Guitar Nine Columns

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Enjoy over 20 years of staff columns, guest columns, interviews and more!

December-January 1998

Highlighting the ways that other instruments and their players can profoundly effect us.

December-January 1998

Putting yourself in the shoes and sticks of the drummer.

December-January 1998

I`ve been playing for nearly 20 years, and I`ve always emulated guitarists like Jimi Hendrix, Gary Moore, people like that. As far as instrumental goes, when you can`t sing yourself, you tend to write without a vocal part in mind. If you could add vocals to it, that would be one thing, but I decided that I would like the guitar to shine through on what I was doing. So I decided to make the project instrumental.

October-November 1998

Guitarist Paul Kuntz is back with some thoughts on how to avoid that feeling of being `lost without a map`.

October-November 1998

Kick-start your musical development with these essential tips from Curtis.

October-November 1998

Learn the essentials of the swept arpeggio from one of the masters of the technique.

October-November 1998

Gerry Magee begins his multi-part series on expanding your mind, as well as your fretboard, with the benefits of thinking like a composer.

October-November 1998

For Europe my music is not aggressive enough and in the US I didn`t have anybody to present it to. So rather than making so-called industry contacts and "wait until it happens" I decided to do it myself, which turned out to be much faster and got me and my music much more respect. I highly recommend a musical statement such as this to all musicians who intend to be a part of this complex industry.

October-November 1998

I hope my music, although there are no words, communicates and reaches people on an emotional, spiritual and entertaining level. I try to incorporate various instrumentation, and contemporary compositional influences.

October-November 1998

We have tried to record as much of our playing as we possibly can, both in practice and "jamming" sessions, and when we perform live, to give ourselves some feedback. When playing it`s very difficult to listen to yourself because you`re too busy thinking about what`s going to happen next, while in critical listening you concentrate on the blend of what has just happened. By listening to recordings of ourselves we can pick out the improvisational parts that work well, sound great, or have promise, then try to concentrate on developing them.

October-November 1998

Acoustic Progressive Jazz Meets New Age Fusion

October-November 1998

Guitarist Blends Progressive & Neo-Classical Influences

October-November 1998

Guitarist Makes Mark In Music Mecca

October-November 1998

Instrumental Rock For The Hungry Heart

October-November 1998

Trio Releases Instrumental Rock Demo

October-November 1998

Duel Guitars, High-Tech Shred

October-November 1998

Electric Release From Multi-Instrumentalist

October-November 1998

Maniacal Instrumental Madness With An Elfin Flavor

October-November 1998

Don't make the mistake of thinking this is someone else's job. As an independent artist, the ball is in your court.

August-September 1998

Progressively Minded Guitarist Blends Metal, Funk & Rock

August-September 1998

Original Jazz/Rock Arrangements Fuel New Release

August-September 1998

Rock Meets Latin Shred For Instrumentalist

August-September 1998

New Age Electric Guitarist Crosses Stylistic Boundaries

August-September 1998

The Power Of Dissonance

August-September 1998

Guitarist Draws Instrumental Influence From Ancient Writings

August-September 1998

Rock 'N' Roll Acoustic Guitar From New Mexico

August-September 1998

Instrumental Guitarist Readies New Release

August-September 1998

CD recorders (or burners) are great in any studio. Should you consider releasing your next CD on CD-R.

August-September 1998

The beautiful part about the tempered music scale lies in it`s flexibility. One of Ken`s favorite tricks is to take one shape, and use it to move up or down the fretboard in a linear way. The similarities in chord shapes will allow you to do the same.

August-September 1998

In the last few years I`ve made a record for a major label that didn`t get released. Then I signed with a indie label. I thought the majors were the bad guys, and this label would give me more attention. WRONG! To make a long story longer, the small label had bad distribution and never paid a bill, let alone the tour support and promo budget.

August-September 1998

I knew what I wanted to do but there were no labels dedicated to the guitarist as the artist, but only to the guitarist as a shred meister. I read an interview with guitarist Glenn Phillips, who has released ten albums independently. I realized from his comments (about the music industry) that the only way to reach my goal was to follow his example.

June-July 1998

Guitarist Paul Kuntz is back with some fresh ideas on getting out of playing `in the box` and save untold wear and tear on your frets.

June-July 1998

The best marketing tip though, is not to think of the market when you are composing or playing your music. Play only what is true to you--as an independent musician, you have that luxury.

June-July 1998

I am trying to reach into the heart of the listener and make him or her feel what I am putting out emotionally. I just want young people to become emotionally attached to music again. I want to enlighten a younger audience.

June-July 1998

Instrumental Jazz-Rock Fusionist Eyes The Future

June-July 1998

Presenting Listeners With A New Breed Of Instrumental Music

June-July 1998

Funk & Jazz Meet Heavy Instrumental Rock

June-July 1998

Instrumental Rock Where Melody Rules

June-July 1998

Classical Guitar Augments New Age Instrumentals

June-July 1998

Creative Self-Indulgence And Adventurous Guitar Playing

June-July 1998

Killer Chops Mark Hard Rock Guitarist's CD

June-July 1998

Original Blend Of Acoustic and Electronic Textures

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