André Hofmann is the owner of the Hofmann Studios in Coburg and mainly serves the fans of the harder music genres.
Here are his tips on “recording guitars at home”. Have fun with it!
So folks, here are a few words on my part on the subject of guitar recording.
Just to be clear: The following tips are just some tips from my experience which make your life (and my life as well) easier. Continue reading How to record guitar at home by André Hofmann
This article is part of the series “Level Up! – 42 guitar solos for a better sex life”
I’ve once watched a television show about a girl who’s only skill was to run half-naked up and down the red carpet on movie premieres.
She got mildly famous for hanging around with the famous. Fascinating!
The accompaniment is made up of modified power chords throughout:
I first play the normal power chord A5, then A with a minor sixth and finally A with a major sixth. Continue reading Red Carpet Girl – Level Up! (english)
Dieser Artikel ist Teil der Serie “Level Up! – 42 Gitarrensoli für ein besseres Sexleben”
Ich habe einmal eine Fernsehsendung über eine Dame gesehen, deren einzige Fähigkeit darin bestand, bei Filmpremieren halbnackt über den roten Teppich zu laufen. Faszinierend!
Die Begleitung besteht durchgängig aus abgewandelten Powerchords:
Ich spiele erst den normalen Powerchord A5, dann A mit kleiner Sexte und schließlich A mit großer Sexte. Continue reading Red Carpet Girl – Level Up! (deutsch)
This article is part of the series “Level Up! – 42 guitar solos for a better sex life”
You’ve lost your keys. You are mad about yourself and the world.
At the same time you are sad, that the universe always tries to annoy you in particular.
The rhythm guitar plays the following chords:
Dieser Artikel ist Teil der Serie “Level Up! – 42 Gitarrensoli für ein besseres Sexleben”
Du hast deine Schlüssel verloren. Du bist sauer auf dich und die Welt.
Und gleichzeitig traurig, dass das Universum immer nur dich ärgern will.
Lasst mal reinhören:
Die Rhythmus-Gitarre spielt folgende Akkorde:
This article is part of the series “Level Up! – 42 guitar solos for a better sex life”
I’m on my way, try if you want, no one can stop me now.
I’m on my way, never give up, i’ll climb the mountain straight to the top!
The rhythm guitar plays the following chords:
The key is E minor. On to the atom! Continue reading On my Way – Level Up! (english)
Dieser Artikel ist Teil der Serie “Level Up! – 42 Gitarrensoli für ein besseres Sexleben”
I’m on my way, try if you want, no one can stop me now.
I’m on my way, never give up, i’ll climb the mountain straight to the top!
Die Rhythmus-Gitarre spielt folgende Akkorde:
This article is part of the series “Level Up! – 42 guitar solos for a better sex life”
Change can be scary at times. Either they come completely unexpected. Or they do not correspond 100% to
what we imagined. And yet: without changes, life would be very boring.
Here are the chords played by the rhythm guitar:
You can see why it is called creepy changes because you encounter major and minor versions of the same chord appearing together,
which isn’t normally allowed in diatonic environments.
Prelude the start, this should be old hat by now, but it always works.
My motif is syncopated to make it more interesting since I only play the chord notes of F# major (F#, A#, and C#) in the first bar.
In the second bar I play around the C# (root of C# major) with the big ninth D#, but keep the ball rather flat.
In bar 3 we have to be a bit careful, because now the base chord is C# minor and therefore, we only bend a semitone
from D# to E (third of C# minor).
Stylistically confident, we land on the fundamental B major note.
Our motif is not yet finished, the second part is relatively simple: We play a little bit around the root of B minor,
then go to A# (third of F# major) and then to G#.
The D# is the fifth G# major and with a casual bending, we go back to the G# again to precede the fifth of C# major, so to speak.
As we have seen many times before, it makes sense to repeat the motif an octave higher on the second pass.
In bar 11, we then have a nice trill, which I improvised quite freely, hence the comic notation with 11 “sixteenths” over 2 quarters, felt just right.
The motif from bar 4 is repeated, but the final is an octave higher, to add a little more tension.
Final, oh ho! B minor played around with B, C# and F# (fundamental, ninth, fifth), F# major with third (A#), fourth (B)
and root and then G# and D# denoting G# major.
The final is a staggered bending from E# (major sixth), through the minor seventh (F#) to G#.
You first bend a semitone and then a whole tone. Bam!
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Dieser Artikel ist Teil der Serie “Level Up! – 42 Gitarrensoli für ein besseres Sexleben”
Veränderungen können manchmal unheimlich sein.
Entweder sie kommen völlig unerwartet.
Oder sie entsprechen nicht 100% dem, was wir uns vorgestellt haben.
Und dennoch: Ohne Veränderungen wäre das Leben sehr langweili
Die Rhythmusgitarre spielt folgende Akkorde:
This article is part of the series “Level Up! – 42 guitar solos for a better sex life”
An interval is the distance between two tones.
So far so good. And this distance is measured in semitone steps,
how to measure water in liters and flour in kilograms.
A semitone step corresponds to a fret on the guitar.
Perhaps some of you already know that an octave has twelve semitones.
For example, on a piano you will find a pattern that repeats after twelve keys.
Now the stress starts: In the Middle Ages, nonsensically, names were also thought up for the distances between the tones.
Since there was no division of the octave into 12 semitones in the Middle Ages,
but only scales with seven notes, you just counted them.
In Latin, of course. Now we have the trouble.
Here you can see the dirty truth: Phew, strong stuff!
Just because the interval is fifth (quintus – five in Latin) doesn’t mean 5 semitones.
Silly. Ok, let’s bridle the horse from behind:
First of all, there is a group of four intervals that are called “perfect”:
Prime, fourth, fifth, octave.
The prime is actually not an interval because the distance is zero.
Then there is the group of intervals that distinguish between minor and major:
Second, third, sixth and seventh.
For the sake of completeness, it should be mentioned that you can decrease (-> diminish) or increase (-> augment) each interval by a semitone.
Last but not least, there is an interval designation that completely eludes the scheme, the tritone.
“Tri” means “three”.
It corresponds to both the diminished fifth and the augmented fourth.
But why three-tone now when there are six semitones?
This is where the math comes into play: Fractions can be shortened and so six “half” tones become three whole!
So now you’re completely confused and deserve a break.
