Joe ok your song "Endless Rain" you have the chord layout or what ever it is called, like this Bmadd9, Gadd9, Emadd9, Cadd9. those 4 chords you put in the chord voicing thing, and the rest of the chords are like Amadd9, Fadd9, Dmadd9, Bbadd9, Fmadd9 and so on.... i cant tell how you play the rest of the chords. the voicings you moved all over the fretboard and played them on different strings and such, then just the chord names show up and i'm really confused on how to play them :( i've only been playing for about a year and a half now, and i was wondering if you could help me out with this song so i can try and solo off of it like your little lesson "Solo in all 12 keys" in your "Guitar Secrets" book. thanks for your help

Bob

It's impossible for me to pick favorite guitar solos, so I'll just be kinda cheesy and say that I agree with most of the favorites that have been posted here. ;-)

Here's my question for everyone: What is your favorite musical note? I'll have to think about this for a while...I'll post my answer later tonight.

Godsmurf - Go to http://www.guitargeek.com/ and do a search for Joe Satriani.

Hi everyone!

I don't know why, but I felt I had to read all the 17 pages of posts... :p

My thought of the day: God, how I missed my marshall!!! After 2 months in a garage I brought it back home! :)

«Don't you guys think that if alexandre caetano shaved his head he would make a good Satch clone?» lol quito

Yeah, maybe he would, but I really prefer having a great portuguese guitarist with his own style rather than a great portuguese Satch clone. ;) (and there's no such thing as a Satch clone anyway! :p) There will always be only one Joe Satriani and there will always be only one Alex Caetano.

alexandrecaetano- Man, great job with your new song! Loved it! Great tone! I loved the sound of the guitar! Keep it up! Keep'em coming! Glad you're getting such a good feedback! You deserve it! :p Portugal, 800 Km of sandy beach in western Europe where a new guitar god is born! How's that for a commercial? LOL! Feels good dreaming about it, doesn't it? Man, you've got the talent, you've got the instruments, you've got the time for improvements, you've got the distribution company! Rock on!

I'm trying to solve my tone problem... I think I came up with some good effects, let's see if I make a test song so I can ask you what you think of it. When I get an idea of the right tone, I'll try and start thinking of my first composition... :p Um abraço.

Nice poll here! Wasn't expecting! I thought the poll was to be put at the t2j site! A really pleasant surprise!

Well, it's 3:40 am here and I'll be up at 10:00... I'll see if I get some sleep...

megaboyd: Yeah I don't know what it was about that show. They didn't seem to be enjoying themselves very much so to me that projects a bad show if ya know what I mean.

Cube - Because I can't actually imagnie being positively entertained from that. THat and becuase it's so stupid.

Before the second show, Buckethead (while not in character) showed me a guitar he was especially fond of; he was about to use it on a recording project with Shawn Lane and he was very excited about it. During the show, while in character, Bucket became agitated and destroyed the guitar. Afterward in the dressing room I saw him regarding the torn and forlorn instrument as though someone else had performed this dastardly act, slowly shaking his head and saying "...no...no..." I pretty much knew then that he was a remarkable person.

MK: You're in Guns 'n Roses now -- I'm curious to know what led up to this intriguing development. How did you hook up?

migupais - I just listened to some of your IUMA stuff. You have some great music up there.

To answer your question, I don't think Page ever owned the name "The Yardbirds". I'll have to look up some info to be sure, but I think he just used the name in 1968 while finishing the band's touring commitments.

There is a lot of confusion concerning the last year or so of the band's history. For example, it's mentioned all the time that Page changed their name to The New Yardbirds, and then to Led Zeppelin. That actually isn't the case, but the misconception comes from the fact that he referred to the band as the new Yardbirds in various interviews over the years (the new "Yardbirds", as opposed to "The New Yardbirds").

Do you know who Greg Russo is? He's an author who in recent years has written books / liner notes about a bunch of 60s bands. He has been a driving force behind a lot of the recent Yardbirds reissues, selecting track listings and stuff like that. He wrote a REALLY good book on The Yardbirds a few years ago. It's called The Ultimate Rave-Up, and you can buy it at Amazon.com if you don't already have it. I'm on a Yardbirds mailing list that he runs...I bought the book directly from him and he signed it for me. There is A TON of information about the band in this book. I highly recommend it. You'll learn a lot...he's done a lot of research to find out the "truth" behind certain stories, such as the thing with The New Yardbirds that I just mentioned.

Can anyone help?

I want to write a chord progression that goes from an Amajor progression going into A Minor then back to Amajor, I love going between major and minor but am not 100% sure how to work out the chords for this?

Also also if i was playing in A Minor and wanted to then go to C major, how would I stop the progression sounding like A min being that C is the relative major?

Cheers

Olly

Plum Loco - Trutina and Chris already have a CD of my track.. so.. I guess so.. lol

Don't Tell Me You Love Me - Night Ranger:
The solo is fluid, seems, exciting, passionate and was years ahead of it's time.. the switches between Gillis and Watson are alomost invisible.... two players that don't really get much of a mention these days... they had a massive impact on my playing style years before Satch and Vai...

Yours Is No Disgrace - Yes [the Yessongs version]
it's 1972/3 and shredding is something that is done to paper.. This solo is huge but never gets dull.. It's very compositional in appraoch and riddled with small themes that are constantly reworked [on the spot and live on stage].. and just because there are no blistering legato runs and sweeps don't write it off as 'easy'.. it's a whole lot tougher to play than most shred solos... a real thinking mans solo..

Eruption / I'm The One - EVH: blew me away the first time I heard it.. still does today.. learning to play it launched my playing into a new direction and with a whole new lease of life - Eddie - dude I owe you a beer for that one...

I Am A Viking - Malmsteen: Definately a song with the worst lyrics ever writen... But an awesome riff and one of the best examples of 'in-flight' soloing ever recorded... another solo that had a profound impact on my playing style..

Shine On You Crazy Diamond - Pink Floyd: simple, beautiful and deeply moving...

Still In Love with You - Thin Lizzy [the Live and Dangerous version] IMHO one of the prettiest and most soulful solos ever. True class. I used to play it over and over.. and that's after I learned how to play it.. my hair used to stand on end as I played along...

Baker Street - Jerry Raferty: No mind blowing technique but probably one of the finest example of a short and sweet solo that makes a song climax through shear note selection... the stuff of genius..

Little Wing - SRV: First time I heard it, my hair stood on end, my throat went dry, my eyes filled up and I had goosebumps... Nothing more can be said...

War - the lil' baldie fokryer: The solo in the closing section where he rides the cocked wah has this energy and vibrance that makes it stand out.. another 'guitar-life' changing moment for me.. Oi.. Lil' Baldy Fokryer.. I owe you a beer for that one..

For the Love of God - Vai: Sheer class. Has everything.. soul, style, passion, raw energy, fantastic tecnique, ideas I wish were mine, furious shredding, trickery.. and Vai's sense of humour still cuts through... He is a true genius...

Clarky Cheers - I will experiment with that, but I do want to try and make it a longer chord progression, and i'm still a bit confused about how to make a change between a minor and its relative major!

olly - ah ha.. Am is not the relative minor of A. Am is the relative minor of C.. because they share exaclty the same notes... moving from Am to C is most often done via G.. Am - G - C.. or Am, G/B [1st inversion], C which is nice because the Am to G chord falls but the bass rises A to B.. a nice effect... in rock music C to Am can be done a whole pile of ways.. C, F, G, Am... C, G, E7/G# [1st inv] Am - a little more Barroque sounding..

A to Am - build a chord progression in the key of A around 4 or 8 bars long.. and make sure that the last chord is either E, E7, E or E7 over G# [1st inv], G11 is a little jazzier, D works well, F pre-empts the minor tonality and works as a nice springboard - especially in a rock / metal setting..

Welcome to the site, ROCKIN

crushing day Looking at my watch, you will be doing your exam now, so good luck for calming down when you get out. My first exam is general studies on Wednesday.

Austin What have I done wrong?