the finest guitar lessons on the planet 245 JUly 2015
WE’LL MAKE YOU A BETTER GUITARIST - GUARANTEED!
learn how to...
jam the
blues!
LEARN SAINT-SAËNS’ ‘Aquarium’ for solo classical guitar
Play like the great 60s & 70s guitar bands that made blues jams the coolest thing ever!
SWEEP PICKING Learn the exciting way to play
speedy arpeggios: it’s easier than you think and sounds amazing!
Jazz
PiZZARELLIS
Father and son genius duo John and Bucky style studies
THE WHO
Their 60s R&B style
STEPPENWOLF
American bad-boy rockers
rockabilly party piece!
GEORGE HARRISON
t y Ax e YLearnakthiseincredible piece
JIMMIE VAUGHAN
CHET ATKINS by a fingerpicking legend
His sensitive acoustic playing Genuine Texas blues legend
ISSUE 245 JULY 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.
paul bielatowicz
One of our greatest rock guitarists, Paul plays with prog legends Carl Palmer and Neal Morse, and is a most welcome regular contributor to GT.
jon bishop
Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease!
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.
the
finest
guitar tuition you can buy !
Welcome DO PEOPLE STILL get together and jam? When I was in my early 20s my best mate and I, who were of a very similar standard as guitarists - used to sit in his living room and jam for hours. He had a Gibson SG and I had a red ES-335. We both went through his 1963 Vox AC30 at flat-out volume and had a whale of a time. We learnt loads from each other and got better naturally, simply through playing for hours. His sister went out with a brilliant saxophone player and he would often join in; or he would play flute and I’d mess around with chords. Again, learning so much. Of course jamming had originally been a jazz thing, where in the clubs the standard repertoire would be elongated with solos from all the participants. I’m not sure if the same was true of the Chicago blues clubs, but I get the feeling that was more about the singer or band leader (Muddy, Wolf etc) and soloists had their set spot in the song. In rock, jamming started simultaneously on each side of the Atlantic. Here it was Cream who, as legend will tell us, had so few original numbers that they simply turned blues tunes into huge jams. Of course they had the instrumentalists
to carry it off and their audiences loved it. On the other side of the pond it was bands like The Allman Brothers and Grateful Dead. But while Cream’s jamming came about through necessity, these guys just loved to play, and their whole point was to keep the music spontaneous. What’s more, the jamming scene has never really stopped over there (witness The Black Crowes, Blues Traveller etc), whereas in Britain we tend to like things more succinct - the three-minute pop song format of punk, indie, new wave, Britrock and so on. So perhaps it’s time to get jamming back on the agenda. Why don’t you make it a plan to get together with a mate, or a few mates, lose your inhibitions and jam over a few simple ideas - who knows, you might form a band, or write a few songs. To help you on your way our resident prof, Milton Mermikides has written a fascinating piece on the US jam bands, with a load of stylistically accurate examples to get you started. So have fun, and keep jamming!
Neville Marten, Editor
[email protected]
Don’t miss our amazing digital edition Guitar Techniques’ digital edition is now even better!
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.
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.
john wheatcroft
A phenomenal guitarist, John is a master at all styles but a legend in Gypsy Jazz. His new album Ensemble Futur is out now on iTunes and Amazon.
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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).
July 2015 GuitarTechniques 3
• C ON T E N T S • J U LY 201 5 •
Learning Zone Lessons Introduction
51
30-minute lickbag
52
Music editor Jason Sidwell introduces another feature-filled lessons section. BIMM’s Pat Heath has six new licks to play at easy, intermediate and advanced levels.
blues
54
rock
58
CREATIVE ROck
70
chopS shop
74
British R&B
76
jazz
82
Acoustic
88
music reading
92
Les Davidson looks at the Fabulous Thunderbird that is Jimmie Vaughan. Martin Cooper highlights the essential 60s psychedelic rock style of Steppenwolf. Shaun Baxter continues to explore his stringpair cells and so should you!
Andy Saphir presents the second in his series of chops-building arpeggio exercises. Phil Capone on the hugely influential style of Pete Townshend and The Who.
Jazzers Bucky and John Pizzarreli were seven stringers long before Nu Metal jumped on the bandwagon, says John Wheatcroft.
COVER FEATURE jam the blues!
Stuart Ryan on the acoustic style of the quiet but very significant Beatle, George Harrison.
16
50 Years Of The Jam Band! We trace the evolution of Jam Bands, from the pioneering Grateful Dead to Phish and Ozric Tentacles.
FEATURES
Welcome 3
Nev is jamming until the break of dawn!
26
Jon Bishop waxes lyrical about the country guitar version of that irresistible tune used in Benny Hill’s famous TV show.
SPECIAL feature #2 7th ARPEGGIO SWEEP PICKING Sweep those arps! 34 Paul Bielatowicz presents the ultimate sweep picking bootcamp with a selection of exercises and pieces using extended arpeggios.
talkback
7
Theory Godmother
8
More of your insights and opinions.
Carl VERHEYEN Part 6
62
Carl delivers yet another jaw-dropping first-take solo over a track he’s never before heard!
Reached a dead end with your music theory? Let Dave Mead drive you out of the cul de sac!
Intro
10
Subscriptions
68
back issues
83
News and regulars, plus Phil’s One-Minute Lick, That Was The Year, Hot For Teacher and more. Save time and money – get GT delivered! Missed one? See how you can get it – here!
Albums
transcriptIon #2 SAINT-SAËNS Aquarium
VIDEO MASTERCLASS
REGULAR FEATURES
transcriptIon #1 CHET ATKINS Yakety Axe
Charlie Griffiths continues his series with a look at tempos and tempo changes.
97
New guitar CDs and DVDs reviewed and rated by our very own Roger Newell.
44
Bridget Mermikides arranges and transcribes a famous piece by a much respected French composer for classical guitar.
Next Month
98
Join us as we explore the genius of Pink Floyd’s David Gilmour and learn how to create a jazz solo. Plus, don’t miss our new Hard Rock series, plus Mr Big, Grand Funk Railroad and more!
Spring 2015 GuitarTechniques 5
Post: Guitar Techniques, Future Publishing, Ivo Peters Way, Bath, BA2 3QS. Email:
[email protected] using the header ‘Talkback’. ABOUT TIME
JOHN HORSLEY / PHOTOSHOT
I’ve just had a major guitar breakthrough which has really inspired me. I wanted to share this as I believe other guitarists may be in a similar spot. I’ve been playing for about 11 years and my progress has gone along the lines of: learn some chords, learn the minor Pentatonic, discover tab, learn my favourite songs, start improvising, play in some bands. Getting my fingers to do the right thing was happening but I was stale. Then I recently started learning saxophone with a really good teacher. He forced me to learn and clap out basic rhythms and I was shocked to find that I was rushing at slower tempos. After discovering this I started to focus heavily on my timing. I started scouring through my previous issues of GT and actually learning things properly. I wasn’t satisfied with getting the notes right, they had to be smack bang on time. Exercises like Chops Shop which I previously found boring because I knew the note patterns, I find fun nailing with a metronome (another tool I never thought I needed). I can now change between triplets, 16ths, 16th-note triplets (twiddly-dee) within the same lick where previously I would stumble. I’ve been really focusing on my active listening, and now instead of saying, ‘how do they that?’ I say, ‘I can do that’. I know you guys iterate these things but when you hear from someone average that it worked as well, I think it adds some weight. Dan K That’s a great letter, Dan. We guitarists have that double-edged sword of the instrument being relatively easy to get by on when learning lead, so much so that we sometimes feel we don’t need ‘proper’ tuition; and the fact that a few years down the line we realise we’ve been doing it all wrong and have to begin again. Or perhaps, as in your case, focusing on one particular aspect to the detriment of others. You’ll notice in GT how often we mention timing – and guitarists’ common tendency to rush ahead. So perhaps this could be a salutary lesson to us all!
hoping, that you would be able to cover the style of The Stranglers’ original guitarist Hugh Cornwell? His playing on the first five albums especially is a joy to behold: quirky runs, unusual phrasings and a ‘Tele plugged straight into the amp’ attitude. His work on The Raven album is particularly intriguing. I know that Hugh is sometimes overlooked as a guitarist but his innovation is remarkable and his style is truly unique. I often point students who are looking for an escape from chord based rhythm playing in Hugh’s direction, as he often incorporates interesting licks and runs into his playing. Any chance of covering this unique player in the (near) future? His playing really is ‘Just Like Nothing On Earth’! Jonny Wheeler. Yes you are right, Jonny. I used to love Hugh’s quirky playing in The Stranglers – in fact I wonder if Graham Coxon didn’t get a few ideas from him too, as he also adds neat licks and fills into his rhythm work. I’ll have a chat with Jason and see if we can’t insinuate a Hugh Cornwell lesson into Martin Cooper’s ‘rock’ series in the near future.
MARSHALL MYSTIQUE In regards to the subject ‘A decent lead tone’ from Roderick Dav, you explain that you’re using a Marshall JCM900. I have two of these and have used them as my workhorse heads for years. The Dual Reverb head’s preamp section is modelled on a distortion/overdrive type circuit. Have you ever stacked distortion pedals? It doesn’t always work that well, and in my experience with the Dual Reverb head, distortion pedals are a waste
HUGH AND I? As a guitar teacher GT is a wonderful source of ideas and inspiration. I was wondering, nay
Hugh Cornwell: neat licks and pure Tele tone
Marshall JCM900: try no distortion pedals but whack up the volume!
of time, as are most digital effects units. But the amps love input volume. I’ve used 9-band BOSS Graphic EQs with very satisfactory results for my whole career. Best money spent for tone or signal boost, and this is the one pedal I couldn’t go without. One of these in front of a JCM900 Dual Reverb is as good as a four-channel amp with massive gain headroom. I have a 900 SL-X and an 800 Lead series too which are more similar in the preamp, bar another valve; and, as most Marshall fans would know, 800s go very well with distortion pedals. Different cabs make a difference to the way they cut through as well. You can usually tell when a guitarist spends too much time playing on their own because they EQ a fraction too mild for a live situation. My sound tech buddies always stress to EQ bright, to allow for what an audience will soak up. I find the 300-watt cabs cut a little better than the 280, and as far as the reverb part of the 900 head, try leaving the reverb off and fiddling with your tone curve. I find the reverb adds a few jagged edges overall and that a bit of analogue
delay fills in what’s needed a little nicer - I think it makes it nicer to EQ too since their bands are reasonably narrow, another bonus of having a floor EQ unit. Neville, you’re spot on with the gain/crunch side of things too; record yourself playing in the band and listen back to how much drive you have and what you think you need obviously metal is a high-gain scenario so that’s a little different, but the higher the gain the less presence in the tone. And if all else fails, just turn it up - those amps only start coming alive around 5! I hope that gives you some things to think about. Craig Somers That’s a really interesting response, Craig. I’m sure it will be of great help. Weirdly, I found myself in the position of having to use a JCM900 just a couple of weeks ago. Not having used one for years I too quickly noticed that my OCD or Red Jasper pedals were better out of the equation than in. Also, that cranking the master doesn’t necessarily take the roof off the place, but simply makes the amp sound like it was meant to do. I’m sure Roderick will now go away and get tweaking!
July 2015 GuitarTechniques 7
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E E B B G G D D A A E E
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Dizzy Fingers
Dear Theory Godmother I’m currently working on scales using the CAGED system and I’ve hit a bit of a problem. Most of the scale patterns are fairly straightforward but when you get to the G shape there seems to be two ways of fingering it and each is a little problematic. The trouble comes when moving from string four to three; you can either play three notes on the third string or three on the fourth and I’m not sure which is better. Both are tricky, but I don’t want to programme one into my fingers only to find that the other is considered more practical. Can you help? John I’ve outlined the two fingerings you describe in Exs 1 and 2, John. I have to agree that neither falls under the fingers easily, but both have their merits. If we look at Ex 1, I have found that this fingering represents something of a stretch for some students, particularly if they are relatively new to playing. In my example, the fourth finger would play the B at the 9th fret which means the ‘one finger per fret’ fingering system is breached as this finger is expected to reach out of position at this point. In Ex 2, the first finger plays both the B and C in a sliding motion on the third string. But there is a third way around the problem where you merely move the hand out of position and play the B, C and D with the first, second and fourth fingers respectively (Ex 3). I favour Ex 2 as the most practical situation and this is the one I have taught many pupils in the past. It might be a good idea to focus your efforts here while getting the CAGED scales under your fingers and in your head. But it would also be good to bear the other two alternatives in mind for the future. Revisit this scale shape from time to time as you progress and test out the other two fingerings as I’m sure that each will begin to feel easier as your overall experience on the guitar grows. Having all the variations available to you has to be a good thing, after all.
Key To Blues
Dear Theory Godmother I’ve been playing blues for a while now, but one tune has got me stumped. Normally, a blues will go from the I chord to the IV and I can usually make a pretty good job of
8 GuitarTechniques July 2015
EXAMPLES 1-6 GUITAR TECHNIQUES MAGAZINE
245 GUITAR TECHNIQUES MAGAZINE 2 4 5 GUITAR TECHNIQUES MAGAZINE 2 4 5
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## # # change, œ œ œœ œœBigœœ Bill œ nœ #œ #the navigating & # # 444 œ œœbut & œ œ œœ n œ # œ & Key Broonzy’s To The Highway goes Shuffle Rhythm Shuffle straight Rhythm from the I chord to the V in Shuffle Rhythm E the second bar and I can’t seem to get E B E B G 9 I guess 9 I’ve got7 8 it to sound right at all. B G D 9 11 9 9 11 9 7 8 G D 9 11 9 9 11 9 7 8 A a bit stuck into the I-IV-V D A 11 9blues 11format 9 E A E E with my playing - have you any tips on howEx to5 approach this type of thing? Ex 5 E7 B7 Ex 5 Rory E7 B7 œ œœ nn œœ œ
that’s looking for Pentatonic shapes that the notes fall into, and just listen to the sound that this simple idea is 9 8 7 9 8 7 Another way of ramming 9producing. 8 7 this concept home would be to play something like the two arpeggio-based licksœ in Ex 5 a few times to get the E 7 B7 ## # ## # 4 nn œœ ## œœ œœ œ n œ œœ nn œœ ## œœ n œ # œsound œœ œœ œœœ œœofn œthe # n œ # œ n œ # œ n œ # œ œ œ nn œœ ### œœœ change locked in your # # # 44 & & I know exactly you should be able & # #what 4 you mean, Rory. n œ # œhead. Eventually, In a more straightforward 12-bar we to engage autopilot and come up with meetEthis chord change in bars 8 and your own more creative ways of soloing 12 7 12 12 15 with 12 7 7 10 7 9 andBEGBE so we should be familiar it. 7 8over these changes. But these exercises 12 12 15 12 12 13 7 7 10 7 7 8 12 13 B G 15 12 12 13 10 7 7 8 12 13 12 7 8 7 D But when it crops up12unexpectedly help you get there. G 13 12 in 13 7 8should definitely 7 8 D A D A bar 2 EEAEit can often throw a medium sized Signing Off spanner in the works. The way to get Dear Theory Godmother around it is to focus on the chord tones Lately I’ve been attempting to learn that outline the chord change. If we how to read music and I’m getting on were playing this tune in E we would okay. But I have read that you don’t need to hit one of the notes contained ever see a mixture of sharps and flats in the B7 chord in the second bar and in a key signature and yet on one the best choice - for now, in any case piece of music I’m studying there’s would be B7’s 3rd, D#. In order to really a key signature in the middle of the accentuate the fact that we’ve moved piece that is a combination of natural to the B7 it might be a good idea to signs and sharps. What is this? play the 5th and 7th as well, as I have Lance done in Ex 4. This represents a very
You sent me a copy of the key signature you mean and I have reproduced it in Ex 6 with all the notes removed so that we don’t outrage the original copyright holders. What you’re looking at is known as a courtesy key signature and these occur when the key of a piece of music changes mid way along its course. In the example, we’re changing from E major to D major which means that the notes G and D will no longer be sharp after this bar. So, to point this out to the reader, the courtesy key signature effectively cancels these two sharp notes by inserting a couple of naturals on the staff instead. The F# and C# remain unchanged and this is pointed out by their continuing presence in the key signature. A major difference between standard and courtesy key signatures is that the latter will often be found at the end of a line as a sort of cautionary road sign that a change of key is about to happen, whereas the standard form will be found at the beginning of each line. It’s just another example of the exception proving the rule, but I hope it’s now clear.
• Gu i ta r T e ch n iqu e s • J U LY 201 5 •
Blues Legend: BB in full flight with one of many Lucilles
Young BB: a musician and DJ at WDIA, Tennessee
10 GuitarTechniques July 2015
LIVEPIX
BB performed almost until his death at 89
Corrieras / Dalle / PHOTOSHOT
MICHAEL OCHS ARCHIVE / GETTY IMAGES
Once I’d heard T-Bone, I knew I had to have an electric guitar myself
Jam tracks tips Use these tips to navigate our bonus backing tracks. 1. Motown Blues (G) A standard I-IV-V blues progression in the key of G. Try mixing G minor Pentatonic (G-Bb-C-D-F) and G major Pentatonic (G-A-B-D-E) and adding in some G Mixolydian (G-A-B-C-D-E-F) as well. I also recommend trying outlining the 7ths arpeggios - G7 (G-B-D-F), C7 (C-E-G-Bb) and D7 (D-F#-A-C).
2. Blues Shuffle (A) Here’s a head-bopping shuffle in A, perfect for trying out your favourite Clapton licks. Try mixing A minor Pentatonic (A-C-D-E-G) and A major Pentatonic (A B C# E F#). You can also outline the arpeggios A7 (A-C#-E-G), D7 (D-F#-A-C) and E7 (E-G#-B-D) to bring out more colour along the way!
BB King: the greatest bluesman of them all?
3. 2-5-1 Jazz Jam (Bbm)
Luciano Viti / PHOTOSHOT
BB King 1925-2015 Tributes have been pouring in for the blues legend BB King, who sadly passed away on May 14. BB had cancelled the last eight shows of his world tour last year because of health problems and went home to recuperate. Unfortunately he never fully recovered and had recently announced on his web site that he was receiving hospice care at his home in Las Vegas, Nevada. BB was born in Itta Bena, Mississippi on September 16, 1925. He started playing an acoustic guitar at around age 12, and by his late teens he was performing in Mississippi. By the late 1940s he had moved to Memphis, Tennessee and worked at a local radio station WDIA as a singer and DJ under the name Beale Street Blues Boy (shortened to BB). He heard T-Bone Walker there, which was a turning point in his career: “Once I’d heard T-Bone, I knew I had to have an electric guitar myself!” The rest is history: BB’s soulful voice, allied to his fluid string bending and distinctive vibrato on his Gibson ES-355 (“Lucille”), became one of
the most recognisable sounds in blues, inspiring countless other blues and rock musicians including Buddy Guy, Eric Clapton, Jimi Hendrix, Jimmy Page, Duane Allman, Robert Cray and Robben Ford. Eric Clapton said on his Facebook page: “I just want to express my sadness and to say thank you to my dear friend BB King. I want to thank him for all the inspiration and encouragement he gave me as a player over the years and for the friendship that we enjoyed. This music is almost a thing of the past now and there are not many that play it in the pure way that BB did. He was a beacon for all of us who
The way BB did it is the way we all do it now. He was my best friend and father to us all. Buddy Guy
loved this kind of music and I thank him from the bottom of my heart. If you’re not familiar with his work then I would encourage you to go out and find an album called BB King, Live At The Regal, which is where it all really started for me as a young player”. Fellow bluesman Buddy Guy said on Instagram: “BB King was the greatest guy I ever met. The tone he got out of that guitar, the way he shook his left wrist, the way he squeezed the strings… Man, it was all new to the guitar playing world. He could play so smooth, he didn’t have to put on a show. The way BB did it is the way we all do it now. He was my best friend and father to us all”. There have been many eulogies on Twitter. Lenny Kravitz said, “BB, anyone could play a thousand notes and never say what you said in one”, while Bon Jovi’s Richie Sambora added, “I’m so so sad… he was so great to me. We’ve lost the King. My love and prayers to his family”. Watch out for some special features on BB King in forthcoming issues of GT!
This one is perhaps a little more challenging, mainly because it’s in Bb minor. The actual progression is standard jazz harmony – Cm7b5 (the II chord) – F7 (the V chord) – Bbm (the I chord). Bear in mind that the basic chords contain additional extensions on the track, as is common in jazz of course. Use Bb Minor scale (Bb-C-Db-EbF-Gb-Ab) for the Cm7b5 and Bbm chords and change just one note (Ab becomes A)) for the F7 chord – thus making it a Bb Harmonic minor scale (Bb-C-Db-Eb-F-Gb-A).
4. Funk Workout (E) This track is specifically designed to enable you to practise your 16th-note funk strumming technique. I’ve kept it relatively slow (80 bpm) and the harmony extremely simple, leaving out any 3rds, which means you can practise minor chords, major chords and dominant chords, etc. Remember to keep your wrist nice and loose, preferably maintaining a constant 16th-note-based up and down movement, even when not actually hitting your chosen chord. Enjoy and see you next month! Jam tracks by Quist. For free scale maps and hundreds more tracks, visit www.quistorama.com.
July 2015 GuitarTechniques 11
Mitch Dalton’s
This month our hero is applauded, takes a well-earned bow, signs autographs for gorgeous Danish girls, goes home and... well... we’ll let him tell you.
EMILE HOLBA
D is for “Dog And Day”
jacket. And there is nowhere to park. I do what I usually do under these circumstances. I beg. After lengthy deliberations involving video conference calls with The Kremlin and The White House, we reach an historic agreement. The nice man at the stage door secretes me in the unused disabled section of the car park. Result. I set up as directed at the front of stage and am ready to fraudulently impersonate Guitar Gods Of Yesteryear with a cosy two minutes to spare. We are using in-ear monitoring for the first time and I have brought along a small amp with that purpose solely in mind. It’s a ZT Lunchbox. And when I say “lunchbox” I may be stretching the point. You might just get Kate Moss’s celery into something of that size but that’s about it. But with a DI out from the rear of this little baby into the house system it sounds epic during our line check. £275
There comes the odd occasion when the working session musician (an increasingly endangered species - but now is not the time) finds himself removed from the comfort zone of his anonymity and is thrust blinking and uncertainly into, quite literally, the spotlight. And last month that occurrence involved a pilgrimage to The Royal Albert Hall for the jamboree formerly known as ‘Symphonic Rock’. My colleagues in the rhythm section joined forces with The RPO, Metro Voices and presenter Ken Bruce for our annual thrash through a compilation of Rock classics, lightly killed and served on a fluffy pastry base. It begins as it usually does. I arrive for a 2.00pm rehearsal with four guitars, amplifier, pedal board, stands and accessories plus the mandatory white dinner
(including carrying bag) well spent. Is this the future? I dunno but I wish I owned shares. And so we begin our four-hour rehearsal under the energetic baton of conductor David Firman. We whizz through the material. One shot at the lot. Every single note is written out. It has to be that way, for obvious reasons. And that includes the guitar solos, which in the interests of both personal musical integrity plus a reluctance to sight read my way through a firestorm of semiquavers, I use as a style guide only. True to his word, Maestro Firmanowitz concludes proceedings with ten vital minutes to spare. The curry at Little India is go. My rhythm section chums and I return replete with sufficient time to slip into something more uncomfortable and... On we go! The hall erupts as the sell-out crowd flag up their enthusiasm for what is to come. And we’re away. Fanfare For The Common Man (a la ELP) kick starts proceedings and we slalom our way through Layla, Classical Gas, Bat Out Of Hell and a smorgasbord of symphonic super anthems. Meanwhile, my personal objective is merely to grab the correct axe in time for the next item, prepare the appropriate sound and stagger into the next intro without mishap. It seems to go relatively well. And then a strange thing happens. We get to A Whiter Shade Of Pale. It’s an excellent arrangement in which the melody is passed around the orchestra. Halfway through, it’s my turn. I
decide unilaterally that the audience is ready for a less literal interpretation of said tune and I go for it. My old PRS sounds lovely through this Lunchbox, if I say so myself. And. Bloody Hell. The audience applaud my solo. Mr Firman makes me take a bow at the end of the tune. This is odd. But not unpleasant. We conclude the first half with a Beatles medley which seems to drive our clientele into near hysteria. And so the merry evening wears on. We continue with Livin’ On A Prayer and motor on through Bohemian Rhapsody, Addicted To Love and others too loud to mention. We conclude proceedings with Stairway To Heaven which opens with ‘that’ acoustic guitar solo and ends with me flailing my way skywards with the controls set to at least 10.5. The crowd go mental. Wot a larf. The lights go up. The crowd drift away. And. Hello? What’s this? A cluster of er, autograph hunters. Apparently, I have made their evening. And they all want a photo op. I like the two Danish ones in particular. They are blonde. And gorgeous. And as a bonus, they are female. I happily sign on the dotted line. I am offered an insight into how life on the road could be. Very easily. However, I pack up my gear. I go home. I turn the key in the lock. It snaps in half. I call the emergency locksmith. Two hours and £250 later I crawl into bed with mild frostbite. “Every Dog Has His Day.” But it is only a day, mind...
PHIL HILBORNE’S ONE-MINUTE LICK INTERVALLIC STRETCH LICK strings. This is one of the reasons that licks like this are worth This month we have a lick that is pretty challenging and will learning. This ‘note doubling’ results in a very distinctive and give you a nice workout in fretting-hand stretch technique, ear-grabbing sound. It might help you to ‘lock’ your fretting accuracy and alternate picking. Plus, it sounds pretty cool hand in a stretch-like manner and just target the first note of too! The entire lick uses notes drawn from the Am Pentatonic each -position Obviously, as you get higher up the neck scaleGUITAR with an added 9th (B): A-C-D-E-G-A-B. Notice TECHNIQUES MAGAZINE 245 ONE that MINUTE LICK by Philshift. Hilborne the stretches nearly all the intervals are 4ths – apart from theINTERVALIC very highestSTRETCH LICK become smaller and therefore easier – however, just as this happens the frets get a lot closer together and on part that uses major 3rds. You will also see that there are some guitars the limited access can be pretty tough too. often ‘doubled’ notes found on both the first and second Am9
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12 GuitarTechniques July 2015
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Pierre van der Walt
A minute’s all it takes to find out what makes a great guitarist tick. Before he jumped into his limo for the airport we grabbed a quick chat with brilliant South African blues man, Dan Patlansky GT: Do you have a type of pick that you can’t live without? DP: I like to play with the dark purple Dunlop gator grip .96mm because I really like the rougher slip-free texture. I also prefer to play with the rounder edge of the pick as opposed to the pointy bit. I find the tone is a bit thicker and I don’t get caught up in the strings when playing fast stuff. GT: If you had to give up all your pedals but three, what would they be? DP: The first pedal I would keep is the Xotic EP Boost because it does something very special to my overall sound that I can’t really explain. The best all-round tone shaper I have ever used. Pedal two would be MI Audio Blues Pro V3 overdrive; it’s one of the most open sounding drive pedals I have ever played with. Third pedal is from a boutique pedal builder in South Africa called GraigAmps. The pedal is called a Shoe Soul which is a boost/buffer type of thing that opens my tone up amazingly. GT: If a music chart were put in front of you, could you read it? DP: If it was in its most basic form – eg a chord chart - but if there’s dots I’m afraid I wouldn’t even know where to begin. When I see a page full of black dots the blood normally drains from my head and a cold sweat follows swiftly. GT: Do guitar cables really make a difference? What make are yours? DP: I believe guitar cables make a massive difference in preserving tonal qualities. I never believed this until I switched to a higher quality cable and heard the difference for myself. I immediately found that the better cable seemed to let through a whole bunch of frequencies that I wasn’t hearing before. Monster Cables do the trick for me. GT: Is there anyone’s playing (past or present) that you’re slightly jealous of? DP: Yes almost too many to mention, but the first guy that comes to mind is Philip Sayce. Everything about Philip’s playing pushes my buttons. In my opinion he has the coolest Strat tone I think I have ever heard and his style is
Dan Patlansky: contemporary blues man
exactly what I want to hear when I listen to a guitarist do his thing. GT: Your house/studio is burning down: which guitar do you salvage? DP: That’s an easy one. It would without a doubt be my 1962 Strat not because of its value money-wise, but because it’s one of those guitars that’s been with me for the last 14 years of touring. The guitar feels more like a family member to me than just another instrument. I’ve got a deep connection with that old gal. GT: What’s your favourite amp and how do you set it? DP: My all-time favourite is my Dr Z EZG-50 head which is basically a tweaked Super Reverb. My starting default settings are: Pre, 1 o’clock; Post, 10 o’clock; Treble, 1 o’clock;
Mids, 1 o’clock; Bass, 10 o’clock. Depending on the room those settings will get tweaked slightly. GT: What strings do you use? DP: I use Ernie Ball but put together a custom set for myself: 12-15-18-2838-52. Because I tune down a semi-tone it makes the set feel like 11s. All my favourite guitar players to listen to for the most part used heavier gauged strings and that’s always the tone I’m after. GT: Who was your first influence to play the guitar? DP: The first guy that really made me want to get behind the guitar was Stevie Ray Vaughan. I was given Live At The El Mocambo album at age of 15 to watch, and that pretty much changed everything for me.
GT: What was the first guitar you really lusted after? DP: When I started playing I had a cheap and nasty guitar. So my dream was to own a rosewood fretboard Fender Strat. And 20 years later my taste in guitars hasn’t changed much. GT: What was the best gig you ever performed? DP: Opening for Bruce Springsteen in Feb 2014, at the FNB Stadium Johannesburg, in front of 68 000 people. We had Bruce Springsteen and Tom Morello watching our set from the wings. No pressure!!! GT: What’s the most important musical lesson you ever learnt? DP: Don’t try and play everything you know in the first five seconds of your solo. Just because you can play something, doesn’t mean you always should. GT: Who’s the greatest guitarist that’s ever lived? DP: Jimi Hendrix because he changed the way people think about guitar playing, he changed the way people think about the blues and is still one of the most relevant guitar players today. GT: Is there a solo you really wish you had played? DP: Jeff Beck’s version of The Beatle’s A Day In The Life - possibly the most expressive piece of guitar work I’ve ever heard. GT: What’s the solo/song of your own that you’re most proud of? DP: Solo, Big Things Going Down off my Move My Soul album. I’m a sucker for slow minor blues. Song: Hold On, from my new album Dear Silence Thieves. GT: What would you most like to be remembered for? I would like to be remembered for hopefully making a unique brand of heavily guitar driven blues-rock with quality songs that people will enjoy for decades to come. Dan Patlansky is special guest on Joe Satriani’s Shockwave UK tour which kicks off at the Manchester 02 Apollo on November 1st. His new album, Dear Silence Thieves, album was voted #1 on Blues Rock Review’s Top 20 Blues Albums in December 2014. Further info: http:// danpatlansky.com.
July 2015 GuitarTechniques 13
1978
Pistols, Sabres, Liquidations & Cullings MUSIC MAN RELEASES THE SABRE I AND II guitars and the much anticipated twin pickup Sabre bass. The guitars were basically an upgrade of their original Stingray. The models look identical but the Sabre I has a fret board radius of 12” and on the Sabre II it’s 7.25. Most models are finished in Sunburst or natural and although the bass features two humbuckers they are smaller units than on the Stingray Bass. SEVERE BLIZZARDS HIT the south west during February; four piers are ruined at Skegness, Herne Bay, Hunstanton and Margate due to a North Sea storm surge; the first official naturist beach opens in Covehurst Bay near Hastings; public outcry leads to a reduction of Grey seals being culled in Orkney and the Western Islands; and the first woman to sail single-handedly around the world is Naomi James.
New Satriani album and tour The legendary Joe Satriani recently announced plans to release his 15th solo studio album, Shockwave Supernova, on Friday 24th July. To promote the album, Joe will be touring with his band and special guest guitarist Dan Patlansky throughout November. The dates are as follows: 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). Catch them when they come to
SAN FRANCISCO PLAYS HOST to the Sex Pistols’ final gig in at the Winterland Ballroom and the Dead Kennedys’ first one at the Mabuhay Gardens; Saturday Night Fever and Grease dominate cinemas and the album charts; The Who play their final show with Keith Moon during a filmed performance for The Kids Are Alright movie as Keith dies just 20 days after the release of their eighth studio album, Who Are You; Gary Moore replaces Brian Robertson on guitar in Thin Lizzy and Michael Schenker leaves UFO to rejoin Scorpions. ORANGE AMPLIFICATION UPDATES the design of its range with a change of typeface, replacing the iconic basketweave grille with black material and a sleeker look generally for the Hustler and Series Two ranges of guitar and bass amplifiers. The Orange Hustler 125 Reverb Twin is a two-channel combo with a solid plywood carcass, two 12-inch HP speakers and 2 huge transformers! The Orange Shop is forced to close due to the redevelopment in New Compton Street.
14 GuitarTechniques July 2015
town! Visit www.satriani.com for further information about the album, all of Joe’s other albums, and tour updates.
Europe gets exclusive PRS Ace
FOLLOWING A STATEMENT by opposition leader Margaret Thatcher that many Britons fear being ‘swamped by people with a different culture’ opinion polls put the Conservatives eleven points ahead of the Labour government. The State Earnings-Related Pension Scheme is introduced, plans are announced for a new exam to replace O Levels and CSE’s unemployment reaches one and a half million while Inflation drops to 8.3%, the lowest level for six years. BBC RADIO 4 BROADCASTS Douglas Adams’ play The Hitchhiker’s Guide to the Galaxy; the Prince Edward Theatre in London stages Andrew Lloyd Webber’s musical Evita; Milton Keynes sees the arrival of their iconic Concrete Cows; Motability is founded to provide cars for disabled people; strikes lead to the closure of 23 Ford car plants; a baker’s strike leads to panic bread buying so bakeries impose rationing; and Norton Villiers Triumph motorcycle manufacturer is liquidated
Joe Satriani: more than just a shredder!
Ace of Skunk Anansie with PRS SE Ace
PRS Guitars Europe has announced the launch of a new, limited edition SE Signature model, available exclusively this side of the Atlantic. Created in conjunction with guitarist Ace from multi-platinum Brit-rockers
Skunk Anansie, the SE Ace Signature (£749/€1079) is based on the customised Singlecut guitars he’s played for 15 years. “I worked closely with PRS to get the specs as close as possible to my original, says an excited Ace, “so players could experience a true signature model and feel what I feel when I play. I am totally blown away by my new SE Ace signature. Not only does it look like my favourite PRS, it plays just like it too. When I first plugged it in, I couldn’t believe the quality of the tone and the playability - the sound coming out of the amp was awesome. Since I started the Ace Guitar Academy I’ve wanted a guitar that is affordable for younger players, but one that is a proper instrument that can be toured and used in the studio – I will definitely be using it for both” Visit www.prsguitars.com for further information.
HOT FOR TEACHER your RGT TUTOR Name: Chris Jones Town: Sunderland Styles: Jazz, funk, fock/pop, acoustic, Classical Speciality: Teaching children, acoustic guitar and music theory Qualification: Diploma in Guitar Levels: All levels, RGT grades if desired to Diploma level (classical to Grade 5) Sight-reading: Beginner to advanced Charges: £25 per hour Special: Basic set-up service tel: 07910 596218 Email:
[email protected]
Stephen Fourie
That Was The Year...
play: JAMMING
ON THE CD
track 4-14
50 Years of Jam Bands! Do you fancy stretching out in the styles of the classic jam bands like the Grateful Dead and Phish? Well, Milton Mermikides has put together the definitive jam band tutorial masterclass, just for you!
ABILITY RATING
Moderate/Advanced Info
Will improve your
Key: Various Tempo: Various CD: TRACKS 4-14
Improvisational approach Musical diversity Knowledge of the genre
Most audiences at your average rock gig expect to hear a live performance that’s faithful to the recorded version they know and love. There may be differences - the phrasing of a melody might change, and a guitar solo may use the recorded version as a reference point to a lengthier excursion. But in essence, the audience is hoping to enjoy the spectacle of the band recreating the music they know. In fact, “It sounds just like the record!” is intended as a compliment rather than a criticism. However, there’s a type of band that rejected this model of live performance. These so-called ‘jam bands’ depart from a ‘script’ and embark on improvisations. Improvisation is essential in jazz, but the jam band extends the jazz concept beyond soloing over a prepared structure, into a freer ethos, with more open explorations. The attraction for the audience is that they will be the first to ever hear it. Open improvisations are not unknown in ‘normal’ bands; Jimi Hendrix’s Band of Gypsys, Zappa’s Mothers of Inventions, Pink Floyd and Muse all depart from a script when playing live; however this does not significantly characterise their art. A ‘jam-band’ on the other hand, holds improvisation as a defining feature. Any brief overview of jam-bands will be incomplete. It is a convoluted history of shared members, ill-defined boundaries, forming and reforming, side-projects and hiatuse. But few disagree with the description of the Grateful Dead (with Jerry Garcia and Bob Weir) as the godfather of the jam bands; with a career that spanned 30 years (1965-1995), they amassed a deeply committed fanbase ‘(Deadheads’) who flocked to see their legendary live shows. The ‘Dead’ had a wide mix of styles and so open the doors to a number of stylistic strands of jam bands. 1969 saw the formation of the Allman Brothers Band (with Duane Allman and
Dickey Betts), famed for their Southern rock style of extended blues-based jams. Also in that year, slide player (and Zappa sideman) Lowell George became a founding member of Little Feat, an eclectic blend of styles centered around lengthy blues improvisations. This blues-based jam style characterises groups over the decades running to the present day, including Blues Traveler (formed in 1987 with guitarists John Popper and Chan Kinchla), The Black Crowes (formed in 1989 with guitarist Rich Robertson), and Gov’t Mule (founded in 1994 by Allmans guitarist and bassist Warren Haynes and Allen Woody). And although he rejects the label, the Derek Trucks Band is often described as a jam band within the broad Allman Brothers strand. Parallel to this The Grateful Dead might also
Improvisation is vital in jazz, but the jam band extends the jazz concept beyond soloing over a prepared structure. be seen as spawning the more psychedelic space-rock flavour of jam-band, such as The Ozric Tentacles (formed in 1983 with guitarist Ed Wynne), and the bluegrass-flavoured Bela Fleck and The Flecktones, as well as the ‘trance-fusion’ style of the Disco Biscuits. Most notably, bassist Les Claypool (of Primus fame) has become an honorary member of the jam-band community with projects informed by musical features of P-funk and Parliament including slap-bass, funk grooves and use of envelope filter effect, as well as a no-holdsbarred eclectic Zappa aesthetic. These include Colonel Les Claypool’s Fearless Flying Frog Brigade (with Primus guitarist Todd Huth) and Colonel Claypool’s Bucket of Bernie Brains. The latter project features the extraordinary guitarist Buckethead (the KFC-bucket crowned and emotionless masked alter ego of Brian Carrol). Buckethead’s robotic and virtuosic live performances are staggering and entertaining in equal measure, as he is is able to extemporise endlessly in keeping with the jam band ethic. Another key name is Jimmy Herring, a phenomenal guitarist with a broad stylistic
range and commitment to the jam-band heritage. He’s played with the Allman Brothers and Derek Trucks, the jazz Grateful Dead cover band Jazz Is Dead as well as the experimental Widespread Panic and Aquarium Recue Unit. In addition there is a more rock/pop (and commercially accessible) lineage to the jam-band genre such as the 1991-formed Dave Matthews Band (Dave being the singer, songwriter and guitarist), and in the very loosely defined alt-pop vein, the supremely popular Phish. Headed by guitarist Trey Anastasio, Phish have had over 20 years of success and their extended live improvisations are reported as transcendent experiences by their devoted fans (aka ‘Phish-heads’). Anastasio is also joining the surviving members of the Grateful Dead in their 2015 50-year anniversary and farewell tour, which somehow closes a complex circle; and there’s even a series of annual awards recognising jam-band excellence, and known as the Jammys. In addition, Ben and Jerry’s have two ice-cream flavours devoted to jam bands Cherry Garcia and Phish Food. This article will include snippets of a selection of jam band styles and will offer you a portal into the mind-expanding world of this unique and interesting genre, hopefully allowing you to adopt similar open and experimental concepts in your own playing.
Get The Tone 2
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We are covering such a range of artists here, many of whom have a wide variety of sounds at their disposal, so it’s hard to be definitive about tone. However, the classic guitars (Fender, Gibson) through classic amps (Fender, Marshall etc.) are in evidence throughout, and in general effects are distortion, wah, delay, volume pedal, tremolo and, in the post-funk styles, envelope filters. The key here is that players have a control over their sound (through both technology and technique) so they can respond to the evolving jam context.
TRACK RECORD Here are some classic jam band recordings: Live Dead Grateful Dead (Warner), Live Phish, Vol 10 Phish 1994 (Elektra), Allman Brothers Band, Live At The Fillmore (Island Def Jam), Little Feat Live in Holland 1976 (Vara), The Black Crowes Live (TSM), Derek Truck Band Roadsongs (Sony), Ozric Tentacles Live Underslunky (Snapper) and Live At Folsom Field - Dave Matthews Band (BMG).
16 GuitarTechniques July 2015
50 Years of Jam Bands!
Derek Trucks: slide jammer supreme
FRANK WHITE LIVEPIX JEFF MOORE / PHOTOSHOT
Jimmy Herring has played with many of the top jam bands
Jerry Garcia and The Grateful Dead: architects of the jam band genre
Phish’s guitarist Trey Anastasio
July 2015 GuitarTechniques 17
play: JAMMING
ON THE CD
track 4-14
GUITAR 2 Examples FIVE DECADES OF JAM BANDS GUITAR TECHNIQUES TECHNIQUES 24 45 5
TRACK 5
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# ©»•º ©»•º ## 44 22 œœ# ⋲# œœ œœ ⋲ œœœ œœœ œœ œœ# ⋲ œœ œœ œœ œœ # œœ# ⋲ œœ œœ ⋲ œœœ œœœ œœœ . œœ E(Dorian) œ Gœœ œœPart # . EJam m (Dorian) F #m EDorian m mœ Rhythm FEœ Ex 2 1960s/70s Band: Grateful Dead . # œœœ œœ Rhythm œœ œœPartœm F⋲ œœ EœœmE m⋲ Gœ œ Eœœm Fœœ m⋲ Eœœœm E mœœ œœG œœ #FœœmA⋲ œœ Eœœm ⋲ Gœ œ Aœ .. & 44 Jam Band: Grateful Dead. Dorian ©»•º ©»•º Ex 2 &1960s/70s 2 # ©»•º œœ œœ⋲ œœœ œœœ #FFœœ##mm ⋲œœ ⋲œœ EEœœmmœœ⋲ GGœœœ œœœœœEEœœmmœœ #FFœœ##œœ ⋲ ⋲ EEœœmm œœœœ ⋲ œœœœœ œœœœœ#FFœœ##mmœœœ⋲ ..œœ EEœœmm ⋲ GGœœœ œœœ AAœœœœ .. 4 4©»•º.. œœœ œœ2 œœœ œœœ # œœœ ⋲.. EEœœœmmœœœ (Dorian) (Dorian) 4 & # 44 œ œ2 œœ œ œœœ œœœ œœœ # œœœ ⋲œ œœœ œœœ œœ⋲ œœ œœœ œœœœ œœœœ ⋲ œœœ œœœœ œœœ œœœ # œœœ ⋲ œœœ œœœ ⋲ œœ œœ œœ .. . # 2 . 4 2 & .. œœœ00000 œœ00000 œœ œœ00000 # œœ22222 ⋲ œœ22222 œœ00000 ⋲ œœ33334 œœ œœ00000 œœ22222 ⋲ œœœ00000 œœ00000 œœ œœ00000 # œœ22222 ⋲ œœ22222 œœ00000 ⋲ œœ33334 œœ œ55556 .. & 4 0 0 0 2 2 0 4 6 . 2 .. 022 0 0 2 2 0 4 0 2 2 2 2 . . 000 0002 000 222 . 2220000 000 0000 334 0000 2222000 222 2222 0000 000 3343000 0000000 2222 222 2220000 0000000 334 0000 2222 556 .2222 0000 3343 5565 . 2 .2 2 . 200 00 00 22 22 00 2 34 00 22 .22 00 34 56 . 0 0 0 2 0 0 0 2 3 3 5 . . Ex 3 1960s/70s Jam Band: Grateful Dead Line 2 2 .. Dorian 0 0 Lead 0 2 2 0 4 0 2 0 0 0 2 2 0 4 6 . Ex 3 1960s/70s Jam Band: Grateful Dead Dorian Lead Line œœ. 2 2 œ œ Em7 œ œ œ œ œ œ œ œ œ œ œ œ œ œ Em7 œ œ œ œ œ œ œ œ # œ œ # œ œ œ ©»•º œ œ œ œ œ œ œ # œ œ # œ œ œ œ ©»•º 3:#Grateful Dead style here’s œ And œ the Dorian œ œ mode within the context of a Jerry Garcia-style solo. Notice the lovely œœ Lead 22 Grateful 60s/70s Jam Example Band: Ex Grateful 3 1960s/70s Dorian Band: Lead Line Dorian Dead Dorian Line œ solo # quality 44DeadJam ‘meandering’ it allows, and how the⋲6thœand 9th provide ear-catching focal points that allow longer solosœ to œremain E m 7 E m 7 ⋲ & 4 œ œ œ œœ œ œ œ œ œ œ #œœ œœ œ œœ œ œ œ œ œ interesting. œ œ œ œœ 3 1960s/70s Jam Band: Grateful Dead Dorian LeadœLine œ œ œ & 4 # œ œ # œ œ # œ œ ©»•º 2Ex ©»•º œ œ œ œ œ œ œ œ Ex 3 1960s/70s Jam Band: # ©»•º m œ7 œ Lead œœLine# œ œ œ œ œ œœ œœ œœ œœ33 # œ œœ œœ œœ33 œ œœ œœ œœ33 œ œœ œœ œœ œ 4 4 ⋲ œ œ 2 Grateful Dead⋲EEDorian œ m7 œ 4 & # ©»•º 4 #œ œ œ œ œ #œ œ œ 2 # 44 22 ⋲⋲ œœ œ œ 3 3 3 3 3 3 14 15 17 & 12 15 14 12 14 12 17 17 15 14 17 17 15 14 17 17 15 14 17 14 15 17 & 4 17 15 14 17 17 15 3 14 17 17 15 3 14 17 12 12 15 14 12 14 12 14 17 3 14 14 12 3 3 3 2 2 14 14 15 17 14 15 17 12 15 14 12 14 12 1217 15 14 12 14 17 15 12 14 17 17 17 15 14171715 17 14 15 17 1417 1715 14 17 17 15 14 17 12 2 12 14 14 14 15 17 2 14 14 12 15 14 12 14 12 17 17 15 14 17 17 15 14 17 17 15 14 17 14 15 17 12 12 15 14 12 14 12 14 17 17 15 14 17 17 15 14 17 17 15 14 17 œœ œœ œœ œœ œœ œœ 1414œœ 12 œœ œœ œ œœ œœ 14œœ œœ œœ ## œœ œœ œ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ & œ ## œ œ œ œ œ œœ œ œœ œœ œœ œœ œ œœ œ œ œ œ œœ œœ œ œ œ œ & œ œ3 œ œ œ3 œ œ œ œ œ # œ œ # œ œ œ œ œ œ # œ œ3 œ œ œ3 œ œ œ œ œœ œœ œ œœ œ œ œ # œ œ œ œ œ œœ œœœ œœœ œ œ œ œœ œœ œ œ œ # œ œ œ œ œœ œ œœ œœ œ œ œ &# # œ œœ00 œœ 3 3 3 3 & 0 & 1919 19193 1919 1919 19193 1919 1919 1515 1717 1414 1515 1717 1414 1515 1717 1414 1515 16 1414 14 16 14 12 0 E E B B G G D D A E A B E E G E D B E A G B E D G A D E A E
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50 Years of Jam Bands! Examples FIVE DECADES OF JAM BANDS 2 Title
TRACK 5
Example 4: Grateful Dead style Gospel idea The Grateful Dead used a wide range of styles, including this soul-Gospel type rhythmic pattern for extended jams. Again, having ‘styles within styles’ gives the band a far broader template from which to work. Ex 4 1960s/70s Jam Band: Grateful Dead Rock Out Groove
©»¡ºº ### 4 & 4
E B G D A E
2 2
A
œ .. œœœ
œœ œœ
. .
5 5 6 7
5 5 6 7
œœ œœ
œœ œœ
œœ œœ
5 5 6 7
5 5 6 7
œœ ⋲ ¿¿ œœ œ ¿ A
œœ œœ
œœ œœ
5 X 5 X X
5 5 6 7
5 5 6 7
D/A
œœ œ
œœ œ
¿¿ ¿
7 7 7
7 7 7
X 7 X 7 X 7
œœ œœ
œœ œœ
œœ œœ
5 5 6 7
5 5 6 7
D/A
œœ œ
œœ œ
¿¿ ¿
Am 7
7 7 7
7 7 7
X 7 X 7 X 7
œœ ⋲ ¿¿ n œœ . œ ¿n œ . X X X
5 5 5
. .
Example 5: Grateful Dead style ‘Island’ Idea The Grateful Dead also used pre-composed ‘islands’ within extended jams, and some of these used quite sophisticated metric patterns, like this idea in 11/4. Ex 5 1960s/70s Jam Band: Grateful Dead Mixolydian 11/4 Riff
# # & # # # 114 E B G D AGUITAR E
B7
2
.. œ œ œ œ œ œ œ œ œ œ œ œ œ
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TECHNIQUES 2 4 5
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FIVE DECADES OF JAM BANDS - Milton
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Example 6: Duane Allman Style in Open E This example imitates the late great Duane Allman (as well as Lowell George and the phenomenal Derek Trucks) and uses tuning.Brothers/LIttle Sort out yourFeat intonation and muting of unwanted strings and you can play ideas like these for long solos. Ex 6 1960s/70s Jamopen Band:EAllman Slide Groove
©»•º #### 4 & 4
E7
2
.. ‰
Open E tuning - E B E G # B E
E B E G# B E GUITAR
œ œ
œ œ œ œ œ œ œœ œœ ‰ J ⋲ J ‰ ..
œ œ œ œ ‰ J ‰
w/slide
2
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TECHNIQUES 2 4 5
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FIVE DECADES OF JAM BANDS - Milton GUITAR TECHNIQUES 2 4 5 FIVE DECADES JAMBrothers BANDSstyle - Milton Example 7: Allman Brothers Style Repetitive idea Here’s anOF Allman of repeating idea (which emerged in their music both 7a: 1960s/70s Band: Allman through composition and spontaneously); theExample idea is overlayed with Jam a harmony part. Brothers Repeating Major Phrase
©»¡ºº # # ©»¡ºº 4 & # # 44 & 4
E B G E D B A G E D A E
2 2
D Example 7a: 1960s/70s Jam Band: Allman Brothers Repeating Major Phrase
2 2
. . .
œ œ .. Dœœ œ œœ œ œ œ œœ œ œœ œ œ œ œ . œœ œœ œ œ œ œ œ œ œ œ œœœ œ œ œ œ. œ œ œœœœœœ .. 7
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œ . œ .. œ . œ .. 7
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Example 7b: 1960s/70s Jam Band: Allman Brothers Repeating Major Harmonized Phrase
D 7b: 1960s/70s Jam Band: Allman Brothers Repeating Major Harmonized Phrase ©»¡ººExample œ œ # # . D œ œ œ œ œ œ œœ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ . ©»¡ºº œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ. & # # .. œ œ œ & . E B G E D B A G E D A E
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July 2015 GuitarTechniques 19
Example 8: 1980s Jam Band: Blues Traveller Rock-Blues Rhythm Part Example 8: 1980s Jam Band: Rhythm Part A D /A Blues Traveller Rock-Blues A
12
œ . œ .. .
D /A
D Example Repeating Major Harmonized Phrase ©»¡ºº D œœ œœBrothers ©»¡ºº œœ œœ7b: 1960s/70s œœ œœ œJamœBand:œœ Allman œ œœ .. œœ œœ œœ œœ œ œ œœ œœ œœ œ œœ .. œœ . œ #©»¡ºº D œ œ # œ œ # . œ œ & & # ## ... œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œœ œœ œ œ œ œœ œ . œ ... & . ON THE CD track 4-14.
play: JAMMING
.. 1010 1212 1010 12 11 1010 1212 1010 12 11 12 1010 . 11 11 12 11 11 12 . 12 11 12 11 12 11 11 12 11 11 12 12 12 11 12 12 .. 8 . 10 12DECADES 10 10 12 10 12 10 12 11 12 12 TRACK Examples .FIVE 12 11 OF JAM BANDS 12 11 12 11 11 12 11 11 12 12 12 11 12 12 . . 8: Blues Traveler Style Here are a couple of rhythmic groove ideas in the style of Blues Traveler, and other blues based jam bands.
E E B B G E G D B D A G A E D E A Example E
## # ## & & # ## # &
©»ªº ©»ªº ©»ªº 44 4 4
Example 8: 1980s Jam Band: Blues Traveller Rock-Blues Rhythm Part Example 8: 1980s Jam Band: Blues Traveller Rock-Blues Rhythm Part A D /A Blues Traveller Rock-Blues A Example 8: 1980s Jam Band: Rhythm Part A D /A A
22 2 22 2
E E B B G E G D B D A G A E D E A E
œœ D¿¿/A œœ ¿¿ œœ ¿ œ ¿ œ ¿¿¿ œœœ ¿¿¿
˚ .. A ¿¿¿ ¿¿¿ nn œœj˚j˚ ## œœœ .. ¿¿ ¿¿ n œj # œœ . œœ ¿ ¿ œ . XX 5 ... XXXX XXXX 5665 . 55 XX XX 6
5 5 5 5 5
5 5 5
X X X X X X X
X X X X X X X
7 7 7 7 7 7 7
¿¿ ¿¿ ¿¿
œœ œœ n œj˚˚j #Aœœ œœ œœ n œj˚ # œ œœ œœ n œ # œœ
X X X X X X X
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¿¿ ¿¿ œœ ¿¿ œ
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œœ DD¿¿/A/A œœ ¿¿ jj b œ œœ ¿ œ ¿ ⋲⋲ œœj b œ œ ¿¿¿ œœœ ¿¿¿ ⋲ œ b œ D /A
¿¿ n œj˚˚j # œœ ¿¿ n œj˚ # œ ¿¿ n œ # œœ
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œœ nn œœ œ œ n œ œœ 3 3
BU BD BU BD3 BU BD 7 (8 ) ( 7 ) 5 7 (8 ) ( 7 ) 5 7 7 7 (8 ) ( 7 ) 5 7
X X X X X X X
5how even though Examples 8 and 9 share rhythmic 5 ideas, the feel varies between them. Example 9: BLUES TRAVELER STYLE NoticeExample 9: 1980s Jam Band: Blues Traveller Soul-Rock Rhythm Part
©»ª¢ ## # ## # ©»ª¢ ©»ª¢ 4 & & # ## # ## 44 & 4
Example 9: 1980s Jam Band: Blues Traveller Soul-Rock Rhythm Part E7 D5 E7 Example Rhythm Part E 7 9: 1980s Jam Band: Blues Traveller Soul-Rock D5 E7
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œœœœ ¿¿¿¿ ¿¿¿¿ œœœœ ¿¿¿¿ œœœœ ¿¿¿¿ ¿¿¿¿ œœœœ œœœœ D5œœ nnEœœ7œœ œœœ ¿¿¿ ¿¿¿ œœœ ¿¿¿ œœœ ¿¿¿ ¿¿¿ œœœ œœœ nn œœ n œœœ œœ ¿¿ ¿¿ œœ ¿¿ œœ ¿¿ ¿¿ œœ œœ n œ œœ 5 5 7 7 6 5 6 7 7 7 6 7
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œ œœœœ ¿¿¿¿ ¿¿¿¿ œœœœ ¿¿¿¿ œœœœ ¿¿¿¿ œœœœEœœœ9 œœœ ¿¿¿ ¿¿¿ œœœ ¿¿¿ œœœ ¿¿¿ œœœ œœ œœ ¿¿ ¿¿ œœ ¿¿ œœ ¿¿ œœ œ X X X X X X X X X
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E9 E9
œœ œœ œœ œ
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7 7 7 7 7 6 7 6 7 6
.. .. . .. .. . .. .. . . ... .
10: 1980s Band: idea Ozricusing Tentacles Exotic Phrygian Dominant Lead Line Example 10: Spacey Ozric Tentacles Example Style idea Here’sJam a spacey the Phrygian Dominant scale in D (D-Eb-F#-G-A-Bb-C) in the style of Example 10: 1980s Jam Band: Ozric Tentacles Exotic Phrygian Dominant Lead Line The Ozric Tentacles’ Ed Wynne. This exotic scaleDcoupled with the use of delay creates a mesmerising trippy texture.
©»ªº ©»ªº ## # ©»ªº 44 # & # & # 4 & 4
E E B B G E G D B D A G A E D E A E
œœ œœ œœ œ n œ œJJ œ œ œœ nn œœ bb œœ œœ œœ œœ œœ bb œœ œœ œœ œœ œœ ˙˙ bœ œ œ œ œ bœ J œ œœ œ ˙
œœ œœ œœ bb œœ .. Dœ œ ⋲⋲ œ ⋲⋲ b œJJ ⋲⋲ .. ⋲ ⋲ J ⋲ .
Example 10: 1980s Jam Band: Ozric Tentacles Exotic Phrygian Dominant Lead Line D
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2 Title 11: Ozric Rocked Out Soloing Here’s Ed Wynne again but in a more rocked out solo setting, Again delay, adds an appropriate spacey Example quality to the electronic music-inspiredExample nature of the band. 11:1980s Jam Band: Ozric Tentacles Space Rock Solo
## # ## & & #
©»¡ºº ©»¡ºº 22 44 4
œœ JJ
## # ## & & #
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20 GuitarTechniques July 2015
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œ œ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ 3 3
22
E B E G B D G A D E A E
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œ œœ œœ œœ œœ œ œœ
Example 11:1980s Jam Band: Ozric Tentacles Space Rock Solo F #m F #m
BU BD BU BD BU BD BU BD 14 (15) (14 ) 19 ( 21) (19 ) 14 (15) (14 ) 19 ( 21) (19 )
œœ .. ~~~~~ ~~~~~ ~~~~~ ~~~~~ 19 19
3 3
3 3
3 3
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BU BU
BU BU 14 16 14 14 14 16 14 14 14 14 17 14 16 14 17 14 17 14 14 14 17 14 16 14 17 14 17 14 ( ) 16 (18 ) 14 17 14 17 17 14 16 18 14 17 14 17 17 14 16 (18 ) 16 (18 )
œœ JJ
œœ .. ~~~~~ ~~~~~
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~~~~~ ~~~~~
œœ JJ
œœ .. ~~~~~ ~~~~~
œœ
17 17
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~~~~~ ~~~~~
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Example 12: 1980s Jam Band: Quirky Phish-style Riff Example 12: 1980s Jam Band: Quirky Phish-style Riff G7
œœ ~~~~ ~~~~ BU BU
(19 ) (19 )
Ab
~~~~ ~~~~
Eb
E B E B G E D B G A D G E A D E A Example E
œœ .. ~~~~~ ~~~~~ œ . ~~~~~
œœ œJ JJ
## # ## & ### & & #
~~~~~ ~~~~~ 19 ~~~~~ 19
19 19 19
œœ . ~~~~~ ~~~~~ œ . ~~~~~
œœ œJ JJ
~~~~~ 16 ~~~~~ 16 ~~~~~ 16
16 16 16
19
œœ .. ~~~~~ ~~~~~
œœ JJ J
50 Years of Jam Bands!
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Examples FIVE DECADES OF JAM BANDS
œœ ~~~~ ~~~~
œœ BU BU BU
17 17 17
(19 ) (19 ) (19 )
~~~~ ~~~~ ~~~~
TRACKs 8 & 9
12: Phish Style G7 Riff Phish seem to embody as many styles as they have produced tracks, but they always seem to have a friendly quirky nature to their musical ideas. This example is based around a simple G7 riff with some distantly related triads thrown in.
## & # & &
©»•º ©»•º ©»•º 44 44
Example 12: 1980s Jam Band: Quirky Phish-style Riff Example 12: 1980s Jam Band: Quirky Phish-style Riff Example 12: 1980s Jam Band: Quirky Phish-style Riff G7 G7 G7
22 2
.. bb œœ nn œœ œ n œjj ⋲⋲ ˚j˚j ⋲⋲ œ .. j ˚ œœ œœ b œ n œ œœ nn œœ ⋲ œœœj ⋲ œ . 3 4 5 3 3 4 5 ... 5 5 5 . 33 5 3 4 55 33 5
22 2
E B E B G E D B G A D G E A D E A E
¿¿ b œ n œ ¿ bb œœ nn œœ 1 1 1
X X X
Ab
Eb
4 4 5 4 5 4 5
3 4 3 3 4 3 4 3
bbAAœœbb EEœœbb ˚j˚ b jj ⋲⋲ œœj˚j bb œœ nn œœ œœ bb b œœœ bb œœ bœ œœj ⋲ œ b œ n œ œ œ 3 3 3
5 5 5
2 2 2
4 4 4
5 5 5
.. .. .. .. .
3 3 3 Example 13: Phish Style Funk-Rock idea In typical jam band style Phish include extended jams3 in a range of styles, here’s something they might Example 13: 1980s Jam Band: Phish-style Funk Rock Groove play referencing the funk-rock style. Example 13: 1980s Jam Band: Phish-style Funk Rock Groove Example E 7 # 9 13: 1980s Jam Band: Phish-style Funk Rock Groove F9 E7 #9 F9 E7 #9 F9
©»ª§ ## # ## # ©»ª§ ©»ª§ 44 # # & # # # & 44 # &
E B E G B E D G B A D G A E D A E E
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œœ œœ œœ
nn nnn œœœ ... n œœ .. œ. 8 7 8 6 7 8 7 6 7 6 7
⋲⋲ ⋲
8 7 8 6 7 8 7 6 7 6 7
¿¿ ¿¿ ¿¿
¿¿ ¿¿ ¿¿
¿¿ ¿¿ ¿¿
œœ œœ œœ
œœ œœ œœ
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8 7 8 6 7 8 7 6 7 6 7
⋲⋲ ⋲
œœ œœ œœJ JJ 8 7 8 6 7 8 7 6 7 6 7
œœ œœ œœ
¿¿ ¿¿ ¿¿
¿¿ ¿¿ ¿¿
8 7 8 6 7 8 7 6 7 6 7
X X X X X X
X X X X X X
¿¿ n nn œœ .. œœ ¿¿ ¿¿ ¿¿ œœ œœ œœ b œœ œœ ¿¿ nn n œœ .. œœ ⋲⋲ ¿¿ ¿¿ ¿¿ œœ œœ ⋲⋲ œœ bbn œœ œœ ¿¿ œœ .. œœ ⋲ ¿¿ ¿¿ ¿¿ œœ œœ ⋲ œJœ nn œœ œœ JJ X X X X X X
8 7 8 6 7 8 7 6 7 6 7
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8 8 7 8 8 7 8 7 8
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.. ..
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Example 14: Phish Style Melodic Line14: And here’s a melodic lead line Dorian that Phish’s Example 1980s Jam Band: Phish-style Lead Trey Line Anastasio might play in a minor setting. Again note the use Example 14: 1980s Jamof Band: Phish-style Dorian Lead Line of the Dorian mode, which is very common in jam bands all eras.
©»¡£º ©»¡£º 22 ©»¡£º 44 b 2 & b & & b 44
.. œœ œœ œœ œœ œœ œœ œœ .. œ œ œ œ œ œ œ
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œœ œœ œ œœ œœ œœ œœ œœ œœ œ œ œœ œ œ œ œ œ œ
Example D m7 14: 1980s Jam Band: Phish-style Dorian Lead Line D m7 D m7
.. .. .
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œœ œ
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9 10 12 9 10 12 9 10 12
œœ œœ nn œœ œœ œœ œœ œœœ œ œ nœ œ œ œ
10 12 12 10 12 12 10 12 12
œœ n œ JœJ nn œœ J
10 12 13 10 12 13 10 12 13
œ JJœœ J
œœ œœ .. œJJ œ . .. J .. .. .. .
10 10 10
12 13 12 13 12 13
3
Example 15: Phish style reggae groove And in yet another style, here’s a happy reggae-inspired groove Phish might play. Again note the 3 slightly quirky humour underpinning it all.
©»•º ©»•º & 44 &4
Example 15: 1980s Jam Band: Reggae-style Phish Riff Example 15: 1980s Jam Band:G/B Reggae-style Phish Riff B b C C G/B Bb
2 2 2 2
E B E G B D G A D E A E
œœ œœ œ .. ‰ œœ ‰ œœœ ‰ .. ‰ Jœ ‰ Jœ ‰ J J
œ œœœ œœ
. . .
œ œ œœœ ‰ œœœ œœ ‰ œœJ J
7 8 7 7 8 9 7 9
7 8 7 7 8 9 7 9
8 8 8 9 8 10 9 10
8 8 8 9 8 10 9 10
bœ œ ‰ bb œœœœ ‰ œœœœ ‰ ‰ b Jœ ‰ Jœ ‰ J J
7 8 7 7 8 9 7 9
6 6 6 7 6 8 7 8
6 6 6 7 6 8 7 8
F/A F/A
G/B
œœ œœ œœ
œ œœ œœ nnG/B œœ ⋲ œœ ⋲ n œœœœ .. œœ ⋲ Jœœ ⋲ n Jœ .. J J
5 6 5 5 6 7 5 7
5 6 5 5 6 7 5 7
5 6 5 5 6 7 5 7
7 8 7 7 8 9 7 9
. . .
Example 16: Black Crowes style riff Black Crowes have shades of The Rolling Stones in some of their riffs - notice the use of triads and Example 16: 1990s Jam Band: Black Crowes Style Riff inversions which keeps the rhythm part all in the same fretboard area, rather than shifting around with barre chords.
©»¡£™ ©»¡£™ 2 2 & 44 &4
E B E G B D G A D E A E
2 2 ©»¡¢§ ©»¡¢§ 2
Example 16: 1990s Jam Band: Black Crowes Style Riff C/E C/G F C/G C/E C/G F C/G
.. œœœ .. œ œœ œ . . .
5 5 5 5 7 5 5 7
‰ ‰
œœ œœ Jœ J 5 5 5 5 5 5
œœ œœ œ
œœ œœ œ 5 5 5 5 5 5
‰ ‰
œœ œœ Jœ J 5 5 5 5 5 5
œœ œœ œ
œœ œœ œ 5 5 5 5 5 5
‰ ‰
C /E C /E
œœ ‰ œœ ‰ Jœ J
œœ ‰ j œœ ‰ œœ œœ ‰ œj œ œœ ‰ œœ œJ œ œ œ Jœ J J
6 5 6 7 5 7
5 5 5 5 5 5
5 5
Example 17: 1990s Jam Band: Black Crowes Rock Out Lead Example 17: 1990s Jam Band: Black Crowes Rock Dm 1/4 Out Lead
œ
Dm
œ
n œœ œœ œœ œœ œ œ 1/4
5 5 5 5 7 5 5 7
5 5 5 5 5 5
œœ œœ œ
Bb Bb
F/A F/A
6 7 6 8 7 8
6 5 6 7 5 7
œœ ‰ b œœœ b œœœ ‰ œœ œœ œœ ‰ b Jœœ b œœ ‰ œœœ œœœ J œ J J
œœ ‰ j . œœ ‰ œj .. œ œ .
5 5 5 5 5 5
6 5 6 7 5 7
5 5
. . .
July 2015 GuitarTechniques 21
œ
œ œœœ œœœ œj œ œœœ œœœ œj œ œœœ
©»¡£™ ©»¡£™ 2 2 & 44 &4
C/E
C/G
C/E C/E
C/G C/G
.. œœœ ‰ œœœ œœœ œœœ ‰ œœœ œœœ .. œ œœ ‰ Jœ œœ œœ ‰ œœJ œœ œ Jœ J 2 . 55 55 55 55 2 . 7 5555 5555 5555 5555 Examples FIVE DECADES 5 5 . 77 55 OF55JAM55BANDS
play: JAMMING E B E G E B D B G A G D E D A A E Example E
F
C/G
F F
C/G C/G
œœ œœ œ
‰ œœœ ‰ ‰ œœJ ‰ J
5 5 5 5 5 5 5 5
6 5 6 7 6 5 5 7 7
C /E
œœ ‰ œœ ‰ Jœ J
j œ œœœ œj œœ œ œ
‰ œœœ ‰ œJœ J
5 5 5 5 7 5 5 5 5 7 7
5 5 5 5 5 5 5 5
C C /E /E
5 5 5 5 5 5 5 5
5 5 5
B
b B B
F/A
6 7 6 8 6 7 7 8 8
6 5 6 7 6 5 5 7 7
F/A œ œœ œœ œœ ‰ b œœœ b œœœ ‰ F/A œœ œœ ‰ b œJœ b œœ ‰ œœœ œœœ œœœ ‰‰ œjj ... Jœ œ œ œœ J œ . Jtrack 4-14 ON THE CD 5 5 5 5 5 5 5 5
17: Black Crowes style solo An example of Black Crowes soloing idea, the familiar minor Pentatonic box position put to good committed use with double-stops and strong rhythmic ideas. Example 17: 1990s Jam Band: Black Crowes Rock Out Lead
©»¡¢§ ©»¡¢§ 2 2 & bb 444 & 4
.. ..
2 2
E B E G E B D B G A G D E D A A E E
œœ œ œ n œœ œœ œ œ œ œ œœ ‰ œœœJ ‰ n œœJ ‰ œœ œ ‰ J ‰ J ‰
œœ œœ œJœ œœ J
œœ œœ
œœ œœ
œœ œ œœ œ œ œ œ œœ ‰ œœ œ ‰
10 10 10 10 10 10
10 10 10 10 12 10 10 12 10 12 10 12 12 10 10 10 10 12 12 12 12
œ œ œœœ œœœ œjj œ œJ œ œ œ œ œ J
Example 17: Dm 1/4 Out Example 17: 1990s 1990s Jam Jam Band: Band: Black Black Crowes Crowes Rock Rock Out Lead Lead D m 1 / 4 Dm 1/4
. . .
1/4
10 10 10 10 10 10
12 10 12 12 10 10
12 12 12
10 10 10 10 10 10
10 12 10 10 12 12
12 12 12 12 12 12
12 12 12 12 12 12
1 1//4 4
12 12 12 12 12 12
12 12 12 12 12 12
BU BU BU 12 12 12
10 10 (14 )10 10 10 10 ((14 14 ))
. . .
6 5 6 7 6 5 5 9 & 11 5 TRACKs 7 7 5 5
œœ œœ
BU 10 BU 10 10 BU 10 10 10 12 (14)10 10 10 10 ( )10 10 12 12 (14 14)
œœ œj œ œœ j œ œ
œœ œœ . .. .
BU 10 BU 10 10 BU 10 10 10 12 (14 ) 10 10 10 10 ( ) 10 10 12 12 (14 14 )
. . .
Example 18: Gov’t Mule style DorianExample Funk-Rock Gov’t Mule (a modern side-project of the Riff Allman Brothers) employ a range of contemporary 18: 1990s Jam Band: Gov't Mule Style Funk-Rock styles, including funk-rock. Again we see the Dorian mode, but in another stylistic area. Also note the ue of chromatic passing chords.
©»ªº ©»ªº b & bb b 44 & 4
Example 18: Jam Band: Example 18: 1990s 1990s Jam Band: Gov't Mule Mule Style Style Funk-Rock Riff G m7 (Dorian) Am Gm B bGov't C Funk-Rock Gm Riff
œ œ œ .. ⋲ œœ ‰ œœ nn œœœ .. ⋲ œJœ ‰ œœ œ J . 3333 3333 5555 . 3333 3333 5555 .
2 2
G G m7 m7 (Dorian) (Dorian)
2 2
E B E G E B D B G A G D E D A A E E
œœ œœ ⋲ œ⋲
A Am m Gm Gm
3 3 3 3 3 3 3 3
˚j œœ˚j ‰ œœ ‰ œ
¿¿ ¿¿ ¿
¿¿ ¿¿ ¿
C C
3 3 3 3 3 3 3 3
X X X X X X X X
X X X X X X X X
5 5 5 5 5 5 5 5
b B B
Am Gm
C
A Am m G Gm m
C C
œœ ⋲ ⋲ œœœ ‰ œœœ n œœœ œœ ⋲ ⋲ œœJ ‰ œœ n œœ J œ Gm Gm
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
Cb Bb
œœ œ œ œœ b bCCœœb BBœb œœ ⋲ œœ ⋲ œœ œ b œ œœ œ ⋲ œœ ⋲ œœ œœ b b œœ œœ
5 5 5 5 5 5 5 5
3 3 3 3 3 3 3 3
5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5
4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3
.. .. . . .
1990s Jam Band: Gov't Mule Style Grinding Blues-Rock Example 19: Gov’t Mule style slowExample tempo19: Here’s a heavier Gov’t Mule idea a slower more grinding Riff tempo. There’s a touch of Hendrix here, but Example 19: 1990s Jam Band: Gov't Mule Style Grinding Blues-Rock Riff informed by harder rock and even metal sensibilities. Example E m 19: 1990s Jam Band: Gov't Mule Style Grinding Blues-Rock Riff G5 F#
# &# &
©»¶º ©»¶º 44 44
E B E G E B D B G A G D E D A A E E
2 2
1/4
1/4
1 1//4 4
1 1//4 4
#
œ .. FF # # œ . œœ .. œ. œœ .. œ # # œœ ... # œ œ
G5 j .. œj b œ œ œ œ œ .. œ œ œ bœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ. œ œ BU œ. œ BU . BU (3 ) 2 0 2 0 . 0 2 2 0 0 2 . 0 0 3 00 22 0 ((33)) 22 00 22 00 22 00 0 0 3 00 22 3 E Em m
2 2
1/4
0 0
4 Title
0 0
1 1//4 4
2 2
3 3
3 0 3 0 3 0 0 0 0
1/4
2
1 1//4 4
G5
0 0
0 0
0 0
3 3
3 3
2 2 2
3 4 3 4 3 4 4 4 4
.. ..
. . .
Example 4 Title 20: Dave Matthews Band style vamp Dave Matthews Band, although accessible to a pop audience, employ many styles, particularly in their extended jams. Here’s a repeating syncopated vamp with classic influence. Example 20:idea 1990s Jam Band:soul Dave Matthews Band Vamp
b & bb &b
©»ª™ 44 ©»ª™ 44
E B G E D B A G E D A E
Example 20: 1990s Jam Band: Dave Matthews Band Vamp Bb
F7 # 9
b œœ# 9 œœ œœ F7 b .. œ b œ œ n œ œ œ œ b œ œ n œ œ ⋲ bb œœ ‰ œœ œœ ‰ .. œ œ œ œ œ n œ œ .. œ œ œ ⋲ ‰ ‰ . œ œ œ nœ œ œ œ bœ œ nœ œ b œ œ n œ œ JJœœ œœ œœ . 9 9 9 . . . 8 5 6 7 8 5 6 7 8 8 5 6 7 8 8798 8798 8798 . . 8 5 6 7 8 5 6 7 8 8 5 6 7 8 78 78 78 .
2 2
Bb
2 2
Example 21: Jimmy Herring style prog idea Jimmy Herring has a huge stylistic range, so here’s something in the style of his later work which 21: 2000s Jam Band: Jimmy Herring Aquarium Rescue Unit Prog-inspired Riff takes inspiration from prog rock. Note the Example use of chromatic chords and a riff that fights the 4/4 meter.
©»ª™ # ©»ª™ & # 444 & 4
E B G E D B A G E D A E
Example Jam Herring Aquarium Rescue Prog-inspiredARiff b5 G5 C 5 B21: 5 2000s E5 B 5 Band: B b5 Jimmy E5 B bUnit 5 A5
2 2
B b5
.. Cœ5 Bœ5 E 5 Bœ5 b œ E 5 œ bœ .. œ œ œ bœ œ œ œ œ œ bœ œ œ bœ œ œ œ . 9 8 . 10 9 . 108 79 0 0 79 68 0 77 66
2 2
8
A5
G5
B b5
7
6
5
8
bœ bœ œ œ n œ b œ œ b œ œœ œ n œ b œ œ œ œ n œ œ bb œœ œœ œ œ nœ œ œ œ 5
B b5
A b5
œ œ œ
.. .. . . .
7 6 5 6 5 0 0 4 3 0 0 6 8 7 6 5 8 5 8 7 0 0 7 6 0 7 6 5 6 5 0 0 4 3 0 0 6 Example 22: 2000s Jam Band: Jimmy Herring Widespread Panic/Aquarium Rescue Unit Sparse Funk/Rock Riff
22 GuitarTechniques July 2015
©»ªº # #
B b5
2
n œœ ..
n œœ .. œ
A 72000s Example 22: Jam Band: Jimmy Herring Widespread Panic/Aquarium Rescue Unit Sparse Funk/Rock Riff 1/4 1/4 A7
1/4
œ
œ nœ œ
1/4
˚j
˚j
## & &
©»ª™ ©»ª™ 444 4
C5 C5
22
B5 B5
B 5 B bb5 E 5 B5 B 5 E5
E5 E5
.. œœ œœ œœ . œ œ œ œ œ œ œœ œ œ 22 .. 9 9 10 9 BANDS 9 10 Examples FIVE DECADES OF.. JAM 8 7 0 0 7
B bb5 B 5
bb œœ bb œœ bb œœ œ œœ bb œœ œœ nn œœ bb œœ œœ œœ œ
E E B B G G D D A A E E
A bb5 A 5
A5 A5
B bb5 B 5
G5 G5
œœ ... bb œœ œœ œœ bb œœ50 Years œœ œ ofœ Jam œ œ Bands!
œœ œœ n œ œ nœ œ
. ...
8 8 7 6 5 8 8 8 7 6 5 TRACKs 8 11 & 13 7 6 5 7 6 5 7 6 0 6 5 6 5 0 0 4 3 0 0 6 8 7 0 0 7 6 0 7 6 5 6 5 0 0 4 3 0 0 Example 22: Jimmy Herring style funky lick And here’s Jimmy Herring in a sparse funky rock lick, which uses double-stops and a lot6 of space
to create a compelling vamp. You could jam on this for days! Example 22: 2000s Jam Band: Jimmy Herring Widespread Panic/Aquarium Rescue Unit Sparse Funk/Rock Riff
## # ## & & #
©»ªº ©»ªº 444 4
Example 22: 2000s Jam Band: Jimmy Herring Widespread Panic/Aquarium Rescue Unit Sparse Funk/Rock Riff A 7 1/4 1/4 A 7 1/4
22
.. .
22
E E B B G G D D A A E E
nn œœœ ... œ.
.. ..
8 8 7 7
nn œœœ ... œ œ . œ ‰ .. n œ˚j˚j Œ ‰ nœ Œ
œœ œ nœ œ ‰‰ .. œœ ## œœ œ n œœœ œœœ ‰‰ JJ JJ
1/4 1/4
5 5
4 4
6 6
5 5
˚ ‰‰ œj˚j ⋲⋲ ... œ
1/4
3 3 4 4
8 8 7 7
1/4 1/4
5 5 5 5
5 5
.. ..
Example 23: Primus style Hendrixy lick Todd Huth (of Primus fame) has a Hendrix influence in his playing, and this example shows how he uses Example 23: 2000s Jam Band: Les Claypool/Todd Huth Vamp open strings in a contemporary jam band context. Example 23: 2000s Jam Band: Les Claypool/Todd Huth Vamp
©»ªº ## ©»ªº 4 & & 444
E E B B G G D D 5 A A E E
Em Em
22
.. .
22
.. ..
3 œœœœ œœœœJ ‰ œ œœ œ œ œ œ œœœœ œœœœ ... œ b œ œ œ œ œ3 .. œ b œ œ œ œ œ œœ . J ‰ œ œ œ œ œ œœ œœ 3 œœ œœ 3 RP BU RP RP RP BD BD BU 0 0 0 0 0 0 0 0 3 5 3 3 5 .. 3 5 3 5 2 (( 3 )) (3 ) (3 ) (2 ) 0 4 3 2 0 2 0 2 0 2 0 2 0 2 3 (3 ) (3 ) (2 ) 0 2 . 4 2 0 2 . 0 0
0 0 Example 24: 2000s Jam Band: Off The Wall Claypool/Buckethead Riff
5
Example 24: Buckethead style And here’s something totally off the wall Buckethead might play with Les Claypool. Atonal runs, syncopation, N.C. E5 Fm maj7 chromatic tapping sequences, but underpinning it all there is aBand: repeating compelling groove. Example 24: 2000s Jam Off The Wall Claypool/Buckethead Riff
E B G D E A B E G D A E
# & # &
©»ª™ 44 ©»ª™ 44
2 2
L L
œ œ #œ œ b œ œ œ nœ # E5 ‰ ‰ œ œ #œ œ b œ œ œ nœ & # 6 & œ œ‰ ‰ 6 7 8 9 10 11 10 9 8 œœ
≠ ≠
E5
E B G D E A B E G
œ bœ œ nœ œ œ .. N.C. œ œ bœ œ nœ œ #œ œ .. œ œ œ #œ . 5 7 6 7 5 6 5 . 7 6 5 7 6 6 5 . 5 7 7 6 .
2 2
≠ L ≠ L 7 8
0 0
D A E Example
9 10 11 10 9
8
œ #œ nœ œ #œ nœ 7 7
5 5
6
E5
5 7
6
L L
˚j ‰ ‰ ‰ nFmœ maj7 ⋲ œ n œ b œ˚j nœ œ ‰ ‰ nœ nœ œ nœ ⋲ bœ ‰ nœ nœ œ
nœ œ bœ nœ œ bœ 6
0
5 7
6
0
0
0
2
3
2
3
1
1
1
1
œ n œ b œ œ # œ œ œ n œ b œ œ b œ œ œ n œ nœ b œ œ n œ œ # œ ‚ ‚ œ J œ . œ ‚ ‚ .. œ n œ bœ œ #œ œ œ nœ b œ œ bœ œ œ n œ n œ b œ œ6œ n œ œ # œJ . 6 .. 6 œ œ NH 6 6 7 6 10 9 8 7 8 9 10 11 10 9 8 7 . NH 10 9 8 7 8 9 10 11 0 4 . 7 10 9 8 7 8 9 10 11 10 9 8 7 . 10 9 8 7 8 9 10 11 0 4 .
≠ ≠
≠ ≠
LL ≠ ≠
≠ ≠
··
25: Jam 0 0piece Finally here’s a dream-like jam through the decades referencing the jam greats. In fact there are so many associated styles in the genre, that I could have written 1000s of these, and we could easily spend 10 minutes within each vamp, so consider this a sort of whistlestop 6 Title magical mystery tour through the genre. It involves some rapid (but not illogical) switches of style and key, which is meant as a representation of how jamExample bands modulate styleMega and texture within an extended jam. Feel free to use the backing track for your own explorations. 25: The 5 key, Decades Jam
©»ª™ # 4 & 4
Late 60s Dead Trippy
2 2
E B G D A E
œœœ œœœ ˙˙˙
E m E sus2 E m
œ
Let ring 7 7 9 3
0
œœœ œœœ œœœ œœœ ... J
E m E sus2 E m
œ
7 8 9
7 7 9 0
7 8 9
E sus4
œœœ ˙˙˙
E m E sus2 E m
œ
7 10 9
7 7 9 0
E sus2
œ
7 8 9
œœœ # œœœ œœœ œœœ A add9/E
7 7 9
0 0 6
0
July 2015 GuitarTechniques 23 Em
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& # 44 & 4
œœ7 œ8 ˙ œœ7 2 Letring ring 9 Let 9 œœ 7777 7878 œ 779 22 Let Letœ ring 9 0ring œ0 97 9 99 77 Let ring77 22 7 8 7 7 8 7 9 9 97 97 9 00 00 2 7 8 7 9 9 9 Em œ œ œ œ œ 0#0 œ # œ œ 00 œ œ œ #EEmm‰ œ œ Jœ 0J Jœ J J0 œ œ œ œ œ # œ # & œ œ # œ # œ œ œ œ œ Examples DECADES OF JAM BANDS # #EEm‰m‰FIVE J J J J J J J J œ œ œ œ œ œ &&# # E m œ œœœ œ œJ œœœ ###œœœJ ###œœœJ œ œ œ œ && # ‰‰‰ 12 10 12 JJ 10 JJ9 JJ œ7 10JœJ JœJ œ7 & B G E ED A BB E GG E E DD A B AB G G EE D DB A AG E ED A E
33 33 3
12 10 12 12 10 12
10 10
9 9
1210 1012 12 10 12 10 12 70s 10 12 10 Mid Dead Groovy
99 9
A Mid 70s Dead Groovy Mid 70s Dead Groovy A A 70s Dead Groovy Mid Mid 70s Dead Groovy MidA70s Dead Groovy A A
D /A
7 7
E B G D E B EA E BG D 11, 13 GE A E DB B G AE G D 11, 13 EB 11, 13 A DG E AD E A 11, 13 11, 13 E 11, 13
14 16
# # & ### &# # # # &&# # # # && # #
E B G D E A B 77 EE G D 17 BE A GB E DE G B AB D 17 G EG A 17 DD E A A 17 EE 1717
œ œ œ œœœ
14
œœ œ œœœ œœœ œœœ7 œ77
œ œ œ œœœ
77 7
10 10 10
7 77 77 77 77 77 77 7
œ œ œ œœœ
Am
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œœ œ œœœ œœœ œœœ7 œ77 7 77 77 77 77 77 77 7
14 16
7 77 77 77 77 77 77 7
œ j œ œ jœ œ œj œ œœœ œœjjj œœ œœ œ œ 14
œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œœ œœœ œœœ œœ œœ œœ œœ œœ œœ 14 16 14 14 12
œ œ œœ œœ
14 12
#œ #œ ## œœ #œ
12
16
19, 21 21 19,
## & # #
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9 9
9 7 9 7 9 7A
99 9
X X
00
X X
55
55
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œ œ œ œœœ
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14 12
12 14 12 12 12 14 12 14 12 12 12 14 12 14 12
14
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16 14
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12 12 12 12 12 12
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99
99
99
77
X X
77
X X
77
77
77
55
12 14 14 12 23 23
Early 90s 90s Phishy Phishy Quirky Quirky Groove Groove Early
12 14 14 12
12 12
14 12 12 12 12 14 14 14 14 14
16
E55 E
BU BD ~~BD ~~ BU
œ œ œ œ œ000 œ œœ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œœ œ œ7 œ œ7 œ œ œ 10 8 7 œ 7 7 10 10 77 10 7 10 10
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14 16
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œœ œœ œœœœ œœœ œœœœœ œœ35œœœ œ435
53 45 5 34 53 5 3 45 54 4j œ55
53 45 5 34 53 5 3 45 54 45 5
œ nœ œ j œ œœjnnœœ œœ œj œœ œœjBUjnnnœœœBD œœ œ œœ
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) (16 ) 14 16BU(17BD
14
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BU( 3 )BD BD( 2) 2BU
0
BU
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2 ( 3 ) ( 2) D /A0 2 ( 3 ) ( 2) D /A 0
77 77 77
X X 00
12 14 14 ((16 14))12 12 16))((14 12
X X
j nœ
X X
55
77
55
X X
00 0
53 45 5 34 53 5 3 45 54 45 5
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53 45 5 34 53 5 3 45 54 45 5
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14
16 14
14 16 14 14 16 14 14 16 14 14 14 1616 1414
œ œ œœ œ2 œ
0
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X X X X X X
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X X X X X X
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A A 0 0
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0
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¿ n œœœ00 ¿ 00œœœ nœ ¿ ¿ œ ¿ ¿ œ œ 16 16
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16 BU BD ) (16 ) 14 16 16BU(17BD BU BD BD ) (16 ) 14 16 16 BU (17 16 (17 ) (16 ) 14 16 16 (17 ) (16 ) 14 16 16 (17 ) (16 ) 14 16
j œ nœ œ j œBU j n œ BD œ jœ n œ œ œBU jj n œ BD œ n(nœ3œ) BD( œ2œ) œ œ2BU
4-14
˙ ˙˙TRACK 13 ˙˙ ˙0
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24 GuitarTechniques July 2015
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July 2015 GuitarTechniques 25
Play: COUNTRY
ON THE CD
TRACKs 15-16
Chet Atkins Yakety Axe
Jon Bishop transcribes a ripping version of Yakety Axe by country guitar virtuoso Chet Atkins. This tune is famous for being used in The Benny Hill Show and is both challenging and fun to play.
ABILITY RATING
Moderate/Advanced Info
Will improve your
Key: G and C Tempo: 236 bpm CD: TRACKS 15-16
Country style lead Alternate & hybrid picking Rockabilly soloing
Yakety Axe was recorded in 1965 by Chet Atkins, and is a cover of the classic 1963 saxophone frenzy entitled Yakety Sax. The original was performed by Homer ‘Boots’ Randolph. It was used for The Benny Hill Show on TV, thus cementing it in the minds of the viewers for ever. For the Chet Atkins version (which appropriately substitutes the word sax with axe!), the saxophone melody is reworked to fit onto the guitar. The first stage of this
When you hit play brace yourself for a fun filled three minutes of hot country goodness. reworking was to change the key to the country guitar favourite of G major. G major allows various open strings to be utilised, and also has the advantage of producing full sounding acoustic rhythm fingerings. From a harmonic perspective there are only two sections to memorise, and we have labelled these the chorus and the bridge. The chorus features the main melodic theme complete with comedic glissandos, while the bridge section is the progression over which the guitar and harmonica solos are played. The song changes key to C for these bridge sections and then back to G for the final two
choruses. The melody lines from the original saxophone version are delivered with a classic country style guitar tone, and augmented with other country and rockabilly style vocabulary. The instrumentation for the backing band on the record consists of, drums, bass and acoustic guitar. There is also a brief harmonica solo to provide a different flavour. The drum track has a country ‘train’ style feel with a 4/4 time signature and a speedy tempo. From a structural point of view Yakety Axe uses a simple 16-bar form for both sections. One of the secrets to performing this track the way Chet does, is the addition and use of the thumb pick. The thumb pick adds extra definition to the sound while maintaining the full fingerstyle facility of the picking hand. (see Technique Focus for more details). For the GT recorded version we have recreated the harmonica solo so you can take a quick rest before the final two choruses. There is no need for a count-in on the backing track as the piece opens with three bars of the band, so when you hit play brace yourself for a
Get The Tone 3
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For this month’s recording I used a Gibson ES-335 dot guitar with the pickup selector in the middle position. This guitar was plugged into a Fender Deville Amplifier that was recorded with an SM57 microphone. A Fulltone clean boost pedal was added along with some amp reverb. To get the sound with your own set-up, simply select the bridge or middle pickup and dial up a sparkling, clean sound. Adding a bit of reverb or slap-back delay is an essential addition in your quest for an authentic country tone.
fun-filled three minutes of hot-countrymeets-rockabilly goodness. Many thanks to Julian Webster Greaves for performing the harmonica solo. There are loads of eminently stealable ideas here that you can bring into your own playing. Have fun!
Technique Focus Hybrid Picking vs Thumb Pick Many country guitar players use hybrid picking (pick and fingers together) or a thumb pick. The thumb pick is a plectrum style device that clips firmly onto the thumb of the picking hand and requires no extra fingers to hold it. One of the advantages of using a thumb pick is that you can maintain a full fingerstyle technique. The thumb can freely play the bass notes, and the first, second and third fingers (referred to as i, m, a) can play the melody. The thumb pick helps with the bass note definition and sounds great when used in conjunction with slap-back delay and a palm mute. The thumb pick can also double as a plectrum to pick single-note lines and chords with both down and up strokes. With the thumb pick on simply pinch your first finger against your thumb as you would if you were holding a plectrum. Hybrid picking is like having your cake and eating it. You get the definition and attack of the pick in conjunction with the dexterity and tone of the fingers. Much of the tone comes from plucking hard with the fingers so the strings snap back onto the frets. If you combine this with a bright bridge pickup tone, the results can be very effective. This month’s track was performed using a thumb pick just as Chet did and it is easy to hear that the tone produced is more ‘Chet’. This tune also can be performed with the hybrid picking technique, which combines the use of a normal pick with the picking hand’s second and third fingers. With the hybrid picking technique you lose some of the freedom associated with using the thumb pick; plus of course you need the first finger to hold the pick, so that is out of commission also. But you can get great results with hybrid picking and this technique has the advantage of bolting on to your existing plectrum style.
TRACK RECORD Yakety Axe was released in 1965 and was Chet Atkins biggest hit up to that point. The original track, Yakety Sax, on which Chet’s version is based was recorded in 1963 by Homer ‘Boots’ Randolph. It’s worth checking out and comparing both versions. It is hard not to raise a smile when listening to either! Chet also did a vocal version with Mark Knopfler on the album Neck And Neck.
26 GuitarTechniques July 2014
JODI COBB / NATIONAL GEOGRAPHIC / GETTY IMAGES
CHET ATKINS Yakety Axe
Chet Atkins, who inspired everyone from The Beatles to Tommy Emmanuel
July 2014 GuitarTechniques 27
Play: COUNTRY
ON THE CD
TRACKs 15-16
PLAYING TIPS
CD TRACK 15
[Intro: Bars 1–4] The band plays you in, so there is no need for a count-in. if you prefer. The picking directions have been written in and it’s well Fret the opening F note with your third finger and bend it gradually up to G. worth playing these melodies very slowly at first to get use to it. You will [Chorus 5–20] The main notice that downbeats are played with a down stroke and off beats with an GUITAR1: Bars TECHNIQUES 2 4trick 5 to playing this melody at this tempo is to use an alternate picking technique with the thumb pick or flat pick- Chet Atkins upstroke.- This YAKETY AXE Jonconcept Bishopis vital for maintaining a solid time feel.
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28 GuitarTechniques July 2014
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Yakety Axe Music & Lyrics by James Rich, Boots Randolph. ©1965 Tree International. Burlington Music Co Ltd. UK/EU reproduced by kind permission of Faber Music Limited. US/CAN reproduced by kind permission of Hal Leonard Corporation. All Rights Reserved. International Copyright Secured.
CHET ATKINS Yakety Axe
PLAYING TIPS [Chorus 2: Bars 21–36] The second chorus is much the same as the first, although there are some extra licks to navigate in bars 24–26. [Bridge: Bars 37–52] The bridge section pivots into the key of C, and the all too familiar ‘circus big top’ style melody is unleashed. This line uses 2 Title a few chromatic notes and is fun to play. Look out for the fast ascending
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July 2014 GuitarTechniques 29
Play: COUNTRY
ON THE CD
TRACKs 15-16
PLAYING TIPS [Guitar solo: Bars 53-68] The guitar solo is played over the bridge chord pattern. The main concept here is fairly simple to grasp: the open third string is used as a pedal tone and melody notes are picked out on the
CD TRACK 15
first string with a finger pluck. The key here is to start each phrase on an upstroke. This may feel unusual to start with, but the timing and feel will be best with this technique. Check out the note choice: very effective!
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30 GuitarTechniques July 2014
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CHET ATKINS Yakety Axe PLAYING TIPS [Harmonica Solo: Bars 69–84] Take a break for this section and get ready to play the opening melody as the track pivots back to G major. You could of course 4 Titlehave a go at working it out on the guitar, play something improvised
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in the rockabilly style; or indeed (if you are learning it to play live), get your keyboard player or another instrumentalist to do so. [Chorus 3: Bars 85–100] This third chorus is a repeat of chorus 2.
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July 2014 GuitarTechniques 31
Play: COUNTRY
ON THE CD
TRACKs 15-16
PLAYING TIPS [Chorus 4: Bars 101–end] The final chorus is a repeat of the first, then classic country cliché ending and your work is done. Once you know the
CD TRACK 15
song well the best thing is to begin tweaking some of Chet’s ideas, or listen to the version he did with Mark Knopfler and pilfer a few of his ideas!
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32 GuitarTechniques July 2014
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play: SWEEP PICKING
ON THE CD
track 17-35
7th Arpeggio
Sweep Picking
Sweep picking is a great way of playing speedy arpeggios within your regular solos, says Paul Bielatowicz. In this intermediate to advanced lesson he shows how great 7th arpeggios can sound when sweeped. ABILITY RATING
Moderate/Advanced Info
Will improve your
Key: Various Tempo: Various CD: TRACKS 17-35
Chord vocabulary Putting theory into practice Compositional strength
sweep picking arpeggios is a great way to bring excitement into a solo. It looks impressive too, and although it sounds like it must be really hard to do, in truth it’s simply a case of learning the basic approach, choosing some cool shapes to play, and then honing your skills. So let’s dive straight in! Our first arpeggio is the major 7 (1-3-5-7), a tool great for playing over major chord progressions. One feature that distinguishes it from other arpeggios is the interval of a semitone (minor 2nd) between the 7th and root of the chord. This interval should be emphasised as much as possible to create a unique feeling of tension and resolution. Dominant 7 arpeggios (1-3-5-b7) are great for outlining chord tones in a dominant blues
Technique Focus
Using 7th arpeggios
With the exception of the Dim7, 7th arpeggios tend not to be as common as triads when sweep picking. The reason for this is probably due to their interval structure – triads allow for convenient one-note-per-string shapes, while the tone or semitone between the 7th and root note means we usually have to use some legato mid-sweep. I’ve chosen to include four arpeggio shapes in the column – one for each inversion of a 7th chord - but there are many other shapes and variations you could use to play the same notes. I’d recommend finding the shapes that work best for you (these may be different in different situations).
progression. Example 5 demonstrates this approach by arpeggiating every chord. Aside from using dominant 7 arpeggios to mirror the chords there’s a simple but effective trick that will provide you with insistent jazziness. It’s called tritone substitution which, as the name implies, means playing a dominant 7th arpeggio a tritone (or b5/#4) away from the chord in the accompaniment. This creates the illusion of an altered dominant chord and is usually used when the accompaniment is playing a 7th on the V chord of the key (D7 in G major). In this case our tritone substitution for D7 would be Ab7 (bar 12 of Ex. 5).
In truth it’s simply a case of learning the basic approach, choosing some cool shapes to play, and then honing your skills. It doesn’t take long to notice that a minor 7th arpeggio (1-b3-5-b7) is remarkably similar a minor Pentatonic scale (1-b3-4-5-b7). In fact a minor 7 arpeggio is a minor Pentatonic scale with the 4th removed. As this scale is often described as the guitarist’s best friend, this similarity can be extremely useful when we want to slip a minor 7 arpeggio into a solo. For this reason, you should practise your minor Pentatonic scales and minor 7 arpeggios together, so that the next time you’re playing your favourite Pentatonic lick, you’ll be able to move seamlessly into a minor 7 arpeggio run. If you’re a rock or blues player you’d be forgiven for skipping over our next arpeggio and writing it off as something a little too obscure… after all, how many times do we come across songs with containing m7b5 chords at the local pub jam? However, to overlook this arpeggio would be to overlook an entire palette of interesting and useful
sounds you can easily add to your next Pentatonic-based solo. Again, the key to this arpeggio’s usefulness lies in using it as a substitution. When you play a m7b5 arpeggio (1-b3-b5-b7) from the 3rd degree of a dominant chord, it creates the sound of a dominant 9 - G7 (G-B-D-F) plus Bm7b5 (B-D-F-A) equals G9 (G-B-D-F-A). Similarly, when you play a m7b5 arpeggio a minor 3rd below a m7 chord, the result is a m13 chord - Gm7 (G-Bb-D-F) plus Em7b5 (E-G-Bb-D) equals Gm9add11 (G-Bb-D-F-A-E). If this all sounds a bit complex and theory-heavy, fear not: all you need to know is how your m7b5 arpeggio shapes fit with the relevant dominant 7 and minor 7 shapes, so Examples 9 and 10 demonstrate this clearly. Unless you’re completely new to sweep picking, the chances are you’ve come across a diminished 7 arpeggio (1-b3-b5-bb7) before. They’re loved by many, due to the fact that their symmetrical nature (there’s always a minor 3rd between one note and the next) means that you only need to learn one shape to be able to play the arpeggio up and down the neck: simply repeat any diminished 7 lick three frets higher or lower, and you’ll be playing another inversion of the same arpeggio. Good luck, and happy sweeping!
Get The Tone 5
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I prefer not to use lots of gain as I feel it takes away from the hours you’ve spent practising to get clarity and articulation in your playing. So I’d suggest a moderate amount of gain and a warm tone. For the recording I used both humbuckers of my PRS custom 24 and the ‘Classic’ setting on the new BluGuitar Amp 1 going straight into the desk.
Further reading If you’re looking for jaw-dropping examples of sweep picking 7th arpeggios then look no further than Frank Gambale. Frank has forgotten more about the subject than most of us will ever know! Gambale based his entire playing style around the technique, and has put it to good use on each of his dozen solo albums, but for an introduction check out The Great Explorers (1993).
34 GuitarTechniques July 2015
DALE BENVENUTO
7th Arpeggio Sweep Picking
Frank Gambale the great Australian master of sweep picking arpeggios
July 2015 GuitarTechniques 35
play: SWEEP PICKING
ON THE CD
track 17-35
GUITAR TECHNIQUES 2 4 5 Examples SWEEP PICKING GUITAR TECHNIQUES 245
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7th Arpeggio Sweep Picking 2 Title
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10 10 10 10 10
≤≤ ≤≤ ≤
7 7 7 7 7
≤≤ ≤≤ ≤
œœ œœ œ œœ œœœ
9 9 9 9 9
10 10 10 10 10
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤
8 8 8 8 8
10 10 10 10 10
≤≤ ≤≤ ≤
7 7 7 7 7
œœ œœ œ œœ # œ œ œ ## œœ 6œ œ œ œ œœ ## œœ 6 6 6 6
12 12 15 12 15 12 15 12 15 15
12 12 12 15 12 10 14 12 14 12 15 12 14 10 12 14 10 13 10 14 13 10 13 15 15 14 14 12 15 12 12 14 10 12 14 3 10 13 10 14 12 13 15 14 12 15 12 14 10 13 10 12 14 15 14 3 12 14 10 13 10 12 14 15 14 10 13 10 14 12 13 15 14 12 15 3 14 10 13 10 14 15 14 10 13 10 14 13 15 14 10 13 13 10 13 15 15 14 3 Example 5: Dominant Blues 3 Example 5 And here’s how these arpeggios can be used to play over a 12-bar blues progression. In bar 12 there’s an example of a tritone substitution: Example 5: Dominant Blues an Ab7 arpeggio over the D7 chord (see main article text for more info). 7 is played C7 Example 5:GDominant Blues 7 C7 Example 5:GDominant Blues Example 5:GDominant Blues 7 C7 G7 C7 G7 C7
E B E G B E D G B E A E D G B E B A D G G E A D D E A A E E
E B E G B E D G B E A E D G B E B A D G G E A D D E A A E E
E B E G B E D G B E A E D G B E B A D G G E A D D E A A E E
≤≤ ≤≤ ≤
≥ ≥≥ ≥≥
≥ ≥≥ ≥≥
≥ ≥≥ ≥≥
≥ ≥≥ ≥≥
©»¡¢º ©»¡¢º 44 ©»¡¢º & ©»¡¢º ©»¡¢º œ œœ 4 & œ œ 4 œ œ & & & 444 œœ œœœ œœœ œœ œœ œ
1 1 1 1 1
G7 G7 G7 G7 G7
œœ & œœ & & & &
3
œœ œœ
13 13 13 13 13
& & & & &
C7 C7 C7 C7 C7
œ œœ œœ 3 3 3 3 3
≥ ≥≥ ≥≥
œ œœ œœ 7 7 7 7 7
3 3 3 3 3
5 5 5 5 5
≥ ≥ ≥≥ ≥≥ ≥≥ ≥≥ œ nœ œ œœ n œ œ œœ nn œœ œœ nœ œ
15 15 15 15 15
≤≤ ≤≤ ≤
≥ ≥≥ ≥≥
3 3 3 3
5 5 5 5
7 7 7 7 7
≤≤ ≥≥ ≤≤ ≥≥ œ ≤œ ≥
15 15 15 15 15
5
3 3 3 3 3
œ œœ œœ
16 16 16 16 16
≤≤ ≤≤ ≤
œ œœ œœ
3 3 3 3 3
5 5 5 5 5
5 5 5 5 5
≥ ≥≥ ≥≥
≥ ≥≥ ≥≥
5 5 5 5 5
12 12 12 12 12
œ bb œœ œœ b œ œœ bb œœ
4 4 4 4 4
≥ ≥≥ ≥≥
6 6 6 6 6
œ œœ œœ 3 3 3 3 3
≥ ≥≥ ≥ ¢ œ≥ ¢œ ¢œ ¢¢ œ œ
13 13 13 13 13
13 13 13 13 13
≥ ≥≥ ≥≥
5 5 5 5 5
œ œœ œœ
≥ ≥ ≥≥ ≥≥ ≥≥ ≥≥ ¡ œ œœ ¡¡ œœœ œœ œ ¡ œ œœ œœ ¡ œ 16 16 16 16 16
œ œœ œœ
3 3 3 3 3
≤≤ ≤≤ ≤
15 15 15 15 15
≥ ≥ ≤ ≥≥ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ œ bb œœ œœ œœ œœ b œ œœ œ œœ bb œœ œ œœ 3 3 3 3 3
6 6 6 6 6
≥ ≥≥ ≥≥
≤≤ ≤≤ ≤
8 8 8 8 8
6 6 6 6 6
≤≤ ≤≤ ≤
œ œœ œœ 7 7 7 7 7
œ œœ œœ 10 10 10 10 10
œ œœ œœ
≤≤ ≤≤ ≤
10 10 10 10 10
œ œœ œœ 12 12 12 12 12
≤≤ ≤≤ ≤
œ œœ œœ 8 8 8 8 8
≤≤ ≤≤ ≤
œ œœ œœ 9 9 9 9 9
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤
œ œœ œœ 7 7 7 7 7
œ œœ œœ 8 8 8 8 8
≤≤ ≤≤ ≤
œ œœ œœ
10 10 10 10 10
≤≤ ≤≤ ≤
œ œœ œœ
œ œœ œœ
œ œœ œœ
12 12 12 12 12
10 10 10 10 10
12 12 12 12 12
≤≤ ≤≤ ≤
œ œœ œœ 5 5 5 5 5
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤
œ œœ œœ 9 9 9 9 9
≥ ≥≥ ≥≥
≥ ≥≥ ≥≥ œ œœ œœ 8 8 8 8 8
≥ ≥≥ ≥≥
œ œœ œœ 7 7 7 7 7
œ œœ œœ 12 12 12 12 12
≥ ≥≥ ≥≥ œ œœ œœ
œ œœ œœ
≤≤ ≤≤ ≤œ œ œ œ œ bb œœ œ œœ œœ œœ œ œ bœ œ œ œ œ œœ b œ œ œ œ œ œœ œœ œœ œœ œœ bbb œœœ œœœ œœ œ œœ œœ bbb œœœ œœ œœ œœ œœ œœ œœœ œœ œœ œ œ œœ œ œœ œ ≥≥ ≥≥ ≥≥ ≥≥ ≥≥
≥ ≥≥ ≥≥
≥ ≥≥ ≥≥
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤
œ
10 10 10 10 10
9 9 9 9 9
≤≤ ≤≤ ≤ ¡
¡œ ¡œ ¡¡ œœ
œ
¢œ ¢œ ¢œ ¢¢ œœ
10 10 10 10 10
10 10 10 10 10
≥ ≥≥ ≥≥
≥ ≥≥ ≥≥
≥ ≥≥ ≥≥
8 8 8 8 8
10 10 10 10 10
œ œœ œœ 7 7 7 7 7
≤≤ ≤≤ ≤
12 12 12 12 12
8 8 8 8 8
≤≤ ≤≤ ≤
œ œœ œœ 8 8 8 8 8
œ œœ œœ 10 10 10 10 10
œ œœ œœ 7 7 7 7 7
8 8 8 8 8
10 10 10 10 10
12 12 12 12 12
œ œœ œœ 10 10 10 10 10
≥ ≥ ≥≥ ≥≥ ≥≥ ≥≥ œ ¡¡ œœ œœ ¡¡ œ œœ ¡ œœ
10 10 10 10 10
¢œ ¢œ ¢œ ¢¢œ œ
7 7 7 7 7
8 8 8 8 8
≤≤ ≤≤ ≤
9 9 9 9 9
≥ ≥≥ ≥≥ œ œœ œœ
7 7 7 7 7
œ œœ œ
12 12 12 12 12
≥ ≥≥ ≥≥
≤≤ ≤≤ ≤
8 8 8 8 8
11 11 11 11 11
≤≤ ≤≤ ≤
12 12 12 12 12
≤≤ ≤≤ ≤
9 9 9 9 9
12 12 12 12 12
≥ ≥≥ ≥≥
11 11 11 11 11
≥ ≥≥ ≥≥
8 8 8 8 8
15 15 15 15 15
≥ ≥≥ ≥≥
≤≤ ≤≤ ≤
œ œœ œœ
12 12 12 12 12
6 6 6 6 6
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤
8 8 8 8 8
12 12 12 12 12
≥ ≥≥ ≥≥
≥ ≥≥ ≥≥
≤≤ ≤≤ ≤
œ œœ œœ
œ œœ œœ
œ œœ œœ
œ œœ œœ
5 5 5 5 5
3 3 3 3 3
œ œœ œœ
œ œœ œœ
11 11 11 11 11
12 12 12 12 12
3 3 3 3 3
≤≤ ≤≤ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≤≤ ≤≤ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≥ ≥ ≥œ ≤ œ ≤œ b œ ≤ ≤ œ œœ œ b œ œ œ œ œœ œœ œœ œœ œœ œœ bb œœ œœ œœ œœ œœ œœ œœ œœ œ bœ œ œ œ œ
6 6 6 6 6
≤≤ ≤≤ ≤
7 7 7 7 7
≤≤ ≤≤ ≤
œ bœ œœ b œ œœ bbb œœœ 13 13 13 13 13
≤≤ ≤≤ ≤
15 15 15 15 15
4 4 4 4 4
œ œœ œœ 12 12 12 12 12
≤≤ ≤≤ ≤
15 15 15 15 15
15 15 15 15 15
13 13 13 13 13
12 12 12 12 12
œ œœ œœ 5 5 5 5 5
≤≤ ≤≤ œ≤ œœ œœ
12 12 12 12 12
≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≥≥ ≥≥ ≥≥ ≤ ≥ ≥ ≥ July 2015 GuitarTechniques 37
play: SWEEP PICKING
ON THE CD
track 17-35
Examples SWEEP PICKING22-24
TRACKs 22-24
3 3 3
E B E G B D E G A B D E G7 A D E A 7 E 7
E B E G B D E G A B D E G A 9 D E A 9 E 9
nœ œ œ œ œ nœ œ œ œ œ œ œ nœ nœ œ œ œ œ œ œ nœ œ œ nœ & & & G7 G7 G7
œ œ œ
œ œ œ
œ œ œ
œ œ œ
¢œ ¢œ ¢œ
G7
œ¡¡ œ¡ œ
™œ ™ ™œ
™œ £œ ™œ £ ™œ £œ œ
G7 G7
œ¡¡ œ¡
œ œ
15 18 18 18 19 15 19 16 19 15 19 16 19 16 18 18 18 17 15 17 19 15 15 18 19 18 19 16 18 19 16 17 19 16 17 15 19 19 16 19 16 19 16 17 17 15
£ œ¡¡ ™™œ £œ œ¡¡ ™™œ œ œ œ œ œ œ œ¡ ™œ £œœ œ¡ ™œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
19 15
≤ ≤ ≥ ≤ ≤ ≤ ≤ ≥≥ ≤ ≤ ≤ ≤ ≤ ≤
≤ ≤ ≤ œ
17 14
15 17 14 17 15 17 14 15 17 17
≥ ≥ ≥ G7 ¢G7œ ¢G7œ & ¢œ & &
E B E G B D E G A B D E G A 11 D E A 11 E 11
14
15 14 17 15 14 15 17 17
≤ ≤ ≥ ≤ ≤ ≤ ≤ ≥ ≤ ≤ ≤ ≤ ≥ ≤ ≤
14
15
≤ ≤ ≤
≤ ≤ ≤
≥ ≥ ≥ D7 œ D7 # œ œ œœ œ œ œœ œ œ œœ D7 # œ œ œ œ & # œ œ œ œ œ œ œœ œ & &
œ œ #œ œ œ #œ œ œ #œ 17 14
≥ ≤ ≥ ≤ ≥ ≤ œ œ œ ¢ œ œ œ ¢œ œ œ œ ¢œ œ
16
17 15 17 15 15 16 17 17 17 17 15 17 15 15 19 16 17 15 17 17 15 17 19 15 17 17 17 17 19
≥ ≤ ≥ ≤ ≥ ≤
13 10
12 13 10 12 10 9 13 10 12 12 10 12 14 10 8 10 12 9 12 12 10 14 10 8 10 9 12 14 10 8 10
8
7 10
8 7 10 8 7 10
≤ ≤ ≤
17 17 17
12 15
11 8 11 8 11 8
9 9 9
11
8 11
9
9 8 11 9 8 11
11 11
8 8 8
E B E G B D E G A B D E G A 3 D E A 3 E 3
12 15
6 3 6 3 6 3 6 3 6 3 5 3 7 5 6 6 3 5 3 3 6 7 5 3 5 3 6 5 3 6 3 7
6
≥≥≤ ≥≥≤ ≥≥≤ 6 œ œœ œ œ 6 œ œ œ œ b & bb b œ œ œ 6 œœ œœ œ œœ œœ œ œ œ & bb œ œ œ œ œ œ 6 & œ 6 œ œ 6
≤ ≤ ≤
10
≤ ≤ ≤
≥≥≥ ≥ ≥≥≥ ≥ ≥≥≥ ≥
11
10 13 10
7 3
5 3
7 3 5 5 3 6 3 7 3 5 5 3 5 6 3 6 3
≤ ≤ ≤
≤ ≤ ≤
≤ ≤ ≤
œœœ œœœœœœ œœœœœ œœ œ œ œœ œ œ 6 œœ 6
11
10 13 10 12 10 11 11 12 10 12 11 10 13 10 11 12 10 13 10 12 12 13 13 10 12 10 10 13 12 10 12 12 13 10 13 10 13 10 13 13 10 13 13 10 10 13
12
10 12
38 GuitarTechniques July 2015
8
6 10
8 6 10 8 6 10
≤ ≤ ≤ ≤ ≤ ≤
≥ ≥ ≥ œ œ œ
¢œ ¢œ ¢œ
≤ ≥ ≥≤ ≤ ≥≥ ≥≥ ≤ ≤ ≤
œ œ œ 8
œ œ œ
6 6 6
œœ œœ œœ
6 10 6
13 15 13
G7 G7
œ œ œ
15
Ó Ó Ó
15 15 15
œ œ œ
7
8 7 10 7 8 10 8 10
8
10 6 8 8 10 6 10 6
œ œ œ
œ œ œ
œ œ œ
œ œ œ 6 6 6
œ œ œ
œœ œœ œœ
13 15 13 15 12 15 15 15 12 12 15 15 13 15 13 15 15 12 13 12 15 15 12 15 15 13 15 12 13 12 15 12 15 15 12 13 15 13 15 13 13 15 15 13 13
12 15
12 15
≤ ≥≥≥ ≥ ≥ ≥≤ ≤ ≤ ≤ ≤ ≤ ≤ ≥≥ ≥≥ ≥ ≥≥ ≥ ≥≥ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≥ ≥ ≤ ≤ ≤ ≤ ≤ ≤
13 13
œ œ œ
≤ ≤≤ ≤ ≤ ≤≤ ≤≤ ≤≤ ≤
≤ ≤ ≤
6
15
˙ ˙ ˙
G7
≥≥ ≥ ≤ ≥≥ ≥ ≤ ≥≥ ≥ ≤ 6 œ œ œ 66 œœœœœœ œœœœœœ œœœ
8 6 10 6 10 8 6 10 6 8 7 10 10 8 8 10 8 7 10 10 10 8 10 8
7 10
6 6
13
≥ ≥ ≥ œ œ œ
11 13 13 14 11 11 13 11 13 14 11 13 13 11 13 13 11 13 13 13 11 13
≥≥ ≥≥ ≥≥ ≤ ≥≥ ≥≥ ≥≥ ≤ ≥≥ ≥≥ ≥≥ ≤ œœœ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œœ œœ œ œ 6 œ œœ œ œ 6 œ 6
≤ ≤ ≤
6
≤ ≥≥ ≥≥ ≥ ≥≤ ≤ ≤ ≤ ≤ ≤ ≤ ≥ ≥ ≥ ≥ ≥≥ ≥ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≥≥ ≥≥ ≥≤ ≤ ≤ ≤ ≤ ≤
10 10
≤ ≤ ≤
œ œ œ
œ œ œ
12
13
14 11
≥ ≥ ≥ ≥ ≤ ≥ ≤ ≤ ≥≥ ≥ ≤ ≥ ≤ ≤ ≤ ≤ ≥ ≥ ≥ ≥ ≤ ≥ ≤ ≤ ≥≥ ≥ ≤ ≥ ≤ ≤ ≤ ≤ ≥ ≥ ≤ ≥ ≤ ≤ ≥≥ ≥ ≤ ≤ ≤ ≤ Example≥ 6: Individual G Minor 7 ≤Arpeggios ≥ ≥ Example 6 Here we see the four minor 7 arpeggio shapes used in this lesson. Example 6: Individual G Minor 7 Arpeggios 6 6 ©»¶º 6 Example 6: Individual G Minor 7 Arpeggios œ œ œ 6 6 œ œ ©»¶º b 6 44 œ œœ œ œœ œ œ œœ œ œ œœ œ œ 6 œ 6œ œ & bb b ©»¶º 6œ œ œ œ œœ œ œ œœ œœ œ & b b 4 œ œ œœ œ œ œœ œ œ œ 6 œ œ œ œœ œ œ œœ œ œ & 4 œœœœœ œœœœœ œœœœ 6 œ œ œ 6 œ œ 3 6 3 E B E G B D E G A B D E G A 1 D E A 1 E 1
13
≤ ≥ ≥ ≥ ≤ ≤ ≥ ≤ ≥≥ ≥≥ ≥≥ ≤≤ ≤≤ ≥≥ ≤
7 10 7 10
≤ ≤ ≤
≥ ≥ ≥ œ œ œ
12 15 13 12 15 12 15 13 13 13 14 14 12 15 12 15 13 12 15 13 12 15 13 12 15 15 14 14 12 15 15 15 14 12 15 14 12 15 15 12 15
7 10
œ œ œ
bœ œ œ œ œ ¢ œ¢ œœ œœ bb œœ œœ œœ œœ œœ œœ œœ œœ ¢œ œ œ œ œ œ œ
≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ D7 b œ œ nœ œ ¢¢œœ ¢¢ bbDDœœ77 œ b œ b œ œ œ œ b œ œœ œ œ œ œ œ œ œ n œ œœ œ œ n œ œ n œ œ œ œ œ œ œ œ œœ œ œœ œœ ¢œ ¢ b œ œœ bb œœ bb œœ bb œœ œœ œœ œœ b œ œ œœ œœ œœ œœ œ œ nn œœ œ œ œ œœ œ œ bœ œœœ
≤ ≥ ≤ ≥≥ ≤
17
19 15 13 17 19 15 17 19 15 13 19 15 19 15 13
≤ ≤ ≥ ≤ ≤ ≤ ≤ ≥≥ ≤ ≤ ≤ ≤ ≤ ≤
C7 C7
17 14
15 16 16 14 15 17 14 17 14 16 16 14 17 14 17 14 16 16
≤ ≥ ≤ ≥ ≤ ≥
≥ ≤ ≥ ≤ ≤ C≥ 7
19 15
7th Arpeggio Sweep Picking Examples SWEEP PICKING
TRACK 25
4 Title Example 4 4 Title Title7 Here we see how these shapes can be used over a minor 12-bar blues. I’ve purposely kept Example 7 very similar to Example 5, to show how the different arpeggio types are interchangeable, depending on the situation. Example 7: Minor Minor Blues Blues Example Example 7: 7: Minor Blues
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E E E B B B G G G D D D A A A E E E
3 3 3
1 1 1
6 6 6
5 5 5
3 3 3
3 3 3
5 5 5
≤ ≥≥ ≥≥ ≥≥
7 7 7
6 6 6
3 3 3
6 6 6
10 10 10
6 6 6
10 10 10
7 7 7
≤ ≤
≥≥ ≥≥ ≤
≥≥
8 8 8
10 10 10
8 8 8
3 3 3
≤ ≤
≥ ≥ ≥ ≤
œœ œœ œ œœ œœ œœ œœ œœ œœ b œ b œ œ œœ &b œ œ œ œ œ E E E B B B G G G D D D A A A E E E
3 3 3 5 5 5
≥≥
6 6 6
5 5 5
3 3 3
≥≥ ≥≥
5 5 5
4 4 4
3 3 3
6 6 6
8 8 8
6 6 6
8 8 8
8 8 8
5 5 5
≤ ≤
≥≥ ≥≥ ≤
8 8 8
6 6 6
8 8 8
≥≥ ≥≥ ≥≥
œœ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ ¡¡ œœ b b b & G m7 G G m7 m7
E E E B B B G G G D D D A A A E E E
18 18 18 15 15 18 18 18
7 7 7
≤
19 19 19
15 15 15 18 18 18
18 18 18 19 15 15 15 19 19 19 15 15 19 15 15 17 19 19 15 15 15 17 17 17 17 15 15
≤ ≤ ≥ ≤ ≤
≥ ≤
≤ ≥
œœ œœ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ ¢ b œ &b 17 13 13 17 17 13 13 15 15 15 15 15 17 15 14 15 17 14 17 14 17 17 14 17 17 14 17 14 15 17 17 14 15 15 15 15 15 17 17 17 9 9 9
≥≥
≤ ≤ ≥≥ ≤ ≤
≥ ≤
≤ ≥≥
6 6 6
8 8 8
10 10 10
≤ ≤
≤
8 8 8
10 10 10
10 10 10
≥≥ ≥≥
8 8 8
11 11 15 11 11 15 15 11 11
≥≥ ≥≥ ≤
≥≥
7 7 7
6 6 6
8 8 8
10 10 10
6 6 6
≥ ≥ ≥ ≤
3 3 3
6 6 6
7 7 7
≤ ≤
3 3 3
5 5 5
≤
3 3 3
5 5 5
≤
œ œ œ œ œ œœ bb œœ œœ œœ œ œ œœ œœ œœ œœ œ 11 11 11
8 8 8
11 11 11 12 12 12
≤
8 8 8
¡œ
11 11 11 12 12 12
8 8 8
15 15 11 15 11 11
≥≥ ≥≥ ≥ ≤
≤ ≤
11 11 11 13 13 13 13 15 12 15 13 13 15 15 12 12 15 15
≤ ≤
≥≥ ≥ ≥≥
œ œœ ™œœ £œ œœ œœ œœ œœ œ œœ œ œœ œœ œœ œ
15 15 15 17 15 17 15 15 15 17 17 15 15 17 17 17 15 17 17 17 17 17 17 17 17 17 18 17 17 15 15 13 18 18 18 18 18 15 15 18 15 15 13 13
≥ ≤
≤
Dm7 Dm7 Dm7
E E E B B B G G G D D D A A A E E E
10 10 10
≥ ≥ ≥
Cm7 Cm7 Cm7
11 11 11
11 11 11 12 12 12
œ œ œ œœ œœ œœ œ ¡¡ œ ¢ œ œ œœ œœ œ œ œœ œ œ
13 10 10 13 10 13 13 13 10 10 11 10 15 11 15 11 11 15 11 11 10 12 15 15 12 12 10 12 15 15 12 10 12 15 12 15
≤ ≤
≥
8 8 8
≤ ≤
œœ œ œ ¡œ œ ¡ œ ¢œ œ œ œ œ œ œ œœ œ œ b & & bb 15 15 15 13 13 15 15 15
10 10 10 11 11 11
≤
G G m7 G m7 m7
E E E B B B G G G D D D A A A E E E
8 8 8
8 8 8
≤ ≥
≤ ≤ ≥ ≤ ≤
≥ ≤
¢¢ œ œ œ œ œ œ œ œ œ œ ¢ œ œ œ œ œœ œ œ œ œ¢ œœ œ œœ œ
Cm7 Cm7 Cm7
11 11 15 11 11 11 11 15 15 13 13 13 13 13 13 13 13 13 12 15 15 15 12 12 15 12 15 15 12 15 13 12 15 12 15 15 13 13 13 13 15 15 15
≤ ≤ ≥ ≥ ≥ ≤≤ ≤ ≥
≥ ≤ ≥ ≥ ≥ ≤ ≥ ≥ ≤ July 2015 GuitarTechniques 39
play: SWEEP PICKING
ON THE CD
5 Examples SWEEP PICKING 5 5 5 5
bb bbb & & bb & & bb b &
E E B B G E G E D B D B A G E A G E D B E D A G A E D E A E
œœ œœ œ
G m7 G m7 G m7 G m7 G m7
œœ œœ œ
13 13 13 13 13
10 10 10 10 10
œœ œœ œ
œœ œœ œ
11 11 11 11 11
œœ œœ œ
≥≥ ≤≤ ≥≥ ≤≤ ≥ ≤ ©»¶º bb b bb ©»¶º 444 ©»¶º b & & bb bb bb bb ©»¶º 4 ©»¶º & & bb b bb b 444 œœ & 4 œœ œ
œœ œœ œ
3 3 3 3 3
1 1
6 6 6 6 6
≤≤ ≤≤ ≤
1 1 1
bb bbb bb bb & & b b b bb & & bb b bb b &
E E B B G E G E D B D B A G E A G E D B E 3 D A G 3 A E D E 3 A 3 E Example 3 Example
œœ œœ œ
≤≤ ≤≤ ≤
10 10 10 10 10
œœ œœ œ
œœ œœ œ
œœ œœ¢¢ œ¢¢
œ ¡¡œœ ¡¡œœ
¡ ¢ £ ¡
œœ œœ œ
10 10 10 10 10
13 13 13 13 13
10 10 10 10 10
œœ œœ œ
œœ œœ œ
œœ œœ œ
œœ œœ ££œœ ¡¡œœ ££œ ¡¡œ
D m7 D m7 D m7 D m7 D m7
6 6 6 6 6
8 8 8 8 8
œœ œœ œ
œœ œœ œ
13 13 13 13 13
œœ œœ œ
œœ œœ œ
œœ œœ œ
œœ œœ œ
œœ œœ œ
13 13 13 13 13
TRACKs 25-28
10 10 10 10 10
17 17 17 17 17
≥≥ ≥≥ ≥
≤≤ ≤≤ ≤
œœ œœ œ
œœ œœ œ
13 13 13 13 13
œœ œœ œ
15 15 15 15 15
œœ œœ œ
œœ œœ œ
jG m7 œœjGG˙˙m7 jG m7 m7 œœjG˙˙m7 j œ ˙
œœ œœ œ
œœ œœ œ
BU BU
13 13 13 13 13
15 15 15 15 15
ÓÓ ÓÓ Ó
(20) 18BU (20) 18BU
7 10 14 10 14 17 14 17 14 10 14 17 14 17 8 7 10 (20) 18BU 18 ( 20) 13 10 8 10 8 7 10 14 10 14 17 14 17 13 10 8 10 8 7 10 14 10 14 17 14 17 18 ( 20) 11 13 10 8 10 8 7 10 11 14 10 14 17 14 17 13 10 8 10 8 11 13 10 8 10 11 Example 8: Individual Gm7 b 5 Arpeggios 11 Example 8: Individual Gm7 b 5 Arpeggios Example 8 Here are four m7b5 inversions. As already discussed, m7b5 are perhaps most useful when they’re acting as chord substitutions. 6 6 Example 8: Individual Gm7 bb 5 Arpeggios 6 6 Example 8: Individual Gm7 56Arpeggios ¢ ¡ ¢¢ 6 6 £ 6 ¡ 6 6 Example 8: Individual Gm7 b 5 Arpeggios£ ¢ 6 6 ¢
E E B B G E G E D B D B A G E A G E D B E D A G A E D E A E
12 12 12 12 12
œœ œœ œ
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track 17-35
12 12 12 12 12
≤≤ ≤≤ ≤
œœ 66 œœ œœ œœ œœ
œœ œœ œ
3 3 3 3 3
5 5 5 5 5
6
4 4 4 4 4
≥≥ ≥≥ ≥≥ ≥≥ ≥≥ ≥≥ ≥6 ≥ ≥ 6 6 6 œœ 6 œœ œœœ œœ œœ œœ œœ
œœ œœ œ
≤≤ ≤≤ ≤
œœ œœ œ 3 3 3 3 3
≥≥ ≥≥ ≥ œœ œœ œœ œœ œœ 10 10 10 10 10
11 11 11 11 11
12 12 12 12 12
œœ£ œœ££ œ
œ ¢¢œ œ ¢œ œ
≥≥ ≥≥ ≥≥ ≥≥ ≥≥ œœ œœ œœ ¡¡œ ¢œ œ œ¡ ¢œœ œ œ 66 œ
≥≥ ≥≥ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≥≥ ≥≥≤ ≥ œœ œ œ 6 œœ œœ œ œœ 6 œœ œ œ œœ œœœ œœ œœ œœ œ œ œœ
6 6 3 6 3 6 3 66 3 6 6 3 6 3 6 6 3 6 3 6 6 6 3 6 3 6 6
6 6 6 6 6
≥≥ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥≤ œœ œœ œœœ œœ œœ œœ œœ œœ œ œ6 œ
3 3 3 3 3
6 6 6 6 6
≤≤ ≤≤ ≤≤ ≤≤ ≤ ≤ œœ œ œ œœ œœ œœ œ œœ œœ
6 6 6 9 613 9 9 13 9
11 11 11 9 13 9 11 9 13 9 11 11 11 11 9 13 9 11 11
12 12 12 12 12
5 5 5 5 5
≤≤ ≤≤ ≤
œœ œ œœ œœ œ 66 œœ
10 10 10 10 10
6 6 6
11 11 11 11 11
3 3 3 3 3
4 4 4 4 4
≤≤ ≤≤ ≤
œœ œœ œ
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≤≤ ≤≤ ≤
œœ œœ œ 6 6 6 6 6
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤
œœ¡ œœ¡¡ œ¡¡
œœ œœ œ 3 3 3 3 3
6 6 6 6 6
≤≤ ≤≤ ≤ œœ œœ œ
œœ œœ œ
≥≥ ≥≥ ≥
≥≥ ≥≥ ≥
œœ œœ œ
£
9 9 9 9 9
≥≥ ≥≥ ≥
≥≥ ≥≥ ≥ œœ œœ œœ œœ œ 66 œ 6 6 6
E E B B G E G E D B D B A G E A G E D B E D A G A E D E A E
E E B B G E G E D B D B A G E A G E D B E D A G A E D E A E
©»¡∞º ©»¡∞º ©»¡∞º 4 ©»¡∞º & ©»¡∞º & 4444 & & 44 &4
1 1 1 1 1
œœ œœ & & œ & & &
G7 G7 G7 G7 G7
10 10 10 10 10
3 3 3 3 3
≤≤ ≤≤ ≤
œœ œœ œ 7 7 7 7 7
≥≥ ≥≥ ≥ œœ œœ œ 7 7 7 7 7
3 3 3 3 3
œœ œœ œ 8 8 8 8 8
≤≤ ≤≤ ≤
6 6 6 6 6
≥≥ ≥≥ ≥≥ ≥≥ ≥≥
œœ œœ œ 7 7 7 7 7
≤≤ ≤≤ ≤ œœ œœ œ
≤≤ ≤≤ ≤ œœ œœ œ
10 10 10 10 10
7 7 7 7 7
≤≤ ≤≤ ≤
40 GuitarTechniques July 2015
œœ œœ œ
œœ œœ œ 4 4 4 4 4
œœ œœ œ 10 10 10 10 10
≥≥ ≥≥ ≥
≥≥ ≥≥ ≥
7 7 7 7 7
≥≥ ≥≥ ≥ œœ œœ œ 8 8 8 8 8
≥≥ ≥≥ ≥
≥≥ ≥≥ ≥ œœ œœ œ 6 6 6 6 6
≤≤ ≤≤ ≤ œœ œœ œ
≤≤ ≤≤ ≤ œœ œœ œ
3 3 3 3 3
7 7 7 7 7
3 3 3 3 3
≥≥ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≥ ≥ ≤ œœ œœ œœ œ œœ œœ œœ œœ œ œ œ œœ 7 7 7 7 7
10 10 10 10 10
≥≥ ≥≥ ≥
≤≤ ≤≤ ≤
7 7 7 7 7
≤≤ ≤≤ ≤ œœ œœ œ
8 8 8 8 8
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤ œœ œœ œ 6 6 6 6 6
œœ œœ œ 10 10 10 10 10
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤ œœ œœ œ 7 7 7 7 7
≤≤ ≤≤ ≤ œœ œœ œ
≤≤ ≤≤ ≤ œœ œœ œ
7 7 7 7 7
10 10 10 10 10
≥≥ ≥≥ ≥
≤≤ ≤≤ ≤
œœ œœ œ 4 4 4 4 4
œœ œœ œ 8 8 8 8 8
≥≥ ≥≥ ≥
œœ œœ œ 7 7 7 7 7
≥≥ ≥≥ ≥ œœ œœ œ
œœ œœ œ 6 6 6 6 6
≤≤ ≤≤ ≤ œœ œœ œ
≥≥ ≥≥ ≥≥ ≥≥ ≥≥ œœ œœ œ
3 3 3 3 3
7 7 7 7 7
≥≥ ≥≥ ≥≥ ≥≥ B≥m7 bb≥ 5 B m7 5 œ b œ B m7 b 5œ B m7 œœ b 55œœ B m7 œ œœ
7 7 7 7 7
10 10 10 10 10
≥≥ ≥≥ ≥
≤≤ ≤≤ ≤
7 7 7 7 7
œœ œœ œ 10 10 10 10 10
≤≤ ≤≤ ≤
12 12 12 12 12
15 15 15 15 15
15 15 15 15 15
≥≥ ≥≥ ≥≥ ≥≥ ≥≥ œœ œ œ œœ œœ œœ œ œœ œœ 5 5 5 5 5
≤≤ ≤≤ ≤ œœ œœ œ 10 10 10 10 10
≤≤ ≤≤ ≤
6 6 6 6 6
7 7 7 7 7
≤≤ ≤≤ ≤ œœ œœ œ
≤≤ ≤≤ ≤ œœ œœ œ
7 7 7 7 7
10 10 10 10 10
≥≥ ≥≥ ≥
œœ œœ œ
10 10 10 10 10
≥≥ ≥≥ ≥≥ ≥≥ ≥≥ œœ œœ œœœ œœ œœ œœ œœ
10 13 13 10 13 16 13 10 13 9 9 13 10 13 13 15 13 16 9 13 10 13 13 15 13 16 13 10 13 9 13 10 13 9 9 13 10 13 13 15 13 16 9 13 10 13 13 15 13 16 13 10 13 9 9 13between G7 and Bm7 b 5 arpeggios 13 9 13 15 9: Swapping b Swapping G7 arpeggios and Bm7 5can arpeggios Example 9 9: Here we seebetween how m7b5 be played in place of a dominant 7. Bm7 bb 5 Example 9: G7 Swapping between G7 and Bm7 bb 5 arpeggios Bm7 5 Example 9: G7 Swapping between G7 and Bm7 5 arpeggios Bm7 bb 5 Example 9: G7 Swapping between G7 and Bm7 b 5 arpeggios G7 Bm7 5 G7 Bm7 b 5
≤≤ ≥≥ ≥≥ ≤≤ ≥≥ ≥≥ ≤ ≥≥ œœ œœ œœ œœ œ œ
6 6 6 6 6
8 8 8 8 8
10 10 10 10 10
œœ œœ œ
œœ œœ œ
œœ œœ œ
6 œœ ™œœ 6 œœœ¢ ££ ™œ œ¢ œœ ££œ ™™œ œ¢¢ œ™ ¢ 8 8 8 8 8
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤
≥≥ ≥≥ ≥≥ ≥≥ ≥≥ ≥≥ ≥≥ ≥ œœ œ œ œœ œœ œœ œœ œ œœ œœ œœ œ
œœ œœ œœ œœ œ 66 œ
6 6 6 69 6 6 9 6
8 8 8 6 9 6 8 6 9 6 8 8 8 8 6 9 6 8 8
≥≥ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥≤ œœ œœ œœœ œœ œœ œœ œœ œœ œœ œ
6 6 6 6 13615 13 13 15 13
œœ œœ œ
≤≤ ≤≤ ≤
14 14 14 13 15 13 14 13 15 13 14 14 14 14 13 15 13 14 14
≥≥ ≥≥ ≥
œœ œœ œ 4 4 4 4 4
≥≥ ≥≥ ≥ œœ œœ œ 7 7 7 7 7
≤≤ ≤≤ ≤ œœ œœ œ
œœ œœ œ 5 5 5 5 5
6 6 6 6 6
≤≤ ≤≤ ≤
œœ œœ œ
≥≥ ≥≥ ≥
7 7 7 7 7
10 10 10 10 10
œœ œœ œ 7 7 7 7 7
≥≥ ≥≥ ≥
≤≤ ≤≤ ≤
7 7 7 7 7
≤≤ ≤≤ ≤
15 15 15 15 15
≥≥ ≥≥ ≥≥ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≥≥ ≥ ≤ œœ œœ œœœ œœ œœ œœ œœ œœ œ œ œ
10 10 10 10 10
10 10 10 10 10
≤≤ ≤≤ ≤
12 12 12 12 12
5 5 5 5 5
œœ œœ œ 10 10 10 10 10
≤≤ ≤≤ ≤
œœ 6 œ œœ œœ œ œœ
6 6 6 6 6
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œœ œœ œ
≤≤ ≤≤ ≤
8 8 8 8 8
10 10 10 10 10
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤
œœ œ œœ œœ œ 6 œœ 6 6 6 6
15 15 15 15 15
≤≤ ≤≤ ≤ œœ œœ œ 6 6 6 6 6
≤≤ ≤≤ ≤ œœ œœ œ 10 10 10 10 10
≤≤ ≤≤ ≤
œœ œœ œ
16 16 16 16 16
≤≤ ≤≤ ≤ œœ œœ œ 7 7 7 7 7
≤≤ ≤≤ ≤
œœ œœ œ 7 7 7 7 7
œœ œœ œ
8 8 8 8 8
œœ œœ œ 13 13 13 13 13
9 9 9 9 9
≤≤ ≤≤ ≤
œœ œœ œ 6 6 6 6 6
œœ œœ œ
œœ œœ œ
15 15 15 15 15
13
≤≤ 1313 ≤≤ 1313 ≤ œœ œœ œœ œœ œ œ
œœ œœ œ 4 4 4 4 4
7 7 7 7 7
≥≥ ≥≥ ≥ œœ œœ œ
10 10 10 10 10
≥≥ ≥≥ ≥
6 6 6 6 6
≥≥ ≥≥ ≥ œœ œœ œ 10 10 10 10 10
≥≥ ≥≥ ≥
œœ œœ œ 5 5 5 5 5
≥≥ ≥≥ ≥ œœ œœ œ 7 7 7 7 7
≥≥ ≥≥ ≥
7th Arpeggio Sweep Picking 6 Title
6 Title Examples SWEEP PICKING 6 Title 6 Title 6 Title G7 G7 G7 G7 G7
E E B B G E G D B E D A G B E A E D G B E A D G E A D E A E
œœ œœ & & œ & & &
13 13 13 13 13
5 5 5 5 5
≤≤ ≤≤ G7 G7 œœ≤ G7 G7 œœ G7 & & œ & & &
œœ œœ œ
œœ œœ œ
10 10 10 10 10
œœ œœ œ
12 12 12 12 12
œœ œœ œ
≤≤ ≤≤ ≤
œœ œœ œ
œœ œœ œ
œœ œœ œ
œœ œœ œ
12 12 12 12 12
10 10 10 10 10
12 12 12 12 12
≤≤ ≤≤ ≤
≥≥ ≥≥ ≥ œœ œœ œ
œœ œœ œ
œœ œœ œ
TRACKs 28-29
œœ œœ œ
œœ œœ œ
œœ œœ œ
10 10 10 10 10
12 12 12 12 12
œœ œœ œ
13 13 13 13 13
œœ œœ œ
10 10 10 10 10
≥≥ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ œœ≥ œœ≥ œœ ≤œ œœ œœ œœ œœ œ œ œ œœ
12 12 12 12 12
≤≤ ≤≤ ≤
œœ œœ œ
œœ œœ œ
œœ œœ œ
12 12 12 12 12
10 10 10 10 10
12 12 12 12 12
≤≤ ≤≤ ≤ œœ œœ œ
œœ œœ œ
œœ œœ œ
œœ œœ œ
œœ œœ œ
10 10 10 10 10
12 12 12 12 12
13 13 13 13 13
≥≥ ≥≥ ≥≥ ≥≥ ≥≥ b ≥≥ Bm7 b 5 œœ≥ b 55œ≥ œ œœ ≥Bm7 Bm7 b 5œ œ œ œœ Bm7 œ b 5œ œ Bm7 œ œ œœ œœ
œœ œœ œ
E 15 13 13 15 13 E 15 13 15 B 15 13 15 13 15 15 B 15 16 12 16 15 15 16 12 16 15 G E 15 13 13 15 13 G 16 12 16 16 12 16 D B E 15 13 15 13 15 15 15 13 15 D A G B E A 15 13 15 16 12 16 15 13 15 13 15 16 12 16 15 E D G B 16 12 16 16 12 16 E 15 15 15 15 7 A D G7 16 12 16 16 12 16 E A D E 7 A E 7 Example 10: Swapping between Gm7 and Em7b5 arpeggios Example 10: Swapping between Gm7 and Em7b5 arpeggios 7
B m7 bb 5 B m7 5 B m7 b 5 B m7 b 5 B m7 b 5
œœ œœ œ
13 13 13 13 13
17 17 17 17 17
13 13 13 13 13
œœ œœ œ
15 15 15 15 15
≤≤ ≤≤ ≤
16 16 16 16 16
œœ œœ œ
œœ œœ œ
10 10 10 10 10
œœ œœ œ 14 14 14 14 14
œœ œœ œ
12 12 12 12 12
œœ œœ œ 16 16 16 16 16
œœ œœ œ
14 14 14 14 14
≤≤ ≤≤ ≤ œœ œœ œ
15 15 15 15 15
10 10 10 10 10
12 12 12 12 12
14 14 14 14 14
≤≤ ≤≤ œœ≤ œœ œ
≥≥ ≥≥ ≥ ≥ œœ œ ≥≥œ ≥≥ œœ œœ œ œœ œ œœ œœ œœ œ œ
13 13 13 13 13
17 17 17 17 17
13 13 13 13 13
15 15 15 15 15
E E B B G E G D B E D A G B E A E D G B E A D G E A D E A E
E E B B G E G D B E D A G B E A E D G B E A D G E A D E A E
6 6 6 6 6
1 1 1 1 1
≥≥ ≥≥ Gm7 ≥ Gm7 œœ œ Gm7 œ b Gm7 œ b œ b & & bb bb Gm7œœ œœ & bb & &b 10 10 10 10 10
3 3 3 3 3
≤≤ ≤≤ G m7 ≤œ G m7 œ G m7 G m7 œ b bb bb G m7œœ & & bb & bb & &b 13 13 13 13 13
5 5 5 5 5
≤≤ ≤≤ ≤
6 6 6 6 6
œœ œœ œ 10 10 10 10 10
3 3 3 3 3
6 6 6 6 6
œœ œœ œ 8 8 8 8 8
≤≤ ≤≤ ≤ œœ œœ œ
11 11 11 11 11
≤≤ ≤≤ ≤
3 3 3 3 3
7 7 7 7 7
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤ œœ œœ œ
10 10 10 10 10
≤≤ ≤≤ ≤
œœ œœ œ 7 7 7 7 7
7 7 7 7 7
≥≥ ≥≥ ≥ œœ œœ œ 10 10 10 10 10
≥≥ ≥≥ ≥
œœ œœ œ
œœ œœ œ
œœ œœ œ
12 12 12 12 12
10 10 10 10 10
12 12 12 12 12
≤≤ ≤≤ ≤
≥≥ ≥≥ ≥
3 3 3 3 3
6 6 6 6 6
6 6 6 6 6
≥≥ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≥ ≥ ≤ œœ œœ œœœ œœ œœ œœ œ œ 6 6 6 6 6
8 8 8 8 8
10 10 10 10 10
≥≥ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≥ ≥ ≤ œœ œœ œœœ œœ œœ œœ œœ œœ œ œ œ 11 11 11 11 11
≥≥ ≥≥ ≥
10 10 10 10 10
13 13 13 13 13
≥≥ ≥≥ ≥
≤≤ ≤≤ ≤
10 10 10 10 10
3 3 3 3 3
6 6 6 6 6
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤ œœ œœ œ
œœ œœ œ 6 6 6 6 6
œœ œœ œ
8 8 8 8 8
œœ œœ œ 11 11 11 11 11
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤
3 3 3 3 3
7 7 7 7 7
12 12 12 12 12
≤≤ ≤≤ ≤
≥≥ ≥≥ ≥
œœ œœ œ
10 10 10 10 10
œœ œœ œ
7 7 7 7 7
≤≤ ≤≤ ≤
7 7 7 7 7
œœ œœ œ 10 10 10 10 10
6 6 6 6 6
≥≥ ≥≥ ≥ œœ œœ œ 8 8 8 8 8
œœ œœ œ
≥≥ ≥≥ ≥≥ ≥≥ ≥ ≥ œœ œœ œœœ œœ œœ œœ œ œ
10 10 10 10 10
12 12 12 12 12
≥≥ ≥≥ ≥
11 11 11 11 11
≥≥ ≥≥ ≥
3 3 3 3 3
6 6 6 6 6
≥≥ ≥≥ ≥ œœ œœ œ
≤≤ ≤≤ ≤
3 3 3 3 3
5 5 5 5 5
E m7 bb 5 E m7 5 E m7 b 5 E m7 b 5 E m7 b 5
6 6 6 6 6
œœ œœ œ
10 10 10 10 10
≥≥ ≤≤ ≥≥ ≤≤ b5 ≥ EEnm7 m7 b≤5 œ œ bb 55œœ Enm7 Enm7 œœ b 5œ Enm7 n œ œœ
10 10 10 10 10
12 12 12 12 12
≥≥ ≥≥ ≥
≤≤ ≤≤ ≤
10 10 10 10 10
œœ œœ œ
≤≤ ≤≤ ≤
6 6 6 6 6
≤≤ ≤≤ ≤
œœ n œ œœ nn œœ œ nn œœ 8 8 8 8 8
œœ œœ œ 11 11 11 11 11
≤≤ ≤≤ ≤
3 3 3 3 3
7 7 7 7 7
9 9 9 9 9
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤
œœ n œ œœ nn œœ œ nn œœ 12 12 12 12 12
≤≤ ≤≤ ≤
9 9 9 9 9
7 7 7 7 7
≥≥ ≥≥ ≥
œœ œœ œ
10 10 10 10 10
13 13 13 13 13
≥≥ ≥≥ ≥ œœ œœ œ
≤≤ ≤≤ ≤ œœ œœ œ
16 16 16 16 16
≤≤ ≤≤ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≤≤ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≤≤ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≤≤ ≤≤ ≤≤ ≤≤ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≤≤ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≤≤ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≤≤ ≤≤ ≥a m7b5 ≥ ≥the≥effect≤ of a dominant ≤ ≤ E m79bb≥5or≥minor ≥ 13≤ chord. ≤ ≤ ≥ substitution ≤ ≤ ≤ to create ≤AndSwapping ≤m7≤ using ≥ Gm7 Example 1010: here’s G Example between and Em7b5 arpeggios ©»¡∞º G m7 E m7 5 ©»¡∞º Example 10: Swapping between Gm7 and Em7b5 arpeggios œ œ œ œœ arpeggios œ œœ between œ œœ œœ œ œ œœ œœ EE m7 œ bb 55œœ nn œœ œ œ œœ G m7 Example 10: ©»¡∞º œœ œ Gm7 œand œœEm7b5 bb Swapping 4 G m7 m7 ©»¡∞º œ œ œ œ b œ œ œ œ 4 & b b 44 G m7œ œœ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œœ E m7œœ b 5œœ n œ œœ œœ œœ œ &©»¡∞º bb bb 4 œ œ œœ œ œœ œ œœ œ œ œ œœ œ œœ œ œœ œ œ œ nn œœ œ œœ œ œœ & œ œ œ œ œ œ œ œ œ & & b 44 E E B B G E G D B E D A G B E A E D G B E A D G E A D E A E
œœ œœ œ
œœ œœ œ
œœ œœ œ
œœ œœ œ
5 5 5 5 5
14 14 14 14 14
10 10 10 10 10
œœ œœ œ 3 3 3 3 3
6 6 6 6 6
œœ œœ œ
≤≤ ≤≤ ≤ œœ œœ œ
7 7 7 7 7
9 9 9 9 9
6 6 6 6 6
10 10 10 10 10
≥≥ ≥≥ ≥≥ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≥ ≥ ≥ œ≤ œœ œœ œœœ œœ œœ œœ œœ œœ œ œ 12 12 12 12 12
≥≥ ≥≥ ≥
11 11 11 11 11
≥≥ ≥≥ ≥
≤≤ ≤≤ ≤
10 10 10 10 10
12 12 12 12 12
≥≥ ≥≥ ≥
≤≤ ≤≤ ≤
œœ œœ œ 6 6 6 6 6
œœ œœ œ 10 10 10 10 10
14 14 14 14 14
10 10 10 10 10
≤≤ ≤≤j œœ≤j ˙˙ j œj ˙˙ œj ˙
œœ œœ œ 14 14 14 14 14
≥≥ ≥≥ ≥
œœ œœ œ 12 12 12 12 12
≥≥ ≥≥ ≥
œœ œœ œ 10 10 10 10 10
≥≥ ≥≥ ≥
ÓÓ ÓÓ Ó
BU BU
17 ((19 )) 17BU19
13 13 13 13 13
3 3 3 3 3
œœ œœ œ
œ
BU
17 (19 ) BU 17 (19 ) 17 (19 )
≥≥ ≥≥ ≥≥ ≥≥ ≥ ≥ œœ œ œ œœ œœ œœ œ œœ œœ
≥≥ ≥≥ ≥≥ ≥≥ ≥ ≥ œœ œœ œœœ œœ œœ œœ œ œ 8 8 8 8 8
œœ œœ œ
15 15 15 15 15
œœ œœ œ
12 12 12 12 12
œœ œœ œ
16 16 16 16 16
≥≥ ≥≥ ≥
œœ œœ œ
5 5 5 5 5
≤≤ ≤≤ ≤ œœ œœ œ 8 8 8 8 8
≤≤ ≤≤ ≤ œœ œœ œ 11 11 11 11 11
≤≤ ≤≤ ≤
≤≤ ≤ ≤ ≤
œœ œœ œ
œœ œœ œ
œœ œœ œ
7 7 7 7 7
3 3 3 3 3
œœ œœ œ
œœ œœ œ
œœ œœ œ
9 9 9 9 9
7 7 7 7 7
9 9 9 9 9
≤≤ ≤≤ ≤
≤≤ ≤≤ ≤ œœ œœ œ
12 12 12 12 12
≤≤ ≤≤ ≤
œœ œœ œ 9 9 9 9 9
7 7 7 7 7
≥≥ ≥≥ ≥
≥≥ ≥≥ ≥ œœ œœ œ 12 12 12 12 12
≥≥ ≥≥ ≥
œœ œœ œ 5 5 5 5 5
≥≥ ≥≥ ≥ œœ œœ œ 8 8 8 8 8
≥≥ ≥≥ ≥ œœ œœ œ 11 11 11 11 11
≥≥ ≥≥ ≥
œœ œœ œ 3 3 3 3 3
≥≥ ≥≥ ≥ œœ œœ œ 6 6 6 6 6
≥≥ ≥≥ ≥ œœ œœ œ 10 10 10 10 10
≥≥ ≥≥ ≥
July 2015 GuitarTechniques 41
play: SWEEP PICKING
ON THE CD
Examples SWEEP PICKING 7 7 7 7 7
b bb & & bb b & b &b
œœ œœ œ œ G m7 œ œ G m7 G m7 G m7 m7 G
œœ œ œ
œœ œ œ
15 15 15 15
13 13 15 15 15 12 13 13 15 12 15 15 15 12 12 15 15 13 15 15 12
E E B B G E E G D B B D A G G A E D D E 7 B A A 7 G E E D 7 A 7 E Example 7 Example
TRACKs 29-32
œœ œ œ
œœ œ œ
œœ œ œ
œœ œ œ
œœ œ œ
track 17-35
œœ œ œ
13 15 15 13 15 15 15 13 15 13 15 15 15 15 15 15 13 15 15 15
œœ œ œ
œœ œ œ
œœ œ œ
œœ œ œ
13 13 15 15 15 12 13 13 15 12 15 15 15 12 12 15 13 15 15 12
E m7 bb 5 E m7 5 E m7 m7 b 5 5 E
œœ n œ œ nœ E m7 bn5œ œ nœ
œœ œ œ
œœ œ œ
13 15 13 15 15 13 13 15 15 15 15 15 13 15 15
œœ œ œ
œœ œ œ
œœ œ œ
15 15 15 15
12 12 15 15 15 12 12 12 15 12 15 15 15 12 12 15 15 12 15 15 12
œœ œ œ
œœ œ œ
œœ œ œ
œœ œ œ
œœ œ œ
12 15 15 12 15 15 15 12 15 12 15 15 15 15 15 15 12 15 15 15
œœ œ œ
œœ œ œ
œœ œ œ
œœ œ œ
œœ œ œ
12 12 15 15 15 12 12 12 15 12 15 15 15 12 12 15 12 15 15 12
˙˙ ˙ Gm ˙ ÓÓ Ó Ó Gm Gm Gm m G
œœ œ œ
12 15 12 15 15 12 12 15 15 15 15 15 12 15 15
15 15 15 15 15
≤≤ ≤≤ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≤≤ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≤≤ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≤≤ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≥ ≥ 7 ≥Arpeggios ≤ ≤ ≤ ≥≥ ≥ ≤ ≤ ≤ ≥ ≥ ≥ ≤ ≤ ≤ ≥ ≥ ≥ ≤ ≤ ≤ G≤Diminished 11: Individual Gshifting Diminished 7 Arpeggios7 arpeggio three frets at a time results in different inversions of the same chord. Example 11 Here11: weIndividual see how a≥ diminished ≤ ≤ ≥ ≤ ≥ ≤ ≤ ≤ ≥6 ≥ ≥ ≤ ≤ ≤ 66 ≥ ≥ ≥ ≤ ≤ b≤œ ≥ ≥ ≥ 66 ≤ Example 11: ©»¶º 6G Example 11: Individual Individual G Diminished Diminished 7 7 Arpeggios Arpeggios 6 bœ bœ bœ œ ©»¶º 6 œ 6 6 Example 11: Individual œ bb œœ œœ œœ œœ œ 66 bb œœ bb7œœArpeggios bb œœ bb œœ œœ bb œœ b œ œœ œœ œœ œœ œ66 4 6 G Diminished ©»¶º 6 b œ b œ & 44 &©»¶º bb œœ6bb œœ œœ bb œœ b œ b œ œ 6b œ œ œ œ œœ œœ6 œœ œœ œ bb œœ bb œœ6 œœ bb œœ b œ b œ œ b œ 6b œ œ œ œ œ œœ6 œœ œœ œœ b œ 4 b œ b œ œ œ œ œ œ œ œ œ bœ & 44 œ b œ b œ b œ œ b œ b œ œ 6 œ œ œ œ œ œ œ œ b œ b œ b œ œ b œ b œ œ 6 œ œ œ œ œ bœ bœ œ bœ œ œ œ bœ 6 6 6 6 & 4 œ bœ bœ bœ œ bœ œ b œ œ bœ 3 6 3 66 9 6 b œ œ b œ 3 6 3 6 9 6 6 5 5 8 8 œ œ 5 5 6 3 8 9 6 3 6 6 9 8 E E B B G E E G D B B D A G G A E D D E 1 B A 1 A G E E D 1 A 1 E 1
3 3 3 3
≤≤ ≤3 ≤ & & & &
E E B B G E E G D B B D A G G A E D D E 3 B A 3 A G E E D 3 A 3 Example E Example 3
6 6 6
5 5
3 3
6 6
3 3
3
6
3
≥≥ ≥≥3 6 ≥≥5 ≥≥ ≤≤ ≥ ≥ ≥≥ ≤ ≥ ≥ ≥b œ≥b œ≤ bœ bb œœ œœ bb œœ bb œœ b œ 6 6 b œ œœ bb6œœ b œ b œ œ b œ b œ b œ œ b œ bb œœ b œ œ b œ 66 6 6 œ bœ 9 12 ≥≥ ≥4 ≥66
≥≥ ≥6 ≥
bb œœ bb œœ bœ bœ bœ bœ
3 3 3
5 7 5 7 5 5 7 7 5 7
4 4 4 4
6 6 6 6
œœ œ œ
5 5 5
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9 9 9 9
6 6 6 6
9 9 9 9
8 8 8 8
6 6 6 6
12 12 12 12
9 9 9 9
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11 11 12 12 11 11 12 12 11 12
≤≤ ≥≥ ≤≤5 ≤≤6 3 ≥≥6 ≥≥5 ≥≥ ≤≤ ≤≤8 ≤≤9 6 ≥≥9 ≥≥8 ≥≥ ≤≤ ≤ ≥ ≤ ≤ ≥≥≥ ≤ ≤ ≤ ≥≥≥ ≤ 13: Diminished 7 Arpeggio Sequence 13: Diminished 7 Arpeggio Sequence ≤ ≥ ≤ ≥ ≥ ≤ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ©»¡∞º Example 13: Diminished Diminished 7 7 Arpeggio Arpeggio Sequence Sequence Example 13: Example 13:©»¡∞º Here’s bbaœ nice diminished 7 arpeggio sequence, grouped in fours. œ œ œ œ œœ Sequence Example 413:bDiminished œ b œ œœ œ œ œ œ ©»¡∞º œ œ œœ b7œArpeggio & & 444 b œ œ œ bb œœ œ œ œœ bb œœ œ œœ œœ œœ œœ œœ œœ œœ bb œœ ©»¡∞º & 44 œ œ bœ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ &4 6 3 œ bœ 3 6 3 5 3 5 5 E E B B G E E G D B B D A G G A E D D E 1 B A A 1 G E E D 81 Title A 1 E 1
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Example 14: Final Piece using all Arpeggios from the Column 42 GuitarTechniques July 2015
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9 9 9 9
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8 8 10 8 8 10 10 covered in10 the
7 7 7 7
Example 14 This example combines all the arpeggios lesson. The solo starts with an ascending B7 sequence (bars 1-4), which Example 14:same Final idea Pieceusing using an all Arpeggios from the Column is followed by the Em7 arpeggio (bars 5-6). All the Example 14: Final Piece using all Arpeggios from the Column
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2 2 2 2
4 4 4 4
12 12 12 12
4 4 4 4
4 4 4 4
14 14 14 14
5 5 5 5
7 7 7 7
8 8 8 8
4 4 4 4
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12 12 12 12
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11 11 11 11
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15 15 15 15
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15 15 15 15
16 16 16 16
12 12 12 12
16 16 16 16
15 15 15 15
11 11 11 11
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14 17 13 16 14 17 13 14 17 16 14 14 17 17 13 14 17 16 16 13 14 17 17 14
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TRACK 34
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Ó Sweep Picking 7th Arpeggio
the chord progression with the exception of D#dim7 arpeggios being played over the B7 chords (bars 8 and 11) and a C#m7b5 being substituted for an Em7 chord in bar 9.
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14 14
≥≥ July 2015 GuitarTechniques 43
play: classical
ON THE CD
tracks 36-37
Saint-Saëns Aquarium
This month Bridget Mermikides arranges and transcribes a fantastic piece by a brilliant composer never before featured in our Classical series.
ABILITY RATING
Moderate/Advanced Info
Will improve your
Key: A minor Tempo: 80 bpm CD: TRACKS 36-37
Picking hand arpeggios Shifting chromatic 3rds & 6ths Chord shape recognition
Charles-Camille Saint-Saëns (1835-1921) was a French childhood prodigy, composer, pianist, organist and conductor, who composed a dozen operas and many other well respected works including piano concertos, cello concertos, orchestral, solo piano, chamber and vocal pieces. He was also a highly regarded music teacher whose students included Gabriel Fauré (whose amazing Pavane I arranged in GT203), and whose student in turn was none other than Maurice Ravel (GT198), and so Saint-Saëns stands as a leading figure in French Romanticism. Here I’ve selected a piece from his ever popular Carnival Of The Animals. Composed in 1886, this 14-movement work was only intended as a piece of fun and - as Saint-Saëns wrote - a whimsical distraction from when he should have been writing his third Symphony. Each movement represents a different animal – or group of animals – and is full of humour, clever musical allusions to other works and infectious fun and ingenuity. Since Saint-Saëns didn’t compose the set with public performance aspirations, the instrumentation of the whole set – which differs between movements and uses some unusual combinations - is not particularly practical, and so a large number of arrangements and reworkings exist. Despite its ad hoc
and unambitious nature, the set of works (both individually and collectively) remains very popular and well-known to this day. Here I’ve arranged movement 7, the beguiling Aquarium which depicts a mesmerising lit aquarium of tropical fish. It was originally scored for the unusual ensemble of flute, two pianos, violin, viola, cello and the glass harmonica (an amazing sounding instrument which can be thought of as a sort of mechanised way of playing multiple tuned wine glasses), but various arrangements exist (including orchestral, solo piano and an extraordinary surf guitar version by Dick Dale of Miserlou fame). The
Plucking the strings In classical guitar playing, we have two ways of plucking the strings; rest stroke (sometimes refered to as apoyando) where the string is plucked by push of the finger or thumb which then rests on the adjacent string, and free stroke (also known as tirando) where the finger plucks free of the next string. Rest stroke gives a warmer fuller tone and is used for single line melodies, to help a melody stand out from an accompaniment, or to accent or emphasise a single note. Here we are using reststroke to drag through adjacent strings which is a special technique in classical guitar playing.
instruments are arranged in a glistening web of harp-like glisses through exotic harmonies, while the flute and strings play an enchanting melody. Quite satisfyingly, I’ve kept the original key of A minor, and to emulate the harp-like sound I’ve adopted a technique called a rake (or in classical guitar terminology a plucking-hand harp or gliss) to run through the strings rapidly. This is explained in the tab captions which will also help you through the trickier sections of the piece. Take your time with this, as the techniques you learn are transportable to other pieces, as well as allowing you to play this magical work. The main material in this arrangement aims to emulate the under-water like rippling arpeggios played on the pianos. It’s impossible to use the notation in exactly the same way as the original score but I have used a guitar technique that gives a similar effect while maintaining the correct harmonic changes and hopefully capturing the mood.
Charles-Camille Saint-Saëns
NEXT MONTH: Bridget arranges Parry and Blake’s Jerusalem
Track record There are many fine recordings, but the London Sinfonietta recording of Carnival Of The Animals under Charles Dutoit (1990, Decca) is excellent, and you can hear all the other 13 movements including the beautiful The Swan. And if you ever find yourself at Disneyland, have a go on the Space Mountain ride, where the background music is the great Dick Dale’s surf rendition.
44 GuitarTechniques July 2015
Saint-Saëns Aquarium PLAYING TIPS
cd track 37
[Bars 1-7] Start by placing the chord down then plant the plucking thumb needs to be very controlled. If you find it uneven and bumpy SLOW DOWN! and fingers onto the correct strings. Pluck the first four notes (free stroke) Do not try to play it quickly until you have complete control of the fingers then repeat the top string with the first finger and play it rest stroke. Drag and thumb with a consistent tone and volume on every note. This may take back with repeated unbroken rest strokes a good few sessions if you’ve not done it before. The fingering indicated for GUITAR TECHNIQUES MAGAZINE 2 4so 5 the finger never loses contact AQUARIUM _ Saint Saens withGUITAR the strings. This is indicated as a ‘rake’ the first two chords provides a seamless transition from Am to F7/C. When TECHNIQUES MAGAZINE 2 4 5in the score. Some classical arr._BSaint Mermikides AQUARIUM guitarists callTECHNIQUES it a gliss or harp arpeggio.2On the fourth string we need to Saens we reach the Dm in bar 2 we have to jump to it - use a slight pause on the GUITAR MAGAZINE 4 GUITAR TECHNIQUES MAGAZINE 2 45 5 arr. B Mermikides AQUARIUM _ Saint Saint Saens switch to free stroke so as not to obstruct needs to play Saens open D to give you time to get the chord in place. This pausing on the bass AQUARIUM _ GUITAR TECHNIQUES MAGAZINE 2 4the 5 thumb, which arr. B Mermikides AQUARIUM Saens arr._BSaint Mermikides the next bass note. note can be used throughout the piece where chord changes are tricky. Am This eight-note pattern makesFup 7/Ca lot of the piece and Am/C F 7/C
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9 9 9 9 9
10 10 10 10 10 10 10 10 10 10
July 2015 GuitarTechniques 45
play: classical
ON THE CD
tracks 36-37
PLAYING TIPS
cd track 37
[Bar 8] Here the arpeggio figure is across all six strings. This time rake (rest stroke) with the thumb for the first three notes then switch to free stroke 2 xxxxxxxxxx fingers on the second and third strings, and the third finger of the picking hand for the rake. The last note on the fifth string needs to be free stroke
G
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46 GuitarTechniques July 2015
7
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3
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so as not to obstruct the thumb on the start of the next bass note. Again, aim for control and even tone and volume. At bar 9 we get the descending diminished arpeggios over a pedal E bass. Follow the picking hand finger exactly.
4
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3
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Saint-Saëns Aquarium PLAYING TIPS
cd track 37
[Bar 13-24] Here we start over again and the first section is repeated. Remember to follow the same guidelines as before - ‘pausing’ the bass note
and letting it hang over on particularly tricky position shifts, and always aiming for a clear and even tone and volume.
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July 2015 GuitarTechniques 47
play: classical
ON THE CD
tracks 36-37
PLAYING TIPS
cd track 37
4 xxxxxxxxxx
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48 GuitarTechniques July 2015
4
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7
6
6
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3
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2
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Saint-Saëns Aquarium PLAYING TIPS
cd track 37
[Bars 25] At 25 we have the same picking hand pattern as the beginning but new chords and at bar 29 we land on a C major chord followed by a 5 rapidly ascending legato scale. I have not added fretting hand fingering to
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this because some people favour first, third and fourth fingers on upwards three-note slurs, while some prefer first, second and fourth. Both are fine. Just make sure you keep that tone controlled and even.
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July 2015 GuitarTechniques 49
play: classical
ON THE CD
tracks 36-37
PLAYING TIPS
cd track 37
[Bar 35] Here we have the descending chromatic scale in 3rds then in 6ths – with fretting hand fingering indicated. At bar 38 I use a 2nd-fret barre until shift to the 9th position, then a barre for one semiquaver only at 6 the xxxxxxxxxx the 9th fret (fourth semiquaver of beat 2) and no barre at all from the 12th-
œ
fret harmonic A onwards. This is a very technique specific piece and can be practiced as an excellent technical workout – the plus side being you end up with a lush sounding performance piece that’s sure to delight and impress your friends. Have fun!
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50 GuitarTechniques July 2015
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Learning Zone LESSONS GT245 30-MINUTE LICKBAG . ..................................... 52 Pat Heath has six more cool licks at easy, intermediate and advanced levels.
Blues. ................................................................................................ 5 4
Les Davidson on the style of Stevie Ray’s illustrious brother, Jimmie Vaughan.
Rock .. ................................................................................................. 58
Martin Cooper goes psychedelic in the style of classic late 1960s rock outfit Steppenwolf.
video. ................................................................................................ 6 2
Guitarist extraordinaire Carl Verheyen in the sixth of his series of video masterclasses!
creative rock.......................................................... 70
Shaun Baxter will make you a better guitarist with his string-pair cell exercises.
CHOPS SHOP. ..................................................................... 74
Andy Saphir has some more arpeggios to add backbone and colour to your soloing.
BRITISH R&b........................................................................ 76
A COUPLE OF guitar buddies recently remarked that they had reverted to some foundational practice. One area mentioned was full fretboard mapping of Pentatonics in keys like Bbm and Abm. They’re now well on their way to converting weaknesses into a strength; useful too as both play in Top 40 bands with songs in almost every key. For many GT tutors, Pentatonic shapes in all keys, all over the fretboard is one of numerous fundamentals developed within the first years of studying. It’s a narrow topic that can be developed to a very competent level over a period of six months or so; five shapes, all over the fretboard in a different key each week, then repeated for consolidation. Sadly though, many guitarists never reach this level. Almost coincidentally, Mark Tremonti recently remarked: “When I do guitar clinics, 90 percent of the people I meet don’t know all five shapes... and they’re crucial.” This lack of Pentatonic skill is rather concerning, especially for developing and maintaining improvisational skills; 90% of guitarists he’s met don’t know all five shapes in even one key, let alone in all keys! In our experience, this isn’t typical of GT readers as we’ve featured plenty of Pentatonic articles that have been appreciated via letters, emails and Facebook
postings. Keep them coming! Another area that my mates had been looking into is versatility with arpeggios using bigger shapes and different inversions. They sound like they’re doing well (eg Bb major arpeggio, up and down two octaves in various fretboard areas) but I have heartily advised them to buy this issue to boost their arp abilities even further. While there are plenty of tips and information crammed into this issue’s pages, the arpeggio equivalent of Popeye’s ‘spinach power boost’ can be found in Paul Bielatowicz’s 7th arpeggio article (pg 34-43) and Chops Shop by Andy Saphir (pg 74-75). Paul’s article may look daunting but tackle just a couple of arpeggios each day and it won’t take long to memorise some very useful shapes indeed. As for Andy’s article, the variations for playing the same arpeggio notes should prove involving and fascinating. So, get stuck in and empower the areas that many guitarists avoid. Oh, and for my guitar buddies; keep woodshedding as the musical payoff will come, whether by (metaphorical) first or second class post!
Who’s better, who’s best? Pete Townshend, of course, says Phil Capone.
JAZZ. ...................................................................................................... 8 2
John Wheatcroft looks at two incredible jazz guitarists: Bucky and John Pizzarelli.
acoustic.................................................................................. 8 8
Stuart Ryan on the acoustic style of the not so quiet Beatle, George Harrison.
reading music......................................................... 92
Charlie Griffiths explains tempos, tempo changes and a whole lot more!
On video! Join the incred
ible Carl Verheyen as he continues his superb masterclass series. Page 62
July 2015 GuitarTechniques 51
lesson: 30-Minute Lickbag
30-Minute Lickbag Pat Heath of BIMM Brighton brings you varied selection of fresh licks to learn, at easy, intermediate and advanced levels. GUITAR TECHNIQUES MAGAZINE 2 4 5
Brought to you by...
Pat Heath's LICK BAG
Easy Licks Example 1 Duane Allman
cd track 38
GUITAR TECHNIQUES MAGAZINE 2 4 idea 5 Lick 1 Duane style Try this Duane AllmanAllman style major Pentatonic moving between the second first fingers, with the thumb playing the root notes using a short, sharp attack. GUITAR TECHNIQUES MAGAZINE 245 Pat Heath's LICKand BAG Pat Heath's LICK BAG GUITAR TECHNIQUES MAGAZINE 2 4 5 j Allman style jPat Heath's LICK BAG j Lick 1 Duane
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cd track 39
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cd track 41
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cd track 42
2 xxxxxxxxxx xxxxxxxxxx Reminiscent of the 250s-60s hard bop jazz style, this idea uses a picked arpeggio and some tricky quartal harmony rhythm playing. Lick 5
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Advanced Licks Example 6 John Petrucci Chromatic
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July 2015 GuitarTechniques 53
lesson: blues
Jimmie Vaughan
ON THE CD
tracks 44-47
Brought to you by...
Les Davidson examines a blues player who’s tasteful, restrained and the real deal – the one and only Texan Titan, Jimmie Vaughan. I bought every blues record I could find, it wasn’t just one or two people. I always wanted to play music and have it be my career.
Jimmie Vaughan
I haven’t used a capo for our examples but both of them make good use of open strings. There are many ways to build up to the required tempo but for these examples, as they are not overly fast or frantic, I’d suggest you attempt to play them at full tempo, even if you can only manage the first couple of bars at first. This way we’re making progress by expanding the duration of an idea rather than playing an entire phrase at a fraction of the desired speed. Picking is down up down up unless otherwise stated but Jimmie sometimes uses just his first and second fingers in upstrokes to get the authentic tone of the blues masters . NEXT MONTH: Les checks out the playing of the rather splendid John Mayer
Get The Tone 4
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Jimmie is mainly a Strat man but has sometimes been seen playing a Gretsch G400 JV Signature guitar. He has a collection of Fenders including a Signature Fender Tex Mex Model. Jimmie had seen both Jimi Hendrix and Buddy Guy play Strats, and unsurprisingly that was what he had to have. He got his first one for about $175 in the late-60s, a maple neck ‘58 and has cultivated his style and sound mainly around Strats ever since. He also supported Jimi Hendrix in Fort Worth Dallas in 1969. Jimmie likes to use a Fender Bassman amp, but has been seen playing both Matchless and a Grammatico (modelled on a Bassman). For the audio examples I’m using a maple neck Strat into a Fender Ramparte Combo thru a Cab Clone into my DAW system.
Track record We’d recommend a number of Fabulous Thunderbirds albums: Fabulous Thunderbirds (1979), What’s The Word (1980), Butt Rockin’ (1981), T-Bird Rhythm (1982), Tuff Enuff (1986), Live (2001) and On The Verge (2013). On the Nile Rodgers produced Vaughan Brothers album Family Style (1990), featuring both Jimmie and Stevie Ray, you can hear the brothers’ very different approach.
54 GuitarTechniques July 2015
BARRY BRECHELSON GETTY IMAGES
Jimmie Vaughan was raised in Oak Cliff, just south of Dallas, Texas and has been a mainstay on the blues scene for more than 40 years. His distinctive guitar playing and singing style has remained true to the legacy of the blues. Along with his late younger brother Stevie Ray, he has been a major force in the revival of the blues since the ‘British Invasion’ of the 1960s. Jimmie is best known for his work with The Fabulous Thunderbirds. The band’s first four albums, released between 1979 and 1983, are considered to be classic ‘Modern Blues’ recordings but the big success came when the Thunderbirds scored a top ten US hit in 1986 with the title track from their Tuff Enough album. Jimmie finally left the Thunderbirds in 1989 to pursue a solo career. Jimmie and his younger brother Stevie Ray also made an album together called Family Style, which was released after Stevie’s death in 1990. Jimmie also released two solo albums, Strange Pleasure (1994) and Plays Blues, Ballads & Favorites (2010). He has been a guest on records by BB King, Santana Jimmie Vaughan and Don Henley, and has also playing a classic supported Eric Clapton and two-tone Strat been a guest at Clapton’s’ Crossroads Festival. Take time to build up the necessary ABILITY RATING stamina and articulation but in Jimmie’s case Moderate/Advanced its also about the time, taste and groove. As with many blues greats - you can always hear Info Will improve your a bit of T-Bone Walker in his playing - Jimmie Key: Various Blues and rock vocabulary tends to play behind the beat. He can often be Tempo: Various Rhythm playing & articulation seen using a capo, depending on the key of the CD: TRACKS 44-47 Stylistic authenticity song, to keep open strings available to him.
Learning Zone
JIMMIE VAUGHAN EXAMPLE 1 G dominant blues
cd track 44
Our first example draws heavily from short repetitious phrases found plenty to get stuck into from a melodic perspective. However, you could GUITAR TECHNIQUES 245 within G Mixolydian scale (G-A-B-C-D-E-F) but we also see some C and take a second 16-bar solo using just a G minor Pentatonic scale (G-Bb-C-D-F) JIMMIE VAUGHAN BLUES - Les Davidson D Mixolydian lines. We even find some chromatic movements, so there’s and by landing on the strong chord tones still sound great. Ex 1
©»¡ºº G7> 3 # 4 œœ n œœ œœ œœ œœ b œ n œ b œ œ b œ œ œœ n b œœ œ œ & 4 J ‰ Œ .
>œ
n œœ œœ œœ j œ bœ nœ
œ ‰ Œ J
With tremolo effect
E B G D A E
3 3
6 7
6 7
6 7
6 7
3
4
3
0
3
0
5 5
#
b >œ >œ >œ >œ >œ >œ œ œ œ œ Œ
3
& b œ n œ b œ œ. b œ œ œœ n b œœ œ œ 3
4
3 0
#
3
0
5 5
6 5
3 3
3
6 5
6 5
8
6 5
G7
œ b˙ j bœ nœ œ Œ
6 7
5 5 5
3
4
j nœ
˙
œœ œœ œœ b œj n œ œ
6
8
6 7
3
8
8
9
8
œ œ œ œ œ œ œ œ
8
11
6 7
5 5 5
4
3
œ ‰ ‰ œ b œ >œ b œ n œ b œ œ ‰ J J
D7
3
BU 3
( 6)
5
3
5 (6 )
6 5
3 3
8
6
5
7
7
5
8
7
5
8
7
7
6
4
5
6
4
5
8
# nœ bœ nœ œ œ œ bœ œ C7
&
6
4
5
3
5
3
6
5
G7
œ J ‰ Œ
j œ nœ
Ó
BU
3
5
( 6)
œ œj œ œ 3
BU 5 ( 6)
j œ nœ BU
3
5
( 6)
œ œj œ œ 3
BU 5 ( 6)
3
11
# œ & œœ E B G D A E
6 7
2
œ œj œ œ b œœ œœ œ œ
j œ nœ BU
E B G D A E
3 3
3
4
& E B G D A E
0
1
C7
E B G D A E
3 3
j bœ nœ
œœ œ
4
5 5 5
j j bœ nœ œ
œ bœ
j œ ‰
>
BU 5 5 5
3
3
4
5 ( 7)
3
n b œœ œœ œœ œœ œœ œœ b n œœ œœ 6 6
5
5 5
3 3
6 6
5 5
3 3
6 6
5 5
b œœ ‰ Œ J
Ó
3 3
14
July 2015 GuitarTechniques 55
lesson: blues
ON THE CD
tracks 44-47
EXAMPLE 2 c dominant blues
cd track 46
While our note selection is relatively straightforward in this example, derived mainly from C Mixolydian (C-D-E-F-G-A-Bb) and C minor Pentatonic 2 Title
scale (C-Eb-F-G-B), it is the mix between the major 3rd and the minor 3rd that gives it its blues mojo. Have fun!
Ex 2
©»¡ºº bC7œ œ 4 Œ &4
œ œ œ œ 1/4
bœ œ
œ > œ ‰ œ bœ nœ Œ J
Boogie Woogie Feel
œ œ œ œ 1/4
Œ
1/4 E B G D A E
8
11
1/4
8
11
8
11
10
F9
bœ œ
œ œ œ œ
8
9
11
8
11
Œ
10
10
8
bœ œ
11
11
1/4
Œ
1/4
8
11
8 10
8
11
9
8
10
11
8
8
11
11
4
>œ b œ n œ > œ b œ nœ œ Œ & ‰ Jœ œ 6 7
5
7 8
G7
‰
œ œ œ œ ˙
œ œ œ œ bœ nœ œ
8 8
8 9
0
3
8
1
0
2
2
0
3
3
2
0
0
>œ n œ œ b >œ n œ œ b >œ n œ œ b >œ n œ œ >œ # œ œ n >œ # œ œ n >œ # œ œ n œ # œ œ œœ œœ œœ œœ œœ >œœ .. b & J F9
C7
11
4
5
3
4
5
3
4
3
3
3
3 3
3
5
3
4
4
5
3
4
5
3
4
5
3
4
5
3 5
5
≥ ≤ ≥ ≤ ≥ ≤
3 5
3 5
3 5
14
56 GuitarTechniques July 2015
3 5
3 5
3 5
3 5
3 5
≥ ≥ ≥ ≥
œœ œœ œœ œœ œœ >œœ .. & J E B G D A E
3
3
3
3 E B G D A E
8
œ œ œ œ
1/4
8
11
9
C7
bœ bœ nœ œ œ ‰ J Œ
1/4
1/4
1/4
E B G D A E
8
1
> œ bœ nœ bœ Œ & ‰ œJ E B G D A E
10
8
3 5
0 1
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3 5
3 5
3 5
3 5
0 1
3
œ bœ œ
> 1
3
0
b œ n >œ b ˙˙ 4
5
6 5
0 1
8
lesson: rock
ON THE CD
tracks 48-50
Steppenwolf Although born to be mild, this month Martin Cooper heads out on the highway, lookin’ for adventure and runs into 60s American psychedelic rockers Steppenwolf!
ABILITY RATING
Easy Info
Will improve your
Key: A major Tempo: 140 bpm CD: TRACKS 48-50
General rhythm and lead Tight rock timing Theory knowledge
Canadian-American rockers Steppenwolf rose to prominence during the late 1960s and lasted only until the early 1970s. The full line-up was completed when the founding members John Kay (guitar, vocals), Goldy McJohn (keyboards) and Jerry Edmonton (drums) were joined by Michael Monarch (guitars) and Rushton Moreve (bass). The classic recording Born To Be Wild (written by Dennis Edmonton, who also played with the band, having joined with McJohn from The Sparrows) is a 60s rock classic, found on countless compilations. It is etched into pop culture folklore by its appearance in the cult movie Easy Rider,
starring Jack Nicholson and Peter Fonda. Steppenwolf went on to sell more than 30 million albums worldwide and also had successes with the Top 10 single Magic Carpet Ride. When their version of Hoyt Axton’s The Pusher also featured in Easy Rider, it was met with some criticism because it accompanied a drug deal scene in the film. However, the song actually warns of the perils of dealing and using hard drugs.
Classic rock fans will always want to hear the likes of Born To be Wild! Steppenwolf, like many other bands, went through a number of personnel changes during its lifetime before breaking up in 1972, and John Kay embarked on a solo career, which never really hit the same heights as the band. Several attempts at a reunion were made during the 1970s, including a recording
project with the legendary producer Phil Spector, but various disagreements put an end to any meaningful musical relationship between the band members. John Kay still retains the rights to tour as John Kay and Steppenwolf, and there is definitely a market these days for the band’s brand of classic rock – fans will always want to hear Born To be Wild! This month’s piece is in the key of A major (A-B-C#-D-E-F#-G#) as written in the notation, but actually has a lot of notes and chords outside of that key. For example the gospel-blues type of chords in the first part of the song have an A in the bass, but play an A major chord, D major chord and G major chord over the top of it (suggesting A Mixolydian: A B C# D E F# G). The chord symbols keep the bass note in mind throughout, so the inversions on the notation are made complete by the bass guitar notes. You’ll find three-note triad shapes, such as the D and C major chords in the middle and end sections of the track, and also some chromaticism on the rhythm and lead part. The solo follows the harmony of these chromatic chords, and then in the final eight bars has a bluesy melody line that uses predominantly A Dorian (A-B-C-D-E-F#-G), thus highlighting the G and C chords, which actually imply the G major scale. NEXT MONTH: Martin stays Stateside to look at the awesome Grand Funk Railroad
Get The Tone 6
5
6
6
3
Gain
Bass
Middle
Treble
Reverb
Michael Monarch was a fan of the Fender Esquire, and also played a Stratocaster, often through Fender amps. Effects are minimal, with just a bit of extra overdrive, although there is quite a large amount of reverb on some of his solos (as there is on the lead part here.) John Kay often used a Rickenbacker or Guild guitars. Go for a classic American rock amp sound think driving Fenders - with mild delay/reverb.
Track record Steppenwolf’s eponymous 68 debut features Born To Be Wild and The Pusher, while follow-up album The Second, from the same year, includes Magic Carpet Ride. There are also numerous ‘greatest hits’ albums including The Best Of Steppenwolf from 1999. And can there be a better excuse to watch the brilliant film Easy Rider, where two hippy bikers set out to discover America!
58 GuitarTechniques February 2015
MICHAEL OCHS ARCHIVE / GETTY IMAGES
Steppenwolf with Guild and Rickenbacker guitar and bass
Brought to you by...
Learning Zone
Lou Reed’s axemen Example rhythm part
cd track 49
Kay and Monarch’s rhythm approaches are quite minimal, so watch for small chords and deliberate2use GUITAR TECHNIQUES 4 5of space - remember Steppenwolf had an
organist too. Make sure that you play the chords in time, and pay careful attention to playing with confidence without being ham-fisted. GUITARbut TECHNIQUES 245
Martin Coo STEPPENW
Martin Cooper's BIMM ROCK COLUMN STEPPENWOLF STYLE
RHYTHM GUITAR
RHYTHM GUITAR
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E B G D A E
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2 2 2
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œœ œ
2 2 2
3 2 4
. .
2 2 2
> œœ Œ Ó œ
D5
A E
G5
j n œœ. œ œ œ ‰ œ œ œ nœ œ œ œ œ
œœ œœ
3 3 0 0
3 3 0 0
3 2 0
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2 2 2
2 2 2
A
17, 21
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2 2 2
> ˙˙ ... ˙
n œœ n œœ
2 2 2
3 3 0 0
G5
# # & # .. ww
25, 29
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A
33, 37
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2 2 2
D
3 3 0 0
C5
n œœ. n œœ
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3 3 0 0
G5
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˙˙ .. ˙. >
7 7 7
7 7 7
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7 7 7
D/A
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3 2 4
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A
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E B G D A E
3 2 0
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5 5 5 17, 21
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5 5 5
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E B 5 G 5 D 5 A E
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G5
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3 3 0 0
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5 2
D
3 3 0 0
C
nw w
5 3
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A
1, 5
j # # #n œœ . & ‰ n œœ .
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n n ww
7 5
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3 2 4
G5
E B G D A E
9, 13
D5
E B G D A E
E
3B 4G 5D
3 4 5
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2 2 2
2 2 2
5 3
n œœ. n œœ
G5
3 3 0 0
41
February 2015 GuitarTechniques 59
˙˙ .. ˙˙ .. > 3 3 0 0
lesson: rock
ON THE CD
tracks 48-50
Example lead part
cd track 49
GUITAR TECHNIQUES 2 4 5
There are numerous vibrato markings on the chart but these are also all BIMM mentioned the text, the Martin Cooper's ROCK in COLUMN - harmony (chord inversions) on the chart take into quite light and narrow. There are no wild, rock style vibrato notes here. As STYLE account the pedal A note that the bass guitar is playing STEPPENWOLF LEAD GUITAR
©»¡¢º ### 4 & 4
w ~~~~
D5
24
~~~~
B 5
bw
~~~~
5
~~~~
4
3
7
b
w ~~~~
n w ~~~~
b w ~~~~
~~~~
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~~~~
C5
~~~~
G /B
9
B 5
15
12
29
&
###
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Œ
j nœ
˙
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BU 8 (10 )
8
~~~~ N˙ . G5
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~~~~
j œ œ
D
œ œ œ œ œ œ œ œ
BU 7 ( 8)
7
5
7
5
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~~~~
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A
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BU E B G D A E
b
~~~~ w
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25
# # # w ~~~~ &
E B G D A E
~~~~ ~~~~
7
D
E B G D A E
nw
~~~~
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E B G D A E
C5
œ œ œ œ
60 GuitarTechniques February 2015
œ œ nœ œ œ œ œ
D
C
œ n œ œ œ œ n œ w~~~~~ ~~~~~
BU
12 (13) 12 (13) 12
37
G5
10 12
10
12
10
12 11
12
9
11
5
A
∑
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lesson: video
VIDEO
ON THE CD
Carl Verheyen masterclass
cd-rom
PART 6
Milton Mermikides welcomes you to the penultimate instalment of Carl Verheyen’s masterclass series, where he solos over a latin funk track. ABILITY RATING
Moderate/Advanced Info KEY: Various Tempo: Various CD: CD-ROM
Will improve your Creative use of Pentatonics Long semiquaver lines Fretboard fluency
If you’ve caught any of the first five installments of this series, you’ll know that Carl is one of the most well-respected and accomplished guitarists on the scene today. He’s played on countless film and TV sessions, as well as being a hired gun for artists in a huge range of styles from country through
Carl Verheyen: he knows how to get the best out of a Strat!
blues and rock to deep fusion (including musicians from Dolly Parton to Allan Holdsworth - about the widest popular music span imaginable). For this series, we asked Carl to record a series of solos in one short session, with only one listen through and a simple chord chart to guide him. What he demonstrated consistently was an incredible melodic sense, improvisational knack, technical proficiency and stylistic diversity. In this article I’ve transcribed Carl’s improvisation over a Latin funk track composed by Jason Sidwell. It’s at a medium tempo of 112bpm and is based on this 32-bar repeating form: F/A-Am-Dm7-Bbmaj7-Am7-Dm7Bbmaj7-E7. Essentially we have minor and major chords with one dominant chord. Carl provides an astonishing masterclass in how to navigate these chords, using a combination of major and minor Pentatonics, melodic motifs and widely spaced arpeggio ideas. Here’s a rundown of the prime approaches in this solo: Pentatonicism (with some blue notes) is evident throughout. Major Pentatonic for the major chords, minor Pentatonic for the minor chords. However he colours these scales with the use of the 9th on the minor Pentatonic (bar 17) and the major 7 on major 7th chords (bars 22 and 39). He also uses minor Pentatonic and minor Blues for the E7 chords (bars 31-2, 63-4), but a 4th above the root, so A minor Pentatonic or Blues, which gives these dramatic moments a much bluesier edge. Pentatonicism might seem like a limited approach to guitar playing, but if you observe passages like bars 41-42 or 53-54, you’ll see that Carl uses these five notes in endlessly creative ways; here the scale is broken up into wide unsingable melodies to create more of a
fusion, rather than blues, approach. What is also in evidence is Carl’s impressive ability to maintain interesting semiquaver lines at this tempo, and his ability to shift positions within a phrase so fluently that it’s easy to miss it. See for example bars 57-60, where a single unbroken phrase starts at 10th position and moves seamlessly down to open and back to 5th position. This sort of
Verheyen provides an astonishing masterclass in how to navigate these fundamental chords using a combination of ideas. fluency in lead improvisation requires decades of guitar experience! You might also notice that Carl has a habit of switching the pickup selector from neck to bridge just for one note, to create more of a bite to the tone, and uses the whammy bar to add beguiling vibrato, a vocal quality and to reach otherwise unreachable notes (bar 60). As with every solo of this series, this improvisation is hugely instructive, and if you manage to get inside the mechanics and theory of the solo rather than simply copying it note for note, it will provide you with years of inspiration! NEXT MONTH: Milton takes a final look at Carl’s lead guitar approach
Get The Tone 7
6
6
7
4
Gain
Bass
Middle
Treble
Reverb
For the session, Carl played his signature LSL signature model through a Marshall JTM45 MKII head. Overdrive came courtesy of a Free The Tone MS SOV MS-2V pedal. The examples could be played on any type or model of guitar, but single-coils sound great for this ‘open’ feel. Go for a clean tone but not too bright a sound and a dash of reverb for ambience.
Track record To hear some of Carl’s playing check out Trading 8s (Cranktone 2010), Let’s Ride on No Borders (1988 FMV) Diamonds on Slingshot (Mighty Tiger 1999) and Fusioneer’s Disease (Mustang Run, 2013 Cranktone Entertainment).
62 GuitarTechniques July 2015
Learning Zone
CARL VERHEYEN MASTERCLASS PT 6 Example CARL VERHEYEN MASTERCLASS
cd -rom
[Bar 0] From the first phrase, we see one GUITAR TECHNIQUES MAGAZINE 2 4of5Carl’s neat country-inspired licks. Milton's When you TECHNIQUES bend the second string G up2 GUITAR MAGAZINE 4 5 GUITAR TECHNIQUES MAGAZINE 2to 4 an 5 A, you catch the third string CARL VERHEYEN -- Pt 5 Milton's under the same finger, which essentially ‘prebends’ the Eb up to E, allowing Milton's GUITAR TECHNIQUES MAGAZINE 2 4 5 CARL VERHEYEN -- Pt 5 it GUITAR then to be released. CARL VERHEYEN -- Pt 5 TECHNIQUES MAGAZINE 2 4 5 Milton's Milton's [Bar 4] This is all in F major Pentatonic, but the shift from 10th to 8th-- Pt 5 CARL VERHEYEN CARL VERHEYEN -- Pt 5 position allows forLatin a longer and more texturally interesting line, as now slurs / Funk
©»¡¡™ ©»¡¡™ Latin Latin // Funk ∑/ Funk Funk ©»¡¡™ Latin & 44©»¡¡™ & 44 Latin∑∑/ Funk & & 44 1 Bar Drum∑ Intro
œ & œœ & œ & & 10 10
3 3 3 3 3
E B E E G B B D E G G A E B D D E B G A A 9 G D E E D9 A 9 A E E 9 9
& & & &
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5 5 5
7 7 7
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7 7
7 7
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8 8 8
7 7 7
5 5 5
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7 7
5 5
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13 13 10 13 13 13 13 10 10 13 13 10 13 13 10
12 12 12 12 12
5 5
8 8 8 8
5 5 5 5
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7 7 7
5 5 5
7 7
5 5
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5 5 5
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5 5
8 8 8
Bridge back to neck pickup 7 neck 5 pickup 7 7 5 5 7 5 7 5
7 7 7 7 7
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10 10 10 10 12 10 10 12 12 10 10 10 10 12 12
8 8
5 5 5
3 3 3
5 5
3 3
13 10 13 10 12 13 10 13 13 10 10 13 10 12 12 13 10 13 10 13 10 12 13 10 12
8 10 8 8 12 8 10 10 10 8 8 12 10 12 8 10 8 10 8 10 8 10 12 12 10
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13 13 13 13 13
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8 10 9 10 8 8 10 10 9 9 10 10 8 10 9 10 8 10 9 10
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E B E E G B B D E G G A E B D D E B G A A 6 G D E E D6 A 6 A E E 6 6
E B E E G B B D E G G A E B D D E B G A A G D E E D A A E E
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1 1 Bar Bar Drum Drum Intro Intro 1 Bar Drum Intro 1 Bar Drum Intro
E B E E G B B D E G G A E B D D E B G A A G D E E D A A E E
E B E E G B B D E G G A E B D D E B G A A G D E E D A A E E
j œj œj œœj
can appear between different notes. You can adopt this concept to play through every Pentatonic position. - [Bar FUNKY CLAV LATINO A MINOR flicks the pickup selector from 6] Easy to miss, but CarlINinstinctively -- neck FUNKY CLAV LATINO IN to bridge and back again forMINOR the final note in the bar. FUNKY CLAV LATINO IN A A MINOR 10-12] Again this is allIN F major Pentatonic, but now bends, more - [Bars FUNKY CLAV LATINO A MINOR -F/A FUNKYposition CLAV LATINO A MINOR extreme shifts andIN string skipping are used to heighten interest.
3 3 3
5 5 5
3 3
5 5
œ œ œœ
œ. œ. œœ.
7 7 7
5 5 5
7 7
5 5
œ œ œœ
7 7 7
œ œ œœ
7 7
œ œ œœ
5 5 5 5 5
œ œ œœ
BD BD BD(15 ) ( 17 ) 17 )) BD((15 (( 17 ) 17 17 ) 17 BD15 ( 17 ) 17 (15 ) ( 17 ) 17 (15 )
œ. œ. œœ.
. .
Am A Am m
j œj œjj œœ
Am Am
3 3 3
5 5 5
3 3 3
2 2 2
3 3
5 5
3 3
2 2
5 5 5
3 3 3
5 5
3 3
œ œJ œJœ JJ
13 13 13 13 13 13 13 13 13 13
~~~ œ~~~ . œ~~~ . ~~~ œœ .. ~~~ ~~~ 2 ~~~ 2 2 ~~~ 2 2
‰ ‰ ‰‰
7 7 10 7 7 7 7 10 10 7 7 7 10 7 10
j œj œjj œœ
17 13 15 17 17 13 13 15 15 17 13 17 13 15 15
' ‰ bœ ' ‰ '' ‰‰ bb œœ bœ '' ''
11/4 /4 1/4 1/4
1/4 11/4 /4
1 1 1 1 1
1/4 1/4
9 9
Ó Ó ÓÓ
‰ ‰ œ ‰‰ œœ œœ œ œœ œœ œœ
œœ œœœ œ ⋲ œœ œœ œ ⋲ œ ⋲⋲
1/4
œœ œ œ œ œ#œ œ œœ œ œ œ # œ œ œ œœ œ # œ œœ œ#œ
8 8 10 8 10 8 9 7 8 10 8 10 10 10 8 9 7 9 7 8 10 8 10 8 10 10 9 7 9 7
9 9 9
j œj œjj œœ 0 0 0 0 0
3 3 3
5 5 5
3 3
5 5
œ œ œœ
9 10 10 9 9 9 10 10 10 10 9 9 9 10 10 9 9 10 10 9
œ œ œœ
œ œ œœ
13 14 13 13 14 14 13 13 14 14
œ œ œœ
10 13 10 10 13 13 10 10 13 13
'
j///' œj/'' œ . œjj œ . œœ œ .. œ
œ œ œœ
œ œ œœ
10 12 10 10 12 12 10 10 12 12
œ œ œœ
8 8
œœœ œœœ œœ œœ œ œ
8 10 8 8 10 10 8 8 10 10
8 10 8 8 10 10 8 8 10 10
8 8
9 9
8 8 8
5 5 5
7 7 7
5 5
7 7
œ œ œœ
7 10 7 7 10 10 7 7 10 10
8 8
⋲ œ œ ⋲ œ œ œ ⋲⋲ œ œ œœ œœ œ 8 8 8
9 9 9
œ bœ nœ œ bœ nœ œœ bb œœ nn œœ
10 8 9 10 9 10 8 9 8 9 9 9 10 8 9 10 9 8 9 9
3 3 3 3 3
œ œ œœ
8 8 8
œ œ œœ
œ œ œœ
5 5 5
7 7 7
5 5
7 7
j œ.. œœj œœ œ œ œ. ⋲ œjj œ œ œ œœ. ⋲ œ œ œœ œ ⋲⋲ œ 5 5 5
8 10 5
5 5
8 10 5 8 10 5
8 8 10 10 5 5
7 7 7 7 7
1/4 11 4 4 14 14
'' ''
1/4 11/4 /4
3 1/4 0 1/4 3 0 3 0 3 0 3 0
⋲ ⋲ œ œ œ bœ œ ⋲⋲ œ œ œ bb œœ œ œœ œœ œœ b œ œœ 5 5 5 5 5
œ œ œ œ œœ œ œ
3 3 3
5 5 5
6 6 6
5 5 5
3 3 3
3 3
5 5
6 6
5 5
3 3
5 5 5 5 5
July 2015 GuitarTechniques 63
lesson: video
VIDEO
ON THE CD
cd-rom
Example CARL VERHEYEN MASTERCLASS ...CONTINUED
cd-rom
2 xxxxxxxxxx [Bar 17-18] This phrase uses D minor Pentatonic with the addition of the 9th (E)2toxxxxxxxxxx add interest; again, notice the ultra-smooth and natural position shifts. 2 xxxxxxxxxx [Bar 19-20] Another country style bend, this time the two strings ring together 2 xxxxxxxxxx in 2a double-stop xxxxxxxxxx adding some twang; this is followed by a D minor Pentatonic phrase which exploits the D on the open fourth string for timbral interest. [Bar 24-28] This phrase starts a signature Pentatonic lick that you’ll hear
& & & & &
E B E G B D E G E A B D B E E G A G B 15 D E D G 15 A A D E E A 15 E 15 15
~~ ~~ ~~ œ~~ œ~~ œœ œ~~ ~~ ~~ ~~ 3~~ 3 3 3 3
œ œ & œœœ & & & &
E B E G B D E G E A B D B E E G A G B 18 D E D G 18 A A D E E A 18 E 18 18
12 12 12 12 12
E B E G B D E G E A B D B E E G A G B 21 D E D G 21 A A D E E A 21 E 21 21
& & & & &
E B E G B D E G E A B D B E E G A G B 23 D E D G 23 A A D E E A 23 E 23 23
& & & & &
E B E G B D E G E A B D B E E G A G B 25 D E D G 25 A A D E E A 25 E 25 25
œ œ œœ œ 15 15 15 15 15
B bmaj7 B bmaj7 B bbmaj7 B maj7 B bmaj7
& & & & &
7 7 7 7 7
œ œ œœ œ
5 5 5 5 5 Am7
œ œ œœJ Jœ JJ J
œ œ œœ œ 13 13 13 13 13
œ œ œœ œ 8 8 8 8 8
Am7 Am7 Am7 Am7
15 15 15 15 15
Dm7 Dm7 Dm7 Dm7 Dm7
œ œ œœ œ
12 12 12 12 12
œ œ œœ œ 13 13 13 13 13
bœ bœ bb œœ bœ
œ œ œœ œ 10 10 10 10 10
œ œ œœ œ 13 13 13 13 13
6 6 6 6 6
12 12 12 12 12
œ œ ‰ ‰ JœœJ ‰ ‰ ‰‰ ‰‰ JJœJ ‰ ‰
10 10 10 10 10
œ œ œœ œ
œ œ œœ œ
œ œ œœ œ
BU BU 10 ( ) 12BU BU14 10 (14 ) 12BU 10 12 (14 ) 10 12 (14 ) 10 12 (14 )
64 GuitarTechniques July 2015
13 13 13 13 13
œ œ œœ œ
œ œ œœ œ 10 10 10 10 10
14 14 14 14 14
12 12 12 12 12
œ œ œœ œ
œ œ œœ œ
œ œ œœ œ
10 10 10 10 10
8 12 8 12 8 8 12 8 12 12
⋲ ⋲ ⋲⋲ ⋲
6 6 6 6 6
7 7 7 7 7
10 10 10 10 10
œ œ œœ œ
œ œ œœ œ
œ œ œœ œ
œ œ œœ œ
#œ #œ ## œœ #œ
8 8 8 8 8
15 15 15 15 15
œ œ œœ œ 10 10 10 10 10
œ œ œœ œ
œ œ œœ œ
‰ ‰ ‰‰ ‰
˙ ˙ ˙˙ ˙
œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œ œœ œœœ œ œœ œœœ œ œ
œ Jœ Jœœ JJœ J
œ œ œœ œ
8 8 8 8 8
œ œ œœ œ
10 10 10 10 10
œ œ œœ œ
12 12 12 12 12
BU BU 15 ( 17 ) BU 15BU( 17 ) 15BU( 17 ) 15 ( 17 ) 15 ( 17 )
13 13 13 13 13
œ œ œœ œ
10 10 10 10 10
BU BU 13 (15 ) BU (15 ) 13BU (15 ) 13BU 13 (15 ) 13 (15 )
œ œ œœ œ
14 14 14 14 14
11 11 11 11 11
œ œ œœ œ
12 12 12 12 12
15 15 15 15 15
œ œ œœ œ
œ œ œœ œ
œ œ œœ œ
10 10 10 10 10
10 10 10 10 10
13 13 13 13 13
14 14 14 14 14
12 12 12 12 12
12 12 12 12 12
œ œ œœ œ
BD BD 10 ( 8 ) BD 10 BD( 8 ) BD( 8 ) 10 10 ( 8 ) 10 ( 8 )
8 8 8 8 8
œ œ œœ œ
13 13 13 13 13
14 14 14 14 14
6 6 6 6
7 7 7 7 7
œ œ œœ œ
œ œ œœ œ
17 17 17 17 17
12 12 12 12 12
3 3 3 3
13 13 13 13 13
12 12 12 12 12
œ œ œœ3 œ 3 3 3 3
10 10 10 10 10
œ œ œœ œ 12 12 12 12 12
Bridge back to neck pickup Bridge back to neck pickup Bridge back to Bridge back to neck pickup 15 13 Bridge back to neck pickup neck pickup 15 13 15 13 15 13 15 13
14 14 14 14 14
œ œ œœ œ
œ œ œœ œ
13 13 13 13 13
15 15 15 15 15
œ œ œœ œ
15 15 15 15 15
14 14 14 14 14
œ œ œœ œ
'' '
14
œ œ œ œœ œ œ œœ œœ œœ œ œ
œ œ œœ œ
œ œ œœ Œ œ ŒŒ ŒŒ
14
œ œ œœ œ
œ bœ œ bœ œœ bb œœ œ3 b œ
œ .. œ. œœ . œ.
14 14 14
10 10 10 10 10
12 12 12 12 12
œ .. œ. œœ . œ.
14
8 8 8 8 8
14 14 14 14 14
Dm7 Dm7 Dm7
œ œ œœ œ
13 13 13 13 13
1/4
œ œ œœ œ
13 13 13 13 13
œ œ œœ œ
œ œ œœ œ
' 3 / œ œ œ œ œ œ œ œ œjj //'' 33 œœ œ œ œ œ œ œ œ. œj /'œ œ3 œ œ œ œjj œ œ œœ œœ œœ œœ œœ œœ œœ.. œœjj œœ œ3 œ œ œœ œjj œœ œ œ œ œ œ œ œ. œ œ œœ œœ œœ œ œœj œ œ . /' œ œ œ œ œ œ œ / 6
nœ nœ nn œœ nœ
12 12 12 12 12
10 10 10 10 10
15 15 15 15 15
œœ œœ œœ œ œ œœ
Let ring BUring Let Let BUring ) Let ring 8 (10 BU (10 ) 8 BU (10 ) 8 BU 8 (10 ) 8 (10 )
œ œ œœ œ
œ œ œœ œ
œ œ œ œ œ œ œœ œ œ œœ œ œœ œœœ œ œ
j œj œ œj œ œœjj œœ œ œ ring Let
6 6 6 6 6
8 8 8 8 8
œ œ œœ œ
15 15 15 15 15
œ œ œœ œ
œ œ œœ œ
11 11 11 11 11
œ œ œœ œ
œ œ œœ œ
9 9 9 9 9
bœ bœ bb œœ bœ
10 10 10 10 10
œ œ œœ œ
œ œ œœ œ
8 8 8 8 8
œ œ œœ œ
œ œ œœ œ
12 12 12 12 12
15 15 15 15 15
elsewhere in this solo. This is about the unlaziest you can be with the minor Pentatonic within a couple of positions. Note the skipped strings (you’ll need accuracy and muting awareness in both hands). Also notice how the Pentatonic phrase at the 4th and 3rd position transitions smoothly into the Dm7 box position of D minor Pentatonic, which then continues through several positions (adding an EDm7 for sophistication and an Ab for bluesiness).
œ œ œœ œ 10 10 10 10 10
5 5 5 5 5
3 3 3 3 3
œ œ œœ œ
15 15 15 15 15
13 13 13 13 13
5 5 5 5 5
œ œ œœ œ
15 15 15 15 15
œ œ œœ œ
œ œ œœ œ
14 14 14 14 14
12 12 12 12 12
3 3 3 3 3
œ œ œœ œ
5 5 5 5 5
1/4
3 1/4 1 3 /4 3 3 3
5 5 5 5 5
œ œ œJœ Jœ JJ J
‰ ‰ ‰‰ ‰
17 17 17 17 17
13 13 13 13 13
œ œ œœ œ 15 15 15 15 15
5 5 5 5 5
0 3 3 5 3 0 3 0 5 3 0 3 5 3 0 3 5 3 3 5
3 3 3 3 3
j œj b œ œj b œ œœjj bb œœ œ bœ
œ œ œœ œ
12 12 12 12 12
10 10 10 10 10
œ œ œœ œ
œ œ œœ œ
œ œ œœ œ
12 12 12 12 12
10 10 10 10 10
12 12 12 12 12
3 nœ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ n œ œ œ b 333œ œ nn œœ œœ œ œœ œ œœ œœ œ œœ œ n œ œ œ b œ3 œ œ n œ 3œ œœ œœ œœ3 œœ œ œ3œ œœ œœ nn 3œœ œ œ bb œœ œ œœ 3 œ n3œ œœ œœ b œ œœ œ 3œ 3 œ 3 3 3 10 10 10 10 10
3 3
3
8 8 8 8 8
10 10 10 10 10
7 7 7 7 7
10 10 10 10 10
7 7 7 7 7
8 8 8 8 8
3 3
63 6 6 6 6
3 3 7 5 3 7 7 7 7
5 5 5 5
7 7 7 7 7
5 5 5 5 5
5 5 5 5 5
œ œ œœ œ
15 15 15 15 15
BU BD (18 ) BD(17 ) 17BU (17 ) 17 (18 ) (17 ) 17 (18 )
œ œ œœ œ
5 5 5 5 5
0 0 0 0 0
œ œ œœ œ
BD
BU
(18 )BD(17 ) 17BU (18 )BD(17 ) 17BU
œ œ œœ œ
5 5 5 5 5
œ œ œœ œ
6 6 6 6 6
5 5 5 5 5
3 3 3 3 3
13 13 13 13 13
œ œ œœ œ
œ œ œœ œ
10 10 10 10 10
12 12 12 12 12
œ œ œœ œ
œ œ œœ œ
5 5 5 5 5 5 5 5 5 5
œ œ œœ œ 10 10 10 10 10
œ œ œœ œ
œ œ œœ œ
3 5 3 5 3 5 3 5 3 5
Learning Zone
CARL VERHEYEN MASTERCLASS PT 6 Example CARL VERHEYEN MASTERCLASS ...CONTINUED
cd-rom
[Bar337-40] Here’s a beautifully flowing phrase over an Aminor chord, which uses3the bluesy flattened 5th, seamless position shifts (including within another of Carl’s signature licks in bar 38), and some impressive sextuplet 3 3 in bars 39. These four bars alone are an excellent minor Pentatonic picking
'' œ' œ' œœ '' ''
1/4
& œ & œ & back to œ &Bridge neck pickup Bridge back to œ neck pickup / Bridge back to 1/4 1/4
E B E G B D E G A B E D E G B A 27 D G E A 27 D E A E 27 27
14
1/4back to Bridge neck pickup neck pickup 1/4 3 14 / 5 3 5 3 5 3 b B maj 7 5 B bmaj 7 B bmaj 7 B bmaj 7
& & & &
E B E G B D E G A B E D E G B A 29 D G E A 29 D E A E 29 29
3 3 3 3
5 5 5 5
~~~~~~~~œ ~~~~~~~~œ ~~~~~~~~ ~~~~~~~~œœ
œ œ œœ
w/bar w/bar w/bar w/bar
~~~~~~~~ ~~~~~~~~13 ~~~~~~~~ ~~~~~~~~13
œ œ œœ
3 3 3 3
5 5 5 5
15 15 15 15
13 13
7 7 7 7
9 9 9 9
9 9 9 9
F /A F /A F /A F /A
˙ ~~~ œ & ˙˙ ~~~ ~~~ & ˙ ~~~ œœ & œ & ~~~ 6 ~~~ 5 6 ~~~ ~~~ 5 6
E B E G B D E G A B E D E G B A 33 D G E A 33 D E A E 33 33
& œ & œ & & œœ
E B E G B D E G A B E D E G B A 36 D G E A D 36 E A E 36 36
3 3 3 3
‰ ‰ ‰‰
œ. œ. œœ.
.
5 5 5 5
⋲ ⋲ ⋲⋲
Œ Œ ŒŒ
7 7 7 7
bœ bœ bb œœ
œ œ œœ
13 13 13 13
15 15 15 15
13 13 13 13
11 11 11 11
10 10 10 10
œ œ œ œ œ œ œœ œ œ œ œ
8 8 8 8
10 10 10 10
8 8 8 8
9 9 9 9
7 7 7 7
j # œj # œj # œj #œ
9 9 9 9
8 8 8 8
œ œ œ œ ⋲ œœ œ œ œ œ œœ œ œ ⋲⋲ œ œ ⋲
œ Jœ Jœœ JJ
6 6 6 6
' j' b œj '' b œjj
‰ ‰ ‰‰ b œ bœ
1/4 1/4 1/4 1/4
'' ''
5 5 5 5
13 13 13 13
5 5 5 5
nœ œ œœ œœ n œ œ œ œ nn œœ œœ œ œ
1/4 1/4 1
6 1/4 /4 6 6 6
5 5 5 5
7 7 7 7
7 7 7 7
œ œ œœ
9 9 9 9
8 8 8 8
7 7 7 7
œ œ œœ
5 5 5 5
5 5
6
10 10 10 10
10 10 10 10
7 7 7 7
6 6 6 6
œ. œ. œœ ..
E7 E7 E7 E7
12 12 12 12
6 6 6 6
5 5 5 5
œ œ œœ
œ œ œ œ œœ œ œœ œœ œ œœ & œ œ œ œ œ œœ œ œœ œ œ & œœ & &
E B E G B D E G A B E D E G B A 31 D G E A 31 D E A E 31 31
5 5 5 5
n œ œœ œ nn œœ œœ œ nœ œœ
œ œ œœ œ œ œœ œœ œ œ
œ #œ œ œ #œ œ œœ # œ œ #œ œ
nœ nœ nn œœ
œ œ œœ
œ œœ œœ œ œ œ œœ œ œ
1/4
‘etude’ so you may want to include this at a manageable tempo as part of your practice regime, and transpose it to different keys and contexts until it becomes adopted into your intuitive playing style. In fact there are so many great ideas to adopt and adapt in Carl’s playing that it’s a mine of inspiration!
œ œ œœ
9 9 9 9
œ œJ œJœ JJ
13 13 13 13
10 12 10 12 10 12 10 12
bœ œ œ bœ œ œ bb œœ œ œ œ œ 11 11 11 11
œ œ bœ œ œ bœ œœ œ b œ œ bœ 10 10 10 10
10 10 10 10
œ œ œœ ⋲ œ œœ œœ ⋲ œœ œ œœ ⋲⋲ œ œ
10 10 10 10
nœ bœ œ nœ bœ œ nn œœ b œ œ bœ œ
8 8 8 8
7 7 7 7
5 5 5 5
8 8 8 8
6 6 6 6
10 10 10 10
12 12 12 12
j œj b œ œj b œ œj bb œœ œ
5 5 5 5
7 7 7 7
5 5 5 5
BU BU 7 BU (8 ) 7 BU (8 ) (8 ) 7 (8 ) 7
œ œ œœ œ œœ œœ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ 10 10 10 10
12 12 12 12
13 13 13 13
10 10 10 10
12 12 12 12
#œ #œ ## œœ 11 11 11 11
13 13 13 13
14 14 14 14
12 13 15 15 12 13 15 15 12 13 15 15 12 13 15 15
œ œ œœ
œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ
11 11 11 11
11 11 11 11
10 10 10 10
18 18 18 18
œ œ œ œ œœ œ œ 10 10 10 10
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ back to œBridge neck pickup Bridge back to
nœ nœ nn œœ
5 5 5 5
7 7 7 7
12 12 12 12
17 17 17 17
12 12 12 12
BU BD BU BD ) ( 7) 7 BU(8BD ) ( 7) 7 BU(8BD (8 ) ( 7 ) 7 (8 ) ( 7 ) 7
Am Am Am Am
9 9 9 9
œ œ œœ
œ œ œ œ œ b œ.. œ œœ œœ œœ œœ œœ bb œœ.. œ œ œ œ bœ
‰ ‰ ‰‰
12 13 12 13 12 12 13 13
8 8 8 8
œ œ œœ
12 12 12 12
œ bb œœ œ bœ œœ b œ
œ nn œœ œ nœ œœ n œ
œ œ œœ
œ œ œœ
œ œœ œ œ œœ œ
10 10 10 10
BU neck pickup Bridge back to BU Bridge back to neck pickup neck5pickup7 BU ( 9 ) 7 5 7 BU ( 9 ) 7 (9 ) 5 7 (9 ) 7 5 7 7
7 7 7 7
œ œ œ œ œ œ œœ n œ œœ œ œœ œœ œ œ n œ œ œ œ œ œœ n œ œ œ œœ nœ œ
Œ Œ ŒŒ
7 7 7 7
5 5 5 5
7 7 7 7
5 5 5 5
nœ œ nœ œ n œ œ n œ œ œœ nn œœ œ n œ œ œ œ nœ œ œ 12 12 12 12
11 11 11 11
10 10 10 10
13 13 13 13
10 10 10 10
7 7 7 7
œ œ œœ 12 12 12 12
7 7 7 7
7 7 7 7
5 5 5 5
œ œ œ œ œœ œ œ 13 13 13 13
10 10 10 10
July 2015 GuitarTechniques 65
lesson: video
ON THE CD
cd-rom
Example CARL VERHEYEN MASTERCLASS ...CONTINUED
cd-ROM
4 xxxxxxxxxx [Bars 41-43] Here’s F major Pentatonic as you’ve rarely heard it. Notice the 4 inventive chord spacing, rhythmic placement and how an E natural (the 7th 4 xxxxxxxxxx xxxxxxxxxx 4 xxxxxxxxxx xxxxxxxxxx of4the scale) is introduced in bar 43 to add harmonic interest. You can learn these chordal structures but invent your own signature ideas in this vein.
œœ & & œ & E B E E G B E B E D G B G B A D G D G E A D A D 38 E A E A 38 E E 38 38 38
& & & E B E E G B E B E D G B G B A D G D G E A D A D 40 E A E A 40 E E 40 40 40
œ œœ
8 8 12 88 8 12 12 12 12
œœ œ 10 10 10 10 10
œœ œ
œœ # œ œ ## œœ
8 8 8 88
9 9 9 99
7 7 7 77
7 7 7 77
7 7 7 77
5 57 5 5 5 55 777 5 5 7 5
œ œœ œ œœœ œœ œœ & œ œœ œ & &
E B E E G B E B E D G B G B A D G D G E A D A D 43 E A E A 43 E E 43 43 43
œœ œ
3 3 3 5 5 33 5 55
œœ œ 3 3 3 33
œœ œ
10 10
œœ œ
3 5 3 3 5 5 33 55
8 8 8 88
œœ œ
œœ œ
œœ œ œ œœ
œœ œ
œ œœ
œœ œ
BD BU BD BD BU BU BD BU (12BU ) (13 ) 13BD 13 ((12 12 )) ((13 13 )) 13 ( 13 12 13 )) 13 (12 ))((13
66 GuitarTechniques July 2015
œœ œ
7 7 10 7 10 77 10 10 10
¿ œœ ¿¿ œ
œœ œ 15 15 15 15 15
œœ œ
10 10 10 10 10
10 10 10 10 10
œœ JJœ J
œœ nn œœ œ nœ
œœ œ 7 7 7 77
œœ œJœœ œ œ œœ œ œœ œ J œœ J 2 5 2 2 5 22 5 55
12 17 12 12 17 17 12 17 17 12
œœ œ
5 5 5 55
5 5 5 55
6
8 8 8 88
5 5 5 7 7 55 7 77
5 5 5 8 7 5 7 7 5 7 5 5 7 5 5 7 55 88 7 7 55 7 7 77 55 88 7 7 7
⋲⋲ œ œjjj ‰‰ ⋲ œ œœ œœ œœ ‰ œœ œ
‰‰ ‰
œœ œ
œœ œ
œœ œ
BD )(17 ) 15 17BU BU(18BD BD BU ) (18 ))((17 17 17 (18 17 )) 15 15 17 ((18 18 ))((17 17) 15 15 17
13 13 13 13 13
15 15 15 15 15
BU BD BU BD
/ 3 66 //' 3 œœ œ œ œ b œjjj œ 3 66 / œ ' œ œœ œ œœ bbbb œœœœjj œ œœ œœ œ œœ œœ œœ œ œJœ /' œœ œœ33 œ œ œ œ œ œ œ œ œ œ Jœ œ œ œ 6 œJ œ 66
œ. œœ .. 8 8 8 88
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66
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˙˙~~~ ~~~ ~~~ ˙ & & & w/bar w/bar w/bar w/bar w/bar ~~~ ~~~ 10~~~ 10 10
E B E E G B E B E D G B G B A D G D G E A D A D 49 E A E A 49 E E 49 49 49
10 9 10 9 9 10 10 9 9 9 10 9 9 99
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[Bars 49 and 54] Here Carl uses the whammy bar to add a vibrato which is unattainable with hands alone. The little ‘dipped’ note from A to G# at the end of bar 54 is a lovely touch. Such little flurries and flourishes would add interest to more or less anything you could play.
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Learning Zone
CARL VERHEYEN MASTERCLASS PT 6 Example CARL VERHEYEN MASTERCLASS ...CONTINUED
cd-ROM
[Bars 5 57-60] Again another phrase which shifts effortlessly through a number 5 of fretboard positions and even (using the whammy bar) reaches notes that 5 are off the fretboard (bar 60 beat 2). Slow practice is your friend here. 5 5 [Bar 63-64] As with the first appearance of the E7 chord, A minor Blues is used to create tension on this chord, reminiscent of moments B bmaj 7 in many blues
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12 12 12 12 12
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B bbmaj 7 B maj 7 B bmaj 7 B bmaj maj 7 7 B
5 5 5 5 5
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bb œœ bb œœ
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11 11 10 10 10 11 10 10 12 10 12 10 10 10 11 11 10 10 10 12 10 10 10 12 12
œœ œ œ
œœ œœ nn œœ œœ œœ n œ nœ
12 12 12 14 12 14 12 12 12 14 12 14 14 12 12
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w/bar w/bar
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5 6 5 6 7 5 7 6 7 5 7 6 7 5 7 6 7 7 7 7
5 7 5 6 7 5 6 7 5 5 6 7 6 7 6
bb œœ bb œœ
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3 3 5 3 3 5 3 3 5 3 3 3 5 5 3 Am7 Am7 Am7 Am7 Am7
B bmaj 7 B bmaj 7 B B bmaj maj 7 7
solos when the V chord appears. So when you see any dominant chord you now know that you have option of playing a minor Pentatonic or Blues scale based on the 4th. However, remember that although Carl uses this approach on both instances of the E7 chord, he has many other fantastic approaches to dominant chords, so don’t make this your only trick!
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6 6 6 6 6
7 7 7 7 7
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11 11 11 11 11
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3 3 3 3 3
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~~~ ~~~ ~~~ ~~~
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3 3 3 3 3
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Dm7
w/bar w/bar w/bar w/bar 15w/bar 13 15 13 15 13 15 13 13 15
13 13 10 12 13 10 12 13 12 13 10 12 13 12 13 10 12 12 13 10 12 12 13 13 12
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9 9 9 9 9
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July 2015 GuitarTechniques 67
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July 2015 GuitarTechniques 69
ON THE CD
Repeating note ‘cells’ Shaun Baxter continues to increase your range on the electric guitar by exploiting the symmetry of the fretboard using seven- and eight-note cells. helps physically and visually. For example, a C maj triad can be arranged on the lower string-pair (sixth and fifth): Cell Sixth Fifth (3-0) C, E, G (2-1) C, E G (1-2) C E, G (0-3) - C, E, G
ABILITY RATING
Moderate/Advanced Info
Will improve your
Key: C (Am) Tempo: 120bpm CD: TRACKS 52-54
Interval recognition Octave understanding Musical range
This series is devoted to compressing the information of a musical entity (triad, arpeggio, Pentatonic scale etc) into a single string-pair, so that the same shape ('cell') can be shifted up and down via other string-pairs. If we confine our approach to the lower, middle and upper string-pairs, the shape will remain symmetrical in every octave, which
That’s four configurations that can be shifted up in octaves onto the other string-pairs (fourth and third strings, and second and first strings) without changing shape. Furthermore, each entity (here, Cmaj) can be played in different inversions depending on the starting note. In this case, it is possible to play three different inversions of Cmaj by starting from a different note each time: C-E-G; E-G-C (C has been switched the end); and G-C-E, (C and E have been switched to the end). And, like the root position inversion, all the subsequent ones can be configured in the same four different ways on each string-pair (3-0, 2-1 etc). In the first few lessons we looked at playing two-, three-, four-, five- and six-note cells across three octaves. For this lesson, we are going to focus on seven- and eight-note ones. The seven-note cells can be configured as follows within each string-pair: 7-0, 6-1, 5-2, 4-3, 3-4, 2-5, 1-6, and 0-7. The seven-note cells are particularly suitable for any sevennote scale, such as modes like Aeolian, Dorian and Mixolydian. The eight-note Cells can be configured as follows within each string-pair: 8-0, 7-1, 6-2,
Seven-note cells are very suitable for any seven-note scale, such as Aeolian, Dorian, Ionian and Mixolydian.
tracks 52-54
5-3, 4-4, 3-5, 2-6, 1-7 and 0-8. The eight-note cells often feature unisons (due to comprising a seven-note scale with one note duplication); however, they can also be a convenient means of playing eight-note scales, like Diminished. Note that different ways of playing the same thing will provide us with different musical possibilities via new technical opportunities. Once you have worked through the examples, try to establish some useful shapes of your own in each of the CAGED patterns of the scales that you know. Establish the possible note-configurations (cells) in a systematic way, and audition each one against a backing track so that you can hear it in context. Make a note of your favourites, and experiment with various ways of employing them in the most musical ways. Remember you don’t have to always play from the root of the scale that you are using. You can apply ideas starting from any note of that scale. You are also not obliged to play all three octaves each time, as this will severely limit your musical approach. Instead, you might want to use just two ‘cells’ or even just one: the important thing is that ideas spring from the ‘concept’ of string-pair cells. You may need to use tapping for shapes lower down the neck, whereas you may be able to pick every note when playing higher up; so be prepared to adapt your approach. Everything does not need to be played at top speed, so above all be expressive. The following examples are all based around ‘cells’ that exist within A Aeolian (A, B, C, D, E, F and G), and can be taken over three-octaves via the various string-pairs. The intention is to help you to start building up a useful repertoire of shapes and lines that you can draw upon when improvising. NEXT MONTH: Shaun continues his series on using cells over three octaves
Get The Tone 6
7
5
5
5
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. Finally, some delay will also added, making sure that it is in tempo with the track. This will help to give both expanse and extra smoothness to your guitar’s sound.
Track record Although Greg Howe has played as sideman to the likes of Michael Jackson and Enrique Iglesias, he is primarily known for solo fusion-style albums demonstrating his smooth Allan Holdsworth-influenced rock style, which features inventive use of hybrid picking and two-hand tapping. If you haven’t heard Greg’s playing before, try his first fusion album, Introspection.
70 GuitarTechniques July 2015
DAVID LYTTLETON
lesson: creative rock
Learning Zone
7- and 8-note cells exampleS seven- AND eight-NOTE STRING PAIR CELLS
cd track 53
EXAMPLE 2 This one uses the same string-pair cell as in Ex1, only this time EXAMPLE 1 This first example features a seven-note string-pair cell arranged using a descending sequence. Again, a seven-note string-pair cell is arranged in a 3-4 note-configuration. It comprises notes of an Am11 Hexatonic scale in a 3-4 note-configuration, but this time, it’s treated differently in each octave. (A-B- C-D-E-G), and is treated the same way in each one of the three octaves. Tapping helps to avoid the busy interplay between picking and tapping; Here, we get a seven-note cell from this six-note scale by travelling from root GUITAR TECHNIQUES MAGAZINE 2 4 the 5 end of this example, however, again by picking nearer the fretting hand, it’s possible to eliminate to root. There’s unrelated stuff tagged onto but it’s SHAUN'S CREATIVE GUITAR each fretting-hand tap by picking the string instead. there to give you an idea of how each idea can be flanked by other vocabulary, 7-NOTE STRING-PAIR CELLS Example 3 This and the following examples feature eight-note cells in a 4-4 rather than just finishing it on a bend or a2 held (although, GUITAR TECHNIQUES MAGAZINE 4 5 note with vibrato SHAUN'S CREATIVE GUITAR arrangement to save all of the examples that2follow BecauseCREATIVE this GUITAR TECHNIQUES MAGAZINE 4 5 do exactly that). SHAUN'S GUITARon each string-pair. This time some of the notes are doubled Exon 1 space, (G-A-B-D on the lower string and C-D-E-G on the upper); the cell is treated example contains a busy interplay between and tapping, pick over the 7-NOTE STRING-PAIR CELLS GUITAR TECHNIQUES MAGAZINE 2 4 picking 5 Loco the SHAUN'S CREATIVE GUITAR same in each octave. Keep to even 16th-note triplets and imprint the pattern fretboard ratherSTRING-PAIR than over pickups as to6avoid having to shift back and forth 7-NOTE CELLS 6 in your hands, eyes and ears at a slower pace before trying to speed things up. with Ex the 1 picking hand when alternating 7-NOTE STRING-PAIR CELLSbetween picking and tapping.
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E B G E D B A E G E B E D1 G B A D G E A D E 1 A 1 E 1
E B G E D A B E G E B E D3 G B A D G E A D E 3 A 3 E 3
E B G E D A B E G E B E D G5 B A D G E A D E 5 A 5 E 5
5 7 8
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7 9 12 14 12 9 STRING-PAIR 9 10 7 9 12CELLS 14 12 9 STRING-PAIR CELLS 9 10 7 9 12 14 12 9 9 10
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July 2015 GuitarTechniques 71
Lœœ œœ œœ œœ œœ ≠œœ Lœœ œ œœ œ œ ≠œœ Lœ L œ œ œ Lœ œ œ œ ≠œ œ œœ œœ œœ œœ ≠œ Lœœ œ œ ≠œœ ŒŒ œ ≠œ œ œ œrock œ œœ œ œœ œ lesson: & L œœ œœ œ Lœ œ Lœ œ & Lœ œ creative ≠ œ œ œ œ ≠ œ œ œ ≠ œ œ œ Lœ & œ œ œ œ ≠œ Lœ œ œ œ œ ≠œ Lœ œ œ œ ≠œ œ œ œ œ ≠œ Lœ œœ œ œœ œ œ Lœ œœ œ œœ œœ ≠œ œœ.. Œ œ œ œ ≠œ Lœ œ œ œ œ ≠ &L L œ œ œ ≠œ Lœ œ œ œ œ ≠œ œ. Œ L ≠ LL ≠ L ≠≠ LL ≠≠ LL ≠≠ L œ œ ≠≠œ L œ œ œ œ ≠ œ. ≠ L L ≠ L ≠ LL ≠L ≠≠ œœ œœ œ Lœœ œ œ Lœ œ œ Lœœ œ œœ Lœœ œœ œ œ ≠ L Lœ L œ œ œ œ œ œ œ œ œ œ 22 œ œ œ Lœ œ œ Lœ œ œ Lœ œ œ Lœ œ œ œ ≠œœ œ Lœ œ œœ œœ œœ œ L œ œ œ ≠œ œ œ œ œ œ œ & & 2 œ œ œ Lœ œ Lœ L œ L œ œ œ Lœ œ œ œ œ œ ≠œ œ Lœ œ œ œ œ œ & 2 2 8-NOTE 8-NOTE STRING-PAIR STRING-PAIR CELLS CELLS
Ex 3
Ex 3 STRING-PAIR CELLS 2 8-NOTE Ex 3 8-NOTE STRING-PAIR CELLS
66
Ex 3
6
6
6 ON THE CD
tracks 52-54
6
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exampleS 7- AND STRING PAIR CELLS E 15 8 12 8-NOTE 8 10 12 E
6 15 8 12 8 10 12 15 8 12 8 10 12 B B 12 15cell8is12 10 using12a different 6 string-pair 6 8 here G Example 4 The same used 5 9 5 melodic 7 G 12 5 9 D 9 12 5 6 5 7features E sequence. This is reminiscent of Greg Howe, whose playing often 15 one 8 12 8 10 12 D 9 12 5 A B 12 picking15 8 12and 8 fretting-hand 10 A an ingenious interplay between taps. Again, the E G 12 5 9 5 7 Eis9treated cellED in the same way in each octave. 15 8 12 8 10 12 9 12 5 9 B 15 8 is12 8 10 A example quite easy to play: which is good news Example 5 Technically, this12 G 12 The 5 cell 9 5is treated 7 E because it’s 32nd notes throughout (demi-semi-quavers). in 5 Ex 4 D9 9 12 Ex 4 theAsame way in each octave; however, because the middle octave is repeated, E
6
66
6
cd track 53 6 it creates a9 musical overlap that helps the line to avoid predictability. 9 6 5 7 9 6 In this and the following two examples, we’re adding some Example 9 5 7 3 case, 7 3 5 7 0 chromatic notes 10 (in this scale (A-C10 3 7 3 G#5 and 0 7 Eb) 10 to 3 the 7 A3minor 5 7Pentatonic 9 7 seven 10 3 notes, 7 3 but 5 we’re doubling up on D-E-G). I know that this only gives us 9 5 7 the G note in order 10 to3 produce 7 3 an 5 eight-note cell that comprises 7 0 D-Eb-E-G on 9 7 10 3 7 3 5 the lower 9 5 7 string in each pair, and G- G#-A-C on the upper string. Note how, in all three examples, notes. 10 the 3 chromatic 7 3 5 notes are used as passing 7 0 7 10 3
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21
72 GuitarTechniques July 2015
2
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Learning Zone ' ~~~ ' ~~~ œœ œ # œ œ œ n œ œ ~~~ ' ~~~ œ b œ n œ b œ œ œ œ œ . # œ œ n œ œ œ œ œ œ œ ## œœ œ œœ nn œœ œœ œœ bb œœ nn œœ bb œœ œœ œ .. œ œ 6 6 6 6 & 6 œœ œœtrack 53 œ b œ n œ b œ œ œœ . cd exampleS 7- AND668-NOTE STRING66PAIR CELLS 6 66 6 6 œ~~~ œstring-pair 6 6 Example 8 Finally, we finish with another variation on the same Example 720Here, 17 we’re 16 17 using 16 15the same string-pair cell(s) as in the previous ~~~ 17 again, 16 15 each octave is treated in cell. This time, we’re using septuplets to create an effect similar ~~~ to Michael Lee example in 20 an ascending sequence and,16once 17 16 17 16 15 20 17 ~~~ 20 17 16 17 16this 15 20 17 16 13than 14 13Example 12 17 16difficult 15 17to14play Firkins. Here, the string-pair cell is treated differently in each' octave - although the same way. Technically, is more 20 17 16 17 16 15example 20 17 16 17 16 15 17 14 13 14 13 12 √ √ œ √ √œœ œ
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E B E E G B E B D G 17 14 13 which 14 13 12 B 6 because of the fretting-hand tap required start involves G 20 17 16 17to16 15 each A 17 string, 14 13 14 13 12 D 17 14 G D 17 14 13enough 14 13 12 17 14 E first finger coming down from sufficient height to produce the force A D A 21 17 14 forEAEa good strong note each time. To do this, you must release the fingers of 21 21 the hand from the fretboard each time a tap is played with this digit. E fretting 21
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Move fretting hand 3rd finger down to the 15th fret and then bend string with it. Move fretting hand 3rd finger down to the 15th fret and then bend string with it. Move fretting hand 3rd finger down to the 15th fret and then bend string with it. Move fretting hand 3rd finger down to the 15th fret and then bend string with it.
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31
July 2015 GuitarTechniques 73
lesson: CHOPS SHOP
Arpeggios
VIDEO
ON THE CD
CD-rom track
PART 2
Andy Saphir continues his chops building arpeggio exercises with a look across the fingerboard at the higher strings. Following on from last month’s lower strings major and minor arpeggios, this month we’re focusing on the higher strings. Like last issue, you’ll see chord diagrams above the relevant arpeggio shape. Visualising this chord shape is a great way of recognising the arpeggio pattern; after all, an
arpeggio is just the notes of a chord played melodically, so associating the two makes sense. Aim to recognise the chord tones (root, 3rd, 5th for a major arpeggio, and root, b3rd, 5th for a minor arpeggio) both visually and aurally, as this will help your fretboard skills and help to develop your musical ear.
Example 1 major arpeggio
cd ROM
This arpeggio is easy to remember as it’s the shape as the associated with the octave root note on the first string. Practise slowly, making sure you GUITAR TECHNIQUES MAGAZINE 2 4same 5 Andy Saphir's chord. Root, 3rd and 5th are on the fourth, third, second strings respectively, play smoothly Chops Shop - ARPEGGIOS - Pt. 2 without the notes being staccato.
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≥ ≤ ©»¡ºº ¡§º 10 Ex 2 œ bœ ©»¡ºº ¡§º & 44 -Cm ≥ ≤ 4 œ bœ Ex & 2 4 ©»¡ºº - ¡§º Cm 8 10 b œ 4 œ &4 ≥ 8≤
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©»¡ºº - ¡§º≥ ≤ ≥8 8≤ ≥8 ≤ ≥ ≤ ≥ ≤ 8≥ ≤8 8≥ ≤ ≥ 8 C œ œ 8 10 8 10 8 œ œ œ 8 10 10 œ 3 œ œ arpeggio œ œ 4 - ¡§ºœ Example 3 three-string major œ œ œ œ ©»¡ºº & 4 ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≤ first ≤string. In this ≤far, ≥ ≤ key,≤it’s In bar 1, don’t try toCstretch to that fret œ≤ 8th œandtoo œ œ œ œ so you can ‘jump’ your fourth finger to that note. The first, second, third œ œ œ œ œ œ œ 4 œ œ Ex 3 & 4 ©»¡ºº - ¡§º 3 8 3 C 5 œ œ 5 5 5 5 5 œ8 œ8 œ8 5 5 5 œ œ œ œ œ œ œ œ & 44 œ 3 8 3 œ 8 ≥5 5≤ ≥ ≤ ≥ ≤5 ≥5 ≤5 ≥5 ≤5 ≥8 ≤ ≥8 ≤5 ≥5 E B G D Ex A E
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74 GuitarTechniques July 2015 E B G D
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≥ ≤ ≥105 ≤8 ≥ 10≤5 8≥ ≤ ≥ 8≤ 10≥ 5 ≤ ≥ 9 ≤ ≥8 10 etc 8 8 8 12 12 9 10 ≥ ≥ ≥ ≤ ≤ etc ≥ ≤ ≥ ≥ ≥ ≤ ≤ ≥ ≤ ≤ 4 cd ROM Example 4Exthree-string minor arpeggio etc ≤ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≤ etc≤ ≥ ≤ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≤ ≤ ≤ ≤ ≥ ≤ ≤ ≤ ≤ ≤ ≤ Ex 4≥≥ ≤≤- ¡§º ©»¡ºº The two middle bars are tricky, as in bar 2 the minor triad (b3rd, 5th, R) is fretted with the fourth finger, and in bar 3 the same triad is œ ¡§º ©»¡ºº -Cm b œ œfretted œ œwith the first. bœ œ Ex 4 œ œ œ œ Ex 3 4 Cmœ b œ œœ œ œœ œ œ œ œ b œ œœ œ œœ œ œ b œ œœ œ b œ œ œœ œ œœ œ œ œœ œ b œ œ œ œœ ©»¡ºº- ¡§º - ¡§º ©»¡ºº & 4 œ œ œ œœ œ b œ œ œ œ b œb œœ CCm œœ œœœb œ œœœ œb œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ b œ œœ œœ b œ bœœ œ &&4444 œœ 2 xxxxxxxxxx œ GG DD AA EE
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E2 xxxxxxxxxx 3 8 3 8 8 11 8 11 15 11 4 4 4 8 8 8 8 8 13 13 2B Ex 5 E 2 xxxxxxxxxx xxxxxxxxxx 8 11 8 3 8 3 8 11 15 11 G 5 5 5 8 8 5 8 8 12 12 2 xxxxxxxxxx B 8 8 8 4 4 8 8 13 13 D2 xxxxxxxxxx 4 -5 G xxxxxxxxxx 8 8 5 5 8 8 5 12 12 2A EE 2 xxxxxxxxxx Ex 5 8 12 15 12 8 12 8 3 8 3 8 11 8 8 11 15 11 3 8 3 E xxxxxxxxxx 2D C 54 2 4 5 Cm C Cm 1313 TECHNIQUES MAGAZINE 54 BGUITAR B 5 Andy 1313 88 5 Ex 88 88 88 Saphir's 88 5 4 55 A Ex GG 1212 1212 5 5 2E 55 Exxxxxxxxxxx 5 89 - Pt. 2 etc 89 55 8 Chops Shop8 - ARPEGGIOS 55 DD Ex 5 -- C Ex 1 Ex Cm C Cm etc AA Ex 55 cd ROM CC Cm CC Cm 5Exmixing major and minor 5 E E Example Cm Cm --- C Cm C Cm etc C shapes in the same fretboard Cm Cm 5 This exercise to- nail area. Notice thatetc the shape fromCCbar 1 of Ex3, is also played in the final bar here, but up an octave. C Exhelps C Cm Cm C Cm C Cm Cm C Cm - C Ex 4 C Cm C Cm E 8 8 8 8 B 5 8 8 5 5 8 8 8 8 8 8 Cm G 5 5 5 8 8 5 9 9 9 8 8 E D 8 8 8 8 10 10 10 10 B A EE 5 8 88 8 5 5 8 88 8 8 88 8 8 88 8 G BE 5 55 88 8 88 55 5 55 5 8 88 8 88 8 5 9 88 8 88 9 9 8 88 8 88 8 B E D B E G 10 99 88 88 8 899 10 99 10 88 88 88 8 88 10 8 55 5 8 88 8 5 55 5 8 55 88 8 88 8 8 88 55 etc EG B A B G D 810 9 85 8 58 55 88 8 88 55 5 5 5 8 8 88 8 88 8 8 5 10 10 D BE 10 98 88 888 88 9 10 10 88 88 88 88 8 10 10 E G E9 B D G A 5 59 8 8 9 8 5 5 5 889 8 8 8 10 8 88 55 9 8 99 10 999 8 10 10 9 8 8 95 5 9 99 8 GA 5 5 B 5 810 8 10 5 5 810 8 8 8 8 88 10 D D G A 10 10 10 88 8 10 10 10 E 5 5 5 8 8 5 9 9 9 etc E D E 10 10 10 10 G 8 8 8 8 5 5 5 8 8 5 9 9 9 8 8 A D A E 10 10 10 10 etc A B C C Cm etc D 5 8 8 5 5 Cm 8 8 8 8 8 8 10 10 10 10 E E A etc 9 E G AE 5 5 5 8 8 5 9 9 8 8 etc etc 10 11 15 10 D 10 10 E E 8 11 etc 8 8 Cm 11 3 8 C3 etc C Cm 13 A B 8 8 8 8 8 13 4 4 4 etc CC Cm CC Cm G Cm 8 5 Cm 8 8 5 8 12 12 5 E 5 C Cm C Cm DEx 2 etc C Cm C Cm A C Cm C Cm C Cm C Cm E C Cm C Cm etc Cm C Cm C Cm
©»¡ºº ¡§º ≥ ≤œ ≥œ ≤œ ≥œ ≤œ ≥ ≤œ ≥ b≤ œ ≥œ ≤ œ ≥œ ≤ œ ≥ ©»¡ºº4 ¡§º ¡§º œ œ œ œ œ œ œ bœ œ œ œ œ œ œ ©»¡ºº ¡§º ©»¡ºº œ œ œ œ œ ≥ ≥ ≥ ≤ ≥ ≥ ≥ ≥ ≥ ≤ ≤ ≤ ≤ œ œœ œ ¡§º ©»¡ºº & 4 ¡§º ©»¡ºº ¡§º œ œœ ≤œœœœ œœ œ ≤œ œ œœœœ œœ œ œ œ œ b œ œœ œœœœ œœ œ œ ©»¡ºº ≥¡§º œ b œ œ œ 4 ©»¡ºº ¡§º œ œ œ œ ≥ ≥ œ œ œ œ œ ≥ ≥ ≤≤©»¡ºº ≥ ≥ ≤ ≤ ≥ ≥ ≥ ≤ ≥ œ œ œ œ ≥ ≥ ≥ ≤ ≤ ≤ ≤ ≤ ≥ ≤ ≤ ©»¡ºº œœœ œœ œœœ œœ œœœ ≤œœ œœœ œ œœ bbbœœœ œœ œœœ œœ œ œœœ œœ œœ œœœ œœœœ œœœ œœœ œœœ œœ œœœ œœ bbbœœœ œœœ œœœ œœœ œœœ œœ &œ 444œ ¡§º œ œ œ œ & ©»¡ºº ¡§º & 44 œœ œœœœ œœœœ œœ œœœ œœœ œœœ œœœ œœœœbbbœœœœ œœœœ œ œœœ œœœ œ œœœ œ œ œœœœ œœœœ œœœ œœ œœœ œœœ œœœœ œœœ œ œœœ bbbœœœ œœœ œ œœœ œœœ œœœ 44 œ œ & & 444 œœ œ œ œ œ œ œœ œ œœ b œ œ œ œ œ œœ œœ œ œ œ œ œ œœ œ œœ b œ œ œ œ œ œœ & ©»¡ºº ¡§º & & & 4 œ œ œ œ œ œ bœ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œœb œ œ œ œ & 4œ œ œ œ œ œ œ œ bœ bœ œ bœ & 44 œ ≥ ≤ œ≥ ≤ ≥ œ ≤ ≥ ≤ ≥ ≤ œ≥ ≤ ≥ ≤ ≥ ≥≥≥≥ ≤≤≤≤œ ≥≥≥≥œ ≤≤≤≤ œ ≥≥≥≥ ≤≤≤≤ ≥≥≥≥ ≤≤≤≤ ≥≥≥≥ ≤≤≤≤b œ≥≥≥≥ œ≤≤≤≤ œ≥≥≥≥ ≤≤≤≤ ≥≥≥≥ œ ≥ ≤ ≥ ≤œ ≥≥≥œ ≤≤ ≥≥≥≥ ≤≤≤ ≥≥≥œ≥≤≤ œ ≥≤≥≥œ ≥≤≤ ≤œ≥≥≥≥œ≤≤≤ ≥≥≥≥ ≤≤ ≥≥≥ ≥œ≤≤ ≤œ≥≥≥≥ ≤√≥ ≤ œ≥ œ ≤ œ ≥ œ ≤ œ ≥œœœ ≤ œ ≥ œ ≤ ≥ œ ≤ ≥ œ≤ b œ≥ œœœ≤ œ≥ œ≤ ≥ √œ œ œ œ œ œ œ b œ œ œ œ œ œ & œ ≥œœ ≤œœœ ≥ œœ ≤ œœœ ≥œœ ≤ œ ≥œœ ≤ œ≥ œœ≤bbbœœœ≥ œœ≤ œœœ≥ œœ≤ œ≥ √ √ œ œœ œœœ œœ œ œ √ bœœ œœœ œœœœ œœœ œœ œ œ œ œ œ œ √ ©»¡ºº ≥¡§º≤ ≥& ≤ œœœœ≥ œœœœ≤ œœœœ≥ œœœ ≤ œœœœ œ≥œœœ œœœœ œ≥œœœ ≤ œœœœ≥ œœœœ≤ bbbbœœ≥œœ œœœ œœœœ œœœœ œœœœ √ œ œ œ b œ œ œ œ œ œ √œœœ œœ œœ œœœœ œœ œœœ œœœ œœ œœœ bbb œœœ œœœœ œœœ œœœ œœœ œœœ & &œ œœœ œœ œ œ œ œ œœ≤œ œ œ œœœ œœ b œ œ œ œ œœœ √ & œœœœ œœœœ œœœ œ œœœ œœœ œœœœœ bœœœœ œ œœœœ œbbbœœœœ œœ œ œœ œœœ œœœœ & œ œ 12œ 15œ 12œ œ œœb œœ œ œ œ11 œ15 11 œ œ b œ √ bœ& 4 œ œ & & 12 13 &4 œ17 œ15 20 œ15 œ17 œ17 œ17 œ17 b œ16 œ15 20 œ15 œ16 œ17 13 13 13 13 œ 12 12 12 17 & 13 12 15 12 13 13 11 15 11 15 20 15 15 20 15 13 11 17 15 17 16 15 12 12 15 15 12 12 11 15 15 11 11 13 15 20 20 15 15 17 15 20 20 15 15 16 12 13 12 12 12 17 17 17 12 15 12 11 15 11 15 20 15 15 20 15 16 13 13 13 13 17 17 17 16 17 17 17 16 16 17 15 20 20 15 15 17 17 15 20 20 15 15 16 17 12 17 ≥12 13131313≤ 121212≥ 151515≤ 121212≥ 13131313≤ 121212≥ 13131313≤ 121212≥ 13131313≤ 111111≥ 151515≤ 111111≥ 13131313≤ 121212≥ 17etc 17 17 15 17 17 12 17 16 15 17 17 15 20 15 17 17 17 17 17 16 15 20 15 16 16 17 17 17 17 16 8 13 11 15 11 13 8 13 12 15 12 13 12 13 8 12 12 12 17 17 15 820 15 178 17 17 17 17 16 158 20 15 16 17 17 17 17 12 12 12 13 13 13 13 13 17 17 17 16 16 8 8 8 8 8 12 8 8 8 8 17 17 12 17 17 ≥≥ ≤≤ 12≥8≥ 15≤≤ 12≥8≥ ≤≤ 12≥12≥ 8≤≤ 12≥12≥ ≤≤ 118≥≥ 15≤≤ 11≥≥ ≤≤ 12≥12≥ 8 etc etc 15 20 15 15 20 15 17 17 12 17 8 17 8 86 8 Ex 17 17 10 16 16 etc 17 10 ≥≥≥ 131≤≤≤ ≥≥≥ 10≤≤≤ ≥≥≥ 13≤≤≤ 1012≥≥≥ 13≤≤≤ 12≥≥≥ 13≤≤≤ ≥≥≥ 10≤≤≤ ≥≥≥ 13≤≤≤ 12≥≥≥ Lick 21017etc Lick 17 12 17 17 etc j ˙~~~cd ROM ≥ ≥ ≥ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≤ ≥ etc 6 ≤ C7 C m Cm Example 6Exusing arpeggios musically: 1 (9) / ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ œ etc b œ b œ etc ~~~ ≥b œ≤ ≤C œBlues ≥≤and≥≤1 minor etc ≥ ≤ ≥≤b œ ≤≥Lick≥≤2œis ≥mainly ≥ ≤≥ œscale. ≥ ≥≤ ≤ ≥œwith ≥ 4Lick ≥ ExExC≤ 666major ≥œ 2b≤but ≤ (F)œand œ œC minor Lick œ theœ≥ 4th œ≥≥≤ œ≤≤arpeggios œ /'≥≤≤ Œ C≥≥≤ minor œ with œ b7th b œfrom œ œ Pentatonic. Lick 1 mixesEx (Bb) taken Lick 1≤1 (9) j ~~~ Lick 22etc œ œ œ œ œ œ ≥ ≥ ≥ ≥ Lick ≤ Lick ≤ ≤ ≥ ≥ Ex66 C7 C m≤ Cm œ Ex Lick 1 Lick 2 b œ b œjj ˙˙~~~ œ ~~~ ' Ex 6& 4Lick C7 C m Cm (9) ~~~ / C7 Cœm Cm œ œ 1 (9) œ œœ b œ œ b œ œ Lick 2 / œ œ œ Ex 6 j ˙~~~ b œ Ex 3 ' Lick 1 œ b œ œ b œ œ œ b œ œ Cm 22 b œœ œœ bbœœ œœ CCœœmmbbœœ œ œœ œœ //' Œ Lick ~~~ 4 œ ~~~ œ œ LickC7 1 (9) ~~~ Lick œ œ œ œ œ œ 3 œœ œœ œ3 œ bb œœjj ˙~~~ œ œ b œ 3 C7 Cm 3 (9) œ œ b œ œ œ b œ Lick 1 Lick 2 ~~~ œ ˙ œ b œ œ œ b œ œ œœ œœ bbbœœœ œœ bb œœ œœ CCCœmmœmb œ œœœ œœ œ //' ŒŒ Cm œœ b œ œœœ œœ œ œœœ œ œœœ3 œ œœœ~~~ œœ œœ œ œœœbbbœœœjj ˙˙~~~ (9) ~~~ & 444 C7 ©»¡ºº - ¡§º Ex 6& œ œ C7 Cm (9) œ œ œ b œ ~~~ œ C7 Cm (9) œ œ œ & 44Lick C ~~~œ œœœbbbœ3œœœœœœ œœœ œœœ3 œœb œjBU˙~~~ œ C7œœœ1œ(9)œœœœ œœœ œœ b œ œœœ bbbœœœ œœœœ Cœœœœmbbbbœœœœœ œœœ œœœ œœœœ ///' ŒŒŒ œLickCm œœœ2bbbbœœœœ3 œœœ œœœœœœ3œœ3 œœœ œœœœ œœœ3 œœœœœ œœœœ~~~ & 4 œ ~~~ œœ b3œ33 œ15 œ œ333 œœ b œ (˙20~~~ & 33 œ Œ 4 œ 3 œ œ œ œ œ œ b œ œ œ œ ' 4 œ œ& ) & 44 œ œ8œ 8 11 œ8œb œ œ œ8 b œ œ œ Œ œ15b œ1133 13 œ13 œ1133 13 œœ 13333 œ11 13~~~ & b œ163 18œ œ16333 œ17 BU ~~~ &4 œ œ œ 33 œ 12 œ3 33 œ ~~~ 9 11 10 8 œ 10 8 / Œ 17 33 & 4 10 8 8 11 8 œ 13333 11 13~~~ ~~~ BU (20 ) 3 ~~~ 15 11 13 11 3 10 //' ~~~ 3316 151515 18 163 BUBU ~~~ ' 8 13 13 13 ((20 88 15 11 / ) 15 11 11 13 11 11 11 ~~~ 20)~~~ BU 3 3 3 ' ~~~ 9 88 8 11 10 8 / 17 16 17 BU (20~~~ ) 15 11 13 11 13 15 18 88 8 16 11 88 11 10 13 13 11 13 13 12 13 13 13 16 18 16 ~~~ BU / ~~~ 3 11 13~~~ 17 16 15 18 16 17 BU 10 99 8 88 11 8 11 15 11 11 13 13 13 11 11 13 12 20 8 88 10 10 ~~~ 11 10 10 10 88 /'/ 12 13 11 17 17 (((20 ))) 15 15 ~~~ 8 11 8 8 13 13 13 13 16 18 16 8 15 11 13 11 11 15 20 11 10 8 10 12 13 17 16 17 10 10 9 8 10 10 8 ' 11 8 13 13 11 13 Ex 7 (20~~~ ) 15 11 10 10 8 12 13 11 13 1712 16 15 18 11 88 11 13 12 13 12 1517 18 16 16 17 BU 8 11 12 13 8 888 88 10 10 3 8 103 99 88 8 11 8 115 10 13~~~ 10 95 108 10 88 /' 12 13 11 13 17 161315 18 16 17 17 8 15 11 13 13811 13 812 888 10 510 10 5 ©»¡ºº - 10 5 ¡§º ( ) 8 20 9 11 10 8 17 17 10 10 9 9 12 5 Ex 7 85 11 85 8G 13 13 1312 13 18 16 10 10 5 Am F E m 16 9 11œ 10 8 10 8 12 17 17 œ Ex 77 Ex©»¡ºº -arpeggios ¡§º œ œ musically: 10 ROM Example 7Exusing 7 œ ≥œ œ≤ œ≥ 2≤ Gœ≥ œ ≤10œ ≥ œ œ etcœ œ œ Fœ œ œ œ œ œ œ E mœ œ œ œ œ œ cd ©»¡ºº - ¡§º Ex Am œ ©»¡ºº ¡§º œ Ex 777≥ ≤ -- ¡§º ©»¡ºº ≥ ≥ ≤ ≥ ≤ œ ≤ Ex œ Am G F E m Here are major different chords, based on the C Major scale. Practise slowly so each arpeggio is smooth and in time. Am arpeggios ©»¡ºº ¡§º Ex©»¡ºº 7 and4minor œœœ œœœ œ œ over Am ---¡§º œ œœœ œœœœ œœœ GœGGGœœœ œœœ œ œ œ œœœ œœœœ œœœ FœFFFœœœ œœ œ œ œœ œœœœ œœ EEEEmœmmmœœ œ œ œ œ œ œœœ œ ©»¡ºº ¡§º Am Ex©»¡ºº 7& 4 - ¡§º Am œ œ Ex 4 œ Am œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ GœGœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ FœFœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ EEmœmœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ 4- ¡§º Am 4 ©»¡ºº - ¡§º ©»¡ºº & 4 œœ œœœ œœœ œœœ œœ œ œœ Gœœ œœ œœœœ œœœ œœœœ œœ œœ œœb œ Fœ œœœ œœœ œœœœ œœœ œœœ œ b œœœ œE mœœœ œœœœ œœœ œœœ œœœ œœœœ œœ œœœœ & & 444œ Am œ Cm & &œ 444 17œ œœ12 œ œœ œ œ12b œ17 œœ12 œ œ15 œœ œ œœ œb œ œ œ 15œœ œ13 œ œœ œœ œœ œ œ13 œ œ12 œœ œœœ œœ œœ œ œ12 œ & b œ & 4 œ 13 13 œ13 13 œ 4 œ 12 12 15 œ 12 12 15 15 13 12 &4 œ & & 4 17 12 13 14 13 12 17 12 15 15 12 12 12 15 15 15 13 13 14 15 14 13 13 13 12 12 12 14 12 12 12 12 E B G E D A EB E G BE B E D G G EB B A E G D D B E G E B D A GA B D A EG E D E G A D E A B D E A E G A E D E A E
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ON THE CD
The Who Phil Capone listens to The Who’s early back catalogue and is surprised by the prevalence of obvious R&B, blues and even jazz influences. The Who and Pete Townshend in full flight (literally!)
ABILITY RATING
Moderate Info
Will improve your
Key: Various Tempo: Various CD: TRACKS 55-66
Triads over pedal bass Authentic 60s tone Use of 6ths in solos
The Who’s ultimate line-up was completed early in 1964 and comprised Roger Daltrey (vocals), Pete Townshend (guitar, vocals), John Entwistle (bass, vocals), and Keith Moon (drums). Unbelievably they changed their name from The Who to The High Numbers just before releasing their first single, I’m The Face/Zoot Suit in July 1964. It was during this period that Townshend famously smashed his first guitar; not a planned stage antic but the result of frustrations winding him up on the gig. The following week Keith Moon smashed up his drums at the same venue and one of the most explosive stage acts was born, not at the whim
of a record company marketing executive, but purely by chance. By late 1964 the band had wisely changed its name back to The Who, Pete Townshend’s songwriting career had begun in earnest, and they’d completed a sell-out residency at London’s legendary Marquee Club. In January 1965 the group released I Can’t Explain, their first single as The Who, which peaked at No 8 in the UK charts. TV appearances and more sell-out gigs followed, including a tempestuous tour of Scandinavia, which led to Roger Daltrey being fired from the band (apparently for his “dictatorial attitude”). Fortunately they had already recorded their second single, My Generation
By late 1964 the band had changed its name back to The Who, Townshend’s writing had begun in earnest, and they had a residency at the Marquee.
tracks 55-66
which stormed the UK charts on its release. All sins were consequently forgiven and Daltrey was hastily welcomed back into the fold and the rest, as they say, is history. Pete Townshend was, and is still, the driving force behind The Who. His famous gear smashing antics during the band’s early years, that legendary ‘windmill’ strumming technique (he once impaled his hand on a whammy bar), and his prolific songwriting talent made The Who one of the biggest rock bands in the genre’s history. In an interview with Sound International magazine (1980) Pete revealed some of his influences: “I fell deeply in love with this girl who went out with a double bass player and she used to talk all the time about jazz. And in order to keep up with her I studied a lot of jazz and I started to listen to it and I got to like a lot of it. And then I met this guy who was in college there at the photography school, he was from Alabama. He had a fantastic collection of old blues records and a nice stash of grass and I got my introduction to the blues and to a lot of other stuff too like Mose Allison, Ray Charles, Jimmy Smith, Jimmy Reed and Hooker. A lot of great music in one year”. It’s undoubtedly this wide range of influences that enabled Townshend to develop his individual style. Many bands have come and gone during The Who’s incredible 50 years in the business. They changed the sound of rock with a series of ground-breaking albums that continued until Keith Moon’s untimely death in 1978. The band is still touring and recording to this day but since the death of John Entwistle in 2002 Townshend and Daltrey are the only original members in the line-up. NEXT MONTH: Charlie Griffiths begins a new series focusing on Hard Rock
Get The Tone 8
6
8
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4
Gain
Bass
Middle
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Reverb
Throughout The Who’s early years Pete Townshend played Rickenbacker guitars almost exclusively. As he explained in an interview with Sound International magazine, “I liked the look of it, I think because The Beatles were using them. I stayed with Rickenbackers for a long time and then I started to use Fenders.” Live pete also used Gibson SG Specials and Les Paul Deluxes. Ampwise at this time Pete was using a Fender Bassman head through two Marshall 4x12 cabs. The settings above will provide an authentic lead tone; to clean up your tone for rhythm work simply back off your guitar’s volume pot just as Pete would have done.
Track record The milestone early singles include Can’t Explain (1964), My Generation (1965), Substitute (1966), I’m A Boy and Happy Jack, Pictures Of Lily (all 1966), I Can See for Miles (1967) and Pinball Wizzard (1969). Recommended albums include My Generation (1965), A Quick One (1966) and Live at Leeds (1970). Who’s Next (1971) boasts Won’t Get Fooled Again and Baba O’Reilly (tabbed in GT241).
76 GuitarTechniques July 2015
MIchael Ochs Archive / getty images
lesson: r&b
Learning Zone
THE WHO Example 1 Double-stop bends
cd track 55
GUITAR TECHNIQUES MAGAZINE 2 4 5
N Bone - finger. THE WHO - Phil Capone on the 3rd. The quarter-tone bend should be applied The key to playing double-stop bends is to fret bothBRIT stringsRwith finger for double-stops Use your third finger to fret the double-stops on the 5th fret and your first with a downwards bending motion (pulling towards the first string).
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Example 3 Power chord riff
cd track 59
2 Pete xxxxxxxxxx was also one of the first of the British R&B pioneers to use power chords
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Power Chord Riff
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lesson: r&b
E B G D Example 4 Triads over 2 2tonic pedal 2 0 2 A 0 0 0 0 0 0 E Pete’s love of jazz and in particular3Miles Davis’s pioneering modal work in E the B 50s undoubtedly inspired this trademark feature of his 3 playing style. His G of shifting triads played use against a constant 2 2 2 bass note2pedal can 2 be heard D Ex 4 Triads Over Tonic Pedal 2 2 2 0 2 A 0 0 0 0 0 0 E 3
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78 GuitarTechniques July 2015
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cd track 63
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cd track 65
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bar 12, a sound that would become associated closely with The Who during the late 60s and early 70s. Use alternate 16th-note picking for the repeated E note that kicks off the first solo, keeping your picking consistent both WHO - Phil Capone rhythmically and dynamically.
FINAL JAM Main Riff
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Townshend. However, what made riffs just like this one sound new and B7 A7 exciting in the 60s was not the note choices but the heavy, fuzzed-out sound of the guitar.
The main riff of this example is typical of Townshend’s approach during the bands’ early recordings; although it is based on full five and six string barre chords the rests andMAGAZINE sustained chords GUITAR TECHNIQUES 2 4 5 provide plenty of space for BRIT R chord N B -in THE Keith Moon’s explosive drumming. Notice the use of the B7sus4
E B G D A E
1
/4 tracks 55-66
Example 6 Final Jam
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July 2015 GuitarTechniques 79
‰
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lesson: r&b
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80 GuitarTechniques July 2015
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ON THE CD
John & Bucky Pizzarelli John Wheatcroft looks at the finer points of jazz guitar duo performance through the instruments of this unique and amazing father and son team.
Bucky Pizzarelli with son John, both on 7-string
ABILITY RATING
Moderate/Advanced Info
Will improve your
Key: Various Tempo: Various CD: TRACKS 67-81
Jazz vocabulary Chord comping Timing and feel
Seven-string jazz virtuoso John ‘Bucky’ Pizzarelli has been playing pro guitar for over 70 years. His CV includes Stephane Grappelli, Les Paul, George Shearing and Benny Goodman, as well as a dozen or so years with both NBC and ABC. Bucky also plays rhythm on Woody Allen’s wonderful 1999 film, Sweet And Lowdown. Both uncles were professional musicians and the clan would regularly get together to play music. This tradition has continued into his own family, with son Martin taking up bass and daughter Mary classical guitar.
Bucky’s eldest son, also called John, has gone on to create an equally impressive career as seven-string expert and jazz singer, with a resume that ranges from McCartney, James Taylor and the Boston Pops Orchestra to a fine collection of albums as bandleader, and with a devoted fanbase to match. We’re gong to keep things in the family today though because the one thing that Bucky and John like to do more than anything is to play together. They have toured, been on numerous TV shows and released a stream of albums as both a duo and as a larger ensemble featuring Martin on bass. As you’d expect, they play together beautifully, with a lifetime
Music was always for fun, so we don’t really know that we’ve been doing this for a living.
tracks 67-81
of experience knowing how to accompany perfectly, with an almost telepathic level of interplay and musical empathy. Jazz guitar duo playing is one of the best ways to become accomplished, as it develops so many useful facets of your playing. You need to know every aspect of the music: melody, harmony, rhythmic, bass lines and improvisation. In a duo you are exposed, but there’s no better way to get better at listening while you play and reacting with sensitivity to your fellow performer. There are 10 examples this month, in five pairs with John’s part panned slightly left and Bucky’s right. Each idea illustrates a comping or soloing idea or, in the case of examples 1 and 2, dual soloing combined. As both Bucky and John play seven-string (with the low string tuned to A), I have modified the parts to make these playable on a regular six-string. Why not get together with a friend to try these ideas out? You’ll learn so much from it. Or record one part and play along with your own rhythm. Or maybe record yourself soloing through a tune, with no click and just what you play keeping you in time, then add the rhythm. You’ll get an accurate idea of how good your time-feel is, so if you’re struggling to feel the pulse when you listen to your soloing, this is exactly what the band hears so you might need to develop this aspect further. My personal favourite method is to record myself playing 4s throughout a tune (four bars rhythm, four bars solo) and then add a second part doing the exact opposite. You really need to be on top of the changes and form and this feels pretty much exactly like ‘real playing’ in terms of concentration, being in the moment and reacting to an ever-changing musical scenario in real time. NEXT MONTH: John examines the nylon-string virtuosity of Sylvain Luc
Get The Tone 3
5
5
6
2
Gain
Bass
Middle
Treble
Reverb
Bucky is a long-time Benedetto endorsee, while John has a signature Moll custom 7-string. The modern electric ‘jazz’ tone is surprisingly bright, so while flatwounds, archtop hollow-body and a super-clean amp are the order of the day, there is no need to turn the treble down on either guitar or amp. Both Bucky and John favour picking very close to and sometimes over the edge of the neck and both switch between pick and fingerstyle. I plugged my Benedetto Bravo straight into the desk with just a little reverb and panned John’s parts left and Bucky right.
Track record There are a number of excellent releases from both the studio and stage. The Pizzarelli Boys (Challenge 2008) featured Bucky, John and brother Martin on double bass, as does Live At The Vineyard (Challenge 1987). To hear father and son in guitar-duo mode, try Family Fugue (Arbors 2011). Bucky and John also appear on the latest Annie Ross album, To Lady With Love (CAP 2014).
82 GuitarTechniques July 2015
JOE KOHEN / GETTY IMAGES
lesson: jazz
Learning Zone
John & Bucky Pizzarelli
Examples 1 & 2 Two-guitar jazz-fugue
cd track 67
John’s part (left) outlines the Vim Iim V I IVm in Eb with a choice selection of chord tones, fleshed out with the connecting scale chromatic tones. While the note content is of obvious significance, the main concern here is more rhythmical, with clearly defined phrases that leave gaps for the second part and imitate and echo when appropriate. Bucky’s part (right) is arguably
GUITAR TECHNIQUES MAGAZINE 245
JOHN WHEATCROFT'S JAZZ - BUCKY AND JOHN PIZZARELLI
Ex 1 - 2 : Two guitar jazz-fugue GUITAR TECHNIQUES MAGAZINE 245 C m7
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more scalar and bluesy, but notice how he echoes the rhythm from John’s part in bar 2 to his own in bars 3 and 4. The harmonics found at both 12th and 5th frets spell out our underlying G major triad (D-G-B) and serve as a release rhythmically, where our arrangement might return to a more traditional swing feel if we were to continue.
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July 2015 GuitarTechniques 83
lesson: jazz
ON THE CD
tracks 67-81
Examples 3 & 4 Jazz lines/Crotchet comping
cd track 70
John’s solo here follows the arpeggio of the underlying chords closely, beginning with a neat IIm V move in the key of C (Dm7-G7). There are a couple of moments of anticipation also, such as the final E note in bar 2, which can be seen at the 9th of Dm9, followed by a nice major 7th superimposition. Further in this bar, John anticipates the move to C Major a whole two beats early with a bluesy minor to major 3rd idea (Eb-E).
The George Van Eps influence is clearly heard in Bucky’s choice of voicings in this comping example. Voice leading is exploited beautifully in bars 3 and 4. It’s a good idea to examine each string in isolation to see the connection. At this point, the main action is all on the third string but this is not necessarily always the case. In this instance I’d suggest a fingerstyle approach so aim for a balanced tone and volume for each string in every form.
2 Ex 3 - 4 : 2
Jazz lines / Crotchet comping
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84 GuitarTechniques July 2015
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Learning Zone
John & Bucky Pizzarelli
Examples 5 & 6 Artificial harmonics/Bass-chord comping
cd track 73
Whilst the note selection is definitely interesting and worthy of study in its own right, the principle issue here is establishing a clean technique for executing artificial harmonics throughout. These are best produced by pointing at the string 12 frets higher than the regular fretted notes with the first finger held straight and twisting the pick to connect with the string with a turning motion held between thumb and second fingers. You may wish to check out the many versions Django Reinhardt recorded of his tune Nuages to witness the origins of this technique in jazz styles, while of course classical guitar players have had their own take on this idea for centuries. As if the Pizzarelli family couldn’t get any more musical, John’s sister and Bucky’s daughter Mary is a fine and
accomplished classical guitarist. Bucky creates interest to his comping here with a fingerstyle approach that mixes individual bass notes, arppegiated and block chords. Notice how he almost never employs traditional barre shapes, favouring smaller cell-like voicings with just the key ingredients such as root, 3rd and 7th. The other thing you’ll often find with jazz voicings is the complete absence of any octave doubling, so never two of the same note in the same voicings. While exceptions do occur (and of course with voice leading occasionally we actually want the same note in consecutive chords), this is a good rule of thumb to stop the sound become clumply, as individual notes mean we can add colour without becoming overbearing and leaden.
3 Ex 5 - 6 : Artifical harmonics / Bass-chord comping 3 E bm 7
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July 2015 GuitarTechniques 85
lesson: jazz
ON THE CD
tracks 67-81
Examples 7 & 8 Bass line/Chord solo
cd track 76
Here we see how John and Bucky might emulate the sound of a bigger ensemble by both taking on clearly defined roles, one being the bass player (John, left) and the other taking on the responsibility of the horn section playing a solo in block chords (Bucky, right). The trick to walking bass is to outline key notes from within each harmonic event/chord while creating a line that hits these points at particular spots in the time frame of the piece, very often root notes on the beat connected with a combination of scale and chromatic tones. Notice how similar the line in bars 1 and 2 is a
part such as the unison riff in Jimi Hendrix’s version of Hey Joe. Bucky’s voicings are essentially all on the top four strings, with the occasional three-note voicing for good measure. The chromatic approaches serve as a form of momentary tension and release. From a voicing perspective we’re looking at just two shapes but the key is to always be able to identify the location of the root. For example, our opening E9 to F9 contain neither E or F, so we need to imagine their presence as an implied or ‘phantom’ root on the fifth string to ensure we know exactly what chords we’re dealing with.
4 4 Ex 7 - 8: Bassline / Chord solo
©»™™º 44 ∑ ©»™™º Swing 44 ∑ John
F7
Swing Ex 7 - 8: Bassline / Chord solo
&b &b
E B G D E A B E G 1 D A E 1
&b &b
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86 GuitarTechniques July 2015
8 7 8 8 8 7 8
7 6 7 7 7 6 7
8 7 8 8 8 7 8
7 6 7 7 7 6 7
8 7 8 8 8 7 8
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8 7 8 8 8 7 8
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6
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Learning Zone
John & Bucky Pizzarelli
Examples 9 & 10 Major-minor comping/Arpeggio soloing
cd track 79
We end with a simple but musically effective solo that draws predominantly from the arpeggio tones of the underlying chords. There is absolutely nothing wrong with triads, as players like Django, and in this instance John, ably demonstrate. The beauty is in areas such as the rhythmic phrasing and in making sure the connection from one chord to the next is as smooth as possible. It’s a great exercise to play a single note solo over a tune with lots of chord changes and try to make the chords clearly audible with just note selection alone. When analysing this example your task is to compare chord
symbol with note selection. Here the connection is fairly explicit, so this should be a good one to get you started in thinking this way. Bucky’s chords are equally economic but also equally beautiful and effective. Notice how each voicing is essentially stripped down to root, 3rd and 7th, or root, 7th and 3rd and how these voicings connect with minimal movement as the sequence unfolds. Of course, Bucky might drop the root down onto his low A string, as we’ve presented these ideas for regular six string but the concepts are equally applicable on either instrument and lots more besides.
5 5 Ex 9 - 10 : Major-minor comping / Arpeggio soloing
©»¶∞ 44 & ©»¶∞ & 44
G b7
œ œ œ C maj ‰7 œ œ œ ‰ 3
bœ bœ œ b œ b7 G⋲ b œ bœ bœ bœ œ ⋲ bœ bœ bœ
C maj 7soloing Ex 9 - 10 : Major-minor comping / Arpeggio
∑ ∑John
3
E B G D E A B E G D 1 A E 1
John
5
3
5
3
5 4
5 G b7
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& 44 & 44
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E B G D E A B E G D 1 A E 1
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4 2 3 4 2 3
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8 8
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˙˙ .. ˙˙ .. ˙˙ .. 8 6 8 8 6 8
July 2015 GuitarTechniques 87
lesson: acoustic
ON THE CD
tracks 82-83
George Harrison Stuart Ryan discovers that the famously ‘Quiet Beatle’ actually had plenty of musical things to say on his acoustic six string instruments! the end of his tenure with The Beatles – the music of Bob Dylan and The Byrds particularly influencing him in this direction. For this month’s study we’ll see how George could take a standard chord progression and add interest by enriching the chord voicings and adding some melodic
I believe I love my guitar more than the others love theirs. For John and Paul, songwriting is important and guitar playing is a means to an end. content to the sequence. You can really hear this approach at play in Here Comes the Sun which showcases his distinctive, jangly chord based rhythm style. The use of a capo is not essential for playing this one, but take it away and play in the open position and you’ll see how the parts lose some of their ‘zing’! When playing this type of study I wouldn’t worry too much about playing every note as it is in the tab – there will be times when you catch other strings but in this instance they won’t sound out of place so aim more for vibe, clean fretting and tight rhythm playing. NEXT MONTH: Stu checks out the acoustic style of Green Day’s Billy Joe Armstrong
Get The Tone 3
6
5
8
2
Gain
Bass
Middle
Treble
Reverb
George played many acoustic guitars during his lifetime and could often be seen playing a Gibson J-160E or J-200 with The Beatles. Later on he was also often seen with martic acoustics (as in our picture). I recorded the audio for this study with a Gibson J-35 Collector’s Edition through a Telefunken M260 tube mic.
Track record You’ve most likely heard all of George’s hits before but if you are new to his music or want to revisit things check out Here Comes The Sun (Abbey Road), Something (Abbey Road), While My Guitar Gently Weeps and That Is All (The White Album) and My Sweet Lord (All Things Must Pass). There are superb acoustic demos of some of George’s best songs on The Beatles Anthology I and II.
88 GuitarTechniques July 2015
RICHARD E AARON / GETTY IMAGES
contemporaries for generations to come. While The Beatles oeuvre is dominated by the hits of John Lennon and Paul McCartney, it’s impossible to imagine their back catalogue without the classics written by George Harrison: Here Comes The Sun, Something and While My Guitar Gently Weeps arguably stand equal to Strawberry Fields Forever and Yesterday, and it’s tempting to think how much more George could have contributed to the group. His solo works also contains many great moments, with My Sweet Lord and Give Me Love (Give me Peace On Earth) perhaps being among the best known of his post Beatles hits. However, his achievements don’t end there – check out anything by The Travelling Wilburys to remind yourself of how George remained a firm fixture in the music world long after The Beatles had split. Often regarded as the ‘lead’ guitarist with The Beatles, George was also a fantastic acoustic player and an inventive, textural composer adept at layering tracks with both George Harrison playing a capoed acoustic and electric parts, Martin acoustic strummed or fingerpicked. His rich, bright tone always brought his parts to the fore and his harmonic ABILITY RATING vocabulary contained a plethora of sweet sounding chords that added something to Moderate every track on which he played. Info Will improve your Born in Liverpool on February 25, 1943, Harrison’s early influences were the pop Key: A /D Chord embellishments legends of the day – Buddy Holly and Little Tempo: 127bpm Rhythm strumming Richard among others – but he also had a CD: TRACKS 82-83 Arpeggiated chords healthy interest in guitarists and was a keen fan of Carl Perkins, Chet Atkins and bluesman Although he was often referred to as Big Bill Broonzy. He always had a distinctly ‘The Quiet Beatle’, it’s safe to say that George folky voice to his guitar style and this was Harrison’s contribution to the worlds of pop something that came more to the fore towards and rock will ring louder than many of his
Learning Zone
GEORGE HARRISON Example George Harrison Style Acoustic Piece
cd track 82
[Bar 1] This first sequence shows how George would add melodic content virtually any shape and that’s the case with the G and A chords here. to chords. The D shape has long been a favourite for singer-songwriters to [Bar 8] On the subject of chords it’s well worth learning all the various manipulate but George’s ear for a melody always made his ideas stand out. iterations of major and minor chords, from 7ths through to sus chords and GUITAR TECHNIQUES 2 4 5 Acoustic [Bar 2] People often focus on the D chord shape whenStuart's it comes to moving 7sus4 chords as we have here. The greater your chord vocabulary the more GEORGE HARRISON STYLE your rhythm playing and writing will become. notes around – don’t forget that you can create moving melodic content on interesting
©»¡™¶ # # & # 44
A sus4 (Dsus4)
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A sus4 D 5 (Dsus4) (G5)
A Asus2 A (D) (Dsus2) (D)
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0
###
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2
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7
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& E B G D A E
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###
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3 3 0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
July 2015 GuitarTechniques 89
lesson: acoustic
ON THE CD
tracks 82-83
Example George Harrison Style Acoustic Piece ...CONTINUED [Bar 17] Outlining chord progressions with fast, arpeggiated sequences like this one is a common feature in the repertoire of The Beatles – you hear this early on in tracks like Help, for example. Notice how although we are still in 4/4 time this sequence features chords that are grouped as threes - a very 2 Acoustic common pattern when using ideas like these. E 7sus4 (A7sus4)
œ œ œ # # # œœœ œœœ œœœ & œ œ œ E B G D A E
3 3 0 2 0
3 3 0 2 0
œœ œœ œ
3 3 0 2 0
œœ œœ œ
3 2 0 2 0
œ œœ œœ
œœ œœ œ
œœ œœ 38 œ œ œ œ
3 0 0 2 0
3 2 0 2 0
3 3 0 2 0
0
E B G D A E
###
# #
D5 (G5)
D5/C (G5 /F )
0
# #
# # 3 & # 8 œ œ œ
E 9sus4
# # # www ww & 0 0 0 0 0 37
90 GuitarTechniques July 2015
0 3 0 4
œœ œœ œ
œœ œœ œ
œœ œœ œ
0 2 0 2 0
0 2 0 2 0
0 2 0 2 0
0 2 0 2 0
0
0
0 3 0 4
0
# #
D5/C
B m7
D 5/C
(Em7)
(G5 /F )
œ
0
œ œ
œ
0
0
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2
0
0
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0
0
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2
E7 no 3rd (A7 no 3rd)
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(A13 sus4)
0
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0
0
0
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E 13sus4
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0
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24
2
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31
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26
0
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21
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œœœ œœœ œœœ œœœ œœœ ### 2 4 œ œ 4 œ œ œ œ œ œ & 4 œ œ E B G D A E
# #
D5 (G5)
16
D5 (G5)
cd track 82
[Bar 19] George’s playing was full of wonderful, rich chord voicings and Here Comes The Sun is full of them. Try moving chord shapes up and down the neck and see what you can come up with... [Bar 21] …and catchy arpeggiated chord sequences like these can go both down and up the neck (like here!)
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2 3 0
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P
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100 of the world’s greatest guitar players interviewed and profiled HENDRIX CLAPTON BB KING TOWNSHEND BONAMASSA KNOPFLER METHENY RICHARDS SLASH GILMOUR SRV BENSON VAN HALEN PAGE GALLAGHER AND MANY MORE!
on sale now ht t p:// bit.ly/1PR 4 liV
lesson: rockschool
ON THE CD
trackS 84-93
Reading Music Part 13
Tempos and changes
Brought to you by...
In his penultimate music reading lesson Charlie Griffiths describes some of the commonly used terms associated with tempos and tempo changes in musical situations. means that you should gradually decrease the speed. Ritardando is sometimes abbreviated to “ritard.” or “rit.”. Similarly, a dotted line above the score indicates the amount of bars to be slowed down. Rallentando is another term which indicates a slowing down in tempo which is essentially the same as ritardando, but rallentando (or ‘rall’ for short) is usually placed at the end of a piece of music and is often a more dramatic drop in tempo which brings a song to and end. Finally we have fermata which is best interpreted as a momentary pause in the song, and usually used as an effective way to build
Sometimes tempi are written traditionally, using Italian descriptions to denote the speed of a piece: Adagio, Andante, Moderato, etc. Whether speeding up, slowing down or staying steady there is a term for them all
ABILITY RATING
Easy Info Key: Various Tempo: Various CD: TRACKS 84-93
Will improve your Notation reading Fretboard knowledge Employability!
In music, time is referred to as tempo and the tempo of the piece of written music is stated at the beginning of the chart. In most modern guitar charts the tempo is denoted numerically in ‘beats per minute’. The BPM of a piece usually refers to the number of quarter-notes, or ‘crotchets’ per minute; that recurring pulse at which you naturally tap your foot along with. A song at 60bpm would naturally be the same speed as a ticking clock and various tempi can be accessed by decreasing or increasing that number.
92 GuitarTechniques July 2015
Sometimes tempi are written more traditionally using Italian descriptions to denote the general speed of a piece. A piece around 60-76bpm would be called Adagio which means ‘slowly or at ease’, Andante is ‘walking pace’ at around 76–108bpm, and Moderato literally means ‘moderately’ at 108–120bpm. At the quicker end of the scale we have Allegretto which describes a ‘moderately fast tempo of 112–120bpm and Allegro is a quicker, and more energetic 120–168bpm. It is also possible to speed up or slow down the tempo within the piece of music. The direction Accellerando, means that you should gradually increase the speed of the piece. This is usually shown on the score in the abbreviated form //accel.// and is placed above the score with a horizontal dotted lined indicating the section to be sped up. Ritardando is the exact opposite and
the anticipation of an ending note or chord, but they can also be used within a piece too. The fermata symbol is sometimes referred to as a ‘birdseye’, or ‘cyclops’ as it is drawn as a single dot, with a curved line above it. A fermata can be placed above any note and effectively prolongs that note for an unspecified time. The exact amount that the note is prolonged is an artistic decision left up to the musician, or conductor. In rock and pop music, the drummer of the band will usually assume the role of conductor for these moments and visually cue the band to come in on the following note with a combination of eye contact and the physical motion of his sticks. Singers also sometimes adopt this role. A fermata symbol can also be placed over a barline, which indicates a pause at the end of a section within the piece. The following examples demonstrate how some of these tempo markings work in practice. Follow the notation while listening to the audio examples and try recreating the parts over the backing tracks provided. NEXT MONTH: Charlie continues with his series on Reading Music
Learning Zone
Tempos and changes Example 1 ADAGIOMAGAZINE 2 4 5 GUITAR TECHNIQUES
Ex 1
finger. Try to stay within the scale position and use all four of your fingers and only slightly move out of position for the acciaccatura.
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July 2015 GuitarTechniques 93
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Learn how to make the most out of the different music intervals and master the art of Ragtime Blues. Plus a full guitar transcription of New Born by Muse and the styles of The Troggs, Chickenfoot, Glen Campbell and Eric Gales unveiled!
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94 GuitarTechnique July 2015
Music Reviews
What our Ratings Mean: ★★★★★ Buy it ★★★★ Excellent ★★★ Good ★★ Average ★ Bin it!
New Albums
A selection of new and reissued guitar releases, including Album Of The Month... Album of the month
Umphrey’s McGee
The London Session
Nothing 2 Fancy Music HHHHH While in London for gigs in June 2014, Umphrey’s McGee fancied recording in the legendary Abbey Road Studios, but was it available? Well yes it was, but for 12 hours only! Too good a chance to ignore, what could the band do? Best suggestion was a combination of new and old stuff that was part of their live show, so that’s what was done. As they say, “When time is your enemy, muscle memory is your friend”. They were gig fit and tight so four tracks were laid down in a single take, while the others had vocals and overdubs done later in the US. Each track took on a new lease of life that can only come from live playing. More recent album releases like Cut The Cable and No Diablo were rearranged with acoustic guitars. One very appropriate track was included, a version of The Beatles’ I Want You (She’s So Heavy), recorded in the very same studio and a one-take wonder. Great performances from all, but excellent guitar and vocals from Brendan Bayliss and Jake Cinninger. Production is superb - well, it would be!
Stephen Ross
REVIEWS BY ROGER NEWELL
Jabberwhacky
RipRogue Entertainment HHHHH Yet again we’re totally blown away by an album sent in from a reader, this one from Stephen Ross/ Rogouski who hails from Howell in New Jersey. This guy is an unashamed speed freak of a player and the energy emitted from this, his second instrumental album, is probably enough to power Jersey City for a year! Now we all know that speed isn’t everything but by heck it does put a smile on your face and fill you with awe and wonderment when it’s done with such zest. Stephen is well assisted by John Deservio on bass and Joe Nevolo on drums, and the musical empathy between the three is undeniable. These guys must spend hours rehearsing this stuff, as the
arrangements are as tight as the proverbial duck’s rear end. Just check out Papercut if you’re in any doubt. The title track is a real tour de force and although the sheer pace of performance can be relentless, things like Distress Signal and Luke help to ease the tension. The superb bass solo by Bunny Brunel on Algorhythms and the drum solo on Time & Space, with its 2001 opening, also help to provide variety. Really this is for guitar players only but it is a truly stunning album and a real declaration of talent.
Glass Hammer
The Breaking Of The World
Radiant Records HHHH Although Glass Hammer are a major act in homeland America they’re not so well known in the UK. They’ve become more ‘visible’ here in the last couple of years since their singer Jon Davison joined the ever-changing
ranks of Yes, so many fans have been keen to see what else Jon has been doing. He’s still an active member of the band but not involved with this latest album - instead Carl Groves returns as vocalist, ably assisted by Susie Bogdanowicz. Alan Shikoh is the guitarist and he’s been in residence since 2009. Led by multiinstrumentalists Steve Babb and Fred Schendel, this is Glass Hammer’s 17th studio album and it takes advantage of the current resurgence of prog rock by introducing arrangements that go further than before. The opening track Mythopoeia is a good start to an album that’s full of melody, artistry and quality writing. There’s great guitar work from Shikoh on Babylon but whichever track you choose you will not be disappointed with The Breaking Of The World - check it out!
Doctor Gradus
Doctor Gradus
Musea Parallele HHHH Doctor Gradus is a British instrumental quartet that takes popular classical pieces from French impressionists Debussy, Faure, Satie and Ravel and morph them into sublime musical extravaganzas that are a joy to the ears. The material is arranged by pianist Pete Whinnett and guitarist
Andy Philip, who takes the writing credits for the dreamy Prehen (Egg), the only fully original piece included here. Whinnett is a passionate player but the contributions from bassist Rob Levy and drummer Dave Bryant are equally important. This is a well matched outfit that gives us modern jazz-rock in a variety of tempos and moods, with plenty of improvisation along the way. We particularly like Andy’s trip over the fretboard on Mother Goose and the arrangement is probably what Ravel had in mind when he wrote it. Refreshing and rewarding, this is an album worth seeking out and the perfect choice for a bit of late night listening.
Adrian Duffy & The Mayo Brothers
and shred. And we get the lot sent over to GT. But two things rule over everything else and that’s melody and songs, and this has both by the bucket load. Of course it has great guitar too plus dobro and pedal steel for good measure. With their music played on 6Music, American radio and Bob Harris on Radio 2, this is one of the growing number of releases successfully funded by PledgeMusic. It has a real ‘feel good’ factor and contains a couple of recent single releases, Someone Like You and Storm Breaking, so they are the obvious way to sample this excellent band. Better still it shows what can be done with material that is essentially just singing along to strummed chords, but it’s both beautiful and very inspirational in our humble opinion.
Dan Patlansky
Dear Silence Thieves
Own Label HHHH This is the seventh studio album release from South African Patlansky and it’s a magnificent piece of work. These ten self-penned tracks not only show off Dan’s abilities as a vocalist, songsmith and guitarist they also show what a forceful and heavy delivery these guys create when they play. More like a heavy rock band than a regular blues outfit, the feel is still blues based. Last year Dan and his band opened for Bruce Springsteen at the FNB Stadium in Johannesburg and now they are headlining blues festivals all over Europe. The ‘Silence Thieves’ reference is made to those annoying people who turn up to a gig then talk loudly throughout the performance. Far from an overnight success, it’s been a gradual climb up the ladder of success since the debut album Standing At The Station in 1999 with each consecutive release showing how much Dan has developed as an artist. With great variation and feel throughout, this is one album that should be made compulsive listening.
United We Fall
SR Records HHH What an amazing instrument the guitar is! There are so many ways to make it sound good, from strumming chords and fingerpicking to rock riffs and power chords, on to sonic bends
July 2015 GuitarTechniques 95
GT USER GUIDE
You can get more from GT by understanding our easy-to-follow musical terms and signs...
Relating tab to your fretboard 3
2
Every transcription or lesson in GT is graded according to its level of difficulty, from Easy to Advanced. We’ll also let you know what aspect of your playing will benefit by attempting a lesson.
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Our rating system
a c
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Advanced Moderate-Advanced
nut & fretboard
hand Labelling
Moderate
The fretbox diagram above represents the fretboard exactly, as seen in the accompanying photo. This is for ease of visualising a fretboard scale or chord quickly.
Here are the abbreviations used for each finger: Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), i (first finger), m (second), a (third), c (fourth).
Easy-Moderate Easy
Read music GUITAR TECHNIQUES MAGAZINE USER GUIDE Each transcription is broken down Guitar Technique Examples - Treble Clef And MAGAZINE Tablature GUITAR TECHNIQUES into two parts... Guitar Technique Examples - Picking
œ œ Tablature œ & Technique Examplesœ - Treble Clef And Guitar Down & Up Picking
GUITAR TECHNIQUES MAGAZINE USER GUIDE
GUITAR TECHNIQUES MAGAZINE 2nd string Guitar Technique Examples - Picking 3rd fret
Chord example
Chord example (with capo)
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± ±±
·
5
7
···
TH17
5
TH19
7
Dive bomb
&
œ
‚
&
#‚ 8 X X ‚X 8 ‚ X ‚ ‚ 767 ‚XXX XXX XXX 767 XXX
AH17
4
E B G D A E
E B G D A E
—
± ±± ‚
E B G D A E
‚
‚
E B G D A E
5
TH19
7
¿¿ ¿¿
¿¿ ¿¿
X X X X
‚
‚
‚
··· AH17
5
AH19
7
—
— —
± ±±
7 5 vibrates n The fretting hand 7 the note by small bend ups and releases. The last example uses the vibrato ‚ ‚ bar.
&
E B G D A E
‚
···
TH17
‚
···
TH17
TH19
5
7
4
·
TH17
4
Touch harmonics
&
œ
TH17
n Fret the note as shown, but ‚ rightsound it with a quick hand tap at the fret shown œ & (TH17) for a harmonic.
TH17
4
7
Tapped harmonics
&
œœ œœ
PH
7
5
¿¿ ¿¿
· · · ··
Vibrato 4
AH19
7
¿¿ ¿¿
NH
&
5 n Pick the note and then bend up a quarter tone (a very small amount). Sometimes referred to as a blues — curl. —
&
¿¿ ¿¿
n X markings represent notes muted by the fretting 12 7 hand 12 7 12 7 when struck by the picking hand.
E B G D A E
‚
···
AH16 E B G D A E
‚
7
0
‚
·
TCH E B G D A E
2
9
n A previously sounded note is touched above the fret marked TCH (eg TCH 9) to sound harmonic.
TCH E B G D A E
2
9
Gargle
capo Capo Notation
·
TCH
TH17
n Scoop - depress the bar just œ & striking before the note and release. Doop - lower the bar TCH slightly after picking note. E B G D A E
&
— —
7
E B G D A E
12
P
5
n œœ # œœ
AH16
Quarter-tone bend 12
7
0
&
&
7 7 7
P
P
PH
7
—
· · · ·· 12
AH19
n Fret the note as shown, but dig‚into ‚the string ‚ with the &side of the thumb as you sound it with the pick.
Scoop‚ & doop ‚ ‚
&
5
E B G D A E
# ‚‚ ‚
‚ ‚ ‚
≠ ≠ ≠ 5
NH
E B G D A E
PH
7
5
AH17
Pinched harmonics
AH19
7
···
AH16
&
X X X X
7 7 7
7
n Sound the notes marked with a square by hammering on/tapping with the frettinghand fingers.
7
0
Pre bend
‚
··· AH17
4
PH
E B G D A E
≠ ≠ ≠
PH
—
≠
œ
œ œ œ œ œ œ
≠œ œ ≠œ œ œ ≠œ 6
Fret-Hand Muting Fret Hand Muting
6
7
E
E B G D A E
‚
NH
E B G D A E
Vibrato — arm bends —
7
E B G ED BA GE D A E
&
AH19
7
5
&
n Bend12up from the 5th fret to the pitch of the 7th fret note, then pick it and release to 5th fret ‚ note. ‚ ‚
± ±± vibrato arm (aka whammy bar) AH16
E B G D A E
œ
n Bend up to the pitch shown Hand Muting inFret the brackets, then re-pick the noten while œ ¿ ¿¿ holding ¿ œœ# ‚ ¿¿ the ¿ # œœœ at‚¿¿¿ the ¿¿ ‚ ¿¿¿new œœ ‚‚ pitch. ¿¿ ¿¿¿ & note bent
AH16
X 8 7 7 X 6 7 X 7 7 X
P
P
NH
E EB BG GD DA AE E
≠œ œ ≠œ œ œ ≠œ
œ
≠œ œ ≠
≠ ≠ ≠ ≠ ≠ ≠
Left Hand Tapping
E
5
7
Fret Hand Muting
6
5
5
E B G D A E
S
&
E B G D A E
8
n Pick 1st note and slide to Left Hand Tapping the 2nd note. The last two 6 notes show a slide with the œ last ¬e beingœ re-picked. œ
Re-pick bend Left Hand Tapping
Slides (Glissando)
(7 5)
& œ œ œ
b˙
BENDING and vibrato bend up/down
~~~~~
Slides (Glissando)
n Rapidly alternate between Slides (Glissando) the two notes indicated in brackets with hammer-ons œ œ and &pull-offs. œ œ 5
5
Slides (Glissando)
(7 5)
5
E B G D A E
8
tr
˙ (œ œ)
E B G D A E
~~~~~ 7 5
Note Trills Note Trills
&
n Pick 1st note and hammer Trills fretting hand for 2nd onNotewith tr ~~~~~ note. Then pick 3rd note and ˙ (œ 4th œ) b˙ pull note. &off for
E B G D A E
&
E B G D A E
2
9
n Note sustained, then the vib is depressed to slack. Square bracket used if a long-held note has new articulation applied.
n Sound the note and ‘flick’ the tremolo bar with picking hand so it ‘quivers’. Results in a ‘gargling’ sound!
n A capo creates a new nut, so the above example has the guitar’s ‘literal’ 5th fret now as the 3rd fret.
9
‚ Other techniques œ & scrape Pick
·
Violining
Finger numbering
Pima directions
Right-hand tapping
TCH E B G D A E
2
9
n The edge of the pick is dragged down or up along the lower strings to produce a scraped sound.
n Turn volume control off, sound note(s) and then turn vol up for a smooth fade in. Called ‘violining’.
n The numbers after the notes are the fingers required to play the fret numbers in the tab below.
n Fingerpicking requirements are shown at the bottom of the tab notation.
n Tap (hammer-on) with a finger of the picking hand onto the fret marked with a circle. Usually with ‘i’ or ‘m’.
July 2015 GuitarTechniques 97
NextMonth the world’s best guitar lessons… transcription #1
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create a jazz solo!
Steve Allsworth transcribes a classic track from the US supergroup featuring Paul Gilbert and Billy Sheehan.
If you’ve reached a plateau where you can play jazz licks but are unable to piece together a complete solo, let John Wheatcroft take you to the next level!
Addicted To That Rush
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video lesson
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Jerusalem (And Did Those Feet)
Exclusive Masterclass Part 7
Bridget Mermikides arranges and transcribes Parry’s music to Blake’s famous poem for classical guitar.
In the last of Carl’s inspirational lessons he plays a brand new one-take solo to another track he’s not previously heard!
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Jon Bishop dissects the distinctive style of one of rock’s most celebrated and loved musicians. At last, you can nail those licks too!
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