THE FINEST GUITAR LESSONS ON THE PLANET 243 MAY 2015
20 YEARS OF THE FINEST GUITAR LESSONS
BANISH BORING SOLOS! BLUES THEORY
Go beyond Pentatonics to play the solos you always knew you could!
USING CHROMATICS Add outside notes and nail those ‘secret’ licks!
CLASSICAL
TCHAIKOVSKY
Play his beautiful piece Waltz Of The Flowers
STYLE STUDIES CLASSIC TABBED!
STEVE
HOWE
Clap L Learn this hi solo l master work from The Yes Album Every note fully tabbed!
OZ NOY
Play ‘twisted’blues
JOHN DENVER
His acoustic style revealed
STEVE MILLER
Master seriously big bends
DJANGO REINHARDT Learn those outrageous licks
ISSUE 243 MAY 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 themselves. His Jazz Metal album is considered 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!
JIM CLARK 2002’s Guitarist Of The Year runner-up, Jim has been a busy TV and session guitarist in the UK and US, as well as working alongside a host of top artists.
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’s currently touring Europe with the Champions Of Rock show.
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.
DAVID MEAD As ex-editor of both Guitarist and Guitar Techniques magazines, and author of top-selling tutor books, David is the perfect choice as Theory Godmother.
THE
FINEST
GUITAR TUITION YOU CAN BUY !
Welcome
BLUES AND THEORY! Compatible as chalk and cheese, surely? Isn’t blues the one music form that’s pure feel, the playing coming from some deep, shared well of experience? It’s certainly true that many artists who purport to know nothing about theory, go on to play great music that seems to underline their point. Either their sense of harmony is innate they know intuitively what to play over which chord - or have practiced to the point where they are comfortable in any musical situation. To the casual listener, the results are the same. The truth is, most of us fall somewhere between ‘natural gift’ and having no idea of what to do without guidance. And here music theory is often our best friend. For many self-taught guitarists, learning minor Pentatonic shape 1 is WKHLU ¿UVW IRUD\ LQWR PXVLF WKHRU\ %XW because they know it as a ‘shape’ they often don’t connect the fretboard positions with the intervals underlying them. Yet doing so would be a massive leap forward, as would having someone to demonstrate why. If your playing lacks that certain something, or you repeatedly hear yourself meandering up and down the same old patterns,
Jon Bishop’s cover feature this month might prove the perfect tonic for your playing. You will have seen some of this stuff before, but what Jon does is join up the dots to provide a cogent feature that ties in chords, scales, ‘added’ notes creating ‘uber’ scales and so on; he marries the way the best self-taught players work things out for themselves, with down-toearth theory guidelines that together act as a road-map towards fretboard enlightenment. Although we’ve tagged the feature as ‘blues’ the same ideas will also work in other styles, since it’s often the approach, the musical context or even the guitar tone that separates one genre from the next. So if blues is not for you, this lesson most certainly still is. Anyway, connect Bish’s feature and John Wheatcroft’s one on introducing chromatics into your playing, and the fretboard is indeed your lobster! So have fun, and I’ll see you next month (by which time I expect you to have mastered Steve Howe’s instrumental work-out ‘Clap’, too). Good luck!
Neville Marten, Editor
[email protected]
DON’T MISS OUR AMAZING DIGITAL Guitar Techniques’ digital edition is now even better!
BRIDGET MERMIKIDES Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.
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.
Animated t Fin ing 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!
Songs and lesso audio built in, with a moving cursor showing you exactly where you are in the music. Simply tap the ‘play’ button then you can fast-forward or scroll back at will.
ay t in of accompan 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 (Please note: Zinio editions do not have interactive tab or audio).
May 2015 GuitarTechniques 3
& 21 7 ( 1 7 6 0 $<
LEARNING ZONE LESSONS INTRODUCTION
55
Music editor Jason Sidwell introduces another packed-to-the-rafters lessons section.
30MINUTE LICKBAG
56
BIMM’s Pat Heath has six new licks to play at easy, intermediate and advanced levels.
BLUES
58
Les Davidson takes a look at the style of the amazing Israeli guitarist Oz Noy.
ROCK
62
Martin Cooper says “Abracadabra” and conjures up the guitar style of Steve Miller.
CREATIVE ROCK
74
Shaun Baxter continues on his quest to give you total knowledge of the fingerboard.
CHOPS SHOP
80
Andy Saphir has some more string-skipping übertips to pass on to you.
BRITISH R&B
82
Phil Capone shows you how to play like those raves from the grave, The Zombies.
JAZZ
86
John Wheatcroft begins a new jazz series with an in-depth look at the pioneering gypsy jazz maestro Django Reinhardt.
COVER FEATURE BLUES THEORY
MUSIC READING
16
Jon Bishop explains all of the nuts and bolts behind blues guitar soloing, and more, to take your musicianship to the next level.
WELCOME
SPECIAL FEATURE #2 John Wheatcroft shows how you can use ‘outside’ notes to add extra depth, colour and character to your guitar solos.
3 7
N Part 4
66
Carl delivers another jaw-dropping first-take solo over a track he’s never before heard!
More of your insights and opinions.
THEORY GODMOTHER
9
David Mead sorts out your musical malaises and creative conundrums.
INTRO
TRANSCRIPTION #1
10
News and regulars, plus Phil’s One-Minute Lick, That Was The Year, Hot For Teacher and more.
36
Learn Steve Howe’s acoustic guitar show piece from the legendary 1971 Yes Album. Acoustic supremo Stuart Ryan is your guide.
BACK ISSUES
54
Missed one? See how you can get it – here!
SUBSCRIPTIONS
72
Save time and money – get GT delivered!
ALBUMS
TRANSCRIPTION #2 TCHAIKOVSKY Waltz Of The Flowers
TALKBACK
94
VIDEO MASTERCLASS
Nev talks about this issue’s main features.
CHROMATIC IMPROVISATION Spice up your lead! 28
STEVE HOWE Clap
ACOUSTIC
Stuart Ryan on the acoustic style of Henry John Deutschendorf Jr, also known as John Denver!
REGULAR FEATURES
FEATURES
92
Charlie Griffiths explains repeat signs, first and second time endings and a whole number of other essential musical markers.
97
New guitar CDs and DVDs reviewed and rated by our very own Roger Newell.
46
Bridget Mermikides arranges and transcribes an infectious piece by the awesome Russian composer Pyotr Ilyich Tchaikovsky.
NEXT MONTH
98
Nail your intervals, learn Muse’s New Born and master ragtime fingerpicking. Plus Strauss’ Blue Danube for classical guitar and the styles of Eric Gales, Chickenfoot and much more!
chni es
Post: Guitar Techniques, Future Publishing, Ivo Peters Way, Bath, BA2 3QS. Email:
[email protected] - please use the header ‘Talkback’.
Dr Levenson provides the last word on hand injury rehabilitation
LAST WORD ON INJURIES Recovery from severe injuries like Mr Modern has (GT238) is complicated and multifaceted. These recommendations for recovery come from the article abstract ‘Hand Therapy For The Musician: Instrument Focused Rehabilitation’ by J Warrington. Rehabilitation using the instrument LQFOXGHVHDUO\UHWXUQWRPRGL¿HG SOD\LQJLQVWUXPHQWVSHFL¿F exercises, sensory reeducation and manual therapy, improving musical ¿WQHVVDPXOWLGLVFLSOLQDU\WHDP approach, and instrument PRGL¿FDWLRQVDQGVSOLQWLQJZKHQ necessary. Education regarding good practice habits is essential to avoid secondary problems on return to full playing. This treatment approach is valuable IROORZLQJWUDXPDWLFLQMXU\IRU degenerative conditions, and for QRQVSHFL¿FZULVWDQGKDQGSDLQ A rehabilitation program for this gentleman is dependent upon ZKHWKHUWKHUHLV 1. Bone and tendon damage 2. Muscle function as a result of the fractures, bracing, immobilisation of the extremity, stability of IUDFWXUHVZLWKLQWHUQDO¿[DWLRQRI the orthopaedic injury or not. 6SHFL¿FDOO\SHULSKHUDOQHUYH damage affecting muscle function and recovery of the nerve injury ZKLFKFDQWDNHPRQWKVWR recover. Nerve conduction tests of the extremity and electromyography of the muscle groups involved can be performed by a physiatrist or neurologist to GHWHUPLQHKRZTXLFNO\WKHQHUYHV DUHUHFRYHULQJDVZHOODVDVVHVVPHQW of muscle strength and tone by a
physiotherapist. This is related to a loss of motor or sensory function as ZHOO5RERWLFVFDQEHXVHGWRDVVLVW LQUHFRYHU\DVZHOODVHOHFWULFDO stimulation in some cases. 7LPH ZKDWLVUHTXLUHGIRUDFWLYH and natural recovery of the injuries irrespective of the program used. Some rehabilitation programs may KDYHYLUWXDOVRIWZDUHWRHQDEOHDQ injured person to see simulated YLVXDOPRYHPHQWVFRUUHODWLQJZLWK brain function of injured arm or H[WUHPLW\EXWVWLOOKDYLQJGLI¿FXOW\ moving the extremity. This is the PRVWGLI¿FXOWSDUWRIUHFRYHU\ SV\FKRORJLFDOO\IRUDSDWLHQWZLWK injuries and the immobilisation DZD\IURPZRUNDQGDFWLYLWLHVRI daily living, the dependence on other people for self care and DVVLVWDQFHZLWKSHUVRQDOLVVXHVWKH LPSDWLHQFHRIVHHLQJRQO\VORZ recovery of these injuries day after GD\ODVWLQJLQWRZHHNVDQGPRQWKV Being creative is an important focus on the things one can do despite the injury and listen to more music and VORZO\WKHSOLQNLQJ noises on his guitar ZLOOEHFRPHIXOOQRWHV and then riffs to IROORZLQWKHPRQWKV ahead. Above all, keep positive and NHHSZRUNLQJWRZDUG the goal of getting EHWWHU$VZHVD\D ORWRIZKDWZHKXPDQVGRWR communicate and live is in ‘our KHDGV¶DQGUHTXLUHVSDWLHQFHLQWKH face of pain and suffering and ‘tincture of time’. 5. Medications can effect cognitive IXQFWLRQDVZHOOPRWRUIXQFWLRQRI an injured extremity. 3URJUDPVIRUPXVLFLDQUHFRYHU\ LQ(XURSHDQGWKH86 WKHSURJUDP at the Chicago Rehabilitation Institute for injured musicians may be useful for Mr Modern to contact DVZHOODVIRUDGGLWLRQDOUHIHUHQFHV for medical and physiotherapy professionals in England and HOVHZKHUH Henry Levenson, MD. Medical Director of Rehab, LAC+USC Medical Center, Los Angeles 36 ,ORYH*XLWDU7HFKQLTXHV
from one so eminent I thought yours would be well worth us taking heed of, as you never know what’s round the corner! And I’m glad you like the magazine enough to lend such sage advice and information!
Thanks so much for that, Dr Levenson. We weren’t going to add any further comments to the debate, but coming
7KDQNVIRUWKH3OD\LQJ:LWK Fingers feature. I’ve never been a great picker – can’t seem to
LOST IN MUSIC I’ve only just got a hold of your 20 7LSV 3OD\%HWWHU6RORV7RGD\LVVXH (GT239) as I live in the back of beyond. The reason I love Guitar 7HFKQLTXHVLVWKDWLWDOORZVPHWR immerse myself in my playing, forget the day’s toils and get lost in a feature for hours. I’m no Angus Young but I do my best. I’ve got a OLWWOHEROWKROHZLWKDFRPSXWHU set-up and a decent soundcard so I can record my efforts using GarageBand. What I tend to do is VSHQGDIHZGD\VJRLQJWKURXJKD particular feature – in this case the 20 Tips – and then record myself doing something based on the DUWLFOHLQTXHVWLRQ7KDWZD\,FDQ check if I’ve improved! Sometimes I use your backing tracks but I KDYHDIHZRIP\RZQ that I enjoy playing over too. Jon Bishop’s ‘commandments’ gave me a lot of food for thought, and I really WKLQN,FDPHXSZLWK some of my best stuff this time. I’ve not gone WKURXJKWKHZKROHPDJ yet, but I’ll be very interested in trying the Soul Chords DQG)RRO)RU
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May 2015 GuitarTechniques 77
LESSON: CREATIVE ROCK
ON THE CD
TRACKS 52-53
CD TRACK 52
EXAMPLES 5NOTE STRINGPAIR CELLS EXAMPLE 10 Now for the first of two examples in which the five-note stringpair cell follows a 5-0 note-configuration. This particular cell comprises the same notes as Ex8 moving in an ascending sequence and, again, is treated differently in each octave. EXAMPLE 11 Here, we’re using the same cell as in Ex10 on each string pair; only this time in a descending sequence. Once again, the cell is treated differently in each octave.
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EXAMPLE 12 This final example features a five-note string-pair cell that follows a 0-5 note-configuration. The cell is treated the same in each octave, and is played using a combination of fretting-hand legato and picking-hand taps with slides. The octaves at the very end of this line are just one example of how these cells can be integrated with other techniques in order to create well-balanced musical results. As I mentioned in the main body copy, the whole point of learning any technique is to be expressive with it.
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SUBSCRIBE TO THE DIGITAL EDITION OF GUITAR TECHNIQUES AND GET YOUR
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LESSON: CHOPS SHOP
VIDEO
String Skipping
ON THE CD
CD-ROM TRACK
PART 3
Missing out one or more strings can allow you to play ear-catching intervals and licks. Andy Saphir skips his way through another great lesson. TO CONCLUDE OUR string skipping theme, this month we look at it from a hybrid picking perspective. If you’ve never hybrid picked before, these exercises might be challenging, though I hope not prohibitively so. Hybrid SLFNLQJLVWKHXVHRIWKHSLFNDQG¿QJHUV,W¶V commonly used when playing country music, although it is being adopted more and more in other styles. When you get used to this
WHFKQLTXH\RXPD\DFWXDOO\¿QGLWHDVLHUWR play certain string skipping ideas, as your SLFNLQJKDQG¿QJHUVDUHDOUHDG\SRVLWLRQHG over different strings. Using the pick for such licks can entail some tricky alternate picking challenges. There are some great sounding ideas here, but a tip: keeping the heel of your hand resting on the bridge area will ‘root’ them in place for more accurate results.
EXAMPLE 1 STRING SKIPPING IN 6THS
CD ROM
This exercise looks at playing a descending E natural minor scale, E-F#-GA-B-C-D (also known as E Aeolian mode), in intervals of a 6th. Note how the
second finger of your picking hand plays the higher note of each ‘6th’ shape, and how much easier this is than doing the same thing with a pick.
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A similar exercise, this one uses the same E minor scale, but in triplets this time. Pay attention to picking hand directives throughout the exercise.
Play as slowly as necessary to ensure accuracy, and only then build up to speed. The metronome marks are a guide only.
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EXAMPLE 3 ADDING PEDAL TONES
CD ROM
Again using the same scale as a basis, this exercise uses triplets, but incorporates an open first string pedal tone on the third note of each triplet. This is quite tricky technically, as I’ve suggested the use of alternating third
and second fingers of the picking hand. You can experiment here, as you may find it easier to only use your second finger (m) to play the pedal tone, although this way it might be harder to achieve the faster tempos.
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80 GuitarTechniques May 2015
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BROUGHT TO YOU BY...
LEARNING ZONE
STRING SKIPPING PT3
EXAMPLE 4 STRING SKIPPING OCTAVES ASCENDING
CD ROM
This demanding octaves based exercise skips from the first string to the fourth string then to the sixth. This is an ideal opportunity to see how hybrid
picking can work more easily than straight alternate picking. The E Major scale is used here (E-F#-G#-A-B-C#-D#).
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EXAMPLE 5 STRING SKIPPING OCTAVES DESCENDING
CD ROM
A very similar exercise, this one still descends down the E major scale, but switches the string order, so you play the sixth string first.
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EXAMPLE 6 HYBRID PICKING ARPEGGIOS
CD ROM
This 10-bar exercise is very challenging as it uses some tricky fretting hand arpeggios combined with intricate hybrid picking over a chord progression.
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May 2015 GuitarTechniques 81
ON THE CD
The Zombies Armed with one of the best band names in the business, The Zombies walked on the jazzy side of the British R&B movement, explains Phil Capone.
The Zombies recording at Abbey Road in 1967
ABILITY RATING
Moderate INFO
WILL IMPROVE YOUR
KEY: Various TEMPO: Various CD: TRACKS 54-65
Use of octaves Double-stop riffing Authentic R&B repertoire
THE ZOMBIES ORIGINALLY formed in 1961 (while still at school) in the town of St Albans, +HUWIRUGVKLUH7KH¿UVWLQFDUQDWLRQRIWKH band, originally called The Mustangs, featured Rod Argent (piano, organ, vocals), Colin Blunstone (vocals), Paul Atkinson (guitar, vocals), Paul Arnold (bass), and Hugh Grundy (drums). After suggesting the band change its name to The Zombies, bassist Arnold quit to become a physician and was replaced by Chris White in 1962. The band’s big break came when they won a talent competition hosted by WKHLUORFDOQHZVSDSHUWKH¿UVWSUL]HEHLQJD
recording contract with Decca. This led to WKHLU¿UVWVLQJOH6KH¶V1RW7KHUHLQ 7KH song was an instant success, peaking at No 12 in the UK charts and, in an unprecedented feat for an unknown British band, also topped the USA charts. The song showcased the band’s impressive levels of musicianship and the writing skills of keyboard virtuoso Rod Argent. ,QDUHFHQWLQWHUYLHZZLWK9+PDJD]LQH Argent revealed that he wasn’t worried about FKDQFLQJKLVKDQGDWVRQJZULWLQJIRUWKHLU¿UVW Decca recording session, “That’s the naiveté of youth, because when you’ve never done it before, you just imagine a completely successful scenario. And I thought ‘Yeah,
She’s Not There was an instant success, peaking at No 12 in the UK and topping the US charts.
TRACKS 54-65
great, we’ve got our session coming up, I can write a song that’s as good as The Beatles and it’ll be number one.’ And it was!” However, such instant success was hard to follow and The Zombies’ next single Leave Me Be failed to chart. Their third release, Tell Her 1RRQO\MXVWPDGHWKH7RSLQWKH8.EXW achieved No 6 in the US charts. A string of further unsuccessful releases took its toll on WKHEDQGDQGWKH\¿QDOO\GLVEDQGHGLQ with Argent going on to form the group that took his name, while Blunstone established himself as a solo artist. The band eventually UHIRUPHGLQ DQGLVVWLOOWRXULQJDQG releasing new material. What is most striking about the The Zombies’ early years is that their sound was probably just too sophisticated for the time. Colin Blunstone’s haunting, breathy vocal style was just not raunchy enough to compete with other British R&B singers; the band’s VRXQGZDVMD]]\DQGDOVRGRPLQDWHGE\ Argent’s keyboards at a time when guitar was heavily in vogue. Nonetheless Zombies’ guitar man Paul Atkinson contributed plenty of interesting material, underpinning Argent’s keyboards with his eclectic style that included DUDQJHRILQÀXHQFHVLQFOXGLQJURFN¶Q¶UROO MD]]FRXQWU\ERVVDQRYDDQGEOXHV Single sales were still the mainstay of any EDQG¶VPHDVXUHLQWKHPLGVDQGKDG7K Zombies split even a year later, they would likely have had more success in the album market. However, regardless of their apparent lack of commercial success, The Zombies’ back catalogue provides a fascinating insight into one of the most creative of all of the British R&B bands. So grab your guitar and get ready for a healthy slice of supernatural inspiration, Zombies style! NEXT MONTH: Phil looks to the West Country when he examines The Troggs
GETTHETONE 5
6
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10
4
GAIN
BASS
MIDDLE
TREBLE
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This is a general setting for solo work. For clean rhythm tones simply back off your guitar’s volume control. For a more authentic lead sound try adding a delay pedal in front of your amp (these work best as the last effect in the chain if you’re using several pedals). Keep the delay time and repeat controls low and the mix control at 50% to achieve a 50s slapback effect. There were very few effects available to guitarists in the mid-60s; analogue tape echo units were extremely popular and used by guitarists well into the 70s to ‘fatten up’ their solos.
TRACK RECORD Start with the milestone singles: She’s’ Not There” (1964), Tell Her No (1964), and Time Of The Season (1968). Recommended albums include Begin Here (1965) and Odyssey And Oracle (1968). It's also worth checking Argent's later material with his own band, Argent (with guitarist Russ Ballard who last month we mistakenly said was in The Zombies!).
82 GuitarTechniques May 2015
KEITH WALDEGRAVE / REX FEATURES
LESSON: R&B
LEARNING ZONE
THE ZOMBIES EXAMPLE 1 LATIN ROCK GROOVE WITH‘CHIPS’
CD TRACK 54
Although only two- and three-note chords have been indicated in the tab, fret the full Am and D7 barre shapes; then simply focus your pick onto the
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‰#
D7
Am
#
D7
Am
‰
D7
#
1/4
5 5 5
5 7 5
5 7 5
5 5 5
7 5
7 5 7 5
7 5
7
5 5 5
5
5 7 5
5 7 5
5 5 5
7 5
( (
7 7
(
CD TRACK 56
For this example, try fretting the first position D minor shape using your first, second and fourth fingers (using your fourth to fret the second string). This not only makes it easier to avoid inadvertently damping the first string, Dm
..
. .
E B G D A E
it also makes the change to the first inversion E minor chord at the 3rd fret considerably easier: simply slide the shape two frets higher then add your third finger on the fourth string.
Em
Fmaj7
G7sus
‰
œ Let ring
2
0
‰
G7
‰
..
‰
Let ring 1 0
3
4
5
5
3
0
5 7
6 8
8 10
10
8
10 12
10
3
#
E B G D A E
>
‰ Let ring RP BU 7
>
5
7
7
8 (9 )
BD
7
5
BU
BU 5
( 9 ) ( 9 ) ( 9) ( 9) (8 ) (8 ) 7
5
7
7
7
8
5
7
.
~~~
>
5
as indicated in the tab) while you re-pick each note. In bar 4, the double-stop lick is easy when fretted with your first and third fingers, barring across both strings simultaneously.
..
5
7
.
8
7
5
7 ( 9)
5 7 7 ( 9)
7
'
1/4
~~~
5 7
3
A7
. .
E B G D A E
3 2
CD TRACK 58
Use your pick or hybrid picking to sound the double-stop bend at the start of this lick, which should be fretted using your third and fourth fingers. The bend can then be gradually released (you don’t need to step down literally
©»¡™º Double time feel
. .
8
EXAMPLE 3 FAST ROCK N’ROLL STYLE LICKS
#
. .
5 ) 5
7 5
EXAMPLE 2 ARPEGGIATED CHORDS AND JAZZY OCTAVES
..
1/4
BU BD
. .
E B G D A E
D7
strings required. Don’t use your picking hand to mute the strings; release the pressure of your fretting hand while keeping your fingers on the strings.
'
1/4
7 7
8 8
7 7
5 5
7 7
5 5
..
. .
May 2015 GuitarTechniques 83
LESSON: R&B
ON THE CD
TRACKS 54-65
EXAMPLE 4 JAZZY COMP USING THIRDS
CD TRACK 60
Diatonic 3rds (using only notes from the key you’re playing in) are very effective when used to create riffs over chord changes. You’ll need to ensure that you only sound the notes indicated - this is especially important when
#
©»¡£§
.
..
. .
E B G D A E
‰ 4 4 4 6
4 4 4 6
#
.
E maj7
picking notes out of a chord shape (ie the A major shape in bar 1); don’t fret all the notes just those shown, releasing fretting pressure between double stops to prevent the notes ringing into each other. F m9
j # œœ
‰
4 4 4 6
4 4 4 6
‰ ‰
6 7
5 6
7 9
5 9 6 9
B9
j n n œœ
. . .
‰
7 8
6 7
5 6
EXAMPLE 5 WESTERN ROCK’N’ROLL STYLE RIFFS
CD TRACK 62
Spaghetti Westerns and the numerous American Western TV shows that abounded, were extremely popular in the 60s so it was no surprise that the
#
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..
. .
E B G D A E
B7
theme tunes of these shows also inspired many of the 60s R&B bands, as in this example.
A7
j œ œ
œœ
2 2 4 6
E7
œ
4 6 4
. .
4 4
7
j œ
6 4
œ
0 0 2 4
2 4 2
œ
j nœ #œ
4 2
0 0
j nœ #œ
4 0 7 0 5
3
#
œœ
4
3
0 0 4 4
..
0 0
EXAMPLE 6 FINAL JAM
. .
1 1
CD TRACK 64
Note that the chords are simplified in the solo to provide the perfect to achieve authentic results. To ensure you’re getting the rhythm of each backdrop for the Paul Atkinson style, 50s flavoured guitar work. There are no phrase spot-on, practise each one with a metronome first (ideally starting particularly challenging licks here but strong phrasing is essential if you want around 80 bpm).
#
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E
D
F
..
~~~~
E
.
. .
~~~~
E
. ~~~~
~~~~
0 3
F
.
j nœ
Let ring E B G D A E
D
4
4
0
1
3
2
3
5
3
2
2
3
1, 9
#
D
F
. n E B G D A E
0 6, 14
# #
E
nœ
D
F
Cmaj7
..
w
.
. . 1
F
3
1
B7
0
3
4
2
1
20
84 GuitarTechniques May 2015
2
2
2
5
17
SOLO 1 E 7
.
j œ
3
.
.
~~~ .
œ
~~~
Let ring E B G D A E
Am
2
4
3
4
2
0
2
0
0
2
œ œ 0 2
3
2
0
2
0
2
LEARNING ZONE
THE ZOMBIES EXAMPLE 6 FINAL JAM ...CONTINUED
CD TRACK 64
# j nœ #
.
A7
3
5
.
.
b
.#
E7
.
.
œ œ
BU E B G D A E
5 0
3 (4)
25
0
8 9
8 7
5
3
3
5
n
.
12
7
5
7
5
3
2 0
8 9
7
BU 12
15 14 (16 )
14 (16 )
8 10
8 8
n
15 (17) (15 ) 12
PB 14 12
14
9
7
5
‰
BU 15
14 (16 )
12
BD
(16 ) (14)
12
14
A7
.
‰ ..
~~~
BU
. ‰
~~~
‰
j nœ
7 E7
7
n
Am
7
9
BU BD
15 (17 )
.
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8
j œ
SOLO 2 N.C.
.
3
.
29
33
6 5
6 7
5
œ
7
#
RP
12
2 2
14
14 14 12 12 10 10 14 14 12 12 11 11
8 9
8 9
7 7
7 7
5 6
5 6
3 4
3 4
2 2
2 2
37
# #
E7
Cmaj7
œ
œ
Let ring
B7
j bœ
œ.
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0 0
0
1
0 2
0
2
2 4
0
3
2
0
2
0
0
2
0
0
41
#
E B G D A E
3
B7
BU
E B G D A E
5
j nœ
# #
E B G D A E
3
C maj7
F
E B G D A E
5
0
# #
E B G D A E
3
Am
F
. 0 2
4
0 2
4
5 4
5
5
~~~~~
rit.
U ~~~~~
#
A
~~~~~
Let ring
Let ring 5
4
6
7 7
8 8
2
9
~~~~~
9
45
May 2015 GuitarTechniques 85
LESSON: JAZZ
ON THE CD
Django Reinhardt
PART 1
In the first of a two-part feature John Wheatcroft presents the incredible Django Reinhardt, guitar genius and legendary patriarch of gypsy jazz.
TRACKS 66-83
visited America as guest of Duke Ellington, and on his return switched to electric guitar, incorporating the radical new ‘bebop’ jazz style into his playing and compositions. Grappelli stayed in Britain throughout the war but Reinhardt returned to Paris, where he reformed the Quintette with clarinetist Hubert Rostaing as musical counterpart. We have nine examples in three sections based around Django’s soloing style: from his mid-30s Hot Club period, through the bebop inspired 40s style up to his bluesy and melodic early 50s era.
Django not only improvised with melody, he tried and he succeeded in reproducing on a guitar the effect of a large orchestra. Stephane Grappelli
ABILITY RATING
Moderate/Advanced INFO
WILL IMPROVE YOUR
KEY: Various TEMPO: Various CD: TRACKS 66-83
Authentic vocabulary Negotiation of chord changes Articulation and delivery
DJANGO REINHARDT WAS a true guitarist’s guitarist. As George Benson states, “Django stretched the guitar imagination to its limit. He was the fastest, the most creative, he had great rhythm, and was a good composer too”. BB King has a similar take on the Belgian virtuoso, “Django was one of my idols. His guitar seemed to talk. He played music that was sophisticated, but a layman like me could still understand it”. The list of devoted Django enthusiasts goes on and on, and for extremely
good reason - simply put, he was a musical genius and guitarist extraordinaire. Born in 1910 in Liberchies into a family of Manouche gypsies, Django was prodigiously talented and by age 13 was performing with the street entertainers of Paris. In 1928 he VXUYLYHGD¿UHWKDWOHIWKLPZLWKDVHYHUHO\ GLV¿JXUHGOHIWKDQGDQGRQO\IXOOXVHRIWKH ¿UVWDQGVHFRQG¿QJHUV+HRYHUFDPHWKLV disability by evolving a new method for ¿QJHULQJXVLQJMXVWWZR¿QJHUVIRUVLQJOH notes and making limited use of the third and IRXUWK¿QJHUVIRUFHUWDLQFKRUGVKDSHV Inspired by the new art form of jazz, and the hot trumpet style of Louis Armstrong in particular, in 1934 he formed the Quintette du Hot Club de France with virtuoso jazz violinist Stephane Grappelli. This all-string group featured two rhythm guitars, violin, bass and Django on acoustic lead. In 1946 Reinhardt
NEXT MONTH: John looks at the great guitarists following Django’s legacy
GETTHETONE 3
5
6
7
1
GAIN
BASS
MIDDLE
TREBLE
REVERB
As this style is predominantly acoustic, the best thing to maximise tone and projection is to sort your picking out. Use the heaviest pick you can manage and play each new string with a down stroke. The gypsy style uses a relaxed wrist posture; pick through each string, so a note on the second string ends with the pick resting on the first, rather like a classical guitar rest stroke. Use gravity and the weight of the hand rather than brute force, as this will create tension in the wrist, slow you down and produce a sound that is tight and forced, rather than fluid and smooth.
TRACK RECORD Most of Django’s recordings are available on CD. The three JSP box sets cover his career from the earliest Quintette 78s to his later electric guitar sessions. But if you want just one CD choose Jazz In Paris – Swing 48 (SSC 2002). For a modern take you could check out the album Ensemble Futur (EmuBands 2014), by a guitarist you’ll hopefully hear more of called John Wheatcroft!
86 GuitarTechniques May 2015
ASK IMAGES / ALAMY
Django Reinhardt: his disfugured fretting hand clearly shown
When researching any musician it's good to listen in chronological order. This way you can trace their evolution, witness them exploiting new discoveries and hear how their playing develops. While we're not expecting you to listen to Django’s 800 recordings, it would be good to check out his playing from each of these periods. Perhaps select all the versions of Minor Swing or Confessin', tunes he revisited and re-recorded many times to see how each version differs from the last. One can only guess where the creative muse would have taken him next, as in May 1953 aged just 43, Reinhardt returned to his home in Samois-sur-Seine following a gig in Paris and suffered a fatal brain hemorrhage, depriving the jazz world of a true musical pioneer and the gypsy community of an inspirational and world renowned role model.
LEARNING ZONE
DJANGO REINHARDT 1930s EXAMPLE 1 ORNAMENTS & DIMINISHED ARPEGGIOS
CD TRACK 66
Decorated arpeggios formed a huge part of Django’s soloing style through the decades. This example relies upon a pick-hammer-slideslide combination using some deft re-placement of the first finger and
Swing
©»™ºº
C6
5 7 5
4
5 7 5 4
5 6 5
5
4
5
5
4
5
7
8 10
7 10
11
8 15
8
1
Cdim
¡ ¡
3
¡ ¡ E B G D A E
‰
3
3
5
b
Cdim
¡ ¡
3
¡ ¡ E B G D A E
coordinated picking. Django would approach the wider intervals in bars 3-4 and 7-8 in quite a staccato fashion, which produced a nice jaunty bounce to the lines along the way.
5 7
5
4
¡
C6
œ
¡
‰ 3
3
3
5
b
5 7 5
4
5
5
6 5
4
5
5
4
7
7
5
10
8
10
10
11
8 10 8
8
6
1930s EXAMPLE 2 ARPEGGIOS OVER THE BEAT
CD TRACK 68
The rhythm of Django’s lines is always worth examining, and this example mixes 6-over-4 rhythmic displacements (bars 1-2) with swing phrasing (bar 3) and straighter 16th-note lines (bar 4). Again, a huge percentage of his soloing vocabulary is derived from arpeggios. Often, as in this case, these
#
E B G D A E
Straight
©»¡º¢
œ
œ 2
3
œ
2 3 0 5
3
©»¡º¢ Swing
3
4 0
6
4
5
4
œ
5 0 7
5
6
5
6 0
8
6
6
7
9 12 9
~~
œ
‰ 3
E B G D A E
4
œ
Straight ©»¡º¢ j
G
#
#
b
D7
0 4 1
are quite straightforward triad arpeggios (R-3-5), although we do see a potential Gmaj7 in bar 4 (G-B-D-F#). It’s possible that Reinhardt is seeing this as a Bm over G (B-D-F#), achieving a similar although arguably less cluttered sound as a result.
10
12
14
3
17
15 17 15
3
10
10
12 14
10
12
11
12
9
12
11
12
10
14
12 14 12
~~
4
May 2015 GuitarTechniques 87
LESSON: JAZZ
ON THE CD
TRACKS 66-83
1930s EXAMPLE 3 CHORD TONES & BENDS
CD TRACK 70
Here we see Django mix straight C major ideas with Dm/G lines to create a bouncy and bluesy line that has bags of sophistication for such a simple idea. Reinhardt’s phrases have a huge amount of rhythmic variation and Swing
©»™ºº
b
C6
A 7 9/C
#
this helps to make simple melodic material come across as both convincing and compelling. Generally Django’s bends go no further than a semitone as we’re looking at acoustic with (albeit) light strings but a quite high action. Dm6
1
G 7/D
9 7
9 7
9 8
9 8
10 9
10 9
8
8
9
9
10
10
C6
j bœ
BU E B G D A E
9
10
10
8
‰
10 9 10 10
5
G 7/D
j bœ
BD
8 (9 )
12
C6
- . -
- . - . E B G D A E
G 7/D
7
7
7
7
8
8
7
5
j bœ
BU (8 )
5
BU
8 (9 )
8 ( 9)
7
8
9
10
5
1940s EXAMPLE 1 DJANGOSTYLE II V I LINE
CD TRACK 72
It’s customary for Reinhardt to treat both IIm and V of a IIm V I (Bm7-E7-A) as one event, selecting a decorated Bm6 arpeggio for both (R-b3-5-6). In bars
#
Swing
© ºº
3-4 we see yet more embellished triad vocabulary. Django would approach those chord tones from above, below or any combination of the two.
Bm6
œ
E7
‰
#
‰ 3
E B G D A E
9
10
9
11
12
9
11
10
12
14
12 14 12
œ
A
3
9
10
10
9
10
9
10
9
12
9
10
9
11
11
9
11
11
.
.
9
9
4
1940s EXAMPLE 2 ENDINGS IN F
CD TRACK 74
Django serves up a perfect cadence in F (V to I: C7 to F) by replacing the C7 with its tritone substitute (Gb7 or F#7). This allows him to create endings by imagining a move from the tonic key, in this case F, with an anticipatory Swing
©»¡§º
F
C 7/G
b
A dim
F/A
event a semitone higher, Gb (F#). There are dozens of examples within the gypsy jazz vocabulary, so I’d advise you to stockpile the ideas you like from what already exists and then add a few of your own invention into the mix.
b
A dim C7/G
n E B G D A E
12
1
#
E B G D A E
11
2 3 3 1
88 GuitarTechniques May 2015
F
‰
œ
3 2
4 3
5 3
4 3
3 2
3
4
5
4
3
2 3 3
# 3
2
1
3
2
4
2
3
LEARNING ZONE
DJANGO REINHARDT 1940s EXAMPLE 2 ENDINGS IN F ...CONTINUED
CD TRACK 74
b
b
G 9
E B G D A E
3
2
5
1
E6
F6
3 1 3
4 2 4
5 3 5
œ
b
# n
E 6
2
1
2
0
2
1
1
1940s EXAMPLE 3 NAILING THE CHANGES
CD TRACK 76
Sixth chords and their associated arpeggios make frequent appearances in Reinhardt’s style - and gypsy jazz in general. We begin this short excerpt with a chromatically decorated C6 (C-E-GA), although we could also see this Swing
as an A minor triad against a C root (A-C-E). In bars 5 and 6 we see a slick combination of both D Half-diminished (D-F-Ab-C) and D Minor 6/7 against G7 (D-F-A-B-C).
C6
‰
‰
D7
~~
¡ ¡
¡
3
E B G D A E
12
10
8
~~
7
8
9
10 10
9
10
10
9
8
7
8
10
12
~~
C6
G7/D
10
~~
8 9
~~
‰
9
9
10
12
12
10
~~ 13
10
10
10 12
8 9
9
10
10
10
5
1950s EXAMPLE 1 BLUESY II V I
CD TRACK 78
By the 1950s Django’s playing had taken on a looser and more bluesy feel, with lots of rhythmic pushing and pulling and a super-relaxed approach to chromaticism. This example neatly outlines the major ii-V-I sequence in
Swing
b
B 6
the key of Bb (Cm7-F7-Bb) in an unhurried and slick way. Although I played acoustic throughout, these examples could just as easily appear within Reinhardt’s amplified electric sound.
b
Cm7
B /D
œ
œ E B G D A E
7
1
‰ E B G D A E
7
1
~~
Cm7
7 5
X X
6
X
8 8
X X
8
X
F7
j œ
7
10 8
8
10
7
10
8
9
b
B 6
3
9
~~
3 E B G D A E
~~ 10
~~ 10
8 10
8
7
8
7
6
10
9
8 10 8
10
8
10
7
8
8
8
4
May 2015 GuitarTechniques 89
LESSON: JAZZ
ON THE CD
TRACKS 66-83
1950s EXAMPLE 2 CHROMATIC LINE THROUGH THE CHANGES
CD TRACK 80
Here we see how Django might deal with the bV Half-diminished falling chromatic progression (bV m7b5-IVm-IIIm-biii dim), sometimes referred to as the ‘Red Garland changes’ that you find in the harmony to standards such Swing
E B G D A E
b
b
Am7 5
n b
10
9
b
n b
9
8
10
b
A m7
9
œ
8
n
9
7
8
Gm7
7
9
7
n b
11 10
7
9
Fm7
n
7
8
‰
10
11
8
9
9
9
10
8
11
15
11
15
13
15
11
13
5
CD TRACK 82
This idea showcases a gypsy jazz staple, outlining arpeggios with one upstroke followed by one unbroken although staggered downstroke that crosses three strings - therefore a total of four notes with two moves. While these ideas are not too tricky by themselves, the real skill here
#
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Straight
2
n
5 5
4
5
1
8 8
7
8
2
5 5
11
4
10
5
8 8
11 14
11
7
8
A7
11 11
10
11
12 12
13
14
12 10 9
8
10 9
14
6
n
D7
#
10
10 11
6
90 GuitarTechniques May 2015
10
9
9 10
9
14
15 14
12
15
14 12 12
14
G6
8
8 9
8
5 5
4
5
G m6
b
3 4
3
5
7
n
15 15
14
9 7
8
9
b
15
14
10
4
D
E B G D A E
b
A7 b
1
#
is maintaining accuracy, clarity and good time throughout the entire sequence, so ensure you aim to maintain concentration and try to resist the temptation to rush the tempo. Ideally, we’re after an unbroken delivery of 16th-notes (four notes per click) throughout.
n
Adim
A dim
E B G D A E
8
E 6
1950s EXAMPLE 3 SWEEPPICKED CHORD FRAGMENTS
E B G D A E
10
b
C7
‰
10
9
8
1
G dim
E B G D A E
10
8
as Night And Day. Chromatic ideas nestle side by side with triadic and 7th arpeggio ideas, illustrating just how integrated Reinhardt’s vocabulary was and how immediate his ideas could be in a purely improvisational context.
3
7
5 7
7
6
5 7
6
10
10
12
LESSON: ROCKSCHOOL
ON THE CD
TRACK 84-89
READING MUSIC PART 11
Repeats and directions This month Charlie Griffiths looks at the various directions and signs that you might encounter while negotiating a piece of notated music.
This month we look at the use of repeats, codas and endings
ABILITY RATING
Easy/Moderate INFO KEY: Various TEMPO: Various CD: TRACKS 84-89
WILL IMPROVE YOUR Notation reading Fretboard knowledge Employability!
SO FAR IN this series we have worked with short examples using only few bars at a time. When writing out longer sections of music or even complete songs it is usually preferable to economise the amount of bars and pages and reduce the piece to the minimum amount of information. We can do this with repeat signs, direction symbols and various other symbols which act a bit like signposts which tell you where to go. There are two main types of repeat symbol; a ‘bar repeat’ and a ‘section repeat’.
92 GuitarTechniques May 2015
Bar repeats can be used whenever there are two identical bars adjacent to each other. Rather than writing out the second bar in full a repeat sign similar to a % symbol can be used as shorthand. To repeat an entire
The Coda is separated from the body of the song by a break in the stave, and can be from one bar to any number of bars. section repeat brackets are placed at the beginning and the end of the part to be repeated; everything in-between the brackets is played twice. Sometimes repeat brackets are used in conjunction with alternative endings. This is useful when WKH¿UVWSDUWRIDUHSHDWLQJVHFWLRQLVWKH
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same, but the ending has a variation. The various endings are simply numbered 1, 2, 3 and so on. Da Capo is an Italian term which means ‘go back to the beginning’ and is usually shown by the initials D.C. placed above the stave at the end of the jumping off bar. When you see D.C. you should return straight back to bar 1. Dal Segno is shortened to D.S. and is a similar instruction to D.C. except, rather than returning to the top of the tune, you should return to the bar which has the ornate S shaped symbol above it. Both the D.C. and D.S. instructions are usually followed by one of two secondary LQVWUXFWLRQV 7KH ¿UVW LV µ$O )LQH¶ ZKLFK LV Italian for ‘to the end’), which can either mean ‘play to the end of the song’, or it can mean go back to a previous section in the VRQJ DQG ¿QLVK WKHUH ,Q ERWK RI WKHVH FDVHV the word Fine is placed at the end of the ¿QDO EDU LQ TXHVWLRQ The second of the two follow-up directions is ‘Al Coda’, which means ‘then go to the Coda’. The Coda of a piece of music is essentially an outro section which is different from any of the pre-existing sections of the piece. The Coda is separated from the main body of the song by a break in the stave. The Coda can be anything from one bar, to any number of bars. The Coda symbol is written as a circle with a cross in the middle and is placed above the stave at the beginning of the new outro section. The purpose of the Coda is to exit a previous section prematurely at the point that says ‘da coda’, which essentially means ‘skip to the end’.There are four possible combinations of these two-part directions: D.C. al Coda, D.C. al Fine, D.S. al Coda and ¿QDOO\'6DO)LQH The following examples will give you a chance to practice following the repeat signs DQGVRFDOOHGµURDGVLJQV¶WR¿QG\RXUZD\ through the music. Try reading and playing along to the backing tracks we’ve supplied to see if you are correct. NEXT MONTH: Charlie continues on his quest to get you Reading Music
LEARNING ZONE
REPEATS AND DIRECTIONS EXAMPLE 1 REPEATS
CD TRACK 84
This exercise uses two different types of repeat. Start by playing the first bar as written, then when you reach bar two you will see a single bar repeat; this means you should play the previous bar again. Once you
have completed all four bars you will arrive at a closing repeat bracket, which sends you back to the opening repeat bracket at bar 1. This means repeat all four bars once again and finally finish with bar 5.
..
.. 3
EXAMPLE 2 D. C. AL FINE
CD TRACK 86
This exercise uses the multiple ending approach. Start by playing the first four bars as written. As these bars are bookended with repeat brackets; this means repeat those four bars again, but the second time
# . .
you play it, skip the first ending and go to the second ending. Finally we are told to D.C. al Fine, so go back to the beginning and keep playing until the end of bar 4 (1st time ending bar), which indicates Fine.
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1
2
Fine
..
EXAMPLE 3 D. S. AL CODA
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.
CD TRACK 88
This example shows the D.S. Al Coda structure. Play the first section of the piece as written; the double bar-line at the end of bar 5 indicates the end of this section. At this point you are given two instructions, D.S. and al Coda. The first part of that direction means
#
~~~
D.C. al Fine
‘go to the sign’, which in this case is bar 2 (the ornate ‘S’ symbol). Carry on playing until the end of bar 3 where you are told Da Coda, which means ‘go to the Coda’; now go directly to the Coda which is the separate section shown at the end of the piece.
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Da Coda
Coda D.S. al Coda
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May 2015 GuitarTechniques 93
LESSON: ACOUSTIC
ON THE CD
TRACKS 90-91
John Denver Should he leave on a jet plane or let country roads take him home, ponders Stuart Ryan as he delves into the wistful style of this late, great American singer-songwriter-guitarist?
ABILITY RATING
Easy INFO
WILL IMPROVE YOUR
KEY: G TEMPO: 96 bpm CD: TRACKS 90-91
Picking melodies in chords Fretting hand clarity Picking hand dynamics
FAMED FOR HITS such as Annie’s Song, Country Roads and Leaving On A Jet Plane, the late John Denver was a huge star whose country tinged ballads hit the mainstream in a big way. Born in Roswell, New Mexico, in 1943 Denver commenced his musical career when he joined the Chad Mitchell trio in Los Angeles in 1964. This once popular group was on the wane but Denver’s songwriting helped them secure a deal with Mercury Records and Denver’s reputation began to grow. His solo career really exploded three albums in, when
1971’s Poems, Prayers & Promises yielded the massive hit Take Me Home Country Roads. Towards the end of the 1970s Denver shifted his focus from his musical career and became in involved in humanitarian and ecological work. Tragically he was killed in a plane crash on October 2, 1997.
I’m no Henry Mancini or Michel Legrand. I just play the guitar and write songs. John Denver Although strumming and basic ¿QJHUSLFNLQJIRUPHGWKHEHGURFNRI'HQYHU¶V style, in this study we’ll see how he would often use his accompaniment part to create more intricate lines than the standard arpeggiated open chord shapes. In essence, imagine that the melody in this study is
doubling up a vocal melody with the chord shapes acting as a general ‘frame’ within which it all sits – luckily for you GT doesn’t permit me to record my vocals! Although we are in the open position for much of this study we’ll see that you can get a great deal of mileage and interest by embellishing these FKRUGVZLWKPHORGLFLGHDV
