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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I have to work pretty hard over the solos sections so I can be free to improvise in odd meters and believe me, if Virgil is around and I lick a question, I’m not too shy to ask him for help! Chromatic exercises combining pick down stroke always and one finger at time middle, ring or pinky.
I could do 10 articles on this concept and still not cover everything, so I’ll leave gxrsed rest up to you. I’ve decided to present some unorthodox pentatonic ideas in this initial lesson.
BRETT Take a small idea and see how many different ways you can play it using the same notes but different strings and techniques. As for the other questions, sure, go ahead and ask. Brett takes a simple rhythm figure and repeats it changing note every time.
Great sounds and very well made. Trying to incorporate fingers into your playing is something that needs time and constant work, and one of the main problems to solve is the articulation of ring and little fingers. I don’t try to sound different from other people and my influences are obvious.
A short lick using the idea shown in FIG 1. I’d just rather spend time working on garse own original ideas than copying the ideas of others. The tempo is free and Brett increases the speed up from the second bar. 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.
In these two bars you can see Brett playing a major triad across the adjacent strings using the slide diagonally.
Brett Garsed > Lessons > Non-pattern Pentatonics
Facebook and email contact. MARK Do you have anything you still want to do? This is the end of the first chorus and Brett plays his Pedal-Steel-Like lick again featuring slide and fingers. Technique doesn’t mean breyt unless it’s accompanied by an original concept and that’s MUCH harder to achieve than chops.
Brett Garsed Masterclass 1
Powered by Create your own unique website with customizable templates. MARK Is their anything comming up that your fans can look forwrd to like albums or stuff? Rarely happens for me I’m afraid but on the odd occasion that it does, it’s one of the greatest feelings in the world. Exercise 1 is an A minor pentatonic played three notes per string. Hold the slide on the 7th fret using the 2nd finger: Home Lessons Non-pattern Pentatonics.
The simplest way to think of it is that whatever strings the pick plays, the fingers play the adjacent strings. Most of these ideas are very non-guitar, so they’re challenging to play but definitely worth the effort.
Just a subtle change in the order of notes can present a completely new possibility. I try to remind myself that the only risk is a bruised ego from playing some “off” notes so I try to always enjoy the privilege of playing music and take risks. Brett Garsed Masterclass 1. Record yourself in headphones as that will expose the smallest noise and if you can get rid of that then you’ll sound great while playing live. MARK Ive tried to copy a few of your licks and you have an amazing way of changing directions when your playing legato lines.
For this first part, I also asked Brett to demonstrate his technical approach in a solo: That way you’ll be able to play your ideas without being limited to any one particular part of the fretboard.
Note the fretting hand fingerings on the bottom two strings.
Brett Garsed Masterclass 1 | Dario Cortese
Exercise 5 is a good example of how experimental you can be with various shapes when you combine the min7 arpeggios with regular scale intervals. This is a great example of melodic pattern: Technique is only a means to an end so if everyone ends up doing the same finger-tapping arpeggios or whatever then they lose brety chance of being identified as an individual.
This is a good example of how you can stretch the scale to cover four octaves so it nrett the colour of a regular minor pentatonic but increases the range drastically for the guitar.
His general philosophy seems to be: 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. Could you give us a little insite into how you seem to so easily weave in and breett of scale fragments in such a smooth style? Those at the bottom are for the picking hand: Exercise 3 begins with an Am7 arpeggio, which is perfect to use with pentatonic scales. In bar 7 he starts a long phrase using arpeggios, legato garesd and septuplets grouping.
Everything is written in garse notes just to keep things clear. To develop this technique brwtt need to move the slide very quickly away from the strings keeping the picking hand muting the other strings quite. Guitar Addiction Facebook and email contact.
Another major influence for Brett Garsed is, surprisingly, country pedal steel player. This is the chord of the backing track. In these couple of bars you can see how naturally Brett incorporates fretted notes into the slide playing. In these bars you can see how Brett controls the open strings especially on the first frets.