There’s this kid in Japan who’s apparently an expert on my style.
PAUL GILBER SHRED VIDEO HOW TO
“I know the mental process involved and can teach your brain how to get it. “Here’s my secret lick that’s been impossible to transcribe,” says Gilbert. Also, keep your fret hand arched high, be- cause flattening your fingers will cause noise and slow you down. You’ll find it helpful to first practice each six-note group separately before stringing them together. To help switch from his fourth finger to his second finger between each six-note group, Gilbert uses a subtle finger slide, which is easier than trying to perfectly nail each position shift “from the air” and sounds very cool. FIGURE 18 is another example of this technique that Gilbert offers, this based on a more interesting six-note pattern in the A Mixolydian mode (A B C# D E F# G), which works well over an A7 chord. This two-string concept is particularly useful for guitarists since it relies on each pair of adjacent strings, except the G and B, being tuned the same way, in fourths. Notice that the initial three-note sequence is repeated on the next two higher strings using the same pattern, two frets higher and then on the top two strings, three frets higher. This technique helps develop your skill at shifting positions quickly and offers a great way of extending a short lick into a mammoth one. A cool technique the guitarist likes to use is to take a short melodic idea and transpose it up and down and across the neck in octaves, as he demonstrates with the three-note A major arpeggio shape in FIGURE 17. Gilbert points out that a 24-fret guitar has a four-octave range (not including harmonics) and that the fretboard’s layout lends itself well to repeating note sequences in different octaves up and down the neck using the same fingering shape.
Also, avoid moving your fret hand excessively it should move very little, in fact, so work on keeping the movement as efficient as possible. You can do this by releasing each fretting finger’s pressure against the string immediately after the note is picked.
When playing this example, keep the alternating notes on the high E and B strings separate so that they don’t bleed into each other. In true Gilbert style, our maestro demonstrates the lick in a fast blues context at the end of a blazing run in A (see FIGURE 6).Ī lot of Gilbert’s super-fast alternate picking is based around this principle. The technique also works quite well on the first and second strings. Once you get the techniques under your fingers, move the lick around the neck in different positions and keys. You can reference the target pitches of the bends by playing the unbent notes one fret higher. Most of your practice should be centered on executing the half-step bends in tune. This cool-sounding move is often called a “pre-bend and release” or a “reverse bend.” Upon completing the B-string bend, he picks the G string for the first time and releases the bend, creating a drop in pitch on that string (from Eb to D). do it! Just.FIGURE 5 is an example of a slick, country pedal-steel-style bending technique Gilbert demonstrates whereby he picks a fretted note on the B string, bends the string with his ring finger (supported by the middle finger) and simultaneously bends the G string at the same fret with the tips of the same fingers. He put a smile on my face the moment he entered the stage and that smile didn't go away a single moment until all the way back home. Confirming precicely how I know and remember Paul. A good selection of melodic, fast and slow, shred and emotional songs.
Opening with an instrumental medley constisting of about 30 songs, spanning over 30 years of songwriting and lasting over 40 minutes couldn't have been more awesome. Expecting nothing less than an amazing show from my favorite though aging virtuoso, I was blown away by his highly improbable finesse, accuracy, speed but most importantly groove and feeling. With this in mind I immediately bought tickets when they became available. Although his shredding isn't as perfect as it once was, the amount of groove and feeling he gained over the years clearly makes Paul a better musician and showman than he ever was!!Īlthough I never got quite into his previous album 'Stone Uphill Puhsing Man' I thoroughly enjoy(d) 'I can destroy'.
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