
Expand your playing by limiting your options.
Intermediate
Intermediate
- Learn how to "trick" yourself into creativity.
- Understand how to focus on a single rhythmic motif through a progression.
- Develop a better sense of articulation, time, and phrasing.
Improvisation is one of the great joys in music that celebrates spontaneity and self-expression. It gives us a chance to explore our instrument and what we naturally hear and feel in an open format. Limitations help challenge us to improvise inside specific parameters and, as a result, can break us out of our typical musical vocabulary.
It is all too easy to devolve into incessant noodling when presented with a blank harmonic canvas. While this may be a blast to participate in, it doesn't necessarily mean it's fun for an audience to listen to, or that our ideas are linking together thoughtfully. Adding limitations can pave the way to inspiration.
These could include limiting yourself to a set of notes or a shape, creating phrases out of the same rhythmic idea, or physically restricting your access on the fretboard. If a personal goal is developing more focus with improvisation or getting more music out of fewer elements, this approach is highly recommended and can be a lot of fun.
The following examples will apply to a blues progression in the key of Ab, but can be used in any situation regardless of simplicity or complexity.
In Ex. 1 the limitation is only playing on the 4th and 2nd strings. This approach immediately shatters access to most of the pentatonic lines that many of us play, and makes us look for horizontal connections on the fretboard for ideas that we might generally play in a vertical box. Using sixths is one of the easier things to make music out of here, so there are a few of those for sure. Having less access to the fretboard will immediately create different ideas, and this limitation certainly facilitates that.
Limitless Limitations Ex. 1
The "Django" Limitation
This one is a Django limitation (Ex. 2), imagining that a caravan fire partially mangled our fretting hand, only leaving us with the use of the first two fingers. With such a physical limit, the ideas are naturally a little simpler, more horizontal than vertical, and provide an absorbing challenge. Even playing phrases that we naturally hear can call for a different layout on the fretboard when playing with two fingers instead of four. I tend to notice myself using more slides with this approach.
Limitless Limitations Ex. 2
Ex. 3 uses the same general rhythm of four consecutive eighth-notes for every idea through the chorus. We can place the four notes anywhere in the bar, but the rhythmic idea's consistency brings more attention to the note choices and allows us to hear them in a unique context. This one is helpful in any style and gives the listener something to grab onto almost immediately. Feel free to try doing this with longer rhythmic phrases as well.
Limitless Limitations Ex. 3
Bending is the focus of Ex. 4, and while the intention was to make every note a bend, there are a few cheater notes in there. This approach can help bring out different articulations, get us thinking about pitches above and below a particular scale shape, and be physically challenging since we usually have to support bends with more than one finger. Remember that these can include regular half- or whole-step bends, pre-bends, or double-stop bends.
Limitless Limitations Ex. 4
Ex. 5 uses double-stops (mostly thirds) exclusively in this chorus. This limitation helps us see a little more harmony in the scale than we might notice with single-note lines. Also, the physicality of playing two notes together for the left hand makes our ideas a little simpler, curbing the temptation of flashier playing in this context. There was quite a bit of horizontal movement here, but another angle would be to try this while staying in a single position.
Limitless Limitations Ex. 5
Ex. 6 can be tricky, but extremely rewarding once you get a hold of it. In this case, the limitation was to use one note over the entire chorus (an F on the 2nd string). Having little or no access to any other melodic options forces us to rely on rhythm, phrasing, articulation, or any other fundamental musical element. Another useful variation is using only a metronome and stick with two notes on one string for 3 to 5 minutes. If we can make one or two notes work, we can make almost anything work.
Limitless Limitations Ex. 6
Our last example (Ex. 7) is limiting us to a moving a melodic shape up the neck but keeping it inside the Mixolydian scales that follow the chord changes. If we harmonize a musical phrase through the entire scale, we can create six other lines or alternate versions of the same idea, a similar process to what we would naturally do with a chord scale. This approach results in many different melodic variations on the original phrase, but they are potentially useful together since they are all inside the harmony. Aside from the melodic thread of playing the same kinds of shapes, similar rhythmic placement also gives the listener a tangible element to grab.
Limitless Limitations Ex. 7
The above approaches are places to start if nothing else. Working with limitations helps us find new sounds and methods on the fretboard, expand our ideas a little longer than usual, and open our musical vocabulary in new and exciting ways. The beauty of limitations is that everyone will apply them differently and uniquely. Even using one that seems generic will naturally highlight our distinct musical voice and choices.
Using these is somewhat like running with weights on or swinging three baseball bats together. Once we run, swing, or solo in an actual situation, it can feel easier and freer, and we may have different ideas we can follow and build on. Sticking to a limitation for a short amount of time can create enough breadcrumbs the listener can track where they share in our excitement of creating improvised music in real time. Feel free to get creative, as any limitation we naturally conceive will likely prove valuable to our playing and improvisational development. They are always available at any moment you are playing music.
- Twang 101: Swampy Blues - Premier Guitar | The best guitar and ... āŗ
- How to Play Bentonia Blues - Premier Guitar | The best guitar and ... āŗ
- The Building Blocks of the Blues - Premier Guitar | The best guitar ... āŗ
- Carter-Style Picking and Beyond - Premier Guitar āŗ
- Blues Basics: 10 Essential Ways to Get Through the Blues - Premier Guitar āŗ
Grez Guitars has introduced the Grez GrandTour Bass, a short scale semi-hollow carve-top instrument available in 4-string format.
The Grez Grand Tour Bass, designed in collaboration with bass powerhouse Ian MartinAllison is, like all Grez instruments, a modern sleek interpretation of the classic instruments from the 50ās and 60ās.
The instruments feature a carved Spruce top, Honduran Mahogany body and neck. The 30" scale construction includes a Macassar ebony fretboard, 12ā radius with 21 jumbofrets. Each bass comes equipped with a Halon bridge, Grez string anchor and LaBellaDeep Talkinā long scale 45-105 flatwound strings. Electronics include Curtis Novak Bisonic/Darkstar pickups with coil tap.
The Grand Tour bass features a nitro finish and is available in a variety of colors(pictured here in custom Toasted Marshmallow).
Grez Grand Tour Bass with Ian Martin Allison
Barry Grzebik explains: āI love process of design instruments, marrying acoustical,electrical, visual and ergonomic engineering with industrial and artistic design. In this case creating something that artfully balances the desire for a robust acoustic voice with the need to hold up to professional touring and stadium stage volumes. One small notable detail is that although this is a short scale instrument, because of the after-length of string past the bridge, it uses standard long scale strings which dramatically increases sting options and availability.ā
Ian Marin Allison shares, āIām inspired by the unique character of vintage hollow andsemi-hollow basses, but they donāt always live up to our modern expectation of stability, playability, versatility and QUALITY. Iām proud to have helped create something that doesā.
The Grez Grand Tour Bass, is available now from Grez Guitars and their dealers with astreet price starting at $5,999. Light customization is welcome with delivery times aslittle as 8 weeks.
$149
Marshall 1959 Super Lead
The very definition of classic, vintage Marshall sound in a highly affordable package.
Thereās only one relevant question about Marshallās new 1959 Super Lead overdrive/distortion pedal: Does it sound like an actual vintage Super Lead head? The answer is, simply and surprisingly, yes. The significant difference I heard within the voice of this stomp, which I ran through a Carr Vincent and a StewMac Valve Factory 18 kit amp for contrast, is that itās a lot quieter than my 1972 Super Lead.
The Super Lead, which bore Marshallās 1959 model number, debuted in 1965 and was the amp that defined the plexi sound. That sound is here in spades, clubs, diamonds, and hearts. Like the Super Lead, the pedal is easy to use. The originalās 3-band EQ is replaced by a single, rangeful tone control. The normal dial and the volume, which together mimic the character created by jumping the first and second channels of a plexi head, offer smooth, rich, buttery op-amp driven gain and loudness. And the high-treble dial functions much like the presence control on the original amp.
The pedal is sturdy and handsome, too. A heavy-duty metal enclosure evokes the classic black-with-gold-plate plexi look and a vintage-grille-cloth motif. Switches and knobs (the latter with rubber sides for slip-free turning) are ultra solid, andārefreshinglyāthereās a 9V battery option in addition to a barrel-pin connection. Whether with single-coils or humbuckers, getting beefy, sustained, historic tones took moments. I especially delighted in approximating my favorite Super Lead head setting by flooring the high treble, normal, and tone dials, and turning back the tone pots on my Flying V, evoking Disraeli Gears-era Clapton tone. That alone, to me, makes the 1959 Super Lead stomp a bargain at $149.Two guitars, two amps, and two people is all it takes to bring the noise.
The day before they played the coveted Blue Room at Third Man Records in Nashville, the Washington, D.C.-based garage-punk duo Teen Mortgage released their debut record, Devil Ultrasonic Dream. Not a bad couple of days for a young band.
PGās Chris Kies caught up with guitarist and vocalist James Guile at the Blue Room to find out how he builds the bandās bombastic guitar attack.
Brought to you by DāAddario.
Devilish Dunable
Guile has been known to use Telecasters and Gretsches in the past, but this time out heās sticking with this Dunable Cyclops DE, courtesy of Gwarsenio Hallāaka Jordan Olds of metal-themed comedy talk show Two Minutes to Late Night. Guile digs the Dunableās lightness on his shoulders, and its balance of high and low frequencies.
Storm Warning
What does Guile like about this Squier Cyclone? Simple: its color. This one is also nice and easy on the back, and Guile picked it up from Atomic Music in Beltsville, Maryland.
Crushing It
Guile also scooped this Music Man 410-HD from Atomic, which he got just for this tour for a pretty sweet deal. It runs alongside an Orange Crush Bass 100 to rumble out the low end.
James Guileās Pedalboard
The Electro-Harmonix Micro POG and Hiwatt Filter Fuzz MkII run to the Orange, while everything elseāa DigiTech Whammy, Pro Co Lilā RAT, and Death by Audio Echo Dream 2āruns to the Music Man. A TC Helicon Mic Mechanic is on board for vocal assistance, and a TC Electronic PolyTune 3, Morley ABY, and Voodoo Labs Pedal Power 3 Plus keep the ship afloat.
Ernie Ball, the worldās leading manufacturer of premium guitar and bass strings, is proud to announce the release of the Pino Palladino Signature Smoothie Flats, the newest innovation in flatwound bass strings.
Developed in collaboration with legendary bassist Pino Palladino, these signature sets are engineered to deliver an ultra-smooth feel and a rich, warm tone thatās as versatile as it is expressive. Available in two gaugesāExtra Light (38ā98) and Medium (43ā108)ā Smoothie Flats are crafted with a precision-polished cobalt alloy ribbon for low tension, flexible playability, and deep vintage-inspired sound.
Ernie Ball: Pino Palladino Signature Smoothie Flats Bass Strings
Product Features:
- Precision polished for an ultra-smooth feel
- Cobalt alloy ribbon winding for a rich, deep sound
- Flexible, low-tension design for superior playability
- Trusted by Pino Palladino for studio and live performance
Pino Palladino Signature Smoothie Flats bass strings are available at Ernie Ball dealers worldwide.