
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 ›
- 5 Ways to Strum Without A Pick - Premier Guitar ›
- How to Play Bentonia Blues - Premier Guitar ›
- Pump Up Your Picking - Premier Guitar ›
The author, middle, with bassist Ross Valory (left) and Steve Smith (right) of Journey.
Do you know who’s hanging around your gigs? Our columnist shares a story about the time Journey’s bassist was in the audience during soundcheck.
I’ve always loved what I do for a living. Even long before it became a career, doing the work every day to get better was something I fell in love with right away. As a result, I’ve never had any issues with stage fright or nerves when it comes to performing—even if there are some mega-influential or important musical people in the room.
Luckily, throughout my career, I usually only find out if there’s been someone major in the audience after the show. I’m not very social on tour these days. I’m the last one to soundcheck or show and the first one out of the venue afterwards. I’m often asleep in the hotel before some of the rest of the band have even left the venue.
But once in a while, I do get caught off guard—and this little story from a night on tour last week highlights how you just never know who’s listening … or watching.
I’ve been playing with Steve Smith (former drummer of Journey and inductee of the Rock & Roll Hall of Fame) for over 10 years, first as sidemen with Mike Stern in a band with Randy Brecker, and for the past five years as a member of Steve’s band Vital Information. Throughout that entire time—hundreds of shows, rehearsals, soundchecks, recording sessions, and clinics—I haven’t once played a Journey bass line around him.
It’s that thing of being way too on the nose to even hint at. Knowing that the Journey chapter of Steve’s life is musically very much in the past, it honestly just never crossed my mind. So, what on earth possessed me to start playing the bass line to “Any Way You Want It” during soundcheck in Oakland last week?!
I don’t even get through the first two bars of the song when I hear, “Looks like I’ve been rumbled….” I look up, and there’s Ross Valory, the original bass player for Journey.
I had never met him. I had no idea anyone besides the band and the crew were even in the venue during soundcheck. Aside from the embarrassment of doing that in front of one of your bass heroes, it really got me thinking about how you just never know who is listening.
I don’t know who the phrase “be ready when the luck happens” should be credited to—or if that’s exactly how it was originally said—but I’ve thought about little else since my Ross Valory moment. If you’re considering a career in music, or working to further the one you already have, it might be something worth thinking about for yourself.
“I had no idea anyone besides the band and the crew were even in the venue during soundcheck. Aside from the embarrassment of doing that in front of one of your bass heroes, it really got me thinking about how you just never know who is listening.”
Like I said before, I’ve been in love with the work since the beginning. I still set aside vast amounts of time every day to practice and work on my music. I’m constantly tinkering with my goals, large and small. I’m realistic about the time it will take to reach them, the work I need to do to get there, and the fact that some goals may well change over time—and I have to be totally okay with that and adapt as quickly as possible.
The success of the work and the attainment of the goal is also going to rely at least a little bit (and if I’m being honest, sometimes a lot) on luck. Being ready to capitalize on luck involves constantly updating my daily routine. I have to find the balance between working on very specific elements of my playing for long periods of time, and letting them go once I know they’re an internal part of my vocabulary.
Jazz pianist Chick Corea talked about memorizing versus knowing a piece of music. When you read through a chart and start to memorize it, you’re essentially just taking the music from the sheet and creating a picture of it in your brain. You then end up looking for that picture the next time you want to play it—and all you’ve done is take away the physical paper while keeping the concept of reading. That’s not knowing the material like it’s a natural part of your vocabulary. The repetition I aim for in my daily routine is what helps me play the language of music as fluently as I speak English.
The confidence gained by putting in the work can make you so much more ready for your moment than you’ve ever been before.
Set goals, love the work, and always be ready.
You never know who’s listening….
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).