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Split lOW. Musical Style Steve emerged into the public eye in [he mid-eighties, springing humour, up every other week. During Musically, ser him apart things upside down. During his lime he has replaced Yngwie Malrnsteen many big names including of 3. His lise of the rrem-bar him 0. He's used modified Since he has been a regular user of a seven-string guitar rnnge. He's leaned heavily on outboard guitar, parr of his lbanez signature such as gear - in some of his compositions.

Ballerina and Alien Water Kiss the effects in this case an Eventide H integral pan of the piece. His solo material owes as much to his composition orchestrated John W;lIiams-sryle anthem and production. Steve's musical influences are easy to spot. You Can hear Hendrix. Halen in his tapping frenzies and Zappa in his composition, mix these up with more than a little inspired originality and identifiable sryle around.

Vai uses every ounce of his formidable 10 play this stuff and, as Sieve would say, "just don't Performance Notes The Attitude Song For many people trns would have been the first Steve Vai song that they heard, and il is a real showcase for his unique style. The contrast style IS. IS In. There are dense multi-tracked in this track can be seen in bar This J[. Joe Sarnani and it involves catching rbe B string under the nail of your finger and pulling it the neck and of] the trerboa rd so that slinky string bends and fast-picked here - two-handed tappmg, sounds aga inst the side of Ihe frets.

The ourro of the song features Sieve doing hrs famous "talking aliens" routine, ThIs is done wuh the use of a wah-wah Vai uses smooth which he flexes rhythmically tone and subtle trcm-bar. This Srrar-Irke tone and understated 'hord.! Steve uses the technique. The heavy accents in bars 6 and II are achieved against the frerboard, bars You can sec this in using harmonics. Usually the upper notes arc held With a first finger barre. The Crying Machine Despite the ritle this is one of Vai's more up-beat tracks that features dual lead guitars that interwea ve and rrade-off licks throughout.

The ourro section features some great playing by Steve - the rwo lead guitar tracks seem to feed off each other as they become rapping lines. There arc examples heavily vibraroed trademark each note. In bar 84 Steve uses one of his of turning the ba r around 10 point towards. B string is the same as the 12th fret I: string.

Nor only does this sound great but ir feels good too, having a 'pivot point' on the B string helps to build up a lot of speed. In bar the E note on the B suing moves down to a OJ:.

On this track he docs Juice Taken. It's very fast, bpnl, playing. In bars he plays the main ri ff on the borrom As he plays the rif he moves his is different. Even though are actually the neck so that each harmonic. To create rhe effect In bar 77, JUSt before the solo, take the bonum it aga inst rhe pole-piece it. It JUStsounds good. The double-stop distinct country from he neck. The string will stick to rhe magnet then 'pop' off as you release the bridge secrion have a lick.

A:; you hold Pick. Play the Ii"t note with one finger then 'hammer' another finger on t he fret indicated. Harp harmonic. Fret rhe note normally and gently resr. Drop rhe pitch of. In rhythm. Only the first note " picked. Ern9 8"' -- This is the sound of a truly exceptional every bit of his ability to express himself. There is no easy way around this solo, it's rough from the word go! However, it's so packed with great ideas that it's well worth the effort.

The first few bars of this solo are all based on the same basic idea, which is moved around to fit the chord sequence. This is a technique Steve uses a lot - by spanning an interval of a fourth on one string and then moving this shape down a string, you can alternate of the same pitch on different sound good between two notes.

This looks far harder 'shape' than trying to reproduce than it is, once you've learned the. This lick is based on a repeating eight-note shifting thirteen rhythm is created by putting note rhythmic played grouping. Trying thirteen to count a group of eight over a group of. Work out how many times the phrase repeats and fit this evenly into the bar. Make sure to play the top note with your fourth finger, and this will hold your hand in the right position for the rest of the lick.

In the following another bar bar 89 Steve uses the [rem-bar in. When you get to the B just let go of the bar so it springs back to position with a great fluttering sound. This will only work on a bar that is set-up to stay in a fixed position when you let go of it.

The key to this lick is that as it progresses the bend gradually gets bigger,. As in Example accurately, 2 the rhythm is complex. To play this of. If you play the lick evenly it will all work out. Use your second finger to bend the G-string but as the. Steve has used an Em 7 arpeggio as the basis for this long phrase. The B-string slides are all played with the second finger.

As this fits into the chord shape it's easier to play this way. The picking of this phrase is important sound - to get a smooth. Use this picking pattern for the whole lick. The slide is played with finger. When you reach the 22nd fret use a sweep to the Dvsrring. There is an extra note. Although these two notes are on the same fret, don't be tempted to barre this - we need this lick to sound clean. As you sweep down the strings, release each note with your fretting hand after it's sounded.

If you hold the shape down as you sweep it'll sound like mush! The first is played over a heavy rock backing and is blues based, while the second is played over an atmospheric section and has more classic 'Val-isms'. To get the heavy rock feel in the first part of the solo, try playing slightly behind the bear. This puts you in the 2nd fret B minor position. For the quick pull-off on the B-string use your fourth.

The lick begins on the top string and moves down to the A-string, playing a. At the start of this example you can see that Vai uses the unusual technique of tapping with his picking hand and sliding up and back one semitone. Steve usually taps with. This is long and complex lick but it's worth spending by learning the.

When you have learned each string, put them all together and learn where the main beats fall. Practise slowly at first and work on keeping the string transitions clean and smooth. Move your picking hand around to keep the sound consistent. The combination fretboard of picking over the. The Solo Juice This up-tempo shuffle is full-on from the starr and Steve takes the first few bars of the solo to slow the pace a little before building the solo up to a climax.

As you use your third finger to slide up to the D note, make a 5rh frer barre with your first finger. Use your third finger again to slide down to the G which will set up your hand position for the next phrase.

Keep all the strings ringing for this bar and, as the last open G is ringing, move your hand up to play the B at the 9th fret with your third finger. Use your first and second fingers to play the first two notes then slide down the Dvsrring with your first finger. For the next two notes use your first and third fingers then slide down the A-string with your first finger.

For the rakes on the three high phrases you need to damp the strings with your picking hand. Use your first and third fingers to play the descending note before picking. You can play this by using one finger on your picking hand bur Steve uses two, the second and third, so he can still hold on to his pick. Start by tapping with your second to the D-string,.

Move up a string so that your second finger now taps the A-string and your third finger is on the G-string and carryon like this up to the top string. For the left hand set up a hand position so that your second finger is at the 5th fret on the bottom string and keep this. In most tapping licks the string changes are played by the tapping hand, in this one there are a lot of string changes played by the left hand. There are two ways to play this.

You can use your right hand to pick the new string or you can play the whole phrase as hammerons. This way, when you have to change strings, you use your lefr hand to. This will sound smoother to play; you'll need to damp playing to keep the lick sounding clean.

D A Cma]? Played entirely with a clean tone it still has that distinctive Vai sound. He uses a combination of different picking techniques The solo is either played fingerstyle or, for the octave passages, thumb, like jazz legend Wes Montgomery.

Steve doesn't always sound both notes of the octave at the same rime. In this lick he plays rhe bottom first and holds this as he sounds the top note before sliding both up together. The octaves should be played with your first and fourth. Try to develop a light touch with your fretting hand, as this will make it easier to slide these octave shapes around. Because you are strumming across three strings 0.

The sound of your thumb hitting the deadened string is is holding. This will stop it ringing. At the end of the second fingersryle for the 'tremolando' bar Steve reverts back to. Because you have to strum over the top of three strings, in a brushing motion, they ha ve a softer attack than the fingerstyle passages.

Steve uses this contrast to great effect. All of the thumb-style octaves are played with a downward the strumming direction, as. At the end of the first bar, strum the last octave. Hold down the D, G and B-strings with a first finger barre. Keeping the middle string sounding, hammer-on the top. In the second half of the bar just the lower string is being hammered. To keep these notes ringing you'll have to keep so any notes that are on.

This is great practice for finger independence. Keep this lick restrained, as it is the end of the solo it's easy more effective if it's. The Solo The Attitude Song Revolutionary at the time of its release in , this solo is version of Vai's guitar style. You can and bluesy licks, had never and chromaticism almost a condensed hear the rock influence in the pentatonic but Steve's use of dissonance been heard in this context before.

This is what makes a Vai solo unique, the combination of 'in-your-face' rock with. In the early part of this solo Steve sets up the E minor tonality by playing a familiar pentatonic up with this phrase which broadens and adds a new twist. This is a very 'slinky' sounding lick due to the way he slides from position to position. Steve is very fond of sliding up of his sound. He follows it horizon the harmonic.

Release this slowly back down to the E note. Slide down from the D to the B with your first finger. This puts you into familiar 'blues-box' territory for the next. This is move and can be fiddly to play but it does. The trick here is to get the pitch of the slurred notes to be accurate.

In the second bar Steve carries on the upward-moving but uses a combination string. Play this whole. As before keep the rhythm smooth, this is music we're playing! Only the first and. This is where you pick across two or more strings in one stroke.

In the first bar, use the first, second and third fingers on the D, G and B-strings. Start with a downstroke and play the first three notes, and. It sounds more complex than it is. This lick has a great inner logic, and it sounds like a real.

In the last bar use sweep-picking the whole bar with upstrokes. You can see more of his unusual trem-bar here too. In the first bar he uses the bar to bend.

Am7 8m? The Solo The Crying Machine In this solo Steve uses two guitar parts, panned right, that overlap and contrast the whole range of techniques two-handed licks.

Vai covers here, from rrern-bar slurs to quirky with plenty of his trademark,. In the second bar you'll need to support you third finger as you bend up the three semi-tones from the E. Don't release the bend when you damp the note. Use your picking hand to deaden the string as you hold the bend, then pick the pre-bend and release back down to the E.

The first note, which is being held over from the previous bar, is played with the second finger. This finger is used to slide up the G-string to the 8th fret. On the B-string, use your third finger to slide from the 9th to the 12th fret and pull-off to your first finger at the 9th fret. The rest of the lick is played with the third and first fingers. You'll need to use your fourth finger to play the top nore of these hammered phrases. Hammer-on from the open B-.

This is hard to do with your weakest finger but it does make a difference to the sound. Make sure that you keep your fretting thumb at the back of the neck, nor hooked and keep your hand as relaxed as possible. Start with a pre-bend on the B-string with your third.

Play the Gp on the top string with your fourth finger and move your first finger down to. The rest of the lick should fall into place if you starr with this fingering.

Pular no carrossel. Anterior no carrossel. Explorar E-books. Os mais vendidos Escolhas dos editores Todos os e-books. Explorar Audiolivros. Os mais vendidos Escolhas dos editores Todos os audiolivros. Explorar Revistas. Escolhas dos editores Todas as revistas. Explorar Podcasts Todos os podcasts. Explorar Documentos. In Session With Steve Vai. Denunciar este documento. Fazer o download agora mesmo. Pesquisar no documento. WJS a By this rime Vai had developed an awesome along with fiendishly some transcriptions difficult to Whils!

Frank was impressed with Steve's "very grear guicar chops" the look out for musicians move to California Zappa's Ir wasn't roo young to handle rhe rigours of louring gigs, he prepared long before but, alrbough he was always on music, considered Sreve of Instead he had Sieve on hvc recordings outfit, capable of playing his very challenging with a major rock group.

Working of Zappa's and stan work as his official transcriber. These entirely self-financed rhe goal posts had well and truly moved! During rehearsals role and for the paris in his own home all of the guitar rour, Sheehan left to do his own thing and Va] followed shortly after. Before he band and Va i he was made a surprise and offer to record with the rock Steve had secured a deal for a solo album and dedicated Whitesnake.

The real Steve Vai was beginning recorded entirely his own studio, these dreams rranslanng to emerge. This is an album of inspired instrumentals, that Steve has had since a teenager, tor guitar insrrumentals, into music rook not only great guitar ability bur great production hugely successful WARFARE Although Pholo: Mick Hutson and, unusually skills too.

Stevens and newcomer album, a combination go down vocalist Devin Townsend, of aggressive rock songs and emotive ballads. The second half of rhe album is vocal-based and features Steve on lead vocal. During his lime he has replaced Yngwie Malrnsteen many big names including of 3 Eddie Van Halen and reputation, but SIeve with an unsurpassed from his early edited hOUTS and gained something 10 "hired hand" has always had a unique approach the guitar combined technical ability, He has taken the sklJl of rmmickmg days with Zappa 10 human speech to the extreme his own solo work.

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