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The article focuses on enhancing guitar accompaniment skills through exploration of blues rhythm styles. Topics include the importance of rhythmic proficiency for guitarists, various blues-influenced rhythms such as syncopated rock-blues riffs, 12/8 gospel patterns, and swing-shuffle arrangements, all aimed at developing versatility and creativity in rhythm playing. It also lists photographs of some guitarists including Joe Pass, Jimi Hendrix, and Robben Ford.

This article is an interview with French electronic music artist Canblaster, also known as Cédric Steffens. Canblaster collaborated with plugin company BLEASS to develop the BLEASS Arpeggiator, a unique plugin that allows for creative control over arpeggiators. The interview discusses the development process of the plugin, Canblaster's upcoming three-part record, and his use of livestreams to stay creatively productive. Canblaster also talks about his balance between hardware and software, his love for the club/live impact of tracks, and his use of Ableton Live as his main DAW. He shares his journey into music production, his modular obsession, and his plans for the future, including live shows and further collaboration with BLEASS. [Extracted from the article]

Australian post-rock trio Sleepmakeswaves have released their fifth album, titled "It's Here, But I Have No Names For It." The band, known for their instrumental music, embraced the absence of lyrics in their songs, allowing listeners to interpret the music in their own way. The album was created during the global shutdown, resulting in two hours' worth of material that was later condensed into a concise and focused album. Sleepmakeswaves also experimented with vocals on two tracks, breaking away from their instrumental tradition. The band plans to release two upcoming albums that will explore different aspects of their sound. [Extracted from the article]

The article focuses on exploring unconventional and experimental approaches to sound design, sequencing & processing in music production. Topics include the creative use of polymetric rhythms; working with microtonal scales; building effect chains for unique sound manipulation; using real-world recordings to create textures in music; encourages music producers to step outside conventional boundaries; and experiment with innovative techniques to create distinctive and memorable music.

The article presents an interview with Marty Schwartz, a prominent guitar educator known for his Marty Music YouTube channel, highlighting his insights and tips related to guitar playing and skill development. Topics include the importance of rhythm in guitar playing, the challenge of information overload for learners, and valuable practice tools for guitarists.

The article discusses American guitarist Steve Vai's highly appealing and inventive rhythm playing ruled by outlandish syncopation and chord voicings approach on his album "Passion and Warfare."

The article focuses on a special Sphere Exosphere content show celebrating Earth Day, featuring artwork from artists Mickey Hart and Louie Schwartzberg. It discusses their contributions to the event and highlights the immersive experience created by their combined artwork displayed on Sphere's immersive exterior. It provides background information on the artists, their techniques, and their dedication to environmental advocacy.

The article offers information related to exploration of pick playing. Topics discussed include how to play open strings as a drone note underneath fretted notes higher up the neck, technique that has been used to great effect by a number of rock greats, alternating up and down strokes that can help to emphasize the quarter-note feel and three consecutive notes on three different strings.

The article introduces Soma Laboratory, a company known for its innovative musical instruments designed to challenge conventional concepts of pitch and rhythm. Cosmos, one of their creations, is a generative musical device that draws inspiration from Robert Fripp and Brian Eno's Frippertronics system, offering unique effects like extremely long delay times and multiple delay lines for mindful sonic exploration in a non-traditional delay pedal format.

The article presents an interview with Josh Middleton, highlighting his modern metal guitar techniques. Topics include honing alternate picking skills, the importance of right and left-hand coordination for both lead and playing, and the value of string skipping and sweep picking to cover a wide melodic range.

The article focuses on Cory Wong's approach to "lead rhythm guitar" in funk music, emphasizing creativity and signature musical ideas, including the techniques to elevate rhythm, single-note chord outlines, and incorporating muted notes for a richer sound.

The article focuses on Cory Wong, a funk guitarist, and his guitar techniques. Topics include the importance of maintaining a rhythmic "motor" with precise strumming patterns, his hinting at chords rather than playing every note, and the use of specific chord shapes in major, minor, and dominant categories.

The article offers suggestions for playing a bass guitar music. It mentions about trying playing the notes squeezing through the note with the side of the thumb, bringing thumb to rest on the next string down. It also mentions about placing first fnger on a C at the third fret on the A string, pluck it, and after a second or two, hammer on with the little finger on the D at the fifth fret.

The article discusses the use of the tapping technique for a chord progression for advanced solo pieces by presenting several examples. Topics discussed include information about time signatures by bassist Phil Mann, the altered bass part in the penultimate bar and playing of bass with the fretting hand.

The article offers suggestions on improvisation vocabulary of music with pentatonic scales by presenting several examples for improvisation. Topics discussed include the role of bass-lines in connecting chords, the impact of changing the rhythm on the audience and Moods For Moderns by Elvis Costello.

The article explores the nuances of 6/8 time signatures by providing several examples with musical meter. Topics discussed include an eight-bar blues which contains cadences with the harmonic movements, benefits of chord progression for bassist and playing of rhythmic exercises to improve orientation.

Usher's latest album, "Coming Home," has been praised for showcasing his strengths and returning to familiar musical styles. The album features 20 sultry and diverse songs, with Usher effortlessly navigating the challenges he sets for himself. The hit single, "Good Good," has become a popular breakup anthem, while the track "Ruin" incorporates lush amapiano melodies and highlights Usher's reinvention. Although some may find the album's length excessive, "Coming Home" demonstrates Usher's veteran status and willingness to explore new musical techniques. [Extracted from the article]

The article discusses various music games that are available for different platforms. It mentions Fortnite Festival, a mode in the popular game Fortnite where players can choose popular songs to play along to. Another game mentioned is Trombone Champ, which allows players to play a virtual trombone by raising and lowering their controller stick or mouse. The article also highlights music games for phones, such as Beatstar and Magic Tiles 3, and a virtual reality game called Beat Saber. The popularity of Fortnite Festival is mentioned, with over 600,000 people playing it on the day it was released. [Extracted from the article]

The article discusses the author's decision to introduce his seven-year-old daughter to various instruments, including an electric drum set. The author reflects on his own experience learning drums, highlighting the challenges of playing in time consistently and focusing on dynamics.It also mentions the importance of rhythm, dynamics, and hit placement, suggesting that exploring different sounds and practicing with a metronome can enhance one's overall musical skills.

The article dicusses ways to use economy picking to enhance performing scale- and mode based melodic picking with three notes.

The article offers information on producing singer Aaron Smart for the project "Silverplanes" by producer Jack Douglas at LAFX Recording Studio in Los Angeles, California. Topics discussed include mixes by engineers Shelly Yakus, Jay Messina and late Geoff Emerick; adding drums, then bass to get the foundation of the rhythm section, and finally guitars by Messina; and use of the SSL 4000 G-Plus console.

The article presents advances tutorials for bass guitar musicians. Topics discussed include incorporating rhythmic elements into the complex and syncopated music, popularity of playing techniques of bassists Bobby Vega, Cody Wright, and Eric Gales, and music scores with details of playing bass guitar in various styles such as funky and shakes.

The article offers step by step instructions for odd-metered grooves to learn rhythm on an instrument for music.

The article offers suggestions for transcribing guitar music that includes determination of rhythm with analysis of tempo for a phrase; identification of an appropriate note for tuning the guitar; and assessment of changes in articulation techniques for sound differentiation.

The article offers a guide to the craft and art of playing classic blues shuffle rhythm guitar including harmonizing the drums as the fundamental role of rhythm guitar, playing the turnaround accent without changing the steady down-up picking pattern and a steady pattern of upbeats.

The article presents an interview with musician Alexi Laiho who discusses the aspects of the riff in his music "Morrigan," which features various notes, how does he come up with the low B tone, and the various rhythm and techniques he used to practice and the challenges of playing guitar.

The author focuses on how jazz musicians can end the tune using chromaticism and the role of bass player during the process. Topics include the need to repeat the root to outline the chromatic root movement in a walking bass line, the use of half-time chromatic phrase from the melody of the song " Donna Lee," and the emergence of internet kerfuffle after a double bassist posted his MIDI-synced version of the song "Flight of the Bumblebee" and then claimed it as his actual live performance.

The article offers the author's insights on jazz musician Jymie Merritt and the bass lines on his song "Whisper Not." Topics include the performance of Merritt from a live concert with Art Blakey and the Jazz Messengers in Europe, the three key centers used in the song and their rhythmic hits in the first two bars from the piano, drums, and bass, and the classic recordings of Merritt and his pioneering work on the Fender bass.

The musical notation for the song introductions and melodic development.

The musical notation of the song "You Look Good to Me" is presented.

An interview with bass player Pino Palladino is presented. When asked about how does he view his role as in the band PSP, he asserts that he provides the groove and gets the odd meters to feel comfortable. He affirms that he is free to develop his parts and putting a rhythm to the band's music. He relates that he has been playing the fingerstyle technique on fretted bass.

The article features Tim Bogert, a bass player and a member of Beck, Bogert & Appice power trio. He states that in the song "Lady," he exemplifies rhythmic awareness and freewheeling inventiveness. It notes that he employs a two-finger plucking technique and occasional rakes that settles into a simmering groove that makes a full use of the opem E string.

An interview with guitarists Dan Jacobs and Travis Miguel of the rock band Atreyu is presented. When asked what approach they use when recording guitar parts, Miguel explains that they work each section in layers and spend an average of three days just recording the simple, basic rhythm guitar parts. Jacobs says that after releasing new records they go back to their past releases and try to review what is special about them and try to take them into consideration when writing new materials.

An interview with guitarist Zakk Wylde is presented. He relates the symptoms of and being diagnosed with blood clots behind his left knee, calf, and the Achilles tendon as well as his lungs. According to Wylde, he always thought every day is a gift and that he is always optimistic about life. He reveals that he does not care what other musicians do to the rhythms he recorded or songs he wrote as long as he is getting paid for their use.

The article discusses exercises for five- and seven-note groupings in alternate picking. It notes the use of a single-string repetition fragment that allows for shifting of positions and familiarizing with accenting the beat with downstroke and upstroke movement. It cites that inside picking is an exercise where two strings are incorporated, while outside picking helps to synchronize two hands with the pick swung widely for the slower tempos.

An interview with Nashville, Tennessee-based bass guitarist Mike Brignardello is presented. Topics discussed include the impact of the changes in country music like syncopated rhythms along with heavy synth and guitar on what he plays, the bass lines for a studio session, and studio bass player. Brignardello also shares his views on how a bass player makes desirable to a producer, and his advice to someone looking to break into the studio scene.

The article discusses finger-tapping technique for bass guitar playing, using the song "Outbound." Topics include the middle section of the song, that is played on the D string, and contains taps, pull-offs, and hammer-ons; a series of sixteenth-notes that establish the harmony and the rhythm; and creation of arpeggios.

The article presents an interview with bluegrass bassist Todd Phillips. When asked how his playing was influenced by Scott LaFaro, he said that he picked up syncopation. He also said that using few more notes, in regular bluegrass that bass player does not use that many leading tones to the next chord.

The article presents an interview with the Duran Duran band's lead bass player John Taylor. The Duran Duran band group has also been honored with life time achievement awards from MTV and Q magazine in the past year. John's mastery for funky dance grooves is worth appreciating in the band's new album, Astronaut. John Taylor forges a completely original and highly influential style in all his albums. He has also contributed in giving the band distinctive tone, surprising note choices and wild syncopations along with adding something new in his bass vocabulary. The article gives an inside view of the mastery and talent of John Taylor. INSET: The Astronaut's Toys.

Presents the views of various bass guitar players on 'the groove.' Dusty Hill; Rhonda Smith; Juan Nelson; Mark Adams; Robert Trujillo; Phil Chen; Jack Casady; Raphael Saadiqu; Jonathan Maron.

Presents suggestions for bass guitarists on how to improve their 'groove.' Opening up of one's self to the energetic force that makes the groove happen; Direct relationship between one's ability to groove and one's ability to internalize rhythm; Integration of feel with surroundings in order to achieve 'big pocket groove.'

Looks at tools for injecting riveting doses of rhythm into music and things one can do with a synthesizer. MIDI clock signals; Filter-cutoff frequency; Creation of a pitch sequence; Modulation sources. INSET: Break It Down.

The article offers information on guitar teaching pieces focusing on shuffling musical rhythm, transposition, and guitar playing through a 12-bar blues progression.

The article offers ways on how to master complex music including transcribing audio software, analyzing the rhythm and finding the right guitar, pickup, or pedal settings for each section.

The article discusses the appearance of triads in the music single "Autumn Leaves" played by bassist Sam Jones and drummer Art Blakey. It states that Jones played each chord of the chorus with beat one of measure and delivered the changes with simple triads. It mentions that the basic walking line presented on the first four bars in the single use triads which started on the root of each chord. It adds that the Cm triad and the F triad are outlined in the song starting on the third chord.

The article discusses the digital metering in the digital audio workstation. It states that meters are the visual cues and testing equipment that determine audio levels whether it is too low or too loud. Digital metering offers several options since it is capable of adjusting resolution, placement and sizing. Knowledge about digital metering is said to be important to know the status of the digital audio. INSET: THE EARS HAVE IT, by Michael Molenda.

Presents a musical notation for the song "P-Funk (Wants to Get Funked Up)," by Parliament.

The section presents the music transcription for the bass line of the music release "Goodbye Pork Pie Hat" by Charles Mingus is presented.

The article offers suggestions on how to avoid rushing tempos and how the rhythm section can help each other to pull the tempo back. Topics discussed include the use of metronome track in DAW software such as Pro-Tools and Logic; the role of monitor mix in managing timing for drummer in band and the importance of practicing timing and phrasing.