Guitar Gear

Pick up one of the major guitar mags, and you might think that to be considered a “good” guitar player nowadays you have to be able to shred it up playing 64th notes up and down the fretboard non-stop. I know, that’s a bit of an exagerration, but the major mags’ focus on shred disenfranchises a very large sector of the guitar-playing population that either can’t play that fast, has no interest in that kind of music, or want to focus on other things rather than speed – like musicality and expressiveness.

Hands-down, Jeff Beck has earned the right to be called a Guitar God. No one sounds like him, and while many people have been able to glean certain Jeff Beck techniques, and can get somewhat close to what he can do with a guitar, duplicating his style of playing is next to impossible. But I’m not here to talk about technique. I’m here to talk about the whole musical package that Jeff Beck delivers in his guitar playing. It’s pure magic. He’s not fast by any stretch of the imagination, but his ability to communicate with his audience through his playing is unrivaled.

Sound like a bunch of hyperbole? Just watch the video below. But don’t just observe what he’s doing with his left hand, which really isn’t all that difficult. Look at what he’s doing with his right hand, manipulating the tremolo bar and volume and tone knobs to achieve different voicings. That’s the magic in the performance of the song! No one does it as well!

Let me be absolutely clear here: The things that Jeff Beck does with his right hand while playing aren’t just parlor tricks to show off. They’re done to ellicit specific responses from his guitar, and make it sing like no one else can. To me, being a good guitar player isn’t just about technique; it’s about getting your message across. As Albert King once said (and I’m paraphrasing Steven Segal here), “The challenge [speaking in reference to the blues, but can be applied to any style of music] is to get your message across in as few notes as possible.” Sometimes that takes a bunch of notes; more often than not though, you can say the same thing with just a few, but express them in a such a way to make your point.

I’m of the school of thought that playing music is having a conversation with your audience. The best conversationalists do it with an economy of language, fully conscious not only of their glossary of terms, but the expression and inflection that goes along with communicating.