240. Guitar Techniques - March 2015

THE FINEST GUITAR LESSONS ON THE pLANET 240 MARCH 2015

20 YEARS OF THE FINEST GUITAR LESSONS

4 LEVELS OF Play better solos today, no matter what level you are, in a variety of classic and modern blues styles!

STRING SKIPPING Sound impressive and sophisticated with this technique used by rock’s lead-playing elite!

PLUS... Theory questions answered, learn to read music, give your chops a workout, & more! CLASSICAL

MUSSORGSky Pictures At An Exhibition

PLAy LIkE

MARS VOLTA

Their edgy prog-rock style

MANFRED MANN Sound like the R&B legends

JOE BONAMASSA King of contemporary blues

CLASSIC TRACk TABBED!

THE SHADOWS

Atlantis

Learn a legendary track from the best ever instrumental group!

JOHN FRUSCIANTE His unique acoustic technique

ISSUE 240 march 2015

Just some of your regular GT technique experts... shaun baxter

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

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!

pete Callard

Pete’s credits include Lionel Richie, Gary Barlow, Annie Lennox and Shpongle. He can be seen and heard on numerous tv shows, recordings and film soundtracks.

phil Capone

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

Charlie griffiths

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

phil hilborne

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

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.

bridget mermikides

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

the

finest

guitar tuition you can buy !

Welcome Don’t know about you, but I’d rather do a journey where there are ‘goals’ along the way to break it into manageable portions, rather than tonking up a motorway for hours on end. I live in the west of England but often do gigs in the east, and while my sat-nav wants to take me from bath along the M4, M5, M42, M6, a14 and a1 to, say, Peterborough, I ignore it and go via Swindon, oxford, northampton, etc (of great interest to our overseas readers, I’m sure!). these towns are like mini ‘goals’ and help me feel like I’m getting somewhere. “what is he on about?” you cry. well, it’s a bit like this month’s Four Levels of blues. as a beginner, were you to be shown a John Scofield solo and be told it will take years to get there, you’d probably give up on the spot. but should you be offered something simpler, but still complete and wholesome, and be informed that a few months’ work should have it under your fingers, you’d more likely see that as an attainable goal. and having got to that point, the next level seems somewhat less daunting. with so much tuition available these days it’s easy to get distracted, flitting from one thing to the

next with little aim. but a lesson like this is totally focused, so whether you need to start at the beginning or are already pretty good and can dip in further up the difficulty ladder, there’s measurability so you can see progress as you make it. and although it’s called Four Levels of ‘blues’, many of the concepts here apply to all kinds of other styles. If you fancy something a little higher up the technique food chain, check out our String Skipping with a Pick lesson - it’s a straight ‘how to’ feature that’s bound to test your mettle should you be new to the approach. Have a go! and what about the Shadows’ atlantis? this beautiful track comes from 1963 and Hank Marvin played it with incredible aplomb for someone so young. He was just 21 when he recorded it and remember he’d had no tuition CDs, DVDs - or Gt - to help him, but he created a brand new sound all by himself, from nowhere. I hope you enjoy another issue varied in styles and abilities, and I’ll see you next month.

neville Marten, Editor [email protected]

DON’T MISS OUR AMAZING DIGITAL EDITION Our digital edition for iPad, iPhone, Kindle Fire and Nook is now even better!

jaCob quistgaard

Royal Academy trained, Quist is a superb player who can turn his hand to any number of styles and topics. He’s currently on tour with Bryan Ferry.

stuart ryan

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

andy saphir

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

tristan seume

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

john wheatCroft

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

Tap the links

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

Animated tab & audio

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

Play the videos

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

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

March 2015 GuitarTechniques 3

• C ON T E N T S • M A RCH 201 5 •

Learning Zone LESSONS INTRODUcTION

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30-MINUTE LIcKbAG

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Music editor Jason Sidwell introduces this month’s brimming lessons section.

BIMM’s Pat Heath has six great new licks to try.

bLUES

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ROcK

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vIDEO

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cREATIvE ROcK

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cHOPS SHOP

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bRITISH R&b

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jAzz

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AcOUSTIc

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MUSIc READING

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Wheaty looks at the Rock Candy Funk Party blues of Joe Bonamassa and Ron DeJesus.

Martin Cooper examines the prog-style rock playing of the incredible Mars Volta.

Session ace and all-round guitar wizard Carl Verheyen begins an exclusive masterclass series. Shaun Baxter takes a look at creating one-bar phrases using 16th-note patterns. Andy Saphir wants to beef up your alternate picking with some classic ‘widdly’ licks.

Phil Capone looks at Mike Vickers’s playing in 60s band Manfred Mann.

Pete Callard examines Mike Stern’s approach in the first of a superb two-part appreciation.

CoVer FeaTUre 4 LEVELS OF BLUES

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Stuart Ryan unveils the funky acoustic style of Red Hot Chili Peppers’ John Frusciante.

No matter what level of player you are, this lesson will have you creating better, more authentic and cohesive solos in no time.

Charlie Griffiths counts triplets and sextuplets.

FeaTUreS

WELcOME

trAnSCrIPtIon #1 THE SHADOWS Atlantis

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Jon Bishop explains how you can sound instantly more impressive and sophisticated using a technique employed by rock’s elite!

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THEORY GODMOTHER

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David Mead answers your musical questions.

INTRO

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SUbScRIPTIONS

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bAcK ISSUES

94

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

ALbUMS

95

New guitar CDs and DVDs reviewed and rated.

trAnSCrIPtIon #2 Bridget Mermikides arranges this powerful piece, once a cornerstone of prog-pomp as performed by Emerson, Lake & Palmer.

TALKbAcK

GT’s monthly soapbox for your thoughts...

cARL vERHEYEN Part 1

Hold onto your hats as Carl Verheyen gives his personal take on becoming a better guitarist.

News and regulars, plus Phil’s One-Minute Lick, That Was The Year, Hot For Teacher and more.

SPECIAL fEAturE

MUSSORGSKY Pictures At An Exhibition

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Well it’s 2, 4, 6, 8 motorway says Nev (don’t ask)!

Steve Allsworth transcribes another of this great group’s memorable instrumentals, so turn your echo on, grab that whammy and go!

STRING SKIPPING... ...with a pick

ViDeo MaSTerCLaSS

rEGuLAr fEAturES

TAb GUIDE

96

Our terms and signs explained.

44

NExT MONTH

98

Learn The Who’s Baba O’Reilly; play lead using fingers only; your Ultimate Country Workout, plus George Harrison, Brad Paisley and more…

February 2015 GuitarTechniques 5

Write to: Guitar Techniques, 30 Monmouth Street, Bath BA1 2BW. Email: [email protected] using the header ‘Talkback’. NEW ‘GUITAR HERO’ Reading the last issue about Peter recovering from a hand trauma (see Peter’s follow-up letter below: Ed), I thought I would add my experience to the mix. As a guitar player I was upset to find my fingers slowly contracting and becoming quite fixed, and playing became harder. My father had suffered with this - it’s called Dupuytron’s Contracture. He had some fingers amputated as they started to get in the way. Well, my GP told me it was my time to suffer and booked me to see a specialist and then an op to try and correct it. I had the op but when the bandages came off I was so upset with the pain and stiffness I decided to give up and sell my guitars. Back and forth to physio did little to up my mood as the exercises were hard, boring and I didn’t feel they worked. Then my wife bought me the guitar game Guitar Hero which was popular at the time, so, as I couldn’t play real guitar (there are those who say I still can’t) I threw myself into the game. It was painful at first but gentle enough to keep the fingers working out. Without even realising it my hand recovered and now, except for the scars, my hand is good. Although I’m sure not for everyone, I think it beats squeezing a rubber ball. Take it slowly but don’t give up! Steve Tobin, Cardiff That’s weird, Steve. I have Dupuytren’s too, although as yet it hasn’t begun to contract. I’d never heard of it but apparently it’s surprisingly common. My brother-in-law has it and has had operations to both hands. It’s terribly sad about your father, and that you now have it and felt so despondent you got rid of your guitars. But how inspired of your wife to find Guitar Hero. I’m so glad you’ve busted through the barrier and are now back playing – I’m assuming also you’ve begun to replace your instruments. Thanks for your encouragement and, as you’ll read below, Peter is getting on fine too.

BROTHER IN ARMS – AN UPDATE What a pleasant surprise to find my query to you regarding post-injury music physiotherapy guidance printed in GT238. Thank you for this and your written response. Yes, maybe some guitar playing medics/

After the operation for Dupuytren’s Contracture

physiotherapists will respond to GT on this; any appropriate feedback would be appreciated. Since my email to you I’ve continued to recover very well. It’s nearly three months since the accident; I’ve been discharged from the Orthopaedic Department at Blackburn Royal hospital into the care of my local hospital Physiotherapy Department. All the exercises prescribed by my physiotherapist, Maree, at Clitheroe Community Hospital, seem to be doing the trick for all my main areas of injury. Her main concerns at this stage are very much to do with all the major muscle motor areas affected by the various trauma I suffered. So we are concentrating on hands, arm, shoulder and core-muscles. A lot of it is, when you think about it, common sense but her specific knowledge, skill and training clearly enable her to assess problem areas and suggest appropriate exercises to more specifically tone and develop the highlighted muscles. The whole experience and process is really quite interesting and uplifting; and my positive development very encouraging personally. Of course I’m now well on in my more personally-driven fine motor skills development with guitars and keyboards - not surprisingly I don’t yet have the stamina or the muscle tone to play for even moderate periods of time, but this will come with time and application; and so too with fret/key finger dexterity. A ‘little and often’ goes a long way and ‘rest before the pain’ work very well for me. Shortly after I wrote to you, I

found a website on musicians’ health which had quite a few useful links to articles and organisations specialising in musicians’ injury. One link was to the British Association of Performing Arts (BAPA) whom I contacted and were quite helpful. In particular providing a list of BAPA Registered physiotherapists. Clearly if, further on down the line, I have any fine motor skill difficulties in playing, I might pursue this line for more specific instrument playing advice and guidance from specialist physiotherapists for musicians. Clearly these people exist and are not too far away... but not necessarily within the NHS. No complaints - the treatment and experiences over the last few months have been great and much appreciated by me. My well progressing and surprisingly quick recovery is as much a tribute to the skilled and professional people who have attended to me, as to my personal application and efforts to get better through graded exercise and rest. Long live the NHS. Peter Modern Again, it’s really encouraging to hear how well you are getting on, Peter. And I’m sure that website will be of help to any other readers suffering trauma to their hands, whether through injury, the above Dupuytren’s Contracture, arthritis or any other disabilities that inhibit playing an instrument. What both your letters do so well is to state that, if one continues with the exercises (with help from professionals), it is possible to regain some, if not all of one’s facilities on the guitar.

SPANISH INTUITION I’m a songwriter, a guitarist and a lawyer from Spain. I have been buying your magazine for two years now - and why? I play several kinds of guitar: Spanish/classical, electric, acoustic, and your magazine has material of every kind and for every music style. And the best of all is your quality! I have studied eight years at music

conservatory, played in many musical groups in many styles, have read many guitar magazines (English and Spanish) and yours is the best – in fact because of you I’m still learning guitar and music. I hope that you will not change your musical direction; many magazines in Spain deteriorated for this reason. I also hope you don’t abandon the print edition – I love playing the scores written on them – I am of the old school. Please, keep on supporting culture. Spain is going through difficult times with a lack of pub gigs and music lovers, with an education system that abhors music, and all kinds of other problems. The UK is a great example for me this way. Furthermore, I also practise my English by reading your explanations and articles. I like music, I like guitar, I like English culture, and my favourite magazine is Guitar Techniques as you give me courage month to month to continue with my passion. Tony Marquina Thanks for your kind words, Tony. We will indeed strive to carry on doing what we do, as long as good people like yourself keep buying GT. I’m shocked that Spain seems so lacking in music – I’m sure most Brits would imagine it to be culturally dynamic and more than a little proud of its great musical history, especially when it comes to the guitar. We struggle here with pub gigs too, due to poorly conceived laws (which have thank goodness recently been repealed) limiting how many can play in public without expensive licences. It decimated the music scene; of course the recession didn’t help, but hopefully we’re beginning to see green shoots of recovery in live music here – hopefully when Spain pulls though its economic struggles it will happen there too. In the meantime, thanks for spreading the word about GT, keep playing and let us know if things do get better. Spain’s music scene struggles, says Tony

GuitarTechniques 7

Q&A

Theory Godmother

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

Dear Theory Godmother I’ve been taking a sideways look at the modes recently and have formed the conclusion that a more practical way of learning them is to treat them almost like chords and call the Dorian, for instance, a ‘minor 7, natural 6th’ scale. That way, you get an idea of what the scale might sound like and perhaps even a clue as to where you could use it, rather than have the original Greek names which don’t really give too much away. I’d be interested to know your thoughts. Sid It’s handy to know which mode is which by understanding the different names. But you get a far better idea of what they sound like by taking the path that you’ve outlined, Sid. In fact the modes of the Minor scales are often treated this way as only a few of them seem to have been ‘officially’ named. So if we look at the modes of the Major scale and describe them in the way we would chords, we find the following: the Ionian would be a straight Major, the Dorian a Natural minor with a major 6th, the Phrygian a Natural minor with a flat 2nd, the Lydian a Major with a sharp 4th, the Mixolydian a major scale with a flat 7th, the Aeolian a Natural minor and the Locrian a Natural minor with flat 2nd and flat 5th (Ex 1). It helps to separate them into Major and Minor scales too, so that the Lydian and Mixolydian are variations on the Major scale (Ionian) and the rest are derived from the Natural minor (Aeolian). So much for the naming convention, though. I still think it’s best to remember that the true sound of each of the modes only comes into being when you hear them in their context – for example, when you hear the Dorian mode over the appropriate minor chord (Ex 2). I’ve also found that it helps people if they are encouraged to describe the sounds that they hear for themselves and make their own categorisations. For instance, I always tend to think of the Dorian and Lydian modes as the ‘sweet and sour’ scales. The Dorian has that minor feel to it, but the presence of the major 6th seems

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to lift it somehow and give it a sweeter edge. The Lydian, on the other hand, is basically a Major scale with that slightly dissonant sharp 4th to spice it up. The Phrygian has a Spanish edge and the Aeolian a rocky, blues feel. These are personal definitions and have helped me remember the nuance of each mode in the past. So, once you are happy with whatever you want to call them, run them all through with a backing track and try to sum them up in terms of how they sound to you, too.

A Genesis Revelation Dear Theory Godmother I’ve always been a fan of Phil Collins

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era Genesis and recently decided to learn a few of their tunes on the guitar, but I’ve hit a bit of a brick wall. The songbooks I’ve found aren’t really much help as they are a bit basic and don’t really sound much like the records. But even when I watch a video and freeze frame what Mike Rutherford is playing and match it note-for-note on my guitar it still sounds wrong. Someone suggested that he is using an alternative tuning and I wondered which one? Pete My understanding of the tuning situation is that, in the early days of

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Genesis, Mike had a different tuning for virtually every song and often had difficulty remembering them from one tour to the next. So after Peter Gabriel left the band he decided to confine himself to a single tuning which is the unorthodox behaviour of tuning his first string down to a D. This was confirmed when I interviewed Genesis’s touring guitarist Darryl Stuermer back in the 90s: “He's been doing this now for years - the first string tuned down to D.” So, if you take another look at your Genesis videos with a guitar detuned the way outlined above, you might find you’re getting more of a perfect fit.


• Gu i ta r t e ch n iqu e s • M a rch 201 5 •

Jam tracks tips 1. Rocky 12-bar Blues (E) Here’s a fun 12-bar blues in E. The turnaround chords in bars 9-10 of the progression are C5 and B5 (bVI-V), so slightly different than your standard V-IV. Good old E Minor Pentatonic scale (E G A B D) works a treat throughout, but you can also add in some E Major Pentatonic (E F# G# B C#), E Mixolydian mode (E F# G# A B C# D), E Dorian (E F# G A B C# D) and E Minor scale (E F# G A B C D).

Milton Mermikides

John Williams

John Wheatcroft

Guitarists support leukaemia charity On the 10th anniversary of Milton Mermikides’ life-saving bone marrow transplant, there will be a unique opportunity to experience Milton’s Big eGO (eclectic Guitar Orchestra), a diverse ensemble of star guitarists including craig Ogden, Gary ryan, Bridget Mermikides, John Wheatcroft, Declan Zapala and

internationally acclaimed classical guitarist John Williams perform a specially arranged charity programme of jazz, classical and world music. the venue is Bush hall in West London, on 8th april 2015 7.30pm, and tickets are £25. Visit miltonline.com/ ego10 for further information and updates.

Marco Van rooijen

Trower marks 70th with a brand new album Blues-rock legend robin trower will be releasing a new studio album, something’s about to change, on March 9, the same day as robin’s 70th birthday. the new album coincides with trower’s nationwide 17-date uK tour with special guest Joanne shaw taylor that kicks off on March 26. the dates are as follows: Lincoln engine shed (thursday March 26), Bury st. edmunds, the apex (Friday March 27), Birmingham town hall (saturday March 28), salford Lowry (sunday March 29), chester Live rooms (thursday april 2), Gateshead sage (Friday april 3), Glasgow arches (saturday april 4), aberdeen Lemon tree (sunday april 5), stockton arc (tuesday april 7), York Barbican (Wednesday april 8), sheffield city hall Ballroom (thursday april 9), holmfrith Picturedrome (Friday april 10), London O2 shepherd’s Bush empire (saturday april 11),

10 GuitarTechniques March 2015

crawley hawth (tuesday april 14), exeter corn exchange (Wednesday april 15), salisbury city hall (thursday april 16), and finishing with Milton Keynes

stables (Friday 17 april 17. review of the new album and a q&a with robin coming in Gt soon! Visit www.trowerpower.com for further information and tour updates.

2. Medium Swing Minor 2-5-1 (Em) Here’s a jazz jam track in E minor. The chord progression is F#m7b5 - B7 Em7 - Em7, although you will hear extended versions of these chords – as is common in jazz. The E Minor scale (E F# G A B C D) works great for the F#m7b5 and Em7 chords, while E Harmonic minor (E F# G A B C D#) is perfect for the B7 chords. Next up, try out some more advanced colours on the dominant B7 by treating it as an altered chord and using the B Altered scale (B C D Eb F G A). 3. Whole-Tone Jam Try this Whole-Tone scale jam based around G! The scale itself goes G A B C# D# F, all notes being a whole tone apart, of course. The progression is based purely on notes of the scale, with the bass notes being G, D# and F. Top tip: try finding cool patterns and licks and then move them up and down in whole tones – or major 3rds (which equals two whole tones). The Whole-Tone scale is completely symmetrical, so you can easily move your ideas round! 4. C Minor Rockout The progression here is Cm - Bb - Ab - G – Cm - G/B - Ab/C - F/C. You can effectively mix the C Natural minor scale (C D Eb F G Ab Bb), C Harmonic minor scale (C D Eb F G Ab B) and C Dorian mode (C D Eb F G A Bb) on this track. I’d suggest using C Minor scale for the Cm, Bb, Ab and Ab/C chords, C Harmonic minor for the G and G/B chords and finally C Dorian for the F/C chord. Have fun! Created for you by Jacob Quistgaard. For free scale maps and hundreds more tracks, visit www.quistorama. com. Also subscribe to www.youtube. com/QuistTV to get all the latest free jam tracks and licks!

Robin Trower: see him live!

Improve your recordings!

jiM TeMPLeTon-croSS

Kenny Wayne Shepherd gets into the groove

Poole joins Shepherd tour British blues-rock guitarist and singer-songwriter, Ben Poole, has been added as special guest on Kenny Wayne shepherd’s 2015 uK tour. Poole, whose Live at the albert hall album reached no.4 in the official amazon Blues chart, has been described as “Britain’s brightest blues-rock guitar talent”. he will join five-time Grammynominated and multi-platinumselling blues-rock guitarist shepherd on a five-date uK tour that will culminate at the O2 shepherd’s Bush empire in London. the Kenny Wayne shepherd Band features longtime vocalist noah hunt, plus

drummer chris Layton, a 2014 inductee into the Musicians’ hall of Fame as a member of stevie ray Vaughan and Double trouble, ex-Firm bassist tony Franklin and former Willie nelson keyboardist riley Osbourn. the dates are as follows: salisbury city hall (april 10); holmfirth Picturedrome (april 11); Glasgow O2 aBc (april 12); aberdeen Lemon tree (april 13); and London O2 shepherd’s Bush empire (april 15). tickets can be booked online from the Gig cartel or from the 24-hour box office: 0844 478 0898. Please visit www.noblepr.co.uk for further information and updates.

hal Leonard Books has published Zen and the art Of recording, the third instalment in Mixerman’s ‘art Of’ series of books. the entire series, which also includes Zen and the art Of Producing, Zen and the art Of Mixing is now available both in print and in multimedia e-book format with over an hour of bonus video content for each title. in Zen and the art Of recording ($24.99, isBn: 9781480387430), Mixerman distills the inescapable technical realities of recording down to understandable and practical terms. Whether musician or self-taught recordist, at home or in a full-blown studio complex, you’ll hopefully discover a definitive blueprint for recording within the current realities of the business, without ever losing focus on the core consideration - the music itself. as Mixerman writes: “the moment you start to think in musical terms, your recordings will improve a hundredfold.” “Mixerman has done it again,” says ron saint Germain, a producer-engineer with over 300 million in sales that includes u2, Whitney houston, 311, and more. “With his signature humorous and

entertaining style, he imparts a world of invaluable information for the aspiring recordist and musician in an easy to absorb commonsense manner.” “Zen and the art Of recording describes an approach rather than a recipe,” adds Bob Olhsson - stevie Wonder, Jackson Five, Marvin Gaye among others. “this is important because in the real world nothing works the same way every time. this is an excellent overview of the issues to be considered, along with a broad variety of proven techniques for addressing them.” Visit www. halleonardbooks.com for more!

PHIL HILBORNE’S ONE-MINUTE LICK AEOLIAN ARPEggIO LICK scale use throughout is A Aeolian (A-B-C-D-E-F-G). Small This month’s lick is an ear-grabbing descending arpeggio downward sweeps across the top three strings or hybrid phrase in which a basic shape is played by the fretting hand picking would be appropriate to use here. This kind of lick and then moved diatonically down the neck - in this case a 1-5-1 D5 arpeggio (D-A-D). This arpeggio form is then kept as can be heard in the playing of Steve Vai, Blues Saraceno and Steve Stevens. As always, try to come up with similar phrases intact as possible as it travels down the fretboard, although of your own invention - both descending and descending, in you can see that at one point - from the F note - the shape GUITAR TECHNIQUES MAGAZINE 2 4 0to this note’sONE MINUTE - by keys, Phil using Hilborne different intervals and as many rhythmic has to change slightly to conform presence in LICKdifferent AEOLIAN ARPEGGIO LICK variations as you can muster. the scale - but fortunately this is very easy to deal with. The

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Mitch Dalton’s Free guitar tuner

eMiLe HoLBa

This month Mitch works with “a man that can hear frequencies that would defeat the auditory apparatus of a bat”! Read on...

it is the First Monday in January. it is 6.30am. Outside lies an alluring combo of the Dark, the Wet and the cold. the wheelie bins are stuffed to overflowing with wrapping and seasonal messaging. the living room floor is littered with socks of random size, battery depleted games consoles and boxed sets of Breaking Bad. the offices of relate have run out of time slots. a lone figure loads a large estate car. it needs to be. Large, that is. By the time he is done, it has swallowed a flightcased Mesa Boogie valve amp, an aer acoustic amp, a Gibson L4, Fender strat, Parker Fly, taylor electroacoustic, another taylor electrospanish, collapsible guitar rack, effects board and three bags of accessories. it can mean only one thing: it is time for, wait for it: strictly come Dancing - the Live arena tour 2015. and so i make way to John henry’s rehearsal studio complex in London’s deeply unfashionable Kings cross industrial estate for the start of rehearsals. Our home for the week is a tad Dickensian in appearance. think Pentonville prison (only a couple of knotted sheets away) but without the charm. however, appearances are deceptive. Our rehearsal space is warm, there is parking and there is breakfast. the closest thing to Musician


nirvana this side of christmas! and so to business. the rhythm section is set up and at around 11.00am i turn over the first page of music. and there it is. “scD 2015 Opening - Michael Jackson Medley”. We are up and running under the watchful ears of the musical genius that is David arch. a man that can hear frequencies that

Our home is a tad Dickensian in appearance. Think Pentonville prison but without the charm would defeat the auditory apparatus of a bat. the only man to correctly transcribe the exact chuck Berry guitar intro to Johnny B Goode, complete with the original mistakes on the record. and then insist that i play it that way. exactly. to misquote a well-known popular music ditty, he Wants it all. he Wants it now. and he Wants it Played right. right now. and by and large we do, with a little guidance from the Maestro himself. We sight read each chart pretty much immediately. there is a short discussion after every piece to fine-tune the exact synth sound, tidy up some phrasing or adjust

the level of a particular guitar effect. and then we’re on to the next dance. at 2.00pm we are joined by the Brass section and the merry day wears on. By 6.00pm this bunch of hot-shot session superstars (present company excluded) have taken 14 individual dance arrangements in an assortment of styles, two group dances, an opening and a closing sequence and the generic “strictly” links and nailed them. there is satisfaction to be gained from performing the material to the highest standard possible and in such a short time. it is close of play. “thanks guys. same time tomorrow. We’ll do it all again.” i am a trifle fatigued, it must be admitted. in this professional musician game, apparently, one has to concentrate. Why was i not informed at the outset? The Strictly Come Dancing - The Live Arena Tour 2015 Band comprises: Allan Rogers (Musical Director/Keyboard 2), Brett Morgan (Drums), Trevor Barry (Bass Guitar), Jeff Leach ((Keyboard 1), Oli Blake (Percussion), Mitch Dalton (Guitars), Simon Allen (Sax/ Guitar 2), Tom Rees-Roberts (Trumpet 1), Chris Storr (Trumpet 2), and Barnaby Dickinson (Trombone). See you next month for some more shenanigans!

No it’s not a strange kind of fish! Guitar Tuna is a popular free the guitar tuning app for iOS, Android and direct online (browser) use. It is described by music education company Yousician.com as “super accurate, fast with automatic string detection and alternate tunings. It is so easy to use that you’ll just want to use it – over and over again!” The Guitar Tuna works for several instruments such as guitar, bass, ukulele, violin and banjo. Clear visual feedback and quick response make it straightforward to use. It works with your tablet’s built-in microphone, and also includes a metronome, a chord library and ‘minigames’ to train your ear and learn chords. You can take GuitarTuna with you wherever you go. The best part is it is free! Google Guitar Tuna to find your nearest compatible download or YouTube video demonstration.

Fender announces ‘Learn To Play Day’ The 2015 Fender ‘Learn To Play Day’ will take place in the Weston Roof Pavilion at London’s Royal Festival Hall from 10am to 5pm on Saturday, March 21. Held in conjunction with the Registry of Guitar Tutors (RGT) and the Southbank Centre, the free event is for anyone interested in taking up the electric or acoustic guitar, bass guitar or ukulele. Visitors can enjoy a free introductory lesson from a qualified RGT tutor, meet the team from Fender, the world’s leading guitar manufacturer, and watch acoustic performances by Fender and Southbank affiliated artists. Celebrity guests will be announced soon. Visit Fender’s Facebook page (www.facebook. com/fendergbi) for details on how to sign up.

What Strings Do You Use?

LiVePiX

STEVE MORSE

GT: Do you have a type of pick that you can’t live without? sM: Yes, i use ernie Ball medium picks. i don’t have my micrometer with me, it’s in my shop at home, but they are roughly the same as Fender mediums. i used to use very heavy Fenders, then nylon Dunlops turned sideways to get the little grip surface to strike the strings. Basically, whatever you’re used to playing becomes the style you can’t live without! GT: If you had to give up all your pedals but three, what would they be, and why? sM: i pretty much did do that. right now it’s two tc electronic Flashback delays (with my ‘toneprint’ preset loaded in), and a Keeley compressor. the first delay is a long slap delay, which is controlled by an ernie Ball volume pedal into the ‘wet only’ amp. the dry amp is always on. When i want a little or a lot of delay, i just push down the pedal, the delay is always going, but only heard when i push the volume pedal down. the other delay is at the shortest setting and functions more as a chorus, so the slightly delayed or modulated sound is also only going through the ‘wet’ amp. the compressor pedal is the only one that is between the guitar and the amp, used for the country/bluegrass stuff on the clean amp setting. GT: Do you play another instrument well enough to be in a band? If so what, and have you ever done it? sM: i’ve played bass in a musical production while i was in college, and also was a substitute in a hard-working cover band while my friend (the original bass player) tommy was sick and in the hospital. it is a very good idea for guitarists to learn to play simply and reliably, and bass is a great start for that, unless you’re playing Dave Larue’s parts (Dixie Dregs, Joe satriani, John Petrucci, Flying colors, etc). GT: If a music chart were put in front of you, could you read it? sM: Yes, i did go to a music university. But, i wouldn’t be a fast enough sight reader to make it on a tV live band, or a Broadway production without looking at all

We ask a famous guitarist all those little questions you really do want the answers to. This month, Dixie Dregs and current Deep Purple axeman, the multi-talented Steve Morse.

Steve Morse with signature Music Man guitar

the hard parts first. Back in the day, i could read, because i had to, and practiced it. You use it or lose it to some extent! GT: Do guitar cables really make a difference? What make are yours? sM: i have tested a number of them, and yes, they do make a difference. Particularly the low capacitance cables, offered as a high-end product. i personally like the old ernie Ball cables that they don’t make any more with the plug at one end that mutes the cord until you plug it in. i have some replacements that are very high-tech, made in Germany, that

we use with Purple. i always prefer what i’m used to, which are the old, typical co-ax cables, because the guitar amps were voiced for that sound. to my ears, many of the low-capacitance cables sound too bright, and there’s the loss of some fatness down low. GT: Is there anyone’s playing (past or present) that you’re slightly jealous of, and why? sM: Where do i start? a while back i was onstage with Joe Bonamassa, Paul Gilbert, steve Vai, albert Lee, Blues saraceno and that’s a great start! seriously, look in almost any direction, and

we’ll see amazing people, each with their own way of playing. For instance, yes, i’m slightly jealous of how easily John Petrucci can play some of the lines that he and Jordan rudess write together; or i’m slightly jealous of how easily Pat Metheny can improvise over anything and make sound heavenly; or... Bottom line: Jealousy is no good for our lives, but do appreciate the fact that every player has a unique niche that they can do like no other. GT: Your house/studio is burning down: which guitar do you salvage, and why? sM: My Musicman signature model, serial number 1. it has always been with me at every gig since the 80s and has that special ‘mojo’. it has lots of miles on it and has been refretted nine or 10 times since i saw it being built. GT: What’s your favourite amp and how do you set it? sM: it’s an enGL signature amp because they made it like i wanted it. the first two channels are the ‘meat and potatoes’ of the sound, and if you put every dial on about 6, it will sound great with any guitar. channel 3 is much more complicated, and i use that for getting a solo to stand out without getting louder, by emphasising different midrange components. GT: What kind of action do you have on your guitars - any particular quirks etc? sM: We keep my electric guitars pretty easy to play, action wise. so, if i play slide i have to keep a light touch to keep it from fretting out. GT: What strings do you use – make, gauge and why? sM: i use an ernie Ball custom set: 10,13,16,26,32,42 in standard tuning. i love the company and its products because they are consistent and reliable. Steve Morse’s band Flying Colors, featuring Neal Morse (keyboards), Mike Portnoy (drums), David LaRue (bass) and Casey McPherson (lead vocals, guitar), record on Mascot Label Group/ Music Theories Recordings. Visit www.flyingcolorsmusic.com. Steve will be touring with Deep Purple later this year – more info at www.deeppurple.com.


That Was The Year... Roadstar, Thrust 2 And Moonwalk PEAVEY PULLS THE PLUG on its budget range T-15 guitar with double cutaway offset body and maple neck. Although amply equipped with a pair of oversized single-coil pickups and even the option to buy an ‘electric case’ with a 10-watt amp and a five-inch speaker built in the guitar failed to cause much interest. THE LARGEST RECORDING CONTRACT in history is signed by The Rolling Stones with CBS Records for a colossal $28 million; Kiss officially appear in public without makeup for the first time on MTV; the Red Hot Chili Peppers release their eponymous first album; the first ever Now album is released and during a TV special to celebrate the 25th anniversary of Motown; Michael Jackson introduces the moonwalk during his performance of Billie Jean. BAD NEWS FOR THE NUCLEAR INDUSTRY following a series of major incidents. The automatic shut-down fails at the Salem Nuclear Power Plant in the USA but fortunately the reactor in Russia’s Kursk Plant does shut-down successfully after a fuel rods failure. Argentina has a total loss of coolant at their Embalse Nuclear Station causing an “Accident With Local Consequences” then in Germany the Philippsburg Plant releases deadly iodine-131 after a ‘technical failure’ occurs. Hinkley Point C anyone? A NEW LAND SPEED RECORD of 633.468 mph (1,019.468 km/h) is achieved in the Black Rock Desert by British entrepreneur Richard Noble driving Thrust 2; Margaret Thatcher’s government is re-elected by a landslide majority; the privatisation of cleaning, catering and laundering services is introduced for the NHS to save money and Bill Gates’s Microsoft Word is launched. SUCCESSFUL FIRST FLIGHT of the Space Shuttle Challenger and subsequent missions include Sally Ride becoming the first American woman in space and Guion Bluford the first AfricanAmerican in space. Pioneer 10 ventures beyond the orbit of Neptune and leaves the major planets of the Solar System behind, the first man-made object to do so. SAD TO LOSE Muddy Waters, Dennis Wilson, Billy Fury, James Jamerson, Karen Carpenter, Winifred Atwell, Chris Wood (Traffic), Earl Hines, lyricist Ira Gershwin and conductor Sir Adrian Boult. DISNEYLAND IN TOKYO OPENS then the company kicks off channel broadcasting with the Disney Channel. Cinemas are showing Star Wars Episode VI: Return Of The Jedi and Flashdance and after winning five consecutive Wimbledon championships Björn Borg announces his retirement from tennis. IBANEZ INTRODUCES ITS ROADSTAR RS1010SL Steve Lukather Signature series with gold hardware, bound arched Birdseye maple top and bony fretboard with pearl snowflake inlays. The Super 58 and SL Special pickups are wound to Lukather’s specs and coil-tap options are switched by a push on/push off function on the controls. The Hard Rocker Pro vibrato is revolutionary and comes with a black arm.


Beth Hart announces new tour Following her critically-acclaimed performances co-headlining with robert cray at London’s BluesFest at the royal albert hall last October, Grammy nominated singer-songwriter, Beth hart will embark on a seven-date uK tour in May 2015. Beth does it all: sultry blues, jazzy blues, rocking tunes and touching ballads. the tour dates are: Bristol colston hall (Friday May 1); Liverpool Philharmonic hall (sunday May 3); Glasgow O2 aBc (Wednesday May 6); London Barbican (Friday May 8); Leeds academy (saturday May 9); cambridge corn exchange (Monday May 11); and nottingham rock city (Wednesday May 13). Visit www. noblepr.co.uk or www.bethhart. com for further details.

Make music with your iPad the iPad in the Music studio $19.99, isBn: 9781480343177) is the second of two iPad-related publications by the authors thomas rudolph and Vincent Leonard. this new book is designed to increase the spontaneity and creativity of musical productions by opening up the world of the iPad to

musicians, recordists, and DJs. the iPad in the Music studio focuses on the iPad’s connectivity to the professional, project, and home music studios. the authors take the reader on a tour of the latest iPad-related music hardware and software on the market. the use of qr codes throughout the book quickly links to demo videos of the products covered, turning the book into a multimedia experience. the book looks at: hardware to link microphones and instruments for live multi-track recording; controlling desktop software with the iPad; using the iPad and iPhone with mixers; the iPad and Guitar eFX software and hardware; and using the iPad to publish and distribute your music on social media. it features step-by-step guides through the most popular and productive apps for all iPads running the latest versions of the iOs. Visit www. halleonardbooks.com for further details of this and other products.

HOT FOR TEACHER yOUR RgT TUTOR Name: Adi Hughes Town: Andover, Hampshire Styles: All contemporary styles Speciality: Rock and music theory Qualification: Higher Diploma in Guitar Levels: All levels, RGT Electric and Rock grades if desired Sight-reading: All levels Charges: £25 per hour lesson Special: Fully-equipped music room, audio & video recording Contact: 07445 450966 Email: [email protected]

play: BlUES

ON THE CD

TraCk 4-12

Four Levels of Blues For this special feature, Milton Mermikides presents not one but four blues guitar lessons, each set at a different level and designed to improve your playing, regardless of your ability. ABILITY RATING

easy to Advanced Info

WIll Improve your

Key: Various Tempo: Various CD: TRACKS 4-12

Scale and harmonic theory All-round blues vocabulary Improvisational skills

Ask A hundred guitarists the simple question, “What should I play over a blues?” and you’ll likely receive just as many different, but equally impassioned, responses: “don’t think about it, just use your ears”; “use minor blues but play with feeling”, “don’t just play minor Pentatonic, follow each chord”; “Imitate the players you like and then make it your own”, or any number of ever more complicated theoretical instructions of what to do – or not do. For the developing guitarist, this avalanche of often contradictory advice can be both overwhelming and confusing. The best way to proceed (as is the case with any musical pursuit) is to become aware of a number of different possible effective approaches, and be less concerned about which is the right – or best – one. The more options you have the richer your palette for musical expression becomes, the more choices you’ll have in performance and the more you’ll be accepting (rather than challenged by) any new idea that comes along. In this spirit, this article presents four different approaches to playing over a blues progression. These have been organised into four levels, and although these levels are representative of increasing harmonic sophistication and theoretical depth, don’t be tempted to think that ‘good playing’ is at the higher levels, and ‘bad playing’ is as the lower ones; these are simply different approaches with different expressive effects. It’s possible – actually encouraged – to learn to improve at all of these different levels and to employ them all in your playing. You can mix them up within a solo (or even a chorus). We’ve presented these four levels at a variety of keys, tempos and blues styles, and

although some of these approaches are more common in certain styles, it’s possible to apply the concepts quite freely. here’s a breakdown of the four levels together with some representative artists who are good exemplars of the approach in question. There follows four two-chorus solos (with a backing tracks) showing each ‘level’ in action. Feel free to use these solos as the basis of something original, and use the backing tracks as an aid to developing ideas of your own based on these ‘levels’. Working through this article, and developing the ideas within your own playing,

A useful tip for when coming up with your own chord progressions is to look out for what the top line is doing. will help you see the countless ways you can play over a ‘simple’ blues (and other contexts), and will liberate you from dutifully following any one particular system.

LeveL 1

The use of minor Pentatonic (or minor Blues) based on the key over all the chords - for example C minor Pentatonic on a blues in C: C7 F7 G7. This may feel like the simplest approach but it’s actually quite interesting and helpful to see how and why it works. Let’s look at C minor blues over the three chords C7, F7 and G7. (In the table, r = root). C minor blues

C

Eb

F

F#/Gb

G

Bb

C7

R

#9/b3

4

#4

5

b7

F7

5

b7

R

b9

9

4

G7

4

b6

b7

7

R

#9/b3

All the notes of the minor Pentatonic ‘work’ over all three chords, but different notes are relatively more stable or unstable on each chord. The diagram indicates in yellow the root notes for the three chords. notice that for each of the three chords, the root is available in the scale. Chord tones other than the root

are indicated in green and are quite stable. The orange squares indicate ‘tolerable dissonances’, which have a tendency to resolve (but don’t necessarily). Much more unstable are the notes indicated in red, which tend to be used in passing, or emphasised for dramatic effect. Finally the blue notes; these represent the characteristic ‘blue’ effect of playing a minor 3rd (also known as #9) over a dominant 7 chord. You can use the backing track to hear the effect of all these notes on each chord: for example the root (C) works well on all three chords (although a bit unstable on the V chord). The #4/b5 (F# or Gb in this case) is unstable on all the chords, so is used only in passing or for intended edginess. Blues curls: Great players like stevie ray Vaughan add some sophistication to this ‘Level 1’ playing with the use of quarter-tone bends. The b3 notes (indicated in blue in the diagram) can be teased slightly sharp on the appropriate chords so they pull towards the major 3rd in the underlying chord. In short, the b3 (eb) can be bent slightly sharp when on the I chord (but not on the IV chord). The Bb can also be bent a quarter tone sharp when on the V chord, but is rarely done so otherwise.

LeveL 2

Whereas Level 1 playing fixes the scale over all three chords, Level 2 adapts the scale to fit

Get the tone 5

6

6

7

3

Gain

Bass

Middle

TReBle

ReveRB

As we are dealing with a general concept, essentially you can go for any tone you like. But keep it quite clean with a little reverb at first, so you can hear every note in every chord. Only add in effects like distortion and big delays or reverbs when you are confident that you’ve nailed each idea.

TRACK RECORD Level 1 solos include Albert King’s Crosscut Saw and Buddy Guy’s Damn Right I’ve Got the Blues; Level 2 try solo one in Cream’s Crossroads or Peter Green’s The Stumble; Level 3, Kenny Burrell’s Saturday Night Blues, Freddie King’s Hideaway or Larry Carlton’s I Gotta Right; Level 4, Robben Ford’s Help The Poor, Joe Pass’s Limehouse Blues or Scott Henderson’s Well To The Bone.


PAUL NATKIN / GETTY IMAGES

ULTIMATE BLUES LESSON

Albert King: a masterful player in Level 1 category


play: BlUES

ON THE CD

each chord. In a blues the I7 chord (C7 in a blues in C) contains a major 3rd in the key of C (e). however, the IV7 chord (F7 in a blues in C) contains a minor 3rd (eb). This major-minor ambiguity between the I7 and IV7 is negotiated in Level 2 playing by using major Pentatonic on I7 and minor Pentatonic on IV7. Let’s see how it works. C Major Pentatonic

C

D

E

G

C7

R

2

3

5

6

C Minor Pentatonic

C

Eb

F

G

Bb

F7

5

b7

R

2

4

A

You’ll see that with this approach the scales ‘agree’ with the underlying chords, there are no harsh dissonances to manage, and by simply switching from major to minor Pentatonic (chords I7 and IV7 respectively) a harmonic agreement is ensured, and there is more scale variety than in Level 1 playing. For the V7 chord (G7 in the key of A), both minor Pentatonic (as in Level 1) or – a little less commonly - major Pentatonic (which gives a sweeter, less tense effect) may be used. C Minor Pentatonic

C

Eb

F

G

Bb

G7

4

b6

b7

R

b3

C Major Pentatonic

C

D

E

G

A

G7

4

5

6

R

2

note that the major and minor Pentatonic scales in Level 2 are often extended to major blues and minor blues (by adding the b3 and b5 respectively); in fact this is a core approach throughout blues playing. This major-minor Pentatonic ambiguity is a fundamental technique in the blues, so Level 2 examples abound, but a good point of reference is the British Blues of the late 60s, with players like Peter Green, Mick Taylor and eric Clapton.

LeveL 3

In Level 3, we engage completely with the concept of ‘agreeing’ with the underlying harmony. In levels 1 and 2, one or two scales built on the root of the key are selected and these work on all the chords. In level 3 only one scale type is used but this is transposed (shifted) for each chord in turn. A common scale used to negotiate a dominant 7th chord is the Mixolydian (C Mixolydian – C-d-e-F-G-A-Bb). This works well, as all the notes are relatively consonant. Playing the 4th degree is unstable but not jarring, and all the rest of the notes are very well seated with the chords. C Mixolydian

C

D

E

F

G

A

Bb

C7

R

2

3

4

5

6

b7

To play over the other two chords, we can simply transpose this scale so it becomes F Mixolydian for F7, and G Mixolydian for G7.


F Mixolydian

F

G

A

Bb

C

D

Eb

F7

R

2

3

4

5

6

b7

G Mixolydian

G

A

B

C

D

E

F

G7

R

2

3

4

5

6

b7

This means we are presented with the challenge of having to learn (and switch between) Mixolydian scales in a number of positions, but we are able to navigate the changing harmonies fluently (known as ‘making the changes’) which results in a quite sophisticated musical effect. These Mixolydian scales can also be furnished with a quickly resolved b3 (for a touch of bluesiness) or a major 7 and a #4(b5), which

Half-Whole Diminished scale works because it contains root, 3rd and b7th, which make up the core ‘function of the chord. are often used as a passing note between root and b7, and 4th and 5th respectively. Incidentally, if one wants to think of all these scales as based on one root, you can use C Mixolydian, C dorian and C Ionian (C Major) for I7, IV7 and V7 respectively. This may help for remembering fingerings, but it’s also important to understand the scale degrees of the underlying chords. Level 3 can be found in the playing of many guitarists including Jimi hendrix (who uses it between the V7 and IV7 chords in red house) but is used routinely in ‘countryblues’ and by jazz-blues players.

LeveL 4

Finally, Level 4 may be seen as an extension of Level 3 playing, where some alternatives to the Mixolydian scale are used to negotiate each chord in turn. A common ‘Level 4’ scale is the Lydian dominant (which is the 4th mode of Melodic minor and is also known as Mixolydian #11, or the ‘Overtone’ scale). It’s identical to Mixolydian but with a raised 4th, which gives it a floaty, dreamy quality. It can be used transposed to any of the chords but is perhaps most common on I7 and particularly IV7 (pictured here in the key of C): F Lydian b7

F

G

A

B

C

D

Eb

F7

R

2

3

#4

5

6

b7

On the I7 chord, a half-whole ‘symmetrical’ diminished scale can also be used. It’s so called because there is a repeating pattern in the scale of a semitone (half step) followed by a whole tone (step). This works on the chord but feels quite unstable, so is often used on bar 4 just before the I7 chord moves to IV7.

TraCk 4-12

C half-whole

C

Db

Eb

E

F#

G

A

Bb

C7

R

b2

b3

3

#4

5

6

b7

This eight-note scale may seem entirely arbitrary, but it works because it contains the root, major 3rd and minor 7, which make up the core ‘function’ of the chord. The most tense scale commonly used on a dominant 7 chord is the Altered scale (or Superlocrian), where every note is flattened from its natural ‘major’ position. G Altered

G

Ab

Bb

B

Db

Eb

F

G7

R

b2

b3

3

b5

b6

b7

Again this scale ‘works’ because it contains the fundamentally defining degrees of a dominant 7 chord (the root, major 3rd and minor 7th) but is so tense that it usually appears on the V7 chord, which already has an unstable quality that wants resolving. One way of employing this scale is by taking a minor Pentatonic based on the key of the blues in question (so in C: C-eb-F-G-Bb), then dropping the root by a semitone. This creates the notes (B-eb-F-G-Bb) which you can see are five of the notes from G Altered scale. Very cunning, but a great ‘way in’ if this style of approach is new to you. One final technique for you to employ, is known as ‘side-stepping’, and is a good first primer in the sophisticated field of ‘chord superimposition’, where different chords are implied over an existing chord progression. side-stepping involves the chromatic transposition of a phrase up or down a semitone, which creates an angular ‘out’ effect. Try it - if played with confidence and good phrasing it can sound superb! Level 4 players include robben Ford (particularly for half-whole diminished and Altered licks), scott henderson (for sidestepping and all sorts of chord scale use), and in the straight-ahead jazz vein, Joe Pass and kenny Burrell, who employ all of these ideas in a perfectly accessible way. I’ve prepared four solos over four different blues styles, but the backing tracks can be used to explore any of these levels; in fact, switching between levels is a powerful music expression in itself. so try playing all of the four levels on each of the tracks (and of course in other music, including your own). You’ll also notice that I’ve set the chords as straight I7, IV7 and V7 (even in the jazz examples) so we can really focus on the character of each level, and are not distracted by background harmony. I’ve kept all the tracks in the same key too, and with quite similar fretboard positions, so you can see more clearly the relationship between the levels. Importantly, you should apply these ideas all over the fretboard, and in all different keys.

ULTIMATE BLUES LESSON LeVeL 1 ClASSiC BluES SOlO

TRACK 5

This solo in the style of Freddie or Albert King uses D minor Pentatonic over all three chords but with a different approach on each chorus. [Bars 1-12] Here we outline the roots of the chords as Milton's they change - so, C GUITAR TECHNIQUES MAGAZINE 2 40 4 LEVEL BLUES Example 1: Level 1 Solo (Classic Blues)

©»¡¢º 4 Ó &4

C7

j bœ

œ Œ ‰ J

E B G D A E

11 13

12

F7

&

. ˙ ~~~ ~~~

12

j bœ

œ œ ‰ œJ

j j bœ œ œ œ

œ

œ

œ

œ

11 13

11

j bœ

œ ‰ J

j œ

for bar 1, F for bar 5 and G for bar 9 etc. [Bars 13-24] Here we see how the same phrase can be played over each of the chords to create a slightly different effect.

j œ

œ bœ

12 10

œ

8

Œ ‰ œ J

Ó

10

10

' bœ œ bœ œ b œ œ b œ œ ‰ J Œ Œ

C7

œ bœ

Œ Ó

1/4

œ

Œ

'

PB 12 BD

1/4 E B G D A E

8 10

8 10

12

10

11

12 10

8

10

8 10 8

10

F7

œ n œ œ. Œ Œ ‰ œ & J 10 12

j j bœ œ œ œ

8

8 10

10

œ

11 13

11

j bœ

œ œ ‰ œJ

12

8 10

œ

C7

j œ

G7

œ bœ

12 10

œ œ #œ œ œ œ bœ œ

8

10

j bœ œ bœ œ œ ‰ œ bœ œ bœ œ œ ‰ bœ bœ œ bœ œ œ œ bœ œ & œ J œ J œ

9

10

10

8

10

œ Œ ‰ bœ œ nœ

BU 8

10 8

10

8

10

8

10 8

10

8

10

8

10

8

10

8

10 ( 11 ) 10

10

10

8

10

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play: BlUES

ON THE CD

TraCk 4-12

LeVeL 1 ClASSiC BluES SOlO ...CONTiNuED

TRACK 5

[Bars 25-36] These final 12 bars demonstrate the edgier use of the b5 interval, as well as showing appropriate use of ‘blues curls’. 2 xxxxxxxxxx 2 xxxxxxxxxx

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2 xxxxxxxxxx

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2 xxxxxxxxxx

E B G D EA BE G 21 D E A B E G 21 D E A B E G 21 D A E 21

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CrAIG LovELL / EAGLE vISIoNS PhoToGrAPhY / ALAMY


Larry Carlton is one of the most classy and tasteful players in blues


play: BlUES

ON THE CD

TraCk 4-12

LeVeL 2 BOuNCy 12/8 SOlO

TRACK 7

[Bars 1-12] This first chorus of our level 2 blues is centered around the E shape (shape 1) position of each scale , so it’s worth making sure you know them really well.

Here’s a level 2 solo on a bouncy 12/8 blues in the style of BB King and other more modern players such as larry Carlton. This shows how effective it can be to switch between major and minor Blues scales. GUITAR TECHNIQUES MAGAZINE 2 40

Milton's 4 LEVEL BLUES

Example TECHNIQUES 2: Level 2 SoloMAGAZINE (12/8 Rhythm & Blues) GUITAR 2 40

Milton's 4 LEVEL C 7 BLUES Milton's 4 LEVEL BLUES Milton's C7 4 LEVEL BLUES

©»¡™• 12 Ó . Œ b œJ n œ &8 ©»¡™• Example 2 Solo (12/8 Rhythm &bBlues) 122: Level . Œ œJ n œ & 128 Ó ©»¡™• Œ b œJ n œ & 8 Ó . ©»¡™• 12 Œ b œJ8 n œ9 & 8 Ó.

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

E B G D A E E B 3 G E D B A G E E 3 D B A G E D3 A E 3



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GUITAR TECHNIQUES MAGAZINE 2 40 Example 2: Level 2 Solo (12/8 Rhythm & Blues) GUITAR TECHNIQUES MAGAZINE 2 40 Example 2: Level 2 Solo (12/8 Rhythm & Blues)

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[Bars 13-21] Here we get a little more sophisticated as these changes are 10 the C and A (CAGED) 10 shape 11of the 8 scale. using

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ON THE CD

TraCk 4-12

Jazzman George Benson’s playing will occasionally cross into blues with great effect


ZUMA PrESS / ALAMY

play: BlUES

ULTIMATE BLUES LESSON LeVeL 3 FuNKy JAzz-BluES SOlO

TRACK 9

This is a level 3 solo with a funky blues feel (used by lots of artists like George Benson, Ronnie Jordan and Pat Martino), which also has shades of country blues in its hybrid picking and use of 6ths. Each chord is Milton's GUITAR TECHNIQUES 2 40 but these are negotiated by its own MAGAZINE Mixolydian scale peppered with the

use of b3 (and occasional major 7ths and flat 5ths), which is an essential stylistic technique. i’ve gone for a more double-stop approach here, which shows how the scales relate to the underling chords, as well as informing rhythm ideas using this level.

4 LEVEL BLUES Milton's 4 LEVEL BLUES

GUITAR TECHNIQUES Example 3: Level 3 Solo MAGAZINE (Funk Blues)2 40

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E B G D A E E B G1 D E A B E G1 D E A B E G 1 D A E 1



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TRACK 9

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rodoLFo SASSANo / ALAMY


Robben Ford superbly mixes straight blues playing with rock and jazz elements


play: BlUES

ON THE CD

TraCk 4-12

LeVeL 4 BE-BOP STylE SOlO

TRACK 11

Here’s a be-bop solo in the style of Joe Pass and Jim Hall, but employing techniques used by a range of guitarists. in addition to some level 3 approach, used every MAGAZINE level 4 technique in the text. GUITARi’ve TECHNIQUES 2 40 discussedMilton's BLUES Examples of lydian Dominant (for the chords of C7 and 4F7)LEVEL are found

in bars 2-3, 6, 11-12, 17-18 and 23-24, and C Half-Whole Diminished is used in bar 16. G Altered is used in its Pentatonic form in Bars 9-10, and its full seven-note form in bars 21-22. Finally, ‘side-stepping’ (semitone transposition) is employed in a minor Pentatonic lick in bars 19-20.

Example 4: Level 4 Solo (Bebop Blues)

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Play: instrumental

ON THE CD

TRACKs 13-14

The Shadows Atlantis

Steve Allsworth launches this month’s underwater-themed ‘foot tapper’ that features those classic twanging Hank tones and provides an object lesson in targeting chord tones.

ABILITY RATING

Easy/Moderate Info

WIll IMprovE your

Key: F Tempo: 128bpm CD: TRACKS 13-14

Targeting chord tones Quarter-note triplets Clean palm-muting

It’s easy to underestimate in today’s current musical climate, the mass appeal, success and influence that the Shadows had, especially in their early years. they had 69 UK chart singles in the five decades from the 1950s to the 2000s, with just over half credited to them purely as an instrumental group and the rest as Cliff Richard and The Shadows. Third only behind Elvis and Cliff in the UK singles chart, they are also credited as being the world’s most successful backing group. As the original pioneers of the four-member rock group format, they also

TeChnique FoCus nailing the Hank vibrato Although Hank is schooled in the ways of classic guitar vibrato, most of his famous vibrato comes from a subtle waggle of the whammy bar. It’s important to note that it should be of the floating variety to ensure the arm can move up and down (either side of the fretted note) to give a smoother sound. It very much depends on the gauge of strings and the tension springs as to how subtle you need to be, but if you do find the movement a little too extreme, try your vibrato action lower down the body of the whammy bar. It’s also a common misconception that Hank only adds the vibrato at the end of phrases, but if you listen carefully there are subtle vibrato lines all over the place to varying degrees.

played a pivotal role in the development of the many thousands of guitar-based groups both in the UK and the abroad. In the pre-Beatles era from 1958 to 1962, the Shadows and Cliff were arguably the only major group. Hank’s famous fiesta red Strat, played through a combination of Vox amps and an Italian Meazzi echomatic echo unit, is an immediately identifiable sound that no doubt played its part in the development of instrumental guitar music as we know it today. This month’s track is one of The Shadows’

I bumped into George Harrison in Abbey Road and he told me how much he loved the single [My Baby Blue]. ‘Take my advice’, he said, ‘forget about being an instrumental group and follow up on the vocals.’ We didn’t. We were idiots. Nice boys, but idiots. Hank Marvin lesser-known tracks, despite reaching the number two spot in the UK when it was released as a single in 1963 and staying in the charts for a further 17 weeks. The track was written by Jerry Lordan, who had already found success with Apache, first recorded by Bert Weedon. Lordan wasn’t keen on Bert’s version, so he played Apache backstage on a ukulele while on tour with The Shadows and the band decided to record it there and then. When it was finally released in 1960 it topped the charts and stayed there for five weeks. Lordan went on to pen further instrumental hits such as Wonderful Land, and Diamonds (for Shads’ bassist and drummer Jet Harris and Tony Meehan, although Licorice Locking and Brian Bennett played on Atlantis).

After the band split in 1968 The Shadows received a second wave of success from the late 70s until their final breakup in 1990, but Hank has continued to release solo material ever since, plus there have been various ‘reunion’ gigs. Like many of The Shadows’ best tracks, Atlantis features a simple melody that uses chord tones effectively, especially over the latter part of the theme (which uses a non-diatonic D major chord for example). It also plays heavily on quarter-note triplets, although don’t feel that these and many of the other rhythms need to be absolutely perfect. Much of Hank’s musicality comes from letting these rhythms ebb and flow to give the melody more of a lyrical quality.

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Our track features two distinct sounds, one with the echo unit and one with natural spring reverb. Like many of their tracks, the specific makes and models that Hank used can be the subject of many hotly disputed arguments amongst aficionados. That said, this was the band’s ‘Burns’ era so Hank would have used his Burns Marvin and possibly a Watkins Copicat. There’s little point in trying to recreate the echo unit’s unique series of repeats exactly, but you can get reasonably close with a tape echo emulator with the first head set to 84ms and the second to 168ms and 50% feedback. This essentially gives the rough impression of repeating sextuplet 16th rhythms. Also the majority of the track (apart from just before the final reprise of the intro at bar 65) features the distinctly warmer Burns tone. Amp is Vox AC30 all the way, so dial in a British style valve sound with plenty of reverb. It also sounds like a compressor was used to reduce the attack of the melody line, so use one at your discretion.

There are many fine compilation albums out there featuring all the band’s best-known instrumental hits (and some vocal ones too). When buying one, make sure it’s the original recordings and not one of several remakes which lack the spark and urgency of these.


ALAMY

TRACK RECORD Hank Marvin was a highly sophisticated guitarist for his time, and those early Shadows tracks still sound great today.

The ShadowS aTlanTiS

Locking, Bennett, Welch and Marvin in early 63, just prior to getting Burns guitars


Play: instrumental

ON THE CD

TRACKs 13-14

PLAYInG tIPS

CD TRACK 13

[Bars 1-8] It can be surprisingly difficult to find the sweet spot between over or under-muting, or even picking too hard when using these light palm-mutes. The real test is making sure the longer notes carry for at least three beats. [Bars 9-16] When playing these longer quarter-note triplets it’s a good GUITAR TECHNIQUES MAGAZINE 2 4 0

ATLANTIS BY THE SHADOWS


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idea to feel or even vocalise the tied note at the beginning of the triplet to anticipate the rhythm. Try and vary your pick attack for a more lyrical dynamic as well as pushing and pulling some rhythms (try falling slightly late on some of the longer notes, as Hank does).

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PLAYInG tIPS

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ON THE CD

TraCk 15-18

String skipping with a pick Let Jon Bishop supercharge your picking technique, soloing potential and ability to create ear-grabbing ideas with a variety of string skipping exercises!

ABILITY RATING

moderate/Advanced Info

WIll Improve your

Key: C Tempo: Various CD: TRACKS 15-18

Picking hand facility Knowledge of intervals Fretting-hand dexterity

This special and exclusive feature focuses on the art of string skipping with a pick. The aim is to develop your picking hand accuracy and also to provide you with some interesting new soloing concepts. There are 10 four-bar examples to study, complete with a backing track to practise with. each example addresses a different aspect of string skipping and they all pose a particular picking challenge. The reference audio has been recorded at fairly easy-to-play tempos so you can hear what is going on and practise at sensible speeds. These tempos will be good target to begin with, since it’s always better to learn a technique thoroughly, at a workable tempo, than simply charging ahead before you’re ready; this can build in flaws that can be hard to rid yourself of later. Ultimately, of course, with practice you should be looking to exceed them. each example gets steadily more tricky to play and will certainly stretch even the most accomplished picker - which is why beginning at a slower tempo is so important. as an added extra there is a full-on jam

solo, again with a corresponding backing track. The solo will help you to contextualise what we have worked on, and give you a chance to come up with your own ideas. as inspiration for the exercise we have chosen some well-known guitarists who use string skipping to great effect. The idea is to learn the example and then practise it with a metronome every day. You can stretch

String skipping is a great way to create ear-grabbing ideas and also a surefire way to develop your picking hand facility. yourself by increasing the tempo during the session and charting your progress over a series of days and weeks. We have provided the harmonic context for each example so you can use the concepts in your soloing and improvisation. To keep things as simple as possible and allow us to concentrate on the various technical challenges, many of the examples use the c Major scale as a foundation: c-d-e-F-G-a-B. if we harmonise the c Major scale in 3rds (meaning that we build a three-note chord starting on each of its intervals) the following chords are produced: c major, d minor, e minor, F major, G major, a minor, B minor b5. if we harmonise to the 7th degree

(building four-note chords) they become: c major 7, d minor 7, e minor 7, F major 7, G major, a minor 7, B minor 7b5. We can also use the following pentatonic scales as they are all created exclusively with the notes of the c Major scale and relate to the above chords. The scales are: c Major pentatonic, d Minor pentatonic, e Minor pentatonic, F Major pentatonic, G Major pentatonic and a Minor pentatonic. While string skipping is not a technique you might use all the time, it’s a brilliant way to give a huge lift to a solo, or section of a solo. The fact that it allows you to play earcatchingly large intervals makes it an impressive-sounding weapon to have in your sonic armoury too. have fun!

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The ideas in this article can be played with any type of guitar. All of the pickup selections and effect combinations are noted alongside the tab. Our examples were recorded with a PRS custom 22, plugged into a 90s Fender Deville 2x12 combo. For the clean examples, we dialled up a bright and lively sound; otherwise the only effects used were an Ibanez Tube Screamer and a touch of reverb for that final touch of ambience.

TRACK RECORD In the course of this article we have featured players such as John Petrucci, Paul Gilbert, Frank Gambale, Carl Verheyen, Matt Bellamy and Nuno Bettencourt as each has a signature way of using string skipping. In addition the following records are well worth checking out, try Technical Difficulties by Racer X and Train Of Thought by Dream Theater.


LIVEPIX

STRING SKIPPING

Matt Bellamy of Muse uses string skipping in solos


play: TECHNIQUE

ON THE CD

TraCk 15-18

GUITAR TECHNIQUES MAGAZINE 2 4 0 Jon Bishop's SKIPPING ExAMPlE 1 Minor Pentatonic StrinG SkiPPinG PartSTRING 1

The Pentatonic scale places two notes on each of the six strings so it’s easy to create string-skipping patterns. This first example works on the Example - Minor pentatonic PartStart 1 easiest string1skip which is simplystring to skipskipping one string. slowly with this

TRACK 15

exercise and stick to the picking directions and fingering notated in the tab. Dialling in an accurate technique at the slower tempos is the key to playing these examples at performance tempo.

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TRACK 17

[Bars 1 to 12] Our string skipping jam is played over a Dm7 backing picking pattern has been notated. The intervallic run in bar 8 is similar to track. This means if we use the notes of C Major we imply the D Dorian the one we looked at in example 3 only this time we have included some mode which has a niceMAGAZINE blues and fusion 6 has the first stringfinger slides for a smoother sound between the transitions. In bar 11 and GUITAR TECHNIQUES 2 4 0 sound. Bar Jon Bishop's STRING SKIPPING skipping run. This one uses the octave interval and the 12 we apply the idea from example 8 to create an ascending phrase. J Afinger M slides and GUITAR TECHNIQUES MAGAZINE 2 4 0

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play: TECHNIQUE & A E

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ON THE CD

TRACK 17 ~~ ~~ Bars 20 and 21 feature some semi-quaver picking runs and the jam ends

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to fade to fade to fade

play: classical

ON tHE cd

tracks 19-20

Modest Mussorgsky promenade

Time to get strutting your stuff as Bridget Mermikides arranges and transcribes the evocative Promenade from Mussorgsky’s classic work, Pictures At An Exhibition. Sitting PoSture

An important aspect of technique in classical guitar playing is adopting the correct sitting posture. The guitar is placed on the left thigh (for right-handed players), which is raised by placing the foot on a footstool or similar. The left knee should be pointing forwards and the right knee to the side so the guitar rests on the inside of the right thigh. The guitar should be positioned at an angle where the neck is pointing slightly upwards, and the right forearm rests on the larger bout of the instrument. This should hold the instrument securely in place and give ease of facility for both hands.

ABILITY RATING

Moderate Info

WIll IMprove your

Key: A Tempo: 84 bpm CD: TRACKS 19-20

Chord knowledge Polyphonic playing Odd meter understanding

Pictures At An exhibition was composed in 1874, soon after the tragic death of Modest Mussorgsky’s friend, the artist and architect, Viktor Hartmann with whom the composer shared a russian nationalistic artistic vision. A retrospective exhibition of Hartmann’s works (some of which were owned by Mussorsky) inspired the composer to write a piece which depicted the listener walking around a gallery and stopping to look at various paintings (many of which were actual

Hartmann works). each painting is represented by a different musical movement and their moods are captured beautifully. However, the most famous is the opening and recurring theme, Promenade, representing the gallery visitor’s walk between the exhibits. it’s this section of the composition that i’ve arranged and transcribed for you here. Promenade is a stunningly simple yet radical piece of music, characterised by an engaging melodic motif which is presented as a single line, and also harmonised with a surprising and satisfying chord sequence.

To make the arrangement work well for solo guitar I’ve transposed the original key from B flat down to a.

NeXT MoNTH: Bridget arranges Mozart’s Eine Kleine Nachmusik

Track record For a solo piano version of Pictures at an exhibition, check out alfred Brendel’s rendition (1990, decca), and for ravel’s beautiful orchestral arrangement, the Berlin Philharmonic recording (1995, deutsche Grammophon). and emerson Lake & Palmer’s live prog version (1971, Manticore) is a great example of how classical music can be successfully adapted to a rock trio format.


GETTY IMAGES

Keith Emerson at the helm of his ‘Mission Control’

the piece is also interesting rhythmically, as it’s set at standard walking pace, and although it’s made up almost entirely of crotchets and quavers, involves a switching 5/4 to 6/4 meter. this asymmetric meter is unusual yet entirely accessible, as it presents the melody so naturally (for a similar example of this idea from the popular music genre check out the verse sections of the Beatles’ All You need is Love). Although a virtuosic solo piano piece, Pictures At An exhibition is perhaps better known by ravel’s gorgeous orchestral arrangement. to make the arrangement work for solo guitar i’ve transposed the original key of Bb down to A (you can use a capo at the first fret if you want to replicate the original key). the main technical challenge to overcome here is when switching from chord to chord. This needs to be executed fluently so as to maintain the melodic line - the music captions should help you navigate any particularly tricky sections. Wth that in mind you might want to practise the piece in sections; you’ll need to develop muscle memory for some of the more challenging chord changes, to play it with an appropriately relaxed fluency.

Modest Mussorgsky proMenade PLAYING TIPS

cd track 20

[General] The aim for this piece is to create a smooth melodic line, both when the melody is revealed as single, unaccompanied notes and also when it is harmonised with chords. [Bars 1-4] I play the first two bars using alternating first and second picking fingers, and rest stroke for a warm and consistent tone. Occasionally I repeat the first finger (instead of strictly alternating) as it is ergonomic to do so when changing from a higher to a lower string – for example the C to B last note of bar 1 to the first note of bar 2. As we reach the block chords in bar

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play: classical

ON tHE cd

tracks 19-20

PLAYING TIPS

cd track 20

[Bars 9-13] At bar 9 we only have two voices, bass and melody, so this is a little easier. At bar 13 however some fretting-hand gymnastics is needed! Follow the fretting-hand fingering indicated next to the note heads - a full barre is needed on the second half beat (B/F#); then the third finger on D# shifts up one fret to the E; next a hop up to B with the fourth finger... and so

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on. Follow the suggested fingering carefully as it’s there to help you. [Bars 15- end] At bars 15 and 17 you’ll find specific picking and fretting hand fingering suggestions. For the remainder of the piece the technical requirements remain very much the same. This is a simple yet satisfying piece to both play and listen to, and I hope you enjoy mastering it!

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cd track 20

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Tips and techniques to help you play and sound better

LEarNiNG ZONE LESSONS GT240 30-MINUTE LICKBAG

.....................................

50

Pat Heath lays doen the gauntlet with six licks at easy, intermediate and advanced levels.

BLUEs................................................................................................. 52

John Wheatcroft meets Joe Bonamassa and Ron DeJesus of Rock Candy Funk Party.

RoCK .................................................................................................. 58

Martin Cooper gets to grips with the proggy style of the amazingly creative Mars Volta.

vIdEo ................................................................................................ 62

Guitarist supreme Carl Verheyen dishes up the first in a series of video masterclass recipies!

CREATIvE RoCK ......................................................... 70

Shaun Baxter demonstrates how to create fantastic one-bar 16th-note lines.

CHoPs sHoP ..................................................................... 74

Andy Saphir wants to improve your chops, this month he looks at ‘widdly’ sextuplets.

BRITIsH R&B ....................................................................... 76

THERE’S A SHORT video of Yngwie Malmsteen doing the rounds (it’s GT’s Facebook too), showing him in relaxed discussion mode. In it he questions people’s impression of him, requests to slow down and the implied virtues of ‘less is more’. He dismisses that notion completely: “How can less be more? It’s impossible. More is more!” While we may chuckle at his puzzlement, he is one of the very best to endorse ‘more is more’ – his hand synchronisation is amazing even at superfast tempos, his bends are perfect and his vibrato is among the very best to be heard from any electric guitarist. Now is not the time to delve further into the question of ‘less is more’ but there is a way we can positively use the saying to benefit all our developments. In our desire for ‘more’, we often think ‘new’. What if we changed ‘new’ to ‘different’ by taking something we already do and creating variations on it to build a bigger musical pool? Here’s the beauty of ‘less is more’; we take what we play already (less work), and use it as a springboard to cultivate variations (more results). It also becomes a part of our style more quickly than wholly new explorations. A win-win scenario indeed! Try starting with blues licks: I’ve lost track of the guitarists I’ve heard over

the years that play blues licks that always start and/or end with the root note. Not ideal. What about focusing here so that the same favourite lick(s) is (are) bookended with options involving 3rd, 5th or 7th intervals? And chords: take a barre chord and see how you can alter each string’s note to tweak the shape. It will deepen how you see each note’s relationship to the chord; a good thing! You could also adopt the approach with favourite patterns that have improved your chops. If a 16th-note picking sequence always uses your first, second and fourth fingers, try dropping the second finger and using the third finger on a different fret instead. Can you then convert it so it sounds smoother using hammer-ons and pull-offs? These are ‘top of my head’ ideas and there are countless other ways you can improve your skills by adopting this take on ‘less is more’. Your challenge is to figure out what it’ll supercharge in your playing. And if you ever do have the fortune to meet the mighty Yng, you might consider thanking him for how his outlook on ‘more’ has empowered your playing!

Phil Capone introduces Manfred Mann’s all-too-undersung guitarist, Mike Vickers.

JAZZ ...................................................................................................... 82

Pete Callard examines the depth and musicality in the playing of the great Mike Stern.

ACoUsTIC ................................................................................. 88

Stuart Ryan demonstrates the acoustic side of Red Hot Chili Peppers’ John Frusciante.

REAdING MUsIC ........................................................ 92

Charlie Griffiths on triplets and sextuplets - see if you can ‘read’ Creative Rock and Chops Shop?

On v id eO! The affable and

megatalented Carl Verheyen begins a superb new series this month. Page 62


lesson: 30-Minute lickbag

30-Minute Lickbag Pat Heath of BIMM Brighton brings you varied selection of fresh licks to learn, at easy, intermediate and advanced levels. Easy Licks ExampLE 1 BLINK 182 GUITAR TECHNIQUES MAGAZINE

239 Pat Heath's LICK this is a power chord riff played mostly as downstrokes but with an up/down picking hand motion for the muted sections. make sure you get it chugging Lick 1 Blink 182 style GUITAR TECHNIQUES MAGAZINE 2 3 9 Pat Heath's LICK

Brought to you by...

cd track 21

BAG along and note that the riff needs to be played with legs open as wide as possible for the most authentic visual impact! BAG

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





ON THE CD

Learning Zone

30-Minute Lickbag

TraCks 21-26

intErmEdiatE Licks ExampLE 4 gARy mooRe 2 xxxxxxxxxx

cd track 24

2 xxxxxxxxxx sadly missed, Gary moore’s licks were the dictionary definition of classic rock and classic British power blues. this blues line is all about getting the right Lick 4 Gary Moore style 2 xxxxxxxxxx 1/4 Lick 4 Gary Moore N.C.style 1/4 Lick 4 Gary Moore N.C.style 1/4 ¿N.C.

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attitude. dig in with the picking hand and make sure there’s plenty of fire in your fretting hand.

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cd track 25

using a and c caGEd shapes with the 3rd on the sixth string. this modulates and requires a smooth. steady sweep picking technique.

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cd track 26

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lesson: blues


Rock Candy Funk Party This month John Wheatcroft invites you to a party - a Rock Candy Funk Party, hosted by Joe Bonamassa and Ron DeJesus of RCFP fame. and significant portfolio of album releases showcasing this style. You’ll know about his prolific songwriting prowess and his dynamic and bold vocal delivery and impressive skills as a front man. You may even be acquainted with his consummate work as rock guitarist and one third of the super-group Black Country communion, alongside bassist Glenn hughes and drummer Jason Bonham. Well, now Joe can add 1970s instrumental jazz-funk fusion to the list, due to his recent flurry of activity with the collective known as rock candy Funk Party. Initially formed back in 2007 by guitarist ron DeJesus and current Bonamassa sticks man tal Bergman, rock candy Funk Party’s mission statement was to create an instrumental jam band with the emphasis on groove-based original compositions stylistically influenced by classic ‘70s artists such as Weather Report, Parliament, Herbie Joe Bonamassa with gorgeous hancock’s headhunters, the vintage Les Paul average White Band and many more. after a number of performances at Hollywood’s Baked Potato ABILITY RATING the band cemented its line-up, including Joe Moderate/Advanced on second lead guitar, mike merritt on bass, keyboardist renato neto and entered the Info WIll IMprove your recording studio. With music of this nature, the chemistry Key: Various Melodic phrasing between each of the musicians is crucial. each Tempo: 105 bpm Modal playing RCFP member expertly holds up his end, with CD: TRACKS 27-29 Rhythmic displacement fantastic supportive playing all-round and some wonderfully expressive, musically I’m certaIn that regular reader to this magazine will be familiar with the remarkable compelling and never gratuitously overly technical for the sake of it soloing. For me the talents of Joe Bonamassa. You’ll know all real surprise was Ron DeJesus. Ron’s playing about his considerable command of the blues

ON THE CD

TraCks 27-29

absolutely knocked me out, with great sense of groove, fantastic tone and phrasing that is at timed slick and sophisticated that can switch in an instant to raw and brutal. There are two 16-bar solos for you this month, the first derived from Joe’s neck pickup Les Paul solo explorations, while the second concentrates on Ron’s snappy, fiery but hip and sophisticated Strat. The progression moves between E9 and C7#9, so while there are common notes that bind them, you need to anticipate the changes and modify your melodic selections accordingly. as usual, I’d urge you to check out the band’s music directly, particularly the live recording, as context is everything when you consider your phrasing, rhythmic choices and dynamic intensity when approaching improvising such potentially long solos. It’s not uncommon in this style for solos to last several minutes, so pacing and building are crucial factors to keep in mind. A good point to consider is this: how do you know your solo is coming to an end? For some the answer is that it’s when they begin to run out of ideas, leaving on a low point and not a particularly good idea from the perspective of leaving a lasting impression. The good improvisers, including both Joe and Ron naturally, most often have a definite end point in mind and spend the conclusion of their solo leading up to this point, resulting in a natural sense of conclusion, resolution and contributes to a much stronger musical statement. as always, enjoy…

I was playing over adult chords, you know, where you actually have to know the next change. Joe Bonamassa NeXT MoNTH: John uncovers the bluesy side of the amazing Brad Paisley

Get the tone 6

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We’re looking at classic guitars, specifically a Les Paul and either Strat or Tele for Joe and Ron respectively, plugged into medium powered valve combos with the minimum of effects. The vast difference in tone comes both from the choice of guitar but more specifically from Joe’s decision to opt for the neck pickup pretty much exclusively, whileRon mixes things up but generally plumps for bridge or combination of bridge and middle for most of his soloing and comping duties.

Track record rock candy’s studio recording, We Want Groove (Provogue 2013) is a fantastic example of the band’s contemporary reworking of 70s funk. To hear the guys really stretch out live, with some superb extended solos from both Joe and ron, you should grab yourself a copy of rcFP Takes New York – Live at The Iridium (Provogue 2014) and really let the funk party begin.


LeaRning Zone

Rock candy Funk PaRty EXAMPLE Solo 1: Joe BonamaSSa Style

cd track 27

[Bars 1-4] In typical blues style we kick things off with some minor-againstmajor melodic action. Essentially it’s E minor, albeit chromatically decorated, against the E7 tonality. In bars 2-3 Joe highlights both E (E G# B) and D triads (D F# A) against an E root, alluding harmonically to E11, before descending through E Blues scale (E G A Bb B D).

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lesson: blues √

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ON THE CD

TraCks 27-29 1/4

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3 not initially yield a pattern or sequence; but if you look closer then [Bars 9-12] Joe uses similar pedal-tone ideas throughout the live album, might particularly at climactic points in long extended solos, so feel free when a grouping of seven notes begins to appear. It’s best to think of this lick 1/4 improvising to stretch these ideas out. The technical challenge here is the as consisting of two melodic fragments, a four and a three, sandwiched rapid together from each in 15 E transition between 12th 9 and 11 17th fret 9 on the second string at the 12 14 15 14and 12 starting 14 12 new string with no gap between12 B of bar 10, so it might 12 be worth isolating 12 12 lick 9 and working12with your 12 constant 16th notes, therefore producing 12 12 14 12rhythmic 14 start this a seven-against-four G 11 13 12this13 metronome to build the required accuracy, clarity and precision. displacement. What better way to balance all rhythmic ambiguity than D A 13-16] A casual glance at the Pentatonic phrase across bars 14 and 15 [Bars with a selection of choice Pentatonic and unison bends to conclude. E

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LeaRning Zone

Rock candy Funk PaRty EXAMPLE Solo 2: Ron DeJeSuS Style

cd track 28

[Bars 1-4] Ron begins with some open-string dominant ideas that wouldn’t sound out of place on a Muddy Waters record. He switches to an E major to F# major triadic idea in bar 3 that alludes to Lydian Dominant (R 2 3 #4 5 6 b7.

John Wheatcroft's BLUES DUES - ROCK CANDY FUNK PARTY - SOLO 2 - RON DE JESUS John Wheatcroft's BLUES DUES - ROCK CANDY FUNK PARTY - SOLO 2 - RON DE JESUS John Wheatcroft's BLUES DUES - ROCK CANDY FUNK PARTY - SOLO 2 - RON DE JESUS John Wheatcroft's BLUES DUES - ROCK CANDY FUNK PARTY - SOLO 2 - RON jDE JESUS

GUITAR TECHNIQUES MAGAZINE 2 40 GUITAR TECHNIQUES MAGAZINE 2 40 GUITAR TECHNIQUES MAGAZINE 2 40

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ON THE CD

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TraCks 27-29

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lesson: rock

ON THE CD

TraCks 30-32

The Mars Volta Martin Cooper looks at the style of Omar Rodriguez-Lopez from modern American proggers, The Mars Volta, now sadly defunct. The Mars VolTa was a unique prog band from el Paso, Texas. Formed in 2001 from the remnants of an earlier band, at The Drive-In, the most stable line up featured omar rodriguezlopez on guitar, his brother Marcel on keyboards, Cedric Bixler-Zavala on vocals, Deantoni Parks on drums and Juan alderete (formerly with racer X) on bass. The band may not be household names, but they won a Grammy for the song Wax simulacra in 2009, and were named Best Prog Band by rolling stone magazine the previous year. The Mars Volta’s debut album, De-loused In The Comatorium, was produced by the legendary rick rubin, but the band felt that rubin had tried to oversimplify the songs to appeal to a mass market, when they actually wanted their music to be a more uncomfortable listen. The record gained very strong reviews and remains their biggest selling album, with over 500,000 copies sold to date. Mars Volta songs and live shows have often been chaotic and melodically challenging, but they also Omar Rodriguezgained some mainstream Lopez with cool Ibanez signature success, including a song used in the soundtrack for the popular Playstation baseball game ABILITY RATING franchise, MlB The show. Guitar player rodriguez-lopez’s playing is Moderate distinctive and characterised by playing in Info WIll IMprove your minor keys and modes, highlighting dissonant chromaticism and use of the tritone. he has Key: A minor Lead and rhythm playing stated that his influences include King Tempo: 109 bpm Part writing Crimson’s robert Fripp, John Mclaughlin CD: TRACKS 30-32 Theory knowledge


They may not be household names, but The Mars Volta are Grammy award winners, and have been named Best Prog Band by rolling Stone. and Jimi hendrix. he has also often tried to make the guitar parts and tone not sound like a guitar wherever possible, and claims that he only really started playing guitar in his band out of necessity! This month’s track features lots of prog weirdness! It’s in the key of a minor (a B C D e F G) but has a lot of non-diatonic notes. The track begins around a hypnotic a minor Pentatonic riff (a C D e G), and then has a lot of staccato a minor triads and single-note Diminished scale lines. The scale here moves up a semitone, then a tone, then a semitone, then a tone and so on. so in bars 5-12 we have the notes a Bb C C# eb e F# G. I’ve mixed up sharps and flats as it’s easier to think of Bb being the b9, C# being a 3rd, F# being a 6th and so on in relation to the a minor chord. The solo has some fast 16th-note triplet minor Pentatonic licks, and then a chromatic run that moves up a fret at a time towards the final phrase. NeXT MoNTH: John looks at the rockier side of The Beatles’ George Harrison

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Omar Rodriguez-Lopez has used a number of guitars over the years, including a Gibson SG. But one of his main instruments has been an Ibanez. In fact Ibanez manufactured the ORM-1 signature guitar for him (pictured left) until 2012. Sonically, the track this month has various envelope filters and chorus added to the rhythm and a bit of modulated delay on the lead section. The parts are all very ‘anti’ the usual rock guitar ideas, so use whatever modulation devices you have and experiment.

Televators, while the very progressive album Frances The Mute (2005) includes another original, The Widow. The group’s final album before their untimely demise, is the excellent Noctourniquet (2012), which is also well worth a listen.


LIVEPIX

Track record check out The Mars Volta’s debut album de-Loused In The comatorium (2003), which features the celebrated track,

LEARning ZOnE

THE MARS VOLTA GUITAR TECHNIQUES 240 ExAMpLE rhythm

cd track 31

Martin Cooper's BIMM ROCK COLUMN -

One of the most prominent ideas in theMARS rhythm VOLTA part is theSTYLE use of heavy syncopation, so timing will be crucial because there are a lot of short,

staccato lines played on the off-beat and often the weaker final 16th note of the beat. Keep an ear on the drums and really aim to ‘lock in’.

RHYTHM GUITAR

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lesson: rock

ON THE CD

TraCks 30-32

ExAMpLE lead

cd track 31

You’ll notice that this style is very different to the way most of us would The faster, 16th-note triplet note phrases will need some care, and when approach solo lines. There is very little vibrato in Rodriguez-Lopez’s playing moving up the neck in bar 22 the easiest thing will be to target the first and and the track this month is deliberately last of each group of six notes on the first string, and let the rest of the notes GUITAR TECHNIQUES 2 4 0 bereft of any, so avoid habitually Martin Cooper's adding vibrato to the notes if that’s usually your way. It’s a differentBIMM style ROCK fall COLUMN into place around them. Feel free to use whichever fingers you find the MARS VOLTA playing. STYLE and is interesting to compare to most Minor scale or pentatonic easiest, or most appropriate for this part. LEAD GUITAR

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p l ay i t ! h e a r i t ! l o v e i t ! Guitar Techniques magazine on Newsstand for iPhone, iPad & iPod touch

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lesson: video

VIDEO

ON THE CD

Carl Verheyen Masterclass

CD-rOm

PART 1

In the first of a six-part video series, session ace Carl Verheyen talks to Milton Mermikides about his unique approach to playing guitar. ABILITY RATING

Moderate/Advanced Info

WIll IMprove your

KEY: Various TEmpo: Various CD: CD-ROM

Blues and rockabilly vocabulary Tone, phrasing, touch and feel Application of concepts

There are some big named guitar legends one could mention, who are both well known by the general public and routinely top ‘greatest guitarist’ lists. however it’s rare that a guitarist ever achieves universal admiration and respect from a wide range of their peers. Guitarists, it seems, are one of the hardest audiences to please, and there are few guitarists more widely and deeply respected, admired and liked in the electric guitar community than Carl Verheyen. Carl can boast (not that he would) gushing accolades from top-level guitarists such as robben Ford, Joe Bonamassa, steve Lukather, robben Ford, Brad Praisley, Jennifer Batten, steve morse, scott henderson and albert Lee. over his 40-year playing career Carl has worked with an amazing list of musicians in a hugely diverse range of styles, from allan holdsworth to Dolly Parton, played countless sessions on albums and film scores, gigs constantly as a soloist or trusted sideman and, most refreshingly, is also a great and generous teacher with a wide range of excellent educational publications. he’s that rare type of

The multi-faceted sessioneer, group member, sideman and teacher, Carl Verheyen

player who actually inspires rather than demoralises with his virtuosity and diverse musicality and, as hellecaster and elton John guitarist John Jorgenson puts it, he has a ‘transparent technique’ where all his ample chops are only ever used in service of the joy and spirit of musical expression. In short, he has a solid theoretical knowledge, chops galore, broad stylistic awareness, great tone and touch, and a natural, intuitive flair. so it was a great pleasure to have Carl visit the Guitar Techniques studios during his

carl has worked with an amazing list of musicians in a hugely diverse range of styles. massive european tour, and in a couple of hours he had given us enough great material for several fantastic video lessons. In this first part we’ll look at Carl’s approach to inventive rhythm and lead playing in an uptempo country rockabilly track, followed by a gorgeous blues ballad in a slow, shuffle feel. many thanks to Carl for his generosity in providing these exclusive masterclasses. NeXT MoNTH: Milton brings us more from this Carl Verheyen video series.

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Carl played his signature LSL ‘CVS’ guitar through a Marshall JTM45 head. Overdrive came courtesy of a Free The Tone MS-2V pedal. The examples could be played on any style of guitar, but single-coils sound great for rockabilly. Go for moderate overdrive, not too bright a sound and a dash of reverb.

Track record You are spoilt for choice when it comes to carl’s output, but for these two styles check out his work on Two Trains running (Slang Justice Mighty Tiger 1997) or the rhythm guitar on New Year’s day (Trading 8s, 2009 Zyx Music).


Learning Zone

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CarL VerHeYen MaSTerCLaSS

Learning Zone

ExaMpLE 3 blues Chordal playinG

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Carl demonstrates some lovely solo guitar blues chordal playing, again using an intuitive blend of pick and finger picking technique (hybrid picking). GUITAR TECHNIQUES MAGAZINE 2 40

Milton's CARL V.

GUITAR TECHNIQUES Example 3 Solo GuitarMAGAZINE Blues in F 2 40

Milton's CARL V.

Check out the cunning Bb7 elaborated voicing in bar 7, the rapid successions of six different voicings of an F7 based chord - also in bar 7. Marvellous!

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One-bar 16th note lines Shaun Baxter concludes his series looking at using Mixolydian repertoire over dominant 7th chords, in different keys and CAGED shapes on the fretboard.

ABILITY RATING

Advanced Info

WIll Improve your

Key: Various Tempo: 104 bpm CD: TRACKS 33-35

Mixolydian knowledge Dominant chord soloing Playing over key changes

In thIs current series of lessons, we’ve been looking at developing a vocabulary of lines for each shape of the Mixolydian mode, and applying that repertoire in a systematic way in different keys in each area of the neck. the idea is not just to build your lick and line repertoire so that you have got things to

play, but also to be able to have instant access to that vocabulary when improvising. Diagram 1 shows the five CAGED shapes of A Mixolydian. Once you’ve learnt one scale in all areas of the neck, you can transpose this information to allow you to play from any other root note. ultimately, this leads to you being able to access any scale at any time, wherever you are on the neck, purely by selecting the appropriate shape. the backing track for this particular lesson is devoted to a progression comprising a repeated sequence of A7 to C7 to D7 to F7 to G7 (one bar on each chord). Basically, we go through the alphabet, but have taken away the first chord each time there is only a semitone between two chords. there is little you learn about c if you’ve simply moved up a semitone from B, and the same goes for E and F. By removing B and e, you still have to mentally acknowledge where they are in order to get to C and F respectively but, of equal importance, by omitting these two chords we’ve ended up with a five-chord sequence that allows us to practise all five shapes of the CAGED system in each area of the neck in a very streamlined and efficient manner. Diagram 2 shows how the CAGED system can be used for each chord-type in order to play in just one area of the neck. Generally, the neck areas/positions shown correspond to the ones delineated by the various position markers on the fretboard. Practise building up your approach to playing the full version of the exercise shown in the transcription (along with the backing track) by doing the following... Start by playing each A Mixolydian line A7 shape #1 (bar 1); A7 shape #2 (bar 6); A7

ON THE CD

TraCks 33-35

shape #3 (bar 11); A7 shape #4 (bar 16); and A7 shape #5 (bar 21). Then, take each A7 line and transpose it (laterally) to another part of the guitar neck for C7, D7, F7 and G7 (note that you can use the backing track to practise this): shift each A7 line up three frets for C7; then up another two frets for D7; then up another three for F7; another two for G7; and, finally, up another two to get back to A7. Note, as you ascend the fretboard, you may have to double back an octave (play the same things 12 frets lower) if you find that you are running out of neck. next, use the backing track to work in just

This exercise acts as solid preparation for playing over chord changes as it requires you to have to think of two things at once. one position of the neck using a different CAGED shape (and associated Mixolydian line) for each chord. then work through the length of the neck (again with the backing track) playing a different line for each chord as you shift up through the positions, in the same manner as shown in the transcription and demonstrated on the lesson audio. You can use the backing track to practise your own licks for each of the five Mixolydian CAGED shapes. If it’s hard to take all this in, read through again until all becomes clear; persevere, as the information here can move your playing on to new heights and your knowledge to expand concurrently.

NeXT MoNTH: Shaun begins a brand new series in Creative Rock

Get the tone 6

7

5

5

5

Gain

BaSS

Middle

TReBle

ReveRB

I’ve been keeping to a moderate blues-rock fusion tone for this series. I use a Fender Strat, so I always use a distortion pedal to boost the signal before it gets to the amp. Generally, try to go for 25% of your distortion from the pedal and 75% from the amp. You’ll find that the results are sweeter and more compressed (even and tighter sounding) than when getting 100% of the distortion from the amp. Typically, most amplifiers should be set as above (less distortion than when playing metal). Note that I have chosen the ‘in-between’ position between the neck and middle pickups: this helps to give the guitar a sweeter sound with more middle ‘honk’.

Track record The lines in this lesson are based on the vocabulary of american jazz guitarist Pat Martino; however, they are played using distortion, which makes them sound more like rock fusion. The great jazz guitarist and educator don Mock is a big Pat Martino fan, and he can be heard applying this sort of vocabulary using a distorted tone on his album, Speed of Light.


DAviD lyttlEton

lesson: creative rock

learning Zone

1-bar 16th note lines

DIAGRAM 1 A MIXoLYDIAn

DIAGRAM 2 ReFeRenCe GRID FoR ‘CAGeD’ SYSteM NeCK-area/posiTioN

a

B aND C

D

e aND F

G

5Th - 7Th FReT AReA

ShApe #1

ShApe #5

ShApe #4

ShApe #3

ShApe #2

7 - 9 FReT AReA

ShApe #2

ShApe #1

ShApe #5

ShApe #4

ShApe #3

9 - 12

ShApe #3

ShApe #2

ShApe #1

ShApe #5

ShApe #4

12 – 15 FReT AReA

ShApe #4

ShApe #3

ShApe #2

ShApe #1

ShApe #5

15Th - 17Th FReT AReA

ShApe #5

ShApe #4

ShApe #3

ShApe #2

ShApe #1

Th

Th

Th

Th

Th

FReT AReA Th

note: The shapes used on the line devoted to 15th – 17th fret area/playing position also apply to the neck-area or position an octave down, in and around the 3rd-5th frets. play either side of the nearest root for chords with a flat or sharp root note. For example, Bb is simply played down a semitone from B.

exAMple oNe-Bar 16Th-NoTe mixolyDiaN iDeas

cd track 34

GUITAR TECHNIQUES MAGAZINE 240 [Bar 1 (a7 shape #1)] Notice the predominance of A7 chord tones, and how [Bar 6 (a7 shape #2)] More chromatic notes in this shape 2 line: again, all SHAUN'S CREATIVE GUITAR GUITAR TECHNIQUES MAGAZINE 2 4 to 0 set them up (by SHAUN'S GUITAR the non-chord tones function in order leading to CREATIVE chord as passing notes. an eb is used to lead to an e in beat 1 of SIXTEENTH NOTE 1 functioning BAR MIXOLYDIAN LINESFirst, (A7)

SIXTEENTH NOTE 1 bar BAR LINES notes (A7)are used as a bridging note between GUITAR MAGAZINE 4 0 resolved). Chromatic tones orTECHNIQUES by creating tension before 2being notes (ones 11.MIXOLYDIAN All subsequent passing SHAUN'S CREATIVE GUITAR

not found within the Mixolydian scale) feature in all of the lines in this lesson. notes a tone apart:LINES in beat 2(A7) of bar 6, a Bb note is used as a link between SIXTEENTH NOTE 1 two BAR MIXOLYDIAN At the end of neck-area/position beat 3, an eb is used to lead to the e note at the start of beat 4. an A and B; and in beat 3 of the bar, an eb used as a link between a D and e. 5th-7th fret 5th-7th fret neck-area/position 5th-7th fret neck-area/position

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6

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4

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6

7

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4 4

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5

5 5

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5

8

5 5

8 8

5 5

6 6

5

8

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6

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5 5

8

7th-9th fret neck-area/position 7th-9th fret neck-area/position

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9 9

6 6

7 7

9 9

10 10

9

6

7

9

10

7 7

8 8

9 9

7

8

9

7 7

8 8

9 9

7

8

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# œ bœ nœ nœ lesson: rock b œ n œ & œ bcreative œ œ nœ œ nœ

###

Œ

G7 (Shape #2)

cd track 34

[BarB11 (a7 shape #3)] In this line, an eb note is used to lead to an6e in beat 3. G 5 6 7 [BarD16 (a7 shape #4)] There are tree episodes 5 6 of 7 chromaticism in this A 7 4double-stop, 5 7 8a C natural is used to bend up to a C#: example. In the initial E along 5with the e note, this gives us the 3rd and 5th of the underlying A7

8 chord. In beat 2, an eb note is used as a chromatic bridge linking an e to a 7 8 9 D. Beat 3 starts off with a C natural 7 leading 8 9 to a C# (3rd of the A7) and this 9 ascent 7 9 10right up to the e natural at the start of beat 4; 6 chromatic continues hence the introduction of the eb note at the end of beat 3.

nnn œ œ œ bœ œ œ œ j~~ ‰ œ œ & œ œ bœ nœ

E B G D A 2 E

7

8

10

7 10 8

7

10

9

10

7

10

10

8

10

9

8

6

10

7

8

9

10

8

10

7 10

9

###

9th-12th fret neck-area/position

n œ~~ œ œ b œ n œ œ œ J ‰ œ œ œ œ œ nœ A7 (Shape #3) ~~ 9 12

11

9 12 9 10

9 12

11

8

9

8

7

9

10

7

8

9

8

7

9

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12

12

10

9

9 12 10

12

9

7 10

8

9

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7

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9 10

bœ nœ bœ œ b œ n œ œ Œ œ bœ nœ œ bœ

##

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12

D7 (Shape #1)

12 11

nnn

7 10 7

11 12

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8

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nnb

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7

& E B G D A E

10

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10 9

n œ 33-35 nnn ON THE CD œ b œ n œTraCks b œ n œ Œ œ n œ œ bœ nœ œ

A7 (Shape #2)

exAMple oNe-Bar 16Th-NoTe mixolyDiaN liNes E

E B G D A E

7th-9th fret neck-area/position

nnb

9

10

12

13

10

11

12

10

11

12

11

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11 12

10 11

13

10 13

12 11 10 12 13

10 11 12

11

12

10

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G7 (Shape #4) Hold -------|

E B G D A E

10 11

12

8

~~ 10

12 11 10

12

8

9 10 11 12

A7 (Shape #4)

Hold -------| 12 13 14 10

10

~~ 12

14 13 12

14

10 11 12 13 14

12

15


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~~

exAMple oNe-Bar 16Th-NoTe mixolyDiaN liNes

&

b œ~~ œ œ b œ n œ œ J ‰ œ bœ œ œ œ œ œ

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15

15

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15 14

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œ œ œ bœ œ œ œ œ œ b œ n œ~~ ‰ œ œ b & J E B G D A3 E 19

beat 3, a Bb note is used as a link between an A and B.

~~

C7 (Shape #3)

~~

Hold -------| cd track 34 12 only in the final C# note (3rd of A7). Other than that, there are two 13resolved 14 10 12 instances where chromatic passing notes are used. Firstly, in beat 2, we see 14 13 12 10 11 12 13 14 an F natural being used as a chromatic 14 bridge linking an F# 12and e. Then, in

E 10 B [Bar 21 (a7 shape #5)] 8Much of the melodic activity for this example, 11 12 G 10 around the notes of a Gmaj7 arpeggio D although played over A7, is based 12 11 10 8 9 10 11 12 A (G, B#, D, F#), which functions as a suspended 12 version of the A7 chord, 10 as the E D note (5th of G maj7) is the 4th of A7. This feeling of suspension (tension) is 15

12 13 14

12 13 14

13

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14 15

12 15

12 13

12 13 14

14 13 12 14 15

13

14

12

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C7 (Shape #4)

A7 (Shape #5) E B G D A E

14 15

21

&

14 17

16 15 14 16 17

14 15 16

23

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14 17

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14 17 14 15

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15 16

14

16

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17 14 15 17 18

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13 14 15 16 17

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16 13 14 16 17

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17

17

17

15

14

14

17

15

17

14

16

17

25


lesson: CHoPs sHoP

VIDEO

ON THE CD

Linear alternate picking

CD-rOm TraCk

PART 3

This issue Andy Saphir continues in his quest to beef up your alternate picking chops with prime cuts of ‘widdly diddly’ and ‘twiddly dee’. For this lesson our exercises incorporate 16ths and sextuplets. The difficulty with this is that you have to get three or six 16th notes into one beat, as opposed to four, which will naturally get harder to do as the tempo rises. Thinking of the phrase, ‘widdly diddly’ for

GUITAR TECHNIQUES ExAMplE 1 ‘twiddly dee’MAGAZINE

each beat will help you to get the sextuplet rhythm right. Use a metronome and warm up by playing the exercises slowly at first, and follow the picking directions carefully. Treat the lesson as an exercise then apply the ideas to other licks or shapes you already play.

Andy Saphir's cD ROM Chops Shop - Linear Scale based alternate picking - Pt. 3 This exercise is to get you understanding the concept of sextuplet (six notes dee’ for the 16th note to 8th note rhythmic figure in bar 1, beat four and bar in a beat) alternate picking. A great help is to think of the phrase ‘twiddly two, beat two. Ex 1

©»§º – •∞ & 44 .. œ

240


Ex 1

œ

œ

3

3

6

Andy Saphir's Chops Shop - Linear Scale based alternate picking - Pt. 3

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©»§º •∞ Andy Saphir's 3 3 6 Chops Shop - Linear Scale based alternate picking - Pt. 3 .. & 44 ... . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 1 ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ©»§º –≥•∞ ≥ 3 3 6 .. Ex 2 & 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . ©»§º. –3•∞ œ3 6 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 63 3 3 3 ExAMplE 2 differentiating between 16ths and 16th-note triplets 44 .. .. cD ROM & ≥ ≥ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ This exercise follows on from Ex 1, and is useful for distinguishing and Make sure you’re playing at a slow enough tempo to get the six notes of the œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œsextuplet œ œin œoneœbeat.œ œ œ œ œ œ œ œ œ œ œ œ developing technique . between four 16th notes and sextuplets. . Ex 2 . 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 ©»§º. –3•∞ 3 6 6 & 44 ... œ≥ œ œ ≥ œ œ ≥œ œ œ≥ œ ≤ œ ≥ œ ≤ œ œ œ≥ œ œ≤ œ œ ≥ œ≤ œ≥ œ ≤ œ œ≥ œ œ ≤ œ œ≥ œ ≤ œ ≥œ œ≤ œ ≥œ ≤ ... 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Ex 2 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ etc ≥≤≥ ≤ ≥≤ ≥ ©»§º –≥•∞ ≤ ≥ ≤ etc 6 6 4 Ex 3 &©»§º 4 .. –œ•∞ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. . 33 3 3 3 3 3 3 3 3 3 3 6 3 3 3 3 33 3 3 3 33 3 3 3 33 3 3 3 3 36 3 3 3 33 3 . 4 & 4 œ ≥œ ≤œ ≥œ ≤ œetcœ œ œ œ œ œ œ œ œ≥ œ≤ œ≥ œ≤ œ≥ ≤ œ ≥œ ≤œ ≥œ ≤œ etc œ œ œ œ œ≥ œ≤ œ≥ œ≤ œ≥œ ≤ œ ≥œ œ . . Ex 3 . –3•∞ 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 33 3 3 3 33 3 3 3 3 3 3 3 3 33 3 . ©»§º 6 cD ROM ExAMplE 3 combining 16th-note triplets and 3 3 6 sextuplets 3 4 etc etc ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ This exercise can be played up or down the entire scale shape. Combining that you pick the string and place your fingers simultaneously, as hand-toœ œ œ œ œ & 4 œ sextuplets, œ5 7 exercises œ3 œ5 7 œ3 isœ3 keyœ5 to7 playing œ3 œ3 these œ3 œ5 7 accurately. œ3 œ5 7 œ3 œ7 œ3sureœ5 œ7 œ3hand co-ordination œ œ 3 itœ3draws œ5 œ7onœ3the Cœ3 major œ5 œ7scale. 16th-note triplets and œ3 œ5Make 3 5 7 œ Ex 3 ©»§º≥ – •∞ ≤≥ ≤ ≥ ≤≥ ≤ ≥ ≤ ≥ ≤ ≥≤ ≥ ≤ ≥ ≤ d 3 ≥ ≤ ≥ 6≤ ≥ ≤ ≥ ≤3 ≥ ≤ 3 3 3 6 3 4 Ex 4 &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ©»§º3 – 5•∞ 7 63 3 5 7 3 3 5 7 63 5 7 3 5 7 3 3 5 7 3 œ 3œ 5 7 3 3 5œ 7 œ 3 œ5 7œ 3œ 5 œ7 3 œ œ œ & 44 ≥œ ≤œ ≥ œ ≤ œ œ≥ œ≤ ≥œ ≤ ≥œ ≤œ ≥œ ≤ œ ≥ œ≤ œ≥ œ≤ ≥ ≤ œ œd œ ≥≤ ≥≤ ≥≤ ≥≤≥ ≤ 6 – GUITAR TECHNIQUES MAGAZINE 2 4 0

E B G D A Ex E



E B G D A E

E B G Ex D A E E B G D A Ex E

6

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7 3 3 5 7 ©»§º3 – 5•∞ 7 63 3 5 7 3 3 5 7 63 5 7 3 5 7 3 œ œ œ œ & 44 ≥œ ≤œ ≥ œ ≤ œ3 œ5≥ œ7≤ ≥œ3 ≤ ≥œ3 ≤œ5 ≥œ7 ≤ œ4 ≥ œ5≤ œ7≥ œ4≤ ≥ ≤ œ4 œ5d œ7 5 6 8 5 3 5 7 4 6 74 GuitarTechniques March 2015 ≥ 6 ©»§º – ≤•∞ ≥ 6 ≤ ≥ ≤ ≥ etc œ 4 Ex 5 œ œ œ œ œ œ œ œ œ œ œ œ E

3

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5 7

3

6

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©»§º •∞ 3 6 3 4 3 &©»§º 4 œ– •∞ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 6 3 4 3 &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3

BroughT To you By...

E B G D A 3 5 7 3 3 5 7 3 3 5 7 3 5 7 E E B G In this exercise, beats 1 and 3 of each bar contain a two-string run of D A 5 a 1/4 7 3note which 7 3 a break 7 3 5 each 7 3 by 3 5 gives 3 5 between sextuplets followed E Ex 4

3 ExAMplE 4 16th-note sextuplets plus quarter note

5

7

3 run.5

7

3

6

3

5

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3

5 7

3

3

3

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3

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≥ ≤ ≥ ≤ ≥ ≤ ≥ 3

5

7

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etc 3 5

3

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©»§º ≥ •∞≤ ≥ ≤ ≥ ≤ ≥ Ex 5 44 œ œ œ œ œ œ œ œ œ œ œ œ &©»§º – •∞œ œ œ œ 3 3 3 3 4 œ &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ E B G D A E E B G D A E

3

5

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7

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3

3

7

≥ ≤ ≥ ≤ ≥ ≤≥ ≤ 3

5

7

7

3

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7

≥ ≤ ≥ ≤ ≥ ≤≥ ≤

7

7

3

4

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4

4

7

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4

7

7

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3

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5 7

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5

etc – This exercise combines ‘outside’ and ‘inside’ picking. 3 3The ‘outside’ pick is between the last 16th 3note of each triplet and the following 8th note on

5 7

≥≤ ≥≤ ≥≤ ≥≤≥ ≤

d

4

3 and 5 7 outside-picking 16th-note triplets ExAMplE55 inside

3

Make 3sure clean. 5 your 7 3timing 7 3 5 your 7 3fretting 5 7 3 5 7you 3 5is accurate 3and 3 can try this exercise descending too if you like.

≥ ≤ ≥ ≤ ≥ ≤œ ≥ œ≤ ≥ ≤ œ œ œ œ œ œ œ œ œ6œ œ œ

d ©»§º≥ –≤•∞≥ 6≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ 6≤ ≥ ≤ ≥ ≤ ≥ ≤ œ œ œ œ œ œ œ œ œ Ex 4 œ œ œ œ & 44 œ œ œ œ œ œ6œ 6 ©»§ºœ – •∞ 4 œ œ œ œ œ6œ œ œ œ œ œ œ œ &4 œ œ œ œ œ œ œ œ 6

E B G D A E E B G D A Ex E

3

6

œ œ aLternate œœ œ œLinear œ œ œ œ picking œ œ œ œptœ3 œ œ œ Learning Zone

3

≥ ≤≥ ≤ ≥ ≤ ≥ ≤ ≥≤ ≥ ≤ ≥ ≤

≥ ≤≥ ≤

3

œ œ3 œ œ œ œ3 œ œ œ œ œ œ œ œ œ œ3 œ œ

Ex 3

5

6

8

5

5

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8

65

7

8

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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 œ œ œ œ3 œ œ œ œ3 œ œ œ 3 œ œ œ

cD ROM

beats 1 and 3; the ‘inside’ pick is in the same relative place on beats 2 and 4. If you play the idea descending and start with a downstroke, this is reversed.

3

4

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2 xxxxxxxxxx ExAMplE 6 mixing 16ths and 16th-note triplets to sound flash

This exercise combines straight 16th notes with 16th-note sextuplets as 2Exxxxxxxxxxx seen in Ex 62. This kind of approach can sound great as a flashy descending

©»§ºœ •∞ œ œ œ œœœœœœœ œ 4 &©»§º 4 œ– •∞œ œ œ œ œ œ Ex 6 6œ œ œ œ œ 4 – •∞ &©»§º 4 œœ œœœ œ œ6 œ œ œ œ œ & 44 8 7 5 7 8 7 5 8 6 5 8 6 – 2 xxxxxxxxxx Ex 6

cD ROM

or ascending run. In this example, the final note of A lends a rather nice A natural minor (A B C D E F g) sound to the phrase.

œ œ œœœœœœ œ œ œ œ œœœ 6œ œ œ œ œ œ œ œ œ œ œ6 œ œ œ œ œ œ œ œ œ œ œ œ œœ 6 œ œ œ œ œ œ œ6 œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ 5 6 8 6 5 6

E B G 7 5 4 D 6 E 8 7 5 7 8 7 5 A 6 B 8 6 5 8 6 5 6 8 6 5 E G 7 5 4 etc D A E 8 7 5 7 8 7 5 E B 8 6 5 8 6 5 6 8 6 5 G Ex 7 7 5 4 etc D Again implying the A natural minor scale, these 6 last two exercises are very – A challenging as they incorporate consecutive sextuplet runs. This exercise E 6

6

œ œ œ œ6œ œ œ œ œ œ œ6œ œ œ œ œœœœœœ 5 7 5 3

w w

w 5 7 5 4 5 7 5 4 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥≤ ≥ 7 5 3 7 5 3 5 7 5 3 7 5 3 cD ROM ExAMplE 7 speedy a aeolian lick 5 7 5 4 5 7 5 4 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥≤ ≥ 7 5scale 3 7 pattern 5 3 5 over 7 5six 3 strings both ascending and descending. the entire 6 ©»§º •∞ 7 5 3 œ œ uses œ œ Takeœ this very slowly and try not to tense up. œ œ œ œ 65 œ œ Ex 7 œ œ 4 œ œ ≥ ≤ ≥ ≤ ≥ ≤ ≥ etc ≤ ≥ ≤ ≥ œ œ œ œ œ œ 6 &©»§º 4 – •∞ œ œ œ œ œ 6 œœœœœ œœœœœ œœœœ œ 6œ œ œ 6 6 œ œ Ex 7 œ œ œ6 œœ œ œ 4 œ œ6œ œ œ &©»§º 4 – •∞ œ œ œ œ œ œ 6 œ œ œ œ œ œ œ œ œ6œ œ œ œ œ6œ œ œ œ œ œ œ6 œ œ œ œ 6 œ5 7 8 œ5 œ œ 8 7 5 œ œ œ œ & 44 œ œ 5 6 8 8 6 5 œœœœœ œœ 7 5 4 6 6 œœœ 7 5 3 œ œ œ œ3 œ5 7 3 5 7 4 5 7 5 7 8 5 8 7 5 7 5 3 5 6 8 8 6 5 3 5 7 7 5 3 5 ≥ ≥ ≤ ≥ ≤3 ≥5 ≤7 etc3 5 7 4 5 7 ≥ ≤ ≥ ≤ ≥ ≤ etc7 5 4 7 5 3 7 5 3 5 7 8 5 8 7 5 3 5 7 7 5 3 5 5 6 8 8 6 5 Ex 8 ≥ ≤ ≥ ≤ ≥ ≤ etc3 5 7 4 5 7 ≥ ≤ ≥ ≤ ≥ ≤ etc7 5 4 7 5 3 œ œ œ ˙ ≥ 6 ©»§º – •∞ 3 5 7 6 idea œ œ œ œ œ œ œ 7 5œ 3 7 5 3 5 3 5 7 linear pattern cD ROM ExAMplE œ œ Ex 88 very fast 6 œ œ 4 œ œ etc ≥ Again take it ≥ ≤ hand œ fretting ≤ ≥ ≤ ≥of ≤the exercises, this œlinear ≥ ≤ position ≥ ≤ etcchange mid sextuplet, œ œ œ œ œ œ œ ˙ Arguably the pattern could using an up pick. &most 4 ≥challenging œ œ œ œ 6 ©»§º – •∞ œ tempo as you get better. œ œ 6 œoneœ of the challenges is the œvery slowly, œ œ œ 6increasing œ œ œ the sound great œ gradually 6 œ œ œof styles! Ex 8 as4a flash œ œ œlickœin6 œa variety œ 6œ œ œ œ œ œ & ©»§º 4 – •∞ œ œ œ 6 œ œ6œ œ œ œ6œ œ œ œ œ 6œ œ œ ˙ œ œ 6œ œ œ œ œ œ œ œ œ œ & 44 œ œ œ œ œ œ œ5 œ7 9 6 œ7 9 10 8 10 12 8 10 12 8 10 12 10 12 13 12 œ œ œ œ œ œ 6 6 œœœœœœ3 5 7 5 7 8 5 7 9 5 7 9 6 8 10 12 10 12 13 12 8 10 12 8 10 12 3 5 7 3 5 7 ≥ ≥ ≤ ≥ ≤ ≥ ≤ etc3 5 7 5 7 8 5 7 9 5 7 9 5 7 9 7 9 10 8 10 12 10 12 13 12 3 5 7 3 5 7 8 10 12 8 10 12 5 7 9 7 9 10 ≥ ≥ ≤ ≥ ≤ ≥ ≤ etc 5 7 9 5 7 9 7 5 4 5 7 5 4

7 5 3 7 5 3

7 5 3

E B G D E A B E 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

3

5

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≥ March 2015 GuitarTechniques 75

ON THE CD

Manfred Mann Manfred Mann brought joy to millions of music lovers during the mid to late 60s with a slew of R&B influenced hits, says Phil Capone.

Manfred Mann with Mike Vickers on sunburst 335

ABILITY RATING

Easy/Moderate Info

WIll IMprovE your

Key: Various Tempo: Various CD: TRACKS 36-47

Authentic R&B comping Using the Mixolydian in blues Comping with partial chords

The earliesT incarnaTion of Manfred Mann can be traced back to clacton-on-sea, essex circa 1962 when Manfred Mann (keyboards) and Mike hugg (drums, vibes, piano) formed The Mann-hugg Blues Brothers, a septet featuring a four-piece horn section. By 1963 their slightly cumbersome moniker had been changed to Manfred Mann & The Manfreds and the line-up now included Paul Jones (vocal and harmonica), Mike Vickers (sax and flute), and Dave Richmond (bass). Keen to break into the UKs single market they soon realised that they needed a guitar player (those were the days when the electric guitar really was king), so

saxophonist/flautist Mike Vickers volunteered himself for this arduous task. apparently within two weeks Vickers was up and running and already playing on gigs well, Bert Weedon had always claimed it was possible to Play In A Day! With their name now shortened to simply Manfred Mann, the band signed to the his Master’s Voice label in March 1963, releasing their first single, the slow and bluesy instrumental Why should We not? four months later. This was swiftly followed by a second release, cock-a-hoop, but both singles failed to chart. it seemed that their particular brand of r&B, with its strong jazz influences clearly on display, was not what the UKs record buying public wanted. The

Mike Vickers was performing and recording professionally after just a few months of playing!

TraCks 36-47

Manfreds’ career might well have ended there and then, but in 1964 they were thrown a lifeline when they were invited to write the theme tune for the new TV pop show, ready, Steady, Go! The resulting song, 5-4-3-2-1, quickly climbed the charts and kick-started the group’s career. There was no looking back and the hits just kept on coming, dominating the charts not just in the UK but also the Usa. During these early years they never lost sight of their blues roots; every lP and eP release featured covers of r&B standards including smokestack lightning, Got My Mojo Working, and hoochie coochie Man. While Mike Vickers’ playing might not be comparable to the early work of say, clapton, Beck or Page, he was nonetheless a very respectable player, particularly when you consider that this was not his main instrument. What’s really impressive is that he was performing and recording after just a few months on guitar. In 1965 Vickers quit the band to pursue a career in orchestral and film music composition; frontman Paul Jones also left at this time to start his successful solo career. The departure of these two prominent original members marked the end of The Manfreds’ first phase, a period when their infectious pop single releases were offset by more 'serious' R&B and jazz flavoured material on their LPs and ePs. Multi instrumentalist Mike Vickers was a big part of the band’s early sound, initially on sax and flute, but by the time he left the group, also shaping the band’s increasingly guitar-based sound. his guitar work is a prominent feature on their final EP of 1965, No Living Without Loving. No mean feat for a musician who hadn’t even picked up a six-string when he joined the band! NeXT MoNTH: Phil looks at the playing of The Small Faces’ main man Steve Marriott

Get the tone 6

5

5

10

4

Gain

Bass

Middle

TReBle

ReveRB

This setting is intended to provide the ‘fizzy’ overdriven sound typical of Mike’s soloing tone. Select your bridge pickup for best results. You could also consider using afuzz pedal for a more authentic 60s tone. To clean up the sound for rhythm work simply back off your guitar’s volume control. As with so many 60s pop and R&B bands Mike favoured semi-acoustic guitars and was most often pictured with a Gibson ES-335. Amps were more than likely Vox AC30s.

Track record Manfred Mann's milestone singles include 5-4-3-2-1 (1964), do Wah diddy diddy (1964), If You Gotta Go, Go Now (1965), Mighty Quinn (1968), and later on (as Manfred Mann's earth Band) Joybringer (1973) and Blinded By The Light (1977). our recommended albums are The Five Faces of Manfred Mann (1964), No Living Without Loving (eP) (1965), Mann Made (1965) and Solar Fire (1973).


PHOTOSHOT / GETTY IMAGES

lesson: r&b

Learning Zone

ManFreD Mann ExAMplE 1 CompinG with triads

cd track 36

This example requires aMAGAZINE fluid understanding of three-note so Notice the Gm and Am triads are applied in bar 2 over the C7 chord, GUITAR TECHNIQUES 240 BRIT Rtriad N Bshapes - MANFRED MANhow - Phil Capone allow a little time to familiarise yourself with them before playing it through.

Ex 1

Comping with triads

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BRIT R N B - MANFRED MAN - Phil Capone

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Comping with triads

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lesson: r&b

ON THE CD

TraCks 36-47

2 xxxxxxxxxx

2 xxxxxxxxxx ExAMplE 3 mixinG mixoLydian and pentatoniC ideas

cd track 40

2 xxxxxxxxxx

The Mixolydian mode can be an effective scale for blues soloing, especially 2 xxxxxxxxxx Ex 3 Mixing Mixolydian when to the IV and V chords as it is in this example. Make sure that 2 applied xxxxxxxxxx

©.»§™ ©.»§™ ## # 12 ©.»§™ ©.»§™ & 88 ## ## 12 & ©.»§™ 12 12 & & # ## 1288 & 8

Ex 3 Ex 3 Ex 3 Ex 3

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

Mixing Mixolydian A7 Mixing Mixolydian A7 Mixing Mixolydian j A7 Mixing Mixolydian j œ A7 œj A7

## # & & ## ## & & # ## &

E B E G B E D G B E A D G B E A E D G E B A D G E A D 4 Ex E A 4 Ex Although E

.. œœ œœ .. œ œ .. œœAjj mixolydian œ œœ .. œA mixolydian œ

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A mixolydian A mixolydian 5 4A mixolydian 6 5 4 6 5 4 6 5 4 6 5 4 6

7 7 7 7 7

D7/F D7/F

ŒŒ ŒŒ J pentatonic D minor D minor pentatonic J Œ BU D minor pentatonic

BU BU (14 )pentatonic 13 BU (14) 13minor D (14 ) ( ) 13BU D minor pentatonic 13 BU14 BU BU 13 (14 ) 13 (14) (14 ) (14) 13BU 13 BU 13 (14 ) 13 (14)

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BU BU 7 ( 8) ( 8) 7BU BU ( 8) 7BU 7 ( 8) 7 ( 8)

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13 13

10 10

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those semitone bends in bars 1 and 2 are accurate; the bend creates that allimportant b7 interval; over bending would create a discordant major 7th.

5

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BU BU 13 (15 ) BU 13 (15 ) BU (15 ) 13 BU 13 (15 ) 13 (15 )

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13 13

10 10

13 13 13

10 10 10

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Barre chord power chordsriff are indicated in this example, fret full major chords A G5 A5 Ex 4 Barre riff throughout, but chord focusing D 5chordA5 Ayour pick on the lower strings. Fret the G

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7 5 7 5 7 5 7 5 7 5 cd track 44

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8 10 8 9 10 8 10 9 10 8 9 10 8 10 9 10 10 9 10

B 6

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Learning Zone

ManFreD Mann ExAMplE 6 finaL jam

cd track 46

This final jam is played at a fairly bright tempo (150 bpm) so it’s important

pocket’ and grooving to achieve authentic results. Chuck Berry-style licks

pushing the beat; all of the rhythm and solo sections need to be ‘in the

‘bend to fretted note’ phrase is used to create polyrhythmic syncopation.

GUITAR MAGAZINE 2 4 0 on the backing to makeTECHNIQUES sure that you listen to the drums track a strong feature of this solo, especially in bars 33-36 where a repeated BRIT R N Bto avoid - MANFREDare MAN - Phil Capone Ex 6

FINAL JAM

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lesson: r&b

ON THE CD

TraCks 36-47

2 xxxxxxxxxx

ExAMplE 6 finaL jam ...CONTINUED SOLO

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cd track 46

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Learning Zone

ManFreD Mann 3

ExAMplE 6 finaL jam ...CONTINUED

cd track 46

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18

36

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Mike Stern

ON THE CD

PART 1

Join Pete Callard as he uncovers some of the greatest licks from some of the true titans of jazz guitar. This month, Mike Stern! inspired by BB King, Eric Clapton and Jimi Hendrix, but only got serious about the instrument at Berklee College of Music in Boston, where he returned to study in 1971. Berklee opened stern up to jazz and he began scrutinising Miles Davis, John Coltrane, McCoy tyner and Bill Evans and taking lessons with Pat Metheny and Mick Goodrick. His first break came when, on Metheny’s recommendation, he joined Blood, sweat and tears, with whom he stayed for two years, touring and playing on the albums More than Ever (1976) and Brand new Day (1977). on leaving, stern began taking lessons from pianist Charlie Banacos, and continued to study with him by correspondence for much of his career. A spell with Billy Cobham’s Glass Menagerie followed, but it was joining Miles Davis’ comeback band in 1981 that thrust him into the spotlight. stern’s debut with Miles, at the KiX club in Boston on June 27th, 1981, was released on the album We Want Miles in 1982, and in his three-year tenure stern also featured on Man With the Horn (1981) and star People (1983). Mike Stern with his Yamaha PA511-MS A stint with Jaco Pastorius’ signature guitar Word of Mouth band followed, then stern rejoined Davis in 1985 for a year. stern’s debut as leader also came in ABILITY RATING 1985 with the album neesh, but it was 1986’s Moderate/Advanced Upside Downside - his first US release - that saw him emerge as a jazz-fusion artist in his Info WIll IMprove your own right, and brought his writing skills to the fore on tunes like Little shoes and the funky Key: Various Jazz soloing title track. stern subsequently joined tenor Tempo: Various Phrasing and timing player Michael Brecker’s quintet, featuring on CD: TRACKS 48-59 Bebop vocabulary the album Don’t try this At Home and, following a spell with David sanborn, joined Born in Boston Massachusetts on 10th Brecker alongside Mike Manieri, steve smith January 1953, Michael sedgwick (stern was his stepfather’s name) grew up in Washington and Darryl Jones in steps Ahead, the stellar line-up featured on Live in tokyo 1986. DC. He began playing guitar at the age of 12,

TraCks 48-59

stern’s second solo album, time in Place, was released in 1988 and featured one of his most famous compositions, Chromazone (Gt101). time in Place set something of a compositional framework for subsequent releases - modal sequences with increasingly complex, angular, chromatic melodies alongside harmonically rich ballads, with guitar solos expanding from chorused clean preambles to huge distorted string-bend and pinched-harmonic filled climaxes. Much has been said about stern’s ‘jazz meets Hendrix’ fusion style, but for me his finest playing is often found on more straight-ahead fare. His solos teem with ideas, encompassing great time and swing coupled

Whatever you’re playing, wherever the music takes you, the guiding force to me is ‘play your heart out’. Mike Stern with phenomenal vocabulary and harmonic adventure, but none of the predictability of which his fusion playing has on occasions been accused. so i thought it would be illuminating to highlight this aspect of his playing style - the ‘jazz’ side of Mike stern if you will - so this month and next we’re going examine the key aspects and discuss some of his concepts and approaches on popular jazz sequences. We’ve six examples this month taking in ii-V-i ideas, turnarounds and down and uptempo blues sequences, and we’ll be focusing on stern’s bebop vocabulary, substitutions, outside ideas and intervallic patterns. Join me next time for more inspiring ideas from the incredible Mike stern. NeXT MoNTH: Pete continues his exploration of the brilliant Mike Stern’s style

Get the tone 3

5

4

3

3

Gain

Bass

Middle

TReBle

ReveRB

Stern plays a Yamaha signature model and a Michael Aronson custom guitar with a 50s Fender Broadcaster neck, which he had built after his old Telecaster, bought from Danny Gatton and previously owned by Roy Buchanan, was stolen in Boston. Stern uses Boss delay and distortion and a Yamaha SPX-90 in stereo through Fender '65 Twin Reverb amps. Use the neck pickup, roll the tone off or take the treble down on your amp, and add a fairly heavy, slow chorus.

Track record Some listening recommendations for Mike Stern include Upside downside (1986), Time In Place (1988), Jigsaw (1989), Is What It Is (1994) and Voices (2001). For Stern’s more straight-ahead side, Standards (and other Songs) (1992) and Give and Take (1997) are both excellent, and it’s well worth looking out for his instructional video on rittor Music.


RETNA / PHOTOSHOT

lesson: jazz

LEaRNINg ZoNE

MIKE STERN EXAMPlE 1 LonG II-V-I LInes In C and Bb

cd track 48

Stern comes down D Dorian over the Dm7, then moves up a G7 arpeggio over the first two beats of the G7, switching to G Altered (or G Half-Whole GUITAR TECHNIQUES MAGAZINE 2 (E) 4 0 of the Cmaj7 Diminished) and resolving to the 3rd with a double-stop xxxxxxxxxxxx GUITAR TECHNIQUES MAGAZINE 4 0 C Major scale. xxxxxxxxxxxx idea, then progresses straight down2the He anticipates the GUITAR TECHNIQUES MAGAZINE 2 4 0 Cm7 moving up the C Minor scale, then anticipatesxxxxxxxxxxxx the F7, moving up an

b b b

Ex 1 - Long II-V-I lines in C and B Ex 1 - Long II-V-I lines in C and B Ex 1 - Long II-V-I lines in C and B

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©»™ºº 4 &4

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15

13 13 13

14

œœœ15 œœ

14

j 10 œ œ œ

15 15 15

œœ 13b œ 16œjj œœœ œ bb œœ œœj œœ œ b13œ

10 10 12 10 10 12 10 12

13

14

œœ œ

œœ

j 10 10 10 œ 12 13 10 10 12 13 10 12

10 10 10

œ

10 10 10

13

17

14

16

14

œœ œ

∑∑ ∑

œ

∑

13

16

13 13 13

b b b

Ex 2 - II-V-I into turnaround in B E Ex 2 - II-V-I into 13 turnaround in B B Ex 2 - II-V-I 13 into 15 turnaround 13 in B 13 C m7 GEXAMPlE 2 II-V-I Into turnaround In Bb 15 12 14 12m7 C D C m7 A E

Cmaj 7 Cmaj 7 Cmaj 7

C m7 C m7 C m7 15 13 12 14 12

ŒŒ Œ

& œ & & œœ


Dm7 15 13 12 15 13 12 14 12 15 13 12 14 12 14 12 14 12 14 12 15 14 12 15 15

∑

G7 G7 G7

œœ œœ bb œœ bb œœ œœ œœ œ œœ œ œ œ b œ b œ œ œ œ œ

Ex 1 - Long II-V-I lines in C and B E B E G B E D G B A D G E A D 1 E A E 1 1

F7 arpeggio on beats 3 and 4 over the Cm7, followed by an F Altered (or F Half-Whole Diminished) idea over the F7 and resolving to the 3rd (D) of the Bbmaj7 with a similar double-stop idea, from which he continues down into yet another double-stop implying F major, then repeats the same idea an octave lower.

F7 ©»™£º 50 10 F7 œœ œœ œ cd œœ track ©»™£º 15 12 10 10œ œ œ # œ œ F7 bb 4©»™£º œ œ 13 12 10 œ œ For thisb II-V-I into a turnaround idea Stern suggests Cm and G over the Cm7 with a wonderful line over the turnaround, suggesting Ebm7 and Ab7 over œ œ œ ## œœ B7 over nn œœ up œœ the œœ theœœ F7 heœ moves 13 œ toœœ the 5th 44 tonality by comes∑∑ back up C Minor. Over œœ Bb œœand G7,œœ F#m7 and & œ theœCm7 œand F7œbeforeœ resolving then nails the b b œ & œ œ with anb F# chromatic passing ∑ note into F Mixolydian then gets pretty n œoutside (F) on the Bbmaj7. & 4 10

10

8

b

Ex 2 - II-V-I into turnaround in B E B E G B E D G B A D G E A D 1 E A E 1 1 E B G D A E

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

1

©»™£º b & b 44 bb bb & b & &b

8 8 10 8 7 # œ œ88 œ88 1010œ œ66 œ88 œ55 œ77

C m7

∑

b

10

7 7 7

9

10

7 7 7

8 8 8

6

F7 7 7 7

œ 10œ œ n œ9 10œ œ œ œ 10 9 10 8 8 8

10 10 10

b

F7 B bmaj 7 bbBBœœbb œ b œ œœ GGœœ77 œ œ œ Cm7 8 8 Cm7 F7 B bmaj77 8 7 7 8 10 œ b œ œ # œ œ œ n œ œ œ bœ œ bœ œ œ œ œœ #10œ n œ œœ 9 œ 10œ œœ # œ # œ n œ ŒŒ ÓÓ # œ n œ œ œ œ œ ## œœ ## œœ nn œœ Œ Ó B

b

G7

b œ99 œ88 b œ77 œ66 œ99 œ77 œ66 œ8 b 8 9 7 6 8 &b 9 8 7 B

6

G7

Cm7

F7

Cm7

F7

# œ n œ99 œ77 œ œ99 œ77 # œ66 # œ9 9 9 7 9 7 6 6 6 6

6 6 6

B maj 7

b

10

6

5

5

8

7

∑∑ ∑

B maj 7

n œ88

Œ Ó


∑

©»™£º b & b 44

∑

lesson: jazz

ON THE CD

E B G 8 D 10 EXAMPlE 2 II-V-I Into turnaround In Bb...CONTINUED A E 1

b

bœ œ bœ œ œ œ œ œ b &b B

E B G D A E

9

G7

8

#œ œ œ œ œ œ œ œ

œ œ œ nœ œ œ œ œ

6

7

9

7

6

7

9

7

10

Cm7

8

7

10

b

F7

6

9

6

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5

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7

cd track 50

B maj 7

#œ nœ œ œ œ œ #œ #œ

8

8

TraCks 48-59

9

7

6

Œ Ó

nœ

9

∑

8

4

EXAMPlE 3 Chorus of BLues In f

cd track 52

This example features a chorus of a slow blues in F, with Stern sitting back throughout. He starts in F Minor Pentatonic over the F7, then takes the same idea down a whole step, coming down Eb Minor Pentatonic over the Bb7 and implying Gm and F over the change back to F7/C. He then moves up an F# major arpeggio on beats 3 and 4 over the F7/C, suggesting Cm7 over the F7 2 xxxxxxxxxx and C#m over the B7, and resolving to Bb Mixolydian on the Bb7. He appears

to be treating the Bdim7 as C7, playing C Altered (or Half-Whole Diminished) over it resolving to the 3rd (A) on the F7 and moving down F Mixolydian over the F7/C and E7 chords. Over the Am7b5 he seems to outline F7, D7 and Gm7, then F and D7b9 over the D7 resolving to the minor 3rd (Bb) on the Gm7 and moving to C7 on beat 3, then C Altered over the Db7 and C7 and anticipates the resolution to F7 over the final turnaround.

2 xxxxxxxxxx

2 xxxxxxxxxx Ex 3 - Chorus of blues in F

©»¡¡§ ©»¡¡§ 4 b ∑ & b ©»¡¡§ 4 ∑ &b4 ∑ & 4

Ex 3 - Chorus of blues in F Ex 3 - Chorus of blues in F

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

œ œ F7 œ F7 F7

œ bœ œ bœ œ bœ

Lay back

œ œ œ

Lay back

b b B b7

œ bœ F7/C œ b œ b œ B dim7 # œ ## œœ F7 # œ b œ B dim7 F7/C F7 œ J b œ ‰ Jœ b œ b œ b œ b œ œ b œ œ œ œ œ œœ ## œœ # œ # œ # œ œœ bb œœ ‰ J b œ b œ3 b œ b œ œ b œ œ œ œ œ œ # œ # œ # œ ‰ œ bœ œ œ œ œ 3

B 7

œ bb œœ œ bœ œ

B dim7

b b B b7

6 6 6

9

7

9

7

9

7

B dim7

B 7

B dim7

Ó Ó Ó

3

6

4

3

6

4

3

6

4

3

b b Am7 b œ b 5œ # œ

8 10 8 10 8 10

7 10 8 10 11 7 10 8 10 11 7 10 8 10 11

6

8

6

8

6 5

8 5 7

8

6 5

8 5 7

8

6 5

8 5 7

9

11

9

8

12

9

11

9

8

5

12

9

11

9

8

5 D7

10 8 10 8 10 8

5

6

5

6

5

6

F7/C

j F7/C œ # œj F7/C # œj œ #œ œ

3 3 3

12

Am7 5


8

5

œ œ œ œ œœ œœ D7 D7 œ & bb b œ œ # œ œœ œœ œœ œ œ œ & b bœ œ #œ & Am7 5

6

3 3 3

3

3

8

œ #œ #œ œ nœ œ œ #œ B dim7 œ ## œœ # œ œœ nn œœ œœ

B 7

3

F7

œ œ œ

œ #B7œ œ #B7œ # œ œ #œ #œ #œ B7

œ œœ œœ œ

3

8Lay back 11 9 8 10 8 11 9 10 8 10 8 11 9 10 10 8 10

œ œ bœ œ œ b ‰ & b ‰ œœ œ b œ ‰‰ œ Jœ ‰‰ & b ‰ 3 œ b œ ‰ 3 œ Jœ ‰ & 3 3 J 3 E B E G B D E G A B D E G A 6 D E A 6 E 6

F7/C

B 7

nœ nœ nœ

11

9

10

8

11

9

10

8

11

9

10

8

œœ œœœ œ œ œ œ œ œ œ Gm7œ œœ œ œœ œœ œœœœ œ œ œ œ œ œ œ œ œ

7 7

6

9

8

7 6 7

4

6

9

8

7 6 7

4

6

6

9

8

7 6 7

4

6 6

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11 10 8

7

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10 8

7

b

10 8 10 8 10 8

11 10 8

7

œ # œ # œ œ nD7 œ œ bœ œ # œ # œ œ nD7 F7 D7 b œ # œ # œ œ n œœ œœ b œ & bœ 84 GuitarTechniques & bb March 2015 &

7

8

7

8

7

10

8

10

8

10

8

F7

Gm7

C7

F7

Gm7

C7

œ œ b œ œ bbC7œœ œ œ bœ œ bœ œ œ bœ œ

Gm7

10

7

9

10

7

9

10

7

9

j œj b œ œj b œ œ bœ

' œ'œ œ'œ œ œ

11

10

11

10

11

1/4

F7

1/4

F7

1/4

F7

1

11

9 10

œ œ œ

11

9

œ œ œ

7 10 7 10 7 10

7 7 7

C7

9 8

4

5

E7

3 11 10 8

4

5

œ b œ œ Eœ7 œ œ b œ œ œ œ œ œ œ œ œœ œœ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ

D 7

œ #œ œ #œ œ #œ

4

5

E7

bDœb7 œ œ œ C7 b œ bDœb7 œ œ œ C7 b œ bœ œ œ œ ‰ bœ ‰3 ‰3

Gm7 Gm7

7

11

Ó Ó Ó

8 8 8

11

9

11

9

11

9

∑ ∑ ∑

œ ‰ Jœ Jœ ‰ J ‰ 10 10 10

œœ œœ œ œœœ œœœ œ # œ b œ œ œ œ &b E 10 8 B 7 10 8 10 11 11 10 8 7 G 8 10 D AEXAMPlE 3 Chorus of BLues In f ...CONTINUED E 9

œ # œ # œ œ nD7œ œ bœ

F7

&b

œ œ œ

12

9

11

9

8

11

9

9 8

7

10

Gm7

10

8

C7

7

8

10

10

9

10

' œ œ 1/4

j œ bœ

œ œ bœ œ bœ

10

œ #œ

‰

'

11

LEaRNINg ZoNE

9

10 cd track 52

11

F7

œ

œ

1/4

9 11 (12 ) 11

8

11

bœ œ J ‰

3

MIKE STERN

BU E B G D A E

bœ œ œ œ

Ó

∑

BU 9

(13)

11

12

EXAMPlE 4 Chorus of BLues In f

cd track 54

Stern moves between and F7, Cm7 and F7 over the opening F7, then over the Bb7 starts around F7, suggests C7, then comes straight down a D Major arpeggio, carrying it on over the F7. leading into the Bb7 he moves up F Minor, then Bb Mixolydian with passing notes over the Bb7 and moves up 3chromatically over the Bdim7. On the F7 he suggests Gm7 and D7, then Gm7

and C7 over the Am7 and D7 and throws in a couple of passing notes leading into F Mixolydian on the Gm7. Over the C7 he throws in another couple of passing notes then suggests Gm7 and D7, then Gm7 and C7b9 over the F7 chord and moves down chromatically over the final C7 then outlines C7#5b9, resolving to the 5th (C) and 3rd (A) on the final F7.

3 3 4 - Chorus of blues in F Ex

b b bœ œœ œœ n œ ## œœ ¿ B b bœ7 œ œ n œ # œ ¿ ¿¿ œ bœ nœ ¿ ¿ œ œ

Ex 4 - Chorus of blues in F

F7

œ œœ œ œ œœ b œ œ œœ b œ œ œ œ œœ œ œ œ bœ œ œ œ

B 7

Ex 4 - Chorus of blues in F

F7

B 7

13

16

13

16

13

16

©»™∞º ©»™∞º 44 & bb©»™∞º &b4 & 4

œ bœ œ nœ œ bœ œ nœ œ bœ œ nœ

Ó Ó Ó

∑ ∑ ∑


F7

C m7

#F7œ & bb #F7œ ¿¿ œœ œ # ˙ & b #œ ¿ œ œ #˙ & œ #˙ E B E G B D E G A B D E G A 5 D E A 5 E 5

16 16 16

X X X

17 15

Ó Ó Ó

17 15

14

17 15

14

15

14

13

15

12

15

15

14

13

15

12

15

15

14

13

15

12

15

F7

œ œ bb œœ œœ œ œ bœ œ œ œ

C m7

F7

C m7

F7

14

F7

8

10

11

8

10

11

8

10

11

13 13 13

8

7

10 8

7

8 10 11

11 8

10

8

7

10 8

7

8 10 11

11 8

10

8

7

10 8

7

8 10 11

10 8 10 8 10 8

12

15

12 14

12

15

12 14

10

8

10

10

8

10

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8

10

7

10

8

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8

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8

11 10 8 11 10 8 11 10 8

9 9 9

7 7

11

9

10

8

7

11

9

10

8

7

11

9

10

8

7

C7

F7

F7

C7

F7

C7

F7

œ bœ œ œ #œ œ bœ œ œ #œ œ bœ œ œ bœ œ œ #œ œ bœ œ œ bœ

15

13

15

13

15

14

17

X

14

17 17

17

X

X

9

10

9

10

9

10

7

8

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17

X

17

7

8

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7

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C7 C7

nœ nœ nœ C7

œ bœ œ œ œ #œ œ œ bœ œ œ œ #œ œ œ bœ œ œ œ #œ œ

10

8

7

9

7

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7

10

8

7

9

7

8

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7

j œ. œj œ . œj œ . œ

X

X

14

Bdi m7

œ nœ bœ œ œ œ œ œ nœ bœ œ œ œ œ œ nœ bœ œ œ œ œ

F7

& bb Fœ7 b œ œ n œ œ œ nn œœ bb œœ & b œ bœ œ nœ œ œ nœ bœ & œ bœ œ nœ œ œ

7

13

œ Bdi m7 œ œ bb œœ œœ Bdi## œœm7 œœ ## œœ œ œ œ bœ œ #œ œ #œ œ œ œ

œ œ œœ bb œœ n œ œ œ œ œœ œœ œ b œ n œ œœ œ œ nœ œ

Am7 D7 G m7 œ œ œ œ # œ œ œ œ Am7œ œ œ œœ D7œ œ œ œ G#m7œ œ œ œ œ & bb F7œ œœ œœ œœ # œ œœ œœ œ Am7œœ œœ œ œ D7œ œ œœ œœ G#m7œ #œ œ #œ &b & 10

12 14

b B b7 B bœ7

F7

11 8

15

B 7

F7


12

Ó Ó Ó

∑ ∑ ∑

10

9

10

9

10

9

7 7 7


&

œ #œ

lesson: jazz E B G D A E

11 8

10

8

7

10 8

7

10

8 10 11

8

11 10 8

9

11

10

8

7

ON THE CD 10

8

7

TraCks 48-59

9

7

8

8

7

7

9

9

EXAMPlE 4 Chorus of BLues In f ...CONTINUED F7

10

9

8

10

7

F7

œ bœ œ œ #œ œ bœ œ

6

9

10

cd track 54

C7

bœ & b œ bœ œ nœ œ œ nœ E B G D A E

10

5

9

8

7

6

Ó

j œ. œ

∑

7

7

9

13

6

8

EXAMPlE 5 ‘out’ turnaround LIne In Bb

cd track 56

For this great and very outside long turnaround idea, Stern begins with a B Whole-Tone lick (see GT238 and 239), moving up a major 3rd then a major 2nd and repeating the pattern across the neck until he reaches the high Eb 4 xxxxxxxxxx over the Cm7. He stays in B (or F) Whole-Tone over the F7, taking a four-note pattern and moving it down a whole tone over the Bbmaj7, followed by

b

perhaps a nod towards Bb7#5. For the remainder of the line he moves into an intervallic pattern, playing descending and ascending parallel 4ths while moving down in tones (essentially using a Whole-Tone framework - see GT239) and changing the rhythmic pattern to break it up, ultimately ending on the major 6th (G) over the final Bbmaj7.

Ex 5 - Out turnaround line in B

©»™¢º b & b 44 E B G D A E

b

F7 B maj7 œ . # œ œ # œ œ n œ ¿ n œ œ œ œ #œ nœ œ bœ bœ œ bœ œ œ J Ó œ nœ œ œ nœ C m7

∑

6

7

1

7

8

9

8 10

10 12

11

9

X

11

b bœ œ bœ bœ nœ nœ œ nœ j b & œ œJ ‰ œ . œ œ b œ b œ b œ n œ nœ G7

E B G D A E

9

Cm7

8

6

7

9

9

7

7

8

8

6

6

©»™∞º 4 ∑ &b4

7

Ó.

œ nœ

9

&b Ó

œ nœ

5

5

B 7

10

9

7

10

9

7

6

6

œ

‰

3

œ

‰Ó

∑

3

F7

Cm7

F7

j œ œJ ‰ œ . b œJ b œ b œJ ‰ œ . œ b œ j‰ œ b œ b œ J œ. œ b˙

10

10

8

8

6

6

8

1

b

7

12

B maj 7

b

F7

8

B 7

8

6

6

8

8

6

6

4

B dim7 Am7 D7 Gm7 œ œ œ F7œ œ œ œ œ b œ œœœœ œœ œœ œ œœœœœœ b œ œ œ œ œ œ # œ œ œ œœ

86 GuitarTechniques March 2015 E B G

4

6

Ex 6 - Chorus of blues in F - motivic, 4ths

E B G D A E

4

11 9

b

F7

5

5

12

7

9

9 11

10 8 10

8

11 10 8

10 9

7

7

A 1 E 1

6

7

b & bb b & b &b

bG7œ œ b œ n œ bG7œ œ bb œœ b œ n œ n œ bœ œ bœ bœ nœ nœ nœ G7

8

Cm7 Cm7

F7 F7

œ nn œœ Cm7œ œJœ ‰‰ œœ .. œjj F7œ b œ b œ n œ œ nœ œ J œj œ b œ bb œœ b œ n œ nn œœ œ nn œœ œ . ‰ œ œ œ J œ œ bœ bœ bœ nœ œ nœ nœ œ

E of BLues In f BEXAMPlE 6 Chorus 9 7 E G 8 similar 9 7 5 of Ex 5, moving 6 7intervallic B Here Stern starts in 9 D 9 fashion 7 7 to the 5 end 8 G E 8 6 this time 9 he 5 down A down in 4ths, although seems to be coming F Minor 8 6 D B 9 7 5 8 9 7 E over the over5 the Bb7 and 8back to A Pentatonic G 6 6 8 F7, 9 Minor Pentatonic 7 6 then Bb E D F Minor Pentatonic over the Cm7 and 9 7F7. Over the 5 Bb7 and Bdim7 8 he moves A 6 8 6 E up the same Whole-Tone pattern from the start of Ex 5, this time using Bb 6

Ex 6 - Chorus of blues in F - motivic, 4ths Ex 6 - Chorus of blues in F - motivic, 4ths

©»™∞º ©»™∞º 4 & bb 4©»™∞º ∑∑ & 44 ∑ &b4

B b7 B b7 B bÓ7

& bb Ó & &b Ó E B E G B D G E A D B E A 7 G E D A 7 E 7

b b b bœ7 B B 7 B 7

F7

Ó .. Ó Ó.

8 8

9 9

10 10

8

9

10

10 10

8 8

8 8

10

6 6

8

8

6

6 6

8 8

6

8

8 8

6 6

8

6

9 9 9

cd track 58

Cm7

F7

6 6 6

8 8 8

8 8 8

6 6 6

6 6

4 4

6

4

F7 Am7 D7 Gm7 Am7 D7 Gm7 œ œœ œœ œœ F7œœ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ Am7œ œ œ œ D 7 œ Gm7œ œ œ œ œ œ œ œ F7 b œ œœ œ œ b œB dim7 œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ ## œœ œ œœ œ œ œ œ œ œ œ œ œ œœ œ b œ œ œ œœ œœœœ œ œœœœœœ œ œ bœ œ œ œ # œ œ œœ

6

5 5

7 7

5

7

6 6

8 8

6

8

7 7

9 9

7

9

10 8 10 9 11 10 8 10 9 11 10 8 10 9 11

8 8 11 10 8 10 9 11 10 8 10 9 8 11 10 8 10 9

7 7 10 10 7 10

8 8

8 8

8

8

7 10 9 7 10 9 7 10 9

œ œ œ œ # œ œœ œœ nn œœ b œ n œ œ C7 F7 œ D7 œ # ¿ Gm7 b œ & b # œ œœ œ n œ œ œ œ œ b œ œ œœ # œ œ œ # ¿ n œ œ œ œ œ #Cœ7 œ œ n œ & #œ œ nœ œ œ œ bœ œ #œ œ #¿ nœ œ œ œ œ #œ œ #œ œ œ & b #œ œ œ nœ œ œ œ

E B E G B D G E A D B E A 12 G E D A 12 E 12

∑ LEaRNINg ZoNE ∑ ∑

F7 Cm7 F7 bœ ‰ j j œ n œ F7œœ œœJ ‰ œ .. bb œœJ œ ‰ bF7œ Cm7 F7 œ nœ Jœ ‰ œ b œJ b œ bb œJJœ ‰ œœ .. œJJ b œ bb œœ œ .. œœjj œ bb œœj ‰ b ˙ œ œ œ j ‰ b˙ œ nœ œ J ‰ œ . J bœ J ‰ œ . œ bœ b œ J œ. œ bœ b˙

B dim7 B dim7

6 6 C7 C7

‰Ó ‰ MIKE‰ STERN Ó œ‰œ‰Ó œ œ œ œ

then comes straight down the F Major scale over the F7 and 6 Whole-Tone, 4 Am7, the D7 and 4 outlining 7 5 moving into G Minor scale over the Gm7. Over the 6 4 3 then3comes down F7b9 (or Gbdim7) over the C7 4 he suggests 7 7 D7,5Gm7 5 and C9, 5 3 3 6 F7, moves 4 up a7semitone and comes back up Gdim7 over the D7 and beat one 7 resolving to 5 F and moving up chromatically to end. of4 the Gm7, 7 5 3 3

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lesson: acoustic

ON THE CD

TraCks 60-61

John Frusciante This month Stuart Ryan shows the more introspective acoustic side of Red Hot Chili Peppers' legendary funky-rock guitar master.

ABILITY RATING

Moderate Info

WIll IMprove your

Key: B minor Tempo: 77 bpm CD: TRACK 60-61

Using fretting hand thumb Adding open strings Embellishing chords

The ersTwhile member of red hot Chili Peppers is held in high regard, thanks to his funk rhythm chops and hendrix inspired soloing. however he also has an individual voice on acoustic guitar and that is what we

will examine in this study. Frusciante joined the Chilis in 1989 as a replacement for the deceased hilel slovak, and made his first appearance on the mother’s milk album. The following album, 1991’s blood sugar sex magik, saw the band reach a new global audience. however, this level of superstardom proved to be overwhelming for Frusciante and he left the band and then spiraled into a reclusive, drugaddicted lifestyle. Thankfully, he re-emerged sober and re-joined the band for 1999’s smash hit album Californication. we’ll focus on his deft fingerpicked work from the blood sugar sex magik era for this study, athough it’s also worth checking out his solo material to hear more acoustic at play. Coming from a John Frusciante musical family, John's in his laid-back acoustic mode first influences were from the punk rock scene, but then he gravitated towards classic rock guitarists like Jimmy Page, Jimi hendrix and David Gilmour. latterly Johnny marr became a huge influence on Frusciante, who was drawn in particular to The smiths’ guitarist's creative use of chords. Frusciante is best known as a pioneering funk-rock player through his work with the red hot Chili Peppers and these days he eschews the guitar more and more in favour of electronic, programmed soundscapes. however, there are acoustic gems in his back catalogue from the uptempo strumming of breaking The Girl to the introspective, melodic figure of I Could

For this study we’ll look at how John Frusciante creates memorable picked passages and chord progressions. have lied. For this study we’ll look at how he creates memorable, fingerpicked acoustic passages and how he embellishes standard chord progressions with more interesting chords, often using open strings to add extra colour to the basic harmony. For this study we’ll examine how Frusciante might build an acoustic part around a standard chord sequence in b minor, using embellished chordal ideas to create riffs, and go beyond standard major and minor chords to add 7ths and open strings for more texture. he often favours a strong picking hand attack so don’t be afraid to dig in and ‘grab’ the strings – check out the intro to Funky monks and you’ll hear how aggressive his picking hand can be! when playing the chords section of this study you may find it useful to use the fretting hand thumb to fret the notes on the sixth string, thus making it easier to leave the open strings ringing clearly – this is a technique that was especially popular with guitarists from the 60s (especially Jimi hendrix) and has also found favour with players as diverse as stevie ray Vaughan, Frusciante and Pat metheny. NeXT MoNTH: Stuart examines the acoustic blues stylings of Rory Gallagher

Get the tone 2

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Frusciante generally favours a classic acoustic sound without too much modern 'sheen'. He has often favoured classic old Martins for several recordings and the 'thump' of a D-28 style dreadnought or similar would be great for this style. I recorded this on a Froggy Bottom Model M.

acoustic playing at the fore on several tracks, from the up-tempo strumming of Breaking The Girl to the more introspective I could Have Lied. and indeed, all of the other chils albums are well worth a listen, as many electric ideas are transferable to the acoustic.


LIVEPIX

Track record check out John Frusciante's work on The red Hot chili Peppers' fantastic Blood Sugar Sex Magik to really hear his

Learning Zone

John Frusciante EXAMPLE JoHN FRUSCIANTe STyLe

track 60

[Bar 1] We start with what is basically an embellished B5 power chord – [Bar 2] Frusciante will often employ major and minor 7ths to add colour. You the slidesTECHNIQUES and hammer-ons2are acoustic don’t have to play the full chord though, as often just two or three notes will GUITAR 4 a0 common feature of Frusciante’s Stuart's Acoustic playing and you can plainly hear the Hendrix influenceJOHN in his playing. the harmony whilst keeping the sound from becoming too muddy. FRUSCIANTE convey STYLE

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lesson: acoustic

ON THE CD

TraCks 60-61

EXAMPLE JoHN FRUSCIANTe STyLe ...CONTINUED

track 60

[Bar 13] Here we see the ‘open strings’ approach in action; the chords sound 2 Acoustic much richer with the addition of the open first and second strings and these are also a feature of each chord so add cohesion to the progression. Try

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Learning Zone

John Frusciante EXAMPLE JoHN FRUSCIANTe STyLe ...CONTINUED

track 60

[Bar 22] Here’s another example of how you can pare chords down to their basic components. In this case the tonality of a Gmaj7th chord is conveyed by just the root (G) and the major 7th note itself (F#).

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lesson: rockschool

ON THE CD

TraCk 62-71

Reading Music Part 8

Counting Triplets and Sextuplets Good things come in threes says rockschool’s Charlie Griffiths as he continues his 14-part series on learning to read music.


combined in any order and bracketed together into groups of three, as shown in Example 1. Sixteenth-note triplets are double the speed of 8th-note triplets. Sixteenth-note triplets or ‘sextuplets’ look much like an 8th-note triplet, except they are beamed together with two horizontal lines instead of one. Sixteenth-note triplets are typically beamed together into groups of six and have a bracketed number 6 to indicate that there are six notes per beat. Sixteenths can also be beamed together with 8th-notes to make more complex rhythms as shown in Example 4 (see also Chops Shop on p74).

Eighth-notes take up exactly half the time as quarter-notes and can be counted ‘1 & 2 & 3 & 4 &’.

This month Charlie looks at 8th-note and 16th-note triplets

ABILITY RATING

Easy/Moderate Info Key: Various Tempo: 60 bpm CD: TRACKS 62-71

WIll IMprovE your Notation reading Fretboard knowledge Employability!

So far in this series we have established that the quarter note, or ‘crotchet’ equates to the tempo of the music - that regular ‘pulse’ within the music, to which you feel most inclined to tap your foot. We then went on to subdivide this quarter note into smaller and smaller units of time called 8th notes and 16th notes. Even the most humble of mathematical geniuses among you will have spotted that we divided the initial quarter note by two. Eighth notes are the same as ‘two notes per beat’ and 16th notes are therefore ‘four notes per beat’. Theoretically you can keep subdividing the


notes in two to make 32nd and 64th notes and so on, but those would be a little too fast for sight-reading at this stage. So this month we return to our initial quarter note and this time use the number 3 as the unit of division. Dividing a quarter note into three creates three equally sized notes called ‘8th-note triplets’. These are indicated on the stave as three 8th notes beamed together with a single horizontal line. Parallel to the beaming line there is an additional bracket with the number 3 placed in the middle. This bracket essentially says ‘squeeze three equal notes into this beat’. an entire bar of triplets would be counted as follows: 1 & a, 2 & a, 3 & a, 4 & a. The numerical values represent the downbeats within the bar and the ‘in-between’ syllables are the remaining triplets; these should be vocalised evenly to ensure each note is equal in length. Counting is especially important when combining 8th notes and 8th-note rests; these can be

as well as doubling the speed of 8th-note triplets, we can also halve the speed to make quarter-note triplets which are shown in Example 3 as three bracketed quarter-notes. These last for half a bar and squeeze three crotchets into the space where there are usually two. finally we have Example 5 which shows that compound time signatures such as 12/8 are popular for triplet rhythms. With 12/8, there are a dozen 8th-notes per bar, which renders the triplet bracket obsolete (each beat is worth a dotted crotchet). The following rhythmic examples use a combination of quarter-note triplets, 8th-note triplets and 16th-note triplets. The exercises are played on various notes, which enables you to concentrate on the rhythmic information but also start to combine rhythms with note finding on the fretboard. Example 5 is the most challenging example as it contains a lot of rhythmic and melodic information. as always, use a metronome or drum machine to ensure that the examples are played at a consistent tempo, and feel free to increase or decrease the suggested 60bpm to suit your current level. NEXT MONTH: Charlie looks at reading the various ornaments in music

Counting triplets and sextuplets GUITAR TECHNIQUES MAGAZINE 2 4 0

ExAmplE 1 Straight 8thS and tripletS

Charlie Griffiths

learning Zone cd tRack 62

Set your metronome at 60bpm and play the first four 8th notes. Part 8 -following two beats of 8th-note triplets which are counted ‘3 & READING Tripletsthis & are Sextuplets These are straight 8th notes as we have seen in previous lessons and a 4 & a’ which are three notes per beat. Continue counting triplets in bar are counted evenly: ‘1 & 2 &’ with two notes per beat. Immediately 2 which incorporates rests as well as notes.

Ex 1

3 ©»§º 3 3 3 3 3 4 . . œ œ MAGAZINE œ œ2 4 0 œ œ œ Charlie œ Griffiths œ œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ œ .. GUITAR & 4TECHNIQUES Ex 2

READING Part 8 - Triplets & Sextuplets

3 3 3 3 3 3 3 3 j j j j 4 œ .. & ©»§º 44 .. œ ‰ œ œ ‰ œ œ3 ‰ œ œ 3 ‰ œ œ 3 œ œ 3 œ œ 3 œ œ cd3 tRack ExAmplE.. 2 œShuffle feel .. œ MAGAZINE œ œ2 4 0 forœ eachœbeatœand goes: œ ‘note, œ œ synonymous œ œ œwith rock œ andœ roll‰and blues. œ ‰In barœ2 the‰first two œ 8thœ 64 & 4TECHNIQUES GUITAR The pattern in the first bar is the same Ex 1

Charlie Griffiths

rest, notes are replaced by a quarter-note for a smoother ‘legato’ sound. Ex 3 note’. When repeated this creates a shuffle rhythm which is READING Part 8 - Triplets & Sextuplets Ex 2

4 & 44 .. œ ‰3 œ ‰ 3 œJ ‰ œ 3 ‰ œ ‰3 œJ ‰ 3 œ j œ 3 œj œ 3 j œ 3œ j .. &©»§º 4 .. œ ‰3 œ œ ‰ 3 œ œ3 ‰ 3œ œ 3 ‰ œ3 œ 3 œ œ3 3 œ œ 3 œ 3 œ 3 œ .. Ex 4 4 .. œ œ œ œ œ œ 6 œ œ œ 6œ œ œ 6œ œ œ 6 ‰ œ ‰ 6 œ ‰ œ6 œ .. & 4 GUITAR TECHNIQUES 3 MAGAZINE 3 240 Charlie Griffiths Ex 3 4 . . œ œ œ œ œ œ œ œ œ œ œREADING œ œ œ œPart œ œ8 -œ Triplets œ œ& Sextuplets œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. Ex& 2 4 4 & 4 .. œ 3‰ œ ‰ 3 œJ ‰ œ 3 ‰ œ ‰3 œJ ‰ 3 œ j œ 3 œj œ3 j œ 3œ j .. Ex 1 4 ExAmplE Ex 5 .. 3 œQuarter-note .. ‰3 œ œ tripletS ‰ 3 œ œ3 ‰ 3œ œ 3 ‰ œ3 œ 3 œ œ3 3 œ œ 3 œ 3 œ cd3 tRack œ 66 & 4 ©»§º Start©.»§º with a downstroke and play the first bar with alternate picking; up with the ‘up’ strokes. Continue this picking approach through the Ex 4 notice that coincide with the rests match .. .. œthe notes œ0 œœ strokes œyouœœwillœ actually œ œ‰ 6œperfect ‰œ œ œœ6 œ œtriplets. œœ œ Griffiths œ .. GUITAR œ œCharlie œ œ6œœ œ second œ œœbarœand œ œ6 œ‰ beœ œplaying œœ quarter-note œ œœ 3œœ2 4‘down’ œ œœ6 œand 6œ & 44128TECHNIQUES 3 œ MAGAZINE œ œ œ Ex 3 4 . & 4 . œ œ œ œ œ œ œ œ œ œ œREADING œ œ œ œPart œ œ8 -œ Triplets œ œ& Sextuplets œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. Ex 2 4 &1 4 .. œ ‰3 œ ‰ 3 œJ ‰ œ 3 ‰ œ ‰3 œJ ‰ 3 œ j œ 3 œj œ 3 j œ 3œ j .. Ex Ex 5 ©»§º 44 .. œ ‰3 œ œ ‰ 3 œ œ3 ‰ 3œ œ 3 ‰ œ3 œ 3 œ œ3 3 œ œ 3 œ 3 œ 3 œ .. ©.»§º & . . œ œ œ œ‰ œ ‰ Ex 4 4 ‰ & & 4128 . .. œ œ 3œœ œ œœ 3 œ œ œœ œ œœ6 œœ œ œœ œ œœ œ6œœ œ œœ œœ œ 6œ œ œ œ 6 œœ œ 6œ œœ œ œ œœ6 œ œœ .. Ex 3 4 . &2 4 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. Ex cd3 tRack 68 ExAmplE 3œ 3 3œ 3 4 .. 4œSextupletS œ 8th-note œ 3 ‰ œand ‰3 œ downstrokes œ ‘six-notes-per-click’ œj œ 3 sextuplets. œ The œsecond .. ‰ ‰ ‰ ‰ j j j & play 4 the first two beats of triplets with downstrokes to produce 4 J J Exkeep 5 all six œnotes‰as3 evenœ as œyou can. ‰ 3Forœ beatsœ 3 and‰ 4 keep œ your œ pick‰ œ3 bar combines œ 8-note œ and œ 16th-note œ triplets; œ for œsimplicity œ play the œ 8th.. & 4 at.. the 3 3 the 16ths. 3 and introduce upstrokes with ©.»§º moving same rate, but introduce upstrokes in between the notes with downstrokes œœœ œœœ Ex 4 12 . . œ 3œ œ œ 3œ œ œ œ œ6 œ œ œ œ œ œ6 œ œ œ œ œ 6 œ œ œ 6 œ œ œ œ6 œ œ .. & 8 6 Ex 3 4 & 44 ... œœ œ ‰ œ œœ œ‰ œ œ œ œ‰ œ œœ œ ‰œ œ œœ œ ‰œ œ œœ ‰œ œ œœ œ œœ œ œ œœ œ œœ œ œ œœ œ œœ œ œ ... . &4 . J J 3 3 Ex 5 3 3 3 3 Ex 4 ©.»§º 128 .. 3 œ œ 3œ œ œ œ œ6 œ œ œ œ œ œ6 œ œ œ œ œ 6 œ œ œ œ6 œ œ œ œ 6œ œ œ œ œ6 œ œ .. & œ 44 .. 5œ12/8 œ œtime .. ExAmplE & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œcounted œ inœjustœtheœsame œ way. œ œTheœ rhythm œ œ isœtheœsameœ asœcd œ tRack œ œ 70 Compound time signatures such as 6/8, 9/8 and 12/8 are often used to Ex4 but shown Ex 1

show triplet-based rhythms. A bar of 12/8 has twelve 8th notes and is

in 12/8 time and uses different pitches for an extra challenge.

©.»§º œ œ œœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 12 .. œ œ œ œ œ œ &8 œ œ œœœ

Ex 5


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Explore the licks and techniques of Clapton’s psychedelic-blues period. Plus, a special lesson on four-part harmony; focus on Keith Richards and Brian Jones in the early Stones; and a complete transcription of Wes Montgomery’s jazz-pop classic, Sunny.

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Each back issue costs (including postage and packing) n UK: £5.50 n Europe: £6.50 n Rest of the world: £7.50 94 GuitarTechniques March 2015

Music Reviews

wHat our ratingS Mean: HHHHH Buy it HHHH Excellent HHH Good HH Average H Bin it!

New Albums

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

MoeTar

ENTROpY Of ThE CENTuRY Magna Carta HHHHH Vocalist Moorea Dickason and bassist Tarik Ragab are back with the rest of the MoeTarians, with a delightful and totally off-the-wall album that’ll put your ears and brain into a twist. But let us assure you that this is by no means a bad thing! It all kicks off with the compactly arranged Dystopian fiction, guaranteed to grab the attention and a good introduction to the rest of the album. This is high-energy music that’s full of surprises, not only for the switches in time signatures but also in the unusual use of chord choices, seamlessly executed and played with style and precision. MoeTar is essentially a prog band that fills every nook and cranny in a song with something exceptional. Letting Go Of Life is less frantic while Regression To The Mean sounds like a sonic car crash but is excellent - check this one out on You Tube as it’s the perfect introduction to this unique and breathtaking album. Like it (we do) or loathe it, the musical ability of all involved is truly exceptional.

i!

REVIEWS BY ROGER NEWELL

i!

Gothedelic HHHH It’s great that we get so many released CDs sent in by our readers and better still when they turn out to be really good and - i! is definitely a case in point! It’s the brainchild of Rod Brakes and is delightfully difficult to categorise. The album presents a series of soundscapes with the guitar being morphed into a whole new world of atmospheric and appealing sounds. Rod is obviously aware of when something sparks a creative idea; for instance About Tomorrow came from odd moments of channel skipping on a radio. There’s a Middle Eastern element here too that’s both strange and hypnotic and a very original way of presenting music, for

although it retains an almost random element it’s actually structured to provide forceful dynamics with high and low passages. The two songs This Cold Distance and Watcher Watcher provide another important element with voices and phrases used to great effect throughout. This is unique and strangely compelling and a real treat to the ears. Available as a CD or as a download from i69i.bandcamp.com

Carl Carlton

LigHtS out in wonderLand

Caroline HHHH Carlton is well established not only for his distinctive guitar playing but also as a producer for people like Robert Palmer and Joe Cocker. Along the way he’s fitted in four albums with his own band The Songdogs, co-written and produced Toast To Freedom in celebration of the 50th anniversary of

Amnesty International and now this solo album. Although German by birth Carl has total command over American music and has the ability to weave a great song with storyline lyrics and strong hooks on guitar. Add that to his own raw vocal that’s perfectly suited to this style of song and what you get is a winning formula and an excellent album. Moonlight In New York and Invincible are particular favourites but it’s all good stuff from start to finish. Great guitar work too and the songs have something of a Dylanish quality about them - never a bad thing - so check this one out.

antoine FaFard

ad PerPetuuM

Unicorn Digital HHHH This is the third album from bass player Antoine Fafard and it’s a stunning piece of work. But make no mistake this is not a one-man show; it’s a core trio performing at the highest level to produce ten excellent instrumental tracks. Joining Antoine on this project are Vinnie Colaiuta on drums and the amazing Jerry De Villiers Jr on guitar. Add a few guests like Gary Husband on drums, Jerry Etkins on keys and Jean-Pierre Zanella on sax and you have a heady and fruitful mix of sounds on these

all-original tracks. The music is a cross between classic Bruford band and Mahavishnu Orchestra but brought into the modern era. With dynamic chord structures and nifty time signatures this album will delight the ears and occasionally tax the brain in a very pleasant manner. Late night music has just been reborn.

Whitesnake

Live in ’84 Back to tHe Bone

Frontiers HHHH David Coverdale is a firm believer in acknowledging the anniversaries of Whitesnake’s pivotal albums. Amazingly it’s been 30 years since the release of Slide It In so in celebration the live show from 1984 has been reissued. It’s a Deluxe CD/DVD version that includes demos, bootlegs, rare videos and audio recordings. It’s a treasure trove of material from the classic line-up of John Sykes on guitar, Neil Murray on bass and Cozy Powell on drums, but if that’s not enough it also includes Jon Lord’s final performance with the band. This is a

lovingly restored and enhanced release that will thrill Whitesnake fans everywhere. But it’s also an interesting look into the workings of the band at the time, and another chance to enjoy this music taken from Coverdale’s personal archives. Every effort has been made to provide the best sound and video quality and that’s really paid off. Check out John Sykes’ solo on Love Ain’t No Stranger, his guitar acrobatics on his spotlight feature and the sheer force of Ready An’ Willing all on the DVD. Great to see Jon Lord on keys with the band in Las Vegas too, making this is a real collector’s gem.

Foo Fighters

Sonic HigHwayS

RCA Records HHHHH In support of their excellent eight-part TV documentary exploring the roots of American music, Dave Grohl and his merry and talented bunch of men have released an album bearing the same title. As they travelled the country to visit the featured cities for the programme, they recorded these tracks in eight ‘iconic’ studios and this album is the result. Grohl says that thanks to the history and culture, as well as the technical equipment and production, each studio and even the cities themselves had an effect on how their music sounded. More importantly for their followers, this is a very classy and well conceived album that should appeal to an even wider audience than the Foos already command. Check out the single pull and opening track, Something From Nothing as a taster; it’s a solid and forceful performance that is beautifully produced. It’s all good stuff though, particularly things like the high-energy Congregation that features some great light and shade. Outside really drives along and I Am A River gradually works towards a huge musical climax. We like this a lot so make sure you give it a listen (catch the TV series on catch-up too) - the more you do, the better it gets.


GT USER GUIDE

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

Relating tab to youR fRetboaRd 3

2

every transcription or lesson in Gt is graded according to its level of difficulty, from easy to advanced. we’ll also let you know what aspect of your playing will benefit by attempting a lesson.

m

i

1

our raTing SySTem

a c

4 T

p

advanced moderate-advanced

nuT & freTboard

hand labelling

moderate

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

here are the abbreviations used for each finger: Fretting hand: 1, 2, 3, 4, (t) picking hand: p (thumb), i (first finger), m (second), a (third), c (fourth).

easy-moderate easy

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

œ œ 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 @

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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

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œ

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@

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4

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8

palm muting Palm Muting

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n the first note is to be downTremolo Picking picked and the last note is to be up-picked.

&

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n each of the four notes are to Palm Muting be alternate picked (down- & up-picked) n œ very rapidly n œœ and continuously. & # œœœ œœ

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PM E B G D A E

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@ 96 GuitarTechniques March 2015 5

Palm Muting

@ 4

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8

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8 7 6 7

Pick Rake

0

0

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n palm mute by resting the edge Rake ofPick picking-hand’s palm on the strings near the w bridge.

&

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appeggiate chord Arpeggiate Chord

w

rake

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œ

0 1 0 2 3

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E B G D A E

n Drag the pick across the Arpeggiate Chord strings shown with a single sweep. often used to augment a ˙˙˙ ggg # ˙˙˙ rake’s lastgg note.

5

Arpeggiate Chord

0

Pick Rake pick rake

PM E B G D A E

8 7 6 7

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7 8 œ stave, œ œ tabœ isœ an aid Tabbing @ @ under thetomusical PM to show you where put your fingersPMon the E B 8 8 G horizontal 7 7 fretboard. the six lines represent the six D 6 6 A 7 7 strings on a guitar – the numbers on the E 0 0 0 0 0strings are fret numbers. the two stave and tab examples show chords; c (c major), em (e n œœ 4 notes andPick4 Rake minor), œœ D7 (D dominant 7) and am7 (a minor 7).

@

PM

E B G D A E

3rd string 2nd fret 2

Em

Guitar techniques: How tHey appeaR in wRitten music... E B G D A E

7

1st fret

œœ

1E 2B 3G 4D 5A 6E

4

the left box shows an a minor pentatonic scale with added 5 tapped notes signifiedPalm by Muting ‘t’s. ≤ above shows a cmaj9 (no 3rd) with harmonics at the 12th fret. nœ

œ

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&

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&

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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 ggg gg

0 0 2 2 X 2

ggg # ˙˙˙ ggg # # ˙˙ gg ˙

ggg ggg gg

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

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5

7

7

5

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tr E B G D A E

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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

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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

&

n œœ # œœ

¿¿ ¿¿ ‚ ‚

¿¿ ¿¿

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

—

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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 œœ ¿¿ ¿¿ holding ¿¿ œœ# ‚ ¿¿ the ¿¿ & note # œœ at‚¿¿ the ¿¿ ‚ ¿¿new œœ ‚‚ pitch. ¿¿ ¿¿ 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 œ and &pull-offs. œ œ 5

5

Slides (Glissando)

(7 5)

5

E B G D A E

8

tr

˙ (œ œ)

E B G D A E

~~~~~ 7 5

note Trills Note Trills

&

n pick 1st note and hammer Trills fretting hand for 2nd onNotewith tr ~~~~~ note. then pick 3rd note and ˙ (œ 4th œ) b˙ 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’.


NextMoNth the world’s best guitar lessoNs… transcription #1

feature

the who

CouNtry workout

Steve Allsworth tabs one of this great band’s most memorable tracks. Includes the classic synth part tabbed for guitar!

Steve Laney creates the ultimate workout, with chord and rhythm ideas, speedy hybrid-picked licks, open-string runs and typical country bends!

Baba O’Riley

transcription #2

mozart

video lesson

Carl verheyeN

Eine Kleine Nachtmusik

Full blues piece

Bridget Mermikides arranges and transcribes a landmark work from the acknowledged master of composition.

The great multi-talented guitarist shows his approach to playing a full blues solo. Don’t miss this truly awesome lesson!

Play GREat lEad GuitaR usiNG...

fingers only!

Flesh gives a sweeter tone than a pick and you can play entirely new things using just fingers. Jon Bishop shows how, with some amazing licks to get you going!

other great lessons Brad Paisley Learn how this incredible country guitarist also nails those blues licks!

George Harrison

One of the most melodic guitarists of all time - learn how the Quiet One did it!

Rory Gallagher

He was a monster flat-top player, so get some great Rory acoustic licks down.

plus all this… Play jazz like Mike Stern, be creative in your rock, learn to read music, hone your alternate picking and much more!

will be happy Your local newsagent ques for you to order Guitar Techni t trip into each month. Save tha fantastic town and get to those and transcriptions, lessons exclusive video classes even quicker!

april 2015 issue oN sale friday 20th february Please note: content is subject to change…

98 GuitarTechniques August 2012

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240. Guitar Techniques - March 2015

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