The younger generation don't give a crap about old fogey magazines and I bet they will die off completely. I wonder if they wonder why sales have dramatically dropped in the toilet. I glance at the recent years editions and don't bother wasting my money on the weak efforts. These days they really only bother doing 3 songs and there is so much lazy ass rehashing from the old issues ( I guess they think wouldn't recall the tabs being printed years before) and then only so many rubbish guitars songs at that. I miss the days when Guitar mags made an effort and actually had many great transcriptions each issue. Takes me back to eagerly awaiting the next issue and learning every thing I could with my relative skill level and being able to go back to the difficult ones when I grew more.
Guitar techniques magazine 2012 pdf how to#
Playing in sixths is covered in some depth on our Intermediate Electric Worship Guitar DVDs.Great job on the scans, I have decent similar era collection but wouldn't have the first idea how to scan them all in like you have. The riff moves between the groups of A and G strings and then G and B strings but it’s all still 6ths and it works really well. The most recent one I came across was the riff on John Mayer’s ‘Belief’. Various well known songs use 6ths as some kind of lead riff or motif. The key of C would be frets 9 and 8 on the same strings, the key of D would be frets 11 and 10 and the key of E would be either frets 13 and 12 or down the octave on frets 1 and 0, still of course using the G and high E strings. For example to play in the key of A simply slide shape 1 to fret 6 of the G string and 5 of the high E to give you C# and A notes over the A chord and shift all the other shapes up the fret board by two frets. These 6th shapes are of course not only limited to the key of G, they work with any key just by changing the frets where you play shape 1 and adjusting the other shapes to suit. Shape 2 containing C and A notes works over Am (ACE) and C (CEG) shapes 3 and 6 again works in the same way as shape 1, shape 4 in the same way as shape 2 and shape 5 using F# and D notes works over the D (DF#A) and F# dim (F#AC) or more typical D/F# chords. You could play over a song just by working up and down these ‘scalic’ intervals but the concept works really well when the 6th you are playing contains at least one of the notes within the chord you are playing over.įor example that first shape that uses the B and G notes works over the chords of G (GBD), Bm (BDF#), and Em (EGB). Next both notes move up to fret 7.īy working sequentially through all these 6ths intervals you’ll be able to cover every note in the key and therefore each increment also works over every chord in the key. Then the next set of 6ths would be the C note on the G string and A note on the high E, both fret 5. For example the first set of dots shaded dark are the B note on fret 4 of the G string and the G note on fret 3 of the high E string. In the diagram below, based around 6ths in the key of G I’ve grouped together the notes you should play together by colour order (light/dark).
the G and top E, or the D and the B, or the A and G and play one note on one string and jump to its 6th apart interval on the other string.
To do this I would typically select a pair of non adjacent strings i.e. playing two notes in the key separated a 6th apart which gives a particular sound. One idea which I use a lot, especially in gentler moments, is the use of 6ths. Last night a private guitar student of mine was asking about practical technique ideas for electric guitarists to use in a worship band setting. Worship guitar techniques uncovered – Playing in sixths
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