What Guitarists Love About Jeff Beck.

foreign [Music] [Music] [Music] ladies and gentlemen Michael palmisano here and um I had uh I don't know it was like 5 30 last night I got a text from my friend Jason Shadrick at Premier Guitar and basically saying well man you're gonna have to do one about Jeff Beck and I hadn't heard and I immediately fired up the computer and and and saw the the news that Jeff Beckett passed away um for me Jeff Beck was somebody that I um I really respected he wasn't somebody that like I had all their albums or somebody that I knew all their songs but he was somebody that was just an Unapologetic electric guitar player uh fearlessly committed to the melody and always coming up with new techniques that um made the guitar sing and those are the things that I really always that I took from Jeff where all the sounds and the ways that a guitar could sound different that's what always stood out for me there's so many things about Jeff's playing where I heard him do it first or at least even if he wasn't the first he was the one that made that dent I'll show you some examples so one his level of control and muting is pretty much Second To None really strong electric guitar players electric guitar players who resonated with me the most were the ones who who knew that the amp was the true instrument that this this was the steering wheel and the amp was the race car right and and they treated it as such his level of muting and control uh to let the amp Bloom and you know and create that Reverb and kind of dissipate and then sing like a voice was pretty much unmatched um you can't teach that stuff that has to be deep within your soul you you have to be an electric player um as like your core in your core to really to really understand that um so many techniques that he used to do he's the first one that I ever heard do the pick now he's using his fingers by the way but slide right into it that like let's say we're going to that e hit it and then slide into it from the note behind and just go up a scale [Music] such a hot technique um you know the whale the volume swells the right but such control I'm just plugged into a Daw so it sounds like crap but just the and get it to dissipate right with the whammy bar muting every string and just foreign now what's really what's really tricky about this especially in high gain environments is that you kind of have to it's all about the pressure in the left hand or in the fretting hand that [Music] like you have to let it loose at the exact same time you want it to go away [Music] and you hear I'm letting other strings ring out how not clean that is [Music] um really really um it's really hard to think of somebody that had more control over the instrument the amplifier in particular um and really understood how to make an amp Bloom and scream you know like shriek like a human voice and come out with all these different sounds and so much of it has to do with his muting technique and how he you know releases pressure and and presses down on the strings to get the amp to do that in real time and ride the volume knob always on the edge of breakup and a little bit you know back and forth to go back between like it would be like from singing falsetto to a full voice always riding right on there just an insane level of control so on that note we're going to listen to one I don't think I've ever heard this or learned this or whatever but Tom Haviland on the guitar gate Discord um if you don't know if you're a subscriber at Guitar gate we have this private Discord and we have a whole rest in peace Channel and he says this is the one the level of control here is just insane Jeff Beck Angel footsteps live at Ronnie Scott's I'm gonna pull it up here and wow it's only 360p all right let's go Jeff you'll be missed my friend foreign [Music] foreign right there okay he's coming in with the slide I'm sitting here we're in the neighborhood of C by the way I'm thinking is this major or is this minor I'm here at Vinnie and Tao just you know laying this thick Groove he comes in major third there's an e natural lets it fall off and then right to the minor third right off the bat he's just head cutting everybody in the audience that knows what they're hearing is just like Ugh we're in for it [Music] yeah do you hear that person scream telling you I'm telling you the people that know no [Applause] I gotta get that [Music] foreign [Music] [Music] there's so many things um just the technique the technique just all those right when the slides going up he's he's riding the volume knob increasing it as it goes up and then when it falls off he's bringing it back down it's in complete Harmony right it's it's it is it is one fluid motion of of a voice of an electric voice foreign [Music] [Applause] [Music] foreign [Music] [Music] foreign [Music] it's all those little micro tones um if you um like I was talking to Mike Gannon about this with slide like if you listen to a lot of slide players and Indian music you know Derek Trucks and all those little things where you play over these one chord um kind of Vamps now yes this moved it went to e it went to D um but but there's a constant mixing of major and minor and major sevenths and minor sevens and sixes it it it's constant to the point where that doesn't even do it justice just saying major third and minor third it's all the little inflections and micro tones it's such a refined ear to hear it this way um I think we get so caught up in playing over these complex changes and chasing chord tones I mean hell I teach it all day long right um but man when you watch people that really really can expand over a vamp and just have the bass and drums just hold like in one neighborhood and you can explore all the little room in between the five and the flat five and like the little nuances in there that's the stuff that voices do because there's that there's that clean Arc right it's that you're not ever stopping on anyone and that's the thing I just mentioned this in my last video this Radiohead video um because it's so true about the voice if you commit to the slide and you're never like hitting a key on a on a keyboard or on a piano if it never becomes static not not dynamically static but I'm talking about harmonically static that one note that one string if you never do that you can always slide in and you can slide out and he does that he's he he does that like a voice on the electric guitar by bending with the slide but mostly with the bar he's so committed to the bar um it's just you I'm telling you it's it's hard to think of somebody that has a better control over their amplifier with their instrument it really is like like that right there [Music] so so we're in so in c minor right root minor third drop it off [Music] [Applause] right what no see it there [Music] yeah I can't even do it see the way he holds it it's like I don't have a picture if you watch him he used to always have chalk on his hand so he could hold the bar [Music] right but anyway minor third fifth then flat seven but it's that it's it's so much more than that I get why you had to have the chalk on his hands because you got to pick it but then you got to release the tension on this one hold it down here and the key again it's not just the bar the note ends when the fretting hand releases it [Music] right the the key is the release over here but you still have to mute everything else and you're riding the volume knob I'm telling you sports car sports car stuff yeah dude it's just you know love it just root to the nine but just like a voice has different vibrato it can be fast it can be slow everything in between same commitment to that but with the dynamic swells on the volume knob [Music] you know that move right there not used enough we're in c minor C major back and forth right there's your nine there's your four they are a minor third apart it'd be easy to think oh we're just d minoring a little right d and f but but what he's doing in here is he's [Music] right is he's just toying with all the microtones around the nine and the flat three and then the four into the flat five and down to the major third [Music] such this [Music] I'm going to be using that real soon foreign [Music] yeah all those man so again we're in C there is your four flat three two but then you're just but do you hear how all my other strings are ringing out like I'm trying not to Tony that's why he had to chalk on his hands at the end because you have to you have to mute all these other ones on a free-floating bridge like this to have that just sing like that it's seriously seriously hard to do but all those a million towel sounds so good together [Applause] [Music] foreign [Music] up there [Music] so okay he's all the way up my friends c b so root nine going for the C sharp that major third which is not on the fretboard keyboard picks it up it gets bright you know as you switch to that major tonality everybody looks at each other it's just but then immediately back down [Music] it's just a little just those little swell right there pointing it at The Amp pushing up with the volume just a little bit of harmonic you know and then just nothing you can do with the Daw here this this let me tell you something real amps all day with this man my friend real amps this I'm telling you the electricity the Unapologetic electricity of his playing is is the is tied to is is technique which comes from that commitment to the electricity um is is what makes Jeff Jeff [Music] Vinny man [Music] foreign [Music] [Music] oh yeah [Music] so cool [Music] foreign [Music] you've got to be [ __ ] me [Music] holy [ __ ] yeah everybody in the audience it was like what what did I just see there who who sent me this again uh Tom Haviland yeah Tom you're you're man thanks for being a part of the community thanks for suggesting this one okay so that bit at the end man again what did I say unapologetically electric unapologetically melodic and all his techniques uh stem from those commitments right that part he's got a glass slide right single coil pickups someone in the comments will know what pickups they are I have no idea but Marshall stack tons of Headroom loud okay but muting with the fretting hand all the way when you touch I don't have a slide on me but when you touch maybe I'll do it like this when you touch right on the string like that the string is actually the string is actually ringing from where you touch it to the bridge right and but if you have a lot of gain on it right if you got a jacked amp like this okay and you're muting it correctly and you know how to use the ridges in the glass slide and your attack meaning how hard you actually jump on it as opposed to the light touch right you can get it to sustain the trick of course is knowing where all the intervals are to see how long the Frets are here how wide they are how much space they are and how much shorter they are here well that continues to Infinity as you go up it actually becomes indiscernible because it starts to flip the other way um so you have to know where all the different chord tones are and the fact that he's hitting all those different changes still mixing major and minor all the little inflections without losing any Dynamic integrity with with you know videotologists like impossibly good backing with his attack like this and just muting the whole thing and just letting the amp just let it Bloom and just using the glass I mean I'm telling you that's that's the stuff when people talk about why Jeff is one of the best of the best it's his control it's his Unapologetic I'm an electric guitar player and I'd like to see you come and do this because it's it's an absolute commitment to the electricity right to driving the amp and using all the tools he can in real time to make it melodic and Bloom like a voice and to come up with sounds that are just so far beyond first finger sixth fret second string and that's it you'll be sorely missed my friend I'm gonna listen to some Jeff Beck and for those of you that that don't get Jeff back um that never really got into his music I want you to I want you to really take this to heart um because I was I was frankly one of those people like and I and I kind of still am in a way that like that I don't find myself putting his music on you know it doesn't have a section of my life where it's a where it's a soundtrack to that period in time it's more just like Jeff's the guy you show your friends that you're just like you want to see just a level 10 out of 10. technical raw ability like just control controlling this mad Beast of a marshall stack with these single coils like you just want to see someone who has the most control of their instrument possible it's Jeff Beck that's it my friends have a great day if you dig the vibe I hope you'll hit subscribe and I'll see you soon cheers foreign

Channel: Michael Palmisano

Views: 90,757

Keywords: guitar, guitar lesson, improvisation, music theory, guitar scales, Guitargate, reaction, guitar reaction, jeff beck, jeff beck reaction, jeff beck live, jeff beck rip, jeff beck tribute, jeff beck guitar lesson, jeff beck guitar techniques, jeff beck whammy bar, how to saound like jeff beck

Id: Cw6ZRstMI-Q

Length: 24min 2sec (1442 seconds)

Published: Thu Jan 12 2023