Descripción: Guitar Techniques September 2015...
the finest guitar lessons on the planet 247 SEPTEMBER 2015
play like the legendary...
carlos Santana
Learn what makes this iconic guitarist so special - master his rhythm and lead styles today!
JOHN RENBOURN 8-page tribute to a fingerstyle genius
style studies
ERIC CLAPTON
Acoustic style explained
GUNS N’ ROSES
Play like the brilliant Slash
JOHN MAYER
His bluesy side exposed
Jim Mullen
Thumb picking jazzer
CHICAGO
Classic soft rock
TRANSCRIBED
Classical
Fernando Sor’s Study In C tabbed for solo guitar
classic TRACK tabbed!
ALLMAN BROTHERS Statesboro Blues
Learn this guitar extravaganza from Duane Allman & Dickey Betts
ISSUE 247 september 2015
Just some of your regular GT technique experts... Steve allsworth
A most versatile player, Steve has played with Ronan Keating, Lulu, Rod Stewart, Westlife, LeAnn Rimes and Lily Allen. He also teaches rock at BIMM Brighton.
Shaun Baxter
One of the UK’s most respected music educators, Shaun has taught many who are now top tutors themselves. His Jazz Metal album is considered a milestone.
jon bishop
Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease!
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.
les davidson
Les has worked with Mick Taylor, Rumer, Jon Anderson, Pete Townshend, Tina Turner & more. He also runs a recording studio and teaches at BIMM London.
charlie griffiths
Guitar Institute tutor Charlie first came to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s top rock, metal and fusion guitarists.
phil hilborne
The UK’s original magazine guitar tutor, Phil’s something of a legend. A great player, he’s currently touring Europe with the Champions Of Rock show.
pat heath
BIMM Brighton lecturer, ESP product demonstrator and all-round busy musician, Pat brings you six cool licks each month in 30-Minute Lickbag.
the
finest
guitar tuition you can buy !
Welcome THIS MONTH WE have a triple artist focus, all very different styles, feels and genres. First is a man who has been on top for decades. He shot to fame with a set that took Woodstock Festival by storm. His liquid style sounded like nothing we’d heard before and his band’s Latin rhythms had the vast crowd dancing in the mud. Yes, it’s Carlos Santana. And while Carlos does divide opinion, who can deny a career that spans six decades, 10 Grammys and album sales that top 100 million? That his recent works, Supernatural and Shaman are among his most successful of all is testament to his generation-spanning appeal. Phil Capone looks at Carlos’s unique style, covering Latin rhythms, bending and picking, tone, choice of scales and more; all ending up with a final jam that you can learn in its entirety, or use to practise your new Santana licks! Our recent ‘jam’ feature got us thinking of the American bands that inspired that great nation to take up blues guitar and which, in turn, were the key to discovering their own original blues artists. Bands like The Allman Brothers (with Duane Allman and Dickey Betts) and The Paul Butterfield Blues
Band (with Michael Bloomfield and Elvin Bishop) were the US equivalent to John Mayall’s Bluesbreakers, Fleetwood Mac and Cream, and made stars of these players just as Mayall had done. Steve Allsworth offers a faithful take on one of the group’s greatest tracks: the powerful Statesboro Blues in which Allman and Betts both display their genius. When acoustic fingerstyle giant John Renbourn died in March this year we were determined to honour this wonderful musician with a full feature on his playing. We asked Stuart Ryan to come up with something special; Stu has done us proud with a lesson that shows just what made Renbourn so respected by his peers and fans alike. So enjoy these articles and this issue’s other great lessons and features. WIN! You’ll also notice an amazing competition to win thousands of £££s’ worth of group gear. Open to UK residents only, it’s an amazing chance to kit your whole band out with top-of-the-range gear. Please do enter - and I’ll see you next month!
Neville Marten, Editor
[email protected]
Don’t miss our amazing digital edition Guitar Techniques’ digital edition is now even better!
david mead
As ex-editor of both Guitarist and Guitar Techniques magazines, and author of top-selling tutor books, David is the perfect choice as Theory Godmother.
bridget mermikides
Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.
COVER PHOTO: BOB KING / REDFERNS / GETTY IMAGES
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.
john wheatcroft
A phenomenal guitarist, John is a master at all styles but a legend in Gypsy Jazz. His new album Ensemble Futur is out now on iTunes and Amazon.
Tap the links
Finding your way around the magazine is easy. Tapping the feature titles on the cover or the contents page, takes you straight to the relevant articles. Any web and email links in the text are tappable too!
Animated tab & audio
Songs and lessons have the audio built in, with a moving cursor showing you exactly where you are in the music. Simply tap the ‘play’ button then you can fast-forward or scroll back at will.
Play the videos
Certain articles have accompanying videos full of useful insight and additional information. Once again, tap the play buttons to enjoy video masterclasses on your iPad or smartphone.
PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can also find us on www.zinio.com (Please note: Zinio editions do not have interactive tab or audio).
September 2015 GuitarTechniques 3
INNE FOR W CKLI
A BA YOUR BAND
Worth over £14,000
• C ON T E N T S • SE P T E MBE R 201 5 •
p36
Learning Zone Lessons Introduction
51
30-minute lickbag
52
GT’s music editor Jason Sidwell introduces another action-packed lessons section. BIMM’s Pat Heath has six more great licks at easy, intermediate and advanced levels.
blues
54
rock
58
CREATIVE ROck
70
chopS shop
76
HARD ROCK
78
jazz
82
Acoustic
88
music reading
92
Les Davidson looks at a player who tops the pop charts and plays killer blues – John Mayer. Martin Cooper examines one of the mightiest of US bands: Chicago and guitarist Terry Kath.
Shaun Baxter continues to explore his stringpair cells – this month, it’s larger note groupings. Andy Saphir introduces a great scale for blues, jazz, rock and country: the Mixolydian mode. Charlie Griffiths continues his new series with a look at those bad boys of 80s US rock – the brilliant Guns N’ Roses and guitarist, Slash. John Wheatcroft unravels the unique thumb style of Scottish jazz legend, Jim Mullen.
COVER FEATURE CARLOS SANTANA
Stuart Ryan looks at the acoustic side of a blues and rock icon – the one and only Eric Clapton.
14
Santana is one of the most recognisable electric guitarists on the planet. Phil Capone analyses every facet of the great man’s style.
FEATURES
Charlie Griffiths continues his series with more full pieces for you to tackle.
VIDEO MASTERCLASS
REGULAR FEATURES Welcome 3
transcriptIon #1
Nev discusses this issue’s triple-pronged attack.
THE ALLMAN BROTHERS BAND Statesboro Blues 26
Steve Allsworth dissects a brilliant track from this legendary band with inspiring slide from Duane and cool regular solo from Dickey Betts.
SPECIAL feature #2 JOHN RENBOURN TRIBUTE Farewell to an acoustic legend 38 Stuart Ryan looks at the styles that made John Renbourn such an influential player on the world’s acoustic fingerpicking scene.
talkback
7
Theory Godmother
9
In your own words...
NIGEL PRICE, Part 1
62
This amazing British jazz guitarist astounds with his first video masterclass on chord melody.
Fingers in knots or brain tormented by some unfathomable musical conundrum? Then let Dave Mead be your Theory Godmother.
Intro
10
Subscriptions
68
BACK ISSUES
94
60 Seconds, Session Shenanigans, One-Minute Lick, That Was The Year and Hot For Teacher. Save time and money – get GT delivered! Missed one? See how you can get it – here!
Albums
transcriptIon #2 FERNANDO SOR Study In C
95
New guitar CDs and DVDs reviewed and rated by our very own Roger Newell.
46
Bridget Mermikides arranges and transcribes another of this great Spanish composer’s etudes for solo classical guitar.
Next Month
98
Sort Out Your Picking; Parallel Worlds (major and minor); The Snack, My Sharona; Brian May, Van Halen, Buddy Guy, John Lennon and more.
Spring 2015 GuitarTechniques 5
Post: Guitar Techniques, Future Publishing, Ivo Peters Road, Bath, BA2 3QS. Email:
[email protected] using the header ‘Talkback’. JAMMY GENERATION
ISTOCK
Your recent editor’s letter about the days you used to jam endlessly with a friend (GT245), really struck a chord with me as I’m sure it did with many readers. When I started playing (this is not a sob story, just the truth), we had no guitar magazines that catered to our tastes; videos and DVDs weren’t invented, guitar books were rubbish with all the songs in F and C (even Stones songs that I knew were in A and D), and no one taught modern rock, pop or blues guitar. The only way a whole generation learnt to play – and that will include the Gary Moores, the Joe Satrianis and so on – was to knuckle down with a record player and slog at it, trying to figure out what you could just by listening. If you were lucky the band you liked were on Thank Your Lucky Stars, Shindig or Ready Steady Go, and you might just get to see where their fingers went. Usually the cameraman was doing pretentious angles, or focusing on the bass player during the guitar solo! The light at the end of the tunnel for us was those jams with your pals, comparing licks, laughing at each other’s wrong chords and basically striving to get better together. I don’t know if any younger readers have written in with their stories, but I’d be interested to know if our culture of learning still exists today in any form. Or, as with seemingly every other pastime, it’s turned into a solitary event that usually involves laptops or mobile phones. If that’s the case I feel sorry for the generations that are missing out on such a brilliant social, educational and enlightening way to spend their formative musical years. Bill Padstow It is indeed a different world now, Bill. Learning an instrument has never been easier, what with schools being more focused on music, parents wanting their kids to succeed in ever-broader areas and willing to stump up for extra-curricular activities such as guitar lessons. Not to mention YouTube and
the various teaching websites to which people have access. Back in my day, a few kids I knew had piano lessons, but most saw this as a form of purgatory – like learning poetry. Actually, we’ve had no letters from young people saying whether they get together and jam or not, but I’d love to hear from any that do. Perhaps genuine human interaction is not dead yet!
INTERESTING INTERVALS I loved the feature on using chord intervals in blues (GT244). I think I got more out of that than any lesson from anywhere in a long time. People always talk about homing in on chord tones but I never really knew what they meant. With this feature the penny dropped well and truly. I suppose like many older readers I’d noodled around for years, having gained a degree of fingerboard dexterity and a sort of understanding of scales but I never felt my solos went anywhere. Then I’d hear other guitarists, seemingly using the same notes as I was, but making their solos make sense and sound fantastic. Going through Jon Bishop’s examples the light went on – target the prime notes in the chords as they change! It means you need a better understanding of the licks you are playing, and where they are going, so you can ensure you do land on a good note. It didn’t take long before I started to get the hang of it. This single lesson has moved my playing on dramatically. So, thanks, Jon – and thanks GT! William Donovan Whenever I’ve done any kind of teaching, such as IGF or GuitarBreak weekends, this has been the major problem for most students – especially those in the older age
Jamming together is a great way for all of us to improve
ranges. Often people are told, ‘Use such and such a scale over such and such a chord,’ but this doesn’t get to the heart of the problem since, while the scale may indeed work, it still falls to the player to choose the best note, and put it in the best place at the best moment. Any note in D minor Pentatonic (D-F-G-A-C) will work over a D minor chord, but in the context of a piece of music that’s moving in 4/4 time the D, F and C will sound strong when played on the beat, and the G and A less so. But you also have to create a shapely lick or line in which strong notes do then land on strong beats. You need a mental road map on which you can plot the licks you are playing so this ideal situation is achieved. Something simple on paper becomes more complex in practice because so many external forces enter the equation – experience, taste, technique, musicality (or lack of it), choice of notes, and so on. The best advice I can give is that practice, and using your ears more than your eyes (ie listening rather than relying solely on tab), is most likely to yield the results you are looking for. I’m glad Jon’s article was the catalyst to your becoming the player you want to be.
DON’T KNOW OUR PIANOS FROM OUR FORTES Hitting a chord tone on a strong beat is a good place to start
First off I applaud your publication. I really appreciate the content and viewpoints and I try to take in everything I can each month. At my age, I don’t
have the rest of my life to get better gradually. As a result I really like to work from accurate and precise information. In the June issue of Guitar Techniques, in the article Dynamics and Articulations you have a large bold quote: “The first method of denoting the volume of a piece or a section is by using the letters p and f – piano and forte, or loud and soft’. However, in the article it states: ‘The first method of denoting the general volume of a piece or a section is by using the letters p and f. These are the initials of the words piano and forte; ‘p’ means soft and ‘f’ means loud…’. I don’t mean to nitpick, as I really do like what you put out, just wanted to let you know that you had a small slip-up. Thanks again for a wonderful publication and keep up the good work. Danny White Oh dear, Danny! It looks like one of those cases where someone didn’t write what they meant to (probably me since I usually select and create the pull-out quotes). The various people who read the article after that, didn’t spot it either. So slapped wrists all round and thanks for spotting the mistake – ‘piano’ is indeed soft, and ‘forte’ loud, in case there’s still any confusion. And, as I’m sure you all know, it’s the reason the piano-forte is called the piano-forte, as its pedals and touch sensitivity allow it to play both loud and soft!
September 2015 GuitarTechniques 7
Q&A
Theory Godmother
Post your posers and teasers to: Theory Godmother, Unit 5, Pines Way Industrial Estate, Ivo Peters Road, Bath, BA2 3QS; or email me at info@ davidmead.net – your every wish is Fairy Godmother’s command! Intruder Alert! Dear Theory Godmother I was looking through a songbook the other day and I found a song in the key of G that includes the chord F#7. I know that F#7 doesn’t belong in the key of G and so I’m wondering how you’d approach soloing over this change. The rest of the song appears to stick to the chords in the key of G but this oddball change seems to upset my attempts to play over it. Any advice would be greatly appreciated. Dave I’ve outlined the changes you sent me in Ex 1 and, yes, the F#7 really does impose itself as a visitor in an otherwise G major chord sequence. Normally you would solo over the Gmaj7, Am7 and Bm7 using a mixture of scale and chord tones and if we wanted to look at the pure vocabulary available, it would take the form of G Ionian, A Dorian and B Phrygian (Ex2). So for three out of the four chords, you’re on pretty safe ground if you just stick to the G major scale. As you know, the trouble begins when we hit the F#7; in Ex 3, I’ve outlined both the chord and the G major scale it’s visiting and you can see straight away that the note F# itself is native to G major, but both the C# and A# present a problem. My simple solution is not to look at a relative scale for the F#7; as the chord has only a fleeting presence in the sequence anyway, the first place to look is at the chord tones themselves. I’ve written out an F#7 arpeggio in Ex 4 and as you can see, it includes the notes F#A#-C#-E. If we treat the whole sequence as a line of arpeggios, we will begin to hear the effect you want to achieve (Ex 5). It might not sound too much like a solo, but it’s accurately outlining the chords and getting the point across. The next thing to do is to get those arpeggios under your fingers using a backing track so you can hear everything falling into place. Then try some experiments: alter the rhythm, play extracts from the arpeggios, mix in some notes from the G major scale on the G, A and B chords and if you work at it, you should begin coming up with something like Ex 6. It might not be too elegant, but it’s bang on correct!
EXAMPLES 1 – 6
GUITAR TECHNIQUES MAGAZINE 2 4 7 Ex 1 Ex 1
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Theory Godmother - David Mead
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Dear Theory Godmother
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Name That Tuning Dear Theory Godmother
Having just begun to explore the world of acoustic instrumental music for myself, I am amazed at how many players seem to have moved away from standard tuning in favour of alternatives. Some of these I can understand, like tuning to a chord obviously makes sense for certain pieces and even DADGAD is fathomable in this respect. But players like Andy McKee, Antoine Dufour and
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I know you’ve been asked this before, but what are your views on a guitarist today learning to read music? Is it really necessary or just purely a nicety and not really that vital? I ask because my teenage son seems to be deadly serious about pursuing a career in music and he is putting up a lot of resistance regarding learning to read. Bob
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guitarist knows that we are limited in terms of close harmony or some interval stretches, so often the solution is to retune the strings to make life easier. Sometimes it might be a question of dropping the bass strings from E and A to D and G, and the difference is immense in terms of fingering. On other occasions, I think adopting an unorthodox tuning can present a challenge and has the effect of freshening up your musical perspective. With the strings retuned in an abstract way, it forces you to explore the landscape anew and this is often all you need to spark a great idea.
5
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so on seem to choose the weirdest tunings for their music, some of which make no sense at all. So where do the acoustic’s wilder tunings originate? Ross Obviously, it’s difficult for me to get into these players’ heads, but I think that you can look at the wilder tunings in two different ways. If you’re writing a tune away from the guitar, it’s easy to come up with something that’s very difficult to put onto the fretboard. Every
Had you asked me this 20 years ago I might have replied that it can’t hurt to acquaint yourself with music’s written language. Even if you just master the basics it can provide information above and beyond the numerical sequences of tab. These days though the situation has changed. The music industry isn’t what it was and it’s often the case that freshly-graduated guitar students have to teach to subsidise their income while exploring available gigs; plus many guitarists look towards work in pit orchestras or other situations where a good reading ability is essential. Competition for work in music that will pay enough to live on is far more fierce than it was when I entered the profession many years ago. It’s very much a question of only the most wellequipped players finding the best jobs. So why not explore the idea of your son attending one of the many guitar schools out there? A quick Google search will reveal them to you and all are well aware of the skills necessary to enter the world of professional guitar playing. Tell him he needs to read!
September 2015 GuitarTechniques 7
60 Seconds With...
Just one short minute is all it takes to find out what makes a great guitarist tick. Before she jumped into her limo for the airport, we grabbed a chat with exciting Finnish blues and slide guitarist, Erja Lyytinen. GT: Do you have a type of pick that you can’t live without? EL: When playing slide I get a louder sound with Dunlop fingerpicks. I use a thumb pick and a middle-finger pick. I need fingerpicks to be able to play Travis picking style with heavy gauge strings. When playing regular guitar, I use a red Dunlop Jazz III. It fits my small hand well and makes my playing precise.
GT: Who was your first influence to play the guitar? EL: My Dad. GT: What was the best gig you ever did? EL: Opening for Robert Plant in 2001. It was just a girl and a guitar – scary, but so cool! GT: And your worst playing nightmare? EL: In Sweden, a huge biker festival. The crowd was nice, but the weather was horribly cold – two degrees C in the summer. My fingers really hurt.
GT: If you had to give up all your pedals but three, could you do it and what would they be? EL: Fulltone Clyde Standard Wah-wah. In addition to the wah sound, you can leave the pedal in different positions to get this nasal sound. TC Electronic Flashback Delay with Looper, so many pre-sets to have fun. Delay adds a feel of sustain to playing. Mad Professor Mighty Red distortion. I rarely play without distortion. GT: Do you play another instrument well enough to be in a band? EL: I play some bass and drums. I also play keys and I’d love to someday be able to record some standards – just a woman and a piano. I made the horn arrangements on the Sky Is Crying album using a piano, so it is an essential instrument to me in that respect too.
Jani Mahkonen
GT: If a music chart were put in front of you, could you read it? EL: Yes definitely! I got a Masters degree in music from Sibelius Academy, Helsinki. It’s a very basic but important skill.
Play what you feel. When you’re on stage, forget what you’ve learnt; scales, fancy chords. Feel is so important. 10 GuitarTechniques September 2015
GT: What’s the most important musical lesson you ever learnt? EL: Play what you feel. When you’re on stage, forget what you’ve learned; scales, fancy chords etc. Feel is so important. GT: Present company excepted, who’s the greatest guitarist that’s ever lived? EL: Jimi Hendrix was just phenomenal for his time.
Erja Lyytinen with sparkly G&L ASAT and Monster amp
GT: Do guitar cables really make a difference? What make are yours? EL: Yes they do. My pedal board has been built with George L’s cables. Sometimes I use a wireless system though and then it’s Stage Clix, which hardly changes the original sound, but boosts it a bit. GT: Is there anyone’s playing, of which you’re slightly jealous? EL: Eric Johnson and Pat Metheny both have a brilliant sense of melody. They’re amazing soloists and composers too. Sonny Landreth has his own unique style. GT: What’s your favourite amp and how do you set it? EL: I used to play a lot with
Monster Amps (Finnish), but recently bought a 135-watt Twin Reverb from 1975. Volume and gain both 5.5, spring reverb at 3, not too much bass.
GT: What kind of action do you have on your guitars? (Any particular quirks etc?) EL: I use a high action. Standard guitar action 2.0 mm at 17th fret and on slide guitars it is 2.5mm. GT: What kind of strings do you use? Standard guitar, it’s D’Addario .010-.046 and when playing slide, I use .012-.052 and change the highest string to .015 to get a thicker sound.
GT: Is there a solo you really wish you had played? EL: Mike Stern on Little Shoes. He has got the blues – until he shreds it to 36 million notes. GT: What’s the solo or song of your own that you’re most proud of? EL: Song: Grip Of The Blues; it has some nice chords, a deep story and lots of wah-wah distorted guitar. Solo: The Sky Is Crying – there’s the Elmore legacy and it keeps growing. Erja Lyytinen’s Live In London album is out now on Tuohi Records. Her nationwide 13-date UK tour starts October 2nd at the Darlington Blues Club. For further information on Erja Lyytinen, visit: www.erjalyytinen.com
EMILE HOLBA
F is for Freelance It has been noted by many a wiser mind than mine that Homo sapiens is a creature of habit. In the main, the average sentient being appears to find comfort and solace in the security of a defined routine. It might be only the employment of the same numbers when purchasing the weekly lottery ticket. The order and certainty of a regular job. The weekend shop. Or reading The Daily Mail on the weekday commuter run. Or a newspaper. The crossword. The inevitability of yet another ridiculous home defeat at White Hart Lane. All this and more helps to create the illusion of permanence and continuity in a wicked world, which in reality has the capricious capacity to cause upheaval and chaos on a whim. In this respect, the life of a self employed musician is no different to that of any other individual in a freelance profession. And, if you’re a big fan of certainty, well maybe it’s not for you. In a nutshell, unless you find yourself temporary shelter from the stress storm in a West End show, a lengthy tour or a permanent teaching position, you simply have no idea of what or who is going to happen next. If anything. The phone may ring. Or it may not. Colleagues and artists, contractors and companies, studios and concert halls drift in and out of focus in a kaleidoscopic, dream-like state. You may wrestle
Mitch Dalton’s
Our hero ponders the joys and fears of session work; and proves that good contacts are vital...
with the diary in a desperate attempt to force clashing dates to fit like the ugly sisters’ shoes. Or you may gaze at a week-to-view page that is as pure as the driven snow but with a tenth of the charm. You may work for days or years on end with a team of hand-picked musicians – and then you may not work with them again. Ever. It happens. In the end, you, your fingernails and your duodenal ulcer learn to cope with it. With luck and a fair wind, you stumble upon a nucleus of kind souls who find your musical contribution acceptable, useful and to their taste and are prepared to tolerate you hanging around their projects. Sometimes they even pay you. Eventually, you discover that there is a sufficiency of these sainted individuals. Enough, in fact, to provide you with the means to eat
on a regular basis, most weeks at least. And in essence, that’s about all you can hope for. It’s called a career. And then, some of these inconsiderate ingrates have the temerity to die. Or worse still, to retire. Or start to use their 21-year-
In the main, the average sentient being appears to find comfort and solace in the security of a defined routine. old girlfriend instead of you. Or a sampler. Or a girlfriend who owns a sampler. And you soldier on, manfully. Well, there’s no alternative, is there? I mean, who’d want to leave showbiz? All of which leads me to this month’s Star Tale Of The
Unexpected. In the midst of feeding the coffee and pouring the cat one average morning, the phone rang hopefully. It was Keith Mansfield. The king of TV theme tunes himself (think Grandstand, The Big Match,Wimbledon Tennis and a list of credits as long as an NHS waiting list). I last worked with Keith about 15 years ago. He is semi-retired these days but composers and arrangers like him never quit. They merely check their royalty statements. “How would you like to come down to Sussex and play on an album next week?” “Sure. Delighted. Who is the artist?” “Salena Jones.” A lady who I last saw a mere 25 years ago at the airport after our return from a three-week tour of Japan. And a great jazz singer. “Well. We’re married now, as you probably know. So I’ve written all the charts. See you next week!” And that, ladies and gentlemen, is living proof of the old adage first coined by a Mr C Berry of Memphis, Tennessee.“It just goes to show – you never can tell.” By the way. I went to Sussex. The sun shone all day. The tunes were fab. The arrangements were super slick. The food was Delia-esque. I had a ball. Wot? Give up showbiz? Mitch Dalton is one of London’s busiest and most sought-after session musicians. His latest album, Mitch Dalton & The Studio Kings is out now. For more info go to: www.mitchdalton.co.uk
PHIL HILBORNE’S ONE-MINUTE LICK Legato Chromatic Arpeggio the same fretting finger – very Van Halen! Be careful not to One of the easiest ways to spice up your arpeggio licks is to rush the timing of the chromatic notes, but sound them all add chromatic passing notes between the chord tones. Here I as cleanly as you can. Also be aware that during the sliding have achieved this simply by playing all the notes that occur section it’s easy to mis-fret, so watch your fretting-hand between the 5th (D) and 3rd (B) of the G major arpeggio – accuracy. As always, aim to develop further ideas of your beats 2 and 4 of bar 1. Notice that, as this arpeggio is played MAGAZINE 247 ONE MINUTE - aby Philstarting Hilborne own – good point would be to investigate the fouroverGUITAR an AmTECHNIQUES chord, these notes function as 11th (D), major 3rd LICK LEGATO / CHROMATIC ARPEGGIO LICKthat occur between the 1 and b3 of minor fret chromatic ideas (!) (C#), b3 (C) and 9th (B) – creating a nice jazzy effect. Bar arpeggios and the 5 and b7 of dominant chords. 2 contains an ascending sliding phrase that’s all played with
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≤≤ ≥ September 2015 GuitarTechniques 11
That Was The Year...
1991 Astronauts, Airstrikes and Accidents
CHARVEL RELEASES THE ST CUSTOM, another Strat clone with a modern touch with super slim neck, cherry sunburst body, black hardware and a white pearloid scratchplate making this instantly eye-catching. Although equipped with just volume and tone controls it offers multiple sound options from the three pickups by way of the regular five-way pickup selector plus a three-way mini-toggle so all pickups can operate together as well as out of phase. BRITAIN IS HIT BY GALE FORCE WINDS and 27 people die as a result; the M40 motorway is finally completed providing a direct link through Oxfordshire to London; the government introduces Tax-Exempt Special Savings Accounts to promote personal savings; and Helen Sharman becomes the first British astronaut in space as part of the crew of the Soyuz TM-12 mission. ALLIED AIRCRAFT BEGIN BOMBING RAIDS on Iraq as the Gulf War begins. The strikes continue until a ceasefire is agreed thus halting the advance on Baghdad. Following the inquest into the Hillsborough disaster of 1989 a verdict of accidental death on the 95 people who died is reached, much to the dismay of the victims’ families. Miss Saigon opens on Broadway. RELINQUISHING THE MORTAL COIL are Freddie Mercury, Steve Marriott, Steve Clark (Def Leppard), Miles Davis, Serge Gainsbourg, composer Doc Pomus and legendary guitar builder Leo Fender. Meanwhile Leo’s former company launches the Yngwie Malmsteen Standard Stratocaster, the Jeff Beck Strat and the set-neck Telecaster. Rickenbacker celebrates the 60th anniversary of its electric guitar production with the 650A Atlantis guitar and the Chris Squire Signature 4001 bass. AFTER THE BUY BACK OF GRETSCH from Baldwin, production has finally got into full swing with guitars arriving in the UK at last. So what better way to start than with the 6128 Duo Jet and the 6131 Firebird. Identical in spec the red body surface of the Firebird has gold hardware and scratchplate while the Duo Jet sports chrome plating. They both look splendid and, although now manufactured in Japan, they still retain the magnificence and feel of the originals if not totally accurate reissues. It’s good to know that the company is firmly back in the family. ONE OF THE MOST UNUSUAL GUITAR DESIGNS EVER comes from Steve Klein with a radical body shape and a headless neck. Finished in Black or White the basswood body is conceived with comfort in mind for both standing and sitting; the neck has a smooth phenolic fingerboard and 24 frets. The three pickups are by EMG, two SA Hot Strat single coils and an 85 humbucker with coil-splitting abilities. The hardware is all Steinberger and it’s available with standard
trem or Trans-Trem, which allows you to set the tuning – so if you play a chord and depress the arm the notes shift together in parallel.
12 GuitarTechniques September 2015
Jam tracks tips
Use these tips to navigate our bonus backing tracks
➊ Shuffle Blues (C)
Instead of the usual V-IV-I in the last four bars (G-F-C), this track’s turnaround goes: V-bVI-V-I (G-Ab-G-C), thus ending on the V (G) in the last bar for a nice build-up to the next round. You’ll find that C minor Pentatonic scale (C-Eb-F-G-Bb) is a great choice for soloing over this track.
➋ Bossa Minor Blues (Gm)
For this light and breezy bossa nova feel track, use G minor Pentatonic (G-Bb-C-D-F) and G minor Blues scale (G-Bb-C-C#D-F) as well as G Minor scale itself (G-A-Bb-C-D-Eb-F). In order to really paint the colours of the chord progression, a great idea is to spell out the arpeggios of each chord as it comes around. Aim to make it sound musical though, and not like an exercise.
➌ Easy Jazz Vibe (Am)
This track has a great smooth jazz feel and so A minor Pentatonic (A-C-D-E-G) or Blues scale (A-C-D-D#-E-G) are great starting points over the Am7-Am7-F7-E7 chord progression with its typical minor jazz turnaround. If you want to try spicing things up with arpeggios, they are: Am7 (A-CE-G), F7 (F-A-C-Eb) and E7 (E-G#-B-D). Again, make them sound like music, not exercises!
➍ Funky Rockout (Gm)
This Red Hot Chili Peppers vibe track is a great platform for practising both rhythm and lead playing. It’s in three sections, and for the first and second sections try G Dorian mode (G-A-Bb-C-DE-F), while for the third section (Eb7 chord) Eb Mixolydian (Eb-F-G-Ab-Bb-C-Db) is a cool choice. Minor Pentatonic scales (Gm, Cm and Ebm respectively) will also work well if you use them to target chord tones. Jam tracks by Quist. For free scale maps and hundreds more tracks, visit www.quistorama.com. You can also subscribe to www.youtube.com/QuistTV to get all the latest free jam tracks & licks. Finally, you can also find Quist and his jam tracks on Twitter, Instagram and Facebook.
IGF Summer School: 10th-16th August
There’s still time for a last-minute booking at this year’s International Guitar Festival Summer School. Once again taking place at the beautiful Shrewsbury School in delightful surroundings, the courses offered include: Funk (Jason Sidwell); Blues (Gianluca Corona); Creative Acoustic (Chris Woods); Jazz & Beyond (Dario Cortese); Rock (Tolis Zavaliaris); Classical (Gary Ryan). All the tutors are world-class players and many of them are, or have been, associated with Guitar Techniques. A week at IGF Summer School with like-minded players of similar levels can be the most inspiring time any guitarist can experience. For full info and to book your last-minute place go to www.igf.org.uk – see you there!
HOT FOR TEACHER your RGT TUTOR Name: Malcolm Callus Town: London Styles: Rock, blues, metal, jazz, acoustic, country, flamenco, world music, etc Speciality: Metal and jazz Levels: Advanced, RGT grades to Diploma level (classical and bass to Grade 6) Sight-reading: Advanced Charges: From £8 group lessons up to £25 individual Special: Studio complete with audio and video recording facilities available Tel: 07983 868507 Email:
[email protected]
play: ROCK
ON THE CD
track 4-27
Santana Through the Ages Carlos Santana’s pioneering fusion of rock and Latin music has been thrilling audiences for five decades. Phil Capone explores the many playing secrets of this multi-Grammy winning guitarist. ABILITY RATING
Moderate/Advanced Info
Will improve your
Key: Various Tempo: Various CD: TRACKS 4-27
Authentic licks and phrasing Latin rhythm playing Picking dynamics
During the early 60s the bossa nova movement marked the beginning of a surge in the popularity of Latin music. By the end of the decade it had made its way into mainstream rock, spearheaded by Carlos Santana’s self-titled band. Santana’s fusion of Latin and rock was a million miles away from the easy listening bossa nova of the early 60s; it was more aggressive, often jammed and, of course, it featured Carlos’s loud, distorted guitar solos. Santana was a true visionary and pioneer. The first rock musician to create a signature sound based on traditional Latin American and Afro Cuban percussion. Carlos Santana was born in Autlán de Navarro, Jalisco, Mexico on July 20, 1947. His father was a Mexican mariachi musician who began teaching Carlos violin when he was just five years old. At the age of eight he turned his attention to guitar, again under his father’s guidance. By the mid 60s Santana’s family
Technique Focus Expressive picking To sound musical when playing with high levels of sustain like Santana isn’t just a matter of cranking up your amp and digging in, you’ll need total control over your picking dynamics if you’re going to get anywhere close. The best way to build this is to practise with familiar scale patterns so you can focus on your picking hand. Practise picking very lightly; this should sound like you’ve backed off your volume control. You don’t need to play fast, start at 80bpm playing eighth notes with alternate picking. Build your control so you can change your picking dynamic between strings and ultimately between notes. It’s all about building a technique with maximum control that will give you total freedom of expression, adding greater depth and musicality to your playing.
had moved to California and Carlos had been accepted at several Californian colleges. Instead he chose to move to San Francisco, where he endured mundane day jobs in order to follow his dream of becoming a pro guitarist. His bluesy, melodic solos didn’t go unnoticed and it was not long before the Santana Blues Band was formed. The group’s fusion of Latin and African rhythms, rock, jazz, and blues were an instant success. With the band’s name simplified to Santana, the group played a ground-breaking performance at the 1969 Woodstock festival, which led to their immediate signing with Columbia Records. Just a month later their self-titled debut album was released, featuring the first Top 10 hit, Evil Ways. Two further albums quickly followed, the multi-platinum selling
A lot of times, I can’t stand my playing. Other times, I can’t believe that it’s coming out of my fingers. Carlos Santana Abraxus in 1970, and Santana III in 1971. Santana III added a young (just 15 at the time) guitarist Neal Schon to the ranks. Schon would remain for the group’s fourth album, Caravanserai (1972) and then leave to form Journey. Caravanserai marked the end of the original Santana line-up; from this point the band’s personnel would remain fluid. This album also signposted a move away from the mainstream as Carlos began experimenting with jazzier, more harmonically complex, and primarily instrumental material. During this period Carlos collaborated with Mahavishnu fusion legend John McLaughlin on the critically acclaimed album Love Devotion Surrender (1973). Both were disciples of the Eastern guru Sri Chinmoy; the album was intended as a tribute both to Chinmoy and to the pioneering jazz saxophonist John Coltrane. The collaboration demonstrated the level of respect and trust
that these two virtuoso musicians held for each other. If you’ve never heard this album, do check it out. John McLaughlin’s extraordinary talent never overshadows Carlos; he holds his own throughout and at times even outshines McLaughlin. Santana continued to release albums throughout the 70s and 80s. But the group’s popularity was dwindling and, after two unsuccessful album releases in the early 90s, went into a period of hibernation. But in 1999 Santana released his 17th and best selling album, Supernatural. The brainchild of Arista Records producer Clive Davis, the recording featured collaborations with popular artists of the day and so introduced Carlos’s music to a new, younger audience. Supernatural sold an incredible 30 million copies and achieved 15 times platinum status in the USA, while scooping up no less than nine Grammys. The album ensured Carlos’s position as rock royalty at the beginning of a new millennium. Santana remains as popular as ever. His 2014 album Corazón features collaborations with some of the biggest names in Latin music. His guitar style is as melodic and expressive as ever. His unmistakable fat tone and unique phrasing puts Santana into the realm of guitarists who can be identified by a single note. He is one of the greatest living legends of the electric guitar and if you’ve never seen the great man live, do it. He and his band put on a sensational show!
Get The Tone 9
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Carlos’s distinctive tone is best achieved by setting your amp to a fairly high overdrive setting, selecting both the neck and bridge pickups together (for earlier tones), or just the neck (for later, thicker tones). Don’t forget to experiment with your tone control setting too – try starting with it backed off halfway!
TRACK RECORD Santana’s milestone singles include: Evil Ways (1970), Black Magic Woman (1970), She’s Not There (1977), and Smooth (1999). Recommended albums include Abraxas (1970), Amigos (1976), Moonflower (1977), Supernatural (1999) and Corazón (2014). Also check out his rather intense collaboration with John McLaughlin: Love Devotion Surrender (1973).
14 GuitarTechniques September 2015
GLOBE PHOTOS / ZUMA PRESS / ALAMY
CARLOS SANTANA STYLE
Carlos Santana with distinctive headband and PRS signature guitar
September 2015 GuitarTechniques 15
play: ROCK
ON THE CD
track 4-27
Example 1 Latin rhythms – heavy syncopation
TRACK 4
This style of phrasing, where the whole band plays unison rhythms, was up to ensure that your playing is locked tightly into the groove. If you a big part of the Santana band’s early sound. Use the alternate picking find this tricky, try clapping the rhythms first using a metronome set at a GUITAR TECHNIQUES 2 4 7 indicated, keeping your strumming arm continually SANTANA moving down and slower tempo. THROUGH THE AGES Ex 1 LatinTECHNIQUES Rhythms GUITAR
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247
SANTANA THROUGH THE AGES
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16 GuitarTechniques September 2015
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CARLOS SANTANA STYLE Example 3 Latin rhythms – unison riff
TRACK 8
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Ex 4 the wah-wah pedal partly open provides an unusual and very Setting Ex 4 vocal-like guitar tone. You’ll need to experiment exactly where the pedal Ex 4 Double-time groove G setting sounds best but try starting midway between open (toe down) Double-time groove
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‰ œ œ œ bœ ‰‰ œ œ œœ œ b œ œ ‰ œœ œœ œ œ bb œœ œ
œ œœ œ
F
8 8 8 8
œ œœ œ
œ œœ œ
œ œœ œ
7 7 10 7 10 10 7 10
8 8 8 8
3 3 3
œ œœ3 œ
7 7 7
10 10 10
7 7 7
8 8 8
5 5 5
7
10
7
8
5
6 6 6 6
bœ bb œœ bœ
Eb Eb Eb
∑ ∑∑ ∑
Eb
6 6 6 6
Eb Eb Eb Eb
Œ ŒŒ Œ
œ œœ œ
6 6 6
.. .. . .. . .. .. .
Ó ÓÓ Ó
6 6 6
6
TRACK 10
6
and closed (heel down). If you’re using a distortion or boost pedal the wah-wah should be at the front of your signal chain (the first thing you Am plug your guitar into).
œ œœ œ
œ œœ œ
8 8 8
œ œœ œ
F
œ.. œœ. œ.
4 4 4
œ œœ ‰ œ ‰‰ ‰
F F F
œ œœ œ
7 7 7
5
œ œ œœ ⋲ œœ œ ⋲⋲ œ ⋲ BU BU
j œj œj œ j œ
. œ~~~ .. ~~~ œœ~~~ . œ~~~ ~~~ ~~~ ~~~ 7 7~~~ 7
F F F
œ œœ œ.. œ œ. ⋲ Am ⋲⋲ œ œœ œ. œ œ ⋲ Am Am
œ œœ œ
œ œ œ œœ œœ œ œ œ œ œ œ œœ œ
œ œœ œ
7 7 7
5 5 5
7 7 7
9 9 9
7
9
7
7 7 7
5 7 j Bm Bm œj Bm
œ œj œœ œ Bm j œ œ BU
(12) 10BU BU 10 (12) 10 (12) BU
10 (12)
5 5 5 5
œ œœ œ
œ.. œœ. œ.
œ.. œœ. œ.
œ.. œœ. œ.
8 8 8
10 10 10
8 8 8
7 7 7
5 5 5
8
10
8
7
5
G G G
Œ ŒŒ Œ
œ Gœ œ œ
7 7 7
4 4 4
7
4
œ œœ œ
j œj œj œ j œ
7 7 7 7
~~~ . œ ~~~ œ~~~ ~~~ .. œœ ~~~ œœœ œœ~~~ . œ ~~~ œ œ~~~ ~~~ ~~~ ~~~ ~~~ 7 ~~~ ~~~ 7 7~~~ 7 ~~~ 7 7 7
7
12
œ œœ œ
œ œœ œ
œ œœ œ3
œ œœ œ
œ œœ œ
œ œœ œ3
12
12
12
12
12
10
œ œœ œ
œ œœ œ
9 9 9
7 7 7
5 5 5
9
7
5
œ œœ œ
œ.. œœ. œ.
œ œœ œ
œ.. œœ. œ.
7 7 7
4 4 4
7 7 7
9 9 9
7
4
7
9
Am œ~~~~~ ˙ Am ~~~~~ œœ~~~~~ ˙˙ Am œ~~~~~ ˙ 3 3 3 RP 3 3 BD 3 ~~~~~ RP (RP ) 10 ) (10 ~~~~~ 12 3 ) (12 ) (12 ) (12 3 ) (12 ) ( 12BD 3 ~~~~~ ( 12) (12 ) (12 ) (12) (12 ) ( 12BD ) (10 ) 10 RP ( 12) (12 ) (12 ) (12) (12 ) ( 12) (10 ) 10 BD ~~~~~ ( ) ( )( )( ) ( )( ) ( )
œ œœ œ3
œ œœ œ
Am
Ó ÓÓ Ó
10
September 2015 GuitarTechniques 17
play: ROCK
ON THE CD
track 4-27
Example 5 Picking dynamics and volume swells
TRACK 12
The dynamic markings indicate where your picking should be hard or soft. When ‘vol’ appears above a crescendo marking then this is 3 you increase the signal of a sustained note by turning up your where
guitar’s volume control (start with your guitar’s volume set halfway). Alternatively, use a volume pedal to create the same effect. For ideas on how to practice dynamic picking, see the techniques box out on page 14.
3 3 5 Ex
©»•™ . œ œ œœ œjj œ # # # ©»•™ . 4 œ & # # ## ©»•™ 4 ŒŒ œœ. œ.. œ œ œ œj œœ # & # 4 Œ œ. œ œ œ œ & 4 p F p F p F 10 11 13
Ex 5 Ex 5
E B E G B D E G A B D E G A 1 D E A 1 E 1
E B E G B D E G A B D E G A 4 D E A 4 E 4
### & # # ## & ## &
9
11
12
9 9
11 11
12 12
11 11
11
13 13
~~~~~ œ œ œ œ œ œ ˙~~~~~ ‰ œ œ œ œ œ œ ˙~~~~~ ‰ œ œ œ œ œ œ ˙ ‰ F π π~~~~~ F π~~~~~ F 9 10 9 9 11 9 ~~~~~ 9 10 9 9
˙A~~~~~ . ˙ ~~~~~ . ˙ ~~~~~ . (vol) (vol) ~~~~~ (vol) ~~~~~ 9 ~~~~~ A
E 11
Bm Bm
E 11 E 11
9
9 9
# # œ#
F m
# # # œœ œ œ œ & # # ## œœ œ œœ œ œ œ œ & ## 3 & π3 π3 π 9 10 9 11 9 10 9 11 9 10 9 11
œ œ œ
9 9
11 11
j œj œj œ
j œj œj œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
12
12 14
10
9
œ ‰ œœ ‰ 3 ‰ 3 F F 3 F 14
12 14 12 14 12 14 12 14
Œ Œ Œf f f
9 9
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 œ
F FBU BD FBU(149 ) BD (12) 12
10
9
12
10 10
9 9
BU 9 BD (14 ) (12 ) 9 (12 ) 12 (14 )
9 9
Bm
F m F m
E B E G B D E G A B D E G A 7 D E A 7 E 7
11
10 11 10
F #m j Fœœ#m œj œj Fœœ#m œ œœ
A
œ.. œ. pœ p p
œ.. œ. œ
œ œ œ
9
11
12
9 9
11 11
12 12
œ œ œ
œ œ œ 11 11 11
10
j œj œj œ
11
œ œ œ F F F 13
10 11 13 10 11 13
3 3
11
9
11 11
9 9
11
9
7
11 11
9 9
7 7
A
˙ ~~~~~ . ˙ ~~~~~ . ˙ ~~~~~ . (vol) (vol) ~~~~~ (vol) ~~~~~ 9 ~~~~~
A A
ΠΠfΠf f
9 9
11 j wEw œ œ œ œ œ E œ œ œ œ œ œj wEw1111 œ œ œ œ œ œ œ ‰ Œ œ œ œ œœ œœ œ œ œj ww œ œ ‰ Œ (vol) ‰ Œ p F (vol) FBU p 12 FBU(1217) p12 15 14 (vol) 12 14 15
Bm Bm Bm
12
14 11 14 12 14 11 14 12 14 11 14
15
12 12 15 14 12 14 15 12 12 15 14 12 14 15
11 11 11
BU 12 12 15 (17) 15 (17)
Example 6 Minor pentatonic superimposition
TRACK 14
This example is typical of how Carlos frequently superimposed the relative minor Pentatonic over a major chord progression. In this example E minor Pentatonic is used extensively over the G major chord progression. Notice how each phrase resolves to a chord tone of Am;
he doesn’t blindly force the scale over the chords. The first four bars are played in shape one of the scale, shifting up an octave to the 12th fret at the end of bar 4 – examples of octave position shifting are very common in Carlos’s earlier playing style.
4 Title Ex 6 Double-time groove G
Am Bm ©»ªº ~~~ œ # 4 jœ œ œ œ œ j ‰ œ œ œ œj œ œ œ j œ œ j œ j œ . ‰ ‰ J ⋲ œ ⋲ œœœ œœ œ œ œœœ œ œ œœ & 4œ œ œ RP
E B G D A E
BU BD BU
BD
2 (4 ) ( 2 ) ( 4 )
3 (4 ) 2 0
3
0 2
2
~~~
BU BD 0 3
4 2
0
3 (5) ( 3) 0
BU 2 0 2 (4 )
BU BD 0
2 ( 4) ( 2) 0
1
# ~~~ Œ Œ ‰ œ & œ Am
D
18 GuitarTechniques September 2015
j œ
œ
˙
G
œ œœ
j œ
œ œ œ œ
~~ œ œ œ œ œ œ. ‰
Am
j œ
œœ œj œœ
Œ
2 0
œ œ j ~~~j # 4 j œ œ œj œ œ œ œ œ œj œ œ œj œ œ œ . œ œ œ œ œ ‰ ‰ J œœœ œœ & 4œ œ ⋲ ⋲œ œ œ ‰ œ œœ ~~~
RP
BU BD BU
E B G D A E
BD
3
2 (4 ) ( 2 ) ( 4 )
(4 ) 2 0
3
0 2
2
BU BD 0
0 3
4 2
BU
3 (5) ( 3) 0
2 0 2 (4 )
CARLOS BU BDSANTANA STYLE 0
2 ( 4) ( 2) 0
Example 6 Minor pentatonic superimposition ...CONTINUED 1 Am
œ
D
# ~~~ & œ Œ Œ ‰ E B G D A E
~~~
œ œœ
˙
G
BU 12
2
12
14 (16)
j œ
12
~~ œ œ œ œ œ œ. ‰
œ œ œ œ
Am
~~
BU BD 15 (17 ) (15 ) 12
12
14
12 14 12
14
j œ
œœ œj œœ
Œ
BU BU 12 12 15 (17) 15 (17 )
14
4
&
#
j Bm œ œ
œ œ œ
15 (17 )
~~~~ œ œ œ œ œ œ œ œ œ œ œ œ œ
15
12
D
Œ
~~~~
BU BD 12
œ œ
Am
j œ
BU E B G D A E
œ
j œ
2 0
TRACK 14
14 (16 ) (14 ) 12
14
12
14
14
12
14
12
10
12
œ~~~œ J ‰ ⋲ ~~~
15
15
12
7
Example 7 BENDING WITH SLURS
TRACK 16
Slurs (hammer-ons and pull-offs) are mixed with bends and bend releases in this 5 example to provide a very expressive, vocal-like delivery. The 5 Carlos ‘bend release to pull-off’ is illustrated in the second bar classic 5 where Ex 7 the bend on the 13th fret should be played with your third finger Ex 7 Ex 7
©»¡™§ ©»¡™§ ©»¡™§ bb 444 ŒŒ & & & b 44 Œ
œœ... œ.. œ œœ.
BU BU 10 BU 10 13 (15 ) 10 10 13 (15 ) 10 10 13 (15 )
10 10 10
E E B E B G B G D G D A D A E A E 1 E 1 1
œœ œœ œœ œ œ œ œ œœ
j œœjj œ
~~~ ~~~ œœ .. œœ œœ~~~ œ . œ ‰‰ bb œ & & b ‰ & ~~~ ~~~ ~~~ Gm Gm Gm
E E B E B G B G D G D A D A E A E 4 E 4 4
12 12 12
bb & & &b E E B E B G B G D G D A D A E A 7 E E 7 7
Ex 8 Ex 8 Ex 8
[12 ] [12 ] [12 ]
10 10 10
j œœjj œ
BU BU BU 12 (14 ) 12 (14 ) 12 (14 )
œœ œ
BU BU BU 13 (15) 13 (15) 13 (15)
BU BD BU BD 10 BU BD 10 13 (15 ) (13) 10 13 (15 ) (13) (13) 13 (15 )
œœ œ
œœ œ
A7 A7 A7
œœ .. œœ œ.. œ . œ œœJ. JJ ‰‰‰
j Dm Dm ˙˙ œœjj Dm œ ˙
BD BD BD
BU BU BU (15 ) (15 ) (15 )
10 10 10
13 13 13
œœ... œœ... œ.. JœJ œ œœ. J
b j BB b77 œœjj Bœœb7 œ œ
j œœjj œ
13 13 13
(make sure your first finger is in position on the 10th fret as you release the bend, ready to receive the pull-off). Notice that all bends are played without vibrato; Carlos rarely applied vibrato to string bends during the early part of his career.
‰‰ ‰
√ √ √ œœ œœ œ œ~~~ ~~~ œ œ œœ œœ~~~œœJœ ‰‰ ‰‰ œœ JJ ‰ ‰ JJœ J ~~~ ~~~ ~~~ 10
œœ œ 10 10 10
12 12 12
10 10 10
œœ œ
œœ œ
12 12 12
10 10 10
12 12 12
10 10
12 12 12
BU BU
(15 ) 13BU 13 (15 ) 13 (15 )
13 13 13
~~~ œ œœ~~~ œ~~~ œœ œœœ œœœ bbb œœœ œœœ œœ œ PM PM PM ~~~ ~~~ ~~~ 12 12 12
10 10 10
BD BD BD
œœ... œ œ œœ
Dm Dm
j Dm œœjj œœ œ œ
Dm Dm Dm
12 12 12
œœ œœ œ œjj œ œ œ œ œœ œœj œœ œœ œœ œ
BU BD BU BU BD BU BU BD BU (13 ) (15 ) (13 ) (15 ) (13 ) (15 )
1/4 1/4 1/4
10 10 10
œœ œœ œœ œ œ œ
13 (15) 13 (15) 13 (15)
(13 ) 10 (13 ) 10 (13 ) 10
1/4 1/4 1/4
12 12 12
j œœjj œ
j œœjj œ
BU BD BU BD BU BD (13) 10 (13) 10 12 (14) (12 ) 10 (13) 10 12 (14) (12 ) 10 12 (14) (12 ) 10
œœ œœ œœ œ œ œ ŒŒ Œ
BU BD BU BU BD BU (15 )BD(13BU ) (15 ) 10 13BU 10 13 (15 ) (13 ) (15 ) 10 13 (15 ) (13 ) (15 )
1/4 1/4 1/4
œœ. œ..
ŒŒ Œ
ÓÓ Ó
1/4 1/4 1/4
12 12 12
11 11 11
10 10 10
8 8 8
10 10 10
September 2015 GuitarTechniques 19
b & &b
b jB7 œj Bœb7 œ œ
œœ
play: ROCK
j œj œ
BU
œœ
BU
œœ
A7 A7
œœ
œœ
Dm Dm
œœ~~~ ~~~ œœ œ œ b œ œ ŒŒ œ œ bœ œ œ œ œ THEœ. CD ON PM . PM ~~~ ~~~
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BD
E BU BU BD 10 B 13 (15) 10 E 10 13 (15 ) (13) G 12 10 B (13) 13 (15) 13 (15 ) 10 D 12 G 12 10 A D 12 E A This example is typical of Carlos’s playing style during his fusion period E 7 (72-75). 7Carlos was keen to absorb all he could from his collaborations
Example 8 Dominant 7th licks
©»¡™º ©»¡™º 4 & & 44
jC 11 œjC˙11 œ ˙
12 12
Dm pent Dm pent BU (10) 8 BU 8 (10)
E B E G B D G A D E A E 1 1
C11 C11
Ó & & Ó E B E G B D G A D E A E 5 5
C11
(8 )
C7
C7 C7
C 11
C7
12 13 15 13 10 11 13 13 11 13
10
8 10 10 8 10 9 10 9
√ ©»¡¢º √ √ # # # #©»¡¢º ©»¡¢º 4 . Œ ‰ & ## # ## # 44 Œ ‰ . œœJ nn œœ & & # # 444 Œ ‰ . œJJ n œ
Ex 9 Ex 9
12 15
E B E G E B D B G A G D E D A 4 A E E 4 4
1/4 1/4 1/4
1/4
12 15 1/4
9 12 9 10 9 12 9 10
C11
9 12 9 10 12 8 12 10 12 8
C7
10 7 10 7
C7 C7
œœ œ œ œ œ œ œ œjj ‰‰ œœœœœœ œ
8 8
7 10 7 8 10 8 7 10 8 10 8 7
C11 C11
C7 œœ œ œ œ œ œ œ œœ œ œ . Ó œ œ œœ. Ó 3
C7 C7
œ œ œœ œœ œ ⋲⋲ œ ⋲⋲ œœ ⋲⋲ œ œ œœ
3
Dm pent 3 3 Dm pent 20 17 20 17 20 18 20 1819 17 19 1719 17 19 17
8
14 15 14 15
15 15
14 14
≥≥ ≥≥ ≤≤ ≥≥ ≤ ≥ ≤≤ ≥≥ ≤≥ j œj EEœ œœj œœ
1/4
12 15 12 15 12 15 12 15
BU
15 15
~~ œœ b œ œœ~~œ.. bœ œ ~~ ~~
14 14 15 13 15 13 15 13 15 13
TRACK 20
typical of his more frenetic moments, so you may want to slow this down first! Notice how the four-note groupings in bar 7 are shifted onto the off beat in the following bar by repeating the first two notes of the pattern; a very effective soloing tool D when playing 16th phrasing.
œ œjj œ œ œjj œ œ nn œœ œ œ n œ DDœ œ n œ œ œ œ œ œ œ œœ œœj œœ œœ œœj œœ œœ n œ œœ œœ n œ œœ œœ n œ œ œœ œ œ n œ œ œ œ œ œ n œ ‰ nœ n œ œ œ œ nn œœ œ œ œœ œ œ ‰ œ œ nn œœ ‰ BU
BU
BU 12 BU 12 BU 12 BU BU BU 14 (16 ) 14 (16 ) 14 (16 ) 12 12 12 12 12 14 (16 ) 14 (16 ) 14 (16 ) 12 14 (16 ) 14 (16 ) 14 (16 )
15 12
14 12 15 12 15 12 14 12 14 12
12
14 12 14 12 12 12 14 14 12 14 12 12 14 12 14 12 10 14 12 12 14 12 14 14 12 14 12 12 14 12 14 14 12 14 12 14 12 10 14 12 10
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤≥ ≤ ≤ ≥≤≥ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≥≥ E D E √ ~~ E j D œ œœ nn œœ~~ œ œœ nnEEœœ œœ œœ œ œœ œœ œœ œœ œ œ œœ œœ œ œœ œœ œ œ œœ œœ œ œœ œœ œœ E √ œ œ œ œ n œ ~~ œ D √ ~~ jj œ œ œ . Œ œœ œ œ œœ nn œœ œ~~ ~~.. œœ Œ ‰ JJœœ œJJ n œ œœ œ n œ œ œ œœ œ œ œ œ œœ œœ œ œ œœ œ œ œœ œœ œ œ œœ œ œ œ ‰ œ ŒŒ ŒŒ ‰‰ J J ‰‰ BU BD ~~ ~~ 12 BU(19 )BD(17 ) 15 ~~15 BU BD 17 12 15~~ ~~12 15 15 15 15 12 15 15 15 15 12 12 15 15 12 15 15 12 12 15 15 12 15 15 17 (19 ) (17 ) 15 ~~15 12 (19 ) (17 ) 15 15 12 17 17 17
D
# # DD & ## ## ## ## ŒŒ & & # # Œ E B E G E B D B G A G D E D A 7 A E E 7 7
œ nn œœ Œ œœ n œ Œ Œ
C7
C 11 C 11
C 11 C7 √ ~~~ √ œ œœ œœ œ œ œ b œ œ œ œ œ ~~~j ‰ œ œ œ b œ œ œ œ œœ œœ œ œ œj ‰ œ œ œ ~~~ 12 13 15 10 10 ~~~ 8
While6not widely revered for his fast playing, Carlos is no slouch when Title it comes to playing 16th notes, especially at quite brisk tempos such as 6 Title 6 Title this. He alternate picking when playing fast lines so make sure you Ex uses 9 stick to the picking patterns indicated. The flurry of 32nd notes in bar 6 is E
#### & ## # ## # & & # #
high, fast lick in bar 7 is a descent of shape 4 of D minor Pentatonic. Start with your third finger on the 20th fret, shifting to your second finger on the 19th (use your first finger for the lowest note on each string).
10 10
Example 9 Fast alternate picking style
E B E G E B D B G A G D E D A 1 A E E 1 1
TRACK 18
12 11 10 8 10 12‘suspended’ 11 10 sound 8 effectively the of the 10 C11 harmonic backdrop. The
C11
13 13 10 13 13 10 12 10 10 12 12 1012 10 12 1012 1010 12 12 10
track 4-27
10 10
C7 C11 C7 C11 œœ .. œ C11 . œ œJ œœ œœ œœ œœ œœ œ œ œ œ~~~ œ œ œ œ œ ~~~ J œ œ œœ œ œ œ œœ œœ ‰‰ ‰‰ Jœ. œ œ œ œ œœ œ œœ œœ bb œœ œœ œœ bb œœ œ J BD ~~~ BD ( 8 ) ~~~
C7 C7
ÓÓ
1/4 1/4
with McLaughlin and his most ‘note intensive’ solos were recorded at this Ex 8 how D minor Pentatonic licks are mixed with C Mixolydian, time. Notice Ex 8
1/4 1/4
17 17
12 12
15 15
12 15 12 15
15 15 15 12 15 15 15 15 12 12 15 15 12 15 15 12 12 15 15 12 15 15 17 15 15 15 12 15 15 15 15 12 12 15 15 12 15 15 12 12 15 15 12 15 15 17
≥≤ ≥≤≥≥≥≤≥≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ E œ n œ œ n œ œ œ œ œ œ œ œ œ EEœ n œ œ œ œ n œ œjj œ œœ nn œœ œ n œ œœ œœ œ œ œœ œœ œ œ œœ nn œœ œœ œœ œ n œ œœj œœ œ nœ œ œ œ œ œ nœ
≥≤≥≤≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≥≥ œ œ œ œ~~. œœ œœ œ œ~~ œ œ~~..
BU 14 12
14 12 14 12 14 12 14 12 14 12 14 12 14 12 14 12 14 12 14 12 14 12 14 12 14 12 14 12 14 12 14 12 14 12
14 14 14
12 14 12
BU BU 14 (16 )
14 12 12 14 12 14 (16 ) 12 14 12 14 12 14 (16 ) 14 12
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥≥ 2015 ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ 20 GuitarTechniques September
14 12
~~ ~~ ~~
14 14 12 14 12 14 14
≤≥≤≥≤≥≥≤≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥ D œ DD ∑ œœ ∑∑ 12 12 12
CARLOS SANTANA STYLE Example 10 Blues licks over jazzy changes
TRACK 22
Although this progression contains a few extended chords, the sequence can be negotiated effectively using the E minor Pentatonic or minor Blues scale, as this example demonstrates. The F# (major second) of the E Minor scale 7 is added in bar 6 to imply Lydian Dominant sounds (fourth mode of Ex 10
. œ œ œ œ ~~~
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RP E B G D A E
15 (17)
C 13
1/4
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12
12
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12
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12
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15
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12
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12
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12
15 12
15 14
14
14
12
14
14 12
14 13 12 10
12 13 12 10 12
4
&
√j E m # œ œ.
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3 BU
BU BD
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17 (19 )
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10 12
17
10
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7
B7 # 5
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~~~
BU BD 17 (19 ) (17 ) 15
15
12
15
12 14
15 14 12
15
12
BU 15 (17)
5
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E B G D A E
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12 15 (17)
j œ
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the Melodic minor) over the C13 chord while adding the natural 5th over the B7#5. The secret is to target chord tones common with notes in the scale. This example illustrates Carlos’s more bluesy approach during the 80s when he more frequently applied vibrato to sustained bends.
Œ.
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September 2015 GuitarTechniques 21
play: ROCK
ON THE CD
track 4-27
Example 11 Harmonic minor licks
TRACK 24
Carlos has used the Harmonic minor scale (R2b345b67) throughout his career, but it is more noticeable during the Supernatural period and remains a key tool of his style today. The Harmonic minor is very useful
when playing over minor chord progressions that contain a dominant V chord, as in this example. This scale is perfect for soloing in Latin styles and sounds cool when played across a minor IIm7b5-V7 as you can hear in bar 9.
8 Title 8 Title Ex 11 8 Title Ex 11
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©»¡¡∞ ©»¡¡∞ & ©»¡¡∞ 444 & 44 &4
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22 GuitarTechniques September 2015
(17 ) 15BU (17 ) 15BU 15 (17 )
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12 12
CARLOS SANTANA STYLE Example 12 Final jam
TRACK 26
When you’re playing syncopated unison stabs (as in the intro here), this nice and tight, observing note lengths throughout. The fast lick that’s GUITAR TECHNIQUES 2 4 7moving in a down-up pattern. This keep your picking hand constantly squeezed between phrases in bar 18 is played using shape 3 of the C GUITAR TECHNIQUES 2 4 7 SANTANA THROUGH THE AGES 2 4 7 and avoid any willGUITAR keep youTECHNIQUES locked into the groove unwantedTHROUGH ‘flams’! The THE major Pentatonic. Play this using your first and third fingers only, moving SANTANA AGES SANTANA THROUGH THE AGES FINAL JAM melody is doubled on the horns so you’ll need to ensure that you play your third finger quickly up to the 17th fret for the high A note in bar 19. FINAL JAM FINAL JAM FINAL JAM INTRO INTRO A m m INTRO INTRO A A Am m
©»¡∞º ©»¡∞º ©»¡∞º 44 & & & 44
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September 2015 GuitarTechniques 23
play: ROCK
ON THE CD
track 4-27
Example 12 Final jam ...CONTINUED
TRACK 26
The solo section opens with a typical A minor arpeggio and incorporates many of the techniques illustrated in the previous examples, including 2 Title fast alternate picking (follow the picking where indicated), use of the INTERLUDE Am
œœ & œœœ œ
.
E B G D A E
21
Harmonic minor scale, and bends mixed with slurs. Remember to take your time and for best results build tempo slowly using a metronome before you play along to the backing track. Most of all, have fun!
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37
24 GuitarTechniques September 2015
13 15
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14
Play: blues-rOCK
ON THE CD
TRACKs 28-29
The Allman Brothers Band Statesboro Blues The story goes that Duane Allman started out using an empty painkiller bottle as a slide, since when his playing has become the stuff of legend. Steve Allsworth slides through an Allman Brothers classic.
ABILITY RATING
Moderate/Advanced Info
Will improve your
Key: D Tempo: 156 bpm CD: TRACKS 28-29
Slide intonation Open E improvisation Slide vocabulary
Statesboro Blues was originally by Blind Willie McTell and was effectively the starting point for Duane Allman’s unbelievable bottleneck skills. In 1968, his brother Gregg went to visit him on his 22nd birthday, while he was recovering from a horse riding accident. Gregg brought along a bottle of Coricidin pills for his injury and the debut album by guitarist Taj Mahal as a gift. In the intervening hours, Duane had poured the pills out of the bottle, washed off the label and was using it as a slide to play Statesboro Blues (covered by Taj Mahal). Gregg
Technique Focus
Slide Guitar
Like many slide players, Duane primarily used the thumb and first finger of the picking hand. This not only provides more flexibility with expression and dynamics, but also allows for better muting and clarity between strings. As a general rule, the flesh of the first finger works best, rather than treating the thumb and first like a virtual pick. The fretting hand is also important. What many guitarists forget is to mute the strings behind the slide. If you use the slide on the third finger (many favour this or the fourth finger), then place the first and second fingers lightly on the strings at all times. This will avoid any noises creeping through from the strings below the slide.
elaborates: “Duane had never played slide before, he just picked it up and started burnin’. He was a natural.” This song became a staple in one of the brothers’ original bands Hour Glass, and it was their two album releases that became the launch pad for Duane’s session career. It was an Hour Glass session at FAME studios in Muscle Shoals that caught the eye of studio owner Rick Hall, who then hired the young Duane to work with Wilson Pickett. It was his work on Hey Jude in
We realised that the audience was a big part of what we did, which couldn’t be duplicated in a studio. A light bulb finally went on: we needed to make a live album. Gregg Allman particular that got him hired as a full-time session musician, working with such notable talents as King Curtis, Aretha Franklin and Herbie Mann. He also caught the eye of Eric Clapton, who later hired Duane to work with Derek And The Dominos. 1969-1970 saw slow process of forming what would become The Allman Brothers Band. Duane’s unique vision for a two lead guitarist, two drummer band led to a sextet comprised of Jaimoe Johanson and Butch Trucks (uncle of Derek) on drums, bassist Berry Oakley, guitarist Dickey Betts and Gregg on keys. Their first two albums, The Allman Brothers Band (1969) and Idlewild South (1970) were both released amid intense touring, for which the band became infamous. Soon after a show date in Miami with The Allman Brothers Band and
Derek And The Dominos, Allman and Clapton formed a deep rapport during an all-night jam session. Their mutual love of each other’s playing saw Allman participate on most of Layla And Other Assorted Love Songs (1970), contributing some of his best-known work. Allman never left The Allman Brothers Band, however, despite being offered a permanent position with Clapton. It was not until The Allmans’ live album At Fillmore East (1971) when the band had its artistic and commercial breakthrough. Hailed as one of the finest live albums ever recorded, it contains our featured track as well as seminal jam tracks such as Whipping Post and In Memory Of Elizabeth Reed. The tragic death of Duane in a motorcycle accident that autumn was one of blues’s most untimely and unexpected losses. The band played at his funeral with Dickey Betts (no slouch on slide himself) playing Duane’s famed Les Paul.
Get The Tone 5
6
8
8
3
Gain
Bass
Middle
Treble
Reverb
A simple Les Paul through Marshall set-up is all that Duane Allman used, so any humbucking configuration will work – just watch your gain level. A slightly higher string action is fairly critical for avoiding that tell-tale ‘grounding’ you get when the slide comes into contact with the fretboard or frets. You will definitely require a guitar that allows unimpeded access to the 22nd-24th fret area of the fretboard.
TRACK RECORD The aforementioned At Fillmore East (1971) is essential listening when it comes to live albums. There are also two excellent posthumous Anthologies (1970 & 1972) that chart Duane’s brief bandleader and session career. If you want a taste of modern-era Allman Brothers, try Shades Of Two Worlds (1991) featuring the blazing guitars of Warren Haynes and Dickey Betts.
26 GuitarTechniques September 2015
MICHAEL OCHS ARCHIVE / GETTY IMAGES
The Allman Brothers Band Statesboro Blues
Duane Allman: note the Coricidin bottle positioned on his third finger
September 2015 GuitarTechniques 27
Play: blues-rOCK
ON THE CD
TRACKs 28-29
PLAYING TIPS
CD TRACK 28
[Bars 1-9] This classic opening riff requires nifty and precise movement frets on the second and third strings. This should all be down to your ear from the slide between the 8th and 10th frets, so it’s worth practising this and individual feel. GUITAR as TECHNIQUES 247 technique a slow tripletMAGAZINE until you’re comfortable with the intonation. [Bars 10-21] Once again you’ll notice the first finger and thumb come to the STATESBORO - The fore Allman - Steve Allsworth transcription There are also lots of ‘in between’ pitches, particularly between BLUES 8th and 9th here, Brothers with the many adjacent string ideas. The ‘slides to nowhere’ in INTRO
©»¡™∞ qq=qce # 4 & #4 Ó –
N.C. (D7)
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Open E tuning with slide (Duane Allman) E B G# E B E
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28 GuitarTechniques September 2015
9
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Statesboro Blues. Music & lyrics by Willie McTell © 1929 Peer International Corp. PeerMusicUK Limited UK/EU Reproduce by kind permission of Music Sales Limited. US/CAN reproduced by kind permission of Hal Leonard Corporation. All Rights Reserved. International Copyright secured.
The Allman Brothers Band Statesboro Blues
PLAYING TIPS bar 10 and 18 are a particular trademark idea. Although they’re pitched and you have a rough target point to aim for, the staccato nature of the first note in the phrase means it doesn’t have to be super precise. 2 xxxxxxxxxx [Bars 22-45] There are simply loads of great improvised ideas in these two D7
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verses, so you should take what you can for your own ideas. Duane rolls back his volume a little for a cleaner sound and tends to build dynamics and melody in the two-bar turnaround in each 12-bar sequence. If your guitar action is set high(ish) you should not need bags of gain for lots of sustain.
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8 10
9
10
10 8
10
22
# # ~~~~ j j œ & œ œ Œ ‰ œ œ nœ œ œ ‰ Œ Ó G7
D7
j #œ
j ‰ œJ œ œj œ œ œ n œ œ
3
j œ
[10 ]
10
10
8 10
œ œj œ œ œ J ‰ n œ œ œj ‰ 3
~~~~ 8 10
[10 ] 14
9
10
12 10
8
10 12
10
10
9
10
10
10 8
10
8
26
A7
# & # Ó E B G# E B E
10
10
0:46
E B G# E B E
œ
19
VERSE 1 D7
E B G# E B E
8
16
G7
E B G# E B E
œ œ œ j œ
CD TRACK 28
‰
j œ
œ œJ œj œ J 3
8
10
10
G7
. ˙ ~~~~ Œ ~~~~
10
8
10
D7
j œ
A7 œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ # œ œ ~~~œj œ œ ‰œ
3
8 10
10
3
10
10
10
3
10 10 9
3
10 8
3
10 10 8
8
3
10
9
~~~ 10
8 10
10
10
30
September 2015 GuitarTechniques 29
Play: blues-rOCK
ON THE CD
TRACKs 28-29
PLAYING TIPS [Bars 46-57] The first half of the solo sees fairly similar ideas to the intro and verse, mainly sticking to the 8th and 10th fret positions. The 9th fret on the third 3 string also appears quite a bit. This is the minor 3rd so obviously plays VERSE 2 D7
quite a big part when moving from chord I to chord IV, so its use must be with caution (similarly the major 3rd over the IV chord doesn’t sound great because this note then becomes the IV chord’s major 7th).
3
D7
3
3
3
œ.
j œ
œ œ
# # n œ # œ ‰ Œ ‰ j n œ # œ œj n œ Œ Œ Œ œ œ b œ œ n œ # œ. œ J œ & J G7
CD TRACK 28
~~~ œ nœ œ œ œ. œ œ n œj œ œ . J
3
3
3
3
~~~
1:08 E B G# E B E
9
##
œ
G7
œ Œ ‰ J
[10 ] 10
##
A7
Ó
Œ
10
10
11
11
12
j œ # œ n œj # œ
9
10
D7
. ˙ ~~~~ Œ
‰
j nœ #œ
12
10
10 8
10 8
10
j
œ J œ œ œ n œ œj œ
10 10 8 10
10
9
9
10
10
œ œj œ n œj # œ œ~~ œj œ J ‰ J ‰ J ‰
j #œ
~~~~
9 10
10
12
12 10
j nœ #œ
8
~~
10 9
10
9
8 10
œ œ œ œ œ~~ œ œ~~ œ
œ ˙ ~~~~ . ‰ œ J G7
D7
9
10
8
~~
10
j œ œ
8 10
10
œ nœ œ
~~~ œ œ œ œœ ‰ J
A7
3
~~~~ 7
10
10
10 10
10
~~
~~~
8
10 10
10
G7 œ n œ j œ œ~~~ œ j œ œ œ œ # œ œ n œ œ~~~œ œj # œœ œ ## ‰ ‰ œ nœ &
j œ #œ
~~~ œ œ œ œ n œ J . œJ ‰
10
10
8
10
10 10
[10 ] [10 ]
10
42
D7
3
10
8
3
3
1:31
8 10
~~~
10
8 10
10
9
10
9
10
8 10 8 10
10
10 10
9
10
j œ
œ.
3
3
3
~~~
D7
9
~~~
8
10
[10 ]
10 8 10
46
# & # ˙ E B G# E B E
8
10
8
38
SOLO
E B G# E B E
10
10
34
& E B G# E B E
9 10
& E B G# E B E
10
10 10 15
~~~
œ œ nœ œ
G7
œ
œ
œ nœ
3
¿
j œ
œ œ
8
10
œ œ J
nœ nœ #œ œ J ¿
~~~ 10
8
49
30 GuitarTechniques September 2015
9
[ 9]
8
8
X
10
10
9
8
10 X
10
The Allman Brothers Band Statesboro Blues PLAYING TIPS [Bars 58-69] The dusty end of the fretboard is notoriously difficult for good slide intonation, so reasonably easy access via the cutaway is important, 4 xxxxxxxxxx otherwise the slide will be angled across the frets too much (using the
slide on the fourth finger can also help). The final lick in the last three bars between 20th and 22nd frets is really good for addressing intonation problems. I’d suggest you try this in 8th-10th position to start with.
œ œ œ œ œ œ n œ œ n œ œ œ œ œœ œ œ ⋲ ⋲ œ
# # n œ # œ~~~œ J & D7
3
3
CD TRACK 28
œ n œ œ œ œ # œ œ~~~ . œ J
A7
3
3
3
3
E B G# E B E
~~~ 9
10
9
10
œ~~ œ~~ œ n œ œ œ œ J
œ
3
3
~~ ~~
14
10
8
10
10
œ~~~ œ
8
10
8
8
9
~~~
10
10
8
10
œ~~ œ~~ œ~~ œ~~ œ œ œ œ œ
3
8
œ #√œ œ œ œ œ œ A7
3
~~ ~~ ~~ ~~
14
10 [10 ]
10
10
10
10
G7
œ
œ
#œ
œ
œœ
~~~
[17 ]
17
15
14
16
17
0 0
10
9
10
10
10
10
16
16
17
17
17
17
D7
œ nœ œ œ
œ
nœ œ J
3
22
20
22
22
œ
œ œ 3
3
20
19
22 22
20
œ œ J 22
3
20
œ J 22
58
œ
œ nœ #œ nœ J
G7
œ œ œ œ œ J
œ
3
22 22
20
22
[ 22 ]
21
22
21
22
22
22 21
22
œ #œ
œ œ œ nœ œ œ
3
3
3
22
22
22
21
21
20
22
22
22
22
61
(√) D 7 ~~~ œ ## #œ œ œ œ nœ œ œ &
œ
A7
œ œ œœ œœ
3
E B G# E B E
10
D7
3
(√) # # œœ n œ œ & E B G# E B E
8
10 10 10 10
55
D7 (√) ## œ &
E B G# E B E
10
5 5
52
# & # E B G# E B E
10
10
21
~~~
22
22
[22 ]
22
20
22 19
œ œœ œ œ œ œ œ œ œ œ œ œ œ œ 3
22
20
22
[ 22] 22 [ 22]
22 21
3
22
20
22
3
20
22
20
3
22
22
22
3
20
22
20
22
64
September 2015 GuitarTechniques 31
Play: blues-rOCK
ON THE CD
TRACKs 28-29
PLAYING TIPS [Bars 70-82] Duane continues his forays up at the top of the fretboard – a Gibson Les Paul has 22 frets so Duane is playing on his guitar’s highest frets, 5 although occasionally he would even go up over the pickups for notes
(√) G 7 ## œ œ œ œ œ œ œ œ œ œ œ & 3
3
CD TRACK 28
that risked bringing the local dog population running. Again, watch your slide accuracy and intonation and keep checking that the slide itself isn’t unintentionally angled. Dickey Betts’ solo begins at bar 82.
D7
œ ‰ J ‰
œ œ œ œ œ
œ œ
3
3
A7
œ
œ œ œ
3
œ nœ œ œ 3
E B G# E B E
22
22
20
22
22
20
22
20
22
22 22
22
22 21
26
22
22
20
22 [22 ]
22
22
22
8
10
8
10
67
VERSE 3 N.C. (D7)
~~~ ~~~ jœ n œ ## œ j j j œ œ œ œ œ œ œ œ œ n œ œ n œ n œ n œ œ & J ‰ Œ ‰ œ œ J ‰ Œ ‰ œ œ J ‰ Œ ‰ œ œ 3
2:17 E B G# E B E
10
8
10
10
8
10
8
10
10
œ œ n œ œ~~~œ ‰ J
w~~~~~
œ œ œ œ 10
8
10
œ J ‰
D7
3
8
~~~
~~~ 8
10 10
9
10 8
10
10 8 10
10
10
3
~~~
8
œ œ œ œ œ nœ j œ œ ‰
10
10
8
10
10
10
8
10
10 8
10 8
74
# & # Ó
~~~~~ ˙ œ.
~~~ œ~~ œ~~ œ~~ œ~~ œ~~ œ~~ œ~~ œ~~ œ n œ œ œ œ œ œj œ
G7
Œ œ œ
D7
œ J
10
8
10
7
10
10 10
10 10
10 10
10
3
3
~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~
~~~~~
~~~ 10
8
10
8
8
nœ J
Electric Guitar Standard Tuning BU ( 10 )
9 10
78
SOLO 2 D7
&
## œ œ 2:40
EE BB G G# DE AB EE
10
~~~~~
A7
E B G# E B E
8
3
3
70
# & # ˙ E B G# E B E
10
3
j œ
œ ‰ œ~~~~ œ œ J
No Slide (Dickey Betts) BU 7 10 9 ( 11 )
82
32 GuitarTechniques September 2015
~~~ œ œ œ œ œ œ~~ œ ¿
G7
œ œ
D7
j œ œ
œ œ
j œ œ
œ œ
3
~~~
~~~~ 7
7
9
7
7
~~ 7
9
7
7 9
X
BU 10
9 ( 11 )
7
BU 10
9 ( 11 )
7
10
The Allman Brothers Band Statesboro Blues PLAYING TIPS [Bars 83-105] Despite being a fabulous slide player himself, Dickey Betts plays this in standard tuning. It’s a great study in soloing contour, with some exciting bends coming at the end of plenty of melodic development. Notice 6 xxxxxxxxxx
# & #
œ œ œ
j œ
j œ
BU EE BB G G# DE AB EE
œ œ œ
j œ
BU 7
10
9 ( 11 )
œ œ
10
9 ( 11 )
nœ œ œ # œ œJ ‰ œ œ
10
~~~
15
7
9
11
13
14
15
14
BU
17 ( 18 )
14
17 ( 18 ) 17
3
~~~
15
15 15
16
œ œ √ œ œ œ 3 BU
15 15
16
œ œ œ œ
15
16
17 ( 19 )
j œ
˙~~~ œ
3
3
Hold Bend
Hold Bend
~~~
15
œ
17
BU
17
17 (19 )
17
17
PB 17 BD
~~~
(19 ) ( 17 )
15
88
(√) # & #
j œ
G7
œ
œ
j œ
j œ
œ
œ
j œ
œ
BU
A7
œ nœ œ bœ J ‰ J ‰
œ
3
BU
œ œ œ œ~~~œ J
D7
3 BU
17
17 ( 19 )
17
j nœ
~~~
BU
17 ( 19 ) 17 ( 19 ) 17 ( 19 )
15
17
16
15
14
12
14
œ.
BU 13 ( 15 )
14
91
D7
&
##
œ
j nœ
#œ œ œ nœ nœ #œ
D7 œ~~~ œ n œ œ n œ # œ œ √œ # œ n œj œ
G7
j œ
œ
j œ
œ
j œ
3
10
BU
BU
13 ( 14 ) ( 15 )
10
13
13
~~~
BU (14 )
15
œ
j œ
œ
3
Straight 8ths - - - - -| 15
13
15
13
14
15
BU
BU BU BU 15 (16 ) 15 ( 17 ) 15 ( 17 )
BU
BU
15 ( 17 ) 15 ( 17 ) 15 ( 17 )
94
(√)j ## œ œ &
' œ ' œ nœ œ ' œ 3
15 ( 17 )
1/4
1/4
15 15
' '
3
1/4
15 15
'
œ œ œ nœ
13
15
œ~~~ œ n œ œ n œ œ œ œ 3
3
1/4
13
œ~~~ œ n œ œ n œ œ œ
G7
1/4
œ
1/4
BU EE BB G G# DE AB EE
7
œ œ~~~œ
œ œ
3
EE BB G G# DE AB EE
3 BU
(10 ) ( 9 )
œ œ
j œ
85
œ~~~ œ œ œ œ~~~œ # & #
EE BB G G# DE AB EE
nœ œ œ œ œ nœ J
PB 9 BD
9 ( 11 )
D7
EE BB G G# DE AB EE
also how there are loads of quarter- note triplet rhythms. As well as feeling this rhythm, it’s a good idea to really concentrate on the downbeat on beat two where you’re not playing, as this will help avoid any rushing.
G7
BU 7
CD TRACK 28
15
13
~~~
15
15
13
15
13
15
13
~~~
15
15
13
15
13
15 13
14
97
September 2015 GuitarTechniques 33
Play: blues-rOCK
ON THE CD
TRACKs 28-29
PLAYING TIPS [Bars 106-117] Although this follows in a fairly similar fashion to previous 7 verses, there’s a fantastic octave lick in bars 5-6. It is technically pretty
√ D7 # # œ~~~ œ n œ & EE BB G G# DE AB EE
~~~
15
15
œ
j œ
œ
3
13
œ
j œ
j œ
œ~~ œ
œ
3
~~ ~~
( 17 )
( 17 )
A7
œ~~ œ
3 RP
BU 15 ( 17 )
15
difficult, but provides some great contrast to the lower register stuff if you can nail it.
œ~~ œ~~ œ
œ
CD TRACK 28
( 17 )
3
~~
BU ( 17 ) 15 ( 17 )
( 17 )
œ~~ œ
œ
j œ
RP
~~
BU
( 17 )
15 ( 17 )
3
~~
BU
17
17
15 ( 17 )
17
17
100
G7 (√) j ## œ œ &
j œ
œ
œ
j œ
j œ
D7
A7
œ nœ #œ œ œ nœ œ œ œ bœ œ
œ
3
œ œ n œ # œ œ ~~~ œ œ 3
3
To Open E slide EE BB G G# DE AB EE
BU BU BU BU 15 ( 17 ) 15 ( 17 ) 15 ( 17 ) 15 ( 17 )
15
13
14
15
15
13
13
12
12
11
11
~~~
10
12 10 11
12
12
12
103
VERSE 4 D7
# œ œ ‰ Œ & #
œ
Œ
3
œ
œ œ œ ‰ œj
G7
œ nœ œ j ‰ Ó œ
3
3
œ œ œ J J 3
3 Open E tuning with slide
3:25 E B G# E B E
8
10
10
10
8
10
8
13
10
10
10
8
10
8
√ œ nœ œ œ Œ J
G7
Ó
3
3
~~~~~~ 9
10
10
22
20
22
20
7
œ œ~~~~~~ œ œ Œ J . ~~~~~~ 22
22
[ 22 ]
109
D7
# & # ΠE B G# E B E
8
8
106
# # n œ ‰ œ œ n œ # œ œ~~~~~~ . œ & J 3 3 E B G# E B E
10
10
3
j œ œ – œ œ œ œ œ œ œ ‰ J 3
10 10
10
112
34 GuitarTechniques September 2015
8
10
œ. œ.
3
10
10
8
œ. œ. œ n œ
3
8
10
10
10
10
8
A7
j ¿ ‰ Œ X
Œ n œ Jœ 3
9
8
The Allman Brothers Band Statesboro Blues PLAYING TIPS [Bars 118-129] The final verse is the first time Duane really utilises the open 8 xxxxxxxxxx major chord sound. It sounds especially interesting at the 13th fret where it
E B G# E B E
~~~~~~
3:48
~~~~~~
10
~~ ~~ ~~ ~~ ~~
10
10
10
10
10
10
10
3
8
10
3
10
9
10
3
9
10
7
8
10
10
10 10
~~~~~œ œ œ #œ œ œ J
œœ
G7
œ
œ nœ
œœ œ
œœ œ
D7
œ
3
9
~~~~~
9 9
10
œœ œ
œœ œ
œœ œ
3
10 10
8
10
10 10 10
10
˙ .~~~~~
œœ œ
3
10 10 10
10 10 10
10 10 10
~~~~~~~ œ œœ œ œ #œ J
G7
√œ # & #
œ
19
14
œ œ œ œ œ œ
3
10 10 10
10 10 10
10
10
8
œ
œœ
œœ
œ
[10 ] [10 ]
10
3
~~~~~
10
10
10
œ
8
10
10
~~~~~~~
9 9
10 10
121
## nœ &
13
3
œ ~~ œ œ~~ œ~~ n œœœ œœœ œœœ œœœ œœœ œœœ n n œœœ œ œ œ œœ J œ ‰ J 3
13
3
~~ ~~ ~~
13
13
13
j œœ
3
13 13 13 13 13 13 13 13 13
13 13 13
13 13 13
13 13 13
13 13 13
8
10
10 10 10
10
˙
œ œ œ
A7
3
10 10
10
œ b√ œ œ 3
8
12
10
18
14
124
(√) G 7~~~~~~ # . œ œ & # ˙ E B G# E B E
3
118
D7
E B G# E B E
3
œ œ
115
˙ ~~~~~~ . #œ ## &
E B G# E B E
3
[10 ]
10
A7 œ œ œ œ œ J œ
D7
3
VERSE 5 D7
E B G# E B E
forms a slightly clashing Dm7 sound that sounds great in the context of the happier major-sounding D7 tonality.
~~ ~~ ~~ œ œ œ~~ œ œ~~ œ œ n œ œ # œ œ b œ
# # ˙ ~~~~~~ . œ œ & G7
CD TRACK 28
~~~~~~ [
10
10 ]
3
~~~ œ œ œ œ œ œ œ n œ œ # œ n œ # œ œ # # œœ œœœ Uœœœ œœœ œ
D7
3
10
10
3
10
10
10
3
10 10
8
3
10
8
9
∑
~~~
10
10
9 9 9
10 10 10
U
[ 10 ] [ 10 ] [ 10 ]
[10 ] [10 ] [10 ]
127
September 2015 GuitarTechniques 35
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play: ACOUSTIC
ON THE CD
tracks 30-38
John Renbourn Tribute To honour one of the greatest and most influential acoustic guitarists of our time, Stuart Ryan unveils some of the many styles of the late John Renbourn. ABILITY RATING
Moderate/Advanced Info
Will improve your
Key: Various Tempo: Various CD: TRACKS 30-38
Fingerstyle technique Folk and acoustic blues General acoustic repertoire
The acoustic guitar world lost one of its true pioneers when the great John Renbourn passed away earlier this year. Although often referred to as a folk guitarist, Renbourn’s range on the instrument was staggering and he was equally at home with DADGAD style folk, Mississippi blues, traditional classical styles and a whole lot more. Unlike many players from the acoustic world at the time (John was a stalwart of the 60s and 70s scene) Renbourn was a schooled musician who had taken classical guitar grades. While he travelled through many styles musically, the precise technique of the classical fingerstylist would always be at the core of his playing. Renbourn’s formal studies also gave him a lifelong interest in medieval and ‘early’ music, which would be prominent at various points in his career. However, while he was studying as a child in the 50s he also discovered the music of legendary folk-blues artists Josh White, Leadbelly and Big Bill Broonzy, and so the blues also became an integral part of his musical make up. Like his musical counterpart, friend and Pentangle bandmate Bert Jansch, Renbourn initially made his name in the London club circuit of the 1960s. Influenced by legendary English fingerstylist Davey Graham, Renbourn’s first professional musical forays
were with blues singer Dorris Henderson with whom he recorded two albums. However, it was through his association with Bert Jansch that he truly began to develop his own voice on the instrument. These early duets with Jansch are a curious blend of folk and classical styles that has come to be known as ‘folk baroque’. Renbourn’s style developed throughout the 1960s and towards the end of the decade
John Renbourn was a true original in the world of fingerstyle guitar; in fact we could say he was one of its founding fathers. he was working with folk singer Jacqui McShee fusing his traditional, bluesy style with jazz elements. However, he really started to enter the public arena when he formed Pentangle with Jansch, McShee, percussionist Terry Cox and the legendary bassist Danny Thompson. This was truly a pioneering musical unit that fused all of its members’ musical influences into a melting pot of folk, jazz, blues, medieval and even the burgeoning rock sounds of the day. Renbourn’s virtuosity found its home within Pentangle and the band toured steadily, performing throughout the UK and US with appearances at the Isle of Wight Festival, New York’s Carnegie Hall and the Newport Folk and Jazz Festival. After Pentangle disbanded in 1973, Renbourn returned to his solo career playing with his old sparring partners Jansch and McShee and legends Stefan Grossman and Doc Watson.
For this month’s tribute to John Renbourn we will look at the variety of elements and styles that made him such a broadly-versed and well-informed musician. As well as licks using 6ths intervals, we’ll examine the importance of the Davey Graham influence, look at some of Renbourn’s traditional folk style playing; analyse his early blues musings and check out some of the techniques and approaches he brought to his folk-rock band, Pentangle. Of course, since Renbourn’s classical playing informed so much of what he did throughout his career, we’ll also be looking at this, as well as homing in on his approach to the Celtic guitar style he so loved. John Renbourn was a truly original player in the world of fingerstyle guitar; in fact we could say he was one of its founding fathers, such was his influence on others. While John will be sadly missed, thankfully, he leaves behind an extensive back catalogue of recordings, transcription books and DVDs. If you haven’t explored his playing and you wish to delve into his incredible style then there are plenty of resources to get you started.
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John Renbourn played many acoustic guitars over his long career, from a Gibson J-50 on second solo album Another Monday to a Martin signature edition released in 2010. For a long time he played models custom built by one of the UK’s most respected luthiers, Ralph Bown.
TRACK RECORD To hear John at the start of his career and the blues-folk sound in full swing check out his 1965 debut John Renbourn, and 1967’s Another Monday. For the classical influence try The Lady & The Unicorn (1970). For solo guitar, 1976’s The Hermit is a seminal recording. Another classic is the Bert & John album from 1966 and finally The Pentangle is a great introduction to this band from 1968.
38 GuitarTechniques September 2015
DAVID REDFERN / GETTY IMAGES
JOHN RENBOURN STYLE
John Renbourn, seen here playing his Gibson J-50
September 2015 GuitarTechniques 39
play: ACOUSTIC
ON THE CD
tracks 30-38
Example 1 6ths
TRACK 30
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JOHN RENBOURN STYLE Example 6 CLASSICAL STYLE
TRACK 37
[Bar 1] John’s classical training came to the fore on The Lady And The melody lines. Unicorn album, which features some staggering technical playing. This [Bar 2] You can shift the picking hand pattern to use the thumb for the melody based idea is a real challenge for the picking hand but you can open sixth string and an alternating ‘i’, ‘m’ pattern on the first string. try using an alternating ‘p’ ‘i’ approach on the picking hand fingers for the GT 2 4 7 JOHN RENBOURN - PT 2 - Stuart Ex 6 - Classical Style
GT 2 4 7
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September 2015 GuitarTechniques 43
play: ACOUSTIC
ON THE CD
tracks 30-38
Example 7 CELTIC STYLE PIECE
TRACK 38
[Bar 1] This longer example examines Renbourn’s Celtic folk style, which would be used for solo guitar and/or vocal accompaniment. Smooth legato (hammer-ons and pull-offs) was a key feature of his style and 2 find xxxxxxxxxx you’ll it throughout this example. [Bar 2] Renbourn was a master at exploiting the rich chord possibilities Ex 7 - Celtic Style
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44 GuitarTechniques September 2015
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JOHN RENBOURN STYLE Example 7 CELTIC STYLE PIECE ...CONTINUED
TRACK 38
could be, use this bar as an exercise in its own right. [Bar 15] Here’s another challenge for the fretting hand as you must sustain the bass note (1st fret, fifth string) for the first two beats of this bar while sounding the notes on the fourth and third strings. 3 20] This phrase also poses a challenge for the fretting hand. In this [Bar B b 6 # 11
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September 2015 GuitarTechniques 45
play: classical
ON THE CD
tracks 39-40
Fernando Sor Study In C
This month, Bridget Mermikides arranges and transcribes a particularly evocative piece by the first true guitar virtuoso, the legendary Fernando Sor.
ABILITY RATING
Easy/Moderate Info
Will improve your
Key: C major Tempo: 62 bpm CD: TRACKS 39- 40
Fingers and thumb balance Playing contrapuntally Voice leading
In this instalment of GT’s classical guitar series we tackle the delightful Study In C (Op.6, No.8) by the Spanish guitarist and composer Fernando Sor (1778-1839). Sor might not be a household name today and is perhaps considered a minor composer among the pantheon of the ‘greats’ of his time, but in terms of the classical guitar world he is a figure of enormous importance and influence. He was, in fact, the first great guitar virtuoso, a touring solo performer and a composer of many works for a wide range of instruments and genres (including two operas, nine ballets and three symphonies). Furthermore, Sor was a consummate educator who wrote over 100 studies, lessons and exercises for guitar students at all levels, and was a highly-respected teacher in both London and Paris. Sor’s guitar studies managed to achieve the perfect marriage of pedagogical instruction and musical charm and Study In C is a perfect example of such a balance. Composed in 1815 (the year he moved to London), this piece is the 8th of his book of 12 Studies (Opus 6), each of which focuses on a particular guitar technique with characteristic creativity and elegance. Study in C is
in a slow three-four metre and focuses on three-part writing – the simultaneous flow of three independent melodies – through an engaging harmonic progression. It works so well as a relatively formative study (and as a piece in its own right) that it is included as the first of 20 Studies that Andres Segovia selected and published in 1945. This fantastic volume of studies has been owned, annotated and worked through by thousands of classical guitarists over the years.
Posture When playing classical guitar, posture is extremely important in order for both hands to work efficiently. The traditional method is to sit up straight on the front edge of an upright chair and raise the left knee (right handed players) by placing a footstool under the left foot. The guitar sits on the left thigh and the head of the guitar tilts upwards. For long hours of playing, many people prefer to have both feet on the floor keeping the pelvis level. Good alternatives to the footstool are the Dynarette guitar cushion, the Gitano guitar rest and the ErgoPlay guitar support.
I highly recommend this piece to all players, regardless of level, but it is particularly useful to the developing classical guitarist as it allows one to focus on clarity of tone, consideration of independent voices, and sustaining melodic lines in an a very idiomatically written and musically pleasing context. The tab captions will help you through the details, but remember to take your time to learn it thoroughly as it will be an important companion to your classical guitar journey for many years to come.
Fernando Sor: a leading light for the guitar
Sor was the first great guitar virtuoso, a touring solo performer and a composer of many works for a wide range of instruments. NEXT MONTH: Bridget arranges Prelude In D Minor by JS Bach
Track record I recommend Goran Krivokapic’s recording on the 2008 Naxos recording: Sor: 12 Studies, Fantasia Op. 7, Divertimenti, Op.8. which were all written within a few years during Sor’s time in London. William Carter’s Fernando Sor - Early Works and Fernando Sor - Late Works (both Le Calme) offer a wonderfully-played selection of the master’s pieces and studies.
46 GuitarTechniques September 2015
Fernando Sor Study In C PLAYING TIPS
cd track 40
[General] The aim for this study is to play with clarity throughout and to to the Em chord on beat 1 of bar 5 can be tricky. Slow down the shift and project all three parts; treble, middle and bass. One of the challenges is to notice how the fourth finger can stay on the string from the D note to the E play as legato as possible, giving all parts their correct notational values. note with some careful positioning of the second and first fingers. A very neat and controlled fretting hand will be needed with accurate and [Bar 6] On beat 1 of bar 6 use a four-string barre to take care of the tidy placement throughout. For most people it is necessary to isolate and descending bass line while maintaining sustain of the G chord above. Notice practise of the moreMAGAZINE awkward fretting how the upper parts and bass part alternate the same rhythmic motif from GUITARsome TECHNIQUES 2 4 7 hand changes slowly and FERNANDO SOR STUDY opus 6, no.8 gradually blend these into the flow of the piece. For example, manoeuvring barsIN 5 toC7.MAJOR This should be clearly played with correct sustain of voices. arr. Bridget Mermikides
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FERNANDO SOR STUDY IN C MAJOR opus 6, no.8
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Learning Zone LESSONS GT247 30-MINUTE LICKBAG . ..................................... 52 Pat Heath has six more cool licks at easy, intermediate and advanced levels.
Blues. ................................................................................................ 5 4
Les Davidson checks out the style of a cool modern blues man, the incredible John Mayer.
Rock .. ................................................................................................. 58
Martin Cooper delves into the style of Chicago’s brilliant guitarist, the late Terry Kath.
video. ................................................................................................ 6 2
British jazz guitarist Nigel Price begins a new masterclass series starting with chord melody.
creative rock.......................................................... 70
Shaun Baxter looks at even larger, 11 and 12note groupings using string-pair cells.
CHOPS SHOP. ..................................................................... 76
Andy Saphir examines a scale that sounds great in almost any 7th-based style – the Mixolydian.
HARD ROCK. .......................................................................... 78
AS A REGULAR reader you know we champion many aspects of guitar playing, from theory and technique to player analysis and song transcriptions. The delivery of all this is from a GT team comprising the cream of UK players and teachers, with broad musical preferences and abilities – even those that pen very bespoke tutorials. We are also augmented by various worldwide guest writers and tutors that we’ve featured ever since the mid 90s. Recently, we were privileged to have LA session guitarist, Carl Verheyen soloing over various backing tracks for a seven-part video tutorial. All of us on GT have a lot of respect for Carl; huge chops, an extensive knowledge of music theory, stylistically savvy (he can emulate many, from Joe Pass to Keith Richards), he always gets a great guitar tone and can pretty much read any music presented to him. That’s a 360 degrees musician in our books and, if your emails and letters are anything to go by, he has illuminated your learning sessions over recent months. This issue, we welcome a new guest tutor: the UK jazz guitarist, Nigel Price. While not as well known as Carl, Nigel’s been on the UK circuit for many years and his musical acumen and ability are, like Carl, absolutely world class. When tutor Dario Cortese worked alongside
him at the GT filming studio, my jaw was often on the floor not just because of his chops, but for his musicality. We often hear outstanding guitarists but not all of them have the magical ‘good stuff’. Even before filming began, Nigel demonstrated he had it in spades; fluid technique (without ever showboating) and a seemingly endless supply of lines and chords that would make anyone smile. It was as if he was channelling Wes Montgomery, George Benson, Kenny Burrell and Joe Pass while freely expressing his own voice. It was a joyful filming session! Nigel starts this issue with chord and voicing approaches that will provide you with months of both immediate study and further development. If you’re a jazzer, you’ll be ecstatic about this, but I’d urge any broad-minded GT reader to delve in and start learning, even if you’ve never really checked out jazz guitarists before. The intelligent and rich musicality on offer with each example will enhance your playing, even if you’re an indie pop strummer or a rousing riff rocker. Enjoy the issue!
Charlie Griffiths’ continues his new series with a look at the awesome Slash of Guns N’ Roses.
JAZZ. ...................................................................................................... 8 2
John Wheatcroft meets the fabulous Scottish ‘thumb’ jazz guitarist, Jim Mullen.
acoustic.................................................................................. 8 8
Stuart Ryan taps into the acoustic side of a blues and rock legend – the great Eric Clapton.
reading music......................................................... 92
Charlie Griffiths continues his series with some more full pieces for you to read and play!
On video! Join Nigel Price
for his brand new masterclass series, beginning with chord melody. Page 62
September 2015 GuitarTechniques 51
lesson: 30-Minute Lickbag
30-Minute Lickbag Pat Heath of BIMM Brighton brings you yet another varied selection of fresh licks to learn at easy, intermediate and advanced levels.
Brought to you by...
Easy Licks Example 1 Fleetwood Mac
cd track 41
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Learning Zone
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cd track 43
This example Lick 3 uses Les’ warm tone and soft touch. I used hybrid picking in the octave section, but you can play the lick fingerstyle or with a pick.
4 &4 E B G D A E
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cd track 44
of guitar their parts, and the attitude here is in the ferocity of attack and that vicious Gibbons vibrato!
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September 2015 GuitarTechniques 53
lesson: blues
ON THE CD
John Mayer
tracks 47-50
Brought to you by...
A rock star? Well, yes, but John Mayer is a great singer, composer of brilliant songs and a rather fantastic blues player too, says Les Davidson. John Mayer was born in Bridgeport, Connecticut in the USA but raised in nearby Fairfield. He attended the prestigious Berklee College of Music in Boston but didn’t complete his course. Alongside Clay Cook, he settled in Atlanta, Georgia and formed a band called The Low-Fi Masters. Although this set-up was short-lived, Mayer soon set about building a name for himself in the local area playing in clubs and bars. By 2001 he had a record deal, first with Aware Records then Columbia Records. He released two albums, Room For Squares (2001) and Heavier Things (203), both of which achieved multi-platinum sales and he won a Grammy in 2003 for his vocal performance on the single Your Body Is A Wonderland. Mayer’s original musical influences included Stevie Ray Vaughan, BB King, Buddy Guy, Jimi Hendrix and Eric Clapton, so it came no great surprise when during the mid-noughties he released first a rock-blues live album Try! (2005) with Steve Jordan and Pino Palladino (a tip of the hat John Mayer playing a beaten toward Hendrix’s Band of up Fender Strat Gypsys), and then Continuum (2006), an album steeped in the blues. ABILITY RATING Since then, Mayer has played along side Moderate/Advanced many of his blues heroes and has been a guest at Eric Clapton’s’ Crossroads Festival, notably Info Will improve your performing with Clapton Cream’s version of Robert Johnson’s Crossroad Blues Key: Various Blues and rock vocabulary (Crossroads). But it’s clear that while Mayer is Tempo: Various Rhythm and articulation a big fan of the blues, he certainly has his own CD: TRACKS 47-50 Stylistic awareness
John Mayer’s original
musical influences include Stevie Ray Vaughan, BB King, Buddy Guy, Jimi Hendrix and Eric Clapton. blues guitar voice. Like Hendrix he’s a master of slipping in really cool fills between vocal lines – often playing complex licks while singing; a very tricky feat indeed! As always, take time to build up the necessary stamina and articulation to play these pieces. There are many ways to build up to the required tempo but I’d suggest you first attempt to play these ideas at full tempo, even if you can only manage the first couple of bars. Reduce the speed by all means, and add the next few notes or even a single note – then take it back up to tempo, being careful to play the notes cleanly and accurately. This way you’re making progress by expanding the duration of an idea rather than playing an entire phrase at a fraction of the desired speed. Picking is ‘down up down up’ unless otherwise stated but Mayer sometimes uses just thumb and first finger. NEXT MONTH: Les examines the playing of the brilliant Buddy Guy
Get The Tone 7
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Reverb
John Mayer is mainly a Fender Stratocaster man and Fender has produced a signature, limited edition Mayer model. He uses a Two Rock Signature amp and an Overtone Special by Ceriatone but he has also been seen plugged into the fabled Alexander Dumble amp. He uses a few pedals including the Way Huge Aqua Puss and an Eventide Timefactor for delays and a Klon Centaur/Mosfet Fulldrive 2 for boosts and overdrive. For the audio examples, I use a Fender Custom Shop Relic 1956 maple neck Stratocaster, into a Mesa Boogie Transatlantic head through a Cab Clone into a DAW system.
Track record John Mayer has recorded many great albums including: Room For Squares (2001), Heavier Things (2003), Continuum (2006), Battle Studies (2009), Born & Raised (2012) and Paradise Valley (2013). Check out the live album As/Is (2004). The DVD, Where The Light Is (2008), has Mayer performing an acoustic set, a blues trio set and with a full band line-up, all live in LA.
54 GuitarTechniques September 2015
Learning Zone
JOHN MAYER EXAMPLE 1 Mixing scales
cd track 47
Our first example draws heavily from phrases found within A major Pentatonic scale (A-B-C#-E-F#) and A Mixolydian mode (A-B-C#-D-E-F#-G) GUITAR TECHNIQUES MAGAZINE 2 4 7
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but we also see some Diminished lines. Be aware of how landing on the strong chord tones tends to give resolution to whatever comes before it.
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September 2015 GuitarTechniques 55
lesson: blues
ON THE CD
tracks 47-50
EXAMPLE 2 rhythmic phrasing
cd track 49
In our second example, we see how Mayer sometimes uses short rhythmic, with any great guitarist, Mayer’s slipping in and out of various scales is GUITAR TECHNIQUES MAGAZINE 2 4 7 repetitious phrases, in this case derived mainly from a Bb Mixolydian to be a deliberate theoretical choice, but much more likely to be as JOHN MAYER - Lesunlikely Davidson (Bb-C-D-Eb-F-G-Ab) and Bb minor Pentatonic scale (Bb-Db-Eb-F-Ab). As a result of the melody he hears in his head at any given time. Ex 2
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56 GuitarTechniques September 2015
13 11 1213 13
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lesson: rock
ON THE CD
tracks 51-53
Chicago This month, Martin Cooper travels to the Windy City to look at a band that made the 80s power ballad their own – the one and only Chicago.
Chicago are second only to The Beach Boys in terms of album sales by American bands in the USA. helm, the 80s ushered in an era of lush arrangements and big choruses, culminating in some of the biggest pop hits of the day, including You’re The Inspiration and Hard Habit To Break. It’s the big chorus and huge rock guitar era of Chicago that we’re looking at this month, and this style features on songs such as Stay The Night and Look Away, so check out the Get The Tone box for ideas on how to get that classic 80s rock type sound. This month’s track is in the key of C major (C-D-E-F-G-A-B), although there are some notes and chords outside the key, such as D major and the Bb power chord. The intro uses clean guitar arpeggios, as well as some big overdriven power chords and single-note lines. It also features a solo that employs the C major scale and targets specific chord tones over the chord changes. Make sure you have a look at the notation and the playing tips as well to really nail the Chicago sound. NEXT MONTH: Martin has a look at the glorious playing of Queen’s Brian May
Get The Tone 7
7
7
6
4
Gain
Bass
Middle
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Reverb
To get this type of tone, if you have a guitar with a humbucker you’ll be heading down the right road. Set up a moderate amount of gain and aim for a tight, punchy rock tone, but one that can be cleaned up as well. So-called super-Strats found favour at this time as their neck and middle single-coils and thicker, more powerful humbucking bridge pickup made this type of guitar ideal for songs that need both clean and overdriven sounds. There’s often chorus and reverb on the guitars too.
Track record Chicago have released more than 20 studio albums, most of which have been assigned numbers as titles. Chicago VI (1973) features the hit Just You ’N’ Me, and later on came their biggest seller Chicago 17 (1984), which includes Stay The Night and Hard Habit To Break. There are also a number of compilation albums including The Best Of Chicago: 40th Anniversary Edition (2007).
58 GuitarTechniques September 2015
DAVID REDFERN / GETTY IMAGES
changed their name to Chicago and took the inspiration for their now well-known logo from Coca-Cola. They are also one of the most successful American bands of all time, second only to The Beach Boys in terms of album sales, with 18 platinum and eight multi-platinum albums among the 100 million sales they’ve achieved. Formed originally by saxophonist Walter Parazaider, guitarist Terry Kath, drummer Danny Seraphine, trombonist James Pankow, trumpeter Lee Loughnane and keyboardist and singer Robert Lamm, Chicago has had many line-up changes over the years. Bassist Peter Cetera went on to have a lot of success as a solo artist while current guitarist Keith Terry Kath was Howland has been with said to be one of Jimi Hendrix’s the band since 1995. favourite players Other guitarists to feature with the band have been Chris Pinnick in the early 1980s and ABILITY RATING Dawayne Bailey who was with them before Howland took over. They continue to play Moderate live and record, including tours with the likes Info Will improve your of The Doobie Brothers, and Earth, Wind & Fire. They have appeared over the past few Key: C major Clean arpeggio playing years on hit shows such as American Idol, as Tempo: 94 bpm Controlled lead work well as performing at the legendary Red CD: TRACKS 51-53 Timing and feel Rocks venue in Colorado with the Colorado Symphony Orchestra. Formed, unsurprisingly, in Chicago The band changed their more in 1967, Chicago have played various styles of experimental sound to the well known rock over the years, including some more pop-rock ballad style after the death of experimental and jazz influenced music, as well as the commercially very successful softer original guitarist Terry Kath, who sadly died from a self-inflicted but accidental gunshot rock style of the 80s and early 90s. Originally wound. With producer David Foster at the named Chicago Transit Authority, the band
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CHICAGO Example rhythm GUITAR
cd track 52
For the intro arpeggios you’ll need to play cleanly and let all the notes ring in this type of rock style playing. You’ll also need to be accurate with muting GUITAR TECHNIQUES 2 4 7 into each other, but avoid unwanted open strings or other excess noise. Any ROCK as wellCOLUMN as playing the Martin Cooper's BIMM - chords accurately on the second half of the track, errors such as these will be very obvious as the arpeggios are very exposed where the overdriven parts begin. CHICAGO STYLE RHYTHM GUITAR
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September 2015 GuitarTechniques 59
lesson: rock
ON THE CD
tracks 51-53
Example rhythm GUITAR... CONTINUED
cd track 52
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60 GuitarTechniques September 2015
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consistent nature of the playing. So while the lead playing is not that hard, your task is to play it flawlessly and with feeling.
C5
25
LEAD GUITAR
cd track 52
Martin Cooper's BIMM ROCK COLUMN -
These types of songs need to have a great deal of consistency, which was a CHICAGO STYLE hallmark of the 80s and 90s rock ballads. It’s not about attitude, but the very
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lesson: video
VIDEO
Nigel Price Masterclass
ON THE CD
cd-rom
PART 1
So what’s behind Nigel Price’s astonishing chord melody playing? Dario Cortese has been on a journey of discovery and is ready to reveal all. To investigate the secret of his success we caught up with Nigel and asked him to shed Moderate/Advanced some light on some of the grey areas of jazz guitar; the thinking behind it, so to speak. In Info Will improve your this first instalment we will focus on Nigel’s approach on chord melody. With the aim of Key: C maj/min Chord melody playing making things as simple as possible we kept Tempo: Various Chord knowledge everything in the key of C major and C minor CD: CD-ROM Comping vocabulary and left you, dear reader, the task of Welcome to PART one of this new series of transposing the concepts into other keys. To make the material as usable as possible, we video lessons with acclaimed jazz guitarist concentrated on the most widely-used chord Nigel Price. Nigel might not be known to the progression: II-V-I-VI. wider public, but over the past few years he In the examples you’ll also find the chords has garnered a growing reputation as one of written out in two ways. The first way refers to the finest guitarists on the British jazz scene. His style is characterised by a blend of fluidity, what is actually been played and this is shown above the notation. The second way is shown flawless technique, colourful harmony and bracketed between the tab and the score and melodic inventiveness, as well as mastery of refers to the basic chord progression on which the blues side of the jazz tradition. the playing is built. The underlying Nigel Price: one story, if you of the UK’s finest like. This jazz improvisers is done to stress how important it is to interpret the harmony instead of simply reading it. For instance, you’ll find that the basic chord is supposed to be Dm7 and Nigel plays a Dm11. Or the simple chord is G7 and Nigel plays a G7#5#9. The way to understand this is to realise that the basic chords – the ones often found in songbooks such as the Real Books – usually represent the family of the chord and not the actual chord being played. Dm7 doesn’t necessarily mean that we need to play a Dm7; it means that we can play anything in the family of Dm7: like a Dm9, or Dm11, etc. So how do we learn chord melody? What are the various steps? Nigel uses a very simple system that provides a clear path to master this playing style.
ABILITY RATING
His style is characterised by a mastery of the blues side of the jazz tradition. It starts by organising the chords according to their melody note. Have a look at Examples 1 and 4 and you’ll see how Nigel is able to go through a chord progression, keeping whenever possible the same melody note. This is a tremendously useful skill to have and a very piano-like way to play guitar. The next step would be to start moving those chords in a simple ascending or descending melody like Nigel does in Examples 2 and 5. How well we master these first two steps determine how free we feel in creating and improvising chord melodies. Once we’ve built this solid foundation the next step would be to start using these chords to create melodies. This can be done improvising, like Nigel wonderfully demonstrates in Examples 3 and 6, or even arranging some famous melodies. I do hope you enjoy this series as there’s so much great stuff here, whether you’re a jazz player or you simply want to try new ideas. Join me next month when we’ll look at more great concepts from Nigel’s playing. NEXT MONTH: Dario delves into the singlenote jazz playing of Nigel Price
Get The Tone 2
6
5
2
2
Gain
Bass
Middle
Treble
Reverb
This is a very straightforward classic jazz style that’s traditionally played with a pick. For a standard jazz sound, select the neck pickup and roll off the tone to taste. If you’re looking for a very traditional ‘old-school’ kind of sound, try flat-wound strings, although round-wounds also work perfectly and are a popular choice among modern players. Experiment to see what suits your style.
Track record If you would like to hear Nigel in full flight with his chord melodies check out his album, Nigel Price Live! (Jazzizit, 2009) Other masters of chord melody are to be found in Joe Pass, Ike Isaacs, Ted Greene, Martin Taylor and many others.
62 GuitarTechniques September 2015
Learning Zone
Nigel Price Masterclass Part 1 Example 1 Major II-V-I-VI with minimal movement
cd -rom
This example shows a basic requirement to developing your chord melody melody note (whenever possible) before moving to the next available note. playing: the ability to organise chord voicings according to their melody Two things are particularly interesting: the way Nigel uses triads (eg: Db over GUITAR TECHNIQUES MAGAZINE 2 4 7progression keeping the same note. Here Nigel goes through a simple and his unique fingering for some of the chords (eg: the final Cmaj7). NIGEL PRICE VIDEOG7)LESSON -- Dario Cortese GUITAR TECHNIQUES MAGAZINE 2 4 7
NIGEL PRICE VIDEO LESSON -- Dario Cortese
Ex 1 - Major II-V-I-VI: Minimum Movement Ex 1 - Major II-V-I-VI: Minimum Movement
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lesson: video
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11 12 13 14 11 10 12 15 cd-rom 12 10 13 14 11 10 12 14 chords like all the 12with single note lines without losing the melody. Nigel, 15
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Learning Zone
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Example 9 Diminished idea #2
cd-ROM
Here’s 5 another idea using the Diminished scale. This time Nigel uses a major triad and shows that within the G Half-Whole Diminished scale we can find Ex 9 - Diminished Idea #2
5
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G
#
#
Gadd 11
G7 9
b ˙ww
#˙ C ˙w &9 -- Diminished Ex Ex 9 Diminished Idea #2 #2 w Idea # 11 G Gadd G Gadd 11 h»§§ [ G7 ] # ˙2 & C ˙ww00
E B G D A E
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G7 G7 9 9
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C /G /G ThisAA is ah great substitution idea to use over a II-V-I-VIDprogression. This is a E E 1 brief explanation of the relation between the triads and the original chords: 1 C/G for Dm7 creates a Dm9(add11) type of sound; Db/G for G7 creates a
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[[ A7 A7 ]
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9
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6 6 F/G 6 6 6 6 10 10
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10 10
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7 7 8 8 cd-ROM 7 7 7 7 D /G E /G 7 G7b5b9 type of sound; D/G for Cmaj7 creates a Cmaj13(#11) Lydian type of 7 8 8 F/G for Dm7 is a Dm11 sound; Eb/G for A7 creates a A7b5b9 type of sound; 8 8
8 8
8 8
8 8
10 10 10 10 10 10 10 10
9 9 9 9 9 9
11 11
b
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10
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8 8 8 8 8 8 10 10
7
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9 9
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D/C 7 7
# ww w w
D/C D/C [ Cmaj7 ]
# ww w77 w7
8 [[ Cmaj7 Cmaj7 ]
[[ G7 G7 ]
10 10
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b
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œ
[[ Cmaj7 Cmaj7 ]
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10 10 4 4
b
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1
0 Ex 10 - 10 Pedal Tone G Example Pedal tone 2 0 G 0
E B G D A E
#
G13 G13 9 9
8
6 6
3
G13 9
b ˙w w
˙
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b
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a series of triads such as G, Bb, Db and E. All can be played harmonically (as well as melodically) over a G7 chord to create different degrees of tension.
9 9
7 7 7 7 7 7 8 8
September 2015 GuitarTechniques 67
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September 2015 GuitarTechniques 69
Large note groupings Continuing his look at navigating the fretboard in string-pair cells, Shaun Baxter reveals a neat way to play longer lines that hold the listener’s interest.
ABILITY RATING
Advanced Info
Will improve your
Key: C (Am) Tempo: 120bpm CD: TRACKS 54-56
Ability to maintain interest Understanding of octaves Fretboard knowledge
The previous series was devoted to the practice of compressing the information of a musical entity (triad, arpeggio, Pentatonic scale etc) into a single string pair, so that the same shape (melodic ’cell’) can be shifted up and down over three octaves via string-pairs sixth and fifth, fourth and third, second and first. By confining our approach to these particular string-pairs, the fingering will remain the same in every octave (since we’re
avoiding the awkward third to second-string jump), providing physical and visual convenience. It’s a technique that is very convenient on guitar and allows us to adopt a musical approach that’s used by every piano player. When composing the examples for the previous series, I soon became aware that a lot of them featured large groupings (6, 7, 9, 10, 11, 12 etc); so, I decided to save those up for this particular lesson. The rhythmic note-groupings that we are going to look at in this lesson are not divisible by the underlying count (in this case, 16th-notes played to a 4/4 time signature). So each one creates an effect known as ‘rhythmic displacement’; a phenomenon that occurs when a different note appears on the downbeat each time a musical figure is repeated (thus changing the focal point for the listener). For example, in Diagram 2 on the opposite page, look what happens when we repeat a five-note figure to a 16th-note count (four notes per beat).First the 1 is on the beat, then the 5, then the 4, the 3 and then the 2, before eventually returning to the 1 to start the sequence all over again (in this case, from the second beat of bar 2). The advantage of using this approach with string-pair cells is that we can repeat exactly the same idea (in this case, over three octaves) while avoiding sounding predictable. It’s an approach that provides us with range, length of line, melodic interest and rhythmic interest; and produces an inner musical logic
Although it brings many musical advantages, it can be technically challenging if you are new to this particular technique.
ON THE CD
tracks 54-56
to each line, which helps to make it sound cohesive and ‘right’ for the listener. In other words, the notes sound as if they belong together. Another bonus is that it reduces the amount of thought required. Instead of having to keep thinking and creating for the whole duration of the line, we merely have to construct a single musical motif and then shift it up or down in different octaves. Although it brings many musical advantages, it can be technically challenging if you are new to this particular technique as it requires a form of rhythmic spatial awareness. The acid test is that you must be able to tap your foot on each quarter-note throughout. This means that, rhythmically, you remain well-grounded; a bit like an acrobat who knows where the floor is mid somersault! If you experience difficulty doing this, you should break down each example beat by beat, establish the contents of each quarter-note, and then practise inching your way from one beat to the next. As in the previous series, all of the following examples are based around string-pair ‘cells’ that will work in A minor (see Diagram 1). The intention is to help you to start building up a useful repertoire of shapes and lines for you to be able to draw upon when improvising. Once you have done this, make sure that you can transpose your new vocabulary to any key. Note, in the following examples, although string-pair cells are used in each example, it is the rhythmic grouping, not the string-pair cell, that is encased in a rectangle within the transcription. Finally, where accents are shown in the transcription, do your best to make these notes louder than the rest: it’ll make all the difference to the overall effect and make it sound less like exercises. NEXT MONTH: Shaun begins a brand new series under the Creative Rock banner
Get The Tone 7
7
5
5
5
Gain
Bass
Middle
Treble
Reverb
I’m keeping to a typical rock tone for this series. I use a Fender Strat, so I always use a distortion pedal to boost the signal before it gets to the amp. Generally, try to go for 25% of your distortion from the pedal and 75% from the amp. You’ll find that the results are sweeter and more compressed (even and tighter sounding) than when getting 100% of the distortion from the amp. Finally, some delay will also be added, making sure that it is in tempo with the track. This will help to give both expanse and extra smoothness to your guitar’s sound.
Track record One player who has based much of his style around odd-note groupings is Robert Fripp of King Crimson (the album Discipline (1981) also features experimental guitarist Adrian Belew). Fripp is also known for his ‘Frippertronics’ approach, and the angry style featuring in his band The League Of Gentleman that led him to be recruited by David Bowie for his album Scary Monsters.
70 GuitarTechniques September 2015
DAVID LYTTLETON
lesson: creative rock
Learning Zone
LARGE GROUPINGS using string-pair cells DIAGRAM 1 odd-note groupings using string-pair cells in a minor
GUITAR TECHNIQUES MAGAZINE 2 4 7
Creative - Short Example to include in the text
diagram 2 repeating five-note figure against a 16th-note count
& 44 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û 1
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exampleS LARGE GROUPINGS USING STRING-PAIR CELLS
cd track 55
Any rhythmic grouping that is not either 2, 4, 8 or 16 notes long will be subject to significant rhythmic displacement when repeated to a 16th-note count within a 4/4 time signature. Each six-note rhythmic grouping in this first example is
SHAUN'S CREATIVE GUITAR Large Odd-Note Rhythmic Groupings Using String-Pair Cells
GUITAR TECHNIQUES MAGAZINE 2 4 7
©»¡™º & 44 Ó .
√ œ œ œœ œœ œœ œ œ œ œ œ œ œ œœ œ œ
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derived from the same five-note string-pair cell played in different octaves. Here, the scale source is A minor Pentatonic and each cell is arranged two notes on the lower string and three notes on the upper string in each string-pair.
(7)
(7) Loco √ (7) œ œ œ œ œ œ œ œ œ September 2015 GuitarTechniques 71 ~~ œ œ œ œ œ œ œ œ œœœ œ ‰ œ Ó œœ œ
lesson: creative rock GUITAR TECHNIQUES MAGAZINE 2 4 7
SHAUN'S CREATIVE GUITAR ON THE CD Large Odd-Note Rhythmic Groupings Using String-Pair Cells
tracks 54-56
√ Loco ~~~~ . œ œ œ ©»¡™º œ œ œ œ (6)œ œ cd track 55 exampleS LARGE GROUPINGS USING STRING-PAIR CELLS CREATIVE œ GUITAR œ œœ œ œ √ SHAUN'S GUITAR 4TECHNIQUES MAGAZINE 2 4 7 Loco œ ~~~~ (6) œ . œ Ex 1 Ó Ó ‰ . Large Odd-Note Rhythmic Groupings Using String-Pair Cells 4 [Five-note cell, 2-3 note-configuration] This is the first in a series Example Example& 2 [Six-note cell, 3-3 note-configuration] The seven-note rhythmic œ œ œ œ œ ©»¡™º 4 œ œ œ œ œ œ groupings in this example are applied œ to aœstring-pair cell derived from the œexamples œusedœ inœangroupings. œ ofTheGUITAR œ œ featuring 10-note œ isrhythmic œ A minor Pentatonic scale expanded version of Example 1. Am11 Hexatonic scale: .A-B-C-D-E-G SHAUN'S CREATIVE GUITAR 4TECHNIQUES MAGAZINE 2 4 7 œ √ œ Ó Ó Loco ‰ (6)5 [Five-note ~~~~ œ œ (6) œLarge Odd-Note Rhythmic Example 2-3 note-configuration] More 10-note rhythmic 1-2-b3-4-5-b7 & 4 œ Groupings Usingcell, String-Pair Cells Ex 1 . œ BUinversion ~~~~ œ œ œ œ ©»¡™º cell, 2-3 note-configuration] œ œ groupings here; this time, ascending within a different of the A minor Here, each nineExample 3 [Five-note œ œ 22 (uses œ œ œ œ 15 17 15 17 20 this one 24 ) the same string-pair œ œ œ œ Pentatonic scale from the previous example: note rhythmic grouping is taken from the same A minor Pentatonic scale √ œ 15 17 44 usedÓ .in Example‰Ex1. 1 (6) ~~~~ 1 and 3. string-pair cell(s) 12 cell(s) 14 12as Examples 14 17 œ (6) œ œ œ . œ Ó Loco & ©»¡™º œ œ 10œ 12 10œ 12 15 12 14 œ œ œ œ œ 15œ 17œ 15œ 17œ 15œ 17œ 20œ 22œBU(24œ~~~~ ) Ó ‰ 10 12 œ œ œ œ œ 12œ 14œ 12 14 12 14 17 & 44 Ó . BU ~~~~ œ10 12œ 10 12 10 12 15 (7) 15 17 15 17 20 22 ( 24 ) Ex 2 15 17 Loco 12 14 12 14 17 (7) √ (7) œ œ(7)12œ 14œ œ œ œ œ œ œ œ 15 17 15 17 20 22BU(24~~~~ ~~ 10 12œ 15 ) œ2 12 œ√ Ex10 (7) œ 10 12 œ 15 17 œ Loco . œ œ ∑ Ó œ œ (7)œ œ œ ‰ & œ~~ Ó œ10 œ12œ 15œ(7)12œ 14œ œ 12œ 14 œ12 œ14œ17œ œ œ œ œ œ 10 12 œ Ó œ œ œœœ œœ ∑ Ó . 10 12‰ œEx 2 √ (7) Loco & (7) œ œ œ œ œ~~ ~~ œ œ 17œ(7)œ œ œ œ œ œ œ œ œ œ 19 20 19 œ Ex20 2 œ œ 17 20 17 15 œ (7) œ œ œ œ (7)œ œ Loco 17 16 17 16 14 √ ∑ Ó. ‰ Ó & œ ~~ 17 14 12 œ œ œ œ œ œ œ œ œ œ œ 19 20 19 17 œ ~~ œ 20œ 17 15 œ œ œ œ 15 14 15 14 12 15 12 10 8 œ0 12 17 œ 20œ . œ œœœ œœ 17 16 17 16 14 ∑ Ó Ó ‰ & 17 14 12 œ ~~ œ 15 14 15 14 12 0 œ (9) œ 19 20 19 17 15 12 10 8 œ 12 Ex 3 17 20 Loco 17 15 √20 (9) 17 16 17 16 14 (9) ~~~~~ œ œ œ19 20(9)>œ19 17 >œ œ œ œ œ œ >œ 17 14>œ 12 15 14 15 14 12 0 Ex 3 œ œ œ œ œ 15 12 10 8 12 17 20 20 Loco 17 15 √ œ (9) œ ∑ & ∑ œ œ œ (9)>œ >œ œ œ 17œ 16œ 17œ 16 14>œ 17 14>œ 12 15 14 15œ14 œ œ12(9)>œ œ >œ œ œ0 œ ~~~ œ œ œ Loco œ œ œœ œ Ex 3 15 12 10 8 12 ∑ ∑ œ œ œ (9)œ œ œ œ œ √ (9) & œ œ œ œ ~~~ œ œ > > > > (9) > > œ œ œ œ ~~~ œ 17œ 17 17œ 15œ 17Loco15 œ œ œ œ œœ œ Ex 3 20 17 15 √ (9) ∑ œ œ œ œ œ ~~~ & ∑ œ 17œ 15œ 17>œ 15>œ œ œ 17œ 14œ 12œ 14 14>œ 14 12>œ 14 12 15 12œ 10œ œ (9) 20 œ 12 10 > > 12 10 œ8 ~~~ 17 17 17 15 12 12 œ œ œ œ œ œ œ 17 14 12 14 12 ∑ œ œ œ œ œ œ œ ~~~ & ∑ 14 14 14 12 10 15 12 10 œ 12 œœ 20 17 15 17 15 12 > 12 > 12 10 8 17 17 17 15 ~~~ 17 14 12 14(10) 12 (10) Ex 4 14 14 14 12 œ œ œ10 œ œ œ~~~ œ 15 12 œ10œ 12 20 17 15 17 15 œ 10 8 17 17 17 15 œ œ 14œ(10)œ 12œ œ œ 12 œ12 œ ⋲12 ~~~ (10) Ó . Ex‰4 Œ 17 14 12 œ œ & ∑ œ œ œ œ œ œ 14 14 14 12 œ œ œ œ œ œ œ œ œ 10 8 œ œ œ œ œ œ œ 15œ12 œ10 12 12 12 10⋲12 ~~~ Ó . Ex‰4 œ œ Œ œ œ & ∑ œ (10) œ œ œ (10) œ œ œ œ œ œ œ œ œ œ œ œœ œ8 œ 10œ œ œ8 10œ 8 10 12 8 10 8 œ œ œ . œ œ ∑ Ó ‰ ⋲ ~~~ Œ (10) Ex 4 & œ5 œ œ7 œ œ5 œ7 5 7 5(10)7 9 9 9 œ œ œ œ œ œ œ œ œ 8 10 12 8 10 8 œ œ œ3 œ5 3 5 3 5 7 7 7 œ œ8 œ9 10œ œ9 œ8 10œ œ . œ 5 œ 5 7 œ 7 9 ∑ Ó ‰ ⋲ ~~~ Œ œ œ & œ5 œ7 7 œ7 œ5 7 3 œ 5 œ 3 œ 5 œ 7 œ (10) 8 10 12 8 10 8 œ œ3 5 8 10 8 10 (10) (10) √ œ 5 5 9 7 7 9 9 j Ex 5 5 7 5 7 œ œ œ œ œ œ œ (10) œ 8~~~ œ œ œ œ 3 5 3 5 7 7 7 8 œ10 12œ œ 10œ 8 œ œ 8 10 8 10 œ œ œ œ œ œ œ (10) ∑ Ex 5 œ3 5 œ œ œ(10) j 5 7 5 9 œ œ √ 7 9 9 œ & ∑ œ œ œ 5 7 5 7 œ 3 5 3 5 7 7 œ7 œ œ œ œ œ œ œ œ(10)œ œ œ œ œ œ œ ∑ Ex 5 œ3 5 œ œ œ(10) (10) & ∑ œœœ œ œ œ √ œ œ œ œ (10) œ œ œ œ 15œ 17œ œjBU(22œ ) œ œ œ œ 15 17 15 20 17 œ œ œ œ œ œ œ (10) 17 15 17 (10) œ ∑ Ex 5 & ∑ œ œ 10œ œ 12œ 10œ 15 12œ 10œ 12œ 14 12 12œ 14 14œ 12œ 17œ 14œ 12œ 14œ œ œ 15œ œ √ œ 17œ 15œ 17œ œjBU(22œ ) 17 15 20 œ œ 17 15 17 ∑ 12œ 10 œ 12œ œ œ œ œ œ œ 14œ 12œ 12 14œ 14 12 17 14 12 14 & ∑ BU œ 10 12 12 10 15 12 10 12 (22 ) 15 17 15 20 17 15 17 12 10 GUITAR TECHNIQUES MAGAZINE 2 4 7
E B G D E A B E G D A E E B G D A E E B G D A E
SHAUN'S CREATIVE GUITAR
(6) Large Odd-Note Rhythmic Groupings Using String-Pair Cells (6)
Ex 1
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E B G D E A B E G3 D A E E B 3 G D A E E B G3 D A E 3 E B G D E A B E G7 D A E E B 7 G D A E E B G7 D A E 7
E B G D E A B E G 11 D A E B 11 G D A E E B G 11 D A E 11
E B G D E A B E G 15 D A E B 15 G D A E E B G 15 D A E 15
72 GuitarTechniques September 2015
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Learning Zone
LARGE GROUPINGS using string-pair cells exampleS LARGE GROUPINGS USING STRING-PAIR CELLS
cd track 55
Example 6 [Four-note cell, 2-2 note-configuration] The 10-note rhythmic groupings in this example are played in a descending fashion within A minor Pentatonic using large stretches (perfect 4ths) and some accents. Example 7 [Four-note cell, 2-2 note-configuration] Another example of 10-note rhythmic groupings. Again, with accents that help to provide more rhythmic interest. Example 8 [Six-note cell, 3-3 note-configuration] This example using 10-note 2 rhythmic groupings features accents with chromaticism (courtesy of the b5 of
& E B G D A E
>œ (10) >œ ~~~ œ œ œ œ œ œœœ œ œœœ œœœœ Œ œœ œœ˙ ~~~ 10 15 10 (10)
(√) ˙ . ~~~
Loco
Ex 6
Ó.
Œ
‰
~~~
10 13
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12 7
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7 10
7 12 7
10 7
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&
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(10) √ > >> œ >œ œ >œ >œ œ œ œ >œ œ >œ >œ œ œ œ ~~~ œ œ œ œ œ ‰œœ œœœœ œœœ œ œ
Ó.
∑
5
12 15
23
(10)
(10)
Ex 7
E B G D A E
the minor Blues scale). A minor Blues scale: A-C-D-Eb-E-G Example 9 [Four-note cell, 2-2 note-configuration] Unusually, 11-note rhythmic groupings are employed here: using the same A minor Pentatonic scale string-pair cell(s) as used in Ex7. Example 10 [Four-note cell, 2-2 note-configuration] Now for the first in a series of examples featuring 12-note rhythmic groupings. Each grouping is played using accents, and each string-pair cell is based upon a particular inversion of an Am7 arpeggio with no 4th.
12
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15 12 15
12 15
14 17
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~~~
>œ œ √ b œ n œ œ œ > >œ œ œ œ œ œ > œœœ œœœ œ b œ n œ œ œ œ œ œ œ b œ n œ œ œ œ > > (10)
Ex 8
&
∑
∑
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BU E B G D A E
10 11 12
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(√) ~~~ ˙. & E B G D A E
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~~~ . œ œ œ œ œ Œ œ œ & œ œ œ E B G D A E
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Œ
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12 13 14
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~~~
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Ex 10
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œ œ œ >œ œ œ œ œ œ œ >œ œ > œ œ œ œ
12 8 12
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September 2015 GuitarTechniques 73
lesson: creative rock
ON THE CD
tracks 54-56
exampleS 12-Note string-pair cells
cd track 55
Example 13 [6-note cell, 2-4 note-configuration] Our final 12-note grouping example is also based around the A minor Blues scale with accents. Although the groupings in this example contain a 16thnote triplet (giving us more than more than 12 notes) the rhythmic value of each grouping still totals 12, 16th-notes. Interestingly, as this totals three quarter-notes, Examples 10-13 could all be seen as a 3/4 time signature superimposed over a 4/4 beat.
Example 11 [5-note cell, 2-3 note-configuration] More 12-note rhythmic groupings here. Again, it’s the A minor Pentatonic with accents, only this time we’re using a higher inversion for each string-pair cell than in the previous example. Example 12 [6-note cell, 3-3 note-configuration] Each 12-note rhythmic grouping in this example is played with accents, and uses the same string-pair cell(s)3 as in Ex8 (derived from the A minor Blues scale). 3/4 (12)
3/4 (12)
œ √ œ ˙ ~~~ > > œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ Œ & E B G D A E
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Loco >œ œ >œ œ œ œ œ œ √ >œ œ >œ œ œ ~~~ > > œ œ œ ˙ œ œ œœ œœ œœ œ œ Œ & œ œ œ œ œ œ œ œ œœ > > > BU ~~~ 17 20 17 22 17 17 22 3/4 (12)
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VIDEO
Mixolydian Lines
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PART 1
Andy Saphir focuses on a mode that is at home in blues, jazz, rock – in fact, any style where 7th chords are prevalent – the mighty Mixolydian!
Example 1 g mixolydian ascending and descending
cd-ROM
GUITAR TECHNIQUES MAGAZINE 2 4 7
Andy Saphir's
GUITAR TECHNIQUES MAGAZINE 2 4 7 Ex 1
Andy Saphir's Chops Shop - MIXOLYDIAN LINES - Pt. 1
Here’s a straightforward G Mixolydian scale exercise (G-A-B-C-D-E-F) with -the you play the example, Chops Shop MIXOLYDIAN LINES - Pt. 1listen to the notes and make sure you’re aware of the root on the sixth string. This pattern extends to just beyond two octaves. As major 3rd and minor 7th intervals, which provide the Mixolydian sound.
©»ªº - ¡•º œ œ œ œ œ nœ œ œ ˙˙ ... Andy œShop #4 œ nSaphir's œ œ Chops - MIXOLYDIAN LINESœ - Pt. 1œ œ œ ˙˙ . ©»ªº ¡•º œ & 4 G7 œ œ n œ n œ œœœœœ œ œ 247 œ œ œ œ œ GUITAR # TECHNIQUES MAGAZINE Andy Saphir's œ œ ˙ œ œ - MIXOLYDIAN n œ LINES œ œ ˙˙˙ .... Ex 1 œ n Shop œ œ œ- Pt.œ 1 4 œ Chops œ œ . œ œ nœ œ & - 4¡•º ©»ªº œ nœ œ œ œ œ œ œ œ ˙˙˙ .. G7 œ œ œ œ œ Ex 1 œ œ œ 3 5 7 5 œ 3 nœ #4 6 œ 5 œ 3 œ ˙˙˙334 ... œ œ3 œ5 n œ6 œ ©»ªº 2 œ 4 5 5 œ 4 2 œ œ œ & - ¡•º 4 G7 œ n œ n œ 5 3 œ 2 œ ˙˙˙˙33553... .. 5 œ 3 œ 2 œ # 4 œ3 œ5 œ2 œ3 œ5 œ2 3 5 œ œ œ3 œ5n œ6 œ3 œ5 œ7 œ5 œ3n œ6 œ5 œ3 œ œ œ 5 3 ˙˙4. œ2 œ5n œ3 œ2 œ 5 4 & 4 n œ œ œ2 4 5 œ 2 3 5 5 œ œ œ œ œ cd-ROM Example 2 Ex mixolydian with arpeggios and pentatonics 5 3 2 œ œ3 œ5 2 3 5 œ3 ˙˙53.. 2 5 3 5 7 5 3 3 5 6 6 5 3 3 Starting on the©»ªº major- ¡•º 2nd note (A), this idea uses a G Mixolydian sequence Pentatonic sound on the fifth and fourth strings before returning with a 2 4 5 5 4 2 4 in bar 1, going into a G7 arpeggio (G-B-D-F) descending Mixolydian line. 2 3in bar 5 2. Bar 3 starts with a more 5 3 2 5 –2 Exqq=qce G7 3 5 7 5 3 35 2 3 5 5 3 2 3 5 6 6 5 3 3 3 5 5 3 3 œ œ œ ©»ªº#- 4¡•º 5 4 2 4 n œ œ 2 3 œ5 œ 2 œ4 5 œ œ 5 3 2œ œ 5 œ Œ – œ 2 3 5 5 3 2 5 & 4 3G75 œ œ nœ œ n3œ œ3 ˙ Exqq=qce 2 5 œ nœ œ œ œ œ ©»ªº#- 4¡•º œ œ n œ œ œ œ œ œ œ œ œ 4 œ œ nœ Œ œ nœ œ œ œ œ œ œ œ œ nœ œ ˙ Ex 2–& qq=qce G7 œ5 œ3 n œ6 œ5 œ3 œ6 œ5 œ3 ©»ªº -#¡•º 4 œ5 œ3 œ4 œ œ Œ – G7 & 4 œ œ5 œ œ3 œ5 œ5 œ4 œ2 œ5 n œ3 œ ˙ qq=qce n œ n œ 5 3 3 œ 5 5 5 œ3 n œ œ œ3 œ œ # 6 5 6 5 œ3 œ5 œ3 œ4 œ œ n œ Œ œ5 œ4 œ2 œ n œ 5 & 44 œ œ n œ œ 5 3 5 3 œ ˙ œ5 3 5 œ5 3 5 5 Ex 3 5 3 3 6 5 6 5 3 3 ©»ªº - ¡•º 5 4 5 4 2 5 3 3 5 3 5 5 3 – 3 cd-ROM Example 3 Ex bluesy 5G 7 3 3 5 5 5 qq=qce mixolydian 6 5 6 5 3 3 ~~~ 3 - ¡•º n œ 5 4 5 4 2 This lick has a ©»ªº more#bluesy sound by of bar 1 into bar 2. A more Pentatonic sound fills the rest of bar 2, before 4 flavour œ inœ addition œ œ toœ theœ bMixolydian 5 3 3 5 3 5 5 3 œ œ using the minor–& 3rd of4G (Bb) reverting to G5Mixolydian in bars 3 and 4. œ n5 œ ˙ 5n back œ G 7 hammering onto the major 3rd (B)œat thenend œ œ œ Exqq=qce 3 œ œ œ œ œ œ . œ œ ~~~ œ œ œ 3 ©»ªº#- 4¡•º n œ œ œ œ œ œ œ b œ œ 4 œ œ n œ œ œ. Ex 3–& œ n œ œ œ œ œ œ œ œ œ œ n œ ˙~~~ qq=qce G 7 ~~~ œ ©»ªº -# ¡•º n œ 3 6 œ3 œ5 œ3 œ5 œ3 œ5 b œ3 œ4 4 – G 7 & 4 œ n œ œ œ5. qq=qce ˙~~~ œ2 n3œ3 œ2 œ5 œ3 œ2 œ œ2 œ5 n œ3 ~~~ # 4 n œ6 œ3 œ5 œ3 œ œ3 œ b œ œ 5 œ5 3 œ3 œ2 œ3 5 5 5 3 4 œ & 4 n œ3 œ œ.5 œ2n œ3 œ2 œ œ 5 œ œ3 œ5 œ2 œ5 n œ3 ˙ ~~~ 5 5 3 œ2 œ œ2 Ex 4 3 ©»ªº - ¡•º 6 3 5 3 5 3 5 3 4 5 3 5 2 3 2 2 5 3 ~~~ Ex –4 5 5 3 2 2 3 5 qq=qce G7 6 3 5 3 3 3 b œ n œ œ ˙~~~ œ ©»ªº#- ¡•º 5 5 3 4 œ œ œ œ nœ œ 4 œ 5n œ œ 3 œ œ b œ5 œ œ 2 3 œ 2 œ 2 5 3 œ œ Example 4 bluesy-jazzy –& 5 5 3 2 2 3 5 4 G7 mixolydian œ œ œ Exqq=qce 4 ~~~ cd-ROM 3 œ n œ aœbluesy-jazzy b œ n œ œ ˙ 3 passage œ #- 4¡•º œ œto create œ n œ Using a variety©»ªº of approaches style lick, thisœexercise blues scale (G-Bb-C-Db-D-F) in bar 2, going into a Mixolydian based œœœ œ œ4. Note œ how œ lineœ inn œbar 1, aœG œ3 b œ line œ inœ barsœ3 and œ incorporates arpeggio and an ascending Mixolydian the lick ends on the major 2nd (A). & 4 œ Exa 4G7 n œ œ – œ qq=qce G7 œ œ 3 3 ©»ªº -#¡•º œ œ3 b œ6 n œ7 œ5 ˙~~~ œ n œ 3 œ œ 3 œ 5 œ 3 6 œ 5 œ 3 œ 5 6 4 œ œ œ œ – & 4 G7 œ n œ3 œ2 œ3 œ5 œ2 5 œ3 n œ4 6 5 b œ3 5 œ3 œ4 qq=qce ~~~ œ3 b œ6 n œ7 œ5 ˙~~~ 3 # 4 œ3 œ2 5 œ n œ œ œ œ 3 œ œ œ œ œ 3 3 5 3 6 5 3 5 6 œ œ œ & 4 n œ3 œ2 œ3 œ5 œ2 5 œ3 n œ4 6 5b œ3 5 œ3 œ4 œ œ ~~~ 3 2 5 œ3 3 3 6 7 5 3 3 5 3 6 5 3 5 6 2 5 3 4 6 5 3 5 3 4 ~~~ 3 2 3 5 3 6 7 5 2 5 G7 Ex 1 GUITAR TECHNIQUES MAGAZINE 2 4 7
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MIXOLYDIAN LINES PT1
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ideal to use as the basis of licks and lines to imply a dominant sound, or to play over a dominant chord, (which, in its basic form, is spelt: Root-3-5-b7). Mixolydian can be a great addition to more traditional ‘bluesy’ sounds by adding a scalic flavour to your playing that doesn’t sound overtly Pentatonic.
For the next three issues, we’re looking at the Mixolydian scale. This is the fifth mode of the Major scale and is spelt out: Root-2-3-4-56-b7. In fact the b7 is the only note that makes it sound different to the Major scale (Root-2-34-5-6-7). Because of the major 3rd and minor 7th notes found in the Mixolydian scale, it is
Example 52 fifth-string root mixolydian scale xxxxxxxxxx
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This is an ascending and descending G Mixolydian scale with the root note on the fifth2string. Playing the G7 chord before or after you’ve played the xxxxxxxxxx Ex 5
©»ªº ¡•º G 7 œ #4 œ œ œ nœ Gœ7 œ œ & 4 ©»ªº - ¡•º 2 xxxxxxxxxx œ Ex 5 #4 œ œ œ œ nœ & 4 Gœ7 œ ©»ªº - ¡•º Ex 5 nœ œ #4 œ œ œ œ9 10 12 & 4 Gœ7 œ ©»ªº - ¡•º 10 12 9 10 12 # œ nœ œ & 44 œ œ œ9 10œ 12œ 9 10 12 2 xxxxxxxxxx Ex 5
nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ 10 12 13 12 10 œœ 10 12 13 13 12 10 12 10 9 n œ œ œ 12 œ œ œ œ œ 10 12 13 12 10 13œ 12œ 10œ œ n œ œ 10 10 12 13 œœ 12 10 9
E B G D A E E B G D A 10 12 E 10 12 13 12 10 E B 10 12 13 Ex G 6rock style lick and uses an9 ascending This is a more G Mixolydian sequence 10 12 D 9 10 12 in bars 1, 2 Aand 3, beforeG going 7 12 into a C note to D note bend at the end of 10 E 10 12 13 12 10 E B 10 12 13 Ex 6 G 9 10 12 D 9 10 12 G7 A 10 12 E
Example 6 rock-style mixolydian
©»ªº ¡•º #4 œ œ & ¡•º 4 ©»ªº #4 Ex 6 & - ¡•º 4 Gœ7 œ ©»ªº #4 œ œ Ex 6 & 4 G97 10 ©»ªº - ¡•º # & 44 œ œ
scale should help you to hear the ‘dominant’ characteristics of the scale the major 3rd (B) and the b7th (F).
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Example 7 ©»ªº rapid-fire ¡•º œj œtriplets œ bœ nœ
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BU ~~~ œ 12œ 10œ œ n œ (œ15) œ ˙~~~ cd-ROM œ 13 œ œ œ of a rapid-fire triplet (G-B-D). Bars 3 and 12 10 based legato line. Make œ œ4nisconsist œ œ here œtiming sure accurate, so practise slowly! n œ œ œ ˙~~~ œ n œ œthe œ œ œ 3 œ 3 3 3œ œ œ 3 n 3 œ œ œ œ œ nœ œ ~~~ œ œ3 œ n œ œ3 œ ˙~~~ 3 3 œ 3 œ œ œ 3 n œ 10 12 10 13 10 12 10 œœ n œ œ œ œ9 10œ 12 9 10 12 10 12 13œ œ œ œ n œ œ œ ˙~~~ ~~~ 3 12 3 12 10 3 3 10 13 10 3 œ œ œ 8 10 10 12 3 n œ 10 12 13 œœœ n œ8 10œ 12œ œ9 10 12 9 10 12 ~~~ 3 3 3 3 12
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GBU 7 12 12 12 10 ©»ªº - ¡•º œ n œ œ œ œ œ œ 8 œ b œ n œ œ n9œ œ # 4 G 7(15) 13 11 12 12 12 10 12 Example 8 ©»ªº mixing & - 4¡•ºarpeggio œ n œ œ œtypes œ œ œ b œ n œ 12œ 10œ 12œ 8 nœ Our final rocky lick,# bar a repeated semitone bend idea from the 4 1Guses 7 major 6th of ©»ªº G& Mixolydian (E) into theœ minor 7th (F). The fast descending G n œ -4 ¡•º œBU œBU BDœ œ œ œ Ex 8 # 4 G127 (13) 12 (13) (12) 10 13 b11œ n12œ 10 10œ n œ 12œ & - 4¡•º œBUn œ œBU œBDœ œ ©»ªº œ 10 # 4 12 (13) 12 (13) (12) 10 13œ b11œ n12œ 10 10œ n œ 12œ 10 & 4 BU BU BD
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12 bar 4. 12 Make you play the legato (pull-off) notes in10 the right place and 10 sure 9 9 10 12 that the bend is12accurate! j 12 10 10 10 13 12 10 12 13 œ 13 12 10 12 12 10 9 10 9 12 10 12 j 12 10 10 10 œ 13 12 10 12 13
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E B G D A E E B G 9 12 10 9 9 10 12 D 9 10 12 12 A E E B Ex 7 10 13 12 G 9 12 10 9 9 10 12 D 9 G7 10 12 12 A E E Ex 7 B 10 13 12 Another rocky lick, bar 1 has a C to D9 bend followed by 9the10minor G 12 10 9 12 3rd of G7 D 9 10 12 12 G (Bb), hammering A -on to the major 3rd (B) going into a G major arpeggio E Ex 7
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September 2015 GuitarTechniques 77
Guns N’ Roses Charlie Griffiths takes the Nightrain down to Paradise City to explore the techniques behind the ‘most dangerous band in the world’. Gilby Clarke, Paul Tobias Slash in classic and Robin Finck. Although pose with one all of those guitarists have of his many Les undoubtedly made valuable Paul guitars contributions to GN’R, it has to be said that the pairing of Izzy Stradlin and Slash was a match made in guitar heaven. Between Izzy’s rhythm and songwriting prowess and Slash’s lead guitar chops and timeless guitar hooks, the Appetite For Destruction and Use Your Illusion albums remain all-time classics. The GN’R style could be described as Rolling Stones meets Led Zeppelin with Izzy Stradlin channelling Keith Richards’ rock’n’roll style based around strummed chords and a focus on songwriting. Slash’s style is easily traced back to Jimmy Page with his chunky riffs and Pentatonic-based lead hooks and melodic solos. With the following examples we look at these different aspects of the classic GN’R sound starting with a driving riff in the style of Welcome To The Jungle, which uses some chromatic passing notes to sex up the A minor Pentatonic notes a little. Next, we have ABILITY RATING an open fifth string riff with Pentatonic triad fragments played on the second, third and Moderate fourth strings. Again at the core of the sound Info Will improve your is the minor Pentatonic scale, but the addition of the 2nd and 6th puts it in Dorian territory. Key: Various Heavy riffing Although guitar shop employees across the Tempo: Various Fluid rock solos globe may have a slightly jaded view, one of CD: TRACKS 57-68 Blues-rock feel Slash’s finest moments must surely be the intro melody to Sweet Child O’ Mine. Ex 3 is Guns N’ Roses have had more than their our tribute to that gem, which although fair share of guitarists over the years sounds impressive, is simply a case of playing including: Buckethead, Ron ‘Bumblefoot’ the chord progression as arpeggios; which Thal, Richard Fortus, DJ Ashba, Tracii Guns,
ON THE CD
tracks 57-68
means playing the chord-tones separately and cleanly to create a melody. The term ‘arpeggio’ can also relate to the approach taken in Ex4, which is reminiscent of the Paradise City intro. In this case, full chord shapes are held and the pick is used to articulate the notes, while allowing all the notes to ring together. The final riff is at the heavier end of the spectrum, in the style of It’s So Easy or Mr Brownstone. Other than the open string keys of E and A, F# is a very guitar
Slash’s style is easily traced back to Jimmy Page with his chunky riffs and Pentatonic-based lead hooks and melodic solos. friendly key as it provides access to the b7 below the 2nd fret root note. This riff highlights the main scales that comprise Slash’s style, which for the most part is minor Pentatonic and blues scale – 1-b3-4-b5-5-b7 – and Harmonic minor – 1-2-b3-4-5-b6-7 – which he uses occasionally to add some spice to the predominantly blues-rock sound. Our solo example focuses on Slash’s melodic and lyrical side heard on November Rain, Sweet Child O’ Mine and the GN’R cover of Knocking On Heaven’s Door. It uses a lot of bending, Pentatonic scale runs and repeating licks to tell the story. The solo is over a repeating chord progression in the key of F major. As most rock players tend to know their minor scales better than their major scale, it is possible to play from the relative minor key, which can be found three frets lower on the guitar; for this reason our solo has a distinctly D minor flavour, although it is theoretically in F major. NEXT MONTH: Charlie checks out the fabulous playing of Eddie Van Halen
Get The Tone 8
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The Guns N’ Roses sound is Les Paul into a Marshall with the occasional addition of a wah pedal for soloing. Rather than relying on effects and pedals, you should be able to get the range of sounds you need by using the controls on your guitar. Generally speaking, solos are played on the neck pickup and riffs are played on the bridge pickup. For clean strummed chords switch to middle position and turn the volume down to lessen the gain. GN’R’s guitars tend to be tuned to Eb, but our tab and audio examples are in standard tuning.
Track record The holy trinity of Guns N’ Roses albums is, of course. Appetite for Destruction (1987), Use Your Illusion I (1991) and Use Your Illusion II (1991), which are all masterpieces of classic rock guitar. The long-awaited Chinese Democracy, finally released in 2008 also contains some hard rocking riffs and some slinky solos courtesy of the amazing Ron ‘Bumblefoot’ Thal.
78 GuitarTechniques September 2015
j SHEARER / GETTY IMAGES
lesson: HARD ROCK
Learning Zone
GUNS N' ROSES GUITAR TECHNIQUES MAGAZINE 2 4 7
RIFF 1 Chromatic Notes
cd track 57 Charlie Griffith's HARD ROCK - GUNS N ROSES STYLE GUITAR TECHNIQUES MAGAZINE 2 4 7 GUITAR TECHNIQUES MAGAZINE 7 GUNS N ROSES This riff is based in A minor Pentatonic2- 41-b3-4-5-b7 -Charlie but uses Griffith's chromatic HARD4thROCK frets on-the sixth string. The G# STYLE note at the 4th fret doesn’t belong to A Griffith's ROCK GUNS N ROSES STYLE Riff 1to add a slinky flavour. Play the open A5 powerCharlie notes chord with your firstHARDminor and is- in fact a major 7th, which leads back to the A root, creating a GUITAR TECHNIQUES MAGAZINE 2 4 7 finger to play 3rd and nice moment of tension and resolution which helps keep the riff interesting. Riff 1at the 2nd fret and use your second and third fingers Charlie Griffith's HARD ROCK GUNS N ROSES STYLE A5 C5
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September 2015 GuitarTechniques 79
lesson: HARD ROCK
ON THE CD
tracks 57-68
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Learning Zone
GUNS N' ROSES EXAMPLE 6 Full solo
cd track 67
There are a lot of bends throughout this solo; sometimes full-tone bends that is essential to every musician. The most technically demanding bars and sometimes semitone bends. In each case the tuning of the target note are: 6, 9 and 10 as these contain constant streams of 16th-note triplets and is extremely important. When practising, it is worth taking the extra time straight 16th notes. In both cases, the tendency is to speed up, so focus to check the note you are bending to by fretting it first and ‘remembering’ on maintaining good timing by tapping your foot on the downbeats and GUITAR TECHNIQUES MAGAZINE 2 4 7 the sound of said note. By doing this you are essentially trainingGriffith's your ears HARD syncing up the notes that land on the downbeats to keep your phrasing Charlie ROCK - GUNS N ROSES STYLE to recognise the relative intervallic distance between two notes; a skill even and in time. Slash has a lovely 'lazy' feel and that's what we want too. Ex 6
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September 2015 GuitarTechniques 81
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Jim Mullen Continuing his new jazz series, John Wheatcroft gives a definite ‘thumbs up’ to one of Britain’s finest guitarists, the sensationally ‘unorthodox’ Jim Mullen! could switch the guitar around, he decided to abandon the plectrum altogether. Over time he developed a picking technique based upon exclusive use of downstrokes with the thumb, assisted from a speed and agility perspective with an abundance of hammer-ons and pull-offs. Rather than be considered a weakness, this approach to producing the notes, coupled with his swinging phrasing, intelligent note selection, encyclopedic knowledge of jazz vocabulary and a superb time-feel all add up to one of the most unique and instantly recognisable sounds in jazz guitar today. Mullen’s professional career began with Cream lyricist Pete Brown’s band Piblokto!, before moving on to the jazz organ star Brian Auger’s band. While touring the US as a member of Kokomo, supporting The Average White Band, Mullen hit it off with the saxophone player Dick Morrissey, leading to the formation of one the most critically acclaimed jazz-funk groups of the 80s: Morrissey-Mullen. What Jim Mullen: picks creativity they lacked in terms of brilliant jazz with band name, they more than made only his thumb up for with the music, producing half a dozen studio albums, along with one great live album for good measure. ABILITY RATING From the group's demise in 1988, Mullen Moderate/Advanced has carved an impressive solo career with a healthy portfolio of releases under his own Info Will improve your name, along with collaborations with artists such as Mose Allison, AWB’s Hamish Stuart, Key: Various Jazz vocabulary Georgie Fame, Claire Martin and many more. Tempo: Various Fretting-hand slurs Mullen is considered with the highest musical CD: TRACKS69-86 Thumb articulations respect from both fellow players and musical lovers across a wide variety of genres. He has Jim Mullen was born in Glasgow in 1945. influenced generations of guitarists that have A natural left-hander, Jim picked up his first had the good fortune to hear him. guitar aged eight and taught himself to play. There are nine examples this month, each Frustrated with his less articulate right hand’s displaying a concept, technique or approach ability to hold a pick and unaware that he
ON THE CD
tracks 69-86
that Jim might adopt when improvising over a variety of backdrops. It’s not essential to use your thumb, as these ideas will work equally well with a plectrum or fingerstyle approach. However, it’s definitely worthwhile considering adding at least a little thumbbased articulation into your playing style, as this can add a depth and warmth that is difficult to achieve otherwise. Plus, you really do gain a whole musical dimension. I’d encourage you to go and see Jim live in action, as his tone is always full, clear and very loud with not the slightest of issues with projection. Failing this, check him out on YouTube, along with other great thumb-based players such as Wes Montgomery, John Abercrombie and blues legend Albert King. Pay special attention and compare their respective
I play with my thumb and my fingering is unorthodox. In fact, everything I do is unorthodox. Jim Mullen differences and similarities in their approaches, posture and general technique and hear and how these vagaries impact upon the final sound. Listen closely and you’ll also hear a fair bit of finger vibrato in Jim's style, even when blowing over standards, so feel free in your personal improvisations to try mixing elements from all the styles of music that you are familiar with. This all helps when attempting to create a unique and recognisable style, something I think we can all agree that Jim has achieved with great success. Experimentation should form a portion of your practice time, so don’t be afraid to try out some new ideas and techniques each time you play. NEXT MONTH: John looks at jazz chord melody master Ted Greene
Get The Tone 3
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If ever there was proof that the tone is in the fingers (or thumb!) it’s here, as Jim typically favours a modest budget Aria hollow body FA51 for live use, saving his posh Andy Crockett Archtop for studio dates, usually DI’d straight into the desk. Live, for many years he used a 65-watt Gallien-Krueger bass amp, recently switching to an equally portable AER Compact 60 combo designed for acoustic guitar. Essentially, we’re after super-clean, loud and warm and don’t forget to leave your plectrums in your pocket.
Track record Jim’s most recent album is the rather excellent Catch My Drift with appropriately titled Jim Mullen Organ Trio (Diving Duck 2014). To catch him in a funkier mood in the company of Hamish Stuart and Pino Palladino, why not try Jimjam (Sulphuric 2000). Other highly recommended solo releases include Live In Glasgow (Jazzprint 2006) and Somewhere In The Hills (Hep 2008).
82 GuitarTechniques September 2015
JOBY SESSIONS
lesson: jazz
Learning Zone
JIM MULLEN Example 1 Line in 4ths through changes
cd track 69
Our firstTECHNIQUES example shows how Jim makes be called C7b13, derived from the fifth mode of F Harmonic minor (F-G-Ab GUITAR MAGAZINE 2 4 7mincemeat of these changes by employing chord tones. You may question the natural (G) against C7#5 Bb-C-Db-E) The5John Wheatcroft Jazz columnand indicative of the subsequent move in this direction to F (C-E-G#-Bb), although there is an argument that this chord should actually JIM MULLEN STYLE minor. Jim also plays F major against F minor on beats 3 and 4 of bar 7. Ex 1: Line in 4ths through changes
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September 2015 GuitarTechniques 83
lesson: jazz
ON THE CD
tracks 69-86
Example 3 Samba through changes
cd track 73
It’s crucial that we remember when developing as a musician and learning lots of new material that often simple is best. The majority of this example 2 xxxxxxxxxx comes straight out of the C Major scale, all the way up to bar 6 excepting a couple of chromatic decorations in bars 2 and 3. Notice how Jim shapes this
simple melodic material to create melodies, rather than just blindly rattling up and down the scale. We briefly deviate from our C Major tonality in bars 7 and 8, outlining a IIm7-V7 derived from the key of Eb, although deceptively this Fm7-Bb13 combo comes to rest in C, rather than the expected Eb.
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JIM MULLEN Example 5 Diminished line through minor changes
cd track 77
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Jim disregards the C half-diminished chord in bar 1 and chooses to cover 3 thisEx and followingline F7#9 with the Half-Whole 5: the Diminished through minor changes Symmetrical Diminished scale In contrast with this beautiful harmonic density, 3 (R-b2-#2-3-b5-5-6-b7). Ex 5: Diminished line through minor changes b
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cd track 81
As you’d expect, the Blues scale makes an appearance (R-b3-4-b5-5-b7), in 4 xxxxxxxxxx fact that’s pretty much all we see up to the transition to A7. Here Jim shifts to aEx more arpeggio based approach, although he squeezes in some typically 7: Funky blues Swing 16ths
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lesson: jazz E B G D A E
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cd track 83
12
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Example 9 Half-Time funk 5
cd track 85
Our final example returns to the one-chord static modal side of Jim’s soloing 5 9: Half-Time funk Ex style, although this time we’re in a minor Dorian tonality (R-2-b3-4-5-6-b7), Cm6 to be precise (C-Eb-G-A). Again, the Blues scale makes an appearance
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86 GuitarTechniques September 2015
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(C-Eb-F-Gb-G-Bb) and the phrase is full of hammer-ons, pull-offs and slides. Further evidence of Mullen’s hybrid jazz/blues style is found in the bends, albeit semitone – but bends nonetheless.
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lesson: acoustic
ON THE CD
tracks 87-88
Eric Clapton This month, Stuart Ryan takes a stroll down to the crossroads to uncover the more sensitive acoustic side of blues and rock legend Eric Clapton.
Eric Clapton in acoustic mode on a Martin 000-28
ABILITY RATING
Moderate Info
Will improve your
Key: E major Tempo: 101 bpm CD: TRACKS 87-88
Blues fingerpicking Acoustic blues soloing Blues chords & repertoire
picture eric CLapton and the first images that come to mind are probably the long-haired, 335 toting blues-rocker of the Cream days. Or the be-suited blues troubadour cradling Blackie, his famous Strat, in one of the legendary 24 Nights at the Albert Hall. As we all know, however, he is a multi-faceted player who is equally adept on acoustic and electric guitar. As his career has progressed the steel strung flat-top has increasingly come to the fore – for an entire generation his 1992 MTV Unplugged live album with its heart-rending version of Tears
In Heaven was their first introduction to this blues legend. Some would even go so far as to say they prefer his acoustic style to electric. It shouldn’t come as any surprise that acoustic guitar is at the heart of Clapton’s style – it is the instrument that gave birth to the blues and he would have heard some of his
Given his incredible career, just one column on Clapton can only scratch the surface of what he has achieved on acoustic guitar. earliest heroes using steel-strung flat-top guitars to accompany themselves. Although we often associate him with the electric blues of the three great Kings (Freddie, Albert, BB) and Buddy Guy, it’s actually an acoustic blues legend that he cites as his main influence,
Robert Johnson. In fact, the Johnson influence was so strong that many years after Cream and Derek And The Dominos he would explore his acoustic roots with an album covering Johnson songs: Me & Mr Johnson (2004), which was swiftly followed by another release, Sessions For Robert J (2004). For this study I’ve elected to look at Clapton’s modern bluesy style rather than his rawer, Robert Johnson-style leanings. To this end we’ll find a sparse fingerpicking part followed by a melodic blues-based Clapton lead line. In essence, we are dealing with a more developed version of the classic 12-bar riff that has been used by every great bluesman over the last 70 years. This riff is also interspersed with percussive slaps on the picking hand which all help to drive the music along. The solo starts in the open position and is based around the E minor Pentatonic scale with some Clapton-esque nods to the major 3rd (G#) as well. Incidentally, if you are an acoustic blues player then knowledge of the open position is essential. As many great solos start off down here to exploit the power and volume that the open position can give before travelling to the higher frets as we do here. Given his incredible career, just one column on Eric Clapton can only scratch the surface of what he has achieved on acoustic guitar. Hopefully this study will help you as a starting point for learning more. NEXT MONTH: Stuart looks at the acoustic style of the one-and-only John Lennon
Get The Tone 2
7
6
7
2
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Bass
Middle
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Reverb
Clapton tends to favour Martin guitars, specifically those with a shorter scale that makes string bending easier. Consequently, you’ll see him playing his signature 000-28EC or limited edition 000-42EC. If not these it’s a genuine vintage model, or perhaps a nylon-string by Ramirez.
platinum MTV Unplugged CD or DVD (1992) is a must. There are also several great blues tracks on here such as I’m Tore Down and Before You Accuse Me. To hear him in acoustic blues mood in tribute to his number one blues idol, check out Me & Mr Johnson (2004).
88 GuitarTechniques September 2015
LIVEPIX
Track record For his contemporary songwriting leanings – including the heart-rending version of Tears In Heaven – the multi-
Learning Zone
ERIC CLAPTON Example ERIC CLAPTON style
cd track 87
[Bar 1] Part of the success of this particular phrase is the way you leave out them (playing them off the beat). Use the picking hand thumb to strike the the notes on the fifth string at certain points. This helps to thin things out strings, but use your picking-hand to mute the sixth string, otherwise this a little, though as we’ll see later on you can include this string to thicken will sound a note, rather than being the percussive ‘slap’ we require. thingsGUITAR up a littleTECHNIQUES if you want (as long muddy). [Bar 8] This modern sounding B7sus4 is a great Gospel or Spanish 2 4 as 7 it doesn’t sound too Stuart's Acoustic [Bar 2] The percussive slaps on the strings may seem like a challenge at influenced alternative to the standard B7 ‘V’ chord that you would usually ERIC CLAPTON STYLE first but since they are on the beat, it’s less of a challenge than syncopating find in this location.
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September 2015 GuitarTechniques 89
lesson: acoustic
ON THE CD
tracks 87-88
Example ERIC CLAPTON style
cd track 87
[Bar 16] This fill contains several classic Clapton acoustic style devices from the grace note slides into the notes to the use of the open position and pulloffs. It would work great on a slightly dirty electric too! [Bar 23] The solo starts in the open position and, though it is based around E 2 Acoustic minor Pentatonic, notice the minor 3rd (G) to major 3rd (G#) hammer-on at the A7
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end of this bar, a classic device Eric uses in both electric and acoustic solos. [Bar 29] Runs like this are classic Clapton but if you are new to them, then be careful. You have to deal with the speed of phrases like this while also taking into account the set-up on your acoustic – if your string-fretboard action is higher at this register then phrases like this are going to be harder to play.
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90 GuitarTechniques September 2015
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NOW ON
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lesson: rockschool
ON THE CD
tracks 89-90
Reading Music Part 15
Integrating elements
Brought to you by...
Continuing his series on reading music, Charlie Griffiths looks at reading a complete musical piece that contains a number of different musical elements, terms and signs.
With every flat added, the key moves up a 4th
ABILITY RATING
Easy/Moderate Info Key: Various Tempo: Various CD: TRACKS 89-90
Will improve your Notation reading Fretboard knowledge Employability!
In this reading study we will continue to revise some of the skills you will have previously learned in this series, including: key signatures, notes, rests, ties, articulations, directions and sign posts. Although we have looked at all of these elements in isolation before, integrating them into an entire piece will give you the opportunity to test your skills in a more realistic setting. As always, we have provided a backing track for you to play along with and this time we have set the tempo at 120bpm, which means that the quarter-notes are played at the same rate as the downbeats. This speed is set out at the beginning of the track with a one bar
92 GuitarTechniques September 2015
count. As soon as you hear the first stick click, get into the groove as soon as you can. This might mean tapping your foot on the downbeat, or even rocking your body to emphasise your internal feeling of the tempo. It is also useful to feel the constant tempo in your picking hand. Whatever the main subdivision of the bar may be; quarter-notes, eighth-notes or triplets, you should keep your
When looking at a score for the first time, ignore the pitches and play through it rhythmically. hand constantly moving to match that subdivision. This not only improves the feel of what you are playing, but it can reduce a lot of the conscious effort of counting through rhythms; in the main, your hand will incisively know what to play, even though you may not have consciously thought it through. A useful thing to do when looking at a score
for the first time is to ignore the pitches and play through it rhythmically only to find the trickier areas you might need to focus on. Once you are satisfied from a rhythmic point of view, we can look at the notes and the first port of call is to check the key signature. At the beginning of this piece there are no sharps or flat shown, so we know that we are in the key of either C major or its relative key – A minor. As this melody starts on the note A, there is a good chance that we are in A minor; this is confirmed by playing the piece which has a minor flavour throughout. Upon reaching the second line you will see the introduction of one flat symbol placed on the middle line, which means that all B notes should be played as Bb unless otherwise shown with a natural symbol before it. A single flat in the key puts us in the key of D minor. You will see that the third line has two flats and the fourth line has three flats. With every flat added the key moves up a fourth as per the ‘cycle of fourths’; two flats is G minor and three flats is C minor. This piece makes use of traditional Italian directions and sign posts, which are there to guide you through the form of the song. ‘D.S.’ means ‘return to the sign’, ‘Al Coda’ instructs you to go to the Coda when specified and ‘Da Coda’ translates to mean ‘go to the Coda’. Make sure you can follow these symbols like a road map – otherwise you may take a wrong turn! Finally, you can add the ornamentations to the notes. In this piece there are ‘turns’, which add a note above and below the written note to produce a five-note phrase: the written note itself, followed by the note above it, then the note itself again, followed by the note below it and finally returning to the written note; the two added notes should be diatonic and adjacent to the original note. We also have staccato marks, which indicate that the notes should be played short and detached from each other; tremolo markings, which denote that you should alternate pick each note as fast as possible and, finally, there are accents, which are played louder than the other surrounding notes. NEXT MONTH: Charlie continues with his series on Reading Music
Learning Zone
Integrating elements GUITAR GUITAR TECHNIQUES TECHNIQUES MAGAZINE MAGAZINE 2 24 47 7 GUITAR TECHNIQUES MAGAZINE 2 4 7
Charlie Griffiths Charlie Charlie Griffiths Griffiths Example readingMAGAZINE a full piece GUITAR TECHNIQUES 247 Charlie Griffiths READING Part 15 15 READING Part Part GUITAR TECHNIQUES 2 4 7 rememberingREADING Charlie Griffiths Play through the first MAGAZINE four bars as written, to change key up a15 Part 4th when instructed: Am, followed by Dm, then Gm andREADING Cm. When you see 15 READING ‘D.S. al Coda’, return to bar 2 which has the ornate ’S’ symbol, and playPart until 15
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cd track 89
at bar 28 and is the end of the piece. At bar 30 ‘Rall’ means slow down the tempo gradually. The final Cm double-stop has a fermata symbol above it, which means sustain the previous and note wait for a cue before playing it. On the backing track, the cue is a four-beat count on the ride cymbal.
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September 2015 GuitarTechniques 93
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Bands like The Grateful Dead, The Allman Brothers and many others made their name as ‘jam bands’. We look at great tricks to get you jamming. Play Chet Atkins’ amazing Yakety Axe; learn how to sweep pick 7th arpeggios, plus loads more amazing stuff!
Learn how to make the most out of the different music intervals and master the art of Ragtime Blues. Plus, a full guitar transcription of New Born by Muse and the styles of The Troggs, Chickenfoot, Glen Campbell and Eric Gales unveiled... and lots more!
SPRING GT242
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Perk up your lickbag with 25 great intros, endings and fills. Master one of Queen’s most outrageously good tracks – awesome riff, great chords and cool lead! Plus, learn rock ’n’ roll rhythms, play like The Doors, The Hollies, Carlos Santana and more...
Ditching the pick is all the rage: we show you how some masters use fingers only to sound GREAT! Learn The Who’s classic Baba O’Riley (Mr Big version tabbed too!). And take our monster Country Workout to learn cool Nashville chops. Plus much more!
Genius Of: DAVID GILMOUR
MAY GT243
BANISH BORING SOLOS
Learn how chromatic notes can add extra colour to your lead lines and how a little bit of theory can also go a long way! Plus, a full transcription of Steve Howe’s Clap and learn how to play like John Denver, Django Reinhardt, Oz Noy and Steve Miller.
JAM THE BLUES!
25 LICKS YOU must KNOW
EXPAND YOUR BLUES!
PLAYING WITH FINGERS
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94 GuitarTechnique September 2015
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
Aristocrats
Tres Caballeros
Boing HHHHH
Guthrie, Bryan and Marco return with a new studio album that is full of the feel and tempo changes you would expect. It’s a musical triumph that will keep you intrigued from start to finish while being overwhelmed by the abilities of these guys. Again, it’s an all instrumental affair but there’s so much texture in what they play that the brain has no time to switch off. As a result it can be pretty full-on at times but the occasional softer sections, like the opening of Pig’s Day Off and the aptly named Pressure Relief, provide a lighter side. The expertise and quality of playing is way off the scale yet this has that ‘carrot to the donkey’ effect that keeps you wanting to move along with them. Smuggler’s Corridor has a lovely retro feel about it that wouldn’t sound out of place were it released back in the heyday of British guitar instrumentals. It’s this ability to switch effortlessly between technical prowess and simple melody that puts this band into a class of their own. In fact, this track would be an excellent starting point for those who are a little intimidated by these particular caballeros. So, come on, give it a try – you know you want to! album’s slower numbers. Kris is a natural blues guitarist with a great feel, and he’s got the right voice for this genre. This is definitely worth checking out, as is the band in a live situation. So visit www. krisbarrasband.com to see if they’re playing anywhere near you.
Kris Barras Band
REVIEWS BY ROGER NEWELL
Kris Barras Band
Own Label HHHH You can be sure the lecturer at your local music college knows what he’s talking about when he’s out gigging successfully with his own band. That’s exactly what Kris Barras does. With bassist Ricky Mitchell and Jon Perrin on drums, this blues trio is just beginning to catch the attention of radio and the press and listening to this album it’s easy to see why. The band has a no-nonsense approach to their music and a desire for getting the feel of each track exactly right rather than trying to be clever or musically controversial. As a result they are a tight and capable unit, with a large dose of instant appeal, particularly noticeable on tracks like Watching Over Me, one of the
Whitesnake
The Purple Album
Frontiers Records HHHHH This is such a brilliant idea that you have to wonder why it’s taken David Coverdale so long to put it into action. The premise here is to take the best of the music that he made during his tenure in Deep Purple and record brand new versions of the songs. He would have been forgiven for sticking to the original arrangements as he no doubt had a hand in those, but some of these familiar tracks have been
totally reinvented (check out Sail Away) while others have grown in stature. Even when the arrangements are familiar there’s more energy and expression here. The opening track Burn is a case in point: familiar yet brought totally up to date with great vocals and stunning guitar work from both Reb Beach and Joel Hoekstra. Coverdale says: “It’s a huge thank you to Deep Purple for the opportunity I was given over 40 years ago’’. It’s an opportunity he’s made the most of; this album has it all and, to make the most of it, the band is touring again, so what better time to catch them?
Jeff Beck
Live+
Atco HHHH Anything from Jeff Beck is a treat and for those lucky enough to catch the meister and his band last year this will be the perfect reminder of some excellent gigs. As the title suggests, this is a live show – the ‘plus’ refers to a couple of new studio tracks: the manic Tribal (with vocals by Ruth Lorenzo) and My Tiled White Floor sung by Veronica Bellino (who also handles percussion and keyboards). Both tracks are very atmospheric and feature some outrageous playing. Rhonda Smith plays bass on both of
these studio tracks and was also the bassist for this tour. She’s a great asset as are Jonathan Joseph on drums and Nicolas Meier on guitars. Jimmy Hall (from Wet Willie) on vocals completes the band for the live stuff and handles it well. Beck delves deep into his back catalogue but even with the tried and tested Morning Dew and Superstition you can never be sure where he’s going to take you. Little Wing is great but it’s the instrumentals like Where Were You, Danny Boy and A Day In The Life that show Beck’s unique playing style to the full. Mesmerising!
The Mentulls
Reflections
Own Label HHHH The Mentulls are a young British trio that specialise in blues rock with a bit of prog thrown in for variety. Perhaps that’s where the ‘Tull’ part of their name comes from, but whatever their inspiration this is a most impressive debut album that somehow defies their relatively tender years. The title track is powerful and haunting, with
some beautiful sounds from guitarist and vocalist Andrew Pipe. The influences of Peter Green and Danny Kirwan are evident in the tone of the guitar – rather than the phrases – and it’s a delight to be reminded of their talents but in a fresh new way. Aynsley Lister makes a guest appearance on Time To Focus – a tight, multi-layered guitar instrumental that offers another aspect to the band. These guys need checking out in a live situation and, as they’re touring the UK in late summer, we suggest you get along to see them.
Joe Satriani
Shockwave Supernova
Sony Music HHHHH Satriani’s new album opens magnificently with the title track, a real tour de force with the guitar set back in the mix via echo, thus producing a huge sound. It’s a cracking track with exquisite playing, some glorious twists and turns and a strong melody line that sets you up nicely for the rest of the album. Unsurprisingly, it’s an all-instrumental outing but with lots of light and shade throughout. We obviously like the title track but we also really enjoyed Crazy Joey (is that how our hero thinks of himself?) the appropriately titled A Phase I’m Going Through and the sublime On Peregrine Wings – truly beautiful. Even after all these years, a Joe Satriani album is a great treat. They are always varied but there’s something extra about this set that keeps you coming back in spite of being a hefty 15 tracks long and running at over an hour. If you like Satch already, then you’re going to love this (it is seriously good) but if you’ve not yet taken the plunge to feast upon his guitar smorgasbord then this would be a great place to start. He’s not so much the guitar wizard on this, more the tunesmith but with that impeccable fluid technique in which he excels. We can’t rate it highly enough.
September 2015 GuitarTechniques 95
GT USER GUIDE
You can get more from GT by understanding our easy-to-follow musical terms and signs...
Relating tab to your fretboard 3
2
Every transcription or lesson in GT is graded according to its level of difficulty, from Easy to Advanced. We’ll also let you know what aspect of your playing will benefit by attempting a lesson.
m
i
1
Our rating system
a c
4 T
p
Advanced Moderate-Advanced
nut & fretboard
hand Labelling
Moderate
The fretbox diagram above represents the fretboard exactly, as seen in the accompanying photo. This is for ease of visualising a fretboard scale or chord quickly.
Here are the abbreviations used for each finger: Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), i (first finger), m (second), a (third), c (fourth).
Easy-Moderate Easy
Read music GUITAR TECHNIQUES MAGAZINE USER GUIDE Each transcription is broken down Guitar Technique Examples - Treble Clef And MAGAZINE Tablature GUITAR TECHNIQUES into two parts... Guitar Technique Examples - Picking
œ œ Tablature œ & Technique Examplesœ - Treble Clef And Guitar Down & Up Picking
GUITAR TECHNIQUES MAGAZINE USER GUIDE
GUITAR TECHNIQUES MAGAZINE 2nd string Guitar Technique Examples - Picking 3rd fret
Chord example
Chord example (with capo)
The diagram represents the G chord in the photo. The ‘O’ symbol is an open string, and a circled number is a fretting finger. Intervals are shown below.
The blue line represents a capo – for this A chord, place it at fret 2. Capos change the fret number ordering – here,œ & the original fret 5 now becomes fret 3, fret 7 now fret 5, etc.
A major scale
Down & Up Picking
E B G
x
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Up and down picking Down & Up Picking
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@ 96 GuitarTechniques September 2015 5
7
8
E B G D A E
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8 7 6 7
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n Drag the pick across the Arpeggiate Chord strings shown with a single sweep. Often used to augment a ˙˙˙ ggg # ˙˙˙ rake’s lastgg note.
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7
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ggg # ˙˙˙ ggg # # ˙˙ gg ˙
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E B G D A E
Hammer-on & Pull-off Hammer On & Pull Off
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n Pick the note while lightly touching ‚ the‚string‚ directly over & the fret indicated. A harmonic results.
···
7
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& E B G D A E
‚
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& E B G D A E
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).
7
···
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TH19
5
7
4
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&
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‚
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4
n Fret the note as shown, but ‚ rightsound it with a quick hand tap at the fret shown œ & (TH17) for a harmonic.
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4
7
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· · · ··
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&
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2
9
n A previously sounded note is touched above the fret marked TCH (eg TCH 9) to sound harmonic.
TCH E B G D A E
2
9
capo
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·
TCH
TH17
n Scoop - depress the bar just œ & striking before the note and release. Doop - lower the bar TCH slightly after picking note. E B G D A E
± ±± 5
‚
7
0
n X markings represent notes muted by the fretting 12 7 hand 12 7 12 7 when struck by the picking hand.
E B G D A E
7 7 7
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— —
7
‚
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&
7
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&
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7
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· · · ·· 12
P
P
E B G D A E
# ‚‚ ‚
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n Fret the note as shown, but dig‚into ‚the string ‚ with the &side of the thumb as you sound it with the pick.
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&
5
E B G D A E
7
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···
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&
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n Sound the notes marked with a square by hammering on/tapping with the frettinghand fingers.
7
0
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4
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≠ ≠ ≠
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6
7
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7
E B G ED BA GE D A E
&
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7
5
&
n Bend12up from the 5th fret to the pitch of the 7th fret note, then pick it and release to 5th fret ‚ note. ‚ ‚
± ±± vibrato arm (aka whammy bar) AH16
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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
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P
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E
5
7
Fret Hand Muting
6
5
5
E B G D A E
S
&
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8
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
Slides (Glissando)
(7 5)
& œ œ œ
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~~~~~
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
8
tr
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&
n Pick 1st note and hammer Trills fretting hand for 2nd onNotewith tr ~~~~~ note. Then pick 3rd note and ˙ (œ 4th œ) b˙ pull note. &off for
E B G D A E
&
E B G D A E
2
9
n Note sustained, then the vib is depressed to slack. Square bracket used if a long-held note has new articulation applied.
n Sound the note and ‘flick’ the tremolo bar with picking hand so it ‘quivers’. Results in a ‘gargling’ sound!
n A capo creates a new nut, so the above example has the guitar’s ‘literal’ 5th fret now as the 3rd fret.
9
‚ Other techniques œ & scrape Pick
·
Violining
Finger numbering
Pima directions
Right-hand tapping
TCH E B G D A E
2
9
n The edge of the pick is dragged down or up along the lower strings to produce a scraped sound.
n Turn volume control off, sound note(s) and then turn vol up for a smooth fade in. Called ‘violining’.
n The numbers after the notes are the fingers required to play the fret numbers in the tab below.
n Fingerpicking requirements are shown at the bottom of the tab notation.
n Tap (hammer-on) with a finger of the picking hand onto the fret marked with a circle. Usually with ‘i’ or ‘m’.
September 2015 GuitarTechniques 97
NextMonth the world’s best guitar lessons… transcription #1
feature
the knack
parallel worlds
This perfect 70s pop-rock track is full of top-class guitar playing, great to learn and Jon Bishop has tabbed it for you!
Yin and yang, matter and dark matter – major and minor. Learn how these two musical worlds interact and how to solo over changing keys and flavours!
My Sharona
transcription #2
JS BACH
video lesson
nigel price
Prelude In D Minor
Exclusive Masterclass, Part 2
Bridget Mermikides arranges and transcribes a stunning work for you by the master of classical composition.
Sensational modern jazz guitarist Nigel Price shows Dario Cortese his chord melody approach.
This lesson could be your playing’s turning point...
sort out your picking! Picking is almost every player’s weakest point. Getting it right is only a matter of being given the correct tools to tackle the job. Phil Capone is determined to make you picking perfect!
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other great lessons Brian May Play like Queen’s soloing genius
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Buddy Guy
Standard bearer for Chicago blues
Van Halen
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Chord soloing jazz maestro
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John Lennon
Acoustic picking and strumming
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98 GuitarTechniques August 2012
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