I have to admit I'm not a huge fan of Queen and Brian May, but this solo is absolutely great. Some students needed a version for their School Party, and here you are.
Disclaimer for advanced players: you wanna bend a lot of notes more than this, but this is a transcription for mid-skilled players. Read the video description on YouTube.
If you are a Facebook addict, here you are the Facebook version of the previous video.
About self-promotion, it is pretty difficult being strong on all different social networks.
One of the things you can do for helping independent artist, is comment and share their works.
I don't feel comfortable to admit it, but yes, since I'm trying to create a community around my works, a simple share from my follower is sweet as a honey cup.
Love you all, folks!
I arranged this precious song by Pink Floyd for the theater play "Do You Wanna Play With Me" by Sylvie Landuyt. It is the first song of my "Guitars for Theater" series, which will include guitar arrangements taken from 3 different plays I was involved in the last 4 or 5 years in Belgium. Please enjoy, and don't forget to like, subscribe the channel and share if you like this one! Feedback is important, for real. Love.
Hi there! I've found this riff on Instagram some weeks ago and I can't turn it off. I had to play it, it's an absolute guitar joy. Thanks to Shtevil for the inspiration!
Listen to the original Shtevil version at this link.
They are sisters, and I teach them electric guitar and bass. We came out with this arrangement, and we had some fun recording and shooting it. I hope you like as I do.<br>
Subscribe to my channel and share the video, we would appreciate it.<br>
Per la serie "My Students", il mio allievo Riccardo vi mostra gli accordi di "La Casa di Carta". Se avete sempre desiderato suonarla ma non vi ci siete mai messi, questo video fa per voi.
"My Lyfe is going on" di Cecilia Krull
Disclaimer:
Il brano è a puro fine didattico, e i diritti appartengono ai rispettivi autori ed editori.
Un post condiviso da Ru Catania (@ru_catania) in data:
Even on the same amplifier, every channel will react in its own personal way to the sound coming out from your stompboxes.
This is particularly true for the LEVEL coming OUT from your pedal rig, which will influence the way you may DRIVE and BOOST the INPUT stage of your amp.
Unlike you could think, the cleaner the channel, the more it will react in terms of VOLUME.
The clean channel of a Fender Twin will increase the volume A LOT as you increase the OUTPUT VOLUME on your overdrive pedal*. And what's more, it will preserve your transients. While the lead channel of the same amp (let alone a Marshall) will result in a more saturated and compressed sound but the VOLUME will nearly stay the same.
The more you push your input stage, the most muffled and confused your sound will come out from the amp, due to the circuitry of your amp, like tube load and stuff like that.
Which is pretty cool in terms of SOUND, but it is totally useless in term of "song arrangement" such as PUMP UP your volume during a solo.
So it really depends on your needs. You just have to look around a little bit with your settings and try different pedal order in your rig to find what works for your personal needs. Both with your own amp, and every time you're going to play with a backline amp.
Sometimes I end with using the crunch cannel for the clean parts, and switching to the clean channel + overdrive* for the solo section.
You may think it is a paradox and yes it is, but it works.
Check it out, your sound engineer will be happier than ever!
It happened to me during a gig to use my regular fuzz setting I was used to use on the crunch cannel of my VHT Pitbull amp on the clean channel of a Fender amp.
Don't do it, unless you want to transform your reggae party in a Manowar show.
* or no matter what other kind of distortion / boost unit.
When you're touring and and the promoter brings you a spare guitar without strap lock, you definitely don't want to see that '78 unique Les Paul fall on the floor, right?
Well to avoid to argue with him, create your own strap lock in 5 minutes!
TIP 1 - The clip is just a quick idea, obviously you wanna match the hole with the screw in your guitar body.
But it works, it saved my life several times.
TIP 2 - Keep in mind this technique doesn't work if you just forgot your strap but your screws come from a real strap lock system. Usually the top of that screw is not large enough to avoid the strap to tear away, with or without cap.
So find another "locker" around or replace the screw with the original larger one before placing the plastic cap.
Thanks to my ex bandmate Ronald Dondez from Driving Dead Girl for the tip.
Chiariamoci subito. Io i sacrifici per il pianeta sono disposto a farli, sono l'unica politica alla quale mi sento di poter appartenere al giorno d'oggi.
Mi muovo coi mezzi pubblici, per anni non ho utilizzato il riscaldamento, faccio molta attenzione a quello che acquisto quotidianamente, soprattutto a livello alimentare.
Metto sempre gli stessi vestiti, alcuni da 20 anni.
Tengo conto, con una compagna architetto, anche dell'aspetto della sostenibilità a livello edilizio, quando possiamo avere voce in capitolo.
Certo sarò ben felice di dare il buon esempio ed accettare di suonare chitarre anche fatte di farina di fagioli. Forza facciamolo, ci sto dentro.
Però mi viene anche da dire... Ma con tutti 'sti mangiapane a tradimento e arnaccatori che firmano e stracciano accordi internazionali come fossero carta da culo, con tutte le città in cui non si respira, con tutta la munnezza che buttate ovunque, con i mille aerei al giorno che mi passano sulla testa qui a Schaerbeek, con tutte le morti umane, animali e vegetali che avete sulla coscienza, e bla, bla, bla bla...
Insomma con tutti i casini che ci sono al mondo, dovete davvero sfracellarci la minchia a noi chitarristi per i legni che usa la Fender?
Ma che, veramente?
If you're just looking for chords and riffs you can find it everywhere on the web.
This is a slightly different kind of tutorial, focusing on the sound, the position you should use, how to practice, how to make your riffs sound as close as possible to the original version, and how to put all together in the easiest way possible, since the main goal during a live show is Don't stop the flow!
I had a great time yesterday playing this one!
There are a lot of different parts to learn.
The positions on the freatboard are not difficult, but it's a challenge for the right hand, instead!
Also it was not so obvious for me to learn the arrangement (even if I know Metallica wrote much more complicated songs) and keep focusing on each single part with the same power and timing!
Don't try to detect the right tempo in Pro Tools or what since there is not a single tempo start to finish, the tempo flows and it is on "on grid" unless you warp the whole song, and please don't do it!
Or you should write an automation lane on the master tempo track, and I don't think it worth the effort, I just add a 2 bars count-in click to start at the right point.
Here the "rendering" click option in Presonus Studio One 3 made my day, since I wrote down the audio click on a track just between loops marker. Just select 2 bars before the song, render the click, disable the real click and you're done!
About timing and playing, since it is a fast tempo and since it is played "live" and not "on grid", I really need a pair of headphones to match the song and playing along the song with a good amount of glue. Listening to it just from speakers is a little bit confusing, specially during the fastest parts, where your ears tend to identify the snare beat with the downbeat, while it's still the upbeat, and it is not so obvious to catch the perfect sync.
Headphones helps to be more "in the song" and play with the band.
We've spent the evening placing our instruments in the room.
My main guitar for that album will be the black Fender Telecaster USA, 1988 with original pickups, That guitar gives me all the edge and attack I need for nervous rock'n'roll riffs, but since the pickups are old and "tired" they never sound too harsh or too heavy. The Gibson Firebird is ready too, just in case I need a fat sound.
The stack in the background is not mine and I don't think I'm gonna use it.
For one or two songs I'm pretty sure I'll go for the Fender Stratocaster since I need a whamy bar to play some vibrato in a surf / western style.
On the back, a Danelectro Baritone. I'm not sure I'll need that one, but "on sais jamais". Intervals and tuning are the same of a standard guitar, but starting from lower B instead of E. It is fat and hot as hell. About the organ, I wish I could play it...
Amp 1: Combo Pittbull 100 VHT Amp 2: Hiwatt head Hi Gain 50 and 4 x 12 VHT cabinet
Both set for a crunch suond for the 90% of the songs.
Talk soon about rig, mics and settings.
Stay tuned!
This content was originally written as part of my newsletter "Tartare de Guitare"
You can sign up on this page, over there --->
Here's my YouTube Channel demystified. You can use it just for fun, and as tool to practice guitar. I keep it simple. There are 4 public playlists (see below). In the near future I'll provide exlusive videos too, just for the Tartare subscribers and my flash & blood pupils. Start the tour, click on the tiltle to enter the playlist!
Guitar Tricks My videos. Riffs, licks, tutorial, soloing, well known songs explained. Guitar Heroes A must see for every guitar player. Backing Tracks Use this playlist to improve your soloing skills! Songs To Play Along If you're watching this playlist you should already know how to play at least one of these songs. Isn't it?
Who's Tim Pierce? Bruce Springsteen, Bon Jovi, Patty Smith, Joe Cocker, Michael Jackson, Madonna, Tina Turner, Rod Stewart, Roger Waters, Celine Dion, Eric Clapton, Elton John, Alice Cooper, Shakira, Ozzy Osbourne, Vasco Rossi, Jovanotti, Christina Aguilera, Tracy Chapman and many many more ask him to play the guitar on their albums. Nuff said.
I started using this "chords tricks" to play a solo over complex chords progression some years ago, since I'm not a "scale guy". I'm happy with the kind of melody I can achieve this way, and it's easier for me to quickly visualize the shape of the chord and using it as starting point to play over an odd progression.
...but WOW, this video is a real Masterclass. Tim's explanation is simply perfect. He explains exactly which position he's using and why, and he plays step by step all the different parts of his solo, over over again.
The goal is not to play this solo, but understand how it works and being able to apply this technique to every progression you want.
It takes 20 minutes, but you won't be disappointed. Level: mid / advanced
