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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In these couple of licke you can see how naturally Brett incorporates fretted notes into the slide playing. You’ll notice some strange fretting-hand fingerings as well, such as the fourth finger interacting with the first, but it’s all to set the hand up to reach the notes. To execute this type of phrase Brett uses a technique that he learnt from another of his influence: I’m still working on it! As you can see from the transcription he often plays groups of 7 instead of the more common 6 or 8 which create unusual rhythms in his phrasing.
I’ve decided to present some unorthodox pentatonic ideas in this initial lesson. I only have one finger on the neck most of the time so bdett allows me to get these wider intervals. 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.
BRETT GARSED – Guitar Addiction
It’s supposed to be fun and anyone that ruins it by making judgmental comments should be locked up with the religious manipulators. Transcribe them by all means but rather than just repeating what you’ve transcribed, garseed to analyze the notes and understand the formulas they’re applying and try to incorporate that into your own concepts. Exercise 1 is an A minor pentatonic played three notes per string.
This is the climax of the solo and the consequently ending. Technique doesn’t mean much unless it’s accompanied by an original concept and that’s MUCH harder to achieve than chops.
Brett Garsed > Lessons > Non-pattern Pentatonics
E major arpeggio using groupings of 4 strings for the picking hand. Could licke give us a little insite into how you seem to so easily weave in and out of scale fragments in such a smooth style? 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 ,icks. For this first part, I also asked Brett to demonstrate his technical approach in a solo: MARK Is their anything you’ve done in your amazing career that you can look back on and feel you’ve achived a dream?
This is probably one of the hardest bars in this solo. Hold the slide on the 7th fret using the 2nd finger: Guitar Addiction Facebook and email contact. BRETT Take a small idea and see how many different ways you can play it using the same notes but different strings and techniques. I’d just rather spend time working on my own original ideas than copying the ideas of others. Of course this is just the starting point to develop control not necessarily speed but as Brett said: BRETT I really like valve amps because of the way they respond dynamically but hopefully I can pull a half decent tone out of anything.
nrett Most of these ideas are very non-guitar, so they’re challenging to play but definitely worth the effort. This is just the A major scale in one octave playing using groupings of two fingers for the fretting hand at a time. GT Brett Garsed Masterclass 1. Exercise 2 is based around the same ‘three notes per string’ approach but with a slight twist. During the Masterclass Brett pointed out that playing slide he always a little compromise: A short lick using the idea shown in FIG 1.
Did you ever get into the 8 fingered technique. 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? His general philosophy seems to be: In bar 7 he starts a long phrase using arpeggios, legato lines and septuplets grouping.