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My Brother Jake - work out chords from this

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My Brother Jake

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Some interesting scale sequencing here

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Pentatonic Hardcore

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Guitar Dojo licks

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10 Blues Licks in the Style of BB King - A Complete Solo Over a 12 Bar Blues with Tabs

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In this lesson, I show how to play a full solo over a 12-bar blues in the style of BB King. All licks are in the key of C, and use the major and minor pentatonic scales. I have other lessons out there that show how to play BB King licks over specific parts of a 12-bar blues.

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In deep with Andy Aledort

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In deep with Andy Aledort, not just his slide licks either

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In Deep w/Andy Aledort - Duane Allman - May 2013

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This exclusive lesson continues at:http://www.guitarworld.com/deep-tribute-musical-genius-and-signature-lead-guitar-style-duane-allman The following content is related to the May 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store:http://store.guitarworld.com/collections/guitar-world/products/guitar-world-may-13-brad-paisley A true original, the late, great virtuoso guitarist Duane Allman led the Allman Brothers Band into rock history with his ferocious, deeply expressive and trailblazing guitar work.

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Slide licks, with Steepwater's guitarist

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The Slide Techniques of Duane Allman | Reverb Learn to Play

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20 Jimmy Page licks in A

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In this lesson, I show how to play 20 licks in the style of the great Jimmy Page. All licks are in the key of A. Most of these licks use the minor pentatonic scale, but there are exceptions. Some examples use the major or major pentatonic scales.

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Tone and interview

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Doyle Bramhall II on Building Blues Tones with Fuzz and Drive Pedals | Reverb Pedal Tricks

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12 licks in G from Guitar Dojo

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In this lesson, I cover 12 licks in the style of Slash. All of the licks are inspired by the solo at the end of Paradise city - they are all meant to play over a fast song, and are all in the key of G.

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20 SRV licks

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20 Easy Stevie Ray Vaughan Licks - Guitar Lesson with Tablature

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In this lesson, I show how to play 20 great licks in the style of Stevie Ray Vaughan. All the licks are in the key of g and use the pentatonic major and minor scales, so they are easy to combine together. Most of the licks are fairly easy to play.

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18 licks 'you must know'

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18 Jimi Hendrix Licks You Must Know - with Tablature

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This video shows you how to play 18 classic jimi hendrix licks. It shows all licks at normal speed, and at slow speed with tablature. The scale is also given for each lick.

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Style legato lick.

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Ritchie Blackmore Style Legato Guitar Lesson - Lick Of The Week

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Joe Satriani teaches Hendrix

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Joe Satriani Lesson - How to Play Rhythm Guitar Like Jimi Hendrix

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Some Dave Gilmour solo techniques

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DAVID GILMOUR's 14 Greatest Guitar Techniques!

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http://www.the-art-of-guitar.com to visit our lesson site.

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Tone tips for stratocasters

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Killer Strat tone tips and monster playing from Dan Patlansky

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We recently caught up with Dan Patlansky at dBs Music in Bristol (http://www.dbsmusic.co.uk) to talk Fender Stratocaster tone, tips and technique. Warning: contains awesome guitar playing. http://www.guitar-bass.net http://danpatlansky.com

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8 minute video on how to solo like him...

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How to Solo like Jimi Hendrix with Andy Aledort

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This video is bonus content related to the February 2015 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store:http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-february-15-the-ultimate-dime-tribute-issue All things that are truly great only become greater with the passing of time, an attribute that can certainly be applied to the incredible music of the legendary Jimi Hendrix.

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The habits of Dave Gilmour

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50% off the 5-star rated Guitar Super System: http://bit.ly/G1SS1cg 50% off Modern Rock Guitar Techniques: http://bit.ly/MODROCKcg 50% off 5 Exotic Guitar Scales course: http://bit.ly/EXOTCcg 50% off Guitar Super System Level 2: http://bit.ly/G2SS2cg 50% off The Best Beginner Guitar Course Ever: http://bit.ly/BBGCEcg Let's be friends on Facebook: http://facebook.com/musiciswin Questionable photos on Instagram: http://instagram.com/musiciswin My musings on Twitter: http://twitter.com/musiciswin Mailing List (no spam, just awesome): http://musiciswin.com/fretboardfriday

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Top ten tips. But no tabbed examples.

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AFTER ACQUIRING AND EVENTUALLY WEARING OUT HIS FIRST MOTORCYCLE, YOUNG DUANE ALLMAN BECAME INFATUATED WITH HIS YOUNGER BROTHER GREGG'S LATEST ACQUISITION-a Silvertone acoustic guitar that would soon become a source of incessant squabbling between the two siblings. The situation wasn't resolved until Duane traded a bag of bike parts for his own ax. After graduating to electric and getting some pointers from both his brother and local guitar whiz Jim Shepley (who introduced him to the music of Jimmy Reed and B.B. King), Duane Allman became a voracious woodshedder. His intense dedication bred a fiery, individualistic style and eventually led to the formation of the Escorts, the House Rockers, the Allman Joys, the Hour Glass, and ultimately the Allman Brothers Band, which single-handedly introduced the world to a brand-new Southern-tinged progressive blues-rock sound.

The Allmans' powerhouse combination of tight ensemble arrangements, soulful vocals (courtesy of Gregg) and explosive improvisations for two guitars, Hammond organ, bass, and twin drum kits was immortalized on four classic albums- The Allman Brothers Band, Idlewild South, Live at Fillmore East, and Eat a Peach (plus the Dreams box set and a slew of live material released between 1989 and 2003). Along the way, Allman wrote the book on electric bottleneck guitar and was invited to guest on numerous high-profile recordings, most notably alongside Eric Clapton on Derek and the Dominoes' Layla and Other Assorted Love Songs. Tragically, on October 29, 1971, Allman, at the peak of his career, was killed in a motorcycle accident. In the spirit of his epitaph and in celebration of one of the most powerful guitar styles the world has ever known, this lesson will show you how to cop some of Duane's mojo. First, you gotta...

1

Grow Roots and Branches
Duane Allman's road to glory was paved with equal parts inspiration and perspiration. Fiercely dedicated to his craft from the start, Allman got inside the heads of his musical influences by analyzing their recordings. Mike Johnstone, a roomie at the military academy they both attended, recalls Duane playing along with a B.B. King album barefooted, stopping and holding the record with his toe while he learned a lick, letting the record go until he got to the next lick, then going through both sides of the record and repeating the entire process for hours at a time. Friend and eventual manager Bill McEuen later described Allman as "totally glued and tuned in to those licks. He could hear something and in a half-hour have it down. When Duane played guitar he was part of the song .... He was visually interpreting his music, like John Lee Hooker or Jimi Hendrix." Allman's myriad influences soon expanded to include Albert King, T-Bone Walker, Slim Harpo, Robert Johnson, Blind Willie Johnson, Hank Garland, Chet Atkins, Kenny Burrell, Chuck Berry, the Yardbirds with Jeff Beck, Jimi Hendrix, Eric Clapton, Robbie Robertson, Miles Davis, and John Coltrane-a wide and strikingly diverse tent.

2

Get Some Rods & Reels
Unfortunately, it'd cost a not-so-small fortune to reassemble Allman's lineage of vintage axes today. His first electric was a cherry-red 1959 Gibson Les Paul Junior, but Allman soon moved on to a Fender Telecaster with a Stratocaster neck, a 1957 Gibson Les Paul gold-top, a circa-1961 Gibson Les Paul/SG (used for slide), a dot-neck sunburst Gibson ES-335 (dated between 1958 and 1962), and, ultimately, a tobacco sunburst Gibson Les Paul of indeterminate origin acquired in June of 1971. (Though one of his earliest electric guitars was a heavily modified '56 or '57 Stratocaster, Allman apparently never modded any of his own gear.) His favorite acoustic was a pre-war Gibson L-00, and for session work, Allman rendered his magic on a three-tone sunburst 1961 Stratocaster.

3

Stock That Tackle Box
Allman started out with a Vox Super Beatle amp containing six ten-inch speakers and two horns, then switched to a Fender Twin Reverb. In the Allmans, Duane used a pair of Marshall 50-watt heads driving two Marshall 4x12 cabs loaded with JBL D-120F speakers. (He would also employ a Vega PA system on some gigs.) For sessions, though, Allman still preferred a Twin Reverb with JBLs. He also had a Maestro Echoplex early on, and later created a run on Coricidin bottles by making them his slides of choice.

4

Lust For Life
Whether on stage, in the studio, or just fishin', Duane Allman was a happy guy who lived life to the fullest. His self-penned tombstone epitaph best reveals his creed: "I love being alive and I will be the best man I possibly can. I will take love wherever I find it, and offer it to everyone who will take it ... seek knowledge from those wiser ... and teach those who wish to learn from me." Always willing to help out a friend in need, Allman's musical collaborations often extended far beyond the call of duty. Case in point: When Eric Clapton was stuck for an intro during the historic Layla sessions that marked a high point in Duane's career, Allman adjourned to another room and returned shortly thereafter with a gift for his friend-the title song's signature opening riff. Those seven notes would help secure Allman a permanent place in rock history. (His epic slide part on the song didn't hurt either!)

5

Sharpen Your Claws
Though Allman had already rocked hard with the Allman Joys and the Hour Glass, he brought an instinctive and soulful R&B sensibility to the studio, honing his skills as a session cat tracking for Wilson Pickett, Aretha Franklin, King Curtis, Delaney and Bonnie, Ronnie Hawkins, Clarence Carter, John Hammond, Boz Scaggs, Herbie Mann, and the others documented on 1972's Duane Allman: An Anthology Volumes 1 & 2. Allman's raw talent and down-home Southern demeanor kept him in demand throughout his career. To totally understand where the 'dog was coming from, you'll need to get a few supportive Cropper-, Mayfield- and Hendrix- influenced sliding fourths, hammered-and-pulled filigrees, and broken sixths under your belt [Ex. 1]. Here, Allman avoids collisions with the vocalist by leaving beat one open during each measure of a simple I-V-V7-I progression in the key of F#.

6

Slide It On Home
It's likely that one of the things that drew Allman to slide guitar (besides hearing Ry Cooder and Jesse Ed Davis play it) was the wealth of phrasing options offered by this expressive technique. Allman always wore his Coricidin bottle on his 3rd finger and plucked the strings with his bare fingers. To soar like Skydog, you've gotta raise your action and get familiar with some basic slide moves in open E, his preferred tuning (E, B, E, G#, B, E, low to high). Ex. 2a illustrates open and slide-fretted E chords, plus three common triad inversions and arpeggios. Be sure to place your slide directly over the 12th fret and experiment with various degrees of string damping behind the slide. Anchor your thumb on the back of the neck, loosen your wrist, and think wailing blues harp as you explore the phrasing options in Ex. 2b. (Transfer these moves to all adjacent lower string groups.) Also, discover whole- and half-step (and in-between) neighbor tones that form an open-E box pattern in Examples 2c and 2d, and blow through the short I-chord lick in Ex. 2e.

7

Fly Sky-High
Put into practice, Allman's signature slide moves become thrilling sheets of sound. Ex. 3a shows a pair of related blues-harp-style slide motifs that surface in several Allman solos, while the IV-I lick in Ex. 3b features signature string zips à la "Statesboro Blues." Finally, the turnaround in Ex. 3c gives you a taste of the stratospherically high, off-the-fretboard accuracy that Allman flaunted on the coda to Clapton's "Layla."

8

Harmonically Converge
The harmonized lines of Allman and co-guitarist Dickey Betts were a defining element of the original Allman Brothers sound. Ex. 4a features a tightly arranged blend of fourth and third harmonies based on "Revival," the infectious opening cut from Idlewild South. For total authenticity, play the notes that appear on the and of beat two and on beat three in both measures one sixteenth-note pulse earlier. And for a little bit of country, check out the improvised twin lead work à la "Mountain Jam" in Ex. 4b. Allman and Betts were well-known for harmonizing lines on the fly, and this fragment begins with semi-"outside" sevenths and sixths, then concludes with more characteristic fourths and thirds. The two harmonic schemes are derived mainly from the E pentatonic major scale, and, with practice, it's possible for a single guitar to play both parts simultaneously (as is also

the case with Ex. 4a.) For a complete dual-guitar harmony workout, dig out the August 1999 GP and dig into my full transcription of "In Memory of Elizabeth Reed."

9

Take Modal Excursions
Whether it's a ten-minute solo during "Elizabeth Reed," or one of the Brothers' trademark extended cadenzas, you've gotta get fluent with the kind of extended modal jamming that permeated the band's live performances. The emphasis on Am7's upper extensions-the 9 (B), 11 (D), and 13 (F#)-played over the Im7-IV Dorian-based vamp in Ex. 5a reveals Allman's professed admiration for the modal jazz of Miles Davis and John Coltrane. Ex. 5b is derived from three successive motifs that Allman regularly reprised during his extended closing improvisations in the Allman Brothers staple "You Don't Love Me": sliding parallel fifths reminiscent of his work on Clapton's arrangement of "Little Wing," a legato reading of the melody to "Joy to the World," and a flashy display of upper-register A major-based thirty-second-note triplets.

10

Know a Must-Know Solo
Of course, you'll need to learn a few key Duane Allman leads to really get inside the legend's head. Allman's 16-bar "Hoochie Coochie Man" solo [Ex. 6] may not be as well-known as some of his more famous lead work, but it's a textbook look at Skydog's fearlessly inventive style applied to a timeless Willie Dixon standard. Amazingly, Allman still manages to conjure a slide vibe using only a pick and bare fingers-compelling evidence that with or without bottleneck, this was simply how the guitarist heard his instrument. Savor his staccato call-and-response phrases (bars 1 - 8), deceptive pre-bends (bars 2, 3, 7, 13, and 14), gritty over-bends (bars 1, 4, 5 and 10), two-against-three poly-rhythms (bars 13 and 14), and, as Duane so aptly put it, "Just rock on, and have you a good time!"
For more insight into Allman's slide tactics, read Jesse Gress' "Soaring with Skydog" lesson from the October '93 GP, which has also been reprinted in GuitaRevolution [Backbeat]. For a thorough and enthralling Duane Allman biography, Gress recommends Skydog: The Duane Allman Story by Randy Poe [Backbeat], which was referenced in the writing of this article.

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10 Things You Gotta Do to Play Like Duane Allman

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AFTER ACQUIRING AND EVENTUALLY WEARING OUT HIS FIRST MOTORCYCLE, YOUNG DUANE ALLMAN BECAME INFATUATED WITH HIS YOUNGER BROTHER GREGG'S LATEST ACQUISITION-a Silvertone acoustic guitar that would soon become a source of incessant squabbling between the two siblings. The situation wasn't resolved until Duane traded a bag of bike parts for his own ax.

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Fool For Your Loving Video 1980

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Fool for your loving, Bernie Marsden, from Ready And Willing

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Get the Funk Out
- good XV position licks, and an achievable tap arpeggiation

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Get the Funk Out Tab by Extreme | Songsterr Tabs with Rhythm

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Get the Funk Out Tab by Extreme with free online tab player. One accurate version. Recommended by The Wall Street Journal

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The Wanton Song
Great chords in the chorus

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The Wanton Song Tab by Led Zeppelin - Guitar 1 - Distortion Guitar | Songsterr Tabs with Rhythm

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The Wanton Song by Led Zeppelin tab with free online tab player. One accurate version. Recommended by The Wall Street Journal

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Good Times Bad Times
Classic Em pentatonic solo, think Ross/Slash

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Good Times Bad Times Tab by Led Zeppelin - Jimmy Page - Distortion Guitar | Songsterr Tabs with Rhythm

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Good Times Bad Times by Led Zeppelin tab with free online tab player. One accurate version. Recommended by The Wall Street Journal

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Ten Years Gone

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Ten Years Gone Tab by Led Zeppelin - Rhythm Guitar - Electric Guitar (jazz) | Songsterr Tabs with Rhythm

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Ten Years Gone by Led Zeppelin tab with free online tab player. One accurate version. Recommended by The Wall Street Journal

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Livin Lovin Maid

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Living Loving Maid Tab by Led Zeppelin - Guitar 1 - Overdriven Guitar | Songsterr Tabs with Rhythm

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Living Loving Maid by Led Zeppelin tab with free online tab player. One accurate version. Recommended by The Wall Street Journal

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The Ocean

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The Ocean Tab by Led Zeppelin - Guitar 1 - Distortion Guitar | Songsterr Tabs with Rhythm

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The Ocean by Led Zeppelin tab with free online tab player. One accurate version. Recommended by The Wall Street Journal

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His playing is like a drink, a drink known as the New Jersey Turnpike, a drink that can be made only at the end of the night-from the spillover from the bartender's bar mat and the squeezings of a bar rag.

Slash is like a sponge that has soaked up the most intoxicating ingredients of the best music since the dawn of electric-guitar-based rock and roll, and wrung out a grimy, adventurous and uniquely tasty concoction that never ceases to inspire. He is the reason I play guitar, my musical messiah.

As Axl Rose said in 1988 during Guns N' Roses' timeless performance captured on Live at the Ritz, "In a world he that he did not create, but he will go though as if it was his own making: half man, half beast ... I'm not sure what it is, but whatever it is, it's weird and it's pissed off and it calls itself Slash."

Slash is a guitar player's guitar player, drawing deeply and effortlessly sharing secrets learned from greats such as Jeff Beck, Joe Perry, Brad Whitford, Billy Gibbons, Keith Richards, Eric Clapton, Jimi Hendrix, Ron Wood, Michael Schenker, George Lynch, Edward Van Halen, Dave Mustaine, James Hetfield and countless others.

While many of Slash's signature licks and moves are hard to pin down, one thing that can be easily integrated into any guitarist's vocabulary is his use of slurs. Slash's playing is obviously built around his uncanny knack for melody, yet that melodicism is seasoned with a greasy, gritty quality that exudes his individuality and makes his melodies all the more memorable (see "Estranged"). On a purely mechanical level, the means for Slash's achieving the fluidity to allow his individuality and style to shine through come from his use of slurs in his phrasing: hammer-ons, pull-offs and slides.

As another benefit of these techniques, Slash is able to assert his personality by using these slurs to bend the beat to his will, "bobbing and weaving" as he feels.

EXAMPLE 1 is a Slash-inspired lick based around the 5th position Am pentatonic scale, with the addition of the 2nd/9th from the Am scale (the seventh fret of the high E string). Notice the rhythmic change in feel from triplets to quintuplets in the first bar and the various rhythmic feels in the second bar ("gallop," "reverse gallop," triplet and quintuplet).

A deeper look inside the lick will show Slash's use of typical blues/rock licks such as those found in beats 1 and 2 of the second bar, which become more effective when surrounded by semi-diatonic slurs. Fingered as Slash would, note also the return to the middle-finger note on the high E (seventh fret) after the ring-finger note on the B (eighth fret) throughout the line.

EXAMPLE 2 ("When I come home late at night, don't ask me where I've been. Just count your stars I'm home again"): Here is a lick similar to something Slash would use that plays within the Am pentatonic scale box and adds the 2nd/9th (high E, 19th fret). Note the rhythmic contour of the lick (which also come across as an accident of its melodic contour). Feel it!

EXAMPLE 3 ("Besides, you ain't got nothin' better to do. And I'm bored."): Inspired by one of Slash's takes on the Am blues scale (Am pentatonic plus the b5-Eb-D string, 13th fret) this lick kicks off slippery with a slide. Note the rhythmic shifts and the resolution to the b7 of the key (G, G string, 12th fret).

EXAMPLE 4 ("It all fits so right when I fade into the night"): Rife with "Slash-isms," this lick combines the rhythmic shifts of the previous examples with a scale derived from classic blues clichés (Dm pentatonic with the "Dorian" note- the sixth- 12th fret on the B string and the major 3rd- G string, 11th fret). This lick can be used as a substitution in a blues/rock setting when jamming in the D Dorian position of A minor, or used as a bad-ass lick in D minor, depending on the feel you're looking for. Be sure to nail the (almost Steve Vai-ish) slides in the last bar.

EXAMPLE 5 ("Wake up late, Honey, put on your clothes. Take your credit card to the liquor store. That's one for you and two for me by tonight."): This mostly diatonic lick in Am (with a brief step into A harmonic minor) channels the spirit of one of Slash's most epic solos and really works the rhythmic push and pull between the picked notes and the slurred notes.

Pay attention to the percussive, muted notes and let the hammer-ons and pull-offs just flow. Let your pick hand relax and connect with the phrasing. Use a 1-2-4 fingering for the notes on the D and G strings and a 1-2-3 fingering for all of the patterns on the B and E strings and be aware or the melodic contour as it interacts with the dynamics and the rhythmic "give and take" surrounding the beat.

EXAMPLE 6: ("But if you could heal a broken heart, wouldn't time be out to charm you?"): This lick is inspired by some of Slash's best "bouncing" through a scale in a pseudo-flamenco style (once again occasionally flirting with Harmonic minor, Slash does this often), really feeling the rhythm and skipping through the scale contour accordingly, switching positions when necessary to fit the contour of the lick (beats 1, 2 and 4 of the 2nd bar). Wrap the lick up by getting inside of the melodic feel of its latter half, and get as "personal" as you can with the phrasing.

EXAMPLE 7 ("Everybody needs somebody. You're not the only one."): Here is a re-imagining of one of Slash's most famous licks. In Am and referencing A Harmonic minor, this lick ties together many Slash-ims. Get used to the notes used in the line and experiment with your own melodic and rhythmic variations inspired by it. Have fun and jam!

If for some reason you don't own or haven't listened to Guns N' Roses' Appetite for Destruction in its entirety, for whatever reason, check it out now! For everyone else, reconnect with the Use Your Illusion albums, and be sure to check out Slash's Snakepit, Velvet Revolver, Slash's solo work and his innumerable guest appearances. Slash is probably the most recognizable guitarists in the world, not just because of his look (see South Park for a hilarious take on his "myth") but because his playing transcends his listener's race, gender and age. Every guitar player should learn from Slash's example.

Steal a few tricks, absorb the vibe and Slash it up! Happy shredding!
Scott Marano has dedicated his life to the study of the guitar, honing his chops at the Berklee College of Music under the tutelage of Jon Finn and Joe Stump and working as an accomplished guitarist, performer, songwriter and in-demand instructor. In 2007, Scott developed the Guitar Strength program to inspire and provide accelerated education to guitarists of all ages and in all styles through state-of-the-art private guitar lessons in his home state of Rhode Island and globally via Skype. Visit Scott and learn more at www.GuitarStrength.com.

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Seven Ways to Nail Down Slash's Greasy, Slithery Style

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His playing is like a drink, a drink known as the New Jersey Turnpike, a drink that can be made only at the end of the night-from the spillover from the bartender's bar mat and the squeezings of a bar rag.

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Every Thin LIzzy Guitar Solo 1971 - 1983

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Tab from songsterr to play along with

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Still in Love With You Tab by Thin Lizzy | Songsterr Tabs with Rhythm

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Still in Love With You Tab by Thin Lizzy with free online tab player. One accurate version. Recommended by The Wall Street Journal

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Backing track for Still In Love With You

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Peter Green on Jonathan Ross Show 17th July 1999

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NOTE* This video uses copyrighted material in a manner that does not require approval of the copyright holder. No copyright infringement is intended. The musical content is used under the FAIR USE policy, and is presented purely in good faith for the purposes of promoting information of an educational and historical nature only.

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Don't Believe A Word - Thin Lizzy (How to Play - Guitar Solo Lesson)

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Confira a linha do tempo do Dia do Rock: http://cifraclub.com.br/diadorock Don't Believe A Word by Thin Lizzy http://cifraclub.tv/v3292 Album: Johnny the Fox (1976) Guitarist: Slash Band: Thin Lizzy ______________________________________________________ Equipamentos: Guitarra Tagima TLP Flamed http://goo.gl/9AnvRY Pedal NIG Hot Drive - PHD http://nigmusic.com.br/pockets_hot.asp Palhetas Planet Waves http://goo.gl/Ci6srM Correias Planet Waves http://goo.gl/EpBkuo ______________________________________________________ Apoio: Tagima http://www.tagima.com.br/ Cordas NIG: http://nigstrings.com.br Acessórios Planet Waves by D'addario http://www2.musical-express.com.br/ ______________________________________________________ Ficha técnica Instrutor: Vinicius Dias Imagens: Lucas Costa Áudio: Noel Fernandes Edição: Humberto Lúcio Aroeira

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Sarah was on of those classic Thin Lizzy songs that came from a collaboration between Phil Lynott and Gary Moore. In this video I take the original parts of the introduction, recorded by Gary Moore and turn them into a single guitar part that can easily be played by one guitarist.

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Thin Lizzy - Dancing in the Moonlight (Guitar Lesson & Tab) w/ Gibson Les Paul and Marshall JCM800

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Exclusive Scott Gorham Thin Lizzy Interview

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Thin lizzy - waiting 4 an alibi - guitar solo.flv

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Gary Moore Lesson with Andy Aledort - How to Play Like a Rock Legend!

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Andy Aledort goes IN DEEP with the guitar playing of virtuoso legend, Gary Moore. In this exclusive lesson, Andy Aledort teaches you how to sound and play like Gary Moore!