PlaY BLUES • ROCK • JAzz • ACOUSTIC • LEAd • RHYTHM • ANd MORE! 265 FEBRUARY 2017
MAKING YOU A BETTER PLAYER SINCE 1994
sOuND lIkE a NEw PlaY Er wIth...
PENTATONIC vARIATIONS! New notes to reignite your playing Sound great with minimum effort Awaken the super soloist in you!
More Music than any other guitar Mag!
New Guitar for Christmas? Learn some tasty David Bowie chords to impress the folks this Yuletide!
classIcal
SCHUBERT
Gorgeous Swan Serenade tabbed for solo guitar
ON VIDEO
AYNSLEY LISTER
Masterclass Award-winning UK blueser shows you how he does it
PlaY
Vintage Electric BluEs Clapton, Hendrix and SRV got their licks from Otis Rush, Muddy Waters, Elmore James & others. now you can too!
Your Top Style Studies
Learn the greatest moves of the tastiest players!
Featuring: Joe Walsh, Pat Metheny, Carlos Santana & Yngwie Malmsteen
ISSUE 265 } February 2017 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!
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.
ayNSlEy lIStEr Aynsley is one of the UK’s finest bluesrock guitarists, recording artists and performers. His new album Eyes Wide Open is a killer; we welcome him to GT!
www.myfavourite magazines.co.uk
WElcoME Most Months I focus this page on the main articles in the magazine - the big technique features at the front. Jason then introduces the stylistic lessons at the back - like the proverbial pantomime horse, if you will. this time, however, I’m bringing to your attention the wealth of insight contained in Gt’s Intro pages. We are so privileged to have Justin sandercoe, that amazingly successful online teacher, adding his weight to each issue. here he ponders on whether having one ‘forever’ guitar is the real answer to great playing and tone. What say you? then there’s Mitch Dalton. Mitch is a sublime player, a staggering reader and probably the UK’s number one session guitarist. Read this month’s wittily dry piece, where he casually drops the fact that he’s playing with the Royal Philharmonic on a tour backing Elvis Presley, who appears on video, synched to the music - well, sort of synched, as Mitch wryly tells. And how about, tim Lerch
READY TO SUBSCRIBE?
- whose solo video jazz-blues masterclasses you seemed to love. In Instrumental Inquisition he offers his thoughts on what makes a great ‘non vocal’ performance. If you don’t know Ronnie Baker Brooks he’s a stunningly well-connected blues guitarist from Chicago, and son of legendary bluesman Lonnie. Just read the list of names he mentions - “Albert Collins said to me,” “My friend Eric Johnson,” etc - to understand just where he’s come from. some great stories and advice here too. Phil hilborne has been with Gt since its launch in 1994, and although a busy player and producer he continues to offer his brilliant oneMinute Lick each month. Make sure you try this one! there’s such depth of knowledge, history and plain musical wisdom in Gt every month it beggars belief. Enjoy!
Neville Marten, Editor
[email protected]
Don’t miss our amazing DIGITAl EDITIOn Guitar Techniques’ iPad* edition is now even better!
brIdgEt MErMIkIdES Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.
StUart ryaN Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs throughout the UK. His latest book/CD The Tradition is available now.
jUStIN SaNdErcoE One of the most successful guitar teachers ever, justinguitar.com is a mine of information, and his YouTube channel boasts almost 500,000 subscribers!
IaIN Scott For over 25 years Iain has taught in the UK’s top schools and academies, as well as a stint at GIT in LA. He can also boast playing with the legend Brian Wilson!
johN WhEatcroft A phenomenal guitarist, John is a master at all styles but a legend in Gypsy Jazz. His new album Ensemble Futur is out now on iTunes and Amazon.
Tap the links
Finding your way around the magazine is easy. Tapping the feature titles on the cover or the contents page, takes you straight to the relevant articles. Any web and email links in the text are tappable too!
Animated tab & audio
Songs and lessons have the audio built in with a moving cursor showing you exactly where you are in the music. Simply tap the ‘play’ button then you can fast-forward or scroll back at will.
Play the videos
Certain articles have accompanying videos full of useful insight and additional information. Once again, tap the play buttons to enjoy video masterclasses on your iPad or smartphone.
plUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). * PLEASE NOTE: Only the Apple version contains interactive tab and audio. Zinio and others do not.
Disc auDio Sometimes the GT CD features some articles’ backing tracks as mp3 files due to space. These will be found in a folder on the CD-ROM section of the disc, accessible only via a computer and not a conventional CD player. February 2017
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CONTENTS TURN TO PAGE 28 NOW FOR THE LATEST SUBSCRIPTION OFFERS
• C ON T E N T S • F E BRUA RY 2 017 •
LEARNING ZONE LESSONS INTROdUCTION
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30-MINUTE LICkBAG
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Jason Sidwell introduces another fabulous selection of lessons from the GT team.
Pat Heath has six more licks for you to play at easy, intermediate and advanced levels.
BLUES
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ROCk
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HARd ROCk
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JAZZ
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ACOUSTIC
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CREATIVE ROCk
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CHORd CAMP
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IN THE WOOdSHEd
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Les introduces one of the most musical and gifted players of our time: the great Joe Walsh. Martin Cooper goes south of the border for a lesson in Latin licks from Carlos Santana.
The astonishing Yngwie Malmsteen comes under Charlie’s Hard Rock spotlight this month. John Wheatcroft doffs his hat in honour of perhaps the finest modern jazzer, Pat Metheny. David Bowie used his acoustic guitar and a set of brilliantly whacky chords to weave wonderful tunes that set our world to music. Shaun Baxter gets suspended this month suspended chords that is - for another CR...
Iain Scott shows how using natural harmonics can bring life to your chords and progressions.
A tasty Fender Custom Tele ’62 Reissue adorns GT265’s cover
FEATURES
WELCOME 14
SPECIAL FEATURE
TALkBACk
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INTRO
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Your opinions, frank and honest... Food For Thought, Session Shenanigans, 60 Seconds, Jam Tracks, Phil’s OML and more.
SUBSCRIPTIONS
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BACk ISSUES
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Blues’s modern ‘big guns’ may well be your guitar heroes, but where did their inspiration come from? Meet Otis, Elmore, T-Bone, Muddy & more!
TRAnSCRIPTIOn FRANZ SCHUBERT Swan Serenade
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Nev waxes lyrical about our Front End super heroes, Mitch, Justin, Tim and Ronnie...
Who doesn’t love Pentatonics? They’re the backbone of so much that we play, but can also be boring and predictable. Let Richard Barrett show you the simple but musical solution!
VINTAGE ELECTRIC BLUES They taught Jimi, EC and SRV
VIdEO TUTORIAL
REGULAR FEATURES
COVER FEATURE PENTATONIC VARIATIONS New notes for a familiar scale
Charlie Griffiths gets up close and personal with chords this month, as he uncovers the wonderful world of close voicings.
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Aynsley Lister is one of the UK’s most highly regarded blues-rock guitarists. Aynsley lends an insight into his soloing thought processes.
Missed a copy of GT in the last six months?
ALBUMS
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Reviews this month cover an exciting spectrum of recent guitar-led releases...
USER GUIdE
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NExT MONTH
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Get more from GT by understanding our easy-to-follow musical terms and signs.
Bridget Mermikides arranges and transcribes another captivating piece for solo nylon-string guitar, this time from the Austrian genius.
AYNSLEY LISTER Video Masterclass PT1
Top 10 Technique Problems Sorted! Go Latin with our unmissable primer. Aynsley Lister video, Pt2. Handel’s Largo and so much more!
Aynsley Lister: fab new album Eyes Wide Open available now February 2017
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TalkBack Post Guitar Techniques, Future Publishing, Ivo Peters Road, Bath, BA2 3QS. Email
[email protected] using the header ‘Talkback’.
MODEY MADNESS
Bridget Mermikedes: recorded some video lessons
CLASSICAL DVD PLEASE The reason for my enquiry is to ask if you could reissue or redo a transcription of Rodrigo’s Concierto De Aranjuez, 2nd Movement, Adagio. I know from the Guitar Techniques index it was done many years ago. Incidentally, I have a copy of GT Feb 2007 with a transcription of Tarrega’s Recuerdos De La Alhambra by Bridget Mermikides. Bridget gives a lesson and plays the piece on a DVD that came with that issue. I know you don’t issue DVDs now but it would be fantastic if Bridget
After a long hiatus I returned to playing two years ago when my daughter wanted to learn. Being self-taught I had no idea where to start so contacted a local tutor to arrange lessons. Wanting to know what sort of level I was at I also took lessons. Since then I’ve gone from a grade 4 level chord knowledge but not even grade 1 level scale knowledge player, to now working on grade 7-8 work. But one thing still confuses me! I was interested in the Mixolydian Masterclass article, as the modes have always been a mystery to me. In the past they were never explained to me properly, but since finding out they are related to a parent Major scale it makes so much more sense. The thing that baffles me is, as in your article, you say that the example pieces are in the key of A Major
ThIRTEEN YEARS AgO gT DECIDED wE wOULD CONfORM TO TRADITIONAL MUSIC CONVENTIONS agreed to transcribe it for us and play it on video which you could possibly make available for download from the Vault. Thanks for listening, love your work. Bob Lyndon, Brisbane, Queensland, Australia
but because the Mixolydian mode has a flat 7th the G is shown with a natural incidental. Wouldn’t it make more sense to have the key signature of D Major instead as A Mixolydian is the fifth scale degree of D Major? Matt Chambers
The original transcription would have been by our then Classical columnist, Richard Stokkereit. Yes we did a few video magazines including a Classical one that Bridget filmed for us, plus a couple of regular GTs with DVD covermounts and I think it’s one of these to which you’re referring. There are no plans to do more of this (it seems these things are no longer deemed viable). I wish all our lessons could be done on video, as the format is perfect for guitar tuition. But the costs just don’t stack up – we’d probably have to double the price and in this day and age of everyone expecting music for free, 06
June 2016
Senior music editor Jason Sidwell replies: Thirteen years ago Guitar Techniques, along with our sister magazines Total Guitar and Guitarist, decided to universally conform to traditional music conventions (founded in classical music) in that all key signatures would either be Major or (Natural) Minor keys. When dealing with modal music we would show either Major or Minor in the key signature with the modal note variations (‘accidentals’) shown in the music notation. For further clarity, we make numerous references to harmony
information in the article’s text. So with a key like A Mixolydian (a Major orientated mode) we would show A Major as the key signature (three sharps; F#, C# and G#) with the Minor 7th (G) being shown as G Natural in the notation. You can see that this issue, in the Pentatonic variations article starting on page 14 (look at the Major Pentatonic examples). This approach has served Minor keys in classical music very well; if a piece leans towards Harmonic or Melodic Minor, the standard Natural Minor key is shown with accidentals in the music notation. So instead of showing, say, E Harmonic Minor as a key signature of F# and D# notes (urrggh!), E Natural Minor is shown (one sharp; F#) with the D# ‘accidental’ shown in the notation. By maintaining this standard Major/ Minor key signature presentation we 1) don’t alienate ‘trained’ musicians and 2) it’s a simple enough rule for new musicians to learn and understand. Returning to your original example) a two-sharps key signature (F# and C#) in a modal world could imply (obviously) D Major (conventional) but also E Dorian, F# Phrygian, G Lydian, A Mixolydian, B Aeolian (Natural Minor) and C# Locrian. Lots more options that would require a longer look at the music notation to decide what the key actually was (what seems the most prevalent notes throughout the music to create a ‘home key’?). Our system the standard system - simplifies this; look at the key signature and a little of the music to quickly see if it’s a Major or Minor key, then if it’s strongly associated to a mode.
LATECOMER TO BLUES My love of guitar encompasses almost all strands of music. So, a bit of jazz, a slice of rock, a touch of acoustic strumming and even classical fingerstyle get their moments in my practice studio. The thing is, I don’t really like blues. Now, I know it forms the basis of many styles I do like, but generally I find in its undiluted form, it leaves me cold. Until, that is, last month’s Texas Blues
feature. I was doing my usual ‘stick the disc in and jot down which tracks I’m going to try’ thing, when I was suddenly captivated by the sounds I was hearing. It’s silly really, as I’ve obviously been aware of these players before; and yet at that moment I suddenly felt a connection. I’m only in my late ‘40s so it could be a simple thing like I wasn’t yet ready for this dark and earthy style. I’ve gone through several of the examples now and can see why blues is so popular among guitarists, as these licks not only fall nicely under the fingers, but also bring a huge sense of power to the player. My wife and son paid my playing a compliment for the first time in ages, too, so thanks for awakening one middle-aged soul to the delights of a style he should have got to grips with years ago. Nigel Taylor, Northants
Interesting, Nigel. In my experience players and indeed listeners often come to sophisticated forms such as jazz, prog and classical music later in life, after flirtations with simpler styles like pop and blues. But clearly that’s not always the case. Jon Bishop did a great job on the text and the recording, which could have been what drew you in; so I’m glad our piece left its mark, and hopefully you can now go back to past issues and glean a whole new lickbag from features you’d previously ignored. Freddie King: one of our Texas Titans
DALLE / IDOLS / PHOTOSHOT
that simply wouldn’t wash. Unless your letter prompts a deluge of reaction in the positive, Bob.
Intro Food For thought
Every month, Justin Sandercoe of justinguitar.com lends GT his insight as one of the world’s most successful guitar teachers. This month: My ‘one and only’...
B
TINA K
efore we get started on this thought stream, I must say that I have suffered from severe GAS (Guitar Acquisition Syndrome) for most of my life. I’m not suggesting that we shouldn’t all have many more guitars than we need, but… Thoughts of guitar monogamy have been brewing in me since doing an interview with Telecaster genius Jim Campilongo about five years ago. We spent an afternoon talking about his playing, his influences and, of course, his gear. Jim plays a Telecaster, pretty much always the same one (a beautiful ’59 Toploader) through a Fender Princeton (1966) amplifier. No pedals. Jim is one of the finest guitarists around and to witness his superb playing was no surprise, but his manipulation of tone was off the scale – he knew every nook and cranny of his guitar and amp and knew exactly how to draw out an effortless fat jazz tone, a biting Buchanan twang, a thick crunch and everything in between. For a few months after this I played nothing but my Tele and my Princeton. While I never got to the tonal depths that Jim reached, I found tones I never knew were there and was able to manipulate my tone to match sounds I had in my ‘musical mind’ far faster and more clearly than I ever had before. That got me thinking about other players I loved and how most of them had an instrument that we associate with them and their sound. And I wonder how much of their sound comes from their guitar and amp choices and how much is down to really getting inside the sounds they find in them. Think of the Strat players with great tone; Jeff Beck, Jimi Hendrix, Mark Knopfler, Steve Ray Vaughan, David Gilmour, Buddy Holly, Hank Marvin, Yngwie Malmsteen. These guys all have incredible tone, and sure they have different gear combinations, but I’m sure their ‘tonal personality’ comes from
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February 2017
Justin: says he didn’t put his Telecaster down for months getting to know their instruments inside out. Take a look at Jeff Beck: he’s always tweaking his volume and tone knobs, and often it’s so subtle I would never have known had I not been watching; but he knows, and he knows his instrument so well that he can manipulate it ‘just so’ and make it sound how he wants to
comes from the fingers, the older I get the more I think that getting to know a few gear combinations really well, is more rewarding than being a total ‘gear slut’. So this year I have pretty much exclusively played my Suhr Classic (S-style HSS guitar) other than for sessions or lessons where a specific sound was required, and that I
perhaps hearing the same sound over many years helps deFine what one hears in one’s musical mind hear it. You see this kind of thing in many of the great players, and it’s worth noticing, thinking about and seeing where it takes you. I think those minor tone tweaks over a number of years can really help a player define ‘their’ sound, and perhaps hearing the same sound consistently over many years helps define what one hears in one’s ‘musical mind’. I suspect it’s a two-way street and that both parts assist the other’s development. While it’s true that a lot of tone
couldn’t draw from it. I feel I have learned an incredible amount about my tone, about what sounds I can get from the guitar, and that my fingers are able to make the guitar sound different without touching any settings. I don’t understand how that works, but it does! There’s something in my subconscious that is helping my fingers create the tone I want to hear, regardless of the rest of the chain. It’s the same with amps. Using Kemper’s Profiler recently I’ve
found that getting inside a few profiles is taking me deeper than flicking through lots of different ones for an array of sounds. My ‘real’ amp of choice has been the Lazy J 20, and having just one plugged in at the studio and always going to that, has helped me get more tones out of it than I would have been able to before. With all that said, when I got my ’70 Les Paul Goldtop out in the studio last week I was in heaven. I’d forgotten how nice it felt under the fingers and also loved how thick and woody it sounded - very different from the Strat style guitar I’d become so used to. So maybe I’m not ready to become a ‘one-guitar guy’ just yet, but I do think there is a lot to be learned about tone from guitar monogamy, and it’s something I plan to continue exploring in the coming years. Food for thought? Get more info and links to related lessons on all Justin’s GT articles at www.justinguitar.com/gtmag
Intro session shenanigans The studio guitarist’s guide to happiness and personal fulfilment, as related to us by Mitch Dalton This month: X is for eXtreme stress
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ow, what could be more of a doddle, eh? The opportunity to pay a few bills for a fortnight merely by kicking back and blasting through the back catalogue of The King, The Pelvis, The Dude That Left The Building. EP himself. Uh-huh. Oh my. If only it were that simple. The reality is that the business of playing to upwards of one hundred thousand Elvoholics in six arenas turns out to be a tad more involved than one might initially contemplate. Believe me, the fact that The Great Gyrator checked out of Heartbreak Hotel some years ago is but a minor challenge in the grand scheme of things. That issue is resolved at a stroke by beaming footage extracted from two different Pelvic performances onto a giant video screen. Thanks to the technowizardry of our age, the soundtrack is erased but Elvis’s voice is left in situ. All that remains is to hire The Royal Philharmonic Orchestra and a crack rhythm section to play the ‘live’ show on stage. I guess it is but a minor leap of lateral thinking to persuade the Presley Punters to ‘Just Pretend’. After all, it is but a small step away from seeing a microdot of Adele live but flanked by banks of mega screens. Such is the modern way of it. No. The technical issues begin to reveal themselves at 10.30am on a bleak Sunday morning, almost as soon as the Riddem Boyz assemble in a giant shed on an industrial estate in West London’s deeply unfashionable West London. We open out the music for the first tune, one of a mere 37 vinyl-tastic monster hits with which we are to carpet-bomb a suspecting audience. With but one day’s rehearsal. That’s correct. Thirty seven tunes. Six hours. Let’s just leave it there, shall we? The first issue presents itself at approximately 10.31am. There are three arrangements to choose from: the original recording, a Las Vegas
live show and the recent smash hit version of Elvis with Orchestra. Then there is the small matter of following the white jump-suited crooner on celluloid. This has been addressed by mapping his voice to a click track which we then follow with the aid of in-ear monitoring. Sadly, most singers back phrase when performing and allow the band to carry the time through the performance. The resulting clicks are thus a miasma of ever changing tempi, or no no tempo at all. The trick is somehow to smooth out the mapped vocal clicks and pull off a compromise that replicates how the original band performed. Half past five duly arrives. Good news for chemists. There is no longer a Neurofen to be purchased in Park Royal. But our new American production best friends seem happy with our efforts. As indeed they should be. Parting the Red Sea is beginning to look like a breeze, in retrospect. We reconvene the following day, this time with backing vocalists. And the following day, with orchestra. With the exception of our Principal Violin, they do not have
clicks with which to concern themselves. There then follows an entertaining six hours of adjustment and re-adjustment as 70 confused souls attempt to follow their leader who is following our conductor who is following an out-of-time click track which is following an out-of-time Elvis. There is further informed discussion as to how scary a musical near death experience we are in for
barely able to play a 12-bar blues and various associated iconic solos for the first time in my professional life. All Shook Up takes on a whole new meaning. As ever, the rest is mystery. We get through opening night. Admittedly, the Vegas ice is wafer thin and the Memphis cliff edge horrifically close. There are a number of what one might reasonably call ‘glitches’. But we
i am leFt in the uncomFortable position oF barely being able to play a 12-bar blues at The Hydro, Glasgow on opening night, barely 36 hours hence. But who wants to quit Showbiz? My main issue revolves around the fact that The King performs a medley of ‘those’ rock and roll classics at the start of the second half of our performance. Possibly due to the fact that he might have become a tad jaded and a mite uninterested in this segment of the show after two million times, he blasts through ‘em faster than Usain Bolt with a Telecaster. I am left in the uncomfortable position of being
survive, at an emotional and psychological cost yet to be quantified. And I get to play my shiny new orange Gretsch 6120. And play the solos to That’s Alright Mama, Blue Suede Shoes and all yer favourites. And I get to meet Priscilla Presley. In the end, despite our Suspicious Minds, I... er... rather enjoyed it. And I’ll Be Home For Christmas. Sorry... For more on Mitch and his music go to: www.mitchdalton.co.uk
Mitch: one of the UK’s first call session musicians
February 2017
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Intro instrumental inquisition!
Instrumentals have supplied some of music’s most evocative and exciting moments. We asked some top guitarists for their take on this iconic movement. This month: renowned solo jazz guitarist and Telecaster Tonehound, Tim Lerch. GT: What is it about guitar instrumentals that appeals to you? TL: I get the impression from the questions that the term ‘guitar instrumental’ is suggesting a particular genre of pop, rock or country guitar music, but without vocals. As a player who is primarily playing instrumental music – jazz, blues, etc - I have a perhaps slightly different view of things but I’ll try to answer the questions the best I can. I have always loved the sound of the guitar, even before I could play it. As a guitarist it has always been sound rather than lyrics that has captivated me. The guitar can be very expressive and vocal-like in the right hands. GT: What can a piece of instrumental music provide a listener that a vocal performance can’t? TL: An instrumental leaves lots open for the imagination. The listener can hear sound rather than the words and be allowed to make up their own story. GT: What are the tendencies that you aim to embrace or avoid? TL: These days almost all of the music I play is without vocals, but I’m playing songs that have lyrics and have been sung, so I respect the melody above all else and really get it to sing above the harmony.
Tim Lerch: “My backing band is on my lap!” GT: How useful is studying a vocalist’s approach when it comes to guitar melodies? TL: Very useful. There is so much available in our instrument if we search it out and get our fingers to comply. We don’t want to be a bunch of typists! GT: How do you start writing one; is there a typical approach? TL: I mostly arrange or improvise solo guitar pieces. So for me it all kind of happens at once - the harmony suggests melody and vice-versa.
GT: What do you aim for in your performance? TL: To make a musical statement that is beautiful, logical, and has a groovy feel. GT: Many vocal songs feature a guitar solo that starts low and slow then finishes high and fast. Is this structure useful for instrumentals? TL: There are many ways to approach things and I suppose that’s one way to go. GT: What type of guitar tone do you prefer for instrumentals? TL: Clear, round, full and creamy.
GUITAR TECHNIQUES MAGAZINE 2 6 5
This lick will work great in a jazz swing or blues setting. it’s a question and answer idea, each two bars long with a short pick-up into the first bar. Observe how the phrases are chord-tone based as opposed to the notes being drawn from any particular scale. Also, notice the frequent use of the b3-3 move, the sweet sounding 6ths (F#), the b5s (Eb) and the chromatic connecting notes. This last point particularly applies to the second phrase, which is based upon an A13 chord. similar ideas can be heard in Roy Buchanan’s playing. licks like this sound far more sophisticated than conventional scale-based ideas and the possibilities for developing others are endless! so be sure to come up with variations of your own.
February 2017
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by Phil Hilborne
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GT: Do you ever resort to favourite keys or tempos? TL: Nope. I have to use all variety of keys, tempos and feels to keep things interesting. GT: Do you find Minor or Major keys more rewarding? TL: No preference really; it’s all just about what makes the melody sing. GT: And what about modes - do you have any favourite? TL: No, I’d say I’m an equal opportunity modalist! GT: And what about modulations into new keys? TL: I change keys often and enjoy the adventure of finding new ways to set up modulations. GT: Do you view the backing band in a different way than you would on a vocal song? TL: Playing solo (unaccompanied), my backing band is on my lap! GT: What are your views on harmonising melodies? TL: I love to harmonise a phrase differently as the piece goes on. I love surprises and it helps keep things interesting for the listener. GT: What three guitar instrumentals have inspired you? TL: Ted Greene’s version of Danny Boy is very beautiful; and I also love Lenny Breau’s Emily and Cannonball Rag.
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Intro siXty seconds with...
PAUL NATKIN
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 Chicago bluesman extraordinaire, Ronnie Baker Brooks. GT: Do you have a type of pick that you can’t live without? RBB: I use a custom heavy shell celluloid pick. I like heavy picks because I play hard sometimes and I like the feel of the resistance. GT: You have to give up all your pedals but three. Which ones stay? RBB: My producer Steve Jordan wouldn’t allow me to use any pedals on my new record! But for my live shows I would keep my Fulltone Deja Vibe, my Vox wah and my Fulltone Fat Boost. GT: Do you play another instrument well enough to be in a band? RBB: I’ve done shows on bass when I was in my Dad’s (Lonnie Brooks) band. I’ve even jammed with Stevie Ray Vaughan on bass guitar at a club called The Grand Emporium in Kansas City, back in 1988! GT: Do guitar cables really make a difference? What make are yours? RBB: My friend Eric Johnson said they do! I use Mogami cables. GT: Your studio is burning down: which guitar do you salvage? RBB: My ’67 Gibson SG. It’s my first guitar that my Dad bought me. We used it on many recordings. I got that guitar when I was 7 years old! GT: Who was your first influence to play the guitar? RBB: My father, Lonnie Brooks. I saw my Dad perform at the Chicago Fest in front of thousands. I became intimidated and thought I could never play like that, but my Dad would always say, “You can do it and do it better”! Then I met Albert Collins! Albert saw me playing with my father, then pulled me to the side to say, “You will never be your Dad or me, but take what you can from whoever you like and make it you.” That boosted my confidence because it came from someone else I’ve admired other than my Dad Albert Collins the ‘Master Of The Telecaster! My Dad started the fire and Albert Collins poured gas on it! I’ve looked up to my Dad and Albert like some people look up Elvis or the Beatles. Lonnie Brooks is my best friend, mentor, inspiration, and a talented, wonderful father!
Ronnie Baker Brooks: starstudded career GT: What was the first guitar you really lusted after? LBB: My 1988 Strat Plus. When I became my Dad’s rhythm guitarist I was able to buy that guitar myself. I walked into Guitar Center in Chicago, and that guitar started talking to me. I then picked it up and fell in love. I bought it off the wall with no set-ups or adjustments. GT: Single best gig you ever did… RBB: I always give it all I got at every gig, but I had a gig earlier this year at the Banana Peel in Belgium, six days after the bombing in Brussels. I never felt that appreciated by an audience before. The crowd was very glad we didn’t
cancel the show! It was very emotional and healing for all of us! GT: …and worst playing nightmare? RBB: While playing with my Dad, we got booed off the stage opening for George Thorogood! GT: What’s the most important musical lesson you ever learnt? RBB: First, music is very powerful. Second, stay respectful and humble to it. Third, parts are parts when playing in a band, so know your role within it. I learned that the hard way from playing with my Dad, KoKo Taylor and Jr. Wells! GT: If you could put together a fantasy band with you in it, who would the other players be?
albert collins said, “you’ll never be your dad or me, but taKe what you can and maKe it you”
RBB: On my new record, Times Have Changed. I’ve got to play with Steve Jordan on drums, Willie Weeks and Leroy Hodges on bass, Charles Hodges and Jonathan Richmond on keys, Teenie Hodges and Michael Toles on rhythm guitar, Eddie Willis of the Motown Funk Brothers, Steve Cropper, ‘Big Head’ Todd Mohr, Lee Roy Parnell and my Dad Lonnie Brooks on lead guitars, Bobby Blue Bland, Angie Stone and Felix Cavaliere on vocals with the Memphis horns, a background vocal group and String section! That’s a fantasy come true! GT: Is there a solo by someone else that you really wish you had played? RBB: Albert Collins’ Listen Here, Live In Japan, BB King’s Sweet Sixteen live in Africa, Hubert Sumlin’s on Louise with Howlin’ Wolf, Lonnie Brooks’ Cold Lonely Nights on Bayou Lighting Strikes live in Chicago, Albert King’s on Blues Power live, Freddie King on The Stumble, Buddy Guy’s on Yonder’s Wall live at Antone’s, Carlos Santana’s on The Healer with John Lee Hooker, Ernie Isley’s on The Isley Brothers’ Voyage To Atlantis, and Jimi Hendrix on The Band Of Gypsies’ Machine Gun to name a few! LOL. GT: What’s the solo/song of your own of which you’re most proud? RBB: I’m proud of the songs and solos on Times Have Changed and Old Love from my new CD. She’s A Golddigger from my first solo CD Golddigger is one I like also. My big brother and the producer of that CD, Jellybean Johnson, gave it to Prince; I’m told he said, “Hey Bean, your boy is bad”! GT: What are currently you up to? RBB: I just finished the threemonth Big Head Blues Club tour with Big Head Todd & The Monsters, Mud Morganfield (Muddy Waters’ son), Billy Branch and Erica Brown in support of the Willie Dixon Tribute record, Way Down Inside - all Willie’s songs. I’m home for the holidays then get ready to support my new record, Times Have Changed, next year! February 2017
11
That Was The Year...
Intro
1994
ne s Dams, Cyclo and Screams BRIAN MOORE CUSTOM GUITARS
are finally making an appearance in the Uk although the stunning Mc-1 has actually been around for a couple of years. Brian worked previously with Ned steinberger so it’s hardly surprising that this guitar has a graphite body with a thru-neck configuration. its super-s-style appearance is enhanced by a quilted maple top and matching reverse headstock with a 2/4 sperzel tuner placement.
TAKING THEIR VERY FIRST BREATHS
are harry styles and Justin Bieber but as they pop into existence a few others take a final bow including kurt cobain, Danny Gatton, harry Nilsson, Nicky hopkins, Dinah shore, henry Mancini, Roy castle and Fred ‘sonic’ smith (guitarist with Mc5).
CARVIN’S AC175 IS A SLIM BODIED ELECTRO
acoustic in a range of super finishes. The hollowed out mahogany body with spruce top is presented with a single cutaway design that offers easy access to all 24 frets from the through body mahogany neck. The ebony fingerboard has pearl dot inlays and the black faced headstock has 3-a-side tuners. The ebony bridge is fitted with an active Fishman system with three surface mounted rotary controls. colours offered include Ferrari Red, Pearl Blue, Jet Black and Natural.
GREEN DAY RELEASE THEIR THIRD STUDIO
album Dookie and it sells by the bucket load! Marmaduke wetherell’s photo of the loch Ness Monster is pronounced to be a hoax; Edvard Munch’s painting The scream is stolen in Oslo; and Michelangelo’s Universal Judgement is finally reopened to the public after 10 years of restoration work.
APPLE INC RELEASES THE FIRST MACINTOSH
computers using the new PowerPc Microprocessors while Microsoft announces it will cease to sell or support the Ms-DOs operating system separately from Microsoft windows. Adobe’s graphics editing software Photoshop 3.0 is released and the Netscape Navigator web browser goes on sale. The People’s Republic of china gets its first connection to the internet as construction commences on its amazing Three Gorges Dam at sandouping.
BRITISH GUITAR MANUFACTURERS PALM BAY
introduces the cyclone model as a more pocket friendly alternative to the popular Tidalwave custom. it boasts a twincut mahogany body and a maple neck with an ebony fingerboard inlaid with an abalone palm tree behind the first fret. it features a pointy reverse headstock, 24 frets, black hardware, a Floyd Rose vibrato system and DiMarzio pickups. Master volume and tone pots with push/pull functions offer coil-tap and out-of-phase sounds and there’s a three-way selector switch. Truly exceptional colour combinations are available.
Palm Bay introduces the cyclone model
12
February 2017
Jam tracKs tips
Use these tips to navigate our bonus backing tracks ➊ Blues Ballad (Am) Slow Blues in A minor with an F7-E7 turnaround at the end of each cycle. Use A Minor Pentatonic scale (A-C-D-E-G) as a starting point, adding the b5 (E b) to the mix as well. The basic triads will come in handy: Am (A-C-E), Dm (D-F-A), F (F-A-C) and E (E-G#-B). You can also search for ‘A Minor Blues Copycat Jam’ on YouTube to learn some great blues licks created especially for this jam.
➋ Jazzy Funk Jam (Dm) The basic chord progression here is Dm-G, but when practising your rhythm playing I recommend trying out chords like Dm7-Dm9-Dm11 and G7-G9-G13. Start with D Minor Pentatonic scale (D-F-G-A-C) for your funky riffing and soloing and then move on to D Dorian mode (D-E-F-G-A-B-C) for a bit of class.
➌ II-V-I Jazz Practice (Eb)
This classic jazz progression goes Fm7 (2), Bb7 (5), Ebmaj7 (1). You can essentially use Eb Major scale (Eb-F-G-Ab-Bb-C-D) throughout, but the jazzy colours don’t come out till you start chasing the chord tones – Fm7 (F-Ab-C-Eb), Bb7 (Bb-D-F-Ab)
and Ebmaj7 (Eb-G-Bb-D) and adding chromatic ideas as well.
➍ A Dorian Groove Jam Here, the chords are basically Am -D7, which means A Dorian mode (A-B-C-D-E-F#-G) will work perfectly. You can also simply use good old A Minor Pentatonic (A-C-D-E-G) or add the b5 for the A Minor Blues scale (A-C-D-D#-E-G). Jam tracks by Jacob Quistgaard. 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.
guitarist presents blues
No blues fan should miss the latest release from our sister mag. it’s packed with great stuff - cover feature is clapton & Green (plus cool tabbed licks); there’s the Robert Johnson story; classic interviews include an ‘87 chat with Rory Gallagher, sRV from the following year and Gary Moore from the ‘90s. New interviews include Buddy Guy, Billy Bibbons, Aynsley lister and Joanne shaw Taylor, and there’s blues gear features and technique too. it’s out now!
hot For teacher
your
WHO? Daniel Udall TOWN: london STYLES TAUGHT: Rock, pop, blues, jazz. SPECIALITY: Rock QUALIFICATION: BMus in Popular Music Performance and BTEch higher Diploma in Electric Guitar Playing. LEVELS: casual, style-based tuition from beginner to advanced – RGT grades if desired READING: Beginner to advanced CHARGES: £30 per 1hr lesson SPECIAL: Fully-equipped music room/studio; can record lessons TEL: 07756 509951 EMAIL:
[email protected]
tutor
Play } theory & teChNIQUe
ON THE CD
TRACKs 4-23
Pentatonic Variations Richard Barrett investigates new ways to play our favourite scale with 10 fully transcribed bespoke examples and fantastic backing tracks. ability ratinG Info Key Various Tempo Various CD TRACKS 4-23
W
Moderate/Advanced ✪ ✪ ✪ Will improve your… Left and right-hand coordination Interval recognition and ear training Improvisation vocabulary
e’ve all been there – your turn comes to show what you’re made of and you come away feeling there is a level of improvisation that still eludes you; that you’re trapped inside the ‘box’ Pentatonic shapes. Before we go any further, I should point out that this isn’t in itself a terrible thing. Many classic – even iconic – guitar solos have been created within this relatively limited framework. However, this is no reason to rest on one’s laurels – after all, is there a guitarist out there who doesn’t want to up their game in one way or another? The concept of this feature is to point out some of the altered patterns that are available to the player who wants to expand their Pentatonic ‘comfort zone’, rather than enter a twilight world of unfamiliar scales and start again from scratch. As any committed Pentatonic user will tell you, there are interchangeable Major and Minor patterns to fit over their corresponding Major and Relative minor chords, and vice versa. I’m sure most GT readers fall into this category and happily use these devices all the time. And you wouldn’t be in bad company just listen to any of the blues greats, as well as
✪✪
later blues-rockers like Clapton, Hendrix, SRV, Jeff Beck, Jimmy Page and so on; they all do it, and brilliantly so. But there is more! It’s a great skill to be able to add selected ‘extra’ notes in to either reflect what’s happening in the chord changes, or even superimpose an interesting harmonic angle over a simple bass and drum or power chord
the concePt of this feature is to Point out some of the ‘altered’ Patterns that are aVailable to you backing, where so much of the way the music’s tonality is perceived is down to the soloist’s choice of notes. Jimmy Page’s repeated use of F in what is otherwise a straight up ‘A Minor Pentatonic’ in the Stairway To Heaven solo is a glaringly obvious example. Alternatively, take any Pentatonic and add in the b5 or ’blue’ note (to create the ‘Blues scale’) and you’ll see how
much this changes the character and possibilities of what is essentially the same grouping of notes on the fretboard. Even hardened ‘jazz’ players like Kenny Burrell and Johnny Smith, or sophisticated bluesers such as Larry Carlton and Robben Ford, use modified Pentatonic scales as the basis for much of their soloing, so please don’t think of this exercise as some sort of ‘cheat’. In the 10 following examples, I’ve tried to keep the amended scales as ‘pure’ as possible, meaning I have avoided falling into too many ‘standard’ Pentatonic licks. Ideally, I suggest you go for this approach at first to really break out of any possible ruts that may have developed over time. Eventually, the idea is that you visualise the possibilities as part of those familiar shapes we all love. Most of the examples are based around a 12-bar chord sequence, to keep things relatively predictable while you build your confidence. Always remember that improvement is generally incremental, though the ‘magic’ does happen increasingly as your comfort level expands – I guess that’s what keeps us all hooked. Hope you enjoy these ‘new and improved’ licks, and I’ll see you soon! 6
6
5
5 2
GaIn
Bass
MIddle
TreBle
reverB
technique focus Fretting-hand posture
Jumping around the fretboard playing unfamiliar patterns can really expose weaknesses and habits that may not be serving you well, such as inaccurate finger placement and excessive wrist angle. While every player is unique, there are certain guidelines that can help avoid wasted energy and effort – even injury in extreme cases. Try and use the tips of your fingers at a healthy angle to the fretboard. While 90 degrees is a bit extreme, take a look at how cleanly you are fretting when playing your favourite or habitual patterns – players often blame their picking technique when struggling to articulate faster passages, but the solution often lies in being ‘neat and tidy’ with the fretting.
14
February 2017
Though I used a variety of guitars and amp settings on the examples, a good starting point would be a moderately overdriven amp using the guitar’s volume control to clean up for the jazzier/funky stuff, or flip on an overdrive/ booster to get some of the dirtier tones. Just don’t go too overdriven at first or you’ll cover up imperfections and that’s self defeating.
{ PENTATONIC VARIATIONS
PICTORIAL PRESS / ALAMY
Jimmy Page will often amend ‘normal’ shapes to create some exciting new sounds
tracK record I’ve mentioned Page’s soloing on Stairway, but check out Since I’ve Been Loving You and No Quarter to hear him stretch beyond the standard Pentatonic boxes. Robben Ford keeps it Pentatonic with a few nice twists on Help The Poor, Ain’t Got Nothing But The Blues and Worried Life Blues. Finally, Walter Becker of Steely Dan is well worth a listen on Black Friday, Two Against Nature and Hard Up Case.
February 2017
15
Play } theory & teChNIQUe
ON THE CD
TRACKs 4-23
ExamplE 1 MINOR VARIATIONS: DORIAN PENTATONIC
cd track 4
swapping b7 for a major 6th to create a dorian sound. This example leans heavily on that F# (6th in the key of a). I’ve tried to avoid falling into habitual licks here, instead going for a more intervallic, angular sound. some of the quicker
GUITAR TECHNIQUES MAGAZINE 2 6 5
Richard Barrett - PENTATONIC VARIATIONS MINORS
Ex 1 Minor Variations
©»¡™º & 44 Ó
A5 (implied)
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Œ œ œ 3
A Dorian Pentatonic (R 3 4 5 6; A C D E F )
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February 2017
10
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passages are less intuitive than your average Pentatonic solo, but I believe that’s why we’re here! even in this first example we can see the potential in ‘twisting’ what were otherwise ‘average’ licks into being something a bit more special.
12
~~~ œ ~~~
17 ( 19 )
{ PENTATONIC VARIATIONS ExamplE 2 MINOR VARIATIONS: NO 4Th/ADD 2
cd track 6
Taking C-d-eb-G and Bb as our (almost) exclusive vocabulary, this example superimposes a few ideas over a minor blues. This doesn’t sound like we’ve gone straight into the default C Minor Pentatonic, because we’re omitting
the 4th (F) most of the time and leaning much more heavily on the d, which functions as a melodic 2nd or 9th, depending how you view it. Omitting one note from a scale is in itself a great way to freshen things up - try it.
2 xxxxxxxxxx
Ex 2 Minor Variations
©»¡º™ b & b b 44 Ó
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C minor pentatonic, no 4th/add 2 (R 2 3 5 7; C D E G B )
b b
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February 2017
17
Play } theory & teChNIQUe
ON THE CD
ExamplE 3 MINOR VARIATIONS: NO 4Th/ADD b5
TRACKs 4-23
cd track 8
Moving into the key of B, this gives us B-d-F-F#-a – great for exotic ‘metal’ type soloing. as usual, I’m trying to avoid too much ‘linear’ Pentatonic phrasing, as that would defeat the object. The most interesting aspect of this pattern
is probably the contrast between F and F#, so that’s what I’ve leaned on most heavily here. remember, this won’t be comfortable at first; you need to educate your fingers into accepting it as the ‘norm’.
3 Ex 3 Minor Variations
# # 4 Ó ©»¡™ºŒ & 4 Half time feel
Swung
/ ~~~ ' #˙ œ œ œ nœ #œ œ œ nœ #œ œ œ ˙ B5
nœ œ œ 3
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#
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17 ( 19 )
9
February 2017
BU 17
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{ PENTATONIC VARIATIONS ExamplE 4 MINOR VARIATIONS: NO 5Th/ADD b5
cd track 10
In the key of d Minor, this Pentatonic translates as d-F-G-ab-C. Omitting the ‘regular’ 5th forces us to reappraise the licks we can play using this pattern.
GUITAR TECHNIQUES MAGAZINE 2 6 5
Richard Barrett - PENTATONIC VARIATIONS MINORS /' . ~~ ~~ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ J
©»¡££ Swung /' b œ œ œ œ œ œ œ œ œ & b 44 ‰ J
Ex 4
D5
14
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D minor pentatonic, change 5 to 5
b b b
b
(R 3 4 5 7; D F G A C) E B G D A E
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Of course, we don’t want to be confined when improvising, but putting up this ‘temporary restriction’ should yield a few new licks and break a few old
10
12
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13
10 12
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12 10
~~~~~
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February 2017
19
Play } theory & teChNIQUe
ON THE CD
ExamplE 5 MINOR VARIATIONS: MElODIC MINOR, NO b7/ADD7
TRACKs 4-23
cd track 12
Using predominantly e, G, a, B and d#, it’s hard to avoid associations with a certain iconic British secret agent. again, by initially keeping away from any
‘stock’ phrases, you can expand your vocabulary in a melodic sense. note that the d# works beautifully over B7 (#5) as well as e m/maj9 chords.
2 xxxxxxxxxx
Ex 5
©»•º # & 44 Ó
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February 2017
√ . œ ‰ . J œ œ œ # œ œ œ œ 15
12
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X
10 12
9
10
~~~~~
8
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12
{ PENTATONIC VARIATIONS Robben Ford: a classic example of a player that twists and tweaks the scales
February 2017
21
Play } theory & teChNIQUe
ON THE CD
TRACKs 4-23
ExamplE 6 MAjOR VARIATIONS: MIxOlyDIAN PENTATONIC
cd track 14
Taking F#-a#-B-C#-e as our basic pattern (the backing riff also does this) we get a Jeff Beck, or ‘Gary Moore in his ‘70s fusion period’ effect that is miles away from results you would achieve using a standard Pentatonic pattern. some
GUITAR TECHNIQUES MAGAZINE 2 6 5
Richard Barrett - PENTATONIC VARIATIONS MAJORS
Ex 6 Major Variations
©»¡§™ #### # 4 # 4 & #
F
#
F Mixolydian pentatonic
w/bar ~~~~~~~~~~~~~ nw w
œ œ œ œ
˙
∑
b # #
of the quicker passages later in this example use economy picking brushing across adjacent strings to articulate patterns that would be unwieldy with alternate picking. You’ll have lots of fun with this one, but take your time.
#
(R 3 4 5 7; F A B C E) E B G D A E
4
5
6
w/bar ~~~~~~~~~~~~~ 11
9
11
9
8
9
11
1
~~~~~~ n w œ œ œ œ
B
#### # ˙ # & E B G D A E
3
4
œ ‰ J nœ œ œ œ œ œ
11
11
9
12
12
# œ œ nœ œ œ œ œ œ
nœ œ œ œ œ œ œ
F
~~~~~~
14
17
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5
#
√ C # ## # œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # # E B G D A E
16 14
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17 14
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14 16 14
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22
17 14
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(√) # ## # # œ œ nœ œ œ œ œ œ œ œ œ œ œ # & E B G D A E
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16 11
February 2017
14 17
14 16 14
3
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17 14
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œ œ nœ œ œ œ œ œ œ œ œ œ 3
3
3
16
3
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16 14
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16 14
16 14 13 16 13
14
˙
14
Ó
16
14
{ PENTATONIC VARIATIONS ExamplE 7 MAjOR VARIATIONS: MIxOlyDIAN V2 PART 1
cd track 16
Moving to G Major, our basic pattern is G-a-B-d-F. This short but sweet example takes its cues from some of Hendrix’s ‘Curtis Mayfield’ rhythm ideas,
grouping adjacent strings to create double-stop patterns. The F natural might not sound ‘correct’ to more conservative ears, but that’s part of its charm.
2 xxxxxxxxxx
Ex 7 Major Variations
©»•∞ #4 ∑ & 4
j œ
b
œœ œœ œ œ œj œœ œœ œœ
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E B G D A E
10
10 12
10 10
12
12
12 12 14 12
12
8 X X 7 9
6
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. œ j # œ œ œ œ œ œ œ œœ œœ œ & G
j œ
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10
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E B G D A E
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9 7
12 15 12 10
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12 12
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8
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8 8
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[8]
4
Matt Schofield: another great blues player who adopts ‘tweaked’ Pentatonics
February 2017
23
Play } theory & teChNIQUe
ON THE CD
TRACKs 4-23
ExamplE 8 MAjOR VARIATIONS: MIxOlyDIAN V2 PART 2
cd track 18
In a Major, this gives us a-B-C#-e and G. It’s similar in character to some of the Mixolydian patterns, but the inclusion of the 2nd (in this case B) gives it a slightly different focus. What would be a classic ‘trap’ for more standard
Pentatonic rooted players becomes much more melodic and less linear. remember to keep practising these ideas – it takes time to develop new habits, but they will embed and soon become second nature.
3
'
Ex 8 Major Variations
©»¡™º Swung ### 4 ∑ & 4
A
w
A Mixolydian pentatonic v2 (R 2 3 5 7; A B C E G)
#
b
E B G D A E
~~~~~~~~~~
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8
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~~~~~~
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8 ( 10 )
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8
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9
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8
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10
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17
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17
3
15
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C
17
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8
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24
6
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4
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E B G D A E
~~~~~~~~~~
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15
14
11
February 2017
nœ œ œ
j œ
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~~~ 14
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15
{ PENTATONIC VARIATIONS ExamplE 9 MAjOR VARIATIONS: lyDIAN DOMINANT
cd track 20
Back in the key of B, we’re using B-d#-F-F#-a to create some funky fusion lines that imply a Pentatonic feel, but with more melodic interest. like example 1, there is some economy picking to articulate the faster triplet lines. It’s worth
GUITAR TECHNIQUES MAGAZINE 2 6 5
saying this once again: persevere beyond the initial discomfort and you’ll have significantly expanded your vocabulary. Give each example just 15 minutes a day and you’ll soon notice the difference.
Richard Barrett - PENTATONIC VARIATIONS MAJORS
Ex 9 Major Variations
B7 ©»¡ºº Swung ~~~ '/ #### 4 Ó ‰ #4 j nœ#œnœ œ œ œ nœ Ó & œ
n œ œ œ œ œ œ œ œ. n œ # œ . n œ # œ ⋲ Œ ⋲ nœ #œ œ œ nœ
14
B Lydian Dominant pentatonic
# b b
# #
~~~
(R 3 4 / 5 5 7; B D F F A) E B G D A E
8
7
9
7
7
9
9
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10 11
10 10
11
10 10
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13
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1
. #### œ Œ ⋲ nœ #œ nœ ⋲ œ nœ #œ œ œ nœ#œ œ œ œ nœ#œnœ nœ#œ œ nœ œ œ nœ#œ œ œ œ œ nœ nœ#œ œ œ œ œ œ # & E9
Not swung E B G D A E
10 11
9
10
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12 12
10 11
10 11
11
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10 11
10
10 11
10
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11
12 12 10
10 11
10 12
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4
F #m7 œ œ nœ œ n œ n œ œ. œ œ n œ # œ œ~~~ . #### œ Œ ⋲ œ œ nœ #œ œ œ n œ # œ ⋲J Œ # nœ nœ #œ œ Œ ⋲ & . B7
3
E B G D A E
11 8
12
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11 10 11
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9
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8
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10
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7 10
10
7
10 7
7
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~~~
7
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√ #### ‰ œ œ # &
j œ
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6
Not swung
Not swung BU
E B G D A E
11
7
11 12 (14 )
BD ( 12 ) 11
12
7 11
10
7 10
7
10 7
10
7 10
7
11
10
10 11 11
10 11
10 11
10
February 2017
25
Play } theory & teChNIQUe
ON THE CD
TRACKs 4-23
ExamplE 10 MAjOR VARIATIONS: AlTERED DOMINANT
cd track 22
The most exotic of these Pentatonic variations, this example is based around B-e b-F-G and B b, C Minor Pentatonic albeit swapping C note for a B note. sticking to this pattern gives a ready-made solution to some of those potentially more troublesome G7 (#5) chords – and there’s
no reason why you couldn’t revert to the standard C Major (or minor) Pentatonic for the more predictable chord section. In fact, one secret to ear-catching solos is to play standard fare and then surprise with something a litle ‘out’.
2 xxxxxxxxxx
Ex 10 Major Variations
©»©©© »¶º 12 Œ. & 8 Ó.
œ œ bœ
G Altered Dominant pentatonic
# # # b
# b
# b
9
&
. œ~~~ b œ J ~~~
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Œ
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8 11
8
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~~~~~~~
8
10
11 13 15 11
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13
~~~~~~~ ˙. œ.
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& œ.
26
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11
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8
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F dim
D m11
E B G D A E
8
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~~~~~~~
(R 2 / 9 3 5 7; G A / B B D / E F) E B G D A E
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~~~~~~~ ˙. œ.
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8 9 7
February 2017
#
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February 2017
29
Play } BLUES
ON THE CD
TRACKs 24-30
Vintage Electric Blues After WWII a new breed of electric bluesman emerged that would push the music on to new heights. These players were prime influences for Hendrix, Clapton, The Stones and more. Jon Bishop goes vintage! aBiliTy raTing Info Key Various Tempo Various CD TRACKS 24-30
I
Moderate Will improve your… Slide technique Intonation and vibrato
n the late 1940s and early ’50s a number of guitarists started to use newly available amplification to augment their sound. Electric instruments made it possible to play at louder volumes enabling solos to be heard over drums and other loud instruments, such as horn sections. The sound of a valve amp turned up loud also focused the tone and helped with sustaining long notes. Many blues players would use this sustain to emulate the long, lonesome notes and vibrato created by the harmonica (known as the blues harp). The first guitars to be fitted with pickups were big semi-acoustics. These were basically archtop ‘jazz’ style instruments with pickups and suffered from feedback at high volumes. The solidbody electric was a far more manageable tool and many of our featured players quickly graduated to it - or the thinline ‘semi-solid’ guitars of Gibson, Epiphone, Guild and others. The goal of this feature is to get you sounding more authentic in the vintage blues style. To help you achieve this there’s a full backing track to practise along with. There are 15 examples to study and they have been split
✪✪✪✪✪
Blues feel and phrasing
between five legendary players with three examples per player. The examples highlight a trio of concepts that you can learn and incorporate into your playing. We have also tabbed a demonstration solo drawing from the ideas in the examples. The electric blues revolution began with
ThE goal of This fEaTurE is To gET you sounding morE auThEnTic in a rangE of VinTagE BluEs sTylEs Muddy Waters’ 1948 recording I Can’t Be Satisfied. Muddy’s style can be viewed as Delta blues played on electric guitar. For the Muddy examples use an open G tuning - from low to high, DGDGBD. Open G has the same intervallic structure as an A-shaped Major chord only now we can play this chord with a one-finger barre or indeed the slide. Elmore James was an influential slide
TEchniquE focus
player who often used an open D tuning (DADF#AD) for slide. Open D lets you play the notes of a six-string Major barre chord with one finger; it also has the advantage of making the classic blues accompaniment riff extremely easy to play with two fingers. Otis Rush’s sound is typical of West Side Chicago blues. Otis plays a right-handed guitar left-handed so the strings are effectively upside down. To bend notes, the high strings are now pulled down and the hand has a lot more power when pulling (as with Albert King). The result is a powerful and aggressive bending technique. Hubert Sumlin is famous for playing in both Muddy and Howlin’ Wolf’s band in the 1950s. He cultivated a fingerstyle picking technique that used the flesh of the fingers to create nuances in his tone and dynamics. T-Bone Walker was one of the first electric blues guitarists. His still modern sounding style influenced many players including BB King and Chuck Berry, who in turn influenced an entire generation. T-Bone’s bending style is of particular interest and it’s amazing how wide a variety of players still use T-Bone’s vocabulary in their playing. 6
3
GAIn
BASS
6
MIDDlE
7 3
TrEBlE
rEvErB
Slide or bottleneck
Two of our featured guitarists (Muddy and Elmore) use slide as the basis of their technique. On old acoustics, noise wasn’t particularly a problem and in fact extraneous notes and noises probably added to the overall effect. With electric guitars you need to think about damping unwanted notes, and using the slide on your second or third finger allows you to damp behind it with the first or first and second fingers. Keeping your picking hand palm close to the bridge will also allow extra damping, particularly of the lower strings. Adding vibrato is vital if you are to create a strong and authentic sound. Many players anchor their fretting hand’s thumb on the back of the neck and use it as a pivot to generate vibrato. Don’t be coy with it either - aggression is the order of the day!
30
February 2017
For an authentic ‘vintage’ tone’ a semi-acoustic and valve amp is perfect, but you can get close to the sound with a solidbody (Muddy used a Tele) and a ‘crunchy’ setting on a ‘virtual ‘amp. I used my Gibson ES-335 into a ‘90s Fender Deville combo with a heavy brass slide for that raspy blues tone. Simple is best for this style so the tiniest hint of reverb is all you need.
VINTAGE { ELECTRIC BLUES
PICTORIAL PRESS / ALAMY
Otis Rush: his beautiful style is clearly evident in Clapton’s playimg
TracK rEcord For Muddy Waters check out the compilations Essential Collection and The Anthology. For T-Bone Walker, try the 4CD box set Original Source. Other CDs of note include The Definitive Elmore James, The Essential Otis Rush and Hubert Sumlin’s Blues. Luckily there are many great blues compilations out there so check out your local music store or look on Amazon...
February 2017
31
Play } BLUES
ON THE CD
TRACKs 24-30
VINTAGE ELECTRIC BLUES FEATURE by Jon Bishop
GUITAR TECHNIQUES MAGAZINE 1 8 5 muddy watErs 1
cd track 24
ExamplE 1: Here’s a classic open G tuning intro riff. It is reminiscent of the way robert Johnson would start a tune and of course Johnson was a big influence on Muddy. note the change in feel straight and triplet quavers. It’s easy to tweak abynote here or there to make this your own. MUDDY WATERS VINTAGE ELECTRIC BLUES FEATURE Jon Bishop GUITAR TECHNIQUES MAGAZINE 1 8between 5 Ex 1
©»¡ºº G7 n œœ œœ b 4 Ex 1 b 4 G7 ‰ œJ œ &©»¡ºº MUDDY WATERS n –œœ –œœ Ex 1Open bG 4 f w/slide b 4 G7‰ œJ œ tuning & ©»¡ºº n12–œœ 12–œœ b f œ 1212œ 4 Open G 12 b 4 ‰ w/slide 12 &tuning J 12 12 f w/slide Open G 12 12 tuning
œœ œ – œœ œ – œœ 12 œ 12 12
œœ œ – œœ œ – œœ 12 œ 12 12
D
– MAGAZINE – – – 185 MUDDY WATERS GUITAR TECHNIQUES
~~~ œœœ n œœD Œ œ œ œ œ œ ~~~ Œ œœœ n Dœœ w/slide œ œ œ œ~~~œ ~~~ 0 0 0œ w/slide 0œ n 1œ œ 0œœ 5œ 0œ 7œ ~~~œ Œ
3 VINTAGE ELECTRIC 3BLUES FEATURE by3 Jon Bishop
œœ œœ n œœ œœ œœ œœ n œœ œœ
œ œ n œœ œ n œœœ ‰ œœœ b œœœ ‰ 3 3 3 œ œ œ n œœ œ n œœœ ‰ œœœ b œœœ ‰ 3 3 3 œ 0 0 0 0 0 œ 3œ n0œœ 3œ n02œœœ ‰ 02œœœ b01œœœ ‰ 0 œ 0 0 0 0
D B G 3 2 0 D 0 3 2 0 G DD B 12 12 0 0 G 0 w/slide 12 12 3 2 0 0 0 0 0 0 0 D 0 0 12 12 12 12 0 3 2 0 3 3 2 2 1 1 cd track 24 muddy watErs 2 G 5 0 7 Ex D 2 ExamplE 2: This classic accompaniment riff has a nice forward momentum. Use your fingers to pluck the0strings0as opposed to a flat pick. To keep B 12 12 12 12 0 0 0 0 G5 B125 12 G 512 G5 G 0 noise. 2 on 0 unwantedBstrings 05 0 0 stop 0 excessive 0 C5 slide things tidy you can rest12 the fingers of your picking3hand to0mute them and D 0 0 12 12 12 12 0 3 2 0 – 3 3 2 2 1 1 G 5 0 7 D Ex 2
œœ œœ n œœ œœ
~~~ ~~~ ~~~~~ œ œœ ˙˙ œœ5 œ G C5 œ œ œ œ œ œ ~~~ œ ~~~~~ œœ ˙˙ w/slide w/slide œ œ Gœ 5 C5 œœ œ œ œ œ œ ~~~ œ ~~~~~ ~~~~~ 0 5 5 œ ˙ œ w/slide w/slide5 0œ œ~~~œ 5 5˙~~~~~ 0œ 0 3 2 0 5œ œ œ œ œ œ œ 0 5 w/slide w/slide 5 0 5 0 0 3 2 0 5 ~~~ 5 5 ~~~~~
b ©»¡ºº ~~~~ b ~~~ œœ ~~~ b 4 œœ b œ œ & 4 G5 œœ5 œœ œ Bœœb5 Bœb5 G ©»¡ºº ~~~~ –œ œ – œ œ œ ~~~ – ~~~ œ œ b f Ex 2Open G 4 w/slide œœ b 4 G5œœ Bœœb5 Gœ5 w/slide œ w/slide œ tuning & Bœb5 ~~~ ~~~ œ œ ©»¡ºº ~~~~ œ ~~~~ 3–œ 0œ œ œ~~~0 12–œœ ~~~ 3–œ œ OpenbG 4f 12 w/slide 0œ 12 &tuningb 4 1212w/slide œ ~~~~ 33œœ 00œœ 0 w/slide œ 3œ 3 ~~~œ 12 ~~~ 3œ œ œ œ œ œ – – Open G f 12 3 0 3 12 w/slide w/slide 0 w/slide tuning 3 0 0 3 12 12 0 0 3~~~ 12~~~~ 3 12 ~~~ 3 Ex 3 C5 G5 ©»¡ºº D 12 3 0 0 3 0 5 5 12 ~~~ 3 0 0 3 0 5 5 12 12 ~~~~ cd track 24 muddy watErs 3 3 0 #œ 0 3 3 0 0 3 2 0 5 5 12 12 Ex 3 b 4 œ œ œ œ œ # œ œ b œ œ ExamplE 3: This final Muddy Waters example is a classic turnaround phrase that you can hear in the playing of many of the ‘60s’ and œ C5 &©»¡ºº4The use œ œ œ œ indeed ˙ today’s G5 œD of a chromatic œ C#œ to go from the Iv chord, blues greats. (C) v chord (D) sounds so cool. œ to the~~~ œ ~~~~ #œ œ Ex 3Open G b f4 w/slide œ œ œ w/slide w/slide œ œ # œ b œ œ œ C5 ~~~ tuning & œ œ œ~~~~˙ Gœ5 ©»¡ºº 4 Dœ œ œ œ ~~~ ~~~~ œ #7œ 7œ 4 Open bG f 7œ 5œ 6œ 7œ 0 w/slide 3œ 3œ 0 0 w/slide # œ w/slide 7œ b 7œ 7œ tuning & 4 7œ œ œ 0 œ 5œ~~~~˙ 7œ 5œ ~~~ œ 7 Open G f w/slide 7 7 7 5 6 7 0 w/slide 3 3 0 0 w/slide tuning 7 7 5 ~~~~ 7 7 5 0 ~~~ D B G D G DD B G D G D B G D G D
D B G D G DD B G D G D B G D G D
7 7
7 7
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3
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0
5
0
VINTAGE ELECTRIC BLUES FEATURE by Jon Bishop
GUITAR jamEs TECHNIQUES MAGAZINE 1 8 5 ElmorE 1
cd track 25
ExamplE 4: This is a classic blues lead riff used by almost anyone that owns a slide and has stumbled across a guitar tuned to open D. You can be fairly aggressive ELMORE JAMESwith the attack and slide vibrato - indeed, for authentic results you find that more is in fact more! Ex 4
D A F# D A D
32
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February 2017
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D A F# D A D D
A F# D A D
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5 5 5 5 5 5 5 5 5 5 5 5 0 2 3 2 0 12 cd track 25 5 7 7 5 5 7 7 5 5 7 7 5 0 2 3 2 0 12 5 5 5 5 5 5 5 5 5 5 5 5 0 2 3 2 0 12 been handed down ExamplE 6: This classic turnaround is not dissimilar to the kind of sound that robert Johnson used in his playing. This idea has D A A N.C. D5
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from the earliest blues players and is still used today by modern guitarists everywhere. Sounds great on acoustic or with a dirty, distorted tone.
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cd track 26 otis rush 1 GUITAR TECHNIQUES MAGAZINE 1 8 5 VINTAGE ELECTRIC BLUES FEATURE by Jon Bishop ExamplE 7: This first example from Otis contains some classic blues vocabulary. You can easily hear where some of Eric Clapton’s Bluesbreakers-era licks from . Clapton loved rush’s aggressive string bending and vibrato and it’s very evident in his cover of Otis’s All Your love. OTIScame RUSH GUITAR TECHNIQUES MAGAZINE 1 8 5 Ex 7
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cd track 26
ExamplE 8: This example is another collection of great blues phrase fragments. This time you 1 can hear a little bit of Jimmy Page in the proceedings. E7 D7 jI Can’t Quit You Baby. /4 It may be no coincidence that led Zeppelin also covered Otis’s track, œ
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E B G D otis rush 3 A E
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8 10
cd track 26
ExamplE 9: The final Otis rush example might be simple but the catchy rhythm makes it sound so cool. As you’ll find with so many blues licks, this idea can be made to fit over all three chords with a little modification, and again you can tweak a note here or there to make it ‘yours’.
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cd track 27
ExamplE 10: This example features a very important blues riff performed ‘Sumlin’ style. This lick works for all three chords if you move it to fit the respective harmony, so try also playing it over the Iv chord (C, at the 8th fret) and the v chord (D, at the 10th fret). 2 xxxxxxxxxx HUBERT SUMLIN Ex 10 G7 2 xxxxxxxxxx swing 8s HUBERT SUMLIN Ex 10 j b œ G7 swing 8s HUBERT SUMLIN j Ex 10 b œ G7 swing 8s E B 3 j G b 3œ 4 5 D
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A E 3 E B 3 5 5 6 5 3 3 5 3 G 3 4 5 5 7 5 3 4 3 4 5 3 4 D 5 5 5 5 5 5 5 5 2 5 A cd track 27 hubErt sumlin 2 Ex 11 E E 3 ExamplE 11: This3is a sweet that BB King also favours - King was by Sumlin B 5 sounding 5 lick 6 using5 a fingering position 3 3 influenced 5 3 and also T-Bone G73 G 4 5 5 7 5 3 4 3 4 5 3 4 Walker. The slide from C to D (first string, 8th to 10th frets) is a Sumlin favourite and always sounds great. swing 8s D 5 5 5 5 5 5 5 5 2 5 A Ex 11 E
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February 2017
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VINTAGE { ELECTRIC BLUES
ALAMY
Muddy Waters: legendary for his dapper dress, capo use and wailing red Telecaster guitar
February 2017
35
Play } BLUES
ON THE CD
TRACKs 24-30
ALAMY
T-Bone Walker: widely regarded as the father of the modern electric style
36
February 2017
VINTAGE { ELECTRIC BLUES t-bonE walkEr 1
cd track 28
ExamplE 13: Here’s one of his favourite licks. He would often play many variations of it during a solo. It’s also the basis of one of Stevie ray 3 vaughan’s classic licks. Srv often included theb9 (Bb) to add chromatic interest but the contour remains similar to T-Bone’s original template. T-BONE WALKER Ex 13
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February 2017
37
Play } BLUES
ON THE CD
TRACKs 24-30
24-bar study solo
cd track 29
bent slightly sharp and are reminiscent of the sound of a freight train [bars 1-8] These opening phrases highlight the cool modern style of horn - from T-Bone to Chuck Berry, The Stones and AC/DC. T-Bone Walker. The quartertone bends (blues curls) on the minor 3rd [bars 13-16] The chords in bars 15 and 16 are classic blues voicings. (C) are a very important feature in the blues. Set your amp up for a light These chords are easy to slide between and sound great. Again, you can crunch and select the bridge pickup. T-Bone laid down the template for hear these ideas in the playing of every great blues guitarist, showing modern blues players. thatBLUES styles and licks are passed down from generation to generation. [bars 9-12] These bars contain a neat little turnaround phrase, which VINTAGE ELECTRIC FEATURE by Jon Bishop GUITAR TECHNIQUES MAGAZINE 26 5 is easy to play and sounds great. The double-stops in bars 11 and 12 are VINTAGE ELECTRIC BLUES FEATURE by Jon Bishop GUITAR TECHNIQUES MAGAZINE 2 6 5 STUDY PIECE
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The No.1 website for musicians
February 2017
39
PLAY } BLUES-ROCK
ON THE CD
TRACK CD-ROM
aynsley lister masterclass pt1 In this new three-part video feature, blues ace Aynsley Lister demonstrates the heart of his lead style by taking a solo over three, blues-style backing tracks. This month: a fast 12-bar blues. Jon Bishop is your guide. ability ratinG ✪ ✪ ✪ ✪ ✪ Moderate/Advanced Info Key: A Major 12 bar Tempo: 190 bpm CD: TRACKS CD-ROM
Will improve your String bending and vibrato Melody and phrasing Blues-rock feel
A
ynsley Lister shot onto the scene in the mid ’90s with his debut album (Messin’ With The Kid, 1996) and has since become a firm live favourite with blues-rock fans. We were lucky enough to get Aynsley in the studio where he took us through his approach to bluesy soloing. The first backing track is in the key of A and uses the classic 12-bar blues format. The key thing to be aware of is the interesting turnaround used here (A7-C7-B7-Bb7), which is most effective. Aynsley navigates this Aynsley Lister with his blues video masterclass series, Part 1
sequence using chord tones and double-stops. It is also fine to ignore these chords and play a stock blues turnaround as Aynsley also does in his performance. The tempo is fast (190 bpm), which means you can afford to play less. One of the key aspects of this solo is the use of space and pacing. Aynsley never gets carried away with super-long phrases or lots of notes. Everything is placed in a considered fashion and the emphasis is on the melody. Before learning this solo it’ll be well worth playing through the A Blues fingering pattern as outlined in Fig 1. This fingering pattern is the main foundation of Aynley’s soloing here and learning it will help you to improvise in a similar fashion. Aynsley talks you through this fingering in the video and explains how this one position can be used for both Minor and Major tonalities. Aynsley uses a variety of techniques
including string bending, hammer-ons, pull-offs, finger slides and vibrato, which are all used to taste. String bending is a great way to add expression and feeling, as is finger vibrato. Once the string is bent to pitch, Aynsley often adds vibrato, which not only helps with the general intonation but also adds interest, feeling and that ‘vocal’ quality that guitarists often talk about trying to obtain. The finer points of this are well
make sure that you completely nail the ideas slowly; this will reward you in spades when you finally build up to tempo demonstrated in the teaching part of the video so make sure you listen closely. The notation contains all of the fingerings, articulations and phrasing from the video performance. It’d be well worth taking a close look at the way Aynsley fingers and picks the phrases. He alternates between the plectrum and fingers with ease and this provides plenty of tonal variety. Finally, don’t be intimidated by the tempo: the ideas are all relatively easy to play at a slow tempo, so be sure to completely nail them slowly and this will reward you in spades when you finally build up to tempo. NEXT MONTH Jon delivers part 2 of our exclusive video masterclass with Aynsley Lister 6
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Aynsley used his Damian Probett guitar with three single-coil pickups. The amp is made by Rift and is an EL34-style British voiced combo. Aynsley states his main influence for his tone is ‘60s-era Clapton - so plenty of bite, but retaining clarity. Any electric will work well: dial up a creamy, light overdrive and experiment with the controls. A bit of reverb or delay can be added for that professional touch.
track record Aynsley has released many studio albums since his debut in 1996, as well as a Live DVD. But his latest release, Eyes Wide Open is crammed with great songs and fantastic guitar playing and tones - we reckon its his best by far. He’s a busy live performer too, so catch Aynsley and his band in live shows across the UK and Europe. Also check out www.aynsleylister.co.uk for more details. 40
February 2017
VIDEO MASTERCLASS
AYNSLEY LISTER PT1 GUITAR TECHNIQUES MAGAZINE 2 6 5
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ForBGthis we change up a gear and use the eighth-note triplet rhythm.9The 11 12 in bar 43 really helps the tone for these Albert King-inspired licks. By digging in 9 11 12 11 9 11 12 D 7 and 9 the wide 11 intervals 9 snapping 11 the string back onto the frets it is possible to get turnaround phrase uses a pick and fingers approach with the finger and A 9 9 facilitated by this provide an ear-grabbing solution. The switch to the fingers a biting tone. Aynsley then recycles the pedal tone idea we saw in bar 48. E 30
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ON THE CD
TRACKs 31-32
Franz Schubert Swan Serenade Austrian composer Schubert features for the first time in this series with a simple but elegant melody transcribed for us by Bridget Mermikides.
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Moderate/Advanced Will improve your… Three against two rhythms
Melodic phrasing
✪✪✪✪✪ Melodies in 3rds
In one year alone he composed over 20,000 bars of music (half of them for orchestra). Throughout this remarkable productivity, he demonstrated an active experimentalism and brilliance; and developed his style to great maturity and sophistication. With his creativity and output only increasing, Schubert’s life was tragically struck short by an illness. His genius was largely only recognised by a circle of friends and astute listeners but he has since joined the pantheon of great composers of Western Art music. Here I’ve selected one of the last pieces Schubert composed, from his collection of 14 songs for piano and voice (written in his final year and only published posthumously) known as Schwanengesang (Swan Song). These songs were later transcribed for solo piano by Franz Liszt and since then for a range of ensembles and instruments. I’ve chosen No 4 from the set known simply as Ständchen (Serenade) a setting of a poem by the German poet Ludwig Rellstab in which the protagonist urges his sweetheart to fulfill him. The simple and elegant melody is supported by a Franz Schubert: sophisticated bitter-sweet another genius harmony that combines the who died young chords from both A Minor and A
n this issue we are going to tackle for the first time a work by the great composer Franz Schubert. Despite barely reaching his 30s, Schubert produced over one and a half thousand works, including 20 string quartets, seven completed symphonies, several masses and operas and a staggering number (over 600) songs for piano and voice.
Minor with supple voice-leading with extraordinary deftness and accessibility. Rhythmically, there are number of examples of quaver triplets over crotchet accompaniments (eg bars 5-7) that require a relaxed absorption of that rhythm as well as technical coordination, so make sure that you
you’ll need a degree oF Fluency in your Fretting hand aS many oF theSe chord ShiFtS require a level oF Familiarity with the work execute these correctly without rushing either voice. You’ll also need to develop a degree of fluency in your fretting hand as many of these chord shifts require a level of familiarity with the work. It’s also essential you understand what the melody is that you are trying to express, so do listen to the recording and the suggested listening so that you can play this wonderful piece with your own expression. NEXT MONTH Bridget transcribes Edward Elgar’s rousing Land Of Hope And Glory
technique FocuS Nail care
Look after your picking hand fingernails! It’s very important for tone production and control of technique to get your fingernails sorted. You need to work on finding the right length and angle of nail to produce a clean warm tone. The contact on the string should be both flesh of the fingertip and nail simultaneously. It can take a bit of time and experience to get it just right, then you need to maintain the condition of your nails with regular filing and polishing to keep the edges smooth and gleaming.
track record There are many marvellous recordings of Schwanengesang (including James Rutherford and Eugene Asti’s 2016 BIS release). You may also want to hear Liszt’s glorious piano solo arrangement (Kissin plays Liszt 1987 Sony). The widely revered Schubert recitals by Mark Padmore (tenor) and Paul Lewis (piano) are also worth visiting to hear another interpretation of works such as this. 46
February 2017
ALAMY
aBility rating Info Key Am Tempo 58 bpm CD TRACKS 31-32
Swan Serenade { Franz Schubert PLAYING TIPS
cd track 32
[Bars 1-16] We have a four-bar intro consisting of broken chords. Allow the harmony of each chord to sustain throughout the bar (picking hand fingering is indicated). The melody begins at bar 5 and, again, the picking hand fingering is indicated for four bars. We should aim to play the melody stroke whereMAGAZINE possible and2try GUITARrest TECHNIQUES 6 5to make it project from the
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ON THE CD TRACKs 31-32 C 3 j G7 j ¢œ . ‰ œ œ. œ œ œ œ ˙. œ œ œ ˙ œ œ œ œ œ œ œ & ‰ œœ œ œœ œ œ ‰˙ œœ œ œœ œ ‰ œœ œ œœ œœ œ ‰˙ . œœ œœ œœ œœ œœ PLAYING cd track 32 ˙ TIPSJ J ˙ J J ™ Œ Œ Œ [Bars 17-32] The combination of dotted rhythm and second beat chord shape [Bar 23] Here the same dotted rhythm bar occurs but this time resolves to A G7
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B A G E D 25 A E 25
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should stand out from the accompaniment - one of this piece’s challenges.
2 0 2 2
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A j E 7œ . œj œœ œœœ #A˙˙ œ œ. # œ œœ œ œœœ ˙‰ œ œ œ œœœ œ ‰œœ .. œ # ˙ . J œ cd track œœ 32 Jœ # œ œ œ ˙ . œ œ œ ‰ ‰ quickly back down to the C# on beat 1 of bar.34. At bar 37 there is a repeat of ˙ J J the ˙ entire first section. Listen to my recording to see how the ‘melody’ notes . 0 0 0 0 0 0
A
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E 1 5 0 it a guide finger, 0 sliding 0 it0 keep the fourth finger on the second string and use B G E D B A G E D 29 A E 29
9
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Play } CLASSICAL j 12
10 9
9 10
10 9
9 10
10 9
9 10
10 9
9 10
5 5 5 5
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6 6
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ON THE CD TRACKs 31-32 C 3 j G7 5 1 j œ œ. G7 œj œœ œ3 œ C˙ ‰œ œj G7œ . œj œœ œ3 œ C˙ . œ œ œ & G7‰œ . œœ œ œœœ œœ œ3 œ œ C‰˙ œœ œ œœ ‰œ œj G7œ‰ . œœ œ œœœ œœ œ3 œ œ C˙‰ . œœ œœ œœ œœ œœ œ œ œ œ œœ œ 32 PLAYING & ˙‰œ TIPS . œJœ œœ œœœj œŒœœ œ œ œ ‰˙ Jœœ œ œœ ‰Œœ œ œ˙‰ . œJœ œœ œœœj œœœŒ œ œ œ ˙‰ . Jœœ œ œœcd track œ œ œ œ œ [Bars 49-64] This is mainly the same material as before but the cadence at I use˙rest stroke with the second finger on beats 2 J and 3œfor strong projection J J œ œ œ œ ˙ J & ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ œœis œ different œfrom œ around, œ1 thatŒ1 separation œ of melody bar 59 is slightly the first time and at 61 we have aŒnew and neatœrhythm. Again, from accompaniment œ œ œ œ Œ . ˙ ˙ 3 1 1 0 0 5 3 0 0 J rhythm J this piece work. ascending˙dotted motif. Picking hand fingeringJis indicated here1and key to making J0 10 0 10 0 0 1 0 0 0 0 0 0 Œ00 3 Œ0 5 ˙ 0 00 0 Œ00 3 G70
E B G E D B A G E E D 45 B A G E D 45 A E 45
3
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3 3
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E7 E dim7 E œ . œ œ E 7sus4 œ #E˙7 E 7/F # œjE dim7/F œœ œ # E˙ œ œ E dim7/F œE . œ œ #Eœ7 . œœ œE dim7 œ . Œœ œ œ œ œ ‰ œ œ . œ # E‰˙ œj œ # œ E dim7/F & ‰œ . # œ œ # ‰œ . Jœ œ œ‰ . Jœœ œ E 7sus4 ‰œ œJœ #E˙‰7 œJœ Eœ‰7/F œJœ E‰œ . # œœ œœ # œœjE dim7/F œ œŒ œ œ œ J J œ œ œ œ œ œ œ œ ‰ œ œ œœ œ 32 j œ . œ œ . PLAYING TIPS cd track & E‰˙œ .. # œ œ #E‰œ7 . Jœ œE dim7 ‰œ˙ Jœ #E˙‰7 Jœ Eœ‰7/F Jœ E‰˙œ . # œ œ # œ E dim7/F ‰ Jœœ E 7sus4 œœ œ # E˙ œ œ # œ E dim7/F [Bars 65-82] At bar landœon a C# chord, resolving to F#m in the following œ œ œ switch‰˙back# Jœœto A Minor œœ œœinjbarœ73. andœa couple‰˙moreœcadences œ # toœ A Major œŒœ which œ & ‰ . needed ‰ where # Jœœ 65#inwe‰œbars ‰ At. 72Jœ weœreach A‰˙œ MajorœJ and œ bar. Barres˙are 66œ to 68. becomes the final chord – this is the parallel#Major ofjour starting key of A # ˙ . # œ ˙ œ J J J œ œ 0 . J œ 0 4 4 7 7 5 4 0 . J 4 7 œ œ ‰ œ œ œ œ œ œ the broken chordœ œ34 similar œœ01 aœœ01nice tranquil œœ01 œ97 feel to10the ending. ‰˙9 œ7 œ7 # œ œœ œ ˙‰5 œJ34 Following & ˙‰0 . # œ01pattern ‰4 œJ34 aœ œJ34 Minor ˙‰0and#gives ‰ reappears ‰ J67to the7 introduction. J 0 4 4 7 4 7 9 9 6 9 7 3 ˙00 . J01 0 4 34 4 7 67 7 ˙05 34 4 34 3 34 ˙00 J01 01 014 8977 10 ˙90 79 79 6 89 7 4 xxxxxxxxxx E
E B G E D B A G E E D B 61 A G E D E 61 A B E G 61 D A E 61
& & & &
E B G E D B A G E E D B 65 A G E D E 65 A B E G 65 D A E 65
& & & &
E B G E D B A G E E D 69 B A G E D E 69 A B E G 69 D A E 69
& & & &
E B G E D B A G E E D 73 B A G E D E 73 A B E G 73 D A E 73
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E B G E D B A G E E D 78 B A G E D E 78 A B E G 78 D A E 78
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February 2017
51
Hero Workshop
Join the world’s most influential guitarists to discover their distilled wisdom on what really matters in guitar – from technique to gear – with this fascinating collection of classic interviews and lessons selected from 30 years of Guitarist magazine
Guitarist Presents Guitar Gods is also available on Newsstand for iPhone, iPad & iPod touch Also available to order online at www.myfavouritemagazines.co.uk
Learning Zone
Lessons from the world’s greatest teachers and schools...
Brought to you by…
The InsTITuTe of ConTemporary musIC performanCe
in Lessons GT #265
O
ften it’s the bands and guitarists that we first heard as youngsters that remain our heroes throughout our lives. The intensity of infatuation during our early years is hard to evoke later on, but it can happen. As an ‘80s kid I revelled in the music of The Shadows, The Beatles, The Beach Boys, Big Country, Genesis, Julian Bream, Queen and many others. Being a keen classical guitar student, it wasn’t until I was 19 years old and at music uni that an electric guitar was mine and I became hooked on reading guitar magazines. They exposed me to a staggering amount of new and niche guitar music, and I was back to being a super-keen 12-year-old again! I learnt lots and became more broadly acquainted with players,
rock..........................................................62 techniques and viewpoints that were hugely beneficial to my musical growth. This issue features tutorials on two players that I got into during my second youthful phase of guitar magazine-fuelled musical infatuation: Yngwie Malmsteen and Pat Metheny. They are very different players but their vocabulary is so masterful that they remain major representatives of their genres to this day. If, like me, you find Malmsteen and Metheny vital, I’d urge you to tackle the features by Charlie (Hard Rock, page 66) and John (Jazz, page 72). If you’re anything like me you’ll be infatuated too, and become a better guitarist for it - regardless of your age. Enjoy the issue!
This month Martin Cooper checks out the unique soloing style of Latin blues-rock-jazz maestro, the legendary Carlos Santana.
creative rock ...............................82 In order to create a more interesting musical dish Shaun Baxter mixes up a bowl of suspended triads and discovers a new recipe or two along the way.
February 2017
53
lesson } 30-minute lickbag
ON THE CD
TRACKs 33-38
30-Minute lickbag Pat Heath of BIMM Brighton brings you another selection of licks to learn at easy, intermediate and advanced levels. How many of these can you nail?
brought to you by…
Easy Licks ExampLE 1 The Cranberries
cd track 33
GUITAR MAGAZINE 2 6progression. 5 This idea isTECHNIQUES a descending ‘chromatic’ chord Notice how the bass notes (E, D#, D, C#) are the leading ‘voice’ in the sequence. Use heavy downstrokes.
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cd track 36
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Here’s an idea that utilises open strings to create both consonance and dissonance (as Hendrix was wont to do). Notice how the E Mixolydian (E-F#-G#-A-B-C#-D) harmony helps to create a melodic end to the turnaround. Make sure that you play the slides and chordal ideas for added Jimi-style authenticity. Ex Ex 4 4
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cd track 37
This lick is designed to inspire improvisation on a Major (Dominant) blues using the #4 and b7 against a G7 chord to create an interesting Lydian Dominant sound. Ex 5
Scott Henderson
Kazimierz Jurewicz / alamy
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Paul Gilbert N.C.
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‰ œœœ ˙˙ ‰ œœ ˙˙ ˙ ONœTHE CD˙
œœ œœ Œ œœ n œœœ Œ nœ œœ TRACKs 33-38
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Paul Gilbert
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lesson } blues
Joe Walsh
ON THE CD
Brought to you by…
The Eagles’ six-stringer’s tasty chops helped create the signature sound for a generation. Les Davidson explores his bluesy side. Joe Walsh: one of the best ‘feels’ of any blues-rocker
TRACKs 39-42
stretch long into his career. In 1968 Joe joined The James Gang and when they reconfigured to a three-piece it pushed Joe to the fore. The James Gang went on to score several hit singles as well as a couple of gold albums but Joe became restless and left to form a new outfit, Barnstorm.With Barnstorm Joe continued to have hits and during this creatively active period he produced the classic, Rocky Mountain Way. It wasn’t long, however, before Joe changed horses again - getting himself a new manager, Irving Azoff, and relocating to Los Angeles and the burgeoning ’70s rock scene. He struck up a musical friendship with Don Henley, Glen Frey, Jackson Browne and JD Souther – a union that would eventually lead to Joe joining The Eagles for the Hotel
DEspITE ThE ARENAfILLING suCCEss Of ThE EAGLEs, JOE hAs ALWAYs fOuND TImE TO mAKE sOLO hIT ALBums California album, which went on to sell a till-ringing 50 million! Despite the arena-filling success of The Eagles, Joe has always found time to make solo hit albums. He’s consistently remained on top of his game and the basis of his style is clearly steeped in the blues tradition. His most recent solo album Analog Man – released in 2012 – featured Jeff Lynne on production duties and Ringo Starr on drums. Joe tends to be very economical with his lines, with a fabulous feel and vibrato, and always choosing a harmonically appropriate chord tone on which to land. Enjoy these two examples and see you next month! NEXT MONTH Les looks at the unbelievably influential style of the amazing Freddie King 6
Info Key: Various Tempo: Various CD: TRACKS 39-42
Will improve your String bending and vibrato Mixolydian soloing Fresh Pentatonic ideas
M
any readers will associate Joe Walsh with his tenure in The Eagles, when he brought his rock-influenced blues flavour to the band, debuting on their best-selling ’76 album, Hotel California. Joe was born in 1947 in Wichita, Kansas.
The family home was alive with music as his mother was a keen piano player. She had a huge influence on the young Joe and, alongside tuning into rock and roll on the radio, music captured his spirit and he resolved to become a professional guitar player while still a young boy. Later the Walsh family relocated to Ohio and Joe attended the Kent State University where he would hone his guitar skills in bars and coffee shops. At the time he was absorbing the work of blues and rock and roll giants such as BB King, Chuck Berry and Little Richard, and their influence would
4
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Joe has been associated with all the usual Gibson, Fender and Gretsch models, plus more modern offerings from PRS and Duesenberg. His famous Hotel California solo was played on a Telecaster. Go for a classic blues-rock tone that’s fat and sustaining, but without too much front-end gain. Lashings of delay and chorus will help give that smooth, ethereal tone.
TRACK RECORD If Hotel California isn’t already in your album collection, then you’ve been missing a treat for the past 40 years and we would recommend you remedy the situation immediately. For his solo work, 1973’s The Smoker You Drink the Player You Get (which includes Rocky Moutain Way) is a treat and a glimpse into his early work, as is 1978’s But Seriously Folks (with the amazing Life’s Been Good). 58
February 2017
PICTORIAL PRESS / ALAMY
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced
5
learning zone
JOE WALSH ExamplE 1 JOE WALSH STYLE
cd track 39
GUITAR TECHNIQUES 6 5 around a D-C-G vamp. D Mixolydian Les Davidson's BLUES The first of our two examples is2based (D-e-F#-G-a-B-C) is a -great choice as its b7 note (C) becomes the root of the C chord and JOEhelp WALSH STYLE the 5th (G) the root of the G chord. a few chromatic approach notes sew the lines together and a touch of D Blues scale (D-F-G-ab-a-C) adds extra spice. Ex 1
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February 2017
59
lesson } blues
ON THE CD
ExamplE 2 JOE WALSH STYLE
TRACKs 39-42
cd track 41
This shows Joe’s masterful use of two-bar melodic phrasing, perfect for sounding ‘composed’ and therefore for getting the audience to engage with you. Starting on some tasty low-string riffs and b3rd to 3rd bends, the solo climbs the fretboard using some typically Walsh-style note choices.
GUITAR TECHNIQUES 2 6 5
Les Davidson's BLUES JOE WALSH STYLE
GUITAR TECHNIQUES 2 6 5
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lesson } ROCK
Santana
ON THE CD
Brought to you by…
This month Martin Cooper checks out the unique soloing style of Latin blues-rock-jazz maestro, the legendary Carlos Santana.
TRACKs 43-44
Santana’s style draws from Latin rock, jazz, blues and salsa and the band has a unique sound. Carlos began playing guitar at age eight, learning from his father who was a mariachi musician. He is famous among guitar fans for his rich PRS tone, and fluid lead lines that infuse his songs, weaving around the vocal lines effortlessly. His influences include Jimi Hendrix and Peter Green, whose song Black Magic Woman is one of Santana’s most well-known recordings. He also used a Fender Princeton amp modified by Randall Smith, and upon remarking to him: “Man that little amp really boogies” actually caused Smith to create the name Boogie when he began to produce amps commercially.
CARLOS REmARKED TO RANDALL SmITh, ‘mAN ThAT LITTLE Amp REALLY BOOGIES’ CAuSING SmITh TO CREATE ThE NAmE mESA BOOGIE whEN hE BEGAN TO mAKE AmpS.
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate Info Key: Bm Tempo: 114 bpm CD: TRACKS 43-44
Will improve your… General soloing fluidity Picking and bending technique Minor scale phrasing
C
arlos Santana formed the band that shares his surname in 1967 and has been guiding it towards sold-out tours and multi-platinum album sales ever since. It was in 1969 when Santana played at Woodstock that the band first came to the attention of music fans, partly because they provided a contrast to many of the other acts that played that weekend. The band and its
leader have tried their hand at many styles of music, but always stayed true to their Latin roots. They have recorded with contemporary artists such as Jennifer Lopez and Chad Kroeger and scored a worldwide hit with the Rob Thomas fronted Latin pop song, Smooth. Santana were inducted into the Rock and Roll Hall of Fame in 1998 and have also won eight Grammy and three Latin Grammy Awards. They recently released the album Santana IV, which also features Journey guitarist Neal Schon who played with Santana as a young guitar slinger in the ‘70s. The band hasn’t always enjoyed success - the ‘80s and early ‘90s were lean in terms of commercial sales, but their success was re-ignited with Smooth from 1999’s Supernatural album.
NEXT MONTH Martin assesses the impact of a Britrock giant, Oasis’s Noel Gallagher 6
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The tone needs to be creamy and fluid, so if possible use a guitar with humbuckers, or roll the treble back and add a generous amount of gain to single-coil pickups. Having used Gibson and Yamaha in the early years, Carlos has been a long time PRS and Boogie man (and more recently Bludotone and Dumble amps). I used a Nik Huber Orca ’59 guitar and a Jackson Ampworks McFly amp on the track this month.
TRACK RECORD The self-titled debut release from 1969 features Jingo and Evil Ways, and the follow-up album Abraxas incudes Black Magic Woman and Oye Como Va. The commercially stratospherical album Supernatural features Smooth, while its follow-up, Shamen contained Game Of Love. There are also numerous ‘best of’ albums including the 2007 release, Ultimate Santana. 62
February 2017
LIVEPIX
Carlos Santana: original Mesa Boogie user and top PRS stalwart
This month’s track is Latin flavoured and is in the key of B Minor. B Harmonic Minor scale is B-C#-D-E-F#-G-A#, which is why there’s an F# chord in the song, giving it a distinctly Latin vibe. The parts aren’t difficult and there’s a lot of repeating progressions and harmony, but you’ll need to have confidence and authority. The rhythm guitar uses soul and blues ideas and the chart is just written for one guitar, as Carlos very often combines a rhythm part with some lead lines. Check out the Playing Tips and Get The Tone box for further information.
learning zone
carlos santana ExamplE PLAYING TIPS
cd track 43
GUITAR 2 6is5playing long, sustained string bends that One of CarlosTECHNIQUES Santana’s main traits month, so make sure that you try to avoid it if you want to sound like Carlos. In Martin Cooper's BIMM ROCK COLUMN very rarely have vibrato - something that will seem very strange to many if not SANTANA STYLE general, feel free to use whichever fingers are comfortable for each phrase and most guitarists. So there is deliberately no vibrato in any of the phrases this try to use alternate picking for the fast runs in bars 35, 36 and 41.
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February 2017
63
lesson } ROCK
ON THE CD
TRACKs 43-44
ExamplE PLAYING TIPS
cd track 43
2
The lead lines feature a few fast trills, so watch out for timing and accuracy when these appear, as they are often blended in with long sustained notes.
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February 2017
15 14 12 15 14 12 15 14 12 15 14 12 15 14 12 15
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9
lesson } hard rock
ON THE CD
Yngwie Malmsteen: one of instrumental rock’s greatest ever musical forces
TRACKs 45-56
perhaps the most revered by fans. With Jens on keyboards and Anders on drums the triple whammy of Marching Out in 1985, Trilogy in 1986, and Odyssey in 1988 not only earned them a legion of lifelong muso disciples, but also had a wider appeal with songs like I’ll See The Light Tonight; I Am A Viking; You Don’t Remember, I’ll Never Forget; Heaven Tonight and Crystal Ball. The songs were not only packed with virtuosic, technically demanding playing, but also had accessible song formats and catchy singalong choruses. So impressive and virtuosic is Malmsteen’s Paganini-inspired maelstrom of sweep-picked arpeggios and Phrygiandominant scale runs, it is easy to forget that he is also a master of riffs and catchy
Yngwie’s Musicianship and coMpositional skills are staggering, and his guitar technique utterlY beYond reproach
The Swedish genius has been unleashing his fretboard fury since the early 1980s. Charlie Griffiths takes a look at his amazing chops. abilitY rating ✪ ✪ ✪ ✪ ✪ Moderate Info Key: Various Tempo: Various CD: TRACKS 45-56
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Will improve your… Alternate and sweep picking Modal rock soloing Rock bending and vibrato
ngwie Johan Malmsteen was flown over from his native Sweden to the USA in 1982 by Shrapnel Records boss Mike Varney, after being blown
away by Yngwie’s demo tape. After some experience playing in the bands Steeler and Alcatrazz, Yngwie released his first solo album, Rising Force. This 1984 release was to become the first of 21 studio releases; the most recent being 2016’s World On Fire. For over three decades he has remained true to himself and uncompromising in his style. He remains the same today. Throughout the years Yngwie has utilised a lot of different musicians on his records, but his work with the Johansson brothers is
NEXT MONTH Charlie gets to grips with the style of Journey’s fabulous guitarist, Neal Schon 6
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Yngwie has been using Strats and Mashalls for decades. He customises his guitars with a scalloped fretboard, brass nut and DiMarzio HS3 pickups.You can approximate a suitably rocking tone with most modern guitar and amp combos for our examples, but note that although Yngwie usually tunes his guitar down to Ebwe’ve recorded our examples in E standard, so you don’t have to detune.
track record Trilogy and Odyssey are essential listening. The instrumental Trilogy Suite Op: 5 is a masterpiece of passionate melodic playing. 1996’s Inspiration is an interesting peek at Malmsteen’s hard rock roots featuring covers of Rainbow, Deep Purple and Scorpions. Finally, check out the 1997 Concerto Suite for Electric Guitar And Orchestra in which he performs with the Czech Philharmonic Orchestra. 66
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Yngwie Malmsteen
songwriting. Although Yngwie is most often described under the ‘neo-classical heavy metal’ banner, in this feature we will look at the Maestro’s more hard-rock tinged works. We have five riffs for you that illustrate some of Malmsteen’s signature approaches. Our first example is quite keyboard-esque in that it comprises diatonic Major and Minor triads interspersed with lower notes from the A Aeolian mode (1-2-b3-4-5-b6-b7). Example 2 is a raunchy riff inspired by tracks from the Seventh Sign album, which also happened to be the seventh Yngwie album. This part uses bluesy, slinky bends that are enhanced with a wah-wah pedal. For our third example we
learning zone
YNGWIE MALMSTEEN look to the Fire And Ice album on which Yngwie uses lots of vibrato to make the three-note chord shapes sing, as well as some cool palm-muted arpeggios. Example number four looks back to the Odyssey days with a riff that has a 12/8 time signature, played with a triplet feel and performed in unison with double kick-drum groove. The riff combines two of Yngwie’s favourite tonalities as it is largely based in E Blues scale (1-3-4-b5-5-b7), but switches to the classical sounding E Phrygian Dominant at
the end (1-b2-3-4-5-b6-b7). For our 5th and final riff we seek out influences from the Magnum Opus album. Yngwie’s Bach influence often emerges as an open-string pedal note against which he plays notes from the scale - in this case is D Phrygian Dominant (1-b2-3-4-5-b6-b7). Example 6 is a full Yngwie-style solo in the key of A Minor and alternates between the A Aeolian mode (1-2-b3-4-5-b6-b7) and the A Harmonic Minor (1-2-b3-4-5-b6-7]. The solo features Yngwie’s signature moves,
including sweep-picked arpeggios, twohanded tapping, fluid scale runs and wide vibrato, fast fluid runs and violin inspired scale patterns. Yngwie’s detractors characterise him as all about flash and no content; but his musicianship and compositional skills are staggering, and his guitar technique utterly beyond reproach. Practise all the examples slowly and build up the tempo gradually so that you can play them with Yngwie’s biggest attribute: confidence!
ExamplE 1 PAlm muting
cd track 45
GUITAR TECHNIQUES MAGAZINE 2 6 5 and the low notes by palm muting the fifth string and lifting off your picking hand for the chords. Create tonal contrast between the triad shapes
Charlie Griffiths' - HARD ROCK - YNGWIE MALMSTEEN STYLE
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ExamplE 4 picking With legato
cd track 51
Play this riff with a combination of alternate picking and pull-offs. as you 2 xxxxxxxxxx switch between the techniques the notes should all remain the same intensity
and length, for a cohesive sound. For better time keeping, tap your foot on the downbeats and phrase the riff ‘three-notes per beat’.
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# YNGWIE MALMSTEEN learning .. E 5 .zone Ó &# ˙˙ .. œ œ nœ œ œ œ œ œ œ œ œ b œ n œ . œ Ó. œ # œ . n œ & œ œ œ œ œ œ œ ˙ . n œ œ œ ˙ œ œ œ œ œ œ œ #œ ˙˙ .. cd track 53 œ œ œ bœ nœ œ ExamplE 5PM speedy 16th-note œ œ œ phrasing nœ œ œ œ Start this riff with a downstroke and keep your picking hand moving is played seven-notes per beat. Phrase these by focusing on the notes which E B
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continuously down and up throughout the 16th-note phrasing. The final run G E D B A G E D3 A E Ex3 5
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ExamplE 6 solo
cd track 55
Break the solo down into two-bar sections and work on the phrases finger of your picking hand. after smoothly descending the a Harmonic individually at first. afterMAGAZINE the initial sweeps, Minor scale, work your way back up the neck with a six-note-scale pattern GUITAR TECHNIQUES 2 6 5 play a 7th-fret harmonic and Charlie Griffiths' - HARD - some YNGWIE MALMSTEEN STYLE culminating in some let it sustain as you moveMAGAZINE your hand up and ROCK finish with ascending Diminished arpeggios GUITAR TECHNIQUES 2 6to5the 20th fret. next, trill between Charlie Griffiths' - HARD - YNGWIE MALMSTEEN STYLE the 17th and 18th frets before adding some 18th fret taps with the second wideROCK bends. Good luck! Ex 6
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œ ~~~ œ ~~~ TRACKs 45-56 œ~~~ 12 ~~~ 13 cd 12track 00 ~~~ 13
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(√) 6 ~~~~~ #œ œ œ œ œ √ ( ) œ œ #œ œ œ œ œ6œ œ œ & œ ~~~~~ # œ œ E œ œ œ œ œ œ œ œ œ #œ œ (√) œ~~~~~ œ œ œ 6 œ œ œ & # œ œ œ œ œ œ œ #œ œ œ œ œ # œ œ œ~~~~~ œ7 œ4 œ5 œ7 œ5 œ4 & 16 13 12 10 13 12œ 10œ # œ9 œ œ œ œ œ œ # œ œ ~~~~~ 10 9 7 œ7 10 9 7 6 16 13 12 10 7 4 5 7 5 4 8 13 12 10 9 10 9 7 ~~~~~ ≥ 13≤ 12≥ 10 ≤ ≥ ≤ ≥7 4≤ ≥5 ≤7 ≥5 ≤4 ≥ ≤ ≥ 10≤ ≥9 ≤7 6 ≤8 ≥7 16 13 12 10 9 Am 10 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤9 ≥7 10≤ ≥9 ≤7 6 ≤8 ≥7 G ≤ ≥ ≤ (√) ≥ ≤ 6 ≥ Am ≥ ≤œ œ≥ œ œ≤ œ œ≥ œ ≤œ œ œ ≥œ œ≤ œ ≥œ œ≤ œ ≥œ œ ≤œ œ œ œ≤ œ ≥Gœ œ œ œ ≥œ œ œ≤ œ œ≥œ œ≤ œ~~~ (√ ) œ . ≥ # œ ≤œ œ & Am œ 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Gœ œ 6œ œ œ œ œ œ 6 œ œ œ œ~~~ œ œ (√ ) œ œ œ œ . # œ œ3 œ œ œ œ œ 6 œ œ 6 6 & œ œ œ œ œ œ ~~~ œ6 œ œ œ œ œ œ œ œœœœœœœœ œ œ . # œ œ3 10œ & œ8 œ5 œ7 œ8 œ7 œ5 10 œ7 œ8 610 œ8 œ7 12 œ8 10612 10 œ8 13 10 12 13 15 12 13 15 17 15 17 13 17 12 17 15617 13œ 17 12œ~~~ 12 6 13 ~~~ 6 3 10 6 8 5 7 8 7 5 10 7 8 610 8 7 12 8 10 12 10 8 13 10 12 13 15 12 13 15 17 15 17 13 17 12 17 17 17 15 13 12 12 ~~~ 13≥ ≥ 10≥ 8 5 7 8 7 5 10 7 8 10 8 7 12 8 10 12 10 8 13 10 12 13 15 12 13 15 17 15 17 13 17 12 17 17 17 15 13 12 12 13 F E ≥≥ ≥ (√) j ˙ ~~~~~ j ˙ ~~~~~ ~~~~~ œ # œ j ˙ E F œ œ œ œ œ œj # œ œ œ œ œ œ œ (√ ) j ˙ ~~~~~ j ˙ ~~~~~ ≥ ≥ ≥ ~~~~~ œ # œ & Fœ #œ j E j #œ œ œ œ ˙ œ œ œ œ œ (√ ) j ˙ ~~~~~ j œ œ œ 6 œ # œ ˙ ~~~~~ & œ 6# œ j ˙ ~~~~~ j #œ œ œ œ BU ~~~~~ BU ~~~~~ & 13 10œ 12œ 6# œ 12œ 10œ œ 16 13 15œ 6 œ 15œ 13 19 ~~~~~ ( 22 ) ( 24 ) BU ~~~~~ BU ~~~~~ 13 16 ~~~~~ 6 6 ( 22 ) ( 24 ) 13 10 10 16 13 13 19 12 12 15 15 BU BU ~~~~~ ~~~~~ ≤ 10 ≤ ≥13 ≥ ≥10 ≤ 16 13 ≤ ≥16 ≥ 13≥ 19≤ ~~~~~ ( 22 ) ( 24 ) 13 12 12 15 15 ≤ ≤ ≥13 ≥ ≥ ≤ ≤ ≥16 ≥ ≥ ≤ ≤ ≤ ≥ ≥ ≥ ≤ ≤ ≥ ≥ ≥ ≤
E B G D E A B E G 4 D E A B E G 4 D A E 4
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February 2017
FIRST ARTISTS ANNOUNCED
BU Y S T E K C TI ! W O N I DA N I E L S E N O F P R I N C E ’ S B A N D 3 R D E Y E G I R L A N D B A S S I C O N S T UA R T H A M M W I L L P E R F O R M AT T H E 2 0 1 7 S H O W !
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W W W. L O N D O N B A S S G U I TA R S H O W. C O M
lesson } JAZZ
ON THE CD
Pat metheny The incredible Pat Metheny has been pushing the boundaries of modern jazz for over 40 years. John Wheatcroft explores his style.
TRACKs 57-72
Ornette Coleman and Derek Bailey, a mastery of Latin rhythms plus an appreciation of the melodic simplicity of James Taylor, govern all this with a considerable imagination and you’re in the general ballpark. Pat’s compositional prowess is perhaps the main factor that sets him apart. Anyone that can claim to have an entire ‘Real’ book dedicated exclusively to their pieces is prolific by anyone’s standard. Check him out! His playing and writing transcend boundaries with intelligence, flair and beauty. One senses with Metheny that the only thing that matters to him is the music and all the other trappings of his success have limited interest for him. The following eight examples typify what Pat might play in a specific improvisational situation. This should be considered the start of your studies, so consider some careful listening, transcribing and woodshedding to get the most from this lesson. Don’t get too consumed with technique, as it’s the musical
I would always contend that talent Is an element, but ultImately It Is mostly hard work
Pat Metheny
abIlIty ratInG
✪ ✪ ✪ ✪ ✪ Advanced Info Key: Various Tempo: Various CD: TRACKS 57-72
Will improve your Integration of chromatic ideas Legato articulation Motific development
P
at Metheny is a phenomenal guitarist, composer and all-round musician. From the early ‘70s and while still in his teens, Metheny began to gain exposure as a member of vibraphonist Gary Burton’s band on recordings with bass virtuoso, Jaco Pastorius, and as the youngest ever lecturer at Berklee College of Music. From then to now Pat’s career has been staggeringly fruitful, as band leader, in collaboration with artists such
as Michael Brecker, Ornette Coleman and John Scofield, as sideman for Joni Mitchell, Bruce Hornsby and many more, and solo performer with ground-breaking projects such as his Orchestrion Project and solo acoustic album, One Quiet Night. He has received 35 Grammy nominations across 12 different categories, winning 20, and he shows no signs of slowing down. Pat has achieved the Holy Grail in jazz, creating a unique voice on his instrument while sounding completely connected to the history and vocabulary of jazz. So while you can clearly discern the influence of Wes Montgomery and Jim Hall, this is balanced with a more horn-like vocabulary taken from John Coltrane, Sonny Rollins and Michael Brecker. Add the anarchic free sprit from
NEXT MONTH John introduces the amazing George Benson with octaves and beyond 6
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reverB
Pat’s electric sound has less modulation these days but we’re still talking super-clean neck pickup with a long reverb and almost all the treble removed via the tone pot. He augments his tone with a small mic installed inside one of the f-holes and he alternates between light gauge flatwound or roundwound strings, but always with a wound third.
track record The Unity Sessions is Pat’s most recent solo release (Nonesuch 2016) and features some truly beautiful music. Trio Live (WEA 2000) is equally amazing and it would be remiss not to include something from the Pat Metheny Group. Try the DVD, Imaginary Day (Eagle Rock 1998). There are some phenomenal examples of Pat’s playing on Michael Brecker’s final album, Pilgrimage (Decca 2007). 72
February 2017
EPA / ALAMY
Pat Metheny with his Ibanez signature model
ideas that have the most value. Pat favours a lightly-picked legato approach but this could easily be modified to fit your preferred playing style. However, It makes sense to follow the transcribed lines as accurately as possible to begin, and then allow whatever comes naturally to come to the fore while keeping a careful watch on musical factors such as clarity, timekeeping accuracy, flow and swing. As always, enjoy!
learning zone
PAT METHENY ExamplE 1 Motific idea and 3rd/7th figure through Modal changes Pat’s playing is full of motific development, where each idea is repeated, developed, twisted or turned to get the2maximum amount of music from GUITAR TECHNIQUES MAGAZINE 65 every phrase. Here we see rhythmic repetition,PAT a chromatic descending line in by METHENY STYLE GUITAR TECHNIQUES MAGAZINE 2 6 5
Ex 1: Motific idea and 3rd/7th figure throughPAT modalMETHENY changes GUITAR TECHNIQUES MAGAZINE 2 6 5 Ex 1: Motific idea and 3rd/7th figure throughPAT modal changes Dm7 METHENY
cd track 57
3rds and one of his favourite patterns based around the perfect 5th interval, often positioned between the 3rd and 7th degree of a chosen chord, such as F (b3) andWheatcroft C (b7) from our underlying dm7. John
STYLE by John Wheatcroft
STYLE by John Wheatcroft ©»¡¢º Dm7 b ©»¡¢º 44 andÓ 3rd/7thŒfigure Ex 1: Motific #œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ ⋲ œ œ œ œ œ œmodaln œchanges n œ nthrough & b b b bbidea 44 Ó Œ n œ n œ œ œ Dm7 nœ #œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ ⋲ œ œ œ & b b ©»¡¢º b œ nœ #œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ ⋲ œ œ œ & b b b 44 Ó Œ n œ n œ œ
E B G E D B A G E D E 1 A B E G 1 D A E 1
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nœ bœ nœ œ œ œ œ bœ nœ bœ œ nœ bœ nœ œ œ œ œ bœ nœ bœ œ nœ nœ nœ bœ nœ œ œ œ œ bœ nœ bœ œ nœ 4
b b b Fm7œ b & b b Fm7 &b b œ b & b bb œ
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≠≠œœ nn œœ ≠≠œœ bb œœ bb≠≠œœ nn œœ ≠œ bb œœ œœ ⋲⋲ œœ ⋲⋲ œœ œœ ⋲⋲ œœ ≠≠œœ nn œœ ≠≠œœ bb œœ bb≠≠œœ nn œœ ≠œ bb œœ œœ ⋲⋲ œ ŒŒ ≠ œ œ œ ≠ ≠œ n œ ≠œ b œ b≠œ n œ ≠œ b œ œ ⋲ œ ⋲ œ œ ⋲ œ ≠œ n œ ≠œ b œ b≠œ n œ ≠œ b œ œ ⋲ œ Œ
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ExamplE 2 chroMatic Modal line and Motific haMMer-on figure
cd track 59
2 xxxxxxxxxx This F Minor line implies dm7b5 over F to create dm6, before moving into a chromatic idea followed with an imaginary v-i (C7b9 to Fm) cadence. Once we shift to db7 we see how Pat embellishes a simple repeated note figure with hammer-ons.
Ex 2: Chromatic modal line and motific hammer-on figure
b & b b b 44 Ó E B G D A E
œ œ œ œœ œ ⋲ œ œ ⋲ nœ ‰ ⋲ ˚j œ œ œ ⋲ œ ⋲ œ n œ ⋲ J ⋲ J J ‰ nœ Fm7
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œ œ nœ œ œ bœ ⋲
Februaryœ2017 œ œ œ œ œ œ n œ œ œ œ #œ œ œ ⋲ œ nœ
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œ nœ J œ œ ⋲ nœ ⋲ J ⋲ œ Œ œ #œ œ œ b ˚ & b b b 44 Ó ‰ ⋲ n œj œ œ œ ⋲ Fm7 ⋲ œ ⋲ œ ⋲ Jœ J ‰ œ œ ⋲ J œ œ œ œ b b 44 Ó ‰ ⋲ ˚j œ œ ⋲ œ n œ ⋲ J ⋲ J J ‰ œ ⋲ œ ⋲ n œ ⋲ œJ ⋲ œJ Œ œ # œ œ œ ⋲ b b & œ ON THECD TRACKs 57-72 2 xxxxxxxxxx } JAZZ n œ lesson E2 xxxxxxxxxx 6 4 3 4 B 6 G 8 5 5 7 5 D 6 Ex 2: Chromatic modal line and motific figure E A 6 4 3 4 5 hammer-on 8 B E ExamplE 2 chroMatic Modal line and Motific haMMer-on figure ...CONTINUED 6 Fm7 Ex1 2: Chromatic modal line and motific hammer-on figure G 8 5 5 7 5 D 6 Fm7 A 5 8 E 1
E B G E D B A G E E D B A 1 G E D 1 E A B E G4 D A E 4
b & b b b bb 444 Ó ‰ ⋲ n œ˚˚j œ œ & b b b 4n œ Ób œ ‰ ⋲ n œj œ œ nœ nœ bœ bœ & b bb œ b nœ bœ nœ nœ bœ bœ & b bb œ 5
b & b b b bb & bb b & b bb b & b bb
E B G E D B A G E E D B A 4 G E D 4 E A B E G6 D A E Ex6 3:
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cd 3 track 3 4 59 6
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nbœ b œ n œ n œ b œ b œ 5 3 2 œ œ n œ D 7 n œ b œ n œ n œ b œœ bn œ œœ œœ œn œn œ œœ bœœ n œœ œ œ nœ nœ œ nœ œ œ D b7 œ œ œ nœ œ bœ œ nœ œ nœ œ œ œ nœ 5
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9 10 11 11 11 12 13 14 14 14 11 12 13 13 13 b œ œ œ b œ n œ œ œ œ 7 œ8 œ9 œ9 œ9 7 7 7 œ9 n10œ 11œ 11œ 11œ b œ9 œ9 9 œ œ œ œ n œ œ n œ œ nœ œ œ bœ œ œ bœ nœ œ œ œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ bœ œ œ œ œ œ œ n œ b œ n œ b n œ œ and œ arpeggios nœ œ œœ b b b minor n œ œphrasing œ &Staccato b b b & ©»¡™º D m7 C7 B b maj7 A7 Dm7 . œ Ex 3: Staccato minor phrasing and arpeggios . . . œ œ œ œ œ . . 4 œ œ œ œ œ œ œ œ # œ ⋲ ⋲ J Œ B b maj7 œ œ ⋲ A⋲7 œ ⋲ œ ‰ œ Dm7 ⋲J œ D m7 C7 J & b ©»¡™º 4 5 6∑ 7Minor 7 7 9 10 11 11 11 12 13 14 14 14 11 12 13 13 13 7 8 9 9 9 7 œ7 7 œ 9 10 11 11 11 cd 9 ExamplE 3 staccato phrasing and arpeggios . . .11 œ11 œ 12 13œ 14 œ14 14 11œ. 12œ.13 13 13 # œ 7 8 9 9 9 7 7 7 9 10 œ11 11œ 11 œ99. track œ œ 9œ 61 œ 4 œ 5 6 7 7 7 9 10 11 9 Pat’s playing can be remarkably simple at times, relying upon well chosen settling on some clear d Minor triad melodic phrasing that fits the underlying ∑ ⋲ ⋲ Œ œ ⋲ ⋲ œ ⋲ ‰ ⋲ b œ œ œ œ theœ staccato œ phrasingJ marks9as Pat & 4 J impeccably J melody notes that outline the underlying chord shapes but always changes like a glove. Make sure to observe
b D n bœ7
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E B G E D B A G E D phrased and executed. This idea begins with more motific development before cuts these notes short to add to the rhythmic propulsion of the line. E A 6 B E 6 6 G 7 7 10 9 7 9 7 7 6 D 10 8 7 5 0 3 7 10 8 7 Ex 3: Staccato minor phrasing and arpeggios 10 E A B E 6 Ex1 3: Staccato minor phrasing andDarpeggios m7 B maj7 Dm7 G 7 7 10 9 7 9C 7 7 7 6A 7 D 10 10 8 7 5 0 3 7 10 8 7 A D m7 C7 B maj7 A7 Dm7 E 1 D dim Cm6
E B G E D B A G E E D B A 1 G E D 1 E A B E G5 D A E 5
E B G E D B A G E D A 5 E 5
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©»¡™º 4 b ©»¡™º ∑ &√ 44 & b 4j j ∑ b œ œœ œ &√ j j &b œ œ œ œ 8 10 8 10
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D b dim 10 10 8 10 √ 10 D b dim j j œ √ œ œ œ œ b & œj œ œj œ œ œ ‰ œ . œ œ. œ. œ ‰ œ . œ œ œ. &b . 8 10 8 10
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February 2017
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. œ œ. œ œ œ Œ œ. œ. œ œ ⋲ # œ ⋲ œ ⋲ œ ‰ œ œ œ œ ⋲ Jœ . œ œ œ . œ œ œ # œ Œ œj ⋲j ⋲ œ ⋲ ‰ œ œ œ œ ⋲J œ œœ œ œ œœ œ œ œ œ Cm6 ⋲ ⋲ ⋲ ⋲œœ Ó œ#œ œ ⋲ j j œ œ œ œ œ œ œ œ ⋲ œ œ ⋲ 7œ ⋲6 œ œ7 Ó6 5 ⋲ ⋲ œ # œ œ7 6 5 7
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œ œ œ œ œ œ œ œ Cm6 œ œ œ œ œœ⋲ œ⋲œœ ⋲ ⋲œ Ó ⋲œ ⋲ ⋲œ⋲œœ Ó j œ j œ
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learning zone
PAT METHENY ExamplE 4 douBle-tiMe Minor ii V i
cd track 63
3 ii-v-i line in d Minor follows the changes beautifully and sounds equally This jazzy and bluesy at the same time. Make sure to observe the non-picked
hammer-ons in the penultimate bar. These notes are almost implied and serve as much a rhythmic function as a melodic one.
3
Ex 4: Double-time minor II V I
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# œb œ œ œ œ œ E m7 œ 5 b œ ‰ ⋲œ œ # œ œ œ œ œ b œ ‰ ⋲
©»¡™º 44 Ó & b ©»¡™º & b 44 Ó
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Ex 4: Double-time minor II V I
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Ex 4: Double-time minor II V I E
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˙ Ó ˙ 2017Ó February
75
# & # ## Ó
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lesson } JAZZ
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TRACKs 57-72
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11 cd track 65
G 7
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ON THE CD
E 14 12 11 B 12 G D A ExamplE 5 Blues in B ...CONTINUED E 6
E B G D A E
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ExamplE 6 rhythMic three-note Blues Motifs
cd track 67
Pat’s playing is at times as rhythmically developed as it is harmonically sophisticated and this example typifies the rhythmic component of his 4 xxxxxxxxxx xxxxxxxxxxperfectly. each ascending three-note motific figure is improvisations 4 manipulated just slightly to avoid direct repetition but maintains a sense Ex 6: Ex 6: Rhythmic Rhythmic three-note three-note blues blues motifs motifs 4 xxxxxxxxxx
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14
of cohesion. Metheny has the ability to perform highly syncopated lines without ever losing the sense of exactly where the pulse is, so your task is to keep your foot tap in place throughout to internalise the location of the downbeat at all times.
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Ex 7: Double-stops
E E B B G G D D A A E E E 1 1 B G D A E 1
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Ex 7:toDouble-stops 6ths, bring out the harmonic shift between the i (B) and iv (e) in our B7 7B blues. B You might wish to check out Mick Goodrick’s excellent book, The advancing Swing
©»™£¢ Swing #### 4 ∑ Ex & 7: Double-stops #4 ©»™£¢ Swing #### 4 ∑ #4 &
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E E 7 11 12 B B G G D D A A E E 6 E 6 7 11 12 11 11 7 7 B 10 7 G D ExamplE 7 douBle-stops A E This 6 example showcases how Pat might use double-stops, in this case diatonic
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cd track 69
Guitarist for more on intervallic playing. Mick was something of a mentor to Metheny when they were both members of Gary Burton’s ensemble and he’s also a fine player.
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cd track 69
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learning zone
PAT METHENY
E B G D A ExamplE 7 douBle-stops ...CONTINUED E 1
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ExamplE 8 pull-offs, slides and fast chroMatic line
cd track 71
This example juxtaposes a simple melodic development idea followed by5 a rhythmic figure moving across the beat, followed by a chromatically embellished articulate semiquaver line, full of pull-offs, slides and nimble
position shifts. We’re after accuracy here so make sure to start slowly and methodically, making sure every note is accurately placed and perfectly in time before increasing the tempo.
5 Ex 8: Pull-offs, slides and fast chromatic line
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E B G D E A B E G1 D E A B E G1 D A E 1
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February 2017
77
lesson } ACOUSTIC
ON THE CD
david bowie In the year that the music world lost its most creative force, Stuart Ryan examines the acoustic style of this much-missed genius. David Bowie’s guitar underpinned very many great tracks
TRACKs 73-74
began to blossom as he took onboard everything from avant garde to folk influences. Bowie’s late ‘60s and early ‘70s sound is probably best characterised as a brand of acoustic folk-rock, but with an edge that others in that genre often missed. Early tracks like Space Oddity released in 1969 feature prominent acoustic guitar parts with the folk-influenced strumming patterns of the time. However, the famous acoustic guitar break in this track hints at a harder rock sound that was to come later. Often Bowie’s acoustic parts are at the core of a track, bolstering the rhythm section with simple, solid strumming – The Man Who Sold The World is a good example as is Soul Love where a steady, tightly-strummed part locks in with the bass and drums underpinning the track. Bowie’s acoustic style and songwriting
bowie’s late ’60s, early ’70s sound is characterised as a blend of folk-rock but with an edge that others often missed is very interesting around this era as you start to hear the transition from a ’60s folk sound to the harder rock material that would come later. Tracks like Kooks from the Hunky Dory album also hint at a Ray Davies-style Kinks influence with the characteristic open chord strumming from that era. There are no histrionics in Bowie’s guitar style – he had Mick Ronson, Adrian Belew, Robert Fripp and others for that – but listen to his parts and you will hear some unique ideas from unconventional chords to unpredictable progressions. NEXT MONTH Stuart examines the style of another great writer-guitarist, Sheryl Crow
Info Key: F major Tempo: 88 bpm CD: TRACKS 73-74
Will improve your Fretting hand chord work Strumming patterns Dynamics and attack
W
hen David Bowie passed away earlier this year the world lost not only one of its greatest songwriters but also a guitarist with a unique, quirky style. While his genius lay in his songwriting, Bowie’s abstract chords and spiky, funkinflected acoustic guitar rhythms underpin many of his classic tracks. It’s hard to imagine
classics like Starman without the dissonant, crashing opening acoustic guitar chords; and remove the classic acoustic break from Space Oddity and you’ve lost one of the most distinctive features of that track. David Bowie was born on January 8, 1947 in south London. He formed his first band at age 15 and like many musicians of the time their focus was on performing covers of the music of the great American bluesman like Howlin’ Wolf and Willie Dixon. Bowie’s tastes went beyond this, however, though he did cite his contemporary Mick Jagger as an early idol. His scope widened in 1967 when he began to study dramatic arts and the David Bowie that came to dominate the world stage
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Bowie would play whatever he had and often used 12 as well as six strings; at times a Zemaitis but also Takamines and others during his career. A larger bodied acoustic guitar will do the job but remember that the distinctive bright, jangly sound came from the production techniques – double and triple tracking plus heavy compression. I recorded this with a Gibson J35 Collector’s Edition.
track record To hear Bowie’s acoustic playing at the fore check out albums The Rise And Fall of Ziggy Stardust and Hunky Dory, or tracks Starman and Space Oddity. As his sound progressed and changed the acoustic became less of a feature but the music no less great. Indeed, give Let’s Dance a listen to hear what he could achieve when he had Nile Rodgers and Stevie Ray Vaughan at the helm! 78
February 2017
LIVEPIX
ability rating ✪ ✪ ✪ ✪ ✪ Moderate
learning zone
DAVID BOWIE ExamplE BOWIE ACOUSTIC STYLE
cd track 73
[Bar 1] As with many players of this era Bowie was a ‘thumb over the top player’ thumb over the top fingering in the first bar is important as it lets you move and that allowed him to play that open position Fmaj7 chord that dogs so notes around within the F shape chord with ease. many guitarists. Use the fretting hand thumb to hook over the top of the neck [Bar 6] And yet more Bowie-style chord fun on this Bbmaj7(#11) chord – if you and fret at the 1st fret of the sixth string. Use the third finger for the fifth string, are not used to this sound it may take your ears some time to adjust but listen the fourth finger for the fourth string, the second finger for the third string and to his music and you will hear that these types of chords often give way to the first finger for the second string. more ‘ear friendly’ Major and Minor shapes. TECHNIQUES 2 6 5chord here, the openStuart's Acoustic [BarGUITAR 2] A typically angular Bowie-style second string is [Bar 9] Here is an example of Bowie’s easy going, folk-derived strumming that DAVID STYLE the #11 of this chord and it gives that characteristic dissonance. Again,BOWIE the will contrast with some of the more funk-influenced patterns later on.
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5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
œœ œ œœ œœ œœœ œœ œ œ œ œ
œœ œ œœ œœ œœœ œœ œ œ œ œ
1 3 2 3 1
1 3 2 3 1
1 3 2 3 1
2 3 1
2 3 1
1 3 2 3 1
2 3 1
œœ .. œ. œœœ ...
œœ œœ œœ
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
œœ œœ œœ
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œœœ œœ
œœœ œœ
0 1 3 2 3
0 1 3 2 3
0 1 3 2 3
0 1 3 2 3
0 1 3 2 3
0 1 3 2 3
0 1 3 2 3
0 1 3 2 3
œœ œœ
œœ œœ
œœ œœ
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C ˚j œœ ⋲ ‰ œœ œœ œœ œœ œœ
6 7 7 5
6 7 7 5
6 7 7 5
6 7 7 5
6 7 7 5
Dm
5 5 5 3
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œœ œœ œœ
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
5 5 6 5 7 5
5 5 6 5 7 5
3 3 1
3 3 1
#
0 1 2 3 3 1
3 3 1
3 3 1
5 5 6 5 7 5
5 5 6 5 7 5
œ œœœ œœ
5 5 5 3
œœœ œ œœœ œ œœ œœ œœ œœ
œœœ œ œœœ œ œœ œœ œœ œœ
0 3 2 3 1
0 3 2 3 1
2 3 1
0 3 2 3 1
œœ œœ œœ
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1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
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2 3 1
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7
A7
E B G D A E
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3 3 1
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j œ œ ¿ ¿ œ ¿ ¿ œ œ œ ⋲ b & œœ ¿¿ ¿¿ œœ ¿¿ ¿¿ œœ œœ œœ œœ ‰ E B G D A E
0 0 2 3 3 1
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œœ œœ œœœ œœ 3 3 0 0 2 3
Fmaj 7
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5 5 5 3
5 5 5 3
5 5 5 3
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5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
2 3 1
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0 3 2 3 1
2 3 1
2 3 1
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1 1 2 3 3 1
1 1 2 3 3 1
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1 1 2 3 3 1
b
œœ œœ œ
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3 3 3 1
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0
3 3 3 1
0
0
0
Dm
C
œœ œœ
œ œœœ
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6 7 7 5
6 7 7 5
6 7 7 5
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5 5 5 3
5 5 5 3
5 5 5 3
5 5 5 3
February 2017
79
lesson } ACOUSTIC
ON THE CD
TRACKs 73-74
ExamplE BOWIE ACOUSTIC STYLE
cd track 73
[Bar 17] A classic composer’s trick that made its way into Bowie’s writing – the Major chord turning into Minor chord in the next bar. It’s a great device and one that you should train your ears to hear. 2 23] Acoustic [Bar This guitar break will do wonders for both your fretting and
G7
E B G D A E
œœ n b & œœœ œ
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œœ œœ œ œ
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œ œœœ œ œ
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
16
C7
&b E B G D A E
œ œœœ œ œ
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œ b œœœ œ œ
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6 6 7 8 8 6
6 6 7 8 8 6
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6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 6 8 8 6
6 6 6 8 8 6
6 6 6 8 8 6
6 6 6 8 8 6
6 6 6 8 8 6
6 6 6 8 8 6
6 6 6 8 8 6
6 6 6 8 8 6
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
œœœ œœ
œœœ œœ
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Fmaj 7
20
23
6 6 7 8 8 6
C
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26
œ œœœ œœ
8 8 9 10 10 8
b
œ n œœœ œ œ
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3 3 4 5 5 3 D œœ # œœœ œ œœœ œœœ
8 8 9 10 10 8
10 10 11 12 12 10
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80
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B
E B G D A E
œ œœœ œ œ
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b
29
3 3 0 0 2 3
3 3 0 0 2 3
February 2017
3 3 0 0 2 3
3 3 0 0 2 3
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b
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E B G D A E
b
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E B G D A E
B
strumming hands. Firstly, it’s all barre chords so it will test the strength of your fretting hand and, secondly, the rhythms need to be accurate and tight on this section, especially if you were playing in a band context and the rhythm section were waiting to come back in.
# œœœ œ œ
œœœ œ œ
œœœ œ œ
œœœ œ œ
5 7 7 7 5
5 7 7 7 5
5 7 7 7 5
5 7 7 7 5
˙˙ ˙˙ ˙˙
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œœœ ... œœœ ...
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0 1 2 3 3 1
0 1 2 3 3 1
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B
b
œœ ... œœ . œ. œ. 6 6 7 8 8 6
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œ œœœ œœ
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G
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œ n œœœ œ œ
8 8 9 10 10 8
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3 3 0 0 2 3
3 3 0 0 2 3
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3 3 4 5 5 3
Fmaj7
œ œœœ œœ
D
œ # œœœ œ œ
œœ œœ œ œ
œœ œœ œ œ
œœ œœ œ œ
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
6 6 7 8 8 6
œœœœ œ œœœœ œ œœ œœ œœ œœ
œœœ œ œœ œœ œœœœ œœ œ œ œ œ
0 1 2 3 3 1
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3 3 1
E7
0 1 2 3 3 1
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b
B
0 1 2 3 3 1
3 3 1
C
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œ n œœœ œ œ
8 8 9 10 10 8
n œœœœ œ œœœœ œ œœ œœ œœ œœ
œ # n œœœ n œœ
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œœ œœ œœ
0 0 1 0 2 0
0 0 1 0 2 0
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3 3 1
b
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3 3 1
Fmaj 7
www ww w 0 1 2 3 3 1
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3 3 1
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lesson } CREATIVE RoCk
ON THE CD
TRACKs 75-77
Suspended 4th triads pt2 Stacked examples In order to create more interesting lines, Shaun Baxter stacks his Mixolydian triads, ensuring that your musical palate never becomes jaded!
Info Key: A (A7) Tempo: 128 bpm CD: TRACKS 75-77
Will improve your… Seeing 4th triads within a scale Execution of sus4 triads Development of sus4 lines
A
good cook is selective with any available ingredients in order to prevent the palate from becoming jaded. If you always throw everything in the pot, you’ll end up eating stew every day, whereas, if you limit yourself to just a few things each time, you can eat differently every
day. The same applies when improvising. If you use every note in the scale, you’ll end up with the same homogenised results (musical stew); however, by being selective with our note choice, we can extract a variety of different and distinct flavours. Many of our recent lessons in Creative Rock have been devoted to just that. In this present series, we are focusing on extracting suspended 4th triads from the scale (in this case, A Mixolydian) in order to produce sounds that are quite different from simply playing up and down the scale (using every note). Suspended 4th triads sound modern, angular and airy and are created when the 3rd note of each triad is replaced by a 4th. Before we look at the musical examples within this lesson, we should start by reminding ourselves of how a suspended 4th triad is created. It is called ‘suspended’ because, when played as a chord, it sounds like it’s hanging in the air, needing to resolve to something more stable sounding. For example, if you play Asus4 (A-D-E) it sounds like the D note needs to resolve to a C# note in order to create a comfortable sounding A triad (A-C#-E). Because they sound ambiguous and noncommittal, suspended chords are used a lot in modern styles like jazz fusion, which tend to be more abstract in nature. Here’s the list of suspended 4th triads available to us within A Mixolydian: A B C# D E F# G 1 2 3 4 5 6 b7 A Asus4 – 1
D 4
E 5
B Bsus4 – 1
E F# 4 5
C# F# G C#dim sus4 – 1 4 b5 Dsus4 –
D 1
G 4
A 5
Emsus4 –
E 1
A 4
B 5
F#sus4 –
F# B 1 4
Gsus#4 –
G 1
C# 5
C# D #4 5
Working out suspended 4th triad shapes from within a scale isn’t quite as difficult as it may look on paper. Basically, you just follow a logical progression: once you have established the notes of one sus4 triad, you simply move each note up or down to the next note in the scale in order to get the neighbouring sus4 triad within that key (or scale). Commonly on guitar, you will get each one-octave triad fingered in one of four different ways: • Three notes on one string (3 configuration) • Two notes on one string and then one note on a higher string (2-1 configuration) • One note on one string and then two notes on a higher string (1-2 configuration) • One note on each adjacent string (1-1-1 configuration) In this lesson, we will be focusing exclusively on 1-2 and 2-1 note6
GaIn
5
5
5
MIddle
TReBle
ReveRB
7
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Triads will sound good either clean or distorted for single-note improvisation; however, as this is Creative Rock, all the examples were recorded using a standard blues-rock sound: a Fender Strat through a distortion pedal Zendrive into a Cornford head. I used the Strat’s bridge pickup throughout), applied light palm muting to clean things up in places, and added a discreet amount of delay for ambience.
TRACK RECORD As this lesson deals with breaking out of a rut using something that sounds good in modern jazz, let me introduce you to New York jazz guitarist Mike Moreno. Mike is a great composer and a highly-creative guitarist who manages to be devoid of cliché. On his solo records, he blends beautifully with musical soulmate, pianist Aaron Parks. I played nothing but Mike’s album Another Way in my car for about three years. There’s not a duff track on the album, the band is great throughout and it will reward repeated listening.
82
February 2017
DaviD LytteLton
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced
SuSpended fourth triadS pt2 configurations. In which case, as you have probably worked out, they will all be two-string shapes. There is a limit to how much ground we can cover here; however, you should aim to establish similar ideas stemming from every one of the CAGED shapes of Mixolydian (and, eventually, every other scale that you use, since these principles apply to all of them). Diagram 1 shows each of the CAGED shapes of A Mixolydian, and Diagram 2 shows how all of these shapes link up along the neck. Working within the restrictions of a
YOu ShOuLD AIm TO ESTABLISh SImILAR IDEAS STEmmING fROm ALL Of ThE CAGED ShApES Of mIxOLYDIAN ThAT YOu KNOw single concept like suspended 4th triads will help to force you out of your ‘usual’ stepbased approach to scale playing and into less familiar, but fresher-sounding areas. Remember, your aim, through formal
learning zone experimentation with suspended 4th ideas is to establish a series of friendly and flexible shapes (rather than theoretical concepts) that exist within each particular scale pattern, allowing you to use the information in a more instinctive and intuitive way, so they don’t just sound like exercises. Finally, as in previous lessons, when experimenting with your own ideas, remember to work at creating ones that have some form of rhythmic interest, as this is a great way help to make things sound more musical and, again, less mechanical.
DIAGRAM 1 CAGED SHAPES FOR A MIXOLYDIAN
DIAGRAM 2 HOW ALL THE CAGED SHAPES LINK, FOR A MIXOLYDIAN
February 2017
83
lesson } CREATIVE RoCk
ON THE CD
TRACKs 75-77
ExAMplES PERMuTATIONS OF FOuR-NOTE uNITS
cd track 76
EXAMPLE 1 each nine-note triadic arpeggio shown in bars 1 and 2 (asus4 EXAMPLE 2 Here, we have more sus4 triads following a 1-2 configuration. and Gsus#4) comprises a single three-note triad shape played across three This time, although we have a triad shapes on each of the lower, middle and different octaves on the lower, middle and upper string pairs: sixth and fifth upper string pairs, instead of the same triad being played over three different string, fourth and third string and second and first string . each of these octaves, we have a series of different triads effectively ‘stacked’ on top of each three-note sus4 triads shapes following a 1-2 note-configuration, and each other within the same scale shape or neck area. This same approach to playing shape remains the same on each string pair. Geographically, the asus4 in bar an ascending series of ‘stacked’ sus4 triads is used within three separate CaGed 1 ascends through CaGed shapes #1, #2 and #3, whereas the Gsus#4 in bar 2 shapes: #1, #3, and #4. descends through shapes #2, #1 and #5. The whole line is finished off by some EXAMPLE 3 This represents a variation on the previous example. Instead of standard blues-based Mixolydian vocabulary in which a C natural (the Minor playing an ascending sequence in each CaGed shape, here we use the same 3rd) is used as a means of introducing the more correct-sounding C# (Major series of stacked triads to travel up shape #1, down shape #3 and then up 3rd) from a semitone below. 2 6 5 shape #4 before finishing- with a couple of notes in shape #5. GUITAR TECHNIQUES Shaun Baxer's CREATIVE COLUMN
Sus 4 triads from Mixolydian (part 2:) Shaun Baxer's CREATIVE COLUMN Sus 4 triads from Mixolydian (part 2:) Shaun Baxer's CREATIVE COLUMN Sus 4 triads from Mixolydian (part 2:) Shaun Baxer's CREATIVE COLUMN £ triads from Mixolydian 3 Sus 4 (part 2:)
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10 ExAMplES PERMuTATIONS OF FOuR-NOTE uNITS
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EXAMPLE 4 apart from changing the way a triads notes are configured on EXAMPLE 5 Here, we’re employing the same note-order to each triad as bar 25 different strings (3, 2-1, 1-2 or 1-1-1), the notes of each can also be played in in the previous example, only, this time we’re ascending the scale shape rather Ex 3 different orders. In the previous examples, we have either played each triad than descending finishing in bars 3 ¡ ¡ it. This line starts in CaGed shape¡ #3 before 3 ¡ straight up (lowest note, middle note then highest note) or straight down 34 and 35 with a line derived from the notes of shape #4. (highest note, middle note then lowest note). In bar 25, each three-note triad EXAMPLE 6 The first two bars here are reminiscent of those in example 4, but of this example is played in the following note order: highest¡ note, lowest note played in different shapes (#4 and ¡ ¡ figure 3 #3, instead of #2 and #3). also, the 3 3 notes later. This creates a then middle note. Geographically, this line starts of by¡descending CaGed 3 has been rhythmically displaced by starting it two # # E sus4 C dimsus4 4 sus4 half relates shapes #2. It then ascends an area that straddles the divideAbetween shapes #2 # 4significant difference in the Gsus way it sounds. TheBsecond more to first sus4 Gsus E #3, before finishing with a blues line in shape #3 that, again, uses a C note and two bars of 5example 1 in that we have a nine–note suspended triadic arpeggio 7 10 9 B 5 8 shape taken down through three (Minor 3rd) to approach a C# note (Major 3rd) in two different octaves, the bulk composed of the same three-note triad G 6 7 11 9 ofDthe line being based around the notes of an a7 arpeggio (a-C#-e-G). 5 octaves via the upper, middle and lower string pairs. 9
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4 4 February 2017 4
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lesson } CREATIVE RoCk 12
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~~~ ~~ 3 ~~~ ~~ 11 14 ON THE CD TRACKs 75-77
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Ex 6 œ cd track 76 ¡œ œ¡ 3 ¡œ 3 4 ¡ nsoœ thatœit œ ¡ n # EXAMPLE#7 So far, every three-note sus4 triad has been fingered using a 1-2 note, at the end of bar 51, how a C note (Minor 3rd) is bent slightly œ Ex 6 J ¡ œ œ œ # œ ∑ on the lower string, and4two notes on theŒ string ¡œstarts inching œ the moreœ3 ‘correct’n œ(C#) Major note& configuration (one note œ3 3rd.¡Thisn œis typical ¡œ towards œ itsœ way œ œ # n œ œ 3 sound. above it); # however, here the notes of each triad follow a 2-1 note-configuration (and desirable)¡ in blues and blues-rock styles as¡it lends that ¡ ¡œ authentic J 3 3 ¡ # ¡ ∑ Œ œ (two & notes on the lower string, and one note on the string directly above it). EXAMPLE 8 Finally,3just because we haven’t œ hadn œmuchœ action# in shape #5 (and œ as usual, you should put everything that you play within some sort of visual B sus4 many players tend to avoid it), E here’s lineœbased on the same principle as Dsus4 sus4a D sus4 C dimsus4 ¡ 3 3 3 ¡ ¡ ¡shape #5,¡and then up 3time we’re travelling down context. This line starts in CaGed shape #5 in bar 49,4and descends shape #114 example 4, only this shape 12 12 Dsus4 with a melody E sus4 D sus4 C #dimsus4 10 before finishing with some bluesy Mixolydian material in shapes #5 and #3. B sus4 #1 before finishing in shape #2. 14 12 11 12 4 12 11 14 12
ExAMplES PERMuTATIONS OF FOuR-NOTE uNITS
E B G D E A B E G D 36 A E 36
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February 2017
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∑ ∑ To Fade Out To Fade Out
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lesson } CHORD CAMP
ON THE CD
Chord Camp
TRACKs 78-85
Brought to you by…
This month, resident regimental sergeant major Iain Scott adds some flavour into his chord progressions with a look at natural harmonics.
A
these appraoches help to bring these more tricky-to-find harmonics to the fore. Today we will be looking at the natural harmonics from the 12th, 7th and 5th frets and showing how they can be combined with fretted notes to provide interesting chords and textures in chord progressions. You should, of course, take these exercises as examples of what can be done with this technique, then apply the principles to chords and sequences you already know. Better still, use harmonics to create something new.
natural harmonic happens when an open string is stopped on a node point and produces a higher harmonic pitch. These nodes occur most easily on a guitar string at the 12th, 7th and 5th frets where you can touch the string right over the fret wire and it produces a strong harmonic. But they also occur at other node points as you move down the string past the 5th fret towards the nut, but these are harder to find. Even so, many players have exploited them by using overdrive with the bridge pickup, as
ExamplE 1 NaTURal HaRmONICS
TRACK 78
ExamplE 1a - Natural harmonics at the 12th fret: This produces notes an octave up from the open string’s normal note. Here you get E-A-D-G-B-E. ExamplE 1b - Natural harmonics at the 7th fret: This will give you notes that are ‘an octave and a 5th’ above the open string’s normal note. So here you will get B-E-A-D-F#-B. ExamplE 1c - Natural harmonics at the 5th fret: This will give you notes two octaves higher than the open string’s normal note. That is E-A-D-G-B-E. ExamplE 1d - Combined natural harmonics: You can combine these
GUITAR TECHNIQUES 2 6 5
IAIN SCOTT - Chord Chops Natural Harmonics. IAIN SCOTT - Chord Chops Natural Harmonics. Ex 1b. Open String Harmonics at the 7th Fret.
GUITAR TECHNIQUES 2 6 5 Ex 1a. Open String Harmonics at the 12th Fret.
©»¢º & 44©»¢º ‚ ‚ 4 &4 ‚ ‚
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Ex 1a. Open String Harmonics at the 12th Fret.
‚ ‚
· · · ·· · · · NH
E B G E D B A G E D A E
NH
12
12
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12
‚ ‚
· · · · · ·· · · · · · NH
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©»ª¢February 2017 # 4 A maj7 # œ œ ‚ ©»ª¢
· ·
Example 2. Natural Harmonics on Two Strings. A maj7
‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚
12
12
A m9
7
‚ ‚ #‚ ‚ ‚ ‚ #‚ ‚
‚ ‚ ‚ ‚
· · · · · · · · · · · · · · · · · · · · · ····· · · NH
A m9
Ó Ó
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Example 2. Natural Harmonics on Two Strings.
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Ex 1d. Combined Open String Harmonics.
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5
· · · ·· · · · NH
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‚ ‚
·· ··
NH
Ex 1d. Combined Open String Harmonics.
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NH
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‚ ‚ 5th Fret. Ex 1c. Open String Harmonics at the ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ Ó & ‚ ‚ Ó & Ex 1c. Open String Harmonics at the 5th Fret.
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Ex 1b. Open String Harmonics at the 7th Fret.
·· ·· 12
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notes into an ascending row, as here. 12th-fret harmonics are the strongest, then the 7th, then the 5th, so the notes have been selected in that order. From all of the available harmonics, you only have these pitches – E-AD-F#-G-B to combine with fretted notes on the neck. This may restrict the chords we can construct and the choices of keys we play in. But don’t worry - we will not be stuck on Em7: you will find that we can use them to construct Major, Minor and Dominant chords and also function in modes like Lydian etc.
12
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‚‚ ‚‚ ‚ ‚ ‚ ‚ ‚‚ ExamplE 2 NaTURal HaRmONICS ON TWO STRINGS & &
ÓÓ
· · · · · · · · · · · · · · · · · ·· ·
ÓÓ
TRACK 80
This example [Bar 4] Played notes: C-E-A (R-3-6). Natural harmonics: D-F# (9-#11). NH uses chords made from three played notes and two NHadded NH NH natural harmonics on two strings. By moving around we can build many The chord is C6/9#11. EE 12Natural harmonics: 55 12 77 B-E55(11-b7). interesting chords. [Bar 5] Played notes: F#-E-A (Rb7b3). BB 55 1122 77 [Bar The chord is F#m11. GG 1] Played notes: A-G#-C# 12 77 55 55 (R-7-3). Natural harmonics: B-E (9-5). 12 DD 7 12 [Bar 6] Played 7 55 12 This adds up to Amaj9). notes: B-D#-A (R-3-b7). Natural harmonics: D-G (9-#11). 12 AA 77 55 12 EE [Bar 2] Played The chord is B7#9#5. 12 55 notes: A-G-C (R-b7-b3) Natural harmonics: B-E (9-5). 12 77 The chord here is Am9. This chord progression is for you to practise on. Play the notes first and you [Bar 3] Played notes: G-F#-B (R-7-3). Natural harmonics: F#-B (9-3). Gmaj9. should have time to jump to the required natural harmonics as required. Example2. 2.Natural NaturalHarmonics Harmonicson onTwo TwoStrings. Strings. Example maj7 ©»ª¢ AAmaj7 ©»ª¢ ‚‚ ## 44 # œ œ # œ œ & 44 ##œœ & œœ
··
··
œœ
NH NH
EE BB GG DD AA EE 11
12 12
66
66 55
& &
##
##
m11 FF m11
EE BB GG DD AA EE 55
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22 22
22
22
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‚‚ ··
m9 AAm9
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12 12
55
55 55
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##
B7 99 B7
œœœœ œœ
22 11 22
22 11 22
12 12 12 12
··
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12 12
œœ.. ##œœœœ....
maj7 GGmaj7
12 12
·
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12 12 12 12
44 33
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44
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B B m7 m7
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œ
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··
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7 7 7 7 7 7
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7 7
Example Example 4. 4. Natural Natural Harmonics Harmonics on on Pairs Pairs of of Strings. Strings. B bmaj7 b 5
‚‚ ... ‚
·· 7 7 7 7 7 7
‰
12 12
2 2
A m7 # 5
··
ÓÓ
77
TRACK 82
j œ
‚‚ ‚ J
·· NH NH
10 10
‚‚ ... ‚
··
œ œ 5 5
5 5 5 5 5 5
5 5
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j œ
NH NH
G G maj9 maj9
j œ
‚‚ .. ‚.
‚‚ ‚ J ‰
Am7 Am7
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‰
5 5
‚ ‚‚ J
··
···
NH NH
7 7 7 7 7 7
2 2
77
77
[Bar 2] A D Major triad over G is a Gmaj9. [Bar 3] We used the 5th fret natural harmonics on the fifth, fourth and third strings to produce A-D-G (R-4-b7). Over an A root these produce Am11. [Bar 4] D Major triad over B is Bm7. [Bar 5] You have a D Major triad over an F# root, or D first inversion. [Bar 6] And here we have a G Major triad over a G root to make a straight G.
10 10
# D/F D/F #
33
·· NH NH
77
NH NH
10 10
22
· · · ·
22 00
00
‚‚ ‚ œ œ ‰ J
j œ
22
··
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NH NH
Gmaj9 Gmaj9
12 12 12 12 12 12
& E E B B G G D D A A E E 4 4
··
‚. ‚‚ ..
77
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ExamplE 3 NaTURal HaRmONICS USING THREE STRINGS
Example Example 3. 3. Natural Natural Harmonics Harmonics Using Using Three Three Strings. Strings.
œœ œœ œœ œœ
·· 77
44
00
Playing natural harmonics on the fourth, third and second strings at the 12th fret gives us D-G-B, an inversion of a G Major triad. At the 7th fret you get A-B-F#, a D Major triad inversion. Major triads are very handy because when played over different root notes they create slash chords (see GT264), 2 which make for some interesting and sophisticated sounds. 2 [Bar 1] Here a G Major triad with C in the bass gives us Cmaj9.
CC66//99
NH NH
m9 EEm9
NH NH
··
‚‚
12 12 12 12 12 12
2 2
3 3
Gm13
3 3
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February 2017
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‚‚ ·· } CHORD ‚ CAMP · lesson # J &
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NH ExamplE 4 NaTURal HaRmONICS ON paIRS OF STRINGS
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Example 4. Natural Harmonics on Pairs of Strings.
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This E E example shows that even using the same pair of natural harmonics B B 7 can be very effective to support different chord types. Like in this fusion G G 7 D D progression, a bit like the tune Feel7Like Making Love. Here we use a A A pair on the first and third strings at the E E of natural harmonics 7 7 2 12th2 fret to 44 produce G and E pitches, up an octave, adding them over played notes in a progression. Check each chord by looking at the note functions to see how
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lesson } IN THE WOODSHED
ON THE CD
In The Woodshed
TRACK 86-95
Brought to you by…
Give your fingers a good stretch, says Charlie Griffiths, and reach out to some close-voiced diatonic chords.
a toll on your hand if not approached properly. Before even touching the guitar it is a good idea to warm up your fretting hand by massaging the forearm, palm and fingers and gently stretching out your fingers to get the muscles and tendons supple. When playing the chords you can alleviate the stress on the hand by experimenting with the position of your thumb. For example, keeping it near the centre line of the neck and pointing it toward the headstock can often allow for more comfortable wide stretches. As you ascend the scale, make sure the notes remain diatonic to the key - check this by ascending each string and naming the notes individually.
keepING The ThumB NeAR The ceNTRe of The Neck poINTING ToWARds The heAdsTock cAN heLp WITh WIde sTReTches Try this stretchy but great sounding Am7 chord you’ll find in Example 4
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate Info Key: Various Tempo: Various CD: TRACK 86-95
Will improve your… Fretting hand finger stretches Harmonising scales and modes Note finding on the fretboard
C
lose voicings are chords in which the notes are played in order from low to high. Often guitar chords are played in ‘open’ or ‘drop’ voicings such as those used in typical barre chords. Close voicings can open the door to more creative guitar parts akin to shapes usually associated with piano parts. For example, Cmaj7 with the root on the 5th string is typically played with the voicing 1-5-7-3 (C-G-B-E). The same notes played as a close voicing are 1-3-5-7 (C-E-G-B).
Our examples are all based on harmonised scales; diatonically shifting through one octave from low to high. Our first two exercises are based in the key of G Major (G-A-B-C-DE-F#). The first uses a R-3-4 voicing, which essentially means play the root note, then the 3rd, then the 4th interval all at the same time; we can call this Gadd11. This shape alone illustrates the atypical fingering and cool clashes that can be achieved with close voicings. Usually we use 3rd intervals to build chords and these naturally sound harmonic and pleasant. In this case we have a root and a 3rd, but the distance between the 3rd and 4th (B-C) is a semitone, which is an inherently dissonant sound often used by players like Allan Holdsworth and Wayne Krantz. Physically performing the wide finger stretches involved with these chords can take
Example 3 shows that close voicings can be used more traditionally, using four-note chords (tetrads) - 1-3-5-7 - from the key of E (E-F#-G#-A-B-C#-D#). This exercise is played as sustained, ringing arpeggios on the middle four strings, and is a great way of checking that all the notes are fretted cleanly. Example 4 also uses these voicings, but this time played on the highest four strings within A Dorian mode (A-B-C-D-E-F#-G). The final example uses add9 chords which have the intervals 1-3-5-9, played diatonically within A Lydian mode (A-B-C#-D#-E-F#-G#). Play through the examples slowly at first, only building up to speed when you are ready; and remember to have a go at playing along with the backing tracks. Then, once you are comfortable with the shapes you can take them further by using them to create your own guitar parts. NEXT MONTH Charlie looks at string skipping when using Alternate Picking cd track 86
ExamplE 1
GUITAR MAGAZINE 2 6using 5 Play the G TECHNIQUES Major scale on the fourth string your fourth finger and name the notes as you go to help memorise them. Add the diatonic 3rds along the third Charlie Griffiths' - for ROCK SCHOOL - WOODSHED - CLOSE VOICINGS string using your third finger for the Major chords and second finger the Minor chords. Lastly play the 4th intervals on the second string with your first finger. Ex 1
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- ROCK SCHOOL - œWOODSHED œœœ ... œœ ˙˙ # 4 . œ . œœ ˙˙ Charlie œGriffiths' œœ ˙˙˙ œœ ... œœœ ˙˙˙- CLOSE VOICINGS œ œ . .. . J œ œ œ ˙ . Ex 1& 4 . œ .. J J J Gadd11 Amadd11 B madd11 Cadd # 11 Dadd11 E madd11 F #madd11 G add11 ©»¡£º GUITAR TECHNIQUES MAGAZINE 2 6 5 œœ ... œœœ ˙˙˙ zone CLOSE VOICINGS learning œ ˙ œ . œ ˙ - œROCK SCHOOL œ- œWOODSHED - CLOSE VOICINGS # 4 . œœ . œœ ˙˙ Charlie œGriffiths' ˙ œ . œ ˙ . œ ˙ œ. œ ˙ .. œ .. J œ ˙ 4 . œ .. J Ex 1& J J35 2 6 5 B madd11 1 5 7 # 11 8 10 12 13 . .Gadd11 Amadd11 Cadd Dadd11 E madd11 F #madd11 G add11 GUITAR TECHNIQUES MAGAZINE 4 7 9 11 12 14 16 ©»¡£º Charlie Griffiths' ROCK SCHOOL WOODSHED CLOSE VOICINGS œ ˙ 7 9 10 12 ExamplE 2 . 5 œ16œœ ... œ17œ ˙cd ˙ track.. 88 œœ ... œ14œœ ˙˙˙ # œ ˙ œ œ ˙ œ . 4 œ ˙ œ . œ ˙ œ . œ ˙ . This exercise uses the same scale as Example 1, so all the root notes on the fourth string are the same. This time the chords are voiced R-2-5, so use Ex 1 œœ .. J your first finger œ. œ and˙your second finger . & 4 . Gadd11 J J # # to play the notes.on the string to play the notes on the second string. B madd11 Cadd 11 Dadd11 E madd11 F madd11 G add11 1 thirdAmadd11 3 5 7 8 10 12 13 . J ©»¡£º 4 5 7 9 11 12 14 Ex 2 œœ ... œ1617œœ ˙˙˙ 5 7 9 10 12 14 16 œ ˙ œ . œ . œ ˙ # 4 ..G sus2 œ ˙ œ œ ˙ œ . . œ ˙ b .9 C sus2 œ ˙ œ œ Aœsus2 B 5add D sus2 Esus2 F #sus b 2 Gsus2 œ ˙ .. œ . ˙ . œ œ J . . œ ˙ . œœ œœ &©»¡™º4 œ . J œ œ œ œ J œ œ # 4 .. œ1 œ J3œœ œœ Œ . œœœ 5 œœœ œœœ7 œœœ Œ . œœ 8œœ œ10œ œœ Œ . œœ12 œœ 13œ œJ Œ . .. ‰ 10J9 J ‰ 1214J J ‰ 1617J Ex 2& 7 11 14 4 .. œœ45 œœ ‰ œ57 œJ 9 12 16 .. J G sus2 A sus2 B 5add b 9 C sus2 D sus2 E sus2 F #sus b 2 Gsus2 ©»¡™º œœ œœœ œœœ œœœ œœ 8œœœ œ10œœ œœœ œ œ # 4 .. œ14 œ 35œ œ . œ œ 5 œ 7 12 œ œ œ 11 14 œœ 79 œœ ‰ œ10J9 œ Œ . ‰ 1214J J Œ . ‰ 131617J J Œ . .... 4 .. œœ5 œœ ‰ œ7œ œœ Œ Ex 2& 12 16 J8 J5 J5 3 3 7 b 97 8 10 10 12 12 13 b 213 15 15 . A sus2 B 5add C sus2 D sus2 E sus2 F #sus Gsus2 2 2 4 4 5 5 7 7 9 9 11 11 12 12 14 ©»¡™º ..G sus2 œœ 1417œœ œ œ œ œ 5 5 7 7 9 9 10 10 12 12 14 14 16 16 17 . œ œ # 4 . œ œ ‰ œœ œœ Œ . œœœ œœœ ‰ œœœ œœœ Œ . œœ œœ ‰ œœ œœ Œ . œœ œœ ‰ œJ œ . . Ex 2 J Œ . œ J 12J & 4 ..G sus2 œ3œ œ3œ Aœsus2 J J b # b B 5add 9 C sus2 D sus2 E sus2 F sus 2 Gsus2 5 5 7 7 8 8 10 10 12 13 13 15 15 . J4 J4 ©»¡™º 2 2 5 5 7 7 9 9 11 11 12 12 14 14 œ œ œ œ œ œ Ex 3 cd track 5 5 7 7 9 9 10 10 12 12 14 14 16 16 17 17 ExamplE 3 . . 90 œœ œœœ . œœœ œœœ œœ œœ # . œœ œœ# b œœ œœ # œ œ œ œ œ 4 œ # # . œ . . .. œ œ Emaj 7 F m7 G m7 A maj 7 B 7 C m7 D m7 5 Emaj 7 These four note chords downŒthe chord shapes and‰pickJthe notes each Œ are played ‰ œœ1-3-5-7 œ diatonically œ ‰ Jto EJMajorŒ (E-F#-G#-A-B-C#-D#).‰ Hold J Œfrom œœandand J & ©.»¶º 4 . œœ areœœvoiced J ˙ . œ œ ˙ . chord six times; three ascending notes three descending notes while letting the notes ring together as much as possible. # # # # .1232 . 32 J54œ J54 œ œ œ 75 75 œ œ87 œ 87 œ œ œ œ œ109 109 œ œ 1211œ œ1211œ œ œ œ œ1312 œ 1312œ œ œ1514 1514œ œ ˙˙ .. .. Ex 3 œ 14 14 . œ9 #œ9 œ 10 œ10œ & 85 .E5maj œ7 œ 7 œ 7œF #œm7œ 12 12 16 16 17 17 . . œ # # b G m7 A maj 7 B 7 C m7 D m7 5 E maj 7 ©.»¶º ˙. # # # # .1232 . 32Let ringœ 54œ œ 54 œ œ œ 75 75 œ œ œ87 œ œ87 œ œ œ œ œ109 œ109 œ œ 1211œ œ1211œ œ œ œ œ œ1312 œ 1312œ œ œ1514 œ 1514œ œ ˙˙˙ ... .. 12 12 14 14 16 16 17 17 Ex 3& . 85 . 5 œ œ 7 7œ #œ œ œ9 #œ9 10 10œ .. # # b 16 7 . ©.»¶º .E maj 7 4 4 4 F m7 6 5 6 G m7 8 7 8 A maj 7 9 9 9 B 7 11 10 11 C m7 13 12œ 13 D m7 5 14 14œ 14 E maj 16 ˙˙˙ ... . Let ring 6 6 7 7 9 9 11 11 13 13 14 14 16 16 18 œ œ œ . # œ œ œ # œ œ œ œ œ 7 9 11 12 œ 14 19 œ œ 18œ ˙ . .. œ 16œ œ Ex 3 œœ œœ œ œ & # # 128 ...E maj œ7 œ œ4 œ œF #œm7œ œ 5 œ œ G #œm7œ œ 7 œ Aœmaj œ 7 B7 C #m7 D #m7 b 5 E maj 9 10 12 14 16 7 . ©.»¶º 4 4 6 6 8 8 9 9 11 11 13 13 14 œ 14 16 ˙˙˙ ... . œ 6 6 7 7 9 9 11 11 13 13 14 14 16 16 18 Ex 4 œ œ œ . œ œ œ # # # # 12 . Let7 ringœ œ œ Am7 œ œ œ 9 11 œ œ œ 12 œ 14 œ œ 16# œ b 18 19 œ œ œ œ œ œ œ œ Cmaj 7œ œ œ D7 œ œ Em7 Fœm7 5 G maj 7 Am7 ˙ . .. & ©»•º 8 . œ œ √œ œ œ œ œBm7 3 3 4 5 7 9 10 12 14 16 . . Ex 4 3 4 4 6 6 8 8 9 9 11œ 11 13 13 # œ 14 œ 14 16 œ œ œ cd16 track ExamplE 4 . œ œ œ Let ring 6 6 7 7 9 9 11 11 13 13 14 14 16 18 .. 92 . œ œ ∑ œ #m7 b5 . œ œ œ œ Am7 Bm7 Cmaj 7 12 D7 E m7 F G maj 718 Am7 œ œ & 4 œ 7 9œ 11 14 16 19 œ œ # œ # œ œ œ These voicings are the same as Ex3, but this time played on the highest four strings. The chord shapes are in a different order too as this time they are played œ œ √ œœ b7th shapesœ3are probablyœthe most tricky and should be played with fourth, 3 second, third and first fingers ( low-high). ©»•ºmode (A-B-C-D-E-F#-G). within A Dorian The 7 9 10 12 14 . 444 656 œœ 1616 .. 8 8 9 9 11œ 11 13 13 # œ 14 œ 14 œ 3 œ œ . œ Ex 4 7 14œ œœœ 9 1211 œœ 11 14 13 œœœ 1316##14œœ b .∑ 7 6 .6Am7 œ 16 1819 .. &4 œ 18 16 Am7 9œ #7œœœœ5 11 9 Cmaj œœœ3 Bm7 D7 E10 m7 F m7 G maj œ 7 7 8 12 5 14 7 15 œ √. 55 7 8 10 12 13 15 17 . 3 ©»•º 7 9 11 12 14 16 17 3 7 9 10 12 14 16 17 19 . œ .. # œ Ex 4 3 œœœ b œœœ œ œ . œ œ ∑ œ œ # . œ œ . Am7 Bm7 Cmaj 7 D7 E m7 F m7 5 G maj 7 Am7 &4 œœ35 œœ78 œœ œ 10 14 15 # œœœ57 œœ8 #1213œ 10 12 15 17 √ . . œ œ œ57 3 ©»•º 7 9 11 12 14 16 17 Ex 5 3 9 10 12 14 16 17 19 . . œœœ # œ # # b # # b œ Aadd9 B add9 C madd9 D œdim 9 E add9 F madd 9 G madd 9 A add9 3 œ œ . œ .. ∑ œ œ œ . œ œ œ œ √ œœ3 œ & 4 ©»¡ºº œ œ # œ œ # œ j œ œ j œ œ 10 12 14 15 œ œœ5j œ78 j 108 œ œ œ57 j œœ 12 13 15 17 .. ### 4 œ . Ex 5 œ # œ # œ 5 7 9 11 12 14 16 17 . œ œ ‰ ‰ ‰ ‰ ‰ ∑ œ ‰ œ ‰ œ ‰ # # b # # b . œ œ œ Aadd9 B add9 C madd9 D dim 9 E add9 F madd 9 G madd 9 A add9 10œ 12 œ 14 16 17 19 .. & 4 œœ œ œ œœ #9œœœ œj √. 7œœœ J ©»¡ºº J j Jœ œ 3j 5 j 7 j 8 10 12 14 15 œœ œ ### 4 5 7 8œ 10 œ 12 13 15 17 œ . # # . œ œ œ 5 7 9 11 12 14 16 17 ∑ œ ‰ ‰ ‰ ‰ œ ‰ ‰ œ ‰ ‰ ... Ex & 5 œ œ .. œ7 œ œ œ 9œ 10œ 12 œ 14 16 17 19 cd track. 94 ExamplE 5 4 œ œ œ #dim œœ9 triads onC #the œ b9 Aadd9 B#add9 madd9 E add9 F #madd 9 G #madd œœ57 and Minor œ9 second,Dthird J 11 12 14 16 17 19 J b 9 A add9 Jsecond Played in A Lydian and based on diatonic Major and third √ 7 10and fourth strings 12 using first,14 16 fingers, the 17add9 voicing.is . ©»¡ºº j j 11 13 14 16 18 completed with the 9th added on the first 6string with the8 j fourth finger.9For the fourth chord the first and fourth fingers switch strings. . œ7j ‰ œ9 ‰ #11œj ‰ 13œ ‰ 14œœ ‰ 16œœ ‰ #18œœœ ‰ 19œœœ ‰ .. ### 4 Ex 5 . ∑ .Aadd9 œœ 9 G #madd œ . & 4 œœœ9 œœ F #madd œ b 9 A add9 11 12 14 16 17 19 B add9 C #madd9 D #dim E add9 œœ97 œœœ b 9 œœœ57 # 10 12 14 16 17 . . J √ œ J J ©»¡ºº 8 9 11j 13j 14 16 18 œ 9j 11j 13 14 16 18 19 œ . 67j . œ ### 4 œ œ œ œ # # œ . œ œ œ .. ‰ ‰ ‰ ‰ ∑ œ ‰ ‰ œ ‰ œ ‰ . œ œ œ & 4 œœœ œœ œ œœ9 œœ œ œœœ7 # 11 12 14 16 17 19 J J œ7 J 9 10 12 14 16 17 . 56 . 8 9 11 13 14 16 18 E B G D A E E B G D A E E B G D A E E B G D E A B E G D A E E B G D A E E B G D A E E B G D E A B E G D A E E B G D A E E B G D A E E B G D A E B G D A E E B G D A E E B G D A E E B G D A E E B
G D A E E B G D A E E B G D A E E B G D A E
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New Albums
A selection of new and reissued guitar releases, including Album Of The Month Album of the month nigel PRice Heads & TaLes voL 2
Whirlwind Recordings ✪ ✪ ✪ ✪ ✪ Those of you who followed Nigel’s recent GT columns will attest to his amazing abilities. Heads & Tales Vol 2 is a double CD, the first comprising self-penned compositions, the second a set of solo or overdubbed duet jazz standards so we get to hear both sides of the man. Joined on CD 1 by his trio with Hammond organist Ross Stanley and drummer Matt Home, plus guest stars Alex Garnett and Vasilis Xenopoulos on sax, Price bounds through the material, displaying influences from Wes Montgomery to Pat Martino and beyond. On disc 2 we hear his approach to a range of jazz standards, and tunes like Have You Met Miss Jones and Come Rain Or Shine are delivered superbly. If stellar jazz guitar playing is your thing, check this one out. sung and played superbly – with several eminently ‘borrowable’ for your pub set!
music } reviews
aaRon keylock CuT againsT THe grain
Provogue ✪ ✪ ✪ ✪ ✪
Teenage UK blues rock guitarist, Aaron Keylock sure has a lot of energy on his debut album. Influences from Led Zeppelin to The Allman Brothers via Johnny Winter and Rory Gallagher abound, creating the sense that Aaron has an admirable vintage set of musical values. The 11 songs were written over several years; Just One Question (a long and expressive slow blues) at 13 years old and Falling Again (great acoustic and slide playing with a searing solo) at 16. From many live gigs and working with rock producer, Fabrizio Grossi the songs are upfront and rich, with admirable dynamics as regards arrangements, tempos and occasional time signature changes. As for the guitar playing, Aaron shows a lot of promise - strumming, riffing, slide melodies and bold blues scale solos. With a strong leaning towards upbeat, riff-fuelled songs (Spin The
The DooRs London Fog 1966
Rhino Records ✪ ✪ ✪ ✪ ✪
Ronnie BakeR BRooks Times Have CHanged
REVIEWS BY jaSon SIdWEll, daVId mEad and nEVIllE maRtEn
Provogue ✪ ✪ ✪ ✪ ✪
Growing up the son of Chicago bluesmen Lonnie Brooks, introduced a young Ronnie to many of the genre’s greats. Thus his new album brims with top blues and soul names. Indeed, much of the band here was Al Green’s, while opener, Joe Tex’s Show Me, boasts Stax guitar legend Steve Cropper as guest. Next track, Doing Too Much continues the feel-good theme with fantastic interplay between Ronnie and ‘Big Head’ Todd Mohr. Freddie King’s instrumental, Twine Time, follows with father Lonnie joining in – and a good time was had by all. Riffy minor blues, Times Have Changed is one of five originals and could have come direct from Albert King and Stax – as indeed could much of the playing here. All the tones are clean or just breaking, and sound all the more powerful for it. No fillers on the album, just an authentic set of great bluesy tunes
It’s 1966 and in a bar called London Fog on LA’s Sunset Strip the house band is beginning its first set of the evening. Within a year, this band will have its place in the annals of rock, and singer Jim Morrison will be on his way to superstardom, burnout and ultimate death – one of the original ‘27 Club’ members. This recording lay undiscovered for 50 years but represents the earliest known live outing of The Doors. The music comprises 30-odd minutes’s worth of material ranging from good old blues covers like Muddy Waters’ Rock Me and Hoochie Coochie Man, to embryonic versions of Doors originals such as Strange Days and You Make Me Real. Yes it’s shortish, and recording quality is as expected for its age, but as a historical document this set is priceless.
Bottle is great), this could be your next car journey’s play!
The Jelly Jam ProFiT
Mascot ✪ ✪ ✪ ✪ ✪ Rock supergroups can often occupy magazine front covers and social media frenzies but not always come up with the goods. Not so here with The Jelly Jam’s fourth album, which definitely does deliver ‘the goods’! Comprising Ty Tabor (King’s X), Rod Morgenstein (Dixie Dregs/Winger) and John Ayung (Dream Theater), the music is involvingly multi-layered; thick distorted guitar tones, conventional and non conventional chord progressions, acoustic strumming, multi-layered vocals, pounding drums, keyboards and thunderous bass riffs. Of course, all this is to be expected in prog rock (this is the home of Rush, Dream Theater and Steven Wilson after all!) and the
album is appropriately themed (a prophet saves the world) but it’s more about good songs than being too clever or tricksy. Opening track, Care has a thunderous down-tuned riff and solid vocals from Tabor. Other stunners included the slow riffer Mr Man, clean tones in Ghost Town and exquisite slide guitar moments on Heaven and Fallen. An album for repeated listenings!
Jason Vieaux anD Julien laBRo inFusion
Azica Records ✪ ✪ ✪ ✪ ✪ This duo album comprises the nylon-string talents of Jason Vieux and accordion/bandoneon versatility of Julien Labro, with occasional enhancements from bass and drums. It’s an intriguing array of music ranging from vibrant pieces by cuban composer and guitarist, Leo Brouwer and Argentinian composer and bandoneon player Astor Piazzolla (Al Di Meola is a big fan) through to reworkings of pieces by Pat Metheny and Tears For Fears. To have variety like this could create a bewildering pot-pourri of music but the clarity and blend of nylon-string guitar and accordion is very appealing. It may take time to ‘get’ the ‘serious’ music Brouwer/ Piazzolla/Gnattali (it’s worth it though!) but Metheny’s exquisite tango ballad Antonia is emotively dynamic as guitar and accordion enrich the chords and the gorgeous phrases. As for Tears For Fears’ Everybody Wants To Rule The World, it’s triplet rhythm and strong melodies work very well as an instrumental and Jason’s classical chops provide very classy guitar tones. Really worth a listen!
February 2017
95
GT User Guide
You can get more from GT by understanding our easy-to-follow musical terms and signs... Relating tab to youR fRetboaRd 3
2
every transcription or lesson in Gt is graded according to its level of difficulty, from easy to advanced. we’ll also let you know what aspect of your playing will benefit by attempting a lesson.
m
i
1
our raTing SySTem
a c
4 T
p
advanced moderate-advanced
nuT & freTboard
hand labelling
moderate
the fretbox diagram above represents the fretboard exactly, as seen in the accompanying photo. this is for ease of visualising a fretboard scale or chord shape 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 œ & Technique Guitar Examples - Treble Clef And Tablature œ 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
œ
& SCale example
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.
œ
≤
9 5 7
œ @
E B G D A E
7
œ @
œ @
&
œ bœ @ @
# œœœ
7
E B G D A E
1E 2B 3G 4D 5A 6E
5
piCking variations anD ≥ alternatives ≤ GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking
up and down picking Down & Up Picking
&
œ
Tremolo picking Tremolo Picking
&
œ
œ @
@
5
@
4
@
7
8
palm muting Palm Muting
œ bœ @ @
œ @
@
&
nœ # œœœ
œ œ œ
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 @
œ @
œ bœ @ @
@
@
5
@
4
@
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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
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PM
96
E B G D A E
@ 5
Palm Muting
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February 2017
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
0
0
0
œ œ
PM 8 7 6 7
0
0
n palm mute by resting the edge Rake ofPick picking-hand’s palm on the strings near the w bridge.
&
¿
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rake
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0
E B G D A E
X
X
X
& E B G D A E
œœ010 œ œœ23
&
¿
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E B G D A E
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X
E B G D A E
& gg ˙ ggg # ¿˙ g gg 00 ggg 22 ggg X2
5
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0 0 0 2 2 0
5
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7
#212œœ @0œœ @
œœ œœ @ œœ 0 0 2 2 0
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œ œ
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PM
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X
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5
arpeggiate chord Arpeggiate Chord
w
rake
X
≥
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
œ
œ
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
œ
1 E B G D A E 2nd string
C
œ bœ @ @
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5 Tapping & harmoniCS @
≥ &
œ
R
œ
Tremolo Picking
Down & Up Picking
&
œ
2nd string 3rd fret
5
≥ &
Down & Up Picking
œ3
1E
Tremolo Picking GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking
&
œ
2B 3 1 muSiCal STaVeTremolo the five horizontal lines for 3G 2 C Em Picking D7 A m7 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 gg ggg
0 0 2 2 X 2
ggg # ˙˙˙ gg # # ˙˙ ggg ˙
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
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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
¿¿ ¿¿
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· · · ·· 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
nœ # œœœ
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 notes show a slide with the œ last ¬e beingœ re-picked. œ
re-pick bend Left Hand Tapping
Slides (Glissando)
(7 5)
œ œ & œ
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 and &pull-offs.œ 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˙ pull note. &off for
E B G D A E
&
E B G D A E
2
9
n note sustained, then the vib is depressed to slack. square bracket used if a long-held note has new articulation applied.
n sound the note and ‘flick’ the tremolo bar with picking hand so it ‘quivers’. results in a ‘gargling’ sound!
n a capo creates a new nut, so the above example has the guitar’s ‘literal’ 5th fret now as the 3rd fret.
9
‚ oTher TeChniqueS œ & scrape pick
·
Violining
finger numbering
pima directions
right-hand tapping
TCH E B G D A E
2
9
n the edge of the pick is dragged down or up along the lower strings to produce a scraped sound.
n turn volume control off, sound note(s) and then turn vol up for a smooth fade in. called ‘violining’.
n the numbers after the notes are the fingers required to play the fret numbers in the tab below.
n Fingerpicking requirements are shown at the bottom of the tab notation.
n tap (hammer-on) with a finger of the picking hand onto the fret marked with a circle. usually with ‘i’ or ‘m’.
February 2017
97
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