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How to sound like David Gilmour from Pink Floyd

You don't have to chase down lots of equipment and fancy pedals just to kind of sound like David Gilmour you can really get a good imitation of his style just by knowing a few really basic ideas and concepts

Transcription


Please note, this transcription was computer generated and has not been checked for errors. However, I do hope you find it helpful. 

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Lots of guitar players want to sound like David Gilmour and rightfully. So I mean who doesn't love the Comfortably Numb guitar solo.

But you know, you don't have to chase down lots of equipment and fancy pedals just to kind of sound like David Gilmour you can really get a good imitation of his style just by knowing a few really basic ideas and Concepts. So that's what I want to talk about today is how can we kind of imitate him and sound like him without spending a ton of money on you know, pedal boards and stuff like that as far as tone. I'll talk a little bit about Tone If you don't have a Stratocaster, I mean it helps to have a strap, but even if Don't throw a little distortion on there and some delay and that will take you a long distance into getting you know, a Pink Floyd and sound but the number one most important thing you can do to sound like David Gilmour is to play over something that already sounds like Pink Floyd and I know that might sound basic but really think about it. If you're not playing over a Pink Floyd track, if you're playing over power cords and blast beats. It doesn't matter what techniques are performing what your tone is. It won't sound like Pink Floyd So step one is right some chord progressions that are Pink Floyd Ian or just Jam over a Pink Floyd track. I have one in the description. Just a few simple chords and I swear as soon as you start playing notes, you're going to feel like David Gilmour you're going to feel like a God because literally everything you do on top of that track in the and the key of E minor will just sound great. Okay, so download that and that way you can play along with everything here. I'm about to show you.

So the first thing we're going to do is very basic. We're going to talk about sliding up to notes instead of just picking notes and when you've got a lot of delay on your guitar this helps out a lot. So for example, let's say I'm in the key of E minor. All right, and I've got these notes available to me in the email. Minor scale but what I want to do is let's say I had written this melody. It goes from B to e and then it goes to B to F sharp and then b2g that sounds all right, but it would sound a little more interesting if I slid up from B to e and left my shape by like this.

Already you can hear that sounds a little dream here right now listen to it in context of the Jam track and I'll play it both ways without the sliding and with the sliding and you'll hear immediately that just that simple idea of adding and slides instantly makes you feel more Pink Floyd Ian. Okay. Take a listen.

Sounds awesome. Now if I just pick it So, I mean it sounds good. But in my opinion it's boring, right.

So what we're going to try and do is we've added in some slides. I want you to also think about how much it's going to help if we just start bending up to the notes that we want. All right, and what I'll do is I'll show you a little move here that I've seen in more than one David Gilmour solo when we're going to do is we're going to go up the E minor arpeggio like this.

All right, that's four notes of the E minor arpeggio right there. But instead of picking this last note, we're going to bend up to that note from 15 on our second string.

All right, so the movie will be like this one and two and okay the solo that comes to mind right now is Time by yeah the time solo and what he does is he actually slides up to the note and then starts the arpeggio. So if we combine that were sliding up to the F sharp right there and then we're finishing up the arpeggio with the bend and there's a classic. Get David Gilmour move right there.

That you can kind of use anywhere. So I'm going to turn back on the track. And even if the cord isn't e-minor I'll still play the E minor arpeggio. We'll just hear what it sounds like. All right.

Sounds awesome. If you ask me now, if I wanted to be a little more precise, what I would do is I would do that same kind of move with each arpeggio matching the cord. So for example the next chord with C major 7, so I would do the same kind of sliding move and with a band for a C major 7.

But I just want to show you that specific move and you know how you can use that wherever you want and you'll see that that fits perfectly into your pentatonic minor scale. Okay, there's another Bend move. I want to show you the David Gilmour uses a lot and it looks like this and this isn't just David Gilmour. This is a very common pentatonic boot bending move. But what we're going to do is we're going to use our third string and I also use my middle finger my third finger and my middle finger to help me Bend this node. This is 14 on my third string and you can see I've got both fingers doing the band while my first finger is hanging out here on the 12th fret wet and it's going to take care of both 12 Frets here on the second string and the first string. So what I'm going to do is bend on the third string and then I'm going to drag my pick to the second string on 12 and the first thing on 12 like this.

All right.

Now you can choose to let those notes ring out if that's the effect that you want to give you kind of a dirty sustained feel or you could choose to individualize the note. So it's only one note at a time like this and that'll take just a little rolling of your first finger there. Okay, and then when you're done with that little move I like to finish it off with another band or a ban on the second string or just come all the way down your pentatonic scale.

We're down the pentatonic scale with some of with a pattern and that is very similar to the things that you hear in Comfortably Numb. All right, going up a little bad move and then coming down the scale in a triplet pattern. It's I think there's three times. He does that in the solo at least. All right. So let's take a listen. We're going to add in this bending move to my Pink Floyd Jam track and I'll try and follow it up with some bends afterward.

All right, cool.

Now what I want to talk about is some double stops. All right, it's a very common double stop move that I've heard David Gilmour use all the time. And therefore I use it all the time very simple stuff while we're doing it was for squashing our finger on the second string and on the third string like this.

Alright, and when I play both those notes together you get a pretty dissonant sound especially with some distortion on there, but following it up with the root on my 4th string. It'll be my ring finger on 14. So I've got this double stop and then I'm coming back to my roof and any variation of that, you know. One from the double stop to the route or hitting the double stop twice and coming back to the root doing some Chuckles, you know where you're resting the strings.

It's a really cool thing to jam out with just those two things.

So what I'll try and do is I'm going to try and just focus on just a few notes. I'm going to really really isolate this move here and I'm going to do a few notes in between but I'm going to just drown it in this double stop thing and you're going to hear how grungy and nasty it sounds on top of the track.

All right, very cool.

Sounds great. And you can also do that double stop move here on the first two strings. It's not as grungy. It doesn't sound as dissonant but it still works just as well and I've heard him play that same move as well.

Now the last way to say in that sound like David Gilmour is to literally just steal an exact lick from him.

There's a link that I want to do from the song Mother. Okay, and we're going to play the lick. Key of D essentially. This is the way I think of it if I want to play this David Gilmour look in any key. What I do is I find the root on my second string. So in this Jam track, we do have a d chord and what I want to do is I want to outline that D chord with this one lick. So in the D chord comes up, I'm going to find D on my second string which is right here.

And once I'm there, I now know what the shape is going to be for this this link and check it out. If I start here with my middle finger, it actually starts with my first finger, but I'm kind of using my middle finger to gain my bearings of where I'm at. But here's the actual lick it goes like this.

All right, beautiful David Gilmour like all right, and now you can see I'm in the key of D. If you look at some of these notes here this note right here is an F sharp and a d and an A and then I have another G and that would be my Ford. So basically it's like a d ad for arpeggio and it's just a beautiful little line. They're very comfortable for your fingers.

So what I'm going to do now is I'm going to try and combine everything together. Okay, I'll do some slides. I'll do some arpeggios.

But when that D major comes up, I'm going to literally just steal from the book of David Gilmour and play that lesson will hear what it sounds like. All right.

All right. I think that's pretty sweet. And I think I mean I'm not David Gilmour. I'm never going to sound just like David Gilmour, but hey, I can do an imitation just because I know a little bit of you know, the theory that what he does and I know a few of the tricks that He has and I've tried my best to sound like David gilmour's far as tone is concerned but I'm not really one of those tone Chasers.

My brain doesn't work that well, but hopefully this is a good imitation. I hope you thought so as well.

So I mean becoming David Gilmour is a lifelong process. It's not something you're going to learn in one lesson, but hopefully you can at least fake it a little bit better after watching this lesson. All right. Thanks for watching. I'll leave a comment below if you have any questions or if you have any requests for special videos or lessons to see and I will plan on seeing you soon.

 





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