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This article, titled "REFLECTIONS ON TIES AND NOTE DURATIONS IN ORGAN MUSIC, PART 3," discusses the use of ties and note durations in organ music, specifically focusing on the works of César Franck. The author explores the question of whether ties are omitted due to convention or carelessness, and the impact of note durations on the overall sonority and accentuation of the music. The article also touches on the subjectivity of these choices and the importance of personal taste and convictions in interpreting and performing organ music. The author, Christophe Mantoux, is a professor of organ and a titular organist in Paris. [Extracted from the article]

Carlos Alomar, a Puerto Rican-born musician, reflects on his career as a session guitarist, particularly his work with David Bowie. Alomar emphasizes the importance of both musical proficiency and personality in securing jobs as a session musician. He discusses his experiences working with Bowie and other notable artists, and his plans to pay tribute to Bowie's music with a tour featuring the DAM Trio. Alomar also reflects on his childhood fascination with the guitar and his desire to honor the legacy of the musicians who have inspired him. [Extracted from the article]

The article discusses the concept of MIDI Polyphonic Expression (MPE) and its potential to revolutionize music performance. MPE allows for more expressive control over musical parameters such as velocity, pressure, slide, glide, and lift. It enables musicians to manipulate individual notes within a chord independently, creating unique and dynamic performances. The article provides instructions on setting up MPE with different hardware and software, explores MPE implementation in various synthesizers, and recommends MPE-compatible plugins and instruments. It also highlights the role of Roli as a driving force behind MPE's mainstream adoption. [Extracted from the article]

Allan Holdsworth, a renowned guitarist, is known for his contributions to fusion guitar and his innovative approach to the instrument. He reinvented the guitar through his fretboard concept, which allowed him to see every available note across the neck. Holdsworth's playing style was characterized by his use of legato and his fast execution of lines. He pushed the boundaries of jazz harmony and was influential in terms of his sound and tone. Holdsworth's death in 2017 shocked the music world, but his music continues to gain respect and admiration. While his style is complex and difficult to summarize, there are recognizable motifs and stylistic features that are considered "Holdsworthian." [Extracted from the article]

This article from Guitar Techniques explores the acoustic side of Pete Townshend, the guitarist and songwriter for The Who. While Townshend is known for his electric guitar work, his innovations as an electric guitarist are also reflected in his acoustic playing. The article discusses Townshend's musical background, his influences, and his unique approach to rhythm playing. It also provides a study piece that examines three facets of Townshend's playing: fingerpicking, strumming, and the creative use of triads. The article suggests listening to The Who's discography to hear Townshend's acoustic playing and mentions that he is often associated with the Gibson J-200 acoustic guitar. [Extracted from the article]

This article from Guitar Techniques explores a short piece by Fernando Sor, one of the founders of classical guitar style. The piece, Exercise No 9 (Opus 35), is a masterclass in combining harmonically nuanced compositional writing with simple and accessible arpeggiated passages for building technique. The article provides technical notes and exercises to help players improve their plucking-hand arpeggio patterns and chord change efficiency. Overall, Sor's work is celebrated for its beauty and is both a joy to listen to and rewarding to play. [Extracted from the article]

This article from Guitar Techniques magazine provides an exclusive look at the unique sound and style of the band Kings X, particularly focusing on guitarist Ty Tabor. Kings X is known for their use of drop D tuning, which gives their music a heavier sound. The band's music combines powerful riffs, tight funk grooves, blues and gospel-style vocals, and Beatles-inspired harmonies. Ty Tabor's guitar playing is characterized by heavy rhythms, intricate solos, and melodic sensibilities. The article includes examples of Ty's rhythm work, lead guitar playing, and soloing techniques. Kings X has released numerous albums and continues to be influential in the rock genre. [Extracted from the article]

This article from Guitar Techniques features an exclusive video masterclass with Canadian blues-rock guitarist Philip Sayce. Sayce demonstrates six Texas-style blues licks, showcasing his fast and fiery playing style. The licks are based on various tonalities, including guitar-friendly keys like E, C, and A, and incorporate a combination of Major and Minor Pentatonic scales. Sayce also utilizes blues-rock techniques such as string bending, finger slides, and finger vibrato. The article provides notation and tablature for each lick, allowing readers to learn and incorporate them into their own solos. [Extracted from the article]

This article from Guitar Techniques explores the career and unique playing style of Jim Hall, a renowned jazz guitarist. Hall's musical journey began with influences from Benny Goodman's guitarist and saxophonists like Coleman Hawkins and Lester Young. He gained recognition in the jazz community and collaborated with legendary figures such as Ella Fitzgerald, Sonny Rollins, and Bill Evans. Hall's harmonic awareness and dynamic sensitivity set him apart, and his collaborations with younger players further solidified his legendary status. The article also includes musical examples inspired by Hall's style, providing readers with opportunities to learn and explore his techniques. [Extracted from the article]

This article from Guitar Techniques magazine explores the key features established by instrumental guitarists in the 1950s, focusing on five influential players/bands: Hank Marvin, The Ventures, Dick Dale, Link Wray, and Les Paul. The article discusses the style and image of 50s instrumental guitarists, as well as the use of effects like tape echo and spring reverb to enhance the guitar's sound. It provides examples and performance pieces inspired by these instrumental icons, emphasizing the use of major and minor triads and pentatonic scales. The article concludes with a focus on vibrato techniques and recommendations for further exploration of the genre. [Extracted from the article]

The article focuses on demystifying vocal jazz improvisation, particularly over the twelve-bar blues, for music educators and students. It provides practical strategies to enhance both conceptual understanding and creativity in vocal improvisation, aiming to build confidence in students as they navigate this challenging yet attainable skill.

This article from Guitarist magazine explores the origins and modifications of guitarist Andy Summers' heavily used Telecaster guitar. Summers relied on this guitar during his early career with the band The Police, and it was extensively modified with features such as a humbucker in the neck position, a pickup phase switch, and an active boost controlled by an additional knob. The article delves into the mysteries surrounding the guitar's origins and modifications, including the identity of the original modder. Fender later released a limited edition Tribute version of the guitar in 2007. [Extracted from the article]

The Oberheim TEO-5 is a cost-effective polyphonic synthesizer that combines the sound of classic Oberheim synths with modern features. It has a solid and compact body, with five notes of polyphony. The synth offers hands-on control and a variety of modulation options, including a state variable filter. It also includes dual effects sections and a dedicated overdrive control. While it may be limited in terms of polyphony, the TEO-5 offers enough personality and sound design capabilities to make it a standout option in its price range. [Extracted from the article]

This article from Future Music provides an overview of modern EQ tools and techniques. It explains the basic concept of EQ, which involves adjusting the energy of specific frequencies in a signal. The article discusses the evolution of EQ technology from early analogue units to digital EQs, highlighting the improvements in sound quality and user experience. It also explores new innovations in EQ plugins, such as unmasking plugins and EQs with harmonic bands. The article includes step-by-step instructions for using specific EQ plugins, including Pro-Q 3, Neutron 4, Sonible's pure:unmask, Kirchhoff EQ, and Scaler EQ. It also mentions some popular EQ plugins in the market, such as Sonible smart:EQ 4, Universal Audio Pultec Passive EQ Collection, and Waves API 550. The article concludes by discussing the benefits of analogue-style EQ plugins in the digital realm and provides an example of using the Pulsar 8200 EQ with a de-esser feature on a drum track. [Extracted from the article]

The article explores various altered guitar tunings to enhance creativity and versatility in playing. It covers popular tunings like DADGAD, which provides a harmonically ambiguous sound with a Dsus4 chord, and Open D (D A D F# A D), favored for blues and fingerstyle pieces. It also discusses Open G (DGDGBD), known for its use in Hawaiian slack key and bottleneck blues, and Open Aadd9 (E A C# E B E), which offers a distinctive major third and ninth interval sound.

This article discusses the organ music of American composer Tom Johnson, who has been composing for many years and has developed a following of devoted fans. Johnson's compositions often incorporate mathematical formulas, sequences, and self-replicating loops, and he considers himself primarily a minimalist. The article provides an overview of some of Johnson's organ works, including "Mélodie de six notes," "Organ and Silence," "55 Chords," "Hidden Melodies," and "Orgelpark for Chart: For Four Organs." The author emphasizes the unique and stimulating nature of Johnson's works, which require concentration and careful interpretation from performers. [Extracted from the article]

This article from Guitar Techniques provides an overview of the guitarist John McLaughlin and his contributions to fusion music. McLaughlin's experiments with complex harmony, Eastern scales, and chromaticism, combined with rock and metal influences, established him as a pioneer of fusion guitar. His work with the Mahavishnu Orchestra showcased fusion's complex time signatures and mixed modality, influencing progressive rock and metal. McLaughlin's style continued to evolve, exploring Eastern leanings with Shakti and European guitar traditions with The Guitar Trio. Despite his age, McLaughlin remains active in the music industry, consistently producing fusion at a high level. The article also includes examples of McLaughlin's playing techniques and recommended albums for further exploration. [Extracted from the article]

This article from Guitar Techniques explores the blues-rock style of Billy Gibbons, the frontman of ZZ Top. It highlights his influence in the genre and his signature techniques, such as pinched harmonics and picking-hand tapping. The article also discusses Gibbons' impeccable phrasing, relaxed style, and his ability to play for the song. It provides examples of his popular melodic shapes and emphasizes his use of modulations to create excitement in his solos. The article concludes with recommendations for exploring Gibbons' discography and tips for achieving his tone. [Extracted from the article]

This article from Guitar Techniques offers advice from 15 accomplished guitarists on how to improve memorization skills in music. The guitarists share different strategies, such as repetitive playing, analyzing the arrangement, and using muscle memory. They stress the significance of repetition, practice, and deep listening to internalize the music. Some guitarists also discuss the difficulties of memorizing complex pieces and staying focused. Overall, the article provides valuable tips for musicians seeking to enhance their memorization abilities. [Extracted from the article]

The article titled "SPECIAL FEATURE: Fantasy Blues Jams!" in Guitar Techniques discusses the appeal and complexity of playing blues guitar. It highlights the different playing techniques, lead vocabulary, and stylistic awareness involved in blues guitar. The article presents five mini pieces in the style of iconic guitarists, such as BB King, Freddie King, Jimi Hendrix, Eric Clapton, David Gilmour, Mark Knopfler, Jimmy Page, Jeff Beck, Gary Moore, and Joe Bonamassa. Each piece showcases the unique characteristics and techniques of these guitarists. The article emphasizes the importance of feel and musical meaning in blues guitar playing. It also provides recommendations for achieving the desired tone and suggests relevant tracks for further exploration. [Extracted from the article]

Beabadoobee, born Beatrice Laus, is a singer and songwriter known for her honest and introspective approach to music. She gained popularity with songs like "Coffee" and "Death Bed (Coffee for Your Head)," which were widely appreciated by listeners. Beabadoobee recently announced the release of her new studio album, "This Is How Tomorrow Moves," which explores personal growth and maturity. She has had a successful career, with albums like "Fake It Flowers" and "Beatopia" receiving positive responses from fans. Beabadoobee continues to tour and release new music, showcasing her unique blend of rock and pop. [Extracted from the article]

The article presents an interview with British American guitarist Slash. When asked about his unconventional approach to blues music, he emphasized personal expression over conformity. He further talked on topics including his diverse lineup of collaborators, the experimental nature of his latest album "Orgy Of The Damned," and the raw, unfiltered recording process that contrasts with modern studio practices.

This article from Guitar Techniques discusses the Harmonic Minor scale and its usefulness for guitar players. The Harmonic Minor scale has a unique sound due to its inclusion of a Major 7th interval, making it different from the Natural Minor scale. It is particularly effective for playing over a perfect cadence, where a V7 chord resolves to a Minor chord. The article provides examples and a study piece to demonstrate how the Harmonic Minor scale can be used in different musical genres. The author encourages readers to explore the scale across the entire guitar neck using the CAGED system. [Extracted from the article]

This article from Guitar Techniques features Trivium's guitarist, Matt Kiichi Heafy, who shares three neo-classical licks in this month's JTCguitar lesson. Heafy, a prominent figure in modern metal, has released 10 albums with Trivium and has a black metal side project called Ibaraki. He recently released his debut masterclass through JTC Guitar, where he shares his knowledge and experience in modern metal. The article provides examples of Heafy's style, emphasizing the importance of downpicking and the blending of rhythm and lead techniques. [Extracted from the article]

This article from Guitar Techniques magazine explores the style and influence of the 80s band The Cult, with a focus on their guitarist Billy Duffy. The Cult, formed in 1983 in England, started as a post-punk or gothic rock band but later achieved mainstream success with a more rock sound. The article discusses their collaborations with producers Rick Rubin and Bob Rock, as well as Duffy's musical influences. It also provides information on the key and tempo of one of their tracks, as well as tips on achieving their guitar tone. The article concludes with recommendations for further listening and playing notes for both rhythm and solo guitar parts. [Extracted from the article]

The article discusses the pivotal year of 1976 for the band Thin Lizzy, focusing on guitarist Scott Gorham's perspective. Gorham reflects on the band's success with the albums Jailbreak and Johnny The Fox, as well as their breakout single "The Boys Are Back In Town." He discusses the band's prolific songwriting during this time and the challenges they faced, including health issues and tour cancellations. Gorham also talks about the band's unique sound, their Irish influence, and their ability to experiment with different musical styles. He emphasizes the strong bond he had with lead singer Phil Lynott and their shared sense of humor. Overall, the article provides insights into Thin Lizzy's rise to fame and their impact on the rock music scene of the 1970s. [Extracted from the article]

This article from Guitarist magazine, titled "Blues Headlines," features Richard Barrett, a tutor who aims to improve blues guitar playing. Barrett provides four examples of blues solos using the whammy bar instead of a slide, inspired by Jeff Beck's style. He offers tips on setup, equipment, and technique for achieving the desired sound. The article also includes recommendations for Jeff Beck's performances and albums that showcase his whammy bar technique. [Extracted from the article]

The article provide guitarists with different approaches and techniques for soloing over the V chord in a 12-bar blues progression, including utilizing the blues scale, emphasizing specific chord tones, incorporating major pentatonic scales, and visualizing chord shapes.

The article focuses on jazz adaptations of the 12-bar blues progression, offering stylistic tips to elevate it into a sophisticated jazz piece. Topics include integrating bebop scales, arpeggios, and improvisational techniques alongside the traditional blues scale. It reports that the track is divided into manageable 12-bar sections for easier learning, and it emphasizes the importance of patience and gradual progress in mastering the advanced material.

This article from Guitar Techniques magazine features a lesson on neo-soul guitar by Mateus Asato, a prominent guitarist in the genre. The lesson focuses on chordal double-stops, textural guitar playing, and the use of grace notes. The article discusses the blending of rhythm and lead, as well as the incorporation of funk, jazz, and fusion elements in neo-soul music. It also mentions other notable neo-soul guitarists, Rodrigo Gouveia and Melanie Faye. The article provides three examples of Mateus Asato's playing style, showcasing his use of intricate grace notes, different techniques, and a single-note lead approach. [Extracted from the article]

This article from Guitar Techniques explores the Melodic Minor scale as an alternative choice for soloing in a Minor key scenario. The Melodic Minor scale is similar to the Harmonic Minor scale but features a Major 7th interval, giving it a unique sound. It is commonly used in jazz and works well over Minor II-V-I progressions, Minor 6th, and Major 7th chords. The article provides examples and a study piece to help guitarists incorporate the Melodic Minor scale into their playing. [Extracted from the article]

This article from Guitar Techniques explores the guitar style of Joan Baez, a prominent figure in America's folk and protest song movement in the 1960s and beyond. Born in New York in 1941, Baez developed an interest in music at a young age and began playing the ukulele before transitioning to the guitar. Her early guitar style consisted of fingerpicked chords with melodic elements, but as she worked with other musicians, her arrangements became more sophisticated, incorporating jazzy chord voicings and Spanish influences. The article suggests that Baez's guitar style offers a unique and challenging approach for acoustic guitar players interested in the 1960s folk sound. [Extracted from the article]

The article discusses the success and musical style of the band The Killers. Formed in Las Vegas in 2001, the band has achieved global success and incorporates influences from various artists such as Bruce Springsteen, U2, New Order, and Duran Duran. Their music is characterized by melodic guitar parts and simple, positive phrasing. The article also provides information on the band's lineup, their debut album "Hot Fuss," and their ability to connect with large audiences. The article concludes with playing notes and information on the band's guitarist, Dave Keuning. [Extracted from the article]