Guitar Techniques - June 2014

the finest guitar lessons on the planet 231 JUNE 2014

Circle

o f t hs 4 How to impr

Learn the master’s finest blues !

STEVIE RAY

ovise over tracks like Still Got The Blues

VAUGHAN The Sky Is Crying Nail this incredible track today! awesome chops!

frank marino Crack the style of this

acoustic

guitar hero’s guitar hero

vivaldi’s winter Plus folk ‘reels’ medley & Sarah Jarosz study

T OP TE N

Q&As

guthrie govan marty friedman

hARvIiSlTleS s a N GU IT tkins, Learn licks by Chet A Huff, Reggie Young, Dann rie Brent Mason, Guth Trapp & more!

play like…

chris stein

Each month

the best

Create Blondie style ‘hooks’

steven wilson

guitar tuition

Sound like the UK’s Prince of Prog

blues, rock, Jazz & more

Cop nine of George’s grooviest licks

l i s t e n , l e a r n a n d p l ay !

george benson

ISSUE 231 june 2014

Just some of your regular GT technique experts... Shaun Baxter

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

paul bielatowicz

One of our greatest rock guitarists, Paul plays with prog legends Carl Palmer and Neal Morse, and is a most welcome regular contributor to GT.

jon bishop

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

Phil Capone

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

charlie griffiths

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

phil hilborne

The UK’s original magazine guitar tutor, Phil’s something of a legend. A great player he regularly plays guitar in the Queen musical, We Will Rock You.

terry lewis

Terry has toured the world in support of a host of big name acts. He currently teaches at BIMM Brighton, writes with canny insight and plays superb guitar.

bridget mermikides

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

Welcome when i first heard Stevie Ray Vaughan, I have to confess that I wasn’t overly impressed. Sacrilegious as that seems today, I couldn’t help hearing all the regurgitated Hendrix and Albert King licks, and was amazed so many others were in awe of this ‘copyist’. Had I thought about it for even a second or two, I would have remembered that my own British blues heroes had themselves plundered the lickbags of BB, Freddie and Albert; and that they in turn had ‘borrowed’ from T-Bone, Charlie Christian and Lonnie Johnson. It’s the very nature of the blues, and I should have been kinder in my assessment of a man that turned out to be the saviour of the genre, at a time when it had slipped decidedly out of fashion. Over this side of the pond our own blues champion was Gary Moore. Gary’s Still Got The Blues album came out a few years after Stevie’s Texas Flood (and a couple of years behind Strong Persuader, by Robert Cray, another important figure in alerting those 80s charts to the power of the blues). I mention Gary in the same breath as Stevie, since I had the honour of performing our tabbed SRV track, The Sky Is Crying, with him, on stage in Bath, back in 2000.

the

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Gary had told me stories about how, when on tour with Albert Collins, the great man would give him a solo, into which he’d put every ounce of himself; he’d get to the ‘end’ of it with great relief, only to have Albert go, “Again!” It was a sort of challenge, and possibly a chance to make the ‘rival’ slip up. Gary said it’s what the bluesmen often did, since back in the day it was all about being ‘top dog’. So guess what? That’s exactly what he did to me! I didn’t think he’d be so generous as to allow me more than one chorus, so I too had piled every ounce into 12 bars, only for that same cry to issue forth: “Again!” Luckily I had Phil Hilborne and Geoff Whitehorn egging me on from the wings. I don’t think I disgraced myself, and it was an amazing experience (although I still shudder when I recall it). As you can imagine, the track has fond memories for me, and I hope you enjoy learning it too. See you soon...

Neville Marten, Editor [email protected]

Don’t miss our amazing digital edition Our digital edition for iPad, iPhone, Kindle Fire and Nook is now even better!

jacob quistgaard

Royal Academy trained, Quist is a superb player who can turn his hand to any number of styles and topics. Look out for his album Trigger in 2014!

Stuart Ryan

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

andy saphir

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

tristan seume

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

john wheatcroft

A truly phenomenal guitarist John heads up the guitar facility at Tech Music Schools in London. He’s a master at all styles but a legend in Gypsy jazz.

Tap the links

Finding your way around the magazine is easy. Tapping the feature titles on the cover or the contents page, takes you straight to the relevant articles. Any web and email links in the text are tappable too!

Animated tab & audio

Most songs and lessons have the audio built in, with a moving cursor showing you exactly where you are in the music. Simply tap the ‘play’ button then you can fastforward or scroll back at will.

Play the videos

Certain of the articles have accompanying videos full of useful insight and additional information. Once again, tap the play buttons to enjoy video masterclasses on your iPad or smartphone.

PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio).

June 2014 GuitarTechniques 5

• C ON T E N T S • J U N E 201 4 •

Learning Zone Lessons Introduction 

50

30-minute lickbag 

51

Jason Sidwell introduces yet another featurepacked Lessons section. BIMM’s Terry Lewis has six more beauties for you in his final 30-Minute Lickbag.

blues 

54

rock 

58

Creative Rock 

68

session 

74

PROG 

78

jazz 

82

Acoustic 

88

ROCKSCHOOL 

92

John Wheatcroft examines the unmistakably fiery style of Mahogany Rush’s Frank Marino. Martin Cooper turns his attention to catchy pop with the style of Blondie’s Chris Stein. Shaun Baxter continues his look at the neoclassical influences on electric soloing . Andy Saphir tunes his session radar into the warm sound of acoustic nylon string ballad. Paul Bielatowicz takes on the style of Porcupine Tree’s Steven Wilson. Pete Callard has a second look at George Benson: this time his later, smoother style.

COVER FEATURE STEVIE RAY VAUGHAN The Sky Is Crying

Stuart Ryan reveals the acoustic approach of singer-songwriter Sarah Jarosz.

16

Charlie Griffiths continues his A-Z with W for Wah-wah, Walking bass, Waltz, Whammy bar and Whole-tone scale!

Jon Bishop transcribes Stevie Ray’s most haunting blues classic, from the legendary album of the same name!

FEATURES

Welcome  5

special feature #1

Nev talks about playing with your heroes.

TOP 10 NASHVILLE GUITARISTS Learn their styles 24 Steve Laney takes us on a tour of the styles of Music Row’s session greats. Pick it like a Nashville Cat and become a better player!

talkback 

36

COVER PHOTO: ICONICPIX

9 10

Subscriptions 

73

back issues 

91

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

Albums 

transcripton #2

8

Intro 

News, One-Minute Lick, 60 Seconds With, What Strings, That Was The Year and more...

Simon Troup explains how the Cycle of 4ths is a powerful songwriting tool and also a great chord progrssion for improvising over.

ANTONIO VIVALDI Winter 

Theory Godmother 

David Mead addresses your technical, musical and theoretical issues. Tell us your views... How are we doing?

special feature #2 CirCLE OF FOURTHS The Essential System

VIDEO MASTERCLASS

REGULAR FEATURES

95

Top guitar CDs and DVDs reviewed and rated.

TAB GUIDE 

46

Bridget Mermikides arranges and transcribes a frosty piece from Vivaldi’s undisputed magnum opus, The Four Seasons.

96

Our terms and signs explained.

Next Month 

Sort Out Your Timing, Muddy Waters blues, Yardbirds style R&B and more!

98

IRISH REELS 

62

Tristan Seume has two wonderful tunes for the price of one: Larry’s Favourite and Harper’s Reel!

June 2014 GuitarTechniques 7

Q&A

Theory Godmother

Post your playing posers and technical teasers to: Theory Godmother, Guitar Techniques, 30 Monmouth Street, Bath, BA1 2BW; or email me at [email protected] - every wish is your Godmother’s command! Theory Godmother - David Mead

GUITAR TECHNIQUES MAGAZINE 2 3 1

The Picking Alternative Dear Theory Godmother

I made a decision last year to use strict alternate picking as much as possible, partly inspired by the picking styles of Steve Morse and John Petrucci. So I favour downstrokes on down beats, up strokes on 8th note up beats (including regular off beat reggae rhythms), down/up/down/up for on beat 16th groups etc. The upside is, I feel my time keeping is better and note clarity is more uniform. Thing is, when there is, say, an 8th note push into a beat or the next bar, should I use a down stroke to add punch, rather than a ‘correct’ up stroke?  John As with all the ‘rules’ alternate picking is a discipline that’s open to interpretation. You’re right in the approach you’ve outlined, where downstrokes are placed on the stronger parts of the beat (see Ex 1); but there will be times when it becomes advantageous to modify the down/up approach to suit the nature of the music you’re playing at the time. For instance, in Ex 2 you’ll see a standard alternate picking approach to dealing with triplets. If you play through it, you’ll hear that the beginning of the beats where an upstroke occurs isn’t as well defined as it would be when using a downstroke. The trouble is, the ‘up/ down’ principle doesn’t sit well with odd numbers so I generally advise people to use the ‘down/up/down’ approach outlined in Ex 3 on each beat. Of course, this depends on what you’re playing and the speed required. In the instance that you mention where a beat is anticipated, I’d be inclined to use a downstroke for added emphasis, as an upstroke will sound weaker (Ex 4). You’ll find that certain riffs benefit from all downstrokes, too, due to the added dynamics on offer. To summarise, keep practising using alternate picking because it will increase your clarity and timing, as you have already found. But keep an open mind when considering certain musical passages - if the added emphasis from using a downstroke would add a little fire to the proceedings, then don’t be afraid to use one. It might even be

8 GuitarTechniques June 2012

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dissonant that I can’t imagine ever using it. I’m always keen to learn new sounds to use in my playing, but this one has got me stumped as to why I should dedicate time to learning it. Paul

I wonder if you could explain to me why all the guys I know who are studying jazz keep going on about the altered scale. A few of them have tried to tell me what it is and why they are playing it, but to me it sounds so

One of the characteristics of any jazz style that had its origins in the bebop era of the 1940s and 50s, is that musicians will play ‘outside’ the scale. That is to say that they’ll employ the

Jazz Notes?

Star LETTER PRIZE

Blackstar are giving our star TG letter one of their brilliant pedals each month. Visit www.blackstaramps. co.uk and tell us which you’d like, should your letter be the lucky one.

chromatic tones that fall in between those of any standard scale, such as the major scale. If we go looking for those notes we find that there are five: the b9, #9, b5, #5 and b7 (see Ex 5). These are the notes that will give a solo that distinctive jazz sound, so naturally a lot of emphasis is placed on learning where they are on the fretboard and, most importantly, what they sound like. As luck would have it, there’s a scale that contains all of them and it’s known as the altered scale, or the ‘altered dominant’ scale (Ex 6). The altered dominant contains the root, b9, #9, 3rd, b5, #5 and b7 and is very similar to the Locrian mode, so you’ll sometimes hear it referred to as the ‘Superlocrian’ or as the seventh mode of the melodic minor scale. So much for the definition, how does it sound? Well, if you play through it with no accompaniment it sounds a bit ugly, to say the least. But if you take a basic jazz chord arrangement like the infamous II V I (in F that would be Gm7, C7 and F) and play the altered scale over the V chord (that is, the C altered dominant over the C7 - see Ex. 6) you’ll be able to hear the effect it has and will agree it’s on its way to becoming ‘jazz’. Naturally jazz musicians don’t merely play the scale, as it wouldn’t be telling the whole story, in the same way as just playing the major scale up and down over the I chord would sound directionless and boring. Instead, they quote from it, often using it to link together melody notes chromatically to add colour, tension and resolution to a solo. As with anything, used skilfully in the hands of a master it will sound perfectly musical - and sometimes even magical. But even the masters had to start somewhere when they chose to go musically ‘off road’, and the altered scale is the perfect vehicle for exploring this new terrain. So, if you want to add a little jazz texturing to your playing, the altered scale is not one to omit from your practice routine. As I have said, it’s a mode of the melodic minor scale so if that has already taken up residence on your guitar’s fretboard, it shouldn’t be too difficult to find fingerings for the altered dominant all over the guitar, as your fingers will already know it.

Write to: Guitar Techniques, 30 Monmouth Street, Bath BA1 2BW. Email: [email protected] using the header ‘Talkback’. BAR STAFF MORE INTELLIGENT THAN GUITARISTS?

Star LEtter Write one and win a prize!

Whenever I’m asked to perform at an ‘open mic’ night for free, I ask the question, “Are the bar staff getting paid?” Of course they are – they are not stupid; only musicians arrive at their local pub with £1000s of gear and then perform for free. If you are any good then you should be paid – if you are not then you shouldn’t be performing in public. Simples! Will Halligan, Southport

I love jamming over backing tracks and, as I’m not in a band at the moment, it’s my only real way of trying to extend my improvising capabilities. The trouble is, after about a minute there I am again, noodling aimlessly over the chords and not really knowing what I should be doing. Some simple tips or tricks (short cuts even) to making my practice sessions more rewarding and ultimately beneficial to my playing (surely the whole point of the exercise) would be appreciated. Thanks... James, Ealing, London

Oh Will, that’s a very loaded argument. Having done 1000s of paid gigs myself, and quite a few free ones - “There’s no money I’m afraid, but the publicity will be good for you and you might get other work from it” is the usual old chestnut – I know where I SHOULD sit. The thing is there’s a fence propping me up and I can see over both sides! The other one is where the band says (and who hasn’t done this?), “Oh well, think of it as a dress rehearsal in front of an audience – it can only help.” Also, having witnessed many dire open mic performances (and contributed a few myself, most notably one many years ago where I was so nervous that I got paralytic and couldn’t speak, let alone play or sing!), I feel that particular pain too. Now, I know this will sound like a cop-out, but I think it’s down to the individual to decide. After all, one thing people often fail to consider is the sheer enjoyment and exhilaration in playing in front of people. Why shouldn’t good musicians (many of whom have no other vehicle with which to do so) have a bit of that?

BACKING TRACKS – I NEED FOCUS!

you’re bedding in a process that will serve you well in situations that presents you with more tricky, or thought provoking, chord progressions. 5) Find common notes - in a progression such as Gmaj7-Emaj7, no single scale will serve you over both chords, but there are notes that are shared (B is the 3rd of Gmaj7 and the 5th of Emaj7 and so on). So when soloing over these two chords opt for common denominator notes as ‘target’ notes, and then when more confident, add in notes unique to each chord. Start with one (or two) good notes for each chord then develop things from there. This is a very fruitful approach for many players. 6) Learn what the chord changes Actually a few people have asked us are and when they are occurring the same question recently, so – when soloing over a track that’s music editor Jason Sidwell has put more complicated than a blues, together a practice road map that knowing where you are is vital, so should help. Follow this and your playing rhythmic chords along to backing track sessions should be it, is a logical first step. The more much more worthwhile… you develop the link and your 1) Develop a good understanding understanding between chords, of the track - play the chords for a chord tones and general scales, the while to link in, but don’t do any Try Jason’s ideas over the backing tracks better a musician you will be. soloing over them yet! he created for this month’s issue. If you too struggle with James’s 2) Next, pick out single notes from problem, make a point of actually trying this, to the letter. the chords - aim for just one note per bar (really!); focus on In fact, Jason’s points are so good that I think an entire playing a chord tone (a note derived from the chord) so lesson devoted to this topic – with expanded examples you’re always choosing ‘correct’ notes. and further hints and tips – is a must for a future issue. 3) Milk the minor pentatonic - a bluesy backing track in, say, A minor (Am7, Dm7, Em7) will allow you to use the A minor pentatonic scale over it all, and you won’t sound STAR LETTER PRIZE wrong (creating licks using this scale allows you to ‘feel’ Our friends at Sound Technology how they need to be phrased, too). 4) Pull out one or two good chord tones over each chord in are donating a fab DigiTech HardWire pedal to our Star Letter turn - sticking with our Am, Dm, Em blues, most chord writer every month. tones are to be found in A minor pentatonic; do this and And, thinking about it, should we deny those less musically able the opportunity to experience the roar of the greasepaint and the smell of the crowd? Those bar staff are probably on the minimum wage, are hassled,

abused and insulted, while the performers get their egos massaged and taste a little moment of stardom. Of course there’s the issue of venues exploiting musicians, but, again, the musician can always say no.

NICK THOMPSON / ISTOCK

ROCK WORKOUT

The unpaid open mic performer: exploited or not?

The Ultimate Rock Workout you did recently was really enjoyable. The thing is, I’m a more bluesyjazzy kind of a player (not heavy jazz, but blues with a bit of jazzy colour added to it), and I’d love to see another workout but with this kind of player in mind. Rock tends to be a bit repetitive and sequential, and a bit ‘square wave’ by comparison. If I were preparing for a big blues gig, or even fancied beefing up my blues chops, it would be great to have some well set-out ‘circuit training’, as I think you referred to it, for my particular

tastes. Is there any chance of such a thing any time soon? I’m sure many readers would love it. Dan, Worthing You’re in luck, Dan. From the outset we envisaged one or two more of these. People might imagine that a workout is a workout, but you’ve hit the nail on the head when you describe the differences between genres. And practising a load of sequential major scale tapping arpeggios is hardly going to set you up for that moody slow blues in G, is it? So watch the next couple of issues, as it will be appearing as our cover feature in GT233 – your bluesy six-pack awaits you!

June 2014 GuitarTechniques 9

• G u i t a r T e c h n i q u e s • J UNE 2 0 1 4 •

Plant and Page: an unbeatable combination!

Jam tracks tips Use these tips to navigate our bonus backing tracks. 1. 12 bar blues in A minor With a slight pop swing feel, use an overdriven guitar tone and focus on A minor pentatonic (A C D E G) for your main melodic ideas. For more variety consider A blues scale (A C D Eb E G) and/or A natural minor (A B C D E F G).

The legendary rock band Led Zeppelin has unearthed a number of ‘lost’ recordings ahead of the forthcoming reissue of their first three pioneering rock albums. The tracks include an early version of Whole Lotta Love, plus the never released Keys To The Highway, which was recorded at Olympic Studios in

10 GuitarTechniques June 2014

London in 1970, and originally intended to be featured on the Led Zeppelin III album. It looks like the re-releases of the debut Led Zeppelin, plus Led Zeppelin II and Led Zeppelin III will all feature ‘companion discs’ brimming full of additional material and studio outtakes. Jimmy Page personally spent more than two years combing through the vaults, listening to hundreds of tapes before choosing the best material. “I don’t want to die and have somebody else do it,” he explains. “I’m authoritative about what was done in the first place.” The extra material will give Zep fans the first chance to enjoy some of the band’s key recording sessions. “It was a particularly prolific time, where we were

learning about each other’s capabilities,” remembers singer Robert Plant. “Jimmy and I were just fooling around with the stuff that we would play at home. We were just trying things out. Nothing was premeditated.” The early version of Whole Lotta Love is without the first chorus, middle section and the slide guitar part featured in the Led Zeppelin II version. It also has different vocals. We look forward to hearing it, along with Keys To The Highway!

I don’t want to die and have somebody else do it. Jimmy Page

3. Cheery Blues in F major This 12/8 upbeat groover features two chord progressions: Bb-Eb-F then Dbmaj7-Cm7Eb/F-F. Numerous soloing options here; F minor pentatonic (F Ab Bb C Eb) for bluesy licks or F Mixolydian (F G A Bb C D Eb) to tie in with the first progression. As for the second sequence, try F minor pentatonic for Dbmaj7Cm7 then F Mixolydian for Eb/F-F. 4. Rock Stomp in E minor This is a simple progression going between sections consisting of Em and Am7-D/A-Am7. E minor pentatonic (E G A B D) is a great choice for the Em section while A minor pentatonic (A C D E G) or A Dorian (A B C D E F# G) will fit well over the Am7-D/A sections.

DICK BARNATT / GETTY IMAGES

Led Zeppelin’s ‘lost’ recordings

2. Cycle of 4ths in D minor This features two progressions; Dm-F-Bb-A7 and Gm7-C-F-BbGm7-A7-Dm-D7, of which the latter consists of a cycle of 4ths progression (Gm7-C-F-Bb). Try D minor pentatonic (D F G A C) then G minor pentatonic (G Bb C D F) for the two progressions. For the next level of excellence, focus on chord tones over each of the chords (eg A, C#, E and G notes over the A7 chord).

Hendrix wins Greatest Strat Song! Jimi Hendrix continues to win accolades, even though he passed away more than 40 years ago. His hugely popular track, Little Wing, from the equally legendary album, Axis Bold As Love (1967), was recently named as Fender’s ‘Greatest Strat Song’, as voted by tens of thousands of Strat players all over the world. Axis was the clear winner, beating second placed Layla (Derek & The Dominoes featuring Eric Clapton) by more than 1000 votes. Other contenders for the title included Dire Straits’ Sultans Of Swing, Buddy Holly’s That’ll Be The Day, The Shadows’ Apache,

Sheryl Crow: with her Gibson Southern Jumbo

Owner Of A Lonely Heart by Yes, Sweet Home Alabama by Lynyrd Skynyrd, The Beatles’ Nowhere Man, Pink Floyd’s Comfortably Numb, Bowie’s Let’s Dance, Iron Maiden’s Run To The Hills, Eric Johnson’s Cliffs Of Dover, The Beach Boy’s Surfin’ USA, and Livin’ On A Prayer by Bon Jovi. So the Hendrix song faced some serious competition! The Greatest Strat Song competition was held as part of Fender’s celebrations of the Strat’s 60th anniversary this year. Visit www.fender.com/strat-madness for further details about each of the shortlisted tunes.

Sheryl Crow announces tour Following positive feedback for her latest album Feels Like Home, Sheryl Crow has revealed she’s doinf a UK tour culminating with a BluesFest London show at the Royal Albert Hall. After 35 million album sales, nine Grammy Awards, seven studio albums and an immensely popular Very Best Of collection, Feels Like Home represents a new chapter in Sheryl Crow’s enduring and successful career. Recalling the Americana story-telling and twangy guitars that made her first two albums so successful, the 12-track Feels Like Home was produced by Sheryl with Justin Niebank. It also

represents the first album in her career in which each song was co-written with another songwriter, and includes guest performances from country superstars Brad Paisley (played slide guitar on We Oughta Be Drinkin’) and ZacBrown (added vocals on Homesick). Her upcoming UK dates are: Oct 27 – Glasgow, Royal Concert Hall; Oct 28 – Gateshead, Sage; Oct 29 – Nottingham, Royal Concert Hall; Oct 30 – Manchester, The Ritz; and Oct 31 – London, Royal Albert Hall – BluesFest London show. Visit www.sherylcrow.com for further information and updates.

PHIL HILBORNE’S ONE-MINUTE LICK Bendy chromatic lick tone (G-A) followed by a semitone (F#-G). Take care to pitch This month’s lick illustrates two different ways to add both of these accurately. Bars 3 and 4 bars contain a short chromatic or non-scale notes to your licks. The first of these, blues scale lick (R-b3-4-b5-5-b7) followed by a chromatic in bar 1, is triplet based and contains a mixture of bent and fretted notes to chromatically ascend the second string. Notice decent that sees the second instance of chromatics via first finger on the third string. Once, again there are a here how the first two notes with tenseLICK GUITAR TECHNIQUES MAGAZINE 2 3 1string bends are ONEpretty MINUTE - slides by Phil Hilborne couple of tense passing notes here – the 7th (G#) and the b2/ against the chord – b5 (Eb) and b6 (F). These notes however PASSING b9 (Bb). These notes also quickly resolve to the target root are both speedily resolved to stronger, more stable notes NOTE – ie LICK 5th (E) and 6th (F#). Bar 2 features a couple of held bends – a note of A in bar 4, to become settled.

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June 2014 GuitarTechniques 11

. . . ith w s d n co e S 60

A minute’s all it takes to find out what makes a great guitarist tick. This month: Guitarist with The Aristocrats and Steven Wilson, and musician extraordinaire, the genuinely inimitable Guthrie Govan raw enthusiasm if I were to adopt any kind of pre-gig scale/ arpeggio routine…

GT: Who was your first influence to play the guitar? GG: My dad, I suppose. He may not have been the most accomplished player, but his enthusiasm and passion for music were big influences in my formative years!

GT: If you could put together a fantasy band with you in it, who would the other players be (dead or alive)? GG: I’m tempted to pick one of the 80s Frank Zappa line-ups. Having said that… I guess being involved with such a thing would generate a disturbing quantity of homework!

GT: What was the first guitar you really lusted after? GG: I remember having a Gibson catalogue when I was a little kid in the very late 70s, and there was something I desperately wanted to own on almost every page. (I say ‘almost’ because I vividly remember being appalled by the RD range).

GT: Present company excepted (and notwithstanding the stupidity of the question!), who’s the greatest guitarist that’s ever lived? GG: I never know how to answer questions like that. Call me a killjoy if you will, but the question strikes me as something akin to asking, “what’s the best fruit?” I could happily pick the greatest Jimi/Django/Chet/Wes etc etc, but each of those guys had a unique personal statement to communicate and I don’t think stuff like that can (or should) be categorised in any kind of league table!

GT: What was the single best gig you ever did… GG: Hard to say, but there was definitely something uniquely memorable about Dizzee Rascal’s Electric Proms gig. GT: …and your worst playing nightmare? GG: Any gig where I can’t properly hear what’s happening on the stage… GT: What’s the most important musical lesson you ever learnt? GG: That there can be a big difference between simply playing something ‘correctly’ and playing it like you really mean it. I remember my dad saying something like this to me way back when I only knew about three chords: it made a lot of sense to me then, and it still does to this day. 

There’s a big difference between playing something ‘correctly’ and playing it like you mean it. 12 GuitarTechniques June 2014

GT: Has there ever been a solo by someone else that you really wish you had played instead of them? GG: Not really… but there are plenty of my own solos which I wish I’d played better! Guthrie Govan: with Charvel guitar and Victory amp

GT: Do you still practise? GG: Not really. If I have to learn a bunch of new material, I’ll play it for as long as it takes to sink in (which varies wildly depending on the nature of the material!) but other than that, most of my ‘practice’ time happens onstage these days.

GT: Do you have a pre-gig warm-up routine, and if so what is it? GG: Not at all - maybe I should, but I like the feeling of walking onto the stage, picking up the guitar and being pleased to see it. Rightly or wrongly, I fear that I might sacrifice a little of that energy and

GT: What’s the solo or song of your own of which you’re most proud? GG: Quite possibly Eric, from my Erotic Cakes album. In terms of more recent stuff, I’m particularly happy with title track from The Aristocrats’ Culture Clash album, for some reason… GT: What would you most like to be remembered for? GG: Deflecting difficult interview questions… ;-)

What Strings Do You Use? MARTY FRIEDMAN

We ask a great guitarist all those little questions you really do want the answers to. This month: One of rock’s giant soloists and musician extraordinaire, Marty Friedman

year or so to create a Marty Friedman signature amp, but it is so good I can’t even think of a single thing I would want to change on it yet. But I’ve no idea how to set it!

GT: Do you have a type of pick that you can’t live without? MF: Could not care less. Does anyone?

GT: What kind of action do you have on your guitars? (Any particular quirks etc?) MF: I like it higher than most it seems. Whenever I pick up someone else’s guitar it feels like their action is very low. I like to really grip the strings so a bit of resistance is what I like.

GT: If you had to give up all your pedals but three, what would they be? (And why) MF: I don’t even have three. I have a Boss Chorus and a Maxon Auto Filter. I love them but have no qualms at all about playing without any pedals. If you rely on pedals, you’ll be screwed without them. Pedals are fantastic when you want to give that little extra sugar or hot sauce on top of something, as a contrast to the already good sound you have from playing into your amp.

GT: Your house or studio is burning down: which guitar do you salvage? MF: The last thing I would think about is a guitar if that were to happen! GT: What’s your favourite amp and how do you set it? MF: The ENGL Steve Morse amp is amazing. My tech will be making some tweaks to it over the next

GT: What strings do you use? MF: 10-46 D’Addarios. They

sound great and, most importantly, they never break.

GT: And what are you up to at the moment? MF: I’m on the Guitar Universe tour, co-headlining with Gus G. There are two dates in the UK on 21st and 22nd May. My own new album, Inferno, is out now!

A good cable will never short out, let you down, or slip out of its intended hole.

GT: Do you play another instrument well enough to be in a band? (If so what, and have you ever done it?) MF: I played bass in bands when I first started playing guitar because it was much easier to get a professional gig that way. GT: If a music chart was put in front of you, could you read it? MF: Sure! GT: Do guitar cables really make a difference? If so, what make are yours? MF: Sure. I’m not deep enough to tell any tonal difference, but a good cable will never short out, let you down, and never slip out of its intended hole (insert innuendo here). I use Analysis Plus. GT: Is there anyone’s playing (past or present) that you’re slightly jealous of? MF: Who has time for that? Millions of musicians can do things I could never dream of. If I was jealous about that, I’d never get anywhere. If anything I get inspired by great artists rather than jealous.

Marty Friedman: “If you rely on pedals you’ll be screwed without them.”

June 2014 GuitarTechniques 13

That Was The Year...

2002 Paul, Paisley And Peacemaker

ONCE AGAIN FENDER JAPAN comes up with the goods with affordable reissues of the Blue Flower and Paisley Telecasters. The original US models were in the shops in 1968 and only around for a short time so these are very welcome indeed. With all maple necks and regular accoutrements and sounds, these are all about the body finishes which still look as fresh as ever! EMI offers Robbie Williams £80 million for a six-album deal and he signs; Graham Coxon leaves Blur during the recording of their Think Tank album sessions; Kelly Clarkson becomes the first winner of American TV’s American Idol; the Dominion Theatre hosts the Queen musical We Will Rock You; and Paul McCartney marries Heather Mills. After riots at Guns N’ Roses concerts due to the non arrival of Axl Rose, the band cancels the tour. THOSE SADLY DEPARTING the world include John Entwistle, Lonnie Donegan, Joe Strummer, Peggy Lee, Dee Dee Ramone, Ray Conniff, Rosemary Clooney, Waylon Jennings, Dudley Moore, Lionel Hampton, Randy Castillo (Ozzy Osbourne & Motley Crue), Layne Staley (Alice In Chains), Lisa (Left Eye) Lopes as well as Princess Margaret and The Queen Mother. GOOD SELECTION OF ALBUMS in the shops including Steve Vai – The Illusive Light & Sound, David Bowie – Heathen, U2 – 7, Dream Theater - Six Degrees Of Inner Turbulence, Del Amitri – Can You Do Me Good, Yes – In A Word, Korn – Untouchables, Maroon 5 – Songs About Jane, Joe Satriani – Strange Beautiful Music, Mark Knopfler – The Ragpicker’s Dream, Wishbone Ash – Bona Fide, Bad Company – Merchants Of Cool, John Mayer – Inside Wants Out, Boston – Corporate America and Gary Moore – Scars. ASHDOWN ENGINEERING finally includes a guitar range among its impressive array of bass amplification. Somewhat ironically named the Peacemaker 50 head packs a hefty punch when fired in anger and its bigger brother, the Peacemaker 100, shifts even more air. If you fancy something a little less powerful and expensive the range also includes a series of combos that are easier on the ears as well as the pocket. GRAND PUBLIC OPENINGS include London City Hall on the south bank of the Thames and Manchester’s Imperial War Museum North. The Rochdale Canal is reopened for recreation and at the Guildhall Art Gallery in London the statue of the former Prime Minister Margaret Thatcher is decapitated while on display. SANTA CRUZ RELEASES its Vintage Jumbo acoustic with a Sitka spruce topped body with mahogany back and sides. This American beauty has a mahogany neck with an ebony fretboard and a style more in keeping with Gibson’s round-shouldered dreadnought than a regular jumbo body but it’s a joy to play, the workmanship is sublime and the price tag is understandably hefty.

14 GuitarTechniques June 2014

News for nickel allergy sufferers Rotosound’s British Steels, designed to give guitarists a great tone, sustain and volume, are also nickel free making them great for guitar players who suffer allergic reactions to the metal. Nickel is present in many metal items because it is inexpensive, adds durability and lustre to other metals. It is used in the manufacture of electric guitar strings because it also exhibits ferromagnetic properties that help magnetic based pickups function properly. However nickel can be one of the most common causes of allergic contact dermatitis, which once developed will mean the metal will always need to be avoided. Rotosound British Steels strings offer an alternative that means those with nickel sensitivity can still enjoy the pleasure of playing the guitar without compromising on brilliant tone, great sustain, a positive grip or superior length of string life. Made the same today as they have always been since the 1960s, Rotosound’s British Steels were

developed when there was no option for nickel alloys. The brightness of sound, twang, crunchy tone and highly textured feel is what has made them popular with great like Jimi Hendrix, who we’re told used them to record Are You Experienced, Axis Bold As Love and Electric Ladyland. When Queen recorded A Night At The Opera, Brian May was using Rotosound British Steel strings, as was Jeff Lynne when he recorded Out Of The Blue with ELO. Visit www.rotosound.com for further details.

Play Classic Rock now onsale! We have just re-issued our successful Play Guitar Now – Classic Rock video tuition package, which covers the styles of greats including Jimmy Page, Brian May, Joe Perry, Ritchie Blackmore, Angus Young, Richie Sambora, Jimi Hendrix and many more. Presented with warmth and authority by our very own Jon Bishop, Play Guitar Now – Classic Rock is also available as a digital

download for iPad with dedicated videos for each musical example. Readers can now also buy this special (and the regular GT) via PayPal. Visit www. myfavourite magazines. co.uk for orders and more info on this great product. We have some other great new Play Guitar Now specials coming up later in the year so keep an eye out for them!

HOT FOR TEACHER your RGT TUTOR 
WHO? Stuart Ansell TOWN: King’s Lynn, Norfolk STYLES TAUGHT: All styles of electric and acoustic guitar. SPECIALITY: Rock, progressive rock, jazz and disco. QUALIFICATION: BA (Hons) Popular Music Studies. LEVELS: Friendly, style-based tuition from beginner to advanced with an emphasis on technique and expression – RGT grades taught up to Diploma level. READING: Can be taught up to all levels if required. CHARGES: £25 per 1hr lesson. SPECIAL: Fully equipped music room or can travel to student’s home (extra fee may apply); facility to record lessons. TEL: 07939 066659 EMAIL: [email protected]

Play: BLUES

ON THE CD

TRACKs 4-5

Stevie Ray Vaughan The Sky Is Crying Jon Bishop dusts off his Strat and breaks out the heavy gauge strings for a look at a classic track from Stevie Ray Vaughan’s album of the same name.

This track has a 12/8 time signature and a shuffle feel. The 12 quavers are grouped in four lots of three so a full bar of 12/8 is Advanced counted 1 and a, 2 and a, 3 and a, 4 and a. Info Will improve your For much of the lead work SRV uses the C minor pentatonic scale as home base and then Key: C Blues improvisation adds various colour tones and chromatic Tempo: 56 bpm Phrasing and soloing notes. If you study the notation you will notice CD: TRACKS 4-5 String bending technique he is particularly fond of the b5 (Gb) and also the 9th (D). Throughout the song, SRV tips Stevie Ray Vaughan’s recording of the the hat to both Jimi Hendrix and Albert King Elmore James classic The Sky is Crying is a positive trickbag of blues and rock techniques and plays tasteful ‘question and answer’ and ideas. The song is a slow, 12-bar dominant phrases in between the vocal lines. Stevie Ray Vaughan’s guitar tone is the blues in the key of C, with a quick change to the stuff of legends and is the product of several IV chord (F7) in the second bar. different factors.The first factor is his down tuning of the guitar to Eb which provides a fatter, darker tone. Down tuning also provides First finger string bending a slacker string tension, which allows for Many of the phases in this month’s track make heavy gauge strings to be fitted and this use of the first finger of the fretting hand to considerably bolsters the tone. bend notes. String bending with the first finger The second factor is high output, singleis challenging from both a physical and technical coil pickups, which help to drive the standpoint. If you are new to this concept then amplifier’s front end into a singing overdrive. you need to take care not to damage yourself.

ABILITY RATING

Technique Focus

At first, bending notes with the first finger may feel a little uncomfortable; so practice slowly, and use time to gradually build up the skin and finger strength required. You will find that it is best to lock the finger in position, and then use the power of the hand to bend the string. As with all string bending practice you can use a target tone to make sure you are bending to pitch. It will be easiest to work on semitone (one fret) bends first and then build up to a whole tone (two fret) bend. If you’re feeling brave you can try some tone and half (three fret) bends, as SRV did use these. When you consider that Stevie performed these techniques on gauge .012 strings on a Fender 25.5-inch scale length, you begin to realise that he was not only a supreme musician, but also an athlete!

Lots of times I’ll play lead and rhythm together

Stevie Ray Vaughan

To help with playability, higher, fatter frets can be fitted, and this aids string bending and finger vibrato, both of which are key elements in Stevie Ray’s lead style. The third factor is the use of valve amplifiers (often Fender or Dumble), turned up loud and the Ibanez Tube Screamer pedal, which was used for extra boost. If you listen to SRV’s original recording of The Sky Is Crying you will notice that the guitar and bass are de-tuned by a semitone, so even though Stevie is playing in C position on

the guitar, the notes are heard in the key of B. We’ve transcribed and recorded the track at concert pitch to allow you to learn the tune and practise it without the need to re-tune. If you wish to play along with the original recording, then use all the same fingerings as in the tab but simply detune your guitar as follows: Eb, Ab, Db, Gb, Bb, Eb. You can use the backing track to practice all your blues ideas, and it would be a good work-out to play your own, SRV tinged, solo using some of the ideas from the original track. Have fun and see you next time. Many thanks to Pete Riley for performing and recording the drums.

Get The Tone 8

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Modern players like Kenny Wayne Shepherd and John Mayer have made replicating the SRV tone the foundation of their own styles. There are several key components that’ll get you close but let’s not forget much of SRV’s tone came from the man himself, in the way he hit the strings and phrased the notes. SRV loved Fender Strats and the neck pickup was often selected. The SRV tone is also linked to the Tube Screamer pedal and Fender and Dumble valve amps. To get the sound with your own rig, first select the neck pickup. A single-coil is the most authentic but a humbucker will work fine also. Set up your amp for a light overdrive with plenty of sustain. SRV would achieve this by running the amp flat out, but for many of us that is impractical, so a compressor pedal can be used to emulate the characteristics of a loud valve amp. The slow Leslie sound on our track can be achieved by using a chorus pedal set with a slow rate and a medium depth.

TRACK RECORD Every Stevie Ray Vaughan album should feature in every guitar player’s record collection. However, this month’s transcription is featured on Stevie’s album The Sky Is Crying, released in 1991. This legendary release also features a cracking version of jimi Hendrix’s veritable Little Wing, and the classic Kenny Burrell jazz-blues, Chitlins Con Carne.

16 GuitarTechniques June 2014

PG Brunelli / IconicPix

STEVIE RAY VAUGHAN The Sky Is Crying

Stevie Ray Vaughan in full flight

June 2014 GuitarTechniques 17

Play: BLUES

ON THE CD

TRACKs 4-5

PLAYING TIPS

CD TRACK 4

[Chorus 1, Bars 1–12] This first chorus starts with some classic Albert King hard with the second finger and digging in hard with down picks are key style string bending. Be sure to warm up before attempting this amount of components of the style. Bar 10 features the classic SRV punctuation. To get bending. To help you achieve authentic phrasing, andVaughan's this sound, notes as- indicated and strike the strings with a GUITAR TECHNIQUES MAGAZINE 2 3 1 all of the fingerings Stevie Ray THElightly SKYfret IS the CRYING Jon Bishop pick and finger strokes are notated. Take time to study these, as plucking down pick. Press down on the strings as you slide your hand down the neck. VOCAL CHORUS 1

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The Sky Is Crying Music & Lyrics by Morgan Robinson, Clarence Lewis, Elmore James. ©1991 EMI Longitude Music, EMI Virgin Songs Inc. EMI Music Publishing Ltd. Reproduced by kind permission of Hal Leonard Corporation. All Rights Reserved. International Copyright Secured.

STEVIE RAY VAUGHAN The Sky Is Crying

PLAYING TIPS [Chorus 2, Bars 13–24] This second chorus features more Albert King style ideas played in a question and answer style, intersperesed with the vocals 2- xxxxxxxxxx this is the classic electric blues singer-guitarist’s way, from T-Bone Walker

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June 2014 GuitarTechniques 19

Play: BLUES

ON THE CD

TRACKs 4-5

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June 2014 GuitarTechniques 21

Play: BLUES

ON THE CD

TRACKs 4-5

PLAYING TIPS [Chorus 3, Bars 49 until end] The final chorus recycles some of the ideas 5 at earlier. This lends cohesiveness to the performance. The track we looked

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22 GuitarTechniques June 2014

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end with a nice fingering for Db9 and C9. You may have to have a couple of listens to the timing of the ending so as to lock properly in.

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play: COUNTRY

ON THE CD

track 6-27

Top 10 Nashville Guitarists Steve Laney takes y’all on a tour of Nashville, Tennessee and introduces you to some of Music Row’s session greats, both past and present. ABILITY RATING

Moderate/Advanced Info

Will improve your

Key: Various Tempo: Various CD: TRACKS 6-27

Hybrid Picking Fretting hand pinkie strength Country soloing

Nashville proudly boasts the title ‘Home of Country Music’, so you’d be forgiven for thinking that the place is all Stetsons and cowboy boots, but leave the honkytonk bars of Lower Broadway, drive a couple of miles west and you will arrive at the recording studios of Music Row; it’s here that you will hear the true sounds of modern day Nashville. Country is evolving – in fact it always has been – much to the disgust of the purists and their cries of “keep it country”. However, Music Row realises there’s no room for nostalgia in the competitive world of the music business; if Nashville is to retain its other title of ‘Music City USA’, it has to constantly push the boundaries and embrace new genres. As a result, many labels now have divisions specialising in jazz, blues, rock and even Christian music: big business in a city that’s said to have more churches than trees. But how did Nashville come to be the modern day epicentre of the American music industry? Well, a lot of the credit has to be given to The Grand Ole Opry radio station. Before TV, radio was king. The Opry was the

TECHNIQUE FOCUS Hybrid Picking Hybrid picking (pick and fingers) is nigh on essential for country playing, although there are some players out there who pick every note - JD Simo is one such guy. I was lucky enough to see JD live in Nashville and I was astonished by his picking technique. When hybrid picking, your thumb and first finger are committed to holding the plectrum; this leaves you with three remaining fingers with which to pick - these are your second, third and fourth. In Nashville, however, they are named: middle (m), ring (a), and pinkie (c). However, for this article we will stick to our usual GT terminology!

largest of all country stations and employed some of the biggest acts. However, when these acts wanted to record they had to travel to Los Angeles or New York. This made no sense at all financially or logistically, so labels began to open studios and offices in Nashville, and the city’s winning formula was set. Those disgruntled purists have also played their part in ensuring Nashville remains at the top. Fans of country music have an almost religious dedication and are very protective of their art form; this has helped ensure continued nourishment and preservation of Nashville, at a time when LA and New York have fragmented somewhat, musically. The plethora of genres in Nashville today means a guitarist must be versed in many styles; a producer is just as likely to ask for some Edge style delayed guitar, as he is for

You gotta be nice to everybody in Nashville ’cause the guys parking your car can play you under the table. Vince Gill some chicken pickin’. So a Nashville guitarist must arrive prepared, with an arsenal of gear in order to replicate these sounds and styles. A player often lands a session because a producer or artist has requested them. On arriving at the studio the musicians will hear the song, often for the first time, as a demo. One of the team will be nominated leader and will chart out the song using The Nashville Number System. Musicians will then, if necessary, tweak the arrangement to better suit the artist. Musicians are encouraged to contribute ideas and are often asked to come up with the hooks – the little details that can make the difference between a hit or a flop. Over the following pages I have written out some licks and phrases in the style of some of Nashville’s top session players. By no means is this list exhaustive, but I hope it helps set you on a path of discovery of the many talented and indeed stunning musicians who call Nashville home.

The Nashville Number System

This is a way of transcribing music whereby the letter names of a chord chart are replaced with numbers; the numbers refer to the scale degrees from on the chords are built. So in C major, C is the tonic chord and is assigned the number ‘1’, Dm is the second chord and so is assigned the number ‘2m’. In The Number System the C major scale chords are as follows: C Dm Em F 1 2m 3m 4

G Am B° 5 6m 7°

Using numbers means a chart can be quickly transposed to any key. Say a singer brings in their demo to record a final cut; it’s in C and the leader charts it out. However, two takes in it’s clear that C is wrong for the singer and so it’s dropped down a tone to Bb. Using the Number System, all the musician will need to know are the diatonic chords of the new key. On our chart below, the circled ‘C’ tells us the key is C major; the 4/4 tell us it’s in 4/4 time.; and the numbers that the chords are C, Am, F, G, Em F and G. There are also start and end repeats, so in total this is a 16-bar progression. Barlines are not used as they can be mistaken for the number 1. Musicians will often jot down information that is only relevant to the part they are playing.

©

4/ 4



1 6m 4 5 3m 6m 4 5

Get The Tone 3

5

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4

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Bass

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Today you’re as likely to see Gibson or PRS as the once ubiquitous Tele. It’s worth noting that Chet Atkins’ early guitars were archtop jazzers; and remember the Gibson Byrdland that graced March GT’s cover? Well, that guitar is so named as a result of a collaboration between Nashville session aces Billy Byrd and Hank Garland. However, single-coils through a clean amp is a good starting point for country, and the above settings are how my Peavey Classic 50 was set.

Further reading Nashville Guitars (2000) showcases some of the city’s top session players. Brad Paisley’s album Play (2008) features some hot country picking with many guest artists. I highly recommend the DVD, The Players Live In Nashville. The Players are a band consisting of five of Nashville’s top sessioneers and can boast Brent Mason as their guitarist. It’s great to see them all unleashed live.

24 GuitarTechniques June 2014

ZUMA PRESS / ALAMY

REGGIE YOUNG

EBET ROBERTS / GETTY IMAGES

GUTHRIE TRAPP

CHET ATKINS

ROBERT KNIGHT / GETTY IMAGES

RICK MALKIN

Top 10 Nashville Guitarists

HANK GARLAND

BRENT MASON

TOM BUKOVAC

June 2014 GuitarTechniques 25

play: COUNTRY

ON THE CD

track 6-27

PLAYING TIPS

TRACKS 6-9

EXAMPLE 1: CHET ATKINS As a producer for RCA Nashville, Chet found EXAMPLE 2: HANK GARLAND Sugarfoot Garland, named after his hit himself playing on many records that came out of Music Row. Below are what Sugarfoot Rag, was a monster player on the Nashville scene, but his true Chet described as banjo rolls, he mostly played these during a solo and they love was jazz. This idea is based on soloing around a barred open position GUITAR TECHNIQUES 231 Steve were played in sympathy with the accompanying chords. I personally use aLaneyC major shape. Many country guitarists prefer to visualise the chords when GUITAR TECHNIQUES 2 3 1 Steve Laney NASHVILLE GUITARISTS thumbpick for anything that I play ‘Chet workLaneysoloing, and doing so does tend to influence one’s note selection. Playing GUITAR TECHNIQUES 2 3 1style’, but hybrid picking will Steve NASHVILLE GUITARISTS TECHNIQUES 2 3 1on the bridge of your guitar Steve Laneyneighbouring just asGUITAR well here. Resting your wrist/hand will help notes of the actual chord tones also helps you throw in some NASHVILLE GUITARISTS Exyour 1 CHET ATKINS improve picking accuracy. The 9th chords are a voicing often heard in Hank’s recordings. NASHVILLEchromaticism. GUITARISTS Ex 1 Ex 1 Ex 1

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26 GuitarTechniques June 2014

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Top 10 Nashville Guitarists PLAYING TIPS

TRACKs 10-13

EXAMPLE 3: REGGIE YOUNG If ever there was a case of the importance a session musician plays in finding those hooks and licks then Reggie Young has to be is it. He is responsible for such iconic licks as Dusty Springfield’s Son Of A Preacher Man and Elvis’ Suspicious Minds. Reggie is renowned for his use of soulful double-stops and 6ths, so much so that many producers will now ask of guitarists on a session, “Can you play some Reggie Young over this?”. Use the pads of your fingers for the double-stop slides.

EXAMPLE 4: BRENT MASON Like Chet, Brent plays with a thumbpick and this has led to his instantly recognisable sound. The constant drone of the fifth string here is a challenge somewhat akin to the childhood game of rubbing your tummy while tapping your head. Start by learning the first two beats’ worth of notes, then gradually incorporate one more note until you’ve built up the entire phrase. Use alternate picking to achieve the picking speed of the 16th-note triplet. Aim to ‘pop’ the double-stops to give a percussive effect.

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REGGIE YOUNG

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27

ON THE CD

track 6-27

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that all guitarists that come out of the city are country clones. You can hear his gutsy E playing, along with that of Brent Mason, all over Shania Twain’s 9 album 7 B On Over. He now spends most of his time producing, a career10 Come path he8 G 5 now2 ex-husband Mutt Lange. For 2 0 of Shania’s 2 pursued on the recommendation D 2 0 2 2 9 10 11 5 theAdouble-stop pull-offs 0 0 you’ll 0 need 0 to 0 use 0 the 0 pads 0 of your fingers. Notice how E much the fourth finger is used in this example? 30 a m Ex 5 DANN HUFF

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generation of guitarists that moved to Nashville and shook things up. MCA producer Tony Brown suggested one day that Kenny should start using more 8of a rock 7 sound 6 on country 7 5records and,2 as 0soon as he did, his phone didn’t 9stop ringing. 8 7 example 7 5 6 many2 country 0 2 players 2 2 steel. This is how imitate a pedal X 7 2 1 0 2 It’s tough on the third finger, but persevere and your strength 0 3 will 4 develop. Alternatively you could just buy yourself a B-bender.

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28 GuitarTechniques June 2014

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Hold Hold Hold bend RP MCPHERSON Jerry has had a very successful career RP I first became Hold bend EXAMPLEbend 7: PAT BUCHANAN aware of Pat’s name from EXAMPLE Hold Hold RP 8: JERRY BUbend BD Chicken pickin’ is so called because of the ‘clucking’ RP of The BD RPThis example BD BU BUFly RP RP bend bend reading the liner notes Dixie Chicks’ album. is how Pat in the Christian genre. E 7 7 RP RP 5 blues BDshuffle. BU BD instantly 7BU(9)sound (created BU B might approach The sliding double-stops by triplets; to achieve this sound you can either ) (9BD )the (716th-note ) 5 a country 7 RP 7 9 5 E 7 7 G make the (6) country. ( ) (4 ) (8)and pop ( ) ( ) 8) 7 try 4 (piece 6) 5sound 6 (should you B (9) the appropriate (9) (7) 5 6 Ideally 7 8 the6fifth 7 (9)palm mute 5string or fret very lightly with your fingers. For the D G ) (in (6) riff (4so ) that (8) almost (8)slap back (8) against (6) 4 (6strings 6)the main 6 they the first two chicken picked pieces I have included two alternative approaches to A and fourth D E fretboard. Country guitar is often very perussive, and this is a great way of fingering the same pattern; I personally prefer the first, but you may favour A 41 E adding twang, bite and attack. the second. I would recommend using the suggested fingering though. 41

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ON THE CD 3

track 6-27

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Top 10 Nashville Guitarists COUNTRY ALL STAR JAM

TRACKs 26-27

COUNTRY ALL STAR JAM In this final example, all 10 of our star Nashville experimenting with some distortion if you like - some of the guys, including session guitarists have climbed up on stage to take part in a country jam in Johnny Hiland, are fans of mixing country lines with a rockier sound, so once the key TECHNIQUES of A, and Chet starts you’ve learnt the licks there’s no harm in dabbling with your amp’s gain GUITAR 2 things 3 1 off with his signature self-accompanying Steve Laney NASHVILLE GUITARISTS GUITAR TECHNIQUES 2 sound 31 Steve Laney NASHVILLE GUITARISTS bass sound. I’ve kept a clean try control - orGUITARISTS indeed a pedal or two should it take your fancy. GUITAR TECHNIQUES 2 3 1 throughout this piece; however Steve Laney NASHVILLE

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June 2014 GuitarTechniques 31

DANN HUFF E9

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TRACKs 26-27 10 9 7

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32 GuitarTechniques June 2014

TOM BUKOVAC TOM BUKOVAC

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7 7

5 5 5 7 5 7 6 7 7 7 5 5 7 7 REGGIE YOUNG REGGIE YOUNG E9 E9 REGGIE YOUNG

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June 2014 GuitarTechniques 33

play: THEORY

ON THE CD

trackS 28-42

The Circle Of Fourths In a fascinating theoretical foray Simon Troup unravels the mystery behind one of the most powerful, enduring and iconic chord sequences in all styles of music. ABILITY RATING

Moderate/Advanced Will improve your

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II m

II m

IV

III m

such as D major (D E F# G A B C#), G major (G A B C D E F#), A major (A B C# D E F# G#) and E major (E F# G# A B C# D#). Fig 2 shows the diatonic chord family of C major with each chord being a 7th of some kind (maj7, m7, 7 and m7b5). Again, get to know the 7th chords in every key. Fig 3 shows how secondary dominants can be applied to each chord in the major scale (here, C major). A secondary dominant is a dominant 7th chord that resolves to another chord in a scale other than the tonic (the C of C major), making a smooth transition from one chord to another. While, say, Cmaj7-Dm7 is a great chord progression the Dm7 won’t sound resolved until it’s prepared for properly. By

V

Em7

VI m

The circle of 4ths is a variation on a concept known as the circle of 5ths. These conepts are closely related since a 4th is essentially an inverted 5th; but the circle of 4ths creates a specific style of composition, and it’s this that we are focusing on here. The ‘circle’ is the visual representation of a progression of diatonic chords that can be heard in numerous styles of music. Good musicians recognise these patterns just as they recognise a 12-bar blues. Knowing how to handle such changes, and to embellish and improvise over them, is necessary if you want to be a versatile musician. You’ll find these progressions in the music of Bach, Bacharach and The Beatles, and as easy to find in jazz as in Judas Priest songs - which should tell you something about their universal appeal. The building blocks of these progressions are the diatonic chord families of the major and minor scales - ie sets of chords built using scale tones only - as either triads or 7th chords. Most people’s first experience of this is learning the sequence ‘major minor minor, major major minor’, representing the pattern of chords in a major key, I through VIm. Therefore our first few examples demonstrate different ideas using this harmonised chord scale. The diagram (Fig 1) opposite shows the diatonic circle of 4ths in the key of C (C D E F G A B) as a series of 7th chords: Cmaj7-Fmaj7Bm7b5-Em7-Am7-Dm7-G7-Cmaj7. These are on the outer ring. The inner ring is a Roman numeral system from I to VII, the numerals tallying with the outer circle chords (I=Cmaj7, IV=Fmaj7 etc) and smaller numerals filling in the gaps between the 4th chords. Once you have understood this diagram, it is worthwhile to do the same in other keys. At first you could focus first on guitar friendly keys

I

II m

b5

Theory knowledge Improvisational skills Musical breadth

Im

Key: Various Tempo: Various CD: TRACKS 28-42

VI

Info

Fig 1: Diatonic circle of 4ths (outer ring) and harmonised major scale (inner)

Cmaj 7

Am7 adding A7 in front of Dm (or Dm7) the change is more resolved, as if you’ve moved away from C to be in Dm. Secondary dominants can prove very useful in a circle of 4ths scenario; Cmaj7-Fmaj7 can be elaborated on with Cmaj7-C7-Fmaj7 (Fmaj7 sounds more settled now) or similarly, Am7-Dm7 can be enhanced as Am7-A7-Dm7. With these three diagrams understood (and ideally explored by you, sooner or later), you’re now ready to tackle the examples that follow. You’ll go from chord primers that harmonise the C major scale to playing chord progressions in circles of 4ths then onto using secondary dominants. After this, you’ll explore the same terrain using arpeggios. Happy circling!

SUGGESTED LISTENING Check out these great circle of 4ths songs: Killing Me Softly With His Song - Roberta Flack; Exciter - Judas Priest; Wild World - Cat Stevens; Mediterranean Sundance/Rio Ancho - Al Di Meola & Paco de Lucía; Windmills Of Your Mind - Michel Legrand; Mr Sandman - The Chordettes; Hello - Lionel Richie; I Got Rhythm - George Gershwin; Still Got The Blues - Gary Moore.

36 GuitarTechniques June 2014

HOWARD DENNER / PHOTOSHOT, LIVEPIX

The Circle Of Fourths

Find the circle of 4ths everywhere from Judas Priest to Burt Bacharach

June 2014 GuitarTechniques 37

play: THEORY

ON THE CD

trackS 28-42

fig 2: DIATONIC CHORD FAMILY OF C MAJOR

Diatonic Chord Family of C major I

IIm

IIIm

IV

V

VIm

Cmaj 7

Dm7

Em7

Fmaj7

G7

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b5 b Bm7 5 VIIm

fig 3: SECONDARY DOMINANTS OF C MAJOR

Secondary Dominants of C major I

IIm

IIIm

IV

V

VIm

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Em7

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G7

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V/IIm

V/IIIm

V/IV

V/V

V/VIIm

A7

B7

C7

D7

E7

b5 b Bm7 5 VIIm

CHORD EXAMPLE 1

TRACK 28

This exercise shows the diatonic chord family of C major using barred 7th it sounds - but don’t write it off! It’s in circle of 4th progressions where it chords with a fifth string root. You built OF FOURTHS really shines and it’s generally the ‘lynchpin’ chord that begins to bring a GUITAR TECHNIQUES 2 can 3 1 think of it as a C major scale CIRCLE from chords. You may be unfamiliar with the m7b5 chord shape and how sequence back to where it started. Chord Primer Ex 1

©»ªº Cmaj7 4 œœœ Ex 1 Chord Primer & 4 Cmaj7 œ ©»ªº œ 4 œœ & 4 œœ35 œ4

D m7

E m7

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GUITAR TECHNIQUES 2 3 1

E B G 9 D 5 7 9 10 A 3 5 7 8 E E 1 3 5 7 8 B 5 6 8 10 G 4 5 7 9 D 7 9 10 Chord Primer5 Ex 2 A 3 5 7 8 This Eis the diatonic chord family string root, four-note Cmaj7 D m7 of C major E m7 with sixth Fmaj7 Fmaj7 1

CHORD EXAMPLE 2

©»ªº 4 œœ Chord Primerœ Ex 2 &4 œ ©»ªº Cmaj7 œœ & 44 œ8 œ9 9

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8

10

12

13

8 9 Primer9 Ex 3

10 10 10

12 12 12

10

12

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10 12 10

12 14 12

15 14 15 14

17 16 17 15

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3

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A m7

10 12 12 13 15 17 10 12 14 16 12 14 15 17 TRACK 29 10 12 14 15 there is no doubling atCall in these chords. The sparser voicings G 7 whereas A m7 Bm7 5 maj7

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14 14

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G7

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jazz voicings. In barre chords the root and 5th notes are often doubled,

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

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CIRCLE OF FOURTHS

make more of the 3rd and 7th, which give the chords their personality.

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9

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9 7 Fmaj7

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E m7

G7

œœ œœ œ œ Fmaj7 G7 œ œ œœ œœ œ3 œ1 12 14 2 œ43 œ 9 10 12 14 2 Our final look at the diatonic chord family of C major uses chords with

E B G D A E a fourth string 8 root. E 1 B 8 G 9 DChord Primer 9 Ex 3 A E 8 Cmaj7 1

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b

12 12 12

13 14 14

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10 Bm7 5 12

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13 Am7

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CHORD EXAMPLE 4

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

7

8 9 9

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The Circle Of Fourths TRACK 30

9

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the chords into a musical context. This example b 5 of E4ths. demonstrates a full journey circle to C maj7 Fmaj7 around the Bm7 m7 It’s important Am7

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like chord-scales, this example is written as a descending sequence. 5 7 point is to commit 8 Remember, the these chord relationships to memory.

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12 10 A m7

3

TRACK 31

3

realise that, unlike some of the examples that2 follow, it is purely diatonic 1 there are no ‘outGof notes or chords at all. D m7 7 scale’ C maj7 G7 C maj7

7

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CHORD EXAMPLE 5

TRACK 32

2 This Titleis the same C major based sequence again but with a wider variety of chord voicings and a more uptempo backing track. 2 Title Chord Primer Ex 5

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Chord Primer Ex 5 Cmaj7

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June 2014Am7 GuitarTechniques 39

Am7 # œœ œœ œœ œœ œœ œœ E7

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5 E B G Chord D A E E B 5 G D A Chord E 5

Primer 4Ex 6 5 3 m7 A

9 10 8

10 9 G7 10 10 10 9

7 9 7 7 8 7 9 7

.

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CHORD EXAMPLE 9

This example shows two short but important snippets from the circle 3 first, the IIm V I progression in bars 1-3; secondly, the VI IIm V I of 4ths: progression in bars 5-7. These progressions are very common in jazz.

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CHORD EXAMPLE 10

TRACK 37

There’s nothing particularly technical here, it’s just a bunch of big barres back to back on a basic Bacharach backing track! However, there are two 4 different Title uses of the circle of 4ths - (1) as a chord sequence, and (2) as a

turnaround. The turnaround is the accelerated circle of 4ths sequence in the last two bars that ‘rounds off’ the sequence and pulls it back to chord I in a very obvious manner. This is very common in blues and jazz.

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maj7 GuitarTechniques 41 JuneC 2014

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Gary Moore’s Still Got The Blues and Parisienne Walkways are both ‘circle of 4ths’ compositions

42 GuitarTechniques June 2014

ON THE CD

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June 2014 GuitarTechniques 43

play: THEORY

ON THE CD

trackS 28-42

ARPEGGIO EXAMPLE 4

TRACK 41

This is a very literal use of arpeggios over a very standard circle of 4ths chord 5 sequence. I saw a white-bearded man on YouTube declare that he could tell how old you were by which wizard you thought he looked

like. Likewise, I suspect it’s possible to narrow down how old you are by whether you think this piece sounds most like Autumn Leaves, M*A*S*H or Still Got The Blues.

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Everything you need... A magazine/DVD with tips, riffs, scales and exercises, plus authentic Classic Rock style tracks to learn!

On Sale Now! Just £6.99 from WHSmith and all good newsagents

play: classical

ON THE CD

tracks 43-44

Antonio Vivaldi Largo From Winter This month Bridget Mermikides arranges and transcribes a well-known piece from Vivaldi’s much celebrated magnum opus, the Four Seasons. ABILITY RATING

Easy/Moderate Info

Will improve your

Key: D Tempo: 40 bpm CD: TRACKS 43-44

Baroque repertoire Separation and balance Melodic phrasing

For centuries, people have been inspired to emulate the natural environment in music. From the Japanese flute mimicking the wind through the mountains, Mongolian singers’ uncanny impersonations of streams, to the Chinese zither’s emulation of animal calls, there seems to have always been a desire to bring into music the sounds of the natural world. There are many examples in the Western Art music tradition of such ‘programmatic’ writing. These have included birdsong (in everything from medieval English songs, Renaissance madrigals and the modernist music of Messiaen and Ligeti) to Beethoven’s musical interpretations of lightning bolts, thunder and babbling brooks in his 6th (‘Pastoral’) Symphony. But perhaps the most famous ‘musicalisation’ of nature in the orchestral repertoire is Vivaldi’s Four Seasons. Antonio Vivaldi (1648-1741) was one of the greatest composers of the Baroque era, with a masterful, yet entirely accessible, control of melody and harmony. He was a huge inspiration to

subsequent composers, including Johann Sebastian Bach, who spent evenings transcribing his music by moonlight, which some have suggested led to his ultimate blindness. The Four Seasons (composed in 1723) is a series of four violin concertos, each in three movements, representing the natural cycle, from icy winds and summer storms to the exuberant celebration of spring’s arrival.

Largo is one of the more approachable arrangements in this series, which means you can bring to bear as much expression as possible.

Vivaldi: one of the Baroque era greats

The work has remained popular through the centuries and is perfectly accessible to cultures all over the world. Indeed, Nigel Kennedy’s 1989 recording - by many seen as the modern definitive verson - sold over two million copies! For this article, I’ve chosen the beautiful middle movement (Largo) from Winter. Although this is a work for solo violin and string ensemble, the melody and harmony is so evocative and powerful in its simplicity, that it works in its entirety as a solo guitar arrangement. I’ve transposed the original key of E-flat major down a semitone to D major, to make it more guitar friendly, and reduced the string accompaniment to make it more playable. Largo is one of the more approachable arrangements of this series, which means you can bring to bear as much expression as you can muster. Enjoy learning it, and I hope you gain pleasure from it all year round! NEXT MONTH: Bridget arranges & tabs Solveig’s Song by Grieg

Track record As mentioned in the main body copy, Nigel Kennedy’s best-selling Vivaldi Four Seasons (EMI 1989) sounds as fresh and powerful as ever, but for a more recent yet ‘authentic’ performance on Baroque instruments, I recommend you seek out Philharmonia Baroque’s self-released Vivaldi Four Seasons (2011), with Elizabeth Blumenstock on solo violin. It’s fabulous!

46 GuitarTechniques June 2014

ANTONIO VIVALDI Largo From Winter PLAYING TIPS

cd track 44

This is a simple arrangement consisting of a single line melody played over a repeating single note bass line. Always play the bass notes with the thumb and melody notes with alternating fingers. Start the melody with the second finger of the fretting hand and stay in second position for two bars. On beat two of bar 4, shift to the fourth position and on beat three use a full barre at fret 7. Over the next few bars follow the indicated fretting hand fingering and make sure the longer melody notes in bars 5 and 6 sustain for their full value. To achieve a clean sounding bass line it’s a good idea to GUITAR TECHNIQUES 2 3 1 mute unwanted over-ringing when theBridget's harmony has changed; for example, CLASSICAL COLUMN

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in bar 8 on beat three the bass note has changed to an A from an E and we no longer want the open E to ring through. This E should be muted with the pad of the picking hand thumb immediately after the first A note on beat three has been plucked. The thumb should then ‘spring’ back to continue play the repeated A bass notes. This kind of muting is a common and normal part of classical guitar technique. Experienced players will do it naturally without thinking about it. The rest of this piece is easy to understand and does not contain anything of technical difficulty. However it should not be taken lightly will make nice addition to your repertoire! - largo forand winter - thea four seasons

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Learning Zone LESSONS GT231 30-MINUTE LICKBAG ...................................... 51 Terry Lewis has six finger-twisters for you at beginner, intermediate and advanced levels.

Blues................................................................................................. 5  4

John Wheatcroft examines the soloing style of the guitar hero’s guitar hero - Frank Marino.

Rock . . ................................................................................................. 58

Martin Cooper looks at the cleverly inventive style of Blondie’s guitarist, Chris Stein.

CREATIVE ROCK........................................................... 68

Shaun Baxter has more neo-classical rock ideas to keep your fingers... er... on their toes!

session........................................................................................ 7  4

Andy Saphir creates a lush nylon-string ballad backing track for this month’s studio session.

prog.................................................................................................... 78

Paul Bielatowicz looks at the guitar style of modern prog’s leading light, Steven Wilson. HOW WE LEARN is often down to how open we are to new information. We require the right frame of mind and time to deal with the information; there’s also the appeal of the information itself. How it’s presented to you can play a huge factor in you considering it. If you’ve been playing a few years, an article labelled ‘essential’ or ‘beginner’ can put you off; it’s beneath you, of no worth. But labels are just a sell tag; it’s the information that matters so it’s always worth looking deeper. We have often seen guitarists turn their noses up at tuition material that’s been packaged as ‘foundational’, when they clearly are in need of it. What about you; know all five shapes of A minor pentatonic? This is foundational stuff but some guitarists struggle to ascend and descend all five shapes at jogging pace! So how adept are you at doing the same in the remaining 11 minor keys? It sounds like a big ask but it’s no more advanced than A minor; yet you’re equipping yourself to play in other keys, ready for the day when a keyboardist wants you to jam in Eb minor or a saxophonist wants to trade licks in a Bb blues. What about knowing the chord tones in major and minor chords? What three notes are found in the chord of D major? Or Gb minor? Again, this is foundational stuff; no promises of heightened

50 GuitarTechniques June 2014

prowess or wow factor appeal; but it’s more essential to you musically than excellence with dive-bomb harmonics or fourth finger strength for fretboard tapping. If you desire to be a rounded musician rather than a hot licks guitarist, you have to set out your development plan accordingly. We know of one iconic player who has turned down several impromptu jams as, despite his virtuosic rock style he is ill equipped to play with the well-known saxophonist. His speedy licks can’t make up for the gaps in his musical vocabulary. If he knew some II-V-Is, had good chord tone targeting, knew about alterations and had some stylistically secure vocabulary, he’d be able to play in a new musical scenario. So, be careful about what you consider as beneath you. We often think the more exotic something is, the wider the doors to musical utopia are opened. Rarely is this the case. Advanced, exotic tuition can be a double-edged sword; it may promise much (master the Superlocrian and ecstasy awaits) but the niche world it thrives in may keep you locked in your music room and away from a Top 40 paying gig, or open mic jam nights at your local pub.

JAZZ....................................................................................................... 8  2

Pete Callard has some groovy licks in the style of George Benson’s later, smoother period.

acoustic.................................................................................. 8  8

Stuart Ryan introduces a hugely talented acoustic musician and songstress, Sarah Jarosz.

a-z of music theory.. ............................... 92

Charlie Griffiths wends his way to where the alphabet winds up, with Wah-wah, Whole-tone scale, Waltz, Walking bass and Whammy. Wow!

On video! Tristan

has two Irish folk reels to dazzle your digits and mesmerise your mind. Page 62

ON THE CD

Learning Zone

tracks 45-50

30-Minute Lickbag BIMM Brighton tutor Terry Lewis has six more licks at easy, intermediate and advanced levels. Can you make enough Radioheadway to hit the Hiland?

Brought to you by...

cd track 45 Easy Licks Example 1 Radiohead style chords GUITAR TECHNIQUES MAGAZINE 2 3 1 Terry Lewis's LICK BAG Sounding eerily like early Radiohead, this non-diatonic sequence of picked chords is great when played with a clean sound through a gentle tremolo effect.

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ON THE CD

Frank Marino

Brought to you by...

This issue John Wheatcroft’s quest takes him to Canada, on the hunt for Mahogany Rush’s six-string blues ace, the legendary Frank Marino. case with Montreal born legend Frank Marino, whose playing is a showcase of blistering attack, dynamic delivery and fretboard mastery. If you can imagine combining the feel and vibe of Hendrix with the modal mastery of Duane Allman, then add to this a fast and precise technique that would give picking virtuosos like Al Di Meola and John McLaughlin a run for their money, you’re somewhere close. Marino’s playing is a perfect display of just what a loud electric guitar is capable of in the right hands. After starting off on drums, Marino’s first exposure to guitar playing was less than perfect. Frank was hospitalised aged 13 (!) after a coma-inducing LSD overdose. The myth that grew from this, followed Frank throughout his entire career. Somehow he became the spirit of Jimi Hendrix, waking from his coma to find he had miraculously attained the ability to play like his idol, with no prior experience Frank Marino: blistering blues of the guitar. Marino always from Canada denied this story and, like most myths, truth is more down to earth. To occupy his mind from fear ABILITY RATING of relapse into insanity, Frank turned to the Moderate/Advanced guitar, finding solace in the music of Jimi Hendrix. He practiced incessantly and soon Info Will improve your became highly proficient on the instrument. Soon after leaving hospital, Frank and his Key: Various Speed and control Tempo: Various Pentatonic/modal vocabulary new band, Mahogany Rush (a reference to a sensation he felt during his life changing acid CD: TRACKS 51-61 Expression, delivery, attack! If you can count Paul Gilbert, Steve Vai, Zakk Wylde and countless other famous guitar stars as huge fans then there is a chance that you’re doing something right. Such is the

If it doesn’t have good tone, it doesn’t matter how fast you Frank Marino can play.

tracks 51-61

trip), began a musical journey that is now into its fifth decade. Marino has been suffering from acute adhesive capsulitis or ‘frozen’ (in guitar circles ‘strap’) shoulder. Fortunately this is treatable and I’m sure you’ll join me in wishing Frank a speedy recovery. There are five licks this to learn month, each displaying a different side to Frank’s varied soloing vocabulary. For a man that claims to never practice he’s certainly on top of his chops - usually an indication of someone that plays a lot. And, by his own admission, his formative years Frank would jam until the cows came home. Actually we do need to consider the difference between practice and performance. But with the availability of super-realistic backing tracks (with this very magazine), looping pedals and easy accessability to recording devices and software, you should make some attempt every time you play the guitar to bridge this gap between what you play in the bedroom and what you might play on stage. Do this by applying what you know in as close to a real life scenario as possible. From a technical standpoint here the biggest challenge when looking at achieving Marino’s speed and agility, is usually not the actual notes but in replicating his articulate but still relaxed time feel. Particularly when you’re attempting to emulate Frank’s bold attack, there is often a tendency in guitarists to rush ahead of the beat, as if there is an intrinsic connection between velocity and speed, reminding me of the old guitarist joke, ‘Can we try that 10db slower please?’. Your task is to stay in control of all aspects of your playing on demand, including speed, accuracy, dynamic delivery and time-feel. Needless to say, Marino is a master as combining all these elements. NEXT MONTH: Jim Clark guests with a lesson on Chicago blues legend Muddy Waters.

Get The Tone 9

6

5

7

4

Gain

Bass

Middle

Treble

Reverb

We’re after a high-gain rock tone, with tons of reverb and a touch of delay. Frank favours SG-style guitars but his favourite live SG is fitted with three single-coils and a five-way selector, with the bridge pickup on reverse slant like Hendrix. He also plays loud, so you need a guitar that resists feedback when pushed into the red. Frank favours the neck pickup and he’s no valve purist. The Marino rig consists of a bunch of pedals, via a self designed preamp, into the biggest transistor power amp he can find.

Track record Mahogany Rush’s double CD, Real Live (2004 Justin Time) captures over two and a half hours of Marino magic and it’s also Frank’s favourite release. His website, www.mahoganyrush.com, features a Mahogany Rush MP3 player, allowing you to listen to the band’s entire back catalogue online, for free. There are also some fantastic up-close videos for your perusal on YouTube.

54 GuitarTechniques June 2014

FRANK WHITE

lesson: blues

Learning Zone

FRANK MARINO LICK 1 speedy pentatonics

cd track 52

Some rapid-fire minor pentatonic this month in the tempo but keep in control at all times. There’s a noticeable Cream-era GUITAR TECHNIQUES 23 31 1 licks get the ball rollingJohn John Wheatcoft's GUITAR TECHNIQUES 2 Wheatcoft's the time honoured rock key of E minor (E G A B D). Don’t underestimate the Clapton influence to the repetitious ideas here in bars 7 and 8. As always, BLUES DUES FRANK MARINO BLUES - FRANK MARINO rhythmic element with ideas of this nature, as it’s important to not DUES rush take time to build up the necessary accuracy and stamina. Lick 1 1 Lick Lick 1

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June 2014 GuitarTechniques 55

lesson: blues

ON THE CD

tracks 51-61

LICK 3 timing and phrasing

cd track 56

2 Title

This intro implies a D minor or D Dorian tonality but ends up in D major. 2 Title There’s nothing too frightening from a note perspective here, as it’s again Lick 3 derived predominantly from D minor pentatonic (D F G A C) with an added 2 Title Lick 3

D sus2

2 Title

D sus2

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∑ ∑ ∑ ∑

9th in bar 1 (E). Note it’s the rhythmic groupings that create interest. It’s worth noting that Frank played drums before turning to guitar and he’s of the opinion that this has helped his phrasing tremendously. F/D

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56 GuitarTechniques June 2014

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ON THE CD

Blondie

Brought to you by...

New York bound this month, Martin Cooper travels back to the golden age of new wave with Blondie’s innovative guitarist Chris Stein.

Debbie Harry and Chris Stein playing live at Dingwalls, London 1979

ABILITY RATING

Easy Info

Will improve your

Key: D minor Tempo: 156 bpm CD: TRACKS 62-63

Timing and attitude Lead phrasing ‘Hook’ writing

This month we take a look at one of the most iconic bands of the past 40 years; Blondie. Founded in 1974 by singer Deborah Harry and guitar player Chris Stein, the band was at the very front of the New Wave scene for around a decade during the late 70s and early-80s. Fusing new wave and punk on the first two albums, the band tasted a degree of success in the UK, but it was in 1978 with the release of Parallel Lines that they hit the big

time around the world, and Debbie Harry became a household name and face. Although the band retained its new wave roots, the quartet managed to build an infectious blend of rock, reggae and even disco into their style and always laid it on the foundation of good pop songwriting. Like many of the other punk bands of the 1970s, Blondie was often seen performing in the early days of their career at the renowned CBGBs club in New York, and it was there that

2014 sees Blondie’s 40th anniversary, and the band is currently on a worldwide tour to celebrate four decades of deserved success.

tracks 62-63

front woman Harry began to get recognition from the likes of Rolling Stone magazine for the confident swagger with which she sang and fronted the band. Their most successful period came with hits like Heart Of Glass with drummer Clem Burke taking inspiration from Kraftwerk for the beats, and also putting the disco style of artists such as the Bee Gees into the melting pot, with stratospheric success. More hits followed in the late 70s and early 80s before the band initially called time on their career. Debbie Harry went on to have some success in the late 80s before the band inevitably reformed in 1997 and released the No.1 single Maria in 1999. There have also been other notable acts that have taken inspiration from Blondie, and particularly from their front woman, such as Gwen Stefani’s No Doubt. 2014 sees Blondie’s 40th anniversary, and they are currently on a worldwide tour (including UK dates) to celebrate four decades of deserved success. This month’s track blends rock, new wave and touches of reggae, and is in the key of D minor (D E F G A Bb C), although there are some non-diatonic chords such as a B major chord in the intro (B D# F#), and the recurring A major (A C# E), both of which add a slightly uncomfortable edge to proceedings. It’s all played quite loudly, but with a good deal of control and plenty of space (a common characteristic of new wave and reggae). A lot of the parts use single notes as well, rather than chords, and one of the effects of this is that when the rock chords happen, they add more impact. The solo is simple, yet melodic and follows the D minor scale throughout. Thanks to Mark Prentice this month for playing bass. NEXT MONTH: Martin looks at the alternative style of Tin Machine’s Reeves Gabrels.

Get The Tone 5

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Chris Stein has used a wide range of guitars, amps and effects over the decades including his Gigerstein guitar, designed by Chris and renowned artist HR Giger (creator of the creature in the movie Alien), as well as Gibson and Fender guitars, Marshall, Mesa Boogie and Soldano amps. The guitar sound here features more ‘crunch’ than distortion, which can then be cleaned up by rolling the guitar volume down or playing more lightly. There is also a chorus effect on the solo.

Track record Blondie’s album Plastic Letters (1978) featured the hit single Denis and brough Debbie Harry and the band to the public’s attention. Parallel Lines (1978), released just seven months later, sent Blondie stratospheric, featuring as it did the hits Hanging On The Telephone, Heart Of Glass and Sunday Girl. Their comeback album, No Exit (1999), spawned the hit single, Maria.

58 GuitarTechniques June 2014

RAY STEVENSON / REX FEATURES

lesson: rock

Learning Zone

BLONDIE Example rhythm part

cd track 62

Play the intro chords loudly and cleanly, but then make sure that your GUITAR 2 influenced 31 timing is TECHNIQUES good on the reggae section that follows. Also pay close

attention to the down-up-down picking directions on the chords from bars 9-24. This is all about crispness, accuracy and attitude.

Martin Cooper's BIMM ROCK COLUMN - BLONDIE STYLE

RHYTHM GUITAR

©»¡∞§ Dm j œ œ œ & b 44 .. œœœ ‰ œœœ œœœ F 6 . 67 7 7 . 75 5

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June 2014 GuitarTechniques 59

lesson: rock

ON THE CD

tracks 62-63

Example lead part

cd track 62

Title The 2solo has some quite narrow and fast vibrato on the first note of each phrase, which is one of Chris Stein’s soloing traits. Short busts of notes over

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Martin Cooper's BIMM ROCK COLUMN - BLONDIE STYLE

LEAD GUITAR

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60 GuitarTechniques June 2014

10

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Everything you need... A magazine/DVD with tips, riffs, scales and exercises, plus authentic Texas blues style tracks to learn!

On Sale Now! Just £6.99 from WHSmith and all good newsagents

lesson: video

VIDEO

ON THE CD

irish Medley

In the second of our traditional tune arrangements Tristan Seume looks at a medley of beautiful Irish reels - Larry’s Favourite and Harper’s Reel

Tristan Seume: fondling his faithful Fylde

ABILITY RATING

Moderate/Advanced Info

WIll IMprove your

KEY: Various TEmpo: 170bpm CD: CD-ROM

Left-hand articulations Fingerstyle technique Knowledge of altered tunings

In every corner of the UK and Ireland there thrives a healthy tradition of music from the region. each has its own nuances in step with the local dances and even the language and geography of the area. nowhere is the music more evocative of tradition than Ireland, its music synonymous with community spirit and good times. There are a variety of basic tune types in traditional music, and superficially-speaking, most can be identified by their time signature: Jigs are played in 6/8 and slipjigs in 9/8,

while hornpipes (such as last month’s piece, The Mathematician) have a dotted or swung 4/4 rhythm. reels are also in 4/4, but with a straight feel. Let’s crack open this wonderful medley of two Irish reels, Larry’s Favourite and Harper’s reel. If you tuned in last month, you’ll be familiar with my tuning of choice for this playing style: CGDGCD. Taking the fifth string, G, as the root, the strings create a Gsus4 chord – perfect for trad tunes, given their modal nature. However, if we think of the sixth string, c, as the root, the strings create a csus2 tuning. The upshot of this

Harper’s reel begins in bar 65 and we slip into a new key, eb - almost a relief, as things seem to naturally resolve.

CD-ROM

happy coincidence is that changing key from tune to tune (say G to C) is a doddle. Irish tunes are often spliced together this way, creating changes in mood as a continuous stream of consciousness. Check out the bands recommended below, or seek out an Irish session near you! Larry’s Favourite is interesting for the reason that neither a major nor minor 3rd is ever played. The hexatonic scale used is therefore ambiguous, using just the intervals, r, 2, 4, 5, 6 and b7. Only in bar 61 have I taken the liberty of sneaking a Gb (b6th) into the bass, to momentarily darken the mood. It highlights the point that simple is often best, allowing motion and rhythm to do the talking. A strong feature of fiddle or pipe tunes is the ornamentation of the melody, particularly in the use of rapid ‘triplets’ (actually two 16th notes and an 8th). A few versions of this occur such as the hammer-on in bar 1, or the open third string repeats in bar 18. Pick these with the second then first finger, and finally the thumb in one fluid motion. To fret the sixth string in bars 20 and 52, I use my thumb. Harper’s reel begins in bar 65, and we slip into a new key, Eb – almost a relief, as things naturally appear to resolve, and the nowpresent major 3rds have a settling quality, in contrast to the ambiguity of Larry’s. A couple of tricky shapes to note: Bars 73-74 and 77-78 require a quick manoeuvre to fret the top three strings at once, so the notes ring into one another. notice the slides in bars 71-72, smartly taking us from the 2nd to the 9th fret. Phrases like these feel un-guitar-like, illustrating the merit in learning tunes written for other instruments – being guided clear of one’s comfort zone in this way is a welcome bonus to building your repertoire. NeXT MoNTH: We welcome another acoustic maestro, the great Thomas Leeb.

Getthetone 3

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TReBle

ReveRB

To accommodate the low tuning, consider heavier strings such as .012 to .056. You may be tempted to favour lights, but they will struggle with intonation, especially considering the capo can have a bearing too. A new set of strings will allow the tune to sing sweeter, and your guitar will feel all the more inviting to play. Other than that, any well set up acoustic will serve you well. I like small bodied guitars as they are easy to ‘cuddle’ while concentrating on the fancy finger-work. A nice, wide fingerboard will help with fretting, as well.

Track record For great traditional Irish music, we highly recommend checking out any recordings by the following bands: Planxty, The Bothy Band, Lunasa, altan, dervish and danu. and for Tristan’s own recordings, try the excellent You Just know and Middle child, both available from www.tristanseume.co.uk (Middle child as a download only). They both come highly recommended.

62 GuitarTechniques June 2014

learning Zone

irisH MedleY ExAMplE IRISh MeDLeY

CD-ROM

Don’t forget to tune to C G D G C D and place a capo on the 3rd fret: the notation shows the actual notes played as a result of this. learn this a few bars

at a time, making sure your hammer-ons and pull-offs (eg in bars 1 and 4) are confident and strong.

LARRY'S FAVOURITE

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June 2014 GuitarTechniques 63

lesson: video

VIDEO

ON THE CD

CD-ROM

ExAMplE IRISh MeDLeY ...CONTINUED

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CD-ROM

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64 GuitarTechniques June 2014

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June 2014 GuitarTechniques 65

lesson: video

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66 GuitarTechniques June 2014

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June 2014 GuitarTechniques 67

ON THE CD

Neo-classical elements

To dazzle your digits Shaun Baxter introduces three neo-classical rock concepts that build on the triadic arpeggios studied in the previous lesson. within a series of notes, and usually relates to one or more notes of the underlying chord. For example, one could play an A minor arpeggio (A, C, E) using E as a pedal point throughout (a bit like an anchor, that helps to unify things). Targeting is the practice of introducing a chord tone via a note or notes, known as neighbour or auxiliary tones. These may belong to the parent scale or be chromatic, and can occur in a variety of combinations. The commonest method is to target a chord tone from a note above or below it (a good way of introducing non-scale notes into your playing). In neo-classical music, it is common to extend major and minor triads by adding either a 2nd or a 4th. If we do this over each of the chords in our backing track (Am, G and F) we can create any one of the following arpeggios (the F has a #4 added in the key of C, as it is the Lydian chord IV): Am add2: Am add4: G add2: G add4: F add2: F add#4:

ABILITY RATING

Moderate/Advanced Info

Will improve your

Key: C (Am) Tempo: 106 bpm CD: TRACKS 64-66

Triadic arpeggio knowledge Chord tone understanding Neo-classical techniques

This month we continue our neo-classical study using three new concepts: pedal points; targeting; and extended triads. These feature prominently in the music of composers from the Baroque and Romantic classical eras, such as Bach, Paganini, Mozart and Beethoven. A pedal point is a motif that is repeated

A A G G F F

B C A B G A

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To get the most out of this month’s study, you must place everything you play within a clear visual context. This means seeing how each note relates to the major and minor arpeggio shapes that we learned last month (see Diagram 1 for the Am and G shapes. For F, just play all the G shapes down a tone). If you lose sight of the underlying chords, the whole thing will be musical gibberish. You may be able to learn the piece parrot-fashion,

To get the most out of this study, you must place everything you play within a clear musical context.

tracks 64-66

but you’ll be getting little out of the study. When guitarists try to work out the harmony part they will often try to play an equivalent melody three notes higher or lower on the same scale. This is parallel harmony, and it works because it is based on 3rds, which is the basis of Western harmony; however, it is often only an approximate way to generate the harmony; the true method is by realising how the melody relates to chord tones, and then transposing that information up or down to another inversion of the same chord. We will explore this later in this series; however, in the meantime, if you analyse the chord tones involved, it will explain why the first five notes over each G chord in bars 1, 2 and 18 relate to each other, even though, strictly, they are not parallel in terms of the scale. This month’s Am, G, F, G progression is typical in rock; and you could improvise over it using any one or all of the following scales: A minor pentatonic: A C D E G 1 b3 4 5 b7 A minor blues scale: A C D Eb E G 1 b3 4 b5 5 b7 A Aeolian: A B C D E F G 1 2 b3 4 5 b6 b7 But listen to how different the musical language is in the demo piece. We haven’t started exploring phrasing yet, by adding rests and varying the rhythms (doing so would obscure the principles being studied), so rhythmically things may sound pretty robotic. But the melodic vocabulary is utterly different to standard blues-based rock, precisely because it’s based more around the chords, rather than one particular scale. This helps to give harmonic strength to our lines, as well as legitimise the use of chromatic passing notes (neighbour tones).

NEXT MONTH: Shaun shows how to use the Phrygian Dominant neo-classical style.

Get The Tone 7

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Most amps would be set as above for a good rock tone. I used a Fender Strat for the audio and, as its single-coil pickups are weaker than humbuckers, I use a distortion pedal to boost the signal before it gets to the amp. Some reverb and delay (matched to the tempo of the track) help to give both size and smoothness to the sound. Some players prefer the neck pickup but the bridge will work fine too. Palm muting will add punch and definition.

Track record Targeting chord tones (especially from a semitone below) has been employed in a lot of memorable melodies in popular music. Check out The Mexican Hat Dance; the theme to the Pink Panther; the instrumental section from Runaway by Del Shannon; and, for an example in rock guitar, listen to Randy Rhoads’ solo from Revelation (Mother Earth) which is on the first Ozzy Osbourne album.

68 GuitarTechniques June 2014

david lyttleton

lesson: creative rock

Learning Zone

Neo-classical elements DIAGRAM 1 A major triad using G and A shapes

A minor triad using G and A shapes

Example

cd track 65

[Bars 1-2] This opening section is based around an eight-note musical motif that features a three-note pedal point. For example, over the Am chord, the three-note pedal is E-D-E. Here, the D is acting as a lower neighbour tone to the E note (the 5th of Am). The other two notes in the eight-note motif are both chord tones: C (the b3 of Am) and A (the root). Note how this same eight-note motif is then moved down and adapted systematically for the G and F chords. Finally, we shift to an inversion of the same motif for the last G chord, but this is modified with the addition of a small three-note scale passage leading up to the following section in bar 5. [Bars 3-4] This section is the first of our extended triad passages (although GUITAR TECHNIQUES 2 3be1 seen as comprising add4 Shaun the previous section can also and add2Baxter's

arpeggios). This one features add2 arpeggios. You may want to relocate the 5th of each arpeggio from the second to the third string, and the second of each arpeggio from the third string to the fourth string (players like Paul Gilbert tend to prefer string-skipped versions like this). [Bars 5-6] Note how chromatic notes such as C#, B and Bb (in bar 5) are always leading to chord tones, and also the use of a double-chromatic ascending approach to the A and B natural notes in bar 6. [Bars 7-8] Here, we have a section composed of a mixture of triads and extended triads (Am, G add2, F, G add2). Note the use of a chromatic passing note (G#) at the very end of bar 8 used as a means of targeting the A note at the start of the following bar.

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Nylon String Style This month Andy Saphir aims to connect with your emotional side with a heart-felt classical-style nylon-string guitar accompaniment and solo.

ABILITY RATING

Moderate Info

Will improve your

Key: A minor Tempo: 100 bpm CD: TRACKS 67-68

Fingerstyle technique Stylistic vocabulary Chord recognition

this month I’ve decided to write not just a solo but a ‘condensed song’. I’ve imagined a scenario where I need to play for a moody ballad. I don’t just have to come up with a solo; this time the producer has asked me to accompany the whole thing. We’ve heard the demo, which has been played on piano, but he wants a sparser vibe, and guitar based one at that. So it’s up to me to come up with all the appropriate parts. I’m in the fortunate position here of being in my ‘make believe’ situation where all my ideas are met with approval! Now the first thing that occurs to me is a gentle, fingerstyle approach and I’ve decided to opt for a nylon-string guitar. The reason for this is it’s a different sound to the more widely used steel-string, and therefore brings a fresh quality compared to the other songs on our imaginary album. Also, the mellow timbre of nylon strings can lend a really emotive sound when paired with a ballad style song in a minor key. Nylon strings also make me feel like going Dominic Miller: longtime Sting for a ‘pseudo classical’ kind six-stringer of approach, which means playing with a style that the general public (this is not for classical buffs, remember) would perceive as ‘classical’ guitar music. These approaches could be musical and technical, and include the use of fingerpicking to create a melody; the style of vibrato, the ‘spreading’ of certain block chords with the picking hand; certain fingerpicking patterns and chord voicings, and the general

ON THE CD

tracks 67-68

use of dynamics in the picking hand. Although having a good grasp of fingerstyle would be beneficial to playing this tune, you don’t need to be a trained classical guitarist; I’m definitely not, but as a guitarist who enjoys playing fingerstyle I do ‘mess around’ with playing classical pieces on a nylon-string guitar, so I am familiar with the instrument and used to the feel of it. If you’ve never played nylon-string before, it’s worth getting your hands on one so you can explore the sound textures that it offers. In addition, listen to recordings of both the classical repertoire, and also popular artists that employ nylon-string guitar in their recordings - for instance, Sting and his fantastic guitarist Dominic Miller. Listening is a prerequisite in order to absorb idiosyncrasies

Although having a good grasp of fingerstyle would be beneficial to playing this tune, you don’t need to be a trained classical guitarist. adopted by the players in any style of music - especially if you’ve been hired to play a song in that particular style. Our tune is in the key of A minor and consists of an unaccompanied ‘chord melody’ style intro of 11 bars. Here it’s imperative to hold down the fretted shapes as much as possible, in order to let all the notes ring - just as you would with most fingerstyle pieces. An eight-bar ‘verse’ section follows, and this is the accompaniment to the ‘imaginary vocal’ at this point. This is also where the drums and bass enter the song to provide a fuller sound and a rhythmic propulsion to aid the guitar part. The final 11 bars is our guitar solo and this features various musical and technical approaches that set out to (hopefully) capture the emotion that the nylon-string guitar can deliver. NEXT MONTH: Andy gets the call for a ‘Joni meets The Corrs’ acoustic session.

Get The Tone 2

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A nice sounding and comfortable feeling nylon-string guitar is all you need today. But has your classical had a restring lately? If not, give it a treat with a set of quality strings, as this helps with both tone and intonation. A healthy application of reverb will add depth and ambience to the sound, too.

Track record Dominic Miller’s playing on Sting’s The Shape Of My Heart is a perfect example of nylon strings in pop. Stanley Myers’ theme from The Deer Hunter is easy on the ear yet highly emotive, and has been recorded by classical guitarists including John Williams. In a different style completely, country legends Willie Nelson and the late Jerry Reed used nylon string guitars extensively.

74 GuitarTechniques June 2014

BARRY BRECHEISEN / GETTY IMAGES

lesson: SESSION

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Learning Zone

NYLON STRING STYLE Example NYLON STRING PIECE

cd track 67

[General] Throughout the intro and verse sections, make sure you let the the open fourth string ring here, and change to the Gsus4 chord on the ‘2&’. notes ring during each phrase by keeping the chord shapes fretted down [Bars 8-11:]These four bars are a repeating Amadd9 arpeggiated chord. This until the shape itself has to change. This will ensure a fluid, ringing sound, acts as a secondary intro and sets up the mood of the verse. Again, keep and not a staccato, ‘cut off’ one - it’s a concept that’s natural for experienced these notes ringing and nice and evenly. The thing to watch out for here is fingerstyle players. making sure you don’t let the open sixth string ring into the open fifth, as [Bars 1-4] For the first part of the intro, approach the picking as indicated at this will make things sound muddy and untuneful. Try using the edge of the beginning of the tab stave; ‘p’ (thumb) plays the bottom three strings; your picking thumb to do the muting. ‘i’ (first finger) plays the third string, ‘m’ (second finger) plays the second [Bars 12-19] This is the verse section of the tune. Again note the picking as string, and ‘a’ (third finger) plays the first string. In bar 2, make sure you indicated beside the tab stave. It has changed to ‘p’ on the sixth and fifth change to the C/E chord on the G note on the ‘2&’, and let the bass notes strings, but ‘i’, ‘m’ and ‘a’ have moved to the fourth, third and second strings ring through while letting the treble string melody be heard clearly. respectively. The only change to this new approach is in bars 15, 18 and 19, GUITAR TECHNIQUES Andy Saphir's [Bars 5-7] The first twoMAGAZINE of these bars2 1 and 2, but bar 7 indicated under the appropriate notes in the tab. Remember, these are all GUITAR TECHNIQUES MAGAZINE 2is3 3a1 1repeat of bars Andy Saphir's GUITAR TECHNIQUES MAGAZINE 2 3 1to ascend through Andy Saphir's SESSION SOLOING -- only Nylon String Classical Style differs from bar 3 as it uses ‘sliding 6ths’ the melody. Let suggestions; feel free to experiment if other methods suit you better. SESSION SOLOING Nylon String Pseudo Pseudo Classical Style

SESSION SOLOING - Nylon String Pseudo Classical Style

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[Solo: Bars 20 & 21] The solo starts in bars 20 and 21 with a classical style rolling pattern over three string shapes that create the sound of a Dmadd9, an E7b9 and an E7. Hold these down as ‘shapes’ and I suggest using ‘p’ on the third string, ‘i’ on the second and ‘m’ on the first. Once you’ve sorted the technical aspect of playing the phrase, try using dynamics in your picking hand as this will bring feel and emotion to the part. [Bars 22-25] This section starts with an Am scale (A B C D E F G) lick over the E AmBchord. Make sure the of this is8accurate. The lick’s3penultimate 5 timing 8 1 1 G is F# which marks5the 7major 3rd of the note 7 D9/F# chord over 4 which 2 it’s 2 D 5 7 an ascending 3rds 9 phrase over the Fmaj7 2 played. Bar 24 sees chord. Although A

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76 GuitarTechniques June 2014

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used in many styles, the way this is played (and the Fmaj7 to Bm7b5 chords underneath) gives a kind of Spanish feel. Note how the simple use of the grace note D to to the F at the start of bar 25 adds to this feel. The sextuplet arpeggios on beats 3 and 4 of bar 25 are probably best played with ‘p’, ‘i’ and ‘m’ as indicated, and need to be played evenly, with the shapes held down. [Bars 26- 30] An E7 arpeggio (E G# B D) begins these final bars; think ‘feel’ when you play this! The phrasing of the simple Am based line in bars 27 and 0 open strings 28 need to be placed 1 0 accurately. The final lick incorporates 0 0 and is an Amadd9 hand fingering 2 arpeggio. Again, 2 I’ve included picking 2 1 2 for this, but use what 2 3 suggestions feels most comfortable to you.

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tracks 67-68

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ON THE CD

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lesson: prog

ON THE CD

TraCks 69-70

porcupineTree

This month Paul Bielatowicz concludes his series on prog rock guitar with a look at the playing style of Porcupine Tree’s illustrious front man, Steven Wilson.

ABILITY RATING

Moderate/Advanced Info

WIll IMprove your

Key: G Tempo: 65 bpm CD: TRACKS 69-70

Melodic improvising Creation of parts Octaves and double-stops

Steven John WilSon was born on 3rd november 1967, in Kingston-uponthames, london. his love for music began around the age of eight, when his parents bought each other albums for Christmas: Pink Floyd’s Dark Side of the Moon and Donna Summer’s love to love You Baby. As a child he would listen to these two albums in “heavy rotation”, and they would have a huge influence on his later songwriting. As a young child, Steven was “forced to learn the guitar”, but he didn’t enjoy it, so his parents eventually stopped paying for lessons. however, his love of music remained and, by the age of 11, he retrieved his old classical from the attic. he started experimenting with it in different ways, such as scraping microphones across the strings and producing primitive multi-track recordings by bouncing between two cassette machines. the following year his electrical engineer father built him a fully functioning multi-track tape recorder and a Steven Wilson is a confirmed vocoder, enabling Wilson PRS player to further pursue his experimentation. it wasn’t long before Steven was playing in his first bands with school friends, playing local shows and making recordings. Wilson immersed himself in music, and sonic experimentation, collaborating in a variety of projects from synth, electronic, psychedelic, and then to prog rock. later, Wilson joined a new Wave and AoR band called Pride of

Work with his two bands established Steven Wilson as a highly skilled and hugely respected producer. Passion, replacing the former Marillion keyboard player, Brian Jelliman. in his late teen years, Wilson started two projects that would establish his reputation among prog audiences. The first was humorously titled no Man is An island (except the isle of Man), before being shortened to no-Man, and the second was called Porcupine tree. over the next few years, the two projects would evolve; no-Man became a vocal, violin, multi-instrumental trio, incorporating dance music into an art-pop style. Porcupine tree pursued a more rock-orientated direction (although exploring many different styles within this). the two projects enjoyed success from critics and audiences alike. through his work with these two bands, Wilson established himself as a highly skilled and hugely respected producer, leading to him being asked to produce a number of other acts from a wide variety of genres. In 2008 Wilson released his first official solo album, insurgentes. its success led to a further two solo releases (to date), that have each in turn elevated his status with prog rock audiences all over the world. NeXT MoNTH: Phil Capone takes over with a series on British R&B - #1 The Yardbirds

Getthetone 7

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Wilson is best known for using his PRS guitars, so when choosing something to tackle this month’s column, you’ll probably want to reach for something with humbuckers. Amp-wise, you’re looking for a medium to high-gain valve amp tone (he uses Bad Cat amps).

many as a classic prog album, and sees the band exploring a heavier progressive metal style, with Wilson’s driving guitar riffs at the forefront. His latest studio album, The raven That refused To Sing (and other Stories) features Guthrie Govan and is spectacular.

78 GuitarTechniques June 2014

LIVEPIX

Track record For a good taster of Wilson’s guitar style, check out his work with Porcupine Tree. In absentia (2002) is regarded by

learning Zone

porCUpine Tree ExAmPlE 1 arpeGGios and chord tones

CD TraCk 69

Here’s an illustration of how Steven might use arpeggios and chord tones in his solos. The example begins with an ascending C major arpeggio and

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then, when the backing changes to a G major chord, we have a line that descends a G major arpeggio with an added 4th (Gadd11).

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CD TraCk 69

An effective contrast to following chord sequences using arpeggios and chord tones, is to repeat a lick or phrase over a number of chords in a

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CD TraCk 69

Double-stops play an important role in Wilson’s solos. Here’s a series of 3rds played on the second and first strings.

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June 2014 GuitarTechniques 79

lesson: prog

ON THE CD

TraCks 69-70

ExAmPlE 4 octaVe plaYinG

CD TraCk 69

Wilson also makes effective use of octave playing. Here’s a rhythmically interesting octave line that’s reminiscent of some of his work with Porcupine Tree.

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CD TraCk 69

Although the chord progression is firmly in a major key, this example begins with a G minor pentatonic phrase, giving contrast to the major scale notes

that have come before. In the second bar of the example, the minor 3rd resolves to a major 3rd and the line continues in the major key.

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CD TraCk 69

Here’s an example of how Wilson might use pedal tones in his playing – notes repeated within a phrase, while other ‘melody’ notes change around

them. This is followed by a major pentatonic idea, showing his use of rhythmic variation (the theme is slightly different each time it’s repeated).

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Steve Wilson’s solos such a strong sense of melody. Thanks for following the column and hopefully see you all again soon!

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June 2014 GuitarTechniques 81

lesson: jazz

ON THE CD

tracks 71-90

George Benson Part 2

fore and his guitar taking a backseat - indeed, on a personal note, growing up in the 80s I never realised that George Benson even played the guitar. It certainly came as a shock when I first heard him! Benson returned to jazz for 1989’s Tenderly, an album of standards, and 1990’s Big Boss Band with the Count Basie Orchestra, and continues to record and perform, with 2013’s Inspiration: A Tribute To Nat King Cole, considered by critics to be among his finest recordings. In 2009 Benson received the highest award in jazz, being recognised as a Jazz Master by the This month we continue to explore the soloing style of National Endowment For The Arts. This month’s examples focus on the one of the greatest and most smoother, funkier side of Benson’s playing successful of all jazz artists, George Benson. Last time we that dominated his output in the 70s and 80s. checked out some examples of There’s ten examples in all, of which only Examples 1, 2 and 6 feature chord changes. his straight-ahead, ‘changes’ The others, in keeping with his music of the based playing with which he made his mark in the 60s and period, are all minor, dominant or II-V vamp ideas, and see Benson exploring the early 70s. Although Benson never entirely stopped playing rhythmic, harmonic, melodic and technical possibilities opened up to him by the lack of jazz and bebop, from the 70s harmonic strictures. Alongside Benson’s onwards he began to explore smoother, more groove based fluid, bubbling single-note soloing approach we’ll also examine some of his post-Wes music, and it’s his style from Montgomery style octave and chordal soloing this era that is our focus. ideas, and the examples cover, among other In 1976 Benson signed to things, pentatonic substitution, Warner and released one of superimposed arpeggios, chromaticism, the defining albums of his patterns, outside playing, note flurries and career. Breezin’ featured the sweep and economy picking. instrumental title track and the José Feliciano tune Affirmation, but most notably Benson’s vocals on Leon Russell’s This Masquerade; a huge hit that won the guitarist a Grammy for Record of the Year. Alongside his solo career, Benson continued to work with other artists including, in the 70s, Minnie NEXT MONTH: Pete takes a look at how the Diminished Scale is used in jazz. Ripperton, trumpeter Maynard Feguson, Tony Williams and Freddie Hubbard, and played and sang on Another Life on Stevie Wonder’s Songs In The Key Of Life album. In 1979 he also 2 5 4 2 2 became a Jehovah’s Witness. George Benson with his ever The success of Breezin’ Gain Bass Middle Treble Reverb faithful Ibanez the first platinum-selling jazz George Benson is renowned for using his album - led Benson to release signature Ibanez George Benson model guitar a series of increasingly commercial hit with flatwound strings through a Polytone amp. ABILITY RATING records, but it was the Quincy Jones produced To emulate his sound (if you don’t have a jazz guitar to hand), use the neck pickup on your Give Me The Night in 1980 that proved his Moderate/Advanced guitar and roll the tone off to around 5, or take real pop breakthrough, with the Rod the treble down on your amp. Heavy gauge Info Will improve your Temperton penned title track making it into strings also help to get that jazzy sound – you’ll Key: Various ‘Groove’ soloing the top ten pop and R&B charts. Through the find that Benson’s lines seem to work better Tempo: Various Jazz phrasing 80s Benson enjoyed huge commercial with the resistance you get from heavier strings. CD: TRACKS 71-90 Swing feel success, with his vocals increasingly to the

Join Pete Callard as he uncovers some of the greatest licks from the giants of jazz guitar. This month, the groovier side of George Benson.

Although Benson never entirely stopped playing jazz and bebop, from the 70s he began to explore smoother, more groove based styles.

Track record Some listening recommendations for George Benson from his more groove based 70s and 80s era include It’s Uptown (1973), Breezing’ (1976), Weekend In LA (1977) and Give Me The Night (1980). Benson also recorded a tuitional video that’s now available on DVD called The Art Of Jazz Guitar that’s well worth investigating.

82 GuitarTechniques June 2014

DALLE / IDOLS / PHOTOSHOT

Get The Tone

Learning Zone

GEORGE BENSON PT 2 Example 1 Laid back line

cd track 71

Over the Gmaj7 Benson suggests G6 then anticipates the change to F9, around C# minor pentatonic and outlines F#m7 over the F#m7 chord movingTECHNIQUES down F Lydian b7 then up E minor with the 9th (F#) LICKS before anticipating JAZZ GREATEST - Pete Callard the change to Cmaj7 and closing in C Lydian. If you can GUITAR MAGAZINE 2 3 pentatonic 1 added over the Ebm7/E and Em7. Over the C#m7 he throws in a 4ths idea STYLE sing, these GEORGE BENSON (pt 2) example are great for trying out George’s familiar scat style. Ex 1

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lesson: jazz

Example 3 Pentatonic substitution 6idea E 7 8onXa II-V 7 vamp

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∑

tracks 71-90

cd track 75

8 6

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©»¡™∞ 84 GuitarTechniques June 2014 ∑ & 44 E B G D A E

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∑ Learning Zone cd track 79

17 16a post-Wes split 15 14 13 with Benson playing a Example 18 5 features octaves Dorian, ending with a chromatic ascent and a G octave. The pattern can 15 15 idea, 14 15 14 three-note pattern (low octave, high octave, low octave) be played with15 pick finger, or thumb and first or second finger 17 15 in 16th notes 15 that 13and 15 second 13 12 of15course, 15 was a thumb-only player). rhythmically displaces itself each time, and sliding it around the neck in 15 C 13 (Wes, 4

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cd track 81

Benson is a master of chordal soloing, as this lovely line demonstrates. Moving between three and four-note voicings, he harmonises a simple melodic line, moving between Am and diminished voicings over the Am7,

then moving up chromatically over the D7 to close on F9#11 and E9sus voicings. Benson strums this with a pick, but it also works Wes style with the thumb, or fingers.

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3 E primarily F Mixolydian 17 This line 17 features Benson’s note 17 17 17 trademark 17 19 flurries B 15 arpeggios. 15 15 15 15 F13sus 15 vamp17 18 starts 17 15 and Over an Benson G a series of superimposed 14 14 14 14 14 14 16 17 16 14 outD around Ebmaj7 arpeggios, then in bar 2 comes down Gm7, Dm715 and 14 12 A arpeggios. In the third bar he descends chromatically from A to Eb then Cm7 E

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skips up to Bb, then outlines Cm9 and G7 on beats 3 and 4. The final bar 15 an idea 15 echoing 15 an arpeggio/scale 15 features pattern used in Ex 5 last month, 16 14 16 14 16 14 14 16 and 12 is quite 16 16 challenging; 12 16 12in a speedy 12 16flurry Benson outlines Ebmaj7 and F9 14 14 down 14C minor pentatonic 14 with a 9th added to close. then comes

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©»¡™∞ 86 GuitarTechniques June 2014 ∑ & 44

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June 2014 GuitarTechniques 87

lesson: acoustic

ON THE CD

tracks 91-92

Sarah Jarosz In the latest of his tutorials on contemporary singersongwriters, Stuart Ryan looks at the style of Texasborn bluegrass and roots prodigy, Sarah Jarosz. Her albums feature the absolute cream of modern bluegrass musicians, such as Chris Thile, Bela Fleck, Dan Tyminski and Shawn Colvin. approach with a specific emphasis on the very traditional use of the alternating thumpicked bass line. The key with this style is to get the thumb completely independent from the picking hand fingers – the alternating bass line pattern is usually derived from picking the sixth and fourth strings, athough string five often comes into play as well. This bass line provides the beat around which the first, second and third fingers (‘i’, ‘m’ and ‘a’) can weave accompaniment on the third, second and first strings respectively. Take care to balance the volume and dynamics of the bass notes against the other strings – Travis pickers will usually palm mute these strings to keep them in check, but singer-songwriters often keep them un-muted and so use a lighter attack on the thumb to even things out. Another major technical aspect is being comfortable with syncopation: the even rhythms of the bass notes often contrast with the off-the-beat upper-string notes, as you’ll see in this month’s example. Jarosz is a wonderful musician and writer and well worth checking out – UK readers can catch her on her summer tour this year!­­ NEXT MONTH: US singer-songwriter and Blue Note recording artist, Amos Lee.

Get The Tone 2

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Jarosz can often be seen with a Gibson J-200, and a Collings D2HA is all over her most recent album. Any good acoustic is fine for this sort of thing but a dreadnought may get you closer to that ‘American’ sound.

Track record It’s incredible that Jarosz had a deal wih the top bluegrass label when she was just 16. Her first two albums, Song Up In Her Head and Follow Me Down recieved critical acclaim and come highly recommended, but perhaps it’s best to start with her most recent, Build Me Up From Bones (2013), to get a sense of where this bluegrass prodigy is now. Great online videos available too!

88 GuitarTechniques June 2014

ERIKA GOLDRING / GETTY IMAGES

A guitarist, mandolinist and banjo player, Sarah Jarosz is a superlative singersongwriter and multiinstrumentalist who can often be found in the company of bluegrass superstars such as Chris Thile and Jerry Douglas. Sarah was born in Austin, Texas in May 1991 and grew up in Wimberley, Texas. Her musical journey started with the mandolin at aged 10 and incredibly by the time she was in high school she signed a recording contract with leading bluegrass label Sugar Hill Records aged just 16. After school she studied at the New England Conservatory of Music in Boston, graduating in 2013. It’s humbling to know that at such a young age she has already released three albums: Song Up In Her Head (2009, featuring a Grammy nominated track, not bad for a debut!), Follow Me Down (2011) and Build Me Up From Bones (2013). These albums feature the absolute cream of modern bluegrass musicians – the aforementioned Thile and Douglas appear alongside banjo genius Bela Fleck, guitarist and singer Dan Tyminski from Alison Krauss’s Sarah Jarosz Union Station, and Shawn with her lovely Fletcher Brock Colvin. octave mandolin Jarosz often appears in a trio format with cellist Nathaniel Smith and fiddler Alex Hargreaves, ABILITY RATING and it’s fascinating to watch her in this format either on guitar or her Fletcher Brock octave Moderate mandolin to see how she fills the register in Info Will improve your between cello and fiddle. Being a mandolist as well as guitarist means that Jarosz is adept at Key: D Fingerpicking both plectrum and fingerstyle. For this issue’s Tempo: 101bpm Picking hand co-ordination study we’ll focus on the fingerpicking CD: TRACKS 91-92 Playing syncopated parts

Learning Zone

SARAH JAROSZ Example SARAH JAROSZ style

cd track 91

[Bar 1] The first thing is to become comfortable with the repeating bass [Bar 5] Here’s a change and a very common type of embellishment on the figure, which in this case is played on the sixth and fourth strings. Count ‘1 first beat with the hammer-on from the open third string to the 2nd fret. GUITAR TECHNIQUES 2 31 and 2 andTECHNIQUES 3 and 4 and’ to get this in place, preferably Stuart's with a metronome This can be a tricky technique to execute while maintaining the rhythm so Acoustic GUITAR 2 31 Stuart's Acoustic so you can get used to the underlying pulse. get used to this section on its own first. GUITAR TECHNIQUES 2 31 SARAH JAROSZ STYLE Stuart's the Acoustic SARAH JAROSZ [Bar 3] You should see that although the chords are changing, rhythmicSTYLE [Bar 7] Here the rhythmic embellishment from bar 5 is flipped so now it JAROSZ pattern remains the same with the syncopation in theSARAH same place each time.STYLE appears on the bass line from the open 5th string to the 2nd fret.

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June 2014 GuitarTechniques 89

lesson: acoustic

ON THE CD

tracks 91-92

Example SARAH JAROSZ style

cd track 91

[Bar 17] Here’s a great technique borrowed from banjo styles – to sound the chord at the end of beat three flick the strings with the nail on the picking 2 Acoustic ‘m’ finger to get a really percussive sound. [Bar 29] Another banjo influenced phrase here, at the start of beat 3 you

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90 GuitarTechniques June 2014

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Each back issue costs (including postage and packing) n UK: £5.50 n Europe: £6.50 n Rest of the world: £7.50 June 2014 GuitarTechniques 91

lesson: rockschool

ON THE CD

A-Z of music theory: W

trackS 93-97

Brought to you by...

As he Waltzes to the finish line of his epic alphabetical adventure, Charlie Griffiths has enough time to look at Wahs, Whammys, Whole tones and Walking bass.

Walking bass

ABILITY RATING

Walking bass is primarily a jazz based rhythmic approach which holds down the quarter note pulse. Rather than simply repeating the same root note over and over, the approach is to continuously keep moving to a different note, giving it that wandering, or ‘walking’ effect. More musical bass lines are based on the arpeggio notes of the chord which is happening at that moment. The idea is to make the chord changes as smooth as Jeff Beck: master possible, so scale notes and of the Strat’s chromatic passing notes can be vibrato (whammy) employed to achieve this. On the guitar, walking bass lines can be played on the bottom three strings to connect larger chord shapes together.

Easy to Advanced Info

Will improve your

Key: Various Tempo: Various CD: TRACKS 93-97

Music theory Scale knowledge Rhythm understanding

Wah-wah pedal

The wah-wah is one of the most used effects pedals in guitar history. The first wah-wah was designed by Vox in the late 60s and quickly gained in popularity due to

Waltz

The term waltz dates back to 16th century Germany and describes a traditional ballroom dance where the participants spin and turn around each other in 3/4 time. Pronounced ‘three four time’, 3/4 is a simple time signature comprising three quarternotes per bar, so can be said to be in ‘triple time’. As with any time signature, the lower number denotes the type of beat you are dealing with: 4 is a quarter note, which we

generally understand as being the ‘downbeat’ of a piece of music; that pulse at which you naturally want to tap your foot along with. The top number shows you how many of those beats there are per bar. It is counted ‘one, two three - one, two three’ and so on.

Whammy bar

The whammy bar or vibrato system (usually wrongly called a tremolo) is essentially a movable bridge which allows you to smoothly change the pitch of a note by adjusting the tension of the strings. Pushing the bar down slackens the strings, thereby lowering the pitch, and pulling up on the bar increases the tension which raises the pitch. The design of the system has evolved since the 1940s Bigsby style tailpiece which was best suited to a ‘flutter’ style tremolo. The 50s Fender strat trem enabled players like Jeff Beck to employ pitch shifting more accurately on tracks like Where Were You and Two Rivers. This paved the way to the Floyd Rose style floating systems which reached the peak of popularity in the 90s with players like Steve Vai and Dimebag Darrell producing incredibly large pitch bends which were previously impossible on the instrument.

Whole tone scale

The whole tone scale is exactly that - a scale made up entirely of whole tones, or the equivalent of going up or down two frets. So if you start from an C root, then go up a tone, you arrive at D. Now go up another tone and you arrive at E. Keep going up in tones and you get F#, G#, A# and finally back to C. So we have six equally spaced notes in our hexatonic scale, which is exactly half of the total of 12 notes available to us. This means that there are really only two possible whole tone scales: C and C#. The rest of the possible starting root notes are essentially ‘modes’ of either of these, but since they all sound the same, in practical terms there are only two. The scale sounds cool over augmented chords. NEXT MONTH: Charlie combines the letters X, Y & Z for his final A-Z Of Theory.

Track record Steve Vai’s use of the wah pedal in Bad Horsie enhances the melodies and riffs and brings the guitar to life. Martin Taylor is a master of fingerstyle jazz, and his walking bass technique on I Got Rhythm is nothing short of amazing. You don’t have to go all the way back to the 16th century to hear a waltz: in 1967 The Beatles wrote a lovely 3/4 song called She’s Leaving Home. Jeff Beck’s track Where Were You from the Guitar Shop album is a signature track of Mr Beck’s, and one of the greatest whammy bar songs put on record. The whole tone scale sounds jagged and strange, qualities that King Crimson employ on the track Fracture.

92 GuitarTechniques June 2014

IDOLS / PHOTOSHOT

influential players such as Eric Clapton and Jimi Hendrix demonstrating its expressive capabilities. The rocking of the pedal controls a pot much like the tone control on your guitar, which sweeps a filter up and down the frequency range of the guitar to create the effect. The wah of the name alludes to the similarity to the human voice; the heel down position is equivalent to the mouth being closed and the toe down position opens the mouth.

A-Z of music theory: W

Learning Zone

GUITAR TECHNIQUES 2 3 1

Charlie Griffiths ROCKSCHOOL COLUMN cd track 93 A-Z - "W" The pedal position is indicated by cross symbols. The down’. Use these as a guide only and remember to use the pedal to enhance GUITAR TECHNIQUES 2 3the 1 small circle andCharlie Griffiths ROCKSCHOOL COLUMN circleEx shows the pedal in fully open ‘toe down’ position A -and Z -the" cross W " is ‘heal the shape of the riff, rather than simply rocking back and forth randomly. 1 WAH PEDAL GUITAR TECHNIQUES 2 3 1 Charlie Griffiths ROCKSCHOOL COLUMN j A-Z - "W" j Ex 1 WAH PEDAL œ œ GUITAR TECHNIQUES 2 3 1 Charlie Griffiths COLUMN GUITAR TECHNIQUES 2 3 1 Charlie GriffithsROCKSCHOOL ROCKSCHOOL COLUMN- AA - Z- Z- - " W "" j "W Ex 1 WAH PEDAL j œ GUITAR TECHNIQUES 2 3 1 Charlie Griffiths ROCKSCHOOL COLUMN œ A-Z - "W" j Ex 1 WAH PEDAL j

Example 1 WAH PEDAL

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Use 7 5 o7 + +7 + 12 o12 +5 o7 + o + XX XX X X X X 10o10 . A. + 0 o and . –the bass movement . chords. outlines links theA chords together with chromatic your thumb to pluck the bass line and remaining fingers to play the 5 3 0 0 ( ) ( ) qq=qce X 9 9 X X 14 16 BU BU X X D 7X (16) 9 9 X 7 7X C maj9 (14 ) Ex 2 WALKING BASS X X 12 12 X GX . . . ©»¡¢º. X X X 10 12 X .. 77 55 77 7 7 5 5 7 7 – (14 ) (16) X #9œ 9 X X X 0 5 3 0 0 0 5 3 0 0 œ œ Exqq=qce 2 WALKING BASS œœ7 5 7 .. C maj9 ww G7 . 44 .. . Aœ 0 œœ7 5 7 A 75 # œœ3 # œ 0 Dœ7 œœ œ –& ©»¡¢º 0w qq=qce w # œ Aœ7 D7 Ex Ex22 WALKING WALKING BASSœ 4 .. ABASS ww œœ # œ # œœœ œœ # œ nGœ7 œœœ œ .. C maj9 ©»¡¢º ––& 4 ww # œ Exqq=qce 2 WALKING qq=qce 4 .. AAœBASS œœœ # œ A A7œ7 # œœœ # œ D 7Dœ7 œœ # œ G 7Gn œ7 œœ œ C maj9 C maj9 . ww . 4 ©»¡¢º –& ©»¡¢º œ3 5 5 7 3 qq=qce . A œ . œ # œ A 7 D 7 G 7 C maj9 # œ # œ œ # œœ# œœ65 4444 .. .. . œœœœœ55 # œ œœ57 # œ n œ œœ œœœ43 œ .. .. ww www42 œ œ œ &&©»¡¢º œ œ œ5 4 . 3 œ5 œ œ5 # œœœ 75 # œ# œ4 n œn œ3 œœœ 34 œ œ2 .. . wwwwww334 & 44 .. .. œœœ3 œœ 555 # #œœ4 œ œ5 # œœ 655 ##œ#œœ4 .. ww23 œ 5 775 # œ 4 n œ 3 œ 334 œ 2 œ 5 # œ4 6 5 Ex 3 WALTZ 5 5 7 3 . . 3423 4 5 2 5 7 3 cd track 95 Example 3 WALTZ .. Am3 55 55 4 . 7 . 34 4 5 F5 4 3 3 4 G/B C Am 5 5 4 Ex ©»¡¡º 3 pop WALTZ 3 the rest of. the 2 on beats three and four, using .. 3 3song55is5 played in 3/4 time so65565count4 4“one, two,5three” . This rock style on beat one3and chord 777 2 . œ3 343 2 2 œ œœ root5 note 5 foot œœ to4 4help œœœ you5 5stayF 65in time.œœ Play the œ downstrokes œ 343throughout. for each bar 3 and. tap Amyour C5 G/B œ œœ 2 .. Am˙˙˙ ... 4 œ4 3œ 3 5 œ 7 Ex ©»¡¡º 3 WALTZ . . . œ œ œ œ œ &4 3 4 5 2 œ œ œœ 4 œœ 5 F œ œ œœ3 œœ œœ 3 . Am˙˙˙ ... 4œ œ Am C G/B œ œ œ 3 . œ œ œ œ œ œ ©»¡¡º Ex 3 WALTZ œ œœ œœ Ex 3 & WALTZ œœ œœ 4 . œœœ œœœ œœœ œœœ .. Am˙˙˙ ... œ œ œ œ Am F Cœ G/B 3 œ Ex 3 WALTZ . œ œ œ œ œ œ œ Am F C G/B ©»¡¡º œœ01 œœ01 œ œœ11 œœ11 œœœ01 œœœ01 G/B œœœ33 œœœ33 .. AmAm˙˙˙01 ... & 4 ..Am ©»¡¡º F C œ œ œ œ œœ œœ00 œœ œœ00 .. ˙ . ˙˙˙22 ... 3 . œ œœœœ2 œœœœ2 ©»¡¡º œœ œœœ002 œœ œœœ002 œ œœœ œœœœœ2133 œœœ œœœœœ2133 3 3 3 2 &&3434 ... ... œ0 œœœœœœ02012 œœœœœœ02012 œœœœœœœ3230 œœœœœœœ3230 .. . .. ˙˙˙ ˙˙... ˙˙˙0012.. ... œ œ œ œ œ œ 1 1 1 1 œ œ œ œ œ œ œ œ œ œ œ 1 1 1 œ œ œ œ œ 2 2 0 0 œ œ œ œ œ & 4 . .. œ 0 œœ 0210 œœ 0210 œœœ 0213 œœœ 0213 œ 2 œœœ 3032 œœœ 3032 . .. ˙ ˙˙. 0210.. œ œ œœœœœ1313 œœœœœ1313 3 œ œ œ0 œ0 œ œ ˙ 22. Ex 4 WHAMMY BARœ 2 2 2 2 0 0 1 1 1 œ œ13 œ13 . 0 0 0120 0 0120 . 02 02 30 30 3 2 1 13 1 13 0 13 0 13 3 32 3 32 . 01 0120√scoop √ 1 12 1 21 1 21√ 1 0 1 0 3 0 . .. BAR12022 scoop . Ex 4 WHAMMY scoop3 0 . ~~~~~ 0 30 0 30 202 213 213 scoop 002 002 . 22 0120 √·scoop ©»ªº · . 0 32 0 32 21BAR 21. 0~~~~~ 313 313 213 213 . . 0 0 3 2 . ~~~~ cd track 96 Example 4 WHAMMY · 0 0 √ Ex 4 WHAMMY 2 2 02 02 321 321 √· . ~~~~ 3 30 30 2 1 scoop # . 4 00 as BAR scoop 0 0 2 2 2 2 . 0 220 √·scoop . 1 13 13 thumb ~~~~~ scoop3and Dive the©»ªº bar down far as using your fretting hand touch the string at the2 desired point to produce the harmonic. Allow the 2 0 possible 0 3 3 3 3 2 ·scoop .except ~~~~~the1 third. Bring &WHAMMY 4 allœBAR œto sustain 1œ 1 bar up and √·scoop . ~~~~ first Ex finger the strings the and wobble the bar œ to add vibrato. 4 to √·scoop . ~~~~ pitchdoop . ~~~~~ #mute ·scoop Ex 4 ©»ªº WHAMMY BAR doop doop doop 4 √NH · . ~~~~~ NH NH NH √ · . 4 œ œ œ œ ~~~~ Ex 4 & WHAMMY BAR Bridge pickup √ scoop · . ~~~~ scoop # 4 doop scoop √scoop scoop scoop √scoop . ~~~~~ scoop √ scoop ~~~~ ·NH~~~~~ scoop~~~~ ~~~~~ doop doop doop √ ~~~~~ ©»ªº .scoop · . · ~~~~~ scoop & 4 œ œ œ œ √ NH NH NH scoop ©»ªº · . ~~~~ √ Bridge pickup scoop · . ~~~~ ~~~~~ . · . ~~~~~ · # scoop · . scoop ~~~~ 0 7. 0 5~~~~ 0 4 0 2.4 ~~~~~ doop doop doop ©»ªº# 44 doop ··NH .scoop doop doop doop doop ~~~~ ~~~~ ·scoop ~~~~~ NH~~~~~ NH NH ·scoop . ~~~~ œ œ œ œ ~~~~ . # 44pickup scoop &&Bridge œdoop œ œ œ scoop scoop scoop doop doop ~~~~ doopœdoop ~~~~ doopdoop 0 7 0 5 0 4 0 2.4 ~~~~~ ~~~~~ doop &Bridge4pickup œdoop œdoop œdoop NH NH NH NH doop NH NH NH NH scoop doop doop doop doop scoop Bridge pickup 0 7 0 5 0 4 0 2.4 ~~~~~ scoop scoop doop doop doop doop ~~~~ doop ~~~~ doop ~~~~~ doop NH NH NH NH scoop ExBridge 5 WHOLE TONE SCALE scoop scoop scoop pickup doop ~~~~ ~~~~ ~~~~~ ~~~~~ scoop scoop scoop scoop ~~~~ doop doop doop doop 0 A aug 7 ~~~~~ 0 5 ~~~~ 0 4 0 2.4 ~~~~~Aaug ©»¡™º Ex 5 WHOLE 7 0 5 2.4 # 004TONEn wwSCALE n œ 0œ0 œ œ œ44 œ n œ n œ # œ œ 0 0 # n œ n œœ 7 0 5 # œ # œ A aug Aaug œ œ œ n œ n œ 2.4 Ex 5 ©»¡™º WHOLE TONEwSCALE œ œ & 4 n œ œ n œ œ œ œ œ # œ # œ # n œ n œ 97 cd Example 5 #WHOLE TONE SCALE œ œ n w n œ n œ n œ œ A aug Aaug œ œ œœœ track ©»¡™º # œ # œ # 44TONEchord, wwSCALE œ œ œ œ WHOLE œ œ œ Play Ex the5& A augmented then play up and downnthe scale keeping the three, two, three, two, two, three this should help you memorise the œ œ nœ nœ #œ œ œ more easily. œ nœ nœ #œ œ n œlow to high are: # TONE Ex 5 WHOLE SCALE # #time ww The notesœperœ string n œ n œshape n œœ œ # œ from notes in andAnvolume. 4 # œ œ œ Aaug œ œ aug Ex even 5 ©»¡™º WHOLE TONE SCALE œ œ w œ œ œ6 5 7 9 7 5 & 4 n œ n œ œ n œ n œ œ œ A aug Aaug ©»¡™º œ n œ8 n œ6 # œ8 6 6 n œ8 œ # œ œ #œ œ # # # 4 A aug n www66 n œ n œ œ Aaug œ œ ©»¡™º 6 8 œ œ œ œ # œ œœ n œ nnœœ œœ 5œ 7œ 9œ 7 œœn5nœœn œ # œ œ œ9 œ7 n œ5 n œ œœœ67 5 œ7 œ9 œ n &## # # 444 nn wwww76 n œ # n œ 6 8 8 6 œ œ œ n œ n œ n œ 8 6# œ œœ # œ œ9 œ7 œ5œ œœ656 & # 4 ww567 8 œ 6œ n œ n œ œ5 œ7 œ9 # œn œ n œ œ œœ œ 6# œ 8 6 8 & ww665 œœ 5œœ 7œœ 9##œœ 6n œ 8n œ 5œ 7 9 6 8 6 8 5 7 9 7 5 8 6 8 6 9œ 7n œ 5 n œ# 8œ# œœ6œœ9œœ7œ 5œ œœ 7665 7 5 7 9 9 7 5 7 E B G D E A B E G E D B A G E EED BBA GGE E DD B AA G EE D A E

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June 2014 GuitarTechniques 93

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Music Reviews

What our Ratings Mean: ★★★★★ Buy it ★★★★ Excellent ★★★ Good ★★ Average ★ Bin it!

New Albums

A selection of new and reissued guitar releases, including Album Of The Month... Album of the month

Circa Zero

Circus Hero

429Records HHHHH This is the most exciting outing from Summers since those heady Police days, and I Advance Masked, his 1982 album with Robert Fripp. Here Andy has teamed up with the multi-talented Rob Giles, from The Rescues, and it’s hard to see how the pairing could have been bettered. While Andy sticks firmly to guitar, Rob handles everything else; but with a generous 13 tracks there’s opportunity to explore lots of musical avenues together. From beautifully expansive sounds on Summer Lies, a blistering solo on Underwater and the steady beat of Whenever You Hear The Rain, there’s never a dull moment. Various tracks would make great singles too, like The Story Ends Here. Say Goodnight includes some strangely rewarding Summers guitar stabs, but generally there is little here to remind you of The Police. Andy is playing great, and so although this is music of today it’s roots are firmly into pop-rock and it’s all incredibly commercial. Now joined by drummer Emmanuelle Capalette, Circa Zero are a fully functional working band. space. The same can be said of the acoustic Cut You Loose with its cool wah-wah solo; and the menacing Boogie Man is outstanding. Including the three ‘bonus tracks’ there’s a total of 15 magical performances here. Better still, the band will be at the O2 Academy in Islington at the end of April, so that’s got to be worth a visit!

Kenny Wayne Shepherd Band

REVIEWS BY ROGER NEWELL AND DAVID MEAD

Goin’ Home

Mascot HHHH Kenny is looking back at some of the tracks that inspired him to become the player he is today, which is surely one of the best blues guitarists ever. While the songs fit like a pair of old jeans, Kenny has gone back to their DNA and altered things enough to make them his own. There’s still that raw quality that we love and, even with guest stars like Joe Walsh, Keb’ Mo’ and Ringo Starr, the music is all about feel rather than polish. It’s a sensational band so lots of stunning tracks here: I Live The Life I Love is a truly amazing performance by all concerned; the BB King style cleaner guitar sounds on You Done Lost Your Good Thing adds some breathing

Beth Hart & Joe Bonamassa

Amsterdam

Provogue HHHH This pairing has proved remarkably successful and, as if to celebrate the fact, their recent Amsterdam concert has been captured for double DVD, BluRay and CD releases. It’s a soulful blues outing featuring songs from their two studio albums together (Don’t Explain and Seesaw), plus a stonking version of Lucinda Williams’

Can’t Let Go and one of Joe’s favourites, Someday After Awhile (You’ll Be Sorry), which he sings. Beth adds a great visual element to the sensational Bonamassa big band; plus she plays piano on Chocolate Jesus and Baddest Blues, sits on the front of the stage for Your Heart Is As Black As Night - and boy can she sing! We are used to inspiring performances from JB whenever he gets on stage, and he’s on top form here. As ever we get to see a good cross-section of guitars from his impressive collection including several Les Pauls, an ancient Telecaster and a cool sunburst Strat. Backup guitar is played by Blondie Chaplin who gets a solo on Someday After Awhile too. It’s a long set with good contrasts; we love the spacious and moody arrangement of Strange Fruit. As if this magnificent concert weren’t enough there’s a bonus DVD that includes Up, Down, All Around: Behind The Seesaw, The Making Of: Live From Amsterdam, an alternative version of Someday After Awhile, and even a photo gallery. Bargain!

Wilko Johnson & Roger Daltrey Going Back Home

Chess Records HHHH While the sad fact remains that Wilko is living on borrowed time his attitude

Josh Taerk

Josh

Misty Creek Records HHH It’s great when you put on an album and immediately feel an affinity with it. That’s exactly what we have with this release from Canadian singersongwriter Josh Taerk. It’s unashamedly commercial, the music lying somewhere between Jackson Browne and Bruce Springsteen. But the tracks have a wonderfully fresh quality that allows them to breathe, so even with the band in full swing it’s easy to relax into the sound. Opening track, I’ll Live For You is classic soft rock with stunning lead guitar work; My Angel has an air of Del Amitri about it (and nothing wrong with that), while Casie is another really strong track that has been selected as the single. It’s a great album! There’s also a deluxe version that includes four of the tracks with just vocals and acoustic guitar - this one’s definitely worth a listen.

Yes

The Yes Album

is that every day needs to be lived to the full. That means doing the things he loves best and that’s playing the guitar and gigging. His and Roger Daltrey’s paths have crossed many times and the phrase ‘Let’s do an album together’ was always bound to come up. But thanks to a frantic eight days of recording it’s now a reality. And make no mistake - it’s great! Wilko’s chunky chord patterns are legendary (first experienced by many on the recording of Roxette by Dr Feelgood), and this album is full of them. Bright and breezy they provide instant feel and foundation, and although Wilko is not known for his solos we do get a few here on tracks like Ice On The Motorway, Keep On Loving You and Some Kind Of Hero. It’s a really uplifting collection, and as you listen you keep breaking into a smile and there are precious few albums that have that effect. Daltrey is in good voice but everyone here plays their part magnificently. This comes highly recommended!

DGM/Panegyric HHHH When Yes’s third album was released at the dawn of the 1970s it became regarded as the definitive prog rock statement of its time. But technology has come a long way since then, and now contemporary prog master Steven Wilson has taken the original master tapes to add some magic of his own. So can the band’s ‘Shining, flying purple wolfhounds…’ sound even better? Happily, the answer is, well, “Yes!” as this revised package delivers on all fronts. Not only do we get the original album but with added punch, dynamics and sounding as fresh as a daisy, we also get a whole extra disk of added features. For a start there’s a version of A Venture that doesn’t fade at the beginning of Steve Howe’s solo, embellished liner notes, live tracks and many more features that will keep a smile on the face of any Yes fan for the foreseeable future!

June 2014 GuitarTechniques 95

GT USER GUIDE

You can get more from GT by understanding our easy-to-follow musical terms and signs...

Relating tab to your fretboard 3

2

Every transcription or lesson in GT is graded according to its level of difficulty, from Easy to Advanced. We’ll also let you know what aspect of your playing will benefit by attempting a lesson.

m

i

1

Our rating system

a c

4 T

p

Advanced Moderate-Advanced

nut & fretboard

hand Labelling

Moderate

The fretbox diagram above represents the fretboard exactly, as seen in the accompanying photo. This is for ease of visualising a fretboard scale or chord quickly.

Here are the abbreviations used for each finger: Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), i (first finger), m (second), a (third), c (fourth)

Easy-Moderate Easy

Read music GUITAR TECHNIQUES MAGAZINE USER GUIDE Each transcription is broken down Guitar Technique Examples - Treble Clef And MAGAZINE Tablature GUITAR TECHNIQUES into two parts... Guitar Technique Examples - Picking

œ œ Tablature œ & Technique Examplesœ - Treble Clef And Guitar Down & Up Picking

GUITAR TECHNIQUES MAGAZINE USER GUIDE

GUITAR TECHNIQUES MAGAZINE 2nd string Guitar Technique Examples - Picking 3rd fret

Chord example

Chord example (with capo)

The diagram represents the G chord in the photo. The ‘O’ symbol is an open string, and a circled number is a fretting finger. Intervals are shown below..

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Down & Up Picking

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7

5

~~~~~ ˙ (œ œ) b ˙

tr

&

tr

Fretting hand GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Fretting Hand

E B G D A E

Hammer-on & Pull-off Hammer On & Pull Off

&

œ

œ

œ

œ

5

7

7

5

E B G D A E

tr E B G D A E

5

8

~~~~~

tr

~~~~~

7

5

& E B G D A E

œ

œ

œ

&

≠œ œ ≠œ œ œ ≠œ

E B G D A E

S 5

7

5

5

n Fret the start note (here, Left Hand Tapping the 5th fret) and bend up to 6 the pitch of the bracketed œ & before releasing. note, œ œ

≠œ œ ≠

≠

œ

≠ ≠ ≠ harmonics E B G D A E

P

P

5

7

0

P

5

7

0

Natural harmonics Fret Hand Muting

& &

n œ ¿ ¿ ‚ ¿ œ# ‚‚ ¿ ¿ ‚# œœœ ‚¿¿¿ ¿¿¿ ¿¿¿ œœœ ‚ ¿¿¿ ¿¿¿

· · · ·· 8 X X X 7 X X 12X 6 12 X X X 12 7 X X X

X X X X

n Pick the note while lightly touching ‚ the‚string‚ directly over & the fret indicated. A harmonic results.

···

P

5

7

0

4

AH17

5

· · · ·· 8 7 6 7

12

X X X X 12

X X X X X X X 12X

X 8 7 X 6 X 7 7 X 7 7

X X X X

Artificial harmonics

& E B G D A E

‚

‚

± ±± 7

5

7

‚

‚ is‚ picked, then the n The note & whammy bar is raised and TH17 TH19 pitches TH17 lowered to the shown in brackets. E B G D A E

··· 5

7

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

&

4

7

0

nœ # œœœ

¿¿ ¿¿ ‚ ‚

¿¿ ¿¿

X X X X

X X X X

P

5

¿¿ ¿¿

œœ ¿¿ œœ ¿¿ ‚ # ‚‚‚ X X X X

X X X X

8 7 6 7

12

¿¿ ¿¿

5

&

7

5

4

TH19

5

7

E B G D A E

7

4

‚

2

&

± ±±

·

5

7

···

TH17

5

TH19

7

Dive bomb

&

œ

‚

‚

AH17

4

&

E B G D A E

—

± ±± ‚

E B G D A E

‚

‚

E B G D A E

5

TH19

7

œœ œœ

¿¿ ¿¿

· · · ·· ‚

¿¿ ¿¿

X X X X

‚

‚

···

Vibrato 4

E B G D A E

AH17

5

AH19

7

—

— —

± ±±

7 5 vibrates n The fretting hand 7 the note by small bend ups and releases. The last example uses the vibrato ‚ ‚ bar.

&

E B G D A E

‚

···

TH17

‚

···

TH17

TH19

5

7

4

·

TH17

4

Touch harminics

&

œ

TH17

n Fret the note as shown, but ‚ rightsound it with a quick hand tap at the fret shown œ & (TH17) for a harmonic.

TH17

4

7

Tapped harmonics

&

¿¿ ¿¿

PH

7

5

¿¿ ¿¿

NH

AH19

7

¿¿ ¿¿

n X markings represent notes muted by the fretting 12 7 hand 12 7 12 7 when struck by the picking hand.

&

5 n Pick the note and then bend up a quarter tone (a very small amount). Sometimes referred to as blues — curl. —

&

7

0

#‚ 8 X X ‚X 8 ‚ X ‚ ‚ 767 ‚XXX XXX XXX 767 XXX

E B G D A E

‚

···

AH16 E B G D A E

— —

n Fret the note as shown, but dig‚into ‚the string ‚ with the &side of the thumb as you sound it with the pick. E B G D A E

12

P

5

n œœ # œœ

AH16

Quater-tone bend 12

7

0

&

&

7 7 7

P

P

PH

7

7

· · · ·· 12

AH19

—

‚

·

TCH E B G D A E

2

9

n A previously sounded note is touched above the fret marked TCH (eg TCH 9) to sound harmonic.

TCH E B G D A E

2

9

Gargle

capo Capo Notation

·

TCH

TH17

n Scoop - depress the bar just œ & striking before the note and release. Doop - lower the bar TCH slightly after picking note. E B G D A E

5

E B G D A E

# ‚‚ ‚

‚ ‚ ‚

≠ ≠ ≠ 5

NH

E B G D A E

PH

···

TH17 E B G D A E

AH17

Pinched harmonics

Scoop‚ & doop ‚ ‚

&

···

AH16

AH19

7

7

&

X X X X

7 7 7

œ œ œ œ œ œ 7

≠œ œ ≠œ œ œ ≠œ 6

Fret-Hand Muting Fret Hand Muting

6

n Sound the notes marked with a square by hammering on/tapping with the frettinghand fingers.

7

0

· · · ·· 8 7 NH 6 7

12

PH

—

P

P

5

&

n Fret the note as shown, then lightly — place the — index — finger & over ‘x’ fret (AH ‘x’) and pick (with a pick, p or a).

PH

E B G D A E

≠ ≠ ≠

Pre bend

‚

··· AH17

4

E B G D A E

7

≠

œ

E B G D A E

‚

NH

AH19

Vibrato — arm bends —

&

≠œ œ ≠

E B G ED BA GE D A E

&

± ±± vibrato arm (aka whammy bar) AH16

E B G D A E

7

n Bend12up from the 5th fret to the pitch of the 7th fret note, then pick it and release to 5th fret ‚ note. ‚ ‚

AH16

X 8 7 7 X 6 7 X 7 7 X

7

0

5

&

n Bend up to the pitch shown Hand Muting inFret the brackets, then re-pick the noten while œ ¿ ¿¿ holding ¿ œœ# ‚ ¿¿ the ¿ # œœœ at‚¿¿¿ the ¿¿ ‚ ¿¿¿new œœ ‚‚ pitch. ¿¿ ¿¿¿ & note bent

NH

E EB BG GD DA AE E

P

P

5

5

7

Fret Hand Muting

6

≠ ≠ ≠

œ

E

E B G D A E

5

œ

n Pick 1st note and slide to Left Hand Tapping the 2nd note. The last two 6 notes show a slide with the œ last ¬e beingœ re-picked. œ

Re-pick bend Left Hand Tapping

œ

5

≠ ≠ ≠ ≠ ≠ ≠

Left Hand Tapping

E

E B G D A E

8

S

Slides (Glissando)

E B G D A E

8

& œ œ œ

b˙

BENDING and vibrato bend up/down

(7 5)

Slides (Glissando)

n Rapidly alternate between Slides (Glissando) the two notes indicated in brackets with hammer-ons œ œ and &pull-offs. œ œ 5

~~~~~

5

Slides (Glissando)

(7 5)

5

E B G D A E

7 5

tr

˙ (œ œ)

E B G D A E

~~~~~ ( )

Note Trills Note Trills

&

n Pick 1st note and hammer Trills fretting hand for 2nd onNotewith tr ~~~~~ note. Then pick 3rd note and ˙ (œ 4th œ) b˙ pull note. &off for

E B G D A E

&

E B G D A E

2

9

n Note sustained, then the vib is depressed to slack. Square bracket used if a long-held note has new articulation applied.

n Sound the note and ‘flick’ the tremolo bar with picking hand so it ‘quivers’. Results in a ‘gargling’ sound!

n A capo creates a new nut, so the above example has the guitar’s ‘literal’ 5th fret now as the 3rd fret.

9

‚ Other techniques œ & scrape Pick

·

Violining

Finger numbering

Pima directions

Right-hand tapping

TCH E B G D A E

2

9

n The edge of the pick is dragged down or up along the lower strings to produce a scraped sound.

n Turn volume control off, sound note(s) and then turn vol up for a smooth fade in. Called ‘violining’.

n The numbers after the notes are the fingers required to play the fret numbers in the tab below.

n Fingerpicking requirements are shown at the bottom of the tab notation.

n Tap (hammer-on) with a finger of the picking hand onto the fret marked with a circle. Usually with ‘i’ or ‘m’.

June 2014 GuitarTechniques 97

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98 GuitarTechniques August 2012

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