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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Non-pattern Pentatonics

To develop this technique you need to move the slide very quickly away from the strings keeping the picking hand muting the other strings quite. Brett talks about one of his heroes: Chromatic exercises combining pick down stroke always and one finger at time middle, ring or pinky. lucks

E major arpeggio using groupings of 4 strings for the picking hand. Brett plays the D Mixolydian mode to explain his basic picking hand approach. I only have one finger on the neck most of the time so it allows me to get these wider intervals.

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 Brrett get to work regularly with some of the best rock and fusion musicians in the gqrsed on a regular basis so I’m an extremely lucky guy!

MARK What other stuff do you do? 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.

After taking classical guitar lessons for about a year he started to expand his right-hand hybrid picking technique, and soon after he started to blend this approach with the legato technique of the fretting hand.

Home Lessons Non-pattern Pentatonics. MARK Do you have anything you still want to do? You can get this one up to a pretty blistering speed, but it also has a nice rhythmic syncopation if played slowly. I have to work pretty hard over the solos sections so I can be free to improvise in odd meters and believe me, if Virgil is around and I have a question, I’m not too shy to ask him for help!

After relocating to LA for a period, Brett now has a long list of recordings and collaborations with some of the most important fusion players on the planet, including Frank Gambale, Shawn Lane and T. Can’t wait to see the next generation of it. Brett Garsed Masterclass 1. MARK Ive tried to copy a few of your licks and you have an amazing way of changing directions when your playing legato lines.


Brett starts his solo playing a couple of phrases around Bmaj7 and G m7 arpeggios. Again those bars feature some of his trademark licks: I went to Russia last year and Romania this year so I’m still traveling. He also has produced an instructional DVD and a solo album, released in BRETT I really like valve amps because of the way they respond dynamically but hopefully I can pull a half decent tone out of anything.

This is the climax of the solo and the consequently ending. 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? BRETT Take a small idea and see how many different ways you can play it using the same notes but different strings and techniques.

BRETT GARSED – Guitar Addiction

BRETT Try playing scales or anything for that matter using only your third and fourth finger on your picking hand. 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.

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.

Welcome back for the second of a three parter Masterclass with Brett Garsed. The tempo is free and Brett increases the speed up from the second bar. 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.

This technique consists of using the free fingers of the fretting hand in combination with the slide. Note the fretting hand fingerings on the bottom two strings.

This is a very powerful tool in improvisation not just for slide. 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. Powered by Create your own unique website with customizable templates. Technique is only a means to an end so if everyone ends up doing the same finger-tapping arpeggios or whatever then they lose any chance of being identified as an individual.


Brwtt course this is just the starting point to develop control not necessarily speed but as Brett said: 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. As you can see from the transcription he often gzrsed groups of 7 instead of the more common 6 or 8 which create unusual rhythms in his phrasing.

Brett Garsed Masterclass 1

The fingerings at the top of the transcriptions are for the fretting hand. Just keep trying things till licke figure out a way to stop the unwanted lickd. MARK Could you give our guys an insite into how you would go about writing and composing? Exercise 5 is a good example of how experimental you can be with various shapes when brety combine the min7 arpeggios with regular scale intervals. 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’.

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.

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 Hi bret, first let me say what a great privalage to interview you for our shredknowledge websiteits a great honor and I’m very exited. Now Brett uses 11 to 52 strings with a low action because he figured that would have been better to use heavier strings with a lower action than lighter strings with a higher action.

MARK Bret you must know how inportant it lciks to try and stay relaxed when playing both harder lines and basically playing in front of lots of people, do lick have any tips for guys who find it hard to relax or just dont really know how. Exercise 4 can be used as a lick, but even just a segment of this idea repeated can sound interesting.