S o l o P i e c e sF o r A c o u s t i . G ! i t a r ( 6 ! t a r T a b B o o k / a D , 4 8 p t , t t 2 9 5 , . e f A [ 4 9 9 ] 1 5 : l ) 5 0 . a c o ! n i . a t r r n { r e m e . r s o f t l p . p ! a r 5 0 f ! 5 t o r a ! i t a r f b o r h t r a r d n r df o t a t j o n a . d r a b a r ! r e ,n r n k i n .ilr e p - " r f e . t a t e rr l f c r . a $ c a t o r n e e n r . g 9 ! r a r n 5 t o 5 h o wo f f t h e r r e . h . q ! e r l i r o u q hq r . a t p o p j o . g s i r y a r r l t s s ! . h i s 5 r . g , t u d p d y ,T r e B c a i l e sE, r o n l o h n , lheUoort,VrnMon5on lcflMt.he A B B AB , i y l o . a . d m o r e a D . o . r d t n 5d e m o n n r ; r o . s o l , r t h c D , . . e s
s t r i n g )l. h a v es u g g e s t e dt h e 6 r s t f in 9 € r s h i f t i n gt e c h n i q u e a sv i d e oe v i d e n c e i n d i c a t e st h a t D o m i n i cM i l l e r f a v o u r s t h i s f i n g e r i nf ogr p l a y i ng t h e p a r t l i v e . Y o uc o u l dp l a y t h eD a d d 6 c h o r du s i n gt h e t h i r d f i n g e r o nt h e f i r s t s t r i n g b u t t h i s i st r i c k ya n d t h e r e s u l t sm a y n o t b e a sc o n s i s t e n t . T hAe s u s 2 l i c k h anothertricky move and a Dominic Miller favourite. The cho rds in bars 7 and 8 a r es t r u m m e dl i g h t l yw i t h t h e p i c k i n gh a n d ' sf rr s tf in g € r
fromthe introsectionis in IBaIs9-24:Verse1 and 2lThe onlydifference bar13wherethe A ifirststring,sthfret)is left ringingout the secondtime round,Onthefrrstversethe extraF#andBnotesareadded asnotated. isarepeatof bars1-8. IBars25"32:ChorusllThissection isthesameas barsl to 8 withthe IBars33-40:Verse3lThissection exception ofthe F#notetiedovertobeat4 in bar3Z
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y o u c a np l a y v i r t u a l l y t h e s a m p e a t t e r na 5i n t h e p r e v i o u sv e r 5 ea n d c h o r u s sectionsbutjust move one string down 50 the root notes now fall on the sixth string. Due to the tuning ofthe guitar,some adjustmentswillneed to be made to the 6ngering of the notesthat fallon the third string. Bars58 to 61 t a k eu s n e a t l yb a c k t o o u r o r i g i n a l k e yo f F #m i n o r .
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lune 2009Guitallechniques43
rE$$0il$ ffiT16 ONTHECD:TRALI51726
BLUES John Wheatcroft figuratively flies to Texasto lool at the bluesierside oIEric Johnson... ONTHECD:TRACKS 2729
CLASSICROCK
s2
Martin Cooperuncoversthe guitar styles behind Alice Cooper'sband... ONTHECD:TRACKS 30-31
GUITAR ESSENTIALS
56
Jon Bishopshowsyou how to playthe minor pentatonicall over the neck... ON THECD:TRAIKS32ll
PROGROCK
60
Leam to playguitar like Camel'sAndy Latimer GianlucaCoronashowsyou how... ONTHECD:TRACKS 31 43
METALBOOTCAMP
64
Martin Goulding will make your alternate picking toe the line! 44 48 ONTHECD:TRACKS
CREATIVEROCK
70
Shaun Baxter looks at the modesofthe harmonic major scale... ONTHECD:TRAaKS 49 60
JAZz
PeleCirllardshowshow )ou can con\lrucI bebop solosout offragments... ONTHECD:TRACK5I
ACOUSTIC
84
Stuart Ryan on Nick Harper... NOTONTHECD
RGTTEACHING DIPLOMAS
88
Merv Yount showsthc skill\ you needlo gain an RGTteachingdiploma...
lune 2009GuitaxTechniques 47
H'ilihrd
ONTHECD
TRACXS'fi7-26
Eric John$olr
sonicpalette, andis quickto acknowledge thesignificanceeachguitaristhasplayedin the formationofhis style,he still always managesto soundexactlylike himself,and hesimplysoundsglorious! While itwould bepossibleto6ll the entiremagazinewith significantJohnsonstyleguitarmoments,it's hisbluessidethat we'reconcentratingonthis month.We have fiveshort musicalexamplestlat showcasea contrastingareaofEric's classicand contemporaryblues prowess,rangingfi'om rapid-fire sequentialscalarbursts, integrity,betweenclassicand superimposed progressivearpeggios, contemporary,and between Travis-pickedchord-melodyand rz/8 completetechnicalcommand traditionalpentatonicphrasing. (thecraft)andboth creativeand As is sooftenthecase,it's morea caseof aestheticmastery(tie ad). how ratherthanwhatyou play,aswithour Onesuchmusicianis the expressionthesenoteswouldbe TexanguitaristEric Johnson. meaningless.Icantestifyto this on a For well over twenty yearshe monthlybasisas I transcribeeverything via hasbeenat the top ofhis game, computerandwhenI demomy touringthe world manytimes transcriptionvia MIDI to checkeverything overandachievingconsiderable is asit shouldbe,thefull EricJohnsor criticaland commercialacclaim experiencedoesnot comeforth from my for a smallbut perfect\ formed laptop(maybeI needa differentbrand of collectionof superbstudioand battery!),merelytheright notesin the right live CDs,a numberofamazing place!Youknowwhatto doby now,Iip live DVDsalongwith a pair of theseexamplestopiecesand incorporate instructionalreleases showing themintoyourplayinguntiltheybecome usall not only how he doeswhat your own.And rememberthat you creativity he does,but alsothe sheer is everybit asimportantasyourtechnique. breadthof his knowledge. I'm ceftainthat E c wouldagree.tr Eric'sversatilityandsq,'listic authenticityis rightlythe stuff of legend,alongwith his painstakingattentionto the minutedetail,both in his technicalapproachto the instrumentand alsoinfluencing SteueVai his choicesregardingevery singlepoint within his signal chain.Timewell spentI say,as Eric's playing canwithstand eventhe closestscrutiny;his vibrato is alwaysspot on, his bendingintune, harmonicsring out everytime,the list goeson... AlthoughEric is undoubtedly a 'guitarist'sguitarist',at no point doesheeverletthis get in the wayof @ the music.The mostobviouscomparison OOOOO Advanced wouldhavetobeJimi Hendrix,oneofEric's primaryinfluences,althoughhehasalso INTO WII.I.IMPROVE YOUR assimilatedthe bestpartsofa hugenumber KEYiVarious alSoloing vocabulary ofclassicguita sts rangingfrom blues TEMPO:VariousZlntegrationof dpproa(hes rockerssuchasJeffBeckand Eric Clapton CD:TRACKS 17-26 dtDexterity andarri(utarr0n (hisCreamperiodin particular),early fusionpioneerssuchasJohnMclaughlin, RARELYDOESAN artistcomealongwho countrywizardsChetAtkins andJerry Reed managesto achievetheperfectbalance andthejazzmastefWesMontgomery betweensuprememusicianshipand artistic Whilst Eric freelydrawsfrom this diverse
JohnWheatcroft setshissiqhts thismonthonthe ' Texan tornado withtone,tasleandterrifuino - Eric technique Johnson downto aT!
lJ tnichasmorecolourful toneinhisfrngens thanUan Gogh hadonhispalettett
' :* U *
f[AGf(REC0AD Fancyan eueniryo/sheergultarindulgenc€ intheconrfortof yourownhomog Easulou ne€dthooyDentt edAnaheim liye flanguard 2009).;rom a CDporspectlve, Ericsfinelytuned attention quatity to detailand string0nt gmrantee c0ntrot basically thatanything withhisnameonit isworthlisteningto, blltmype|lsoralfayo[rftos (CaDitol1gg0) arcAhyia]Nusicom (tvarnergrothel$19g6). ad Tones
48 GuitarTedmiques June2009
ERtC J0l|1{$0il $TYtt OurfirstEJ-inspired ideaworksoveralVto lchangein the keyofF.Eric isa masterofthe art ofsuperimposition. Herewe seehow he impliesthe soundof Bbl3 byjuxtaposinglinesderivedfrom an Ab majortonality. Whenconsideredfrom a Bb root,a simplestructuresuchasAb major 7th (R3 5 7) takeson the much moresonically txpens ive,qualitiesof Bb]3(b7911 13).The pentaton ic scale forms the basicofa hugeamount
ofJohnson's soloingvocabulary, andthisexampleis no exception as from bar 3 we are usingF minor pentatonicall the way (FAb Bb C Eb). Bepreparedfor a fairamount ofpractice,asEric'sspeed,accuracyand clarjtyofarticulation areamongsthismanystrongpointsandarethe causeofmuch envy betweeneventhe most advancedguitarists.
swins ) = 176
E B G D E
E B G o E
We'rein double-dropped (DA D G B D). Dtuningforour nextexample Theinspiration for thisfacetofJohnson's playingcomesfromthe thumb andfingerpicking aceMerleTravis, in particularthe incessa nt alternating basspattern.Thetricktothisstyleisto makewhatisessentiallytwo partsintoone.Onceyougetto gripswiththe alternating basspattern you needto identifywhichofthe melodynoteslandssquarely on the
beat (andthereforecoincidingwith a bassnote,and to be treatedasa 'mini-chord'),and which melodynotesfallbetweenthe crackson the offbeats(andarethereforetreatedasseparateeventsall unto themselves). Dependentupon the thicknessof your guitar neck,you mayfind the bassnotesin bars7 andI areeasiesttoexecutewith vourfrettinohand thumboverthetop.
D G
o o
D B D D
June2009Guitadlbdmiques49
We beginwith a double-stop/5in9le-note riffimplying C7sus4(R3 5 b7) to its cousinC7(R3 5 b7),punctuatedwlth a rapid-fireminor pentatonic pulloffrlff. Our minor pentatonicphraseha5in factgota deceptively fiddly Johnson-esque trick up its sleeveln the form ofan aftificial harmonicon the final note locatedatthe half-wavnodetwelveviftual
frets higher,raisingthe pitch up by an octaveto maintaintheascending characteristics of the phrase.Therearetwo performanceoptionshereejthera pinch harmonicat the 24thfretoran artificialharmonic.Forthe latter,hold the pickbetweenyourthumb and secondfingerto pickthe stringwhiletouching the 24thfretwithyourfirstfinger
E G o
We beginwith the JeffBeck-endorsed Hindupentatonic,essentially four notesderivedfrom a hybridversionofG minorpentatonicscale a minor pentatonicwith a maiorthird (R3 4 5 b7).Inbar 2 we seea with the o(ca5ional2ndand 6th Intervalsadded,essentiallyg iving condensedver5ion of the'CliffsOfDover'shape,basicallya5implemajor us Dorianmodewhen pe ormed in it5entirety(R2 b3 4 5 6 b7),is triad with the 3rd displacedupwardsto createa loth (R510).Don't be surprisingly'fi ngerfriendly',Thinkthe words'Clapton' and'Cream'when putoffbythe sheernotedensityofbar3,asthe descending groupsof approachingthe vibratofor our fi nal note.Wonderful!
0 E
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Forallhis progressive leaningsEric'sjustabluesboy at heart!Nothing too ornatefroma note perspectivehere,justtheperennialminor pentatonicscaleofB(BD E F#A),naturallyusedin the'wrong' placetechnicallyspeakingagainsta majorchord,but perfectfor
E G D E
50 Guita,llbctmioues June2009
encompassing thoseallimportant blue notes.The noteselectioni5 almostsecondarytothe expressive devicesemployedsogivethe slidet bends,vibratoand dynamicsofthis lineas much,ifnot moreattention than the notesthemselves.
oNTHEGD$ rnacxs zz-zs
Alice Cooper
hasalwavs hlmself on his School sinlAlice orided gultarists. youhowto nail MartinCoopershows thebandsoundof hisrockiconnamesake...
and the fine musicianship.However,heary drinking during the late r97os (Alicewas not into drugs)led to poor and abandoned stageper{ormancesand followinghis r977 world tour, Cooperenteredrehab. Duringthe r98os a cleanandsober Alice revitalisedhis careerwith successful albumssuchas RaiseYourFistAndYell (1987)and Trash (1989),which, ofcourse, spamed the classicsinglePoison.It'sfair to saythat ifguitarplayerswillinglo play onyour albumsinclude SteveVai, Joe Satriani,Slashand RichieSambora,you've been pretty successful! This month'strack leanstowardsthe hit laden albumsfrom the r98os and r99os, but there'sa generalclassicrock swaggerto the main riffwhich is featured heavily h eE m i n o r t h r o u g h o u ltt.i s b a s e d a r o u nl d pentatonicscale(E GA B D) andAmrnor penlalonicscale(A C D E G).The solois speedyin placesand will improveyour legatoplaying.The fastlicks are based aroundthe pentatonicscaletoo,plus a few dosesofclassicblues-rockphrasing.Have fun and seeyou next month ! Ii
lJ lt sfairtosaythatif
guitarplayens willingtoplay
include onyounalbums
Uai,JoeSatniani, Steve Sambora. $lashandRichie
prew you've been successful!tt m
ooo
Moderate IMPROVT YOUR WILI-
KEY:Eminor tZ Riffbaredrhythmplaying TEMPO:110bpm tiLegato CD:TRACKS 27-29 TClassi( blues-rock lkks SO,WOULD VINCENI Furnierhavehad asmuchsuccess wilhoulchanginghis narne?You've all seenthe advert on TV recentlyand the answer,ofcourse,is we'll neverknow. HoweverVincent Furnier may not havebeenableto pull offNo More Mr Nice Guy, School'sOut, Poisonor Elected assuccessfullyasAlice Cooper!Furnier adoptedthe nameAJiceCooperduringthe ear\ rgTosand almost35yearslater,the rocklegendis still recordingalbumsand
sellingout arenasacrosstheworld. Beinga Detroitborn sonand grandson of Church leaders, it could be said that Cooper didn't entirely follow the family tradition. Overt}le yearshis stageshow incorporateda guillotine,fakeblood and (real!)boa constdctors- while he helpedto createthe genrethatbecameknown as 'ShockRock'.The theatricsand onstage chaosbecamealmostasimportant asthe music,andAlice Coopergigsbecame infamousacrosstheUS aud indeedtherest of the world. A hit sinsle came in the form ofSchool'sOut (1972),which hasgoneon tobecomea teenclassic.Itis still playedin heaw rotation on rock radio and featured on compilation albums to this day. WhileAlice'sonstageanticsgot the world talking,what separatedhim from so many imitatorswasthe quality ofthe songs
material,listen t0 TRAC( RECoRD Tlrerecreenumberolerasand styles t0 choose fr0mbutif youwantt0 chock outthe'classic' 'original (|ut (1972), (1973) (in people's ffnest many eyes) line-up' album, l$llsnForthehitsfromthelate1980s School's Elected orCooper's (1909) (1991). areals0worthchecking 0ut. a early1990s, try Poison 0r ll0yStoopid t{umerous'B€st of'compilations 52 GuitaxTeclmiques Jun,.2009
ALICT COOPTR $TYL[ lRhythmlCheckout the chartto seewhereyou needto lightlypalm mutethe rhythmpart.
Thiswill help you to get the gutsy rockfeelneededfor this type oftrack.
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.lune2009GuitaxTbclmioues 53
lBar 291Thisis a greatspeedpentatoniclickbut makesureyoupractice it slowlyatfirst!
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54 Guitalleclmioues June2009
vol /
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lick(bothSteveandSatch [Bar29]Thisisa fairlysimpleSteveVaitype area few pinchharmonics in thispart. haveplayedwithAlice).There
oNTHEcD!
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together, it is possibleto play hybrid shapes that areeasyto rememberand fiLgreat underthefingers! Figure3 links the low strings of Shape5, most ofshape r and t}le top ofshape 2. This fingering hassornekey advantages:first, it canbe playedwith the first and third fingers exclusively,which makesit easyto bend notes(tlese fingers arethe strongest); second,when we movefrom shapeto shape we canslidethe third finger overthe blue note (b5), giving somegoodblues inflections; and third, this fingering allowsyou to accessa goodrangeandplaceslow noteson low strings and high noteson the top strings, helping you to maintain a goodtone. A playerthat usesthe hybrid fingering notaledin Figure3is Eric Clapton.ECis a masteroflinkingshapesto createflowing phrasesand manyofhis licks arerelianton this roadmap.Another key Clapton t ck is to bendthe minor 3rdsofthe scaleslightly sharp.This helpswith makingtheminor pentatonicfit overa dominant7 chord Forthis month'strackI havechosena slowdominantbluesinAas abackdroD.You canusetheA minorpentatonicscaleoverall the chord changesso it will be $eat for you to trythe fiveshapesoverthebackingtrack. I have notated my solo with an open key signatureasthe Aminor pentatonicscale containsno sharpsor flats.Thiswill also helpyouto identifuanyextranotesthat havebeenincluded.ECis a masterofaddine notesandbendsto theminorpentatonic to help it fit over the I, IV and V chords of the rz-barblues.The solocontainsnumerous Clapton style licks that exploit all five positionsofthe scale,sogetstuckin! II
JonBishoplooksattheminorpentatonic, thefirst choicescale formostsoloists, andoutlines tiosand tricks forplaying it witheasealloverthefretboard... of the dissonant semitoneintervals that occurinthe naturalminorscale. The naturalminor scaleis made up fromthe followingintervals: 1,2,b3,4,5,b6,b7.The: andb3are a semitoneapart,asarethe perfect 5th andb6th. Ifyou removetheb2 and b6 from the natural minor scale you'll end up with the five-note minor pentatonic scale,This scalegroups togetherall ofthe strongestsounding notes(R,b3,4,5,b7),making improvisationeasier. The secondreasonthe minor pentatonic is usedis the way it fits onto the guitar fretboard. All the fingering roadmapsfor the five minor pentatonic'shapes'arenotatedin Figure r. You will notice that all the shapeshavetwo notesper string and canbe fingeredwith the two strongestdigitsofyour frettinghand; the first and third fingers. Shaper is the easiestto learnbecausethe notes playedby the fiIst finger are all on the samefret. Thehighernoteson the third, secondandfirst stringsarealso goodbendingandslidingpoints. This scalealsofits over many different chords.You could view the minor pentatonicscaleasa minor 7 arpeggiowith an addedfourth, so it's a great choicewhen playing over the minor 7 chordfamily.You canalso useit overdominant7 chords.The only differencebetweena dominant 7 and a minor 7 arpeggiois the dominant 7 hasa major3rd. The minor3rdfromthe Moderate minor pentatoniccanbeviewedasa #9 -wnr againstthe dominant7 chordandthe sound I iirro rmilovrvoun] impliedby this is Hendrix's7#9 chord. The exercisenotated in Figure 2 will help yougetthehangoflinkingShapes r to 5 of the minor pentatonic.Eachshapefits neatly on topofthe previous one,culminating in an THE MINOR pentatonicis widelyusedby entire ft etboard of possibilities. guitarists for severaldifferent reasons.First, It is, ofcourse,an idealgoaltobeableto all the notesin the scalesoundgoodwhen playall ofthe notesof anyscalein all playedtogether- this is due to the omission positionsbut, by linking someofthe shapes
oo
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IBACf(REC0',D TheEncClaptoncompilohonalbunConploto Ctatt0r(200t)containsmostof EC's ctassicuork spannlng hisen ro careon Inthesetracksyoucanhoarhowhismastory 0fthisscalsleads to momorablo solos, riffsandllcks.Youshould al$ochectoutJohn ayall'sStuesbreakors Foaturing EricClapt (1965), whorohls'prshlng ot thomimrthirdslightly sharpis exenDrary.
56 Guitaflbclmioues June2009
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andlinksShape2 lBarsl-21Theopeningphrasefitsoverthe turnaround to Shapel. Slidethroughthe bluenote(D#,8thfret,thirdstring)and pull INTRO
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the minor3rd (C,5thfret third string)slightlysharp.The phrasein bartwo is BBKingstyleandincludes two extranotes(D#andC#)to addcolour
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June2009Guitnxlbclmioues 57
2 concentrate on the top of Shape5 lBars3-4i ChorusllThe5ephrases and3 andextracolourtonesareaddedhereandthere.Mostofthe licks can be navigatedwith the first and third fingersofyour ftetting hand. two-tonebendto contendwith in bar lBars5-6lThereisa characteristic 5.Useyourthkdfingertofretthenotebutalsouseyourfirstandsecond bendingapproach fingersbehindit to bendthe string:thisthree-6nger will addstrengthand helpyoowith bendingaccuracy. to add likesto slidehishandup anddownthefretboard lBars7-81EC marks. handlingnoiseand'glisf note5aspunctuation ECtrick.Takea threenoterepeat IBarr9-l0lThe lickin bar 10isa classic
phraseandthenplaceit in a rhythmicsub_division offout Thismeans the three-notepatternstartson di{ferentpartsofthe beat and provide5 a cool polyrhythmiceffect.SometimesEc hangsthis repeatphraseout overmanybarstoreallyhammerthepointhomel phrases moveto Shape4 andthen intoshapeI lilals 11-121These up the octave.Becarefulto maintaingoodintonationin the higher positions on thefretboard. EClickthatslidesinto5hape2 a classic lBarsl3 -l4j Bar13features with the same afterplayinga ChuckBerrystylebend.Thesolofinishes turnaroundlickthat we staftedwith.
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June2009 58 GuitaxTeclmioues
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Andy Latimen Camel's getthehump,ashe Gianluca Coronadoesn't continues hisjourneyintotheworldof progwitha guitarist, lookatCamel ssuperb AndyLatimer...
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Moderate w .t tMPRovt YouR
KEY:Various tlBendino andvibrato TEMPO: Various 7 Hands coordrnatron picking CD:TRACKS32-33 siCross
6
CAMELWASONE of the most originalprog actsto emergeduring theearly r97os.Theband odginally startedout as The Brew,at oof Andrew Latimer (guitar), DougFerguson(bass) and Andy Ward (drums). They recruited keyboardistPeter Bardens,changedtheir nameto Cameland signedto McArecords. Camel'seponymous debutfrom 1979wasn'ta success,despiteboasting a coupleofexcellent tmcks in Never[€t Co and SlowYourselfDown. Howevertheir next two albums,Mirage(1974) andThe SnowGoose (r97S),werea success with both the criticsand puolc. lne - rneSenerar albumsalsoshowcased Latimer'stastefulguitar plalng which had an elegantandemotional quality that owedasmuch to classicalmusicasitdid to rock,folk and theblues. The SnowGoosewas inspiredby the famous novelofthe samename bythe Americanauthor PaulGallico.It was rcportedthat Gallico,who despisedsmoking, thoughtthe band was associatedwiththe famouscigarettebrand of thesamenameandthreatened Latimer and his chumswith legalaction,He later withdrew his threats. Camelcontinuedto build up a largeand dedicated following with further albums including Moonmadness(1976)and Rain Dances(1977),butBardensleft
immediatelyafter the band recorded Breathless(1978).Two keyboardists,Kit joined for I Watkins and Jan Schelhaas, CanSeeYourHouseFrom Here (1979)and Nude (r98r), one ofthe band'sbiggest commercialsuccesses. The lineup changed againfor subsequentalbumsincludingThe SingleFactor(1982),StationaryTraveller (1984),DustAnd Dreams(r99r), Harbour OfTears(199b).Rajaz(t999),ComingOt Age (t999) and A Nod And A Wink (2oo2). Latimer is the onlyremaining original memberof theband.He mainlyplays electricguitar althoughhehas also contributedflute, keyboards,bassand vocalsto numerousCamelrecordings. His Dotebendsarc preciseand his vibrato ranks alonesidethebestin the business!E
ll lf youwantto call it pro8ressive rochthat
wouldbeokaybyme. Butifsjust emotional
music,tudll! ll e,,ayuti^",
TRACI SECOID TheSnow Goose(1975),a@noept albumbasod ona beautltul andm,ovitlg storybyPaulGallico, trouldbctheb€st (19?6) startingpointif youd0n'tknowCamel at all.Ylowouldalsors0ommend tfirago(1971), Itoonmadnoss andI CanSeeYourllouso fromHors(1070). Latimerls rqardedasonoofthomosttastsfulplayersevofs0for touchandfeell00kn0furtherthanthes€Cos.
60 GritallbclmiouesJune2009
cA|lllfl_$Ytt We are startingwith a crosspickingarpeggioin the keyof E minor. Keepthe wrist relaxedand let the notesring wherepossible.Don.t hold the picktoo tightly and avoidpickingtoo aggressively.
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Noticethe spacebetweenphraseson the secondpart - lessis more! For'scoop'directionsin the tablature,pressthe whammy bar just beforestrikingthe note for slurred,vocal-likenotes.
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The lastpart ofthis examplehasa laid backfeel.Waitamoment beforestartingwith the vibratoand graduallyincreasethe speed
to give the note the nice'vocal'qualitythatAndy Latimeralways managesto rmpar.
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picking Alternate * ThismonthMartinGouldingturnshlsattention picking patterns. to six-string alternate Areyou warmeduo?Then let'soetstartedl
referto issues164and 165for a recap.lnthis lessonwewillalso improveour visualisationofthe key ofG in all sevenpositionsofthe three-notes-per-stfi ng shapes. The runsthat youwill learncould be appliedoveranyGmajor mode, but for the lessonourtonal centreis A Dorian(A B C D E F# G).The runshave'exit'or'finishing'notes that reinforcethe relationshipto the root noteofA. Thesewill be strcngchordtonessuchasthe root, b3rd or5th. Ifyouwant to expedmentusingtheseideasfrom a differentmodalperspective, then you mayneedto adjustthe'exit' notes.Apart from that, ourgoalis to build a vocabularyof runsthat couldbe appliedin anysituation. UnderlyingthesevenmodalA Dodanthree-notes-per-stng shapes,youwill alsoneedtobeable to visualisethefivepositionsofthe A minor pentatonicscale.Most modern rock playersusethe three-notes-per-string formsto travelmelodicallyaroundthe fretboardat speedwith the finishing phrasesbeingmorerelatedtothe CAGEDsystemOox pattems).So wheneveryoufinisha long run or sequence that involvesmoving aroundthe fretboard,makesure that whereveryouland,youknow the underlyingminor pentatonic position.In the captions,the 'exit' notewill be referredto bv its Dentatonic position.It is vital that you understandthe Modetate/Advanced OaaO importanceofthis lastnote,asallthe speed in theworldwon't makeyousoundlike a tNt0 WII.IIMPROVE YOUR professionalrock playerifthe'exit'is poor. KEY:A Dorian !ZHand synchronisation The run itself,is nothingmorethana device gAltef natepickingpreci5ion TEMPO:VARIOUS ofescalatingexcitementwhich resultsin the gscalic CD:TRACKS34-43 5equen(in9 phrases. finalnoleandsubsequent Thisis morewherethe identityofthe piayershines THIS MONTH we continueourstudiesby throughandyou will wantto placea lot of applyingthe previouslessons'pattems attentionon this aspectin orderto sound professional. acrossall six strings,soyou mightwantto Therearefew thingsworse
than hearingfluid techniqueand speed which endsin a terriblesoundingvibrato,or a poorlyintonatedfinish. All the audioexamplesare playedwith tone-widerockvibrato.Any'exits'on the top two st ngsarepushedupwards,anyon the lowerfour stringsarepulleddownwards; generallytherewillbe threevibratosbefore a tmil offthe string.Listencarefullytothe r^herethevibratois slowaudioexamples alsoslowed.This maysoundodd at the slow 'learn'speed,but will outlinethe contourof thevibrato.Onceup to speed.this will give an aggressive edgeanddefineyou asa rock/ metalplaycr.This styleofr ibratowill help lhe 6nalnotescutlhroughthemix andgive your playingthe necessary authority. On the audioCD,all examplesare played at a'learn' speedof tripletsat 6obpm, followedby a standardtop speedof sextupletsat 12obpm.Stayonthe slower speedsforaround a week,eachexercise playedcontinuouslyforfive minutes(except wherethereis fatigue,in which caseshake off anytensionand restbriefly).After a !\eek,increase themetronome asfar as possiblewhilst still maintainingquality,and thenpracticeat this newspeedfor a couple of weeksuntil comfortable.Remember speedis the by-productof timing and accuracysofocusontheseaspectsand shredwill follow naturally.E
Jl Theultimate aimisto develop a working
vocabulany ofnunsand scalarconcepts thatwecan tl useinourimprovisation
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TBIGIIEC0nD whenit comes to alternatoplckirgproyress. Theso include Yngwie ltalnsteen,Steve Certcinplayersalwaysgetmertioned Yai,AlDiileol4PaulGilbed,Stevolt0rs6 andJohnPetru0oi. nyotnaclsworthchooking outfor blit picking aru[acerI's Scarnod(inGT115) (inGT1tr5)! andDream lhcatedsErotomania 64 GuitaxlbclmiquesIune 2009
ALTERIIATI PIC|(IIIG H e r e w eh a v e a r u nt h a tu s € s t h e AD o r i a np o s i t i o n7 r h a p e . T h i s i s t h e s a m e a s t h e Oncethe pickingis comfodable.reduceth€ acc€ntto €verysixnoteson the beat. G majorscal€in Po5itionI, but from our perspectiveofA Dorianwe can seethe Akhoughthe exampleiswritt€n with an bxit' or '6nishing' note (theA note found 5ta.tinqnoteto bethebT{G).Playslowlythroughthe exercisepayingattention in A minor pentatoni€,Shape5),lwould advisethatyou repeatthe first two barsfor periodsoffrve minutescontinuouslyto build namina and a..uracy. to th€ packingdireciion;eachsting shouldbeaccentedeverythr€enotesdt6rst.
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L€t'sapptythe alternatepickinqtechniqueall the waythroughthe sevenpositions ofthe A Dorianmode.Thepdtternarcendsone shapeand with a shiftdescends t h e n e x ti n s e o u e n cuen t i la l l s e v e n s h a o eh s a v eb e e nc o v e f e d . T hiisse x c e l l e n t f o r a l l a s p e c tosf t h e t e c h n i q u a e n da l s oh e l p !a s s e m b lvei s u a l i s a t i o n f t h ee n t i r e f r e t b o a r dA. c . e n t h e b e a t w i t ha s l i g h ti n . r e a s e i n v e l o c i t y f r o m t hpei c k a n d
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reinforcethis anchorpoint by tappangthe foot.Theaccenteverysix noteswill a l w a y s f a l l oand o w n s t r o k e . A itm o a p p l y g e n d ep a l mm u t € o nt h e b a s 5s i d ea . d o p e nt h e m u t ea sy o u m o v eo n t ot h e t r e b l es i d e . T h e r u ns h o u l df e e l f a i r l yl i g h ty e t p r e c i s e , t hpei c k m a k i n g p o s i t i v ce o n t a c t w i t ht h e s t r i n go n t h ev e r yt i p ,t h e w r i s t s w i n g i n qf r e e l y a c r o s r t hset r i n ga n dt h ea r mr € l a r e d .
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June2009Guita.t'lechniques 65
Nowwe haveour basicsextupletper stfing patternappliedtofourstrings.Again, the pattemarcendsone shape,then descendsthe next.Youcan applythisfouF stringrun through allsev€npositionsjuttliketh€ lastexample,and then finallyall
sixstringsand sevenporitlons.Thistype ofexerci5ingdevelopsstamina,accuracy andvisualisation ofthe fretboard.l would adviseth€ fingeFon/6ng€r-offapproach forthis pattern,fatherthantrying to keepthe fretting handfirstfingef plant€d.
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Fofthls run makesurethe motion is from thewist and thefe is no tensionor muscularupwardsmovementIn the arcabetweenthe upperfofearmand crookof t h e e l b o wL i g h t l ym u t e t h e b a ss i d e( w h e r e t h € s $ l n gp5a s so v e r t h es a d d l e s ) a n d open out asyou moveto the trebleside.Keeptheangleofthe pickthe sameon
eachnew string,so be awarethat ahhoughthe Individualpickrtrokescomefrom thewi!t,thearm doesmovedown slightlyto maintain consistentpickangle and muteunwantednolse.Thefretting hand'sfirsl fingertipmutesthe stringaboveit. you?ebasedaroundShapes5 and l. Froman A mlnor pentatonlcperspective,
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On this palticularexercise, l keepthe 6fstfnger planteddown ratherthanthe usual fingeron/ frnger-offmethod.At the slow'leam'speed,the arcof the pickbackand forth overthe sting shouldbe wlde (at lea5tlcm eithersideofthe string)andwith g o o dm o m € n t u ml i k ea p e n d u l u mA. st h € s p e e di n c r e a s etrh, l sa r c w i l l r c d u c e a n d refine.Attop speeds,the d istancethe picktravel,backandforth acrossthesfting
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55 Guita,flbclmiques June2009
willbe minimalandfocus€don theverytip. A 5lightdownwardspick anglewillhelp to reducefrictionand givea moreaggr€ssive sllce.Toomuch and you may lose keepthepickinghand thumb falrly straight definitionsoexpeiment.Generally, with a 20-30d egreeforwad tilt. HopefullyyouhavespottedthefnalA note as beingderiv€dfromthe A minorpentatonic,Shape1.
ALTIR!IITI PICKIIIG
T h i sP a u l G i l b e r. u t nd € v e l o p s t hbeu t s i d e t h es t r i n gt'€ c h ni qu e .A t t h e ' l e a r n ' rpeed,swingthe pi€kin an arcoverthe stringsto reallyfeelthe momentumofthe w r i s t . T h e i u ne x i t si n A m i n o rp e n t a t o n i cS,h a p el , w i t h a h a l f - s t ebpe n d f r o m t h e 9 t ht o t h e b 3 d , 6 n i s h i n g w i t h b i gv i b r a t oA. sy o u m o v e f r o mt h e r u n i n t o t h e ' e x i t , ' t h et h u m bs h o u l dm o v ef r o mt h e m i d d l eo f t h e b a c ko f t h e n e c kt o t h e u D D ebr a c k
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ofthe neck.At the momentof the 'exit'note,the thumb willsnap ovef the top of the n€ckin a claspand ihe 6ng€rswillclos€togetherfor the bend.Practisewiththe 6 r s t , t h i r da n d f o u l t hf in g e r s , w i t thh e b € n d € x e c u t ebdy t h e t h i r d f i n g eG r uppo(ed b yt h e s e c on d ,w i t ht h e F r s t t om u t e ) .
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Thasnextexampleisalong runwhich movesfromthe low Ft acrossthe entire Thenfrom bar4, we havetwo fourstring runsup to th€ fnishing half-nep bend f i e t b o a r dt ,h o u g h a l l s h a p e s . IBnd r1 ,w e h a v ea 1 2 - n o t ien t e o c k i n gs y m m e t r i c a l from the 9th up to the b3rdin A Minor(Shapel).This run is madefrom sequences s h a p em a d e f r o mA D o r i a n f r a g m e n(tSs h a p e s 6 a n7d) . T h i si n i t i a l 2 - n o t ep h r a r ei s f a v o u r e db y p l a y e f lsi k eP a u l G i l b e ar tn d J o h nP e t r u c c i . Awse l l a sb e i n ga t e s t i n t h e n r e p e a t e d a n o c t a v e h i g h e r . l n B a r 2 , t h e r u n d e v e l o p s o n t w o s t r i n g s , a s caecncdui nr agc y a nsdt a m i n al o , n gr u n sl i k et h i sc a n t h e nb e s p l i c e d o w ni n t oa w h o l e with a seriesofshifts beforedescendingwith a six-rtringrun in A Dorian,Shape4. vocabularyofsho(erideaswith the additionofan'exit note.
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June2009Cflrita.ileclmioues 67
Unlesryou are showcasingthe shredtechniquein 9uitar Instrum€ntalmusic, ExampleTmaybetoo long and impracticalfor mostsituations.But learningbig runsis importantasavocabularybuildingstrategy.lt canthen be brokendown into smallerareas, to increaseits wo(h ten fold.Allwe needls a strongexit not€,In Example8, we takethe first thre€beatsofExample7 and6nishon thethird string's
b3rdwith downwafd, rockvibrato.Fromhere,tryto continueimprovisingin A minorpentatonic,Shapel.In Example9, we startour mini run,from slightlylateron finishingwithan?xlt' on the secondstringroot note.Playit wlth the 5e(ondfinger orthethird. Usingth€ third,wecan plac€ourselv€sin A minor pentatonicShap€2 for continuationwith f ock/bluesDhrases.
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Thislongfun startson the lowG,whlch ls our bTrelatlveto the root ofA Dorlan, We havea posltionshift on the thkd string,whichtakestherun througha tricky asymm€tricalroute up to a two-stringpatternusingpositionshiftsand lastly into a revers€singlestringpatternfesolvingon the root.Youcouldbreaktherun down into smallerftagmentsandadd ?xits'in orderto marlmis€vocabulary.ltis
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6a Guitaxlbclmioues.i une2009
a good ideatodesignloadsof long runsbasedaroundcertaint€chnicaI concepts, orthat combinecertaintechniques.A good vocabularyofrunswould ideallybe a combinationof d€si9nfrom technlcalraw material,andfrom direct transcription of the mastersin thlsfield.Longrunsarea ch.llengingwayto bring finesseto your te€hnique,boon vocabularyand l€arnto navigatethe fr€tboardfre€ly.
-.} TRACKS.T4-48 ONTHECD .'t
Harmonicmajorsc Ourseeker of allthingscreative, ShaunBaxter hislookattheharmonic continues maiorscale bv focusing onslngle-note soloing... AlthouEh little known and rarelyeverusedin rock,the harmonicmajorscalehasbeen J usedinjazzforalongtime.and \.. pioneerCharlieParkerwould sometimesuseit to playover minor ii V I progressions that endedin a majTI chord.This is becausethe notesofDm7bs, G7 and CmajTall existwithiDthe C harmonicmajor scale. Furtlermore, somerock/fiuion players like Allan Holdsworth alsousethis scale. With its unique intenallic properties,leamingthe harmonic major scalewill allow you to expandyour tonality. In fact, it has its own modal system. Yesthat's right, there are seven modes; all ofwhich havetheir own usesin various forms of improvisation We will be exploring eachoftiese modesin the future; however,for now, I have included them here for your reference(seeDiagramr). Anyr,,ray,let'sjust focus on the fi rst mode,harmonicmajor. There are various mathematicalmethodsfor systematicallyextractingvarious diads triads, arpeggios,p€ntatonicsand hexa'tonic Advanced aaaaO scalesfrorn anyseven-note scale(andwe tlro wrLr vounI will alsobecoveringthis in the future); rr,lpnovr however,initially, I suggestyou experiment gi Harmoni( KEY: Am mdjorknowledge with the scaleusing the following TEMPO|94 bDm 7lmDrovisewith news(alet (udging themwith your ear, approaches g CD:TRACK544-48 Harmoni( maiormode5 and making a note ofyour favourite ideas): (using'steps'lessthan a I,AST MONTH \48 started to explore the O Scalepassages harmonicmajor scale.It's like a major scale minorthird) with a flattened sixth degree.Alternatively, O Arpeggios(using 'leaps'of a minor third it canalsobe viewedasa harmonicminor or greater) scalewith a major third (hencethe name). O Interval skips (such asthirds, fourths etc) We focusedon ways ofextracting chords O Upper pedal tones from this scale:however.this month we are O l,owerpedaltones goingto focuson soloing. O String skips etc. pF\a* | fADS g[/ r.l;;ft{e
'passing' O The inloduction ofchromatic or approacn nores O Various forms ofarticulation (such as bending,and whammytechniques) O Rhlthmic variation As a guide,you canreferto Diagram2 (full neck diagram) and Diagram 3 (which featuresall seventhree-notes-per-string shapes).Notethat thesetwo diagramscan alsobe usedwhen experimenting with any ofthe modesoftheharmonic major (the root note will simply be in a different place eachtime). When experimenting with C harmonic major scale,it is important to note that the followingarpeggiosare allcontainedwithin thescale:AbdimT,Bdim7.Ddim7,Fdim7, Caug,E,E7,GandG7. Finally,thismonth'ssolostudy (which is played over Iast month's backing track) is not intended asa faitiful impersonation of Allan Holdsworth; however,it doesadopt many ofhis approaches. Generally,the solo focuseson producing melodicpassages usingnotesfrom the harmonic majorscale.ralher lhanjust playingcombinationsoflick (a common temptationwhenusingthe pentatonicscale for bluesor rock soloing). Furthermore, there is a conscious attempt to createvariation throughout the solo by using a balanceof the different sort of approaches that we discussedearlier (upperpedaltones,string skipsetc).Il
ll llthougtr rarelyeverused inrock,thehanmonic mqior scalehasbeenusedinjazzfor a longtime, andinclassical
tt music forcenturies
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lmCKRECORo EuerysingleAllanHoldsworfhalbum(andth0r0arcmany)lscrammed vrlthoxamples 0f hlsuniqrcandboautiful approach to slngls-note sololng. tly personal favourites aro0n60fAKindbyElll8rufod,and,ofAllan's manys0loalbums, lvandenclyffe Tower andSocrcts. 70 Guitaxlbclmioues lune2009
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lBar3l Weseethe useofan upperpedalnote.A'pedal'toneis notethat one keepsreferringbackto. In this case,the F on the 13thfret ofthe first stringis playedin betweeneachone ofa seriesofascendinglowernotes. lBar 4l The lastbeat ofthis bar is composedofa se e5descendingthirds Emaddl,6
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withinthe scale(Dto 8,thenEto C). [8a] 5l Likebar3,hereis anotherexampleofan upperpedaltone(inthis case,the G on the 15thfr€t ofthe first string),only this time,the lower notesplayedin betweenitfollow a descendingsequence.
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of a stringskipanda widest.etch lBar9lln thisbar,the combination help to createsomeear-catchingwide intervals. lBar101Here,partofthe melodyis playedby slidingfromnoteto note with onefinger.Thisgivesit a vocalinflection, andis something thatwe will be exploringin the nearfuturein Creative Rock. [8a]511-l2lThe melodiesin thesebarsarebasedpredominantly aroundthe notesofan Fm6arpeggio... F Ab C D
rb3s6 lBar131Thisbar5howsthe development of a particular rhythmicmotii
Thismakesthe solosoundmorecohesive,becausethe ideasare related. lBar l4l Towardsthe end ofthis bar,we seethe additionof an Eb passing chromatic note(approaching the Efroma semi,tone below)melodicmotifis repeated lBarl5l Here,the samethree-note down in majorthirdinterva15. Thisintroduces a rogueEbnote,butthisworksfor two rea5ons:The melodicideais strongenoughforthe listenertoaccept it; and the Ebresolvesimmediatelyto an Enote.Interestingly, allofthe notesfromthispassage couldalsobe considered asbeingderivedfrom C augmented scale: C,D#,E,G,Ab,B.
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thisstringskippingsection(andanyotherfiddlypartofthe lBa. 161With solo)you mayfind it easierto playifyou don'tpickthe lastnoteon each (usea hammer-on strang or pull-offinstead). Bar17marksthe startof a string-skipped lBar17-191 section, comprising a nine-notesequencethat issystematica llytaken downthroughthe scale(byshiftingthe idealaterally, downalongthe lengthofthe neck). lBar201Morestringskipsusedhere,but,likebars14and 16,some sixteenth-note tripletsareaddedfor rhvthmicvariation.
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simplemelodicideasareusedto wrapup the solo, lBaJ21-231Some mostlybasedaroundintervalskipsof a scalefourth. Notethe useof a Db passing noteusedin bar23. lBars24-251Finally,the solofinishesoff with anothermixtureof scalebasedand arpeggio-based playing.Thefinalarpeggiois Csus2(CD G).
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ON THE CD -4. CD-ROM FILE
listener'sinterest,you needto keepthe solo building,soyou cankeepthem listening right until you'r'elinished." Strongplrrasingis crucialat the startofa solo.Noticehow mostofAl'nsley'slicksstan at the endofthe bar,spillingacrossthe bar line andobscudngthe firstbeatto create moreinterestinglines."Playingasolois like tellinga story,"saysAynsley."lfyou're droningon with an uninspiringmonologue, 1'loone'sgol'lnalistenman!" Practisestarting lickson the upbeatofbeatthreeorthe dourrbeatofbeatfour in youl dailyroutine - it's guaraDteed to improveyour implovisingskills.ln ExamplezAlnsley showshow to notchup the excitementlcvel b1'shiftingup the neckandincorporating somecoolsixteenth-note licks. In Exanrple3 the importanceof goocl phrasingis stressedagain.ThistimeAyrslel 'vocalising', drawshis inspimtionfrom which is how he describeshis techniquefor thinking like a singer.At the endofplaying ' Youccn imilgi|lr theexarnl)1" heenthlrses. singingthat a singer exactmelody,and that'soneicleayoucanuseforphrasing". Exarrple4 r'oundsthingsoffbyaddilg pickingdynrrnicsintothemi\. As a parling shotAynsle)reninds us that we should neverforgettlle expressivetoolwe have urxleluul ti gers: Vibratoandbendinga|e imporl{rrt - J'oucanbendup to a note,}ou canbend(lo\\'nto i note.\'oucanbend.. noteslightlysharp'.which is, after all, rvhl the guitar is the perfectinstrumentfor plaling the blues.E
ll Playing a soloislike tellinga story.lf you're dnoning onwithan monologue, uninspiring noones gonna listen!!l
AynsleyLi$torm IA
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Lister Inthefinalinstalmeni of ourtrilogy, Aynsley forcreating reveals moreof hisconcepts the perfect solo.PhilCaponetranscribes...
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Moderate WITT IMPROVT YOUR
playing KEY:Various 7 General blue5 TEMPO: Various t Shaping ofasolo CD:CD ROMFile .z(hordal awarenels A\NSLEY USESDROPhalf-stcptuning (lorvto high: Eb,Ab, Db, Gb,Bb,Eb),so re-tunebefore!or.lstart.All ofthe examples
areonechorus(tz bars)long anddesigned lo workovcrthcA llirror l- IV-V furrLr bluesvampthat wasdemorstratedin last month'slesson. Why oot recordthevamp first soyou canhearhowgleatthelicks soundagainsttlre chtrnges? In Exampler Aynsleydemonstrates tlle importanceofgettingthe first chorus ght. "Staft)our solowith sonrethingfairll 'he simple, sa)s."Don t feelthat assoonas 1ougetthenod,lou hiuc to goin all guns blazing,noteseverywhele!Tokeepthe
youoan at ww[aynsleylistenc0.uk, where TRACK 8ECORD Avn.slc!l's letestalbumEqutlibriunhasjust come out- buyit fron hiswebsite 0nvariousBBC radioprogrammes including BobHa is (rvhowasglowing inhispraise),Paul checkouthis0therreleases. lt hasbeenplayed Jones's blues llagazines likeillojoandClasslc nockaretalking ofAynsley inhall0wsd torms. showandothers. 74 GuitarTechnique June2009
AYltSt_tY t_t$IrR $rYr.t Thedouble-stop bendsat the endofthefourthbarshouldbe playedby barringacross the secondandthirdstrlngswithyourthirdfinger.Using )-tm
a downwardbendingmotion(towardsthefi rststring)makesthe bend easierand helpstokeepthepitchchangeconstantacross both strings.
Am7
Allexamplesdetunedby a semilonebul chords and nolationare shownin slandardtun ng Dm7
g if
pickingshouldbe usedthroughoutthis Alternate sixteenth-note example.lt'sespeciallyimportantto makesurethat off-beatsixteenth
theyfollowa tied note;theA noteson notesarepickedcorrectlywhen beatthreeofbarsseven andtenshouldboth beplayedwith an up-pick.
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Accuratestringbendsareeasiertoachievewith threefrngers,particularly good ideato practisephrasesIikethisbyfretting thetarget notesfirst. the correctpit(h. Thiswill helpyoureartorecognise whenbendingup a minorthird(oneanda halfsteps)asin barsix.lt'sa
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75 GuitarTeclmique June2009
Am7
AYI{$ttY tI$TER $TYLI pickinghandwidensin orderto Noticehowthe arcofAnysley's emphasisethe loudernotes.Aynsley alsomoveshispickinghandcloser ) = l2O
:rRf-
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Dm7
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to the bridgefor the finalphrase(bars8 throughto 1l)to add additional textureanddynamics.
oNTHEcD!.rnacxses-eo
we'velookedat will work fine,butthere are a coupleofissuesto raisein relationto minorll-V-ls. Because ofthe b5 in the II chord(on Dm7b5,the noteAb), usinga majorgthontheVchord(onG7,thenoteA) cansoundalittle strange,ascanthe r3th (on G7,the noteE). On a resolvinglh we'duse abgth andbr3th anyway(on G7,the notes Ab and Eb) asin mostoftle fragments,but I've adaptedthe onesthat don't. For Example3 I've takenthe major 7 fragmentsfrom GTr64andflattenedthe3rd in eachone,leavinguswith a seriesofC melodicminor linesthat soundpleasingly just a matterofhavingfragmentsthat jazzy,althoughfeelfreeto drop the zh to a work for differentchordtnes. Sohow bzth (Bto Bb) ifyou prefer. aboutoutliningaminor II-VI? We Example4 finishesup with a few example alreadyhavedomTandm7 fragments; minor II-V-I linesproducedby connectinga it'sjust a matterofworkingin some selectionof the previousfragments, m7b5fragments,but mtherthan Remember,it's a matterof movingas havingtoleam lots ofnew stuff,why smoothlyaspossiblefromeachfragmentto notgetmore mileagefron what we the nert - ideallyno morethan a tonefrom alreadyknow? the end ofone fragment to t}le first note of Minor 7 fragmentscaneasilyb€ tie next- andthebracketednotesat the end adaptedto work overa mTb5chordofeachfragmentareconnectingnotesthat with manyofthem,all we needtodo is canbe changedor left out, dependingon flattenthe 5th (on a DmT,thenoteA whereyou wantto connectto. wouldbecomeAb), andfor an1'thing Expe ment with constructingyour own morescalic,flatteningthe6th (on a linesfrom thesefragments,and adapting Dm7the B wouldbecomeBb) givesus theseand anyother fragmentsto work for l,ocrian*z (for moreonthis see other chordt1pes.Also,the minorand cT94, 44 and r4s), althoughthose majorll-V-l fragmentswe'velookedat leave you with all the toolsnecessary that prefertheir tocrian mode to construct unadulteratedneedalsoflattenthe III-VI-II-V-I lines,soerperiment.We'll be 2nd (on Dm7,E dropsto Eb). concludingthis fragmentaryapproachto For the V chordmostof the domT line building nextmonth.Join me then! li fragments we alreadyhavewill work fine,andwhenitcomestothe minor I chord, we'vegot a coupleofvery acceptable options:we canusethe m7 fragmentsthat we alreadyhave,but we couldalsoadaptthemajor7 fragments,givingusevenmoreto choosefrom. Themajor Tfragments just needtohavethe3rdflattened(on Cmaj7,the E wouldbecomeEb, leavinguswith Cm(maj7)),andbyso doing the morescallicmajor ideaswill become Moderate melodicminor.And if too much melodic tNto wtLttNpRovr YouR minoris a touchrich for your palate,it's a simplematterofflatteningthe 7th (on KEY:Cminor !ZSolorngvocabula!y CmajTthe B becomesBb) to getthe TEMPO: Various Z Hamonic lnowledqe Dorianmode. CD: TRACKS 49-60 tJaz phrasing We'regoingtotakethe fragmentsthat we OVERTHEPASTcoupleof monthswe've lookedat in GTr64asourtemplateaswe discussedthe processofbuildinglinesand look atsomeideasfor the chordsthat make outliningsequences by connecting oneup aminorll-V-I in Cminor- Dm7bS,G7 chordfragments.Sofar we'veusedour old andCmT.Exampler takestheDm7 friend the II-V-I progressionand fragmentsfrom GT164butadaptsthem,as constructed linesbyjoiningtogether a series above,to work for Dm7b5. ofm7, domTand majTfragments,but this Examplez featuresG7fTagments. As - it's approachcanbeusedon anysequence mentioned previously, most ofthe ideas
rulding lfrm behop R,
Thismonth.inthesoiritofthesedifficult times, PeteCallardlooksatwaysto getmaximum valuefromvouriazzlines.
lJ [athenthanhaving to learnlotsofnewstuff,why notgetmoremileage from whatwealreadyknowfl tt
m aoo
partlcularly TIACI([EC0[DFor an introductionto bebop I'dsaystartylth thepioneens, alto-sax0phonlst Gharlio Parker(Vorv€ Jazz (AtlightInTunisia: pianlstBudPoyroll (The Masters, lGnEurnsJazz- Cha ioPark0r), trumpeterDizyGillsspie lheVeny Best0f oizzyGlllespie), playen you AmazingBud PowellVol.l & 2).Themars severalgr8at 0ompilati0ns by5(h'hardb0b0p'tenor Gann0nballAdderley should alsotry. 7a Guitaflbclmioues June2009
BtB0P: BUlLDltlG BtB0P tllltS Example1 featuresa seriesofone bar minor7b5fragments,or motifs, adaptedfrom the minor 7 fragmentscoveredin GTlssue164.l've flattenedthe 5th (A to Ab) in eachofthe examples,and flattenedthe 2nd (Eto Eb)insome(fora Locriansound), but leftit in others(foraLocrian
#2 sound).Althoughall ofthesearefor a Dm7b5chord,it's importantto get usedto playingthem in everykeyandto playthem in differentplaces on the neck.Also, remember thefingerings areonlythereasa guidelineexploreeveryfingeringoptionto reallyget the mostfromthem.
[,4inor7t5 Fragments a)
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E B G D E
E G D E
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lune2009GuitaxTbclmioues 79
Herewe havea seriesofone-bardominant7th fragmentsfor Gz Again theseare basedon the fragment5from GT164,althoughl'veflattened the 9th (Ato Ab)in 2a,2e,2kand2m,andthe l3th (Eto Eb)in 2fand
Aspreviously, in the sequence. 20tofit betterwiththe otherchords whichtheystart,to make they'rearranged in orderofthe intervalwith connectingthem easier,
Dorninanl7lh Fragments a)
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B D E
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80 Guitallbctmiques June2009
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BtBOP: BUlLDlllG BtB0P l-lllt$ Example 3 features a series ofone-barminorT fragments forCmZl've adaptedthem from the ma.i7fragmentsin GTt64,flatteningthe 3rd (Eto Eb)to givea m(maj7)/melodic minorsound, althoughifyou preferDorian
(BtoBb),andthenflatteningthe it'sasimplematterof flatteningtheTth 6th {A to Ab)ifyou preferAeolian.As previously, they'rearrangedin order ofthe intervalwith whichtheystart,to makeconnecting themeasier.
Minor7lh Fragmenls a)
E B D E
E B D E
E B G E
m)
a)
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June2009GuitaxTechnioues 81
producedby Examples4to7 demonstratea few ofthe manypossibilities epplyingthisapproach to constructing minorll V-llines,andthe original 1a) Om7b5
1s) Dm7b5
1D Dm7b5
d E a G D E
82 GuitaxTechnioues June2009
2d)
fragmentsusedare indicat€d.
oNTHEcD !
Nick Hanper
Get moTe r e r n r di n p t i n <
NlckHarper isoneoftheUK's finest Singer-songwriter acoustic stylists andsoloperformers. StuartRyan playing. looKsat unlque approach to
father'smusicmaking friendsftom averyyoung age.Whenthosefriends includedthe legendary luminariessuchasLed Zeppelin'ssix-stringgenius Jimmy Page,The Who's incomparabledrummer Keith Moon and Pink Floyd'smelodicmaestro DaveGilmour,it was perhaps inevitable that Nick would go on to forge his own careerin music. Harper existsin a unique positionof beinga highly individual singersongwriter, aswell as a great guitaristwho's capableof composinghaunting fingerstylepassages or wiggingout on an acoustic 'chops-fest'ifthe mood so t takeshim. Haryer'sguitar playingis fascinatingand full ofodd tunings.His piecesare markedby unusualchord I voicings,which are sometimescoupledto an aggressiveguitar style. Anyonewho hasseenhim play live will be awareofthe tdcks he employsin the name of stagecraft,fTom performances rapid de-tuningof strings somethingto thanksto thebanjo tuners installedon his guitar to his ability to replacea string whilst still singing and playing! Antics like these, aswell as Moderate/Advanced suprememusicianship,keepNick's audiencescomingbackfor more! OtherwiseHarper'splayingstyleis quite 7 Pi(king hand timekeeping KEY:GM conventional,eitherusinga standard chord fretting TEMPO:115bpm vClean 'pima'fingerpicking paHernor sl rumming lZDynamica CD:TRACK6l to accompanyhis voice.On more upBEINGTHE SONoflegendaryEnglish tempo ordrivingpieceshe will employthe percussivedeviceof slappingthe strings singer-songr.riterRoy Harper meantthat Nick Harper wassurroundedbyhis with the pickinghand in betweenstrumsor
#lv
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llltlSlGfd0dllcom" News.Reviews.Tu t on Semples.ForLrrag Communjty
- essentiallyanlthing goes pickedpassages in orderto deliverthe song. It is his musicthat setshim apat - listen to somethinglike The MagnificentG7,for example,andyou'llbe struck by its unusual chordsand haunting melody.To reallynail this styleyou needto be capableofholding do\arra strong rhlthm with the picking hand and have a very clean fretting hand in orderto ensureall the chordsring out with rrrd^rruuru
rr4r rt.j/,
Of coursethere are other key twists to the Harperstyle.The banjo tuners enable himto alterthe pitch ofhis stringsup or down in mid per{ormancewith only the tlvist of a tuning peg (also check out the greatAdrian Leggfor this technique).In addition, Harperoften addsprocessingto his acousticguitar soundsoyou will often hear delayand chorusto enrich the tone (alsopioneeredfor acousticguitar by the late,greatJohn MarBTr).A
ll Banio tunersenable him to altenthepitchof his
stringsupor downinmid performance, withonlythe pegll twistofatuning
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wasonhisfathernoyfiarper'sseminal albumlfhateverllappened T0Jl|gl|lafnomway TIACKREC0RD Nick'sf rst appeqrqnceonJecond (1995) (1999). Alternatively, some 0f backin1985. Hisowndcbutalburn wasSeed andfora luitar only'perspective check outInstrumental (2000). hisbests0ngscan befound 0ntheveryl0vely llarperspace 84 GuitaxTeclmiques June2009
IIIC|( I|ARPTR STYLT {BarllThereareringingfingerpicked chordsthroughoutthis one.[4ost ofthem will not posea challengebut watchout for the intricaciesin thi5styleofplaying;theslidein bar2,forexampleasyoushiftfromone chordpositionto another-allthisneedsto be smoothandin timel lBarSlThehammer-on halfwaythrough beat1 needstobe smooth and playedwithsufncientvolumeso itblendsin wjth everything else. Hammer-ons canoftenend up too loudor too quiet,soworkon your dynamics herel
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a riff-basedideaforyou to practiceyourstfummingon. lBar 231Here's soyou cantry and plot the most logicalwayofgetting throughthis Tryto add somedynamicsin aswell.There,ssomeslightlyawkward section. Becarefulwithplayingthislow on an acoustic, though itcan fretting -the sixthand fifth stringsare both fretted with thefirst finqer easilysoundmuddy.Generally, the highergaugestringsyou employthe with the riffidea,I haveaddedsomemorefinqe-rinqsmuddierit qet5l IBar26]Continuing Dm Ebsus2
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Tel:02087390081 Email:
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Rs; Similarlyyoulravetobeableto reproduce rrrajorandminorchordsin fivedifferent positions,sothink abouthowyoucanutilise this in yourteachingtoo.For instance,you mightelectto playa c majorchordusingthe fivepositionswehaveillustratedfor the G majorchord. Althoughsomeoftheseshapesmightbe too awkwardfor yourpupilsyoumightwant to introduceoneortwo ofthem to develop somevariety,especiallyifasongcallsfor a numberofbarswith thesamechord. If someofthesefingerboardrequirements arenewfor youthendo rememberthat you areprepa ng for a teachingdiploma,sothink all the timeabouthow tle conceptsanc approaches that youarelearningaboutcan beapplieddirectlyto yourteaching.
Teaching Diplolna$mr sMervYounglooksatthefretboard ' TheRegistry knowledge anddiscussion components ofthenew DipLCM(TD), Diploma inElectrlc leaching... Guitar Locrianscale,melodicminor scale- in all keysovertlvooctaves: e) Major.minor.major Moderate/Advanced lh, minorzh, dominant7th,diminishedTth rltg wru. rMPRovE YouR arpeggiosin all keysovertlvo octaves. Chords:a) All majorandminorchordsin KEY:Vaiious '|Abilitvtoteadouitar fivedifferentftetboardpositions;b) All mrnor TEMPO:Various tl lJndeEtandin g;f grades zth.nrajornh anddorninanl 7h chordsin CD:NoCDtrack ti Musical awareness threedifferentfretboardpositions;c) All suspended4th, augmented 5th,major6th, -'th.major IN OUR FINALlook at this diploma we're minor6th.diminished 9th.rninor goingto explorc the rcmaining two sections: dominant9th chordsintwo different 9th, 'fretboard knowledge' and 'discussion'.For fretboardpositions. the fretboard knowledge sectionofthe exam Thescalesand arpeggios shouldbeplayed you maybe askedto play from memory any of ascending anddescending, withouta pause the following scales,arpeggiosand chor.ds: andwithoutrepeatingthetop note.MultiScalesand Arpeggios: a) Major scale, positiol scalesshouldbeplayedin the same major pentatonic scale,natural minorscale, octavewhereverpossible. Youshouldbe minorpentatonic scale,Bluesscale- over plafng thescalesat approximately 152bpm, three octavesin keys ofE, G and A, and also in andthearpeggios at approximately 12obpm; all keys overone octavein 6ve different that'splayingtwo notesperbeat. f ngerboard positions; b) Harmonic minor Asthis is ateachingdiplornayouare scale,Dorian scale,Lydian scale,Mixoiydian expected to beableto deviseyoul own scale- in all keysover two octavesin two fingeringsforall ofthese;youwon'tlind any different ffetboard positions; c) Chromatic scales, arpeggios orchordsnotatedinthe scale,whole-tone scale,Phrygian scale, syllabus.Alsodo rememberthatyou'llbe expected to playtheseaccurately, fluentlyand conidently- this is a diplomaafterall! Theabilityto reproducescalesin different fretboardpositionsis ofgreatbenefitin IVTRSITY I,JN VALLEY THAMES developing knowledgeofthe guitaraswellas for developing yourabilityto movearound the neckconfidently. Frcma teachingperspective the intrcductionof differentshapesandpositions canleadtosomeusefuldiscussions and variationsin playingstyles.Forinstance, you mightplayanADorian modalscale(seeA DiPlorna of the Do anscalepositiont). However,the same London College of Music notescouldalsobeplayedusinganother shape(seeADorianscaleposition2). Try to considerhoweachshapemightlend ilselftoa particular technique or styleof music.Youmightpreferthe secondshapeto helpyour pupilsdevelop somefasterscale runsby usingeconomypicking techniques. Alternatively, youmightpreferyourpupils usingthe firstshape,to slowthemdowna little ifthey automatically hit 'shfed'mode!
oooo
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4
Dtscusst0r{ sEcTr0rl Thediscussion partofthe examisthelast sectionandwill beadiscussionbetweel yourselIand theexaminer on anyissues arisingfromtheprevioussections. As wlth the presentation sectionthat welookedat last time,thefocusherewillbeon thestandardof pupilyouselected to teachin yourlesson component.Sodon l worryaboutbeing grilledon thefinerpointsofGrade8 ifyour pupil wasofGladez standard!Youmaybe askedto clari$or expanduponsomelhing yousaidor did earlierin tbe exam,orthe examinermayaskquestions on aspectsof teachingthat haven'tbeenfullycoveredin the previoussections. Althoughbeingquestioned in thiswaymayseemabit dauntingtosome people,do rememberthatbeingableto analyseandrespondto questionsrelatingto howyouteachwill giveyoua muchdeeper insightinto your ownteachingandwill, therefore,irnprovehowyouactuallyteach. Let'stakca lookat someexamples oftbe tJpeofquestionsthat might beasked. Rememberthatthe mainfocusofyour response will bethe standardofpupilyou taughtin the lessoncomponent. Firct,canyouexplainyour approachto teachingauralskills?For a pupil around Grader standard youmightstartbyplaying or clappingsimplerhlthms that theyhaveto playor clapback(seerhlthm repetition
QCAINFO
TheQualificationsand Curriculum Authority! (QCA)accreditation procedureplacesthese diplomason the Nationa,Qualifi(ations Framework.This meansthe OipLCM(TD) is equivalentto thecompletionofthefirstyearof an !ndergraduatedegree,the ALCM(TD) is equivalenttothesecondyearand the LLC$1(TD) isequivalenttothefinalyear
D^,r,.il0REll{F0TheRGTolfersjidlyaccruditodcxamsinelectricguitatbassgulta[aco||stlcguitaraswollasthes€electricgui diplomas. Allst of r4ister{d tutonsis alsoavailable giying 0nth€mTwebsite. Youcandownload a freeinfomationbo0klstandsyllabus *)':;,+ youallthedstailsyouneedontheteaching dlplomas andothorf,GT 0xams at uww.ml.org.uk 88 Guita.llechnioues lune 2009
mcililtc0lPt0tA$ ll lfyoutoachingroups
will provide them with a big confidenceboost, but it's goodto havea variety oftactics at your
ll{TEREETtllG S0r0S
What tips would you giveyour pupils to make their solosmore interesting?This is Of somethingthat most ofus are trying to do with our own playing a lot ofttre time, so havethe advantageof placingyour studentin maybeyou'll want to draw on your o\,!rl a situation wherethey haveto perfom under experienceshereto offer somehelpful Fora moreadvancedstudentol example).Maybetie this in with developing a litde morepressurethan usual. suggestions. your pupils' music readingskills by getting Ifyou teachin groupsthen you haveplenty say,Grade6 ability how about encouraging of opportunity to developconfidenceskills by them to improviseusing a selectionof them to clap the rhythm whilst readingit involving weryone in a perfomance. Thrs one-octave scaleshapesratherthanthe from a flash card. Ifyou teachsmall groups, try getting one ofthem to clapthe rhythm couldbe a rehearsed songor an ad-hoc tlvo-octaveshapesthat we all seemto fall jamming session.Again try recordingthis if whilst the otherstry to play or clap it back. backon time and again.Or ifyou havea pupil you are ableto soyour studentshavea chance of around Grade4 or 5, makesurethey are Ifyou are focusingon teachingpupils of comfortablewit}I sometwo-octavearpeggios Grade3 or 4 tlen maybeyou could encourage to criticise and analysewhat they did. How aboutperforming a rhythm or lead and then seeifthey canincorporatethem into them to wolk out relatively sirnplesolosor part from sight asa meansto developsome chordprogressions from songs.Ifso,then a solo in someway.Would you get them to playing confidence?Rememberthis is an what advicedo you giveto makethis process usearpeggiosall t}le way,orjust over integral part of the RGTelectricguitar grades particular chords?For the diploma exam,and easier?You might start by playing some for the benefit ofyour own teaching,make major or minor chordsand seeingif they can soseehow your Grade3 pupil copeswith playing our exampleof a Grade3 rhlthm identirythemasmajoror minor,Or do the sureyou canexplain andjustifr your reasoningall thetime. samewith a natural minor and rnajor scale. chart with only about3o secondsof preparationtime (seeexample).What Well that concludesour look at the How do you explain the major and minor sounds?Happyand sad?Light and dark? feedbackwould you giveyour pupil if there DiprcM(TD). I know many teacheF useGT wouldyoudevelopyour wereerrcIs in this? How would you ensure andotherreaderswouldlike to teach.SoI Second,how pupils'confidencewhenperforming? hopeyou ve found it useful and I wish you t}re this feedbackencouragedthem and didn't Hop€fully the experienceofhaving lessons demoralisethem? bestofluck asyou preparefor the exam! I
plaving disposal. rry recordingvourpupil a
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I J-: lune2009Guita.flbclmiques 89
WHAT oURRATINGS ***** MEAN:
Buyif ****
Exceltent ***
Good ** Averaae* Binit!
llewAlbums
guitarreleases, Thelatest including Album OfTheMonthandClassic Album... JOHNMARTYN MAYYOU NEVER lsland*****
Thisanthologyhasbeen released to markthe deathof J o h nM a r t y nl n l a n u a r ya n d , assuch,doesthe man proud. The materiaI concentrates on lohn'searlyto mid career periodand it'samazlngto noteJUst how manyclassicsongsemanatedfromaround thistime.Aswell asthe titletrack,the CD revisits tuneslike SolidAlt B essTheWeatherand HeadAnd Heart- a I of which eft an indeib e markon thoseouterfringesofthe Br,tishfoll scenetl-atthe man madehisown. Naturaly,it'seasyto mourntracksthat didn'tmakethe compilationandthe decisionto includethe coversof Singingn The Rainand Overlhe Ralnbowmight faz-^ a few fans.Butbeinggivenanotherchanceto hearthe agonisingly beautifuSmallHours,reputedy recordedin the groundsof 's PeterGabrle ReaWorldStudiosin Boxat the deadof night, makesus morethan willingto forgiveanythingl
2 :
? ! :
(Radio (6 2)andPhilJupitus lvlusic, andwhoalsooccasionally guestswiththe bandlive),we hopethey get somedeserved suc
