
It’s not as easy or straightforward as some might think, but taking an unhurried approach can add new dimensions to your playing.
Beginner
Beginner
• Add more color, dynamics, and vibe to your playing.
• Develop more control over how you play a note.
• Learn how to do more with less.
If you're a shredder who's into Yngwie Malmsteen, you probably think Eric Clapton is the slow player. If you love Clapton's lightning-fast performance of "Crossroads" from Wheels of Fire, you might believe Robert Johnson's original version (properly titled "Cross Road Blues") crawls along a little faster than a hyper turtle. And if you can't wrap your mind around Johnson's dexterity with the slide, perhaps Brij Bhushan Kabra's meditative Indian slide playing on Call of the Valley is more your … speed. And, at the risk of waxing philosophical, consider that an open 5th-string A vibrates at 110 Hz a second. Well, that's still pretty fast by almost any standard! In this lesson we'll keep in mind (with all due respect to Einstein) this relativity, and approach "slower" from a variety of angles.
Sustain
Besides resting (which we'll get to soon enough), the slowest and most engaging way to play a note is to sustain it. There are few more skilled at this than Carlos Santana. On his live version of "Europa" from Viva Santana, Carlos manages to sustain a note for just under one minute (check out the video below starting at 3:36). And though it's true that the band is playing an upbeat Latin groove over a two-chord vamp, it's Carlos' painstakingly sustained note that creates the tension and sense of excitement. Ex. 1 is a Santana-esque groove featuring several sustained notes, including one long-held bend.
Ex. 1
Europa - Viva Santana version!
While Santana proves that you can do a lot with just one note, there are plenty of multiple-note variations you can create from a sustained, vibrating string. When it comes to this approach, one immediately thinks of Jimi Hendrix and his live performances of "Machine Gun," "Wild Thing," and "The Star-Spangled Banner." My favorite Hendrix sustained note can be heard on his version of "Auld Lang Syne" from Live at the Fillmore East, which he recorded on New Year's Eve of 1969. In this stellar performance, Jimi sustains a note for more than 10 seconds then proceeds to perform the melody without ever picking the strings, using only his whammy bar and a series of slides. Ex. 2 is an imitation of Jimi's performance using hammer-ons and pull-offs instead of whammy bar technique.
Ex. 2
In the aforementioned songs, both Santana and Hendrix would have been playing through amplifiers with the volumes completely cranked. While this approach is fun, today you have several options when it comes to performing such long, sustained notes. Countless compressors, actual "sustain" pedals, and digital modeling amps will allow you to play with minimal volume and still achieve infinite sustain. Experiment with different setups to decide what is best for you in any given situation.
Space
A second approach to playing slower, and one that can be achieved with or without amplifiers, is the simple act of resting between phrases, or more dramatically, between the notes that make up your phrases. Now I say "simple," but if you were to listen to any number of guitar recordings you might wonder, "If it's so simple, how come so few do it?" It is true, guitar players do seem to have an aversion to resting and creating space in their playing. Still, whether this is out of habit, imitation, or thoughtlessness, the solution is simple.
To get comfortable with this approach, listen and imitate vocalists who, unlike guitarists, have to breathe between phrases. A good place to start with vocal mimicry is the study of any number of versions of W.C. Handy's "St. Louis Blues," a standard 12-bar form that features a more lyrical and less lick-based melody. Bessie Smith, Billie Holiday, and Etta James all have recorded versions of this blues standard and, notably, Etta's version begins with a bold a cappella introduction that all musicians could stand to learn from.
Ex. 3 features acoustic and electric versions of two choruses of "St. Louis Blues." The first time through the melody is performed almost identically to the original 1914 sheet music. While this version does have a fair amount of space, the phrasing is rather dull rhythmically. The second chorus adds even more space (resist the temptation to fill the six beats rests at the end of each phrase), is more syncopated, and breaks up each individual lyrical sentence with rests in between words, rather than stringing the lyrics together in one long phrase.
Ex. 3
There, are of course, myriad other paradigms of vocal phrasing that highlight the use of space and that also translate well to the guitar. Ex. 4 borrows heavily from Patsy Cline, who was particularly adept in her use of space and timing, often pausing unexpectedly and then twisting her notes into a surprising series of syncopations that few other musicians would have considered. It starts with a very straight, Fake Book-style delivery, then reveals how Patsy might vary a repeated phrase with her use of space, articulation, and rhythmic variation, similar to the verses of "Crazy."
Ex. 4
Refinement
One of the numerous benefits of playing slower is that it can underscore the subtler aspects of one's guitar technique. By performing an attack or articulation gingerly, the art can be heard in both the procedure and the musical result. Jeff Beck is a master of this type of slow playing, and his 1976 recording of Charles Mingus' "Goodbye Pork Pie Hat" is the archetype performance. Ex. 5 takes many of the slow articulations Beck uses in "Goodbye Pork Pie Hat"—measured bends, circumspect slides, deliberate rakes, even the elusive click of switching pickups—and applies them to "Amazing Grace," which Beck has also recorded, though with a different approach and, ironically a, slightly faster tempo than presented here.
Ex. 5
Solo
Legions of fingerstyle guitarists are under the impression that, because they're playing solo, they must play all the usual parts at once and it must be rhythmically relentless. As a result, far too much fingerstyle music is one-dimensional. Not so for Leo Kottke's music. Though Kottke is notorious for playing more notes in one song than most guitarists perform in 10, he also has pieces that he delivers with a leisurely approach: "Three Walls and Bars," "Parade," and "Easter" are all prime examples. Ex. 6 is an homage to Kottke's more relaxed compositions. It features an amalgamation of the aforementioned songs, plus a little Robbie Basho thrown in too.
Ex. 6
Listen
Superficially, this final approach to slowness might seem radically different from all the previous examples, but in fact, incorporating this exercise into your regular practice routine can make everything you play, slow or fast, take on new levels of meaning and purpose.
Now many of you might think this technique is little more than new-age hokum, and I can appreciate that. Still, there is no agenda here other than to help you become a more thoughtful and musical player, so I entreat you to give this next exercise a few tries to see if it enhances your playing. If not, you have the six previous examples to work with. But if it does, it could change your playing forever. (Note: I have only reluctantly included an audio version of this exercise because I feel it does not translate well to any recorded audio medium. The true test is the sound you yourself create. If you do use my audio as a guide, please listen with headphones.)
Rather than attempting to explain—acoustically, mentally, and physics-wise—what is going on when you perform this exercise, I urge you to simply follow the instructions below. After experiencing the sounds, you can decide if you've begun listening and hearing differently. (Note: This exercise is best done with an acoustic guitar or with an electric through a relatively clean, low-volume amplifier, otherwise you might be sustaining and resting for much, much longer than you want to.)
1) Find a relatively quiet room in which to do this exercise.
2) With your eyes closed, pick one note.
3) Let it sustain as long as it will naturally, with no vibrato.
4) When the note has decayed fully, take your hand off the guitar and rest for approximately the same amount of time that the note sustained.
5) Repeat this exercise, at least three more times, with any notes you choose.
6) Evaluate the process.
What did you hear? If you're like many players I've done this exercise (Ex. 7) with, you may have noticed more than you would have imagined. For instance, you can actually hear the overtones. Overtones are another topic beyond this scope of this lesson, but the briefest of explanations is to say that there are no "pure" notes in music. Every note is made up of several discrete frequencies, the fundamental (the name we give the note) and many overtones (additional frequencies greater than the fundamental), which usually go undetected if one doesn't play slowly. By playing at this glacial pace, one can hear notes within notes.
Your instrument sustains for much longer than you thought possible.
Different attacks create tones. Did the exercise encourage you to modify your attack? Perhaps you tried using your bare fingers instead of the pick? Did you find yourself picking harder or lighter? Did you pick in different areas relative to the acoustic's soundhole or the electric's bridge?
Resting between notes makes each subsequent note sound fuller.
The lower the note, the longer the sustain.
Does noticing these small details make you a better player? That is not for me to say unequivocally, but certainly this exercise in active listening allows one to recognize the strongest aspects of one's playing and to rectify the weaker aspects. It also can give musicians a greater appreciation of numerous facets of sound, from sound waves and frequency vibrations to one's own auditory perception. If this exercise and these topics are of interest to you, I suggest following up with an investigation of the works of John Cage, Pauline Oliveros, and La Monte Young, as they have all worked seriously within the realms of silence, long sustained notes, and what Oliveros calls "Deep Listening."
Less is More, When There’s More
As so often is the case, balance is crucial. Musical choices don't have to be autocratic, dogmatic, or absolute. Slow playing is highly effective when it's offset by its counterpoint—speed. While practicing, if you forgo automatic pilot and remember to equalize a barrage of notes with rests, or long, sustained notes, or pithy, quarter-note phrases (as opposed to 32nd-note run-on sentences), when it comes time to perform, your playing will be invigorated by complementary and dynamic ideas. And, paradoxically, playing slower will make your fast playing seem even faster.
- How to Play Those “Impossible” Intervals - Premier Guitar ›
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- How to Play Bentonia Blues - Premier Guitar ›
- Pump Up Your Picking - Premier Guitar ›
Limited edition Squier Stratocaster features iconic Hello Kitty design, high-quality craftsmanship, and versatile tones.
“Hello Kitty has a global community of devoted fans, and much like Fender, has transcended generations, culture, and geography. This partnership speaks to the joy and creativity both brands have inspired worldwide,” said Edward “Bud” Cole, President of Fender APAC. “It’s about more than just a guitar—this is about giving players a platform to express their individuality, with quality instruments, gear, clothing and collectibles that spark creativity, wherever they are.”
“As a cultural ambassador, Hello Kitty has been influencing a variety of industries, including music for 50 years,” said Craig Takiguchi, Chief Operating Officer of Sanrio, Inc. “In today’s dynamic landscape, where music and entertainment are constantly merging and inspiring each other, Fender’s legacy, and deep connection to pop culture uniquely positions them to become an even bigger part of our fans’ lives. We’re excited to partner with Fender to give our community new, creative ways to express themselves through these iconic quality instruments and supercute accessories, continuing to bring our vision of ‘One World, Connecting Smiles’ to life on a global scale.
The Fender x Hello Kitty 50th Anniversary Collection includes a Limited Edition Squier Stratocaster guitar and a Fuzz Pedal, alongside eye-catching accessories such as an electric pink instrument cable, gig bag, and a collection of unisex clothing. From Hello Kitty-themed straps to pick tins, hoodies, tees and trucker hats, these items celebrate the spirit of creativity, inclusion and fun that defines both brands.
Available globally, the Squier Limited Edition Hello Kitty Stratocaster builds on the success of the original, blending substance with style. First introduced 20 years ago, this exciting update to the now iconic Hello Kitty Squier features a supercute glossy finish in pink or white with signature Hello Kitty graphics on the pickguard, headstock and body. The Fender Designed™ humbucking bridge pickup delivers powerful lead lines and smooth rhythm tones. With an ergonomic “C”-shaped neck and contoured body, this guitar ensures comfort and playability for musicians of all skill levels, making it a future cult classic for collectors and players alike. A deluxe padded gig bag with Hello Kitty stitching is also included.
The limited-edition Made in Japan Stratocaster boasts a striking Pearl White finish with Hello Kitty’s trademark ribbon, a "C"-shaped maple neck, 9.5” radius fingerboard, and 22 narrow-tall frets. The guitar is equipped with high-gain Hybrid II Custom Voiced Single Coil pickups, providing versatile tones perfect for clean or overdriven play. Comes with a white hardshell case and certificate of authenticity, celebrating Hello Kitty's cultural influence.
"This collaboration with Hello Kitty is a perfect blend of music and pop culture," said Justin Norvell EVP Fender Product. "The limited-edition Squier Stratocaster merges Hello Kitty’s playful design with Fender’s craftsmanship, offering a high-performing instrument that's as fun as it is functional. Our Made-in-Japan exclusives bring an extra level of artistry and attention to detail, making them standouts for both collectors and players. From the guitars to accessories like straps and fuzz pedals, this collection sparks creativity and celebrates individuality, while staying true to Fender’s legacy of quality and innovation."
The highly anticipated collaboration has returned! Celebrate Hello Kitty's 50th Anniversary with the Fender x Hello Kitty Collection, featuring the beloved Stratocaster. This special edition includes a “C”-shaped neck, a 9.5" maple fingerboard, 21 narrow tall frets, and red dot inlays.
Collection includes:
- Squier Limited Edition Hello Kitty Stratocaster ($499.99) blending substance with style featuring a supercute glossy pink finish with signature Hello Kitty graphics on the pickguard, headstock and body. Available globally.
- Made in Japan Fender Limited Edition Hello Kitty Stratocaster (¥330,000 JPY) available solely at Fender’s Japan Flagship Store in Tokyo, The Made in Japan Limited Hello Kitty Stratocaster is a guitar filled with the bold and vibrant charm of Sanrio’s signature character, Hello Kitty—a leading figure in global Kawaii culture. It features a Pearl White body with her iconic ribbon, a "C"-shaped maple neck, and Hybrid II Custom Voiced pickups for rich Fender tones. Includes a Hello Kitty-engraved neckplate, hardshell case, and certificate of authenticity.
- Hello Kitty Fuzz ($99.99) A fun-loving fuzz like no other – the Fender x Hello Kitty Fuzz introduces a pop of color and charm to one of the pedal world’s most formative effects. Sporting an op amp based circuit with three simple controls, this pink-clad pedal kicks your guitar into wooly, splattering gain tones with unmistakable character. Added style points come in the form of a stand-out pink finish, white Fender witch hat knobs, Japanese translated labels, and, of course, Hello Kitty herself on the front panel. Available globally.
- Additionally, a selection of Made-in-Japan exclusive items, including the Fender Made in Japan Limited Edition Hello Kitty Stratocaster, cleaning cloth, strap blocks, home accessories, custom apparel, tote bag and more, will be available solely at Fender’s Japan Flagship Store in Tokyo. These unique collectibles, featuring adorable designs of Sanrio’s signature character, Hello Kitty, a global pop culture influencer, were created to celebrate her 50th anniversary—an icon that transcends generations and reinforces Hello Kitty and Fender’s deep global cultural presence.
This limited-edition Fender x Hello Kitty collection is a celebration of creativity, inclusivity, and self-expression through music. By blending iconic design with Fender's renowned craftsmanship, this collection invites players of all levels to embrace their individuality and make bold musical statements.
For more information, please visit fender.com.
Discover the iconic Mary Ford Les Paul Standard in Goldtop finish, a tribute to the trailblazing music icon and her groundbreaking partnership with Gibson legend Les Paul.
“I am thrilled that Mom is receiving this recognition for her talents,” says Mary Colleen Wess(daughter of Mary Ford and Les Paul). “I wish she was still with us to enjoy this wonderful honor, which she so richly deserves. Thank you so much, Gibson!”
Through her successful early career in country music and her connections with Gene Autry and Eddie Dean, Mary Ford--who was born Iris Colleen Summers on July 7, 1924--developed a musical partnership with Gibson icon Les Paul that led to their marriage in 1949. In 1951 alone, the duo sold over six million records, and between 1950 and 1954, they recorded a string of 16 top-ten hits that showcased Mary’s rich, smooth voice, complex, perfectly executed harmonies that she sang along with herself through multi-track recording, and overdubbing (a groundbreaking recording technique for the time), while her versatile guitar playing seamlessly blended country, jazz, and pop.
Mary Ford Les Paul Standard Goldtop - YouTube
Gibson Mary Ford Les Paul Standard Electric Guitar - Gold Top with Cherry Back
M.Ford LP Std, Gld Top/Chry BackPRS Private Stock 40th Anniversary McCarty Dragon
PRS unveils the Private Stock 40th Anniversary McCarty Dragon and PRS 40th Anniversary Custom 24. The Dragon features intricate inlay by Jeff Easley, while the Custom 24 boasts new PRS DMO pickups and classic design elements.
PRS Private Stock 40th Anniversary McCarty Dragon
The PRS Private Stock 40th Anniversary McCarty Dragon is the tenth Dragon since the first of its kind was introduced back in 1992. The Dragon art was drawn by Jeff Easley, a fantasy artist famous for many Dungeons & Dragons rulebook covers, and recreated as inlay by the team at Aulson Inlay. The Dragon comprises more than 200 pieces of inlay in an array of materials, including Blue Pacific Opal, Brown Scale Juma, and Gold, Black, White, and Brown Mother of Pearl. The inlay extends onto the truss rod cover and visually leaps off the pale moon ebony fretboard. The Private Stock Eagle inlaid on the headstock is made from Black with Gold Web and outlined in Gold Mother of Pearl. Only 165 Private Stock 40th Anniversary Dragon models will be made.
“When I was a teenager, I had a dream about a guitar with a dragon inlaid down the neck. That dream has since become an important part of our history. For our 40th anniversary, we have chosen a McCarty model as the foundation of the Dragon, which is only fitting considering the original 1992 Dragon was the beginning of what would became the McCarty model. I’m proud to bring these two, now-historic, PRS designs together,” said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
PRS 40th Anniversary Custom 24
Limited to 400 pieces worldwide, this special edition features both new appointments and traditional design features. Debuting on these guitars are the all-new PRS DMO (Dynamic, Musical, Open) Treble and Bass pickups. Paul Reed Smith and the PRS New Products Engineering Team spec’d these new pickups based on years of hands-on research into coveted vintage pickup models and advancements in signal analyzation and “tuning” technology. PRS DMO pickups have a “wide open” sound with vocal character, meaning they deliver clear, pleasant-sounding tones across a wide range of frequencies (bass to treble) in each pickup.
PRS 40th Anniversary Custom 24 design specifications include an artist grade maple top with a retro violin top carve, PRS “Old School” birds with outlines and PRS “Pre-Factory” headstock eagle, all of which pay homage to early PRS guitars. Other classic Custom 24 appointments include the PRS Gen III patented tremolo, PRS Phase III locking tuners with wing buttons, and PRS Signature 10-46 strings. This limited edition also features a ziricote fretboard and headstock veneer and comes with a hand-signed 40th Anniversary certificate.
Beyond these initial announcements, PRS Guitars is planning a year full of new product introductions starting in January. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.
For more information, please visit prsguitars.com.
PRS Private Stock 40th Anniversary Dragon Electric Guitar - Burnt Chestnut
PS 40th Anni McCarty Dragon, Brnt ChsntAdd a splash of motion and mystery to a flat amp with this simple, streamlined, vintage-flavored tremolo and reverb stomp.
Simplicity and utility. Lively spring reverb simulation. Smart, spacious control layout. Nicely dovetailed modulation and reverb tones.
Can’t use harmonic tremolo or vibrato with spring reverb simulation.
$229
Keeley Zoma Stereo Reverb And Tremolo
keeley.com
There are days I plug into myFender Vibrolux, play an E minor chord with a little vibrato arm flourish, and ask, “What more could I ever need?” The simple, elegant perfection of Fender’s reverb and tremolo formula is so foundational, essential, and flat-out delicious to the senses that it gave rise to a class of pedals that consolidate the essence of that recipe.
The most famous of these is probably theStrymon Flint, a tool widely adopted by touring players that deal with changing backlines and players that make do with simpler amplifiers. While the Flint is an industry standard of sorts, at almost 350 bucks it’s also a serious investment. Less expensive alternatives include Fender’s own Tre-Verb (which uses a design and layout strikingly similar to the Flint) as well as Keeley’s excellent U.S.-made Hydra Stereo Tremolo and Reverb and their simpler, less-expensive Verb o Trem, which lacks independent switches for the two effects. But for players that like a more spacious control layout and independent reverb and tremolo switches—and are willing to sacrifice a few options to save about $120—Keeley’s new Zoma might be the most enticing Flint alternative out there.
Form Leads to Function
The Zoma is built into the same enclosure and uses the same control layout as theI Get Around rotary simulator and California Girls 12-string simulator Keeley built in collaboration with JHS Pedals and Benson Amps to honor the Beach Boys. Though destined to annoy space-economy fetishists, the Zoma’s dimensions should be little problem for those who keep their pedal effects to a minimum. The larger enclosure also offers lots of upside in the form of the spacious control layout, which facilitates fast adjustments on the fly. The sizable RCA-style knobs, particularly the big reverb level control, make adjustments with your toe easy. The blue Fender-style jewel lamp—which also blinks at the tremolo’s rate—is situated between the already well-spaced reverb and tremolo bypass switches to ensure that even the klutziest performer can avoid pressing one or both accidentally.
“The plate reverb leaves more space for the beautiful, liquid modulations from the harmonic tremolo and vibrato.”
A small 3-way toggle nestled safely among the three knobs moves between the Zoma’s three basic modes and voices: spring reverb with sine wave tremolo (the black-panel Fender formula), a plate-style reverb with brown-panel Fender-style harmonic tremolo, and plate-style reverb with more Magnatone-like pitch vibrato. The single toggle means you can’t combine different tremolo types with different reverb types as you can with the Flint. But by pressing and holding the reverb/alt switch, you can orient the tremolo after the reverb in black-panel Fender style or place the tremolo before the reverb for a thicker, blurrier tone. You can also change the reverb decay level, reverb tone, or the tremolo output level in alt mode.
Pipelines and Sines
You’d have to be pretty nitpicky to take issue with Zoma’s likeness to real spring reverb. The pings and clicks that follow transients in the Zoma’s spring simulation are particularly authentic compared to the Vibrolux and Fender Reverb tank I used for comparison. And given the possible variation that exists among vintage Fender reverb units, thanks to age, wear, and component value drift, the Zoma’s output falls well within the realm of “accurate.” The primary difference I heard in the Fenders was a little extra harmonic thickness and ghostliness in the decay at the highest reverb levels—but that was at pretty high volume and in isolation. Would you hear it with a bass and drums filling out that harmonic picture? Maybe. Would it spoil the evening of paying customers out to stomp to your instrumental surf combo? I kinda doubt it. And if the Zoma spring is ever-so-slightly less thick than the real deal, it’s still easy to excite and add splash to those harmonics—or make them more subdued—with the Zoma’s alt-mode reverb tone control, which you’re only going to find elsewhere on an outboard Fender Reverb unit. The plate reverb settings are a little more vaporous, diffuse, and lack the post-transient attack you hear at advanced spring settings. But they leave more space for dynamics—most importantly the beautiful, liquid modulations from the harmonic tremolo and vibrato that accompany them.
The harmonic tremolo is especially pretty and adds lovely dimension to lazy chord melodies. The vibrato is excellent, too—throbbing and wobbly without being overpowering at its most intense levels and capable of adding dreamy drift at subdued settings. The sine wave tremolo, by the way, is a great match for the spring reverb. There are bolder, bossier tremolos out there, but it’s a close match for the optical tremolo in most mid-1960s Fender combos, which are not always wildly forceful themselves.
The Verdict
The Zoma can be a very transformative pedal—adding splashes of surfy energy to a Marshall or big-amp presence to a Fender Champ. In terms of utility and approachability, about the only thing that rivals the Zoma is an amp with onboard tremolo and reverb. But even with the real thing you’ll probably lack the pretty harmonic tremolo, the vibrato, and the plate reverb options that extend the Zoma’s color palette. Do I wish I could mix the vibrato and harmonic tremolo with the spring reverb? After a few hours of getting used to the characteristics of each, I do. But it wouldn’t be a deal breaker if I was going to use this pedal in performance or in a recording session where I could also take advantage of the stereo capabilities. The Zoma is a mood machine par excellence that’s also a breeze to use.