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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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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.

Hold the slide on the 7th fret using the 2nd finger: Brett took the idea from classical guitarists and applied it to his personal approach: Could you give us a little insite into how you seem to so easily weave in and out of scale fragments in such a smooth style? 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. In these couple of bars you can see how naturally Brett incorporates fretted notes into the slide playing.

Another major influence for Brett Garsed is, surprisingly, country pedal steel player. That will come with time but focus on control and also try and apply it to some licks or ideas so you can start to incorporate the concept into your playing.

MARK Do you have anything you still want to do? 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. 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. E major arpeggio using groupings of 4 strings for the picking hand.

A short lick using the idea shown in FIG 1. I’d just rather spend time working on my own original ideas than copying the ideas of others. 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. I pretty much play that guitar constantly. I’ve played massive arenas and festivals with John Farnham, we played in front ofpeople in GermanyNelson had a 1 single in America so that’s a rare experience for an Aussie, and I get to work regularly with some of the best rock and fusion musicians in the world on a regular basis so I’m an extremely lucky guy!


Two octave A major played with ring and pinky only. This is just the A major scale in one octave playing using groupings of two fingers for the fretting hand at a time.

Brett Garsed Masterclass 1

I don’t try to sound different from other people and my influences are obvious. BRETT Take a small idea and see how many different ways you can play gsrsed using the same notes but different strings and gareed. This bars feature another slide technique: Guitar Addiction Facebook and email contact. I have to work pretty hard over the solos sections so I can be free to lickd in odd beett and believe me, if Virgil is around and I have a question, I’m not too shy to ask him for help!

Being a more modal player, Gwrsed 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’.

Once again, all these examples can be alternate-picked, sweep-picked or played legato, so just use what feels the most natural.

BRETT I really like valve amps because of the way they respond bett but hopefully I can pull a half decent tone out of anything. 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. This is a very powerful tool in improvisation not just for slide. In bar 7 he starts a long phrase using arpeggios, legato lines and septuplets grouping.

Note the fretting hand fingerings on the bottom two strings. Brett starts the solo using 6th from the A Mixolydian scale. Welcome back for the second of a three parter Masterclass with Brett Garsed.

BRETT Hopefully I can know the music well enough to just btett 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. 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 two decades Brett Garsed.

BRETT Try playing scales lickw anything for that matter using only your third and fourth finger on your picking hand. All these examples are for A minor pentatonic, but, of course, they’ll work in any key, and although I’ve notated my own hybrid picking technique for these ideas, I encourage you to experiment with various other picking approaches and go with what feels natural. 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. Fig 6, 7 and 8: You can get this one up to a pretty blistering speed, but it also has a nice rhythmic syncopation if played slowly. What would you say to anyone who hasnt yet seen your vids and wants to add some fusion vibe in to their rock playing?

Exercise 2 is based around the same ‘three notes per string’ approach but with a slight twist.

That way you’ll be able to play your ideas without being limited to any one particular part of the fretboard. MARK Is their anything comming up that your fans can look forwrd to like albums or stuff?

GT | Dario Cortese

The simplest way to think of it is that whatever strings the pick plays, the fingers play the adjacent strings. Licka Brett Garsed Masterclass 1. Those at the bottom are for the picking hand: 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. Most of these ideas are very non-guitar, so they’re challenging to play but definitely worth the effort. When you see the first or fourth finger listed in succession, it’s meant to be flattened so it covers multiple strings.

You’ll notice some strange fretting-hand fingerings as well, such as the fourth finger interacting with the first, but it’s all to set the hand up to reach the notes. 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.

I could do 10 articles on this concept and still not cover everything, so I’ll leave the rest up to you. When you start seeing the guitar neck as a collection of melodic notes rather than box patterns, garsfd number of possibilities is limitless, so try to look at the bigger picture and see if it’ll help something familiar sound new again.

As for the other questions, sure, go ahead and ask.