Posts Tagged ‘instruction’

I was reading an editorial in the latest Premier Guitar issue, where the author talked about providing plenty of “space” in your playing; that is, part of what makes a great song is what you don’t play. The premise is that it’s so easy to play a bunch of notes to the point where your ears just stop perceiving all the content that’s being played.

With respect to soloing, space is more commonly known as letting your solos “breath.” Blues greats like the “Kings” (Albert, Freddie, BB) are masters of letting their solos breath. But breathing also extends to playing through chord progressions as well. Generous palm-muting and what I call “blank” space draws listeners in as their minds fill in the blanks.

Here’s something to think about: You ever wonder why a casino has flashing lights, bells and other sounds going off, highly patterned carpets and walls, complicated ceiling patterns, etc.? It has been proven that the human mind can only deal with at most seven things at once. All that stuff in the casinos is meant to disorient people. In that state of disorientation, they lose track of time (there are also no clocks in a casino), and they also lose their will to keep from spending more money. So what does that have to do with letting your playing breath? If you barrage your listeners with just too much to deal with, you’re likely to lose them. Of course I haven’t done a scientific test with that, but it’s certainly plausible.

Now what about time? Well, of course, tempo is absolutely important, and playing “in the pocket” is what great players do. But “time” goes a bit beyond that, in that you also play stuff at the appropriate time. I’ve been around lots of players over the years, and many have killer technique, but there have also been many that just play the wrong thing at the wrong time. Where a single note or maybe a simple two-string chord would do, they’d strum a full chord; or where a song’s feel calls for a more flowing rhythmic attack, they use a staccato rhythm. I don’t know if this can be taught, as being able to choose what’s appropriate for a particular segment of music really requires listening and “feeling” the song.

For instance, I was playing with a guy once and we started playing a real smooth, moderate tempo song that called for either light, even strumming, or finger picking. Though the guy was in tune, he opted to use a “bluesette-style,” syncopated finger picking rhythm. It completely threw off the entire flavor of the song! Of course, I asked him to stop, but he looked at me, and puzzled, “I don’t understand. It sounds just fine to me.” I replied that it would sound fine if the melodic structure supported a syncopated rhythm, but it just didn’t work. I pointed out how the drums were setting a simple four-on-the-floor kind of rhythm; the bassist was using a fretless, and sliding in between notes. I was using flatpick and playing triads up on the neck. His part called for just a simple claw-hammer style. In this case, it was the guitar that was actually holding down the rhythm. He finally relented, but that’s a perfect example of playing what’s right at the right time.

Guitarists whom I have admired over the years who are always in the pocket and always playing the right thing at that right time include: Davey Johnstone (Elton John), Steve Cropper (Otis Redding), both Matthias Jabs and Rudolf Shenker of the Scorpions (especially Rudolf), Dominic Miller (Sting), and lest I forget, John Frusciante (Chili Peppers). There are lots more, but these guys popped into my head immediately.

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Guitar teacher and guitarist extraordinaire Chuck D’Aloia has just added some new material to his instructional video arsenal, and I have to say that again, Chuck has hit another couple of homers. The first video, “Modal Studies,” covers the 7 modes of the major scale, the melodic minor, lydian b7, alt and the diminished scale. And in typical Chuck D’Aloia style, he teaches the concept then immediately demonstrates how it can be applied, with little “tricks” to help remember them. For me, I’ve always had a bit of a mental block with learning modes mainly because while I could intellectualize the note structure of each mode, I couldn’t immediately match that up with how it actually sounds and how to apply it. Chuck makes it easy! For instance, when explaining the Lydian mode, Chuck spelled out the note sequence, but he said something that really stuck: “…to get a Lydian sound, one way of getting it really easily is to take the root and play the triad one step above it.” Now THAT’S useful information, and easily remembered!

The other lesson he has available – and I haven’t gotten to it yet – is called “Playing over One Chord Grooves.” As Chuck writes, “The material is designed to open doors and present different options when playing over one chord grooves. Using pentatonic scales, triads, substitutions, chord scale relationships and other devices you will be using some of this material on your next gig as well as having new concepts to study.” How cool is THAT?!!!

In any case, each of these lessons is only $25. I highly recommend checking them out! For more information, go to Chuck’s site!

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A few years ago, Mel Gibson starred in a movie called “The Patriot” in which he was a self-avowed pacifist who was pulled into the Revolutionary War to avenge the murder of his son by a British colonel, played by Jason Isaacs. In one scene where he and two of his young sons are ambushing a British patrol to save another son who was in their custody, Mel turns to the boys and says, “Do you remember what I taught you about shooting?” They replied, “Aim small, miss small.”

I was thinking about “Aim small, miss small” where I was talking to a close friend about an amp he recently purchased off EBay. The amp was one of those 100 Watt Marshall Plexi hand-wired reissues. The seller had done some major work on it, replacing the caps with original mustard caps, swapping out the transformer, swapping out resistors; in other words, lots of things. It was a pretty good price, and my buddy bought it on the basis of the upgrades. Unfortunately for him, when he compared its tone to another 100 Watt Plexi he has but with a PCB board, it sounded stale and “stiff.”

During our conversation about that amp, I shared some thoughts with him, “You know, if it’s one thing I’ve learned about tweaking, you have to do it incrementally. Making wholesale changes provides you with no moving reference point to fall back on, and if you don’t like the end result, you have no place to back up to but the beginning. Looks like what that dude did was make a bunch of changes at once, didn’t like the sound, so he sold the amp.” My friend agreed, but luckily he’s an whiz at electronics so backing out the “upgrades” won’t be too much of an issue for him.

This leads me to a discussion about tweaking. Remember: Aim small, miss small; that is, do small changes – one at a time – so in case you don’t like what you’ve done, you can easily back it up. After all, it’s easy to back up one step than several. Also, try to get the low-hanging fruit first; that is, change what is easiest to change first. In many cases, that could resolve a LOT of tonal issues.

For instance, I wasn’t digging the fizziness of the original pre-amp tubes I had in my Aracom PLX18-BB 18 Watt Plexi clone. I loved the dynamics of the amp, but it had a really fizzy finish. Some people like that, but I wasn’t bonding with it. Since I had a bunch of NOS 12AX7’s, I started there first. But I didn’t just start with replacing all the tubes. Sometimes it’s just a single tube, and since the fizziness was occurring on both channels, I decided to swap out V2 first. That reduced the fizz a ton, but there was still a little left. So I then swapped out both V1 and V3. That improved the tone even more, but it wasn’t quite there as I wanted a bit more bottom-end response. So I swapped out the speaker for one that had a great, tight bottom-end. The tone was perfect after that! I could’ve gone further and had Aracom swap out caps and resistors, or even have a “fizz” cap added to the circuit, as Jeff suggested. But I didn’t need to do any of that because I was able to get the tone I wanted with the simple changes I made. I felt that any further changes were just subjecting myself to the law of diminishing returns.

So to recap the lessons learned:

  1. Aim small, miss small.
  2. Get the low-hanging fruit first.


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Writing GuitarGear.org has always been a labor of love for me. When I first started the blog, I didn’t know how well it would do at all; in fact, I didn’t even envision it to be widely read. I put what I wrote out there and just shared it; first with just a small group of WordPress bloggers and a fairly narrow set of people outside of the WordPress community. In the past three years, GuitarGear.org’s readership has really expanded, and it’s great to meet some of the wonderful personalities that come to visit!

Now and then though, a visitor comes along who’d like to contribute to the blog. It hasn’t happened that often, but I’m always open to and excited at the prospect of having others contribute because heaven knows I can’t cover everything, and widening the scope of what GuitarGear.org has to offer is always a good thing! So without further ado, I’d like to introduce a new author to GuitarGear.org, Brett McQueen.

Brett contacted me last week to see if he could contribute to GuitarGear.org to help drive traffic his own site: Guitar Friendly, where he provides free guitar lessons and other insights on playing guitar, and of course, acquiring gear. So not only does GuitarGear.org now have a new author, we’ve got a new sister site! I’m really excited by this partnership between us, and I think it’ll help both of our sites grow!

The most amazing thing about Brett is that he’s a full-time music student, and even cooler still, his degree is in worship ministry. As you know, I’ve never made it a secret that I play at church service. It’s a great venue for playing, and also one of the most challenging places to play. Plus, for the gigging musician in me, it’s a regular gig, and I’m all about playing as much as I can. With Brett, we share a passion for music as well as a passion for playing music in a church setting. Talk about alignment!

In any case, get set for some great material! Brett’s first article will be about buying your first electric guitar, and for those new to electric, it provides great insight on the process of evaluating and ultimately choosing your first axe.

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Click on the picture to see the magnets.

Guitar Scale Magnets – Major Scale Strips
Summary: Great “cheat sheet” for learning where the various major scale modes start on the fretboard. Very convenient, and very easy to install!

Pros: Magnetic base strip attaches easily to the side of your fretboard. The strips provide a superb way to visualize the starting point of the major scale boxes.

Cons: Just a nit, but only available for 25.5″ scale guitars. Not a really big deal as that’s pretty much a standard. Of course, I have different scale lengths, but they fit my Tele perfectly!


  • Base strip has a very weak adhesive that sticks to the side of the neck, but will not peel varnish.
  • Magnetic strips are made of the same material as those “refrigerator stickers.” They’re pliable and very easy to use.
  • Major scale strips include all keys from C to B.
  • Includes scale charts for all modes. Very handy.
  • Comes with a convenient storage tube for storing the strips when you’re not using them.
  • Great way to visualize the modal starting points in any key.

Price: ~$19.99 plus $5.00 S&H

Tone Bone Score: 5.0 ~ I’m a very visual learner, and having visual cues helps me learn much more effectively.

I’m not much of a guitar theoretician, not because of not wanting to be, but simply because with my busy lifestyle, having the time for academic pursuits is limited. So for my learning, I rely on tools and videos that will help me learn concepts quickly as opposed to traditional step-by-step methods that dissect the concepts into chunks. It may not be the best method of learning, but it’s all I have. But besides that, I’m also a very visual learner, and definitely a learn-by-doing type of guy. So if I can get my hands on something that will give me visual cues, my learning experience is much more valuable to me.

Enter Guitar Scale Magnets. One of the things I’ve been wanting to learn for awhile is modal theory. It has always interested me, but I’ve never seemed to have the time to really sit down to learn it – nor did I have the funds to take lessons (I spend it all on gear). So when I found out about Guitar Scale Magnets, I was immediately intrigued, and asked Jason Ellestad, the inventor of the guitar scale magnets to send me a set of major scale magnets to review.

In a word, these things are awesome! Made of the same magnetic material as those flexible “fridge” magnets – but not at thick – the magnets provide a very convenient way to learn the major scale modes by giving you visual cues of the starting points. Of course, you still have to learn the patterns, but you get the patterns on a couple of 8.5 X 11 sheets that you can tape to your wall for reference. Not bad for $19.99.

To attach magnets to the side of your fretboard, Jason provides step-by-step instructions. But you don’t even need the instructions. The base strip, of course, has no markings on it, so it’s easy figure out that it’s the base. It also has a weak adhesive that’s tacky enough to stick to your fretboard, and stay in place as you play, but not strong enough that it’ll peel your varnish. Once you have it in place, it’s just a simple matter of finding the key you want to practice, and laying it on top of the base strip. Each key is color-coded to show you the starting points for each mode. Click on the picture above to see an enlarged version of what they look like.

I won’t belabor how useful I’ve found these to be. I’m just going to recommend that you try them out. Jason has three types of strips available: Major Scale, Pentatonic Scale, and Learn the Fretboard/Tab strips. So if you need some visual cues for learning your scales, Magnetic Scale Strips are a great tool! For you teachers out there, I think these would be invaluable to give to your students to help them learn and practice in conjunction with your curricula.

For more information, go to the Guitar Scale Magnets site!

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Though I’m quite a bit out of shape to play nowadays, I’ve always had a love for the game of tennis; especially watching the tennis greats over the years, and thoroughly enjoying the pure artistry in their playing. Having played a bit of competitive tennis myself – albeit, nowhere the level of my tennis idols – I have a good idea of the hard work that goes into being good. These guys and gals make the game look so effortless that it shadows the fact that they literally spend hours each day developing their craft.

Within the past couple of decades, I have been privileged to witness history being made in tennis. In the 90’s it was Pete Sampras who had won an unprecedented 14 major singles titles. That guy was an absolute machine! No one at the time could even match that! But early Sunday morning, between 12:30 am – 3am PST, I witnessed Roger Federer become the first man to win his 16th major singles title, and the thing that hit me afterward was that I’ve had the fortune to live in a time to watch the greatest tennis players to ever walk the planet play.

Watching these guys play, the one thing that strikes me is their absolute calm and focus on the job at hand. Few visible outbreaks of emotion. Just patiently playing and doing their thing – and this is important: Responding, not reacting, to different situations; adapting their games to fit with the current conditions. It’s as if – though I’d say there’s a bit of truth to this – they are hyper-aware of everything that is going on around them, and sculpt their play in response to whatever may come at them. It’s thought-filled as well as instinctive.

The Zen term for this hyper-awareness and “intuitive instinct” is called “satori,” which literally translates to “understanding.” Satori is the first step of enlightenment to achieving nirvana. Japanese martial artists liken this state of satori as thought being the equivalent of action. Western cultures refer to this state as “being in the Zone.”

The Zone is a state of duality: Extreme focus and hyper-awareness; analysis and action; emotion and stoicism. In other words, being completely centered in your consciousness. We’ve all experienced “being in the Zone” in some way, whether we’re writing, running, or just sitting quietly, though it is most often associated sports or something active. But here’s the rub about being in the Zone: It doesn’t require any expertise at a particular activity. And while many people have experienced this sporadically and spontaneously, it is actually possible to get into the Zone at will.

Okay, I’ll pause for a moment and ask the question you’re all probably thinking: What does have to do with guitar? 🙂

Simple. Playing guitar in the Zone – no matter your experience level – is the difference between playing purely mechanical and playing with true expression – what’s really inside you. I know that people may argue that you should have some expertise and mastery of your current level of playing to really get into the Zone, but remember, being in the Zone is completely independent of any mechanics. It’s a state of mind, and that doesn’t require any expertise. Furthermore, I will also posit that playing in the Zone makes learning much easier because your heightened awareness and “centered-ness” makes you more open and much less analytical.

So given that, as I mentioned above it is possible to actually get into the Zone at will. But this takes a bit of practice, and a bit of mental preparation. People have different ways of getting into the Zone, but there are some fundamental things that you can do to get you on your way.

  1. First, breathe. It’s amazing how much we constrict our own breathing. I won’t give you any breathing exercises, but take note of and be aware of how you’re breathing. The more even the better.
  2. Relax your mind. Relaxing your mind is not that you block out everything going on around you, you just don’t allow your mind to wander onto things that are outside of your focus. This is a key of getting into the Zone.  From a neurological point of view, relaxing your mind means quieting your alpha waves, so your more creative beta waves take precedence.
  3. Relax your body. This doesn’t mean go limp. You could be jumping around on stage and still be relaxed. More to the point, relax your chest, which most of us have way too constricted.

Simple things, and I know they may sound a bit nonsensical, and for those of you who are more familiar with relaxation techniques, these steps are akin to getting into a meditative state. Being in the Zone is very much like being in a meditative state. Your mind and body are relaxed, and your attention is focused. But at the same time, you are completely aware of what is happening in the periphery of your consciousness.

To practice this with guitar, pick a piece that you know really well. But this time, do those preparation steps to quiet your mind a bit, then try to play it with your eyes closed. I suggest this so you’re playing completely by feel. Listen to what you’re playing, and just for shits and giggles, play the piece in response to things you hear around you, trying to express the emotional imagery you get when you hear the sounds. I do this occasionally when I’m trying to work out a phrase in a song, and I’m just not “feelin’ it.”

Don’t buy it? I’m not surprised. But there’s a reason that martial artists have practiced relaxation techniques for thousands of years. A quiet mind allows you to respond to any given situation with clarity; with a mind not cluttered by things it shouldn’t be thinking about – especially in the heat of battle where even a slight hesitation due to mental distraction could mean the difference between life and death.

Granted, with playing guitar, we’re not talking about a life or death situation. But imagine the level of expression – no matter your level – that you could experience when your mind is quiet, and you’re playing with the intensity of purpose that comes from absolute focus. That’s never a bad thing.

Give it a try. You may surprise yourself at what you create. From my own personal experience, whenever I’ve been in the Zone, I’ve created my best music be it on stage or in the studio.

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I’ve spoken about him before, but Mark Wein of Mark Wein Guitar Lessons really knows his stuff, and I’ve gotten a lot mileage from his free video tutorials. One set of tutorials that I found as a real useful review, plus learning some new stuff as well, is his series on Partial Chord Shapes. Really great stuff!

Anyway, here are links to the lessons themselves:

Partial Chord Shapes Primer
Partial Chord Shapes #2 – Backbeat Rhythm Guitar!
Partial Chord Lesson #3 – Funk and R&B Guitar Parts
Partial Chords #4 – Rock guitar parts on the first 3 strings.

Mark is such a great teacher! I love his no-nonsense approach to teaching guitar. Anyway, definitely give these videos spin!

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I’ve been on this blues thing lately with my music; not going all out with the blues, but definitely having a huge blues influence on the music I write. But one thing that I was sure of was that I didn’t want to just learn blues licks – the same licks practically everyone plays. I suppose you could say I want to play with a blues style, and I’ve been searching far and wide to learn the blues. In my search to learn the blues, I’ve come across several instructional series and video tutorials, but many focus on playing blues licks, without really getting into learning or more importantly, acquiring a vocabulary to express the blues. Technique I can learn, but really what I want to acquire is an intellectual “sense” for what works in a particular phrase, if you catch my drift, then learn technique as a secondary thing.

I know, a bit confusing, and I’m having a hard time articulating what I’m after, so I supposed the best way to explain it is that I want to intellectualize my playing, then practice the hell out of what I learn. The only problem with this approach is that once I’ve mentioned that to teachers or others, they jump right into modal theory. Sure, that’s really useful, but in many ways, it’s also really abstract. Enter Chuck D’Aloia, who has come up with a wonderful series called “Blues with Brains.”

Blues with Brains is a two volume set. I’ve only gotten through half of the first volume so far, but what I’ve learned in just this short amount of time has really made me leap light years ahead in how I approach doing solos. I’ve always played by feel, and have fallen back a lot on the minor blues scale – mainly because it’s easy. But after I wrote my last song, I realized that while it sounds pretty good, and I have some interesting ideas, there was part of me that knew I could do so much more with it.

And by pure chance, I happened to read a thread on a popular guitar forum where this dude was demonstrating his new MIM Strat. His technique was absolutely flawless, and his presentation and tone were simply to die for! So I clicked on one of the links in his signature, and came to this site: Chuck D’Aloia Music. I read through the explanation, and saw that he also did Skype lessons, so I immediately contacted him about taking his lessons. In my email I explained about how I felt I could do more with my music and attached my latest song. He replied back several days later with exactly what I was thinking that ideas and tone were good, BUT rather than jump into lessons, I’d get a lot more out of his Blues With Brains series. It would be stuff that I could learn at my leisure, and once I digested the material, then we could explore the Skype lessons.

How cool was that? Rather than taking the higher money route, he just pushed his video series. So I downloaded both volumes for $40. When I got home that evening, I launched the first volume, and within the FIRST FIVE MINUTES, Chuck had effectively changed the way I looked at playing solos! That’s all it took! Obviously, I’ve had to apply and practice those concepts as I don’t have the fingering down completely, but the mere fact that I was able to attain a sense of what to do in a relatively short amount of time was just amazing to me!

Chuck’s approach is simple. He plays over a chord progression first. Then he takes apart the progression, and discusses and demonstrates what is possible to do at that particular point. The cool thing is that he also intersperses modal theory into the explanation, but doesn’t make the central to the discussion. It’s like, “Here are the notes you can play, and here’s what you can do with these notes…” It’s a very straight-forward approach, and while I realize I have a lot of practicing to do, I’ve gotten more out of the 40 minutes I’ve spent so far in these lessons than I have poring over books of scales and modes. The most important thing that I’ve gotten out of these lessons is that Chuck doesn’t teach licks. What he teaches is possibilities. He leaves it up to the student to express themselves! That is EXACTLY what I have been after all these years!

Without a doubt, I’m a total believer in Chuck’s series! If you want to learn the blues, and not just blues licks, and you want to really understand what you’re playing, you owe it to yourself to get this series. You will not be disappointed in the slightest!

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I normally don’t write about instructional sites, mainly because they’re a dime a dozen, and most follow the same model of discussing theory, and providing scale diagrams that accompany the theory. Not that these aren’t helpful, but I tend to be the type of player that learns more effectively by actual example. So it was fortuitous that I happened upon a discussion on a forum about guitar lessons. Someone asked a question about guitar lessons online, and to a person, the respondents all replied that the original poster should go to: Mark Wein Guitar Lessons (http://www.markweinguitarlessons.com).

Intrigued, I went there, and was totally blown away by what Mark Wein offers: Free instructional videos that not only cover theory, but provide instruction on practical applications of the theory. Take, for instance, the following video on the minor blues progression and some variations:

While Mark mentions some theory in the video, it’s mostly about interesting ways to “liven up” the minor blues chord progression. Now that’s useful!

After I viewed several of the videos, I decided to give Mark a call and just chat with him about his vision for the site. Here’s a transcript of the interview:

GuitarGear: So Mark, tell me about the site… Why would you just give away great lessons like these?

Mark: I wanted to differentiate my site from other instructional sites that simply offer text-based discussions of theory and give you a few diagrams of scales. Frankly, the videos draw in a lot of business for us. But as far as the videos are concerned, I didn’t want to just show the information, I wanted to provide the “why” behind the instruction. It’s all about communicating these ideas; teaching them in an easy way for students to understand and adopt in their playing.

GuitarGear: So what would say your overall philosophy is with respect to teaching?

Mark: There’s a real concentration on really teaching the guitar and more importantly, making music. I found that it students progress a lot faster when they have a context. Sure, I can teach mechanics, but to me, it’s more important to teach students to play music.

GuitarGear: Mark, I have to tell you that it’s refreshing to hear that. I work with a lot of young people who join my Church band, and some of these kids are incredibly talented, being able to cop their favorite guitarists’ licks like there’s no tomorrow. But ask them to strum some simple, funky blues progression, and they flail hopelessly.

Mark: Right. That’s my point exactly. Lots of people know technique, but are they really playing music? Probably not.

GuitarGear: Let’s move on… Can you tell me a bit about your history? How did you start with guitar?

Mark: It’s actually kind of a funny story. Like a lot of kids I got together with a few guys to start a band. I had been around music all my life, so it was only natural that I’d do the band thing. Anyway, I wanted to play drums, but one of the guys already played. So I couldn’t do that. I did bass for awhile, but another guy did that. You really don’t want me singing, so I basically got stuck with guitar. When I got older, I went to a local community college to study music theory and performance, then I got accepted to USC – unfortunately, I wasn’t able to attend, so I started working in a couple of bands, produced some stuff, and did teaching as well. Anyway, I decided to put a real focus on teaching, which I loved anyway.

GuitarGear: So you’ve had this business for awhile…

Mark: Actually, we’re celebrating our fifth anniversary this year. But it was my wife who was really behind me opening up a school, and since we’ve opened, we’re up to ten teachers, teaching all sorts of styles. Plus we have a performance program so bands and musicians can learn performance.

GuitarGear: Very cool…

Mark: We also offer online lessons…

GuitarGear: Really? Now you’re talking. That’s exactly what I’m looking for! And since we share similar philosophies about guitar playing, I’m going to set up some lessons in the near future…

At that point, the interview kind of ended, because we got into a discussion about what I was after, and how I could take lessons and stuff, then of course, we got into the obligatory discussion about gear. Here’s a brief synopsis of what Mark plays:


Suhr Classic
Suhr Classic T
Les Paul Standard (cream-colored – nice)


’66 Bassman
Silvertone 1484
Peavey Pentone

Tons of pedals…

It was great talking gear with Mark. He’s a true believer in using lower-wattage amps so you can take advantage of the power tube grind. He shared a story with me that had me chuckling where he played a gig on this HUGE Van Halen-size stage and only had a 22 Watt amp. People laughed, but the sound guys loved him. And that’s a great story because unlike the bad old days when sound reinforcement wasn’t nearly as good as it is now, you had to have multiple stacks to get your sound out. But nowadays, you have great PA gear, so it’s just a matter of getting a stage volume that you can hear, and let the PA handle the rest. That makes a lot of sense, and Mark’s sensible approach to guitar is what has given him success so far.

Rock on, Mark!

For more information, go to http://www.markweinguitarlessons.com

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My friend, Vinni Smith of V-Picks is an incredibly talented guitar player, and one of the things that has really sparked our friendship is our love of Peter Frampton’s music. It was hilarious to find out that his favorite guitar solo in the world is the middle lead break in the song “Do You Feel Like We Do?” from Frampton Comes Alive. It has been my all-time favorite guitar solo since I was in junior high way back when. Now, after all these years, Vinni shows how to play the middle and ending solos in the following clips:

In this next solo, Vinni is demonstrating his new pick, the Dimension, while playing with Saint Guitar Benchmark.

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