Guthrie Govan - Creative Guitar 1 - Cutting-Edge Techniques - Download as PDF File .pdf) or read online. Guthrie Govan - Creative Guitar 1 - Cutting-Edge. Guthrie Govan - Creative Guitar 02 - Advanced Techniques - Free download as PDF File .pdf), Text File .txt) or read online for free. Guthrie Govan - Creative. Creative Guitar Vol. 1 - Cutting Edge Techniques (Guthrie Govan).pdf - Download as PDF File .pdf) or read online.
|Language:||English, Dutch, French|
|Genre:||Fiction & Literature|
|ePub File Size:||16.79 MB|
|PDF File Size:||18.60 MB|
|Distribution:||Free* [*Sign up for free]|
Download Guthrie Govan - Creative Guitar 1 - Cutting-Edge Techniques DOWNLOAD PDF - MB. Share Embed Donate. Report this link. Guthrie Govan - Creative Guitar 1 - Cutting-Edge Techniques Guthrie Govan - Creative Guitar 2 - Advanced Techniques PDF + MP3 Guthrie. Description. First in a series of three books that aim to provide frustrated rock guitarists with new directions to explore their art. Armed with the accompanying CD.
It's business as usual for the first three beats of the bar.: The best way of keeping this pattern in time is always to aim for the first note of the next beat so that you remain aware of the pulse of the mUSIC. Advanced Techniques Example 1. The connection might seem a little tenuous.
For the following exercises. You might also have spotted this idea at the end of Eric Johnson's Rose'. II And even if you're not curious. Example When bass players you'll ever 1. For an extreme Or White'. Think 'robotic' is a bizarre 1. Alternate Picking Example 1. Zappa's 'Peaches Quintuplets preposterous Jackson's shockinqlv If you're and fives. Example use groups 'Desert their licks. Really trying to target these notes is the key to keeping the pattern in time After a while.
Advanced Techniques There are two types of note here: At slower speeds. Rather than picking the 32nds more quietly. This exercise is reminiscent of snare-drum rolls. Do they remind you of any particular musical style Example 1.
The next two exercises illustrate a more mathematical way of generating interesting accents. These are two rhythmic figures associated with latin music.
If you use these rhythms as the basis for the accents in your rhythm playing or soloing. AI DiMeola is a good starting point. The next two examples take a different approach to accenting. If you want to hear just how rhythmically confusing things can get. I think that this is to be encouraged. As an extension of this. The results sound as if they're fighting against the dick but without actually going out of time.
This time. Once you've got the hang of the basic exercise.
Acerca de mi
This can often impart a better feel to what you're playing. The first one will take care of itself Now for a quick look at a more common kind of accenting. This sounds really odd. You'll hear drummers like Vi. Once you're comfortable with the idea of resetting your picking hand to bring out the best in your accented notes. Alternate Picking note. These sound best when the first note of every beat is accented.
You can take this idea to extremes. If you find it unnatural. Now here are a couple of trickier And so on. There's another kind of popular picking exercise that places the emphasis on position shifting and keeps the string crossing to a minimum In Example This area was touched on in the 'Finger Independence' section in Creative Guitar 1. J ' If you're playing an exercise like this from memory.
I've written out only the first two bars of this one. This next one features a lower shift-perbar count.. J 3 - E B G 5 o A E Here's a slightly less terrifying variation on the above Playing a simple melody on one string can often sound smoother and more tonally consistent than playing the same thing within the confines of a single scale position.
XVII fI f!:. I'll leave you with the following variation.. You could always try moving the shift elsewhere in the pattern.
That's the basic idea of sweep picking. Consider the difference between this means that sweeping the exercise requires only 25 per cent of the effort you'd otherwise need to put in when picking the same thing alternately. The principle. Let's start with a quick look at sweep picking. Example 2. In theory. The Incidentally. Sweeping can really help you to play fast passages effortlessly. To the untrained common-or-garden strumming.
If you cast your mind back to Examples 1. Think how much easier it would be to pick Example 1. When playing Example In Example 2. For this to sound good.. The pick should glide smoothly across the plane of the strings if you dig in too deep.. I implore you to change your ways. If you're one of those people who strum all six strings but don't fret the note on the bottom low E in the bass is a clumsy-sounding When you're strumming.
Maybe Example Throughout the first six notes of Example the speed of your hand aiming to get the pick to 2. IJJ I l 'ill e.. Don't move your fingers too far. Here's a more the top E string just in time to play it.. Most of this responsibility falls on your fretting hand. A C chord with a all of the notes of the whereas in E string. Advanced Techniques Once again This raises a general point: If you try to get the upstroke motion to cover all four strings. I could have fingered the exercise with a hammer-on from the fourth note to the fifth and then swept the last three notes without the interruption of that pull-off.
Here's another example of an occasion when sweep picking steadfastly refuses to fit to a pattern: You'll note that your hand briefly reverts to an alternate-picking approach when it reaches the top E string and then reverts to a sweeping motion as soon as it can. V 1""1 I"'l I chose to use a pull-off from the fifth note of the pattern to the sixth.
As a result. After all. You might find it hard to switch between Example I"'l Now spot the difference with this next one: The confusing part is that your picking hand changes direction at such awkward parts of the bar. The upstrokes take longer and feel more relaxed. Once you've got a feel for the basic picking patterns. Example 25a.
Guthrie Govan – Creative Guitar 1: Cutting-Edge Techniques
J ' This is quite an abrupt movement. The following examples show you some examples of licks and patterns that lend themselves well to sweep and economy picking. Now compare Example 2. The pick changes direction on the beat. It's the kind of pentatonic lick you might hear from Steve Morse or Zakk Wylde. The key to getting rhythmic definition is to concentrate on getting the downstrokes in time. Example 2 5b illustrates the basic principle of is to sweep whenever you can and to pick inside the strings whenever the path of your picking hand has to change direction.
If you sweep it as indicated. You'll find that the picking hand's changes of direction occur at really awkward points in the bar. In effect.. V 10 VII. This doesn't chunk harder fit quite of the the into one hand-sized you to apply the same down-upto each string This is still harder the beat rather than at the start.
This lick features you could amongst apply others.. Advanced Techniques Example 2. The pattern used here is an easy one to spot You'll see that I've moved the fingering back a position for the last two strings.
The result is not Quite a scale.. To get every note ringing out distinctly. J Can you think of any other contexts in which this might work? Hint modes Both of these require abrupt Advanced Techniques Here's a suggestion: The next couple of exercises are sweep-arpeggio licks reminiscent Becker of neo-classical players such as Jason Friedman When your picking hand is executing a downstroke on every beat You can see how the fingering has been designed to keep an odd number of notes on each string.
Why not try to come up with some other seventharpeggio shapes based on this ideal You'll find that your hand will.
Dmaj7 and Dm7. If you dabble in Jazz. It's harder to improvise at speed when you're using the relatively wide intervals in an arpeggio shape rather than a scale. When you're holding back. And yet here I am preaching the value of practising this stuff slowly. Where's the fun in that? Economy picking. There's a strange irony here: Advanced Techniques economy-picked renditions of the same lick.
If you become too obsessed with speed for speed's sake. I've known players to spend months practising. The best way around this dilemma is to practise everything very slowly. Once you've conquered that side of things.
Trust me. How much you'll need sweep picking in your own playing will depend on what kind of notes you actually want to play. Just bear in mind that you should aim to keep the actual movement of your fingers to a minimum.
Of the two left-hand techniques involved here. Picking every note gives a precise. They're obviously both stunning players. There are two basic kinds of hammer-on: It's much better to focus the same amount of force into a smaller. The best way of avoiding this is by tackling more notes with hammer-ons and pull-efts.
A sax player. If you've read Creative Guitar 1 and I strongly urge you to do sol. The more you work on it. I should point out that the concept of legato doesn't apply only to guitar players. Try stationing each of your fingers just a few miHimetres from the strings and then.
Once this starts to feel natural. Since you're not picking the string. As the name suggests.
Your mission in this chapter is to work on emulating that flowing sound. This might feel a little tense and overly forceful for a while. A violinist would approximate the same thing by performing one long. Joe's playing generally has a smooth. At first.
Guthrie Govan - Creative Guitar 02 - Advanced Techniques
If you're looking for some specific reference points. Now let's take a moment to look at how legato technique works.
As yourtinger leaves the string. This gets the string vibrating. The most confusing is that you're the volume pressing different of a note note will.
Allan has a strong dislike for what he has to get from a ring-finger note on the same string. The reason why such guys have any success that they understand their advantage: Now pick the first-finger on with your second again.
The and to bite things. Advanced Techniques kind involves first picking a note and then hammering onto the same string while it's still vibrating. The pull-off is a slightly more complex example. If you first make sure that your index finger is in place. Now hammer second finger so that the first-finger on with the note and hammer nate sounds out second finger finger.. I think it's probably best to develop a good pull-off technique first before heading off towards When downwards pulling Planet Holdsworth.
When you're hammering with which the note is fretted that so no on. For issues. It's tempting problem significantly to think of this technique hammered sounding notes hammer-on. Ardent fans of the Discovery Channel Will doubtless have seen documentaries about those courageous headcases who catch crocodiles for a living.
Once you've bit more approachable. For this reason. You have to oppose this very natural tendency by trying to push your third finger into the fretboard as the fourth finger performs the pull-off. You should start softly. Youcan work around this problem once you know what it is you're dsalinq with. Needless to sav. Because of the increased stretch.
These digits have to share a tendon in your hand. I think that pull-offs are harder to execute when you're trilling. Legato and pull-offs alternately to playa trill between A and this apparent lack of independence between the ring and little fingers. This way.
Now try the same exercise on. It'll feel as though you're hammering the third-finger note. I'm just explaining why that one feels so much less useful than its fellow digits. You'll get the best and least painful results if your thumb is about halfway down the back of the neck and there's a bit of clearance between your hand and the top E side of the fretboard. When your fourth finger pulls off. For the curious. By experimenting with the angle of your fingers relative to the plane of the fingerboard.
Try each trill in turn and compare them for volume. You could assign your fingers to frets 5. Here's something that might help. Here's the depressing part: I'm not offering you an excuse for having a weak little finger. What did you find? I'm guessing that you would agree with at least some of the following: When you feel fairly comfortable with this exercise.
Example 3. An informative if narcissistic experiment is to watch your fretting hand in a mirror.
Advanced Techniques are fairly straight. If you're having trouble with your legato technique. Now let's try some examples. E - - - 7 If you number the notes on each string in turn from 1 to 3. Do your fingers look parallel to the frets or are they at an angle? You'll get the maximum stretching potential when your middle and ring fingers are parallel to the frets and the other two are spread out more diagonally.
Legato Example 3. This gives Example You might find this reminiscent particularly those from the crazy world of bebop. This really hones your timing and makes accenting a hammered or pulled note an interesting challenge. You can apply a pattern of more than three notes to each string so that your chosen scale shape doesn't run aut as quickly" You might think of Example 3. Try applvinq each different pattern in turn to the entire scale fingering: Advanced Techniques Example 3.
The Tf pattern requires your hand to break out of that one-fi nger-per-fret spacing. I think you'll see the benefits of knowing as many of them as possible. Examples Legato Don't be put off by the penultimate fingering pattern. You might not want to learn all of these in one go. I '-"'I. Ionian mode Now for some serious homework.
Like gas molecules. The trick is to target the first note on each string. Dorian mode "9 "9 '-' x Q -Q Phrygian mode X.. Mixolydian mode Locrian mode Aeolian mode. Advanced Techn iq ues Example 3. Some of the slides occur in more unusual..
You'll probably recognise some Satriani-esque traits in here: The logical extension of this is not to pick any notes at all When you're comfortable with this. Slides have the same kind of fluidity to them as hammered and pulled-off notes Legato One way of lightening the workload here is by working on ideas that move up the neck using only a string or two Example is a variation on Example D A E The next two examples focus on your hammering-onfrom-nowhere skills E Example These exercises sound pleasantly rhythmic at high speeds because the picked notes always occur at the start of a beat: I ""'.
If you follow the picking and hammering directions accurately G D If your ideas in the following normal fretting hand is self-sufficent Legato Example J L 6 Getting used to this way of playing will make you more comfortable when you come to try some of the chapter. In this lick As I mentioned earlier.. For a start. If you want to hammer on a note and your fretting-hand fingers can't cope with the stretch.
To make tapping work reliably. All sorts of new playing possibilities can open up for you if you apply this principle to your playing.
Your hand naturally finds a balance between the two. If you don't lean your wrist enough. Some consider it uncool and can't see any point in even trying it because they associate it with animalpri nt Spandex.
I would suggest lightly resting the wrist on the strings that are lower in pitch than the one you're playing. Before you even put your right hand anywhere near the fretboard.
This is a shame because tapping is nothing more than a good solution to an otherwise insurmountable problem. As you will recall from the 'Alternate Picking' chapter.
If you plan to launch into a long. Like I said. You'll find that this increases your chances of hitting the right string even when you're not looking at the fretboard. Your tapping finger can achieve this in one of two ways: Example 4. If you move around a lot when you play live. You'llobviously wa nt to minimise the chances of this happening to you.. I personally tend to prefer the latter approach. Once you've tapped a note.
As with a regular hammered note. As with regular pull-offs I admit that this makes you compromise the way in which you hold your pick.. Whichever method you choose. T When you can do this at moderate speeds. Advanced Techniques straight as possible when tapping This approach will get you through most lapping situations. The trick of visualising yourself hammering through the fretboard might help you get a feel for this.
A lick might work every time in your bedroom and yet still let you down when gig night comes.. I would urge you to stick with these two exercises and work on getting your two hands co-ordinated so that aII of the notes are even.. Work on eliminating handling noise and use whichever pull-off motion allows you to do this most comfortably Right then. If you can discourage this kind of behaviour now.. Tapping Example 4.
The hardest part here is probably the second note of the pattern. In effect The tapped note really pops out when this exercise is played at high speeds Example I've picked E Aeolian here for those about to rockl.
The same E minor triad could be transformed into a G major inversion by moving your index finger down two frets and so on.
For instance. It's relatively easy to come up with classical-sounding progressions by making minor adjustments to the basic fingering Advanced Techniques I suggest that you try out these ideas with as many different triad inversions as you can think of.. II f' Now let's fill in the gaps to create some more scalar-sounding ideas This kind of lick always reminds me of George Lynch's playing. Iof I've added an extra note to the basic E minor triad.
You did remember to keep your thumb anchored at the top of the neck. As with the last few examples. This can help you to maintain some separation between the strings. Advanced Techniques Even if you don't like the sound of the tapping covered so far. I'm sure that you can find a use for this next idea.. If you're having a lot of trouble with this one. The key to making this work is to bend with your fretting hand.
Players like Billy Gibbons have been known to dabble in this technique. The result sounds like an impossible blues lick. If you can execute the last two exercises cleanly, you have enough techniques at your disposal to come up with all sorts of licks, so try to find as many variations on this idea as you can.
The following two examples illustrate what happens when your left hand plays standard minor pentatonic shapes and your right hand punctuates things with some Aeolian tapped notes. You could. Ideas like this are useful because they're based around a fretting-hand position that we all know and love, so they'll slot right into your lick vocabulary with the minimum of effort,. In any given beat here, your fretting hand descends three notes of A Aeolian while your tapping hand provides the pedal.
Bear in mind that your finger never actually leaves the string. Muting the unwanted strings is a tricky one here, but you can't deny that it looks cool I. The idea is to use your tapp. Incidentally, I know that Winger might not be flavour. You might want to pick. Note the way in which your little finger hammers the first note on each new string. If you want to generate some bigger tapping licks, you should work on sliding between different positions, and Example 4.
But I digress. You'll need to. Try to bring it up just high enough to touch the B string as it frets the top E. Advanced Techniques The next two workouts show you how you might extend the range of that last idea.. The basic melodic pattern involves descending a G major arpeggio in groups Example These ideas are used to great effect by players like Greg Howe J H r Easy does it. A E I thought I should round off this chapter by combining of three.
The latter solution requires extra-careful muting.. As you might expect. But how else could you end this lick? What happens if you try to play it backwards? As always. Tapping This one will take a little work. Once you've got the basic movements down. A lot of the string-crossing tapped licks you hear in Steve Val's playing use two right-hand fingers. I remember seeing Stanley playa few years back. This is where the realfun starts!
Some notable exponents of this technique include. Jennifer Batten. Recommended listening: Whatever these names might suggest to you. Below And Beyond Stanley Jordan. Jennifer went on to play in Jeff Beck's backing band. Bear in mind that your right-hand thumb won't be able to wrap itself around the back of the neck as easily as the other one can. Taking this idea to its logical conclusion. Check out his albums Standards and Magic Touch if you find this hard to believe.
Eight-finger tapping can add a whole new dimension to your legato playing. It'll seem even harder to believe once you've seen the guy live. Formerly Michael Jackson'sguitarist of choice.
The best advice I can give you on that topic is to start with your fingertip positioning and work back from there. You should be able to hang onto your finger tapping. Remember th is position and use it as your default. Here's a general observation: Try it and decide whether it has a place in your playing stvle. Example 5.
See a Problem?
Notice how much more 'bubbly' this sounds in comparison to your standard legato technique. As usual. If you read Creative Guitar 1 and if not yet. Your fingers might be unequal in length.
What follows is a series of exercises illustrating the above technique. If you're a newcomer to the field of eight- two areas of the neck at once and have to visualise a shape for each hand.
The undersides of your left-hand fingers can still take care it's hovering pick while playing this one. This involves twice as much work as 'normal' playing. As was the case with the other hand. Eight-Finger Tapping it on the top edge of the fretboard the low-E end notes.
T T 8M Note how your hands take turns to sh ift position. Why not try it with other types of arpeggio? This exercise it in the bet is to tap those high fourth intervals 1 and 4. Advanced Techniques Example latter 5. The note choice here is reminiscent of certain other way of playing it. You have to instinctive.
B minor and E those moments when you're playing in A minor and you need an eight-fingered lick in a hurry. D minor and E minor pentatonic scales will all work. A minor By the same token. If you're wondering how to finger the tapped notes in th is or the previous exam pie. Justcopy what your other hand's doing. Since the E minor pentatonic scale works over both of the common A minor modes. The idea this time is to mirror your fretting hand five frets up instead of seven S - i4: It sounds a little odder than the last example..
This trick works because you can construct a minor pentatonic scale starting from the second. Trust mel If you're playing in an A Dorian context. Try the same idea with your tapping hand up an octave: It doesn't sound like blues any more.. I think you can learn a lot from going through each of these shapes You'll find that this one works well with a clean sound Advanced Techniques Example 5.
T gli"ss The main problem with this one will bein getting all of your tapped notes in time and even in length Try it both ways I i '-'. Eight-Finger Tapping.. This next workout is a C maj7 arpeggio pattern you'll see what's going on if you look at the m usic as well as the ta b and I've stuck that fi naI note on at the end to suggest that this also makes a great Example As with Example This lick has a very Buckethead vibe about it.
Examples 5. Eight-Finger Tapping Example 5. You might have heard players like Scotty Mishoe using these ideas at preposterously hi. This lick has a hammers on notes from nowhe re at the 17th fret whi Ie your fretting hand moves a major-seventh arpeggio shape strangely detached sound.
I would encourage you to get creative with this idea As you can see from the tab. S- '1T '-!. This pattern is a rhythmic groove. It's a tricky one to get rig. The basic pattern in beat 1 goes like this' Tap the top E string with your right-hand index finger and hold it there while you. This pattern basicallv applies to each beat in turn only the names of the strings will change.
I'm not sure if you are looking for some type of "Foundation" or not. Are you feeling comfortable with all the Scales you mentioned in your forst Post? The Harmonies, etc.? If so, I think that's a pretty good foundation!
Looked good, but I didn't get a chance to sit down and really study it. Are you wanting Physical Techniques just not much Tapping? Or, are you looking for more of a study on Styles of some sort? Cool Licks and Phrases?
Depending on what Levels you want to work with, Don Mock has some great stuff out. I'd recommend his Materials. Robben Ford has some really good stuff out. I have the first Download, and it's really sweet! Something different? And the Book he often cites as an important read: Harmonic Experience by W.
Also, there's some good Technique stuff out.Speaking of lessons, Guthrie Govan comes across as an extremely humble, down-to-earth character -- the kind of guy who would be an inspirational teacher. Allan has a strong dislike for what he has to get from a ring-finger note on the same string. I would urge you to stick with these two exercises and work on getting your two hands co-ordinated so that aII of the notes are even..
Extended Scales And here's how the same idea applies to pentatonic fingerings.
Advanced Techn iq ues Example 3. Dec 19, Sam Wright rated it it was amazing One of the best guitar books I have ever went through. Consider the difference between this means that sweeping the exercise requires only 25 per cent of the effort you'd otherwise need to put in when picking the same thing alternately.
For the following exercises.