
Intermediate
Intermediate
- Develop a stronger fingerstyle technique.
- Understand the elements of counterpoint.
- Impress your friends with your classical chops.
Steve Morse is one of the most prolific and fascinating guitarists in the business. There's a reason why so many high-level players including John Petrucci, Jimmy Herring, Joel Hoekstra, and Andy Timmons list Steve as a major influence and inspiration. A deeper dive into his playing and songs will reveal a very refined technical and compositional approach steeped in classical studies.
Casual fans know Steve as a powerful rock guitarist, who has added his fiery, chromatic-laced lead work, tasty rhythm, and atmospheric tones to rock royalty Deep Purple, Flying Colors, and Kansas, along with his own projects—most notably the Dixie Dregs.
The classical influence of Morse's playing is where I want to focus. Below, I've touched on a few examples in the style of some of Morse's more well-known songs, both with the Dregs and his namesake trio. Each of the examples showcases his clever composing style and innovative classical approach which will help expand your arsenal of guitar tricks.
Even if you're a devotee of using a pick and never tried playing fingerstyle before, adding classical techniques and approaches to your rock playing can open new doors and help you evolve into a more adventurous and confident musician. Plus, with so many incredible players using their fingers (like Tosin Abasi, Derek Trucks, Jeff Beck, and Mark Knopfler), you might end up loving the tone and ditch your pick altogether!
I recently caught up with Steve for a chat in which he graciously shared his thoughts on guitar playing, creating a unique voice, making a name for yourself, and never giving up.
Just the Two of Us
"Point Counterpoint"
This is a great classical guitar/bass duo track from Southern Steel. This excerpt (Ex. 1) is based on the comping behind the bass solo by super-bassist Dave LaRue. The tune starts in the key of E, but for this excerpt, it modulates to G. Over an alternating G5 bass part, I add some two-note chord voicings over the G pedal. From there, it modulates to A for a moment, before landing back home to E.
Ex. 1
Point Counterpoint
Steve on Originality: "I want to play music that perks your ears up. Be as original as possible, and if it sounds like something else, it's out."
The Burst and the Baroque
"Flat Baroque"
Another fun guitar/bass duo, this wild composition from Coast to Coast brings an Irish/Scottish flavor to the table. This example in A (Ex. 2) features a small burst of speed from the picking hand. Keep your a-m-i fingers (ring, middle, and index, respectively) ready to keep those tremolo bursts clean. It might sound difficult at first listen, but try it slowly, and you'll find it much easier with practice.
Ex. 2
This is another example (Ex. 3) based on the comping under a bass solo by LaRue. Even though this is meant to be an accompaniment, it stands alone as a beautiful arpeggio exercise, starting with an Emaj7/9 chord, then modulating to C/F with really rich open voicings. The C/F chord shape calls for some ambitious pinky stretches, so approach them slowly, and go one note at a time.
Ex. 3
Flat Baroque
"The choices you make musically and in writing are a big part of your success." — Steve Morse
Break It Down
Ex. 4, inspired by a track from his solo record, High Tension Wires, is a great example of a part getting more and more exciting as it unfolds. It sounds more intimidating than it actually is, so begin with breaking it down into small chunks, and add more as you get comfortable with each phrase. Keep the thumb even with the bass as you play the chords above. Most of the chord movement is intuitive, and once you get it under your fingers, it's really satisfying to play!
Ex. 4
Highland Wedding
"Everyone is influenced by what they hear, see, and feel, but you have to put in time day after day to make it meaningful." — Steve Morse
"Little Kids"
Ex. 5 is based off a great guitar/violin duo from the classic '78 Dregs release, What If, and is proof that improvisation can weave itself seamlessly into a classical setting. The guitar trades fours with Dregs violinist extraordinaire Allen Sloan. The rhythm starts with a D major pattern for four measures, and the guitar responds with a nice low-string lick outlining the changes. The progression repeats again with the same rhythm, and on the second solo reply, two-note harmonics are utilized to nail the chord changes.
Ex. 5
Little Kids
On Performing Live: "In any setting, if someone is playing music well, people will enjoy it." — Steve Morse
"Northern Lights"
This example (Ex. 6) is my take on a clever transition lick from this track off of the Dregs' major label debut Free Fall. With the key changing on each beat, I start with a descending Esus2 arpeggio followed by an ascending Bsus2 arpeggio. I then continue with a Dsus2 descending arpeggio into an ascending Gsus2 arpeggio. Finally, I play a slightly different pattern between G# and C#, before resolving to a nice Eadd9 chord. Try it slow and keep all the lines aslegato as possible, incorporating slurs/pull-offs for the descending E and D arpeggios.
Ex. 6
Northern Lights
Gotta Get Paid!
One of the nice surprises with my chat with Steve was discovering his first professional paying gig was playing guitar for a handful of musicals in an orchestra theater pit at a Miami playhouse. The gig came through fellow UM classmate Pat Metheny's recommendation while in college. Those gigs helped pay for his flying lessons, a passion of his that has allowed him to fly his band to their gigs.
"Up in the Air"
The solo in Ex. 7 is inspired by the lesser-known guitar duet from the Dregs album Industry Standard. The track was performed alongside Yes guitar legend Steve Howe. Though the original is played with a pick, I ended up using my fingers over the B minor progression to keep the sound consistent between the two halves of the solo.
Ex. 7
This example (Ex. 8) was inspired by the second half of the solo, which modulates to A with some elegant trills and pull-offs, before launching into a fiery 16th-note triplet major scale run, and then settling right back into the groove.
Ex. 8
Up in the Air
Odd Jobs
Doing other jobs can actually offer a different perspective on how music affects your life. In between his studio work and touring schedule, Steve has handled a wide range of jobs, from a commercial airline pilot, to digging with a bulldozer, to his current venture when not performing: hay farming.
"Point Counterpoint"
Ex. 9 is based on the closing phrase of the song. It's a simple but beautiful E major arpeggio with B major chord grips thrown in before shifting back to one more E, with the upper note jumping two octaves in a single lick! This was one of the first songs I ever heard from Steve when he played it live on the original Howard Stern radio show in the '90s. It completely blew me away, and when it reached this final lick at the end of the tune, I instantly became a fan for life.
Ex. 9
Point Counterpoint
On Success
Lastly, here are two great examples of Steve Morse's definition of success:
"Real success is getting gigs playing your own music."
"Most people who experience success don't realize it because it's a gradual process, like slowly boiling a frog in water."
Maybe the most successful thing about Steve, in my opinion, is his uncompromising vision and determination to "go around people who say 'no.'" Looking over his tremendous body of work and accolades, it's easy to see why fans and musicians worldwide say "Yes" to Morse!
- Rig Rundown: Deep Purple's Steve Morse - Premier Guitar ›
- Electric Etudes: Steve Morse - Premier Guitar ›
- Deep Purple's Steve Morse: 'InFinite' Mastery - Premier Guitar ›
- Andy Timmons Unveils New Song & Announces 'Electric Truth' Album - Premier Guitar ›
- Legendary Dixie Dregs Guitar Rigs: Steve Morse & Andy West ›
Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
- User-Defined Audio Presets: Each user can create and name up to five custom presets, like “Band Practice,” “Studio Mic Setup,” or “Quick Jam,” making it effortless to jump back in with the perfect sound.
“These tools are all about saving time and hassle,” said Patrick Finn, Business Manager at Lutefish. “Musicians want to make music, not spend time rebalancing levels every session. With presets and recall, we’re giving them time back and helping them sound their best, every time.”
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
- Instantly identify which contacts own a Lutefish Stream device—so they will always know who’s ready to jam.
Go Yearly and Save 20%
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This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefish’s mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriers—whether you’re jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
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).