| Introduction |
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1 | (6) |
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1 | (2) |
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3 | (1) |
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3 | (1) |
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4 | (1) |
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5 | (2) |
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PART 1 SO YOU WANNA BE A ROCK-AND-ROLL STAR |
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7 | (60) |
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Chapter 1 It's Only Rock Guitar ... But I Like It |
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9 | (18) |
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Differentiating Between Rock and Acoustic Guitar --- It's Not Just Volume |
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10 | (1) |
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11 | (4) |
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11 | (1) |
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12 | (1) |
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13 | (1) |
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Listening to some classic electric guitar examples |
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14 | (1) |
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Knowing the Essentials: The Power Trio |
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15 | (7) |
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15 | (4) |
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19 | (2) |
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21 | (1) |
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Getting a Grasp on How Electric Guitars Work |
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22 | (3) |
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String vibration and pitch |
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22 | (1) |
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22 | (1) |
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23 | (1) |
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Pickups and amplification |
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24 | (1) |
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Accessorizing Your Guitar |
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25 | (2) |
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25 | (1) |
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26 | (1) |
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26 | (1) |
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26 | (1) |
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Chapter 2 Holding Your Own |
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27 | (16) |
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Getting Ahold of the Guitar |
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28 | (2) |
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28 | (1) |
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28 | (2) |
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Forming a Left-Hand Position |
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30 | (2) |
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30 | (1) |
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31 | (1) |
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Striking a Right-Hand Position |
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32 | (2) |
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33 | (1) |
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33 | (1) |
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Gearing Up to Tune Up: Electric Tuners |
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34 | (2) |
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34 | (1) |
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35 | (1) |
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Looking at Music Notation: Not Enough to Hurt |
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36 | (4) |
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36 | (2) |
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38 | (1) |
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39 | (1) |
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Making Music: How to Play a Chord |
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40 | (3) |
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40 | (1) |
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41 | (2) |
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Chapter 3 The Other Half: The Guitar Amp |
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43 | (24) |
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Following the Signal Chain |
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44 | (4) |
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45 | (1) |
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46 | (1) |
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47 | (1) |
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48 | (1) |
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Taking a Guided Tour of the Amp |
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48 | (1) |
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Boxing It In: The Cabinet |
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49 | (1) |
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Taking Control: The Control Panel |
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50 | (5) |
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50 | (1) |
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Preamp and power amp controls |
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51 | (1) |
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52 | (1) |
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53 | (2) |
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55 | (3) |
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55 | (1) |
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55 | (1) |
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56 | (1) |
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56 | (1) |
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56 | (1) |
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57 | (1) |
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Sounding Out: The Speaker |
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58 | (1) |
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Plugging In and Turning On |
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59 | (2) |
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59 | (1) |
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59 | (2) |
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61 | (3) |
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61 | (2) |
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63 | (1) |
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Making Do if You Don't Have an Amp |
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64 | (1) |
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Technology to the rescue, once again |
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64 | (1) |
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A word on guitar-based headphone amps |
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64 | (1) |
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Demystifying the Technology |
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65 | (2) |
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PART 2 BASIC PLAYING TECHNIQUES |
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67 | (78) |
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Chapter 4 What the Left Hand Is Doing: Chords |
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69 | (16) |
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70 | (1) |
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Playing Open-Position Chords |
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71 | (1) |
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Putting Power Chords into Play |
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72 | (3) |
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73 | (2) |
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Pulling the power together |
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75 | (1) |
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75 | (10) |
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Getting a grip on barre chords |
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76 | (1) |
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Playing E-based barre chords |
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77 | (1) |
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Moving the E-form barre chord around the neck |
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78 | (1) |
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Other E forms: Minor, dominant 7, minor 7, and 7sus |
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78 | (2) |
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Playing A-based barre chords |
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80 | (2) |
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Moving the A-form barre chord |
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82 | (1) |
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Other A forms: Minor, dominant 7, minor 7, 7sus, and major 7 |
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83 | (2) |
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Chapter 5 The Right Stuff: Right-Hand Rhythm Guitar Techniques |
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85 | (24) |
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86 | (6) |
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86 | (2) |
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88 | (1) |
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Combining downstrokes and upstrokes |
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88 | (4) |
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Mixing Single Notes and Strums |
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92 | (3) |
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92 | (1) |
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92 | (2) |
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94 | (1) |
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Disrupting Your Sound: Syncopated Strumming |
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95 | (2) |
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Syncopated notation: Dots and ties |
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95 | (1) |
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Playing syncopated figures |
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96 | (1) |
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Giving Your Left Hand a Break |
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97 | (2) |
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98 | (1) |
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98 | (1) |
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Suppressing the Right Hand |
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99 | (1) |
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Stretching Out: Left-Hand Movement within a Right-Hand Strum |
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100 | (1) |
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Giving Your Fingers Some Style |
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101 | (2) |
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Getting Into Rhythm Styles |
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103 | (6) |
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103 | (1) |
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103 | (2) |
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105 | (1) |
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105 | (1) |
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106 | (1) |
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106 | (3) |
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Chapter 6 The Leading Edge: Introduction to Lead Rock Guitar |
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109 | (24) |
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110 | (3) |
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111 | (1) |
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111 | (2) |
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Striking the Downs and Ups of Lead Playing |
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113 | (7) |
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113 | (1) |
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113 | (3) |
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Alternate picking in downstrokes and upstrokes |
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116 | (1) |
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Playing melodies across strings |
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117 | (1) |
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117 | (2) |
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119 | (1) |
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Combining steps and skips |
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119 | (1) |
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Starting at the Bottom: Low-Note Melodies |
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120 | (1) |
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Going to the Top: High-Note Melodies |
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121 | (1) |
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121 | (2) |
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122 | (1) |
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Movable, or closed, position |
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122 | (1) |
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Getting in Tune with Lower Register Riffs |
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123 | (1) |
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Making It Easy: The Pentatonic Scale |
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124 | (2) |
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Playing the Pentatonic Scale: Three Ways to Solo |
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126 | (4) |
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Pentatonics over a major key |
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127 | (1) |
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Pentatonics over a minor key |
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128 | (1) |
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Pentatonics over a blues progression |
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128 | (2) |
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130 | (3) |
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Chapter 7 Groovin' on Riffs |
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133 | (12) |
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Getting Your Groove On: Basic Riffs |
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134 | (6) |
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Half- and whole-note riffs |
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134 | (1) |
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Eighth- and quarter-note riffs |
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135 | (2) |
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137 | (1) |
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138 | (2) |
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Playing Two Notes Can Be Better than One: Double-Stops |
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140 | (2) |
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Combining Single-Note Riffs and Chords |
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142 | (1) |
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Discovering Your Own Style |
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143 | (2) |
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PART 3 BEYOND THE BASICS: SOUNDING LIKE A ROCK AND ROLLER |
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145 | (32) |
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Chapter 8 Playing Up the Neck |
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147 | (18) |
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Beyond Open Position: Going Up the Neck |
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148 | (3) |
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148 | (1) |
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Playing double-stops on the move |
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149 | (1) |
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Playing closed-position lead patterns |
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150 | (1) |
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151 | (2) |
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151 | (1) |
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152 | (1) |
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Using the Movable Pentatonic Scale |
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153 | (4) |
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153 | (1) |
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Going above home position |
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154 | (1) |
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Dropping below home position |
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154 | (1) |
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155 | (2) |
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Seeking Out the Five Positions of the Pentatonic Scale |
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157 | (2) |
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159 | (1) |
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159 | (1) |
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From the depths to the heights |
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160 | (1) |
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160 | (5) |
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Associating keys with positions |
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161 | (1) |
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162 | (2) |
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Putting the five positions into play |
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164 | (1) |
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Chapter 9 Playing Expressively: Making the Guitar Sing |
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165 | (12) |
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Bringing Down the Hammer-Ons |
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166 | (1) |
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Having Pull with Pull-Offs |
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167 | (1) |
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168 | (1) |
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169 | (3) |
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171 | (1) |
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171 | (1) |
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Sounding a Vibrato That Makes You Quiver |
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172 | (1) |
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Adding Spice Through Harmonics |
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173 | (2) |
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175 | (1) |
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175 | (2) |
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PART 4 MASTERING DIFFERENT ROCK STYLES |
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177 | (82) |
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Chapter 10 Rock and Roll: The Early Years |
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179 | (18) |
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It Don't Mean a Thang if It Ain't Got That Twang |
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180 | (1) |
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Sending R&B Mainstream: Bo Diddley |
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180 | (2) |
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Giving Rock a Texas Twang: Buddy Holly |
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182 | (1) |
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Bringing Doo-Wop Up Front |
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183 | (3) |
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183 | (1) |
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I-vi-IV-V: Straight-eighth feel |
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184 | (1) |
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184 | (2) |
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Combining Country and Blues: Rockabilly Rhythm |
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186 | (2) |
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Creating Rock-and-Roll Guitar Style: Chuck Berry |
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188 | (3) |
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191 | (1) |
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The British Are Coming, The British Are Coming |
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192 | (1) |
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The Beatles' "I Saw Her Standing There" |
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193 | (4) |
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Melodic riffing a la the Beatles |
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194 | (1) |
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Low- and high-note riffing |
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195 | (2) |
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Chapter 11 The Golden Age of Classic Rock |
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197 | (26) |
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Playing Advanced Riffs and Rhythm Figures |
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197 | (4) |
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198 | (1) |
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Chord-based rhythm figure |
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198 | (3) |
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Studying the Classics: Classic Rock |
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201 | (16) |
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201 | (4) |
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205 | (4) |
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Latin rock: Carlos Santana |
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209 | (2) |
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211 | (4) |
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Later blues influence: Stevie Ray Vaughan |
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215 | (1) |
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Neo-classic rock: Aerosmith |
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216 | (1) |
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Fusing Country and Rock Lead Styles: The Eagles |
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217 | (3) |
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Going to the Edge: U2's Guitarist Brings Epic Textures |
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220 | (3) |
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Chapter 12 Heavy Metal and Its Mutations |
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223 | (16) |
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224 | (2) |
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Black Sabbath's skull-crushing riffs |
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224 | (1) |
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Ritchie Blackmore's baroque blast |
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225 | (1) |
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Making Rock Stars: The Arena-Rock Era |
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226 | (5) |
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227 | (1) |
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Boston's FM-friendly riffs |
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227 | (2) |
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Van Halen's sonic revolution |
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229 | (1) |
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Angus Young's bar-room crunch |
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230 | (1) |
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Introducing the Euro-Metal Invasion |
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231 | (1) |
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Putting Fans in the Stands: Heavy Metal Hits the '80s |
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232 | (4) |
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Randy Rhoads's metal attack |
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232 | (1) |
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Yngwie Malmsteen, the Swedish speed demon |
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233 | (1) |
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Metallica's thrashing riffs |
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234 | (2) |
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Raging into the New Millennium |
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236 | (3) |
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Dimebag Darrell's speed-metal frenzy |
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236 | (1) |
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237 | (1) |
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237 | (2) |
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Chapter 13 Progressive Rock and Jazz-Rock Fusion |
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239 | (20) |
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Welcoming the First Wave of Progressive Rock |
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239 | (7) |
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Just say Yes: Steve Howe's eclectic mastery |
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240 | (1) |
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The spectral guitar of Genesis |
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240 | (2) |
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242 | (1) |
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243 | (2) |
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Acoustic art-rock: Emerson, Lake & Palmer |
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245 | (1) |
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Joining Two Rock Styles: Progressive Meets Heavy Metal |
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246 | (2) |
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Into the limelight with Alex Lifeson of Rush |
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246 | (1) |
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Songs from the wood: The riffs of Jethro Tull |
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246 | (2) |
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Hitting the Charts with Jazz Rock |
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248 | (6) |
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Steely Dan's elegant jazz-pop |
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248 | (1) |
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The soulful jazz of George Benson |
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249 | (1) |
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Pat Metheny's sophisticated jazz-pop |
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250 | (1) |
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Toto's Steve Lukather: Rock monster |
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251 | (3) |
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Looking at the Legends of Jazz-Rock Fusion |
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254 | (5) |
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Pure virtuosity: John McLaughlin and Al Di Meola |
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254 | (2) |
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Jeff Beck's jazz comeback |
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256 | (3) |
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PART 5 BECOMING A GEARHEAD |
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259 | (64) |
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Chapter 14 Gear Lust: Assembling Your Dream Rig |
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261 | (16) |
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Getting What You Want Out of a Guitar |
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262 | (10) |
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263 | (1) |
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Testing the neck and fingerboard |
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264 | (2) |
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266 | (2) |
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Trying out the pickups and electronics |
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268 | (3) |
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Deciding among guitar variations |
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271 | (1) |
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Choosing the Perfect Amp to Give Your Guitar Life |
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272 | (5) |
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Configurations and features |
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273 | (1) |
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274 | (1) |
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274 | (3) |
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Chapter 15 Wild and Crazy Sounds: Effects |
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277 | (24) |
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278 | (1) |
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Choosing an Effects Format |
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278 | (2) |
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278 | (1) |
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Floor-mounted multi-effects |
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279 | (1) |
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279 | (1) |
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280 | (1) |
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Coming to Terms with Terms |
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280 | (1) |
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Processing Gain-Based Effects: Overdrive, Distortion, and Fuzz |
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280 | (3) |
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281 | (1) |
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282 | (1) |
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283 | (1) |
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Turning It Up or Down: Dynamic Effects |
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283 | (3) |
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283 | (2) |
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285 | (1) |
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Playing by Ear: Tone-Based Effects |
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286 | (3) |
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286 | (2) |
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288 | (1) |
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Getting Volume Under Control: Other Volume Effects |
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289 | (1) |
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289 | (1) |
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290 | (1) |
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Making a Change: Modulation Effects |
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290 | (4) |
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291 | (1) |
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291 | (1) |
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292 | (1) |
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Rotating speaker or Leslie |
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293 | (1) |
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Pitch shifters and octave dividers |
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293 | (1) |
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Putting Your Sound in Context: Ambient Effects |
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294 | (4) |
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294 | (2) |
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296 | (1) |
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297 | (1) |
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Organizing Your Effects: Pedalboards |
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298 | (3) |
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Chapter 16 The Care and Feeding of Your Electric Guitar |
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301 | (22) |
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Using the Tools of the Trade |
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302 | (3) |
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302 | (1) |
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303 | (2) |
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305 | (7) |
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Choosing the right strings |
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305 | (1) |
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306 | (3) |
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Putting on the new strings |
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309 | (3) |
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Cleaning the Parts of Your Guitar |
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312 | (2) |
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313 | (1) |
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The body, fingerboard, and hardware |
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313 | (1) |
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313 | (1) |
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314 | (1) |
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Optimizing Your Guitar's Performance: The Setup |
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314 | (5) |
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315 | (2) |
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317 | (2) |
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Fixing minor wiring problems |
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319 | (1) |
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Repairing Amps and Effects |
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319 | (2) |
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319 | (1) |
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Cleaning and replacing the tubes |
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320 | (1) |
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320 | (1) |
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321 | (1) |
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322 | (1) |
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323 | (16) |
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Chapter 17 Ten (Plus One) Rock Guitarists Who Changed History |
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325 | (6) |
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325 | (1) |
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326 | (1) |
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326 | (1) |
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326 | (1) |
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327 | (1) |
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327 | (1) |
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327 | (1) |
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328 | (1) |
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328 | (1) |
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328 | (1) |
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329 | (2) |
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Chapter 18 Ten Must-Have Rock Guitar Albums |
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331 | (4) |
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The Beatles, Rubber Soul (1965) |
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331 | (1) |
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The Jimi Hendrix Experience, Are You Experienced (1967) |
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332 | (1) |
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Led Zeppelin, Led Zeppelin II (1969) |
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332 | (1) |
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The Who, Who's Next? (1971) |
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332 | (1) |
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The Rolling Stones, Exile on Main Street (1972) |
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333 | (1) |
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Jeff Beck, Blow by Blow (1975) |
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333 | (1) |
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Van Halen, Van Halen (1978) |
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333 | (1) |
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Joe Satriani, Surfing with the Alien (1987) |
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334 | (1) |
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Metallica, Metallica (The Black Album) (1991) |
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334 | (1) |
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334 | (1) |
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Chapter 19 Ten Classic Guitars |
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335 | (4) |
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335 | (1) |
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336 | (1) |
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336 | (1) |
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336 | (1) |
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336 | (1) |
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337 | (1) |
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337 | (1) |
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337 | (1) |
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|
|
338 | (1) |
|
|
|
338 | (1) |
| Appendix: Using the Online Audio and Video Files |
|
339 | (8) |
| Index |
|
347 | |
