Are my guitars covered by my Florida home insurance?

Insuring your guitars is definitely important. Mostly because it can be one of the most valuable possessions someone owns. Let’s be real though, have you ever seen a musician that owns just one guitar? More guitars equal more coverage. It is crucial that your instruments are completely covered with Florida home insurance.

If you have a Fl home insurance policy, then your guitars are covered. If you do not have a policy yet, listen up! Keep reading to find out how to get the best coverage for your guitars.

Your policy will cover your guitars under the personal property coverage according to https://floridainsurancequotes.net/florida-homeowners-insurance/. Your personal property coverage will provide you coverage for items such as furniture, clothing, electronics, and your guitars.

Guitars can be expensive. In fact, you may want to consider upping your limits just to be sure you have complete coverage. A quality guitar is going to cost you a couple grand, why go without coverage?

How to find Fl Insurance Deals

When it comes to finding Florida home insurance on the web, you will see that the process is quite simple. Let’s discuss how you can find the best savings on the web. By correctly following these steps, you will be able to pinpoint all the best deals available to you.

Step 1 – Know your coverage needs

It’s always best to prepare yourself before diving on in and collecting insurance quotes. Preparing properly will save you a lot of hassle in the long run. For example, you should make a list of all personal property Knowing how much coverage you want beforehand helps make the comparison process much easier for any insurance type you are shopping for.

Step 2- Begin collecting your quotes

The only way to find insurance deals is to collect Fl home insurance quotes somewhere like https://floridainsurancequotes.net/florida-homeowners-insurance/. That is it period! You will not be able to find the best deals without collecting quotes and comparing offers. Usually, when people are ready to collect quotes for their home insurance in Florida, they only collect one or maybe two quotes. This is not the way onwards to better deals.

When it comes time to collect insurance quotes, it is essential to collect more than 3 quotes. If your mission is to start saving money on your insurance, then collect 3 or more. Remember, the more quotes you collect, the better your chances are at saving money on your insurance.

Step 3- Start your search here

When you are ready to start shopping for the best insurance deals, shop at FloridaInsuranceQuotes.net!  The internet is buzzing about this insurance website. Current reviews of this website are stating that the best deals on the entire web can be found there! The best part is, you can compare quotes from all the major companies there! This makes your search so much easier.

The Harmonic Minor Scale

Hello everyone, and welcome to my first column here on insane guitar. My name is Brian Koenig, and I am an aficionado of metal/shred guitar. One of my favorite players (and founders) of this genre is a Swedish guitarist named Yngwie Malmsteen. While there are many facets of his style, a predominant characteristic of his music is his use of the Harmonic Minor scale. To get the initial shape and style under your fingers, check out the Natural Minor scale and the Harmonic Minor scale. Both are in E. The Harmonic Minor gets its sound from raised scale degree 7. This creates an exotic sounding Augmented 2nd (minor 3rd) interval between scale degrees 6 and 7.

You can utilize the essence of the Harmonic Minor scale by playing the same set of notes but use different fingering patterns. Practice using all four fingers and with slides.

All scalar samples from Yngwie songs (Icarus Dream Suite, Far Beyond the Sun and Rising Force), make sure the notes of each run are even before increasing the speed. Also be sure to practice these samples both picked and legato as well as ascending too.

There are TONS of other things that can be done with this scale which I will get to in the months to come. I hope this has given you either a new scale to work on or at least a refresher on an older concept. Until next time, Enjoy!

How To Play Kick Ass Guitar Licks Quickly And Easily – Part 1

Wish you could play killer guitar licks every time you pick up your guitar? The truth is many guitar players think that great guitar licks are made by playing specific notes or scales. However, this usually not the case. As you will find out in this article (and video), the key to playing killer guitar phrases is focusing on ‘how’ you play… not necessarily which notes you use.

In a few moments, you will discover just how easy it is to make your own guitar licks sound killer regardless of the notes you are using. On top of that, you will find out how to do this every single time you play guitar.

Before you continue reading, watch this killer guitar solo video so you can see and hear exactly how the ideas of this article are to be played. By watching the video, you will MASSIVELY increase your ability to absorb the ideas and use them to improve your own guitar playing. Additionally, the video will help you get the most value from the lead guitar phrasing exercise you will find below. Check out the video now, then come back to read the rest of this article.

Now that you have seen the demonstrations in the video, implement the following steps to empower your guitar licks:

Step 1

Think of a lead guitar lick that you can play accurately. The lick you select can be in any style, using any notes. Alternatively, improvise a new (short) guitar lick. Then play through this lick a few times.

Step 2

As you watch the guitar licks video above, you will see how I use slides in several different ways to emphasize the last note in a guitar phrase. Grab a piece of paper and write out a list of descriptions of how to perform all the different variations you observe in the video (use a single sentence or less to describe each one). Writing this down and thinking about it on your own is more valuable than me ‘giving’ you the list of variations to practice because it trains you to actively listen for and pinpoint subtle guitar phrasing ideas on your own. When you describe how each slide variation feels, simply use descriptive words that will help you remember the idea itself (the words themselves are not that important). If you need to, watch the video several times until you have completed your list.

Step 3

To change your lead guitar lick from the first step into a KILLER guitar lick, use the slide variations in your list from the previous step to accent the final note of the phrase. By simply changing the way you play the final note of the lick, you will notice that each new variation sounds MUCH more powerful than the original phrase. Once you have tried all of the different variations from your list (that you saw me do on the video), start coming up with your own unique variations using the same concept. There are countless ways that you can accent a note using this phrasing concept. Be creative and try to come up with at least 5-10 variations. Next, add all of your new ideas to the list you began in step two (with descriptions) and play through them all several times.

 

Step 4

To expand upon the different variations in your list from the previous step, you will now add even more intensity into your phrase by applying vibrato/bending to the last note after approaching it with a slide. Use the video as a reference for new ideas and write down a short description for each new bend/vibrato variation you see. Then think of your own ideas (just like you did in the previous step). This will give you even more phrasing options to enhance your creative possibilities. Next, play one of the new variations you made and compare it to the guitar lick from the first step in this exercise. You will see a BIG improvement in the overall quality and intensity of the two licks.

 

Step 5

After you have enhanced a single lead guitar lick using this exercise, repeat the previous steps with several other licks you are familiar with.

After you complete this exercise several times, it will become much easier for you to play great guitar licks with little effort.

Since the final note of a guitar lick is often the one that most people notice, you can quickly improve any of your phrases by focusing your efforts on emphasizing this note. However, you can also use the ideas of this article to improve any other note in your guitar licks. In the second part of this article series, I will discuss how to do this in more detail.

In the meantime, use the information in these free video guitar lessons to learn many new approaches that will improve your lead guitar soloing skills.

How To Gain A Lot Of Motivation For Guitar Practice

Have you been experiencing a lack of motivation in your guitar practice? Are you unsure about what and how to practice? Do you wish you could practice guitar effectively and get better results? If so, you are not alone. It take most guitar players many years before they learn how to practice guitar in a way that is both productive and enjoyable.

As a guitar teacher, I come across all kinds of guitar playing issues through my guitar students. Over the years, I have noticed that most of my guitar students have very specific reasons for why they lose motivation for guitar practice. In order to help you increase your motivation, I have created a list of the 5 most common reasons why guitar players are unable to get great results when they practice guitar:

Reason Number 1: Not having fun with guitar practice

Many guitar players have conditioned themselves to believe that guitar practice is nothing more than a boring set of repetitive tasks. If you have this mindset, you are truly misunderstanding the basic idea behind guitar practice. In order to gain motivation to practice your instrument, you must learn how to create an effective practice schedule that helps you enjoy the learning process as you work toward your guitar playing goals. Once you obtain the right tools to create a such a highly productive and inspirational practice schedule, you will find it much easier to have fun with the time you spend practicing guitar. When you learn how to practice guitar so effectively that you see yourself getting better on a regular basis, it becomes much easier to look forward to your next guitar practice session.

 

Reason Number 2: Not sure what needs to be practiced on guitar

The majority of guitar players do not know exactly what they should be practicing and why they should be practicing it. This causes them to attempt learning as many new ideas on guitar as possible. Then, by practicing so many different ideas for guitar at once, the guitarist becomes overwhelmed. This happens because they simply do not give themselves enough time to fully process all the new information they are learning.

 

Reason Number 3: Not focusing enough on long term goals

It takes many years to become a great guitar player. If you want to become a great guitarist, you must clearly determine the best paths to take in order to achieve your long term goals. Once you have clearly identified your long term music goals, you will need to focus on using your guitar practice time effectively to reach them. To illustrate a point, think of each of your guitar practice sessions as separate pieces of a puzzle that make up the big picture of your guitar playing goals. The more clearly you can see the big picture that you are trying to create, the easier it will be to think of ways to effectively practice guitar.

 

Reason Number 4: Losing motivation due to lack of quick progress

Even if you understand the best way to effectively practice guitar, you will not achieve big results overnight. Many guitar players expect instant results when using a new practice method. Unfortunately, when they do not get the quick results they are looking for, they end up abandoning (what might be) a truly effective guitar practice method. This results in inconsistent guitar playing progress since you do not give yourself the time to get the benefits from the guitar practice methods you use. This practicing method is like listening to 15 different songs, but stopping the music after one or two seconds in each song before you can hear what the music is about. When practicing guitar, give your practice methods time to develop so that you can determine whether or not the methods are effective.

 

Reason Number 5: Unorganized and ineffective practicing habits

Most guitarists practice in a totally unorganized and ineffective manner. Unfortunately, they are usually unaware of this and go for weeks, months, or even years at a time using the same ineffective guitar practice methods! One example of a commonly used, yet ineffective method is the idea of using an equal amount of time on every task in your guitar practice. This is just like trying to prepare a dish by using an equal amount of ingredients without thinking about how each of the ingredients will affect the taste of the food. This guitar practice method will cause you to spend too much time on things that are not important to your overall guitar playing progress.

Another mistake that guitarists make during their guitar practice is that they spend a lot of time focusing on the guitar skills they WANT to practice rather than the guitar skills that they NEED to practice in order to achieve their musical goals. This causes their guitar playing skills to become imbalanced. As a result, their weak areas tend to hold back their ability to apply their well developed skills in musical situations.

 

What should you do next?

After reading this article, you should have a better understanding of why you have a hard time staying motivated in your guitar practice. Think about how the guitar practice solutions mentioned above can apply to your current practice routine. Even though this article has only touched on a few of the problems that you might face as you develop your guitar skills, your guitar playing will benefit greatly by applying them in your everyday practice.

 

About The Author

Tom Hess is a successful professional guitar player, composer and the guitarist of the operatic metal band Rhapsody Of Fire. With his online guitar lessons, he has helped guitarists worldwide become better players To improve your guitar skills go to his online guitar instruction website and watch free guitar video lessons, read guitar practice advice, and check out a free guitar soloing lesson.

Modal mayhem pt. 1 – Lydian Dreams

Hey again. This month, I’m starting a new series of columns focused on the modes – ‘hands on’ approaches to playing around with those tonal gizmo thingamajigs… um… so what are modes, exactly? Well if you don’t know, it’s not too hard to understand if you’ve got basic scale knowledge.

As we should know, a scale is constructed of tonal intervals, and ignoring exotic scales for the moment, we can see that the Major scale has in fact 7 of these strange ‘intervals’ (ok, if you’re still reading this, you really need a basic theory book…). These are either Tones or Semitones: essentially, a Tone is the space of 2 frets on the guitar, and a Semitone is only 1. There are several other increments within these, but we’ll just stick to these for the time being, and are the easily produced on a normal guitar. Thus, a scale can be constructed from formulae that describe such interval relations. For example, the major scale is constructed tone, tone, semitone, tone, tone, tone, semitone. Or, as I will portray in future:

T – T – S – T – T – T – S
I II III IV V VI VII

Being the precise beings we are as musicians, these intervals have their own special qualities and names. This is called the Roman Numeral system, and helps quickly identify them. These are simply:

  • I Tonic (Or Root)
  • II Supertonic
  • III Mediant
  • IV Sub-dominant
  • V Dominant
  • VI Sub-mediant (Or Relative minor)
  • VII Seventh
  • [VIII] Tonic (Or Octave

 

Ok, now you know how the Major scale is created, and understand the formula. We could now play it in any key, by choosing a root or tonic note, and building the interval pattern on it. The intervals dictate the space between the current and the next note. Say we pick C (easy, no sharps or flats). This would result in the following:

C – D – E – F – G – A – B – C
T – T – S – T – T – T – S – T
I II III IV V VI VII VIII

Notice the pattern has been rearranged so the sequence starts on the second ‘tone’. Instead of a ‘tonic’ flavour, we would have a ‘supertonic’ flavour, which has a hint of a more minor-sounding personality due to the 2 flats. You have just seen the wonder of the Dorian mode!

Developed initially by the ancient Greeks (and named after their tribes), ‘modes’ came prominence in the Middle Ages within the Christian Church and music created by monks. By creating patterns based different degrees of a scale, we get modes. These are listed below together with tonality and possible usage; please note that the Ionian mode is diatonically identical to the Major scale!

  • I Ionian Major mode. Basic Major scale, identical diatonically.
  • II Dorian Minor mode. Great jazz and rock scale, used the world over. Van Halen anyone?
  • III Phrygian Minor mode. Also used in jazz a lot, has an slight exotic feel.
  • IV Lydian Major mode. Surreal sounding, the 4#th adds interest. Very Vai.
  • V Mixolydian Major mode. Dominant sounding, used in blues and rock to no end.
  • VI Aeolian Minor mode. Basic Natural Minor scale, identical diatonically.
  • VII Locrian Major mode. Has a strange exotic taste to it. Used in Jazz & fusion a lot.

 

Is this theory re-cap over??? Right, on with the lesson. This month, I’m looking at the Lydian mode – a few licks and ideas to try out in a suitable progression. A patent ‘Vai’ trade scale amongst others, the Lydian mode is favoured for its eccentric-and-mysterious-yet-Major-scale-happy-tone style. Play it over and over (preferably to a tone-relative backing track) to get a feel, then dive into the little piece below that I composed in about 5 mins, which is very Vai (a mini passage, not 5 different exercises!). Note that the tone below each line represents the rhythm to be played as backing – NOT the key of that line! There is a difference, for you beginners! Watch the change in the third tab line, and go crazy on the tapping bit. Enjoy, and I’ll see you next month for some Dorian ideas.

I Playing E Lydian over an E backing… hear the distinct sound? Let the open notes and harmonics ring out here for greater effect. Some Vai-ish sliding…

II Rhythm changes to B… Some fluid legato licks.

II OK, to build the tension, a key change to C Major for the first arpeggio, then a key change to D Major for the second, before going back to E Lydian (octave higher). And little tapping… use two fingers on yer tapping hand!

IV Watch out for the fret-hand tapping.

V Tap that darn harmonic good, son. The E chord gives the ending an unhinged feel, as if there is more to come – this is basically because we are so used to hearing ending end with the dominant! A low B Major would have sounded more ‘correct’, but since this is the Lydian mode, fuck it, go for the mystique.

 

Best wishes.

 

Modal Music Made Easy

Hi there. My name is Leandro Oliveira and I’m a guitarist and composer from Rio de Janeiro, Brazil. I’ve always been a huge fan of learning the ins and outs of music theory, and now I’m going to share the stuff I’ve picked up through the years with you! So, hold on tight and we’ll see where this takes us…

Modal Music Made Easy (kind of…) – Part I

One of the things that I find myself constantly researching and experimenting with is the modal music. The sounds and moods evoked by each of the different modes are fascinating. But if you are anything like me, you probably wondered exactly how to make use of them. Truth of the matter is that there are an infinite number of ways they can be used. Some are so natural most people don’t even notice they are using modes. Some of them are very deliberate. We’ll be looking at both kinds of uses, but I will focus mostly on the deliberate kind. I’m assuming, of course, that you know about the modes of the major scale, at least. If you don’t, there are a million places on the net where you can find this information.

If you’ve ever looked at a fake book, or any jazz chart, you have probably encountered chords with all sorts of weird extensions such as a #4 (or #11), b9, #9, sus4, sus b9, etc. If you stop to analyze where these extensions are coming from, you’ll find that they have come from modes of the major scale. A major7#4 chord comes from the Lydian mode. Asus b9 chord comes from the Phrygian mode. A dominant 7th chord (just called a 7) comes from the Mixolydian mode. 7 chords are very common, since they are used extensively in blues and rock music. Half diminished chords come from the Locrian mode. A minor 7th chord comes from the Aeolian mode, which is just a regular minor scale.

So, you may be asking yourself how the heck any of this helps you use the modes… Be patient, young one. We’ll get there!

Now, I wish I could tell you that you can learn the fingerings for all the different modes and then just wail away, and all of a sudden your song would “sound modal.” Unfortunately, you can’t. Ultimately, it isn’t about what you play, so much as it is about what you are playing OVER. If this still doesn’t make any sense, I’ll give you an example:

Here’s a chord progression… Am G

This progression is in the key of Am, or A Aeolian, if you prefer. A minor is the 6th mode of the C major scale. The other scales (modes) that come out of C major are D Dorian, E Phrygian, F Lydian , G Mixolydian, and B Locrian. These are all the C major scale, but starting at a different note. They all sound very different if you just run up and down the scale, without any rhythm section behind it. However, if you try to play them against our Am, G progression, you’ll find that they all sound quite similar. How could they not? You are playing the same notes over and over again! So, as you can see, it isn’t about what scale you play.

Let’s change something here. Instead of the Am chord at the beginning of that progression, try playing an Am6(9), then play a Gmaj7, and an F# half-diminished. Now, instead of playing an Am, play an A Dorian. Now it sounds different, doesn’t it? The quality of your chords are still the same (minor and major), but the extras you added to them made your progression Dorian. How? You added notes to these chords that made them specific to the Dorian mode, rather than the Aeolian mode. A Dorian consists of root, 2nd (or 9th), minor 3rd, 4th, 5th, 6th, and minor 7th. The A Aeolian consists of root, 2nd, minor 3rd, 4th, 5th, b6th (or #5th), and minor 7th. The only difference between the two is that one has a 6th and the other one has a b6th. By adding a 6th to the chord, you are making it specifically Dorian.

This was a very long and complicated way to tell you that if you want to write a modal song, or a modal section of a song, one of the things you can do is use modal chords to build your harmony. Here is an example from one of my songs, “West 29th.” I wanted the solo section to alternate between E Aeolian (minor) and E Lydian. So, the chords I chose for that section were Em11(b13) and Emaj7(#11). Em11(b13) has an 11th and a b6th, which are specific–in this case–to the Aeolian mode. The Emaj7(#11) has a major 7th and a #11th, which are specific to the Lydian mode.

If there are only 7 modes to the major scale, and each one has a chord that is directly related to it, doesn’t that limit the amount of chords I can use to build my harmonies? No. You can always add more extensions to the chords to make them interesting. As long as you have those notes that make it specific to the mode you want to use, you are covered. Besides, there is at least one other wonderful thing you can do.

During the 60s, jazz musicians were all trying to discover different sounds to use in their songs. They were all experimenting with modes, but I guess some of them felt limited by the things I just spent ages explaining above. So, musicians started building their chords in different ways. As you know, chords are built out of stacked thirds. What some musicians started doing was building their chords by stacking 4ths instead. What this does is blur the quality of the chords. Since the third determines if a chord is major or minor, you end up with a set of chords that are neither. If you build a triad out of 4ths, you’ll get a chord that’s made out of a root, a 4th, and a 7th. If a chord isn’t major or minor, you can play either type of scale over it! Building your chords out of 4ths opens a world of possibilities to your playing.

All of this stuff I’ve been talking about can be applied to any song that has chords. What about the songs that are riff-based? Can you still use power chords and make modal music? The answer is YES! We’ll talk about this the next time.

Now go grab your guitar and start “making things modal!”

 

Buckethead Licks

The Shred of Buckethead! What’s that you say?, “Who’s Buckethead?”, Buckethead is a very creative, and experimental shredder who has found most of his fame in Japan. Just recently has Buckethead started to make a noise in the States, In this short time, he has been labeled as a “Post Neoclassical shred terror”.. Take from that what you will.. Anyway, now that his music is available here in the states I highly suggest “Giant Robot” as a good album to buy if you’re looking for your first taste of Buckethead.. How did he get the name Buckethead? “”Who’s this guitar playing son of a bitch is a question commonly asked, on his head a chicken bucket, on his face a plastic mask, he was born in a coop, raised in a cage, children fear him, and critics rave, he’s half alive and he’s half dead, and folks just call him Buckethead!”” (taken from “The Ballad of Buckethead, from his album “Monsters and Robots”) His technique stems from such influences as Steve Morse, Malmsteen, John Petrucci, Randy Rhoads and Satriani. Without a doubt, his blazing arpeggios are a force to be reckoned with, and his melodic lines can make a grown man cry. Although most of his material is written with a minor tonality, his songs in major keys flawlessly combine shred into catchy, almost pop-like tunes. I hope each of you can learn something from one of the most creative forces present in shred today. (by the way, Buckethead was recently hired by none other than Axl Rose to fill slash’s spot as lead guitarist in the reformation of Guns N’ Roses). For even more information on Buckethead, visit Bucketheadland.com. Since there have been many complaints concerning the technical difficulty of the lessons and tab on this site, I have decided to tab out some of Buckethead’s less technically demanding riffs for those of you just taking the plunge into shred guitar. Those who now know who Buckethead is, but still seeking more of a technical challenge, I’m sure you can find it elsewhere in this month’s columns here at Insane Guitar (Or tune in next month, as I delve into the solo’s of Vai and Rhoads). Hope the new year is good to each of you.

A Tidbit About Paganini & Developing Pinkie Technique

Paganini’s “24 Caprices for solo violin” , the supposed epitome of virtuosity that every major violinist(or guitarist) records on Phillips or Deutsche Grammophon or includes in the repertoire in an effort to secure/demonstrate their place as a “virtuoso”, was written when Paganini was still a teenager… Paganini’s international acclaim as the greatest virtuoso to have ever lived did not start until he was in his 40’s. At the time (1830), conditions were not favorable for the general public and one of the only ways to get escape poverty for most people was to be a great musician, or have a talented child prodigy( ala Mozart). During these times almost every single person had some type of musical training and a general understanding of music. There was a virtuoso on every corner, 60% of the population at that time could play a musical instrument better than what you hear on modern radio every single day (even the most talented) that being said, it was during these times that Paganini literally scared the shit out of people by his command of the violin (also an equally talented guitarist) this was an exceptionally great feat for the time, almost every violinist performing during the 1830s was at least as good if not better than all the great modern violinists, if you weren’t good, you didn’t eat most of the time. When arriving in England for the first time, the Brits were outraged that Paganini would charge so much money to see him perform and bombasted him in the papers telling everyone to boycott him and send him packing….in response Paganini lowered his normal price for tickets and played a solitary show…the next day the same detractors published a full retraction and told people to sell their houses and everything they own to buy tickets and to go see Paganini’s next performance. No musician can do what Paganini did by any stretch of the imagination, the closest anyone has ever come was the great pianist Franz Liszt, who by comparison, is a much more proficient composer, and was known to make people faint (like Paganini) by his incredible technique. Paganini Was more than just a talented violinist, he was the first Rock-star to sell his soul to the Devil, the first Millionaire, one of the first classic composers to use his own natural long hair rather than a powdered wig.Mozart was a technical wizard on several instruments, and Paganini was known to have been one of the only instrumentalists to have done Mozart justice (and then some!).

So the next time you see or hear a guitarist trying to fumble through the 5th Caprice (again? ugh) tell them that was written by Paganini when he was 16 and that they have about 30 years more of 8-16 hours a day practice to come even close to what Paganini did. (and still no guarantees)Developing pinky technique.

When I learned that Tony Iommi had lost the tips of his main playing fingers before Sabbath broke, I learned that the first Sabbath albums were recorded using the index and pinky fingers (later development in prosthetics allowed him to use his middle finger in 1972 and then all his fingers since 1976, although he still favours his index and pinky)….at the time my soloing technique was solid and in place,but my pinky finger was sorely under-developed, so in order to be more like Tony Iommi(and all the great players)and develop my pinky, I used electrical tape and taped my middle and ring fingers together(if you don’t you will find it extremely hard at first to NOT use the other fingers,this helps MAKE you develop the pinky)and practiced all my chords and solos I knew up to that point with just the pinky and index fingers, after many months of this odd practice, I completely developed my pinky technique and have been using the pinky to even bend the low E-string up to three frets easy. As a result of this “taping fingers” technique, I also can tremolo with the pinky finger quite decent and all chords are much easier to execute. Yes, people think Sabbath solos are easy to deliver by comparison to other early metal players, but let those people try the ENTIRE first Sabbath albums(Black Sabbath,Paranoid,Master of Reality)using just the index and pinky fingers(that includes EVERYTHING)…I guarantee they will have a new-found respect for Tony Iommi and Black Sabbath(not to mention a more developed pinky finger…

 

Slap Guitar

Hello everyone and welcome to my first of several columns on slap guitar. We will be covering the basics of the technique and sound of slap guitar and move gradually to more advanced studies. The first question you might ask is why would you, the guitarist, want to slap? Isn’t that the bass player’s job? Yes, this is what most people think but slapping on guitar opens up another musical avenue for you to explore. When the band has a real funky pocket going behind you why not turn off the distortion and take a refreshing slap solo. You’d be surprised by the reaction of the crowd when you start slapping on guitar. Check out an excerpt from one of my songs, Cleanup, in which I take an unaccompanied slap solo. LISTEN Slapping can also be used in conjunction with chords to make a funky rhythm part, or used when playing solo guitar. Its application is also great on the acoustic guitar. Lets jump in shall we.

 

Guitar and Amp Setup

In order to slap convincingly you need the right sound. I have found that guitars with single coil pickups work best for getting the right sound. My guitar has two humbuckers but has coil taps which makes the humbuckers single coil. I find the two best sounds are the neck pickup as a single coil (sound 1) and the in between sound you get from combining the neck and bridge pickups as single coils (sound 2). I also use a 7-string guitar which helps me get down to those lower bass notes. You can do plenty of great stuff on a 6-string though and you can tune it down if you wish to get some more thump.

As far as your amp your going to want a clean sound with a little bit of compression if possible. For the EQ you generally want to cut the mids and raise the low and high end. For example: High-8 Mid-3 Low-8. Every amp is very different so you will have to experiment with your settings. Solid State amps also tend to be better than tube amps for achieving this sound but you can still get a good slap tone out of a tube amp.

 

Technique

Slapping

You want to use your thumb of your picking hand and slap the string on the edge of the fret board with the knuckle of your thumb. The movement should come from your wrist and the thumb should be relaxed almost bouncing off the string. With your left hand you should only depress the note when you slap with your right hand. This way the note doesn’t ring out and sounds more percussive. Slapped notes have an S below them.

 

Popping

Now lets add in the pops with Ex.2. You want to use your index finger to pull the string away from the guitar and then release it to let it snap back. With your fretting hand again you want to only depress the note when you snap it with your right hand. You only want to press it very lightly so you get the more percussive sound. Popped notes have a P below them.

 

Funk It Up!

Now that you’re slapping and popping, let’s do a cooler sounding musical example. We’ll build it step by step again. You will see a new technique here in which sometimes you slap or pop a dead string (denoted by an x). To do this place your left hand over the string but don’t fret a note. Also use more than one finger to deaden the string so you eliminate all harmonics. This really sounds percussive. Start with the slapping. (I have included a clip where it is played slowly for each example and a clip of Ex.4 being played with the 7-String).

 

 

 

Untitled from January 2001 (Impellitteri Licks)

Happy New Years shredders. Hope ya guys had a good x-mas and all. Well we’re gonna get into a couple of kewl Impellitteri solos to get u guys shredded your @$$es off this month. Hope ya’ll enjoy em and try em out. First off here’s a solo that i actually just learned recently. It’s a lot of fun and a lil’ bit of a challenge… well it was to me at least. Anyways, it’s Father Forgive Them. Yes I realized also… Chris Impellitteri owns us all pretty much, one of my favorite players. Well, here goes…

 

Whew! Ok.. i’m sweatin’ balls over here. But we’re not done yet of course. Next up is part of the Hold The Line solo. This one is quite a beast as well… lots of fun tapping and string skipping antics.

 

YEEHAW! Man I love that stuff… hope u guys can handle all this madness. Cuz we’re going to some more insanity. Well actually we’re gonna calm it down a little. This here is Countdown To The Revolution. A bit easier than the last two you could say but still pretty kewl. Check it out.

 

Well that’s it for this month. Hope u guys enjoyed the column and have fun with all of these solos. They should keep u busy for a lil’ while at least. Keep shredding. Laterz.