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.
This is a special playlist. One of the uncountable audio-musician nerds site I opted in member, had the idea.
It means, you will not find radio-hits, but a lot of pretty indie home made and hand crafted tracks by people still searching, learning and trying, instead.
Some are pretty cool. I love the attitude.
I've just added some 3 songs I mixed: The Leading Guy, Magnetica Leoni and Betzy.
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.
Io nella mia carriera musicale sono stato particolarmente fortunato, il che mi ha forse portato ad essere particolarmente presuntuoso e particolarmente pigro.
Detto questo, credo che i metodi di insegnamento statunitensi siano un kit di sopravvivenza per il musicista pop in senso lato, mentre in Italia mi pare sia sempre stata molto netta la differenza tra chi suona col cuore e con le orecchie, e chi studia teoria tutta la vita; un po' come se le due scuole fossero diametralmente opposte o poco rispettate l'una dall'altra.
La stupidità (mia, prima di tutto) nel non avere capito prima l'importanza della codifica del linguaggio, nascondendosi dietro la bandiera del rock'n'roll.
Mentre di fatto sarebbe stato sufficiente un corso di una mattinata a rendermi la vita più facile.
Hi you all!
I just added that easy trick to my YouTube channel: Sweet Child O'Mine by Guns N' Roses in the key of D.
The album version is in Db.
A lot of guitar players tune their guitar in D flat, due to the big fat sound they obtain, and for the lighter tension of their strings which makes bending easier, specially with thick strings.
If you're a beginner it is not so obvious to find the right key this way, just because you actually CAN NOT reach that sound an notes with a standard tuning.
But even if you're a professional, once you've got the idea that the song you want to play is in Eb (or D) tuning, you have 2 options:
1- You can tune your guitar down to Eb (simply annoying if you have fixed bridge guitar, Absolutely Fxxxing Annoying if you have a vibrato system)
2- Import the song in a DAW to use a Transpose tool
...and if you're like me, the 90% of the time you will lose the pleasure and give up, and you will skip to another song, or worse to another activity.
So, that's my gift for you all, a good old rock song I didn't play since I was 18 just because it makes me sick to drop down my guitar.
What are you waiting for?
Plug your guitar and play it as it is: The original version, but in the key of D!
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?
Il bello di fare lezione a quelli che suonano bene, è anche essere "costretti" a rispolverare dei riff della madonna datati 1990 e rendersi conto di averli suonati per 26 anni leggermente diversi.
Anzi diciamolo: sbagliati.
Di poco, ma sbagliati.
Ma che ci vuoi fare, mica c'era YouTube.
C'era il vinile e l'olio di gomito, la puntina su e giù per delle mezze giornate cercando di beccare sempre lo stesso solco o quasi. Nella migliore delle ipotesi c'era una trascrizione ufficiale di Wolf Marshall pagata quanto un distorsore della DOD.
Dal video qui sopra mi sono accorto del mio piccolo errore.
Adesso che vedo quel riff suonato da chi di dovere mi sembra la cosa più ovvia del mondo, ma è un po' come andare a leggere la soluzione a pagina 46 della Settimana Enigmistica e poi dire "Lo sapevo"
Una regia pessima, una fotografia agghiacciante, un Nuno Bettencourt simpatico come la forfora nel minestrone.
Eppure dice una cosa interessantissima. Ovvero che la mancanza di materiale didattico video di un tempo obbligava i veri appassionati a tirarsi giù le parti di chitarra ad orecchio ed in maniera assolutamente personale. Era impossibile sapere esattamente cosa facessero davvero i mostri sacri del calibro di Van Halen. Nella ricerca stessa c'era un allenamento dell'orecchio migliore di qualunque altra scuola, e nell'esecuzione personale (ovvero sbagliata) si celavano le basi di uno stile chitarristico personale anziché un esercito di cloni.
Un grazie ai miei allievi che mi obbligano a tenere alta la soglia di attenzione e la curiosità.
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.
I'm not a big fan of Scott Henderson and his playing.
I've never been. And I think I'll never be.
But one of the things I like the most about learning guitar, is how I'm still interested at the age of 40 in nearly everything style and sound you can obtain from a guitar.
I feel like a child every time I hear or see something good coming out from those six strings.
Any kind of music, any technique makes me curious like a teenager.
It doesn't matter if I'll never play that kind of music on a record or on stage, 'cause maybe I'm not really into that stuff, like classical music, bossa-nova, or in this case, fusion.
Honestly, the worst kind of music ever invented.
But it just doesn't matter.
Watching this video, I couldn't be more curious than this, because even if it is not my cup of tea, all that I see is a great guitar master saying interesting things about harmony, rhythmic patterns, whammy bar, and finally bridge settings.
I had to watch it 3 times to catch every nuance, 'cause there are a lot of notions for a 10 minutes video.
So, thank you so much Mr Scott Henderson.
..and you, skeptical rockers, give it a try!
If you really love music and your guitar, you won't be disappointed about that one.
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?
I mixed this song some months ago, and now it's finally out.
In my experience, one of the most difficult things nowadays, talking about the mixing process, is to obtain a sound that fits in every situation.
Just at my place I have so many different speakers and headphones that I find really hard to reach the final mix. What works for the first setup, doesn't work for another and vice versa.
I know the mastering stage should play the game (a part of), but what about minor productions, for which you have both to mix and to finalize your song? If you run an indie label as I do, let me say sometimes you will send the stereo mix to a mastering engineer, some other you won't. Sad but true.
So you have to work it out.
My main reference monitors are Tannoy System 800, not bad at all.
But even if I am not a mastering engineer, I am stunned about the different perception of a mix coming out from Pro Tools straight to my monitor system, and the mix uploaded to SoundCloud or Youtube and streamed thru everything you want: Hi-Fi, home-theater, Headphones, iPhone, whatever...
Obviously the mix remains the same, but the perception is so different that I need to fix the mix at least a couple of time after a "web-check" on laptops and smartphones, from internal speakers and with cheap headphones.
It's totally nonsense nowadays let your expensive and super flat speakers being the final judge, since the 90% of the people will listen to your song thru all kinds of crap during their spinning workout or what.
10 years ago you had a "car test" and you were done. Now it's a mess.
What I'm trying to say is, I think I'm not looking for the perfect mix anymore.
Mixing stage nowadays is not about perfection, is about compatibility.
Or maybe it has been this way since the beginning, and I'm realizing it right now at the age of 40.
Mixing is not the art of Perfection, mixing is the art of Compromise.
Think about it during your next mixing session, before wasting 2 hours on the high frequencies damp of your reverb on the woodblock track (as I do).
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
Hi there!
I'm working on a new video and transcription of a killer lick, and I can't wait to share it with you!
In the meantime I decided to post an old one giving both the GuitarPro file and the PDF available for FREE!
