The Top 20 Guitarist of The World

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Guitar Port Online's Top 20 Guitarists of All Time

1	Jimi Hendrix	The Jimi Hendrix Experience
2	Eddie Van Halen	Van Halen
3	Eric Clapton	Cream, John Mayall's Bluesbreakers, Yardbirds, Solo
4	Jimmy Page	Led Zeppelin, Yardbirds, The Firm
5	Steve Vai	David Lee Roth, Whitesnake, Frank Zappa, Solo
6	Steve Ray Vaughn	Solo
7	Joe Satriani	Solo
8	David Gilmour	Pink Floyd
9	Brian May	Queen
10	B.B. King	Solo
11	Carlos Santana	Solo
12	Jeff Beck	Yardbirds, Jeff Beck Group, Solo
13	Mark Knopfler	Dire Straits
14	Angus Young	AC/DC
15	Les Paul	Les Paul & Mary Ford, Les Paul Trio, Solo
16	Slash	Guns and Roses, Slash's Snakepit Velvet Revolver
17	Yngwie Malmsteen	Alcatrazz, Solo
18	Eric Johnson	Solo
19	Randy Rhoads	Quiet Riot, Ozzy
20	Ritchie Blackmore	Deep Purple, Rainbow

Improving Alternate Picking Technique

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Why is alternate picking important? Beginning guitar players have a tendency to strum or pick the guitar strings by using a series of either all downstrokes or all upstrokes.

Although this is OK when first learning, it is important to increase playing fluidity and efficiency by using a technique called alternate picking, which is the process of using a guitar pick to strike the strings using a pattern of alternating downward and upward motions, or downstrokes and upstrokes. This has the advantage of minimizing wasted motion and results in faster, smoother playing.

The main problem with alternate picking comes when you are picking a note in the opposite direction of the next string that you're going to play. For instance, if your last note was a downstroke on the G string, and your next note is an upstroke on the D string, then your pick has to travel a more complicated path than if you are picking up on G and down on D. What to do?

Some people just refuse to let their picking hand do the more difficult move, by trying to put a hammer on or a pull off to time the direction of the pick to a more favorable direction. Others might just be using the pick to start the string in motion, but are doing all hammer or pull offs other than the first note on a string.

But let's concentrate on what to do if you are using the versatile alternate picking method. Since we don't want to limit the note choices, or string choices, in any way, we have to just get good at dealing with the problem.

Practice going back and forth between two strings picking in the opposite direction just like the example: For example, in 2nd position, play a C on the 3rd string with a downstroke followed by an E on the 4th string with an upstroke. Repeat the C and E one more time.

Next, bring the C down to a B on the 3rd string with a downstroke, followed by the same E on the 4th with an upstroke. Repeat the B and E. Just to make a slightly musical pattern, do the same thing, but change the B down to an A, doing the same pattern. To make the pattern symmetrical, return the A back up to a B and play B,E,B,E, just like the second pattern.

It will take a lot less time to play this than to read about it, so try to muddle through this explanation to get to the actual notes, it's not hard to play this as long as you don't try to play it too fast.

As with all exercises, do it slowly and as accurately as possible at first. Doing this exercise addresses one of the most important points about practicing and improvements.

Snow on The Sahara - Anggun C. Sasmi

Chord Prgression 1:


Only

F C G
tell me that you still want me here

C Am
When you wander off out there

F C G
To those hills of dust and hard winds that blow

C Am
In that dry white ocean alone

Bb
Lost out in the desert

F7
You are lost out in the desert


use chord progression1:
But to stand with you in a ring of fire
I'll forget the days gone by
I'll protect your body and guard your soul
From mirages in your sight

Lost out in the desert
You are lost out in the desert

chord progression2:

C (barred) G
If your hopes scatter like the dust across your track

G <--- fingerpick----> Am
I'll be the moon that shines on your path

C (barred) G
The sun may blind our eyes, I'll pray the skies above

G <--- fingerpick----> Am
For snow to fall on the Sahara

use chord progression2:
If that's the only place where you can leave your doubts
I'll hold you up and be your way out
And if we burn away, I'll pray the skies above
For snow to fall on the Sahara


use chord progression1:
Just a wish and I will cover your shoulders
With veils of silk and gold
When the shadows come and darken your heart
Leaving you with regrets so cold
Lost out in the desert
You are lost out in the desert

use chord progression2:
If your hopes scatter like the dust across your track
I'll be the moon that shines on your path
The sun may blind our eyes, I'll pray the skies above
For snow to fall on the Sahara

use chord progression2:
If that's the only place where you can leave your doubts
I'll hold you up and be your way out
And if we burn away, I'll pray the skies above
For snow to fall on the Sahara

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Falling in Love - J-Rocks

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D A
Kurasakan ku jatuh cinta
Bm A
Sejak pertama berjumpa
G Bm Em A
Senyumanmu yang selalu menghiasi hariku

D A
Kau ciptaan-Nya yang terindah
Bm A
Yang menghanyutkan hatiku
G Gm
Semua telah terjadi
Bm Em
Aku tak bisa berhenti memikirkanmu
G A D
Dan kuharapkan engkau tau

A Bm G D
Kau yang kuinginkan meski tak kuungkapkan
A Bm G
Kau yang kubayangkan yang slalu kuimpikan

[chorus]
Bm E
Aku jatuh cinta
G D
T'lah jatuh cinta
Bm E
Cinta kepadamu
G D
Ku jatuh cinta
Bm E
Im falling in love
G D E
Im falling in love with you

[Interlude & Outro] D

How To Reduce Feedback When You Play

If you've performed live on stage or even a casual jam with your friends at band practice -- one of the most annoying things guitarists have is a thing called FEEDBACK!

If you don't know what feedback is -- it's that terrible high pitched sound that comes from speakers.

It usually happens when you place your microphone too close to the speaker or play your guitar directly in front of the amplifier.

Not only does this damage your ears, but it puts your audience off when they come to hear you play!

Now I'm not an expert on the dynamics of feedback. But I have performed on stage many times and have learnt a few tricks to avoid feedback from occurring...

The first step is to turn down your treble on your amplifier. Too much treble invites feedback so don't have too much treble in your amplifier settings.

The second step is to turn the volume on your guitar up only 3/4. Don't turn your volume up full as this is invites huge feedback! Always leave a little room on your volume, so don't turn it up all the way. Only 3/4 and I guarantee you will reduce feedback at least 80% with this trick.

One other trick is to turn down the gain or distortion on your amp. When you play softly, you can turn your gain or distortion full. But when you start playing with some serious volume, turn your gain only 50%.

You will still get the same sound and distortion, but this is the trick to avoiding feedback from occurring when you play loudly.

Finally, if you're using an effects pedal, only turn it up 3/4 the way. Like your guitar -- always leave a bit of leeway as it offers more control over the sound and keeps your playing tight!

Remember this -- if you keep control of your volumes, you reduce the level of feedback and have a much tighter sound as an over all band. If you turn everything up full and try to rule the world -- you'll sound a mess and out of control.

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