LESSON ONE

The guitar has six strings numbered one to six, the thinnest string is number one and the thickest string is number six. The notes of the strings are EADGBE. This is standard tuning. sixth string-E fifth string-A fourth string-D third string-G second string-B first string-E The notes from each open string to the twelfth fret are sixth string-EFF#GG#AA#BCC#DD#E fifth string-AA#BCC#DD#EFF#GG#A fourth string-DD#EFF#GG#AA#BCC#D third string-GG#AA#BCC#DD#EFF#G second string-BCC#DD#EFF#GG#AA#B first string-EFF#GG#AA#BCC#DD#E the sharp notes can be seen as sharp or flat notes, these called enharmonic notes. The notes repeat themselves after the twelfth fret, this is known as an octave. All the notes continue as the same pattern because everything repeats itself after the twelfth fret. Guitars with more than six strings are available-they are not necessary at this time. Other tunings are available-they are not necessary at this time.

JOE BONAMASSA REVIEW

At some stage in his career it will be necessary for Joe Bonamassa to take a flight in a helicopter or plane, cadge a lift in a fast car or go for a midnight swim. No disrespect intended but Joe’s true status as the worlds greatest guitar player may not be appreciated until he is dead. Modes of transport and leisure facilities have already laid waste to the lives but not the pedigree of the likes of Stevie Ray Vaughan and Randy Rhoads ,members of Lynyrd Skynyrd and others. He is quite aware of this himself but he does not lose any sleep over it because he plays for the sheer thrill of the music and to entertain a large underground army of fans. On his recent tour date in Sheffield Joe was the first to admit to his ‘one to watch’ status. This is so hard to comprehend when he first picked up and played guitar at age 4, was a touring child prodigy at 11, released a CD of rock and blues at 18 in a well thought of but ill fated ‘Supergroup’ and is shortly to release the 13th of his studio and live albums. The ‘Live at the Royal Albert Hall’ CD has just reached Gold standard. Joe is understandably proud of his back catalogue and reluctantly so of his ‘zero hits’ as he told his appreciative hardcore audience.
The two and a half hours of technically superb, foot tapping and hard rocking shredding deserved the standing ovation for ‘Smokin Joe’ and his band. From his most recent studio CD, Dustbowl came the opener of Slow Train which steamed into riffology history. Bonamassa is a true all rounder with bewilderingly fast fingers and a mellow bluesy tone which are rarely found together in modern day guitarists. The tracks continued and it must have been half an hour before Joe felt it necessary to introduce himself to the already converted. The Bonamassa classics are regularly aired on the likes of Planet Rock but he draws on a very wide range of influential guitarists. He has claimed for his own anthem the melodic and haunting ‘Sloe Gin’ which over 8 minutes is expertly crafted and delivered. His strengths include his singing and songwriting which will , again after his death, keep cover bands and newcomers on the payroll for the rest of their lives. Band members including Carmine Rojas on bass testify to the high regard that the industry has for Joe. Solo spots were very special with Bonamassa and his Gibson Les Paul guitars which appeared from stage left and took early retirement from sheer exhaustion. There is a true tone to Joes electric and acoustic playing and when harnessed to the extensive technical knowledge of someone still in his 30’s the result is truly spectacular . Rojas and the drummer, Tal Bergman just about kept up but were set loose on solo’s such is Joe’s lack of ego. The double neck Gibson SG was put up against the pedigree of Rojas in Young Man Blues. From a playlist of over 140 Joe pulled out his own songs such as The Ballad of John Henry, Lonesome Road Blues, Dustbowl, Mountain Time and Last Kiss and timeless covers with the JB interpretation of Midnight Blues, Blues Deluxe and the Gibson Flying V rendition of Just Got Paid as an extended encore.
Something was witnessed in Sheffield which made you just want more. The new CD comes out in May and if the premiere of ‘Driving into the Daylight’ represents even the weakest of tracks then Joe has achieved yet more greatness in his own lifetime-but the wider world have just not realised it.

Thin Lizzy Review

Review- Thin Lizzy, York Barbican, 24.01.2012

It was loud, very loud. Thin Lizzy have a new lease of life in the post Lynott and Moore days which many fans may not have expected but would have certainly hoped for. The old stagers, Scott Gorham and Brian Downey gave the authentic feel but new members on guitar, vocals and keyboard gave a different edge to the classic Lizzy rock anthems. The support bands, Triggerfinger and Clutch worked hard to warm up the crowd made up of hardcore fans and those who had the band on their ‘see them before they die’ list. The age range was easily from mid teens to late sixty somethings but then Thin Lizzy have a musical timeline from when the retirees were but in their twenties and at the height of their spending powers and rocking years. In a smaller venue like York Barbican the stage show was overpowering with a neon logo backdrop, strobes and lasers cutting through the dry ice haze. The band came on to ‘Are you ready’ piledriving with the lead, rhythm and bass riffs. Ricky Warwick would always be put up against Lynott in vocal and stage presence. With guitar in hand he actually assumed the role of a combined Lynott and Moore with ease and total acceptance by the singalong crowd. The follow on included ‘Jailbreak’, ‘Killer on the loose’ and then the pocket rocket of ‘Don’t believe a word’ which is perfection in song and in about 2 minutes 28 seconds. Hit after hit had the place resonating and with the soundwaves causing many a flared trouser to vibrate in time especially up in the cheaper balcony seats. Downey was let loose with a drum solo and the keyboard player did a bit of a wakeman very much in 70’s style. The solo ability of the guitarists was immense, very much a who’s who of talent drawn from great bands such as Guns ‘n’ Roses , Whitesnake and Ted Nugent and Gorham dressed in jeans and granddad shirt controlled it all setting off on ripping riffs as though he was a youngster. ‘Whiskey in the Jar’ was sung by the residents of York as though they were Dubliners and ‘The Cowboy Song’ was dedicated to much missed absent friends. The demand for an encore was unanimous through the venue as the band had shown true commitment to their history but also a firm intention to keep the sounds fresh and alive. There may be new material to look forward to which will be received with great interest and certainly not out of place with the new crop of Supergroups and the renaissance of the classic rock and metal bands from the last four decades. It was hard to believe that this was the first time ever that York and Thin Lizzy had joined forces.

INTERVIEW 2

The next interview; William discusses his creativity with the Old Man,

"I am interested in how you pick up a song to play. Do you learn by ear or from sheet music?

I like to learn and play songs from sheet music and I have a wide collection from ACDC to ZZ Top.

"Can notes on a page really capture the dynamic sounds needed of a lead guitar?"

No, because it doesn't always sound like the song because each guitarist has a different style.

"What do you feel when you see a mass of notes from, say, a Satriani song?"

Depends, you can get easy or hard songs.

"What are you in to at the moment?"

Chickenfoot

"Do you like those play-a-long books and CD's?"

Yes. They help a lot.

"Can you visualise a tune just by looking at the notes?"

Yes, if I have heard the song before.

"What gigs have you got coming up?"

Thin Lizzy this week and looking to catch Bonamassa on his next UK tour

"What are your favourite songs on sheet music?"

Down the Drain by Chickenfoot, Satriani's Super Colossal.

"Have you found anything just too technical to play and enjoy?"

No, I enjoy the challenge

"What sheet music are you looking to get next?"

Anything interesting.


"How much practice, in hours would it take to learn, say 'If heartaches were nickels' by Bonamassa?"

A long time, more days than hours

INTERVIEW 1

Interview with Will about his introduction to Rock Music and his influences by an Old Man,

"What is your first memory of hearing rock music and what was the song?"

I don't know, I just generally heard rock on the radio or driving around in the car.

"Your guitar playing is self taught. Did you find it difficult to pick up?"

No, it was extremely difficult and frustrating to start with

"What would be your dream guitar?"

I don't really have one, I just like a variety of different ones. I play an Ibanez GRG150 DX at the moment.

"What would be your dream gig?"

Big stadiums

"What guitarists do you admire?"

In order, Joe Bonamassa, Joe Satriani, Matthias Jabs, Eddie Van Halen, Angus Young.

"Who would you really like to see live that you've not seen yet?"

The Scorpions

"Who would be in your Supergroup?"

I don't know. probably just me.

"What is the most difficult riff to master?"

Van Halen- Runaround

"Favourite Riff?"

Rock you like a Hurricane by The Scorpions

"Any other instrument you would like to learn to play?"

Probably Bass Guitar,