Brett ventures into Larry Carlton territory with a tasteful, soul-filled blues solo over Brett Garsed pulls out his most soulful licks this issue. In the first of a three-parter, Dario Cortese meets up with Australian guitar virtuoso Brett Garsed for hybrid picking explanation In March of this year I had to. BRETT GARSED INTERVIEW Ive tried to copy a few of your licks and you have an amazing way of changing directions when your playing legato lines.

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Brett Garsed > Lessons > Non-pattern Pentatonics

This is a good example of how you can stretch the scale to cover four octaves so it retains the colour of a regular minor pentatonic but increases the range drastically for the guitar. This is probably one of the hardest bars in this solo. This is the end of the first chorus and Brett plays his Pedal-Steel-Like lick again featuring slide and fingers. You may notice that these examples have some rather large intervals, so I’d encourage you to lift each finger after playing the note, as it’ll enable you to prevent from straining too much.

Exercise 2 is based around the same ‘three notes per string’ approach but with a slight twist. In these couple of bars you can see how naturally Brett incorporates fretted notes into licke slide playing. Fig 6, 7 and 8: To develop this technique you need to move the slide very quickly away from the strings keeping the picking gaarsed muting the other strings quite.

To execute this type of phrase Brett uses a technique that he learnt from another of his influence: In March of this year I had to pleasure to sit down and have a garssed with one of the most influential fusion guitarists of the last two decades Brett Garsed. As you can see from the transcription he often plays groups of 7 instead of the more common 6 or 8 which create unusual rhythms in his phrasing.

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His general philosophy seems to be: This is just the A major scale in one octave playing using groupings of two fingers for the fretting hand at a time. Being a more modal player, I got into pentatonics brftt late, so I ended up approaching them much the same way I approach regular scales and modes, which is to stretch them along the neck and outside the ‘box’.

Brett Garsed Masterclass 1

In later years he expanded his influences to more diverse styles such as Leo Kottke, Rory Gallagher and Joe Walsh his main inspirations for slide guitar and Edward Van Halen. Could you give us a little insite into how you seem to so easily weave in and out of scale fragments in such a smooth style?

MARK Could you give our guys an insite into how you would go about writing and composing?

To perform those intervals in the way Brett garssed you would need to use the slide on the second finger and get used to play diagonally. BRETT Hopefully I can know the music well enough to just be free and think about nothing other than the noises I hear in my head and trying to get them to come out of the amp.

Spirituality should be a personal thing and licke that tries to use it for financial gain or power over others should be locked up. BRETT Try playing scales or anything for that matter using only your third and fourth finger on your picking hand. All these examples are for A minor pentatonic, but, of course, they’ll work in any key, and although I’ve notated my own hybrid picking nrett for these ideas, I encourage you to experiment with various other picking approaches and go with what feels natural.

He plays in standard tuning but lidks developed a technique that let him play all the trademarks slide licks in this way he has to carry one guitar instead of two with different tunings or action. Exercise 3 begins with an Am7 arpeggio, which is perfect to use with pentatonic scales. I’ve decided to present some unorthodox pentatonic ideas in this initial lesson.

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Once again, all these examples can be alternate-picked, sweep-picked or played legato, so just use what feels the most natural. MARK Is their anything comming up that your fans can look forwrd to like albums or stuff? Most of these ideas are very non-guitar, so they’re challenging to play but definitely worth the effort.

In the second of a three-parter, Dario Cortese meets up with Australian guitar virtuoso Brett Garsed for some slide explanation…. Crimson- King hardtail- bridge or harley synths- fun alaogue- great saxaphone- heavenly voodoo- chile yoda- big ears contracts- suck!

In these two bars you can see Brett playing a major triad across the adjacent strings using the slide licke. After taking classical guitar lessons for about a year he started to expand his right-hand hybrid picking technique, and liccks after he started to blend this approach with the legato technique of the fretting hand. This bars feature another slide technique: He started with pick and middle finger and soon after he incorporated ring and little finger for an arpeggio type of approach as shown in FIG 5.

Technique doesn’t mean much unless it’s accompanied by an original concept and that’s MUCH harder to achieve than chops. Home Lessons Non-pattern Pentatonics. As for the other questions, sure, go ahead and ask. Exercise 1 is an A minor pentatonic played three notes per string. This eventually led him to the music of Allan Holdsworth, which in turn exposed him to more fusion oriented artists such as Larry Carlton and Scott Henderson.