![]() ![]() Topics include diagrams, charts and notation-TAB examples.Īvailable only in Wolf Marshall’s Guitar One. Wolf’s shares his unique fretboard insights and modern rock-pop-jazz-classical theory approach in specially-tailored, step-by-step lessons which match the published transcriptions. ![]() Wolf Marshall's Guitar One Performance Notes "When You Close Your Eyes" by Night Ranger. "Twisted Blues" (partial) by Wes Montgomery. "Suicide Solution (Live)" by Ozzy Osbourne/Randy Rhoads. "Rock You Like a Hurricane" by the Scorpions. "Knocking At Your Back Door" by Deep Purple. "I Don’t Know (Live)" by Ozzy Osbourne/Randy Rhoads. "Don’t Tell Me You Love Me" by Night Ranger. & Reprinted in The Acoustic Classics, Summer, 1988. ![]() "Cause We’ve Ended As Lovers" by Jeff Beck. I’m still working on that 40 years later."A Whiter Shade of Pale" by Hagar-Schon. Step Two - actually blowing over those changes - was a much harder challenge. It took a little while until I could get these kinds of unorthodox chord voicings under my hands and incorporate them into my playing. Then, practice switching back and forth from Dm(add2) to Cadd2. Practice this C-Fadd2 change over and over again, until the first-finger barre and other three fingers learn to come down all at once. 3, thrusting your pinky out there to grab the third string’s G note at the 12th fret. Now, try to lay your fingers down simultaneously on the rest of the notes in Fig. I refused to come out until I could go from a first position C chord to each of the wide-grip, pinky-stretch voicings illustrated in Figures 3-5 - each of which includes a note cluster of a minor-or major-second interval.įrom a first-position “cowboy” C chord, keep your second finger on the fourth string and slide it up to the C note at the 10th fret. I limped home with my tail between my legs, and the next morning I locked myself in a room with a guitar. I find it interesting that sometimes we learn something we’re not yet ready to absorb and apply, but, years later, the light bulb goes on and we get it.īut on that first day, I was instantly humbled when Allan showed me the chord voicings he used for the soloing changes in “Three Sheets to the Wind,” because my left hand couldn’t form the shapes quickly and cleanly enough. ![]() This concept of spreading out the notes of a chord into wide-interval voicings like this resonated with me years later, when my own chord vocabulary began to develop. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |