Archive for the Movies Category

ONLINE CONCERTS (FULL)

Posted in Movies, Players, Playing with tags , , , , , , , , , , , , , on March 25, 2013 by theguitarcave

There is a plethora of really cool (full) concerts online so I’m starting a sticky list. Of course, one never knows how long they will remain — I do try to go through the archives from time to time and weed out any links that are dead, but sometimes that may take some time. I watch a wide variety of stuff — as long as there is a guitar present, I’m down!. I have taken out the embedded movies because it was taking too long for my blog to load. Click on the titles to go to the concert.

Stevie Ray Vaughan & Double Trouble: An absolutely blistering concert from Italy in 1988. Stevie was clean by this time and he and his band were just amazing even though there are obvious sound problems and technical difficulties going on throughout the performance. Completely ripping blues and rock guitar.

The Rosenberg Trio: Another great concert from Italy from 2011. I think the Rosenbergs are one of the best bands in the world at the moment and Stohelo the lead guitarist just returned from a doozy of a Japan tour with his other trio. The only thing about this concert — it’s outside…WTF is up with the smoke/fog machine. Hello, concert promoters? Were you expecting Nine Inch Nails or Marilyn Manson?

Muse: Live at the Itunes Festival 2012. I just got turned onto this British band. Some of their songs I can take or leave, but guitarist Matthew Bellamy is a total guitar powerhouse in all of the best possible ways. Believe it or not, I had never heard of them prior to last week. Just goes to show how much great music and how many great guitarists are out there.

System of a Down: Live at the Rock AM Ring 2011. I always liked SOAD even though some of their stuff is over-the-top to the point of hilarity. Guitarist Daron Malakian and the SOAD rhythm section have brought many moments of memorable crunch and intensity and they still have it. They can still bring out the awesome crowds too obviously!

Paco De Lucia: Can you believe Paco has been doing this for 50 years? He’s had an amazing career and is still one of the most inspiring guitarists in the world. He also always assembles great bands to interact with, but I could listen to him play solo guitar all day!

Rodrigo y Gabriela: Totally love these two! They integrate so many musical sounds and styles in the course of one concert and have such a full sound that it’s really remarkable. Although this concert is from a few years ago I can say that they have continued to expand their sonic capabilities because I just saw them a few weeks ago with a full band on Austin City Limits. Watching Gabriela doing her rhythm thing while simultaneously jumping around is flat-out amazing!

Queen: Live in Argentina in 1981. Great concert. Queen at their rock best. Amazing sound and for anyone who thinks Brian May needed to overdub all of his guitars to sound good, you should watch this. And of course, there is Freddie in total Freddie Mode. All of the great ones are here and totally smoking!

T-REX: Here’s a real piece of history — Marc Bolan and T-Rex live in 1972 and filmed by Bolan’s good friend Beatle Ringo Starr. In my opinion Bolan never got the credit he deserved for glam rock. People always focus on Bowie and the New York Dolls and that credit is deserved, but T REX was very influential and a rousing, rocking band when they were cooking…as they are here.

Jeff Beck: Jeff in Tokyo back in 1999 with the absolutely shredding Jennifer Batten and Randy Hope-Taylor on bass. Jeff at his funky, fusion-y best with a great band and great sound. JB & JB work really well together interweaving their lines and respective styles together and Beck looks like in did in 1975! Does playing without a pick keep one from aging? Hmm.

Acoustic Alchemy: I don’t know too much about these guys but I like what I hear on this concert and what I’ve heard on the IR (Internet Radio). Great grooves and a great blend of acoustic guitar playing from Greg Carmichael and Miles Gilderdale. AA has been around since the 80s and enjoyed some mainstream success in the 1990s. This concert from Jakarta in 2011 proves they’re still bringing it.

High on Fire: Back when they were a stoner rock band. I saw this tour and was blown away! Yea! As you can see from the concert, it was obvious they were destined for the big time and greatness. Though the band has gone through changes, the riffin’, shred and energy that made them was in effect from the very beginning. It felt and sounded absolutely awesome from 15 feet away lemme tell ya!

Earl Klugh: The fantastic Earl Klugh live from last year. He’s absolutely brilliant and though the concert starts a little slow he will blow you away with his command of the instrument and plays some very beautiful music in the process.

More to come very soon!:

Keith Richards — Part I

Posted in Movies, Players, Playing with tags , , , , , , , , , , , , , , , , , , , , , , , , on February 26, 2012 by theguitarcave

GUITAR HERO

Keith is my numero uno, the man, the KING OF COOL and HOT TRASHY GUITAR. He was the first guitar hero I had and over the years I’ve learned many a lick and trick from listening to his music, reading his interviews and copping the feel from his playing. Long before Django, or Eddie or Jimi or anyone else I was a huge fan of The Rolling Stones and their music. Not only is Keith’s style great, but because he always mentioned great players from the past that were influences, he provided a link to the past that made for even more listening entertainment and inspiration. The Stones, from the very beginning, always picked great cover songs too — Love in Vain, Mona, Let it Rock, Prodigal Song, Shake Your Hips, Down the Road Apiece, Stop Breaking Down, Not Fade Away and many others always done with the energy and panache that is THE STONES.

There have been many great books on Keith and The Rolling Stones over the years and probably anyone reading this has had at least a few in their possession. The pictures you see in this post come from The Rolling Stones: The First 25 Years, by rock writer extraordinaire Dave Dalton. I’ve had this for so long it’s not even a book anymore. It completely fell apart years ago and is basically just a big pile of pages, but it’s a an AWESOME BOOK. Not only is the photography really brilliant, but it spans the real pinnacle of the band’s career and includes many interviews with Keith and Mick from the 1970s. This is is how I knew all about Keith’s guitar style before I even left home. I was surprised to see this book is still available and if you like Keith and the band, you should totally buy it.

BLUES ATTITUDE

From the early days The Stones were different from all of the other people who banded together to play rock and roll music. They grew to be notorious for their attitude and behavior and although they were eclipsed by The Beatles in the 1960s and Led Zeppelin in the 1970s, at least as far as popularity and sales, they became the epitome of what a rock and roll band is, or should be. Not only was their music top-notch, but they had the attitude (in spades) to match. The emotions and the attitudes expressed in songs like Satisfaction and Let’s Spend the Night Together (which was too risqué for The Ed Sullivan Show in 1967) seem quaint when compared to some of the jokes in an present-day episode of Family Guy. But that was the uptight culture that was America in the post-WW II years. Many of the overly conservative/fundamentalist leanings rampant today have been a part of this country all along. Whether he was in court on drug charges, staring down the Hells Angels at Altamont or being flogged in the press as a musical hack, Keith was never one to shy away from conflict. He has the BLUES ATTITUDE, a style and way of life I’ve already talked about in the Bukka White post I wrote last year. Along with the outlaw country styles of Jimmie Rodgers and Johnny Cash and the rock and roll snarl of Elvis and Chuck Berry was all about IMPULSE and ABANDON, not only in the music, but also the lifestyle associated with it. Keith Richards came to embody all of this and even today is held up as THE symbol of hedonistic living, a shining example of those people who burn the candle at both ends and then snort the wax. In uptight conservative society, which is really what the upper class wants to inflict on the lower classes because the upper class perfected hedonistic behavior a long time ago, people like Keith were a threat to the status quo that had kept everyone in line. As the 60s progressed, more and more of the old ways fell away. Of course, Keith doesn’t get all the credit for these changes, but he was and is a person who declared, through his razor slash chords and his defiance of traditional mores, that he was a man who lives on his own terms, like it or not.

EARLY DAYS

In the beginning Keith and the Stones played the music of their heroes, the music they loved. It was rude, energetic, infused with sex and danger and the freedom to let it rock. Bill Wyman and Charlie Watts were a great rhythm section, Mick Jagger was well on his way to being a superstar frontman and Brian Jones and Keith Richards had practiced their dueling blues, rhythm and blues and rock and roll “weaving guitar” parts until they had them down cold. They had digested Muddy Waters, Robert Johnson, Hubert Sumlin, Scotty Moore, Bo Diddley, Chuck Berry and were able to play it with a reckless enthusiasm that drove the kids wild. It was all about MOVING people, as the following clip from The Tami Show proves. The Stones are having a really good time and everything the band becomes is right here in this clip. It’s a tad derivative still — Showtime at The Apollo, James Brown or Otis Day and the Knights maybe. They weren’t really writing their own material yet. But the energy level is feverish, Keith fires the whole band with his timing, feel and exuberance. He’s also really good at those short, stingin’ leads. ROCK AND ROLL BABY!

By 1965, with the release of the singles The Last Time and Satisfaction and the Aftermath album, the band really came into their own with original material and almost all of it was built on Keith’s style and sensibilities. He was and is a complete genius at adapting to whatever the situation required. Very early on, in one of their first forays into the recording studio, the question was asked, “who makes the records?” and Stones manager Andrew Loog Oldham pointed to Keith and said, “he does.” While part of the reason was Keith’s personality, it was also because he knew how to create a good track and capture the atmosphere necessary to make it more than a great track, especially once the concept of albums came into vogue. Only Led Zeppelin’s Jimmy Page equaled Keith’s ability to make albums that had not only the sound, but also the ambiance and atmosphere of blues and early rock and roll. Many critics have said that about the Exile on Main Street album, but it was true of other records as well, Beggars Banquet, Let it Bleed and Sticky Fingers especially. He was and is the KING of lo-fi, slop guitar and with Mick Jagger, Charlie Watts, Bill Wyman, Brian Jones and later, Mick Taylor and Ronnie Wood, he had a lot of help making genre-defining records.

POP STARDOM

In the first phase of their career, the band was constantly being pressured for a single because that was the format du jour at the time. This was true of every band and every project through the late 60s. Many groups, even heavier ones like Cream and The Yardbirds were at the mercy of producers, record companies and managers who didn’t really understand this new rock phenomenon and insisted on doing business the old way. (HERE is a funny interview with Keith Relf, singer for The Yardbirds on the trials and tribulations of dealing with this aspect of pop stardom). Because The Beatles were the undisputed rulers of the pop charts throughout the decade, there was a lot of pressure on bands to follow their lead. Some of this yielded positive results for Keith and The Stones, others were pretty dismal (Their Satanic Majesties Request). Many of the Stones’ early original singles — The Last Time, Satisfaction, Get Off Of My Cloud and 19th Nervous Breakdown were very Rn’B-influenced and contained all of the best riffs and tricks to be mined from listening to all of the influences I’ve already mentioned. However, in 1965 they started to expand on this with other songs like Paint It, Black, Under My Thumb, Lady Jane, Ruby Tuesday, and Mother’s Little Helper. They were able to do this because Keith and Mick were becoming great song craftsman and because Brian Jones was a complete genius at picking up exotic instruments and mastering them them well enough to play on a track or live in a very short time. Even though Keith would, in time, become the best example of the outlaw rock and roller, he, like the others was always very pop-conscious. His guitar hooks usually brilliant and he knew how to ARRANGE a song for the singles format. It was Keith’s idea to use a fuzzbox on Satisfaction to give the guitar a horn-like sound and there weren’t a whole lot of people using fuzz boxes at the time. (It was supposed to be a “guide” track for real horns, but it was released as is). The riff to Satisfaction isn’t a complex statement but it IS effective and the song is always in the top 5 best singles of all time of most lists. In addition to his electric guitar finesse, Keith was a very good acoustic flat-picker, featured on songs like Lady Jane or Back Street Girl. While some of this material seems a bit off the wall compared to later, there are some real gems in the mid-60s Stones catalog that capture the whole period of 1960s “Swinging London”.

PHASE II

The mid-60s was a really great period for Brian Jones, but, unfortunately it was also the beginning of his decline. He really came into his own as the COLOR guy for the band because he played everything; sitar, mellotron, recorder, harmonica, marimbas, organ, harpsichord, saxophone, accordion, autoharp, and dulcimer. Songs they did during this period, which are still very popular, would have been impossible without him. He was comparable to The Beatles having George Martin involved on their records. According to Keith, Brian didn’t enjoy playing guitar very much after 1965 and while there were certainly other issues within the band, it’s easy to believe that he would’ve been bored being the rhythm guitar player given his multi-instrumental abilities. Hounded by the drug squads and marginalized within the band because of his physical and mental condition, he would become the 1960s first “death by misadventure” casualty.

1968, the year of Jumping Jack Flash and Beggars Banquet, was often heralded by critics as the band’s return to their roots, but it was actually much more than that. In the past they had played American music, but post ’68 they set out to completely reinvent American music and culture, at least as they saw it. It was art in it’s truest sense and while Mick Jagger’s lyrics had a lot to do with the panorama they created, this whole period was Keith Richards coming into his own as a complete (understated) guitar master. He began exploring the concept of open-tunings, used by the blues masters of the past: Skip James, Robert Johson, Bukka White, Son House and Muddy Waters. Combined with his love of acoustic guitars, brilliant song sense and endless supply of memorable riffs and driving rhythms, he created a body of work from ’68 to ’72 that is the Stones pinnacle. Every one of the albums from this period rates five stars or… it should. Charlie Watts has said (I’m paraphrasing) that “every band in the world follows the drummer except The Rolling Stones. We follow the rhythm guitar player.” A very crucial ingredient to why these records were so great was how well Keith and Charlie play together. Keith’s riffs, combined with Charlie’s unique approach to “rock” drumming creates a very powerful, hip shaking statement. This was the beginning of the band’s ascent to superstardom.

OPEN TUNINGS

I learned all of the open-tunings a long time ago precisely because Keith used them. The original version of Jumping Jack Flash (with it’s flip side Child of the Moon) was done in open E/D. Tune the guitar to a major chord E-B-E-G#-B-E (down 2 steps for open-D, which is less stress on the guitar, especially acoustics). Beggars Banquet was the first album done with Keith using these tunings although Brian had used this tuning for slide guitar in the past. Street Fighting Man, Prodigal Sun, Salt of the Earth, No Expectations, Jigsaw Puzzle and Stray Cat Blues are all definitely in open tunings. Another element that makes this album interesting is that some of the songs were cut with the band gathered around a Phillips cassette recorder which was then put through a speaker and recorded. Sort of like having an overdrive in the chain. Says Keith: “The basic track of that was done on a mono cassette with very distorted overrecording, on a Phillips with no limiters. Brian is playing sitar, it twangs away. He’s holding notes that wouldn’t come through if you had a board, you wouldn’t be able to fit it in. But on a cassette if you just move the people, it does. Cut in the studio and then put on a tape. Started putting percussion and bass on it. That was really an electronic track, up in the realms.” Brilliant lo-fi stuff isn’t it? That track still sounds great and the whole album is just drowning in atmosphere. Another thing about open-tunings…Music is about tension — tension and release. Whether is a complicated harmonic progression like All the Things You Are or a pretty simple rock tune like Street Fighting Man, there is a tension created during the song that gives it harmonic interest and a pulse. With open-tunings you can throw 2 of your fingers onto the fretboard and create a suspended chord, which is one of the most “tension-creating” devices there is. If you’re playing in the key of C, which is the key for Street Fighting Man, you are creating a Csus chord which is almost an F chord. Throw in the really slashing rhythm figure that the song has and you see why it works so well. While you can play any of these songs in standard tuning and make it work (I’ve seen Chris Spedding play Brown Sugar this way) there is a DRONING effect that is lost. Open-tunings let all of the un-fretted strings ring out sympathetically creating this really HUGE sound. It’s awesome, especially on an acoustic. Keith also played the bass on Street Fighting Man including that great little descending figure in between the verses that is kind of a pause between the tumultuous verses/choruses that deal with all of the social unrest that was going on in 1968. Jumping Jack Flash and Beggars Banquet would be the blueprint for what was to come for the next almost 5 years and the band got off to a great start. Below is Street Fighting Man live from 1973. You can see that Keith is playing the song in open-G with a capo on the 5th fret. The song is still in “C” just not the same open-tuning.

Speaking of Stray Cat Blues…I just did the music for a friend’s project that profiles a woman who takes care of stray and feral cats (at her own expense) in Mexico. I decided to use the Keith approach to the music and I ended up with something not too bad considering I haven’t played slide guitar in 5 years and was never much of a harmonica player. I also used the old Johnny Cash trick of slipping a piece of paper through the strings to create a nice rhythmic “chuck” for the background. The track had to be edited down for the length of the movie, but this is why I love GARAGEBAND.

In THIS post, I do some playing around with open-tunings on an acoustic, including Prodigal Son and You Gotta Move. They are close to what Keith does except “Move” is tuned down to a “C” tuning. I’m playing it in “D”. Keith Part II coming later in the year!

The Schertler David Amp II

Posted in Equipment, Movies, Playing with tags , , , , , , , on February 24, 2012 by theguitarcave

One of the great features built in to WordPress is the ability to track what people are reading and what kind of search results draw them to a blog. I’ve noticed that many people end up at The GUITAR CAVE looking for info on the Schertler David amplifier, so I thought I would give an update on this fine piece of equipment. I’ve already given a brief overview HERE, so in this post I’m going to go over some of the best features and give a playing demonstration. Keep in mind that there are a lot of factors that make up a guitar sound. While I love my Saga Gitane 320D, it is certainly not what people would describe as a top of the line Manouche guitar. Pick-ups, string choice, touch and attack of the player also have a lot to do with how good the sound emanating from the amplifier is going to be.

The David has two channels, which is really cool for guitarists and has come in handy for me in live situations. Here is a video of Romane and Stochelo Rosenberg playing Double Jeu. If you notice in the beginning, Stochelo has a cable protruding from his guitar, which I think is from a Bigtone pickup that is located in the guitar bridge. Both he and Romane have the clip-on Audio Technica mics and there is another mic (Shure?) between them. So they are picking up the sound and vibrations of the guitars from 2-4 sources. I do the same thing, albeit in a much more lo-fi manner. I use the Schertler Basik Electrostatic Pickup on the face of the guitar and I have a homemade bar pick-up that the guy who sets up my guitar made inside the sound-hole. The Schertler handles the main part of the sound load and the internal mic provides ambiance and air. I use a L R Baggs Para DI, which is kind of essential for getting the EQ and volume working right. The Schertler has many options too, so there is a lot of playing around you must do to get a good sound. But it is possible as I think the video below proves.

Another important feature of the Schertler David is the Resonance Filter, which STOPS FEEDBACK COLD!! This control works really well when used in conjunction with the Schertler Basik pick-up. I’ve never had a problem with feedback and I’ve done gigs in some loud situations including The Brooklyn Museum and a few dance parties. This is described by SchertlerHERE in a way that sounds really technical and stuff:

At the touch of a button, David’s “warm” filter on the STAT channel eliminates the harsh upper-frequency sound of many undersaddle pickups. For microphone users, Schertler’s “resonance” control on the DYN channel allows the musician to attenuate the specific low-mid frequencies that often produce feedback or an unnatural bottom-end. Both channels can be used simultaneously and blended on the amplifier’s control panel.

If you don’t use two pickups, don’t use a transducer pickup or use only 1 pickup, this is still a good little amp. You can use the other channel for another instrument or a microphone for vocals. I like to use my Gretsch to get an amplified Django/Wes Montgomery type jazz sound. Playing the Gretsch through the Baggs preamp and then into the David gives an appreciation for how loud this amp can go. All of this equipment can be bought from Djangobooks.com, which is where I got mine. They have the best prices, ship quick and answer any questions you may have. Shoot them an email. I’m not affiliated with them in anyway. This amp and pickup system also work well if you play bluegrass, country, western swing, blues or other types of acoustic music where you need a good sound and reliable stuff. Djangobooks is mostly about the GypsyJazz, but they are certainly versed and accommodating in other musical styles as well.

Here is a video with an assortment of musical styles and guitars all played through the amp. I start off on my Guild with a bit of Keith Richards Beggars Banquet-era Prodigal Son, then some You Gotta Move, then Led Zeppelin’s In My Time of Dying. I switch to my Gitane and do some Gypsy Jazz stuff. At the end I’m playing along with Pearl Django, a song called Radio City Rhythm, which was written by the late Dudley Hill; a wonderful swing, chord-melody player, who was in the group until he passed away a few years ago.

Django Reinhardt — Night and Day 1953

Posted in Education, Movies, Playing with tags , , , , , on July 28, 2011 by theguitarcave

As promised in my last post on Larry Coryell and the Jazz Minor, here is how I hear that playing strategy in Django’s 1953 version of Night and Day. I’ve said it before and I’ll say it again: I LOVE Django’s playing on this song and believe it completely epitomizes what great jazz and great guitar playing should sound like.

If you’re unfamiliar with this song, find a chart and follow along! As I said in the previous post, while Django did this version in the key of Eb, he also did a couple versions in the key of D and this is the key I’m playing in. In the first video I give chord demonstrations of how many Gypsy Jazz artists play it (kind of). The basic progression is Em7b5 A7 D. You can choose either of the first two examples of voices. Or you can re-harmonize it like the third example I provide, Stochelo Rosenberg / The Rosenberg Trio and their version with Stephane Grappelli that is on the Caravan album. Stochelo plays the Em7b5 as a Gmin9, the A7 as an A7b9b13 and the D as a D major. He also does that line cliché that leads into an E9/B A7b5b913/Bb D6/9 F07. Then it returns to a normal 2-5-1 in D (Em7 A7 Dmaj). That all sounds complicated but it isn’t really. The E9/B is a regular E9 chord with the B on the low E string fingered and you slide down a half step for the next chord. The other chords are typical jazz chords. Then I play the Jazz Minor scale as Larry Coryell was playing it in his lesson and then I play a couple of licks from Django’s take on Night and Day. I think there is a lot of similarity there.

The Mouse Amp

I’m using my Gretsch Anniversary Junior plugged through a Mouse Amp. The picture is showing two views of the Mouse. I believe the amp is from the late 70s and it was a DEAD MOUSE until a couple of years ago. I thought it was toast, but the guy who sets up my guitars put in a new battery and cleaned it up and it was good as new. The battery can be charged for up to 4 hours so I can play outside, at the pool, on the beach, or busk on the street. It doesn’t have the hi-fidelity of the Schertler David or the Fender Champ I have, which I’ll use in some upcoming videos, but it’s certainly really easy to set up and go. The Gretsch is pretty awesome too. I’ve done quite a few gigs with it and I’m really happy with how it sounds playing this music. A Gibson L-5 it is not, but I can get close to Django’s amplified tone with a little tweaking, especially through the David. I really like that combo.

The last video is Django’s intro and entire first chorus. Notice…how jazzy cool he is…The phrasing on some parts is just beautiful and very lyrical and he gets so much out of a couple of notes. Of course it really swings and the whole solo is great. I’ve worked out the rest of it and have also worked out Stochelo’s version, which is also really great! As you can tell from the videos it was really noisy here today…and hot. This will probably be the last playing-video until summer is over. Also, I’ve been informed by YOUTUBE that making videos like this warrants a flag over copyright by Warner Chappell. It seems there is a built-in system on YOUTUBE that can detect the recorded material and though I didn’t get a notice about my Swinging with Django video or Oiseaux des Iles, they have been flagged as well. Warner-Chappell doesn’t know about this, but at any time they can take action and the videos will be deleted, there will be a stronger warning or whatever. It’s not my intention to infringe on anyone’s rights. This is supposed to be educational and had I been able to watch some of the videos that I’ve made when I was learning to play Django’s music, I certainly would have. But the whole question of what constitutes FAIR USE is RILLY, RILLY, COMPLICATED and though I’m going to leave what I’ve done up for now, I will probably be investigating new playing/broadcasting avenues for the future.

Lick it Up! — Arpeggios 1

Posted in Education, Movies, Playing with tags , , , , on July 7, 2011 by theguitarcave

Here is something fun and educational — how to connect arpeggios over chords or a chord progression. I’ve been learning how to do this from listening to and copping ideas from those brilliant Gypsy Jazz players, especially Django Reinhardt and Stochelo Rosenberg, but the same kind of thinking can be used in any style of music. Music is a language and if you compare, say GUITAR SOLOING and ENGLISH, notes are words, runs are sentences, pauses or rests are punctuation, your entire solo is a paragraph or a story or maybe a novel if you’re feeling up to playing for 10 minutes! On some level, as guitarists we all understand this concept. Now how to put it into practice?

Most of us think in terms of scales when soloing or improvising, but a whole lot of old jazz and Gypsy Jazz is based more on arpeggios and chord tones. Personally, I like this approach more than trying to think of all kinds of different scales and it has helped expand my playing a whole bunch. When approaching this sequence of arpeggios play straight eighth notes and think of a simple chord progression that progresses from F to Am and it’s dominant, E7. The first chord could be a passing (Fmaj7) or could be an Am with an F note in the bass. Notice that if you fret an Am in the first position and then bring your first finger down on the low “F” (on the 6th or the 1st actually) you are now playing an Fmajor. These two chords are closely related and you can substitute one for the another, depending on the situation. This Joe Pass instruction vid on You Tube explores this concept in the key of Cmaj as only Joe can. Also, notice the Enclosure in measure 3 — this occurs when you play notes above and below (on the neck/scale) the target note. Jazz and blues players use this trick all the time. Notice also that you could just keep right on playing this arpeggio sequence or cut in down to suit a different chord progression. This string isn’t supposed to be anything other than an exercise that covers the width of the fretboard, includes passing tones and an enclosure and ends right. I ended up with 7 measures…Miles Davis would LOVE that. HA! The next string I post will actually move through a real chord progression like a 1-6-2-5.

You can use chord arpeggios to navigate your way through any progression and once you get comfortable doing it you will find that you will have a much harder time getting lost in a song. Learn the arpeggios for every chord in as many positions as you can find and start mixing and matching them. That’s when the fun begins. I’ve included another Am/E7 example that I didn’t tab out, but once you get the idea, you should be able to figure them out just by listening. A minor is a good key to start with because it just sounds so good on guitar and many Gypsy Jazz songs, including the Gypsy Anthem, Minor Swing, are played in this key. Enjoy!