THE FINEST GUITAR LESSONS ON THE PLANET! 249 NOVEMBER 2015
learn to play the…
Blues Shuffle Master this vital style with 11 superb rhythm and lead examples to play!
New Look! Updated layout Clearer design
economy PICKING
Play fast and fluid like the pros - start today!
style studies
KISS
US glam rockers
ALBERT KING
Giant of electric blues
WILLIE NELSON
Rhythm and soloing style
WAYNE KRANTZ
Contemporary jazz genius
FAITH NO MORE
classic tab!
GARY MOORE
Parisienne Walkways
Original fully tabbed plus 3-minute live outro solo. Extended jam track!
Alternative metal masters
transcribed
Classical
Saint-Saëns’ The Swan for solo guitar
ISSUE 249 } NOVember 2015 Just some of your regular GT technique experts... richard barrett One of the best players around, Richard is adept at most styles but truly excels in the bluesier side of rock. He currently plays with Spandau’s Tony Hadley.
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 WE GET LETTERS about blues all the time. The nay-sayers treat it as one great mire into which they don’t ever want to sink, while the lovers adore its almost infinite variety of styles and feels. As if to reinforce the latter view this month’s cover feature focuses on one aspect of the blues: the shuffle. This single ‘feel’ has powered the music of great artists from early ragtime to the legendary Stevie Ray and beyond. We’re pleased to say that Richard Barrett is back in GT; a splendid rock and blues player, Richard nails the shuffle’s range of styles perfectly. Some would say that the perfect pairing of rock and blues was Gary Moore’s classic Parisienne Walkways. A perhaps surprising hit in 1979 when punk and new wave were all the rage and rock was, supposedly, music for dinosaurs. It’s a signature Gary song and full of his great tones and licks. Richard has tabbed the original but added a superb
three-minute live outro that features some stunning soloing. Check it out! Last month Phil Capone made it his duty to sort out your alternate picking. He continues his front-end series this issue with a look at that mysterious beast, ‘economy’ or ‘inside’ picking. A lot of rock and jazz players use this to drastically increase their fluency and speed, and if you’ve wondered about it but never given it a concerted go, now’s your chance. You may also notice we’ve given the magazine a bit of a spruce up. Nothing drastic, but the text is a little clearer and the general style a little more up to date. Of course, the content remains exactly the same with brilliant front-end features and lessons in all manner of music styles. Do enjoy another great issue... and I’ll see you next time.
Neville Marten, Editor
[email protected]
Don’t miss our amazing digital edition Guitar Techniques’ digital edition is now even better!
bridget mermikides Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.
milton mermikides One of the country’s most respected music professors Milton’s list of credits is embarrassingly long. Go to www. miltononline to learn all about him.
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.
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Play the videos
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!
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.
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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).
November 2015
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CONTENTS • C ON T E N T S • NOV E M B E R 2 015 • LEARNING ZONE
1951 Gibson ES-5 kindly loaned by Vintage and Rare Guitars, Bath
Lessons Introduction
51
30-minute lickbag
52
GT’s music editor Jason Sidwell introduces another feature-filled lessons section. BIMM’s Pat Heath has six more great licks at easy, intermediate and advanced levels.
blues
54
rock
58
CREATIVE ROck
70
chopS shop
76
HARD ROCK
78
jazz
82
Acoustic
88
music reading
92
Les Davidson looks at king of the blues bends – the fabulous Albert King. Martin Cooper unpicks the cool sound of US genre-hoppers Faith No More. Shaun Baxter presents a method of creating melodic permutations from four-note groups. The final instalment of Andy Saphir’s investigation of the Mixolydian mode.
Get ready for some crazy nights as Charlie Griffiths continues his series by looking at the guitar styles of rock and roll stalwarts Kiss.
John Wheatcroft pays homage to the exquisite feel and timing of the great Wayne Krantz.
COVER FEATURE THE BLUES SHUFFLE
Stuart Ryan delves into the good ole’ finger picking style of country star Willie Nelson.
12
Richard Barrett examines a staple of blues, rock and jazz. Get to grips with this asymmetric rhythm and transform your feel!
FEATURES
Welcome
Nev picks his way through another editorial.
22
Richard Barrett transcribes 1979’s surprise hit. Full of dynamics, this is the perfect pairing between rock and blues and Richard has added a three-minute live outro to the original track.
30
COVER PHOTO: OLLY CURTIS
In part 2 of his three-part series, Phil Capone shows you a fast, efficient picking style that’s not all about shred!
SAINT-SAËNS The Swan
6
Intro
8
You tell us what we get right – and wrong!
NIGEL PRICE, Part 2
62
Learn how to balance jazz and blues playing with an exclusive lesson from this fabulous jazzer!
60 Seconds, Session Shenanigans, One-Minute Lick, That Was The Year, Jam Tracks and more.
Subscriptions
68
BACK ISSUES
94
Missed a copy of GT in the last six months? See how you can get it here!
Albums
95
New guitar CDs reviewed and rated by our very own Roger Newell.
USER GUIDE
transcription #2
3
talkback
Save time and money – get GT delivered!
SPECIAL feature #2 SORT YOUR PICKING PT2 Economy picking
VIDEO CLASS
REGULAR FEATURES
transcriptIon #1 GARY MOORE Parisienne Walkways
Hone your reading chops as Charlie Griffiths amalgamates learned techniques into a rhythm and blues-style piece.
96
Get more from GT by understanding our easy-to-follow musical terms and signs.
42
Bridget Mermikides arranges and transcribes a challenging but beautiful piece from SaintSaëns’ magical suite, Carnival Of The Animals.
Next Month
98
Blues-Rock Bootcamp! Joe Satriani, Always With Me, Always With You, plus lessons on Chris Rea, Allan Holdsworth, Dokken and much more.
November 2015
5
TalkBack Post Guitar Techniques, Future Publishing, Ivo Peters Road, Bath, BA2 3QS. Email
[email protected] using the header ‘Talkback’.
Being an electric blues fan I was trawling YouTube the other night and came across old footage of Cream playing live, specifically the 1968 ‘farewell’ concert at the Royal Albert Hall. Clapton at this stage had a very specific style, almost certainly honed from the many live shows Cream had played over the ensuing two years. I loved it then and I love it now – in fact, it sends shivers down my spine just as the playing of Hendrix, Marvin, Beck and company do for others. Having ingested my fill of this I thought I’d contrast it with the 2005 ‘reunion’ shows and see if I could discern how Eric had changed his style over the intervening 37 years. First of all one has to factor in Eric’s use of Strat as opposed to a Gibson ES-335 or Firebird. If he’s anything like me, he’ll need to adapt to the thinner sound or (as he did) beef it up with external (or internal) boosts. The maple neck might impact on bending and vibrato, too – his Cream vibrato was better than almost anyone’s – and it was interesting to contrast this with 2005 where it seemed a tad lighter. I could go on, but my conclusion was that not as much had changed as I’d at first expected. He was more of a ‘shape one’ player then and he’s a lot more ‘shape four’ now; and where the note flurries were smooth and flowing they’re a bit more spiky these days. What’s most interesting is that you can still recognise the man from just a note or two, and who could want more than that? Bryn Thomas I had a similar awakening a month or so ago, Bryn. Someone on Facebook posted Eric playing I’m Tore Down from 1994 on a Gibson 06
November 2015
Cream playing their farewell concert in 1968
TRICKY TRIPLETS
You’re at the ‘can’t quite break through’ stage aren’t you, Adrian? It’s a common place for learners to find themselves. But, remember, if you leave it too long from one practice session to the other you pretty much have to go back to the beginning. Regarding the two six-note licks you describe, the best thing is to break them down into four sets of triplets (say “straw-ber-ry” for each one), then learn each triplet lick separately before trying to join them all up. Each three-note phrase is a well-known blues lick that you’ll hear almost anywhere – David Gilmour simply joins them up in different orders. The first note of each phrase is on the beat so, once you’ve learnt them all, joining them back up shouldn’t be too difficult. Good idea on the video though – we’ll look into it!
Being nearly 60 years old and retired about a year ago, I was introduced to your great mag as part of a ‘late in life’ attempt to take up a new hobby and learn the electric guitar. Progress has been slow (not enough hours put in, I’m afraid) and I normally only have a go at the ‘easy’ sections in the rock or blues pages of GT. However, when the David Gilmour piece was published in issue 246, I was driven to give it a try even though most of it is well beyond my current capabilities. That said, with regard to Example 3 on page 17, I am sort of there but I have great difficulty trying to play the last bar with the
Adrian finds the David Gilmour-style ‘tricky triplets’ hard to nail down.
First of all one has to factor in eric’s use of a strat as opposed to a gibson es-335 or firebird. Les Paul. I was astonished at how much more comfortable he seemed on the guitar, how much better his licks flowed and how much more like the old days I thought it sounded. But then I quickly flipped to him playing the same song on a Strat and, you know, the differences were minimal. He was indeed using shape one more – perhaps that’s his ‘go to’ position on a Gibson – and, as you point out, shape four on the Strat. But there’s no doubting the DNA. Perhaps our ears are conned by what we see and then expect to hear. I remember arguing with Gary Moore that Fleetwood Mac’s Albatross was played on a Strat. “No”, he said. “I saw them on TV and Peter Green was definitely playing the Les Paul”. I said, “But listen, and you can clearly hear it’s a Strat’s neck pickup...”The following day the phone goes and it’s Gary, telling me I was right and that for years he’d let the image prevail over what he heard. Gary’s ears
two sets of six notes. It’s not only the speed that I find difficult but what fingers to position where, so it flows nicely with the pull-offs and picking. Basically, I can’t get the rhythm of it at all. Is there a possibility that you could do an in-depth section or video on this type of playing for us ‘dexterity challenged’ learners? Adrian, Torquay
were amazing, so it just goes to show we can all fall foul of this. Okay then, a sort of related question to you all: what would Jimi Hendrix sound like now? Style, guitar, amp, ability, musical genre and so on. I expect a healthy post bag on this!
RAY STEVENSON / REX
CLAPTON: NEW OR OLD – what’s best?
Intro INSTRUMENTAL INQUISITION! From their 60s heyday to 70s blues-rock, 80s neo-classical, 90s shred and beyond, instrumentals have supplied some of guitar music’s most evocative and exciting moments. We asked some top guitarists for their take on this iconic movement. This month: the one and only Joe Satriani GT: What type of guitar tone do you prefer for instrumentals? JS: I create the tone to fit the song’s meaning. The possibilities are endless!
GT: Do you have favourite keys or tempos? JS: No. I like them all! GT: Do you find minor or major keys preferable to write in? JS: It doesn’t matter one way or the other. The important thing is a strong melody over some inventive harmony.
GT: Do you have any favourite modes? JS: No. Modes are just tools to express your song’s meaning to the audience. They should all be ‘favourites’.
GT: Would you say it’s important to modulate into new keys? JS: I try to find new ways to use modulations. I respect the way composers of yesteryear made their modulations work and be effective, but I always try to accomplish key changes in a more modern way.
GT: Do you view the backing in a different way than you would on a vocal track? JS: It depends on the song, vocals or not. However, if the main melody is played on an electric guitar with a lot of gain then one might want to go easy on other high-gain guitar tones playing at the same time, to avoid frequency competition.
JON LUINI
I respect the composers of yesteryear, but i try to accomplish things in a more modern way. 8
November 2015
GT: What are your views on harmonising melodies? JS: Only if necessary. It can be very effective, but the more you harmonise the less space you leave for the listener’s imagination.
GT: What three guitar instrumentals would you consider iconic, or which ones have inspired you over the years? Rumble by Link Ray, Sleepwalk by Santo and Johnny and Where Were You by Jeff Beck.
Intro
T
he profession of music is an insecure one at the best of times. Look no further than the lad Mozart, who was buried in a pauper’s grave. And he was a genius. Clearly, the itinerant plectrist is not immune to the consequences of change and is vulnerable to a disturbingly large array of threats to his or her livelihood. Shifting patterns in fashion or taste, issues with physical health, the outsourcing of recorded music to cheaper geographical locations and the cutting of government support for the arts, are all obvious examples. Needless to say, these events are almost entirely beyond the control of any one individual. The biggest threat to the ability to scratch a living on the surface of planet music comes from new technology. Each and every time it hits the scene, the consequences are enormous. And in terms of employment numbers... er... not too good. To put it mildly. With my Luddite hat set at a jaunty angle, I would remind you that once upon a time there were musicians plying their trade in hotels, bars and restaurants. At weddings. In gardens. In strip clubs. In short, anywhere there was a need for entertainment. You will be pleased to know that I am not about to describe the bleedin’ obvious. You know what happened. And if you’ve been
Mitch Dalton’s
Session Shenanigans The guitarist’s guide to happiness and personal fulfilment. This month: H is for Hard Times musicians. It seems to be woven into the emotional fabric of H Sapiens. As Friedrich Nietzsche said (and for which the T-shirt industry is eternally grateful), “Without music, life would be an error.” And as far as I can see, that is not about to change. Musicians are highly adaptable creatures and, with hard work and a slice of luck, will often discover a way of navigating through The Sea Of Change. Of course, there is always
hiding in your low-tech cave for a while, then please repair to the nearest dictionary and refer to the words ‘electricity’, ‘vinyl’, ‘CD’,’discotheque, ‘computer’, ‘digital’, ‘video’, ‘download’ and ‘sound technology’. Or you could just Google them, I guess. Anyway, before you pop the co-ordinates of the nearest gas oven into your sat nav, here’s some comfort and solace: the world needs music; thus,
the odd musical tsunami. Fortunately, like the real thing, it’s rare and in any case there is little one can do about it. I was thinking these thoughts last night as I sat in the chair designated ‘Guitar And Banjo’ with The Royal Philharmonic Orchestra, at The Cadogan Hall in Chelsea. We were there to rehearse the accompanying music to the 1931 Charlie Chaplin classic City Lights, in preparation for a one-off screening of the film with live orchestra. You know, the one with blind flower girl and his nibs as the tramp that falls for her. It is worth remembering that it’s not a silent film in the accepted sense: there is no dialogue, but the music (written by the man himself) was dubbed on to the original. And here’s the thing of it. Four years earlier, Al Jolson opened his mouth in The Jazz Singer and uttered the immortal words “You ain’t heard nothin’ yet!” The era of the talkies had begun. By the end of the following year, 22,000 (yes – twenty-two thousand) musicians in cinemas throughout America had put their instruments down and never played again professionally. Let’s all be grateful that we weren’t hit by that particular technological bombshell, shall we? Mitch Dalton is one of London’s most sought-after musicians. His latest album, Mitch Dalton & The Studio Kings is out now. For more info go to: www.mitchdalton.co.uk
ONE MINUTE LICK - by Phil Hilborne Country Double-Stop COUNTRY DOUBLE STOP LICK Lick
PHIL HILBORNE’S ONE-MINUTE LICK
GUITAR TECHNIQUES MAGAZINE 2 4 9
The idea HERE is to encircle pairs of notes from a chord using scale notes from above and chromatic notes from below. The chord is A7 (A-C#-E-G). Albert Lee, Johnny Hiland, Eric Johnson and many other players regularly use this type of idea. Pick, fingerstyle or a pick and fingers will all work here. Notice how the first phrase is a beat and a half long and repeats three times before the descending part, which begins on the ‘and’ of ‘1’ in bar 2. Keep steady and don’t rush! I have given a suggested fingering but feel free to amend it to suit your style. Don’t forget to work on similar licks of your own – try playing the same thing with other chord types in as many places on the neck as you can.
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November 2015
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Intro 60 SECONDS with…
A minute’s all it takes to find out what makes a great guitarist tick. Before he jumped into his limo for the airport we grabbed a quick chat with Jethro Tull guitarist and fine solo artist, Martin Barre GT: What’s the most important musical lesson you ever learnt? MB: Learn as much from bad music (and why it’s bad), as from good music.
GT: Do you have a type of pick that you can’t live without? MB: Manson’s medium, in yellow.
GT: Do you still practise? MB: I never think of it as practising as I love it so much, but I play every day and never need a reason!
GT: You have to give up all your pedals but three – what are they? MB: (Amazingly) I don’t use pedals but I have an Alesis Picoverb on the send and return of the amp, set low!
GT: Pre-gig warm-up routine? MB: I sit quietly and think about the next two hours of playing. I go over the music in my mind to highlight areas for improvement. I’m always prepared with tuning, equipment and clean socks.
GT: Do you play another musical instrument well enough to do so in a band? MB: Actually, I play flute but I can’t think of a band stupid enough to want one!
GT: If you could put together a fantasy band with you in it, who would the other players be? MB: Probably all singersongwriters: Neil Young, Don Henley, Paul Carrack, Steve Winwood and Gary Brooker. They can bring their instruments as well, if they insist.
GT: If a music chart were put in front of you, could you read it? MB: Yes, but I need a day or two. GT: Do guitar cables really make a difference? What make are yours? MB: I use Line 6 radio: they make life easy and I don’t trip over (not over cables, anyway!) GT: Is there anyone’s playing of which you’re slightly jealous? MB: Robben Ford, because he is just perfect and still has all his own hair. GT: Your house is burning down: which guitar do you salvage? MB: I would grab my 1917 Gibson F4 mandolin and, because it will fit in my pocket, I can also take the ’69 Tele as well. GT: What’s your favourite amp and how do you set it? MB: Soldano Decatone. I have fine-tuned it over many years of use and we are a perfect marriage! Low highs and mids and just enough drive to let the guitar sing sweetly. GT: What kind of action do you have on your guitars? MB: I’ve set my own guitars up since I started playing and I like 10
November 2015
Martin Barre: catch him and his band on tour soon!
I use a line 6 radio: they make life easy and i don’t trip over (not over cables anyway). to feel a healthy medium-high action, so I can get lots of response in the feel of the strings.
madly in love with it! Much later I went in and bought a Gibson ES-330 for £175 on credit… I couldn’t afford the cherry!
GT: Who was your first influence ? MB: Hank Marvin, then every rock player I heard from Elvis to Gene Vincent and Buddy Holly. Later on the ‘Blues Train’ brought the Three Kings, and everything changed!
GT: The best gig you ever did? MB: We played a festival in Spain this year and had to follow Larry Graham (Central Station). He blew the roof off, but we did too and I was so proud of my band!
GT: What was the first guitar you really lusted after? MB: I saw a cherry red Gibson ES-335 in a music shop in Birmingham and fell deeply and
GT: Worst playing nightmare? MB: Always the same… I turn up to a gig, can’t get in, then don’t know the music and my guitar has rusty strings. Then I wake up!
GT: Is there a solo you really wish you had played? MB: In The Dead Of Night, by Allan Holdsworth. GT: What’s the solo or song of your own of which you’re most proud? MB: I’m really proud of my new album; but to pick one piece of music it would be an instrumental called Mysere from an album we did called The Meeting. GT: What are you up to at the moment – tours, album, etc? MB: My new CD Back To Steel is a return to rock and blues with lots of guitar playing and steel strings. [See review on page 95]. We will play the whole album live, and we have tours of the UK, Europe and the USA lined up for the rest of 2015 and 2016. This is the most important project that I’ve ever done and I’m really excited about the future for me and my band.
Intro That Was The Year...
1949
and L ucille, Leo Lynott
LEO FENDER IS HARD AT WORK
on the prototype of his first commercial guitar, the Fender Broadcaster. With three-a-side tuners on the all-maple neck the guitar lacks that certain something and the surface-mounted rectangular control plate and small scratchplate offer a lack of coordination. But when presented in 1950 all the design elements are in place and a classic is born.
TWO MEN FIGHT OVER A GIRL
at a dancehall in Twist, Arkansas and knock over a barrel of burning kerosene causing the building to blaze. BB King dashes back into the burning building to retrieve his Gibson guitar only later to realise what a foolish thing he’d done. He then names that and every other guitar he plays, Lucille, the name of the girl the men were fighting over, to remind him never to act rashly again.
THE BRITISH COMMONWEALTH OF NATIONS becomes the Commonwealth; the Federal Republic of Germany and the Democratic Republic of Germany (East Germany) are officially established; Israel becomes a member of the United Nations; Transjordan is now the Kingdom of Jordan; and the NATO defence alliance is created following the signing of the North Atlantic Treaty.
RMS CARONIA SETS OUT
on her maiden voyage from Southampton to New York; snowfall is recorded in Los Angeles for the first time; a 1948 Volkswagen model VW Type 1 car arrives in New York – it’s the first to arrive in the States but little interest is shown. The first Emmy awards are presented and Hopalong Cassidy is the first television western to be aired in America.
BABY BOOMERS INCLUDE...
Phil Lynott, Trevor Horn, Francis Rossi, Billy Gibbons, Rick Wakeman, Mark Knopfler, Paul Rodgers, Bruce Springsteen, Gloria Gaynor, Robin and Maurice Gibb, Gil Scott-Heron, Steve Perry and Robert Palmer.
ON BBC RADIO’S THIRD programme
astronomer Fred Hoyle coins the term Big Bang as the start of the Universe; Gerard Kuiper discovers another moon of Neptune, it’s given the name Nereid; George Orwell’s novel Nineteen Eighty-Four is published; and Margaret Roberts, the future Margaret Thatcher, is adopted as the Conservative candidate for Dartford – she will go on to unsuccessfully fight two elections in the constituency in 1950 and 1951.
LUTHIER PAUL BIGSBY
is producing one of the most radical guitars ever but so far he’s only made four! This twin-pickup solid features a wooden tailpiece, surfacemounted controls and a pickup selector. The fretboard sports an array of inlays but apart from the birds-eye maple top, the most striking feature is the stylish three-a-side headstock, considered by many as the inspiration for Fender’s Stratocaster. Other makers produced variations of this design but it was the Strat’s that was to become so iconic.
Jam Tracks Tips
Use these tips to navigate our bonus backing tracks ➊ Acoustic Blues (A) Here’s a fun, head-bopping blues shuffle in A (to go with our great cover feature). Mix up A major Pentatonic (A-B-C#-E-F#) and A minor Pentatonic (A-C-D-E-G) for maximum blues vibes. Knowing the 7th arpeggios will come in handy as well – A7 (A-C#-E-G), D7 (D-F#-A-C) and E7 (E-G#-B-D).
➍ Ab Jazz Blues
➋ 11/8 Curveball (B) Up for a challenge? Then try this odd-meter track (in 11/8) in the key of B major. Counting 4, 4, 3 will help. The chords are: B-B-Gmaj7-E, an example of modal interchange, meaning it goes from major (B major, B chords) to minor (B Minor/ Dorian, G and E chords). Think B major Pentatonic (B-C#-D#F#-G#) to B minor Pentatonic (B-D-E-F#-A).
➌ Funk Blues (Am) You can give your groove guitar playing a workout on this funk track in A minor. Have a go at working on chords (whole and partial), single-note lines and double-stops – picked from A minor Pentatonic (A-C-D-E-G), A Minor (A-B-C-D-E-F-G) and arpeggios – Am7 (A-C-E-G), Dm7 (D-F-A-C) and Em7 (E-G-B-D).
Here’s a medium-tempo jazz-blues in the challenging key of Ab major. For scales, try Ab major Pentatonic (Ab-Bb-CEb-F) and Ab minor Pentatonic Ab-B-Db-Eb-Gb) as a good starting point. But also add some Ab Mixolydian (Ab-Bb-C-Db-EbF-Gb) and Ab Major scale (Ab-Bb-C-Db-Eb-F-G). Finally, try following the progression playing the arpeggios along the way: Ab7 (Ab-C-Eb-Gb); Db7 (Db-F-Ab-B); Ebm7 (Eb-Gb-BbDb); D dim (D-F-Ab-B); F7 (F-A-C-Eb); Bbm (Bb-Db-F-Ab); and Eb7 (Eb-G-Bb-Db). 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 tracks and licks. Or find Quist and his jam tracks on Twitter, Instagram and Facebook.
calling all fender and gibson fans! Join us for an in-depth look at the guitars that made these two brands great in two new bookazines: Legends Of Tone. Top historians examine the key models that made the companies household names and we look at ultra-rare and desirable examples. With star interviews, Top 10 Tones for each model plus fabulous photography, this is a must-read for lovers of Gibson and Fender electrics. www.myfavouritemagazines.com.
hot for teacher
Your
Teacher
Name: Chris Hunt Town: Weybridge, Surrey. Styles: Electric, acoustic and classical. Speciality: Playing in any key. Levels: Beginners to advanced, in electric and acoustic – RGT Acoustic Grades if desired Sight-reading: Up to Grade 6 classical. Anything in tab. Charges: £35 an hour Special: I teach at the student’s home. Tel: 07958 660193. Email:
[email protected]
November 2015
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Play } BLUES SHUFFLE
ON THE CD
TRACKs 4-19
The Blues Shuffle The shuffle has been a staple of blues, jazz and rock since the early 1900s. Richard Barrett examines this groove, from its birth to the present day. ABILITY RATING Info Key Various Tempo Various CD TRACKS 4-19
T
Moderate/Advanced
✪✪✪✪✪
Will improve your… Acoustic and electric picking styles General rhythm Blues repertoire
he ‘shuffle’ or ‘swing’ beat is a fascinating musical device that completely transforms the feel of a piece of music. Instead of a regular, even 1-2-3-4, the shuffle has an asymmetric pulse, alternating longer and shorter notes. Try playing only the first and third notes of a triplet (1-2-3) pattern, and you’re playing a shuffle or ‘swing’ rhythm, as heard in many a 12-bar blues jam – but there’s much more to the shuffle than that! Some of the earliest recorded examples of shuffle can be heard in the ragtime piano music of the very late 19th and early 20th century, in which the left hand plays a ‘straight’ bass pattern against a syncopated right-hand melody. Check out Scott Joplin’s Maple Leaf Rag for a classic example of this, though there are many other pieces out there well worth hearing too. On close listening, you will notice that the swung feel is actually quite subtle in many of these early pieces. There are moments that don’t seem to swing at all, as though the shuffle feel is employed as a dynamic device, rather than getting locked
into a particular feel. Comparatively modern guitar pieces like Hendrix’s Little Wing and Stevie Ray Vaughan’s Lenny feature this too, as well as the legendary ‘push and pull’ between Keith Richards’ guitar and Charlie Watts’ drums. There isn’t a set formula to follow here – just keep your ears attuned to these subtleties and you’ll find yourself able to
In the beginning, there was noise. Noise begat rhythm and rhythm begat everything else.
Mickey Hart (Grateful Dead)
push and pull the beat at will too, making it sound more driving or laid back. This is where the groove comes from: the stuff that makes people want to dance when you play! The following examples trace a rough history through ragtime to blues, country, western swing, rock ’n’ roll (with a tiny bit of jazz thrown in), rhythm and blues and rock.
Technique Focus
We begin in the tradition of ragtime guitar from the early 20s, cleverly adapted from the piano by leading players of the day, such as Blind Blake and Rev Gary Davis. This self-contained, intricate style was adapted by Chet Atkins and Jerry Reed on the country scene, also branching into rock and roll via Scotty Moore on Elvis Presley’s early recordings, sometimes drawing on jazzy extended chords for extra colour and interest. Of course, we mustn’t forget the absolute wealth of material from Robert Johnson through to BB King, Clapton, Hendrix and Stevie Ray Vaughan. Taking a more strict shuffle approach, rock acts like Thin Lizzy, Whitesnake and ZZ Top have also added considerably to the repertoire. Both blues and rock feature the guitar as their primary lead instrument, and you could say it has come an awfully long way since the 20s – though there are certain trademark phrases that really define the genre. Often, a piano phrase from the 20s can find its way into a blues-rock solo along with the more recent slides, taps, dive bombs and pick scrapes. Hopefully, these examples will give you a few new ideas or a fresh perspective on some old ones. 5
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Pick, fingers or both? Fingers are great for dexterity and detail, but a pick gives a much clearer, punchier sound. Popular solutions to this conundrum include using a thumbpick for a powerful, percussive bass, favoured by Chet Akins, Tommy Emmanuel and Johnny Marr. This also frees all four fingers for melodic, syncopated lines and chords on the treble strings. A possible drawback might be that strummed chords can feel heavy handed with a thumbpick. Pick (you’d call this a ‘flatpick’ in bluegrass circles) and fingers solves this, but you’ll have less fingers to play with, though this isn’t the huge disadvantage it may seem at first. In fact, this is the technique used to play many of our recorded examples. Whatever technique you choose, be sure to practise slowly and thoroughly. It’s very easy to trip over some of the syncopated cross rhythms, so you’ll need to train those fingers into a consistent routine before turning up the tempo. A lot can be learned from watching accomplished players too, so be prepared to spend some time on YouTube.
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These examples vary from acoustic to driving electric. For the classic sounds go for lower gain and picking-hand attack rather than high gain, which may obscure technical and harmonic details. Try different pickups and a little bit of reverb or slap-back. But remember, great players push boundaries, so why not break a few rules like BB, Buddy Guy or Jimi Hendrix!
{ THE BLUES SHUFFLE
P G BRUNELLI / ICONICPIX
Stevie Ray Vaughan: check out his shuffle on Pride And Joy
TRACK RECORD Check out early Ben Harney and Scott Joplin; you’ll be surprised how many motifs are still in use. Then try Chet Atkins Picks On Jerry Reed to hear two masters at work. SRV’s Pride and Joy is a definitive blues shuffle; Tush by ZZ Top and The Bluesbreakers’ Beano album are also essential listening. Honorary mention must go to Stefan Grossman, whose playing and tutorials are first class!
November 2015
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Play } BLUES SHUFFLE
ON THE CD
TRACKs 4-19
Example 1 ragtime picking
cd track 4
Using lightly palm muted, alternating ‘straight’ bass under a syncopated top line, this example is designed to accustom the fingers and brain to the required skills. No need to play this fast, just go for clarity and evenness. Due to the palm muting, you’ll need to keep your picking hand and wrist in a straight line, rather than GUITAR TECHNIQUES MAGAZINE 2 4 9 the more ‘arched’ classical technique. GUITAR TECHNIQUES MAGAZINE 2 4 9 Richard Barrett's BLUES SHUFFLE Richard Barrett's BLUES SHUFFLE Fig 1 Fig 1
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Example 9 minor rock solo
cd track 14
Time for a solo! Using the bridge pickup with distortion, short delay and wah-wah, this is inspired by Brian Robertson’s playing on Thin Lizzy’s Live and Dangerous – Don’t Believe a Word is a great example of the minor blues shuffle. Moving through different positions using minor Pentatonic scale, this solo is all about the attitude expressed by those string bends combined with the wah-wah. Note the Dorian flavour (R-2-b3-4-5-6-b7), courtesy of the E naturals in bar 13. 5 Fig 9
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November 2015
19
Play } BLUES SHUFFLE
ON THE CD
TRACKs 4-19
Example 10 major shuffle with bass runs
cd track 16
Though this example’s purpose is to demonstrate a major shuffle rhythm part, the opportunity to include a Chuck Berry style opening lick was too good to miss. Here, we tread a path between chords and melody using the bass strings – often in unison with the bass guitar. We’ve gone a little overboard with this to demonstrate a few different ways to play this feel in one example. Backing a vocalist or playing within a band may require you to simplify things slightly – but there’s only one way to be sure. Alternatively, could you write an instrumental based around these ideas? 6 xxxxxxxxxx
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11 11 12 11 12 12 12 12 11 12 12 12 November 2015
21
Play } ROCK
ON THE CD
TRACKs 20-21
Gary Moore Parisienne Walkways Combining the original classic with a definitive live performance, Richard Barrett talks and plays you through some vintage Gary Moore – with a specially recorded, extended backing track. ABILITY RATING Info Key A minor Tempo 86bpm CD TRACKS 20-21
T
Moderate/Advanced Will improve your… String bends Pentatonic based improvisation
hough deservedly remembered by many for his excellent rock and blues recordings, Gary Moore actually had a very wide taste in music and experimented in a variety of genres. Parisienne Walkways was recorded during the 1978 sessions for Gary’s Back On The Streets album and features Thin Lizzy’s often underrated drummer Brian Downey, plus Phil Lynott himself on vocals and upright bass. It captures Gary’s playing at a pivotal stage, making the transition from the jazz-rock style of the Colosseum II albums a couple of years earlier, to his eventual reunion with Thin Lizzy for the Black Rose album in 1979. Of course, there was never any shortage of fire in Gary’s playing whatever the genre, and he sounded just as at home on his 61 Strat (check out his performance of Red House from the 2005 Strat Pack movie!) as he did on his famous ex-Peter Green ’59 Les Paul. It is this guitar that features on both the original recording and our featured live version. The original clocks in at just over three minutes – fairly long for a single (it reached number 8 in the UK) but a little short for those wanting to hear Gary stretch out and do what he was best at. In his live performances, Gary
✪✪✪✪✪ Picking
would continue the outro section for another three minutes or so – plus, of course, the infamous sustained note before the last repeat of the main melody. To recreate this, you’ll need to be turned up fairly loud and standing in exactly the right position in relation to your amplifier and speaker – more on this later. To get the best of both worlds, our GT version
The solo you hear on the record was captured in one take. There’s a double track and a harmony. Unbelievable!
Producer Chris Tsangarides
goes with the original track right up where the fade begins (3:03, or bar 45 on the transcription), then continues as Gary would have done live. The live performance we have chosen as the basis for this is taken from Gary’s inspired encore at Reading Rock on August 28th 1982, featuring the superb line-up of Ian Paice on drums and Neil Murray on bass. Tommy Eyre
provided some nice chord variations on keys too, all of which we have emulated to the best of our ability on the extended backing track – which should provide plenty of fun! Though studio and live performance are very different worlds, Gary’s eloquent phrasing and control remain consistent. He uses a little more gain (and probably volume) on the live versions, so there is more handling noise and feedback evident, partly due to the un-potted PAF pickups in his ’59 Les Paul. Gary would keep this under control by rolling the guitar’s volume down quickly between phrases, or allowing other unused strings to sound briefly (check bar 53 of the transcription for an example of this). As well as avoiding microphonic squealing, this gives an exciting dynamic ‘cranked to the max’ feel. It’s easier to understand this concept when you’ve seen it in action. Be sure to check out a few of Gary’s live performances and you’ll see how he instinctively reaches down to zero the guitar’s volume control to keep things quiet. You don’t need to be playing loud to use this technique and it will help give your playing that urgent, in-yourface feel. So give it a go!
7
7
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6
Middle
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Reverb
Technique Focus Creating sustain To get the ‘endless’ sustain on the live version, Gary would turn it up loud and position himself near his amp or monitor speakers on stage. This isn’t an exact science – different rooms will change the response completely and too much gain will cause noise and interference that actually detracts from the feedback loop, breaking the ‘cycle’. Try medium to high volume with a slight mid boost (cutting mids will reduce sustain) and walk around to find the ‘sweet spot’. Players like Steve Vai and Gary himself would search the best spots for this out on stage during soundcheck, and mark the positions out for that evening’s performance! Even this is not always 100% reliable – but without any risk, where’s the fun?
22
November 2015
Humbuckers are favourite here. Gary used an overdrive pedal into a Marshall for live shows, but a Mesa Boogie combo and 4x12 cab for the original recording. Use the guitar’s volume control for reducing the gain, opening it up later on. For the ‘live’ end section, Gary was using an analog delay pedal, and this is reflected in the audio, set to around 350ms.
Parisienne Walkways { Gary Moore
GEORGE CHIN / ICONICPIX
Gary Moore with his ‘other’ ’59 Les Paul Standard
TRACK RECORD Back On The Streets (1978) has a great selection of material, played with typical gusto. Colosseum II’s Electric Savage (1977) showcases Gary in full fusion glory! Thin Lizzy’s Black Rose (1979) sees him on ripping form – especially on The Toughest Street In Town. Also check out 80s albums Corridors Of Power and We Want Moore, and his brilliant blues excursions Still Got the Blues and After Hours.
November 2015
23
Play } ROCK
ON THE CD
TRACKs 20-21
PLAYING TIPS
cd track 20
[Bars 1-9] This initial statement of the melody is fairly low-gain and subtly [Bars 10-17] Here is the higher harmony (up a 3rd) that plays underneath the double tracked, apparently through a Boogie combo. Note there is frequent first verse. It’s slightly lower in the mix, to leave room in the mix for the vocal vibrato, but it’s carefully selected and not simply played by default. It’s these and reflect the dynamic. You’ll notice it’s phrased slightly differently to the first TECHNIQUES MAGAZINE 249 detailsGUITAR that help give Gary’s playing such finesse. time round, probably to help articulation and not fight with the vocal. PARISIENNE WALKWAYS - Gary Moore - Richard Barrett
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17
November 2015
15 17
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Parisienne Walkways { Gary Moore PLAYING TIPS
cd track 20
[Bars 17-24] Switching to the bridge pickup, this is also double tracked – right up to the blistering final phrase! Note – we still aren’t in real ‘high gain’ territory. This is all about the delivery. Don’t be put off by that final flurry; work through slowly, rehearsing the movements and you’ll be surprised at the results! 2 xxxxxxxxxx Fmaj 7
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[Bars 25-33] Just a few ornamentations here behind the vocal, starting with a couple of volume swells. The double-tracking stops here in favour of a looser approach. Gary’s phrasing is exemplary, but don’t be too single-minded about every detail or you’ll start to sound mechanical – that has no place here!
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34
November 2015
25
Play } ROCK
ON THE CD
TRACKs 20-21
PLAYING TIPS
cd track 20
[Bars 33-45] Okay, here’s that note – actually held for just under two bars on the original, though listening to the fade tells us it could have gone longer (we’ve put in a subtle hi-hat to help keep time). A final statement of the theme leads to 3 the outro. Keep your eye on pitching, grace notes, vibrato and timing.
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[Bars 45-54] We’re into Live At Reading territory. Delivery is confident, peaking at bar 51 for a fast Pentatonic lick. The effect is more important than complete accuracy, and Gary used to say his speed came from ‘pure energy’ rather than slavish repetition. The ensuing bends will strengthen up your fingers too!
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51
November 2015
15 13 12 1513 12 12 14 14 12
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Parisienne Walkways { Gary Moore PLAYING TIPS
cd track 20
[Bars 55-59] After a brief respite, its non-stop action for the next few bars. Much of the previous advice applies here, though the repetitive phrase beginning at bar 57 is a feat of endurance without a doubt! Stay as relaxed as possible and stop if you experience any aches or pains. When you get to this 4 xxxxxxxxxx
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advanced stage of gymnastics, warm ups and slow building of stamina are essential. Gary tended to use just two fingers for these speedy lines, almost bouncing off the strings and fretboard, but you might find it easier to use the more conventional three-fingered approach.
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Fmaj7 E m7 (√)Am7/ 'œ œ œ œ /'œ œ œ œ /'œ œ œ œ /'œ œ œ œ /'œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 14
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D m7 (√) Am7 œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &
E B G D A E
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58
November 2015
27
Play } ROCK PLAYING TIPS
cd track 20
[Bars 60-64] Tremolo picking while trilling with the fretting hand and sliding down to around the 2nd fret by the end of bar 63, this lick is likely inspired by Jeff Beck, of whom Gary was a big fan. This will take a little work to nail, but if you attack it with confidence it shouldn’t take too long. 5
[Bars 64-75] A variation on the main theme – returning to the neck pickup and rolling the volume down slightly between bars 70/71 for dynamics – and a touch of Dorian mode (A-B-C-D-E-F#-G) with that F# in bar 71. Crank the volume all the way back up for the sustained note in bars 72-75. Good luck!
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E B G D A E
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59
Dm7 (√)Am7. œ #œ nœ œ . œ œ bœ . nœ bœ œ . œ œ &
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November 2015
9
5 7
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12
Play } PICKING
ON THE CD
TRACKs 22-40
Sort Your Picking Part 2 Economy Picking In the second instalment of our three-part series on improving your picking, Phil Capone shows how to develop a fast and efficient economy picking technique that’s not all about shred! ABILITY RATING Info Key Various Tempo 225bpm CD TRACKS 22-40
T
Moderate ✪ ✪ ✪ ✪ Will improve your… Fast licks free from picking tension Improved pick control Fretting and picking hand coordination
he technique of economy picking, where adjacent strings are picked with consecutive down or up-picks, has been around longer than you might think. Django Reinhardt used economy picking to create his incredibly fluid solos. The late, great Les Paul also used economy picking as part of his virtuoso technique. And let’s not forget that jazz guitarists have been playing sweep picked arpeggios since the days of bebop. But it was during the 80s and 90s that economy and sweep picking became the techniques for creating full shred solos. Undoubtedly one of the catalysts for this obsession with speed and gymnastic ability was the solo Eddie Van Halen played on Michael Jackson’s Beat It. The single dominated the airwaves on its release, simultaneously making Van Halen a household name and making a lot of session guys very afraid. His soloing pyrotechnics pushed the envelope of what people thought was possible on the guitar and, of course (for better or worse), tapping became the ‘in’ thing to do and an easy way to impress. Don’t switch off if you’re not a fan of relentless sweep picking as that’s definitely
✪
not what we’ll be focusing on here. The idea is to explore some of the principles of economy picking that you may or may not have tried already; presenting them in realistic and practical scenarios to illustrate how effective and musical this technique can be. Ideally, this is an opportunity for you to experiment and cherry pick; to incorporate some of these
Don’t switch off if you’re not a fan of relentless sweep picking as that’s definitely not what we’ll be focusing on concepts into your existing technique, rather than feeling you’ll need to rethink your whole approach. Even if you don’t use economy picking as the mainstay of your technique, it’s a great thing to practise since it will improve your picking control while simultaneously streamlining the coordination between your picking and fretting hands. So, it’s a win-win situation!
Technique Focus
The examples in this article have been grouped to specifically build your technique gradually. Examples 1-4 focus on economy picking across two strings only, allowing you to build the technique gradually and adjust to the demands of playing consecutive down and up-picks without losing rhythmic control. In examples 5-8 you will be expanding your technique across three strings, including 7th arpeggios (maj7, m7 etc) and learning a radical new shape for the minor Pentatonic scale. In examples 9-12, four-string patterns cover triads in root position, triad inversions, plus some cool triadic substitutions are used to create fusion flavours. Examples 13-17 deal with five-string arpeggios and licks, plus a couple of invaluable six-string scale patterns. Example 18 is your final workout. Instead of a predictable metal-style pay-off, I’ve opted for a good ’ole shuffle blues with a head and solo that illustrates how versatile (and musical) economy picking can be (it dovetails perfectly with Richard’s cover feature too!). As with last month’s alternate picking article, remember the only way to master any technique is to incorporate it into your daily routine, using a metronome at all times. 6
Gain
5 7
Bass
Middle
6
Treble
4
Reverb
Picking Hand Technique All the principles of picking hand technique that we discussed in last month’s alternate picking article also apply to economy picking: keeping your picking hand anchored but relaxed is crucial to all picking styles. But the most important thing to be aware off when you’re using economy picking is rhythm. It’s all too easy (especially when sweeping) to just drag your pick across the strings, speeding up in the process and losing control of rhythmic content. Alternate picking by its very nature, has an inbuilt pendulum-like motion that keeps everything in time; economy picking does not. The best way to ensure you are playing things correctly is to start slowly, use a metronome, and pick each example with alternate picking first. This will help you to get the fingering together while you learn exactly how each phrase should sound.
30
November 2015
Varying levels of gain are used here; the above setting is a midway starting point. Overdrive settings are quite light, allowing picking to be clearly heard. Too much diminishes clarity and it becomes harder to identify issues that need attention. Ideally, play everything with a clean sound first – the great players sound just the same whether using distortion or not.
ECONOMY PICKING { PICKING PT2
DALE BENVENUTO
Frank Gambale is a stunning economy picking guitarist
TRACK RECORD To show that rock is not the sole domain of economy picking check out anything by Django Reinhardt. The Best of Django Reinhardt (1996), Djangology (1961) and Django and Stephane Grappelli’s Ultimate Collection (2008) are three albums that will give you a good steer in the majestic talents of this pioneering jazz guitarist and master of economy picking.
November 2015
31
Play } PICKING
ON THE CD
TRACKs 22-40
EXAMPLE 1 Triads along two strings
cd track 22
Economy picking can double your playing speed without doubling your picking speed. But this example starts slowly because it’s very important to ensure TECHNIQUES 2 4 9 that follow are executed in a controlled and rhythmical way. Just to make sure, play this example with alternate that bothGUITAR the double down-picksMAGAZINE and the pull-offs Phil Capone - SORT YOUR PICKING picking first. Both techniques should produce identical rhythmic delivery. Ex 1
Triad along two strings
Ex 1
Triad along two strings
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1
Triad along two strings
5
9 11 Three notes per7 string Mixolydian pattern
©»•º G≥œ ≥œ œ≤ œ ≥œ ≥œ œ≤ œ F #≥m ≥œ # œ≤ œ ≥ ≥œ œ≤ œ E ≥m ≥œ œ≤ œ ≥ ≥œ œ≤ œ D≥ ≥ ≤œ E≥m ≥œ ≤œ œF #≥m ≥œ # ≤œ œ #TECHNIQUES œ 5 9 5 œ 5 9 5 œ 3 7 3 œ 3 7 3 œ œ2 5 œ2 œ 3 7 3 œ 5 9 5 . Ex 2 Doubling 7with 10 constant 7 7 picking 10 7 44 .. speed GUITAR MAGAZINE 2 49 8 7 5 7 8your 7 5 3 5 cd track 23 EXAMPLE 2& Doubling speed with constant picking . # 11 Phil Capone - SORT Dm/E YOUR PICKING C Fmaj7 D b/G ~~~ ©»•º . and This is a great exercise for. building a solid and rhythmic economy picking technique. Because the 16th notes in each bar are played with consecutive down œ œeighth œ œ œ throughout. 4effectively Ex 1areTriad up-picks you using your eyes focus ..along ..picking œ≥strings œ œpicking œOnce œ œthe≥ pattern œunder œ œ≥œclose b œ≥œon≤your œ ≥œ picking œ≥œ ≥you’ve œ≥œ ≥œyourœ≤ fingers, b œ ≥b £œ≥¡œand ≥ ≤ ≥ ≤ ≤ ≥ œ Gtoœ≥two œ œ≤ œ got œ œ œ œ œ ≤your ≥note ≤motionF #constant œ≥m œ≥ œ≤œthroughout. œ œ œ hand, as this& will 4 help you keep œ # ¡ £ Em D ¡ £ E m ™ ¡F m £ œ7 ©»•º œ œ7with10œ constant œ7 œ8 œ7 picking 10 œ Ex 2 Doubling speed # 4 .. 8 œ7 œ5 # œ9 œ5 œ7 œ5 œ9 œ5 œ5 œ3 œ7 œ3 œ5 œ3 œ7 œ3 œ3 œ2 œ5 œ2 œ5 œ3 œ7 œ3 œ7 œ5 # œ9 œ5 .. Fmaj7 # 11 Dm/E D b/G ~~~ & ©»•º 4 C.. ~~~ .. & 44 ... œ5 œ≥7 œ9≥ œ7 ≤œ5 œ9 œ5 ≥œ7 ≥œ9 œ7≤ œ5 œ9 œ3≥ œ5≥ œ7 ≤œ5 œ4 œ7 ≥œ3 ≥œ5 œ7≤ œ5 œ4 œ7 ≥ œ2 ≥œ3 ≤ œ5 œ4 œ2≥œ5 ≥œ2 œ3≤ œ5 œ4 œ2 ≥œ5 ≥œ3 ≤ œ5 b £œ6 ≥b £œ6≥¡œ4≤œ5 œ3 ≥b ¡œ3≥œ5 ≤ œ ... ™¡ £ ¡ £ Ex 2 Doubling speed with constant picking 7 10 7 5 9 5 3 7 3 2 5 2 3 7 3 5 9 5 7 10 7 5 9 5 3 7 3 ≥ ≤ ≥ ≥ ≤5≤ ≥ ≤ ≥ ≥ ≤ 3≤ D≥b/G ≤ ≥ 5 ≥ ≤ ≤ ≥ 7 ≥ ≤~~~ . ≥7 ≤ # 11≥ ≥ ≤ ≤ 7≥ ≤ ≥ ≥ ≤ ≤ 5Dm/E ©»•º C≥. ≤8 ≥ ≥ ≤ ≤ ≥ 8 ≤ ≥ ≥ ≤ ≤ Fmaj7 ~~~ . . Ex 3 16ths starting with up-pick 4 œ œ b œ . œ œ œ œ . œ œ œ œ œ œ œ œ œ b œ . œ œ œ œ œ œ œ œ b œ &©»ª∞ 4 œ5 N.C. œ œ œ œ œ £6≥¡4 ≤œ œ ≥¡3≥œ ≤ œ . œ œ œ 7 ≤5 7≤ 5 5 4 ≥œ ≥ 5 4 4 2≥œ ≥ 4 2 ≥œ ≥ œ ≤ œ œ œ ≥ ≥ ≤ ≤ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≤ £ 7 9 9 5 7 9 9 7 3 5 7 7 5 2 3 5 5 3 5 7 2 3 5 . ™5 ¡3 £5 ¡3 £5 6 # 4. . speed Ex 2 Doubling with constant picking œ & 4 ≥. ≤œ ≥œ ≥œ≤ ≤œ ≥œ ≤ œ≥œ≥œ≤œ≤œ ≥ œ≤ # œ≥ ≥œ ≤ œ≤ ≥œ ≤ œ≥ ≥œ œ≤ ≤œ ≥ ≤ ≥ ≥ ≤ ≤ ≥ ≤œ ≥ ≥ ≤œ ≤ ≥b œ≤ œ≥ œ≥œ≤ ≤œ≥œ ≥œ ≤œ œ œ .. Fmaj7 11 Dm/E œ œ ~~~ ©»•º C œ œ œ œ œ œ D /G Ex 3 16ths.starting with up-pick .. 44 .. starting track 24 EXAMPLE 3 16ths œ5 œ9 œ3 œ5 œ7 œ5 œ4 œ7 œ3 œ5 œ7 œ5 œ4 œ7 2 œ3 œ5 œ4 œ2 œ5 2 œ3 œ5 œ4 œ2 œ5 œ3 œ5 b œ6 b £œ6 œ4 œ5 œ3 b œ3 œ5 cd œ9 œ5 œ7 an œ9 œ7up-pick œ7 œ9 œ7 œ5 with .. & œ œ 5 N.C. ©»ª∞ . œ ¡ ¡ £ This example illustrates how 16th notes can be incorporated into an eighth-note basedœriff without doubling picking motion, keeping the groove strong and ™¡ £ £ # 4 . the 16ths start on an offbeat so your economy pick begins on an upstroke. As before get the¡ basic consistent. In this example pattern under your fingers œ œ œ œ . ≤ œ .. (ideally ≤ ≥ ≤ ≥ ≥ ≥ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ & 4 œ œ œ your œ pickingœmotion œ7 œ9 œ9 œ7onœ9keeping œ7 concentrate œ œ œ œ playing through first with controlled and consistent throughout. 9 7 7 œ œ 5 œ . œ œ5 œ7 œ7 picking) œ5 œ7 7 soœ7 you œ5 5 can œ œ . alternate 9 7 9 œ5 7 œ7 œ5 œ7 7 œ7 œ5 5 œ7 5 7 7 5 7 7 5~~~7 Ex 3 16ths starting with up-pick ≥ ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≥ ≤ ≥ ≤ ≥4 2≤ ≥ ≤ ≤ 4≥ 2≥ ≤ ≥ ≤ ≥ 6 ≤4 ≥ ≤ 3≤ ≥ ≥ ≤ . ©»ª∞.. 5 N.C. 7 5 7 5 5 4 5 4 7 9 9 5 7 9 9 5 7 7 5 7 7 5 2 3 5 5 5 3 5 3 3 2 3 5 3 5 6 .. # 4 with Ex 4 Triplets 16th bursting . œ . œ œ œ & 4 G≥ ≤œ ≥œ ≥œ≤ ≤œ ≥œ ≤ 7≥œ≥œAm œ ©»¡™º ≤9 œ≥9 b≥œ75 7≤ œ≤9 ≥œ ≤ œ≥ ≥œ ≤œ≤ ≥œE 7≤œ7 œ≥ ≥œ ≤œ5 ≤œ ≥ œ5≤ œ7≥ œ7 ≥œ5≤ ≤œ7A≥m7 ≥œ7 ≤œ5 œ5 œ7 .. . 35 7 7 5 7 7 5 ≤5≤œ7 ≥ œ7≤ œ9œ≥ ≥œ9 ≤ œ7≤ ≥œ9 Bm7 œ œœ œœœ œ œ 4 .. starting œœ œ œœœ œœ œ≤ œ≥up-pick Ex 3 &16ths 4 œ œ≥œwith ≤ ≥œ ≤œ ≤ ≥ ≥œ œ≤ œ ≥ ≤ ≥œ ≤œ œ≥ ≤ œ≤ ≥œ ≥ ≤ ≥5 7≤ ≥7œ œ5≤ ≥7 ≤ 7≤ ≥5œ ≥œ 7≤œ œ≥ œ ≤ #≥œ ≤.. ≥ œ.≤ ≤Œ≥ ≥Ó ≤ 3 ©»ª∞ withN.C.16th 3bursting3 3 3 3 3 3 Ex 4 Triplets # 4 .. .... œ9 œ bœ5 œ7 œ E7 A mœ ©»¡™º & 4 G.. 3œ5 œ7 œ7 œ5 œ7 œ7 œ7 œ5Amœ5 œ7 œ7 œ9 œ9 œ7 œ9 Bm7 œ 7 5 9 7 9 œ œ œ œ œœœ œ5 œ7œ 7œ œœ5 œ7 œœ7œœ7œ œ5œ œ5œ œ7 œ œœ5 œ7œ œ7 œ5. œ7 œ7Œ œ5 Ó œ7 œ œ œ 4 œ œ œ . œ œ œ œ œ œ œ œ œ & 4 .. œ5 œ7≥9 5≤ 7≥9 ≤5 9≥œ7 ≤œ5 ≤ ≥ ≥œ7 9≤ 10 7≥9 10≤ 7≥10 ≤9 œ7≥ ≤ 9≤ 10≥ ≥12≤9 10 12≥ 9≤12 ≥10 9≤ ≥10≤9 ≤12 ≥10≥9 ≤œ7 9 9≥ œ7 ≤7 #≥œ6 ≤.. ≥ œ7. ≤ ≤ ≥ ≥ ≤ 3 3 3 3 3 Ex 4 Triplets with 16th 3bursting 3 3 25 EXAMPLE 4 Triplets with 16th note bursting ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ E≥7 ≤ ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≥ ≤ A≥m cd track . .3 Am Bm7 b 5 ©»¡™º Gpatterns Three-notes-per-string are ideal for economy picking since they enable string changes to be made with the same picking motion. In the fourth bar 16th7 5 9 7 7 5 œ . per7œstring . Ex 5 Three œ œ 7œ transition œ œ5 œ 7œrolling 5œMixolydian 7 5pattern 7 9 7 5. 7 7 5 44 .. notes œ9œ picking œ 5œ 5œ 7œ Finger note phrasing provides anœ5exciting exercise (using first œ 5 œ77 œ9climax œ7 œtoœthe œ7 œ œ7–7œ9use10œ9 the œ œ indicated œ9 7œ œ 9œ9 to10œ make œ5 7 10œ7œ9 7effortless. Œ and Ó 7 third finger 5 7 this œ . œ & œ # œ 5 7 12 9 9 7 . ©»¡ºº E7 ≤ 9≥beat ≤ ≥ ≥7 the ≥3 ≤fall≥10on≤9consecutive ≥ ≥12frets. ≤ 3 D≥7 ≤123 ≥10 9≤ ≥ ≤ ≤12 ≥10≥9 ≤7 9≥ 7 ≤ ≥6 ≤. ≥ 7 ≤ ≤ ≥ ≥ ≤ partial barres) are required 7 ≤5where 9≤ 10notes 7≥ ≤ 9≤ 10 #. 45 7≥on9 ≤the3≥third # œ 3 3 œ œ œ 3 3 œ œ Ex 4 Triplets & # 4with ≥ ≤œ ≤ œ≥ ≤œ œAm≥ ≤ ≥ ≥ ≤ ≥ ≤ ≤œ ≥ œ≤ œBm7≥œb≤5 œ≥ ≥œ ≤ ≥œ≤ ≤œ ≥ œ≤ n œE≥7œ≤ ≤œ ≥n œ≤ ≥ ≤ ≤ ≥ ≥œ ≤œ œ A≥mœ œ œ œ ≥G ≤ .. ≥16thœ≥ ≤bursting œ ©»¡™º 3 per string Mixolydian pattern Ex 5 Three notes 4 ... œ œ œ5 œ7 œ9 œ5 œ œ œ œ œ œ7 œ9 10œ œ7 œ œ œ œ œ œ œ9 10œ 12œ œ9 œ œ œ 10œ œ9 œ œ œ œ œ9 œ œ œ7 ... œ Œ Ó &©»¡ºº 4 . œ5 7 9E 7 D 7 12 10 9 9 7 œ 5 7 9 10 10 9 7 9 10 12 12 10 9 7 9 7 #œ 6 . 7. # # # 4 . 3 3 œ œ œ3 œ œ3 œ 3œ œ 3 œ 3 œ & 4≥ ≤ ..≥ œ≥ ≤œ≥ ≤œ ≤ œ7≥ ≤9 11≥ 7≤ ≥11≥ 9≤ ≥7≤ 11≤ ≥ 9≤ œ7 ≥œ ≤3 œ≥ ≥œ ≤ ≥œ≤ ≤œ ≥ œ≤ n œ5 ≥œ7≤ ≤œ9 ≥n œ5≤ ≥9 ≤ ≤7 ≥ ≥œ5 ≤œ9 œ7 ≥œ5 œ œ œ E B G D A E
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In this example the three-notes-per-string concept is expanded across three strings but this time as 16th notes. When playing 16th notes based on three-note patterns the most common problem to avoid is slipping into ‘triplet’ mode. To ensure accurate rhythmic delivery, lightly accent the first note in each group of 16ths; thisExnot only sounds better, it will also improve your pick control. 5 Three notes per string Mixolydian pattern
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EXAMPLE 8 Minor Pentatonic with economy picking
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Applying economy picking to the minor Pentatonic requires some radical scale shape rethinking – as you can see! Use the suggested fingering, paying particular 3 to your fourth finger; it’s vitally important that you fret quickly and cleanly to avoid inadvertently damping the following note. Once mastered, unusual attention 3 Pentatonic patterns like these can really speed up your playing when combined with economy picking. Ex 8 Ex 8
Minor pentatonic with economy picking Minor pentatonic with economy picking N.C. 3 N.C.
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9 11 11 13 13 6 B 6 9 11 6 9 11 13 13 6 G 5 5 8 10 10 12 12 G This challenging example doubles the root and55 3rd of major and minor triads88to create patterns. It’s extremely important to ensure 5 5 8 10four-note sweep picking 10 12 12 D 7 10 12 14 7 D 7 12 14 10 7 A that your picking is controlled and even throughout; remember that multiple down or up-picks can be difficult to control and keep in time. Imagine that you’re A E E applying virtual brakes as you move your pick across the strings, paying close attention to rhythmic content at all times. Ex Ex 10 10
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EXAMPLE 11 Major, minor and diminished arpeggios
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Swift position shifts, big fret spans and tricky fingering all feature in this example so take your time and use the suggested fingering for best results. As always, xxxxxxxxxx you’ll4need to be aware of your rhythmic delivery, particularly when descending the arpeggios as pull-offs and up-pick sweeps are alternated. 4 xxxxxxxxxx Ex 11 Major, minor and diminished arpeggios Ex 11 Major, minor and diminished arpeggios
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œ œ ≥£œ ≥™ ≥£ ≥ ≤3 A7 b≤™9 ≤™ ≤œ£ œ 3 C #dim7 F E dim7 Dm 3 3 ¡ œ ¢ œ ¡œ ¡ 3 A7¡bœ9 ™ ¢ 3 ¡ œ œ ¡ # ¡ œ œ C dim7 œ F ¢ £ œ œ £ E dim7 # œ . D m THE CD Ó TRACKs 22-40 Play & b} PICKING œ¡ . £ œ ¡œ ¡ œ ¡ œ œ ¡ œ ¡œ6 ¡œ 10£ œ 6 ¡œ ™œ #¢œ ¡œ 3œ œ œ œ # œ œ 3œ # œ8 . . 12ON ˙ 8 9Ó 7 3 9 œ œ£ œ¡ . & b œ . 5œ 3 8 7 3 7 7 9 3# œ 9œ œ 3 œ ¡8 ˙ 10 10 #œ ¡ 3 £ ¡7 3 3 3 3 ≥ ≥ ≥ ≥ ≤ ≤ ≤ ≥ ≤ cd track 33 EXAMPLE 12 Arpeggio superimposition 10 13 10 8 5 . In this fusion-flavoured example10 four-note arpeggios to add colour tones to the basic 7th 6 chord. The uppermost chord symbol describes the resulting 10 are ‘stacked’ A7 b 9 9 11 8 10 chord 5 fingering indicated . 5 for optimum results. dense harmonicFsoundscape10 that is10 created the lower the arpeggios used.8Use the # 13 while 10 8 symbols describe10 5 E dim7 dim7 C 8 12 12 4 . Dm 7 7 ¢ œ ¡ 10 6 10 ¡ 9 3 ¡ œ œ ™ ¡ 3 10 ¡ œ œ 10¡œ 12£ œ œ #11¢œ 8œ 10 7 œ œ 8 5 7 4 .. 5 8 12 £œ ¡œ Ó œ #œ œ œ . Ex& 12 bArpeggio superimposition œ œ œ¡ ¡ ˙ # œ 3 £ D¡ m13 3 Cmaj13 3 Ex 12 Arpeggio superimposition 3 C maj7 A3m7 D m7 B m7 b 5 ©»¡™ºCmaj13 3 3 D m13 3 ™b ¡œ ¢œ œ¡ ™ ¡ œ¡ ¢œ œ¡ ¡ ¡ C maj7 A m7 D m7 B m7 5 ©»¡™º4 .. &44 œ 3œ œ 10¡œ 13#3œ 10 œ ¡ œ œ¡ ¢œ8 œ¡ ¡ œ £œ œ 35œ œ ¡ œ # œ£ £ œ . ™œœ ¡œ ¢œ œ¡ œ™œ £œ £œ œ £ 9 3 ¡ œ£ 6œ™ 8 œ 5 # œ£ 3 £ œ . & 4 .. 8 œ¡ 12œ¢ 10œ™10 ¡œ # œ£ œ£ 10 œ10 12 3 3 11 3 8 œ œ 10 7 4 7 5 £ £ ¢ ™ 3 ¡ £ ™ 3 ¡ 3 & 4 ≥œ ¡
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November 2015
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Play } PICKING
ON THE CD
EXAMPLE 16 Six-string major and harmonic minor patterns
TRACKs 22-40
cd track 37
This example illustrates three-notes-per-string patterns for the C Major scale (starting on the root) and the G Phrygian dominant mode (fifth mode of the Harmonic minor, starting on the major 3rd) in the same neck position. For best results you should accent the first note of each 16th-note grouping to avoid the ‘triplet trap’ when playing three-notes-per-string patterns. 6 xxxxxxxxxx
6 xxxxxxxxxx Ex 16 Six string major & harmonic minor patterns Six string major & harmonic minor patterns (Cm) ©»¡ºº œ œ œ œ œ œ œ ©»¡ºº4 .. (Cm) œ & 44 . œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ 6 xxxxxxxxxx &4 . œ œ œ œ œ œ œ 6 xxxxxxxxxx œ major & harmonic minor patterns C major Ex 16 Six string
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November 2015
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ECONOMY PICKING { PICKING PT2 EXAMPLE 18 Final workout
cd track 39
This final example is based on a regular 12-bar shuffle blues in C major; the very antithesis of the musical gymnastics normally associated with economy and sweep picking! As you can hear economy picking can sound extremely effective in this context, making the introduction of double-time phrasing (bars 17-18) quite effortless. The head is based around triplet phrasing which employs some semi-barres on the first two beats (remember to use finger rolling here to keep your delivery clean). The tune is also lightly palm muted on the full mix but this is entirely optional – you may prefer to play it without. GUITAR TECHNIQUES MAGAZINE 2 4 9
Phil Capone - SORT YOUR PICKING
Ex 18 GUITAR TECHNIQUES MAGAZINE 2 4 9 MELODY Ex 18 Shuffle GUITAR TECHNIQUES MAGAZINE 249 MELODY 3 C7 3 Ex 18 Shuffle 3 3 MELODY C 7 GUITAR TECHNIQUES MAGAZINE 2 4 9 Shuffle Ex 18 3 C7 3 3 MELODY PM
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ON THE CD
TRACKs 41-42
Saint-Saëns The Swan From Saint-Saëns’ magical suite, Carnival Of The Animals, comes this challenging but beautiful piece. Bridget Mermikides introduces ‘Le Cygne’. ABILITY RATING Info Key Various Tempo Various CD TRACKS 41-42
Advanced ✪ ✪ ✪ Will improve your… Separation of melody and accompaniment Experience of unusual tuning Melodic phrasing
T
his month we return to the excellent composer Charles-Camille Saint-Saëns (1835-1921), whose Aquarium we tackled in GT245. Saint-Saëns had a wide range of skills, from respected music teacher (with students such as Gabriel Fauré) to multi-instrumentalist (piano, organ, conductor) and a prodigious composer for a wide range of instruments and ensembles. Despite his enormous output of superb pieces, it is perhaps one small set of works that he composed as a ‘distraction’ – when he should have been writing his third symphony – that has endured the most popular appeal. The 14-movement work Carnival of the Animals (1886), despite (or perhaps because of) being
Saint-Saëns: wrote this piece as a ‘distraction’
✪✪
written with little ambition is full of care-free imagination, humour, unusual instrumentation and musical skill. Each movement of the suite is inspired by different animals. It perfectly captures with its instrumentation, melody and harmony the characteristics of the subjects, from the
the piece is not so easy to play, but it is possible to keep the melody flowing and the accompaniment balanced. swirling motion of fish in Aquarium (movement 7), a plodding string melody in Tortoises (movement 4) and the trilling activity in Aviary (movement 10). Here, I’ve arranged movement 13, the stunningly beautiful Le Cygne (The Swan). It was originally composed for the cello and two pianos of the Carnival’s unusual ensemble, but is now better known as a cello solo. However, it has also been arranged for a wide range of instrumentation – including being a staple of the theremin’s repertoire. The piece is characterised by a harmonically sophisticated arpeggiated accompaniment by the pianos, while the cello plays a stunningly beautiful melody inspired by the mythical but beautifully romantic idea of a dying swan’s final song. Despite the relatively slow lyricism of the melody and the guitar-like arpeggios, how to make these two essential elements work on solo guitar is a real challenge. Fortunately, I
was helped when I came across an ingenious tuning for this piece made by the guitarist Mike Georgiades (mikegeorgiades.com), who kindly allowed me to adopt it for this arrangement along with many of his brilliant arrangement ideas. So this arrangement uses the rare open Eb tuning, which is (from sixth string to first, low to high) Eb-Bb-Eb-G-Bb-Eb. This is like holding an open E chord but with the whole guitar tuned down a semitone. This open tuning means that it becomes possible to use open strings in the correct key while playing a high melody. The choice of Eb major (transposing down from the original key from G major) means that each string need only move a semitone, the fourth and fifth string up a semitone, the rest down a semitone. However, even with this tuning the piece is still not easy to play, but it is possible with some careful work to keep the melody flowing and lyrical and the accompaniment balanced. The tab captions will help you achieve this and, remember: slow, patient work is always the fastest path to success. NEXT MONTH Bridget arranges and transcribes Capricho Arabe by Francisco Tarrega
Technique Focus 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.
TRACK RECORD The London Sinfonietta 1990 recording of Carnival under the direction of Charles Dutoit is excellent (all 14 movements). Also, Leonard Bernstein’s arrangement for orchestra and double bass (performed by the then 20-year old virtuoso Gary Karr) 1962. For something completely different, thereminist Clara Rockmore’s historic performance (Art Of The Theremin 1987 Delos). 42
November 2015
The Swan { Saint-Saëns PLAYING TIPS
cd track 42
[Bar 3] At bar 3 there is quite a big stretch for the fretting hand when the fourth finger reaches up for the G note, so try to relax as you reach. This immediately jumps to a barre at the 5th fret. Take your time with bar 4 and follow all the fingering carefully. A 4th fret barre is needed half way through bar 7 so, again, take it slowly at first.
You will need to tune the open strings notes to: Eb-Bb-Eb-G-Bb-Eb. This tuning makes the notation confusing, so even our hardcore note readers may need to refer to the tab! Picking-hand fingering is indicated at various points, so do follow these carefully. As a general rule, we will be playing free stroke but rest stroke should be used on the melody where possible – bar 2 for example.
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TRACKs 41-42
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A Golden Era of Tone Experience the beauty of vintage guitars with this stunning new bookazine
ORDERING IS EASY. GO ONLINE AT
www.myfavouritemagazines.co.uk/guides-and-specials
Learning Zone
Future Publishing, Ivo Peters Road, Bath, BA2 3QS.
Brought to you by…
Lessons GT #249 30-MINUTE LICKBAG ......................52 Pat Heath has six more cool licks at easy, intermediate and advanced levels.
Blues.........................................................54 Les Davidson checks out a man many believe to be the very essence of electric blues: Albert King.
Rock ..........................................................58 Martin Cooper illustrates the guitar style of US alternative metal band, Faith No More.
video.........................................................62 British jazz guitarist Nigel Price continues his masterclass series demonstrating a jazz-blues.
M
usic is often compared to sport, more often than not in a way that’s not helpful at all: who’s the fastest and so on. But there’s one area where music and sport definitely do relate, and that’s in the quality of focused training – or practice, as we’d call it. Sport is very specific on aims, often nurtured through precise and diligent training. In this regard the average blues or rock guitarist lags way behind in development terms. But it doesn’t have to be this way. One approach favoured by sportsmen is targeting: the footballer takes numerous shots at goal from one position on the pitch; the snooker player repeatedly sets up a long ‘white to black’ shot on the table; the table tennis player gets the ball to hit an ‘x’ mark on the other side of the table, shot after shot. I could list many more specific sporting practice approaches but you probably get the picture. This targeting idea can benefit you too when, say, going
creative rock ................................70 from one note to another note as a chord change occurs. Root moving to the next chord’s root, root moving to the 5th, 5th moving to the 3rd, 3rd moving to the 7th and numerous other options. Start with whole notes to get comfortable then add other notes with shorter durations (quarter notes then eighth notes later on), knowing that your start note and ending note are specific targets and non-negotiable. A benefit to this is that your musical vocabulary will increase without stressing you technically. It will also improve your melodic phrasing; sticking to only root notes as start or end notes can sound pretty boring, so having specifically developed an ability with 3rd, 5th, 7th or 9th as target notes could be a big step in making you sound a whole lot better. All thanks to targeted development!
Shaun Baxter examines the permutations that four-note groups provide for the rock soloist.
CHOPS SHOP..........................................76 Andy Saphir completes his series examining how to get the most from the Mixolydian scale.
HARD ROCK...........................................78 Charlie Griffiths dons his make-up and Spandex to introduce the revolving door of Kiss guitarists.
JAZZ.............................................................82 John Wheatcroft reveals the many playing secrets of the incredible US jazzer, Wayne Krantz.
acoustic.................................................88 Stuart Ryan delves into the style of country singer, songwriter and guitarist Willie Nelson.
reading music.................................92 Charlie Griffiths continues his series with a cool rhythm and blues piece to read and play.
On video!
Join Nigel Price as he shows us how to play a brilliantly inventive jazz-blues. Page 62
November 2015
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 JEFF BECK
cd track 43
GUITAR TECHNIQUES MAGAZINE 2 4 9
Jeff Beck has an extremely distinctive sound, almost like a brass Pat instrument at times. the vibrato arm to dip just before each note to create a slide guitar effect Heath's LICKUse BAG with a slow and defined vibrato at the end of each phrase. Lick 1
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Advanced Licks Example 5 Steve Vai
cd track 47
Personality and childlike humour has always been important to Steve Vai, and the slides in this lick are what exemplify these elements. Once you have mastered 2 xxxxxxxxxx the note pattern keep the slides quick and accurate, from low note to high note, to encapsulate this. N.C. œ œ œ œ œ ©»¡•º œ œ œ nœ ### 4 œ œ œ œ œ œ &5 Steve4Vai style œ Lick œ 3œ œ 3 œ œ œ ©»¡•º F N.C. œ œ œ œ ### 4 œ nœ œ œ œ œ œ & 4 9 12 12 17 12 9 œ 10 3 œ œ 9 6 9 10 9 123 6 9 F5 7 7 ≥ ≥ ≥ ≥ ≥ ≥9 ≤12 ≥12 17 12 ≤9 ≤ ≤ ≤ ≤
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November 2015
. .
53
lesson } blues
Albert King
Brought to you by…
Albert King has influenced more guitarists than almost any other blues great. Les Davidson pays homage to the king of the blues bends. Albert King: the ultimate electric blues guitarist?
late 60s, which brought him to the attention of a new audience. One such performance was recorded: Live Wire Blues Power, at the Fillmore in 1968, alongside Paul Butterfield Blues band and The Electric Flag. Albert King died on 21 December 1992 in Memphis Tennessee and 21 years later John Mayer inducted him into the Rock’n’Roll Hall Of Fame. The list of guitarists and singers that have been influenced by Albert King is vast, some unwittingly due to the fact that his sound has been passed down through generations. Jimi Hendrix, Eric Clapton, Gary Moore, Paul Kossoff, Joe Walsh, John Mayall, Stevie Ray Vaughan, John Mayer and Joe Bonamassa are just a few who have tipped their hat to this giant. Albert King played a right-handed guitar, left-handed so it was basically upside down
I’ve been so poor that when I laid in my bed, I looked up at the stars, you know what I’m talking ’bout... Albert King with the first string uppermost. This allowed him to pull strings downwards when bending. He was a very expressive and rhythmic player and his control of bending notes is the key to getting his style down. Albert used heavy strings – sometimes as heavy as 12s - and he would tune the guitar down as low as C. He played with his fingers, plucking up with his first finger and down with his thumb. Both these examples are played with fingers to get the tone. Of course, in a balanced practice session a variety of approaches will reap the greatest rewards. NEXT MONTH Les dissects the cool approach of English blues-rock guitarist Chris Rea
Info Key: Various Tempo: Various CD: TRACKS 49-52
Will improve your Authentic blues soloing String bending Finger vibrato
A
lbert King was born Albert King Nelson in 1923 in Indianola Mississippi. He grew up picking cotton as a child and would sing alongside his father who played guitar in church, as well as absorbing influences from Blind Lemon Jefferson, Lonnie Johnson and T Bone Walker. Like so many greats, Albert also took several menial jobs before he could follow his
musical path. He started his professional life first in Arkansas then Missouri and Gary Indiana, before moving to Chicago where he recorded his first single for Parrot Records. He then moved to St Louis where he had a minor hit with I’m A Lonely Man. Only when he moved to Memphis and signed with Stax Records in 1966, did his career finally take off. Alongside Booker T & The MG’s he recorded some of his classic records: Crosscut Saw, As The Years Go Passing By and Born Under A Bad Sign. It’s important to note that Albert was an outstanding singer, as well as a great guitar player. He stood at 6'4" tall with an imposing frame, out of which came a distinctive and powerful voice. Albert played alongside the white blues pretenders in the
5
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Albert was associated with a Flying V for most of his playing life with a variety of transistor amps including a Roland JC 120. His levels of distortion varied wildly, from a clean (and very thin) ‘both pickups on’ tone to a thick, driving bridge humbucker tone. He also experimented with playing through a phaser. Go for moderate gain and be sparse with reverb/delay.
TRACK RECORD There’s no end of Albert King compilations out there, some of varying quality – so tread cautiously but look out for tracks such as Crosscut Saw, Born Under A Bad Sign, Cold Feet and Laundromat Blues. However we’d heartily recommend the DVD, Live Wire Blues Power, plus the original album Born Under A Bad Sign, recorded at Stax (1967) with house band Booker T & The MG’s – stunning stuff! 54
November 2015
PAUL NATKIN / GETTY IMAGES
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate
ON THE CD
learning zone
ALBERT KING
TRACKs 49-52
Example 1 minor pentatonic over a dominant chord
cd track 49
Our first example draws heavily from phrases found within D minor Pentatonic scale ( D-F-G-A-C). Albert tended to use the minor Pentatonic scale even against a major or dominant 7th sound., as here However, he would bend and pull the notes a quarter tone, a full tone, a tone and a half or more. By doing so he would also encompass of the notesMAGAZINE of the dominant GUITARsome TECHNIQUES 2 4 9 sound – the major 3rd and b7th for example (F# and C over a D7 chord). Les Davidson's ALBERT KING STYLE
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November 2015
55
lesson } blues Example 2 minor pentatonic with mixolydian
cd track 51
Again, in typical Albert fashion we don’t move too far from the minor Pentatonic – here in A (A-C-D-E-G). However, again tipping his hat to the dominant 7th 2 xxxxxxxxxx sound we also see occasional use of A Mixolydian (A-B-C#-D-E-F#-G). All against an A7 chord. Watch the big bends, take your time and have fun! Ex 2
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lesson } ROCK
Faith No More
Brought to you by…
Martin Cooper looks at one of the biggest alternative bands of the 80s, best known for blending rock, funk and metal influences.
Faith No More blended elements of funk, rock and heavy metal, and often covered songs by the likes of Black Sabbath. But they also scored a hit with a cover version of The Commodores’ Easy – a testament to their wide-ranging influences. The Real Thing’s follow-up, Angel Dust was less well received, but still sold nearly a million copies in the US. They further pushed the boundaries with their next album, taking in influences from jazz and gospel music, as well as the usual rock elements. By 1995, however, Faith No More’s musical star had begun to wane and when singer Mike Patton left, they called it a day. As is often the case with rock and pop
nirvana’s bassist Krist Novoselic said that Faith No More paved the way for them in the 1980s.
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate Info Key: E Minor Tempo: 142bpm CD: TRACKS 53-55
Will improve your… Rock rhythm Lead phrasing Tone and attack
S
an Franciscans Faith No More formed in 1981 featuring bassist Billy Gould, drummer Mike Bordin and keyboard player Roddy Bottum. The classic line-up from the band’s heyday of the late 80s and early 90s also featured vocalist Mike Patton, who had replaced Chuck Mosley, and guitarist Jim Martin. The band had gained a local following before they released their first
album and managed to achieve some minor MTV airplay of the single We Care a Lot, which featured on their debut album of the same name, and was re-recorded for 1987’s Introduce Yourself. The band had recorded this album without any major funding or help from a record label, but they managed to achieve moderate success nonetheless. When Patton joined the band in the early 90s they hit their peak with the album The Real Thing. Accompanying tours and live gigs saw them perform at the MTV Awards as well as on Saturday Night Live and they also had a song featured on the soundtrack to Bill & Ted’s Bogus Journey. Nirvana bass player Krist Novoselic said that the band paved the way for Nirvana in the 80s.
NEXT MONTH Martin introduces American alternative metal band System Of A Down 5 7
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Reverb
Jim Martin played a Gibson Flying V guitar and often used a Mesa MKIII amp or a Marshall head into Marshall cabs. It’s a very pushed mid-range type of tone to aim for with minimal effects. If you have a guitar with a humbucker and a British rock type amp, that’s ideal. I used a Luxxtone El Machete guitar through a Friedman Phil X amp.
TRACK RECORD Introduce Yourself from 1987 features We Care a Lot and Anne’s Song. Its follow up, The Real Thing, features the classic Faith No More songs From Out Of Nowhere, Epic and Falling To Pieces. Also check out the Very Best Of compilation album released when the band reformed in 2009, which includes the Lionel Richie/Commodores cover Easy (Like Sunday Morning). 58
November 2015
GIE KNAEPS / PHOTOSHOT
Jim Martin with ubiquitous Gibson Flying V
bands from the 70s and 80s, Faith No More reformed in 2009 and have since played the Download Festival and supported Black Sabbath in Hyde Park. In early 2015 they released the Sol Invictus album, featuring Jon Hudson on guitar. It’s the 90s’ hard rock sound we’re after, with aggressive rhythm, space to let the track breathe, melodic lead work and bluesy bends. The notes are from E Minor scale (E-F#-G-AB-C-D) with the exception of the Bb note in the second half – not so much a b5 ‘blue’ note as a tri-tone up from E. Way more rock!
ON THE CD
learning zone
FAITH NO MORE
TRACKs 53-55
Example RHYTHM
cd track 54
Most of the rhythm part will need consecutive down strokes with the picking hand; this will make it much more aggressive sounding. With this in mind, make TECHNIQUES 2 4 9 and single notes are accurate. A degree of palm muting will improve note definition. sureGUITAR that timing is good and the chords Martin Cooper's BIMM ROCK COLUMN GUITAR TECHNIQUES 2 4 9 Martin Cooper's ROCK COLUMN FAITH NO MOREBIMM STYLE GUITAR TECHNIQUES 2 4 9 FAITH NO MORE STYLE RHYTHM GUITAR Martin Cooper's BIMM ROCK COLUMN RHYTHM GUITAR FAITH NO MORE STYLE
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0
November 2015
59
lesson } ROCK Example LEAD
cd track 54
The solo has some slowish melodic lines that feature controlled vibrato. Then, when you move on to the more bluesy string bends and pull-offs, the number one GUITAR TECHNIQUES 4 the 9 beat – which is a great temptation after the previous slow melodic phrases. priority is to avoid rushing ahead2of Martin Cooper's BIMM ROCK COLUMN FAITH NO MORE STYLE
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November 2015
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lesson } video
ON THE CD
TRACK CD-ROM
Nigel Price Masterclass Part 3 In this penultimate instalment of our four-part video series, Dario Cortese talks to Nigel about his approach to balancing jazz and blues playing. standard Albert King type of blues. Firstly, the ‘traditional’ blues is often in a guitar friendly key such as A or E, whereas the jazz blues is Will improve your… Info more likely to be in Bb or F. This is due to the Key: Bb major Jazz blues vocabulary prevalence of horns in jazz; for trumpet or sax Tempo: 146bpm Chord melody players it’s a lot easier to play in Bb than it is CD: TRACK CD-ROM Jazz phrasing in A (and pianists often prefer it too). Another difference is in some of the chords used. In fact a jazz-blues, although heavily elcome to the third part in our series based on standard I-IV-V format, has the of video lessons with jazz guitarist addition of a few chords. This allows jazz Nigel Price. In the first two musicians to use their V-I lines that are such instalments we looked at Nigel’s an important part of this style. Nigel’s approach to chord melody and single-line approach offers a very good balance between playing. We’ve tried to highlight the thinking blues and jazz phrasing. He demonstrates behind it in order to provide readers with a great control over both styles but for the systematic approach to those areas. This purpose of this article let’s focus on a couple of month we’ll be looking at how Nigel elements that make this solo ‘jazz’. approaches playing over a major jazz-blues. To start, Nigel plays the majority of his solo Without getting into too much detail, it using swing quavers (eighth notes). This is an might be worth pointing out that the jazzimportant jazz heritage and comes straight blues structure has a few differences from a from Charlie Parker. What’s important Nigel Price: to notice is how formidable UK jazz guitarist the quavers are articulated. In fact, when we analyse them we realise that Nigel often uses a legato (hammer-ons, pull-offs or slides) to connect two quavers. This happens mostly on off-beats – an off-beat quaver is played legato onto an on-beat quaver. This is not a technical choice but it’s done to create a certain kind of shape and flow to the phrases. Check out bars 9, 14/15, 16, 17, 20-22, and then again in the double-time feel section from bars 33-35. We often find this exact same style of phrasing with any great jazz musician. Another element of Nigel’s playing that refers back to the jazz tradition is the note choice. This can be seen for
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced
W
instance in the use of superimposed arpeggios. Superimposing arpeggios means adding them to phrases to bring out specific chordal extensions. For instance, playing an Em7 (E-G-B-D) arpeggio over a Cmaj7 chord (C-E-G-B) brings out a Cmaj9 (C-E-G-B-D) sound. This allows Nigel to use a simple arpeggio (R-3-5-7) to create a much more
Nigel approaches this style with a very good balance between blues and jazz phrasing. sophisticated harmony, as you’ll see and hear in bars 9, 14, 15, 33, 34, 45. When these two elements are combined with simpler, more straightforward minor Pentatonic phrasing we end up with the best of two worlds – which so many people love to hear. Join me again next month for the final part of Nigel’s masterclass series. NEXT MONTH Dario continues quizzing Nigel Price on his approach to jazz soloing 6
5
2
2
Gain
Bass
Middle
2
Treble
Reverb
Select the neck pickup on your guitar and plug it in a clean sounding amp. A jazz hollow-body with flat-wound strings will give the most authentic jazz guitar tone but feel free to experiment. Even some traditional players prefer the feel of normal round wound strings. Popular amp choices are Polytone, Fender, AER and Mesa Boogie.
TRACK RECORD For some of Nigel’s jazz blues check out Blues For Alice from the second disc of Heads & Tales. Other great examples of jazz blues players are to be found in Wes Montgomery, Joe Pass, Barney Kessell, Herb Ellis and many others.
62
November 2015
learning zone
nigel price masterclass pt 3 EXAMPLES MASTERCLASs
cd track cd-rom
Bars 1-8: Jazz players’ default Pentatonic is the major, whereas in blues it’s the minor Pentatonic. Nigel selects specific notes from the scale to highlight the chords – the first note on every change is usually a chord tone. Bars 9-13: In the final part of the first chorus Nigel goes deeper into the harmony and in bar 9 he plays the first superimposed arpeggio – Abm(maj7) over G7 which suggests a G7#5b9 sound. It’s also interesting to point out his approach to the turnaround: often jazz students feel they need to highlight GUITAR TECHNIQUES MAGAZINE 2 4 9
NIGEL PRICE VIDEO LESSON Part 3 -- Dario Cortese
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NIGEL PRICE VIDEO LESSON Part 3 -- Dario Cortese NIGEL PRICE VIDEO LESSON Part 3 -- Dario Cortese b7 B b7 NIGEL PRICE VIDEOE LESSON Part 3 -- Dario Cortese
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every chord; Nigel brilliantly shows how sometimes it’s better to ignore certain chords by playing Bb Blues scale over the last four chords: it works great. Bars 14-15: More superimposed arpeggios! Nigel plays Dm7b5 over Bb7 and then Gm7b5 over Eb7. Although they are in different keys the concept is the same. The formula is: m7b5 arpeggio starting from the 3rd of a dom7 chord. This highlights the 3rd, 5th, b7, and 9th. Saxophonist John Coltrane was fond of this idea, which is now part of the great heritage of jazz phraseology.
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ON THE CD
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Bars 31-36: In these bars Nigel demonstrates the use of double-time feel by Bars 37-43: Some very interesting3lines in this section. Bars 37 and 38 go from playing 16th notes. It’s remarkable how he maintains control over the phrases an almost Chuck-Berry-meet-George-Benson line into a minor Pentatonic 3 and he still manages to land on chord tones. Also we can see how Nigel has played in fourths in McCoy Tyner style. Then in bars 41-43 there’s a lovely E 11 11 9 9 14 15 15 15 14 15 15 15 12 12 9 X X 18 completely assimilated jazz into his It to test15 our stamina. B 13 13articulation 11 11 phrasing. 12still comes out 13– 13 legato 13 idea 12 which 13 is definitely going 15 12 12 9 X X 18 G 12 12 Parker 10 would be 10proud. 12 13 13 13 12 13 13 13 10 10 7 X X 16 even at double speed! Charlie D E A B E G D 27 A E 27
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NOW ON
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November 2015
69
lesson } CREATIVE rock
Shaun Baxter examines a systematic but fruitful method of creating usable melodic permutations from basic four-note groups. ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced Info Key: C Tempo: 100bpm CD: TRACKS 56-58
Will improve your… Melodic variation Unpredictability Rhythmic awareness
I
n the previous lesson, we started looking at a simple but useful concept that provides a great way of creating fresh sounds and breaking out of old habits. It is based around creating self-contained melodic ‘units’ that each follows a particular note-sequence.
For example, if you look at Diagram 1 in which the black notes show C Major in a three-notesper-string pattern, one could play the three black notes on the first string (D-E-F) as F-D-E. This would represent a ‘unit’ that follows a 3-1-2 note-sequence (note-order) whereby 3 is the highest note, 1 is the lowest note and 2 is the middle note. If this same ‘unit’ was then applied to the notes on the second string, we would get C-A-B. On the third string, it would be G-E-F; and so forth. Whereas the previous lesson dealt with melodic permutations for three pitches, in this one we’re going to look at permutations containing four pitches. When doing so, the only ground rule is that we are not going to play the same note consecutively (in other words, play it twice in a row). If our system deals with the order in which four pitches can be played. And 1-2-3-4 represents all four notes played in ascending order of pitch, then we have the following 24 mathematical possibilities: Starting from 1
Starting from 2
Starting from 3
Starting from 4
1-2-3-4 1-2-4-3 1-3-2-4 1-3-4-2 1-4-2-3 1-4-3-2
2-1-3-4 2-1-4-3 2-3-1-4 2-3-4-1 2-4-1-3 2-4-3-1
3-1-2-4 3-1-4-2 3-2-1-4 3-2-4-1 3-4-1-2 3-4-2-1
4-1-2-3 4-1-3-2 4-2-1-3 4-2-3-1 4-3-1-2 4-3-2-1
To get started, try using the grey notes along with the black notes in Diagram 1 to practise playing four-note permutations on each string. If the stretches are too extreme, you can either shift the fretting hand back and forth as you attempt to reach each note, and/ or use a fretting-hand tap for the grey note on each string. Just because there are four pitches, it doesn’t mean to say that you have to be limited to four-note units. You could also try larger numbers: 5 (example: 4-1-3-2-1), 6 (example: 4-1-2-3-2-1), 7 (example: 4-1-2-3-4-1-2), 8 (example: 4-1-2-3-4-3-2-1) Note that each of the above could be composed of smaller combinations (for example: 8 could be 4-1-2-3 followed by 4-1-3-2 on the same string). As well as
if the stretches are too extreme, shift the fretting hand back and forth or use a tap. you can apply your favourite ‘units’ to all of the different scales that you know. Although each example in this lesson’s recorded demo can be viewed as a selfcontained entity, all of the examples have been placed in a particular order and occasionally linked by certain melodies so that they can be practised as one continuous piece. Although many things that aren’t shown within a rectangle within the transcription could also be analysed in relation to the various principles explored in this lesson, they were not conceived that way. They should just be viewed as musical ‘trimmings’ in order to place each highlighted passage in a natural context. 6
Gain
5
5
5
Middle
Treble
Reverb
7
Bass
I used a Fender Strat with the pickup selector set between the bridge and middle pickups. There’s not too much drive; however, I use a distortion pedal to boost the signal before it gets to the amp. Go for 25% of your distortion from the pedal and 75% from the amp. Finally, some delay was also added, in tempo with the track, for extra size and smoothness.
TRACK RECORd Johann Sebastian Bach’s music brimmed with melodic variation, done in both a systematic and extremely creative way. You can supplement and inform your listening with reading books like Harmony by Walter Piston (W W Norton & Co, 1987), or Stylistic Harmony (Second Edition) by Anna Butterworth (Oxford), which features many exercises and comes with an accompanying answer book. 70
November 2015
David Lyttelton
Permutations for four pitches
bigger units, you can also have smaller ones. In other words, you don’t have to play all four notes: 3 (example: 1-4-3), 2 (example: 1-4), 1 (example: 1). Furthermore, you can: mix up numbers (a seven-note unit followed by a six-note unit, followed by a five-note unit etc); add string skips; create rhythmic variation by leaving rests, varying note lengths, playing units from each group to a different count. For example, a string of three-note figures to a count of four (eighth-notes or 16th notes), or a string of four-note figures to a triplet count (eighthnote triplets or 16th-note triplets). Although in this instalment we have focused mainly on permutations of four notes on a single string, this principle can also be extended to any four pitches that occur across the strings, as you will see in this lesson’s recorded examples. Finally, make sure that
ON THE CD
learning zone
4-NOTE UNITS
TRACKs 56-58
DIAGRAM 1 THE NOTES OF C MAJOR For the purposes of this study, we are going to confine our approach to the notes of C Major shown here. The note-scheme is based mainly around the three-notes-per-string scale pattern for C Major used in the previous lesson (black notes). The grey notes serve as ways of extending this basic pattern to produce four-notes per string: to be played by either moving the fretting
hand back and forth, or by utilising picking-hand tapping. The white notes will be used occasionally when re-fingering certain arpeggio sequences in order to make them easier to play (rather than get saddled with inconsistent and challenging fingerings by staying confined to the traditional threenotes-per-string pattern).
ExampleS permutations of four-note units
cd track 57
Example 1 (Bars 1-4) The first two bars of the solo are used as a melodic set-up rather than just charging straight in to the examples. Bars 3 and 4 feature an ascending series of arpeggios: the notes of each are played following a 4-1-2-3 note-sequence. Here, apart from the black and grey notes, we’re also employing some of the white notes shown in Diagram 1 in order to produce a fingering that is both practical and consistent throughout. GUITAR TECHNIQUES MAGAZINE 2 4 9 GUITAR TECHNIQUES MAGAZINE 2 4 9
Ex 1
~~~~~~~
GUITAR TECHNIQUES MAGAZINE 2 4F/D 9
E B G E D B A G E E D B A G E D A E
SHAUN'S CREATIVE GUITAR MELODIC PERMUTATIONS Part 2 FOUR PITCHES SHAUN'S CREATIVE GUITAR MELODIC PERMUTATIONS Part 2 FOUR PITCHES SHAUN'S CREATIVE GUITAR F/G G/A G /E MELODIC PERMUTATIONS Part 2 FOUR j PITCHES F/G G/A G /E œ
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Example 2 (Bars 5-6) This second example is based around a 2-1-4-3 unit, which is played on each of the top five strings of the four-notes-per-string C Major scale pattern delineated by the black and grey notes in Diagram 1 (here, in a descending fashion). Rhythmic variation allows us to produce a melody that sounds natural; however, due to the inherent musical logic of the underlying concept (2-1-4-3 on each string), there is a sense of cohesion throughout.
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lesson } CREATIVE rock E B E G B D G A D E A E
10 10
10 10
3
7 7
8 8
12 12
10 12 10 12
14 14
9 9
10 12 10 13 12 13
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cd track 57
Example 7-8) Although bar 7 could Ex 23 (Bars F/G be viewed as a series of 5th j F/D intervals, it isœjalso an ascending series ofF/G diatonic arpeggios (as indicated F/D under each rectangle), each following a 2-4-1-3 note-sequence. Similarly, œ even though the first half of bar 8 is composed of 5ths, it can also be seen as four-note groups taken from A minor Pentatonic, each one following a 1-3-2-4 note-sequence. Note that, if the fourth note of each arpeggio were placed on the string above each time, we would have exactly the same fingerings as used in bars 4 (Bars back to our four-notes-per-string E 3 and104. Example 12 12 10 9-10) 15 Now13 B 12 10 15application 13 of pattern (black E 10 and 12 grey notes). 12 10Here, 15 we have 13a straightforward
& &
G B D G A D E A E
⋲ ⋲
a 4-3-4-3-2-1 unit (six-note combination) on each string; here, due to the big G/A G /E stretch you will need to incorporate G/A G /E picking-hand tapping. Example 5 (Bar 11) Next we descend the same shape using a 4-1-2-3 unit on each string. Note how the overall 3-3-2 group-configuration in this bar helps to give the contents some rhythmic interest for the listener. Example 6 (Bar 12). Then we ascend using a 3-4-1-2 unit on each string. This time, without the need for fretting-hand taps, as the pace is relatively slower. As you’ll notice, this particular passage requires a large stretch during the pulloff from the fourth to the first finger on each string.
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3 ExampleS permutations of four-note units
Ex 2
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E ON THE CD B
L L
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TRACKs 56-58
L L L L 15 15
13 13
15 15
6 13
15
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learning zone
4-NOTE UNITS
6 E 6 G 14 12 14 12 10 9 B D 14 12 14 12 10 9 G 14 12 14 12 10 9 A D 14 12 14 12 10 9 E E A B 10 E G 14 12 14 12 10 9 D 10 14 12 14 12 10 9 A Ex 5 F/D 13-17) As indicated in the transcription, the link melody F/G at the E Ex 57 (Bars Example 10 F/D F/G
13
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ExampleS permutations of four-note units
cd track 57
pattern (black and grey notes). This time, a unit following a 2-3-4-1 notestart of this example is derived using groups that each comprises three pitches, sequence is employed on each string using a combination of fretting-hand ¢ by 5 back to our previous lesson. Don’t worry that some pitches are whichEx harks tapping, picking-hand tapping and legato. Rhythmic interest is provided F/G played moreF/D than once in succession, as this is merely to provide rhythmic the fact that the units are grouped in threes (3-3-3-3) across both bars.¢ interest. Bars 15 and 16 of this example, like Examples 1 and 3, feature an Example 9 (Bars 19-22) After an initial link melody, like Examples 1, 3 and 7, ¢ ascending sequence of diatonic arpeggios; this time, each following a 2-1-3-4 bars 20-22 in this example features an ascending series of diatonic arpeggios: note-sequence. Here, we’re employing exactly the same fingering as bars 3 each following a 4-2-3-1 note-sequence. Note that the third note in bar 20 andE4, which15 utilises of the white notes shown in Diagram 1 in order to does go ‘out of shot’ a bit (5th fret, fourth string). In other words, it’s not within 10 some 12 13 B 15 10 12 13 the notes given in Diagram 1, but this has been done in order to provide a 10 12and 13 consistent throughout. produce a fingering both15practical E 15 10 that 12 is13 G 9 10 12 15 10 12 13 14 9 10 12 14 9 10 12 B 15 10 13 to14 Example 8 (Bars 17-19) Once more, we 12 go back our four-notes-per-string fingering that is consistent with each of the following units. D 14 9 10 12 G 14 9 10 12 14 9 10 12 14 9 10 12 14 9 10 12 A D E E A B 11 E G D 11 A Ex E Ex 11
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13
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10
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L L LLL L
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3
E B G D A E E B G D A E E B
17
17 G D E A B E G 17 D A E 17
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18 G D E A B E G 18 D A E 18 E B G D A E E B G D A E E B
≠ ≠ ≠ ≠≠
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12 13 15 10
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lesson } CHOPS SHOP
Mixolydian Lines Part 3
Brought to you by…
To round off his series on the Mixolydian scale, Andy Saphir expands its use to help you make your playing sound more sophisticated. GUITAR TECHNIQUES MAGAZINE 2 4 9
Andy Saphir's Chops Shop - MIXOLYDIAN LINES - Pt. 3 Andy Saphir's cd-ROM Chops Shop - MIXOLYDIAN LINES - Pt. 3 This exercise takes you through the three Mixolydian scales in the same fretboard area. You must negotiate three scale patterns and it’s best to learn each pattern Ex 1 GUITAR TECHNIQUES MAGAZINE 2 4 9 Andy Saphir's before going through the exercise, so you can hear the tonality of each scale over its respective chord. Alternate picking worked best for me here. Chops Shop MIXOLYDIAN LINES Pt. 3 C7 Ex 1 GUITAR TECHNIQUES MAGAZINE 249 Example 1 three mixolydian patterns
©»ªº ¡•º ©»ªº# 4¡•º & #- 44¡•º ©»ªº & 4 G7 œ œ œ œœ Ex 1 # 4 mixolydian œG7 œ œ ©»ªº & - 4¡•ºGG mixolydian #4 œ œ œ œ & 4 G mixolydian œ3 œ5 œ2 œ3
G7 GUITAR TECHNIQUES MAGAZINE 2 4 9 G7 Ex 1
E B G E D B A G E D E A B E G D E A B E G D A E
2 3 G mixolydian 3 5 D37 5
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E B G E 2 3 D G mixolydian B 3 5 6 5 3 A G 2 4 5 5 4 2 E D E 4 5 3 2 5 2 3 A B 5 3 2 2 3 5 3 5 6 5 3 G mixolydian D mixolydian E G 5 3 3 2 3 5 2 4 5 5 4 2 D 4 5 3 2 2 5 E cd-ROM A 2 3 5 3 2 2 3 5 B E 3 5 6 5 3 5 3 3 2 3 5 Ex 2 G Introducing dominant 7th arpeggios can augment scale-based lines by giving you more melodic Here we see G7, C7 and D7 arpeggios in 2 Mixolydian 4 5 5 4 diversity. 2 D 4 5 3 2 2 5 - the scales we saw2 in Ex the same alternate Ex 2area as A C7 making sure you learn each arpeggio D7 pattern and approach with strictG7 5 3 picking. 2 3 1.5Practise slowly, G7 E 5 3 3 2 3 5
Example 2 adding arpeggios
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5 3 2 5 4 3 ©»ªº - ¡•º qq=qce 3 5 4 5 2 4 5 G7– 2 5 C7 D7 G7 3 5 ©»ªº - ¡•º 3qq=qce cd-ROM Example into 3rds 3 3 sliding œ œ n œ œ œ œ œ œ C7œ # 4 G7–how œ œthe minor n œ œ3rdœofb Cœ (Eb) D7 G7 œ j œ œ This lick©»ªº demonstrates Mixolydian and dominant 7th arpeggios might be used in a jazzy/bluesy context. Note how slides into the œ b œ ‰ œ n œ Ó œ œ œ b œagain œ n œC7,œtheœsame œ njazz & #- bar 44¡•º2G7qq=qce œ œandœ blues œj(Bb to#D7œB) inœbarœ4. This œ œforœD7œ(F to C7 œ n œ majorEx 3rd3(E) in over the F#) into bar 3, and for nG7 is a œveryœcommonG7 approach. œ œ b œ ‰ b œ n œ Ó œ œ 3 & #- 4¡•º œqq=qce – œ n œ œ œ œ33 œ œ œ œ b œ œ b œ n œ ‰ n œj # œ œ œ œ œ œ œ n œ œ3 œ b œ n œ Ó ©»ªº 4 œ œ b œ n œ n œ #D7œ œ C7 G7 & 4 G7œ 2 œ 3 # 4 5 œ3 n œ6 œ5 œ6 œ53 œ3 œ œ3 œ b œ œ n œ œ3 œ & 4 5 3 6 5 6 5 3 4 3 5 3 œ2 œ5 b œ1 n œ2 ‰ n œ3j # œ4 œ2 œ4 œ5 55 œ33 2 3 66 55 œ33 b œ3 n œ4 Ó E B G E D B A G E D E A B E G D E A B E G D A E
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ON THE CD
learning zone
MIXOLYDIAN LINES PT3
CD-ROM TRACK
T
his month sees the last in our Chops Shop series. We’re taking a final look at the Mixolydian scale by expanding our use of it by playing three Mixolydian key centres. In other words, we’re playing over a I-IV-V chord progression in G (G major, C major, and D major), but we’re adapting each of them to dominant chords, giving us G7, C7, and D7 (like you’d find in a
standard 12-bar blues in G). We’re going to be playing the separate Mixolydian scale of each chord; ie: G Mixolydian over the G7, C Mixolydian over the C7, and D Mixolydian over the D7. This can present some tricky fretboard and aural challenges but when approached musically, it can really mark the chord changes and make your playing sound much more sophisticated.
2 xxxxxxxxxx 2 xxxxxxxxxx Example 4 fifth-string root scales
cd-ROM
Using2the 10th fret of the fifth string as the root note of our tonic scale (G Mixolydian), note that the only new pattern to learn is the C Mixolydian in this area. Exxxxxxxxxxx 4 G Mixolydian is the same pattern as Ex 1’s C Mixolydian and D Mixolydian is the same pattern as Ex 1’s G Mixolydian! 2 xxxxxxxxxx Ex 4 C7
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E B G D A E
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November 2015
77
lesson } hard rock Kiss in typically flamboyant onstage poses
confusingly, although Ace Frehley is credited on 1982’s Creatures Of The Night, he didn’t actually play on it. Lead guitar duties were split between Vinnie Vincent, Steve Farris and Robben Ford who plays on Rock And Roll Hell and I Still Love You. Bruce Kulick joined in 1984 and saw the band through their ‘no make-up’ era until leaving in 1996 to make way for Ace’s triumphal return. In 2002 Tommy Thayer assumed the role of lead guitarist and remains to this day. During that time he played on classic 80s rock albums like Crazy Nights and Hot In The Shade. In this lesson we will cover the classic 70s sound to the 80s ‘anthem’ era, starting with a killer Bruce Kulick style riff. Next is a 70s Ace Frehley-inspired idea using major triads in a style that can be traced back to The Rolling Stones. Let’s not forget Paul Stanley’s skill as rhythm guitarist (Example 3) which harks
the 70s golden era featured ace frehley whose bluesy licks and vibrato cemented the kiss sound.
Get ready for a crazy, crazy night as Charlie Griffiths piles on the slap and delivers some Kiss-style rock and roll! ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate Info Key: Various Tempo: Various CD: TRACKS 59-70
Will improve your… Blues-rock phrasing Finger vibrato Hard rock attitude
S
ince their formation in 1973, Kiss have remained one of the quintessential hard rock acts. Although best known for their over-the-top stage antics, fire breathing and make-up, their music has endured the test of time and made them one of the most successful bands of all time, as their 30 gold albums can attest. Over that time the band has produced some bona fide
rock anthems such as God Of Thunder, Strutter, Detroit Rock City, Rock And Roll All Nite and God Gave Rock & Roll to You, to name just a few. Of course, it has not been an entirely smooth ride and there have been numerous line-up changes, including five different lead guitarists; Paul Stanley and Gene Simmons are the only two members who have remained throughout. The 70s golden era featured the influential Ace Frehley whose mix of bluesrock licks and hard-rocking vibrato cemented the blueprint for the Kiss sound. During the early 80s a host of different guitarists made their soloing marks on Kiss history. White Tiger guitarist Mark St John played on the Animalize album and,
NEXT MONTH Charlie looks at the playing of George Lynch and his band Dokken 6
7
5 7 2
Gain
Bass
Middle
Treble
Reverb
The Kiss sound is classic and simple, and essentially consists of Les Pauls and Marshalls. Ace would sometimes use a Mutron octave pedal to beef up his lead lines and Echoplex delay to add sustain to the notes. Go for a classic rock tone with natural amp gain but not too much front-end fizz. Add a decent overdrive pedal for heavier riffs and solos.
TRACK RECORD Between 74’s self-titled debut and Love Gun in 1977 is Kiss’s golden epoch when they released songs like Strutter, Christine Sixteen, Rock ’n’ Roll All Nite, God Of Thunder, Detroit Rock City and Shout It Loud. Not only did they release six studio albums in that time, but also two live albums: Alive! and Alive II, which are considered to be among the greatest live rock albums ever recorded. 78
November 2015
LIVEPIX
Kiss
back to several late 80s Kiss classics. Example 4 touches on bassist Gene Simmons, whose riffs have always been a major factor in the Kiss sound. In this type of riff Gene and Ace would often play in unison. Our final lick samples Vinnie Vincent’s more flamboyant style. This time the riff is spiced up with the fast runs and harmonics that epitomised rock guitar playing in the 80s. Finally, we have a full solo that pays tribute to the Ace Frehley era and, although being harmonically very simple, the focus is on cool phrasing, soulful bends and great rock vibrato.
ON THE CD
learning zone
KISS
TRACKs 59-70
Example 1 bruce kulick
cd track 59
For the first two bars rest the side of your picking hand against the strings at the bridge to mute the strings while alternate picking between the 3rd and 4th strings; a downstroke the third and MAGAZINE an upstroke on GUITARon TECHNIQUES 2 4the 9 fourth string makes most sense. When you reach the chords in bar 3, lift your palm away to let them ring. Charlie Griffith's HARD ROCK - KISS STYLE GUITAR TECHNIQUES MAGAZINE 2 4 9 Ex 1
Charlie Griffith's HARD ROCK - KISS STYLE
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November 2015
. . . 79
lesson } hard rock Example 3 paul stanley
cd track 63
Play an open A chord with a first-finger barre and add the sus4 note with your second finger. Changing the root note between A to F# and E, play the F# root with 2 xxxxxxxxxx your thumb over the top of the neck. Play the pinched harmonic in bar 8 by touching the string with your thumb as you play the downstroke. Ex 3 2 xxxxxxxxxx
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ON THE CD
learning zone
KISS
TRACKs 59-70
Example 6 SOLO
cd track 69
For this Ace Frehley style solo play the first four bars in shape 1 with your first finger at the 3rd fret, using your third and fourth fingers for the bends and pull-offs. After following the repeats, take the second GUITAR TECHNIQUES MAGAZINE 2 time 4 9 ending, which ascends through the scale positions using pull-offs. At bar 7, play through the G minor Pentatonic CharlietheGriffith's HARD ROCK KISS STYLE scale in a descending sequence of four before climbing through scale using tremolo picking- and wrapping things up with a tasty unison bend. GUITAR TECHNIQUES MAGAZINE 2 4 9 Ex 6 Charlie Griffith's HARD ROCK - KISS STYLE GUITAR TECHNIQUES MAGAZINE 2 4 9 ExSOLO 6 Charlie Griffith's HARD ROCK - KISS STYLE GUITAR TECHNIQUES MAGAZINE 2 4 9 GUITAR TECHNIQUES MAGAZINE 2 4 9 Charlie Griffith's HARD ROCK - KISS STYLE ExSOLO 6 G5 G6 G5 G6 F5 ROCK - KISS STYLE C/E F5 Charlie Griffith's HARD
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November 2015
81
lesson } JAZZ
Wayne Krantz For flawless timing, refined note choice and fluid improvisation, John Wheatcroft reckons you can’t get better than the great Wayne Krantz.
routine. He’ll often challenge himself with a super-limited range of notes, or in a certain area of the fretboard. His book, An Improviser’s OS, examines this in detail. Thirdly, he creates harmony by combining notes in a truly improvised way, along with single-note lines. Krantz sees all notes as available and can create harmonic combinations by combining intervals at will. Of course, he has his favourite shapes, but his level of fluency is staggering. We have recorded 10 examples for you. I hesitate to use the term ‘licks’ because if ever there were a definition of the ultimate ‘lick-less’ player, Wayne would be a strong contender. His vocabulary is formed by taking ideas, concepts, cells and devices and exploring their potential in real time, developing as he goes and changing direction in the moment.
There’s a truth to improvisation. When I play, there’s nothing that’s forced or difficult. It’s the moment. Wayne Krantz
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Advanced Info Key: Various Tempo: Various CD: TRACKS 71-90
Will improve your… Improvised lines and voicings Rhythmic accuracy Fretboard fluency
W
ayne Krantz has one of the most unique styles in contemporary jazz guitar. Considering himself a jazz musician in spirit, rather than from the idiomatic vocabulary of the genre, he has built a career as bandleader, sideman with jazz royalty such as Michael Brecker and Billy Cobham, and toured the world as a member of Steely Dan and with Donald Fagan.
Wayne graduated from Berklee in the late 70s and has refined his style to create an approach that combines elements of rock, blues and funk but with the exploratory mindset of the jazz improviser. Krantz goes to great lengths to nurture his voice, avoiding clichés and striving for originality. There are three crucial aspects to Wayne’s playing. First, his time-feel is flawless. A devotee of the metronome, Krantz records his practising and spends as much time listening back as he does playing, to check if he’s ahead, behind or bang on the beat. He prefers to stick to the rhythmic subdivisions: quarter, eighth, 16th notes and is a master of syncopation. Second is his note selection. Restriction exercises form a big part of Krantz’s workout
NEXT MONTH John uncovers the secrets to the playing of the legendary Allan Holdsworth 5
Gain
6
Bass
4
Middle
6
Treble
3
Reverb
Wayne switches between Strat-style guitars. mostly favouring bridge and middle setting. He sets the amp to bite and adds gain with a selection of stomp boxes for boost, distortion and fuzz. He also favours an assortment of ‘funk boxes’, such as ring modulator, auto wah and the EH Freeze pedal to provide lo-fi keyboardlike sustained chord pads.
TRACK RECORD Wayne’s new record showcases his approach to improvisation perfectly. Good Piranha/Bad Piranha (Abstract Logix 2014) features four tunes each played twice with a different rhythm section and the differences in each performance are clear. We’d also recommend the wonderful Krantz Carlock Lefebvre (Abstact Logix 2009), along with the equally inspiring 2 Drink Minimum (Enja 1995). 82
November 2015
CHRIS MCKAY / GETTY IMAGES
Wayne Krantz: extraordinary jazz musician
That’s not to say that analysis of these ideas is a fruitless endeavour, far from it. Transcribing is one of the best ways to get inside the mind of a player and understand the rationale of their style with a view to using these ideas to inform your personal choices. Plus, it gets you closer to developing your own voice. So, begin by learning these examples in detail and then use the ideas behind them to come up with something that is entirely your own. As always, best of luck and enjoy.
ON THE CD
learning zone
WAYNE KRANTZ
TRACKs 71-90
Example 1 Rock lead with ringing chords
cd track 71
Wayne’s playing can be quite bluesy at times, so let’s begin with some D minor Pentatonic lines (D-F-G-A-C) that wouldn’t sound out of place in a Stevie Ray GUITARorTECHNIQUES MAGAZINE 2 chords 49 Vaughan Albert King solo. The ringing in the third bar are best executed with hybrid picking, the combination of plectrum and remaining fingers in one The John Wheatcroft Jazz column simultaneous contracting plucking motion. WAYNE KRANTZ STYLE Ex 1:
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©»¡º• #4 ∑ GUITAR MAGAZINE & TECHNIQUES 4 Ex 1: E B G D A E
E B G D A E E B G D A E
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E 0 0 0 D9 0 B cd track 73 0 0 0 0 G 14 13 12 14 13 12 12 12 ( 14 ) ( 12 ) 10 10 D good to be aware of your open-string It’s options by grading their intervallic values with regard to key. Here, we are playing against a D9 vamp (D-F#-A-C-E), so X 15 15 12 10 12 10 12 10 A 14 we get E (9th), A (5th,) D (root), 14G (11th), B (6th/13th) and E (9th), so all of these strings can serve as the springboard for other melodic 12 10 from low to high ideas, in E
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ThisGidea includes material that is outside our D minor tonality, such Db0 and Em triads, of A5Half-whole in bar 2. In bars 3-4 we resolve this 7 0 moving into a 5fragment 0 0 D 10and D Melodic 0 minor 7 (R-2-b3-4-5-6-7) 10 0 0 the inclusion 0 tension with D minor Pentatonic10 (R-b3-4-5-b7) with of a bluesy b5 (Ab). The trick here is rhythmic intent. If the A 8 9 8 0 0 E is strong and bold you can play any tension you desire, so long as you know how to resolve by targeting one of the stronger tones from the key. rhythm Ex 3:
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11
cd track 79
B Here we see how Krantz might 6improvise small chord forms on the spot. Once again, we’re exploiting Eb which is a great choice to 7 11 13 11Dorian (R-2-b3-4-5-6-b7), 11 14 G 6 ‘avoid’ 8 13 14 quite 13 snappy 11 begin as there are no tones. While it’s technically possible to play this exclusively with the pick, Wayne would usually choose and energetic D A hybrid picking as this provides a more percussive and funky tone. Of course, you should explore all options. E
Ex 5:
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Example 6 Tight rhythmic phrasing
cd track 81
More open-string action here and once again we see the Dorian mode, although this time we’re in D (D-E-F-G-A-B-C). Our focus here though is less about the notes and more on their rhythmic placement. Krantz is fastidiously analytical when it comes to time keeping and frequently records his own playing when practising to hear if he’s rushing or dragging. Needless to say, it’s usually absolutely dead centre of the beat and that’s what you’re aiming for here. 3 Ex 6:
Tight rhythmic phrasing D m7
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E 0 B 0 8 G 7 9 9 7 0 10 D cd track 8 9 7 10 7 83 7 7 7 7 0 A 5 5 8 8 0 7 E In certain blues-derived styles it’s customary to blur the distinction between minor and major 3rd, particularly when used in conjunction with b7th intervals. The 5 12 5 E 10 8 8 B 10 8 10 this duality, 10 as the #9 is in all practical 10 10a b3rd. 8 10we see how Wayne 8 10 9balance 8 8two sounds with a choice 7#9 (R-3-5-B7) chord encapsulates terms Here might these G 10 9 10 10 10 7 selection of double-stops and small chord fragments. Go easy on the gain as you want a certain kind of clarity while also striving for edge and bite to the tone. D 9 A E
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While Wayne is extremely bespoke ‘box’ these shapes G 9 11 7proficient at creating 7 7 chord voicings on the fly, he also uses 9 the7conventional 9 7 based forms. He sees 7 7 9 as the D 9 7 and goes on the lookout for other intervallic or single-note based 9ideas in orbit 9 around these familiar 9 9Here 11we see beginning to harmonic exploration shapes. A E how he might investigate potential ideas around two conventional C major voicings (Cmaj9, Cmaj7), or harmonic ‘posts’ as he calls them.
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87
lesson } ACOUSTIC
Willie Nelson Dig out that battered old nylon-string and hat, as Stuart Ryan explores the secrets of this legendary country plucker’s acoustic style.
country, folk, jazz and blues that was a hit with the hippie movement of the time. More hits followed, from the self-penned On The Road Again to his hit cover of Always On My Mind. Interestingly, he wasn’t aware of the Elvis Presley version, which probably freed him up to make his own interpretation. Nelson’s relaxed, quirky style, drawing as it does from so many influences, makes him a difficult artist to emulate. He doesn’t follow the typical root-5th, bass-note and chord strumming approach and you’ll find some of his hits are actually written around blues and Broadway progressions, rather than standard country structures. He combines a relaxed approach to rhythm with a surprisingly fiery lead style that draws more from T-Bone Walker than the traditional Nashville legends. Nelson took up the guitar aged six and had written his first song by age seven. His early
Three chords and the truth – that’s what a country song is. Willie Nelson
Willie Nelson with trademark Martin classical
influences were Hank Williams, Django Reinhardt, Hank Snow and Louis Armstrong among others. Given these disparate styles it really comes as no surprise that Willie Nelson ended up crafting his own unique, iconic approach to writing in that most American of styles: country. Nelson still records and tours today and can still be seen toting his battered nylonstring Martin N-20, affectionately named Trigger. Given the ‘guitar acquisition syndrome’ from which many of us suffer, it’s inspirational to think that Nelson has been playing the same instrument for 45 years! NEXT MONTH Stuart looks at the distinctive acoustic style of Richard Thompson
Info Key: C Tempo: 92bpm CD: TRACK 91
Will improve your… Playing with a swing feel Country-blues soloing Using octaves
O
ne of the most enduring stars of country music, Willie Nelson has been crafting hits for over 60 years. Starting as a songwriter and disc jockey in Texas in the late 50s he found success as a writer with tracks that would become staples of the country music canon. As with many other successful songwriters (most notably Bob Dylan) you don’t always associate him
with hits; think of Crazy and you immediately conjure an image of Patsy Cline, but that track was actually written in 1961 by Nelson while working as a struggling writer in Nashville. Believe it or not several country artists had previously turned it down. Nelson was a key exponent of the ‘outlaw country’ sound, a rougher-edged approach to songwriting that emerged in the late 60s and eschewed the typical polite Nashville sound of the time. After a string of hits in the 60s Nelson discovered that his tours were not making significant profits and decided to retire from music. His retirement didn’t last long, however, and by 1972 he had moved to Austin, Texas and was again making his own brand of country music that fused elements of
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Reverb
Nelson has one of the most recognisable guitars in music. His Martin N-20 gives him that distinctive sound though the use of a classical in country is rare. If you have one, dig it out but in reality any guitar will do. I used a Gibson J-35 Collector’s Edition for this recording. The mic was a Brauner Phanthera through an Apogee Duet 2 preamp into Logic Pro 9.
TRACK RECORD To hear the inception of the ‘outlaw country’ sound, check out 1973’s Shotgun Willie, followed by 1975’s huge hit Red Headed Stranger. For a summary of his work try Legend – The Best Of Willie Nelson (2008). For something more recent, 2010’s Country Music, a collection of country standards produced by the venerable T Bone Burnett provides great listening. 88
November 2015
JEFF MOORE / PHOTOSHOT
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate
ON THE CD
learning zone
WILLIE NELSON
TRACK 91
Example RHYTHM PART
cd track 91
[Bar 1] We have a relaxed bluesy swing feel here. I haven’t gone for Nelson’s way-behind-the-beat approach but it’s a great feel to practise – see how far behind you can get before it all falls apart! [Bar 5] Here is an example of Nelson’s classic ‘walking’ bassline that connects the C to the A7. These don’t have to be overly elaborate and are usually just GUITAR TECHNIQUES 2 4 8 Stuart's Acoustic short bass runs that take you from one chord to the next. You’ll find another WILLIE NELSON example of this in bar 13.
[Bar 7] In addition to bass runs Nelson will use octaves to get from one chord to another as with this example. [Bar 15] Nelson uses octaves extensively in both his rhythm and lead playing. He often veers between the two and octaves are a great device for thinning out a rhythm part or, conversely, thickening up a lead line. They are far more common in jazz though and serve as another element to make his style so STYLE unique within the country genre.
RHYTHM PART
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.. . . November 2015
89
lesson } ACOUSTIC Example LEAD PART
cd track 91
[Bar 1] As with his rhythm, Nelson takes a bluesy, swing approach to his soloing. Although we start off in C minor Pentatonic (C-Eb-F-Bb) we’ll see how he introduces jazzy Django-esque chromaticism and octaves. [Bar 2] In addition to those beloved octaves, double-stops form a huge part of Nelson’s soloing style. 2 Acoustic [Bar 5] Here is an example of the Django-style chromatic approach – we are LEAD PART
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November 2015
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just aiming to get to the root note of the A7 chord but the simple chromatic triplet on beat 2 gets us there in a more interesting fashion (we also arrive ahead of the beat as well). [Bars 11-12] A couple of classic Nelson-style lead devices here – octaves to outline the F7 chord and then tremolo picking on the Ab – don’t worry about precise rhythmic values with the tremolo here; Willie usually just goes for it!
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lesson } rockschool
ON THE CD
Reading Music, Part 17
Theory into practice
TRACK 92
Brought to you by…
Hone your reading chops with this exercise in which Charlie Griffiths amalgamates some previously seen techniques into a rhythm and blues-style tune. placed above the stave indicates that the notes actually sound an octave higher. ‘8va’ is an abbreviation of the Italian term ‘ottava’. We have various subdivisions this month, ranging from: quarter-notes, to eighth-notes, to eighth-note triplets and 16th notes. When practising with a metronome, these subdivisions can be thought of as ‘one-note per-click’, ‘two-notes per-click’, ‘three-notes per-click’ and ‘four-notes per-click’ respectively. Finally, we have some dotted eighth-notes that are the equivalent of three 16th-notes stuck together. These are almost always beamed together with a 16th note completing the lopsided ‘1-e-and-a, 2-e-&-a’ phrase. Keep tapping your foot on the downbeat and count through the subdivisions to keep track of where you are. Scattered throughout you’ll find various expressions that breathe life into the music. First we have ‘legato’ (bar 14), which literally means ‘tied together’ and is shown as curved
You will find both chords and double stops in this piece
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced Info Key: Am Tempo: 80bpm CD: TRACK 92
Will improve your… Music reading skills Fretboard knowledge General music theory
I
n this series on reading music we started from the beginning and learned the notes on the stave as well as those on the ledger lines above and below it. We also learned how bars can be subdivided into many interesting rhythms and we have seen a whole host of methods to help us navigate song charts and add musical expression to the piece. This month, we will continue to practise applying all of these elements by combining them into a short musical work. In the last couple of issues we have been practising reading chromatic scales by using accidentals in the notation. This month,
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November 2015
however, we are remaining completely within (or diatonic to) the key of E Minor (E-F#-G-AB-C-D-E). It will help a lot if you already know your E Minor positions across the fretboard as we will be using the scale in a variety of different registers. As an added challenge we have included some double-stops and chords, which are shown by stacking notes vertically on top of each other. This, of course, means reading more notes in a shorter space of time so you really have to look ahead; your eyes should be at least a beat or two ahead of your hands. In bars 11 and 12 we have some highregister notes that require you to play above the 12th fret. As the notes up there are laid out exactly the same as the lower half of the fretboard, you can use your familiar scale shapes to help you navigate – only moved up 12 frets higher. To make reading these high notes on the stave easier, they can be placed on the lines and spaces as usual, but the ‘8va‘
good fretboard knowledge and looking ahead a beat or two are key to reading for guitar.
lines over the note heads. On the guitar we typically play these with hammer-ons and pull-offs. Next are glissandos (bars 17-19); glissando is another term for ‘slide’ and these are shown as squiggly lines connecting the notes together. Changes in volume and intensity of the notes is shown in the form of a crescendo, a gradual increase in pitch as well as more general markings mf, f and ff which mean ‘moderately loud’, ‘loud’ and ‘very loud’ respectively. So there’s a lot to keep you busy! Finally, we have directives in the form of two methods for repeating bars. First we have repeat brackets that bookend the bars to be repeated. Secondly, a multi-repeat symbol can be used that instructs you to repeat previously played bars. In this case, bars 13 and 14 are repeated upon reaching bars 15 and 16. Take things steadily and remember that good fretboard knowledge and looking ahead a beat or two are key to reading for guitar. NEXT MONTH Charlie continues his Reading Music with another full piece for you to play
THEORY INTO PRACTICE
learning zone
Example full R&B style piece
cd track 92
Play bars 1-4, including the first-time ending, then return to the first bar and repeat the section, this time skipping to the second time ending. Continue to play up to the end of bar 14, then repeat bars 13 and 14 again. After playing the final four bars, follow the instruction DC al Fine, which means ‘first go back to the GUITAR TECHNIQUES MAGAZINE 2 4 9 Charlie Griffiths beginning’, then play until you see the word ‘fine’ (finish) at bar 28, which is the end of the piece. GUITAR TECHNIQUES MAGAZINE 2 4 9 GUITAR TECHNIQUES MAGAZINE 2 4 9
Charlie Griffiths READING Part 17 Charlie Griffiths READING Part 17
1
Em C G READING Part 17 1D ©»•º 1 barMAGAZINE ring where possible GUITAR TECHNIQUES Em C G D Charlie Griffiths count in 2 4 9 Let READING Part 17 ©»•º # 4 1 bar count in .Let ring where possible 1 œ ˙ ∑ ˙ # 4 C G D ..LetEœmringœwhereœœ possible & ©»•º ˙ œ œœ œ ˙ READING Part 17 œ œ 1œ œ ∑ ˙ . œ 1 bar count in & ©»•º 4 œ œ ˙ œ Eœm C œ G D œ # 4 œ œ ˙ œ œ ˙ . LetF ring where possible 1 ∑ œ ˙ œ 1 bar count in . & ©»•º 4 œ œ E m C G D œ F # 42 D œ œ ring where ∑ inFine ..LetF œœ possible ˙œ œœœ œ œœ ˙ œœ œ ˙˙ œ ˙œ œ œ ˙ ˙ & # 442 wwD 1 bar count œ œ œ œ œ œœ œœœ œ œœ ˙ œœ œ ˙˙ ˙œ œ ˙ ˙ œ ∑ Fine œœ.. F œ ˙ œ œ œ œœ & # 42 wwwD œ œ ˙ œ ˙˙ œ œ œ ˙ œ Fine œ œ œ & # 2w œ œ œ œ Fœ œ œœ œ œœ ˙ ˙˙ Fine œ ˙ œ œœ œ œ œ & # 2√wwwDD œ œ ˙˙2 &# √ œwww œ œ œœ œœFineœœ œ œœ œœœ œœœ œœœ œ œœ ˙ œ œ œ ˙ œ œ œ œœ œ œœ œœ œ 2 œ œw œ œ œ œ œ œ œ œ œ œ &# √ « 2 &# √ « œw œ œ œ œ œœ œ œ œ œ3 œ œ œ3 œ œ œ3 œ œ œœ3 œ 3 2 3 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 œ &# √ « 2 œ œ œœ~~œ3 œ œj œ3 œ œ œ3 œ œ 3 œ &# œ œ œ œ œ « ~ œ ~~~~~~ œ ~~3~~~~~ œj 3 œ . 3 ~~ œ œ3œ . ~~~ œ œ .~~~~~« œ ~~~~~~~ œJœ œ & # ‰‰ ~ œ ~~ œ ~ 3 ~~ œj 3 ~ ~ J ~ ~ ~ œ ~~~~ J . ~ ~ ~ &# œ œ ~ 3 ~ ~ ~~ œ œ .~~~~~ œ 3œ . ~~~~ ~~~~ J ~ ~ ‰ œ œ ~ ~ ~ œ ~~~~~ J ~ ~ œ ~~~~ œj &# œ .~~~~~~ œ œ . ~~~œ~~œ œ œ œœ ..~œ~~œ~~~œ œœœ J ~ ~ ‰ œ œ ~ ~ ~ ~ œ œ &# ~œ~~~ œ~. Jœ~ ~ ~ ~ Jœœ ~~~œ~ .œ~~~~~~~~~~œ j œ .~~~~œ~.~~~œ~~~~ œ œ œœ . ~œœ~~œ~~œ œ œ œœ ~œ~~œ~ œ œ ~ ~ œ . ‰ ~ œ ~ & # œ . ~~ ~ ~ ~ ~~œ~~~~œ .~~J~ ~ ~ ~ Jœ ~ œ . ~~~~~ œ œ œ .~~~~œ~.~~œ~~~~ œ œ œ . ~~~œ~~œ œ œ œœ .~œ~~œ~~œ œœ &# f œœœ œœ .~ ~ ~ ~ ~ œ œ . ~~~~~ œ œ .~~~~~~ œ ƒ œ œ ~ ~ œ . ~ ~ ~ œ œ œ œ œ œœ œœ œœ œœ œ œ & # fœ . ~ ~ œ œ . ~ ~ ~ œ œ . ~~~~ œ œ .~~~~~~ œ ƒ œœœ œœ & # fœ . ~ ~ ~ ~ ~ œ œ .~ ~ ~ ~ ~ œ œ . ~~~~~ œ œ .~~~~~~ œ ƒ ~ ~ ~ ~ & f ~~ ƒ ƒ f GUITAR TECHNIQUES MAGAZINE 2 4 9
Charlie Griffiths
1, 5, 21, 25 1, 5, 21, 25 1, 5, 21, 25 1, 5, 21, 25
8, 28
1, 5, 21, 25
8, 28 8, 28 8, 28
œ œ œ œ œ
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13 8, 28 13 13 13 13 17 17 17 17 17 19 19 19 19 19
œ . ~~~~~~ œœ œ . ~~~~ ~~~~~~ œœ œœ .√ œœ .√ œ~~œœ~~~œœ œœœ œœ .√ œ~~~~ œ œ œal Fine œ√ œ D.C. œ œ œal Fine œ√ œ D.C. œ œ œal Fine œ D.C. D.C. al Fine D.C. al Fine
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OCTOBER GT248
SEPTEMBER GT247
AUGUST GT246
An exclusive lesson in part 1 of our picking series. Banish sloppy alternate picking and enjoy more accuracy, speed and tone. Plus, get your teeth into The Knack’s wonderful classic, My Sharona – a track chock full of glorious riffs and plenty of solos.
A guitar icon since he and his band stormed Woodstock in 1969. Learn Santana’s rhythm and lead style. Play The Allman Brothers’ classic Statesboro Blues with stunning solos from Duane and Dickey. Plus we pay musical tribute to John Renbourn – and much more!
Want to get inside the playing mind of Pink Floyd’s musical maestro? This feature offers insights into every facet of the great man’s playing. Plus, learn Mr Big’s awesome Addicted To That Rush, get started with Jazz Soloing – and lots more in this packed issue!
JULY GT245
JUNE GT244
MAY GT243
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 of the 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!
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.
SORT OUT YOUR PICKING
JAM THE BLUES!
PLAY LIKE CARLOS SANTANA
EXPAND YOUR BLUES!
Genius Of: DAVID GILMOUR
BANISH BORING SOLOS
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94
November 2015
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
music } reviews
path. It’s a tough world and you need all the expertise you can muster to stand above the rest. Here Steve Kaynan shows that he’s a force to be reckoned with.
Declan Zapala Awakenings
STR:UK ✪ ✪ ✪ ✪ ✪
Vennart
The Demon Joke
SuperballMusic ✪ ✪ ✪ ✪ ✪ Guitarist Mike Vennart honed his skills during his 13 years with psychedelic rock band, Oceansize; and more recently as touring guitarist with Biffy Clyro. But this is his first solo venture and, as debut albums go, this is one unique musical experience. The Demon Joke takes you from blissful sonic soundscapes into total musical chaos, yet from the outset you feel compelled to follow. By today’s standards this is arguably far more prog than psychedelic as it has the tendency to plummet into unexplored musical depths while tripping between time signatures and curious riffs. More importantly, it’s an attention grabber and the songs are great. The musical prowess of all involved is second to none and, although there are no guitar solos as such, Mike’s abilities are never in doubt. If you want a listening challenge and a musical journey into an alternative reality then get this at all costs!
Acoustic guitarist Zapala delivers a great selection of instrumental tracks that shows off his abilities rather well. A stunning musician in the modern vein he uses percussion and other techniques to create his songs. Recording and production by the Stapleford Granary are extremely intimate – ideal for such an album as this. Zapala has a personal style that employs harmonics, tapping and all kinds of light and shade. This balance of power and intimacy adds immeasurably to one’s listening pleasure. Much of the material is self-penned, alongside pieces by Eric Roche, JS Bach and a section by Carlo Domeniconi. While it’s all lovingly executed we
Steve Kaynan Multiverse Collision
Fok Records ✪ ✪ ✪ ✪ ✪
Martin Barre Back To Steel
www.martinbarre.com ✪ ✪ ✪ ✪ ✪ As the title suggests Barre’s back on electric guitar after his recent acoustic forays that included re-examined Jethro Tull material. He does a bit of that here but only for Skating Away and Slow Marching Band. It’s Martin’s sixth solo release and coincides with his 50th year in the business. And what a fitting tribute it is. Barre avoids the ‘instrumental only’ approach, bringing in Dan Crisp on lead vocals and a full band for a varied album that’s full of twists and turns but with exquisite playing throughout. We particularly enjoy the dual guitar on various tracks, including the title song and his stunning arrangement of Eleanor Rigby. Barre has again produced an album that’s both inspiring and fulfilling.
Steve’s self-penned instrumental album contains all the attack, tangents and diversity that one would expect from the title of the album. Set into two sections it features The Present, his latest recordings, while The Past includes tracks from as far back as 2001. It’s still a musically cohesive set, though, with good light and shade and some neat playing. But perhaps the jewel is the title track as it showcases Steve’s command of tone and technique as he speeds and bends his way over the fretboard. It’s a hot track for sure but retains enough melody to hold the interest. Until The End presents a softer side initially, then beefs right up and it’s this quality that elevates this album above many others that tread the instrumental
particularly enjoyed his version of Roche’s, Angel. Beautiful playing throughout and well worth seeking out. We’ve also seen Declan play live and he’s a great performer – catch him if you can!
Paul Garthwaite Up-Close And Personal
Multi String Music ✪ ✪ ✪ ✪ ✪ This is going to be a somewhat surprising album. Right from the start you realise this is no ordinary singer-songwriter as Garthwaite has a passion for multi-stringed guitars. He uses three here, all built by Andy Manson, and wondrous things they are. The two instrumental tracks, Ocean and Dreamscape employ the stunning 22-string monster that is seven-string soprano guitar, regular guitar (with added lower string) and eight-string bass section – all on the same stepped neck. The
instrument boasts the same range as a piano but it takes an expert to play: Paul is indeed the man. Ocean also benefits from the Basstar, a 14-string curio that is half guitar and half fretless bass. For the majority of the album, however, he uses the (slightly) less daunting Manson 10-string with four extra bass strings. This is an enthralling set of songs, with tongue-in-cheek lyrics, plus some truly amazing guitar sounds and playing. Try this if you dare!
Caspian
Dust And Disquiet
Big Scary Monsters ✪ ✪ ✪ ✪ ✪ There seems to be a current movement within music to step outside one’s safety zone. This largely instrumental album is not only a great example of this, it’s also rather compelling. This is the band’s fourth album and their expansive canvas of sound is initially like Coldplay meets Tubular Bells. Until, that is, it takes on a more sombre and intimate nature for Run Dry (vocals by guitarist Calvin Joss). Then there’s the classical guitar elements on Aeternum Vale and Equal Night, which meanders from solo piano into an ensemble piece, adding changes of texture and depth. The album ends with the title track that reflects back to the opening section, thus taking our musical journey full circle. This album demonstrates heavily effected guitar sounds rather well and the rising and falling of the final track certainly leaves a lasting impression. A curious album but one, in our opinion, that’s definitely worth exploring.
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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
xD
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E B G D A E
The diagram shows the fret-hand fingering for the A major scale (root notes in black). The photo GUITAR TECHNIQUES MAGAZINE Guitar Examples - Picking shows part of the scale being played onTechnique the fourth string with first, third and fourth fingers.
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Picking variations and ≥ alternatives ≤ GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking
Up and down picking Down & Up Picking
&
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Tremolo picking Tremolo Picking
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@
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7
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Palm muting Palm Muting
œ bœ @ @
œ @
@
&
nœ # œœœ
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7
E B G D A E
5
≥
≤
n The first note is to be downTremolo Picking picked and the last note is to be up-picked.
&
œ @
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œ bœ @ @
@
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5
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8
n Each of the four notes are to Palm Muting be alternate picked (down- & up-picked) n œœ very rapidly n œœ and continuously. œœ & # œœ
œ œ œ
œ œ
PM
96
E B G D A E
@ 5
Palm Muting
@ 4
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@ 8
November 2015
E B G D A E
œ œ œ
E B G D A E
8 7 6 7
Pick Rake
0
0
0
8 7 6 7
0
n œœ œœ
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0
0
œ œ
PM 8 7 6 7
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n Palm mute by resting the edge Rake ofPick picking-hand’s palm on the strings near the w bridge.
&
¿
¿¿
rake
PM 8 7 6 7
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E B G D A E
X
X
X
& E B G D A E
œœ010 œœ23 œ
&
¿
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E B G D A E
X
X
E B G D A E
& gg ˙ ggg # ¿˙ g gg 00 ggg 22 ggg X2
5
3rd string 2nd fret
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0 0 0 2 2 0
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7
#212œœ @0œœ @
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@œ
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0
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PM
8 7 6 7
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4th string Open
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E B G D A E
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Appeggiate chord Arpeggiate Chord
w
rake
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œ
0 1 0 2 3
5
E B G D A E
n Drag the pick across the Arpeggiate Chord strings shown with a single sweep. Often used to augment a ˙˙˙ ggg # ˙˙˙ rake’s lastgg note.
5
Arpeggiate Chord
0
Pick Rake Pick rake
PM E B G D A E
8 7 6 7
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7 8 œ stave, œ œ Tabœ isœ an aid TABBing @ @ Under thetomusical PM to show you where put your fingersPMon the E B 8 8 G horizontal 7 7 fretboard. The six lines represent the six D 6 6 A 7 7 strings on a guitar – the numbers on the E 0 0 0 0 0strings are fret numbers. The two stave and tab examples show chords; C (C major), Em (E n œœ 4 notes andPick4 Rake minor), œœ D7 (D dominant 7) and Am7 (A minor 7).
@
PM
E B G D A E
3rd string 2nd fret 2
Em
Guitar Techniques: How they appear in written music... E B G D A E
7
1st fret
œœ
1E 2B 3G 4D 5A 6E
4
The left box shows an A minor pentatonic scale with added 5 tapped notes signifiedPalm by Muting ‘T’s. ≤ Above shows a Cmaj9 (no 3rd) with harmonics at the 12th fret. nœ
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1 E B G D A E 2nd string
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5 Tapping & harmonics @
≥ &
œ
R
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Tremolo Picking
Down & Up Picking
&
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2nd string 3rd fret
5
≥ &
Down & Up Picking
œ3
1E
Tremolo Picking GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking
&
œ
2B 3 1 MUSICAL STAVE The five horizontal lines for 3G 2 C Em Picking D7 A m7 Tremolo 4D 0 5A music notation show note pitches and rhythms 6E # œ œ œ œ œœ and & are divided by œœbar lines. œ œœ œ b œœ
7
A E
8
1E 2B 3G 4D 5A 6E
&
2nd string 1st fret
ggg # # ˙˙ gg ˙ gggg 454 ggg 44 g 5
˙ & gggg ˙˙˙ ggg # ¿˙ g ggg ggg gg
0 0 2 2 X 2
ggg # ˙˙˙ ggg # # ˙˙ gg ˙
ggg gg ggg
4 5 4 4 4 5
n Play the notes of the chord by strumming across the relevant strings in the direction of the arrow head.
&
œ
œ
œ
œ
5
7
7
5
~~~~~ ˙ (œ œ) b ˙
tr
&
tr
Fretting hand GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Fretting Hand
E B G D A E
Hammer-on & Pull-off Hammer On & Pull Off
&
œ
œ
œ
œ
5
7
7
5
E B G D A E
tr E B G D A E
5
( )
~~~~~
tr
~~~~~
E B G D A E
8
& E B G D A E
œ
œ
œ
œ
7
5
E B G D A E
S 5
7
5
5
5
n Fret the start note (here, Left Hand Tapping the 5th fret) and bend up to 6 the pitch of the bracketed œ & before releasing. note, œ œ
≠œ œ ≠
≠
œ
≠ ≠ ≠ harmonics E B G D A E
P
P
5
7
0
P
5
7
0
Natural harmonics Fret Hand Muting
& &
n œ ¿ ¿ ‚ ¿ œ# ‚‚ ¿ ¿ ‚# œœœ ‚¿¿¿ ¿¿¿ ¿¿¿ œœœ ‚ ¿¿¿ ¿¿¿
· · · ·· 8 X X X 7 X X 12X 6 12 X X X 12 7 X X X
≠ ≠ ≠
X X X X
n Pick the note while lightly touching ‚ the‚string‚ directly over & the fret indicated. A harmonic results.
···
7
0
P
5
7
0
4
AH17
5
&
· · · ·· 8 7 6 7
12
X X X X 12
X X X X X X X 12X
X 8 7 X 6 X 7 7 X 7 7
X X X X
Artificial harmonics
& E B G D A E
‚
‚
± ±± 7
5
7
‚
‚ is‚ picked, then the n The note & whammy bar is raised and TH17 TH19 pitches TH17 lowered to the shown in brackets. E B G D A E
··· 5
7
4
P
P
5
7
0
P
5
& E B G D A E E B G D A E
&
nœ # œœœ
¿¿ ¿¿ ‚ ‚
¿¿ ¿¿
X X X X
X X X X
¿¿ ¿¿
œœ ¿¿ œœ ¿¿ ‚ # ‚‚‚
· · · ·· 8 7 NH 6 7
X X X X
12
12
X X X X
8 7 6 7
¿¿ ¿¿
5
&
4
& 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
···
TH17 E B G D A E
TH19
5
7
4
‚
2
± ±±
·
5
7
···
TH17
5
TH19
7
Dive bomb
&
œ
‚
&
#‚ 8 X X ‚X 8 ‚ X ‚ ‚ 767 ‚XXX XXX XXX 767 XXX
AH17
4
E B G D A E
E B G D A E
—
± ±± ‚
E B G D A E
‚
‚
E B G D A E
5
TH19
7
¿¿ ¿¿
¿¿ ¿¿
X X X X
‚
‚
‚
··· AH17
5
AH19
7
—
— —
± ±±
7 5 vibrates n The fretting hand 7 the note by small bend ups and releases. The last example uses the vibrato ‚ ‚ bar.
&
E B G D A E
‚
···
TH17
‚
···
TH17
TH19
5
7
4
·
TH17
4
Touch harmonics
&
œ
TH17
n Fret the note as shown, but ‚ rightsound it with a quick hand tap at the fret shown œ & (TH17) for a harmonic.
TH17
4
7
Tapped harmonics
&
œœ œœ
PH
7
5
¿¿ ¿¿
· · · ··
Vibrato 4
AH19
7
¿¿ ¿¿
NH
&
5 n Pick the note and then bend up a quarter tone (a very small amount). Sometimes referred to as a blues — curl. —
&
¿¿ ¿¿
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
‚
···
AH16 E B G D A E
‚
7
0
‚
·
TCH E B G D A E
2
9
n A previously sounded note is touched above the fret marked TCH (eg TCH 9) to sound harmonic.
TCH E B G D A E
2
9
Gargle
capo Capo Notation
·
TCH
TH17
n Scoop - depress the bar just œ & striking before the note and release. Doop - lower the bar TCH slightly after picking note. E B G D A E
&
— —
7
E B G D A E
12
P
5
n œœ # œœ
AH16
Quarter-tone bend 12
7
0
&
&
7 7 7
P
P
PH
7
—
· · · ·· 12
AH19
n Fret the note as shown, but dig‚into ‚the string ‚ with the &side of the thumb as you sound it with the pick.
Scoop‚ & doop ‚ ‚
&
5
E B G D A E
# ‚‚ ‚
‚ ‚ ‚
≠ ≠ ≠ 5
NH
E B G D A E
PH
7
5
AH17
Pinched harmonics
AH19
7
···
AH16
&
X X X X
7 7 7
7
n Sound the notes marked with a square by hammering on/tapping with the frettinghand fingers.
7
0
Pre bend
‚
··· AH17
4
PH
E B G D A E
≠ ≠ ≠
PH
—
≠
œ
œ œ œ œ œ œ
≠œ œ ≠œ œ œ ≠œ 6
Fret-Hand Muting Fret Hand Muting
6
7
E
E B G D A E
‚
NH
E B G D A E
Vibrato — arm bends —
7
E B G ED BA GE D A E
&
AH19
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
E B G D A E
œ
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
AH16
X 8 7 7 X 6 7 X 7 7 X
P
P
NH
E EB BG GD DA AE E
≠œ œ ≠œ œ œ ≠œ
œ
≠œ œ ≠
≠ ≠ ≠ ≠ ≠ ≠
Left Hand Tapping
E
5
7
Fret Hand Muting
6
5
5
E B G D A E
S
&
E B G D A E
8
n Pick 1st note and slide to Left Hand Tapping the 2nd note. The last two 6 with the notes show a slide œ last ¬e beingœ re-picked. œ
Re-pick bend Left Hand Tapping
Slides (Glissando)
(7 5)
& œ œ œ
b˙
BENDING and vibrato bend up/down
~~~~~
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
˙ (œ œ)
E B G D A E
~~~~~ 7 5
Note Trills Note Trills
&
n Pick 1st note and hammer Trills fretting hand for 2nd onNotewith tr ~~~~~ note. Then pick 3rd note and ˙ (œ 4th œ) b˙ note. pull &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’.
November 2015
97
NextMonth the world’s best guitar lessons… transcription #1
joe satriani
Always With Me, Always With You
Steve Allsworth tabs this iconic track from the album Surfing With The Alien.
transcription #2
eduardo Di capua
feature
picking, part 3
Hybrid Picking
In our final picking feature Phil Capone examines one of the most useful styles of all – pick and fingers, or ‘hybrid’.
video lesson
nigel price
O Solé Mio
Masterclass, Part 4
It’s Now Or Never! Bridget Mermikides tackles one of classical music’s most famous songs (but not the Elvis version).
This month, Nigel completes his fourpart masterclass series with a fantastic minor jazz-blues jam – it’s awesome!
It’s autumn, so nestle down to woodshed with GT’s...
blues-rock bootcamp The minor Pentatonic scale is the basis of most blues and rock playing, yet so many players still don’t fully know it. Richard Barrett aims to get your Pentatonic playing up to scratch, so miss this at your peril!
MORE GREAT lessons
Chris Rea
Tasteful blues and more
Allan Holdsworth
Fusion icon, awesome soloist
Dokken
The great George Lynch
System Of A Down American nu-metal rockers
Richard Thompson Acoustic folk-rock legend
plus all this… Classic 30-Minute Lickbag, Sight Reading, Creative Rock, Chops Shop, Instrumental Inquisitions, 60 Seconds With – and more!
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