Guitar tricks. Guitar tricks “See the C and Be the B” or “Let the salt be in the wound”

Today I will talk about 10 guitar tricks, which will help imitate the sound of other instruments. Perhaps some of this may not seem entirely revolutionary to you, since many guitarists are now trying to expand the limits of understanding the guitar as a musical instrument. And among them there is someone to remember.

Namely:

• Jeff Beck (Jeff Beck), skillfully imitating the screams of a harmonica and the bleating of car horns;
• Adriana Belew (Adrian Belew) with its entire musical zoo, where there was a place for seagulls, elephants, rhinoceroses, jungle insects, and feints on overload with feedback;
• David Thorne (David Torn), a traveler into the world of microchromatics;
• stuntman Steve Vai (Steve Vai) with his “vocal” antics;
• indefinable Allan Holdsworth (Allan Holdsworth);
• Heaven's Messenger Jimi Hendrix (Jimi Hendrix).

And this is good, because there is someone to draw ideas and new approaches from.

From the very beginning I was drawn to studying other musical instruments. This was caused by both curiosity and necessity. In those days there were no synthesizers, computers, or sample libraries. Cover bands rarely had the necessary instruments or musicians to recreate every recording they needed. So we had to adapt. Organists and pianists reproduced the parts originally played by winds and strings. Guitarists were often required to do the same. This led me to study, play and transcribe songs Gentle Giant, Tower Of Power, Todd Rundgren, Mahavishnu Orchestra and many other performers and groups. All these compositions not only greatly fascinated me, but also became the beginning of a writing career that continues to this day.

Today, I think, at least from 40 before 50 percent of my playing are features taken from techniques of playing other instruments and adapted for the guitar. In fact, Guitar Player editor Michael Molenda, after Todd Rundgren's performance, once noted that I hadn't used chords on . That's not entirely true, but it's pretty close to the principles I profess. Why limit your musical vocabulary by only learning music from guitarists when there is a whole world of other instruments besides the guitar?

All of the following examples have been selected from over 40 years of personal experience from all gigs with popular and not so popular cover bands and songwriters. From concerts Project Percolator by Jim Weider, Mahavishnu Project by Gregg Bendian, Jim McCarthy and several world tours with Todd Rundgren And by Tony Levin's group. Therefore, I can say with confidence that the proposed feints really work.

You won't need any additional signal processing or special gear, other than the floating tremolo system in one example. Just pure technique of playing other instruments. So plug in your guitar. We begin to steal and plunder this countless wealth of sounds and approaches. Let's see what this new world of other tools has in store for us.

1. Guitar trick No. 1. We sound like drums.

King of Music - time. It rules every aspect of our daily lives. And all the music we learn to play obeys his laws. Rhythm is time subject to division. It is the glue that glues and creates melody and harmony and holds the band together. Thus, an impeccable sense of timing and rhythm is essential for any successful musician. Fortunately, we guitarists have chosen an instrument that puts at our disposal a wide range of percussion sounds that can be used not only in almost any musical context, but also to practice and improve our own rhythmic skills.

We all did "waka-waka" on the muted strings. But how many people have used the high and low strings to imitate the sound of a kick drum and snare drum?

In the exercise Ex. 1a muted notes ( X) in the key of C depict groups of sounds, each on three strings, reminiscent of funk chips. This passage is suitable for a wide range of tempos. Use down strokes ( ∏ ) and up ( ˅ ). Keep your wrist loose, accent the second beats and... download. Advice: try playing swinging sixteenth notes and add “wow” to taste.

Exercise Ex. 1b shows what happens when you apply the same concept to the choppy intro to Hendrix's "Machine Gun."

Speaking of Jimi, exercise Ex. 1c illustrates his masterful command of time and space on the now rock classic Foxy Lady. This is achieved by alternating use of the bass and the 7#9 chord.

Jimi Hendrix - Foxy Lady (video missing from original article)

Let's do the exercise together Ex. 1d let's rise to the highest heights and try to reproduce high percussion sounds in the Latin style. To do this we use the E string outside the fingerboard. This guitar trick with muting the string around the imaginary 36th fret works great, but you must try to avoid places where overtones from the .

Do you want your guitar to turn into a sensual saxophone? Then we move on to the next trick of playing the guitar.

2. Guitar trick No. 2. Smoothly remove the sound of the saxophone

If you've ever tried to imitate a saxophone, you may have noticed how many parts of this instrument translate well into guitar language. Let's start with some bebop phrases, imitating Charlie Parker. While I was attending Guitar Technology Institute in 1978, the great Joe Diorio taught a bebop class. He constantly emphasized the importance of smooth sound for such imitation. To do this, we use ascending (hammer-on) and descending (pull-off) legato, sliding (glissando, slide) and sweep (sweep picking). The trick is to find a fingering that seamlessly combines these techniques.

First beat of the exercise Ex. 2a features typical Parker-style phrasing - a descending arpeggio-like line playing off the . All this sounds against the background of the chord of the second degree Dm7. The use of Fmaj7 (IV degree to the subdominant (II)), along with other innovations, was first introduced into music by this saxophonist. The trick here is that the chord is played using notes a tone higher than those included in it. ( Advice: play this passage against a G7 chord). After striking down the 9th degree of the chord (note E), we smoothly move to the second beat, where we play the triplet using a sweep (the pick slides up the strings). On the third beat we play the down and up strokes again, swinging the notes.

We move the taken fingering three frets up to the G7 chord, continuing to create tension. And we jump into the third bar, resolving all this into the tonic Cmaj7. Play these three measures in a circle. So, the trick is on the sequence II-V-I removed.

In the exercise Ex. 2b progression shown I-VI-II-V. It fits perfectly into bars 7-10 of a bebop blues in the key of C. Charlie Parker's designs are adorned with Joseph Diorio's strategically placed legato (hammer-s, pull-ofs) and sweeps. Pay attention to variations of a previously learned exercise. Ex. 2a.

Have you ever imagined that you can play on tightened strings trills? These trills on bends work well for most blues and R&B stuff. Try to perform them in the keys of C major and A minor, as in the exercise Ex. 2c at the next performance. And watch carefully how the audience twists their heads when watching such guitar tricks. Follow the note explanations in this example and hopefully you will be able to add the sensibility that the saxophone has to your playing.

* GIT (Guitar Institute of Technology)— Institute of Guitar Technologies, private non-profit music school. Hollywood, California.

** Joe (Joseph) Diorio- famous American jazz guitarist, teacher. He played with such jazz masters as Sonny Stitt, Horace Silver, Ira Sullivan, Stan Getz, Eddie Harris, Pat Metheny and Freddie Hubbard.

Each of these eight solo techniques is a distillation of the playing of such venerable blues guitarists as Stevie Ray Vaughan, BB King, Albert King, Jimi Hendrix and others.

All these guitarists used approximately the same techniques and ideas in their playing. They can be the basis that will help you learn and develop your own blues playing technique: learn the basic licks and phrases, and then remake them in your own way.

Gradually you will begin to notice that these phrases run throughout the recorded history of the blues. Finally, remember that you don't have to be afraid to play blues clichés because... they became such mainly because they sound great.

This trick will help add life to ordinary notes. This is a bend, but the bend is less than a semitone, that is, it should be barely noticeable.

When you reach the very top of the bend, mute the sounding string, otherwise the note will sound lower again, which can be heard as dissonance.

2. Reiki on strings

You can mute the strings with one of your “spare” fingers. Just place it on the strings that you don't want to sound, and press the desired note with your other finger.

3. Dissonant bends double stops

The idea is to pluck two strings at the same time, with the top string being pulled more than the bottom string. This way we get a little dissonance. For this technique, you can use either two fingers or one, for example, the ring finger. In the first case, the bands will be more accurate.

4. Twos

Many guitarists, from Hendrix to Mayer, have used these two-note chords to give their solos a more chord-like style.

By moving our face across the fretboard, we can play it in different keys.

5. Sliding deuces

This is because we hit all the important notes, both the A7 chord and the minor pentatonic scale. In blues it is common to use both a minor and a major third, so in the example we do both (C and C#), plus use a minor seven (G).

6. Fluid bands

It is important to note that this lick is easiest to do in the middle of the string, the lower we go, the more difficult it is to make the bend. Therefore, in order to achieve maximum bending strength, you should help your ring finger with your index and middle fingers.

7. Two-note trill

Jimi Hendrix used this technique perfectly, for example in the well-known Voodoo Child. This technique converges into a series of fast 2-note hammer-ons and pull-offs.

Start slowly, especially pay attention to the rhythm. It should be level and stable. Also pay attention to the correct movement of the “stall” when playing pull-offs. Each note should sound clear and loud.

8. B.B. King's Zinger

The original Bibiking zinger is simply a slide from a high root note, no matter what key you're in, it's always somewhere high on the first string.

This is an effective trick that can break up pentatonic ideas.

After more than 35 years of publication, Guitar World has been able to provide guitarists with thousands of helpful tips—in print or online. There are only six of them in this short article! But even such a modest amount of information will benefit beginning guitarists - especially in anticipation of everything that awaits them in the near future! So, pick up your guitar and let's get started!

1. Learn something new every day

Every day find something new related to the guitar, what you didn’t know, learn it - and play. It could be a riff, a passage, a chord, a scale, an exercise, a song, a melody, a different tuning, a rhythmic pattern, a part of a song where you know all the riffs but never bothered to learn how they fit together - basically what whatever.

The habit of finding, playing and experiencing a new piece of guitar science every day will feed your subconscious musical instincts, help you integrate many new things into muscle memory, and ultimately allow you to develop the ability to express yourself and play the guitar effortlessly. Add this to your daily to-do list, and you will notice how, slowly at first, step by step, over time you will begin to absorb more guitar information than you ever dreamed of!

2. Learn major scale intervals

The major scale is the basis on which many of the chords and scales that you will work with are built. With understanding major scale structures will come the ability to add different intervals to it and get triads, seventh chords and extended chords, as well as an awareness of which modes correspond to them.

There are seven intervals in the major scale: root, major second, major third, perfect fourth, perfect fifth, major sixth and major seventh. The distance between each of the intervals can be represented as the sequence “T-T-P-T-T-T-P”, where T is a tone and P is a semitone.

3. “See the C and Be the B” or “Let the salt be in the wound”

How many ways do you know to play a C major chord? A good guitarist knows that it can be played in at least five places on the fretboard, thank you for that "CAGED" system. Play the chord for 4 measures and for each beat, play it on a new part of the fretboard. Of course, the same thing can easily be done with E major, and with a major seventh chord from the note B (B7), and with an A major non-chord (A9). But still start with C major.

4. Go over all the chords you know

The author of this advice is Joe Satriani: This may sound stupid, but if your fingers don't reach somewhere, it's because you didn't force them to. One day when I was a teenager, I decided that I would learn all the chords in Joe Pass's chord book. I worked on it every day; There is no substitute for dull repetition. And what's great is that once you get used to this exercise, you'll literally start forcing your fingers to move from chord to chord - without them having anything to do with each other - and something amazing can come out of it.

5. Learn your favorite solos note-for-note

The first years of my guitar life Eddie Van Halen spent for playing to the pros of various compositions, playing until his notes blended with the sound of the recording. This lesson will significantly expand your “vocabulary” and help develop presentation, taste, teach you to understand styles and feel the form of a solo.

6. Record your achievements

The development of any guitarist accelerates when he sees and realizes his successes and achievements. As you develop the habit of learning new things and practicing your instrument every day, it is important to keep a notebook or diary of your progress, which will allow you to further improve your guitar playing at high speed.

The easiest way to do this is keep records of activities. You will find that taking stock of your activities will help you decide what to focus on next, will help you move forward by recording your results, and will also highlight the most productive activities in the past that you can repeat and add to when you feel that progress is lacking. Write your own “training report” or print it out and use it.

“Adorn your game with lots of tricks and tricks!”

Who is this course for?

• Do you already have some results in playing the guitar, but you don’t want to stop?
• Want to add something new to your game?
• Would you like to make your game more impressive by decorating it with many tricks and features?
• Would you like to increase the speed of your game many times over?
• Do you want your playing to leave a lasting impression on your audience?

If any of the above applies to you, then you just need to read the information below!

The course is combined with our other training videos. Therefore, if you have already studied with us, you will find yourself in an easy, relaxed environment where you will be familiar and easy to master the course program.

What does this course include?

Our course includes detailed exercises, techniques, techniques, tricks and everything you need to master this instrument. All information is provided in detail, in clear language.

Summary:

1. Introduction. Tools. Examples. Usage. Equipment
2. Basic techniques. Slide
3. Basic techniques. Harmonics: natural, artificial, mediator
4. Vibrato. Normal/linear (“rock” vibrato), classical, ring
5. Basic techniques: pull-ups/bends. +vibrato
6. Jamming solo
7. Tapping. Open strings. Tapping with a pick. Tapping after bend
8. Volume knob. Fade in. "violinity"
9. Tremolo. Compatible with vibrato, slides and harmonics
10. Lever arm. Types of levers. How to use. Basic techniques
11. Guitar tricks without a lever (bell, squeaky board, playing behind the head, playing over the neck and more than a dozen tricks!)
12. Guitar chips with a lever. Any tremolo system will do (about 10 different techniques!)
13. Guitar tricks with Floyd-Rose lever (about 10 different tricks!)
14. Tricks using foreign objects

But that is not all!

Who is author?

Hello, my name is Yakub Agishev and I am the author of this course. I have been playing electric guitar since 2004. I've been playing in bands for about 7 years. Started teaching in 2008. I conduct individual lessons with students (both in person and online).

During my time teaching, I have accumulated quite a lot of experience in terms of learning to play the electric guitar.

How to get the course?

The course is provided in electronic form (you receive a link to the archive and download it to your computer).

All you have to do is just 3 simple steps:

1. Click on the yellow button below
2. Pay in a convenient way
3. Download the course to your computer

Important! During the checkout process you will be offered our other discounted courses. If you are interested in the topics of our other courses, then you can take advantage of this offer and get the courses with maximum benefits.