Guitar Break Blog

Twenty-One Today! With Mick Taylor, Editor of Guitarist Magazine

2011-02-24T14:04:00.000Z

We ask Guitarist Editor Mick Taylor twenty-one questions: about strings, cables, guitars, amps, the best player that ever lived, his worst playing nightmare, and more…

GB: Do you have a type of pick that you can’t live without?

MT: Dunlop Gator Grip 1.5s – the green ones. I can’t play with thin picks at all unless it’s a very light, strummy acoustic part. I also like the Eric Johnson Classic Jazz III which helps me pick more cleanly… and helps me make more mistakes, too.

GB: If you had to give up all your pedals but three, what would they be?

MT: Keeley-modded 808+ Tube Screamer, Dunlop JHF-1 Fuzz Face, Fulltone Full-Drive MkII Mosfet – yep, all noiseboxes.

GB: Do you play another instrument well enough to be in a band (what, and have you done it)?

MT: In my dreams, I’m a better drummer than Vinnie Colaiuta, but my drum set is best left in my brain. I do sing, if that counts.

GB: If a music chart were put in front of you, could you read it?

MT: I’d have more chance with Latin. It’s something I deeply regret not learning.

GB: Do guitar cables really make a difference? What make are yours?

MT: Absolutely they do. Regardless of brand, tonally it’s about capacitance and making sure the high end content is right for your rig. I use a Providence Z102 or Mogami Platinum, live. The Elixir cables sound good too.

GB: Is there anyone’s playing (past or present) of which you’re slightly jealous? (And why?)

MT: Anyone who’s been bold enough to do their own thing in the past. In the present, John Mayer, Philip Sayce, Matt Schofield, Joe Bonamassa and Eric Gales would just about sum it up. They all mix technique and tone in a way that just connects with me.

GB: Your house is burning down: which guitar do you salvage, and why?

MT: I’d let them all go and go shopping with the insurance money – there’s probably an album in the story, too. Replacements would include a rosewood board Relic Strat, maple board blackgaurd Relic Tele and a Collings CJ.

GB: What’s your favourite amp and how do you set it?

MT: My Mesa Lone Star 2 x 12. I pretty much only use the clean channel and a bunch of pedals. I have the loop/masters switched out, run the gain and treble up around two o’clock and everything else around 10 o’clock. 100-watt mode, or 50-watts at 4-ohms.

GB: What kind of action do you have on your guitars?

MT: Medium, I’d say – most of my friends say it’s too high for them, but it’s not as high as a lot of my Strat-playing heroes. I can’t play with a low action – the sound just disappears and I can’t get under the strings.

GB: What strings do you use? (Make, gauge and why?)…

MT: D’Addario EXL10-46, sometimes 10-52, or if I’m playing a lot, 11-52s. On Strats, biMTer strings sound better for the sounds I like most.

GB: Who was your first influence to play the guitar?

MT: Francis Rossi. I would like to say Angus Young or Stevie Ray, but it was Quo all the way with me when I was a kid – Quo and proud!

GB: What was the first guitar you really lusted after?

MT: A knackered Strat just like Stevie Ray Vaughan’s, or maybe even Clapton’s Blackie.

GB: What was the best gig you ever did?

MT: The next one, I hope. My favourite gigs have been the ones that have some totally unpredictable element of spontaneity within the band. Crowd size doesn’t matter – I’ve done big gigs and hated it, and done tiny gigs and loved every second.

GB: And your worst playing nightmare?

MT: Playing drunk, falling off a four-foot stage and looking like a total idiot. You live and learn, hopefully. The Karmic payback is the drunk who insists on singing at every wedding gig you play.

GB: What’s the most important musical lesson you ever learnt?

MT: Do what’s in your heart. Everything else is a total waste of everybody’s time.

GB: Do you still practise?

MT: Not with any sort or regime. Which is why my playing is deteriorating!

GB: If you could put together a fantasy band with you in it, who would the other players be (dead or alive)?

MT: James Jamerson on bass, Steve Jordan on drums, Larry Goldings on keys, the JBs playing horns, Aretha and Chaka on backing vox. Prince can be my roadie.

GB: Who’s the single greatest guitarist that’s ever lived? (And why?)

MT: Andrés Segovia. Fear, skill, evolution – he was rock’n’roll long before it ever existed.

GB: Is there a solo you really wish you had played?

MT: Gravity by John Mayer. It’s a beautiful melody with a couple of nice technique challenges that seem simple until you try to play it properly. And the tone, ah – loud clean Strat: bliss.

GB: What’s the solo/song of your own of which you’re most proud?

MT: There honestly isn’t one. When you spend your life among professional players and songwriters who kick your arse at every turn, you’d be deluded to feel musically proud.

GB: What are you up to at the moment?

MT: Playing wise, not much. A few function gigs and the odd dep job. I’m about to make a blues album with Neville Marten though – that should be a laugh!

Thanks Mick

Twenty-One Today! With Jason Sidwell

2010-12-07T11:23:00.002Z

We ask Jason Sidwell twenty questions: about strings, cables, guitars, amps, the best player that ever lived, his worst playing nightmare, and more…

GB: Do you have a type of pick that you can’t live without?

JS: Yes, but there’s a few - I veer between a red Jazz 3 XL, a Red Bear Big Jazzer M and a Blue Chip Jazz LG 40. All are great picks – the XL works for all styles, the Red Bear is very comfortable to hold and has a warm tone and the Blue Chip is great for quick picking.

GB: If you had to give up all your pedals but three, what would they be?

JS: Tricky as I have two pedal boards! But if push came to shove, I’d opt for the Ethos Overdrive, Eventide Modfactor and Providence Chrono Delay. I do love the new Providence Flame Drive pedal though and have a soft spot for the Electro Harmonix Micro Pog 2….

GB: Do you play another instrument well enough to be in a band?

JS: I can play bass and get by on keyboards as long as it was a chord chart – nothing approaching ‘Bach busy’ please!

GB: If a music chart were put in front of you, could you read it?

JS: Yes, I read a lot for my job (senior music editor for Guitar Techniques, Guitarist and Total Guitar magazines) and for various solo gigs and musical shows. It’s a priceless skill for a musician to have.

GB: Do guitar cables really make a difference? What make are yours?

JS: Yes, they do. I use Elixir cables sometimes but my preference is Providence for speaker cable, patch cables and instrument cables. Their quality, consistency and thought to what musicians want is outstanding.

GB: Is there anyone’s playing (past or present) of which you’re slightly jealous? (And why?)

JS: Tricky, I don’t tend to get jealous as time and passion can get you close to most players if you really want to be similar. Of course, there are players that wow me – the Eric Johnson live in Austin and Jeff Beck at Ronnie Scott’s are two DVDs that always make me appreciate more what is possible on the guitar when combined with a vision. I love other guy’s playing styles though – players like Shawn Lane, Steve Morse, Larry Carlton, Nuno Bettencourt, Steve Lukather, George Benson, Paul Jackson Jr and Nile Rodgers spring to mind.

GB: Your house is burning down: which guitar do you salvage, and why?

JS: Probably my red PRS red single cut satin trem. It’s almost violin-like with it’s sound and the feel. It’s a sophisticated guitar and very more-ish once you’re playing it.

GB: What’s your favourite amp and how do you set it?

JS: I like my Ceriatone Overtone special head – very good tones. I recently got an Egnator Rebel 30, partly due to its small size. Its clean and drive tones with the tweakable options and reverb are very appealing.

GB: What kind of action do you have on your guitars?

JS: About average, maybe a little under average. I play a lot unplugged so don’t want strings to flab out with strong pick strokes or choke from string bends so I avoid an action that’s too low.

GB: What strings do you use? (Make, gauge and why?)…

JS: D’Addario 10s are great for longevity, tone and tension at pitch.

GB: Who was your first influence to play the guitar?

JS: I remember watching the Irish Rovers and Mamas and the Papas on TV as a little kid with my wind up mickey mouse guitar. Years later when I was around 12, I got into The Shadows via a TV appearance playing Telstar of all tunes! I then went backwards to hear Foot Tapper and Wonderful Land. Around the same time I loved listening to John Williams playing the Rodrigo Concerto. As a budding classical guitarist, it was later in my mid teens that I got into rock/pop guitar styles.

GB: What was the first guitar you really lusted after?

JS: A good full sized classical guitar was what I was keen on. This resulted in a K Yairi classical which is lovely and I still have it. Electric wise, I wanted my first electric to be a MIDI guitar so I got hold of a Casio MG-510 electric MIDI guitar. This has been around the world with me and (refrets and pickup upgrades aside) is an admiral workhorse. Still have it too!

GB: What was the best gig you ever did? JS: There have been a few but playing solo guitar for a 500 guest wedding event in Chelsea in the late 90s was fun. I played well enough to have everyone sit down, stop chattering and listen to me instead – most unusual for an event like that! I think audience numbers don’t matter that much though - sometimes small venues are the best where you can see an audience’s response. Ultimately, it’s the music and fellow players that matter most - I’d rather play ‘niche’ music with top players than do a ‘balaclava gig’ (ie you hope no-one recognises you!) playing cheesy covers.

GB: And your worst playing nightmare?

JS: An uncomfortable memory was Playing Satriani’s Day At The Beach on a cruise ferry – the situation wasn’t helped by having not practiced the piece standing up. Lesson learnt – don’t have guitar height vary too much between sitting down and standing up otherwise you’re playing is compromised for the worse (even more so when the ferry is rocking around)!

GB: What’s the most important musical lesson you ever learnt?

JS: Practise slowly, be all eyes and ears on gigs and make eye contact with the audience. Oh, and abiding by the three rules for gigging – a gig must involve at least one of the following concerns otherwise don’t touch it (not in any order): 1) be fun, 2) be good for the CV and/or 3) be financially rewarding.

GB: Do you still practise?

JS: Yes, have to as I flit between so many projects and gigs!

GB: If you could put together a fantasy band with you in it, who would the other players be (dead or alive)?

JS: It’d be a blast to play with Chic’s Nile Rodgers, Bernard Edwards and Tony Thomas – a top class rhythm section!

GB: Who’s the single greatest guitarist that’s ever lived? (And why?)

JS: Recently, I’ve been filling up on Jeff Beck – his taste, his old skool bluesy style, his bravado, his tone shaping concerns and the quality of his repertoire is outstanding. Then again, there’s Larry’s sophistication, Nuno’s funkiness, Shawn Lane’s lyrical melodies….

GB: Is there a solo you really wish you had played?

JS: It may sound strange but not really. It’s nice to learn iconic solos but I don’t feel I should have played them rather than those responsible!

GB: What are you up to at the moment?

JS: I’ve nearly finished The Complete Guitar Manual, a guitar book/DVD for Dorling and Kindersley that has a worldwide release in march/april of next year. Just a few days more filming left then all done!

Other than solo guitar gigs, soul/funk gigs and various show commitments for 2011, I’ve a great four piece instrumental band, Contusion that will be playing more next year. Stuart Ryan (Guitar Techniques magazine tutor and head of guitar at BIMM Bristol) shares guitar duties with me and it’s loads of jazz rock fun – Stevie Wonder to Jeff Beck and beyond. I’ve also a jazzy duo with the singer Tracey Kelly – we’re half way through demoing standards and originals for an album. I’ve also started recording electronic+guitar instrumentals as I’ve loved synth music since my teens, from Vangelis and Jean Michel Jarre to Giorgio Moroder and Tangerine Dream. Overall, I like to keep musically agile so gig/project opposites are ideal!

Thanks Jason.

Twenty-One Today! With Neville Marten

2010-12-04T15:28:00.003Z

We ask Neville Marten twenty-one questions: about strings, cables, guitars, amps, the best player that ever lived, his worst playing nightmare, and more…

GB: Do you have a type of pick that you can’t live without?
NM: I veer. I was using Dunlop Jazz III reds – the larger ones – but then started playing around with the heavy purple Dunlop ones that Yngwie uses and think I prefer them now.

GB: If you had to give up all your pedals but three, what would they be?
NM: I don’t use many, but it would be my Fulltone OCD distortion; a Keeley modded Boss DD3 delay set to longer repeats; and another of these set to slapback – great individually but together it’s Marvin madness!

GB: Do you play another instrument well enough to be in a band?
NM: I actually played bass in a covers band for a couple of years and have depped it twice with Marty Wilde when the bassist suddenly fell ill. I always play the bass on my Blues Headlines for Guitarist.

GB: If a music chart were put in front of you, could you read it?
NM: Sadly, no.

GB: Do guitar cables really make a difference? What make are yours?
NM: I have used Providence cables for about 16 years and I can tell the difference right away. They sound warm and sweet. Make great pedals now too!

GB: Is there anyone’s playing (past or present) of which you’re slightly jealous?
NM: Everyone has something I’m envious of; but when I hear Voodoo Child it just amazes me how far ahead Hendrix was.

GB: Your house is burning down: which guitar do you salvage, and why?
NM: I’d try to grab two – one in each hand. My 1961 Gibson ES-335 dot and my 1963 Lake Placid Blue Strat…

GB: What’s your favourite amp and how do you set it?
NM: A Matchless DC30 that I bought in 1994 from Manson’s in Exeter. Other amps hit the 25 ring, but for me this one’s bull’s eye every time. I set it so it’s just prior to break-up and then my pedals do the rest.

GB: What kind of action do you have on your guitars?
NM: Low-ish. Others find my bass strings too rattly but I like to look down at the guitar and see it looking low. It’s comforting!

GB: What strings do you use? (Make, gauge and why?)…
NM: Rotosound Yellows – 10-gauge. But sometimes D’Addario Nickels too.

GB: Who was your first influence to play the guitar?
NM: George Harrison. He always looked studious with The Beatles and so I thought guitar was a serious thing to do.

GB: What was the first guitar you really lusted after?
NM: A cherry red Gibson ES-335 like Freddie King and Eric Clapton’s (although Freddie’s was actually a 345)…

GB: What was the best gig you ever did?
NM: Played the Albert Hall with Marty Wilde, Joe Brown and Brenda Lee and the whole place stood up at the end. A nice feeling…

GB: And your worst playing nightmare?
NM: Walked on stage and the jack socket with one wire off it fell out of my Telecaster.

GB: What’s the most important musical lesson you ever learnt?
NM: That timing is… e… e… everything (mine has become appalling lately and I’m trying to fix it)…

GB: Do you still practise?
NM: No, I noodle… it’s why I’m half as good as I should be!

GB: If you could put together a fantasy band with you in it, who would the other players be (dead or alive)?
NM: Fantasy bands with your favourite players will always be a huge disappointment. But I would love to have done the While My Guitar Gently Weeps session with The Beatles, instead of Eric…

GB: Who’s the single greatest guitarist that’s ever lived? (And why?)
NM: That’s a really stupid question on so many levels. Guthrie Govan? Tommy Emmanuel? Jimi Hendrix? Jeff Beck? Me when I get something right (in my head for about one second)!

GB: Is there a solo you really wish you had played?
NM: Voodoo Child by Jimi – every time I hear it I’m gobsmacked.

GB: What’s the solo/song of your own of which you’re most proud?
NM: There are some things I’ve done that I like, but nothing I would write home about or admit to due to my enormous modesty…

GB: What are you up to at the moment?
NM: Just finished a 33-date tour with Marty Wilde, Eden Kane, Jet Harris of The Shads and Marty’s younger daughter Roxanne. It was geat fun! Then Mick Taylor of Guitarist magazine and I are going to do a blues album together – old guard, newer guard. New year’s resolution etc…

Thanks Nev

Guitar Break Blues Weekend, Guildford - Day 2

2010-11-28T16:02:00.002Z

Guitar Break Blues Weekend, Guildford - Day 1

2010-11-27T10:15:00.014Z

We have had another great bunch of players come together today from very different and interesting backgrounds. Some have met before and some have experienced Guitar Break for the very first time. One particular guest was meant to be spending the Sunday with his wife on her Birthday but has decided to come back for some more tuition. He has only been playing a year or so but is bitten by the bug.

The morning session was spent looking at rhythm, timing, up and down strokes, technique and tips for keeping a steady tempo. We took a simple blue riff and split it between groups to practice pick up points before looking at an E Minor 12 bar blues to work on turnarounds.

After lunch we started to look at lead playing and worked on some staple blues licks and ideas. As we always like to get people playing as soon as possible we soon had a steady stream of volunteers to split the rhythm and lead playing between 2 guests at a time. Neville and Jason provided the constructive critique and advice.

Then to a well-earned drink in the bar and a fantastic 2 course meal. I had the guinea fowl in case anyone's interested. Even the acoustic came out for a few songs in front of a roaring real fire. It was quite beautiful.

One of the nicest things about the day is how we learned how Guitar Break kick-started someone's song-writing career. This made us feel very good and more on that soon.

Album Review: Lee Ritenour – Six String Theory

2010-09-07T21:01:00.003+01:00

A must for all guitar and music lovers.

The best way to describe this album is to use the analogy of being a kid playing Championship manager, where you had the ways and means to create a squad of all the best players around. This is exactly what Ritenour has managed to do on this release.

6 String Theory features Lee Ritenour, BB King, George Benson, Slash, John Scofield, Steve Lukather, Vince Gill, Pat Martino, Mike Stern, Neal Schon, Robert Cray, Keb' Mo', Taj Majal, Jonny Lang, Joe Bonamassa, Andy McKee, Guthrie Govan, Joe Robinson, Tomoyasu Hotei, Shon Boublil…and many more. Put all of these amazing guitarists alongside some of the finest musicians the planet has ever produced including– Vinnie Colluita (drums), Tal Wilkenfeld/Nathan East (Bass) and you know you are in for a treat.

The album is made up of a mixture of originals and standards and it manages to cover pretty much every musical base imaginable from the blues of BB King and Taj Mahal, to the fusion of John Schofield and Guthrie Govan, alongside mouthwatering acoustic gems from the relatively unknown Andy McKee and Joe Robinson.

It is actually the new guns that really stand out on this record. Joe Robinson the 17 year old winner of ‘Australia’s got talent’ is enough to make you want to take up the vuvuzela. He is the Chet Atkins of the noughties and one to definitely watch.

Guthrie Govan revisits his masterpiece ‘Fives’ with Jeff Beck’s rhythm section – Colluita and Wilkenfeld and produces another mind blowing lesson in guitar playing. During GG’s recording session, an on looking Joe Bonamassa apparently commented ‘I didn’t play that many notes in the whole of last year!’ Being on this album could be the start of World wide domination for Dizzee Rascal’s friend.

Other highlights include George Benson’s beautiful version of Moon River and the Billy Cobham-esque opener ‘Lay it down’ featuring John Schofield and Lee Ritenour. Steve Lukather makes his presence felt on a number of tracks, too many in my opinion and the once beautiful ‘Shape of my Heart’ is harshly butchered by ‘rawk guitars’.

This album has something for everybody and you may discover players that for a long time you have over looked. This album has led me to seek out albums by Andy McKee, Joe Robinson and Shon Boubil. You might not like all of the tracks but there is no arguing for the quality of musicianship and production.

What anybody would do to have a contact list like Mr Ritenour.

Guitar Break rating: 4/5

Jono Wright

Visit the official Lee Ritenour website www.leeritenour.com

ICMP tutor Phil Capone to perform as part of the Jimi Hendrix Exhibition

2010-09-06T12:25:00.000+01:00

Institute of Contemporary Music Performance (ICMP) guitar tutor Phil Capone will be holding an exclusive masterclass, as part of the ‘Hendrix in Britain’ exhibition, a commemoration of the 40th anniversary of Jimi Hendrix’s death, on Saturday, 2nd October. This event is one of many being held through September and October being held by Handel House inspired by the exhibition.

Phil’s masterclass will cover the licks, tricks and stylistic trademarks that made Hendrix one of the greatest musicians of our time. Demonstrating various effects and sounds Hendrix frequently used, as well as transcriptions of classic Hendrix tunes, Phil will offer insight into lead and rhythm playing, as well as the harmonic thinking behind his playing.

The masterclass will be held at the Cumberland Hotel in Mayfair, London, where Hendrix stayed during his time in London, on 2nd October from 2 to 4pm.

Tickets cost £15, which includes admission to the ‘Hendrix in Britain’ exhibition. To get more information or book tickets, please call: 020 7399 1953

For further information about the ICMP...

− 020 7328 0222
− enquiries@icmp.co.uk
− www.icmp.co.uk

Seneca Hawk – Sun Year Long

2010-07-26T13:35:00.001+01:00

I’ll be honest, I’d never heard of Seneca Hawk before this review. However, a little Googleing later and I can inform you that they’re a Los Angeles-based rock and roll trio consisting of Jonah Rivera, Kyle Beswick, and Ankur Bulsara. Formed at university in New York, they’ve been a nationally (in the US) touring band for three years, regularly playing high-profile LA clubs like the Troubadour in West Hollywood. And it shows.

Their debut album Sun Year Long is tight and natural sounding, and the choice to record on two-inch reel-to-reel analogue tape really pays off. Whether it was the band’s decision or producer Adam Lasus’s (Clap Your Hands Say Yeah, Yo La Tengo), tape is fantastic at capturing atmosphere. Get it right and the vibe of a tight band playing ‘live’ in the studio jumps out the speakers. Get it wrong, and the results can be as flat as, well, the playing.

This is definitely not a flat album. But it’s not a groundbreaking one either. Seneca Hawk stick pretty closely to the American alt country rock songbook, sounding like a cross between Ryan Adams, Wilco, Springsteen, and Against Me! in their poppier moments.

Opener Dozen Hearts and Restless Sea stomp along nicely, propelled by simple but powerful rhythms. While the more introspective moments, like Oceans Apart and You’re Sweet, wash over you in a warm country-tinged wave.

Singer/guitarist Rivera alternately croons, shouts and gravel throats his way through a tight collection of mostly three minute songs, managing the rare trick of sounding like he means every word.

Guitarwise, there’s nothing complex or fussy here. But there doesn’t need to be. These are simple songs, performed from the heart with real energy and gusto. A few subtle production tricks and sensitive layering help too.

Their biggest single to date, Steal Your Heart Away, has been downloaded more than half a million times on the iPhone app Tap Tap Revenge 3. And it’s easy to see why. From the indie opening riff, through to the funky bass, kooky vocal ticks and catchy pop chorus, it has real dynamic depth.

Sadly, this isn’t always the case. And sometimes the limitations of just three members and pretty simple songs shows. Not that there’s a bad track on here, far from it, but the quality of songwriting does dip after track six, with things becoming a tad too predictable.

As with all good music, it sounds simple on first listen. But before long it’s lodged in your head tighter than the button I stuck up my nose aged two. It’s not a perfect album, but for a debut it shows real promise. I predict they’ll be around for a long time yet. Like the button.

Sun Year Long is going on my iPod. It should be on yours too.

Tom Hurrell

Sun Year Long can be found on iTunes

Visit Seneca Hawk's website at senecahawk.net

21st Century Guitar - Once more, with feeling…

2010-02-26T21:18:00.011Z

Andy Colliar writes... Second in a set of articles covering the more holistic aspects of playing guitar. These articles are for all levels of ability, from beginner to advanced and look to provide broad principles that can be used to expand playing techniques, creativity and expression for guitar and other instruments.

Last month’s article focused on the fingers. This month let's focus on the heart. Feeling. How important is feeling in your playing? Well, I'd invite you to look at it this way: music is a vehicle to communication of ideas and feelings: emotion, direction, intensity, pleasure, pain.

What do you want to say? Who do you want to connect with? What emotions do you want to communicate?

What I'd like to do in this article is step through some of the options that you have to increase the expression of feeling. I'm assuming that you, the reader, know key techniques.

Music in most contexts makes better sense when it is played with feeling, and delivered in such a way that it engages emotion. What would it be like if you find a way to play with feeling so as to convey emotion both to yourself and others?

Phrasing
So what is phrasing? If we look at language, phrasing isn't just about the words you say but how you say them, the tone, the timing when you say them, the volume you use when you speak. This in turn affects what the listener hears and the way in which you communicate your thoughts and ideas.

In terms of playing the guitar, other than note / scale / chord choice, what other aspects come under the guise of phrasing?

Timbre
For example, fret a note and pick the string near the bridge - you will notice that the sound is sharper with less sustain. Pick closer to the fingerboard and you will notice the timbre mellows and the note 'blooms' more with more sustain.

Other things that affect timbre are whether you choose to use a pick or your fingers, or finger picks, or a coin. Even your choice of plectrum can affect the timbre of the note you strike - aspects such as material, thickness, size of the plectrum all have a bearing on timbre.

Tone
The subject of tone would merit an article on its own. Let’s just say here it's the choice of electric or acoustic, the specific guitar and any sound modification, such as effects, amp, leads, pick-ups and the like.

I'll leave you to make your own decision as to what tone you use where, but all of these elements can change the feel of a piece of music.

Oh, and if you play electric guitar, see the knob marked “tone”? Give it a tweak and see what possibilities you can unlock.

Playing Dynamics
How hard you hit each note, or the volume of the notes you play.

If any one aspect of playing will emote feeling (other than timing) it is your playing dynamics.

Try it: Play a simple three note phrase. Hit the string softly and see what this says to you. Then play the same phrase again and hit the strings harder. Now experiment with combinations: hit the string harder and harder; or start by striking the string hard then backing off. A great exercise in dynamics is to practice a whole scale increasing and decreasing how hard you strike the notes. Try increasing how hard you strike the string as you ascend and decrease when you descend the scale. How will using dynamics like this affect your playing?

Now as homework, go and investigate the knob on your guitar marked "Volume" and see what that "effect" alone can do for your playing dynamics.

Timing
Not only what order you play notes in, but when you play them will have an effect on what your audience hear and perceive from your playing.

This is one of the most fundamental areas of phrasing.

Another option when it comes to phrasing is playing nothing at all. Never underestimate the power of leaving space between phrases to let the music breathe. Listen to Jeff Beck or Dave Gilmour for great examples of using space to its best advantage. Great phrasing is not just about what you play, but what you don’t play.

Timing and gaps make your playing more like a real human conversation, and help you better describe feelings and emotion to the listener. Think how easily bored you get of listening to people who only talk in really long sentences!

Imagine what it would be like to read this article at a constant pace, not pausing or taking a breath – it would be tiring, boring and uninteresting for the listener, and would It hold the listener’s attention?

Technique
What technique do you choose? Slide, pick, hammer- on, pull-off, tap, sweep - there are a myriad. They all depend on what you want to say and how you want to say it.

The amount that can be conveyed by how a piece of music is phrased should not be underestimated. The multitude of options you have as a guitarist (no other instrument can compete with the options by the way) are huge

Experiment with each of the options and see what they can do for you...

Exercise
As an exercise, take three notes -

9th fret on G string (E),
8th fret on the B string (G)
10th fret on the B string (A)

Play the three notes, straight, one after another. How does that feel? What does that say to you?
Now play the same but slide from the G to A
How about Bend from G to A?
Try playing E, letting it ring out as you hammer on from G to A.
What about adding vibrato? To one note, just G? All three? Just A?
What about changing the timing?
What about changing the order of the notes?
You could try changing the dynamics?
What about picking close to the bridge and increasing how hard you hit the notes?
What about varying how many times you play each? The rhythm?

What would it be like if you do nothing else but explore all the different ways you can find to play these three notes? Think about what feelings you want to convey and what you play makes you feel.

Then please use think about this article when you are playing and try to incorporate what you feel into everything you play.

Thanks

Thanks for reading this article. I'd welcome your feedback on these articles. All the best#

http://www.myspace.com/votbk

http://www.myspace.com/endorphinuk

Throbak Electronics Flash Drive

2010-02-11T15:21:00.006Z

Styled and named after the guitar sounds incorporated by Brian May in the Flash Gordon soundtrack, this simple pedal may well have crept under the radar in your ever elusive search for tone for two reasons: Firstly you may not have heard of Throbak Electronics and their creator Jon Gundry, if this is the case then this writer cannot urge you enough to go and check them out as the pedals and pickups (wound on original vintage Gibson pickup winders rescued from the Kalamazoo factory building) on offer can help any guitarist to achieve an enviable tone arsenal. Secondly, in the modern world of multi-channel, and high gain overdriven amps the concept of driving your amp with a simple treble boost pedal may have seemed unnecessary.

The original treble boost devices of the '60s may perhaps be considered a bit too cumbersome for the modern guitar player (although strangely desirable for vintage addicts), they only ran from batteries, didn't have an on/off switch (many were either so large they would just sit on top of the amp, whilst others would be plugged directly into the guitar and then out to the amp, and in either case would always be on) let alone an led and if your amp signal was too clean the boost would achieve very very little.

The Flash Drive, however, despite being the most basic pedal in Throbak's range (and cheapest retailing at approx. £99), overcomes all of these issues and presents the player with a very usable and surprisingly versatile pedal. Definitely aimed for those who like simplicity in their guitar rig rather than racks and racks of effects and hundreds of controls to tweak, the Flash Drive features one retro style chickenhead knob to set the drive level and one selector switch to choose between treble and all-out boost modes (very helpful for balancing out the differences between single coil and humbucker guitars), on/off footswitch, green led and the options of either battery or mains power. Inside, the use of a TO-18 silicon transistor rather than the fabled germanium OC44 means the pedal has a higher gain range and tighter response than most other treble boosters on the market currently, but this can of course be tamed with your one control!

Treble boosters are, by design, noisy pedals and tend to hiss. Strangely enough the Flash Drive seems to work best with standard cheap 9V batteries rather than more expensive alkaline equivalents, but there's still a distinctive noise in the background when the pedal is kicked on if there's already some gain present: but this is surely the whole point of a 'boost'. With the drive control set from about 12 o'clock onwards is when the pedal offers a clear boost in both volume and gain. Thanks to the silicon transistor even running the pedal into a clean amp at low volume you can get a blues tone that would make B.B. jealous. Then as the volume and gain are lifted on both pedal and amp you can pass through crunchy southern styled rock rhythm territory to full on searing lead tones (a les paul proved especially adept at this). Frankly for something that looks so simple this is a pedal that has to be considered in any guitar player's search for 'that' sound, it is a fantastic way of breathing new life into in amp, adding sparkle to the tone and boosting the general note clarity and definition across both chords and solos. Beyond that it simply makes the guitar seem much more touch sensitive and dynamic highlighting every nuance and phrase. If you want your notes and tone to stand out, try a Throbak.

21st Century Guitar - Mind Over Matter

2010-01-19T12:53:00.023Z

Andy Colliar writes...

First in a set of articles covering the more holistic aspects of playing guitar. These articles are for all levels of ability, from beginner to advanced and look to provide broad principles that can be used to expand playing techniques, creativity and expression for guitar and other instruments.

Article 1. Mind over matter

Imagine you are a pro guitar player that's been playing guitar for years. What would it be like for your fingers to simply fall into place for whichever chord, scale or arpeggio you happen to choose without thinking?

By the end of this article you will understand principles that will help you to accelerate this ability.

Muscle Memory
As a guitar player, a great deal of the process of playing guitar is focused on your fingers following instructions your brain instructing how to do it and so on. The more experienced we get, the more these instructions become automatic and buried in the subconscious.

Longer term, a phenomenon called "muscle memory" comes into play. This term effectively means that your muscles, in your fingers, wrists, forearms and arms become, over time, coordinated in such a way that they can act to perform tasks without detailed instruction from the brain.

Regular practice with a focus on accuracy first, and increased speed second, is the most reliable route for acquiring muscle memory.

So what can we do to accelerate the process of acquiring muscle memory?
The same principles (regular practice with a focus on accuracy first and increased speed second) need to be adopted. There is no escaping that fact, but what we can do is take a holistic approach to developing our technique.

The principles in this article do not replace proper, structured practice, but can be used as an enhancement if you want to accelerate the acquisition of muscle memory.

This approach starts with the end in mind: making the process subconscious.

Ok then, so how can we make the process subconscious?
Let's take the example of fretting a chord.

There are options:

Traditional practice routines: fretting the same chord again and again, adjusting your fingers and strumming to check the chord plays cleanly every time, adjusting your fingers if there are any issues
The same, but taking time out to remove the brain from the equation and avoid thinking about where your fingers need to go, but letting them get on with it...therefore breaking the link between your brain and your fingers and focusing on your muscles and acquiring this memory.

So let’s imagine that what you want to do is break the link between the brain and the fingers. Imagine your fingers (all of them) have a mind of their own. Imagine that you (as the boss) just give them all a general order ("play a D Major chord") and they all go and work together to carry out that order.

Example

In the context of the guitar, let's imagine you want to play a clean, clear, resonant D Major chord.

Pick up the guitar. Look at the shape for a chord, let's say D Major, in your guitar book.
Finger the chord as you normally would. Take all the time you need to consciously make adjustments, focusing on where your fingers need to go.
Check that you are able to strum this chord cleanly. Make any adjustments until you are able to strum the chord cleanly.
Now, without removing your fingers from the fretboard, think: how does this chord feel? Where are my fingers in relation to each other? What pressure am I applying? Where are my fingertips? What angle is my wrist at? What would I need to do to get my fingers to do this again? Fingers, what do you need to do next time to make this shape? What shape is my hand in, overall?
Now, remove your fingers from the fretboard, keeping them in the shape of the D Major chord. How does this feel? Are you able to keep your fingers grouped together? Hover in the air above the fretboard for a minute
Now, place your fingers back on the fretboard, still in the shape of the D Major chord.
Check that you are able to strum this chord cleanly. Make any adjustments until you are.

Ask the same questions as before.

The test
Now, here is the test. Remove all your fingers, stretch them and give them a good wiggle. Now, look away from the guitar and fret the D Major chord shape again. Just get your fingers as close to the shape as possible, but without thinking about it!

What would it feel like of your fingers simply knew where to go? You'll feel pretty good if this works out?

Now, before you look back, strum to check the chord. Don't worry if it's not clean or there is fret-buzz.

Now look at your fingers - I'll bet they are not as far off as you would have imagined. Make the minor adjustments, and make a mental note about what adjustments you needed to make and ask yourself, "what will I need to do to improve this next time?"

Repeat this exercise five times. Each time aim to fret all fingers at the same time, without looking at the fretboard, or thinking about your fingers. Each time check how accurate you were after you strummed the chord and make the adjustments.

So, how far off are you? Are you surprised about the results?

Homework
What would it be like to use this approach with every chord in your vocabulary? What about every arpeggio? Every scale?

Phooey
This approach is not a replacement for the traditional approach of developing muscle memory, and this approach does not work for everyone (There are lots of people who dismiss this approach as phooey! Not everyone gets it, or agrees with it. But give it a go; if it agrees with you please continue.)

If you invest time and energy, these principles can help you enhance your growing skills and push your playing confidence and abilities forward.

Remember the key is to switch off your brain and stop controlling your fingers - trust your fingers and subconscious to do the work!

Thanks

Thanks for reading this article. I'd welcome your feedback on these articles. All the best!
http://www.myspace.com/votbk
http://www.myspace.com/endorphinuk

‘Fender’ Telecaster Relic, Battered or Beautiful, Strat Fans Beware.

2010-01-18T15:28:00.032Z

Alexander Hunter writes...

If you find the prospect of spending upwards of £1000 to find your ideal instrument a somewhat daunting (though obviously enjoyable) task due to the myriad of available options ......do I want rosewood, maple, ebony? What pickups do I want etc and, in most instances, what simply has that ‘cool’ factor?

You may well have considered the option of a bitser guitar. It’s possible for you to choose the wood, body shape, neck dimensions, pickups, volume and tone control options.....in fact, absolutely everything down to what kind of bridge saddles and nut you want. Thus in putting together a guitar from scratch you don’t have to sacrifice one desirable aspect for another and often it will work out significantly cheaper than a guitar of equivalent quality from a top ‘label’.

However, if due to some unforeseen (and horrible) predicament you find yourself trying to sell said beloved bitser guitar – and if you’re not a certain Eddie Van Halen – then regardless of hardware and build quality et al you will simply find it much more difficult to convince either a shop or private buyer to take it off your hands. Big name guitars regardless of price depreciation are simply easier to sell. So is it a risk worth taking?

An official brand logo can be a crucial factor for many guitarists in either a positive or negative way according to personal taste: perceived general reliability, build quality, hardware, sound quality, value for money etc. Ultimately it all boils down to a subjective view of just what constitutes cool. The Telecaster has always come across more as a real working guitarist’s guitar. If a Strat with all its curves and show could be likened to Marilyn Monroe, then the Tele is the Mae West of guitars...not the best looking, but a little older and wiser and knows exactly how to use everything it has to great effect. However, the fact that a AAA figured curly maple top would simply look preposterous on a Tele is testament to its own style. It’s a guitar to be played, not an investment and pension plan to be kept locked away in a case. Therefore a bitser Telecaster with a Fender decal – albeit a made in Mexico decal – seems to be the ideal middle-ground solution to the issue of branded generic or personally constructed guitar.

A Fender Classic Player Baja Telecaster comes with a ‘V’ shaped neck, s1 switching and a ‘custom shop design’ with pickups to match and will set you back around £450, whilst a limited edition ’52 Heavy Relic Custom Shop Telecaster will be nearer the £2000 ballpark. Yet, for a mere £300 we have here a ‘50s style ‘relic’ Telecaster. It has a slab-sawn maple neck from a Nashville Power Telecaster (made in Mexico from 1999-2000), featuring 21 medium-jumbo frets on a rosewood board with a ‘D’ neck profile- somewhere between the usual ‘C’ or ‘V’ shapes. It’s still a comfortable and easy guitar to play but you have to wrestle somewhat to get the notes out, not to the taste of Yngwie mould shredders (but then again neither is a Telecaster usually) but suited to country twangers and bluesy jazzers the world over. The dark timbre of the rosewood fingerboard compliments the light bright sound of the American swamp ash body which is finished in a sort of brandy cream blonde (an inbetween mix of the two quintessential vintage Telecaster finishes – blonde and butterscotch). The colour and thin-skin nitro-cellulose finish allowing you to see the wood grain might not be the taste of everyone, but for this reviewer it only serves to add to the individuality of this instrument.

The guitar is fitted with a reissue ‘micro-adjustable bridge’ as found on the original early ‘50s models featuring three bridge saddles rather than six and in traditional ‘relic’ (or in laymen’s terms: battered) style the bridge looks in dire need of some WD40, but arguably this merely compliments the overall scuffs, chips and wear on the body. It also features a white, rather than the usual black, scratchplate (it was only in 1955 that Fender made this transition) making it a 1950s rather than specifically ’52 style. The only immediately visible negative aspect is the strikingly rudimentary yet somehow fiddly looking tuning pegs (but it is after all a bitser and it wouldn’t take much to remedy this) yet this minor evil is easily counterbalanced by the inclusion of a pair of much better than average pickups.

Sounds
Strung with 010s and kitted out with Bareknuckle pickups, this Telecaster doesn’t have the S1 switching of the newer models, but what it does have is a purity and clarity unlike anything found on any other instrument. For many guitarists the string and note definition found on a decent Telecaster is an intimidating factor...if you hit a wrong note, you simply can’t bluff your way through it, hence why you see so many players (especially in these new-fangled trendy indie bands!) just bashing out chords rather than utilising the full tonal and solo capabilities of the instrument. As such, some people are inclined to suggest that a Telecaster is just simply not as versatile as a Strat. However, based upon this model, to these heathens I say that the Telecaster simply does not feature any superfluous or weaker sounds. It might not have the three pickups of its sleeker ‘sexier’ cousin, but every sound and pickup option offers a usable tone which, whilst being able to cover multiple genres, just seems preordained to fit a certain style of playing.

The American swamp ash body combined with the British manufactured Bareknuckle pickups afford the player an unrivalled ability to truly hear the sound of the wood of the guitar and the tonal variations of the amp.

Plugging into an Orange Tiny Terror and 1x12 cab to hear that just breaking up overdriven tube amp sound, then swapping across to a Framus Dragon and 4x12 to test the clean, crunch and all-out high gain capabilities this Telecaster proved remarkably surprising. The single coils, as you’d expect, have a little bit of hum at higher gain and don’t have the output of a decent set of humbuckers but, all in all, with a clean sound the neck pickup delivers that nice rounded and distinct Tele twang whilst the bridge pickup has more attack and bite to it than a rabid Rottweiler. The brightness of the swamp ash body combined with the nasal voicings of the bridge pickup might be too much for some, but on a clean sound this is easily remedied by rolling the tone down to 6 or 7. With a more overdriven sound the bite of the bridge pickup is useful in allowing the guitar to cut through a band mix without sounding too treble’y and rolling the volume control down cleans up the tone nicely to offer great crunchy blues and rock rhythm tones or some Albert Lee’esque country lead sounds. With gain added, the neck pickup offers a thick, syrupy smooth tone with great sustain and string definition even at the highest gain levels. Punchier than a Strat and not as muddy as a Les Paul, with both pickups selected the infamous woman tone is not far out of reach and despite some aggressive Clapton and Moore style playing with big bends and heavy vibrato galore the guitar simply refused to fall out of tune.

Verdict
A best friend to session guitarists the world over, this Telecaster proves that good tone, and lots of it, in an affordable package is possible. The distressed look of the guitar is a moot point for many, some people prefer to beat up their own guitars rather than buy an already battered instrument, others prefer to preserve their guitars as a precious piece of art. However, there is something inimitably right about the look, feel and sound of a beaten up Tele and this instrument just has an air of blunt class about it.

The bottom line
We like: good looks, good feel, great sound at a great price.
We dislike: fiddly machineheads and a rusting bridge may not be for everyone.
We say: the ‘made in Mexico’ decal betrays the true quality of the instrument, the hardware on offer and sounds available easily compete with guitars three times the price: bargain.

Drivegate DG-1 pedal

2009-11-13T16:17:00.004Z

Every now and again I get to try out a distortion pedal that really wows me. The Drivegate DG-1 from Top Tones was one that did this recently with its fat raucous drive tone and long sustain that ballparks Dave Gilmour‘s lead sound admirably. But you can also get tight Eric Johnson and older Hendrix type tones on it too. Jamie Humphries was the first to tell me about it and now him, Dave Kilminster and me are using it for all manner of gigs and recordings! Priced at $340 the boutique price mirrors the pedal‘s gorgeous tone, road ready metal casing and true bypass/low power consumption appeal.

See and hear it for yourself here:
http://www.youtube.com/watch?v=tqjPxHAkqgg&feature=related

And for more info and ordering visit: http://www.toptone.com.br/en/

Guthrie Govan Weekend - LIVE

2009-10-17T10:45:00.016+01:00

16:24
We are just about to reform the Guitar Break band with me (Damian) on drums, Guthrie on bass (he's been looking forward to being my wing man) and a couple of guests taking the rhythm and lead parts. Looking forward to it.

15:24
Guthrie has been disecting 'Slippery Thing' and 'Fives' for us. Some amazing insights into slapping, more hybrid picking, tapping, drop d tuning, trills, runs and flurries. Can't wait to get some video clips up on the sites.

14:50
After another splendid lunch (the chef and his wok were out!) Guthrie is treating us by playing 'Waves' from his album Erotic Cakes. He is taking us through how the verse is played, in slow motion of course, and then how the song came about and some of the experiences he has had playing it live. Top stuff.

Day 2, 10:39
Another sunny day here in Bath and we have started the day with hybrid picking. It's gone a little bit country but that's for demonstration purposes. Guthrie is explaining finger options, slides and hammer-ons within a simple country lick. He has covered 3 and 4 finger picking with both index and little fingers taking the lead. Building those finger biceps!

15:22
As another treat, I filmed the coining of the phrase 'Van Halenism (perhaps a first) so enjoy this video.

15:13
What's equally impressive as Guthrie's tapping is the way Jason tabs it out, it's quite a site. Of course, all the tab from this weekend's event will be available on the Guitar Break website under 'Event Breakdown' at the beginning of next week.

14:58
So to tapping. Not something we cover very much on Guitar Break but this is rock and we do have arguably the best guitarist in the world to show us all how it's done. I have just posted a quick video here but will try and get some more as the day goes on. Oh, btw, lunch was lovely...

13:32
Doesn't time fly? We have been advancing the timing theme and looking at triplets, fives, sextuplets & quintuplets. Guthrie has been demonstrating some techniques and now Jason is taking these ideas over some minor pentatonic scales whilst introducing hammer-ons and pull-offs into the mix. Most of these ideas are based around a straight 4 count which makes for interesting variations.

10:49
Our Guthrie Govan Guitar Break Weekend is now underway and it's great to see some familiar faces as well as some new ones. We are not even an hour in and have covered a couple of practice techniques and ideas to get things moving. Jason and Guthrie are now discussing some timing and tempo exercises as the conversation turned to speed and accuracy. Guthrie's thoughts on practice were very refreshing in that you should make practice mean more and make it count, there's no point in practising things that sound bad. Practice the good notes and understand why they sound good. If you compare 5 minutes of practice at home and 5 minutes of playing a gig you'll grow more as a player in the gig situation because you care more and want to make it the best it can be - take that thought into your practice.

Funk Guitar DVD

2009-09-29T19:04:00.000+01:00

Jason Sidwell’s new DVD, ‘Funk Empowerment: Groove Guitar Mastery with the CAGED system’ features over thirty funk fuelled guitar examples to develop key skills in both rhythmic grooves and chordal/riff playing using the CAGED system. Visit www.ukmastersdvd.com for more info and ordering details.

Rotosound launch British Steel strings

2009-08-21T16:31:00.003+01:00

Rotosound’s world class reputation for making the best guitar strings goes before them. They have drawn on this history, experience and knowledge in designing the next generation of strings. Rotosound now announce the launch of British Steels, based on the Original classic Rotosound Stainless Steel Electric Guitar Strings from the 1960’s, and now manufactured using improved processes and even better materials.

Their original stainless steel strings already have a pedigree second to none and were used by Jimi Hendrix, Pete Townsend, Brian May and many others. Rotosounds stainless steel strings offered a clear, bright punchy sound, positive grip, plenty of twang and went on to be played on some of the greatest songs of all time. The new Rotosound British Steels have been designed to give a brilliant tone, sustain and great volume.

Using the very best stainless steel with the highest possible iron content (for better magnetic properties), the new strings are now manufactured under even tighter quality control and stricter tolerances to ensure consistency, clarity and durability. British Steels are available in the following gauges* : BS09 09 / 11 / 16 / 24w / 32w / 42w BS10 10 / 13 / 17 / 26w / 36w / 46w BS11 11 / 14 / 18 / 28w / 38w / 48w

For further information on the range see http://www.rotosound.com/steels.html * Please note: w denotes wound string.

Jason's new pedal board

2009-07-27T17:38:00.006+01:00

I’ve been pretty fortunate recently to have reviewed and bought a few different effects pedals for a new pedal board. It’s been expensive and time consuming but I’ve now got a T-Rex pedal board crammed with everything I need for future gigs and shows. With a T-Rex fuel tank classic powering everything and cable connections courtesy of George L and Elixir the line up is:

Digitech Hardwire tuner www.digitech.com/products/Hardwire/HW_Tuner.php

Providence Velvet Compressor VLC-1 www.providence-effects.fr/crbst_10.html

Providence Stampede Overdrive SOV-2 www.providence-effects.fr/crbst_7.html

Providence Heat Blaster HBL-2 www.providence-effects.fr/crbst_9.html

Zenkudo overdrive www.tanabe.tv/top/kudou/index-e.html

Ernie Ball jnr volume pedal www.ernieball.com/products/category-534-Volume-Pedals

Eventide Modfactor www.eventide.com/AudioDivision/Products/StompBoxes/ModFactor.aspx

Digitech Hardwire delay www.digitech.com/products/Hardwire/HW_DelayLooper.php

All these pedals are put in front of a Boogie F50 1x12 combo. While I don’t have a favourite pedal, I suppose what has generated the most interest on gigs are the three boutique distortion pedals. I have a lot of tonal options with them so have opted to set the SOV-2 to a mild blues crunch (it’s heavier distortion is fantastic too though), the HBL-2 set to a rocky rhythm/lead tone and then the Dumble amp-like Zenkudo pedal set to lead. They’re expensive and not easy to get in the UK (visit the websites to order) but they’re pretty much the best drives I’ve tried to date. Of course, I love the chorus, rotary and phaser settings on the Eventide Modfactor (the chorus is really nice). Then there’s the brilliant flexibility of the Hardwire delay pedal –tap tempo, looper, slapback, reverse, modulated and analogue delay types makes for the most versatile delay in a compact pedal design I know of. Am I having a blast with this setup? You bet!!!

Jason

The Bebop Dominant Scale by Levi Clay

2009-07-24T11:10:00.007+01:00

Hello and welcome to my first column for Guitar Break. Today we will be dipping our toes into the scary world of “jazz” with a look at the aptly named “bebop dominant scale”. I decided to jump in with this less common topic as there are a multitude of sources on the internet covering most aspects of playing, but this, sadly, is an under exposed subject.

From the start I will point out that this article isn’t exclusive to jazzers, so if you are a rock player looking for some new sounds, I urge you to read on. For those of you who already play a bit of jazz and understand the basics and want to move forward then this column will give you new ideas to experiment with. You may want to hunt down columns by Shaun Baxter on note targeting, and more recently Pete Callard’s columns on chromaticism.

Jazz is a rather broad term usually associated with smoky clubs and self indulgent solos, but when it comes to the actual sound of the music the genre ranges from the big band swing of artists like Duke Ellington all the way through to the more harmonically venturous efforts of Allan Holdsworth. The key element for jazz, in my mind at least, is the instrumentalist’s abilities to outline the harmonic movement implied by the rhythm section; this comes from a firm grasp on arpeggios and the targeting of chord tones, this takes the rock players more scalar ideas and leaves you with a more intervallic style. This is where the term “bebop dominant scale” can be quite deceptive, as it’s not actually a scalar approach but actually a methodical approach to arpeggios. If we take a look at the C mixolydian scale (The scale used to play over a C7 chord C E G Bb) C D E F G A Bb Then play this as a stream of constant 8th notes through 2 octaves and you will see that the notes that fall on the strong beats are C D E F G A Bb C D E F G A Bb C

And although this sounds fine, as it’s a scale it doesn’t contain the seemingly random chromaticism contained within a Charlie Parker or Bud Powel solo. When you look at solos by these pioneers of bebop the thing that really strikes you is the harmonic strength the solos have, even with the heavy chromatic alterations. One method of introducing sophisticated sounds like this is the use of bebop scales. A bebop scale is a traditional seven-note diatonic scale with an additional chromatic passing note added in order to leave only chord tones on the downbeats. In the case of the bebop dominant scale we add a major 7 leaving us with C D E F G A Bb B C Lay this out as before and suddenly we have introduced more chromatic sounds but at the same time added harmonic strength C D E F G A Bb B C D E F G A Bb B Now, the beauty of this almost mathematical approach to improvisation is that you can start the scale on any chord tone then wander up and down the scale to your heart’s content, and as long as you stick to straight 8th notes (ideally swung) you will always have the chord tones on the strong beats.
From here the next thing you need to internalise is how to execute these scales when starting from non-chord tones because after all when you’re improvising you can’t be restricted to only being able to start a lick from one of 4 notes. There are 12 at our disposal after all! I have laid out the basic rules in the following diagrams so you can experiment. I wouldn’t want to show you how to do everything when the experimentation will certainly lead you to your own applications of this particular approach. On the following pages you will see the Bebop Dominant Scale in the 5 positions of CAGED, followed by four licks, two jazz ideas and two rock/fusion ideas.

Download the PDF pages here

For further reading look no further than David Baker’s fantastic series “How To Play Bebop” volumes 1, 2 and 3, all contain hundreds of example lines (without tab). Also check out the Charlie Parker Omni book (again this book lacks tab). And CD wise I urge you to hunt down the wonderful Jazz Metal by Shaun Baxter to see how a rock player can use these ideas and of course Guitar Break’s own Guthrie Govan and his beautiful CD Erotic Cakes - better yet, come see the bloke with his fusion act the The Fellowship (Bath Spa Uni, Newton St Loe 6th August). You won't regret it.

Levi Clay Levi Clay is a young up and coming teacher based in London. As a student of several of Guitar Break's current teachers Levi has risen quickly in profile since his first appearance on one of Dario's Guitar Break classes, and has since landed work as a transcriber, player (even playing in an opening slot for the legendary Pat Martino), and having his own class at the International Guitar Foundation (IGF) Youth Rock event. Levi puts this down quite simply to "the fantastic tuition offered by Guitar Techniques, the ICMP and Guitar Break. Currently Levi filling his time with a BMus(Hons) from the Institute of Contemporary Music Performance (ICMP) and being blown away by Guthrie's antics with the Fellowship!

Neville Marten's 1963 Fender Strat

2009-07-24T10:50:00.005+01:00

Here’s Neville Marten with his 1963 Strat in original Lake Placid Blue. Like many metallic Custom Colours it’s quite worn – it’s been played throughout its entire 46-year life so that’s hardly surprising. He bought it in 1994 from a guy who in turn got it from a guitarist in South Africa. He saw him playing it in a bar and swapped two of his own guitars for it. It has the original cream Tolex case and even the original strap! It’s a beautiful sounding guitar that plays like a dream! Neville will be teaching at our Bristol Guitar Break, Blues Rock Day, on 21 November 2009. For more information visit the 'Latest Events' page on our website.

How to Be a Better Guitar Player

2009-07-23T18:00:00.004+01:00

Everyone wants to make some things in their lives better. Some may want a better job or a better house. Others may want to have a better life in general. And then there are some who want to improve the way they do things. Such is the case of some musicians. They want to know how to be a better guitar player. Completely knowing your instrument is one way as to how to be a better guitar player. This means knowing the guitar's different parts and functions. It is also important to know how to clean and maintain your guitar.

One of the ways to maintain a guitar is to tune its strings frequently so as to ensure everything is in tune. Guitar tuners are also available out in the market to help guitar players with their tuning needs. In time, you won't need these guitar tuners as the notes and tunes will become clearer to your hearing. Another way on how to be a better guitar player is to learn how to read and play notes.

Being able to read notes helps you a lot since most music are transcribed into musical sheets. A guitar music sheet works just like a piano music sheet does in a way that each note corresponds to a certain point in which a guitar string must be pressed. Some people don't go beyond strumming and chords which limits them to the amount of music that they can play. Some play it by ear, trying to imitate the sounds that they hear with the sounds that they are able to produce with the guitar.

Any way works but for a person to be a better guitar player, reading notes is important. Posture is also another key ingredient in knowing how to be a better guitar play. This is because the wrong posture may result to you unintentionally straining your back. There is a proper way to hold a guitar. The correct posture is especially practiced in music recitals or if the guitar player is a classical music performer. This is also observed by those in orchestral groups.

The key to learn how to be a better guitar player is practice. In practising, a guitar player should start things slowly. They should also start with easier pieces first before progressing to more difficult pieces of music. When you notice that you've committed a mistake somewhere in the process of playing a guitar, it is better to start over and try to avoid committing the same mistake all over again. The process of starting over helps you memorize the musical piece that you are trying to master.

However, when practicing, it is best to select a place in which to practice so that you won't disturb other people. Take it easy and take time to relax. Remember, you are playing the guitar because it's fun for you to do so. If you start to feel a little overwhelmed or pressured, take a quick break.

What's the joy of doing something when it starts to feel like a burden to you? http://groups.google.com/group/learnguitarjamor

Paul Blair

Guthrie and Wheatie on the GT stand at LIMS

2009-05-17T15:59:00.000+01:00

From www.guitar-techniques.com Guitar Techniques friend and longtime contributor Guthrie Govan will be popping onto our stand at LIMS (ExCel, London‘s Docklands, 11–14 June) for some impromptu playing. Already there demoing for Rotosound Strings Guthrie told us today that he‘d love to nip over to us for “a bit of GT action“... We have no idea what he will play, but as it‘s Guthrie we‘re sure that jaws will be dropping all round. Make sure you check him out on the Rotosound stand too. John Wheatcroft, another awesome player will also be dropping by, gypsy jazz acoustic in hand. John says he‘d love to play some Django inspired pieces and maybe give a little tutorial on this fascinating and fiery style. John‘s a truly killer picker! Editor Neville Marten will be there all four days and may well be getting up with Guitarist editor Mick Taylor for a ‘bit of a blues bash‘...

New videos on YouTube

2009-04-09T20:43:00.002+01:00

We have uploaded 3 new videos to our YouTube channel but here is a sneaky peak at one of the latest Guthrie videos...

Pentatonics and Beyond!

2009-03-30T16:13:00.008+01:00

Here is Jason Sidwell's latest tutorial booklet based on the minor pentatonic scale and several related variations. It covers pentatonic based licks plus minor pentatonic fretboard patterns and then introduces new scales and licks that can build on from the minor pentatonic... For the 'Pentatonics and Beyond!' PDF click on the following link: Pentatonics and Beyond! [PDF] 2.26MB

Some of today's guitars

2009-02-28T14:55:00.006Z

We see all sorts of fantastic guitars on our events so here are some just from today. You can see more on our Guitar Break Facebook page and feel free to upload your own.

Blues Rock Bristol

2009-02-28T12:37:00.002Z

The first Guitar Break of 2009 is now underway at The Park Centre, Bristol. Neville and Jason are back, looking good and sounding great. They are currently dishing out some cool and easy blues licks that cover simple bending techniques and showing how some of the top players use the same techniques.

Guitar Break Newsletter, January 2009

2009-01-26T18:12:00.001Z

We are almost one month into 2009 and it’s time to remind you that you only have 5 days to take advantage of our 'Early Bird' deals on this year’s events - which means saving you up to £30 on our weekend Guitar Breaks... Guitar Break Newsletter, January 2009

Live interview with Neville Marten on NewsTalk 106

2009-01-08T11:11:00.004Z

Here is the audio from this morning's interview with Tom Dunne on Ireland's NewsTalk 106... Listen on the Guitar Break website >> You have until the end of January to take advantage of our 'early bird' deals on this year's Guitar Break events which feature Neville Marten, Jason Sidwell, Dario Cortese, Guthrie Govan & Dave Kilminster. You can view & book your events online at guitarbreak.com or over the phone on 0845 458 7372.

Interview with Neville Marten on BBC 6 Music

2008-12-12T18:43:00.003Z

Listen on the Guitar Break website >> Here is the audio from today's BBC 6 Music interview where Nemone had a chat to Neville about this weekend's Bristol Guitar Break and what you are likely to learn on one of our events...

Christmas Competition

2008-11-26T12:07:00.004Z

Christmas time is upon us, which means pulling crackers, eating turkey and having to listen to Xmas themed duets and collaborations - such as David Bowie and Bing Crosby, The Pogues and Kirsty Macoll, Paul McCartney and those frogs. During a recent Guitar Break weekend a few of the tutors (Dave K mainly) came up with some collaborations of their own... We want you guys to submit your own suggestions and our favourite will win a Christmas prize. Below are are a few examples (bonus points awarded if you manage to come up with a song too!) Django Reinhardt and Eddie Van Halen - Djan Halen - Hotclub for Teacher Steve Vai and Stevie Ray Vaughan - Stevai Ray Vaughan or Stevie Vai Vaughan - Blues Powder, Dirty Black Pool Robben Ford and Jan Akkerman - Ford Focus You get the idea. Post your ideas here:
Guitar Break Forum
Guitar Break Blog
Facebook Page or send to mail@guitarbreak.com. We will be posting the entries here and the winner will be announced in January '09. Have fun and good luck.

Guthrie Govan Guitar Break Weekend - Guilford

2008-11-22T14:45:00.009Z

This weekend sees our very first Guitar Break weekend at the beautiful Barnett Hill in Guilford, Surrey. Joining us as our special guest is Guthrie Govan, who really needs no introduction. Messrs. Marten & Sidwell are also on hand to keep a tight ship. Saturday Saturday morning was packed with theory to arm everyone with the right tools for the rest of the weekend. We looked at Major & Minor chords, mode types, soloing ideas using key chordal notes and even had time for a handful of guests to get up and jams a 12 bar blues with Guthrie. The afternoon session began with some playing where guests got up and jammed some 12 bar blues with Guthrie. A little later we ran a pentatonic blues breakout with Neville and a blues master-class with Guthrie to look more closely at modes, blues boxes, cool licks and technique. Neville's breakout was very successful with a lot of areas being covered. It was an intense but very enjoyable experience for those who wanted an injection of blues licks. The day's proceeding came to an end with everyone having played and given the chance for some great master-classes with Guthrie, Jason & Neville. So, to the bar... Sunday A few fuzzy heads on the Sunday morning isn't new to us at Guitar Break, in fact, we would be suspicious if there weren't any. Following on from yesterday's Minor Pentatonic the morning started looking at the Major Pentatonic scale...

Dave Kilminster - Blues Intervals

2008-11-07T17:34:00.001Z

Video: Introduction to the Phrygian dominant mode (5th mode from the harmonic minor) featuring the intervals of R, b2, 3, 4, 5, b6 and b7.

Dave Kilminster - Triads

2008-11-07T17:32:00.002Z

Video: Dave Kilminster shows some variations using triads and scale and arpeggio creativity drawn from the G major scale over Am and Bm chords.

Guthrie Govan's bending & vibrato tricks

2008-11-05T22:35:00.007Z

Video: Guthrie's bending tricks from his recent Guitar Break

Dave Kilminster Weekend - LIVE BLOG, Day 2

2008-11-01T07:08:00.030Z

Day 1 07:10 I always forget what a beautiful part of the world it is here in the rolling Northampton countryside. Too beautiful to sleep it seems so I am up and blogging already. There will be updates throughout the day... 10:07 We are all assembled in the Cedar room overlooking the fantastic garden here at Highgate House. We start with the introductions and questions to find out what our guests are looking for over the weekend as well as their experiences and influences. As usual we have a real mix of backgrounds which we love. 10:51 The difference between how a Major and Minor chord sounds; a topic that we have come across recently as something that many players haven't explored. Dave has started to demonstrate Major and Minor Triads in using the A, E and D shapes in C and G to kick things off, concentrating on the sounds. 12:36 Chord shapes, ahhhhh, so nice to listen to. Some quick explanations of chord progressions have caused a "light bulb" moment with a couple of guests. Why they are called what they are called, how they can be written and interpreted as well as how they sound and what works well over the top of them. 12:42 C Major scale harmonised as 7th chords. 12:44 Dave feels guilty. He feels guilty about transcribing music and making it easy for people to play and stopping the connection between listening and playing. He says "transcribing has been the best thing for my playing", because he has had to train his ear and really concentrate on what is being played. The moral to the story, I think, is don't always trust what you read unless Dave or Jason has transcribed it. More on this story as it happens... 12:57 An ear test. Not sure we have had a test before on a Guitar Break, like being at school.. but more fun. "Major, Minor or Dominant", errrrrrr. What to listen out for, how to recognise a note amongst a chord; all great stuff to help round your playing and listening. 15:10 And breathe... Dave is covering breathing as it's very common to hold your breathe whilst playing. As Neville eloquently puts it, "it can result in your death." 15:43 Bending options in Minor Pentatonic, shape 1 / A Minor & D Minor Pentatonics. Getting ready for some playing and soloing over these chords. 16:28 The nerves always show when guests get up to play and it doesn't help with Dave K standing over you. Even our Nimrod pilot just back from Afghanistan found it a little hairy. But, as I type, confidence is growing all around and solos are flying out with ease and Dave, Nev & J's analysis is invaluable. There are some special licks coming out of this session and, as usual, there are some surprised looks coming from the faces of those playing them. The last hour and a half was spent doing the 12 bar blues with the full band and swapping the rhythm and lead guitar parts around. Again, the playing just got better and better and even Dave K was amazed with how people had improved within half an hour. Day 2 10:23 A quick recap and a chance to tune the ears with interval training. 10:52 The BB King Box. Neville takes us through the shapes from BB King and Dave tells us his BB King joke... Into chord progressions for "Need you love so bad" as a practical example to solo over. Any takers? 13:13 So, we've been playing in a band situation again for about an hour. The group has now split into 3 with Dave taking some guys through some more complex playing covering 20 chord shapes with Arpeggios and super imposing Arpeggios for adding more colour and variation. It has opened up a whole new area for some of the more advanced players. Neville has taken a group to look at more basic blues building blocks whilst Jason is working through his guitar workout and looking at some rock riffs and licks. 13:29 D Aeolian (F Major scale), Dorian... just what you need before lunch. 15:25 Licks, licks and more licks. And rock ones at that. 16:22 More playing. Perhaps the most amount of playing that we have ever had on a Guitar Break and it's clear that it has improved everyone's lead playing. Confidence is high.

Dave Kilminster & Guthrie Govan on tour

2008-10-24T12:37:00.000+01:00

RESPONDING TO POPULAR DEMAND... We are pleased to announce that Dave will be touring Italy with Guthrie Govan and his band in early December. The two made a splash at the London Guitar Show when they appeared together on the main stage, and fans and promoters couldn't wait to see them perform together again. Both Dave and Guthrie are considered among the world's finest guitarists; Dave was Guitarist magazine's first ever 'Guitarist of the Year' winner; Guthrie was the second. The two are great friends and enjoy exploring new musical horizons together. Their shredding on electric guitar is incomparable. Italian fans will be treated to selections from Guthrie's album, Erotic Cakes, an unearthly blend of Rock, Fusion and Jazz, as well as some favourites from Dave's solo work. Some of which have NEVER been performed live! The first five dates are in the "tour dates" section on myspace and at www.davekilminster.com; we should be bringing you more very soon!

Blues Rock with Dario Cortese - Saturday 18 October 2008

2008-10-19T21:38:00.007+01:00

FREE copy of Dave Kilminster's album 'Scarlet'

2008-10-03T09:22:00.003+01:00

If you haven't booked your place on Dave Kilminster's Blues Rock weekend yet then why not? Not only will it be one of the most amazing guitar experiences you will ever have but we will give you a FREE copy of Dave's latest album 'Scarlet'. Joined by Neville Marten & Jason Sidwell, this is truly one weekend not to miss. It's the only tutorial weekend that Dave is doing this year and only Guitar Break can offer this. Due to Dave's tour commitments with Roger Waters his time in this here green land of ours is short. Last year we were lucky enough to secure his talents between world tours and he is due to jet off again for another tour so it's your one and only chance. As we said, your booking will come with a FREE, that's right FREE copy of his latest album Scarlet. It's a perfect opportunity to get your copy and have the man himself sign it for you. We will also have copies of his album 'Playing With Fire' available at special Guitar Break prices all weekend.

Guthrie Govan weekend sold out in record time

2008-09-24T16:11:00.002+01:00

This particular weekend has been the fastest selling weekend that we have ever had, even beating Guthrie's previous three Guitar Breaks. Those who have been fortunate enough to book their place will be in for a treat. We also have some guests who are returning for another packed weekend from arguably the world's greatest guitar player. Not all is lost, enter Dave Kilminster...
If you have missed this opportunity then we do have some other fantastic events coming up in the next few months. The Dave Kilminster weekend, 1&2 November '08, still has places left and is lining up to be an awesome Blues Rock masterclass from a truly global giant. If you haven't heard of this event then here's the synopsis... "If the emotive bending of Pink Floyd’s David Gilmour moves you, the note flurries of Carlos Santana grab you or the sophisticated phrasing of Robben Ford drops your jaw then this weekend is for you! Over a weekend in the lovely surroundings of Northamptonshire, Jason Sidwell and Neville Marten will lift the lid on the trademarks of some of the greatest blues rock soloists ever. Joining them will be special guest tutor, Dave Kilminster who not only possesses outrageous rock chops but has played lead/rhythm guitar for Pink Floyd’s Roger Waters on two world tours. It’s not an understatement to say that few guitarists (if any) know Gilmour’s style more in depth than Kilminster! During the weekend, there will be copious amounts of technique, theory and playing from tutors all rooted in ‘real world’ applications (ie benefitial to gigging). Of course, you’ve come to play too so there will be many chances to try out the new ideas in tutorial sessions and informal jam scenarios. As well as providing music handouts for core playing foundations, Guitar Break encourages students to raise playing aspects of concern which are then addressed in depth. It’s a bespoke foundation to a weekend and always proves invaluable to students." For more information and the full Dave Kilminster weekend itinerary, visit 'View & Book Your Break'

Market Harborough Guitar Break Takeaway

2008-08-26T15:16:00.001+01:00

Guitarist Trevor O'Malley, of Market Harborough in Leicestershire, has contacted Guitar Break with a request to hold an exclusive 'Blues Fundamentals' day in Market Harborough later this year. He has already drafted a few friends from the local area and wishes to find a few more who would like to take part. The day (date yet to be confirmed) will be run by our very own Neville Marten & Jason Sidwell. There may also be an opportunity to run a small Classic Rock Masterclass during the day so it certainly has something for everyone. The costs will depend largely on final numbers but would be approx. £80 p/p. Please contact Trevor on tcom57@ntlworld.com or call us on 0845 458 7372 to register your interest.

Guitar Break 2008 Programme

2008-07-15T22:25:00.008+01:00

We have released our programme for the latter half of this year and what a packed and varied line-up we have. The up and coming Guitar Breaks are planned for October, November & December and include 6 of the world's finest guitar tutors. The tutors include Dave Kilminster, Guthrie Govan, Dario Cortese, Lee Hodgson and, of course, Guitar Break's own Neville Marten and Jason Sidwell. The weekends and one-day courses cover Blues, Blues Rock, Prog Rock & Country Rock taking place in Bristol, Northampton, London and Guilford. The Autumn/Winter programme is as follows... Sat 18 October '08 - Dario Cortese - Blues Rock Day The Guitar Institute, London With Dario Cortese, Neville Marten & Jason Sidwell Sat/Sun 1 & 2 November '08 - Dave Kilminster - Blues & Prog Rock Highgate House, Northmapton With Dave Kilminster, Neville Marten & Jason Sidwell Sat/Sun 1 & 2 November '08 - Guthrie Govan - Blues Fusion Barnett Hill, Guilford With Guthrie Govan, Neville Marten & Jason Sidwell Sat 6 December '08 - Lee Hodgson - Country Rock The Guitar Institute, London With Lee Hodgson, Neville Marten & Jason Sidwell Sat 13 December '08 - Blues Rock Day The Park Centre, Bristol With Neville Marten & Jason Sidwell All the events can be viewed, booked and purchased in from the Guitar Break website www.GuitarBreak.com. Deposits for the weekend events and full bookings can also be taken over the phone on 0845 458 7372. If you require more information on any of the events then feel free to email us on mail@guitarbreak.com.

Dave Kilminster weekend announced for Nov '08

2008-06-23T17:07:00.027+01:00

We are pleased to announce that Dave Kilminster will be joining us as our Guitar Break special guest at Highgate House, Northampton, on 1 & 2 November 2008.

Dave's current schedule with the Roger Waters world tour means that we only have a small window of opportunity to secure his wondrous teaching and playing talents.

The weekend will be a Blues & Prog Rock level 2/3 (see website for levels) and if last November's event is anything to go by then it's a must for any guitarist looking to expand their vocab.

You can reserve your place by calling 0845 458 7372 or emailing mail@guitarbreak.com.

We are also offering a 'Double Deal' on both the Dave K & Guthrie Govan weekends so please click here for details or contact us on the details above.

Interview: Dave K with Jonathan Clarke on Q104.3FM, New York
When Dave was in NY very briefly in September, joining Roger Waters and performing for VH1's gala Save the Children Fundraiser at Lincoln Center, he took time out to join legendary disk jockey Jonathan Clarke for an interview about his solo work.

Clarke is renowned for his work in the New York area and beyond and specialises in uncovering new work by special artists.His Out of the Box show has one of the largest listening audiences not only in New York but in the entire United States.

Dave's album Scarlet was featured and the rocker Big Blue was played; Clarke also chatted with Dave about his career.

You can check it out here...

Introducing the Guitar Break Takeaway

2008-06-18T23:35:00.007+01:00

Here at Guitar Break we are launching a ground-breaking new concept called the The Guitar Break Takeaway which means that you can ‘order out’ for our guitar tuition.

The concept is quite simple, get some friends, family or colleagues together for your own Guitar Break experience live in a venue of your choice.

Our very own Neville Marten and Jason Sidwell will come to a venue of your choice and impart their wisdom, experience and talent for a one day session (8 hours).

That venue could be your front room, your office, your garden or even the poolside patio of your penthouse suite. In short, our guitar gurus will visit you wherever you are in the world*.

You can choose from a range of styles and musical genres such as our popular Blues Rock, Rock, Country, Funk and Rock N Roll. It’s your takeaway so you can choose. Alternatively, you can create your own bespoke event catering to any style and genre.

We are happy to cater for any kind of GB Takeaway so please call to discuss your requirements. For a starter, here some finger fretting good single order ideas…

Rock N Roll Masterclass with Neville, £999 (up to 12 students)
Blues Basics with Neville, £999 (up to 12 students)
Funk Fever with Jason, £999 (up to 12 students)
Acid Jazz with Jason, £999 (up to 12 students)

For something more filling, here are some tasty combo ideas for you to get your teeth into…

Shadows Special with Neville & Jason, £1,499 (up to 18 students)
Country Rock with Neville & Jason, £1,499 (up to 18 students)
Hendrix Heaven with Neville & Jason, £1,499 (up to 18 students)
Classic Rock with Neville & Jason, £1,499 (up to 18 students)

If that wasn’t enough, we can now reveal that many of our other Guitar Break tutors are available for this amazing new experience.

Call 0845 458 7372 or visit GuitarBreak.com for more details.

* Prices shown includes one day’s full tuition at one UK venue. Outside of the UK prices apply + travel and expenses. Prices upon application. Please call 0845 458 7372 for more details.

Country Rock with Lee Hodgson

2008-06-17T12:19:00.004+01:00

We are pleased to announce another Guitar Break at The Guitar Institute, London. Institute tutor and Country guitarist-singer Lee Hodgson will be our special guest along with Guitar Break stalwarts Neville Marten & Jason Sidwell.

A long time Guitar Techniques magazine tutor, Lee divides his time between Country gigs and recordings, being the official demonstrator for Vox amps and teaching at the Guitar Institute. For sure, he's one of the busiest and most respected guitarists in the UK!

This one day course will cover country rock guitar playing from The Eagles to Albert Lee and beyond! Chordal riffing, single note soloing and Nashville approved lead licks will form the majority of the day alongside technique approaches such as string bending and hybrid picking.

For more information visit the Guitar Break website.

Blues Rock Day, Bristol - 14 June 2008

2008-06-17T12:09:00.008+01:00

It was a fine day in Bristol for our second Guitar Break at the Park Centre in Bristol, a day where we wished for a soft top roof on the old school house. Having said that, the sun is very dangerous and sun cream and guitar necks do not go together.

Neville and Jason were on hand to take the Blues Rock day and you couldn't ask for a better combination. Our guests were all of an incredibly good standard and had Messrs. Marten & Sidwell on their top game throughout.

We are planning some more on-day events at The Park Centre, once some vital building works have been carried out (nothing to do with Guitar Break or our guests we would like to add), so please keep an eye on the site or sign up to the mailing list for regular newsletters.

Here are some pictures from the event...

Rock Primer, Bristol - 24 May 2008

2008-05-25T11:42:00.006+01:00

Going against the flow of Bristol City fans on their way to Wembley, a dedicated few headed into Bristol for the second Guitar Break day on the city. Jason Sidwell's Rock Primer Day has plenty for the rock god in all of us.

Armed with some killer rock licks and riffs from the likes of Metallica, Black Sabbath, The Kinks, Eagles, AC/DC, U2 etc. Jason refreshed everyone with some tab theory before running through harmonics, palm muting, string bending and vibrato - all with a distinctive 'rock feel'.

From there out came the Guitar Break licks, a compilation of vital little ditties that are guaranteed to improve your vocab. The session covered starting and ending notes as well variations on themes and how to make a 'stock lick' become a 'signature lick'.

Picking, hammer-ons, pull-offs, fingering, tone, dynamics, power chords and speed control were just a few of the subjects being covered.

The first song to get the Guitar Break treatment was 'You Really Got Me' by the Kinks - a 'one idea riff' according to Jason. Then onto 'Day Tripper' by The Beatles, 'Back In Black' by AC/DC and Bryan Adams' 'Run To You'.

As usual, the day covered a vast amount of material in such a short time and was a really good injection of ideas for everyone to take away.

The Park Centre, Kingswood, is a new venue for us and one that we will continue to host our one-day courses. Situated one minute from Bristol City's ring road it's a perfect spot. Our next course there is 14 June and we have a couple of places left.

Check out the website for our one-day and weekend Guitar Breaks.

Roger Waters - London 02 Arena, 19 May '08

2008-05-20T21:45:00.009+01:00

Jason and Neville took a trip to the big smoke to catch their mate and Guitar Break tutor rip it up at London's O2 arena...

Jason Sidwell writes...

Last night (mon 19th May) Neville and I went to see Roger Waters play at the 02 arena in London. Neville went there recently to see the Eagles and thoroughly enjoyed it, but this was quite different. Not only was it pretty much full to capacity but our friend and long time GT tutor, Dave Kilminster was on lead guitar and vocals too!

The show was in two halves with a half hour intermission – first half included faves like Wish You Were Here, Shine On You Crazy Diamond and Set The Controls For The Heart Of The Sun with Dave swapping between acoustic, rhythm and lead duties.

His Tele/Strat hybrid Suhr and Conford amp setup sure did sound good! The second half was dedicated to Pink Floyd’s classic album, Dark Side Of The Moon. Some of the highlights included the riff and solos to Money (‘the bends, those lucious bends’!), Time and the evocative chords and playing throughout Us and Them.

Of course, the band throughout were spot on (Snowy White playing that chord arpeggio in Shine On…, PP Arnold singing her heart out) but it was Roger’s show and he was outstanding – the round bass tones and his thick voice resonated powerfully throughout the stadium.

To close, the band encored with two outstanding songs that drove the audience wild – the funky Another Brick In The Wall and the melancholic Comfortably Numb.

Great quad sound, stunning backdrop visuals, arresting lightning and a to die for band – a night to remember indeed!

Jason Sidwell

Blues week in France with Gareth Thomas

2008-05-20T21:36:00.007+01:00

This blues course is being offered exclusively with Guitar Break and is perfect for those guitarists who want a change of scenery to accompany their playing and learning. The week's course will be run by Gareth Thomas who has over forty years experience as a blues guitarist and teacher. Gareth has been living in France since 1994 and runs the courses at La Moreau, a 3 acre site with cottages and teaching facilities. La Moreau is in the Charente Maritme area of south west France. An hour from the coast and La Rochelle and an hour and a half north of Bordeaux. The venue is in a small hamlet, La Moreau which is equi distant between Saintes, Cognac and St jean D'Angeley. The accommodation is in the cottages in the grounds of our house and there is additional accommodation if necessary. The week's course includes: - 20 hours tuition - full board including wine - lunch or dinner in a restaurant - visit to guitar makers workshop - transfer to and from La Rochelle airport* * should consider hiring a car as we are quite isolated if you want to explore the area The course is limited to 8 people so make sure you get your booking in early. They are arranging more courses next year so will keep you posted. You can book your course here on Guitar Break and they guys in France will do the rest. Go on, treat yourself. View the itinerary here and if you wish to book then please visit the 'View & Book Your Break' page at the Guitar Break website.

BREAKING NEWS: Guthrie Govan date announced

2008-05-20T21:27:00.003+01:00

After a fantastic weekend in April, we have managed to persuade Guthrie to squeeze in one more date for us later this year.

The Guitar Break will be on the 22 & 23 November 2008 at the beautiful Barnett Hill in Guilford, Surrey.

No details of the weekend have yet been released but if you are interested in securing your place before we post the break then please call us on 0845 458 7372. We have already taken provisional bookings for this weekend so we imagine it will be a hot ticket.

We will also be running our referral offer where we encourage you to bring your friends and family in return for cold hard cash. Keep an eye on Guitar Break for more information...

Guthrie Govan weekend - Day 2

2008-04-20T10:57:00.013+01:00

Day 2
11:14
Sunday arrives and there doesn't seem to be any fuzzy heads. We go straight into the Major blues soloing with guests coming up to play. Guthrie, Neville and Jason lend their ears and give their advice - a master class indeed.

12:24
It's been a busy morning with soloing the Major blues. The group has now split into three with Guthrie taking an advanced master class covering picking, hybrid picking, alternate picking, tapping and speed playing. With jaws on the floor and eyes wide open, our guests are picking up some amazing insight.

Neville has taken a blues class to run through the 'meat & veg' of blues playing. The main point being playing basic shapes around the neck and extending small licks into small soloing ideas.

He is also covering some slides and classic blues intros and breaking them right down into bite size pieces.

Jason has taken a smaller group to cover some of the basics from the pentatonic scales to chord shapes. We always aim to cater for everyone on the weekend so no one will leave without months of inspiration and ideas to work through.

16:28
For the last hour we have been in band formation. We had Damo on drums, Guthrie demoted to bass and Jason on rhythm. We jammed some 36 bar blues and found some hidden talents in everyone who got up to play.

Neville emphasised that it's better to get up and play some iffy notes than not get up at all. We always find that all of our guests get so much of playing in a band situation and go away with a sense of achievement.

A final Q&A is currently in session. We have come back to tapping (Guthrie's country tapping lick which has to be heard to believed) and understanding tab within the guitar magazines.

Overall this has probably been the most intensive Guitar Break that we have ever had. Saying that, it has still been incredibly rewarding and we have had some amazing feedback.

Here are a couple...

"What a fantastic weekend I had in Bath, I’ve come back home totally inspired to improve. Watching you guys perform has really kick-started my enthusiasm for the instrument."

"The highlight of my weekend?...... Standing at the front with Guthrie on bass, Jason on guitar, Damian on drums and me playing lead...... the stuff of dreams – an opportunity I will never forget."

"I thought the weekend was great and hats off to you and Neville for putting such a great thing together. Venue was spot on, felt I came away a better player, more confidence and eagerness to get playing. Sore fingers mind."

Guthrie Govan weekend - Day 1

2008-04-19T10:18:00.015+01:00

10:13
Today starts with loads of coffee. It's such a foul day here in Bath that we all need some warming up ready for the day.

Jason, Guthrie and Neville are in Guitar Break formation and have already done their Q&A with all the guests to make sure everyone will get what they want out of the weekend.

Jason gets straight into the A Minor Pentatonic scale and off we go...

10:56
When we posted the string bending video on YouTube we got plenty of comments about strangled cats. However, on one of our breaks it's hard to avoid.

Guthrie is giving some great string bending advice (which is being filmed) and has some interesting comparisons with our survival of the species. Something to do with opposable digits.

12:54
After the coffee break we have a couple of guests getting up to play lead. Guthrie has laid down some blues tracks on his boomerang that we can use as backing tracks.

The tutors then crit the playing and give some invaluable advice to tone and colour in your blues playing. Neville is currently giving the stepping stones analogy of hitting the right notes and not ending up in the river.

17:13
Have been filming loads of Guthrie this afternoon and not much blogging. Apologies. the sessions have covered more pentatonics, soloing, blues licks, modes, vibrato and string bending.

Phrasing and rhythm have also been addressed with many a lap being slapped to explain 8ths, 16ths, 3s etc. We have touched on jazz, rock and metal (although very little metal).

This afternoon will wrap up shortly and then after dinner we will be jamming in the bar and hopefully entertaining the other guests from the hotel. I have plenty of DV tapes and battery so check out YouTube, Facebook and the Guitar Break website for video evidence.

Two new one-day Guitar Breaks announced...

2008-02-13T15:02:00.005Z

We have just released two new one day events to be held in Bristol on Saturday 24 May and Saturday 14 June 2008.

After the success of our first one-day event in Bristol last year we have decided to run them again but in a new venue.

The breaks will be held at The Park Centre in Kingswood, Bristol. This venue gives us a little more flexibility in terms of supporting the break with backing instruments. More to come on that nearer the time.

So, here are the details of the breaks but more information and online bookings can be found on the View & Book Your Break page. See you there!

Rock Day Primer - Riff and solo like your heroes!
Level 1/2
Where & when: The Park Centre, Bristol, UK
Saturday 24 May 2008
Tutors: Jason Sidwell

Blues Rock Day - Soloing in minor and major blues progressions.
Level 2/3
Where & when: The Park Centre, Bristol, UK
Saturday 14 June 2008
Tutors: Neville Marten & Jason Sidwell

Guitar Break on Facebook

2008-01-31T22:45:00.002Z

Guitar Break now has a page on Facebook and we invite you to join and help fill it with all things guitar. It's just another addition to our web presence and a chance to reach a wider audience and perhaps some guitarists who have never heard of us before.

If you are on there already then simply enter 'Guitar Break' in the search field and you will find us. We will allow the group to be as open as possible so you can upload your images and video as well as contribute to the debates.

Our tutors will be dipping in and out also, as they have nothing better to do, between playing and writing about playing. See you soon in Facebook.

Here is a list of all the Guitar Break sites out there in the ether...

GuitarBreak.com
YouTube.com/GuitarBreak
MySpace.com/GuitarBreak
Guitar Break on Facebook

Damian

Guitar Break back at The Guitar Institute, London

2008-01-17T00:10:00.000Z

We are pleased to announce another Guitar Break day at The Guitar Institute in London on Saturday 3 May 2008. The course will be a Blues Rock day based around soloing and chord ideas with special guest tutor Dario Cortese. The last event we held there in August last year was a great success and we look forward to another fantastic day. More details to follow...

Guthrie Govan Guitar Break - BREAKING NEWS

2007-12-19T16:57:00.000Z

We are pleased to announce that Guthrie Govan will be our very special guest in Bath on 19 & 20 April 2008 at Bailbrook House in Bath, UK. We confirmed the booking with Guthrie this afternoon and are delighted to welcome him back on his third Guitar Break with us. Due to Guthrie's commitments in 2008, this is the only chance you will get to experience his mastery up close and personal. The full itinerary will be posted in the coming weeks but you can book your place by following the following links. To secure your place with a £50 non-refundable deposit click here . To book and pay in full for your break then please visit the View & Book Your Break page on the Guitar Break site. To see the video from Guthrie's last Guitar Break click here.

Guitar Break @Bristol - Gallery

2007-10-28T17:35:00.005Z

Our first Guitar Break in Bristol was great fun. Neville Marten, Jason Sidwell & Jonny Scaramanga looked after everyone and sent everyone away with plenty to work on.

Our next Guitar Break is in Bath with special guest Dave Kilminster. The weekend of 24 & 25 November sees one the world's leading guitarists giving away his priceless tips, tricks and advice. Go to GuitarBreak.com for more details.

Here are some of the images from the day...

Guitar Break @Bristol - LIVE

2007-10-27T11:47:00.000+01:00

The first ever Bristol Guitar Break is now underway at the @Bristol science centre on the beautiful harbourside... Neville Marten and Jason Sidwell kicked off the proceedings with an informal look at all the guests' requirements, gaining knowledge of everyone's ability levels and a quick history on their guitar playing. From this, it is very clear that so many of our guests have only recently taken up the guitar again after many years of no musical activity whatsoever. Although this is one of the many reasons that we started Guitar Break, it still brings it home that we area on the right track with providing hundreds of players a great chance to kick-start a new era in their playing. 10:23 Currently, as I type, Neville and Jason have just covered the 'Hendrix' chord and are now exploring the 12 bar A Minor blues. 11:44 After a nice coffee the group are getting to grips with some blues licks from Neville. Once armed they will then be invited to jam with Jason, on rhythm, and formulate some lead playing of their own. 12:03 A couple more lambs to the slaughter. Not really, although playing in front of a group can be a scary experience, especially on a blue day. Once a guest has played a few bars of lead Neville and Jason will crit and give a few pointers and suggestions on how to get the most out of the guitar. "What was going through your mind when you hit the changes? or "How about using more of the neck? Try to wander outside of your comfort zone." are just an example of what is discussed. The great thing about Neville and Jason's approach is that you can instantly apply what you have just learned in context and have another go. It's certainly not a method that excludes other guests as everyone is contributing and making notes. It's amazing how much information, theory, experience and attitude is passed on through a 10 minute 'play Q&A'. 14:46
After a hearty lunch the sessions continue and we are now joined by Mr Jonny Scaramanga, a new tutor to Guitar Break. Jonny writes for Guitar Techniques and is a promising young player/songwriter. Jonny & Jason get straight down to some high-energy blues licks in A7, E7 & G7. They are rattling though so many that Jason has had to send for a new flip pad to keep up with the written theory for everyone. 15:46
Rhythm. So important. It's great to play lead but that can be nothing without a good foundation to play off. Jason always includes rhythm on our GB courses and stresses it's importance as well as how creative it can be. The two J's held a rhythm masterclass which the guests found very interesting, some of which had never done such a thing, so was incredibly useful. 16:03
I hope everyone bought empty bags because there are a lot of sexy chords being given out. The two J's are spitting out chord ideas like there's no tomorrow. They are the chords that can add that little something to your playing. You know, the ones that you throw down in a jam with new friends or at a soundcheck in front of the other bands. 17:00
Another successful Guitar Break comes to an end with a final Q&A with Jason. Everyone has plenty of material to go away with, perhaps enough to keep them going for many months. Thanks very much for everyone who came along to Bristol and look forward to seeing you again soon.

Show time!

2007-10-11T15:33:00.001+01:00

I often suggest to students that although practicing at home is where playing mechanics are perfected the true benefits often aren't apparent until you are in a performing environment. A band gig is one obvious option where performance skill and audience appreciation marry up but another outlet that I'm found of for myself is playing in shows. The last one I played guitar for was Les Miserables earlier this year and although that didn't require many tone changes, several pieces did require substantial practice to get right (on top of watching for conductor cues!). This month, I'm playing in the Disney movie phenomenon that is High School Musical. To my mind, it's a update on the song and dance spectacle that was Fame from the early 80s so lots of rock and pop style guitar playing for me. So out have come my pedals as I need a couple of distortions, phaser, chorus, wah, delay, reverb and (if there's space in the band pit) a nylon and a steel string guitar to grab when I'm not playing electric. Preparation has been similar as previous shows - the music score turns up a week or two before and I go through it carefully to make sure it's relatively secure under my fingers. It's always surprising how quick show music can change especially in comparison to rock and pop songs. Certainly there's many pieces in HSM that feature brisk chord and lead switching, key signature or time signature changes and tone changes. Then there's the silence sections you have to diligently count - 4 bars in 4/4, 1 in 2/4, 1 in 7/8 then diving into a 3/4 section requiring quick 16th notes appeal? Yep, no dozing off allowed! Of course, after a band call and a dress rehearsal the first night is generally stable for everyone and you can get on with the playing. That is unless you start tweaking your gear and you're back into pontificating again - next time I must have my volume at 7, not 8 for the crunchy rock chords, up the chorus depth a touch for the arpeggios in the ballad and add lots more delay for the outro solo in the finale. Funny how you can never be quite satisfied, isn't it? Cheers J

Neville on Guitar Break at The Guitar Institute

2007-09-04T21:16:00.000+01:00

I always look forward to a GuitarBreak weekend as I've grown to love the format of two or three people teaching a class. Having never taught with Dario Cortese before it was a treat to hear him enthusing about music and playing, and showing very personal hints and tips to the students.

As always, Jason provided great tuition in his own inimitable style and it was a treat to have people from all around the country joining in.I took my Gibson VOS '61 SG which I've been using on some Cream tribute songs I've been doing with some friends - we're called 'I Can't Believe It's Not Cream' and did a gig at this year's IGF and it went down a storm. Strangely - although maybe not as it was a blues day - all but one student had a Strat (the odd one out was a Line 6 Variax).

Due to some unforeseen personnel problems in the band I play in, I needed to leave to leave for Stoke-On-Trent at lunchtime and so left Jason and Dario to ably hold the fort. This meant I missed the end of play jam - it would have been great to have a bit of a blast with the guys, especially since Damian from Guitar Break and a most capable GI volunteer played drums and bass too.

It was an excellent day - the part that I saw - and I'd like to thank all the brave attendees who turned up, and of course everyone at the Institute; it was a great venue and we'll hopefully be doing some more in the near future. Maybe I can even stay all day!!

Nev

Click here for more on Guitar Break at The Guitar Institute

Jason on Guitar Break at The Guitar Institute

2007-09-04T20:57:00.000+01:00

Guitar Break's first event of the autumn/winter period at London's prestigious Guitar Institute proved a great success. Using one of the school's main tuition rooms equipped with drums and amps, the students that attended definitely appreciated the environment.

Of course, environment is one thing but what everyone really came for was a day packed with blues rock tips and great jamming. From the smiles around the room, it seemed we'd got this right. After introductions, Neville, Dario and Jason wrote up on the board each student's interests for the day be they new pentatonic licks, phrasing better or developing a more colourful chord vocabularly. As each group of students is different this makes more sense than providing the same information each time, regardless.

With specifics in place, the remainder of the day consisted of discussions and demonstrations by the tutors with many moments of jamming and lick repetition.

The afternoon resulted in two small student groups one with Dario, the other with Jason. These groups allowed for enhanced study at close quarters as some students wanted further elaborations on the mornings topics while others were keen on new ideas. For the last hour, both groups got together again for jamming on stage swapping between rhythm and soloing.

We all agreed - everyone had improved be it using new ideas or making more solid their general musicianship. In the last ten minutes, Dario and Jason were joined by Damian Connop on stage to demonstrate a trio take on a minor blues (see the jam at YouTube.com/GuitarBreak).

All in, a cracking day was had by all!

Cheers
J

Click here for more on Guitar Break at The Guitar Institute

Guitar Break places going fast

2007-07-24T21:22:00.001+01:00

In the last week we have had a run of bookings for all of the up and coming courses we have this year. Due to obvious demand, we have increased the number of places for the Dave Kilminster weekend in Bath to fifteen. This is getting very near capacity so make sure you book as soon as possible to avoid disappointment. The Guitar Institute and Bristol one-day courses are also looking very popular so make sure you don't miss those either. For more information then please go to GuitarBreak.com or call Damian on 0845 458 7372. Damian

Putting yourself out there

2007-06-26T09:37:00.000+01:00

Of course, exposure is one thing but what is offered is paramount to any level of success. Having surveyed numerous wedding guitarist sites, one aspect that I found often lacking was breadth of repertoire. Offering a lot of standard classical guitar music is fine but it may not have strong enough appeal for couples to seek out for their wedding day. With this in mind, I’ve spent time developing (and still expanding) solo versions of music drawn from musicals, movies and the singles charts. Basically, music most couples know immediately. Indeed, some of these pieces have even ended up replacing the usual wedding march theme! Couple this with smart attire and a quality electric classical setup (good for 100+ guests), I’m enjoying more gigs than ever before. Hopefully some of my thinking can influence you and the directions you are taking. There are countless guitar players of all stylistic leanings and abilities out there looking for gigs along with you. So consider what you do well and look where it may fit in. Know a lot of pub rock songs? Hunt out potential bands in music shops, rehearsal venues or (obviously) your local pub. Can sight read brilliantly? Offer your services to MDs of light opera or musical societies via show adverts in local newsagents/libraries or from internet ads – MD’s are often gagging for a reading guitarist! Or maybe you’ve a handle on lots of different styles, perfect for a studio session. Well, contact your local rehearsal venue and recording studios by phone or online, getting your name and skills known to the right people. Whatever it is, don’t be frightened to promote your abilities. Remember, what people don’t know, they won’t be able to book! As for my actual website pop over to uniquedayguitar.com and see what I’m up to. Happy plucking! Cheers J

An interesting couple of months

2007-06-26T09:05:00.000+01:00

I've had an interesting couple of months on tour around the UK celebrating Marty Wilde's 50 years in the music business. Marty's Album Born To Rock And Roll made the UK Top 2 - and we all received silver discs - my first one. The climax of the tour - which had Marty's younger daughter Roxanne and original Shadow Jet Harris as special guests - was the London Palladium gig on Sunday 27th May. We already knew that Bruce Welch, Brian Bennett and Licorice Locking were going to play, and that Hank Marvin was coming to see the show. That meant that, with Jet, we had every original Shadow apart from the late Tony Meehan in the same building and potentially on the same stage together - was this a first in 40-plus years? Probably. Three of the original Wildcats (Big Jim Sullivan and the aforementioned Bennett and Locking) took over our positions and played Bad Boy, as they had done on Marty's original recording. I met Hank backstage during our interval and asked him outright if he would play? "I don't have a guitar with me" was his response. "Ah, well I happen to have a pink 57 reissue Strat with me - strung with 12s" I replied (it was bassist Rog Newell's). After trying the guitar Hank agreed to play Move It, so at that stage we had Hank, Bruce ) playing my Eric Johnson Strat) and Brian on stage with our Rog on bass and Marty singing Cliff! To cut a long story short, the finale of Roll Over Beethoven featured everyone - including Justin Hayward, who had come on and sung Nights In White Satin with the band - the original Wildcats and every available original, and second generation Shadow available. It was a fantastic night and should be available on DVD soon. Bassist Roger, myself and awesome drummer Pete Riley are doing a Cream tribute gig supporting Aynsley Lister at Bath Spa Universtity Students' Union on August 8th. We're called I Can't Believe It's Not Cream and, while we don't take ourselves that seriously, hope to make a big noise on the night. Tickets are £10 if you fancy coming to see us perform all the greats like White Room, NSU, Dance The Night Away, Sleepy Time Time, Sitting On Top Of The World, Sunshine Of Your Love, Politician and more. Now do I use the '61 reissue SG/Les Paul or the 63 reissue ES-335? Decisions, decisions!! Nev

A guy with no musical training...

2007-06-18T22:38:00.000+01:00

And no. It's not me. There are many music-related videos, no wait, there are millions of music-related videos out there on the internet. Many are created to teach us, inspire us, inform us and entertain and many do the job very well indeed. Some, however, just seem to go off the value-o-meter and, therefore, deserve some more credit than they seem to achieve. That's enough waffling, check out 'Stop Motion Drums'. Simply described as 'A guy with no musical training creates a great song using stop motion'. For me, it's just that kind of 'art' that gives me faith in the internet and, more than anything, faith in mankind's urge to 'push the envelope'. For our Guitar Break videos check out the GB channel on YouTube and make your opinions known. Damian

Guitar Break at The Guitar Institute

2007-05-24T15:39:00.000+01:00

We are delighted to announce that we are running a one day Guitar Break at the Guitar Institute in London on Saturday 25 August 2007. Join our very own Neville Marten, Jason Sidwell and Institute tutor Dario Cortese for a day of mastering the 12 bar. It's a fantastic opportunity to learn from the UK's finest tutors and musicians.

Dario Cortese The 'Mastery of the 12 bar' course will cover... - What is a 12 bar? - Typical minor blues - Typical dominant 7th blues - Licks of the big names - Licks out of chord shapes: fretboard mapping - Developing your own licks and phrases - Tips on getting good guitar tones - Jamming session

The Institute This day long event will run from 10am to 5pm and the cost is £149 per student (to include lunch). To book click here here or call Guitar Break on 0845 458 7372.

Dave Kilminster interview now on GB website

2007-04-19T23:09:00.001+01:00

As the November Guitar Break weekend in bath fast approaches, special guest tutor Dave Kilminster chats about his high profile gig with Roger Waters, Pink Floyd’s iconic bassist and singer. Playing ‘stunt double’ for David Gilmour sure sounds a blast! On a GuitarBreak weekend in 2006 at which Dave was teaching, he leaked it out that he was awaiting the outcome of a “big” audition. He didn’t tell any more, but as this article will describe, it was with Pink Floyd bassist, singer and songwriter Roger Waters. The brief, it seems, was simple: “We want you to sing and play just like Dave Gilmour...” How did you hear about the Roger Waters gig? DK: My manager told me that Roger was looking for a new guitarist but I had some American dates in the book with Keith Emerson for that time so I was committed to those. Then about two days later I had an email from Keith's manager saying that the American dates had been cancelled. I took this as a sign that maybe I should go for an audition, so I phoned Snowy White to find out what they were after... For the entire interview CLICK HERE.

Show time! – playing in Les Miserables

2007-04-19T23:05:00.000+01:00

Having some versatility as a guitarists can mean playing in a variety of settings; top 40 bands, tribute bands, solo gigs, equipment demonstrations, private/group tuition etc. Over the past two years I’ve extended my workload by playing in a couple of musicals that have involved lots of performers and musicians presided over by a conductor to keep everyone sync’d together. Quite a unique experience and very fulfilling. The most recent show occurred this Easter; Les Miserables. This musical has a big story and required a large group of musicians to perform convincingly. 17 in fact, complete with a string section, horn section, percussion, four keyboards and guitar. While this show didn’t have any extensive guitar soloing (my previous one, Fame, was more like that) it did prove to be pretty challenging. Although there are some tricky parts to execute (fast 16th notes passages, stretchy chord voicings, quick position shifts and moments involving non guitar friendly key signatures) arguably the biggest challenge was being sympathetic to the conductor’s cues for tempo and time changes. To maximize my preparation time, I set to honing in on strictly the tougher technical sections that I had circled with pencil earlier on. When dealing with new music it makes sense to isolate the hurdles first; get these sorted asap and your overall playing will be more secure. You’ll also enjoy the experience better - the reason for getting involved in the first place! Lo and behold, when show time arrived I ended up looking more at the conductor and less at my fretboard – result. Of course, not only did the playing need work but I also spent a little time on my guitar tones. The score was helpful in this respect as there were directions for distortion, clean, chorus and echo effects and I fine tuned from there. Gear wise, I used a Samick 335-type guitar (refitted with Seymour Duncan ’59 pickups), the newly acquired Mesa Boogie F50 (see my previous blog) and my trusty Boss GT5 effects pedal. That said I used the pedal more for it’s tuner and volume pedal capabilities than its effects (I did program up appealing chorus and echo effects though). Certainly, swelled guitar playing (via the volume pedal) worked great alongside softly sustained chords from the string and reed section. And when there were moments of just guitar and vocal, the amp set to clean and the guitar’s neck humbucker selected proved ideal (further fine tuned by turning the guitar’s tone control down to 7 to smooth off the top end). So the show proved a real challenge but it was very enjoyable nonetheless. Every night was pretty much sold out and the performers did a fantastic job with such a muscular and iconic production. I must say one thing though, I’m glad I can read music. It would have been a very tall order to memorise well over two hours of music and nail it with a short prep period. That would have been a roasting one stage (sic) too far! Cheers J

Neville Marten's Gear

2007-04-17T09:30:00.000+01:00

Me too on the gear front. I recently got the new Gibson Custom Shop ES-335, 1963 bock inlay reissue. I've also just started a tour with Brtish rock and roller from the late '50s and early '6os Marty Wilde (www.martywilde.com). His new album, Born To Rock And Roll - Marty Wilde's Greatest Hits, actually made the British Top 20 so the gigs are going well and I wanted to treat myself. The weird thing is I've been using a wonderful Fender Esquire (single pickup Tele) and I thought it sounded perfect for the gig - and using one pickup really makes you think about tone and how to get the best from the guitar - but playing the 335 made me realise that most of that music seemed to have been played on semis. I find myself living in the 'both pickups on' world and simply boosting one pickup or another to emphasise either sharper or fatter tones. It's also odd how with a Gibson, using the 'turn the guitar up or down rather than stomping on pedals' approach, I find myself right down to one and a half on the Gibbo's volume controls for cleaner, quieter passages. I'm thoroughly enjoying it. Mind you, I had a shock the other day when my Cornford Hurricane (18-watt British valve amp) suddenly started sounding horribly distorted. I battled through the gig wondering what on earth it could be, then I realised it was a a bit like my Matchless DC30 when it accidentally got switched to half power. So at the end of the show I peered into the back of the cab and, sure enough, one of the two EL84 power amp valves was lying on the floor of the cabinet. I'd been playing at a major City Hall with ostensibly a 9-watt amp. It got me through though and, guess what - a guy actually came up to me and said "That 335 and Cornford is the best guitar sound I've ever heard!" No word of a lie... Neville More content from Neville: The B.B. King Box 3 Blues Intro Licks Interview with Neville

Dave Kilminster conifirmed for November Guitar Break, Bailbrook House, Bath

2007-04-16T17:35:00.000+01:00

Today we have received confirmation that Dave Kilminster will be our special guest tutor on our November Guitar Weekend. We are all very excited that Dave will be joining us again, especialy considering his busy Roger Waters 'Dark Side Of The Moon' tour schedule. Dave has also recently launched his latest rock album 'Scarlet' so we are delighted to have him invloved in such a busy and exciting year for him. The dates for the event will be the 24 & 25 November '07 (TBC) so please check out our events page for the latest information. The weekend will take place at Bailbrook House in Bath and will cost £375 for the two full days of first class tuition, lunch, refreshments and course materials.

Jason Sidwell's 'Developing your sound'

2007-04-05T19:08:00.000+01:00

It’s funny how new music equipment can change how you play and view making music. It’s been quite a while since I bought anything substantial but this month I’ve spent at (almost) the opposite ends of my wallet’s capacity. First up is the big acquisition – a new amp. I’ve several already but having never owned one before, I was made an offer on a Mesa Boogie amp that was too good to turn down. Released not long ago, the F50 is one of the wallet friendly models (for them!) produced by the American amp manufacturer and sounds simply stunning. It’s a two channel 50 watt all valve amp offering clean and dirty tones and everything in between. With separate EQ and reverb amounts for each channel, the supplied pedal provides a further option via the contour switch. This boosts bass/treble content and ups the drive amount for thicker modern rock tones. Possessing a precise and focused front end to the notes you play, the F50 is very responsive. The end result of this is that it positively encourages you to increase your time noodling and/or practicing. Always a good thing in my book! At the other end of the spectrum, I’ve also had a lot of fun using a new pick. Previously, I’ve been a die hard fan of Dunlop Tortex 1.14mm purple picks as they suit most picking styles very well. I’ve found any pick under 1mm needs longer to recover before you can pick a string again (and therefore reduces your dynamic options too) and anything 1.5mm and upwards doesn’t quite suit general chord strumming duties. So urged on by a recent article in a US magazine, I tried out Dunlop’s Jazz III XL red pick and it’s proving outstanding. Of course, this change has been partially fuelled by knowing it’s the choice of players like Texan multi stylist Eric Johnson and the US blues virtuoso Joe Bonamassa. Ha, just goes to show I can be swayed by endorsements as much as the next guy! To my mind, the three primary advantages of the red Jazz III are that it’s a touch smaller than standard picks (but not small enough to fall out of your hand when strumming), has very smooth sides and a slightly pointed end. This makes it ideal for fast picking as it encourages lighter/shallower contact with the string (the secret for speed pickers) without sacrificing percussive tone. While the purchasing of a Mesa Boogie amp is out of the range of many guitarists, checking out a new pick is open to everyone. Certainly, a small handful won’t cost much more than a few pounds so try it and check out the results. You may just find your playing notches up to another level of excellence! Cheers J

Guitar Break Channel on YouTube

2006-11-29T13:08:00.000Z

We have set up a Guitar Break video channel on YouTube so that we can share all of our own videos as well as all the other guitar related clips that we love. All you have to do is click www.youtube.com/guitarbreak and have a look at what we have on there. We are planning to do some new filming with Neville and Jason in the new year and all these clips will be included on the YouTube channel. Please feel free to subscribe and get involved in the community as you can only help it get better and better. Catch up soon. Damian

It's all gone quiet but...

2006-09-11T22:25:00.000+01:00

...Guitar Break is still here. We have ben taking some time to look at our courses and, ultimately, improve on what we do and make sure we deliver the very best in guitar tuition experiences. We have also launched the shop and, although small, will start to add more and more products as we move forward. The latest product is Dave Kilminster's fantastic 'Playing With Fire' 2002 album re-release. Click here to go straight to the album and make sure that you have this in your collection. There will be more information on what we are doing soon as well as a newsletter so don't forget about us. See you all soon. Damian

Cancelled Weekends - An apology

2006-07-13T18:09:00.000+01:00

It is with great regret that we have had to cancel the Scotland and Leeds Guitar Breaks in August and November this year. This was due to the low number of bookings we have had, mainly due to our troubles with finding a suitable venue in Scotland. We had actually found a great venue in Glasgow but it came too late to really push the advertising any more. All of us at Guitar Break would like to apologise to all those who had booked and to those who were about to. We have spoke to Dave Kilminster and John Wheatcroft and aim to put these events on again in the very near future. In other news, Guitar Break will be launching the shop next week and hope to have some cool things made available to you all. Happy playing and stay in touch for all the latest information on Guitar Break. Damian

Blues/Rock weekend, July 2006, Day 2

2006-07-09T12:31:00.003+01:00

Although the weather has tunred a little cooler, things are hotting up at Bailbrook House in Bath. Guthrie and Neville began the day at 10am sharp and got straight into vibrato, the flat fifth, posture and pitching. Jason has taken some guests aside for a rhythm masterclass and concentrating on quarter, eigth and sixteenth divisions and then working up to triplets and even paradiddles.

Currently, Guthrie is demonstrating harmonic feedback with Nev so there's a good chance that the 'Rock' aspect of the weekend is beginning to kick in. Next licks to look at are those of Jimi Hendrix and there is arguably no better guitarist in the world to demonstrate his moves as Guthrie. The final session of the weekend has Guthrie going through Modes and tabbing out their foundations. Then, it's the guests' turn to put the theory into practice and play in front of the group. Everyone has vastly improved over 2 days both in skill and confidence and, although starting to get tired, everyone pushes on. So, to slide guitar and no Blues weekend could really happen without it. All the group are back together now and Guthrie, who says he's not expert (yeah right!) takes the class through most of the fundamental do's and dont's and it sounds fantastic. And, the sun is out again and beating through the big windows here at Bailbrook House.

Blues/Rock weekend, July 2006, Day 1

2006-07-08T21:27:00.000+01:00

Today was the first day of the Guitar Break Blues/Rock weekend with Guthrie Govan, Neville Marten and Jason Sidwell and it got off to a flyer. Before lunch the guests were straight into chord progressions, major and minor pentatonics and pich harmonics. The theory was, as usual, artfully delivered by Jason whilst Guthrie inspired and motivated the guests with some mind blowing ideas. All the written content for this weekend's break will be available on the Guitar Break website straight after the event so make sure you view the 'Event Breakdown' section of the site. More news to come tomorrow.

Guthrie Govan presses solo album

2006-07-08T21:10:00.000+01:00

Guthrie Govan has told Guitar Break that his solo album is finally finished. It may well be 10 years in the making but as Guthrie puts it, "It was 1 year in the making but with a break of 10 years". So, it's finally here and the first batch are in the post is I type, not even Guthrie has seen the finished article and that's mainly due to his presence on the Guitar Break Blues/Rock weekend, this weekend. The album, 'Erotic Cakes', will be available for a Guitar Break review very shortly and having seen the sparkle in Guthrie's eyes last night we think it might be quite special. Although he asked the question, "does the world need another guitar instrumental record?" he quickly decided that it was "the right time". Yet another tease from Guthrie came in the form of his experience of recording with drummer Pete Riley, "it's just as much a drum album than guitar", so we are all bouncing off the walls waiting for this release. Stay posted to the blog and the website for more information.

Watch Dave K live with Roger Waters

2006-06-27T14:06:00.000+01:00

Dave Kilminster is now well into his current European leg of the Roger Waters 'Dark Side Of The Moon' tour and you can now view some video clips of recent shows. Dave's website is constantly being updated with interviews and latest video so here are some links to keep your Dave K craving satisfied: Latest Dave K live videos Interview with Dave K by Robyn Iverson 24/06/06 Watch more Dave K videos on YouTube Dave K will be Guitar Break's special guest tutor in Scotland in August. Click here to View & Book your weekend NOW!

Guthrie Govan weekend July 8/9

2006-06-14T22:38:00.000+01:00

The July Blues/Rock Guitar Break with Guthrie Govan draws ever nearer and we are all very excited about the weekend. Guthrie last graced our fretboards back in December '05 and the weekend has gone down in history. Although this time around the lager will be kept to a minimun to ensure we have a tutor for the Sunday session, there is no doubt that Guthrie will once again impress and give all of our guests one weekend to remember. To secure your place on the weekend then please click here and visit the Guitar Break booking page. If you have any further questions on this course or wish to find out more about Guitar Break then please email us today.

The Guitar Break Backing Track CD

2006-06-13T16:15:00.000+01:00

Guitar Break's very own Jason Sidwell has produced a 12 track blues guitar backing CD and available for sale though Guitar Break. The original tracks have been created in conjunction with the Guitar Break weekend courses that are run throughout the year. The CD will be priced at £11.99 and will soon be available through mail order at Guitar Break and through selected online stores very soon. To register your interest in the CD then please email us with your full name and contact telephone number.

Guitar Break Tips & Tricks

2006-06-13T09:46:00.000+01:00

If you haven't checked it out already our 'Tips & Tricks ' section has been launched with a fantastic article from our equally fantastic Jon Penny. Jon has posted part 1 of 'Home recording on a budget' which is a thorough guide to setting up your own recording studio at home and how to get started on your own songs and backing tracks. For the complete article click here and stay posted for the second part.

Welcome to the Guitar Break Blog

2006-06-12T23:05:00.000+01:00

Hello one and all and welcome to the new Guitar Break Blog. We hope that you enjoy the entries that will appear here and we hope that you join in with your very own comments. For more information on Guitar Break then please visit our site at www.guitarbreak.com. Enjoy. Guitar Break.