NEW This unique Creative Guitar Studio course explores exercises for increasing dexterity and coordination between the hands. The goal of the course is to increase awareness, mobility and control.
Lesson 009 of Guitar Technique works through six studies across four exercises that demonstrate the way to develop legato used on single and on multiple string groups.
The exercises expand to cover scale runs in both ascending and descending ways. The video lessons demonstrate each legato technique drill in detail.
Part one and part two of the lesson cover single and multi-string legato performed in position. In parts three and four of the lesson scale runs are introduced as both ascending and as descending five string group exercises.
Paying members of the Creative Guitar website can watch both video lessons and download the PDF handouts, and the MP3 play along tracks...
Join the member's area to download the PDF handout and start study of these exercises. Study all of the examples with full access to both video lessons...
PART ONE:Exercise 1a, demonstrates legato performed in position using a "simple" three note pattern on 3rd-string sixth position. Learn to control the way each attack occurs along with each hammer-on and pull-off.
In exercise 1b, the three note example from exercise 1a is expanded to include more repetition across the tones. The drill operates for longer and requires an increase of the technical stamina.
PART TWO:Example two moves on to use more advanced legato technique across more string sets. The line crosses from 2nd to 3rd to 4th guitar strings. These string changes will require a "tap hammer" in order to accent the note played over to the new string.
The riff in example 2a, is a simple flow of tones from 2nd, to 3rd to 4th guitar strings. Apply pull-off's, slides and tap hammers to be able to change position and cross from string to string.
The riff in example 2b, stretches the quantity of tones that were incorporated back in exercise 2a. An application of both slides and hammer-ons must work together to produce the smooth legato feel required to generate the sound of this study.
PART THREE:
Exercise three breaks down the application of longer scale runs across a group of five strings. This type of longer run will require greater control as repetitive hammer-on's must be applied very smoothly along and across the neck.
The run in exercise three begins off of the eighth fret of the 5th-string and travels up to the third string. It then doubles back to 4th string before moving through another run of tones from the 4th to 2nd strings.
PART FOUR:Exercise four takes the study of descending legato along and across the neck. There are several technical shifts required to be able to smoothly transition this phrase along the fingerboard.
The key of "A Minor" exercise begins in the tenth position (on the 1st-string), and shifts downward into the eighth position. After that, the note choices drop along the string groups traveling from the 1st and 2nd strings all the way down to the 5th string.
What gauge of guitar string sets do you use? Are your strings; 9's, 10's or 8's? Do you even know what gauge you have? Many players don't!
Stop experimenting with changing string gauge and start realizing that your gauge has all kinds of consequences on your guitars action and your tuning.
This week's discussion breaks down the world of guitar string gauge and will help you determine where you are now, and where you may want to go...
In this episode of the “Guitar Blog Insider” we’re going to discuss
string gauge and what you’ll need to consider 'if and when' you decide to
change out the strings that you have on your guitar now to a new gauge
of guitar string in the future…
Changing Gauge is a Choice As guitar players learn to develop higher levels of playing technique, and as we’d get better at soloing, chord strumming and playing all kinds of different riffs, we may want a different guitar tone. And, changing string gauge can achieve that. Once we go on to learn more about playing in different music styles our choice of string gauge will very likely change to achieve new tones from our guitar as our playing evolves. But, obviously there’s a lot more to it than that. Until 2009 world famous rock guitarist "Joe Satriani" played gauge "9 - 42." However, Once he started playing with Chickenfoot, (they performed their songs dropped down a half step), Joe said that the 9-gauge strings just got too floppy so he decided to move up to 10s. After making the switch he stayed at gauge "10 - 42" with the lowered Eb tuning. Satriani said, "at the time it was mainly for the convenience, but in the back of my mind I kept thinking, 'Hendrix was in Eb, lots of great bands stay at Eb.' So I just kind of stayed there, I kinda liked the sound of it."
Different Gauge for Different Styles and Guitars You might want to have different guitars that you own to be strung up with different gauge strings, for playing different styles and for doing different techniques, such as; playing with a slide or, perhaps for when you're playing more legato style, or for sweep picking or speed picking. It all depends upon what type of guitar playing that you're doing. Is there a “Standard” String Gauge? Guitar strings come in several different gauges. We name them by their thinnest to the thickest. For example a set with an “11” thousandth of an inch first string, to a “49 thousandth” of an inch 6th string, would be called a set of 11 to 49’s. You can have strings in gauges that are very thin and there’s also very heavy /thick gauge guitar strings. But, there really isn’t a standard gauge, or what you might say is a, “One Size Fits All.” Basically, the gauge of string that you would choose to have on your guitar depends on whether you’re playing an acoustic guitar, a nylon-stringed classical guitar, or an electric guitar. After that, it more or less depends upon your preferred style of playing. However, if you’re a beginner player, you’ll likely want to consider 'ease of playing' in your string gauge decision (above all else). Basically, the thinner the guitar strings are, and the lower the string height is to the frets, (also known of as the guitar’s action), will allow for an easier time when playing the instrument. As string gauge increases to the thicker /heavier gauges, the ease involved with fretting chords and playing single scale tones will become more challenging.
The Best string Gauge for You The string gauge that you decide to have on your guitar is going to be a fairly personal thing. The way that you play, how long you’ve played, the type of guitar you own, all of that forms a direction in helping you decide on what string gauge to settle on. Keep in mind that as you move forward in your guitar playing, the string gauge that you use will quite likely change over the years. For example, new players often stick with the string gauge that came with the guitar they purchased. And, if that’s you, keep in mind that your guitar came from the store with a particular gauge of string on it, and the guitar was set up at the factory for that set. Playing with a factory set-up means that you should know exactly what gauge of strings that the guitar came with; because that will be the starting point from which you would decide whether or not you’d want to continue to use that gauge. Or, whether you would like to switch to a heavier or a lighter gauge. If you don't know what gauge that you have on your guitar, then you’ll have to ask a guitar technician to measure the thickness of the strings that are strung-up on your guitar right now and have them tell you what gauge you're using. IMPORTANT: The only way to properly measure the string gauge is by using a micrometer that measures a 0 to 1 in. range with at minimum of a 0.001 inch graduations.
Why Heavy / Why Light Gauge? If you’re curious as to why certain guitar players might want heavier or lighter gauge strings, you’d almost have to ask them specifically why they’ve chosen the strings that they use. Every serious guitar player with several years experience behind them has their own preferences. For example; take, “Eric Clapton.” He uses, string gauge 10 to 46 with his action set low on all his electrics. But, he likes heavier gauge strings on his acoustics, opting for gauge 12 – 54 on his Martin acoustic guitars. Now, contrast that with Stevie Ray Vaughn, and you’ll find that Stevie Ray had a heavy gauge of 13 – 56, but due to that thickness, he tuned his guitars down to “Eb.” Looking at guitarist; Eddie Van Halen he’s well known for his unique set of 9 to 40. Which is an odd gauge down on that low 6th string, but again, it works for him. Now, on the other hand, if we look at guitarist Jimmy Page, he likes to use a thinner gauge, on some of his guitars, (so he uses 8 – 38 on certain ones). But, on other guitars he actually likes the strings to be a little thicker, so he has some guitars with gauge 9 – 42. Finally there's guitarist, Billy Gibbons from ZZ Top. He likes really thin strings, and so he uses gauge 7 – 38. That’s a really thin gauge up at the 1st string, but for Billy Gibbons, they work the best. So, be sure to know the gauge that you decide upon is really the correct gauge you. It might take awhile, but once you learn what works the best, you'll be a happy guitar player for the knowledge.
String Gauge and Guitar Set-up If you change your string gauge you’ll need to think about 5 areas with respect to your guitars set-up. 1) RELIEF: The first is Relief, which is the amount of ‘bow’ in the neck. Truss rods counter-act tension and keep the neck more or less straight. So, increasing or decreasing string gauge may mean addressing the truss rod… 2). THE CUT IN THE NUT: Then, there’s the nut. If you go up a gauge of strings, you’ll need to be sure that larger strings are not binding and, if you go down a gauge, make sure that the string doesn’t have side-to-side movement. 3). INTONATION: There’s also intonation, because intonation is affected by the size /gauge of the guitar string, you'll need to keep a close eye on this one. Changing gauges may mean adjusting intonation to keep things sounding as in-tune as possible. 4). TREMOLO ARM SPRINGS: A change of string gauge can also affect a tremolo arm. The springs on your tremolo need to be in balance against the string’s tension. If you go up or down a gauge, re-set your tremolo. 5). ACTION /STRING HEIGHT: Finally, there’s your guitars action. Lighter strings means less tension and your strings will feel more ‘floppily’. And, a thicker gauge means more tension, possibly, making your guitar feel harder to play. So, by making an action adjustment it may help your guitar feel better compensated.
VISIT THE WEB-SITE: Well, I'd like to end the discussion by saying, thanks for joining me... If you want to learn more about what I do as an online guitar teacher, then head over to my website at creativeguitarstudio.com and sign up your FREE lifetime membership. Later on you can always upgrade to either a Basic, or a Premium lesson package and start studying all of the professionally organized guitar courses that I've organized for the members of my website.
Also, I'd be interested to hear your thoughts on all of this in the comment section below... if you enjoyed this video, give it a thumbs up and subscribe for more. Thanks again and we'll catch up next week, for another episode of the, "Guitar Blog Insider."
If you're ready for a brand new sound in your guitar solos, then this lesson is going to open a few new doors. This session will cover an alternate way of viewing and using scales. Doing this will help you to compose melody lines that will end up offering a slightly different perspective to the way melodic ideas are used on the guitar...
THE PRINCIPLE: In jazz, we will often apply a principle called “Diatonic Substitution” with either chords or by using arpeggios. This is a really effective idea because it allows us to super-impose other arpeggios or chords, (like maybe using a Major arpeggio - over a Minor chord), or the same thing could be done going minor to major. What a lot of guitar players don’t realize is that you can also do this using the Pentatonic scale. For example, let’s say that you had a, “Minor” chord. Over that chord, you could perform a substitute “Major Pentatonic” scale. A nice one that I like is to apply is the Major Pentatonic scale performed from a root that’s located a Minor 6th away from that Minor chord. So, if for example, I had an “F Minor” chord, I could play a, “Db Major Pentatonic” Scale, and it would sound really interesting.
THE THEORY BEHIND THIS: In respect to the music theory behind why this works so well, you’ll need to study the notes in that underlying chord of “F Minor” along with the notes of the “Db Major Pentatonic Scale.” What you’ll discover is that the chord tones of the minor chord and the scale tones of the pentatonic scale generate some cool intervals that operate inside and outside of the chord-tones.
That “Db” Major Pentatonic scale has the “Fm” chords’ root, (F), and the minor third, (Ab), along with the diatonic flatted seventh chord tone, (Eb). The Major Pentatonic also gives us a, “Perfect 4th” (Bb), and there’s a slightly dissonant effect from the root of the Major Pentatonic scale (Db). That “Db” is actually an “Aug. 5th” on the “F Minor” chord. So, when you set out to apply this principle, you get a few choices of inside notes as well as, outside tones as well.
It’s a really interesting mix of note choices that winds up being a lot of fun to practice creating melody with.
APPLYING THIS IDEA: So, let’s apply this idea with a short chord progression that I’ve composed in the key of, “F Minor.” It uses three chords.
On the “F Minor,” chord you can play “Db Major Pentatonic.” On the “C Minor” you can perform the, “Ab Major” Pentatonic scale. And, on the “Bb Minor” chord you can play the “Gb Major” Penatonic scale. Watch the video clip below to hear what these chords sound like in that progression (using each of those specific Major Pentatonic scales – all played over top of the corresponding chords that they relate to).
Listen to the melody line I've composed using the notes from the Pentatonic substitutes.
Applying this substitute pentatonic scale approach is a really interesting scale substitution principle to work on. It allows guitar players to compose melodic ideas that offer a slightly different perspective on the guitar than the basic diatonic scale offers.
VISIT THE WEB-SITE: Well, hey, thanks for joining me, If you'd like to Find Out What You Should Learn on Guitar - take a look at the courses over on my website at CreativeGuitarStudio.com. My step-by-step; Beginner, Intermediate and Advanced courses will cover what you need to know, along with how to be able to move forward and become the best player that you can be. I've worked on these courses since 1992 and I feel that all together they're the best guitar program you'll ever find. The courses will help you learn to identify what's required to get you up to the next level of guitar playing, in a very organized way, that makes sense. I look forward to helping you further at CreativeGuitarStudio.com ...Until next time - take care and we'll catch up again on the next video. Bye for now!
Are you a lazy guitar player? Hey, you probably love playing guitar but just don't have the interest in spending hours upon hours learning scales and theory.
If this sounds like you, I'm sure you're not alone. In fact, I know that you aren't alone. Thousands of guitar players get bored with theory and technical practice. They just want to play and have fun! If you are a LAZY guitarist, I've got some great tips in this post. Tips that with get you focused on the main elements of guitar playing and tips that will bypass all that stuff you might find as, "boring."
LAZY PEOPLE DO ADD VALUE! Believe it or not, lazy people do add an important value to society. In an article that was published in “Popular Science Monthly” (back in the year 1920), author and consultant “Frank B. Gilbreth Sr.” evaluated the most efficient techniques of people at work to determine the most effective ways when it came to performing tasks. What he discovered was pretty amazing. He found that when it came to learning tasks, it was the lazy people in a workplace who developed the best ways of getting tasks done most efficiently. This research conclusion was based upon the fact that he noticed the lazy people skipped every step of learning something that they considered as needless and unimportant. By taking the approach to learning something based upon skipping needless steps, it yielded a faster way of performing jobs. Interesting observation isn't it... now, what if we applied this to learning the guitar…
STEP 1: Holding the guitar… If you’re too lazy to study proper sitting methods, just remember that the guitar is not a stationary object like a piano. We "hold" guitars so its always important to remember that everything begins from the point of finding a comfortable sitting position. You could also try standing (with a guitar strap slung around your shoulder for standing with your guitar), rather than sitting. Just make sure that you can see the fingerboard. Also, when you hold the guitar make sure it feels comfortable no matter how you have it in your hands. STEP 2: Picking Something (Notes) Playing single notes from popular song melodies is probably one of the easiest and quickest ways for a lazy guitar player to start playing guitar. By playing simple melodies like the guitar line from, “Sunshine of Your Love,” by Cream, or the Rolling Stones’ riff from; "Satisfaction," or even the riff from the “Peter Gunn” theme, you’ll be able to start tracking notes properly. The other benefit of picking note lines and phrases is that you’ll nail down your single-note line skills. Plus, if you learn popular rock and blues songs, you won’t have to start with those boring cheesy children’s melodies like; “Twinkle Twinkle Little Star,” or “Three Blind Mice.” Although, those children's melodies are also actually pretty good examples of single-note melodies that you can quickly learn on guitar.
STEP 3: Rhythm /Strumming (Chords) If you’re lazy and looking for the quickest path to learning to strum the guitar, just jump right into learning songs that focus on chords. Songs that strum chords will keep you motivated (so that you always feel like grabbing the guitar day after day). Plus, strumming chord songs will introduce you to a bunch of new chord types. So, when it comes to easy songs, the easiest ones to learn will typically involve only 3 or 4 chords. And styles like; Rock, Folk and Blues songs are some of the easiest types to start with. For example, “Knockin’ on Heavens Door," by Bob Dylan, is a really easy song to strum on guitar. Another easy one is, “Stuck in the Middle with You," by Steelers Wheel... But, there are many more strumming songs that you can try. Also, keep in mind, that there are a lot of traditional pieces that can also be really good for strumming chords. You’ll want to keep in mind that the more famous that a song is to you, the better and easier it will be for you to learn, know and understand the songs musical sound and rhythmic flow when you go to play it. STEP 4: Learn to play easy solos If you are lazy and just want to begin learning some simple guitar solos, (skipping years of study of the scales and arpeggios), then there’s a lot of really basic solos you can try. A few that I like showing to my own private students are the leads from; “Wonderful Tonight,” by Eric Clapton. And, the solo from the Beatles, “Day Tripper,” along with the solo from the REM song, “The One I Love.” These are all really straight-forward guitar leads that will get you soloing quickly - if you’re too lazy to study music theory and scales, and key signatures and all that stuff.
STEP 5: Learn the Pentatonic Scale Learning scales is often a huge chore to a lot of lazy guitar players out there, but even the laziest of guitarists will get a lot of mileage out of just learning how to play through the notes of a 6-string root Minor Pentatonic scale. This scale is incredibly popular and gets performed in literally thousands upon thousands of guitar riffs and solos. It’s sits in an easy to remember box shape on the neck and once you have this pattern down, you’ll be able to play lead to a crazy amount of different songs and riffs in pretty much every kind of music style out there. For the lazy guitar player, my unique "Frying Pan Method" of learning to use the Pentatonic scale is the fastest and easiest way to go for learning this scale! STEP 6: Start Noodling (Playing for Fun) One of the best ways to get good at guitar fast if you’re really lazy, is after you’ve learned a few chords from songs, (along with a few notes from popular melodies), you can just go and begin getting creative with those single note patterns, and the same goes for strumming chords as well. In other words, make stuff up on your own using any of the notes as well as, the chords that you’ve become familiar with. Depending upon how naturally creative that you are as a person - in general, you can take some of those notes and chords and begin experimenting right away with making stuff up. If you are really, really lazy, why go to all that trouble of learning how to play other people’s songs. You can just go and make up your own songs instead! That might even be more fun. Hey, think about it, tons of lazy players do that kind of thing all the time.
VISIT THE WEB-SITE: I'd like to end the discussion by saying, thanks for joining me... If you want to learn more about what I do as an online guitar teacher, then head over to my website at creativeguitarstudio.com and sign up your FREE lifetime membership. Even if you are a lazy person, there will probably come a point in time when you’ll want something more out of your guitar playing, and you’ll certainly be able to do that on my website. There’s a FREE membership you can get started with on the site, and later on you can always upgrade to either a Basic, or a Premium lesson package and start studying all of the professional guitar courses that I've organized for the members of my website. Also, I'd be interested to hear your thoughts on all of this in the comment section below... if you enjoyed this video, give it a thumbs up and subscribe for more. Thanks again and we'll catch up next week, for another episode of the, "Guitar Blog Insider."
NEW The ninth lesson of "Rhythm Guitar" studies the grooves of Soul, Funk and Reggae rhythms. Four examples covers four detailed rhythmic examples along with seventeen chord shapes that are common to the soul, funk and reggae style. Plus, there's a bonus "Rhythm Challenge" (MP3 Jam Track and TAB's) that applies rhythm guitar layering using chords along with filler lines over a recurring harmony in "D Major."
A bonus for BASIC and PREMIUM web-site members are the MP3 play-along tracks that will help with learning each rhythm example.
Paid Web-site members (BASIC and PREMIUM), can watch the associated video lessons and download the detailed PDF handout, along with the MP3 clap /strum play-along tracks...
Join the member's areato download the PDF handout and MP3's. Study all of the examples with full access to both video lessons. Be sure to spend some additional time on learning the "Rhythm Jam Challenge" piece that I performed at the start of the lesson in the "Part One" video...
PART ONE (free):Example one, stresses the back-beat in soul rhythm guitar. The rhythm part includes a laid back quarter note feel in measures one and two. Measure three and four adopt a strict eighth-note count with accents occurring on the up-beats. PART TWO:In example two, funky chord shots are performed using unique sixteenth-note rhythm structures. The first two measures use a meter involving a dotted eighth and a sixteenth over the count. These measures also establish some slight syncopation in bar two. Measures three and four apply a steady sixteenth-note feel with an eighth-note tied into a half-note on the up-beat of two.
PART THREE:
In example three, the focus is on performing single-string funk. A two-bar rhythmic phrase incorporates steady eighth-notes applied with a pair of 16th's on the down-beat.
PART FOUR:In example four, the feel of the Reggae rhythm is our main study. The feel of the back-beat is heavily emphasized by way of the traditional reggae, "chord chop.".
In this post I'll be discussing a group of FIVE guitarists who made a big impact upon me very early on. Each of these guitarists were introduced to me when I was still quite young. It was way before I was exposed to the likes of; Hendrix, Eddie Van Halen, or Ritchie Blackmore. These players were the ones from the very beginning. And, they formed a direction for my playing that took hold of me for years into the future...
THE POWER OF INFLUENCE: I learned about these guitar players from a whole bunch of different sources; i.e., teachers, friends, older guitar players that I would jam with, musicians I would talk music with, people who worked in record stores - I would visit as a kid, as well as, from different books and magazines. These guitar players were innovative and well known by my older peer groups; they played differently and they had a sound that was unique for their era. The players I’m going to discuss all come from a period of years that spans from the 1930’s out to the 1950’s. I hope that perhaps some of these classic guitar players from years gone end up as new to you, and that they perhaps turn out to inspire you, just like they did for me.
CHARLIE CHRISTIAN: The first player I want to name is; “Charlie Christian.” I can remember telling the owner of a small record store in my hometown that I played guitar, and he asked me if I ever tried playing any “Charlie Christian” songs… I said, “Charlie who?” He handed me an old 7” single (we used to call them a 45) and he said go home and try to learn how to play like this. It was a piece called “Profoundly Blue.” It was a very simple melody, but to me it was my first exposure to what a “Jazz Guitarist” was supposedly doing, and it didn’t seem too difficult. Charlie's, guitar playing sparked an interest in me for basic guitar melody, and it wound-up piquing my thoughts about these fairly basic sounding jazzy melody lines. Years later I would discover that Charlie was also a guitar innovator. He was the guy who started playing amplified guitar as a single-note melody line player. In the 1930’s he took a Gibson ES-150 along with a Gibson amp and played "amplified guitar" with a band-leader named “Al Trent.” Audiences were pretty taken a-back by both his skill and by his loud amplified guitar sound.
CHUCK BERRY: The next player I want to mention comes from the 1950’s era, and it’s none other than the legendary “Chuck Berry.” When I look back on all my past years of guitar practice, it seems that Chuck Berry’s song “Johnny B Goode,” was one of those “Must Learn,” guitar songs that every kid in my neighborhood (who had a guitar), was trying to learn how to play properly. It wasn’t until years later (after I kept listening and listening) to all of the subtle sounds of that intro guitar lead from Johnny B Goode, that I finally felt I really was actually playing it note for note perfectly. It was a tough guitar part for to learn back then. I was learning it in the early 80’s. We had no TABs and no computers, just vinyl records to go by and that’s it. So, learning parts perfectly was a real challenge. Sometimes it would take weeks to even just save up enough money to buy a single, or find somebody who you could borrow the album off of. But, one thing was for sure, Chuck Berry was a rock guitar innovator. In fact his song “Maybelline” became one of the first rock and roll songs to break through to white audiences.
BO DIDDLEY: Next, I want to mention, “Bo Diddley.” My first exposure to the 12-Bar Blues jam. When I was a very young teenager I’d often spend Saturday’s at my friend’s house and we’d try playing songs with his Dad and his neighbor who was a drummer. One day a relative of his neighbor showed up and asked us if we knew how to play, “Before You Accuse Me – Bo Diddley.” He kept saying it’s “just a 12-bar Blues.” But, the thing was - at that age, I didn’t even know what a 12-bar Blues was. Never mind not having a clue who “Bo Diddley” was. So, that song (which also happened to have been famously done by CCR in 60’s and by Clapton in the 1980’s), was my first introduction to the 12-bar blues! Plus, the licks in it (along with the phrasing of it) really stuck with me for a very long time afterward.
BB KING: Next up I want to mention, “BB King.” The first time I heard BB's guitar playing - my first thoughts were on how clean he seemed to play notes. I was used to listening to Blues players that had a much more raw /dirty /gritty style, but BB King was really different and he made an impression on me right away because of how perfect his notes sounded. Another thing that also intrigued me about BB King, is that one of my first guitar teachers explained to me that BB King was one of the very first guitar players that pioneered string bending and rich deep vibrato. I remember that I wasn’t very good at either one of those techniques back then, so I started to try and play a lot of leads done the way BB King played them, (to try and get my bending and my vibrato to sound better). The song I can remember (my guitar teacher back then getting me to learn) was BB’s, “Three O’clock Blues.” That intro was something that I worked on to try and make sound like his vibrato and bends, but somehow it seemed like I could never actually sound like BB King no matter how hard I tried.But, really, who can sound just like BB King!
DUANE EDDY: The final guitarist I wanted to mention is the man who performed the track that every guitar player in my neighborhood wanted to learn how to play back in the day... And, that was the, “Peter Gunn” theme. That riff was the biggest thing going when I was a kid learning guitar. And, whether it was my friends, or my parents or relatives, it seemed that at some point I’d get asked to play the, “Peter Gunn,” theme. This riff was actually written by Henry Mancini, for the American Private Eye TV Show of the same name. But for me (as a kid growing up playing guitar), I’ll always think of guitarist, “Duane Eddy” when it comes to that theme music. In my parents basement, we had the old vinyl album for this song played by Duane Eddy (I remember it, said “Duane Eddy and the Rebels – In Person”) and the Peter Gunn song was the first track on side one! For years, I (of course) thought that this was one of Duanes' songs! Mainly because of that album. Overall, his guitar technique and his flashy style was definitely unique and he had the hits to prove it because back in the 50’s and 60’s Duane Eddy was the biggest selling instrumentalist of his day!
VISIT THE WEB-SITE: Well, hey, thanks for joining me, If you'd like to Find Out What You Should Learn on Guitar - take a look at the courses over on my website at CreativeGuitarStudio.com. My step-by-step; Beginner, Intermediate and Advanced courses will cover exactly what you need to know, along with how to be able to move forward and become the best guitar player that you can be. I've worked on these courses since 1992 and all together they're the best guitar program that you'll ever find. The courses will help you learn to identify what's required to get you up to the next level of guitar playing, in a very organized way, that makes sense. I look forward to helping you further at CreativeGuitarStudio.com ...Until next time - take care and we'll catch up again on the next post. Bye for now!
NEW This unique Creative Guitar Studio course explores exercises for increasing dexterity and coordination between the hands. The goal of the course is to increase awareness, mobility and control.
PART THREE:
