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Guitar Techniques 2013 September - 221

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June 2018
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9000 ISSUE 221 SEPTEMBER 2013 THE Just some of your regular GT technique experts... SHAUN BAXTER One of the UK’s most respected music educators, Shaun has taught many who are now top tutors. His album Jazz Metal was hailed as a milestone. PAUL BIELATOWICZ One of our greatest rock guitarists, Paul plays with prog legends Carl Palmer and Neal Morse, and is a most welcome regular contributor to GT. JON BISHOP Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease! PETE CALLARD Pete’s many credits include Lionel Richie, Annie Lennox, Chaka Khan and Shirley Bassey. He works regularly in the studio, on TV and in the West End. CHARLIE GRIFFITHS Guitar Institute tutor Charlie ﬁrst came to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s top rock, metal and fusion guitarists. PHIL HILBORNE The UK’s original magazine guitar tutor Phil’s something of a legend. A great player he regularly plays guitar in the Queen musical, We Will Rock You. TERRY LEWIS Terry has toured the world in support of a host of big name acts. He currently teaches at BIMM Brighton, writes with canny insight and plays superb guitar. BRIDGET MERMIKIDES Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award winning blues guitarist. Welcome I’VE NEVER BEEN the biggest user of effects combo - a Mark II, before the B or C - I swore that using any kind of ‘transistor’ distortion was sacrilege. I mean, why fork out vast sums for the best valve amp in the world at the time - mine cost £750 in 1980, when an annual UK salary was £6000 - and then put cheapo transistors in front of it? It seemed bonkers. I did have one of the early BOSS DM-2 analogue delays and CE-2 chorus pedals and they were fantastic. But mainly, I just plugged in, turned up and that was it. Some years later I fell foul of the rackmount thing, with Quadraverbs, multi-fx and a Boogie Tri-Axis MIDI preamp. But then one day I plugged back into the old mahogany and wicker Boogie and that was it. These days it’s still simplicity all the way, with a nice distortion (yes, I got over the transistor business - or perhaps overdrive pedals got better, one of the two), a delay and a chorus and tremolo pedal. What I’m getting round to, is the fact that I’ve never been a huge wah-wah user. In fact they used to so annoy me at gigs when other players wouldn’t get off the darned things, that I took a silent vow never FINEST GUITAR TUITION YOU CAN BUY ! to be sucked into it myself. Of course there’s always been one lurking somewhere in a drawer, cupboard or gig-bag, but there’s currently not one on my pedal board and hasn’t been for years. Because of that I now keep the board behind me on stage, butted up in front of my amp, so I just turn delays and drives off and on between numbers. However, that might all be about to change. Reading through Jon Bishop’s excellent wah-wah feature this month, has inspired me spot on the board so I can start to put some of Jon’s ideas into practice. I’m sure at this stage of the game my own wah-wah witterings are not going to change music forever. But I do think it’s time I stopped ignoring the wonderful - and very musical if you don’t overdo it - possibilities available. So, back on the treadle it is for me! See you next month... Neville Marten, Editor [email protected] DON’T MISS OUR AMAZING DIGITAL EDITION Our digital edition for iPad, iPhone, Kindle Fire and Nook is now even better! JACOB QUISTGAARD Music Tech’s Jacob is a fantastic ﬁnd. Not only is his writing great but he’s a superb player who can turn his hand to anything. Welcome aboard, Jacob! STUART RYAN Stuart is Head Of Guitar at BIMM Bristol, teaches at Bath Spa University and is a top solo acoustic guitar virtuoso. His debut CD, The Coast Road, is out now. ANDY SAPHIR A top teacher at the Guitar Institute (ICMP), Andy is a phenomenal player in a host of styles. He mixes just the right degree of ﬂash with consummate taste. TRISTAN SEUME One of ACM Guildford’s leading tutors Tristan is also mega busy on the folk circuit playing with Jackie Oates. His brand new CD Middle Child is out now! JOHN WHEATCROFT A truly phenomenal guitarist John heads up the guitar facility at Tech Music Schools in London. He’s a master at all styles but a legend in Gypsy jazz. Tap the links Finding your way around the magazine is easy. Tapping the feature titles on the cover or the contents page, takes you straight to the relevant articles. Any web and email links in the text are tappable too! Animated tab & audio Most songs and lessons have the audio built in, with a moving cursor showing you exactly where you are in the music. Simply tap the ‘play’ button then you can fastforward or scroll back at will. Play the videos Certain of the articles have accompanying videos full of useful insight and additional information. Once again, tap the play buttons to enjoy video masterclasses on your iPad or smartphone. PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio). September 2013 GuitarTechniques 5 ( ( ( 3 ( ( ( LEARNING ZONE COVER FEATURE SOLO OVER CHORD PROGRESSIONS Nail those changes! LESSONS INTRODUCTION 49 30MINUTE LICKBAG 50 Jason Sidwell ushers in our Lessons section 16 BIMM’s Terry Lewis has six great licks for you! Do you get stuck beyond basic blues soloing? Learn how to play over diﬀerent chord changes and be a more complete player! BLUES 52 BLUES 56 ROCK 60 CREATIVE ROCK 68 HOT COUNTRY 72 PROG 76 JAZZ 80 ACOUSTIC 86 ROCKSCHOOL 90 John Wheatcroft looks at the bluesier side of Pink Floyd’s legendary David Gilmour. JW has even more blues for you, here in the style of the awesome Kenny Wayne Shepherd. Martin Cooper goes glam this month with a lesson on Mott The Hoople’s Mick Ralphs. Shaun Baxter has looked at 2nds and 3rds. This month “it’s one more, isn’t it” - 4ths! Andy Saphir meets a modern country superstar, the one and only Alan Jackson. Paul Bielatowicz unveils the original and inﬂuential style of Patto’s Ollie Halsall. Pete Callard visits the unmistakeably Latin jazz guitar style of Charlie Byrd. Stuart Ryan transcribes the gospel favourite Just A Closer Walk With Thee. SIMON LEES Many thanks to Jeff & Mark at World Guitars in Stonehouse, for the loan of this lovely Tom Anderson cover guitar FEATURES 26 SPECIAL TRANSCRIPTION 5 THEORY GODMOTHER 8 David Mead addresses your technical, musical and theoretical issues. TALKBACK 9 Tell us your views... don’t hold back... INTRO 10 BACK ISSUES 92 News, One-Minute Lick, 60 Seconds With, What Strings, That Was The Year and more... 34 Wanna learn some classic Bowie from the ‘70s? Now’s your chance with Jon Bishop’s great transcription of an iconic Ziggy masterpiece! CLASSICAL TRANSCRIPTION JS BACH ‘Arioso’ from Cantata WELCOME Nev on the power of wah... Check out the expressive wah guitar styles of Joe Walsh, Jimi Hendrix, Eric Clapton, Isaac Hayes, Thin Lizzy, Steve Vai and many more! DAVID BOWIE: STARMAN Ziggy’s classic transcribed! VIDEO MASTERCLASS REGULAR FEATURES SPECIAL FEATURE #2 WAH GUITAR! Express yourself Charlie Griﬃths continues his A-Z of music theory with a look at M for Modes and More! 44 Bridget Mermikides excels herself this month with a truly beautiful solo guitar version of one of Bach’s classics. Learn it now! Missed one? See how you can get it – here! ALBUMS 93 Top guitar CDs and DVDs reviewed and rated. TAB GUIDE 94 Our terms and signs explained. SUBSCRIPTIONS 96 NEXT MONTH 98 Save time and money – get GT delivered! Albert King and Stevie Ray Vaughan, T-Bone Walker, Johnny Thunders and Steve Hillage! STEVE LUKATHER LESSON 64 Toto guitar hero and session ace Steve shares his guitar secrets with all of us. September 2013 GuitarTechniques 7 Q&A Post your playing posers and technical teasers to: Theory Godmother, Guitar Techniques, 30 Monmouth Street, Bath, BA1 2BW; or email me at [email protected] - your wish is my command! Harmonia Mundi Dear Theory Godmother Star LETTER PRIZE Blackstar are giving our star TG letter one of their brilliant pedals each month. Visit www.blackstaramps. co.uk and tell us which you’d like, should your letter be the lucky one. EXAMPLES 1  8 I like to use harmonics in my playing, but so far the process has been a bit hit or miss! Could you tell me how to work out the pitches of the harmonics found at the 12th, 7th and 5th frets for each string to give me a bit more of an idea about what I’m doing? Greg The harmonics on a guitar always relate to the pitch of the open strings and so they’re fairly easy to remember. The 12th fret gives you the open string up one octave, the 7th fret is the 5th above that and the 5th fret harmonic is two octaves above the open string. I’ve mapped them out for you in Ex 1 to give a clear picture of which pitches are to be found at the frets you mention. If you want to explore the world of natural harmonics further, you can also ﬁnd some more lurking around the 3rd and 4th frets. The actual positions of these harmonics don’t conveniently line up with the frets like the ones at the 12th, 7th and 5th, but if you touch the string lightly along its length between the 5th and 3rd frets while plucking, you should be able to ﬁnd them. You might need a fresh set of strings to hear them clearly and I’d be inclined to try to ﬁnd them on the bass strings ﬁrst as these should ring a bit clearer than on the treble side. The pitches involved here include the major 3rd, 5th and b7th two octaves above the open string - in fact you can spell out a dominant 7th chord in harmonics with very little hand movement. There are more harmonics to be found - I’m told that the highest of them is around the middle of the 2nd fret on the ﬁrst string, but you need quite a lot of gain on an amp (using the bridge pickup) to be able to get it to sustain. It’s a very high B and I’d be happy to notate it for you but I don’t think my music software actually goes up that far. The Devil’s In The Detail Dear Theory Godmother I’ve read that a dominant 7th chord contains a diminished 5th - the 8 GuitarTechniques September 2012 so-called ‘Devil’s Interval’ - but I can’t ﬁnd it! Surely a 7th contains root, 3rd, 5th and ﬂat 7th? So where is the diminished 5th in that lot? Peter the resolution, too. In essence this is what happens whenever a chord arrangement calls for a V-I change; the devil is thwarted in his attempt to create musical chaos every time! There’s a b5th in every dominant 7th, Peter - but it’s not related directly to the chord’s root; the devil is a bit more cunning than that! You’re absolutely right in that the formula for a dominant 7th is root, 3rd, 5th and b7th, but the b5th occurs inside the chord between the 3rd and 7th. So, if we take G7 we ﬁnd the notes G, B, D and F (see Ex 2) and if we examine the intervallic relationship between the B and F, we ﬁnd our b5th. The devilish dissonance created by this diabolic interval is resolved when the harmony moves to the tonic chord: in the case of G7, the note B moves up a semitone to C and the F moves down a semitone to E, creating the perfectly consonant major 3rd – C and E. A good way to hear this in isolation is to play Ex 3; you can clearly see the movement I’ve outlined on the fretboard and hear Minor League? Dear Theory Godmother I’ve been getting more into blues playing recently but one thing puzzles me; if someone suggests playing a minor blues I have been assuming that all the chords – the I, IV and V – would all be minor, but I’m told this isn’t so and that the V chord is still major. But how can this be? If you harmonise the natural minor scale (the scale many rock players would use to play a minor blues) then the V chord becomes a minor 7th – and furthermore, it actually sounds okay when I play it. So which rule of music determines that the V chord is still major? Nat Where I think the confusion might lay is that conventional harmony dictates that the harmonic minor scale is used for forming chords and if you look at Ex 4 you’ll see that this gives us a straight V7. So the textbook minor blues would be Im-IVm-V7. The V chord has a special ability to signpost the tonic via the resolution of in-built tension but this resolution doesn’t exist in a V minor and so the movement between the V and I chord is less powerful. So classical music written in a minor key will nearly always employ the V7, whereas pop, folk, jazz and pretty much everything else, frequently avoid this convention, often choosing to harmonise using the natural minor scale instead. As the blues already breaks rules by employing three dominant chords in the course of its 12-bar run, taking an ‘anything goes’ attitude here is totally acceptable so either can be considered ‘right’. I would add that one of the most famous C minor blues in rock, Led Zeppelin’s Since I’ve Been Loving You, uses both the Gm7 and G7 – and if it works for Led Zep, who are we to argue? Visit www.davidmead.net to check out David’s books and solo CD... Write to: Guitar Techniques, 30 Monmouth Street, Bath BA1 2BW. Email: [email protected] using the header ‘Talkback’. STAR LETTER WRITE ONE AND WIN A PRIZE! LESS TECHNIQUE, MORE FEEL Larry Carlton: an amazingly gifted player DIMINISHED RESPONSIBILITY I’ve been reading Guitar Techniques for the last year and I can honestly say my playing has evolved leaps and bounds in that time. Through your magazine I have been turned onto the playing styles of Robben Ford and Larry Carlton, who I now love. I've heard them both mention the diminished scale - half-tone, whole-tone and whole-tone, half-tone. I understand how the scale is made, I just don't understand how to use it in a blues context to get that 'outside' playing style that sounds so unique. Any help would be greatly appreciated? Vincent, Colchester, Essex. That’s the problem with the “Use this scale over this chord” approach to teaching. It doesn’t really teach you much at all. As an example, the minor and major pentatonic scales have the same notes and so are ‘nominally’ interchangeable. That’s easy to say, but without explaining how the function of each note in the ‘shape’ changes in relation to the chord below, people can start landing on notes that are strong in the minor pentatonic, but weaker in major. I’ve discussed the topic with Jason and we will be running an article describing the diﬀerences between the half-whole and whole-half, and how to best employ them. STEVE GILLETT/LIVEPIX TO HAVE AND TO HOLD One thing that many players the way in which we hold the guitar with our fretting hand. As I started to progress, I began noticing that when I tried to play fast and ‘scaly’, steps. When I began taking lessons from my lecturer at university, he Some excellent points there, Jonny. But there’s also a quote I felt inclined to write to tell you how much I am from Mahavishnu Orchestra guitarist John McLaughlin enjoying the August issue of Guitar Techniques. The that goes something like: “Technique is not the enemy of feature on Nile Rodgers is fantastic. I was fortunate expression; technique only allows you to express yourself enough to see Chic perform in Manchester in May better.” Perhaps therein lies the answer. For me there is (even shaking the man's hand as he deﬁnitely too much music out there left the stage!) in what was an that’s big on technique but small on incredible display of guitar playing. expression. I adore the playing of both Tony Dawkins letter (GT 220) Albert King and Allan Holdsworth: these makes a great point about punk. He two great guitarists brim with feel and name checks some great players expression; Allan does it with rather and I'd love to see something on more notes than Albert, but I defy Tom Verlaine and company. I know anyone to listen to Holdsworth’s music some playing of that era is less (with open ears) and not come to the 'technique' focused than your more same conclusion. But we do need to regularly featured artists, but I'd tackle the kind of player you mention, as love to read the theory behind the we get asked this question on a ideas of minimalist players such as relatively regular basis. Johnny Bernard Sumner, explained. Thunders is coming up soon, and it I came across a great quote by might be worth putting together an John Frusciante, where he states, overview of players that contribute “I'd rather hear someone play the hugely to the music, albeit with the best they’re capable of with the minimum of notes. Latest GT: we’re pretty Chic too! minimum amount of technique, than someone with a lot of technique who plays STAR LETTER PRIZE without feeling." I found this quite inspiring, and I'd Our friends at Sound Technology love to see you guys break down the ideas of some of are donating a fab DigiTech the less conventional and perhaps more avant-garde HardWire pedal to our Star Letter and reductive styles of guitar player out there. writer every month. Jonny Hughes pointed out that I should observe the way I hold the guitar and what He also suggested some grips that I could try depending on the musical situation and style at hand. He also suggested that I look at how other players hold their neck some pretty interesting things. Tom Kolb for instance will play a minor pentatonic scale using his fourth stretch but keeps his thumb resting Medium to low rock guitar strap height very high on the neck, grasping it snuggly in the curve between his even when on the low strings. Steve Vai on the other hand keeps his thumb in the middle of the neck and approach, with a gap between the bottom of the neck and his palm; whereas Eric Johnson will start his runs in a positional grip but will alternate to a blues grip when he gets to the higher strings, often ; I believe guitarists should be aware of this. Unlike classical guitar, which has a set of rules with position, contemporary styles are less formal. These styles have different expressive qualities, so there’s a balance to be found between technique and expression. So my question is: what is good technique and where do you see the application of different grips and how we can approach certain lines and if so what are the trade offs? Ross Pirrelli, Sydney, Australia That’s an interesting point, Ross. I think much of it hinges around how high or low we choose to wear our guitar on its strap. Somene once told me the ideal height is so the guitar hangs in the same place as it would if you were sitting down. This places it in the position of least stress for the arms, hands and ﬁngers, and allows most techniques to be accessed easily. Now whether that’s true or not I don’t know. Like many players, I hang my guitar where it feels right on my body. Not as low as Jimmy Page but not as high as Guthrie Govan. If you do lots of playing with the thumb behind the neck, it pretty much demands you wear it a little higher. That said, while Eric Johnson has his guitar quite high by rock standards, Paul Gilbert slings his lower (and look at Larry, above left). As with most things guitar related, we all ﬁnd the way that works best for us, dependant upon the styles we play and how the ‘comfort-tolooking-cool ratio relates to us. I couldn’t play the guitar where Page has it, but feel self-conscious with it as high as Guthrie. It’s probably up to us to ﬁnd our own level; one that balances the styles we play, with comfort and safety - and that dreaded ‘cool’ factor. September 2013 GuitarTechniques 9 ( / ( / ( ( 3 ( ( 2013 Guitar Tutors Conference Baker Street soloist Hugh Burns talks at RGT conference Another packed Registry seminar 3/ ( ( 5"(" "6.(*-(.5"(,"$+(-*+(074.$+( ."$ 5"+& 8(.5"( ( "04&.+,(*-( 74.$+( 7.*+&( ( 667$%( 74.$+( 7.*+&( *6-"+"6 "8(&!*6&*+"#( ,( )"6#"+8( 4%%( "(5"%#(*6( 76#$,( "!."1 "+( ($.(.5"( 64 "+&4.,(*-( "&.( *6#*6'( 5"+"( 4%%( "($6(" ."6&4 "( !+*0+$11"(*-(&"146$+&( ,(.*!(17&4 ("#7 $.*+&8( 46 %7#460 ( "$ 5460( 74.$+(/6( 5"(/6."+6".( 0" ( "$ 5460( 4!%*1$& ( $4% $+"()*+( 74.$+4&.& ( * $ 4%%,8( *7&.4 ($6#( ".$%( 74.$+( %$,460( " 564 7"& ( " "%*!460( 6#( +*1*.460( *7+( 74.$+( "$ 5460( " &4." 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uitarTechniques September 2013 Go on, video yourself and win a PRS! Laka concert ukulele with onboard tuner Laka adds a new concert-sized model to its extensive ukulele range. The VUC50 (£89.99) has a solid mahogany top with mahogany back and sides, in an open pore satin ﬁnish complemented by a nato neck and rosewood fretboard. The VUC50’s side-mounted chromatic tuner features an easy-read LCD display that ﬂashes green when your note’s in tune and makes tuning the instrument incredibly simple, while the chrome machineheads with pearloid buttons increase tuning stability. As with all Laka ukes, the VUC50 comes ﬁtted with premium grade Italian Aquila strings. The VUC50 is the big brother of the successful VUS50 soprano uke. Concert-sized models feature a 15” scale length, compared to a soprano’s 13”, with a correspondingly bigger sound. The VUC50 is aimed at students and more advanced players who require great tones and features in an aﬀordable package. Visit www.jhs.co.uk/laka for further details about the VUC50 and all other Laka ukes. The Laka VUC50’s onboard tuner Red Box 5 has arrived Hughes & Kettner have updated their industry standard DI box with the new Red Box 5 (£89.99). H&K say: “The beauty of the Red Box 5 is that it does not sound like a mic’ed cab - it sounds like the cab itself! This makes it ideal for live and studio situations in any genre.” Red Box 5 boasts Ground Lift and Pad switches to adjust input gain, with three unique sound-shaping ﬁlters so you can mimic your favourite cab. Useful for home recording, studio and live shows, the Red Box 5 could be your key to an authentic cab sound. Without the cab! Visit www.hughes-and-kettner.com or nip over to www.jhs.co.uk/ hughesandkettner for more info. Fender honours Brit rock legend Wilko with a signature Telecaster Wilko’s Solid Fenders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’S ONE-MINUTE LICK CHORDY ROCK LICK Chord-based licks such as this are essential to many musical styles and often serve to successfully bridge the gap between rhythm and lead playing. They are very adaptable and can be played straight, swung, dirty or clean. All of these approaches will work well with today’s lick, so please experiment - your primary aim should be to make it sound effortless and ‘slick’. approach of the two. However, bars 3 and 4 are best played at once’ sound. Ideas such as this can be heard in the work of guitarists such as Eric Johnson, Robben Ford, Jimi Hendrix and Steve Vai, so make sure you seek them out. September 2013 GuitarTechniques 11 60Se nds wi... A minute’s all it takes to ﬁnd out what makes a great guitarist tick. This month: one of the greatest progressive guitarists of all time, the incredible Steve Hillage GT: Who was your ﬁrst inﬂuence to play the guitar? SH: Lonnie Donegan, Buddy Holly, The Shadows. Steve Hillage playing Steinberger headless GT: What was the ﬁrst guitar you really lusted after? SH: Various Hofners in a music shop. I really loved the look of those guitars. GT: What was the single best gig you ever did? SH: Honestly, it’s really hard to say. There’s no such thing as a ‘perfect’ gig, and sometimes you might come oﬀ stage thinking you’ve done a fantastic gig but there’s a guy in the crowd who though the last time you played there was much better. Or there’s times when you think the gig was bad and some fan from the audience comes up all emotional and says they’ve had a sublime experience. I’ve had many gigs that I’ve really enjoyed with a magical vibe, but in the end I always say you’re only as good as your last gig. It’s best to try to stay as much as possible in the here and now and respond the best you can to the moment. GT: And how about your worst playing nightmare? SH: I did a gig on acid once and my guitar ‘disappeared’ while I was playing it. Not nice. I don’t recommend it. GT: What’s the most important musical lesson you ever learnt? SH: It’s important to use music as true self-expression and through that to try and reach your higher self. Or as Jimi Hendrix once said, “Stay with your thing, man”. GT: Do you still practice? SH: Yes most days I practise a bit. At intense times I practise a lot. GT: Do you have a pre-gig warm-up routine? 12 GuitarTechniques September 2013 SH: I have a few scales and exercises that I generally do before going on stage, to get the muscles warmed up. GT: If you could put together a fantasy band with you in it, who would the other players be (dead or alive)? SH: I would love to have played some really tasteful haunting guitar with the Weather Report line-up that made the Mysterious Traveler album. GT: Present company accepted, who’s the greatest guitarist that’s ever lived? SH: Jimi Hendrix – who I was fortunate to see twice at the Marquee club in 1967 at the tender age of 15, sitting just six feet from him. I was blitzed for life! GT: Is there a solo you really wish you had played? SH: Could I name two? Hendrix – Axis Bold as Love; Clapton with Cream – Badge. GT: What solo or song of yours are you most proud? SH: Aftaglid on the Fish Rising album – recently re-recorded live in Amsterdam in 2006 at the Gong Unconvention. The solo on Hurdy Gurdy Man is pretty good also. In terms of pure song I particularly like These Uncharted Lands. GT: What would you most like to be remembered for? SH: Having my own distinctive style, and using music to bring positive energy into this troubled world. GT: And what are you up to at the moment – albums, tours, new equipment etc? SH: The current big thing is my collaboration with Japanese band Rovo, called Phoenix Rising. We have an album coming out in September, a Japan and Taiwan tour in November and a UK and Europe tour starting next March. I’m also doing a big concert in Tokyo with the synthesiser playing legend Tomita, so Japan ﬁgures heavily in my musical universe at the moment. What Strings Do You Use? KENNY WAYNE SHEPHERD We ask a great guitarist all those questions you really do want the answers to. This month, US blues legend Kenny Wayne Shepherd. GT: Do you have a type of pick that you can’t live without? ( *1"*6"(*6 "(0$ "(1"($( 0"6746"(.*+.*4&"&5"%%(!4 ($6#(/ "( 6" "+(-*76#($6*.5"+(!4 (.5$.(-""%&( 74."(.5"(&$1"'( 7++"6.%,(/ 1( 7&460( ("#4.4*6(5"$ ,(0$70"( !4 &(1$#"( ,( 76%*!' GT: You have to give up all your pedals except three. Which ones do you keep? ( ,(*+4046$%( * ( %,#"( *,( $5( " $7&"(/(&.4%%(5$ "6 .( -*76#($( $5(!"#$%(.5$.(&*76#&( ".."+'( ,(/ $6" ( ( 7 "( +"$1"+(5$&(( ""6(" "+, 5"+"( 4.5(1"($6#(5$&(6" "+(-$4%"#(.*( #"%4 "+(0+"$.(.*6"'()46$%%,8(1,( 6$%*0( $6( 460( -( *6"(!"#$%( (4. &($(-$6.$&.4 (&*76#460(* "+#+4 "( !"#$%(.5$.(/(7&"( *6&.$6.%,'( GT: Can you play any other musical instrument well enough to do so in a band? (/( *7%#(!%$,( $&&'(/($%&*( "%4" "(/( *7%#( "($(0**#(#+711"+( 4-(/( *7%#( 7&.(26#("6*705(.41"(.*( !+$ .4&"(.5"(46&.+71"6.'( GT: If a music chart were put in front of you, could you read it? (*8(/ 1($-+$4#(6*.'( GT: Do guitar cables really make a diﬀerence? What make are yours? ( $ %"&( "+.$46%,(1$ "($( #4--"+"6 "'( *1"($+"(1*+"(+"%4$ %"( .5$6(*.5"+&($6#(&*1"(-$4%( 74 %,'( *(.5"(.+$46"#("$+8( $ %"&( $6(5$ "( $6("--" .(*6(,*7+(.*6"($&( "%%'(/( 5$ "( 7&.*1(1$#"( $ %"&($6#(/(7&"( $( $ %"(1$#"(*-(&*%4#(&4% "+(.5$.(/( 7&"(46(.5"(&.7#4*'( GT: Is there any guitarist’s playing (past or present) of which you’re slightly jealous? (/(#*6 .(%4 "(.5"( *+#( "$%*7& '(/ #(&$,(.5"+"($+"($(%*.(*-( $+.4&.&( !$&.($6#(!+"&"6. ( 5* &( !%$,460(/(5$ "($(%*.(*-(+"&!" .(-*+'( 8( "6#+4 ($6#( * "+.( *56&*6( 7&.(.*(6$1"($(-" '( 6"(07,(/(+"$%%,( +" *11"6#(%4&."6460(.*(4&( *,%"( , "&'( " &( 7&.($6(46 +"#4 %"( $ *7&.4 (074.$+(!%$,"+' GT: Your house is burning down: which guitar do you salvage? ( ,( ( .+$.* $&."+'(/. &( 1,(671 "+(*6"(074.$+(.5$.(/( $6 .( %4 "( 4.5*7.' GT: What’s your favourite guitar amp and how do you set it? (/(5$ "($(671 "+(*-(-$ *7+4."( $1!&8($%%(*-( 54 5( "+"( 74%.( ,( %" $6#"+( 71 %"'( 7++"6.%,(1,( -$ *7+4."(4&($( ()"6#"+( 3$6#1$&."+(5"(1*#42"#( $%%"#(.5"( %.+$ 5*64 '(/.(5$&(-$6.$&.4 ( %"$6&($6#(&7!"+4*+(&7&.$46( 4.5( "$7.4-7%(* "+.*6"&' GT: What kind of action do you have on your guitars? ( "#471(.*(5405($ .4*6( 4.5( 71 *(-+".&($6#(5"$ ,(0$70"8( +64"(3$%%(&.+460&' GT: What strings do you use? (/ 1( 7++"6.%,(7&460( +64"( 3$%%( * $%.(&.+460&'(' (' (' ( ' (' (' '( 5",(&*76#(0+"$.( 4.5(%*.&(*-($..$ ($6#(411"#4$."( +"&!*6&"'( "$ ,(&.+460&(#"264."%,( 5$ "($( 400"+(&*76#($6#( 7.( .5+*705(.5"(14 ( ".."+' GT: And ﬁnally, what are you up to at the moment? ( 5"(" 4.460(.5460($.(.5"( 1*1"6.(4&(.5"(6" ( $6#( 5"( 4#"&8($%&*(-"$.7+460( ."!5"6( .4%%&( $6#(3$++,( *%# "+0'( 7+(#" 7.( $% 718( $6 .( ".( 6*705( *1"&( *7.(*6( +* *07"( " *+#&(*6( 707&.( .5'( 6#( 5" (*7.( ' "66, $,6"&5"!5"+#'6".(-*+( 46-*+1$.4*6(*6( (040&8($% 71&( $6#(*.5"+(6" &' Two new Canadian acoustics *(%* "%,(6" (1$5*0$6,(074.$+&( 5$ "(+" "6.%,( ""6(+"%"$&"#( ,( $6$#4$6(%7.54"+&'( 5"( "$07%%( $+4.41"( ( $5*0$6,( ( ( *$&.&($(!+"1471( 1$5*0$6,( $ 8(&4#"&($6#(.*!'(( 5"(5405(0%*&&( 7&.*1(264&5(4&($6( " .+"1"%,(%405.($6#("%$&.4 ( *$.4608( "&&"6.4$%(-*+(+$!4#(6*."(#"%4 "+,( $6#(6$.7+$%($0460(*-(.5"( **#&'( "$07%%(&$,& ( 4.5(4.&(0"6"+*7&( 11( 4#.5($.(.5"(67.8(&7!"+ ( 6*."(&"!$+$.4*68(" "!.4*6$%( $%$6 "(*-(.*6"($6#(.41 +"8(.5"( $+4.41"( ( $5*0$6,( (4&($( 17&.(-*+(260"+!4 "+&($6#( &.+711"+&($%4 "' ( 41*6($6#( $.+4 &(6" ( **#%$6#( +* )*% ( $5*0$6,( ( (4&($(&1$%%( *#4"#( $ *7&.4 (.5$.($%&*("1!%*,&( 1$5*0$6,(-*+(.5"(6" 8( $ 8(&4#"&( $6#(&*76# *$+#'( 41*6($6#( $.+4 (%7.54"+&($+"(#" *."#( $+.4&$6&( 5*(%* "(.5"4+( +$-. (.5"&"( & 4%%&($+"(+" " ."#( 4.546(.5"(6" &( *-(.5"( **#%$6#( +*( "+4"&8( 54 5( $+"(&$6#"#($6#(264&5"#( ,(5$6#(.*( !+* 4#"(+"1$+ $ %"( *1-*+.($6#( !%$,$ 4%4.,8(.5+*705*7.(.5"(&4% ,( &1**.58( -+".(+*&" **#( 260"+ *$+#'(/6(.5"(.+7"( 5$+$ ."+( *-(*+4046$%(-*% (074.$+&8(.5"(&*%4#( 1$5*0$6,(6" ( 4.5(5$6# *6.*7+"#8(&%*.."#(5"$#&.* ($6#( *!"6 0"$+(.76"+&8( *46&(.5"( *#,($.( .5"( .5(-+".8( 54%"(.5"(46.+4 $."( 46%$4#( **#(+*&".."8(%$,"+"#( *#,( 46#4608(+*&" **#( +4#0"8( 7& ( 67.($6#( +$!5." 5(&$##%"($##( &7 .%"8(,".("--" .4 "($!!*46.1"6.&'( 4&4.( '&"$07%074.$+&' *18( '&41*6$6#!$.+4 ' *1(*+( ' #4&.+4 7.4*6' *1(-*+( -7+.5"+(#".$4%&($ *7.(.5"&"( "+,( .$&.,(%** 460($ *7&.4 (074.$+&'( If mahogany’s your thing, why not join the Canadian Club! September 2013 GuitarTechniques 13 That Was The Year... Alligator: see you now, not later! 1973 Coal, Cod, Captain And Corr Yamaha introduces the SG-30 based on the well-loved Gibson design featuring a Katsura-wood slab body, bolt-on neck with dot inlays and a pair of humbucking pickups. It’s a short-lived model but marks the beginning of a highly successful phase for the Japanese company’s electric guitar production. Last Of The Summer Wine and The Ascent of Man begin on BBC TV; the Open University awards its ﬁrst degrees; the Dalai Lama visits the UK; Biba re-opens in Kensington; Princess Anne and Captain Mark Phillips get married in Westminster Abbey; and the Royal Navy protect British ﬁshing boats during the Cod War with Iceland. Jan Akkerman of Focus is chosen as the Best Guitarist in The World by readers of a UK magazine, inspiring Framus to produce one of the ﬁrst ever signature guitars the following year. However, Jan wasn’t happy with the prototype and was never seen using it on a gig. Brothers Malcolm and Angus Young put together AC/DC in Australia; Journey is formed in San Francisco; David Bowie ‘retires’ Ziggy Stardust at the end of his UK tour; Queen release their ﬁrst album and Ian Gillan says it’s time to quit Deep Purple. Gibson releases the L-6S single-cut, the ﬁrst model to be built with the help of designer Bill Lawrence. It features a maple body and 24-fret neck, pearl block inlays, black scratchplate and headstock facia, two covered humbuckers, two volumes, a tone control and a 6-way rotary switch, with a chicken head knob on the scratchplate. This switch was the key to the guitar’s sound as it oﬀered coil tapping and various combinations. It was favoured by Carlos Santana and Rich Williams of Kansas. The Queen opens the new London Bridge; the Isle of Man issues its own postage stamps; The Bosporus Bridge in Istanbul is completed; the energy crisis begins following the Arab Oil Embargo on countries that support Israel; the Sears Tower in Chicago becomes the world’s tallest building; and coal shortages caused by industrial action in the UK instigate the Three-Day Week. Hamer Guitars is founded by guitar shop owners, John Montgomery, Paul Hamer and Jol Dantzig. Their early designs are based on Gibson’s Flying V and Explorer models. Making an entrance are: Caroline Corr, Peter Andre, Mick Thomson (Slipknot) and Anders and Jonas Björler (At The Gates). Departing are: Ron Pigpen McKernan (Grateful Dead), John Rostill (Shadows), Jim Croce, Bobby Darin, Gram Parsons, Noël Coward and Pablo Picasso. 14 GuitarTechniques September 2013 Three cool new Danelectros! $6"%" .+*(5$&(.5+""(6" (1*#"%&'( 5"( ( "$ "6(2+&.($!!"$+"#($&( .5"( $ ( $ (46( '( * (4.( +".7+6&( 4.5($(0+"$.(6" ($6#( 7 ".&(*-(.*6"'( 4.5(&*7!"# 7!( 4!&.4 (!4 7!&8($# 7&.$ %"( +4#0"( $6#($%%40$.*+(264&58(,*7( $6( 5**&"( -+*1( "#8( +$60"8(3%7"8( +"1"( 8(*+( %*&&(3%$ ( ' $6* &(1*&.(-$1*7&(1*#"%($%&*( +" "4 "&($(&6$!!,(6" (!$46.( * ( *!7%$+4&"#( ,( 411,( $0"8(.5"( #*7 %" 7.$ $,( (4&(-$ %"#(-*+(4.&( .*6"&8(!%$,$ 4%4.,($6#("--*+.%"&&( &"6&"(*-( **%'( * (4.(+".7+6&($&(.5"( ( %%40$.*+(46( +$6#(6" ( +$60"8( "#(*+(3%7"(264&5"&( $%%( '( )+*1(&7+-(46&.+71"6.$%&(.*( #* 6 .76"#(+* (+4--"+,8(.5"( ( 3$+4.*6"( (5$&(.5"(%* ("6#( * "+"#'( $4%$ %"(46(0%*&&(3%$ 8( .5"(&460%" 7.( (3$+4.*6"(.4 &($%%( .5"(" !" ."#( $6*( * "& (. *( 4!&.4 (&460%" *4%&8(1$!%"(6" ( 4.5(+*&" **#( *$+#8(6*(-7&&( *6.+*%&8(!%7&($1$ 460(%** &8( !%$,$ 4%4.,($6#(.*6"'( %%(.54&8(!%7&( (-+".&($6#($6(" ."6#"#(& $%"( %"60.5( (-*+($%%(.5"(%* (6*."&(,*7( *7%#(" "+( $6.( (1$ "(.54&(*6"( "+&$.4%"($ " ( 4&4.( '#$6"%" .+*' *1(*+( ' 5&' *'7 #$6"%" .+*074.$+&( -*+(-7+.5"+(46-*+1$.4*6'( Free Rockschool music lessons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ohn Hardy TOWN: Preston STYLES TAUGHT: Rock, pop, metal, blues, folk, Celtic, jazz SPECIALITY: Classic rock and ﬁngerstyle LEVELS: From beginner to advanced, lessons tailored for personal needs – RGT grades if desired READING: Beginner to intermediate CHARGES: £10 per 30-minute lesson, £20 per hour SPECIAL: Good teaching room and resources, can provide material to study at home TEL: 07713 622145 EMAIL: [email protected] '% , ' ' ''- $''- - '+ % "$ + *%* '"% $ "- +$ %' "$ $%% % $' *% $%# ?+3I@ ?+3I@ '*41 /(7¶6 )$&( ,7 VRORLQJ FDQ EH D ORW RI IXQ :KHQ LW DOO µFOLFNV¶ DQG PHORG\ UK\WKP DQG FRQFHSW DOO FRPH WRJHWKHU LW FDQ IHHO XWWHUO\ DPD]LQJ SOD\LQJ WKRVH VL[ VWULQJV 7KLV DUWLFOH ZLOO DWWHPSW WR GHHSHQ \RXU DZDUHQHVV RI ZD\V WKDW ZLOO LPSURYH \RXU VRORLQJ DQG RYHUDOO µKLW UDWH¶ LQ WHUPV RI FUHDWLQJ EULOOLDQW PXVLFDO PRPHQWV HYHU\ WLPH \RX VROR $ JUHDW ¿UVW VWHS WRZDUGV OHDUQLQJ KRZ WR FUHDWH PRUH PHORGLF VRORV LV WR JHW JRRG DW LGHQWLI\LQJ WKH FKRUG WRQHV ZLWKLQ DQ\ JLYHQ FKRUG ,I \RX FDQ VD\ ³& ( *´ DV VRRQ DV , VD\ ³& PDMRU FKRUG´ DQG ³) $ &´ DV VRRQ DV , VD\ ³) PLQRU FKRUG´ WKDW¶V D JUHDW VWDUW 7KLV NQRZOHGJH ZLOO SURYH KHOSIXO QRW RQO\ DV D UXOH RI WKXPE ZLWK UHJDUGV WR ZKLFK QRWHV \RX FDQ µWUXVW¶ ZLOO ZRUN LQ FRQWH[W EXW DOVR DV D SRLQW RI UHIHUHQFH LQ VLWXDWLRQV ZKHUH \RX DUH XQVXUH ZKLFK VFDOH ZLOO ¿W ,I \RX NQRZ WKH FKRUGV \RX FDQ¶W JR ZURQJ ZLWK WKH FKRUG WRQHV«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¿QHU PHFKDQLFV RI PXVLF $ JUDVS RI EDVLF PXVLF WKHRU\ ZLOO GHHSHQ \RXU NQRZOHGJH WR WKH H[WHQW WKDW LW ZLOO DOORZ \RX WR VROR RQ PRUH FRPSOH[ SURJUHVVLRQV DV IRXQG LQ MD]] DQG IXVLRQ IRU H[DPSOH ,W¶V DW WKLV OHYHO \RX FDQ VWDUW WR VHH WKH EURDGHU SHUVSHFWLYH DQG QR ORQJHU IHDU XVLQJ WKH µZURQJ¶ VFDOH LQ FHUWDLQ FRQWH[WV ,W LV DOVR DW WKLV OHYHO \RX PD\ OLNH WR HPSOR\ D µSLWFK D[LV DSSURDFK¶ OLNH -RH 6DWULDQL ZRXOG VHHLQJ HDFK SURJUHVVLRQ IURP RQH WRQDO SHUVSHFWLYH UDWKHU WKDQ D VXFFHVVLRQ RI FRPSOLFDWHG KDUGWRUHPHPEHU VFDOH SDWWHUQV )RU H[DPSOH LI \RX KDYH DQ $ FKRUG IROORZHG E\ D ' FKRUG \RX PLJKW WKLQN RI SOD\LQJ $ 0L[RO\GLDQ $ % & ' ( ) * IROORZHG E\ ' 0L[RO\GLDQ ' ( ) * $ % & DV 8$4 ! /8 * + / /$$! / /8 * $. $.+ ! *# #+ / /$$! / /8 *# !$. $.+ 33-/ .3 /3.3) $4 !-3 $ 6.$! 63 $. 3$!/) WKH 0L[RO\GLDQ µIRUPXOD¶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ÀRZLQJ WKURXJK \RXU VROR SOXV SXUH HQHUJ\ IURP WKH SOD\HU HYHQ µZURQJ¶ QRWHV FDQ VRXQG JUHDW 6R H[SORUH DV PDQ\ GLIIHUHQW UK\WKPLF ¿JXUHV DV \RX FDQ WKLQN RI $ JUHDW ZD\ RI H[SDQGLQJ \RXU UK\WKPLF ODQJXDJH LV WR FODS D RQH RU WZREDU SDWWHUQ GR WKLV \RXUVHOI RU JHW VRPHRQH HOVH WR GR LW DQG WKHQ UHSHDW WKH SKUDVH EXW WKLV WLPH RQ WKH JXLWDU ZLWK QRWHV IURP D FKRVHQ VFDOH 7U\ FRQWLQXDOO\ JRLQJ EDFN DQG IRUWK EHWZHHQ FODSSLQJ DQG SOD\LQJ ,W¶V IXQ DQG \RX¶OO OHDUQ 2Q WKH IROORZLQJ SDJHV ZH ZLOO H[SORUH HLJKW GLIIHUHQW H[DPSOHV RI VRORLQJ RYHU YDULRXV SURJUHVVLRQV 6SHQG WLPH DQDO\VLQJ WKH SKUDVHV DJDLQVW WKH SURJUHVVLRQV WR VHH LI \RX FDQ VSRW IXUWKHU DSSURDFKHV LQ DGGLWLRQ WR WKRVH , KLJKOLJKW LQ WKH VXSSRUWLQJ WH[W 7KH WKLQJ LV ZKLOH VRPHWLPHV \RX FDQ¶W SXW ? .+0( K+F) (0?. 305F )? @3 M3I 0 @+..M (3 "3? 0M F30 M3I .+-8 J+0( @+ F)F .. 3" F) L/5.@ K3??..M K.. +" 5.M K+F) @.+()F.M 3J??+J0 @3I0 * +/(+0 +0+@+J 30 3? /F@ K?/ 0 L5?@@+J ??M ?.F308 )+@ K+.. 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Moderate INFO WILL IMPROVE YOUR KEY: C minor TEMPO: 115 bpm CD: TRACKS 20-23 Wah operating skills Wah-wah ‘vocalisations’ Tone generating skills THE WAH-WAH PEDAL is surely one of the most iconic and expressive of all guitar effects. While the arguably commoner overdrive and delay are fantastic too (and we’ll be studying these at a later date), step on your wah-wah The wah’s circuit was invented in the late 1960s by Brad Plunket who was working for the Thomas Organ Company. Plunket was set Mid Range Boost switch on a Vox valve (pot) that created a spike in the frequency range; this boosted a certain frequency and rotated, the frequency spike shifted back and fourth and the ‘wah-wah’ sound was produced. The last part of the puzzle was to operation with a foot was possible. A few sleeples nights later and the wah-wah pedal as we know it was born. The president of the Thomas Organ Company pursued trumpet player Clyde McCoy as an endorsee for the pedal, as he felt the sound the wah-wah produced was reminiscent of McCoy’s ‘cup mute’ trumpet recordings. The original wah-wah pedals had both the Cry Baby and Clyde McCoy logos on, or the Vox logo. Both the Cry Baby and the Vox wah-wah were essentially the same pedal made by Thomas Organ, the only difference being the branding. There have been many iconic guitar recordings created with the wah-wah over the years, ranging from numbers by Eric Clapton and Jimi Hendrix in the late 1960s, through the funk and disco classics of the 70s and on to the present day. The wah-wah is great for bringing vocal qualities to lead guitar work and it’s also handy for adding percussive elements to rhythm playing - think of the intro to Jimi Hendrix’s Voodoo Child (Slight Return). The ; ; ; ; left in one position (think of Micheal Schenker’s explosive soloing in his UFO days). It is worth experimenting with where you place the wah pedal in your chain of effects, This month’s track offers ten riffs and licks in the style of ten featured players. Each idea is notated and there’s a space after each example for your own wah practice. too. It can be very effective to place your overdrive pedal before the wah for a ‘super wah’ tone. Using delay and echo in conjunction with the wah can also provide ; ; for some amazing Bowie or Floyd type sounds). And if you want to create really weird and wonderful sounds, plug your wah-wah in with the leads the wrong way round and then twist the volume and tone controls on your guitar. While not being the most musical or practical way of using the wah pedal, some extremely interesting sounds can be created. Be sure to have your amp turned down though This month’s track contains an assortment of ten riffs and licks in the style of our ten featured players. Each four-bar idea has been notated, and the demonstration track has a space after each example for your own wah practice. In the interests of extra detailed study, the wah treadle position has also been notated above the tab where appropriate. An ‘O’ indicates the wah treadle was forward or ‘toe down’, while an ‘+’ means the treadle was rocked back or ‘heel down’. As a bonus there is also a jam track that places many of the ideas from the examples into a functioning performance piece. Many thanks to Pete Riley for recording the drums ; GET THE TONE 7 6 7 7 4 GAIN BASS MIDDLE TREBLE REVERB A basic wah-wah pedal and an amp is all you need to replicate the sounds demonstrated in this monthÕs feature. Some overdrive and delay will also help bring things to life. The pickup section and effect combinations have been notated next to the relevant examples in the tab. There is now a vast selection of wah-wah pedals available, in a seemingly endless range of colours, flavours and brands. The original wah set-up and sound has been tweaked and modified over the years, and many of the worldÕs top players now sport a signature pedal that reflects their own preferences. Regardless of which pedal you choose, good results will be reliant on your treadle control skills combined with your guitar playing so, as ever, the key here is plenty of practice. TRACK RECORD Recordings that feature wah-wah span almost all genres since the late 1960s. Check out Electric Ladyland by Jimi Hendrix, Disraeli Gears by Cream, Shaft by Isaac Hayes and Jailbreak by Thin Lizzy for starters. For an overview of the history of the wah-wah pedal it is well worth tracking down the documentary film entitled Cry Baby: The Pedal That Rocked The World. 26 GuitarTechniques September 2013 SIMON LEES ABILITY RATING GET MORE FROM YOUR WAH! The wah-wah: surely the most expressive of all guitar effects pedals September 2013 GuitarTechniques 27 PLAY: ROCK ON THE CD EXAMPLE 1 CURTIS MAYFIELD STYLE ‘WACKA CHICKA’ This ﬁrst technique will help you to get used to working the treadle. Start by muting all of the strings with the ﬁngers of your fretting hand. If you strum the muted low strings with the wah treadle back, a ‘wack’ sound is produced. Strumming the muted high strings with the treadle forward produces a ‘chick’ sound. By combining these two ideas it is possible to CD TRACK 21 get the iconic 1970’s ‘wacka chicka’ funk sound as used in the bridge of Pusherman by Curtis Mayﬁeld. There’s a plethora of sounds available with this technique, depending on how you hit the strings, where you place your muting ﬁngers, and position and speed of wah usage. Hendrix was a master of improvising rhythmic phrases with this muted strumming approach. EXAMPLE 2 ISSAC HAYES RHYTHM WITH SUSTAINED CHORDS This second example showcases a simple idea that is useful for creating a variety of parts. First click on the wah-wah pedal and then strum a chord. The more the chord rings out the better, so make sure your fretting is accurate and your tone is clean and fuss free. As soon as the chord is ringing out you can rock the wah-wah pedal back and forth in any rhythm you CD TRACK 21 like. This rocking of the pedal adds a wah-wah rhythm to the sound. This example uses a crotchet triplet rhythm, which sounds interesting against the funky 4/4 drum pattern. You may need to put in a bit of practice to get the more complex rhythms perfectly in time, especially if you are new to this idea. Short on ideas for a rhythm track? This could be your answer! EXAMPLE 3 CHARLES ‘SKIP’ PITTS ISSAC HAYES OCTAVE STRUMMING The intro to the theme from Shaft helped set the funk guitar template and is one of those classic moments. Octave strumming in a 16th note rhythm is great for funk, and adding wah is the icing on the cake! Rocking the pedal 28 GuitarTechniques September 2013 TRACKS 20-23 CD TRACK 21 forward slowly it acts like a tone ﬁlter, pulling out certain frequencies and cutting the rest. This slow sweeping is eﬀective on notes and chords alike. Check out the notation and take this one slowly as there is plenty going on. . . . GET MORE FROM YOUR WAH! EXAMPLE 4 ERIC CLAPTON STYLE LEAD Eric Clapton was one of the pioneers of using the wah-wah pedal in the early days and he recorded some great wah guitar riﬀs and solos throughout his career. This example combines some typical, early Clapton EXAMPLE 5 STEVE VAI STYLE LEGATO Steve Vai is another wah master, and uses his Bad Horsie signature pedal to great eﬀect. This lick starts with a large upward glissando (scoop) into the Bb. To play this, ﬁnger the note A (10th fret, second string) and depress the whammy bar. Now pick the note and release the bar slowly. When you have CD TRACK 21 style phrases with the wah pedal. Clapton generally rocked the pedal in time with the music, but he also used it as an expression device by swelling into notes and string bends to give them a more vocal quality. CD TRACK 21 fully released the pressure from the bar, you can bend the string up a further semitone to complete the eﬀect. The second two bars feature a fast Vai style tapping run that’s superbly accentuated with the wah pedal. The trick here is to rock the treadle forward at the start of each descending phrase. September 2013 GuitarTechniques 29 PLAY: ROCK ON THE CD EXAMPLE 6 THIN LIZZY STYLE LEAD Lizzy liked a bit of wah and used it to great eﬀect in songs like Jailbreak and Don’t Believe A Word. This example sees the wah working as a ﬁlter CD TRACK 21 in combination with fast tremolo picking and string bending. The string bending needs to be gradual to create exactly the right eﬀect. EXAMPLE 7 JIMI HENDRIX STYLE ‘WATCHTOWER’ LEAD Hendrix was a master of the wah-wah and recorded some iconic moments using one. This example takes its inspiration from the solo in All Along The CD TRACK 21 Watchtower. The added delay accentuates the sound, and the semiquaver run beneﬁts from the wah’s treadle being rocked in a quaver rhythm. EXAMPLE 8 SLASH STYLE LEAD Slash is another rock player with a penchant for wah, and who can forget that change of gear in Sweet Child O’ Mine when the wah is clicked on? The wah sounds very eﬀective when combined with double-stops and this example opens with some stock, rock style phrases. The double-stop bend CD TRACK 21 in the ﬁrst bar is played with a third ﬁnger barre. Clamp both notes with the third ﬁnger and bend them up. If you maintain the string spacing on your ﬁnger as you bend, the pitches will go up a full tone on the third string and a semitone on the second string, which is a happy coincidence! EXAMPLE 9 MICHAEL SCHENKER STATIC WAH, ‘TONE FILTER’ STYLE LEAD Leaving the wah set in one position is a popular trick. Slowly rock the pedal back and forth as you play, until you ﬁnd the ‘sweet spot’. This is partly down to personal taste, but you will ﬁnd a place somewhere in the middle of the 30 GuitarTechniques September 2013 TRACKS 20-23 CD TRACK 21 sweep where everything sounds particularly good. Certain pedal designs have the option of turning the wah on with a separate switch and this is particularly handy as you can pre-set the sweet spot before taking ﬂight! GET MORE FROM YOUR WAH! EXAMPLE 10 KIRK HAMMETT STYLE LEAD The Kirk Hammett lead style is synonymous with the use of the wah-wah pedal, and many of Kirk’s most famous Metallica solos feature it heavily. The wild, double-stop bends that Kirk likes to augment with the wah-wah have become a Metallica trademark, as is the use of legato while using an EXAMPLE 11 32BAR WAHWAH PARTY JAM Now it’s time to put those wah-wah pedal ideas to the test in our 32-bar jam track. The synth style chord swells that feature as part of the backing track have not been notated but are created by placing the wah pedal after all the eﬀects. This means the wah pedal sounds super eﬀective and ﬁlters everything in the signal path, including the delays and chorus. The result is a spacious, synth like sound and this idea is well worth checking out (once you’ve gone through all ten examples ﬁrst, of course!). [Bars 1–8] These opening bars combine a 16th-note strumming rhythm CD TRACK 21 open-string pedal tone. The natural harmonics in the ﬁnal bar (played by lightly touching the strings at the 5th fret position) are particularly pleasing, and create a wonderful dissonance when combined with a dive-bombing whammy bar. Pure thrash metal! CD TRACK 21 with delay and are inspired by players like U2’s The Edge. The wah is used as a tone ﬁlter, and the delay helps to accentuate the sweep across the frequencies. This sweeping tone ﬁlter with delay provides some spacious, synth style eﬀects. Set your delay to a dotted 8th note, as this will help set up that classic Edge style delay sound. The wah sweep is easy to do and is notated above the tab. The semi-quaver strumming rhythm may take some practice to get, but this concept will work with many other semiquaver rhythms and is worth spending time exploring. September 2013 GuitarTechniques 31 PLAY: ROCK EXAMPLE 11 32 BAR WAH PARTY JAM CONTINUED... [Bars 9Ð16] This section introduces a funk style single note line that is inspired by John Squire’s wah work in The Stone Roses seminal track Fools Gold. Keep the wah treadle rocking in a steady quaver rhythm. The mute strokes are all important as these work with the wah to create the ‘wacka chicka’. [Bars 17Ð24] It’s time to rock, and these lead lines are inspired by players 32 GuitarTechniques September 2013 ON THE CD TRACKS 20-23 CD TRACK 21 like George Lynch and Zakk Wylde. Dig in hard and keep the ﬁnger vibrato wide and pronounced. The wah-wah pedal helps to vocalise the notes and this is done by swelling the treadle forward as you hit the note. This technique is particularly eﬀective on string bends. Bar 22 features the Hendrix style idea of playing a double-stop bend and then adding rhythm to it by rocking the pedal. GET MORE FROM YOUR WAH! EXAMPLE 11 32 BAR WAH PARTY JAM CONTINUED... [Bars 25 to end] This section utilises the Steve Vai style idea we looked at earlier back in example 4 (page 29). This time it’s shifted up four frets to ﬁt the E minor key of our 32 bar wah party jam. CD TRACK 21 Bar 31 features the Hendrix style, clashing bends we looked at in example seven, and the piece ends with the dramatic dive bomb harmonics, from the Kirk Hammett Metallica style lick in example 7. September 2013 GuitarTechniques 33 PLAY: ROCK ON THE CD TRACKS 24-26 David Bowie Starman Jon Bishop transcribes a classic David Bowie track which is great fun to play and has nice lead and rhythm ideas in which to sink your teeth (or pick). Easy INFO WILL IMPROVE YOUR KEY: F major TEMPO: 102 bpm CD: TRACKS 24-26 Barre chords and fretting String bending intonation Strumming technique DAVID BOWIE IS a cultural icon whose career has spanned an amazing six decades. Starman was released in 1972, just three years In addition to being a superb songwriter and charismatic front man, Bowie is also a solid rhythm guitar player. He performed the 12-string acoustic guitar parts on hit songs like The Man Who Sold the World and Space Oddity, as well as this month’s featured track. These parts combine barre and open chord shapes with a nice sense of timing and groove. Mick Ronson was Bowie’s guitarist of choice during the early 1970s. Ronson was a charismatic lead guitarist and a good all round musician and took care of the string arrangement for Starman. Starman uses chords from the harmonised F major scale: Fmaj7, Gm7, Am7, Bbmaj7, C7, Dm7 and Em7b5. A few extra chords are added here and there, to help the progression add to the tension and release factor. To act as a turnaround an Ab major chord is used on route to the Bb major chord at the end of verse one and three. These two chords are from the key of Eb major and provide a momentary lift back into the F chord in verse two. To take us into the chorus Am and Gm are changed to A and G major. These are from the key of D major and sound stronger than their minor counterparts for setting up the chorus. In the chorus Dm7 is changed to D7 and this sets up a perfect cadence to the G minor. This changing of chord type to a 7th is referred to as a secondary dominant and sounds very effective due to the tension and release factor TECHNIQUE FOCUS being heightened. The other extra chord in the chorus is where the Bb changes to a Bbm. This changing of chords from major to minor is a popular songwriting tool (think of the C to Cm in Radiohead’s Creep). The original Starman recording fades out, so to make the backing track more fun to play along to, I’ve created an ending. This is the same as the ending that Bowie’s band used to live. This ending should make sense to the ear and is simple to play. Thanks to Pat Hughes, for playing bass, and to Charlie Rinks, for the violins. Have fun practicing and see you next time! GET THE TONE Rhythm strumming An important aspect of playing good rhythm guitar is to keep the strumming hand moving up and down in time, regardless of whether or not it is hitting the strings. It’s hopeless to try and nail a groove by guessing with single strums here and there. So using the strumming hand to ‘ghost’ the rhythmic sub-division is a far more mechanical way of making sure your timekeeping is sound - every great rhythm player does it. The electric guitar riﬀ in the bridge section is particularly fun to play. This will sound best if played exclusively with down strokes of the pick as this evens the attack and adds weight to the sound. Playing quavers with down strokes is the way forward Starman originally faded out, so to make the backing track more fun to play along to I have used the same ending that the band used live. with rock rhythm guitar. The verse part relies on a muted strumming approach and this is governed by the pressure you apply with the fretting hand ﬁngers. If you release the pressure of the fretting hand but leave the ﬁngers in contact with the strings, the chord will not sound and the strings will be muted. This might feel strange if you are not used to doing it, but after a while it becomes a natural byproduct of your playing that you won’t even think about. With regards to the rhythm playing in particular, try treating the transcription as a guide only: in a live situation Bowie and the band would add extra nuances and rhythms so no two performances feel exactly the same. 6 7 8 7 3 GAIN BASS MIDDLE TREBLE REVERB Bowie played his trusty12-string acoustic on Starman - as he did on so many great tracks. But since not that many players own one a six-string will work just fine - try a light pick for a slightly more shimmery tone. Mick Ronson would almost certainly have performed the electric parts on his Les Paul Custom, but any electric with a bridge pick up will work just fine (knock some treble off single-coils if you can). A bit of overdrive and phaser are the icing on the cake. TRACK RECORD The original version of Starman appears on The Rise & Fall Of Ziggy Stardust & The Spiders From Mars (1972). This album was the fifth released by David Bowie and followed up the hugely successful Hunky Dory. If you are looking for a career overview, Starman appears on the compilation album Best Of Bowie (2002) along with many other classic tracks. 34 GuitarTechniques September 2013 ILPO MUSTO/REX FEATURES ABILITY RATING DAVID BOWIE STARMAN Ziggy played guitar! Here it’s a Swedishmade Hagstrom 12 September 2013 GuitarTechniques 35 PLAY: ROCK PLAYING TIPS [Intro: Bars 1-8] These opening bars combine interesting sounding chords with a galloping strumming rhythm. When changing positions, sound the open strings to keep the momentum going. Lifting your fretting hand oﬀ the strings when changing chord positions helps to eliminate handling noise, which on acoustic guitars can be unpleasant. 36 GuitarTechniques September 2013 ON THE CD TRACKS 24-26 CD TRACK 25 [Verse 1Ð2: Bars 9-23] The verse uses a semi-quaver strumming pattern with some mute strokes in it. To play the mute strokes, lift oﬀ your fretting hand pressure so the strings are oﬀ the frets. Keep your fretting ﬁngers in contact with the strings so they are muted. A thinner pick will provide a bright, percussive attack sound, which is a key feature of the original part. Starman Music & Lyrics by David Bowie. ©1972 Tintoretto Music. RZO Music Inc, Chrysalis Music Ltd and EMI Music Publishing Ltd. UK/EU reproduced by kind permission of Music Sales Ltd. US/CAN reproduced by kind permission of Hal Leonard Corporation. All Rights Reserved. International Copyright Secured. PLAYING TIPS [Chorus 1: Bars 24–34] The guitar part in the chorus changes to a simpler, quaver rhythm and this contrasts nicely with the busy verse strumming. If DAVID BOWIE STARMAN CD TRACK 25 you are playing on a 12-string acoustic you may ﬁnd the barre chords will take a bit of holding down so be careful not to strain your hands. September 2013 GuitarTechniques 37 PLAY: ROCK PLAYING TIPS [Bridge: Bars 35-41] In the interests of extra study, the electric rhythm part has been notated here instead of the lead guitar melody. However, that has been tabbed in the outro so feel free to play this as a solo here, if you prefer. 38 GuitarTechniques September 2013 ON THE CD TRACKS 24-26 CD TRACK 25 A medium overdrive with a bridge pickup setting (humbucker preferably) should provide the required amount of rockiness. Picking with all down strokes will help the groove and feel. DAVID BOWIE STARMAN PLAYING TIPS [Verse 3-4: Bar 42-56] This section is a repeat of verses 1 and 2. Live, David’s playing would often get more exuberant as the song progressed so CD TRACK 25 feel free to do similar here. Bars 55 and 56 feature the funky high octave part that leads into the chorus. A bit of phaser will set this part oﬀ a treat. September 2013 GuitarTechniques 39 PLAY: ROCK PLAYING TIPS [Chorus 2 and 3: Bars 57-78] This section is a repeat of chorus 1. This time the chorus is repeated to make one long, double chorus. [Outro/Guitar Solo: Bars 79-90] This section is the main, sing-a-long melody, which is played in unison with the strings. These four bars are 40 GuitarTechniques September 2013 ON THE CD TRACKS 24-26 CD TRACK 25 repeated three times. The main thing to concentrate on here is the bending intonation. Mick Ronson had a great bluesy-rock feel and the original recording has plenty of vibe. It will really come to life with a bit of mild, Marshall-esque overdrive and a touch of phaser. DAVID BOWIE STARMAN PLAYING TIPS [Bars 91 to 102] The end solo has a nice contour and is relatively easy to play. The main scale in use here is F major pentatonic. There are some extra colour tones added in for extra ﬂavour but again it’s all about the attitude and vibe here, as it’s technically quite straightforward. CD TRACK 25 [Bar 103 to end] The original recording fades out, so in the interests of having a functioning backing track we’ve added the ending that David Bowie himself uses when he performs the track live. The ending is logical and uncomplicated and rounds a great track oﬀ nicely! September 2013 GuitarTechniques 41 PLAY: CLASSICAL ON THE CD TRACKS 27-28 Johann S Bach The Arioso In her ongoing quest to ﬁll our classical repertoire with timeless nuggets Bridget Mermikides arranges and transcribes another great Bach piece for your delectation. Moderate/Advanced INFO WILL IMPROVE YOUR KEY: D TEMPO: 80 bpm CD: TRACKS 27-28 Melody and bass separation Baroque repertoire Rest stroke and free stroke THIS MONTH WE are looking at a solo classical guitar arrangement of a wonderful piece of music by Johann Sebastian Bach (1685-1750) who, despite not receiving almost universally considered one of the greatest composers of all time. Bach’s enormous body of masterpieces has been hugely praised and adored by countless music-lovers and musicians through the ages. His incredible control of counterpoint (multiple simultaneous melodies) and complex harmony, coupled with the ability to express deeply the gamut of human emotions, of Western classical music and continues to inspire composers in almost any musical style TECHNIQUE FOCUS Posture When playing classical guitar, posture is super important in order for both hands to work eﬃciently. The traditional method is to sit up straight on the front edge an upright chair and raise the left knee (right-handed players) by using a footstool. The guitar sits on the left thigh and the head of the guitar tilts upwards. For long hours of playing, many people prefer to have both feet on the ﬂoor keeping the pelvis level and good alternatives to the footstool are the Dynarette guitar cushion. The Gitano guitar rest and the ErgoPlay guitar support. including modernism, metal, jazz, pop, electronica, tango and everything in between. This month I’ve made an arrangement of the sinfonia - also known as The Arioso - of his Cantata BWV156. Written in 1729 during his slavishly demanding teaching and composing position in Leipzig, this stunning movement to a set of vocal pieces written in the cantata form (literally a vocal performance accompanied by instrumentation). Listening to the entire work and then learning that Johann Sebastian wrote over 200 other cantatas (among hundreds of other works) gives you an idea of his incredible - some would say unfathomable - productivity. The Arioso itself is not only well loved as a short piece in its own right, but Bach himself reused the theme as the middle movement in his Harpsichord Concerto in F minor (also played as the ‘reconstructed’ Violin Concerto in G minor) and also in the middle movement of his Oboe Concerto in F major. This is an indication of the portability of Bach’s sublime music between instruments, and it is no surprise that the Arioso is now JS Bach would almost certainly have approved of us transposing his work for another instrument and amending it to suit the guitar’s requirements. performed so effectively on a range of instruments and within various ensembles – you can even hear strains of it in Carly Simon’s award-winning pop song Let The Working Girl. It also helps us feel comfortable in the knowledge that JS Bach himself would almost certainly have approved of what we are doing here today - transposing his work for another instrument and amending it to suit that instrument’s musical vagaries and technical requirements. So, with that in mind, to make the piece more idiomatic on solo classical guitar I’ve transposed the original key of F major down to D and added a drop D tuning. This introduces a typically guitaristic resonance, which is also rather lovely and lends the piece breadth and, of course, depth. I’ve embellished the repeat of the melody with some Baroque ornamentation, as is perfectly appropriate to the style and is often used in instrumental reworkings of the Arioso. If you’ve not encountered a ‘cross-string trill’ before, the tab captions will explain how to execute them, as well as guide you through some of the piece’s trickier sections. Performing The Arioso with the ‘simplicity’ it demands is not easy at all, but you - and hopefully your listeners - are unlikely to tire of this beautiful work, so all the practice will hopefully be worthwhile. TRACK RECORD To hear The Arioso in three of its countless incarnations, try the 1998 Teldec recording of the Bach Cantatas 154-157 under Nikolaus Harnoncourt; Edwin Fischer’s exquisite vintage recording of the Keyboard Concerto in F minor (Bach Concertos EMI 1989); and Alexei Ogrintchouk and the Swedish Chamber Orchestra’s Bach’s Oboe Concerto in D minor (Bach: Oboe Concertos 2010 BIS). 44 GuitarTechniques September 2013 ROGERVIOLLET/REX FEATURES ABILITY RATING J. S. BACH THE ARIOSO JS Bach: wrote hundreds of glorious works September 2013 GuitarTechniques 45 PLAY: CLASSICAL PLAYING TIPS [Bars 1-10] Follow the ﬁngering carefully in bar 2 and listen to the audio to hear the timing on the cross-string trill in beat 4). Plucking hand ﬁngering is indicated beneath the tab to show how this trill is played. Slow practice is necessary until it becomes a ‘reﬂex’ movement - and to ﬁnd out which 46 GuitarTechniques September 2013 ON THE CD TRACKS 27-28 CD TRACK 28 ﬁngering works best for you. This trill is optional and if it proves too diﬃcult, no one will miss it! Follow the ﬁngering guides as the piece becomes a little stretchy - the ﬁrst half of bar 4, and bar 10 for example. Practice slowly and commit to memory as this makes it so much easier to focus on your hands. J. S. BACH THE ARIOSO PLAYING TIPS [Bar 11 to end] On bar 11, beat 4 use a half barre and continue to use it into the next bar for a beat and a half. Work slowly and carefully through the next few bars. On bar 15 the main melody returns but this time with CD TRACK 28 some simple embellishment (Baroque style ornamentation) - do refer to the recording to hear how these ﬁt in rhythmically. I hope you enjoy learning this lovely piece of music! September 2013 GuitarTechniques 47 LEARNING ZONE LESSONS GT221 30MINUTE LICKBAG ..................................... 50 BIMM’s Terry Lewis has six more licks to play, from beginner to advanced levels. BLUES................................................................................................. 52 John Wheatcroft looks at the bluesier side of Pink Floyd’s ace axeman, David Gilmour. BLUES 2 .......................................................................................... 56 JW has two bites of the cherry this month. Here he revisits the mighty Kenny Wayne Shepherd. ROCK .................................................................................................. 60 Martin Cooper examines the rocky style of Mott The Hoople and Bad Company’s Mick Ralphs. CREATIVE ROCK .......................................................... 68 Shaun Baxter highlights the open and modern sounds created by using 4ths in your playing. COUNTRY ................................................................................... 72 Andy Saphir visits the music of Nashville star Alan Jackson and his top session buddies. WE HOPE YOU’RE enjoying the issue and in particular Jacob’s piece on soloing over chords. The premise is simple: when playing over chord progressions, what are the best approaches to take? And what do we do when some of the chords seem a little out of place? Playing solos on songs with twisty chord sequences can be tough (Midnight At The Oasis - yikes!). Sure, one can ‘whitewash’ a friend as long as you phrase well) but wouldn’t it be better to sound like you’re playing for the song rather than alongside it? So I suggest you tackle Jacob’s article over several sessions, to glean as much as possible from it. I’d also like to add a few extra pointers for you to take on board. First up, knowing where the notes are on your fretboard is a huge over the fretboard - without hesitation, with a metronome ticking away to keep you steady? Good fretboard knowledge makes chord and scale playing easier, plus it strengthens the bond between the two roles. Here’s another tip; get to know a single chord well by playing only chord tones over it (root, 3rd, 5th and 7ths onwards, if present in the chord). With this note-to-chord relationship you will learn where the important notes are within your scales. Your aim is to get chord tone savvy with three chord types; a dominant 7th, a major 7th and a minor 7th as these are the commonest. Now add a second chord to create a short progression and see if one or more ; :4 # that are exclusive to each chord – these may well be game changers and help generate a very melodic solo. If you’ve chosen two related chords (say Am7-D7) go for two unrelated ones instead (Am7- F#m7). Can you solo in a way that pleasingly marries unrelated chords? Are any notes shared between the chords (A and E are found in both Am7 and PZ # : ;# soloing. This deepens your awareness of your harmonic environment; it’s like baking the cake before you add the icing and cherry on top! Then spend time on things like primary chord tones, extended arpeggios, pentatonics and modes, and you will be increasingly able to select the best approach from your ‘musical toolbox’. You’ll be ; ; you previously never had. Happy soloing! PROG ................................................................................................... 76 Patto’s criminally undersung Ollie Halsall. JAZZ ...................................................................................................... 80 Pete Callard focuses on the acoustic Latin style of the fabulous Charlie Byrd. ACOUSTIC ................................................................................. 86 Stuart Ryan creates a soulful version of the gospel classic, A Closer Walk With Thee. ROCK SCHOOL ................................................................ 90 over the A-Z of musical terms. This month: M. ON VIDEO! In the ﬁrst par t of this Steve Lukather mastercla ss Luke shows how he plays ‘outside’ the blues. Page 64 September 2013 GuitarTechniques 49 LESSON: 30-MINUTE LICKBAG 30-Minute Lickbag Top BIMM Brighton tutor Terry Lewis has six more fabulous licks to play at easy, intermediate and advanced levels. How many of them can you play? EASY LICKS EXAMPLE 1 DAVID GILMOUR If you’re still learning to cope with string bends then Gilmour licks are a great resource. A lot of his playing is rooted in blues so the minor pentatonic EASY LICKS EXAMPLE 2 FUNKADELIC This lick uses the A blue scale (ACDEbEG) with a slightly swung feel to get the funk. It’ll sound best played through an envelope ﬁlter or auto wah INTERMEDIATE LICKS EXAMPLE 3 NILE RODGERS Nile’s rhythm style deﬁned a whole era of disco music and decades later his sound still pops up on tracks by other artists. A consistent strumming 50 GuitarTechniques September 2013 Brought to you by... CD TRACK 29 scale features often. This lick in B minor features Gilmour’s vocal like phrasing with some medium delay for ambience. CD TRACK 30 but you can achieve a similar eﬀect with a manual wah by closing it to emphasise each pick stroke. CD TRACK 31 hand and good fretting hand muting skills are required to make this bouncy chord riﬀ sound happening. Try neck or neck + middle pickups on a Strat. ON THE CD 30-MINUTE LICKBAG TRACKS 29-34 INTERMEDIATE LICKS EXAMPLE 4 RY COODER RHYTHM Here’s a swampy ﬁngerpicked riﬀ in G. Since it’s based around chords I and IV you can use this kind of idea to lend a rootsy ﬂavour to a blues or folk CD TRACK 32 track. A bridge pickup with a little dirt and some spring reverb and tremolo will help to set it oﬀ nicely. ADVANCED LICKS EXAMPLE 5 MELODIC TAPPING Tapping is not just for high octane, Van Halen style rock. There are a host of players out there such as Stanley Jordan, Tosin Abasi and Wes Borland to name a few, who use tapping in a highly compositional way to create riﬀs or CD TRACK 33 melody and chord parts. Playing this lick clean will reveal any imbalances in note volume and is a great way to practise tapping to even out the dynamic (volume) balance between your two hands. ADVANCED LICKS EXAMPLE 6 SWEEP PICKED MINOR 7 FLAT 5 ARPEGGIOS Sweeping arpeggios can sound a lot like an exercise if you simply go straight up and down them. This lick is a way to practise changing between LEARNING ZONE CD TRACK 34 them mid pattern. Some players like to use the neck pickup to reduce picking harshness when they sweep pick. September 2013 GuitarTechniques 51 ON THE CD David Gilmour Brought to you by... This month John Wheatcroft looks at the bluesinspired playing of that king of touch, taste and tone - the legendary Pink Floyd axeman, David Gilmour. David Gilmour: one of the true guitar greats ABILITY RATING Moderate INFO WILL IMPROVE YOUR KEY: Various Melodic blues phrasing TEMPO: Various Expression and delivery CD: TRACKS 35-44 Bending accuracy WE’VE GOT CAMBRIDGE to thank for one of has a magnitude, a sense of theatre almost, the greatest and most famous universities in TRACKS 35-44 themselves are often straightforward enough long does he leave a note before going for the I’m completely the antipurist. I was never going to dedicate my life to being BB King. My inﬂuences were all a complete hotchpotch. David Gilmour GET THE TONE 6 6 5 5 4 GAIN BASS MIDDLE TREBLE REVERB David’s Pete Cornish switching system allows him to access a smorgasbord of tones. Guitar-wise it’s Strat into a valve amp, usually Hi-Watt or sometimes a pair of Fenders, with a selection of stomp boxes and rack gear to achieve huge overdriven tone with all kinds of delay and modulation effects. For a good generic Gilmour tone set up a medium drive in front of a long delay with depth and feedback adjusted to taste. TRACK RECORD The Wall (EMI 1979) sees Gilmour playing his heart out on every track. Dark Side Of The Moon (EMI 1973) is equally well conceived but arguably less guitar heavy. For something completely different try Paul McCartney’s Run Devil Run (MPL 1999) featuring blistering Gilmour solos on Fender Esquire alongside Mick Green of Johnny Kidd & the Pirates, with Deep Purple’s Ian Paice on drums. 52 GuitarTechniques September 2013 PETER MAZEL / SUNSHINE / SUNSHIN LESSON: BLUES DAVID GILMOUR EXAMPLE 1 PLAYING OVER EM TO AM CHANGE Our ﬁrst example outlines a harmonic shift between E minor and A minor, primarily derived from the E minor pentatonic scale (E G A B D) followed by A Dorian (A B C D E F# G). David is really comfortable with sparse rhythmic phrasing over both medium and slow tempos, sounding super-composed EXAMPLE 2 LICKS IN TRIPLET RHYTHMS Much of Gilmour’s soloing vocabulary is pentatonic based and this example is no exception, outlining a Im V7alt progression in Bm (Bm-F#7#9) with carefully selected notes from the B minor pentatonic scale (B D E F# A). Again, triplet rhythms feature heavily here although in this instance we’re LEARNING ZONE CD TRACK 35 and super-conﬁdent at all times. The triplet-based ﬁgures in bars 2 to 4 can be pulled back ever so slightly to emphasise the sense of drama and intent that is present in Gilmour’s playing on just about everything. This use of space is something we should all try to achieve. CD TRACK 37 looking at the longer crotchet triplet, essentially spacing three notes evenly across two beats. If in doubt refer to the audio and make sure you can really hear where these notes should land before attempting this on your guitar. Again, it’s all about using available space wisely. September 2013 GuitarTechniques 53 LESSON: BLUES EXAMPLE 3 BRINGING LIFE TO ARPEGGIOS David treats devices like these as he would the minor pentatonic by adding bends, slides, pick rakes and vibrato. Compare the melodies with the underlying harmony. It’s good to quantify what you play in terms of EXAMPLE 4 EXPRESSIVENESS The theme for this example is mixing rhythms and adding expressive devices such as unison bends, slurs and vibrato. It’s often a good idea when practicing to select a prescribed selection of notes, even going so far as EXAMPLE 5 ADDING CHROMATICISM We round oﬀ our study of David’s bluesy moments with a collection of neat descending phrases based around the E ‘blues’ scale (R b3 4 5 b7). Towards the end of bar 4 we add some chromatic colour with a pair of semitone ‘bridges’, basically ﬁlling in the gap between two notes usually a tone apart 54 GuitarTechniques September 2013 ON THE CD TRACKS 35-44 CD TRACK 39 intervals: so our ﬁrst phrase would be 3, 5, 8 of G followed by a bend up to the 3rd from the 2nd. If you’re aware of this, changing a lick from major to minor or from one key to another becomes straightforward. CD TRACK 41 to deﬁne a set rhythm but vary the end result by exploring all the possible dynamic, timbral and expressive devices you have at your disposal. Doing this gives even a single lick an almost inﬁnite range of expression. CD TRACK 43 with the associated passing tone. Here we see the connection between root and b7th (E to D) and 5th to 4th (B to A) although this is a device that you could employ in any instance where you ﬁnd tone gaps - the great thing about it too, is that it will work over any harmony. LESSON: BLUES BROUGHT TO YOU BY ON THE CD TRACKS 45-47 Kenny Wayne Shepherd We’re Louisiana bound as John Wheatcroft revisits a one-time teenage phenomenon who has seriously come of age: the incendiary Kenny Wayne Shepherd! My ﬁrst concert was Muddy Waters with John Lee Hooker when I was three years old, so I hit the ground running when it came to the blues. Kenny Wayne Shepherd GET THE TONE Kenny Wayne as the 90sÕ blues wunderkind ABILITY RATING Moderate/Advanced INFO WILL IMPROVE YOUR KEY: B TEMPO: 116 bpm CD: TRACKS 45-47 Phrasing and authenticity Dynamics and delivery Pentatonic vocabulary KENNY WAYNE SHEPHERD picked up his 7 6 6 5 2 GAIN BASS MIDDLE TREBLE REVERB With his beloved ’61 Strat currently retired from active use, Fender recently repaid Kenny’s lifelong devotion with a signature model. Unsurprisingly, Kenny’s rig is traditional all the way, utilising a bunch of diﬀerent valve combos, as Kenny says, “All built by Alexander Dumble,” plus a selection of suitably retro overdrive and eﬀect units between guitar and amp. You’ll always ﬁnd a use for a good Strat, a quality overdrive and a medium output valve combo. Don’t go mad with front-end gain otherwise the personality of the guitar, amp - and player - won’t come through. blistering guitar work. Recent CDs include 2011’s stunning How I Go, and The Rides release Can’t Get Enough - all come highly recommended. 56 GuitarTechniques September 2013 R GRABOWSKI / RETNA TRACK RECORD Kenny’s CD/DVD dual release, Ten Days Out: Blues From The Backroads (Colour 2007) is essential for anyone interested in blues. Two other CDs used in the preparation for this article were Live On (Giant 1999) and his debut, Ledbetter Heights (Giant 2003); both feature KENNY WAYNE SHEPHERD STYLE EXAMPLE KENNY WAYNE SHEPHERD STYLE [Bars 1-4] We begin with some BB King-inspired bending action with the root on the second string. This type of phrasing is more about thinking of the individual quality of each note and its relative location to the root, but if you insist we could view it as minor pentatonic with an additional 2nd (C#) and 6th (G#). In bar 3 we see the ﬁrst appearance of Kenny’s SRV-inspired rapid pull-oﬀ/slide combination move. He likes this a lot. [Bars 5-8] Over E7 we’re targeting the major 3rd (G#) before descending through a fragment of the B blues scale (R b3 4 b5 5 b7). We end this section of our solo with some piano inspired double-stops, again a feature LEARNING ZONE CD TRACK 46 exploited heavily by Kenny’s primary early inﬂuence, Stevie Ray Vaughan. [Bars 9-12] There’s more repetition here. More repetition? Yes, more repetition! This conversational to-ing and fro-ing should not be underestimated within your soloing, as it gives your improvisational phrasing a logical ‘composed’ feel. Our ﬁrst blues chorus draws to a close with a beautifully slippery phrase featuring hammer-ons, slides and doublestops. Did you spot Kenny’s favourite lick again in bar 11? Notice how the harmony is targeted with the choice selection of F# notes to coincide with our shift to F#7 in bar 12. September 2013 GuitarTechniques 57 LESSON: BLUES EXAMPLE KENNY WAYNE SHEPHERD STYLE ...CONTINUED [Bars 13-16] Our second chorus starts with a combination of rhythm and soloing approaches, in question and answer form. The low B notes in these bars should be fretted with the edge of the thumb over the top of the fretboard, Jimi Hendrix-style. Speaking of which, the contrary motion bend in bar 16 is pure Jimi! The trick to this lick is to initially bend both strings up but only play the second string. Once we’re up to pitch, shift the pressure over to the third string, pick this note and then allow the bent string to fall down to its resting pitch - it’s ﬁddly but well worth the eﬀort. [Bars 17-20] Occasionally more does actually mean more! In this instance we’re talking about the double-stop’s big brother, the triple-stop, another Stevie Ray trademark idea that Kenny has adopted and executes so well in his own way. The rapid pentatonic derived upstroke-rake/slide combination 58 GuitarTechniques September 2013 ON THE CD TRACKS 45-47 CD TRACK 46 in bar 20 can also be found extensively in the soloing style of sophisticated blues maestro Robben Ford and the UK’s very own Matt Schoﬁeld - and very tasty it is too. [Bars 21-25] Kenny is deﬁnitely a subscriber to the ‘heavy strings, high frets, high action, hit it hard’ approach to guitar playing, and one situation where this is most apparent is when he moves over onto the low strings. You really need to dig in here for these phrases to sound just right. In bar 21 we’re selecting the F# blues scale (F# A B C C# E), switching to E minor pentatonic (E G A B D) against E7 in bar 22, progressing to yet more double-stop action with a neat triplet-based phrase targeting the root of our F#7 and B7 chords respectively to close. 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'+& LESSON: CREATIVE ROCK ON THE CD TRACKS 51-53 Using fourths Continuing his focus on intervals Shaun Baxter shows that using 4ths can create contemporary sounding phrases, riﬀs and lead lines. between descending and ascending. P P P P P When played as doublestops, 4ths form the basis of many classic rock riffs. Purple and Rainbow. GET THE TONE ABILITY RATING P Advanced INFO WILL IMPROVE YOUR KEY: C (Am) TEMPO: 160bpm CD: TRACKS 51-53 Recognition of 4th intervals Use of 4th intervals in solos Contemporary solo style P IN THIS SERIES, we've been looking at ways of using various scale intervals to create a your blues and rock vocabulary. So far, we've fusion guitarists Scott Henderson, prefer to 7 7 5 5 5 GAIN BASS MIDDLE TREBLE REVERB It’s a good policy to practise with as little distortion as you can. You may have to work harder, but there will be a core to your notes rather than the fizzy transparency that results from using too much gain. If your guitar has humbuckers, they will be powerful enough to get all the distortion you need from the amp; if using single-coils, you may need a drive pedal, with 75% of the gain coming from the amp and 25% from the pedal. Finally, some delay in tempo with the track will help to give both size and smoothness to the overall sound. TRACK RECORD Fusion guitarists use 4ths a lot! Frank Gambale employs them extensively in his super-fast sweep-picked arpeggio playing. If you don't know Frank's work try his early solo album, A Present To The Future. John Scofield also uses stacked 4ths from each scale in order to construct interesting and open-sounding chords. Try his albums Still Warm, Blue Matter and Loud Jazz. 68 GuitarTechniques September 2013 DAVID LYTTLETON P FOURTHS EXAMPLE 1 ROCKY DOUBLESTOPS During this series, the object is to build up a variety of interval-based approaches over the same backing track using A Aeolian (A B C D E F CD TRACK 52 G) in conjunction with the A minor blues scale (A C D Eb E G). Bars 1 and 2 start oﬀ with some typical rock-style double-stops. EXAMPLE 2 DESCENDING SCALE 4THS Bar 11 features descending 4ths taken down through the same scale shape while staying within the same neck position (vertical motion, as opposed to lateral motion). Note that the ﬁrst CD TRACK 52 two 4ths (and the last one) in this bar are played using barré rolls, whereas as the ones across the third and second strings are played using individual ﬁngers. EXAMPLE 3 ACROSS AND UP THE FRETBOARD Bars 19 and 20 again highlight scale 4ths, this time alternating between descending and ascending directions, and played using a mixture of barré roll movements and individual ﬁngers. Here though, instead of staying within the same LEARNING ZONE CD TRACK 52 scale shape, the fretting hand moves diagonally by shifting from the thin to the fatter strings whilst also simultaneously drifting up towards the bridge. Also note that pull-oﬀs have been added for technical ease. September 2013 GuitarTechniques 69 LESSON: CREATIVE ROCK EXAMPLE 4 STRETCHY 4THS In bars 25-27 many of the 4th intervals in this section are played on a single string, therefore requiring a large stretch in the fretting hand. Here, an equivalent of the initial nine-note musical motif is repeated further down the neck. Because this motif is three beats long, repetition creates a ‘three EXAMPLE 5 THREENOTE 4TH MOTIFS Here, wide stretches and barré rolls are combined in order to play three-note 4th motifs that alternate between descending and ascending directions as they are taken down through the scale laterally along the EXAMPLE 6 CHROMATIC APPROACH NOTES In bar 42 of this example, we see the inclusion of an Eb note from the A minor blues scale; however, many more chromatic notes are then added to the mix by approaching each note of the 4ths highlighted in bars 43 and 44 (descending 4ths shifted down through the neck in a lateral motion on the 70 GuitarTechniques September 2013 ON THE CD TRACKS 51-53 CD TRACK 52 against four’ feel. Note the mixture of technical approaches in the latter part of bar 26, whereby 4ths played using a wide stretch on the same string are juxtaposed by 4ths played on neighbouring strings: again, this has been done for technical ease. CD TRACK 52 length of the neck. In bar 36, note how unisons (the same note played either simultaneously or consecutively on diﬀerent strings) are created when employing a succession of wide-stretch-style 4ths on neighbouring strings. CD TRACK 52 top two strings) via a chromatic note a semi-tone below. Finally, at the end of bar 44, note that there is another chromatic approach from a Bb note to the B note at the start of the following bar (in this case, the ﬁrst note of a descending G triad). FOURTHS EXAMPLE 7 WIDE INTERVALS AND STRING SKIPS This example starts oﬀ with a motion very similar to the principles used in Example 3, only in a diﬀerent position of the sale. Then, in bars 51 and EXAMPLE 8 COMBINING VARIOUS APPROACHES Using a combination of some of the principles featured in Examples 3, 4, 5 and 7, bars 57 and 58 feature a nine-note motif comprising both ascending EXAMPLE 9 STACKED 4THS This ﬁnal example features some 'stacked' 4ths whereby a succession of 4ths are played in one direction (either descending or ascending) on adjacent strings. Although many of the perfect 4ths in bar 65 are played within the space of one fret, they don't have to be played using a barré roll (although they could) because the tempo is relatively slow. Bar 67 sees a return to each 4th interval being played on a single string using a combination of wide LEARNING ZONE CD TRACK 52 52, we see a succession of ascending 4ths using a combination of wide stretches (involving a hammer-on on the same string) and string skips. CD TRACK 52 and descending 4ths taken up through the scale using a combination of legato, wide stretches, unisons, string-skips and slides. CD TRACK 52 stretches, legato and string-skips. But for the ﬁrst time here we also see a six-note motif taken down through the scale. Finally, in bar 68, we ﬁnish oﬀ with some more stacked 4ths within one fret (this time, across ﬁve strings); again, due to the moderate tempo, we can take advantage of the option to use separate ﬁngers of the fretting hand or a barré roll movement. Now see how many of these ideas you can incorporate into your everyday playing. September 2013 GuitarTechniques 71 LESSON: MODERN COUNTRY ON THE CD TRACKS 54-55 Alan Jackson style One of modern countryÕs superstars is the focus of this monthÕs column, as Andy Saphir examines a contemporary traditionalist, Alan Jackson. such a huge variety of artists’ albums over the years that it’s probably true to say that his ; ; ; ; ; ; preference to this. I have therefore played and transcribed the electric guitar parts with this technique in mind. Of course, if you feel you’d ; ; all means go for it. As with most country songs, an open chord strummed steel-string acoustic is of utmost importance, as this underpins and acts a generic ‘pad’ throughout the song. It also ; verse or even throughout a ballad. So don’t ; ; ; guitar styles if you want to be an all-round country guitarist and, although it may seem basic, ensure you are familiar with those chords and can play them mean and clean. Fortunately for we guitar players, country music gives plenty of opportunity to play tasty, technical stuff. GET THE TONE 7 6 4 8 2 GAIN BASS MIDDLE TREBLE REVERB If you’re a country fan you’ll probably own a T-style guitar, and that will give you best results here. A good, modern clean style ‘twang’ will often incorporate compression and even a degree of overdrive added to a short delay. The drive often comes from small studio amps cranked a little (or a lot) so please try to avoid wasp-like fizz at all costs. Acoustic guitar parts are often played on dreadnought sized flat-tops, and a thinner pick than your regular electric plectrum will add the required shimmer. TRACK RECORD Alan Jackson’s back catalogue will please any twang hungry guitarist. Check out I Don’t Even Know Your Name, with great electric and acoustic soloing by Brent Mason. His classic hit, Gone Country (again with Brent on guitar) is the perfect example of an open style country riff, whilst many songs feature acoustic playing by, among others, Bruce Watkins and Jimmy Capps. 72 GuitarTechniques September 2013 JASON L. NELSON/PHOTOSHOT spanning the 80s to the present day. out the song, www.memory), his style is perhaps more traditional sounding than other modern country-pop or often use instruments associated with the talents of country music’s recording elite, such as Brent Mason amazing Nashville players. style song might feature a catchy the style of master session man Brent ‘verse’, which would underpin, but not get in the way of, the lead vocal; and a catchy solo, again in the style of things interesting. In proper session Alan Jackson: traditional yet style, of course, we always defer to the modern country feel of the song. Fortunately for we guitar players, country music gives plenty of opportunity to ABILITY RATING play some tasty and technical stuff. However, Moderate INFO WILL IMPROVE YOUR it is vital to consider this so that we always Hybrid/thumbpick technique play the appropriate parts. Great session KEY: A players in all styles are masters of their craft, TEMPO: 180 bpm Country vocabulary due to their ability to play the right thing at CD: TRACKS 54-55 General fretboard skills the right time and do it faultlessly, time after time after time! ALAN JACKSON IS a household name to Brent Mason has appeared on many of country music fans. Hailing from Georgia, ; USA, the singer-songwriter’s rich country truly amazing solos and riffs. Brent’s list of vocal style and great catchy songs have given recording credits is vast, and he has played on him numerous country hits in a career Brought to you by... ALAN JACKSON EXAMPLE 1 INTRO [Bars 1 and 2] For this electric intro part pay attention to the picking instructions if you’re using hybrid technique. For thumbpick players, use EXAMPLE 2 RHYTHM GUITAR [Bars 6 to 13] Although this acoustic ﬁngerpicked part is simple compared to the electric guitar intro, it still needs to be approached with care. Fret cleanly so all relevant strings ring clearly. Again, pay attention to picking directions, and pick smoothly and strictly in time – country players tend to be spot on the beat, not behind as you’ll commonly ﬁnd in blues or jazz. LEARNING ZONE CD TRACK 54 thumb instead of pick, and ﬁngers ‘i’ and ‘m’ in place of ‘a’ and ‘m’. Ensure bends are accurate and double-stops are played staccato (clipped). CD TRACK 54 [Bars 14 to 23] Here’s the acoustic strumming part that’s played during the electric solo. It’s vital to ensure clean, accurate fretting and to keep the 1/8th note rhythm even and smooth, employing downstrokes on the beat and upstrokes on the oﬀ beat. A medium to light gauge pick is ideal for this kind of part as it lends a certain ‘shimmer’. September 2013 GuitarTechniques 73 LESSON: MODERN COUNTRY EXAMPLE 3 LEAD GUITAR [Bars 13-14] The solo starts with an Em pentatonic (E G A B D) bend which needs to begin on ‘4&’ of bar 13. Try using the second ﬁnger of your fretting hand for the note of A on the second string. This helps you to reach the high E note on the ﬁrst string with your fourth ﬁnger. Fret the last E note (9th fret, third string) of bar 14 with your third ﬁnger, as you need to play the G note (8th fret, second string) with your second ﬁnger and bend it up a tone as you bend the third string up to E. This gives you a ‘double bend’. When you pluck that bent second string with your second ﬁnger, and then the bent third string again with the pick, release the double bend, thus giving you the sound of two strings descending in pitch. Fretting hand stamina is required here - the pitches of the notes have to be accurate too. 74 GuitarTechniques September 2013 ON THE CD TRACKS 54-55 CD TRACK 54 [Bars 15-19] Here’s a typical Brent Mason double-stop lick. Make sure you pluck these notes with ﬁngers ‘m’ and ‘a’. The bend on the third string in bar 18 is quite a challenge if you’re new to this style, as it can be tough to bend that string up a tone down at that end of the neck. So be careful! Pick the notes with the suggested instructions, as this will help to make the phrasing feel ‘in the pocket’. [Bars 20-22] This is a also challenging bending lick, not only due to the necessity of bending the strings accurately, but also because of the quick fretting hand shift that’s necessary in bar 22 between the high D note (10th fret, ﬁrst string) and the next high G note (15th fret, ﬁrst string). This lick needs to sound ﬂowing and continuous, so practise slowly. LESSON: PROG ON THE CD TRACKS 56-58 Patto’s Ollie Halsall Some players are hugely inﬂuential among the guitar elite yet taste meagre success themselves. Paul Bielatowicz examines the criminally undersung genius, Ollie Halsall. ; ; ; ; ; ; ; ; ; ' '; ; ; prodigious talent and the high standards he set, meant he struggled to settle in any single ; ; ; ; It wasn’t until he was 18 that Halsall ﬁnally took up the guitar. Within just three years of playing it he had become regarded as one of the world’s leading guitarists. GET THE TONE 6 7 6 5 1 GAIN BASS MIDDLE TREBLE REVERB The sound we’re trying to emulate is Halsall’s SG Custom going through a classic 70s valve amp (Fender). Ollie’s Custom was heavily modified and he later used an SG Standard, so as long as you aim for the classic rock sound, any humbucking guitar will put you in the right ballpark. Select the bridge pickup but go easy on the gain and treble, and check out the suggested settings for more detail. The tone we want is one that sustains the longer notes without losing the clarity of the sound. TRACK RECORD Halsall’s innovative playing and experimental chord progressions on Patto’s 1970 self-titled debut caused an underground stir. But if you’re looking for out-and-out wow factor then check out the band’s live album, Warts And All, released in 2000. As the name suggests, it’s not the best recording quality, but it captures Halsall’s raw talent perfectly. 76 GuitarTechniques September 2013 MICK GOLD/REDFERNS short list when they were ; Peter John 'Ollie' Halsall was ; ; moved to London to play the latter ; ; ; ; ; ; ; ; ; ; ;; ;; ;; ; Ollie Halsall with his three-pickup white SG Custom ; ABILITY RATING Moderate that Allan Holdsworth used a similar guitar in INFO WILL IMPROVE YOUR ; Legato phrases KEY: A ; ; TEMPO: 140bpm Rhythmic ideas CD: TRACKS 56-58 Use of dissonance ; ; THIS MONTH WE’RE looking at a hugely ; ; ; ; ; other household names; someone so well ; ; OLLIE HALSALL EXAMPLE 1 DORIAN TONES LEARNING ZONE CD TRACK 57 Halsall mixed blues phrasing with fast repeated licks. This is minor pentatonic, with the exception of A Dorian F#s in the ﬁrst bar (A B C D E F# G). EXAMPLE 2 PUSHING AND PULLING THE TIMING CD TRACK 57 Here we start oﬀ with some Chuck Berry style bends, which then transform into straight 8th-note bends. EXAMPLE 3 RECURRING THEMES CD TRACK 57 The phrase in beats 3 and 4 of the ﬁrst bar is repeated in the second bar, after which the opening phrase of the example is repeated an octave lower. EXAMPLE 4 CHANGING GEAR CD TRACK 57 Here’s another example of how Ollie might have changed the timing of a lick mid-ﬂow, to add excitement. EXAMPLE 5 CHROMATIC TENSION CD TRACK 57 Halsall would take phrases and move them chromatically to create tension – if you end on a strong chord tone this approach can be extremely eﬀective. September 2013 GuitarTechniques 77 LESSON: PROG ON THE CD EXAMPLE 6 USING DISSONANCE TRACKS 56-58 CD TRACK 57 This example is based on the same idea as the previous idea – taking a shape and moving it around the neck. Simple but eﬀective! EXAMPLE 7 REPEATED LEGATO IDEAS Here’s an example of Halsall’s repeated legato licks played on a single string. He had an uncanny ability to slip between this style of playing and stock EXAMPLE 8 DOUBLING THE SPEED This lick uses the same notes as Example 4 only this time we’re playing it at twice the speed! Not only does it sound considerably more ﬂash, but it also 78 GuitarTechniques September 2013 CD TRACK 57 blues licks, making them sound like one and the same. Halsall pioneered this ﬂuid approach later taken up by Holdsworth, Bill Nelson and others. CD TRACK 57 illustrates how Halsall could switch gears while playing the same line. Try this with a few of your own licks to see how eﬀective it can be. OLLIE HALSALL EXAMPLE 9 LEGATO AND OPEN STRINGS For this single-string legato and open-string lick, keep your pick strokes alternate (as directed in the notation) and you’ll soon have this one feeling EXAMPLE 10 LEGATO, PENTATONICS AND CHROMATICS After the opening legato run the example switches to an ascending minor pentatonic sequence, based on the same repeated pattern seen in Example EXAMPLE 11 MIXOLYDIAN ASCENDING RUN This ﬁnal idea is a long A Mixolydian (A B C# D E F# G) legato run. We start by climbing the strings and end with a two-string ascending lick that moves up LEARNING ZONE CD TRACK 57 completely natural. Ollie, like Holdsworth after him, endeavoured to make his legato notes sound as close as possible to his picked ones. CD TRACK 57 1. The example ends with a nice ascending chromatic run. Switching between ideas like these was a Halsall staple. CD TRACK 57 the neck in 16th-note triplets. From these brief examples you should get an idea of how advanced this sadly unsung player was for his time. 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Here’s a Stuart Ryan solo arrangement. ABILITY RATING Moderate INFO WILL IMPROVE YOUR KEY: G TEMPO: 112 bpm CD: TRACK 73 Fretting hand barres Alternating bass lines Fluidity in open G tuning AS WITH MANY great gospel songs, the author of this one is unknown. But in a way that’s the best thing possible since it allows us to work from a blank canvas, musically speaking. Presented with just a melody, the given the arrangement a lilting, swing feel to keep things moving along. The picking thumb plucks the alternating bass notes throughout and while it’s common in these situations to palm mute the bass notes, I’ve elected to play them without muting all the way through – this just seems to help with the swing feel as these notes sustain and ring a bit more this thumb with or without a thumbpick, but in either case be careful not to hit the bass notes too hard as you don’t want them to overshadow the subtlety and simple beauty of the melody and chords. ; ; twisting moments in our arrangement (I don’t want to make things too easy for you!) but it’s mostly open strings, melody and some sparse chords so aim for that relaxed, lilting feel all the way through. If you’re a singing guitarist, why not wow your audience by introducing the song instrumentally, singing a couple of verses then adding a middle solo (this arrangement again), singing another verse or two before going out on the solo arrangement. Plus, you can always embellish my version with ideas of your own, as well as experimenting with capos (especially if you’re singing). Have fun! Although you’ll often ﬁnd Just A Closer Walk With Thee scored in the key of C, I’ve arranged it in G instead and used an open tuning - great for bluesy or soulful vibes. GET THE TONE Any good acoustic will serve the purpose here though with us being in an altered tuning you’ll want to watch your string gauge – something around the medium size or heavier will be best (try 12 to 53). I recorded this on a Froggy Bottom model M. TRACK RECORD There are many great versions of this from legends including Johnny Cash and Bob Dylan, Patsy Cline and Willie Nelson, a stunning one from Ella Fitzgerald and more. I love Martin Simpson’s version of this on his album A Closer Walk With Thee. Another great version worth watching is that of Eric Clapton, Wynton Marsalis and Taj Mahal playing together – check it out on YouTube. 86 GuitarTechniques September 2013 MOVIESTORE COLLECTION/REX FEATURES arranger must work up suitable and interesting harmony if their version is to be successful. Although you’ll often With Thee scored in the in the G instead, and used an open G major tuning (DGDGBD) for the job. Although common in slide, this is also a fantastic tuning for arranging anything with a bluesy or soulful vibe. For a start, you get the tonic note, G, on the strings, meaning that these can easily be accessed for both bass and melody duties. Next, you have the 3rd of a G major chord, B, located as the open second string; this again puts it in easy reach for either melody or harmony roles. Finally, you have the 5th of G major, which is of course D, located on the open sixth, fourth As we’ll see in this arrangement, the happenstance of these string tunings proves invaluable for many reasons. First, it allows for a simple but unbeatably effective alternating bass line on the I chord, G, which appears throughout. Next, we can also utilise the open D strings when we want to suggest the V chord, D major, again using the alternating bass line system. All these open strings also make it easy to play fragments of chords or hint at chordal extensions - for instance the note B is the 6th or 13th of D, and is a useful and attractive colour tone. Given the sparse nature of this melody I’ve Johnny Cash in his pre ‘Man In Black’ period JUST A CLOSER WALK WITH THEE PLAYING TIPS [Bar 2] The bluesy sliding double-stops are a typical phrasing device in songs such as this, but please make sure you time them so they are played just before the beat, as grace notes. [Bar 11] This barre at the 5th fret will sort the men from the boys! Although it may feel contrary, aim to keep the fretting hand quite relaxed when LEARNING ZONE CD TRACK 73 playing barres like these; it doesn’t take too much pressure to hold down all the strings and a relaxed ﬁrst ﬁnger barre will make it easier to fret the note at the 7th fret string, ﬁrst string with the fourth ﬁnger. [Bar 17] From here the melody repeats but there are some subtle changes to the chords and bass lines to watch out for. September 2013 GuitarTechniques 87 LESSON: ACOUSTIC ON THE CD PLAYING TIPS [Bar 21] There are some ﬁnger twists in this bar to accommodate the moving bass line – make sure you keep the chord on beat 1 sustaining against the bass line for three whole beats. CD TRACK 73 [Bar 25] For the harmonics at the end of this bar, I’d use the third ﬁnger. [Bar 28] Here’s the obligatory gospel diminished passing chord! As with bar 11 this sequence will be a good work-out for your barring ﬁnger. 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If at any time during the first 60 days you are dissatisfied in any way please notify us in writing and we will refund you for all un-mailed issues. Come and join the GT family! LESSON: ROCKSCHOOL ON THE CD A-Z Of Music Theory: M Charlie Griﬃths mutters about movable chords, major pentatonics, modal interchange, multi-ﬁnger tapping and the Mixolydian mode. Mmmmm! notes are major pentatonic. This 4 either major or minor pentatonic, depending on which note is designated the root. On the guitar this means that the same scale shape can double up as either major or minor pentatonic. TRACKS 74-78 Brought to you by... major as an example, it contains the notes CDEFGAB. Starting from each note of the scale in sequence produces the following modes: C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian and B Locrian. Each of these modes contains the same notes, but start from different ‘root’ P P P on. Since the ‘parent scale’ note spacing is P each mode has its own unique structure. Movable Major Chords When chords are concerned the 4 4 ixolydian 4 : positions across the fretboard. The basis of parent major scale and has a similar : intervallic structure: 1 2 3 4 5 6 b7. the formulation of which is frequently As you can see, the intervals of attributed to jazz guitarist Joe Pass who was Mixolydian are almost exactly the 4 same as the major scale, except for 4 the 7th degree. The Mixolydian is the open chord shapes C, A, G, E and D. If you can only one of the seven modes to already play those open shapes, the next step contain both the notes of a major is to create movable versions that can be triad and a b7. This makes the scale : : perfect for playing over dominant 7th the entire fretboard. Essentially there is a chords. The scale not only contains the notes of a major triad, but also all 4 move the shape up the neck to the desired fret giving it a light and bright character, but the addition of the 4th and b7 intervals suggest a hint of minor pentatonic, without becoming too Angus Young dark. This scale is often found in ulti-Fingered Tapping mixes minor and blues, funk and soul music. This technique utilises two or more major pentatonic : the fretboard. These extra digits allow for odes greater possibilities than the typical ‘oneSo far in this series we have ABILITY RATING : encountered six modes: Aeolian, Dorian, Moderate inspiration from piano and Chapman Stick Ionian, Locrian, Lydian, and Mixolydian. In a players. Guitarists like Joe Satriani, Tosin few months we will look at one more called INFO WILL IMPROVE YOUR Abasi, Bumblefoot and Stanley Jordan each Phrygian. These seven modes might better be KEY: Various Musical knowledge 4 thought of as ‘moods’, since each one has its TEMPO: Various Application of theory tapping, suggesting that there is still room for own unique atmosphere with which we can CD: TRACKS 74-78 Overall understanding interpretation and innovation within this emotionally connect. When we hear the pentatonic scales in Ex1, most people perceive with your plectrum to free up all four of your ajor and minor pentatonic the major as bright and happy, whereas the : minor is darker and sadder. The seven modes These two scales are the basis of every support your hand and keep your downward can be viewed in the same way, but with more guitarist’s toolkit. The two scales can be 4 viewed as relative major and minor. A minor possible. Try hammering-on and pulling-off mode is because each contains a unique set of pentatonic contains the notes A C D E G, notes and playing scale fragments until your intervals. The modes also relate to each other making the intervals 1 b3 4 5 b7. By starting on a deeper level, as each one can be derived the same scale from the C we get C D E G A, from the same parent major scale. If we take C different the fret spacings. which changes the intervals to 1 2 3 5 6. These M M M TRACK RECORD Angus Young combines pentatonics in You Shook Me All Night Long. For Mixolydian mode try Norwegian Wood by The Beatles. Norwegian Wood’s Dorian bridge shows how a change of mode creates a change in mood. Steve Vai uses CAGED’s movable major shapes in Creamsicle Sunset. For multi-fingered tapping, Satriani’s Midnight is one the most influential pieces ever. 90 GuitarTechniques September 2013 ANGELA LUBRANO/LIVEPIX M A-Z OF MUSIC THEORY: M EXAMPLE 1 MAJOR AND MINOR PENTATONIC Play the A minor barre chord to give the scale context. Play up and down the scale use one-ﬁnger per-fret when ascending and descending. Next play the EXAMPLE 2 MIXOLYDIAN Play the A7 chord to give your ear a musical reference point; this type of chord (dominant 7th) is synonymous with the Mixolydian mode. Play up and EXAMPLE 3 MODES Here we have two modes C Ionian and D Dorian. Both modes contain the same notes, but from diﬀerent starting points; C Ionian is CDEFGAB, while EXAMPLE 4 MOVABLE MAJOR CHORDS Fret each chord shape as quickly as possible and hold the chord for as long as possible before moving to the next one. Some of these chords can be EXAMPLE 5 MULTI FINGERED TAPPING This part is mostly tapped with the picking hand, so put your pick down. Play a full Emaj7 barre chord at the 7th fret and hold the position with your LEARNING ZONE CD TRACK 74 C chord and repeat the same scale. Notice that each diﬀerent chord changes the sound of the scale. CD TRACK 75 down the scale naming the intervals as you go and be sure to use alternate picking throughout. CD TRACK 76 D Dorian is DEFGABC. To fully appreciate a mode, it should be played repeatedly over a chord or root note for context. CD TRACK 77 tricky if you are not used to playing a variety of barre chord shapes. Try playing in other keys by moving all the shapes up and down the neck. CD TRACK 78 fretting hand. Use your picking hand ﬁngers to tap the melody at the 12th fret and allow all the notes to sustain and ring together as much as possible. September 2013 GuitarTechniques 91 NEVER MISS ANOTHER ISSUE 96 Turn to page to subscribe! BACK ISSUES MISSED IT? GRAB IT NOW! Your copy of Guitar Techniques gone walkabout? Quick, get one now while stocks last! APRIL GT 215 SPRING GT 216 MAY GT 217 Play multiple guitars like Thin Lizzy, Steve Vai, The Eagles and Queen with our fabulous Harmony Guitar feature. Plus a full transcription of Scott Henderson’s awesome Well To The Bone, and play like Eric Clapton, Gary Moore and Jimmy Page! Play Southern Rock like Lynyrd Skynyrd, Allman Brothers, Creedence Clearwater Revival, ZZ Top and more. Plus 20 Unique Guitar Sounds, Charlie Christian, Wilko Johnson and an exclusive video masterclass with the legendary Larry Carlton! Learn why ﬁngers is the only way for so many great players. Play like James Taylor, Anthrax, Steve Morse, Eric Johnson and Jimmy Raney. Plus a great instrumental acoustic medley and banjo rolls! JUNE GT 218 JULY GT 219 AUGUST GT 220 Gain more speed, dynamics and expression with our alternate picking masterclass. A full transcription of the Ten Years After classic I’m Going Home. Plus the styles of Keith Richards, Camel’s Andy Latimer and Alice In Chains’ Jerry Cantrell. Add a note to the pentatonic scale and transform your world into Hexatonic Heaven! Plus a full guitar transcription of Dire Straits’ fabulous Lady Writer. Master odd time signatures and play like Freddie King, Jim Hall, Vince Gill and Mick Jones! Make your blues groove with our fabulous funk-blues tutorial, and learn classic funk in the style of Nile Rodgers. Master the art of eight-ﬁnger tapping and play in the styles of Joe Satriani, Rory Gallagher, Joe Pass, Keith Urban, Ty Tabor and Martin Barre! HARMONY GUITAR ALTERNATE PICKING SOUTHERN BOOGIE UPGRADE YOUR BLUES ELECTRIC BLUES FINGERSTYLE FUNK UP YOUR BLUES TO ORDER BACK ISSUES: Call 0844 848 2852 or visit www.myfavouritemagazines.co.uk Please do not call or email the magazine directly as we cannot deal with subscriptions or back issues. We regret that we cannot photocopy transcriptions from back issues Each back issue costs (including postage and packing) QUK: £5.50 QEurope: £6.50 QRest of the world: £7.50 92 GuitarTechnique September 2013 MUSIC REVIEWS WHAT OUR RATINGS MEAN: +++++Buy it ++++Excellent +++Good ++Average +Bin it! New Albums The new guitar releases, including Album Of The Month and Classic Album... ALBUM OF THE MONTH BRAD PAISLEY WHEELHOUSE Arista +++++ Paisley’s country pickin’ ability has never ceased to amaze and yet again he pulls out some truly stunning six-string acrobatics, seemingly making use of every fret and note over the entire surface of his Telecaster’s fretboard. But this latest album is far from being just a demonstration of guitar prowess. It’s packed with grat songs, feels and evocative lyrics. Yes there are also the usual heartbreak and heartache themes associated with the country genre; but there’s humour too, like Harvey Bodine who’s reluctantly brought back to life after a heart attack. There’s a running theme of a radio dial tuning between the tracks which keeps things light hearted but there’s controversy too on Accidental Racist. What remains constant however is the impact of Brad’s guitar work and that’s apparent on every track. Check out Runaway Train, Tin Can On A String and Southern Comfort Zone, all oﬀering something a little diﬀerent. This is deﬁnitely a departure from Paisley’s previous albums but for us there’s extra excitement as a result. Three diﬀerent versions are available too, two of which feature extra tracks and that’s never a bad thing with this amazing musician. the musical world. Fronted by lead vocalist and bass player Jon Harvey, Monster Truck takes no time at all to pile on the pressure so the title seems highly appropriate. Guitar duties fall to Jeremy Widerman and he positively shines throughout this album. There’s a general blues-rock feel to the music but with that heavy hard rock element that’s both riﬀy and infectious. If there is any criticism then it is a bit short on light relief but what they oﬀer here is consistently good on composition and performance. Sweet Mountain River is the well chosen single pull. It showcases the band rather well and has helped them achieve success in their homeland. We also love the slower paced My Love Is True: this borders on grunge but again comes with a strong riﬀ acting as the DNA of the song - and once again featuring a great solo from Widerman. If you like things to be hot and heavy then make sure you listen to this. WINGIN’ IT FOR THE MANY TRISTAN SEUME REVIEWS BY ROGER NEWELL AND DAVID MEAD MIDDLE CHILD Download +++ It’s not often that we get the opportunity to review something from one of our contributors so we are delighted to bring this beautiful album from Tristan Seume to your attention. Tristan is an acoustic guitarist of some renown and teaches at the Academy of Contemporary Music as well as working with award winning folk singer Jackie Oates. This is his second solo album and oﬀers a collection of ten instrumental tracks, some originals and some standards but all played in the cleanly picked and imaginative style for which he is known. The title track is a niftily picked upbeat reel and we particularly like the Celtic elements that creep in. So be sure to check out Larry’s Favourite/Harper’s Reel, as well as his arrangements of Cyndi Lauper’s Time After Time, and the standard, Georgia, which are both superb. Those of you who regularly follow Tristan’s tuition will ﬁnd this both informative and helpful as it illustrates his approach beautifully. More importantly it’s a listening delight to anyone that buys it. It’s download only at the moment but a CD is coming soon. Go to info@ tristanseume.co.uk to get it! MONSTER TRUCK FURIOSITY Dine Alone Records ++++ Furiosity is the debut album for this tough Canadian four-piece and oﬀers a mighty powerful entry into Wingin’ It Records ++++ Acoustic guitar duos are few and far between and even rarer is a combination of players as well matched as these. Following a commission for ten minutes of original music for the Gordon Duncan Memorial Trust, the pair was asked to perform the music live in Perth Concert Hall. It was so well received that Adam Bulley and Chas Mackenzie realised they had the core element for this, their debut album. And what a captivating and evocative instrumental album it is, taking you through an exceptionally varied selection of predominantly acoustic led pieces. It takes inspiration from a wide variety of music too with a bit of Celtic inﬂuence here and there mixed in with folk, a tad of country, a reel or two - it even gets a little funky in places. Highlights include Sidhean Mor and the stunning Raising The Bar which does exactly that. The feelgood factor created by this album is immense so it’s well worth taking a listen. ZZ TOP THE STUDIO ALBUMS 1970  1990 Rhino +++++ Following the current CD box set trend here we have the ﬁrst ten albums from Texan blues-rockers ZZ Top. As you’d expect from one of the world’s biggest bands it comes nicely packaged, with each disc in its own slipcase complete with the original artwork, including the gatefolds for Tres Hombres and Tejas. This fantastic collection represents the band’s time with Warner Brothers and sees Billy, Dusty and Frank (or Rube as he was known on their ﬁrst album) develop from a home-grown blues-rock trio into an internationally acclaimed act. That said, their rough edges have never really gone away but there was certainly a lot more overdubbing, sequencing and more obvious production on the big selling albums like Eliminator, Afterburner and Recycler at the end of this set. Bill Ham was in charge of production on all ten of these albums and this has kept a continuity to the group’s sound throughout Top’s impressive career. Bill also shares writing credits on a great deal of the songs so could almost be considered the fourth member of the band. All in all this is a fantastic collection of American blues-rock, full of character and nostalgia but inspirational too. As simple as it all sounds there’s often a lot more going on than you might at ﬁrst think, and this set is the perfect opportunity to appreciate ZZ Top if this immense band is not already evident in your record collection. September 2013 GuitarTechniques 93 GT USER GUIDE You can get more from GT by understanding our easy-to-follow musical terms and signs... RELATING TAB TO YOUR FRETBOARD OUR RATING SYSTEM Every transcription or lesson in GT is graded according to its level of diﬃculty, from Easy to Advanced. We’ll also let you know what aspect of your playing will beneﬁt by attempting a lesson. Advanced Moderate-Advanced NUT & FRETBOARD HAND LABELLING Here are the abbreviations used for each ﬁnger: Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), i (ﬁrst ﬁnger), m (second), a (third), c (fourth) Moderate The fretbox diagram above represents the fretboard exactly, as seen in the accompanying photo. This is for ease of visualising a fretboard scale or chord quickly. Easy-Moderate Easy READ MUSIC Each transcription is broken down into two parts... CHORD EXAMPLE CHORD EXAMPLE WITH CAPO The diagram represents the G chord in the photo. The ‘O’ symbol is an open string, and a circled number is a fretting ﬁnger. Intervals are shown below.. The blue line represents a capo – for this A chord, place it at fret 2. Capos change the fret number ordering – here, the original fret 5 now becomes fret 3, fret 7 now fret 5, etc. MUSICAL STAVE The ﬁve horizontal lines for music notation show note pitches and rhythms and are divided by bar lines. A major scale TAPPING & HARMONICS SCALE EXAMPLE The left box shows an A minor pentatonic scale with added tapped notes signiﬁed by ‘T’s. Above shows a Cmaj9 (no 3rd) with harmonics at the 12th fret. The diagram shows the fret-hand ﬁngering for the A major scale (root notes in black). The photo shows part of the scale being played on the fourth string with ﬁrst, third and fourth ﬁngers. TABBING Under the musical stave, Tab is an aid to show you where to put your ﬁngers on the fretboard. The six horizontal lines represent the six strings on a guitar – the numbers on the strings are fret numbers. The two stave and tab examples show 4 notes and 4 chords; C (C major), Em (E minor), D7 (D dominant 7) and Am7 (A minor 7). GUITAR TECHNIQUES: HOW THEY APPEAR IN WRITTEN MUSIC... PICKING VARIATIONS AND ALTERNATIVES Up and down picking Q The ﬁrst note is to be downpicked and the last note is to be up-picked. Tremolo picking Q Each of the four notes are to be alternate picked (down- & up-picked) very rapidly and continuously. 94 GuitarTechniques September 2013 Palm muting Q Palm mute by resting the edge of picking-hand’s palm on the strings near the bridge. Pick rake Q Drag the pick across the strings shown with a single sweep. Often used to augment a rake’s last note. Appeggiate chord Q Play the notes of the chord by strumming across the relevant strings in the direction of the arrow head. Q Pick 1st note and hammer on with fretting hand for 2nd note. Then pick 3rd note and pull oﬀ for 4th note. Q Rapidly alternate between the two notes indicated in brackets with hammer-ons and pull-oﬀs. Q Pick 1st note and slide to the 2nd note. The last two notes show a slide with the last note being re-picked. Q Sound the notes marked with a square by hammering on/tapping with the frettinghand ﬁngers. Q X markings represent notes muted by the fretting hand when struck by the picking hand. Q Fret the start note (here, the 5th fret) and bend up to the pitch of the bracketed note, before releasing. Q Bend up to the pitch shown in the brackets, then re-pick the note while holding the bent note at the new pitch. Q Bend up from the 5th fret to the pitch of the 7th fret note, then pick it and release to 5th fret note. Q Pick the note and then bend up a quarter tone (a very small amount). Sometimes referred to as blues curl. Q The fretting hand vibrates the note by small bend ups and releases. The last example uses the vibrato bar. Q Pick the note while lightly touching the string directly over the fret indicated. A harmonic results. Q Fret the note as shown, then lightly place the index ﬁnger over ‘x’ fret (AH ‘x’) and pick (with a pick, p or a). Q Fret the note as shown, but dig into the string with the side of the thumb as you sound it with the pick. Q Fret the note as shown, but sound it with a quick righthand tap at the fret shown (TH17) for a harmonic. Q A previously sounded note is touched above the fret marked TCH (eg TCH 9) to sound harmonic. Q The note is picked, then the whammy bar is raised and lowered to the pitches shown in brackets. Q Scoop - depress the bar just before striking the note and release. Doop - lower the bar slightly after picking note. Q Note sustained, then the vib is depressed to slack. Square bracket used if a long-held note has new articulation applied. Q Sound the note and ‘ﬂick’ the tremolo bar with picking hand so it ‘quivers’. Results in a ‘gargling’ sound! Q A capo creates a new nut, so the above example has the guitar’s ‘literal’ 5th fret now as the 3rd fret. Q The edge of the pick is dragged down or up along the lower strings to produce a scraped sound. Q Turn volume control oﬀ, sound note(s) and then turn vol up for a smooth fade in. Called ‘violining’. Q The numbers after the notes are the ﬁngers required to play the fret numbers in the tab below. Q Fingerpicking requirements are shown at the bottom of the tab notation. Q Tap (hammer-on) with a ﬁnger of the picking hand onto the fret marked with a circle. Usually with ‘i’ or ‘m’. September 2013 GuitarTechniques 95 NEXTMONTH THE WORLD’S BEST GUITAR TUITION... EXCLUSIVE FEATURE #1 EXCLUSIVE FEATURE #2 WHAMMY BAR BLUES 10 STEPS TO JAZZ Make your guitar wail! Jon Bishop shows you how to whammy like Jeﬀ Beck, Jimi Hendrix, Joe Satriani, Scott Henderson, and other greats! The ultimate guide Jazz isn’t as diﬃcult as you think. Phil Capone has devised a method to get you up and running in no time. TRANSCRIPTION STAR VIDEO LESSON BEETHOVEN STEVE LUKATHER PT2 Ode To Joy Scoops, doops and gargles Bridget Mermikides arranges and transcribes that triumphant theme from Beethoven’s mighty 9th Symphony. Steve adds to our special whammy bar feature with some of his own vibrato bar secrets. Don’t miss out! TWO BLUES LEGENDS ON ONE BLUES CLASSIC! ALBERT KING & SRV: BORN UNDER A BAD SIGN In 1983 Albert King and Stevie Ray Vaughan joined forces to perform the ultimate version of Albert’s blues classic Born Under A Bad Sign. Now you can learn what both players contributed to this seminal blues recording! THESE GREAT LESSONS A-Z of Theory This month it’s N for Ninth chords, Note values and the Neapolitan scale! 30-Minute Lickbag SUBSCRIPTION & BACK ISSUE ENQUIRIES UK: 0844 848 2852 International Tel: +44 (0) 1604 251045 Email: [email protected] Subscribe online at: www.myfavouritemagazines.com EDITORIAL Editor: Neville Marten, [email protected] Art Editor: Carlton Hibbert, [email protected] Production Editor: Cliﬀ Douse, cliﬀ[email protected] Senior Music Editor: Jason Sidwell, [email protected] Music engraving: Chris Francis CD mastering: Adam Crute CONTRIBUTORS Steve Allsworth, Shaun Baxter, Paul Bielatowicz, Jon Bishop, Martin Cooper, Adam Crute, Cliﬀ Douse, Charlie Griﬃths, Phil Hilborne, Martin Holmes, Simon Lees, Terry Lewis, David Lyttleton, David Mead, Bridget Mermikides, Roger Newell, Jacob Quistgaard, Stuart Ryan, Andy Saphir, Tristan Seume, John Wheatcroft Senior Art Editor: Mark Thomas Group Senior Editor: Julie Tolley Editor-in-Chief: Mick Taylor Group Art Director: Rodney Dive Creative Director: Robin Abbott Editorial Director: Jim Douglas ADVERTISING Advertising Sales Director: Clare Coleman-Straw, [email protected] Advertising Sales Manager: Amanda Burns, [email protected] Account Sales Managers: James L’Esteve, james.l’esteve@futurenet. com; Alison Watson, [email protected] Sales Executive: Simon Rawle, [email protected] MARKETING Head Of Marketing: James Kick Marketing Executive: Sarah Jackson Direct Marketing Executive: Alex Moreton CIRCULATION Head of Trade Marketing: James Whittaker Trade Marketing Manager: Daniel Foley, [email protected] Direct Marketing Executive: Ryan Lewis PRINT & PRODUCTION Production Co-ordinator: Ian Wardle, [email protected] LICENSING Licensing & Syndication Director: Regina Erak, [email protected] FUTURE PUBLISHING LIMITED Managing Director: Andy Rice Group Information Oﬃcer: Stuart Anderton Head Of Music: Rob Last Chief Executive: Mark Wood Future Publishing Ltd, 30 Monmouth St, Bath, BA1 2BW. Tel: +44 (0) 1225 442244 Fax: 01225 732275 Email: [email protected] Printed in the UK by William Gibbons (covers printed by William Gibbons) Distributed in the UK by Seymour Distribution Ltd 2 East Poultry Avenue, London EC1A 9PT. Tel: 0207 429 4000 Licks in the styles of Kurt Cobain, The Eagles, Kenny Burrell and other great players... Member of the Audit Bureau of Circulations. 20,468 Jan-Dec 2012 Play like... T-Bone Walker, Steve Hillage, Brooks & Dunn, Johnny Thunders and more! AND THERE’S MORE... will be happy Your local newsagent ques for you to order Guitar Techni t trip into each month. Save tha fantastic town and get to those and transcriptions, lessons exclusive video classes r! even quicke Contemporary Country, Gospel Acoustic, Creative Rock... So just make sure you don’t miss GT222 October issue! OCTOBER 2013 ISSUE ON SALE FRIDAY 6TH SEPTEMBER Please note: content is subject to change... 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Guitar Techniques 2013 September - 221

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