This gallery contains 17 photos.
Photographers: Sofia Zasheva, Veneta Paunova Retouch: Sofia Zasheva Website | Facebook Page
Photo credits: Tsvetelina Kostova
When I started learning it, I decided to use my own fingerings for this piece, which I transcribed for a 7-string guitar and I wrote it down on a Guitar Pro file. I made three versions:
In the first “episode” of my free licks & tabs I want to show you a snippet from my track Sextilis, which, in essence, is a repeating arpeggio pattern in 7/4, based on chord progression in B- (aka Bm). Below you can see a video, where I play this part and on the bottow you will find the tabs for the part. Enjoy and share!
Guitar Pro file is available after donating an amount of your choosing, by using the button below and then writing the name of the lick tab you need in the text field, which opens, when you click the blue link “Add special instructions to the seller“.
Another cool contest popped up and I had a serious dilemma if I should enter or not, because usually such competitions are an arena of an enormous amount of show off, which is actually disgusting. Then a brilliant idea hit me – I will do an anti-shred 4-note solo! Well, after the spicing, it actually came up to be 7-notes solo (and an additional short “blue” note in the transition arpeggio-like phrase before the theme repeat), but I still kept it simple and melodic. So, here’s the video (vote for me here) and below you can find some additional details, if you’re interested.
In this recording I decided to give a try to my brand new Bias FX from Positive Grid, which is a great plugin to have – I really appreciate it, being a session musician. The guitar is Jackson JS32-8Q, equipped with Kahler 2218 tremolo, and goes directly into my Scarlett 18i8 from Focusrite, without any other devices on the path. Due to the fact, that many people asked me about the preset, that I used, I decided to upload it here, so you can enjoy it and mention me around 🙂
For downloading the preset – click on the picture.
Generally I stopped participating in guitar competitions, because most of them turned into a shredding show-off, which is not my cup of tea, but this contest grabbed my attention just because Nili Brosh announced it as a melody writing contest, which is something, that I would gladly participate in. It’s done by the courtesy of PremierGuitar as a PG Giveaways. The other major reason is that this contest actually helps Jason Becker by generating donations to his fund and this is a great motivation to me to do something about it.
Nili Brosh is a great player and musician in general, and she does very interesting music, so it was a pleasure for me to compose something over her track. It was a quite challenging task to perform, because of the two distinct parts, bringing very different flavours for the listener, combined with nice chord progressions, so it was really ‘A Matter of Perception’ for me to work on.
As a matter of fact, I wrote the second part first – when I heard the track, this à la Marty Friedman melodic line popped up in my mind immediately, so it should be a shame not to record it. It is a bit harmonically demanding, so I needed to adjust few notes and phrases in order to fit the chord progression good enough. Then came the first section, which sounded to me a bit middle-east asian, so I decided to use an arabic octatonic to build my melodic lines there. I was afraid, that both sections won’t go along together very good, but nevertheless I gave them a chance. I hope you’ll like the result.
Enjoy, subscribe and share! 🙂
As you probably know, besides the progressive rock and metal, I am also a big fan of the Baroque music, which inevitably makes me a fan of Antonio Vivaldi’s work. When I heard about Vivaldi Metal Project, I was fascinated by the idea and I thought it would be a great opportunity for me, if somehow I participate in this great project, started by great musicians as Mistheria (keyboards) and Alberto Rigoni (bass). The project involves 70+ world-famous musicians from all around the globe such as:
Rick Wakeman (YES), Mark Boals (Y. Malmsteen), Rob Rock (Impellitteri), Edu Falaschi(Angra/Almah), Ruud Jolie (Within Temptation), Rolf Pilve (Stratovarius), Michael Lepond (SymphonyX), John Macaluso (ARK/TNT), Mark Cross (Scorpions/Firewind), Dirk Verbeuren (Soilwork), Chris Caffery (Savatage), Fabio Lione (Rhapsody of Fire/Angra), Dani Loeble (Helloween), Victor Smolski (Rage/Almanac), Marco Sfogli (J. LaBrie), Mark Wood (Trans-Siberian Orchestra), Andreas Passmark (Royal Hunt), Steve Di Giorgio (Testament), Anna Portalupi (Tarja), Atma Anur (T. MacAlpine/G. Howe), Tommy Denander (Radioactive/Toto) and many more.
Now you can see, that it’s been a great honour to be accepted in this costellation of talents.
Here’s my page at the site: Alexandra Zerner (guitar) | Vivaldi Metal Project.
Here come the holidays again and this year I decided to do something, that I intended for a long time. I guess you’re familiar with the piece, named “Carol of the Bells” and maybe some of you were singing it around Christmas and New Year’s Eve. Well, this piece has an interesting story, that I decided to share with you, before I show you my cover:
“Shchedryk” (from Ukrainian: Щедрий вечiр, “Bountiful Evening”) is a Ukrainian “shchedrivka”, or New Year’s carol. It was arranged by composer and teacher Mykola Leontovych in 1916, and tells a story of a swallow flying into a household to sing of wealth that will come with the following spring. “Shchedryk” was originally sung on the night of January 13, New Year’s Eve in the Julian Calendar (December 31 Old Style), which is “Shchedry Vechir”. Early performances of the piece were made by students at Kyiv University.
“Shchedryk” was later adapted as an English Christmas carol, “Carol of the Bells”, by Peter J. Wilhousky following a performance of the original song by Alexander Koshetz’s Ukrainian National Chorus at Carnegie Hall on October 5, 1921. Wilhousky copyrighted and published his new lyrics (which were not based on the Ukrainian lyrics) in 1936, and the song became popular in the United States, where it became strongly associated with Christmas. (Wikipedia)
Now, when you know the story, I want to add, that I used the arrangement, that Mykola Leontovych did, but transposed it in Dm, because it sounded better on guitar (the original key is Gm). So… enough talking… here’s my cover.
Enjoy, subscribe and share! 🙂