Guitar Techniques Magazine 2009 August

mUSrcfa03Lco

ffi,lutru

tssuE168 aucusT 2009

'-@ musicfadarcom T h e p a c ei o r m u s . m a k e r s

STEVEALLSWORTH Oneof Guitar'XttoptutorsStevehas beena GTwriterforsometime.Oneof the mostskilledguitaristsaround,he tak€shuge pridein histranscribing.

SHAUNBAXTER Oneofthe UKsmostrespectedmusic educatort Shaunhastaughtmany w h o a r e n o w t o p t u t o r s , H i s a l bJuamz z Metalwashailedasamilestone. JON BISHOP ACMlJon hasmadeabig impression. with hisskillsin avarietyofplaying styles.HisrecentalbumA(oustic Sketches boastsninedelightfultunes.

PETECALLARD Pete'smanycreditsincludeLionel Richie,Annie Lennox,Chaka Khanand ShirleyBassey. Heworksregularlyin t h e s t u d i o , o n T V a ni ndt h e W e s t E n d

MARTINCOOPER A tutorat Bll\4MBrighton,Martin'sRock

,a_a

a luzz

E

@ c)

Bb

oi Keyboard

-

^btB,

Bb

atBt

B'

-

E

@

B

11

11-11-11

1

511-1611

E

August2009GuitaxTedmiques 37

YOIJR$ t8t{0DtsGRAct

oNTHEcD$ rnlcxs o-r+

down - and Stevehada lot ofdiffefenttechniquesand approachesgoing, IBars 37-52]We concludethe trackwith a repeatof Steve'swell used arpeggios, a descending E majorscalerun,andhisneatquarternote especiallyin this song- go backand concentrateon anysectionsgiving 69ure.lfyouhaven'tquitegotallthesedifferentstyles youtrouble,ratherthan skimmingoverthemandquicklymovingon. triplethammer-on

(8-)

15-15-11-16-11

15 11

1

18 18 13

1A 13-18-13-

E

(lr-)-----

1

15 11

B o E

r--e

38 GuitafTbchniques August2009

16 11

1

oNTHEcD$ rnlcxs rs-ls

Trauis Picking HereStuartRyanuncovers oneofthemost -Travis popular picking, of allpicking styles named guitarlegendMerleTravis... afterthe country for whilst the thumb playsthe bassstrings 'on position the picking hand correctly - in t]le beat'the otler fingers canpick any essencea 'half palm mute' only on the bass EasytoAdvanced O O a,rl, combinationofrhlthmsincludingsome sideolthings.It will alsoallowyouto dig in slncopations,which canreally leaveyou harder on the bassnotesto getthe funky snap reeling.It's the classic'patting your headand required and,last but not least,it will stop you independence KEY:Various !ZFinger rubbing your tummy' scenario.And tlat's from blistering your thumb! Various v Fretting hand strength TEMPOT beforeyou evenconsiderthe speedat which Anotier elementoftlis styletiat canbe CD:TRACKS15-19 epeed V Accun(yand someofthesepiecesareplayedl overlookedis how strong your fietting hand Merle Travis had a hugeinfluenceon needslobe witi all mannerofchordvoicings. 1T'SIINUSUAI- FORa techniqueto be named many of the greatsincluding ChetAtkins, A lot ofthese piecesare actuallyplayed after a guitar player - for instance,twoJerry Reedand Tommy Emmanuel,who around chord shapesthat contain both the handedtappingisnt called'VanHalening'is developedtJletechniqueand madeit Lheir bassnotesand the chord/melody, soyou it? But this actuallyhappenedin the caseof own, producingwonderful resultsin tle needto be adeptat moving the hand around process.Perhapsthe oddestfeatureofthis quickly - sometimesinto awkward shapes. UScountryguitarstar MerleTravis.Travis picking is brilliart in its simplicity - the techniquein its original form (the way Merle It could be aryuedtiat the old-time blues playersweredevelopingtheseideasbeforeor thumb pluck out a bassline, qpically on the himself actuallyplayed)is that it only sixth anil fourth strings and alternating every incorporatesthe picking hand thumb (p) and ceftainly at the sametime asMerle,but perhapswhat setsTravis picking apart is the beat,whilst t]le remaining picking fingers are first linger (i) - checkout YouTubeto seehim fiee to pluck out melodies,chordsor both on in action,it's amazing.Although there are definite playing of melodies,chordsand solos the remaining strings. Howeverthis is also diehardTiavis pickerswho still pick in this overthe top of the bassline mther than short where the devilish complexityoccurs,asthe way,t]le vastmajority thesedayswill usethe or isolatedlicks. Ii pim or'pima. Theo*rerbig techniquerequirescompleteindependence morelogical betweenthe picking hand thumb and fingers, featureofthis styleis tlat it genemlly incorporatesa tiumbpick - this givesthe bass notesa crispnessand is often deemed TECHNIQUEFOCUS essentialto the technique. U S I NA GT H U M B P I C K Tlpically the bassnotesare palm muted, which givesthem a thumping, percussive Thethumbpickcantakesomegettingto soundand leavesthe treble stringsto ring out gripswith (ifyou'llpardonthe pun).Firstoffis carrying a melodyor chords(or both !). The to getthe sizeright-too big and itwillslip off, thumbpick is integral asit allowsyou to too smalland itwill be uncomfortable.

m

Thumpickt like regularpick, require experimentationsotryas manyasyoucan getyour hands(orthumbs)on. I likethe orangeFredKellyonesastheyhavea smaller exoosedDlasticsection.Alsobearin mind thatwearinga thumbpickwill changeyour pickinghandpositionquitedramaticallysoit willtake someqettinq usedto.

Travishada huge ll Menle

influence onmanyofthe greatsincluding Ghet Atkins, JerryReed andTommy Emmanuel among otherstt

Therecre manVgrcat players inthisgenreandanything IIA0Kf,EC0[D byl[erleTravisandChetAtkinsisworthchecking out JenAReed, lhomSFesh andTommy Emmanuel arealsoEreatadistst0 listento.P€rhaps thegreatestdartingpointwouldbet0 checkoutsomeold footage ofilerlehims€lf andthenwatchCh0tAtkinstsaching DVD t0 seethstechnique b0thclose upandsl0vrod down. 42 GuitaxTechniques August2009

{d

Here'sMerle playing his ostentatiouslyequipped cibson suDerlbo CEs

Augun2009GuitaxTechniques 43

oNTHEcD@ rnacxs rs-ro

Thisone is designedto easeyou into the techniqueasa bassnote and a G Mixolydianmelodylineare both playedtogetheron the beat. lBar 1l Simpleasthisis,rememberthatbassnotes{sixth,fifth and fourth strings) aresupposed to be palmmutedwhilsteveryth in9 on thethird, secondand first stringsis allowedto ring out.

lBar2l Bythe time the fretting fingersare onto the first stringyou mayfeela bitofstretch betweenthe fingerfrettingthe ba55note and isessentialto thefingersdoingthe melodywork- thisseparation the technioue.

E B G D E

A littlebittrickier-thesamescaleshapeandbassnotesareusedbutthis pull-offsand syncopation timethe melodylinefeatureshammer-ons, (notesnot playedon the beat).

here. [8ar 1]Thehammeron isthe realchallenge [8ar 2l Payattentionthe syncopatednotes lBar 3l Nowthe challengeisto playthe pull-offcleanlyand in time.

B G D E

We'vechangedkeynow.Travispickingworksbestin keyswith open strings(fewernotestofret)but you do wantto be ablelo playin any key. [8ar ll5hifting to E,now therearemorehammer-onsand syncopated

notesto dealwith. lBar2l As before,butthistime with pull-offs. [Bar3l And nowwith pull-offsand hammeFons...

E13 |--Tl.i|-l-l-

-lf

d

Ptubassnotesf throughoul

E B

-l

-

f

f7

tr

\f

frl

rl')

fJ

f'-

o E

ThistakesthesameideaasExercise 3 butwith one subtledifferencethat canbea realchallenge-the basslinenowgoesfromthe sixthstringto the foufth, to the fifth to the fourth... )=145

lBar 1l Playthisfrom a full Echordshapeasyou now haveto contend with a slightlydifferentbassline (notthe B onthe 2nd freton the fifth stnnoi.

E13

T-T-r|-l-|-l

' E B G o

r[ PM bassnotes f I ihroughout

E

44 GuitarTedmioues Auoust2009

f I

f

r

'rrr

:-.i

= ff

rtl

1

f

f--l

J

t

TRAI|T$ PtCKtl{0 Nowwearegoingto expandalltheideasfromthe previousfourshort exercises. Thistime in the keyofC we will buildsomelargerchord voicings thatwillforcethefrettinghandto movearound. [Ba] 1l Startingoffquite strai9htforwardly we are simplyplayingaround an ooenc chord. lBar9l Adding someextranotesto the chordshaperequiresmorework on the pickingandfrettinghand remembertomutethebassstringsand

letthe melodynotesreallyringout. needtoemployafirstfingerbarre lBar131MovingtoanFchord,youwill frettingfin9ersto on thefrettinghandwhilst5tillmovingthe remaining get allthenotesin place. lBarl5lAndthefinalinsult-atripletrunonbeat2forwhichyoushould betweenthefifthand u5e'pim'(notethe basslineis nowalternating fourth,and sixthand fourth strinqs.

E B D E

C addg/G

I

daf-t

r,

-f

rr

rf

att

,r

tl

,r

Caddg/G

'.tl

'r'

?l-l

'r'

E B D E 6

F7add5

d?

rr

t'l

I

=l=

rr

i=

t

B G

Thingsget a little trickierhereaswe incorporatea descendingbassline -to addto thiswe aregoingto usethe frettinghandthumbon someof thesenotesaswell, [8ar 2] Usethefretting handthumb forthe F#bassnote (2ndfret, sixth Thiswill makeplayingsomeofthe chordseasierandisa device string), Travis usedhimseli lBar4lStillusingthe thumbtofretthe F#meansthatyoucankeepthe

)-t6O Am

rrc+ P[,4bass noresrhroughour

FlmT

FmajT

+

.+

$r

\7

secondfingerofthe fretting handon the 2nd fret of the fourth string, makingit easierto movebetweenthe chords. progression5 areanotherhallmarkof [Bar7l Juicychordsandinteresting go exactlywhereyou Travis's style,andthingsdon'talways expect. alsoverycommon to findwhatwethinkofaslazzchords'in lBar141lt's thisstyleof playingsoa detailedstudyofTravispickingwill alsoexpand vour chordvocabularv,

G6

rf

rf

F[m7

FmajTaddo

,' qr rr

rl

rl

E B D E

45 August2009GuitaxTeclmiques

oNTHEcD$ rnlcxs rs-rs

"ilitqit

I rI r r

1t r

E B

-t-l

r

tt-l

f

D E

Flm7F5

FmaiTadd6

tt E B

r r

,= [ nrl

FIm7

Gtlb9

=

r' r

[

Here'sone with a slowet swingfeel.Againwe havethosejazzychordsto getto gripswith.Traviswould often movenotesaroundin a chord50thi5 exampledoeslikewise,totestthe fretting handa little more. pickinghanda lBar1]Watchoutforthetripleton beat2.Thiswilltestthe littlefurtherAlso,playthisonewith a lilting,swingfeeltoit, string,4thfreo movesup to an E lBar2l Youwill noticetheD#(second

r'l

r #-'r

rl

(secondstring,5thfret)so it'sallfrngerson deckfor thesetypesofchord! IBar8l Anotherdominant7 chordwith oneofthe notesmoving,thistime it's descendingby a semi tone on the secondstring. lBar'l5l And finally,a dominant7 chordwith notesmoving both up and down to reallykeepyourfretting handfrngersbusy!

E B G D E

c6/9

r

E

A7{5

'l ll n-:l

JrfI J'] t

r

I

G13$5

Dm9t5

JrJ

r

r

r

(

E

B6/9

c6/9

c6/9

F6/9no3rd G13b5

:T_I J -

a)

I

?

-l

r, lt'r

E B G D E

4.6Guita.fleciniquesAugust2009

tl

,r

w1t-

rL

I

I

6

Th;sfinallickis reallyinfluenced byJefiyReed andBrentMason and showcases the moreuptemposideofthisstyle- a fastlicktobeginwith andthena funkyReed-esque riffbasedarounddouble-stops with an alternating bassIine. lBarllTravispickingis not allaboutpluckingchordsandbassnotesthereareplentyoflicksinvolvedandthisone isdesigned to getyour

fi ngersmovingall overthefretboardbeforethe riff begins. areplentyofintervals ofsixthsin Travispicking(andcountry IBar4lThere in generall. [Ba]61Here'sa fastarpeggiatedpatternfeaturinga realReeddevicegoingfrommajortominoronthe samechord(checkoutThe Claw). with the alternatingbass. lBarSl Nowthereare pull-offsto synchronise

E B

E

E G E

ATIE

a

f-

A7add6

4

J

Am6,/E

l

7

ATaddG

J

fI

E7lGfl

Amo/E

I

f--

J' r-

E G D E

9

Dsus2sus4

I

'rl

fT--r +

r-=+ht -1-

f

E B G o E

13

Augusr 2oo9GuitalTechniques 47

f-T$ff tt$$01'l$ ONTHECD:TRAaK5l0 25

3O-MINUTE LICKBAG

50

BIMN{ Brightons BA (Hons) coulse leader Scoll N4(Cill .ontinrc: his quick licks .eries ONTHECD:TRACKS 16-10

BLUES

52

John Wheatcroft introducesthe man many consiclerto be SRV'.S true heit Chris Duafte ONTHECD:TRA.[:]I ]] Martin Coopergivesus Led Zept mean and magnificerltaxe-nlan Jimmy Page ONTHECD;TRAaK514 39

GUITARESSENTIALS .Ion Bishop brings harnnrer-onsand pull-offs to thc guitar essentialstabie

GianlucaCoronashowsyou howto get the style ofa true prog genius,Todd Rundgrel ONTHECDiTRACKS 42s5

METALBOOTCAMP

68

M cl t i n C o u l d i n gb r i n g sl w o - h a n dl a p p i n Bt o the paradeground - atten.-.shunl FUNNY ISN'T IT: we're exposed to so much great music these days (thanks GT!) that we can't help but want to playbetter across moie styles, with often very little time on our hands to achieve our desires. Frustrating isnt it? Moreso, we may equate regular long practice sessions with solid development - one hour plus a day is hardwon (ifatall) amongst regular work and family matters.

segments a dayis asbcneffcial as a one-hour session broken into fifteen rninute breaks. Indccd, spieading out your sessions during the day may a

?I P i c kt h e n o t e w h i l el i g h d y t o u c h i n gt h e n i n g d i r e c t l y overthe fret indicared.A

I Fr€tthe note asshown, t h e nl i g h t l yp l a c et h e i n d e x f i n s e ro v e r ' xf r e t ( A H ' x) a n d p i c k( w i t ha p i c k ,p o r a ) .

(AKAWHAMMYBAR) VIBRATOARM @ IEE@

a T h e n o t e i s p i c k e d ,t h e n t h e w h a m m y b a r i s r a i s e da n d lowered to the pitches shown

l S c o o p- d e p r c s tsh e b a r j u n beforestrikingthe note and release.Doop lowerthe bar slightlyafter pickingnote.

! Fretthe note asshown, b u t d i g i n t ot h e s t r i n gw i t h t h e s i d eo f t h e t h u m ba sy o u soundit with the pick.

I A previouslysoundednote is touchedabovethe frct m a r k e d T C (He g T C H9 ) t o

I Fretthe note asshown,but s o u n di t w i t h a q u i c kr i g h t hand tap at the fret shown ( r n r / , r o ra n a r m o n r c .

CAPO

@

@

@@

I N o t es u n a i n e dt ,h e nt h e v i b is depressedto slack.Square brack€tusedif a long-heldnote h a sn e wa l t i c u l a t i oanp p l i e d .

l Soundthe note and'flick' the tremolo bar with picking h a n d s o i t ' q L r i v e 6 : R e s u l tisn a 'gargling'soundl

I A capocreatesa new nut, s ot h e a b o v ee x a m p l eh a st h e g u i t a r ' s ' l i t e r5atl h f r e t n o w a s the 3rd fret.

OTHERTECHNIQUES

@

@

I The edge ofthe pick is draqgeddown or up alonq t h e l o w e r s t r i n g st o p r o d u c e a

lTurn volumecontroloff, s o u n dn o t e { s ) a ntdh e nt u r n vol up for a smoothfade in. Called'violiningi

@

I Thenumbersafterthe noresarethe frngersrequired t o p L a yt h e f r e tn u m b e r si n

I Fingerpickingrequircmenls are shownat the bottom of

r T a p ( h a m m eor n ) w i t h a f rn g e ro f t h e p i . k i n gh a n d onto the fret markedwith a c i r c l eU. s u a l lw y 'th'i'or'm:

Auqusr2oo9GuitarTechnioues 95

Guitarlechniqu B A C K I S S U EE N Q U I R I E S Pleasecall:0844848 1602 on co.Lrk EmaiIg! rarre.hniq!€s@5Lrbscript

suBscRtPTloNs 2852 Phoneour UKhotlineon: 0844848 n

/m,fdotr

'_do"

['

o

www.musicradar.