Themes for Compelling Songwriting
Electric Techniques for Creativity
Find Your Voice: Improvisation
Brazilian Flare with Blues
Featuring complete, tactical courses from Aaron Marshall, Gretchen Menn, Michael Palmisano, and Andre Nieri. Start the journey towards vocal guitar solos with Gretchen Menn as she puts technique in service of creativity providing balance to technique and theory. Develop a sophisticated musical palate with Andre Nieri’s Brazilian fusion and integrate exotic concepts seamlessly into more familiar styles. Create elegant motifs and infectious melodies with Intervals frontman Aaron Marshall. Put it all together with Michael Palmisano who teaches creating with other musicians in real-world settings.
This is a full, 23+ hour collection featuring 123 step-by-step lessons with full supplemental content.
Filmed with 6 cameras and stream in awesome 4k video quality and downloadable in 1080p.
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Know what to practice after each lesson with guided suggestions, tabs, jamtracks and more.
Know what to practice after each lesson with guided suggestions, tabs, jamtracks and more.
The Lead Voice Collection features 123 lessons and 23+ hours of video.
Own these courses for life. No membership required and receive instant access upon purchase!
Taught by Aaron Marshall
From chord progressions and melodies, to rhythmic devices and riffs, Aaron will show us that modern guitar music revolves around thought-provoking song writing, written to stand strong for years to come. Learn how to curate elements of a compelling instrumental guitar piece, with an emphasis on effective themes and motifs.
JamPlay welcomes instrumental guitarist Aaron Marshall for a comprehensive master course. In this first lesson Aaron discusses what he'll be covering in his master course and what to expect to get out of it.
Even though this course centers more around practical guitar player and how to create killer riffs and hooks, Aaron still wants you to have a basic understanding of important scale concepts. This lesson will boost your playing!
Phrasing is the concept that transforms a guitar player into a musician. You won't be playing notes any longer, but rather making emotional and insightful musical sequences. Aaron talks about how to do it.
Aaron loves being able to utilize notes that ring out free and clear. In this lesson he talks about how to spot good areas to achieve this sound, and his thoughts on the technique.
Aaron introduces the concepts of economy and alternate picking, as well as demonstrates how these techniques can be used to improve the quality of your phrases and riffs.
Aaron introduces the concept of hybrid picking and demonstrates how he makes use of it in his music. This is a very useful, very flexible technique that all must know.
In this video we cover Aaron's top techniques for using arpeggios, including one of the most important aspects of all: how they are goruped.
In this lesson Aaron walks you through how to combine some of the techniques taught in previous lessons to create a truly memorable riff or lead line. This is where the rubber hits the road!
We've all heard the term hook, but what does it really mean? And more importantly, what makes a good hook. Aaron delves into the topic in this lesson.
Aaron introduces a riff that he considers a prime exemplification of his work with Intervals. This is the main theme for the song "Touch and Go." He talks about the riff, what makes it special, and gives you some great playing tips.
Lesson 11, Aaron starts to dig in to inspiration. This time you're going to start with a riff. He uses his song Sure Shot as an example.
Continuing to take a look at his tune Sure Shot, Aaron discusses how to find a melody.
Now that you've got a little inspiration in the form of a melody and a riff, you might start asking yourself where the song goes from here? Aaron discusses approaches to continued song writing using Sure Shot as an example.
Lesson 14 continues the discussion on where your song goes after establishing a melody or have riffs to work with.
Using the hook to Sure Shot, Aaron discusses his approach to creating a song chorus.
One of the biggest components of a meaningful and rememberable chorus is the hook! Aaron Marshall discusses his thought process here using Sure Shot as an example.
Aaron Marshall discusses creative limitations to help aid in the song writing process. He uses "I'm Awake" as an example.
Keeping the subject of limitation in mind, Aaron discusses writing a hook utilizing only a single string.
Lesson 19 is all about the process of writing a chorus. There are several ways to do so and Aaron first discusses writing the chorus with chords in mind first.
If you've ever struggled to come up with a melody that works for a given song, a good path to take is analyzing the chords you're playing over. In lesson 20 Aaron discusses his approach to analyzing a chord progression to create a melody.
Using his song By Far and Away, Aaron discusses his use of interesting chord progressions.
Aaron is once again taking a look at melody from the standpoint of a progression. This time he uses the same exercise in a more complex manner.
One of the quickest ways to create a stellar sounding hook is to make use of Arpeggios. Aaron uses the Intervals song "Black Box" as a way to demonstrate this.
These riffs have multiple variations, multiple moving parts and take a bit longer to play. They are worth it though, as they add complexity and zest that you never thought possible. He takes another riff from his song "Black Box" to use as an example.
Aaron further explores the concept of long sentence structure riffs.
Aaron Marshall once again uses his hit song "Impulsively Responsible" to demonstrate his killer guitar skills. This time around he uses the lead section to demonstrate how to move riffs up an octave. He talks about how and why you would do this.
In this lesson Aaron puts together all of the information from the rest of this series in one long, blistering solo from the song "A Different Light." This will expand your musical mind, challenge your fingers and titillate your senses. If you are looking for a challenge, you have just found it.
Aaron Marshall discusses when he starting playing guitar.
Aaron Marshall discusses the origins of his band Intervals.
Aaron Marshall discusses his philosophy to music, composing and creating art.
Aaron Marshall discusses how he got into guitar instruction and why he feels it's important.
Meet Aaron Marshall
Aaron Marshall is an independent guitarist and composer from Toronto, Canada, ultimately known by his moniker "Intervals". Since 2011, Aaron has been releasing energetic, guitar-centric compositions that have become a staple in the progressive rock world. Released in 2012, debut album "In Time" created buzz throughout the industry as a statement record, combining djent-style riffs with ear-catching melodies and hooks. Aaron then explored a full 4 member lineup with vocalist for the sophomore release "A Voice Within", before returning back to his instrumental roots for his third release.
His last offering, "The Shape of Colour", is a beautiful example of modernized, instrumental composition. Labeled as a more "honest approach", guitar purists will appreciate the 6-String, Standard-Tuning, "trickless" composition style that only aims to entertain and inspire the listener. This approach is a key reason why his pedigree on the instrument should be both celebrated, and conceptualized by any aspiring guitarist.
Taught by Gretchen Menn
Suited for guitarists of all skill levels, Gretchen aims to show how techniques can unlock creative freedom and inspire new ideas. We tackle alternate picking, volume swells, harmonics, sweep picking and tapping. Five techniques which can provide a practical method to invoke inspiration and grow your musical vocabulary. 30 lessons in 4k quality with supporting tabs and play-along tracks.
It can be common for guitar players to take an exaggerated stance on technique. Some seem allergic to anything perceived as overly technical, shun learning extended techniques. Others make virtuosic displays the central aspect of their playing, but overlook important aspects of writing and forming their own musical voice. But both extremes are creatively limiting. Join Gretchen Menn as she introduces us to her JamPlay series - Technique in the Service of Creativity - showing that the two worlds need not be in opposition.
Alternate picking is simple in concept, though its levels of difficulty run deep. To begin this journey, we will focus on alternate picking technique with Gretchen showing us a series of exercises to get the best and clearest tone possible from a simple, one string sequence.
Armed with the foundation of the basic alternate picking technique, we now start to explore variations and extensions of it. Here we dive into alternate picking across strings and with string skips. You’ll notice it becomes increasingly difficult to be consistent as the leaps become larger, so we will take it slowly, focusing on accuracy.
This section will demonstrate how to take a concept from a musical model or influence and use its elements to inspire and inform your own ideas. We will talk technique, go over other elements, and show an example of how an inspiration informed one of Gretchen's tunes, “Shadows.”
Incorporating odd meter, unusual accents or subdivisions of the beat can add a lot of interest. An idea that seems trivial or predictable in common time can come to life when you reimagine the rhythmic aspect of it. In this lesson we’ll look at a line in 10/8.
Here we will look at creating multiple voices though string skips, large leaps, and muted notes juxtaposed against accented notes. Building upon our alternate picking foundation, this challenging exercise will require attention to detail. If you take it slowly at first, in no time you will be playing this up to tempo!
How do you approach a technical concept within a musical model and create your own music with it? In this lesson we will go through various steps you can use as methods for writing and creating. Of course, when pure inspiration strikes, always go with that. But rather than leaving your creative output entirely to the whim of the muses, this kind of approach can be a useful, practical way to invoke inspiration and grow your musical vocabulary along the way.
Unlike wind or bowed instruments, the guitar by itself has extremely limited inherent dynamic control once a note is plucked. That is a huge limitation. We can’t get our notes to sing as effortlessly as instruments that do have that dynamic control. But amplified guitars can use volume swells to get a similar effect.
When you combine a volume swell with a bend or pre-bend, you can get a result that is almost vocally expressive. It means some careful coordination of right and left hands, as the fretting hand will be modulating pitch at the same time that the picking hand modulates volume. In this lesson, Gretchen uses her song "Deja Vu" to illustrate the expressiveness of volume swells.
Partial volume swells are another tool in the expressive toolkit. Building on lesson 9, we will work out a musical example that combines partial swells, bent notes with chords and full volume swells. The very slow tempo of the example will also be a good exercise for the timing of the volume swells.
In this lesson, Gretchen will look at strategies for incorporating volume swells into one’s own playing/creative voice. Using quick swells with delays, emulating a human voice, and providing subtle support for a vocalist or other instruments, are just a few of the ways to effectively use volume swells.
Artificial harmonics are a way to extend your guitar’s range into the stratosphere. By understanding a bit about the physics of sound and the overtone series, you will discover layers upon layers of available notes. And their chime-y, brilliant, and even harp-like character adds a distinctive timbre.
This lesson extends the basics we addressed in lesson 12 by using a musical example, “Valentino’s Victory Lap.” This tune has a line that requires a single artificial harmonic at the end of a line to be played above the fretboard (near the pickups).
Now that you can get one artificial harmonic reliably, we move on to playing entire melodies this way. It means being able to trust your left hand’s whereabouts (and be where you think you are consistently), so you can keep your right hand in view to get the harmonics.
Combining artificial harmonics with normal notes can result in gorgeous cascades that sound almost harp-like. The picking hand is the key to this technique, and requires some finesse.
Gretchen slowly goes through the small details of using harp harmonics in her song "Scrap Metal".
This will be the most advanced of the lessons, incorporating a more complex picking hand pattern. The idea is to show how harp-style harmonics can be the cornerstone of a piece of music in addition to a beautiful detail or flourish.
Here we will look more closely at ways to incorporate artificial harmonics into one’s own playing/creative voice. In addition to exploring how to compose exercises and lines, we will go deeper into a look at the creative process and how a technique can provide an inspiring new sound.
Sweep picking is picking a technique that is the complement of alternate picking—yin and yang. Whereas in alternate picking we alternated up and down strokes, sweep picking keeps the pick moving in the same direction until a larger change of direction must be made. It can be a very efficient and economical way to play arpeggios or lines on adjacent strings.
Armed with the basic technique introduced in the previous lesson, here we will look at a short, 6-string sweep in a musical context: “Shadows,” This sweep includes some slides and change of notes between ascending and descending directions, which adds elements of complexity.
Rather than being a technique reserved for shred and metal (though it most decidedly is at home there), we’ll see that sweep picking is also useful with a clean guitar sound. Here the effect is not to be the climax of a ripping solo, but rather to incrementally add support to other instruments, increasing the musical energy and anticipation of the return of the main theme.
Sweep lines with chord changes underneath illustrate the effectiveness embedded in the chaos of the technique. In this lesson, Gretchen demonstrates a sweep line from her song "Tombs".
Having studied the technique and examined various ways to use sweep picking, the true test is to incorporate it into one’s own creative vocabulary. Here Gretchen talks about ideas and approaches as possible launchpads.
Picking hand finger tapping can open up an entirely new world on the guitar. Not only does it lend itself to easy, flowing quickness once you get the hang of it, but it also provides a characteristic, very legato texture. Additionally, it allows for the realization of lines that couldn’t be executed with another technique.
Now with the foundation place, we can see tapping in a musical context with Gretchen's song, “Oleo Strut.” This tapping line was definitely inspired by the line that made Gretchen first want to learn to tap - Paul Gilbert’s intro to the Mr. Big tune, “Green Tinted Sixties Mind”.
Tapping doesn't have to be exclusive to distorted, shred guitar. Here we’ll take a look at tapping for texture, with an entire piece written around a concept of clean, moderate tempo, three-finger tapping, with harmonies melting one to the next.
Now we will undertake a more technically challenging tapping line from Gretchen's piece, “Savages”. This one is significantly more difficult, as the patterns are more complex, and the tempo is fast.
Having now looked at a few different ways to apply the technique of tapping—whether as a quick, playful moment while retaining your pick, a clean accompaniment texture to a lyrical melody, or something more frenetic and virtuosic—you should start trying out different options within your own creative idiom.
Putting down the pick can shift how we think creatively, and can automatically engage us more in thinking about chord voicings, countermelodies, counterpoint, polyphony, etc. Picklessness is obviously not a prerequisite, as a lot of the same possibilities are there with hybrid picking, but there is something very powerful about fingers on strings (not to mention having another finger freed up by dropping the pick). And anything that gets you out of your comfort zone will open up new creative possibilities.
Sometimes the smallest or most general ideas can inspire new creative directions. Look for opportunities to step outside your comfort zone and try new things. In this lesson, Gretchen takes a look at her piece - “Bures-sur-Yvette,” and talks about how she created it.
Meet Gretchen Menn
Rapidly gaining praise in the world of instrumental rock and beyond, Gretchen Menn isn’t your average guitarist on the rise.
Apart from demolishing her mother’s violin with Pete Townshend-like vehemence at age three, Gretchen’s passion for all things guitar didn't fully surface until her early teenage years. Her father, noted writer and former editor-in-chief of Guitar Player Magazine, Don Menn, was quick to point her in the direction of the greats as soon as she expressed interest in guitar. While earning a degree in music at Smith College, she has studied, in equal parts, the music of Mozart, Beethoven, Steve Morse, Frank Zappa, and Jimmy Page. Michael Molenda, Guitar Player Magazine’s editor-in-chief, noted that she “seeks the unknown by blending disparate jazz, prog, and world-music influences into a tasty, guitaristic thrill ride.”
Since the release of her first solo album in 2011, Gretchen immersed herself in study to expand her skills not just on the guitar, but in composition and orchestration. Her second album, a concept album based on Dante’s Inferno, marks a significant evolution in her compositions as well as guitar playing. The result is a work of highly compositional music which evokes the epic journey through Dante’s circles of the underworld.
Gretchen also performs the music of Led Zeppelin all over the U.S. with Zepparella, an all-female outfit covering the hits of Zepplin. In her off time, she continues to study guitar, composition, and orchestration.
Taught by Michael Palmisano
Join GIT graduate and professional guitar player, Michael Palmisano as he explores his personal approach to improvising on guitar. Relying heavily on his loop pedal, Michael walks through the theory and mindset that goes into playing over chord progressions and crafting beautiful melodies and solos. This is a very hands on course!
Michael kicks off his course and explains what to expect from the course, as well as who this course is designed for.
In this lesson, Michael is going to start de-mystifying improvisation. After walking through the plan for the series, he demonstrates how to outline chord movement with your melodies.
Whether you are a solo guitarist, playing with a band, loops or a JamTrack, every melody exists in a context of harmony and rhythm. In this lesson, Michael examines what context is on a fundamental level.
Understanding what chords fit with in a key is a crucial element to crafting new melodies and harmonies while improvising. Join Michael as he breaks down the formula for chord structure in every key.
It's all about context! Chords are the harmony context we are constantly playing in as we improvise. In this lesson, Michael breaks down the structure of what makes a major or minor triad.
Chances are, if you've held a guitar for any length of time, you've heard of the CAGED system. This system is an extremely handy tool for any improviser. Join Michael as he explains the system and how it can be utilized in this context.
The Pentatonic scale is crucial to improvising in just about every genre of modern western music. In this lesson, explore this scale and get a leg up into using it in your own improvising.
It's time to start playing some music! Building off of what we've learned so far, we are going to vamp over a single major chord vamp.
In this lesson we're going to look at the two most common positions used to execute the Minor Pentatonic Scale.
We're going to take the Minor Pentatonic theory we shoved into your brain in the last lesson and start making some music with it!
The notes that fit in a specific key, scale, or chord are a small, if significant part of any riff or lick. How are those notes being played? In this lesson, Michael does his best to exhaust all the options that you have when playing those notes.
Tired of playing around with one chord vamps? It's time to add in some more chords and work on our first progression!
In this lesson, Michael continues to expand our horizons by addressing various approaches to creating new melodies over chord progressions.
This is the most common approach to improvising and works best for pentatonic and full major scales in diatonic progressions. Join Michael as he demonstrates this popular approach.
Switching pentatonic scales to match the corresponding chord change gives you the chord tones from the chord, embellishments, and - put together - the full 7 note scale of the key. Join Michael as he explores this approach to playing over chord progressions.
Now that we’ve combined our pentatonics, it's time to put them together and review our full major scale.
Now that we've learned what it means to put together the key center and scale approaches to playing over chord progressions, we're going to start putting it into practice over with a major scale tonality.
What about minor keys? What does that mean exactly? Is this a mode? Michael will answer all those questions in this lesson, without getting too crazy with theory.
This lesson focuses on the chord tones of the passing chords, but not necessarily switching scales for each chord. It’s a great compromise, and it’s where most players ultimately end up finding their voice!
Quick-changing tunes lend themselves to a more percussive key-centered approach, where slow tunes provide more opportunity for playing the changes. Join Michael as he discusses and demonstrates varied approaches to playing over quick changes.
The chords that come before and after have something to say about the current chord! As Michael demonstrates in today's lesson, you can choose to say as much or as little as your want about them.
Writing and improvising melodies is just like telling a story. Join Michael as he explores his approach to capturing and maintaining the listener's attention with peaks and valleys.
Saying what you want to say in different registers has a different effect, and is something you should strive to utilize.
Varying your tempo and picking attack speed can be a great way to add drama to your improvisation, and really gets people's attention!
More can be less, but it can also be more... at the right time. A constant fluctuation of intensity is a super effective technique - especially for extra long jams.
You can start soft and finish screaming... Or the opposite. Or go back and forth! Take a look at this option for a more varied, interesting sound.
Often an overlooked tool amongst guitarists, but commonplace in the improv community is the interplay between the song’s melody variations and lick-based improvisation.
Every tune has a story - even the ones without lyrics. Your goal as an improviser is to tell YOUR version of the song’s story.
You like what you like... But WHY? What makes one artist resonate more than others? If you spend time finding out how your favorites tell their story, it will help you become a better storyteller of your own.
We've come a long way in this series! Join Michael as he wraps up the series and gives some closing advice for what's next.
Meet Michael Palmisano
Michael Palmisano is an award-winning GIT graduate and serves more than 70,000 students worldwide. He is also a member of 5x voted "Best Band" in Baltimore, Maryland called "What's Next". He has been playing guitar since the age of 5, and gigging and teaching professionally for the last 15+ years.
He genuinely loves to teach, with the goal to help people learn the "why" behind the notes, bridge the gap between rhythm and lead guitar, and ultimately use these tools to improvise and get the stuff in your head out! On a side note, it's truly incredible that the internet has allowed us to connect from all over the world.
I believe in online education, and I strive to be as helpful as possible. If I can help you in any way, please don't hesitate to email me with a question or a video for feedback - I respond to each and every message. We are in this together!
Taught by Andre Nieri
From blending Flamenco phrases with rock leads, to Bossa-Nova infused Blues, Andre Nieri delivers a unique sound to match his unique story. Hailing from Brazil with degrees in Jazz and Brazilian Performance, his playing harmoniously fuses unique flavor with beautiful phrasing, tonality and timing. This JamPlay exclusive course covers the gamut of techniques and concepts to achieve this unique style.
Born in 1986 and hailing from Brazil, Andre showed musical inclination at an early age. Influenced by native Brazilian Jazz music and bands such as Metallica and Pearl Jam, Andre crafted a style that blends traditional Jazz and Rock elements to create a truly unique sound. In his master course, he teaches the techniques he uses and demonstrates how he fuses genre's to create his signature sound.
In this lesson, Andre discusses and demonstrates the art of string muting. To create the clean and intricate blending of styles requires attention to this technique. Andre will demonstrate the various ways to mute and how this is applied to his style of playing.
Used in both Bossa and Rock styles, bends add articulation and nuance to music. In this lesson, Andre discusses how to create bends of varying interval distances and details how to go about landing on the correct pitch within the bend.
In the most simplest of terms, an arpeggio is a broken chord with notes played independently of one another. Andre uses this technique to create both rhythm and melody in his music. In this lesson he discusses the uses of arpeggios and demonstrates several.
It's time to start working with backing tracks. In this lesson, Andre teaches a short rhythmic phrase in a Pop fashion. Not only is this a fun bouncy number, but it imparts the knowledge necessary to start constructing a blended style from Pop music.
The Bossa styles of Brazil are considered traditional music and are heavily influenced by Jazz. In this lesson Andre teaches you a Bossa inspired melody and rhythm over an appropriate backing track. Later in the course you will be using these elements with other musical styles.
In this lesson, Andre discusses his approach to playing electric and acoustic guitars in the same musical piece. Using a backing track to help, you will be learning a complimentary acoustic and electric guitar part to jam out with.
In this lesson Andre covers his interpretation of the traditional Spanish Rumba rhythm. He will teach you a set of chords used, then guide you through the rhythm and exercises to get it under your fingertips. This rhythm will lay the groundwork for coming lessons.
Andre is back with another lesson on the arpeggio technique. He delves more deeply into how you can create and utilize arpeggios, specifically for acoustic guitar. Once complete with the lesson, you will be ready to utilize the techniques later in the series.
Taking into account chord and scale choices, Andre discusses his approach to creating melodic and solo content over a chord progression. He demonstrates his methodology for achieving his unique sound and provides common shapes that can help you produce similar sounds.
In this lesson Andre talks about a concept that he calls scale chords. Trying to keep away from having to memorize chord names for each scale, he instead relies on shapes and the scales themselves to help build chords that will be suitable to a scale.
Great melody and solo work is not all about rhythm and note choice. In this lesson Andre discusses his approach to dynamics in a solo context. He talks about both loudness and quietness as well as tone differences that can be achieved via playing and electronics.
Andre returns with another technique based lesson. This time he discusses and demonstrates the fingerpicking technique. Not only will Andre show you the basic technique, but he discusses how and when he decides to utilize it.
In the previous lesson you learned about fingerpicking. In this lesson, Andre discusses the alternate picking method and how to incorporate it with fingerpicking. Additionally he demonstrates how to hold the pick in a way that you can easily switch from alternate picking to fingerpicking.
In this lesson Andre teaches you a legato pattern that he commonly uses in his own compositions. He discusses using the previously learned techniques with the legato style, then provides an exercise to help commit it to memory.
" In this lesson Andre discusses the mechanics of sweep picking and how he incorporates the technique into his playing. This technique will become integral to the coming lessons. you will play the exercise at several tempos to get comfortable with the technique."
It is time to take another look at alternate picking. In this lesson, Andre goes more in depth with the technique. Getting comfortable with alternate picking will be necessary to achieve success with upcoming lessons in the series. you will again play an exercise at several tempos.
Andre is back with another lesson that infuses different genre's guitar styles and techniques. This time you will be taking a classical nylon strung guitar, an electric guitar and using the Samba and Rock genre's to fuse and create a unique soundscape.
Just like the lesson you viewed previously, this one blends the Latin and Metal genre's to create an aggressive sound with the harmony and rhythmic aspects of Latin music. Like the last lesson, you will have a backing track to practice with.
In this lesson Andre discusses how to bring the flamenco style to the electric guitar to create some really cool sounding riffs. you will then use the acoustic guitar to play lead on top of that electric guitar bed.
Keeping with the Flamenco theme, in this lesson you will be blending the blue genre in a ballad type setting. you will be using the electric guitar to create gritty, yet soulful melodies, while the acoustic guitar lays down the rhythm.
Now it's time to break out those sweep and alternate picking chops and lay down some Shred Flamenco! Just like past lessons you will be using the flamenco style blended with shredding techniques to create fast patterns and huge sounds.
In this lesson, Andre revisits the blues, but this time blends it with the Bossa style. Like before you will use your electric guitar to ooze charisma and melody while keeping a Bossa rhythm locked down with the acoustic guitar.
In this Jazzy Bossa lesson, you are drawing from similar styles. Andre teaches an entire guitar piece that is both modern and traditional in nature. The acoustic guitar will handle most of the rhythm, while you create modern jazzy melodies with the electric.
In this lesson you will be thinking smooth jazz and pop. Channeling your inner John Mayer and George Benson, you will be playing down a modern, pop derived rhythm with the acoustic and using double stop melodies with the electric guitar.
Have you ever though about blending Blues, Jazz and Pop styles? While this may seem out of the ordinary, Andre discusses the approach to using the Pop style as a bed for blues and jazz lead playing.
Once again, you will be blending three genres of music. In this lesson, you will take a funky pop backing track and accent it with a R'nB' style electric guitar. You will lay down a funky pop rhythm with the acoustic guitar.
This lesson is all about the musical conversation between the electric and acoustic guitar. You will be laying down a pop rhythm bed and a bit of lead with the acoustic, then playing some soulful melodies over that with the electric guitar.
In this lesson you are still thinking about pop, but this time blending in progressive rock. The key will modulate between E major and A minor. As with lessons before, the acoustic lays down the rhythm while you play lead with the electric guitar.
In this lesson, you will learn how to play melody through a complex set of chord changes. This Fusion Rock example will have you playing a complex harmonic rhythm with the acoustic while dynamically navigating the melody with the electric guitar.
Learn how to incorporate a dynamic yet aggressive approach to lead playing over complex, nylon stringed, jazzy sounds. Use bends, vibrato, slides, pinch harmonics, and more solo over a 6/8 feel. This lesson uses multiple backing track speeds that allow the student to work up to top tempo.
Andre shows how to shred on the Acoustic guitar over a Rock track. This might sound unusual, but it is integral to Andre's sound. The soloing utilizes a plethora of techniques such as open strings, alternate picking, legato, vibrato, sweep picking and so on.
Meet Andre Nieri
Andre Nieri was born in Brazil and inspired by bands such as Metallica and Pearl Jam at an early age. He was exposed to a wide variety of music styles growing up and fell in love with Brazilian Jazz music called "Bossa Nova". He believes that being raised in Brazil was a great opportunity to get exposure to a variety of music styles.
Andre graduated from Brazil's most renowned music conservatory with a degree in Jazz and Brazilian music. He then toured the country with various Rock bands and also entered and won many major Guitar Contests. His skill on the guitar, and ability to draw large crowds, led local media to describe him as "the guitar hero for the next generation".
He joined up with world-class drummer Virgil Donati to form the Virgil Donati Band. Touring around the world, Andre has an incredible control of technique, rhythm and phrasing that continues to amaze and delight audiences.
Andre is currently working on his first solo record which blends everything from extreme metal to jazz bossa nova. He has discovered that teaching is his second love and finds it highly rewarding. A constant student himself, he is excited to share his knowledge.
Ignited we Stand.
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