Demon On The Fretboard Releases CD
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Demon On The Fretboard Releases CD
Guitar Student Demos Instrumental Compositions
Furiously Fast French Guitarist Seeks Producer/Sponsor
Authentic, Hard-Edged Blues/Rock
Killer Texas Trio Releases First CD
Instrumental Blend Of Rock And Fusion
Melodic Songwriting Meets Intense Guitar Riffs
Bassist, Drummer Combine With Fusion Greats
Part two of our e-mailbag dump, answering some of the most commonly asked questions about releasing and promoting records.
Paul Abbott discusses the phenomenon of sound.
Highlighting the ways that other instruments and their players can profoundly effect us.
Putting yourself in the shoes and sticks of the drummer.
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.
Guitarist Paul Kuntz is back with some thoughts on how to avoid that feeling of being `lost without a map`.
Kick-start your musical development with these essential tips from Curtis.
Learn the essentials of the swept arpeggio from one of the masters of the technique.
Gerry Magee begins his multi-part series on expanding your mind, as well as your fretboard, with the benefits of thinking like a composer.
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.
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.
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.
Acoustic Progressive Jazz Meets New Age Fusion
Guitarist Blends Progressive & Neo-Classical Influences
Guitarist Makes Mark In Music Mecca
Instrumental Rock For The Hungry Heart
Trio Releases Instrumental Rock Demo
Electric Release From Multi-Instrumentalist
Maniacal Instrumental Madness With An Elfin Flavor
Don't make the mistake of thinking this is someone else's job. As an independent artist, the ball is in your court.
Progressively Minded Guitarist Blends Metal, Funk & Rock
Original Jazz/Rock Arrangements Fuel New Release
Rock Meets Latin Shred For Instrumentalist
New Age Electric Guitarist Crosses Stylistic Boundaries
Guitarist Draws Instrumental Influence From Ancient Writings
Rock 'N' Roll Acoustic Guitar From New Mexico
Instrumental Guitarist Readies New Release
CD recorders (or burners) are great in any studio. Should you consider releasing your next CD on CD-R.
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.
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.
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.