Brett ventures into Larry Carlton territory with a tasteful, soul-filled blues solo over Brett Garsed pulls out his most soulful licks this issue. In the first of a three-parter, Dario Cortese meets up with Australian guitar virtuoso Brett Garsed for hybrid picking explanation In March of this year I had to. BRETT GARSED INTERVIEW Ive tried to copy a few of your licks and you have an amazing way of changing directions when your playing legato lines.

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I’d just rather spend time working on my own original ideas than copying the ideas of others. After relocating to LA for a period, Brett now has a long list of recordings and collaborations with some of the most important fusion players on the planet, including Frank Gambale, Shawn Lane and T.

This eventually led him to the music of Allan Holdsworth, which in turn exposed him to more fusion oriented artists such as Larry Carlton and Scott Henderson. Don’t focus on speed. This is a good example of how you can stretch the scale to cover four octaves so it retains the colour of a regular minor pentatonic but increases the range drastically for the guitar.

Exercise 5 is a good example of how experimental you can be with various shapes when you combine the min7 arpeggios with regular scale intervals. In bar 7 he starts a long phrase using arpeggios, legato lines and septuplets grouping. BRETT I’ll try any process to come up with a song and it’s always hard work but the more you do it the easier it becomes, much like anything it takes practice.

His general philosophy seems to be: MARK Is their anything comming up that your fans can look forwrd to like albums or stuff? MARK What other stuff do you do? This bars feature another slide technique: Brett talks about one of his heroes: Record yourself in headphones as that will expose the smallest noise and if you can get rid of that then you’ll sound great while playing live. Great sounds and very well made.

To perform those intervals in the way Brett does you would need to use the slide on the second finger and get used to play diagonally. Brett takes a simple rhythm figure and repeats it changing note every time.


Welcome back for the second of a three parter Masterclass with Brett Garsed. I try to remind myself that the only risk is a bruised ego from playing some “off” notes so I try to always enjoy the privilege of playing music and take risks. Powered by Create your own unique website with customizable templates. That way you’ll be able to play your ideas without bretg limited to any one particular part of the fretboard.

MARK Could you lifks our guys an insite into how you would go about writing and composing? Just a subtle change in the order of notes can present a completely new possibility.

GT | Dario Cortese

My favorite amp is my Bogner Extasy without a doubt. What guitars have you used and what is the tuition video future for you and us?

To develop vrett technique you need to move the slide very quickly away from the strings keeping the picking hand muting the other strings quite. MARK Do you have any faith or spiritual views? In the second of a three-parter, Dario Cortese meets up with Australian guitar virtuoso Brett Garsed for some slide explanation….

Spirituality should be a personal thing and anyone that tries to use it for financial gain or power over others should be locked up.

Brett starts the solo using 6th from the A Mixolydian scale.

Brett Garsed Masterclass 1

Chromatic exercises combining pick down btett always and one finger at time middle, ring or pinky. This is the intro gaesed the song and features a very wide slide vibrato. Trying to incorporate fingers into your playing gaarsed something that needs time and constant work, and one of the main problems to solve is the articulation of ring and little fingers.

MARK Ive tried to lixks a few of your licks and you have an amazing way of changing directions when your playing legato lines. Just keep trying things till you figure out a way to stop the unwanted noise. BRETT Take a small idea and see how many different ways you can play it using the same notes but different strings and techniques. It’ll seem weak at first but it’ll strengthen up quickly. I’d like to do another dvd focusing on improvisation over changes but to be honest, people like Scott Henderson and Frank Gamable have already done brilliant dvd’s about that very subject and are much more qualified to talk about it anyway.


In these bars you can see how Brett controls the varsed strings especially on the first frets. He plays in standard tuning but he developed a technique that let him play all the trademarks slide licks in this way he has to carry one guitar instead of two with different tunings or action.

The tempo is free and Brett increases the speed up from the second bar. I don’t try to sound different from other people and my influences are obvious.

GT Brett Garsed Masterclass 2. Everything is written in 16th notes just to keep things clear. Rarely happens for me I’m lic,s but on the odd occasion that it does, it’s one of the greatest feelings in the world. I’m still working on it!

Brett Garsed Masterclass 1 | Dario Cortese

After a few months he acquired the basic slide technique so he decided to go back to standard tuning and see what he could get out of it. I always record myself when I’m writing as you never know when a great idea will show up, usually unexpectedly, so make sure you keep a tape running and listen back to it.

As you can see from the transcription he often plays groups of 7 instead of the more common 6 or 8 which create unusual rhythms in his phrasing. Exercise 4 can be used as a lick, but even just a segment of this idea repeated can sound interesting. In these two bars you can see Brett playing a major triad across the adjacent strings using the slide diagonally. Two octave A major played with ring and pinky only. Muting is a very personal subject so you may have to gsrsed using either the palm of your picking hand, individual fingers of your picking hand to mute strings while you use your pick or the index finger of your fretting hand.