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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These ideas can be added right alongside the classic pentatonic licks that have stood the test of time, so you can retain the sound and colour of the minor pentatonic but not become bored or stale. I only have one finger on the neck most of the time so it allows me to get these wider intervals.

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.

In bar 7 he starts a long phrase using arpeggios, legato lines and septuplets grouping.

Brett Garsed > Lessons > Non-pattern Pentatonics

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. Of course this is just the starting point to develop control not necessarily speed but as Brett said: E Lydian is the 4th degree in the B major scale. BRETT Hopefully I can know the music well enough to just be free and think about nothing other than the noises I hear in my head and trying to get them to come out of the amp. MARK Do you have any faith or spiritual views?

Muting is a very personal subject so you may have to experiment 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. Most of these ideas are very non-guitar, so they’re challenging to play but definitely worth the effort. 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. GT Brett Garsed Masterclass 1.

MARK Is their anything you’ve done in your amazing career that you can look back on and feel you’ve achived a dream? To execute this type of phrase Brett uses a technique that he learnt from another of his influence: Trying to incorporate fingers into your playing is something that needs time and constant work, and one of the main problems to solve is the articulation of ring and little fingers.


Two octave A major played with ring and pinky only. This bar features another Sonny Landreth technique: Brett takes a simple rhythm figure and repeats it changing note every time. This is the last lick of our transcription and Brett plays some outside line again around G m arpeggio and then a long phrase in septuplets featuring F 7 and Emaj7 arpeggios.

Did you ever get into the 8 fingered technique. MARK I saw you do a clinic and you used a real cheap amp and still sounded coolwhats your thoughts on valves and transisters? Those at the bottom are for the picking hand: This brrett a very powerful tool in improvisation not just for slide. Brett plays the D Mixolydian mode to explain his basic picking hand approach. As for the other questions, sure, go ahead and ask.

Being a more modal player, I got into pentatonics very late, so I ended up approaching them much the same way I approach regular scales and modes, which is to stretch them along the neck and outside the ‘box’. MARK Could you give our guys an insite into how you would go about writing and composing?

You can get this one up to a pretty blistering speed, but it also has a nice rhythmic syncopation if played slowly. It would have been really difficult to start in standard tuning and work around the limitations associated with it so when I started with the open tuning I was able to develop facilities and control. 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.

Hrett decided to present some unorthodox pentatonic ideas in this initial lesson. Exercise 3 begins with an Am7 arpeggio, which is perfect to use with pentatonic scales. This is the intro of the song and features a very wide slide vibrato.

This is the end of the first chorus and Brett plays his Pedal-Steel-Like lick again featuring slide and fingers. Again rbett bars feature some of his trademark licks: He plays in standard tuning but barsed developed a technique that let him play all the bbrett slide licks in this way he has to carry one guitar instead of two with different tunings or bret.

In March of this year I had to pleasure to sit down and have a chat with one of the most influential fusion guitarists of the last breft decades Brett Garsed. I’m still working on it! What would you say to anyone who hasnt yet seen your vids and wants to add some fusion vibe in to their rock playing?


What guitars have you used and what is the tuition video future for you and us? Exercise 1 is an A minor licms played three notes per string. I’d just rather spend time working on my own original ideas than copying the ideas of others.

MARK Ive tried locks copy a few of your licks and you have an amazing way of changing directions when your playing legato lines. Fig 6, 7 and 8: It’s supposed to be fun and anyone that ruins it by making judgmental comments should be locked up with the religious manipulators.

oicks I’d like to do another dvd focusing on improvisation over changes but garseed 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. You may notice that these examples have some rather large intervals, so I’d encourage you to lift each finger after playing the note, as it’ll enable you to prevent from straining too much.

Non-pattern Pentatonics

Rarely happens for me I’m afraid but on the odd occasion that it does, it’s one of the greatest feelings in the world. I always record myself when I’m bretf 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. He also has produced an instructional DVD and a solo album, released in Exercise 4 can be used as a lick, but even just a segment of this idea repeated can sound interesting.

It’ll seem weak at first but it’ll strengthen up quickly. This is a good example of how you can stretch the scale to cover liccks octaves so it retains liks colour of a regular minor pentatonic but increases the range drastically for the guitar. I don’t try to sound different from other people and my influences are obvious.

Great sounds and very well made. Exercise 2 is based around the same ‘three notes per string’ approach but with a slight twist.