|The width of the neck, from the low E string side to the high E string side. Usually measured at the nut and 12th fret separately, because the size is different at each. Only classical guitars or ones with additional strings are likely to have thicker necks.|
Lessons for: Neck width
1: Attaching the Bolt-On Neck to the Body
2: Necks/Fretboards: Maple Neck/Rosewood Fingerboard
3: Necks/Fretboards: Maple Neck/Maple Fingerboard
4: Blues Riff: Movin' It Up The Neck!
5: Over the Neck Practice Exercises
Now that we're almost at the end of this tutorial, let me show how you can use a metronome to work on the different mini-positions. I realize that it can be overwhelming to look down at the giant fretboard and try to recognize all these different patterns and notes. But just remember that it's really all the same notes repeating again and again, and there's no rush with getting familiar with every corner of it all. You can explore it at your own pace, whenever you feel ready for it. And in the meantime you can just be extra creative with the notes you already know and m...
6: All Over the Neck Tone
For this tutorial I'm going to be using my Gibson 335 on the middle pickup, and I'll be running that through a modeled version of a Vox AC30 amp with a little bit of reverb. In front of that I'm adding a Fuzz pedal with a pretty basic fuzz tone dialed in, nothing crazy. So you can use whatever overdrive or distortion you have instead. I'm also adding a subtle delay tail with a quite delay volume and just one repeat, just to add a little extra ambience.
7: Randy Rhoads Style: Fun Bend Trick
Next, we're going to learn another trick Randy used for maximum expression: using the neck of the guitar to bend a note. After playing a note, you press on the body of the guitar with your right hand and arm, towards your body, and grasp the headstock with your left hand and push away from your body. This bends the neck slightly, and results in a downward pitch bend.
8: Necks/Fretboards: Scalloped Maple
This series of videos covers various types of necks and fretboards used to make electric guitars! In this third part I feature a bolt-on maple neck that has been scalloped. Since this neck was originally a solid piece of maple, it has no separate fretboard piece. It's a non-cap.
9: Way Up High!
When you really wanna "tear it up" it works really well playing the familiar pattern of the blues scale UP AN OCTAVE! You can play the same licks and they will have a very different and cool sound. You will most likely have to consider some alternative fingering, because the frets are so small up there. Once I've shown you how to find this pattern, we'll take turns playing four bars with the backing track.
10: It Must Be Love: Gear & Tone
For this song you'll get the best results with a steel-string acoustic, but if you don't have that you can also play the rhythm part on a nylon string guitar or even on an electric guitar with a clean tone and on the neck pickup. But again, the best results will come from strumming a steel-string guitar with a medium pick. I'll be using this Martin-style VKV and I'll be getting the sound that you hear in the video from a combination of my built-in L.R. Baggs pickup/microphone and the overhead mic that I'm also talking through. For the electric guitar I'll be using the...
11: Little Red Rooster: Gear, Tone & Tuning
Whenever you try to hone in on a certain blues tone it's important to keep your eyes on the end result and not get distracted by the tools used to get there. The old blues guys definitely knew what kind of sound they wanted, but they typically used whatever gear they had to obtain it. So rather than focusing on what particular guitar, pedal or amp to use, try to focus on getting similar results and effects out of whatever gear you have. One of the main things that distinguish different blues tones is that some players like a darker and more muddy tone while some prefer the ...
12: Sunshine Skies: Guitar 3 - Verse
Guitar 3 strums along with the acoustic using different chord shapes in the verses. The phaser effect on this guitar adds a cool dimension and really emphasizes the percussive nature of the strums, adding to the overall groove. The capo is optional here, as we aren't using any open strings in any of the parts. We are playing inversions of the chords up the neck at the 6th position, using a slightly different strum.
13: Slipping Away: Outro Guitar 2
14: Predicts My Fate: Guitar 2 Verse 3
15: The Boys Of Summer (Made Easy): Gear & Tone
For this song I'll be using my Martin-style "VKV" acoustic, and I'll be strumming the strings with a medium pick. I'll be getting the tone that you hear in this video from a combination of this built-in L.R. Baggs pickup/microphone and the overhead mic that I'm also talking through. After the performance has been recorded I'll also add some hall reverb to add a little extra drama. If you play this song acoustically in a room you'll have to make do with whatever natural reverb the room provides, and that will be fine as well. But if you ever record this song or perform it li...
16: Strutter: Gear & Tone
If you want to get a super thick hard rockin' tone for this tune in the comfort of your living room, all you're going to need is a solid body electric guitar with a decent tube amp that has a medium to high gain pre-amp section. If you want to nail it spot on, a guitar with a Mahogany body and a Marshall tube amp will do the trick. Here's the Line 6 POD settings and gear I used: Amp Model: Brit Class A Cab: Factory for this amp model Bass: 7 Mid: 8 Treble: 8.5 No effects used Guitar: Gibson Les Paul Pickups: Seymour Duncan JB59 in the bridge/ Pearly Gates in t...
17: A Thing or Two: Intro Guitar 2
Guitar two plays the same chords as guitar one, but plays inversions up an octave to really fill out the higher register that's missing in the power chords. It also only accents the triplet hits at the beginning of each chord and then just rings out - leaving the rhythm guitar room to play that busy blues riff. We just slide this same shape all over the neck. On the last chord of each phrase though we accent the back beat with a slightly different strumming pattern again to leave room for the rhythm guitar.
18: I'm Feeling Outshined: Guitar Solo
We'll start the solo with holding a double stop - the notes C and E on the G and B string. Hold it and give it a just very slight bend at the end and land on A on the D string. Next we go into a really interesting double stop phrase where we'll do a lot of rhythmic hits going between the double stops. Notice the little bend in the beginning of the lick. You're going to notice that - in true Soundgarden fashion - this solo has a lot of very different rhythmic elements to it, and the next lick is no exception. Take time and listen to what this phrase actually sounds like. ...
19: Bright Lights, Big City: Gear & Tone
This song can be played with just about any guitar, acoustic or electric. On the original recording we hear an electric guitar using the neck pickup, played through a tube amplifier of some kind (our research team has not discovered the specific make or model of the guitar and amp). You'll need an amplifier that produces a clean warm tone. The guitar I'm using here is a Fender Broadcaster.
20: Baby Please Don't Go: Gear & Tone
Even though we're looking at two guitars we'll only really need to look into one setting on the amp. We're going for that good old electric blues tone, so you want to go for an old overdriven tube amp kind of sound. There's not a lot of overdrive on these guitars, just enough so that it breaks up a little bit when you dig into the strings a bit more. I'm using a Fender black face type of amp here but you can use whatever you have at your disposal. One of the most important things about these old blues songs is paying attention to how the notes are played. The tone comes ...
21: And You Know: Outro Lead Pt 2
Now let's check out the next chunk of soloing during the outro jam. For this part he goes to regular fretting and plays the lick from the intro, but now it comes in on the “and of 1”. Keep your wah moving in quarter notes for this. After the two repeated intro licks he creates a very powerful build using unison bends moving up the neck, horizontally.
22: Don't Know Why: Chorus
The chorus in our song happens three times, the first two leading into other sections. After our guitar solo, we will loop our chorus as the song fades out. We will be playing the same guitar part for all the choruses. Our chorus is 8 bars long, and you will play the same guitar part every time. The guitar phrase is 2 bars long, and you simply repeat is four times for the chorus. We will be outlining the followings chords: D - Bmi - C - G For the D chord, we simply our open strings for 2 beats and then move to a root position Bmi on the D and G strings. The...
23: Rose Across My Chest: Verse 2
Now we are ready for Verse 2 of our song. This part is the same length, with our guitar playing a similar role to our first verse only this time we will play some different licks. We will start off our second verse the same way, letting our low strings for nearly two measures. On the & of four of the second measure, we will do a similar lick to our first verse on the bend will from G to A on the G string with the C note ringing. After that, you do the same style of pull down the neck. Our next lick introduces you to the solo licks you will play later. This outline...
24: How You Sold Me: Solo Pt. 2
The second part of our solo is eight bars long, and we will play a series of aggressive bends and licks that are all played over our pre-chorus chord progression. Like the first part of our solo, this section builds and every lick is very intentional in telling the story of the solo. This next part is eight bars long, and I will break it down into four, two bar sections. The first two bars play a series of country style bends with plenty of bite and energy keeping C ringing while bending G to A on the G string. This part sneaks in just before the first bar, and will e...
25: Crazy: Gear & Tone
For this song you want to use a basic clean tone with some added reverb. I'll be using my Gibson 335 on the bridge pickup, which gives me a slightly darker sound because of the humbuckers. If you use a guitar with single coils, you should be careful not to get too much treble in your tone. You want this guitar part to stay in the background and also sound kinda jazzy. So if you're using a guitar with single coils you can either use a neck or a middle pickup or roll off some treble on your amp. You can also try rolling a little bit of tone off on your tone pot. Again the goa...