Guitar Techniques August 2015

win! a BLacKstar haLF stacK worth over £1000 246 AUGUST 2015

WE’LL MAKE YOU A BETTER GUITARIST - GUARANTEED!

LeGend!

G BB Kin eat two Gr soLos!

LEARN HUBERT PARRY’S ‘JERUSALEM’ foR SoLo cLASSicAL gUiTAR

discover the GeniUs oF...

david GiLmoUr

Unlock every facet of his unique style - 10 superb examples, full 32-bar solo!

Jazz Soloing Open the door to jazz guitar and change your playing forever!

Joe satriani

New album & more styLe stUdies

Green day

Billie Joe Armstrong

mr BiG

Addicted To That Rush Learn this killer track from Paul Gilbert, Billy Sheehan & Co’s amazing debut - rocktastic!

syLvain LUc Modern jazz genius

iron maiden

Triple-headed guitar assault

Grand FUnK raiLroad Multi-million-selling US rockers

nd

ISSUE 246 aUgUSt 2015

Just some of your regular GT technique experts... shaun baxter

One of the UK’s most respected music educators, Shaun has taught many who are now top tutors themselves. His Jazz Metal album is considered a milestone.

jon bishop

Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease!

jim Clark

2002’s Guitarist Of The Year runner-up, Jim has been a busy TV and session guitarist in the UK and US, as well as working alongside a host of top artists.

phil Capone

Phil is a great guitarist who specialises in blues and jazz. He teaches at ICMP in London, writes for GT and Total Guitar and has published 10 top tuition books.

Charlie griffiths

Guitar Institute tutor Charlie first came to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s top rock, metal and fusion guitarists.

phil hilborne

The UK’s original magazine guitar tutor, Phil’s something of a legend. A great player, he’s currently touring Europe with the Champions Of Rock show.

pat heath

BIMM Brighton lecturer, ESP product demonstrator and all-round busy musician, Pat brings you six cool licks each month in 30-Minute Lickbag.

david mead

As ex-editor of both Guitarist and Guitar Techniques magazines, and author of top-selling tutor books, David is the perfect choice as Theory Godmother.

the

finest

guitar tuition you can buy !

Welcome IN THE MID 80s when I repaired guitars for Fender in London, many top players would come down to try stuff out, including Hank Marvin, Alan Murphy and David Gilmour. So David ‘vaguely’ knew who I was. Move on a year or so and I was with a very formative Guitarist magazine and found myself driving off to Henley to interview Mick Ralphs of Bad Company. When I arrived at his house it was in upheaval due to building works. Mick said, “Sorry about this, but I have arranged with a mate that we can do it at his house. It’s a bit of a complicated journey so follow me carefully.” I dutifully tailgated him through hilly lanes across the border into Berkshire, until we arrived at a huge house hidden in acres of woodland. Mick led us into an old coaching yard and up to the back door of the vast pile. I had no idea who his ‘mate’ was but as I got out of my car David Gilmour came out, handed me Fender Strat serial number 0001 and said, “What do you think of that then?” Or words to that effect. Mick and I did the interview and then David showed me his guitar room, with all those famous instruments dating back to early Floyd days. He also had

one of the big leather Pink Floyd mascots in his studio. What a wholly surreal but thoroughly enjoyable day for this young buck. Mick was a lovely guy too and a huge guitar nut. Years later when Paul McCartney did his album Run Devil Run with David and Mick Green on guitars, I was editor of Guitarist and put in for an interview. In the throes of moving house at the time I kept getting calls from estate agents, solicitors and the like. One especially hassled morning the phone went and this cultured voice said, “May I speak to Neville Marten please?” Thinking it was yet another of these I snapped, “Yes!” And he said, “It’s David Gilmour; I believe you wanted a chat.” Having not expected a response, let alone a personal call, I had nothing prepared and so was utterly flummoxed. Ever the gent, he completely understood. Do enjoy Jon Bishop’s fascinating ‘Genius of David Gilmour’ feature, even though I’m sure David would shrug off such silly hyberbole. Have fun, and I’ll see you next month!

nd

Neville Marten, Editor [email protected]

DON’T MISS OUR AMAZING DIGITAL EDITION Guitar Techniques’ digital edition is now even better!

bridget mermikides

Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.

stuart ryan

Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs throughout the UK. His latest book/CD ‘The Tradition’ is available now.

andy saphir

A top teacher at the Guitar Institute (ICMP), Andy is a phenomenal player in a host of styles. He mixes just the right degree of flash with consummate taste.

tristan seume

One of ACM Guildford’s leading tutors Tristan is also mega busy on the folk circuit playing with Jackie Oates. His brand-new CD, Middle Child, is out now!

john wheatCroft

A phenomenal guitarist, John is a master at all styles but a legend in Gypsy Jazz. His new album Ensemble Futur is out now on iTunes and Amazon.

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

Songs and lessons have the audio built in, with a moving cursor showing you exactly where you are in the music. Simply tap the ‘play’ button then you can 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 (Please note: Zinio editions do not have interactive tab or audio).

August 2015 GuitarTechniques 3

nd

In W A BLACKStAr StACK!

• C ON T E N T S • AUGUS T 201 5 •

p67

Learning Zone LESSONS INtROdUctION

51

30-MINUtE LIckBAG

52

Music editor Jason Sidwell introduces another feature-filled lessons section. BIMM’s Pat Heath has six more great licks at easy, intermediate and advanced levels.

BLUES

54

ROck

58

cREAtIVE ROck

70

chOpS ShOp

76

hARd ROck

78

JAZZ

82

AcOUStIc

88

MUSIc REAdING

92

Les Davidson doffs the collective GT hat to the late and much lamented giant, BB King.

Martin Cooper looks at another classic US rock outfit: the fabulous Grand Funk Railroad.

Shaun Baxter continues to explore his stringpair cells - this month he’s up to 10-note groups. Andy Saphir with more arpeggio ideas - this month, bigger shapes for wider intervals. Charlie Griffiths begins a new series with an appreciation of NWOBHM giants, the tripleheaded guitar monster that is Iron Maiden.

John Wheatcroft delves into the jazz stylings of the amazing French guitarist, Sylvain Luc.

CoVer FeaTUre DAVID GILMOUR

Jon Bishop looks at the style and playing approaches that have made Pink Floyd’s guitarist one of the most admired of all.

FeaTUreS

ViDeo MaSTerCLaSS

WELcOME

24

3

tALkBAck 

7

thEORY GOdMOthER 

8

More of your insights and opinions.

Joe Satriani plus Phil’s One-Minute Lick, That Was The Year and Hot For Teacher.

36

John Wheatcroft provides the information and inspiration you’ll need to smash through the barrier and begin playing convicing jazz solos.

62

10

SUBScRIptIONS 

68

BAck ISSUES 

94

Save time and money – get GT delivered! Missed one? See how you can get it – here!

ALBUMS 

trAnSCrIPtIon #2

cARL VERhEYEN part 6

Carl delivers his final first-take solo over a track he’s never before heard - it’s flabberghasting!

Baffled or bamboozled by some chord, lick or piece of bonkers theory? Let Dave Mead help.

INtRO 

SPECIAL fEAturE #2

JERUSALEM Hubert Parry

Charlie Griffiths continues his series with some full pieces for you to tackle.

Nev recounts a Gilmour memory or two...

Steve Allsworth transcribes one of the great early tracks from Paul Gilbert, Billy Sheehan and co’s fantastic debut album.

JAZZ SOLOING Make the breakthrough! 

14

rEGuLAr fEAturES

trAnSCrIPtIon #1 MR BIG Addicted To That Rush

Stuart Ryan looks at the acoustic side of Green Day’s guitarist, Billie Joe Armstrong.

95

New guitar CDs and DVDs reviewed and rated by our very own Roger Newell.

46

Bridget Mermikides arranges and transcribes for solo guitar, one of Great Britain’s best-loved and most moving pieces of music.

NExt MONth 

98

Santana Through The Ages; Allman Brothers’ Statesboro Blues tabbed; an appreciation of John Renbourn; plus style studies of John Mayer, Chicago, Van Halen and more.

Spring 2015 GuitarTechniques 5

nd

Post: Guitar Techniques, Future Publishing, Ivo Peters Way, Bath, BA2 3QS. Email: [email protected] using the header ‘Talkback’.

LIVEPIX

I’M ONLY SLEEPING Thank you for your great publication, Guitar Techniques. I’m not sure what a ‘punter’ is (outside of American football), but I think I am that, and I think the content, style, and tone of GT are perfect. I’m writing to request a tab feature on the Live Cream version of Sleepy Time Time. I’ve never seen it tabbed and it’s a great Clapton solo from his best period - beautifully phrased in the major-minor style (thanks BB!), thrilling vibrato, cool chordal backing (and what exactly is that V-IV progression?), and gorgeous Gibson-Marshall tone (maybe the best of the plexi era). And it is relatively succinct, unlike, say, Spoonful. I know you can only cover Clapton and Cream so often, but if you find it possible and feasible to do, people like me would love to see it. Thanks for your consideration. Best wishes, Tim Poteet, Austin, Texas Thanks, Tim! A ‘punter’ is a UK term for a customer of any kind, but is often used to describe those that visit gigs, shops, pubs and so on. I believe it comes from the betting world – taking a ‘punt’ is taking a bet on something. As for Sleepy Time Time, I agree with everything you say about it – I loved those live versions where Eric’s tone was huge. He also had a great ability to rein himself in and stay, as you say ‘succinct’ rather than going off on one every time. It’s certainly in the pot for consideration.

DEZO HOFFMAN / REX FEATURES

THE KING IS DEAD Long live the King! How terribly sad to hear about BB King’s death. Although we all knew it was coming it still left many of us reeling in shock. Like Frank Sinatra, Ella Fitzgerald, John Lennon or Michael Jackson, King was a beacon of brilliance and defined – you could even say owned - a particular style and so became its embodiment. Thus another era sadly ends. I’m sure I’ve heard you say it before but it’s worth repeating: there can hardly be an electric guitarist from the 60s on that doesn’t somehow, whether directly or indirectly, owe something to this great man. Of all the plaudits perhaps Eric

Clapton’s Facebook video was the most poignant: clearly upset he spoke eloquently of how BB helped to change his life; about how the blues is becoming a forgotten form and how everyone should go away and listen to Live At The Regal to gain an idea of the man’s importance to music – and to the guitar. It perhaps falls to Buddy Guy, Robert Cray and Clapton himself (perhaps he’ll even consider postponing retirement now) to carry the banner as bastions of electric blues, as pioneered by T-Bone Walker and refined into an art by Riley B King. RIP, BB. Mark Robbins, London Very nicely put, Mark. I watched Eric’s video too and it was most touching – he actually looked in tears at the end. Yes, a huge loss to the guitar world but at least he had a great life and a fantastic innings – and will have known that he’ll go down in history as one of the most important musicians of the 20th century. Eric might (thankfully) be a little off beam as regards blues’s demise, as there are so many promising youngsters coming along to keep the ‘conveyor belt’, as I call it, of artists full and still moving along. We have a transcription of Eric and BB’s 3-O’Clock Blues (from Riding With The King) coming soon, as our little mark of respect. And for those who also read Guitarist, I’m nipping into the studio (red Gibson semi in hand) to do a few licks from BB’s early, ‘post T-Bone’ period for next month’s Blues Headlines. And check out Les Davidson’s BB lesson on p54.

The late and most definitely great Riley B ‘BB’ King

NET ADVANTAGE? I’ll admit here and now that I do resort to the Internet to learn stuff on the guitar! That said it’s usually to cop a few chords for a song I need to learn quickly for the band and haven’t bothered to do it properly hence the lastminute panic. However, when I need to sit down and do some proper study, I always LESSON: CHOPS SHOP go back to Guitar Arpeggios Techniques. Other than enrolling on an expensive Guitar School course or hitching up with a £40-per-hour (it’s expensive here in Sweden!) private teacher it’s the only place I can learn the real nuts and bolts of guitar playing – and music in general but always relating back to our instrument. The big cover features you do are amazing, and you can’t find this stuff anywhere else. I subscribe, pay a few ‘quid’ and learn way more than I would any other way. I do also have a teacher I visit when I want to bone up on a particular skill and he’s great, but generally Guitar Techniques is still my prime ‘go to’ source for guitar education. Keep up the good work! Edvin, Goteburg, Sweden

VIDEO

PART 2

Andy Saphir continues his chops building arpeggio exercises with a look across the fingerboard at the higher strings.

FOLLOWING ON FROM last month’s lower strings major and minor arpeggios, this month we’re focusing on the higher strings. Like last issue, you’ll see chord diagrams above the relevant arpeggio shape. Visualising this chord shape is a great way of recognising the arpeggio pattern; after all, an

arpeggio is just the notes of a chord played melodically, so associating the two makes sense. Aim to recognise the chord tones (root, 3rd, 5th for a major arpeggio, and root, b3rd, 5th for a minor arpeggio) both visually and aurally, as this will help your fretboard skills and help to develop your musical ear.

EXAMPLE 1 MAJOR ARPEGGIO

This arpeggio is easy to remember as it’s the same shape as the associated chord. Root, 3rd and 5th are on the fourth, third, second strings respectively,

PLAY

EXAMPLE 2 MINOR ARPEGGIO

This is the same idea as Ex1 except using a minor arpeggio (root, minor 3rd, 5th). Roll the first finger across the top three strings at the 8th fret, for

PLAY

EXAMPLE 3 THREE-STRING MAJOR ARPEGGIO

In bar 1, don’t try to stretch to that 8th fret first string. In this key, it’s too far, so you can ‘jump’ your fourth finger to that note. The first, second, and third

PLAY

74 GuitarTechniques July 2015

Eric Clapton playing live with Cream

Well that’s most pleasing to hear, Edvin. It’s certainly what we try to do at GT. The point is, we all live in the modern world and get what we need from a variety of sources. I just bought a garden furniture set online because it was better quality and cheaper than my local superstore; I too will have a quick Internet bone-up if I can’t work out a weird chord sequence or whatever; but I always buy my instruments and amps from proper guitar shops as I like the interaction and am aware that one instrument might ‘talk’ to me when others don’t. We deliberately shaped our lessons so they’re unlike anything available at this quality online, but of course I understand that stuff is available everywhere these days. I would however say that pretty much every time I go to the Internet even for the opening chords for something relatively simple, they are invariably wrong! So, keep reading – and please pass the word to all your guitar mates, as they deserve a bit of GT love too! You could of course combine GT with the Internet by buying our brilliant digital version with audio (iTunes only) perfectly synchronised to animated tab! Try it!

with the octave root note on the first string. Practise slowly, making sure you play smoothly without the notes being staccato.

a smooth transition between the notes. If you leave your finger down in a barre, the notes will ring out like a chord, rather than a melodic sequence.

string chord tones in each of the four bars respectively are: Bar 1: R, 3rd, 5th, root, bar 2: the same, bar 3: 3rd, 5th, R, 3rd, and bar 4: 5th, R, 3rd, 5th.

August 2015 GuitarTechniques 7

Q&A

Theory Godmother

Post your posers and teasers to: Theory Godmother, Unit 5, Pinesway Industrial Estate, Ivo Peters Way, Bath, BA2 3QS; or email me at info@ davidmead.net - your every wish is Fairy Godmother’s command! Play It Like Guthrie? Dear Theory Godmother

I’ve been watching various videos of Guthrie Govan on YouTube and I’ve noticed that he tends to use fingers one to three to play regular scale patterns on the guitar neck, saving his fourth finger for longer stretches. I was taught the old ‘one-finger-per-fret’ system and I’m wondering if I ought to review my style a little. Are there benefits to playing scales the way Guthrie does it? Jed We’ll hear from Guthrie in a minute, Jed, so I’ll take a paragraph to illustrate what you mean and add my own comments. In Example 1 I’ve taken a scale pattern and shown the fingering in ‘one-fingerper-fret’ configuration. This is the more natural feeling way of fingering a scale and represents good basic training for the fretting fingers. Example 2 is the same pattern using just three fingers, with the exception of the B on the fourth string. Whichever fingering you use in the practice room is fine, but remember certain licks, riffs or solos are going to call for some customisation. As an example, the third finger is better for bending strings so anything blues based is best worked out to facilitate this. There are other occasions where what you do in practice might need to be reviewed in the real world. So use the fingering that suits the music. I’ll leave the last word to Guthrie: “I would urge you not to pay too much attention to my fingerings: you’d almost certainly be better off sticking with your current system. I started playing a fullsized guitar when I was very young and there was definitely a period where only the bigger fingers on my fretting hand were capable of sounding any good. Plus, I was playing a lot of blues-rock at the time and that genre isn’t exactly associated with perfect one-finger-perfret technique! What you’ve observed in those videos is just a remnant of my shady (and entirely self-taught) past.”

A Page Unturned? Dear Theory Godmother

In Led Zeppelin’s version of Babe, I’m Gonna Leave You there’s the chord that I’ve tabbed out and enclosed at the end of the main verse. The music says that this is a Dm add9 chord, but it sounds too dissonant to me. Have

8 GuitarTechniques August 2015

EXAMPLES 1 - 6

GUITAR TECHNIQUES MAGAZINE 2 4 6

Theory Godmother - David Mead

GUITAR TECHNIQUES MAGAZINE 2 4 6

Theory Godmother - David Mead

Godmother - David Mead Ex 1 One-finger-per-fret scaleTheory shape

GUITAR TECHNIQUES MAGAZINE 2 4 6 Ex 1

¢ ª ¢ Á £Ï Ï Ï Ï££ Ï ÁÁ ª ÏÏ ¢ÏÏ ÏÏÁ £Ï ¢Ï Ï Ï Ï ª ¢ ÏÁ £Ï ¢Ï Ï Ï£ Ï Á Ï Ï

Ex 1

4 & 4 Ï Ï Ï Ï Ï ¢ ÏÏ Á ÏÏ & 44 ¢ÏÏ Á Ï £Ï ¢Ï Á Ï £Ï ¢ Á & 4 ¢Ï Á Ï £Ï ¢Ï Á Ï £Ï ¢ Ï Á Ï £ ¢ Á £ ¢ Á

Ex 1

E B E G B D G A E D E B A G E D A Ex E

8 8 2

5

7

8

5

7

8

5

8

7

8

5

7

9

5

7

9

5

7

9

5

7

5

7

5

5

6

8

5

6

8

5

7

6

8

5

7

8

7

5

7

8

7

5

5

7

8

7

5

£Ï £Ï £Ï

Arpeggio picking Pt 3 Ex 22 Three-finger Ex version

& 44 Ï Ï Ï Ï Ï Ï ¢ ÏÏ Á ÏÏ & 44 £ Á Ï ª Ï £Ï Á Ï ª Ï ¢ Á & 4 £ÏÏ Á Ï ª Ï £Ï Á Ï ª Ï ¢ Ï Á Ï £ Á ª £ Á ª

ª £ ÁÏ ª Ï Ïªª Ï ÁÁ ª ÏÏ Ï£Ï Á Ï ª Ï Ï Ïª Á ª £ Á Ï ª Ï Ï Ï Ï Ï

Ex 2

E B E G B D G A E D E B A G E D A Ex E

5

7

8

5

7

8

5 7 8 Dmadd9

8

8 8 3

Ex 3

5

7

9

5

7

9

5

7

9

Ex 3 Transcribed Dmadd9 ww Zep chord Ex 3

E B E G B D G A E D E B A G E D A E

& 44 & 44 &4

ww www www w w0

Dmadd9

5

7

5

7

5

5

6

8

5

6

8

5

7

6

8

nd

6 0 7 6 7 7 0 7 6 0 7 7 0

they got this chord name right or is it something else entirely? Rick When a guitarist writes a song he will often use personal favourite shapes that might not seem that logical. GT’s editor Nev said he was sure Jimmy is not playing the transcribed shape but is creating Spanish style ‘dissonance’ with the chord played in the open position, not at the 5th fret. He said play ‘X-0-3-2-3-0’ and you’ll see that, after the Am-Am7 (also open position) it sounds right. However, having too watched footage he now concedes that Jimmy does play it at the 5th fret. In terms of what to call it we’d say ‘Dm add9/A’, as it’s that open fifth string (A) and open first string (E) that give it dissonance. Nev’s shape has the same two open strings, but while the other notes are the same they are in a different order - F (b3rd) on the fourth string and D (5th) on the second, so the ‘clash’ between F and E is less obvious than in Jimmy’s shape, where the two notes sit directly adjacent to one another. The bass note is definitely an A though, so we’d still say ‘Dm add9/A’ is a better call as regards naming the chord.

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 5

Ï

8

6

5

8

6

5

8

6

5

7

5

7

5

7

5

Ï Ï Ï Ï Ï Ï Ï Ï ˙ Ï Ï Ï Ï ˙ ˙

9

7

5

9

7

5

9

7

5

Ï

5

5

7

8

7

5

7

8

7

5

5

7

8

7

5

8

6

8

6

5 5

8

6

5

7

5

7

5

7

5

9

7

5

9

7

5

9

7

Ex 5 F13 (minus G) chord Ex 5

& 44 E B G D A E

7

8

7

8

Ex 4 F13 chord

w w & 44 F13ww & 44 b www Ï Ï Ï Ï ˙4 bwwww w Ï Ï Ï Ï & 4 bw w Ï Ï Ï Ï ˙˙

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï

Ï

Theory Godmother Theory Mea G GUITAR TECHNIQUESGUITAR MAGAZINE 246 TECHNIQUES MAGAZINE 2 4 6 - David 5 8 5 8 Ex 4 Ex 4 7 5 F13 F13 8 Ex 5

8

5

8

E B G

7D 5

8

7A 5

8

7

E

5

8

3 2 1

8

1

8

Ex 6 F13 sus2 chord

Ex 6

F13

& 44

w b ww w

E B G D A E

3 2 1 1

The Lost Chord? Ex 6

Dear Theory 4 Godmother ˙

á sweeping 4 b ˙˙ that was This is& something NH ˙ recently. through Facebook i finger placed at 12th fret, pluck with thumb Apparently from a pro musical score, E 3 this BGchord is allegedly impossible to 0 1 playDAon the guitar. I’ve tried to work 12 E 1 out if there’s a way around it, but so far I’m floored. Firstly, can you think of a way of making the chord playable? And secondly, do composers and/or arrangers actually make this kind of mistake in professional scores? Rob

á

Yes, Rob, sometimes composers and arrangers get it wrong. Anyone who is unfamiliar with the way the guitar works as a harmony instrument is going to make this kind of error every so often. There are stories of some very famous composers who have accidentally written impossible chords in their pieces and so this particular instance doesn’t surprise me. As far as the chord in question is concerned (Example 4) the problem is that both the A and G note fall on the same string and the Eb on the fourth string means that the G isn’t available here either. Furthermore, the low F keeps

˙ b ˙˙ ˙ 3 0 1 1

á

á

NH i finger placed at 12th fret, pluck with thumb

12

the hand firmly planted down near the nut - so what’s the way out of this hole? I believe the context in which this was posted on Facebook originally was a sort of, ‘anyone got a solution to this one?’ type of thing and I believe I know a way around it - or at least a workable solution should the full chord be crucial to the harmony. One way is to miss out one of the offending notes and hope no one will notice. In Example 5 I’ve shown the easiest way out; a straightforward F13, which omits the G - the 9th note of F13. A more elegant solution might be to play the chord as F13 sus2 but sound an A harmonic at the 12th fret on the fifth string, producing all the notes that the arranger asked for (Ex 6). This would have to be done with the picking hand in the manner of an artificial harmonic. Of course, because I’m not aware of the exact musical context of the chord in question, faffing around with smartAlec fixes like this might be completely unnecessary, but it satisfies my OCD particularly well - and chimes well with the whole Zeppelin chord shape and naming debate. Plus it goes to show that guitar theory and technique are never-ending sources of fascination!

nd

30 Minutes With...

ChriStie Goodwin

Joe Satriani has an exciting new album out and had half an hour to spare for Gt. we couldn’t miss the chance to quiz him about songs, techniques, sounds and more! GT: There are 15 tracks on this album, more than on previous albums – it seems you’ve been more productive this time, why’s that? JS: I had so much to say, so much to express. Ten songs wouldn’t have been enough to tell the story properly. GT: Shockwave Supernova is very exclamatory and bold sounding. What inspired the name? JS: It’s a person’s name, or, with a stretch of the imagination, my alter ego’s name. The album is a concept album that tracks and exposes the exploits and inner demons of this alter ego, the one I’ve created to be a more extroverted version of myself. Sounds crazy I know, but the ‘concept’ was really a device for me to write accordingly and choose the right pieces for the record. The title track had to reflect all that drama and scope. GT: Lost In Memory; the shift to the (euphoric) chorus is very effective from Ebmaj7-F-Gm7 to Bbm7-Fm7Abmaj7-Ebmaj7. You seem to favour foundational key shifts (or modulations) for dramatic effect (in this case, a Gm-Bbm shift) in your compositions. Do you think this allows you to maintain a ‘rock’ based sound while being harmonically interesting without going ‘fusion’? JS: Yes! I’m so happy that you’ve noticed. I haven’t had a journalist make an observation like that in decades! It is a very effective way to stay within the stylistic scope of the record and yet achieve more adventurous harmony. GT: Crazy Joe has a funky dub intro feel with a clipped double-stop melody before the pull-off section and then the big bluesy rock payoff chorus. How was this piece conceived? JS: I originally started writing this for Chad Smith and Chickenfoot. I think I called it “Crazy Drummer”! As it developed I realised Sammy would have a hard time writing a story and lyrics around it, so, I finished it as an instrumental. It has an unusual arrangement but such a great positive vibe. Vinnie’s intro is insanely wonderful. GT: You’ve a liking to groovy ‘wide swing’ pieces. There seems to be nod towards a ZZ Top and Aerosmith vibe on a couple of numbers; have these

10 GuitarTechniques August 2015

nd

Joe Satriani: “I love rock with a heavy dose of swing”

bluesy rock-pop bands inspired how you make instrumental pieces appeal to audiences? JS: I love rock with a heavy dose of swing. The greatest rock bands had drummers who learned how to play in the 50s and they knew how to swing a hundred different ways. I grew up on that stuff, and so it comes naturally. Once again, Vinnie brings a level of swing to the track that is truly magical. GT: San Francisco Blues has a direct rock and roll triplet feel with bluesy major licks, clean guitar rhythm chips with a tasty harmonised chorus section. As you’ve not really had a piece like this before, what inspired you to do it for this album? JS: I was at home in San Francisco, recovering from a nasty flu, playing guitar all day long in my son’s old

music room – which is painted blue. So, that’s the set-up, and the song flowed from there. I was actually influenced by my good friend Steve Miller as I wrote the song. Steve has a way of bringing incredible amounts of melody and harmony to blues, and yet he keeps it authentic. I admire him for that, as well as his many other accomplishments!

I found the 24 frets on the JS2400 affords you more playability, and I like the neck pickup tone too; it’s unique!

GT: On A Phase I’m Going Through there’s some nice use of a phaser effect! In the middle section, you’ve three sections; the fast blitz of notes (tapping with a pick or with your fingers?), the Bach Toccata vibed bit (fingerpicked and/or pull-offs?) and the fast descending pull-offs to open strings (tapped?). JS: Love the Mutron Bi-Phase! All three parts are right hand thumb and first finger picking, no tapping. Judicious use of double-stops and 6ths harmonies on the third and first strings, etc… So much fun to play and yet the song has a melancholy vibe, as it should! GT: On Scarborough Stomp there’s a baroque-esque harpsichord section. Is this guitar and keys doubling up? JS: I wish! No, Mike Keneally improvised that after listening to my very sketchy church organ version. He added trills and made the part feel totally natural, as only he can. GT: Butterfly And Zebra; what inspired the title? There are a lot of volume swells used on the guitar melody – do you do these from the guitar or a pedal like an Ernie Ball volume? Was the Fernandes Sustainer pickup involved? JS: That’s just my JS2400 with the Sustainiac pickup engaged. The Sustainiac is such a cool and well-designed pickup system. The song is about a profound attraction between to very unlikely, and ultimately doomed lovers. A butterfly and a zebra share a glance, fall in love in that one instance, but know they can never make it work because of who and what they are. GT: Did you use the JS2400 for most of the album? JS: My 2410 and 2450 got the most use. There’s some JS2400 and my JSA acoustic on the record too. Now and then I’ll use a prototype JS like the three-single-coil guitar, or an oldie like my Chrome Boy. And then there’s always something vintage lurking around as part of the ensemble like a Tele, Strat or Les Paul. I used a few JS guitars with Evertune bridges for some rhythm guitar work too. I have found the 24 frets on the JS2400 affords you so much more playability, and I like the neck pickup tone too; it’s unique!

eMiLe hoLBA

E is for Excellence, Experience, Expertise and Efficiency

necessarily in that order. Maestro Altman assumes the podium position. I take a peek at the Guitar folder. It contains seven big band charts. To be recorded in three hours. Less 15 minutes tea break. Interestingly, he has marked most of the arrangements with spaces for guitar solos. I decide unilaterally that I will employ my nylon-string guitar, at least until someone tells me not to. Which they don’t. Well. It sounds correct to me for this particular genre. And away we go. John counts us in, although we are playing to a click track. 2,3,4... Blammo! It. Sounds. Incredible. Straight out of the box. I play my rhythm part and manage to make my solo entry at the right place. I’ve played worse. The entire band lays the chart down live and perfectly. The brass sound sensational. But then, so does everyone else. I appear to be getting away with it nicely. No one has asked me to leave. Which is nice. We record a second take for safety. We repeat this process six more times. We even finish early. Good grief. And there you have it. Excellence. Experience. Expertise. Efficiency. You can find it on Facebook somewhere, if you wish to take a peek. English Session Orchestra > Mambo.

Mitch Dalton’s

There are occasional days when this particular freelance jobbing plectrist (or more accurately in this case, fingerstylist) is struck by the thought that the business of recording music to the highest professional standard is very much a team effort. And in the teeming metropolis that is our capital city, that team is invariably packed chock-full of supremely talented individuals, each of whom brings a lifetime’s worth of experience and expertise to the party. Whether it is the producer, the arranger, the composer, the copyist, the musicians, or the recording engineer and assistants, excellence is a prerequisite. Consequently, on occasions like this I make it my business to affect the manner of a man who belongs by right in such exalted company. Alternatively, I hide behind the acoustic screens and hope fervently not be found out. Sometimes I do both. I was mulling these thoughts recently as I stepped through the hallowed doors of Abbey Road Studio 2 on an indifferent Spring afternoon in St John’s Wood. My mission, which I had chosen to accept, was to add a little Latino style guitar to the recording of A ‘mambo’ style big band library music session for the acclaimed composer, arranger, bandleader and saxophonist, John Altman. For those of you who have little conception of (or interest in)

This month our hero finds himself on hallowed ground at Studio 2 in Abbey Road, laying down orchestral tracks with one-take solos!

Library Music, I’m about to ruin your day. Also known as Production Music, it is commissioned ‘on spec’ by a music production company for potential use in audio visual media. Background music in documentaries, commercials and the like often make use of recorded music libraries rather than pay to have music specially composed. However it is true that many widely known ditties began life in this way. The ITV News At Ten theme and the long running BBC TV Snooker Theme are but two of many examples. The deal is usually predicated on the basis that the company picks up the tab for all the recording costs. If the music is used, the performance and mechanical royalties are then collected and split between the composer and the company. So. It’s a speculative effort. There is

no money to be made unless one or more tunes finds a home somewhere in the UK or world wide. And thus we return to the four Es. This stuff better be good. And there better be plenty of it. There are plenty of production music companies out there and they are all busily engaged in filling every niche and need that might possibly arise on behalf of their clients. And so it is that I amble into the studio that has British music history etched into its very walls, clutching a bunch of guitars. At least Cliff, The Shadows, The Beatles, Cilla, Dusty and the rest knew what they were about to record. I find my cosy corner in the room, screened off from percussion and brass, while microphones are set up, music folders are placed on stands, musicians moan and instruments are removed from cases. Not

nd

Mitch Dalton is one of London’s busiest and most sought-after session musicians. His latest album, Mitch Dalton & The Studio Kings is out now. For more info go to: www.mitchdalton.co.uk

PHIL HILBORNE’S ONE-MINUTE LICK CHORdaL STRINg-SKIPPINg LICK latter method is what I used, with the pick playing all the This month’s lick is very simple in concept: all I have done is lower notes and the second and third fingers taking care of take the triads of Em and D and played them in a non-linear the remainder. It is also worth pointing out that the chord way – ie, not as they are spelt. If you look at the first three names in the notation represent what the accompanying notes of the phrase (E-B-G) you will see that this is in fact a rhythm guitar plays – all open-voiced chords as well. second inversion Em chord (B-E-G) in which the middle note GUITAR TECHNIQUES MAGAZINE 2 4 6This results in ONE - by as Phil Hilborne However, these chords are played against a more or less (E) has been dropped by an octave. an MINUTE ‘open LICK CHORDAL STRINGconstant SKIP LICK pedal E bass what you actually hear is a repeating voiced’ E-B-G sound and is concept used throughout the lick. Em-D/E sequence. I would recommend using either pick or hybrid picking – the

©È Á ¦ ¼ # & 44 ∑ E B G D A E

E m/G D/F # Ï Ï D /F # Ï Ï Ï ~~~ Ï ~~~ Ï Ï Ï ~~~Ï Ï Ï Ï Ï Ï ~~~ Ï Ï Ï Ï | Ï Ï Ï ˙ Ï Ï Ï F ~~~ ~~~ ~~~ ~~~ 19 15

E m/G

D/F

8

7

9

#

E m/G

10

9

D/A

12

12

10

14

E m7/G

15

12

15

16

17

Em

12

14

9

12

10

12

9

á

|

NH

7

August 2015 GuitarTechniques 11

That Was The Year...

1934 Skydiving, Bakelite and Nessie

afTER Two yEaRS aS aN opTioNal EXTRa TRa Martin makes the pickguard d a standard feature on its popular 000-28 acoustic. The guitar features a solid spruce top, rosewood back and sides and a cedar neck. The fretboard and bridge are ebony and the string pins feature a black dot in the middle. The sound hole has a five-stripe rosette and the body is bound in ivory with herringbone purfling. The tuners are brass with ivory buttons. highlaNd aiRwayS BEgiNS the first regular egular domestic airmail service between Kirkwall and Inverness; the Royal Air Force adds 41 squadrons to its air defence programme; the MacRobertson Air Race takes place from London to Melbourne and high over Brooklands Aerodrome, 54-year-old grandmother Mrs G E Alington skydives from 1500 feet to become the first woman in Britain to complete a parachute jump. NEw To ThE woRld aRE Otis Rush, Leonard Cohen, Del Shannon, Frankie Valli, Pat Boone, Hal and Herbie Kalin (The Kalin Twins), Ronnie Drew (The Dubliners), Shirley Jones, Earl King, Robert Moog (synthesiser inventor) and Brian Epstein (The Beatles’ manager). Sadly venturing way beyond the planets are composers Gustav Holst, Edward Elgar and Frederick Delius. ThE daily mail pho phoTogRaph of the Loch Ness Monster is eventually exposed as a hoax; Colonel Blimp by cartoonist David Low debuts in the London Evening Standard; Meccano Ltd introduces Dinky Toys; ‘cat’s eyes’ appear on British roads; the Queensway Tunnel beneath the River Mersey is opened by King George V; and the British Empire Games are held in London. giBSoN iNTRoducES ThE SupER 400 archtop with a carved spruce top, bound f-holes and carved maple back and sides. The figured maple neck has a bound ebony fingerboard and split block pearl inlays. The rosewood bridge is adjustable and has pearl triangle inlays, the trapeze tailpiece and engraved tuners are gold plated and the scratchplate is multi-bound tortoiseshell. This top-of-the-range model is available in Brown Sunburst or Natural finishes. It’s an expensive instrument but beats off rising competition from other manufacturers. amERica iS STill REcovERiNg from the Depression; Adolf Hitler becomes Führer (head of state) of Germany; the RMS Queen Mary liner is launched at Clydebank; Stanley Matthews makes his debut for England’s national football team; and the marriage of Prince George, Duke of Kent to Princess Marina of Greece and Denmark is the first royal wedding to be broadcast live on radio with many listening to it on the new round Bakelite radio cabinets produced by EKCO. populaR guiTaRS ThiS yEaR include the Ro-Pat-In company’s ‘Frying Pan’ lap steel electric guitar, Dobro and National Resonator Models and Selmer acoustic guitars designed and built by John D’Angelico and Mario Maccaferri. The Ro-Pat-In Company will become known as Rickenbacker and the Frying Pan is the beginning of the fully electric guitar.

12 GuitarTechniques August 2015

Jam tracks tips

Use these tips to navigate our bonus backing tracks

➊ Blues for lucille (d)

This basic, but cheerful blues progression tips its hat to the late, great BB King and his beautiful guitar Lucille. Try following the chords playing 7th arpeggios: D7 (D-F#-A-C), G7 (G-B-D-F) and A7 (A-C#-E-G). The track is in D major, so in terms of scales I suggest starting with D major Pentatonic (D-E-F#-A-B), mixing in some D minor Pentatonic (D-F-G-A-C) for extra blues colouring. Rest in Peace BB, and thanks for all the inspiration!

➋ Slow Blues (gm)

Here’s a slow blues jam in G minor with a bit of a Gary Moore vibe going on. For scales, I’d start with G minor Pentatonic (G-Bb-C-D-F) and the blues scale (G-Bb-C-C#D-F), and then move on to the G minor scale (G-A-Bb-C-D-Eb-F). For the D (V) chords, think G Harmonic minor scale (G-A-Bb-CD-Eb-F#) to get that all-important F# ‘leading note’ into the mix. You can also outline the triads: Gm (G-Bb-D), Cm (C-Eb-G), D (D-F#-A) and Eb (Eb-G-Bb).

nd

➌ Easy medium Swing (dm) This one’s an easy-to-approach jazz practice backing track made for improvising on the classic 2-5-1 jazz progression in D minor. Chords are Em7b5 (1 bar), A7 (1 bar) and Dm7 (2 bars). On the track, you will hear extensions of these chords - as is common in jazz. Use D Minor scale (D-E-F-GA-Bb-C) for the Em7b5 and Dm7

chords - and D Harmonic minor (D-E-F-G-A-Bb-C#) for the A7 chords. Also, try the arpeggios in order to really ‘paint’ the colours of the progression: Em7b5 (E-G-Bb-D), A7 (A-C#-E-G) and Dm7 (D-F-A-C).

➍ 9/8 groove (Bbm)

This one is a fairly challenging groove driven 9/8 jam track, based around Bb Dorian mode. The subdivisions are 2+2+2+3 (three bars) and 3+3+3 (one bar). If you count that way, you may find it easier to get into this odd meter groove. Harmonically, I would recommend starting with Bb Dorian mode (Bb-C-Db-Eb-FG-Ab) and Bb minor Pentatonic (Bb-Db-Eb-F-Ab) for your improvisation. Jam tracks by Quist. For free scale maps and hundreds more tracks, visit www.quistorama.com. You can also subscribe to www. youtube.com/QuistTV to get all the latest free jam tracks and licks. Finally, you can also find Quist and his jam tracks on Twitter, Instagram and Facebook.

igf SummER School: 10Th-16Th auguST IGF returns to Shrewsbury school for a six-day summer school and festival. Courses include Blues, Funk, Jazz, Acoustic, Rock and Classical and a busy concert schedule. Tutors/performers include Dario Cortese, Jason Sidwell, Tolis Zavaliaris, Gary Ryan, Carlos Bonell, Gianluca Corona and Craig Ogden. Visit www.igf.org.uk/summer-school for further info.

HOT FOR TEaCHER yOUR RgT TUTOR NamE: Harrison Marsh TowN: Chard STylES: Acoustic, classical, bass, electric, jazz, rock SpEcialiTy: Advanced bass playing and acoustic fingerstyle guitar QualificaTioN: Dip. LCM Guitar Teaching lEvElS: All levels up to diploma level SighT REadiNg: Beginner to advanced chaRgES: £15 per half an hour, £25 per hour SpEcial: Full time tutor, dedicated teaching room, set-up and repair service TEl: 07928 590269 Email: harrisonmarsh07@gmail.

nd

Play: ROCK

ON THE CD

TRACKs 4-9

The Genius of David Gilmour Jon Bishop looks at the rhythm and lead guitar style of Pink Floyd’s great blues-rock virtuoso David Gilmour, one of the UK’s most influential and best-loved guitar players. ABILITY RATING

Moderate Info

WIll IMprove your

Key: E minor Tempo: 74bpm CD: TRACKS 4-9

Lead feel and phrasing Articulation & string bending Stylistic awareness

DaviD Gilmour was born in 1946 and is best known for his work with prog rockers Pink Floyd. David has also had a successful solo career and is a multi instrumentalist. He is a famous user of Fender stratocasters and his iconic Black strat forms the basis of his signature Fender guitar. He also owns a first year of issue 1954 stratocaster with the serial number 0001!

TeChnique FoCus

Finger vibrato and string bending Two of the cornerstones of Gilmour’s lead style are his finger vibrato and string bending. His technique and approach is fairly blues orientated and the sounds used range from sparkling clean to full-on overdrive. The key to a good finger vibrato is consistency of width and rate. Gilmour uses a soulful vibrato that is most characteristically of a medium width and rate. He adds this finger vibrato to normally fretted notes as well as notes played with string bending. He also often adds vibrato to string bends by wobbling the whammy bar and this provides a soulful vocal quality to the sound. Gilmour is a masterful string bender and often includes large bends in his solos. One of his signature bending techniques is the compound bend in which a target tone is bent up to and then exceeded by a higher note. He also often uses the classic blues trick of bending all the minor thirds in the scale slightly sharp. These quarter-tone bends help the notes fit and this adds a lovely bluesy flavour. If you combine these finger vibrato and bending styles the results will immediately begin to sound a lot more ‘Gilmour’.

The purpose of any article like this is to identify an artist’s key techniques with a view to incorporating them into your own trick back. The Gilmour lead style features techniques such as string bending, hammer-ons, pull-offs, finger slides and vibrato, which are all used tastefully and are clearly inspired by the language of blues guitar. string bending is a great way to add expression and feeling to lead playing. By bending a string (pulling down or pushing up

I don’t even think whether I play the blues or ndwhatever not. I just play feels right in the moment.

David Gilmour

while fingering a note), you increase its tension and therefore the pitch rises. once his string is bent to pitch, Gilmour often adds vibrato to help with the intonation and this also adds interest and feel. one of the key aspects of his lead style is the use of space and pacing. Gilmour never gets carried away by playing long phrases or lots of fast notes. Everything is placed in a considered fashion and the emphasis is on the melody. To keep things in a familiar setting the chord progression used for the backing track is in the key of E minor. The chord progression uses the chords E minor, B minor and C major. several scales are used to construct the Gilmour style licks and phrases. The first is E minor Pentatonic (E-G-A-B-D) and this very much forms the foundation of the ideas. it will be well worth reviewing the E minor Pentatonic fingering patterns, as learning them will help you to unlock the neck and appreciate the nuts and bolts of the phrases (see Figure 1). These fret box diagrams stack on top of each other and the fret numbers show the two places on the fretboard these shapes occur. Knowing where all the E minor Pentatonic notes are

will also help you to work out where and when you can add in the extra flavour tones - for this feature they are either major 2nd (F#) or minor 6th (C). Adding these notes to E minor Pentatonic creates the E Natural minor scale (E-F#-G-A-B-C-D) which can also be referred to as the aeolian mode. To give you a chance to try out some Gilmour style licks and ideas there are three backing tracks complete with 10 examples and one fully transcribed mega jam. The playing tip contain all the fingerings, articulations and phrasing from the audio performances. Please don’t be intimidated by the look of the notation, it looks complicated due to the slow tempo of 74bpm, but the ideas are all relatively straightforward to play. remember, Gilmour is about feel, not pace! Hopefully there will be a new technique, lick or phrase in here somewhere for you to perfect. If you find one you like then memorise it and use it in future solos. The final step will be to construct your own solos incorporating some of the ideas, techniques and concepts in this article - just as David will have done with his own heroes.

Get the tone 7

7

8

7

3

Gain

Bass

Middle

TReBle

ReveRB

David Gilmour’s recordings often feature him using a Fender Stratocaster. He does however use other guitars for studio work such as a Gibson Les Paul Gold Top and 24-fret custom. The examples in this month’s audio were recorded with a 50 anniversary Fender Stratocaster plugged into a 90s Fender Deville 2x12 combo. The overdrive came courtesy of an Ibanez tube screamer and a Fulltone Fuzz pedal. The delay sounds were created with a TC Electronic flashback X4 delay pedal. The ideas in this article can be played on any type of guitar. All of the pickup selections and effects are notated alongside the relevant examples.

TRACK RECORD Pink Floyd’s legendary Dark Side Of The Moon (1973) is deservedly one of the biggest selling albums of all time. It also features soaring guitar solos on the tracks Time and Money. Wish You Were Here (1975) has some lovely lead guitar on Shine On You Crazy Diamond, while Another Brick In The Wall, from The Wall (1979), boasts that awesome solo with the two-tone bend!

14 GuitarTechniques August 2014

THE GENIUS OF DAVID GILMOUR

David Gilmour playing his iconic black Fender Strat

MICHAEL PUTLAND / GETTY IMAGES

nd

August 2014 GuitarTechniques 15

Play: ROCK

ON THE CD

TRACKs 4-9

FIGuRE 1 e MInoR PentAtonIC SCALe

PLAYInG tIPS

CD TRACK 4

eXAmpLe open ChoRDs2AnD GUITAR1 eXTenDeD TECHNIQUES MAGAZINE 4 6 ARpeGGios This first example is inspired by Pink Floyd classics2like us And Them. DAVE For Jon Bishop's GUITAR TECHNIQUES MAGAZINE 4 6 Breath and the open chords simply push the plectrum down acrossJon the strings a little Bishop's DAVE slower you usually would. This provide an effective spread to the Ex than 1 - Extended open chords andwill arpeggios Ex 1 - Extended open chords and arpeggios GUITAR TECHNIQUES MAGAZINE 246 E m9 Drum Fill E m9 Drum Fill Ex 1 - Extended open chords and arpeggios

E B E G B D G A D E A 1 E E B 1 G D A E 1

# 4©È©È ¦¦ ¢¢ ∑  ∑ & 4 ©È ¦ ¢ Drum Pickup with Fill # 4Bridge phaser and delay Bridge Pickup with ∑ & 4phaser and delay

# &# & # &

to create a spaced-out vibe.

b6 Bsus4add Cadd9 Jon Bishop's DAVE GILMOUR STYLE Exx 1-5 b

E madd9 E madd9

ggg www gg wwww ggg www w w g ww ggg ww b 6 gggEwm9w gggCadd9 nd Bsus4add gg w gg ww gg w w ggg F ww ggg ww ggg www gg F w ww0 w ggg w00 ggg ww030 ggg w300 0 0 g ggg 0230 3 Bridge Pickup with ggg F ggg 0042 4 0 2 phaser and delay gg 323 4 gg 0420 g 2 g ggg ≥03 0 ≥ ggg ≥03 ggg 0 ggg ≥02 ≥ ≥ 0 0 ggg 4 ggg 4 gg 3 2 2 ggg Bsus4add g b6 Cadd9 E m9 0 b Ï ≥ Ï Ï Ï Ï Ï ≥ Cadd9 E m9 ≥Bsus4add 6 Ï ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ Ï ÏÏ Ï Ï Ï Ï Bsus4add b 6 Cadd9 E m9 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Bsus4add 6

E 7 7 7 7 B 7 7 7 7 7 7 7 E G 7 9 7 7 7 9 7 7 7 7 7 7 7 7 7 7 B D G 7 9 9 7 7 A D E A 6 E etc 7 7 7 7 E B 6 7 7 7 7 7 7 7 etc G 7 9 9 7 7 D Ex 2 - Power chord riffs A eXAmpLe 2 poWeR ChoRD RiFFs As a contrast to the mellow music E Ex 2 - Power chord riffs E5 6 sections, Gilmour is not shy of using power chords and a healthy dose B5 etc

≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤

≥ ≤ riffs≥ and≤E 5much heavier sections. ≥ ≤ ≥2 ≤ rocky of overdrive#to create distinctly ww 2 # Ex& &2 - Power chord riffs Ew w5 Bridge Pickup with 2 # overdrive and delay Bridge Pickup with Ä ww & overdrive and delay Ä ww 2 2 w4 Bridge Pickup with overdrive and delay Ä 22420 ≥20 2 ≥42 E B E G B D G A D E A 10, 11 E E B 10, 11 G D A E 10, 11

notes. You can also experiment with the same concept in reverse by starting on the treble side of Exx the strings GILMOUR STYLE 1 - 5 and pulling the plectrum up. The arpeggio section usesSTYLE alternate picking GILMOUR Exx 1 - 5to insure good timing. The note choices help

# 16 GuitarTechniques & # wwAugust 2014 & w w

12 12

12

2 0

≥BB 55 ww w B5 w

ww w B5 w ww w B5

7 7

7

8 7 9 8 7 9

7 9

8

8 8

8

8 8

9 9

8

9

8 8

8

8 8

8 8

8

7 7

7 7 9 7 7 9

8

7 9

7

7

7 7

7

7 7

7 7

7

7 7

7

7

7 7

7

This example is simple yet effective, as is befitting of the David Gilmour C strokes of the pick exclusively E5 trademark. use down to ensure good timing C E5 and an even dynamic.

4 4 4 2 4 2

≥ ≥44 2

ggg www g www Eggmadd9 gg w gggg www ggg ww000 ggg w0400 ggg 2042 ggg ≥000 ggg ≥04 2 E madd9 gg 0 g Ï E madd9 ≥ Ï Ï ÏÏ ÏÏ Ï ÏÏ Ï ÏÏ Ï Ï Ï E madd9 Ï Ï Ï Ï Ï Ï Ï Ï

Cadd9

≥ CC ~~~ ~~~ ÏC .. Ï jj Ï Ï ~~~ Ï Ï

~~~ ~~~ ˙. C . ˙~~~ ~~~ . ˙~~~

Ï Ï

≥~~~ ≥ 3 3

3

≥ Ï

Ï Ï 3 3

2 2

E 53 E5

2

≥ ≤ ≥≤ ≥ ≤ ≥≤

0

≥ ≥

˙

≥ ≥

0 0

≥ ≥ ≥ ≥

E5

˙.

˙. ˙.

E5

Ï Ï

Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï Ï ÏÏÏ ÏÏ ÏÏ ÏÏ4 ÏÏÏ4 ÏÏÏ4 2 2 2

Ï

≥

ÏÏ ÏÏ ÏÏ Ï Ï

4 2 2 0 2 0 4 2 2 0

≥ ÏÏ ÏÏ ÏÏ Ï Ï

4 2 2 0 2 0 4 2 2 0

4 2 2 0 2 0 4 2 2 0

ÏÏ ÏÏ Ï

ÏÏÏ

ÏÏ4 2 4 2 2 0 2 0 4 2 2 0

≤ ≥≤ ÏÏ ÏÏ ÏÏ Ï Ï

&

&

E B G D A E E B G D A E

E5

2 2

#

Bridge Pickup with overdrive and delay

Bridge Pickup with overdrive and delay

2

10, 11

PLAYInG tIPS

12

#

10, 11

Ä

4 2

≥

4 4 2

ww w B5 ww w4 4 2

2 0

~~~ ≥ 3

≥

≥

≥

~~~ Ï . C ~~~ ~~~ Ï .

≥ ~~~ Ex 3 -& Pentatonic phrasing and added colour ˙ tones Ï . Ï Ï E m Bridge Pickup with overdrive, Ä ~~~ 2 # phaser and delay & ˙ ~~~ Ï . Ï Ï 2 Bridge Pickup with overdrive, 2 4 Ä 2 phaser and delay ~~~ 2 xxxxxxxxxx 2 E B 2G D A 2E

2

20, 21

2

xxxxxxxxxx

20, 21

# &# &# &

E B E G B D G A E D E A 25 B G E D 25 A E 25

Em

j Ï jEÏ m Ï Ï jÏ BU

BD

BU

BD

Ï

2

Ï Ï Ï Ï Ï Ï

( 7) BU BD ( 7) 7 (9 )

5

( 7)

5

7 (9 )

7 (9 )

Bm

j Ï Ï j Bm Ï

Ï #Ï Bm # & j Ï &#Ï Ï Ï & BU BD

5

~~~ ~~~ Ï j Ï Ï ÏÏ Ï ~~~ Ï j Ï Ï Ï 3 j Ï Ï 3 Ï Ï Ï ~~~ 3 ~~~ 7 9 9 7 9 7 ~~~ 9 7 7

7

9

7

7

7

9

Ï Ï Ï ~~~ ˙ w/bar ~~~ Ï Ï Ï ˙ w/bar Ï Ï Ï ~~~˙ w/bar BU ~~~ BU ~~~ 8 9 ( 12 ) 8 ) 9 BU( 12~~~

Ï

'' ' '' '

4 ( 5)

ÏÏ

ÏÏ

BU

BD

4 ( 5)

5 (4 )

ÏÏ

ÏÏ

1/4

1/4

ÏÏ

1/4

'' ' '' '

ÏÏ

1/4

1/4

1/4

ÏÏ

# ∑ &# ∑ &# Bridge Pickup with overdrive, ∑ and delay & phaser Bridge Pickup with overdrive,

Ï

7 8 7 1/4 8

7 8 7 1/4 8

7 8

7 8

C

~~~ Ï ˙ ~~~ ÏJ ˙ ~~~ J Ï ˙ J ~~~ ~~~ 2 4 2 ~~~ 4

~~~ Ï . C ~~~ Ï . ~~~ Ï . ~~~ ~~~ 5 5~~~ C

ÏÏ

'' ' '' '

Î

E B E G B D G A D E E B A 30 E G D 30 A E 30

phaser and delay

î

î

Î Î

Bridge Pickup with overdrive, phaser and delay

# &# &

⋲ ÏÏ ÏÏ / ⋲ Ï Ï ⋲Ä Ï / Ä / 12 12 Ä 12 1212 / 14 14 14

12 12

Ï

Ï

j Ïj j

Ï

Ï

C

Ï

Ï

C

Ï

C

Ï

Ï Ï Ï Ï ~~~ . Ï Ï Ï Ï ~~~ . Ï Ï 3 Ï Ï ~~~ .

14

Ï

j Ïj j

12 12

Ï ÏÏ Ï

0

˙

˙

3

≥

TRACK 4 4 CD 4 4 4 2 2 2 2 2 2 2 2 0 0 0 0

≥ Ï

E5

Ï

0

2

2

5

5

Ï

Ï

Ï

Ï

9

9

9

9

9

Ï ÏÏ

Ï

0

Ï

≥

4

≥ Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ 4 Ï 4 Ï 4 Ï 2 2 2 2 2 2 0 0 0 ≥ ≤ ≥ 4

4

4

≤ ≥≤ Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï Ï ÏÏ ÏÏ 4 Ï 4 Ï 4 2 2 2 2 2 2 0 0 0 ≤ ≥ ≤ 4

4

~~~≥ ≤Ï Ï≥ ≤~~~≥ ≤ . Ï Ï . Ï Ï Ï C ~~~ Ï Ï ~~~ jÏ . Ï Ï . ~~~ Ï Ï ~~~

7

5

~~~ 7

5

~~~ Ï ~~~ Ï ~~~ Ï ~~~ ~~~ ~~~

7

7

7

Ï

7

7

9

7

9

⋲ ⋲ ⋲ Ï

7

j Ïj Ï j Ï

9

7

Ï

5

7

7

Ï Ï Ï Ï Ï Ï Ï Ï3 Ï Ï Ï

3

BU

BD

BU 10 ( 12 )

3

BD (10 ) 8 (10 ) 8 BD

10 ( 12 )

BU

(10 ) 8

10 ( 12 )

9

5

~~~

~~~

Ï

9

Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï EÏ m Ï Ï j Ï Ï Ï 6Ï Ï Ï Ï Ï Ï 6 Ï Ï Ï Ï Ï6 Ï Ï 6 6 6 Ï Em

j Ïj

Em

Î Î Î

BU

126 6 6 15 12 12 14 14 12 14 12 12 15 12 14 14 14 12 ( 16 ) 14 BU 14 14 12 14 12 14 14 14 14 12 12 14 12 15 12 14 ( 16 ) 14 14 12 14 12 14 14 14 12 14orientated flavour. can be pulled slightly sharp which provides a more blues BU

12

14 ( 16 )

'' ' '' '

'' ~~~ ÏJÏ ˙˙ ~~~ JÏ ' ~~~ Ï ˙ J '' ~~~ ~~~ ' ~~~

1/4 1/4 The notes on the fourth string in bars 32, 35 and 36 will sound best with a 1/4 1/4 Bm bit of palm muting to bring out a percussive quality.

Ï ~~~ . À Ï Ï À Ï Ï Ï Ï Ï ~~~ . À Ï Ï À Ï Ï Ï Ï ~~~ Ï . À Ï Ï À PMÏ Ï Ï Ï ~~~ PM ~~~ PM 14 X 12 X 14 12 14 12 ~~~ 14 X 12 X 14 12 14 12

1/4 notes G and B notes are played together to produce the double-stop. These

î

Ï

Ï Ï nd Ï

1/4

1/4

2

5 (4 )

1/4

1/4

ÏÏ

j BU Ï

E BU BD B 10 (12 ) ( 10 ) E G B 10 (12 ) ( 10 ) D BU BD G A D E E B A 27 10 (12 ) ( 10 ) 8 E G 2 9 ( 12 ) 5 4 D 27 A 4 - Using Double stops Ex eXAmpLe 4 usinG DouBLe-sTops This example showcases the use of E 1/4 double-stops notes played at the same time) in the Gilmour style. The Ex274 - Using (two Double stops

Ex 4 - Using Double stops

Ï

2

≥ ≥ Ï Ï Ï

Bm

4

22

Em

Ï

E5

≥ ≥

≥ ~~~ ≥ Ï Ï Ï Ï . ~~~ j Ï . ~~~ BD Ï Ï Ï Ï Ï Ï

≥ Ï Ï

22

xxxxxxxxxx

j

Ï

Ï

2 2phrases 2 noting 2 2 that 2 these Gilmour in0 some of his greatest solos. It is worth 2 2 2 2 2 2 2 come to life when3all the articulations areCadded. will notice 0 many 0 0 You 0 0 0 0 that of the key techniques are used here including finger slides, vibrato, string j bending, hammer-ons and pull-offs. j

base of E minor Pentatonic with the addition of two colour tones - major 2nd (F#) or minor 6th (C). This example is typical of the approach used by j

E B G D A E

j Ï

E35

≥

~~~ ≥ ≥ ≥ 3

≥

#≥

3

C

16 E B G 4 4 phrasing and added colour tones D Ex 3 - Pentatonic 2 eXAmpLe 3 penTAToniC phRAsinG AnD4 ADDeD CoLouR Tones 3 A 2 2 AsEoutlined in 0the main text, the ideas here Eare constructed using a home B m m 16

≥

Ï

C

ww w4

2 0

ÏÏ ÏÏ ÏÏ ÏÏ ˙. Ï Ï Ï Ï ÏÏ ÏÏ Ï Ï Ï Ï GILMOUR THE GENIUS Ï OF4 Ï DAVID Ï Ï ˙. Ï 2 Ï 42 ÏÏ 42 ÏÏ 42 2 2 2 2 3 2 0 ≥0 0≤ ≥0 ≤0 ≥ ≥ ≥

˙. ~~~ ~~~ ˙.

B5

4 2 2 0 B5

12

& ww w w # w & w w4 w2

E B G D A E

w w

ww w Äw ww w42

Ex 2 - Power chord riffs

14

X 12

Em

Ï

E mj

Ï

Ïj

Em

Ï

j

Ï

Ï Ï

Ï

Ï Ï

Ï

X 14 12 14 12

Ï ~~~ Ï Ï ~~~ ⋲⋲ Ï ~~~

ÏÏ ÏÏ ÏÏ

1/4

1/4 1/4

12 12 1 12 /4 12 12 12

ÏÏ

Bm Ï ~~~ . ÏBm~~~ . ~~~ Ï . ~~~ ~~~ 14 ~~~ 14

1/4 1/4

12 12 1 12 /4 14 12 14 12 12 14

14

Ï

Ï

Ï

1/4

Ï

Ï

'' '

1/4

ÏÏ ÏÏ

1/4

August 2014 GuitarTechniques 17

Ï

Ï

Ï

Ï

1/4

&

#

î

∑

Ä

Play: ROCK

Bridge Pickup with overdrive, phaser and delay

E B G D A E

'

~~~

1/4

12 12

12

Ï ~~~ . ÏJ ˙ ~~~

Ï ~~~ . À Ï Ï À Ï Ï Ï Ï Ï

Ï ⋲Ï Î

PM

14

X 12

'

1/4 ON THE CD

12 12

X 14 12 14 12

/ ~~~ TRACKs ' ~~~4-9 14

12 12

14

14

30 PLAYInG tIPS

& E B G D A E

#

Ï

CD TRACK 4

Ï

Ï Ï Ï Ï ~~~ . Ï

C

j

Ï Ï

j

Ï

BU

RP

12 (13 )

( 13)

~~~

BU BD

12 ( 13 ) ( 12 ) 10

Ï

Ï

ÏÏ

Ï

Ï

'

1/4

( 14 )

PM

~~~

12

14

12

'

1/4

12

12

12

12 12

14

34

'

14

X 12

' Ï ~~~ . ÏÏJ ˙~~~

1/4

ÏÏ

PM

~~~

'

~~~

1/4

X 14 12 14 12

12 12

1/4

Bm

14

'

Em

~~~ w/bar ~~~ Ï Ï ® Ï Ï Ï

w/bar

Ï

doop

~~~

~~~

1/4

12 12

C

5

14

5

36

~~~

®

2

4

Bridge Pickup with overdrive, phaser and delay

~~~

2

0

2

2

~~~

14

®

doop

Ï ~~~ Ï Ï

Ï

j Ï

Ï

j

Ï

J

Ï

j

. Ï ~~~

14

~~~

~~~

BU 12

Ï Ï 3

w/bar

12 14

40, 41

&

Bm

w/bar Ï .~~~ Ï Ï J

2

#

doop

Î Ï

three-fret bend in bar 45 is preceded by a whopping four-fret compound bend in bar 46. For the compound bend first bend up a tone and then without re-picking the note, bend another tone on top of this.

nd

√ Em j ~~~ Ï Ï Ï .

®

Ï

doop

&

14 ( 15 )

BU BU BU BD 14 (15 ) ( 14 ) 12 15 ( 17 ) 15 (17 )

15

42

C (√j) # Ï Ï

BU

Ï

j

Ï Ï

BU

j

Ï Ï

BU

Ï

BD

17 (19 ) 17 ( 19 ) 17 ( 19 )

( 17 ) 15

Ï ~~~ ä Ï

Em

Ï

j

Ï

J

Ï Ï Ï

Ï

Ï Ï Ï

˙~~~ .

Ï Ï Ï

3

~~~

17

3

BU

RP RP RP

19 ( 22 )

( 22 ) ( 22 ) ( 22 )

19 17 15

~~~

17

BU

BU

20 ( 22 ) ( 24 )

44

(√) Bm # Ï . & E B G D A E

Ï ~~~ ⋲ Ï Ï

BD

14 (16 )

12

14

12

Ex 5 - Big string bends and high register soloing

E B G D A E

Ï

BU

3 eXAmpLe 5 BiG sTRinG BenDs AnD hiGh ReGisTeR soLoinG Our fifth example combines two key David Gilmour concepts. The first is string bending and David loves to use ear-grabbing, large-interval bends. The

E B G D A E

Ï

j

3

# Ï ~~~ . À Ï Ï À Ï Ï Ï Ï & E B G D A E

Ï

Em

Ï Ï Ï ~~~ . ä 17 20

~~~

17

Ï

j

C

Ï

Ï

j

Ï

BU

BU

12 ( 13 )

12 (13 )

Ï

. Ï ~~~

12

10

Ï

~~~

18 GuitarTechniques August 2014

Em Loco

Ï

j

Ï Ï Ï ~~~ Ï

Ï

BU BD

14 47

Ï

12

14 ( 16 )

( 14 ) 12

À

~~~ 14

X

C (√j) # Ï Ï

&

Ï

BU

j

Ï Ï

BU

Ï

j

Ï

PLAYInG tIPS

15

Ex 6 - Clean tone soloing Ex 6 - Clean tone soloing Ex 6 - Clean tone soloing

E B E G E B D B G A E G D E B D A G1 A E D 1 E A 1 E 1

E B G D A E

14

BU 14 (16 ) 14 (16 ) 14 (16 )

BU 3 RP

E BU B (17 ) (RP 15 BU 17 ) RP E G E B (17 ) (RP 15 BU 17 ) D B G 15 (17 ) ( 17 ) A E G D E B ( ) ( 15 17 17 ) D A G6 A E D 6 E A 6 E 7 - Unison eXAmpLe 7 unison Ex BendsBenDs 6

14 12 14 12

# & ## & &# &

E B E G E B D B G A E G D E B D A G 10, 11 A E D 10, 11 E A 10, 11 E 10, 11

# & ## & &# &

E B E G E B D B G A E G D E B D A G 15 A E D 15 E A 15 E 15

# & ## & &# &

E B E G E B D B G A E G D E B D A G 17 A E D 17 E A 17 E 17

j

Ï

Ï3

3 3BU 3

(15 ) 14BU BU

14 (15 ) (15 ) 14BU 14 (15 )

15 14 12 11 14 12 11

2 22 2

˙EE˙mm~~ ~~ ˙˙E˙˙m~~ ˙Ä ˙~~ ÄÄ ~~ BU BU Ä 5~~ BU( 9 ~~ ) BU5~~ (9 5)

j Ïj Ïj Ïj Ï

Bridge Pickup with overdrive and delay Bridge Pickup with overdrive Bridge Pickup with overdrive and delay and delay Bridge Pickup with overdrive and delay

2 22 2

7 7 7 12 7

Ï

Ï Ï Ï

˙~~~ .

THE GENIUS OF DAVID GILMOUR

BU

RP RP RP ( 22 ) ( 22 ) ( 22 )

Ï Ï . Ï Ï jj ÏÏ ÏÏ Ï .. Ï Ï Ï ~~~ . Ïj Ï Ï . ÏÏ ÏÏ ÏÏ j Ï

~~Ï ÏÏ Ï ~~ ~~ ÏÏ Ï Ï Ï Ï ~~ Ï Ï Ï 3 Goes flat 3 BU Goes flat ~~ 3BU Goes flat BU BU ~~ ~~~ BU Goes flat BU BU ~~ (17 ) (16 ) 12 BU BU (13 ) 14~~ 12 1410 (17 ) (16 ) 12 12

ÏÎ ä ÎÎ ää Î ä

BU

C

j Ïj Ïj Ïj Ï

~~~

19 15 CD17 TRACK 617

ÎÎ Î

12

14 14 (16 ) 14 (16 )

Em Em Em

14

Ï

Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï ~~~ Ï

BU

~~~

12 BUBU12BD 12 BU 12 BU 12 12 12 )12) 12( 14 12 ) 12 1414( 16 ( 16 14 ( 16 )12 14 12 14 ( 16 ) 14 ( 16 )

˙~~ j ~~ Ï j Ï Ï Ï ~~ ˙ ~~ ˙ Ï j ~~ Ï j ÏÏ Ï Ï Ï ~~ Ï ˙ Ï j Ï Ï Ï ÏÏ ~~ Ï Ï Ï ~~ Ï BU ~~ BU BD ~~ BU BU BD ~~ ~~ ( ) 17 BU ~~ BU (16BD ) ( 14) 12 ~~ (17~~ ) BU BU BD 14 (17 ) (16 ) ( 14) 12 ~~

Em

E mj Ïj Em Em Ïj

12

12 12 12 12 12 12 12 12 12 12

14

12 12 14 12 14 14

15

15 15 15 (17 )

14

14 14 ( 16 ) ( 14) 12 14 14 ( 16 ) ( 14) 12 14

14

note on the third string up a tone so it is the same pitch as the note fretted on theBm second string. To add interest someCfinger vibrato can be added to j this! the jnote on the third j string. Players likejHendrix also love Bm Bm Bm

˙˙˙˙~~ ˙˙~~ BU ~~ BU 7~~ BU(11 ~~) BU 7~~ 7) (11

Ïj Ïj Ïj Ï

Ï

Ï

Ïj Ïj Ï

~~ ~~ ~~ ~~

BU5 (9 ) 7 BU BU5 5) 7 (9 7 (9 5) 7 (9 )

( 9) 5 ( 9)

Î

j Ï Em Ï Ï Loco j Ï jÏ jÏÏ Ï ÏÏ Ïj Ï Ï

Em

14 14 (16 )1414 14 (16 ) 14

14 12 14 12 14

Ï ÏÏ Ï ⋲ ÏÏ ÏÏ ÏÏ ⋲⋲ Ï Ï ⋲

j Ïj Ïj Ïj

nd Ï j ˙˙~~ ~~

˙˙~~ ~~ ˙˙˙˙~~ ˙˙~~

BU

~~~ Ï Ï ~~~ Ï ÏJÏ ÏÏ ~~~ ~~~ÏÏ J Ï Ï ÏJ 3 Ï J3 3 BU 3 ~~~ BU ~~~ BU (16 ) ~~~ BU ~~~ (16 )

C C C

Ï

14

14 12 14 14 (17 ) 14 (17 )

12 ( 13 )

Ï ~~Ï ~~ Ï ÏÏ ~~ ~~ÏÏ ÏÏ ÏÏ Ï ~~ Ï Ï Ï ~~Ï Ï Ï ÏÏ ~~ Ï Ï Ï 3 Ï Ï ~~ Ï ÏÏÏ ÏÏ Ï 3 3 ~~ 3 ~~ 14~~ ~~ 15 14~~ 14 12 11~~ 14~~ 15 ~~ 12 14 15 14 12 11 14

ÏÏ

Ï Ï Ï

19 ( 22 )

j jÏ j Ï Ï Ïj Ïj Ï3

C

11 11

are a great way to thicken the sound and in this ascending nature of the melodiesE m creates a sense of Ex 7example - Unisonthe Bends Ex 7 - Unison Bends building excitement. For the unison bends in this example simply bend the Ex 7 - Unison Bends

Ï

Bm Loco Bm Bm Loco Loco Bm Loco

Ï

j Ïj Ïj Ïj

ä

~~ ~~ ~~ ~~

J

47

Ï ~~ ÏÏ ~~ ~~ ää Ï ~~ ä

Ï Ï ÏJÏ ÏÏ 3 J JÏ Ï 3 J 3

Ï

˙˙~~ ˙˙˙˙~~ ~~ ˙˙~~

BU

nÏ j nÏ j nÏ j nÏ

~~ ~~ ~~ ~~

(11 7) (11 )

˙CC˙~~ ˙˙C˙˙~~ ~~ ˙˙~~

BU

~~ ~~ ~~ ~~

BU 8 BU 10 (12 ) BU 8 8) 10 (12 10 (12 8) 10 (12 )

BU 7 ( 11 ) 9BU BU 7 7) 9 ( 11 9 ( 11 7) 9 ( 11 )

9 9 9 9

Ïj Ïj Ïj Ï

˙˙~~ ˙˙˙˙~~ ~~ ˙˙~~

BU

~~ ~~ ~~ ~~

BU10 BU 12 (14 ) BU10 10 ) 12 (14 12 (14 10 ) 12 (14 )

12 12

j Ï j EEÏ m m Ï j EÏÏ m Ïj Ï

Ï

Ï

Em

Ï

ÏÏ Ï

ÏÏ Ï

j Ïj Ïj Ïj Ï

Ï

Ï

12

Ï ÏÏ

ÏÏ

ÏÏ

Ï

Ï Ï

j Ïj Ïj Ïj Ï

Ï

Ï Ï

ÏÏ

ÏÏ Ï

Ï

j Ïj Ïj Ïj

ÏÏ Ï

Ï

Ï

Ï ÏÏ

ÏÏ ÏÏ

Ï

Ï Ï

j Ïj Ïj Ïj Ï

Ï ÏÏ Ï

Ï

BU

BU

BU

BU

BU BU 14 (16 ) BU 14 (16 ) 14 (16 ) 14 (16 )

BU BU 14 (16 ) BU 14 (16 ) 14 (16 ) 14 (16 )

BU BU 14 (16 ) BU 14 (16 ) 14 (16 ) 14 (16 )

BU BU 14 (16 ) BU 14 (16 ) 14 (16 ) 14 (16 )

BU BU 14 ( 16 ) BU 14 ( 16 ) 14 ( 16 ) 14 ( 16 )

12

15

12 12 12

15 15 15

12

15

12 12 12

15 15 15

Bm

Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï Ï

Bm Bm Bm

Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï Ï

Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï Ï

Ï ÏÏ Ï

12

15

12 12 12

15 15 15

. Ï ~~~ ~~~ .. ÏÏ ~~~ ~~~ Ï .

~~~ BU BD BU BD BU BD BU BD BU BD ~~~ BD BU( BD BU BU BU BD BU BD BD ) 11 12 )( 11 )( 12 ) ( 11) (12 ) ( 11 ) (12 ) ( 11 ) ( 12 )( 11~~~ BU BD BU BD BU BD BU BD BU BD ~~~ 11 (12 )( 11 )( 12 ) ( 11) (12 ) ( 11 ) (12 ) ( 11 ) ( 12 )( 11 ) BU BD BU BD BU BD BU BD BU BD

11 (12 )( 11 )( 12 ) ( 11) (12 ) ( 11 ) (12 ) ( 11 ) ( 12 )( 11 ) 11 (12 )( 11 )( 12 ) ( 11) (12 ) ( 11 ) (12 ) ( 11 ) ( 12 )( 11 )

˙˙~~ ~~ ˙˙~~ b Ï j ˙˙~~ b Ï ˙˙ C

Cj bCÏ j bCÏ j

~~ BU13~~ BU( ~~ 17 ) BU13~~ (13 17 ) BU

12

15

12 12 12

15 15 15

j Ïj Ïj Ïj Ï

~~ ˙˙~~ ˙˙˙˙~~ ˙˙~~

~~ BU15~~ BU(19~~ ) BU15~~ (15 19 ) BU

15

17

15 15 (13 17 ) 15 (17 )

17 17 (15 19 ) 17 (19 )

Ï

ÏÏ

BU

Ï

3

17

Bm Ï ~~ Ï Bm Ï w ~~~~ Bm ÏÏ ~~ ~~Ï ä Ï Ï ÏÏ Ï ~~~ w ~~~~ Bm Ï ~~ää Ï 3 Ï . ww ~~~~ ~~~~ä ä 33 ~~ 3 ~~~~ ~~~ ~~ ~~ 14 12 11 ~~~~ ~~~~ ~~17 1420 1217 11 ~~~~

Em Em Em

Neck Pickupand withdelay compressor compressor Neck Pickupand withdelay compressor and delay

Em

Ï

GILMOUR 6 - 10 dial in a fairSTYLE amountExx of compression. If you then pick lightly near to the fretboard aSTYLE fat and expressive GILMOUR Exx 6 - 10tone is produced. The descending D major GILMOUR Exxas6B-minor 10 7 type sound. triad in barSTYLE 7 functions Jon Bishop's DAVE GILMOUR STYLE Exx 6 - 10

Em

#4 ∑ & ## 4 ∑∑ & 4 & #Neck 4 Pickup with ∑ & Neck 4 Pickupand compressor withdelay

√ √ √ # Ï jj Ï ## Ï j ÏÏ &√ & & # ÏÏ j Ï &

j (√) Bm Ïj Ï Ï Î #ä ÏÏ jjÏ ÏÏ . ÏÏ ÎÎ& ää Ï 3Ï Ï Î Fä 33 F 3 F BU BU F BU(16 )

Ï

~~~

BD

BU

E ( 17 ) 17 (19 ) 17 ( 19 ) 17 ( 19 ) B G GUITAR TECHNIQUES MAGAZINE 2 4 6 Bishop's DAVE eXAmpLe 6 CLeAn Tone soLoinGDGilmour is not allJon about overdriven A GUITAR TECHNIQUES MAGAZINE 246 tones; he also loves to employ cleanEsounds - perhaps inspired Jon Bishop's DAVE GUITAR TECHNIQUES MAGAZINE 2 4 6in his solos 44 is to select the Jon DAVE by his love of Hank Marvin. The key here neckBishop's pickup and

GUITAR TECHNIQUES MAGAZINE 2 4 6 Ex 6 - Clean tone soloing

Ï ~~~ ä Ï

j

j Ïj Ïj Ïj

ÏÏ Ï Ï

˙ ˙˙ ˙

BU 12

15

12 12 12

15 15 15

Ï Ï ~~~ ÏÏ ~~~ Ï Ï Ï Ï ~~~ Ï j Ï Ï ~~~Ï Ï ÏÏ Ï ÏÏ

Em

j

Em Ïj Em Ïj Em

BU BU BU 16 (19 ) 16 (19 ) 16 (19 ) 16 (19 )

Ï Ï ~~~ ÏÏ ÏÏ ÏÏ ~~~ ~~~ÏÏ ÏÏ Ï Ï Ï Ï ~~~Ï Ï ÏÏ ÏÏ ÏÏ

Ï Ï Ï Ï ~~ ÏÏ ÏÏ Ï Ï ~~ Ï ~~ Ï Ï Ï 3 Ï Ï ~~ Ï 3 3 BU BD 3 ~~ BU BD ~~ BU BD ~~ ( 16 ) (14 ) 12 BU BD ~~ 14 ( 16 ) (14 ) 12 j Ïj Ïj Ïj

14

14 14 ( 16 ) (14 ) 12 14 ( 16 ) (14 ) 12

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

~~~ ~~~ RP RP RP ~~~ RP RP RP ~~~ ~~~ 17RP 17RP 17RP~~~ BU17 RP 17 RP 17 RP 17 ~~~ ~~~ BU( 21 RP RP RP RP RP) ( 21 RP ) ( 21 ) ( 21 ) ( 21 ) ( 21 ) ( 21 ) 17 17 17 17 17 17 17 BU

19

BU 17) 19 ( 21 19 ( 21 17) 19 ( 21)

14 14 14

~~~ Ï Ï Ï ~~~ Ï ÏÏ ÏÏ ÏÏ Ï~~~ Ï Ï Ï Ï ~~~ Ï RP

~~~ ~~~ ~~~ RP 17 ~~~ RP ( 21 ) 17 RP

RP 17 RP) ( 21 RP RP RP RP RP RP RP 17 RP 17 17 17 17 17 17 17 17) ( ) ( 21) ( 21) 21 ( 21) ( 21 ) ( 21) ( 21 ) ( 21 ( ) ( ( 21 ) ( ) ( ) ( ) ( ) ( ) 21 21 21 21 21 21 21 17 17 17 17 17 17 17 17) ( 21) ( 21) ( 21 ) ( 21) ( 21 ) ( 21) ( 21 ) ( 21)

August 2014 GuitarTechniques 19

2

Play: ROCK

ON THE CD

TRACKs 4-9

2 xxxxxxxxxx PLAYInG tIPS

CD TRACK 6

eXAmpLe 8 WhAmmy BAR use David Gilmour is not famed for whammy 2 xxxxxxxxxx xxxxxxxxxx 2 8 -but Whammy bar use barEx use, he does use it to add vibrato to bent notes and for special effects - especially when playing live. The effect in w/bar bar 26 is created by first

~~~ w/bar Ï Ï Ï Ï Ï Ï w/bar w/bar ~~~ J j Ï Ï Ï w/bar w/barJ Ï Ï ÏÏ j Ï 3 J 3 J Ä Let ring 3 w/bar 3 ~~~ w/bar3 Ä BU Let Let ring ring 15 w/bar w/bar (16 ) ~~~ 16w/bar BU w/bar14 BU

Ex Ex 8 8 -- Whammy Whammy bar bar use use

# &# &

E B G E D E A B B G E G 20, 21 D D A A E E 20, 20, 21 21

2 2 Bridge Pickup with

Ï

overdrive, phaser and delay Bridge Pickup with with Bridge Pickup overdrive, overdrive, phaser phaser and and delay delay

2 2

(

)

22 22

Ï Ï ä

Ï Ï ä

16 16

Bm doop

# &# &

(16 )) 14 14 (16

14 14

16 16

j

Ï Ï

14

14

15 15

Ï ~~ j ~~ Ïj Ï

Ï ~~Ï Ï Ï j Ï ~~ Ï Ï w/bar JÏ Ï w/bar ~~ jj ~~ JÏ Ï jj Ï Ï Ï ÏÏ Ï ÏÏ 3 J 3 3 J Let ring Let ring 33 w/bar3 3 BU ~~ BU ~~ Let Let Let ring ring Let ring ring 15 w/bar 15 w/bar (16~~ ) (16 ) BU BU ~~16 14 BU BU Ï

14 14

Ï

~~ BU BU ~~ BU

15 ( 17 )

14

15 15 (16 )) 14 14 (16

16 14 (( 16 16 14 14 14 16 ))

j

Ï

(17 )) 15 15 ( 17

15 15

doop doop doop doop doop doop doop Ï Ï Ï Ï doopÏ Ï Ï doopÏ Ï Ï doopÏ Ï Ï doopÏ Ï Ï doopÏ Ï Ï doopÏ Ï Ï doopÏ Ï doop doop ® ® doop doop doop doop doop ® ® ® ® ® Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï® Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ® ® ® ® ® ® ®

≠ ≠®

≠ ≠®

B Bm m doop doop

® ≠≠

6

≠ ≠®

6 6 doop

doop

E B G D E E B A B E G G 25 D D A A E E 25 25

j

Ï

14

14 ( 16 ) 22 14 16

. ˙ ~~~ # ~~~ & # ˙. & ~~~ ~~~

~~~ w/bar Ï Ï Ï Ï Ï Ï w/bar w/bar ~~~ J j Ï Ï Ï w/bar w/barJ Ï Ï ÏÏ j Ï 3J 3J Let ring 33 3 w/bar w/bar BULet Let ring ring ~~~ 15 w/bar w/bar (16 ) BU w/bar14 BU ~~~ 16w/bar

j

15 15

fretting a note on the 12 fret of the second string. Hit the whammy to create a doop and then fretting-hand tap onto fret 15. The final part of the idea is w/bar to pull off onto the 12th fret and thenw/bar repeat the process over and over.

® ≠≠

® ≠≠ ®

≠ ≠®

6

≠ ≠ ®

66 doop

doop

® ≠≠

≠ ≠ ®

6

≠ ≠ ®

66 doop

® ≠≠ ®

doop

® ≠≠

® ≠≠

≠ ≠ ®

6

66 doop

doop

® ≠≠ ®

12 15

12 15 doop doop

12

12 15 doop doop

12

12 15 doop doop

12

12 15 doop doop

12

12 15 doop doop

12

12 15 doop doop

12

12 15 doop doop

12

12 15 doop doop

12

12 12 15 15

12 12

12 12

12 12

12 12

12 12

12 12

12 12

12 12

12 12

12 12

12 12

12 12

12 12

12 12

12 12 15 15

12 12

®

15 15

Ï

j

j Ïj

Ô Ï

Ô

Ï . Ï .

®

15 15

Ï

Ï

Ï

j

15 15

Ï . Ï .

j Ïj Ï

Ô

15 (17 )

15

(17 )) 15 15 (17

15 15

BU BU

Ô

15 15

Ï Ï ~~~ .

16

14

12

16 16

14 14

12 12

~~~ ~~~ 14 14 14

Ï Ï

12

14

12 12

14 14

15 15

®

15 15

®

15 15

ÏÏ Ï Ï ~~~ Ï Ï Ï j Ï ˙ ~~~ ÏÏ Ï Ï ~~~ ~~~ Ï Ï ÏÏ jj Ï ˙ 3 ~~~ 33 ~~~ 12 12 ~~~ 12 ~~~ 14 14

Ï Ï ~~~ . Ï Ï nd ~~~

BU

E B G D E E B A B E G G D D 27 A A E E 9 - Funky Chords Ex 27 eXAmpLe 9 FunKy ChoRDs 27

®

12 12 12 12

14 14

14 14

12 12

14

12

10

14 14

12 12

10 10

There’s a lot of electric rhythm guitar in Pink strumming. Check out the picking directions, as these are all important for Floyd songs and this example features some funky E m7semiquaver (16th D/Enote) E m7nailing a consistent feel.

©È Á Á ¼ 2 # & ©È Á Á ¼ 2 # & Middle Pickup with chorus

ÏÏ ... ÏÏ ÏÏ . ÏÏ ÏÏ .. ÏÏ ÏÏ ... ÏÏ ÄÏ Ï

Ex Ex 9 9 -- Funky Funky Chords Chords

E B G E D E A B B G E G D D 30, 31 A A E E 30, 30, 31 31

2 2

32

Ï ./E # ÏÏÏÏ .... ÏÏÏÏ D DÏÏ /E ÏÏ . & # ÏÏ .. ÏÏ . Ï & ÏÏÏ .. ÏÏÏ ÏÏÏ ÏÏÏ

E B G E D E A B B G E G 34 D D A A E E 34 34

Ä 787

Middle Middle Pickup Pickup with with chorus chorus

7 8 7 9 7 7 7 8 8 7 7 9 etc 9 7 7

7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

ÏÏ . ÏÏ . ÏÏ

D /E

7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

7 7 7 7 7 7 7 7 7 7 7 7 7

etc etc

20 GuitarTechniques August 2014

32 32

ÏÏ . EE m7 ÏÏ . m7ä Î ÏÏ ÏÏJ ä Î Ï J 7 E m7

8 7 9 7 7 7 8 8 7 7 9 9 7 7

ÏÏ . ÏÏ . ÏÏ

D/E D/E

7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

7 7 7 7 7 7 7 7 7 7 7 7 7

E E m7 m7

9 7 7 7 8 8 7 7 9 9 7 7

≥ ≥

ÏÏÏ

ÏÏ . Ï. Ï ÏÏÏ ÏÏ

ÏÏ 7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

Ï

ÏÏ . E m7 ÏÏ . E m7ä Î ÏÏ ÏÏJ ä Î Ï J 7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

≤ ≥ ≥ ≥ ≤ ≥ ≥ ≥ ÏÏ ... ÏÏ . ÏÏ ... ÏÏ .. Ï 7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

ÏÏ ÏÏ ÏÏ Ï

ÏÏ 7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

#

F m7 .ÏÏ # ÏÏ # ÏÏ . m7 Ï ÏÏ . ä ## ÏÏÏ FF m7 ÏÏÏ . ä ÏÏ Ï ÏÏJ ä # ÏÏ ÏÏ ä Ï Ï Ï J 7 9 9 8 7 9 7 7 7 8 8 7 7 9 9 7 7

10 9 11 9 9 9 10 10 9 9 11 11 9 9

10 9 11 9 9 9 10 10 9 9 11 11 9 9

ÏÏ ... ÏÏ . ÏÏ ... ÏÏ . Ï . 7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

ÏÏ ÏÏ . ÏÏ ÏÏ . ä ÏÏ ÏÏ ÏÏ ÏÏ ä Ï Ï

≤ ≥ ≤ ≥

≥ ≥ ÏÏ . Ï ÏÏÏ . ÏÏ Ï

8 7 9 7 7 7 8 8 7 7 9 9 7 7

≥ ≥

ÏÏ ÏÏ . ÏÏ ÏÏ . ä ÏÏ ÏÏ ÏÏ ÏÏ ä Ï Ï 9 10 9 11 9 9 9 10 10 9 9 11 11 9 9

ÏÏ ÏÏ . ÏÏ ÏÏ . ä ÏÏ ÏÏ ÏÏ ÏÏJ ä Ï Ï J 7 7

9 10 9 11 9 9 9 10 10 9 9 11 11 9 9

7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

8 7 9 7 7 7 8 8 7 7 9 9 7 7

E m7

ÏÏ ... ÏÏ Ï Ï ÏÏÏ .... ÏÏÏ ÏÏ . ÏÏ Ï . Ï

E E m7 m7

7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

ÏÏ ÏÏ . ÏÏ ÏÏ . ä ÏÏ ÏÏ ÏÏ ÏÏ ä Ï Ï

7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

≤ ≤

ÏÏ . Ï ÏÏ . ÏÏÏÏ

D /E D D /E /E

7 7 7 7 7 7 7 7 7 7 7 7 7

7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

≥ ≤ ≥ ≤ E m7

ÏÏ . EE m7 Ï m7 ÏÏÏ . ä Î ÏÏJ ä Î Ï J 7 8 7 9 7 7 7 8 8 7 7 9 9 7 7

THE GENIUS OF DAVID GILMOUR 3 3

PLAYInG tIPS 3

CD TRACKs 6 & 8

3

ÏÏ .. ÏÏ ÏÏ ... ÏÏ ÏÏ . ÏÏ ÏÏ .. ÏÏ ÏÏ .. ÏÏ Ï7 . Ï7

## & & ## & &

ÏÏ .. ÏÏ ÏÏ . Ï. ÏÏ ÏÏ Ï

ÀÀ .. ÀÀ ÀÀ . À.

ÀÀ ÀÀ ÀÀ À

ÏÏ .. ÏÏ ÏÏ . ÏÏ . ÏÏ Ï7

ÏÏ ÏÏ ÏÏ Ï

ÀÀ ÀÀ ÀÀ ÀÀ ÀX ÀX

ÏÏ ÏÏ Ï

ÏÏ .. ÏÏ ÏÏ . ÏÏ . ÏÏ Ï7

ÏÏ

ää ÏÏÏ ÏÏ ää ÏÏÏ Ï7

ÏÏ .. ÏÏ ÏÏ . Ï.

E m7 E m7

ÏÏ .. ÏÏ ÏÏ ... ÏÏ E m7 ÏÏ . ÏÏ E m7 ÏÏ .. ÏÏ ÏÏ .. ÏÏ Ï7 . Ï7

ää ää

ÏÏ

E 7 7 E B 7 7 8 7 7 8 7 7 8 7 7 7 8 8 X X 8 8 8 8 B 8 8 X X 8 8 8 8 G 7 7 8 7 7 8 7 7 8 7 7 7 G X X X 9 7 7 9 7 7 9 7 7 9 7 7 7 D 9 9 X 9 9 9 D 9 9 9 X X 9 9 9 9 9 9 A 7 7 7 7 7 7 7 7 7 X X E X X 7 7 7 7 7 7 7 7 7 A 7 7 7 7 7 7 7 7 7 X X E B E 8 8 7 8 8 7 8 8 7 8 8 8 X X 7 7 7 7 7 7 E 37 G 37 X X B 7 7 7 7 7 7 7 7 7 8 8 8 8 8 8 8 8 8 D 9 9 7 9 9 7 9 9 7 9 9 9 G X X 7 7 7 7 7 7 A D 7 7 7 7 7 7 7 7 7 X X 9 9 9 9 9 9 9 9 9 E A Ex 10 - 10 Using dotted 8th delays 7 7 7 7 7 7 7 7 7 X X exAMPLe USInG DotteD 8th DeLAYS David is a huge fan of spatial Ex3710 - Using dotted 8th delays E effects37like echo and chorus. This finalE m example features the use of delay

ªª ¼¼ 2 ## ©È©È ÁÁ dotted Ex 10 - Using 28th delays Ex & 10 - Using dotted 8th delays & ÁÁ ªª ¼¼ 2 ## ©È©ÈBridge Pickup with Bridge Pickup with 2chorus overdrive, & overdrive, delay chorus & and and delay Bridge Pickup with 22chorus Bridge Pickup with overdrive, overdrive, and delay chorus and delay 22

. ÏÏÏ . D/E ÏÏ . D/E ÏÏ . ÏÏ ÏÏ 7

ÏÏ

Ï7

E E B B G G D D A E A E B E E 40, 41 G B 40, 41 D G A D E A E 40, 41 40, 41

42 42

42 42

## & & ## & &

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Semi palm mute . . . Semi palm mute . . . ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

E E B B G G D D A E A E B E E 46 G 46 B D G A D E A E 46 46

ÄÄ 77 ≥≥ 7 ≥≥7

Semi palm mute . . . Semi palm mute . . .

## & & ÏÏ ## & & ÏÏ

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Light palm mute . . . Light palm mute . . . ÄÄ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

Light palm mute . . . Light palm mute . . . 7 7 7 7 7 7

≥≥ 7 ≥≥7

≤≤ ≤≤

≥≥ ≥≥

7 7 7 7

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

7 7 7 7 7 7

≥≥ 7 ≥≥7

ÏÏ ÏÏ ÏÏ ÏÏ

≤≤ ≤≤

≥≥ ≥≥

7 7 7 7

ÏÏ ÏÏ

≥≥ 7 ≥≥7

≤≤ ≤≤

≥≥ ≥≥

7 7 7 7

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

ÎÎ

7 7

≤≤ ≤≤

≥≥ 7 ≥≥7

7 7

7 7 7 7

7 7 7 7

≤≤ ≤≤

≥≥ ≥≥

7 7 7 7 7 7

7 7 7 7

7 7

7 7

7 7

7 7

7 7

7 7

7 7

7 7

7 7

7 7

7 7 7 7 7 7

7 7 7 7 7 7

7 7 7 7 7 7

7 7 7 7

7 7

7 7

7 7

7 7

7 7

7 7

7 7

7 7

7 7

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

⋲⋲ ⋲⋲

E E B B G 7 G D 7 7 9 D A 7 9 7 7 7 7 7 7 7 7 7 7 7 7 E A 7 7 7 7 7 7 7 7 7 7 7 7 E B E E 49 G 49 B 7 D G 7 9 7 A D 7 7 7 7 7 7 7 7 7 7 9 7 7 7 E A 7 7 7 7 7 7 7 7 7 7 from 7 7 eXAmpLe 11 GiLmouR JAm Our final jam takes some of the ideas E 49 49 1 to 10 and puts them into context. The solo takes inspiration examples

ÏÏ ÏÏ ÏÏ ÏÏ

≤≤ ≥≥ ≤≤ ≥≥

≥≥ 7 ≥≥7 ÏÏ ÏÏ bb ÏÏ ÏÏ ÏÏ bb ÏÏ

7 7 7 7 7 7

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

ÀÀ ÀÀ ÀÀ

ÏÏ

ÀÀ

ÏÏ Ï

À

#

F m7 ## ÏÏ F #m7 ÏÏ .. Ï# Ï F #m7 ÏÏÏ . ää ## Ï F #m7 ## ÏÏÏ ÏÏÏ . # ÏÏ ÏÏ ää Ï9 Ï9

ÏÏ ÏÏ .. ÏÏ ÏÏ ÏÏ ÏÏ . ÏÏ ÏÏ . ÏÏ ÏÏ Ï9 Ï9

ÏÏ ÏÏ ÏÏ ÏÏ

ÏÏ ⋲⋲ ÏÏ Ï ⋲⋲ ÏÏ

ää ää

ÇÇ ÇÇ

Ï Ï

7 7 7 7 7 7

7 7 7 7 7 7

ÏÏ

ÀÀ .. ÀÀ ÀÀ . ÀÀ . ÀÀ ÀX

ÀÀ

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï

7 7 7 7 7 7

≥≥ 7 ≥≥7

ÏÏ ÏÏ ÏÏ ÏÏ nd ÏÏ ÏÏ ÏÏ ÏÏ

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

7 7

ÏÏ

ÏÏ .. ÏÏ ÏÏ ... ÏÏ ÏÏ . ÏÏ ÏÏ .. ÏÏ ÏÏ .. ÏÏ Ï7 . Ï7

ÎÎ

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

7 7 7 7

≥≥ 7 ≥≥7

ÏÏ .. ÏÏ ÏÏ . Ï.

set this to a half note. When you play the muted single notes the sound will become layered as the repeats double and triple up.

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

7 7 7 7 7 7

E m7

X 7 7 7 8 7 9 10 9 9 10 9 7 8 8 X X 10 10 7 8 8 8 X X 10 10 7 7 7 8 7 9 10 9 9 10 9 X X X 11 7 7 7 9 7 9 11 9 9 11 9 X 7 9 9 9 11 9 X X 7 9 9 9 11 11 11 7 7 7 7 9 11 9 9 9 X X X X 7 7 7 7 7 9 9 9 9 7 7 7 7 9 10 9 9 10 9 X X 10 8 8 8 7 8 10 X X 7 7 7 7 7 9 9 9 9 X X 7 7 7 7 7 9 9 9 9 8 8 8 8 10 10 10 10 9 9 7 9 9 11 X X 11 7 7 7 7 9 11 9 9 11 9 7 7 7 7 9 11 9 9 11 9 X X 11 9 9 9 7 9 11 7 7 8th-note setting7with the 7 level 7 fairly 9 have 9a second 9 X Xhigh.9 If you dotted delay

7 8 8 7 7 9 9 7 7 7 8 7 7 8 9 7 7 9 7

Em to create an effective, multi-layered sound. The trick is to set the delay to a Em Em

ÏÏ ..E m7 ÏÏ E m7ä ÏÏ .E m7ä ÏJÏJ. ÏÏ ää JÏJ787

D/E D/E

ÏÏ

≥≥ 7 ≥≥7

ÏÏ

5 5

7 5 7 7 5 7

ÏÏ Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï

7 7

5 5

8 8

7 7

5 5

ÇÇ

≤≤ ≤≤

≤≤ ≥≥ ≤≤ ≥≥

8 8

ÇÇ

5 5

7 7 5 7 7 7 5 7

ÏÏ ÏÏ ÏÏ ÏÏ

ÏÏ ÏÏ ÏÏ ÏÏ

ÏÏ ÏÏ ÏÏ ÏÏ

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

7 7 7 7 7 7

7 7 7 7 7 7

7 7 7 7 7 7

7 7 7 7

7 7 7 7 7 7

7 7 7 7 7 7

7 7 7 7 7 7

7 7 7 7

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

ÏÏ ÏÏ ÏÏ ÏÏ

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

7 7 7 7 7 7

7 7 7 7

7 7

ÏÏ ÏÏ ÏÏ ÏÏ

7 7 7 7 7 7

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ 7 7 7 7 7 7

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

ÏÏ ÏÏ

7 7

7 7 7 7 7 7

7 7 7 7 7 7

7 7 7 7

7 7

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 section 7 7 can 7 be 7 punctuated 7 7 7 at7the 7end7 to7let the 7 7listener 7 7know. 7 7

7 7 7 7

[Bars 1-9] The track opens with a drum fill so there is no need for a count-in. from some of Gilmour’s greatest solos and features a phase-laced fuzz tone These opening ideas are the same as the ones we used in Example 3. The and a bridge pickup selection.MAGAZINE The chord progression is an 8 bar section. It lick in bar 9 is a standard blues style turnaround phrase and it’s worth taking GUITAR TECHNIQUES 246 DAVEsolo GILMOUR JAMto play this one slowly at first as it’s all about nailing the feel. is worth bearing this in mind when constructing an extended as each STYLE the time

©È ¦ ¢ # 4 îDrum Fill & 4

Î .

Bridge Pickup with overdrive, phaser and delay

E B G D A E

~~~~~~~~ ˙ Ï .

Em

Ä

À

J

Bm

Ï Ï

Ï

~~~~~~~~ X

2

2

jÏ

Ï

BU

RP BD

4 (5)

4

(5)

Ï (4 )

Ï Ï

j

~~~ Ï .

Ï Ï

~~~ 2

5

7

5

7

1

#

C

~~~

Ï ~~~

Em

~~~

Ï Ï Ï

' ÏÏ '

1/4

1/4

ÏÏ

Ï Ï Ï

~~~ Ï

August 2014 GuitarTechniques 21

Ï

j

Ï

Ï Ï Ï

# î Fill & & #©È444 ¦ ¢ îîDrum Drum Fill with Pickup & # 44 Bridge Bridge Pickup with overdrive, phaser î phaser & 4 overdrive, and delay Bridge Pickup with and delay

ÎÎ . Î . Î .

Play: ROCK E B E G B D E G A B D E G A E 1 D E B A G1 E D A 1 [BarsE10-17] 1

overdrive, phaser Bridge Pickup with and delay overdrive, phaser and delay

ÀÀ

Ä Ä

PLAYInG tIPS

2 2

4 4

4 (5) (5) 4BU 4 (5)

ÏÏ ..~~~ Ï ÏÏ Ï Ï .~~~ Ï Ï Ï Ï Ï RP . Ï Ï Ï Ï Ï Ï ~~~ RPBD Ï BD ~~~ TRACKs 4-9 RP ON THE CD BD ~~~ 5 7 (5) (4 ) 2 7 RP ( 5 )BD( 4 ) 2 7~~~ 5 7 (5)

(4 )

2

5

7

5

4 (5)

(5)

(4 )

2

5

7

5 CD 7 TRACK 8

X

2

2

4

X

2

2

4

Em

X X

ÏÏ ÏÏ

Em

Ï Ï Ï Ï

E B E G B D E G A B D E G A E 4 D E B A 4 G E D A 4 E 4

E B E G B D E G A B D E G A E 7 D E B A G7 E D A 7 E 7

## & &# &# &

7 7

9

j Ïj Ï j Ï j Ï

7 7

## & &# &# &

## & &# &# &

E B E G B D E G A B D E G A E 10 D E B A 10 G E D A 10 E 10

ÏÏ ÏÏ Ï Ï Ï Ï

7 9 7 9 7 9

9

Bm

j Bm Ïj Ï Ï Ï Bm j Ï Ï Bm j Ï

7 9

Ï Ï Ï Ï

BU BD BU BD 10 (12 ) ( 10 ) 8 (12 BD ) ( 10 ) 8 10 BU (12 BD ) ( 10 ) 10 BU

8

10 (12 ) ( 10 )

8

ÏÏ ÏÏ Ï Ï Ï Ï

X

12

X

12

Ï Ï

BU BD BU BD

7 7

( 7) 7 (9 ) ( 9 ) BD( 7) 7BU

5 5

7

5

7

7 (9 )

( 7)

5

7

5

7

7 (9 )

( 7)

5

C C

~~~ ÏÏ ~~~ .. C ~~~ Ï ~~~ . Ï . ~~~ ~~~ 5~~~ 5 ~~~ 5

PM PM

X PM 14 X 14 X

14

X

14

j ## ÏÏ j EEÏÏ mm ÏÏ j & & # Ï j ÏÏ Ï Ï &#Ï & BU BD

E B E G B D E G A B D E G A E 13 D E B A 13 G E D A 13 E 13

14 14

14 14

1/4 1/4

14

14

14

14

14 14

14 14

14

14

14

14

BU

E B G E D B A G E D 16 A E 16

BU

( 13 ) 12 12 BU

( 15 ) 13BU (15 ) 10 13BU

12 ( 13 )

12 ( 13 ) 12

10 13 ( 15 ) 13 (15 )

Ï .~~~~ Ï .~~~~ Ï

~~~~ ~~~~ 14

12 14

14

12

14

G

j

j

9

7

9

9 9

7

9

7

9

Em E mj

Bm Bm

1/4 1/4

1/4

Bm

1/4

Bm

1/4

12

( 16 )12 14BU 14 ( 16 ) 12

BU

14 ( 16 )

12 14 ( 16 )

12 1/4 12 12 12 1/4 12 12 12 12

14 14 14 14

12

BU

Ï Ï Ï

12

14

12

14

Ï

1/4

7 8 7 1/4 8 7 8 7 8

Ï ÏÏ

1/4

9

ÏÏ Ï Ï Ï ÏÏ ÏÏ 6Ï Ï Ï 6

Ï

~~~ ~~~ ÏÏ ~~~ Ï ~~~ Ï

Em

7

14 12 14 12 14 14 14 12 14 14 12 14

12

14 14 14 14 14 14 14 14

ÏÏ

(12 ) BD ( 10 ) 8 10BU

Ï C Ï

Ï

C

Ï

BU BU

(13 ) 12 BU 12 (13 )

ÏÏ

⋲⋲ Ï ⋲Ï Ï ⋲ BU

12 12 14 14 12 14 12 14

12 12 14 14 12 14 12 14

Ï

14 ( 15 )

BU 14 ( 15 )

Ï Ï Ï Ï EÏ m

12 12 14 14 12 14 12 14

ÏÏ Ï Ï Ï Ï Ï ÏÏ Ï Ï 33 Ï

j Ïj j Ï j Ï Ï

ÏÏ Ï Ï Ï Ï Ï Ï ÏÏ ÏÏ Ï Ï Ï Ï

BD 3 ( 19 )BD ( 17 17BU 3 ) 15 ( 19 )BD ( 17 ) 15 17BU

BU BU 17 ( 19 ) 17 ( 19 ) 17 17 BU

( 19 ) ( 17 ) 15 17BU BD

( 19 ) 17 17 BU

17 ( 19 )

17 ( 19 ) 17

( 17 ) 15

Ï

Ï

Ï ~~~ Ï Ï ~~~ Ï RP ( 15 ) RP ( 15 )

~~~ ~~~

Ï

Ï 3

Ï

BU 3 BD 14 (15 ) (14 ) BD BU 14 (15 ) (14 )

Ï Ï

Ï

j j

Ï

JÏ J

BU 12 12

Ï Ï

Ï

12 14 12 14 12 14 12 14

12 12 12

Ï

BU BU

Ï Ï

3

Ï

BU 15 ( 17 )

Bm Bm

' '

j j

1

15/4 15

BU

15

Ï 3 3

12 12

~~~ ~~~ ( 17 )

15 ( 17 )

Ï Ï

Ï .~~~ Ï .~~~

BU

15 ( 17 )

Ï

1/4

1/4

12

Ï

' '

/4

Ï Ï

17 ( 20 )

14

Ï

Ï Ï

˙˙ ˙ ˙

3

Ï

ÏÏ ÏÏ

j Ïj Ï j Ï j

Ï

12

1/4 1/4

121/4 12 12 121/4 12 12 12 12

( 20 ) 1 17BU

BU

1/4

12 14

17 ( 20 ) ( 20 ) 17BU

Ï

Ï

j

Ï

12 BU 12 14 ( 16 ) 14 14 15 12 12 14 14 12 14 12 14 ( 16 ) 14 14 14 14 12

Ï

ÏÏ

j Ïj j Ï j Ï

15 15 17 17 15 17 15 17

Ï

j

Ï

ÏÏ

12

Bm

1/4

Ï

12 14

Bm Bm Bm

1/4 1/4

ÏÏ ÏÏ

12 14 12 14

12 (13 ) ( 12 ) 10

6 15 12

Ï

'' ' ' '' ' '

ÏÏÏ

6

6

12

( 10 ) 8

10 (12 )

ÏÏ ÏÏ ÏÏ Ï ~~~ .. ~~~ Ï ~~~ Ï Ï Ï Ï . Ï Ï 33 Ï Ï ~~~ . 3 ~~~ BU BD ~~~ BU3BD 12 (13 ) ( 12 ) 10 (13BD ) ( 12 ) 10~~~ 12BU (13BD ) ( 12 ) 10~~~ 12BU ÏÏ

C C

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï 6 12

3

ÏÏ Ï ÏÏ Ï Ï Ï ÏÏ Ï ÏÏ ÏÏ Ï Ï 66 Ï Ï Ï

6

12 12 14 14 12 14 12 14

12 (13 ) (13 ) 12 BU

j Ïj j Ï j

ÏÏ Ï Ï Ï Ï Ï ÏÏ Ï Ï33 Ï

BD BU BD 3 ( 10 ) 8 10 (12 ) (12 ) BD ( 10 ) 8 10BU

9

ÏÏ Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï Ï Ï 66 Ï Ï Ï Ï

j Ïj Ï j Ï j Ï

Ï

Ï ⋲⋲ ÏÏ ⋲Ï j Ï ⋲ BU

6

9

j Bm Ï j

Ïj Ï j Ï j

6

126 12 15 15 12 15 12 15

9

BU

j

1/4

9 9

Bm

w/bar ~~~~~ w/bar ~~~~~

1/4 1/4

ÏÏ

6 BU 14 ( 16 )

ÏÏ

~~~ ÏÏ ÏÏ ÏÏ ~~~ ÏÏ ~~~ Ï Ï Ï ~~~ Ï Ï Ï Ï Ï ~~~ ~~~ 9 9 ~~~ 9 9 ~~~ 9 9

ÏÏÏ

1/4 1/4

~~~ ~~~

Ï

'' ' ' '' ' '

1/4 1/4

'' ~~~ Ï ~~~ Ï Ï .. ÏJÏ ' ˙˙ ~~~ ÏÏ ~~~ JÏ ' ˙ ~~~ ~~~ Ï ~~~ . ÏÏJ ˙ ~~~ Ï . ~~~ J '' ~~~ ~~~ ~~~ ~~~ nd' ~~~ ~~~ ' ~~~

1/4 1/4

Ï

'' ÏÏ ' ÏÏÏÏ ' ÏÏ '' ' '

ÏÏ

5 5

6

BU BU

14 ( 16 )

~~~~ Ï .w/bar Ï . ~~~~

7 8 7 8 7 8 7 8

ÏÏ ÏÏ ÏÏ Ï Ï ÏÏ Ï Ï

1/4 1/4

Ïj j Em Ï j Ï Em Ï

Ï

22 GuitarTechniques August 2014

(√)j G

7

7 7

ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï ~~~ 12 12~~~ 12 12 ~~~ 12 12 ~~~ 12 12E m Loco j Ï EÏ m Ï ~~~ Loco Ï~~~ Ï j Ï Ï

w/bar

JÏ J

9 9

ÏÏ

3 BU

( 13 ) 12 BU

√ # √Ï j & # Ïj & E B G E D B A G E D 18 A E 18

3

BU

3

7 7

2

1/4

14

BU

3

4

'' ' ' '' ' '

14

BU

ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï 33 ÏÏ ÏÏ Ï Ï

4

12 1/4 12 12 12 14 12 12 1/4 12 14 12 12 12 12 14 12 12 12 12 14 12

√ √//' Ï /' ÏÏ √ Ï√ Ï /'' Ï Ï / Ï

Ï BU

ÏÏÏ

~~~ ˙˙ ~~~ ~~~ ˙ ~~~ ˙~~~ ~~~ 2 ~~~ 2 ~~~ 2

4 4

ÏÏ Ï ÏÏÏÏ Ï Ï Ï ÏÏÏ Ï Ï Ï

Ï '' ~~ ÏÏ ÏÏ Ï ÏÏ Ï ~~ / Ï ' Ï ÏÏ ~~ Ï ÏÏ 3 Ï /' Ï Ï ~~ Ï 3 / 3 /' /' ~~ ' BU BD ~~ 12 153 1212 1515 /' 1515 /'' 2 xxxxxxxxxx (16 BD ) ( 14 ) 12 ~~ 12 15 BU / / 2 xxxxxxxxxx (16 ) ( 14 ) 12 14 12 15 ' 15 ' BU BD 14~~ 12 15 C √((1616 )) (( 1414 )) 1212 14 12 15 12 15 15 j j # √j CÏ j Ï 14 & # Ï j Ï j Ï Ï Ï j ÏJÏ Ï j ÏÏ & Ï Ï Ï Ï Ï 3 Ï Ï J 3Ï 14 Em Em

7

JJ Ï ÏJ J

5

ÏÏ ÀÀ ÏÏ ÏÏ Ï À Ï Ï Ï À PMÏ Ï

7

ÏÏ

C

( 12 )

9

~~~ ~~~j ÏÏ ~~~ÏÏ jj ~~~ Ï ÏÏ j Ï ~~~ ~~~ ~~~ 7 ~~~ 7

ÏÏ

5 5

~~~ ÏÏ ~~~ .. ÀÀ Ï Ï ~~~ Ï ~~~ . À Ï Ï . À Ï ~~~ ~~~ ~~~ X 12 14 X 12 14~~~ 14

jE m Ï ÏjÏ Ï EÏ m Ï jÏ Ï Ï j Ï BUÏ BD Ï

w/bar ~~~ w/bar ~~~ Ï ˙˙ ÏÏ Ï ~~~ w/bar w/bar ˙ Ï Ï ~~~ Ï Ï w/bar˙ BU w/bar ~~~ BU ~~~ w/bar ( 12~~~ ) 9 BU ) 9 ( 12w/bar BU ~~~ 9 ( 12 )

ÏÏ Ï Ï

Ï

~~~ ÏÏ ~~~ .. ~~~ Ï ~~~ . Ï ~~~ . ~~~ ~~~ 7 7 ~~~

ÏÏ

1/4 4 from the1/root (E) 1/4 to the minor third (G). The turnaround idea in bar 17 is 1/4 j recycled from 1bar 9 and slightly tweaked to take us Ï jto the next section. /4 1/4 Ï j 1/4 1/4 Ï

This second 8 bar section features double-stop ideas from C Em C m Example 4. The three-fret bend in bar 15 is a classic E Gilmour touch that goes

~~~ C~~~ . ÏÏ ~~~ C. . Ï ~~~ Ï . ~~~ ~~~ ~~~ 9 9 ~~~

jBm ÏjÏ Ï Ï Bm jÏ Ï jÏ

˙˙ ~~~~~~~~ ÏÏ .. ˙ ~~~~~~~~ Ï . ˙ ~~~~~~~~ Ï . ~~~~~~~~ ~~~~~~~~ 2 2 ~~~~~~~~

JJ À ÄÄ ÀJ J

15 15

# Ï & # √#Ï j &&# Ï j &

E B G E E D B B A E G G E B D D G 18A A D E E A 18 29 [Bars E18-25] 18

12 12 12

ÏÏ

Ï Ï .~~~~ Ï .~~~~ ~~~~ 14 ~~~~ 14 ~~~~15 14

Ï Ï Ï Ï Ï / / / ' ˙~~~ j'Bm Ï .~~~ Ï Ï. ~~~ À Ï Ï Ï Ï À Ï Ï Ï Ï Ï Ï Ï jj ÏÏ JÏ ' ÏÏ jj~~~ Ï Ï Ï Ï Ï Ï ÏÏ Ï j ÏÏ Ï ~~~ ~~~ . . J Ï ~~~ Ï Ï3 Ï Ï Ï ÏJ Ï Ï J Ï Ï Ï 3 RP BU BU BU BD BU ~~~ ~~~ 3 ) (PM) ) GENIUS ( THE ( ) ( 15 ) ( ) OF DAVID GILMOUR 12 14 14BU (15 BD 14 12 RP BU17 BU17 BU15 ~~~ /' ~~~ / ~~~ ~~~ ~~~ /( 15 ) ( 17 ') ( 15 ) (14 ) 12 ( 17 ) 12 14 14BU (15 BD RP) BU BU ' BU ~~~ ~~~ 12 ( ) 12 ( 17 ) ( 15 ) ( 17 ) 12 12 14 14 (15 ) (14 ) 12 12 15 12 12

Ï Ï ~~~~ Ï JÏ Ï Ï .w/bar Ï w/bar . JÏ Ï ~~~~Ï Ï 3J w/bar ~~~~~ PM 14 w/bar ~~~~~ BU BD w/bar 14 ~~~~~ (14 ) ( )

Ï

j Ï

16

14

14

12

4

14 14

15

14

14

12 12 12 12 14

PLAYInG tIPS

(√) G (#√Ï )j GCÏ Ï j Ï Ï j Ï Ï Ï Ï ~~~E m Ï Ï Ï ~~~ ä &(#√#Ï )j ÏÏ ~~Ï j ÏÏ w/barÏ j ÏÏ ~~ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ~~~ ä &&# ® Ïä & BU BUdoopBU BD ~~~ ( 17 ) 15 ( 19 ) BU ( 19 )BD (19 ) BU BU ~~~ 17 ~~ ( 19 ) BU( 19 )BD~~ ( 17 ) 15 (19 ) BU BU 17~~~ ( ) ( ) ( )

E B G E E D B B A E G G E B D D 20 G A A D E E A 20 32 E 20

17

17

17

®

E B G E D B A E G E B D G 24 A D E A 24 E 24

Ï Ï

Ï

j j Ï j

C

Ï

Ï

C

Ï

Ï

j j Ï j

BU

( 22 RP) (RP 22 ) (RP 22 ) 19 17

19 ( 22 )

( 22 ) ( 22 ) ( 22 ) 19 17

Ï Ï Ï Ï Ï

12 12

12 ( 13 ) 12 ( 13 )

12

17

Bm doop Bm doop Bm doop

≠≠ ≠

Ï

Ï®

doop

Ï

®

doop

6 6

® ≠≠ ®® ≠≠Ï Ï #

≠≠ÏÏ ≠Ï

doop

Ï

w/bardoop

Ï

BU doop

2

10

Ï®

Ï

14

® ≠≠ ® ≠ Ï ® ≠Ï

Ï

2

Ï

Ï

Ï® Ï

®®

doop

Ï Ï

14 (16 ) ( 14 ) 12

doop15 12

12

doop15 12

doop15 12 C doop 15 12 C doop C

12

doop15 12 12doop15

12

doop15 12 12 doop 15

≠≠

# &# &# &

®

Ï

® Ï Ïdoop Ï

Ï

Ï®

®

6 6

≠≠ ≠

≠≠ ≠

®

12

12 doop 15

doop 12 15 12 Em

®®

15

Ï Ï Ï

j Ïj

Ï

Ï

Ï

Ï3 Ï BD

BU

BD ( 14 )

~~ w/bar ÏC~~ Ï w/barÏ ® Ï ~~ Ï doop w/barÏ Ï Ï® Ï ® ~~ doop doop 5~~ 5 4 ® ~~ 5 5 4 doop 5 4 doop doop

( 14 )

~~ Ï ~~ Ï Ï ~~ Ï Ï Ï ~~ 2~~ 0 ~~ 2 0 2

0

Ï® Ï

doop

Ï

doop15 12

12

doop15 12 12 doop 15

12

Ï

j j Ï j

20

Ï

17 20 17

Ï Ï doop Ï Ï doop Ï Ïdoop Ï Ïdoop doop ® JÏÏ Ï doop ® JÏÏ Ïdoop ® JÏ ® JÏÏ Ïdoop Ïdoop doop doop ®Ï ® 3 JJ Ï ®® 3 JJ Ï ®® 3 JJ Ïdoop®® 3 ÏJJ w/bar3 3 3 3

≠≠ ≠≠ ≠≠ ≠≠ ≠ ≠ ≠ ≠

Ï bÏ Ï bÏ Ï bÏ Ï Ï

≠≠ ® ≠≠ ® ≠≠ ® ≠≠ ≠ ®® ≠ ®® ≠ ®® ≠

®

doop 3

doop 3

doop 3

12 15

12

11

doop 15 12 doop 15 w/bar doop 15 12 12doop 15 12

12 15

12

11

doop 15 12 doop 15 doop 15 12 12doop 15 12

12 15

12

11

12

≠≠ÏÏ ≠Ï Ï

Ï® Ï

doop

Ï

Ï®

doop

Ï

®

doop

6 6

doop

®®

≠≠ÏÏ ≠Ï Ï

15 12

Ï® Ï

doop

Ï

Ï®

doop

Ï

®

doop

15 12

≠≠ÏÏ ≠Ï

Ï

15 12

Ï

≠≠ÏÏ ≠Ï

Ï®

doop

Ï

Ï®

doop

Ï

®

doop

6 6

15

Ï Ï Ï

doop15 12

12

doop15 12

12

12

doop15 12

12

doop15 12

12

doop15 12

12

doop15 12

12

12

12

Ï 15

12

doop 15 12 doop

doop

doop

doop

12 doop 15

12

doop 12 15

12

12

' '' ' ''

1/4 1/4 1/4

1/4

À

15

À

®®

2

2 doop

2

2

2 doop

2

doop

doop12 15

12

doop

doop

doop

doop

X X X

0 0

12 15

17

12

doop 12 15

12

doop 15 12

12 15

17

12

12

12

12

12 15

17

12

15

ÏÏ

À Ï Ï À Ï Ï Ï Ï À Ï Ï À Ï Ï Ï Ï À Ï Ï À PMÏ Ï Ï Ï

' '' ' ''

1/4

ÏÏ

ÏÏ

1/4 1/4

1/4

PM

12 1/4 PM 12 1/4 X 14 12 14 12 12 12 X 14 12 14 12 12 12 X 14 12 14 12

X 12

X 12

6

12 doop 15

12

X 12

j Ïj Ï

12

12

14

j

6

doop

doop 12 15

14

0

doop

12 doop 15

15

12

6

12

Ï ~~~ . ~~~ Ï ~~~ . Ï . ~~~ ~~~ 14~~~

w w w À

2

6

12

w/bar

®

6

doop

w/bar

doop

doop 12 15

12

6

Em

Ï ® Ï w/bar doop Ï ® Ï Ï ® Ï doop

6 doop

doop

doop

6

12

6

15

2

20 ( 22 ) ( 24 )

17

doop w/bar 3

doop

12 1 12 PM 12 /4 12 12 12 12 14 12 1/4 12 12 12 12 12 12 14 12 12 12 12 12 12 12 14

2

20

doop15 12

12

Ï

20

Bm

12

12

Ï

Ï . Ï Ï E mÏ ~~~ . ä Ï . Ï Ï Ï ~~~ . Ï ∑. Ï Ï ~~~ Ï . ∑ ää ~~~ 17 20 17~~~ 17 20 17~~~

Bm

doop15 12

12

®®

14

CD TRACK 8

12

doop 12 15

Ï

®

doop

nd

12 doop 15

Em

Ï®

doop

Ï

12

Em

Ï

14

Ï

12

PM

14 ( 16 ) 14 ( 16 )

doop

Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï ÏÏÏ Ï Ï Ï Ï Ï Ï Ï PM

BU BD 14 ( 16 ) ( 14 )

C

5

Ï

15

14

Ï ˙~~~ . Ï ÏÏ Ï C ˙~~~ . ÏÏ Ï 3 Ï ~~~ ˙. ~~~~BU 3BU w~~~ 3 w/bar BU( 22BU 17~~~ 20 ~~~~ BU BU) ( 24 ) ( 22 ) ( 24 ) 17~~~ 20

14

≠≠ ≠

6

12

®®

6

doop

®

15

Bm

6

12

C

®®

®®

12

3

15

Ï

Ï Ïdoop doop ®Ïdoop ÏÏ Ï®

®

15

X 14 12 14 12

14

® ≠≠ ® ≠≠ ® ≠≠ ® ≠≠ ® ≠≠ ~~ ® ≠ ® ≠ ® ≠ ® ≠ ®≠ Ï ® Ï ≠Ï Ï ® Ï ≠Ï Ï ® Ï ≠Ï Ï ® Ï ≠Ï Ï ® Ï ~~. ≠≠ÏÏ ÏÏ ÏÏ ®® ≠≠ÏÏ ÏÏ ÏÏ ®® ≠≠ÏÏ ÏÏ ÏÏ ®® ≠≠ÏÏ ÏÏ ÏÏ ®® ≠≠ÏÏ ÏÏ ÏÏ ~~.. ® ® ® ® ≠≠ ® ≠≠ ® ≠≠ ® ≠≠ ® ≠≠ ~~~~~~ ≠ ® ® ≠ ® ® ≠ ®® ≠ ®® ≠

doop 12 15

3

15

®

doop

6 6

12 doop 15

BU 15

Ï

Ï

Ï

12

j

Ï

Ï

Ï

doop

doop

6

w/bar 12 doop 15

≠≠

Ï

Ï

® ≠≠ ®® Ï ≠≠Ï

12

doop

Ï Ï Ï ~~~ Ï Ï Ï Ï ~~~ Ï Ï Ï Ï ~~~ Ï BU BD ~~~ BU BD ~~~ (16 ) ( 14 ) 12 14 BU BD ~~~ (16 ) ( 14 ) 12

j EÏ m j Em Ï Ï j Ï

Ï

15

0

14

w/bar doop15 12

Ï

X

14

doop

12

2

≠≠ÏÏ ≠Ï

doop

Ï

®

RP RP RP

doop Em

12

doop

6 doop

12

EÏ m Ïw/bar J EÏ m ÏJ Ï JÏ Ï ®

Ï . Ï ~~~ Ï ÏÏ . Ï ~~~ Ï . Ï ~~~ Ï ~~~ 10~~~ 12 14 10~~~ 12

Ï

( 13 ) 12 BU (13 ) 12BU

Ï # EE mmÏ &# Ï &# &

E B G E D B A E G E B D 32 G A D E A 32 E 32

( 22 ) 19BU

14

E B G E D B A E G E B D 28 G A D E A 28 E 28

E B G E D B A E G E B 29 D G A D E A 29 E 29

17

BU

Ï ® ÏÏ & # doop Ï® & # w/bar ® & w/bar doop

D E A 27 E 27

( 22 ) 19BU

( 13 ) 12 BU (13 ) 12BU

Ï # ÏÏ ® Ï &# Ï® Ï & #w/bar ® &

E B G E3 D B A E3 G E B D G 27 A

17

doop

C

Ï

j Ï j

15

14

15

[Bars 26 to end] Our climax uses the whammy B m bar idea from Example 8 and finished off with more double-stop phrases and whammy bar wobble.

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï3 Ï Ï Ï Ï Ï À 3 RP RP RP w 3 ( 22 ) ( 22 ) ( 22 ) 19 17

17 (19 5 ) 17 19 5 17 4 19 2 17 150

(√) (√)# (√)# & &# &

3

17

X 12

14

This section features some of the high-register soloing E m and G string bending ideas we saw in Example 5. j j j j

Ï

4

4

Bm

C

Bm

C

w ~~~~ w/bar ~~~~ w ~~~~ w/bar w ~~~~ w/bar ~~~~

Bm

C

15

' ÏBm~~~ . ÏÏJ /' ˙~~~ ~~~ Ï ~~~ . ÏÏÏÏJ /' ˙~~~ Ï . J ˙~~~ ~~~ /' ~~~ ~~~ 1212 /' ~~~ 14~~~ / 14 12 ' ~~~ Bm

1/4

Bm

14 14

14 14 14

14 14

12 12 12

14 14

Em

∑ ∑ ∑

Em Em

∑ ∑ ∑

August 2014 GuitarTechniques 23

Play: SHRED

ON THE CD

TRACKs 10-11

Mr Big Addicted To That Rush Steve Allsworth guides you through the frenetic awesomeness of a classic Mr Big track. Get ready for a typically outrageous Paul Gilbert solo!

ABILITY RATING

Advanced Info

WIll Improve your

Key: Am Tempo: 225bpm CD: TRACKS 10-11

Alternate picked shapes Two-handed tapping Dorian rhythm playing

Mr Big was formed in the late 80s from a veritable who’s who of virtuoso rock musicians. after departing Dave Lee roth’s superband in 1988, bassist Billy sheehan recruited singer Eric Martin, drummer Pat Torpey and finally guitarist Paul Gilbert, all with the help of shred godfather Mike Varney from shrapnel records. Paul was of course already a well-respected virtuoso guitarist (a product of the world famous giT) who had released two albums with his La-based band racer X. Mr Big’s self-titled debut album was released in 1989 and although it had limited success in the Us, the band was a huge hit in

TeChnique FoCus

Playing unusual rhythmic groupings The beginning of the solo contains one of Paul’s lesser-known trademarks that has probably come about as a side effect of his fretting-hand legato technique, which usually contains a mixture of picking and legato. The trick here is to try and view the two separate shapes and practice them individually at first. The second is exactly the same except it contains the additional fourth-finger E note that adds an extra note into the phrase (9 instead of 8). Focus here upon the double tapped note, which is where your rhythmic pulse should come from.

Japan (which is still true today). it wasn’t until their second release Lean into it (1990) where they finally made their commercial breakthrough. against the backdrop of Extreme’s huge hit More Than words, Mr Big also hit the big time with their ballads, To Be with You and Just Take My Heart. This then spawned further mainstream success with green Tinted sixties Mind (a gymnastic tapping classic) and a cover of Cat stevens’ wild world which was part of the follow-up album Bump ahead (1993). although the band never quite replicated this commercial

nd

The most exciting day of my guitar life was when I learned how to bend a string. I still love bending strings so much - it gives the guitar a voice. Paul Gilbert success with later albums, their popularity in Japan and south East asia continued unabated, culminating in several live releases and sell-out tours in the Far East. Paul left in 1997 to reform his original band racer X and was replaced by another shrapnel mainstay and former Poison guitarist richie Kotzen. The two albums released with this lineup, get Over it (2000) and actual size (2001) received a lukewarm response by their high standards and perhaps was a sign of things to come. The band’s ultimate demise in part came about from growing tensions between Billy - who began touring with steve Vai’s band - and the rest of the members. Most of their writing output was without him and further conflict eventually led to his sacking.

Unfortunately, a Mr Big without arguably its most important members in the form of Billy and Paul just wasn’t popular amongst its loyal fanbase. Perhaps unsurprisingly, the original lineup reformed in 2009 and past differences were put aside. Despite Pat Torpey’s tragic diagnosis of Parkinsons Disease, the band have to date released their 8th studio album. Our track is taken from their debut and is a typically furious and technical workout, yet still has all the hallmarks of great songwriting that typified their music. All the members are great singers and multi-instrumentalists (check out some of their latter-day live versions of this track where they all change instruments mid-song). Like many guitarists of his generation, Paul’s sound and rhythm playing is just as inventive and groovy as the frightening lead work.

Get the tone 6

6

8

6

0

GAin

BASS

Middle

TReBle

ReveRB

Paul’s distortion sound is surprisingly ‘clean’. There is plenty of it, but typical ‘fizzy’ distortion is tempered by lowering the treble slightly to round out the sound. His trademark at this time was also to pan the dry guitar signal with (roughly 32nd note at 225 bpm) delay to the opposite channel, thus creating a really wide slapback-style sound similar to chorus. This avoids the need for double-tracking the guitars and is a great tip for widening the sound of a single guitar.

capture the band fresh and intense. That said, there are many gems among their live releases, including albums such as Raw Like Sushi (1990). As ever, a good compilation such as Greatest Hits (2008) will give you a good overview of Mr Big’s impressive career.

24 GuitarTechniques August 2015

LIVEPIX

TRACK RECORD The first three albums, Mr Big (1989), Lean Into It (1990) and Bump Ahead (1993) are arguably their best, since they

Mr Big Addicted to thAt rush

Paul talks to GT about Addicted To That Rush...

nd

Paul Gilbert: Mr Big’s awesomely gifted guitarist

● What inspired the song? Billy had the main ideas for the song. I think he got some inspiration from Heard It On the X by ZZ Top. ● What equipment did you use? Either an orange Ibanez PGM prototype with a scalloped fingerboard and three blue humbuckers, or a stock Ibanez RG, which also happened to be orangish red - my main guitars at the time. I used 11s, because I wanted to calm down my vibrato and sound less metal. I had some Metaltronix heads and an ADA pre-amp running through an Ampeg SVT bass head. ● Did Billy inspire some of your parts, did you inspire some of his? Both. I used to go see Billy’s band TALAS, when I was a teenager, and I would go home afterwards and try to work out licks like his. But it was all from memory, so I didn’t get exact phrases, just things in the spirit of what he was doing. When I started playing with Billy, I’d use my ‘Billy Licks’ to come up with parts that we could play together. But he’d usually say, “I’ve never played it that way.” Of course, after about three takes, he could play it, so it worked out fine in the end. ● it's a great marriage of hard rock groove and technique flash, marriages that mr Big excelled at just like Van halen It’s an interesting groove because it doesn’t swing, but it might have the tiniest flavour of it in there. Sort of like what would happen if you played Jailhouse Rock really fast. ● each mr Big album seemed to have a strong 'flash' song (Daddy Brother on Lean into it, Colorado Bulldog on Bump Ahead); was Addicted the 'chops' song that fans were expecting from Billy and you? I don’t remember talking about expectations. We just wanted to write songs that we liked, and that would be exciting to play live. Of course, this was the era when ‘blowing people away’ was still something that was assumed you were supposed to do. Definitely pre-grunge. ● your solo starts with speeding sextuplets using several techniques; how long did that take to create? It went really fast with the writing and preproduction of that album. I think the recording itself was a first take. The ballads were a lot trickier for me. I remember the solo in Had Enough took me all day, and some song on another record took hours just to get a G chord to sound right. ● The second section then moves into unison tapping ideas with Billy and you... It just brings the sound of the intro back in. Again, these are licks that I thought I stole from Billy, but turned out to be a little different. ● The call and response breakdown section works great, like a steroid rock take on old blues songs - first take ideas? I just tried to bounce off of what Eric was singing. ● The song is quite bluesy; did you aim to infuse songs with a bluesy vibe? It’s more bluesy than Iron Maiden, but less bluesy than Robin Trower. In general, we kept our 3rds minor, and didn’t really bend them the way blues does. But we also didn’t form many songs around the strict Natural minor sound that a lot of 80s metal had. I was into Pat Travers and Robin Trower, so that gave me blues ideas to work with. Check out paul’s online guitar school at www. artistworks.com/paul-gilbert.

August 2015 GuitarTechniques 25

Play: SHRED

ON THE CD

TRACKs 10-11

PLAYInG tIPS

CD TRACK 10

[Bars 9-16] This slippery A Dorian riff makes great use of string skips and tap at the beginning of each phrase can take some getting used to. To avoid open strings for wider, more interesting intervals. Ensure you use a little any hesitation or slips in timing between the ‘2’ phrase and the ‘4’ phrase, palm-muting in order to avoid unnecessary note-bleed between strings. it’s a good idea to break down the lick into the first four notes, targeting the GUITAR MAGAZINE 46 [Bars 17-24]TECHNIQUES Although these triplets are2grouped in linear 6s, the double a metronome is key to fluency here. ADDICTED TO THAT second RUSHpull-off. - MR Slow BIG practice - Stevewith Allsworth

©È ª ª ∞ INTRO N.C. 4 ∑ &4

5

E B G D A E

4

X X X

5

5

4

Ï Ï #Ï Ï Ï Ñ Ñ Ï

Ï Ï Ï

PM

2

5

0

3

0

0

±± ± ± ±± PH

4

5

5

4

5

5

4

Ï Ï Ï Ï #Ï Ï Ï Ï

#Ï Ï bÏ nÏ Ï Ï #Ï 0

5 6

5

0

6

7

0

5

0

LÏ Ï #LÏ Ï Ï Ï LÏ Ï LÏ Ï

Ô

4

Ï Ï

6

12 9 11 9 7 9 12 9 11 9

18

5

0

4

5

4

5

5

4

5

Ï Ï #Ï Ï Ï Ï Ï Ï

Ï Ï Ï

PM

2 0

3

0

0

5 4

3

Ï

6

±± 4

~~~

PH

0

2

0

2

12 9

12 9 12 14 12 9 14 12 14 17 14 12

26 GuitarTechniques August 2015

5

L L LL 6

6

13 10 12 10 7 10 13 10 12 10 7 10

LÏ Ï #LÏ Ï Ï Ï L˙ LÏ Ï Ï bLÏ Ï Ï LÏ Ï Ï LÏ Ï 6

11 9

7

9 11

L L L L

Ï Ï Ï bÏ Ï Ï Ï Ï Ï Ï Ï Ï 6

4

5

L L LL

6

7 9

5

5

~~~ b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ñ Ï Ñ Ï ˙

L L L L L L LL 6

22

5

0

LL LL LL L L L L L 6

L Ï Ï Ï LÏ Ï Ï LÏ Ï Ï LÏ Ï &

E B G D A E

7

14

&

5

PH

5 4

PH

PH

PM

E B G D A E

2

Ñ Ï Ñ Ñ

#Ñ

nd

Ï

PM

X X X

X X X

3

10

& E B G D A E

Ï Ï

7

& #Ï Ï Ï Ï Ï

Ï Ï #Ï Ï Ï Ï Ï Ï

PM

5

E B G D A E

ÀÀ ... À

À Î ÀÀ ä ä ÀÀÀ Î J J

6

17 14 17 20 17 14 20 17 19 17 14 17

14 12 9

Ï

6

13 12 10 12 10 12 13 12 10

L L~~~Ï .

L L

bÏ Ï Ï Ï Ï Ï nÏ Ï J

L L LL 6

6

BU

20 17 19 17 14 17 21

~~~

( 24 )

Addicted To That Rush Music & Lyrics by Pat Torpey, Billy Sheehan, and Paul Gilbert. ©1989.BMG Ruby Songs, Careers BMG Music Publishing, Chrysalis One. BMG Rights Management (UK) Limited, Careers BMG Music Publishing, Universal Music Publishing, PG Thirteen, Chrysalis One Music Publishing, Billy Sheehan Music. Reproduced by kind permission of Hal Leonard Corporation, Alfred Music and Music Sales Limited. All Rights Reserved. International Copyright Secured.

Mr Big Addicted to thAt rush

PLAYInG tIPS

CD TRACK 10

[Bars 25-32] This double-stop rock riff uses palm-mutes on the open fifth string to avoid note-bleed. There’s a lot of position changes so watch out for 2 xxxxxxxxxx key moments and isolate tricky sections to practise separately.

RIFF

Am7

A5

& ÏÏ E B G D A E

N.C.

Ï Ï Ï

0:33

ÏÏ

0

2

0

2

0

0

A5

& ÏÏ

ÏÏ Ï

ÏÏ

5 5

Ï

PM

2 2

0

0

PM

2 2

0

BU 0

2

0

( 8 ) ( 7) ( 8 ) ( 7)

7 7

2

0

~~

BD

0

2

2

0

2

0

0

3

D5

Ï Ï Ï Ï Ï ÏÏ ÏÏ À 3

#Ï Ï Ï Ï bÏ Ï Ï nÏ 0

4

0

5

0

6

0

6

5

7

7

5

7

7 7

5

7 7 X

29

& ÏÏ

nd Ï Ï

Ï

5 5

7

0

ÏÏ

äÏ Ï Ï Ï Ï Ï Ï Ï

Ï

PM

0:41

2

5

0

2

0

2

0

3

Ï Ï

D5

Ï

PM

5 5

0

7

0

Ï Ï

2

5

0

b

~~ ä Ï j Ï Ï ÏÏ b b ÏÏ ÏÏ ÏÏ Ï Ï PM BU BD ~~ 0

2

7 7

E 5 D5

Am7

( 8 ) ( 7) (8 ) ( 7 )

5 5

0

Ï

Ï Ï

7

0

5

33

D5

j & ä Ï Ï Ï Ï Ï Ï Ï 2

2

0

2

0

3

ÏÏ

ÏÏ Ï

ÏÏ

5 5

0

b b ÏÏ Ï

PM

0

b

E 5/B

7 7

D5

N.C.

ÏÏ Ï

8 8

0

b

Am7

ÏÏ ä Ï Ï J Ï Ï ÏÏ

Ï

PM

PM

7 7

0

5

5 5

2 0

Ï Ï

0

0

7

ä Ï jÏ Ï Ï Ï Ï Ï Ï

Ï 0

2

5

2

0

2

0

3

0

38

b

Ï ~~

D 5 E 5 D5

& ÏÏ

Ï Ï

Ï

PM E B G D A E

5 5

Ï Ï Ï Ï Ï

Ï

PM

Ï Ï Ï Ï Ï Ï Ï Ï Ï

VERSE Am7

E B G D A E

ÏÏ

E 5 D5

D5

N.C.

PM

E B G D A E

3

Ï Ï Ï

b

ÏÏ b b ÏÏ ÏÏ ~~

N.C.

25

Am7

E B G D A E

2

A5

ÏÏ

Ï Ï Ï Ï Ï Ï Ï Ï

PM

2 2

0

A m7

Ï Ï

PM

5 5

[Bars 33-48] Lowering the dynamic with the use of palm-muting and some selected rests are the only bits to watch out for here. Paul tends to improvise the final 7-8 bars with A Blues/minor Pentatonic lines.

ä Ï

Ï

Ï Ï

ÏÏ b b ÏÏ

Ï

BU BD 5 5

0

7

0

5

2

0

2

7 7

(8 ) (8 )

Ï

Am7

ÏÏ

Ï

~~ (7) (7 )

Ï

Ï

PM

5 5

0

7

ä ÏjÏ Ï Ï Ï Ï Ï Ï

Ï 0

5

2

2

0

2

0

3

0

43

August 2015 GuitarTechniques 27

Play: SHRED

ON THE CD

TRACKs 10-11

PLAYInG tIPS

CD TRACK 10

[Bars 49-62] This pre-chorus is pretty straightforward, with huge inverted power chords (the 5th in the bass) and simple single note connecting lines. It might be a good idea to start the triplet on an upstroke to avoid landing 3 on the A5 with the wrong pick motion.

[Bars 63-70] This is a simple call and response blues idea, although the syncopation at this tempo can be tricky because of the offbeat stepped hihat. As is Paul’s way, there are plenty of improvised pinched harmonics that you can milk with wide finger vibrato.

PRE-CHORUS C5/G

C5/G

Ï Ï Ï Ï Ï Ï ±

3

& E B G D A E

#Ï Ï Ï Ï bÏ Ï 4

0

5

0

6

5

7

6

5

~~~ Ï

0

~~~

7

5 5

5

5 5 3 3

57

±

5 5

7 7 5 5

7 7 5 5

0

2 2

˙˙ ~~~~~~ .. ÏÏ

E m7

12 12

0

ä Ï

& Ï

ä Ï

~~~~~ j Ï ˙ Ï

PM

5

~~~~~ 7

7

67

28 GuitarTechniques August 2015

5

7

Ï

Î

2 2

[12] [12]

10 10 8

7

5

ä Ï Ï

~~~~~~~~ Ï Ñ Ï

±

A5

2

7

Î

ä ⋲ Ï

j

Ï

J

7

7

7 ( 9)

Ï

0 3

˙

j ä

ÏÏ Ï

2 2 0

'

1/4

'

LLÀÀ

Gradual

1/4

BU BD

5

2 2

0

[12] [12 ]

12 12

PM

2 2 0

0

˙˙ ..~~~~~~ ÏÏ

~~~~~~~~

Ï

0

G5

A5

j ÏÏ ä

2 2

0

63

N.C.

Ï Ï Ï Ï Ï 3

PH

7

7

~~~~~~

PM

5

5

PM

ww w

j Ï Ï ä Ï ä Ï Ï

Ï

7

j ÏÏ ä ÏÏ

F5

N.C.

j ÏÏ ä Î

7

PM

nd

2 2 0

7

2 2

0

± PH

PM

Ï Ï

PM

A5

j Ï Ï ä Ï ä Ï Ñ

7

ÏÏ ä ÏÏ Ï Ï

10 10 8

~~~~~ ˙

N.C.

A5

~~~~~~

~~~~~ 5

5 5 3 3

ww ww

ww w

1:13

7

ww ww

0:58

7

F5

PM

7

ww ww

D 5/A

ww ww

7 7 5 5

j & Ï Ï ä Ï ä Ï Ï

5

C5/G

ww ww

CHORUS N.C.

E B G D A E

5

D5/A

& www w

E B G D A E

7

5 5 3 3

3

52

C5/G

E B G D A E

5

0

47

& Ñ Ï Ï bÏ Ï Ï E B G D A E

Ï Ï Ï

D5/A

(7 )

X X

Î

ALSO AVAILABLE: PlAY GUiTAR WiTH… THe GReATeST GUiTAR SOlOS OF All TiMe (Guitar TAB notation (with lyrics & chord names), 144pp. £18.95 ref. AM984401). Fifteen classic songs, all with their solos fully tabbed, arranged from the original recordings in the original keys, in guitar tab & standard notation. Includes full lyrics, chord symbols and guitar chord boxes, and two CDs. Songs include, All Along The Watchtower (The Jim Hendrix Experience), Jibboom (Steve Vai), Surfing With The Alien (Joe Satriani) and twelve more.

Mr Big Addicted to thAt rush

PLAYInG tIPS

CD TRACK 10

[Bars 71-76] Back to the main riff first heard at bar 25. [Bars 77-92] Paul plays the same riff as the first verse but opts for lots of

palm muting.This reduces treble and increases bass, perfect for keeping out of the vocalist’s way and sounding tighter with the rhythm section.

4 xxxxxxxxxx

RIFF Am7

& ÏÏ

Ï Ï Ï

PM

5 5

2 2

0

0

2

2

A5

G5

ÏÏ

Ï Ï

PM

PM

~~~

2

0

3

5 5

0

2 2

0

0

2

0

( 8 ) ( 7) ( 8 ) ( 7)

7 7

2

0

ÏÏ .. Ï j Ï Ï . ÏÏ ÏÏ

ÏÏ .. Ï j Ï Ï . ÏÏ ÏÏ À

2 2 0

5 5 3

5 5 3

X

75

VERSE A m7

E5

b

BU BD 2

0

Ï Ï

Ï

PM

7

0

X

Ï 0

ÏÏ

ä Ï Ï Ï Ï Ï Ï Ï Ï

2

5

2

0

2

0

3

Ï Ï

~~

Ï Ï

PM

5 5

7

0

0

2

5

2

0

2

0

3

Ï

5 5

0

7

0

ÏÏ

ÏÏ

Ï

5 5

ÏÏ

b b ÏÏ Ï

7 7

0

5

0

b

E 5

PM

0

Ï Ï

PM

D5

ä Ï Ï Ï Ï Ï Ï Ï Ï

Ï Ï

nd

Am7

( 8 ) ( 7) ( 8 ) (7 )

7 7

2

1:28

5 5

2 2 0

E 5 D5

ÏÏ À

b ÏÏ ÏÏ ~~ Ï Ï ä b Ï Ï & Ï Ï Ï

8 8

0

80

D5

&

N.C.

ÏÏ ä Ï b Ï Ï Ï Ï J 3

ÏÏ

Ï

b

~~ ä Ï Ï ÏÏ bb ÏÏ ÏÏ Ï D5 E 5 D 5

Am7

ÏÏ

Ï Ï

Ï

ÏÏ

ä Ï Ï Ï Ï Ï Ï Ï Ï

Ï

PM

Ï Ï

Ï

Ï Ï

PM

BU BD

0

7 7

7

8 7

10 7

5 5

0

7

0

2

5

2 0

2

0

3

5 5

0

0

7

0

2

5

0

2

7 7

~~

( 8) ( 7 ) ( 8) (7 )

84

Am7

& ÏÏ

Ï Ï

Ï

PM E B G D A E

0

0

D5

E B G D A E

Ï Ï Ï

71

&

E B G D A E

~~~ b Ï Ï Ï b Ï Ï Ï Ï Ï Ï Ï E 5 D5

BU BD

C5

E B G D A E

ÏÏ

Ï Ï Ï Ï Ï Ï Ï Ï Ï

Ï

PM

1:21 E B G D A E

ÏÏ

b

D5

5 5 89

0

7

Ï. Ï

Ï 0

5

.

2

jä

Ï Ï Ï Ï Ï Ï 2

0

2

0

3

Ï Ï #Ï Ï Ï Ï Ï Ï 0

4

0

5

0

5

7

7

Ï Ï Ï 5

5

± PH

~~

5 7

~~

Ï Ï Ñ

3

8

5

7

August 2015 GuitarTechniques 29

Play: SHRED

ON THE CD

TRACKs 10-11

PLAYInG tIPS

CD TRACK 10

[Bars 123-126, next page] The first four bars of the solo have a very definite contour, even though the phrasing is slightly unusual. At this fast tempo this can tricky to nail at first, so dropping to a more comfortable 180-200bpm 5 (!) can help focus your rhythms. It can also be helpful to accent the picking

% PRE-CHORUS C 5/G & ww ww 1:45

E B G D A E

D5/A

5 5 3 3

93 139

N.C.

7 7 5 5

7

ÏÏ ä ÏÏ Ï Ï Ï Ï

PM E B G D A E

0

ÏÏ

2 2

0

2 2

0

ÏÏ

Ï Ï Ï

PM

2 2

0

2 2

0

0

5

D 5/A

ww ww

ww ww

5 5 3 3

7 7 5 5

2 2

0

~~~~ j ˙ ÏÏ ä Î Ï ~~~~ A5

PM 2:00

5

7

7

5

2 2 0

7

& Ï Ï ä Ï Î

ä

PM

5

Ï

j

ÏÏ

J

w/bar

7

8 7 (9 ) BU

PM

7

7

7

j & Ï Ñ Ï Ï ÏÏ ä Î Ï

±

118

0 3

2 2 0

Hold BU

5

30 GuitarTechniques August 2015

7 7 5 5

˙˙~~~~~ .. ÏÏ

10 10 8

G5

ww w

2

0 3

10 10 8

7

~~~~ j ä ä Ï ˙ Ï Ï Ï Ï ~~~~ 7

5

PM

7

5

7

A5

ÏÏ Ï

j ÏÏ ä Î Ï

©È ª £∞' â Scoop â # â â â Î

N.C.

á

'

3

7

5

2 2 0

7

~~~

N.C.

j Ï Ï ä Ï ä Ï Ï

PM

2 2 0

7

w/bar Scoop 2 2 0

7

A5

~~~~

5

~~~~ A5j ˙ ÏÏ ä Î Ï ~~~~

j Ï Ï ä Ï ä Ï Ï

5

[12] [12]

12 12

N.C.

2 2 0

TO CODA

~~~~~

[12 ] [12 ]

12 12

fi

~~~~~ ˙˙ .. ÏÏ

F5

~~~~~

PM

(8) (9)

7

5 5 3 3

3

E m7

ww w

±

7

N.C.

5

5

w/bar

PH

2

3

F5

113

A5

5

~~~~ j ä ä Ï ˙ Ï Ï Ï Ï

˙˙

(6 ) (7 )

6

A5 ~~~~~~ j Ï Ñ Ï ÏÏ ä Î Ï Ï PH ~~~~~~

j Ï Ï ä Ï ä Ï Ï

5

˙˙

7

ww ww

nd N.C.

107

N.C.

E B G D A E

5

7

C 5/G

99 145

j & Ï Ï ä Ï ä Ï Ï

E B G D A E

ÏÏ

7

3

PM

CHORUS N.C.

E B G D A E

jä

7

D5/A

ww ww

Ï Ï Ï bÏ Ï Ï Ï Ï

PM

A5

&

C5/G

j Ï Ï ä Ï ä Ï Ï

ww ww

2:33

hand taps, as they will fall in the same place in each bar. [Bars 127-130] Paul’s frightening ‘arpeggio from hell’ incorporates twohand tapping and sweep picking over four strings. You could approach this in a number of ways, since the basic B minor Pentatonic four-notes-per-

5

~~~ 7

#á

7

®

5

Doop

®

˙

Doop

2

7

##

Mr Big Addicted to thAt rush PLAYInG tIPS

CD TRACK 10

[Bars 131-138] This section begins with a B minor version of the intro tapping idea so should be familiar by now. The classically-inspired final section contains a rather unusual ‘re-fret’ from the fretting hand after the initial tapped pull-off and some tricky movement over the strings which will require some rolling of the fingers.

string shape can be transferred to any number of string combinations (three-note string-skipped taps with no sweeps work particularly well). The descending B minor/B Harmonic minor legato phrase starts with the 15th6 xxxxxxxxxx fret G on beat 3, so practise this whole phrase from here. The crazy ‘outside’ sounds are courtesy of moving the three-note shape down chromatically.

L L

L Ï n Ï # Ï LÏ n Ï # Ï n Ï ≠Ï b LÏ # Ï # Ï ≠

≠L L

SOLO

©È ª ª ∞ B5 # Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï & # Ï

L L

2:16 E B G D A E

11

123

& E B G D A E

##

# & # E B G D A E

E B G D A E

L L LÏ Ï

L

9

10 14

7

6

Ï Ï

9

10

9

≠L L ≠Ï LÏ Ï Ï LÏ Ï 11

9

7

9

11

≠L L 12

7

9

7

6

10

9

12

14

12

14

12

7

10

3

L

≠L L 14

12

L

L L

9

10 14

Ï

14

11

19

≤≥≤

129

## Ô

LÏ Ï #LÏ Ï

L L

Ï Ï Ï Ï Ï Ï Ï Ï

LL LL 6

6

14 11 13 11 9 11 14 11 13 11 9 11

11

9

7

9

7

6

9 10 12

≠L

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

9

10

9

≠L 12

14 10 12 10

9

10 14 17

Ï

Ï Ï Ï Ï Ï Ï bÏ nÏ

17

14

12

14

15

3

8

≠L

Ï

bÏ nÏ Ï Ï bÏ ˙

3

14 12 11 10 12 13 12 10 9 10 12 10 9

6

3

22 19 17 14 22

## Ï Ï bÏ Ï Ï Ï Ï Ï nÏ Ï #Ï nÏ Ï Ï Ï Ï Ï Ï

7

Ï

≤ ≤ ≤ ≥ ≥≥

3

6

≠ LÏ Ï Ï LÏ Ï

5

10 14 17 19

6

Ï Ï Ï Ï

14 10 12 14 10 12 10 9

3

14 12 11

132

L L

≠

Ï Ï Ï Ï Ï Ï Ï nd Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

127

&

6

11

19 17 14 10

& E B G D A E

7

LÏ Ï Ï LÏ Ï 14

125

6

3

Ï nÏ Ï Ï nÏ

9

11 9

14

12

15

L L

Ô

11

12

11

12

L L

N.C.

nÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 6

6

8

14

LL LL

15 12 14 12 9 12 15 12 14 12 9 12

LÏ Ï Ï LÏ Ï Ï LÏ Ï Ï LÏ Ï 7

6

7

9

7

5

9

L

6

6

L L L

Ï

7

9

11 9

7

August 2015 GuitarTechniques 31

Play: SHRED

ON THE CD

TRACKs 10-11

PLAYInG tIPS

CD TRACK 10

[Bars 153-192] This whole breakdown section is based on call and response between the vocal and guitar and bass, so with the backing track you’ll

need to count the tacet (silent) bars very carefully. This would of course be completely improvised live.

7

L L L L

## Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï & 11 9 11

136

fi

CODA

12 11 9

BREAKDOWN A5

& ww w

2:48

E B G D A E

12 11 12

ww w

14 12 11

6

14 12 14

ww w

6

16 14 16

16 14 12

ww w

18 16 14

ww w

~~~

17 (19 )

17 16 14

ww w

LLÀÀ LÀ

˙˙ ˙

X X X

Î

Ï Ï Ñ ~~~Ñ Ï ä J

3 î

17 14

161

165

bÏ Ï Ï Ï Ï . #Ï J

14

8

3

PH

~~~

3

Ï #Ï Ï bÏ nÏ Ï Ï Ï Ï Ï

Ï Ï Ï. ä J Jä

Ñ Ï

± ± PH

2 2 0

&

14 14

17

17

î

∑

( 21 ) ( 19 ) 17

19

Î

8

BU 20 19 17

19

19

( 23 )

3 PB 19 BD

PB 19 BD

( 20 ) (19 ) 17 19 17

' Ï Ï ä JÏ ä ÏJ ä 1/4

3

Ï #Ï Ï PM

PM

'

5

6

5

7

7

7

7

Ï

j bÏ

J

BU 7

178

~~~~ 5 180

32 GuitarTechniques August 2015

5 î

Ï Ï

Î #Ï Ï Ï

ä # ÏJ ä ÏJ ä b ÏJ

3

5 6 186

J

7

9

8

7

5

~~~~~~ ±.

± PH

PM

5

ä

Ñ

~~~~~~

8

7

17

20

1/4

168

~~~~ & ä ÏJ Ï î E B G D A E

BU

153

& ÏÏ Ï

nn

6

17 16 14

ww w

nd

E B G D A E

Ï

2 2 0

N.C.

E B G D A E

Ï

fi

˙ ~~~

j

Ï

L L L L L L L L L L 6

6

E B G D A E

LÏ Ï Ï LÏ Ï Ï LÏ Ï Ï LÏ Ï

LÏ Ï Ï LÏ Ï

D.S. al CODA

(8 )

Mr Big Addicted to thAt rush PLAYInG tIPS

CD TRACK 10

[Bars 193-206-76] There shouldn’t be anything too tricky here to play but watch the quality of your vibrato for bar 204’s Em7 chord.

[Bars 207-] This low string pedalling on the fifth string is fun to play: watch the detail for the palm muted notes.

8 xxxxxxxxxx

Ï Ï

&

ä

Ï

Ï

'

Ï Ï ' #Ï ä J ä J ä J ä ÏJ 1/4

Ï

ä J ä J Gradual BU

E B G D A E

8

8

8

8

D 5/A

8

PB 7

1/4

Ï

BU

( 9)

8

J ä 8

( 9)

7

3:31

5 5 3 3

193

N.C.

j

Ï ä

Ï

j Ï

J

~~~~~~~ w

BU

BU

7 ( 9)

7 ( 9)

ÏÏ

& ÏJ ä Ï

7

ÏÏ

3

Ï Ï Ï

10 9 7

0

0

0

7

7

5

C5/G

9 7

7

6

5

3

5

3

nd

~~~~~~~

ww ww

ww ww

5 5 3 3

7 7 5 5

E m7

ww w

7 7 5 5

D 5/A

A5

Ï Ï

Ï Ï

0

PM

9 7

0

9 7

0

0

˙˙ .. ~~~~~~ÏÏ

G5

F5

~~~~~~

8 7

10 10 8

ÏÏ ä ÏÏ

PM

ww ~~~~~~ ww w w

F5

ww ww

5 5 3 3

200

5

7

D5/A

ww ww

PM 10 9 7

Ï Ï Ï bÏ Ï Ï Ï Ï

PM

7 7 5 5

ÏÏ

C5/G

Ï Ï ä Ï ä Ï jÏ

ww ww

& www w

E B G D A E

' '

1/4

Ï Ï

189

PRE-CHORUS C5/G

E B G D A E

8

1/4

~~~~~~ 10 10 8

7

[12 ] [12]

12 12

OUTRO CHORUS N.C.

& Ï 3:46 E B G D A E

7

PM

0

0

0

0

0

3

PM

0

0

0

3

0

5

0

3

Ï Ï Ï Ï Ï Ï Ï Ï

PM

0

5

0

0

0

7

0

0

5

0

0

3

0

5

0

3

0

207

ÏÏ ä j ÏÏ & Ï Ï Ï Ï E B G D A E

Ï Ï Ï Ï Ï Ï Ï Ï

Ï Ï Ï Ï Ï Ï Ï Ï

Ï Ï Ï Ï Ï Ï Ï

3 211

0

0

2 2

0

ÏÏ 2 2

Ï Ï Ï Ï Ï Ï Ï 0

3

0

5

0

3

ÏÏ

Ï Ï 0

0

0

Ï

Ï Ï 2 2

À Ï Ï Ï Ï Ï Ï

Ï Ï 2

0

0

0

0

0

0

3

0

5

0

X

August 2015 GuitarTechniques 33

Play: SHRED

ON THE CD

TRACKs 10-11

PLAYInG tIPS

CD TRACK 10

[Bars 215-222] Just when you think Paul has thrown up his last shredding 9 lick, he busts out this great three-notes-per-string alternate picked idea. Palm-muting is a must during the first bar for better articulation and a more percussive sound. It’s a great place to get your picking accuracy together. 3

3

3

[Bars 223-230] Finally Paul and Billy play this cool hemiola ‘3 over 4’ pattern. It should make sense in the first four bars, but be very careful with your counting in bars 5-8, as it’s very easy to lose the ‘1’ (counting in halftime can really help here).

3

3

& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ô

3

Ï Ï Ï Ï Ï Ï ˙ Ô

PM E B G D A E

12

12

12

12

12

12

12

12

12

12

12

12

12 12 12 12 12 12 12

215

Ï #Ï Ï Ï Ï Ï Ï Ï # Ï Ï & Ï #Ï 3

3

3

Ï Ï Ï #Ï Ï Ï Ï Ï Ï Ï Ï Ï

#Ï Ï Ï Ï Ï Ï # Ï Ï Ï #Ï Ï Ï 3

3

3

3

3

3

3

3

3

PM E B G D A E

15 16 17

219

15 16 17

≥ ≤ ≥ ≤ ≥ ≤ j Ï w ~~~~~~

14 16 17

E B G D A E

14 16 17

nd

OUTRO

Ï Ï

~~~~~~

14 15 17

17 19 20

17 19 20 19 20 19 17

20

17

Ï Ï Ï

4:03

Ï Ï Ï

PM

Ï

Ï Ï Ï

PM

PM

Ï Ï Ï Ï Ç

2

PM

20 ( 22 )

5

7

5

0

7

0

5

7

5

0

7

5

0

7

5

7

222

& Ï Ï

Ï Ï Ï

5

7

0

Ï Ï Ï

5

7

0

Ï Ï Ï

PM

PM E B G D A E

17 16

14 15 17

14 16 17

etc

& BU

14

7

0

5

7

0

Ï Ï

Ï

5

7

0

Ï Ï Ï

PM

PM

PM

5

Ï Ï Ï

PM

5

7

0

Ï Ï Ï

PM

5

7

0

Ï Ï Ï

PM

5

7

0

Ï Ï Ï

PM

5

7

0

Ï Ï Ï

PM

5

7

5

0

7

227

©È ª ¢¼

ENDING

& 4:11 E B G D A E

231

OO O

áá

Freetime w/bar

Harm w/bar

OO O

3 3 3

34 GuitarTechniques August 2015

~~~~~~~~~~~~~~~~

With bar slack strings sounds DIVE

à

à

LÀ X

U

LÀ

On Drum Cue

Asus2

www ww 0 0 2 2 0

www ww

www ww

U

www ww

On Bass Cue

A5

j

ÏÏ .. ÏÏ Ï .Ï 2 2 0

2 2 0

Ï

ÏÏ Î

nd

play: JaZZ

ON THE CD

TraCks 12-25

Constructing a Jazz Solo Ever wanted to play a bit of jazz but not had the faintest idea where to start? Then join John Wheatcroft as he looks at some failsafe steps you can take to construct the perfect jazz solo. ABILITY RATING

moderate-Advanced Info

WIll Improve your

Key: Bb Tempo: 120bpm CD: TRACKS 12-25

Jazz vocabulary Application of theory Development of ideas

OccasiOnally we'll stumble across something on the internet that can really brighten our day, and make us feel the need to share these rare gems with our friends. such was the case when Jason sidwell sent me a link to a sharply observant and really quite funny diagram written by Dustin mollick. boldly titled How to construct the Perfect Jazz solo, the bar-by-bar timeline plots a 100% failsafe approach to eliciting a polite round of applause from the audience, along with a “yeah man!” from your band mates, assuming you plot this course. it had me smiling for ages, and i showed it in turn to all my jazz musician friends with predictably similar results. while the concept of a formulaic solo with a prescribed outcome if you simply follow the steps by the letter is obviously quite funny (well it got me laughing anyway), the serious side of this is that if you give your solo construction some thought then the impact of your playing will undoubtedly improve. so it most definitely pays to give this crucial aspect of your playing some thought, and in turn the idea for this article was born. solo construction can be a tricky business and we often don’t give this area the attention it truly deserves. Just like some people seem to be born with a natural ability to tell a good joke, or can hold your interest when telling a story, some players have just got the knack to know what’s going to work when building a solo. while you can learn a great deal by

osmosis - by essentially just listening a lot to great music - it’s also possible to give the process a jump-start by being consciously aware of some of the most effective musical devices that you can employ. the beauty of having some form of cognitive appreciation is that you can open the door to an idiom or an approach, and expand your vocabulary in an efficient and progressive way and, if nothing else, can give you a pretty solid foundation to build upon while working on the more intuitive parts of your style.

nd

I try to think of building as you go, just the same way as when you’re having a conversation. George Benson while idiomatic improvisation - playing within a genre’s accepted borders - is a huge consideration and of utmost importance in jazz, it can be a huge help to have some kind of a plan, shape or form in mind as you go. Rather like composition, improvisation is about decision making, not about knowing all the options. even players with a massive vocabulary of ideas have split-second choices to make; so one highly effective method is to focus on a restricted range of options at any given point. you can always change your mind should you find these options too limiting, or feel you’ve exhausted their potential. Rather like an engaging conversation, you don’t feel the need to talk about everything you know every time you speak. the connection from subject to subject can either flow, or you can jump to something new when this seems appropriate. the purpose of this lesson is to look at six distinct approaches or themes you can employ when constructing a jazz solo, following the

template as presented by our initial inspiration from Dustin mollick. For the sake of clarity i’ve presented all the examples in the key of bb, although of course you should transpose each idea when appropriate through a variety of keys. Of course, the musical material presented is literally the tip of the iceberg. Once you’ve learnt the phrases and examples presented here, why not replace my licks and ideas with some of your own even by tweaking a note here or there at first? this way you can use your own vocabulary, influenced by your personal preferences and informed by a combination of the music you’ve heard, the experiences you’ve had and all edited by your creative imagination. As is customary with these lessons, we finish with a contextualised musical study based around an imaginary 32-bar jazz progression following a super-typical aaba form, with each section eight bars in duration. Once again, we follow the template to the letter, with eight bars melody, four bars double-time, four bars of ‘quotes’ and so on. nice!

Get the tone 3

6

5

4

3

Gain

Bass

Middle

TReBle

ReveRB

As we’re dealing mainly with conceptual ideas here, you can use pretty much any guitar you like. I used a Benedetto Bravo, a hollow body jazz guitar with flatwound strings, although you can achieve perfectly workable results with any guitar on the neck pickup. Pick a little closer to the neck to warm the tone up and set your amplifier to a clean tone with a small amount of reverb and you’re good to go. A heavy-ish pick helps also and aim to have the action not so low that you get fret buzz, a factor that can often be disguised by distortion.

TRACK RECORD The world literally is your oyster here, so to get started how about these five vintage but undeniably classic jazz guitar recordings? Charlie Christian’s The Genius Of Electric Guitar (Sony 2013), Incredible Jazz Guitar Of Wes Montgomery (Riverside 1960), Grant Green’s Idle Moments (Blue Note 1965), Joe Pass’s Virtuoso (Decca 1973), and last but not least, Pat Metheny’s Bright Size Life (ECM 1976).

36 GuitarTechniques August 2015

JAZZ SOLOING

Components For The Perfect Jazz Solo ● Simple Melodies .....................Ex 1 ● Double Time...............................Ex 2 ● Quotes ............................................Ex 3 ● Coltrane Changes

or Alter Space ............................Ex 4

● Hold A High Note ...................Ex 5

GETTY IMAGES

● The Blues.......................................Ex 6

Charlie Christian: one of the earliest jazz guitar soloists

August 2015 GuitarTechniques 37

play: JaZZ

ON THE CD

TraCks 12-25

ExAMPlES 1A-1C Simple melody

TRACK 12

eXAmpLe 1A moDifying A moTif: We begin with a simple four-note motif with nothing fancy from either a technique or rhythmic perspective. The important aspects here are the choice of notes, zoning in on specific important chord tones and how these notes might be manipulated to address some of the main chord types found in jazz: Major 7 (R-3-5-7), Dominant 7 (R-3-5-b7), Minor 7 (R-b3-5-b7) and Minor 7b5 (R-b3-b5-b7). eXAmpLe 1b moving A moTif Through ChAnges: This example shows us how a little can go a long way, with essentially the exact same three-note GUITAR TECHNIQUES MAGAZINE 2 4 6

John Wheatcroft CONSTRUCT A Jazz SOLO John Wheatcroft CONSTRUCT A Jazz SOLO

GUITAR TECHNIQUES MAGAZINE 2 4 6 GUITAR TECHNIQUES MAGAZINE 246 Ex1a: Simple Melody: Modifying a motif

©È Á ª ¼ ©È b4 Áª ¼ ∑ b & b b 4©È Á ª ¼ Swing ∑ & b 44 ∑ &b 4

John Wheatcroft CONSTRUCT A Jazz SOLO

b b Ï Ï bÏ j nÏ Ï 7Ï b Ï j n Ï B bmaj Ï Ï bÏ j nÏ

Ex1a: Simple Melody: Modifying a B motif maj 7 Swing Ex1a: Simple Melody: Modifying a B motif maj 7 Swing

E B E G B D G E A D B E A G E D A E Ex1b:

6

10

6

10

6

10

b b Ï Ï B bmaj 7

B b7 j bBÏ b7 Ïj Ï bBÏ b7 j bÏ

Ï ˙ Ï ˙ Ï ˙ Ï

7

8

6

8

9

7

8

6

8

9

8

7

6

Simple Melody: Moving a motif through changes

©È Á ª ¼ b ©È Á ª ¼ ∑ & bb b 44©È Á ª ¼ Swing ∑ & b 44 ∑ &b 4

b Ï ÏE bbmaj7 Ï Ï ä

b Ïb Ï bbmajÏ 7 A

E B E G B D G E A D B E A G E D A Ex1c: E

Ï

JÏ ä JÏ Ï b Ï Ï Ï Ï Ï ä J bÏ 8 8 8

5

7 8

5

7 8

5

7 8

6

8

6

8

6

8

©È ©È b & bb b ©È44 & b 44 &b 4

Áª ¼ Áª ¼ j Á ª îî ¼ ÎÎ ää bb ÏÏ j j î Î ä bÏ

b b b Ï #Ï Ï j #Ï Ï

6 6

7

8

6

7

8

6

©È Á ª ¼ b ©È Á ª ¼ & bb b ©È44 Á ª ¼ & b 44 &b 4

Ex2a: Double-Time: 1-bar bebop lines Straight Ex2a: Double-Time: 1-bar bebop lines Straight

E B E G B D G E A D B E A G E D A E

∑ ∑ ∑

Straight

b b bb Ï b Ï Ï Ï b 38 GuitarTechniques & bB m7August b Ï 2015

9

8

9

b D bmaj7 Ï bÏ ä D bbmaj7 Ï

8

b G Ï bmaj 7 Ï bbmajÏ 7 G G maj 7

Ï

11

7

8

6

6

7

6

7

6

7

6

5

6

5

6

5

6

8

9

6

8

6

8

8

6

8

8

9

6

8

9

8

6

7

8

7

8

B 7 B 7

5

6 8

5

8 5

6 8

5

6 8 6 8 6 8

5 5 5

6 6 6

7

8

7

8

7

8

6 6 6

7 7

b b b b b Ï b5 Ï B bbm7 Ï Ï

8 8 8

7

8

5

7

8

5

7

8 8 8

8

b B bmaj 7 Ï bn Ï B Ï nmajÏ 7

7

6 8

7

6 8

7

j Fm7 Ï j bÏ Ï bÏ Fm7 j Ï bÏ Fm7

4

5

4

5

4

5

Ï Ï Ï ä ÏJÏ Ï ÏÏ Ï Ï Î ä JÏ Ï Ï Ï Ï Î ä J Î

B maj 7

6 8

Ï

j ÏjÏ

6 6

6 8 6

6 6

6 8 6

6 6

6 8 6

b Bb7 j #Ï j Ï Bb7 #Ï Ï j #Ï Ï

Ï Ï Ï Ï Ï Ï Ï Ï Ï

6

8 6

8

9 8 6

6

8 6

8

9 8 6

6

8 6

8

9 8 6

b E b7 E bÏ 7

B 7

E 7

nÏ Ï nÏ Ï Ï nÏ Ï Ï

8

6

7

5

8

6

7

5

8

6

7

5

B m7 5

B m7

B m7 5

8 5 8 5 8 5

Ï Ï Ï ÏÏ Ï b Ï ÏÏ Ï ÏÏ Ï Ï Ï n Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï bÏ Ï Ï Ï Ï Ï Ï nÏ Ï Ï Ï Ï Ï bÏ Ï Ï Ï Ï nÏ Ï Ï Ï

5

7

8 7

5

7

8 7

5

7

8 7

8 8 8

8 8 8

6 6 6

5 5 5

5 8 6 5 8 6 5 8 6

8 8 8

5 5 5

7 8 7 8 7 8

5 6 8 5 6 8 5 6 8

nÏ bÏ n Ï bb ÏÏ bb ÏÏ n Ï b Ï ÏÏ ÏÏ Ï b Ï Ï ÏÏ Ï n Ï Ï nÏ nÏ bÏ nÏ bÏ Ï bÏ Ï Ï b Ï Ï Ï Ï nÏ Ï bÏ Ï bÏ Ï nÏ

B m7

Ï Ï b Ï Ï Ï Ï ÏÏ ÏÏ Ï Ï ÏÏ nn ÏÏ & b b ÏÏ b Ï Ï ÏÏ Ï Ï b Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï n Ï b Ï bÏ Ï Ï Ï

7

Ï

5

Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï 7

Ï

b b Ï B b7

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 6 8

6

6

B maj 7

8 5

5

9

B maj 7

8 5

6

6

6

b bÏ Ï Ï B bmajÏ 7

5

8

b B b 7j #Ï Ï B b 7j #Ï Ï j #Ï Ï

8

6

6

B 7

6 6

6

5

bÏ ä bÏ ä b Ï j Ï b Ï ä b JÏJ Ï ä b Ï Ï b Ï ä b ÏJ n Ï

8 10 9

8 10 11

6

b j CÏ bbmaj7 Ï ä j C bmaj7

8 10 9

8 10 11

6

˙ Ï ˙ bÏ bÏ Ï Ï j Ï ˙

Ï ˙ Ï ˙ Ï ˙

C maj7

8 10

b E b7 bÏ E b7

6

B m7 5

8

E 7

6

B m7 5

B m7

8

Ï Ï ÏjÏ ä j Ï Ï Ï Ï Ï j Ï b Ï ä Ï j b Ï Ï Ï ÎÎ ää ÏJÏ Ï Ï Ï j Ï bb ÏÏ ä Ï j b Ï Ï Ï Î ä JÏ Ï J

6

6 Double-Time: 1-bar bebop lines

9

8

8 10 11

11

Ex1c: Simple Melody: Connecting 3rds B 7 & 7ths Swing Ex1c: Simple Melody: Connecting 3rds B 7j & 7ths Swing #Ï B 7j Swing

E B E G B D G E A D B E A G E D A Ex2a: E

6

8

b b b bb Ï bÏ b B bbm7 Ï b5Ï

B m7

ä JÏ Ï ä JÏÏJ Ï b Ï ä JÏ Ï b Ï ä J b Ï J nd

11

Simple Melody: Connecting 3rds & 7ths

6

D maj7

ä Ï

b b Ï Ï j bÏ B bm7 Ï Ï j Ï Ï bÏ Ï Ï Ï j bÏ

Ï Ï Ï ˙ Ï Ï Ï ˙ Ï Ï Ï ˙ 6

9

8

Ex1b: Simple Melody: Moving a motif through changes B maj 7 E maj7 A maj 7 Swing Ex1b: Simple Melody:Swing Moving a motif through changes A maj 7 B maj 7 E maj7

Ï Ï

idea, albeit with the occasional rhythmic twist along the way, transposed through a cyclic sequence of Major 7 chords. eXAmpLe 1C ConneCTing 3rDs & 7Ths: If understanding verbs is the backbone of a language, then the understanding how 3rds and 7ths resolve is the backbone of jazz harmony. This swinging example based around the opening four bars to a jazz blues in Bb demonstrates how the 7th of Bb (Ab) drops down a semitone to the 3rd of Eb (G) and how this pattern of 3rd to 7th and 7th to 3rd continues to evolve over the ensuing bars.

E E B B G G D D A A E E

6 8

5 7 8

8

8 10

8 10 11

11

6

9

8

6 8

9

6 6

6 8 6

7

JAZZ SOLOING

Ex1c: Simple Melody: Connecting 3rds & 7ths

ExAMPlES 2A-2B double-time b

B 7 E b7 Bb7 Fm7 Bb7 E b7 ©È Á ª ¼ Swing j inb Ï bar 2 (A minor 7b5 to D7). Again, eXAmpLe 2A 1-bAr bebop Lines: A good understanding of which note (Cm7 to F7) and G to F# at the same place j Ï which j Ï is an extension j Ï and Ï slidesÏ to Ï assist j Ï withÏ speedÏ and jR-3-5-7), Ï Ï articulation. b 4a chord Ï Ï note j (9-11-13 Ï Ï watch constitutes tone (usually those slurs b Ï # Ï Ï # Ï # Ï Ï n Ï Ï phrase ä Î ä Ï b î Î ä b Ï b Ï etc) and which notes are tensions (chromatic passing tones along with scale eXAmpLe 2C minorisATion: Here we see how the same two-bar Ï Ï & 4 J tones a semitone higher than chord tones) will allow you to make sense of the can be harmonised with a staggering five different chords. This works as they

TRACK 14

thoughts behind these lines found here. While it is possible to pick every note, you might find it easier to get a greater sense of bounce, flow and speed if you follow the written indications for hammer-ons and pull-offs. E E eXAmpLe 2b ii v i ConneCTions: This phrase is essentially our 7th to 3rd B B 6 6 principle fleshed out with more harmonically appropriate notes insinuated G G 6 8 66 7 8 66 7 D D into the gaps. The main motion 5 beat 1, bar 1 6 here is from Bb to A at the6end of A A E E

Ex2a: Double-Time: 1-bar bebop lines

©È Á ª ¼ b & b 44

b

∑

8 5 6 8 5

6 8

5

6

7 8

b

7

5

xxxxxxxxxx

8

8

6

5

8

6

8

6

5

8

8

7

Ï Ï Ï bÏ Ï Ï Ï Ï Ï Ï Ï nÏ Ï Ï Ï Ï

5 7

8

8 7

8

6

8

5

5 8 6

5

8

5 6 8

7 8

nÏ bÏ Ï Ï Ï bÏ bÏ Ï nÏ bÏ bÏ Ï Ï Ï nÏ

B m7 5

Ï Ï Ï Ï nÏ b & b Ï bÏ Ï Ï Ï Ï bÏ Ï Ï Ï Ï 6

6

B 7

b b

B m7

5

b

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

B maj 7

Straight

E E B B G G D D A A E E

E E B B G G D D A A 2E E

all come from essentially the same equivalent scale, so C Dorian, F Mixolydian, Eb lydian and A locrian are all the same notes and they share common chord tones (C-D-Eb-F-G-A-Bb). C Dorian ideas also work against B ‘Altered’ as six of the seven notes are identical to the C Melodic minor (C-D-Eb-F-G-A-B) and 8 6 and 88 rub 9 against 8 6 B7, which for an altered the Bb adds an extra sense6of tension 66 7 8 8 66 7 5 chord is8pretty much exactly what you’re supposed to do. 8 5

nd

7

6

4

5

7

4

7

6

7

4

5

4

7

6

6

5

2 xxxxxxxxxx Ex2b: Double-Time: II V I connection

©È Á ª ¼ b4 & ©Èb bÁ ª44¼ &b 4

Cm7

Ex2b: Double-Time: II V I connection Straight Straight

Ï

b B bmaj7 Ï

F7

E B G E D B A G E D A E

7 10 10 11 11

Ex2c: Minorization

©È Á ª ¼ b & b b ©È444 Á ª ¼ &b 4

A m7 5

10 10

8 8

7

7

7

8 8

5

6

5

6

7 5

8 7

7 5

8 7

5

Straight

5

5

6 6

. . .

E B G E D B A G E D A E

7 8 7 8

9 9

7 7

10 10

10 10

8 8

10 10

7

8

7 10 7 10

8 8

8 8

7 8 7 8

5

6

4

5

6

4

4

5 5

8 11 8 11

10 11 10

9

8

10 11 10

9

8

©È Á ª ¼ b4

Cm7

3

2

3

3 3

11 8

9

10 8

11 8

9

10 8

Ex3a: Quotes: Bluesy Beethoven Ex3a: Quotes: BluesySwing Beethoven Cm7

2

5 5

jä nÏ j ä nÏ

5 5

2 2

Ï Ï Ï bÏ Ï Ï bÏ nÏ Play x5 Ï Ï Ï b Ï Ï Ï Ï Ï b Ï n Ï Ï Ï Ï n Ï b Ï Play x5.. Ï nÏ bÏ . .

Ï Ï Ï Ï Ï Ï Ï Ï .. Ï Ï n Ï Ï x5:Ï B7alt b Ï Ï Ï Ï Ï Ï .. Ï Ï n Ï Ï Ï Ï b Ï Ï Ï Ï Ï Ï Ï

x4: Amin7 b5

∑ ∑

7

8

b5 x5: B7alt b x4: x1: Amin7 Cm7 x2: F7 x3: E maj7

Straight

Gm7

4 5

x1: Cm7 x2: F7 x3: E bmaj7

Ex2c: Minorization

D7

F7bÏ D7 Ï nÏ Ï Ï Ï Ï Ï Ï b Ï Gm7 nÏ Ï Ï Ï Ï Ï b Ï n Ï Ï Ï Ï b Ï # Ï Ï Ï Ï Ï n Ï Ï Ï b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï bÏ nÏ Ï Ï #Ï Ï nÏ Ï Ï Ï Ï Ï Ï Ï

Cm7

∑ ∑

b A m7 b 5

B maj7

Ï

Ï #Ï Ï Ï Ï Ï nÏ Ï

10

9

8

10

9

8

. . .

August 2015 GuitarTechniques 39 G 7 Cm7 G 7 Cm7

G A D E A E

10 11 11

Ex2c: Minorization

8

10

8

7

7 5

8 7

5

5

6

7

©È Á ª ¼ play: JaZZ b ©È4 Á ª ¼

Straight

2 xxxxxxxxxx

5

6

5

4

3

5

5

2

5

CD TraCks 12-25 Ï Ï Ï ON b Ï THE Play x5 Ï Ï b Ï n Ï Ï Ï Ï b Ï Ï Ï Ï b Ï n ÏÏ ÏÏ Ï n Ï b ÏPlay x5. Ï n Ï b Ï .. . TRACK 16

Ï Ï Ï .. Ï ÏÏ n Ï Ï Ï Ï b Ï Ï Ï Ï ÏÏ Ï Ï ÏÏ Ï Ï Ï .. Ï n Ï Ï Ï Ï b Ï Ï Ï Ï

Ex2b: Double-Time: II V I connection

6

8 8

x1: Cm7 x2: F7 x3: E bmaj7 b5 x5: x1: Amin7 Cm7 x2: F7 B7alt x3: E bmaj7 x4: b x4: Amin7 5 x5: B7alt

Ex2c: Minorization

Straight ∑ & bb b 4 ∑ & 4 ExAMPlES 3A-3B QuoteS

10

eXAmpLe 3A bLuesy beeThoven: ‘Quotes’ are a frequently used deviceb eXAmpLe 3b The LiCK: Take look on YouTube for a video called ‘The b 5 a littledozens Cm7 melody at F 7strategic B maj7 lick’ and you’ll witness A m7 D 7 of jazz soloists Gm7 quoting the same, in jazz you to state a well-known E soloing that allows Straight 10 dozens 11 10and 9 8 B within your soloing in an intelligent, hip and often frequently amusing points or very close8variations of exactly the same It’s possible to start 8 11 11 melodic 8 9 idea. 10 8 E 10 locations 11 10 against 9 8 the harmony and this 7 several familiar 8this idea 7 8from different 10is exactly 9 8 what way.G The great guitarist Jim Mullen is well known7for8quoting B D 8 8 11 11 8 9 10 8 9 10 8 7 10 G melodies in his improvisational vocabulary at the7drop see a So don’t delay, you can add your own name to the 8 of a7hat. Here 8you see 7 here. 8 10 list 9 of8artists A 10 we10 D 9 10 8 7 10 using this simple but deceptively catchy idea. E familiar Beethoven refrain given the jazz treatment. A

©È Á ª ¼ b & b 44

. . bÏ . Ï Ï Ï Ï Ï Ï nÏ Ï Ï Ï Ï Ï Ï Ï bÏ nÏ Ï Ï #Ï Ï Ï bÏ nÏ Ï Ï nÏ j ä . Ï . . Ï

∑

10

E

10

Ex3a: Quotes: Bluesy Beethoven

©È Á ª ¼ ©È Á ª ¼ ∑ b 4 & bb b 4 ∑ & 4 Ex2c: Minorization E Ex3a: B G D A E

E B E G B D G A D E A E

Quotes: Bluesy Beethoven Cm7 Swing Cm7 Swing

©È Á ª ¼ b & b 44

8

10

7

6

7 5

4

5

2

3

G 7 Cm7 3 G 7 Cm7 5 2 5

Ï Ï n ÏÏ Ï î Ï Ï n ÏÏ Ï î Ï

Ï Ï 8 Ï 7b Ï 8 7Ï 8 Ï Ï b Ï n Ï Ï Play x5 Ï Ï Ï Ï Ï Ï Ï n Ï b Ï 8 7 10 8 Ï Ï Ï .. n Ï Ï Ï b Ï Ï Ï Ï .. 8 7 8 7 8 10 10 9 10 8 7 10 8 10 9 10 9 10 8 8 9 8 10 10 8 6 10 10 9 10 x4: Amin7 b5 x5: B7alt

Straight

∑

8 11

10 9 10 9 10

. Ï Ï .ÏÏ ÏÏ Ï Ï C m7

# Ï j 9Ï #Ï Ï

C m7 7 8 j

Swing

∑ ∑

8 11

7

Ex3a: Quotes: Bluesy Beethoven E B E G B D G A D E A E

Ï # Ï Ï Ï Ï n5Ï Ï 8 7 j ä Ï 5 Ï 6 ä 7 Ï 6 Ï 5 4Ï Ï Ï b Ï Ï Ï Ï jn Ï ä JÏ JÏ ä 8# Ï Ï Ï n Ï Ï Ï bÏ Ï Ï Ï nÏ J J

5

x1: Cm7 x2: F7 x3: E maj7

E Ex3b: Quotes: 'The Swing Lick" B G D A E

8

Ï # Ï Ï 11 Ï 10 Ï Ï Ï n Ï Ï #Ï Ï Ï Ï Ï nÏ Ï b

Ex3b: Quotes: 'The Lick"

©È Á ª ¼ ©Èb Á ª ¼ & bb b 44 & 4

7

©È Á ª ¼ Swing b ∑ & b 44

8

8

9 8

11

11

9

9 10

j 8 78 Ï 10Ï 10 8ä 10Ï j7Ï 10Ï # Ï j Ï Ï Ï Ï ä Ï Ï Ï #Ï j Ï Ï Ï Ï 8

10 8

8 11

10 11 10

ä Ï jÏ Ï ä Ï jÏ Ï

9

j #Ï j Ï #Ï Ï

8

b b

Cm7

Cm6/7 8 ÏÏ 9 ÏÏ 8 . ÏÏ 10Bm6/7 n Ï 10 Cm6/7 # Ï ä bb ÏÏ nn # #n ÏÏÏ ÏÏÏ ÏÏÏ Î . ä ÏÏ n # Ï ÏÏ ÏÏ Î b JÏ n Ï J

B m6/7 11 8 9 B m6/7

Ï nÏ Ï nÏ

6

Bm6/7

G 7 Cm7

6 7 8 6 7 8 Ï Ï Ï # Ï Ï n Ï 6 Ï Ï 7 8 10 7 7 8 Ï Ï Ï 6 7 nÏ 7 8 Ï nd ä ä î 10 8 7 8 7j 5 5 6 10 Ï Ï b Ï n Ï J Ï Ï 7 #8Ï 10Ï 7 6 7 Ï n Ï Ï Ï 10 8 5 J 6 8 5 4 5 Ï 8 6 Ï Ï Ï 10 8Ï 7 8 10 7 5 5 6 7 6 8 6

6

6

6

10

4

8 5

6

8

4

5

6

Ex4a: Coltrane/Alt: 'Countdown/Giant Steps' changes

E Ex4a: Coltrane/Alt: 'Countdown/Giant Steps' changes ExAMPlES 4A-4E ChanGeS/altered ‘out of SpaCe’F 7 B Cm7 ©È Á ª ¼Coltrane Swing

ww ∑ b bb 44©È Á ª ¼ & ww of three key major 3rds, usually in place of a long∑II-V-I and taking the form b & 4 centres a major 3rd apart. So, in Bb we may begin as we might usually expect w G Cm7 chords are a D eXAmpLe 4A Three KeySwing CenTres ConCepT: The ‘Coltrane’ 10keys 9 in 10a descending 9 10 8 8 set ofA resolutions going around the clock of pattern of E 8 11

4

8

5

6

b b

TRACK 18 8 7 8 7 8 B maj7 8 7 10 8 F 7 B maj7 against a dominant 7th when you’re looking to create a10sound9that10both 10 9 8 touches 9 10on those important chord tones (R-3-5-b7, along with 10 8a natural 6 11

ww ww w 6) and colourswthis with some slightly dissonant w (b2-#2-b5). Its w means you can cycle a line upwwextensions symmetrical nature or down in both b3rd (three

withEx3b: Dm7, Quotes: but before we hit F7 we’ll go via the key of Gb (in this case with V7 frets) and b5th intervals (seven frets). The scale and phrases here are derived 'The Lick" to I: Db13 to Gbmaj7), then down a major 3rd to D (again via a V7 to I: A7 to from the Bb Half-whole tone against a 13b9 tonality and can be used in both Bm6/7 m7 naturally by our originally B bto m6/7 D) and major 3rd to Bb,Cbut non-functioning (static) and functioning (V7 I) scenarios. Cm6/7 Swing E finally down another B intended but now rather late F7. eXAmpLe 4D ALTereD sCALe in ConTeXT: We look to mode VII of Melodic j 8 E G 7 eXAmpLe 4b TriTone i vi ii v wiTh TeTrAChorDs: on this minor otherwise known as j for this87idea, giving us the Superlocrian mode, B # Ï A variation D 8 7 #the Ï ‘Altered’ scale G 7 is usually used over a V7 8 bar the I with ideaA is the ‘Tritone’ I-VI-II-V idea. We substitute all the chords (R-b2-#2-3-b5-#5-b7). This sound j 8 D 7 where each of# these 7 E 7th six frets away, so that our initial Bbmaj7-G7-Cm7-F7 Ï 8 becomes 6 to I resolution, additional tension notes (b2/#2, b5/#5) a major A 8 E attaches itself to one of the notes in the destination Bbmaj7-Dbmaj7-Gbmaj7-Bmaj7 before usually resolving down 6 home chord. In this 8 a semitone instance we initially see just the intended scales, forming a pattern of inside to Bb. Major Tetrachords are four-note structures (R-2-3-5) closely related to (or non-altered), outside (altered) and finally inside again for C Dorian, F Pentatonic scales but given the eighth-note nature of jazz lines, often with E 6 following 7 8line shows Altered and Bb Ionian or Major scale respectively. The four Bnotes per chord, these can be used to spell a chord our more explicitly. 6 7 8 this transition from scale to scale in a musical scenario. Take HereGwe see them in their most basic form. 7 8 10 6 7 6 7 note 8 at how, once D 10 jAzz CLiChés: 8The Half-Whole 7 8 10 again, 6 7 smooth connected voice 5 leading from scale 5to scale6plays7 a big part in eXAmpLe 4C hALf-whoLe sCALe wiTh A 10 8 5 6 8 4 5 4 5 6 the believability of the lines. symmetrical diminished scale (1 fret, 2 frets, 1 fret, 2 etc) is a great choice E 6 8

©È Á ª ¼ b & b 44

Ï Ï Ï Ï

∑

Ï Ï Ï

j ä Ï Ï Ï

ä jÏ Ï Ï

Ï Ï Ï

Ex4a: Coltrane/Alt: 'Countdown/Giant Steps' changes

©È Á ª ¼ b & b 44

Swing

E B G D A E

40 GuitarTechniques August 2015

∑

Cm7

ww w

F7

8 8

8 7 8

8

ww w

Ï Ï nÏ

ÏÏ # n ÏÏ ÏÏ ä b ÏÏ n # ÏÏ ÏÏ bÏ n Ï Ï J

b

B maj7

ww w 7 7 6

ÏÏ

Ï

ÏÏ

Î

JAZZ SOLOING 3 3

ExAMPlES 4A-4E Coltrane ChanGeS/altered ‘out of SpaCe’ ...CONTINUED

bb bb & & E E B B G G D D A A E E

bb

C m7 C m7

bb

D 13 D 13

G maj7 G maj7

˙ bb ˙˙˙ bb ˙˙

˙˙ ˙˙ ˙˙ 8 8 8 8 8 8 8

A13 A13

bb ˙˙ bb ˙˙˙˙

11 11 10 10 9 9 9 9

## ##n ˙˙˙ n ˙˙ ˙

9 9 10 10 8 8 9 9

bb

∑∑

E E B B G G D D A A E E

nn ˙˙˙˙ ˙

˙˙ ˙˙˙ 7 7 7 7 6 6

bb

G maj 7 G maj 7

bb bb ˙˙˙˙ b & & b bb ˙˙ E E B B G G D D A A E E

9 9 10 10 8 8 9 9

6 6

Ex4c: Coltrane/Alt: Half-Whole scale with jazz cliches Ex4c: Coltrane/Alt: Half-Whole scale with jazz cliches B 13 9 Swing B 13 9 Swing

bb bb nw

b b

E E B B G G D D A A E E

9 9

7 7

8 8

6 6

6 6

9 9

9 9

5 5

6 6

3 3

7 7

6 6

D maj 7 D maj 7

8 8 8 8 8 8

8 8 7 7 8 8

6 6 7 7 7 7 6 6

9 9 10 10 10 10 9 9

8 8

bb

˙˙˙ ˙˙

bb

G maj 7 G maj 7

ÏÏ bb ÏÏ

ÏÏ 6 6

9 9

6 6

8 8

6 6

3 3

7 7

7 9 10 7 9 10

8 10 8 10

6 6

8 8

9 9

6 6

7 7

9 9

9 9

6 6

6 6

7 7

8 8

9 9

9 9

6 6

6 6

6 6

7 7

8 8

6 6

9 9

9 9

3 3

8 8

9 9

6 6

3 3

3 3

3 3

ÏÏ ## ÏÏ 7 7

8 8

3 3

7 7

9 9

7 7

bÏ nÏ ÏÏ ÏÏ nn ÏÏ ÏÏ bb ÏÏ b Ï n Ï

n ÏÏ ÏÏ bb ÏÏ nn ÏÏ ÏÏ bb ÏÏ ÏÏ b Ï n Ï n Ï n Ï b Ï n Ï bb ÏÏ Ï nÏ 3 3 3

6 6

8 8

3 3

bb bb

3 3

bb ˙˙ ˙ bb ˙˙˙

˙˙ ˙˙ ˙˙

bÏ nn ÏÏ ÏÏ ÏÏ bb ÏÏ ÏÏ nn ÏÏ b Ï ÏÏ bb ÏÏ Î Î

3 3

3 3

bb

ÏÏ bb ÏÏ nn ÏÏ ## ÏÏ

6 6

9 9

ww ww w

B maj 7 B maj 7

bb ÏÏ bb ÏÏ

B 7 9 B 7 9

3 3

8 8

B maj7 B maj7

ÏÏ nn ÏÏ bb ÏÏ nn ÏÏ b Ï Ï Ï b Ï ÏÏ nn ÏÏ bb ÏÏ nn ÏÏ nn ÏÏ Ï Ï 3 3

bbb ÏÏ b n Ï Ï b Ï b Ï bb n Ï Ï ÏÏ b Ï b Ï nn ÏÏ ÏÏ ÏÏ ÏÏ bb ÏÏ n Ï b & nÏ &b 3 3 3

F7 F7

B 7 9 B 7 9

B 7 9 B 7 9

3

nd

ÏÏ bb ÏÏ

ÏÏ

8 8

7 7 8 8 7 7 6 6 6 6

E E B B G G D D A A E E

Cm7 Cm7

bb

bb bb

nn ww bb www ww

∑∑

1 1 2 2 0 0 1 1

D maj 7 D maj 7

ÏÏ

ÏÏ

7 7 8 8 8 8 7 7

©È©È ÁÁ ªª ¼¼ b bb b 444 & & 4

3 3 2 2 1 1 1 1

10 10 9 9 10 10

bb

## ˙˙˙˙ ˙ nn ˙˙

5 5 6 6 4 4 5 5

˙˙ ˙˙ ˙˙

˙˙ ˙˙˙

B maj 7 B maj 7

Bmaj 7 Bmaj 7

B maj 9 B maj 9

## #nn ˙˙˙ # ˙˙

G7 G7

bb

F13 F13

7 7 6 6 5 5 5 5

Ex4b: Coltrane/Alt: Tritone I VI II V with Tetrachords Ex4b: Coltrane/Alt: Tritone I VI II V with Tetrachords B maj 7 B maj 7 Swing Swing

©È©È ÁÁ ªª ¼¼ b bb b 44 & & 4

Dmaj 9 Dmaj 9

TRACK 18

9 9

6 6

6 6

3 3

7 7

8 8

9 9

9 9

6 6

ÎÎ

10 10

August 2015 GuitarTechniques 41

play: JaZZ

ON THE CD

TraCks 12-25

4 xxxxxxxxxx 4 xxxxxxxxxx

ExAMPlES 4A-4E Coltrane ChanGeS/altered ‘out of SpaCe’ ...CONTINUED Ex4d: Coltrane/Alt: Altered scale in context Ex4d: Coltrane/Alt: Altered scale in context Cm7 F7 b 9 Straight Cm7 F7 b 9 4 xxxxxxxxxx Straight

©È©È ÁÁ ªª ¼¼ ˙˙ bb ˙˙ bb bb 44 ∑∑ ˙˙ ˙˙ & & 4 Ex4d: Coltrane/Alt: Altered scale in ˙ ˙context ˙b ©È Á ª ¼ Straight Cm7 F7 9 ˙˙ b ˙˙ b4 b ∑ ˙88 ˙˙787 & 4 ˙88 7887 E B E G B D G A D E A 4 E

8 8

xxxxxxxxxx

E

C m7

b &b Ï

Ï

C Dorian C Dorian

B bmaj 7

C Dorian

ww ww ww

ÏÏ ˙˙ bb ÏÏ b ˙˙ÏÏ ÏÏ ˙ ˙˙ ˙ Ï bÏ Ï Ï 7 6 5

Ï

6 6

Ï ÏÏ bb ÏÏ ## ÏÏ ÏÏ Ï

ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï b

B Ionian

F 'Altered'

8 5 6 8 8

6 F77alt F77alt B bmaj 7 6

bÏ ÏÏ ww b Ï bb ÏÏ bb ÏÏ ÏÏ ÏÏ w Ï Ï Ï Ï walt F7 Ï bÏ bÏ bÏ Ï Ï 7 9 6 6

5 6 8 C8Dorian

b ©È©È ÁÁ ªª ¼¼ b b ## ÏÏ Ï ÏÏ # Ï Ï ∑∑ bb b 44 & Ï n Ï & b4 Ï bshape' Ï Ï Ï ntransposed Ï Ï Ï Ï b#Ï Ï bÏ Ï Ex4e: Coltrane/Alt: Ï Ï 'digital & b Ï Ï Chromatic Bb6 ©È Á ª ¼ Straight b #Ï Ï ∑ & b 44 Ï n Ï 66 Ï 77 # Ï6 Ï7

E B E G B E D G B A D 6 7 8 G 7 6 6 57 E A D 5 8 8 87 E A 5 6 E Ex5a: High Notes: Jim Hall/Mike Stern tremolo pick E Ex5a: High Notes: Jim Hall/Mike Stern tremolo pick B B 13 9 G 7 Ex4e: Coltrane/Alt: Chromatic B transposed 13 96 Straight 'digital shape' D Straight A 6 7 8 B 6 E Straight

ÏÏ bb ÏÏ ## ÏÏ

B b Ionian B b Ionian

Ï Ï6 Ï b Ï # Ï Ï Ï Ï Ï Ï Ï b Ï # Ï 6 5 Ï Ï5 Ï6 Ï8 55 77 88 5 Ï8 9 66 77 99 6 88 6 Ï Ï Ï5 Ï6 Ï8 Ï55 77 88

E B E G B E D G 5 8 8 78 6 B 75 A D 5 6 9 5 8 8 76 9 6 G 8 8 7 E A 5 6 9 D 8 7 7 E A 8 E 8 6 Ex4e: Coltrane/Alt: Chromatic 'digital shape' transposed E eXAmpLe ChromATiCChromatic ‘DigiTAL shApe’ TrAnsposeD: We leave this B 4e Coltrane/Alt: Ex4e: 'digital shape' transposed 7 lick 6Bbased section G with a beautifully bonkers chromatic 6 5 on a group of five Straight D 5 8 8 7 9 6 B 6 notes moving both across the A 5 Straight 6 strings and along the fretboard chromatically 9 F7 else alt remotely m7 to scale type, chord tones or anything E with practically no Cregard

Ï

F 'Altered' F 'Altered'

Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï

ww6 w67 w77

8

B 8 7 G Ex4d: Coltrane/Alt: Altered scale in context 8 8 C m7 D 8 7 C m7 A Cm7 F7 8b 9 E 8 Straight

bb bb©È Á ª ¼ Ï Ï ÏÏ & Ï & b Ï & b 44Ï Ï ∑

B bmaj 7 B bmaj 7

TRACK 18

6 9

8

8

b # b #

6 8

9

6 5 6 8 B6b Ionian 8

5 7 8

ÏÏ Ï Ï b ÏÏ # Ï ÏÏ Ï bbÏ ÏÏ ÏÏ bb ÏÏ ˙˙ Ï Ï Ï Ïb b Ï Ï # Ï Ï Ï Ï Ï Ï Ï Ï B maj7

ÏÏ b Ï Ï Ï bÏ Ï Ï Ï bÏ 9

Ï Ï Ï Ï Ï7 b Ï6 Ï5 b Ï ˙ 8 5 6 8 9 8 7 66 5

8 6 9 5 8 5 9 7 89 5 6 8

8 8

5 6 67 9

6 8 98

6 8

9 8 5 7 8 5 6 8

harmony orientated. Rhythm and resolution however are absolutely vital with ideas of this nature, so it pays to have a clear exit strategy in mind - a really 6 7 6 5 solid 8 and secure 9 good note 8 to aim 5 for, 6 along 8 with a clear rhythmic 9 8 thrust and bmaj7 9 Band sense of commitment intent.

8 8

9

5 B bmaj7 6 7 B bmaj7 8 9 F 'Altered'

5 7 8

ÏÏ

Ï #Ï bb ÏÏ nn ÏÏ Ï ÏÏ # Ï ÏÏ nn ÏÏ Ï Ï Ï Ï Ï bÏ Ï Ï #Ï 8 bÏ nÏ 8 Ï 9 Ï nÏ

ÏÏ Ï ## ÏÏ Ï ÏÏ n Ï nd Ï ÏÏ Ï n Ï bÏ Ï Ï Ï bÏ Ï6 Ï # Ï7 Ï Ï7 n Ï Ï 7 6 7

7 6

6 8 5 6 8 6 8

9

7 7

8

8 8

6

8

9 9

9

9 9

8 8

8

9

5

B bm11 b 8B m119

8

6

9

10 10

8 8

7

8

9 9

ÏÏ Ï ## ÏÏ ÏÏ .. Ï Ï bÏ ˙ Ï #Ï Ï . 8 Ï 9 10 8 9 10 10 10

6

5 8

9

ÎÎ Î

8

9 10

©È©È ÁÁ ªª ¼¼ ## ÏÏ ÏÏ ÏÏ ÏÏ 6 ÏÏ 7 ÏÏ ÏÏ 8 ÏÏ 7ÏÏ 8ÏÏ ÏÏ 9 ÏÏ b ## ÏÏ ÏÏ ÏÏ 10 ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ b b Ï #Ï Ï . b ÏÏ ÏÏ ©Èb bÁ ª 44¼ .. b ÏÏ .. Ï ∑ & Ï Ï # Ï b ∑ Ï # Ï Ï Ï . . b Ï Ï b Ï n Ï & b Notes: 44 Jim Hall/Mike # Ï 3 Ï Ï # Ï 33Ï Ï 3 Ï Ï 33n Ï b Ï n Ï 3 Ï 33 Ex5a: High pick 3 Î 3 ∑ Stern tremolo TRACK 20 & 5A-5B ExAMPlES hiGh noteS 3 3 3 Ï BnbÏ13 # 9 3 B bm11 3 ©È Á ª ¼ Straight eXAmpLe 5A jim hALL/miKe sTern TremoLo piCKing: AsÏ theÏ clean eXAmpLe 5bÏ bb King high ToniC Q&A: IÏ know we’re talking about jazz # Ï Ï Ï Ï Ï Ï Ï Ï Ï # Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï b Ï Ï toned jazz electric guitar lacks in sustain and high projection, it’s often a good soloing here, but surely there’s always room for a9little more BB King in our Ï Ï 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 b Ï Ï Ï9 playing. .... b ÏÏ8978 This9 idea9 comes idea to support bhigh4notes with underlying tones. absolutely 9 9 loves 9 9 9 Ï8 9 9 George 9 9 Benson 9 9 9him9and9 has9 taken 9 more 9 9than 9 a little 9 .. 4 although he∑attributeschord 8 8 7 8 from listening to him. This idea 9 balances a high tonic8 9shout out, .. again from & Mike Stern the concept to the great archtop or question, 9 10 6 6 . 7 8 8 7 E B E G B E D G B A player Jim D Hall. The trick is to tremolo pick the constant6note on the first3 G 63 7 E A string while adding rhythmic and harmonic interest by stabbing at chords D 6 7 E A 7 8 B3 players. appropriate rhythmic places, like many of the great6 Hammond E Ex5b: High Notes: B.B. King high tonic Q&A 9 9 9 9 9 E Ex5b: High Notes: B.B. King high tonic Q&A 8 B B 7 G Ex5a: High Notes: Jim Hall/Mike Stern tremolo pick B 7 7 Swing D 6 A Swing B 13 9 E Straight

.

6

7

7

8

8

9

8

9

10

6

3 7 a lower 7bluesy 8 8 9King’s 3 trademark 3 around 3 box 3 major/minor answer based 6 with 8 9 10 3 with the root found on the second string; shape ideas like this are simple but 8 7 8 9 8 9 10 etc etcremarkably effective when inserted into a more jazzy context. 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 8 9 9 7 8 8 6 B bm11 j

in

≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤

b. √ ©È©È ÁÁ ªª ¼¼ j j˙ ~~~ √À j ˙˙b. b # j ~~ j˙ À Ï ~~~ b j 4 b Ï b Ï ©È Á ª ¼ Ï Ï Ï Ï Ï j j À À Ï # ≥ÏÏ ää Ï≤Ï ≥bÏ ÏJ ≤Ï Ï ≥Ï ÏÏ Ï≤ Ï etcÏÏ Ï Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï Ï Ï j ää b # ÏÏ Ï Ï ää Ï Ï bÏ ÏJ Ï Ï ÏÏ ÏÏ Ï JÏ ÏÏ ~~Ï ÎÎ Ï îî Ï bb b 4 ∑∑ & Ï & b4 Ï ÏÏ Ï J J Ï J .. b ÏÏ Ex5b: High & b 4Notes: B.B. King∑ high tonic Q&A 3 B b7 3 3 3 3 3 3 3 √ ©È Á ª ¼ Swing j˙ j˙ 3 BU BD 3 BU BD ~~~ ~~ ~~~ ~~ j j À À Ï BD BD BU BU ~~ 18 b X 18 ∑ ä Ï b((1414ÏJ )) ((1313Ï )) 1111Ï 1313Ï 12Ï 1111Ï 1111Ï ~~~Ï 12Ï j ä XX 1818 ä Ï b((1414ÏJ ))((1313Ï )) 1111Ï 1313J 1111Ï Î î & b 44 X 9 9 9 9 9 9 9 129 9 9 9 12 9 9 9 9 9 9 9 9 9 9 9 9 9

E B E G B E D G B A D G E A D E A E E B G Ex5b: D A E

. .

18

X 42 GuitarTechniques AugustB.B. 2015King high tonic Q&A High Notes:

©È Á ª ¼

Swing

√

B b7

13 13

8 7 6

13 13

8 7 6

≥ ≤ BU≥(14BD)≤(13≥) 11≤ 13

etc 13

9 8

~~~

12

11 11

12

X

9 8

18

BU BD 13 ( 14 ) ( 13 ) 11

3

13

~~

11

. . .

..

. .

©È Á ª ¼ b & b 44

b #

∑

. .

9 8

9

9

9

9

9

9 8 7 6

≥ ≤ ≥ ≤ ≥ ≤

Ex5b: High Notes: B.B. King high tonic Q&A

√jB˙b7

Swing

À

∑

E B G D A E

X

ä Ï

9

9

9

3 JAZZ SOLOING

3

9

9

9 9 8

9

9

9

9

9

9 9 8

9

9

9

9

9

~~~ Ï Ï Ï Ï Ï Ï jä

j bÏ

J Ï Ï

13 ( 14 ) ( 13 ) 11

13

j À ˙

~~~

12

11 11

X

12

ä Ï

Ï ~~ JÏ Î î

j bÏ

J Ï Ï

3

BU BD

18

. .

TRACK 20

etc

BU BD

18

3

3

3

7 ExAMPlES 5A-5B hiGh noteS ...CONTINUED 6

©È Á ª ¼ b & b 44

b # ÏÏÏ Ï Ï Ï Ï Ï ÏÏÏ Ï Ï Ï Ï Ï .. B m11

3

3

3 E B G D A E

b

# ÏÏ Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï ÏÏ .. b ÏÏ B 13 9

Straight

13

13 ( 14 ) ( 13 ) 11

~~

11

ExAMPlES 6A-6B blueS

TRACK 22

eXAmpLe 6A grAnT green: Anyone who says that Pentatonic and Blues scales don’t have a place in jazz clearly hasn’t heard Grant Green, or indeed Kenny Burrell. This idea utilises minor Pentatonic (R-b3-4-5-b7), Blues scale (R-b3-4-b5-5-b7) and natural minor scale (A-B-C-D-E-F-G) to create a swinging 5 and bouncy line that mixes single lines with double-stops.

eXAmpLe 6b benson bLues: While best know for his super-fast and clean bebop lines and his amazing scat singing, make no mistake, George Benson is also a mean blues player, so let’s finish our examples with a funky bluesy line drawing predominantly from the Bb minor Pentatonic (R-b3-4-5-b7), with a couple of choice additions, the major 3rd (D), and the natural 6th (G).

5 Ex6a: Blues: Grant Green Blues

©È Á ª ¼ b & b b ©È444 Á ª ¼ &b 4

N.C.

Ex6a: Blues: Grant Green Blues Straight

j N.C. n Ï Î j nÏ

Straight

∑ ∑

Î

b j B b7 n Ï Ï Ï jÏ nÏ

Ï ä bÏ bÏ Ï bÏ Ï JÏ b Ï b Ï Ï b Ï nd b Ï ä Ï J bÏ Ï 3 8

9 10

b Ï Î b ÏÏ b b ÏÏ & b b Ï Î &

ÏÏ Ï ÏÏ Ï bb ÏÏ Ï Ï ä ä

j bÏ j bÏ

9 8

8

9 10

5

6

9 8

6

8

6

8

8

6

8

5

6 6

Ï Ï Ï bÏ Ï bÏ Ï Ï Ï bÏ Ï ÏJ Ï Ï bÏ Ï bÏ Ï Ï bÏ Ï J Ï Ï Ï 3

9

6

9

6

b E b7 E 7

Ï Ï Î Ï Ï Î

3

3

3

4 6 4 6

4 6 4 6

Ex6b: Blues: Benson Blues

©È Á ª ¼ b & b b ©È444 Á ª ¼ &b 4

Ex6b: Blues: Benson Blues Straight Straight

∑ ∑

8 8

6 6

8

9 11

9

9 11

9

11 11

9 9

6 6

7 6 7 6

8

b j B bÏ 11 b Ï j Ï bÏ B 11

Ï Ï bÏ Ï Ï Ï Ï Ï b Ï Ï Ï Ï ÏÏ 3

8 8

j nÏ Ï j nÏ Ï

5

6 5

5

6 5

Ï

j Ï Ï bÏ j Ï Ï bÏ

Ï

8 8

5 5

5

6

9

9

6

6

10 9

10 9

6

10

10

Ï bÏ Ï Ï Ï bÏ Ï Ï bÏ Ï Ï Ï bÏ Ï Ï Ï 3 3 6

7 6

6

7 6

ÏÏ Ï Ï Ï Ï Ï Ï Ï

j #Ï Ï j #Ï Ï

Ï

Ï

8

5

6 5

8

5

6 5

8

9

6

8

9

6

8 8

6 6

6 6

8 6 8 6

8 8

9 10 9 10

11 11

9 9

11 8 11 8

11 8 11 8

10 10

8

6

8 6

8

6

8 6

Î

î Î

Ï

î

8

5

8

5

3

j Ï Ï j Ï Ï

3 E B G E D B A G E D A E

9 6

3

5

Ï

9 6

Ï

3

3 3

Ï. Ï bÏ ÏÏ . Ï b Ï Ï Ï b Ï Ï Ï Ï Ï Ï bÏ Ï Ï

3

E B G E D B A G E D A E

E B G E D B A G E D A E

bÏ. b ÏÏ . Ï

bÏ Ï Ï Ï bÏ Ï Ï Ï

B 7

6

7

8 6 7

6

7

8 6 7

Ï Ï3 Ï Ï Ï Ï Ï Ï 8 8

Î

j #Ï Ï j #Ï Ï

Î

8 6

4

5

8 6

4

5

August 2015 GuitarTechniques 43

play: JaZZ

ON THE CD

TraCks 12-25

COHESIVE STUDY: the perfeCt jazz Solo!

TRACK 24

[bars 2-9: simple melodies] We begin our solo study with a collection of simple melodic ideas that fit each chord perfectly by connecting those crucial 3rd and 7th intervals in a logical and cohesive way. When approaching writing 6 xxxxxxxxxx a melody, you could do a lot worse than just writing down all the notes in each 6 xxxxxxxxxx chord6and look at the results for a second to see if you spot any connections. xxxxxxxxxx like everything you practise, familiarity with the common moves comes with 6 xxxxxxxxxx Complete 6 xxxxxxxxxx time so be patientSolo: with your studies and you shall reap rewards. Solo: [barsComplete 10-13: Double-Time] From a scale perspective, we’re looking at Bb Ionian Complete Solo: B bmaj 7 E bm7 Swing (Bb-C-D-Eb-F-G-A) for both Bbmaj7sA1here, Eb Dorian (Eb-F-Gb-Ab-Bb-C-Db) Complete Solo: j A1 B bmaj 7 E bm7 Complete Solo:Swing b bÏ j

E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E

E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E

E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E

E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E

E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E

©È©È ÁÁ ªª bb ©È©Èbb 44ÁÁ ªª & & bb ©Èbb 44Á ª & b & & b 44

1 1 1 1 1

6 6 6 6 6

¼¼ ¼¼ ¼

∑∑ ∑∑ ∑

ÏÏ ÏÏ b n Ï bb b n Ï Ï ÏÏ & & bb bb nn ÏÏ ÏÏ Ï & b nÏ & &b C7 C7 C7 C7 C7

9 9 9 9 9

8 8 8 8 8

ÏÏ

ÏÏ

10 10 10 10 10

10 10 10 10 10

ÏÏ

ÏÏ

Ï

8 8 8 8 8

10 10 10 10 10

ÏÏ ÏÏ Ï Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ & bb b Ï ÏÏ Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ & b Ï & Double-Time & b 2:2:2: Double-Time Double-Time 8 Double-Time 5 6 8 5 2: 8 Double-Time 5 6 8 5 2: 8 5 6 8 5 8 5 6 8 5 8 5 6 8 5

bmaj7 bmaj7 b b ÏÏ maj7 ä bb b bbmaj7 ä b maj7 B B B B B

& & bb b ÏÏ ää & b Ï ä & &b 12 12 12 12 12

7 7 7 7 7

6 6 6 6 6

8 8 8 8 8

ÏÏ ÏÏ ä ÏÏ ÏÏ ää Ï Ï ää 8 8 8 8 8

6 6 6 6 6

8 8 8 8 8

bb nn ÏÏ ÏÏ ÏÏ ÏÏ bb ÏÏ jjj nn ÏÏ b & bb b n Ï ÏÏ ÏÏ ÏÏ b Ï j n Ï & bÏ j nÏ & Ï Ï'The Ï Lick' bb bb nn3:ÏÏ Quotes bÏ nÏ & & 3: Quotes 'The Lick' 3: Quotes 'The Lick'

14 14 14 14 14

44 GuitarTechniques August 2015

6 6 6 6 6

8 8 8 8 8

5 5 5 5 5

7 7 7 7 7

6 6 6 6 6

8 8 8 8 8

6 6 6 6 6

5 5 5 5 5

10 10 10 10 10

6 6 6 6 6

5 5 5 5 5

7 7 7 7 7

7 7 7 7 7

5 5 5 5 5

10 10 10 10 10

Î

7 7 7 7 7

b9 b9 b 9b Ï nn ÏÏ bb 99bb ÏÏ

G7 G7 G7 G7 G7

ÏÏ

10 10 10 10 10

8 8 8 8 8

ÏÏ

bm7 bm7 bm7 ÏÏ bm7 bm7 Ï

7 7 7 7 7

9 9 9 9 9

9 9 9 9 9

9 9 9 9 9

6 6 6 6 6

ää

6 6 6 6 6

8 8 8 8 8

ÏÏ Ï

7 7 7 7 7

7 7 7 7 7

ÏÏ Ï ÏÏ ÏÏ Ï ÏÏ 10 10 10 10 10

8 8 8 8 8

8 8 8 8 8

10 10 10 10 10

B B B B B

bmaj 7 bmaj 7 bmaj 7 bmaj ÏÏ 77 ÏÏ bmaj

7 7 7 7 7

10 10 10 10 10

7 7 7 7 7

7 7 7 7 7

bm7

bbbbm7 ÏÏ m7 bbbbm7 ÏÏ m7 bÏ

E E E E E

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏÏ Ï Ï Ï 5 5 5 5 5

8 8 8 8 8

6 6 6 6 6

9 9 9 9 9

9 9 9 9 9

bb ÏÏ bb ÏÏ bÏ

8 8 8 8 8

bÏ bbb ÏÏÏ bÏ

ÏÏ Ï Ï # Ï ÏÏ ÏÏ ÏÏ ## ÏÏ Ï ÏÏ ÏÏ ## ÏÏ 9 9 9 9 9

7 7 7 7 7

7 7 7 7 7

10 10 10 10 10

ÏÏ

B B B B B

Ï 6 6 6 6 6

6 6 6 6 6

8 8 8 8 8

bmaj 7 bmaj 7 bmaj ˙˙ 7 bmaj bmaj ˙ 77

5 5 5 5 5

6 6 6 6 6

ÏÏÏ nn ÏÏ ÏÏ ÏÏ nn ÏÏ ÏÏ nÏ Ï

### ÏÏÏ ## ÏÏ 8 8 8 8 8

˙˙

5 5 5 5 5

7 7 7 7 7

7 7 7 7 7

ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï

ÏÏ 7 7 7 7 7

6 6 6 6 6

bÏ bbb ÏÏÏ bÏ

nn ÏÏ ÏÏ nn ÏÏ ÏÏ nÏ Ï 8 8 8 8 8

8 8 8 8 8

Ï ÏÏ # Ï ää .. ÏJÏJ ÏÏ ## ÏÏ ÏÏ bb ÏÏ ää .. ÏJÏJ Ï ## ÏÏ ÏÏ ä . J

ÏÏ

b7 b7 bÏ 7 bÏ 7 bÏ 7

9 9 9 9 9

10 10 10 10 10

b9 b9 b9 b Ï Ï bb 99 bb ÏÏ

nn ÏÏ ÏÏ Ï Ï n ÏÏ Ï Ï n ÏÏ Ï ÏÏ Ï n Ï 7 7 7 7 7

8 8 8 8 8

9 9 9 9 9

F7 F7 F7 F7 F7

8 8 8 8 8

A A A A A

9 9 9 9 9

9 9 9 9 9

JÏ ää JÏJÏJ ä J

Ï Ï ÏÏÏ ÏÏ ÏÏ ÏÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï Ï Ï Ï ÏÏ Ï

10 10 10 10 10

Ï Ï ÏÏ ÏÏ ÏÏ ää ÏÏJ nn ÏÏ b Ï ÏÏ ÏÏ ÏÏ ää ÏJÏJ nÏ Ï ä JÏJ

G7 G7 G7 G7

10 10 10 10 10

8 8 8 8 8

Ï Ï ÏÏÏ ÏÏ Ï ÏÏ

bb ÏÏ bb ÏÏ bÏ

ÏÏ bb ÏÏ Ï bÏ ÏÏ ÏÏ bb ÏÏ

ää

7 7 7 7 7

Cm7 Cm7 Cm7 Cm7 Cm7

JÏ ÏÏ nn ÏÏ bb ÏÏ ää JÏJÏJ Ï nÏ ä J 8 8 8 8 8

# 99 bb ÏÏ nn ÏÏ ## 99 b Ï bÏ

ÏÏ Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ

ää ÏÏJ ää ÏJÏJ ä JJÏ

#9 # ÏÏ ## 999 Ï #9

ÏÏ

8 8 8 8 8

ÎÎ

6 6 6 6 6

8 8 8 8 8

6 6 6 6 6

7 bmaj maj 7 bmaj ÎÎ 77 bmaj

G7 G7 G7 G7 G7

F7 F7 F7 F7 F7

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï 8 8 8 8 8

B B B B

10 10 10 10 10 10 10 10 10 10

8 8 8 8 8

8 8 8 8 8

Cm7 Cm7 Cm7 Cm7 Cm7

7 7 7 7 7

6 6 6 6 6

E E E E E

ÏÏ Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ 8 8 8 8 8

ÏÏ

nd

8 8 8 8 8

ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï

Ï ää JÏÏJ ÏÏ ää JÏJÏ ÏÏ ä J Ï

8 8 8 8 8

7 7 7 7 7

bÏ 77 bÏ 7 bÏ 7

Dm7 Dm7 Dm7 Dm7 Dm7

ÏÏ ÏÏ Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ

ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï 9 9 9 9 9

A A A A

7 7 7 7 7

F7 F7 F7 F7 F7

Ï Ï Ï ÏÏÏ ÏÏ ÏÏ ÏÏ ÏÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

C7 C7 C7 C7 C7

3: Quotes 'The Lick' 8 10 3: 'The Lick' 9 Quotes 10 8 10 8 9 10 8 10 8 9 10 8 10 8 9 10 8 10 8 9 10 8

5 5 5 5 5

9 9 9 9 9

8 8 8 8 8

ÏÏ ÏÏ î Ï ÏÏ îî Ï îî

ÏÏ

A2 B bmaj7 A2 B bmaj7 ÏÏ Ï A2 bB bmaj7 b ÏÏ ÏÏ b bB maj7 &A2 A2 b bB bmaj7

10 10 10 10 10

Ï

ÏÏ

Cm Cm Cm Cm Cm

bb ÏÏ bb ÏÏ bÏ

E m7 Ïj E m7 Ïj E m7

1: Simple Melodies 1: Simple Melodies 6 8 1: Simple 7 8 Melodies 6 8 7 8 6 8 7 8 6 8 7 8 6 8 7 8

ÏÏ ä ÏJJÏ ä ÏJJ Ï ää JÏJ ää ÏJJÏ ää J ää J

11 11 11 11 11

bÏ b bb ÏÏ b bÏ Ï j bÏ

Ï . Ï b ä Ï ÏÏ Ï . ÏJ ä . Ï b ä ÏJ J ää ÏJÏJ ÏJÏJ ÏÏÏ .. JÏJÏJ äää ÏJ ÏJ MelodiesJ ä 1: ä Simple 1: Simple J J Melodies

A1 B maj 7 A1 B maj 7 A1 B maj 7

Swing Swing Swing

with chromatic bridges for Ebm7 and Ab7 and the combination of G Phrygian and Phrygian Dominant for G7#9 (G-Ab-Bb-B-D-Db-Eb-F). While you could, of course, choose to pick all these notes, pay attention to all the hammer-ons and pull-offs as these are strategically placed to maximise both speed and bounce. [bars 14-17: Quotes] Within these four bars we see three variations of the same five-note phrase, although each time both the melodic and rhythmic content is varied ever so slightly to sustain interest with what is essentially the same idea over and over. This ability to reuse and disguise your phrases is one of the key b 7 to creating A B bmajlong G 7 # 9solos. aspects b b 7 and cohesive improvised #

9 9 9 9 9

Î

ÎÎ

ÎÎ

11 11 11 11 11

8 8 8 8 8

10 10 10 10 10

ää

j ää ÏÏ jj ä ÏÏ jj Ï 8 8 8 8 8

JAZZ SOLOING COHESIVE STUDY: the perfeCt jazz Solo! ...CONTINUED [bars 18-21: Coltrane Changes] These changes are used here to decorate a basic long II-V-I in Eb major. Each of the chords is spelt out explicitly with either a simple major tetrachord (R-2-3-5), a basic major triad (R-3-5), or in the case of 7 see a minor motif (R-2-b3-5) based off the fifth degree (5-6-b7-9). Bb7 we [bars722-25: Altered] Here we see two ways of using the Altered sound, first 7 with the 7 Diminished Half-Whole scale against a static C7, implying C13b9 (R-37 5-b7-b9-11-13). Next up it’s the turn of F Superlocrian, although we imply this tonality by exploiting the two neighbouring major triads of B and C# from the B Melodic Fm7 minor, the parent F # 7 scale to our Mode B maj 7 D7 associated F# 7 Superlocrian. #

ÏÏ FF ###77 # Ï bb bb Fm7 Fm7 b Ï & Ï #Ï Ï & bb bb Fm7ÏÏ ÏÏ bb ÏÏ ÏÏ F## ÏÏ 7 ## ÏÏ & b Ï Coltrane & ÏÏ bb ÏÏ Changes Ï # Ï ## ÏÏ & b 4a: 4a: Changes Ï4a: Coltrane #Ï Coltrane Changes B B B B

E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E

E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E

E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E

E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E

E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E

Fm7

F 7

C7 C7 C7 C7 C7

bb bb nn ÏÏ ÏÏ ÏÏ & & bb bb nn ÏÏ ÏÏ ÏÏ & b n Altered Ï Ï Ï & & b 4b: 4b: Altered

Ï

bb ÏÏ bb ÏÏ bÏ

nn ÏÏ nn ÏÏ nÏ

8 8 8 8 8

bb ÏÏ bb ÏÏ bÏ

ÏÏ

ÏÏÏ

C half-whole C half-whole C half-whole 4b: Altered C half-whole 4b: Altered 9 9 8 C8half-whole 4b: Altered 9 8 10 8 9 10 8 9 8 10 8 9 10 8 9 8 10 8 9 10 8 9 8 10 8 9 10 8 8 10 10

22 22 22 22 22

bb bb & & bb bb & b & &b

C m7 C m7 C m7 C m7 C m7

ÏÏ Ï Ï ÏÏ ÏÏ Ï ÏÏ nn ÏÏ ÏÏ Ï ÏÏ ÏÏÏ ÏÏ nn ÏÏ ÏÏ Ï nÏ Ï 8 8 8 8 8

B B B B B

8 8 8 8 8

bmaj 7

10 10 10 10 10

10 10 10 10 10

bmaj 7 √ bmaj 7 √ bmaj 7 . b √ bÏ 7 Ï . b b √ ÏJÏ ÏÏ . & bb b √maj & J . & bb bb 5:ÏJÏJHighÏÏÏÏÏ Notes .. & & 5:JHighÏ Notes .. 5:10HighÏ Notes 5: High Notes

26 26 26 26 26

ÏÏ

4a: Coltrane Changes 4a: Coltrane Changes 5 5 6 5 6 8 5 6 5 9 6 8 5 6 5 9 6 8 5 6 5 9 6 8 5 6 9 6 8 9

18 18 18 18 18

24 24 24 24 24

ÏÏ

A3 A3 A3 A3 A3

10 5:10High10Notes 8 10 10 8 10 10 8 10 8 10 8

9 9 9 9 9

ÏÏ JÏJ ÏJÏ JJ

10 10 10 10 10

6 6 6 6 6

6 6 6 6 6

9 9 9 9 9

8 8 8 8 8

9 9 9 9 9

8 8 8 8 8

ÏÏ .. ÏÏÏ .. ÏÏÏ .. ÏÏ ..

8 8 8 8 8

10 10 10 10 10

7 7 7 7 7

E E E E E

bm7 bm7 bm7 bm7 ÏÏ bm7

10 8 10 8 10 8 10 8 10 8

C7 C7 C7 C7 C7

6: Block-Chord Blues & 'Basie' finish 6: Block-Chord Blues & 'Basie' finish 12 6: Block-Chord Blues 10 8 &10'Basie' finish 14 12 6: Block-Chord Blues & 'Basie' finish 9 7 9 13 10 8 10 14 12 10 8 10 9 7 9 13 10 8 10 14 12 10 8 10 9 7 9 13 10 8 10 14 12 10 8 10 9 7 9 13 10 8 10 14 10 8 10 9 7 9 13 10 8 10

8 8 8 8 8

10 10 10 10 10

9 9 9 9 9

8 8 8 8 8

b7 b7 b7 bÏ 7 bÏ 7

nn nbbFFFÏÏÏÏ 777 nn nnbbFÏÏÏÏ 7 n nnb ÏÏÏ F7

11 13 11 12 13 11 12 13 11 12 13 11 12 13 12

10 10 10 10 10

Ï JJÏ ÏÏ JÏÏJ ÏÏÏÏ J ÏÏ

11 11 11 11 11

11 11 11 11 11 11

10 10 10 10 10

8 8 8 8 8

bb ÏÏÏ bb ÏÏÏÏ b ÏÏ

bb ÏÏ bb ÏÏ bÏ

ÏÏ

9 11 9 10 11 9 10 11 9 10 11 9 10 11 10

7 7 7 7 7

b b b b b

ÏÏ ÏÏ ÏÏ Ï ÏÏÏ ÏÏÏ ÏÏ ÏÏÏ Ï Ï Ï 6 8 6 7 8 6 7 8 6 7 8 6 7 8 7

9 11 9 10 11 9 10 11 9 10 11 9 10 11 10

Ï .. ÏÏÏ .. ÏÏÏ . ÏÏ .. Ï .

ÏÏ

JÏJ ÏJÏ JJ

14 12 14 12 14 12 14 12 14 12

8 8 8 8 8

8 8 8 8 8

10 10 10 10 10

## ÏÏ ## ÏÏ #Ï

ÏÏ

JÏJ ÏJÏ JJ

13 13 13 13 13

îî î

ÏÏÏ ÏÏÏ ÏÏÏ

6 4 6 5 4 6 5 4 6 5 4 6 5 4 5

ÏÏ

E E E E

Ï

ÏÏ ÏÏ ÏJÏ ää ÏÏ ÏÏ JÏJ ä Ï Ï J

10 10 10 10 10

3 3 3 3 3

8 8 8 8 8

## ÏÏ ## ÏÏ #Ï

8 8 8 8 8

ÏÏ .. ÏÏ .. ÏÏ .. ÏÏ .. 12 12 12 12 12 12

ÎÎ

ÎÎÎ

8 8 8 8 8

9 9 9 9 9

8 8 8 8 8

#9 #9 ÏÏ ### 99 J9

G7 G7 G7 G7 G7

ÏJÏ JÏJ J

15 15 15 15 15

bdim bdim bdim ÏÏ b bbbbdim Ïdim Ï B B B B B

bb b ÏÏ bb bb ÏÏÏ

6 5 6 6 5 6 6 5 6 6 5 6 6 5 6

ÏÏ ÏÏ ÏÏ 17 15 17 15 17 15 17 15 17 15

10 10 10 10 10

10 10 10 10 10

#Ï ### ÏÏÏ # Ï3 3 3 3 3

6 6 6 6 6

ÏÏ JJÏ ÏJÏ JJ

ÏÏ

8 8 8 8 8

nn ÏÏ nn ÏÏ nÏ 7 7 7 7 7

8 8 8 8 8

9 9 9 9 9

Ï

8 8 8 8 8

## ÏÏ ### ÏÏÏ

3 3 3 3

ÏÏ

15 15 15 15 15

b b Ïn Ï bb n n ÏÏ b B B B B B

ää n n ÏÏJ ää nn nn ÏJÏJÏ ä n ÏJJ 6 6 7 6 7 6 7 6 7 6 7

Ï

## ÏÏ ## ÏÏ #Ï 9 9 9 9 9

ÎÎÎ ÎÎ

Ï

16 15 16 15 16 15 16 15 16 15

8 8 8 8 8

9 9 9 9 9

8 8 8 8 8

9 9 9 9 9

Ï nnn ÏÏ nn ÏÏ

10 10 10 10 10

bb ÏÏ bb ÏÏ bÏ

ÏÏ Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ

9 9 9 9 9

## ÏÏ ### ÏÏÏ 3

ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï

⋲⋲ ÏÏ ⋲⋲ ÏÏ ⋲Ï

8 8 8 8 8

8 8 8 8 8

ÏÏ bb ÏÏ ÏÏ bb ÏÏ Ï bÏ

nn ÏÏ nn ÏÏ nÏ 6 6 6 6 6

ÏÏ

7 bmaj maj 7 bmaj ÏÏ 77ää bmaj J

5 5 5 5 5

6 6 6 6 6

6 6 6 6 6

8 8 8 8 8

ÏÏ

ÏÏ Ï Ï n Ï ÏÏ ÏÏ ÏÏ nn ÏÏ Ï ÏÏ ÏÏ nn ÏÏ

C m7 C m7 C m7 C m7 C m7

îî 6 8 6 7 8 6 7 8 6 7 8 6 7 8 7

5 5 5 5 5

8 8 8 8 8

3 3 3 3 3

13 13 13 13 13

11 10 11 10 11 10 11 10 11 10

ÏÏ

9 9 9 9 9

F 'Altered Scale' F 'Altered Scale' 6 9 6 9 6 9 6 9 6 9 B maj7 B maj7 B maj7 B maj7 B maj7

Î

ÏÏÏ

10 10 10 10 10

nn ÏÏ ## ÏÏ ### ÏÏÏ nnn ÏÏÏ ## ÏÏ Scale' ## ÏÏ nn ÏÏ nn FÏÏ 'Altered F 'Altered Scale' # Ï n FÏ 'Altered Scale'

ÎÎ

ÏÏ

9 9 9 9 9

ÏÏ Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ 9 9 9 9 9

10 10 10 10 10

F7 alt F7 alt F7 alt F7 alt F7 alt

ÎÎ

ÏÏÏ

7 7 7 7 7

nd

Ï

7 7 7 7 7

A A A A A

Ï JÏJ b bb ÏÏ ÏJÏ b b ÏÏ JJ bb bb Ï b Ï 11 11 11 11 11

7 7 7 7 7

9 9 9 9 9

ÏÏ Ï Ï Ï ÏÏÏ ÏÏ ÏÏÏ Ï Ï Ï ÏÏ Ï 8 8 8 8 8

10 10 10 10 10

7 7 7 7 7

B 7 ÏÏ Ï Bb7 ÏÏ ÏÏ nn ÏÏ ÏÏ BB bbÏ 77 ÏÏ bb ÏÏ Ï ÏÏ nn ÏÏ ÏÏ ÏÏ ÏÏ bb ÏÏ n Ï Ï ÏÏ Ï b Ï

G maj 7 G maj 7 G maj 7 G maj 7

ÏÏ Ï Ï ÏÏ Ï Ï ÏÏÏ ÏÏ ÏÏ ÏÏÏ Ï Ï 8 8 8 8 8

9 9 9 9 9

bb ÏÏ Ï Ï ÏÏ ÏÏ bb ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ b Ï ÏÏ ÏÏ Ï Ï

10 10 10 10 10

7 7 7 7 7

8 8 8 8 8

ÏÏ b Ï n Ï ÏÏ ÏÏ bb ÏÏ nn ÏÏ ÏÏ Ï bb ÏÏ nn ÏÏ Ï

nn ÏÏ nnn ÏÏÏ

# # nn ÏÏÏÏ . Ï Ï Ï # bb bb ää nn ÏÏ ... ÏÏÏ ÏÏ ää ## ## nn ÏÏÏÏJJ & & bb bb ää nn ÏÏÏ ... ÏÏ ÏÏÏ ää # ## n ÏÏJÏJ & b ä n ÏÏ .. Blues ÏÏ &ÏÏ 'Basie' & ä finishJ & b6: Block-Chord

30 30 30 30 30

## ÏÏ ## ÏÏ #Ï

nn ÏÏ nn ÏÏ nÏ

[bars 26-29: high notes] As we’ve previously seen, due to the percussive and rapidly decaying nature of a clean guitar tone, we’re supporting our ascending held high notes here with a selection of accompanying chord voicings. [bars 30-33: block-Chord blues & ‘basie’ finish] What better way to end than with some sliding blues chords, switching between a pair of matching 6th and 9th shapes over C, to a block line based around harmonising the Bb Blues scale (Bb-Db-Eb-E-F-Ab) in 13th chord fragments. The super-typical chromatic chordal idea that ends the piece is commonly known as the ‘Basie’ ending, G maj 7 legendary B b 7pianist and bandleader, E bmaj 7 named after William James ‘Count’ Basie. b b

D7 ÏÏ ## ÏÏ DDÏ 77 nn ÏÏ ÏÏ ÏÏ ÏÏ ## ÏÏ DÏÏ 7 nn ÏÏ ÏÏ ÏÏ Ï # Ï ÏÏ n Ï Ï Ï

B maj 7 B maj 7 B maj 7 B maj 7

## ÏÏ ## ÏÏ #Ï

TRACK 24

b7 # 9 b7 # 9 bb ##bb77ÏÏÏÏ ## 99 #b7Ï # 9 B B B B B

ÎÎ b # ÏÏ ÎÎ bb # ÏÏÏÏ Î ÏÏ

9 9 7 9 8 7 9 8 7 9 8 7 9 8 7 8

August 2015 GuitarTechniques 45

play: classical

ON THE CD

TraCks 26-27

Hubert Parry Jerusalem

This month Bridget Mermikides arranges one of our most rousing and popular hymns, made all the more famous by its use as the Last Night Of The Proms closing anthem.

Moderate/Advanced Info

WIll IMprove your

Key: D Tempo: 53 bpm CD: TRACK 26-27

Balance of melody and bass Melodic phrasing Fretting stamina and reach

women. It was later arranged for a large orchestra by edward elgar, absorbed into the hymn repertoire and has been co-opted by a wide range of political and cultural movements. It seems there is something in parry’s powerful musical setting of Blake’s words that is irresistibly moving and rousing to many (even opposing) political movements and social groups. parry took Blake’s words (with minimal editing) and came up with a simple but perfectly judged melody based on its natural spoken rhythms, and inserted (the now iconic) four-bar instrumental introductions to each verse, as well as a coda. what is extraordinarily beautiful in the writing is the

Supremely well-known, JeruSalem has (ironically, given the title) become a prominent British patriotic song, to the point of it being a close substitute for the official national anthem (in fact, king George V is said to have preferred it over God Save the king/Queen). It has such a timeless quality that you may be surprised to learn that its musical composition only dates back to 1916, when the english composer Hubert parry (then in his late 60s) was asked to write an anthem to the words of william Blake’s poem and Did Those Feet In ancient Time (which is in fact the original - and official - title of the composition). Blake’s poem, written over a century earlier, asks the (presumably rhetorical) question of whether Jesus Christ ever visited england. It evokes emotive nostalgia, pride, resolve and rousing calls to fight, and so was chosen by the Fight For right campaign to help raise patriotic fighting spirits during the First World war. parry was hesitant to take on the task at first, but was eventually convinced to set the poem to music, and it was presented at the royal College of music and published in march 1916. parry remained uncomfortable about Hubert Parry: the use of the work, but was placated uncomfortable when in the following year the with Jerusalem Suffragette movement took it as their at the beginning anthem in their quest to bring votes to

nd

Using yoUr nails All professional classical guitarists pluck the strings using the fingernails. These need to be kept the right length 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!

voices supporting the melody. In particular, it is reported that Parry took significant pride and pleasure in the suspension in bar 16 - the A against the B note on the first beat, which is then resolved to G. This sophisticated use of dissonance throughout the work adds another level of musical beauty beyond the beguiling melody and lyrics alone, and ensures its enduring popularity (whether people realise it or not). pleasingly, I’ve kept the original key (supported by drop D tuning), and managed to find a way of making most of the significant musical lines work for the guitar. I’d like to tell you that the moderate tempo and familiarity of the melody makes for an easily played arrangement, but unfortunately there are some inescapable technical challenges. These are largely centred around fretting-hand stretches and repositioning, so refer to the tab captions to help you through the trickier passages. It may take a while to get this arrangement under your fingers so you can play it with the required fluency, but when you bring your audience to tears with pride, it will all be worth it. NeXT MoNTH: Bridget arranges Study No 6, Opus 8 by Fernando Sor

Track record For the work’s original setting check out Parry: orchestral and choral Works (chandos 2012); and for elgar’s reorchestration try the opening track of I Was Glad: Sacred Music by Stanford & Parry (Vivat 2013). or the Prog-rock version by eLP (Brain Salad Surgery 1973 Sony), or hunt down the bluesy live rendition by Jeff Beck with guest dave Gilmour at the royal albert Hall.

46 GuitarTechniques August 2015

CLASSIC IMAGE / ALAMY

ABILITY RATING

HUBERT PARRY JERUSALEM PLAYING TIPS

cd track 27

[General] There is a fair amount of challenge for the fretting hand in this arrangement. For example in bar 1 we need to sustain (hold down) the first chord D/F# while executing the following two bass notes, F# and B. This can feel quite like a strain for the fretting hand with the third finger reaching across to the sixth string while holding down the rest of the chord. So do it slowly at first without forcing. The first finger on the B bass note then needs to flatten to a barre at the 2nd fret to catch the B7(b13) chord. [Bar 2] In bar 2 keep the melody line intact and legato by maintaining the fourth finger on the first string throughout. There are two position jumps in bar 3 so take your time and preferably memorise this bit so you can keep an eye on your fretting hand. The melody begins for real in bar 4 so aim to make this clear and consistent in its volume and tone. In bar 5 keep hold of

GUITAR TECHNIQUES 2 4 6 GUITAR TECHNIQUES 2 4 6

©È 53 ©È# 53 & # ## 343 & 4

¢Ï ªÁ¢ ÏÏ ªÁ ÏÏ £Ï £

E B E G B D G A D D A 1 D Drop 1

D tuning Drop D tuning

# & # ## &

D/F # D/F #

D D

.. . .

D /B D /B

£ ÏÏ £

5 3 5 2 3 4 2 4 a m a i m p i p

Á Á

2 2 p p

4 p 4 p

Ï .. ÏÏ . ÏÏ .. ˙Ï˙ . ˙

D/F # D/F #

# # ªª ÏÏ & ## & Ï Ï

E B E G B D G A D D A 7 D 7

5 5

ª

ªÏ

# & # ## & E B E G B D G A D D A 10 D 10

ÏÏ ... ÏÏ .. ÏÏ 7 7 7 7 7 9 7 9

Em Em

# # ¢¢ Ï .

m m

3 3

5 5 4 4

ÏÏ Ï 0 0 0 0 4 2 4 2

Bm6 Bm6

#Ï #Ï Ï

9 9

Ï

j Ïj Ï

7 7

ª

F #m/A F #m/A

¢Ï ¢Ï

Ï

Ï

9 9 7 7

j Am Am ¢Ï j Ï . ¢Ï n ÏÏ ..

Ï

ÁÏ Á

Ï . ÏÏÏ ... Ï . Ï

4 4 p p

Ï

Ï Ï

j j ¢Ï ä ÏÏä nd ¢Ï Ï ÏÏ Ï Ï Ï 10 10

Ï

2 2 Em Em

Ï .

9 8 9 9 8 9 7 7 a m a i m p i p

Ï

Ï Ï Ï ÏÏ

12 0 12 11 0 11 9 9

a m a i m i G/B G/B

¢Ï ¢Ï

Ï

5 5

j Ï j ¢¢ÏÏ Ï Ï Ï Ï

5 5

# ££Ï #Ï

ª

ÁÏ

Ï

Ï

4

0

Ï Ï 2 2 4 4

0 0

j Ï j ªª Ï

Ï

ÏÏ

£ 7 7

Ï

Ï ÁÁ

2

¢Ï ¢Ï

ª£ ÏÏ ªÁ Ï

Ï Ï

7 7

F #m F #m

ÏÏ

Ï

8 8

Ï

Ï

Ï 2 2 2 2

Ï Ï

12 12

10 10

Ï

Ï

9 10 9 10 9 9

j Ïj Ï Ï ÎÏ ÏÎ Ï

ÏÏ Ï

ÏÏ

Ï

E m/G E m/F # E m/G E m/F #

A A

. . Ï

...

5 5

5 5

Ï

G/D G/D

¢Ï ¢Ï

Ï

Î

7 7

Ï

5 3 5 3 4 0 4 0

Ï

Î

9 9

Ï

0 3 0 3 2

Ï

10 10

¢Ï ª ¢Ï ª£ Ï £Ï

2 2

¢Ï

£Ï £Ï

5 5

7 7 7 7 7 7 9 9

Ï ÏÏ

3 3

G G ¢

j Ïj

D/A D/A

5 0 5 0 0 0 5 5

Ï

5 7 5 7 0 0

n¢¢Ï .. ¢Ï nÏ ¢Ï Ï ÏÏ Á £Ï Ï Á

Ï

Ï

9 7 9 7 7 0 7 0

˙

G add9 G add9

Ï

Ï

Ï

10 10 0

ª

10 10

Ï Ï

7 7 4

Ï

Á

ÏÏ ... ÏÏ .. Ï

¢Ï ¢Ï

ª

Á

£Ï £Ï

Bm Bm

E7 E7

ÁÏ

Ï

Á ˙Ï £Á ˙Ï £˙

ªÏ

3 3

D D

Ï

D D

ªÏ

Ï

Bm Bsus2/D Bm Bm Bsus2/D Bm

Ï

12 11 12 12 11 12

7 7

7 7

4 4

Bsus4 Bsus4

2 2

ª 5 5

7 7

a m a i m i

¢Ï ¢Ï

E 7sus4/B E 7/B E 7sus4/B E 7/B

¢Ï ¢Ï

j Ï j ÏÏÏ # ÏÏ Ï # ÏÏ ÏÏ # Ï Ï # ÏÏJ Ï J JÏ ä J ä

D/F # D/F #

0 0 0 0 0 0 5 5

Ï

E m6 A #dim/G E m6 A #dim/G

7 4 7 4 4 4

G G

ª

0 0

ä

0 0 0 0 5 5

7 7

B m/A B m/A

Ï 3 4 3 4 4 4

Ï 7 7 7 7 7 7 9 9

ä

G G

Ï

£Ï

ÏÏÏ Ï

7 7

£Ï

ÏÏ

ÏÏ

ÏÏ Ï

Bm Bm

ÏÏ

B m/A B m/A

ÏÏ

Ï

0 0 7 7 i pi p

5 m 5 p m p

Bm Bm

ªÏ

Ï

7 7

0 0 p i p i

ªÏ

0

¢Ï ¢Ï

. j ä . ÏÏ j ä £Ï Á Ï £ Á Ï

A/C # A/C #

7 7 0

Bsus4 Bsus4

¢Ï ¢Ï

7 7

a m a i m i

B/F # B/F #

E m/G E m/G

.. £Ï . £Ï . Ï Ï

3 4 3 2 4 2

j ¢ j ¢ÏÏ Ï Ï Ï

4 4 Bm Bm

Ï

# ÏÏÏ #Ï Ï Ï

5 5

5 3 5 2 3 4 2 0 4 0 0 0

E B E G B D G A D D A 4 D 4

Ï

Parry's JERUSALEM Parry's JERUSALEM

B 7 b 13/A B 7 b 13/A

j Ïj Ï

the low G while reaching up to the melody note D and again keep the fourth finger on the string throughout the melody. Stick to these principles for the next few bars; correct sustain of both melody and bass notes. Use a barre at the 7th fret on bar 9 and then another one at the 9th fret on the last beat. [Bar 11] On bar 11 beat two I do not change the position of the first finger; in other words I use a hinge barre to get the melody note F#. You can still sustain the F# with the moving bass line (open D) underneath while pressing the F# with the side of the first finger. The E7 chord is also then easy to grab. [Bar 12] On the last half beat of bar 12 I use a hinge barre again to get the melody note F#. This prepares the fretting hand nicely for the Em chord, next bar. From here on again, sustain the melody notes by holding them on for their full value.

Ï Ï

0 0 0 0

Ï Ï

0 0 5 5

Ï

Ï 2 2 4 4

j Am/D D ¢Ï j nÏ ¢ ÏÏ n¢Ï £ÁÁ ÏÏÏ

August 2015 47 Am/D D ¢GuitarTechniques

4 4

D A D

4 2

4

7

4

j

Bm6

Ï & # Ï

Ï

PLAYING TIPS

4

5

F #m/A

play:# classical ÏÏ ... # Ï Ï Bm

0

0

¢Ï

Ï

Ï

9

5

E 7sus4/B

¢Ï

E7

E 7/B

# £Ï

Ï

ÁÏ

9

7

A

ON THE CD

.

¢Ï

Ï

£Ï

Ï Ï

Ï

j Ï

Ï ÏÏ

E m/G E m/F #

TraCks 26-27

&

## ¢Ï . Ï

Á

¢Ï

ÏÏ

Ϫ

3

Î Ï

0

4

5 5 5

Ï . ÏÏ

2

4 0

2

0

5

3

Ï Á

7

2

ª£ ÏÏ Á Ï

¢Ï

Ï

0

0 0

2

7

G/D

j Ï ªÏ

ÏÏ Ï

Ï 0

0

2

13

Em

ÏÏ .. nÏ . Ï Ï Ï

Ï

cd track 27

changes. Keep to all the same technical tips as you did for the first half. Do allow some breathing space in your phrases and find a tempo that works for 2 0 5 0 0 2 you. The average can 3 orchestral tempo 3 2 feel rushed and really difficult on the guitar. A slower speed can still sound musical and magnificent!

2

Am

7

0 0

2

j

Ï

Ï

10

Em

E B G D A D

ª

9

9

D/A

ÏÏ ÏÁ ª

Ï Ï

ª

[Bar 17] There is a stretch for the fretting hand in the final beat of bar 17, soEtry if you can to relax your arm as you do this (it’s so easy to tense up on 5 4 7 7 9 B trickier sections).7Again keep9 the fourth finger intact 7on the melody. G 7 [Bar 20] From bar 20 onwards the piece is repeated with some subtle D A D

0

Ï

8

10

7

7

...

Ï

Ï

7 8 7 0

j

¢Ï

Ï

Ï

Am/D

Á £ ÏÏ

Ï

Ï

Ï

7 0

0

D

n¢Ï

10 0

4

4

Ï

8 5

5 7

0

0

2 Title 2 Title

# & # # & # # & #

2 Title

E B G D E A B D G 16 D A E D B G 16 D A D 16

# & # # & # # & #

E B G D E A B D G 19 D A E D B G 19 D A D 19

Gadd9

Ï ÁÏ . ¢Gadd9 JÏ Á Gadd9 ¢Ï Ï .

Ï

Ï ª

j Ï Ï GÏ j ÏÏ Ï j ÏÏ Ï

ª

7 10 0

8

7 10 # D/F 0

8

ªÏ

D/F #

¢Ï

¢Ï ªÏ D/F #

ÁÏ ªÏ

Ï5

Á Á

Ï5

¢Ï

7 7

4

5 7 B msus4 Bm 4

Ï

0

ÏÏ

G maj7 Á

0 9 11

12 9 0 D11

£Á D˙Ï 9

ÏÏ

Ï00

Ï

ÏÏ Ï

0 5 0

Ï

Bm0

Ï

Bm

9 7 7 0 9 7 7 0

Ï

7 7

Ï ÏÏ

D

Ï ÏÏ

Ï32 Ï430 2 4

G add9

nÏ . . ¢ÏÏ . Gnadd9 ÏÏ . n¢ÏÏ .. Ï50 . ÏÏ05 ..

0 3 Em 2 4 Em 0 ¢

¢ G add9

7 G

Ï

¢Ï

Ï

¢ ÏÏ

0 5 0 5 5 0

Ï

2 3

2

Ï

¢Ï

Ï

G

¢Ï

ÏÏ ÏÏÏ

Ï

¢Ï ¢Ï

Ï Ï

¢Ï

Ï

Ï9

0 9 10 D /B 9

9 5

Ï Ï

4

2

5

Ï30

Ï Ï

Ï

Ï Ï D/F # Ï Ï

2 E m/G 0

3 4 2

0

0

0 3 B sus4 0

7

ÏÏ

ÏÏ

Bm

ÏÏ

Bm

ÏÏ

B sus4

ÏÏ

ÏÏ

ÏÏ

ÏÏ

Ïä ÏÏ

ä7

#Ï Ï 5 Ï Ï #Ï Ï

11 12

0 G /D7

7 5

7 0

7 9 8 9

11 12

Ï ÏÏ ÏÏ

ä

7

5

Ïä

G /D

ÏÏ

Ïä

Ï7

5

Ï B m/A

7 0 8 7 G

B m/A

0 G

B m/A

ÏÏ .. Ï . G ª ÏÏÏ .. Ï .

j j ¢Ï j ¢Ï ¢Ï

ÏÏ

7

Ï ÏÏ ÏÏ

Ï7 Ï

0

10

10

¢j

0

Ï

Ï

¢j

Ï

¢j

12

12

¢Ï

ªÏ

¢Ï

ªÏ

¢Ï

ÏÏ

10

Ï0

8 7 7 8 0 7

5

Ï ÏE m6 ÏÏ ÏÏ Ï j ÏÏÏ # Ï Ï ÏÏ0 Ï98 11 12 9 12

äÏ

E m/G

0G /D

Ï

4 E m6 9

Ï7 7 5

9 7 8 9

0

0B sus4

ÏÏ

j ÏÏ j

Ï7

Á

10 9

4 5 10 9 E m6

Ï

¢Ï Á

7 0

5 Bm

5 4

¢Ï

G

Á

5

5

7

Ï

¢ G

Ï7

ÁÏ ÁÏ

j ¢Ï j ¢Ï ¢ Ï /C # Bm A ª ª Ï j ¢Ï ¢Ï ª ª Ï 5 10 Ϫ ª Ï Ï

A ¢ /C # Bm

Ï

ÏÏ

ÁÏ

G

7

0

4 2

Ï70

Ï03 Ï

B 7 b 13 B 7 b413/A

£ÏÏ

Ï

ÏÏ3

2 0 E m/G

£ÏÏ

ÏÏ

ÏÏ5

5 7 4 B 7 b 13 B 7 b 13/A

£Ï

ÏÏ

ÏÏ

5 5

Ï

4

Ï

7

Ï # ÏÏÏ ... . B 7 b 13/AÏ B#7ÏÏ b 13 Ï .. Ï # ÏÏÏ3 ... Ï Ï 4 7 Ï23 Ï

j

2

2

ÏÏ

2 4 5 0 3 0 2 4 0 5 0 3# D/F 2 4 0 0# D/F

Ï

A /C # Bm

D

Ï . D/E D ¢Ï /F.# D/E D D Ï Ï ª Ï ¢Ï . Á Ï ª Ï5 ÁÏ Ï0 ª Ï54 Á Ï2

7

j Ï5 j

D /B

Ï

4

¢Ï

5 5

D /B

Ï

9 5

.

D/E

D ¢ /F #

¢Ï

A/G

10 9 9 0 10 9

0

¢Ï

.

¢Ï

D

3

2 3

Î ÏÎ

ÏÏ .. ÏÏÏÏ ... ÏÏ . Ï ÏÏ .. Ï ÏÏ53 . 2 4 5 3 2 4 5 3 D 2 4 D

¢A/G Ï .

nd Ï

10

D /F #

A/G

£ª AÏÏÏ Á ª£ AÏÏ Á Ï £ª ÏÏÏ Á 9

10

ÏÏ

0

¢Ï

10

¢m E

G 5

Ï

7

ÏÏ

0 2 0 0 0 2 0

0 Bm2 0

7 12 0 0

D

Ï

¢ Ï2

Ï # Ï & # Á Ï˙ # # £DÏ AugustÏ 2015Ï 48 GuitarTechniques Ï & Á Ï˙ Ï

ÏÏÏ

D

ÏÏ

¢Ï

12 0 0 12 7 0 0

Á

10 9

9

A7

10

Ï

9 10

Ï

¢ ÏÏÏ Á ¢ ÏÏ2

10

ÏÏÏ .

10

7 A07

¢Ï

Ï

Á

A

¢Ï

EÁ m

Ï

G maj7

n Ï 5£Ï Ï nBÏ m nn£ÏÏÏ n ÏÏ n Ï n£Ï n ÏÏ9 10 n Ï770

Ï . ÏÏ .

Ï

A7

Ï Á

B msus4 B m 4

Em

0

G0maj78

2 5 0 0

D/F #

Ï

7

8

Em

D/F #

Ï70

8

D/F #

Ï

Ï

G

JÏ Á ¢Ï Ï . Ï ª JÏ7 8 Ï 10 0 0

# ÏÏ & # B msus4 # Ï & # ÏÏ # # 12ÏÏ & 110 Ï 12

E B G D E A B D G 22 D A E D B G 22 D A D 22

G

8 7 7 8 0 7

ªÏ

10 10

8 8

7 0 8 # 10 D 8 7 D/F

Ï

¢Ï

¢ # 0 D/F

D

D/F #

D

¢ÏÏ

Ï

¢

¢Ï ¢Ï

nd

B msus4 B m

Ï

Bm

nÏ

## Ï Ï

£Ï

Ï

n ÏÏ nÏ

& play: classical Ï 12

E

10

B 0 PLAYING TIPS G D A D

9 7 7 0

11

G add9

. Ï . Ï . Ï .

n¢Ï

7

9

22

Ï

5 7

5

8

2

5 3 2 4 0 0

D/F

Ï

Ï

¢Ï

5

#

Ï

0

25

10 7 7

9 10

A

# # ÏÏÏ &

Bm/A

5 7 7

5 6

E m/G E m/F

j

ÏÏ ÏÏ Ï

Ï

Ï Ï

#

0

ÏÏ ÏÏ Ï Ï

Ï .

ª

7 9

Ï

3

4

0

G

2

7

0

0

D

Am/D D

Ï

# # ª£Á ÏÏÏ &

Ï . Ï Ï 7 8 7 0

nÏ

Ï

Ï

10 0

0

0

Ï 8 5

5 7

0

0

7 10 0

8

0

0

D/F

Ï

Ï

9 10

10

0

Ï

A

12 0 0

10 7

7

£Ï ª

2

D /F

Ï Á

.

¢Ï

Ï

ª

D /E

Á

Ï

# & #

G maj7

Ï Ï

ÏÏ Ï

4

2 0 0 5

50 GuitarTechniques August 2015

D

ÏÏ .. Ï .. ˙˙ . Ï

Ï 7

A7

ÏÏ Ï

Ï 5

38

#

0 2 0 0

3 2 4 0 0

G /D

7

D

A/C

Ï 2

j ÏÏ ÏÏÏ Ï 3 2 4

ÏÏ ... Ï ÏÏÏ

2 3 2

Î

˙ 5 7 7

7 8 7 0

Ï 0

¢Ï £Ï

ÏÏ

Ï

10 12 12

15 12

Ï

Ï ª

Ï

0

G 6/D

Á

Ï Ï

14

12

14 0

12 0

¢Ï

ª

Ï

0

8

10

7

0

#

Bm

ª

4

D

˙. £ªÁ ˙˙ .. ˙˙ .. ˙.

14 15 14 0 0 0

2

Ï

G

j ¢Ï ¢Ï

5

4

D

j Ï Ï

7

Ï

5

0

Ï

j ªÏ Ï

2

#

Ï

7

0

34

D/F

E7

0

7

9 7 0

0

0

Ï Ï

G

9

10

4

7

2

j

7

Ï

4

Ï . ¢ Ï ¢Ï . ¢Ï £ ÏÏ ÏÏÏ ... Ï Ï Ï Á Ï 7

9

3 0 0

7

Ï

D

Ï

Á

Ï .. ÏÏ . Ï .

0

¢Ï

Ï

#

Em

Ï . n ÏÏ .. Ï Ï Ï

D

¢Ï

¢Ï

9

Em

9

A 6/C

# £Ï

10 7

Am

#

5

Ï

7

D/F

7

¢Ï Á

ª

5 5 5

Ï 7

8

#

Ï

E 7sus4 E 7/B

Ï

0

j Ï Ï

ÏÏ .Ï JÏ . Ï Ï

ÏÏ Ï

Gadd9 G

Ï

5

#

cd 27 10 track 8

Ï

0 0 0

31

G/D

7 8 7

¢j

ÏÏ .. Ï . ª

F m/A

ªÏ

0

0

Ï

nd Ï j Ï

Ï

Ï

0

Ï 3 4 4

¢Ï

Ï

TraCks 26-27

10

0

2

0

7 8 7

B m/A

j Ï Ï # ÏÏ

7

9

Em

£Ï

Î 0 2 2

3 4

Bm

9

A

ä

ÏÏ

˙

7 7 7

10

B sus4

B m6

Ï

ÏÏ

0

4 2

ÏÏ .. Ï Ï ˙

9

9

D/A

12

0

0 0

7

Bm

Ï

0

5

Ï

4

Ï

Ï Ï

9

328

ÏÏ

ÏÏ 7 7 7

#

F m

Ï

Ï

E B G D A D

5

7

Ï

5

8

Ï

j

ON THE CD

Ï

3

¢Ï

ä

Ï

0

Ï 7

Ï

Ï

0

# # ÏÏÏ &

E B G D A D

Ï

0

Ï 7

Ï Ï

ÏÏ

ÁÏ

£Ï

Ï Ï

Ï 3

Î

Ï

Bm

E B G D A D

ÏÏ

5 0

¢Ï

Ï

Ï

G /D

Ï

G

# # £Á ˙Ï & Ï

E B G D A D

¢Ï

D

5

D

E B G D A D

Em

Ï

Á

¢Ï

Ï

10

7

9

5

LEarNiNG ZONE LESSONS GT246 30-MINUTE LICKBAG

.....................................

Pat Heath has six more cool licks at easy, intermediate and advanced levels.

52

BLUEs................................................................................................. 54

Les Davidson pays his respects to the much missed blues legend that is BB King.

RoCK .................................................................................................. 58

Martin Cooper introduces a legendary US band, the multi-million selling Grand Funk Railroad.

vIdEo ................................................................................................ 62

Guitarist extraordinaire Carl Verheyen in the final lesson in his video masterclass series!

CREATIvE RoCK ......................................................... 70

Shaun Baxter is up to 10 notes in his series on movable note clusters or ‘cells’.

CHoPs sHoP ..................................................................... 76

nd MAINTAINING AND DEVELOPING your ability can take many routes and numerous forms. Certainly, there is no ‘one way’ in getting better that will work for everyone. That said, it is illuminating to see the possibilities through tuition articles or Q&A interviews with great guitarists who are happy to discuss their own playing processes. So, aside from having the guitar in your hands to play as often as possible (as extolled by Steve Vai or Larry Carlton), the actual essence of what you do is pretty much open. Sometimes though a process can be highlighted which is so rich and flexible in application that it’s too good to overlook. This is the case with an approach favoured by GT’s masterclass artist, Carl Verheyen which has nurtured his creativity throughout his long career. It presents a perfect balance between theory and ability; whatever tonality a favourite lick or phrase is in (ie major, dominant 7th, minor), he alters it to fit the other two tonalities. It’s a great tool as any one idea can generate another two new ones that may never have been discovered otherwise. Having cultivated this for many years, Carl has numerous jotters divided into three tonalities that are filled with his notated ideas each time they occur. Certainly, it’s been a

fantastic musical investment that continues to maintain and develop his playing. With that in mind, have a good look at Carl’s final video in this series; he takes an F minor Pentatonic line, varies it a few times before tweaking one note to fit Bb7, then one more note to fit Db major. He then briefly discusses how E minor Pentatonic can work for C major. There’s plenty to mull over here that’s for sure! Indeed, you may like to also explore another route that several of us on GT favour a lot; play one minor Pentatonic idea (eg A minor), tweak the 3rd to make it a dominant 7th sound (in A, C changes to C#) then tweak the 7th to make it a major 7th (in A, G changes to G#) . With time and a little thought, this tweaking of one initial idea will provide countless fresh opportunities for your own playing - the gift that keeps giving, as they say. Furthermore, it can culitvate a powerful tool that will forever push your playing forward, long after you’ve forgotten how to play those initial ‘seed’ licks! I hope you enjoy the issue. See you next time.

Andy Saphir looks at wider-spaced arpeggio ideas in order to create ear-bending solos .

HARd RoCK .......................................................................... 78

Charlie Griffiths’ new series begins with those loveable British metallers, Iron Maiden.

JAZZ ...................................................................................................... 82

John Wheatcroft examines the incredible playing style of modern legend Sylvain Luc.

ACoUsTIC ................................................................................. 88

Stuart Ryan on the acoustic style of Green Day’s very own Billie Joe Armstrong.

REAdING MUsIC ........................................................ 92

Charlie Griffiths continues his series with some full pieces for you to read and play!

On videO! Join the incred

ible Carl Verheyen as he completes his superb masterclass series. Page 62

August 2015 GuitarTechniques 51

lesson: 30-Minute lickbag

30-Minute Lickbag EASy LIckS ExAmPLE 1 FOLk I-V change

cd track 28

GUITAR TECHNIQUES MAGAZINE 2 4 6

Heath's LICK BAG This is a fingerpicked example outlining the I-IV movementPat (here A to D) of fifth string as the A and D three-note (triad) voicings harmonise beautifully many trad folk songs. Use the thumb to create GUITAR TECHNIQUES MAGAZINE 2 4 6 a ‘droning’ bass note with the Lick 1 Folk style GUITAR TECHNIQUES MAGAZINE 2 4 6

©È Á Á ¼ # # &©È©È #ÁÁ #ÁÁ ¼¼ 44 # # # 4 AÏ Ï ÁÁ¼ 4 &©È# #F & # # # 44 LetÏ ring ÏÏ & F4 LetÏ ring Ï F LetÏ ring 2 F Let0ring

above this tone. Now try it with other chords and shapes you know.

Pat Heath's LICK BAG Pat Heath's LICK BAG A D/A

A

A A

A A

gg Awwww Ñ ggg Aw Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ñ gg w Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ D/A ÏÏ ÏÏ D /A ÏÏ w ÏÏ D /A ÏÏ A A Ñ ggg Aw w Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï gg www Ï Ï ÏÏ Ï Ï ÏÏ Ï Ï ÏÏ Ï Ï ÏÏ ÏÏ ÏÏ Ï ÏÏ Ñ ggg w5 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï2 Ï Ï Ï3 2 3 2 3 5 Ï Ï Ï Ï 2 2 2 2 2 2 6 Ñ ggg w 2 2 4 2 2 2 4 2 2 2 4 Ñ gg 7550 0 0 0 0 0 2 3 2 3 2 3 2 2 2 2 2 2 Ñ ggg 5657 2 3 2 3 2 3 p p a p p a p p a p p a p p a p p a 2 2 2 4 2 2 2 4 2 2 2 4 2 2 2 2 2 2 m m m m m m gg 65075 0 0 0 0 0 0 2 2 2 4 2 2 2 4 2 2 2 4 3i 3i 3i ggg 067 0 0 0 0 0 0 2i 2 2i 2 2i 2 p p a p p a p p a p p a p p a p p a 2 2 2 4 2 2 2 4 2 2 2 4 cd track 29 EASy LIckS ExAmPLE 0p2 The m m m ggg 0 0 0 0 0 0 p POLIce a p p m a p p a p p m a p p a p p m a i i i i i i Lick 2 The Police style m m m m m m Andy Summers is the master chorus effect creates a similar p pof the ai suspended p p 2nd ai chord (sus2), p p using ai thep p up aiand down p with p an aarpeggio p and p a alight i i m distinctiveBsus2 m m shape m to The Police. m m 2nd above the octaveDsus2 (9th) to create harmony. Shifting this Esound sus2 Asus2 Lick©È2 Á The Police style i i i i i i ª ¼ Police style Lick 2 The # 4 Dsus2 ÏÏ ÏÏ # ÏÏ style ä j Ï Ï Ï Bsus2 ÏÏ ÏÏ j Ï Ï Ï Asus2 Lick©È2 #Á The ª ä j Ï Ï Ï EE sus2 ä ÏÏ ÏÏ ä jÏ Ï Ï jä Bsus2 sus2 Asus2 &©È Á ª # ¼¼ Police 4 Dsus2 Ï Ï Ï Ï Ï # Ï Ï ÏÏ ÏÏ Ï Dsus2 ÏÏ ÏÏ ä Ï j Ï Ï Ï jj ä ä Ï j Ï ÏÏ Ï E sus2 ä Ï jj Ï ÏÏ Ï Asus2 ä j Ï ÏÏ Ï Bsus2 Ï Ï ÏÏ &©È # ##Á ª ## ¼ 44 F Ï Ï ä ä j Ï Ï ä Ï Ï Ï Ï ä PMÏ j Ï Ï Ï ä Ï PM Ï Ï PM PM & # # 44 ÏÏ Ï j Ï Ï Ï ÏÏÏ ÏÏÏ Ï Ï ÏÏÏ ÏÏÏ Ï j Ï Ï Ï ÏÏÏ ÏÏÏ Ï ä j ä ä ä Ï jÏ Ï Ï jä Ï Ï Ï jÏ & 4F ÏÏ ÏÏ Ï Ï Ï Ï Ï Ï PM PM Ï ÏF PM PM Ï Ï Ï Ï 2 4 4 6 PM 9 9 6 11 11 4 PM PM PM 7 4 4 9 7 7 4 9 9 2 F 5 5 2 7 0 2 7 0 PM PM PM PM ≥9975 ≥5 ≥7 ≥99 ≤7 ≥6426 ≥2 ≥4 ≥66 ≤4 1111≥97 ≥7 ≥9 1111≥ 9≤ ≥4420 ≥0 ≥2 ≥44 ≤4 7 4 4 9 2 4 7 7 4 9 9 2 5 5 2 7 0 2 7 0 6 9 9 6 11 11 4 4 ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ 7 4 4 ≥ ≤4 ≥ 9 2 ≥ ≤ 7 ≥ ≤7 ≥ 9 ≥ ≤ 9 ≥ 2 Lick 3 John Lee Hooker ≥5 style≥5 ≥ ≥ ≤ ≥2 ≥2 ≥ ≥ ≤ ≥7 ≥7 ≥ ≥ ≤ ≥0 ≥0 ≥ ≥ ≤4 INTErmEDIATE–LIckS ≥ ExAmPLE ≥ 3 JOhn ≥ ≥ ≥ Lee ≥ ≥ ≥ ≤ ≥ ≥ ≥≥ ≤ ≥ ≥ ≥ ≥cd≤ track 30 ≤ hOOkeR Lick Lee Hooker style qq=qce ©È 33Á Á ¼ John The Lick call and response lick is a classic element of John’s ‘Boom-Boom’ style you in the John Lee ballpark and a beefy valve tone with a heavy pick will John Lee Hooker style A D A blues, which this– lick reflects. A semi-acoustic or humbucker guitar will get help - but of course any guitar/amp will be fine. # n Ï Lick style j n ÏÏ # Ï ÏÏ j Ï Ï qq=qce ©È 3Á Á ¼#John – Lee Ï n Ï Ï ÏÏ 44 Hooker n AÏÏ # Ï Ï A D ä ä ©È&Á Á ¼ #qq=qce Ï Ï Ï Ï ÏÏ D A #– 4 A j n ÏÏ # Ï ÏÏ j Ï Ï nn ÏÏ Ï n Ï ©È Á Á ¼## #qq=qce ÏÏ # Ï Ï n # ä ä j j Ï A D A Ï Ï Ï Ï Ï Ï Ï Ï & ## 4 F Ï nÏ #Ï Ï ä Ï j Ï Ï n Ï Ï n Ï Ï ÏÏÏ Ï j n ÏÏ # Ï Ï Ï & # # 44 ä Ï Ï Ï Ï nÏ Ï ä ä Ï Ï Ï nÏ #Ï Ï Ï nÏ #Ï Ï & 4F 0 8 10 F 7 55 6 7 77 7 55 6 7 7 7 5 9 7 7 0 F 5 7 5 8 10 0 7 7 5 5 6 7 5 6 9 ≥7 ≥55 6 ≥7 ≥77 ≥7 ≥55 6 ≥7 ≥7 ≥7 ≥9 8≤ ≥7 5 ≤7 10≥0 7 7 7 7 7 7 5 7 5 8 10 ≥7 ≥5 6 ≥7 ≥7 ≥7 ≥5 6 ≥7 ≥7 ≥7 ≥9 ≤ ≥7 5 ≤7 ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≥ ≥ ≥ D ≥ ≥A ≥ ≤ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ DÏÏ ≥ ≤ Ï Ï ≥. ### ä j n ÏÏ ≥# Ï j ≥ Ï Ï nÏ ≤ Ï nÏ ÏÏ #≥Ï n A ä Ï Ï Ï A Ï Ï Ï nÏ Ï . & # D nÏ Ï ### ä j n ÏÏ # Ï ÏDÏ j Ï Ï Ï ä Ï j Ï Ï n Ï Ï nn ÏÏ Ï n ÏÏ ÏÏÏ ... ÏÏ Ï j n ÏÏ # Ï Ï Ï nn AÏÏÏ ## ÏÏ Ï & ### ä ä Ïj Ïj Ï Ï Ï Ï Ï Ï . nÏ Ï & ## Ï Ï Ï n Ï # Ï n Ï # Ï n Ï Ï nn ÏÏÏ ÏÏ .. ä ä Ï Ï Ï Ï Ï Ï Ï & A MAGAZINE D 2/A4 6 GUITAR TECHNIQUES Lick 1 Folk style Lick 1 Folk style A D /A Lick 1 Folk style A D /A

E B G D E A B E E G B D G E A D B E A G

ÏÏ

ÏÏ

ÏÏ

Pat Heath's LICK BAG

ÏÏ

D/A D/A

D /A

ÏÏ

Ñ

ÏÏ

D /A D /A

A

E D A E

E B G D E A B E E G B D G E A D B E A G D E A E

E B G D E A B E E G B D G E A D B E A G E D A E

E B G D E A B E E G B D G E A D B E A G E D A E

7

≥7 7 ≥7 ≥ ≥

52 GuitarTechniques August 2015

5 5

5 5 5 5 5 5

≥ ≥ ≥ ≥

6

6 6 6

7

≥7 7 ≥7 ≥ ≥

7 7 7 7 7 7 7 7

≥ ≥ ≥ ≥

7

≥7 7 ≥7 ≥ ≥

5 5

5 5 5 5 5 5

≥ ≥ ≥ ≥

6

6 6 6

7

≥7 7 ≥7 ≥ ≥

7

≥7 7 ≥7 ≥ ≥

7

≥77 ≥7 ≥ ≥

9

≥99 ≥9 ≥ ≥

8 8 8

≤ ≤≤ ≤

8

7

5

≥77 ≥7 ≥ ≥

5 5 5

7

5 5

5 7

≤ ≤≤ ≤

≥555 5 ≥55 ≥ ≥

5 7 5 7 5 7

7 7 7

ON THE CD

Learning Zone

30-Minute Lickbag

TraCks 28-33

Pat Heath of BIMM Brighton brings you varied selection of fresh licks to learn, at easy, intermediate and advanced levels.

Brought to you by...

2 xxxxxxxxxx

INTErmEDIATE 2 xxxxxxxxxxLIckS ExAmPLE 4 geORge LYnch

cd track 31

2 xxxxxxxxxx Dubbed Scary’, this lickstyle requires a modern hi-gain sound with a Lick 4‘mrGeorge Lynch combination of palm muting and fluid sliding and aggressive picking. All of Lick 4 George Lynch style

©È Á £¼ Á 4£¼ Lynch style #©È©ÈGeorge Ï # Á £¼ # & # 4 Ï Ï & #©È# Á 4£¼ ÏÏ Ï &# F 44 Ï PMÏ PM & # F 4 F Ï PMÏ F 707 PM0 ≥700 ≥00 ≥7 ≥ ≥0 ≥0 ≥ ≥ ## Ï & ## Ï Ï Ï & # # ÏÏ & # Ï PMÏÏ ÏÏ & # Ï PMÏ Ï PM

2 xxxxxxxxxx Lick 4 George Lynch style

bÏ b ÏÏ b ÏÏ bÏ

Lick 4

E B E G B D E G A B D E G A E D E B A G E D

Ï Ï Ï Ï

8 0 8 0 8 0 8 0

Ï PM Ï PM Ï PM

Ï ÏÏ Ï ÏÏ Ï Ï

Ï

PM 0

0

0

0

11 0 11 0 11 0 11 0

Ï ÏPM Ï PM Ï PM

Ï Ï

Ï

Ï

Ï

ÏÏ Ï

Ï Ï

Ï

PM 0

0

0

0

12 0 12 0 12 0 12 0

Ï

Ï

ÏÏ

Ï PM Ï PM Ï PM

Ï

ÏÏ Ï ÏÏ Ï Ï

Ï

PM 0

0

0

0

11 0 11 0 11 0 11 0

Ï

Ï ÏPM Ï PM PM

PM 0

j bÏ j nÏ bÏ j nÏ b Ï n ÏÏ j Ï bÏ nÏ

Ï

BU

bÏ bÏ bÏ bÏ

BD

. . . .

BU BD 8 BU( 9) BD( 8) 0 ( 8) 8 ( 9) BU0 BD ( 8) 8 ( 9) 0 ( 8) 8 ( 9) 0

≥0 ≥0 ≥ ≥0 ≥0 ≥ ≥00 ≥ ≥0 ≥0 ≥ ≥0 ≥0 ≥ ≥0 ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ~~~ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ~~ Ï Ï nn ÏÏ ~~~ Ñ ~~ nÏ ~~~ Ï ÏÏ ÏÏ n Ï Ï Ï ÏÏ Ï Ï Ï nÏ ÏÏ n Ï ~~~ Ï Ï Ï n Ï Ï Ï Ï Ï Ï Ï Ï Ï ÑÑ ~~ Ï Ï nÏ nÏ Ï Ï Ï Ï Ï nÏ ~~ Ï Ï PMÏ n Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ PH ÏPM Ï Ï Ñ n Ï PM Ï Ï PM PH Ï Ï Ï Ï ~~ ~~~ Ï PMÏ Ï Ï PM PH ~~ 6 ~~~ 6 5 7 5 7 5 7~~ 7 5 7 ~~~ PM PH PM PM 6 6 5 7 5 7 5 0 0 0 0 0 0 0 7 5 7 5 7 7 5 7 7 5 6 ~~~ 6 5 ~~ 7 5 7 5 0 0 0 0 0 0 0 7 5 7 5 7 7 5 ≥70 ≥0 ≥0 ≥50 ≥0 ≥0 ≥70 ≥6 ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≤ ≤ ≤ ≤ 7 5 7 5 6 5 ≥70 ≥0 ≥0 ≥50 ≥0 ≥0 ≥70 ≥ ≥7 ≤5 ≥7 ≤5 ≥7 ≤5 ≥7 ≤5 ≥7 5≤ ≥7 ≥ MaLMSTeen ≥ ≥ ≥ ≥ ≥ ExAmPLE ≥ 5≥YngWIe ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥7 5≤ ≥cd track 32 ADVANcED LIckS A few months ago marshall ≥ tone -≤ you’ll Lick 5 Malmsteen style ≥ I included ≥ a yngwie ≥ style ≥ diminished ≥ ≥ lick. This ≥ ≥ ≥ ≤ pick ≥ need≤ a confident ≥ attack ≤ and≥ you might ≤ ≥for this, demonstrates a couple style of ways to play an A minor arpeggio with a Strat and want to tackle it in smaller chunks to begin with. Lick 5 Malmsteen E Am Á ª ¼ nAm Lick 5©È Malmsteen style Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï n Ï Ï Am Ej Amj ~~ Ï Ï Ï Ï ©È Á ª ¼ 4 nAmÏ style Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Lick 5 #Malmsteen EÏ j Am Ï n Ï Ï Ï Ï ~~ n ÏÏÏ jj ä Î î &©È #Á ##ª ¼ 4 nAmÏ Ï ÏÏ Ï Ï ÏÏ nn ÏÏ Ï Ï Ï ÏÏ ÏÏ Ï Ï ÏÏ Ï Ï nn ÏÏ Ï ÏÏ n Ï Ï Ï Ï Ï ÏÏ Ï ÏÏ Ï ~~ #EÏÏÏ j ää Am &©È #Á #ª ¼ 4 n Ï Ï Ï Ï n Ï Ï Ï Ï Ï Ï Ï Ï Ï n Ï Ï 6 n Ï Ï Ï Ï 6 Ï Ï Ï ~~ # ÏÏ j ä nn ÏÏÏ j ää ÎÎ îî Ï Ï Ï Ï # ÏÏ ÏÏ Ï & # 44 F Ï Ï Ï Ï Ï Ï Ï Ï Ï 6 Ï Ï 6 n # n Ï Ï n Ï Ï ä F ÏÏÏ ä Î î Ï Ï Ï & 4F # Ï 6 ~~ 6 Ï 8 12 8 8 12 12 17 12 ~~ ÏÏ000 Ï0102 10 10 10 10 13 136 614 8 12 8 9 12 12 17 12 9 9 9 8 14 1 F ~~ 10 10 10 10 13 13 0 1 10 10 2 14 14 2 8 12 8 9 12 12 17 12 0 0 9 12 9 9 8 2 14 14 1 0 12 15 15 12 2 10 10 10 10 13 13 0 1 ~~ 10 10 2 14 14 2 0 9 9 12 9 9 8 14 14 1 12 15 15 12 2 8 12 8 12 12 17 12 0 0 ≥ ≤ 10≥ ≤ etc 10 10 12 10 10 10 12≥ 15 14≥ ≥ 13≥ ≥ ≤ 13≤ ≤ 14≤ 15≤ 12 ≥220 ≥1220 ≥ ≥ 14≥ ≥ ≥ ≤ ≤ 14≤ ≤ ≤ ≥ ≤ ≥ ≤ etc9 10 9 9 10 9 ≥22 ≥1 ≥ 15 14≥ ≥ ≥ ≥ ≤ ≤ ≤ 14≤ 15≤ 12 ≥022 ≥ ≤ ≥ ≤ etc ≥ 12 0 12 0 Lick 6 Albert Lee style ≥ etc ≥ ≥ ≥ ≥ ≤ ≤ ≤ ≥ ≥ ≤ ≤ ≤ ≤ ≥ ≥ cd track 33 ADVANcED LIckS ExAmPLE 6 aLBeRT Lee Lick 6 Albert Lee style 6 from Albert Lee style rollLick to and the open strings around a G chord for this lick; using a the end. Start slowly and speed the metronome up to get it sounding right. A ©Èof legato, Á ∞¼ hybrid picking and staccato ‘chicken’ style picking at clean ‘in-between’ Ï b Ï Ï combination single-coil tone is Albert’s favoured approach. Ï ©È Á ∞¼ # Lick 6 Albert LeeÏ style Ï Ï ⋲ Ï b Ï ⋲ n Ï Ï ⋲ b Ï j n Ï JÏ ä & # ##©È 44Á ∞¼ Ï ÏÏ ÏÏ ÏÏ Ï Ï bb ÏÏ nn ÏÏ bb ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï ⋲ Ï b Ï ⋲ n Ï Ï ⋲ b Ï jj n Ï ÏJ ä & # #©È 4Á ∞¼ Ï Ï Ï Ï Ï ÏÏ b Ï n Ï b Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï ⋲ Ï bÏ ⋲ nÏ Ï ⋲ bÏ nÏ J ä & # 44 F Ï Ï Ï Ï j Ï Ï Ï Ï Ï Ï Ï # Ï Ï n Ï Ï b Ï n Ï b Ï ⋲ ⋲ ⋲ b Ï n Ï J ä Ï Ï & 4F Ï Ï Ï Ï Ï Ï Ï BU 0 7 6 5 3 F BU 3 2 0 0 0 7 6 5 3 (4 ) 0 2 3 3 2 0 0 7 6 5 BU F 3 2 0 0 0 2 2 0 0 7 6 5 3 (4 ) 0 2 3 3 2 0 0 7 6 5 3 2 0 0 BU 0 2 2 0 (4 ) 0 2 3 3 2 0 0 7 6 5 0 7 6 5 3 m ≥ m ≥ m ≥ m ≥ ≥ ≥0 2 m ≥2 0 ≥ m m ≥ 3 2 0 ≥6 m ≥5 m ≥ (4) m ≥0 2 3 m0 ≥3 2 0 ≥0 2 m0 ≥2 0 ≥7 m m ≥ m ≥ m ≥ m ≥ m ≥ m ≥ ≥ ≥ m≥ m ≥ m ≥ m ≥ m ≥ m ≥ m ≥ ≥ ≥ m≥ m ≥ A E

E B E G B D E G A B D E G A E D B E A G E D

0

ÏÏ

Ï

Ï

0

Ï

these elements are reminiscent of Lynch’s unmistakeable style with both Dokken and his own band, Lynch mob.

≥0 ≥0 ≥ ≥

≥ ≥ ≥ ≥

≥0 ≥0 ≥ ≥

≥0 ≥0 ≥ ≥

≥ ≥ ≥ ≥

±±± ±

A E

E B E G B D E G A B D E G A E D E B A G E D A E

E B E G B D E G A B D E G A E D E B A G E D

3 3 3 3

A E

August 2015 GuitarTechniques 53

lesson: blues

BB King

ON THE CD

Brought to you by...

Les Davidson pays a special GT respect to the mighty BB King who recently passed away. Let’s hear it for the one and only King Of The Blues!

TraCks 34-37

continued when BB hit the road. it has been estimated that he played an average of 250 gigs a year from then until his final years! Many more hits were to follow, not forgetting grammys and induction into both The Blues Foundation Hall Of Fame and The Rock & Roll Hall Of Fame. Universities have honored BB and the Boston Berklee School of Music gave him an honorary doctorate. Surprisingly, BB's favourite singer was Frank Sinatra, and he regularly went to bed listening to Sinatra's famous album in The Wee Small Hours (1955). He also credited Sinatra with giving black musicians a chance to play in what were once traditionally white

When I stop singing, I start to sing with my guitar BB King

ABILITY RATING

Moderate Info

WIll IMprove your

Key: Various Tempo: Various CD: TRACKS 34-37

Blues soloing Stylistic awareness Playing and articulation

Riley B King was born near itta Bena, Mississippi on September16, 1925, to a sharecropper family, but spent much of his life in the nearby city of indianola, Mississippi. As a youngster he developed an interest in music and was heavily influenced by his mother's first cousin, the Delta Blues guitarist Bukka White. Riley stayed with

Bukka for a time and was schooled in the blues tradition. Riley’s other influences included Blind Lemon Jefferson, Django Reinhardt and T-Bone Walker, and you can hear echoes of each of these great guitarists in his playing. By 1948 he was performing on Sonny Boy Williamson’s KWeM radio program in Memphis, a city that was a magnet for aspiring blues players. He also worked at the WDIA radio station as a singer and DJ. His popularity in the blues clubs that lined Beale Street in Memphis grew to such an extent that he became known locally as Beale Street Blues Boy, later shortened to BB. It wasn’t long before he scored his first number One hit, Three O’clock Blues. Success

NeXT MoNTH: Les examines the exciting modern blues style of John Mayer

Get the tone 6

7

8

7

2

Gain

Bass

MiDDLe

TReBLe

ReveRB

BB was associated with Gibson guitars for more than 40 years and in 1982 Gibson introduced a signature model, the famed Lucille: a semihollow 355-alike, but with no f-holes and loaded with two humbuckers. He tended to use either an early Gibson Lab Series amp or a Fender Twin Reverb. For our two audio examples I used a 1961 Gibson 345 direct into a Mesa Boogie Transatlantic Head, through a Cab Clone into my computer software system.

Track record We’d recommend the legendary live album Live at The regal (1965) and the later Live at The apollo (1991). compilations include: king of The Blues (1992), His definitive Greatest Hits (1999), The Ultimate collection (2005) and The Best of The early Years (2007). BB king Live in africa documents his Zaire gigs around the Muhammad ali, George Foreman fight - this could be his very best!

54 GuitarTechniques August 2015

DALLE / RETNA / PHOTOSHOT

BB King at the height of his blues power

dominated venues. BB was also a certified pilot and regularly flew to gigs up until the age of 70. He opened BB King's Blues Club in Beale Street in 1991, and later clubs in los Angeles, new york, Orlando, nashville and his hometown of latter years, las Vegas. He passed away aged 89 after a long struggle with diabetes and high blood pressure. He will be sorely missed but never forgotten! Apart from his note choices, a very important part of BB’s playing was his fast vibrato. He said it came about while he was attempting to emulate Bukka White’s bottleneck playing and had difficulty using the bottleneck. So take extra care when working on this fast vibrato, as you need to have secure fast control when rapidly moving up and down. By his own admission, BB was not a great chord man and he tended to just use the occasional chord stab to punctuate either his singing or playing.

LearNING ZoNe

BB KING EXAMPLE 1 BB kinG

cd track 34

Our first example draws heavily from phrases found within A minor Blues creates the overall feel. Remember that most effective blues playing is often scale (A-C-D-D#-E-G-A) but we described as ‘call and response’ or ‘question and answer’, so try to have a GUITAR TECHNIQUES 2 4also 6 see some Eb7 and F7 Mixolydian lines. B KING - BLUES - Les Davidson It’s important not to speed up when playing theseB lines as the timing conversation with each phrase. Ex 1

©È ¦ ¼ 4 &4

∑

A m7

î

Am7

Î

10

10

9

Ï Ï Ï Ï

D /A

˙ . ~~~

Ï ⋲ Ï ⋲

8

10

D/A

~~~

8

~~~ Ï . Ï Ï Ï Ï Ï Ï ~~~Ï

D/A

Dm7

Ï . ~~~ Ï Ï Ï Ï Ï. Ï ä ä . J & 10

~~~ 12

&

10 13 10

12

~~~

10

D m7

D 11

10

8

8

Ï

8

10

~~~

9

>Ï Am7 Ï Ï ~~~Ï ˙ J

D11

Ï

Î

Î

ä

Ï

j

10

10

D/A

8

Ï Ï Ï

⋲

~~~

BU 10 (12 )

8

Ï Ï Ï Ï Ï Ï Ï b Ï nd Ï b Ï ä

D/A

Î

F9

î

10

Ï Ï

Ï

⋲

E7

Ï Ï Ï

Ï Ï

10

8 10

8 8 10

10

8 10 10 11 10 8

8

10

8

10

10

10

9

Ï Ï Ï Ï Î

3

8

8 10 10

9

8

A m7

D/A

Ï Ï Ï &

j

bÏ

Ï Ï nÏ Ï Ï

Ï Ï Ï

Ï Ï

A m7

D/A

˙ Î

ä

Ï

j F9 Ï

Ï

Ï . ~~

13

13

3 BU

BU BD 8

5

7

8 ( 7) (5)

5

7

5

7

5

15

5

7

15 (17)

14

~~

>Ï J ä ä

15

11

E7

√>Ï Loco & J ä ä E B G D A E

8

4

A m7

E B G D A E

10

1

A m7

E B G D A E

Ï

D/A

~~

17

E B G D A E

E B G D A E

~~ Ï Ï J

Am7

√Ï Loco J ä ä

17

Ï

J 10

Ï

Ï Ï Ï Ï Ï 8

10

10

8

10

Am7

D/A

˙ ~~~ Ï Ï Ï

10

~~~

5

Ï

j bÏ

A m7

~~~ ˙.

Ï Ï Ï Ï

5

7

( 8)

Î

~~~

BU 8

D/A

7

5

7

5

7

14

August 2015 GuitarTechniques 55

lesson: blues

ON THE CD

TraCks 34-37

EXAMPLE 2 BB kinG

cd track 36

Our note selection here is derived mainly from the chord tones of Bb7 and Bb Mixolydian mode (Bb-C-D-Eb-F-G-Ab-Bb). Eb7, plus F7 Mixolydian and Bb minor Pentatonic and Blues scale (Bb-Db-Eb-E-F-Ab-Bb). It is the

GUITAR TECHNIQUES 2 4 6

B B KING - BLUES - Les Davidson B b7

ÏÏ>

qq=qce –

Shuffle Feel

b & b 44

Ï

∑

Î

bÏ

Ï Î

j

nÏ

Ï

#Ï

8

Ï

j

Ï Ï Ï Ï Ï Ï ~~~

Ï

Î

ä J

7

6

j Ï ~~ Ï b Ï

Ï bÏ Ï Ï bÏ ä J

Loco

√j

Î

~~

BU 15 (16)

8 14 (15)

11 13 11

12

~~~

12

11

11

13

9

Ï

î 1/4

BU

11

Ï Ï Ï Ï

Ï Ï

BU 13 (14) 11

(14)

13

j bÏ

1/4

13

12

11

13

12

3

&

Ï ~~~~Ï Ï

bb

11

11

nd

Ï Î

Ï Ï Ï Ï Ï J ä

Ï

Ï

E b7

bÏ Ï

Ï Ï

Ï Ï

Ï ä

3

~~~~

6

6

8

8

6

6

6

6

9

6

8

6

8

6

B b7

AÏ Ï Ï Ï Ï Ï Ï Ï b b 6

8

j

Ï Ï Ï ~~~ Ï

8

6

6 ( 7)

8

ÏÏ

~~~

BU

6

8

#Ï

j ÏÏ Ï

Î

ä

~~~F7Ï Ï Ï Ï Ï Ï ˙ Ï Ï J ~~~

BU 8 8

8

6 6 ( 7)

12

11 13

12

11

12

10

E b7

b &b ä

Ï Ï

Ï

8

7

Ï 8

B b7

Ï #Ï 6

√ ~~~ b >Ï Ï Ï ä J

Ï

~~~ 8

6

A b7

7

8

G7

16

Ï

D b13

C13 Loco

Ï

Ï bÏ

G b13

Ï

bÏ

j

nÏ

F 13

î

3

15

13

9

BU 11

12

14 (15 )

14

56 GuitarTechniques August 2015

BU (

)

Ï

J 9

7

&

E B G D A E

Ï J 8

BU

E B G D A E

Ï

1

b ˙ b &

E B G D A E

ä

6 6 7

E B G D A E

E B G D A E

mix between the chord tones and the notes of the scales that gives blues the tension and release that’s vital in keeping a solo interesting. As with Example 1, aim to keep your timing relaxed.

11

nd

lesson: rock

ON THE CD

TraCks 38-40

Grand Funk Railroad Martin Cooper looks at a US blues-rock outfit that outsold The Beatles at Shea Stadium and whose debut album sold a million - Grand Funk Railroad.

Easy to Moderate Info

WIll IMprovE your

Key: E minor Tempo: 100 bpm CD: TRACKS 38-40

Blues-rock vocabulary Rock riff writing Theory knowledge

Formed in Flint, michigan in 1969, Grand Funk railroad were originally a trio, comprising mark Farner (guitars, vocals),

Grand Funk railroad broke The Beatles’ Shea Stadium attendance record, by selling it out in only 72 hours. always been well respected by their peers. david Fricke, the editor of rolling Stone magazine, once said that you can’t talk about 1970s American rock music without mentioning Grand Funk railroad. Mark Farner’s guitar style is set firmly in classic rock territory, and his simple riffing and Pentatonic and blues based playing is always there to serve the song. He went on to become a successful contemporary Christian music artist after his departure from the band. this month’s piece features straightforward rocky riffs in the key of e natural minor (e-F#-G-A-B-C-d) although it also hints at an A major sound along with the e minor, giving an e dorian or A mixolydian sound. the solo largely uses the blues-rock staple e minor Pentatonic scale (e-G-A-B-d). You need to make sure that you play with authority, without hitting the strings too hard. the solo shouldn’t present any problems, and features the kinds of phrases also used by the likes of Free’s Paul Kossoff. NeXT MoNTH: Martin looks at another great American rock band, Chicago

Get the tone 6

6

7

6

3

Gain

Bass

Middle

TReBle

ReveRB

Mark Farner famously used a Messenger hollowbody guitar, covered in duct tape, and also Park amps. The tone should be as ‘classic’ as possible – aim for an overdriven sound that isn’t too distorted. Effects include phaser and delay (which are used on the intro of our piece). You don’t need a hollowbody guitar to get a similar tone though - I used a Luxxtone Choppa S guitar with a humbucker and two single-coil pickups.

Track record Grand Funk railroad’s self-titled debut release (1969) focuses a great deal on Mark Farner’s bluesy-rock guitar playing, and among the tracks features Mr Limousine driver and Please don’t Worry. closer To Home, from the following year, includes I’m Your captain; while the Live album (1970) has songs such as Mean Mistreater and Inside Looking out.

58 GuitarTechniques August 2015

ABC PHOTO ARCHIVES / GETTY IMAGES

ABILITY RATING

don Brewer (drums, vocals) and mel Schacher (bass). named after the local Grand trunk Western railroad that passed through their town, they became popular after playing at the Atlanta Pop Festival in 1969, and their debut album went on to sell over a million copies during the early 1970s. they broke the Beatles’ Shea Stadium attendance record in 1971 by selling it out in only 72 hours. there were several high-profile band fights, including the firing of manager terry Knight, who allegedly repossessed the band’s musical equipment just before they were due to play madison Square Garden in new York! Grand Funk railroad also worked with a number of big-time producers including todd rundgren, and also had songs such as We’re An American Mark Farner Band covered by the of Grand Funk Railroad likes of Poison. As the 1970s wore on, the often-cited musical differences played their part, and the band went their separate ways in 1976. When they reunited in 1981, the line-up included dennis Bellinger on bass, while the group’s latest incarnation features ex-Kiss guitarist Bruce Kulick. Grand Funk have remained popular in their home country throughout all the break-ups and new beginnings, and recently played 40 shows to commemorate their history. they may not necessarily be household names in the UK but they have

Brought to you by...

LeARNING ZONe

GRAND FUNK RAILROAD ExAMPLE rhythm

cd track 39

GUITAR TECHNIQUES 2 4 6

In typical blues-rock fashion the riff/rhythm part includes a little quarter-tone not as far as Martin Cooper's BIMM bluesy ROCK- but COLUMN - a semitone. It’s all about implying that majot tonality, blues curl around the Em and A chords, so make sure GRAND this is bent FUNK up so it sounds not stamping RAILROAD STYLEit all over the piece.

# ©È4 Á ¼ ¼ & 4

N.C.

Î Ï Ï Ï Ï F

∑

RHYTHM GUITAR E B G D A E

& E B G D A E

Ô

#

Ô

7

7

5

7

. . Ô

7

7

1/4

5 7 7 7

5

5 7 7 7

7

5, 17

ä ä Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï 7

.. ä ä Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ô

2

5 3

Ç

Am

1/4

Ï Ï Ï Ï ä Ï Ï Ï Ï ä Ï Ï 1/4

Ç

7 5

D5 E5

Ï Ï Ï Ï ä Ï Ï Ï Ï ä ÏÏ ÏÏ

5

7

7

7

5

7

7

7

7

G5 A5

1/4

nd

5

ä ä Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

ä ä Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï

1/4

5 7 7 7

5 7 7 7

7 5

9 7

5 7 7 7

5 7 7 7

5

7

5 7 7 7

5 7 7 7

10, 22

#

B5

#

D5

j

ÏÏ .. ÏÏ ä ÏÏ ˙˙ 9 7

13, 25

& E B G D A E

#

Ô

≥ ≥≤

6, 18

& E B G D A E

Ô

G5 A5

5

& E B G D A E

î

5 7 7 7 1

1/4

Em

9 7

D5

j

ÏÏ .. ÏÏ ä ÏÏ ˙˙ 9 7

9 7

12 10

A5

C5

j ä Ï . ÏÏ . ÏÏ Ï ˙˙ 7 5

7 5

10 9

10 8

ä ä Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 5 7 7 7

5

ä ä Ï Ï Ï Ï Ï Ï Ï Ï 7

5 7 7 7

5 7 7 7

8 7

10 9

. .

8 7

≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ 10≥ ≤9 ≥8 ≤7 ≥6 5≤ ≥4 2 Ç

Ï Ï 0

7 5

Ï Ï bÏ Ï Ï .. Ï nÏ Ï Ï #Ï nÏ Ï bÏ Ï #Ï

Em

5 7 7 7 29

12 10

B5

5 3

0

Ç

Am

Ï Ï Ï Ï ä Ï Ï Ï Ï ä Ï Ï 5 7 7 7

5 7 7 7

7

7

August 2015 GuitarTechniques 59

lesson: rock

ON THE CD

TraCks 38-40

2 Title

ExAMPLE rhythm ....CONTINUED

& E B G D A E

#

cd track 39 Em

Ï Ï Ï Ï ä Ï Ï Ï Ï ä Ï Ï 5 7 7 7

5 7 7 7

7

ä ä Ï Ï Ï Ï Ï Ï Ï Ï 7

5 7 7 7

Ï Ï

5 7 7 7

0

34

GUITARlead TECHNIQUES 2 4 6 ExAMPLE

ä ä Ï Ï Ï Ï Ï Ï Ï Ï 5 7 7 7

0

Ï . ä î

Ï Ï

5 7 7 7

0

7

0

cd track 39

Martin Cooper's BIMM ROCK COLUMN -

The chromatic line at the end of each phrase isn’t too fast, butFUNK you’ll need whichever fingers are comfortable for that part – either three fingers on GRAND RAILROAD STYLE to play it accurately and not let any excess string noise be heard. Use your fretting hand, or all four fingers if that suits you better.

©È Á ¼ ¼ 28 # 4 & 4 LEAD GUITAR

Ï

28

E B G D A E

j

Ï Ï Ï

Em

BU 14 (16 )

12

Ï Ï Ï

j Ï

BU

12

14 (16 )

Ï

BU

12

12

Ï Ï Ï

j

14 (16 )

12

Ï

Ï Ï Ï

j

BU

12

14 (16 )

12

Ï Ï Ï

j Ï

BU

12

14 (16 )

12

Ï

Ï Ï Ï

j

Ï Ï Ï Ï Ï Ï

j

Ï

BU

BU

12

Ï

14 (16 )

12

˙~~~

j

BU

12

12

12

14 (16 )

12

12

~~~

12 15 (17 )

29

√ # & ä Ï

Ï

j

Ï

J

Ï Ï

17

15

Ï Ï

nd Ï

Ï

Ï

Ï Ï

15

17

15

Ï

Loco

Ï Ï

Ï

16

14

12

Ï Ï

Î

BU E B G D A E

17 ( 19)

17

15

17

15

16

12

14

31

Am

&

# ÏÏ

Ï

ÏÏ

ÏÏ Ï

ÏÏ

ÏÏ Ï

ÏÏ Ï

ÏÏ Ï

Ï

ÏÏ

ÏÏ Ï

# ÏÏ ÏÏ

1/4

ÏÏ ÏÏ

14 14

12 12

Ï

1/4 E B G D A E

12 12

14

12 12

14

12 12

12 12

14

14

12 12

14

14

12 12

14

12 12

14 14

33

# Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. Em

& E B G D A E

12 12

12 14

12

12 14

35

60 GuitarTechniques August 2015

12

12 14

12

12 14

12

14 12

14

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

12 14

12

12 14

12

12 14

14

12 14

12 14 12

14

˙

14

î

14

LOVE TO PLAY ROCK GUITAR? Then this 100-page magazine with DVD-ROM is for you! Drawn from the best rock features in Guitar Techniques magazine it’s packed with lessons on how to play like over 40 rock legends. Pop the DVD-ROM into PC or Mac to hear brilliant audio synched to animated tab.

lesson: video

VIDEO

ON THE CD

Carl Verheyen masterclass

CD-rOm

PART 7

Milton Mermikides introduces the last of our excellent video masterclasses with American virtuoso, Carl Verheyen, who this month digs deeper into improvisational concepts. ABILITY RATING

Moderate/Advanced Info KEY: Various TEmpo: Various CD: CD-ROM

WIll IMprove your Improvisational vocabulary Integration of musical ideas Fretboard fluency

An AwEsoME sEssion (and live) guitarist in a huge range of contemporary styles, Carl has an impressive list of performing credits (from supertramp to Allan Holdsworth to Dolly Parton) and adoring praise from top guitarists (including the likes of Eric Johnson, Robben Ford, Joe Bonamassa, steve Lukather, Robben Ford, Brad Praisley, Jennifer Batten, steve Morse, scott Henderson and Albert Lee). so when he came over to our studios to lay down (with only a moment’s preparation) some one-take solos Carl Verheyen: shows us his soloing secrets and concepts

over backing tracks, we had high expectations. He managed to be hugely impressive and inspiring in terms of his fluent musicality and improvisational flair, and in a couple of hours had produced enough material for no less than seven GT articles, and at least as many years of guitaristic inspiration. However, in this last installment, rather than transcribe and analyse another one of his improvised solos, we dug deeper into his approach to shed some light on how he achieved, and continues to his develop, his improvisational skill. Rather than taking an unorganised approach to improvisation, Carl has for the last 37 years been cataloguing all his

We only come up with truly original material for a fraction of the time that we’re improvising. Carl Verheyen

improvisational ideas - transcribing his licks on paper in order to help embed them into his playing (to “get lines under my hands”). He says that from his perspective (which in fact aligns with what many other improvisers have said), we only come up with truly original material for a fraction of the time that we're improvising (Carl estimates it as about 30%). The significant remainder of the time most of us – whether we admit it or not – are relying on a pre-existing stockpile of licks. Examples 1-3 demonstrate just three out of hundreds of licks that Carl has transcribed and absorbed for playing over an F minor chord. Carl’s approach is to continually work at strengthening, improving and expanding that ‘70%’ baseline vocabulary. He achieves this by transcribing any new ideas he comes up with while jamming, and adding it to the stockpile. Most importantly, he works at integrating any new idea within his pre-existing material, so that his options widen even further during improvisation. Carl shows this with a newly acquired lick (Example 4 – a wide

intervallic pattern using the root, b3, 5th and b7 of an F minor chord) and shows how this short musical idea might be integrated in F minor material (Examples 5 and 6). Rather than leave it at that, Carl shows how a one-note adjustment to the melodic idea in Example 4 results in a phrase that works beautifully over Bb7 (Example 7), and continues by demonstrating how it can be integrated with Bb7 material in his preexisting vocabulary (Example 8). Furthermore, although Example 4 was born of an F minor context, Carl shows how the exact same lick can work for D-flat major (Example 9) implying a Dbadd9 chord (what Carl calls “a Db2 chord”). He shows how this idea works beautifully over Db major in a long free phrase which uses the idea twice. The final piece of the puzzle is placed, when Carl shows how – through transposition – we can now adapt the musical idea for any minor or major chord (and with the note adjustment, any dominant chord). Carl’s final example uses Example 4 transposed down a semitone in order to work over a C major context. All of these phrases are very musical and worth learning, but the biggest lesson here is the excellent template Carl offers in how one can build a large (and personalised) improvisational vocabulary for use in spontaneous musical expression! NeXT MoNTH: GT begins a new series with British jazz master Nigel Price

Get the tone 7

6

6

7

4

Gain

Bass

Middle

TReBle

ReveRB

For the session, Carl played his signature LSL signature model through a Marshall JTM45 MKII head. Overdrive came courtesy of a Free The Tone MS SOV MS-2V pedal. The examples could be played on any type or model of guitar, but single-coils sound great for this ‘open’ feel. Go for a clean tone but not too bright a sound and a dash of reverb for ambience.

Track record Mustang run (2013 cranktone) features a great and diverse selection of tracks, while alone (2015 cranktone) demonstrates his superb solo guitar playing and improvising on covers by artists as diverse as Pat Metheny and The Beatles.

62 GuitarTechniques July 2015

Learning Zone

CarL VerHeYen MaSTerCLaSS PT 6 GUITAR TECHNIQUES MAGAZINE ExAMPLE F minor lick 1 GUITAR1 TECHNIQUES MAGAZINE

246 246 GUITAR TECHNIQUES MAGAZINE 2 4 6

Milton's Milton's CARL VERHEYEN -- Pt 7 - BUILDING AN IMPROV VOCAB CARL VERHEYEN -- Pt 7 - BUILDING AN IMPROV VOCAB

cD -rOm

Milton's CARL VERHEYEN -- Pt to 7 keep - BUILDING AN IMPROV One of Carl’s stored licks in F minor. Note how he uses slides and position shifts even this short line widelyVOCAB ranged and interesting. Ex 1 F minor Lick No.1 Ex 1 F minor Lick No.1 GUITAR TECHNIQUES MAGAZINE 2 24 46 6 Ex 1 F minor Lick No.1 GUITAR TECHNIQUES FmMAGAZINE Fm Fm Ex Ex 1 1 F F minor minor Lick Lick No.1 No.1

©»¡º• ©»¡º• bb bb 44 bb©»¡º• & b bb b 4 & b ©»¡º• & b 4 b b4 &b b 4

ÏÏ ÏÏ Ï Ï Ï Fm Fm j Ï Ï Ï BUÏ jj Ï ÏÏ j ÏÏ

BU E 1 E BU B 1 B E G 3 ( 5) 1 G B 3 ( 5) D D G A ( 5) 3 BU BU A D E E 1 E E A 1 B B E G 3 G 3 (( 5 5 )) D D A A 2 F minor Lick No.2 Ex E Ex F the minor No.2 and E 2 Again note useLick of slides

Ï ÏÏ ÏÏÏ ÏÏ ÏÏÏ ÏÏÏ ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï

jj n Ï ÏÏ j nn ÏÏ

ÏÏ ÏÏ Ï Ï Ï j Ï nÏ Ï Ï

4 1 4 1 4 1

ÏÏ ÏÏ ÏÏÏ ÏÏ Ï Ï Ï Ï Ï Ï Ï

ÏÏ

'' ÏÏ Ï Ï ÏÏ ' Ï Ï '' ' 1/4 1/4 1/4

Milton's CARL VERHEYEN -- Pt 7 - BUILDING AN IMPROV VOCAB

3 1 4 3 3 1 5 4 3 3 1 5 4 3 5

ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï

6 6 6 9 6 7 6 8 9 6 8 6 7 6 8 9 6 8 7 8 8 6 6 6 9 6 9 6 6 7 8 8 7 8 8

ÏÏÏ ÏÏ Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï nÏ Ï Ï Ï Ï Ï nn ÏÏ Ï Ï Ï Ï nÏ

ÏÏÏ ÏÏ bbb ÏÏÏ Ï Ï Ï bÏ

ÏÏ ÏÏÏ ÏÏÏ Ï Ï Ï Ï

8 6 11 8 8 6 11 8 8 6 11 8 10 8 10 8 10 8 11 8 6 11 8 6 8 8 6 6 11 11 8 8 8 11 8 6 8 8 10 8 8 10

11/4 4

ÏÏÏ

1/4 1/4 1/4

îîî Ï

î

6 8 6 8 6 18 6 8 6 8 1 8 6 /844 7 8 6 8 6 8 7 8 6 8 8 8 4 1 3 1 4 4 1 3 1 4 7 8 3 5 3 5 cD -rOm ExAMPLE 2 F minor lick 2 6 8 8 6 6 6 11 6 8 8 8 11 8 8 6 6 6 8 8 8 7 8 fluent position shifts. Take it really slowly and relate each moment to any8 F minor Pentatonic positions you may know. 8 7 8 Ex 2 F minor LickFm No.2 Fm Fm Ex Ex 2 2 F F minor minor Lick Lick No.2 No.2

E E B B E G G B D D G A A D E E E E A B B E G G D D A A E E

E E B B E G G B D D G A A D E E E E A B B E G G D D Ex A A Ex E E Ex

©»¡º• ©»¡º• ©»¡º• bb bbb bb bbb 444 & & bb 4 & ©»¡º• b & b b b 44

8 8 8

bb bbb bb bbb & & &b b b & b bb

11 11 11

8 8

11 11

ÏÏ n Ï Ï nn ÏÏ Ï nÏ 4 4 4 4 4

8 8 8

10 10 10

8 8

10 10

bb ÏÏ bÏ bÏ 4 4 4

3

5 5

4 4

ÏÏ Ï

Ï 3 3 3 3 3

5 5

F minor Lick No.3

©»¡º• ©»¡º• ©»¡º• bb b bb 44Lick Ex Ex 3 3 F Fbminor minor Lick No.3 No.3 & b b Ï b b 4 & b b 4 Fm Fm &©»¡º• ÏÏ ÏÏ Ï b & b b b 44 Ï Ï

ÏÏÏ

5 5 5

ExAMPLE F minor lick 3 3 F3minor Lick No.3

ÏÏ Ï Ï

Ï Ï

6 6 6

3 3 3

6 6

3 3

Ï

Ï

Ï 1 1 1

6 6 6

E E B B E G G B D D G A A D E E E E A B B E G G D D A A E E

3 3 3

4 4 4

bb bbb bb bbb & & &b b b & b bb

6 6 6

4 4 4

ÏÏ ÏÏ 33 ÏÏÏ 66 44Ï ÏÏ Ï 44 Ï Ï Ï Ï Ï 16 16 16 16 16

18 18 18 18 18

ÏÏ .. ÏÏ Ï . Ï Ï . Ï

ÏÏ nn ÏÏ ÏÏÏ Ï nÏ Ï nÏ Ï

20 20 20 20 20

18 18 18 18 18

5 5 5

ÏÏ Ï

5 5

Ï

4 4 4

6 6 6

1 1

3 3 3

4 4 4

4 4

6 6

3 3

4 4

ÏÏ Ï Ï ÏÏ 88 ÏÏ Ï Ï Ï Ï

6 6

13 13 13

15 15 15

13 13 13

13 13

8 8 8

13 13

11 13 10 11 13 10 11 13 10

9 9 9

11 11

9 9

13 13 10 10

8 8 8

5 5 5

16 16 16

5 5

13 13 13

8 8

bb ÏÏ bÏ bÏ

ÏÏ b Ï ÏÏ Ï bb ÏÏ Ï Ï bÏ Ï

ÏÏ Ï Ï ÏÏ Ï Ï

9 9 9

6 6 6

9 9 9

6 6 6

9 9

6 6

9 9

6 6

12 11 11 10 12 11 11 11 10 12 11 11 11 10 11 10 10

12 12 11 11

11 11

11 11

ÏÏ

ÏÏÏ nn ÏÏ nÏ Ï nÏ

ÏÏ Ï Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï Ï

'' ' ÏÏÏ

6 6 6

8 8 8

Fm Fm Fm

ÏÏ

ÏÏ ÏÏÏ ÏÏ Ï Ï Ï Ï Ï

ÏÏ ÏÏ Ï Ï Ï ÏÏ Ï Ï Ï

Ï ÏÏ ÏÏ ÏÏÏ ÏÏÏ ÏÏ Ï Ï Ï Ï Ï Ï Ï

6 6 6

8 8 8

11 11 11

8 8 8

13 13 13

11 11 11

6 6

8 8

11 11

8 8

13 13

11 11

ÏÏÏ

Ï

11/4 4

'' '

1/4 1/4 1/4

Ï

8 8

n ˙˙˙ nFm ˙ Fm nnn ˙˙˙ n ˙˙˙ n 11˙˙

1/4 1/4 1/4

Ï

8 8 8

6 6

8 8

Ï bb ÏÏ bÏ Ï bÏ

1 1 1

3 3 3

bb ÏÏ bÏ bÏ

ÏÏ

1 1 1

1 1 1

Ï

ÏÏ ÏÏÏ ÏÏÏ Ï Ï Ï Ï

huge and rapid 12-fret position change.

Ï

Ï

6 6 6

9 9 9

6 6

9 9

ÏÏ Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï ÏÏ Ï Ï Ï Ï Ï

8 8

16 16 15 15

12 12 11 11

ÏÏ Ï Ï ÏÏ Ï Ï

1 1 3 1 3 3 2 3 2 3 4 1 1 4 1 11 1 3 2 3 11/4 1 4 1 11 4 1 3 1 1 3 1 1 1 3 1 3 3 1 3 cD -rOm 3 2 3 3 2 3 4 1 1 4 1 1 use of the open secondnd string on the first note of bar 4 which allows a

ÏÏ ÏÏ Ï Ï Ï Ï

ÏÏ bb ÏÏ ÏÏÏ ÏÏ Ï b Ï Ï Ï bÏ Ï Ï 8 8 8

12 11 12 11 12 11

3 3 3

6 6

6 6 6

Ï

ÏÏ Ï ÏÏ Ï ÏÏ Ï Ï Ï Ï

Ï Ï ÏÏ Ï ÏÏÏ ÏÏÏ 3 nd Ï Ï ÏÏ Ï Ï Ï Ï Ï

ÏÏ ÏÏ

Ï

ÏÏ

3 3

3 FF minor minor lick Lickincludes No.3 This next some wider intervallic leaps for which Carl Fm Fm has an affinity. Note the use of skipped strings in bars 1 and 3 and also the Fm

E E B B E G G B D D G A A D E E E E A B B E G G D D A A E E

bÏ bb ÏÏ bÏ

BU BU 11 BU 11 13 11 13 10 12 13 12 (13 ) 11 13 11 13 13 13 10 12 13 12 (13 ) 11 13 13 10 12 13 12 (13 ) BU BU 13 11 11 11 13 13 13 11 13 10 10 12 12 13 13 12 12 ((13 13 )) 13 13 3

nnn ÏÏÏ nÏ

5 5 5

ÏÏ ÏÏ ÏÏÏ ÏÏ Ï Ï Ï Ï Ï Ï Ï

ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï

ÏÏ ÏÏ Ï Ï Ï Ï Ï ÏÏ ÏÏ Ï Ï Ï Ï Fm Fm Ï Ï Ï Ï Ï Ï Ï

15 15 15

13 13 13

13 13 15 15

Ï

15 15 15

13 13 15 15

nn ÏÏ nÏ nÏ

0 0 0 0 0

bb ÏÏ bÏ bÏ 3 3 3 3 3

13 13 13

11 11 11

13 13

11 11

ÏÏ Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï Ï 1 1 1

1 1

3 3 3

1 1 1

3 3

1 1

16 16 16

13 13 13

16 16

13 13

bb ÏÏ bÏ bÏ

3 3 3

2 2 2

3 3

2 2

16 16 16

13 13 13

16 16

13 13

ÏÏ ÏÏ Ï Ï Ï ÏÏ Ï Ï Ï 1 1 1

1 1

.. . .

4 4 4

1 1 1

4 4

1 1

17 17 17 17 17

16 16 16

18 18 18

16 16

18 18

Î

ÎÎ Î

July 2015 GuitarTechniques 63

lesson: video

VIDEO

ON THE CD

ExAMPLE 4 F minor meloDic iDeA

cD -rOm

xxxxxxxxxx Carl2 shows us a recent melodic idea he came up with. It was written to work over an F minor chord, creating the chord degrees b3, root, b3, b7, root. This is quite widely spaced and typical of Carl’s approach which eschews Ex 4

F minor melodic idea

Ï

2 xxxxxxxxxx 2 xxxxxxxxxx

b

Fm 3

Ï

Ï bbb 4 Ï &FFbminor 4melodic minor melodic idea idea 10

E B Ex 4 Ex G 4 D A E

Fm 11 Fm 3

b

11

13

Ï

Ï

˙˙

b3

R

13

ÏbÏ 7

bÏ 3

b3

R

b

Ï

˙

b7

R

4

6

Ï Ï

Ï

˙

bÏ 7

b3

R

‘monkey in a space suit’ stepwise shredding, for more melodic wider interval ideas. You’ll need to work on string skipping so, again, take it slowly and make sure you eliminate unwanted string noise.

˙ Ï

Fm

Ï b b b b 44 Ï & Ex 4 F minor melodic idea

2 xxxxxxxxxx

CD-rOm

Ï

3

Ï

6

˙

b

b

43 R 7 R 3 Ï Ï b Ï Ï ˙˙ b 4 b bb b 44 Ï Ï Ï b 11 13 Ï b & Ï Ex & 5 Melodic 4 idea used to end blues phrase 4 6 cD -rOm ÏÏ ExAMPLE 5 meloDic iDeA USeD to enD BlUeS PhrASe 10 13 Ï Ï 3 6 did so, and suggests Ï ©»¡º• ideaFm Ï Ï Ï ˙ Ï Here’s the melodic used as an ending for some pre-existing F minor beginning of the lick, notices that he that it “might have Ï RR vocabulary keeps b3 R Ï RR putÏ in a box Ï been b Ï Ï Ï to become bb77 Ï readily bb77hisÏ ‘stored’ bb11 bb33 Ï so youÏ can bb433Ï of the lick”. Ï 33 has Ï Ï RRidentify Ï material (the melodic idea part how R This is bexactly 3 Ï Ï and is a great Ï Ï lesson Ï thatÏ wants to grow their lickbag. it). Notice how Ab at the building b 4instinctively uses a slide from a G to the n Ï Ï forÏ anyone î b b bCarl 11 13 & 4 Ï Ï 44 11 13 6 Ex 5 Melodic idea used to end 6 10blues phrase 13 10 13 3 6 3 6 11 ©»¡º• Fm Ï Ï Ï Ï 11 Ï Ï Ï Ï Ï ˙ 4 Ï Ï Ï Ï b Ï Ï Ï Ï Ï Ï 4Ï Ï Ï Ï Ï BU BU Ï n Ï Ï Ï Ï Ï Ï 11 13 13 13 11 b b b b 44idea used to13end13blues î ) 9 11 9 16 (18phrase 16 13 12 11 & Ï 10 13 Ex 5 Melodic (17to ) end blues phrase Ex 5 Melodic idea15 used 15 15 12 10 10 8 10 8 10 10 Fm 10 11 ©»¡º• Fm Ï Ï Ï Ï Ï Ï Ï Ï ©»¡º• Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ˙˙ Ï Ï b Ï Ï ÏÏ Ï Ï ÏÏ ÏÏ b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï b BU BU Ï Ï Ï Ï nn Ï Ï Ï Ï Ï Ï Ï Ï Ï 11 13 13 13 13 11 îî & bb b bb bb 4444 & ÏÏ Ï ( ) 13 16 18 16 13 12 11 9 11 9 R

E B G D A E

R

E E B B G G D D A A E E E B G D A E

E B Ex G D A E

6

Melodic idea15 embedded in phrase (17 )

15

15

12

10

10 8

10

10

10

10 13

8

Ï Ï Ï Ï Ï Ï Ï Ï nÏ Ï Ï Ï Ï Ï Ï Ï Ï n Ï b Ï Ï 11 13 Ï Ï Ï Ï 11 13 Ï 9 11 9 Ï 9Ï 10 Ï 11 9 10 8 Ï 10 8 10 13 cD -rOm Ï Ï 10 10 8 10 10 10 8 10 13 Ï 10 10 10 11 shows how an idea is not fixed object10 but 11 can be adapted in terms of beat placement, rhythm and melodic elaboration. NoteÏ the cheeky pinch Ï Ï Ï gain. Ï Ï Ï b b b of4 C on the 13th fret, secondÏ string. Ï ÏnoteÏ - tricky Ï Ï with veryÏ little with the insertion This Ï sort of adaptation harmonic to reach the top FÏ on the last n Ï Ï b n Ï b Ï Ï Ï Ï 4 6 9 6 8 9 8 Ï & 4 Ï Ï Ï 4 5 7 8 10 8 10 5 8 Ex 6 Melodic idea embedded inÏ phrase Ï Ex 6 Melodic idea embedded 6 8 8 10 10 3 6 Ï1 Ï4 Ï1 in3phrase 10 11 6 8 Fm 8 Fm Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï b n Ï Ï Ï Ï Ï Ï4 nn Ï Ï Ï 6 Ï Ï 9 Ï 6 Ï Ï Ï Ï bb Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 8 Ï 9 Ï 8 Ï Ï Ï Ï Ï n & bb b bb bb 4444 Ï Ï & Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï1 Ï Ï3 Ï 3 Ï 6 4Ï 5 Ï7 Ï 8 Ï Ï Ï Ï Ï 6 √8 Ï6 8 Ï 5 8Ï 8 10 10á 8 10 10 10 11 Ï bbb Ï 1 4 8 Î î b & 4 6 9 6 8 9 8 8 10 9 8 4 5 Ï 4 7 6 8 9 6 10 8 5 8 4Ï 5 7Ï 8 10 5 8 8 10 10 8 10 √ á 6 8 3 6 Ï1 3 Ï 3 Ï 6 Ï Ï Ï Ï 66 88 6Ï 8 Ï 8Ï 10 PH 10 10 11 10 11 1 Ï 4 1 3 8 Ï Ï b 1 4 8 b 11 11 13 16 13 16 18 20 Î î 13 16 13 16 18 18 & b b 10 13 17 √ á Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ √ Ï Ï PH Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 16 18 20 b bb bb bb Ï 11 11 13 16 13 b ÎÎ îî & & 13 for Bb7 16 13 16 18 18 Ex 7 F minor melodic idea adapted 10 13 17 B b7 B b7 (implied harmony) Ï Ï Ï Ï Ï PH PH w b Ï b Ï Ï Ï Ï w Ï b w 4 b Î 11 11 13 16 13 ww 16 13 b Ï 18 1616 1818 2020 bÏ Ï î & 4 bÏ 11 11 13 16 b13 13 16 18 13 16 13 16 18 18 10 13 17 Ex 7 F minor melodic w 10 13idea adapted for Bb7 17 b b7 5 b7 Ï3 Ï 5 Ï (implied harmony) Bb 7b7 5 b 7 B 7 Ï3 5 Ï 3 bÏ 7 5 b 7 3 w b Ï b Ï ww6 Ï Ï 10 13 10 13 10 b b 44 b Ï Ï Î b w b Ï bÏ Ï î 6 & ww7 Ex 7 F minor melodic 10 idea 13 adapted for Bb7 10 13 13 10 Ex 7 F minor melodic idea adapted for Bb7 6 (implied harmony) 11 B8bb7 (implied 64 GuitarTechniques JulyBBb11 2015 b7b77 5 b Ï 3 Ï Ï 5 harmony) b 7 B Ï 3 Ï Ï 5 Ï Ï 3 bÏ 7 5 b117 103 67 5 bbÏ 7 7 Ï Ï w b Ï w b Ï b Ï Ï ÏÏ ÏÏ ww ÏÏ b bb 44 Î î b b4 &b b 4

Fm

BU

10

11

BU

BU BU E 13 13 13 11 E 13 16 (18 )13 13 16 13 11 12 11 B 13 B ( ) 13 16 18 16 13 12 11 12 ( ) G 15 17) 15 15 ExAMPLE 6 meloDic miDDle Ex 6 Melodic idea15 embedded inSection phrase 15 (17 G 15 12 D D A A Carl shows how the melodic idea might be used in the middle of an Here Fm E E improvised line. This time, he not only uses the slide, but elaborates the idea E B G D A E E B G D A E

E E B B G G D D A A E E E B G D A E E B G D A E

E E B B G G D D A A E E E B G D A E E

± ± ±

Ï Ï

b b Ï &b b

Ï Ï

Ï Ï

Ï Ï

Ï

Ï √ Ï Ï Ï

á

Ï Ï

Î

±

î Learning Zone

CarL VerHeYen MaSTerCLaSS PT 6 PH

E 11 B 13 G 10 13 DExAMPLE 7 chAnGinG eb to D A E Here Carl shows how, by changing the

11

13

16

13

16

13

Eb note in the melodic idea to D natural, the lick is now perfectly suitable for Bb7, creating the chord degrees: b7-5-b7-3-5. These clearly imply a Bb7 chord. In bar 3 below, he shows

Ex 7

F minor melodic idea adapted for Bb7

Ï Ï b Ï Ï

b

B 7

b4 & b 4 bÏ

b7

E B G D A E

5

b7

10

13

16

17

3

5

10

13

20

Ï Ï b Ï Ï

b

ww b www w

bÏ b7

6 6 7 6 8 6

11

18

18

cD -rOm

how it could be played in both ascending and descending form, and even extended downwards to a low D natural. Again, storing away ideas that can be used as is, or tweaked to fit other musical situations - chords, etc.

B 7 (implied harmony)

Î

16

18

5

b7

10

13

Ï Ï

3

5

3

10

13

10

Ï

î

bÏ Ï

b7

5

13

10

b7

11

3

11

10

ExAMPLE 8 chAnGinG eb to D over Bb7

3

cD -rOm

Now the use of this adapted melodic idea in Bb7/Bb blues context is demonstrated. It’s embedded towards the end of the phrase (annotated in a

Ex 8

3

E B G D A E

Adapted melodic idea in Bb7 context

©»¡º• b & b 44 î

Ex 8

ä ÏJ

Î

b

B 7

Ï

jÏ

Adapted melodic idea in Bb7 context

©»¡º• b & b 44 î

Î

Ï

b

jBUÏ

8 (10 )

E B G D A E

Ï bÏ

Ï

Ï8 b Ï9 Ï Ï b b Ï n Ï 6 &b 6 7

9

j8 (Ï 10 )

6

9 ( 11 )

Ï

jBUÏ

6

6

Ï

8

bÏ Ï8

8 ( 9)

Ï Ï Ï Ï Ï Ï Ï Ï bÏ Ï Ï

bÏ

Ï

10

BU

Ï nÏ

9 6

E Ex B G D A E

10

Freely

D

b

Ï Ï Ï Ï 10

11

5

10

13

2

3

11

13

Ï Ï Ï Ï

j

Melodic idea in Db major phrase Freely

bb b 4

Db

bÏ

8

6

Ï

b

Ï b Ï b Ï .3 6 4

E 7 6

8

6

13

b

13 D

10

13

10

16

13

4

Ï Ï Ï Ï

6 6 6 4

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

Ï Ï Ï Ï Ï jBUÏ Ï BUÏ BD Ï Ï Ï Ï 11 13 11 8 11 Ï ( 11) 9 ( 11) ( 9) Ï6 Ï Ï6 Ï Ï Ï 9

î

5

5

6 8 5 6

b

Ï bÏ bÏ .

E 7

15

13

î

14

b

w wwww w

15 13 D add9

14

cD -rOm

Carl calls it) and 3rd. Implying a lush Dbadd9. Note that Carl calls this chord Db2, but this often implies (root-2nd-5th) rather than (Root-2nd-3rd-5th). So we’ve gone with ‘Dbadd9’ for clarity

4

3

Melodic idea in Db major phrase

b & b b b b 44 Ï

Ex 10

E B

8

11 5

Ï 6 8

6

bÏ Ï Ï Ï n10Ï 13 10Ï 16 13

˙ Taking the original idea from Example 4, CarlÏ now shows how 11 it can be Ï ‘repositioned’ in its exact form, from an F minor to a Db major context. The Ï ww b b 4 idea now chord degrees: 5th, 3rd, 5th, 2nd (or “9th” wwas Ï & b bcreates b 4 the following Ex 9 Melodic idea in Db major context 3 5 D5b Db Ï2 ˙3 Ï 11 13 ww6 bbb 4 Ï Ï b ww66 10 13 & b4 E B G D A E

Ï

8 (10 ) 8

11

b

A E

Ï Ï bÏ Ï ⋲ Ï Ï bÏ Ï Ï Ï nÏ bÏ Ï Ï Ï

Ï6 Ï Ï6 Ï Ï Ï BUÏ Ï b Ï Ï Ï Ï Ï6 b Ï Ï ⋲ ( 11 ) 9 6 Ï Ï Ï 8 8 (10 ) 8 6 nd 8 6 8 6 8 Ï6 b Ï4 Ï 3 Ï4 n Ï5 b Ï6 8 Ï5 Ï6 5 6

BU

6

BU Melodic idea in Db major context B 6 8 An 9iDeA 8 ( 9) ExAMPLE 9 rePoSitioninG G 6 7D D

E 9 Ex

jÏ

j b Ï BUÏ

Ï6 Ï6 3

6

Ï

b & b bÏ nÏ

bÏ

3 B 7

ä ÏJ6

Ï Ï

BU E B G D A E

box) and again slightly adjusted for musical inflection. This time Carl uses a pull-off in the lick and extends this idea upwards.

b

w wwww99 10 13 w 11

D add9

9

9 9 10 13 11 9

Ï Ï Ï Ï Ï Ï

Ï

Ï

Ï Ï Ï Ï Ï Ï Ï Ï 3

July 2015 GuitarTechniques 65

Ï Ï Ï Ï Ï Ï4 BU

Ex 9 Ex 9

Melodic idea in Db major context Melodic idea in Db major context D D

bb

b bb bb 44 & & b bb bb 44 ÏÏ

lesson: video 5 5

ÏÏ

ÏÏ

3 3

˙˙ ÏÏ

D D

E

E B ExAMPLE 10 imProviSeD line B

2 2

3 3

11 11

13 13

bb w

wwwwww ww w

D add9 D add9

ww ww ww

VIDEO 5 5

bb

very fluent here, incorporating position shifts, slides, and quick bends Ex 10 Ex 10

Melodic idea in Db major phrase Melodic idea in Db major phrase

ÏÏ ÏÏ Ï Ï bb bb bb bb b 444 ÏÏ Ï Ï & & b4 Freely Freely

D D

E E B B G G D D A A E E

ÏÏ Ï Ï Ï Ï

bb

10 13 10 13

11 13 11 13

ÏÏ

jj

ÏÏ ÏÏ ÏÏ ÏÏ

BU BU 8 8 11 9 ( 11 ) 11 9 ( 11 )

11 11

ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï ÏÏ ÏÏ Ï Ï ÏÏ

BU BD BU BD 9 ( 11 ) (( 9 )) 9 ( 11 ) 9

6 6 6 8 6 8 6 8 8 6 8 6 8 6

ÏÏ

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ U Ï Ï U Ï Ï Ï Ï b bb bb Ï ⋲⋲ ÏÏ Ï & & b bb bb 3

U UÏ ÏÏ ÏÏ Ï

3

4 6 8 6 4 6 8 6

BU BD BU BD 9 11 8 (( 9 )) ((8 )) 9 11 8 9 8

11 9 11 9

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ Ï ÏÏ Ï Ï

ÏÏ

3 3

BU BU

11 11

E E B B G G D D A A E E

CD-rOm

9 9 9 cD -rOm 9 10 10 13 free so the notation is quite for a vocal inflections. It’s very rhythmically 13 11 11 representational rather than strictly descriptive. Carl’s vast stored lickbag (ie 9 9 huge musical vocabulary) allows him ultimate fretboard freedom.

6 6 6 6 6 6 4 4

G 10 13 G 10 13 D Here’s a beautiful improvised line that incorporates the melodic idea D A 11 A 11 middle (indicated in a box). The playing is at Ethe beginning and in the E

ON THE CD

10 13 10 13

11 11

13 11 16 13 13 11 16 13

4 3 5 6 5 ( 6) 4 3 6 3 5 6 5 ( 6) 3 6

3 5 3 6 3 6 5 3 6 6

4 3 4 3 6 4 6 4 4 4

4 4

ÏÏ ÏÏ Ï Ï ÏÏ ÏÏ Ï Ï ÏÏ

ÏÏ ÏÏ ÏÏ

15 13 15 13

11 11

16 13 11 16 13 11

8 8

bb

D 6 D 6

ÏÏ ÏÏ

bb

ÏÏ

10 10 8 8 9 9

9 9

D D

10 10 6 6 9 9

ExAMPLE 11 trAnSPoSinG An iDeA

cD -rOm

4 xxxxxxxxxx

Here the melodic idea is presented in a transposed form. The original F minor lick is transposed down a semitone to the key of E minor. Note that the same idea can now be used for E minor, C major (implying a Cadd9 Ex 11

chord) and in its adapted form – and not played here – A7. Using this idea you can play over any minor, dominant or major chord and is a wonderful demonstration of how a single idea can be adapted to myriad situations.

Melodic idea transposed to Em and C major Em

Ï

Ï

˙

C

˙

Ï

Ï

###

#4 n Ï Ï & 4 Ï Ï Ex 11 Melodic idea transposed to Em and C major Eb m C b 3 bÏ 7 R˙ 3 R 5 3 5 Ï2 ˙3 Ï Ï #4 n Ï Ï & 4 Ï 9 12 10 12 Ï 9 12 10 12 4 xxxxxxxxxx

E B G D A E

b

10 3

R

b3

E B

îî

b7

R

10

12

10 5

Ex 12 Melodic idea within a C major phrase G ExAMPLE 12 PentAtonic enDinG on A SUS2 9 12

3

5

2

3

10

12

###

A7 (not played)

nÏ

nÏ

Ï

b

b

A7 7 (not played) 7 5

nÏ

b107

Ï

nÏ

9

12

5

b7

Ï

˙ Ï3

˙5

9

12

3

5

9

12 cD -rOm

. Ï withÏ the melodicÏ 10idea beforeÏ with a Csus2 chord. This is an excellent 10 major Pentatonic C 10 short and beautifully executed exercise on its own, Freely Ï lick,Ï opens Ñ Csus2 Ï Ï Ï continuing with a wonderfully flowing C major Pentatonic line and ends so practise it accurately and slowly in a range of keys - then Ï Ï Ï Ï w Ï Ï ggg ww steal it! 4 Ï Ï Ï &4 Ï Ï Ï Ï gg w Ex 12 Melodic idea within a C major phrase Ï Ï C Ï . Ï Ï Ï Let ring Freely Ï Ï Ï Ñ Csus2 Ï Ï Ï Ï Ï Ï Ñg w Ï Ï ggg www33 & 44 Ï 9 12 10 12 10 13 10 12 13 10 12 13 10 8 9 Ï7 Ï Ï Ï Ï Ï 10 7 ggg 55 Ï Ï3 10 10 7 10 3 Let ring 9

D A This E

12

9

E B G D A E E B G D A E

10 9

12

10

66 GuitarTechniques July 2015

12

10

13 10

12

13

10

12

13 10

8

12

Ñ

9

7

10 7

10 7

10 3

3

ggg ggg

3 3 5 5

a Blackstar ht stage 100 head & htV-412 cab Get amped with a road-ready half-stack NothiNg

says “I mean business” like a formidable 4x12 cab with an almighty head perched upon it. And now, thanks to the fine folk at Blackstar Amplification, you could snag yourself a beastly HT Stage 100 head and HTV-412 cab to match. With four EL34 power valves providing a 100-watt output, there’s no venue the Stage 100 can’t demolish, especially combined with the HTV-412 cab’s quartet of 80-watt Celestion drivers. The Stage 100’s three footswitchable channels plus voice switches provide a gargantuan range of sounds, further enhanced by a built-in digital reverb, speaker-emulated output and Blackstar’s Infinite Shape Feature, which allows you to transition between British and American tones. To be in with a chance of wowing the audience at your next gig with this behemoth of backline, simply answer the following question correctly:

Which of these guitarists is a signature Blackstar artist? a Zakk Wylde b gus g c tony iommi Simply head over to bit.ly/gtblackstarcomp to enter - good luck!

T&Cs: The competition is open to UK entrants only. Under 18s must obtain parental consent to enter this competition and be able to demonstrate this to Guitar Techniques’s reasonable satisfaction. Answers must be received between 27/06/2015 and 06/08/2015. The winners will be selected at random from all correct entries received between the relevant dates and will be sent the prize free of charge. Each winner will be notified within 28 days of the closing date and will be required to give details of a delivery address in the UK to which the prize should be sent. By entering this competition, you consent to us using your personal details to send you information about products and services of Future and Blackstar Amplification which may be of interest to you. For full terms and conditions, please go to: www.futurenet.com/futureonline/competitionrules.asp

August 2015 GuitarTechniques 67

Subscribe to CHOOSE YOUR PACKAGE PRINT

DIGITAL

Play along to the animated tab in our iPad edition Every issue delivered to your door with a Guitar Techniques’ CD packed full of video and audio.

Instant digital access on your iPad, iPhone, or Android device. The iPad version also includes video with animated tab and audio

ONLY £29.49 every 6 months

ONLY £12.99 every 6 months

Your subscription will then continue at £29.49 every six months - SAVING 24% on the shop price.

68 GuitarTechniques August 2015

Your subscription will then continue at £12.99 every six months - SAVING 33% on the shop price.

GET THE COMPLETE PACKAGE PRINT + DIGITAL l Receive a Guitar Techniques’ CD packed full of audio and video every issue

SAVE

39%!

l Every new issue in print and on iPad, iPhone or Android device l Never miss an issue, with delivery to your door and your device l Huge savings, the best value for money, and a money-back guarantee l Instant digital access when you subscribe today

ONLY £35.49

every 6 months

Your subscription will then continue at £35.49 every 6 months - SAVING 16% on the shop price and giving you a 65% DISCOuNT on a digital subscription.

Two easy ways to subscribe... ONLINE myfavouritemagazines.co.uk/GTQsubs CALL 0844 848 2852 (please quote PRINT15, DIGITAL15, BUNDLE15) TERMS AND CONDITIONS Prices and savings quoted are compared to buying full priced UK print and digital issues. You will receive 13 issues in a 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 unmailed issues. Prices correct at point of print and subject to change. For full terms and conditions please visit:myfavm.ag/magterms. Offer ends 07/08/2015.

August 2015 GuitarTechniques 69

ON THE CD

10-Note string-pair cells In his final installment on string pair cells Shaun Baxter uses all fingers of the fretting hand on every string in order to increase the speed of each line.

same in every octave, providing physical and visual convenience: Sixth/fifth; fourth/third; second/ first. For example, a G major triad can be arranged on the lower string pair (sixth and fifth strings) as follows:

ABILITY RATING

Advanced Info

WIll Improve your

Key: C Tempo: 120bpm CD: TRACKS 41-42

Interval recognition Fretboard navigation Musical range

This recenT series has been devoted to compressing the information of each musical entity (triad, arpeggio, Pentatonic scale etc) into a single string-pair, so that the same shape ('cell') can be shifted up and down over three octaves via the other string-pairs. By confining our approach to the following string-pairs, the fingering will remain the

Cell

Notes on sixth-string

Notes on fifth-string

(3-0) (2-1) (1-2) (0-3)

G, B, D G, B G -

D B, D G, B, D

so that’s four possible configurations that can each be shifted up in octaves onto the other string-pairs without having to change shape. Furthermore, each entity can be played in different inversions depending on the starting note. For example, in this case, it is possible to play three different inversions of the G major triad by starting from a different note each time: G-B-D; B-D-G (G has been taken off the front and placed on the end); and D-G-B (G and B have been taken off the front and placed on the end). And, like the original inversion, the others can be configured in the same four ways on each string-pair (3-0, 2-1 etc). So far, we have looked at string-pair cells ranging from two to eight notes in size. in this final lesson, we go nuclear by getting into double figures. 10-note cells can be configured as follows within each string-pair: 10-0; 9-1; 8-2; 7-3; 6-4; 5-5; 4-6; 3-7; 2-8; 1-9; and 0-10. note that different ways of playing the same thing will provide us with different musical possibilities via new technical opportunities. As usual, once you have worked through the various examples you should try to establish some useful shapes of your own in each of the CAGED patterns of the various scales that you know. Establish the various

each entity can be played in different inversions depending on the starting note.

TraCks 41-42

possible note-configurations (cells) in a systematic way, and audition each one against a backing track so that you can hear it in context, making a note of your favourites and experimenting with various ways of employing them in the most musical ways. When doing this, remember you don’t have to play something from the root of an underlying chord or scale. You can apply ideas starting from any note of that scale. You are not obliged to play all three octaves each time, as this will severely limit your musical approach. Instead, you might want to use just two ‘cells’ instead (or even just one): the important thing is that the musical idea might spring from the underlying ‘concept’ of string-pair cells. Technically, you may need to use tapping for some shapes when they are played lower down the neck, whereas you may be able to pick every note when playing higher up the neck (where the stretches are easier); so be prepared to adapt your approach accordingly. The following examples are all based around ‘cells’ that exist within A natural minor (A-B-C-D-E-F-G), and can be taken over three octaves via the various string-pairs. The intention is to help you build up a useful repertoire of shapes and lines for you to be able to draw upon when improvising. The following exercises feature 10-note cells configured in a 5-5 arrangement on each string-pair, and demonstrate the enormous amount of notes that can be generated using fretting-hand tapping in conjunction with just one tapping finger of the picking hand; however, the more adventurous of you may want to try using more picking-hand fingers when experimenting with your own ideas who knows, you could be the next Steve Lynch or TJ helmerich! NeXT MoNTH: Shaun begins a brand new series under the Creative Rock banner

Get the tone 7

7

5

5

5

GaiN

BaSS

MiDDle

TReBle

ReveRB

I’m keeping to a typical rock tone for this series. I use a Fender Strat, so I always use a distortion pedal to boost the signal before it gets to the amp. Generally, try to go for 25% of your distortion from the pedal and 75% from the amp. You’ll find that the results are sweeter and more compressed (even and tighter sounding) than when getting 100% of the distortion from the amp. Finally, some delay will also added, making sure that it is in tempo with the track. This will help to give both expanse and extra smoothness to your guitar’s sound.

Track record Guitarist and producer TJ Helmerich is known mainly for instrumental albums recorded with Brett Garsed. Both players possess a Holdsworth-influenced legato style; however, whereas Brett uses legato and hybrid picking, TJ exclusively employs an eight-fingered tapping approach, fretting the notes using all of the fingers of both hands via a series of left- and right-hand taps.

70 GuitarTechniques August 2015

DAVID LYTTLETON

lesson: creative rock

Learning Zone

10-note string-pair ceLLs DIAGRAm 10-note cells on three strinG-pairs

exAmpleS 10-note strinG-pair cells

cd track 42

example 1 even though quintuplets are used here, you should find them features notes that are duplicated on each string (D and e notes). relatively easy to play because of the fingering layout on each string. When example 2 This example features a mixture of odd-note groupings (nine GUITAR TECHNIQUES MAGAZINE 2 4 6 playing four notes per string it’s quite difficult to get a gap SHAUN'S between theCREATIVE notesGUITAR per beat, seven notes per beat) as well as straight 16th-note triplets. middle two fingers, so this particular shape (see Diagram above), which is The secret is to practise targeting the note at the start of each beat at a GUITAR TECHNIQUES MAGAZINE 2 SHAUN'S GUITAR Ex 1used in GUITAR TECHNIQUES MAGAZINE 24 46 6convenient as it only also ex2, ex3, ex6 MAGAZINE and ex7, is quite requiresCREATIVE a relatively slow tempo before building up to the demo speed. When doing SHAUN'S CREATIVE GUITAR GUITAR TECHNIQUES 2 4 6 SHAUN'S CREATIVE GUITAR semitone stretch between the second this, aim to space the notes in between as evenly as possible. Loco and third fingers. each string-pair cell Ex 1 1 5 Ex 5 Ex 1

L L

L L

LÏ Ï LÏ Ï

√ Ï Ï Ï Ï ©È Á ª ¼ Ï Ï Loco Ï √ Ï Loco Loco Ï Ï ©È©È&ÁÁ ªª 44¼¼ Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï Ï Ï 4 Ï Ï5 5 & & 44

LL

E B G E D E E B A B B G E G G D2 D D A A A E E 2 E 2 2

E B G E D E E B A B B G E G G D5 D D A A A E E E 5 5 5

E B G E D E E B A B B G E G G D6 D D A A A E E 6 E 6 6

LL

LL

5 5 5 17 10 12 5 5 5 13 15 17 10 12 13 15

E B G E D E E B A B B G E G G D1 D D A A A E E 1 E 1 1

& & &

LL

Ï ÏÏ

12

0

12 12 12

0 0 0

Ï Ï Ï ÏÏ ÏÏ Ï Ï9

17 15

13 12

9 10 9

17 15 17 17 15 15

13 12 13 13 12 12

10 10 10

LL

L Ï Ï & LÏ Ï Ï &

LL

9

9 9 9

10

9

7

14 12 14 14 12 12

10 10 10

9 9 9

7 7 7

Ï

LL

14 7 9 10 12

LL

Ï Ï Ï Ï Ï Ï ÏÏ ÏÏ Ï

Ï Ï ÏÏ ÏÏ

17

15 13

12

10 12 13 15

17 17 17

15 15 13 13 15 13

12 12 12

10 12 13 15 10 12 12 13 15 10 13 15

L L

LL

LL

14 7

nd

Ï Ï ÏÏ Ï

LÏ Ï LÏÏ ÏÏ

LL 9

9 10 12

Ï Ï Ï ÏÏ ÏÏ Ï Ï

17 15 15 13 12 17 12 10 10 17 15 13 13 12 10

LL 9

Ï Ï Ï ÏÏ Ï Ï Ï

9 9 9

12 10

9

7

9 10 12 14 12 10

9

7

14 14 14

12 10 10 12 12 10

9 9 9

7 7 7

9 10 12 14 12 10 10 9 9 10 10 12 12 14 14 12 12 10

9 9 9

7 7 7

Ï

Ï

~~~ ˙

LL

LÏ Ï LÏÏ ÏÏ

5 5 Ï5 Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï

12 5

7

8 10

12 5

7

8 10

12 5 12 5 5 12

7 7 7

8 10 8 10 12 5 8 10 12 5 5 12 Ex 2

7 7 7

8 8 10 10 8 10

L L

LL

5 5 5

14 7 9 10 12

9 10 9 10 10 12 12 7 9 10 12 12 9 12 14 14 14 7 7 9 9 10 10 12

Î îî

14

Ï

5 5 5

î

9 15 13 12 10 9 17 9

LÏ Ï LÏÏ Ï

L L

Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï ÏÏ ÏÏ Ï Ï 5

Ï Ï ÏÏ Ï 5

∑ ∑∑

îî

LÏ Ï LÏÏ ÏÏ

5 5 5

14 7 10 14 7 14 7 9 9 10 12 12 7 9 10 12 12 14 14 7 9 10 12 14 14 7 7 14 7 9 14 7 9 10 10 12

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï ÏÏ Ï Ï Ï Ï Ï Ï 9 Ï Ï

14 12

LÏ .

5 5 5

î

ÎÎ

LÏ L ÏÏ

(√) Ï ((√ √)) Ï & Ï & &

&

Î

5

L L

L L

Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ ÏÏ Ï Ï ÏÏ Ï ÏÏ ÏÏ Ï 5Ï

14 7 9 10 12

17 10 12 13 15 17 10 12 13 15 15 17 10 10 12 12 13 13 15 15 17 17 17 10 10 12 12 13 13 15

LÏ . LÏÏ ..

Ï Ï ÏÏ Ï

√ √ √ä ää

ÎÎ

LÏ Ï LÏÏ ÏÏ

Ï Ï Ï Ï ÏÏ 6 ÏÏ Ï ÏÏ Ï

14

12

10

9

7

9

10 12

14 14 14

12 12 12

10 10 10

9 9 9

7 7 7

9 9 9

10 10 12 12 10 12

Loco Loco Loco Loco

LL

Ï Ï ÏÏ ÏÏ

6 6 6

Ï Ï ÏÏ ÏÏ

LL

ÏÏ

Ï Ï ÏÏ ÏÏ

≠Ï ÏÏ ≠ÏÏ Ï

Ex 2 Ex Ex 2 2

≠≠

Ï

5 5 5

10

12

13

15

10 10 10

12 12 12

13 13 13

15 15 15

LÏ ≠Ï Ï LÏÏ ≠ÏÏ ÏÏ LL ≠≠

Ï Ï ÏÏ ÏÏ

7 7 7 7

14

14 14 14

7

9

10

12

7 7 7

9 9 9

10 10 10

12 12 12

LÏ Ï LÏ ÏÏ

Ï 666 Ï Ï Ï Ï Ï Ï Ï 777 Ï Ï Ï Ï Ï Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï Ï Ï

12

10

8

7

5

7

8

12 12 12

10 10 10

8 8 8

7 7 7

5 5 5

7 7 7

8 8 8

LL

î .

L≠ L≠ LL ≠≠ √ Ï √ √ ≠Ï 7

6

ä

10

10 10 10

5

7

8

10

5 12 5 5 12 12 Ex 3

7 7 7

8 8 8

10 10 10

12

August 2015 GuitarTechniques 71 Ex Ex 3 3 Ex 3

Ï

Ï

D A E

L 14

5

lesson: LÏ Ï creative Ï Ï LÏ rock &

Ï

L

L

L

L

9 9 example 3 Again, we’re using the same string-pair cells as in the previous two examples, only even more notes are crammed into each bar. It may look E B daunting on the page (32nd quintuplets) but, if, as in the previous example, G 14 12 10 9 7 you the 12 start10 of each either D practise targeting the note at14 9 beat 7 (always 9 10 12 14 on 12 10 A first finger of the fretting hand or the tapping finger of the picking hand) the E the 6internal rhythms should take care of themselves.

L

& Ï .

L

E

B 222 G 2 D A E

Ï

Ï Ï

10

LL

7

L

LL

Ï Ï ÏÏ & & Ï Ï

555 5

E E E B B B E G G G B D D D G A A A D E EE A 10 10 10 E 10

L≠

î . ä

LL

E E E B B B E G G G B D DD G A AA D E E E A 12 12 12 E 12

LL 10 10 10 10

5

LL LL LL

LL L 33 3

19 19 19 19

LLÏÏ

20 20 20 20

LL LL > Ï >Ï Ï Ï

LL 12 12 12 12

333 555 666 777 3 5 6 7

√ √Ï Ï Ï Ï Ï Ï Ï Ï bb Ï Ï Ï Ï Ï Ï & & 3 E E E B B B E G G G B D D D G A A AD E E E A 14 14 14 E 14

555 5

LL

LL

55 5

nd

LL

⋲ Ï ⋲ Ï Ï Ï bb Ï Ï nn Ï Ï Ï Ï

LL

55 5

LL

LL

5

888 8

555 5

555 5

777 7

888 8

999 9

LL

LLÏ Ï

LL 12 12 12 12

777 7

Ï Ï Ï Ï bbÏ Ï nnÏ Ï 555 5

777 7

LL

555 12 10 8 7 12 10 10 88 77 5 12 12 10 8 7

888 8

LL

Loco

L LL 14 12 12 14 14 12

Ex Ex 555 72 GuitarTechniques August 2015 Ex Ex 5

Ï Ï bb Ï Ï nn Ï Ï Ï Ï

12 10 12 10 10 888 12 12 10 8

999 9

555 5

555 5

99 9

14 12 10 14 12 12 10 10 14 14 12 10

LLÏÏ ÏÏ

L

555 5

14 12 10 14 12 12 10 10 999 14 14 12 10 9

Ï

12

13

15

LL

777 14 12 10 9 14 12 12 10 10 99 7 14 14 12 10 9

∑∑

555 5

LL

Ï Ï bb Ï Ï nn Ï Ï Ï Ï

15 15 15 15

10 11 12 10 11 11 12 12 888 10 8 10 11 12

Ï Ï b Ï n Ï ÏÏ Ï bÏ nÏ Ï

15 15 15 15

10 11 12 10 11 11 12 12 888 10 8 10 11 12

LL

∑∑

∑∑

777 7

≠Ï # Ï Ï b Ï nLÏ b Ï

Ï

LL

LLÏ Ï

LL

Ï

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

~~~ ~~~ ÏÏ ~~~ ~~~

LL

555

Loco nnÏ Ï Loco ~~~ >Ï > Ï nÏ Ï Ï Loco Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï n Ï Ï Ï Ï Ï ~~~ Ï 666 6 ~~~ 15 8 10 11 12 15 88 10 10 11 11 12 12 15 ~~~ 15 8 10 11 12 14 12 9

L L

19 12 11 10 17 19 12 12 11 11 10 10 888 17 17 19 19 12 11 10 8 17

333 3

≠Ï

≠

5 ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï 5 555 55

LL

î. î .

Ex 3

√

10

10 12 14 12 10 10 12 12 14 14 12 12 10 10 999 777 777 999 10 10 12 14 14 12 10 10 12 12 14 14 7 9 10 12 14 12 10 9 7 14 14 12 12 10 10 999 777 777 999 10 7 9 10 12 14 14 12 10 9 7

& &

L≠

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ïcd track 42

L

LL≠ L

LL

Ex Ex 444 Ex Ex 4

TraCks 41-42

example 4 Here, we use a different string-pair cell that introduces one chromatic note per string. Again, physically this is quite easy to play because there are no stretches required between the middle two fingers. Note how, 9 7rather than spacing the notes evenly, rhythmic variation is created by 7 notes, 8 10 holding onto the picking-hand taps longer than all the 5other making 12 10 8 7 5 7 8 10 12 for a more ear-catching effect.

~~~ ˙

LL ≠≠

Ï Ï Ï Ï Ï Ï Ï LLÏ Ï ≠≠Ï Ï Ï Ï Ï Ï Ï LL LL ≠≠ LL

14

7

17 15 13 12 10 10 12 13 15 17 15 13 12 10 17 15 15 13 13 12 12 10 10 10 12 12 13 13 15 15 17 17 15 15 13 13 12 12 10 10 17 10 17 15 13 12 10 12 13 15 17 17 15 13 12 10 17 15 15 13 13 12 12 10 10 12 12 13 13 15 15 17 17 10 12 13 15 17 15 13 12 10 17 17 15 15 13 13 12 12 10 10 17 15 13 12 10 17 17 15 13 12 10 12 13 15 17 17 15 13 12 10

E E E B B B E G G G B D D D G A AA D E E E A 99 9 E 9

L

10 12

6

Loco Loco Loco (√) Ï Ï Ï Ï Ï Loco (√Ï ) Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï & Ï Ï Ï Ï ÏÏ Ï ÏÏ ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï & 5 5 5

55 5

9

ON THE CD

(14 )

12

9

~~~

BU

12

7

Ï

10

LÏ Ï

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

exAmpleS 10-note strinG-pair cells

12

Ï Ï nÏ

D A E

L 10

12

L L LÏ Ï b Ï

√ Ï Ï &

3

5

L 12

7

5

LÏ LÏ >Ï

Ï Ï

LL L

6

>Ï

Ï Ï

L L

7

8

9

LÏ Ï n Ï LÏ Ï

nÏ

3 3 example 5 Here we’re adding two chromatic notes per string to create a Flight Of The Bumblebee-style line reminiscent TJ E 19 20 19 12 11 10 8 17 8 of 15TJ Helmerich 8 10 11 (although, 12 B would probably play four chromatic notes using the picking hand as well as G 14 12 9 the D fretting hand). Again, note that no stretches are required between the A middle two fingers. E

14

Ex 5

L

5

L

∑

∑

cd track 42 6 example 6 In this example, we switch back to same string-pair cell used in first three examples, although that could be obscured for some due to the presence of string skips. Here, in order to get 16th-note quintuplets played to14a quarter-note 12 10 7 triplet count, you simply target the picking-hand taps so that they beat out a quarter-note triplet rhythm.

~~~

L

L≠

L ≠Ï # Ï

5

L≠

5

~~~

Ï Ï

L L

exAmpleS 10-note strinG-pair cells

Learning Zone

10-note string-pair ceLLs

Loco

L

bÏ n Ï bÏ Ï Ï nÏ Ï bÏ Ï bÏ n Ï Ï #Ï Ï Ï Ï nÏ

& Ï bÏ Ï #Ï nÏ Ï bÏ Ï #Ï nÏ #Ï Ï Ï n Ï Ï #Ï Ï Ï n Ï

≠ L L L ≠ L ≠ L L L ÏÏÏ bbb ÏÏÏ ÏÏ ÏÏ nn ÏÏ Ï b Ï ÏÏÏ ### ÏÏÏ ÏÏÏ bbbbÏ ÏÏÏ nnnnLÏ L bb ÏÏÏ nnn LÏÏÏ ≠ L Ï b Ï # Ï b Ï Ï Ï Ï Ï nnÏ Ï LÏ LÏÏ bbbÏ ÏÏ Ï ÏÏÏ ÏÏÏ nnn ÏÏÏ Ï ≠ Ï Ï # Ï ≠ L ÏÏ bbb ÏÏÏ ÏÏ ## ÏÏ nn ÏÏ LÏ b Ï Ï L Ï n Ï Ï # Ï ≠ Ï Ï b Ï n Ï L Ï Ï n Ï Ï # Ï Ï # Ï Ï Ï Ï n L Ï Ï # Ï Ï nÏ ≠ ≠ Ï # Ï L Ï n L Ï & L Ï b Ï Ï Ï ##Ï Ï nnÏ Ï LÏ LÏÏ bbbÏ ÏÏ Ï ÏÏ ### ÏÏÏ nnn ÏÏÏ ### ÏÏÏ Ï ÏÏÏ Ï ÏÏ nnnLÏ LÏÏ ≠Ï Ï ##Ï Ï Ï Ï Ï n LÏ & & & #Ï nÏ #Ï ≠≠ LL ≠ L L ≠ LLL L L ≠ ≠ ≠ L L L LL≠≠ LL L

E B3 G3 3 3 D A E 17

7

6 5

4

7

6 5

3

4 5 6

LÏ LLÏÏÏ

LLL

7

3

Ï

LL LL

ÏÏÏ

Ï

ÏÏÏ

4 5 6

Ï

8 9 10 8 9 10 10 88 99 10

Ex 6 Ex 6 Ex66 Ex

& & &&

LÏ LLÏÏÏ Ï ÏÏÏ

5 5 55

Ï ÏÏ Ï ÏÏ Ï Ï Ï

LL

12 5 12 5 12 55 12

LLL

7 7 77

L ÏÏÏ Ï L L Ï ÏÏÏ Ï ÏÏ

L

14 7 14 7 14 7 8 10 14 7 8 10 8 10 8 10

LLL

√ √ÏÏ ÏÏÏ Ï Ï ÏÏ ÏÏ √√ Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏ & Ï & && 5 5

LL 14 14 14 14

Ex 7 Ex 7 Ex77 Ex

55

7 9 7 9 77 99

L

3 3 33

Ï ÏÏ Ï ÏÏ Ï Ï

5 5 55

LLL

3 3 33

ÏÏÏ ÏÏÏ Ï ÏÏÏ ÏÏ Ï Ï Ï Ï Ï ÏÏÏ 5 5

55

9 10 12 9 10 12 10 12 12 99 10

LLL

ÏÏ ÏÏ ÏÏ Ï Ï Ï ÏÏÏ Loco Loco Loco Loco

LL

LL

12 5 12 5 12 55 12

Ï ÏÏ Ï ÏÏ Ï Ï 5 5 55

LÏ LÏÏ Ï

8

9

5 5 55

Ï ÏÏ Ï ÏÏ Ï Ï 7 7 77

11 11 11 11

5

9

8 7 6

8 9 10 9 10 12 8 10 12 88 99 10 12 12

11 12 11 12 11 12 12 11

11 10 11 10 11 10 10 11

5

5 5 55

9 8 9 8 12 11 10 9 8 11 10 9 8 99 88 12 12 11 11 10 10 99 88 12

∑ ∑∑∑

L ÏÏÏ Ï L L Ï ÏÏ ÏÏÏ Ï Ï

LL

14 7 14 7 14 7 8 10 14 7 8 10 10 88 10

LLL

LL

8 7 6

5 5 55

LLL

Ï ÏÏ ÏÏ Ï Ï ÏÏ Ï Ï Ï Ï Ï ÏÏ Ï ÏÏÏ 5

5 55

9 10 12 9 10 12 10 12 12 99 10

Ï ~~~ ~~~ Ï ÏÏ Ï ÏÏÏ Ï ÏÏÏ ÏÏ ÏÏ ÏÏ~~~ ÏÏ Ï Ï Ï Ï ~~~

9 9 99

6 7

Î

17 10 12 13 15 17 10 12 13 15 17 10 12 13 15 17 10 12 13 15 10 12 13 15 14 12 10 12 17 10 12 13 15 17 17 10 10 12 12 13 13 15 15 14 12 10 12 17 10 12 14 12 12 10 12 14

9 9 99

5

Î ÎÎ

~~~~ ~~~~ ~~~~ ~~~~

(( )) (( ))

9

Loco Loco Loco Loco

Hold bend Hold bend Bend string with 3rd finger on 10th fret, E string Hold bend Hold bend Bend string with 3rd finger on 10th fret, E string Bendstring stringwith with10 3rdfinger finger on10th 10thfret, fret,EEstring string PB BD on BUBend BU 3rd PB 10 BD BU BU PB 10 BD BU 15 BU (10 ) ((1210 ) ((10 )) 13 BU 8 BU PB (10 ) 13 15 12 ) BD 10 8 (10) ) (12) ) (10) ) 13 15 (10 (12 (10 13 15 88

E E B E EB G B BG D G GD A D DA E A AE 19 E E 19 19 19

8

5

nd

~~~~ ~~~~ ~~~~ÏÏ ÏÏÏ ~~~~ Ï ÏÏ

Ï ÏÏ

6 7

5 5 55

5 6 7 8 9 6 7 8 9 7 8 9 5 7 8 9 55 66 77 88 99 7 8 9 7 8 9

Ï Ï ÏÏ

5

7

5 5 55

5 5 55

9 8 7 6 5 9 8 7 6 5 9 8 7 6 5 6 8 7 6 5 6 99 88 77 66 55 9 99 88 77 66 55 66

√ √Ï √√ Ï ÏÏ & & &&

E E B E EB G B BG D G GD A D DA E A AE 22 E E 22 22 22

4

5 5 55

E E B E B EG B BG D G GD A D DA E A AE 18 E E 18 18 18

E E B E EB G B BG D G GD A D DA E A AE 21 E E 21 21 21

3

5

5

≠≠≠

BU BU BU BU

9 9 99

≠≠

L

14 7 14 7 14 77 14

3 3 33

ÏÏÏ ÏÏÏ Ï ÏÏÏ Ï Ï

5 5 55

L

Ï Ï ÏÏ

Ï ÏÏ Ï ÏÏ Ï Ï

5 5 55

17 10 12 13 15 17 10 12 13 15 17 10 12 13 15 9 10 12 17 10 12 13 15 9 10 12 9 10 12 9 10 12

∑ ∑∑∑

~~~ ~~~ ~~~ ~~~

LÏ LLÏÏÏ Ï ÏÏÏ

∑ ∑∑∑

12 ((14 )) 12 14 (14) ) 12 (14 12

9 9 99

≠Ï ÏÏ

L

L

August 2015 GuitarTechniques 73

ÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏ ÏÏ Ï ÏÏ Ï

D A E

L

14

12

21

L

5

7

8

10

7

9

10

12

L 12

5

7

√ LÏ Ï Ï LÏ lesson: rock LÏ Ï Ï creative Ï Ï LÏ Ï Ï Ï Ï Ï Ï &

3

Loco

L

L

L

5 5 cells exAmpleS 10-note strinG-pair

8

Ï Ï

Ï Ï LÏ LÏ Ï ≠ Ï LÏ 9

& 4 E B 4 G 4 D A E

≠ 5

25

Ï Ï

≠Ï Ï

7

7

8

7

9

7 7

9 9

(√) ((√ √)) & Ï & & ÏÏ

E B G E E D B B A G G E D D A 27 A E E 27 Ex 27

8

LL

L ≠

5

10 12 14 12 10

9

9

LL

LL ≠≠

9 9

Ï

Ï

10

12

13

10 10

12 12

13 13

15 BU BU 15 15

LL

E B G E E D B B A G G E D D A 29 A E E 29 29

LL

ÏÏ

E B G E E D B B A G G E D D A 30 A E E 30 30

L

15 10 11 12

LL

L

L

LL

8

7

5

7

8

L≠ L 9

10 12 14 12 10

10 12

LL ≠ ≠

L

9

9

7

14 12 10

LL

9

LL

LL

14 12 10

15 10 11 12 15 10 11 12 15 10 11 12 15 10 11 12

9

7

9

9 9

7 7

9 9

nd

LL

17 15 13 12 10 12 14 10 12 13 15 17 15 13 12 10 10 12 13 15 17 15 13 12 10 17 15 13 12 17 15 13 12 10 12 14 10 12 14

Loco Loco Loco

∑ ∑∑

(17 (17 )

LLÏÏÏ Ï ÏÏ

LL

Loco Loco Loco

LLÏÏ Ï # Ï Ï LLÏÏÏ LLÏÏÏ Ï ÏÏ ## ÏÏ ÏÏ 15 10 11 12

LL ≠≠ LL

9 9 9 9 10 12 13 15 17 15 13 12 10

(17 )

LL LL

74 GuitarTechniques August 2015

~~~

7

12 10

~~~~~ ~~~~~ ~~~~~ )

BU

LL LL

∑ cd track 42

L≠

ÎÎ

20 15 16 17 22 15 17 20 22 20 17 15 22 15 17 20 22 20 17 15 20 15 16 17 20 15 16 17

LL

TraCks 41-42

string-pair cells to play large note-groupings. In this example, comprising BU and eight-note string-pair cell using notes of the A minor Blues scale, each idea takes one and a half beats (or 12 16th-notes) to complete, which, rhythmically, makes the pattern less repetitive or predictable. Technically, 12 (14 ) with this particular example, it will help if you focus on tapping out an eighth-note rhythm with the picking hand.

Î

22 15 17 20 22 20 17 15

& Ï Ï bÏ nÏ & & ÏÏ ÏÏ bb ÏÏ nn ÏÏ

12

∑

L

˙~~~~~ ~~~~~ ˙˙~~~~~

Ï ÏÏ

10

ON THE CD

Ï ~~~

9

10 12 14 10 12 13 15 17 15 13 12 10 10 12 13 15 17 15 13 12 10 14 12 10 14 12 10 10 12 14 10 12 14

√ √ √ ÏÏ Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï b Ï n Ï & Ï ÏÏ ÏÏ Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï bb ÏÏ nn ÏÏ Ï & &

Ex 8 Ex 8

7

10 12 13 15 17 15 13 12 10

ÏÏ

9

√ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï √ Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï ÏÏ Ï Ï Ï Ï Ï ÏÏ Ï Ï √ Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï 9 9 9

9 9 9

7

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

LL

9

10 12

& Ï Ï ÏÏ ÏÏ Ï Ï & & ÏÏ Ï Ï E B G E E D B B A G G E D D A 26 A E E 26 26

≠ LLÏÏ ≠≠ÏÏÏ ÏÏÏ Ï

14

≠Ï

example 7 In this variation on the same theme, to achieve the nine-note E tuplet rhythm, focus on the first note12on13 each 17 10 15 beat (quarter-note pulse). B 17 between 10 12 13a note 15 played by Throughout the line, as in ex3, the beat alternates G 14 7 9 10 12 14 12 9 D first finger of the fretting hand and one played by a picking-hand tap. the A example 8 Finally, as a precursor to the following lesson, we are going E 22 to depart from our focus on 10-note cells, to look at the concept of using Ex 7

L

10

( 19 ) (( ))

LL

19 12 14 17 19 17 14 12

LL

LL

17 12 13 19 12 14 17 19 17 14 12 19 12 14 17 19 17 14 12 17 12 13 17 12 13

~~~~ Ï ~~~~ ~~~~Ï Ï ÏÏ Hold bendÏ PB BUHold bend 10 ~~~~ Hold bend PB PB ~~~~ BU 10 BU 10 ~~~~

LL LL 17

LL

LL

Ï Ï ÏÏ Ï Ï Ï Ï b Ï n Ï ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ ÏÏ Ï b Ï n Ï ÏÏ b Ï n Ï

(12 )

3rd finger (12with ) 17 Bend 19 string 17 19 (12 ) on 10th fret, A string Bend string with 3rd finger Bend string with 3rd finger on 10th fret, A string on 10th fret, A string

ÎÎ

Î

∑ ∑∑

14 14 14

LLÏÏ Ï Ï Ï Ï

LL

LL

Ï Ï ÏÏ Ï Ï Ï ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ

LL

17 10 12 15 17

15 12 10

17 10 12 15 17 17 10 12 15 17

15 12 10 15 12 10

∑ ∑∑

nd

lesson: CHoPs sHoP

Arpeggios

VIDEO

ON THE CD

CD-rOm TraCk

PART 3

This month Andy Saphir concludes his look at arpeggios by introducing some bigger shapes for a wider range of notes and some very cool sounds. potential notes that are available in a certain fretboard position. Bearing this in mind, however, from a musical perspective, you don’t necessarily have to use the full shape every time – mixing shorter arpeggio lines with scale based lines can sound really good, and remember to practise the exercises in different keys so you don’t only recognise the shapes in one location on the fretboard.

The shapes we’re looking at this time utilise both lower and higher strings, moving through two octaves and giving you a shape that covers more fretboard area. These bigger arpeggio shapes are great to learn as they not only give you more scope for longer arpeggio lines, but also represent a larger visual ‘foot print’ (or should we say hand print?) which helps you to visualise a fuller picture of

246 Andy Saphir's cD ROM Andy Saphir's GUITAR TECHNIQUES MAGAZINE 2 4 6 2 4 6 Chops Shop - ARPEGGIOS - Pt. 3 Andy Saphir's GUITAR TECHNIQUES MAGAZINE 2 4 6 Andy Saphir's Chops - ARPEGGIOS 3 you’ll see how this six-string shape combines both the This is a C major arpeggio using the ‘E shape’ C major barre chord Shop as a visual GT244 and- Pt. GT245,

GUITAR MAGAZINE ExAmPlE 1 CTECHNIQUES MAJOR ARPEGGIO GUITAR TECHNIQUES MAGAZINE

Chops Shop - ARPEGGIOS - Pt. 3 Chops Shop - ARPEGGIOS Pt. 3higher string sets into one big arpeggio pattern. reference. lower- and Ex 1 If you went through the exercises from Chops Shop in issues Ex 1 Ex 1 Ex 1 - C GUITAR TECHNIQUES MAGAZINE 2 4 6 Andy Saphir's C C Chops Shop - ARPEGGIOS - Pt. 3 C

E E B B G G D D A A E E

©È ¦ ¼ Á ¢¼ ©È©È ¦ ¦ ©È¼ ¼ Á Á ¦ ¢¼¢¼¼ Á ¢¼ 44 & Ex4 1 4 & &©È44&¦ ¼Ï4Ï - Á ¢¼Ï Ï ÏÏ C & 44 Ï E B E G B D G A D E A E

Ï ÏÏ Ï Ï Ï ÏÏ Ï Ï ÏÏ Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï 8 Ï Ï 89 8888 88 88 88

ÏÏ Ï Ï Ï Ï Ï ÏÏ ÏÏ Ï Ï ÏÏ Ï Ï Ï ÏÏ Ï Ï Ï Ï 8 Ï 8 8

Ï Ï Ï Ï Ï ÏÏ ÏÏ Ï Ï Ï Ï Ï Ï Ï ÏÏ ÏÏ Ï ÏÏ Ï Ï ÏÏ Ï Ï Ï Ï Ï 8 Ï Ï 88 88 88 9 Ï 9 10 8 9

Ï ÏÏ Ï Ï Ï ÏÏ Ï Ï ÏÏ Ï ÏÏ Ï Ï ÏÏ Ï Ï ÏÏ Ï Ï Ï Ï ÏÏ ÏÏ Ï ÏÏ ÏÏ Ï Ï Ï Ï Ï Ï 8 88 8 Ï Ï Ï Ï Ï Ï 9 8 8 8 910 89

8 9 9 10 9 7 7 10 10 910 9 10 10 10 7 9 10 10 10 7 10 10 10 710 7 78 7 10 10 710 7 8 78 107 10 8 8 8 10 7 7 7 10 10 7 etc 8 8 8 8 8 8 8 8 E 8 8 8 8 etc etc etc B 8 8 8 8 8 cD ROM ExAmPlE 2 C MInOR ARPEGGIO G 2 Ex 9 9 9 9 D 2 Ex 10 10 10 10 Ex 2 Note smoothness, 10 chord as the visual reference. Practise slowly 10 7on accuracy, 7 10 7 and methodically, concentrating 7 10 and control. Ex 2 Athe ‘Em -shape’ C7 minor E 8 8 8 8 - Cm etc Cm Cm Cm

E E B B G G D D A A E E

10 89 7 10 10 9910 8 10 7 107 10 78 10

≥ ≤ ≥≥ ≤≤≥ ≥≥≤ ©È ¦ ¼ Á ¢¼ ©È©È ¦ ¦ ©È¼ ¼ Á Á ¦ ¢¼¢¼¼ Á ¢¼≥ ≤ 4 Ex4 2& 4 bÏ & &©È444&¦ ¼Ï4Ï -bbÁ ¢¼Ï Ï ÏÏ bÏ Ï Ï Cm & 44 b Ï Ï E B E G B D G A D E A E

E B G D A 3 Ex Ex 3 inE the

≥ ≤≤≥ ≥≥≤≤

≥ ≤≤≥ ≥≥≤≤

8 8

8

≥ ≥ ≤≤≥ ≤≤ ≥≥ ≤≤≥ ≥≥≤≤

≥ ≤≤≥ ≥≥≤≤

≥ ≥ ≤≤≥ ≥≥≤≤ ≥

Ï ≥Ï ≥ ≥ Ï Ï ≤ÏÏ Ï ≥Ï ≤ÏÏ Ï Ï Ï Ï ≤ÏÏ bb ÏÏ Ï≤ ≤ Ï Ï bb Ï Ï Ï Ï Ï ÏÏ b Ï ÏÏ b Ï b Ï b Ï ÏÏ Ï Ï Ï Ï Ï bÏ bÏ Ï Ï 8 888 88 88 8 88 88 8 Ï Ï b Ï 8 8 8 8 8

≥ ≤ Ï Ï Ï ÏÏ bb Ï Ï Ï

≥ bbÏ ÏÏ Ï

10 88 10 88 10 8 10 11 10 10 10 11 118 10 11

8

8

8 8

8 10 10 10 10 11 10 10 10 10 11 811 11 8

≥ Ï ÏÏ Ï Ï Ï Ï b Ï Ï bb ÏÏ ÏÏ Ï b Ï Ï Ï Ï Ï bb ÏÏ ÏÏ Ï bb Ï Ï Ï Ï Ï Ï bÏ Ï 8 Ï 8 8 Ï 88 88 88 88 10 b Ï 8 8

8 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≥≥8 ≤≤≥ ≥≥≤ ≤≤≥ ≥≥≤ ≤≤≥≥ ≥≥8≤ ≤≤≥8 ≤≤8≥≥ ≤≤≥8 ≥≥≤8 ≤≤≥ ≥≥≤ ≤≤≥ ≥≥≤≤ ≥ 8 8

8

etc 8 etc etc etc 8

ExAmPlE 3 fIvE fREtbOARd POsItIOns fOR thE MAJOR ARPEGGIOs 10 10

Ï bbÏ ÏÏ Ï Ï ÏÏ Ï Ï Ï bÏ Ï ÏÏ Ï ÏÏ b Ï ÏÏ bbÏ Ï ÏÏ Ï Ï Ï b Ï Ï Ï ÏÏ b Ï Ï bÏ Ï 8 Ï Ï Ï Ï b Ï Ï 810 8888 8888 8

10 10 10 11 8 10 10 10 10 11 811 118 11 8 11 8

11 11 8 8

10 8 10 8 10 11 10 10 10 11 118 10 11

8

8

8

cD ROM 10 10 11 8 11 8 11 always the same. For example: To play all five F major chords and arpeggios, play etc the ‘E shape’ F major barre chord at the 1st fret, then the D shape at the

10 10 All3 key of C, ‘E 8 Ex C8 we11start with the ‘A shape’ C chord, ‘G shape’ C chord, 11 Ex 3 Cthen ‘C shape’. This method of learning chord shapes on the shape’, ‘D shape’ C fretboard isCthe CAGED system. If you learn this sequence, you’ll find that no

10

10

≥ ≤ ≥ ≤ ≥ ≤ ≥¢ Ï ≤ ¢¢ ÏÏ ≥ ¢Ï ≤ Ï ≥ ÏÏ ≤ ≥Ï ≤ ≥ ÏÏ Ï G ÏÏshapeÏÏ at the ÏÏ ¢Ï Ï ¢¢Ï ¢Ï Ï Ï Ï ÏÏ Ï 3rd fret, C shape at the 5th fret, A shape at theÏ 8th fret, ÏÏ and 4 Ï Ï key, that sequence Ï Ï Ï is Ï Ï Ï 10thÏÏ fret. ÏThe sequence & 44 of the ÏÏ Ï you Ï Ï Ï it on the ‘E’Ï Ï of CAGED. Ï Ï startÏ with, in any matter4 which five is the same, onlyÏ we started Ï Ï shapes Ï Ï 4 Ï & Ï Ï Ï Ï & 4 Ï Ï &Ex 43 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Á Ï Ï ÁÁ Ï Ï Ï Ï Ï Ï C Á ¢Ï ¢ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 4 & 4 Ï Ï Ï Ï5 553 338 88 88 8 88 88 55 Ï5 Ï Ï Ï Ï Ï Ï 9 888 88 88 Ï Ï 3 8 8 8 5 8 8 5 8 8 Á

E E B B G G D D A A E E

E B E G B D G A D E A E

3 3

32 32

2 25 5

55 55

55

≥ ≤ ≥ ≥ ≥≥ ≥≤≤ ≤≤≥≥ ≥≤≤ ≤≥≥ ≥5≤≤ 5 £Ï 3 ¢ 2 5 ££Ï £Ï ¢ ¢ÏÏ Ï ¢Ï Ï ≥ ££Ï ≤ ££ÏÏ Á ≥ ÁÏÁÏ ≤ Ï ≥ Ï Ï ÁÏ Ï Ï Ï & & & & £ August 2015ª ªª Á Ï Ï 76 GuitarTechniques Ï ¢Ï £ ª Á Ï ÁÏ Ï 12 E B G D A E

E

8

≥ ≤ ≥≤≤3≥ ≥8≤≤ ≤8 etc etc

8

etc etc 8

5

8

5 5

5

5 5 5

5 5 7 7

7 7 8 8

87 87

7 7

8 8

87 87

ÏÏ

ÏÏ 7Ï ÏÏ 8Ï Ï ÏÏ 7 Ï Ï 8Ï Ï Ï Ï Ï Ï etc ≥ ÏÏ ≤ Ï ÏÏ ≤ Ï ÏÏ Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Á ÏÏ ÁÏ £Ï Ï Ï Á £Ï £Ï ÁÁ ÏÏ Á Ï Ï Ï £ Ï Ï Ï Ï 12 15 20 5

5

7 7 10 10

10 10 10 10

10 9 10 9

98

8

8

8

Ï 10Ï 10Ï 7Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï ÏÏ Ï ÏÏ Ï Ï Ï Ï Ï Ï 15 9

8

4 &4 Ï BrouGhT E To youBBy... G D A E

2

3

Ï Ï

Ï Ï

5

3

5

5

8

8

8

8

Ï Ï

Ï Á Ï

Ï

ARPEGGIOS PT3

5

5

5

7

7

8 etc ≥ ≥ ≥ ≥ ≤ ≤ ≤ ≤ ExAmPlE 3 fIvE fREtbOARd POsItIOns fOR thE MAJOR ARPEGGIOs ...CoNTINuED

&

£Ï

¢Ï

12

E B G D A E

£Ï

13

ÁÏ

12

ª

9

Ï Á

10

Ï

Ï

Ï £

10

10

12

2 xxxxxxxxxx

ÁÏ

12

15

12

14

15

13

12

7

8

15

10

10

LEARnInG ZOnE 8

8

9

8

cD ROM

Ï

Ï

Ï Ï

Ï Ï

Ï Ï

Ï Ï

Ï

Ï

20

Ï

15

Ï

17

Ï

17

Ï

17

Ï

14

15

ExAmPlE 4 fIvE fREtbOARd POsItIOns fOR thE MInOR ARPEGGIOs 2 xxxxxxxxxx Again, this exercise is the same idea as Ex 3, but using minor arpeggios. 2 xxxxxxxxxx Ex 4 Note how in the previous exercise as well as this one, I’ve given you some 2 xxxxxxxxxx Ex 4

©È ¦ ¼ Á ¢¼ ©È ¦ ¼ - Á Cm ¢¼ Cm 4 ©È&¦ ¼4- Á ¢¼ ©È&¦ ¼44- Á Cm ¢¼Ï Cm 4 &4 Ï &4 Ï Ï

Ex 4 Ex 4

E B E G B D G A E D E B A E G E B D G A D E A E

≤ ≤ ¢Ï ≤ ¢Ï ≤

11 11

≥5 ≤5 ≥5 ≤5 ≥ ≤ £Ï ≥ ¢ ≤ £Ï b Ï ¢ bÏ £Ï ¢ £Ï b Ï ¢ bÏ

6 6

¢Ï ¢Ï

13 13

4

5

5

12 12

Ï 4

5

5

6

13

Ï Ï

≥3 ≥3 ªb Ï ≥3 b ªÏ ≥ & b ªÏ & b ªÏ & & 11

13

Ï Ï

6

11

Ï Ï

3

E B E G B D G A E D E B A E G E B D G A D E 5 ThisAEx final E

Ï Ï

bÏ bÏ bÏ bÏ

bÏ bÏ bÏ bÏ ≥44 ≥ ≥ ≥ Ï

¢Ï ¢Ï ¢Ï ¢Ï

Ï Ï Ï

3

8

3

8

3 3

8 8

≤ ≤ ≤ ≤

Ï bÏ ÁÏ bªª Ï ÁÏ bÏ ÁÏ bª Ï

ÁÏ ÁÏ

Ï Á Á

13

10

13

10

Á

10 10

12

¢Ï ¢Ï ¢Ï ¢Ï

¢Ï ¢Ï ¢Ï ¢Ï

8

8

8 8

Ï

etc etc

b ÁÏ b ÁÏ b ÁÏ b ÁÏ

ÁÏ ÁÏ Á

11

10 10

13

©È ¦ ¼ Á ¢¼ ©È ¦ ¼4 Á A¢¼m ©È& ¦ ¼444- Á A¢¼ÏÏ m & ©È ¦ ¼4- Á ¢¼ & 4 ÏÏ &4

Ï Ï Ï

8

5

8

5

8 8

5 5

Ï

¢

15

15

15

13 13

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï G Ï G Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ ÏÏ 15

E B E G B D G A E D E B A E G E B D G A D E A E

12 15

14

14 14

13 13

12 17 12 12 17 12

12 17 12 14 13 12 17 12 12 15 14 14 14 13 12 15 14 Dm 12 15

≥ ≥ ≥ Dm ≥ & Dm Ï Ï & DmÏ Ï & Ï ÏÏ & Ï

12

≤ ≤ ≤ ≤

Ï

Ï Ï Ï

≥ ≥ ≥ ≥Ï Ï Ï Ï

12 15

≤ ≤ ≤ ≤Ï

≥ ≥ ≥ ≥ÏÏ Ï Ï ÏÏ Ï

14 14

15 15

12 15

15 12 15 12

12

12

12 14 15 12 15 12 14 15 etc 12 15 12 12 12 etc 14 12 14 C etc C etc

13 13

≥ ≥ ≥Ï ≥Ï

15 15

C C

12 12

13 13

12

14

15

12 14 15 13 15 12 15 13 12 14 12 15 14 15 15 15

Ï Á

6

8

6

8

6 6

6 6

Ï

8 8

Ï bb ÏÏ Ï Ï bb ÏÏ Ï

13

12

13

12 12 12

Ï

8

11

8

11

Ï

8 8

Ï Ï

Ï Ï

11

15

20

15

11

15

20

15

15 15

12 15 12 15 12 15 12 15

10

10

10

10

10 10

10

Ï 10b Ï Ï bÏ Ï bÏ Ï bÏ

11 11

Ï Ï

11 11

13 13

Ï

Ï

20 20

Ï

16

8

16 16

17 17

Ï

17 17 17

Ï Ï Ï Ï Ï Ï 8

8 8

8 8

Ï Ï bb ÏÏ Ï bÏ Ï bÏ 17

Ï

8

8 8

8 8

Ï

17

Ï 8

Ï

17

Ï 8

8

Ï

16

15 15

Ï Ï Ï Ï Ï Ï Ï Ï Ï F Ï Ï Ï Ï FÏ Ï Ï Ï ÏÏ Ï ÏÏ Ï Ï Ï Ï ÏÏ ÏÏ Ï Ï 14

13

12 15

15

14

13

13

13

13

13 13 15 13 15 13 13 13 14 12 15 14 15 13 13 15 14 13 14 12 15 15 13 12 15 15 14 Dm 15 13 Dm

Ï Ï ÏÏ Ï Ï Ï ÏÏ Ï

12

Ï Á

Ï

Ï

Ï

8 8

Ï Ï Ï Ï

18

15

18

15

18

15

cD ROM

18visualising 15 fluidly, you need to get your brain ahead of your fingers by the chord start moving; for this reason, F or arpeggio shapes before your fingers Em I suggest you approach this very slowlyEat F mfirst. A good trick is to get your fingers into the correct shape ‘in the air’ between one shape and the next.

14

≤ ≤ ≤ Ï Ï ≤ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

≤ ≤ ≤Ï ≤Ï

13 15 15 12 14 15 13 15 13 12 15 12 12 15 14 13 12 13 13

15

Á

Ï

6

5 5

13

Ï

ÁÏ

Ï bb ÏÏ Ï Ï bb ÏÏ Ï Ï

Ï bÏ ÁÏ bÏ Á bÏ Ï ÁÏ bÏ Á Ï

Ï

6

5

13

chord in the -key (Am). The first six shapes are all in G the same fretboard area, Am Ex 5the 12th fret, with the final two at the 10th fret. In order to play this around Ex 5

E B E G B D G A E D E B A E G E B D G A D E A E

5

Ï bb ÏÏ Ï ¢Ï nd Ï ¢Ï bb ÏÏ Ï Ï¢

10

Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï ÏÏ Ï Ï ÏÏ Ï Ï Ï

Ï bÏ Ï bÏ Ï bÏ Ï bÏ

Ï

¢Ï ¢ Ï ¢Ï ¢

11

Ï

11 15 15 10 11 15 11 10 shapes 10 exercise uses a variety of arpeggio in a progression that15 11 11 15 harmonises the from the 6th AC mmajor scale (C-D-E-F-G-A-B), descending G Ex 5

13 10 ExAmPlE 5 MIxInG ARPEGGIO tyPEs 12 10

11

8 8

etc

ÁÏ

ª

8

8 8 etc

≤ ≤ ≤ ≤

b ¢¢Ï bÏ b ¢¢Ï bÏ

8

8

8

≥ ≥ ≥ ≥

¢Ï ¢Ï ¢Ï ¢Ï

cD ROM

alternative voicings of various associated chords. This can help with the visualisation process as well as increasing your chord vocabulary.

Ï Ï ÏÏ Ï Ï Dm Ï ÏÏ ÏÏ Ï Ï Ï Ï Dm Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï 10 Ï 12

12

10 10

10 10

Ï

Ï Ï Ï

13

10 13

10 13 10 12 10 10 10 13 10 13 12 12 12 10 10 13 12 10 13 10 13

12

Ï Ï Ï Ï Ï Em Ï Ï Ï Ï Ï Ï Ï EÏ m Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ ÏÏ 12 12 12

12 12 14 12 14 12 14 15 12 14 12 12 12 15 12 12 12 14 14 14 14 15 12 C 15 12 C

15 15

15 Ï Ï Ï Ï Ï Ï Ï C Ï Ï Ï Ï Ï Ï Ï Ï C Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï ÏÏ ÏÏ 12 13 12

13

12

9

12

9

12 13 12 13 12 12

9 9

10 10

10

12 10 12 10 10 10 12 10 12

15

8 8 8 8

August 2015 GuitarTechniques 77

ON THE CD

Iron Maiden Join Charlie Griffiths in a new series exploring techniques behind some of the biggest names in hard rock and metal. First up is Iron Maiden!

Iron Maiden: Adrian Smith, Steve Harris, Dave Murray and Janick Gers

ABILITY RATING

Moderate/Advanced Info

WIll IMprove your

Key: Various Tempo: Various CD: TRACKS 43-58

Rock vocabulary Harmony playing Pentatonic soloing

Dave Murray has retained his position as Maiden guitarist since the band's self-titled 1980 debut. At first joined by Dennis Stratton on guitar it was the following year's Killers album that saw the classic pairing of Murray with adrian smith; a partnership that would endure for the rest of the 80s; a period when some of the most important British rock albums were produced. This era is known as the New Wave Of British Heavy Metal (or rather catchily, NWOBHM). smith left the band in 1990 and was replaced by Janick Gers. However he returned in 1999 and Brave New World was recorded with the guitar trio Murray, Smith and Gers; a

lineup which remains intact to this day. The Iron Maiden style is quintessential British Heavy metal and the core hard rock techniques and songwriting traits are in abundance throughout their back catalogue which includes some of the most important Heavy Metal albums of all time: The Number Of The Beast, Piece Of Mind, Powerslave and seventh son Of a seventh son to name a few. In this lesson we will look at the Maiden riffing and soloing styles as well as the all-important two-guitar harmonies which are a huge element of their sound. The examples start with a minor diatonic riff in which notes from the key are played against a recurring open sixth or fifth string for a continuous

dave is the fast legato and tapping guy, adrian is more grounded in melody and blues, while Janick uses tricks like harmonics and divebombs.

TraCks 43-58

stream of notes. Another key element of the Maiden riffing style is the ‘gallop’ shown in Example 2; a repeating, driving rhythm comprising an eighth-note, followed by two 16th-notes as used in several top Maiden tracks. Example 3 demonstrates the moodier, more haunting clean guitar parts also often heard. Example 4 is a high energy rocker of a riff and shows just how fast and accurate the Maiden triumvirate can be. The 12/8 feel shown in example 5 illustrates the triplet based rhythmic structure you can hear on several Maiden classics. examples 6 and 7 demonstrate the group's staple trick of harmonising for two guitars. The typical Iron Maiden harmony is based on 3rds, which means that the two guitars are playing three scale notes apart, so guitar one would play the scale A-B-C-D-E-F-G, and guitar two would harmonise three notes higher - C-D-E-F-G-A-B. We have provided two backing tracks, each with one of the harmonies removed, so you can have a go at playing the lower part and then the higher one. The soloing styles of Dave, Adrian and Janick have quite a lot of overlap in terms of their note choices and core set of techniques: blues-rock inspired minor Pentatonic licks and Aeolian scales played with legato and alternate picking are the order of the day across the trio. Very generally speaking, Dave Murray is considered the fast legato and tapping guy, as in solos such as Sign Of The Cross, while Adrian is more grounded in melody and blues as can be heard in Alexander The Great. Janick is perhaps the most demonstrative, bringing in showmanship and guitar tricks such as harmonics and dive-bombs. Practise the examples slowly until you build up muscle memory and can play along with the backing tracks at full tempo. NeXT MoNTH: Charlie examines the playing of the amazing Edward Van Halen

Get the tone 8

8

7

6

1

Gain

Bass

Middle

TReBle

ReveRB

The Maiden sound is Strat and Marshall. Dave and Janick use a variety of Fenders, while Adrian favours his Jackson. All three have humbuckers at the bridge for a fat, riffing tone. You'll get close to the sound with any humbucking guitar, but if you have single-coils you can fatten it with more gain, bass and mid. Amp-wise it's either Marshall 100w JCM2000 heads or JMP1 preamps. Don’t use too much gain as this can sap the tone and you’ll lose the natural body of the guitar sound.

Track record all of the 1980s Iron Maiden albums are highly recommended but the definitive two-guitar line-up released the 1982 classic Number of The Beast and the 1984 release Powerslave - both of which are true gems. From the later ‘three guitar’ Maiden incarnation, a Matter of Life and death (2006) is generally considered to be the band's pinnacle.

78 GuitarTechniques August 2015

STARSTOCK / PHOTOSHOT

lesson: HARD RoCK

LEARNINg ZONE

IRON MAIDEN GUITAR TECHNIQUES MAGAZINE 2 4 6

Charlie Griffith's HARD ROCK - IRON MAIDEN STYLE

RIFF 1 Diatonic Pull-offs

cd track 43

GUITAR TECHNIQUES MAGAZINE 2 4 6 ForGUITAR this1 A Diatonic minor riffpull start with your third at the 12 fret andGriffith's pull-off toHARD is the recurring ‘pedalMAIDEN tone’ which gives the ear a reference for the tonal Riff offs TECHNIQUES MAGAZINE 2 finger 46 Charlie ROCK - IRON STYLE

©È Á ¢¼ ©È©È& ÁÁ 44¢¼¢¼ .. Ï Ï Ï ⋲ Riff 1 4 .. Ï pullÏ offsÏMAGAZINE GUITAR TECHNIQUES ⋲ 44Diatonic & Ï Ï Ï ÏÏ ⋲ & ©È Á ¢¼ . N.C. Riff 1 Diatonic pull offsÏ 4 Ï Ï Ï ⋲ ©È& Á 4¢¼ ... N.C. . 12 10 Ï0 10 & 44 .... 12Ï 10Ï 0 10Ï ⋲ 12 10 Ï0 10

Charlie ROCK IRONFor MAIDEN STYLE the 10th fret with your first finger before playing the open fifth Griffith's string, thenHARD centre of the- piece. the second half of the riff, the melody notes are all N.C. descend string using only the notes from the scale. The open A note played a 3rd higher, creating that classic Iron Maiden style harmony. Riff 1 the Diatonic pull offs Riff 1 Diatonic pull offs GUITAR TECHNIQUES MAGAZINE 2 4 6 N.C. N.C.

E B G D E A E B E B G D G D A A E E E B G D A E E B G D A E

ÏÏ

246

Ï

ÏÏ

Ï0

10

Ï 10

. Ï.. Ï Ï ⋲ Ï ÏÏ. Ï Ï Ï ⋲ Ï Ï Ï ⋲ Ï

Ï

Ï00

10

Ï ⋲ Ï Ï Ï ⋲ ⋲ ÏÏ ÏÏ Ï Ï ⋲ Ï2 Ï0 7 Ï7 ⋲ Ï22 Ï00 7

⋲ Ï HARD ROCK ⋲ Ï STYLE Ï Charlie Ï Ï Griffith's Ï Ï - IRONÏ MAIDEN Ï Ï Ï Ï Ï ⋲⋲ Ï HARD ⋲⋲ Ï STYLE ÏÏ Charlie ROCK - IRON MAIDEN ÏÏ ÏÏ Griffith's Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï ⋲ Ï Ï Ï Ï ⋲ Ï Ï Ï Ï Ï0 8 Ï0 8 7 Ï0 7 Ï0 Ï3 10 8 8 7 ⋲ ⋲ Ï Ï 0 Ï8 Ï8 0 Ï8 Ï7 0 Ï7 Ï7 Ï0 Ï3 10 8 Ï0 8 Ï0 8 7 Ï0 7 7 0 3 10 8 8

7 Ï 10 Ï 8 0 Ï 8 ⋲ 8Ï 0 8 Ï 7 Ï 0 7 Ï ⋲ 7Ï 0 3Ï 2 0 Ï ⋲ Ï 0 Ï 10 Ï 8 Ï 0 Ï 8 ⋲ 8Ï 0 Ï 8 Ï 7 Ï 0 Ï 7 Ï ⋲ 7Ï 0Ï 3 2Ï 0Ï 7ÏÏ ⋲ 12 10 0 10 10 Ï Ï ⋲ Ï ⋲ Ï ⋲ Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï ÏÏ Ï ÏÏ ÏÏ Ï Ï ⋲ Ï Ï Ï Ï Ï Ï ⋲ Ï & ... 10Ï Ï9 Ï5 ⋲ Ï5 Ï2 Ï0 Ï 5 ⋲ 9 9 9 7 7 7 7 5 Ï0 Ï0 Ï0 Ï0 3 . Ï Ï Ï0 Ï ⋲ Ï Ï0 Ï . ⋲ ⋲ Ï . Ï Ï Ï Ï55 0 Ï55 Ï55 0 Ï22 Ï00 3 Ï55 ⋲ & . 1010 99 0 99 7 9 9 7 7 7 0 0 0 9 9 7 7 7 7 RIFF 2 the. GalloP Ï0 down up’Ï3pattern for the classic Ï0 Ï0 Ï0 Ï0bridge and pickÏ0the strings in a ‘down Riff 2 The Gallup Use the first. and third fingers of your fretting hand to play the root - 5th . 5 5 power©Èchords. Keep galloping sound. Angle your pick soC/E that the edge hits in a slicing Á ¢¼ A 5 your fingers locked in position and shift up and G 5 down F5 G5 the string Riff 2 The Gallup 10 9 9 9 9 7 7 7 7 5 5 5 2 0 . ~~~ times. theRiff neck without slurring at the motion; this adds picking inPlay both8directions. 2 The Gallup 0 between notes. Palm 0 mute the strings 0 0 0 attack and allows0 for smooth 3 4 . . . F5 C/E G5 ©È©È 4ÁÁ ¢¼¢¼ . AA 55 G5 5 5 8 times. & G5 F5 C/E G5 Play Ï Ï Ï Ï Ï Ï 7 5 5 5 2 0 10 Ï 9 9Ï 9 9 7 Ï 7 Ï 7Ï . . Ï Ï Ï Ï ÏÏ 0ÏÏ ÏÏ ÏÏ ÏÏ 0 ÏÏ ÏÏ 3ÏÏ Ï PlayÏ 8 times 44 Gallup Ï 0Ï Ï Ï0 Ï Ï Riff 2 The . Ï 0Ï Ï Ï Ï .. Ï Ï 0 ÏÏ . & Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï GÏÏ 5 ÏÏ ÏÏ F5Ï ÏÏ ÏÏ . & Ï ÏÏ ÏÏ Ï ÏÏ C/E Ï ÏÏ ÏÏ G5ÏÏ ©È 4Á ¢¼ . PM AÏ 5 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Play Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Riff 2 The Gallup Ï nd Ï Ï Ï 8 times Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 4 PM . .. . PM & 4 F5 C/E G5 ©È Á ¢¼ . AÏ 5 Ï Ï Ï G5 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï PlayÏ 8 times .. Ï75 Ï75 Ï75 Ï75 Ï75 Ï75 Ï75 Ï75 Ï75 Ï53 Ï53 Ï53 Ï31 Ï31 Ï31 Ï31 Ï31 Ï31 Ï31 Ï31 Ï31 Ï53 Ï53 Ï53 .... 4 . & 4 .. PMÏ7 Ï7 Ï7 Ï7 Ï7 Ï7 Ï7 Ï7 Ï7 Ï5 Ï5 Ï5 Ï3 Ï3 Ï3 Ï3 Ï3 Ï3 Ï3 Ï3 Ï3 Ï5 Ï5 Ï5 .. Ï755 Ï575 Ï575 Ï575 Ï575 Ï575 Ï575 Ï575 Ï575 Ï353 Ï353 Ï353 Ï131 Ï311 Ï311 Ï311 Ï311 Ï311 Ï131 Ï311 Ï311 Ï533 Ï533 Ï353 E B G D E A B E E B G D G D A A E E E B G D A E E B G D A E

& & &

.. .. .

Ï

~~~ j . Ï ~~~ . . ~~~ jj . ÏÏ .. .. ~~~ j . Ï ~~~ . . 7~~~ j ... Ï7 . .. 7 ~~~ . . ~~~ . 7~~~ Ï . ... J~~~ 7Ï ~~~ ÏJ .. ... J~~~ ~~~ Ï5~~~ . .. J~~~ ~~~ .. Ï55 . ... J~~~track cd . 45

12

10

0

10

10

0

E B G D E A E B E B G G D A D A E E E Riff 3 Haunting Octaves B PM G D N.C. A 7 Octaves 7 7 7 7 7 7 7 7 5 5 E Riff 3 Haunting E Riff 3 Haunting 5 Octaves 5 5 5 5 5 3 B Play shapes5with5 your first finger on the third5 string and your3 G these octave N.C. D fourth finger onN.C. the first. To strum the octaves, mute the unused second and A 7 the second 7 7 string 7 7 with 7 7 underside 7 7 of your 5 fourth strings. Mute first first5 E 5 5 5 5 5 5 the 5 5 5 3 3

. . . ..

. . Ï Ï Ï Ï Ï Ï Ï Ï it. Mute Ï finger andÏ also byÏ stubbing . the theÏ tip of your fourth finger against ÏÏ ÏÏ firstÏ finger. ÏÏ byÏÏ lightly touching ÏÏ it with theÏÏ tip of your ÏÏ Let..the ÏÏ fourth string Ï ÏÏ ÏÏ together. Ï open Ï ÏÏ adding ÏÏ Ï Ï octaves Ï ÏÏringÏ while Ï ÏÏ the Ï ÏÏ A Ï pedalÏÏÏ note Ï ÏÏto tieÏ everything .. ÏÏ Ï Ï Ï Ï Ï . Ï Ï Ï Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï Ï Ï Ï Ï .. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï .. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ... Ï Ï Ï Ï . Ï Ï Ï Ï Ï Ï Ï Ï . . . Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï .. Ï Ï .

Ï

Ï Ï ©È »¼ Ï Ï Ï Ï Ï Ï 4 Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ©È©È&» ÏÏ »¼¼ 4 ÏÏ Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï ÏÏ Ï ÏÏÏ Ï 4 Ï Riff 3 Haunting Octaves . 4 . & Ï &»¼4 .LetN.C. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ©È Ï Ï ringÏ Ï 12Ï Ï 13Ï Ï 10 Ï 12Ï Ï 8 Ï 10 Ï 7 Riff 3 Haunting 4 ..LetN.C.ringOctaves Ï Ï5 Ï7 4 ©È&»¼4 .Let ring12Ï9 1013Ï Ï107 12Ï9 Ï8 10Ï 7 4 ... Ï0 12Ï9 Ï0 1013Ï Ï0 10Ï7 Ï0 12Ï9 Ï0 Ï85 Ï0 10Ï7 Ï0 74 0 & 4 ..Let0ring9 0 10 0 7 0 9 0 5 0 7 0 4 0 Ï0 12 Ï0 13 Ï0 10 Ï0 12 Ï0 8 Ï0 10 Ï0 7 0 Riff 4 Minor Pentatonics . 9 10 7 9 5 7 4 ©È Á ª∞ Pentatonics N.C. ring Riff 4 Minor.Let 0 12 0 13 0 10 0 12 0 8 0 10 0 7 0 Riff 4 Minor Pentatonics 44 ... N.C. 9Ï Ï 10 7 9Ï Ï Ï 5 Ï Ï 7 Ï 4 ©È©È&ÁÁ ª∞ ª∞ N.C. Ï 0Ï Ï 0Ï . RIFF 4 MinoR Pentatonics 0 0 4 Ï . ÏÏ 0 Ï TheÏÏ 0 notes Riff 4 Minor Pentatonics 4 . Ï ÏÏ and ÏÏ 0 ÏÏ pull-offs. ÏÏ ÏÏ 0 & This relentless A minor riffÏ uses fast hammer-ons Ï Ï . Ï Ï & 4 Ï Ï ÏÏ quick string changes a lot are arranged the position Ï Ï which Ï makes ©È Á ª∞ in N.C. ÏÏ peropen easier. finger fret is the most economical so align your first, second Riff 4One Minor Pentatonics 44 .. Ï Ï Ï3 Ï1 Ï1 ©È&Á ª∞ .. N.C.Ï0 2 0 Ï2 Ï0 Ï2 Ï3 Ï2 Ï 3 1 Ï2 1 Ï2 Ï0 4 Ï & 4 .... 0 Ï22 Ï00 Ï22 Ï00 Ï22 Ï3 Ï22 Ï 3 Ï1 Ï22 Ï1 Ï22 Ï00 Ï0 3 RIFF 3 hauntinG octaves

E B G D E A E B E B G G D A D A E E E B G D A E E B G D A E

E B G D E A B E E B G D G D A A E E E B G D A E E B G D A E

. . . .

2

0

2

0

0

0

2

2

0

0

2

2

2

3 2 3

3

3

1

1

2

2

1

1

5 3

3 1

3 1

Ï3 1

3 1

3 1

3 1

3 1

3 1

3 1

5 3

5 3

3 1

3 1

3 1

3 1

3 1

3 1

3 1

3 1

3 1

5 3

3

3

5 3

5 3

5

12

13

10

12

8

10

7

5

2 5 5 2 2

9 12 12 9 9

10 13 13 10 10

7 10 10 7 7

9 12 12 9 9

5 8 8 5 5

7 10 10 7 7

4 7 7 4 4

2 5 5 2 2

7

5

5

0 0 0

2 5 2

ÏÏ

cd 47 5 track 5

Ï2

Ï22

2

0

2

2

0

2

12

0 0 0

9

0

12

13

0 0 0

10

0

9

13

10

0 0 0

7

0

10

10 7

ÏÏ 0 Ï 0ÏÏ ÏÏ 0Ï Ï Ï Ï Ï Ï1 Ï2 Ï0 Ï Ï 2 0 1 Ï Ï1 Ï22 Ï00 Ï2 0 2 Ï0

12

0 0 0

8

9

0

0 0 0

5

12

0

8

9

10

0 0

7

0

5

10 7

ÏÏ ÏÏ 0 Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï3 Ï2 Ï 2 Ï0 Ï2 Ï2 0 Ï33 Ï22 Ï 2 Ï0 Ï22

0

0

0

4 24 times Play

0

7 5 Play times 4 24 Play 4 times

cd track 49

0 ÏÏ Ï Ï Ï .. Ï Ï Ï .. Ï0 Ï2PlayÏ04 times . Ï3 . 0 Ï0 Ï22 Ï00 Ï3 .... 3

and third fingers with frets 1, 2 and 3 respectively. The majority of notes are played with the second finger using hammer-ons and pull-offs the Play 4 between times 2nd fret and open strings; use the other fingers for their respective frets.

1

1

2

0

2

0

2

2

0

0

3

3

2

2

2

0

2

0

2

2

0

0

2

0

2

0

3

3

. . . .

August 2015 GuitarTechniques 79

lesson: HARD RoCK

ON THE CD

TraCks 43-58

RIFF 5 12/8 feel

cd track 51

This riff comprised of notes from E Dorian mode (E-F#-G-A-B-C#-D) played 2 xxxxxxxxxx along the sixth string; the open string is used as an open E pedal note. In the first bar, play the scale notes on the downbeats and count along ‘1 2 3 Riff 5

4’. Next play two open E pedal notes in between each scale note to make a total of 12 eighth-notes which are counted evenly as follows: ‘1 and a, 2 and a, 3 and a, 4 and a’ throughout for the 12/8 feel.

12/8 Feel

1 2 N.C. G5 ©.È Á £ª Play 2 times # 12 Riff 5 12/8 Feel. . . . Riff 5 12/88Feel 2 xxxxxxxxxx & Ï Ï Ï .. Ï . #Ï 1 2 N.C. G5 Ï Ï Ï ©.È©.È ÁÁ £ª£ª 2 xxxxxxxxxx Ï Ï Ï Ï Ï Ï . 2Ï 1Ï N.C. Ï GÏ Play 5 2 Ï times Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Riff 5 12/8 ## 12Feel. Play 2 times .. 12 Riff& 5 12/88Feel.. N.C. 1 ÏÏ . 2Ï GÏ 5. .. ©.È& Á £ª 8 . ÏÏ ## ÏÏ Ï Ï Ï Ï . . 2 ÏÏ times Ï Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ 1 Ï ÏÏ ÏÏ ÏÏ ÏÏ Ï ÏÏ Ï Ï Ï ÏÏ . 2Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ GÏÏ Play 5. Ï . ©.È Á #£ª 12 ... N.C. ÏÏ ÏÏ 2 5times & # 12 8 10Ï 0 0 12Ï 0 0 # Ï9 0 0 7 0 0 5 0 0 7 0 0 3 0 5 3 2 0 . 5 0 0 7 0 0 Ï53Play . Ï3 . . . Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï .. Ï Ï Ï ÏÏ .. ÏÏ .. & 8 .. Ï Ï Ï Ï Ï Ï # Ï Ï Ï Ï Ï Ï Ï Ï Ï .. 3RDs Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï .. Ï Ï Ï Ï Ï Ï Ïcd. track RIFF 6 haRMoniseD - GuitaR 1 Ï5 . 53 Riff 6 Harmonised Thirds - Guitar 1 Ï Ï Ï Ï Ï Ï 5 . . 0 0 two-guitar 12 0 0 harmony 9 0 0 arrangement, 7 0 0 5 0 0 third 7 0and0fourth 3 0strings 5 3by2rolling 0 back5and0 forth 0 between 7 0 0 them 3 3 This is the lower half of 10 a melodic played with 5 5 your ©È Á ª ¼ 10taking 5 0 0 first 7 finger; 0 0 shift 3 0the5finger 3 2pressure 0 . to the 0 0 place 12 0 0 on 9 the 0 third 0 7 and 0 fourth 0 5 0 0 7string 0 0to let 3 it sound 3 in the key of A minor.and mainly strings, desired while Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï focusing on 4 the 7th, 9th and 10th frets. This melody is best played in position muting the adjacent one and vice versa. In the final bar use slides and pull. . . Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï . Ï Ï Ï Ï Ï 5 5 6 Harmonised Thirdsfingers. - GuitarAt1 the 7th fret, move between the with Riff the& first,4 third and 10 fourth the 5scale. 0 0- Guitar 12 0 1 0 9 0 0 7 0 0 5 0 0 offs 7 to 0 descend 0 3 0 3 2 0 . 5 0 0 7 0 0 3 3 Riff 6 Harmonised 5 5 ©È©È ÁÁ ªª ¼¼ . 10Thirds 5 0 0 7 0 0 3 0 5 3 2 0 5 0 0 7 0 0 3 3 0 0 12 0 0 9 0 0 7 0 0 Ï Ï Ï Ï 4 Ï Ï Ï Ï Ï Ï Ï . Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Riff 6 Harmonised Thirds Guitar 1 Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï ÏÏ Ï ÏÏ & 44 .. ÏÏ Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï & ©È . Á ª ¼ Thirds -7Guitar 1 7 Riff 6 Harmonised 7 7 10 Ï Ï9 Ï7 10Ï 9 7 9 10Ï Ï9 Ï9 10Ï 10Ï 4 Ï Ï Ï Ï Ï Ï 7¼ 9 10 7 9 10 7 9 10 7 . . Ï Ï Ï ©È Á ª Ï Ï Ï . Ï Ï Ï Ï & 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï . Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï & 4 .. Ï 2 xxxxxxxxxx 2 xxxxxxxxxx

E B G D A E E B E G B D G A D A E E B G E D B A G E D A E

E B G D A E E B E G B D G A D A E E B G E D B A G E D A E

... Ï & Ï .. Ï Ï Ï Ï Ï Ï Ï Ï . Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ & Ï & Ï 7 7

9 9

10 10

7

9

10

7

9

10

7 7

7 7

7

7

7

7

7 7

9 9

10 10

7

9

10

7

9

10

9 9 9 9

9 9

Ï Ï 9 9

ÏÏ Ï Ï

10 10

10 10

Ï Ï Ï Ï

A E

E B G D A E E B E G B D G A D A E E B G E D B A G E D A E

.. . Ï Ï Ï Ï Ï Ï Ï Ï & Ï .. Ï . Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï & Ï Ï Ï Ï Ï Ï Ï Ï Ï 10 10

12 12

14 14

10

12

14

10

12

14

10 10

10 10

10

10

10

10

10 10

12 12

14 14

10

12

14

10

12

14

&

Ï Ï 10Ï Ï 10Ï Ï Ï 10Ï 12Ï & 12Ï 12Ï 14Ï Ï Ï Ï 12Ï 14Ï Ï Ï & Ï 10 10 10 12 12 12 12 12

12 12

14 14

12

14

12

14

10

10

10

10

10

10

80 GuitarTechniques August 2015

12 12

14 14

12

14

12

14

12 12 12 12

12 12

Ï Ï

12

ÏÏ Ï Ï

12

ÏÏ

Ï

14 14

14 14

Ï

14 14

14

ÏÏ

Ï 14Ï 14Ï Ï Ï Ï

12

12 12

10

12

12

10

12

12

Ï

14

12

10

7 7

10 10

7 7

10 10

7 7

9 9

7 7

10

9

7

9

10

.. . . Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï . on the 10th, 12th and 14th frets, placing the fingers in a ‘tone-tone’ note. spacing, as opposed to the ‘tone-semitone’ arrangement of guitar one; this is

©È Á ª ¼ 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï RIFF 7 haRMoniseD & 4 .. Ï thiRDs - GuitaR Ï2 ©È©È ÁÁ ªª ¼¼ Ï scale ÏÏ 2notes ÏÏ Ï apart. ÏÏ three designated 4Harmonised ÏÏ Thirds Ï InÏÏ thisÏÏ case, ÏÏ partÏÏ 1 Riff 7 scale -Ï Guitar . andÏ always & started on A,4so ..thisÏ harmony part starts on C.Ï ThisÏ new part takes place Riff& 7 4 Harmonised ©È Á. ª ¼ Thirds - Guitar 2 Ï 10Ï Ï 10Ï Ï 12Ï 12Ï Ï 4 & 44©È ..Á. ª ¼10Ï 12ÏÏ 14Ï Ï Ï Ï 10Ï 12ÏÏ 14Ï Ï Ï 14Ï Ï & 4 ... Ï E B G D A E E B E G B D G A D A E E B G E D B A G E D

9 9

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 10 Ï 9 7 9 10 . Ï Ï Ï Ï . 7 7 10 9 7 Ï 10 10 7 9 10 7 10 9 7 9 10 7 7 10 9 7 nd 10 10 7 9 10 7 10 9 7 9 10 ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï .. Ï Ï Ï Ï . . Ï 12 10 9 10 9 7 9 7 5 7 5 4 5 4 2 0 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 10 Ï Ï Ï Ï Ï Ï .. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï .. .

E B G 7 7 7 9 9 D 9 10 9 10 10 A 8 E E B E G B 7 7 7 9 9 D G 9 10 Thirds 10 Riff 7 Harmonised - Guitar 7 7 29 10 7 9 9 10 A D 8 9 10 9 10 10 10 A E 8 E B G 7 7 7 9 9 E D 9 10 9 10 10 10 B Riff 7 Harmonised Thirds Guitar 2 A 8 G 7 7 2 7 9 9 E Riff 7 Harmonised Thirds Guitar D the 9 10 9 10 harmony part. The 10harmony 10 This is higher counterpart of- the two-guitar A 8 is based on ‘diatonic' 3rds, which means that it only uses notes from the E

Ï & Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï Ï ÏÏ Ï Ï Ï & Ï Ï Ï

7 7

14 14

14 14

14

14

14

14

14

12 10 12 10

9 9

10 10

9 9

7 7

9 9

7 7

5 5

7 7

5 5

4 4

5 5

4 4

12 10

9

10

9

7

9

7

5

7

5

4

5

4

12 10

9

10

9

7

9

7

5

7

5

4

5

4

ÏÏ ÏÏ ÏÏ ÏÏ 10 Ï 12Ï 14Ï 10Ï Ï Ï Ï Ï

ÏÏ ÏÏ Ï Ï Ï 10Ï 10Ï Ï Ï Ï

ÏÏ Ï Ï Ï Ï Ï 12Ï 10Ï 14 Ï Ï Ï

2 2

0 0

2

0

2

0

cd track 55

ÏÏ Ï Ï Ï Ï Ï 12Ï 10Ï 14 Ï Ï Ï

ÏÏ ÏÏ

due to the uneven note spacing in a diatonic scale; creating harmony parts is reliant on good knowledge of the various positions of any given scale.

10

10

14

12

10

Ï 14Ï Ï Ï

12

Ï 10 Ï 12 Ï 14Ï 10Ï Ï 10Ï 10Ï 14 Ï 12 10 14 12 10 12 14 Ï Ï Ï Ï Ï Ï Ï .. 10 10 14 12 10 10 12 14 10 14 12 10 12 14 ÏÏ 10 Ï 12 Ï 14Ï 10Ï Ï 10Ï 10Ï Ï 14 Ï 12 Ï 10 14 Ï 12 10 12 14 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï ÏÏ Ï Ï .. Ï Ï . Ï16 14Ï 12Ï 14Ï 12Ï 10Ï 12Ï 10Ï Ï9 10Ï Ï9 7 Ï9 7 5 4 . Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï .. Ï Ï Ï Ï .. . 10

12

14

10

14

12

10

12

14

16 14 16 14

12 14 12 14

12 12

10 12 10 12

10 10

9 9

10 10

9 9

7 7

9 9

7 7

5 5

4 4

16 14

12 14

12

10 12

10

9

10

9

7

9

7

5

4

16 14

12 14

12

10 12

10

9

10

9

7

9

7

5

4

.. . . . .

LEARNINg ZONE

IRON MAIDEN solo exaMPle

cd track 57

This solo is an amalgamation of techniques and licks drawn from the styles of Dave, Adrian and Janick. The most manageable approach is to learn the licks in two to four-bar chunks and practise them slowly and accurately before connecting it all together and bringing it up to speed. [Bars 3 1-2] This is a bluesy A minor Pentatonic lick played as a six-note phrase 3 displaces through the 16th-note rhythm. Bend the third string with which 3 the3 third finger and play the 5th fret notes with your first finger. 3 SOLO [Bars 3-4] Also based on the A minor Pentatonic scale this has the extra B SOLO

©È©È ©È©È4 ©È44 & & 44 & & & 44

ÁÁ ªª ¼¼ ÁÁ Ï ªª jj¼¼ Ï Á ÏÏ ª jj¼ ÏÏ ÏÏ j ÏÏ

SOLO SOLO SOLO

E E B E B G E B G D E B G D A B G D A E G D A E D A E A E E

E E B E B G E B G D E B G D A B G D A E G D A E D A E A E E

j ÏÏ jj Ï jj Ï Ï

5 5 5 5 5

5 5 5 5 5

ÏÏ ÏÏ ÏÏ Ï

Ï

5 5 5 5 5

j ÏÏ jj Ï jj ÏÏ

˙˙~~~ ˙~~~ ˙˙˙~~~ ˙~~~ ˙˙~~~ ˙ ~~~ ~~~ ~~~ ~~~ ~~~

BU BU BU 5 5 ) ( 10 8 BU 5 ) ( 10 8 BU 5 ) 8 ( 10 5 ) ( 10 8 8 ( 10 )

j ÏÏ jj Ï jj ÏÏ

~~~ ˙˙~~~ ˙~~~ ˙˙˙˙~~~ ˙˙~~~ ˙

8 8 8 8 8 9 9 9 9 9

& & & & & E E B E B G E B G D E B G D A B G D A E G D A E D A E A E E

7 7 7 7 7

5 5 5 5 5

8 8 8 8 8

0 0 0 0 0

7 7 7 7 7

5 5 5 5 5

5 5 5 5 5

7 7 7 7 7

5 5 5 5 5

8 8 8 8 8

7 7 7 7 7

0 0 0 0 0

8 8 8 8 8

5 5 5 5 5

8 8 8 8 8

7 7 7 7 7

8 8 8 8 8

5 5 5 5 5

Ï

0 0 0 0 0

10 10 10 10 10

8 8 8 8 8

ÏÏ

5 5 5 5 5

Ï

nd

ÏÏ ÏÏ

ÏÏ ÏÏ ÏÏ

8 8 8 8 8

5 5 5 5 5

8 8 8 8 8

5 5 5 5 5

7 7 7 7 7

ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï ÏÏ ÏÏ

6 6 6 6

10 10 10 10 10

8 8 8 8 8

0 0 0 0 0

12 10 12 10 12 10 12 10 12 10

Ï

BU BU BU BU ( 9) 7 BU 7 ( 9) 7 ( 9) 7 ( 9) 7 ( 9)

5 5 5 5 5

ÏÏ ÏÏ ÏÏ

ÏÏ

ÏÏ Ï

j ÏÏ jj Ï jj ÏÏ

8 8 8 8 8

5 5 5 5 5

6 6 6 6

12 10 12 10 12 10 12 10 12 10

0 0 0 0 0

8 8 8 8 8

~~~ ~~~ ˙˙~~~ ˙˙ ˙˙~~~ ˙˙ ˙~~~ ˙

5 5 5 5 5

j ## ÏÏ jj #Ï j ## ÏÏ j

ÏÏ 5 5 5 5 5

~~~ ~~~ ˙˙~~~ ˙˙ ˙˙~~~ ˙ ~~~ ˙˙˙

ÏÏÏ ÏÏÏ Ï ÏÏÏ ÏÏ 6ÏÏ ÏÏ 6

13 13 13 13 13

0 60 0 60 0 0 0 0 0 0

0 0 0 0 0

ÏÏ

ÏÏ

ÏÏ

ÏÏ

15 15 15 15 15

0 0 0 0 0

8 8 8 8 8

ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï 66 Ï

ÏÏÏ ÏÏÏ ÏÏ ÏÏ

0 0 0 0 0

0 0 0 0 0

6

6

0 0 0 0 0

176 0 176 0 17 0 17 0 17 0

Ï

~~~ ~~~ ~~~ ~~~ ~~~

5 5 5 5 5

√ √ √ √ ÏÏ √ ÏÏ Ï Ï ÏÏ ÏÏ

j ÏÏ jj ÏÏ ÏjÏ Ï j ÏÏ

BU BU BU BU 7 7 ) (12 10BU 7 ) 10 ( 12 7 ) 10 ( 12 7 ) ( 10 12 10 ( 12 )

8 8 8 8 8

7 7 7 7 7

jj ÏÏÏ jj Ïj Ï

0 0 0 0 0

ÏÏ ÏÏÏ ÏÏ ÙÙÙÙ ÏÏ ÏÏÏ ÏÏ ÏÏÏ Ù 6 6 6 6 6

ÏÏ ÏÏ Ï

BU BU

( 20 ) 19BU ( 20 ) 19BU ( 20 ) 19BU 19 ( 20 ) 19 ( 20 )

5 5 5 5 5

8 8 8 8 8

ää

ää ä

ÏÏ .. ÏÏ .. Ï .. ÏÏ

ÏJÏJ ÏJJ J 0 0 0 0 0

~~ ~~ ÏÏ Ï ~~ Ï ÏÏ ~~ ~~ ÏÏ Ï Ï

ÏÏ ÙÙÙÙ

~~ ~~ ÏÏ Ï ~~ Ï ÏÏ ÏÏ Ù ~~ ~~ Ï ÏÏ ÏÏ

ÙÙ ~~ ~~ ÙÙ ~~ ÙÙ 55 ~~ ~~ 3Ù ~~ ~~ 3Ù ~~ Ù 55 ~~ 33Ù ~~

7 7 7 7 7

~~~ ÏÏ ~~~ ÏÏ ~~~ ~~~ Ï ~~~

5

ÏÏ ÏÏ Ï

~~~ ~~~ ~~~ 17 ~~~ ~~~ 171717

19 19 19 19 19

5 5 5 5 5

7 7 7 7 7

BU BU BU BU3 3) (8 6 BU 3) 6 (8 3) 6 (8 3 ( 8) 6 6 ( 8)

ÏÏÏ

5 5 5 5 5

5 5 5 5 5

Ï

ÏÏ

5 5 5 5

˙˙~~~ ˙~~~ ~~~ ˙˙˙~~~ ˙˙~~~ ˙˙

Ï

ÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏ ÏÏ Ï ÏÏ Ï ÏÏ Ï Ï Ï Ï 8 8 8 8 8

7 7 7 7 7

j ÏÏ jj Ïj Ïj

~~~ ~~~ ~~~ ~~~ ~~~

7 7 7 7 7

ÏÏ

3 3 3

8 8 8 8 8

ÏÏ

~~~ ~~~ .. ~~~ ÏÏ ~~~ . ÏÏ ~~~ Ï .. ~~~ ~~~ ~~~ ~~~ ~~~ 5

ÏÏ

4 4 4 4 4

BU BU BU BU 8 8 ) (13 11BU 8 ) 11 ( 13 8 ) 11 ( 13 8 ) ( 11 13 11 ( 13 )

5 5 5 5 5

5 5 5 5 5

5 5 5 5 5

Ï 33 Ï

ÏÏ ÏÏ Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï ÏÏ ÏÏ 6 7 7 7 7 7

Ï

ÏÏ Ï

4 4 4 4 4

ÏÏ

BU BU BU BU (9 ) 7 BU 7 (9 ) 7 (9 ) 7 (9 ) 7 (9 )

ÏÏ

3 3 3

7 7 7 7 7

5 5 5 5 5

ÏÏ ÏÏÏ ÏÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï ÏÏ

j ÏÏ jj Ï jj ÏÏ

ÏÏ ÏÏ

ÏÏÏ3 ÏÏÏ 3 Ï

5 5 5 5 5

5 5 5 5 5

5 5 5 5 5

6 6 6 6

ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï ÏÏ ÏÏ 6 0 0 0 0 0

ÏÏ

~~~ ~~~ ~~~ ~~~ ~~~

ÏÏ ÏÏÏ ÏÏ Ï Ï Ï 5 5 5 5 5

8 8 8 8 8

ÏÏ ÏÏÏ ÏÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï ÏÏ

j ÏÏ jj Ï jj ÏÏ

BU BU BU BU10 10 ) ( 15 13BU 13 ( 10 15 ) 10 ) 13 ( 15 ( 13 10 15 ) 13 ( 15 )

BU BU BU 12 12 ) 15BU( 17 12 ) 15BU( 17 12 ) 15 ( 17 ( 17 ) 15 12 15 ( 17 )

6 6 6 6

5 5 5 5 5

3 3 3 3

6 6 6 6 6

ÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏ Ï ÏÏ Ï ÏÏ Ï Ï Ï Ï 6Ï

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï ÏÏ Ï 6 0 0 0 0 0

Ï3 Ï

j ÏÏ jj Ïj Ïj

ÏÏ ÏÏ ÏÏ ÏÏ

ÏÏ ÏÏ

6 6 6 6 6

BU BU BU10 10 ) (15 13 BU 10 ) (15 13 BU 10 ) 13 ( 15 ( 15 ) 13 10 13 ( 15 )

7 7 7 7 7

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï ÏÏ Ï

ÏÏ Ï ÏÏ ÏÏ Ï ÏÏ

6 6 6 6

0 0 0 0 0

j ÏÏ jj Ïj Ïj

6 6 6 6

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï ÏÏ Ï Ï6

6 6 6 6

5 5 5 5 5

8 8 8 8 8

˙~~~ ˙~~~ ˙˙~~~ ˙˙˙~~~ ˙˙ ˙~~~

ÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏ Ï ÏÏ Ï ÏÏ Ï Ï Ï Ï 6Ï

6 6 6 6

3 3 3 3

ÏÏ ÏÏ

Ï

ÏÏ Ï ÏÏ ÏÏ Ï ÏÏ 5 5 5 5 5

5 5 5 5 5

ÏÏ

8 8 8 8 8

BU BU BU BU8 8 ) ( 13 11BU 8 ) 11 ( 13 8 ) 11 ( 13 8 ) ( 11 13 11 ( 13 )

ÏÏ ÏÏÏ ÏÏ ÏÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï ÏÏ Ï Ï Ï 6Ï 5 5 5 5 5

5 5 5 5 5

Ï

ÏÏ

Ï3

~~~ ~~~ ~~~ ~~~ ~~~

~~~ ~~~ ~~~ ~~~ ~~~

ÏÏ ÏÏ Ï ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï ÏÏ Ï Ï ÏÏ 6 7 7 7 7 7

11 11 11 11 11

5 5 5 5 5

Ï 8 8 8 8 8

j ## ÏÏ jj #Ï j ## ÏÏ j

ÏÏ

ÏÏ

BU BU BU BU (9 ) 7 BU 7 (9 ) 7 (9 ) 7 (9 ) 7 (9 )

ÏÏ ÏÏ

Ï

5 5 5 5 5

5 5 5 5 5

ÏÏ ÏÏÏ ÏÏ ÏÏ Ï

ÏÏ

j ÏÏ jj Ï jj ÏÏ

8 8 8 8 8

ÏÏ

ÏÏ

3 3 3 3

7 7 7 7 7

5 5 5 5 5

5 5 5 5 5

ÏÏ

Ï3

6

E E B E B G E B G D E B G D A B G D A E G D A E D A E A E E

Ï

ÏÏ

BU BU BU 7 7 ) ( 12 10BU 7 ) ( 12 10BU 7 ) 10 ( 12 7 ) ( 10 12 10 ( 12 )

ÏÏ Ï ÏÏ Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï ÏÏ Ï ÏÏ ÏÏ & & & 6 & 6 & 6 6

ÏÏ

ÏÏ Ï

5 5 5 5 5

ÏÏ ÏÏÏ ÏÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï

ÏÏ

BU BU BU BU ( 9) 7 BU 7 ( 9) 7 ( 9) 7 ( 9) 7 ( 9)

5 5 5 5 5

ÏÏ Ï

3 3 3 3 BU BD 3

j ÏÏ jj Ï jj ÏÏ

ÏÏ ÏÏ

BU BD

3 3 3 3 3

8 8 8 8 8

ÏÏ ÏÏ

( 8) BD ( 7 ) 7BU ( 8) BD ( 7 ) 7BU ( 8) BD ( 7 ) 7BU ( 7) 7 ( 8) ( 7) 7 ( 8)

& & & & & E E B E B G E B G D E B G D A B G D A E G D A E D A E A E E

BU BU BU BU (9 ) 7 BU 7 (9 ) 7 (9 ) 7 (9 ) 7 (9 )

1 1 1 1 1

& & & & &

ÏÏ ÏÏÏ ÏÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï

and F notes suggesting A Natural minor (A-B-C-D-E-F-G). [Bars 5-8] For these unison bends you should use your third finger to bend the notes on the second string to the same pitch as the notes on the first. [Bars 9-10] Here we see fast pull-offs with the second and third fingers on the 8th and 7th frets and the first finger at the 5th fret. The final ascending passage in bars 11-12 is played along the first string using a combination of legato and alternate picking; this part will benefit from some metronome practice, gradually building up the tempo.

7 7 7 7 7

Î

ÎÎ

ÎÎ

5 5 5 5 5

3

5 5 5 5 5

3 3 3 3 3

îî îî î

17

August 2015 GuitarTechniques 81

ON THE CD

Sylvain Luc This month John Wheatcroft looks at the French contemporary jazz virtuoso, the sensational Sylvain Luc and comes up with some amazing new lines.

Sylvain Luc, here playing a Hofner jazz-style guitar

ABILITY RATING

Moderate/Advanced Info

WIll IMprove your

Key: Various Tempo: Various CD: TRACKS 59-75

Advanced harmonic concepts Fingerstyle technique Legato jazz phrasing

Sylvain luc iS one of the finest guitarists in jazz today. Equally at home on electric, nylon or steel-string acoustic, in full band context with the amazing Trio Sud, duo with gypsy genius Bireli Lagrene or in a completely solo setting, Luc’s playing is always exhilarating, intelligent and beautiful, with improvisational flair and remarkable touch and tone. Born and raised in Bayonne, France, and the product of a musical family, Sylvain studied guitar along with cello, violin and mandolin at the Academy de Bayonne. A child prodigy, he recorded on a pair of albums with his brothers before even reaching his teens.

Around the age of 15 and after hearing the playing of Joe Pass, Sylvain decided to pursue a career in jazz, moved to Paris and took the gig as bassist with the accordion virtuoso Richard Galliano. Being a part of the Parisian jazz scene led to him performing with artists such as Michel Legrand, Bireli Lagrene, Wynton Marsalis and others, prompting a move back to guitar as his first instrument.

I listened to a lot of jazz, but also the variety of classical music, all kinds of different influences. From the early 90s Luc has released a stream of critically acclaimed albums. I first became aware of him in 1998 with the release of the album Duet, with Bireli Lagrene. The playing on this album is phenomenal; I was aware of Lagrene’s remarkable prowess but who was this new guy more than holding his

TraCks 59-75

own, pushing the music to new limits with his spontaneous comping and articulate solos? The interplay was staggering and the sense of joy between these two players jumped out from the recording for all to hear. I became a huge fan and I can guarantee you’ll feel the same if you’re yet to hear Sylvain play. There are nine examples this month, each displaying a concept, technique or approach that Sylvain might adopt when improvising. It’s impressive how little direct repetition you hear in his playing, usually a good indication of spontaneous improvisation at work, rather than a collection of pre-arranged lines. You will hear specific these concepts connected in new and interesting ways. Obviously, players have their own favourite ideas that form the basic of their style, and by employing these devices effectively Luc manages to sound instantly recognisable without resorting to a handful of trademark licks. Once you’ve learnt these lines, try to create similar variations of your own, both composed and in real time. Another good indication of flexibility is to consider how efficiently you can blend your ideas; novice players often use just one specific thing at a time, whereas players of Sylvain’s calibre can keep multiple plates spinning at any one time, moving effortlessly from one idea to the next. To develop these skills, consider improvising using pairs of ideas at a time, even starting with something as simple as a specific scale such a the major Pentatonic mixed with a particular arpeggio such as a major 7th. Your task is to move from one to the other with absolutely no discernible join or pause. Once you can do this with two, add a third, introduce some rhythmic changes and a few dynamic ideas and you’re in the game. As always, enjoy! NeXT MoNTH: John introduces the great British ‘Tele jazzer’ Jim Mullen

Get the tone 3

5

5

5

3

Gain

Bass

Middle

TReBle

ReveRB

Sylvain is a Godin endorsee, using Multiac nylon and steel-string electro-acoustic models and a P90-equipped hollowbody archtop, DI’d or via an AER acoustic amp. I emulated his electric tone here; use whatever you’ve got, although you’ll need a cutaway to get to the higher frets. Luc chooses round wound strings with wound third, and further bucks convention by often selecting the bridge pickup, particularly for harmonics and funky parts. His picks lightly, but this provides a perfect dynamic balance with his flawless fingerpicking technique.

Track record duet (dreyfus 1999) and Summertime (dreyfus 2009) with gypsy genius Bireli Lagrene are beautiful and terrifyingly in equal measure. Trio Sud (dreyfus 2007) and Young and Fine (2008) see Sylvain paired with andre ceccarelii and Jean-Marc Jafet on drums and bass and he soars in this company. Luc’s most recent solo release, Souvenirs d’enfance (Just Looking 2013) is fabulous.

82 GuitarTechniques August 2015

DALLE / PHOTOSHOT

lesson: jazz

learning Zone

Sylvain luc ExAMPLE 1 C Lydian puLL-off Line

cd track 59

Our first Luc line blends B minor Pentatonic (B-D-E-F#-A) with chromatically decorated C major 9 arpeggio (C-E-G-B-D). Sylvain’s approach is generally GUITAR TECHNIQUES MAGAZINE 2 4 6 GUITAR TECHNIQUES MAGAZINE 2 4 6

smooth and legato, so consider the hammer-on, pull-off choices carefully. You could pick more of the notes is you prefer a more staccato sound.

The The John John Wheatcroft Wheatcroft Jazz Jazz column column

Ex 1: C Lydian Pull-Off Line Ex 1: C Lydian Pull-Off Line

©È©È ÁÁ ¦¦ ¼¼ ## ÏÏ ÏÏ ## 44 î ÎÎ & 44 î & GUITAR TECHNIQUES MAGAZINE 2 4 6 GUITAR TECHNIQUES MAGAZINE 2 4 6 Ex 1: C Lydian Pull-Off Line Ex 1: C Lydian Pull-Off Line E E B B G G D D A A E E 1 1

E E B B G G D D A A E E 1 1

E E B B G G D D A A E E 4 4

©È©È ## 44 & & 44

ÁÁ ¦¦ ¼¼ îî

ÏÏ

## ÏÏ

11 11

ÎÎ

ÏÏ Ï 3 Ï ÏÏ ÏÏ Ï 3 3 3 Ï ÏÏ ÏÏ Ï Ï ÏÏ column ÏÏ ÏÏ ÏÏ 3The John Wheatcroft Jazz 3The John Wheatcroft 3 Jazz column 3

Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï # Ï ÏÏ Ï ÏÏ Ï Ï ÏÏ ÏÏ Ï # Ï 3 3 3 3 3

ÏÏ Ï 1010 99 77 Ï ÏÏ ÏÏ Ï 99 77 933 7 33 Ï ÏÏ ÏÏ Ï9 7 1010 77 77 Ï ÏÏ ÏÏ Ï Ï 3 Ï Ï 3 3 3

9 9 10 ÏÏ ÏÏ 9 Ï 9 10 Ï Ï Ï Ï Ï Ï Ï Ï 8 #Ï Ï Ï Ï ÏÏ8 ÏÏ ÏÏ # Ï 3 3 3 3 3

C maj 7 C maj 7

3

12 7 7 C maj 12 7 7 C maj

7 7

Ï ## Ï ÏÏ ÏÏ ÏÏ ÏÏ 1111 ÏÏ 77 ÏÏ ÏÏ 1212nn ÏÏ 77 ÏÏ 1010bb ÏÏ 9 ÏÏ 7 9 7 & & 3 3 3 3

3 3

3

10 10

8 8

3 3

ÏÏ ÏÏ8 99 ÏÏ7 1010Ï 99 Ï88 77 1010 99 88 77 Ï ÏÏ Ï ÏÏ nn ÏÏ ÏÏ bb ÏÏ ÏÏ ## ÏÏ & & 3 3 3 8

ÎÎ

3

7 7

ÏÏ

9 9

3

10 10

7 7

9 9

7 7

9 9

8 8

7 7

3

Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï 3 9 Ï 7 Ï Ï ÏÏ 77ÏÏ 1010Ï 88ÏÏ 9 7 9 7 Ï 9 7 10 7 7 8 Ï 10 7 7 8 3

3 3

3

3

3 7 7

7 7

9 9

10 10

îî

7 7

8 8

7

Ex 2: Intervals & 3 Open-String drones 3 Ex 2: Intervals & Open-String drones

G ##m7 G m7

ÏÏ ÏÏ9 ÏÏ7 1010Ï ÏÏ7 ÏÏ9 1010Ï 773 88 77 88 Ï Ï ÏÏ ÏÏ Ï ÏÏ Ï nd 3

10 10

3 3

3

9

3

7

7 3

9

ÎÎ

3

ÏÏ

3

7 7

îî

G maj 7

G maj 7 Loco √ cd track 61 Loco √ ©È Á ¤ ∞ 3 ©È Á ¤ ∞ 3 # Ï n Ï # Ï 8 7 ## ÏÏ the Ï n Ï ÏÏ ÏÏ nn ÏÏ between Ï . # Ï n Ï 8 #7 Ï ## # ##10ideas Ï n . Ï ÏÏ More legato here9with the10 added sophistication of large intervallic relationship melodic choices and the underlying Ï 10 8 7 # 4 Ï Ï Ï n Ï Ï nn Ï harmony. ÏÏÏ ÏÏ and Ï 10 9 Ï 8 Ï Ï Ï Ï n ÏÏ intelligently ∑∑ idea99 incorporating ÎÎ ÏÏ .. ÏÏ ÏÏ selected ÏÏ 1010ÏÏ ÏÏ 99 Needless # #into444 a double-stop 9 10 open-strings ## ÏÏ 9 8 ÏÏ 77ÏÏ to create Ï leaps moving to 7 7 say, 9 Sylvain’s playing is, as always, & Ï & 7 10 7 9 10 7 J larger chord fragments. Your task here is to examine and quantify the impeccably articulated. J 103 10 3 7 8 7 8 7 3 3 8 7 8 7 3

ExAMPLE 2 intervaLs & open-strinG drones E 10 8 7 E B B G G D D A A E E 4 4

3

Ex 2: Intervals & Open-String drones Ex 2: Intervals & Open-String drones E E B B G G D D A A E E 1 1

E E B B G G D D A A E E 1 1

E E B B G G D D A A E E 5 5

©È Á ¤ ∞ ## # ## ## 44©È Á ¤ ∞ ∑∑ & & # 44 ##

## # ## ## ÏÏ & & # ÏÏ

ÏÏ

6 6

ÏÏ

7 7

ÏÏ

j 14 18# Ï 14 nn ÏÏ j18 #Ï

ÏÏ ÏÏ

ÏÏ ÏÏ

##

F m11 F m11 9 9 7 7

#

# 11 0 √ 0 Loco √ # Ï 1515 1616 1313 1414 1212 121233 1111 Loco 13 11 12 11 13 14 13 12 13 11 n12 13 14 13 12 # Ï n Ï 13 14 13 12 Ï # Ï Ï n Ï Ï # Ï ÏÏ Ï Ï Ï ÏÏ n Ï # Ï # Ï 13ÏÏ ÏÏ n14ÏÏ 13ÏÏ nn n12ÏÏ Ï ## ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ ÎÎ Ï G m7 18 14 G m7 18 14

3 3

3 3

F m11 F m11

## # ## ## ÏÏ & & # ÏÏ

3 3

ÏÏ

6 6

9 9

ÏÏ

ÏÏ

E maj 7 E maj 7

ÏÏ

ÏÏ

16 14 12 12 11 15 16 13 14 12 12 11 15 13

ÏÏ

9

jj8 9 nn ÏÏ ## ÏÏ 8

3 3

7 7

ÏÏ

11 11 E maj 7 7 E maj 7 7

ÏÏ

ÏÏ

ÏÏ nn ÏÏ ÏÏ ÏÏ 11 ## ÏÏ 13 11 12 11 13 13 11 12

9

10 9

ÏÏ ... ÏÏ .

3 3

ÏÏ ÏÏ ÏÏ 00ÏÏ Ï Ï 14 13 12 14 13 13 12 12 14

ÏÏÏ

13 13 13

14

9 10 9 7 7 ÏÏ nn ÏÏ ÏÏ ÏÏ ##1111ÏÏ ÏÏ99 Ï

7 7

G maj 7 G maj 7

7

7

13

12

ÏÏ ÏÏ ÏÏ ÏÏ 10 9 10 9

j ÏÏ j

7 7

ÏÏ

9 9

Ï

6 6

j Ïj

0 0 9 9 9 9

0 0 7 7 7 7

ÏÏÏ

0 0 7 7 7 7

ÏÏ ÏÏÏ nn ÏÏ ÏÏÏ ÏÏ ÏÏÏ JJ ÏÏÏ

0 0 9 9 9 9

7 7 8

ÏÏÏ8 ÏÏÏ

ÎÎ

0 0 9 9 9 9

0 0 9 9 9 9

ÎÎ

Ex 3: Funky Shuffle meets Diminished Ex 3: Funky Shuffle meets Diminished E E B B G G D D A A E E 5 5

©È Á £∞ ## # ## ©È44 9Á £∞ & & # 44 797 ∑∑66

##

~~ ~~Î9 Î 99ä jj77 Î9 Î ä ÏÏ ÏÏ

F m7 F m7 7 7

6 6

ÏÏ

7 7

8 8

With fingers close to bridge With fingers close to bridge Ex 3: Funky Shuffle meets Diminished Ex 3: Funky Shuffle meets Diminished

E E B B G G D D A A E E 1 1

©È Á £∞ ## # ## ©È44 Á £∞ ∑ ∑ & & # 44

~~ ~~ ~~ ~~

F ##m7 F m7 2 2

11 11

7 7

9 9

10 9

3 10 9 3

7 7

11 11

ÏÏ ÏÏ ## ÏÏ Ï ÏÏ Ï ÏÏ ÏÏ Ï Ï

ÏÏ

BU BD BU BD

ÎÎ ÎÎ ää Ï4jj 2 44 2 1 44 ((553)) ((44 )) 22 1 44 Ï ÏÏ ÏÏ ÏÏ ## ÏÏ Ï Ï ÏÏ ÏÏ Ï Ï Ï 4

2

2

1

3

1

~~~ ~~~ î î ÏÏ Ï ÏÏ Ï ÏÏ ÏÏ ÏÏ ÏÏ ˙˙ BU BD ~~~ BU BD ~~~ ~~~ 4 3 ~~~ 4August 2015 3 GuitarTechniques 83 îî ( ) ( ) 4 (5 ) (4 ) 2 2 4 5 4 2 ÏÏ 2 Ï Ï Ï Ï

7 7 9 9

3 3

10 9 10 9

7 7

9 9

6 6

7 7 8 8

#

F m11

#### Ï Ï &

Ï

lesson: jazz

Ï Ï

Ï

nÏ

j

Ï

#Ï

Ï

7

E

Ï

E maj 7

B ExAMPLE 3 funky shuffLe meets diminished 8 9

11

7

Ï nÏ Ï Ï #Ï Ï

7

9

G 9 9 6 D example shifts7between 7 6 a bluesy This Dorian idea (R-2-b3-4-5-6-b7) picked A extremely close to the bridge with fingers, reminiscent bassists such as Jaco E 5

10 9

7

ÏÏ

ÏÏ Ï Ï

ON THE CD

7 9

11

Ï

10 9

7

9

j Ï

6

ÏÏ

ÏÏ

Î

TraCks 59-75

cd track 63

7 8

Pastorius, progressing to a chordal idea using the same permutation of 4th and flattened 5th moved through tones and semitones.

Ex 3: Funky Shuffle meets Diminished

©È Á £∞ ### 4 ∑ & 4

#

~~

F m7

Ï

With fingers close to bridge E B G D2 xxxxxxxxxx A E 1

Î Î ä Ïj Ï 4

n ÏÏ ÏÏ ÏÏ ÏÏ Ï ÏÏ b Ï # # # n Ï Ï Ï Ï n b ÏÏ Ï ÏÏ

2

E B G D A E

2

4

1 4 ( 5 ) (4 )

ÏÏ b ÏÏ ÏÏ b Ï 14 Ï 12Ï 1413Ï 1011ÏÏ 13 n 11 12 10 12 9

1

2

4

4 4 (5 ) (4 )

n ÏÏ b ÏÏ n ÏÏ n Ï Ï b Ï n Ï n ÏÏ

6 Strum with fingers Ex 4: Solo guitar displaced Major 5 triads

2

2

ÏÏ b Ï Ï ÏÏ

n ÏÏ b ÏÏ Î Ï Ï

n ÏÏ32 b ÏÏ54 n ÏÏ7 n Ï5 ÏÏ7 b Ï4 Ï1 b Ï3 n Ï55 n ÏÏ33 Ï55 ÏÏ22

n ÏÏ54 b ÏÏ87 Î Ï4 Ï7

3

bÏ n ÏÏÏ98 1011ÏÏ n ÏÏÏ87 b ÏÏ65 ÏÏÏ87 b ÏÏ54 7 9 6 Ï4 6 b Ï3

3

3

b

î

˙ ~~~

BU BD

bÏ n ÏÏÏ ÏÏ n ÏÏÏ b ÏÏ ÏÏÏ b ÏÏ Ï bÏ

Strum with fingers

ÏÏ ÏÏ ÏÏ n 14 # n # # 1312Ï 141312Ï 141312Ï 2 xxxxxxxxxx &

Ï Ï Ï Ï Ï Ï Ï Ï

BU BD

2

~~~

3

Ï Ï #Ï Ï Ï Ï Ï Ï

~~

2 xxxxxxxxxx

&

3

3

Ï Ï Î Î

Ï Ï

14 11

Ï Ï Ï Ï Ï #©È# #Á ¢¢n n ÏÏ ÏÏ ÏÏ ÏÏ n b ÏÏ b & Î & b b b 44 ∑

8 5 3 5 ÏÏ b Ï b b b 5) b ÏÏ n Ï b Ï65 nd C #( b 5) F #( b 5) cd track B14 (Ï b 5) 65 7 4 2 4 7 F 55 7B ( 4 Ï Ï b Ï Ï Ï B ( 5) Ï 3 1 3 3 2 5 5 5 8 11 Ï Ï Ï Ï n ÏÏ Ï Ï ÏÏ Ï Ï ÏÏ key n Ï Ï Ï Ï b ÏÏ ‘around n ÏÏ3 houses’ ÏÏ77 Î Îmajor triads going n Ï5 b ÏÏ2withnoctave ÏÏ bflattened n ÏÏ5 5ththe nisÏÏ44Ï allbdisplaced Ïb ÏÏ Ï before Ï Ï Ï Ï bcontaining Ï Ï Ï the Ï # Ï n ˙and most n Ï (R-b5-3/10). This rather b Ï n Ï Ï Ï Ï #spontaneous Ï# ÏÏ Ï # ÏÏ beautiful, likely a completely Ï Ï Luc creation. b Ï ÏÏ b b ˙˙ n 3 3 Ï Strum with fingers Ex 4: Solo guitar displaced Major b5 triads #Ï

14 14 14 14 F12 11 11 8 m7 14 ExAMPLE 4 soLo Guitar dispLaCed b598triads B 13 13 13 13 11 13major 10 10 7 E

Straight G 12 12 12 12 10 12 9 7 9 6 4 6 D There’s an argument for no key signature with this example as we’re actually A moving around rather rapidly through a selection of tonalities. I’ve plumped E 6 for F minor however, as we begin with a legato fingerstyle figure in this 14 14 14 ©È Á ¢¢ Straight 13 13 13 12 12 12 b b 4 &b b 4 ∑

With fingers throughout

E B E G B D G A D E A E 6 1

14 13 12

Ï

Let ring F m7 12 14 11 9 11 13 11 109 88 10 12 9 11 7 8

Î

Ï Ï Ï Ï

b

Ex 4: Solo guitar displaced Major 5 triads With fingers throughout Let ring

©È Á ¢¢ ©È Á ¼ ¼ b b b b 44 4 & &4

Ex 5: E B G D A E 1

Ï

8 6 8 5 7 5 7 4 6 8 4 6 3 8 10 8 10 8 11 11 10

With fingers throughout Ex 5: Chord fragments and Altered

©È Á ¼ ¼

5 4 3

b

B ( 5)

bb

b

B ( 5)

bb

F 5

Let ring

Cmaj79 E 11 8 B 9 8 11 E 3 0 G B 8 3as10 8 8 3 ThisD is the most ‘conventional’ jazz vocabulary on display here today, 11 G 5 A Sylvain negotiates a Imaj7-V7alt move in C (Cmaj7-G7alt). Initially he kicks off D E A some double-stop and chord fragments from the simple but perfectly with E 1 1

Ï

ExAMPLE 5 Chord fraGments and aLtered

& 44

3 2 1

#b

#b

#b

#b

b

C ( 5) F ( 5) B ( 5) B ( 5) 14

b

b

b 5) 3 B (4 Ï Ï Ï Ï9 8 8 10 8 10 j8 10 6 n Ï 7 Ï 3 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î ÏJ Ï . ä Ï Ï Ï 11Ï Ï J11Ï 10Ï Ï Ï8 11Ï 10Ï ÏJ # Ï9 Ï8 bÏ Ï9 Ï 6 b Ï7 n Ï ˙ . Ï54 # Ï32 ä # ÏÏ32 #bÏ n ˙˙21n Ï # Ï # ÏÏ n Ï b ˙ Ï Ï J 3 Let ring

Chord fragments and AlteredF m7 11 9 8 Straight Cmaj7 11 8

∑∑

F 5

7 5 n 7Ï 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï8 Ï Ï # Ï 55 Ï 33b Ï9 1055 22b Ï n Ï7 544ÏÏ65 877 # Ï3 # ÏÏ43 b n11˙˙32 11 10 9 8 Ï6 7 # Ï4 # ÏÏ32 n Ï2 b ˙1

11 10 99

J Ï .

∑

ä

Ï

J

Ï

Ï

j Ï 5 Ï7

J Ï Ï

Ï5 Ï7 ÏÏ8 J

Ï

10 5

C ( 5) F ( 5)

˙3 . 6

ä

B ( 5)

#Ï nÏ

cd track 66 4 6 3 5

10 8 7 moving3to G Superlocrian or formed C major scale (C-D-E-F-G-A-B-C) before 11 105 8 5 3 2 79 ‘Altered’ scale against our G7alt harmony (R-b2-#2-3-b5-#5-b7). 11 10 9 8 7 4 3 2 We1 conclude 3 2 of C (G). with a lovely descending chromatic 6line targeting the 5th 3

Let ring

Ex 5: Chord fragments and Altered E B G D A E

3 0 Cmaj7 Cmaj7 j7 3 3 ©È Á ¼ ¼ Ï Ï 5 3 Ï 44b Ï b Ï Ï ∑ J Ï . ä ÏJ Ï Ï Ï Ï JÏ & Ï b Ï Ï bÏ Ï Ï Ï Ï #Ï Ï Ï Ï Ï & Ï Ï Ï Ï Let ring 3 5

G 7alt

1

Ï Ï53Ï Ï

6 5 Ï Ï5 b Ï Ï7Ï Ï Ï87b Ï Ï Ï5 b Ï Ï ˙3 . # Ï Ï Ï b Ï Ï ä b Ï Ï ~~n Ï Ï J

3

3

Ï 15Ï 5 b14Ï 713Ï 12Ï 8b Ï Ï 5 b Ï Ï 3 Ï Ï b Ï Ï b Ï 6 ~~5 Ï 8 12 Ï Ï 7 16 15 14 13 12 6 14 15 14 13 12 Ï4 b Ï3 b Ï6 Ï5 Ï3 Ï5 Ï3 Ï3 Ï3 Ï5 Ï2 5 Ï Ï5 Ï5 Ï9 8 53 & # Ï6 Ï6 Ï3 Ï3 7 3 3 Ex 6: Improvised break in 5 ~~ G 7alt August 2015 Cmaj7 84 GuitarTechniques Ï b14Ï 13Ï 12Ï b16Ï 15Ï b14Ï 13Ï 12 4 3 8 12 15 Ï F 6/9 ~~ 3E 6 / 9 8 Ï b Ï b©ÈÏ6 Ï Á »4¼ 3 6 5 3 5 3n Ï 3 3Ï 5 2 Ï 5 Ï5 Ï9Ï Ï Ï Ï Ï Ï bÏ 15Ï 14Ï Ï b13Ï 12Ï 14 Ï Ï Ï Ï Ï E B E G B D G A D E A E 1 5

E B G D

G 7alt

b Ï4 b Ï Ï3

3

3

Cmaj7

3

3

0

5 7

&4

J

Ex 5: Chord fragments and Altered

E B G D A E E 1 B G D A E 1

©È Á ¼ ¼

4 &4

Cmaj7

Ï

J Ï .

Let ring

∑

3

3

J

3

5

Let ring 3

Ï

Ï ä

Ï

3

Ï

Ï

5

Ï

7

3

5

7

ä

5 3 Sylvain luc

8 7

5 3

˙.

8

5

6 5 learning Zone

3

6 5 cd track 66

7

5 3

#Ï nÏ

Ï bÏ Ï Ï bÏ Ï bÏ Ï Ï Ï Ï Ï b Ï Ï b Ï Ï ~~ Ï Ï Ï Ï Ï Ï Ï Cmaj7 Ï bÏ Ï Ï bÏ Ï bÏ 3 Ï Ï Ï Ï Ï b Ï Ï b Ï Ï ~~ Ï 3 Ï Ï Ï ~~ Ï Ï Ï Ï 8 12 15 14 13 12 8 3 16 15 14 13 12 Ï 5 14 15 14 13 12 3 9 3 5 5 2 6 6 3 7 3 ~~ 15 14 13 12 8 12

G 7alt

bÏ

J

5 7

ExAMPLE 5 Chord fraGments and aLtered ...CONTINUED 5

Ï3 Ï Ï

Ï

J Ï

5 7

0

0

3

Ï

jÏ

Cmaj7

bÏ Ï Ï bÏ bÏ & G 7alt Ï Ï Ï Ï Ï #Ï Ï Ï Ï 3 bÏ Ï bÏ Ï bÏ bÏ & 4 3 Ï Ï Ï Ï Ï #Ï Ï Ï Ï 3

E B G 6 4 3 3 D 6 5 3 5 3 A E E 5 4 3 B G 6 break 4 in 3 5 3 Ex 6: Improvised D 6 5 3 5 3 3 5 2 A Sylvian’s playing is rhythmically very free but and 3 7 E 6 /equally /9 6 9 6 F 6controlled E 3 begins assured, so here we see how he might negotiate a break in 5/4 that 5

ExAMPLE 6 improvised break in 5

5 9

16 15 14 13

8

12

14

68 15 14 cd 13 track 12

can see, Luc’s playing is super-chromatic so it’s often better to view the Ï Ï you bigÏ picture for where a particular line or idea might resolve, rather ©È Á » ¼ Ï Ï and look n Ï Ï Ï Ï scalar orÏ arpeggio-based Ï Ï Ï here.Ï in a F major tonality but winds its way to #an Ï A7#9 chord on route to Eb9. As than be on Ï the lookout for a solitary Ï 5 Ï Ï Ï . # Ï Ex 6: Improvised & b 4 î break in 5 Î ä # E 6Ï /9 F 6Ï /9 ä J Ï Ï Ï J Ï Ï Ï Ï Ï Ï ©ÈWithÁ »fingers ¼ throughout n Ï ÏÏ Ï # Ï Ï Ï Ï Ï Ï Ï 5 Ï Ï Ï # Ï . î Î ä b ä # Ï7 Ï8 & 4 Ï Ï Ï J 13 12 10 8 J E B G D A E E31 B G D33 A E3 1

With fingers throughout

7 6 6

8 7 7

7 7 6 6

8 8 7 7

0

12

13 12

9 11

8 10

3 5

99 11 11 9 11

88 10 10 8 10

33 55 3 5

ExAMPLE 7 ChanGes with bend

©»¡•∞ 4 Ex 7: Changes with ©»¡•∞∑ bend & 4 ©»¡•∞ 4444 ©»¡•∞∑∑ &&With pick throughout ∑ & 44

12 10 8 0

Ï Ï Ï ä #Ï Ï Î nnÏ Ï ä Ï Ï ä b & ÏÏ Ï ÏÏ J ##Ï Ï JÏ nÏ Ï JÏ n n && bb Ï Ï Ï ä ä # Ï ÏJJ Î Î n n Ï JÏ J ä ä ÏÏ ÏJÏ ÏJ ä ä ä J Î J ä J ä &b

E B 10 G 12 D EE AB B 10 10 EG G 12 12 E 4 D D B 10 A GA 12 E DE Ex447: Changes with bend A HereE we see how Sylvain mixes 4

5

Ï Ï Ï bÏ nÏ Ï # Ï ä J Ï Ï Ï Ï bbÏ Ï nnÏ Ï B7##Ï Ï Ï Ï ÏÏ ä ä # JÏ J Ï Ï Ï b Ï n Ï Ï ä J

With Withpick pickthroughout throughout With pick throughout

7 10

77 10 10 7 10

b

B m7

bÏ Ï Ï bÏ Ï3 Ï Ï && Ï Ï Ï Ï bbÏ Ï Ï Ï bbÏ Ï Ï & Ï Ï bÏ Ï bÏ bb & B bÏ m7

3

BBm7 m7

33

bÏ bÏ Ï bbÏ Ï bbÏ Ï Ï Ï bÏ bÏ Ï

7 8

7

11

77 88

11 11

7 8

77 7

11

1 3

22 44 2 4

11 33 1 3

Ï

Ï nÏ ä J Ï Ï ä Ï Ï nnÏ Ï J ä ä JÏ Jn Ï Ï Ï Ï Ï ä ä ä J Ï JÏ J ä J )

jj Ï Ï # #Ï Ï E m7 j #Ï Ï BU

7

9 ( 10

77

( 10 ( 10) ) 99BU

99 88

7

9 ( 10 )

9

BU BU

9

8

8

9

99 9

b Ï b Ï b Ï ÏÏ ÏÏ b Ï Ï bbÏ Ï bbÏ Ï ÏÏ ÏÏ ÏÏ ÏÏ bbÏ Ï Ï Ï Ï Ï b Ï b Ï b Ï ÏÏ ÏÏ b Ï Ï Ï

bb Ï bbÏ Ï A bm7

44 4

4

66 44 6

4

7 77 7

7

9

7

8

8

0

10

12

0

10

12

4 6

4 5

44 66 4 6

44 55 4 5

#

11

10

11

b

0

11

0

11

E 9sus4

˙. bbbbb ˙˙ ... . ˙˙ E b9sus4 bb b˙˙˙˙˙... .. b b ˙˙ .

ÏÏ Î ä A7alt #A7alt Ï ä ä A7alt ##ÏJÏÏÏ ÏÏÏ Î Î ä # JÏÏ J Î J5

î

EE9sus4 9sus4

îî î

6 6 6 66 66 6 66 6 6

5 5 55 55 5 55 5 5

4 44 4

7

Ï Ï jDm7 j b bÏ Ï Ï Ï Ï Ï j bÏ Ï Ï bÏ

9

8 7

99

88 77 55

9

8 7

b

5

5

G 7( 5)

cd track 70

j j ä jbÏ Ï Ï ä G7Ï Ï Ï Ï Ï Cm7Ï jj Ï b Ï Ï # Ï jj jj Ï Ï j ää ä Ï Ï Ï Ï Ï Ï Ï jÏ Ï Ï ää ä Ï Ï j bbbÏÏ Ï Ï Ï bbÏ Ï Ï Ï ÏÏ Ï ##Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï bÏ Ï #Ï 5 7

7 77 7

55 77 5 7

7 77 7

5 7

5

8

55 77

55

88

5

8

5 7

b Ï bb Ï Ï Ï Ï G 7(b 5) bbÏ Ï Ï Ï Ï Ï Ï Ï b Ï Ï Ï b Ï Ï Ï Ï Ï Ï bbÏ Ï Ï Ï Ï Ï Ï bÏ Ï Ï GG7( 7( 5)5)

6

5

4

5

77

66 55 44

7

6

©»¡•º Shuffle Ï 3 EEmaj maj77 EE/D /D###Ï # Ï # Ï Ex 8: Mixed rhythm lines over changes 4 # Ï ∑ Î ä # Ï33 Ï E /D # ©»¡•ºShuffle Shuffle & 4 ©»¡•º ÏÏ ä E maj 7 # # Ï Ï # # Ï Ï 3 44©»¡•º Shuffle ##Ï Ï E /D

10

a raised 4th make another appearance here,Cm7 along with a selection of Dm7 G7 appropriate scale choices, so we see a variety of Dorian lines against each of the minor chords (R-2-b3-4-5-6-b7). jDm7 Dm7 G7 G7 Cm7 Cm7

AAm7 m7

6

8

2 4

b

4

10

9

Ï ä ä bnÏ Ï Î n # Ï nd J J nn##Ï Ï Ï ä ä ä ä bbnnÏ Ï Ï Î Î n # Ï JÏ J ä ä b n Ï JÏ J Î J J

A m7

E B 4 G 5 6 5 DE E 5 3 6 A BB 3 4 44 E G 55 66 55 EG6 D 55 33 66 BD 4 A A 3 3 4 4 G 5 6 5 E E 8: Mixed rhythm lines over changes Ex D 5 3 6 66 A 3 4 E maj 7 E 6 8: Ex Ex 8:Mixed Mixedrhythm rhythmlines linesover overchanges changes

8

A7alt

bends, create B7 hammer-ons and pull-offs to E m7 an exceptionally fluid line that weaves through the chord changesj with Ex Ex7:7:Changes Changes with with bend bend #Ï sophistication and a clear sense of B7 logic and continuity. Major chords with B7 EEm7 m7

E B G DE E AB B E G EG1 D BD A GA E DE 11 A E 1

10

5

4

#

3

55 33 5

3

#Ï #Ï # CC#m7 #C##Ï m7Ï m7##Ï Ï #Ï C m7

4

2

3

44 22 33 4

2

3

#

C( 4)

5

6

55 66 5

6

5 8

6

55 88 66 5 8

6

j Ï # ÏÏ .. Ï jj##Ï Ï . . Ï #Ï Ï Ï Ï Ï ##Ï Ï Ï Ï j # ÏÏ Ï .. . Ï Ï Ï #Ï Ï Ï Ï . Ï

## C( # 4)

C( C(11 4)4)

Ï

0

2

00

22

E /B 0

3

33 3

2

4 3

22

44 33 4 3

2

Ï # Ï # Ï EEÏ /BAugust /B# Ï 2015 GuitarTechniques 85 Ï Ï Ï ##Ï Ï ##Ï Ï EÏ /BÏ # Ï Ï Ï ##Ï Ï ÏÏ 3 2

b

b Ï b Ï b Ï ÏÏ Ï Ï b Ï b Ï b Ï ÏÏ ÏÏÏ bb ÏÏ Ï Ï Ï

b

bÏ bÏ & Ï b Ï Ï b Ï ÏÏ b Ï b Ï ÏÏ & Ï Ï bÏ Ï bÏ Ï 3

B m7

lesson: jazz

E 6 4 4 4 B 4 7 6 5 G E 5 6 5 4 6 4 4 4 D B 5 3 6 4 7 6 5 A G 3 4 5 6 5 4 E D 5 3 6 6 3 4 a variety of key centres, beginning in E major, ThisAline moves through E moving though Eb major before making its way toward a final resolution 6

4

Ex 8: Mixed rhythm lines over changes

©»¡•º 4 ©»¡•º Shuffle∑ & 44 ∑ &4

Î

# E /D # E /D

Î

6

9

6

9

b b

b b

Ï bÏ Ï bÏ Ï Ï b Ï bÏ & ÏÏ b Ï ä b Ï ## ÏÏ nn ÏÏ Ï Ï b Ï Ï Ï 3 3 & bÏ ä 3

8

6

8

E maj 7

B 11

E maj 7

b

Ï

& B bÏ m7 B bm7 & Ï & 8 8

6

3

3

E

E B G D A E E B

6

B 11

6

8

6

7

8

6

7

8

9

8

6

8

9

8

6

8

6

8

6

9

7

9

6

3

4

6

5

3

6

3

7

5

7

5

6

5

8

With fingers throughout

A E

8 10

8

6

8 10 8 10

6

8

6

8

6

3

0

3

2

E /B

Ï # Ï # Ï E /B Ï #Ï #Ï Ï #Ï #Ï Ï Ï Ï Ï #Ï #Ï Ï Ï Ï 3 3 3 3

7

11

9

7

7

11

9

7

3

9

7

9

7

8 8

6

7

9

6

7

9

6

9

8

6

8

6

b b

9 9

b ÏÏ bb ÏÏ b ÏÏ

Î Î

6

4

6

4

Cmaj 7

3

3

Ï Ï Ï Ï 3 Cmaj 7 3 3 Ï Ï Ï Ï 3 Ï Ï Ï3 Ï Ï Ï b Ï Ï Ï 3 Ï Ï Ï Ï Ï Ï Ï Ï bÏ Ï Ï Ï Ï

Ï Ï

5

3

5

3

5

î

Cmaj 7

3

3

G11

5

3

2

3

3

2

3

8

bDÏ b/Cb Ï Î bÏ bÏ ä Î ä

4 5 3 4 4 5 3 4

Ï Ï Ï Ï Ï Ï Ï Ï Ï bÏ nd G11

8

6

D /C

D maj7

4

6

b

D maj7

2 3 4 2 3 4

6

3

9

3

6

3 3

6

6

6

6

b

Ï Ï Ï Ï b Ï 7 Ï Ï Ï Ï Ï Ï & b b E bmaj Ï Ï Ï 7Ï Ï Ï E bmaj b & b b b ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï &b b Ï 8 Ï Ï 10 7 8

#

#Ï C #m7 # Ï #Ï #Ï C m7

3

5 5

5

3

4

5

3

4

5

3

4

2

5

2

5

2

5

î î

10

7

10

7

4 4

86 GuitarTechniques August 2015

10

8

10

8

10

8

10

10 10

8

8 8

8

8 8

10

10 10

10

3 3

3 3 3 3

3 3 3 3

ÏÏ # # ÏÏ ÏÏ # # ÏÏ ÏÏ # # ÏÏ 8

10

8

10

8

8 8 8 8 8 8

3

3 3

# ÏÏ n ÏÏ # ÏÏ n ÏÏ # ÏÏ n ÏÏ 9 9 9 9

5

Ï nÏ

Ï nÏ ⋲ ä Ï nÏ ⋲ä 6 5

3 3 3 3

9 9

5

5

b

3

2

Ï nÏ

3

cd track 74

maj than 5 before with G# minor Pentatonic (G#-B-C#-D#-F#) slightly differentEway superimposed against E to imply an Emaj7 by highlighting 3, 5, 6,j 7 and 9th nÏ intervals when this G# idea is considered from an E root.

⋲ ÏÏ ⋲ ä

⋲ ÏÏ ⋲ 6 ⋲ ÏÏ ä ÏÏ ⋲ ÏÏ

E maj 7

8

2

4

î Î ä b 4 fingers & b With throughout

4

4

G11

b ©»•∞ Ï Ï j Ï Ï Ï ˚j Ï action here, utilised b fragments. We see further evidence of Pentatonic 4 J b b double-stops ⋲ ÏÏ ä inÏÏ a Î and chords ä j E bmaj7 ⋲ Ex 9: &Notes, 4 î ©»•∞ Ï Ï j Ï Ï Ï ˚j Ï E bmaj7 j J b 4 Ï With fingers throughout ©»•∞ Ï Î ä j Ï ⋲ Ï ⋲ Ï˚ & b b b 44 î Ï j ä ÏÏ J Ï Ï

G E D B A G E D

8

6

j

E B G D A E E B

3

b b

ExAMPLE 9 notes, doubLe-stops and Chords

1 G E D B A G E D1 A E 1

5

G /A

6 4 7 G 6 5 3 3 5 E 8 7 6 5 4 D 6 6 B 6 4 Ex 9: Notes, double-stops and chords A G 6 5 3 3 5 E D 6 6 7 OurAfinal example shifts harmonically between EEbmaj7 and E major tonalities andEEx exploits a combination of single notes, double-stops and small chord 7 9: Notes, double-stops and chords

E B G D A E E B

4

3 b bÏ G bj /A b Ï b Ï Ï Ï b Ï 3Ï Ï Ï bÏ b b Ï j ä Ï ä Ï Ï Ï b Ï b Ï Ï b Ï b Ï 3 ä bb bb ÏÏÏÏ ä 3 3 3 bÏ 3 3

Ï bÏ Ï bÏ Ï b Ï b Ï BÏ b/Abb Ï b Ï Ï Ï Ï . Ï b 3Ï Ï b Ï Ï b Ï B b/A b Ï bÏ Ï bÏ Ï bÏ bÏ Ï bÏ bÏ Ï Ï Ï . bÏ Ï bÏ bÏ Ï Ï Ï . 3 7 6 5 4 5

4

5

7

b b

6

5

6

3

B /A

7

6

7

#Ï Ï # Ï # Ï # Ï ä # Ï3 Ï #Ï #Ï Ï ä ä # Ï Ï # Ï # Ï3 3 ä 3

E B G E D B A G E D A 1 E 1

G E D B A G D xxxxxxxxxx 4E A 4 E 4 4xxxxxxxxxx B m7

7

3

3

C( 4)

based theme to more of a semiquaver (16th-note) theme before returning to triplets again to conclude.

in C. The primary focus here however is much more weighted towards the E maj 7 Ex 8: Mixed rhythm lines over changes Shuffle E maj 7

#

G 7( 5)

2 4 cd track 72 3 5 3 2 4 4 a 2 predominantly 3 3 3 rhythmic content, shifting from quaver-triplet (8th-note) 0 2

4

ExAMPLE 8 mixed rhythm Lines over ChanGes

4B xxxxxxxxxx

b

bÏ Ï Ï j Ï j # ÏÏ .. bÏ Ï Ï Ï Ï bÏ Ï Ï Ï Ï Ï Ï bÏ .. Ï Ï # Ï TraCks Ï Ï # ÏÏ 59-75 ON Ï Ï THE CD Ï #Ï

A m7

3

11 11 11 11 11 11

#Ï Ï

⋲ nn ÏÏÏ #Ï Ï Ï n Ï ⋲ # Ï Ï ⋲ nn ÏÏÏ ⋲ ⋲ n ÏÏ 6 7

b Ï nÏ E maj b 5 E maj 5

⋲

9

6

5

6

7

6

5

6

7

9

ÏÏ Ï ÏÏ

9 8 7

ÏÏ Ï

b

9 9

11 11

9 9 9 9

11 11 11 11

8 9

11 11

8 9 8 9

11 11 11 11

9

9

ÏÏ # ÏÏ ÏÏ n Ï # # Ï # Ï Ï Ï Ï # ÏÏ bn5Ï Ï E#maj7 ÏÏ ⋲ # ÏJ Ï n Ï # b Ï Ï E maj7 5Ï # Ï # ÏÏ Ï Ï # # ÏÏ n ÏÏ # ÏÏ # ÏÏ n ÏÏ # Ï ⋲ # JÏÏ ÏÏ ⋲ J # # ÏÏ n Ï Ï E maj7 5

Ï #Ï Ï #Ï 9

9 8 7 9 8 7

9

Ï #Ï

9 8

12 11

16 15

14 13

9 8 9 8

12 11 12 11

16 15 16 15

14 13 14 13

⋲

6

nÏ Ï

Ï

j nÏ nÏ ⋲ n ÏÏ j n ÏÏ ⋲Ï Ï

6 6

Î Î

Î

8

10

8

10

8

10

8 8

10 10

8

10

nd

lesson: acoustic

ON THE CD

TraCk 76

Billie Joe Armstrong Stuart Ryan continues with a look at the acoustic side of a guitarist normally associated with electric instruments - Green Day’s Billie Joe Armstrong. repeatedly during writing sessions for what would become the follow up to nimrod, the album, Warning. since then acoustic guitar has become more prominent on green Day’s recordings and you will even hear Armstrong add mandolin parts on some releases. over the last 15 years the acoustic guitar has even been

Music - that’s been my education. There’s not a day that goes by that I take it for granted. Billie Joe Armstrong a primary feature on some of their biggest tracks - the simple arpeggiated figure from Wake me up When september Ends or the strumming passages from Boulevard of Broken Dreams. Although you won’t find virtuoso licks or high-tempo fingerpicking in Armstrong’s playing he is a great example of how hook-based acoustic guitar parts can be layered with power chords and riffs in order to create a huge-sounding end result. Forget chops for a minute and focus instead on clean, well-timed picking and see how tight your strumming is with the backing track! NeXT MoNTH: Stuart is all thumb and fingers when he checks out John Lennon

Get the tone 2

7

6

7

3

Gain

BaSS

Middle

TReBle

ReveRB

Armstrong has played many acoustic guitars over the years from a Guild F50 to a Taylor 514C. However, you’ll most commonly see him with a Gibson Billie Joe Armstrong J180 acoustic or a Gibson J45. For strumming and picking parts like these a larger, dreadnought style body will give you the required punch and depth to fill out a mix. I recorded this on a Gibson J-35 Collector’s Edition with a Telefunken ELAM260 mic.

Track record You can hear Billie Joe’s acoustic playing on the Green day albums Nimrod (featuring the mega hit Good riddance (Time of Your Life), Warning (with the single Minority) and american Idiot (title track, Boulevard of Broken dreams, Jesus of Suburbia). To hear him in a different format check out his tribute album to The everly Brothers with Norah Jones, Foreverly.

88 GuitarTechniques August 2015

Steve JenninGS / GettY iMAGeS

Power Punk trio Green Day first came to the fore with their smash hit Dookie album in 1994 though they had been touring and releasing harder material for years prior to that. Interestingly though, the acoustic guitar had been a part of their arsenal even in these early days with an interesting logic behind its inclusion in their touring rig. often the band would find themselves booked to play basements and small clubs that either didn’t have the correct permits for live performances or were the target of noise complaints. While for many bands on the punk scene this would mean sets were often cancelled or short, green Day simply pulled out the acoustic guitars and carried on with an all-acoustic set – genius! the band formed in 1986 in Berkeley, california, and their first two albums were released on the indie label lookout Records. It was with their major label debut Dookie that really propelled them into the mainstream and that album went on to sell a staggering 10 Billie Joe with his million copies. the acoustic signature black Gibson Everly’s guitar started to come to the fore style acoustic via the 1997 release nimrod, an album that was designed to explore new sounds and approaches for the ABILITY RATING band. the smash hit single good Riddance (time of your life) showcased Billie Joe’s Easy simple though melodic acoustic style perfectly Info WIll ImprovE your and no doubt introcuced the band to a new audience. Although his influences were bands Key: A minor String skipping like the Ramones, husker Du and the Tempo: 88bpm Dynamic strumming Replacements, Bob Dylan came to be a huge CD: TRACK 76 Chord changes influence on Armstrong and you can hear his distinctly American folk style at the fore of Although most commonly pictured Armstrong’s acoustic style. Indeed, Dylan’s with a low slung les Paul special plugged into Bringing It All Back home album from 1965 a wall of marshalls, Billie Joe Armstrong can was something Armstrong listened to also often be seen toting an acoustic guitar.

LEARNING ZONE

BILLIE JOE ARMSTRONG ExAMpLE billie joe armstronG

cd track 76

[Bar 1] Although you can fingerpick the pickAcoustic as Billie strings that aren’t notated, in this key they will sound fine! GUITAR TECHNIQUES 2 4 6this I’ve elected to use Stuart's Joe does. Keep a relaxed grip on and ensure there is no tension in the wrist. [Bar 9]STYLE The A9sus4 chord and the G6/D aren’t an example of how Billie Joe BILLIE J ARMSTRONG [Bar 4] Watch out for the strummed D5 chord at the end of this bar, it can would get Jazz/Gospel voicings into his playing! Rather these open strings be difficult going from accurate single note picking to a loose strum like this are just being used to facilitate swift chord changes to the next shape and one. Consequently don’t worry too much if you find yourself hitting some again we see how open strings sound fine in this particular key.

©»•• 4 &4

Am

∑

Ï Ï Ï Ï Ï Ï

Ï

E B G D A E

C

1

2

2

0

2

Ï Ï Ï Ï Ï Ï

Ï

1

2 0

2

2

2

&

Ï Ï Ï Ï Ï Ï Ï

Ï

1

2

0

2

Ï Ï Ï Ï Ï Ï

3

2

2

2

2

0

2

3

2

2

0

1

2

2

2

2

0

D5

1

2

2

Ï Ï Ï ÏÏÏ ÏÏÏ ÏÏÏ

Ï Ï Ï Ï Ï Ï Ï

Ï

2

3

nd Ï Ï Ï Ï Ï Ï Ï

Ï

1

2

0

2

2

2

2

0

2

3

3 2 0

3 2 0

3 2 0

Ï Ï Ï Ï Ï Ï

1

2

2

2

2

0

C

D5

Ï

1

2

2

Ï Ï Ï Ï Ï Ï Ï

3

2

2

2

2

0

Ï Ï Ï Ï Ï Ï 2

3

2

2

0

5

Am

&

Ï Ï Ï Ï Ï Ï Ï

Ï

1 0

2

2

Ï Ï Ï Ï Ï Ï

1

2

2

0

C

2

2

1

2

2

Ï Ï Ï Ï Ï Ï

Ï 3

G5

2

2

Ï 2

2

Ï & ÏÏÏ Ï

ÏÏÏ

ÏÏÏ ÏÏ

0 1 2 2 0 9

A9sus4

ÏÏ ÏÏ ÏÏ

0 1 2 2 0

ÏÏ ÏÏ

0 0 0 0 0

ÏÏ

ÏÏ ÏÏ

ÏÏ 3 3 0 0 2 3

G 6/D

ÏÏ ÏÏ

ÏÏ Ï

0 1 2 2 0

G

ÏÏ 3 3 0 0 2 3

3 3 0 0 2 3

C/G

ÏÏ ÏÏ 0 0 0 0

0 1 0 2 3 3

ÏÏ # ÏÏÏ ÏÏ Ï Ï

ÏÏ

ÏÏÏ Ï

0

3 0 0

A9sus4 D

ÏÏ ÏÏÏ

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï Ï Ï 3 0 0

3 0 0

3 0 0

3

7

Am

E B G D A E

1

2

Ï Ï Ï Ï Ï Ï

3

&

E B G D A E

Ï

C

Am

E B G D A E

Ï Ï Ï Ï Ï Ï Ï

1

Am

E B G D A E

D5

ÏÏÏ Ï

Ï 0 1 0 2 3 3

0 1 0 2 3 3

0 0 0 0 0

ÏÏ

ÏÏ ÏÏ

2 3 2 0

G 6/D

ÏÏ ÏÏ

2 3 2 0

ÏÏ 2 3 2 0

0 0 0 0

August 2015 GuitarTechniques 89

lesson: acoustic

ON THE CD

TraCk 76

ExAMpLE billie joe armstronG

cd track 76

[Bar 12] The E major chord doesn’t actually belong in this key (A minor) – theoretically speaking it should actually be an E minor but using the major chord here just gives a strong resolution back to the I chord, A minor. 2 Acoustic Am

G

ÏÏÏ

& Ï 0 1 2 2 0

ÏÏ Ï

0 1 2 2 0

ÏÏ

ÏÏ Ï

ÏÏ Ï

E B G D A E

ÏÏÏ ÏÏÏ

ÏÏ ÏÏ Ï

0 1 2 2 0

0 0 0 0 0

ÏÏ 3 3 0 0 2 3

11

ÏÏ

ÏÏÏ

ÏÏÏ

ÏÏ 3 3 0 0 2 3

Ï

ÏÏ Ï 0 1 2 2 0

ÏÏ Ï

0 1 2 2 0

ÏÏ Ï

0 1 2 2 0

0 0 0 0 0

3 3 0 0 2 3

13

Am

ÏÏ

ÏÏÏ

ÏÏ ÏÏ

& Ï Ï 0 1 2 2 0

ÏÏÏ ÏÏ Ï Ï

Ï 0 1 2 2 0

ÏÏ

ÏÏ ÏÏ ÏÏ Ï 0 1 2 2 0

0 0 0 0 0

ÏÏ 3 3 0 0 2 3

15

0 1 0 2 3 3

ÏÏ

ÏÏ ÏÏ 3 3 0 0 2 3

E B G D A E

Ï Ï Ï Ï Ï Ï Ï

Ï

2

2

0

ÏÏ

ÏÏ

ÏÏÏ 0 1 0 2 3 3

1

2

2

2

2

0

Ï Ï Ï Ï Ï Ï 1 2

19

90 GuitarTechniques August 2015

2

2

Ï Ï Ï Ï Ï 1

0

Ï 0 0 1 2 2 0

G 6/D

ÏÏ

ÏÏ Ï ÏÏ ÏÏ Ï ÏÏ

2 3 2 0

0 0 1 2 2 0

2 3 2 0

2 3 2 0

0 0 0 0

Ï

Ï

ÏÏ

Ï 0 1 0 2 3 3

0 0 0 0 0

ÏÏ ÏÏ ÏÏ

0 0 1 2 2 0

ÏÏ ÏÏ

ÏÏ ÏÏ

0 0 1 2 2 0

ÏÏ 0 0 1 2 2 0

0 0 1 2 2 0

Ï Ï Ï Ï Ï Ï

Ï Ï Ï Ï Ï Ï Ï Ï

0

0

0

0

0

0

2

3

2

0

2

3

Ï

2

Ï Ï

D5

2

2

Ï

ÏÏ

0 0 0 0 0

ÏÏ Ï

# ÏÏ

ÏÏ # ÏÏÏ Ï ÏÏ

G

Ï 0

0 1 0 2 3 3

ÏÏ ÏÏÏ

0 1 0 2 3 3

Ï Ï Ï Ï Ï Ï

Am

E B G D A E

0 1 0 2 3 3

ÏÏ

ÏÏÏ Ï

0 0 0 0

Ï

A9sus4 E

17

Ï

0 1 0 2 3 3

G

1

&

Ï

ÏÏ ÏÏ

0 0 1 2 2 0

ÏÏ ÏÏ ÏÏÏ ÏÏ Ï Ï ÏÏÏ

Ï 0 0 0 0

Am

& 44

ÏÏ

C/G

ÏÏ

0 0 1 2 2 0

ÏÏ

A 9sus4 D

ÏÏÏ

nd

G 6/D

ÏÏ 3 3 0 0 2 3

3 3 0 0 2 3

ÏÏ Ï

0 0 0 0 0

ÏÏ ÏÏ

ÏÏ

0 1 0 2 3 3

ÏÏ Ï

Ï

C /G

ÏÏ ÏÏ

ÏÏ ÏÏ

G 6/D

Ï

# ÏÏÏ ÏÏ

ÏÏ Ï

E

ÏÏ ÏÏ

0 1 0 2 3 3

ÏÏ ÏÏ

ÏÏ

ÏÏÏ ÏÏ

3 3 0 0 2 3

A9sus4 G

ÏÏ ÏÏ

0 0 0 0

ÏÏ

ÏÏ

A9sus4

ÏÏ ÏÏ

ÏÏ

ÏÏ

C /G

ÏÏ ÏÏ

G

Ï & ÏÏÏ

E B G D A E

G 6/D

ÏÏ 3 3 0 0 2 3

Am

E B G D A E

ÏÏ

[Bar 17] These picking parts contain a great deal of ‘string skipping’ so if you are finding it tricky to home in on each string accurately, make sure you spend some time deciding on the best picking directions for you.

2

2

2

D5

Ï Ï Ï ÏÏÏ ÏÏÏ ÏÏÏ

Ï Ï Ï Ï Ï Ï Ï Ï

0

2

0 3

0

0

0

0

2

3

3 2 0

3 2 0

3 2 0

LEARNING ZONE

BILLIE JOE ARMSTRONG ExAMpLE billie joe armstronG

cd track 76

[Bar 31] This penultimate bar offers a great work-out in dynamics for the strumming hand: build up the volume evenly as you strum through this

bar to reach a crescendo before hitting the final chord in the following bar. Again, don’t worry too much about the occassional ‘stray’ untabbed note.

3 Am

& E B G D A E

Ï Ï Ï Ï Ï Ï Ï

Ï

1

2

0

2

Ï Ï Ï Ï Ï Ï

1

2

2

G

2

2

0

Ï

0

2

2

E B G D A E

Ï

Ï Ï Ï Ï Ï Ï 2

2

Ï Ï Ï Ï Ï Ï

1

2

2

2

2

0

ÏÏÏ ÏÏ

& Ï Ï

Ï Ï

0 1 2 2 0

ÏÏÏ

0 1 2 2 0

0 1 2 2 0

ÏÏ Ï

0 1 2 2 0

0 1 2 2 0

ÏÏ Ï

0 1 2 2 0

Am11

ÏÏÏ

ÏÏÏ ÏÏÏ ÏÏ ÏÏ

ÏÏ 0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

ÏÏÏ

ÏÏÏ ÏÏ 0 1 2 2 0

ÏÏÏ ÏÏ ÏÏ ÏÏÏ

Ï 0 1 2 2 0

nd Ï

ÏÏ 0 1 2 2 0

G

ÏÏÏ

30

ÏÏ 3 3 0 0 2 3

ÏÏ Ï ÏÏ ÏÏÏ ÏÏ ÏÏ

0 1 2 2 0

3 3 0 0 2 3

3 3 0 0 2 3

# ÏÏ

0 1 2 2 0

0 1 0 0 0

0 0 0 0

0 1 0 2 3 3

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

2 3 2 0

Ï

G 6/D

ÏÏ ÏÏ

2

0

3

2

0

3 2 0

2 3 2 0

2 3 2 0

0 1 0 2 3 3

0 1 0 2 3 3

ÏÏ 0 0 0 0 0

ÏÏ 3 3 0 0 2 3

Ï

3 2 0

3 2 0

3 3 0 0 2 3

0 0 0 0

ÏÏ ÏÏ

ÏÏ

ÏÏ Ï ÏÏ ÏÏÏ ÏÏ ÏÏ

3 3 0 0 2 3

Ï

ÏÏ Ï

2 3 2 0

2 3 2 0

0 0 0 0

A9sus4

ÏÏÏ ÏÏÏ ÏÏ

0 0 0 0

ÏÏ Ï

G 6/D Am

3 3 0 0 2 3

ÏÏ ÏÏ

ÏÏ 0 0 1 2 2 0

ÏÏ Ï

2 3 2 0

G 6/D

ÏÏÏ ÏÏÏ ÏÏ ÏÏ ÏÏ

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

ÏÏÏ ÏÏÏ ÏÏ

0 1 2 2 0

ÏÏÏ ÏÏ ÏÏ ÏÏÏ ÏÏ

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 0 0 0 0

Am

ÏÏ ÏÏ

ÏÏ

Ï

E

# ÏÏÏ 0 0 0 0

ÏÏ

D

ÏÏ # ÏÏ ÏÏ Ï

ÏÏ 3 3 0 0 2 3

ÏÏ

G 6/D

ÏÏ ÏÏ

3 3 0 0 2 3

ÏÏ ÏÏ ÏÏÏ ÏÏ Ï Ï ÏÏÏ

Ï

G 6/D D

ÏÏ

0

0

ÏÏ ÏÏ

A 9sus4 G

ÏÏ ÏÏÏ

ÏÏ

ÏÏ

0 0 0 0 0

C/G

ÏÏ

27

Ï & ÏÏÏ ÏÏ

0

0

25

& Ï Ï

E B G D A E

ÏÏ Ï

Ï

Am

E B G D A E

0

2

2

ÏÏÏ ÏÏ

Ï Ï

2

3

ÏÏÏ Ï

Ï

3

Ï Ï Ï ÏÏÏ ÏÏÏ ÏÏÏ

Ï Ï Ï Ï Ï Ï Ï

G

ÏÏ

ÏÏÏ

D5

Ï

23

ÏÏÏ

2

0

Ï Ï

3

Am

E B G D A E

0

0

G

1 0

0

0

Am

Ï

Ï Ï Ï Ï

Ï Ï Ï Ï Ï Ï Ï

21

&

D5

ÏÏ 0 0 1 2 2 0

ÏÏ ÏÏ ÏÏ

0 0 1 2 2 0

ÏÏ ÏÏ ÏÏ

0 0 1 2 2 0

ÏÏ ÏÏ ÏÏ

0 0 1 2 2 0

ÏÏ ÏÏ ÏÏ

0 0 1 2 2 0

ww ww w ÏÏ ÏÏ

0 0 1 2 2 0

0 0 1 2 2 0

0 1 2 2 0

August 2015 GuitarTechniques 91

lesson: rockschool

ON THE CD

TraCk 77

Reading Music PArt 14

Playing a piece

Brought to you by...

this month Charlie Griffiths extends his reading music series, beginning with a full piece that will test your skills not only in playing the right notes but also changing key!

Can you navigate all the key changes in this month’s piece?

ABILITY RATING

Easy/Moderate Info Key: Various Tempo: Various CD: TRACK 77

WIll IMprovE your Notation reading Fretboard knowledge Employability!

In thIs serIes we have covered everything from simply recognising the notes on the stave, to learning the rhythmic symbols, as well as introducing key signatures and some quite technical jargon relating to everything from navigating through a chart to specifics as to how the loud, quiet or intensely the notes should be performed. In the next few instalments we will revisit all of these elements and integrate them into some longer musical pieces to give you the opportunity to test your knowledge and fill in any gaps you may have. It’s reading music in the real world.

92 GuitarTechniques August 2015

The first thing to note about this piece is the use of multiple key signatures. the key signature is shown at the beginning of the stave in the form of sharp or flat symbols placed on the stave. The sharps and flats denoted at the beginning of the line are

Once you are able to play the right note at the right time, you can safely move on to the next level of detail ornaments and dynamics. obeyed for the remainder of the piece unless otherwise indicated. the absence of any sharps or flats at the beginning of a piece means that it’s in the key of C major or A minor; the only two keys which do not contain sharps or flats. This piece in fact starts in the key of C and remains so for the entire first

line. Upon reaching the second line you will see the introduction of one sharp symbol placed on the ‘F’ line and furthermore the third line has two sharps, the fourth line has three sharps and the final line has four sharps; put simply, the piece changes key at the beginning of each line. Your job is to translate the number sharps shown in the key into something meaningful and useful for reading the music. For this we need to remind ourselves of the ‘cycle of fifths’ as this relates directly to ‘sharp keys’. As we have seen, the key of C major has no sharps, but adding a sharp puts us in the key of G, which is a 5th above C. two sharps takes us up a further 5th to the key of D and so on until the maximum amount of seven sharps is reached. those seven different keys are C G D A e B F# C# with a sharp being added each time. With practice you will automatically see two sharps and think ‘key of D’, or immediately equate four sharps to the ‘key of e’. rhythmically, this piece revisits four different subdivisions: the first bar has four quarter-notes, which are played at exactly the same rate as the tempo of the piece. Following this there are eighth-notes, which go by at twice the rate of quarter-notes and then 16th-notes which are twice the speed of eighth-notes. Finally we have eighth-note triplets, which are played at a rate of three notes per beat. Once you are able to play the right notes at the right time, you can safely move on to the next level of detail - the ornamentations and dynamics. In this piece the notes are given a more expressive element using: ‘vibrato’, which is a quick succession of pulsing bends added to the note; ‘trills’, which are a quick succession of hammer-ons and pull-offs and; ‘grace notes’, which are very quick notes preceding a longer note. Finally we have dynamic markings, which tell you how loud, quiet or intense the part should be played. throughout the piece there is ‘mf’, ‘p,’ ‘f’ which stand for mezzo forte (moderately loud), piano (quietly) and forte (loudly) as well as a crescendo which is a gradual increase in volume. NEXT MONTH: Charlie continues with his series on Reading Music

learning Zone

full piece GUITAR TECHNIQUES TECHNIQUES MAGAZINE MAGAZINE 2 24 46 6 GUITAR

Charlie Griffiths

GUITAR TECHNIQUES TECHNIQUES MAGAZINE MAGAZINE 2 24 46 GUITAR GUITAR TECHNIQUES MAGAZINE 246 6 ExAmplE 1 full piece - aDaGiO

Charlie Griffiths READING Part 14 Charlie Charlie Griffiths Griffiths

cd tRack 77

As you play through the piece keep an eye on the changing key Part READING Part 14 14 READING READING signatures and adjust just one note of the scale shape to match it.Part The 14 new note is always added to the far right of the key signature, which in

©È 4 & ©È©È44 & & 44

¦¼ ¦¦ ¼¼ ∑ ∑∑

# &# Ï # & & ÏÏ

Ï ~~ # ~~ & # # Ï ~~ ## & #

Ï

Ï

ÏÏ

Ï Ï Ï ÏÏ

ÏÏ

.. .. Ï Ï Ï .FÏ Ï Ï Ï F ~~~~ Ï j Ï ~~~~ ~~~~˙ jj Ï ÏÏ j Ï ˙˙ Ï Ï Ï Ï Ï Ï ÏÏ Ï ÏÏ Ï ÏÏ

### & # ## Ï . ÏJ ## & # pÏÏ .. ÏÏJ J pp # # # # . Ï ~~ Ï Ï ~~ & # ## # . Ï ~~ # ## # .. fÏ ÏÏ ÏÏ & . f f

Ï Ï Ï ÏÏ ÏÏ Ï

Ï

ÏÏ

‰ ‰‰ Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï . ÏÏ ..

˙ ˙˙ Ï Ï

~~ ~~ ~~

Ï ÏÏ

Ï Ï

~~~ Ï ~~~ ~~~Ï Ï Ï Ï ÏÏ ÏÏ Ï Ï ÏÏ Ï

Ï ÏÏ

Ï Ï

Ï Ï ÏÏ ÏÏ Ï JÏ ÏJ J

Ï Ï ä J ÏÏ ÏÏJ ää J

Ï Ï J ÏÏJ ÏÏ J

Ï Ï Ï Ï Ï ÏÏ Ï

Ï . Ï ÏÏ .. ÏÏJ JJ

˙ ˙˙ Ï Ï

ÏÏ

Ï

. ..

turn is always a semitone below the actual key signature. The first four bars and the last four bars have repeat brackets at either end, so play these sections twice to stay in sync with the backing track.

Ï

ÏÏ

Ï Ï

Î

ÏÏ

ÎÎ Ï Ï Ï ÏÏ Ï 3 ÏÏ Ï

j Ïj Ïj

Ï . ÏÏ ..

Ï ÏÏ

Ï

Ï

Ï Ï ÏÏ Ï Ï

Ï Ï Ï ä ÏJÏJ ää J

j ä Ï jÏ ää ÏÏ j ÏÏ

333

Ï JÏ ÏJ J

Ï ÏÏ

˙ ˙˙

j j ÏÏ jj Ï Ï

Ï

Ï

Ï

ÏÏ

ÏÏ 3

ÏÏ 3

Ï Ï 333 Ï Ï 333 Ï Ï ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï

ÏÏ

Ï

ÏÏ

Ï Ï Ï Ï ~~~ä Ï j Ï Ï ÏÏ ÏÏ Ï ÏÏ ~~~ ~~~ j Ï ää ÏÏÏ jj ÏÏ ÏÏ Ù Ï ~~ Ï Ù Ï ~~ Ï ~~ Ï ~~ Ï ÙÙ Ï ~~ ÙÙ Ï ~~ Ï Ï

333

Ï Ï ÏÏ ÏÏ Ï Ï

Ï Ï ÏÏ ÏÏ Ï ÏÏ

Ï ÏÏ

Ï Ï ÏÏ ÏÏ .. ...

### ## # ## # #### ## ## ## ##

Ï Ï ÏÏ ÏÏ

>Ï >ÏÏ ÎÎ Î

# ##

## ## ##

Ï Ï ~~~ Ï Ï î ÏÏ Ï ~~~ ~~~ Ï ÏÏ ÏÏ îî

Ï Ï ÏÏ 3 Ï Ï

Ï Ï Ï ~~ Ï Ï Ï ~~ Ï Ï ÏÏ ÏÏ ~~ Ï Ï Ï Ï Ï ÏÏ

~~~ Ï ~~~.. ÏÏ ~~~.. .

î îî

North AmericAN SubScriptioN offer! Subscribe to for as little as $74.99 every 6 months l That’s only $11.53 an issue! l If you’re struggling to find Guitar Techniques in stores then subscribe today and you’ll never miss another issue - delivered by Airmail.

l Get your copy up to 3 weeks before they hit the stores.

Two easy ways To subsCribe... online www.imsnews.com/guitartechniques Call toll free on: 1-800-428-3003

OVERsEAs ORdERs excluding North America ONlINE www.myfavourite magazines.co.uk 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. If at any time during the first 60 days you are dissatisfied in any way please notifiy us in writing and we will refund you for any un-mailed issues.

August 2015 GuitarTechniques 93

N e ve r miss aNother issue

68 Turn to page e! ib cr bs su to

Back issues

missed iT? grab iT now! Missed one of our recent fabulous issues? Get one now while stocks last!

JULY GT245

JUNE GT244

MAY GT243

Bands like Grateful Dead, Allman Brothers and many others made their name as ‘jam bands’. We look at great tricks to get you jamming. Play Chet Atkins’ amazing Yakety Axe; learn how to sweep pick 7th arpeggios, plus loads more great stuff!

Learn how to make the most out of the different music intervals and master the art of Ragtime Blues. Plus a full guitar transcription of New Born by Muse and the styles of The Troggs, Chickenfoot, Glen Campbell and Eric Gales unveiled!

Learn how chromatic notes can add extra colour to your lead lines and how a little bit of theory can also go a long way! Plus a full transcription of Steve Howe’s Clap and learn how to play like John Denver, Django Reinhardt, Oz Noy and Steve Miller.

SPRING GT242

APRIL GT241

Perk up your lickbag with 25 great intros, endings and fills. Master one of Queen’s most outrageously good tracks - awesome riff, great chords and cool lead! Plus, learn rock ’n’ roll rhythms, play like The Doors, The Hollies, Carlos Santana and more...

Ditching the pick is all the rage: we show you how some of the greats use fingers only to sound GREAT! Learn The Who’s classic Baba O’Riley (Mr Big version tabbed too!). And take our monster Country Workout to learn cool Nashville chops. Plus much more!

Jam the BLues!

25 LiCKs You must KNoW

eXPaND Your BLues!

nd

PLaYiNG With FiNGers

BaNish BoriNG soLos

MARCH GT240

4 LeveLs oF BLues

Play better blues solos, no matter what level you are, in a variety of classic and modern styles. Learn the Shadows classic Atlantis. Plus the styles of Mars Volta, Manfred Mann, Joe Bonamassa, Mike Stern and John Frusciante’s acoustic style uncovered!

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: £5.99 n Europe: £6.99 n Rest of the world: £7.99

94 GuitarTechnique August 2015

Music Reviews

wHat our ratings mEan: HHHHH Buy it HHHH Excellent HHH Good HH Average H Bin it!

New Albums

A selection of new and reissued guitar releases, including Album Of The Month... Album of the month

Dave Martone

NAcIMIENTO

Magnitude Records HHHHH On this instrumental outing Martone plays nylon-string guitar, cajon and general percussion, the only outside help coming from bassist David Spidel. And what a gem it turns out to be; full of fabulous playing and exciting arrangements. This is not the usual American songbook plunder, however; the material is far reaching, from Malageuna and classical Gas to The Final countdown and Spider-Man, all done with vigour and aptitude - and Martone is a true expert of the genre. One of the biggest surprises is his version of Boney M’s Rasputin which really knocks along, and with with a huge sound. It’s impossible not to smile as you listen, and that’s the whole thing about this album: it makes you feel good. It’s about familiar songs, great arrangements and all benefiting from fresh, new ideas from an excellent player, making this is a very upbeat and rewarding album to listen to.

Yes

REVIEWS BY ROGER NEWELL

ProgEny: HigHligHts From sEvEnty-two

Atlantic – Rhino HHHH This is the everyman’s edition of the mighty new Yes box set of 14 CDs that features several complete performances from the band during their 1972 world tour. It was a pivotal moment, being the first outing with new drummer Alan White, but as their previous three albums had achieved massive sales the stage material was taken from those. This was the start of the classic Yes line-up and live material from this period is much sought after, hence some of this has been available on bootlegs for years although the quality here is far superior to anything we’ve heard before. Like many bands of the time Yes took soundboard recordings of many of their shows and seven of these have been recently

rediscovered and with today’s mastering techniques these performances have been given a new lease of life. These shows are earlier than those featured on the band’s triple live album, Yessongs and the quality here is amazingly good. For most people this ‘highlights’ selection of tracks from five different venues will be a great addition to their collection but for the hardened Yes fan the box set will be nothing short of manna from heaven.

John loDge

10,000 ligHt yEars ago

Esoteric Antenna HHH John Lodge is best known as bass guitarist and vocalist with The Moody Blues but, perhaps more significantly, he’s also a mighty fine songwriter and guitarist, having penned great tracks like I’m Just A Singer (In A Rock & Roll Band) and Ride My See Saw for the band. This is only his second solo album, his first being Natural Avenue,

released way back in 1977, but now available on CD. He’s a fine tunesmith and that is very evident on this album. He’s also able to call upon useful friends like Ray Thomas and Mike Pinder from the Moodies to join him on the acoustic-led Simply Magic. He’s also enlisted the help of guitarist Chris Spedding who proves to be an excellent choice, adding fire and authority to this album. Being such a pivotal member of the Moodies it will come as no surprise that there are similarities in the material here, but there’s enough that’s different to make this a very viable release; it’s melodic, easy on the ear but full of great performances and variety. Lodge will be touring in the UK with The Moody Blues next month.

Mike olDfielD

tHE BEst oF: 1992-2003

Warner Music HHHH Well it’s all there in the title, so this is an intelligent two-CD selection of material from beyond Mike’s early days of experimentation and after receiving commercial success. In that respect this is an unusual release as it obviously ignores the original Tubular Bells and the early hit singles, but it does show just what a fine writer and player he has continued to be. That

said, it does feature music from 1992’s Tubular Bells II plus the more recognisable radio edits and single versions for tracks like Sentinel, To Be Free, Far Above The Clouds and the single remix of Tubular Bells from 2003. Much of Mike’s music stays within this formula, with a few unusual directions; yet undoubtedly it has all stood the test of time. While the second CD will fill in a few gaps for the regular Oldfield collector, CD one will appeal to someone newly discovering his music so this should appeal to all.

RAnDY BAchMAn

HEavy BluEs

Linus Entertainment HHHHH You’d be forgiven for thinking that the opening track, The Edge, was a new song from The Who with the wild guitar chords performed in a manner that Pete Townshend would be proud to produce. It certainly got us checking the guest list of players included here, but Pete is not among them. So who has Randy invited to join him on this self-imposed

challenge to reinvent himself? Well Neil Young, the late Jeff Healey, Joe Bonamassa and Peter Frampton for starters but there are others too. It’s an upbeat album that truly lives up to its title with lots of variation within the blues remit. Little Girl Lost features Neil Young and is a bit like an over produced ZZ Top track but it works extremely well. Confessing To The Devil with Healey is a sort of chant over a Bo Diddley rhythm and the title track enlists Frampton and features a nice chord progression. Randy is almost re-inventing himself here but this is a really enjoyable, driving blues-rock album with some great guitar from all concerned.

Al Di MeolA

Elysium

Inakustik HHHH Al Di Meola is back, playing a host of guitars over this 14-track album which is positively uplifting and full of glorious music. Al has a fantastic palette and understanding of tone so when he uses heavily distorted electric guitar over a gently plucked classical you never lose the dynamics of either instrument. It’s a gift and an ability that he plays to the full, and that’s what keeps this instrumental collection interesting from start to finish. But it isn’t merely interesting; it’s truly inspiring with its freeform structure and meanderings from the melody. Lots going on here but we particularly like the timings on Babylon and Tangier which both also hold elements of mid-80s Di Meola. Some great speed licks on Tangier too! Al has never stopped pushing himself and he’s definitely reached a new and exciting level. The title track is less frantic and features a slightly Middle Eastern flavour combining classical guitar with 12-string. Nice rhythmic section too that breaks down and introduces the Les Paul. This is all very well constructed and keeps you guessing on the musical outcome of every track. Magic stuff indeed!

August 2015 GuitarTechniques 95

≥

E

GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking

≤

Tremolo Picking Down & Up Picking

GT USER GUIDE

œ

& E B G D A E

GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking

&

œ

7

œ bœ @ @

œ @

E B G GUITAR TECHNIQUES 5 4 MAGAZINE 7 8 D A Guitar Technique Examples - Fretting E

@

5

≥

œ @

≤

@

@

@

œ

œ

Hand

Hammer On & Pull Off

œ

œ

Palm Muting

& nœ n œœ You can get more from GT by understanding our easy-to-follow musical terms and signs... œ œ & œ œ & #œ œ œ œ bœ Down & Up Picking

Tremolo Picking

GUITAR TECHNIQUES MAGAZINE USER GUIDE

Guitar Technique Examples - Treble Clef And Tablature

œ

&

read music

œ

2nd string 2nd string GUITAR TECHNIQUES 3rd MAGAZINE fret 1st fret Guitar Technique Examples - Picking

Each transcription is broken down into two parts...

Down

&

1E 2B 3G D & 4Up 5A 6E

3

1

Picking

œ

œ

œ

E B G D A string E

3rd 2nd fret 2

&

œ

7 4th string Open

≥

&

œ @

≤

œ bœ @ @

œ @

@

@

@

E MUSicaL Stave B G 5 4 7 The five horizontal D @ @ @ A E lines for music notation show note pitches and rhythms and are divided Palm Muting by bar lines.

5

Tremolo Picking0

@

nœ # œœœ

&

E B G D E A B E G D A E

Picking

GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking

Up and down picking

œ

E B G D A E

1E 2B G Tremolo3Picking 4D 5A 6E

7

≤

œ bœ @ @

œ @

Fretting hand @ @ @ @ E B G 5 4 MAGAZINE 7 8 GUITAR TECHNIQUES D A Guitar Technique Examples - Fretting E

Hand

hammer-on & Pull-off Hammer On & Pull Off

E B G DE AB EG D A E

œ œ œ œ nœ n œœ # œœœ œœ œ œ œ œ œ PM7

5

PM 5

7

8 7 6 7

8 7 6 7

0 0 and 0 0 0 n Pick 1st note hammer Note Trills fretting hand for 2nd on with tr ~~~~~ note. Then pick 3rd note and Pick Rake œ ˙ (œ4th b˙ pull &off for w) note.

≤

E B G DE AB EG D A E

¿

@

@

@

œ

E B G D E A B E G D A E

œ œ œ

PM7

5 8 7 6 7

note trills Note Trills

0

0

œ œ

PM 5

7 8 7 6 7

0

0

œ

œ œ gg # ˙˙˙ ggg # ˙ ggg # ˙˙

E B G DE AB EG D A E

≠œ œ ≠œ œ œ ≠œ

Left Hand Tapping

pitch of the bracketed note, before releasing. 6

≠ ≠ ≠

harMonicS E B G D A E

P

P

7

natural 5harmonics 0 P

&

â

7

E B G D A E E B G D A E

&

5

0

# ââ

â

â

ááá

Fret Hand Muting

~~~~~ ˙ (œ œ) b ˙ w ¿

8

n œœ œœ

E B G D E A B E G D A E

& &

¿¿

~~~~~

tr rake 5

X

X

(7 55)

8

X

n Rapidly alternate between Slides (Glissando) the two notes indicated in Arpeggiate Chord brackets with hammer-ons and pull-offs. & œ œ #œ˙ œ

8 7 6 7

12

X X X X

12

X X X X

X X X X

8 7 6 7

áá

7 7 7

X X X X

X X X X

n Pick the note while lightly touchingâ the stringâ directly â over the fret indicated. A & harmonic results.

á á á

AH16 E B G D A E

4

2 0

AH17

5

96 GuitarTechniques August 2015 Ñ Ñ Ñ &

P

7

0

5

7

0

n Bend up to the pitch shown in the brackets, then re-pick the #â Fret Hand Muting note while holding â â theââ bent â note at the new pitch. & nœ ¿ ¿ ¿ œ ¿ ¿

&

E B G E DB AG ED A E

ááá

# œœœ ¿¿¿ ¿¿¿ ¿¿¿ œœœ ¿¿¿ ¿¿¿

áá

NH

12 8 7 6 7

12 X X X X X X X X

12

7 7 8 7 X X 7 X 6 X 7

X X X X

artificial harmonics

&

â

â

â

á á á

AH16 E B G D A E

AH17

4

X X X X

E B G D E A B E G D A E

& &

8 7 6 7

5

X

â

5

â

â

0

0

~~~~~

X

(7 55)

& &

≠

Left Hand Tapping

the 2nd note. The last two notes show a slide6 with the œ last¬e being œre-picked. œ

≠œ œ ≠

œ

≠ ≠ ≠ P

P

5

7

0

P

5

& &

nœ ¿ ¿ â ¿ â # œœ ¿¿â ¿¿ ¿¿ œ ¿ ¿ ¿

œœ œœ

ááá NH

E E B B G G D D A A E E

8 7 12 6 7

7

0

Fret Hand Muting

X X 12X X 12 X X X X X X X X

8 7X 7 7X 6 7X X 7

á á á

AH16

4

AH17

Pick Rake

& E B G D A E

X X X X

& E

7

7

n Fret the note as shown, but dig into the â with â string â the side of the thumb as you & sound it with the pick.

á á á

TH17 E B G D A E

5

&

Ï

TH19

7

â

w E B G D E A B E G D A E

5

ggg # ˙˙ gg 45 ggg 44 ggg 45

≠ ≠ ≠ ≠ ≠ ≠ œ œ œ œ œ œ 7

7

E

&

â

ááá

áá

NH

E B G D A E

12

12

12

â

â

â

á á á

AH16 E B G D A E

~~~~~ ( )

8

AH17

4

& œ œ #œ˙ g ˙ ˙ & gggg ˙˙˙ gggg # ˙˙ ggg # ¿˙ g # ˙˙ g S gg 5 7 5 ggg 45 ggg 00 gg 44 ggg 22 gg X2 ggg 54

œ 5

≠

Left Hand Tapping

≠ ≠

≠ ≠ ≠

E B G D A E

P

P

5

0

7

P

5

Fret-hand Muting Fret Hand Muting

&

7

0

n œœ # œœ

¿¿ ¿¿

¿¿ ¿¿

¿¿ ¿¿

œœ œœ

¿¿ ¿¿

¿¿ ¿¿

8 7 6 7

X X X X

X X X X

X X X X

8 7 6 7

X X X X

X X X X

E B G D A E

n X markings represent notes muted by the fretting hand when struck by the picking hand.

caPo

7 7 7

Quarter-tone bend

&

¿

¿¿

tr rake 5 7 5 5 X X X

n Play the notes of the 6 chord by strumming across the&relevant strings œ œ in theœ directionœof œthe arrowœhead.

6

capo notation

AH19

7

5

n Pick the note and then bend up a quarter tone (a very small amount). Sometimes Ñ Ñ Ñ referred & to as blues curl.

± ±± 7

&

5

n A capo creates a new nut, so the above example has the guitar’s ‘literal’ 5th fret now as the 3rd fret.

E B G D A E

á á á

TH17

TH19

5

7

4

á

TCH

2

right-hand tapping

TH17

n Fret the note as shown, but sound it with a quickâ righthand tapÏ at the fret shown & (TH17) for a harmonic. E B G D A E

r/h taPPing

7

â

â â

TH17

4

X

E B G D E A B E G D A E

&

Slides (Glissando)

n Sound the notes marked with a square by hammering on/tapping with the #frettingââ â hand fingers.â â

Ñ

5

0

tapped harmonics

± ±± 7

0

rake

X

œ œ

PM 5

7

PH

Pinched harmonics

Ñ

0

PM7

5

œ

appeggiate chord Arpeggiate Chord

ggg # ¿˙ g gg 00 ggg 22 ggg X2

E B G D A E

7

Ñ

¿ ¿¿

X

AH19

5

0

nArpeggiate Drag the pick across the Chord strings shown with a single sweep. Often ggg # ˙˙˙to augment ˙˙˙ used a rake’s & gggg last gg # ˙ ˙ note.

â ¿¿ ¿¿ ¿¿ ¿¿

n Bend up from the 5th fret to the pitch of the 7th fret note, â to 5th then pickâ it and â release fret¬e. E B G D A E

0

8 7 6 7

Pick rake

# ââ

áá

PM

Left hand tapping

œ œ œ œ œ ggg ˙˙˙ ggg # ˙˙˙ gg # # ˙˙ ggg ˙¿ gg # ˙ 5 ggg ˙ 5 7 5 7 ggg 00 ggg 45 ggg 22 ggg 44 gg X2note and gg 45 slide to n Pick 1st E B G D E A B E G D A E

8 7 6 7

E B G D A E

8

X

E B G D A E

PH

± ±±

&

0

Slides (glissando)

E B G D A E

7

7

0

8 7 6 7

tr rake

E B G D E A B E G D A E

PH

E B G D A E

0

PM 5

7

Trills nNote Palm mute by resting ~~~~~ Pickedge Rake tr of the picking-hand’s (œ wœstrings ) b ˙ near the & on ˙the palm ¿ bridge. & ¿¿

AH19

5

PM7

5

&

n Fret the note as shown, then lightly Ñ place theÑ index finger over ‘x’ fret (AH ‘x’)Ñ and & pick (with a pick, p or a).

AH19

7

P

P

Hand

œ 020 œ œ œ nœ n œœ # œœœ œœ œ œ œ œ œ

Pre bend

≠ ≠ ≠ 5

@

Hammer On & Pull Off

E B G D A E

5

≠œ œ ≠œ œ œ ≠œ

E B G D A E

@

2 0 Palm muting 1 Palm Muting 1

6

&

œ @ œœœ @

PM

Slides (Glissando) Arpeggiate Chord

Pick Rake tr

â

n œœ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿ # œœ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿

NH

12

0

A m7

E B G 5 4 MAGAZINE 7 8 GUITAR TECHNIQUES D A Guitar Technique Examples - Fretting E

Left Hand Tapping

& ˙ & gggg ˙˙˙ ggg # ¿˙ g S 5 7 5 5 ggg 00 g 45 gg 22 start ggggnote44 (here, the n Fret the g X2 ggg 45 5th fret)gg and bend up to the &

Hand

n Each of the four notes are Palm Muting to be alternateœ picked œ (downœ & nœœ very rapidly & up-picked) n œœ and œ continuously. œœ & # œœ

E B G D E A B E G D A E

7 5

Slides (Glissando) Arpeggiate Chord

0 0 0 2 2 0

œ bœ @ @

g ˙ ˙ & gggg ˙˙˙ gggg # ˙˙ ggg # ¿˙ g # ˙˙ tr ~~~~~ rake g S gg 5 7 5 ( 5 ) and Bending viBrato gg 00 gg 545 8 X gg 22 gg 44 X X ggg 4 Bend up/down re-pickggg bend g X2 g 5 ¿¿

&

œœ œ

Hammer On & Pull Off

Palm Muting

& &

œœœ œœ

5

0 2 3

œ @

@

5

œ @

D7

E B G 5 4 MAGAZINE 7 8 GUITAR TECHNIQUES D A Guitar Technique Examples - Fretting E

n The first note is to be Tremolo Picking down-picked and the last note is to be up-picked.

&

œ @

&

œ

≥

œœ œœ

& 7 ≥

Em

0 tremolo picking 1

Down & Up Picking

&

C

œ œ œ

8 taB Under the 87musical stave, Tab 7 6 is an aid to show67 you where to put 7 0 0 0 0 0 your fingers on the fretboard. The Note Trills lines represent the six six horizontal tr ~~~~~ strings on guitar – the numbers on Pick a Rake (œ wœnumbers. ) b˙ the strings & are ˙fret

@

œ œ œ œ œ Guitar techniques: How tHey appear in written music... #œ œ œ œ E B G D A E

œ

9

n Tap (hammer-on) with a finger of the picking hand onto the fret marked with a circle. Usually with ‘i’ or ‘m’.

SubScribe to the digital edition of guitar techniqueS and get your firSt 2 iSSueS completely free!

nd

Instant digital access ● All styles and abilities from intermediate to advanced ● Lessons from world class players, all clearly explained ●

iPad version includes moving tab perfectly synched to topquality audio for every lesson ●

Full tracks transcribed, the world’s best tuition guaranteed ●

GET YOUR FIRST 2 ISSUES FREE! http://myfavm.ag/GTDigital

NextMoNth the world’s best guitar lessoNs… transcription #1

feature

allmaN brothers

JohN reNbourN

Steve Allsworth transcribes a classic track from the US supergroup featuring Paul Gilbert and Billy Sheehan.

One of the UK’s acoustic luminaries he teamed up with Bert Jansch to create delightful works. Stuart Ryan celebrates Renbourn’s fabulous guitar style.

Statesboro Blues

transcription #2

FerNaNdo sor

video lesson

Nigel priCe

Study, Opus 6, No 8

Exclusive Masterclass Part 1

Bridget Mermikides arranges and transcribes another beautiful etude from the Spanish guitar genius.

One of the most sensational young jazz guitarists Nigel Price shows Dario Cortese his soloing approach.

Through The Decades, the brilliance of...

carlos santana

Discover why Santana has remained a force in blues and rock for 50 years - Phil Capone supplies insight, plus lots of luscious licks to learn!

International Tel: +44 (0) 1604 251045 Email: [email protected] Subscribe online at: www.myfavouritemagazines.co.uk Future Publishing Ltd, Quay House, The Ambury, Bath BA1 1UA Tel: +44 (0) 1225 442244 Fax: 01225 732275 Email: [email protected] 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 Steve Allsworth, Shaun Baxter, Jon Bishop, Phil Capone, Martin Cooper, Adam Crute, Charlie Griffiths, Pat Heath, Phil Hilborne, Martin Holmes, David Lyttleton, David Mead, Bridget Mermikides, MIlton Mermikides, RogerNewell,Jacob Quistgaard, Stuart Ryan, Andy Saphir, John Wheatcroft advertisiNg advertising enquiries: Alison Watson, [email protected] marKetiNg group marketing manager: Laura Driffield, [email protected] marketing manager: Kristianne Stanton, [email protected] CirCulatioN trade marketing manager: Michelle Brock (0207 429 3683) produCtioN & distributioN production Controller: Nola Cokely, [email protected] production manager: Mark Constance, [email protected] liCeNsiNg licensing & syndication director: Regina Erak, [email protected] maNagemeNt Content & marketing director: Nial Ferguson head of Content & marketing, Film, music & games: Declan Gough group editor-in-Chief: Daniel Griffiths group art director: Graham Dalzell

other great lessons Slash Play like a rock phenomenon

Printed in the UK by: William Gibbons & Sons Ltd on behalf of Future Distributed by: Seymour Distribution Ltd, 2 East Poultry Avenue, London EC1A 9PT, Tel: 0207 429 4000 Overseas distribution by: Seymour International

Chicago

The stunning guitar of Terry Kath

John Mayer

Future is an award-winning international media group and leading digital business. We reach more than 49 million international consumers a month and create world-class content and advertising solutions for passionate consumers online, on tablet & smartphone and in print.

Modern blues master

Jim Mullen

A master of jazz Telecaster!

Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR). www.futureplc.com

Eric Clapton

His acoustic style uncovered

plus all this… Classic 30-Minute Lickbag, Sight Reading, Creative Rock, Chops Shop, Theory Godmother - and much more!

will be happy Your local newsagent ques for you hni Tec tar Gui er ord to t trip into each month. Save tha fantastic town and get to those and transcriptions, lessons exclusive video classes even quicker!

septeMber 2015 issue oN sale friday 7th august Please note: content is subject to change…

98 GuitarTechniques August 2012

SUBSCRIPTION & BaCk ISSUe eNQUIRIeS Uk: 0844 848 2852

Chief executive Zillah Byng-Maddick Non-executive chairman Peter Allen Chief financial officer Richard Haley Tel +44 (0)207 042 4000 (London) Tel +44 (0)1225 442 244 (Bath)

All contents copyright © 2015 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be reproduced, stored, transmitted or used in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information contained in this publication 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. You are advised to contact manufacturers and retailers directly with regard to the price and other details of products or services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any changes or updates to them. 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).

nd

9000

9016