This is Revelation Song by Kari Jobe, Hillsong United
This is definitely one of my favorite Christian worship songs of all time. It needs to be played right to get the full effect: lots of dynamic changes and open air in between the chords to let the lyrics ring out.
The rhythmic structure is | D | Am7 |C | G | one chord is one measure each. Start by strumming simply four times each to get the feel of the groove. As you play with the recording, try to use the band to give you a feel of how to participate with the song. You will want to have several of different strumming arpeggio patterns to compliment the band’s dynamics as the intensity of the song goes up and down.
To learn how to play effective arpeggios to this start with a basic 4 count strum to the song. Then slowly build your arpeggio line as you go(reference around the 3:30 mark) and I discuss these in depth with a few examples in the 14:30 mark.
I specifically explain how to play a Dsus2 on F# which is a nice compliment to this song
The loudest part of the song should be the bridge where it goes into | Am7 | F | C | G | x2
If you are leading this song in bible study you can play it on acoustic. Just make sure to remember to play very sparse in the intro and verses
Gear used for this video:
Pavel Custom Guitar Pavel De La Fuente
Fender Blues Junior (modded by Bill M)
Iphone 4s
I did a review of a Bill M (Bill Machrone) modded Fender Blues Junior. The was only a few hundred of these a tweed relic models made so I felt it was the ideal one to get to ask Bill Machrone to modify.
After Bill modded this amp sound got incredibly huge. The bass response is unbelievable and the clarity is amazing. I kept the amp at 15watts even tho Bill offers a mod to go the 30watts. I prefered the low wattage for low volume gigs and for teaching Fort Lauderdale Guitar Lessons.
The amp sounds like a cranked Fender Blackface amp, but it sounds a lot quieter and it is great for low volume. Very crisp and clear-I love the reverb and the highs are fully adjustable.
The mods had done by Bill M were:
The Basic Kit Mod
TO20 Output transformer
Presence Control Mod
Cathode Follower
Switchcraft Input
TP24 Transformer
Line Out built in
I changed the speaker to a Celestian Greenback
I changed the reverb to a “MOD” Reverb-it has a much darker tone
This instructional video of how to play “Low Rider” is an intermediate lesson for guitarists learning to be funk players. This groove is especially interesting because it starts on the “one” and then flips to the back beat. Before the loop ends it resolves back on the “one” beat. This is particularly good for you if you are an intermediate guitarists that are proficient with chords and lead playing but funk riffs have always evaded you because of their complexity. This is a relatively simple groove that still challenges your funk chops while allowing you to have fun with the rhythm. The trick to this beat is to really listen to the drummer-especially the snare drum.
I also talk about color picking in the video. This is a simple but crucial part of intense rhythmic playing that makes the rhythm of the guitar very engaging. I discuss scatting or singing the guitar lines with your mouth as a way of learning guitar lines faster. I learned this from the guitarist George Benson, in particular the song, “The Ghetto.” I use right hand muting, or “palm muting” all thorough out the guitar line to deepen the tone and make it really thump.
To sign up for a SKYPE LESSON with Dyce click here.\
This phrase was originally an Albert King phrase but Stevie Ray Vaughan made it famous. This is set in context of a standard slow blues in the key of E. If played correctly it sounds very nasty and jazzy and fast all at the same time. It is an intermediate/advanced level phrase.
I purposely focus the teaching on the “first half” of the phrase and leave the ending open for you to decided what suffix will work best for you. As you can see in my demo of the playing in context with an actual blues song, there are so many ways to use this phrase so I did not want to limit you to a certain suffix. I do give several ideas tho for you to draw from as you formulate your own ideas.
Gear for this vid: SRV strat, ’74 dyna comp MXR, AnalogMan King of Tone, Boss DD-7 Delay, ’66 Fender Super Reverb
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This is an amazing pedal. It is a very rare boutique pedal. There is a limited amount of them because they don’t make them anymore. I had a fun time demoing of the pedal in the video!
This is the white dot pedal (there is also a higher gain red dot pedal). There are some pros and cons of using this pedal in your rig. The pros are that it is an amazing pedal and there is nothing like it. The quality of the fuzz and the stinging sound distortion is unlike anything you have ever heard. The dynamic range is absolutely incredible and the sound completely changes depending on the output volume and tone knob of your guitar. The cons of the pedal is it is not very compatible with other pedals in my board -not even Analogman Pedals. It also thins out the sound a bit. Also the best sound this pedal can deliver is from the battery power not the 9 volt ac adaptor. This battery system is not conducive to my power system as my rig is pluged in 24/7 because I play full time. I don’t prefer to bother with changing batteries ect..
The manufacture says to put the fuzz all the way up and the volume at least half if not full. My experience is that the best sound of the pedal is with the volume and fuzz maxed out and control it all with the guitar volume, tone, and pickups. There is an extremely wide range of sound you can get including a very Jimi Hendrix kind of clean and fuzz. I really enjoy this pedal and I also enjoyed making this review. Please comment about your AnalogMan Sunface pedal experiences as I would love to read about them!
Click here is see a list of my gear on my website.
To contact Dyce Kimura for guitar lesson DVDs, Blues Skype Guitar Lessons, or lessons in the South Florida area click here.
This is an both an instructional video of improvising in F Melodic Minor (or F Minor) and a performance video where I am simply improvising for you. The melodic minor scale is a beautiful scale and is sometimes refered to as the major pentatonic scale. Try to play the guitar like a piano, having a light and subtle approach. This scale sounds beautiful in context to the song even if it is played exactly as is. Just try to be sublte and keep up with the changes in dynamics from the backing track. Try not to over play but keep the quiet parts sparse but with hight tension. Think Carlos Santana meets Stevie Ray Vaughan.
To stream the backing track of this video please view it from youtube and then click on the link in the description of the video.
To contact Dyce Kimura for skype or downloadable dvd lessons click here. If you are in the South Florida area feel free to call and make an appointment!
Today we are back in the woodshed working on a blues guitar solo lick in the key of E. This is a really bluesy Jimi Hendrix/Johnny Winter style lick that is actually four different licks put together and rolled into one. You can learn this phrase “as is” and benefit from it, or you can dissect it and use the individual fragments in your playing as well. Music is often identified as a language and we guitarists communicate in the language of music by using musical phrases. The goal for the beginner and intermediate blues player is to put together longer phrases (or sentences) so that they can make more elaborate statements on their instruments.
To get in contact with Dyce Kimura for guitar lessons in person or thru skype click here.
This is a blues turnaround in the key of E. This phrase is a MUST LEARN for all blues players. It immediately brings the genuine blues sound to your playing. A good example of this is on the intro to Eric Clapton’s “Before You Accuse Me,” off the unplugged album (great album by the way). I cover it both on the 4rth fret and the 16th fret (both octaves). Its very bluesy, very authentic. It is used at the end of a 12 bar blues progression on the 11th and 12th bar. The concept of the turnaround can be broken down and used at anytime in the blues progression as well if you understand how to use it. I explain this in depth during the video. This breakdown was used all the time in the playing style of Jimi Hendrix. If you come to understand this concept you can use it in any style, not just blues. I often hear it widely used in country guitar playing as well.
To contact Dyce Kimura for skype or downloadable dvd lessons click here. If you are in the South Florida area feel free to call and make an appointment!
This lesson is a backing track recreation of “Sloe Gin” by Joe Bonamassa. It is in D minor (or D Melodic Minor). I will be exploring a few specific phrases that I teach and expound upon. One of the techniques covered in this video are Stevie Ray Vaughan guitar phrasing double stops and string bending. I cover some Eric Clapton style phrasing from the “Unplugged” era as well as some David Gilmour style rakes. I also cover the use of sliding octave phrasing inside of a guitar solo. Also I am covering the topic of palm muted eighth note solo techniques (Nokie Edwards style). I address how to slowly create your own style or voice on the guitar and overall solo composition.
