Guitar Jam

Ken's Corner: Guitar Improvisation for Starters - Lesson #27

By Ken Volpe
This is Lesson #27 in a series on Guitar Improvisation. In our last lesson, Lesson #26, we finished up our series on improvising with Option #3.

During the last series of lessons we learned how to apply specific scale forms to specific chords. To reiterate, the main purpose was for you to learn how to recognize and to utilize the chord tones from within the scale when needed. A lot of guitarists are in the habit of randomly playing a bunch of scale tones in the hope that it will sound good at any given point in time. I like to call that, “Putting your fingers before your ears.” In other words, you are not internally hearing what notes prior to playing them. If you work from that process enough you can occasionally come up with some cool stuff. However, you are more than likely to hit a lot of notes that are not part of a cohesive melodic phrase. 

I believe the approach I have been teaching you is much more effective because you eventually learn to hear what you are playing before you play it. This approach does require a lot of consistent thinking and practicing. It may feel restricting and unnatural for a while but before you know it, it will become second nature to you. One might even say, think during practice and feel during performance. 

In the past series of lessons, we have been using three chords for our progressions, A Major, D Major and E Major. Now, let’s start working with a slightly different chord progression. The chords will be A7, D7 and E7. These three chords are known as dominant 7th chords. Later on we will get into more chord theory, and discuss chord construction and the naming of chords. I suggest using these three chords in a standard twelve-bar blues progression. For now, we are going to back-pedal to get a point across.

The notes in the A7 chord are: A, C#, E, G
The notes in the D7 chord are: D, F#, A, C
The notes in the E7 chord are: E, G#, B, D

Instead of using a different scale for each chord, we are going to use just one (1) scale. The A Pentatonic Scale will work nicely for all three chords. Once again, try to focus and hear the chord tones from within the scale. Let’s take a closer look at this. 

The A Pentatonic Scale contains the following notes:  A, C, D, E, G

When using this scale with the A7 chord, 3 of the 4 chord tones are common. 
These notes are A, E and G. 
When using this scale with the D7 chord, 3 of the 4 chord tones are common. 
These notes are D, A and C.   
When using this scale with the E7 chord, 2 of the 4 chord tones are common. 
These notes are E and D.

As we have spoken about throughout this series, pulling out the specific chord tones from your scale(s) can be a very effective way of creating cohesive melodic statements. One common question in guitar improvisation is why does the Pentatonic Scale sound pretty good when playing over the A7, D7, and E7 chord progression; but doesn’t sound so hot over the A Major, D Major, and E Major chord progression.  The answer is what I have shown you in this lesson and earlier lessons in this series.  Specifically, there is a greater ratio of common chord/scale tones throughout the entire progression. 

In our next lesson we will continue along this path.  I’ll see you all at the next lesson.

Taylor Launches Six New Mid-Priced Guitars

Master builder Bob Taylor’s sense of design integrity and innovative approach to manufacturing assure that any of Taylor Guitars’ mid-priced 100 and 200 Series guitars will “play like a Taylor,” pack a sizeable tonal punch, and carry a street price of less than $1,000. Taylor has added two new full-sized Grand Auditoriums to the 100 Series, the 114 and 114e, and has completely revised its 200 Series, introducing all-new 210 and 210e Dreadnoughts and 214 and 214e Grand Auditoriums. (An “e” suffix in any 100 or 200 Series model name indicates that the guitar features Taylor’s new, proprietary ES Element Under-Saddle-Transducer.)

The 114 and 114e bring Taylor’s best-selling and most widely imitated body shape, the Grand Auditorium, into the 100 Series. Both guitars have satin-finished sapele laminate back and sides, and solid tops of Sitka spruce. Either guitar makes an excellent alternative or “extra” instrument for the pro player, or a perfect “starter” guitar for the beginner-to-intermediate player seduced by Taylor quality and sound, but not ready to purchase a deluxe model. Both the 114 and 114e come in Taylor’s rugged, easily portable gig bag.

The new 210, 210e, 214, and 214e feature laminated, satin-finished Indian rosewood back and sides with a gloss-finished solid Sitka spruce top. This classic rosewood/spruce/glossy top combination gives each 200 Series Dreadnought or Grand Auditorium a dignified look and feel reminiscent of a more expensive Taylor model. With their well-balanced, ringing tone and famous Taylor playability, the 200s will appeal to players who perform and record, as well as to novice players who want the fun and inspiration of learning on a Taylor. Each 200 Series guitar comes in a Taylor hardshell case.

All 100 and 200 Series guitars have distinctive Indian rosewood fingerboards and bridges, plastic binding, and chrome tuners.

The Daily Picks

Six Strings Down: Steel Guitar Player Tom Morrell

Gibson, Fender, Martin and Taylor to Save Timber

SRV 112 Rotary Speaker Cabs Out Now

HiWatt High Gain Series Now Available in the US

NAMM Diary -Day 4: The Final Entry

By Nick Friese
Yes, I was late to the show as usual for the final day of NAMM. Why break the streak?  Hey, there was good reason for the late arrival, of course. So what was my lame excuse? Well, since we rolled into the Four Seasons Travel Lodge around 2:30 am on Sunday morning after the Mike Landau show, I really needed a few extra hours of sleep to shake off the Super Saturday hangover.

But it was the final day of the show, and the fact was that no matter how early I arrived on Sunday there still wouldn’t be enough time, even on a full 24-hour day, to reach all of the manufacturer’s booths and spend quality time to inspecting the desirable gear on display.

Clone thyself! Really, I would have to send in a team of twenty stringers to get the entire scoop on all of the new gear on display at NAMM – and that’s just sorting through the glut of NAMM press releases and press kits.

The good news about Sunday was that it had that “Sunday” feel.  There was a calm in the air, people were very relaxed, and there was no urgency to anyone’s pace inside. The exhibitors, the attendees, and the media were just trying to catch whatever piece was left of an amazing gathering of industry professionals. Many of the buyers, visitors, and stars were gone as they got an early jump on their trip home.

I ran into Monte Montgomery in the nearly empty NAMM store and we chatted about his NAMM experience.   He told me that he played four times over the weekend – all of which I missed - and wasn’t even aware of. (shame on me)   As Monte was going over his adventures, I was hit with that sinking feeling again that I have failed again! Yes, yes, I can justify this as well, but the problem is that it doesn’t change the feeling that I wasn’t able to offer more depth to you, the loyal reader and guitar aficionado.

O.k. so a good thing came out of my session with Monte as he agreed to an interview with GJD so we could examine his acoustic musings.

One observation from the four days that keeps looping in my mind was the mass number of music’s elite that casually and comfortably wandered the halls, hanging out in the booths, playing short sets in the exhibits, yucking it up in the Hilton bar, signing autographs, talking with dealers, visitors, exhibitors, press, and with each other. No one had an air about him or her. No matter how big the name on their badge, they were just so cool and approachable. The fact that it was a trade event must put the celebrities at ease knowing that zealots won’t mob them. O.k. on second thought most weren’t lead-singers so maybe that had something to do with it. Guitar players are just good ol’ boys and girls anyway, right?      

As the final hours ticked down, I had a flashback to my late arrival on Thursday, and a hard-hitting reality that this musical Disney was about to end. Didn’t I just get here? 

Sure there’s a sense of remorse that I didn’t get to meet everyone on my list, didn’t get to examine every piece of new gear, failed to connect with some of the star players we wanted to interview, missed some of the demos I wanted hear – EVH’s Franken-demo was one of them! Not to forget all the cool parties that happened over the three nights, most of which I missed. 

I guess the show could be compared to the musical journey that most of us are on as guitar players and musicians: There’s just never enough time to play, a constant nagging feeling that I’ll never reach my potential, a hunger to learn more, a kinship with others who put music in the front of their lives – no matter what style of music they play or what their background is - and the sense of purpose that music and guitar injects into our lives. I can’t help but think that the same drive and passion that washes over me when I play the guitar is comparable on some level to the forces at play as I try to absorb all of the sights, sounds and motion of The NAMM Show.

There are so many memories I’m taking with me from the show. Too many to put down here to share – and some not appropriate either. But one thing I know is that I’ll be back for Summer NAMM in Austin on July 27-29 to continue to build the connections and cover the stories from the greatest show on earth.

p.s. Ken, Jim and Ronny were all at NAMM and will follow-up with their experiences, insights, laughs, knowledge, and information on the show that only they can give in their inimitable way.

Satriani Announces G3's 2007 Tour Line-up

Press Release
Insert an insane Guitar Hero riff here please...

Joe Satriani has announced the 2007 line up for the fifth G3 tour which kicks off this spring. The tour is scheduled to start on March 14th in Phoenix AZ with an all star lineup that includes himself, John Petrucci and Paul Gilbert. The dates include venues throughout North America in March and April, with more dates to be announced soon.

"I can't wait to hit the stage with John and Paul, they are two of the scariest, most amazing players I've ever heard!" said Satriani.

The format this year will follow the same pattern of past years as fans will be treated to individual sets by each guitarist with their own bands before joining Satriani and his band on stage for an all-star jam session. The line-up also includes special guest guitarists that will join the jams at select dates around the country. Past guests have included Neal Schon, Gary Hoey, George Lynch, Billy Gibbons, Kenny Wayne Shepherd, Robert Fripp and Brian May.

Joe's G3 cohorts, JOHN PETRUCCI and PAULGILBERT, are each recognized as brilliant players - both as soloists and within the bands they are known by. John is the founding member and lead guitarist for Dream Theater, recording eight albums with the band, including their sophomore effort, 1992's Images and Words. The album proved to be a breakthrough commercial success as the song "Pull Me Under" became a surprise hit on both MTV and rock radio. John is also involved in several side projects including Liquid Tension Experiment with Tony Levin, Age of Impact and even a Sega Saturn game called Necronomicon. In 2005, John was involved in three releases. A solo album, Suspended Animation, Octavarium with Dream Theatre and he was included on the G3 Live in Tokyo CD and DVD.

Paul first became known for his work with Racer X and went on to platinum success with Mr. Big who topped the pop charts in 1992 with the ballad "To Be with You." Mr. Big disbanded in 1996, and a year later Gilbert made his solo debut with King of Clubs; Flying Dog followed in 1998, trailed by Beehive Live in 1999, Alligator Farm in fall 2000 and Get Out Of My Yard in August 2006.

A recent poll of the Top 100 Greatest Rock Guitarists ranked SATRIANI at # 7, PETRUCCI at # 11 and GILBERT at #14.

The Daily Picks

Gibson Guitars Bucks the Bros

Van Halen's 1984 Authentic Tab Edition Out

Peavey Announces New Vintage Style Electrics

Interview: Joe Perry Discusses His Playing and Beck

Industry Insider: Who Defines “Indie”?

By John McGlasson
These days, artists get a lot of solicitation from people and companies who want to consolidate “indie” artists and labels into a more powerful force for licensing and such. Like union organizers, they operate on the “strength in numbers” philosophy to convince artists and labels to pay them and/or sign over their rights in exchange for the promise of equal footing with the major labels, but what’s to be gained by grouping yourself in with others who are likely in the same situation; without a label and therefore without distribution? Do you really want to be classified as “indie?” Aren’t most established-yet-unsigned artists sub-par, or at least suffering from sub-par production? Aren’t most labels without distribution suffering from a sub-par catalog?

“Independent” labels make up 30% of global music sales, Nowadays anyone can be “indie” as long as they’re not on a big label, from the 15 year old in his room recording with a laptop, to labels like Sub-Pop Records, who sell hundreds of thousands, even millions, of high-budget, slickly-produced cds per year. Many labels use the “indie” description to hide the fact that they’re distributed by a major label, with the major-label promo budgets. Sony and other majors have bought many smaller labels, allowing them to operate “independently” so they can maintain their “little guy” status to combat the anti-major label feeling that grows year after year.

One such organizer claims to be creating the “5th major” in consolidating all artists who aren’t under the umbrella of the “big-4” major music conglomerates. This guy claims to be able to strong-arm the same rates for “indie” artists and labels as the majors get, based on the usual “strength-in-numbers” sales pitch, but in my opinion, the buyers will be even more likely to take the easy way out and use established, bigger-label artists for projects rather than deal with arm-twisters who will be selling largely under or poorly produced music, and demanding unreasonable rates for lesser work. Again, do you really want to be grouped in with every so-called “indie” artist?

So while the industry changes, one thing doesn’t, you’ve got to be above average at your craft to get noticed and break free of the masses. Labels, distributors, and the various retail and digital outlets still rule the industry, so even if all the unsigned artists in the world band together, I don’t see how to break away from the old model. The biggest labels with the biggest budgets will always sell the most music by reaching the most people, regardless of whether or not they refer to themselves, or are referred to by others, as “indie.” If you can’t get the attention of a label, you can’t break out of the “unsigned” category, and all the consolidation in the world can’t save you from that.

John McGlasson is a life-long guitarist, producer, and founder of o.i.e. Records, Ltd., a musician-oriented independent record label based in central Illinois.

BB King Discharged from Texas Hospital

By Joe Sass
After suffering from a severe flu late last week, B.B. King was admitted to a Galveston Hospital. King had been scheduled to perform last Thursday at the Grand Opera House, but was admitted to The University of Texas Medical Branch at Galveston after falling ill. He underwent treatment for a high fever and flu symptoms which kept him out of commission through the weekend.

King, who has a history of diabetes, had a 100.4-degree fever and monitoring was required because of his age, said a hospital administrator. He was kept in the elderly acute care unit of the hospital for precautionary measures and was treated by Doctors with antibiotics.

Upon his release the 81-year-old, King of The Blues was  "feeling fabulous," said Tina France, vice president of Lieberman Management of New York. B.B. still plans to perform tonight in Fort Worth and the shows scheduled before then in Galveston, Orange and Tyler will be rescheduled for June.

The Daily Picks

Live Review: Clapton Live in Sydney

New Guitar to Midi Controller

Guitar Heaven: Welcome to Paul Reed Smith's World

Sutherland Has Become a Guitar Freak

Guitar Jam Videocast: Matt Rae's Country Riffs

Tele Master Matt Rae shows off some hot licks that you can add into your Country riff library right away. Played in the key of A, these riffs use sixth intervals with two shapes (open and closed) and have minor and major sixths in the lick. He also adds in a nice blues scale lick to finish it off. Enjoy! We'll have more from Matt each week.

Guitar Jam Videocast