This submission from Dean C. gets quite creative with the use of his scale knowledge.
Looks like there's even a Bsus4b5 chord used in one part of his performance; a chord rarely used in music. Very cool!
Another split screen performance, this submission from Dustin J. took a very different approach musically.
The bass line in the backing track ends up creating a lot of dissonance against the guitars that were written and performed. Yet, everything fits quite well.
Very unexpected and VERY cool!
Alex really took advantage of using split screen performances for this entry.
There are lots of changes in this submission loaded with creativity!
This entry, from Zane C., demonstrates a really good use of going between chords and riffs/licks.
He also does a good job of throwing in variety to change things up a bit as the song plays on. Very well done!
Something I really like about this entry is the fact that Mark didn't use ANY distortion. At all. Not even once!
With a contest geared towards inspiring the use of chords and riffs, I didn't think anyone would submit something clean. And, it's the first entry received! Still, everything fits very well!
There's even some chords used that step away from the key that the bass line is based in. This really helps sparks some interest in the song writing.
Lydian is such a cool sounding mode. The #4 in the mode is what makes it sound so unique. One of my favorites!
Dave Davidson must think so too.
In a lesson with Guitar World, Dave demonstrates how you can create some unique sounding riffs using the Lydian mode.
And here is that very same lesson!
There's a LOT you can do with scale shapes besides just going up and down one note at a time.
Most of the music you listen to can fit into scale shapes. Knowing your scales can allow you tons of musical ideas.
Turns out that John Petrucci and I use scale shapes in a similar way to create riffs.
Check out this video where Petrucci demonstrates this approach to song/riff writing:
This is something I know very little about. I understand a general idea of how you can approach using chromatic runs during a solo to make things sound more interesting, but nothing too advanced.
"So how are you going to teach how to use chromatic notes in solos?"
Well, I'm not. Guthrie Govan is!
I found this lesson to be very informative on how to utilize chromatic notes, and wanted to share it!
I just heard some of the smoothest arpeggios played on a guitar I have ever heard.
And, there was NO SWEEPING done!
Guthrie Govan uses a tapping method to create super SUPER smooth sounding arpeggios that utilizes string skipping.
Check out this video to learn how to create some really cool sounding arpeggios:
Yup. I like playing fast. It's fun. It's exciting. But, is it musical?
Yes! I say it is. It also depends on how it's used though.
However, I do agree that it feels as if musicality is lost when all a guitar player does is haul ass up and down scales, cramming in as many notes as possible, AAAAALLLLLLLL THEEEE TIME.
So, how can you focus on the musicality of a scale instead of just playing it as fast as you can?
That's right! P-L-A-Y S-L-O-W
Playing slow allows you to HEAR the notes you are using. Whether you are playing to a backing track, or by yourself (no accompaniment), it's a FANTASTIC idea to practice playing your solos, leads, scales, SLOW!
In fact, I always advise new students to practice improv slowly. When you are new to improv, it can be very helpful to play nice and slow so you allow your ears to grow accustomed to what you are playing and hearing.
Guthrie Govan talks about this in a lesson he did with Guitar World. Definitely worth the watch!
John Taylor - guitar and bass instructor for Mile High Shred.