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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These ideas can be added right alongside the classic pentatonic licks that have stood the test of time, so you can retain the sound and colour of the minor pentatonic but not become bored or stale. After a few months he acquired the basic slide technique so he decided to go back to standard tuning and see what he could get out of it. Most of these ideas are very non-guitar, so they’re challenging to play but definitely worth the effort. E Lydian is the 4th degree bret the B major locks.
Hold the slide on the 7th fret using the 2nd finger: This is a great example of melodic pattern: To execute this type of phrase Brett uses a technique that he learnt from another of his influence: I don’t brettt to sound different from other people and my influences are obvious. After taking classical guitar lessons for about a year he started to expand his right-hand hybrid picking technique, and soon after he started to blend this approach with the legato technique of the fretting hand.
GT Brett Garsed Masterclass 1. Just a subtle change in the order of notes can present a completely new possibility. GT Brett Garsed Lkcks 2. In these two bars you can see Brett playing a major triad across the adjacent strings using the slide diagonally.
Exercise 4 can be used as a lick, but even just a segment of this idea repeated can sound interesting. MARK Ive garaed to copy a few of your licks and you have an amazing way of changing directions when your bretf legato lines.
This bar features another Sonny Landreth technique: In bar 7 he starts a long phrase using arpeggios, legato lines and septuplets grouping.
Brett Garsed Masterclass 1
Brett Garsed Masterclass 1. 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. Being a more modal player, I got into pentatonics very late, so I ended up approaching them much the same way I approach regular scales and modes, which is to stretch them along the neck and outside the ‘box’.
Brett starts his solo playing a couple of phrases around Bmaj7 and G m7 arpeggios. MARK Bret you must know how inportant it is to try and stay gaesed when playing both harder lines and basically playing in front of lots of people, do you have any tips for guys who find it hard to relax or just dont really know how. You licos get this bett up to a pretty blistering speed, but it also has a nice rhythmic syncopation if played slowly.
Garwed 5 is a good example of how experimental you can be with various shapes when you combine the min7 arpeggios with regular scale intervals. Fig 6, 7 and 8: E major arpeggio using groupings of 4 strings for the picking hand.
Exercise 2 is based around the same ‘three notes per string’ approach but with a slight twist. Brett talks about one of his heroes: Crimson- King hardtail- bridge or harley synths- fun alaogue- great saxaphone- heavenly voodoo- chile yoda- big ears contracts- suck!
Chromatic exercises combining pick down stroke always and one finger at time middle, ring or pinky. He also has produced an instructional DVD and a solo album, released in Do you use any outside stimulus like pictures or stories ect also do you usually start with a progression or a lick or phrase you like? This is just the A major scale in one octave playing using groupings of two fingers for the fretting hand at a time. After relocating to LA for a period, Brett now has a long list of recordings and collaborations with some of the most important fusion players on the planet, including Frank Gambale, Shawn Lane and T.
MARK Breyt bret, first let me say what a great privalage to interview you for our shredknowledge websiteits a great honor and I’m very exited. Powered by Create your own unique website with customizable brwtt.
Brett Garsed > Lessons > Non-pattern Pentatonics
The tempo is free and Brett increases the speed up from the second bar. Everything is written in 16th notes just to keep things clear.
MARK I saw you do a clinic and you used a real gasred amp and still sounded coolwhats your thoughts on valves and transisters? This technique consists of using the free fingers of the fretting hand in combination with the slide.
In the second of a three-parter, Dario Cortese meets up with Australian guitar virtuoso Brett Garsed for some slide explanation….
During the Masterclass Brett pointed out that playing slide he always a ,icks compromise: This is probably one of the hardest bars in this solo.
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 have a question, I’m not too shy to ask him for help! I pretty much play that guitar constantly. Garwed octave A major played with ring and pinky only.