Open-String Madness!
Matthew LeeMost guitarists learn the basic scales, patterns, and lines up and down the neck when starting to visualize the fretboard. Working open strings into the mix made my head spin and forced me think of note selection differently. It taught me how to manipulate lines that I’d played for years and breathed new life into those lines simply by adding one key element.Eric Gales’ Nasty Chord Substitutions
Andy GibsonEric Gales’ method of playing a right-handed guitar left-handed and upside down gives him a sound that’s distinctively his. If you watch videos of him playing, you’ll notice he plays with his thumb wrapped around the top of the neck, like Jimi Hendrix or John Mayer. However, since his guitar strings are flipped upside down, his thumb is fretting what would be the first string to most people. This not only puts your brain in a whirl when trying to steal licks, but it also opens the door for some truly unique chord voicings. Gales, who fuses blues, rock, and classical together, constantly manages to play some truly otherworldly licks and passages.
Pickin’ Like Paisley: Use Those Open Strings!
Andy GibsonIt’s universally known in the guitar community that Brad Paisley isn’t just some guy that strums a guitar and sings country songs. He’s widely respected as one of the best players in the country music scene and takes an unusual approach to achieve the sonic insanity that spills out of his guitar. From Telecasters, G-benders, and cranked Dr. Z amps to instrumental records and wild guitar solos getting mainstream country radio airtime, Paisley has solidified his place in the discussion of all-time greats, and not just in the country world. In this lesson, we’ll dive into one of the cornerstones of Brad’s playing that makes him so unique: open strings.Why Is Rhythm Guitar So Hard?
Shawn PersingerRhythm guitar is arguably the most important aspect of guitar playing, and it’s also one of the most challenging skills to develop. The discouragement many players feel when working on rhythms forces too many of them to oversimplify the nuances, and this can reduce a performance from exceptional to fine. In this lesson, we’ll investigate why rhythm guitar can be so puzzling and look at a few ways to keep yourself motivated enough to persevere and improve.
Mega Pentatonics!
Sam BellPentatonics are certainly well used (maybe overused?) by guitarists. There’s so much you can do with them and there’s a lot of great music to be found within our beloved five-note scale. My aim is to go for the whole “sheets of sound” thing that was popularized by John Coltrane and later adapted to guitar by players like Allan Holdsworth. However, the technique arms race has slowed down over the last few years, with modern players opting for interesting lines that focus more on cool rhythms and unexpected intervals. Let’s get to it.
Johnny Winter's Burning Blues
Corey CongilioLearn to rip like one of the all-time masters of modern electric blues.
5 Underrated Guitarists Who Will Blow Your Mind
Carter ArringtonThe guitar has been a major factor in so many styles of music over the last 70 years, and any experienced musician can tell you that playing any one of those styles with authenticity takes countless hours of dedication. As we learn the instrument, we seek out music that we find inspiring to help guide us toward our voice. The legends we all know in the guitar pantheon have inspired millions of players. In my musical journey over the years, I’ve always been thrilled to discover unique musicians who never attained the same recognition as their more famous counterparts. With so much music at our disposal these days, I thought this group of guitarists deserved a little more spotlight. The inspiration and knowledge they have provided me were paramount in my development, and I wouldn’t be the player I am without them. How to Map Triads
Timon KapleMapping major and minor triads up and down the guitar neck can open new possibilities in your playing. It can also help you learn note locations on the fretboard, find new ways to play chord progressions, and inspire creative improvisations and compositions. But where do you begin?
7 Essential Blues Chord Substitutions
Max RichStaying creative and phrasing musically while playing chords, especially over a blues progression, seems like an impossibility to many players. After all, most blues songs contain only three chords, the I, IV, and V. So how can you make those simple chords more interesting? The answer is by using chord substitutions.
7 Positions to Shred Success
Sam BellKnowing how to function in different keys is crucial to improvising in any context. One path to fretboard mastery is learning how to move through positions across the neck. Even something as simple as a three-note-per-string major scale can offer loads of options when it’s time to step up and rip. I’m going to outline seven technical sequences, each one focusing on a position of a diatonic major scale. This should provide a fun workout for the fingers and hopefully inspire a few licks of your own.
KingTone’s The Duellist is currently Ariel Posen’s most-used pedal. One side of the dual drive (the Bluesbreaker voicing) is always on. But there’s another duality at play when Posen plugs in—the balance between songwriter and guitarist.
“These days, I like listening to songs and the story and the total package,” Posen told PG back in 2019, when talking about his solo debut, How Long, after departing from his sideman slot for the Bros. Landreth. “Obviously, I’m known as a guitar player, but my music and the music I write is not guitar music. It’s songs, and it goes back to the Beatles. I love songs, and I love story and melody and singing, and there was a lot of detail and attention put into the guitar sound and the playing and the parts—almost more than I’ve ever done.”
And in 2021, he found himself equally expressing his yin-and-yang artistry by releasing two albums that represented both sides of his musicality. First, Headway continued the sultry sizzle of songwriting featured on How Long. Then he surprised everyone, especially guitarists, by dropping Mile End, which is a 6-string buffet of solo dishes with nothing but Ariel and his instrument of choice.
But what should fans expect when they see him perform live? “I just trust my gut. I can reach more people by playing songs, and I get moved more by a story and lyrics and harmony, so that’s where I naturally go. The live show is a lot more guitar centric. If you want to hear me stretch out on some solos, come see a show. I want the record and the live show to be two separate things.”
The afternoon ahead of Posen’s headlining performance at Nashville’s Basement East, the guitar-playing musical force invited PG’s Chris Kies on stage for a robust chat about gear. The 30-minute conversation covers Posen’s potent pair of moody blue bombshells—a hollow, metal-bodied Mule Resophonic and a Fender Custom Shop Jazzmaster—and why any Two-Rock is his go-to amp. He also shares his reasoning behind avoiding effects loops and volume pedals.
Brought to you by D’Addario XPND Pedalboard.
Blue the Mule III
If you’ve spent any time with Ariel Posen’s first solo record, How Long, you know that the ripping, raunchy slide solo packed within “Get You Back” is an aural high mark. As explained in a 2019 PG interview, Posen’s pairing for that song were two cheapos: a $50 Teisco Del Rey into a Kay combo. However, when he took the pawnshop prize onstage, the magic was gone. “It wouldn’t stay in tune and wouldn’t stop feeding back—it was unbearable [laughs].”
Posen was familiar with Matt Eich of Mule Resophonic—who specializes in building metal-body resonators—so he approached the luthier to construct him a steel-bodied, Strat-style baritone. Eich was reluctant at first (he typically builds roundneck resos and T-style baritones), but after seeing a clip of Posen playing live, the partnership was started.
The above steel-bodied Strat-style guitar is Posen’s third custom 25"-scale baritone. (On Mule Resophonic’s website, it’s affectionately named the “Posencaster.”) The gold-foil-looking pickups are handwound by Eich, and are actually mini humbuckers. He employs a custom Stringjoy set (.017–.064 with a wound G) and typically tunes to B standard. The massive strings allow the shorter-scale baritone to maintain a regular-tension feel. And when he gigs, he tours light (usually with two guitars), so he’ll use a capo to morph into D or E standard.
Moody Blue
Another one that saw recording time for Headway and Mile End was the above Fender Custom Shop Masterbuilt ’60s Jazzmaster, made by Carlos Lopez. To make it work better for him, he had the treble-bleed circuit removed, so that when the guitar’s volume is lowered it actually gets warmer.
"Clean and Loud"
Last time we spoke with Posen, he plugged into a Two-Rock Classic Reverb Signature. It’s typically his live amp. However, since this winter’s U.S. run was a batch of fly dates, he packed light and rented backlines. Being in Music City, he didn’t need to go too deep into his phone’s contacts to find a guitar-playing friend that owned a Two-Rock. This Bloomfield Drive was loaned to Ariel by occasional PG contributor Corey Congilio. On the brand’s consistent tone monsters, Posen said, “To be honest, put a blindfold on me and make one of Two-Rock’s amps clean and loud—I don’t care what one it is.”
Stacked Speakers
The loaner vertical 2x12 cab was stocked with a pair of Two-Rock 12-65B speakers made by Warehouse Guitar Speakers.
Ariel Posen’s Pedalboard
There are a handful of carryovers from Ariel’s previous pedalboard that was featured in our 2021 tone talk: a TC Electronic PolyTune 3 Noir, a Morningstar MC3 MIDI Controller, an Eventide H9, a Mythos Pedals Argonaut Mini Octave Up, and a KingTone miniFUZZ Ge. His additions include a custom edition Keeley Hydra Stereo Reverb & Tremolo (featuring Headway artwork), an Old Blood Noise Endeavors Black Fountain oil can delay, Chase Bliss Audio Thermae Analog Delay and Pitch Shifter, and a KingTone The Duellist overdrive.
Another big piece of the tonal pie for Posen is his signature brass Rock Slide. He worked alongside Rock Slide’s Danny Songhurst to develop his namesake slide that features a round-tip end that helps Posen avoid dead spots or unwanted scratching. While he prefers polished brass, you can see above that it’s also available in a nickel-plated finish and an aged brass.
Intermediate
Intermedaite
- Develop a better sense of harmony and rhythm.
- Create more interesting comping patterns.
- Learn how to outline harmony without using chords.
Often, the paradigm on the bandstand is that if there is a harmonic clash between the guitar and piano, it’s automatically the guitar player’s fault. So how do we deal with this? There are a couple of methods to take a more defensive approach, but the one we’ll address is to learn which notes to omit. Trim down those chords and be nimbler and stronger. Chords with more than two or three notes are, for our purposes, a full-on failure. The good news is that these lean-and-mean chords are easy to play and, within the context of the band, sound way better than the ubiquitous barre chord.
The basis of the chords we’re looking at are subsets of chords that are likely already very familiar to you (Ex. 1)
The “money” in these chord forms is literally in the middle of the chord. On the 3rd and 4th strings lie the 3 and 7 of the chords. These are the most important two notes of your chord. The different variations of the 3 and 7 give each chord its unique color, such as major 7, dominant 7, or minor 7.
If we reduce these chords to their essence, we get the shape in Ex. 2. This trims down the Bb7 to Ab and D, while the C7 is simply the E and Bb. These notes are sometimes referred to as guide tones. We’ll move this shape up or down the fretboard to accommodate each required chord quality.
Ex. 2
We’re only going to use two other interval shapes in addition to the tritone. In Ex. 3 you can see a perfect fourth on the left and a perfect fifth on the right. They are super easy to play and ultra-effective in our journey to more defensive guitar playing. Feel free to use whatever fingering suits you.
Let’s put these shapes in context. In Ex. 4 you can see how these shapes work with a 6th-string root (top row) and a 5th-string root (bottom row). I’ve included the root notes simply for reference and to help you better visualize the shapes. In a solo setting you may even want to include the roots.
An excellent “closet organizer” for musical data is the 12-bar jazz blues form. In Ex. 5 I use our core family of shapes to work through an entire progression. I’ve made sure to include dominant, major, minor, and diminished chords in this example. The first step should be to play it with the roots and then try to “hear” the roots while playing only the guide tones.
The absolute undisputed king of playing these types of chords is Freddie Green, who was the longtime guitarist in the Count Basie Band. He made an entire career of playing quarter-note rhythms and being the glue that held the rhythm section together. In Ex. 6 you can how Green might play a 12-bar blues in Bb. Check out the chromatic movement in the last two measures. It’s amazing how smooth you’re able to connect the chords using only two notes.
Admittedly, the rhythm is a bit bland and feels sterile. In Ex. 7 I play the exact same chords but add in a bit of chromatic movement and some offbeat rhythms. The occasional extension (9, 11, or 13) is cool, but pick your spots wisely. Listen to the piano and look for your space.
This same concept can be applied to your single-note improvisations as well. In fact, this is a valuable step in learning to play over changes. The goal is to outline the chords so well that your ear can imagine the harmony going by. In Ex. 8 you can see how I might approach this. Notice the lack of “blues licks.”
While it always looks cool on your IG page to be seen playing stretchy Alan Holdsworth-looking chords, sometimes it’s the simple and economic approach that goes down easiest. Whether comping behind a singer, playing with a jazz big band or playing chords and walking bass Joe Pass-style, the defensive approach to harmony can oftentimes be your ticket to ride.
Intermediate
Intermediate
• Learn how to outline chord changes with motives.
• Develop a sense of “3-over-4” rhythms.
• Understand how to increase tension in your solos.
A quick online search will uncover an overwhelming amount of information about Martino’s amazing bebop lines, concepts such as the minor conversion technique, his “The Nature of Guitar” writings, and transcriptions of his solos. I decided to take a slightly different view for this lesson. Throughout his career, Pat used a wealth of exciting repetitive motives that was as much a part of his signature sound as other more melodic and harmonic devices. These motives intensified the drama in many of his solos, kept audiences on the edge of their seats (check out the cheering at the 3:04 mark after one such example during his “Oleo” solo on Live at Yoshi’s), and the repetitive and rhythmic nature of these ideas was the perfect complement to his monstrous eighth-note lines.
Oleo (Live From Yoshi's, Oakland, U.S.A./2001)
When studying the masters, I don’t like to just learn licks. I find great importance in examining the theory and mechanics behind each idea to understand the language and assimilate the concept. The first idea (Ex. 1) can be found in many of Martino’s solos (check out “Mr. P.C.” on Pat Martino Trio Young Guns (1968/1969), but I found it when transcribing his other-worldly “Just Friends” solo on El Hombre (1967). The C# is optional as Pat sometimes plays this note as part of the idea and sometimes it is omitted.
Ex. 1
Ex. 1 can be viewed as an Fmaj7(#5) arpeggio built on the root, but we could also consider it as a DmMaj9 arpeggio built on the b3, a Bmin9(b5) arpeggio built on the b5 and also a G13(#11) arpeggio built on the b7. If we dig deeper we discover that all of these arpeggios/chords are based out of the D melodic minor scale (D–E–F–G–A–B–C#). In fact, Ex. 1, played over G13(#11), comes from the 4th mode of D melodic minor. This mode is also referred to as G Lydian dominant or G Mixolydian #4 (Ex. 2).
Ex. 2
The motive works beautifully over G13(#11) as it outlines the upper extensions: 13, #11, 9, and b7. Knowing that this idea comes from D melodic minor, we can experiment with superimposing the idea of other harmony from this scale. It can be used over a variety of chords like DmMaj7, C#7 alt., Bm9(b5), and Fmaj7#5.
If we take this idea one step further, we can apply it to the most prominent progression in jazz, the IIm-V7-I. Ex. 3 show this idea over a slightly modified progression in C major. Here we are starting each phrase on a specific chord tone or extension. For the II chord, start on the 9, the V7 chord start on the #9 (or b3) and for the I chord start on the 7.
Ex. 3
With a few slight position shifts, we can use that same phrase over a II-V-I in C minor (Ex. 4). Similar to the above example, we start on the 11 of the II chord, the #9 of the V chord, and the 9 of the I chord.
Ex. 4
We can also practice this idea over a 12-bar blues. Ex. 5 shows one possibility when superimposing this idea over a Bb jazz-blues progression.
Ex. 5
Martino also uses a variation of this idea to create a 3-over-4 rhythmic pattern (Ex. 6). Here, we are taking a six-note pattern and playing it over an eighth-note line. The effect builds tension before repeating every three measures.
Ex. 6
That’s a lot of information to digest, but the time spent will be worth the effort as it is a great motive that you can incorporate into your playing rather quickly.
The next motive (Ex. 7) is based on an Em7 arpeggio (E–G–B–D) and is played during the “Strings” solo on his record, Strings (1967).
Ex. 7
Pat Martino - Strings!
I previously mentioned the rhythmic nature of Martino’s repetitive ideas. This motive illuminates his penchant for ideas that create a 3-over-4 feel. Coupled with repetition, this concept can generate loads of rhythmic intensity. As you will see, he employs this device often. Dig the super-hip rotation between Em7 and EmMaj7 arpeggios, marked by the alternating D and D# top pitches. He plays this idea over A7, but it creates a toggling effect between A7 and A7(#11) which is more harmonically interesting. Bonus: This idea can also be played over Em7.
Ex. 8 is a variation that comes from the “Sunny” solo on Live! (1972). The Am7 arpeggio works so well over this entire progression. This example is somewhat unique as these repetitive ideas generally don’t include space. The idea incorporates an eighth-note rest to create the 3-over-4 sound once again. The phrasing, which includes a pull-off at the top of the arpeggio, demonstrates how articulation can also generate interest.
Sunny (Live / New York, NY / 1972)
Ex. 8
Although the Gm7 arpeggio doesn’t necessarily “fit” chords such as Am7 and D7b9, the strength of the repetition makes it work. This is similar to the concept of a minor blues scale working over the entire 12-bar blues progression. The hammer-on articulation at the bottom of the arpeggio as well as the short, accented top not really makes this idea pop.
Ex. 9
Ex. 10 is another uber-hip idea taken from the “Strings” solo. This is a six-note repeating motive with the 3-over-4 rhythmic grouping. The b3 and b5 “blue notes” contribute heavily to the sound, and this motive works wonderfully over the A7 chord. I’m not sure about Pat’s picking motion, so I supplied what I feel is comfortable. The slide going from the C to C# creates a slippery feel.
Ex. 10
Ex. 11 (again from “Strings”) exemplifies one of the most effective repetitive patterns in his playing. It consists of a 3-note pattern based on the minor 3rd interval. I love the way Pat toggles between picking each note and hammering-on the bottom two notes. The top pitch (C) is the #9 of A7, exuding a bluesy flavor.
Ex. 11
In Ex. 12 Martino plays the identical pattern during “Strings” with the root (A) as the top pitch.
Ex. 12
Ex. 13 occurs during the “Just Friends” solo, and rather than 16th-notes, he employs triplets over a IIm7–V7–IIIm7–VI7 progression in the key of F.
Ex. 13
There’s a very similar pattern during the “Oleo” solo on Live at Yoshi’s (2001). Ex. 14 is based on the interval of a minor sixth giving it a more vertical spread. The previous examples repeated every three beats, but this one repeats every three measures. This is slick, as Martino is outlining the upper extensions—the 13 (A) and 11 (F)—to give some harmonic color. You could easily adjust to use the 5 (C) and b3 (Eb), which he actually shifts to during the solo.
Ex. 14
Martino would often use open strings against moving fretted notes. It’s kind of funny. I first learned this idea as a teenager from Iron Maiden’s “Wasted Years” and AC/DC’s “Thunderstruck.” Martino was doing this in the 1960s, so I’m confident his influence crossed genres!
Ex. 15 comes from his “Mac Tough” solo on Live at Yoshi’s. Again a three-note pattern is utilized to create rhythmic interest.
Ex. 15
The final motive (Ex. 16) is what I describe as a Chromatic Melodic Connector. This idea has no harmonic implications, meaning it works in any harmonic situation, and is literally just a way to get from point A to point B. This specific example is from the song “Lazy Bird” on East! (1968) and it consists of three notes with the intervallic structure of two whole steps. Notice the accents on every third note. This reinforces the 3-over-4 motive and creates rhythmic intensity. The ascending and descending nature of the idea also builds excitement.
Pat Martino - Lazy Bird
Ex. 16
There are many more examples not discussed in this article, however, I hope this sheds some inspiring light on the more rhythmic and motivic side of Pat Martino’s playing.