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Guthrie Govan Says He’s Never Had A Lesson As Eddie Van Halen Supports Learning – Guitar & Music Institute

Via:- http://www.guitarandmusicinstitute.com/guthrie-govan-says-hes-never-had-a-guitar-lesson/

Guitar Education Stories As Guthrie Govan’s Never had a Guitar Lesson and Eddie Van Halen Hit The News It’s an interesting article that appeared in Ultimate Guitar as Guthrie Goven stated that he has never had a guitar lesson or received any formal guitar tuition at all in his life as a guitar player. It is […]

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Review of Morgan Picks From Denmark – Guitar & Music Institute

Via:- http://www.guitarandmusicinstitute.com/review-of-morgan-picks-from-denmark/

Morgan Picks – About The Company Morgan Picks is a new company run by two brothers based in Copenhagen, Denmark. Their mission statement is to make picks that are both economically competitive along with being better than the current myriad of options on offer. Amazingly, neither of the two brother team, Nick and Marc, actually […]

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D’Addario Launches a Series of New Products, Including the Chromatic Pedal Tuner

Via:- http://www.guitarworld.com/gear-news/daddario-launches-series-new-products-including-chromatic-pedal-tuner/31413

D’Addario has launched a series of new products at the Summer NAMM Show in Nashville, including a new Chromatic Pedal Tuner.

Nickel Bronze for Mandolin – Premium Uncoated Strings

Nickel Bronze lets musicians re-discover their instruments all over again, giving them new and unique acoustic possibilities to provide unrivaled clarity, resonance and projection. Now, D’Addario’s premium uncoated string has been re-engineered with a new wrap wire to bring out the unique characteristics of your mandolin. Players can also expect improved tuning stability and higher break resistance, thanks to the NY Steel core featured in D’Addario’s highly successful NYXL electric guitar strings.

D’Addario Chromatic Pedal Tuner

The D’Addario Chromatic Pedal Tuner is the perfect combination of innovation, simplicity and style. Housed in a rugged aluminum enclosure, the tuner features fast note detection, superb accuracy, wide calibration range and true-bypass wiring with an easily accessible foot switch. The tuner’s full-color vertical display allows for quick, intuitive tuning at home, in the studio or onstage.

D’Addario Accessories Premium Leather Guitar Straps

D’Addario’s Premium Leather straps take guitar strap quality to the next level. Made in the USA from the highest quality of padded, comfortable garment leather, this line of straps uses precision stitching and cut- out applique designs in onyx black, rustic brown, and crimson burst red, fully adjustable from 49”– 58”.

For more on D'Addario and their products, head on over to daddario.com.


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How To Play Back In Black As Bon Scott’s Birthplace Remembered – Guitar & Music Institute

Via:- http://www.guitarandmusicinstitute.com/how-to-play-back-in-back-as-bon-scotts-birthplace-remembered/

Learn How To Play Back In Black By AC/DC’s But Check Out Bon Scott’s Monument First! As this article is all about how to play Back In Black by AC/DC we rightly remember that the band is thought of as Australian. You probably know, however, that Angus and Malcolm Young and the singer who will forever be the […]

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Fender Launches Hand-Wired ’64 Custom Blackface Deluxe Reverb Amp

Via:- http://www.guitarworld.com/gear-news-amplifiers/fender-launches-hand-wired-64-custom-blackface-deluxe-reverb-amp/31405

Fender has announced the launch of the hand-wired, ’64 Custom Deluxe Reverb amplifier at Summer NAMM 2017 in Nashville.

More than 50 years after its first release, the Blackface Deluxe Reverb amplifier is still one of the most indispensable workhorse guitar amps ever made—played by guitarists on countless stages and in studios worldwide.

Representative of those used at the time, the ’64 Custom Deluxe Reverb amplifier recreates that timeless, classic Fender sound heard on countless hit recordings—all in a roadworthy package ideal for vintage tone enthusiasts, session musicians and serious gigging guitar players.

The '64 Custom Deluxe Reverb carries on Fender’s amplifier legacy with incredible vintage-style tones stemming from modified all-tube, hand-wired AB763 circuitry; the hand wiring sets this amp apart from the ubiquitous Blackface ’65 Deluxe Reverb amp Fender reissued in 1993. With 20 watts of output power, the pedal-friendly amp is characterized by a full, snappy and crystalline tone—making it a rig staple that can be applied across genres in a variety of playing situations.

Additional highlights of the ’64 Custom Deluxe Reverb include: bright and normal channels, tube-driven spring reverb and tremolo on both channels, Fender Vintage Blue tone capacitors, 12AX7 and 12AT7 preamp tubes, a 5AR4/GZ34 rectifier tube, 6V6 output tubes and a 12" Jensen C-12Q speaker.

“We’re very proud to announce this special tribute to one of the unmistakable ‘crown jewels’ in Fender’s history,” said Shane Nicholas, Director, Product Development, Electronics at Fender. “The Blackface Deluxe Reverb amp has been one of our best-selling ‘evergreen’ tube amps since we reissued it in 1993. Collectors and artists have been telling us for years, ‘You have to do a hand-wired reissue of the Blackface Deluxe Reverb; it’s everybody’s favorite.’ The new ’64 Custom has historical accuracy where it counts, plus thoughtful tweaks for today’s player.”

NEW ’64 Custom Deluxe Reverb Amplifier: Launching September 2017 ($2,499.99)
Featuring Bright and Normal channels, all-tube-driven spring reverb and tremolo on both channels, hand-wired AB763 circuitry and 20 watts of output power, the ’64 Custom Deluxe Reverb is the go-to amp for warm, clean tones and moderate breakup.

The cabinet that holds the 12” Jensen C-12Q speaker is crafted from solid pine for improved resonance and lighter weight, and features an extra-heavy textured vinyl covering and lightly-aged silver grille cloth for a picture-perfect vintage look. The amplifier also includes Fender Vintage Blue tone capacitors, four 12AX7 and two 12AT7 preamp tubes, a 5AR4/GZ34 rectifier tube, a matched pair of 6V6 output tubes, as well as a footswitch and amp cover. Available September 2017.


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John Petrucci Lesson: Combining Triad Arpeggios to Form Polytonal Chordal Allusions

Via:- http://www.guitarworld.com/wild-stringdom-john-petrucci-combining-triad-arpeggios-form-polytonal-chordal-allusions

I often use triadic arpeggio forms within my riffs and solos as a tool to create rich-sounding, poly-chordal sounds. I’d like to continue in that vein by presenting different ways in which to move from one arpeggio form to another, using a series of specific triads that complement one another well.

Let’s start with the triads F# diminished and D major, as shown in FIGURES 1 and FIGURE 2, respectively. The F# diminished triad is built from the notes C, F# and A, and the D major triad is built from almost the same set of notes, D, F# and A.

Both FIGURES 1 and 2 show these triads as played in fifth position for comparison. If I wanted to get a bluesy vibe, I’d use the D major triad and combine it with the F# diminished triad, as demonstrated in FIGURE 3. Here, the C note is heard as the b7 (flat seventh) of D, implying a D dominant-seven tonality. Now let’s try combining the F# diminished arpeggio with an A minor arpeggio—A C E—as shown in FIGURE 4. The combination of these two sets of notes gives an F#m7b5 arpeggio (F# A C E: see FIGURE 5).

These licks work well over an Am chord, as the inclusion of the F# note, the major sixth of A, implies an Am6, A Dorian–mode type of sound. As you probably have noticed, all of these arpeggios are played on the top three strings, and I often like to incorporate sweep picking when using arpeggios like this.

FIGURE 6 illustrates a combination of an Em7 arpeggio—E G B D—and a Gmaj7 arpeggio—G B D F#. As denoted in the example, in order to sweep pick these arpeggio shapes properly, begin with an upstroke on the first note and then use a single down-stroke to rake across the top three strings to play the next three notes. The form ends with another upstroke. I then slide up to 10th position and reverse the process, beginning with a down-stroke and then using a single upstroke to rake across the top three strings, moving from high to low.

FIGURE 7 offers an example of applying this approach to the chord progression Em7 Am9 F#m7b5 Gmaj7. This is the last installment of Wild Stringdom for now. I hope these columns have been useful to you and have served to broaden your knowledge of the guitar while building up your chops. Thanks for reading, and I’ll see you out on the road!


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Episode 4 – Interview With Classical Guitar Maestro Phillip Thorne MBE. – Guitar & Music Institute

Via:- http://www.guitarandmusicinstitute.com/ep-4-interview-with-classical-guitar-maestro-phillip-thorne-mbe/

Phillip Thorne MBE Discusses His Life Of Guitar & Music Phillip Thorne MBE is one of Scotland’s most significant guitar players of the last forty years and not just within the realm of classical guitar. His commissioning of new music for guitar and orchestra, his work within the field of performance and education have been […]

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GMI – Guitar & Music Institute Latest News 3/13/17 – Guitar & Music Institute

Via:- http://www.guitarandmusicinstitute.com/gmi-guitar-music-institute-latest-news-31317/

Latest News Updates From GMI GMI continues to grow in both visitors, members and page views. Coming up this month is some exciting new podcasts including interviews with guitarists and musicians who are active within the industry. The podcasting side of GMI has been going really well with listeners from all over the world. We […]

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