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Elf Licks of Doom

December 6, 2011
I thought we’d explore a giant monster lick from “Emberfall,” a song from my album, Machine Elves.
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Digging Deeper: Bridging The Comping Gap

November 15, 2011
How to develop your own personal concept of accompaniment—or “comping,” as it’s known in jazz—from the perspective of rhythm first, and then harmony.
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Shred Your Enthusiasm: The Oldsmobile Rides Again

November 15, 2011
After the show, my bandmates and I piled back into my newly purchased but very previously owned Oldsmobile and headed back into farm country where the chickens and our guitars awaited us.
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That Can Be Arranged: Chords That Keep On Giving

October 12, 2011
I tend to be a bit obsessive when working on a technique or concept and recently diminished harmony has been filling my time.
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Jazz Bootcamp: Pianist Envy

September 7, 2011
Trying to replicate what you hear on an Oscar Peterson or Bill Evans album can be a daunting task for any guitarist.
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Shred Your Enthusiasm: Reticulated Python Eats Bear

August 16, 2011
Can I bite off a giant arpeggio and digest it in one bear-sized piece? Or will I get better results from dividing up the arpeggio into smaller segments I can digest gradually over time?
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Shred Your Enthusiasm: Thanksgiving at Ted Nugent's House

July 19, 2011
This month, I want to show you how to play minor seven flat five, and why it sounds so good.
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Inside Jazz: Alphabetic Junctions

July 19, 2011
If we take the English alphabet and display it alongside a scalar series, the two separate systems become a device that can translate the language of words into one of melodies.
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Acoustic Adventures: The E-Minus Effect

June 14, 2011
Using partial capos and a full arrangement of Fur Elise.
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Kick Out the Jams: Guitar Gamelan

May 17, 2011
In Umphrey’s McGee, we really like to turn rhythm on its head and are constantly in search of cool ways to change up a boring stock riff. In this
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Inside Jazz: Linear Transformations, Pt. 2

May 17, 2011
In last month’s column, we learned how scales and arpeggios can be combined for the construction of line forms (“Linear Transformations,” May 2011 PG). This month, we’ll continue exploring
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Fingerstyle Workout: Exploring Stride Guitar

April 19, 2011
I enjoy using this style when accompanying a singer or horn player in a duo setting. It’s a nice change of pace from the usual roles of walking bass lines and comping à la Joe Pass, or playing a chord on every beat to mimic Freddie Green’s big-band rhythm sound.
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Inside Jazz: Linear Transformations

April 19, 2011
There are two distinctly different ways to expand the chord form—our skeletal melody—into linear improvisations.
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Inside Jazz: Automatic Voicings

March 15, 2011
Exploring how you can use diminished and augmented shapes to create automatic voicings.
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Power Shred: Diminished Sweeps

February 28, 2011
Herman Li''s debut lesson looks at getting more out of your licks through diminished chords and hammer-ons and pull-offs
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