March 13, 2017 | Author: Giulianno Sousa | Category: N/A
the finest guitar lessons on the planet 234 SEPTEMBER 2014
20 YEARS OF THE FINEST GUITAR TUITION
cream of Learn the licks and techniques that made Cream-era Clapton a giant of blues-rock guitar four-part
Harmony
bernie
marsden
Star video lesson with this great British blues-rocker
play BRITISH R&B
ROLLING STONES Brian Jones & Keith Richards’ early years
Why understanding it will make you a better musician
style studies...
PAUL SIMON
Acoustic picking legend
WALTER TROUT
Fender Stratocaster firebrand
Sunny Tackle a jazz-pop classic from the greatest jazz guitarist of all time
SIMPLE MINDS
Sonic sculptor Charlie Burchill
ISSUE 234 SEPTEMBER 2014
Just some of your regular GT technique experts... Shaun Baxter
One of the UK’s most respected music educators, Shaun has taught many who are now top tutors. His album Jazz Metal was hailed as a milestone.
paul bielatowicz
One of our greatest rock guitarists, Paul plays with prog legends Carl Palmer and Neal Morse, and is a most welcome regular contributor to GT.
jon bishop
Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease!
Phil Capone
Phil is a great guitarist who specialises in blues and jazz. He teaches at ICMP in London, writes for GT and Total Guitar and has published 10 top tuition books.
charlie griffiths
Guitar Institute tutor Charlie first came to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s top rock, metal and fusion guitarists.
phil hilborne
The UK’s original magazine guitar tutor, Phil’s something of a legend. A great player, he regularly plays guitar in the Queen musical, We Will Rock You.
pat heath
BIMM Brighton lecturer, ESP product demonstrator and all-round busy musician Pat takes over from Terry Lewis on 30-Minute Lickbag. Welcome, Pat!
bridget mermikides
Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.
Welcome eric clapton taught me to play guitar! Not personally, you understand; but via my initially fruitless attempts to copy what he was doing on Cream records. Since I had no other distractions at the time (job, car, girlfriend), the hours of solid practice I put in, playing to those vinyl LPs, eventually began to pay off. Our turntable had a 16rpm setting which meant I could slow 33rpm albums down so they played at half speed, pretty much in pitch but an octave down. It was brilliant! I heard all Eric’s inflections; I could tell which notes were picked, which ones were hammered on, which ones were bent, and how that whole vibrato thing worked. I’m sure that learning everything he did at half tempo taught me how to play – and weirdly, that’s often what we in GT tell readers to do, either to a metronome or to click tracks. I was one of thousands of people struck by Clapton’s style, and wanting to be able to do the kind of thing he did. Gary Moore told me the same story, and I know Van Halen and Eric Johnson were equally captivated by that EC era. You can hear it in the work of guitarists as different as Mick Ronson and Marc Bolan, too.
the
finest
guitar tuition you can buy !
There was something ‘perfect’ about his whole thing – the phrasing, the tone, the timing; everything was dead right in Cream. My choice of first Gibson guitar was as a direct result of Clapton, too. I bought a red mid-60s ES-335 in 1972, and it was my main instrument for many years. Like a fool I sold it, but recently ‘replaced’ it with the one you see below – a reissue ’63, just like Eric’s, and as hard to tell from an original as I’ve ever seen. Jon Bishop is a genuine Clapton fan too, as you will hear from his rather superb examples in our main feature this month. If you’re not that big on EC, for whatever reason (I know he has his detractors), I’d ask you to try a few of the ideas presented in the feature. Then think about the impact that this brief period (two-and-a-bit years) had on modern guitar playing. You might then understand why Jon, Gary, Eddie, Mick, Marc, and so many other players (including me), hold Clapton, and that period in his long and rather distinguished career, in such high regard. See you next month…
Neville Marten, Editor
[email protected]
Don’t miss our amazing digital edition Our digital edition for iPad, iPhone, Kindle Fire and Nook is now even better!
jacob quistgaard
Royal Academy trained, Quist is a superb player who can turn his hand to any number of styles and topics. Look out for his album Trigger in 2014!
Stuart Ryan
Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs throughout the UK. His latest book/CD The Tradition is available now.
andy saphir
A top teacher at the Guitar Institute (ICMP), Andy is a phenomenal player in a host of styles. He mixes just the right degree of flash with consummate taste.
tristan seume
One of ACM Guildford’s leading tutors, Tristan is also mega busy on the folk circuit playing with Jackie Oates. His brand-new CD, Middle Child, is out now!
john wheatcroft
A truly phenomenal guitarist, John heads up the guitar facility at Tech Music Schools in London. He’s a master at all styles, but a legend in Gypsy Jazz.
Tap the links
Finding your way around the magazine is easy. Tapping the feature titles on the cover or the contents page takes you straight to the relevant articles. Any web and email links in the text are tappable, too!
Animated tab & audio
Most songs and lessons have the audio built in, with a moving cursor showing you exactly where you are in the music. Simply tap the ‘play’ button, then fast-forward or scroll back at will.
Play the videos
Certain of the articles have accompanying videos full of useful insight and additional information. Once again, tap the play buttons to enjoy video masterclasses on your iPad or smartphone.
PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio).
September 2014 GuitarTechniques 5
• C ON T E N T S • SE P T E MBE R 201 4 •
Learning Zone Lessons Introduction
57
30-minute lickbag
58
Music editor Jason Sidwell introduces this month’s lessons with more words of wisdom.
BIMM’s Pat Heath has six more licks for you at easy, intermediate and advanced levels.
blues
60
rock
64
Creative Rock
74
session styles
80
British R&B
84
Acoustic
88
music reading
92
John Wheatcroft takes an in-depth look at the soulful and incendiary playing style of US blues great, Walter Trout. Martin Cooper hits the stadiums of the 1980s with a look at the grandiose style of Simple Minds guitarist, Charlie Burchill.
Shaun Baxter turns his focus to creating harmony-guitar parts in the neo-classical style.
TONY GALE / PICTORIAL PRESS / ALAMY
Andy Saphir concludes his series focusing on session players with a trip to the movies – check out his cool, jazzy, 70s-style film theme.
COVER FEATURE ERIC CLAPTON Nail his greatest licks!
Stuart Ryan admires the picking technique and variety in Paul Simon’s acoustic style.
16
Jon Bishop explores EC’s late-60s soloing secrets. Learn these classic licks, then play along with two complete backing tracks.
FEATURES WES MONTGOMERY Sunny
Welcome 5 Theory Godmother
26
SPECIAL feature
8
David Mead addresses your technical, musical and theoretical issues.
talkback
Tell us your views... we want to know!
9
Intro
10
Subscriptions
49
back issues
94
Session and playing insight from Mitch Dalton and Carl Verheyen, plus news and regulars.
40
Bridget Mermikides delves into the realm of four-part harmony, to show you how understanding it will make you a better player.
Save time and money – get GT delivered! Missed one? See how you can get it – here!
Albums
transcriptIon #2 pyotr tchaikovsky Scène from Swan Lake
VIDEO MASTERCLASS
Nev discusses the one and only Eric Clapton.
A complete transcription of this masterwork, packed with taste and technique, from the greatest guitarist ever to thumb an octave.
HARMONY Learn four-part harmony
Charlie Griffiths continues his 14-part series on reading music notation. This issue, it’s time to look at notes on the stave.
REGULAR FEATURES
transcriptIon #1
COVER PHOTO: MICHAEL PUTLAND / RETNA / PHOTOSHOT
Phil Capone’s new column takes a look at the authentic R&B boogie of The Rolling Stones’ early hits with Keith Richards and Brian Jones.
95
New guitar CDs and DVDs reviewed and rated.
TAB GUIDE
50
Bridget Mermikides returns to the great Russian composer, to create a compelling solo arrangement of this famous, timeless theme.
96
Our terms and signs explained.
Next Month
98
Learn Cold Day In Hell by Gary Moore, plus Neil Young, BB King, James Taylor and more…
bernie marsden Part 1
68
This issue, watch and learn how Bernie Marsden approaches a minor blues-style solo.
September 2014 GuitarTechniques 7
Q&A
Theory Godmother
Star LETTER PRIZE
Post your playing posers and technical teasers to: Theory Godmother, Guitar Techniques, 30 Monmouth Street, Bath, BA1 2BW; or email me at
[email protected] – every wish is your Godmother’s command! Shaping Up Dear Theory Godmother
open and fretted strings, both ends are covered by the hands collaborating. You will also find players using unoccupied digits of either hand to mute them. Experiment with bringing the fretting hand into play, and also check your fretting hand position – I’m confident your muting will improve.
EXAMPLES 1 – 7
The open chords of A, C, D, E, F and G seem unique in their shape, but B is just an A shape only two frets up with the first finger on the 2nd fret, A string. So why isn’t a B just an E shape but dropped down the strings e.g. E string, 2nd fret, A string 2nd fret and D string 1st fret? This would be easier to learn for beginners. Mark The simple answer is that the chord you describe is a B major (see Ex 1), but only a three-note version – as the minute you play the open G, you run into trouble because it turns the chord into B augmented. It’s also rather low in pitch, too, which is probably why it’s disregarded in many chord books. You’re absolutely right in saying that A, C, D, E, F and G are unique shapes – the only thing I’d say there is that F is merely an edited form of the E shape (see Ex 2), which leaves us with the other five, and gives us the basis for the infamous CAGED system. Most major chord shapes are based on those five shapes moved to various points on the fretboard either as barre versions or plain movable shapes, which makes memorising multiple shapes much easier. As an example, I’ve plotted some different shapes for a C chord in Ex 3, using the CAGED idea. If you study these you should find the issue of mapping chords on the fretboard becomes far more logical.
Substitute Teacher Dear Theory Godmother
Regarding chord substitution, one thing puzzles me, and that is finding an able substitute for the V chord. This is a GUITAR TECHNIQUES MAGAZINE 2 3 4 Theory Godmother - David Mead chord that performs such a unique role Ex 4 that it’s hard to find anything that will G7 G7 C fit in its place. Could you tell me which ˙ ˙ ˙ ˙ ˙˙ ˙ 4 ˙ ˙ ˙˙ ˙˙ &4 ˙˙˙ I should be looking˙at, please? chords ˙ ˙˙ ˙˙ ˙ Alan Flat 5th . . . inside G7 G7 resolves to C . . . Flat 5th resolving . . .
Ex 4
After years of trying, I’m still not able to mute strings very well. The thing I have the most problem with is rhythm parts where you play a chord, mute the strings with the picking hand and strike them again for a percussive attack. I’ve scoured the internet for lessons on muting and watched my fill of YouTube videos, but I still don’t seem to be able to make the grade. All of my muted chords still seem to have notes – mainly open strings – in them, which ring on annoyingly when they should be silent. Martin
8 GuitarTechniques September 2014
G7
˙ & 44 ˙
Flat 5th . . . 1
inside G7
Ex 5
Ex 5
b
b
Bm7 5
& 44 ˙˙˙ ˙ 3 2 3 2
0E 1B 0G 2D 3A
4 6 4 6 4
˙˙ 4 b bb wwww ˙ ˙˙˙ & 4 b w ˙
4 6 4 6 4
˙ ˙
0 1
b
D 7
b˙ b b ˙˙˙ b˙
Flat 5th resolving . . .
E
D 7
4 6 4 6 4
Ex 6
1 0 0 0 2 3
b˙ b b ˙˙˙ b˙
D 7
Ex 6
D 7
b
b ww & 44 bb b www
E B G D A E
C
G7 resolves to C . . .
1 0 0 0 2 3
b
˙˙ ˙˙ ˙˙
G7
˙˙ ˙˙ ˙˙ 1 0 0 0 2 3
2
E B G D A E
1 0 0 0 2 3
2
Ex 5
Ex 4
E B G D A E
1
E B G D A E
GUITAR TECHNIQUES MAGAZINE 2 3 4 Theory Godmother - David Mead
Mute Point
Dear Theory Godmother
Blackstar are giving our star TG letter one of their brilliant pedals each month. Visit www.blackstaramps. co.uk and tell us which you’d like, should your letter be the lucky one.
Ex 6
b
C
Bm7 5
3E 5B 5G 5D 3A
3 2 3 2
˙ n ˙˙˙ & 44 ˙˙˙ ˙ ˙
E
1
0
2
3
˙˙
4 6 4 6 4
C
˙˙ ˙˙ ˙˙˙
What you're hearing . . . 6 4
0 1 0 2 3
5 5
Ex 7
Ex 7 C
0 1 0 2 3
Ddim
C
1 0 1 0
0 1 0 2 3
˙ & 44 b ˙˙˙
˙˙ ˙˙ ˙ E B G D A E
˙˙ ˙˙˙
Ex 7 Ddim
C
It’s a difficult ˙ problem to˙˙address b ˙˙˙ what you’re & 44 seeing ˙˙˙ doing, without Martin. But picking-hand muting is performed1 by laying the0fleshy edge 0 1 0 of the palm10 on the strings 2 near the 3 bridge, and the way in which the hand is positioned can greatly influence muting efficiency. For instance, do you make a fist with your picking hand when holding a pick? If so, try relaxing it and letting the fingers flex in an ‘open palm’ sort of configuration. This makes E B G D A E
that all-important fleshy palm edge more extended, as the fourth finger in particular is no longer curled into the palm, giving you a greater area with which to mute the strings. Another thing worth noting is that muting is a job shared by both hands. While the picking hand mutes as above, the fretting hand helps by relaxing its grip on the strings just enough to produce ‘dead’ notes. So if the chord you’re playing is a combination of
1
0
The02 power of the V chord resides in 2 3 3 the diminished 5th (flat 5th) interval buried (see Ex 4) between the chord’s C 3rd˙and 7th, and how this resolves into ˙ ˙ ˙ n the˙˙I chord. Play ˙through the˙ example ˙ and you will hear how the resolution What you're hearing . . . works. In theory, any chord that contains 3 5 6 5 the5same interval a similar 4 will perform 5 5 3 resolution, although it will sound different. As Ex 4 shows, in a G7 chord the two notes that form the b5th are B and F. Now look at the Db7 in Ex 5; it has the same two notes – B and F (despite the B being referred to as Cb because of the key signature!), so a resolution into C will still work: try it and compare the two – the G7 to C and Db7 to C – and you should hear the same resolution, despite its different surroundings. Other chords that contain the b5th between B and F include C major’s VII chord, Bm7b5 (Ex 6) and D diminished (Ex 7) – try both of them before C and you will hear a resolution. Whether these substitutions suit the music at hand is another question – it’s the principle of resolution we are discussing here. The standard V-I move that we find at the end of many progressions, will always be the strongest resolution, but there are plenty of alternatives that can be called upon to bring their own particular effect to a piece. Try exploring other chord voicings that have the same resolution at their centre, and I’m sure you’ll discover many more ways of substituting the V-I.
Write to: Guitar Techniques, 30 Monmouth Street, Bath BA1 2BW. Email:
[email protected] using the header ‘Talkback’. PLAYING REAL GOOD, FOR FREE
RETNA / PHOTOSHOT
I love your magazine. I always buy it ’cos, even at 62 and still on the road (200+ gigs a year), there is always a new lick or approach to learn. This old dog can learn new tricks! I want to comment on ‘open mic’ gigs. Like many of us, I have done them but the downside is – and this happened in LA – that bar owners rather like free entertainment and may eventually only book those acts that don’t charge. It’s a problem, and I really hope that it does not turn out that way. But even here in Scandinavia where I live, I have noticed a lot of folk are doing gigs for free, and getting paid is becoming harder each year. Playing free can result in pro and semi-pro musicians not being able to make a living in the long run. What do you think? Of course every muso wants to try out before an audience, but can I suggest they play free at school dances, family get-togethers and such? Steve Webb (Ex Jess Roden, Gary Farr’s Lion) Most of us didn’t get into music to be paid for it at all – we got into it because learning the guitar was the greatest thing since, well, anything! Then, of course, we got good enough to play in bands, got semi-pro gigs (or lived in squats and ‘went pro’) and ended up earning from it. Some took it far enough to make it their living; perhaps in ways (like me!) we could never have imagined when we fumbled that first one-digit G7 chord. And yes, it’s hard when you watch venues cashing in on all those players (of wildly varying quality) whose desire to perform in public means they’d happily do it for free. I don’t think it’s the performers’ fault; nor indeed should we simply castigate venue owners, as they do need to earn a living. But surely a halfway house would be that venues pay for regular acts but put on open-mic nights, too – maybe once a week. If they had any sense they’d see that the next raft of great players, singers and so on, is auditioning before their very eyes, and if the punters like them they’ll happily pay a few pence extra on a pint when said new ‘artist’ (who would then not be allowed to play for free in the same venue) is booked back. It’s great that people want to play; but the closure of music pubs and clubs means there are fewer venues, which means less opportunity to play, to form
Star LEtter Write one and win a prize! ROCKIN’ GLASTO!
interested in all styles of ethnic music, and also very Well, it’s post-Glastonbury time and everyone has capable of standing head to head with modern artists their own opinions about who was great, who was – as he did so well with Alison Krauss on their album rubbish, who can and can’t play Raising Sand. and who shouldn’t still be It’s really good that allowed to. And whether or not musicians such as Plant can you subscribe to the “Dolly was exist as artists in their own miming” conspiracy theories, no right, many decades after their one can deny that her songs, her initial, major success – and still spirit and her personality had cut it alongside superstars of the vast crowd in the palm of her today. Well done, Planty! hand – like she was singing on Nige, Hendon her own front lawn (which, in truth, is probably as big as that Plant and his band were superb. field!). And her band was totally Imagine having that repertoire to on it – great guitar playing from draw from, and the feel and band leader Kent Wells, too, experience of really great players – especially on Dolly’s play-off including Skin Tyson and Justin where he wailed away not unlike Adams on guitars – and yet not a Michael Landau or perhaps a being constrained by the monolith David Grissom. that is Led Zeppelin. I, too, would However, what I really love to see Led Zep get together wanted to say was how great once more, with Bonham’s DNA in were Robert Plant and his the shape of Bonzo’s son Jason, but Robert Plant: with his band, one of cohorts? They took brilliant old I was almost as happy to watch this Glastonbury 2014’s big hits tracks we know and love, and joyous outfit perform. gave them a really new twist with extra ‘world’ instruments and a generally darker, bluesier feel. No STAR LETTER PRIZE wonder, then, that Robert doesn’t feel the need to Our friends at Sound Technology reform his old band, since he made such a great noise, are donating a fab DigiTech and seemed to be having such fun, with this one. HardWire pedal to our Star Letter From wailing sex-God front man he’s become a writer every month. seemingly genuine ‘artist’ who’s knowledgeable and bands, and to make music that people want to hear, in venues they want to attend. By bringing in stupid laws that prohibit places from putting on live music (which has always pulled in punters), we have created the self-fulfilling prophecy of hundreds of closed-down pubs up and down the country. It’s very sad. I was in a band with some amazing local players; we’d do pubs and they’d say, “You’re the best band we’ve ever had in here; can we book you back? Is three months okay?” Well, no! Back in the 80s I played in pub bands and we had weekly residencies, as did others; that means we got fans that came every single week and we literally packed the places. If people know that ‘so-and-so are on at the such-and-such every Tuesday’, they can make it a regular haunt and music, and venues, might survive. I may not have answered your question, Steve, but I’m glad of the rant, so thank you!
IT’S AN ‘YNG’ THING! I am just getting to grips with theory but something has come up that I don’t understand. I have just started reading Relentless by Yngwie J Malmsteen, and on page 36 he states, “For example, B Phrygian is relative to E Harmonic Minor. They consist of exactly the same notes, but depending on which key you’re in the scale has a different name”. Yes, they share all the same notes except B Phrygian contains a D, and E Harmonic Minor contains a D#. Surely the great man can’t be wrong? I look forward to your reply with interest. Alan Orgill (Oggi) Jason Sidwell: Yngwie’s really referring to B Phrygian Dominant, the 5th mode of E Harmonic Minor and not a straight B Phrygian. To clarify: E Harmonic Minor contains E, F#, G,
A, B, C, D# (the D# is the ‘colour’ note that propels you to the scale’s root – E). B Phrygian Dominant contains B, C, D#, E, F#, G, A (the D# provides the major 3rd for the mode, illuminating the sound of a B7 chord; the V chord of E minor). B Phrygian contains B, C, D, E, F#, G, A (D provides the minor 3rd, illuminating the sound of a Bm chord). So progressions such as; Em-B7-Em, Em-Cmaj7-B7-Em, Em-Am-B7-Em and Em-F#m7b5-B7-Em, would be ideally suited to E Harmonic Minor (B Phrygian Dominant) for soloing over. You may like to subdivide your scale choices so that the spicier sounding E Harmonic Minor or B Phrygian Dominant gets a reduced usage. In that case, a scale like E Natural Minor (E F# G A B C D) would work great (as indeed would B Phrygian) over the Em chord as it’s easier on the ear. You could then shift to B Phrygian Dominant over the B7 to add tension before the resolution to the Em. All this though is perhaps beyond your question’s parameters so I’ll leave it there! But I hope this clarifies and endorses your thoughts.
September 2014 GuitarTechniques 9
• G u i t a r T e c h n i q u e s • SE P TE M B ER 2 0 1 4 •
Jam tracks tips
The late, and most definitely great, Texan guitarist John Dawson ‘Johnny’ Winter.
Use these tips to navigate our bonus backing tracks. 1. A Minor Epic Acoustic The strummed acoustic riff uses the chords Am – C – Dadd4. You can rely on A Minor Pentatonic (A C D E G) throughout, adding the blue note (D#) for extra colour. For more variety and a jazzier flavouring, try A Dorian mode, with its natural 6th step (A B C D E F# G). 2. Slow Minor Blues (Em) As all the chords are minor, E Minor Pentatonic (E G A B D), E Blues scale (E G A A# B D) and E Natural Minor (E F# G A B C D) will all work well. Experiment with both B and A Minor Pentatonic scales – not just following the chords (Bm/Am). B Minor Pentatonic can add nice colour to the Im chord (Em) as well. 3. B Dorian Mode Groove This progression continuously moves between Bm7 and E. Use B Dorian (B C# D E F# G# A) to make it nice and jazzy and try emphasising the natural 6th (G#), especially on the E chords. G# is of course the major 3rd of E, so landing on a G# here will always hit the spot. Alternatively, keep it simple and get your blues chops out with the B Minor Pentatonic scale (B D E F# A).
MICHAEL PUTLAND / RETNA / PHOTOSHOT
RIP Johnny Winter The legendary bluesman Johnny Winter died on 16 July in his hotel room in Zurich, aged 70, at the end of a European tour. His death came just four days after playing what would prove to be his final performance, at the Lovely Days Festival in Austria. Winter was born John Dawson Winter III in 1944, and grew up in Beaumont, Texas. He was born with albinism, a condition that left Winter with a lack of pigmentation in his hair, skin and eyes. Winter said in a biography by Mary Lou Sullivan that his condition helped him identify with African-American musicians, as: “We both had a problem with our skin being the wrong colour.”
10 GuitarTechniques September 2014
He began playing at an early age, and fell in love with the blues after hearing it on the radio, quickly developing a fiery slide style using both open E and open A tunings. He became one of the key players associated with the Gibson Firebird, a guitar he once described as “the best of all worlds”. After seeing his 1968 performance with Michael Bloomfield and Al Kooper at Manhattan’s Fillmore East, Columbia Records executives signed him for $600,000 – which was then the biggest advance in record industry history. Winter released his debut and played Woodstock in 1969, and though he never reached the levels of super
stardom of contemporary blues-rock pioneers such as The Jimi Hendrix Experience and Cream, he remained true to his roots throughout a varied and rewarding career. He produced a trio of Grammy-winning albums for Muddy Waters, was nominated for Grammys in his own right and was inducted into the Blues Foundation Hall Of Fame in 2003. Winter’s final studio album, Step Back, is due on 1 September via Megaforce, featuring a cast of celebrity cameos from the likes of Eric Clapton, Billy Gibbons, Brian Setzer, Joe Perry, Joe Bonamassa, Leslie West, Dr John and more. Winter is survived by his wife, Susan, and brother Edgar.
4. 7/4 Fusion Groove This track is in E and revolves around an E7#9 chord (commonly referred to as the Hendrix chord!). The groove may be a little tricky at first, but try thinking of it as a bar of 4/4, followed by a bar of 3/4 – counting 1-2-3-4-1-2-3. You can use E Minor Pentatonic (E G A B D), but to get more fusion out of it, try the symmetric Diminished scale (E F G G# A# B C# D) and play around with moving your licks and patterns in minor 3rd (three-fret) intervals. Jam tracks by Jacob Quistgaard. For free scale maps and hundreds of tracks, visit www.quistorama.com. You can also subscribe to www.youtube.com/QuistTV to get all the latest free jam tracks and licks!
off the record
Each month, session ace and Supertramp guitarist Carl Verheyen offers well-chosen word of wisdom on life as a guitarist. This month: it’s all about Strats. I have a confession: I own 14 Strats. I’m not sure how it happened, but somewhere along the road I found a way to make three singlecoils and the vibrato bridge really work for me. Then an old friend sold me a Sea Foam Green 1961 Fender Strat for $500, way before the word ‘vintage’ became associated with electric guitars. I still own that instrument due to my policy: if it sounds good, don’t sell it! But I insure it for considerably more these days. It’s amazing how many things Leo Fender got right, back in ’54. The vibrato bridge is still one of the most musical around, even 60 years later. And with the addition of the five-way pickup selector in the early-70s, the guitar became a workhorse for many styles, way beyond its original country music intentions. A good lightweight Strat is hard to beat for versatility. And the tonal spectrum is much broader than its little brother the Telecaster, or the classic Gibsons. After hefting a Strat and making sure it’s not a heavy log, my attention turns to the sounds and marriage of wood and pickups. Here are some of the tones I look for: Neck Pickup. A strong neck pickup should have the most ‘sonic girth’ of the entire guitar. Words I use to describe it are “fat” and “woody.” The sound I have in my mind is Stevie Ray Vaughan’s thick solo sound with a full bottom end. It gets a little more complicated when I add a saturated distortion pedal into the mix, because I never want the sound to ‘mush out’ below C# on the 4th fret of the fifth string. If you can dial in a clear ‘beam’ from C# downwards, and still have plenty of sustain and
Somewhere along the road I found a way to make the Strat’s three singlecoils and vibrato bridge really work for me. saturation, you’ve got a great neck pickup. Neck-Middle Split. This is a great rhythm sound. It’s the warmest place on the Strat, capable of hollowbody jazz tones with the tone knob rolled off and clean funky rhythm guitar that’s not too biting or trebly. Middle Pickup. The sound I look for here can best be described as “glassy”. The clean, clear sparkle tones you get from the middle
pickup are a big part of Jimi Hendrix’s studio recordings. Remember, back in his day the five-way switch hadn’t been invented as a retrofit for the Strat, so without offsetting the three-way switch and hoping it would hold, the guitar had just three positions for the selector. The middle was a go-to pickup for funk players, too. I’ve used it on solo electric intros with delay and chorus for those shimmering tones that no other guitar can match. Middle-Bridge Split. This can best be described as the classic Stratocaster ‘cluck’ tone. Rock guitarists and country players have used it so much over the years that it’s almost become cliché, but nonetheless, a classic guitar sound everyone should own. I love the way it distorts; there’s both warmth and bite to the sound that works with many types of music. I’ve used the middle-bridge split with massive distortion, playing a very high melody over a 75-piece string section. My tone was smooth and sweet, blending with the cellos and basses but cutting through the violins. Bridge Pickup. Since the Strat’s bridge pickup is not mounted on a metal plate like the Tele, you don’t get that extreme ‘ice-pick to the ears’ tone that can spike you pretty hard. Instead, the Strat’s back pickup is equally at home with country chicken pickin’ and rock solos with heavy distortion. On all my Strats I rewire the rear tone knob so I am able to control and roll off the bridge pickup’s treble. This also makes for some gorgeous, fat distorted tones for soaring solos. When the Carl Verheyen Band goes on tour, I bring two or three Strats, plus a few other guitars. Even though I use many instruments on my records, nothing gets the music across like a Strat. Simple, elegant and, even at 60 years old, beautiful to hear and behold. Visit www.carlverheyen.com for more about Carl and his music.
PHIL HILBORNE’S ONE-MINUTE LICK Descending Pentatonic Dominant Lick odd-note grouping displaces the rhythm causes the sequences Here’s a nifty phrase that incorporates the ‘Dominant to end up at the last 16th note – beat 1 of bar 2. The section Pentatonic’ scale (aka the ‘Indian Pentatonic’). This scale is from beat 2, bar 2 involves rapidly playing 4th and 3rd simply a Minor Pentatonic that’s had the minor 3rd replaced intervals quickly across the fourth and third strings. Watch by the major 3rd. So in the key of D, the notes are D F# G A C. the timing, as it’s easy to rush when you switch from linear to You could also see this set of notes as being a D7/11 arpeggio, intervallic phrases or vice versa. Similar ideas to this can be or D Mixolydian with the 2nd and omitted. The GUITAR TECHNIQUES MAGAZINE 2 3 4 6th intervalsONE MINUTE LICK - by Phil Hilborne heard from Jeff Beck, Jan Hammer and Dream Theater. lick starts off with a 10-note sequence played in 16ths, then DESCENDING DOMINANT PENTATONIC LICKon similar phrases of your own. After playing my lick, work imitated exactly on the next pair of strings. This repeating
©»¡£™ £ œ œ™ œ¡ £œ œ œ œ¡ œ £œ ¡œ œ£ ¡ ™ ¡ œ£ œ œ ¡ ™ ¡ ™ ™ ~~~~~~~ œœœ œ œ œ œ œ¡ ™ œ ™ œ¡ ™ ™œ ™ ¡œ ™ ¡ ™ # 4 œ œ œ œ œ œ ¡ œ œ Ó ™ œ ™œ ™ œ œ œ ˙ & 4 ˙ D7
¡
E B G D A E
14 10
1
13
10 14 15 14 10
13
10
13 10
12
10 13 15
13 10
12
10
1211 12 11 12 11 12 12 12 12 12 10
12
12
12
10
12 10 9
~~~~~~~
™
10
September 2014 GuitarTechniques 11
Mitch Dalton’s
You may recall our hero had been booked to play a solo piece and also accompany the leading ladies in a ‘folk’ episode of Midsomer Murders. Here, the tension mounts, certain mysteries are solved, and Mitch gets a free lunch…
EMILE HOLBA
Scene 2. May 31st. Woodstock Recording Studios, Shepherd’s Bush. 10.30am I’m booked for four hours. I arrive and am greeted by a welcoming committee comprising Jim (producer), Renny (director), the studio engineer, a TV production co-ordinator, a photographer and a ‘behind the scenes’ camera man. I’m offered a coffee. It never arrives. Relaxed and confident, I prepare to record – something. Ah! It’s going to be The Midsomer Ballad (written by folk legend Seth Lakeman). And there is Seth. Joy of joys! As far as I’m concerned, he is International Rescue made flesh. He plays me the song. On a bouzouki. The ‘strange sounding guitar’ demo mystery is solved (remember I couldn’t work out how he’d played it?). He tells me he tunes his guitar to DADGAD with a capo at the 10th fret to replicate the sound. Obvious! I learn the tune and the tuning. Very fast. Lucie arrives (actress Lucie will be miming to my guitar playing). We record the song to click, having routined the arrangement for about 10 minutes. A couple of changes, then a clean take with me listening on cans to Lucie’s pre-recorded voice and the click. Done! “Great! See you on location. We’ll record Rakie’s songs and your rag on stage on Tuesday (Rakie is the other actress for whom I’ll be providing backing;
12 GuitarTechniques September 2014
the ‘rag’ is the tune I ‘composed’ on the spot last time). You’ll be required on Friday, too, when we shoot Lucie’s scene. We’ll need you to act as a consultant to ensure that she mimes to your playing in a suitably authentic fashion.” At 12.30, I’m back in the car. It’s taken two hours and I don’t have a parking ticket. Result! Two minutes later, I can remember nothing of what has just occurred. Or what needs to happen next…
longer separate fact from fiction, and the day takes on a dream-like quality. I lurch through the second tune, enact some business relevant to the plot and somehow re-invent Mitch’s Midsomer Rag to the required minute-and-a-half length. We film it. A lot. The audience love it. Every time. Why wouldn’t they? They’ve been paid to be there. “That’s a wrap!” booms out from somewhere near fake Lower Crosby Village Hall.
Scene 3. June 3rd. Exterior: Sydenham, Oxon. 10.00am
No such thing as a free lunch
I arrive at a picturesque village that has been transformed into ‘Lower Crosby’, the fictitious setting for the ‘10th Annual Folk Festival’, complete with bunting, posters, a private house converted into a pub, a crowd of extras and a tiny stage on the village green. It’s cold. I rapidly lose all feeling in my hands. We go straight into it. Jim, Rakie and I run through her song in about a minute and a half. Rakie (looking like a million dollars) sings and I (looking like the ultimate Shabby Failed Folkie) play her guitar part. Then she lip-syncs to a playback of her vocal while she mimes to my/her part on her cheap prop-style guitar. Considering she can’t play, it looks pretty good. Renny doesn’t hang about. Mime is money. At this point I lose the ability to comprehend simple instructions, let alone execute them. I can no
A black BMW limo appears and transports me to lunch. Location catering. Very acceptable. I like this and the fact that I’ve finished for the day. Except that I haven’t. “You’re in shot during the next scene”, explains Renny. “Barnaby interviews Rakie and you can be seen playing your rag.” And so the merry day wears on, punctuated by cries of “Cut!” as a succession of tractors, RAF jets and geese ruin 50 per cent of the scenes. The countryside is louder than Jeff Beck. Trust me. Next time: the final scene. But things don’t start well as I arrive at… the wrong village. Mitch’s credits include Herbie Hancock and Melody Gardot, Robbie Williams, Monty Python and Van Morrison; James Bond movies, TV shows and commercials. Meet Mitch Dalton & The Studio Kings is out on Regius Records.
RGT Guitar Tutors Conference The 2014 Registry Of Guitar Tutors’ Annual Conference, sponsored by Fender, will be held on 21 September at the University Of West London. The conference will have an acoustic theme, with trade stands and a range of seminars covering technique and education topics. The programme is suitable for both experienced guitar teachers and those interested in starting to teach. Attendance is by advanced booking only. The cost for the entire event is £47 (or £39 for RGT members). Bookings can be made via www.rgt.org or call the RGT on 01424 222222.
Play Guitar Now! – Lead Soloing The latest title in Guitar Techniques’ popular series of Play Guitar Now! book and DVD titles, Guitar Soloing, is out now. Aimed at improving beginners and lower intermediate guitarists, top tutor Milton Mermikides shows you all the techniques you need to get on quickly as a lead player. He also shows you licks in the styles of Clapton, Hendrix, Gilmour Slash and many others – with full video lessons and tab in the magazine. Play Guitar Now ‘Guitar Soloing’ is £6.99, and available from www.myfavouritemagazines. com and good newsagents.
. . . ith w s d n co e S 60
A minute’s enough to find out what makes a great guitarist tick. Before his limo left for the airport, we grabbed 60 seconds with... Paul Gilbert GT: Who was your first influence to play the guitar? PG: It was The Beatles, The Partridge Family, The Osmond Brothers, and my uncle Jim. I heard Led Zeppelin and Jimi Hendrix soon after.
PG: When I saw Eddie Van Halen in 1979… I don’t think I’ve ever been as inspired. GT: Is there a solo you really wish you had played? PG: Actually I have more envy for singers than guitarists – the guys that can hit those high notes. If I could go to a music store and buy a vintage McCartney, Mercury, Zander, or Dio… But guitar solos? I probably would have messed them up with widdly-widdly. I’m glad Neal Schon is Neal Schon. Nobody could have written and played those melodies better.
GT: What was the first guitar you really lusted after? PG: Whatever was in the Sears ‘Wishbook’ catalogue in 1973. Knobs, switches, and pointy cutaways were important. And then I saw Jimmy Page in The Song Remains The Same, and I wanted a Les Paul. GT: What was the best gig you ever did? PG: It was at clinic years ago, in a city in the middle of Taiwan. I just played everything right. Not a single clam… lots of inspired bending… and merciless tear-your-face-off shred. I rocked those 229 people! GT: And your worst playing nightmare? PG: Every time that I play my hometown in Pennsylvania, something goes wrong with my gear. It’s my fault. I imagine that all the people that I knew in high school must be in the audience, and I want to impress them, so I stomp on my pedalboard so hard that it pulls out the power cable. GT: What’s the most important musical lesson you ever learnt? PG: When I was 11, my uncle heard me play, and he said, “You should put your hand on the bridge, so all the strings don’t ring out.” He also said something about practising all the time. And he told me to that I had to buy an album called War Heroes, by Jimi Hendrix. Those three certainly got me headed in the right direction. GT: Do you still practise? PG: I don’t run scales up and down with a metronome. I think I’d quit guitar if I had to listen to that again. But I love to practise new sounds that I find. The fretboard is
GT: What’s the solo or song of your own of which you’re most proud? PG: I like Green-Tinted Sixties Mind. It’s got a good intro, and the audience always responds well when I play it. In general, I don’t pay much attention to my own music after I’ve played it. It’s like a meal that I’ve already eaten. It’s like, “On to the next! Where’s the menu? I’m hungry!”
Paul Gilbert: inspired bending and tear-yourface-off shred!
GT: What would you most like to be remembered for? PG: I played drums with Cheap Trick! What else could I ask for?
still full of unsolved mysteries. I love to play and to listen, preferably both at the same time. GT: Do you have a pre-gig warm-up routine? PG: If it’s really cold, I’ll try to find some way of warming up the room. I brought a space heater on my last European tour. I kept blowing fuses backstage! But my challenges are usually more mental than physical. My set often has new songs that I barely know, so I’m just trying to remember the lyrics, arrangement, and where the good notes are. GT: If you could put together a fantasy band with you in it, who would the other players be (dead or alive)?
PG: Bon Scott on vocals. Angus and Malcolm Young on guitar. Cliff Williams on bass. And me on drums! I’d like to play drums with The Beatles as well, but I’m not good enough to handle the tricky stuff on I Feel Fine. GT: Who’s the greatest guitarist that’s ever lived?
I imagine all the people I knew in high school must be in the audience, and I want to impress them.
GT: And what are you up to at the moment – tours, gigs, albums, new gear etc? PG: I just finished a solo album called Stone Pushing Uphill Man. I think it’s good… too many notes, probably, but many of them are bent, so it’s all right. I also just finished a new Mr. Big album. It’s good too! It has just the right amount of notes, since there is a producer involved. I’ll be touring with Mr. Big later this year. I have an online guitar school with a company called Artistworks, so I’m teaching there daily. And new gear? Yes, my 25th Anniversary signature guitar is out from Ibanez. It’s a maple flame Fireman. I love that guitar like a ripe nectarine in season. More from www.paulgilbert.com
September 2014 GuitarTechniques 13
That Was The Year...
1975
Margaret, Rembrandt & Gabriel FENDER DISCONTINUES ITS JAGUAR GUITAR! Introduced in 1962, the Fender Jaguar is finally dropped from the production schedule in its unlucky 13th year, due to disappointing sales compared to the cheaper Stratocasters and Telecasters. With its twin single-coil pickups and offset body shape (as first used on the Jazzmaster) it’s a sad loss, tempered by its inevitable rise thanks to a new wave of players. HANDSHAKES ALL ROUND as an American Apollo spacecraft docks with a Soviet Soyuz spacecraft in orbit for the first time; NASA launches Viking 1 as part of its Mars Mission; Rembrandt’s The Night Watch painting is slashed while on show in Amsterdam; and the Space Mountain attraction opens at Walt Disney World in Florida. GUILD INTRODUCES THE D-40C Bluegrass Jubilee Cutaway adding a sharp Florentine cutaway to allow easy access to the upper frets on this popular model. This dreadnought sports a solid spruce top, mahogany back and sides, bound body and a solid one-piece Honduras mahogany neck. It has a rosewood fingerboard and the natural-finish body is bestowed with a tortoiseshell pickguard. NEW MUSICAL RECRUITS include Jack White, KT Tunstall, Michael Bublé, Enrique Iglesias, Natalie Imbruglia, Jack Johnson, Tom Delonge and Spice Girl Mel B. Demobilised are T-Bone Walker, Tim Buckley and Pete Ham of Badfinger. Ronnie Wood joins The Rolling Stones; bassist Steve Harris forms Iron Maiden; Led Zeppelin sell out three concerts at Madison Square Garden, New York in four hours; Ritchie Blackmore leaves Deep Purple and forms Rainbow; Peter Gabriel leaves Genesis and drummer Phil Collins takes on lead vocals. MICROSOFT IS FOUNDED by Bill Gates and Paul Allen; Japanese mountain climber Junko Tabei is the first woman to reach the summit of Mount Everest; oceanic explorer Jacques Cousteau finds the wreck of HMHS Britannic which sank in 1916; and both VHS and Betamax systems compete to become the accepted video-recorder standard. FOLLOWING A REFERENDUM the UK votes to stay in the European Community; the Group of six industrialised nations is formed under the heading of G6; in Scotland, the first petroleum pipeline connecting Grangemouth and Cruden Bay is opened for business; the price of petrol increases by nearly 70 per cent during the year as inflation spirals; Margaret Thatcher is the new Prime Minister; and the war in Vietnam finally comes to an end. A SMALL RUN OF STARCASTER guitars and even the odd bass slips out of the Fender factory. It’s the Big F’s answer to Gibson’s ES-335 with a bound semi-hollow asymmetrical double-cut maple body, arched top and f-holes attached to a bolt-on maple neck with a new headstock shape and a maple fingerboard. The electronics are OTT, with two volume and two tone controls plus a master volume and three-way selector, all for the twin humbucking pickups.
14 GuitarTechniques September 2014
Join the record breakers at Lyme Regis in September
Guitars On The Beach 2 6 September sees the return of the Guitars On The Beach world-record bid in Lyme Regis, a repeat of the 2013 event which saw 2,267 guitarists of all stripes gather together on the town’s beach to play Buddy Holly’s Rave On, setting a record as Britain’s Biggest Band in the process. This year, there will be a repeat performance of Rave On, and special guest Ian Gillen will lead the assembled six-stringers in a mass rendition of Smoke On The
Water. Status Quo’s Rocking All Over The World completes the set. The organisers of the Fendersponsored event hope to surpass the world record for the greatest number of guitarists playing one song together – a record held since 2009 by a Polish event, which amassed 6,546 players. The Lyme Regis event will also have 20 live bands on the beach – to take part, see www.guitarsonthebeach.co.uk, where you can sign up for free.
Jimmy’s Pages
dates, which are sprinkled throughout the book alongside other memorabilia, including visas, tour schedules and more. “I wanted to make it as thorough as possible,” Page says of the book, which has been two years in the making. “So that meant trawling through all the thousands of files that photographers had taken, and pulling from my personal collection as well. There’s a photo of me playing the guitar by the fire at Bron-Yr-Aur cottage. It’s the most complete document that there’s ever going to be, because of the amount of time that I’ve put into every aspect.” Jimmy Page will be available from bookstores from October; see www.jimmypagebook. com for more info.
Jimmy Page has announced the October release of an eponymous autobiography, through Genesis Publications. The 512-page book is a photographic essay featuring 650 photos handpicked by Page from magazines, photographers including Ross Halfin, Kate Simon, Gered Mankowitz, Dominique Tarlé, Pennie Smith, Jim Marshall, and from Page’s own archives. Each one is captioned by Jimmy, who oversaw the structure and design of the book. Page has also added unseen photographs, memorabilia and reproductions of every one of his passports. Jimmy’s passport stamps were used to verify all tour
HOT FOR TEACHER your RGT TUTOR Who? John Bruce Town: Hayle, Cornwall Styles Taught: Rock, pop and acoustic Speciality: Everything! Levels: Beginner to advanced, RGT electric, acoustic and rock up to Grade 8 Sight-reading: Beginner to advanced Charges: £75 for five half-hour lessons Special: Fully-equipped music school (Cornwall Music Academy) where we teach all instruments and specialise in the RGT Grades with a 100% pass rate Tel: 01736 752247 Email:
[email protected]
Play: ROCK
ON THE CD
TRACKs 4-7
Cream of Eric Clapton
Jon Bishop looks at the soloing style of blues-rock virtuoso Eric Clapton, one of the most influential and best-loved guitar players of his generation. This lesson is designed to unlock many of those ‘early Eric’ soloing secrets.
Moderate Info
Will improve your
Key: A Tempo: 135bpm CD: TRACKS 4-7
Lead feel and phrasing Articulation & finger vibrato Stylistic awareness
Eric clapton’s bluesbreakers debut is one of the most significant milestones in popular music. On this one album, he seemed to lay down the blueprint for a style of playing that influenced guitarists from Mick Ronson to Van Halen, from Brian May to Gary Moore, and from Marc Bolan to Eric Johnson. Many, though, say his two-year stint with Cream cemented a playing style with superb
Technique Focus Finger vibrato and bending Eric Clapton’s finger vibrato and string-bending technique was very much at the heart of his late60s style. His technique and approach is unusual, as when applying finger vibrato the only part of the fretting hand in touch with the guitar is the finger that is fretting the note. The rest of the fretting hand, including the thumb, is removed from the neck and waves in the air. Try this for yourself and you can see how challenging it is to get the vibrato consistent. However, the results do sound more authentic, so if it’s the EC sound you’re after, it’s well worth persevering. Eric is also a masterful string bender, and often includes large bends in his solos. He frequently bends all the minor 3rds in the scale slightly sharp. These quarter-tone bends help the notes to fit, and they also add a bluesy flavour. If you combine these finger vibrato and bending styles with shape one of the Minor Pentatonic, the results will immediately start to sound a lot more like Eric Clapton.
string bending and vibrato that was fluid, creative, technically impressive, and as sonically perfect as a guitar tone could be. So it’s this era we’ll be looking at here. We’ll identify many of Eric’s key techniques and soloing innovations from that time, so you can incorporate these now-classic ideas into your everyday lick bag. And so that you can try out your new EC-flavoured soloing ideas, we have two backing tracks complete with tabbed-out solos. The first track features 10 examples that isolate a specific element of
Eric Clapton’s finger vibrato and stringbending technique was very much at the heart of his late-60s style. the Clapton style. Each example is separated by a two-bar drum fill, so you can change your pickup and effects settings. The second track puts these ideas into context in an all-out, Cream-style blues-rock jam. Both tracks are in A, and the chord progression is a 12-bar Dominant blues, so there will be plenty of scope to try out a variety of new ideas. We’re using the quick-change 12-bar format, so the progression looks like this: A7 | D7 | A7 | A7| D7 | D7 | A7 |A7 | E7 | D7 | A7 | E7
We can also refer to each of the three chords in the blues as a Roman numeral. A7 is the I chord, D7 the IV and E7 is the V chord. This system allows us to label the ideas that fit each of the three chords and then easily transfer them to other situations, such as playing in a different key. You’ll notice from the examples that Clapton is a master of mixing the Major and the Minor Pentatonic scales in just the right places to fit the chords.
You can play a quite acceptable solo using just A Minor Pentatonic (A, C, D, E, G), but Eric often plays A Major Pentatonic (A, B, C#, E, F#) over the A7 (I chord). The 3rd of A7 (C#) is particularly descriptive, and describes the tonality of the A7 chord well. Sometimes, Clapton hints at this by bending the C in Am Pentatonic slightly sharp in a blues ‘curl’. The A Minor Pentatonic works nicely over the D7 and E7 chords. This switching between the two Pentatonic scales helps the lead phrases to fit in with the underlying chords, and adds an extra level of sophistication to the sound. After you’ve played through the examples, try playing your own EC-style solo using some of the techniques and concepts showcased. Many thanks to Pete Riley for performing and recording the drums. As ever, have fun, and see you next time.
Get The Tone 7
7
8
8
4
Gain
Bass
Middle
Treble
Reverb
Clapton’s Cream recordings feature him using a variety of Gibson guitars. The Les Paul, SG, ES-335 and even the Firebird were used live and in the studio. Eric moved over to playing Fender Stratocasters in the 1970s, and to help replicate the ‘Gibson feel’, his signature-model Stratocaster features a built in mid-boost circuit, and a blocked off vibrato unit. The audio examples in this feature were recorded with a 1995 Gibson SG, plugged into a Marshall 6100 Anniversary amplifier, but the ideas can of course be played on any type of guitar. All of the pickup selections and effects are notated alongside the relevant examples. The only effects used were a Fulltone Clyde wah-wah for Examples 1 and 8.
TRACK RECORD They only had just over two years together, but Cream’s four original albums are psychedelic gems packed with virtuosity and experimentation from all three players - check out the live Crossroads and Spoonful from Wheels Of Fire, and Sitting On Top Of The World from Goodbye to hear this in action. Then listen to 2005’s reunion to see how Clapton’s style has evolved.
16 GuitarTechniques September 2014
TONY GALE / PICTORIAL PRESS / ALAMY
ABILITY RATING
ERIC CLAPTON STYLE
Eric Clapton playing one of several Les Pauls in early Cream
September 2014 GuitarTechniques 17
Play: ROCK
ON THE CD
TRACKs 4-7
CD TRACK 4 EXAMPLE 1 Adding the wah-wah pedal
This first example combines some classic EC vocabulary with the wah-wah is to use the wah like an expression pedal. Experiment with rocking it in pedal. The wah-wah effect is featured in tracks like Tales Of Brave Ulysses, time with the pulse, and then in the rhythm that the notes are played. Used White Room, Presence Of MAGAZINE The Lord, and2later, trickCLAPTON here sparingly, the wah-wah is a potent tool that adds another sonic dimension. GUITAR TECHNIQUES 3 4 on Bad Love. The ERIC Ex 1
Adding The Wah Wah Pedal
©»¡£∞ A7 D7 A7 ~~ 2 j j œ œ ~~ # n œ GUITAR #TECHNIQUES MAGAZINE 2 3œ4 œ œ œ œ nœ œ œ œ nœ . œ œ nœ œ œ ERIC CLAPTON 4 # ∑ ‰ ‰ ‰ œ œ ˙ 4 Wah Wah Pedal nœ nœ œ ¿ Ex 1&Adding The J Drum Bridge Pickup withIntro overdrive and reverb ©»¡£∞ ƒ A7 A7 ~~ D 7 j 2 ~~ jBU ~~ œ œ # n œ 2 # œ œ œ œ nœ œ œ œ nœ . œ œ nœ œ œ 4 GUITAR TECHNIQUES MAGAZINE 2 3œ4 # ERIC CLAPTON 10 8 10 ∑ ‰ ‰ ‰ GUITAR MAGAZINE 2 3 4 œ nœ œ ˙ ¿ ERIC CLAPTON & TECHNIQUES 4 Wah Wah (12) 7 9 9 7 9 7 5 7 5 J5 7 5 œ7 n œ5 ExEx1 1 Adding Pedal X 7 5 7 AddingThe The Wah Wah Pedal Drum Intro 7 Bridge Pickup with overdrive and reverb Bridge Pickup with overdrive and reverb ©»¡£∞ AA77 AA77 ©»¡£∞ ƒ 2 BU ~~ ~~ ~~~~ DD77 jj jj n œ . œ œ ~~ 2 n œ # Ex 2 Big Bends œ œ # # n œ n œ œ œ œ œ 10 8 10 # œ œ œ 4 œ œ œ œ œ œ n œ œ n œ œ 4 œ œ œ CD TRACK EXAMPLE 2 Big bends ∑ ‰ ‰ ‰ 7 9 9 ∑ ‰ 7 nJ5œJ 7 5œ œ7œnnœ5œ ‰ ‰A 7 (12) 9 7 5 7 5 œ7 n œ5 œ ˙7 X¿ 4 D7 &&Neck# Pick 44Up with Overdrive √ Bends of over a tone in size can sound dramatic, and EC is no~~ fretter! This five-fret bend is helped by the reduced tension the third j to œ n œof7warm Drum Intro .stranger ~~~~ Drum Intro œ œ œ n œfrets)˙ string, w ˙~~~ using them. The first bend in this example is a tone-and-a-half (three and the fact it is played so high upjthe˙neck. Be sure to œ up # n œ n œ # œ J œ œ œ ƒ . n œ in size. The#really ƒ big bend happens in bar five, and is a whopping five before attempting such heroics. ∑ Ó BU ~~~~ ~~n ¿ BU Ex & 2 Big Bends 22 10 8 10 Bend Drum Break 10 A 7 (12) 77 99 77 flat 55 77 55 99 77 Bend 55 77 55 (12) goes Neck Pick Up with Overdrive goes flat √ 10 99 D8 7~~ 77 55 ~~ j œ77 n œ55 7œ7 7˙7~~~ n œ ˙ ~~~ XX BU . ~~~~ BU œ œ œ w j n œ ˙ n œ ### 17 œœ œœ 2017 n œ ∑ Ó . 15 17 17 (20J ) & n ¿X (24) 19 17 19 19 17 Ex 2 Big Bends 19 19 Bridge Pickup with overdrive and reverb
E B G D A E E B G D A E
9
9
9
99
99
1
1
EE BB GG DD AA EE B 11 G D Ex 2 A E 7
17
19
Big Bends Drum Break
√√ # ## ## #Repeating Phrases . . n15nœœ 17œœ Ex 3 Using && Bridge P/Up with∑∑Overdrive andÓÓWah Wah 2 DrumBreak Break # # # Drum ∑ & E B G D A E
9
Neck NeckPick PickUp Upwith withOverdrive Overdrive
7
Ex E E3
Using Repeating Phrases
15 15 17 17
Bend goes flat
jnnœœ ˙˙ . . œjœBU œ~~ (20) 17 œ~~ JJ
~~~~ ww~~~~ ~~~~
Bend goes flat BU
œ n œ œ ˙~~~ ~~~ (24) 19 17 19 19 17 n ¿X 19 19 E7 Bend Bend n œ œBend goes flat œ œ œ œ œ œ œ Bend œ flatflatœ œ œ œ œ goes goes ~~~~ BUBU goesœflat ~~~~ ~~~~ BU ~~~ BU (20 17 17 (20) ) 17 17
DD77
AA77
nn2017 œœ œœ œ n œ œ œœjj ˙
17
17
19
17 17
BB 2017 CD TRACK 4 EXAMPLE 3 Using repeating phrases Drum Break 2017 G
22 ∑
G Bridge P/Up with Overdrive and Wah Wah DD The three-note repeating phrase is a Clapton speciality, and he often AA launches into this type of idea during a solo. The trick here is to repeat a EE B 7 7 of three notes over and over using a semiquaver subdivision group 8 (16th 5 G D Ex 3 Using Repeating Phrases A Ex 3 Using Repeating Phrases Drum Break E 13 Bridge BridgeP/Up P/Upwith withOverdrive Overdriveand andWah WahWah Wah
&
E B G D A E
###
E7
19 19 17 17 19 1919 19 ((24 24))
7
7
7
EE77 2 2 n œ # # n œ # ## # œ5œ œ7œ œ8œ œ5œ œ7œ œ8œ 8 ∑ ∑ && D 7 A7 ~~~ nœ œ nœ j DrumBreak Break Drum ### œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 22 88 55 88 55 88 77A 7 77 D7 ~~~ n œ # # # œ5 œ n œ8 œ5 œ œ8 œ5 œ œ8 œ5 œ œ8 œ5 œ œ8 10œ ~~~ œ 8 10œ n œ8 œj & 7 7 7 7 7
13
9
'
14
EE BB GG DD AA EE 16 B 16
77
99
14
G WomanTone Tone D ExEx4 4 Woman Drum Break A September 2014 E 19 Neck P/Up with Overdrive and
18 GuitarTechniques
AA77 Toneon on11 Neck P/Up with Overdrive and Tone
E
''
#
15
œ œœnnœœ œ
jœj œœ œBU
DD77
' œœ œœnn˙˙ /
''
12 14 1/14/4 AA77 14
12
n œ œjj œœ œœ œ
' n œ' E777
œ . nœ œ œ 7 5 5
9
14
7
14
AA77
E Ex 4 Woman Tone B 5 8 5 8 G 7 7 A7 D A Neck P/Up with Overdrive and Tone E 16
7
œ5œ œ7 œ8 œ5 œ7 œ8 œ5 œ7 œ8 E7 / ' ~~~ . œ nœ œ œ nœ œ œ ˙ 8 55 88 55 88 5 7
~~~ œ nnœœ œ ~~~ œ œ # n œ œ œ œ œ # n œ œ œ œ œ # # # # œœ œœ œœ œœ œ5œ œœ 8 œ5œ œœ 8 œ5œ œœ 8 10 œ 8 10œ nnœ8œ œœjj œœ.. 7 7 D7 7 7 / A7 && j œ on 1 œ œ œ j œ nœ œ n˙ n œ œ œ œ œ œ ### œ J œ ∑ Ó ‰J ‰ ~~~ ‰ 88 & ~~~ Ex 4 Woman Tone 5 8 5 8 5 10 10 5Drum 88 55 88 55 88 10 10 88 Break A87 5 D87 5 / A7 77 77 77 77 77 j œ77 Neck P/Up with Overdrive and Tone on 1 œ œBU œ n ˙ / j n œ œ œ ### œ nœ œ œ œ œ œ J œ J (17 ) 15 13 15 13 ∑ Ó ‰ ‰ ‰ & 14 14 12 14 12 DD 77
16
X
nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
EE BB GG DD AA EE B 1313 G D A E
19 19 17
19 19 is notes). There are four semiquavers per beat, so a three-note phrase displaced and resolves every three beats. You can repeat these type of ideas as long as5 you dare –8in Cream, Eric could 8 5 8 go5 on for ages! 8 5 8
7
~~~ ~~~ œ œ ˙ 7
1/4 1/4
7
' n œ'
~~~ ~~~ n œ5 œ œ5 œ7 œ ˙ 7 ~~ j œ œ 7 w ~~~~ . œ n œ ˙ . œ/ ~~~ / ' E 77 E
1/411//44
'
1144
55
55
~~ œ . nœ ˙ .
14 12
77
10
12
~~ ~~
j œ
œ œ 77 w ~~~~
14 16
jj
77
14
14
œ w ~~~~ ~~~~
A7 E7 ~~~ / n œ ' ~~~ œ n œ œj œ . ### œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ n œ œ œ ERICœ CLAPTON & STYLE ˙ D7
14
~~~
E B 5 8 5 8 5 8 5 8 5 8 10 G 7 7 7 7 7 D The ‘Woman Tone’ in this example refers to the sound of a Gibson guitar A E with the tone control turned down low, on 1 or 0. This reduction of the 16 tone control accentuates the middle frequencies and provides a musically
'
~~~
1/4
8
10 8 EXAMPLE 4 Woman Tone
Ex 4
'
Woman Tone
œ œ œ n˙ œ nœ œ Ó ‰J ‰ J
A7 Neck P/Up with Overdrive and Tone on 1
&
###
∑ Drum Break
D7
j œ
14
13 15
1/4
7
5
5
7 interesting lead tone. Experiment with the controls on7your guitar. You may 7 well find the best results come from a neck pickup selection with the tone control right down low, but every guitar is a little different. A7
j
nœ œ ‰œ œ
'
~~ œ œ œ œ œ. nœ ˙ .
15 (17 ) 15
14
13
œ œ w ~~~~
j œ
~~~~
~~
1/4
BU E B G D A E
9
CD TRACK 4
12 14
12 12 14
12
14 12
10
12
14 16
14
14
19
CD TRACK 4 EXAMPLE 5 Adding finger vibrato
As mentioned in the Technique Focus section, Eric’s finger-vibrato
the note, and the rest of the fretting hand, including the thumb, is removed. This reduces the overall friction and with some practice, can provide a fluid and expressive finger vibrato.
2 technique xxxxxxxxxx is unusual. As explained, the only part of the fretting hand in
touch with the guitar when the vibrato is added is the finger that is fretting Ex 5
Adding Finger Vibrato Bridge Pick Up with Overdrive
###
∑ Ó. & Ex 5 Adding Finger Vibrato 2 xxxxxxxxxx
Drum Break
Bridge Pick Up with Overdrive
E B G D A E
&
###
Ó.
∑ Drum Break
~~ œ œ œ œœ œœœ D7
¿
j œ nœ
/ ~~ ' œ~~ œ œ n œœ œœ œœ œœ œ n œ n œ ‰ œ œ œ. ‰
œ œ œœœ
A7
14
A7 j ~~ / ~~ ~~ ~~~~ ~~ œ BUn œ œ œ œ œ œ œ œ œ œ œ 10 œ 10 œ 10 X¿ (13) 10 12 œ 10 œ ‰ œ œ n œœ8 œœ8 œœ8 œœ8 œ n œ n œ'/ 'œ œ œ . ‰ 11 11 11 7 9 9 9 9 9 7 5 9 11 7 7 D7
1 14 4
12
~~
25
E Ex 6 Using Double Stops B 10 10 10 G 11 11 9 11 D E7 Bridge Pick Up with Overdrive A Using double-stops (playing two notes together) is a classic rock ’n’ roll E soloing concept, and works particularly well for filling out the sound in a 25
'
~~
BU
~~
1/4
X 12 (13 ) 10 12 10 8 8 8 8 CD TRACK 4 EXAMPLE 6 Using double-stops 11 7 9 9 9 9 9 7 5 7 7
&
Ex 6
E B G D A E E B G D A E
2 ∑
###
Using Double Stops
# # & #
2 ∑
Drum Break
E7
œ œ n12œ 12œœ œœ 12œœ œ œ 12œ 12œœ œœ 12œœ œ œ 12œ 12œ
12
14
2 # # # œ œ œ œœ œœ œœ œ œ œ œœ œœ œœ œ œ œ D7
&
12
14
12
# # # œ œ œ œœ œœ œœ œ œ œ œœ œœ œœ œ œ œ 14 14 14 14 14 14 16 14 & 14 16 14 14 14 16 14 14 16 D7
E B G D A E
12
12
12
12 A12 7
12 12
12
14
12
œœ œ œ œ .
A7
œœ œ œ œ .
j œBUœ
œœ
14 14
14 14
14 16
14
12
12
14
12 12
12 12E 7 12
14
œ œ œ
œœ
j œ
14
12
16 (18 )
œ œ 16
BU
Linking Pentatonic Boxes
˙~~~ ¿ . ˙~~~ ¿ .
12
12
‰
E7
14
~~~
34
Ex E 7 B G D A E
power trio like Cream. The trick here is to dig in with the pick and give it
Drum Break
Bridge Pick Up with Overdrive
31
31
œœ œ œ œ œœ œœ œœ œ œ œ œ œ œ n œ œœplentyœœ of feeling.
‰
14 14 14 16 j ˙~~ n œ œ . œ /' 2 j œ /' # œ n œ ## œ œ . œ n œ # œ n œ œ n ˙ ∑ ‰ ‰ Œ œ œ nœ œ œ & Ex 7 Linking Pentatonic Boxes . n ˙ Drum Break A7 D7 A7 September 2014 GuitarTechniques 19 Bridge Pick Up with Overdrive /' // œ œj ˙~~ n œ œ . œ n œ j 2 # E
A7 14 14 14 14 14 Bridge Pick 14 Up 16 with Overdrive 14 14 14 16 14
D7 14 16 14 14 16
14
14
14
A7 16 (18 ) 14
34
14 4
16
14
14
114 4
Eric using a Les Paul he borrowed then bought from Andy Summers
20 GuitarTechniques September 2014
ON THE CD
TRACKs 4-7
MICHAEL PUTLAND / RETNA / PHOTOSHOT
Play: ROCK
G D A E
# # # œ œ œ œœ œœ œœ œ œ œ œœ œœ œœ œ œ œ D7
&
31
12
14
12
12 A12 7
# # # œ œ œ œœ œœ œœ œ œ œ œœ œœ œœ œ œ œ D7
12
12
œœ
œœ œ œ œ .
A7
œœ œ œ œ .
j œBUœ
œœ
12
14
12 12E 7 12
14 ˙~~~ ¿ .
œ 12œ œ
j œ
E B G 14 14 14 14 14 14 16 14 D 14 16 14 14 14 16 14 14 16 A This phrase links the A Minor Pentatonic shapes 1, 2 and 5. Linking the E 34 Pentatonic boxes into one big scale shape aids fluid transitions between
&
12 12
12
12
‰
ERIC CLAPTON STYLE
˙~~~ ¿ .
œ œ
E7
‰
14 14 14 16 (18 ) 16 14 CD TRACK 4 EXAMPLE 7 Linking pentatonic scale boxes
Ex E 7 B G D A E
14
14
14 16
positions on the neck. Clapton often constructs runs this way, and this is a great help when improvising.
~~~
BU
Linking Pentatonic Boxes
/ 2 œ ˙~~ n œ œ . œ n œ œj . ' / ### ' œ œ n œ # œ n œ œ n ˙ ∑ ‰ ‰ œ œ & n œ Ex 7 Linking Pentatonic Boxes œ œ n˙ . Drum Break A7 D7 A7 Bridge Pick Up with Overdrive / 2 // œ5 œj ˙~~ n œ8 œ . œ n œ œj . ' ### ' œ œ 5 10 10 8 n œ # œ n œ œ n ˙ ∑ ‰ 5 6 ‰ œ nœ œ ' 7 5 œ 5 & 7 5 7 œ n ˙3 . Drum Break 7 5 A7 14 14 14 14 14 Bridge Pick 14 Up 16 with Overdrive 14 14 14 16 14
34
j œ
D7 14 16 14 14 16
14 14
14 14
14 16
A7
16 (18 )
14
16
14
14
14
144
E B G D A E
9
37
E
Ex B 8
2
Fast Unison Bends
5
5
114 4
~~
9 10
'
2 ∑ Ex 8&Fast Unison Bends
j nœ
‰ √D 7
Drum Break
2 ∑
###
Bridge P/Up with Overdrive & Wah Wah E B G D A E
10
8
&
Drum Break
43
2
E B G D3 A E 43
3
E B G D A E E B G D A E
‰
(√) A 7 / # # ' & # nœ (√) A 7 / # # # n œ /' ' &
14
20 (22)
œ
19
'
1/4
47
J
20 (22)
BU
œ
14 14
œ œ œ œ œ œj œ œ œ œ œ œ J
jBU nœ œ
1/4
19
~~ œ œ ~~ ~~ œ œ
19
~~
5
3
jœ œ œ œ œ / /' œ œ œ œ n œBU ' 17 17 17 17 œ œ œ œ (22) 20 17 17 n œ 19 17
20 (22)
17 17 17 17
20 (22)
1144
20
BU 17 17 17 17 17 20 (22) 20 (22)
17 17 17 17
BU 20 ( 22)
17 17 17 17
20 17
19
œ œ œ œ
j œ œ
œ œ œ œ
j œ œ
œ œ œ œ œj œœ
j œBUœ
œ œ œ œ
j œ BUœ
œ œ œ œ
j œBUœ
œ œ œ œ œjBUœœ
19 ( 21)
17
17
17
17
19 ( 21)
BU
17
17
17
17
17
17
17
17
17
19 ( 21)
17
17
17
17
17
17
17
19 ( 21)
BU
BU 17
17 17
19 (21)
'
1/4
j œ œ
19 ( 21)
19
œœ œ œ
BU
17 17 17 17
CD TRACK 4
œ œ œ œ œœœ œ ' œ nœ 7
tricky to play, but sounds impressive, especially when played high up the1 j j /4 fretboard œ – check out Eric doing itn œin Crossroads, it sounds huge!
j œ œ œ œ œ BU j œ œ œ œ œ œBU 17 17 17 17 17 œ
17 17 17 17
'
1/4
8
9 7 5 5 EXAMPLE 8 Fast unison bends 7 5 7
###
Œ
9
G 5D 7 6 D A Bridge P/Up withupOverdrive Wah Wah a note and then&playing a note of the same pitch on an adjacent E Bending 37 string sounds great and helps to beef up the sound. This idea is not overly
√
Œ
BU 17 17
19 (21)
17
17
17
19 ( 21)
CD TRACK 4 EXAMPLE 9 Turnaround phrases
Ex479
Turnaround Phrases
' ~~ œ n œ œj œ œ ~~~ œj œ œ n œ œ œj œ œ nœ œ œ nœ œ œ ˙ œ D7 A7 E7 / ' œœ j ~~~ j œ n œ œ œBU ~~ j œ œ n œ BU j jœ œ œ n œ œBU ~~ / œ œ n œ œ ~~~ œBUœ 5 œ œ ˙ n œ ' 8 5 œ œ œœ 8 8 8 5 ( 9) (9 ) 5 7 (9 ) (9 ) 7 7 5 5 7
The last few bars of a 12-bar blues are referred to as the turnaround – the point in the sequence signals its Bridge Pick Up with that Overdrive E 7end and prepares for the beginning D7 of the next time around. The turnaround can be a bit trickyjto navigate
2 n œ œ n œœ œœ œœ œœ ∑ Ex 9&Turnaround Phrases Break Bridge Pick UpDrum with Overdrive E7 2 œ n œœ œœ œœ œœ n œ ### 2∑ 8 8 8 8 & 8 10 10 10 10 8 ###
E B G D A E
Drum Break
49
E B G D A Ex 10 E 49
2 Ending Phrases
2 # # # Ex 10 Ending Phrases ∑ &
Bridge Pick Up with Overdrive
œœ œ œ nœ
8 8 8 8 8 8 10 10 10 10 8 8
effectively, so it is worth having a few ‘turnaround licks’ up your sleeve. EC’s 1 style was heavily influenced by blues guitarists like Freddie A7 E 7 /4King, and many of his turnaround ideas stemmed from adapting Freddie’s approach.
j œ œ
14
14
9
7
BU 9
7
5
7
5
7 ( 9)
7
BU 8
7 (9 ) 5 7
7
7
~~~
BU 7 (9 )
/ ' ~~ œ n œ œ œj œ œ œ œ œ œ n œ œ n œj œ œ œ ‰ nœ œ œ œ nœ . œ
A7
14
7
7
BU 5
8 5
'
~~
7
1/4
7 (9 ) 7
5
7
7 7
~~ 2014 GuitarTechniques 21 USeptember A5
¿
œœ Œ Ó
&
n œ œ n œœ œœ œœ œœ œœ œj œ nœ
2 ∑
###
Play: ROCK2 E B G D A E
' ~~ œ n œ œj œ œ ~~~ œj œ œ n œ œ œj œ œ nœ œ œ nœ œ œ ˙ œ
j œ œ
Drum Break
8 8 8 8 8 8 10 10 10 10 8 8
BU 7
9
5
8
7 ( 9)
5
~~~
BU 7 (9 ) 5 7
ON THE CD 5
8 5
7 (9 )
7
49
Ex 10
Ending Phrases
7 (9 ) 7
5
& E B G D A E
7
one we have used here is a classic. You may have to have a couple of listens to the backing track to nail the timing.
1/4
A7
2
14
5 7
5
8 5
7 ( 9) 7 5
5
7
7
5
7
7
5
X
(4 )
7 5 3
5
55
3 5
2 2 0
EXAMPLE JAM PIECE [Chorus 1, bars 1-14] The jam starts out with a two bar drum count-in. The opening chorus uses a selection of classic Clapton-style phrases based around shapes 1 and 2 of the A Minor Pentatonic scale. When playing a GUITAR TECHNIQUES MAGAZINE 2 3 4
GUITAR TECHNIQUES MAGAZINE 2 3 4 GUITAR TECHNIQUES MAGAZINE 2 3 4 CHORUS 1 A7 CHORUS 1 Drum Intro
E B E G B D E G A B D E G A D E A E
E B E G B D E G A B D E G A 6 D E A 6 E 6
©»¡£∞ # 4 Drum22Intro # #©»¡£∞ # 4 Drum2∑Intro & ## #©»¡£∞ ∑ & Bridge # # 4Pickup with ∑ & Bridge 4 overdrive and reverb Pickup with overdrive and reverb Bridge Pickup with 2 overdrive and reverb 2 2
ERIC CLAPTON JAM ERIC CLAPTON JAM ERIC CLAPTON JAM
/ ' A7 / œ œœ nn œœ œjj œ n œ œ œ~~~ A7 n œ ' ‰ # œ ~~~ œ œj œ œ n œ œœj œœ n œ œœ œ~~~ œ n œ /' ‰ ## œœ œ œ nœ œ œ nœ ‰ / BU BU ~~~ ' 5 BU ~~~ 5 '// 8 BU 5 (9 ) ( 9) 5 7 BU BU ~~~ 5 ' 88 8 7 5 ( ) ( ) 5 7
D7
œœ œjj œ n œ œ œ œœ œj œ n œ œ œ œœ œ œ n œ œ œ
8 9 8 9 8 9
8 9 9 7 8 9 9 7 8 9 9 7
A7
D 7j Dœ7j
A7 CHORUS 1 A7
14
14
9
/ # # # n œ /'' & ## # ## n œ /' œ œ & # n œ œœ œœ & 14 14
E B E G B D E G A B D E G A 10 D E A 10 E 10
'' '
1/4 1/4 1/4
7
7
7 7
7 7
' nœ 'œ nœ 'œ nœ œ '
8
5
7
5
5 5
7 7
5 5
7
14
7
9 7 (9 ) 7
8
9 7 ( 9) 7
5
7 7
7
5
14 14
14 1
8
A7
D7 D7
A7 A7
9
11
10
11
10
10
11
(12 ) 9 (12 )
E7 E7 E7
9 7 9 7
' An œœ7 2 n œœœ //' CHORUS n œœJ ' An œœœ7 œœJ n œJ n œ œJ J J 1/4 14 14
'
1/4
12 1/4
CHORUS 2 A7 CHORUS 2
5 5
7 7
5 5
7 7
√ ~~~ √ . œ~~~ œœ . œ~~~ n√ œ . ‰‰ n œJœœ ‰ n œJ ~~~ 12J
10 12
11
/ œ œœ nn œœ œjj œ n œ /'' œ œj œ œ n œ œj œ n œ /' œ œ œ œ œ nœ œ
D7
14
D 7j Dœ7j
BU
BU (9 ) 7BU 7 (9 ) 7 (9 )
9 9
X 12 (13)
5 5
' n œœœ ' œœ n œœ ' œ nœ '
D7
D7 1/4 D7 1/4 1/4
1/4 1/4
14 14
5 5 5
BU
œ n œ '' œ œ nœ 'œ œ nœ œ ' 1/4 1/4 1/4
1/4
12
1/4
'' '
1/4
BU 8 ( 9) 7BU 8 7 ( 9) 8 7 ( 9)
1/4
5 1/4 7 5 5
7 7
8
9 9 9
8 8
8
8 8 8 8
8 8
œ~~ œ œœ nn œœœœ œœœœ œœœœ œœœœ œ n œ œ~~ ‰ ~~ œ ‰ œœ œ n œœ œœ œœ œœ œœ n œ nœ ‰ ~~ ~~ ~~ 7 9 898 898 898 898 7 5
D7
~~ j n œ nEEœ77 ~~œj n œJ nEœ7 œ œ n œ œ œ œ œ~~ . œ œ . œœj n œJJ n œ œœ œœ nn œœ œœ œœ œ œœ œ. œ ~~ BU ~~ BU( ) 5 9 7 5 7 5 ~~ BU12 7
~~ ### / # & ## # # œ / œ~~ ~~. œ & . # œ 22 GuitarTechniques September 2014 œ & . œ ~~ / 1/4
8 9
8 8
œ nn œœ œœ œœ œ nœ œ œ œ
14
12
8 8
14 14
12
14
E
n œœ n œœ n œœ
CD TRACK 6
C natural note against the A7 chord, try bending it slightly sharp (a blues ‘curl’). This will help it to fit in the Major context, and its Major/Minor ambiguity is what gives that ‘bluesy’ sound. Eric uses this trick all the time.
~~~œ œ~~ œj n œ œ œ œ œ ~~ œ œ n œ œ œ œ œ œ œ # # # # # œ œ n œ œ œ œ œ œ œ œ œ œ œ œ~~ œ œ~~~œ œ œ~~ ¿ œjj n œ œ œ œ œ œ & ## # # # œ œ n œ œ œ œ œ œ œ œ œ œ œœ œ~~ œœ œ~~~œ œœ œ~~ ¿ œ n œ œ œ œ œœ œ œ & # #œ œ œœ ¿ & ~~ ~~~ ~~ BU ~~ X BU(13) 10 12 10 8 8 8 8 8 8 10~~ 10~~~ 10 8 9 8 9 9 11 11 11 ~~~ ~~ X BU(13) 10 12 11 10 8 8 8 8 8 8 10~~ 10 10 8 9 8 9 9 11 11 11 11 8
7 7 CD TRACK 4
A5 ' ~~ œ ~~ j n œ U œ œ œ œ œ nœ ‰ nœ œ œ œ œ œ n œj œ œ œ œ œ . œ Œ Ó n œ œ œ n œ œ œ ¿ œœ rall ß BU BU / ~~ ~~ ' 5
2 ∑
Bridge Pick Up with Overdrive
###
~~
1/4
EXAMPLE 10 Ending phrases The ending of the blues is another area that is worth spending some time on. There are many well-used conventions for ending a blues song, and the
'
TRACKs 4-7
BU
BU
7 7
10
9 9
9 9 9 9 8 8 8 8 9 9 9 9
7 7
5 5
~~~A 7 œnœ œ œ œ ~~~ A7 n œ œ œ~~~œ n œ œ œ œœ nn œœ œ œœ œ œœ œœ œœ œ œ nœ œ œ œ œ œ œ œ œ œ œ ~~~ 5 ~~~ 5 8 5 5 5 5 7 7 5 7 5 ~~~ 5 8 5 5 7 5 A7
5 7 5 5 7
7 7
8 5
7 5 7 5 5 7 5 7 5
' œœ n œœ /' œ n œ nn œœ œ œ œœ œ œ œœ œ œœ n œœ ' œ n œ n œ œ œ œ œ œ œ œ œœ n œœ œ n œ œ œ œ œ œ A7
œ œ œ
12 12
A 7 1/4 A 7 1/4 14
'
1/4 1/4
12
15 12
15 12
15 12
B G E D B A G E D6 A E 6
8
9
8
9
8 8
8
8 8
8
8 9 8 9
8 8
8
8 8
8
9
11
9
11
~~ 11 10~~~
10 10
11
11
10
11
~~
10
X 12 (13) BU
10 12
10
X 12 (13)
10 12
11 11
~~
10 10
7 7
9
8 8 8 8 9 9 9 9
7
5
9
8 8 8 8 9 9 9 9
7
5
ERIC CLAPTON STYLE
D7 A7 ~~ j n œ En œ7 / / ~~~ ' œ œnœ œ œ œ œ j j n œ ### nœ ' œ œ E7 Dœ7 œ A7 n œ œ œ œ œ œ œ nœ/ œ n œ œ œ œ œ6 J ~~ / œ œ…continued œ . j nœ nœ œ EXAMPLE & # # JAM' PIECE œ n œ œ CDœ TRACK j œ œ n œ j œ ' œ~~~œ œ œ œ œ œ n The œ œnow moves œ ofœtheœ œ [Chorus 2, 3, bars 27-36] œ solo # barsn œ15-26]œ Theœexcitement J to build,œandn œthe œsoloœmoves œ . starts œ œ [Chorus œ n œupœto the ‘dusty end’ up& to shape 4 of the A Minor Pentatonic at the 12th fret. The repeating fretboard. Playing with a nice feel and good intonation can be challenging phrase in bars 17 and 18 and the~~ big bend up here, so practise extra access that the BU BUthese /ideas slowly. ~~~ Admittedly, the5 Paul, BU in bar 19 are classic Clapton fare. / The double-stops' in bar 23 three will sound all the more exciting if you dig Gibson SG5 offers is a great'help, particularly over a Les but there’s no 8 can’t play these ideas on any guitar. 5 8 5 in really hard with the pick. reason why you BU BU ~~ / ( ) ~~~ BU ( ) ( ) / ' 7 7 12 9 7 5 7 5 7 5 9 5 9 5 ' 7 7 5 7 5 7 5 5 7 5 14
14
14
14
14
7
9
7
9
7
(12 )
' œ n œ ' ~~ n œ ' œ ~~. n œJœ ' nœ œ œ . J œ ' ~~~~ ' ' ' 1/4 1/4
1 5 /4
7
5
1/4
7
12 13 1/4
7 7
12 13
7
5
7
5
' n œœ œ ' n œœ œ ' '
7 ( 9)
œ nœ 'œ œ nœ 'œ ' '
œ œ
1/4
1/4
1/4
1/4
15 15
12 12
5
7
5
8 5
' œœ n œœ /' œ n œ n œ œ œ œœ n œœ œ n œ n œ œ œ A7
1/4
5
7
5 7 5
œœœœœ œœ œœ œ
14
' '
1/4
12 12 13 15 13 1/4
13 15
5 7
7
A7
1/4
1 D 7 /4
13
14 14
8
D7
1/4
14
7
7 (9 )
5
7
√ n œœ œ œ~~~ . √ œ n œœ Jœ œ~~~ . ‰ n œJ J ‰ n œœJ ~~~ 12 13 14 14~~~ 12
1/4
E7
1/4
9 7
CHORUS 2 A7 CHORUS 2 1/4 A7
E7
# # & ### œ & # œ E B G E D B A G E D 14 A E 14
14
14
E B G E D B A G E D 10 A E 10
1/4
12 12 13
12 12
13 13
15 12
13
15 12
13
15 12
13
15 12
13
15 12 15 12
7
D7 A7 (√) ~~.Dœ7j n œ œ . œ~~~œ . j Aœ7 n œ œ œ. œ. œ n œ œ n œ œ œ œ œ # # # (n√œ ) œ œ œ œ œ œ œ œ ¿ œ œ œ œ œ . n œ ~~~~ . J . J J ~~~ j . œ ~~ n œ œ n œ œ & # # nœ œ œ œ œ œ œ œ œ œ . œ œ œ ¿ . ¿ . j Jœ œ œ n œ œ . w~~~~ J J J œ œ nœ w & # nœ œ œ œ œ J ¿ . ~~ BU ~~~ ~~~~ (20) 15 12 15 12 15 12 15 12 15 17 17 13 13 13 13 13 17 15 13 15 13 ~~ BU ~~~ X 14 14 12 ~~~~ (20) 15 12 15 12 15 12 15 12 15 17 17 14 12 10 X
E B G E D B A G E D 18 A E 18
17
13
13
13
13
15
17
13
X
15 17
15 13
X
14
15 13
12
14 12 14 12
10
12
2 xxxxxxxxxx 2 xxxxxxxxxx E7
# # # œEœ7 n œ œœ & # # œ nœ œ œ & # œ E B G E D B A G E D 23 A E 23
œœ œœ œ œ œ œœ œœ œœ œ œ œ œœ
œœ œœ œ œœ œœ œ
œœ œœ œ œ œ œœ œœ œœ œ œ œ œœ œœ œ œ œ œœ œœ œœ œ œ œ
œ7 Aœ œœ A7
œœ œ œ œ . œœ œ œ œ .
j œ j œ
œ œ œ œ œ œ
12 14
12 12 12
12 12 12 12 12 14 12
12 12 12 12 12 14
14 16
14 14 14
14 14 14 14 14 16 14
14 16 14 14 16
14 14
14 14 14 14 16
(18) 16BU
16
12 14
12 12 12
12 12 12 12 12 14 12
12 12 12 12 12 14
14 16
14 14 14
14 14 14 14 14 16 14
14 16 14 14 16
14 14
14 14 14 14 16
16 (18)
16
E7
CHORUS 3 A7 CHORUS 3 A 7j
œ œ j œ œ
BU
X 14
X
14
X BU 17 17 17 17 19 ( 21) X
19 ( 21)
17 17 17 17
(√) A 7 / j nœ œ œ (√#)# # An œ7 /' & # # ' ¿ j n œj œ Jœ J & # n œ ¿ ¿j ¿ BU RP RP / 14 14
E
D7
BU
√ . œ ¿ j # # # EJ7 œ œ œœœœ √ ¿ & # # œ ¿. j œ œ œ œ œ ¿œ & # J E B G E D B A G E D 26 A E 26
œ œ œ Dœ7 œ œ œœ œ œ œ œ œ œ œœ
'
14
D7
£ ¡ œ œ œ œ œj œ œ œ œ œ œj œ œ œ œDœ7 œj œ œ œ œ œ n œ œ¡ œj ™œ œ n ¡œ œ£ œ¡ £ œ œ œ œ œj œ œ œ œ œ œj œ œ œ œ œ œj œ œ œ œ œ n œ œ œj ™œ œ n ¡œ œ£ œ¡
BU ( 21) 19BU 19 ( 21)
BU
BU
BU
BU
17 17 17 17
17 17 17 17 BU 17 17 19 ( 21)
17 17
17 17 17 17 20 17
17 17 17 17
17 17 17 17
17 17
17 17 17 17 20 17
( 21) 19BU 19 ( 21)
D7
19 ( 21)
17 17
( 21) 19BU 19 ( 21)
17
(21) 19BU
17 19 17
17 19 (21) 17 19 17
œ œ œ œ n œDœ7 n œj œ œ œ œ œ œj œ œ œ œ œ œ œ n œ£ œ¡ n ™œ ¡œ £œ œ¡ ™œ ¡œ £œ œ¡ ™œ œ¡ Jœ œ œ œ n œ j £ £ ¡ œ n œ œ œ œ œ œ œj œ œ œ œ œ œ œ n œ œ n ™œ ¡œ £œ œ¡ ™œ ¡œ œ œ¡ ™œ œ¡ ‰ J September 2014 GuitarTechniques 23 BU ~~ (22) 22 20 17 BU 17 17 17 17 BU 17 17 17 17 17 17 20 17 17 20 17 17 20 17 17
j œ~~ n œj œ~~‰ n œ 20
B A E G E B D 23 G A D E A 23 E 23
12 12 12 12 12 12 14 12
12 12 12 12 12 14 12 12 12 12 12 12 14 12
12 14
Play: ROCK E7
12 12 12 12 12 14 12 12 12 12 12 14 CHORUS 3 A7 CHORUS 3 A 7j CHORUS 3
14 14 14 14 14 14 16 14
14 14 14 14 14 16 14 14 14 14 14 14 16 14
14 16
14 16 14 14 16 14 16 14 14 16
14 14 14 14
14 14 14 14 16 14 14 14 14 16
16 (18)
16
16 (18)
16
D7 √ ON THE CD TRACKs 4-7 ¡ . jœ œ œœœ j œ œ œ œ œ j œ œ œ œDœ7 j œ œ œ œ œ n £œ œ j ™œ œ ¡ £ ¡ # # # EœJ7 ¿ √ œ œ œ œ œ œ œ œ œ œ nœ œ œ ¡œ & # # Eœ7 ¿ . ¿ √ j œ œ œ œ œ A 7j œ œ œ œ œ j œ œ œ œ œ j œ œ œ œDœ7 j œ œ œ œ œ n £œ œ j ™œ œ ¡ £ ¡ n œ¡ œ£ œ¡ ¿ . …continued ¿ œœj œ œ œ œ œ œœj œ œ œ œ œ œœj œ œ œ œ œ œœj œ œ œ œ œ œœj œ œ œ œ œ n £œ œ¡ œœj ™œ CD & # ## #JAMJœJ PIECE œ EXAMPLE nTRACK œœœ6 ¿ BU & BU BU BU BU BU
[Ending, bars 37-end] Here, we’re using the ending phrase we worked E X on B in Example 10. As mentioned before, you may need to take a couple of G E D B A E G E B D 26 G A D E A 26 E 26
14
X
14
X
X BU 17 17 17 17 19 ( 21) X BU 17 17 17 17 19 ( 21) 17 17 17 17 X 19 ( 21)
14
listens to the backing track to get the timing bang on. In the live Cream situation, Clapton would rely on good eye contact with Jack and Ginger.
17 17 17 17 BU 17 17 17 17 BU 17 17 19 ( 21) 19 ( 21) BU 17 17 17 17 BU 17 17 17 17 BU 17 17 19 ( 21) 19 ( 21) 19 ( 21) 17 17 17 17 17 17 17 17 17 17 19 ( 21) 19 ( 21) 19 ( 21) BU
17 17 BU 17 17 17 17 20 17 BU 17 19 ( 21) 19 (21) 17 19 17 17 17 BU 17 17 17 17 20 17 BU 17 19 ( 21) 19 (21) 17 19 17 17 17 17 17 17 17 20 17 17 19 ( 21) 19 (21) 17 19 17
19 ( 21)
D7 (√) AA 77 / j œ œ œ ~~ n œ j œ n œDœ7 n œj œ œ œ œ œ œj œ œ œ œ œ œ œ n œ£ œ¡ n ™œ ¡œ £œ œ¡ ™œ ¡œ £œ œ¡ ™œ œ¡ (√#) # A 7 /' nœ œ œ œ ‰ n œjj Jœ œ œ œ n œDœ7 n œj œ œ œ œ œ œj œ œ œ œ œ œ œ n œ££ œ¡¡ n ™œ ¡œ ££œ œ¡¡ ™œ ¡œ ££œ œ¡¡ ™œ œ¡ &(√#)# # n œ /' ¿ j n œjj œ Jœ œ~~ ~~ n œ œJ œ œ œ n œ œ n œj œ œ œ œ œ œj œ œ œ œ œ œ œ n œ œ n ™œ ¡œ œ œ ™œ ¡œ œ œ ™œ œ¡ & # ## # nn œœ ' ¿ ¿j n œ œ JœJ œ ‰‰ J & / '/ ¿ ¿¿j BUBU(22RPRP) (22RPRP) (22~~~~) BUBU(22) 22 20 17 BUBU(22)17 17 17 17 BUBU(22)17 17 1717 17 17 20 17 2017 20 172017 20 172017 '' X X BU(22RP) (22RP) (22~~) BU(22) 22 20 17 BU(22)17 17 17 17 BU(22)17 17 1717 17 17 20 17 2017 20 172017 20 172017 / (22) 22 20 17 17 17 17 17 17 17 17 17 17 17 20 17 17 20 17 17 20 17 17 X 14 14 14
14
E B G E D B A E G E B D 29 G A D E A 29 E 29
14
20
14
20
X
20 20
20 ( 22) (22) (22)
X
20
17 20 (22) BU 20 (22) 20 17 17 20BU 20 20 17 17 20 (22) 20 20 17
A7
7 7 7
20
20
20 (22)
20 (22)
(22) (22) (22)
20 ( 21)
5 7 5 7 5 7
5 5 5
5 5 5
œœœ œœœ œœœ
8 5 BU 7 ( 9) 7 5 7 8 5 BU 7 ( 9) 7 5 8 5 7 7 ( 9) 7 5 7
24 GuitarTechniques September 2014
X BU 7 (9 ) X BU 7 (9 ) X 7 (9 )
20
X
D7
7
5 7
5
7
5 7
5
7
5 7
5
' ~~~ n œ 'œ n œj œ~~~œ œ n œ 'œ œ n œj œ~~~œ œ œ œ n œ . n œ œ œ n œj œ œ œ œ œ n œ . œ œ nœ . ' œ ~~~ '' ~~~ ~~~ 1/4 1/4 1/4
rall
BU
1
rall /4
BU
rall1/4 5 5 5
1/4 7
7 7
7 7 7
20
E7 D7 œ Eœ7 n œ œ œ œ œ œ œj n œ . Dn œ7 œ œ n œ œ œ œ œ œ n œ œ œ œ œ œ œjj nn œœ .. nn œœ œ œ n œ œ œ œ n œ œ œ nœ œ œ nœ œ œ nœ œ œ œ œ œ œ œ nœ J BU BU
~~ X BU ~~ ( ) BU21~~ X BU
20
j ¿ œj œJ ¿ œœj œJœ ¿
¿.
20 ( 21)
20
E7
j n œ # œ ~~ ¿. j n œj # œ ~~ . n œ # œ ~~ ¿
(22) (22) (22) RP RP RP (22)RP (22) RP(22)RP
# # # A 7 n œ œ œ œ n œ œ œj œ & # # Aœ7 œ œ œ n œ œ œj œ & # ## # œ nn œœ œ œ œ n œ œ œj œ œ & BU
E B G E D B A E G E B D 37 G A D E A 37 E 37
20
X
(√) A 7 j (#√#) AAn œ77 œ n œ œ œj œœ œœ œœ œœ œœ & (#√# #) nn œœ œ n œ œ œœj œ œ œ œ œ & # ## # œ n œ œ & RP RP RP BU
E B G E D B A E G E B D 33 G A D E A 33 E 33
20
5
7
5
5
7
5
5
7
5
7
5
BU 3
7 7 7
9 7
5
7
5
5
BU 7 9 (12 ) BU 7 9 (12 )
9 7
5
7
5
5
7 9 (12 )
9 7
5
7
5
5
U ~~ ~~ ¿ aœ œ nœ U œ Uœ ~~
aœ œ nœ œ œ ¿ a œ œ n œ œ~~œ ¿ ~~ ~~ X ( 4)
7
5
3
( 4)
7
5
3
( 4)
5
3 5
X
5
3 5
X
5
3 5
A5
œœ Œ Ó œœ Œ Ó œœ Œ Ó ß œ ß 2 ß 2 A5 A5
0 2 2 2 0 2 0
7
5
7
5
7
5
Play: JAZZ
ON THE CD
TRACKs 8-9
Wes Montgomery Sunny
Jacob Quistgaard transcribes this burning performance from an absolute master of jazz guitar – Wes Montgomery. Jam-packed with amazing octave playing, you can expect earning a sore thumb – as well as bags of killer jazz licks, motifs and ideas.
Moderate/Advanced Info
Will improve your
Key: Various Tempo: 146bpm CD: TRACKS 8-9
Octave playing Jazz licks Thumb control
Wes Montgomery (1923-1968) left a massive mark – not just in the field of jazz guitar, but also on contemporary guitar playing in general. His unmistakable sound and technique is instantly recognisable, and it’s safe to say his playing style can be heard in guitarists all over the world to this day. Look no further than in the playing of guitar greats like George Benson, Jimi Hendrix, Pat Martino, Eric Johnson and Mark Knopfler to find some of his profound influence. You can find this performance on the great Talkin’ Verve: Roots Of Acid Jazz album, a brilliant testament to his soulful genius as well as the foundation he helped to lay for the more groove-orientated side of jazz.
Technique Focus The main thing you absolutely must get to grips with to play this tune is how to play octaves like Wes does it. Since you are not finger-picking the notes separately, but rather strumming them with your thumb, the essential part to master is muting unwanted strings with your remaining fretting-hand fingers. This can be achieved by practising each formation extremely carefully, meticulously working out a plan with regards to which of the fretting-hand fingers touches and deadens which string. Once you have taken the time to ‘programme’ solid string-muting habits into your fretting hand, you will be ready to take off as a fully-fledged octave-soloist.
Born in Indianapolis, Indiana, Wes Montgomery didn’t actually begin playing seriously until he was 19. However, eight months after starting, he had already memorised all of Charlie Christian’s solos from Benny Goodman’s Solo Flight record, and was out there performing them. Although holding down a day job, Wes spent years practising at night, perfecting his style, with the fire and passion of a true legend in the making. Perhaps the most famous trait of said style is his sole reliance on his thumb to pick every
Rather than remaining in one key, this performance goes up in semitones from C Minor, ending on a four-chord vamp in E Minor. The melody is fairly straight at first, then Wes bursts into soloing. note he plays. Legend has it that Montgomery’s incredible thumb technique evolved from him experimenting after receiving complaints from neighbours and family over the loud sound created by the pick as he was practising. The more subdued sound of his thumb put a stop to all objections and became, somewhat unintentionally, a vital part of his sound. Over time, Montgomery developed a considerable ‘tip’ of hard skin that could then also be used to strike the strings effectively with upstrokes. This brilliant performance of the classic tune Sunny has a few of those moments, when 16th-note phrases will necessitate the use of both down and upstrokes, which may seem a little alien at first. As a general rule, I recommend playing and practising the tune in segments, especially if you haven’t played that
much with your thumb before. If you build it up, you will allow for hard skin to form on your thumb, rather than just killing it in a single sitting and then not being able to use your thumb for days. Rather than remaining in the one key, this performance keeps modulating, going up in semitones, starting from C Minor and ending on a four-chord vamp in Eb Minor. Much like his renditions of other famous tunes, his modus operandi has him playing the melody fairly straight at first, and then bursting into soloing. Another crucial thing about the performance is that Wes plays not only the melody – or ‘head’, as jazzers prefer to call it – in octaves; he actually maintains the octave-based phrases into his solo and keeps it up the whole way through! So, if you hadn’t mastered the art of playing in octaves before now, you definitely will after taking this tune onboard. Remember, as always, the backing track and recorded version are there for your reference and ease of practice. I wish you good luck getting the octaves up to speed and a fun time digesting and applying some of the pearls Wes delivers along the way.
Get The Tone 3
5
6
7
5
Gain
Bass
Middle
Treble
Reverb
Ideally, what you need here is a semiacoustic archtop, preferably with a neck humbucker or P-90. If not, try stringing a spare guitar with heavy gauge flat-wound strings and select the neck pickup, keeping the tone warm but bright; a generous splash of reverb will add lushness to your sound.
TRACK RECORD Essential listening is the entire Riverside catalogue, from the Montgomery Brothers’ Groove Yard, to The Incredible Jazz Guitar Of Wes Montgomery, on to Boss Guitar. Also check out his Verve recordings, including Movin’ Wes, James And Wes (with Jimmy Smith), Smokin’ At The Half Note and Goin’ Out Of My Head, California Dreaming, Tequila and A Day In The Life.
26 GuitarTechniques September 2014
DAVID REDFERN / GETTY IMAGES
ABILITY RATING
WES MONTGOMERY SUNNY
Wes Montgomery thumbing his L-5’s flatwound strings
September 2014 GuitarTechniques 27
Play: JAZZ
ON THE CD
TRACKs 8-9
PLAYING TIPS
CD TRACK 8
[Bars 1-40] The track starts out in the key of C Minor, with eight bars of which Wes brings out repeatedly during the course of the tune. Take your vamping on the chord sequence, which sets the harmonic tone for the rest time finding a clean way to execute the octaves at first; remember it’s all of the tune before the guitar enters with the main melody at the end of bar about keeping unwanted notes from ringing, by way of muting with your 8. In terms of the harmony, notice that the second chord (Bbm9) introduces excess fretting-hand fingers. This is especially important when performing Quist's aGUITAR Db note, TECHNIQUES which is basically an unexpected seen from slides, as at the end of bar 11, for example. I recommend using your first MAGAZINE 2 3 4minor 2nd interval, the perspective of the tonic (at this point, C Minor). This is Wes an essential colour, and SUNNY third fingers for sixth/fourth and fifth/third-string octaves; and first Montgomery's
©»¡¢§ Cm9 b ∑ & b b 44 ..
A b13
∑
&
bbb
j œ ‰ œ œ œ œ œ œ œ œ œ 4
4
1
1
4
4
1
1
5 3
j #œ #œ
Dm11
œ œ œ œ œ‰œ‰‰œ‰œ J J J J
6
7 7
8
1
3
4 4
5
5 3
A b7
œ œ
5
7 7
8
4 4
5
3
3 G7 # 9
4
6
7 7
8
1
3
4 4
5
5
5
3
G7#9
j #œ #œ
œ œ
4
7 7
8
1
4 4
5
œŒ œœ œ œœ
8 10 8
5
6
3
8 6
œ nœ œ nœ
D b9
33
œŒœ œ œ œ œ. .
8 10 8
5
6
3
8 6
8
8
8
5
5
5
5
8
6 8 6
5
3 5 3
B bm9
4
8
8
8
8
1
5
5
5
5
C m7
œ j œ œ ‰ Œ ‰ œ œ œ J œ. œ. . 3
œ nœ œ nœ
5
1
8
Cm7
œ œ j œ œ œ ‰ Œ ‰ œ œ œ J œ. œ. .
4
. .
4
E b13
œ œE œ.13œ. œ. ‰œ‰œœœœ J J
E b13
E 13 œ œ. œ. œ œ œ œ œ œ ‰ œ ‰ ‰ œ ‰ œ ‰ Jœ ‰ Jœ œ œ J J J J
G7aug
15 15
j #œ #œ
œ œ
4
7 7
8
1
4 4
5
j #œ #œ
œ nœ œ Œ œ œ œ nœ œ œ œ 8
10
8
5
6
8
6
3
4
8
8
8
8
1
5
5
5
5
8
6
3
5
3
œ œ
7 7
8
1
4 4
5
G 7aug
6
5
E b13
4
œ œ œ œ œ œ ‰ œ ‰ ‰ œ ‰ œ ‰ œJ J J J J
D m11
8
6
5
3
7
6
4
3
8 6 5 3
œ. œ
œ. œ
8
6
5
3
œ nœ œ Œ œ œ œ nœ œ œ œ 8
10
8
5
6
8
6
3
œ #œ nœ œ œ #œ nœ œ œ œ
8
œ. œ
5 3
4 1
4 1
C m7
w w 5 3
19 19
A b7
b & b b Ó. E E B B G G D D A A E E
3
3
11 11
b &b b
5
5
A b7
j #œ #œ
œ. œ. .
B bm9
C m7
Play 2nd time only
j j œ #œ œ œ œ œ b œ & b b œ ‰ œ œ œ œ #œ œ
E E B B G G D D A A E E
Ó ‰ œj œ œ. œ.
∑
A b7
E E B B G G D D A A E E
G 7aug
. .
E E B B G G D D A A E E
E E B B G G D D A A E E
B bm9
œ œ. 5
œ œ. 4
8
8
8
8
5
5
5
5
C m7
1 28 GuitarTechniques September 2014 3
24 24
B bm9
œ œ œ œ œœ œ‰œ‰‰œ‰œ ‰J J J J J
G7aug
8 5
E b13
A b7 Dm11 G7aug ( b 9) . . œ j j œ œ œ. œ. œ #œ œ œ œ jœ œ œ œ œ ‰ ‰œ œœœ œ ‰ ‰ Œ œ œ œ œ # œ œœœ J J œ. œ. 6
8
6
3
5
3
8
6
4
4
5
3
1
1
5 3
4
6
7 7
8
1
3
4 4
5
5 3
5 3
œ œ. 4 1
G D A E
1
5
1
1
3
3
4
5
5
5 3
15
1
3
5
4
8
10
8
5
6
8
6
3
Sunny: Music & Lyrics by Bobby Hebb ©1966 Portable Music Company. Campbell Connelly and Co Ltd. UK/EU reproduced by kind permission of Music Sales Ltd. US/Can reproduced by kind permission of Hal Leonard Corporation. A All 7 Rights Reserved. International Copyright G 7Secured. 9 D 9 D m11
b
#
b
1
5
4
œ œ #œ j j œ œ œ œ #œ œ œ nœ œ #œ œ œ nœ œ œ œ œ œ & # œ œ œ n œ œ Œ œ œ # œ œ œ n œ œ Œ œ œ œ ‰ œ ‰ ‰ œ ‰ œ ‰ œJ œ # œ PLAYING TIPS J J . . J J bbb
and fourth fingers for fourth/second and third/first-string octaves. Also, make sure you play around with varying degrees of staccato as you go along E – I have noted some essential staccato additions, but would recommend B 7 8 4 7 8 4 of expression G taking the time to explore 8 10the8 possibilities 5 8 in10that 8 area as5an D exercise in itself. 4 As5 you may notice, the melody 1 4is actually 5 fairly simple 1 A 8 6 as it is 3based solely on the 6 Minor 8 6 Pentatonic 3 from a harmonic point6of view, E
5 3
4
8
8
8
8
1
5
5
5
5
b
1
w wCD TRACK 8
scale, with just a few added colours from the slides and the inclusion of the blue note (b5), as in bar 22. At bar 25, the melody is repeated with very few 8 6 changes, before landing on a ‘home’-sounding C octave in bar 39. Straight 8 8 8 8 7 6 4 after that, though, we modulate up 5 a 3semitone to 5C# Minor in bar 5 40, 5instantly 5 climbing 5 up the 5 C# Minor scale –4adding 3 a major 1 7th step to make a 3 on the high 3 C# octave. chromatic climb at the very end, resolving perfectly
8
6
8
6
5
3
5
3
E bb13
E .13 œ œ œ. œ œ œ œ œ œ ‰ œ ‰ ‰ œ ‰ œ ‰ Jœ ‰ Jœ œ œ J J J J B bm9 m9 B
Cm7 Cm7
8 8 5 5
8
6
4
4
5
3
1
1
5 3
4
6
7
8
1
3
4
5
8 8 5 5
8 8 5 5
8 8 5 5
8 8 5 5
6 6 3 3
8 8 5 5
6 6 3 3
œ. œ
œ. œ
8 8 5 5
6 6 3 3
b
A b7 7 A
œ œ
4 4 1 1
6 6 3 3
5 5 3 3
4 4 1 1
C C m7 m7
j ## œœj ## œœ
œ œ
7 7
8 8 5 5
4 4
œ nœ œ nœ
œ Œ œ œ œ
8 8 8 10 10 8 6 8 8 6 6 6
5 5 3 3
œ œ
j ## œœj ## œœ
4 4 1 1
7 7
b13 E E b13
œ œ 8 8 5 5
4 4
œ nœ œ nœ
œ Œ œ œ œ
8 8 8 10 10 8 6 8 8 6 6 6
5 5 3 3
œ œ
j ## œœj ## œœ
4 4 1 1
7 7
b7 A A b7
œ œ 8 8 5 5
4 4
œ nœ œ nœ
3
3
j œ œ œ œ œ ‰ œ œ œ 4 4 1 1
5
5
4 4
œ jœ œ œJ ‰ Œ ‰ œ œ œ. œ. .
8 8 5 5
5 5 3 3
5 5 3 3
œ Œ œ œ œ
8 8 8 10 10 8 6 8 8 6 6 6
5 5 3 3
œ œ
1
#
j ## œœj œ ## œœ œ 7 7
4
G7 7#9 9 G
29 29
#9 G7 G7 # 9
j ## œœj ## œœ
œ œ
7 7
8 8 5 5
4 4 1 1
4 4
4 4 1 1
b9 D D b9
œ ‰ œj œ œ œ œ œ œ
œ nœ œ nœ
8 8 8 10 10 8 6 8 8 6 6 6
4 4 1 1
5 5 3 3
6 6 3 3
33 33
b &b b
œ œ œ œ œ œ œ ‰ œ ‰ ‰ Jœ ‰ œ ‰ J J J J
D D m11 m11
8 8 5 5
G7aug G7aug
8 8 5 5
8 8 5 5
8 8 5 5
8 8 5 5
œ œ
œ œ# œ œ # œœ nn œœ ‰ J
11 11 8 8
8 8 5 5
6 6 3 3
7 7 4 4
C C m7 m7
6 6 3 3
b11 A A b11
œ. œ.
œj œ . ‰ # # # # ‰ œj œœ œ œ. œ
5 5
5 5
5 5
6 6
3 3
3 3
3 3
4 4
7 7 4 4
œ œ œ nn œœ œ œ œ 9 9 6 6
10 10 7 7
7 7 4 4
8 8 5 5
œ œ 8 8 5 5
37 37
#
C #m7 m7 C
. # # # # œœ . & E E B B G G D D A A E E
nœ œ œ nœ œ œ
24
b &b b
E E B B G G D D A A E E
3
B bm9
C m7
œ œ œ. œ.
xxxxxxxxxx xxxxxxxxxx
b &b b
E E B B G G D D A A E E
5
6
E b13 A b7 Dm11 G7aug ( b 9) . . œ œ j œ œ œ œ œ œ œ œ œ. œ. œ œ œ œ œ # œj œ œ j œ œ ‰ œ ‰ ‰ œ ‰ œ ‰ J ‰ Jœ œ œ œ œ ‰ œ œ œ œ # œ œ œ ‰ Œ ‰ œ œœ œ J J J J J œ. . .
G7aug
b & b b Ó.
E E B B G G D D A A E E
8
8
19
A b7
E B G D2 2 A E
10
6
WES MONTGOMERY SUNNY C m7
G 7aug
3
8
9 9 6 6 41 41
œ œ J
œ œ œ ‰ œ J
9 9 6 6
9 9 6 6
12 12 9 9
jj ## œœ ## œœ
œ œ
8 8
9 9 6 6
5 5
œ. œ œ. œ J
B m9 m9 B
7 7 4 4
j ‹‹ œœj ‹‹ œœ
8 8 5 5
E 13 13 E
A7 A7
œ œ ⋲ ¿ œ œ œ nœ œ œ nœ œ œ œ 9 9 6 6
5 5 2 2
X X 6 6 4 4
6 6 4 4
6 6 4 4
8 8 5 5
œ œ œ œ 7 7 4 4
5 5 2 2
#
D #m11 m11 D
#
G #7aug 7aug G
œj ‰ ‰ œ œ œ J
œ. œ
œ. # œ. œ #œ
œ. œ
8 8 11 11 4 7 4 7 9 9 10 10 5 8 5 8 1 4 7 1September 2014 4 6 6GuitarTechniques 7 29
E E B B G G D D A A E E 33 33
8 8 5 5
7 7 4 4
Play: JAZZ
8 10 8 8 10 8 6 8 6 6 8 6
4 4 1 1
5 5 3 3
8 8 5 5
7 7 4 4
8 10 8 8 10 8 6 8 6 6 8 6
4 4 1 1
5 5 3 3
7 7 4 4
8 8 5 5
8 10 8 8 10 8 6 8 6 6 8 6
5 5 3 3
4 4 1 1
8 8 5 5
7 7 4 4
8 10 8 8 10 8 6 8 6 6 8 6
ON THE CD
4 4 1 1
5 5 3 3
6 6 3 3
TRACKs 8-9
C m7 A b11 œœ œ œ C m7 A b11 œ jj œ œœ œœ œœ nn œœ œœ j œ œ œ œ œ œ # œ # œ n œ # j b œ œ œ œ œ # # PLAYING TIPS nn œœ œœ 8 bb b bb œ ‰‰ œ ‰‰ ‰‰ œ ‰‰ œ ‰‰ œœ œ œœ œœ ## œœ nn œœ ‰‰ œœ .. œœ œœ .. ‰‰ # ## # ‰‰ œœ œœ œ œœCDœœTRACK & J œJthe solo kicks œ off. Notice œJ how the .. to great effect, oftenœœ developing [Bars& 41-56] Thisœ frame he œuses and œ œ them in a # œofn œ again, œœ ofmotifs J general JJis where œ .. riffsœœsort reference is the Minor Pentatonic The main two J call-and-response way. Take, for example, the motif starting on the J andJJthe Natural J Minor scale. J added colours are the maj7th (B# or C), which – as the 3rd of the dominant last beat of bar 48. Based around repeatedly hitting the top C# octave on the D m11 D m11
G7aug G7aug
chord (G#7) obviously is a strong note to use – as well as the D (b2 again), E 8 11 8 (Bm9). 6 which functions as chord E B 8 11 8 6 7 8 the b3rd 8 of the second 8 8 of the progression B G also likes to mix Wes has such a strong character 8 in the 8 Blues scale, 8 which 8 5 8 5 3 7 G D 8 and 5 he3 is 4 5 to be5theoretically5 ‘correct’ 5 to sound5great, that it doesn’t need D A 5 5 5 5 4 the A E kind of player who can make phrases sound amazing, even if they aren’t E 37 theoretically perfect in the context of the chords. Notice how time and time
9th and 12th frets (third and first string); this motif repeats in the following 7 8 8 excitement, 7 8 8 6 four bars, each time with a slight change, adding colour 7 and 9 10 essential flow and sense of development. Notice 6 while maintaining 7 9 10 5 5 5 6 4 how 5 5 5 5 5 6 4 5 to 5 3 this culminates 4 6 7 in a huge Minor Pentatonic run, before moving straight 3 3 3 3 4 4 6 7 D Minor in 3 bar 56,3using 3 the D Harmonic Minor scale 4 (D E F G A Bb C) and its maj7th again (C#) to travel towards the resolution on the high D octave.
37
C #m7 C #m7
œœ œœ œœ œœ œœ ‰‰ œœ JJ JJ
. ## # ## # œœœ .. & & # # œ. 9 9 6 6
E E B B G G D D A A E E 41 41
9 9 6 6
9 9 6 6
j # œj #œ #œ #œ
œœ œœ
8 8 5 5
9 9 6 6
12 12 9 9
œœ .. œœ ..
B m9 B m9
œœ œ JJœ 7 7 4 4
C #m7 C #m7
m9 .. .. œ.. BB m9 œ œ œ ## # ## # œœ œœ ‰ ‰ œœ ‰ œœ ‰ n œjj œœ ‰ nœ & & # # œJJ ‰ œJJ ‰ ‰ JJœ ‰ œJJ ‰ nn œœ œœ 9 9 6 6
E E B3 3 B G G D D A A E E 45 45
## # ## # & & # #
9 9 6 6
9 9 6 6
C #m7
#
œœ Cjj œm7 œœ ‹‹‹ œœœ œœ ‰‰ ‹ œ œJ J
E E B B G G D D A A E E 49 49
8 8 5 5
9 9 6 6
5 5 2 2
D #m11 D #m11
## # ## # œœ œœ œœ.. # ‰ & & # ‰ œœ œœ œœ E E B B G G D D A A E E 53 53
9 9 6 6
9 9 6 6
9 9 6 6
9 9 6 6
j # œj #œ ‰‰ ## œœ 8 8 5 5
6 6 4 4
œœ.. œœ
œœ.. œœ
œœ.. œœ
œœ.. œœ
œœ.. œœ
9 9 6 6
9 9 6 6
9 9 6 6
9 9 6 6
9 9 6 6
9 9 6 6
13 13 10 10
œœ.. œœ 9 9 6 6
8 8 6 6
9 9 6 6
8 8 5 5
X X
5 5 2 2
9 9 6 6
9 9 7 7
8 8 5 5
9 9 6 6
8 8 5 5
œœ.. œœ
12 12 9 9
14 12 14 12 11 9 11 9
œœ.. œœ
6 6 4 4
9 9 6 6
7 7 4 4
F13 œœ F13 œœ œœœ œœ œ œœ
j œœj ‰ œœ ‰
10 10 10 7 10 10 7 7 10 7 8 8
8 8 6 6
6 6 4 4
6 6 4 4
6 6 4 4
7 7 4 4
7 7 4 4
5 5 2 2
4 4 1 1
j ‹ œj œœ ‹ œ ‰‰ ‹ œ œ ‹ œ œJ
J
9 9 6 6
C #m9 C #m9
œœ œœ 5 5 2 2
œœ œœ
8 8 5 5
9 9 6 6
6 6 4 4
œœ œœ 8 8 5 5
4 4 1 1
## œœ ## œœ
6 6 4 4
‰‰
7 7 4 4
‰‰ ### œœœ # œJ J
9 9 6 6
7 7 4 4
8 8 5 5
œœ œœ
9 9 6 6
7 7 5 5
6 6 3 3
9 9 6 6
X X X X
œœ œœ
œœ œœ
jj œ bb ŒŒ ‰‰ œœ œœ œœ œ
œœ œœ
A 11 A 11
¿¿ ¿¿
D9 D9
7 7 4 4
8 8 5 5
7 7 5 5
E m11 E m11
œœ œœ 5 5 2 2
7 7 5 5
6 6 4 4
nn œœ nn œœ
5 5 2 2
5 5 3 3
œœ ## œœ œœ ## œœ
10 11 10 11 7 8 7 8
A7aug A7aug
œœ ## œœjj ‰ œœ ## œœ ‰
11 11 8 8
8 8 5 5
4 4 1 1
8 8 5 5
6 6 4 4
8 8 5 5
10 10 7 7
œœ œœ
G #7 # 9 G #7 # 9
9 9 7 7
œœ œœ
œœ.. ## œœ.. œœ ## œœ
j #œ œœj ‰ # œœ œœ ‰ œ
œœ n œ jj œœ ‰‰ ‰‰ œœ nn œœ JJ n œ œœ
5 5 2 2
œœ œœ
9 9 6 6
j ‹ œj œœ ‹œ ‹ œ œœ ‹œ
5 5 3 3
œœ.. œœ
G #7aug G #7aug
. j œœj ‰ ‰ œœ œœœ. œœ ‰ ‰ œœJ œ J
œœ œœ
œœ œœ
6 6 4 4
D #m11 D #m11
G #7 # 9 G #7 # 9
œœ œœ
9 9 6 6
8 8 5 5
j œœ b œ j j # œj œœ ‰ n œ bb œœ #œ ‰ nœ bœ # œ œœ #œ 7 7 5 5
5 5 2 2
8 8 5 5
7 7 4 4
B b7 B b7
6 6 4 4
7 7 4 4
œœ œœ
8 8 5 5
9 9 6 6
8 8 5 5
œœ œœ
J
œœ.. œœ
œœ œœ
œœ œœ
A7
œœ.. œœ
œœ œœ
nœ ‰‰ nn œœ n œJ J
j A7 # œj œœ #œ # œ œœ #œ J
7 7 5 5
œœ.. œœ
œœ œœ
œ œœ œœœ œœ
7 7 5 5
œœ.. œœ
œœ œœ
œœ nnn œœœ œœ n œ
A7 A7
œœ œœ
9 9 7 7
œœ.. œœ
G #7aug G #7aug
m6 œœ œœ œœ œœ CC m6 jj œ œ œ b œ œ œ œ œ b ‰ ‰ ‰ ‰ ‰ bœ œ & & b œJJ ‰ JJ ‰ ‰ JJœ ‰ JJ ‰ bb œœ œœ 10 13 10 10 13 10 7 10 7 7 September 10 7 30 GuitarTechniques 2014
œœ ⋲ ¿¿ œœ ⋲
E 13
9 9 6 6
A7 A7
œœ jj œ jj jj ‹œ œ œ œœ ‰‰ ‹‹ œœ œ ‰‰ œ nn œœ ‰‰ JJ ‹ œ œJ œœ nn œœ J
Dm7 Dm7
E E B B G G D D A A E E 57 57
8 8 5 5
œœ œœ
œœ ## œœ Eœ13 œœ ## œœ œœ œœ œ œœ
7 7 4 4
7 7 5 5 E 13 E 13
j œœj ‰‰ œœ
œœ œœ
j ‹ œj ‹œ ‹œ ‹œ
E 13 E 13
œœ œœ
œœ ## œœ œœ œœ
10 11 10 11 7 8 7 8
9 9 6 6
9 9 6 6
œœ œœ 12 12 9 9
B E G B E D B G A D G E A D 49 E A E 49 49
8 8 58 5 5
9 9 69 6 6
5 5 25 2 2
8 58 5 5
6 6 46 4 4
9 9 69 6 6
8 8 58 5 5
9 69 6 6
9 9 79 7 7
9 9 69 6 6
8 8 58 5 5
9 69 6 6
8 58 5 5
7 7 57 5 5
5 5 25 2 2
8 8 58 5 5
9 69 6 6
6 6 46 4 4
7 7 47 4 4
5 5 25 2 2
5 5 35 3 3
WES MONTGOMERY SUNNY
C #m9 A 11 . œ.. œ. . . . œ C #m9 A 11 œ œ . . . . . . . . . œ j œ œ œ ## œœ œ C #m9 A 11 . . . . œ œ # œ œ œ œ œ œ œ œ œ . . . # # # # œ œ œ. œ. œ. œ. œ. œ. œœ. œ œ œ œœ. œ. œ. œ. œ œ œ œ #œ 8 ‰ œ œ œ. œ. œ. œ. œ. œ. œ œ œœ œ œ œ œ. œœ. œœ œ œ œœ b Œ ‰ œœjj œœ œœCDœœTRACK & ## # # ## TIPS PLAYING ‰ b Œ ‰ œ œ œ œ œ œœ œ ## œœ œ œ œ œ œ & œ œ œ œ œ œ œ # œ œ œ ‰ b Œ ‰ œ œ œ & 57-72] Here, weœ start œ œwithœ a great œ œrhythmic œ œmotif on the root (D) and can œ stillœ achieve [Bars And also, notice howœthe œ œœeffect.œbeing œ a œœsimilar œ note that is played the b3rd (F). Bar 61 sees a string of triplets, based on a descending Minor with an upstroke (G) is actually slid to (from the Bb), which creates part D #m11 D #m11 D #m11
G #7aug G #7aug G #7aug
Pentatonic idea which develops into bar 62, when we see another of Wes’s
E 9 12 14 12 9 trademarks; on beat92, the arpeggio are B 9 916ths 9 that 9 make 9 up 9 the 9 C Minor E 9 12 14 12 9 G 69 12 9 a quick 11 9down/ 69 hand (thumb) to achieve B E executed by flicking9the9 strumming 9 9 9 9 9 9 14 12 D 69 69 This 69 was 69 especially 69 69 69effective 69 B up/down stroke motion. G 6 Wes, 9 as11he had 9 6 for A D G 6 6 that 6 the6 protruding 6 6 hard 6 skin 9 formed 11 9 an 6 played so much with6his6 thumb E A D 6 6 6 6 6 6 6 6 53 E A almost pick-like tip, which came into play in this particular type of situation. 53 E However, even if you haven’t got massively hard skin on your thumb you 53
œ œœ œ œœ CCCm6 jœ m6 œœ œ œœ œ m6 j b œ & bb œJœ ‰‰ œJJœ ‰‰ ‰‰ Jœœ ‰‰ œJJœ ‰‰ bb œœj œœ & & b JJ ‰ J ‰ ‰ JJ ‰ J ‰ bb œœ œœ
œ F13 œ œ F13 œœ F13 œ œœ œœ œœ œ œœ
Dm7 Dm7 Dm7
10 10 7 10 7 7
E B E G B E D B G A D G E A D
57 E A E 57 57
13 13 10 13 10 10
œ.. œœ. b & b œœ & &b
E B E G B E D B G A D G E A D
61 E A E 61 61
& bb & &b E B E G B E4 D G B A D G E A D
10 10 10 7 10 10 7 7 10 7 7 7
œ œœ œœ
6 xxxxxxxxxx 6 36 3 3 65
A E E 65 65
13 13 10 13 10 10
. œ.. œ.. œ. œ œœœ.. œœ. œœ. œ.. œ œ œœ œ œœ œœ. œ 3 œ œ 3œ . 3 3. 3 3
Dm7 Dm7 Dm7
D m7 D m7 D m7
10 10 7 10 7 7
8 8 58 5 5
6 6 36 3 3
7 7 57 5 5
œ œœ œœ
C m9 C m9 C m9
10 10 7 10 7 7
œœ œœ œ b œ œœ œœ bb œœ œ bb œœ
10 10 7 10 7 7
œ œœ œœ
j œjj ‰ œœ ‰ œœ ‰
j œjj ‰ œœ ‰ œœ ‰
j œjj ‰ œœ ‰ œœ ‰
7 7 57 5 5
7 7 57 5 5
7 7 57 5 5
7 7 57 5 5
11 11 8 11 8 8
8 8 58 5 5
F 13 F 13 F 13
bœ bb œœ bb œœ
F 13 F 13 F 13
8 8 68 6 6
œ œœ œœ
7 7 57 5 5
5 5 35 3 3
5 5 35 3 3
10 11 10 7 11 10 8 7 11 8 7 8
8 8 58 5 5
8 8 68 6 6
œ œœ œœ
9 9 69 6 6
8 8 58 5 5
4 4 24 2 2
œ œœ œœ
œ œœ œJœ JJ
j œj b œ ‰ œœj bb œœ ‰‰ œ b œ œ bœ
œ œœ œœ
9 9 69 6 6
8 8 58 5 5
8 8 58 5 5
8 8 58 5 5
b œ # œjj œ bb œœ # œj œœ œœ ## œœ œ #œ œ
13 13 10 13 10 10
11 11 8 11 8 8
8 8 58 5 5
7 7 57 5 5
6 6 46 4 4
œ nœ œœ nn œœ œœ n œ nœ
œ œœ œœ
œ œœ œœ
j œœ b œ œ # œj jj ‰ n œ bb œœ # œ j œœ ‰ n œ b œ #œ ‰ nœ bœ # œ œœ #œ
8 8 68 6 6
œ œœ œœ
œ œœ œœ
B b7 B b7 j B b7
j œjj ‰ œœ ‰ œœ ‰
10 8 10 10 7 10 10 8 10 58 7 10 7 10 8 5 7 7 10 5 7 8 8
8 8 68 6 6
of that particular sound as well. Take your time playing that lick very slowly 9 and can apply 9 you 7 will5eventually gain a really cool little technique you 8 10 11 9in 6 6 9 7 lots of other contexts, too. Notice how the upstrokes are required again 9 7 5 8 10 11 69for 69 16ths 47 58 10 7 and 8 adding 6 6 9 are ascending on a A7 7 arpeggio 6 the in25bars 69-70. Here, we 11 4 4 7 5 6 4flavour 2 from6the A6Altered 5 Eb7F G),8 resolving 9 scale at the end (A Bb 7 C C# 6 some 6 4 2 5 7 8 4 4 7 5 on the 3rd of D Minor 4 (F)4in bar771, before making the5final key change to Eb Minor in a similar fashion to the previous modulations.
7 7 47 4 4
B b7 B b7 B b7
œ œœ œœ
9 10 9 10 69 10 7 6 7 6 7
7 7 57 5 5
œ œœ œœ
œ œœ œœ
œ œœ œœ
10 10 7 10 7 7
10 10 7 10 7 7
6 6 36 3 3
œ #œ œœ ## œœ œœ ## œœ
6 6 36 3 3
B b7 B b7 B b7
œ œœ œœ
œ œœ œœ
œ œœ œœ
7 7 57 5 5
E m11 E m11 E m11
œ œœ œœ
¿ ¿¿ ¿¿
5 5 25 2 2
X X X X X X
E m11 E m11 E m11
œ œœ œœ
10 9 10 7 9 10 79 7 7 7 7
8 8 68 6 6
10 10 7 10 7 7
11 11 8 11 8 8
œ œœ œœ
6 6 46 4 4
9 12 9 12 69 12 9 6 9 6 9
A 7#9 A 7#9 j A 7 # 9# œ
œ œœ œœ
œ # œ # œjj œœœ ‰ nn œœ œœ ## œœ # œ œ ‰ n œ œœ # œ ## œœ œ ‰ nn œJJœ #œ J
9 9 79 7 7
7 7 57 5 5
9 10 9 10 69 10 7 6 7 6 7
6 6 46 4 4
8 8 58 5 5
E b9 E b9 E b9
œ.. œ œœ. œ œJœ ‰‰ ‰‰ œœJ JJ ‰ ‰ Jœ J
10 10 7 10 7 7
œ ## œœ œœ # œ œœ œœ
œ # œjjj ‰ œœ ## œœ ‰ œœ # œ ‰ #œ 7 7 57 5 5
œ œœ œœ
œ œœ œœ
A7aug A7aug A7aug
bœ œ bœ bb œœ ‰ œ œ œ bb œJœ ‰‰ œœ bbb œœœ œœ œœ JJ œ b œ œœ œ œ
11 11 8 11 8 8
9 9 69 6 6
6 6 36 3 3
6 6 46 4 4
b
5 5 35 3 3
8 8 68 6 6
Dm7 B 11 œ œ œ nœ œ œ # œ # œ œ œœ œ j œœ œœ œ œ œ œ nœ œ œ œ œ œ œ b œ œ œ b & b œ œ ⋲ ## œœ œœ ⋲ œ œ ⋲ œ œ ⋲ œ œ ⋲ œ # œ ⋲ ⋲ ⋲ œ n œ ⋲ œ œ œ œ œ ‰ œ Œ b b b b œ œ œ œ œJ n œ œœ
E B G D A E
E m11
7 7 69
5 5
b & b bbbb E B G D A E
A 7aug
6 6
99
4 4
77
b jE m7 nœ œ nœ œ
10 11 7
73
8
10 10 11 11 7 7
œœ ‰ œœ J 11 11 8 8
8 8
œœ œœ ‰ J
œœ œœ 11 11 8 8
9
9
12 12
13 13
6
6
9 9
10 10
D bm9
14 13
11 10 8
6
11 10
8 7 5
3
G b13
7
7
8
5
5
6
C b7
œ œ nœ œ œ nœ œ bœ œ œ b œ œ œ œ œ ‰ J ‰ œJ n œ œ œ b œ œ œ nœ œ bœ œ 11
9
8
6
10 11 7
8
9 11
9
8
8
9
7
6
6
6
10 7
11 9
9 6
11 9
9 11 12 6 8 9
9
10
6
7
B b7aug
. œ. œ œ œ nœ Œ bœ œ œ œ nœ
Fm11
6
8
7
6
5
11
9 6
3 8 September 2014 GuitarTechniques 31
xxxxxxxxxx 444 xxxxxxxxxx xxxxxxxxxx
Play: JAZZ
TRACKs 8-9 Bbb11
Dm7 B Dm7 B 11 11 œœ œœ œ œ j œ œœ œ œœ nn œœ œ œ # œ œ n œ # œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ bb œ œ ⋲⋲ ## œœ œœ ⋲⋲ œ œ ⋲⋲ œ œ ⋲⋲ œœ œœ ⋲⋲ œœ ## œœ ⋲⋲ œ œ ⋲⋲ œ œ ⋲⋲ œœ nn œœ ⋲⋲ œœ œ œœ œ œœ ‰‰ œœ ŒŒ bb bb bb bb bb œ œ œœ œœ œœ nn œœ & & œœ CD TRACK œ œ œ J 8 PLAYING TIPS œœ œœ ## œœ œœ œœ œœ [Bars 72-86] Here, we go straight into an ‘enhanced’ octave shape, adding you take your time, allowing yourself to ‘program’ in some good fingerings E m11 E Em11 m11
Dm7 ON THE CD
A 7aug A A7aug 7aug
the 5th (Bb) below both octave notes. This becomes a recurring shape in E 12 12 13 13 E E the E remaining soloing and it’s a great, powerful one with 999 which 999 to 12 12 12create 12 13 1313 13 B 10 10 11 11 B B B around which to solo. I recommend 10 11 11 10 10 10 11first 11 and6fourth riffs using fingers to G 6 6 9 9 6 9 9 10 10 G G G 6 6 9 9 6 6 9 9 10 10 6 6 9 9 6 6 9 9 10 10 D 7 7 8 barre third/fourth In this passage, Wes D D 7 7 7 and first/second strings 7 7 7 respectively. 8 8 8 D A 44phrases 44 777 7 77 lots of position changes, so make sure A A A 4 4 whips out some speedy with E E E E 69 555 555 69 69
b
and muting habits along the way. Bar 81 sees another great motif, which is 10 repeated three times, as a call, and then mirrored on a different part999of the 10 10 14 13 11 10 11 12 14 10 999 11 14 13 13 11 10 888 in666bar784. This 11 12 12 scale, as a11 response, section finishes with8a classic blues phrase 7 6 7 7 8 6 777 7 7 8 6 11 10 8 3 6 in sliding up to the 5th (Bb) and then continuing 11bar 1085, repeatedly 8 7 7 5 5 3 6 8 8 9 9 to bring 555 A) in555a tasty sequential lick666in bar 88. the ‘blue’ note into play (b5,
69
bb b & b bbb b b E E E E B B B B G G G G D D D D A A A A E E E E 73 73 73 73
bm7 m7 jEjEEbbœm7 j nnnœœœ œ nnnœœœ œœ ‰ 10 11 10 10 10 11 11 77 77
œœœ œ œJœ J
œœœ œ œJœ ‰ J
11 11 11 11 11 11 8 8 888
8 8
b
œœ œ GG 1313 œ œœ œ nn œœ œ ‰ J ‰ JJ nn œœ œ
11 11 11 11 11 11 8 8 888
bm7 E E Ebbm7 m7
Gbbb13
D m9 D Dbbm9 m9
œœœ œ œœ
11 11 11 8 8
b
999 10 10 10 6 6 777
b
C C Cbb777
œ œœ œ œ nnn œœœ œ œ nœ
œœ bb œœ œ bb œœ
11 11 11 11 9 11 9 888 999 777
b
8 8 666
8 8 666
11 11 11 11 11 888 888
b
E m7 E Ebbm7 m7
œœ bb b b bb œœ b b & & b bb E E E E B B B B G G G G D D D D A A A A E E E E 81 81 81 81
bb b b & bb bb bb b E E E E B B B B G G G G D D D D A A A A E E E E 85 85 85 85
11 11 888
11 11 11 11 11 888 888
œœ œ
11 11 11 11 11 888 888
œœ œœ œœ Œ œœ
9 11 9 11 6 66 888
jFm11 . j. nnnœœœjj œ. œœœjj œ. nnnœœœ œœ œœœ œœ Fm11 Fm11
14 11 14 14 11 11 999 11 11 11 11 11 888 666 8 88
b
b
jjj .. œœœ œ œœœ œœ
11 11 888
9 11 9 11 6 66 888
999 888 666 6 6
999 7 7
99 99 66 66
10 10 777
7 7 888 444 6 6
b
C 7 œœ CCœœbb77 œœ œœ œœ œjjj œ nœ œ œœ œ œœ ‰ œJ œœœœ nn œœ J
9 9 11 11 11 6 66 888
11 11 888
9 9 666
11 11 888
66 66
10 10 10 777
œœ œ œ œ Œ ‰ œœj ‰ œ œœ œ œ œ œ Œ ‰ œœ ‰
10 10 10 777
777 444
999 666
99 99 66 66
999 666
bm7 E E Ebbm7 m7
9 9 99 99 666
œ œ
888 7777 888 7777 888 7777 888
32 GuitarTechniques September 2014
7 7 444
777 444
888 666
777 444
bm9 D D Dbbm9 m9
888 666
666 444
666 333
777 444
œ œJ J 777 444
8 8 666
jjj nnnœœœ œœ nnnœœœ œœ
999 11 11 11 6 6 888
7 7 555
F m11 F Fm11 m11
bb œœ bœ
b # B B Bbb777##999
œœ Œ œœœ œœ Œ œ
œœ œœ
3 3
9 9 888 666 6 6
œœ œœ
œœ. œ. œœ n œ bœ œ nn œœ Œ œ
œœ œœ
bœ œ bbœœ œ œœ œœ
Bbbb7aug 7aug B jjB 7aug . j œœœ nn œœ. bb œœ œœœ nn œœ bb œœ
10 11 10 11 10 11 10 11 10 10 10 10 10 10 11 11 10 10 11 11 10 10 11 11 10 10 11 11 77 77
66 66
G 13 œœ GGbœœb1313 œœ œœ œœ œ œœ œ œœ Œ œœ
9 9 11 11 11 6 66 888
jjj .. œœœ œ œœœ œœ
10 10 777
99 99
œœ œ
999 10 10 10 11 999 11 6 6 11 11 777 666 9 99 999
b D bm9 C C m9 C 777 œ œ œœGGGœb131313 jjj œœ œœ œœ DD m9 œœ œjjj n œ œ œ œ œ œ œ œœœ nn œœ œœ bb œœ œ œ œœ ‰‰ œœœœ nnœœ œœ b b bb b b œœœ ‰‰ ‰‰ œœœ ‰‰ ‰‰ œœœ ‰‰ ‰‰ JJ œ œœ œœ œœ n œ œ b b & œ œ & b JJ œ bb œœ œœ JJ JJ JJ œ E E E E B B B B G G G G D D DD A A A A E E E E 77 77 77 77
œœ bb œœ œ bb œœ
b
B 7aug B Bbb7aug 7aug
Fm11 Fm11 Fm11
10 11 10 10 10 11
88 77 8 77
9 9 10 10 10 666 8 8
11 11 888
999 666
œ œœ
œœ œ œœjj œœ œ œœ œœ ‰ œœ œœ œœ
999 666
777 444
E E E999
999 666
b13 C C Cbb13 13
888 666
777 444
b # B B Bbb777##999
jj j œ ‰‰ œœ œœ ‰‰ nn œœ ‰‰ œœ nn œœ œ 444 222
777 444
333 111
777 555
999 666
œœ œœ J 666 333
WES MONTGOMERY SUNNY PLAYING TIPS [Bars 87-147] Our now-familiar descending chord sequence allows for the colourful inclusion of ‘non-Eb Minor’ notes like the b3rd of Dbm9 (E) and the major 7th (D) of the Eb Harmonic Minor scale, which is a standard way of playing on the Dominant V chord in a minor key (in this case, Bb7). For many of these phrases, you may want to experiment with various positions and 5 5 not just blindly follow the tab and assume that this is the only way to play it, because obviously, the possibilities are endless. For the final phrase in bars
b & b bbbb E E E B B B G G G D D D A A A E E E
b
bm9 D D bm9
E b7 7 E
œ œ
9 9 6 6
8 8 6 6
b7 E E b7
bm9 D D bm9
b7 ## 99 B B b7
7 7 4 4
11 11 11 11 8 8 9 9
9 9 7 7
b
E b7 7 E
12 12 9 9
œ œ œ œ œ œ œ œ œ œ
10 10 7 7
Ó
b
9 9 6 6
10 10
b
8 8 6 6
14 14 11 11
b13 C C b13
9 9 6 6
9 9
11 11
7 7
9 9
11 10 11 11 12 12 10 11 9 77 8 8 9 8 8
14 14 11 11
D bbm9
C bb13
B bb7 ## 9
D m9 C 13 B 7 9 œ. n œ b œ œ œ n œ œ œ œ j œ n œ b œ œ œ n œ œ œ œ œœ œ ‰ n œ œ Œ œ nœ œ
11 11 8 8
9 9 6 6
10 10 7 7
9 9 6 6
E E E B B B G G G D D D A A A E E E 98 98 98
7 7 8 8 8 8 8 8 4 4 6 6 6 6 6 6
b13 C C b13
b7 ## 99 B B b7
b7 E E b7
bm9 D D bm9
b13 C C b13
. œ œ œœ . ¿¿ œ œ ‰ œj œ ‰ ‰ œj ‰ œ ‰ œj œ œœ nn œœ œœ œ œ œœ œ œ œ Jœ J
b b œœ & b b bb Ó ‰ œ œ
9 9 6 6
b #
X 7 X 8 7 8 X 4 X 6 4 6
7 7 4 4
8 8 6 6
b
7 7 4 4
8 8 6 6
b
b
7 9 9 7 4 4 6 6
8 8
7 7 4 4
9 9 6 6
10 10 7 7
11 11 8 8
12 12 9 9
11 11 11 8 11 8 8 8 9 6 9 6
6 6
11 11 11 11 8 8 8 8 8 8 6 6
7 7 4 4
7 7 4 4
8 8 6 6
X X X X
11 11 8 8
8 8 4 4 6 6
10 11 10 11 7 7
b #
8 8 6 6
8 8
7 7 4 4
7 7 8 8 4 4 6 6
b7 ## 99 B B b7
j œ j œ œ œ œ ‰œ‰‰ œ œ J
10 11 11 10 8 8 7 7 8 8 6 6
m9 œ œ j BB b77 # 99 j EE b77 DD bm9 œ n œjj œ CC b1313 j BB b77 # 99 b b b œ œ œ œ œ ¿ œ œ ‰ œ nn œœ ‰ œ œ œ œ b œ œ œ ‰ œ ‰ ‰ œ œ ⋲ ¿ œ œ J ‰ n œ œJ œ œ ‰ œ œ ‰ b œ b & b b J J J
b7 E E b7
9 9 7 7
7 7 4 4
b7 E E b7
œ œ œ‰œ J 7 7 4 4
8 8 6 6
bm9 D D bm9
7 7 5 5
8 8 6 6
jnœ b b œ & b b bb ‰ œ nœ 8 8 6 6 108 108 108
8 8 5 5
bm9 D D bm9
b œ œj œ n œ ⋲ bœ ‰ œnœ œ 6 6
7 7
4 4
5 5
7 7 4 4
7 7 5 5
b13 C C b13
b7 ## 99 B B b7
œ. n œ. b œ. œ nœ bœ
œ. œ
œ. œ
7 7 4 4
9 9 11 11 6 6 8 8
8 8 5 5
9 9 7 7
œ. b œ. œ bœ
œ. œ
9 9 6 6
9 9
7 7 4 4
7 7
b7 E E b7
œ. œ
œ. n œ. œ nœ
bm9 D D bm9
œ œj œ œ‰œ œ
7 7 8 8 4 4 6 6
b13 C C b13
8 8 6 6
œ œ
7 11 11 7 4 4 8 8
b7 ## 99 B B b7
C 13 B 7 9 j œ œ nœ œ bœ nœ œ œ bœ œ œ œ œ œJ ‰ œ n œ ‰ œ b œ ⋲ n œ œ œ ‰ b œ œ ⋲ œ œ œ J 7 7 4 4
8 8 6 6
8 8 5 5
8 8 6 6
7 7 4 4
7 7 8 8 4 4 6 6
7 7 5 5
103 103 103
b7 E E b7
E E E B B B G G G D D D A A A E E E
B bb7 ## 9
93 93 93
b7 DD bbm9 E E b7 m9
E E E B B B G G G D D D A A A E E E
b
C b13 13 C
B b7 7#9 9 B j œ œ œ n b œ ‰ œ ‰ œ œ œ n œœj œ ‰ ‰ bœ œ J ‰ J nn œœ œJ J J
b7 E E b7
œ. œJ ‰
11 11 14 14 8 8 11 11
11 11 8 8
11 11 9 9
8 8
Delay Delay slightly slightly
11 11 8 8
b
D bm9 m9 D
Delay Delay slightly slightly
E D E b7 7 D bm9 m9 . œ œ œ œœ ‰ œ œJ œ ‰ œJ œJ ‰
b13 BB bb77 ## 99 C C b13
œ œ b & b bbbb œ œ Ó E E E B B B G G G D D D A A A E E E
96-97 for example, you may prefer a different combination of strings – say placing more of the octaves on the fifth and third strings, for example. So I highly recommend experimenting beyond the given tab. Bar 98 and onwards sees more 16th-notes appearing (some of them percussive, dead notes), which means more upstrokes to execute. Make sure you take your time with the extended staccato run from bar 109 onwards, perhaps cutting it into bars, half bars or even single beats at first.
C 13 B 7 9 j D m9 œ b œ œ œ ∫œ œ œ ‰ ‰ œ œ ‰ ‰ ‰ œ ∫œ œ b œ œ J J J J
7 7 4 4 89 89 89
b13 C C b13
CD TRACK 8
b
D D bm9 m9 œ. b œ. œ. œ œ bœ
10 10 14 14 8 13 8 11 11 7 13 7 11 11 6 9 11 6 9 11
œ. œ
œ. œ
12 11 12 11 10 10 8 9 9 8 8 8
b13 C C b13
œ. œ
œ. œ
11 11 8 8
13 13 10 10
7 7 9 9 4 4 7 7
B bb7 ## 9 œ. b œ. B 7. 9œ. œ bœ œ œ œ
8 8 6 6
œ. œ
7 7 9 9 4 4 7 7
œ. œ
14 14 12 12 16 14 11 11 16 14 11 9 13 11 9 GuitarTechniques 13 13 11 8 September 2014 33 13 11 8 11 11
98
C b13
b #
b
b
b
b #
b
b
b
b #
E 7 D m9 C 13 B 7 9 œ œ j B 7 9 j E 7 D m9œ n œj œ C 13 j B 7 9 j n œ THE œ n œ TRACKs œ œœ œ b b b b œ œ œ ‰ œ ‰ ‰ œ œ ⋲ ¿ œ œ ‰ œ ‰ n œ œ ‰ œ œ ‰ œ œ ‰ b œ œ ‰ œON œ bCD œ œ ‰ b œ 8-9 b ‰ ⋲ & b œ œJ œ œ ¿ œ œ J J œ Jœ œ œ b œJ œJ œ n œ œ b œ n œ œ œ b Jœ œ ⋲ œ œ œ
Play: JAZZ
PLAYING TIPS E 11 11
CD TRACK 8 7 7 7 8 7 7 7 7 8 8 9 first beat 8 of bars8117/119/1217etc –8 whereas9the phrases 8 9 block of notes on the 4 4 4 ‘response’. 5 4 4 4 4 in between constitute the 6 6 7 6 6 5 6 7 6 7
B 11 7 7 10 11 G 117] From here onwards, 8 8 it’s a masterclass 8 8 X8 [Bar in call-and-response, and D 8around a4recurring riff. 4The ‘call’ 4 7the8 how to base your soloing is of course A X6 6 6 E 103
E b7
D bm9
C b13
B b7 # 9
jnœ . œ. œ. n œ. b œ. j b œ œ b œ œnœ œ & b bbbb ‰ œ nœ ⋲ œnœ bœ ‰ œ œ œ œ nœ bœ E B G D A E6
8
8
5
6
xxxxxxxxxx 6 108 xxxxxxxxxx 6 xxxxxxxxxx
b b & bb bb bb b b bb & b bbbb & b E B E G B E D G B A D G E A D 112 E A 112 E 112
b & bb bb bb bb b bb & b bbbb & b
E b7 E b7 E b7
7
4
5
D bm9 D bm9 D bm9
œ.. œœ. œœ œ
œ.. n œ.. œœ. nn œœ. œœ nn œœJ œ n Jœ J
b œ.. ‰ bbb œœœ. ‰ bœ ‰ bœ
7 7 4 7 4
9 9 6 9 6
10 10 7 10 7
9 9 6 9 6
4
6
7
6
E b7 j E b7 n œ j E b7 n œ
œ œœ œœ œ
34 GuitarTechniques
3
7 7 4 7 4
7
6
4
7 7 4 7 4
7 7 4 7 4
D bm9 D bm9 D bm9
8 8 6 8 6 6
œ.. œœ. œœ œ
œ.. œœ. œœ œ
œ œ œœœ œ
7 7 4 7 4
9 9 6 9 6
7 7 4 7 4
4 4 4
4
4
6
4
J
10 11 10 10 10 10 11 11 10 7 8 7 10 11 10 10 11 10 7 8 7 7 8 7 10 11 10 7 8 7 7 8 7 7 8 20147 September
E b7
8
4
6
5
8 8 6 8 6 6
8
9 7
9
7
6
4
B b7 # 9 B b7 # 9 B b7 # 9
10 10 8 10 8 8
b j C 13 n œj C bœœb13 n n œœj C 13 nnœ œ nn nn œœœ œœ ‰ œ‰ n n œœ J œ‰ n œ J 10 10 10 7 10 10 7 7 10 7 7 7
7 7 5 7 5 5
7 7 4 7 4
j œj œœj ‰ œœœœ ‰ œœ ‰œ
9 11
œ.. œ œœœ. œ
D bm9
7
6
7 7 5 7 5
6
5
B b7 # 9 B b7 # 9 B b7 # 9
10 14
9
11 11 11 8 11 11 8 8 11 8 8 8
jC b13 n œjC œbœ13 n n œœjC b13 n nn œœ œœ nn n œœ œ œ n n œœ J n œ œJ 10 10 10 7 10 10 7 7 10 7 7 7
8 8 6 8 6 6
14 14 11 14 11
11 11 8 11 8
11
8
J
8 8 6 8 6 6
9 9 6 9 6 6
4
E b7 E b7 E b7
7 7 4 7 4
4
4
‰ ‰ ‰
11 11 11 8 11 11 8 8 11 8 8 8
b #
œœ BB b77 # 99 œ œœ ‰ B b‰7 # 9 œœœ œJœ ‰ ‰ Jœ œJ ‰ ‰ œJJ J
11 11 11 8 11 11 8 8 11 8 8 8
10 10 10 7 10 10 7 7 10 7 7 7
E b7 E b7 E b7
11 11 8 11 8
9 9 6 9 6
7 7 4 7 4
7
6
4
œ œœ œœ œ
œ œœ œœ œ
9 6 9 6
10 10 7 10 7
9 9 6 9 6
7 7 4 7 4
6
7
6
4
9
C b13
œ œœ œœ œ 8 8 6 8 6 6
D bm9 D bm9 D bm9
œ œœ œœ œ 7 7 4 7 4 4
B b7 # 9
8 8 6 8 6 6
7 7 4 7 4
4
6
4
j b œj ∫ œ b œ ∫ œœ bb œœj ∫ ∫œ bœ ∫œ bœ ∫œ
œ œœ œœ œ
9 6 9 6
10 10 7 10 7
6
7
9 9 6 9 6 6
C b13 C b13 C b13
œ œœ œœ œ
9 9 6 9 6
7 7 4 7 4
6
4
J
11 11 11 8 11 11 8 8 11 8 8 8
E b7 E b7 E b7
œ œœ œœ œ
œ œœ œœ œ
7 7 4 7 4
7 7 4 7 4
4
4
b jCC bœ13 n œ 13 n n œœjjC œb13 n nn œœ œœ nn n œœ œ n n œœ œJ œ n œ J 10 10 10 7 10 10 7 7 10 7 7 7
œ œœ œœ œ
œ œœœ œ œ 8 8 6 8 6 6
6 6 4 6 4 4
J
11 11 11 8 11 11 8 8 11 8 8 8 E b7
j œj œœj ‰ œœœœ ‰ œœ ‰œ 10 10 10 7 10 10 7 7 10 7 7 7
10 10 10 7 10 10 7 7 10 7 7 7
œ œœ œœ œ 8 8 6 8 6 6
B b7 # 9 B b7 # 9 B b7 # 9
. œ bb œœ. œœ bb œœ. œœ b œ œ bœ
b j C 13 j n œj C bœœb13 œj n n œœj C 13 œœj nnœ œ œ nn nn œœœ œœ ‰ œœœ œ ‰ œœ n n œœ J œ ‰œ n œ J 10 10 10 7 10 10 7 7 10 7 7 7
7 7 5 7 5 5
9 13 11
œ œœœ œ œ
œ.. n œ. œœ. n œ. œœ nn œœ. œ nn œœ
9 9 6 9 6
j œjj ‰ œœ ‰ œœ ‰ œ 8 8 6 8 6 6
œ.. œœ. œœ œ
7 7 4 7 4
9
8
∫œ ∫∫ œœ ∫∫ œœ ∫œ
j œj œj œœ œ œ
8 8 6 8 6 6
œ œœœ œ œ
8 10 11
8
8
10 10 7 10 7
D bm9 D bm9 D bm9
7 7 4 7 4
j œj œœj œœ œœ œœ œ
11
11 13 14 12
11
10
9
D bm9 œ bœ œ b œœ DDnnbbœœm9 œœ b œœ nn œœm9bbb œœœ œœ b œ n œ b œ œ nœ bœ 7 7 4 7 4
8 8 6 8 6 6
12
13
7 11
jœ œ œjj œ.. j œ Œ ‰ œœj œœœ ‰ ‰ œœœ ‰ œj œœœ. Œ ‰ œœ Jœ ‰ ‰ œJ ‰ œœœ œ Œ ‰ œ Jœ ‰ ‰ Jœ ‰ œ œ J J J
B b7 # 9 œœ B bb7 ## 9 œœ œ B 7 9 œ œœ ‰ ‰ Jœœ ‰ œœœ œJœ ‰ ‰ Jœ ‰ œJœ Jœ ‰ ‰ J ‰ JJ J 11 11 11 8 11 11 8 8 11 8 8 8
8 11
j j œ j n œj œœj ‰‰ nn œœ œ nœ œ ‰ nœ œ
9 9 6 9 6
9 9 7 9 7 7
9
E b7 b jE 7 n œ E b7
œ œ b œ œ œ œ œœ œœ bb œœ ‰ œœ œœ œ œœ bb œJœ ‰ œ œœ. œœ œ b Jœ ‰ œ œ.. J
7 7 4 7 4
b jCC bœ13 n œ 13 n n œœjjC œb13 n nn œœ œœ nn n œœ œ n n œœ œJ œ n œ J
7
C b13 C b13 C b13
7 7 5 7 5 5
9 9 6 9 6
œ œ œ.. œ.. b b b & bb bb bb b b b ‰‰ œœœ œœœ œœœ. œœœ. & b bbbb ‰ œ œ œ œ & b œœœ œ
E B E G B E D G B A D G E A D 123 E A 123 E 123
6 6 3 6 3
10 10 7 10 7
E b7 E b7 E b7
b & bb bb bb bb b bb & b bbbb & b
5
œ.. n œ œœ. n œ œœ nn œœ. œ nn œœ. .
D bm9
6
E B E G B E D G B A D G E A D 120 E A 120 E 120
7
4
œ j ∫ œDD bbœm9 œ œj œ œm9 œ œ nn œœj œœ œj ∫ ∫∫ œœœ œœœ œœœ n œœ n œ œ œœ ∫ œ œ œ œ nœ œ ∫œ œ œ nœ nœ
14 10 11 14 11 9 7 8 11 10 14 10 11 9 11 7 8 69 11 7 8 6
E B E G B E D G B A D G E A D 116 E A 116 E 116
6
7
D bm9 C b13 . œ. b œ. B b7 # 9œ. . . . . œ . œ . œ. b œ. œ. œ. œ. n œ. œœ b œ. œ œ. œ œ œ œ b œ œ. œ œœ œ œ œ bœ œ œ œ nœ bœ œ œ œ œ E b7
16 14 11 13 11 8
œ.. œœ. œœ œ
œ.. œœœ. œ œ
œ.. œœœ. œ œ
11 9 12 11 8 9 6 12 9 11 8 9 12 6 9 8 6 9
9 9 7 9 7 7
B b7 # 9
œœ BB bb77 ## 99 j œœ ‰ ‰ œjj œœ ‰ œJœ ‰ ‰ œœ œœ ‰ Jœ ‰ ‰ œœœ œJœJ ‰ J J 11 11 11 8 11 11 8 8 11 8 8 8
D bm9 D bm9 D bm9
7 7 4 7 4
8 8 6 8 6 6
4
œ œœ œœ œ
œ ⋲ œœœ ⋲œ ⋲œ
œ œœ œœ œ
7 7 4 7 4
9 9 6 9 6
7 7 4 7 4
4
6
4
B b7 # 9
œ œ œœœ œ 8 8 6 8 6 6
œœ B bb7 ## 9 j œœ ‰ B ‰7 9 œjj œœ œJœ ‰ ‰ œœœ œœ Jœ ‰ ‰ œœ œœ J
bœ bb œœ bb œœ bœ
7 7 4 7 4
9 9 6 9 6
4
6
11 11 11 8 11 11 8 8 11 8 8 8
8 8 6 8 6 6 D bm9
E
5
116 116
E b7 E b7
œ.. œœ œ
b b b b ‰ œœ œœ b & bbbbbb ‰ œ œ & b œœ
œ.. œœ œ
D bm9 D bm9
œ.. œœ œ
œ.. œœ œ
6
6
jC b13 n œjC œbœ13 n n œœ œ nn n œœ œœ n œ œœ n œ J
œ.. œœ œ
œ œœ œ
‰ ‰
J
b #
œœ BB b77 # 99 œ œœ œ œœ ‰ ‰ œJœ Jœ ‰ ‰ J J
j œj œœ œ œœ œ
5
j b œj ∫ œ ∫œ bb œœ ∫ œ bœ ∫œ
6 E b7 E b7
œ œœ œ
œ œœ œ
D bm9 D bm9
œ œ œ œ œ ⋲œ œ œ œ œ
œ œœ œ
œ œMONTGOMERY œ WES œ œ ⋲ œœ œœ œSUNNY
PLAYING TIPS 11 11
CD TRACK 8 11 9 10 9 7 7 7 9 7 11 11 8Many of you will 8not have tried this style before, but 8 I heartily recommend 8 7 7 7 9 11 10 9 8you give it a go, as the96 rewards 7 are 6 4 4enormous. 4 6 7 4 potentially 8 8 8 8 6 6 8 6 7 6 4 4 4 6 4 6 6
E 10 11 10 B 7 7 7 7 7 9 7 10 11 10 E 10 11 10 G [Bar 135] Here’s another riff of sorts, based on the b3rd (Gb) and root (Eb) 7 8 7 8 B 7 7 7 7 7 9 7 10 11 10 D 7 the 8 7 4 4 4 4 4 6 4 and this idea takes us on another call-and-response journey till very end. G 7 8 7 8 A 6 D 7 8 7 4 4 4 4 4 6 4 E A 120 6 E 120
b & bb b bb bb b bb & b E B E G B D G A D E A 123 E 123
b & bb b bb bb b bb & b E B E G B D G A D E A 126 E7 7 126
bb bb b bb b bb & & b b E B E G B D G A D E A 129 E 129
bb bb b bb b bb & & b b E B E G B D G A D E A E 132 132
b jC œb13 C n œ 13 n n œœj œœ nn n œœ œœ n œ œœ n œ J
J
10 10 10 7 10 7 7 7
11 11 11 8 11 8 8 8
10 10 10 7 10 7 7 7
E b7 j ∫Eœb7 œj ∫œ œœ ∫ œ œ ∫œ
B b7 # 9 œœ B b7 # 9 œœ œ œœ œœ œ œœ ‰ ‰ Jœ ‰ Jœ Jœ ‰ ‰ J ‰ J J 11 11 11 8 11 8 8 8
œ œœ œ
œ œœ œ
9 6
10 10 7
9 9 6
7 7 4
6
7
6
4
9
b j CC bœ13 n œ 13 n n œj œ n n œ œœ nnœ œ n œ J
J
10 10 10 7 10 7 7 7
11 11 8 8
jj b œ bb b b bb b bb œœ ‰‰ & & b b œ 8 8 6 6
10 10 10 7 10 7 7 7
œœ œœ œœ œœ
œœ œœ ⋲⋲
11 11 9 9
j œj œ ‰‰ œœ œ
11 11 11 8 11 8 8 8
E b7 E b7
E b7 E b7
E B E G B D G A D E A E 136 136
j œj œœ ‰ œœœ ‰œ
11 11 8 8
14 14 11 11
œ œœ œ
D bm9 D bm9
8 8 6 6
7 7 4
9 9 6
4
6
11 11 11 8 11 8 8 8
11 11 8 8
8 8 6 6
œœ œœ ‰‰ JJ
D bm9
10 11 10 11 7 8 7 8
bœ ‰‰ bb œœ b œJ J 9 9 6 6
9 6
10 10 7
9 9 6
7 7 4
6
7
6
4
‰ ‰
j œj œœ œ œœ œ
œœ BB b77 # 99 œœ œœ ‰ ‰ œœ Jœ ‰ ‰ œœ J
10 10 10 7 10 7 7 7
11 11 11 8 11 8 8 8
9
jC b13 n œjC œbœ13 n n œœ œ nœ œ nn n œœ œœ œ n œ J
J
11 11 11 8 11 8 8 8
J
7 7 4 4
4
6
10 10 10 7 10 7 7 7
8 8 6 6
œ œœ œ
œ.. œœ œ
œ œœ œ
œ œœ œ
8 8 6
8 8 6
8 8 6
6
6
6
7 7 4 4
7 7 4 4
D bm9 D bm9
8 8 6 6
b j C 13 j n œj C bœœ13 œj nnœ œ n n œ œœ ‰ œ nnœ œ n œ œJ ‰ œ
œœ œœ
7 7 4
8 8 6
11 11 11 8 11 8 8 8
11 11 9 9
10 11 10 11 10 11 7 11 8 10 7 8 7 8 7 8
14 14 11 11
B b7 # 9
œœ œœ
jj B b7jj# 9 œœ ‰ œœ ‰ Œ œœ ‰ œœ ‰ Œ
8 8 6 6
8 8 6 6
8 8 6 6
11 11 8 8
9 9 6 6
E b7 E b7
10 10 7 7
jj œ ‰‰ œœ ‰‰ œ 8 8 6 6
9 9 6 6
œœ œœ JJ 7 7 4 4
11 11 11 8 11 8 8 8
10 10 10 7 10 7 7 7
E b7 E b7
œ.. œœ œ
œ œœ œ
bœ bb œœ bœ
11 11 11 8 11 8 8 8
7 7 4
9 9 6
4
6
8 8 6 6
œ œœ œ
œ.. œœ œ
œ œœ œ
9 9 7
9 9 7
9 9 7
7
7
7
7 7 4 4
7 7 4 4
J
10 10 10 7 10 7 7 7
B b7 # 9
œœ B b7 # 9 j œœ œœ ‰ ‰ œœœj Jœ ‰ ‰ œ J
bœ bb œœ bœ
b j CC bœ13 n œ 13 n n œj œ n n œ œœ ‰ nnœ œ ‰ n œ J
Pick 2nd notes as well 11 14 11 14 8 11 9 8 11 9
B b7 # 9 E b7 œœ B bœœ7 # 9 œœ Eœb7 n œ b œ œœ ‰ œJœ ‰ œ ‰ œœ n œ b œ œJ ‰ J ‰ JJœ ‰ œ nn œœ bb œœ J
j œj œœ ‰ œœœ ‰œ
J
œ jj œ œœ œœ ‰‰ œœ œœ ‰‰ œœ œ ‰‰ œJœ œœ Jœ J J Pick 2nd notes as well
14 14 11 11
C b13 C b13
œ œœ œ
b #
E b7 E b7
œœ œœ JJ ‰‰
10 10 10 7 10 7 7 7
8 11 8 11 6 9 6 9
œ œœ œ
œ œœ œ
b jC œb13 C n œ 13 n n œœj œœ nn n œœ œœ n œ œœ n œ J
j œj ‰ œœ ‰ œ
œ œœ œ
10 10 10 7 10 7 7 7
B b7 # 9
jj n œjjD bœm9 œœ ‰ nn œœ œœ œœ ‰ n œ œ 8 8 6 6
œ œœ ‰ Jœ ‰ J
œœ B b7 # 9 œœ œœ ‰ ‰ œœ œJ ‰ ‰ JJ J
œœDD bbm9 m9 œœ œ œ ⋲⋲ œœ œœ œœ 14 14 11 11
œ œœ œ
D bm9 D bm9
∫œ ∫∫ œœ ∫œ
j œj œœ œ
11 11 8 8
E b7 E b7
11 11 11 8 11 8 8 8
j œj œ œ œ œ 10 10 10 7 10 7 7 7
D bm9 jD bœm9 œœ nn œœj œ bb œœ œœ nn œœ œœ bb œJœ
10 11 10 11 7 8 7 8
D bm9 jD bœm9 n œj nœ œ nœ œ nœ œ
10 10 7 7
11 11 8 8
9 9 6 6
j œj œœ œ
8 8 6
7 7 5
6
5
7 7 5 5
B b7 # 9
œœ œœ œ œœœ
11 11 11 8 11 8 8 8
14 14 11 11
11 11 8 8
C b13 C b13
9 9 6 6
bœ ‰‰ bb œœ b œJ J
j œj n œ œœ nn œœ œ.. n œ
œœ B b7 # 9 œœ œœ ‰ ‰ œœ œJ ‰ ‰ JJ J
œ ‰‰ œœ œ J
7 7 4 4
D bm9 D bm9
œœ œœ
B b7 # 9 B b7 # 9
j œœj ‰ œœ ‰
7 7 8 8 4 8 8 4 6 6 6 6 C b13 C b13
œœ œœ
œœ œœ
8 8 6 6
j œœj ‰ ‰ œœ
j œœj ‰ œœ ‰
8 8 6 6
8 8 6 6
B b7 # 9
jj B b7jj# 9 œœ ‰ œœ ‰ œœ ‰ œœ ‰
j œœj ‰ œœ ‰
7 8 8 7 8 8 4 8 8 8 8 6 6 6 6 4 September 2014 GuitarTechniques 35 6 6 6 6
D E A B E G D 129 A E 129
7 10 10 E 777
b
8 11 11 8 8
7 10 10 7 D 7
8 11 11 8 bm9 8
11
14
11
6 9 8 b7 #11 B 9
11C b13
9
14
11 E b7
7 11 8 10 10 11 7 8 D m9 7 8
7 10 10 7 7
b
8 11 11 8C b13 8
11
14
6 8
B8b7 # 911
j j œ œœ œ j œ œ n œ œœ œ œœ 6 9 œ j B b7 #j9 j6 n œ œ b b b # œ œ œ D m9 C 13 B 7 9 E b7 n œ b œ œ n œD bm9 b œ C bœ13 œ œ œ œœ œ œ ‰ œ 8-9 b j œ j œ œ œ œ ‰ œ TRACKs ‰ œœj ‰ œj œTHE b œ CD j j & b b b b b Eœœb7⋲ œ œ œD b⋲m9œ œ œœ ‰ nn nn œœœ CœœJb13 ‰ œœœ œœJ ‰B bœJ7 # 9‰ œJ ‰ Eœb7 nn œœ bb œœ œœ nnON œ D bœm9b œJ œ œ œ b b # b b b b ⋲ œœ œœ œ ⋲ œ œ J ‰ nn œj œœ ‰ œj œœ ‰ Jœ ‰ œœ ‰ œœ n œ b œ n œj œ b œ ‰ Cœ13œ œ ‰B œ7 9‰ œ ‰ b œœ nn œœ Jœ œœ Jœ œ J œœ œ œj œj œj & b œœ n œ b œ œœ n œ œ b Jœ œ œ œ b œ œ œ œ œ œ œ œœ œ‰œ‰ J b œ n œ œ b TRACK 8 PLAYING & b b TIPS b œ ⋲ 11 11 14 ⋲ œ œ œ ‰ n œ 1111œJ ‰ œ 11œJ11 ‰ 14J ‰ 11J ‰ 9 n10œ b œ9 œ7 n œ 11œ b œ9 ‰ œ7 œ œ ‰ CD œ œ8 J 6 11 8 8 11 8 8 11 8 8 11 8 8 8 8 J
b7 Eœ
8
8
9
Play: JAZZ E B G D E A B E G 132 D E A B E G D 132 A E 132
9 11
9 11 E b7 9
11 11 14
E B G D E A B E G 136 D E A B E G D 136 A E 136
b & b bbbb b & b bbbb b & b bbbb
E B G D E A B E G 140 D E A B E G D 140 A E 140
6 6 9 8 8 11 D bm9 j6 6 9
8 8 11
6 8
6 8 E b7 6
6 8
6 9
7 8 10 11
6 9
D 8 bm9
4 7
b7 Eœ
6 8
6 8 E b7 6
6 8 6 8 6
6 8
6 8
6 8
6 8 4C b13 6
6 8
6 8 B b7 # 9 6
4 7
j j6 œ œj ∫bœ œ œ D m9 ‰ ∫ œ ‰ ‰ œ œj œœj œœJ œj ∫D bœm9 œœJ Eœb7 œœj ‰ œœj œJœ ‰ œœj ∫∫ œœ ‰ œJœ ∫œ ‰ œ8 ‰ œ œJ7 ‰ œ 10 œJ9 4 7 6 7
6
œœ œœ œ7
C b13
9
3 6 7
8 9
10
9
4 7
3 4 6 7
8 9
7 10
6 9
4 7
3
4
œ œœJ œœ J œ7 J4
10
11
7
7 10
8 11
4 7
7 10
4
7
36 GuitarTechniques September 2014
bœ ‰ bb œœ ‰ bb œœJ ‰ b Jœ9 J6
6
C b134
œ œ œb œ Cœ 13 œ œœ œ œ œ7 œ 8
C b13
9
4 7
8 11
6 9
4 7
8
6
4
11
9
8 11
6 9
œœ œœ œ8 6 8
6 8
6 8
6 8
6
6
6 8 6 8 b B 7#9 6
j6 j œ ‰B b7œ# 9 ‰ Œ j j œœ ‰B bœœ7 # 9‰ Œ œœj œœj œ8 ‰ œ8 ‰ Œ
6 8
6 8
6 8
6 8
6 8
6 8
6
6
6
8
E b7
6
7 10
6 9
4 7 8 7 10 11
6 9
7 10
6 9
4 7 8 7 10 11
6 9
8
6
6 D 4 bm9 7 j œ œ n œD bm9 j œ œœJ nn œœ D bœm9 œœ nn œœj œœ J nœ œ œ
j E b7 œ ‰ œj ‰ E b7 œ ‰ œj ‰ ‰ œœ ‰ 7 8 J4 7
6 8
j j œ ‰B b7œ# 9 ‰ Œ j j œœ ‰B bœœ7 # 9‰ Œ œœj œœj ‰ œ8 œ8 ‰ Œ
œ C b13 œ
6
8D bm97 j n œ bœ ‰ nn œœjD œœm9 b ‰ nn œœjD œœm9 ‰nœ œ
10
8 11 14 11 8 11 8 11 14 11 8 11 B8b7 # 9
j j œ ‰B b7œ# 9 ‰ Œ j j œœ ‰B bœœ7 # 9‰ Œ œœj œœj œ8 ‰ œ8 ‰ Œ
œ C b13 œ œœ œ C b13 œ œœ œ œ œ7 œ 8
10
7 8 10 11
10 10 7 7 10 10 7 7 10 10 7 7
b
j œ ‰ nn œœjD bœœm9 ‰ b œ œœj n œ D bœm9 bb œœJ œœj ‰ nn œœj œœ ‰ bb œJœ œ8 ‰ n œ 11œ ‰ b œJ9
6 8
j b7 Eœ b b & b b b b œbj ‰ Eœ7 b & b b b b b œj ‰ œ b & b bbbb œ ‰ 8
E B G D E A B E G 144 D E A B E G D 144 A E 144
6 6 9 8 8 11
8 8 11 11 11 14
j b7 Eœ b b b & b b b œbj ‰ Eœ7 b & b b b b b œj ‰ b œ & b bbbb œ ‰ 8
10 10 7 7 11 8 10 10 11 7 8 7 8 10 11 10 11 7 8 C7 13 8
6 8 E b7 6
j ‰ œ œœ j E b7 œ œ ‰ œ jœ ‰ œœ œœ œ8 8
E b7
6 8 E b7
6 8
E b7
6
6 8
6 8
j ‰ œ œœ E b7 œj œ ‰ œ œ j ‰ œœ œ œ8 œ8 6 8 6 8 6
6
6 8
6 8 6
10 11
7
7 8 10 11
4 7 4
bœ ‰ bb œœ ‰ bb œJœ ‰ b Jœ9 J6
4 7 6 8 4 7 6 8 b C 134 6
4 7
7 8 10 11
6 9
4 7
7 D 8m9
6
b
j œ n œD bœm9 j œ œœ nn œœ D bœm9 œœ nn œœj œœ œ7 n œ 11œ 10
4 7 8 7 10 11
4 7 8 7 10 11
4 7D bm9 8 j œ œ n œD bm9 j œ œœ nn œœ D bœm9 œœ nn œœj œœ œ nœ œ 7 10 11
4 7 8 7 10 11
bœ ‰ bb œœ ‰ bb œJœ ‰ b Jœ9 J6
C b13 4
6
6 8
8 B b7 # 9
6 8
6 8
6 8
6 8
6 8
6 8
6 8 B b7 # 9 6
6 8
6
œœ œœ œ8
j j œ ‰B b7œ# 9 ‰ j j œœ ‰B bœœ7 # 9‰ œœj œœj ‰ œ8 œ8 ‰
j œ ‰ j œœ ‰ œœj œ8 ‰
6 8
6 8
6 8
6 8
6 8
6 8
6 8
6 8
œ œ œœ œœ N.C. œœ œ œ œ7 œ 8 6
6
6
6 8
6 8
6 8
6 8
6 8
6 8
6
6
6
œœ œœ œ7
C b13
4 7
6 9
4 7
6
N.C. 4
6
N.C.
9
4 7
4 7 8 7 10 11
6 9
4 7
4 7
6
4
8
6 8
j œ ‰ j œœ ‰ œœj œ8 ‰
œ C b13 œ
9
bœ ‰ bb œœ ‰ bb œœJ ‰ b Jœ9 J6
6 8
6 8
j6 b 6#j œ ‰B 7œ 9‰ j j œœ ‰B bœœ7 # 9‰ œœj œœj œ8 ‰ œ8 ‰
œ C b13 œ œœ œ C b13 œ œœ œ œ œ7 œ 8
9
6 8
6
j œ ‰ j œœ ‰ œœj œ8 ‰
6
j 6 œ ‰ Œ j œœ ‰ Œ œœj œ8 ‰ Œ
The No.1 The No.1 website website for for musicians musicians
Love this Love this magazine? magazine? You’ll love You’ll love musicradar.com musicradar.com Thousands of Thousands of gear gear reviews and reviews and killer killer video demos video demos
Tips and Tips and techniques techniques to help to help you you play play and and sound better sound better
play: THEORY
ON THE CD
track 10-27
Four-Part Harmony Bridget Mermikides explains the principles and practice of four-part harmony, and how understanding it can make you a more rounded musician and more knowledgable guitarist.
ABILITY RATING
Moderate Info
Will improve your
Key: Various Tempo: Various CD: TRACKS 10-27
Harmony and voice-leading Melody and bass separation Writing for four parts
The history of four-part harmony, based on the simple idea of four voices singing in harmony, is the cornerstone of Western music and its influence can be heard across the centuries, from Bach to The Beatles and far beyond. It can be found in countless chorales, piano pieces, brass, wind or string quartets, songs and even in the basic concept of chords themselves. A complete study of four-part harmony would take years to complete, but looking at its main principles is a fascinating and extremely worthwhile thing to do. First of all, most courses on four-part harmony – aka four-part writing, SATB (Soprano, Alto, Tenor, Bass) etc – might seem like a series of rules to memorise and strictly follow, in order to avoid ‘doing it wrong’. The reality is that these ‘rules’ actually emerged from the pursuit of musical expression rather than the other way around. Once you understand the basic aims and principles of four-part harmony, it becomes easier to absorb and appreciate these ‘rules’ not as abstract ideas, but as evolving from core musical principles. These principles might be summarised as… Singability: Every part must be singable by a human, and this has implications on the range and contour of each of the four voices. This means that the range of each voice is well defined and most melodies are confined to same-note, step-wise (scale) motion or well-considered leaps (chord tones). Independence: Each voice should have its own independent melody. The wonderful effect of good four-part writing is that harmony emerges from multiple
simultaneous melodies rather than as basic block chords. When two or more voices move together with too much similarity, this jeopardises that effect. Musical logic and balance: Inherent in the craft of four-part harmony is a beautiful musical logic, and a sense of tension and release that the listener can appreciate. This can be found ‘vertically’, in that the chords produced have a balanced use of dissonance and consonance. Tense chords will have a tendency to resolve to chords that sound more ‘seated’ – these generally start and end musical phrases. Each chord will be neither bland, nor too esoteric for the style. Each voice will also have a ‘horizontal’ logic (which
The reality is that the rules of harmony emerged from the pursuit of musical expression, rather than the other way around. actually helps them be singable), in that certain tones will have a tendency to resolve in certain directions, and leaps are balanced, in that you won’t hear too many consecutive leaps up or down. These three basic principles explain all the ‘rules’ or guidelines you might hear. You might, for example, have heard of the avoidance of parallel octaves in four-part writing. Why would this be a problem? Because two voices that move together in octaves sound like one musical line, thus jeopardising the independence of the voices in the musical passage. You might also hear that you should never double the 7th note of the key (known as a leading tone). Why? Because a leading tone has a strong tendency to resolve up to the tonic, and so each voice singing a leading tone will either move together (making them no
longer independent) or if they don’t, then one of the voices is likely to not sound logical. And that’s why such things as parallel octaves and doubled leading tones are rare – because they are likely to jeopardise a musical principle (and not sound good), not because they violate some arbitrary ‘rule’. That said, there are examples – even from such masters of four-part harmony as J S Bach – of ‘forbidden’ parallel motion and the like. Why? Because, at that moment, other musical imperatives of melody and narrative were more important than the three principles. It’s music first, and the ‘rules’ should be understood for what they are – merely stylistic guidelines. Now let’s focus on some techniques of four-part writing through a number of examples arranged for the guitar, which will help you understand, arrange and compose a wide range of music. We’ll encounter some ‘rules’ on the way, but they will all be in the service of ‘singability, independence and musical logic’. You’ll get the most from these if, for each example, you learn to sing along each part (if you can reach it) or, better still, do so with other people.
TECHNIQUE FOCUS The rules and logic of harmony sprang from people singing together, so singing harmonies in a pop band – perhaps doing Queen, Beach Boys, Four Seasons, Beatles or Bee Gees covers – is a great way to get to grips with it. Or perhaps you could become a member of a choir – they’re springing up everywhere since Gareth Malone’s TV series, and are a perfect way to meet others with similar musical interests. If you don’t like the idea of that, a barber-shop quartet would not only stretch your vocal prowess, but really embed the principles of four-part harmony into your brain, since they usually follow the Soprano, Alto, Tenor, Bass convention. Singing harmony will feed back to your guitar playing, too: knowledge of chords, transcribing etc. So go on… have a go!
John Eliot Gardener) recording of all of J S Bach’s cantatas on no less than 56 CDs (SDG 2013) – but the two-CD Volume 1 is a great start. Or try Haydn: String Quartets, Op. 76 Nos. 1-6 (Decca 2004) by the Takács Quartet; plus, there are great examples of romantic four-part writing in Schumann’s work, so try Schumann Piano Works (DG 2001) recorded by Wilhelm Kempff.
38 GuitarTechniques September 2014
GETTY IMAGES
TRACK RECORD If you have a few months (and a bit of cash) to spare, you could try The Monteverdi Choir’s (under the direction of
FOUR-PART HARMONY
The Four Seasons’ brand of harmony is still popular, with the musical and film Jersey Boys
The Beach Boys brought sophisticated vocal harmony to pop music in the 1960s
September 2014 GuitarTechniques 39
play: THEORY
ON THE CD
track 10-27
Example 1A THE 4 VOICES OF SATB AND THEIR RANGES
track 11
FOUR PART HARMONY FOR GUITAR Here are the four voices from high to low: Soprano, Alto, Tenor and Bass staff containing the Soprano and Alto voices (with their stems up and down (abbreviated as SATB), as they appear in standard notation. Four-part harmony respectively), and the bass clef taking Tenor and Bass (again with stems up and is traditionally written on the two staves (treble and bass), with the treble down respectively). GUITAR TECHNIQUES MAGAZINE 2 3 4
Ex 1a
The 4 Voices of SATB and their ranges
˙
SOPRANO
&
˙
ALTO
˙
?
TENOR
˙
∑
BASS
∑ ˙
˙
∑
∑ ˙
˙
Example 1B THE 4 VOICES OF SATB AND THEIR RANGES ON THE GUITAR
the guitar, and the very highest Soprano note is a top A on the guitar (17th fret on the first string). Note that the guitar actually sounds an octave higher than written, and that’s why the top line of Example 1a and 1b differ. 4-Part voicing of C major
Ex 1b. The 4 Voices of SATB and their ranges on the guitar
˙
TRACK 11
FOUR PART HARMONY FOR GUITAR
GUITAR TECHNIQUES MAGAZINE 2 3 4
Example 1b shows how these four voices translate to the guitar. They fit surprisingly well, and could go some way to explaining why the guitar and voice go so well together. The lowest note of the Bass range is the lowest on
FOUR PART HARMONY FOR GUITAR
GUITAR TECHNIQUES MAGAZINE 2 3 4
w ˙ wwvoicing of C major 4 ˙ of SATB and their ranges ˙ 4-Part Ex 1b. &The4 4 Voices ˙ on the guitar ˙ w ˙ SOPRANO ALTO TENOR BASS C ˙ GUITAR TECHNIQUES MAGAZINE 2 3 4 ˙FOUR PART HARMONY˙FOR GUITAR w ww 4 ˙ 17 8 3 8 & 4 ˙1 ˙ 13 8 1 ˙ w9 voicing of C major 4-Part Ex 1b. The 4 Voices of SATB and their ranges on the 17 guitar 5 0 12 5 10 5 10 10 ˙ 10 3 ˙ SOPRANO ALTO TENOR BASS C8 8 0 ˙8 w8 17 ˙38 ww9 TRACK 12 1 13 1 Example 24ROOT POSITION TRIADS EXAMPLES ˙ ˙ 5 0 17 12 5 & 4 ˙ 10 Although the ranges cross, 5 it is rare for the voices 10 Bass and Tenor, 10 where the gap can be Voicing and spacing. (the exception is the gap between w8 voicings of C major and Ex 2 toRoot position examples. chord members are given to˙ with a doubled root Here are some representative 34 voicesconsiderably themselves actually crosstriads within a passage310 of traditional four-part writing. wider). 8 0 ˙ Particularly, examples of Tenor dropping below Bass, or Alto exceeding A minor. Note that as triads have three notes, and we are using four voices, w C Am ww – that is to say,www sing a chord Soprano, are extremely rare. Theywcan double, however degree (the root, 3rd or 5th) willwhave to double. The w w most common w w w w the same note. In terms of spacing, there should not be a gap of greater solution is to double the root (although as we’ll see later, 5th is often w w w w w w wthehigher 17 8 3w 8 & between www position than an octave Soprano and Alto, and between Alto doubled in a second inversion voicing) in the bass and then up. 1 13 and Tenor 8 1 w Ex 2 Root triads examples. 3 chord members are given to 4 voices with a doubled root w w 17 5 0 12 5 9 w w w w 10 5 10 10 ww 38 ww 8 w C Am 10 w 0 w w w w www ww w ww w w w5 3 8 12 0 5 12 & www1 ww5 5 8 13 1 5 10 w0 w5 w9 12 w2 w5 w SOPRANO
˙
ALTO
TENOR
BASS
C
E B G D A E
E B G D A E
E B G D A E
E B G D Ex A E
2 position triads examples. 3 chord members are given 10 to 4 voices with a doubled root Root 3 3 0 8 5 Am C E 3 8 12 0 5 B 1 5 8 13 1 5 G 0 5 9 12 2 5 DEx 3 Major 2 scale degree names and tendency tones 10 A 3 3 0 Strong E 8 5 leading subdominant tendency supertonic submediant tone tonic dominant tonic mediant 2
& wwww
ww ww
ww w w
www w
œ œ œ œ œ œ œ Ex 3&Major scale degree names and tendency tones 8 works Now we’ve seen1the basics of how5four-part harmony vertically,13let’s look
œ
www w
B G 0 5 9 12 at howDeach voice principle is minimal motion with 2 moves in time. The general 10 leading subdominant supertonic 3 submediant tone A 3 not tooE many leaps (the Soprano, and particularly the Bass have dominant tonicin one direction 8 mediant
œ
& œ
œ
œ
œ
œ
œ
more freedom of motion than the middle two voices). Most importantly, two of the notes in the scale have a tendency to resolve in a particular direction: E 5 7 B
G Ex 3 D
5 6 8 5 scale degree 7 Major names and tendency tones
A E
E B G D AEx E
E B Ex G D A E
supertonic tonic
& œ5 4
œ7
œ
subdominant submediant dominant mediant 5 5 6 8
œ
œ
œ
5
œ
œ8
tonic
Strong tendency
œ7
œ8
submediant subdominant supertonic
5 7 tonic mediant dominant leading subtonic dominant mediant tonic supertonic subdominant submedianttone tonic submediant subdominant supertonic
4
4 mediant 5 7 dominant tonic leading 7 Melodic minor scale and tendency tonestone
subtonic
œ
œ
œœ
œ œ
œ5
œœ7 6
œ8 œ5
12
œ
œ
#œ #œ œ nœ nœ œ œ œ œ œ œ œ œ œ 40 GuitarTechniques & œ September 2014 5 7 4 5 8 6 5 E B G D Ex A
œœ
w5 w5 ww20
œ œ TRACK 13
5
1 5 10 a very strong tendency to resolve the leading tone (7th note in the scale) has 2 5 5 Strong up to the root (the tonic), and it’s rare to see it not do so in2traditional four-part 10 Weaker tendency tonic0 0 tendency has a tendency0 to resolve to the 3rd writing. The 4th degree (the Subdominant) 5 degree (the Mediant). In particular, when the leading tone and Subdominant appear together, are even stronger. 8 7 the tendencies 8 7 8
#œ #œ œ nœ nœ œ œ œ œ œ œ œ œ 5 7 8 7 œ8 & œ 5 tendency 6 tones 8 4 Melodic minor scale and tonic
ww w 10 w0 Weaker tendency œ œ
œ
Melodic minor scale and tendency tones supertonic subdominant submediant
2 0
12 10
6
leading tone 7
œ
ww w w
œ
Example 3 MAJOR SCALE AND TENDENCY TONES E 3 DEGREE NAMES 8 12 0
10 0
5 dominant 7 mediant
4
tonic 7
5
Weaker tendency
œ6
Strong tendency
#œ
#œ
4
5
œ
5
5
Slight tendency
œ
6 Strong tendency
6
œ
œ7 œœ 6
Slight tendency
8 5
œ œ
œ
œ
œœ œœ 4 5
7
5
7
5
supertonic
œ
tonic
& œ
œ
mediant
œ
subdominant submediant dominant
œ
œ
œ
leading tone
œ
tendency
Weaker tendency
œ
5 7 8 5 6 8 5 7 Example 4 MELODIC MINOR SCALE AND TENDENCY TONES
scale is more complicated than the Major, as in traditional ‘tonal’ writing its 6th and 7th degrees may be altered. This is because classical harmony relies on the leading tone resolution, so the ‘natural’ 7th (Subtonic) is sharpened to create a leading tone when the music resolves. However, the resulting leap
7
8
6
supertonic subdominant submediant
œ
œ
& œ
tonic
mediant
4
7
œ #œ #œ
œ
dominant
5
5
7
œ nœ nœ
œ
subtonic
dominant
tonic
leading tone 4
7
5
Strong tendency
submediant subdominant supertonic
8
6
7 6
5
8 5
TRACK 14
from the 6th (Submediant) to the raised 7th can be awkward melodically (not especially ‘singable’), so it can also be raised. There’s a strong tendency for the leading tone to resolve to the tonic, and a slight tendency for the 4th to resolve to the 3rd (Subdominant to Mediant), particularly when they occur together.
Melodic minor scale and tendency tones
E B G D A E
œ œ
œœ
œ
FOUR-PART HARMONY
E B G D A The EMinor
Ex 4
œ
œ
tonic
œ
5
œ mediant
7
5
œ
œ
#œ
œ
4
5
Slight tendency
œ
œ
7
5
œœ
œ œ
4
5
7
5
tonic
4
7
Example 5 IDIOMATIC HARMONISATION IN four PARTS I IV V7 I PROGRESSION Let’s see how a C-F-G7-C (I IV V7 I) sequence might look on the guitar. The first example shows the bottom four notes of a barre-chord. However, this violates several of our principles: the top two voices drop below their acceptable limit 2 xxxxxxxxxx (so they’re unsingable), the leaps are large, and in the same direction for the last three chords. Plus two voices move in the same direction in octaves (and 5ths), which sabotages their independence. The leading tone in the third chord is not
TRACK 15
resolved by the same voice, and the subdominant resolves to the mediant in a different voice and octave, making it musically illogical. Bar 2 shows the same sequence, but rendered more classically. Each voice is in its range, with a larger interval from Bass to Tenor than between other voices. Voices move minimally and sound independent. Tendency tones resolve as expected. Sing each one and you can see how the sequence comprises four simple and singable lines.
Ex 5 Idiomatic harmonisation in 4-parts of I IV V7 I progression 2 xxxxxxxxxx Unidiomatic I IV V7 I progression
Idiomatic I IV V7 I progression F G7 œœ œ œ œ Idiomatic œœ I IV V7 I œprogression œœ C F G7 œ Idiomatic œœ I IV V7 Iœœœprogression œœ œF œC œ G7 0œ 1œ 1œ 1œ 1 0 œ œ 0œ 2œ 0œ œ œ3 11œ 31œ 0
œ œœ œœ * œœ I IV V7 I progression n œœœ & Unidiomatic œœ + œœF 4-parts Ex 5 Idiomatic harmonisation in I IV V7 I œ progression parallel 5ths Out ofof range C G7 C parallel 5ths n œ parallel S&A Unidiomatic I IV V7 I progression œœ œœ in Soprano octaves/5ths leading tone unresolved œœ * œœF Out of range *+ subdominant & n œœC unresolved G7 œœ + parallel 5ths œœC in Alto œœ parallel S&A 5ths n œ œœ 2œ 4œ 9œ & parallel n9œœœ * octaves/5ths leading tone unresolved in Soprano œ 3œ 3 10 10 + *+ subdominant œ parallelunresolved 3œ 5 10 5ths 10œ in Alto n 1œ parallel 5ths 3œ 8 8 parallel
Out of range G7 C F 2 xxxxxxxxxx Ex 5 Idiomatic harmonisation in 4-parts S &ofAI IV V7 I progression
C
œœ œœ C œœ œC 0œ 1œ œ 0œ 3œ
C
C
E B G D A E E 0 B 1 1 0 1 octaves/5ths leading tone unresolved in Soprano G 2 4 0 2 0 0 9 9 TRACK 16 + subdominant unresolved D 3 3 10 10 in Alto AE 3 5Alto or Tenor, which10 30bar 1 and the D# 302 resolve up by a 10 1 in the second 1 chord of bar In this minor sequence, the Bass has greater freedom than second chord in EB 1 3 11 30 1 1 8 8 have Ga smooth, balanced motion with no Tendency 9 semitone. Notes0that are not in2the key (as these 2 parallel 5ths or octaves. 4 0 aren’t) and 0a semitone sharper 9 Ex with inversions and suspensions D 6 4-Part Harmony 3 3 10 10 tonesA are nicely resolved: the D on the 3third string resolves5to C (Subdominant 10 to than the diatonic3 note tend to resolve up. Non-diatonic notes 3 that are flatter 10 E 1 1 3 semitone (Bb resolves down to A Mediant) and the leading tone (G#) resolves to the tonic (A)3via the 5th of the E78 than the diatonic note tend to resolve down by 8
Example 6 four-PART HARMONY WITH*INVERSIONS AND SUSPENSIONS
b
Am
A7 9
Dm
E7
Am
bœ œœ œœœ # œœœ œœ œœ b œ # n œ Am A7 9 Dm E7 Am & œ Ex 6 4-Part Harmony with inversions and suspensions œœ œœ bœœ b œœm #Eœœ7œ œœm Aœ m A7 9 Dœ A œ # œ n & œ b6œœ œ œ 5œ 5œ 5œ #45œœœ 5œ 5œ 6œ 5œ # n 5 6 7 7 5 & 0œ 0œ 0œ 0œ 04œ 5 6 5 5
#
D dim7
in bar 3. Finally, we have a suspension. The D (Tenor) is due to resolve to C (3rd of A minor) delays resolution toinversions sound momentarily suspended. The C# in the Ex 6 but 4-Part Harmony with and suspensions
E B G D A EE
# œœœ D #dim7 #œ œœ D##dim7 œ ##5œœ 7œ 5 #6œ
A m/E
E
E7
Amsus4
# œœ n n œœ n Eœ E 7 **n œ #*œEœ *delayed n Eœ7toneof resolution n œ leading *#4œ n7œ œ 5œ n œ * ** delayed n 4 resolution 7 of leading tone 04œ * **7 delayed 5 resolution of
Am
˙˙ .. ˙. Am ˙m.. A˙ ˙. . 5˙ 5˙ ˙5 ..
in the Soprano voice in bar 1). This is because a flattened note moving upwards * an unidiomatic leap.** would have It does happen, but generally, it is avoided.
œœ œ A m/E œ œm/E Aœ œ œ 5œ 5œ œ 5 œ7
œœœ Amsus4 **wœ Amsus4 œœ **5œ w 5œœ 7 0w 5
5 5 5 6 5 5 7 5 5 5 7 7 5 5 5 4 leading 7 tone 7 5 0 65 75 5 4 4 7 5 05 06 05 05 7 Adaptation of the in 4-Part 05 5 7 Harmony 5 5 5 5 5 opening6of Bach's05Air on a G-String 5 6 7 7 5 5 5 4 7 7 5 0 TRACK 17 Example 7 0ADAPTATION OF OF BACH’S AIR G-STRING HARMONY C C/B A m THEAOPENING m/G Fmaj7 /F ON 7/F C/G in four-PART G C 6 D 7Da 0 0 0 0 0 This ‘real-word’ example takes an adaptation of the opening of Bach’s Air On A the 5th is doubled in the second inversion triad (C/G). Every chord degree is Ex 7 Adaptation of the opening of Bach's Air on a G-String in 4-Part Harmony j B G D AE EB Ex G D A E
5 5
& 44
5 6
œœ œ œœœ œœœ œœ œ œœ œ œ œ œ œ œ œCœ œœ Aœœœm A œœœm/G œœ œ C/B œ 0 0œ œœ œ 012œœœ œ 012œœœ œ 1œ 1 œ 0œ 0œ 3œ 3œ 2œ 2œ 0œ 0œ 30œ 3œ 0 0 0
#
#
œ˙˙ œ œ œ˙ œ œ œ ˙ ˙œ œ œ # ˙ Fmaj7 Dœ/F # œ Dœ7/F # œ ˙˙ ˙˙ 0 5œ 1œ œ 1˙ #32˙œ˙ 1œ 0œ 1œ 2˙ 0˙ 10˙ 2˙ # 5 1
˙˙ ˙ ˙ C/G ˙˙ ˙ 1˙ ˙ 0˙ 2˙ 3˙
Ÿ~~~~ j œ œ˙ . ˙Ÿ~~~~ ˙ j j œ œ œG . ˙˙ Ÿ~~~~~ Ÿ~~~~ j j 0˙ 1œ œ 0œ . ˙0˙ Ÿ~~~~~ 3˙ 0 1 0 Ÿ~~~~~ 0
˙˙ ˙˙ C ˙˙ ˙˙ 1˙ 0˙ 2˙ 3˙
Ó
G String (GT188). Again, motion is smooth and the Bass and Soprano have more represented in the four-note œ chords (C/B, Am/G and D7/F#). Note how the melodic freedomCthan theC/B inner twoAvoices. Also notice that the roots are always non-diatonic F#C/G in the bass voice of bar 2 resolves m A m/G Fmaj7 D /F # D 7/F # G C up a semitone to G. This is doubled the root position first inversion (C,aAm, G andinD/F#), and Ex 7in Adaptation of theand opening of Bach'striads Air on G-String 4-Part Harmonynot the case in every harmonic context, but is a tendency of non-diatonic notes.
E B G D A EE
B G D AE EB G D A E
& 44 & 44
1 0
1 0
30 1 0
3
3
3
1 2
20 1 0
2
2
2
1 2
00 1 2
0
0
0
1 2
0 31 2
3
0 11 2
3
3
1
5
1
3 2 0
1
0
1
23 2 0
1
0
1
2
1 0 2
31 0 2 3
1
1
1 30
0 0 3
1
Ó
Ó
1 0 2 3 1 0 2 3
September 2014 GuitarTechniques 41
play: THEORY
ON THE CD
track 10-27
Example 8 SIMPLE MELODIC OUTLINE OF SOPRANO PART IN A MAJOR
TRACK 18
GUITAR TECHNIQUES MAGAZINE 4 Baroque style Let’s turn our attention to four-part harmony2in3 the by examining BWV253 FOR is based around a simple melody in A Major. Notice how all the melody FOUR PART HARMONY GUITAR an extract from a work by the master of the style, J S Bach. The opening to notes are chord tones of the underlying harmony. Ex 8
Simple melodic outline of Soprano part in A major
œ
E A G A D A E A D E œ œ œFOUR œ œ œFOR GUITAR œ œ œ œ œ PARTœ HARMONY
œ œ œ œ
A GUITAR TECHNIQUES MAGAZINE 2 3 4
# # & # 44 Ó
Œ
Ex 8 Simple melodic outline of Soprano part in A major GUITAR TECHNIQUES MAGAZINE 2 3 4 A E AFOUR
A
E
E7
A
w
œ œ œ Gœ Aœ Dœ Aœ Eœ Aœ Dœ Eœ Aœ œ Eœ Eœ7 A œ œ w Ex 8 Simple outline of Soprano part in A major # # # melodic 4 GUITAR TECHNIQUES MAGAZINE 234 FOUR PART HARMONY FOR GUITAR Ó Œ & 4 A E A G A D A E A D E A E E7 A 9 9 12 9 9 10 9 9 9 œ œ 10 12 12 10 10 12 12 12 10 œ œ œ œ œ œ œ œ œ œ œ œ Ex 8 Simple outline of Soprano part in A major œ w œ œ # # # melodic 4 Ó Œ A E A G A D A E A D E A E E 7 A & 4 œ9 œ9 12œ œ9 œ œ œ9 10œ œ9 œ œ œ œ œ9 œ9 œ œ w # # 44 andÓ melodic 10in the 12 12 BWV 10 253 10 12 12 12 10 Ex 9 Rhythmic of the melody as opening of Bach's Chorale Œ elaboration TRACK 19 Example AND MELODIC ELABORATION OF THE MELODY & 9 #RHYTHMIC A E A G A D A E A D E A E E7 A The part below is an elaboration of the melody as in theœopening of Bach’s elaborated with some rhythmic variation and with the addition of some simple 10œ 9 œ œ9 outlined œ 9 œ 12in Example œ9 œ108 is nowœ12 œ 9 œmelodic Chorale BWV 253.#The simple skeletal melody variations. œ 10œ œ10 œ 12 œ 9 œ 9 œ 12œ 12œ 10w 12 ## 4 Œ elaboration of the melody as in the opening of Bach's Chorale BWV 253 Ex 9 Rhythmic and & 4 Ó melodic 9 12 9 E A9 E A9 G 12 A 9 D 10A 9 E 12 A 10 D 10 E 12 A 9 7 A 10 12 E12 10 œ œ œ œ œ œ œ œ œ œ œ œ œ BWV œ œ œ w œ 253 œ œ Ex 9 Rhythmic elaboration of the melody œ as in the opening of Bach's Chorale # # # 4 andÓ melodic Œ A E A G A D A E A D E A E E7 A & 4 9 9 10 12 9 9 10 9 9 9 œ œ œ 10 12 12 10 10 12 12 10 12 10 œ œ œ œ œ œ œ œ opening of Bach's Chorale œ œ BWV œ œ œ w Ex 9 Rhythmic elaboration of the melody œ as in the œ 253 œ œ # # # 4 andÓ melodic Œ A E A G A D A E A D E A E E7 A & 4 œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ # # 4 Ó Œ 9 9 10 12 9 10 12 9 10 9 12 10 10 12 9 9 12 10 12 10 Example & 10# Addition 4 of Alto to Soprano part, given simple harmonic progression PART HARMONY FOR GUITAR
E B G D A E E B G D A E B G D A E E B G D A E E B G D A E
E B G D A E B G D Example A E E B
A 9
E A 9 10 12 9
G
A 9
D 10
A 9
E
A
D
E
A 9
E
E7
A
œ œœ œœ œ n œœ œ œ œ œ œ œ œ œ œ œ œ œ œ 10w œ œ œ œ # # 10ADDITION œ 9œ progression œ œ HARMONIC Addition of Alto to Soprano part, given simple harmonic Example 10 OF ALTO TO SOPRANO PART GIVEN SIMPLE œ œ œ ˙ PROGRESSION œ9 œ9 œ . œ wTRACK 20 12 9 10 9 &the #chords44andÓSopranoŒ part,9A we can9 add10 the Now, given Alto. We can introduce there is no unwanted parallel motion. Notice how non-diatonic 10 12 12 10 10 12 10G in bar 2 E A G A D A E A D E A E12the10 E12 7J A some simple rhythmic independence from the Soprano part, and also ensure (which is flatter than the diatonic G#) resolves down a semitone to F#. œ œ œœ simple œ œ œ œ œœœ œ œ œœœ w Example 10 Addition of Alto to œœ œ œœ progression œ harmonic n œ œ Eœ œ Aœ D˙ E Aœ œ Eœ . E 7 œ Aw # # # 4 Ó Œ œœASopranoœœ part,Eœgiven A G A D A & 4 J 10 9 9 10 12 9 9 10 9 9 9 œœgiven Example 10 Addition of Alto to Soprano part, simple harmonic progression œ œ 10 10 12 10 10 12 12 10 10 12 12 10 12 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n12Gœ 11œ Aœ9 11Dœ Aœ9 Eœ9 12œ 11Aœ 11D˙ E Aœ9 œ9 Eœ9 . E 712œ A11ww ### 4 A E A Ó Œ & 4 J œœ œ # # # 4 Ó Œ 10œœ9 10œœ9 10 1212œ 10œœ9 10œ n12œœ œ œœ9 10œ œœ9 12œœ œ 10œœ œ˙ 10œ 12œ œœ9 œœ9 12œœ . 10œ 12œ œ 10ww 12 11 9 11 9 9 11 9 9 9 & 4 J 10
12
12
10
10 12
9
12 10 12
G D A E E B G D A E
E B G Ex D A E B G D A Ex E E B
11
Addition of Bass to complement Soprano and Alto part
12 11
12
11
10 ### 4 9 9 Ó Œ œ 10 œ12 œand & 4 œ partn œ œ 9 œ 10 9 œ œ œ œ œ œ # œ 9 œ 9 œ œ œ œ 11 11 Addition of Bass to complement 9 9Soprano 9 Alto 10 œ 10 E12 A10 10 1212G 11A 9 D 11Aœ 9 E 129 A 10 D 11 10E12 9A 9 129 E10 12E 7 10Aw A 11 12 11 # TRACK 21 Example 11 OF BASS TO COMPLEMENT SOPRANO AND ALTO12PART # # ADDITION 4 Ex 11 Addition of Bass toŒcomplement Soprano and Alto part Ó œ œ œ œ It gets impractical to perform real-world chorale worksœon the solo guitar,n œ so we’ll sequence and Soprano and Alto voices written above, we can create a simple bass & 4 # œ œ œ œ œ œ œ œ and œ part. œ Eœ andEœ7Alto parts. use another guitar part to handle the Bass and Tenor voices. We’llEhearAit onceDalone, A E AUsing the chord G A D A E then with A theœSoprano A œ œ w 2 1 2 2 1 2 # # Ex 11 Addition to complement Soprano and Alto 4 part 5 2 4 2 0 2 4 0 2 2 4 of Bass # & 4 Ó Œ A0 œ Eœ Aœ œ nGœ Aœ Dœ5 A0 Eœ Aœ œ Dœ œ Eœ # œ Aœ œ4 œ Eœ Eœ7 A0 œ w ### 4 Ó Œ œ œ œ œ œ 2 & 4 œ1 2 œ4 n œ5 2 withœ Exampleœ210 œ4 œ2 œ0 œ2 œ4 # œ1 2 œ0 œ2 œ2 Ex 12 Addition of Tenor to Bass Part, making 4 Part Harmonisation œ4 0 5 œ œ0 w0 9 A 10
9 10E12 A9 10 12 10 10
G A 9 D 10A 9 12 12 11 9 11 9
E
9A
A D E 12 10 10 12 9 11 12 11
9
E E7 12 10 12 9 12
A
G D A E E B G D A E
E B G D A E B G D A E Ex E B
A
E
A
G
A
D
A
E
2 1 2 2 4œ 2 4 5 ### 4 œ œ œ œ œ œ 0 5 0 Ó Œ 12 Addition of Tenor to Bass Part, making 4 Part Harmonisation with Example 10 œ œ œ œ œ & 4 œ 2 œ nœ 2 œ # œœ 2 1 œ œ A E A 4 A D A 2 E4 5G 5 0 # # # 4 of Tenor to Bass0 Part, Ex 12 Addition making 4 Part Harmonisation with Example 10 œ œ œ œ œ œ œ Œ A0 œ0 Eœ0 Aœ0 œ0 nGœ Aœ Dœ Aœ #Eœœ & 4 Ó œ œ 3 3 œœ making Ex 12 Addition of Tenor to Bass Part, 10 1 2 14 Part 2 Harmonisation 0 2with 2Example 2 # # # September 42 GuitarTechniques 2014 œ œ œ œ 4 œ 0 2 4 œ Ó Œ 0 0 œ œ œ œ œ & 4 A Eœ A œ nGœ A Dœ A #Eœœ G D A E E B G D A E
A
D
E
1
A 2
E
œœ œ ˙œ œ œ œ œœ œ 4œ œ œœ 1 2 œ 0E 2 A 2A 0 D2 4E 4 œœ œ D˙ œ Eœ œ Aœœ œ œ Eœœ A œ3 œ 2 0 œ 2 1 2 2 2 œAœ4 œ2 D˙œ0 œ2 Eœ4 œ Aœœ œ œ4 œ0 Eœœ2 œ 2
0
2
4
0
2
E7 2
œœ
E27
œœ
E7 1 2 E7
œœ
A
w0 Aw 0 w w2 0 Aw A
### 4 & 4 Ó
A
Œ
E
A
G
œ œ œ œ
œ
A
D
A
E
nœ œ œ œ
E B G 2 1 2 2 D 4 5 A 0 5 E Now we add the Tenor voice, following the established principles. We’ll hear it
Example 12 ADDITION OF TENOR TO BASS PART
A
D
E
A
E
E7
œ œ œ œ œ œ#œ œ œ œ œ œ 2
0
4
2
0
2
1
4
2 4
0
2
2
A
w
FOUR-PART HARMONY TRACK 22
0
once (with the Bass), then with the other two voices (in the other guitar part). Ex 12
Addition of Tenor to Bass Part, making 4 Part Harmonisation with Example 10 A
### 4 & 4 Ó
E
Œ œ œ
G
A
D
A
E
A
D
E
A
E
E7
œœ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ ˙ œ œ nœ œ œ # œœ œ œ œ œ œ œ œœœ œ
0
E B G D A E
A
0
0
0
2
1
2
0
3
3 0
4
0
2
2 0
2
3 2 1 4 2 0 2 4
1 2
0
2 0 2 2 4
2 0 2
1 2
A
w w 2 0
Example 13 HAYDN MELODY SOPRANO PART
TRACK 23
Now we’ll take a famous melody by Haydn (which you might recognise as the German national anthem). The main melody is given to the Soprano part.
GUITAR TECHNIQUES MAGAZINE 2 3 4
FOUR PART HARMONY FOR GUITAR
GUITAR Ex 13: GUITAR Ex 13:
FOUR PART HARMONY FOR GUITAR
TECHNIQUES MAGAZINE 2 3 4 Haydn Melody Soprano Part TECHNIQUES MAGAZINE 2 3 4 Haydn Melody Soprano Part
œ Ex 13: #Haydn Melody Soprano œ . Part 4 Ó œ . JœJ & # 44 & # 44 Ó œ . œJ & 4 Ó E B G E D B A G E E D B A G E D A E
10
8
10
8
10
œ œ œ œ œ œ œ œ œ œ œ œ 7
10
7
10
7
10
1, 5
8
7
8
7
8
7
œ œ œ œ œ œœ œ œ œ œ œ œ œ œ
10
7
8
10
7
8
10
7
8
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
12
10
8
7
12
10
8
7
12
10
8
7
7
10
7
10
7
10
8 8 8
˙ ˙ 1 ˙ 1 1
10 10 10
1, 5
˙ # 2˙ & # 2˙ &# & 2
E B G E D B A G E E D B A G8 E D A 8 E 8
10 10 10
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
10
12
10
7
10
12
10
7
10
12
10
7
1, 5
8
7
7
8
7
7
8
7
7
œ œ œ œ œ œ œœ œœ œ œ œ œ œ 10
7
10
7
10
7
13, 17
œ. œ. œ.
œ #œ œ œ œJ # œ œ œ Jœ # œ œ œ J
˙ ˙ ˙
œ. œ. œ.
œ œJ Jœ J
8
10
8
10
8
10
œ. œ. œ.
œ Jœ œJ J
10
8
7
7
9
9
10
10
15
14
7
10
8
7
7
9
9
10
10
15
14
7
10
8
7
7
9
9
10
10
15
14
.. .. .. . . . .
7
œ œ œ. œ œ œ œ . œ œ œ œ œ # . œ œ œ . Jœ œ œ œ œ . œ œ œ œ œ œ œ œ & # .. œ œ œ . œJ œ œ œ œœ œ œ œ œ . œ œ œ œ & # .. J & . . 1212 1010 1212 1010 1010 88 77 10 77 88 1010 1212 88 10 8 . 10 10 8 . 12 10 12 10 10 8 7 10 7 8 10 12 8 10 8 .
E B G E D B A G E E D B 13, 17 A G E D A 13, 17 E
8
.. .. .. . . . .
FOUR PART HARMONY FOR GUITAR
j œ j œ j œ
œ œ 1˙ œ œ 1˙ œ œ ˙ 1
12 10
8
8
12 10
8
8
12 10
8
8
œ. œ. œ.
œ œJ œJ J
15
14
15
14
15
14
2
w .. 22w .. w .. . 8 . 8 . 8 .
September 2014 GuitarTechniques 43
play: THEORY
ON THE CD
track 10-27
xxxxxxxxxx 22 xxxxxxxxxx Example 14 HAYDN MELODY SOPRANO WITH ALTO HARMONY
TRACK 24
Again, let’s add an Alto part to Example 13, ensuring the general principles of singability, independence and balance are followed. Ex 14: 14: Haydn Haydn Melody Melody Soprano Soprano with with Alto Alto Harmony Harmony Ex
j œ . œœ . œœ œœ œœ œœ œ. J .
# & 44 Ó EE BB G G DD AA EE
88 99
77 88
55 77
88 10 10
77 88
10 77 10
88
10 10
99
12 12 13 13
10 10 12 12
˙ œ œ œœ ˙œ œ œ ˙
j œ . œœ œ . J ..
88 77
10 10
33
55
77
44
77
11
77 88
˙ # ˙ &
88
10 10 77
œœ œœ
œœ œ œ Œ
55 77
55 77
77 88
77
77
œœ œœ
œœ œ œ œœ œœ Œ
88 77
55 77
77 88
77
77
10 10 12 12
˙œ ..
88 10 10
77 88
j œ # œ œœ œœ
˙ ˙
77
10 10 77
99
99 88
10 10 77
. .
œ. œ.
j œ œ J
15 15
14 14
12 12
12 12
88
2 œ . œj 2 œ. œ . w J .
11 œ œ œœ œœ .. œœj œ œ œ œ . œ œœ œ œ œ œ œœjj œ # . œ. J œ œ œ. œ œ œ œ œ œ ˙ . &
EE BB G G DD AA EE
77
10 10 99
1,55 1,
22
EE BB G G DD AA EE
. .
10 10 77
œ œ œ œœ œœ œ œ
13,17 17 13,
. 12121212 .
10 10 10 12 12 10
12 12 13 13
10 10 12 12
10 10
55 77
13 12 12 13 11 12 11 12
77 88 10 88 10
10 12 12 88 10
10 88 12 12 10 10 88 10 11 99 11
12 12
88 12 12
15 15
14 14
12 12
12 12
. .
12 12
Example 15 HAYDN MELODY BASS PART ADDITION
TRACK 25
This example takes a more classical approach than the ‘block-style’ chords of the Baroque choral style. Here, the Bass part has a structural ‘interjection’ approach. Ex 15
Again, we’ll put the Bass voice on a different guitar part.
Haydn Melody Bass Part Addition
# 4 Ó & 4 E B G D A E
œ .. œ
j œ œ œœ œœ œœ œ œ . J .
8
10 7
9
# 4 & 4 Ó E B G D A E
œ
7 8
.. Ó
Œ
. .
5
. ˙
. .
5 7
8 10
œ œ œ œœ œœ œ œ
7 8
10 10
œ œ 4
œ
5
œ œœ
œ
8
12 13
10 12
8 7
œ
Ó
œ
0
œœ œœ
10 9
7
8
œ œ œ #œ
3
œ œœ
7 8
9
0
1, 5
2 44 GuitarTechniques September 2014
7
œœ œœ œ œ œ ˙
˙œ ..
5
3
4
j œ # œ œœ œ
1
. ˙ ˙
j œ . œœ . œ. J .
10
8
7
9
10 7
. .
œ Œ ..
˙
5
5
˙
œ. œ.
. . j œ œ
# &# & E B G E D B A G E D A E
E B G E D B A G E D A E
.. Ó .. Ó
Œ Œ
œ œ
œ œ œ œ
Ó œ Ó œ
œ œ
œ œ œ #œ œ œ œ #œ
. 5 4 5 0 .. Example 15 HAYDN5 MELODY BASS …CONTINUED 3 . PART ADDITION 4 5 0 3 2 . œœ œœ 2 .˙ œœ œœ œœ œ œœ œœ œœ œ # ˙˙ œœ œœ œœ œ œœŒ œœ œœ œœ œ œœŒ œœ œœ &# ˙ & Œ Œ 1, 5
10
5 7 5 7
7 10 7
# &# ˙ & ˙
# &# &
# &# &
E B G E D B A G E D 13, 17 A E 13, 17
7 8 7 8
5 7 5 7
7 8 7 8
5 7 5 7
œ œ œ œ
œ œ
Œ Œ œ œ œ œ
œ œ
7 7
8 7 8 7
7 7
7 7
7 7
10 12 10 12
8 10 8 10
5
5
5
5
5
2
3
5
5
5
5
5
5
5
5
2
3
5
œ œ. .. œœ . .. . 1212 .. 1212 . .. œ .. œ . .. .
5 5
œ œœ œ œœ 10 10 12 10 10 12
12 13 12 13
10 12 10 12
5
3 3
5 5
5
10
10
13 12 12 13 12 11 12
5 5
5 7 5 7
œ œ ˙ ˙ 5 5
3 3
7 8 8 10 7 8 8 10
5
3
4
5
9
7
9
12
8
12 12 10
89
12
9
œ œ
œ œ
2 2
3 3
10
8
10
8
12 10
8 11 12 10 8 11
œ œ œ œ 0
0
0
0
FOUR-PART HARMONY
1 1
˙ ˙
8 12 8 12
˙ ˙ 3 3
. .. TRACK 25 5 . œ . œjj œœ.. œœ œ . œJ J 5
œ œœ œ
˙ ˙˙ ˙
9 10 8 7 9 10 8 7
10 7 10 7
œœ œœ
15
14
12 15
12 14
12
12
œ. œ œ . œJ J
˙ ˙
œ œ œ œ
2
œ œ œ œ œj œ œœœ œ œœ œ œœ œj œœ œœ œ œ
11 10
4
7
œ Œ .. œ Œ ..
˙ ˙
3
2
œ œ œ œ . œ œœ œœ œ œœœ œœ... œœœ œœ œ œ
j œ . œj œ œ œ. œ œ œ 5
0
Œ Œ œ œ œ ˙˙ œ œ œ
5
j œœj œœJ J
5
7 8 7 8
5
œœ .. œœ ..
0
j œ˙ .. œj # œ ˙œ .. œ # œ
1, 5
E B G E D B A G E D 8 A E 8
E B G E D B A G E D A E
4 Ó 44 Ó 4
5
4
4
4
4
0
0
0
0
œ. œœ.. œ.
j 2 œj 2 œœJ . w œ .. w J .
15
14
12 15
12 14
12
12
œ. œ.
œ œJ J
4
4
4
4
5
. .. .
12 12
..
.. w w . .. . 3 3
September 2014 GuitarTechniques 45
play: THEORY
ON THE CD
track 10-27
ExampleS 16 & 17 HAYDN MELODY TENOR ADDED TO BASS PART Finally, we’ll add a Tenor voice to the Bass voice in the second guitar, ensuring that all the principles of singability, independence and musical balance and logic are maintained. Example 16 plays the Bass and Tenor once on their own,
TRACKs 26-27
and Example 17 plays it with the Soprano and Alto parts from Example 14 (which can be used as a backing track for this example). You can hear how all the voices work together to excellent musical effect.
Example 16 and 17: Haydn Melody Tenor added to Bass part (Ex.14) to complete 4 Parts (Ex.15)
# & 44 Ó E B G D A E
8
10 7
9
. .
G
# & 44 Ó
. ˙ # & ˙ 10 7
#
8 10
œ œ œ œœ œœ œ œ
7 8
10
7
10
D7
G
D7
œ œœ œ 3
2
4 5
5 7
5 7
G/D
4 5
8 7
D
œ œ œ œ
œ œ
3
3
3
0
0
0
7 8
D7
G /D
7
D
2 0
0 0
0
D7
7
10 12
8 10
3
0
3
0
2
3
2 0
. .
12 12
10 10 12
10 12
10 11
D7 j # œ. œ œ œ. œ œ & .. œ œ œ . œ œ J C
E B G D A E
12 13
13, 17
. .
0 1
G
2
3
C
3
0
G
3 0
3
46 GuitarTechniques September 2014
3 0
13 12 12
G
5 7
D7/C
7 8
8 10
10
G/B
C
œ œ
3 0
0
3
8 9
œœ ˙ ˙ 3
12
12
8
G /D
œ œ œ œ œ 0
2
10
9
0
9 8
A7
0
0 0
3
1
0 0
j œ
3
8
10 7
˙ 8 12
D7
G
œ œ
˙ ˙
1
0
0 3
3
. .
0 5
œ. œ.
j œ œ J
10 7
15
14
12
12
D
G
˙ ˙
˙œ .
3
3 4
0
0
. .
œ Œ ..
4 5
œ œ œ œ œ
1
11
10 7
G
˙˙
7
3
12 10
9
D
˙ ˙
œ ˙ œ
œœ œ
#
4
8
j œ
8
7
j œ # œ œœ œœ
A
2
j œ . œœ . œ. J .
10
0
E m7
œ Œ œ œ œ œ œ
. ˙ ˙
0 3
7 8
1
8
Am/C A 7/C
0 0
œ˙ ..
œ œ œœ œœ .. œœj œ œ œ œ . œ œœ œ œ œ œ œ œ # . œ. œ œ œ. œ œ J . & E B G D A E
G
7
œœ œœ œ œ œ #œ
G /B Am/C
Œ œ œœ œ œ œ œ
10 9
3
5 7
7
7 8
2 0
œœ œ œ œœ œœ Œ 7
8 7
0
œœ œœ 7 8
10 12
G
œœ œ œ œœ œœ Œ
D
˙˙
12 13
œœ œ œ Ó œ
3 0
4
8
œœ œœ œ œ œ ˙
9
1, 5
2
&
5 7
. .
5
E B G D A E
7 8
.. Ó
Œ
œ
E B G D A E
E B G D A E
œ .. œ
j œ œ œœ œœ œ œ .. œ œ J
œ. œ.
j 2 œ œ . w J .
15
14
12
12
. .
12
G
˙œ .
œ .. w J w
0 3 4
0 4
. .
4 3
œ J 4
Everything you need... A magazine/DVD with tips, riffs, scales and exercises, plus authentic Blues Slide-style tracks to learn!
On sale now! Just £6.99 from WHSmith and all good newsagents
The No.1 website for musicians
Want online advice on how to improve your playing? Get the best advice at musicradar.com Thousands of gear reviews and killer video demos
Tips and techniques to help you play and sound better
Want the digital edition ? Go to pAGE 91
Subscribe to
today...
save up to 31%!
Subscribe for just £25.99 every 6 months! l Get 13 issues for just £59.99, saving 20% off the cover price l Just £3.99 an issue – a 31% saving! l Get your copy up to a week before it hits the shops, delivered to your door for free
SAVE UP TO 31% North American readers
Please see Page 76 or visit: www.imsnews.com/ guitartechniques for info on a fantastic US offer! Overseas reader offer (excluding N. America) Order online: www.myfavouritemagazines.co.uk By phone: +44 1604 251 045
Subscribe to Guitar Techniques today and save up to 31%. Subscribe now for as little as £25.99 every six months, that’s just £3.99 an issue, you’ll also get every copy of your favourite guitar mag delivered days before it reaches the shops. Hurry! Offer ends: 09/09/2014.
Two simple ways to subscribe myfavouritemagazines.co.uk/GTQP2H l Click l Call 0844 848 2852 quoting code GTQP2H Lines are open 8.00am-9:30pm weekdays and 8.00am-4pm Saturdays
TERMS AND CONDITIONS Savings compared to buying 13 full priced issues from UK newsstand. You will receive 13 issues per year. If you are dissatisfied in any way you can write to us or call us to cancel your subscription at any time and we will refund you for all un-mailed issues. Prices correct at point of print and subject to change. This offer is for new UK subscribers to the print edition only. For full terms and conditions please visit: myfavm.ag/magterms. Offer ends: 09/09/2014
play: classical
ON THE CD
Pyotr Tchaikovsky Scène from Swan Lake
tracks 28-29
(Op.20, No.10)
Bridget Mermikides returns to the work of the Russian great, Tchaikovsky, to arrange and transcribe this famous theme from the equally famous ballet, Swan Lake.
ABILITY RATING
Moderate Info
Will improve your
Key: Em Tempo: Various CD: TRACK 28-29
Melodic phrasing Romantic repertoire Melody with chords
This issue marks a return to the music of the phenomenal Russian composer Pyotr Tchaikovsky (1840-1893), whose Dance Of The Sugar Plum Fairy I arranged back in GT192. Tchaikovsky had an incredible talent for composing widely accessible, technically astonishing and perfectly judged evocative themes for orchestral works and the ballet. In fact, his ballet works have a life beyond their functional origins, and include among them the most loved and recognisable melodies in ‘classical’ music. In this article, I’ve arranged the stunning theme Act 2 No.10 from the ballet Swan Lake composed from 1875-76. The ballet – adapted from Russian folk tales – enacts the story of Princess Odette (who takes the lead ballerina role) who has been transformed to a swan by a sorcerer, with a deeply tragic romantic conclusion. The opening of Act 2 depicts the other protagonist, Siegfried, hunting for swan in a moonlit forest clearing, and finding Odette – whose true identity as a beautiful young girl trapped in the vision of a swan is revealed to him. Tchaikovsky’s accompanying music (Act 2, No.10 Scéne – Lake in the Moonlight (Moderato), also known simply as Scène) is both romantic and
dramatic, perfectly capturing a swan-like elegance, a dark sorcery and a deep love doomed to tragedy. This theme is an evergreen favourite for classical music lovers and the general public, and is often played as an orchestral work in its own right. You have also doubtless heard it in numerous films and TV shows, such as the moving last scene of Billy Elliot (although the performance starts with Act II, for reasons of artistic licence!) As always, reducing an orchestral work down to six strings and two
Using your nails
Classical guitarists pluck the strings using the fingernails. These need to be kept shortish -1-2mm above the fingertip - and shaped correctly, so that they create a good plucking action and the best possible tone. Every serious player keeps a variety of nail files and buffers – a big favourite is very fine wet and dry sanding paper. This is used to smooth off the edges of the nails and keep them buffed to a fine polish. The better the nails, the better the tone!
hands is a challenge, but Tchaikovsky’s melodic writing is so powerful that it translates very well. I’ve transposed the original key of B Minor down a 5th to E Minor, to utilise the range and open strings of the guitar more idiomatically, and captured the orchestral gestures as best as possible with arpeggios (and from bar 48, the use of the tremolo technique) to mimic the tremolando used by the orchestral bowed strings. As ever, take your time to get the various techniques under your fingers, referring to the tab captions for the trickier sections. You’ll want to have a technical fluency when coming to perform this, as the piece requires a fluid and expressive control of tempo for it to sound its best.
Tchaikovsky: one of the all-time great composers
I’ve transposed the original key of Bm down a 5th to Em to utilise the range and open strings of the guitar. NEXT MONTH: Bridget arranges a section from Bizet’s Carmen
Track record There are many powerful recordings of Swan Lake, but you can do far worse than the 2004 remastered EMI Classics two-CD set of Sawallisch and the Philadephia Orchestra. For a more contemporary recording of Scéne, among other stunning ballet favourites, check out a collection such as Tchaikovsky: Ballet Suites (Berliner Philharmoniker 1996 Deutsche Grammaphon).
50 GuitarTechniques September 2014
Pyotr Tchaikovsky Scène from Swan Lake PLAYING TIPS
cd track 29
[Bar 2] After the first chord, the famous melody begins right away in bar 2. I’ve had to simplify the orchestral harp arpeggio accompaniment a lot to make it playable on the guitar. However, the harmony is still intact, and the main focus needs to be on the tune, so bring out that top line with rest strokes where possible. There is some indicated fingering for both hands for the first couple of bars to GUITAR TECHNIQUES 2 3get 4 you started; after that, the same kind of
Bridget's Bridget's Bridget's Bridget's C
GUITAR TECHNIQUES 2 3 4 GUITAR TECHNIQUES 2 3 4 GUITAR TECHNIQUES 2 3 4
©»¶∞ ©»¶∞ # 4 ©»¶∞ ©»¶∞ & ## 4 &# 4 & 4 & 4
E B E G B E D G B A E D G E B A D1 G E A 1 D E A 1 E 1
# & ## &# & & E B E G B E D G B A E D G E B A D6 G E A 6 D E A 6 E 6
# & ## &# & &
E B E G B E D G B A E D G E B A D 10 G E A 10 D E A 10 E 10
# & ## &# & &
E B E G B E D G B A E D G E B A 15 D G E A 15 D E A 15 E 15
# & ## &# & &
Em Em Em Em
Em Em Em Em
˙ ˙ ˙ ˙ œ œ œ œ7
˙ ˙ ˙ ˙ œ œ œ œ7
ggg www ggg www gg www gg ww gg w0 ggg 0000 gg 00022 ggg 20020 gg 2022p ggg 02p p 0
7 7 7 0 0 0 0 D D D D
£œ ¢£ ˙œ ¢£ ˙œ ¢£ ˙œ ¢˙ 4 5 4 5 4 5 4 5
Bm Bm Bm Bm
œœ .. œ. ˙œ ˙œœ . ˙œ . ˙.
3 4 3 4 4 3 2 4 4 3 2 4 4 2 4 2 Em Em Em Em
p
7 7 7 7
œ œ œ œ 0 0 0 0
0 1 0 0 1 0 0 1 3 0 0 1 3 0 3 3
0 0 0 0
0 0 0 0
A m/C A m/C A m/C A m/C
™œ £™ œ˙ £™ ˙œ £™ œ˙ £˙ 2 2 3 2 3 2 3
œ œ œ œ
œ˙ œ˙ œ˙˙ œ˙˙ ˙ ˙
œ œ œ œ
œ œ œ œ
œ œ œ œ
C C C C
7 7 7 0 a 0 p a 0 p a 0 p a p
2 2 2 2
œ œ œ œ
œ œ œ œ
0 0 0 0
1 1 1 1
5 4 5 4 5 4 5 4
˙ œ ˙œ œ˙œ œ œ œœ nn ˙˙œœ œ˙œ œ œ œ nn ˙˙œ œœ œ œ œ nnn ˙˙ œ œ ˙
œ œ œ œ
œ œ œ œ
3 3 3 3
5 5 5 5
œ œ œ œ 3 3 3 3
œ œ œ œ
œ˙ ™™œœ ¢¢œœ œ˙ ™œ ¢œ ˙œ˙ ™œ ¢œ œ˙˙ ˙ ˙
C C C
œ œ œ œ 0 0 0 0 m m m m
0 1 0 0 1 0 0 1 3 0 0 1 3 a 0 3 m a 3 i m a p i m a p Em m i Epm i Epm Em
3 3 3 3
5 5 5 5
i i i i
m m m m
i i i i
œ. œ. œ. œ. œ œ œ œ7 7 7 7 0 0 0 0
Am Am Am Am
œœœ . œœ .. œœ . œœ œ œ0 1 0 2 1 0 2 1 0 0 2 1 0 2 0 0
œ nn œœ œ nœ œ nœ œ
œ œ œ œ
Em Em Em Em
¢œ ¢œ ¢œ ¢œ
1 1 1 1
3 3 3 3
Œ Œ
œ Jœœ Jœ J J 2 2 2 2
2 2 2 2
¡œ ¡œ ¡ Œœ ¡ Œœ
œ. œ. œ. œ œ. œ œ œ œ
j £œj œ . œœ££œœjj œœ .. œ œœ£œ œ . œ œ œ œ œœœ œ œ œœœ œœ œ œ œ7 0 8 œ7
™œ . ™œ . ™œ . ™œ . œ
7 7 7 0 m 0 p m 0 p m 0 p m p
j œjj œœ .. œj œ . œ œ. œ œ œ œ œ7 8
œœœ . œœ .. œœ . œœ œ œ0 1 0 2 1 0 2 1 0 0 2 1 0 2 0 0
j œjj b œœ œj b ˙œœ œ‰ b ˙œœ œ‰ b ˙œœ ‰ ˙ ‰ ˙ 1 3 1 2 3 1 2 3 1 2 3 2 3 3
œ œ œ œ 3 3 3 3
j œjj œœ .. œœ œœj œ . œ œœ œ œ . œœ œ œ œœ œ œ
0 0 0 0 0 0 m 0 i m i m i m i
7 7 p 7 p 7 p p
7 7 7 0 0 0 0 Am Am Am Am
C7/G C7/G C7/G C7/G
3 3 3 3
LAKE LAKE LAKE LAKE
Em Em Em
0 0 0 8 0 0 8 0 0 8 0
7 7 7 7
0 0 0 0
5 4 5 4 5 4 5 4
œœ œœ œœ œœ
œ œ œ œ
- SWAN - SWAN - SWAN E- mSWAN
¡œ ¡œ ¡œ ¡œ
2 2 2 2
j ¢ œj œ œ¢ œj œ œ¢ œj Óœ œ¢ œ Óœ œ Ó Ó
3 4 3 4 4 3 2 4 4 3 2 4 4 2 4 2
1 1 1 1
C C C C
p p
0 0 0 0i i i i
œœ .. œ˙œ . œ˙œ . ˙œ . ˙.
œ œŒ œŒ œŒ Œ
0 0 0 0
2 2 2 p 2 p
œ œ œ œ
Bm Bm Bm Bm
3
j j œ œ œj œœ œ œj Óœ œ œ Óœ œ Ó Ó
œ œ œ œ
Classical Classical Classical Classical
technique should be used throughout. On beat 3 of bar 2, hold the C chord as long as physically possible so it sustains under melody. The same applies on beat 3 of bar 4 with the C7 chord – this same principle should be used throughout the piece wherever there is a minim (two-beat note or chord) in the accompaniment. [Bar 13] A full barre is needed for the F# chord, and again at 17 for the F chord.
8 8 8 i i i i
œœ œœ œœ œœ
œ œ œ œ
0 0 0 0 0 0 0 0
7 7 7 7
7 7 7 0 m 0 p m 0 p m 0 p m p
j œjj œj œ œ
7 7 p 7 p 7 p p
8 8 8 8
j C/G œjj C/G œ œ˙ œ œœj C/G œ œ ˙œœ œ ˙ œ ˙ ˙
œ œ œ œ 0 0 0 0
j œjj œœ œœj œœ œ œœ œœ
1 1 2 1 2 3 1 2 3 2 3 3
F F F F
œ. œ. œ. œ. œ œ œ œ7
7 7 7 0 0 0 0
7 7 7 7
C7
j C7 ¢œ C7 j œ C7 œœ œ£jb¢¢œœ˙ œœ œœ œ£j™b¢œ˙ œ œœ œ£™b ˙ œ œœ £™b ˙ ™˙ 0 0 0 0 0 0 0 0 0 0 0 0
j œjj b œœ œj b œ œ b œœ œ b œœ œ 0 0 0 0
0 0 0 0 0 0 0 0
œ œ œ œ
# ## œœœ .. œœ # # œœ œ # œ œ œ œ22
2 3 2 2 4 3 2 2 4 3 2 2 4 3 2 2 4 2 F7/E F7/E F7/E F7/E
j œjj œ œjb ˙œ œ b ˙œ œ b ˙œ b˙ 2 1 2 1 2 1 2 1
C7 C7 C7 C7
j œ œ. j œ œ. œ . œ œœœ œœjj bb œœ œ . œ œœ œ b œœ œ œ œœ b œœ œ œ
œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3
# # #. œ # # œœ# .
1 3 1 3 1 3 1 3
3 3 3 3 3 3 3 3 3 3 3 3
C7 C7 C7 C7
F F F F
œ nn œœ œ nœ œ nœ œ 3 3 3 3
7 7 7 7
œœ œœ œœ œœ
œ œ œ œ
0 0 0 0
3 3 3 3
œ. œ. œ.œ œ.œ œœ œœ œ œ7
8 8 8 8 i i i i
œ œ œ œ
œ œ œ œ
n œ .. nœ. nœ nœ. nœ. nœ n œ1 1 2 1 2 1 2 1 2 1 1 1
0 0 0 0 0 0 0 m 0 i m i m i m i
7 7 7 0 0 0 0
C/G
3 2 3 2 3 2 3 2
j œjj œœ œœj œœ œ œœ œœ
b b b b
œ œ œ œ 1 1 1 1
œ œ œ œ
œ œ œ œ
n ˙œ˙œ n œœ˙ n œ n œœ˙ n œ n œœ n œ œ nœ œ0
0 0 0 0
3 1 3 1 3 1 3 1
B7 B7 B7 B7
b 13 b 9 b 13 b 9 b 13 b 9œ bœœ13 b 9œ
0 0 0 0 0 0 0 0 0 0 0 0 0
1 2 1 2 1 2 2 1 2 2 2 2
jEE m/B m/B œjjEœm/B œjEœm/Bœ œ œœ . œ œ œœ . œ œ. œ œ. 0 0 0 0 2 0 2 2 2
0 0 0 0
2 2 2 2
œ œ œ œ
œ œ œ œ
0 0 0 0
2 2 2 2
Em Em Em Em
n ˙œœ˙ .. n œœ˙ . œ n œ˙œ . œ n œœ œ œœ œ0
n œœœœ œœ nœ nœ nœ 3
0 0 0 0
0 0 0
3 3 3 3
œ œ œ œ
Em Em Em Em
0 0 0 0 0 0 0 0 0 0 0 0 0 D D D D
3 3 3
œ œ œ œ
œ ‰œœ ‰œ ‰ ‰
4 4 4 4
2 2 2 2
œ˙ œ˙ œ˙ œ˙ 4 5 4 5 4 5 4 5
#/C # # # # œ#/C/C.. # # œ#/C##œ F F F F
œ œ œ œ 2 2 2 2
2 2 2 2
œ œ œ œ 0 0 0 0
B7 B7 B7 B7
b 13 b b 13 b b 13 b bœ13 b
2 2 4 2 4 4 4 9 9 9 9
œ œœ œœ n œœœ œ nœ nœ
4 4 4 4
3 3 3 3 Em Em Em Em
2 2 2 2
¢ œœ ¢œœ ¢¢œœ œ ¢¢œœ ¢¢œœœœ œ œœ œ œ œ 0 0 0 0
œ œ œ œ 0 0 0 0
5 5 5 5
3 1 3 0 1 3 0 1 3 3 0 1 3 0 3 3
œ œ œ œ
nœ n œ˙ nn ˙œœ ˙ n˙
2 2 2 2
œ nn œœ œ nœ œ nœ œ 0 0 0 0
2 2 3 2 3 2 3
2 2 2 2
œ œŒ œŒ œŒ Œ
0 0 0 0
Am/C Am/C Am/C Am/C
œ œ œ œ
1 1 1 1
3 B B B B
j œ. œ j œ. # œ œ # œ # œ . œ # œ . # œ # œ # œjj œœ .. œ # œ # œ # œ # œ œœ #œ #œ #œ œ #œ œ2 1 2 1 1 1
C C C C
2 2 2 2 2 2 2
œ œ œ œ 4 4 4 4
œ Jœœ Jœ J J 4 4 4 4
j œjj œj œ‰ œ‰ ‰ ‰ 0 0 0 0
œœ n ˙œœ˙ œ œ œœ œœ œœœ œœ n œœ˙ œ 2014 œ œ œœ œ 51 September n œ˙œ œ œ œœ œGuitarTechniques n œœ œ œ œ œ œœœ œ
Bm
j œœ . œ œ œ œ œ b ˙œœ œ œ J ‰ ˙
Am
j œ œ œ œ œ Œ Ó
# œœ . œ ˙.
play: classical &
PLAYING TIPS E
C7/G
0
B 0 theme 1 3is repeated 1 3 1 version 3 [Bar 19] Here 3 the famous main – in the original G 4 5 2 2 3 it’s D much more 4 fully 4orchestrated at this point, so 2can be played2more A 2 0 E 3 15
Em
C
Em
# ˙ œ˙ œ œ n œ n œ œ & œ œ œ ˙ n˙ œ E B G D A E
7 0 0 19
0
0 1 0
0
0 7
2
3
œ. œ
5
œ œœ
7
3
j œ œ. œ
7
0
0
F7/E
b
# #
F /C
B
j j œ. j nœ. œ #œ . ON THE CD tracks 28-29 œ œ # œ œ œ œ . n œ b œ˙ # œ #œ œ J œ # œ œ ‰ nœ
0
œ œœ
7
0 8 0
F
1
1
2
2
4
2
cd track 29
1 While the guitar can’t recreate 2 0 dramatically than1 at the start. an orchestra’s 4 2 2 3 size and power, 3 it has1its own dynamics and 4we must capitalise4 on these. 3
1
j œ œ.
7
7
B7 13 9
Em
j œ œ œ œ œ b œ œ œ œ œ œ nœ
œ
0 8 0
b b
C7
0 0
0
3
7
0
0
3
1 2
3
2
œœœ n ˙œœ œ œ œœ œœ œ œ œ
3
0 0 0
2
2
0
0
5
0
3 1 0
2
3
2 Title 2 Title 2 Title
C
C # ˙ œ œ œ œ ˙ œ ˙ C &# œ œ œ ˙˙œ œ œ œ ˙ & # œ œ œ ˙œ œ œ œ & œ œ œ œ ˙˙˙ 0 2 3 5 œ7 0 1
E B G E D B A G E E D B 23 A G E D 23 A E 23
# &# &# &
E B G E D B A G E E D B 27 A G E D 27 A E 27
# &# &# &
E B G E D B A G E E D B 32 A G E D 32 A E 32
0
7
7 0 0 D0
7
0
7
0
0 0 1 3 0 0 1 3 0
0 0
7
2 2
5
3
5
A m/C
œœ . œœœ˙ .. œœ˙ .. œœ ˙.
Bm
3 4 4 3 2 4 4 3 2 4 4 2 B
7 0
0
2
0
3 2
0
3 2
0
1
0
1
0
3 4 5 4 4 3 2 4 5 4 4 3 2 4 5 4 4 2 Am
1
3
j œ œ œj œ œ œj œÓ œ œÓ Ó0 4 4 4
5 5 5
0
3
0
1
3
0
1
3
1 2 0 1 0 2 0 1 0 2 0
3
2 2 2 F
2 2 2
3
7 0 0
œœœ . œ œ Am Am Œœ œ œœœ . Œœ œ œœœ . Œ œ0 1
3
1
3
1
1 2 0 1 0 2 0 1 0 2
3
0
7
0 0 0 0 0
7
7
7 0
7
0
C/G
2 3 2 F
3 3
F
3 3
3
3 3
3
#
3 2 2 3 2 2 3 2
0 0
Am
3
j C7/G n Fœ œ Am œj bC7/G œ˙œ œ œ n F˙œ œ33 œ Am˙˙˙ 3 œ œ‰j b œ˙œ œ œ ˙ œ ˙˙˙ 3 œ œ‰ b ˙˙œœ œ œ n œ˙˙ œ œ ˙˙˙ œ n˙ ˙ ‰3 ˙1 3 0 n ˙1 1 1 ˙01 0 3 2 1 3 3 2 1 3 3 2
0
7
0
3 3 3 3 3 3 3
0
j # œj C/G œC/G œ œ # #FFœœœ# .. œ œj ˙œ œ œ # œœ œ œ œ œ˙˙ œ œ # # œœœ . œ # œœ œ œ ˙˙ ˙ 3 0 œ22 3 1 2 1 3 2 1 3 2
0
2 1
0
2 1 2 1
3
1 1
b B7 b9 3 B 7˙ ˙b 9 3 B17 9
n Fœ œ3 œ œ œ3 œ n F˙œ œ3 œ n œ˙ œ3 œ # ˙ n ˙˙œ œ œ n ˙œ œ œ # ˙˙ n ˙˙ n˙ # ˙˙˙ 1 1 1 1
3
B 7 13 9
Em
2 1 2 2 1 2 2
0 0 0 0 0 0 0 0
j Cœ7 œ. Em œ nE˙œœm. œ œ œ œ œ . œ œœ œj bCœœ7 œ œœ . œ œœ œj b œœ œ n œœ œ n ˙˙œœœ .. œ œ œ œ Œœ œ œ n œœœ œ œ œ œ Œœ œ œ œœ b œ nn œœ 0 3 0 3 Œ œ7 œ00 œ 0 1 0
7
2 3
b b b b œ BB 77 bœœ1313 b 99œ œ
C7
0 0 8 0 0 8 0
7
0 Am
C7/G
œ œ Amœœœ . œ œŒ œ œœœ . œ Jœ œŒ œ œœœ . œ Jœ Œ œ0 œ J
Am
3
0
Am
1
7
j œ œ œj œ œ œj Óœ œ œÓ Ó0
A m/C
0 0 8 0 0 8 0
7
0
Bm
Bm. œ œ œ œ D œ˙ œ A˙m/C œ Bmœœœ˙ .. œ˙ œ œ˙ œ œ œœœ . œ˙œ . œ˙ œ œ˙ œ ˙.
Bm
7
3
D
4 5 4 5 4 5 Bm
7
7
0
# # Bœ œ3 œ Am˙˙ 3 œ & # # Bœ 3 œ Am˙˙ 3 œ ˙˙ ˙ œ & # ˙˙ œ 52 GuitarTechniques œ œ 2014 ˙ & # œ˙ September ˙ ˙0 0 E
3
Eœm. œœ Eœm. œ œœ . œ œœ œ œ œœ œ7 0
j j œj œ . œj œj œ . œ œœ œj œ œœ . œ œœ œ œ œ œœ 7 8 œ 0 8
Em
3
1 1
2 0 1 0 2 0 1 0 2
0 B7 B7 3
œ B7˙˙ 3 œ œ ˙˙˙ 3 œ œ ˙˙˙ œ ˙˙
2
4 4 4
0 0
3
3 3
2 E m/B
2 0 D
3 0 3 0 3
0
0 2 0 2 2
0 0
4
2
4
2
4
2
Am
3
# Bœ œ3 œ Am˙˙˙ 3 œ # œ˙ œ3 œ ˙˙˙ 3 œ # œ˙ œ œ ˙˙˙ œ ˙ ˙0 0 4
0
0
F
2
2
2 2
0
0 0
0
2
0
2 2
Am/C jE m/B D Am/C œ œœjEœm/Bœ œ œ Dœ˙ œ Am/C nœ œ nœ œ œj œ . œ œ œ‰ œ œ nn ˙œ œ n œ œ œ . œ œ ‰œ ˙œ˙ œ nn œ˙ œ n œ n˙ œ. ‰ 0 0 0 1
B B
2
3
4
4 2
4
4 2
4
2
Am
4 4
4
1 2 0 1 0 2 0 1 0 2
0 0
3
0
2
0
3 2
0
3 2 3
3
0
1
0
1
Am
n Fœ œ3 œ Am˙˙ 3 œ n F˙œ œ3 œ Am˙˙˙ 3 œ n ˙œ˙ œ œ ˙˙˙ œ ˙ n ˙˙ n ˙1 1 1 ˙01 0 2 1 2 1 2 1
0
3
4 5 4 5 4 5 F
1 1
b B7 b9 3 B 7˙ ˙b 9 3 B 17 9
n Fœ œ3 œ œ œ3 œ n F˙œ œ3 œ n œ˙ œ3 œ # ˙ n ˙˙œ œ œ n ˙œ œ œ # ˙˙ n ˙˙ n˙ # ˙˙˙ 1 1 1 1
3
3
1 1
2 0 1 0 2 0 1 0 2
0 0
0 B7 B7 3
œ B7˙˙ 3 œ œ ˙˙˙ 3 œ œ ˙˙˙ œ ˙˙
4 5
D A E
27
4 2
3
Bm
4
Am
j œœ . œ œ Bm œ˙ . œ j œœ . œ Óœ œ˙ . œ PLAYING TIPS Ó
# & # &
2
0
2
C7/G
œ œ Amœœœ . Œ œ œ. œ œ œœ œ Œ œ
œ J œ J
4
3
F
Am
3 3 j n œ œ œ ˙ œ bC7/G F œ3 Am˙˙ 3 œ œœ œ ˙ j˙ œ‰ b ˙œœ œ œ nn œ˙˙ œ œ ˙˙˙ œ ˙ ‰ ˙ 0 n ˙1 1 ˙0 0
E 0 B 1 3 1 3 1 3 0 1 3 G [Bar 34] The 4 piece5changes gear into crotchet 2 2triplets and 3 begins to build 2 D in intensity 2 4 until4 it hits the tremolo at bar 2 48. There is a gradual accelerando E A 0 is maintained until around 0 bar 60, 1 2 section, and a faster tempo B E through this 3 0 1 3 1 3 1 3 1 3 1 G 32 4 5 2 2 3 2 D 4 4 2 2 A 2 0 E 3 B Am F B17 9 32
3
3
E B G D E A B E G 37 D A E 37
# & # & E B G D E A B E G 42 D A E 42
4
4
2 4
4
4 4
2 F
0 1 2
0
0 1 2
0
2
0
3
1
1
Am6/E
1 1 2
3 1
1
# ˙Œ . # ˙˙Œ . ˙ 2 2 2
1
1
1
3
Am6/E
1
1
1
1
3
2
œœ3 œœ
œœ œœ
1 2
1 2
1 2
1 2
˙Œ ˙˙ Œ˙ 2 2
0 0
E
b
Œœb b ˙œ Œ b˙
˙œ 3˙ ˙˙ œ
E
2
3 1 3
2
1 2
3
F
Am
3
œ Am˙˙ œ ˙˙ œ n FœScène œ3 œ Am Pyotr Tchaikovsky ˙3 ˙ œ3 from ˙ 3Swan Lake œ œ ˙˙˙ œ nn œ˙˙ œ œ ˙˙˙ œ ˙ ˙ cd track 29 n˙ 3
3
4
0 1
4
4
0 B7
3
1 2
Am
2
1 2 1 2 1 2 1 2
3
3
1
1
1
0
1
2
2
3
1
1
0 1
0
3
0 B7
b
17 9 B
3
1
2 1 1 2
0
1
1
b
B 7 13
3
œ œŒ œ œ bb3œ˙ ˙3 ˙ œ œŒ œ œ bb œ˙ ˙ ˙ 3
3
1 3
1 2 1 2 1 2 1 2
1
1
3
3
3
3
1
3 1
1
4 3
2
n Fœ œ œ œ œ œ B 7˙b 9 3 œ B7˙ œ ˙ 3 n˙ 3 ˙˙ 3 ˙˙ 3 # nn œ˙ œ œ œ œ œ ˙˙ œ ˙˙ œ ˙ ˙˙ n˙ # ˙˙˙ ˙ n ˙1 1 1 1
0
4 3
2
0
F
3
1
3 1
1 1 2
n Fœ œ œ œ œ œ ˙ 3 n˙ 3 nn œ˙ œ œ œ œ œ ˙ n˙ n ˙1 1 1 1 2
1
B
4 5
2
where2it calms and slows down until 4 2 is plenty of2room for 2 the end. There expressive rubato in this piece, so do listen to the recommended orchestral 0 0 1 0 0 inspiration! 1 1 0 0 2 recordings for 4 4 1 1 1 1 1
b
3
4
2
# Bœ # ˙œ ˙
n Fœ œ œ œ œ œ B 7˙b 9 3 œ B7˙ œ ˙ 3 n˙ 3 ˙˙ 3 ˙˙ 3 # nn œ˙ œ œ œ œ œ ˙˙ œ ˙˙ œ ˙ ˙˙ n˙ # ˙˙˙ ˙ n ˙1 1 1 1
# # Bœ œ œ Am˙˙ œ ˙3 & 3 ˙ # #œ œ œ ˙˙˙ œ & ˙ ˙ 3
2
3
4 3
3
3
4 3
1
˙b . # œ Œ œ3 n˙ . #œ Œ œ n˙ 3 2
0
0
4 2
4 2
4 2
4 2
3
˙ Œ ˙ Œ ˙
œœ œœ
˙˙ Bœ7 ˙˙ œ
3
4 2
2
2
1
0
B7
3
B 7 13
0
4 2
2 2
2
3 3
b B 7 b13 B 7 13
# &# & E B G E D B A G E D A E
E B G E D B A G E D A E
# ˙˙˙ # ˙˙ ˙
B7
3
œ œ
B7
3
3 4 2 3 4 2 2 46
b B 7 b13 B 7 13
˙˙ ˙ ˙˙ ˙
2
2
B 7 13
B7
3
# ˙˙˙ # ˙˙ ˙
œ œ
B7
3
3 4 2 3 4 2 2
2
b B 7 b13
B7
3
2
œ œ
B7
3
3 4 2 3 4 2 2
2
2
b B 7 b13 B 7 13
B7
3
˙˙ ˙ ˙˙ ˙
2
3
3 4 2 3 4 2 2
2
2
œ œœ œ œœ œœœ 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
B7
2
0
2
0
2
46
2 49 49
2
0
0
0
0
0
0 0
2
2
2
2
2
2
4 2
4
4 4
4 4
1
4
4
4
0
4
4
4
0 2
1
2
2
# 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 œ ˙. ˙ œ & œ œ œ
˙ ™˙ ˙ ™˙
¢œ ¢œ
2 0 2 0
4
1
2 4
1
˙Ó . Ó
7
7
7
7
2
5
5
5
5
5
5
2
2
2
2
4
2
2
2
a m
i
a m
i
p
a m
i
p
a m
i
p
a m
i
p
a m
i
p
4
4
4
4
4
4
p 6
a m
i
p
a m
i
6
w wwww wwww w
Em Em
œ œ œ œ œ œ œ œ
2
£˙ . £˙ .
7
4 p
# & # œ œ œ œ œ œ œ œ œ # œ ## œœ œœ 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 0
7
œ ˙˙ œ ˙˙
2
0
2
0
˙ ˙ Œ Œ
3
2
3
2
œœ œœ
˙ ˙ Œ Œ
7 0 0 7 5 0 7 0 0 5 7 0
˙ œœ ˙ œœ ˙ œœ September 2014 GuitarTechniques 53 œœ Œ œœ ˙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 œ œ ON THE CD
play: classical E B G D A E
0
0
0
PLAYING TIPS 2
#
4
2
0
4
4
4
4
2
1
2 2 2
3 3 3 0
5 5 5
˙ ™˙ ˙
7 4
2
0
# ˙
˙ œœ œœ Œ œ Œ œ
E B G D A E
# w ww w 0 0 2 2
¢œ
8
4
1
˙ œœ ˙ œ Œ œ Œ œ
0 0 2
0 2
0
0
0
0 2
0
0
2 0
2
£˙ .
˙. Ó
2
64
54 GuitarTechniques September 2014
4
0
2
8
0
0
3
˙ œœ ˙ œœ Œ œ Œ œ
7
0
7
8
0
7 0
w 5
2
8
5
˙ww. w
œ
0 0 2 2
0
˙ww. w 0 5 7 3
œ 0
0 2
7 0
˙. www
œ
7 0 0
8
7
Em
cd track 29
˙ œœ œœ Œ œ Œ œ 0
œ œ œ œ
7 0 0 5 7 0
7 0 0 5 7 0
˙
œ
˙˙ ˙
7 0
E m/G
œw œ œ œ
2
7 0
w wwww w
E m/B
&
0
7 0
53
58
2
2
2
4
3
0
4
˙. œœœ œœœ œœœ œœœ ˙ œ œ œ œ 0 0 0
& E B G D A E
2
49
& E B G D A E
2
w wwww w tracks 28-29
Em
0
0 2
0
˙. www 7 0 0
0
œ
8
7
w w
œœ Œ œœ Œ œ œ œ Œ œ Œ
œœ Œ Ó œ œ Œ Ó
2
5 4 5
5 4 5
5 4 5
0
0
0
0
Watch it, hear it, read it Guitarist magazine on Newsstand for iPhone, iPad & iPod touch
Packed with video, audio, picture galleries and a whole lot more…
Learning Zone LESSONS GT234 30-MINUTE LICKBAG ...................................... 58 Pat Heath throws down the gauntlet with six licks at easy, intermediate and advanced levels.
Blues................................................................................................. 6 0
John Wheatcroft offers insight into the tasty, fiery blues technique of Walter Trout.
Rock . . ................................................................................................. 64
Martin Cooper examines the style of Simple Minds’ much-underrated Charlie Burchill.
video................................................................................................. 6 8
Bernie Marsden tackles a minor blues in the first instalment of a two-part video lesson.
creative rock .......................................................... 74
Shaun Baxter brings you the first part of his lesson on creating harmony-guitar parts.
session........................................................................................ 8 0
Andy Saphir signs off the Session series with a cool 70s-style jazz movie theme-inspired piece. WE’VE TWO ARTICLES on harmony this month, making it almost a themed issue! You’ve already read the first one on page 38 which concerns the classical approach to four-part harmony arranging. The second is Creative Rock which focuses on traditional lead guitar harmonising. While chords and harmony can sometimes seem ‘background stuff’ for lead-orientated guitarists, we hope these two articles will prove educational and inspiring to read and play. In many respects, the four-part harmony article is a unique and important article for GT; it’s the first of its kind for this, and quite possibly any, guitar magazine. Reason being, it contains the foundations of music composition and arranging that only comes from a solid understanding of classical music. While several of us at GT have classical music degrees, it seemed apt for our popular classical tutor, Bridget to pen this article. The hope is, your introduction to the rules and approaches to composing four-part harmony will inspire and inform your own music. This is especially true if you’re a steel string acoustic player looking to get more sophisticated and ‘knowing’ with your approach. Regardless of your guitar style though, we hope you get lots from it. Turning to lead guitarists, we get a lot of enquiries
about creating harmony parts for two or more distorted guitars. While we’ve run various articles in the past about this (check out GT215’s harmony guitars article), Shaun is at the helm this issue to tackle the topic. His introduction to playing ear-catching harmony lines is perfect, as it covers chord tones, rhythmic counterpoint and various approaches to line movement. It should prove really useful for your own lead lines if you like The Eagles, Thin Lizzy, Iron Maiden, Cacophony (insert own fave harmony band), and allow you to talk about things like ‘oblique motion’ with a new understanding. What both articles also provide is a fresh perspective on how to develop your playing chops. Bridget will have you focusing on areas such as how to sustain one note while other notes occur above or below (sometimes tougher than it may first appear). Conversely, Shaun will have you sweep picking arpeggios all over the fretboard in pursuit of generating appealing harmonised lead lines. Never let it be said we don’t like to provide variety and stimulation for all guitarists!
R&b.. ......................................................................................................... 84
Phil Capone looks at the influential Brit R&B guitar syles of The Rolling Stones.
acoustic.................................................................................. 8 8
Stuart Ryan checks out the sophisticated solo fingerstyle acoustic technique of Paul Simon.
reading music......................................................... 92
Rockschool’s Charlie Griffiths teaches you to read music. This issue: Notes On The Stave.
On video! Bernie Marsd
en shows you how he tackles a minor blues progression Page 68
September 2014 GuitarTechniques 57
lesson: 30-Minute Lickbag
30-Minute Lickbag Pat Heath of BIMM Brighton brings you a varied selection of fresh licks to learn, at easy, intermediate and advanced levels.
Brought to you by...
Easy Licks Example 1 REM PICKING
cd track 30
TECHNIQUES MAGAZINE 2 3 4 ballad. Although This GUITAR chord progression is typical of an REM-style the may test you! Follow the picking of three up, and three down, accenting Pat Heath's LICKline BAG example is for beginners, don’t be fooled – to play the rhythm to the bass on the ‘1’ note of each triplet to keep in time. Lick 1 REM picking GUITAR TECHNIQUES MAGAZINE 2 3 4 D
Em G D ©»•º œ Lick 1 #REM picking œ œ œ œ LICK BAGœ œ œ œ œ 2œ3 œ4 œ œ œ Pat Heath's # 128 D œ MAGAZINE GUITAR TECHNIQUES œœ œœ œœ œœ &©»•º œ œ œ E mœ œ G D œ œ œ œ œ œ œ œ œ œ œ œ Lick 1 #REM picking œ # 128 F œ œ œ œ œ œ œ œ Em œ œ œ œ G œ œ œ D œ œ œ œ œ œ œ œ &©»•º D œ 2 œ 2 œ 3 œ 2 œ 2 0 œ œ # 3 œ 3 œ œ2 œ2 œ3 œ œ3 œ2 œ œ0 œ œ0 œ0 œ0 œ3 œ0 œ2 œ3 œ œ3 œ2 œ2 œ3 œ œ3 œ2 2 œ & # 128 F 0 œ 0 0 0 œ2 œ œ 2 œ0 2 œ œ 0 3 2 2 0 3 ≥ ≥2 ≥3 ≤ ≤3 ≤2 ≥ ≥2 ≥3 ≤ ≤3 ≤2 etcœ 0 0 0 œ 0 3 0 2 3 3 2 2 3 3 2 F
Pat Heath's LICK BAG
— ˙ .~~~
Em
G
œ œ gg ˙ . œ œ ggg G˙˙ .. œ —g ˙ . œ œ œ ggg ˙˙ ..~~~ œ —ggg G˙˙ ..~~~ Em œ œ œ 0 œ0 0 0 —gggg ˙˙330˙ ...~~~ œ2 œ œ œ gggg—˙˙˙02 ...~~~ 0 0 33 ≥œ ≥ ≥0 ≤ ≤0 ≤0 gggg ≥˙30 . 0 0 2 0 0 0 2 —ggg 02 ~~~ 0 3 0 cd track 2 2 0 3 2 2 0 EasyLick Licks Example 2 JOHN DENVER FINGERSTYLE g 33≥3 31 2 John Denver fingerstyle 3 3 ≤ ≥ ≥ 3 3≤ ≤ 0 3 3 3 3 3 0 g ≥ ≥ etc ≥ ≥ ≤ ≥ ≥ ≤ ≤ ≤ ≥ ≤ ≤ g 2 2 2 2 0 0 0 0 2 2 2 2 0 0 A typical American-folk-style C – C/G fingerstyle turnaround. Play the open a pleasant guitar part with a defined beginning, middle and end. You ggg 00 can 0 2 0 A madd11 2 C sus2/F G C to C chord ©»ªº with a ‘walking’ bassline, moving0C around the C Major scale to create 0 easily vary the0 bass notes traditional acoustic C create sus2/Byour own G sus4 E m7piece. gg 23 C 0 3 0 Lick 2 John Denver fingerstyle ≤ ≤œœ ≤ œœ≥ ˙˙ 44 Ó ≥‰ ≥ ≥ ≤ ≤ ≤ ≥ ≥ œœ≥ ≤ ≤œœ≤ etcœœ œœ œœ œœ œœ Aœœmadd11œœ ≥ œœ≥ ≥C sus2/F & G C C ©»ªº œ œœœ œ œœ œœ œC sus2/B œ E m7 œ C˙˙ œ œ œG sus4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ Lick 2 John Denver fingerstyle œ œœ ˙ 4 œ œ œ œ œ œ œ œ œ œ Ó ‰ F A madd11 C sus2/F & œœ œ œœ œœ œ œœ œœ œ œœ œœG sus4œœ œœE m7 œœœ C˙˙˙ C œ C œ ©»ªº4 G œ œ C sus2/B œ œ œ œ œ œ 1 œ 1 œ1 œ0 1 œœ œ1 1 œ1 œ1 œœ 1 1 1 1 4 œ œ œ œ œ œ œ œ œœ00 œœ00 ˙˙02 0 0 0 0 0 0 0 0 & 4 Ó ‰ F0 2 œ3 œœ2 œœ2 œ3 œœ2 œœ2 œ3 œœ2 œœ2 œ3 0 2 œ3 œœ2 2 œœ0 0 œœœ00 œœœ00 œ œ ˙3 œ œ œ3 œ3p œp œp p a1 œ3p a1 p a1 œ3p a1 œ3 1 œ3 œ œ œ1 1 œ0 0 ˙1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 m m m m etc 0 F 2 2 2 2 2 2 2 0 0 0 0 0 2 i i i i Em
E B G D A E E B1 G D A E E B 1 G D A E 1
E B G D A E E B1 G D A E E B 1 Lick G D A E 1
3 3 3 0 2 3 2 0 3 3 3 3 3 3 1 0 1 1 1 1 1 1 1 1 1 1 1 0 1 p p p a p a p a p a 3 Jeff Leppard 0 0 0 0 0 0 0 0 0 0 0 0 etc 0 m m m m 2 2 2 2 2 2 2 0 0 0 0 0 2 i i 3 i i 0 2 3 3 3 0 2 3 2 0 3 B5 3 B5/A Gmaj7 A5 B5/A Gmaj7 3 3 3 3 3B5 1 A5 0 p p 3pDEF p a p a p a p a Lick 3 JeffLicks Leppard cd track 32 Intermediate Example LEPPARD m m m m etc Steve Clark was a massively influential writer; he could create timeless rock Hysteria, this is a riff doubled with clean and distorted sounds on two i i i i B 5 changes. Replicating B5/A Gmaj7 A5 B5/A Leppard Gmaj7 A5 songs from simple chord their classic 1987 album channels –B5 with lots of 80s-style delay. 3 p
©»¡ºº ## 4 & ©»¡ºº4 œ œ Lick 3 #Jeff Leppard F 4 # 4Let ring &©»¡ºº B5 œ œ ## 4 F & 4 Let2ringœ4 œ ≥ ≥ F
E B G D A E E B1 G D A E E B 1 Lick G D A E 1
Let ring4 2
0
2
3
œ œ œ œ œ œ œ B5/A œ œ4 œ4 œ4 œ0 ≤4 ≤ ≥ ≥ 4
0
4
œ
œ œ œ œ œ œ œ œ œ A5 œ Gmaj7 œ œ œ 4 œ4 œ œ4 œ4 0 œ2 3 œ ≤4 ≥ ≥ ≤4 ≤ ≥œ ≥ 4
4
0
2
œ œ œ œ œ œ œ œ œ B5œ œ2 œ2 œ4 œ0 œ2 ≤2 ≤ ≤ ≥ ≥ 2
0
2
4
œ œ œ œ œ œ œ B5/A œ œ4 œ4 œ4 œ0 ≤4 ≤ ≥ ≥ 4
0
4
œ
œ œ œ œ œ Gmaj7 œ œ œ4 œ4 œ4 ≤4 ≥œ3 ≥ ≤4 4
j œ œ œ j œ A5œ œ j œ4 œ02 œ ≤ ≥ 4
2 0
œœ J œœ J œœ9 J7 ≥9 7
3 3 ≥ ≥ 4≤ ≤ ≥ ≥ 4≤ ≥ ≥ 4≤ ≤ ≥ ≥ 2≤ ≤ ≤ ≥ ≥ 4≤ ≤ ≥ ≥ 4≤ ≥ ≥ 4≤ ≤ ≥ 9≥ ©»¡∞º A 2 4 4 0 œ4 œ œ3 œ œ4 4 0 œ2 œ œ2 œ0 œ 2 4 4œ œ0 œ4 œ3 4 4 20 7œ œ œ Lick 4 4 Chuck Berry Ó ≥ ‰ ≥œ #≤ œ ≤œ ≥ œ≥ œ≤ œ≥ œ œ≥ œ≤ œ ≤ œ ≥ ≥œ œ≤ œ≤ œ≤ œ œ≥ œ ≥œ ≤ ≤ ≥ ≥ ≤ ≥ œ≥ œ≤ ≤œ # ≥œ œj≥œœœ & 4 ©»¡∞º A œœœœœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ j œœœ œ œ Lick 4 4 Chuck Berry F œ œ œ # œ œ œ œ # œ 58 GuitarTechniques ÓSeptember 2014 ‰ œ œ œ œ œ &4 ©»¡∞º A œ 8 œ 7 œ 5 œ œ 5 œ œ5 œ5 œ5 œ5 œ5 œ5 œ5 œ5 œ5 œ5 œ5 E
4
Chuck Berry
~~~ œœ ~~~ œœ ~~~ ~~~ œœ9 7 ~~~ ≥9 7 ~~~ ≥ 9 7 ≥œœœ ... œ. œœ .. œœ .. œ.
# 4 & # 4
œ F ON THE CD
œ œ œ
œ œ
œ
œ œ œ
œ
tracks 30-35
Let ring
E B G 4 4 D 4 4 4 4 A 2 0 4 CHUCK BERRY Intermediate Licks Example E 3 1
4
œ œ œ
œ
4
2
2
0
2
œ
œ
0
2
œ œ œ 4
4
4
œ ~~~ œ j œ œ œ œ œ J œ œ œ œ Learning Zone 30-Minute Lickbag ~~~ œ œ 4
4
0
4
4
4
9 7
2 0
9 7 cd track 33
≤ ≥ an≥ A ≤major≥3 triad:≥ then≤ switch ≥ ≥Pentatonic ≤ around ≥ ≥ ≤ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≤ ≥ ≥ ≤ ≤ ≤ begins≥ and≥ ends ≤ ≥ to A Minor
Here’s an intro that could appy to any classic Chuck Berry style tune. To sound authentic, the execution of this can be relaxed, to the point of being loose – and will of course sound best on a Gibson semi – but the core of this
Lick 4
for the groovy blues feel. When you’ve learnt the lick, try playing it while duck-walking across the room.
Chuck Berry
©»¡∞º A œœœœœœ . œ œ œ # œ œj œœœœ œœœœ ... 4 Ó ‰ œ # œ œ œœ œœ œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ œ œ œ &4 œ œ. F
E B G D A E
6
7
5 5
5
5 5
5 5
5 5
5 5
7
5 5
5
5 5
5 5
5 5
5 5
7
8 7
5
7
5
8
5
7
7
≥ ≥≥ ≥≥≥≥≥≥≤ ≥ ≥≥≥≥≥≥≤ ≥ ≥
1
5
8
5
6
5 5 6 7 0
7
≤ ≥
≥≤ ≥ ≥ ≥
2Advanced xxxxxxxxxxLicks Example 5 JOE SATRIANI TAPPED 2 xxxxxxxxxx
cd track 34
This is a difficult four-finger tapping technique to master; but strong, confident
E B E G B D G A D E A E E1 B 1 G D A E 1
the harmony in your mind, and then look at the rhythm – B7 is very tricky, but this chord creates a beautiful Harmonic Minor sound.
L L L L L L L L Lœœ Lœœ Lœœ Lœœ ≠ ≠ L ≠ ≠ L ≠ ≠ L ≠ ≠ L ≠œœ ≠œœ Lœ Lœœ ≠œœ ≠œœ Lœ Lœœ ≠œœ ≠œœ Lœ Lœœ ≠œœ ≠œœ Lœ Lœœ L ≠ L ≠ L ≠ L ≠ ≠ L L ≠ L L ≠ L L ≠ L L ≠œ ≠œ L Lœ ≠œ ≠œ L Lœ ≠œ ≠œ L Lœ ≠œ ≠œ L Lœ ≠ ≠L ≠ ≠L ≠ ≠L ≠ ≠L ≠ ≠ L≠ ≠ L≠ ≠ L≠ ≠ L L L L L L L L L L L ≠ ≠Lœœ ≠ ≠Lœœ ≠ ≠Lœœ ≠ ≠Lœœ ≠ ≠Lœ ≠ ≠Lœ ≠ ≠Lœ L ≠ ≠Lœ L ## ≠œ Lœœ ≠œ Lœœ ≠œ Lœœ ≠œ Lœœ œ # Lœ œ Lœ œ Lœ œ Lœ # œ œ œ œ & & ≠œœ œ Lœ ≠œœ œ Lœ ≠œœ œ Lœ ≠œœ œ Lœ ≠ œœ ≠œœ Lœ ≠œœ ≠œœ Lœ ≠œœ ≠œœ Lœ ≠œœ ≠œœ Lœ Lœ Lœ Lœ Lœ # # Lœ Lœ ≠œ Lœ ≠œ Lœ & ≠œ ≠œ L ≠œ ≠œ L ≠œ ≠œ L ≠œ ≠œ L ≠ œ ≠ œ ≠œ L L ≠œ L L ≠œ L L ≠œ L L L L L L ≠ ≠ ≠ ≠ ≠ L ≠ L ≠ L ≠ L ≠≠ ≠≠ ≠≠ ≠≠ L L L L L L L L ≠ ≠ ≠ ≠ ≠ ≠ ≠≠ ≠ ≠ L≠ ≠ L≠ ≠ L≠ ≠ L '
Lick 5 Joe Satriani hammering with both hands is key. I recommend playing the chords first to get Lick 5 Joe Satriani 2 xxxxxxxxxx Em m m m Em m m m m m i i i i Lick 5 Joe Satriani i i i i
©»¡™º œ œ œ œ ©»¡™º ## 4 œ œ œœ œ œ œœ œ œ œœ œ œ œœ £ £ £ £ & &©»¡™º44 ¡¡Eœœm£ œm œ ¡¡ œœ £ œm œ ¡¡ œœ £ œm œ ¡¡ œœ £ œm œ iœ iœ iœ i œ # 4 œ œ œ œ £ & 4 ¡ œ 12 ¡ œ £ 12 ¡ œ £ 12 ¡ œ £ 12 12
7 7
Em 7 Em
9 9
12 12
12
12
7 7
12
9
7
9 9
12
12 12
7 7
12
12
9
7
9 9
12 12
12
9
12
9 9
7 7
Am Am
Am
10 10
12 12
5 5
12
12
9
7
7 7
10
12
B7 5 B7
Em
10 10
10 10
7 7
5 5
10
10
7
10 10
7 7
5 5
10 10
10 10
10 10
10
10
7
5
7 7
5 5
10
10
7
5
10 10
10
7
5
B7
E 12 12 12 12 B E 12 12 12 12 G B 12 12 12 12 D G 9 9 9 9 12 12 12 12 A D 7 9 7 9 7 9 7 9 E A 7 7 7 7 E 12 12 12 12 E3 B 3 G 12 12 12 12 D 9 9 9 9 AAdvanced Licks Example 6 JOHN PETRUCCI DORIAN BLUES 7 7 7 7 Lick 6 John Petrucci E Lick John Petrucci 3 6 attempting 1/4 Before this rather tricky Dream Theater-style lick, I recommend learning the ‘E shape’ Db Dorian scale (Db Eb E1/4Gb Ab A B) before attempting
12 12
7 7
9 9
13 13
12
12 12
7 7
13
9
9 9
13 13
12
12 12
7 7
13
9
9 9
13 13
12
12 12
7 7
13
9
9 9
13 13
12
13 9 cd track 35
/ to deviate from it if you prefer. However, pattern suggested, but feel free C #m7 ©»¡¢™ ' œœ œandœ relaxed, œ .. 'œ 6th – which is prominent C #m7 ©»¡¢™ this. Then think about groove, and how the œmajor always keep your picking hand/' loose ~~ œœ œ œbutœ confident. œ # œ œ œ nn œœ œ œ ## œœ~~ ~~ œ œ œ œ . œ Lick 6 #John Petrucci œ œ œ œ œ # 4 # œ œ œ œ # œ œ œ œ # œ œ œ œ œ œ œ œ~~ ⋲⋲ n œ # œ œ œ œ œ œ œœ œ œ ‰‰ j œ ## 4 #œœ œ œ ‰‰ # & / # &©»¡¢™ 4 C m7œ œœ ¿ ¿ œ . ' nœ #œ œ œœ ¿¿j /' ¿ œ ~~ . ¿ ¿ œ/ œ ¿ œ œ œ œ œ œ œ œ œ œ n œ œ œ # œœ~~ œ œ #### 4 œ œ œ œ œ œ '/' ⋲ n œ # œ ~~ œ œ œ œ œ ‰ j /'/' # 4 œ œ‰ & ~~ 12 9 ~~ œ œ ¿ 11 99 12 9 12 9 ~~ ¿ ¿ 111211 99 ¿ 9 9 9 9 9 11 9 11 9 11 12 9 11 12 9 11 9 11 12 11 9 9 7
7
14 14
14
14 14
9 11 9 11 11 11 9 9
X X X X
'
1/4
≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ 1211≥≥ ≤99≤ 9
11
11
9
X X
≥ ≤ ≥≤ ≥≤ ≥ ≤
7
within this line – works around the minor 13 chord beneath. Try the picking
14
E B E G B D G A D E A E E1 B 1 G D A E 1
7
14 14
/ 11 11 9 11 11 ' ~~ 11 9 X ≥9≥~~ ≤≤ ≥≥ ≥≥9 ≥≥9 ≤≤ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥9 ≤≤ ≤X≤ 11≥≥ ≥≥9 12≤≤ 9 ≤≤ 12≥≥ 9 ≥≥ ≥≥ 9 11 9 11 9 11 11 9 11 12 11 9 9
X 10 11 X 10 11
X 10 11
9
11 9 11 11 9 11
11
11
9
9
11
11
14
11
11 9 11 12 11 9 9
11
9
X
≤ ≥ ≥ ≥≤ ≤≥ ≤ ≥≤ ≥ ≤ ≤ ≥ ≥ ≤ ≤ ≥ ≥ ≥
≥
September 2014 GuitarTechniques 59
lesson: blues
ON THE CD
WalterTrout
Brought to you by...
John Wheatcroft takes a look at the incendiary style of American blues giant Walter Trout, who is thankfully on the mend after a serious illness. 25th year in music, a new album, book and film, turned into a nightmare, as Walter found himself waiting for a life-saving liver transplant. His fans raised $232,000 to fund his medical bills; the transplant went well and Walter is slowly regaining his strength. let’s hope he can soon strap on that old Strat and get playing again. Born in New Jersey in 1951, Walter first wanted to be a jazz trumpeter. He studied fastidiously and even met legend Duke Ellington when only ten years old. But a year on he heard Bob Dylan and persuaded his parents to buy him an acoustic guitar. He was then swept away by Beatlemania and a teenage obsession with Paul Butterfield’s guitarist, Mike Bloomfield. This provided the inspiration to turn from acoustic to electric, leave the trumpet behind and dedicate himself to the blues. thousands of hours of practice plus years on the road, have led to trout becoming a huge name on today’s electric blues scene. the 70s saw trout performing with many notable american blues men, including John lee Hooker and lowell Fulson. in 1981, Walter got his first real taste of life on the road, with Canned Heat. He stayed with them for three years before getting the call to live out a dream as a member of John Mayall’s Bluesbreakers. like predecessors Eric Clapton and Peter Green, it wasn’t long before Walter launched a solo career. From the late-80s to the present day, trout and his band have released numerous CDs to critical acclaim. arguably, playing live is what Walt and the boys do best, with a legacy of touring providing them with a hugely loyal fanbase.
Walter Trout, playing his favourite colour cream Fender Strat
ABILITY RATING
Moderate/Advanced Info
WIll IMprove your
Key: E ‘Blues’ Tempo: 115bpm CD: TRACKS 36-38
Speed and stamina Blues vocabulary Energy and intensity
all at Guitar techniques were recently shocked to hear that american blues guitarist Walter trout was critically ill in hospital. What should have been a celebration of his
TraCks 36-38
Trout’s style takes the Bloomfield template and raises the intensity. this has led to several writers referring to him as the ‘american Gary Moore’, echoing a similar sentiment expressed years before about Bloomfield and Clapton, Moore’s own primary influence. Walter’s playing has energy, excitement, articulation and intent. it’s an experience to witness trout at full throttle; he delivers an emotion-laden style with complete conviction and authority. But so much is often said of his guitar style that it’s easy to forget that he’s a wonderful singer and songwriter, too. this month, we have two 12-bar choruses around a shuffle in E. I’ve crammed in as much of Water’s vocabulary as possible, and you’ll notice there are a lot of notes and almost
My family and my music is my lifeline. These days, it means more to me than ever before. Walter Trout no rests! While it’s ambitious and worthwhile to learn this solo in full, you can also gain a great deal by taking licks, breaking them down and analysing the relationship between notes and the underlying changes, and cherrypicking the ideas that you like the most. Feel free to push and pull the rhythms as you see fit; Walter’s playing switches between phrasing that is both on and off the rhythmic ‘grid’, at times outlining the time with specific subdivisions, and at others drifting across the beat and bar-line – as his hero Bloomfield did. like so many things in music and art in general, a combination of approaches is usually the best way. So have fun, and don’t forget to explore mixing your own ideas with Walter’s, over the backing track… NeXT MoNTH: John celebrates the regal licks of the one and only BB King
Getthetone 9
6
5
7
4
Gain
Bass
Middle
TReBle
ReveRB
Walter retired his trusty ’73 Strat some years ago, and now takes a guitar assembled from an old Fender neck and Seymour Duncan pickups on the road. Strings are Rotosound 9-42 gauge. Amp duties are handled by a Mesa-Boogie Mark IV set to Boogie’s suggested Death Metal settings! We’re after a single-coil-loaded solidbody into a high-gain amp with extra-wide rock vibrato, attitude and attack. Exploit all pickup options and control the level of drive with your guitar’s volume control.
Track record Walter’s new album, The Blues came callin’ (Provogue 2014) is possibly his best to date. recorded during his illness, Trout plays his heart out throughout. His live dVd, relentless (ruf 2003) recorded at The Paradiso in amsterdam, is awesome. There’s also a new biography, co-written by Walter and Henry Yates, rescued From reality: The Life and Times of Walter Trout (MLG 2014).
60 GuitarTechniques September 2014
learning Zone
WalTer TrouT EXAMPLE WALteR tRoUt
CD TraCk 37
[Bars 1-4] We begin with some Dominant 7th phrases in E that could be considered to be a combination of Minor Pentatonic (R b3 4 5 b7), plus major 3rd (G#) and then Minor 6th Pentatonic (R b3 4 5 6). The repetitious hammeron and pull-off phrase in bar 3 is a particular Trout speciality, and you can hear similar ideas in the playing of the late blues-rock ace, Gary Moore. [Bars 5-8] We transition to A7 here by selecting notes that outline an A9 arpeggio (A C# E G B), before moving to some E Minor Pentatonic ideas over A. The open-string Blues scale ideas in bars 7-8 (R b3 4 b5 5 b7) are reminiscent of Hendrix, Stevie Ray Vaughan or brother Jimmie.
©»¡¡∞ Swing #### 4 Ó & 4
œ œ √n œj œ E7
j nœ #œ
‰ œJ
œ~~ œ œ œ œ œ œ
3
12
12 13
14
~~
15 (17 )
12
12 15 12
12
14
12
14
15
12 15 12
14
12 15 12
14
12 15 12
14
12 15 12
14
j œ
~~ œ œ nœ œ ‰ 3
3
3 12 15 12
14
12 15 12
12
14
œ œ
~~
BU BD 15 12
3
14 (16 ) (14 ) 12
5
6
3
A7
# # # # œ b œ œ n œ œ œ œ~~ œ œ ‰ & 3
7
6
3
8
5
3
3
~~
5
œ œ n œ œ œ œ œ~~ œ œ nœ
j œ
7
3
~~0
BU
5
9
8
10 (12) 10
8 10 8 10 8
E7
j bœ œ
œ nœ œ œ 3
3
0
j œ œ
n œ œ b œj œ n œ3
œ
Let ring 3
3
2
0
0 0 2
2
4
3
3
2
0
2
5
& E B G D A E
15 ( 17)
1
3
E B G D A E
~~
BU
15
√ #### œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ & E B G D A E
œ~~
j œ œ ‰ n œ Jœ œ
3 BU
E B G D A E
[Bars 9-12] You’d be wrong to think that it is only jazz players that outline the changes with their melodic choices, as these Walter-style turnaround bars ably illustrate. We’re framing in both B7 (B D# F# A) and A7 (A C# E G) chords with their appropriate chord tones and some choice embellishments typical of Trout. Even the D in bar 12 could be considered as the enharmonic equivalent of B7’s #9 (officially a Cx, where x = ##). The low E (which is of course the root of the Dominant or V chord) that ends this chorus is no doubt an indication that we’ve not yet finished and we’re going around the block, back to the I chord at least one more time.
'' nœ
1/4
œ œ œœœœœ
#### œ
'
1/4
1/4
3 0
8
'
3
3
'' œœ 1/4
0
3 5 3 0
0
0
9
14
j œ
3
3
3 0
'
œ œ œ œ j ~~ œœ n œœ œœ œœ œœ œ œ n œ œj œ œ œ /' œ œ nœ #œ œ ‰ œ œ œ B7
7
3
3
3
~~ 9 7
5
7
8
9
3
3 BU
14
14 14
12 12
14
14 14 12 12 14 14 12 14 (16)
3 BU
15
'
1/4
14 (16) 14 12
14
0
~~ n œ September 2014 GuitarTechniques 61
lesson: blues
ON THE CD
TraCks 36-38
EXAMPLE WALteR tRoUt
CD TraCk 37
[Bars 13-16] Walter’s broom gets a bit of dusting here as he gives us ‘the’ Elmore James lick, although this time in standard tuning and with no slide. The second answering half of this phrase sounds rather Chuck Berry-like, with a combination of double-stops and bends. A characteristic of Walter’s E-form box-position Pentatonic phrasing is his fondness for incorporating a high double-stop on both first and second strings while adding legato embellishments such as in bar 16 and…
œ œ #### œ œ & E7
E B G D A E
12 12
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ nœ œ
E7
œ
3 BU
12 12
14 (16 )
~~
BU 12 12 15 (17)
12 12
15
17 15
16
3
3
3
3
12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 14 12 14 12
15
14
0
####
j n œ # œœ
~~ J œ . Œ ¿j ‰
12
√
12 13
' ' nœ œ œ
'
1/4
1/4
1/4
œœ œœ œœ œ œ œ œœ œœ ‰ J 3
~~
' '
1/4
12 12 12 15 12 12 12 14
1/4
15 14
œœ n œ œ œ œ œ œ œ
12 15 12 14
'
12 12
15 12
14
12
15
œ œ œj œ œ œj œ
j œ 3
3
3
1/4
14
12 12
BU 15 (17)
3
12
BU
BU 15 (17 )
12
15 (17)
X
14
(√)# A 7 # œ & # # J E B G D A E
œ~~ n œ œ n œ œ Bœ7
œ
j nœ
11
& E B G D A E
œœ œœ
œ
j œ
[Bars 17-20] …exactly like we see here in bar 18. Make sure you approach your vibrato with intensity and width during this solo. Walter’s is very wide for a blues player, and is a fair bit slower than many imagine, giving gravitas and authority to his long, held notes, whereas the shallow and speedy variety can sound nervous and a little weak. Walter’s playing often bridges this gap between blues and rock, to create a style of hybrid music he jokingly refers to as ‘Fred’.
12
˙~~~~ .
œ
j nœ
œœ n œ œ œ
3
3
~~~~
BU 15
œ nœ
(17 )
12 12
15
œ
œ
œ
3 12
12
14
j œ
3
œ œ nœ
œ
3 BU
15
12
15
12
14 (16 )
14
12
14
17
(√) # # # # œœ œœ œœ j œ œ œ œ & E7
3
3 E B G D A E
12 12
12 12
12 12
BU 14 (16)
19
62 GuitarTechniques September 2014
12
3
j œ
œ œ œ œœ n œœ œ 3
12
BU 14 (16 )
12
12
3
œœ œ n œœ
j œ
œ œ œ
12 12
14
14 14
14
12 12
œ~~
14 (16)
12
œ nœ œ œ 3
3 BU
14 14
j nœ
12
BU
~~
15 (17 )
12
15 12
14
learning Zone
WalTer TrouT EXAMPLE WALteR tRoUt
CD TraCk 37
[Bars 21-24] Walter uses double-stops to outline the move from B7 to A7 here, with a brief chromatic descent at the end of bar 21 before spelling out A7 with E Minor 6/A9 Pentatonic (E G A B C#) and we return to a variation on
our hammer-on, pull-off pattern in bar 23 that we encountered back in bar 3. Some of this is pretty speedy so, if you’re struggling, break the licks down into much smaller chunks and learn them slowly. Speed will come naturally.
B7 (√) # # # # œœ œœ œœ œœ œœ œœ œœ œœ œœ n n œœ œœ œœ &
3
E B G D A E
14 16
3
3
14 16
14 16
14 16
14 16
14 16
14 16
14 16
A7
œœ n œ œ œ œ œ œ n œ œ
3
14 16
13 15
13 15
3
13 15
12 14
15
j œ
œ œ œœ
3
12 15 12
14
3 BU
12
15
12
14 ( 16)
12 12 12
21
(√) n œ ˙ ~~~ #### œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ & E7
3 E B G D A E
12 15 12
14
12 14 12
3
3
14
12 15 12
14
12 14 12
14
12 15 12
14
12 14 12
14
12
3
15
12
15 14
16
~~~ 17
23
Learn to play, improve your skills and repertoire from beginners to advanced... perfectly WHATEVER YOUR STYLE ROCK • JAZZ • BLUES • FOLK • POP • METAL
Learn how to play & master the guitar
The Ultimate Guitar Tuition & Practice Software
Learn, play, practice & improve your guitar playing... perfectly
Whether you are a budding bedroom guitarist, live musician or a music academy student Guitar Practiced Perfectly has you covered
Study Scales, Chords, Arpeggio, Rhythm, Theory, Ear Training, Sequencing and more
• • • • •
One off purchase fee Includes over 300 practice routines Structured Tutorial course to suit all levels of ability Practice in an order that you specify and can change Use the reporting feature to monitor your progress
For a special GT only price of £24.97 *
“Every now and then GT comes across a new product that is so good, we have to tell everyone about it! This is the case with ‘Guitar Practiced Perfectly’, a PC software application that will have you focused at getting great results with your playing, fast!” Guitar Techniques
enter this code in our cart:
GT3468
For more information and for your copy visit our website NOW
Download NOW from www.guitarpracticedperfectly.com September 2014 GuitarTechniques 63
lesson: rock
ON THE CD
Simple Minds
Brought to you by...
Martin Cooper goes all 80s with some stadium rock from the arena-shaking chime and pomp of Simple Minds, and guitarist Charlie Burchill.
ABILITY RATING
Moderate Info
Will improve your
Key: G Tempo: 120 bpm CD: TRACKS 39-41
Guitar-part writing Playing ‘for the song’ Arrangement knowledge
Simple Minds are one of the bands that hail from the classic era of stadium rock, alongside the likes of U2, The Police and Peter
Gabriel. They may not be quite as well-known names in the household as Bono or Sting, but founding members Jim Kerr on vocals and guitarist Charlie Burchill, along with long-term players such as drummer Mel Gaynor and bassists John Giblin and Derek Forbes, scored massive hits with songs like Don’t You (Forget About Me) and Alive And Kicking in the 80s, as well as playing huge gigs such as Live Aid in 1985 and the concert for the 70th birthday of the thenimprisoned Nelson Mandela in 1988. In fact, many bands were asked to write new material for Mandela for that concert, but only Simple Minds did, and the single that they premiered at the concert, Mandela Day, went on to become their first and only number 1 single on the UK charts in 1989. Charlie Burchill playing a Bigsby Forming amidst the equipped LP Std New Wave and punk scene in Glasgow in the late 70s, the band went on to become one of the biggest acts of the following decade, and even though Jim Kerr has never been one to attract too much attention to himself, he has had ‘rock star’ marriages to both Chrissie Hynde of The Pretenders and Patsy Kensit. Musically speaking, they have also moved among production royalty, with the likes of U2 producer Steve Lillywhite and U2/Tom Petty studio (and now business) legend Jimmy Iovine both producing some of Simple Minds’ albums in the 1980s.
tracks 39-41
With a changing music scene and various line-up changes occurring in the 90s, the band’s star began to fade. By the mid-90s it was only Kerr and Burchill left, with a revolving door of studio and past members frequenting studio and live dates with the band. However, they continue to record and tour, and have recently been playing live on a Greatest Hits + tour. They have also announced a new studio album, Big Music, for release in October of this year. To some extent, Charlie Burchill’s playing was always overshadowed by compatriots such as The Edge, particularly as Burchill’s playing incorporates some similar delayed
Charlie Burchill’s playing is the epitome of taste and restraint, and always serves the song. guitar parts and atmospheric, soundscape style writing. However, his playing is the epitome of taste and restraint, and always serves the song; particularly impressive when we consider that the band’s heyday was in perhaps the decade that included the most over-the-top, self-gratifying music of the past 50 years! The track this month incorporates many of the small chords, single notes and delayeffected lines that Burchill has made use of over the past 30 plus years. It’s in the key of G major (G A B C D E F#), although the track sounds like it resolves on the V chord which is D. So, harmonically speaking, you could say it pulls more towards D major (D E F# G A B C#) as a tonal centre than it does G. It’s all to do with ‘playing for the song’ this month, so while it’s not overly difficult to play, you’ll need to think about the tone and timing all the way through. See the Playing Tips and Get The Tone boxes for further info. NEXT MONTH: Martin uncovers the raucous but amazing style of Neil Young
Get The Tone 5
5
6
7
4
Gain
Bass
Middle
Treble
Reverb
Charlie Burchill has used a lot of high-end equipment over the years, such as Gretsch guitars, Matchless amps and TC Electronic and Fulltone effects. The ballpark to aim for is a clean-meets-dirty guitar tone – so not too much gain, but still retain some grit, plus quite a bit of reverb, delay and chorus. A lot of the lines are single notes, or just two notes at a time, so make sure the definition is clear throughout.
Belfast Child. You can find Don’t You (Forget About Me) on any of the ‘hits’ albums, including the most recent collection, Celebrate.
64 GuitarTechniques September 2014
LIVEPIX
Track record 1985’s Once Upon A Time includes the hits Alive And Kicking, Sanctify Yourself and All The Things She Said. The band recorded Live In The City Of Light on the subsequent tour (1987), and the next album, Street Fighting Years, included Mandela Day and
Learning Zone
simple mindS Example rhythm part
cd track 40
There’s a delay set to quarter notes all the way through, so in the first eight for the rest of the rhythm part. Make sure you mute any unwanted strings, bars you’re only playing four notes per bar, and letting the delay repeat them as you’ll probably be strumming the part even though there’s quite a bit of to create the effect. Let all the notes ring into each other in the next 12 bars, space around the notes you actually play; and pay attention to the muted GUITAR TECHNIQUES 2 3 4 with a quarter-note triplet feel, and thenMartin play tightly with some aggression strings from 21 onwards. Cooper's BIMM ROCK COLUMN - bar SIMPLE MINDS STYLE RHYTHM GUITAR
©»¡™º G/D # 4 . œœ œœ œœ œœ Œ & 4 .
œœ œœ œœ œœ Œ
Ó
D
œœ œœ œœ œœ Œ
Ó
œœ œœ œœ œœ Œ
Ó
Ó
..
With 1/4 note delay E B G D A E
. .
1, 5
8 7
8 7
8 7
8 7
8 7
≥≤≥ ≤
8 7
8 7
8 7
7 7
≥≤≥ ≤
œ œ œ # . œ œ & . œ 3 3
7 7
7 7
œ œ
D
œ œ
3
3
7 7
≥ ≤ ≥ ≤
œ œ œ œ ˙
G/D
7 7
œ
Let ring
E B G D A E
9, 13
& E B G D A E
. . #
10
8
8
7
œ œ œ œ œ œ 5
5
5
7
7
5
7
7
œ
7 0
10 7
œ œ œ œ œ œ 3
5
3
5
˙ 7
.. . .
ww ww
G5
3
3 7
œ œ
3
7
7
. .
7 7
œ œ
Csus2
3
3
10
7
œ œ œ œ œ œ
3
3
8
7
0
A sus4
7
10
8
7 7
≥ ≤ ≥ ≤
3
3
7 7
3 3 0 5
5
17
# . œœ .. œœ ⋲ ¿¿ œœ œœ œœ ⋲ ¿¿ œœ ⋲ ¿¿ œœ .. œœ ⋲ ¿¿ œœ œœ œœ ⋲ ¿¿ œœ ⋲ ¿¿ œœ .. œœ ⋲ ¿¿ œœ œœ œœ ⋲ ¿¿ œœ ⋲ ¿¿ & . G
E B G D A E
. .
D
8 7
8 7
X 8 X 7
8 7
X 8 X 7
X X
8 7
8 7
X 8 X 7
8 7
X 8 X 7
7 7
7 7
X 7 X 7
7 7
X 7 X 7
X X
21, 25
# œœ .. œœ ⋲ ¿¿ œœ œœ œœ ⋲ ¿¿ œœ ⋲ ¿¿ . œœ .. œœ ⋲ ¿¿ œœ œœ œœ œœ œœ . & 1
E B G D A E
X X
7 7 24
2
7 7
X 7 X 7
7 7
X 7 X 7
X X
. .
10 7
10 7
X 8 X 7
8 7
G
w
w
8 7 7 7 10
28
September 2014 GuitarTechniques 65
lesson: rock
ON THE CD
tracks 39-41
2 Title
Example RHYTHM PART ...CONTINUED
& E B G D A E
#
D
cd track 40
G
w
D
w
w
5
w
w
w
10
w
w
5
31
Example lead PART
cd track 40
Although the solo is slow, it’s also deliberately tasteful. So look and listen outGUITAR for the expression that’s put into the phrases, such slides into some of TECHNIQUES 234
the notes, which are given extra emphasis by the delay. It’s worth reiterating that we are playing for the song here, and not the soloist!
Martin Cooper's BIMM ROCK COLUMN - SIMPLE MINDS STYLE
LEAD GUITAR GUITAR TECHNIQUES 2 3 4
©»¡™º GUITAR 2 3 28 4 # TECHNIQUES LEAD GUITAR 4 & 4 ©»¡™º 28 LEAD GUITAR # 4 28 & ©»¡™º 4 28 # 4 & 4 28 E B G D A E E B G D A E E B G D A E
œ œ
D
& &
E B G D A E E 31 B G D A E E B 31 G D A E 31
& & &
E B G D A E E 35 B G D A E E B 35 G D A E 35
&
# #
œ œ3
D
28 œ ˙ œ ˙
œ 14œ œ5 ˙ 3 # # # #
D
14 3
5
D 12
œ
14
œ
5
œ
œ3
D 12
œ
14
3
œ5
12
14 3
12
14
D
œ
œ
œ
œ
G
œ
œ
G
15
29
œ œ œ œ3
15
12
˙
œ
˙
œ
œ
œ
œ
12
œ
14
œ
˙
œ
˙
15 29
29
14
14
œ
œ œ œ
œ
G
˙
5
12
œ œ œ 12
G
15
5
œ
œ
12
œ
G
14 3
œ
œ
œ
14
12
œ
œ
œ 14œ œ
15
œ
˙
œ
˙
15
14
w
œ
œ3
12
œ
14
3
œ5
5
12
14 3
5
10
5
12
14
5
10
66 GuitarTechniques September 2014
˙
œ
œ
Martin Cooper's BIMM ROCK COLUMN - SIMPLE MINDS STYLE
œ 14œ œ5 3
12
12
œ
Martin Cooper'sG BIMM ROCK COLUMN - SIMPLE MINDS STYLE
œ
˙
w w
10
14
œ œ
15
œ œ
œ œ œ
12
12
12
œ
œ
œ
œ
14
15
15
œ
œ
14
œ
œ œ œ
14
œ
œ œ œ
œ
œ 14œ œ
15
15
15
14
w w w
14
œ œ œ
12
12
œ
12
œ œ
12
12
12
Learning to solo, or know someone that is? Then cut through the bull with this superb mag/DVD
All you need to play lead! A magazine/DVD with riffs, scales, soloing techniques and exercises, plus two original pieces to learn
On sale now! Just £6.99 from WHSmith and all good newsagents
lesson: video
VIDEO
ON THE CD
Bernie Marsden Part 1 Bernie Marsden demonstrates his style by soloing over two blues backing tracks. For part one, he’s in ‘slow minor’ mode and Jon Bishop is your guide.
Bernie playing his Signature PRS SE model
ABILITY RATING
Moderate Info
Will improve your
KEY: A minor Tempo: 40bpm CD: CD-ROM
String-bending Slow-blues lick bag Fretboard knowledge
WE WERE LUCKY to have a few minutes with guitar legend Bernie Marsden recently. Bernie is probably best known for his work with Whitesnake, and his rich, blues-orientated style has won favour with many guitar fans around the world. When we caught up with Bernie, he was kind enough to play two solos for us: one over a minor blues backing track, and the other in a major key. Both of these performances have been transcribed and then analysed from a technique and music-theory point view. In part one, we’re going to look at the minor blues. The chord progression used in Bernie’s minor blues is constructed from chords Im,
IVm and Vm of the harmonised A Natural Minor scale. The Natural Minor has the following intervallic structure: Root, 2nd, b3rd, 4th, 5th, b6th, b7th. If we harmonise the scale in 3rds we get the following chords: Am7, Bm7b5, Cmaj7, Dm7, Em7, Fmaj7, G7. As you see, the chords are Am7, Dm7 and Em7, giving us the classic minor-blues chords in every guitarist’s favourite key, A minor.
Bernie’s rich, bluesorientated style has won favour with many guitar fans around the world. From a soloing point of view, the A Minor Pentatonic scale (A C D E G) is a solid ‘home base’. Many of Bernie’s phrases have this scale at their core. The other ‘flavour’ tones come from A Natural Minor scale (A B C D E F G) which can be viewed as A Minor Pentatonic with an added 2nd/9th (B) and b6th (F). The b6th (F) is particularly useful over the IVm
CD-ROM
chord (Dm7), as the F note is the b3rd of Dm7. This b3rd interval is very descriptive of the chord’s tonality, and a nice thing to include. Bernie uses a few core techniques and articulations to help the phrases come to life. The piece starts with some volume swells often referred to as ‘violining’. Bernie also adds string bending, hammer-ons, pull-offs, finger slides and finger vibrato, which are all used to taste and are standard blues fare. String bending is a great way to add feel to lead guitar playing. Once the string is bent to pitch, Bernie often adds finger vibrato to help with the intonation, and this adds further interest and expression. One of the key aspects of this solo is the use of space and pacing. Bernie never gets carried away with long phrases or lots of notes. Everything is placed in a considered fashion, and the emphasis is always on the melody. It’s well worth refreshing yourself with the five A Minor Pentatonic shapes (Examples 1-5). These patterns are the foundation of this solo and knowing them well, will help you to unlock the neck and appreciate the nuts and bolts of the phrases, and help you work out when and where Bernie is adding extra flavour tones in. For this solo, they are either major 2nd (B) or the minor 6th (F). The notation contains all of the fingerings, articulations and phrasing from the video. Don’t be intimidated by the look of the notation – it seems complicated due to the tempo and time signature, but the ideas are all straightforward. Hopefully, there will be a new lick or phrase in here for you. If you find one you like, memorise it and use it in future solos. Once you’ve mastered some of the concepts in Bernie’s solo, try creating a solo of your own over the same backing track as Bernie used. NEXT MONTH: Bernie treats us to his personal take on a cool major blues
Get The Tone 6
6
7
7
4
Gain
Bass
Middle
Treble
Reverb
Bernie used his PRS SE signature guitar plugged into a small vintage Vox amp. Bridge or neck humbucker selection and the tone and volume controls were set to taste on the fly. Many blues and rock guitarists change the controls from phrase to phrase and this adds variety and promotes natural pauses in the phrases. Any electric guitar will work well for this month’s performance; just dial up a creamy, light overdrive and be prepared to experiment with the controls to achieve the desired settings. A bit of reverb or delay can be added for that ‘pro’ touch.
Track record The 2004 compilation album Whitesnake – The Early Years is well worth a listen, and contains the classic Marsden/ Coverdale compositions Here I Go Again and Fool For Your Lovin’. Bernie’s most recent solo release, Shine, has some great guitar playing and tones, and features guest appearances from Joe Bonamassa, Ian Paice, Don Airey and many other fantastic musicians.
68 GuitarTechniques September 2014
Learning Zone
BERNIE MARSDEN PART 1 Jon Bishops BERNIE MARSDEN Video Part 1 MINOR PENT BOXES
GUITAR TECHNIQUES MAGAZINE 2 3 4
BERNIE MARSDEN’ S MINOR BLUES Ex 1
The A Minor Pentatonic Scale — Shape One
3 &4
œ
10
E B G D A E
Ex 3
œ
12
E B G D A E
8
œ 5
œ
œ
7
5
œ
œ
7
5
œ
œ
7
5
œ
œ
8
5
œ 8
œ
œ
10
8
œ
œ
9
7
œ
10
œ 7
œ
œ
œ
œ
10
7
10
8
œ
œ
10
œ
13
œ
10
œ
12
œ
9
œ
œ
œ
œ
œ
œ
12
10
12
10
12
10
The A Minor Pentatonic Scale — Shape Four
& 34
15
E B G D A E
Ex 5
5
œ
The A Minor Pentatonic Scale — Shape Three
& 34
Ex 4
œ
The A Minor Pentatonic Scale — Shape Two
& 34
œ
œ
12
œ
œ
15
13
œ
œ
14
12
œ
œ
14
12
œ
œ
15
12
œ
œ
17
15
œ
œ
15
12
œ
œ
17
15
The A Minor Pentatonic Scale — Shape Five
& 34 E B G D A E
œ 8
E B G D A E
Ex 2
cd-rom
17
œ
15
œ
œ
17
15
œ
17
œ
14
œ
17
œ
14
September 2014 GuitarTechniques 69
lesson: video
VIDEO
ON THE CD
CD-ROM
BERNIE MARSDEN’ S MINOR BLUES
cd-rom
[Bars 1-4] Bernie’s solo starts out with some phrases that use volume control scale, as notated in Ex 1. These bars contain classic blues-rock vocabulary and are swells. To achieve this effect, first hammer/tap the note with the fretting hand, well worth memorising. In bar 10, the ideas come from shape 4 of the same scale, then swell the volume control simultaneously with the picking hand. Bernie adds with some added notes. The turnaround lick in bar 12 has a slight hint of a picking Jon Bishops GUITAR TECHNIQUES MAGAZINE 2 3 4 judicious finger vibrato and string bending to selected notes, and this helps harmonic added. This sound can come from striking the string with the pick at an BERNIE MARSDEN Part 1 some of the flesh of the thumb to brush the string on the to bring the melody to life and provide a ‘vocal’ quality. angle Video and then allowing MINOR BLUES [Bars 5-12] These phrases are constructed from shape 1 of the A Minor Pentatonic way through – of course, Billy F Gibbons made this a trademark.
©.»¢º Am7 12 & 8 Ó.
F
7
1
5
4
5
4
5
7
4
5
4
5
5
3 BU 5
7 (9)
5
œ œ œ œj œ~~ . œœ j œ œ ‰ œ œ œ œ œ œ œ œj œ~~⋲ œ œ œ œ œ œ œ & 3
E B G D A E
5
BU
~~
5 8 8 (10 )
3 5
8 5
BU
7 (9) 7 5
7
~~
5 7 7 (9)
rake
5
5
5
8 5
5
7
8
3
3
5
3
E m7
√ œ œ œ œ œ œ . ‰ ‰ œ. œ œ
j j œ œ œ œ
10 8
8 10 8 10
~~
~~
5
3
5 7
5
10
BU
œ
~~
10 (12 )
10
Œ.
≠~~
~~
8
⋲ œJ
Œ.
5
8
5
œ~~~ 8
~~~
3 ~~ ~~~ ˙. ⋲ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ Change to bridge pickup ~~~ ~~
Am7
5 7
5 7
5
6 5 3 5
~~~ œ. œ.
j ⋲œ œ
~~~
3 5 6 5 3
5
~~ œ ⋲ Jœ
j j j œ œœ œ œ œ
10 12 10 12 10 12 10 12
~~
15
5
D m7
~~
‰
≠œ~~
7 7 5
(√) ~~ œ . œ œ œ œ~~ œ œ ~~ œ œ œj œ œ œ œ œ œ œ œœ & E B G D A E
œ~~ .
≠œj œJ
6
~~ ~~ Œ. & œ œ œ œ œœ E B G D A E
3
BU
Œ
BU
10 (12 )
œ œ~~. j œ œ œ
7
≠œJ
≠ ≠ ≠
D m7
≠ ≠ ≠ ≠ ≠≠ ~~ ~~ ~~ ~~ ~~ ≠ ≠ ≠ ≠ ≠≠ 7
Am7
7
~~ ~~. ~~ ~~ ~~ œ œ œ œ . œ œ œ œ . Œ. & ⋲ E B G D A E
≠œj œ
≠œ ≠œJ ≠ ≠ ≠ ≠ ≠ ≠ ~~ ~~ ~~ ≠ ≠ ≠ ≠≠≠≠≠
Œ.
Neck pickup with light overdrive E B G D A E
~~ ~~ ~~ œ œ œ œ œ œ . Œ. J
D m7
13 12
~~
15 13
10
70 GuitarTechniques September 2014
3 12 13 12 13 12
~~ 14
Am7
~~ œ œ. ‰ ~~
12 14 12 14
12 14 12 14
12 14
j œ
œ~~. ~~
12 14
. œ~~
D m7
~~
13
œ~~ œ œ ~~
15
13 12
Learning Zone
BERNIE MARSDEN PART 1 BERNIE MARSDEN’ S MINOR BLUES
cd-rom
[Bars 13-24] The melody used at the end of bar 13 is a cracker, and well worth examining. Bar 14 and 15 feature some unison bends. These are created by fretting the note indicated in the tab on the second string, and then bending note on the third string to the same pitch. Bar 16 features the use of great 2the xxxxxxxxxx dynamics. Blues-guitar players often vary how soft or hard they play each phrase
Am7
& E B G D A E
E m7
. œ ~~~
‰
~~~
7
12
~~
D m7
E B G D A E
±±
PH . . . BU BD
14
& œ
j — b—
œ œ
~~ 5
œ
~~~
5
7
7
BU
œ J
œ œ œ œ œ œ ⋲ Jœ
~~~
10 10
5
5
8
7
5
5
4
7
~~ 3 œ œ œ œ ⋲ œ œ œ . ⋲ œj œj œ œ . œ œ 3 ~~
j ~~~ œ ˙˙ .. Am7
‰
~~ BU ~~
BU
8 8 10 (12 ) 10 (12 )
5
10 (12) 8
10
J
~~
~~~ œ œ œ. œ
jAm7 œ œ œ
BU
j ~~ j ~~ œ œœ œ œœ
œ œ~~ Œ
j œ œ
7 ( 9) ( 7)
7
3
( 9 ) (7) 5
BU BD
7
œ œœ œ œ œ
~~~
to add feeling and variety. The middle of the phrase in bar 16 is played with a very light picking-hand touch. Bar 20 features some ideas played in shape 1 of A Minor Pentatonic, only this time they are played up one octave from our original position rooted at the 5th fret – here, we’re 12 frets higher, at the 17th. Even with a simple minor blues like this, see how much variety Bernie is bringing to the solo.
~~~
10 12 (14)
8
5
7
5
7 7 5
5
7
3
5
7
5
14
Dm7 lightly . œ. Played . œ œ œ œ œ œj œ œ. œ. œ. . ~~ . œ œ j . . œ œ œ . œ œ œ œ œ. œ œ œ œ œ œ œ Œ J œ œ œ œ œ œ œ œ œ œ~~ ‰ &
3
E B G D A E
5 8
5
8
8
5
8 5
7
5
5
7
8
5 7 7 (9 ) (7) 5
8
3
9
8
8
~~
10
5 8 (10 ) 8
8
5
8 5
7 5
~~ 5 7 5
7 7
BU BD
BU BD 10 ( 11 ) (10 ) 8
10
10
8
Am7
√ ~~ ~~~ œ œ œ œ Œ œ œ. œ. ‰. œ œ œ
~~
10 10 ( 11) (10 ) 8
~~
10 12
~~~
15 12
15 13
14
18
(√) & œœœ Œ
~~ œ. . œ. . œ ‰ œ œ œ œœœœ‰ Œ 3
E B G D A E
7
16
j j œ œ~~ œ b œ œ œ œ œ œ œ œ œ œ œ ~~ œ œ ‰ ‰ Œ. & E B G D A E
~~
BU
BU BD
12 14 12
20 17 20 17 20 17
19 17
~~
19 19
' œ œ œ œ œ œ~~. Œ E m7
1/4
'
~~
1/4
17 17
20
17
. ‰ Œ. œ œ œ œ~~ J
19
17
19
19
17
~~ 19
20
September 2014 GuitarTechniques 71
lesson: video
VIDEO
ON THE CD
CD-ROM
BERNIE MARSDEN’ S MINOR BLUES
cd-rom
[Bars 25-37] This final chorus starts out with some double-stops. Bernie uses double-stops to great effect in songs like Ain’t No Love In The Heart Of The City. The phrase in bar 27 is a fast flourish, and you may need to have a couple of 3 listens to get this one down. Bars 33 and 34 feature some ideas ‘right up there’
œ œ . œ œ œ œ œ~~.
j œ
10 8
8
Dm7
j œ œ
œ œ J
& J E B G D A E
BU BD 7 (9) (7)
10 8 10
5
8
in position 17, so be careful to keep the notes in tune. Good intonation can be achieved by ensuring you don’t press too hard, or over-bend the notes (good vibrato can help too, and Bernie’s is among the best). The solo finishes with a super-cool sounding string bend, which goes from the root A to the 9th (B).
D m7 j œ œ œ œ A m7~~ ~~ œ œ œ œ œ œ œj œ œ ~~ œ. œ œ. ⋲ ‰ ⋲ œ ⋲ œ j œj œ ‰ œ œ œ BU BU ~~ BU(10) 8 ~~ ~~ ~~ (10 ) 8 5
10
8
10 8
7
5
7 ( 9) 7
5
5
7
5 3
5
7
22
E m7 Am7 ~~ ~~ ~~ ~~ jœ œ œ œ j œ. œ j œ œ œ œ . œ œ ‰ œ œ. œ œ œ œ. œ œ . Œ. & œ J BU ~~ ~~ ~~ ~~
œ œ . œ~~ œ œ œ ~~ œ œ. œ œ ‰ œœœœ
Am7
E B G D A E
8 5
7
5 7 7 (9) 5
7
5
7
5
5
7
5
7
5 5
7
7 7
Dm7
~~
10 8
5
8 5
7
5
~~
5
5 7
5 7 3 5
24
A m7
3
œ œ œ œ œ œ & œ b œ œ œj n œ œ œ œ
j œ
j œ œ œ œ œ ‰.
j œ
œ. J
œ.
œ œ œ œ œ œ
3 E B G D A E
BU
5
5
7
5
7
œ œ œ œ œ œ œ œ œ 8
10
7
5
7
5
5
5
7 (9)
10
8 10
12
10
10
8
10
8
10
10
8
10
10
10
8
œ j œ œ œ bœ œ œ œ œ œ œ œ nœ œ
⋲
BU 10
8
9
8
8
7
5
7
7
7
5
7
(9)
5
⋲ ‰
8
œ œ
Œ
5
5
8
28
&
j œ
œ ~~ œ œ œ
Dm7
BU E B G D A E
5
9
7
27
& E B G D A E
6
5
~~
8 (10)
‰
j œ
œ œ œ œ
œ
œ œ œ œ Œ.
3 5
BU BD 8
29
72 GuitarTechniques September 2014
5
7
(9 )
(7)
BU 5
7
5
7
(7 )
œ.
BU
BD
(9)
j œ
8 (10 )
5
#œ. BD
j nœ
œ.
BU ( 9)
8 (10 )
Learning Zone
BERNIE MARSDEN PART 1 BERNIE MARSDEN’ S MINOR BLUES
cd-rom
4 xxxxxxxxxx
&
4 xxxxxxxxxx
œ œ ~~ œ œ œ
j œ
BU E B G D A E
8 (10)
8
~~
5
8
10
8
5
5
8
8
30
~~~ œ. œ
Am7
& E B G D A E
5
8
~~ œj œ œ ~~ œ œ ~~ œ œ œ œ œ ~~ œj œ œ œ ~~ œ œ œ œ œ œ ~~ j œ œ œ bœ œ œ œ œ & œ œj œ œ BU ~~ ~~ BU( ) ~~ ~~ BU BD ~~ BU( ) ~~ ( )
j œ
j œ
¿ J
~~~ 7
5
X
j œ
5
10 8 8 5
8
5
(7)
(8)
7
8
5
10
8
5
7
8
5
5
7
5
5
8
8
5
3
30
Am7 √ ~~~ √ j œ œ / ~~~ . ' œ œ j œ. œj œj œ œ œ œ j œ . œ œ . j b œ. œ. œj œ. œ . j . . . œ œ œ œ œ . ⋲ œ. œ. œ œ b œ œ œ. œ & ‰ ¿ Œ ⋲ ‰ ⋲ œ Jœœœœ œ œ œ.
~~~ œ œ œ. œ
14
~~~ 12 14 12
14
15 E
13 15 15 (16) 15 13
' ~~~
1/4
BU
BU
B 15 ( 17) G D A E 31
31
(√) jE m7 œ œ œ &
E B G D A E
13
15 (17) 15 13
7
5
~~~
BU
X
14121214141212
14
BU BU 17 13 20 15(22 15 ) (16) 15 13
15
15 ( 17) 13
√) jE m7 j ( . œ œ œ œ œ œ. j œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ ⋲& œ œ œ œ œ Œ œ œ œ œ œ œ ⋲ ‰
j œ
3 E B G D A E
BU 20 (22)
17
BU 20 (22)
17
20
17
19
17
19 17
19
17 19
33
(√) Dm7 œ œ. œ. œ . . œ œ œ œ. œ. œ œ. . & œ E B G D A E
20
19
17
20
17
19
17
& œ œ œ.
~~ œ œ
36
5
7
20 (22)
19 ( 21)
19
17
19
17
~~ œ.
E m7
œ œ œj
~~ 7
5 7
9
19
17 17
BU 20 (22)
17
20
19
17
19
œ œ œ
BU 19
20
7 ( 9)
17 5 5 20
8
19 ( 21)
œ .~~
BU
~~
817(10 )
19
17 5 8 19
5 17 7 19
Am7
~~
~~ 517
‰
17
19
34
œ œ Uœ & œ œ œ. Am7
j œ
BU BD BU E B 10 G D A E
BU
19 17 17 17 19 19 17 17 19 19
17
33
~~
~~ 7
BU BU
Dm7 √) Dm7 ( . ~~ j ~~ . œ . œ œ j œ œœ œ œ œ œ. œ . . œ œ .œ œ . . œ œ œ~~ œ œ œ œ œ. œ. ‰ ‰ &
E B G D A E
œ 3
Am7
34
Am7
E B G D A E
E B G D A E
1
BU
10 (12) (10 ) (12 )
7
5
7
E m7 ~~ œ~~ œ ~~ œ œ ˙ .œj œ~~ œ . œ œ
~~ ~~
8
10 7
~~ ~~ 59 7
9
œ œ œ
j œ
BU 8
10
36
September 2014 GuitarTechniques 73
10
ON THE CD
Creating harmony parts
PART 1
As an adjunct to Bridget’s feature on four-part harmony, Shaun Baxter looks at how harmony is approached in the world of modern rock guitar.
ABILITY RATING
Moderate/Advanced Info
Will improve your
Key: C (Am) Tempo: various CD: TRACKS 43-53
General rock harmony Voice motion knowledge Chord tone understanding
As it is based mainly on simple chord forms and straightforward rhythms, our current series on neo-classical rock gives us a good opportunity to look at the various principles and protocols behind creating harmony parts to a given melody. When harmonising a
melody, two voices (pitches) may move in three ways in relation to each other. 1) Contrary motion: moving in opposite directions 2) Similar motion: moving in the same direction 3) Oblique motion: one remains stationary while the other moves Similar motion is the one that is most commonly used in rock music. I’m sure you’re aware that there are signal processors called harmonisers (into which instruments can be fed on their way to the amplifier) that simultaneously generate another note (or notes) a specific distance from the original note (above and/or below it). Basic (non-intelligent) harmonisers work by generating a second note in response to the first. The time lag between the first and second note is so small that the listener perceives both as being played simultaneously, thus creating a harmony. The user programmes the harmoniser so that the second (harmony) note is a pre-set distance away. For example, if you programme the harmoniser to generate Minor 3rds above the original, the second (harmony) note will always be three semi-tones higher than each note played. This form of similar motion – where two intervals remain the same distance apart – is known as parallel motion. Octaves, 5ths and 4ths tend to work best with non-intelligent harmonisers; however, unless you are using octaves (the identical note 12 semitones higehr or lower), the second note won’t always be in the right key. Intelligent harmonisers allow the user to pre-programme a particular scale (G Lydian, for example) and, rather than always generate a note that is a consistent distance away from the original, it will compensate.
tracks 43-53
For example, if we program the harmoniser to correspond to the C Major scale, and ask it to generate 3rds, it will produce a D note each time one plays a B note (an interval of a minor 3rd), but then produce an E note when a C note is played (a distance of a major 3rd). The harmoniser will compensate in a similar manner for any other chosen interval/ harmony with any particular scale of your choosing; however, the motion created by an intelligent harmoniser is still considered to be parallel (in other words, a minor 6th followed by a major 6th is still considered to be parallel 6ths, even though the 6ths are of unequal size). Although used heavily in rock and pop, certain modes of parallel motion (such as unisons, 5ths and octaves) were systematically avoided in the 18th and 19th century; so Beethoven would probably be spinning in his grave to know that there are machines that exist in order to produce such musical ‘monstrosities’. Thankfully, we don’t continue to live in such pedantic times; however, the traditional objections to certain forms of parallel harmony do have a practical basis, and are not just rooted in some pompous aesthetic. Melodically, the limitations of parallel motion are quite easy to observe. For example, if one were to create a parallel harmony for a two-note melody comprising G to B by simultaneously playing B to D, although harmonious and correct within the key of C, we would get two consecutive B notes. This form of repetition can start to sound particularly tedious when played in succession (such as when harmonising arpeggios in parallel 3rds). To counteract this, one could: Increase the distance (register) between the various NEXT MONTH: Shaun delves deeper into the topic of rock guitar harmony
Get The Tone 7
6
6
7
4
Gain
Bass
Middle
Treble
Reverb
Successful harmonies rely on blend. Backing vocalists are aware of this, and adjust their tone, technique and vibrato accordingly. You should too, as a guitarist. Our examples were recorded using a distorted tone, but ensure an optimum blend by paying attention to the amount of distortion required, your pickup selection, your dynamic range, the techniques that you are using (so that they complement or mirror the other parts) and temper your vibrato so that it matches the other parts.
Track record One can’t really talk about this subject without mentioning JS Bach. Bach composed an enormous amount of material, all of it brimming with voice motion employed in a systematic but extremely creative way. Furthermore, you can supplement and inform your listening with some essential reading, such as Harmony by Walter Piston (W W Norton & Company Incorporated, 1987).
74 GuitarTechniques September 2014
david lyttleton
lesson: creative rock
Learning Zone
Creating harmony parts parts (such as moving one or more parts up or down an octave) so that none of the following notes duplicate any of the previous pitches. Avoid parallel motion by applying either contrary motion or oblique motion. Omit certain notes, so that the harmony is implied. Or create rhythmic counterpoint, so that the listener gets a sense of harmony from notes as they are played consecutively, rather than simultaneously. Regarding a method for establishing harmony parts, you could try any of the following: Playing all of the voicings simultaneous on one instrument (depending on the difficulty of the line). Programming each part via MIDI in a DAW (Digital Audio Workstation) such as Pro Tools, Logic or GUITAR TECHNIQUES MAGAZINE 2 3 4
GUITAR TECHNIQUES MAGAZINE 2 3 4
Example 1 NON-CHORD TONES
Although used heavily in rock and pop music today, certain modes of parallel motion were systematically avoided altogether in the 18th and 19th century.
results as it ‘plays’ the score, generating the results via MIDI. You could, of course, get together with other musicians! In the following musical examples, we are going to discuss some of the pros and cons of parallel motion. We will touch on some alternative forms (contrary and oblique motion), but will concentrate mainly on ways of applying parallel and similar motion in an appropriate and effective manner. So far, we have discussed how parallel motion often results in repeated notes when the melody moves in the same interval as the accompanying harmony line(s). Another inherent disadvantage is that parallel motion doesn’t always articulate (relate to) the underlying harmony (chords).
Cubase, so that you can hear them all played back together. Write the parts out using music-notation software such as Sibelius, Finale or Notion (initially, this will be quicker and easier to see if you can put all of the parts in one stave). Again, each of these types of program will allow you to hear the SHAUN'S CREATIVE GUITAR CREATING HARMONY PARTS SHAUN'S CREATIVE GUITAR CREATING HARMONY PARTS
no audio
NON-CHORD TONES: Let’s take the three notes of a simple melody like Three Blind Mice (here, played in the key of C).
* *
Scale notes are indicated by ( ), and should be played as normal NON-CHORD TONES: Ex 1 notes (Basicare Melody) Scale indicated by ( ), and should be played as normal (Basic Melody) ©»ªº C ©.»§º ©»ªº œC .. ©.»§º œ & 686 & 8 (3rd)
Ex 1
E B G E DB AG ED A1 E 1
œG . œ.
œC . œ.
G
C
(5th)
(Root)
(3rd) 12
(5th) 10
(Root) 8
12
10
8
Œ. Œ.
ExampleS 2, 3, 4 PARALLEL MOTION
cd track 44-46
[Ex 2] Next, let’s do what most guitar players would do: that is, play an equivalent melody or motion three scale-notes higher (C major scale). Fortunately, in this instance, the technique works, because each note makes sense against the underlying chord.
Ex 2
(parallel motion 3 scale-notes above)
œ.
C
& 68 Gtr 1 E B G D A E
(3rd) 12
√ Cœ . & 68 Gtr 2 E B G D A E
(5th) 15
œ.
C
(5th) 10
(Root) 8
G
C
G
œ.
œ.
œ.
Parallel (b7th) 13
(3rd) 12
Ex 3
(parallel motion 3 scale-notes below - unsuitable)
œ.
C
Œ.
68
(3rd) 12
Œ.
Loco
68
[Ex 3] However, if we do the same thing three scale-notes lower (as shown here), the resultant harmony doesn’t fit the underlying chords so well. [Ex 4] Whereas, this example – still a form of similar motion – works better, because the final note is a chord tone (G, the 5th of C).
œ.
C
œ.
C
(5th) 10
(Root) 8
œ.
C
G
G
œ.
œ.
Parallel
Ex 4
(similar motion - more suitable)
œ.
C
Œ.
68
(3rd) 12
œ.
C
Œ.
68
œ.
G
(5th) 10
œ.
G
œ.
C
Œ.
(Root) 8
C
œ.
Œ.
Similar
(Root)
(3rd)
(6th)
(Root)
(3rd)
(5th)
13
12
10
13
12
8
September 2014 GuitarTechniques 75
lesson: creative rock
ON THE CD
tracks 43-53
ExampleS 5, 6, 7 making three-part harmony work
cd track 47-49
[Ex 5] Here, we have continued the process of applying similar motion, but choosing harmony notes that relate to the underlying chord in order to produce a three-part harmony of the same basic melody. If you take each note of the original melody within this three-part harmony, you will see that it is now underpinned with all of the other notes from the underlying chord, with no duplications (the same note played in different parts). For example, the first note (E, the 3rd of underlying C chord) is now underpinned by C (root of C) and G (the 5th of C). Make sure that you take time to note how this same principle is applied throughout all of the following examples. [Ex 6] This next example shows how the original melody can be harmonised Ex 5
(parallel, similar & oblique motion)
œ. œ.
C
& 68 Gtr 1 E B G D A E
& 68 Gtr 2 E B G D A E
(3rd) 12
œ.
G
(5th) 10
œ . Gœ .
œ. œ. & 68 C
G
E B G D A E
(5th) (Root) 12
Œ.
Similar with part 1 C (parallel with pt 2)
œ. Œ.
(3rd)
12
œ . Gœ . 68
Ex 7
C
(5th) 10
Similar
8
Oblique
Gtr 3
68
œ.
G
C
(5th)
12
œ. œ.
(3rd) 12
Similar
(Root) (3rd) 13
Œ.
C
œ.
(mixture of motions)
C
(Root) 8
C
Parallel
Ex 6
C
using a combination of voice motions, producing a more sophisticated affect. [Ex7] As well as harmonic counterpoint (combination of different voice motions) it is also possible to create interest and balance through rhythmic counterpoint (via a mixture of different rhythms). Note how the various chord tones in the original melody (Guitar 3) have been mirrored by a complementary chord in the other two parts. The chord tones in these other two parts have been embellished using scale notes. The melodic embellishments from the two harmony parts are played in rhythmic counterpoint to Guitar 3 (in other words, they occupy holes left by the rhythm of the original melody line). (mixed motions & rhythmic counterpoint)
œ.
C
Œ.
68
(Root) 8
(3rd) 12
C
C
œ.
Œ.
Oblique
68
œ œ œ
8
8
C
G
C
C
68 œ . œ .
Contrary
(5th)
9 10
(3rd) 9
œ. Œ.
(3rd)
(5th) 10
(Root) 8
⋲
13
(5th)
C
G
(Root) * 13 ( 12 ) 13
(Root) (Root)
œ.
(Root)
68 œ (5th)
9 10
œ.
G
œ œ œ
(Root) 8
G
œ œ œ
(3rd) * (10 ) 12
œ œ
* (Root) (3rd) (Root) (5th) (12 ) 10
9
10
12
Œ.
C
œ.
Œ.
(5th) 8
C
œ. Œ.
(3rd) 9
North American
Subscription Offer
Subscribe to Guitar Techniques today and save over $89 off the store price – it’s madness! l Yes, you can save over 40% off the store price and pay just $29.50 by quarterly credit card. l That’s the equivalent of only $9.07 per issue (usual price $15.99)! l Struggle to find a copy of Guitar Techniques in stores? Then subscribe today and you’ll never miss another issue – delivered by Airmail, direct to your home or workplace. l Get your copy up to three weeks before they hit the stores.
Order online: www.imsnews.com/guitartechniques Or call TOLL FREE on: 1-800-428-3003 76 GuitarTechniques September 2014
save OVER
40% Overseas Orders Excluding North America Order online at: www.myfavourite magazines.co.uk Or call +44 1604 251 045 Terms and Conditions: This offer is for new North American subscribers only. You will receive 13 issues per year. Your subscription will start with the next available issue. Minimum subscription term is 12 months. If at any time during the first 60 days you are dissatisfied in any way please notify us in writing and we will refund you for all un-mailed issues. Come and join the GT family!
Learning Zone
Creating harmony parts Example 8 TWO-PART HARMONY – MORE FREEDOM IN SECOND PART Interestingly, establishing a two-part harmony for a melodic line underpinned by three-note chords presents more options in terms of choice of motion. In this example, the second part (Guitar 2) is able to dart around Ex 8
cd track 50
between the various chord tones not covered by the original melody (Guitar 1), without the fear of crossing over or duplicating any notes from a third part second harmony.
(2-part harmony - more freedom in second part)
œ.
C
G
œ.
C
(3rd) 12
(5th) 10
(Root) 8
œ
C
& 68 Gtr 1 E B G D A E
C
& 68 œ Gtr 2
œ
œ
(Root) (5th) (Root)
E B G D A E
10
10
G
œ
œ (3rd)
œ
œ
œ
10
12
9
(3rd)
10
8
œ
œ
œ
œ
(Root) (3rd) (Root)
9
10
˙.
œ
(5th)
7
8
œ
(5th)
7
10
œ. (3rd)
10
8
7
Example 9 CHORD TONES ONLY – PARALLEL HARMONY A 3RD AND 6TH ABOVE The approach in Examples 7 and 8, although okay for, say, a ballad, would be too fiddly when attempting to harmonise powerful rock lines: basically, we need something more direct. This example shows an arpeggio passage Ex 9
(chord tones only - parallel harmony a 3rd and 6th above)
¢ ©»¡£™ F 3 ¡ œ œ¡ ™ ™œ ™œ œ œ ™œ 4 œ ™œ ¢œ &4 œ œ ¡ Gtr 1
E B G D A E
¡
8
¢
12
3
10
10
10
3
8
13
8
D7
10
10
12
9
≤ ≤ ≤ ≤ ≥ ≥ ≥ ≥ ¢≤ 3 ¡ œ ¡ ™œ 3 œ ¡ ™œ œ 4 œ &4 œ œ œ œ ¡ £œ œ ¢ 3 ¢ £ 3
E B G D A E
D7
3
8
7
6
5
8
5
6
5
7
8
5
≥ ≥ ≥ ≥ ≤ ≤ ≤ ≤ ≤ F 3 ¡œ ¢œ ¡ œ 3 4 ™œ œ¡ ¡œ œ &4 ™ £œ œ œ£ œ œ 3 £ 3 £ Gtr 3
etc
≥
0 1
3
3
2
1
1
5
1
1
2
3
D7
9
7
11
7
¡ #œ œ œ œ ¢ £
3
0
3
5
4
# ¢œ ¡ œ ¡ œ ™œ £œ £œ 3
3
™
3
¡œ
3
œ œ # œ œ ¢ ™ ¡
¡
5
12
12
¡œ
10
etc
F
Gtr 2
# ™œ
£
3
10
3
œ # ¡œ œ ¢
≥
E B G D A E
cd track 51
played as a three-part harmony. Here, Guitars 2 and 1 are a 3rd and 6th higher respectively, than Guitar 3 (the most commonly-used intervals when applying parallel harmony are 3rds, 6ths and octaves).
2
# ™œ
10
¡œ
14
¢œ
™œ 3 3
≥ ≥ ≥ ≥ ≤ ≤ ≤ ≤ ≤ etc ¢ G E7 ¡œ # œ œ¡ ¡œ ¢ œ œ¡ ™ ¡ ™ œ ™œ ™ ¢ ¡ £ £œ # ™œ œ œ¡ ™œ £œ £ ¢ ™ ™œ œ œ œ #œ œ œ & ¡œ œ œ
10
11
12
12
œ¡ ™œ œ 3 ™ ™œ œ ¢ 3
3
7
10
5
10
5
7
7
7
9
3 # ¡œ ¢œ œ¡ ™œ œ œ œ ¡ £ 3 ¢ 2
5
2
3
2
4
5
≥
3
3
3
3
¢œ ¡ ™œ ¡œ œ ™ £œ ™œ ¡ œ £ ¡ ¢ £œ œSeptember 2014œGuitarTechniques 77
Am
œ œ
3
3
3
¡
Gtr 2 E B G D A E
5
6
5
8
5
6
5
lesson:≥ creative ≥ ≥ ≥ ≥ rock ≤ ≤ 3
7
8
¢œ
7
8
5
≤ ≤ ≤
etc
7
9
5
7
7
10
5
7
7
7
tracks 943-53
ON THE CD
¢œ D7 3 ¡ ¡œ 3 3 œ¡ ™œ ¡œ ¡œ ™œ # œ 4 ™œ œ¡ ¡ œ œ œ track &4 ™ œ £ œ A 3RD AND 6THœABOVE œ ONLY – PARALLEL HARMONY # œ ...CONTINUED Example 9 CHORDœTONES ¡ cd œ £ £ œ £ series on neo-classical œ ¢will generate the 3same notes as a 3rd3 lower (although,£ again,¢œ they52 3 £ are higher 3 If you have followed this rock, you will see that we will F
3
Gtr 3
merely playing different inversions of the same arpeggios simultaneously: E 1 5 1 one Binversion higher is the same as a 13rd higher, and two1inversions higher G 2 2 are also is theD same as a 6th higher. 3It is for this reason that 3rds and 6ths 3 A inversions of each0 other. 3 Playing a 3rd higher will produce the same notes 3 E as when 1 playing a 6th lower (only an octave apart). Conversely, playing a 6th
be in a different octave). Finally, note that the repetition problem inherent 2 5 2 with parallel motion is increased with each added 3 3 voice. For example, the 2 first note of Guitar 1 (F) is repeated by the second note2of Guitar 2, and again 4 4 in third note of Guitar 3. This triple iteration applies to most of the 0 the 5 5 notes of Guitar 1 throughout this entire example.
≥ ≥ ≥ ≥ ≤ ≤ ≤ ≤ ≤ etc ¢ G E7 ¡œ # œ œ¡ ¡œ ¢ œ œ¡ ™ ¡ ™ ™ ™ œ œ œ œ¡ ™œ £ £ ™ ¢ ¡ £ £œ # œ ¢ ™ ™œ œ œ œ œ œœ & ¡œ œ #œ œ ≥
3
3
E B G D A E
10 14
12
G
3
& œ œ œ£ ¡ ¢ E B G D A E
9
5 10
12
5
5
12
12
14
11 14 E7
8
7 10 7
8
4
3
3 3
3
7
3
3
7
9
10
7
œ œ 4
5
¢
3
11
9
3
#œ œ¡ œ¢ £
™ £ œ £
5
2
12 16 12
¡ ™ # ™œ œ
E7
3
12
3
¡
3
7
14
13
œ œ # œ œ ™
œ
3
3
¡
2
10 15 10
3
7
6
9
¢œ
12
13
14
14
12 15
7
12
œ
3 5
4
7
9
9
9
3 12 17 12
Am
3
œ œ¡ œ¢ ™
11
7 12
10
3
œ¡ ™œ 3 œ œ ¡ £ œ 3
3
œ œ¡ œ¢ ¢
¢
7
4
5
4
6
7
3
7
7
10
9
&
3
œ¡ œ¡ ¡œ
¡œ
E7
¢œ
™œ
œ ™œ
£
3
20
17
&
¡
17
¢
≤œ
17
œ œ £œ ™œ ™
3
E B G D A E
&
14
17
19
16
≤ ≤ ≥ ≥ ≤
≤
¢œ
17
12
¡œ
¢œ
E7
13
14
13
18
19
12
13
18
¡
16
¡
œ ™ œ # £œ ™œ œ 10
≤ ≤ ≥ ≥ ≤
13
12
10
≤ ≤ ≥ ≥
œ¡ ™œ ¡ ™œ ¡ œ ¢Eœ7 œ¡ # ™œ £œ ™œ ¡œ œ 3
3
17
Am
¢œ
3
™œ
12
¡œ
13
™œ
3
3 12
¡œ 3
≤ ≤ ≥ ≥ 3
3
¢œ
3
3 E B G D A E
œ¡
12
¢œ
Am
3
8
¡œ
10
¡œ
œ £
¡ ¢œ ¡œ ¡œ œ 5
5
14
œ ¡ 9
¡œ
3
14
5
6
≤
8
10
9
10
8
10
≤ ≤ ≥ ≥ ≤
78 GuitarTechniques September 2014
7
9
10
9
7
≤ ≤ ≥ ≥
8
5
5
5
~~~
œ ¢
¡
15
12
3
œ ™ 10
œ ¢ 3
12
10
7
œ
¢
12
œ
¢
7
˙ ~~~ ~~~
¡˙
12
8
œ¡ ¡œ
3
~~~
8
¡ ¡œ œ¡ œ 3
5
5
5
5
5
≤ ≤≥≥ Ó
Ó
~~~ ~~~
10
≤ ≤ ≥≥
7
˙
9
3
3
3
œ £
13
3
Am
# œ¡
14
≤ ≤ ≥≥
8 12 8
≤ œ¡
13
3
≤
Am
3
¡ ¢ œ œ¡ ™œ ™œ ¡ œ ¡œ ™œ œ ¡œ
3
√¢œ
E B G D A E
14
13
14
œ¡ ™œ £œ ™œ ¡ œ
≤
œ¡ ™œ ™œ ™ œ ¢œ 3
9
3
3
3
¡ ¢œ ¡ ™œ # œ
4
œ œ
3
3
¡ ¢œ œ¡ ™ ¡ ™œ œ œ œ¡ £ ¢ œ œ
œ œ œ œ£ £ 3
&
12
¡ ¢œ œ¡ ¡ ™ œ¡ œ œ
G
E B G D A2 E
12
3
3
3
¢œ ™œ ¡œ £ ¡ ¢ £œ œ
Am
Ó
Learning Zone
Creating harmony parts Example 10 CHORD AND SCALE TONES – PARALLEL HARMONY A 3rd and 6th ABOVE Here, we see how parallel motion can be applied to a melody (Guitar 3) composed from chord tones linked by scale notes. It’s important to start off by identifying the chord tones from within the original line (the strongest notes), and making sure that each of these is underpinned by other chord tones in the other two parts. Then the object is to link the chord tones from each harmony part using scale notes (which act as passing notes between Ex 10
(chord and scale tones - parallel harmony a 3rd and 6th above)
©»¡º¢ ™Amœ œ (œ ) œ œ œ (œ ) œ ™G œ (œ ) œ œ œ ( œ) œ œ 4 &4 Gtr 1 E B G D A E
10
Am
œ & 44
*
12 (10 ) 12
8
*
12 (10 ) 12
œ ( œ) œ œ œ ( œ) œ
Gtr 2
14
G
œ
7
*
10 (8 ) 10
*
17 (16 ) 17 14 17 (16 ) 17
12
Gtr 3
10
œ
5
*
(7 ) 8
8
10
*
*
*
12 ( 9 ) 12
12 (9 ) 12
œ (œ) œ œ œ (œ ) œ
G
¡
œ
7
3
*
(5 ) 7
3
œ
* 9
3
*
12 ( 9) 12
12
9 (10 ) 12
œ ( œ) œ œ œ ( œ ) œ œ œ œ œ ( ) œ œ (œ ) œ *
*
10 ( 7 ) 10
7
10
10 ( 7 ) 10
*
*
7 ( 5)
5
7
4
5 ( 7)
4
1
G œ ( œ) œ ¡œ ¡ ™ ¡ œ œ œ ( œ) œ œ œ œ œ (œ ) œ & œ() ¡ Am
¢œ F
¢
*
8 ( 7) 8
E B G D A E
5
5
*
* 5 (4 )
7
5
(2 ) 4
3
*
3 ( 5) 7
3
~~~ œ œ œ¡ œ œ¡ œ¡ œ œ œ œ ˙ ¡ œ (œ ) œ œ (œ ) ¡ G
Am
( )
*
5 ( 3) 5
1
1
* 2 (0)
* 3
5
(2) 4
3
3
3
4
5
7
≥ ≤ ≥≤ ≤ ≤ ≥ ≤ ≥≥ ≤ ≥≥≤ ≥ ≤ ≥ ≤ ≥≤ ≤ ≤ ≥ ≤ ≥≥ ≤ ≥≥≤ ≤ ≤ ≥ G G Am œ (œ) œ œ ~~~ œ œ Fœ ( œ) œ œ (œ) œ œ œ œ œ œ œ œ & œœ ˙ (œ) œ œ ( œ ) œ œ (œ ) œ œ (œ ) œ ~~~ * * * * * * *
E B G D A E
14 (12 ) 14
14 10
12 ( 10 )
12 10
Am
( 7 ) 10
9 12
( 9 ) 12
12
G
œ œ & ( œ) œ œ œ ( œ) œ œ œ œ œ (œ ) œ œ œ( ) * * * * 9 ( 7) 9
3
5
7
7 ( 5) 3
≤ ≤
2 (3) 5
5
4 ( 5) 7
≥ ≥
4
10 ( 7 ) 10
10 7
8 (5)
8 10
(7 ) 10
9 12 9
10
10
≤ ≤
G Am ~~~ œ (œ ) œ œ œ œ œ ( œ ) œ œ (œ ) œ œ œ œ œ ˙ ~~~ * * * 2
3
3 ( 2) 0
≤ ≤
2 (3) 5
5
4
5
5
2
Ó
12
F
5 ( 4) 5
Ó
~~~
Am
E B G D A E
*
3 ( 5)
œ (œ) œ œ œ œ œ()
G
*
14 (12 ) 14 10 14 (12 ) 14
œ
14 (12 ) 14
12
8
*
*
16 (14 ) 16 12 16 (14 ) 16
*
9
*
( 7)
œ ( œ ) œ œ œ ( œ) œ
F
14 (12 ) 14
14
8
6
Am G 4 œ œ ( œ) œ œ œ (œ ) œ œ œ ( œ) œ œ œ ( œ) œ &4 E B G D A E
œ ( œ ) œ œ œ ( œ) œ
F
™œ
œ ( œ ) œ œ œ ( œ) œ
*
*
E B G D A E
*
10 (8 ) 10
8
cd track 53
the chord tones) in an equivalent manner to the original (so that any motion is mirrored as closely as possible). If you visually scroll up and down through the three guitar parts, you will see that: 1) Each chord tone is mirrored by two other complementary chord tones (in the other parts), with no duplications (no two notes are the same pitch). 2) Each scale note is mirrored by two other complementary scale notes (again, in the other parts with no duplications).
Ó
3
≥≥ ≤ ≤ September 2014 GuitarTechniques 79
Cool Jazz Movie Theme
Grab some popcorn, a fizzy drink and a tub of ice cream! Andy Saphir is going to the movies to bring you a jazzy tune inspired by the 70s silver screen.
music that was listened to was predominantly classical (my brother is a classical pianist), I was always hearing different types of solo piano pieces, concertos and the like. And although I might not be greatly knowledgeable about the vastly varied amount of music under the umbrella of ‘classical’, and indeed, I’m not classically trained myself, I feel confident in my belief that some of these amazing movie soundtracks must be placed ‘up there’ alongside some of the great classical pieces, with all due credit going to the composers and musicians whose incredible talent brings them into being. Now the purpose of this month’s lesson isn’t to teach you how to be a classical or movie-soundtrack composer (though it might hopefully inspire you!). I’m not a composer or arranger, but it’s a slightly different angle to the predominantly stylistic approach of previous lessons in this series, in that I’ve contrived an imaginary Vic Flick played session situation where a ‘Bond’ on this Clifford Essex TV or movie theme has been Paragon guitar written, and a versatile guitarist is needed to realise the composer’s or the producer’s vision ABILITY RATING (fortunately in this case, the composer, producer and guitarist are one and the same!). Moderate What I’ve come up with is a mini retroInfo Will improve your style track which I’ve attempted to write to fit the movie or TV show for which I’ve Key: G minor Stylistic approach fictitiously been commissioned; in this case, Tempo: 123 bpm Phrasing and melody I’m pretending it’s a 70s-style LA-based cop CD: TRACKS 54-55 Jazz-chord vocabulary show or movie. The tune is in C minor, and has a cool jazz feel with a funky bass and drum I don’t know about you, but I’m a huge fan groove. It has an eight-bar intro, a 16-bar of film and TV soundtracks, regardless of main theme (A section), a 10-bar secondary whether there’s a guitar element to them or theme (B section) and then a 16-bar solo over not. Growing up in a household where the
ON THE CD
tracks 54-55
the main theme (C section). The 70s vibe is helped along by a consistent wah-wah ‘scratch’ guitar part that continues throughout, with the chordal element of the piece being played by the rhythm guitar using some nice jazz voicings. After a 70s-style, funky single-note ‘popping’ intro, the melody (A section) is simple and singable (as a melody should be in a track such as this), and I’ve interpreted it by going for an ‘octaves’ approach to give it depth, and played it with my thumb, Wes Montgomery-style, to help give it a more authentic ‘jazzy’ feel. It’s interesting that we have Wes’ song Sunny in this issue, too, so perhaps one will help you with the other. Although the double-stop-style B section
I’ve contrived an imaginary situation where a TV or movie theme has been written, and a guitarist is needed to realise the composer’s vision. theme can be seen as a melody in its own right, I’ve arranged it as a complementary, counter-melody part to the longer-note melody that you can hear the trumpet playing during this section. Again, I’ve used fingerstyle/thumb for this. Finally, the solo (C section) isn’t designed to be flash. I’ve deliberately gone with the vibe of the tune, purposely keeping most of the phrases straightforward C Minor Pentatonic-based in order to make it catchy and familiar. This is mainly an improvised solo, as I wanted a spontaneous, uncontrived feel, but above all, simple, musical, and hopefully, cool. If you’d like to contact me, go to www.andysaphir.com where you can also check out a video of me playing my country guitar extravaganza, What The Cluck! NEXT MONTH: Andy begins a new technique series called Chops Shop!
Get The Tone 5
5
4
6
4
Gain
Bass
Middle
Treble
Reverb
Choice of guitar tone is purely dependent on the style and feel you’re going for. In this case, as a retro, ‘cool jazz’ or funky feel tune, a clean tone with perhaps the merest hint of early amp drive will sound great. Some added wah-wah will help if you want to give it that real 70s treatment – and maybe a bit of phaser, too!
Track record How could we talk about movie themes without mentioning the iconic 60s James Bond riff played by legendary UK session man Vic Flick, with its brilliantly evocative theme? Other fabulous cinema and TV guitar moments include the spooky Twilight Zone double-stop riff played by US session titan Tommy Tedesco, and the original Batman TV show theme, again played by Tedesco.
80 GuitarTechniques September 2014
GETTY IMAGES
lesson: SESSION
Brought to you by...
Learning Zone
Cool Jazz 70s Movie Theme Example COOL JAZZ 70s MOVIE THEME
cd track 54
[Intro bars 1-4] Palm-mute this funky ‘popping’ line and play with a pick using 1/16th note ‘down-up-down-up’ for each beat, which will help to ensure that the notes are played rhythmically. [Bars 5-7] Strictly, the rhythm guitar plays these chords on the recording, but feel free to play them with a gentle approach, maybe with the thumb. [Bar 8] This is a ‘pick up’ lick into the main theme. Thumb or fingerstyle approach would work here, but watch for correct timing.
GUITAR TECHNIQUES MAGAZINE 2 3 4
Andy Saphir's SESSION SOLOING Andy Saphir's SESSION SOLOING Andy Saphir's SESSION SOLOING Andy Saphir's Gm/C SESSION SOLOING
GUITAR TECHNIQUES MAGAZINE 2 3 4 GUITAR TECHNIQUES MAGAZINE 2 3 4 GUITAR TECHNIQUES MAGAZINE 2 3 4 INTRO C5 (Dm/C INTRO C5on repeat)
©»¡ºº (Dm/C on repeat) INTRO C5 ©»¡ºº on repeat) INTRO j C5 b bb b 44 (Dm/C œ ¿ ¿ œj œ ©»¡ºº & œj œ on¿repeat) (Dm/C b œ ©»¡ºº b & b b b 4 œj œ ¿ œ ¿¿ ¿¿ œjj œ & b b b 4 œj œ ¿ œ ¿ ¿ œj œ & 4 œœ ¿ œ œ
E B E G B D E G A B D E G A 1, 3 B D E G A 1, 3 D E A 1, 3 E 1, 3
E B E G B D E G A B D E G A 7 B D E G A 7 D E A 7 E 7
b & bb b b & b b bb & bbb &
5
5 3 5 3 5 3
3 5 3 X X X 3 X X3 5 X 3 X X3 5 3 5 X
X
b & bb b b & b b bb & bbb &
5 6 5 6 7 5 5 6 7 5 5 6 7 5 7
b & bb b b & b b bb & bbb &
E B E G B D E G A B D E G A 17 B D E G A 17 D E A 17 E 17
b & bb b b & b b bb & bbb &
˙. ˙. ˙˙ . ˙˙ . ˙. 5 5 3 5 3 5 3
3 Cm11
b A b13 A b13 A b˙13
œ œœ œœ œœ œ
˙˙ ˙˙ ˙˙ ˙
8
5
8 6 8 6 8 6
5 3 5 3 5 3
6
3 Fm/C
œ œ œœ œœ œ
˙ ˙˙ ˙˙ ˙˙ ˙
Fm/C Fm/C Fm/C
8
5 5 3 5 3 5 3
3 Fm/C
‰ ‰ ‰ ‰
6
8 5 8 5 8 5
6 3 6 3 6 3
5
3
œ œœ Jœœœ Jœ Jœ J
‰ ‰ ‰ ‰
œ œœ Jœœœ Jœ Jœ J
3
‰ ‰ ‰ ‰
9 8 9 8 9 8 9 8
# G7 # 5 G7œ# 5 œ G7œ# 5
3 5 3 X X X 3 X X3 5 X 3 X X3 5 3 5 X
X
JAZZ JAZZ JAZZ JAZZ
b wwbb wwb
Cm
B /C
Cm Cm Cm
B /C B /C B /C
ww w . ¿ œœ ¿¿ ¿¿ œ. # œ. .. www ww Guitar ¿ œ ¿ ¿ œ. # œ. ... (Rhythm ww theseGuitar ¿ œ ¿ ¿ œ. # œ. .. plays chords) ¿ œ. # œ. (Rhythm plays these chords) (Rhythm Guitar 8 plays these chords) (Rhythm Guitar 8 . plays 8 3 X X these chords) 8 3 4 . 10 X 8 3 X X 8 8 10 X 3 X X 3 4 . 8 8 8 10 X 3 X X 3 4 . 8 3 4 10 X A MAIN .THEME
3 X X
j # œj œ #n œj œ #n œj œJ œ #n œ J n œ œJ
œ nœ . œ nœ . œ nœ . œ nœ . œ œ. J 8
6
8 8 8 7 7 8 8
6 7 6 7 6 7
7 7 7 7 7
8
7
Cm11 Cm11 Cm11 Cm11
˙. ˙. ˙˙ . ˙˙ . ˙.
œœ œœ œ œ
œœ œœ œœ œ
8
7
8 6 8 6 8 6
7 5 7 5 7 5
5 3 5 3 5 3
6
5
3
‰ ‰ ‰ ‰
5
5 3 5 3 5
b œœ b ⋲ b b œœ ⋲ b bb œœœ ⋲b œ ⋲
G7 5
Œ Œ Œ Œ
3
4 4 4
COOL COOL COOL COOL
¿ œœ ¿¿ ¿¿ œjj œ ¿ œ ¿ ¿ œj œ ¿ œ ¿ ¿ œj œ ¿ œ œ
œ œj œ œj œ œ œ
4
-
ww ww ww 6 6 6 7 6 8 6 7 6 8 6 7 6 8 7 8
5 5 5
11 10 11 10 11 10 11 10
A 13
˙. ˙. ˙˙ . ˙˙ . ˙.
˙ ˙ ˙˙ ˙˙ ˙
3 3 X X X 3 X X 3 X 3 X X 3 3 X X
10 9 10 9 10 9 10 9
Cm11 Cm11 Cm11
Fm/C Fm/C Fm/C
3 X X
Fm/C
nF/C ww nF/C ww nnF/C w nn www n ww
F maj9/C F maj9/C F maj9/C
¿ œœ ¿¿ ¿¿ œ. # œ. ¿ œ ¿ ¿ œ. # œ. ¿ œ ¿ ¿ œ. # œ. ¿ œ. # œ.
j œ n œ Fm/C œœ n n œœj Fm/C j œœ n n œœ Fm/C n n œœj œœ n œ œ
F/C
F maj9/C
E B E G B D E G A B D E G A 11 B D E G A 11 D E A 11 E 11
E
3
3 X X
(C5Gm/C on repeat) (C5Gm/C on repeat) (C5 on repeat) jGm/C œj on repeat) (C5
[A section (main theme) bars 9-15] This is the main theme played in octaves. Again, try using your thumb, as this is a common jazz approach. Accurate timing is essential here, as this is the main melody. [Bar 16] This a little ‘answer’ style fill. Be aware of the style as you play – it’s a jazz vibe, so no crazy vibrato! [Bars 17-33] The octave melody again. Note how there are subtle changes to the previous time round.
5
j œj ⋲ œjj. œj ⋲ œœj.. œœj ⋲ œœj.. œœ ⋲ œœ . œ œ.
6
8
6 3 6 3 6 3
8 5 8 5 8 5
6 3 6 3 6 3
7
8
7
8 6 8 6 7 5 8 6
7 5 7 5 7 5
6
5
7 5 7 5 5
3
5
3
˙ ˙˙ ˙˙ ˙˙ ˙
Fm/C Fm/C Fm/C
‰ ‰ ‰ ‰
6
Fmaj9/C Fmaj9/C Fmaj9/C Fmaj9/C
˙. ˙. ˙˙ . ˙˙ . ˙.
8 6 8 6 8 6
7 5 7 5 7 5
5 3 5 3 5 3
6 5 Fmaj9/C
3
œ œ œœ œœ œ
œ œ œœ œœ œ
7
œ œ œœ œœ œ
7
œ œœ œœ œœ œ
œ œœ œœ œœ œ
Fm/C
j œj œœj œœj œœ œ
8
Fmaj9/C Fmaj9/C Fmaj9/C
j œj œœj œœj œœ œ
5
˙.. ˙ ... ... ˙˙ . . ˙˙ . . ˙..
5 5 3 5 3 5 3
7
5
8 6 8 6 8 6
7 5 7 5 7 5
5 3 5 3 5 3
6
5 A 13
b A b13 A b13 A b˙13
3
œ.. œ. œ œœ.
⋲ ⋲ ⋲ ⋲
˙˙ ˙˙ ˙˙ ˙ 5 5 3 5 3 5 3 3
œ œ œ œ
b œ.. b œ. b œ. bœ
Fm/C
œœj œœj œœ œ
œ œœ œœ œœ œ
6
8
6 3 6 3
8 5 8 5 8 5
6 3 6 3 6 3
5
3
6 3 3
3 F maj9/C
8
8
A6b13 b13 Aœ b13 Aœ A bœ13
˙. ˙˙ . ˙˙ . ˙˙ . ˙.
Cm11
j F maj9/C œj ⋲ œjj. F maj9/C w œj ⋲ œœj.. F maj9/C œœj ⋲ œœj. ww œœ ⋲ œœ .. ww œ œ . ww
œ œœ œœ œœ œ 8 6 8 6 8 6
A Cm11 MAIN THEME 5 j A Cm11 MAIN THEME œj A Cm11 MAIN THEME
˙ ˙ ˙˙ ˙˙ ˙
Fm/C Fm/C Fm/C
6
œ œ.. œ œœ. œ œ ⋲ œœ œ. ⋲ ⋲
b œ A bœ13 b13 œ Aœ A bœ13 œ ⋲ 10 11 10 11 10 11 10 11
# # œ# œœ#
G7 5 G7 5 G7 5
œœ œœ œ
8
7
8 5 8 5 8 5
7 4 7 4 7 4
6 3 6 3 6 3
5
4
3
œ œ œ œ
8 10
8 11 8 10 8 11 8 10 8 11 8 10 8 11
G7 5
6
8
7
8 6 8 6 8 6
7 5 7 5 7 5
6
5 G7 5
#
#5 œ œ œ œ G7 œ G7 œ œœ ⋲ œ œ G7œ## 55 œœ⋲œœ œ œ ⋲œœ œ ⋲
A 13
œ bœ œ ⋲ bœ œœ ⋲ bb œœ œœ ⋲ bb œœ œ ⋲ bœ
‰ ‰ ‰ ‰
j œj ⋲ œjj. œœj ⋲ œj.. œœj ⋲ œœj.. œœ ⋲ œœ . œ œ.
Cm11
œ œ œœ œœ œ
Cm11 Cm11 Cm11
8
5
˙. ˙. ˙˙ . ˙˙ . ˙.
8 6 8 6 8 6
5 3 5 3 5 3
6
3
G7 # 5 G7 # 5 œ G7 # 5 G7œ# 5
11 8 11 8 11 8 11 8
j œj œœj œœj œœ œ
œ œ œœ œœ œ
6
8
6 3 6 3 6 3
8 5 8 5 8 5
3
5
nœ bœ œ nœ œ œ nœ ⋲ bœ œ nœ n œ ⋲ b œ œ n œ œ œœ œ nœ ⋲ bœ œ nœ œ œ œ 81 œ ⋲ September 2014 GuitarTechniques
G D A E
5 3 11
8
5
6
3
lesson: SESSION œ Cm11
8
7
5
6
5
3
5
3
3
j j œ ‰ ⋲ œ . ˙. œ œ . ˙.
Fm/C
E B G D A E
3
b
6
3
5
3
11
11
11
13
3
8
8
8
10
Cm11
œ bœ œ ⋲ œ ⋲ b œ œ œœ
j ˙ . œ œœ œ 54 ˙ . cd track
œ œ.
œ b œ.
13
11
b
A 13
13
3
6
3
6
Fmaj9/C
6
tracks 54-55
G7 5
that the phrases sit ‘in the pocket’. Bear in mind that the rhythmic 16th-note octave phrase from bars 31-33 is played with the thumb, and requires the correct 16th-note based ‘down-up-down-up’ approach to sound right. 8 7 6 6 8 [Bar 34] This is the pick-up lick into the solo. Played 8 over the 5 G chord, it uses 8 the G Superlocrian 4 Bb 3 Cb (B) Db Eb F). 3 5 5 5 (G Ab notes from mode
œ œ ˙.. œ œ ˙..
œ œ ‰ œ ‰ œ J J
ON THE CD#
A 13
17
b ˙ &b b ˙
5
5
œ ˙ œ ˙ these are played accurately – good timing is vital, so they’re played. Ensure
[Bar 24] Another ‘answer’ fill, this time more jazzy and using the Ab whole tone scale (Ab Bb C D E Gb) start to the lick, with the B note on the ‘2 and’ marking the major 3rd of the G7 chord; it then moves into a descending C E Aeolian (C D Eb F G Ab Bb) line. B 8 6 [B section (secondary G 8 7 ‘3rds’ 5 5 melody) bars 25-33] These predominantly D 3 to the chords over which 5 double-stops act as a little harmonised melody
Fm/C
7
6
Fmaj9/C
˙ b ˙. b b & œ THEME ˙ Example COOL JAZZ ˙ . 70s MOVIE
A E
8
11
œ nœ
13
#
bœ œ nœ œ œ œ ⋲ G7 5
12
11
13
12
10
13
12
22
2 xxxxxxxxxx 2 xxxxxxxxxx
œœ.. THEME Fm7 œœ.. œ B SECONDARY œ b œ. œœ œœœ & b b b Fm7 œ . & b b b œ œœ3 œœ 3 &b b
B SECONDARY THEME 2 xxxxxxxxxx Fm7 THEME B SECONDARY
11 13 11 13 11 13
E B E G B D A G E D E B 25 A G E D 25 A E 25
E B E G B D A G E D E B A 29 G E D 29 A E 29
b D bmaj7 œœ D bmaj7 œ
. œ. . œ œ. œœ. œœ œœ. 3 3
8 9 8 9 8 9
9 10 9 10 9 10
œœ œœ œœ
œœ œœ œœ
3
4 6 4 6 4 6
œœ œœ œœ
œœ œœ œœ
8 8 8 8 8 8
9 10 9 10 9 10
8 8 8 8 8 8
œœ œœ œœ
j n œœ j n œœ j n œœ
œœ œœ œœ
4 6 4 6 4 6
7 8 7 8 7 8
8 9 8 9 8 9
6 5 6 5 6 5
œœ œœ œœ
3 3
œœ œœ œœ
3 7 8 7 8 7 8
b
8 10 8 10 8 10
œœ.. b œœ. œœ b œœ. œœ. œœ.
10 12 10 12 10 12
Dm7 5
œœ œœ œœ
Dm7 5 Dm7 5
3 3
œœ œœ œœ
3
8 9 8 9 8 9
4 6 4 6 4 6
6 5 6 5 6 5
E maj7
10 11 10 11 10 11
6 8 6 8 6 8
œœ.. œœ œœ.
œœ œœ œœ 4 6 4 6 4 6
15 15 15 15 15 15 15
15
15
15
12 15
12 15
12 15 12 15 12 15 12 15 12 15 12 15 12 15
12 15
12 15
12 15
12 15
12 15
12 15
12 15 12 15 12 15 12 15 12 15 12 15 12 15
12 15
12 15
12 15
12
12
12
12 12 12 12 12 12 12
12
12
12
15
12 15
œ œ œ œ
SOLO OVER MAIN THEME
C
SOLO OVER MAIN THEME C m11
œ œ œ œ
C m11 bSOLO œOVERœ MAIN œ Ó œ œTHEME & b b b C m11 œ œ œ œ œ Ó b b & 82 GuitarTechniques b September œ œ œ2014œ œ Ó &b b
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. œ3 3 3
œ.. œ œ. œ
b b œ. A b7 b 5 œ .. A b7 b 5
œ. œ.
œ œ œ œ
15
15
12 15
12 15
12 15 12
A 7 5
8 9 8 9 8 9
15
15
œ œ œ œ
œœ œœ œœ
w ww
œ.. œ œ. œ
œ œ œ œ
G 11
C C
. œœ. œœ. œœ.. œœ. œœ
b E bmaj7 ww E bmaj7 w
œœ œœ œœ
œ œ œ œ
œ. œ. G 11. œ. œ. G 11
b & bbb & bbb &b b
œœ œœ œœ
3
8 9 8 9 8 9
D maj7
b & bbb & bbb &b b
E B E G B D A G E D E B A 32 G E D 32 A E 32
œœ œœ œœ
b B b7 Bœ œb7 B 7
œ œ œ œ
15
15
15 15 15 15 15
12 15
12 15
12 15 12 15 12 15 12 15 12 15
12 15
12 15
12 15
12 15 12 15 12 15 12 15 12 15
12
12
12
12 12 12 12 12
Ó Ó Ó
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
F maj9/C
Fm/C
F maj9/C
œ œ œ œ
œ œ œ œ ⋲ œ n œ œ œ œ œœ œ ⋲ œ nœ œ œ œ œ œ ⋲ œ nœ 8
9
8
8
9
8
9
8
8
9
8
9
8
8
9
10 10 10
œ œ œ œ œ œ~~~ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ~~~ œ F maj9/C ‰ œ œ œ œ œ œ œ ~~~ œ œ œ ‰ œ œ œ ~~~
Fm/C
œ œ œ œ œ œ œ œ œ œ Œ Fm/C 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
Ó Ó Ó
œ œ œ œ
Ó Ó Ó
œ œ œ œ
Œ Œ Œ
8 8 8
œ . œ œ œ œ œ œ œ œ œ œ œ œ. bb œ . œ œ œ œ œ œ œ œ œ œ œ œ b &
œ. œ
G G 11 11
œ. œ
3
Example COOL JAZZ 70s MOVIE THEME
E 15 15 15 15 15 15 E 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 B B [C section (solo) Bars 35-51] I played this solo with the pick, though feel G 12 12 12 12 12 12 12 12 12 12 12 12 G 12 with 12 12 12 12 if12 12wish. 12 With 12 12 12 12 free to continue the fingerstyle approach you a few brief D D A A exceptions, the notes used are from C Minor Pentatonic scale (C Eb F G Bb), E E with 32 32 the licks being quite straightforward and uncomplicated. The important
C
8 8
10 10 8 8 10 10
œ œ œ œ œ œ œ œ œ œ Œ .
8 8
10 10 8 8 10 10
8 8
10 10 8 8 10 10 8 8
œ œ œ œ œ~~~ œ œ œ œ ‰ œ œ
F F maj9/C maj9/C
8 12 8 10 10 12
8 8 10 10
10 10
11 11
12 12 10 10 8 8
~~~
8 8
35 35
b
œ œœ œ œ bœ nœ
A A 13 13
b &b b ⋲ E 3 E B 3 B G G D D 3 A A E E
cd track 54
15 15
Fm/C Fm/C
b œ œ œ œ œ Ó &b b
œ œ œ œ œ Learning Zone
8 9 8 improvised, 9 8 8 8 thing here is the phrasing. This solo was practically all so8 12 12 I wouldn’t play exactly the same thing if I did it again, 10 10 although the general 8 8 9 9 feel of the note placement would be similar. Experimenting with phrasing and note placement can really add a new dimension to your playing.
SOLO SOLO OVER OVER MAIN MAIN THEME THEME C C m11 m11
E E B B G G D D A A E E
ÓCool Jazz 70s Ó Movie⋲Theme œ nœ
11 11 12 12
11 11 13 13
⋲
11 11 13 13 11 11
# Cm11 œ. œj œ œ GG 77œ 55 Cm11 œ. œ
13 13 13 13 15 15
Fmaj9/C Fmaj9/C
œœ œœ œ œ~~ bb Fmaj9/C b œœ œ~~œœ œœ ŒŒ bb œ & b & b œ œ œ œ~~œ œ œ Œ &b b ~~ ~~ 8 ~~ 8 8 10 8 10
38 38
E E B B G G D E A D B A E G 41 E D 41 A E 41
8
10 8 10
8
10 8 10
8
11 11
13 13
œ œ œ. b œ n œ œ œ œ œ œ. œ. œ œ œ œ œ œj œ~~ J ‰ Œ F F m/C m/C
11 11
13 13
11 11
b b A b‰13
7 7
#
Fm/C Fm/C
G7 5
10 10
8 8
8 8
8 8
11 10 8 11 10 8
0 0
11 10 8
0
11 8 11 8
8 10 8 10 8 10 8 10 8 10 8 10
8 8
9 9
8
9
9 9 9
8 8 8 10 8 10 8 8 10
8 8
8 10 8 10 8 10 8 10 8 10 8 10
8
11 8
8 11 8 11 8 11
11 8 11 8 10 10 11 8 10
8 10 8 10 8 10 8 10 8 10 8 10
Fm/C Fm/C
Fmaj9/C
b b A b13
# # G7 # 5 G7 5 G7 5
‰‰ œœ œœ œœ œœ œœ ‰‰ Jœœ.. ⋲⋲ œœJ ‰‰ ‰ œ œ œ œ œ ‰ JJœ. ⋲ JœJ ‰
8 8
10 8 10 8 10 8 10 10 8 10 10 8 10 8 10
8
b
A 13
3
E E B B G D G E D A B A E G 47 E D 47 A E 47
10 10 10
11 13 11 13
11 13 11 11 13 11
11 11
11 13
11 13 11
11
11 13 11 13 13 13 11 13 13
13 13 13
11 11 13 13 11 13
œœ œœ œœ
8 10 8 10 8 10 8 10 8 10 8 10
A 13 A 13
Fmaj9/C A b13 œ . √ œ œ . œ œ œ œ œ œ . √ œœ œ œœ œ œœ Fm/C œœ œœ œœ œ œ Fmaj9/Cœ œ œ bœ.13 œ.. œ.. .. .. œ œ C m11 Aœ œ œ b . J J œ œ œ œ . √ bb . Œ ⋲ Œ ‰ œ‰ œ œ Jœ ‰‰ ŒŒ œ. œ. . ⋲⋲ J. œ œ & & b b bb œ. Œ œ œ ⋲ œ œ œ Œ ‰ JœJ œ œ œ ‰ œ œJ . œ œ 3 J œ b Œ ⋲ Œ ‰ ‰ ‰ Œ ⋲rallJ 3 b & C m11 C m11
10 10 8 8 10 10 12 12
~~
11 11 88 6 6
Cm11
Fmaj9/C Fmaj9/C
8 10 8 10 8 10 8 10 8 10 8 10
8 8
œœG 7œœ## 5œ œœ œ Cm11 œ œ G7 5 Cm11 œ œ œ œ œ. œ ‰ œœ œœ œœ ‰‰ ⋲⋲ œœ nn œœ œ œ œœ œ œœ œ œœ œ œœ œœ œ œœ œ œœ .. œ œœ œœœ œœœ œœ ‰ œ œ œ nn œœ ‰ ⋲ œ n œ nœ
A 13 A 13
œœ œ œ œ œ œ œ œ œ œœ œœ Fm/C Fmaj9/C b œ œ . œ œ œœ.. œ œ œ œ b œ œ . œ œ b œ œ ‰ ‰ ⋲ ⋲ ‰ œ b & & b b b œ œœ œ œœ œ . œœ œ œœ œ JJœ ‰ ‰ œ ⋲ œ œ ⋲ œ œ œ ‰ JJœ. œ œ ⋲ ⋲ ‰ J &b b J ‰ ‰
E B E B G D G E D A B A E G 44 E D 44 A E 44
8 8
8 8
18 16 15 18 16 15 18 16 15
rall
10 10
10
10
C m9 C m9
U U ww U w
C m9
rall 18 16 15 18 16 15
13 13
18
13
16 15
10 10
September 2014 GuitarTechniques 83
ON THE CD
The Rolling Stones This month, Phil Capone looks at the twin-guitar stylings of Brian Jones and Keith Richards, from the most infamous rock ’n’ roll band of all time. Brian with his Gretsch Double Anniversary; Keith is playing an Epiphone Casino
ABILITY RATING
Easy/Moderate Info
Will improve your
Key: Various Tempo: Various CD: TRACKS 56-67
Authentic R&B grooves Slide licks in standard tuning Transposing riffs in a 12-bar
Famed for their longevity, incredible back catalogue, and Keith Richards’ ability to confound medical science, The Rolling Stones’ roots go back over half a century, to the birth of British R&B. Formed in 1962, the original line-up featured Mick Jagger (vocals, harmonica), Keith Richards (guitar), Brian Jones (guitar, harmonica), Bill Wyman (bass), Charlie Watts (drums), and Ian Stewart (piano). Stewart was soon ‘sacked’ by manager Andrew Loog Oldham because he didn’t fit the band’s young, bohemian image, but he remained as the group’s road manager
and continued performing and recording with The Stones until his death in 1985. Until Jones’ own untimely demise in 1969, he and Richards were the guitar dream team; the cutting edge of the new and exciting R&B sound. Keith has often cited that this was the period when ‘the ancient art of weaving’ (ie two interlocking rhythm guitar parts) began. Richards’ primary soloing influence was Chuck Berry, and that double-stop style remains part of his sound to this day. Keith was also enamoured by Chicago bluesmen such as Muddy Waters, Howlin’ Wolf, Willie Dixon and Bo Diddley, and from these he
Until Brian Jones’ untimely demise in 1969, he and Keith were the guitar dream team; the cutting edge of the new and exciting R&B sound.
tracks 56-67
learnt the importance of riffs and groove. During the early years, Keith played in standard tuning; his experiments with open tunings did not begin until 1967. His raw and bluesy style was pivotal in defining British R&B; in the decades that followed, he ignored changing musical fashions, refining his style into what would ultimately become one of the most instantly recognisable in rock ’n’ roll. Jones was a gifted multi-instrumentalist who could pick up anything and play it. This is evident by the wealth of instruments he used on Stones records, including sitar, harmonica, recorder, marimba, harpsichord, saxophone, trumpet, mellotron, and autoharp. Brian played six- and 12-string electric, acoustic, and, most importantly, slide guitar (often in open tunings). He is reputed to have been the first on the British scene to play slide. Back in 62, most people didn’t even have TV. So when Brian first appeared in London clubs wielding his bottleneck, audiences must’ve gaped in awe! Brian’s influences, too, were drawn from American R&B. His hard-riffing style was authoritative and grooving, always complementing whatever Keith played. During their early years, The Stones performed and recorded covers of their favourite R&B artists, such as Come On (Chuck Berry), Little Red Rooster (Willie Dixon), and Route 66 (an R&B standard). In the mid-60s, they experimented with other styles including Motown (listen to Keith playing backbeat ‘chips’ on Out Of Time) and psychedelic rock (2000 Light Years From Home). But only when they returned to their R&B roots at the end of the decade, with songs like Honky Tonk Women and Street Fighting Man, was the ‘Stones sound’ fully realised. By this time, Richards was using open-G tuning almost exclusively, and the British R&B legends’ evolution was complete. NEXT MONTH: Phil looks at Denny Laine of The Moody Blues
Get The Tone 2
5
5
9
2
Gain
Bass
Middle
Treble
Reverb
In the early years, Brian and Keith used Vox AC30 amps. By the mid-60s they'd switched to Fender Twins and Dual Showmans with more power and volume to cope with bigger venues. None of these amps had master-volume controls; they were simply cranked up loud with lots of top end. When the power-amp tubes are driven hard in this way a big, three-dimensional sound can be achieved. So select your bridge pickup (or both together) and turn your amp’s treble up all the way.
Track record The early Stones were steeped in sounds from across the Atlantic, and forged their telepathic, interweaving skills jamming along to them. Their early milestone singles wear their influences on their sleeve: listen to I Wanna Be Your Man (1963), Not Fade Away (1964), It’s All Over Now (1964), Little Red Rooster (1964), Route 66 (1965) and, of course, (I Can’t Get No) Satisfaction (1965).
84 GuitarTechniques September 2014
BILL ORCHARD / REX
lesson: BRITISH R&B
THE ROLLING STONES Example 1 KEITH RICHARDS: BO DIDDLEY RHYTHM
Learning Zone cd track 56
GUITAR 3 4 chord shapes, it’s important Phil Capone - BRITISH B or- you Pt 1will - STONES Because TECHNIQUES this riff is based on2open to palm-mute youR do&this, inhibit the Style movement of your strumming hand. Use with your picking hand throughout. Don’t apply too much pressure when Ex 1
alternate 16th-note picking as indicated.
Keith Richards: Bo Diddley Rhythm
4 ©»¡¡º 1, 2, 3 A 1E A Phil Capone - BRITISH R & B - Pt - STONESEStyle jE Phil Capone - BRITISH R & B - Pt 1 - STONES Style # # # 4 . Bo Diddley Ex 1 Keith ⋲ œ Rhythm ⋲ œ œ ⋲ œ œœœ œœœ ⋲ œ ⋲ œ œ ⋲ œ œœœ œœœ .. œ ⋲ œ ⋲ œ œ ‰ œœœ œœœ &Keith# Richards: 4 . Boœœ Diddley œ Ex 1 Richards: Rhythm œ œœ œœ 2 3œœœ4 œœœ œœœ œœœ œœœPhilœœœ Caponeœœœ - BRITISH œœœ œœœ Rœœœ & B œœœ- Ptœœ 1 œœœ- STONES4 œœœStyle œœœ œœœ œœœ œ œ 1, 2, 3 GUITAR TECHNIQUES ©»¡¡º 4E 1, 2,E3 A E. A E. > ©»¡¡º fl PM PM E A E E Aj E PM # ## # # Richards: Ex 1 Keith Rhythm œœ00 œœ00 œœ02 œœ00 . œœ02j œœ00 ## 4 .. Bo Diddley ⋲ ⋲ ⋲ ⋲ ⋲ ⋲ ⋲ ‰ ⋲ œ . œ œ œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ # œœ12 ⋲ œœ12 ⋲ œœ12 œœ12 ⋲ œœ12 œœ22 œœ12 .. 4 œœ12 ⋲ œœ12 ⋲ œœ12 œœ12 ‰ œœœ22 œœœ12 &©»¡¡º 4 1,.. 2,œœ122E3 ⋲ œœ122 ⋲ œœ122 œœ122 ⋲ œœ122 œœ122 œœ122 E A œœ0 œœ0 œœ0 œœ0 œœ0 >œœ0 œœ0 œœ20 œœ20 œœ20 œœ20 œœ20 œ0A Eœœ20. œœ20 œœ20 œœ20 œœ20 œ0j Eœœ20. # fl PM PM # # 4 ≥ ≤ ≤ ≥ ≤ ≥>œ ≥œ PM œ œ. œ œ. & # 4 ... PMœœ ⋲ œœ ⋲ œœ œœ ⋲ œœ œœœ00 flœœœ00 PMœœ ⋲ œœ ⋲ œœ œœ ⋲ œœ œœœ020 œœœ00 ... PMœœ ⋲ œœ ⋲ œœ œœ ‰ œœœ020 œœœ00 œ1021 DOUBLE-STOPS œœ121 Berry œœ121 Double œœ121 œœ121 Stops œœ121 œœ1021style œœ121 œœ121 œœ121 œœ121 œœ121 œ22 œœ1021 .. œœ121 œœ121 œœ121 œœ121 cd œœ1021 58 . Chuck Ex 2 Keith Richards: œ22 track Example 2 KEITH. RICHARDS: CHUCK BERRY œ 2 2 2 2 2 2 2 2 2 2 2 0 2 2 2 2 2 0 2. 2 2 2 . need . D7 . double-stops >E02œ7shape fl 0 0 0 0 0 0 0 0 0 0 0 2 2 2 0 2 a minor0 2 3rd 2 œ (beats 21 and 2 œ second 2œ 0 2 string, 2œ 0 remaining 2 œ 2 2 are played 2 0 2 by barring 0 2with your In the third ©»¡§∞ bar, you’llPM to 0 move from 2)0 the PM PM œ œ œ œ œ œ œ œ œ œ œ œ œ œ 0 4). ≤Use 0œ .≥ 0 string0 0 or 0 œ 0 œ like 0œ these 0your first 0 finger 0 ≥ 0on the first 0 third fingers. 0 0 œ into 0 œ can give 0 œ ≥ ≥≥0 3 and ≤ to a major# 3rd shape (beats first double-stops aœ lovely ≤ 0 0 0 Sliding 0 0œ 0 . n œ œ # œ ≥1 to your ≥01 finger1on the 1 'sleazy' ≤1 ≥01second ≤1‰ third≤1 finger 2 0– of which . .Ó 1from your 4changing throughout; feel to things Keef would heartily approve.2œ 0 œ # 1 1 1 2 2 1 1 & 4 . Chuck 2 2 2 2 Stops2 2 2 2 2 2 2 2 2 2 2 2 . 122 122 122 122 Ex 2 Keith Richards: Berry Double 2 2 2 2 2 2 2 2 2 2 0 2 2 2 0 2 Ex 2 Keith Richards: Chuck Berry Double 0 0 0 0 0 0 Stops0 E 0 0 0 0 0 0 0 0 0 0 0 7 D7 RP œ œ œ œ œ œ ≥ ≥ ≥ ©»¡§∞ ≤ Eœ7 ≥ œ D7 ≤ ≤ œ œ œœ 12œœ 12œœ 12œœ 12œœ 12œœ 12œœ 12œœ 10œœ 10œœ œœœ9 œœœ9 n œœ7 œœ7 œœ5 œœ5 œœ5 .. ## # ## ©»¡§∞ 12 4 . œ7 Stops 14 14 14 14 14 14 14 14 12 12 10 10 n œ8 œ8 œ5 œ5 ÓÓ Chuck Berry ‰ Double Ex 2 Keith Richards: & 4 # ‰ & 4 E7 œœ œœ œœ œœ œœ œœ œœ œœ D7œœ œœ œ œ œ œ ©»¡§∞ RP . œ œ œ n œ œ œœ œœ RP . ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ### 4 Ó œ ‰ 557 12 12 12 12 12 12 12 12 10 10 9 9 7 7 5 5 & 4 A7 14 14 14 14 14 14 14 14 12 12 10 10 8 8 5 5 12 12 12 12 12 12 12 10 10 9 9 7 7 E 7 12 7 14 14 14 14 14 14 14 14 12 12 10 10 A 6 8 8 5 5 j nœ j j # # # œœ n œ œœ œœ œœj b œœ œœ RPn n œœ œ œ œ œ œ œ œ nœ œ ≥ ≥ ≥ ≥ ≥ ≥ ≥≥12 12≥ ≥12n œ 12≥ 12≥ 12≥ ≥12 12≥≥ 10 10œ n9œ 9 w 7 7 5 5 & 5 7 14 14 14 14 14 14 14 14 12 12 10 10 8 8 5 5 A7 E7 A6 j A7 E7 A6 j œ œ BU jœ œ ## # ## œœœj nn nn œœœ8 œœœ7 œœ5 œœœjj b œœ œœ ≥n n œœ ≥ ≥ ≥ œBU 8 7 œ5 œ b œ88 œ77 n n œ55 œ n œ œj≥(œ9) ≥œ5 œœ≥j (œ9 ) ≥ œ5 œœ7 nn œœ5 œ n œ w & # œ7 n œ5 œ7 n œ5 Aw76 & E7 j nAœ7 j œ œ BU j # # # œœ n œ œœ œœ œœj b œœ œœ n n œœ œBU œBUœ œ œ n œ BU 8 7 5 œ œ nœ w & nœ 7 5 8 7 5 5 5 Ex 3 Brian Jones: R 8& B Groove ( ) ( ) 9 9 8 7 5 7 5 8 7 5 5 5 ( 9) (9 ) 7 5 7 5 7 8 7 5 7 5 ©»ªº 7 5 7 5 7 Double time feel A5 A BU BU U # # # 4 . 88 77 55 8 7 5 5 5 . ( ) ( ) 9 9 8 7 5 7 5 . œ . Ex 3 &Brian Jones: 4 RR œ&& BB Groove œ GROOVE œ œ œ œ œ7 5œ œ œ œ œ œ œ œ œ 7 5 7 œœ r&B ExExample 3 Brian 4 Jones: Groove cd track 60 BRIAN JONES œ œ œ- œ. œ- œ. œ- œ. œ- œ. œ- œ. w ©»ªº .A5 -on a .Rickenbacker ©»ªº This example 12-string for authenticity, but pressure of your palm on every offbeat. OnlyAthe staccato notes should be fully Double time was feel recorded PM Doublegreat feel A5 A sounds on six-string, too. To achieve the pulsating rhythm, relax the damped. Use downstrokes throughout to achieve a strong, driving groove. U ## # ##time 4 Ex 3 Brian Jones: R & B Groove U .. œ . & ©»ªº# 44 .. œœ œœ œœœ œœœ œœ œœ œœœ œœœ œœ œœ œœœ œœœ œœ œ œ œœ œœ œ7 ... w & Double time feel A5 A œ75.. œ7-5- œ95.. œ9-5- œ75.. œ7-5- œ95.. œ9-5- œ75.. œ7-5- œ95.. œ9-5- œ75.. œ7 œ9 7 9 w0 # U PM # œ ... & # 44 ... PMœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . w .. œ. œ- œ. œ- œ. œ- œ. œ- œ. œ- œ. œ- œ. œ œ 7 . 7 7 9 9 7 7 9 9 7 7 9 9 7 7 9 7 . 0 . E GUITAR TECHNIQUES 234 GUITAR TECHNIQUES 2 3 4
E B G D A E E B E G B D G A D E A E E B G D A E
E B G D A E
1
E B E G B D G A D E A E 1 E 1 B G D A E E 1 B G D A E 4 E B E G B D G A D E A E 4 E 4 B G D A E 4
7 7
7 7 7
7 7
7 7
7
7
7 7 7
7 7
7 7
7 7
7
7
E B G D A E E B E G B D G A D E A E E B G D A E
. .
5 PM 7 5
7 5
5 7 5
7 5
5 9 5
9 5
5 9 5
9 5
5 7 5
7 5
5 7 5
7 5
5 9 5
9 5
5 9 5
9 5
5 7 5
7 5
5 7 5
7 5
5 9 5
9 5
5 9 5
9 5
5 7 5
7 5
7 7
7
9 9
9
7
7
9
9
7
. .
0
0
September 2014 GuitarTechniques 85
lesson: BRITISH R&B
ON THE CD
tracks 56-67
Example 4 KEITH RICHARDS: RoCK 'N' ROLL RIFF THROUGH CHANGES 2 often transposed riffs and licks by simply moving them along the Keith fretboard, as this example illustrates. Fret the double-stops by barring with Ex 4
cd track 62
your first or third finger. The ‘hammered 3rd’ (last note in bars 1 and 3) is played with your second finger (keeping the first finger barre in position).
Keith Richards: Rock 'n Roll riff through changes
©»¡•º E 7 œœ œœ œœ œ œ œœ Ex 4 Keith Richards: Rock 'n Roll riff # n œthrough a œchanges ## 4 Œ Œ Ó ©»¡•º &Shuffle 4 E 7 œœ œœ œœ œ œ œœ nœ aœ # # 4 Œ Ó & # 4 Œ 2
A7
12 12
E B G D A E E
14 12 14 12
13
12
12 12
5 5
12
©»¡§º œ œ nœ œ œ # # # Jones: œ (normal œ œ n œtuning) Ex 5 Brian # # 4 Slide J ‰ ‰ J Œ & ©»¡§º 4 B7 j # # # # 4 œ œ œ n œ œ ‰ Jœ ‰ œ n œ œ œ Œ J # 4 & 5 7 9 5
Brian frequently played slide in open tuning, but for simplicity, we’ve kept B7 Always position your bottleneck directly this example in regular tuning. j with fingers, to above the frets, not behind them as you would when fretting œ
B G D A E
7
7 7
7
7 7
4
5 7
9
5
5 5
7 7
6
5 5
6
7
5 5
( 8) ( 7) (8) (7 )
7 7
5 5
7
BU BD
5 5
( 8) ( 7) (8) (7 )
7 7
5 5
7
Uœ ˙
D
A
œ œ˙ œ. Dœœ Aœ ˙ U œœ œœœ ˙˙˙ rit œ. œ 5 7 5
A
7 7
rit 7
5
6
5 7 5 7 6 7 7 cd track 64
5
avoid sounding flat. Keep unwanted strings muted by resting your unused F #7 Many slide players mute using theBfirst finger picking hand fingers on them. of their slide hand, resting it gently across all six strings. j
œ œ œnœ œ
Œ
œ œ œnœ œ Œ
7
4
7 7
5 5
B 12 14 12 12 G 14 12 13 D A Example 5 BRIAN JONES: SLIDE (NORMAL TUNING) Ex 5 Brian Jones: Slide (normal tuning) E
E B G D A E E
A
œœ œœ œ œ œ œœ œj b n œœ œœ n œ œ nœ aœ ‰ œ J n œ œ nœ Œ A7 œœ œœ œ œ œ œœ œj b n œœ œ n œ œ n œ a œ ‰ œ BU BDœ n œ œ Œ J nœ
Shuffle
7
7 7
7
7 7
5
7
5
j #œ œ F #7 j #œ œ
7
1
2
1
2
œ œ jœ œ œ jœ œ œ œ
2 2
1
2
1
2
2 2
2 2
1
2
1
2
w
B
~~~~~ jU w œ w n œ ~~~~~
œ œ œj œ œ œ œj œ œ 2 2
Uw ~~~~~
n œœ
2
2
Example 6 STONES Jam
2 2
4 4
2 2
4 4
~~~~~
cd track 66
Although the tempo changes are quite dramatic, each section is preceded the strings with one finger. Vibrato has only been featured in bars 31 and by a count or fill to make the transition easier. When playing the ‘chips’ in 42; however, as this has never been a big feature of Keith’s playing style, the first section, aim your pick onto the first and second strings only. This use it sparingly. To achieve an authentic sound in the final riff, you’ll find a GUITAR TECHNIQUES 2 4 Capone R & -- -- achieves STONES produces a tighter sound and also avoids open strings. -- BRITISH dedicated theStyle best results (we used Dunlop’s excellent GUITAR TECHNIQUES 23 3 4 hitting unwantedPhil Phil Capone BRITISH Rfuzz &B Bpedal STONES Style In the second section (bar 9 onwards), play the double-stop licks by barring Blue Mini Fuzz Face). Ex Ex 6 6
Stones Stones Jam Jam Motown Motown "chips" "chips" G G
©»¡™º œ. œ # & 44 .. Œ œ Œ
F/G G œœ. F/Gn œœ. œœ. G œ Œ œ Œ œ .. .. Œ
œœ. œ
Em œœ. E m œœœ. Œœ Œ Œ
C œœœ. C œœ. ŒœŒ
œœ. DD œœœ. œ Œ Œ
œœ. œ. .
7 7 8 8 9 9
8 8 8 8 9 9
10 10 10 10 11 11
ww w
ww w
G G
###
Play Play 4X 4X
. .
E E B B G G D D A A E E
7 7 8 8 7 7
7 7 8 8 7 7
5 5 6 6 5 5
5 5 6 6 5 5
1, 1, 3, 3, 5, 5, 7 7
. .
. .
7 7 8 8 7 7
7 7 8 8 7 7
7 7 8 8 9 9
8 8 8 8 9 9
10 10 10 10 11 11
9, 9, 13 13
©»¡§º A7 A7 # # # ‰ œœ ‰ œœ œœ œœ œœ n œœ &
. .
7 7 8 8 7 7 17 17
Chuck Berry Berry style style soloing soloing Chuck
E E B B G G D D A A E E
5 5 5 5
5 5 5 5
5 5 5 5
7 7 7 7
5 5 5 5
D7 D7
œœ œ n œœ ‰ œœ Œ J 7 7
5 5 5 5
7 7 7 7
œ œ œ œ ‰ œ ‰ œ œ œ œœ n œœ
A A7 7
5 5 5 5
5 5 5 5
5 5 5 5
7 7 7 7
5 5 5 5
œ j œ œ œœ n œ # œœ Ó 6 6
5 5 5 5
7 7 7 7
5 5 6 6
5 5
19 19
86 GuitarTechniques September 2014
# #
D7 D7
œœ
œœ œœ œœ n œœ n œj # œœ
œœ
œœ n œœ
A A7 7
œœ
œœ œœ œœ œ œ
œœ œ
j
œ
œ
& E B G D A E
5 5
5 5
5 5
7 7
5 5
J 5 5
7
5 5
7 7
5 5
5
5
7 5 5 THE5 ROLLING STONES 7 5 6
7 7
5 Learning Zone 6
5
19
Example 6 STONES Jam
& E B G D A E
###
D7
‰
œœ
‰
10 10
œœ œœ œœ n œœ j œ nœ #œ 10 10
10 10
œœ œ œ œ œ ‰ n œJ Œ
12 10 12 10 11
12
10 11
A7
œ œ œ œ œ œ œ j ‰ œ ‰ œ œ œ œ n œœ œ œ œ n œ # œœ Ó 5 5
12 12
5 5
5 5
7 7
5 5
5 5
6
7 7
5 6
5
23
&
###
D7
E7
A7
œ nœ œ œ œ nœ œ œ œ ‰ œJ b œ œJ œ œJ b œ œ œ œ n n œœ œ n œ w BU
E B G D A E
cd track 66
BU 7 ( 8) 7 ( 8)
(8 ) ( 8)
7 7
BU
BU ( 8) ( 8)
7 7
7 (8 ) 7 7 ( 8) 7
5 5
œœ œœ œœ œœ œœ œœ œœ œœ
œ œ Œ Œ œ 2 2
7
5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
7
27
œ. œ œ œ. œœ œœ n œœ œ œœ œœ œœ œœ # # # œœ œœ n œœ œœ œœ n œ b œ œ œ œ œ n œ œ. œ œ œ nœ & D7
A7
D7
œœ œœ . œ œ œ œ nœ œ nœ
1/4
3 E B G D A E
2
BU
1/4
7 7 7 7
5 7 5 5 7 5
7
BU
5
7 (9 )
5
5
7 ( 9)
7
8 7 5
~~~~ 5 5
7
7
7 7
5 5
7
5
5 5
7
7 7
8 8
8 7 7
5 5 7 7
7
7 7
œœ œ œœ œœ œœ n n œœ œœ œœ
E7
5 5
7
7
5 5 5 5
7 7
7
5 5
7
5
5 5
7 7
8 7 8 7
j œœ œ œœ œœ œœ n n œœ œœ œœ
D7
5 5
7
5 5
8 8
7 7
7 7
5 5
37
~~~~ # # # # # œœ œœ n œœ œœ & nœ œ œ œ nœ œ œ ˙ # # E B G D A E
8 7
32
A7 j ~~~~ œ n n œœ œ œ # # œ œ œ œ œ œ œ & # œ nœ œ œ œ œ nœ œ nœ œ
E B G D A E
7
5 5 5 5
7 5
7 7 41
0
5 5 5 5
~~~~ 7 5
7
5 7 7
Fuzz pedal riff
∑
©»¡¢º .. ∑
. .
E
D
A
.. j n œ . œ œ œ œœœ œœ œœœ (rpt to fade) 0 0
4
2 4
5
5
5 4 4 2
. .
September 2014 GuitarTechniques 87
lesson: acoustic
ON THE CD
tracks 68-69
Paul Simon In his ongoing appreciation of the world’s superstar acoustic guitarists, Stuart Ryan explores the refined and tasteful style of multiple-Grammy-winning fingerpicker, Paul Simon. beckoned, though, as The Sound Of Silence from their debut album began to get radio play and, re-united with Art Garfunkel, the duo went on to garner the rave reviews for which we know them now. Simon’s sound has evolved over the years, from the darker approach of his solo albums like Still Crazy After All These Years to the upbeat African-inspired joy of Graceland. Although he has worked with a host of well-known sidemen
Paul Simon is a product of the American folk style that counts Woody Guthrie and Dave Van Ronk among its founding fathers. and his albums always feature beautifully layered guitar work, underpinning it all is that bedrock of solo guitar accompaniment that defined his early days. Simon’s style is in many ways a cleaner, more refined version of the folk fingerpickers who preceded him. He makes great study material for this reason, because you need to perfect your picking-hand technique to emulate him properly. Much of the time his fretting hand lives in the open position, but you’ll still find him using plenty of unusual and interesting chords down there to sustain your interest. NEXT ISSUE: Stuart looks at the timeless playing of James Taylor
Get The Tone 2
7
6
6
2
Gain
Bass
Middle
Treble
Reverb
Paul Simon has been seen with dreadnought and OM style guitars in addition to a plethora of electrics. Although you’ll often see him with Martin guitars, he has also been a long time Yamaha user. Any good acoustic large or small will be fine for this type of work – I used a Froggy Bottom model M for this month’s recording.
Track record Short of recommending The Best Of Simon & Garfunkel, you can’t go wrong with any of their releases from Wednesday Morning 3am to Bridge Over Troubled Water. The interesting chord stuff is on albums like Still Crazy After All These Years, and no record collection should be without a copy of Graceland! His most recent album, So Beautiful Or So What, is also great.
88 GuitarTechniques September 2014
SIPA PRESS / REX
Transcribing and recording his fingerstyle arrangement of Davey Graham’s Anji for GT made me realise how adept a picker he actually is. Simon is a product of the American folk style of fingerpicking that counts such luminaries as Woody Guthrie and Dave Van Ronk as its founding fathers. His guitar style is very much in the classic arpeggiated chord and alternating bass fingerpicking style, but his highly developed sound also features elements of jazz, blues and gospel thanks to his ear for unique chord voicings and unexpected progressions. A recipient of no less than 12 Grammy Awards, Simon met Art Garfunkel in 1952 when they were just 11. They were writing songs together just over a year later and, astonishingly, in their mid-teens scored their first chart hit, Hey Schoolgirl, as Tom And Jerry. It was as Simon & Garfunkel that they found mainstream fame, though, and from 1964 until Paul Simon: here they split up in 1970, they playing his Martin signature model crafted a string of hits that have become iconic classics. Tracks like The Boxer display Simon’s ABILITY RATING controlled, uptempo approach to fingerstyle playing, while Mrs Robinson showcases his Moderate strumming rhythm work in action. Info Will improve your Incredibly though, Simon & Garfunkel’s first album release, 1964’s Wednesday Key: G Picking-hand timing Morning, 3am, was not a success – with the Tempo: 95bpm Open-position chords result that Simon moved to the UK, where he CD: TRACKS 68-69 Picking-hand speed became a fixture on the folk club and coffee-shop circuit. This not only broadened ALTHOUGH REVERED AS a legendary his musical horizons, but gave him the taste singer and songwriter thanks to his many for solo performance that would become a hits with Art Garfunkel, Paul Simon is also hallmark of his career. Success in the US a highly skilled acoustic fingerpicker.
Learning Zone
PAUL SIMON Example PAUL SIMON style
cd track 68
[Bar 1] This picking-hand pattern will form the basis of this study, so make and third fingers to pluck the chord. Either’s fine: it’s more a question of sure you are comfortable with getting it to speed and keeping it well timed preference and what feels comfortable. before progressing. Looping this first four-bar sequence will be great [Bar 13] Harmonic twists and turns are one of the really fun aspects of practice if you are new to fingerstyle playing, or if your picking needs work. Paul Simon’s guitar playing, and an aspect that makes him so interesting [Bar 5] You can try two different at the start of to listen to. Check out 50 Ways To Leave Your Lover for a really clever and GUITAR TECHNIQUES 2 3 4picking-hand sequences Stuart's Acoustic this bar – either use the thumb (p) followed by the thumb, first and second sophisticated progression. This next sequence features some chords that PAUL SIMON STYLE fingers to pluck the chord, or start with the thumb then use the first, second we wouldn’t normally expect in this type of track.
©»ª∞ # 4 & 4 E B G D A E
4
#
œ
œœ œ
œ
œœœ
0
3
œ
œ
1 0 2
2
œœœ
1
1 0 2
2
3
1
0
3
0 0 0
2
3
3
3
C
C/G
C
C /G
0 0 0
0
3
0
3
C
0 0 0
0 3
Csus2/B
0
0
0
1 2
1 0 2
3
3
1
0
2
œ
1 0 2
3
3
C /G
3
Am
œ œ œ
œ
œœ œ
œ
1
0
1 0 2
2
3
œ œ œ
œ
1
0
0
2
3
1 2 2
0
0 0 0
3
0
0 0 0
0
3
0 2
3
0 0 2
0
3
3
0 2
3
#
0
3
3
0 0 1
0
1 2 0
0 2
2
1 0
2
0
0
3
0 0 0
0
3
1 0 2
0
3
0
3
0 0
3
G
C
G
œœ œœ œœ œœœ ˙˙ ˙ œ œ œ œ 0 0 0
2
3
0 0 0
1 0 2
0 0 0
3
Em
œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ b œœ œ œ œ œ œœ œ œ œ 0
0 0
œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ
Cm(maj7)
0 0 2
0
G
1 2 2
0
2 2
œœ œ œ œœœ œ œ œ œ œ œ œ œ
2
Cmaj7
D 7/F
C/G
1
0
3
#
2
Am/E
G
œœ œ
3
0 2 0
0
œ œ œ œ œ œ œœ œœ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ 1 0 2
0 0 0
0
œœ œ œ œœ œ œ œœœ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2
3
0
0
3
D6/F
1
0
3
3 13
3
œœ œ
1
0
3
#
3
1 0 2
0
G
1 0 2 10
0
0
C /G
3
#
0 0 0
0
3
7
& E B G D A E
#
0
0
1 0 2
& E B G D A E
œ
G
œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ œ
3
1
& E B G D A E
C/G
0 0 0
& E B G D A E
G
0 3
0 1
3
0 0 1
0 3
œ
0
œœœ
œ
0 0 2
1 0
œœœ 0
0
œ
0
œœœ
œ
0 0 2
2 0
œœœ 0
0 2
0
September 2014 GuitarTechniques 89
lesson: acoustic
ON THE CD
tracks 68-69
Example PAUL SIMON style
cd track 68
[Bar 19] The inner-voice movement on this A minor chord is another example of how the great songwriters get more mileage out of one chord. This type of sound also reflects the jazz influence within Simon’s playing. [Bar 25] There are several different picking-hand approaches you can take 2 Acoustic to sound the chords on beat two – you could pluck both with the thumb, first and second fingers; or conversely you could lightly brush down then up
& E B G D A E
œ
#
#
œ
0
0
0 2
0 0 2
3
0
0 3
0 2
0 0 2
3
0 3
0 2
0 0 1
3
0 3
0 1
0 0 1
3
0 3
D7/F #
Am7
1 2 2
1
2
2
1 2 2
0
0
2
1 2
0
0
1 1 2
1
1 2
0
0
G
1 1 2
1
1 2
0
0
1 0 2
0
1 2
0
0
1 0 2
0
1
1 2 0
2
0
C/G
2
2
#
1 0
2
G
2
C/E G
œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œœ œœ œœœ ˙˙ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 0
0
0 0 0
0
3
0
3
G
0
3
D
œœ œœ œœ œœ ˙˙ œ ˙ œ œ œ œ
œ
1 0 2
1 0 2
3
C /E G
3 0 0
0 0
0 0 0
0
1
1 0 2
2
3
0
3
1
0 0 0
2
3
0 0 0
1 0 2
C
C/G
C
C /G
D7
œœ œ
œœ œ œ œœ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2 3 2
2
3
2
0
2 3 2
0
3 0
2 2
0
2 1 2
1 0
2 2
0
C
C/G
C
C /G
G
2 1 2
1 0
G/D C /E G
œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œœ œœ œœœ ˙˙ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ 3
1 0 2
0
1 2
3
90 GuitarTechniques September 2014
3
1 0 2
0 3
1 2
3
0 0 0
3
3
26
0 1
œœ œ œ œœ œ œ # œœ œ œ œœ œ œ œœ œ œ œœ 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 œ œ œ ˙
3 0 0
29
œœ œ œ œœ œ œ b œœœ œ œ œœœ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
0 0 2
2
C m(maj7)
Am(maj7)
3
#
œ
0
0
0 0 0 23
œœœ
Am
0
& E B G D A E
œœœ
0
19
& E B G D A E
œœœ
0
16
& E B G D A E
œ
Cmaj7
0 0 2
& E B G D A E
#
Em
the strings with the picking hand first fingernail, Paul McCartney style. [Bar 27] And again, there are several methods to pluck the D chords here – either use a traditional ‘pima’ approach where the thumb takes care of the fourth string, the first finger plucks the third string and so on; or use the thumb to pick the fourth string, and the thumb, first and second fingers to pick the third, second and first strings.
1 0 2
0 3
1 2
3
1 0 2
0 3
1
0 0 0
2 3
0 0 0
1 0 2
0 0 0
ww w
2 2
Get 2 free issues Get the current issue and the next completely free with a no-obligation free trial subscription
out now!
the best
just got better!
ipad and iphone versions now with audio and animated tab
try it today!
! p l ay i t ! h e a r i t ! l o v e i t
Get videos with audio and animated tab every issue The latest issue is available instantly A ll issues download automatically Read it on your iPhone for no additional cost
Go to bit.ly/guitartechniques or bit.ly/guitartechus (overseas). You can also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio). iPad is a trademark of Apple Inc., registered in the U.S. and other countries. App Store is a service mark of Apple Inc.
lesson: rockschool
ON THE CD
track 70-79
Reading Music Part 2
Notes on the stave
Brought to you by...
Follow this comprehensive 14-part series from Charlie Griffiths to demystify the art of reading music, and seriously improve your employability. the position, the lower the pitch and vice versa. Guitar music is usually written on a treble clef, which you can recognise by the ornate squiggle at the beginning of the staff. On the treble clef, the five lines represent the notes E-G-B-D-F, from low to high. Mnemonics are usually an effective way of quickly remembering seemingly unrelated information, so Every Guitarist Buffs Dirty Frets might help jog your memory! In fact, those five letters are not as unrelated as they seem when you place the four ‘space’ letters in between. The spaces on the stave spell F A C E from low to high, which is a helpfully obvious word.
Mnemonics are effective for quickly memorising information. ‘Every Guitarist
Buffs Dirty Frets’ might help jog your memory.
Imagine being able to look at a page of music and read the notes by sight!
ABILITY RATING
Easy Info Key: Various Tempo: 60 bpm CD: TRACKS 70-79
Will improve your Notation reading Fretboard knowledge Employability!
Last month, we set out the three steps of reading music: Step one is to use your eyes to recognise the notes on the stave; step two is to process that information in your mind; and step three is to translate the information to the guitar. We focused on the latter two and learnt how to find specific notes on the guitar. This month, we’ll learn how notes are written on the stave, and start with some exercises in translating the information and playing those notes on the guitar.
92 GuitarTechniques September 2014
Music is written with dots, which are placed from left to right on five horizontal lines called a stave, which is also sometimes called a staff. There are different types of dots that each represent different note lengths – we’ll look at this in more depth in a later lesson. For now, we will use the ‘crotchet’, or quarter-note, symbol, which is a black dot with a vertical stem attached to one side. The stem can either be placed to the right and pointing up, or to the left and pointing down, just like the letters d and p. The quarter-note is the most basic measurement of time and means: ‘play one note per beat’. The pitch of the note is determined by the vertical placement of the dot (or ‘note head’) on the stave. The note-head can be positioned either directly on top of the line, or in the spaces between the lines; the lower
Amalgamating all these letters, produces the sequence: E F G A B C D E F (low to high). The following exercises are designed to help you learn the notes on the stave in manageable chunks. The first three examples use three consecutive letters at a time: ‘A-B-C’, ‘D-E-F’ and ‘E-F-G’. We have provided tab for these so you can make sure you’re applying the notes to the guitar correctly, although you could cover the tab up if you’re feeling brave. Examples 4 and 5 are split into ‘spaces’ and ‘lines’, and there’s no tab – so you can test out your newly acquired skills. Even if the thought of reading music has previously seemed scary, learning it like this, in chunks, will soon have you breaking down those walls and enjoying it! And even if you never become a fluent sight reader, think how much easier learning the parts to new songs will be; how much more employable you will become – say, in shows or when depping for other guitarists (potentially very lucrative); and how much more rounded and developed a musician you will be. NEXT MONTH: Charlie introduces sharps and flats, or ‘accidentals’ to the mix.
Learning Zone
NOTES ON THE STAVE GUITAR TECHNIQUES MAGAZINE 2 3 4
Charlie Griffiths
Example 1 thiRD STRING NOTES ‘A B C’
READING Part This exercise focuses in on the centre of the stave; the middle line is B, and the2 spaces below and above it are A and C. You can play the three notes A B and C A 3rd String Notes: A B C
©»§º 44 œ œ œ œ & GUITAR TECHNIQUES MAGAZINE 2 3 4 A 3rd String Notes: A B C ©»§º A 3rd œ A B œC œ œ2 Notes: & 44 String ©»§º 4 5 4 & 44 œ œ œ œ
GUITAR TECHNIQUES MAGAZINE 2 3 4
Charlie Griffiths
œREADING œ 2 œ œ Part
œ
Charlie Griffiths
READING Part 2
E B G D A E E B G D A E
œ
œ
œ
œ
œ
œ 5
œ 4
œ
œ
œ
œ
œ2
œ 4
œ 5
œ 4
œ 4
œ
œ
œ2
œ
œ
œ2
œ
œ
œ
œ
4
2
4
2
5
4
5
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ 5
œ 6
œ 5
œ 5
œ 5
œ 6
œ 5
5
œ3
œ 5
œ
œ
œ
œ
œ
œ
œ
œ3
œ
œ
œ3
œ
œ
œ
œ
œ
œ
5
3
5
5
6
5
3
5
3
5
6
œ
6
œ
3
œ
5
œ
5
œ
6
E B C 3 5 5 6 3rd String Notes: E F6G G D A E E B 3 5 6 5 6 G D C 3rd String Notes: E F G A Example 3 fourTH STRING NOTES ‘E F G’ E E B G D A E
œ
5
E B B 2nd String Notes: D E F G 4 STRING 5 4 5 4 5 Example 22 secoND NOTES ‘D E2F’ D A These three notes are found in the top third of the stave, in a ‘line-spaceE E B line’ configuration. D, E and F can be played on the second string on the G 3rd, 5th and 2 6th frets 4 with the 5 same 4fingering as 2 used in5 Ex.1. Using 4 specific 5 D B 2nd String Notes: D E F A E E B G D A E
œ
œ
œ2
E B G D A E
©»§º œ œ œ & 44 ©»§º œ D E œF 4 œ3 Notes: B 2nd 5 6 & 4 String ©»§º œ œ œ 4 &4
cd track 70
all on the third string on the 2nd, 4th and 5th frets; allocate your first, third and fourth fingers to those respective frets to minimise hand movement.
©»§º 4 &4 œ œ œ œ œ 5œ 3œ 5œ ©»§º This trio of notes is found in the bottom third of the stave, and can be played on the4 fourth string on the 2nd, 3rd and 5th frets with first, second and third C 3rd String Notes: E F G &4 œ œ œ œ œ œ œ œ ©»§º2 3 5 3 5 3 2 2 4 &4 œ œ œ œ œ œ œ œ
5
œ 2 cd track 72
fingerings when reading is a big help, as it means you can ‘feel’ where you are on the guitar and find the notes without having to take your eye away from 4 the page 2 and look 4 at the 2 fretboard. 5 4 5 2
œ
5
5
œ
3
6
œ
cd track 74
fingers. The tab for this example, the first two, is only a suggestion; you can also try them one string string lower, with your first finger at the 7th fret.
œ 3
œ 5
œ 3
œ
œ
œ2
œ
œ
œ 5
œ 3
œ
œ
œ2
œ
œ
œ
3
2
3
5
3
5
3
2
2
3
5
3
2
5
3
2
3
2
3
5
3
5
3
2
2
3
5
3
2
5
3
2
3
GUITAR TECHNIQUES MAGAZINE 2 3 4
Charlie Griffiths
Example 4 SPACES F A C E
GUITAR TECHNIQUES MAGAZINE 2 3 4
Charlie READING Part 2 This example only uses the notes in the spaces: ‘FACE’. If you haveGriffiths practised the first three examples enough, you should be able to find these four notes READING Part 2 D Spaces
©»§º Spaces 44 & ©»§º œ 4 &4 œ
D
œ œ
œ œ
œ œ
œ œ
Example 5 LINES E G B D F
œ œ
œ œ
œ œ
E Lines This example uses only the notes on the lines ‘EGBDF’, and requires you to jump from string to string. Use whatever fingering feels the most E Lines
©»§º 4 & 4©»§ºœ & 44 œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
cd track 76
on the guitar. Saying the names of the letters out loud as you encounter them is a very effective way of imprinting the stave in your mind.
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
cd track 78
comfortable, and as you play each note, practise looking ahead to the next one as soon as possible to minimise any hesitation.
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
September 2014 GuitarTechniques 93
N e ve r miss another issue
49 Turn to page to subscribe!
Back issues
missed it? grab it now! Your copy of Guitar Techniques gone walkabout? Quick, get one now while stocks last!
APRIL GT 228
SPRING GT 229
MAY GT 230
Measure your ability at every guitar skill with our special Rockschool Test. Learn how to arrange a tune for guitar. Play the Stray Cats’ rockabilly classic Rock This Town. And master the guitar styles of Fleet Foxes, Allman Brothers, Francis Dunnery and more!
Don’t miss our ultimate guide to making sure you’re prepared for any big rock gig, and a superb guitar transcription of Freddie King’s blues classic, Takin’ Care Of Business. Plus Ted Nugent, Chuck Wayne, Joe Louis Walker, Brent Mason and many more!
Unlock the true potential of the pentatonic in blues, rock, jazz and country music. Learn extreme guitar techniques. Play like Dream Theater, George Benson, Leslie West and Jonny Lang. Plus a full transcription of the Red Hot Chili Peppers’ Parallel Universe!
JUNE GT 231
JUly GT 232
AUGUST GT 233
Learn SRV’s awesome rendition of the blues classic The Sky Is Crying, and Vivaldi’s Winter. Play like Nashville’s Top 10 session men. Master the styles of Frank Marino, Chris Stein, Steven Wilson, George Benson and acoustic nylon-string ballad guitar!
Master timing with our in-depth lesson – it’s crucial to playing more fluently, accurately and musically. Plus, learn Joe Walsh’s guitar parts with our transcription of Funk 49, learn Grieg’s Peer Gynt and check out the video masterclass with Thomas Leeb.
Learn 20 amazing string-bending licks to ignite your solos! Master the acoustic style of Jimmy Page, riff like The Kinks and The Faces, improve your classical and jazz technique – plus a complete transcription of G N’ R classic, Welcome To The Jungle.
HOW GOOD ARE YOU?
STEVIE RAY VAUGHAN
COMPLETE WORKOUT
PERFECT YOUR TIMING
PENTATONIC POWER!
string bends
TO ORDER BACK ISSUES: Call 0844 848 2852 or visit www.myfavouritemagazines.co.uk
Please do not call or email the magazine directly as we cannot deal with subscriptions or back issues. We regret that we cannot photocopy transcriptions from back issues
Each back issue costs (including postage and packing) n UK: £5.50 n Europe: £6.50 n Rest of the world: £7.50 94 GuitarTechniques September 2014
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
Bernie Marsden
Shine
Mascot Label Group HHHHH Although he’s been involved in a wide variety of musical projects over the years, it’s Bernie’s blues-rock roots for which he’s best known. And he’s undoubtedly one of the UK’s tastiest players in this field. Bernie still gigs extensively and every now and again, finds the time to release an album. This is the latest, and it’s a corker! He has always written quality songs and this is packed with them. We love Walk Away, with its strong melody, great arrangement and a soaring solo that’s unmistakably Marsden. Dragonfly is beautifully played and lovingly produced; likewise, the moody Ladyfriend really draws you in; good vocal here, too, and somehow Bernie resists a solo. For variety, a few guests were enlisted and his teaming with vocalist David Coverdale on Trouble works brilliantly, showing what a great team they still make. The fast-paced title track features Joe Bonamassa, and it’s a real guitar fest. There’s fantastic variety and great songs throughout this album – it’s Bernie at his best, and comes highly recommended. from the eves during The Tower That Ate People. The DVD and Blu-Ray packages are short on extras – just a brief film outlining the stage show’s creation. We gather the bells and whistles in this respect have been reserved for the deluxe packages which contain an extra DVD and 60page booklet. Stunning, all the same!
Peter Gabriel
REVIEWS BY ROGER NEWELL AND DAVID MEAD
Back To Front – Live In London
Eagle Rock HHHH Filmed over two nights in autumn 2013 at London’s O2 Arena, this video sees Gabriel revisit his So album in its entirety in order to mark its 25th anniversary. In keeping with Gabriel’s cutting-edge sensibilities, the performances were shot in super high definition, and the resulting footage is sharp as a pin, even when viewed in ordinary DVD format. The concert begins with an acoustic set with the houselights up and the stage bathed in white light before the dramatic transformation to computer-driven lighting effects midway through the song Family Snapshot. From there on, it’s a visual and sonic treat, right through to the climactic encore which sees Gabriel enveloped in a tower that descends
Justin Bernasconi
Winter Pick
Fuse Group HHHH There’s something appealing when music is stripped back to its barest essentials, and particularly when it’s as well executed as this. British-born Justin is a talented singer, songwriter and acoustic guitarist who now resides in Australia. Winter Pick shows an honest and personal approach to his songs, all expertly recorded and produced by Jeff Lang in Melbourne. The album offers a good mixture of
instrumentals and vocals and occasionally calls on additional players. We particularly like Bernie’s Breakdown which involves Ben Franz on double bass, Jeff Lang on harmonium, and excellent Dobro and mandolin work from Pete Fidler. Good variety of styles here, too: there’s great slide work from Justin on Gatekeeper while the country-flavoured Ram’s Eye is uptempo and brings a smile to the face. The songs are great, but it’s the instrumentals that allow Justin to shine; his style oozes atmosphere; just check out Sirmione, which shows just what a tasty player he is. The sleeve notes include explanations behind some of the songs, helping you to focus on the ‘message’ within the lyrics. All in all, a really lovely album.
Yes
Heaven & Earth
Frontiers Records HHHH This all-new album from Yes is the first to include vocalist Jon Davison (who has had a hand in the writing as well) and it provides a good cross-section of classy material and ideas. Initially, the standout tracks include To Ascend, Light Of The Ages and Subway Walls which takes us through a musical journey like earlier Yes material. On the downside, as expertly executed as
it all is, the Roy Thomas Baker production is definitely American and consequently sounds a little safe. Howe’s guitar work seems a little cautious, too, and Squire’s bass only starts getting raunchy on the final track; however, there is a hidden depth here that is only fully revealed on subsequent plays, so in that respect, it’s more like prog albums of the past. Davison’s vocals are uncannily like Jon Anderson’s at times, but his own style also emerges and his delivery is excellent throughout. Geoff Downes sounds more like Wakeman than ever on some tracks. This is a fine album that improves as you listen, thus making it a comfortable addition to the vast catalogue of Yes material. But it does lack danger.
additional second disc. This includes live versions from the right eras, outtakes and backing tracks plus alternative mixes and versions as selected by Jimmy Page, many of which have not been heard before. We’re all familiar with the material, but with greater instrument separation, there’s new life and energy here that will appeal to everyone. Technology continues to improve, so we naturally expected these to be better than the earlier digital attempts, and happily they are. It’s a fantastic achievement! Various formats are available, single CD, double CD and vinyl plus a deluxe box set – and this is only the start, so expect their other studio albums to receive similar treatment before long. And although the additional material will appeal far more to the hardened fan than to a new recruit, it’s still a very worthwhile project. Hats off to Page!
Pinnick Gales Pridgen
PGP 2
Magna Carta HHHH What do you do when you put three giants of prog, blues and rock together and produce a fantastic album? Obviously, you return to the studio and make another one, and here it is! Far from a ‘difficult’ second album, this is a magical masterpiece that delights the ears from the first bars of the opening track. As you would expect from the track records of bassist Dug Pinnick, guitarist Eric Gales and drummer Thomas Pridgen, this is a musical assault that focuses the ears and the mind, so for the duration of the album nothing else in the world seems to matter. They draw inspiration from many great rock and blues acts over the years, so there’s a comfortable element here. But the sound they produce is unmistakably their own. The sheer instrumental power is almost frightening, yet the vocals still soar out over the mayhem. This is not for the faint-hearted, but it definitely is a remarkably musical and finely conceived album.
Led Zeppelin
Led Zeppelin 1, 2 & 3
Atlantic HHHHH In line with the trend of remastering analogue recordings, the first three Led Zeppelin albums have been given the once-over, and expanded with an
September 2014 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.
m
i
1
Our rating system
a c
4 T
p
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)
The diagram represents the G chord in the photo. The ‘O’ symbol is an open string, and a circled number is a fretting finger. Intervals are shown below.
The blue line represents a capo – for this A chord, place it at fret 2. Capos change the fret number ordering – here,œ & the original fret 5 now becomes fret 3, fret 7 now fret 5, etc.
Down & Up Picking
œ
xD
8
≥ &
Down & Up Picking
& Scale example
E B G D A E
The diagram shows the fret-hand fingering for the A major scale (root notes in black). The photo GUITAR TECHNIQUES MAGAZINE Guitar Examples - Picking shows part of the scale being played onTechnique the fourth string with first, third and fourth fingers.
œ
≤
9 5 7
œ @
E B G D A E
7
œ @
œ @
&
œ bœ @ @
# œœœ
E B G D A E
1E 2B 3G 4D 5A 6E
Picking variations and ≥ alternatives ≤ GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking
Up and down picking
5
Tremolo picking Tremolo Picking
Down & Up Picking
&
7
œ
&
œ
œ @
@
5
@
4
@
7
8
Palm muting Palm Muting
œ bœ @ @
œ @
@
&
nœ # œœœ
œ œ œ
7
E B G D A E
5
≥
≤
n The first note is to be downTremolo Picking picked and the last note is to be up-picked.
&
œ @
œ @
œ bœ @ @
@
@
5
@
4
@
7
8
n Each of the four notes are to Palm Muting be alternate picked (down- & up-picked) n œœ very rapidly n œœ and continuously. œœ & # œœ
œ œ œ
œ œ
PM E B G D A E
@
Palm Muting
@ 4
@
E B G D A E
@ 96 GuitarTechniques September 2014 5
7
8
E B G D A E
œ œ œ
8 7 6 7
0
0
0
8 7 6 7
0
n œœ œœ
0
œ œ
PM 8 7 6 7
0
0
n Palm mute by resting the edge Rake ofPick picking-hand’s palm on the strings near the w bridge.
&
¿
¿¿
rake
&
8 7 6 7
0
0
E B G D A E
œœ010 œœ23 œ
&
E B G D A E
0 1 0 2 3
X
X
X
0
0
8 7 6 7
0
0
E B G D A E
≤
œ
4th string Open
@
0 0 0 2 2 0
5
@œ
@
4
7
D7
#212œœ @0œœ @
œœ œœ @ œœ
&
nœ # œœœ
&
¿¿
2 1 2 0
n œœ œœ
@œ
œ
A m7
œœ œ
0 1
@20œœ 80
0 1 0 2 0
¿
w
rake E B G D A E
5 X
X
X
Appeggiate chord Arpeggiate Chord
w
E B G D A E
X
& gg ˙ ggg # ¿˙ g gg 00 ggg 22 ggg X2
&œœ
0 0 2 2 0
œ œ
5 X
4th string Open
0 5
3rd string 2nd fret
Palm0 Muting
PM
n Drag the pick across the Arpeggiate Chord strings shown with a single sweep. Often used to augment a ˙˙˙ ggg # ˙˙˙ rake’s lastgg note.
5 X
¿
¿¿
≥
œ
rake E B G D A E
PM
Arpeggiate Chord Pick Rake
0
0
Pick Rake Pick rake
PM E B G D A E
8 7 6 7
œ
œ
7 8 œ stave, œ œ Tabœ isœ an aid TABBing @ @ Under thetomusical PM to show you where put your fingersPMon the E B 8 8 G horizontal 7 7 fretboard. The six lines represent the six D 6 6 A 7 7 strings on a guitar – the numbers on the E 0 0 0 0 0strings are fret numbers. The two stave and tab examples show chords; C (C major), Em (E n œœ 4 notes andPick4 Rake minor), œœ D7 (D dominant 7) and Am7 (A minor 7).
@
PM
E B G D A E
3rd string 2nd fret
2
Em
Guitar Techniques: How they appear in written music... E B G D A E
7
1st fret
œœ
1E 2B 3G 4D 5A 6E
4
The left box shows an A minor pentatonic scale with added 5 tapped notes signifiedPalm by Muting ‘T’s. ≤ Above shows a Cmaj9 (no 3rd) with harmonics at the 12th fret. nœ
œ
1 E B G D A E 2nd string
C
œ bœ @ @
œ @
5 Tapping & harmonics @
≥ &
œ
R
œ
Tremolo Picking
Down & Up Picking
&
œ
2nd string 3rd fret
5
Tremolo Picking GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking
œ3
1E
7
A E
&
œ
2B 3 1 MUSICAL STAVE The five horizontal lines for 3G 2 C Em Picking D7 A m7 Tremolo 4D 0 5A music notation show note pitches and rhythms 6E # œ œ œ œ œœ and & are divided by œœbar lines. œ œœ œ b œœ
E B G
x
A major scale
1E 2B 3G 4D 5A 6E
&
2nd string 1st fret
ggg # # ˙˙ gg ˙ gggg 454 ggg 44 g 5
˙ & gggg ˙˙˙ ggg # ¿˙ g ggg ggg gg
0 0 2 2 X 2
ggg # ˙˙˙ ggg # # ˙˙ gg ˙
ggg gg ggg
4 5 4 4 4 5
n Play the notes of the chord by strumming across the relevant strings in the direction of the arrow head.
&
œ
œ
œ
œ
5
7
7
5
~~~~~ ˙ (œ œ) b ˙
tr
&
tr
Fretting hand GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Fretting Hand
E B G D A E
Hammer-on & Pull-off Hammer On & Pull Off
&
œ
œ
œ
œ
5
7
7
5
E B G D A E
tr E B G D A E
5
8
~~~~~
tr
~~~~~
7
5
& E B G D A E
œ
œ
œ
&
≠œ œ ≠œ œ œ ≠œ
E B G D A E
S 5
7
5
5
n Fret the start note (here, Left Hand Tapping the 5th fret) and bend up to 6 the pitch of the bracketed œ & before releasing. note, œ œ
≠œ œ ≠
≠
œ
≠ ≠ ≠ harmonics E B G D A E
P
P
5
7
0
P
5
7
0
Natural harmonics Fret Hand Muting
& &
n œ ¿ ¿ ‚ ¿ œ# ‚‚ ¿ ¿ ‚# œœœ ‚¿¿¿ ¿¿¿ ¿¿¿ œœœ ‚ ¿¿¿ ¿¿¿
· · · ·· 8 X X X 7 X X 12X 6 12 X X X 12 7 X X X
X X X X
n Pick the note while lightly touching ‚ the‚string‚ directly over & the fret indicated. A harmonic results.
···
P
5
7
0
4
AH17
5
· · · ·· 8 7 6 7
12
X X X X 12
X X X X X X X 12X
X 8 7 X 6 X 7 7 X 7 7
X X X X
Artificial harmonics
& E B G D A E
‚
‚
± ±± 7
5
7
‚
‚ is‚ picked, then the n The note & whammy bar is raised and TH17 TH19 pitches TH17 lowered to the shown in brackets. E B G D A E
··· 5
7
& E B G D A E E B G D A E
&
4
7
0
nœ # œœœ
¿¿ ¿¿ ‚ ‚
¿¿ ¿¿
X X X X
X X X X
P
5
¿¿ ¿¿
œœ ¿¿ œœ ¿¿ ‚ # ‚‚‚ X X X X
X X X X
8 7 6 7
12
¿¿ ¿¿
5
&
4
E B G D A E
7
···
TH17 E B G D A E
TH19
5
7
4
‚
2
·
7
···
TH17 E B G D A E
5
TH19
7
Dive bomb
&
œ
AH17
4
&
#‚ 8 X X ‚X 8 ‚ X ‚ ‚ 767 ‚XXX XXX XXX 767 XXX
E B G D A E
‚
&
—
± ±±
E B G D A E
‚
5
&
‚
‚
TH19
7
‚
¿¿ ¿¿
X X X X
‚
‚
··· AH17
5
AH19
7
—
— —
± ±± ‚
···
TH17
TH19
5
7
TH17
4
Touch harmonics
&
œ
TH17
‚
·
TCH E B G D A E
4
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
···
TH17 E B G D A E
‚
¿¿ ¿¿
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
Tapped harmonics
&
œœ œœ
PH
7
5
¿¿ ¿¿
· · · ··
Vibrato 4
AH19
7
¿¿ ¿¿
NH
AH16
5 n Pick the note and then bend up a quarter tone (a very small amount). Sometimes referred to as a blues — curl. —
&
¿¿ ¿¿
·
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
capo
Gargle
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
± ±± 5
‚
7
0
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
7 7 7
···
AH16 E B G D A E
— —
7
‚
P
5
n œœ # œœ
&
Quarter-tone bend 12
&
7
0
&
PH
7
—
· · · ·· 12
P
P
E B G D A E
# ‚‚ ‚
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
7
‚ ‚ ‚
≠ ≠ ≠ 5
NH
E B G D A E
PH
7
5
AH17
Pinched harmonics
AH19
7
···
AH16
&
X X X X
7 7 7
œ œ œ œ œ œ 7
≠œ œ ≠œ œ œ ≠œ 6
Fret-Hand Muting Fret Hand Muting
6
n Sound the notes marked with a square by hammering on/tapping with the frettinghand fingers.
7
0
· · · ·· 8 7 NH 6 7
12
PH
—
P
P
5
&
n Fret the note as shown, then lightly — place the — index — finger & over ‘x’ fret (AH ‘x’) and pick (with a pick, p or a).
PH
E B G D A E
≠ ≠ ≠
Pre bend
‚
··· AH17
4
E B G D A E
7
≠
œ
E B G D A E
‚
NH
AH19
Vibrato — arm bends —
&
≠œ œ ≠
E B G ED BA GE D A E
&
± ±± vibrato arm (aka whammy bar) AH16
E B G D A E
7
n Bend12up from the 5th fret to the pitch of the 7th fret note, then pick it and release to 5th fret ‚ note. ‚ ‚
AH16
X 8 7 7 X 6 7 X 7 7 X
7
0
5
&
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
NH
E EB BG GD DA AE E
P
P
5
5
7
Fret Hand Muting
6
≠ ≠ ≠
œ
E
E B G D A E
5
œ
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
œ
5
≠ ≠ ≠ ≠ ≠ ≠
Left Hand Tapping
E
E B G D A E
8
S
Slides (Glissando)
E B G D A E
8
& œ œ œ
b˙
BENDING and vibrato bend up/down
(7 5)
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
7 5
tr
˙ (œ œ)
E B G D A E
~~~~~ ( )
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’.
September 2014 GuitarTechniques 97
NextMonth the world’s best guitar lessons… transcription #1
feature #2
gary moore
play like the greats
Cold Day In Hell
Steve Allsworth warms up his amp and turns up to 11 for this full transcript of Gary Moore’s blistering blues-rocker.
Learn the contrasting licks and styles of Neil Young, BB King, James Taylor and many more classy players in an issue brimming with great lessons!
transcription #2
video lesson
eric Satie
bernie marsden
Gnossienne No.2
Bridget Mermikides returns to the atmospheric, enigmatic work of the influential French pianist and composer.
Masterclass Pt 2
The ex-Whitesnake guitar slinger demonstrates the pro’s way to solo over a major-blues progression.
60 years, 60 players, 60 licks…
strat celebration! Leo Fender’s masterpiece is blowing out 60 candles this year. Join us as we celebrate with a huge feature covering 60 of the all-time greatest Strat licks – featuring Marvin, Gilmour, Clapton, Beck, SRV, Zappa, Landau and many more!
other great lessons Music Reading
This issue, our in-depth course on learning to read music covers Accidentals
British R&B
Phil Capone looks at the classical and psychedelic infusions in the guitar playing of The Moody Blues
SUBSCRIPTION & back issue ENQUIRIES UK: 0844 848 2852 International Tel: +44 (0) 1604 251045 Email:
[email protected] Subscribe online at: www.myfavouritemagazines.com EDITORIAL Editor: Neville Marten,
[email protected] Art Editor: David Dyas,
[email protected] Production Editor: Cliff Douse,
[email protected] Senior Music Editor: Jason Sidwell,
[email protected] Music engraving: Chris Francis CD mastering: Adam Crute Contributors Shaun Baxter, Owen Bailey, Paul Bielatowicz, Jon Bishop, Pete Callard, Phil Capone, Martin Cooper, Adam Crute, Charlie Griffiths, Pat Heath, Phil Hilborne, Martin Holmes, David Lyttleton, David Mead, Bridget Mermikides, Roger Newell, Jacob Quistgaard, Stuart Ryan, Andy Saphir, John Wheatcroft Senior Art Editor: Mark Thomas Group Senior Editor: Julie Taylor Group Art Director: Rodney Dive Creative Director: Robin Abbott Editorial Director: Jim Douglas Advertising Advertising Sales Director: Clare Coleman-Straw,
[email protected] Advertising Sales Manager: Richard Hemmings,
[email protected] Account Sales Managers: James L’Esteve, james.l’
[email protected]; Alison Watson,
[email protected] Sales Executive: Simon Rawle,
[email protected] MARKETING Group Marketing Manager: Laura Driffield,
[email protected] Marketing Executive: Richard Stephens,
[email protected] CIRCULATION Head of Trade Marketing: James Whittaker Trade Marketing Manager: Daniel Foley,
[email protected] Direct Marketing Executive: Ryan Lewis PRINT & PRODUCTION Production Co-ordinator: Marie Quilter,
[email protected] LICENSING Licensing & Syndication Director: Regina Erak,
[email protected] FUTURE PUBLISHING LIMITED Managing Director: Nial Ferguson Group Information Officer: Stuart Anderton Head Of Music: Rob Last Chief Executive: Zillah Byng-Maddick Future Publishing Ltd, Quay House, The Ambury, Bath BA1 1UA Tel: +44 (0) 1225 442244 Fax: 01225 732275 Email:
[email protected] Printed in the UK by William Gibbons (covers printed by William Gibbons) Distributed in the UK by Seymour Distribution Ltd 2 East Poultry Avenue, London EC1A 9PT. Tel: 0207 429 4000 Member of the Audit Bureau of Circulations.
20,468
Chops Shop
Andy Saphir’s new video lesson and regular column shows you how to hone your technique: part one looks at Legato Pentatonic ideas
plus all this… Theory Godmother, Creative Rock, 30-Minute Lickbag, One-Minute Lick and more… So make sure you don’t miss GT235, October 2014 issue! will be happy Your local newsagent ques for you to order Guitar Techni t trip into each month. Save tha fantastic town and get to those and transcriptions, lessons exclusive video classes r! even quicke
october 2014 issue on sale friday 5th september Please note: content is subject to change…
98 GuitarTechniques August 2012
Jan-Dec 2012
Future is an award-winning international media group and leading digital business. We reach more than 58 million international consumers a month and create world-class content and advertising solutions for passionate consumers online, on tablet & smartphone and in print. Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR). www.futureplc.com
Chief executive Zillah Byng-Maddick Non-executive chairman Peter Allen Chief financial officer (Interim) Simon Poulton Tel +44 (0)207 042 4000 (London) Tel +44 (0)1225 442 244 (Bath)
© Future Publishing Limited 2014. All rights reserved. No part of this magazine may be used or reproduced without the written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. The registered office of Future Publishing Limited is at Beauford Court, 30 Monmouth Street, Bath BA1 2BW. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk and, although every care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage.
We are committed to only using magazine paper which is derived from well managed, certified forestry and chlorine-free manufacture. Future Publishing and its paper suppliers have been independently certified in accordance with the rules of the FSC (Forest Stewardship Council).
9000
9015
