the long run, it is an incomplete proceass and it will be a very long pathway to becoming a balanced guitar player musician who is equiped to play professionally.
The trouble with a lot of guitar players is they often only learn to play little bits of songs, does this sound familiar to you? A bit of a solo here, a riff, a rhythm pattern, a couple of chords, a few scales or modes and lots of facial grimaces and other odd expressions. When you look at the previous scenario and analyse it, you’ll see that is very, very common amongst guitar players, particularly electric players and it is a very fragmented approach. Acoustic players will often play songs from end to end as they will sometimes sing as well, but this is not always the case.
I have an extremely simple solution to enable any guitar player to bring all the pieces together and become a good solid player who is capable of developing in a balanced way. Because I started playing 39 years ago and had formal lessons from very well respected guitar player / musicians, it gave me a great insight into what is required to develop wholistically as a player. The training I had involved the standard (what a lot of people would consider boring stuff), this included reading dots (musical notation) , understanding keys, improvisation using scales and modes, chord substituion, ear training and playing arrangements of tunes; the arrangements were complex by todays standards and were generally jazz tunes, or tunes with a truck load of chords in lots of different keys. Although all the things I have mentioned are extremely valuable, and in the long term are essential elements, I’m confident beyond a doubt that the most important of these things was playing solo arrangements of tunes (not to be mistaken for solos in the middle of songs).
And here’s why. Simply, you are playing music, and this is the goal that needs to be kept in sight always, but the following is very important. When you play an arrangement of a song you generally play an intro, a good intro often hints at the song without playing the song itself, it will spell out where you are going. Learning to play good intros will help you develop an ear for coming in on time at the right place when you get the opportunity to play with other players. A well designed intro is fantastic for working with other musicians because there’ll be no questions about where you are and where the song starts, this is essential; an audience, whether they are fully attentive or not will automatically, subconsciously make a decision on whether the song is going to be ok or not as soon as it starts, if musicians are not together in an intro they’ll have to work that much harder to get the audience interested in the music; the audience will automatically tune out if it’s not right.
When you enter the next part of a song, generally the verse, it is very important to be able to play a strong melody, this doesn’t mean to be stiff in your playing but a good melody is alwys hummable and very MUSICAL. I developed a strong sense of melody by consciously sitting down and working out dozens of vocal lines of songs (in my case I read the music dots) . The way you phrase a melody is what will define you as a player, knowing just when to pause and exactly how long to be silent for, how long to hold the note to the minutest degree ; also having the ability to slide or bend notes and to play around with the dynamics of the notes, this means the volume and intensity, making sure there is a variation.
With the chorus of the song the same principles apply as when playing the main melody of the verse. What you will need to do is to initially is to learn to play the essential notes of the accompanying chords of the song, this does not need to be complex and in the early stages when you first learn a tune, you may like to just play the chord for just one beat whenever they change and use the melody note on top (the highest sounding note) of the chord, regardless, what is important is you get in the habit of playing melodies and chords together. As time goes on you can be a little bit more inventive and play around with moving bass parts a little and playing additional passing chords.
Knowing exactly where you are with the chords at all times will enable you to start to improvise. Initial improvisation when you are starting out may just be adding a few notes here and there to the melody and as you become more advanced you will be able to move further away from the melody and also subsitute some of the chords. Learning a few blues and country scales will be very helpful in giving you some simple ways of adding interest to the improvisation without having to fry your brain with comolex modes, and in many cases you’ll find that using country scales are much more sensible than many of the other scales that could take you hours to learn but are really just major scales with fancy names because they start oln a different note than the key you are in.
OK, so where to start?
- Pick a simple song that you are very familiar with, just learn the melody, learn to hum it, if you think you can’t sing, hum it even softer
- You may find that the melody is more suited to be played in another key on the guitar than the original one; if necessary play the melody starting on another note, make it easy for yourself so when you eventually add the chords you won’t have to do finger gymnastics to play the chords and melody together and then find yourself giving up in frustration.
- The next step is to add the chords, make sure it is a simple chord pattern, if need be, leave out a few chords to start with. Often songs will still sound pretty right by dropping a few chords, you will be able to add other chords and additional parts later on.
- Once you have gotten to the point where you can play the melody and chords together, start to work back through the song playing the melody and chords with a small variation. Each time you play it through, alter it a little.
- When you are confortable with this, play the song through just using the chords and leave out the melody. Train your ear to hear where the chords are changing, I suggest that practice in your head without the guitar and visualise changing chords in your mind.
- Next, play only the chords once exactly where they change, if a chord goes for a while and is repeated, just change it on the first beat of each bar.
- Next play the chord followed by adding a little bit of guitar inprovisation, keep it simple, it often helps to hum what you hear in your head and then play it.
- After you have worked through the chords and improvise a few times, go back and play the melody and chords together again, as in step three and after you’ve done that a few times, return to the improvisation again. Keep it reasonably loose, there’s no need to be in a hurry.
- At some point you’ll need to add a simple ending; endings should be obvious sounding.
If you apply the above technique to a number of tunes, you’ll find your playing will become very strong. You should aim towards being able to play in a manner as if you were accompanying a singer and suddenly he singer fell off the stage, you will automatically be able to take over instantly playing the melody and chords as if it was meant to be. You can always ring the hospital later to find out if the singer is ok. :-)
I thought it would be a good idea to post about this youtube video on how electric guitars are made, this video was put together by the Godin Guitar Company. Lots of guitar players are not overly familiar with the process, it’s worthwhile getting a bit of an understanding how it all works.
Over the years I have personally built a handful of guitars, both under the guidance of others and also by myself from scratch. One major difference between building acoustics and electrics is that building an electric for me was much more industrial than an acoustic. In the initial stages of building an acoustic it is very fine work done with hand tools, wheras when I built an electric it was more sensible to use electronic tools to save time and in the finishing stages, hand tools were introduced to do the finer tasks that required greater precision.
A number of techniques used here in this electric guitar construction video are also relevant for acoustic guitar. Keep in mind that not all luthiers will use the same procedures. Do yourself a favour, if you can get into a guitar workshop every now and then to get an idea how certain things are done it is well worth the visit, some simple setup tasks can easily done by the individual and knowing how to fine tune your instrument can be a great advantage.
Some years ago I asked Ike Isaacs, a former guitarist from Stephane Grapelli’s band, “who’s the best?” He didn’t hesitate at that time to respond Martin Taylor. Coming from Ike Isaacs it’s a BIG call because Ike had played with Joe Pass, Wes Montgomery, Jim Hall, Howard Roberts, Ed Bickert…. the list is so long that it’s a history of jazz guitar. Martin is a Scottish born guitar player, and at first when you watch or him play it may not be obvious how good he is. But follow his music around for a while and you’ll begin to notice how exceptional he is. He’s one of those players that matured at a young age.
Not all players need to look flash, scream or shred to show their greatness. Martin is no doubt one of the best players on the planet and most of the great jazz players are aware of his brilliance.
In this jzz guitar youtube video Martin Taylor is playing the jazz standard Georia on my Mind.
Steely Dan has had some exceptional guitar players and this tune by the Dan is part of rock history. I remember getting this album around about the time it was released and on the back of it had a great article and it jokingly said, what the world really needs is another rck and roll band. Well in fact it did need Steely Dan and it gave us an introduction to Jeff Skunk Baxter and Denny Dias. Denny Dias never quite got the acclaim that the Skunk has gotten but listen to his parts in this youtube video. Unfortunately the cameraman that filmed this couldn’t work out who was soloing in the great guitar break, so we miss a little of the Skunks sollo at the beginning. How good is that guitar riff? and then the harmony?
When I first heard this youtube video of Steve Vai I noticed how he’d drawn from three other great guitar players, all of which I’ve posted about recently. Whether it’s intentional or not, it’s what I hear.
The first guitarist that hear in this tune is Wes Montgomery Wes was the master of playing octaves, e.g he’d play an E and then at the same time he’d play an E further up the scale, this was one of his distinguishable characteristics of his playing.
The next player I hear in here is Hendrix, I’m thinking Little Wing and also the way Jimi would play a slow blues and use all those hammer-ons and pull=offs whilst holding down a chord.
The next player I here is Jeff Beck, the tone is so Beckonian to me. Yes Steve Vai takes it and runs with it but I definitely hear Beck in there. From there he starts to use more contemporay style of left hand technique. And from there he reeps back into Hendrix.
Now this is my opinion, you may hear other elements.
The only thing better than one guitar is two, the only thing better than one great guitarist is two. Apply the afore mentioned principle to a song by a musical genius e.g. Jeff Beck ‘Because we’ve Ended as Lovers’ and the result is something extraordinary.
Lee Ritenour crept or quietly exploded into the jazz rock scene in the late seventies both as a ession player and band leader, and Steve Lukather was turning many heads with his perfect recordings and work with commercial band Toto. Regardless of what style we prefer as listeners, do yourself a favour, watch and listen to this guitar video.
Eric Clapton with Jack Bruce on Bass and Ginger Baker on guitar helped define British blues. This recent recording of Crossroads the Robert Johnson traditional blues classic is an example of how musicians can take a musical idea and make it their own, in the same way that Hendrix redefined All Along the Watchtower. Some may not know it but in the sixties people were calling Eric Clapton God. In an Eastern mystical sense that is true and also if you say he’s a guitar God, yep I’ll back that one up for sure. The control Clapton has is unbelievable, the way he can shift the dynamics of a song in a split second has always interested me; from screaming lead to sensible accompaniment without blinking.
Larry Carlton scared the living daylights out of me in the seventies with his intro to the Steely Dan song Don’t take me Alive. I was already familiar with his work prior to his work with the Dan. Robben Ford appeared on the scene a short time later. To hear these guys together is a bit of a treat, they function at a much higher level than most guitar players. That is not an insult to anyone at all, it’s just that they have done the hard yards of study and working on seesions and with other world class musicians. Two guitars interacting is always a ‘goer’ for me. These guys are two of the worlds best jazz rock players. If you are not familiar with either of these players, I highly reommend exploring their work.
I the mid nighties I was very interested in Guitar Construction. During that time I found an excellent book about Danny Ferringtons guitars, the book came with a CD sampler of Danny’s guitars that he had made for some exceptional guitar players. One of the guitar players was a guy called Randy Jacobs. I’ve written about Randy because you may not have heard of him. The video is a production music vid but it features Randy on guitar and it won’t take much for you to hear how good he is from the opening riff. His tone is superb and and he’s feel for a song is second to none. And hey, how good is the guys voice.
You may know Fleetwood Mac as a pop band. But prior to their massive success they were very much a blues band and amongst guitar players Peter Green was regarded as being at the top of the list playing his beautiful sounding Les Paul. The song Albatross did make it to the airwaves, it’s very etherial and the restraint is something in this tune is to be admired.
Peter Green playing a blues on a strat
If you like electric guitar you’ll love this, Joe Walsh. You may know Joe Walsh from the Eagles, but his musical history goes way back to the James Gang the band was with years ago and also Joe Walsh’s solo albums with tunes like Time Out. This tune is James Taylor doing Steamroller Blues but I had to post about it he because of Joe Walsh’s beautiful singing electric guitar fills are so good it would be a shame if you never got to hear his guitar fills.
Carlos Santana is the guitar player that for me has the sweetest distortion I have ever heard. There is a romantic side to every musician, some are a little afraid to admit it. But when I was 14, and that’s 38 years ago I oddly enough had the intelligence (or testerone levels) to recognise the beauty of the song Samba Pa Ti. I first heard it on the Abraxas album, with the Greg Rollie playing awesome keyboards. I think that the Abraxas album was a milestone in contemporay music. From memory Santana as playing a Yamaha guitar here and I think at the time he was using Mesa Boogie amps.
If Jeff Beck’s name that is mentioned amongst guitar players who have been around for years, it generally creates a feeling of humility. Regardless how good you be, it’s always hats off to Jeff Beck. My first real awareness of Jeff Beck was on the Beck Bogart and Appice album in the early seventies, with tunes like Black Cat Moan and Superstion. This led me to explore his earlier work like Rough and Ready with Bob Tench on vocals and Max Middleton on keys and introduced me to tunes such as Definitely Maybe.
I was fortunate to see Jeff Beck play live once with Jan Hammer, the keyboard player. His tone is unmatchable by players, his technique unique because he plays fingerstyle, but it doesn’t sound like it. His control of elecronics is so far ahead of most other players.
The Jeff Beck Youtube video is called Nadia. When I first heard it, my thoughts were that he had bridged the gap between Indian music and rock, and I don’t mean Bollyrock. I mean the deep transcendal side of Indian music that digs deep into the soul of each us.
And yes, as a guitar player, I am humbled when I hear this tune.
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