Guitar Nine Columns

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

December-January 1997

Energetic, Unpredictable Fingerstyle Guitar

December-January 1997

Instrumental Guitarist Challenges The Musical Trends Of Today

December-January 1997

Alternative Acoustic With A Pure, Emotional Edginess

December-January 1997

Rock Guitar Virtuoso Plans New CD

December-January 1997

Guitarist/Songwriter Works Studio Magic Close To Home

December-January 1997

Neo-Classical Guitarist Goes Solo

December-January 1997

Progressive Instrumentals Laden With Emotion

December-January 1997

Instrumental Guitar Landscapes

December-January 1997

High Energy Band Does It Themselves

December-January 1997

Vibrant and Powerful Acoustic Music

December-January 1997

Cutting Edge Guitarist Delivers the Instrumental Goods

December-January 1997

Creative, Unusual Power Trio Oozes Intensity

December-January 1997

Electrifying, Emotional Blues-Rock Instrumental Music

December-January 1997

If you're a typical musician, you lack one or both of these critical qualities. Let's see how important they are to your success.

December-January 1997

If you`ve got the urge to explore jazz after a background in rock, you`ll need to understand the differences between the two styles. Guitarist Sean Gill gives you the keys to unlock the door to jazz.

December-January 1997

Houston guitarist Rusty Cooley figures that with ten fingers, there`s got to be times when you can use over half of them to express your ideas.

December-January 1997

I`d really like to develop into a good composer. I`m not a Greg Howe or an Allan Holdsworth when it comes to soloing, so I have no choice but to work on developing my compositional skills so that people will have a reason to listen! To me, the ideal is someone like Scott Henderson, or Shawn Lane, who are not only amazing players, but equally strong, if not better, composers. That`s the pinnacle, to me.

October-November 1997

New Jersey guitarist Paul Kuntz is back and aside from a ravenous appetite, he`s got plans to teach you all about tuplets and fitting the notes to the rhythm.

October-November 1997

Just can`t get enough info about modes, can you? Guitarist Tony Young relates modes to chord progressions.

October-November 1997

I do as much pre-production as humanly possible at home. When you`re ready to record, and I can`t stress this enough, have everything rehearsed to death and a production plan ready. I did my latest CD at a commercial place, but my dream is to do my next one at home.

October-November 1997

The bottom line is: I believe in my music. As an instrumental artist you`re not going to land a huge deal with a major label. If you do get a deal the label is going to take a huge chunk of money, and even if they do sign you, they may not even distribute your CD. Some friends of mine signed with a major label, and the label has not done a thing with them. So they have a great product that they can`t do anything with.

October-November 1997

Adrenaline-Pumping, Cinematic Heavy Rock

October-November 1997

Stepping Outside Contemporary Fusion

October-November 1997

Folk And Rock 'N' Roll With A Country Flavor

October-November 1997

Mixing Luxurious Soundscapes With Rock/Blues Guitar

October-November 1997

Instrumental Metal That Screams For Vengeance

October-November 1997

Surprising Interpretations Of Contemporary Classical Guitar

October-November 1997

Supercharged, Energetic Bass Guitar For The New Millennium

October-November 1997

Intense, Ripping Instrumental Guitar

October-November 1997

Self-assessement time. Can you go it alone? You might need the synergy of two people working together to kick start your label.

August-September 1997

13 additional tips you can use today to improve your tracks.

August-September 1997

Swedish Instrumentalist Does It On His Own

August-September 1997

Inspiring Others to Find the Inspiration in Themselves

August-September 1997

Balancing Technique And Melody... From Italy

August-September 1997

Driving Rock Music With A Message

August-September 1997

Powerful, Progressive Instrumental Metal Music

August-September 1997

Skill and Musicality Mark Instrumental Release

August-September 1997

Completely subjective, straightforward tips in the areas of promotion, publicity and your career.

August-September 1997

New Jersey guitarist Paul Kuntz takes time out from lunch to give you his assurance that there is life beyond the blues scale.

August-September 1997

Even though these days it takes a lot of idealism to produce an instrumental record, I strongly encourage everybody who`s playing around with the idea to do so. Just don`t expect to get any money out of it, regardless of the quality of your product. It might happen, but it`s very likely that it won`t. But you will have the best musical business card there is and a unique document of your own creativity.

August-September 1997

The one thing I always try to do is be in a creative state of mind when I compose. It seems that the ideas flow better if you are working on it on an ongoing basis. For a lot of my instrumental tunes, I sometimes get a mental picture of something in my head, and then ask myself what music goes with this scene. This is much like scoring for film--except the film is in my head!

June-July 1997

I record at home in my 16 track (analog) studio. It took me lots of time, energy and money but I`m glad that I`ve got one. Nothing can beat a home studio. You can go there anytime you want and not be bothered by anyone other than yourself. You don`t have to book time, and pay by the hour. Unless you`re a lunatic, that is.

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