Transcript
THE FINEST GUITAR LESSONS ON THE pLANET 241 APRIL 2015
20 YEARS OF THE FINEST GUITAR LESSONS
ExCLUSIvE LESSON!
Playing with
FINGERS Ditch your pick and join a host of great guitarists that have turned on to Flesh Tone!
PLUS... Theory questions answered, learn to read music, give your chops a workout, & more! CLASSICAL
MOZART
YOUR ULTIMATE...
COUNTRY WORKOUT
Play Eine Kleine Nachtmusik for solo guitar
Get your country rhythm, lead and hybrid picking chops up to speed with our comprehensive feature
PLAY LIkE
CLASSIC TABBED!
THE WHO Baba O’Riley Learn a classic from Who’s Next - plus Paul Gilbert’s Mr Big guitar intro tabbed!
PAUL WELLER
His mellow acoustic side
BRAD PAISLEY
Scary country-blues licks!
GEORGE HARRISON Post-Beatles era including slide
THE SMALL FACES
Steve Marriott’s bluesy R&B style
ISSUE 241 aprIl 2015
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.
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 credits include Lionel Richie, Gary Barlow, Annie Lennox and Shpongle. He can be seen and heard on numerous tv shows, recordings and film soundtracks.
phil Capone
Phil is a great guitarist who specialises in blues and jazz. He teaches at ICMP in London, writes for GT and Total Guitar and has published 10 top tuition books.
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.
pat heath
BIMM Brighton lecturer, ESP product demonstrator and all-round busy musician, Pat brings you six cool licks each month in 30-Minute Lickbag.
bridget mermikides
Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.
the
finest
guitar tuition you can buy !
Welcome WHEN I LEARNT to play lead I had a cheap acoustic and I’d often lose my only plectrum and have to resort to fingers. I soon developed a method of using thumb and first finger that sounded convincing, but different to the tone that emanated once I’d retrieved my pick from down the side of the sofa. Fingers also allowed me to play things I couldn’t with a bit of plastic. It gave me another string to my bow within my relatively limited style, and it’s great to call on when looking for a softer type of attack, or a particular dynamic to suit a certain song. So successful has it been that a number of great players have copied me and are now doing the same thing themselves (joke, by the way). Jeff Beck, Mark Knopfler, Lindsey Buckingham, John Mayer, Robby Krieger, Hubert Sumlin and a host of others use the technique all the time, or simply bring it to bear when the moment feels right. So Jon Bishop has come up with a feature that focuses on playing lead guitar using flesh only. If you’ve not done this before, do get into it and I guarantee it will add a new dimension to your existing style. While we were in a ‘picking’ frame of mind it prompted
this month’s other big feature - Your Ultimate Country Workout. If you’re a regular reader you’ll know that no style is an island unto itself and that licks from one genre, or techniques generally reserved for that genre, can be succesfully transplanted into others. With that in mind I don’t know of ANY guitarist that wouldn’t want a bit of Chet-style picking, Albert Lee-style pull-offs or Brad Paisley-style machine gun lead in their arsenal. So, even if you’re a rock, blues or jazz player, PLEASE give this one a go as Steve Laney has done the most thorough piece on the subject - both rhythm and lead - we’ve ever seen. It’s not for the faint-hearted, but if you glean just five ideas it will be worth at least the cost of a year’s subscription. A quick note about the main song: The Who’s Baba O’Riley is not their most guitar-heavy track, but it’s one of their best so Steve Allsworth has tabbed Pete Townshend’s synth part for guitar, and also Mr Big’s superb version. Give it a go, have fun and I’ll see you next time.
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
Royal Academy trained, Quist is a superb player who can turn his hand to any number of styles and topics. He’s currently on tour with Bryan Ferry.
stuart ryan
Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs throughout the UK. His latest book/CD ‘The Tradition’ is available 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).
April 2015 GuitarTechniques 3
• C ON T E N T S • a pr il 201 5 •
Learning Zone lessons introduction
55
30-minute lickbag
56
Music editor Jason Sidwell muses over this month’s full-as-ever lessons section. BIMM’s Pat Heath with six new licks to try.
blues
58
rock
62
video
66
creative rock
72
cHops sHop
78
britisH r&b
80
jazz
86
acoustic
92
music reading
96
John Wheatcroft looks at the bluesier side of country picking wizard, Brad Paisley.
Martin Cooper focuses on George Harrison’s post-Beatles playing style, including slide.
Carl Verheyen astounds us with his ability to navigate the neck - luckily he shares his secrets.
Shaun Baxter shows how to move ‘cell shapes’ conveniently up and down the fingerboard. Andy Saphir shows how string skipping can make you sound a whole lot classier.
Phil Capone examines a band that was way ahead of its time - Steve Marriott’s Small Faces. Pete Callard examines Mike Stern’s straighter jazz side in this second in a two-part series.
CoVer FeaTUre play lead with fingers 14
Stuart Ryan reveals the gentler, acoustic side of revered singer-songwiter-guitarist, Paul Weller.
Many of the greatest players have chosen to ditch the pick in favour of the more organic tone of flesh. Jon Bishop says you can too!
Charlie Griffiths on the use of ornaments.
FeaTUreS
welcome
trAnSCrIPtIon #1 tHe wHo Baba O’Riley
ViDeo MaSTerCLaSS
rEGuLAr fEAturES 3
Nev gives this month’s issue the finger(s)!
26
No Teenage Wasteland here as Steve Allsworth not only tabs out the full Who version but also Paul Gilbert’s amazing ‘synth intro on guitar’.
talkback
7
tHeory godmotHer
9
Go on, get on your high horse...
66
David Mead answers your theory queries.
intro
10
subscriptions
71
back issues
91
Includes Phil’s One-Minute Lick, 60 Seconds With, Mitch’s Session Shenanigans and more.
SPECIAL fEAturE ultimate country workout Nashville here we come! 34
Save time and money – get GT delivered!
Steve Laney’s comprehensive study will give you all the chops you need to survive the most stressful country gig or recording session.
Check out what you missed and how to get it!
trAnSCrIPtIon #2
New guitar CDs and DVDs reviewed and rated by our very own Roger Newell.
mozart Eine Kleine Nachtmusik
carl verHeyen part 2 Check out Carl’s totally improvised piece on video - and prepare to be amazed!
albums next montH
48
Fancy a little night music? Bridget Mermikides has arranged and tabbed one of Mozart’s most famous and best loved pieces for you to play.
95 98
We have something for every guitar player including 25 Greatest Blues Licks Of All Time, 10 Rock’n’Roll Rhythms, Queen’s Now I’m Here tabbed; plus Rory Gallagher, Santana, The Hollies & The Doors and much, much more!
April 2015 GuitarTechniques 5
Write to: Guitar Techniques, 30 Monmouth Street, Bath BA1 2BW. Email:
[email protected] using the header ‘Talkback’. PERFORMANCE ISSUES
I enjoyed your editorial in the Feb issue about the organisation and techniques for live performance. Recently I’ve returned to playing solo acoustic instrumental sets local venues. This got me thinking more about preparing and performing live, particularly when as a solo performer you feel even more under the spotlight. A recent gig at a wine bar with 150 people was a big deal for me and made me focus on how I prepare and practice in advance, and deal with the performance on the night. This made me consider various areas (level of practice, extent of improvisation, choice of set, audience contact etc) which I dealt with in my own way, and led to an enjoyable night. However, how do the professionals deal with this whole area. Your editorial prompted me to think it would be great to have an article (even a periodic feature) on the psychology of taking your techniques from the bedroom into the live arena. Paul Hill
someone so eminently qualified. I’m sure our injured readers will take heed.
A DECENT LEAD TONE?
I am a long-time guitar player (55 years) and a long time ER doctor (40 years). Regarding rehab (GT239/240); my view is that you can’t get meaningful advice this way, it has to be face-to-face with a good history and physical done. However, find a physical therapist specialising in hand and wrist recovery, follow their advice and be patient - a combination of time, patience, hard work that is professionally advised, can accomplish unimaginable things! Jon Mustonen
Last night I gigged at a venue with a low ceiling and lots of hard surfaces. When I engaged the pedal I use for soloing it fed back instantly. I turned off all reverb and had no delay, but unless it was set on zero gain and no volume boost, I couldn’t use it. This is a typical problem faced by guitarists. Another problem is the lead sound disappearing into the mix. I tried out an amp in a shop many years ago and was so impressed I bought it there and then. I took this new amp to my next gig and whenever I started soloing I couldn’t be heard: I tried turning up the volume, boosting the mids, turning up the rhythm channel instead of using the lead channel. Nothing worked. I used this amp at a recording session and it was great but I couldn’t use it live. Why did the sound cut through in the studio but not on stage? How about an article on how to respond to these typical types of issues? Also, different ways to set up effects: for example, if using the distortion channel on a twochannel amp (a JCM900), what’s a good way to make a lead sound? I currently just use my distortion pedals to boost the signal on top of the amp’s dirty channel, but sometimes it feeds back and is noisy. I have in the past just left the amp on the clean channel and used pedals for rhythm and lead sounds but the amp’s distortion channel sounds better for rhythm. Is there a better way? I’ve owned different systems ranging from racks to plug in and play, but problems like this can occur regardless. You may one week play open air and the next you’re in a poky little bar and your set-up sounds completely different. My pedal board doesn’t include a compressor, buffer or EQ; could one of those solve these issues? So how about an article on sound and set-ups for working guitarists? In the meantime can you answers the above questions? Roderickdav
Thanks, Jon. I kind of said that in my long-winded way (and that a music magazine has no place giving medical advice!). But it’s great coming from
This is a huge question. First, even with the best gear on the planet, you’ll get a different sound from gig to gig; that’s the nature of sound, not the nature of
We’ve thought a lot about that, Paul. The thing is, whenever we try it we always come back to the fact that we are a magazine about playing music and we should really retain all the space for that. Yes, of course one’s state of preparation in all areas is key to playing that music live, but articles like this inevitably get pushed to the back. I will have another think, though, as a while back we received an offer from a specialist in performance anxiety, to do just such a thing.
A DOCTOR’S ADVICE
Tone: is it a bottomless pit of woe for guitarists?
gear. That’s what your EQ is for – to tweak a hard-edged room softer; or add presence to a room full of carpets and cushions – and people! My first port of call would be to make sure your amp has enough headroom: what might deafen you in a shop could be killed once the drummer and bassist kick in, in a proper live situation. Secondly, lay back on the distortion: by its nature distortion removes definition, but also often removes middle and adds bass and treble; these can be wiped out by bass guitar, keyboards, hi-hat and cymbals, whereas the middle frequencies are where good guitar tone lies and where those other instruments don’t excel. Most guitarists imagine great rock tones are all about distortion, but listen to EVH or Hendrix and you’ll be surprised at how clean their tones mostly are. So I would always start with the cleanest sound you can get away with and work up, not the other way around. Many GT tutors swear by compressors, so that might be a way to help your sound punch through the live mix. This is the kind of series that Guitarist would do brilliantly – so I’ll talk to the editor and suggest it!
NOT TOO MUCh BLUES! I was just going to write you an email telling you how much I enjoyed GT236, Blues Workout, when I got my February issue and read the Talk Back letter titled Too Much Blues. Though it’s shockingly hard to understand, I guess not everyone loves the blues as much as I do. I found the GT236 issue incredibly valuable. My band plays a couple gigs a month (we’re in the Seattle, Washington area) and I try to find a way to integrate all that I’ve learned about the blues into whatever song we’re playing. I love Guitar Techniques and only hope you’ll continue to cover as much blues-related material as possible. I couldn’t disagree with Mr. Wilkins more - no, we HAVEN’T had enough! Ken Craig Ha-ha! Thanks, Craig. As I keep saying, we try to balance the styles but blues keeps dong best on the news stand and so we use it on the cover to sell issues. But if non-blues-lovers open the mag they will find loads of stuff in other genres. And I mean loads!
April 2015 GuitarTechniques 7
Q&A
Theory Godmother Post your playing posers and technical teasers to: Theory Godmother, Guitar Techniques, 30 Monmouth Street, Bath, BA1 2BW; or email me at
[email protected] - every wish is your Godmother’s command! Root Of The Problem Dear Theory Godmother
I am trying to learn and practise scales. The problem is how am I supposed to practise them in different keys? I’m told all you need to do is find the root notes, but it isn’t that simple is it? Any advice would be greatly appreciated. Louis When you first start out practising the scales in different keys it can seem a little bewildering. But there is a system and, once you’ve mastered it, you’ll find it becomes easier and easier to traverse from one key to another. The first thing you need is a chart of the guitar neck that shows you where all the notes are. I’ve provided one in Ex 1, but it would be better if you copy it out onto a large sheet of paper and hang it somewhere that you’ll see every day. Don’t worry about the sharps and flats for now; it makes things a lot clearer if you notate only the ‘whole notes’ and remember that ‘sharp’ means one fret to the right and ‘flat’ means one fret to the left as you view the fretboard from the playing position. Next, I’m assuming that you have a book detailing the scales you want to learn and I’m hoping that, in all instances, the root notes are clearly marked. Then, all you have to do is take a scale pattern, locate the relevant root and play it. To begin with, you’ll have to perform this task slowly and methodically, but as you get more used to the system you’ll find that matching up a scale with any particular root note takes no time at all. In Ex 2 I’ve written out a couple of examples of scale diagrams with the root marked; one major scale, the other minor. If I wanted to play the major scale example in the key of B, all I have to do is find a B on the sixth string – at the 7th fret – match it to the root and play the shape in the diagram. It’s very important that you begin on the root, as I’ve outlined in Ex 3. Even if there are a few ‘spare’ notes at either end of the scale, always begin and end on the root note as this will go a long way towards tuning your ear into the correct sound of each scale
EXAMPLES 1 - 6 Ex 1
Ex 2
Ex 2 Xxxxxxxxxxxx Ex 3 Xxxxxxxxxxxx Ex 4 Xxxxxxxxxxxx Theory Godmother - David Mead
GUITAR TECHNIQUES MAGAZINE 2 4 1 Natural Minor Ex 33 DDNatural MinorScale Scale
œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ . œ .. b œ œ œ œ œ œ & 4 . œ œ œ œ œ œ œ œ œ œ
E B G D A E
. .
1 2 b 3 4 5 b 6 b7 1 D E F G A Bb C D 5
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Ex 4
Economic Sanctions Dear Theory Godmother
I gave up the idea of ever becoming a flashy lead player a long time ago. I can pull off a reasonable solo as long as it’s short, sweet and fairly slow but anything else is virtually out of the question. So I’m turning my attention to rhythm, my goal being that I can one day join a band and play a useful role as a solid accompanist. The trouble I’m having is translating the chords I see in songbooks into something that sounds right. If I play whole barre chords in some rock songs, it just sounds wrong, too crowded and not at all like the record. I know that rhythm players often play reduced versions of chords, but how do I know how much is enough? How economical can you be with a chord and still get the point across? Jed
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Ex 5
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Ex 6
You can be amazingly economical with chord voicings, Jed. The basic major or minor chord comprises only three notes so it’s feasible to break the fuller chord shapes on the guitar neck down to root, 3rd and 5th (Ex 4). You can even go with root and 5th or root and 3rd. Dominant 7ths can be pruned down to essentials, as in Ex 5 where we’re only playing the 7th, 3rd and 5th. Get a chord book to see where the intervals fall within the various shapes, then try trimming them down and playing them in different songs to see if they sound more like what you’re hearing on records. And get transcriptions of rhythm parts so you can see specifically what different players do to trim their chords down.
Jazz Nines
Dear Theory Godmother I have been playing guitar for a few years and can play open and barre
chords successfully and with relative ease. I am now trying to move into jazz and add 9ths but, apart from the dominant 9th shape, I find the major 9th and minor 9th such a finger-twister that I can’t get to either fast enough. I know practice makes perfect, but can you tell me if there is an easier, finger-happy configuration to play major and minor ninths? Andrew Of the chord shapes you sent me (see Ex 6) the major version is a bit of a handful, but the minor shape is quite common and shouldn’t be causing you too much of a problem. Regarding the minor 9 chord, a lot of players leave out the two lower bass strings and just play the top four strings as a barre with the 9th played by the fourth finger. It’s a lot easier and, in context with bass and even keys, no one will hear any difference.
April 2015 GuitarTechniques 9
60Seconds with...
• Gu i ta r t e ch n iqu e s • a Pr iL 201 5 •
MIKE PRIOR
We ask a famous guitarist all those little questions you really do want the answers to. This month, ex-Procol Harum and solo blues-rock guitar legend, RobIn TRoWeR. GT: Do you have a type of pick that you can’t live without? rt: ernie Ball medium. GT: If you had to give up all your pedals except three, which ones would they be? rt: that would be my Fulltone rtO (my signature overdrive), Fat Boost, and Deja Vibe. GT: Do you play another instrument well enough to do so in a band? rt: not really. GT: If a music chart were put in front of you, could you read it? rt: not a note! GT: Do you believe that guitar cables really make a difference? What make are yours? rt: not sure if they do but i use Fulltone cables. GT: Is there anyone’s playing (past or present) that you’re slightly jealous of? rt: i would not say i’m jealous, but i do love the playing of albert King and Jimi hendrix. GT: Your house or studio is burning down: is there one particular guitar you would save? rt: the two latest signature models received from Fender. GT: What’s your favourite amp and how do you set it? rt: Marshall 1987X GT: What kind of action do you have on your guitars? rt: i use a quite high action but tune down a whole step. GT: What strings do you use? rt: e Ball 12-15-17-26-36-48 – heavy on the top for better tone. GT: Who was your first influence to play the guitar? rt: scotty Moore. GT: What was the first guitar you really lusted after? rt: a strat. GT: What was the single best gig you ever did… rt: Winterland, in san Francisco in 1974 GT: …and your worst playing nightmare? rt: Playing to an empty room!
10 GuitarTechniques April 2015
Jam tracks tips Use these tips to navigate our bonus backing tracks. 1. Blues Shuffle in G Here’s an uptempo 24-bar blues shuffle in G to get you started. For scales, consider using G minor Pentatonic (G-Bb-C-D-F), G minor blues (G-Bb-C-C#-D-F) as well as G Dorian mode (G-A-Bb-C-D-E-F) and G Mixolydian mode (G-A-B-C-DE-F). Of course knowing and outlining the arpeggios for this basic I-IV-V (G7-C7-D7) blues is more than helpful too! 2. F Dorian Funky Rock Jam This is a specifically F Dorian mode two-chord vamp (Fm-Bb), which means if you were to play a seven-note scale on this, F Dorian is your top choice (F-G-Ab-Bb-C-DEb). Of course you can also stick with F minor Pentatonic (F-Ab-BbC-Eb) and even add the ‘blue note’ B to make it the F Blues scale for extra bluesy colouring. 3. Lydian Grooving (A) Here’s a groove-based A Lydian mode track, which you can use to get your Zappa/Vai/Satriani licks out! It features a basic two-chord vamp, which alternates between the chords A and B/A. A Lydian mode consists of the notes A-B-C#-D#-E-F#-and-G#.
Robin Trower: one of our great blues guitarists
GT: What’s the most important musical lesson you ever learnt, and can you share it with us? rt: to never try to learn other players’ licks. GT: Do you still practise? rt: i try to play every day if i can. GT: Do you have a pre-gig warm-up routine? rt: i always play for 15-20 minutes before a gig. GT: If you could put together a fantasy band with you in it, who would the other players be? rt: i would have loved to play with James Brown. GT: Is there a solo by another guitar player that you really wish you had played?
rt: crosscut saw by albert King GT: What’s the solo or song of your own of which you’re most proud? rt: have not recorded that yet. GT: What would you most like to be remembered for? rt: For being a soulful musician. Robin Trower’s new album, Something’s About To Change is released by Manhaton Records on March 9th. He tours the UK from March 26th to April 17th with special guest artiste Joanne Shaw Taylor. 24 hour box office: 0844 478 0898 or book tickets online from www.thegigcartel. com. Further information: www.trowerpower.com.
4. Medium Swing Jazz Blues (G) This is a jazz blues in G and although you can attack it from a basic blues perspective mixing the G major Pentatonic (G-A-B-D-E) and the G minor Pentatonic (G-Bb-CD-F), you can also arpeggiate your way around the chords – effectively bringing out more of the colour inherent in this brilliant progression. This is especially handy when dealing with bar 6 (C# dim chord, arp = C#-E-G-Bb) and bar 8 (E7 chord, arp = E-G#-B-D) of the 12-bar progression. Created for you by Jacob Quistgaard. For free scale maps and hundreds more tracks, visit www.quistorama. com. Also subscribe to www.youtube. com/QuistTV to get all the latest free jam tracks and licks!
Dances From A Small Island
Mitch Dalton’s
after a week of rehearsals in London’s deeply untrendy Kings cross industrial estate, the strictly come Dancing tour tangos out of town. Four continuous weeks of sell-out arena gigs, culminating in six shows in London (two at Wembley arena; four at the O2 arena). Make no mistake, this is a proper tour. any band would kill to make it this big. By the time we hit the billowing pillows of the canary Wharf Marriott hotel on the last night, we will have played to nearly 200,000 foxtrot fanatics. We perform the opening waltz of this Ballroom Bonanza in Birmingham, at the national indoor arena for a week of full company rehearsals and then five performances. sixteen trucks, four crew buses and two artiste coaches disgorge their contents into the giant Brummie shed that describes this passable imitation of all the other giant sheds that we will visit for the next month. somewhere in the midst of this terrifying scene of half-erected scaffolding, lighting, cameras, hard hats and shouting, is the primordial outline of a stage. and on that stage my five instruments, flight-cased amp and accessories await me. i proceed to set up amid the chaos. it’s a tad laborious but i
Our hero finds himself on 31-date, major arena jaunt. Playing second guitar in a reformed Led Zeppelin? Helping out The Stones? McCartney? Elton? U2? Nothing so passé, dear... it’s the Strictly Come Dancing Tour!
have learned from experience that it will get easier with repetition. and repetition there will most certainly be. thirty-one bits of repetition.
Sixteen trucks, four crew buses and two artiste coaches disgorge their contents into a giant Brummie shed. For those that have quickstepped their way thus far, i send three separate feeds to the sound desk. a simple microphone suffices to waft my banjo stylings to an unsuspecting world for
if You could see Me now. a Di box receives a jack input from both my electro-acoustic and electro-classical guitars. i interface a volume pedal between it and them, thereby allowing me to use one jack plug to switch between both instruments without detonating unwanted acoustic explosions throughout the arena. it seems to be appreciated by the sound chaps, who even provide me with a cute mini foldback wedge to monitor my efforts. the third feed is from my miked up Mesa-Boogie amp, through which i play my heavily modified clapton strat (or upper clapton strat, as this former hackney boy refers to it) and Gibson L-4. in between is my
pedal board, containing the usual stuff. compressor, overdrive (Fulltone OcD), a rather nice retro Boss Digital Dimension pedal in lieu of chorus, a noise gate and a combined delay and reverb. another volume control sits at the end of the chain. it’s all rather retro. however, the computery, digital fun is all around. We listen on headphones to click tracks for all the dances. the clicks are ‘mapped’ for each dance arrangement. that way the dancers get to hear the music exactly as they wish to perform to it. and means that there can be no complaints. it’s the same every night. the fact that i start to doubt if i will actually play in time ever again is but a small price to pay. at the conclusion of our stay in each of Britain’s mostly northern cities we pack down the gear. this consists of a speeded-up backwards movie version of the set-up, as the stage is invaded by dozens of locally hired crew. i disassemble the gear as if my life depends on it (which it almost certainly does) and flee the vicinity to the soundtrack of apocalypse now. Within an astonishingly few minutes the entire staging has been reduced to its component parts. i slip out of my fetching black suit and matching accessories and head for the artiste bus. there’s no Business Like show Business... Which is the last tune of the night. every night.
PHIL HILBORNE’S ONE-MINUTE LICK NON-DIaTONIC aRPEggIO IDEa Emerson use similar ideas. It works well because you can There are often situations in music when you are not still hear a logical progression of arpeggios. I have used a playing over any chords at all – just a single pedal bass mixture of ‘mini sweeps’, legato and slides – all the fingering note. This particularly applies to a bass, drums, guitar lineand picking directions are given. However, feel free to up. When this occurs – or also when you are composing – you don’t have to slavishly follow strict harmonic guidelines, experiment with your own chosen articulations and don’t forget to compose other similar ideas of your own invention rules and schemes. This month’s lick is a great example of using as much variety in terms of scale choice, rhythms this. Here I have harmonised E Natural minor (E-F#-G-Aand techniques as you can think of. Bear in mind that some B-C-D), but with every note as a major chord as opposed to GUITARusual TECHNIQUES MAGAZINE 2 4 1 ONE scheme. MINUTE LICK bynot Phil Hilborne scales-will work so well using this approach – but you the more Em-F#dim-G-Am-Bm-C-D ‘diatonic’ NON DIATONIC ARPEGGIO can have a LICK lot of fun experimenting. This is an interesting sound, and keyboardists like Keith
#
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≤ ≤ ≥ April 2015 GuitarTechniques 11
That Was The Year... Presley, Cremona and Kit Kat hARMoNy’S cReMoNA AcouSTic RANGe gets a major overhaul with several new models being introduced; from the H1263 Grand Concert version to the top of the range H1307 Cremona VII with its distinctive Wine Red Shaded carved spruce top, herringbone top trim, flamed maple back and sides. The neck has a soft-V profile, pearl inlays and a racing stripe on the fingerboard. During wartime the whole range is modified with the tuners and tailpiece quality downgraded due to metal shortages, but it remains a great series of guitars. iN ceLeBRATioN oF KiNG GeoRGe v’s Silver Jubilee the London North Eastern Railway introduces the Silver Jubilee streamliner service between Kings Cross and Newcastle-Upon-Tyne, employing Nigel Gresley’s LNER Class A4 steam locomotives. The driving test is made compulsory, populated areas are given a 30 mph speed limit for the first time and ‘cat’s eyes’ are introduced on British roads. The FiRST DeMoNSTRATioN oF RADAR takes place in Daventry conducted by Robert Watson-Watt; the new steelworks at Corby begins production; and the Hawker Hurricane fighter performs its maiden flight. Designed in the International style the De La Warr Pavilion opens in Bexhill-On-Sea; Penguin Books publishes paperbacks for the first time; and Rowntree produces its Chocolate Crisp bar soon to be renamed Kit Kat. New TADpoLeS iN The poND include Elvis Presley, Jerry Lee Lewis, Alex Harvey, Gene Vincent, Luciano Pavarotti, Barry McGuire, Sonny Bono, Herb Alpert, Dudley Moore, Ronnie Hawkins, Jim Dale, John Phillips (Mamas & The Papas), Johnny Mathis, Julie Andrews, television presenter Simon Dee, Rod Hull (and Emu?) and actors Donald Sutherland, Woody Allen and Doug McClure. Leaving the pond is The Sorcerer’s Apprentice composer Paul Dukas. GiBSoN’S ‘New MoDeLS’ BRochuRe reveals the new Super 400 archtop guitar, and in true Gibson fashion it’s named after its sale price of $400. This is a truly staggering price during these times of depression. No flat-tops are included in the brochure but the small L-30 archtop is now presented with a highly striking all-black finish.
epiphoNe iNTRoDuceS The MiGhTy eMpeRoR acoustic archtop to take on its main rival for jazz guitar supremecy Gibson, over in Kalamazoo. It features a carved spruce top, maple back and sides, carved back and multi-bound body. The maple neck has a 20-fret bound ebony fretboard, split block pearl inlays, a bound headstock with a pearl vine logo inlay and gold tuners. The guitar also has a raised bound tortoiseshell scratchplate, an adjustable ebony bridge and an engraved trapeze tailpiece. The finish is Cremona Brown Sunburst.
12 GuitarTechniques April 2015
a lot of exciting new gear has been shown for the first time at this year’s naMM show in anaheim, including Fender’s highly-awaited hot rod DeVille ML. Designed in conjunction with Michael Landau himself, the new ML model is based on the Fender hot rod DeVille iii, with tube circuitry and 60-watt output, two 12” speakers, spring reverb and an effects loop. the ML version ups the ante by incorporating volume-switching and boost capabilities. Visit www. fender.com for further details. those craving the warmth of old tape echoes can now buy the real
thing in the form of t-rex’s new replicator, which boasts an extra tough proprietary cassette, two playback heads, chorus, plus tap-tempo and expression-pedal control! Visit www.t-rex-effects. com for more. and ehX have introduced cool new pedals including: super Pulsar, a state of he art tremolo with powerful controls; Octavix, for that late 60s fuzzed-out, octave up sound with great modern enhancements; and Good Vibes, a uni-Vibe-alike, blending chorus and vibrato into one little box. Visit www.ehx.com for more.
See Satch play in november!
(drums, percussion). the dates are: Manchester O2 apollo (sunday nov 1); Birmingham symphony hall (Monday nov 2); Glasgow royal concert hall (tuesday nov 3); sheffield city hall (Wednesday nov 4); cardiff st. David’s hall (thursday nov 5); southend cliffs Pavilion (saturday nov 7); Bristol colston hall (sunday nov 8); Portsmouth Guildhall (Monday nov 9); and London eventim apollo (tuesday nov 10). Don’t miss it!
Joe satriani has announced his ‘shockwave uK tour’ which will take in nine dates from 1st november 2015 to promote Joe’s next studio album. a ticket pre-sale has commenced via the 24hr Box Office: 0844 888 991 and www.ticketline. co.uk/joe-satriani. Joe’s band comprises Bryan Beller (bass), Mike Keneally (keyboards, guitars) and Marco Minneman
HOT FOR TEaCHER yOUR RgT TUTOR NAMe: Jo Harlow TowN: Maidstone, Kent STyLeS: Jazz, rock, pop, soul, blues, folk, Latin jazz, classical SpeciALiTy: Chordal playing, chord-on-melody, fingerstyle, singing and playing QuALiFicATioN: BA (Hons) LeveLS: Beginner to advanced, RGT grades if desired SiGhTReADiNG: Reading taught chARGeS: £30 per hour SpeciAL: Can travel out to students; materials provided (music paper, plectrums, leads), string changes TeL: 01732 490824 eMAiL:
[email protected]
JON LUINI
BRiTAiN iS coNceRNeD by the German re-armament and the country’s introduction of conscription, so the government responds with plans to increase the size of the Royal Air Force. Somewhat surprisingly, Britain comes to an agreement with Germany that allows it to increase its navy.
new gear unveiled at nAMM 2015!
play: fingerstyle
ON THE CD
TraCk 4-7
Play lead with your fingers! Jon Bishop shows how you can boost your soloing potential with 10 examples inspired by some of the greatest fingerstyle lead guitarists of all time. ABILITY RATING
moderate Info
WIll Improve your
Key: Various Tempo: Various CD: TRACKS 4-7
Fingerstyle technique Lead feel and phrasing Expression and tone
The phrase ‘The tone is all in the fingers’ is particularly relevant to this month’s feature. The flesh and nails of your picking-hand fingers are full of great tone and can make the plectrum sound bland by comparison. The fingers also have great dexterity, and are handy for playing ideas on adjacent strings and also ideas that require string skipping. In contrast the plectrum is perfect for playing fast tremolo picking ideas and also provides a uniform attack. Many players have combined the plectrum and remaining fingers to great effect (referred to as hybrid picking and you’ll find a bunch of it in Steve Laney’s Country Workout feature). Holding the plectrum puts the first finger and thumb out of action, so while hybrid picking is more versatile than pick alone, dexterity is still reduced when compared to pure fingerstyle. Another popular route is the use of a thumb pick. The thumb pick clips onto the thumb and therefore doesn’t require holding, thus maintaining full fingerstyle dexterity. The thumb pick ads definition to bass notes and is popular with country and acoustic fingerstyle players. Electric guitar players like Mark Knopfler and Jeff Beck have made a career out of
playing lead with the fingers exclusively. Jeff favours a combination of down picking with the thumb for a fat tone and plucking with the fingers, which is all topped off with his expert manipulation of the whammy bar and volume controls. Mark plays lead lines by plucking the strings with the thumb, first and second fingers, with the remaining digits acting as an
If you are new to playing electric lead guitar with the fingerstyle technique, why not use this feature as an excuse to give it a go? anchor on the pickguard. This technique is as unique as it is unconventional, but you can’t argue with the results! Other players such as Joe Pass, Eric Clapton, George Benson and Ritchie Kotzen dip into the fingerstyle approach as required. Jazz legends Wes Montgomery and Jim Mullen use the flesh of the thumb exclusively to brush the strings with fabulous effect. Whatever your style, it’s hard to ignore the wonder of utilising the fingers for lead guitar playing. This feature aims to identify some core techniques and ideas that you can then use in your lead work. For notation purposes the picking hand thumb and first three fingers are labelled as p, i, m and a. The fourth finger (c) is rarely used due to its relative weakness, and most applications can be covered with the thumb and three fingers approach. For this piece you
will just need to know p = thumb, i = first finger, m = second finger and a = third finger. The ten examples are in a variety of keys, styles and tempos and have been written to highlight a specific technique or famous player’s approach. The idea here is to practice these examples at a slow tempo at first and then work up to the performance tempo. A separate backing track has been provided for Examples 1 to 5 and Examples 6 to 10 so you can play along and practise your new skills. There’s also a full piece to learn, complete with its own backing track to play it over. If you are new to playing lead guitar with fingerstyle, why not use this feature as an excuse to give it a go. You may simply want to use the technique occasionally, for a specific sound or feel; or, as happened with Jeff Beck, it could change the way you play forever!
Get the tone 6
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A variety of guitars, pickup selections and pedals were used to perform our examples and all the settings have been notated in the tab. The Jam solo was recorded with a light, blues overdrive and a hint of slap-back delay. To get the sound with your own rig simply follow these directions, as they will provide a good starting point for your own efforts. The main ingredient of all the tones is of course the use of fingerstyle.
TRACK RECORD Jeff Beck’s acclaimed album Guitar Shop (1989) contains a fine selection of famous ‘fingers only’ guitar playing, and also showcases Jeff’s innovative use of harmonics, gargles and the whammy bar. If you are looking for a fine selection of Mark Knopfler guitar moments why not try the compilation Sultans Of Swing, The Very Best Of Dire Straits (1998).
14 GuitarTechniques April 2015
TIM MOSENFELDER / GETTY IMAGES
Play lead with your fingers!
Mark Knopfler: using fingerstyle on his Schecter T-type
April 2015 GuitarTechniques 15
play: fingerstyle
ON THE CD
TraCk 4-7
ExAMPlE 1 Mark knopfler Style part 1
TRACK 4
Mark Knopfler is one of the best known, exclusively fingerstyle electric guitar so it juts across, adjacent to the strings with the two fingers curled up and players and we have devoted two examples to him. The first focuses on ready. Anchoring the remaining two fingers on the pickguard gives a point of GUITAR TECHNIQUES MAGAZINE 2 4 1 Mark’s early Dire Straits lead style, which combined a snappy clean toneFINGERS and reference LEAD WITH Ex 1 - 5for the hand and helps with control. All picking directions have been use of the thumb and first two fingers. Position your picking hand thumb notated so use them and play the example through slowly a few times. Example 1 - Mark Knopfler Style part 1
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16 GuitarTechniques April 2015
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April 2015 GuitarTechniques 17
play: fingerstyle
ON THE CD
TraCk 4-7
3 ExAMPlE 4 eric clapton Style ...CONTINUED
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/ ' œ œ œ TRACK 4 √8jG5b7 BU ' / 5 œ œ œ to( 9ab) œ 7 to5pluck ( 9 )was hugely influential œ œ guitar 7 the strings 5 7almost exclusively. 5 œ Freddie King is a bblues guitar master and his style But the tone ofb Freddie’s ~~~ 4 guitarists, most∑notably Mr Clapton. Freddie used would œ be sharper 7 b b band œ because Œ7 of the pick, a lotwhile whole host& of blues of his tonal bite was courtesy of b b rock 4 7 a metal thumb pick to augment his tone and used the thumb and first finger snappy first finger plucking as used here. 3 and middle pickup PB PB ƒ Bridge w/fingers with light overdrive 14 14 Example 5 - Freddie King Style
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18 GuitarTechniques April 2015
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Play lead with your fingers! ExAMPlE 6 WeS MontGoMery
TRACK 5
Wes hadGUITAR a unique approach to MAGAZINE playing the guitar octaves. Brush the strings with the flesh off your thumb, and use fretting hand TECHNIQUES 2 4 1 and the results he achieved Jon hand Bishop's were simply mind blowing. Wes used the thumb of his picking almostLEAD WITH mutingFINGERS to keep the octaves clean. Play the eighth notes with down strums, 6 - 10 use of exclusively to pluck the notes. This example showcases hisExx trademark and the fast passages with a combination of down and up strums. Example 6 - Wes Montgomery
©»¡¡• 4 ∑ & 4 6 - Wes Montgomery Example ©»¡¡• Latin Count in 4 ∑ &4
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©»¡¡º j 2 œ œ 4 # œ œœ # # œœ œœ ‰ & 47 - Joe Pass ∑ Example œ œ œ Drum break maj7 B maj7 C maj7 ©»¡¡º Swing 2 With fingers CF Neck pickup with j tone control on 4 œ œ 4 # œ ∑ œœ5 # # œœ4 œœ5 ‰ &4 œ45 œ34 œ45 Drum break 3 Neck2pickup 3with With fingers F tone control on 4 12
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Pass and without the pick. This example uses a I-VIm-IIm-V progression in the key of C (C-Am-Dm-G). These chords can
E B G D A E
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E 12 12 X B 13 Example 7 - Joe Pass G 9 9 X D 10 A E an incredibleSwing was guitarist, both with 7
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Am j œ œ j œ Jon Bishop's œ LEAD WITH FINGERS Exx Ó ‰ 6œœ - 10œ œ œ œ Œ Ó Am j Neck pickup with j F œ œStrumœ with thumb tone control on 4 œ Ó ‰ œœ 10œ œ8 œ 12œ Œ Ó 9 5 9 7 7 with Neck pickup Strum with thumb F tone control on 4
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April 2015 GuitarTechniques 19
play: fingerstyle
ON THE CD
TraCk 4-7
2 xxxxxxxxxx ExAMPlE 7 Joe paSS ...CONTINUED
11 10
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E B 13 13 11 G 11 Style 10 Example 811 - Brian May D 10 10 9 A E 10 Cmaj9 10 9 May6 is famed for his use of a silver
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j string œp withi œthe flesh of the first finger over theœjfretboard. œ Brian has used this m techniquea on many tracks including the outro solo of Bohemian Rhapsody.
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Brian sixpence for a pick but he also used with first finger i m p p the first finger of the picking hand for a mellower lead tone. Try brushing the Bridge pickup w/overdrive Pluck over Fretboard & delay with first finger
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ExAMPlE 9 ritchie kotzen 3
TRACK 5
Richie Kotzen is a great hybrid picker and used to combine the fingers and a plectrum to great effect. Nowadays Ritchie seems to have gone for the full Example 9 - Ritchie Kotzen
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E5 20 GuitarTechniques April 2015
œ ~~~
fingerstyle approach for most occasions. This example is augmented with wah-wah and is fairly easy to play, but it cashes in on the tone of the fingers.
3
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ExAMPlE 9 ritchie kotzen ...CONTINUED
9 10 12 9
11 9
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~~~ 16 17
TRACK 5
9
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14
Hold RP BU BD BU bend BD 12 ( ) ( ) ( ) ( ) 12 14 12 14 14 (12 ) 10
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11
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ExAMPlE 10 GeorGe BenSon
TRACK 5
George Benson is another player who is incredible both with and without 4 xxxxxxxxxx the pick. This example showcases some classic, Benson style chords and then Example 10 - George Benson Style
©»¡™º Latin #4 ∑ & 4
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some typical lead lines. The lead lines combine the F# minor, C# minor and B minor Pentatonic scales.
14 12 12 12
17 15 14 14
19 17 16 16
18 16 15 15
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April 2015 GuitarTechniques 21
play: fingerstyle
ON THE CD
TraCk 4-7
ExAMPlE 11 final JaM
TRACK 6
[General] For the final jam we have chosen a 12-bar blues in A as a familiar the start of the backing track. The key signature is 12/8, which means there canvas to try out some of our fingerstyle lead ideas. The tone and dexterity of are 12 quavers and these are grouped in four lots of three (3+3+3+3). This key the fingers is great for electricMAGAZINE blues playing signature often makes the notation look more complex than it is, so have a GUITAR TECHNIQUES 2 4- 1you might become addicted! LEAD WITH FINGERS [Bars 1 -14] There is a long two-bar count in to give you time to get ready for good listen to the demonstration solo before diving in.
JAM
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j œ
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22 GuitarTechniques April 2015
5
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8 5
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BU 8 5
7 (9 )
5
5
8 5
7 ( 9) 7
'
1/4
5
Play lead with your fingers! ExAMPlE 11 final JaM ...CONTINUED
TRACK 6
[Bars 15 to end] In the second chorus the intensity builds, so really dig in with the fingers. Getting under the strings makes them ‘pop’ a little and this sounds particularly effective on the low strings. As ever, branch off and create your own solo once you have digested some of these licks and phrases.
The first chorus uses a mixture of BB King and Eric Clapton style phrases, all played with the fingers. We haven’t notated the exact fingers to use for the picking, as this solo was improvised and the main focus was on choosing the 2 xxxxxxxxxx melody. So experiment and take note of the sound the various fingers make.
D7
# # & # Œ.
‰
j nœ
œ
œ
œ .~~
œ œ œ œ œ
A7
8 (10 )
8
5
5
5
8
5
7 ( 9)
j A7 œ œ
E7
n œ ~~ n œ j ~~~ ### œ œ . ⋲ œ œ œ œ nœ œ . Œ . & 5
~~
8
~~~
BU BD
5
8
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œ
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j nœ
5
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5
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10 ( 12 ) 10 (12 ) 10
j œ
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j œ
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Œ.
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5
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BU
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8
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13
10
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16
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13 10
11
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11
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10 10
18
# # & # ‰
j œ œ
j j A7 / / nœ œ œ œ nœ œ ' ' œ œ j j nœ œ œ œ œ œ œ œ œ œ nœ œ . j j œ œ œ œ nœ ‰ Œ . ‰ œ œ œ œ œ œ œ BU
BU E B G D A E
5
'
7
# # & # ‰
E B G D A E
5
8
14
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5
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A7
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BU E B G D A E
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5
5
5
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BU 5
8 5
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5
8 5
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14
'
1/4
1/4
BU 5
14
7
5
7
5
7
5
'
BU 8 (10 ) 5
7 5 7
5
7 5
20
April 2015 GuitarTechniques 23
play: fingerstyle
ON THE CD
3 ExAMPlE 11 final JaM ...CONTINUED
~~ # # # n œ œ n œ œ œj œ œ œ n œ~~. œ nœ & 3
E B G D A E
~~
8
24
j nœ
###
7 ( 9)
5
5
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&
j œ
j œ
j œ
'
3
3
1/4
3 5
7
5
7 5
7 5
7 5
7 5
7
6 5
BU
8 5
8 5
8 5
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5
5
8 5
7
5
3
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D7
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œ J
j œ
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j œ
œ J
j œ
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j œ
j œ
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BU
BU
BU
BU
BU
BU
13 (15 )
13 ( 15 )
13 ( 15 )
13 (15 )
13 (15 )
13 ( 15 )
13 (15 )
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10
1/4
13
œ
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10
11
D7 A7 E7 ~~ œ œ œj œ œ œ n œ œ œ œ œj œ œ œ œ n œ œ Œ œj œ n œj œ œ ~~~ ‰ œ œ œ n œ J œ. 3
1/4
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12 ( 13 ) (12 ) 10
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9
7
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5
5 7 9 12 7
25
A7
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8 5
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22
& E B G D A E
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5
TRACK 6
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27
noRTh aMeRican suBscRipTion offeR
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1/4
Play: ROCK
ON THE CD
TRACKs 8-11
The Who / Mr Big Baba O’Riley
This cracking track, originally from The Who’s lost rock opera Lifehouse and also featuring on the band’s epic album Who’s Next, was then brilliantly covered by Mr Big. Steve Allsworth performs the ultimate mash-up. Moderate
Info
WIll IMprove your
Key: F Tempo: 116bpm CD: TRACKS 8-11
Stylistic range Classic rock feel Compositional flair
BaBa O’Riley was originally planned as part of a follow-up to Tommy, the 1969 rock opera about a deaf, dumb and blind boy who develops an almost supernatural ability to play pinball, and eventually rises as a post world war ii messiah. Pete Townshend originally came up with the concept for Tommy after listening to the teachings of indian spiritual master Meher Baba. it was this name, combined with another of Townshend’s influences Terry Riley (a
TeChnique FoCus Modal interchange The slightly folky/Indian influence towards the back end of this song is largely due to the Eb chord. This simple but effective idea creates a completely different sound/colour and even hints at the Eb notes used for the F Mixolydian scale used in the violin solo. It’s ‘borrowed’ from the parallel tonality of F minor. If we look at the chords side by side, you’ll be able to see the subtle differences: I
IIm
IIIm IV
V
VIm VIIdim
F major: F
Gm
Am Bb
C
Dm Edim
F minor: Fm
Gdim Ab
Bbm Cm
Db
Eb
Im
IIdim bIII
IVm Vm
bVI
bVII
The use of the bVII chord is really common (as is the IVm) but any of the minor key chords could be used as a substitute. This is only the tip of the iceberg, however; if you really want to explore this further, parallel modes can also be used (instead of the parallel minor), throwing up even more weird and wonderful chords that can be ‘borrowed’.
minimalist classical composer) that helped form the title Baba O’Riley (often called Teenage wasteland), which became the opening track to the album Who’s Next (1971). Indian influences can be heard in homage to Baba in the song’s outro violin solo (an idea of Keith Moon, apparently), which is played live as a harmonica solo by Roger Daltrey. The modal synth intro was inspired by Terry Riley’s minimalist composition style, and is one of the track’s most iconic features. The hypnotic marimba repeat pattern from the lowrey Berkshire Deluxe analogue synth sound is hugely modern-sounding.
Baba O’Riley was named after two people who influenced Townshend: Indian spiritual master Meher Baba, and classical minimalist Terry Riley. also ahead of its time was Townshend’s ultimately failed rock opera lighthouse. The convoluted storyline was part of its downfall, but the project was also plagued by technological issues. Townshend wanted the band to be accompanied by sequencer-driven synths that would follow along with the music, but unfortunately this technology didn’t exist for another 20 years. in the end the band played along to pre-recorded backing tracks on Baba O’Riley and won’t Get Fooled again. Regarding who’s Next: although Pete Townshend was responsible for penning The who’s greatest hits such as My Generation, i’m a Boy, Pictures Of lily and i Can see For Miles, plus full-scale rock operas such as Tommy and Quadrophenia, his finest work is arguably best represented on this album. it’s full to the brim with some of his greatest songs
such as won’t Get Fooled again, Bargain, Behind Blue eyes and Going Mobile, but also sees him and his fellow bandmates, singer Roger Daltrey, bassist John entwistle and drummer Keith Moon deliver some of their finest recorded performances. Baba O’Riley itself was derived from a nine-minute demo which the band helped to rearrange. it was to be sung at the beginning of lifehouse by Ray, the scottish farmer, as he gathers his wife and two children to embark on their exodus to london. The guitar work on the original is minimal, so your task is to get the right tone and keep to Pete’s guitar part as closely as possible. Mr Big’s cover of Baba O’Riley offers a rockier, more guitar and bass-heavy arrangement that can be useful if you don’t have the luxury of a keyboard player. i’ve based this transcription on the version from their Back To Budokan tour in 2009. The guitars are tuned down to eb, although their early versions were in e so i’ve kept it at concert pitch for the GT version. apart from the open-string tapping lick, it’s easy enough to transpose up a semitone if you want to play along with the who original.
Get the tone 6
6
7
7
2
GAin
BASS
Middle
TReBle
ReveRB
Pete’s tone is raw amp crunch, so shouldn’t be difficult to dial in - he was using a Gretsch 6120 and Fender Bandmaster amp at this time (cranked wide open!). Aim for crunchy drive rather than saturated distortion, and use your guitar’s bridge pickup (humbucker if possible).
TRACK RECORD Most of The Who’s albums are excellent, particularly Who’s Next (1971) from which Baba O’Riley comes. Live At Leeds (1970) is regarded by some as the best live rock album of all time and features the band at the peak of its powers. A good compilation is always worth having, and a great one to check out is Who’s Better Who’s Best: Very Best Of The Who (1988).
26 GuitarTechniques April 2015
MICHAEL PUTLAND / RETNA / PHOTOSHOT
ABILITY RATING
The Who BaBa o’Riley
Pete Townshend with one of his numbered Les Paul Deluxes
April 2015 GuitarTechniques 27
Play: ROCK
ON THE CD
TRACKs 8-11
PLAYInG tIPS
CD TRACK 8
[Bars 1-8] The original version’s synth intro lasts for a whopping 41 bars, chords based around a straightforward I-V-IV progression. The major 3rd so I’ve scaled it back here - you can extend it as you see fit. The feel of the in the C and Bb chords is more of a happy accident due to the barred third shorter intro is 4/4, although it’s represented better as 2/4 in light of the finger, so you’ll notice some variation throughout. Watch out for your timing original that has many cut bars of only two beats. (and form) on the C chords at the end of this section (the insistent synth on [Bars 9-40] This is a really simple piano arrangement (should your fingers the backing track should help keep you in time). get itchy to play). I’ve left the piano on the backing as per the original [Bars 55-62] Pete sings this plaintive interlude section. Don’t worry if you version, but this will help with the slow and organic intro. get lost with the slightly confusing synth line, as there’s a nice long drum fill Allworth's to bring you back in again for the next verse. TECHNIQUES MAGAZINE 2 4 comes 1 [BarsGUITAR 41-54] After Roger Daltrey’s verse, Pete in with Steve these powerful
BABA O'REILLY
©»¡¡§ 2 &b4
THEME F
8
INTRO
Synth (orig. for 41 bars)
˙˙ .. & b .. ˙˙ .. F
. .
0:45
. .
C
10 10 10 8
9 10 10 8
F5
5 3
47
ww w w
..
. .
F5
C
. . B
œœ œ œ
˙˙ ..
41
F5
ww w
b
5 5 5 3
3 3 1
INTERLUDE N.C.
VERSE F5
7 ∑
∑
.. ˙˙ ..
7
. .
1, 2, 3 B 5
5 5 3
3 3 1
&b ˙ ˙
C
œœ œ œœ œ œœ
C
28 GuitarTechniques April 2015 SOLO
œ œ œ
b
ww ww
5 5 5 3
5 3
3 1 F
√ b ˙
B
5 5 5 3
b
.. ˙˙ .. ˙. . .
3 3 3 1 B
b
j œ
3 3 1
˙˙
5 5 3
3 1
. œ . œ œ œ œ. œ œ.
F
j œ
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5 5 5 3
5 5 5 3
B
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5 3
3 1
3 3 1
ww ww
ww ww
5 5 3 3
C5
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˙˙
3 3 3 1
b
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5 3
3 1
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b
B
b
B 5
5 5 3
F5 C j 3 œœ œœ œ œ œ œœ œœ œœ ˙˙ œœ œ œ
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C
7 8 8 6 C5
3 1
5 5 5 3
ww w
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3 3 3 1
3 3 1
4 B 5
9 10 10 8
..
j j œ œœ ˙˙ œœ œ œ
ww w w
5 5 5 3
Play 3 times
ww ww
F5
ww w
b
C
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b
ww w w
70
F5
B
ww w w
63, 65, 67. 69
F5
5 5 5 3
C
b
B
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19, 21, 23
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2:04
3 1
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b
B 5
5 5 3
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7 8 8 6
5 5 3
3 1
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9 10 10
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8
b
ww ww
F5
3 3 3 1
3 1
B
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˙˙
C
10 10 10 8
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5 5 5 3
3 1
b
55
73
7 8 8 6
˙ .. .. ˙˙ . ˙. F
Play 4 times
1:18
1:47
E B G D A E
9 10 10 8
B 5
jœ j œ œœ œœ œ œ
˙˙
b
7 8 8 6 C
3 1
&b E B G D A E
10 10 10 8
b
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Play 8 times
(Bass enters)
25, 27, 29, 31, 33, 35, 37, 39
&b
B
œœ œ œ
B
œœ œœ
9, 11, 13, 15
VERSE
E B G D A E
C
0:12
8
E B G D A E
E B G D A E
˙. 4 .. ˙˙ .. 4 ˙.
5 3
3 1
j œ
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j œ
5 5 3
B
b
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1:47
7
. .
2:04
E B G Baba O’Riley Music & Lyrics by Peter Townshend D ©1971 Fabulous Music Ltd. Reproduced by kind permission of A 3 Fabulous Music Ltd. All Rights Reserved. International Copyright Secured. E 1 55 63, 65, 67. 69
F5
C
B
b
5 5 3
. .
3 3 1
F5
C
squeezing the strings sharp. This unfortunate by-product is easy to do if you
SOLO
&
C
√ b ˙
. . . œ. œ œ œ œ œ œ
13
15 15 15
13
13
xxxxxxxxxx
13
79
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j œ
b
3 1
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BD (17 ) (15 )
The Who BaBa o’Riley b
C5
B 5
C
B
b
1
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15
B 5
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BU
15 ( 17 )
15 ( 17 )
BU 15 13
15 13 15
C5 F5 C5 œ. œ. œ. œ œ œ œ œ œ
j œ
3
13
BU
BU
j œ
œ
b
j j j jœ b œ ¿ & œ ¿ œœ ¿¿ œœ œœ œ ¿ œ ¿ œ
C5
X X X
3 3 1
X X X
3 3 1
15 (17 ) 15 (17 )
15
14
15
15 14
15 15
b
15
b
B 5
88
X X X
BU
˙
F5
C5
j j j jœ œœ ¿¿ œœ ¿¿ œœ œœ œ ¿ œ ¿ œ
Ó
3 3 1
13
j j j j œœ ¿¿ œœ ¿¿ œœ œœ œ ¿ œ ¿ œ œ
C5
B 5
j j j jœ œœ ¿¿ œœ ¿¿ œœ œœ œ ¿ œ ¿ œ 3 3 1
BU
BU
BU
F5
5 5 3
BU
15 ( 17 ) 15 (17 ) 15 ( 17 ) 15 ( 17 ) 15 (17 ) 15 (17 )
83
3 3 1
3 3 3 1
just won’t sound very good. [Bars 87-90] Pete alters the rhythmic feel of the three chords slightly 5towards 3the outro section. Although 8th notes would suggest alternate 5 5strumming, 3 he probably played them using downstrokes 3 for a more effective 5 3 5 5 3 two-bar 3string mute. 1 Notice the V chord 3 at the end3of each 3 1 cycle.
15 (17 ) 13 13
13 15 13
œ œj œ œj œ ‰ J ‰ J ‰ J
C5
B 5
E B G D A E
F
3 1
5 5 5 3
3
F5
E B G D A E
b
j œ
œ œ œ
2:37
E B G 2 D A E
B
B
3 1
5 3
œœ ww œœ ww CD TRACK 8 œmajor chords œ w key of F, ˙ is F MajorœandœF major œof the major œ Pentatonic. w 3rdin the w Just be aware at the 14th fret of theœthird string. It is tempting to revert to ˙ the trusty F minor shape, since it falls under the fingers rather easily, but it
E have an aggressive picking hand, since the fretting hand often follows suit B (Townshend’s tuning was always 5 3 impeccable, even when using notoriously 5 G 5 5 5 C and 3Bb chords in particular. the D ‘flappy-necked’ SGs). Watch 5 5 3 5 5 A [Bars 79-86] 3 The only logical 3 3 scale choice 1 for soloing over3three diatonic 3 3 E 1 1 73
F
3 1
70
œœ ww œœ œœœ & œ œ w [Bars 63-78] withœtheœprevious rhythms ˙ AsSince œ verse,w there are some extra ˙ barre œ toœ it’sœ watch out for. these are basic power chords and major chords, ˙ œ ˙ œ worth putting your energy into striking the chord cleanly and hard, without PLAYInG b tIPS
3 3 1
3 3 1
OUTRO MELODY C5
√ œ œ œ⋲ ⋲ ⋲œ⋲œ⋲œ⋲œœœ b &
3 3 1
X X X
5 5 3
C5
X X X
3 3 1
3 3 1
X X X
3 3 1
©»•• œœ Œ œœ Œ œ œ
OUTRO
3:02
5 5 3
5 5 3
b
œ⋲œ⋲œ⋲œ⋲œ⋲œ⋲œœœ
F5
12
12
5 5 3
X X X
3 3 1
3 3 1
X X X
5 5 3
b
B 5
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3 3 1
œ⋲œ⋲œ⋲œ⋲œ⋲œ⋲œœœ
B 5
3:07 E B G D A E
12
93
13
15
12
13
15
12 13 15
13
15
12
13
15
12 13 15
b
13
15
12
13
15
12 13 15
b
C5 B 5 √ E5 œ œ bœ œ œ œ œœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ &b ⋲ ⋲ ⋲ ⋲ ⋲ ⋲
E B G D A E
11
96
13
15
11
13
15
11 13 15
12 13 12 13 12 13 12 13 12 13 12 13 12 13 12
13
12 13 12 13 12 13 12 13 12 13 12 13 15 12 13 13
b œ ' / ˙ April 2015 29 √ œ œj GuitarTechniques œ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ b œ œ œ œ œ œ œ œ b ⋲œ F5
b
E 5
F5/C
14
12 12
E E B B G G D D A A E E 93 93
13 13
15 15
12 12
13 13
15 15
12 13 15 12 13 15
Play: √√ROCK
12 12
13 13
15 15
12 12
13 13
15 15
12 13 15 12 13 15
12 12
13 13
15 15
12 12
ON THE CD
bb
E 5 E 5
15 15
12 13 15 12 13 15
TRACKs 8-11
bb
C5 C5
13 13
B 5 B 5
bb œœ ⋲ œœ ⋲ œœ ⋲ œœ ⋲ œœ ⋲ œœ ⋲ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b & &b ⋲ ⋲ ⋲ ⋲ ⋲ ⋲
PLAYInG tIPS
CD TRACK 8
[Bars 91-92] The change of tempo is notoriously tricky here, with even (dare I Eb needs to be targeted here rather than the E natural from F Major, which is say it) the original lurching ever so slightly. I’ve squared off the rhythm a little used for the other three chords. As with the previous section, use the synth E to make it easier, but listen13 really pulsing on13 the notes. 11 you 13 need 15 to 11 15carefully 11 13 to 15the12 13 12 synth 13 12 13 12line 13 to 12help 13 12you 13 keep 12 13time, 12 especially 12 13 12 12longer 13 12 streams 13 12 13of 1216th 13 15 12 13 13 E 11 13 15 11 13 15 11 13 15 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 15 12 13 13 B line to ground you in the new tempo. The final two bars can be 13 particularly challenging with regard to timing, as B G [BarsG the rhythms are syncopated across the beat. So take your time with this, D 93-104] Pete’s lovely melody borrows from the parallel key of F minor D A Eb chord that creates a really nice ‘twist’ for the ears. This means the for the clapping the rhythm first as necessary. A F5/C ' // F5 E bb5 F5 E 5 b b √ √b œ œ œ œ œœ œ œœ œ œœ œ œœ œ œœ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ ˙˙ b œ œ œ ⋲⋲ œœ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b b & &
E E 96 96
F5/C
1 144
'
œœ
j œœj
11 13 11 11 13 11
& & bb
jj œœ
13 15 13 15 13 15 13 15 13 15 13 13 13 15 13 15 13 15 13 15 13 15 13 13
11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13
(17 )((17 ))( 17 )( 17 ) (17 )(17 )(17 )(17 )(17 )(17 )( 17 )( 17 )(17 )(17 )(17 )(17 ) (( 17 )) (15 ) (17 ) 17 ( 17 )( 17 ) (17 )(17 )(17 )(17 )(17 )(17 )( 17 )( 17 )(17 )(17 )(17 )(17 ) 17 (15 )
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10 10 8 10 8 8
10 10 8 10 8 8
30 GuitarTechniques April 2015
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10 10 8 10 8 8
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10 10 8 10 8 8
10 10 8 10 8 8
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115 115 --1120 120 1 115 - 120
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[Bars 105-end] This song is perhaps best known for its frenetic ending. I’ve with the ending cued by Pete, so there’s no real method to the madness. charted it as per the original, which means the bass movement from 5th to Just keep your eyes glued to the structure as charted here and watch out E root effectively ‘turns around’ during the accelerando three-four bar. This for the rapid accelerando towards the end. I’ve put the violin solo on the E E B B is probably unintentional since the structure is largely improvised. In some backing, but you could easily play a guitar solo over this section using a B G 10 10 10 G 10 10 10style root to 5th, 10 10 10 10 10 G 10 10 10 falls on the side of typical country similar F Mixolydian approach. D live versions the bass 10 10 10 10 10 10 D 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 D A A A E E E
8 8 8 8 8
130 130 130
10 8 8 8
8 8 8 8 8
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10 10 8 8 8 8 8 8
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10 10 10 10 10 8 8 10 8 8 8 8 8 8 8 8 8 8
137 137 137
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10 10 10 8 8 8
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10 10 10 10 10 8 8 8
10 10 10 8 8 8
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10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
10 10 10 8 8 8
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10 10 10 8 8 8
8 8 8 8 8 8
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10 10 10 8 8 8
8 8 8 8 8 8
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10 10 10 10 10 8 8 8
10 10 10 10 10 8 8 8
10 10 10 10 10 8 8 8
10 10 10 10 10 8 8 8
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10 10 10 10 10 10 8 8 8
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
And now a chance to play Mr Big’s arrangement.... MR BIG VeRSIon
CD TRACK 10
[pAuL GiLBeRT’s GuiTAR] At 122bpm, the double-picking, combined with palm-muting can be challenging, particularly in maintaining fluency and stamina. It’s best to perfect your co-ordination of the main figure at around
100bpm to start with, as this will promote clean execution and avoid any cutting of corners. Paul tends to improvise with simple melodic ideas in and around the E Major scale, so it’s worth checking out what he does live.
Steve Allworth's BABA O'RILEY - Paul Gilbert's Mr Big Version
GUITAR TECHNIQUES MAGAZINE 2 4 1
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œ œ œ œ 2 31 œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œApril 2015 GuitarTechniques œ . œ œ . .
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PM & œ7 7œ9 œ9 œ9 99 99 9 œ7 œ7 9œ9 œ9 œ9 œ ~~~ 9 9 9 9 9 9 9 . 7 79 9 9 9 9 9 7 7 9 9 Play . 89times 9 . . 9. # # # # PM7 7 œ9 œ9 œ œ œ9 œ9 7 7 œ9 œ9 —~~~ ..PM7 7 œ9 œ9 œ œ œ9 œ9 7 7 œ9 œ9 œPlayœ œ94 times 7 7 7 7 œ œ œ œ 12 . œ œ 9 9 œ œ 9 9 œ .. .. œ œ œ œ 9 9 œ œ œ œ œ œ 9 9 œ œ .. & 9 9 9 œ œ 9 9 9 9 œ œ 9 9 ~~~ 9 . . 9 9 9 9 9 9 Play 89times 9. 7 7 7 7 # # # # 7 7 œ œ œ œ œ œ 7 7 œ œ —~~~ .. 7 7 œ9 œ9 œ œ œ9 œ9 7 7 œ9 œ9 œPlayœ œ94 times œ œ œ œ . . . PMœ œ 9 9 œ œ 9 9 œ . . œ œ œ œ 9 9 œ œ œ œ œ œ 9 9 œ œ .. PM & 9 œ œ 9 9 9 9 9 9 œ œ 9 9 ~~~ . 7 7 9 9 9 9 7 7 9 9 9 9 . . 7 7 9 9 9 9 7 7 9 9 9 9. 7 7 7 7 .PM . . . PM 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 ~~~ . 9 9 9 9 9 9 9 9 . . 9 9 9 9 9 9 9 9. 7 7 7 7 .77 99 77 99 . . 77 99 77 99 . 9 9 9 9 9 9 9 9 9 . 7 7 9 9 9 9 7 7 9 9 9 9 . . 7 7 9 9 9 9 7 7 9 9 9 9. 7 7 7 7
Play: ROCK E B G D E A B E G D A E E B G D A E E B G D A E E B G E D B A G E D E A B E G D A E E B G D A E E B G D A E E B E G B D G A D E E A B E G D A E E B G D A E E B G D A E E B G B D G A D E E A B E G D A E E B G D A E E B G D A E E B G B D G A D E E A B E G D A E E B G D A E E B G D A E E B G B D G A D E E A B E G D A E E B G D A E E B G D A E E B G D A E
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32 GuitarTechniques April 2015
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play: COUNTRy
ON THE CD
TraCk 12-40
Ultimate Country Workout With country music’s popularity seeping into every corner of the music-loving world, Steve Laney reckons it’s time GT readers received a thorough preparation for that potentially imminent country gig. ABILITY RATING
easy/Advanced Info
WIll Improve your
Key: Various Tempo: Various CD: TRACKS 12-40
Hybrid picking Soloing over chord changes Country lick vocabulary
I thInk It's fair to say that country music has received a bad rap in the Uk over the years. the very word 'country', for many, has tended to conjure up images of line dancing classes being held in run-down village halls and social clubs. however, across the Atlantic country is no laughing matter, but in fact the most popular musical genre, boasting a radio audience of 70,000,000 every day. In recent years we've seen country music grow in popularity on this side of the pond, too. We're now hearing more country on mainstream radio; artists such as Lady Antebellum and taylor swift spring to mind, not to mention home-grown country stars such as the shires, and Ward thomas. With this in mind, the purpose of this
TeChnique FoCus Hybrid Picking Hybrid picking (pick and fingers) is the technique most commonly associated with country playing, although it can have some benefits and interesting results when used in other genres such as rock - for example string skipping. When hybrid picking, your thumb and first finger are committed to holding the plectrum: this leaves you with three remaining fingers with which to pick: these are your second, third and fourth. These are named second (m), third (a) and fourth (c). Look out for my recommended hybrid picking directions throughout this article.
article is to hone your country skills. You may have been asked to dep in a country outfit; or a demanding bride and groom have requested your band learn some Nashville flavoured numbers for their big day. Whatever the scenario, familiarising yourself with the information in this article will afford you a significant head start and, perhaps more importantly, add some cool, countryflavoured ideas to your technique repertoire - pulling out a flashy country run in a rock or blues situation can be a real eyebrow raiser! Over the following pages I will be introducing you to some of the scales,
Country music is some of the best-written music in the world. So yeah, one day i would keep my mind open to doing a country record. Ed Sheeran arpeggios, chords and techniques that feature frequently in this style of playing. It's important that you do lots of listening when learning a new genre. Doing so will ensure that its nuances become engrained on your subconscious, and inevitably find their way to your fingers. Or, to put it another way, if you are what you eat, then you are also what you listen to. With tools like spotify and Youtube it's never been easier to source the music of your persuasion - and they even make suggestions for other, related artists. this article is divided into three sections: a rhythm boot camp, a lead boot camp and finally a full piece that combines the rhythm and the lead. I could wax lyrical about the theory, the many techniques and the truly fabulous players that make up the world of country guitar, but that would go beyond the limitations of this article and could potentially
overwhelm from a learning perspective. so, instead I have targeted material that can be heard regularly on country records - this will definitely help to get you up and running. If you're new to country, you're likely to be pleasantly surprised by how much of a platform is granted for the musician to flex his or her musical muscles. In an age where celebrity has sometimes become more important than ability, it's refreshing to find a musical community that still shows respect and admiration for the individuality and talent of the musician. I hope the following examples will enthuse you to delve even more deeply into the wonderful world of country music, and check out some of the simply amazing players that populate the genre.
Get the tone 6
5
5
6
4
Gain
BaSS
MiddLe
TReBLe
ReveRB
A clean tone is very much the done thing in country music and, more often than not, you’ll find the majority of country guitarists use a single-coil equipped guitar. This is then often played through a quality valve combo. A lack of gain can lead to a lack of sustain and this is particularly noticeable when soloing. Therefore many players will use a compressor to give their notes added longevity; this can also serve to temper the higher frequencies often associated with single-coils. In recent years players have increasingly been driving their amps as well, so a distorted sound is becoming more acceptable (you can always turn down to clean things up). When playing acoustic, many players tend to favour a big dreadnought, but considering acoustics are often mic’d or DI’d, this is not such a pressing concern. Instead, I would suggest that your acoustic is actually playable above the 4th fret as, with country music, you never know when you might get the nod to take a solo.
Further reading albert Lee’s hiding contains his party piece Country Boy - a must learn for any aspiring country guitarist. Vince gill’s albums always contain fantastic playing; check out his and Paul Franklin’s Bakersfield for traditional sounding country. Johnny hiland’s self-titled album contains some exciting country-rock crossover and showcases the increasingly used overdriven country tone.
34 GuitarTechniques April 2015
MArTin Philbey / GeTTy iMAGeS
ultimate country workout
Albert Lee: still playing fabulous country guitar
April 2015 GuitarTechniques 35
play: COUNTRy
ON THE CD
TraCk 12-40
PART 1 ExAMPLES RhYthM BootCAMP
TRACKs 12-14
Steve Laney eXAmpLe 1: DiAToniC ChoRDs Here we chords pattern PREP FORfrom A COUNTRY GIGof major-minor-minor-major-major-minor-diminished is the same GUITAR TECHNIQUES MAGAZINE 2 4see 1 the diatonic Steve Laney the key of G major. The first four bars are three-note chords whereas for allGIG major keys. Memorising this pattern will enable you to and analyse PREP FOR Athe COUNTRY last four and better understand chord progressions and song construction. Exbars 1 are their four-note, extended harmony equivalents. This GUITAR TECHNIQUES MAGAZINE 2 4 1 Steve LaneyB m GUITAR TECHNIQUES MAGAZINE 2 4 1G Am C D Em F #dim G Steve Laney Ex 1 PREP FOR A COUNTRY GIG PREP FOR A COUNTRY GIG G Am Bm C D Em F #dim G GUITAR TECHNIQUES MAGAZINE 2 4 1 Steve Laney Ex 1 Ex 1 PREP FOR A COUNTRY GIG # GUITAR TECHNIQUES MAGAZINE 2 4 1
©»§º # ©»§º & # 44 & ©»§º 4 Ex 1 ## ©»§º 44 & 44 & # ©»§º 4 & 4
E B E G B D G A D E E A E B E B G G D D E A A B E E G D A E
˙˙ ˙ G˙ G˙ ˙˙ G˙ ˙˙˙ ˙˙33 ˙˙30 ˙˙˙3002 0 3 3 2
∑ ∑ Acoustic Gtr ∑∑ Gtr Acoustic ∑ Acoustic Gtr Acoustic Gtr
1
Acoustic Gtr
1 1 1
G maj 7
Am7
G maj 7
Am7
# ˙ & #G maj˙˙ 7 & G maj˙˙ 7 ##G maj˙˙ 7 & & # ˙˙˙2 ˙ & ˙˙˙0200 ˙˙0203
2 0 0 1 1 2 2 2 2 0 0 1 2 2 0
3 3 3 0 0 0 0 3 2 2 3 3 0 B m7 0 2 B m7 3
1
˙˙ ˙˙ B m7 ˙˙ B m7 ˙˙ B m7 ˙˙ ˙˙2 ˙˙32 ˙˙342
˙˙ ˙˙ Am7 Am7 ˙˙ ˙˙˙ Am7 ˙˙˙0 ˙˙10 ˙120 ˙20
˙˙ ˙˙˙ Bm Bm ˙˙ ˙˙˙ Bm ˙˙˙2 ˙˙3243 ˙44
˙˙˙ Am ˙˙ Am ˙˙ Am ˙˙ ˙˙01 ˙˙02 ˙˙1220
Cmaj 7
˙˙ ˙˙ 7 Cmaj Cmaj ˙˙˙ 7 ˙˙ 7 Cmaj ˙˙˙0 ˙˙˙000 ˙2 Cmaj 7
0 3 2 0 3 0 1 1 0 0 2 2 0 3 3 1 D70 2 D73
2 4 2 2 3 3 4 4 4 4 2 2 3 4 4 2
E B E G B D G A D E E A E B E B G G D D E A A B E E G D A E
∑ ∑ Acoustic Gtr ∑∑ Gtr Acoustic ∑ Gtr Acoustic Acoustic Gtr Acoustic Gtr
1 1
1 1 1
# &# & ## & &# &
E B E G B D G A D E E 4 A E B E B G4 G D D E A Ex 3 A B E E G Ex44 3 D A E Ex4 33: eXAmpLe
G G G G
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œœ œœ œœ œœ œœ œœ33 œœ3030 0 0 3 3 3 3 0 0 0 0 3 3 0 0
œœ œœ œœ œœ œœ œœ33 œœ3030 0 0 3 3 3 3 0 0 0 0 3 3 0 0
œ œ œœ œ3 3
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0 3 3 3 3 0 0 0 0 3 3 0 G 0 G
0 3 3 3 3 0 0 0 0 3 3 0 0
œ œ œœ œ2 2 2 2
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E B E G B D G A D E E A E B E B G G D D E A A B E E G D A E
1 1
1 1 1
36 GuitarTechniques April 2015
3 3
0 0 0 2 2 0 2 2 0 0 F # m7 b 5 2 # b 2 F m7 5 0
˙˙ ˙˙˙ E m7 E m7 ˙˙ ˙˙˙˙ E m7 ˙˙0 ˙˙30˙ ˙˙32 ˙0220 ˙0203
˙˙ F #dim F dim ˙˙ ˙˙ # F dim ˙˙ ˙˙˙ ˙˙242 ˙34 2 3 2 2 2 4 4 3 3 2 2 4 3 2
˙ ˙ ˙˙˙ b 5 F # m7 ˙˙1 ˙˙212 ˙22 ˙˙ b 5 F ## m7 ˙ b5 F m7
˙˙ ˙ G˙ G˙ ˙˙ G˙ ˙˙˙ ˙˙33 ˙˙30 ˙˙˙3002 0 3 3 2
3 3 3 0 0 0 0 3 2 2 3 Gmaj 7 3 0 0 Gmaj 7 2 3
˙ ˙7 Gmaj ˙˙ 7 Gmaj ˙˙ ˙˙ 7 Gmaj ˙˙2 ˙˙020 ˙˙0 ˙˙0203 2 2
2 0 2 2 2 1 1 0 0 2 3 1 3 1 0 2 0 2 0 2 0 2 0 0 2 2 0 may prefer to use in the sequence. Instead of using a pick for this, you 0 2 2 0 2 0 2 2 2 your1 thumb to play203the single notes and then ‘brush’ 1 0 the higher notes 2 3 0C 2 3 0 ‘Carter Scratch’ in with20your first finger. This technique is known as the 2C 2 0 2 2 country guitar circles. 0 2 3
œ œ œœ œ3 ≥3 ≥ 3 ≥≥3 œ 3œ ≥œœœ œœ œœ œœ2 œœ32 œ302 0 2 2 3 3 2 2 0 0 2 3 2 0
©»ª™ 0 œœ2 œœ3 0 œœ œœ # 4©»ª™ 3 3 œœ common œœ practice œ œ 7Th ∑ChoRD pLACemenT It’s #4 Ex & 3 DominAnT œ œœ œœ ∑ in country& for dominant 7th chords to be used G in diatonically ‘incorrect’ ©»ª™ Gœ 4 œ œ Ex 3 # ©»ª™ # 444 œ œœœœ œœœœ œ œœœœ œœœœ ∑ G & ∑ & # 4©»ª™ œœ3 œœ3 œœ œœ3 œœ3 œ 4 œœ330 œœ330 œ œœ330 œœ330 ∑ & 4 3 3 3 3 0 0 0 0 0 œ œ œ œ3 003 003 0 œ003 œ003 ≥3 ≥3330 ≤3330 ≥ ≥3330 ≤3330 ≥ ≥0003 ≤0003 ≥00 ≥0003 ≤0003 3 3 3 3 3 ≥≥3 ≥≥00 ≤≤00 ≥≥0 ≥≥00 ≤≤00 3 ≥ ≥ ≤ ≥ ≥ ≤ 3 3
˙˙ ˙˙ Em Em ˙˙ ˙˙ Em ˙˙ ˙˙00 ˙˙0 ˙˙0202 ˙200200
2 0 2 2 3 3 2 2 0 0 2 3 E m7 2 0 E m7
˙˙ ˙˙ D7 ˙˙ D7 ˙˙ D7 ˙˙˙2 ˙˙12 ˙10
E B E G B D G A 0 2 3 D 4 2 E E 2 2 0 6 A 2 0 2 3 E 0 B 0 1 3 0 E 3 B 0 1 3 0 G6 0 0 2 0 G 0 0 2 0 D 0 2 4 2 eXAmpLe 2: i, iV, V pRoGRession WiTh LeADinG BAss noTes D E Ex 2 0 2 4 2 0 A 2 0 2 3 A B 2 0 2 3 Many country tunes 0 are written on 1 the I, IV, V chords 3G of a major key 0 - so, E 3 Ex6 2 E G 3 0 of G. Here we’re 0 2root and 5th of0 each G, C and D in the key singling out 6 D 0 2 4G 2 0 3 chord. AIn addition,2 we’re then walking up the bass2 notes to the next chord E 3 Ex6 2 Ex 2
©»ª• # ©»ª• 4 & ©»ª• 4 Ex 2 ## ©»ª• 444 & & # ©»ª• 4 & 44
˙˙ ˙ D˙ D˙ ˙ D˙ ˙˙ ˙˙2 ˙˙32 ˙30
˙˙ C˙ C˙ ˙˙˙ C˙ ˙˙ ˙˙01 ˙˙0 ˙˙12
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0 2 2 3 3 2 2 0 0 2 0 0 3 G7 2 0 0G7 0
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n œœ n œœ œ nn œœœ œ n œœœ10 œœ100 0
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3 etc etc 3 3 etc etc 3
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œ œ œœ œ0
2 0 2 2 3 3 2 2 0 0 2 3 2 0
œœ œœ œœ œœ œœ œœ01 œœ0 œ12 0 2 0 0 1 1 0 0 2 2 0 1 0 2
œ œ œœ œ3 3 3 3 3
œ œ œœ œ0 0
œ œ œœ œ2
0 0
2 2
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2
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.. .. .. . .. . . .. .. .C .C
œ œ C œœ œ3
œœ œœ œœ œœ œœ œœ01 œœ0 œ12
0 0 2 0 2 0 0 1 0 1 1 0 1 0 0 2 0 2 2 0 2 0 1 G1 0 0 2 G2
ww w Gw G ww w Gw ww ww33 ww30 www3002 0 3 3 2 3 3 3 0 0 0 0 3 2 2 3 3 0 0 2 3
œœ œœ œœ œœ œœ œœ01 œœ0 œ12
œœ œœ œœ œœ œœ œœ01 œœ0 œ12
œ œ œœ œ3
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0 2 0 0 1 1 0 0 2 2 0 1 0 2
3 3 3 3
œœ œœ œœ œœ œœ œœ01 œœ0 œ12
0 2 0 0 1 1 0 0 2 2 0 1 0 2
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2 2
0 0
2
0
œœ œœ œœ œœ œœ œœ01 œœ0 œ12
0
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positions. Doing so helps create a joyous, playful sound. Refer to example C 1 G7 to see what the chords ‘should’ be. G7 C
œ œ G7 œœ œ3
etc 3 etc 3 3 etc etc 3 etc
0 1 1 0 0 0 0 0 0 1 0 0 0
0 0 1 1 0 0 0 0 0 0 1 0 0 0
0 0 0 0
0 0 1 1 0 0 0 0 0 0 1 0 0 0
0 0 1 1 0 0 0 0 0 0 1 0 0 0
3 3 3 3
0 2 0 0 1 1 0 0 2 2 0 1 0 2
0 2 0 0 1 1 0 0 2 2 0 1 0 2
œ œ œœ œ3 3 3 3 3
0 2 0 0 1 1 0 0 2 2 0 1 0 2
0 2 0 0 1 1 0 0 2 2 0 1 0 2
ultimate country workout 2
PART 1 ExAMPLES RhYthM BootCAMP 2
A7
TRACKs 15-17
D7
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April 2015 GuitarTechniques 37
play: COUNTRy
ON THE CD
TraCk 12-40
PART31 ExAMPLES RhYthM BootCAMP
j œ œ j œœj œœ7 j œœ7j œœ7 7
TRACKs 17-19
ww œ nœ #œ œ œ #### ‰ ww œ œ œ & w œ B13 E 6/ 9 œ œ B13 E 6/ ww9 œœ œœ .. # œ œ œ 3 ww # ‰ œ œ nn œœ ## œœ œ œ # ## # ## ‰ 3 œ œ ww & œœ 7 œ œ œ & 7 B13 E12 6/ œ œ 9 9 12 ww99 B13 E11 6/ œ œ8 œ 7 œ . 11 œœ 7 n œ # œ œ 7 œœ œœ9 œ . 7 ## # ## # ‰‰ www 11 7 œœ n œ # œ7 7 œœ œ # & ww0 # œœ 77 œ 12 & 7 12 9 9 12 œœ œ 9 9 12 7 11 œ88 ww to wrap my thumb over the top of the 7 11 7 7 7 11 Ex 77: seLF-ACCompAnyinG eXAmpLe BAss string.9 For bars 277 and 4, I prefer 7 7 out Honky Tonkin’7 11 9 Lines Go 11 9 9 fret G 7 hear some C/G C/Gthe notes 9 11 D7 Play 4onDthe 7 7rhythm G7 neck to 0sixth string, although on Nashville’s Lower Broadway and it’s likely you’ll you can always barre if 7 7 j 0 ©»¡£™ 7 accompanying bass notes on the 7 7 j times 12 j guitar akin to this. Palm mute the sixth you prefer. # .. 99‰ b7 œœ 77n œœ ⋲88 œœ œ7 ⋲ 7‰ 99b œœ n œœ ⋲ 7 œœ œ7 ⋲ .. ‰ 12121111 œ œ œ . œ . œ œ œ . ∑ 77 Ex 7 & 44 n œ C/G œ 9 C/G 7Play 4 Dœ9 11# œ œ D7œ œ œ Ex 7 9 7 7 G7 7 G7 7 7 0 œ œ 9 9 C/G 11 Gœ 7 C/G G7 D 9 D7 Play 4 œ œ œ j j ©»¡£™ 7 & middle pickup Bridge times ## 4©»¡£™ ‰‰ b œ n œ ⋲⋲7 œœj ⋲⋲ ‰‰ b œ n œ ⋲⋲ œœj times ⋲⋲ . ‰‰ 0 œjj œ œ . œ .. œ œ œ .. . ∑ 4 œ œ œ œ .. nb œ n œ œ œœ & ∑ b œœ n œ œ œœ .. œ ## œœœ œ œ . œœ œœ œœ œ œ œ œœ Ex 7 & 44 n œ Ex 7 œ3 5 œœ 3 . Gœ7 3 C/G .4 Dœ9 3 œœ 5 D7 œœ 55j G7 œœ 33 4 C/G œœ 55j Play G7 C/G D7 Play times4 D 9 Bridge & middle pickup 5 ⋲ ‰ 3 5 times 4j 4 4 4 . . Gœ‰7 œ33 œ4 C/G j j Bridge & middle pickup ©»¡£™ ## 4©»¡£™ ⋲ ⋲ ⋲ ‰ .. ‰3 nb œ n œ ⋲3 œœœ œ ⋲ ‰3 b œœœ n œœ ⋲3 œœœ œ ⋲ .. ‰5 # œœœj œœ5 œœ .. œ œœ5 .. œ œœ œœ5 œœ .. œ ∑∑ & 4 .. ≥ nb mœœ3a n œ ≥ m5a ≥œ etc b œ3 n œ 5 œ .. ≥œœ # œ3a ≥œ m ≥œ œœ3a ≥œ m ≥œ 3a ≥œ & 4 ≥34 œ 55 4 ≥3 4 55 œ 3 4 . œœ ≥3333 44 œœ 555 5 œœ 3333 44 œœ 555 5 .. Bridge & middle pickup . 3 5 3 5 . G7 55 4 5 4 55 4 5 4 . 3 Bridge & middle pickup 3 3 3 C7 3 3 3 3 ≥≥ 3aa ≥≥5 mm ≥≥ 3aa ≥≥ mm ≥≥5 3aa ≥≥ ≥≥ m5aa ≥≥ etc ≥≥ m3aa j etc 3 5 . # ‰ . j ≥≥3 5 3 5 œ œ b œ.. . m≥≥33 œ44 . m55 5 œ œ33 44œ . 55 5 .. b œ n n w≥≥34 & 5 4 w œ œ 3 œ 3 œ5 3 3 œ 5 . G7 55 4 5 4 55 44 5 5 44 . œ C7 3 3 œ C7 G7 3 3 ≥≥ waa ≥≥5 mm ≥≥ aa ≥≥ mm ≥≥5 aa ≥≥ ≥≥3 maa ≥≥ etc ≥≥3 maa jj œ ## ‰‰ j etc ≥≥ ≥≥ œœ œœ bb œœ .. m≥ œœ .. m œœ œœ œœ .. bb œœj nn w & w n œœ1 œœ ≥ œ1 œœ œ & C7œœ n ww G7 œ œœ 3 œœ 1 œ 3 w43 C7 G7 j 2 2 2 2 ## ‰‰3 j j 3 œœ œœ3 b œ .. œœ .. œœ œœ3 œœ .. b œj n w 3 & bœ nnw b œ œœ œœ1 œ œ a & etcœœ œ w n 1 1 œ œ m œœ 33 2 œœ 1 2 ww443 1 œ1 3 3 ≥ 2 2 2 2 2 2 3 Ex 8 3 3 3 3 3 3 3 Dm Cadd9 3 3 3 ©»§§ etc a etc a 1 1œ œ 1 œ m œ œ œ 4 œ œ œ œ œ œœœœœœ m 3 3 4 1 1 1 b ∑ ≥ œ œ œ œ œ œ 2 2 2 2 3 & 43 œ œ œ œ œ 3 3 4 ≥ Ex 8 3 œ2 2 2 œ 2 3 œ œ Ex 8 Dm Cadd9 3 3 3 3 3 Djoyful m Cadd9 some minor ©»§§ eXAmpLe 8: minoR AnD sus ChoRDs The nature of country This example explores and sus chord usage. The sus chords 3 3 3 etc a ©»§§ Acoustic Gtr œœ addressed œœ œ well onœan acoustic. œ m music is often, ironically, in stark contrast to the sombre issues workœ particularly Try converting etc aœ 4 œ œ œ œ œœ œtheœœ diatonic œœ œ chords œ œ œ b ∑ 4 œ œ œ œ œ œ m œ œ œ ≥ in its lyrics.& So bit’s4surprising to∑find very few country tunes in minor keys.œ inœ Exerciseœ 1 to their sus2 orœsus4 counterparts. œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ ≥ 0 1 0 1 0 0 Ex 8& œ 3 œ 3 œœ 3 œœ 3 3 œ 3 Cadd9 3 3 Ex 8 Dœm 2 2 2 2 2 2 0 0 0 0 0 0 0 0 ©»§§ Dm Cadd9 Acoustic Gtr 0 0 ©»§§ œ œ Acoustic Gtr œ œ œ œ 3 3 4 œ œ œ œ œ œ œ œ œ œ b ∑∑ & ≥œ ≥œœ ≤œ3 ≥œœ ≤œ00 11 ≥œœ ≤œ3 ≥œ œœ≥ ≤œ3 ≥œœ ≤œ00 11 ≥œœ œ≤3 ≥œ ≥œœ ≤œ3 ≥œœ ≤œ00 ≥œœ œ≤3 œœ≤ ≥œ ≥œœ ≤œ3 ≥œœ ≤œ00 ≥œœ œ3≤ œ≤œ & b 44 œ 22 3 22 œ 00 3 00 00 3 00 œ 00 3 00 00 3 00 2 3 œ 2 3 2 2 3 2 2 2 0 0 2 B13
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38 GuitarTechniques April 2015
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ultimate country workout PART 1 ExAMPLES RhYthM BootCAMP
TRACKs 20-21
4 9: RApiD FiRe 16Th noTes This is a challenging example, so eXAmpLe 4 build the phrase up slowly, adding one note at a time. The constant drone Ex 4 9 Ex 9
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of the fifth string is interspersed with double-stops on the second and third. The late, great Danny Gatton made great use of this technique.
A6 A5 A A6 A5 ˚˚j GG /A/A ˚j˚ ˚˚j GG /A/A ˚j˚ A6˚ A5 ˚ A A6˚ A5 ˚ ˚ ‰A‰ ## œœj ⋲⋲ G⋲⋲/An œœj ‰‰ A6œ˚jj ‰‰ œ˚jj Aœ5 .. A‰‰ œœj˚ ⋲⋲ G⋲⋲/An œœj ‰‰ A6œ˚jj ‰‰ œ˚jjA⋲⋲5 œ˚jj ‰‰ .. . œj n œ˚j œœ˚j œœ˚j œœ˚jn œ # œ œ˚j n œ˚j œœ˚j œœ˚j œœ . .. Aœ‰œ œœ œœ œ⋲œ Gœ⋲œ/An œœ œ‰œ œœ A6œœœ œ‰œ œœ œ Aœ⋲œ5 œ n œ‰ # œ Aœ‰œ œœ# œœ œ⋲œ Gœ⋲œ/An œœ œ‰œ œœ A6œœœ œ‰œ œœ œ Aœ5 œœ œœ œœ .. ˚j ˚j ˚ œ˚ œ˚n œ # œ Aœ‰ œ ˚j œ⋲ Gœ⋲/A ˚j œ‰ œ A6œ˚j œ‰ œ œ˚j Aœœ5 œ œ œ ... Aœ‰ œ œœ˚j œ⋲ Gœ⋲/An œœ˚j œ‰ œ A6œœœj˚ œ‰ œ œj˚Aœ⋲5 œj˚ ‰ # œœ˚j .. œ˚ œ˚ œ˚ œ .. ‰œ œ œœ667 ⋲œ ⋲œ n œœ445 ‰œ œ œ224j ‰œ œ œœ22j ⋲œ œœ22jn ‰œ # œ ‰œ œ# œœ667 ⋲œ ⋲œ nn œœœ445j ‰œ œ œœ224j ‰œ œ œœ22j œœ œ œ œ ... .. œ00 œ00 7 œ00 œ00 5 œ00 œ00 œœ4 œ00 œ00 œ2 œ00 œ2 n œ33 # œ44 œ00 œ00 7 œ00 œ00 5 œ00 œ00 œœ4 œ00 œ00 œ2 œœ00 œ00 œ00 œ00 .. Bridge & middle pickup . ≥≥0 0≤≤ m67aa ≥≥0 0≤≤ m45aa ≥≥0 0≤≤ m24aa ≥≥0 0≤≤ m22aa ≥≥0 m22aa ≥≥3 4≤≤ ≥≥0 0≤≤ m67aa ≥≥0 0≤≤ m45aa ≥≥0 0≤≤ m24aa ≥≥0 0 m22aa ≥≥0 0≤≤ ≥≥0 0≤≤ . Bridge & middle pickup . ≤ m6a ≥ ≤ m4a ≥ ≤ m2a ≥ ≤ m2a ≥ m2a ≥ ≤ ≥ ≤ m6a ≥ ≤ m4a ≥ ≤ m2a ≥ m2a ≥ ≤ ≥ ≤ . Ex 10 eXAmpLe 10: BAnJo RoLLs This example is≥ akin Albert Lee4may 2 your2hybrid picking up 4use them 2picking pattern. over any 7 to how m 5 7 to speed. 5 You canm Ex 10 m m m m m m 0G5 0 4 0 for 0 getting 0 2 that 3 has 4 its0C7 0 6 positioned 0 0 4 0 on 0 three 02 0 0 0 0 grace a country ©»¡™• track with his skills. Again,. it’s a0great notes strings. 6 0 exercise 2 0 0 2 chord 2 0adjacent G5 C7 ©»¡™• 4 2 2 4 2 7 5 7 5 . Ex 10 # œ œ œ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤œ ≥0 0≤ œ. a a a a a a a a a 44 0 0 0 0 œ 0 0 0œ 0 0 œ 3 4 0 0 0 0 0 0 0 0 0 0 # ©»¡™• ∑∑ b œ œ œ œ œ œ G5 m C7 m m mœ œ œ m œ œ m œ œ œ m mœ œ m œ & œ œ œ œ œ œ œ œ œ œ œœ≤ aœ ≥œ ≤œ a œ≥ œ≤ œ aœ ≥ ≤œa œ≥ a œ≥ œ ≤œ ≥œœ ≤ œa b ≥œ ≤œ a œ≥ œ≤ œ a œ ≥ œa œ ≥ ≤œ ≥œœ ≤ œ ≥ & 4 # m m m œ m m Ex 10 4 œ œm ∑ b œ œ mœ œ œ œmœ œ mœ œ œ œ œ œ G5 C7 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ Bridge & middle pickup œ œ ©»¡™• Ex 10 Bridge & middle pickup # ©»¡™• 4 ∑ pickup G5œ œ œ œ œ3 œ œ œ œ œ3 œ œ œ3 œ œ œ C7œ œ b œ œ œ5 œ œ œ œ œ5 œ œ œ5 œ œ œ & # 44 Bridge & middle œ3 œ00 œ5 œ00 œ5 œ3 œ00 œ5 œ3 œ00 œ5 œ00 4 œ5 b œ33 œ5 œ5 œ33 œ5 œ33 œ5 œ5 œ33 œ5 œ5 œ33 œ5 œ33 0 ∑ 0 œ 4 œ 5 œ 5 & 4 Bridge & middle œ œ4 5 5 5 5 5 5 5 5 5 4 5 5 5 5 5 5 pickup 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3 ≥ ≥ ≥ ≥ ≥ ≥ ≥ m a m m a m a m m Bridge & middle pickup ≥4 5 m ≥5 a m ≥5 m ≥5 a m ≥5 a m ≥5 m ≥4 5 mm ≥≥5 aa mm ≥≥5 mm ≥≥5 aa mm ≥≥5 aa mm ≥≥5 aa ≥4 5 m0 ≥5 3a m0 ≥5 m0 ≥5 3a m0 ≥5 3a m0 ≥5 m0 ≥4 5 m3 ≥5 5a m3 ≥5 m3 ≥5 5a m3 ≥5 5a m3 ≥5 3a G5 3 3 3 5 5 5 G5 0 0 0 0 0 0 3 3 3 3 3 3 4 4 5 5 5 5 5 5 5 5 5 5 5 ## G 5 œœ ≥ m ≥ a m ≥œœ m ≥ a m ≥œœ a m ≥ m ≥ m ≥ a m ≥ m ≥ a m ≥ a m ≥5 a & & # œœ œœ œœ œœ œ œœ ≥ œœ m œœ≥ aœœ m ≥œ m ≥œœ a œœm ≥œ a mœœ ≥ mœœ ≥œœ m ww≥ a m ≥ m ≥ a m ≥ a m ≥ a & Gœ5 œ œ œ œ œ œ œ œ œ œ œ œ w # G5 & # œ œ œ0 œ œœ33 œ0 œ œ0 œ œœ33 œ0 œ œœ33 œ0 œ œ0 w & œ44 œ55 œ0 œ55 œ0 œ55 œ0 œ55 œ0 œ55 œ0 œ55 œ0 w55 3 3 3 0 0 0 0 0 0 ≥≥4 5 mm ≥≥5 aa mm ≥≥5 mm ≥≥5 aa mm ≥≥5 aa mm ≥≥5 mm ≥≥5 3 Ex 11 0 0 ≥4 5 LeAD ≥5 BootCAMP ≥5 m0 D ≥5 33a m0 ≥E5 33a m0 ≥5 Am0 ≥5 m a m TRACKs 22-23 PARTEx211ExAMPLES 3 / ©»¡™º E A0 0 0 0D 0 0 3 /' 3 5 5 5 5 5 5 5 Ex 11 # #4 ©»¡™º ≥ sTyLe ≥ Thismexample ≥œ isa a m3 ≥E you’ll ≥ were ≥ 'Parts m a m a 3 m m 44 CounTRy eXAmpLe 11: #LeADinG inTRo see that root and 5th ‰of ŒtheÓimplied ## #≥ ©»¡™º D A really playing just ∑∑ If you ŒŒbeyond & j jj ‰‰ thewith jj ‰steel / Œ Óor fiddle. œ slightly busier version of Ex 5. look the pull-offs and bends chords. like this are often in unison the pedal œ œ ≥ ≥ ≥ ≥ ≥ ≥ m a m m œ ≥œ a œ œm a 3m m œ & 4 j œ ' # 3 œ œ œ œ œ œ œ œ Ex 11 # œ œ œ œ œ œ œ œ 4 œ œ # œ œ œ œ & Bridge©»¡™º 4 & middle∑pickup Œ œ œ Dœ œ œ œ œ œ Eœœ œ œ/ j Aœ œ œœ œ œj ‰ œœ œ œ œj ‰ Œ Ó Ex 11 Bridge & middle pickup # œ 3 Eœ œ 3/ œ/' œ Aœ œ œ œ œ œ œ # # ©»¡™º D 4 & middle∑pickup Œ œ œ /'' j œ Bridge & # # 44 j‰ Œ Ó 3 3 œ œ œ 'œ œ œ œ œ œj ‰‰ œ0 œ22 œ 4 œ2 œ0 œ # œ ∑ Œ œ œ / j 2 2 2 & 4 j œ œ œ 0j ‰ Œ Ó œ œ 0 2 œ 4 0 œ 0 œ 0 0 4 œ 2 œ 0 2 2 '0 2 2 œ œ 2 œ Bridge & middle pickup œ œ 0 œ0 œ2 4 2 œ œ00 2 2 / œ0 2 œ0 2 œ00 2 œ0 œ00 œ22 œ44 œ0 0 4 2 0 Bridge & middle pickup Ex 9 4
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April 2015 GuitarTechniques 39
play: COUNTRy
ON THE CD
TraCk 12-40
PART 2 ExAMPLES LeAD BootCAMP
TRACKs 23-25
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40 GuitarTechniques April 2015
3 0 3 0 1d) 'Country/Major Blues' Scale 0 2 3 0 3 3 2 3 3 3 2 6 3 3 6 6 3 3 3 6 0 0 2 3 3 3 6 1d) 'Country/Major 'Country/Major Blues' Blues' Scale Scale 1d) 1d) 'Country/Major Blues' Scale
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is reminiscent of Brad Paisley’s to incorporating open strings Ex 14 Bridge &approach middle pickup into his lead playing. We’re using the notes of the G minor Pentatonic
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that your pull-offs are strong and positive. Take note of the picking directions here, too.
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ultimate country workout PART6 2 ExAMPLES LeAD BootCAMP
TRACKs 25-28
3
3 3 # œ œ b œ œ & œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ .. b œ œ œ œ n œ œ œ œ œ œ œ œ 3 3 œ 3 3 6 6 # œ bœ & œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. b œ œ œ œ n œ œ œ œ œ œ œ œ 6 . 3 0 0 3 3 œ 3 5 3 3 0 0 5 3 0 0 3 3 3 0 33 0 0 3 0 . 3 0 0 3 0 0 5 5 5 5 5 # œ b 3œ & ≥ œ ≥œ mœ ≥œ n 3œ ≥5 m ≥œ œ3 œ ≥œ mœ ≥œ œ3 ≥5 m .. b≥œ œ ≥œ mœ n≥œ ≥5 m ≥œ ≥5 m ≥3 œ œ œ œ5 3 0 0 œ œ œ .. 3 0 0 œ œ œ œ œ œ œ # œ5 3 0 0 b œ œ & œ œ5 œ œ5 n œ3 œ0 œ5 œ0 œ œ5 œ œ5 œ3 œ0 œ5 œ0 . b œ œ œ5 œ n œ3 œ0 œ5 œ0 œ3 œ0 œ5 œ0 Ex 15 eXAmpLe 15: miXoLyiDiAn usinG open sTRinGs Here we have the second bar, so you may find it beneficial to keep your fretting hand thumb œ3hybrid ≥ ≥ ≥ ≥ ≥ m ≥ strings with m ≥ m on the m of≥the neck. m m ≥ ≥played using ≥ open ©»¡ºº Mixolydian mode the minor 3rd≥(Bb)m ≥ positioned lower≥half I’ve≥included the picking œ n œaœstretch œ w # 455 bluesy n œ thrown in for some colour. It’s quite on the ascent of the directions I. use, but it’s also0possibleœtoœ alternate pick every note. œ 3 0 0 5 3 0 0 3 0 & 4 3 0 ∑ 55 0 55 33 00 55 œ00œ b5œ n3œ œ0 œ 55n œ œ0 œ 55 33 00 55 00 .. œ œ3 œ0n œ 55œ œ0 œ n33œ œ00 55 00 33 00 55 00 Ex 15 œ b œ n œ œm0 œ œ ≥3 0 ≥5 mm0 ≥3 0 ≥ mm0 ≥3 0 ≥ mm0 ≥33 0 0 5 3 0 0 ©»¡ºº m ≥5 &3 middle ≥5pickup ≥ m ≥ m m ≥ 0 ≥ 5 œ3 n œ0 ≥ m 5 m 5 3 0 ≥ m . # Bridge œ 5œ œ œ b œ n œ 5 4 œ œ 5œ n œ œ w 5 3 ∑ n œ œ & 4 œ œ œ œ ≥ ≥ m ≥ 3 0≥ m ≥ ≥n œ mœ œ≥œ b œ n œ ≥ mœ œ œ ≥œ œ n œ≥ m ≥ ≥0 m 3≥ ≥ m ≥ Ex 15 15 Ex 6 3 0 0 3 6 œ 5 3 4 0 0 2 5 ©»¡ºº Bridge & middle pickup œ œ w 5 3 0 0 3 5 Ex 15 # 4 nœ œ œ œ œ bœ nœ 5 0 1 2 0 3 7 œ œ œ nœ ∑ n œ 3 7 & ©»¡ºº 4 œ œ œ œ œ m œ3 n≥œ6 œ0a mœ3 ≥ 0a m ≥ a n mœ ≥œ œa mœ b œ n œ ≥ œa ≥œ mœ œa ≥œ n mœ a ≥ m 0a ≥ mœ3 œ0a n≥œ6 mœ3 w #4 œ5 œ b œ3 n œ4 œ5 œ0 n œ3 0 0 œ ∑ œ2 n œ œ5 & Bridge 4 & middle Bridge & middle pickup pickup Ex 16 œ5 œ œ0 b œ1 n œ2 œ3 œ0 œ7 œ3 œ0 œ7 n œ3 œ œ5 ©»¡ºº& middle pickup m33 ≥ 00a m ≥ a m ≥ a m ≥ a m ≥ a ≥ m a ≥ m a ≥ m 00a ≥ m33 00a ≥66 m33 œ n œ66 œ œ33b5œ 00n œ 3b œ 4œ 0 œ # Bridge 0 2 5 4 5 3 4 b œ0 0 2 5 ∑ - DoRiAn/BLues/mAJoR 5 œ3 3 œœ 0 nœ œ 0 3 5 Ex 16 &16: hyBRiD 4 sCALes 5 0 0 3 5 3 0 0 just 3 that. This ‘uber’ scale’s n œ n œ eXAmpLe penTAToniC a solo. In this descending lick I have done 5 0 1 2 0 3 7 œ œ œ 5 0 1 2 nœ 0 3 œ 7# œ n œ 6 3 0 0 3 6 b œ n œ 3 could 7 now be seen There’s no rule that says we must exclusively use5one scale spelling you can see it’s 3 7 ©»¡ºº 3 4 at a 0 time while 0 as 2 (R-2-b3-3-4-b5-5-6-b7), 5œ œ n œ œ . m m m a m a ≥ mm aa ≥ mmscale (allw 12and ≥5 mm aaachromatic ≥5 aa mm3 ≥5 to0aa mm0 1 just2 three m ≥ina amany m≥ a aways m preferable) anotes m short a≥ m m abeing 0 3 a œ ≥ ≥ improvising; it’s perfectly acceptable (and of semitones); and & middle pickup #Bridge n œ œ 0 3 7 4 of different œ b œ n œ b œ œ b œ œ œ n œ you may3 even7 prefer to view this lick as a chromatically derived one. ∑ scales and combine the visit each one throughout & notes 4 Ex ≥ a œ m ≥œ a m œ n œ n œ≥n œa œ≥œmœ aœ≥# œmn œa ≥b œm n œa ≥ mœ a ≥ m Ex 16 16 3m ≥ a m ≥ a m 6 5 3 3 œ œ. w ©»¡ºº œ n œ œ 6 6 œ5 3 5 œ5 5 3 4 5 3 5 3 2 5 2 5 4 3 1 2 0 n œ Ex 16 Bridge & middle pickup #4 œ bœ nœ bœ bœ œ œ œ nœ œ ∑ & ©»¡ºº 4 3 n œ n ≥œ n mœ œ ≥œ mœ ≥œ # ≤œ n œ m ≥3 mœ ≥1 3 m m≥m ≥ œ ≥ ≥ ≤ #4 n œ 6 œ 5 3 ≥ m 3 ≥≤ bœ nœ œ nœ œ . w œ b œ6 n œ b œ6 œ5 b œ3 œ5 œ3 n œ4 ∑ pickup & 4 œ œ œ 5 5 5 nœ 3 3 2 2 Bridge & middle pickup n œ Bridge & middle Ex 17 n œ5 œ œ5 œ œ5 # œ4 n œ3 b œ1 n œ2 3 œ0 1 3 ©»¡ºº 3 m ≥ m33 ≥ ≤ ≥ m ≥ m ≥ ≥ m ≥ m ≥ ≤ m ≥œ m n ≥œ œ . w 3 ≥≤ & middle pickup 6 5 5 3 3 #Bridge 6 œ nœ bœ nœ bœ œ œ œ œ œ œ 6 6 5 3 6 6 5 5 3 3 5 3 4 4 ∑ 5 5 œ bœ 5 œ 3 œ 3œ 2 2 2 Ex 17 & 44 5 5 5 3 3 2 3 5 œœ œ55 œ 55 44 33 11 22 3 00 1 3œ œ 5œ 6 5 3 3b œ n œ œ 3 1 3 6 œ 6 5 3 5 3 4 ©»¡ºº œ œ m ≥ m œ ≤ ≥ mm ≥ ≤ ≥5 mm ≥5 mm b≥5œ 3 ≥5 mm3 2 ≥5 mm2 ≥5 ≤4œ n 3œ b mmœ1 n œ2 b≥œ mm0 ≥ #4 ∑ 3 œ 1œ 3 œ œ & 4 œ œ œ œ œ Ex œ≥ mœ≥You≤ may prefer œ scale Ex 17 1717: CounTRy sCALe Here is ma≥ m m ≥of œ ≥œ msound. ≥ think ≤œ using œ≥ œm ≥the œm ≥ bluegrass ≤ œ≥ œmstyle 3 eXAmpLe bluegrass to the G Country (G A Bb B b œ≥ nlick 3 0 0 œ ©»¡ºº Country scale. I’ve used alternate ‘flat’ picking here to help cement that0 3 D E) as the second mode of the E Blues scale (E G A Bb B D). 2 0 0 3 3 2 0 2 0 0 Ex 17 œ 0 2 0 2 2 0 #4 0 1 2 œ nœ bœ nœ bœ œ œ 2 œ œ 2 œ œ ∑ b œ 2 3 & ©»¡ºº 4 œ œ œ œ œ œ 0 3 2 0 œ 0 œ œ œ3 0 3 0 3 2 0 œ 2 0 œ 0 œ3 #4 œ b œ n œ œ œ ∑ b œ œ œ œ2 œ œ2 0 n œ b œ n œ b œ œ œ œ2 œ œ œ2 œ & 4 0 2 0 œ œ 0 1 2 œ œ œ b œ n œ œ œ2 œ3 3 3 3 0 0 0 # œ œ œ œ œ 3 0 0 3 2 0 0 3 3 2 0 2 0 0 0 3 2 0 0 3 3 2 0 2 0 0 n œ b œ n œ b œ œ 2œ 00œ 22 œ00 œ œ œ 22 œ œ22 00œ œ œ œ œ 2 2 & 2 2 3 0 0 1 1 2 3 0 0 n œ œ œ 2b œ 0 œ 0œ 2 3 3 2 0 3 2 0 0 3 3 2 0 0 2 0 2 2 0 2 2 # œ œ œ 0 1 2 & 3 0 œ 0 œ n œ b œ 2n œ 3b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ bœ œ œ 3 3 0 0 3 3 2 0 2 0 0 0 2 0 2 2 0 2 2 0 2 0 # œ œ œ œ œ nœ bœ nœ bœ œ 2 1 0 œ œ 3 & # œ3 0 3 0 3 0 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ b œ3 n œ0 b œ3 œ2 0 œ n œ b œ & œ œ2 œ2 œ0 œ2 œ0 œ0 œ2 œ0 œ2 œ0 œ2 œ0 2 œ2 œ0 1 0 œ nœ b œ œ œ3 3 0 0 3
6
E B G D A E E B G D A E E E B B G G D D E A A B E E G D A E E B G D A E E B G D A E E E B B G G D D E A A B E E G D A E E B G D A E E B G D A E E E B B G G D D E A A B E E G D A E E B G D A E E B G D A E E E B B G G D D E A A B E E G D A E E B G D A E E B G D A E E E B B G G D D E A A B E E G D A E
3
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2 2
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3 3 3
April 2015 GuitarTechniques 41
play: COUNTRy
ON THE CD
TraCk 12-40
PART 2 ExAMPLES LeAD BootCAMP
TRACKs 29-30
eXAmpLe 18: ‘CAGeD’ DeRiVeD ARpeGGios This example guides you through 7 7 the arpeggios that can be ‘extracted’ from the CAGED major chord shapes. Many country guitarists prefer to visualise these chord Ex Ex 18 18
©»§º 7 7 7 # Ex 18 ∑ Ex & # 44 Ex 18 18 ©»§ºBridge pickup ## # ©»§º 44 Bridge∑pickup # & ∑ & 44 E E B B G G D D A A E E E E B E B G B G D G D A D A E A E E
Bridge pickup Bridge Bridge pickup pickup
1 1
C C -- form form D D
E E -- form form D D
1 1 1
A A -- form form D D
œ ˙˙ œœ œœ ˙ œ C -˙ ˙form œœ C CD-- form form D D ˙˙˙ œ œœ œ ˙˙22 œ œœ œœ œœ œ22 55 œ22 œœ 3 3 ˙3322 œ 22 33 4 4
˙˙ ## œ œ ˙˙ œ œ EE -- form ˙ & œ E - DDform ˙ form D˙ ˙˙ ## # œœ œ ˙˙ œ & & # 77 œœ œœ œœ 10101010˙˙˙ 7 11 7 7 11 12
4 5 5
4 5 5
2 2 3 2 3 2 3 2 4 2 4 5 4 5 5
2 5 2 5 2 3 3 2 3 2 5 2 3 2 3 3 2 4 2 5 4 4 5 5
shapes/arpeggios on the fretboard when soloing, so it’s important that you familiarise yourself with them - you should be able to picture all five shapes (C-A-G-E-D) in every key, all over the neck.
œœ œ œ œœ 2 2 4
˙˙ ˙ œ AAA ---˙˙Dform form form D D ˙˙˙ ˙ œœ ˙˙˙55777 7
2 2 2 4 4 4 5 5 5
5 5 7 5 7 7 7 7 7 7 5 7 5 5
œœœ
©»§º j # ˙ nn œœj # œ œ 4 ˙ # Exin 19this way, it’s normal ∑ at first for your soloing ˙˙formplaying toœ sound œ # œ like & 4 Ex Ex 19 19 C -˙ œœ œ C form CD - form 3 D 3 3 ©»§º D Bridge pickup pickup ## # 4©»§ºBridge ˙˙ nnn œœœjjj ## œœ œ œ 3 333 333 ∑ 4 ˙˙22 œ œ œ & 2 ∑ 2 3 œ œ# & # 44 ˙˙332 # œ œœ œœ œ 3 3 4 2 4 32 2 4 œ 4 3 4 4 5 2 3 3 Bridge pickup 5 3
E E B B G G D D A A E E E E B E B G B G D G D A D A E A E E
E E B B G G D D A A E E E E B E B G B G D G D A D A E A E E
Bridge Bridge pickup pickup
1 1
1 1 1
5 5
5 5 5
G G -- form form D D
˙ # ˙˙ & GG #-- ˙˙˙form G -Dform form D D˙ ˙ ## # ## ˙˙ & & # ##1010˙˙˙˙77 7 7 ##
7 7 9 9 10 10 10 10 7 10 7 7 7 7 7 9 7 9 10 9 10 10
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7 9 9 7 9 9 10 10
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7 7 9 7 7 9
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D D7-- form form 9 8 D 9 7 7D 9 9 8 8 9 10 9 10 10
8 8 8
# ˙˙ ≥≥ ≥≥ ≥≥˙˙≤≤ ≥≥ ≤≤ ≥≥ œ≥≥ ≥≥ œ≤≤ ≥≥œ ≤≤ # œ ≥≥n œ œ Œ D - form D D --Dform 3 3 3 3 ## D˙˙Dform 3 3 ˙˙ œ # œ n œ œœ œœ œ # œ n œ œœ ŒŒ 14˙˙ 14
8 8
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42 GuitarTechniques April 2015
3 11 11 14 14 3 13 3 3 3 13 12 12 3
14 14 15 14 15 14 15 14 12 14 12 12
11 14 11 11 14 14
12 12 12
13 13 13
5 5
5 5
E E -- form form D D 5 5 5 5 5 5
12 12 12 10 10
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10 7 10 10 10 10 7 10 10 7 7 10 10 7 7 7 9 7 7 10 9 10 9 10
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15 14 11 14 11
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7 5 5 5 5 7 5 7 7 7 7 7 7 5 7 5 5
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10 10 10 10 10 11 10 11 12 11 12 12 12 10 12 10 10
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10 10 10 12 10 12 10 10 13 10 12 13 11 10 12 10 11 10 11 10 12 10 11 10 12 13 12 12 10 10 12 11 12 11 12 10 11 12 10 10 11 11 12 12 12
3 3 3 3 œ 33 n œ # œ 33 œœ ## œœ œœ œœ œ n œ # œ œœ œœ 12 13 14
13 14 13 13 14 14
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nœ #œ œ œ nœ #œ œ œ œ œ œ œ nœ #œ œ 3 3 3 3 3 3 3 3 3 3 3 3 3 3 œ n œ œ œ œ œ œ œ œ œ œ œ n œ ## œœ œ œ nn œœ ## œœ œ œ œ nn œœ ## œœ œœ 10 10 10 12 10 13 12 10
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12 14 12 12 14 14
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14 14 15 15 you’re reacting to the than 14 11chords 14 15 11 harmonically predicting them. 15 15 rather 15 14 14 14 14 A 12 12 11 14 11 14 14 11 11this 12 A -- form form However, with practice and experience will pass. The examples here 12 12 12 D 12 12 12 D how we can incorporate neighbouring showcase notes to the chord tones 10 10 10 add chromatisism to our solos. Check out Vince Gill’s track, Take Your to jj a case study for soloing in this manner. Memory With Youb œas
13 15 12 3 3 12 12 3 13 14 3 15 3 3 12 3 12 3 13 14 3 3 3 3 14 14
12 12 12
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7 7 4 4 5 5
˙˙ ˙ ˙ D - form D D -Dform D ˙˙form D ˙˙ ˙˙ 14 14 15
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E E B B G G D 12 12 D 7 9 12 12 12 12 A 12 9 A 9 10 12 9 12 12 12 E 10 10 E 6 10 10 10 E 6 10 10 E 10 B 7 10 10 10 E 19 10 10 10 Ex B 7 10 10 eXAmpLe Tones G Ex 7 11 AnD TheiR neiGhBouRinG 11 10 11 B 1919: usinG 7 ChoRD 10 10 10 noTes G 7 11 11 11 D C form 7 12 12 11 G around chord7 shapes 11 11 12 C form Soloing requires you to have one ear listening D 7 12 12 A 9 12 9 12 12 D D 7 12 12 12 D 9 12 9 12 out forAEEA your accompaniment, as when the chords change you’ll need to 12 10 10 10 9 10 12 9 12 12 6 10 10 E 6 3 10 10 10 alter the6 shape that you’re soloing around. If you’ve never approached 3 3 3
E E B B G G D D A A E E E E B E B G B G D G D A D A E A E E
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12 15 12 12 15 15
13 13 13
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ultimate country workout PART 2 ExAMPLES LeAD BootCAMP
TRACKs 31-33
eXAmpLe 8 20: peDAL sTeeL/G-BenDeR imiTATion I was first introduced to this style of bend by my teacher, Colin Pincott. This example is inspired 8 Ex that 20 Colin recalled playing with Seymour Duncan when they by a tune
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Ex 8 20 8 Ex 20 Ex 20 8
E B E G B D G A E D E B A 1 E G E B D 1 G A D E EA 1 BE G 1 D A E 1
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¡ second ¢ holding £ the £ £ which must all be executed while string bend. I’ve 7 ( 9) (7 ) 11 (13 )¡ ¡ ¢ £ £ your performance. £ included fretting hand fingering numbers 10 14 to help
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E B E G B D 7 G ( 6) ( 6) (4 ) 4 RP A 10 E D 7 7 BU BD E B A 4 7 10 E Hold G ( ) ( ) ( ) 4 6 6 4 E B D 4 bend 7 7 G ( ) ( ) ( ) 4 6 6 4 RP A 7 10 D 7 7 Ex BU BD E 21 eXAmpLe EA 4 21: B-BenDeR 7 imiTATion BenDs This example begins with10 Ex 21 C E B an ascent up the C form arpeggio4shape. In the second bar we see one of G 4 ( 6) (6 (4 ) C) D common bends in7country guitar: the B-bender the most imitation bend. 7 Ex 21 A 7 10 EEx 21 C 4
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both worked at The Fender Soundhouse in London during the early ‘70s. It’s tough, as the first finger has to pull the third string towards the floor. Check out Brad Paisley’s albums to hear an actual G-bender in action.
(17 ) (RP 17 ) RP (17 ) (17 )
13 13 13
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April 2015 GuitarTechniques 43
play: COUNTRy
ON THE CD
TraCk 12-40
PART 2 ExAMPLES LeAD BootCAMP
TRACKs 34-36
eXAmpLe 23: LineAR mAJoR penTAToniC sCALe pATTeRn Using linear scale patterns (going up and down the neck as opposed to 9 vertically across the strings) is a great way of escaping the ‘Pentatonic box’ and breaking out into other areas of the fretboard. This example is a Ex 23 9
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Brent Mason-inspired run based on G major Pentatonic, with additional chromatic notes. This is a great ‘corridor’ to work your way up to the G major Pentatonic scale shape at the 15th fret. Aim to ‘pop’ the first note of each beat.
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44 GuitarTechniques April 2015
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ultimate country workout PART 2 ExAMPLES LeAD BootCAMP
TRACKs 37-38
eXAmpLe 10 26: DouBLe-sTop 3RDs WiTh ChiCKen piCKin’ Just like Example 25, we’re ascending the neck using double-stops, but here we’re Ex 26
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it’s engaged. Set the delay12so13 there’s only one repeat, with Delay Volume 9 10 11 11 12 13 14 14 15 16 16 17 18 œœœœœ œ The maths works out as the number 45 divided by the tempo of the œ œ œ œ œ œ100%. œ œsoœinœthis case song, = 0.3 - or 300 milliseconds. œ œ it’s: œas45 j Be sure .. ≥ ≤ ≥ œyou÷œ 150 to switch off the delay pick œ œtheœ lastœnote. œ œ œ œ ‰ Œ .. G œ œ delay Engage œ œonœrepeat œœœ œœœœœœœ PM œ œ œ œ œ œ œ œ œ œ œ j ‰ Œ .. .. 15 12 14 12 œ œœ 15 13 15 12 13 12 . . 14 12 14 11 12 11 14 12 14 10 12 10 .Engage delay on repeat . 14 12 14 10 12 10
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eXAmpLe 27: DoTTeD 8Th ‘ALBeRT Lee’ G DeLAy eFFeCT From my 4 5 6 5 6 7 7 8 9 experience of teaching country, one of the first questions that’s asked is “Can you show me the Albert Lee delay effect”? So I ahad to include it here. etc The first cycle of this example is played without delay, m then on the repeat
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PART GUITAR 3 fuLL PIeCe MAGAZINE TECHNIQUES
TRACK 39 Steve Laney PREP FOR A COUNTRY GIG Steve Laney CompLeTe pieCe To wrap things up we have basedLaney around then switches to a more rockabilly or Chet Atkins flavour. We then have a FOR A COUNTRY GIG GUITAR TECHNIQUES MAGAZINE 2 4 1 a full piecePREP Steve an 8-barCOMPLETE sequence inPIECE G that then modulates to Bb for thePREP solo and a nice melody run incorporating open strings, before modulating into the key of FOR A COUNTRY GIG 241 GUITAR TECHNIQUES MAGAZINE 2 4 1
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COMPLETE PIECE 7 C /G harmonic lift. We start with some honky-tonk Gstyle hybrid picking that G 7 G7
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5 April 2015 GuitarTechniques 45
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play: COUNTRy E E B B G G D D A A E E 10 10
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46 GuitarTechniques April 2015 G G
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13 14 13 14 14 15 13 14 13 14 15 14 14 15 14 15
11 13 11 13 11 12 13 13 11 12 13 13 12 13 12 13
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14 14 14 14
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April 2015 GuitarTechniques 47
play: classical
ON THE CD
TraCk 41
Mozart Eine Kleine Nachtmusik This month Bridget Mermikides revisits perhaps the most revered classical composer of all, Wolfgang Amadeus Mozart, to arrange and transcribe his legendary Eine Kleine Nachtmusik.
ABILITY RATING
Moderate Info
WIll IMprove your
Key: D Tempo: 110 bpm CD: TRACK 41
Fretting-hand stretches Independence between parts Classical ornaments
In thIs Installment of our ongoing Classical series, we return (as, not surprisingly, we have so often) to the work of that musical genius Wolfgang amadeus mozart (1756 – 1791). this time we are going to adapt one of his best known pieces: the first movement from his serenade no.13 For strings In G major K525, more commonly known as eine Kleine nachtmusik. Completed in 1787, this piece was not published until decades after his death, and why or for whom it was written is not known. Despite the uncertainty of its origin, eine Kleine nachtmusik is undoubtedly one of the best known pieces in the entire classical repertoire, and still very much embedded within popular culture. In fact there is not a year in recent history when it hasn’t
To make all the parts playable on the guitar the original’s key of G major has been transposed down a 4th to d.
been used in both film and TV scores. at the time of its composition, mozart had already written an amazing body of work. this included: 38 symphonies, 37 concerti for one, two and three pianos, bassoon, violin, flute, harp and horn; 17 operas and hundreds of other works – so his technical prowess, command of orchestration and creative force
Sitting PoSture An important aspect of technique in classical guitar playing is adopting the correct sitting posture. The guitar is placed on the left thigh (for right-handed players), which is raised by placing the foot on a footstool or similar. The left knee should be pointing forwards and the right knee to the side so the guitar rests on the inside of the right thigh. The guitar should be positioned at an angle where the neck is pointing slightly upwards, and the right forearm rests on the larger bout of the instrument. This should hold the instrument securely in place and give ease of facility for both hands.
were all clearly established. Originally written for a string quartet, with an optional double bass, eine Kleine nachtmusik is now most often performed by string orchestras. to make the multiple parts playable on the guitar, I’ve transposed the original key of G major down a 4th to D major, and edited some of the ornamentations and inner voices. even having done that, this arrangement will nonetheless present something of a challenge so be patient, break it up into sections for practice, and refer to the tab captions to guide you through some of the trickier passages. hope you enjoy learning and playing this masterpiece of the classical repertoire, and see you next month. Mozart: prolific and prodigious in equal measure
NeXT MoNTH: Bridget arranges and transcribe’s Strauss’s famous waltz, Blue Danube
Track record karl Bohm’s conducting of the Berliner Philharmoniker (deutsche Grammophon, 1995) is splendid. To hear a famous adaptation of a Mozart piece for classical guitar, try Fernando Sor’s Introduction and Variations on a Theme of Mozart, an 1821 set of variations based around a melody in Mozart’s The Magic Flute. and Julian Bream’s version (Gold Seal Music of Spain, 1993) is a classic.
48 GuitarTechniques April 2015
Mozart EinE KlEinE nachtMusiK PLAYING TIPS
cd track 41
[Bars 1-18] The opening octaves should be played nice and neatly without to bar 14. A barre is needed on beat 2 of bar 9 and beat 2 of bar 10. The TECHNIQUES MAGAZINE 41 anyGUITAR of the open strings ringing through.2 Suggested fingering for both hands grace notes in bars 12 and 13 are played together with the bass notes and MOZART'S EINE KLEINE NACHTMUSIK is indicated. The main theme begins in bar 5 and I play this in 2nd position land on the beat. At bar 15 we go up an octave for tonal variety and then we arr. B Mermikides and in fact the notes lie under the hand to stay in 2nd position right through have the repeated bass D notes at 18.
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April 2015 GuitarTechniques 49
play: classical
ON THE CD
TraCk 41
PLAYING TIPS
cd track 41
[Bar 21] At bar 21 the ascending melody stays on the second string and then at 22 I find it helpful to land on the first A chord using a hinge barre – this 2 xxxxxxxxxx where the top A note is pressed down with the side of the first finger rather 2 the xxxxxxxxxx than tip. It makes the change from the previous chord shape easier. A/C A/C
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50 GuitarTechniques April 2015
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Picking hand fingering is indicated in bar 22 and I play the open E notes in the melody with a light rest stroke. This puts the second finger onto the second string and therefore immediately ready to pluck the chord with no re-placing of the finger. It’s a handy technique once you get the hang of it.
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Mozart EinE KlEinE nachtMusiK PLAYING TIPS
cd track 41
[Bars 28-53] Another section begins at bar 28 and has a tricky downwards triplet slur in the melody. Do this slowly at first if necessary and work on keeping the chords short and clear. At bar 35 we get a middle voice coming in and also a slightly awkward pull-off grace notes in the melody. The one at bar 3 36 is a bit of a stretch for the fretting hand and can be omitted if it
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proves too difficult. In 39 there is a bit of a jump for the fretting hand from the G# bass note back the A#. At bar 42 beat 2 I add a second finger twostring barre across the third and fourth strings - the second finger remains on the second string. After the embellished singe line melody in the bars 51-53 we reach the end of the first section.
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April 2015 GuitarTechniques 51
play: classical
ON THE CD
TraCk 41
PLAYING TIPS
cd track 41
4 xxxxxxxxxx
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70
52 GuitarTechniques April 2015
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Mozart EinE KlEinE nachtMusiK PLAYING TIPS
cd track 41
[Bars 70 to end] Now we have an exact repeat of the first half but at bar 70 we do not go up an octave – we get the full effect of the rising melody line through the whole phrase. At bar 80 we resolve back to octave A notes 5 instead of E notes and then we continue with some new material.
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Some little grace notes appear in the melody from bar 89 – aim to keep these neat and follow the fingering carefully in bar 92. The rest of the piece as we near the end is fairly logical to approach. Isolate and work on areas that you find problematical before putting the whole thing together.
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April 2015 GuitarTechniques 53
play: classical
ON THE CD
TraCk 41
PLAYING TIPS
cd track 41
6 xxxxxxxxxx B /D #
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LEarNiNG ZONE LESSONS GT241 30-MINUTE LICKBAG
.....................................
56
Pat Heath sets the challenge with six licks at easy, intermediate and advanced levels.
BLUEs................................................................................................. 58
John Wheatcroft is in a blues-meets-country mood as he introduces the mighty Brad Paisley.
RoCK .................................................................................................. 62
Martin Cooper looks at the post Beatles stylings of the hugely inventive George Harrison.
vIdEo ................................................................................................ 66
Carl Verheyen shows what a studio pro can do over a blues backing - first and only take!
CREATIvE RoCK ......................................................... 72
Shaun Baxter demonstrates how to navigate the fretboard in three octaves using ‘cells’.
CHoPs sHoP ..................................................................... 78
Andy Saphir wants to improve your technique; this month he’s string skipping with a pick.
BRITIsH R&B ....................................................................... 80
REQUIRED OR DESIRED? I used this phrase recently while talking to Neville about gear we were both mulling over buying. It seems there’s always something winking at one or both of us, be it a guitar, an amp or a pedal. To keep my music gear under control, I’ve maintained a distinction between required (needed for a specific musical scenario) and desired (I so want that!). Both have validity but ‘required’ purchases are much easier to justify than ‘desired’ purchases, especially if the costs run high. But we can apply this outlook to playing as well as buying. As I’ve stated in the past, time is often as precious as money, so we all must consider what we’re focusing on when practising the guitar. Typically, when a gig comes in the external ‘require’ quickly demotes one’s internal ‘desire’ to learn, say, the Altered scale all over the fretboard in every key. Not all internal demands should be categorised as ‘desires’ though. Fundamental topics like ‘five shapes of the Pentatonic’ can be considered equally as internal or external ‘requires’. So it’s easy to see how external ‘requires’ shape much of our practise time because they’re pressing and important. What of internal though? Should it always play second fiddle
to external? To an extent yes, but we should always keep internal ‘desires’ burning even if we don’t get to them as often as we’d like. The bigger concern is that when there are no gigs, grade exams or other external goals on the horizon, our mid and long-term development can suffer. We’re in danger of cultivating a jumble of isolated licks and half learnt scales that are musically homeless. Not ideal, eh? So, it’s down to you to take an active part in what you practise. Tackle those Pentatonic shapes and five CAGED shapes for all primary chords and use them when playing. External/internal ‘requires’ like these will always earn their keep. But do find a little time for, say, a ‘desired’ tapping Lydian dominant lick and how to perform it over a dominant 7th chord (tip: fire up one of GT’s backing tracks and experiment). Whatever level you’re at I’d recommend using the required/desired outlook to shape your practise time this year. Closer to home, see how this ‘required or desired’ viewpoint shapes your practise time with this very issue – I hope it helps. Enjoy!
Phil Capone enthuses about a band that paved the way for rock and metal: The Small Faces.
JAZZ ...................................................................................................... 86
Pete Callard examines the more traditional jazz side of the incredible Mike Stern.
ACoUsTIC ................................................................................. 92
Stuart Ryan looks at the more contemplative acoustic style of the great Paul Weller.
REAdING MUsIC ........................................................ 96
Charlie Griffiths looks at ornaments such as trills, mordents, appoggiatturas and more!
On videO! Watch Carl Ver
heyen navigate the fretboard in a stunning display of musical dex terity. Page 66
April 2015 GuitarTechniques 55
lesson: 30-Minute lickbag
ON THE CD
TraCks 42-47
30-Minute Lickbag easy LIcks exampLe 1 Bryan aDams GUITAR TECHNIQUES MAGAZINE 241
cd track 42
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3 adVanced LIcks exampLe 6 alex sKolnicK Lick 6
cd track 47
Alex Skolnick style
another great rock guitarist taught by Joe satriani (others include steve Alex Skolnick style Vai andLick kirk6 Hammett), skolnick’s technique is legendary. In his band
E B G E D B A G E D A E
E B G E D B A G E D A E
testament he fuses jazz ideas into his solos, but this example highlights his earlier rock style, including fast picking, slides and legato.
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April 2015 GuitarTechniques 57
Brad Paisley
ON THE CD
Brought to you by...
John Wheatcroft brings you a big plate of hot country with a generous helping of blues on the side, courtesy the Tele-toting Brad Paisley. country guitarist who’s no mean blues picker either. Brad Paisley has had a remarkable career. the 42-year-old singer, songwriter and picker has sold over 12 million albums, gained three Grammys and is a bona fide member of the Grand ole opry. if we also take into consideration over 30 top ten Billboard singles, over a dozen CMA awards and a stable family life with film star wife Kimberley Williams, it’s fair to say Brad has made quite a good job of things so far. it’s not for no good reason, either, as Brad is a fantastic singer and an intelligent and prolific songwriter. What we’re interested in here though is his guitar playing - he’s no slouch here either. Actually it’s not the first time that we’ve looked at a country guitarist in this column. Players such as Danny Gatton and Roy Buchanan effortlessly move between genres, sometimes within the same song. in Brad Paisley with one of his Bill Crooke fact you can often hear Tele style guitars country, blues, jazz, rock’n’roll and rockabilly influences all mixed up to create one huge ABILITY RATING hybrid language. Brad is most definitely open Moderate/Advanced to all of these influences. While his writing style, image and much of his vocabulary Info WIll IMprove your comes from classic country, you can easily detect traces of jazz, blues and rock in his Key: Various Double-stops and pull-offs playing - even the odd bit of tapping makes an Tempo: 105 bpm Incorporating open strings appearance. His open-minded approach is CD: TRACKS 48-51 Hybrid picking refreshing, and if you’d like to know more about the influences that make up his style to tie in perfectly with Steve Laney’s huge country feature, and to underline what he says you should check out his 2011 book, Diary of about the blurred distinctions between genres A Player: How My Musical Heroes Made A Guitar Man out of Me. these days, we thought we’d bring you a great
TraCks 48-51
there are two complete 12-bar solos this month, in the blues and country-endorsed keys of A and e respectively. one of the things i had to get my head around when approaching learning some country-based ideas was the concept of key-specific phrases, meaning that a specific lick in the key of G may not necessarily have an identical version in the key of A. there might be a similar idea, but, due to the abundance of open strings, certain ideas only work in one key; whereas in jazz the concept of transposing each and every idea through all 12 keys is accepted protocol, and open strings only rarely make an appearance. With this in mind, most country
coldplay, My chemical romance, jazz, and instrumental music that’s obscure - I have a very wellrounded iPod. Brad Paisley players stockpile ideas and organise them around their respective open chord, so an experienced player will have dozens of C, A, G, e and D form ideas. Country music is quite often a ‘sharp’ key music, with loads of tunes found in G, D, A, e and so, whereas jazz is most often associated with flat keys, F, Bb and the like. Of course, there are exceptions and many artists purposefully blur these definitions. Remember that you can always use a capo to access new keys and it’s not unknown for a player to completely retune the guitar a half-step or more lower to facilitate familiar finger shapes in new keys, so it’s good to remember the old saying, necessity is the mother of invention. While we’re at it, another good one is practice makes perfect, so what are you waiting for? NeXT MoNTH: New blues tutor Les Davidson looks at Carlos Santana’s bluesy side
Get the tone 5
7
4
6
3
Gain
Bass
Middle
TReBle
ReveRB
Ideally we’re looking at a Telecaster-style solidbody. Brad favours classic Fender and custom-built Bill Crooke models, into a medium powered valve combo with a selection of stomp boxes for overdrive and delay. Go easy on the gain and generally speaking you should select the bridge pickup and use pick and fingers to achieve that classic country cluck. Visit www.bradpaisley.com/gear for a full lowdown on his equipment including minute details such as pedal settings.
Track record Moonshine In The Trunk (2014 Sony) is Brad’s most recent release, featuring some wonderful playing, super-sharp vocals and witty lyrics. Play (2008 Sony) is worth the asking price just the Grammy winning track cluster Pluck, featuring a host of guest soloists including albert Lee, Brent Mason and John Jorgenson. don’t forget there’s a track with BB king too.
58 GuitarTechniques April 2015
ZUMA PRESS / ALAMY
lesson: blues
LEARnIng ZonE
BRAD PAISLEY EXAMPLE Solo 1: BRAD PAISleY StYle
cd track 48
[Bars 1-4] We begin with some A Mixolydian mode action (A-B-C#-D-E-F#-G). mute and cluck in bar 7 is achieved by palm muting the notes on the fifth The country twist here is to replace all the notes that are possible with open string while twanging the note on the third string with the second finger. strings, allowing each note to bleed through to create a harp or pedal-steel like [Bars 9-12] We bring our first solo to a conclusion with the combination of colourful ringing effect. As MAGAZINE with much of2the here, the best some rapid A Blues scale finger work (R-b3-4-b5-6-b7) and chromatic ‘sonic John Wheatcroft's GUITAR TECHNIQUES 4 1material presented John Wheatcroft's TECHNIQUES MAGAZINE 1 DUES or- BRAD PAISLEY SOLO 1 wayGUITAR to approach string crossings is with 2a 4combination ofBLUES pick and second shape’ trickery --which literally means shifting the exact same motific idea John GUITAR MAGAZINE 2 4 1to really pluck BLUES DUES 1 third fingersTECHNIQUES throughout and don’t be afraid at theWheatcroft's strings for - BRAD downPAISLEY and across- SOLO the fretboard one fret at a time until reaching a suitable John Wheatcroft's GUITAR TECHNIQUES MAGAZINE 2 4 1 BLUES DUES - BRAD PAISLEY - SOLO 1 extra snap, crackle and pop.MAGAZINE 2 4 1 musical resolution in bar 1 13. From a picking perspective, I’d suggest a John Wheatcroft's GUITAR TECHNIQUES BLUES DUES - BRAD PAISLEY - SOLO [Bars 5-8] More pick and fingers ‘hybrid-picking’ here. The combination repeated pattern of pick, 1second and third fingers here. BLUES DUESof- BRAD PAISLEY - SOLO
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April 2015 GuitarTechniques 59
lesson: blues
ON THE CD
TraCks 48-51
EXAMPLE Solo 2: BRAD PAISleY StYle
cd track 50
[Bars 1-4] We begin second solo number with some authentic blues vocabulary first and aim for a relaxed and seamless transition from idea to idea. - a lick that BB King would be proud of - coming from a combination of major (R- [Bars 9-12] Jimi Hendrix goes country in bar 9, although hybrid picking 2-3-5-6) and minor (R-b3-4-5-b7) Pentatonic scales. We add a touch of country will enhance the twang. You’ll need to bring the picking hand fourth finger twang to the Blues scale line in bars 3 and 4 with the addition of a syncopated into play to achieve this, however, so go easy until those calluses begin to John Wheatcroft's GUITAR TECHNIQUES MAGAZINE 2 4 1 John GUITAR MAGAZINE 2 4 1 ringing open TECHNIQUES first string throughout. form. The sliding double-stops in bar 10 neatly define our underlying A7 John Wheatcroft's Wheatcroft's GUITAR TECHNIQUES MAGAZINE 2 4 1 BLUES DUES BRAD PAISLEY - SOLO 2 BLUES DUES PAISLEY SOLO 2 John Wheatcroft's [Bars 5-8] Open strings, held bent notes,2harmonics and behind-the-nut (A-C#-E-G) and the-- rapid E Blues scale lick in bars 11-12 wouldn’t sound out GUITAR TECHNIQUES MAGAZINE 41 BLUES DUES -- BRAD BRAD PAISLEY SOLO 2 DUES - BRAD PAISLEY - SOLO 2 bends - bars 5-8 has the lot. Take each idea and techniqueBLUES in turn and live of place in a Gary Moore or Slash solo, although it’s doubtful they would do John Wheatcroft's GUITAR TECHNIQUES MAGAZINE 2 4 1 with each for a little while to explore the sonic potential before attempting as I didPAISLEY here and opt for a combination of pick, second and third fingers to BLUES DUES - BRAD - SOLO 2 the connect them togetherSwing in such close succession. Reduce negotiate the nifty string changes. E 7 the tempo at
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11 60 GuitarTechniques April 2015
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LOVE TO PLAY BLUES GUITAR? Then this 100-page magazine with DVD-ROM is for you! Drawn from the best blues features in Guitar Techniques magazine it’s packed with lessons on how to play like over 50 blues legends. Pop the DVD-ROM into PC or Mac to hear brilliant audio synched to animated tab.
lesson: rock
ON THE CD
TraCks 52-53
George Harrison Martin Cooper looks at the influential style of the legendary Beatle guitarist and charttopping solo artist, George Harrison.
Harrison was able to call on the very best players to join him on his albums including elton John and eric clapton. to call on the very best players to join him on his records, including the likes of elton John and eric Clapton – not a bad session band to gather round you in the studio. our example is in the key of B minor (B-C#-D-e-F#-G-a), and being a Harrison style song it also features non-diatonic chords (including augmented); plus a B Mixolydian (B-C#-D#-e-F#-G#-a) run in bar 20. The parts aren’t difficult to play, but you’ll need to focus on what is happening at each stage and also on the slide passages and any unusual chords. The solo features slide for the first eight bars, and then some sparse minor Pentatonic phrases in the final eight. There is a definite Jeff Lynne (ELO leader and producer for Harrison, Petty and orbison) style sound this month, with different tones used for each part, and Lynne’s trademark lightly overdriven power chords similar to his work with eLo, Tom Petty and The wilburys from the late 80s and early 90s. NeXT MoNTH: John looks at the playing of Robby Krieger from The Doors
Get the tone 4
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George Harrison used a Gretsch Duo Jet in the early Cavern Club days (featured on the front cover of Cloud Nine). He made Rickenbacker’s 360-12 and later moved on to Fender Teles and Strats, as well as Gibson Les Pauls and SGs. Amps included Vox AC15, AC30 and AC100 and various Fenders. His slide parts were mostly played on his original 1963 Sonic blue Strat, re-painted in psychedelic colours and named Rocky. Use a clean and bright tone with a minimum of effects (George hated reverb!).
Track record Try Harrison’s wonderful, critically acclaimed all Things Must Pass (1970), which features the classic My Sweet Lord, What Is Life and I’d Have You anytime (co-written with Bob dylan and with some of clapton’s best ever guitar). cloud Nine (1987) features Got My Mind Set on You and When We Was Fab. There is also a ‘Greatest Hits’ collection called Let It roll available.
62 GuitarTechniques April 2015
PETER STILL / GETTY IMAGES
GeorGe Harrison was a hugely important member of The Beatles and some of their best songs were written by him, not Lennon and McCartney. something, while My Guitar Gently weeps and Here Comes The sun were all penned by Harrison, and George also played unforgettable intro parts and solos to countless great Beatles songs. Harrison may have been the ‘quiet’ Beatle, but his contribution to the band’s output was nonetheless vital. He also had a successful solo career and was a founding member of the ‘multimillionaire’ supergroup, The Travelling wilburys, with roy orbison, Bob Dylan, Jeff Lynne and Tom Petty in the late 80s. Harrison’s early influences ranged from Django reinhardt to Chet atkins and Carl Perkins, and his sense of melody and creative spark was present in almost every guitar part or song that he composed throughout his illustrious career. in fact, towards the end of The Beatles’ life as a band, Paul McCartney confessed that Harrison’s songs had become at least as George with a strong as those written by mid 80s Fender Stratocaster himself and Lennon. Today we’re looking at the mid-to-late 80s part of Harrison’s solo career, ABILITY RATING with a sprinkling of the more psychedelic 70s thrown in for good measure. This was a time Easy/Moderate when albums like Cloud nine gave Harrison Info WIll IMprovE your commercial success on both sides of the atlantic. The solo here also includes slide Key: B minor Use of non-diatonic chords guitar, which permeated many of the songs Tempo: 124 bpm Creating cohesive parts during this time. of course, George was able CD: TRACKS 52-53 Ideas for recording
Brought to you by...
LEARNING ZONE
GEORGE HARRISON ExAmPLE rhythm
cd track 52
[General] There’s light damping on the chugging power chords (B5 D5 A5) every time these are played, and the octave parts in bars 12 and 16 were overdubbed, so you may need to pick one of these at a time. The idea here
GUITAR TECHNIQUES 2 4 1
Martin Cooper's BIMM ROCK COLUMN GEORGE HARRISON STYLE
GUITAR TECHNIQUES 2 4 1
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was to emulate the 12-string Rickenbacker type sound. Roll the volume control of the guitar up and down to go from clean to crunch sounds for the rhythm parts.
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April 2015 GuitarTechniques 63
lesson: rock
ON THE CD
TraCks 52-53
ExAmPLE lead
cd track 52
There’s slide in the solo this month so make sure you place the slide directly above the fret wire and don’t press too hard on the string – it’s a
GUITAR TECHNIQUES 2 4 1
Martin Cooper's BIMM ROCK COLUMN GEORGE HARRISON STYLE
GUITAR TECHNIQUES 2 4 1
Martin Cooper's BIMM ROCK COLUMN GEORGE HARRISON STYLE
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64 GuitarTechniques April 2015
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lesson: video
VIDEO
ON THE CD
Carl Verheyen Masterclass
CD-rOm
PART 2
Join Milton Mermikides as he welcomes you to the second part of Carl Verheyen’s sensational video masterclass - watch the man improvise and be amazed. ABILITY RATING
Moderate/Advanced Info KEY: Various TEmpo: Various CD: CD-ROM
WIll IMprove your Playing over minor chords Chord melody voicings Pentatonic fluency
CARL IS onE of the most respected guitarists in the industry with a 40-year playing career playing countless sessions on albums (with artists as divere as Dolly Parton and Allan Holdsworth), innumerable film scores, as part of prog band Procol Harum and an active solo career. What sets Carl apart is his stylistic mastery, melodic sensibility, educational generosity and, as John Jorgensen puts it, his ‘transparent technique’ in that his technical facility is only ever used in service of the track. no wonder that he’s still so much in demand and receives unadulterated praise from the lofty likes of Robben Ford, Joe Bonamassa, Carl Verheyen: this month’s solo is a real masterclass
Steve Lukather, Jenifer Batten, Robben Ford, Brad Praisley, Steve Morse, Scott Henderson and Albert Lee. So it was a great pleasure to have Carl visit the Guitar Techniques studio during his massive European tour, and in a couple of hours he had given us enough great material for several video lessons. For this article, I’ve transcribed Carl’s improvisation over Jay’s Juke Joint, a minor key track by Jason Sidwell. His solo demonstrates a fluent improvisational knack, stylistic versatility (including pop, country, blues, jazz and Latin influences) and a command over inventive chord voicing and Pentatonic melodicism. In a few short minutes Carl delivers a masterclass in minor chords and gives any guitarist ample material to improve their playing. When presented with a track with a series of minor chords, many guitarists might commit to single-line soloing (perhaps based on the minor Pentatonic of the key), or to familiar chord voicing strumming. However, Carl’s playing is a perfect fusion of effective lead ideas, inventive chord-melody rhythmic patterns and a mature and paced melodic sensibility. There’s much to learn here but here’s a rundown of the main characteristics... Carl effortlessly and intuitively switches between pick and hybrid style (and even Wes Montgomery-style thumb technique) so that all manner of double-stops, spaced chords, single-line fluency and conventional strumming technique are at his disposal. This allows a far, far greater range of expression during performance. When faced with a single chord for harmonic context (say Em7), rather than having a couple of fixed chord shapes, Carl has at his disposal a host of associated small voicings, allowing a blended chord-melody approach with a satisfying harmonic fluidity. This is evident throughout the track, but in just bars 13-16, 10 different voicings for Em7 are used, which makes it an excellent passage to study in detail. There’s
also associated chordal material for each of the other two chords, turning this apparently simple three-chord track into a true study. In Carl’s hands the familiar E minor Pentatonic or Blues scale is given an inventive sophistication with the use of the 9th (F#) and occasional Dorian implication with the major 6th (C#) (see bar 35). The familiar Pentatonic shapes are also revitalised with the use of wide intervallic string skipping (bars 19-20, bar 66), and fast position changes using open strings (bar 62) and slides (bars 26-27). Finally, Carl’s playing here is characterised
carl has worked with an amazing list of musicians in a hugely diverse range of styles. by great rhythmic sophistication; there’s a lot of syncopation on the semiquaver level which draws in stylistic reference from jazz (bars 31-32), funk-rock (bar 26), folk (bars 46-47) to Latin rhythms (bars 55-57). This is a really rewarding solo to learn, not only to build one’s vocabulary, but also as a source of instruction and inspiration of how inventive one can be in a relatively simple harmonic context. NeXT MoNTH: Milton brings us more from this Carl Verheyen video series.
Get the tone 7
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Carl played his signature LSL ‘CVS’ guitar through a Marshall JTM45 head using mostly his neck single coil pickup. The examples could be played on any style of guitar, but single-coils sound great for this style. Go for a clean tone but not too bright a sound and a dash of reverb.
Track record There’s bags of choice when it comes to carl, but for similar ideas to this lesson check out diamonds on Slingshot (Mighty Tiger 1999) or the blistering solos on Fusioneer’s disease (Mustang run, 2013 cranktone entertainment).
66 GuitarTechniques April 2015
Learning Zone
CarL VerHeYen MaSTerCLaSS PT 2 ExAMPLE CARL VeRheYen MASteRCLASS
cD -rOm
[Bars 1-4] Carl demonstrates a range of voicings over Em7. All the notes derive from E minor Pentatonic with an added 9th (E-F#-G-A-B-D). These work well over Em7 without any problematic tensions. In this way chords can be freely constructed from this set of notes to form effective melodies. Milton's GUITAR TECHNIQUES MAGAZINE 2 4 1A Dorian (A-B-C-D-E-F#-G) Similarly bars 5-6 (over Am7) are built from and a CARL V.G-E-B). hybrid-picked 6th-5th pattern is used in bars 6-8 (ie B-G-E, C-A-E,
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B m7 œœ .. œœ œœ œ . œ~~~~ . œ . œ œ œ œ . œ œ œœ .. œœ .. œj œœ .. œœ œœ œœœ ... œœœ ... œ œ œœœ
E m7
~~~~
3
5 4 5
2 4
10 10 12 12 12 8 8 10 10 10
14 12
14 12
10 8
9
12
12
9
9
10 10 10
5
7 5
7 5
5
5
#
A m7
œ
œ œ #œ
~~~
7 10 10
~~~ œœ œ œ œœ
8 9
8 10
8
5
7 7 5
7
7 7 7
5
14 12 15 12 10 8 12 9 7 7
7 4
5 2
14 12 10 7
7
5
~~~
w/bar
* 77
X 7 7 5
9
5
7
7
9 10
7
9
8
9
10 8
7
7
Strum with pick, first finger generating 19th fret harmonics
8
9
5 7 7 5
10
7
7 5
7 5
7
7 7
~~~ œ œœ œ j œ ¿ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj . E m7
8
œœ # œ œœ œœ œœ œœ .. œ œ œ œ œ œ . œœ œœ œœ &
··· NH
*
~~~
9
‚‚~~~ œ ‚‚ œ ‚
‚‚ ‚‚ ‚
Let ring
w/bar
6
&
E B G D A E
8
5
w/bar
E B G D A E
Let ring Let ring
Let ring
Let ring
œ
œ .. œ œ œ œ œ œ. œ œ
œœ œ œ œ œ œœœ œœœ
1
œ œ œ . œœ œœ œœ œœ œœ # œ~~~ œ œ & J E B G D A E
A m7
œœ œœ œ œ œœ œ œ œ œ œ œœ œ œ
Let ring
~~~~~ 10
[Bar 9] Play the chord harmonics by ‘brush-strumming’ over the 19th fret (12 frets above the chord). The pick strums, the first finger touches the 19th fret. [Bars 13-16] Here we see a catalogue of voicings over an Em7 context. Again we see the use of the 6th-5th intervallic pattern built on E minor Pentatonic with an added 9th (E-F#-G-A-B-D), but also the slightly more angular ‘stacked 5th’ pattern (E-B-F# and D-A-E) in bars 14-15.
7
œœ œ J
œœ .. œœ œœ œœ œ. œ œ œ œ
12 15 9 12 10 14
14 12
17 15
12
16 12
A m7 ~~~~~~~j 3 œ. œ . œ œ . œ œ œ œ œ œ. œ. œ œ œ œ œ . œ. œ œ œ jbœ œ œ ⋲œ œœ œ . œœ .. œ œ œ œ œ . œœ .. œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ w/bar Let ring Let ring ~~~~~~~ 5 7 4
5 2
7 4
8 7
7 4
5 2
7
5
7
7
7
5
3 0 2 2
2
3 2 0 2 0
3
2 0
5
5
4
0
14
E m7 B m7 œ . œœ œœ œ œ œ œ . œœ œ œ . œ œœ n œœ œœ œœ # œ ⋲ œ œ œ œ œ œœ œœ œœ œœ .. Œ ⋲ œœ . œ œ & œœœ œ œ œ œ œ nœ œ . œ ⋲ œ ⋲ œ œ œ œ œ #œ œ œ œ œ. J J
œœ œ œ
Let ring
E B G D A E
7
8 9
18
10
12 12 10 10
12 12 8 8
12 8
10 10
9
9
9
7 10 7 9 7 10 7 5
7
6 7
5 7
5
7
4
5
2
2
3 2
3 2
7 4
10 7
10 10 10 10 10 7 7 7
2
2
5
9
9 9 9
April 2015 GuitarTechniques 67
lesson: video
VIDEO
ON THE CD
CD-rOm
ExAMPLE CARL VeRheYen MASteRCLASS ...CONTINUED
cD-rOm
[Bars 19-20] Here Carl string skips the minor Pentatonic. He uses the first, third and fifth strings of the A-shape E minor Pentatonic in quick succession before transforming into a jazzier minor Pentatonic with added 9th line. [Bars 26-28] Here’s a challenging passage that rapidly moves through 2 xxxxxxxxxx ascending minor Pentatonic (and minor Pentatonic with added 9th) positions using connecting slides, culminating in a bluesy bent phrase. Take your time
with this passage, not only to learn the technique but to understand the theory behind Carl’s note selction. [Bars 31-32] This is reminiscent of Wes Montgomery’s thumb octave style. It’s based around an E Blues scale, but every note is doubled in octaves. Strum with your thumb for a mellow jazz tone, and mute the intervening strings with the underside of your fretting hand’s first finger.
scoop œœ .. œ œ ' œ œ œ œ œ # œ œ œ œ œ œ bœ œ œ œ œ œ œ œ. & œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Am7
E B G D A E
E B G D A E
10 10
'
Let ring
scoop
8 8
8 8 8 7 9 7
10
7 7
8 7
5
7
3 5
7 5
7
22
3 0 2 2 0
25
#
œ
0
2
0
1
0
X X
2 3
0
0
œœ œ œ œ œ jœ œ œ œ œ œ œœ
12 14 28
2
3
12 14 16
15 17
0
œ ~~ œ
7
7
2 7
œœ
~~12 17
4
5
5 7 7 5
7
2
7
j œ œ
5 7
œ
œœ
3
2
3
2
2
9
12
10
9
7
11 10
8
10
˚j œ œ ⋲ œ ⋲ œœ œœ œ œ
8
5
7
7
9 9
9
7 7
7
7 10
3 2
15 12 14 12 10 34
68 GuitarTechniques April 2015
12 11 12
10 12
10
12
9
Let ring 0 12
12 10
œœ œœ œœ œœ œœ œœ œ ⋲ œ ⋲ œ œ œ œ J J
8 8 7 0 7 0 7 0 7
12
8 7
8 8 7 7
8 7
7
7 7
7
12 10
11 12
10 12
10
œœœ œ
œœ œœ œ
B m7
7 7 7 7
10 7
7
0 0 12 12
10 7
10
j œ
œ œ œ œœ œ
9
11
≥ ≥≤
10 12
10
12
≥ etc
œ œn œ œ œ œ œ œ œœ œ œn œ# œ œ ⋲ œ œ ⋲ œ œ œ œœ œœœ œœ œ
E m7
12 10
14 12
j #œ
11 12
œœ œœ œœ œœ œ œ . œ œœ œ
14 12
31
œ œ A m7 œœ # œœœ j œœœœœ & œ# œ œ
9
9 10
œœœœœ
15
w/thumb
8
15 17 12
12
0 12
7 9 5
14 12
œ nœ bœ œ œ œ # œœ œ nœ & œ ⋲ J ⋲ J ⋲ b œ œ ⋲ œ œ
E B G D A E
3
A m7
BU RP BD 15 17 (19 )(19 ) 19 (17 ) 15
E m7
E B G D A E
7 5
3
œœ ~~~ > œœ œ œ œ œ # œ œ j œœ n ¿¿¿ ... œœ œ & ˙˙˙ b œ œ œ œ œ œ œ œ œ œ œ œ ˙˙ bœ œ œ œ œ œ œ œ nœ w/bar ~~~ X 7 10 12 14 15
& E B G D A E
E m7
10 7
8 7
9
8 7
9 7
6
7
9 9
7
7
5
5
7
5
5 9 7
7
8
7
Learning Zone
CarL VerHeYen MaSTerCLaSS PT 2 ExAMPLE CARL VeRheYen MASteRCLASS ...CONTINUED
cD-rOm
[Bars 34-36] This is a tricky passage blending minor Pentatonic string skipping with jazzy Dorian lines. Take your time as it’s a bit of a finger-twister! [Bars 46-48 and 55-57] Noticte how these small chord voicings can be played in a more over-ringing pop-Latin rhythmic fashion. Carl uses hybrid 3
œ œ œ ~~~ # œ . ‰ ⋲ œ œ # œœ œœ &
œœ .. œ œ œ œ œ œ . œœ œœ œœ œœ œ
œ œ œ œ œ œ œbœ œ œ œ
14 12 10 12 10 8
7 5
3 5
11 9
5
w/bar E B G D A E
~~~
picking for technical fluency - see if it works for you too. [Bar 59] Carl makes this lovely Em9/11 chord look easy, but it’s a really stretchy voicing. Barre the top two strings at the 5th fret and keep your fretting hand as relaxed as possible to avoid injury.
12
7 4
5 2
7
5
5
41
9 5
9 5
9 5
9 7
12 10
12 10
12 10
8
8
8
8
12
12
12
B m7
&
# œ
Let ring
E B G D A E
4 4
3 2 0
2
3
œ
7
œ
œ œ œ œ . œœ œœ œœ œœ .. œœ œœ œ œ .. #œ œ. œ œ œ œ
7
~~~
8 5
8 5
8 5
8 7
12 15 9 12
7
7
7
7
10 14
8
5
5
5
8
8
5
7
10
7
7
10
10
7
10
12
10
10
7 5
7
7
7
7
12 10
10 8
7 5
12
11
9
5
œœ œ
7 4
5 2
3 0
7
5
2
œœ~~~~ œœ œœ .. œœ œœ œ œ œ. œ
E m7
~~~~ w/bar
9
12
12
12
9 12
17 17 15 15
15 15 12 12
9
16
14 14
12
45
œœ ˙˙ ..~~~ œ # œ ˙ . ⋲ œ œJ œœ .. œœ œœ œœ & J J œ . œ œ œ w/bar ~~~ 14 14 12
12
12
12
œœ œ œ œ . œ œœ œœœ œ œ . œ œ œ œ œ œ. œ œ œj
15 12 12 9
10 8 7 7
7 4
5 2
3 0
10
10 7
7
5
2
14
5
3
0
3 0
4
~~~ ~~~~~ . œ ˙ œœ œ ˚ œ œ ⋲ œj œ œ œ
A m7
j œ
~~~~~ 5
~~~
w/bar
0
2 2
5
w/bar
5
3
8
8
5
7
50
E m7
B m7
# œœ œ œœ œœ œ œœ œœ œ œœ œ œœ œ œœ œœ œ œœ œœ œ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ & œ œ œ œ œ œ œ œ œ œ 7 7 55
5
8 7 5
Am7
j œ
Let ring
Let ring E B G D A E
7 5
5
14 12
Let ring
Let ring
7 5
œ J
E m7
Let ring
3
7 5
œœ .. œ œ j œ . œœ œœ œœ œœ œœ œœ œ
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ .œ ⋲ œ œ œ œ œ œ œ œ
˙ ~~~ w/bar
4
A m7
0
E m7
4
2
2
1 0
37
# œ . œ œ œ œ . œj œœ .. œœ œœ œœ œœ .. œœ œœ œœ & œ .. œ œ œ œ .. œ œ . œ œ œ œ . œ œ œ œ œ œ œ œ œ
E B G D A E
3 0
2
A m7
E B G D A E
0
bœ œ œ
œ œ œ œ œ n œ n œœ œœ œœ œœ œ œ
œ
5
7 7 5
5 5
5 7
5
7 7
5
8 7 5
5
7 7 5
5 5
5 7
5
5 5 5 7 7 7
œœ
œ œ œ œœœ œœœ œœœ œœœ
Lightly strummed
Let ring 5 5 5 7
5 7
7
5 5 5 7
7
10
9
8
œœ œœ œœ œœ ‰
8
8 8 9 10
8 8 8 8 8 8 9 9 9 10 10 10
8 8 9 10
≤ ≥≤ ≥≤ April 2015 GuitarTechniques 69
lesson: video
VIDEO
ON THE CD
CD-rOm
ExAMPLE CARL VeRheYen MASteRCLASS ...CONTINUED
cD-rOm
[Bars 63-64] In these bars Carl demonstrates some lightning minor Pentatonic phrasing using semiquaver triplets. The final run, starting on the last beat of bar 63 is actually all picked, but you can employ legato technique (slurs etc) if the tempo is too challenging initially. 4 xxxxxxxxxx [Bars 69-72] This final passage shows how the minor Pentatonic can be
œ œ œ œ œ œ œ œœ ‰ œ œ ⋲ œJ ⋲ œ œœ œœ œœ œœ J œ
E m7
# j œ œ œœ .. ‰ & œ
œ œ œ œœœœ ⋲ œœœœ œœœœ
Let ring E B G D A E
5 5 7 9 10
5 5 7 9 10
5 5 7 9 10
0 0 0 0 0
# bœ œ œ œ œ œ œ œ œ
10 8
9
14 12
14 12
14 12
12 12
12
12
‰
'
œ œ œ œ.
œ ‰ . J
1/4
BU 17 ( 19 )
15
12
12
15 12
10
11 11 10
9
8
9
10 8
6 œ n œ œ Œ ⋲ œœœœœœœ œ œ œ œ œ œœ œœ œ œœ œ œœ œœ œ œœ nœ œ œœœ œ > 3
9 0
7 7
5
7
5
5
7
62
7 5
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3
5
5
7
5
7 9
7
9 10
9
8
8 12
4
5 7
7 5
7
15
12
a
3 7 5
a
&
4 2
7
3 5 5
2
œ #œ œ œ œ
3 0
4
3
5 3 0
˚j œ œ œ œ n œ œ ‰ . #œ œ œ œ
œ
Switch neck-bridge-neck pickup on slide down BU 8
14 12 14 12 10
0
E m7
18 12 14 12
5 2
≥ ≥≤ ≥≤≥
65
# œœœ
3
3
3
≥ ≥ ≥ ≥ œ bœ œ œœ œœ nœ œ œ
a A m7
E B G D A E
10 8
'
œ
E m7 1/4
59
& E B G D A E
7
9
10
5 5
used based on each chord: B minor Pentatonic for Bm7; A minor Pentatonic for Am7; and E minor Pentatonic (with an added 9th) for the Em7. Here though it’s used in a bluesier vibe with bent notes and flattened 5ths. We’re not sure if the G# was intended (major 3rd against E minor) but Carl did this whole solo as a first take, not even learning the track first.
10 12
12 11 12
8 (9 )
9
4
8 7
10 9
9
j œ bœ œ œ œ œ œ œ œ œ œ jœ ⋲ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œœ œ œ œ œ œ J #œ œ œ œ B m7
A m7
BU E B G D A E
7 9 7 10 7 7
5
68
6 7
5 7
5
7 7 5
4
7
4
4
3
3
4 4
3
5
5
7
7
5
7
5
œ œ œ œ œ œ œ bœ œ nœ œ œ # œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ ⋲ J & E m7
BU E B G D A E
10 ( 12 )
71
70 GuitarTechniques April 2015
9
7 10 (12 )
8
9
10 ( 11 ) 10 8
7 10 7 9
8 10
(12 )
7 10 7
9
10
12 10
12 11 10
8
9
8
9
œ œ. œ Ó
BU
BU 7 10 7
5
9
10
9
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April 2015 GuitarTechniques 71
ON THE CD
Three-octave patterns
PART 1 This month Shaun Baxter starts a new series that reveals an approach that can seriously extend your range on the fretboard. The technique involves taking any musical entity (triad, arpeggio, Pentatonic scale, etc) and compressing the information into a single string-pair, so that the same shape or’cell’ can be shifted up and down in octaves via the other string-pairs. This provides us with an easy means of taking an idea over three octaves - not as impressive as a piano player’s seven octaves, but very useful nonetheless. For example, a minor pentatonic can be arranged on the sixth and fifth strings like so: Cell (5 - 0) (4 - 1) (3 - 2) (2 - 3) (1 - 4) (0 - 5)
ABILITY RATING
Advanced INFo
WIll Improve your
Key: A minor Tempo: 104 bpm CD: TRACKS 54-55
Recognition of intervals Understanding of octaves General musical range
piano players have it easy! notation is tailor-made for their instrument (the white notes visually representing all the ‘plain’ notes, and the black notes representing all the sharps and flats); furthermore, whatever they play can be shifted up, unchanged (same fingering) over many octaves, providing both physical and visual convenience when they play. The good news is that the latter approach can be used on the guitar if we divide it into string-pairs: ie, sixth-fifth, fourth-third, second-first.
Notes on sixth string A, C, D, E, G A, C, D, E A, C, D A, C A -
Fifth string G E, G D, E, G C, D, E, G A, C, D, E, G
So, that’s six possible configurations that can each be shifted up in octaves onto the other string-pairs without having to change shape. it’s the symmetry that’s important: because it’s consistent, the shapes are easy to remember - it’s a great way of organising notes on the fretboard. Furthermore, each entity (in this case, a minor Pentatonic) can be played in different inversions depending on the starting note. For example, it’s possible to play five different inversions of a minor pentatonic by starting from a different note each time: A-C-D-E-G; C-D-e-G-a (a has been moved from the front to the end); D-E-G-A-C (A and C have been moved from the front to the end); E-G-A-C-D (a, C and D have been moved from the front to the end); and G-A-C-D-E (A, C, D and E have been moved from the front, etc). and, like the original inversion, all of the others can be configured in the same six different ways on each string-pair (5-0, 4-1 etc). Today we will look at playing two- and three-note entities across three octaves. Two-note entities (double-stops, intervals etc) can be configured as follows within each string-pair: 1-1, 0-2 and 2-0. Three-note entities (triads) can be configured: 1-2, 2-1, 3-0, and 0-3. Different ways of playing the same thing will provide us with different possibilities. once you’ve worked through the examples in this lesson, strive to establish some useful
TraCks 54-55
shapes in each of the CaGeD patterns of the various scales that you know. establish the possible note-configurations (cells) for each musical entity (triads, arpeggios etc) and audition each one against a backing track (for context), making a note of your favourites and experimenting with employing them in the most musical ways. But remember this: you don’t have to play something from the root of the underlying chord or scale that you are using. you can apply any formula from any mode of that scale (so, for a Mixolydian, you can use any mode of D Major). you are not obliged to play all three octaves
It’s the symmetry that’s important: because it’s consistent, the resultant shapes are easy to see and remember. It’s a great way of organising notes on the fretboard. each time, as this will severely limit your musical approach. instead, you might want to use just two ‘cells’ (or even one), but the idea might spring from the underlying ‘concept’ of three-octave cells. Work out the inversions too (three-note entities have three inversions, four-note entities have four, etc) you may need to use tapping for some shapes when they are played lower down the neck, whereas you may be able to pick every note when playing higher up the neck (where the stretches are easier); so be prepared to adapt your approach accordingly. Don’t just play fast ideas, or you’ll just sound the same all the time. The point of learning any new device is to use it expressively! .
NeXT MoNTH: Shaun continues exploring the use of three-octave cells.
Get the tone 8
7
5
5
4
Gain
BaSS
Middle
TReBle
ReveRB
I’m keeping to a typical rock tone for this series. I use a Fender Strat, so I always use a distortion pedal to boost the signal before it gets to the amp. Generally, try to go for 25% of your distortion from the pedal and 75% from the amp. You’ll find that the results are sweeter and more compressed (even and tighter sounding) than when getting 100% of the distortion from the amp. Typically, most amplifiers should be set as above. Finally, some delay will also added to the guitar track that is in tempo with the track. This helps to give both size and smoothness to the guitar sound.
Track record Many modern rock players use this three-octave approach, and many of our examples are reminiscent of Steve Vai. Vai is somebody who challenges the orthodox approach to rock guitar playing; stretching the possibilities of many techniques in an effort to find new and unclichéd expression. If you’re new to his music, try starting with his classic solo album Passion and Warfare.
72 GuitarTechniques April 2015
dAvid lyTTleTon
lesson: creative rock
Learning ZOne
Three-OcTave paTTerns DIAGRAM two- and three-note ideas in cells
ExAMplES NoTe SHApeS
cd track 54
The following examples are all based around ‘cells’ that exist within A Natural exAmple 3 This line is based around the perfect 5th interval created when minor (A-B-C-D-E-F-G), and can be taken over three-octaves via string-pairs. travelling from an A note up to an E note. This basic shape could be obscured The intention is to build up a useful repertoire of shapes and lines for you to as one doubles back and forth throughout the line; so refer to the relevant be able to draw upon when improvising. pattern in the Diagram on the previous page. Again, the second half of this exAmple 1 This is the first of three examples devoted to playing two-note line employs some standard blues-based vocabulary which provides musical entities using a (1-1) note-configuration on each string-pair. This example is balance - we don’t want to sound like we’re simply playing exercises. based around the perfect 4th interval created when travelling from an A note exAmple 4 In this example, a two-note entity (the major 3rd interval down to an E note. The use of slides makes this idea more ear-catching. between the notes G and B) is arranged in a (2-0) note-configuration on exAmple 2 Another perfect 4th idea - this time between an A note and each string-pair. By using a combination of slides and bends, this line TECHNIQUES 2 4but 1 it’s coming the aGUITAR D note. It’s similar to theMAGAZINE previous one, other way CREATIVE demonstrates SHAUN'S GUITAR that the three-octave template is also useful as the basis for 2 & 3 (ascending). This example is topped off with some typical blues vocabulary. slow ideas, not just fast ones.
2 NOTE SHAPES Ex 1
Ex 2
1-1
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lesson: creative rock 17
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Ex 11
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74 GuitarTechniques April 2015
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Learning ZOne
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cd track 54
A minor, and the note-arrangement on the second string kept where it ways is, ratherLoco than shifted up to the first string. Examples 11-13 also all use a Em some three-note entities arranged in a (3-0) configuration 310- 0of playing Ex on each string-pair (in other words, all notes are on the lowest string of combination of left- and right-hand tapping which helps with the large Ex each stretchesLoco and creates an ear-catching legato effect due to the absence of Em paul Gilbert-influenced line in this example demonstrates 310- 0pair). The how, with any configuration that doesn’t have any notes on the fifth string, picking. Finally, as with Examples 2 and 3, this particular example finishes off Loco Em 3 - 0is an option of shifting notes from the second string to the first there with some blues-based pentatonic vocabulary. string. This helps to keep things in the same vicinity of the guitar neck. exAmple 12 Here we’ve simply re-interpreted the same notes to create a Although shown played as a wide stretch, it is also possible to play the musical variation. (Paul Gilbert) same thing using a combination of left- and right-hand taps (as in each of exAmple 13 And yet another variation on the same thing, only this time E 12 15 19 15 using 12 septuplets. the following examples) (Paul Gilbert) B exAmple 14 This example follows the same E minor triad configuration as GexAmple 11 Here we have the first of three variations on the same theme. (Paul Gilbert) E 12 15 12 but21executes D 14 17 used 21 here 17 is similar 14 17to the 21 E minor 17 it 14using the techniques employed in Examples 11-13 (a The (3-0) note-configuration/cell triad 19 15Ex10, B A 19 12 12 14 15 only, this time, it’s played seven frets lower so that it becomes combination of leftand Gused in Ex10 E 12 15 19 15 12 12 15 19 19right-hand 15 12 15tapping).
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April 2015 GuitarTechniques 75
lesson: creative rock
ON THE CD
TraCks 54-55
ExAMplES NoTe SHApeS ...CONTINUED
cd track 54
exAmple 15 To finish, this final example uses left- and right-hand tapping to play a succession of sus2 arpeggios to a septuplet rhythm. As you can see, there are lots of identical sus2 shapes within each key (and sus4 too,
because it’s an inversion of sus2) Note that each arpeggio uses the same note-arrangement as used in Ex 10, 11, 12 and 13, whereby the notes that should be on the second string are shifted up to the first string each time.
3 3
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Ex 15 3 Ex 15
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76 GuitarTechniques April 2015
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10
only £2.99 DownloaD the Digital magazine now
lesson: CHoPs sHoP
VIDEO
String Skipping
ON THE CD
CD-rOm TraCk
PART 1
This issue Andy Saphir is going to skip through his lesson, hopping from string to string in complete musical abandon, all to make you a better guitarist! In thIs month’s Chops shop we’re looking at the technique of string skipping. this is a useful approach that involves playing through non-consecutive strings (for example, playing the fourth string directly after the sixth string, missing out the fifth string). this can create some interesting lines that deviate from the more predictable scalar types of phrases, thereby giving you a more varied vocabulary. string skipping can
present some technical challenges, both with the fretting hand and picking hand, so a considered technical approach is necessary. In all of the following examples, I’ve suggested alternate picking throughout, but if you feel more comfortable using another approach that’s fine (hybrid picking works great for obvious reasons), as long as you consider what might be appropriate for each exercise and, ultimately, your own licks.
GUITAR TECHNIQUES MAGAZINE ExAmPlE 1 primer exercise
241 Andy Saphir's cD ROM Chops Shop - STRING SKIPPING - Pt. 1 This is an open-string exercise to get your picking hand used to the physical picking hand to check accuracy, but after a while the muscle memory will concept of string skipping. At first you may need to look down at your kick in and you’ll be able to try it without looking. Ex 1 GUITAR TECHNIQUES MAGAZINE 2 4 1
Andy Saphir's ©»•º - ¡ºº Chops Shop - STRING SKIPPING - Pt. 1 44 œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ Ex 1 œ œ œ œ œ œ ˙ GUITAR TECHNIQUES MAGAZINE 2 4 1 Andy Saphir's ©»•ºœ- ¡ººœ Chops Shop - STRING SKIPPING - Pt. 1 44 œ œ œ œ œ0 œ0 œ œ œ œ & œ œ œ œ Ex 1 œ œ œ œ 0 0 œ œ 0 0 0 0 œ œ 0 0 œ œ œ0 œ0 ˙ 0 0 0 0 ©»•ºœ- ¡ººœ 0 0 0 0 0 0 0 0 0 0 œ œ 0 & 44 ≥0 ≤0 ≥œ œ≤ ≥ ≤ ≥œ ≤œ etcœ œ œ œ œ œ 0 0 œ œ œ œ œ œ œ œ œ œ 0 0 0 0 œ œ 0 0 0 0 0 0 œ œ 0 0 œ œ 0 0 0 0 ˙ 0 0 0 0 Ex 2 0 0 0 0 cD ROM ExAmPlE 2 string-skipped pentatonic scale 0 ©»•º0 - ¡™º0 ≥ ≤ ≥ ≤ ≥ ≤ etc œ œ œ œ 0 0 ≥ ≤ This exercise uses the same string pattern as Example 1 (so your pick should Pentatonic scale (A-C-D-E-G). For an altogether smoother sound, try this with œ 0 4 œ a legato 0œapproach: œ 0œ pick 0 0 œ0 0œ notesœof the œ 0œ for each string be familiar & with4the mechanics), but incorporates A minor 0œ 0 then hammer-on œ œ œ œ 0 0 œ œ œ 0 0 0 0 Ex 2 œ0 œ0 0 0 ˙ œ 0 0 œ0 0œ 0 0 ©»•º≥œ0 - ¡™º œ ≤ ≥ ≤ ≥ ≤ ≥ ≤œ etc œ œ œ œ œ œ 4 œ œ œ &4 œ œ œ œ œ œ œ 5 8 œ œ œ œ œ œ 5 8 œ Ex 2 œ 5 8 œ ˙ 5 7 5 7 5 7 ©»•ºœ- ¡™º 5 7 œ 5 7 5 7 5 7 5 7 œ œ œ 5 7 5 7 œ œ 4 œ œ œ œ œ œ & 4 ≥5 ≤œ8 ≥œ ≤œ ≥œ ≤œ ≥œ ≤ etcœ œ œ œ œ œ œ 5 5 8 œ œ 5 8 5 8 œ ˙ 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 Ex 3 5 7 5 7 8 5 ©»•º≥5 - ¡™º œ5 œ8 œ œ etc ≥ ≥ ≥ œ œ ≤ ≤ ≤ ≤ œ œ 4 œ œ 5 œ5 œ7 œ œ 5 7 œ5 œ7 5 8 œ5 œ7 œ 8œ 5 7 5œ 7œ œ œ 5 7 5 7 &4 Ex 3 œ œ ˙ cD ROM 5 7 5 7 ExAmPlE 3 pentatonic œ5 - ¡™º œ8 octaves 5 ©»•º œ œ œ less fretting ≥œ to≤œget toetcthe octave ≥ skip ≥ ≤ you ≤ ≥one≤string Note how when ascending hand movement as it means you stay within the œ œnote,œ butœ licks andœinvolve œ œ 4 œ œ though! when descending you skip two same fretboard area. accuracy œ This could createœ some œ strings. œ œWatch your œpicking &4 œ 8interesting 8 8 5 5 œ Ex 3 œ œ 8 5 5 œ œ ˙ œ 7 7 7 7 5 5 5 5 ©»•ºœ - ¡™º œ œ 5 5 7 7 œ œ œ œ œ œ 5 5 œ œ 7 7 œ œ 8 8 5 œ œ & 44 ≥5 ≤5 ≥œ ≤œ ≥œ œ≤ ≥œ ≤œ etcœ œ 8 8 5 5 œ œ œ œ ˙ 8 8 5 5 œ œ 7 7 5 5 5 5 Ex 4 7 7 5 5 7 7 5 5 7 7 ©»•º5- ¡™º5 8 8 5 œ œ œ œ ≥ ≥ ≥ etc ≤ ≥ ≤ œ œ ≤ œ œ 8 8 5 5 ≤ 4 œ 8 8œ œ b œ 5 5œ œ œ œ œ 7œ 7 7 5 5 &4 œ 5œ b7œ 7œ 5 5 œ œ ˙ Ex 4 5 7 œ 7 7 b 5œ n 5œ œ 8 8 5 ©»•º5- ¡™º5 œ œ œ œ ≥ ≥ ≥ etc ≤ ≥ ≤ ≤ ≤ œ œ œ b œ œ œ œ œ œ œ bœ nœ œ œ œ œ œ œ ˙ & 44 8 5 8 5 Ex 4 b œ œ 8 5 8 5 œ œ œ œ 7 5 7 8 78 GuitarTechniques April 20157 5 ©»•º - ¡™º œ œ œ œ 7 5 œ 6 5 7 5 5 7 7 œ 6 7 œ b œ œ 4 œ œ œ 5 8 8 5 œ œ œ œ œ œ ˙ &4 œ œ E B G D A E E B G D A E E B G D A E
E B G D A E E B G D A E E B G D A E
E B G D A E E B G D A E E B G D A E
E B G D A E E
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E B 8 8 G 7 7 5 5 D 7 7 5 5 A 5 5 E 5 5 B 8 8 etc you may here,7 where you play a note G find the fretting hand a challenge 7 5 on5 D 7 7 5 5 a new string at the same fret as on the previous string. Try using the same A 5 5 Ex 4 E 5 5
8
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The interval of major and minor 6ths are used in the string skipping parts and this is the type of sound that country players use a lot.
9
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ExAmPlE 55 ascending line with descending sequence 5 8
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This is basically the same as Example 5, but descending. Try these types of ideas using different scales and positions. Ex 6
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ExAmPlE 7 descending chords C
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April 2015 GuitarTechniques 79
ON THE CD
The Small Faces The Small Faces pioneered a new ‘heavy’ sound that would be adopted by blues-rock bands including The Who and Led Zeppelin, says Phil Capone.
Steve Marriot and Ronnie Lane in full mod garb
ABILITY RATING
Moderate Info
WIll IMprove your
Key: Various Tempo: Various CD: TRACKS 56-67
R&B power playing Riffing from open chords Blues soloing vocabulary
The Small FaceS emerged onto a changing london music scene early in 1965, as both the British blues boom and the mod scene were gaining momentum. The original line-up was: Steve marriott (lead vocal, guitar), Ronnie lane (bass, vocals), Kenney Jones (drums), and Jimmy Winston (keys, vocals). The band toured the london clubs, performing their own versions of soul and R&B classics by artists like James Brown, Ben e King, and Smokey
Robinson. marriott’s soulful voice, backed by the band’s simple but effective grooves, proved to be an instant success on the emerging mod scene. legendary manager Don arden signed the Small Faces to a management contract, and a recording deal with Decca swiftly followed. They released their first single Watcha Gonna Do about It in the summer of 65, which was an instant success, peaking at 14 in the UK. however, their follow-up, I’ve Got mine, written by marriott and lane, failed to chart so
It's just what I used to do in ’65, ’66, only I like to think I'm better at it. I'm just a rock’n’roller, that's what I'm best at. Steve Marriott
TraCks 56-67
the duo was forced to rethink its approach - their debut single was, after all, based on a riff similar to Solomon Burke’s classic everybody Need’s Somebody To love. Once marriott and lane realised this the hits just kept on coming, including the chart-topping all Or Nothing. marriott and lane’s talent for writing infectious pop songs aside, it’s the B-sides and album cuts that define the band as one of the driving forces behind British blues. marriott had one of the best blues voices outside of america, his heart-wrenching vocal style never sounded ‘affected’ or gimmicky, just totally authentic. listen to You Need loving, a re-working of Willie Dixon’s You Need love (cheekily credited to marriott and lane) and you not only have the obvious inspiration for led Zeppelin’s Whole lotta love but a blueprint for the whole Zeppelin sound: crashing energetic drums, distorted e and D chords sounded over a low e pedal, and last but not least, marriott’s stunning vocal. as a guitarist marriott was no slouch either. although The Small Faces’ pop singles lacked solos, their B-sides and album tracks amply demonstrate his prowess. Songs such as e Too D, Grow Your Own, and the bombastic Own Up Time are examples of how his heavy riffing style was way ahead of its time. The deeper you delve into the Small Faces ‘hidden’ back catalogue, the more you realise that this band defined the heavy blues-rock sound that would dominate the late 60s and early 70s scene. Steve marriot quit the Small Faces in 1968 to form humble Pie with Peter Frampton. When asked about his approach for this new band by Disc & music echo magazine in 1971 he replied, "It's just what I used to do in '65, '66 only I like to think I'm better at it. I'm just a rock’n’roller, that's what I'm best at". NeXT MoNTH: Phil profiles one of the 60s’ best guitarists, Tony Hicks of The Hollies
Get the tone 6
5
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Bass
Middle
TReBle
ReveRB
Marriott played mostly Gretsch guitars in the Small Faces days. He favoured semi-acoustic models like the 1620 and Country Gentleman, both of which were equipped with humbucking pickups as standard. However this doesn’t mean that you won’t get close with single-coils. Remember, guitar sounds were very trebly during the early 60s, so select your neck pickup, turn your tone control up full, and dial in plenty of treble on your amp. To reduce distortion for rhythm parts, simply roll off your guitar’s volume control until the amp 'cleans up'.
Track record While it’s the admittedly wonderful ogden’s Nut Gone Flake that gets most column inches, this is a later album and a more psychedelic approach than this column covers. That leaves us with the myriad compilations, the best of which is probably The definitive anthology (1995) which contains almost all the tracks mentioned here plus the best singles and some of ogden’s too.
80 GuitarTechniques April 2015
PICTORIAL PRESS / ALAMY
lesson: r&b
THe SMaLL FaCeS ExAMplE 1 Chord based riff
Learning Zone cd track 56
GUITAR TECHNIQUES MAGAZINE 2 41
BRIT RN B -B THE SMALL FACES The arpeggio patterns for this example are picked out of the D and a quick change -toPhil the F,Capone but in bar 4 the open G form provides a smoother chord shapes, so both chords should remain fretted until beat three of the change to the A chord. Marriott was great at pulling out instrantly catchy following bar. Notice that in bar 2 the full barre form of G is used to provide riffs from open and barre chords.
Ex 1 Chord based riff MAGAZINE 2 41 GUITAR TECHNIQUES
BRIT R N B - THE SMALL FACES - Phil Capone
G F B G A ©»¡¡§ Ex 1 Chord # # 4based ˙˙riff MAGAZINE œ œ 2 41 œ BRIT œ œR. N B -œœœTHEn n œœœSMALL FACES œ Capone œ œ # œ . œœ œœ .. # ˙ GUITAR TECHNIQUES . - Phil œ ˙ . ˙ œ D G F B Gœ A &©»¡¡§4 ˙ J œœ n œ ˙ œ œ J œ n œ ˙ œ . œ œ # ˙ œ œ n œ œ œ œ . Ex 1 Chord 4based ˙˙riff MAGAZINE œ 2 41œ # ˙˙ - Phil œCapone œ œ # œ GUITAR TECHNIQUES # . n œ BRIT R N B -œ THE SMALL FACES œ œ Let ring . œ & 4 D˙ J œ nœ œ Aœœœ .. ˙ Let ring œ Gœ n Fœ B Gœ J ˙ ©»¡¡§based2riff 2 œœ30 œ2 . Ex 1 Chord 4 5 4 4 . # # 4 .. ˙˙32 Letœ ringœ3 2 œ0 œ œ2 . œœœ334 n nn œœœ112 œ #B˙˙44 Let ring œ 4 œ4 œ # œ Gœ00 Aœœ22 ... œ Gœ Fœ 5 3 &©»¡¡§4 .. D˙˙02 J œ œœ3 œ0 n œ ˙2 œ 5 3 œ J 2 0 2 3 1 n œ ˙ 3 1 . œ 3 3 3 1 4 5 4 4 . # # 4 . ˙˙2 œ œ 2 œ œ œ n œ2 œ œ . œœ300 œœœ22 ... œ # ˙ # œ 4 4 n œ 4 œ ˙ œ œ Let ring . ˙ œ œ . ˙0 position pentatoniC liCks & 24open J œœ55 n œ33 œœ0 cd track ExAMplE ˙˙42 Let ring œ4 œœ20 . 58 J 3 n œ 1 3your technique. Ex 2 using Open position Em Pentatonic licks œ œ Try three fingers for the opening tone bend in this example; string the 4th fret first, this will help you to hear the accuracy of 2 2 0 2 3 3 n œ1 Allow the 3 3 all the1 4 double-stop 5 4 4 0 second 2 string . . closer tension increases to the nut3and your bending finger will need to ring in bar 3 while re-picking the Let ring 4 0 2 2 4 2 4 2 Shuffle E m ©»¡£∞ Let ring help it can get. Check also that your bends are in tune by playing the B on and the open first string simultaneously. 0 0 5 3 4 4 2 . . 2 Em Pentatonic 6 ~~~~0 j 23 53 ~~~ 31 3 3 2 Ex 2 Open licks 06 j # 4 position 2j 3 j œ œ j œ œ œ 3 4 4 0 2 Œ .. . ∑32 .. œ E mœ3 œ œ2 . œ œ œ œ œ œ 334˙ 112 œ # #5œœ œ4 &©»¡£∞ 4 Shuffle 4 œ œ œ 0œ œ 2 œ 4 œ J œ œ œ œ œ œ 0 0 5 3 4 4 2 . . 3 œ œ œ3 2œ 6 ~~~~ 5 ~~~œ3 3 06 j # 3 œ j œ ˙ j j j œ 4 position∑ Em Pentatonic œ œ 3 1 3 Ex 2 Open licks . . # œ œ œ œ œ Œ .. . œ œJ œ œ œ œ œ œ œ œ ˙ #Letœ ring & 4 œ œ œ œ œ œ œ œ œ œ œ BU BU ~~~~ BU BD 3 ~~~œ œ œ œ œ Em ©»¡£∞ Shuffle 6 ~~~~ j ~~~ 3 3 ˙ Letjringœ3 œœ033 œœ03 j 6 Ex 2 Open .. j (œ4) jlicks # 4 position∑ Em Pentatonic .. (2 ) 0 ( 4) . ( 4) 4 2 0 # œ œ œ œ œ œ Œ œ . œ œ œ œ œ # œ 2 0 0 2 0 2 0 2 0 2 2 0 . &©»¡£∞ 4 Shuffle œ ˙~~~0 2 œ 2 0 œ œ œ œœœœœœœœ . BU E m BU ~~~~ BU BD J ~~~~ 0 0 3 œ œ 6 3 ~~~œ 3 œ3 œ ˙0 j œ3 œœ33 œœ3 j 6 . #4 .. j j (2 ) 0 ( 4 ) j ( 4) . ( 4) 4 2 0 . # œ ∑ œ œ œ œ œ œ œ Œ Let ring . œ œ œ œ œ # œ 2 0 0 2 0 2 0 2 0 2 2 0 . BUJ BU ~~~~ BU BD œ ˙~~~0 2 œ 2 0 & 4 œ œ œ œœœœœœœœ . œ œ œ œ œ3 ˙0 Ex 3 Major chords superimposed over tonic pedal 0 3 0 3 3 3 . . Let ring ( ) ( ) ( ) ( ) 4 4 2 0 D /E 4 2 0 G/E E4 G /E A/E E ©»¡™º cd track ExAMplE 3 Major Chords superiMposed over toniC pedal 2 0 0 2 0 2 0 2 0 2 2 0 . 60 . BU BU ~~~~ BU BD / œœ œ œœ of then œœlate~~~ œ œ 0 2 2 0 ' Ex 3 Major superimposed over tonicœ pedalœ # # # #chords ˙ 0n n 0 œ œ œ . ˙ 4 ˙ œ œ œ Steve Marriot’s pioneering style was copied by many bands 60s barring with your third finger across the second, third and fourth strings; 3 . (E4) ‘triadœ over( 4œ)pedalœ (2note’ œœ 0‰atG/E 3 3 . (4use ‰ œ/E ˙ œand you’ll find0 that, by34bending œœthe first‰ joint, œœ ... you˙˙˙will also... &©»¡™º 4 page∑ would nGœœ/Eyourœœ finger ) 0 Dapproach ) . this and early 70s; Jimmy 2 A/E Eœ œ œ œ n œ ˙ n œ 2 0 0 2 0 2 0 . in several #Zeppelin tunes. 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To facilitate a quick chord change, keep your third finger hovering above the 3rd fret while picking out the notes of the E7 chord. This can be played using regular alternate picking, or a mix of economy and alternate picking Ex 5
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MAGAZINE 2 4 1
BRIT R N B - SMALL FACES - Phil Capone It’s important to keep the G# note fretted while sounding the lower notes phrases or simply changing wholesale between E major pentatonic (bars GUITAR TECHNIQUES MAGAZINE 2 4 1 of the E7 in the first bar; removing your finger will unwittingly create an- SMALL 25 and 26) and minor pentatonic (bars 27 and 28). Notice also that the C# BRIT R N B FACES - EPhil Capone Ex 6chord! FINAL JAM of the GUITAR TECHNIQUES MAGAZINE 2 4 that 1 E minor Be aware riff variations occur in bars 12 and 14, is frequently added to the E minor pentatonic when playing over A7 chords BRIT R N B - SMALL FACES - Phil Capone before the B7#9 chord and after the A5. The solo phrases often switch (bar best results by working through this E 727). As always, you’ll achieve the D 5/E Ex 6 FINAL JAM 3 of 3 chunks. between minor and major tonality by incorporating the G# at the end example slowly, so tackle the solo in manageable two or four-bar
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3 3
4 84 GuitarTechniques April 2015
12 12
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E E B B G E G D B D A G A E D E A 39 39 E E E B 39 B G G D D A A E E 39 39
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~~~~~ ~~~~~
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Mike Stern
ON THE CD
PART 2
Join Pete Callard as he uncovers some of the greatest licks from the giants of jazz guitar. This month, a second look at Mike Stern... Upside downside and Time in Place. The acclaim of stern’s debut recordings as leader led to a steady stream of solo releases. His Advanced third album, Jigsaw, was released in 1989, Info WIll Improve your followed by Odds Or Evens in 1991; both saw him further developing his distinctive angular Key: Various Jazz soloing and emotive compositional style and unique Tempo: Various Bebop vocabulary solo voice. The following year he became part CD: TRACKS 68-79 Picking technique of the reformed Brecker Brothers band led by saxophonist Michael and trumpeter Randy, As i sAid last month i thought it would be on the album Return Of The Brecker Brothers illuminating to focus on Mike stern’s more and the live dVd spherical. 1992 also saw the straight-ahead jazz style. Last time we release of an acclaimed album of primarily discussed his development as a guitarist and straight-ahead jazz standards (And Other the early part of his career, culminating in the songs), leading to the award of Best Jazz release of his first two official solo albums, Guitarist of the Year from Guitar Player magazine. He followed this with is What is and Between The Lines in 1994 and 1996, both Grammy nominees. stern’s 1997 release Give And Take saw a return to straight-ahead jazz, featuring saxophonists Michael Brecker and david sanborn alongside bassist John Patitucci, drummer Jack deJohnette and percussionist don Alias, and won him the Orville W Gibson award for Best Jazz Guitarist. 1999’s Play teamed stern with jazz guitarists Bill Frisell and John Scofield, while Voices (2001) saw him exploring world music, with wordless vocals from Richard Bona, Arto Tuncboyaciyan and Elisabeth Kontomanou. After 15 years with Atlantic, 2004’s These Times saw stern move to EsC records, and again featured Richard Bona alongside guests including saxophonist Kenny Garrett and banjo virtuoso Bela Fleck. Who Let The Cats Out (2006) saw Stern again move label, this time to Heads Up international, and won him another Grammy nomination. The following year he was awarded the Miles davis award at the Montreal Mike Stern: one Jazz Festival, at which he performed of the modern onstage with The Yellowjackets, an jazz greats association that led to 2008’s
ABILITY RATING
TraCks 68-79
celebrated Lifecycle. Big Neighbourhood (2009) threw up a varied list of collaborators, including steve Vai, Eric Johnson and Medeski, Martin and Wood, and was recorded between New York, Austin and Los Angeles. In early 2012 Guitar Player awarded Stern their Certified Legend Award, with the album All Over The Place following later in the year. Stern’s latest recording, 2014’s Eclectic, sees him again joining forces with Eric Johnson in a stripped-back small group setting, and was recorded primarily live in a period of three days at Johnson’s Austin studio. Today we continue to examine stern’s jazz style and discuss his approaches on popular jazz sequences. The six examples take in long
I check out a lot of sax and trumpet players. I try to get some of those ideas on the guitar. Mike Stern and short ii-V-i ideas, bebop bridge, rhythm changes and jazz blues sequences, and focus in on his bebop vocabulary, substitutions, outside ideas, intervallic patterns and use of motifs. All the examples are uptempo, and feature a torrent of amazing and inspiring ideas. stern tends towards picking every note, so the examples provide quite a picking hand workout, and he imbues everything with an understated swing and subtle dynamics, ghosting some notes and phrases while lightly accenting others to create real light and shade in his seemingly endless lines. it’s really worth spending some time with these and last month’s examples, as between them Mike stern presents a genuine masterclass in the art of contemporary jazz guitar. NeXT MoNTH: Pete switches his focus to that jazz-blues master, Robben Ford
Get the tone 3
5
4
3
2
Gain
Bass
Middle
TReBle
ReveRB
Mike Stern plays a Yamaha PA511MS model and a Michael Aronson custom guitar with a ‘50s Fender Broadcaster neck, and Bill Lawrence and Seymour Duncan pickups, which he had built after his old Tele, bought from Danny Gatton and previously owned by Roy Buchanan, was stolen in a mugging in Boston. Stern uses Boss distortion and delay pedals and a Yamaha SPX-90 which gives his trademark chorused sound, through Fender Twin or Yamaha G100-212 amps. Use the neck pickup and roll the tone off, or take the treble down on your amp, and add a fairly heavy, slow chorus.
Track record Some listening recommendations for Mike Stern include Upside downside (1986), Time In Place (1988), Jigsaw (1989), Is What It Is (1994) and Voices (2001). For Stern’s more straight-ahead side, I’d recommend Standards (and other Songs) (1992) and Give and Take (1997), and his rittor Music guitr instructional video, intriguingly entitled Guitar Instructional Video!
86 GuitarTechniques April 2015
ROB VERHORST / GETTY IMAGES
lesson: jazz
LEaRNINg ZoNE
MIKE STERN PT 2 GUITAR TECHNIQUES MAGAZINE 2 4 1
The Pete Callard Jazz Club presents cd track 68 M I K E S T E R N (part 2) The Pete Callard Jazz Club presents Stern begins around D Mixolydian and D major Pentatonic in the first two bars 5 and 6 he plays around C Half-Whole diminished resolving to F7, then Ex 1 - Bebop bridge M I K E S T E R N (part 2) GUITAR TECHNIQUES MAGAZINE 1 bars, suggesting Dm7 (or Fmaj7) and G72in4 bars 3 and 4 resolving to C7. In outlines F7b9 (bar 7) and F altered (bar 8) resolving to Bb in the final bar. D7 G7 C7 The Pete Callard Jazz Club presents Ex 1 - Bebop bridge GUITAR TECHNIQUES MAGAZINE 2 4 1 GUITAR TECHNIQUES MAGAZINE 2 4 1 M I KPete E SCallard TERN The Jazz(part Club2)presents D7 G 7 C7 The Pete Callard Jazz Club presents M I K E S T E R N (part 2) Ex 1 - Bebop bridge M I K E S T E R N (part 2)
EXAMPLE BeBop BridGe in Bb GUITAR1 TECHNIQUES MAGAZINE
©»™§º b 4 & b b ©»™§º 44 Ex 1 - Bebop b Ex 1 bridge &- Bebop©»™§º 4bridge b ©»™§º 4 & bb bb ©»™§º 44 & b & 44
E B G E D B A G E D E A B E E G E B D B G A G D E D A A E E
nœ nœ D7 n œ7 D D7 nn œœ
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E 12 11 9 8 B 11 8 9 10 G 11 8 11 8 11 E 12 11 9 8 D 10 10 B 11 8 9 10 A G 11 8 11 8 11 E D 10 10 E 7 12 11 9 8 A B 11 8 9 10 E E G 12 11 9 8 11 8 11 8 11 7 E 12 11 9 8 11 8 9 B D 10 10 10 B 11 8 9 10 11 8 G A 11 8 11 Ex 2 - Rhythm changes line G 11 8 11 8 11 D moves up chromatically over the Bb to land on the 13th 10 (B) of 10D7, E Stern D7 10 10 Bthen A A Ex 2 Rhythm changes line in superimposed arpeggios outlining Cmaj7, D7 - although he ends up on E E 7 the maj7th (C#) - E7 (also with a maj 7th) and F#7 over the D7. Over theBG7 he 7
b
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E B G E D B A G E D E A B E E G E B D B G A G D E D A A E E
E B G E D B A G E D E A B E E G E B D B G A G D E D A A E E
6
1 1
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b & bb &b b & bb bb & &b
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5
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7 7
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bœ bœ bœ bœ bœ bœ bb œœ bb œœ 6
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œ œ Ebm, n œ with substituted nDœ7 œ n œII-Vs, outlining then bsequence. œ n œ bItœgetsn œquiteœ ‘out’ # œ #Ab7 œ Bb over the Bb, Bb7 and Eb, then F#m, B7 and Bb œ overœthe Edim7, Cm7 and œ n œ n œ b œ n œ œ bF7,œ then n œ suggesting G7, Cm and F7Dresolving œ n œto theœ 3rd (D) on#theœ final 7 # œ Bb. œ b œ n œ b œ n œ œœ nn œœ nnDDœœ77 œ n œ œ œ œ # œ # œ bb œœ nn œœ bb œœ nn œœ œ n œ n œ œœ n œ œ œ œœ ## œœ # œ 4 5 6 7 3 nœ œ 8 5 7 #œ 7 8 5
15 12
œ nœ œ nœ œ nœ œœ nn œœ
7 8 B 7 8 7 8 B
9
7 10
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cd track 70 7 6 10 9 8 10 6 9 8 9 G78with 6 7 6 passing notes, resolving to the root of Bb. The final 10and 10 chromatic 7 6 9 8 D7 9 launching 8 section starts slowly before into 8th notes for the I-I7-IV-#IVdim
12 13 13 10 10 15 12 12 13 10 12 15 12 13 12 10 13 12 10 12 F7
bFœ7 bFœ7 bFFœ77 bb œœ
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7
œ nœ Œ œ n œ7 Œ C œ C7 C n œ7 Œ œœ nn œœ Œ 8 Œ 9
8 10 6
7
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EXAMPLE 2 Bb rhythm chanGes line
Ó Ó G7 G7 Ó ÓÓ G7
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œ bœ œ bœ œ bb œœ œœ b œ 6 8 8
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œ nœ bœ œ nœ bœ œ nœ bœ œœ nn œœ bb œœ
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11 15 13 11 10 11 15 13 11 10
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b Bb
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5 5 5 5 5
April 2015 GuitarTechniques 87
lesson: jazz
ON THE CD
TraCks 68-79
2 xxxxxxxxxx
EXAMPLE 2 Bb rhythm chanGes line ...CONTINUED 2 xxxxxxxxxx Cm 7 2 xxxxxxxxxx 2 xxxxxxxxxx
F7
b &b œ œ œ ‰ œ œ œ Cm 7 F7 Cm 7 F7 Cm 7 F7 b b & b bb œ œ œ ‰‰ œ œœ œ & b œœ œ œœ ‰ œœ œ œœ & œ
E B G D A E E 13 B E G E B D B G A G D E D A 13 A E E 13 13
8
5
b
5
6
œ œ bœ nœ œ b œ & b Eb E dim7 œ E bb Ebdim7 œ E E dim7n œ œ b œ œ b b œ œœ n œ & bb bb œœœ œœ œ6 œ8 9 n œ7 & &b 7 6 E 8 8 8
5 5 5
E dim7 5 6 5 5 6 6
8
8 8 8
cd track 70
B
œ œ œœœ œœ ‰ œœœ ‰ œœ œœ 6 œ ‰‰ 6 ‰‰ 6 5 8
B B B
G7
Cm 7
Dm 7 Dm 7 Dm 7
G7 G7 G7
Cm 7 Cm 7 Cm 7
7
8
œ œœ œœ œœœ œœ œ œ 5 7
5C m7 7 5 7 5 7
5 5 5
7 7 7
F 78 8 8
F7
œ œ œ ‰ œ ‰
œ œ œ œ
5
œ
Dm 7
5 5B 5
b
œ bœ bœ œ nœ œ bœ œ œ nœ œ œ bœ œ bœ C m7 F7 Bb C m7 F7 B bb B œ Cbm7 œ b œ œ n œ Fœ7 b œ œ œœ bb œœ bb œœ œ n œ œœ b œ œ œ n œ œœ œ b œ œ b œ œ n œ b œ œ œ nn œœ œ3 œœ bb œœ œœ b œ 5 4 7 4 5 6 4 3 œ bœ
b
b
6 6 6
6 6 6
8 8 8
b
œbb b œ b œ œ BBB bbœ777 œœ bb œœ bb œœ œœ œ œœ œ # œ œ œ œœ ## œœ 7 9 7 6
F7 F7 F7
6 6 6
b
œ b œ b œ œ B œ7 œ œ #œ
7 7 7
9 9 9
7 7 7
6 6 6
8
5
6
8 8 8
5 5 5
6 6 6
œ œ œ Œ Ó
∑
œ œ œ ŒŒŒ ÓÓÓ œœ œœ œœ
E B G 5 4 5 3 D 7 4 3 A 6 5 E E 17 6 8 9 7 5 4 B 6 7 4 5 6 4 3 3 E 6 8 9 7 5 4 G 7 4 5 3 E 7 5 4 7 4 5 6 4 3 5 B 6 6 8 9 3 D 7 4 3 B 6 7 4 5 6 4 3 G Ex 3 - Long bebop line in Bb 7 5 4 3 5 3 A 5 G 7 5 4 5 3 7 4 3 6 D E D 7 then 4 Gb 3 and Stern moves down the Bb Major scale with a chromatic passing note over Db over the Ab7, the G7. Over the C7 A 17 6 Cb5 over B maj7 A 6 5 E 7 theEEBb major 7, then plays Eb Mixolydian over the Eb7 (although it could a couple of triads a tritone apart - E, Bb then E again - and 17 17
EXAMPLE 3 BeBop line in Bb
©»™∞º b ∑ & b 44 Ex 3 - Long bebop line in Bb Ex 3 - Long bebop line in Bb ©»™∞º ©»™∞º b 4 & bb bb 44©»™∞º ∑∑ ∑ & & b 44
b
œ œ
Œ
he comes down over the Cm7 suggests Cm and G7, outlining Cm7 and F7b9 over the F7 and resolving to the 5th (F) on the Bbmaj7.
equally be seen as suggesting Bbm7, Eb7 and Abmaj7), then moves into Ex 3 - Long bebop line in Bb a sequence of superimposed triads moving up in 4ths, outlining Ab and
E B G D A E E 1 B E G E B D B G A G D E D A 1 A E E 1 1
E B G D A E E 5 B E G E B D B G A G D E D A 5 A E E 5 5
Ó ÓÓ
11
10 13 10
11
10 10 10
12 12 12
12 10
13
14
11 14 11 12
X X X
b œ ‰ œœ œ œ œ n œ œ FFœ77 b œ œ n œ œ bœ b & b bb œœ ‰ œ œœ œœ œœ n œ œœ œœ bb œœ œ nn œœ œœ œœœ œœ bb œœ œ & 7 œ & b 8 ‰ 10 8 7 n œ 7 8 8 8 8
F7
10 10 10
88 GuitarTechniques April 2015
8 8 8
7 7 7
9
10 10 10
9 9 9
7 7 7
10
9
8
10
7
10
10 10 10
9 9 9
8 8 8
10 10 10
7 7 7
10 10 10
b bb
E 7 E 7 E 7
b œ œœ œœ œ œœ œ œ bb œœ œ œ œœ œ œœ œœ
10
12
11
13
14
10
8 8 8
7 7 7
b
12
11 11 11
13 13 13
10
10 10 10
9
13
œJœ ‰‰ ŒŒ ÓÓ JJ ‰ Œ Ó 10 10 10 10
13
11
13
11
10
11 11 11
13 13 13
11 11 11
10 10 10
œ œ nn œœ ‰ n œ œœ œœ n œ ‰‰ nn œœ 9
œ ‰ Œ Ó J
B bmaj 7 B bbmaj œ 77 B maj
11
œ œ nœ ‰ nœ œ #œ œ #œ œ
12 12 11 12 10 12 12 13 11 12 13 14 11 10 12 13 10 12 13 B maj 14 7 14 12 13 13
b œ ‰ œ œ œ œ nœ œ œ bœ œ nœ œ œ œ bœ b &
10
bœ œ œ œ œ œ œ
12
13
12
11 14 11 14 11 12 11 14 11 11 14 11 12 11 14 11 11 14 11 12 11 F 7
10 13 10 10 13 10 11 10 13 10 11 Cm 7 10 13 10 11 10 13 10 11 10 13 10 11 11
Cm 7 Cm 7 Cm 7
E B G D A E E 9 B E G E B D B G A G D E D A 9 A E E 9 9
11 11 11
G7
œ œ bœ œ bœ œ b œ b & Ab bœ7 A bb 7 A 7 b œ œ b œ œœ bbb œœœ œœ œ b b œ & b bb b œ œœ œœ œœ bb œœ œ œ & & b bœ 10 13 10 11
14
b œ 1212¿ 1010nCœ147 13 1010 12 œ b œ b œ 14n œ 13 bœ œ œ # œ n œ b œ12 œ G7 C7 b œ œ b œ œœ bbb œœœ ¿¿ nnCCœœ77n œ G7 G7 œ b œ œ bb œœ œ bb œœ œ ¿ n œ n œ # œ n œ bb œœ œ bb œœ œ œ 11 14 X 12 n œ ## œœ nn œœ b œ œœ
b
A 7
cd track 72
b
œ œ œ nœ bœ œ œ J ‰ B bmaj7 œ œ BB bbmaj7 œ œ maj7 Œ œœ œœ œœ œœ œœœ nnn œœœ bbb œœœ œœœ œœJ ‰ œJ ‰‰ ŒŒ 11 10 12 12 10 10 J
Ó
∑ ∑∑
9 9 9
9 9 9
œ ## œœ œ ## œœ œ œœ # œ9 œœ # œ œœ 9
9 9 9
9 9 9
∑ ∑ ∑∑
9
11 9
9 9 9
11 9 11 9 11 9
LEaRNINg ZoNE
MIKE STERN PT 2 3
EXAMPLE 4 chorus of Blues in f - out motifs
cd track 74
3
Stern F7 of over thein F7Fchord, and over the Bb7 outlines Abmaj7 and Ex 4 - Chorus blues - out motifs 3 outlines Cm(maj7), continuing into Cm(maj)9 (or F13#11) and F Lydian b7 over the F7 3 7 Over Bb7 he repeats the F7 Bb7 Ex 4and - Chorus blues in F - out chord down of C Dorian over the motifs Cm7 andFF7. phrase a tone, outlining Ex 4 down - Chorus of blues in F - Bbm(maj9) out motifs and Bb Melodic minor then Bb b
©»™∞º 44 & b ©»™∞º ©»™∞º 4 & bb ©»™∞º 44 & b & 4
Ex 4 - Chorus of blues in F - out motifs
E B G E D B A E G E B E D1 G B A D G E A 1 D E A E 1 1
E B G E D B A E G E B E D5 G B A D G E A 5 D E A E 5 5
Ó Ó ÓÓ
œ œ œ œ œ œ œ œœ œœ œ
bœ bœ bb œœ
10
8
7
8
&b & bb & &b
œ œ œœ
Cm 7 Cm 7 Cm 7
10 10 10 10
b
F7
œ œ œœ 8 8 8 8
œ œ œœ 7 7 7 7
Am 7
& b Am œ7b œ Am 7 & bb œ b œ & & b œœ bb œœ
10
8
6
5
10 10 10
8 8 8 D7
6 6 6
5 5 5
œ n œ DDœ77 œ nn œœ œ œœ n œ œ œ D7
œ œ œœ
œ œ œœ
G m7 G m7 G m7
œ œ œœ
œ œ œœ
5
2
5
2
3
5
5 5 5
4 4 4
3 3 3
5 5 5
2 2 2
5 5 5
2 2 2
3 3 3
5 5 5
œ œ œœ
œ œ œœ
bCœ7 bCCœ77 bb œœ
6
6
6 6 6
6 6 6
œ œ œœ 5 5 5 5
œ œ œœ
10
7 7 7
10 10 10
8
5
7
8 8 8
5 5 5
7 7 7
nœ nœ nn œœ
œ œ œœ 2 2 2 2
#œ #œ ## œœ
œ œ œœ
F7 F7 F7
E B 3 4 G 4 3 5 4 3 2 E D B 3 4 A E G 4 3 5 4 3 2 E B E 3 4 D 13 G B 4 3 5 4 3 2 3 4 A D G 4 3 5 4 3 2 E A 13 D E A Ex 5 - Out motivic line over short and long II-V-Is E 13outlines A major over the Amaj7 and Bmaj7 over Stern 13 A maj 7
œ œ œœ
œ #œ œ #œ œœ # œ #œ
œ œ œœ
5
3
2
5 5 5
F7
nœ nœ nn œœ
œ bœ œ bœ œœ b œ bœ
œ œ œœ
8
5
8 8 8
6 6 6
5 5 5
3 3 3 3
4
3 3 3
2 2 2
4 4 4
bœ bœ bb œœ
œ œ œœ
œ œ œœ
4
3
2
4 4 4
3 3 3
2 2 2
œ œ œœ
œ œ œœ
C7 C7 C7
4
5
4 4 4
5 5 5
œ œ œœ 5 5 5 5
EXAMPLE 5 out motivic line over short and lonG ii-v-i
œ bœ bœ œ bœ bœ œœ b œ b œ bœ bœ 6
4
3
8 8 8
6 6 6
4 4 4
3 3 3
œ œ œœ
œ œ œœ
#œ #œ ## œœ
3
2
1
5
nœ nœ nn œœ
6
5
4
6 6 6
5 5 5
4 4 4
8
12 12 12
8 8 8
2 2 2 2
3 3 3
2 2 2
œ œ œœ
œ œ œœ
8
7
8 8 8
7 7 7
6 6 6 6
F7
œ bœ œ bœ œœ b œ bœ
F7 F7 F7
3 3 3 3
1 1 1
Œ Œ ŒŒ
bœ bœ bb œœ
œ Œ œ Œ œœ ŒŒ
œ œ œœ
8
3
nœ nœ nn œœ
12 12 12
œ œ œœ
12
F7 F7 F7
2
#œ #œ ## œœ
10 10 10
Bdi m7 Bdi m7 Bdi m7
œ bœ œ bb œœ œœ b œ 5 5 5
10
F7
œ œ œœ 3 3 3
nœ nœ nn œœ
Bdi m7
œ œ œœ 2 2 2
F7 F7 F7
12
8 8 8
8 8 8
10 10 10
6
8
8
10
8 8 8
8 8 8
œ œ œœ
œ œ œœ
8
8
C7
3
œ7 b œ & b Gm Gm 7 Gm 7 & bb œœ bb œœ & & b œ bœ
5
8 8 8
7
œ œ œœ
œ œ nœ œ œ nœ œ œ œœ œ œœ œœ nn œœ œœ œ
bœ bœ bb œœ
œ œ œœ œœ œ œbb
B 7 B 7 B 7
G m7
4
C7
œ bœ œ bœ œœ b œ bœ
5 5 5
5
Gm 7
œ œ œœ
8 8 8
10 10 10
7 7 7
8 8 B 7 8
œ F7 Bb7 œ FFœ77 b œ œj ‰ BB bbœœ77 œ œ b œ œjj ‰‰ œ œœ œ b œ œj ‰ œ bœ œ 8
Cm 7
Am 7
E B G E D B A E G E B E D9 G B A D G E A 9 D E A E 9 9
∑ ∑ ∑∑
F7 F7 F7
Dorian. Over F7 he moves the same phrase down a tone, but starts a beat later, outlining Abm(maj9) then suggesting Em7 and A7 over Am7 and D7. F 7 and D7, then up G Minor over C7 and On the Gm7 he moves between Gm7 back down C7b9 into a four-note chromatic motif over the final chords.
4 4 4 4
œ œ œœ
nœ nœ nn œœ
10
9
10 10 10
9 9 9
œ bœ bœ œ bœ bœ œœ b œ b œ bœ bœ 3 3 3 3
4 4 4 4
œ œ œœ 7 7 7 7
œ bœ œ bœ œœ b œ bœ
4
3
4 4 4
3 3 3
6 6 6 6
D7
œ œ œœ
œ bDDœ77 œ bbDœœ7 œœ b œ
œ œ œœ
œ #œ œ #œ œœ # œ #œ
3
2
3
2
1
3 3 3
2 2 2
1 1 1
3 3 3
2 2 2
2 2 2 2
Ó Ó ÓÓ
∑ ∑ ∑∑
6 6 6 6
cd track 76
the Bm7 and E7, then (suggesting a II-V-I in F), then down a tone over the C7 to outline Bbmaj7, Bm 7 then again to outline E7 moves idea downline a tone, around Abmaj7 overAmaj7 the Fmaj7, moving into Cm7 and F7 on Ex 5the - Out motivic overplaying short and long Amaj7 II-V-Is over the Amaj7 chord. He Ex adapts the pattern, starting a beat earlier and working it around the Gm7 beats 3 and 4, resolving to F with a chromatic passing note. 5 - Out motivic line over short and long II-V-Is
©»™£º A maj Ex 5 - Out motivic line over short and 4 # long œ 7 II-V-Isœ ∑ A maj 7 & 4©»™£º A maj 7 œ ©»™£º 4 #œ œ ©»™£º ∑ &4 ## œœ œ œ ∑ & ∑ & 44 œœ œ
E B G E D B A E G E B E D1 G B A D G E A D1 E A E 1 1
6 6 6 6
7 7 7 7
7 7 7 7
œ œ œœ 6 6 6 6
œ œ œœ 9 9 9 9
œ œ œœ
œ œ œœ
6
7
6 6 6
7 7 7
¿ ¿ ¿¿
X X X X
œ œ œœ
Bm 7 Bm 7 Bm 7
12 12 12 12
œ #œ œ #œ œœ # œ #œ
12 12 12 12
11 11 11 11
œ œ œœ
12 12 12 12
#Eœ7 #EEœ77 ## œœ
11 11 11 11
œ #œ œ #œ œœ # œ #œ 9 9 9 9
8 8 8 8
œ œ œœ
œ #œ œ ## œœ œœ # œ
¿ ¿ ¿¿
Amaj7 Amaj7 Amaj7
10
7
9
X
10 10 10
7 7 7
9 9 9
X X X
œ œ œœ
10 10 10 10
œ œ œœ
œ #œ œ #œ œœ # œ #œ
9
7
6
9 9 9
7 7 7
6 6 6
œ œ œœ 7 7 7 7
April 2015 GuitarTechniques 89
lesson: jazz
ON THE CD
TraCks 68-79
4 xxxxxxxxxx
EXAMPLE 5 out motivic line over short and lonG ii-v-is ...CONTINUED
œ œ
4 xxxxxxxxxx
Œ & œ œ #œ œ E B G D A E E B G D A E
E B G D A E
œ œ
Œ & œ œ #œ œ 7
5
4
œ
G m7
13
œ
10
bœ œ
bœ œ œ œ
12
13
12
10
9
13
12
10
9
œ bœ œ bœ œ
11
bœ œ
C7
œ bœ œ bœ œ 10
bœ œ
C7
8
11
10
8
7
10
8
7
9
6
9
6
7
5
13
10
12
œ bœ 4 7 bœ bœ œ bœ œ œ & Fmaj7 œ bœ bœ bœ œ bœ œ œ & 8 9
11
Fmaj7 7 5
5
bœ œ
bœ œ œ œ
G m7
cd track 76
8
6
5
8
5
7
8
10
œ bœ œ nœ œ œ œ œ
œ
œ bœ œ nœ œ œ œ œ
œ
7
5
6
7
8
8
7
5
5 7 motifs 6 EXAMPLE 8 chorus of Blues in f - intervallic
7
Œ
Ó
∑
Œ
Ó
∑
8
8
E 8 B 9 G 8 6 5 5 Ex D 6 - Chorus of blues in F - intervallic 8 motifs 7 A E 7 8 For this chorus of F blues, Stern begins with aFrepeated
11
cd track 78
8 Bb7 F7 three-note motif changing to B Diminished over the Bdim7, then straight down F Major ©»™∞º œ to the with varying intervallic skips which he carries through the opening five bars, scale over the F7 and Am7. Over the rest of theb sequence he returns œ around 4 œ œ œ œ b ∑ Ó œ ‰ staying within F Mixolydian. Over the Bb7 in bar 6 he stays in F Mixolydian, opening intervallic motif, although this time playing C7/F Major. œ œ 4 of blues in F - intervallic motifs œ œ Ex 6& - Chorus bœ œ J bœ œ F7 Bb7 F7 ©»™∞º œ bœ œ œ œ ∑ Ó bœ œ œ ‰ bœ œ œ œ œ œ & b 44 œ 8 J 7 5 7 8 5 E B G D A E E B G D A E
E B G D A E E B G D A E
E B G D A E
8
8
7
6
8
5
5
7
7
8
1
Cm 7
1
b
bœ œ œ œ nœ œ #œ œ œ œ œ œ œ6 œ
F7
B 7
bœ œ œ œ œ œ b & Cm 7 F7 œ bœ œ œ œ œ b 6 5 & 7
8
5
8
5
8
5
Bdi m7 6 8
8
7
b
b œ œ œ œ Bdin œm7œ # œ œ œ œ œœ œœ 10
8 10
8
11 8 10 8
7 10
9
7
8 A m7 7
5
6 77 8 Gm 5
&b Ó
œœ
&b Ó
œœ
5
œ œ
10
8 10
8 10
10
8 10
F7
7
A m7
10 9
C7
œ œœœ œœ
C7
œœœ œ 7
9
7
9
8
œœ 10 11
10
8
11 8 10 8
7 10
œ œ œœ œœ
Gm 7
D7
F7
9
D7
11
10
10 11 13
7
8
œ œœœ œ œ
œ œ œœ œœ
Gm 7
F7
9
C7
11 10 8 F 7 10 9
œ Cœ7 œ œ œ œ 12
12 15
7
17
15 17
7 œœœ
œœœ
F7
15 17
15
10
10 8 10 10
90 GuitarTechniques April 2015
8
10 11 10
9
11
10
10 11 13
12 12 15
8 D7
œœœœœ œ œ œ œ œ j‰ Ó œ 8 11 10 8
B 7
8 10
5
œ œ œ œ œ8 œ œ œ œ œ j‰ Ó œ
5F 7 7
D7
10
8
8
7
10
8
8
7
5
Gm 7
E B G D A E
5
6
8
17 15 17
15 17
15
Ó
∑
Ó
∑
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Each back issue costs (including postage and packing) n UK: £5.50 n Europe: £6.50 n Rest of the world: £7.50 April 2015 GuitarTechniques 91
lesson: acoustic
ON THE CD
TraCks 80-81
Paul Weller This month Stuart Ryan shows how to nail the acoustic guitar style of The Jam’s iconic frontman and perrennial solo artist, the great Paul Weller. Paul Weller: in acoustic mode on Gibson J-45
ABILITY RATING
Easy Info
WIll ImprovE your
Key: A minor Tempo: 148bpm CD: TRACKS 80-81
Use of m7b5 chords Chord embellishment Dynamic strumming
Although synonymous with his spiky, post-mod electric guitar stylings with the Jam, acoustic guitar has always featured strongly in Paul weller’s playing - a track like 1980’s that’s Entertainment featured a driving acoustic at the fore, though this served as stark contrast to much of the band’s other output at the time. it was when he started to develop his solo career that the acoustic became a more prominent voice in weller’s writing. his 1993 album wild wood is predominantly electric but features several
great acoustic moments from the driving, riff-based All the Pictures on the wall to the strumming on hung up. however, it’s the eponymous title track that’s probably the most famous cut from the album. wild wood is a great example of how weller will set up a simple strummed or fingerpicked chord progression but add some unexpected twists – in the case of wild wood it’s his innovative use of the minor 7b5 chord, not a device you hear in mainstream writing every day. you can also hear this in English Rose where a simple three-chord progression is made unique by the inclusion of a minor 7b5. For this study we see how a standard chord progression can be given some Paul wellerstyle colour by changing some of the chords from what your ear may be anticipating. Although weller uses conventional strumming and fingerstyle techniques he is a ‘thumb over the neck’ player when it comes to
I rediscovered my guitar in the 1990s. Paul Weller
fretting some chords. Although i haven’t focused on this here, it’s something that’s worth getting into your playing as it facilitates some chords that would be much harder to execute otherwise. weller often starts with conventional major or minor chords and then releases or moves some of his fingers to get a different voicing which provides colour. you can hear this effect in wild wood as he starts off with a conventional B minor chord but then releases the fretted notes on the second and third strings for a more interesting Bm7sus2. if you find yourself writing this way I wouldn’t get too hung up on the theory (chords can end up having very complicated names that confuse the issue), just make a shape you know and add or remove fingers until you hear the desired result; it’s a liberating way of writing. Beyond that you’ll also hear weller use the standard major and minor 7th chords – these will also add colour to your writing but the iV chord as a minor 7b5 is the one that really stands out (for theory buffs you can also view this as a V chord in which case it’s acting as the decidedly jazzy 7#5b9 – see what happens if you use that down at the folk club!). NeXT MoNTH: Stuart tackles the acoustic blues style of Rory Gallagher
Get the tone 3
7
6
6
3
Gain
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Middle
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Given that we are mostly strumming for this style a large-bodied, warm-sounding guitar would be perfect but any acoustic attacked with gusto will produce the desired results. Weller himself often favours a vintage Gibson J-45. The above settings are a starting point should you have an acoustic amp.
the heavier electric tracks sound great strummed on a flat-top); or try the live album days of Speed to hear how Paul re-works his not insubstantial back catalogue for acoustic guitar. The ‘greatest hits’ package, Modern classics tracks his post-Jam career to 1998.
92 GuitarTechniques April 2014
LIVEPIX
Track record Weller really came of age with the 1993 release Wild Wood. It’s crammed with innovative acoustic guitar writing (even
LEARning ZonE
PAUL WELLER EXAMPLE PAUL WeLLeR ACoUStIC
cd track 80
[Bar 1] Nothing to contend with here, it’s a simple strummed A minor chord to get us going; but it’s important to pay attention to the syncopated rhythm as you play on the ‘and’ of beat 3. [Bar 3] Rather than staying on an A minor chord a simple change of fingering yields this open sounding and James Taylor-esque A7sus4 chord. [Bar 11] Here is a chord that you may not be expecting, the tense sounding E7#5 (also known as an E7 augmented). The idea here is that this chord, the
V chord of A (also favoured by John Lennon - a big influence on Weller), can handle all this tension before releasing back to the much more settled I chord of A minor. This can be quite a tricky chord to grapple with so I’ve added a suggested fretting-hand fingering. [Bar 14] For this second pass through the chord progression we’ll add some Weller-esque embellishments such as the hammer on figure at the end of this bar - it’s a simple move but lifts the piece dramatically.
GUITAR TECHNIQUES 2 4 1
Stuart's Acoustic PAUL WELLER STYLE
GUITAR TECHNIQUES 2 4 1
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[Bar 30] Here’s another useful change you can make to the open position A minor chord, this A7sus2 (which you could also label Em/A) is neither major 0 0 0 0 0 0 0 0 0 nor minor so 1 adds a nice 1 ambiguity 1 1 to proceedings. 0 1 1 1 1 1
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94 GuitarTechniques April 2014
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Music Reviews
WhAT our rATings meAn: HHHHH Buy it HHHH Excellent HHH Good HH Average H Bin it!
New Albums
A selection of new and reissued guitar releases, including Album Of The Month... Album of the month
Jeff Beck
LIVE IN TOkYO Eagle Vision HHHHH Shot at Tokyo’s Dome City Hall this comes with much expectation from Beck’s fans. Of his band Jeff comments “Nicolas Meier is a great guitar player, more a jazzer but with an eastern flavour. Bassist Rhonda Smith, she’s my anchor, ex Prince and funky as they come, and drummer Jonathan Joseph has a bit of Billy Cobham and a bit of Vinnie; he’s amazing!” The concert kicks off with Loaded which demonstrates how much you can put into an instrumental that sits on one chord. Jeff has an amazing ability to take songs like Little Wing and turn them into his own instrumentals, full of emotion and laced with guitar trickery that leaves you spellbound. This video is imaginatively shot from on and off stage with plenty of close-ups so you learn a few things as you get drawn right into this stunning performance; it’s packed to the rafters with guitar expertise. We particularly like Hammerhead, Where Were You, A Day In The Life and the slide guitar on Angel (Footsteps) but it’s all brilliant. A setlist commentary and an interesting band-on-band interview are included. Ice. If this does prove to be their very last studio album then it stands as a solid testament to one of the greatest rock bands that has ever existed. They will tour again in 2015 with Stevie but whether the recently drugs busted Phil Rudd will also be involved, remains to be seen.
AC/DC
REVIEWS BY ROGER NEWELL
roCk or BusT
Columbia HHHH Although it’sbeen a rocky time for the band this finds AC/DC still playing like they mean business, in spite of saying that this is likely to be their last album. Sadly Malcolm Young is not directly involved due to his medical condition; however much of the material was drawn from earlier recording sessions so he is actually on the record. Along with Angus, Brian, Cliff and Phil for this recording, second guitar was played by Stevie Young who is the nephew of Angus and Malcolm, so there’s plenty of Young DNA still present. The title track and Play Ball have both been released as singles and serve well as a taster for this follow-up to their 2008 album, Black
the rolling StoneS
lA Forum – live in 1975
Eagle Vision HHH This is part of the new series of live performances from The Stones that have been given a video and sound ‘makeover’ for this, their first official release. This is from their Tour Of The Americas ’75 and it’s their first tour with Ronnie Wood who had recently replaced Mick Taylor on guitar, with the rest of the band still intact from the early days. There are other players too; percussion, brass and both Ian
Stewart and Billy Preston on keys. The band performed five nights at the Forum and this one opens up with a rather raw version of Honky Tonk Women. Things improve as the concert moves on but this is still a raw sounding era for the band. Keith Richards seems very happy with Ronnie in the band and both guitarists do a great job on solos and in recreating the recorded Stones sounds - that said there’s nothing but Angie from the earlier days. Still more blues influenced than soul at this point in time, this series is fantastic for the hardened fan but will do little to encourage new listeners. However the restoration job on this is excellent so it’s a very worthwhile project.
eChoSmith
TAlking DreAms
Parlophone HHH Echosmith is a young quartet based in Los Angeles and their video of Cool Kids (included on the album) has had over nine million hits on YouTube and that could well translate into a huge selling album. Fronted by female vocalist Sydney Sierota and supported by her brothers Jamie, Noah and Graham this is essentially mainstream pop but the difference here is that they sound like a band
rather than the over-produced singles that currently dominate the airwaves. The songs are well constructed with a slightly quirky element but immediately catch the ears. They could be seen as an American alternative to Denmark’s Alphabeat or Sydney as a new Avril Lavigne, but their potential could be even greater than both. Jamie’s guitar work is good and he adopts some unusual sounds here and there and neatly demonstrates that you can find a niche in music whatever age you are. If this is what our kids are going to listen to then things aren’t all that bad.
Kenny CheSney
The Big revivAl
great tracks and a bus-load of guitar solos. Taking a break in his heavy touring schedule earlier this year he slipped into the studio to record his 15th album. American Kids was released as a single in the States and sold wel,l and like much of this album shows a move to appeal to a younger audience. It certainly works. The material is strong with a lot more emphasis on rock than ballads and we particularly like Save It For A Rainy Day, the hard hitting Drink It Up and the stomping title track with its practiced guitar solo. While this will definitely appeal to the hardened fan it also provides a great chance to discover Kenny Chesney for yourself. Yes he’s been around for a while but he’s still a force to be reckoned with when it comes to playing great guitar. Give this one a listen.
StoneWire
When The CroW Flies
22:11 Records HHH This debut album from StoneWire is a cool mixture of Southern American blues and good old-fashioned British rock. This fusion is made possible by the vocal talents of Sky Hunter. Sky is a great personality and at times sounds a bit like Robert Plant; she also has the enviable ability to project her voice way over the hard delivery of the band. Guitar duties fall to Gareth Annable, an accomplished player who can really punch out high-octane riffs and solos, ably assisted by bassist Steve Briggs and drummer Rob Glasner. This tight and powerful British quartet released a self-titled EP in 2012, opened for Michael Schenker during the Swedish section of his Temple Of Rock tour in 2013, and has finally produced this album of eleven original songs. Try and get a listen to the single pull Favourite Bitch - which is very representative of this album but by no means the best track in our opinion. We suggest you check out Southern Honey for a better idea of what the band is really capable of.
Sony Music HHHH Every now and again you just need to hear some down to earth country rock guitar and for that this latest studio album from Kenny Chesney has got to be one of the best. Kenny has gradually been slipping away from his southern rock country roots but now he’s back loud and proud with eleven
April 2015 GuitarTechniques 95
lesson: rockschool
ON THE CD
TraCk 82-87
Reading Music PArt 9
Use of Ornaments this month Charlie Griffiths continues his series on sight reading with a look at special ornaments used to add extra colour to musical phrases.
Trills, mordents and grace notes: common in guitar playing
ABILITY RATING
Easy/Moderate Info
WIll IMprovE your
Key: Various Tempo: 80 bpm CD: TRACKS 82-87
Notation reading Fretboard knowledge Employability!
This monTh we will add some symbols which can be assigned to any note to add interest to melodies without necessarily having to write in more notes; this originates from classical composers such as Bach or Chopin who were prone to writing ornate melodies, but who developed a kind of short-hand to keep the page cleaner. we will start with three methods of embellishing melodies with trills, mordents and turns. secondly we will see how appoggiaturas and acciaccaturas are used to precede written melodic pitches with different types of grace notes. Finally we will
use glissandos to slide smoothly between melody notes. Trills are a common ornamentation on the guitar involving rapidly alternating between two notes. A simple tr. written above the note to be trilled is the generally accepted method of indicating this technique. The duration of the trill is indicated by the note value itself,
Trills are a common guitar ornamentation and involve rapidly alternating between two notes. but the speed of alternation is essentially left to the musician to decide. The written pitch of the note is always assumed to be the lower note of the two trilled notes and the higher note is either a semitone or a tone, depending on what is diatonically appropriate. A ‘mordent’ is shown as a short horizontal zig-zag line above the note and is similar to a
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trill in that it involves a rapid alternation between the written pitch and an adjacent higher diatonic note, but only happens once at the beginning of the written pitch. on the guitar this is typically played as a quick hammer-on and pull-off. A ‘turn’ is shown as a wavy horizontal line similar to an ’s’ and is essentially a more complex ‘mordent’. in the case of a ‘turn’, the single written note actually becomes a sequence of five adjacent notes; after playing the initial note, go up to the next scale tone, then return to the original pitch, then go down a scale note and finally return to where you started. Placing a short vertical line through the centre of the mordent and turn symbol reverses the sequence of notes. The next two ornamentations are commonly referred to as ‘grace’ notes on the guitar and are very commonly used when quickly sliding into, or hammering-on to, a note. ‘Acciaccatura’ is from the italian verb ‘to crush’; appropriately enough the idea is to squeeze in a quick extra note before an existing written one. They are shown on the notation as small quaver notes with diagonal lines through them and are intended to be played a fraction of a beat before the main note, although technically they have no exact mathematical value. The ‘appoggiatura’ looks similarly small but does not have a diagonal line ‘crossing out’ the quaver note. in this case, the grace note starts on the beat and lasts for exactly half the duration of the note it precedes. Finally we have the glissando symbol - a wavy line between two notes. This indicates a gradual, continuous glide from one note to the next - slide a finger up or down the string, or use the whammy bar to control the pitch. A ‘gliss’ is slower and more deliberate than a slide which is a little quicker. Remember to test your reading skills by looking at other articles in GT too! NEXT MONTH: Charlie continues on his quest to get you Reading Music
Track rEcOrd For perfect examples of trills, mordents and the like, look no further than Bach’s Well Tempered clavier. Many great recordings of this masterpiece exist, but we suggest try the piano versions performed by Sviatoslav richter (rca Victor), Glen Gould (Sony) and the harpsichord version by Pieter-Jan Belder (Brilliant classics) are well worth checking out.
96 GuitarTechniques April 2015
USE OF ORNAMENTS GUITAR TECHNIQUES ExAmplE 1 Trills MAGAZINE 2 4 1
LEARNiNg ZONE cd tRack 82
Charlie Griffiths
For the notes marked with “tr” above, add the next highest adjacent trills use your first and third fingers. Use hammer-ons and pull-offs to READING note guided by the key signature of A minor [A-B-C-D-E-F-G]. For Part 9 alternate between the two notes as quickly and evenly as possible. semitone trills use your first and second fingers, and for whole-tone Think of les paul for semitone trills and Hendrix for whole-tone trills.
Ex 1
Trills
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Ÿ ~~ Charlie Griffiths œ œ
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& Inverted Mordants Ÿ~~ ©»•º Mordants Ÿ ~~ Ÿ ~~ Ÿ ~~ ©»•º M m m M œ GUITAR 4TECHNIQUES MAGAZINE 241 m m M . œ œ M .. Charlie Griffiths m M M m m m œ œ œ œ œ œ œœ Mœ Mœœcd tRack & 4 . œ œ œ& inverTed œ MordenTs œ œ ExAmplEœ2 MordenTs œ œ 83 œ & 4 READING Part 9 the initial note to sustain. For the second two bars invert the mordent For the first two bars add a mordent by quickly hammering-on and Ex 2
Expulling-off 1 Trills to the next highest note from the key of A minor, then allow Ex 2 Mordants & Inverted Mordants Ex 3 Turns & Inverted Turns
©»•º m Ÿ~~ mœTœ m2œT4 1 ©»•º .. Tœ mTMAGAZINE GUITAR 4TECHNIQUES & 44 œ œ œ œ &4 œ œ
by pulling-off and hammering-on to the next lowest note.
mœŸ ~~m m m Tœ T Tœ T œ œ œœCharlieœœ Griffiths œ
MŸ ~~M M M T œ œ œ Tœœ Tœœ Tœœ œ
READING Part 9
Ÿ ~~ M M M M Tœœ T Tœ T . œ œœ œ œœ .
Ex Ex 1 Turns & Inverted Turns Ex 23 Trills Mordants & Inverted Mordants
Ex 4 Acciaccatura ©»•º TŸ ~~M M mTŸ~~mT& Appoggiatura mTŸ ~~mT mT m T T M T M T M T T M T M Ÿ ~~ M m T T T m œ œ ©»•º œ œ œ œ œ . œ œ GUITAR 4TECHNIQUES MAGAZINE 2 4 1 œ œ œ œ œ CharliejGriffiths œ œ œ œ .. œ jœ œ œ œœ & inverTed œ & 44 ..œ3œTurns j ; œ œ ; cd tRack 84 ExAmplE Turns j œ œ œ .. ; œ œ READING œ ; . œ œ œ & 4 œ Part 9 For the first two bars add a ‘turn’ to each note by hammering on to to create a five-note melody - again within the A minor scale. For the
the adjacent highest note, then pulling off to the adjacent lower note
Ex 1 3 Trills Turns & Inverted Turns Ex Mordants & Inverted Mordants Ex 24 Acciaccatura & Appoggiatura Ex 5 Glissando
©»•º ©»•º ©»•º44 & &4 & 44
second two bars ‘invert’ the turn by playing the pattern in reverse.
TŸ~~mT mT mT m TŸ ~~mT mT T m œjœ œ œ ~~œœjœœ ~œ mœ ...œœ jœ œœœ œœ œjœ œœœ ~ ~ ~ ~ ~~ .. œœ ~~~~~~~~ œ ~~~~~~~~œœ ~~~~~~
Ex 3 Turns & Inverted Turns Ex Mordants & Inverted Mordants & Appoggiatura Ex 245 Acciaccatura Glissando
©»•º T m mT mT mT m T mT ~m~Tjœ ~ T œœjœ ~œ~~œ~~~ œœ œ~m 4 œ ~œ~~~~ j œ œ j œ . ~ 4 œ ~ œ ~ œ œ œ ~ ~ & ~~~ œ ~œ~~~~~~ œ &~AppoggiATurA & 44 . 4œœAcciAccATurA ExAmplE The first bar here consists of ‘acciaccaturas’ played just before the downbeats. play these as very quick hammer-ons. The second bar
Ex Ex 3 5 4
Turns & Inverted Turns Glissando Acciaccatura & Appoggiatura
Ex 5 4
Glissando Acciaccatura & Appoggiatura
TŸ ~~M M T T T ;œ œœ ~œ~~œ Mœ;œ œMœ ~~~~~ œ ~~~~~
TŸ ~~ M T M T M T M œ œ œ œ ;œ ~~~~~~~~~~~~~~ œ ; œ œ ~~ ˙
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T M T T M T M T M T ;œ œ ~œ~M~œ~~~~TM~œ; œ œ~TM~œ~~~ ;Mœ˙ ~~~~~~~~~~~~~~ œ œ œ .. ; cdœ tRack ~~ œ 85
consists of ‘appoggiaturas’ which are played on the downbeats and are worth exactly half the value of the following note.
©»•º T T T T T T ~Tœ T T T T T T ~~~~~~~~~~~~~~ T T T ~ ~ ~ ~ j ~ ~ ~ ~ œ œ j ~ ~ ~ ; œ œ ~ 4 œ œ œ ~ ~ j ~ ~ œ œ ~ ; ~ ~ œ œ œ ~ j œ œ ~ œ œ ~~~ œ œ~~~~~~ ~;˙ œ œ ;œ œ œ .. & 4 .. œœ œ ~œ~œ~~~~~~œ œ ~œ~~~~~ œ œ
©»•º ~~~~~œjœ ~œ~~~~~~ ;œ ~œ~~~~~~~;œ ~œ ~~ ; ~~~~~~~~~~~~~~ ~ jœ œ ~~~~~œjœ ~~ 4 j . œ ~ ~ ; cdœ tRack 86.. ~ ~ ~ ~~~ ~ ˙ œ œ ~œ~~~ œ ~~ & 4 . 5 œglissAndo ExAmplE play the notes in the first bar with your first finger and gradually ‘blur’ the notes into each other with slow ascending slides. Next play the
Ex 5
Glissando
notes in the second bar with your third finger and gradually ‘blur’ the notes into each other with slow descending slides.
©»•º ~~~~~~~~~~~~~~ 4 .. œ ~~~~~~~~ œ ~~~~~~~~ œ ~~~~~~~~ œ ~~~~~~~ œ ~~~~~~~~ œ ~~~~~~ ~ ˙ .. &4
April 2015 GuitarTechniques 97
NextMoNth The wOrld’S beST guiTar leSSONS… transcription #1
feature
QueeN
rOCK’N’rOll rhyThMS
Steve Allsworth tabs one of Queen’s greatest hits featuring some truly memorable Brian May guitar parts.
Jon Bishop unveils the rhythm guitar styles of artists ranging from Chuck Berry and Eddie Cochran to Brian Setzer and Status Quo. Don’t miss this feature!
Now I’m Here
transcription #2
jOhaNN STrauSS
video lesson
Carl verheyeN
Blue Danube
Univibe Blues In Bb
Bridget Mermikides arranges and transcribes a legendary piece by the Emperor of Waltz for classical guitar.
The awesome American guitarist shows more of his soloing secrets in his third exclusive masterclass for GT!
BOOST YOUR PLAYING WITH...
25 ESSENTIAL LICKS!
Add these indesposable licks to your lead guitar repertoire and take your playing to the next level. Whatever you do, don’t miss this fabulous guitar lesson!
other great lessons Carlos Santana Learn how to play like this guitar legend
The Doors
Check out the cool style of Robby Krieger
Robben Ford
Cop the licks of the King of Jazz-Blues!
Rory Gallagher
The secrets of his amazing acoustic style
plus all this… Mix alternate picking with string skips; learn to read music; your theory questions answered - and much 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 even quicker!
spriNg 2015 issue oN sale friday 20th March Please note: content is subject to change…
98 GuitarTechniques August 2012
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