244. Guitar Techniques - June 2015

ThE fINEST GUITAR LESSONS ON ThE pLANET 244 JUNE 2015

WE’LL MAKE YOU A BETTER GUITARIST - GUARANTEED!

ExPANd BLuES! Your

nail THE inTErvals

See how the notes in chords and scales relate and improve your solos today Six 12-bar examples + Full Study

acousTic ragTimE Learn this bluesy fingerpicking style Nine short pieces + Full Study

CLASSICAL

STRAuSS

Learn his most hummable waltz The Blue Danube

JAZZ

GyPSy JAZZ

Django Legacy: play like the great man’s followers

CLASSIC TABBEd!

New Born

MuSE Learn the awesome hit from their Origin Of Symmetry album!

STyLE STudIES

ERIC GALES Burning blues licks

THE TROGGS

Original garage punks

CHICKENFOOT

Satch’s kicking rock band

GLEN CAMPBELL Unsung session monster

ISSUE 244 JUNE 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 themselves. His Jazz Metal album is considered a milestone.

jon bishop

Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease!

jim Clark

2002’s Guitarist Of The Year runner-up, Jim has been a busy TV and session guitarist in the UK and US, as well as working alongside a host of top artists.

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’s currently touring Europe with the Champions Of Rock show.

pat heath

BIMM Brighton lecturer, ESP product demonstrator and all-round busy musician, Pat brings you six cool licks each month in 30-Minute Lickbag.

david mead

As ex-editor of both Guitarist and Guitar Techniques magazines, and author of top-selling tutor books, David is the perfect choice as Theory Godmother.

the

finest

guitar tuition you can buy !

Welcome WE OFTEN GO on about playing ‘intervals’, or ‘targeting chord tones’? We do it because it’s a fine way of outlining the chords beneath a solo and giving it ‘shape’. Well, you’ll see a lot of it in the magazine this month. Jason will tell you all about John Wheatcroft’s ‘Django Legacy’ but, essentially, back in those days solos were ALL about chord tones and nothing about blasting a scale or two through the middle of them which is, without putting too fine a point on it, what a lot of blues and rock players do. My focus here though, is on Jon Bishop’s look at nailing the intervals within a blues context. The lesson’s pay-off is six solos where Jon shows ways to target specific intervals - 9th, 3rd, 7th etc - with a final piece where he mixes them up to create a solo that shows just why we should all get in on this particular act. Although the lesson is built around 12-bar blues so you hear all intervals in the same context and therefore the differences in their sound, the concept applies to any style. I mentioned the Django era and a music form whose star was on the rise when another’s was waning. I’m talking about ragtime. There are really close ties

between early blues, New Orleans jazz and ragtime. And while pianist Scott Joplin always springs to mind when discussing the genre, a host of amazing ragtime guitarists also jumped pretty quickly on the wagon. Some were frightening technicians, too. Our old friend Tristan Seume has put together a stunning ragtime lesson that will appeal to all fingerstyle lovers. He looks at the techniques used to play this endearing style and offers some fantastic workouts for you to try. Thankfully it’s not all Blind Blake and Rev Gary Davis level - pretty much anyone will be able to have a go. But of course it wouldn’t be right to ignore those that DO have the chops to really get picking, so there’s some tricky stuff in there for you too. Muse are massive these days, and Matt Bellamy is now a true guitar star. With Matt and the band hitting the road again we thought we’d tab a track: the amazing New Born from their huge selling album, Origin Of Symmetry. Do enjoy it! And I’ll see you soon.

Neville Marten, Editor [email protected]

DON’T MISS OUR AMAZING DIGITAL EDITION Guitar Techniques’ digital edition is now even better!

bridget mermikides

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

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 phenomenal guitarist, John is a master at all styles but a legend in Gypsy Jazz. His new album Ensemble Futur is out now on iTunes and Amazon.

Tap the links

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

Animated tab & audio

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

Play the videos

Certain 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 (Please note: Zinio editions do not have interactive tab or audio).

June 2015 GuitarTechniques 3

• C ON T E N T S • J U N E 201 5 •

Learning Zone LESSONS INTROdUcTION

51

30-MINUTE LIckbAG

52

Music editor Jason Sidwell introduces another fun-filled lessons section. BIMM’s Pat Heath has six new licks to play at easy, intermediate and advanced levels.

bLUES

54

ROck

58

cREATIVE ROck

70

cHOpS SHOp

76

bRITISH R&b

78

JAzz

84

MUSIc REAdING

94

AcOUSTIc

90

Les Davidson looks at the impressive soloing style of modern blueser Eric Gales. Martin Cooper highlights Joe Satriani’s style with rock outfit Chickenfoot.

Shaun Baxter explores how to use six-note string-pair cells to enhance your lead playing. Andy Saphir starts a new mini-series on how arpeggios can beef up your solos.

Phil Capone unearths the style of The Troggs and plays like a Wild Thing!

John Wheatcroft takes a look at modern gypsy players including Bireli Lagrene, Fapy Lafertin, Boulou Ferre and Stochelo Rosenberg.

CoVer FeaTUre NAIL YOUR INTERVALS!

This month Charlie Griffiths explains how to use and interpret dynamics and articulations within musical notation.

16

Jon Bishop explains how to use different intervals in your soloing and how you can use them to add more variety to your lines.

FeaTUreS

WELcOME

Nev talks about this issue’s main features.

26

Jon Bishop goes around the cycle of 5ths with ever increasing speed as he performs this modern prog masterpiece for GT.

7

THEORY GOdMOTHER

9

cARL VERHEYEN part 5

62

Carl delivers yet another jaw-dropping first-take solo over a track he’s never before heard!

Got a problem with your theory or technique? Let our agony uncle David Mead sort it out!

10

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

36

Tristan Seume shows you how to play one of the most popular, enduring and challenging acoustic blues styles on guitar.

SUbScRIpTIONS

68

bAck ISSUES

83

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

ALbUMS

trAnSCrIPtIon #2 JOHANN STRAUSS Blue Danube

3

TALkbAck

More of your insights and opinions.

INTRO

SPECIAL fEAturE #2 RAGTIME GUITAR Master the style!

ViDeo MaSTerCLaSS

rEGuLAr fEAturES

trAnSCrIPtIon #1 MUSE New Born

Stuart Ryan on the acoustic style of country singer and session guitarist Glen Campbell.

97

New guitar CDs and DVDs reviewed and rated by our very own Roger Newell.

44

Bridget Mermikides arranges and transcribes the most famous waltz of all time for you to play on classical guitar.

NExT MONTH

98

Play classic ‘Jam Rock’ like The Grateful Dead, Allman Brothers, Phish et al. Plus Chet Atkins & Mark Knopfler, The Who, Steppenwolf, Jimmy Vaughan and a whole lot more!

Spring 2015 GuitarTechniques 5

Post: Guitar Techniques, Future Publishing, Ivo Peters Way, Bath, BA2 3QS. Email: [email protected] using the header ‘Talkback’.

ullSTeIn BIld & STeFAn M. PrAGer / GeTTy IMAGeS

ON THE LEVEL First I wanted to say thank you to your team for a fantastic magazine, I’ve been a subscriber for many years and get a lot of enjoyment and inspiration from all the content and features it contains. The lesson that I’ve got the most from in recent months was the superb ‘4 Levels Of Blues’ by Milton Mermikides - this lit a fire and it’s still burning! Now, I know my limitations on the instrument and the joys and frustrations that this provides me with; however, I’ve been inspired by this article to work through all the solos and understand them. I’m pleased to say that I’ve cracked them (well 90% there, my timing is not as in the pocket as it could be). I think the reason for this is the feeling of progression that I got from the article in terms of playing and knowledge, coupled with playing some great tunes in different feels. The other element was a clear guide it provided and it’s this sometimes that I think is really hard with learning the guitar - there is so much to learn in so many ways that sometimes you can’t help feeling swamped. I would like to thank Milton for providing an article that really provided clarity, inspiration and helped provide some focus which overall has helped improve my playing. So, please can we have more of these in different styles and that focus on rhythm playing as well as lead? Furthermore, would it be possible to run some jazz lessons focusing on playing over standards - rhythm and lead? I do think that this is an element missing in recent issues. It’s a great way to learn many different elements of our great instrument including scales, chords, melody, timing, theory etc - as I am sure you know! Thanks for your time in reading this email and I hope it provides you all with some ideas for lessons, if you haven’t thought of them already!! Alex Beasley We were rather proud of that too – from its initial concept to Milton’s superb realisation of the idea. For those that didn’t see it, it was simple a way to look

at playing blues no matter what level you are at – and to show that even the most limited technique can create truly satisfying blues solos. We’re already on the case with transferring the concept to other styles – rock and jazz are obvious contenders – so watch this space, and thanks for the kind words. Pete Callard spent years explaining how to solo over the common jazz chords, changes and progressions; but now that John Wheatcroft has taken over he may want to look at it again in his own way.

BRINGING UP THE REA I love your monthly blues column and the artists you cover. I particularly enjoyed the Mark Knopfler cover you did a while ago and was wondering if you was going to cover another North East fingerstyle guitar player, Chris Rea. I love the way Chris plays slide guitar and I have been trying to play some of his songs with little success. I also love the way Chris manages to play the blues and how he incorporates it into pop songs such as Auberge, On The Beach and of course Road To Hell. So I was wondering if you have any plans to cover this great artist in the future? Mike Dymond I’ve long been a fan of Chris Rea, both as a pop-rock artist and in his later blues offerings. In fact, I remember sitting with Chris in a cafe in Notting Hill in London (I was interviewing him for Guitarist magazine) and I asked him why he didn’t just bring out a blues album, since blues was so ingrained in his style. At the time he said the record company wouldn’t wear it, but of course a few years later things changed and that’s exactly what he did, to fantastic reception. So yes, a look at Chris’s style is perhaps well overdue.

Chris Rea: soon to be in GT?

attempt bass and melody. Power chords work quite well for me on the bass strings and other chords can be played on the lighter strings. Attempting to play The Shadows’ Atlantis was interesting. I can remember Fender VI’s used back in the 60s. Thank you for great magazine and keeping an old guy happy. Dave J Smith Thanks, Dave. Yes, lots of bands used six-string basses in the 60s – various members of The Beatles shared a Fender Bass VI, Jack Bruce in Cream played one too, The Everly Brothers songs were peppered with it; and of course The Shadows’ bass player Jet Harris is famous for his use of such a

HITTING A SIX I read with interest the article from Lee Riscoe and agree that playing bass helps [When learning guitar or getting back into it in order to strengthen the hands after an accident, etc - Ed]. Having retired four years ago I have found more time to attempt playing guitar. About a year ago I purchased a Fender Bass VI on which I can

Joe Pass: jazz guitar giant

machine. I’m still not sure about bass as therapy after hand or arm accidents; but as a ‘missing link’ between guitar and full-blown bass the six-string or ‘baritone’ bass. It’s a great sound to use when no other effect will work.

GIANT STEPS Greetings from New Jersey USA. First I’d like to commend you on your magazine. I think Guitar Techniques is the best guitar magazine available today. I wish I had every issue. I have a special request to make for a transcription of John Coltrane’s Giant Steps solo. I’ll understand if it can’t be done based on space constraints as it’s 10 choruses long. I would appreciate it if it could be taken into consideration. Thank you very much. I wish you continued success and all the best to the entire staff. Stephan Solomon That’s not such a nutty idea as it first sounds, Stephan. Giant Steps is a notoriously difficult piece to play; but more especially to solo over, as its changes are deliberately complex and it’s hard to find common tonalities – as you would, for example, in a blues. You’re right that the original is a bit of a monster; but a typical GT approach might be to transcribe some of Coltrane’s original choruses, then also tab out a version by perhaps Joe Pass, to see how a great jazz guitarist might tackle the piece. It’s in the pot for future perusal.


Q&A

Theory Godmother

Post your playing posers and technical teasers to: Theory Godmother, Guitar Techniques, 5 Pines Way Industrial Estate, Ivo Peters Road, Bath, BA2 3QS; or email [email protected] - your wish is my command! & œ bœ

GUITAR TECHNIQUES MAGAZINE 2 4 4 Ex 1

Assume The Position?

In GT241, in example No 3: D Natural minor scale, is there any reason the lick started on the fifth string, 5th fret instead of the open fourth string and then on to the E note on the fourth string, 2nd fret? I’m trying to learn to read music but I often find I’ve gone off in the wrong direction when I check the tab. Am I simply missing something obvious? John My thinking behind the example you mentioned was that it could be played in a single position on the fretboard. If I had started with an open fourth string it would have meant a fretting hand move, making it more awkward to play. Experience is the best teacher here, because as you become more accustomed to where everything is on the fretboard, you will find yourself making the right choices unconsciously. But you’ll soon be able to see the right path to take every time.

Altered State

Please explain to me what the altered scale is and how it is used over the V-I chord change. It has me baffled! Derek The Altered scale (or Superlocrian, or seventh mode of Melodic minor), is popular in jazz because it contains all the ‘outside notes’ that feature so heavily in the music. I’m not keen on giving people formulae for this kind of thing because it can tend to make students play mathematically rather than creatively. But the Altered scale is a convenient way of familiarising yourself with the sounds involved, and can be a great asset to learning. Ex 1 shows the Altered scale in its basic form: 1-b2-b3-3(b4)-b5-b6-b7. It’s not the easiest scale to imagine being too useful in its raw state, but it does mean that all the altered notes are collected together in one place. The first job is to practise the scale so that the fingers know where they’re going; and then get hold of some II-V-I progression backing tracks. If we take an example of a II-V-I in C Major - Dm7-G7-C (Ex 2) - using a modal approach we would employ D Dorian over the Dm7, G Mixolydian over the G7 and C Ionian (Major scale) for the C major (Ex 3). It’s a good

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into ‘outside territory’. These would be 15 12 15 12 the modes you would use to15play a12 12 15 12 jazzy-blues solo over the progression and most players reference these A E modes - and anyway, if you played continuously ‘outside’ it would be very hard to listen to. The trick is to use the Altered scale to add splashes of colour or tension. Now play over the changes again, but this time using the G Altered scale instead of G Mixolydian (Ex 4). It’s going to sound rough until you learn to make it musical; but you should be able to hear some familiar sounds if your ear is

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Five A Day

In GT 239 there’s a Jimmy Page solo idea based mainly on the minor Pentatonic. However, instead of being played over a sequence of minor chords, why it is played over E5, A5 and B5? This is probably grade one theory but I’m new to all this and without a good foundation you can’t build a solid structure. Chris

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G Altered Scale

A 5th chord is a ‘stripped down’ version of a normal chord and comprises just the first and fifth notes of the scale, with no 3rd to define it as major or minor (Ex 5). So minor Pentatonic works well because there are no clashing notes. If the minor Pentatonic is being employed in a blues-rock context it leans on the blues’s tendency to mix major and minor, so you often find the minor aspects of the scale being forced against major, with the b3rd being bent slightly sharp to produce what’s known as a ‘blue 3rd’ or ‘blues curl’ (Ex 6). We would strongly recommend you read last issue’s Blues Theory article: it’s quite exhaustive!


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• Gu i ta r t e ch n iqu e s • J u n e 201 5 •

Jam tracks tips Use these tips to navigate our bonus backing tracks. 1. Shuffle Blues in E This 12-bar shuffle is perfect for some aggressive Joe Bonamassa style blues shredding. I suggest blending the E minor Pentatonic (E-G-A-B-D) and the E major Pentatonic (E-F#-G#-B-C#) as well as perhaps adding some E Mixolydian (E-F#-G#-A-B-C#-D). Knowing the 7th arpeggios for each chord will also come in handy: E7 (E-G#-B-D), A7 (A-C#-E-G) and B7 (B-D#-F#-A).

2. Open A Jam

rewind, the world’s biggest 80s music festival, returns this year for three uK festivals during July and august. while it’s not over guitar-heavy, the music is fantastic, and tickets are on sale now via rewindfestival.com if a bit of nostalgia is your thing. rewind scotland will return for its fifth year at scone Palace, Perth on Friday 24th July until sunday 26th July with headline

Midge Ure is due to play this year’s Rewind South

10 GuitarTechniques June 2015

performances from thompson twins’ tom Bailey and oMd, plus performances from Bananarama, Jimmy somerville, Kim wilde, sister sledge, nik Kershaw, Belinda carlisle, altered images, Kid creole, howard Jones, Five star, hue & cry, and for the very first time, ex-rainbow lead singer Joe lynn turner, the orchestra and From the Jam featuring original Jam bassist and singer, Bruce Foxton. For the second year, rewind north returns to the north of england at capesthorne hall, cheshire from Friday 7th august until sunday 9th august. headline performances include human league and oMd, plus appearances from the Boomtown rats, Jimmy somerville, heather small, the sugarhill Gang, Kim wilde, soul ii soul, Belinda carlisle, aBc, Bananarama, the selecter, chesney hawkes, howard Jones, imagination, dr & the Medics, John Parr, and more. Meanwhile, rewind south, at temple island Meadows, henley-on-thames returns for its seventh year on Friday 21st

august until sunday 23rd august with headliners oMd and human league, plus 80s stars Billy ocean, aBc, t’Pau, Midge ure, Kim wilde, nik Kershaw, hot chocolate, Belinda carlisle, Go west, soul ii soul, Bananarama, and for the very first time, Black Box, dave edmunds, slim Jim Phantom from the stray cats, plus British electric Foundation featuring M’s robin scott, thomas dolby, Joy division’s Peter hook, heaven 17’s Glenn Gregory, the noisettes’ shingai shoniwa, and Fairground attraction’s eddi reader, plus more big names. Visit www. noblepr.co.uk for the full details of all three rewind Festival line-ups.

Highlights include OMD, Kim Wilde, Midge Ure, Human League, Thomas Dolby and more!

This track is based on G Dorian (G-A-Bb-C-D-E-F) and should be pretty straightforward to groove along with. The chord progression consists of a continuous two-bar vamp between Gm7 and C7. You can of course use G minor Pentatonic (G-Bb-C-D-F) to great effect here. Perhaps try out some double-stop rhythm patterns along the way and really work on finding the ‘pocket’ in terms of your timing.

4. Easy Jazz II-V-I (Am) This jazz practice track is essentially a II-V-I in the key of A minor. The chords are Bm7b5-E7-Am7. However, on the track you will hear extensions of these chords - as is common in jazz of course. Use the A Minor scale (A-B-C-D-E-F-G) on the Bm7b5 and Am7 chords and A Harmonic minor (A-B-C-D-E-F-G#) on the E7 chords. Basic arpeggios: Bm7b5 (B-D-F-A), E7 (E-G#-B-D) and Am7 (A-C-E-G). Jam tracks by Quist. For free scale maps and hundreds more tracks, visit www.quistorama.com. DARREN COLEMAN

Time to revisit the 1980s?

3. Groovy G Dorian

RETNA / PHOTOSHOT

Rewind: everyone clearly had a good time at last year’s!

Harmonically speaking, this groove-based track contains nothing but the note A. This will enable you to practise blending any variety of scales on the track and really experiment with expanding your harmonic horizon” Why not try mixing A Lydian Dominant (A-B-C#-D#-E-F#-G), A minor Pentatonic (A-C-D-E-G) and A Phrygian Dominant (A-Bb-C#-D-EF-G) in one jam, for example?

IGF summer courses update

Change your watch into a metronome!

The ultimate mobile metronome? Pro MetronoMe is a cool new device that might well come in handy for iwatch (or android watch)-wearing musicians on the move. it focuses on a sleek, user-friendly experience allied to accurate timekeeping. Key features include adjustable time signatures, subdivisions, polyrhythm, a rhythm trainer, stage mode and practice mode. customisation is possible, allowing the user to modify sounds, accents and even the dynamics of the beat itself. You can create complex patterns with triplets, dotted notes and non-standard time signatures. Pro Metronome also supports a host of secondary features: background play mode, in-app volume adjust and the ability to save song/tempo playlists to share with other musicians.

the app supports several ways to experience beats. a free version of the app includes sound, but upgrading to Pro enables Visual, Flash, Vibrate and airplay Modes – handy for when you’re playing loud instruments or when you need to really feel the beat. Flash mode uses the device’s camera flash to sync up the entire band easily. You can use airplay mode to beam the metronome to a projector or apple tV. the rhythm trainer can mute a selected bar in the beat, allowing your brain to fill in the gap and thus train your innate sense of timing. it’s a simple idea not found in any other app to date. the Pro version costs just $2.99, so surely this must be a no-brainer for guitarists with iwatches or the like! Visit apple’s app store for further details.

this suMMer, soMe of the world’s greatest guitarists will gather in the heart of london (Kings Place) between 23-26 July. You can take advantage of this unique chance to study for four days with these amazing greats of the guitar, hear them play, spend time with them and other guitar enthusiasts – a dream experience! international Guitar Foundation (iGF) courses include Flamenco with Juan Martín, classical with david russell and Xuefei Yang, contemporary acoustic with antonio Forcione and will Mcnicol, Jazz with nigel Price and dario cortese, and of course a full concert line-up! iGF also returns to shrewsbury school for europe’s number one guitar summer school, with an

exceptional line-up in a beautiful setting on 10-16 august. there are six courses covering all the stops and providing a host of genres to choose from. students have the chance to be fully residential and truly immersed in traditional summer school life; socialising, jamming, learning and most importantly, having fun with their guitars! courses include: Jazz with dario cortese, Blues with Gianluca corona, Funk with Jason sidwell, rock with tolis Zavaliaris, creative acoustic with chris woods and will Mcnicol, and classical with Gary ryan, allan neave and laura snowden, all topped up with masterclasses! Visit www.igf.org.uk and www. kingsplace.co.uk/iGFGs for further details and bookings.

Antonio Forcione: contemporary acoustic virtuoso

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PHIL HILBORNE’S ONE-MINUTE LICK FUNKY CHORDAL LICK ideal to use whenever you want to add some chordal flavour This month’s lick is a simple but useful idea in which the notes of the A Blues scale (A-C-D-Eb-E-G) have all been harmonised and depth to your lines. This particularly applies if you are using minor triads. This can also be seen as being harmonised the only harmony instrument in the band. The line here has harmonised every note of the A Blues scale, plus the passing as parallel major 6th chords. To explain: if, for instance, you note of G#. Pick, fingerstyle or hybrid will all work fine here. take the note of A – 5th fret, first string - you can see it has Imagine that you are recreating a brass section type line and been harmonised using the notes A-F#-C# the b3-1-5 of F# GUITAR TECHNIQUES MAGAZINE 2 4 4 ONE MINUTE LICK - by Phil Hilborne to make the chord hits as groovy as you can - paying minor, or the 1-6-3 of A6. It doesn’t really matter which way FUNKY CHORDALaim LICK close attention to all the muted notes and slides throughout. you view the theory – the fact is that it works great and is

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Mitch Dalton’s

The Studio Guitarist’s Guide To Happiness & Personal Fulfilment

EMILE HOLBA

In another instalment of his A-Z-style series our session hero explains that C is for Chords!

i haVe little doubt that many budding session whizz kids fantasise about ripping out the killer solo on a prestige studio date that future generations will discuss in awe and wonderment, whenever and wherever axemen huddle together in caves and pubs for comfort and warmth. “...and you know, they, like, just asked him to play something right at the end of the session, when everyone was packing up. there were, like, five minutes left and he did it first take with no repairs. amazing...” etc. well, most of the time it ain’t like that. You will be required to play a rhythm part. and that can be an art in itself. First off, you will need a thorough knowledge of chordal harmony. so that you can throw most of it out of the window. if the composer or arranger has written the chord ‘c’ for 16 bars, chances are that they mean precisely that. Possibly - just possibly - c7. But i wouldn’t bet on it. suggesting alternatives like c2, cmaj13 or c9-with-a-raisedeyebrow don’t usually go down well and waste time. i’m reminded of a line or two from the collected works of tufnell, the Bard of Metal. “harmony? nothing to it. when it says d13, just play d - 13 times.” or. “Jazz? what’s all that about? it’s just a lot of wrong notes, played too quiet.” of course, you might well be


asked to make the harmonies more interesting. in which case, the floor is yours. and don’t forget to ask for some more money while you’re about it. especially if you think that you’re turning into the composer. it’s a fine line... secondly, listen to your chums in the rhythm section. Find a part that sits well with bass and drums, which locks in - and stick to it. check out what the keyboard player is doing. and stop him. Because, nine times out of ten an

Listen to your chums in the rhythm section. Find a part that locks in with the bass and drums and stick to it. inexperienced player plays too much, too often and too soon. the studio is not an environment for road testing your chick corea or steve Vai licks. unless you’re steve Vai or chick corea, of course. in which case i apologise profusely. thanks for reading, by the way. i would suggest that this is the major difference between experienced studio players and those starting out. the grizzled and seasoned rhythm players listen. they keep it simple. they keep it consistent. they find a way to make the ensemble fit together

as a collective effort. and they do it all instinctively, having done it for years. of course, it could be that you arrive at a studio date to find an immaculately copied and superbly arranged bunch of charts which almost play themselves. all that is required of you is to implement the composer’s intentions. it does happen and did happen recently. appropriately, ‘c’ could also be for carter Burwell, movie composer extraordinaire and he of the ‘twilight’ franchise and many of the coen Brothers’ soundtracks, among others. last month i spent two happy days in abbey road studio 2 with the great man recording the cues for legend, the new film about the Kray brothers. a rhythm section consisting of dave hartley (piano), andy Pask (bass guitar), ian thomas (drums) and myself opened up our pads of music and merely played what was there to general satisfaction and approval. it wasn’t difficult to achieve. Joy. Mind you, it was not all a bed of roses. they made us watch the scenes for which we were providing the music. a man suspended from a ceiling while electrodes are placed on his genitalia. another man shot dead in the middle of a meeting in the most gratuitous and callous manner imaginable. numerous scenes of psychopathic behaviour, lovingly enacted.

Rockerverb III unveiled

Orange Amplification has announced the launch of the third generation of its Rockerverb Series guitar amplifiers. The latest incarnation is available in 50W and 100W head formats or as a 50W 2x12” combo. The new models are some of the most feature-laden amps the company has ever produced. The twin channel layout has been reworked, with a re-voiced non-master Clean Channel which now takes on a more ‘chimey’ nature. Combined with a richer and more usable valve driven spring reverb, the MKIII produces an abundance of classy, shimmering rhythm tones via a new two-band EQ. The Dirty channel now carries much more of a punch, while retaining all of the character that made the Rockerverb popular. From edgy British overdrive, to ferocious riffing tones and full-on soaring lead sounds – we’re told it’s all there! Orange Rockerverb MKIII models have more headroom but, in a first for the series, the latest version now features power scaling across the range. The 100W head can be tamed from full power to 70, 50 or 30W, while the 50W models can be switched down to half power. Visit www.orangeamps.com for further information about all Orange amps.

AmpliTube app for Android

Now guitar and bass players can jam on their Android devices with AmpliTube, IK Multimedia’s powerful multi-effects and amplifier app. It’s the first real-time guitar amp and effects processing app for Android phones and tablets. It lets users build virtual guitar and bass rigs by selecting from 21 included gear models that include five amplifiers, nine stompbox effects, five cabinets and two positionable microphones. AmpliTube UA’s flexible signal path lets players change the order of effects and amps, and even add effects after the amplifier in the signal chain to provide even more creative tonal options. Like all versions of AmpliTube, the base collection of gear can be expanded from within AmpliTube UA. There are currently 22 models available via in-app purchase. All are based on iconic pieces of gear from world-class official brands like Fender, Orange, Ampeg, Soldano and more. Plus there’s the artist’s series like Slash and Jimi Hendrix collections. Visit www.amplitube. com/ua and www.irigua.com for further information and prices.

. . . ith w s d n co e S 0 6

MARK WEISS

A minute’s all it takes to find out what makes a great guitarist (or two) tick. Before they jumped into their limos for the airport we grabbed a quick chat with Whitesnake’s twin-guitar assault Reb Beach and Joel Hoekstra GT: Do you have a type of pick that you can’t live without? RB: I use D’Addario 60mm Tortex picks. I don’t like a hard pick because I need a little give when I’m strumming and hitting chords, otherwise the pick pops right out of my hand. I find hard picks choppy to play with. JH: I’ve been using these Alice stainless steel picks for the last several years. I also use medium celluloids from Star Access Picks for clean and acoustic. The stainless steel picks give a great punch for high-gain playing. GT: If you had to give up all your pedals but three, what would they be? RB: Well, I only use three with Winger, because that’s what fits in my suitcase. If I checked in a pedal board, it would cost $300 roundtrip. So I have a Suhr Shiba Drive, Boss Tuner, TC Electronic Flashback delay. JH: I would hate to part with my original Whammy pedal, my Electro-Harmonix Micro-Synth and my Fulltone Fulldrive2. GT: Do you play other instruments well enough to be in a band? RB: I played keyboards in a Top 40 band in Fort Lauderdale, Florida for four years. I started playing keyboards when I was four years old. I wanted to be Elton John, but then I saw Kiss when I was 14 and it was all over. So, yes! JH: A long time ago I played bass in an oldies cover band, and with The Turtles for a couple of years as well, if you can believe that. GT: If a music chart were put in front of you, could you read it? RB: No. I would give it to Joel and have him teach it to me. JH: Yes, slowly. GT: Do guitar cables really make a difference? What make are yours? RB: Hell if I know. I use Mogami cables because everyone says to use Mogami cables. JH: I think they do. For me the best sounding cables are made by Monster Cables. GT: Your house/studio is burning down; which guitar do you salvage? RB: That’s easy. My original Pensa Suhr guitar.

Reb and Joel: dynamic duo!

JH: Probably my 57 Re-issue Goldtop. It’s been around the world with me. GT: What’s your favourite amp and how do you set it? RB: I have always used either a Marshall with a Suhr mod, or the Suhr Custom Audio Head. They sound similar. Treble on 6, middle on 4 or 5, bass on 10 and the gain up all the way up on the rhythm channel. JH: I’m digging the Friedman BE-100 right now and my trusty EVHIII as well. I like to mic with an SM57 on 25w Celestions. I set my bass and treble knobs lower than the mids. GT: What kind of action do you have on your guitars? RB: It’s super low, but you can bend up a 5th on the whammy and shake it. The wood in the back of the whammy is routed out which helps,

but no one can set up a Floyd like John Suhr. JH: I always go back and forth on this. Generally speaking higher action sounds better and is better for bending. But for legato and finger tapping, low action is best. GT: Who was your first influence to play the guitar? RB: Ace Frehley of Kiss. I actually thought he was from outer space. JH: Angus Young. No question. GT: What was the first guitar you really lusted after? RB: My dad bought me a Les Paul. It was a sunburst with black pickups. It was sitting on the couch and I walked in and said, “Wow, whose guitar is that?” My dad looked at me like an idiot, which happened a lot. I slept with it in bed next to me. Then

my girlfriend’s ex-boyfriend stole it and sold it for drugs. It would probably be worth around eight billion dollars today. JH: My first guitar was a red Electra/ Westone. As a kid I think it reminded me of Angus’s SG, so I had to have it. GT: What was your best ever gig? RB: We opened for Kiss on my birthday, August 31st 1990. I had the spotlight guy follow me when I ran out and slid on my knees to the edge of the stage, and it brought the house down. JH: Either my first show filling in for Mick Jones of Foreigner for 18,000 people, my first show/audition with Night Ranger on no rehearsal; or playing for a live audience of two million people in Berlin with Trans-Siberian Orchestra. GT: And your worst nightmare? RB: One time with the sliding out on my knees thing, I slid right into the audience. I never did it again. JH: As a kid, playing with my first band, we train-wrecked our opening song at a show. Terrible feeling. GT: What’s the most important musical lesson you ever learnt? RB: Some guy at a music store taught me the Chuck Berry lick with the third-string bend while barring the second and first strings. I’ve done it in almost every solo I do. JH: You get back what you put in. GT: Present company excepted, who’s the greatest guitarist that’s ever lived? RB: It’s gotta be Jimi Hendrix and Allan Holdsworth. JH: For me there is no such thing. There are so many players with different styles and approaches that I admire. GT: Is there a solo you really wish you had played? RB: Peter Frampton’s Do You Feel Like We Do. JH: David Gilmour has some beautifully constructed solos Comfortably Numb maybe. Whitesnake’s The Purple Album is released by Frontiers Music SRL on May 18. Whitesnake tour the UK with Def Leppard and Black Star Riders in December. Further info: www. whitesnake.com


That Was The Year... Doctors, Depths and Drama cOnSTrUcTIOn BEGInS on the Aswan High Dam in Egypt; Jacques Piccard and Don Walsh board the Bathyscaphe Trieste to descend into the Mariana Trench, the lowest area on Earth; Joseph Kittinger sets world records for high-altitude jump, free-fall; and fastest speed attained by a human being without assistance when he jumps from a balloon at an altitude of 102,800 feet. The CERN particle accelerator begins operations and Theodore Maiman successfully operates the first laser. FEnDEr InTrODUcES ThE SUpEr 30 watt combo loaded with a pair of Jensen 10-inch speakers. This all-valve design features four inputs (two normal and two vibrato) with nine controls on a sloped, brown-faced panel. The unit is finished in brown Tolex with a brown front grille. Dr MIchAEl WOODrUFF carries out the first successful kidney transplant in the UK; Dr. Marten’s AirWair 1460 boots are sold for the first time; Domino’s Pizza is founded; Cassius Clay wins his first professional boxing match; Fairy washing-up liquid and black plastic bin bags are introduced; Prince Andrew is born. hArMOny cOnTInUES ITS rUn OF rOy SMEcK models with the H57, a single-pickup version of their H58 guitar. This sunburst electric archtop features a thin (70mm) auditorium sized maple body with a solid spruce top, truss rod neck and a Gibson P13 pickup (two on the Blonde H58). Harmony bought all the remaining stock of P13s after Gibson introduced their P90 units and used them continuously until the stock ran out.

A legendary flanger revisited! althouGh a handFul of virtual flangers have been available for the past few years, many guitarists have missed the unique richness offered by classic hardware stompboxes such as the ehX electric Mistress. that could well be about to change, as Polish delevopers d16 have unveiled antresol, a new virtual flanger that accurately emulates the characteristics of the electric Mistress, and throws in a number of extra features. in addition to the standard parameter knobs found on the face of the original hardware unit, there is also a wide range of deeper parameters available to tweak, such as the on-PcB trimpots which would normally be inaccessible without

Residential workshops in Brittany

ElVIS prESlEy IS DISchArGED from the US Army and records Are You Lonesome Tonight; Édith Piaf releases Non, Je Ne Regret Rien; and Bo Diddley releases his third studio album, Have Guitar Will Travel, which features his famous rectangular bodied Gretsch guitar on the cover. ThE SpAcE rAcE hots up as America launches Transit I-b for navigation and the first weather satellite TIROS-1, while the Soviet Union launches Sputnik 5 with two dogs (Belka and Strelka) on board plus several mice and rats. All animals are recovered safely on its return to Earth the next day. Jodrell Bank Observatory achieves a new record when it contacts Pioneer 5 some 407,000 miles away! A nEW 13-pArT (!) DrAMA series called Coronation Street begins on ITV; Merryman wins the Grand National on the programme’s TV debut; Princess Margaret marries Antony ArmstrongJones at Westminster Abbey for the first televised royal wedding; television begins broadcasting in New Zealand; and the iconic photograph of Che Guevara is taken by Alberto Korda. GIBSOn EXpAnDS ITS lInE with the Melody Maker-D available as a single or doublecut in Golden Sunburst. The body and neck are mahogany with a small headstock and a rosewood fingerboard adorned with simple pearl dot inlays. It has a wrapover stop tailpiece, a large black scratchplate and a choice of one or two single-coil pickups. The single-pickup option positions the unit towards the bridge with an appropriately modified scratchplate.

14

taking the stomp box apart. some go beyond those you could find in conventional flangers: a fully Xxxxxx xxxxx xx(with xxxx xxx controllable lFo adjustable xxxxx xxxx xxxxx phase and rate sync to a host application’s tempo); the ability to de-link the stereo channels and control the most important parameters independently for left and right (or mid/side, depending on selected mode), Midi learn and other original features. antresol is available for Mac (os 10.7 or later, au, Vst or aaX host application) and Pc (windows 7 or later, Vst or aaX host). if you are a serious fan of classic flanger stomp boxes, you owe it to yourself to check this one out! Visit www.d16.pl or further details and demo downloads.

this suMMer, Guitar techniques and Guitarist contributor, tristan seume will host his annual guitar workshop in the beautiful French village of la Fontenelle. the course runs from 19-22 august and focuses on various acoustic styles such as folk and blues. tristan caters for varying abilities, but it is recommended that participants

have a good grasp of acoustic guitar basics to gain the maximum benefit from the experience. tristan has a wealth of experience as both a tutor and performer, having toured all over europe as a soloist and as guitarist for english folk star, Jackie oates. the course costs £250, which includes tuition, lunches and refreshments but spaces are limited to 8 participants, so please book early to avoid disappointment. Further details and logistics can be found at www.brittanymusicworkshops. eu and www.tristanseume.co.uk or you can email info@brittany musicworkshops.co.uk or call Brenda dean on 07999 884634.

HOT FOR TEACHER YOUR RGT TUTOR WhO: Zoe McCulloch TOWn: Bridgend, Glamorgan STylES: Electric, acoustic and bass guitar, rock and pop SpEcIAlITy: Instrumental rock guitar lEVElS: Beginners to intermediate, RGT grades if desired SIGhT-rEADInG: Yes chArGES: £25 per hour - £20 per 45 min - £15 per 30 min SpEcIAl: Fully equipped music room Tel: 01656 768539 Email: [email protected]

Play: THEORy

ON THE CD

Nail Your Intervals!

TRACKs 4-12

EYxoupr AnD BLuES!

Jon Bishop looks at an interesting way to break out of the boxes and free up your improvisation skills by using and understanding intervals.

Easy/Moderate Info

WIll IMprovE your

Key: G blues Tempo: 135 bpm CD: TRACKS 4-12

Blues phrasing Knowledge of intervals Fretboard navigation

For this lesson we aim to improve your soloing and improvising skills by introducing you to the concept of intervallic target tones. targeting particular intervals can lead to a more considered approach that is far more likely to outline the sound of the underlying chord. A popular approach is to start or end a phrase using target tones, but we can also stress a target tone on one of the strong beats within the phrase. to keep things as simple as possible, we will begin by using a 12-bar blues in G as a familiar canvas. of course all the concepts discussed will work in other musical settings once mastered. Before we get cracking let’s recap the name of the intervals from the chromatic scale. root, minor 2nd, major 2nd, minor 3rd,

TeChnique FoCus This fretboard diagram features six horizontal circled numbers that represent the six strings (low to high, left to right) and the vertical chord numbers are five frets anywhere on the fretboard. The numbers in the circles show the note intervals situated around a common six-string barre chord, sixth string root. For example, this could be viewed as the note intervals around the A major or A minor chord shapes played at the 5th fret. The first line of circled numbers (7, 3, 6, 9, #4/b5, 7) are those intervals found at the 4th fret, as related to an A barre chord. It’s a powerful visual source; wherever you place the R (root) on the fretboard (with the two R’s on the sixth and first strings at the 5th fret to make an A chord), all these intervals will then fall into place around them.

major 3rd perfect 4th, diminished 5th perfect 5th, minor 6th, major 6th, minor 7th, major 7th and octave. For the purposes of this feature we are going to focus on six of the more useful intervals for soloing over a dominant blues, which are... the root note (G) which acts as a home base and perfectly describes the tonality of the key, and is an extremely safe choice on which to start and finish phrases.

Some new soloing ideas are guaranteed for even the most seasoned lead guitarist. the major 2nd (A) is the second note of the major Pentatonic and is good for adding colour. it is also a good note from which to bend when targeting the 3rd. the major 3rd (B) is very descriptive of the tonality and is a potent note to target. the perfect 5th (D) is another safe choice and is good to start and end phrases on. The major 6th (E) is the final note of the

sixth-string-root interval roadmap

FRETS

ABILITY RATING

7

3

6

9

#4

b5

7

R

4

b

7

b

3

5

R

b2

#4

b5

7

3

#5

b9

2

5

R

11 13

9

b3

b6

b9

#4 b5

b3

STRInGS

b6

b7

Get the tone 4

6

7

8

4

Gain

Bass

Middle

TReBle

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Any electric guitar will work well for this month’s performances. Just dial up an ‘almost clean’ tone and be prepared to experiment with the guitar’s controls to achieve the desired results. All the pickup selections and effects used are notated alongside the relevant examples. A bit of reverb or slap-back delay can be added for that professional touch. I used my PRS Custom 22 plugged into a Fender Blues Deville amp. A little spring reverb or slap-back delay was added as and where appropriate. A clean boost was achieved by using an Ibanez Tube Screamer on a low gain setting. The ‘organ’ accompaniment was performed with a Leslie style fast chorus setting. See if you can emulate these sounds using your own gear.

major Pentatonic and is a nice colour tone. it also provides a good bending point when targeting the minor 7th. Finally the minor 7th is in both the Mixolydian mode and the minor Pentatonic scale and fits in with any underlying dominant 7th tonality. there are six 12-bar solos to study, complete with notation, and each example focuses on one of our intervals. obviously these solos are for study purposes and are often over the top in terms of targeting the same interval throughout. You probably wouldn’t choose to solo like this, but it is good practice to try and make a functioning solo work with such constraints. Finally, we have a two-chorus (24-bar) blues jam track that puts some of the ideas from the examples into a more realistic sounding solo. As ever there are backing tracks supplied for you to practice with, so have fun and see you next time.

TRACK RECORD In our quest for listening material that features blues orientated soloing, with considered note choices, try Robben Ford's superb Talk To Your Daughter (1988) and Scott Henderson's awesome Tore Down House (1997), Well To The Bone (2002) and Live! (2005). Larry Carlton’s Sapphire Blues showcases more great note targeting; here Larry plays simply, beautifully but accessibly.


NAIL YOUR INTERVALS!

Scott Henderson is a master at targeting great chord tones


Play: THEORy

ON THE CD

TRACKs 4-12

ExAmPLE 1: Root biased soloinG

CD TRACK 4

This first example is a good demonstration of using the root note (G, shown it is easy to hear the influence here. The high root note punctuation point in with a squared R above the tab) as a home base to start and finish phrases. bar 8 is a BB trademark and is most effective. This example was performed The root can also be targeted for use on the strong beats within a phrase. with a clean tone and a fingerstyle picking approach, but this part will GUITAR TECHNIQUES MAGAZINE 2 4 4 Great bluesman like BB King favour targeting the root note in their solosINTERVALS and sound just as effective if played with the pick, should you wish. NAIL YOUR - Jon Bishop GUITAR TECHNIQUES MAGAZINE 2 4 4

NAIL YOUR INTERVALS - Jon Bishop

Ex 1 ROOT GUITAR TECHNIQUES MAGAZINE 2 4 4

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Ex 1 ROOT GUITAR TECHNIQUES MAGAZINE 2 4 4 Swing feel Ex 1 ROOT Swing feel Ex 1 ROOT Swing feel

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



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6

8

6

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8

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8

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9

8

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8

10

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10

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j - Jon Bishop NAIL YOUR INTERVALS

œ œ œR œR R 8

14

6


G7

Œ Œ Œ Œ

œ œ œ œ 9 9

3

6

3

6

3

6

R

5

R

5 5

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3 3

6

3

6

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8

9

3

5

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C9

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3

4

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4

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œ œ œ œ 3 3 3 3

‰ ‰ ‰ ‰

NAIL YOUR INTERVALS! ExAmPLE 2: taRGetinG the 2nd and 9th

CD TRACK 5

This second example targets the major 2nd (A, shown as a squared 2) and uses a repeating phrase to add continuity to the solo. Old-school bluesmen 2 xxxxxxxxxx like T-Bone Walker often included the 2nd or 9th in their soloing. The major 2 xxxxxxxxxx 2nd is also the second note of the major Pentatonic so we can utilise this 2 xxxxxxxxxx Ex 2 SECOND 2 xxxxxxxxxx Ex 2 SECOND Swing feel Ex 2 SECOND Swing feel Count in Ex 2 SECONDSwing feel Count in

E B G E D B E A G B E D G1 A E D E B 1 A G E D1 A E 1

E B G E D B E A G B E D 4 G A E D E B 4 A G E D4 A E 4

E B G E D B E A G B E D G7 A E D E B A 7 G E D7 A E 7

©»¡£∞ ©»¡£∞ #4 ∑ ©»¡£∞ & # 44 Count ∑ in # Bridge & ©»¡£∞ 44 Swing feel Pickup with light ∑ overdrive Count in & # With 4Bridge Fingers Pickup with light overdrive 4 ∑ & With 4 Fingers Bridge Pickup with light overdrive

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nœ nœ nœ nœ

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E B G E D B E A G B E D G 10 A E D E B 10 A G E D 10 A E 10

6

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3

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6

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25

3

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3

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sound with relative ease in a blues context. This kind of idea is simple to play, but most effective. The lick in bar 9 is a classic way to include the 9th in a phrase and this type of idea can be recycled to work with other intervals. Other players who target thse notes include Peter Green and Chris Rea.

14 1/4

œ Jœ Jœ J2œ 2 J 5 2 5 2

Ó Ó Ó Ó

3


Play: THEORy

ON THE CD

TRACKs 4-12

ExAmPLE 3: taRGetinG the 3Rd

CD TRACK 6

This third example targets the 3rd and uses the whammy bar to augment the phrases in a Jeff Beck style fashion. When playing over chord I (G7) the major 3rd (B) can be used to help state the major tonality. When playing 3 over chord IV (C7) 3 the minor 3rd can be used, (Bb) as the Bb functions as

the minor 7th of C7. This switching between the major and minor 3rd in the blues is a classic trick and is great for helping the phrases to fit the chords. Plucking all the notes with the thumb provides a fat tone and the whammy bar adds an expressive quality to the notes.

3

3 Ex 3 3 Ex 3

THIRD

Ex 3

THIRD

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12 11

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NAIL YOUR INTERVALS! ExAmPLE 4: taRGetinG the 5th

CD TRACK 7

Example four targets the fifth (D) and is in the style of players like Albert King and Eric Clapton. The 5th is a very safe note and fits in with all three chords (as it’s also the 2nd/9th of the IV chord - C - and the root of the V 4 xxxxxxxxxx

chord - D). Take a look at how many times we use the D in this solo, and the different feel it gives against the three chords. The idea in bar 10 is reminiscent of early EC and works well when setting up the turnaround.

4 xxxxxxxxxx 4 xxxxxxxxxx Ex 4 FIFTH 4 xxxxxxxxxx Ex 4 FIFTH

4 xxxxxxxxxx G7

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11


3

Play: THEORy

ON THE CD

TRACKs 4-12

ExAmPLE 5: taRGetinG the 6th

CD TRACK 8

The major 6th (E) adds a sophisticated edge to the sound and players like Larry Carlton and Robben Ford are fond of including it. This solo 5 5 demonstrates how the major 6th can be included in few different ways. The

opening idea uses the 6th to both start and end the phrase. In bar six, the E note is used as a pedal tone against which other notes are played. In bar 10 the 6th is used as a bending point.

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SIXTH

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NAIL YOUR INTERVALS! ExAmPLE 6: taRGetinG the flat 7th

CD TRACK 9

The minor 7th (or b7th - F) sounds great and adds a cool tension. Admittedly in a ‘real’ solo we probably wouldn’t use it quite this much, but it’s fun to 6 xxxxxxxxxx try; this over-playing is helpful in the interests of demonstration, too. Some 6 xxxxxxxxxx classic ways to use the minor 7th are illustrated here. Bending from the 6 xxxxxxxxxx Ex 6 SEVENTH 6 xxxxxxxxxx Ex 6 SEVENTH Swing Feel

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major 6th (E) to the minor 7th (bars 1 and 3) sounds great and is a favourite of players like Robben Ford. Bending from the minor 7th to the root (bar 5) is another well-used concept and players like Gary moore and Jimi Hendrix used this many times to great effect.

14 14 14

' ' '

14

3 3 3 3

1/4

5

~~~

~~~


Play: THEORy

ON THE CD

TRACKs 4-12

final Jam

CD TRACK 11

This final jam features phrases that target all of our intervals and it’s worth studying this to see how it functions. The solo is in the style of bluesmen like Stevie Ray Vaughan and a neck pickup selection will provide a good ballpark tone. The backing track is included and once you have digested the ideas GUITAR TECHNIQUES MAGAZINE 2 4 4


GUITAR TECHNIQUES MAGAZINE 2 4 4


JAM TECHNIQUES MAGAZINE 2 4 4 GUITAR

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Play: ROCK

ON THE CD

TRACKs 13-15

Muse New Born

Featuring manic fuzz-tone riffing, a whammy pedal solo and speedy strumming, this classic Muse track is a test of your technique and stamina. Jon Bishop transcribes.

ABILITY RATING

Moderate/Difficult Info

WIll IMprove your

Key: E Minor Tempo: Various CD: TRACKS 13-15

Arpeggio playing Fast alternate picking 16th-note strumming

New BorN was released as a single in 2001 and taken from Muse’s multi-platinum selling second album, origin of symmetry. The track is a rock extravaganza and, as usual with this great band, features some fun parts including an ear-grabbing whammy pedal solo.

TeChnique FoCus

drop d tuning

Matt Bellamy originally performed the guitar parts for New Born using drop D tuning. The low D (sixth string down a tone from E) adds depth and power to the sound, and it also makes playing power chords easier as they can be voiced on a one-finger barre. To get into this tuning simply drop the sixth string down a tone to D. The notes on each of the six strings will now be (D-A-D-G-B-E). This retuning can be done with a chromatic tuner, but it is also good practice to tune the string by ear using the open fourth string as a reference. If your guitar has a floating vibrato unit the whole guitar will go out of tune due to the reduction in string tension. To remedy this issue simply tune all six strings a couple of times with a tuner until the tuning settles down. The drop D tuning has become popular among heavy rock outfits, and is also a common, key component of the riffs of bands like Rage Against The Machine, Soundgarden and King’s X.

GUITAR TECHNIQUES 2 4 4

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To recreate the guitar sounds on the original recording several effects are required including a heavy fuzz pedal and a Digitech Whammy pedal. The piano arpeggios at the start were not originally performed on guitar, but we included them as extra study should you wish to perform the song without a keyboard player. For these arpeggios, a little bit of tremolo and the whammy pedal up the octave will help them to sound more keyboard- like. To get the sound with your set-up, simply select your bridge pickup and set your amp for a heavy, rock orientated overdrive. A fuzz pedal is a welcome addition if you have one, and will sound more industrial. The Whammy pedal is a most excellent device and players as diverse as Tom Morello, Steve Vai and indeed Matt Bellamy have made some very memorable statements with it. Set your whammy pedal or pitch shifter for a ‘one octave up’ setting, and you’re good to go.

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Symmetry (2001). The song went onto become their biggest hit, spending a massive eight weeks at the top of the US Billboard charts. As a band Muse have continued to evolve, so we’d recommend you check out all their albums, especially the new release - Drones.

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Hi-hat count in

26 GuitarTechniques June 2015 49

the pull back to e minor, the B minor chord is changed to a B major. This gives a strong sounding, perfect cadence from B major (V chord) to e minor (I chord). The only other non-diatonic chord is the Bb diminished 7th, which again is ear-grabbing, and an unusual and subtle addition for a heavy rock song. The main riff is performed using drop D tuning, which adds extra depth to the sound and makes the power chord part easier to play (see Technique Focus). The power chords in the riff are linked together with chromatic passages and this gives the riff its particularly striking and typically Muse-like character. From a tempo point of view the song is quite fast and just keeps getting faster. The opening piano section is at 146bpm and this transitions into the guitar riff, which moves up a gear to 153bpm. To up the excitement even more, the tempo moves up to 156bpm for the final section of riffs.

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Chris Wolstenholme, Muse

Get the tone

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(√) œ # œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ .. & B

I think New Born is one of our favorite tracks off Origin Of Symmetry. It is a great live track

The 153bpm tempo makes the 16th-note (semiquaver) strumming pattern in the verse quite a challenge to play consistently, and this is a good test of your stamina. a good tip is to keep the strumming hand going, even in the gaps between striking the strings. In addition to our usual audio version of the whole song, you’ll find a backing track with all the transcribed guitar parts removed so you can play along until the ‘muse’ takes you. and as it’s such a great number we thought real bass and drums were a must. so many thanks to Pete riley for recording and performing the drums and to Pat Hughes for providing the bass. Have fun!

TRACK RECORD New Born was released as a single, and was taken from Muse’s second, multi-platinum-selling studio album, Origin Of

Jon Bishop - MUSE - NEW BORN Bridge pickup with whammy pedal one octave up

INTRO

©»¡¢§ # & 44 E B G D A D

as an additional treat we have included an arrangement of the introduction that you can have a go at on guitar. The introduction was originally recorded on electric piano, but playing these arpeggios on guitar works well and provides a nice alternate-picking study. The song is in the key of e Minor and uses chords from the harmonised e Natural minor scale (e F# G a B C D). If we harmonise e Natural minor we get the following chords: em-F#dim-G-am-Bm-C-D. To strengthen

ToM CaTChesides / ReTna / PhoToshoT

MUSE: NEW BORN

Matt Bellamy plays one of his custom Manson guitars in Muse


Play: ROCK

ON THE CD

TRACKs 13-15

PLAYInG tIPS

CD TRACK 14

[intro and Verses 1, 2, 3, 4: Bars 1 to 52] The opening section features a mix and sounds more keyboard-like with the Whammy pedal on for the GT repeated eight-bar figure consisting of arpeggios played on the electric version, but this is not essential. The alternate picking technique will ensure GUITAR TECHNIQUES 2 4 4 piano. For extra study we have tabbed the good timing-and an even dynamic. The riff tails off in bar 49 and you may GUITAR TECHNIQUES 2 4 GUITAR TECHNIQUES 24 4this 4 for guitar so you can play Jon Bishop -- MUSE NEW BORN Jon Bishop -- to NEW Jon Bishopneed - MUSE MUSE NEW BORN intro if your band has no keyboard player. The guitar part sits nicely in the to listen this aBORN couple of times to get the timing just right. INTRO INTRO INTRO INTRO

©»¡¢§ ## ©»¡¢§ 44 & & 44

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new Born Music & Lyrics by Matthew Bellamy © 2001 Hewrate Limited. Warner/Chappell Music Publishing Limited. UK/EU reproduced by kind permission of Faber Music Limited. US/CAN reproduced by kind permission of Hal Leonard Corporation. All Rights Reserved. International Copyright Secured.

MUSE: NEW BORN

PLAYInG tIPS

CD TRACK 14

[Guitar Riff: Bar 53 to 80] It’s time to rock! The backing track has four hi-hat

best if strummed hard and near the bridge. [Verse 1 and 2: Bars 81-96] The verse section features some fast semiquaver strumming. This is a true test of your stamina and you may have to build up to this over a few days of considered practice.

to bring you in. Play this riff slowly a few times to work out the best 2hits Title Title The whole riff is performed on the two lowest strings, therefore 22fingering. Title 2 Title

some position shifting is required. The four chord strums from bar 65 sound 1:23 1:23 1:23 1:23 1:23

GUITAR RIFF

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« « « « « « June 2015 GuitarTechniques 29

Play: ROCK

ON THE CD

TRACKs 13-15

PLAYInG tIPS

CD TRACK 14

[Verse 3 and 4: Bars 97–112] The verse pattern is augmented with two E5 power chord stabs at the start of the bar. Hit these hard and then them fall away3with a casual downward slide. 3 1: Bars 113–128] The chorus features two guitar parts that are [Chorus 3 layered to create one big sound. We have notated the power chord part first Em Em Em

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and then the octave part second so you know how to play both. [Bridge 2: Bars 129–132] The bridge takes us into the solo with muted strumming and harmonics. By lightly touching the string at the fret indicated, the harmonics will rise in pitch for an exciting crescendo. You will need to be precise to get the harmonics to sound fully, so experiment.

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new Born, Muse Available in: Origin Of symmetry Guitar Tab £16.99 0571535917 Muse Guitar songbook Guitar Tab £18.99 057153774X For this and all your guitar music online visit www.fabermusicstore.com

MUSE: NEW BORN

PLAYInG tIPS

CD TRACK 14

[Guitar solo: Bars 133–148] The guitar solo features the Whammy pedal

start slowly and then work up to tempo. The Whammy pedal is used for some theatrical swoops into notes and this has been notated. You can use some free license here as Matt Bellamy rarely plays this solo the same twice and even includes some picking-hand tapping in the live version!

4 and Titlesounds very effective. You may find playing 16th-note (semi-quaver) 4 Title 44arpeggios Title Title at this tempo quite challenging and a stern test of stamina. The

trick here is to not tense up, as this will cause premature fatigue. As ever,

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E E BE E B G B B G D G G D AD D A D A A D 121 D D 121 121 121


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X X X X X X X X X X X X X X X X X X XX XX XX XX XX XX XX XX XX

Random Harmonics Lightly touch above fret fret 2.6 2.6 Random Harmonics Lightly touch above Lightly Lightly touch touch above above fret fret 2.6 2.6

Random Harmonics Lightly touch above fret fret 2.3 2.3 Random Harmonics Lightly touch above Lightly Lightly touch touch above above fret fret 2.3 2.3

X X X X X X X X X X X X X X X X X X XX XX XX XX XX XX XX XX XX

X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX

GUITAR SOLO SOLO GUITAR GUITAR GUITAR SOLO Em m SOLO E EEm m


B bbdim7 dim7 B B Bbbdim7 dim7

BRIDGE 2 2 BRIDGE

3:23 3:23 3:23 3:23

3:29 3:29 3:29 3:29

0 0 10 0 1 01 1 0 20 0 2 32 2 3 33

CHORUS 2 2 CHORUS CHORUS 22 CHORUS E5 5 E EE55

## & & 3:10 3:10 3:10 3:10

C C C C

B B B √œ œ œ B √ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ # œ œ œ œ œœ œœ œœ œœ #œ œ œ œ œ œœ

Bridge pickup pickup with with Fuzz Fuzz and and Bridge Whammy Pedal upFuzz one octave octave Bridge with and Bridge pickup pickup with Fuzz and Whammy Pedal up one Whammy Whammy Pedal Pedal up up one one octave octave 7 7 7 7 7 7 7 7 8 8 8 8 8 8 8 8 8 8 8 8 8 8 77 77 77 77 8 9 9 9 9 9 9 9 8 88 88 88 88 9 88 88 88 88 99 99 99 99 etc ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ etc etc etc

7 7 77

7 7 7 7 7 7 7 7 7 7 7 77 77 77 7 7 7 77 77 77 77

7 7 7 7 7 7 7 8 8 8 8 8 7 8 8 77 77 77 77 8 88 88 88 88

« « « « June 2015 GuitarTechniques 31

Play: ROCK

ON THE CD

TRACKs 13-15

PLAYInG tIPS

CD TRACK 14

5 5 and 6: Bars 149–164] This section features a filtered part that [Verse 5 5 sounds 5 like a keyboard or even Keytar. But for good measure we have Em (EE√mm))œœ œœ œœ œ œ œ œ ## (√)œ œ œ œ œ œ œ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œœ & # œœ & œ œ & Em

7 7 7 7

E E E B B B G E G G D B D D AG A A D D D DA137 137 137 D 137

C C C C

œœ œœ œœ œ œ œ œ œœ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœœœ œ

B B ((√ ))B √ œœœœœœœœ ## (√ ## œœ) œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ & # #œ œ œ œ œ œ œ œ & & B

8 8 8 8

8 8 8 8

8 8 8 8

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 8 8 8 7 7 7 7 8

G G G G

œœ œœ œœ œ œ œ œ ~~~ œœ œ œ œ œœ œœ œœ œœ ˙˙~~~ ˙~~~ œ

œœ œ

8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 9 9 9 9 8 8 8 8 8 8 8 8 9 9 9 9 8 8 8 8 9 9 9 9 9 9 9 9

7 7 7 7 7 7 7 7 7 8 8 8 8 8 8 8 8 9 9 7 7 7 8 8 8 8 9 9 9 9 9 9 9 9 8 8 8 8 9 9 9 9 9 9 9 9 9 9

E E E B B B G E G G DB D D A G A A D D D DA140 140 140 D 140

notated it for guitar. You could try this playing it with a wah-wah pedal and some delay to help disguise the obvious sound of the guitar.

~~~ ~~~ ~~~

7 7 7 7 7 7 7 7 7 7 7 7 8 8 8 8 8 8 8 8 7 7 7 7 7 8 8 8 8 7 8 8 8 8 7 7

9 9 9 9

E m E Em m Em

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

B B B B

œœ œœ œœ œ œ œ œ œœœœ œœ œ œ œ œœ œœ œœ œœ## œœ œœ œœ œœ œœ œœ œœ œœ #œ œ œ œ œ

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 8 8 8 8 8 7 7 7 7 7 7 8 8 8 8 8 8 8 8 8 8 8 8 8 7 7 7 7 7 7 7 8 8 7 7 7 7 7 7 7 9 9 9 7 7 7 78 8 8 8 9 7 7 7 77 7 7 7 8 9 9 9 9 8 8 8 8 8 8 8 8 8 8 89 9 9 9 8 8 8 8 7 7 7 7 8 8 8 8 7 7 7 7 9 9 9 9 8 8 8 8

E B E Em m B Em m ((√ B œ œ œ E mœ œ œ √√#)) E m œœ œœ œœ œ œ œ œ œ œ œ œ ( # ) œ œ œ œ œ œ œ œ œœ œœ œœ œœ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ ## œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œœœœœœ œ œœœœ œ & œœ 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 œœœœ œœ & œ œ Em

B

7 7 7 7 7 7 7 7 7 7 7 7 8 8 8 8 8 8 8 8 7 7 7 78 8 8 8 9 9 9 9 9 9 9 9 8 8 8 89 9 9 9 9 9 9 9

E E E B B B G E G G D B D D A G A A D D D DA143 143 143 D 143

8 8 8 8

8 8 8 8 8 8 8 8 8 8 8 8

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

Em

7 7 7 8 8 8 8 8 8 8 8 7 8 8 8 8 8 8 8 8

7 7 7 7

7 7 7 7

7 7 7 7

7 7 7 7

7 7 7 7 7 7 7 7 7 7 7 7 8 8 8 8 8 8 7 7 7 78 8 8 8 8 8

C G (√)) CC œ œœ œœ œ œ œ œ œœ œœ œœ œ GG œœ œœ œœ œ œ œ œ ~~~ ## ) œ œ œ œ œ œ œ œ œœ œœ œœ œœ œ œ œ œ (√ œ ~~~ œ œ œ œ œœ œœ œ œœ ˙˙˙~~~ œ œ œ œ œ œ œ œ & # œœ œ & ~~~ ~~~ 7 8 8 8 8 8 8 8 8 7 7 7 7 8 8 7 7 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 7 7 7 7 7 8 8 8 8 ~~~ 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 9 9 9 9 7 7 7 7 7 8 8 8 8 8 8 8 8 C

E E E B B B G E G G D B D D A G A A D D D DA146 146 146 D 146

G

8

VERSE VERSE 5 5& &6 6 VERSE 5 & 6 Em m E VERSE Em 5 & 6 3:55 Em

8

8

9 9 9 9 8 9 9 9 9 9 9 9 9

8

8

8

7 8 7 7

8 8 8 9 9 9 9 9 9 9 9 9 9 9 9 89 9 9 9 9 9 9 9 9 9 9 99 9 9 9 9 9 9 9

B B B B

~~~~~ ## ww~~~~~ # w~~~~~

~~~~~ ~~~~~ ~~~~~ 8 8 8 8

œœ œœ BBBB œœ œœ EEEEmmmm œœ œœ BBBB œœ œœ .. œœœ ‰‰ œœ œœœ œœ ‰‰ œœœ œœœ ## œœ ‰‰ œœ œœœ œœ ‰‰ œœ œœœ œœ ‰‰ œœœ œœœ œœœ ‰‰ œœœ œœœ ## œœ ‰‰ œœ œœœ œœ ‰‰ œœ œœœ #œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ .. ‰ ‰ ‰ ‰ Neck pickup with Step Filter Neck pickup with Step Filter F Neckfingers pickupor with Step Filter With use pick as directed F With fingers orwith useStep pick Filter directed With fingers use pick Neck pickupor F With fingers777or use pickasasasdirected 7 7 7 7 7 7 7 directed 7 7 7 7 7 7 7 7 7 7 7 7 7 7 8 8 7 7 8 8 7 7 .. 99 8 8 7 7 8 8 7 7 87 9 87 77 8 77 87 9 87 77 8 7 9 9 8 8 8 9 9 9 8 8 8 9 9 9 8 8 8 8 9 9 9 9 8 8 8 8 7 9 9 9 9 8 8 8 8 9 9 9 9 8 8 8 8 8 8 7 7 8 8 7 7 .. 9 9 9 9 8 8 8 8 9 9 9 9 8 8 8 8 .p p m p ii m etc p m p m iii iii Fingers only :: p p p m p i m etc etc Fingers m m Fingers only only : m m mi mi p p m p i m etc Pick only :: ≥ ≥ ≥ ≤ ≥ ≤ Fingers only : Pick only m ≥ m Pick only : ≥ ≥ ≥ ≤ ≤ Pick only : ≥ ≥ ≤ 32 GuitarTechniques June 2015≥ ≤ ≥ 3:55 3:55 3:55

## & # & &

E E E B B B G E G G D B D D A G A A D D D 157 DA149 149 149 157 157 D 149 157

MUSE: NEW BORN PLAYInG tIPS

CD TRACK 14

Title 66 Title [Verse 7 and 8: Bars 165-180] This section is a repeat of verse 3 and 4. 6 Title [Chorus 3 and 4: Bars 181-198] This section is a repeat of Chorus 1 and 2. 6 Title

## && ## & & EE BB E GG EB DB D G AA GD DD DA 153 153161 161 AD D 153 161 153 161

œœœœ œœœœ GG œœœœ œœœœ CCC œœœœ œœœœ BBB œ œ G œ œ œœ ‰‰ œœ œœœ œœ ‰‰ œœ œœœ œœ ‰‰ œœ œœ œœ ‰‰ œœ œœ œœ ‰‰ œœ œœœ œœ ‰‰ œœ œœœ ##œœ ‰‰ œœ œœœœœœ œœ ‰‰ œœ œœœœœœ . . œœ ‰‰ œœ œ œœ ‰‰ œœ œ œœ ‰‰ œœ œ œœ ‰‰ œœ œ œœ ‰‰ œœ œ œœ ‰‰ œœ œ ##œœ ‰‰ œœ œ œœ ‰‰ œœ œ . .... .

EEmm Em Em

CC

77 88 99 77 8 99 9 8 9 9 9

99 9 9

77 88 99 77 8 9 8 9

GG

88 88 99 88 8 99 9 8 9 9 9

99 9 9

VERSE VERSE77&&88 VERSE EE557 & 8 VERSE 7 & 8 E5 4:19 E5 4:19

jj EEœœmEœœmm ¿¿¿¿ ¿¿¿¿ œœœœ ¿¿¿¿ ¿¿¿¿ ## œœ œœ j Eœœmœ ¿¿¿ ¿¿¿ œœœ ¿¿¿ ¿¿¿ && ## .. .... œœœœœœ œœœœœœj ‰‰‰ œœœœœ ⋲⋲⋲ ¿¿¿¿¿ ¿¿¿¿¿ œœœœœ ⋲⋲⋲ ¿¿¿¿¿ ¿¿¿¿¿ & .. œœœ œœœ ‰ ⋲ ⋲ & >>œœœ >>œœœ Bridge Bridge Pickup withLively LivelyClean Clean >> Pickup >> with Bridge Pickup with7Lively Clean 7 X XX XX X XX 77 Pickup with 8 Lively Clean 87 XXX XXX 887 XXX XXX . .Bridge 99 99 9798 9798 XX X X X . .. 97979 97979 89 XXX XXXX 89 XXXXXX XXXXXX . . 99979979 99979979 9 X X 9 X X 4:19 4:19

EE BB E GG EB DD BG AA GD DD DA 165 165173 173 AD D 165 173 165 173

9

## && ## & & EE BB E GG EB DD BG AA GD DD DA 169 169177 177 AD D 169 177 169 177

œœœœ œœœœœœ œœœœ 99 999 7979 9997 79 9

99 999 7979 9997 79 9

EEmm

77 887 9798 89 9

XX XX 77 XXXXXX887 XX XXXX XX9798 XX XX 89 X X 9

## ##œœœœœœœ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ œœœœœœœ && ## ##œœœœœ ⋲⋲⋲ ¿¿¿¿¿ ¿¿¿¿¿ œœœœœ ⋲⋲⋲ & ⋲ ⋲ & 11 BB 1 1 B B

EE BB E GG EB DD BG AA GD DD DA 172 172 AD D 172 172

77 777 8787 78 8

XX XXX XX XX XX X

CHORUS CHORUS33 EE55 CHORUS 3 CHORUS 4:44 E5 3 4:44 E5

EE BB E GG EB DD BG AA GD DD DA 181 181 AD

D 181 181

77 88 77 77 8 7 8 7

77 77 88 77 7 88 8 7 8 8 8

88 8 8

œœ ¿¿ ¿¿ œœ ¿¿ ¿¿ œœ ¿¿ ¿¿ œœ ¿¿ ¿¿ ##œœœœœœœ⋲⋲ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿œœœœœœœ⋲⋲ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿œœœœœœœ⋲⋲ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿œœœœœœœ⋲⋲ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ##œœœ ⋲⋲ ¿¿¿ ¿¿¿ œœœ ⋲⋲ ¿¿¿ ¿¿¿ œœœ ⋲⋲ ¿¿¿ ¿¿¿ œœœ ⋲⋲ ¿¿¿ ¿¿¿ BB B B

77 777 8787 78 8

XX XX 77 XXXXXX777 XXXX XX8787 XX XX XX 78 X X 8



XX XXX XX XX XX X

77 777 8787 78 8

œœœœ ¿¿¿¿ ¿¿¿¿ œœœœ ¿¿¿¿ ¿¿¿¿ œœœœ ¿¿¿¿ ¿¿¿¿ œœœœ ¿¿¿¿ ¿¿¿¿ œœœœœ⋲⋲ ¿¿¿¿¿¿¿¿¿¿œœœœœ⋲⋲ ¿¿¿¿¿¿¿¿¿¿œœœœœ⋲⋲ ¿¿¿¿¿¿¿¿¿¿œœœœœ⋲⋲ ¿¿¿¿¿¿¿¿¿¿ œœœ ⋲ ¿¿¿ ¿¿¿ œœœ ⋲ ¿¿¿ ¿¿¿ œœœ ⋲ ¿¿¿ ¿¿¿ œœœ ⋲ ¿¿¿ ¿¿¿ ⋲ ⋲ ⋲ ⋲

GG G G

88 888 9898 89 9

77 887 7778 87 7

CC C C

XX XX XXXXXX XX XXXX XX XX XX X X




¿¿¿¿ ¿¿¿¿¿ ¿¿¿

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œœœœ ¿¿¿¿ ¿¿¿¿ œœœœ ¿¿¿¿ œœœœœ ⋲⋲ ¿¿¿¿¿ ¿¿¿¿¿ œœœœœ ⋲⋲ ¿¿¿¿¿ œœœ ⋲ ¿¿¿ ¿¿¿ œœœ ⋲ ¿¿¿ ⋲ ⋲

¿¿¿¿ ¿¿¿¿¿ ¿¿¿

XX XXX XX XX XX X

XX XXX XX XX XX X

77 777 8787 78 8

XX XXX XX XX XX X

XX XXX XX XX XX X

XX XXX XX XX XX X

77 777 8787 78 8

XX XXX XX XX XX X


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

22BB 2 2 B B

¿¿¿¿ ¿¿¿¿¿ ¿¿¿

77 77 88 77 7 8 7 8

.. ... ..

« « « «

XX XX XXXXXX XXXX XX XX XX XX X X

« « « «

œœœœ ¿¿¿¿ ¿¿¿¿ œœœœ ¿¿¿¿ ¿¿¿¿ œœœœ ¿¿¿¿ ¿¿¿¿ œœœœ ¿¿¿¿ ¿¿¿¿ œœœœœ⋲⋲ ¿¿¿¿¿ ¿¿¿¿¿œœœœœ⋲⋲ ¿¿¿¿¿¿ ¿¿¿¿¿¿œœœœœ⋲⋲ ¿¿¿¿¿¿ ¿¿¿¿¿¿œœœœœ⋲⋲ ¿¿¿¿¿¿¿¿¿¿¿¿ œœœ ⋲ ¿¿¿ ¿¿¿ œœœ ⋲ ¿¿ ¿¿ œœœ ⋲ ¿¿ ¿¿ œœœ ⋲ ¿¿ ¿¿ ⋲ ⋲ ⋲ ⋲

¿¿¿¿ ¿¿¿¿¿ ¿¿¿

XX XX 77 XXX XXX887 XX XX XX XX7778 XX XX 87 X X 7

¿¿¿¿ ¿¿¿¿¿ ¿¿¿

¿¿¿¿ ¿¿¿¿¿ ¿¿¿


¿¿¿¿ ¿¿¿¿¿ ¿¿¿

¿¿¿¿ ¿¿¿¿¿ ¿¿¿

Bridge BridgePickup Pickupwith withHeavy HeavyFuzz Fuzz Bridge Pickup with Heavy Fuzz Bridge X XX with XXHeavy XX Fuzz XX X XXPickup XXX XXX XXX XXX XXX XXX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX X X X X X X



¿¿¿¿ ¿¿¿¿¿ ¿¿¿

¿¿¿¿ ¿¿¿¿¿ ¿¿¿

¿¿¿¿ ¿¿¿¿¿ ¿¿¿

XX XXX XX XX XX X

XX XXX XX XX XX X

XX XXX XX XX XX X

180 180

4:44 4:44

## && ## & &

77 88 77 77 8 77 7 8 7 7 7

77 7 7

9

jj œE m ¿ ¿ œ ¿ ¿ œœœœjj‰‰ Eœœœœœœmœœ⋲⋲ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿œœœœœœœœ⋲⋲ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ œœœœœœ ‰‰ œœœ ⋲⋲ ¿¿¿ ¿¿¿ œœœ ⋲⋲ ¿¿¿ ¿¿¿ œœœœ

EE55 E5 E5

88 88 99 88 8 9 8 9

BB

œœœœ œœœœ œœœœ œœœœœ œœœœœ œœœœœ œœ œœ œœ 22 222 2222 22 2

22 222 2222 22 2

22 222 2222 22 2

jjœœœœœ.. ... œœœœjj œœœ.. . œœœœœ œœ 00 000 0 22 0 222 0 2222 22 2

A5 A5 A5 A5

œœœœ œœœœ œœœœ œœœœœ œœœœœ œœœœœ œœ œœ œœ

jj œœœœjjœœœœ.. .. œœœœœ œœœœœ. ..... œœ œœ.

22 222 0202 20 0

22 222 0202 20 0

22 222 0202 20 0

22 222 0202 20 0

22 222 0202 20 0


jj œœœœjjœœœœ.. ... œœœœœ œœœœœ. .. . œœ œœ. .

77 777 5757 75 5

77 777 5757 75 5

D5 D5 D5 D5

77 777 5757 75 5

77 777 5757 75 5

77 777 5757 75 5

180 180

GG55 G5 G5


jj œœœœjjœœœœ.. ... œœœœœ œœœœœ. .. . œœ œœ. .

55 555 5555 55 5

55 555 5555 55 5

55 555 5555 55 5

55 555 5555 55 5

55 555 5555 55 5

CC C C

œœœœ œœœœ œœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœ œœœœœ œœœœœ œœœ œœœ œœœ 00 110 0001 2120 3032 23 3

00 110 0001 2120 3032 23 3

00 110 0001 2120 3032 23 3

œœœœ œœœœ œœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœ œœœœœ œœœœœ œœœ œœœ œœœ 00 110 0001 2120 3032 23 3

00 110 0001 2120 3032 23 3

00 110 0001 2120 3032 23 3


Play: ROCK

ON THE CD

TRACKs 13-15

PLAYInG tIPS ...CONTINUED

CD TRACK 14

[Riff: Bars 197 to end] The tempo increases to 156bpm for the big finish. The riff is the one we played in bar 61. Bar 211 features a kill switch. If you 7 don’t have one you can get a similar effect with fretting hand muting and

re-strumming the chords. Bars 217 and 218 feature Hendrix style string bends. Strum the final chord and carefully bend the neck forward to ‘dip’ the chord: if you have a whammy bar lightly push down on it for a similar effect.

7 7

B bdim7 Bbbdim7 B dim7

# & ## ∫∫ bbb œœœœ œœœœ œœœœ & ∫ b œœ œœ œœ & bb œ œ œ

œ œœœ œœœ

œ œœœ œœœ

œ œœœ œœœ

2 0 22 2 00 1 22 1 1

2 0 22 2 00 1 22 1 1

2 0 22 2 00 1 22 1 1

2 0 22 2 00 1 22 1 1

E B E E G B B D G G A D D D A A 186 D D 186 186

2 0 22 2 00 1 22 1 1

CHORUS 4 E 5 44 CHORUS CHORUS E55 4:57 E 4:57

# &# &

2 0 22 2 00 1 22 1 1

4:57


# &# & E B E E G B B D G G A D D D A A 193 D D 193 193

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œœ œ œœ œ

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2 2 22 2 22 22

2 2 22 2 22 22

2 2 22 2 22 22

2 2 22 2 22 22

C C C

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œ œœ œ

A5 A55 A

0 0 00 00

E madd9 E madd9 E madd9

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2 0 22 0 00 2 00 2 22 2 2

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2 0 22 0 00 2 00 2 22 2 2

œ œœ œ

2 0 22 0 00 2 00 2 22 2 2

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œ œœœ œœ œœ 2 0 22 0 00 2 00 2 22 2 2

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9 99 7 77

9 99 7 77

9 99 7 77

9 99 7 77

9 99 7 77

9 99 7 77

b b

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9 99 7 77

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9 99 7 77

9 99 7 77

9 99 7 77

9 99 7 77

9 99 7 77

2 0 22 0 00 2 00 2 22 2 2

D D D

œ œœ œ

14 14 14 14 12 12 12 12 12 12 12 12 12 12 14 14 14 14 14 12 14 12 14 12 14 12 12 10 10 12 10 10 12 12 12 12 10 10 10 10 12 12 12 12 10 10 10 10

B dim7 Bbdim7 dim7 B

œ œœœ œœ œœ

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11 11 11 11 11 11 11 11 11 9 9 9 9 9 99 9 9

E madd9 Emadd9 madd9 E

B B B

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4 4 44 4 44 2 44 2 2

4 4 44 4 44 2 44 2 2

4 4 44 4 44 2 44 2 2

4 4 44 4 44 2 44 2 2

4 4 44 4 44 2 44 2 2

4 4 44 4 44 2 44 2 2

4 4 44 4 44 2 44 2 2

4 4 44 4 44 2 44 2 2

œ œœ œ

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11 11 11 11 11 11 11 11 11 9 9 9 9 9 99 9 9

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12 12 12 12 12 12 12 12 10 10 12 10 10 10 10 10 10 10

B B B

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9 99 7 77

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8 88 6 66

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5:09 5:09

2 22

2 22

2 22

C C C

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5 55

2 22

5 55

6 66

7 77

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b b

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7 10 7 10 11 10 77 10 10 11 11 77 10

12 0 12 00 12

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gw ggg ww ggg ww gg w ggg 2220 0 ggg 00200222 ggg 22

0 12 0 12 00 00 12

0 00

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play: RaGTIME

ON THE CD

TraCk 16-25

EYxoupr AND BLuES!

Ragtime Guitar Now here’s a special treat! If you’ve always wanted to learn authentic ragtime guitar now’s the time to limber up those digits and give it a go, says Tristan Seume. ABILITY RATING

moderate/Advanced Info

WIll Improve your

Key: Various Tempo: Various CD: TRACKS 16-25

Coordination Syncopation Acoustic repertoire

Ragtime music oRiginated in urban african-american cities such as new orleans and st. Louis around the turn of the 20th century. essentially, it was a dance style performed on the piano, characterised by jaunty melodies set against leaping bass to create strongly syncopated rhythms with an upbeat feel. it is arguably a fusion of traditional african rhythms and classical or march idioms, and although it gave way in popularity to jazz in the early 20th century it was also a notable influence on it. the music of scott Joplin remains the most famous and recognisable of the ragtime musicians, with the entertainer and maple Leaf Rag being the hits of their day. indeed, this humble scribe fondly remembers wrestling with an arrangement of the former as concocted by the great eric Roche in these very pages many years ago! although primarily written for piano, many early blues guitarists attempted to capture the stride piano feel on the guitar by using an alternating bass technique on the beats and offsetting it with a ‘ragged’

(syncopated) melody. this approach informed a playing style known as Piedmont blues which was generally lighter-hearted in feel and a more technically challenging than the primitive delta Blues of, say, Robert Johnson or charley Patton. notable Piedmont blues figures included Rev Gary Davis, elizabeth cotton, Blind Lemon Jefferson and the king of ragtime guitar, Blind Blake. although more complex in technique, many

Blind Blake’s playing stands out as some of the most challenging to emulate due to his speed, dexterity and quirky techniques. of these players fingerpicked with only the thumb and forefinger; an approach later adopted country and western star, merle travis, whose pieces such as cannonball Rag remain staples of fingerpickers today. although ragtime fell out of mainstream favour as jazz took a hold, a younger generation of folk, blues and ragtime revivalists such as stefan grossman, tommy emmanuel, Woody mann and John James kept the torch alight with the mastery of modern virtuosity. Blind Blake’s playing in particular stands out to this day as some of the most challenging to emulate, due to his speed, dexterity and

quirky techniques. unlike other ragtime players he would subvert the structure of playing bass notes on the beats by instead anticipating chord changes with a bass note on the four-and (last 8th note of the bar). this created a bounce and movement that other players lacked (see ex. 6 for how to do this). I hope you find the following exercises informative and helpful to your fingerpicking technique. Once you are confident with each one, have a go at the piece i’ve written at the end of the feature, which pulls together all the elements you will have worked on. Ragtime guitar is a fantastic style to try, as it can really hone your technique - plus everyone loves it. Have fun, persevere and i’ll see you soon!

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Any well set up acoustic guitar works fine for ragtime playing: Blind Blake can be seen playing a small bodied Stella concert guitar (in what is thought to be the only photograph of him that exists) while Rev Gary Davis used a huge Gibson J-200. Tommy Emmanuel uses medium-bodied Maton guitars from Australia - so whatever acoustic you have should do just fine!

TRACK RECORD There are numerous compilation CDs of Blind Blake worth checking out including Ragtime Guitars (Yazoo) and The Master Of Ragtime Guitar: Blind Blake (Indigo), while a more modern approach has been taken by David Laibman and Eric Schoenberg on The New Ragtime Guitar (Smithsonian, 2012) and the various artists compilation Contemporary Ragtime Guitar (Stefan Grossman, 2009).


Barry BrecheIseN / GeTTy IMaGes aLaMy

FINGERstylE RAGtIME

The great guitarist and tuition master Stefan Grossman and (inset), the incredible ragtimer Blind Blake


play: RaGTIME

ON THE CD

TraCk 16-25

ExAMplES RAGtIMe PLAYInG

TRACKS 16-17

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FINGERstylE RAGtIME 2 Title

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play: RaGTIME

ON THE CD

TraCk 16-25

ExAMplES RAGtIMe PLAYInG

TRACKS 21-24

3

exercise 6: Thumb-roll One of Blind Blake’s signature techniques! On the last 8th note of the bar Blake would sometimes place an extra note

with the thumb on the sixth string, which he would roll over to rest on the fifth string, playing that on the downbeat of the new bar.

3 Ex 6

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FINGERstylE RAGtIME ExAMplE RAGtIMe PIeCe

TRACK 25

Full perFormanCe pieCe Now that you’ve gone through all the examples time to have a go GUITARit’sTECHNIQUES 2 at 4 4a full piece. In it I’ve incorporated many Tristan's RAGTIME FULL RAGTIME PIECE

of the ideas we’ve looked at so far. It’s a very satisfying party piece to play, so take your time and play it with all the exuberence you can muster.

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play: RaGTIME

ON THE CD

TraCk 16-25

ExAMplE RAGtIMe PIeCe ....CONTINUED

TRACK 25

2 Title 2 Title

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play: classical

ON THE CD

TraCks 26-27

Johann Strauss II Blue Danube

This month Bridget Mermikides arranges and transcribes perhaps the most famous piece by the undisputed King of Waltz for you to play and enjoy - a ‘pop classic’ of its day!

ABILITY RATING

Moderate/Advanced Info

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Key: D major Tempo: 156 bpm CD: TRACKS 26-27

Melody and accompaniment Fretting hand stamina Repertoire of classical works

It Is temptIng to think that in their day the great ‘classical’ composers only appealed to the appreciators of high art, their music listened to in silent and still reverence in a concert setting. Well, this is certainly not the case in regards to the Austrian composer Johann strauss II, who was essentially a highly successful ‘pop songwriter’ in the late 19th century. During his very busy and successful career, his many waltzes were central to a fashion that can be aptly described as a dance craze. In fact, strauss wrote so many popular waltzes that he became known as ‘the Waltz King’. Behind the engaging waltz rhythms, is a melodic and harmonic elegance of a master musician, and his music has endured through the ages and spread from the dance halls to the concert stage and countless films and TV shows. You will doubtless recognise his ever-popular Blue Danube –

The challenge is to maintain the functions of the melody, chords and bass line; the melody is legato while the chords are crisp and short.

which I’ve arranged here – in many films including Austin powers, Ferris Bueller’s Day Off, the Jungle Book, titanic, the Last emperor and most powerfully perhaps as a principle theme in stanley Kubrick’s 2001: A space Odyssey. the Blue Danube (An Der schönen Blauen Donau, Op. 314) was composed in 1866 to a modest reception. However it has since flourished (in a choral as well as orchestral version) to become a mainstay of the

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.

Strauss;: The Waltz King and a top pop composer of his generation

orchestral repertoire, and often thought of as the unofficial Austrian national anthem. structurally, it is quite interesting in that it is a good example of a strophic form; this is essentially a medley of different melodic themes, with only one recapitulation of the main theme at bar 161. I’ve changed the original opening key of A major to D major (with dropped D tuning), and adapted the form to make it practical and satisfying for us to play as a solo guitar arrangement. the main technical challenge here is to maintain the functions of the melody, chords, and bass line throughout. the melody often needs to be legato and lyrical whereas the chords are crisp and short. Once you can do this fluently (using the tab captions), you’ll be able to evoke the alluring waltz atmosphere that has enchanted so many people for almost one and a half centuries. NeXT MoNTH: Bridget arranges Saint Saens’s haunting Aquarium

Track record To listen to Blue danube alongside many of Strauss’s other waltzes try decca’s remastered classic recording with the Vienna Philharmonic: Johann Strauss Waltzes (decca 2000). If you want to explore Srauss’s orchestral catalogue, check out Johann Strauss II: The complete orchestral edition 52-cd collection (Naxos 2011) to see the quality and quantity of his output!


johann strauss ii blue danube PLAYING TIPS

cd track 27

[Bars 1-6] For the first few bars there is suggested fingering indicated for both hands. Follow this carefully and aim to make the melody stand out from the accompaniment. In bars such as 2 and 6 where a long melody note has been played on the first beat, playing the second beat more softly is GUITAR 2 4 4 notes to be crisp and neat but not to essential - weTECHNIQUES want the accompanying BLUE DANUBE interfere with the melody.

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[Bars 14-32] On beat 3 of bar 14 a half barre takes care of two bars. On beat 3 of bar 22 use a five-string barre at the 10th fret and transfer it to the 7th fret on beat 3 of the next bar. At 31 I use a thumb strum on the A9 chord, then a second-finger rest stroke on the D note between the D chords. This puts the finger on the 3rd string to immediately play the final D chord, without any readjustment.

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play: classical

ON THE CD

TraCks 26-27

PLAYING TIPS

cd track 27

[Bars 34-50] Now comes the next waltz in A major. The 7th-fret barre at bar 34 needs to shift to the 6th fret on beat 3 of the next bar (Edim7) and then back2 again Title to 7th fret on beat 2 of bar 36 (E7). A fretting-hand stretch at bar

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cd track 27

[Bars 60-98] At bar 66 we change key to Bb major for the next waltz theme. Follow all the fingering and make this as legato and lyrical as possible in the 3 D

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play: classical

ON THE CD

TraCks 26-27

PLAYING TIPS

cd track 27

[Bars 107-108, 111-112, 123-124] These three sections each require jumps from the 2nd fret up to higher frets.

Aim to have each upper double-stop last as long as possible before going down again. Make the high notes swing sweetly!

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cd track 27

[Bars 131-161] Yet another new waltz theme appears at bar 131 and this has some picking-hand fingering indicated to help guide you through.

This same theme is repeated at bar 147 and then leads cleverly back to the original waltz at 161.

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play: classical

ON THE CD

TraCks 26-27

PLAYING TIPS

cd track 27

[Bars 192 to end] The ending at 192 should be played legato and quite quickly if you can! I’ve suggested a fingering but there are many possibilities

so do experiment to see what works best for you. If you prepare this piece carefully and accurately, you won’t fail to impress when performing it!

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LEarNiNG ZONE LESSONS GT244 30-MINUTE LICKBAG

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

Pat Heath has six more cool licks at easy, intermediate and advanced levels.

52

BLUEs................................................................................................. 54

Les Davidson unveils the incendiary solo blues style of Eric Gales.

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

Martin Cooper looks at Joe Satriani’s guitar playing with modern rockers Chickenfoot.

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

Guitarist extraordinaire Carl Verheyen in the fifth of his series of video masterclasses!

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

Shaun Baxter will improve your fretboard prowess with six-note string-pair cells.

CHoPs sHoP ..................................................................... 76

Andy Saphir has some arpeggios that can be used to fortify your soloing.

BRITIsH R&B ....................................................................... 78

BEING A TUITION ONLY magazine, our appeal is wholly based on the breadth and depth of the tutorial articles. Having been around since 1994, we’ve always set the bar high as regards variety and clarity to improve your playing. Deepening stylistic savvyness, pointers for technical development, insight into emulating iconic players, laying bare the theoretical info so you can solo with more flair. Basically, interesting musical stuff to make your guitar playing more fun to perform and for others to listen to! This issue is no exception; you’ve already read articles on note intervals (‘gold’ notes to lean towards when soloing) and the fundamentals of ragtime; clocked exactly how Muse’s Matt Bellamy plays one of the band’s biggest songs, New Born and mused (sic) over our exquisite solo arrangement of The Blue Danube. Now you’re half way through, we’ve a wealth of tutorials of generally shorter length ranging from quick ‘buffet’ presentations such as 30-Minute Lickbag to the blazing soloing of our video masterclass guitarist, Carl Verheyen. With blues (Eric Gales), rock (Joe Satriani), R&B (The Troggs), jazz (Django’s Legacy) and acoustic (Glen Campbell), we’ve plenty to appeal to devoted guitarists of all genres, styles and levels.

By all means tackle the articles that excite the most from a stylistic or technical perspective, but I’d also recommend you take another approach too. Go through the magazine again and with a pencil circle any section of music (it could be a bar or four bars’ worth) that seems different to what you normally play. It could be a chord or two that twists your fingers a little, a picking technique that intrigues, or string bends that you’ve rarely tried before; point being, presentation context can often colour our decisions on tackling something or not - “I’m a shredder so why should Glen Campbell appeal?” or “I’m an acoustic player, so Joe Satriani won’t fit my playing plans”. Instead, if one discards that type of straight-jacket thinking, we’re convinced you’ll grow as a musician and as a guitarist. From our experience over the years, countless guitarists have used GT not only to enhance what they already like or do, but also to learn of players, techniques or theories that they never knew before. We hope we’ve done that for you as a dedicated reader and, if not, let this issue be the start. Enjoy!

Phil Capone continues his exploration of British R&B with The Troggs.

JAZZ ...................................................................................................... 84

John Wheatcroft looks at the modern gypsy jazzers who have been inspired by Django.

ACoUsTIC ................................................................................. 90

Stuart Ryan on the acoustic style of country singer-songwriter Glen Campbell.

REAdING MUsIC ........................................................ 94

Charlie Griffiths explains dynamics, articulations, and a whole lot more!

On videO! Join the incred

ible Carl Verheyen as he continues his superb masterclass series. Page 62


lesson: 30-Minute lickbag

30-Minute Lickbag EAsy LiCks ExAmpLE 1 Easy BluEs Rock

cd track 28


Employ a strong downward stroke and use the picking hand to Heath's mute the LICK BAG rock tone, so medium gain with as fat a sound as you can muster - without Pat strings after each chord for this example. We’re looking at classic bluessaturating the licks with too much syrupy gain. Lick 1

Easy Blues Rock

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ON THE CD

Learning Zone

30-Minute Lickbag

TraCks 28-33

In another lickbag challenge Pat Heath offers a selection of fresh licks to learn, at easy, intermediate and advanced levels. See how many can you play.

Brought to you by...

inTErmEDiATE LiCks ExAmpLE 4 tool stylE

cd track 31

GUITAR TECHNIQUES MAGAZINE 44 Bands such as Tool, Helmet and mastodon2 utilise the blues scale and the b5 ensure the rests are properly placed, as in this modern metal style they are as Pat Heath's LICK BAG well in their low-slung riffs. Use a pick and fretting hand mute technique to important as the notes! Lick 4

Tool style

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cd track 32


Pat LICK This hammer-on/pull-off lick on the open first string is reminiscent of Adrian’s shapes will help you with the descending lick. A nice ethereal delay will be Pat Heath's Heath's LICK BAG BAG classic iron maiden melodies. knowing your three-notes-per-string scale the icing on the cake. GUITAR TECHNIQUES MAGAZINE 2 4 4 Lick 5 5 Adrian Adrian Smith style style Lick Smith

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lesson: blues

ON THE CD

Eric Gales

TraCks 34-37


From blues to rock and beyond, this month Les Davidson examines the playing of that fiery left-handed guitar-slinger, Eric Gales.


WIll IMprove your


Blues and rock vocabulary Timing and feel Lead articulation

Eric GalEs is a native of Memphis Tennessee, a city at the heartland of blues, jazz and country music. Eric’s approach to playing the blues is steeped in old-school

Both examples should be used to expand both your blues-rock vocabulary and overall technical fretboard facility. Gales uses a conventional plectrum technique with quite a lot of hammer-ons and pull-off’s to get that smooth note delivery,

a lot of my songs are based on simple vamps Eric Gales

although sometimes he uses just his thumb and also both pick and fingers. The two 16-bar examples are playable with plectrum or hammers and fingers. There are many ways to build up speed but here i’d suggest you attempt to play the ideas at full tempo, even if you can only manage the first few notes. Reduce the speed by all means at this point, add the next few notes or even a single note and then take the tempo back up, taking care to play the notes cleanly and accurately. This way we’re making progress by expanding a few notes at a time, rather than playing an entire phrase at a fraction of the desired speed. You may of course prefer ther regular GT approach of learning at a slower tempo and speeding up later. NeXT MoNTH: Les gets into the authentic Texas style of Jimmie Vaughan

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Eric tends to use Fender Stratocasters or St Blues Blindside guitars, the latter made in Memphis Tennessee. Part of his sound involves the use of an EWS Brute Drive made by Exotic pedals. We’re aiming for a single-coil sound with a moderate to high level of overdrive. I played a 1961 Strat into a J Rockett Archer pedal, and a MesaBoogie Transatlantic amp set on the 15-watt Tweed valve voicing. I’m also using a Mojo Vibe pedal for the backing guitar on Example 2.

Track record eric Gales has released many albums over the years. His playing has come of age lately so here’s a cross-secton of his work from over two decades. We’d heartily recommend Pinnick Gales Pridgen: PGP2 (2014), but definitely also check out The eric Gales Band (1991), Left Hand Brand (1996), Layin’ down The Blues (2009), Live (2012) and the excellent Good For Sumthin (2014).


Erika GoldrinG / GETTY iMaGES

ABILITY RATING

Freddie King, albert collins, Buddy Guy guitar styles, but mix in some Hendrix and Eric Johnson style pentatonic bursts and that’s his blues playing. Gales is known for his tough and fiery no-holds-barred style. He has so far played in a variety of line-ups, which even verge upon heavy rock, psychedelic rock and ‘nu funk’. Eric was born in 1974 and grew up with three brothers, two of whom played the guitar upside-down and lefthanded, as does Eric. Gales is in fact right- handed and, as he learnt from an older brother, never realised that there was any other way to play. Hence he just kept going with that way of doing things. in 1990, Eric and Eugene Gales signed with Elektra records, Eric Gales: a and together with powerful and meaningful drummer Hubert performer crawford released 1991's The Eric Gales Band and 1993's Picture Of a Thousand Faces. a Guitar World reader's Poll named Eric ‘Best New Talent’ in 1991. Gales has clearly developed his own voice as a player, and although one can hear some strong influences there is no mistaking him when he plays. check out some of his live YouTube performances to get a taste of this fiery, unrelenting approach. The following musical examples are from Eric’s tenure with the Pinnick, Gales, Pridgen line-up, that serve as an introduction to his approach to playing in a blues-rock setting.

learning Zone

eric gales EXAMPLE 1 A minor pentAtonic lick

cd track 34

The disciplines we face here are accuracy and articulation, especially to to produce the type of power Eric gets when he plays. Make sure you hit the produce the sextuplet line in bar 5. Our first example is based upon a tough important accents in the phrase. Use strict alternate picking (down up down GUITAR TECHNIQUES 4 4 root and fifth power chords to spice A minor Pentatonic riff with2some unless otherwise stated. Timing and feel are all important. Eric has a Les Davidson BLUES - up) ERIC GALE things up a little. Aim to make the blues licks speak and dig in to the notes pretty hot technique so you might need a few goes at this. Ex 1

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lesson: blues

ON THE CD

TraCks 34-37

EXAMPLE 2 licks over A descendinG sequence

cd track 36

This example is based on the sequence of Am7-G-F-Dm7. It starts off with a Hendrix ‘Electric Ladyland’ style sliding blues lick. This is typical of Eric’s nod TitleThen we switch to some Albert King meets Buddy Guy style licks to2 Jimi. that you’ll find sprinkled throughout the example. It’s important to get the

lines to have solid time and flow. Make sure the slides land cleanly on their intended target notes, both the natural ones and the string bends, adding a little vibrato of your own. Use alternate picking (down-up, down-up) throughout, unless otherwise stated.

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lesson: rock

ON THE CD

TraCks 38-40

Chickenfoot In his quest to cover music from every era, this month Martin Cooper checks out Joe Satriani’s classic rock approach in supergroup Chickenfoot.


WIll IMprove your

Key: G major Tempo: 132bpm CD: TRACKS 38-40

Rock rhythm and lead General dynamics Tapping and legato

ChiCkenfoot are one of the more recent and genuine supergroups. for those that aren’t familiar, they were formed after Van halen singer Sammy hagar and bass player Michael anthony parted ways with the Van halen brothers. hagar and anthony had been jamming from time to time with red hot Chili Peppers drummer Chad Smith at hagar’s Cabo Wabo Cantina in Mexico. from these

The solo has typical Satriani traits such as not starting on the first beat of the bar with lead lines, and creating space. the talents of both, he has stated that Joe finds it easier to fit into a band and leave space for vocal melodies and lyrics, which he prefers. the songs on the Chickenfoot albums draw influence from the likes of Led Zeppelin, The rolling Stones, Montrose and, perhaps not surprisingly, Van halen. this month’s track is in the key of G Major (G-a-B-C-D-e-f#) and features some classic rock chords and riffs, with Satch-meets-Vanhalen melodic phrasing on the rhythm part. the solo has typical Satriani traits such as not starting on the first beat of the bar with lead lines, adding anticipation to the phrases and creating space in the same way that Brian May does. there are some bluesy Pentatonic licks mixed in with some fast legato and tapping sections, ending with a hybrid picked line that nods towards C Lydian (C-D-e-f#-G-a-B) over the C chord. NeXT MoNTH: Martin looks at the playing of American classic rockers Steppenwolf

Get the tone 8

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Satriani has been a long time Ibanez player, with several signature models. With Chickenfoot he favours a 24 fret signature model with Floyd Rose, so a modern guitar with a bridge humbucker and locking vibrato will be best, although most instruments can be used here. There is quite a lot of gain, and while, too, and while Satch has previously played Peavey amps, he has recently returned to Marshall for his classic rock tones. You’ll need a fair bit of gain, so aim for a smooth drive tone with a spash of delay/reverb.

Track record The debut album, chickenfoot (2009) featured the pop-rock of My kinda Girl and the popular crowd-chant, oh Yeah. The second album III (2011) includes the Stones-influenced alright alright, and riff-rock tune Big Foot. There is also a live album, LV (2012), which includes tunes from both albums - plus, as usual, there are a lot of performances to check out on YouTube.


© PhotoShot

ABILITY RATING

jam sessions, the three of them decided to form a proper band, and enlisted the considerable talents of guitar legend Joe Satriani. they released their eponymous debut album in 2009, and embarked upon a world tour that left its mark on some of the band members; at London’s famous Shepherd’s Bush empire, while demolishing his drum kit at the end of the set, Smith threw a drum into the air, hitting hagar on the head, which Joe Satrianl with Sammy Hagar caused the singer and 24 fret to need stitches! Ibanez guitar a second album followed in 2011, followed by another tour with drummer Kenny Aronoff filling in for Chad Smith when he was needed for the red hot Chili Peppers album and tour. there are often rumours of a third album, with Satriani adding fuel to the fire recently suggesting that they would probably begin recording at some point in the future, once they all find the time in their hectic schedules to revive the band. the group has been a considerable success, with both albums reaching the top 10 in america, and the debut album also breaking into the top 30 in the Uk. Satriani joked that he finally has some commercial success, albeit as a rhythm guitar player! inevitably hagar has been asked who is the better guitarist between Satriani or eddie Van halen, and although he diplomatically lauded


Martin Cooper's BIMM ROCK COLUMN CHICKEN FOOT BIMM STYLEROCK COLUMN Martin Cooper's CHICKEN FOOT BIMM STYLEROCK COLUMN Martin Cooper's CHICKEN FOOT STYLE

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cd track 39

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cd track 39

Martin Cooper's BIMM ROCK COLUMN [General] Make sure you don’t rush the lines at the start. The FOOT minor STYLE finish in time. Try playing the tapping and legato sections in the second half CHICKEN Pentatonic phrase in bars 33 and 34 starts a little lazily and then races to

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lesson: rock E E B E B G B G E D G D B A D A G E A E D E A E

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cd track 39

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lesson: video

VIDEO

ON THE CD

Carl Verheyen masterclass

CD-rOm

PART 5

In another exclusive lession for GT, session ace Carl Verheyen shares more of his superb soloing secrets with us. Milton Mermikides is your fretboard guide. ABILITY RATING

Moderate/Advanced Info KEY: Various TEmpo: Various CD: CD-ROM

WIll IMprove your Playing over Dominant 7ths Long semiquaver phrases Fretboard knowledge

WE WERE LUCkY to catch Carl during his European tour and have him come down to the GT studios to film and record his fantastic playing. We gave him a series of backing tracks to improvise over and a couple of hours later we had enough material for several

Carl Verheyen: his fretboard fluency is the stuff of dreams!

excellent tutorials. Carl’s session skills, musicality, stylistic diversity, technique and tone are legendary, and during his 40-year playing career has garnered a huge CV of band associations (from Supertramp to Allan Holdsworth), countless album, film and TV credits, as well as accolades from guitar greats such as Robben Ford, Joe Bonamassa, Steve Lukather, Robben Ford, Brad Paisley, Jennifer Batten, Steve Morse, Scott Henderson and Albert Lee. In this article, I’ve transcribed Carl’s improvisation over Jason Sidwell’s funky fusion track in D. It’s a 64-bar form with repeats, with the following structure: D7 (16x), Bb7-Ab/Bb (7x), Bb7-A7#9. Essentially what we have (if we see Ab/Bb as Bbsus9) is a backing track made up entirely of Dominant chords (D7-Bb7-A7) (the first two chords last for 16 bars each) so this is a great masterclass on how to create interesting solos over a static Dominant 7th chord - a tricky thing in itself. Carl had one listen through (and a simple chart like the one above) before unleashing this wonderful solo. So it’s clear that he has at his disposal a deeply absorbed – and flexible – set of devices for handling such devices. Here’s a rundown of the main techniques he employs: Use of minor Pentatonic and minor Blues scales (bars 13 and 47 but also referenced throughout the solo); use of major Pentatonic and major Blues scales (bars 14 and 21, but again is hinted at often); Mixolydian mode (with bluesy inflections of the minor 3rd and passing tones between the root and b7) is the primary choice in this solo and can be heard in country-like long semiquaver lines with occasional bends (bars 11-14); Lydian Dominant (bar 61); Dominant 7 arpeggio patterns (bars

26 and 58) and intervallic patterns from the Mixolydian mode (bars 28-30); and superimposition of extended chords in parallel motion (bars 59-61). Carl knows this material all over the fretboard (and in every key) so has access to any of these approaches whenever he chooses allowing for long flowing lines. This excellent theoretical and fretboard knowledge is augmented by a fantastic touch on the guitar,

Master one phrase and its technique, and how it functions over underlying chords; this it will inform your playing for years. and you’ll hear a range of sounds explored through subtle bends, vibrato bar effects, pickup switching, string-skipping, slides, slurs and an excellent picking technique. You’ll get the most out of this tutorial by digging deep. Even taking one bar, or phrase, mastering its technique and (most importantly) how it functions over the underlying chord, can inform your playing for years to come. Being able to replicate this solo would be excellent; however being able to readily adopt these ideas in your own soloing and style is the ultimate goal. NeXT MoNTH: Milton brings us more from this Carl Verheyen video series.

Get the tone 7

6

6

7

4

Gain

Bass

Middle

TReBle

ReveRB

For the session, Carl played his signature LSL signature model through a Marshall JTM45 MKII head. Overdrive came courtesy of a Free The Tone MS SOV MS-2V pedal. The examples could be played on any type or model of guitar, but single-coils sound great for this ‘open’ feel. Go for a clean tone but not too bright a sound and a dash of reverb for ambience.

Track record To hear some of carl’s playing check out Trading 8s (cranktone 2010), Let’s ride on No Borders (1988 FMV) diamonds on Slingshot (Mighty Tiger 1999) and Fusioneer’s disease (Mustang run, 2013 cranktone entertainment).


Learning Zone

CarL VerHeYen MaSTerCLaSS PT 4 ExAMpLE CARL VeRheYen MASteRCLASS

cD -rOm Milton's GUITAR TECHNIQUES MAGAZINE 2 4 4 CARL VERHEYEN -Pt 5 FUNKY JAM IN D [Bars 4-5] Carl uses a country-inspired lick which employs the ‘catch-bend’ Blues scale (D-F-G-Ab-A-C), mixed in with more country use of Mixolydian Milton's GUITAR TECHNIQUES MAGAZINE 2 4 4 technique as used by Danny Gatton, Jerry many others. The first -- mode over-ringing open strings. CARL VERHEYEN Pt 5 (D-E-F#-G-A-B-C) - FUNKY JAMand IN D GUITAR TECHNIQUES MAGAZINE 2 4 4Donahue andMilton's string is bent up in such MAGAZINE a way as to catch under the third -- [Bar 4 – Bar 12, IN Beat CARL VERHEYEN Pt 511,- beat FUNKY JAM D 2] This is a device that is readily at Carl’s Milton's GUITAR TECHNIQUES 2 4 4the second string finger. In this way the bend on the first string, ‘pre-bends’ the second string -- disposal. It occurs around theDCAGED G shape of a Dominant chord, and uses CARL VERHEYEN Pt 5 - FUNKY JAM IN Funk Milton's GUITAR MAGAZINE 244 creating aTECHNIQUES pedalD7 steel type effect. a satisfying country-ish over-ringing across the second and third strings Funk VERHEYEN -- between Pt 5 - FUNKY JAM D of the chord (G and F# in this case). You’ll [Bars 5-8] This long passage demonstrates Carl’s mixedCARL and versatile the 4th and 3rd IN interval FunkD7 approach to playing over a Dominant 7 chord. Notice the use of the minor see a similar idea used on the Bb7 chord in bar 50. FunkD7 D7 Funk 2 Beat D7 Drum Intro 2 Beat Drum Intro Bridge / middle pickup 2 Beat Drum Intro BU Bridge / middle pickup E 2 Beat Drum Intro BU / middle pickup Bridge B 10 8 10 3 E G (10 ) 9 BU 7 7 5 Bridge B 10/ middle pickup 8 10 3 2 Beat Drum Intro E D 6 7 7 7 5 6 5 3 5 3 4 G (10 ) 9 BU 7 7 5 B A 5 5 5 4 3 3 10 8 10 E D Bridge / middle pickup 6 7 7 7 5 6 5 3 5 3 4 G E ( ) 9 10 7 7 5 B A 10 8 10 5 5 5 4 3 3 D1 BU 6 7 7 G E 9 (10 ) 7 7 5 6 5 3 5 5 5 3 4 5 4 3 7 5 A 1 D 6 7 7 7 5 6 5 3 5 3 4 B E 10 8 10 3 A 5 5 5 4 3 G1 9 (10 ) 7 7 5 E D 1 6 7 7 7 5 6 5 3 5 3 4 1 /4 A 5 5 5 4 3

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lesson: video

VIDEO

ON THE CD

CD-rOm

ExAMpLE CARL VeRheYen MASteRCLASS ...CONTINUED

cD-rOm

2 xxxxxxxxxx

[Bars 17-21] At the shift from D7 to Bb7, Carl launches into a long and 2 xxxxxxxxxx sophisticated phrase spanning a wide fretboard range and harmonic 2 xxxxxxxxxx approaches. Bars 17-19 is drawn entirely from Bb Mixolydian but switches from2simple bends (Bar 17) to step-wise lines (bar 18, beats 1-3) to Carl’s xxxxxxxxxx signature string-skipping with slides which can take some work in terms of 2 xxxxxxxxxx accuracy in picking and unwanted string noise. The phrase ends with a blend

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





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of Bb minor and major Blues scale, and bluesy Mixolydian double-stops. [Bar 22] Here’s another of Carl’s signature licks (which also occurs at the end of bar 55): from beat 2 a high G on the first string is followed by a bent F to G B bAb 7 and the (now quickly released F) on the second. This is followed by a high B b7 on the second string. It’s fairly tricky (particularly at this tempo) but if played B b7 just right has great country feel.

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11 9 11 12 11 12 9 11 12 11 12 9 11 12 11 12 9 11 12 11 12 9 11 12


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nœ œ bœ bœ bœ œ nœ œ n œ œ b œ b œ œ œ n œ n œ b œ n œ œœ b œ œ œœ œ n œ œ b œ b œ bb œœ œ œ n œ n œ b œ n œ œ b œ œ œ œ nœ œ bœ bœ bœ œ œ nœ nœ bœ nœ œ bœ œ œ œ nœ œ bœ bœ œ œ nœ nœ bœ nœ œ bœ œ œ œ bœ œ nœ bœ nœ bœ œ 10 9 8 6 5 8 6 10

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10 9 10 9 10 9 10 9

8 11 8 10 11 8 8 10 11 8 10 8 8 11 8 10 11 8 10

6 6 6 6

7 7 7 7 7

5 5 5 5

6 6 6 6 6

8 8 8 8 8 8 8 8 8

6 6 6 6 10 6 10 6 6 6 6 10 6 6 10 6 6 6

Learning Zone

CarL VerHeYen MaSTerCLaSS PT 4 ExAMpLE CARL VeRheYen MASteRCLASS ...CONTINUED

cD-rOm

3[Bar 26-30] Here’s a range of arpeggio approaches to playing over a Bb7 3tonality. Bar 26, beat 2 outlines a descending Bb major triad, while the last

5ths, transforming a standard blues harmony into a more lush fusion effect. [Bars 33-43] As well as adding vibrato here, the bar is used to create otherwise impossible bends. The E on the 17th fret is bent up a whole tone to b/B bis raised, Carl pulls off from the 17th fret to F# with the bar and, while theA bar b a D) before releasing the bar to sound a C. A b/Bas the 13th fret (which now sounds b Bars 35, 37 and 43 also use this kind A /B b of approach to great effect.

3beat of bar 27 uses an unusual intervallic structure (three 4ths and then b7beat 1). This A b/B b on the Eb (beat 4) and then Bb (bar B a major 3rd) starting 28, b in the classic chord stabs in Miles Davis’s A b/Bin B b7 jazz classic So 3structure is used 3 What. The passage A b/B b continues with similarly ‘open’ intervals B b7of 2nds, 4ths and

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





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

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28 28 28

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

28 28

31 31 31

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

31 31

34 34 34

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

34 34

8

B b7 B b87 8 B b7

8 8 8

37

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

37 37

39 39 39 39 39

9 9 9

8 8 8 8

11 11 11 11 11

nœ B bœ7 n œ b B œ7 œ nœ œœ nn œœ

‰‰ nœ ‰ nn œœ n œ ‰‰ n œ n œ nn œœ nn œœ 8 8

11 11 11 11

nœ . bœ bœ nœ b œ b œ n œ b œ b œ nn œœ œœ. 13 . 13 12

14 14

16 16

14

16 13

14 14

12 13 13 15 13 12 13 15 13 16 13 16 13 12 15 13 12 13 13 15 13 15 13

nn œœ~~~ ~~~ n œ~~~ nn œœ~~~ ~~~ ~~~ ~~~ 13 ~~~ 13 13 ~~~ ~~~ 13 13

nn œœ .. nœ . nn œœ ..

## œœ #œ ##PBœœ 5 PB

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j n œj n œj nœ j n œj nœ

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8 8

10 10

8

10

5

8 8

10 10

5 5

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œœ œ œœ

11 11 11 13 11 13 11 11 13

10 10 10 10

15 14 15 14 15 14

13 13

15 14 15 14

13 13

13

' œœ' n œ ' nœ œ' n œ œœ' n œ '' n œ ' ''

Scoop Scoop

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11 11

13 13

13 13

11 11

11

13

13

11

5 Scoop 5 7 ( 5 ) (7 ) 7 ( 5 ) (7 ) 5 Scoop 7 ( 5 ) (7 ) Scoop 5 5

œœ œ œœ

nn œœ nœ nn œœ

7 7

5 5

7

5

7 7

5 5

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17 (19 ) (15 ) 13 15

5 5 5 5 5

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7 7 7 7 7

8 8

5 5

8 8

8

5

8

8 8

5 5

8 8

13 13 13

6 6

5 5

7

5

6

5

3

7 7

5 5

6 6

5 5

3 3

10

9

11

0

10 10

11 11 11 11

8 8 8 8 8

œœ œ œœ

nn œœ nœ nn œœ 3 3

œœ œ œœ

10 10

8 8

10

8

10 10

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‰‰ ‰ ‰‰

8 8

œœ œ œœ 5 5 5 5 5

œœ œ œœ

12 12

œœ ## œœ œ #œ œœ ## œœ 3 3

4 4

3

4

3 3

4 4

œœ œ œœ

nn œœ nœ nn œœ

bb œœ bœ bb œœ

5 5

8 8

0 0

5

8

0

5 5

8 8

0 0

œœ œ œœ

œœ œ œœ

11 11

11 11 11 11

9 9

7 7

11

11 11

9

7

11 11

11 11 11 11

9 9

7 7

œœ JœJ Jœ œJ J

nn œœ nœ nn œœ

œœ bb œœ œ bœ œœ bb œœ

nn œœ nœ nn œœ 5 5 5

7

5 5

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œœ œ œœ

9 9

7 7

9

7

9 9

7 7

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15 15

(15 ) (15 )

15

(19 ) 17 BU

(15 )

BU 17 (19 ) 17 (19 )

(15 ) (15 )

'

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7 7

7 7

13 16 13

j œj œj œ j œj œ

BU BU 17 (19 ) BU 17 (19 )

15 15

13

œœ n œ nœ œ nœ œœ n œ nœ

œœ œ œœ

œœ œ œœ

18 16 18 16

D7

10 11 10 11 12 10 12 10 12 11 10 11 12 11 12 10 12 11 10 11 10 11 12 10 12 10 12 11 12 11

12

18 16

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nn œœ ## œœ nœ #œ nn œœ ## œœ

12 12

18 16 18 16

18 18

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10 10 12 12

5 5

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10 10 12 12 10 12

7 7

0 0

0 0

13 13

œœ œ œœ

11 11

11 11

œœ œ œœ

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9 9

9 9

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20 18 20 18 20 20 18 20 18 20 20 18 18 20 18 18 20D 7 20D 7

16 16 15 17 16 16 15 17 16 15 16 15 17 15 16 15 16 15 17 16 16 15 17 15 15

œœ.. œ. œœ..

œœ~~ ~~ œ œœ œ œ~~ ⋲ œœ œ œœ œœ~~ ~~ ⋲ œ œœ œ ⋲œ œ ⋲ ~~ ~~ ⋲ 13 16 13 ~~ 13 16 13 13 16 13 ~~ ~~ 13 16 13

nn œœ b œ œœ nn œœ bb œœ bb œœ nAœb/Bbbbœœ œ n œ b œ b œ A nn œœb/Bbbœ œœ nn œœ bb œœ bb œœ bœ

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

12 13 14 15 11 12 14 12 13 14 15 11 12 14 12 12 13 14 15 12 11 12 14 12 13 14 15 12 11 12 14 12 13 14 15 11 12 14 12 12

11 11

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. j n œ œœ. # œj A7 ## 9 . nœ 9 œ # œj A7 # œ n œ œ. . j # œj nn œœ œ #œ

~~~ œœ1313n œ1313 œœ~~~œœ n œ ~~~ œ n œ œ~~~œ œœ n œ œœ~~~œœ nœ PB 13 PB ~~~ 13 ~~~ PB 17 (19 ) (15 ) 13 15 w/bar 13 BU ~~~ 17 (19 ) (15 ) 13 15 w/bar PB ( ) ( ) 17BU19 15 PB 13 13 15 ~~~ 13 BU ~~~ 17 (19 ) (15 ) 13 15

œœ œ œœ

bb œœ b œ ⋲⋲ n œ b œ b œ ⋲ TTnn œœ b œ b œ bwithœœ b œ ⋲⋲Fret T bwith thumb Fret nn œœ thumb Fret T with

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11 11 œ 11 œœ 11œ 13 11œ 11 13 œ œ œ œ ‰‰ ‰‰ JœJ œ œ œœ œœ œœ ‰ ‰ Jœ w/bar œJ w/bar ‰‰ ‰‰ J w/barBU BU

œœ œ œœ

ŒŒ Œ ŒŒ

10 10 10 10 10 10

10 10

8 10 j b œj b œ n œ 8 10 b œj b œ n œ b œ b œ 8 10 bB bœ7 b œ n œ b œ b œ n œ b œ b œ œ b œ B b7j b œ b œj b œ n œ b œ nn œœ b œ b œ nn œœ œ.. bœ nœ bœ bœ bœ bœ œ 8 8

(10 ) 37 37

9 9

ŒŒ Œ ŒŒ

nn œœ œœ œ œœ œ n œ œ ‰ œ œ n œ œœ ‰‰ œœ œœ n œ ‰ ‰ 15

œœœ œœ œ œœ œ 7 7 7 7 7 7 7 7 7

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10 8 10 10 8 10 10 8 10

9 9

10 8 10 10 8 10

9 9

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7 7

5 5

7

5

7 7

5 5

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nn œœ nœ nn œœ 8 8

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1/4 14 14 14 14

14 14

7 7 7 7 7 7 7 7

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14 1/4 1/4

9

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œœ JJ œ Jœ œJ J 9 9 9 9

9 June 2015 GuitarTechniques 65

lesson: video

ON THE CD

CD-rOm

ExAMpLE CARL VeRheYen MASteRCLASS ...CONTINUED

cD-rOm

4 xxxxxxxxxx

4 45-48] xxxxxxxxxx [Bars Here’s a great phrase which uses D Mixolydian (with some 4 xxxxxxxxxx bluesy minor 3rd - F naturals - thrown in) in a beautifully creative way. 4 xxxxxxxxxx xxxxxxxxxx 4 String-skipping, slides, wide intervallic leaps and position changes draw

a huge amount of expression out of the scale, before culminating in a blistering repeating blues lick. Take your time to get this whole passage under your fingers and your playing will doubtless improve.

. n œœœ ''œ œ œœœ ''œ œ œœœ. œœœ '' œ n œ n œœJ 'œ œ œ œœJ 'œ œ œ œœJ. œœ ' œ n œ n œJ œ œ œJ œ œ œJ œ œ 1/4 1/4 1/4 11/4 /4

1/4 1/4 1/4 1 1//4 4

# & ## ## & # & J œ œ33 œ J œ œ33 œ J E E B E B G B G E D E G D B A B D A G E G A E D 41 D E 41 A A 41 E E 41 41

## # & & # ## & E E B E B G B G E D E G D B A B D A G E G A E 44 D D 44 E A A 44 E E 44 44

# & ## ## & # & E E B E B G B G E D E G D B A B D A G E G A E 47 D D 47 E A 47 A E E 47 47

# & ## ## & # & E E B E B G B G E D E G D B A B D A G E G A E D D E A A E E

50 50 50

10 10 10 10 10 10 10 10 10

E E B E B G B G E D E G D B A B D A G E G A E 53 D D 53 E A A 53 E E 53 53

3 3 3

10 10 7 10 7 9 7 10 7 9 7 10 10 9 7 10 7 10 7 10 9 7 9 7

'' '

1 1//44 1/4

10 10 7 10 7 9 7 10 7 9 7 10 10 9 7 10 7 10 7 10 9 7 9 7

œ œ nœ œ œ nœ œ œ nœ

œ

10 10 11 8 8 10 11 8 11 8 10 10 8 11 11

œ œ œœ œœ œœ n œ n œ œ # œ nn œœ œœ œ n œ œ œ n œ œœ n œ œœ œ # œ n œ œœ nœ œ nœ œ œ #œ œ /

3 3 3

11/4 /4

œœ œ œœ œœ œœjjj n œ œ œœ œ œ œœj nn œœ

BU BU BD BD BU BD 10 10 9BU ( )) (( 9)) 7 10BD BD ( 10 10 9BU 9 7 9 ( 10 ) ( 9) 7 10 10 ( 10 )) (( 9 9 9 ( 10 9)) 7 7

5 5 5 5 5

10 10 10 10 10 10 10 10 10

'' '

14 1/4 1/4 11/4 /4

7 7 10 7 10 10 7 7 10 10

7 7 7 7 7 10 7 10 7 7 10 7 7 10 10

1/4 1/4 1/4 11/4 /4

3 3 3 3 3

8 8 10 8 8 10 8 10 8 8 8 10 10 8 8

8 10 8 8 10 10 8 8 10 10

9 9 9 9 9

10 12 12 10 10 12 10 10 10 10 12 12 10

3 3 3 3 3

'' '

5 5 5 5 5

3 3 3 3 3

b/B bb A A bb/B A /B b b/B bb A A b/B

3 3 3 5 5 3 5 3 5 5

'' '

5 5 5 5 5

8 8 7 7 8 7 8 7 7

8 8 10 8 10 5 5 8 10 5 8 10 5 5

5 5 7 7 5 5 7 7 7

1/4 1/4 1/4 11/4 /4

3 3 3 3 3

3 3 3 3 3

14 1/4 1/4 11/4 /4

3 3 5 3 3 3 5 5 5 3 5 3 3 5 5 3 3 5 5 5

3 3 3 3 3

'' '

14 1/4 1/4 11/4 /4

3 3 5 3 3 3 5 5 5 3 5 3 3 5 5 3 3 5 5 5

n œ b œ œ œ œœjjj b œ œ ⋲ j ‰ ˚j n œ b œ œ œ œj nn œœ b œ œ œ ⋲ b œj. ‰ .. ˚j n œ b œ œ œ œ b œ œ œ ⋲ b œj. ‰ nn œœ˚j nœ œ bœ . .nœ Let ring Let ring Let ring Let Let ring ring 6 4 4 4 6 4 6 4 7 7 4 77 7 6 4 4 4 47 6 7 7 77

b7 B B bb7 B 7 b7 B B b7

b œ .. bœ . bœ

BU BU (( 18 )) 16 BU 16 18 ( 18 ) 16 BU BU 16 16 (( 18 18 ))


5 5 5 5 5

‰ ‰ ‰

3 3 53 3 3 53 53 3 3 3 5 5

œ œ œJ J J 16 16 16 16 16

12 12

10 10

5 5 7 7 5 5 7 7 7

5 5 5 5 5

8 8 8 8 8

5 5 5 5 5

3 3 5 3 5 5 3 3 5 5

1 1 1 1 1

nœ . nœ . ⋲ n œJJ . ⋲ J ⋲ 18 18 18 18 18

3 3 3 3 3

‰ ‰ ‰

3 3 3 3 3

'' '

14 1/4 1/4 1 1//4 4

5 5 5 5 5

18 18 18 18 18

3 3 3 3 3

2 2 2 2 2

5 5 5 5 5

5 5 5 5 5

3 3 3 3 3

3 3 3 3 3

œœ œœjjj œœ œ œœj œ

œ œ œ

œ nœ œ nœ œ nœ

BU BU BU ((14 )) 12 12BU 14 (14 ) 12BU ( 12 12 (14 14 ))

BU BU ) ) 12BU ((14 ((15 ) 15 12BU 14 ) (14 ) (15 ) 12BU (14 )) ((15 15 )) 12 12 (14

12 12 12 12 12

BU BU 10 BU 10 10 13 (15 ))10 10 13 10 BU BU((15 13 15 )10 10 10 10 13 ((15 15 )) 13

2 2 2 3 3 2 3 5 5 2 3 5 3 5 5

5 5 5 5 5

3 3 5 3 5 5 3 3 5 5

1 1 1 1 1

2 2 2 2 2

0 0 3 2 0 3 2 3 2 0 0 3 3 2 2

6 8 9 8 8 9 6 8 9 9 3 3 7 10 8 7 6 8 9 8 10 8 10 9 5 5 3 7 6 8 9 8 10 8 10 9 5 3 7 6 8 9 8 10 8 10 9 3 7 10 8 10 5 10 5 b/B bb A A bb/B A /B b b/B bb A A b/B

j bb œœjj b œ b œj b œ bœ bœ BU BU

œ œ œ

3 3 3 3 3

4 4 4 4 4

16 16

((18 18 )) ((16 16 ))

17 17 17 17 17

8 8 8 8 8

18 18 18 18 18


1 1 2 1 2 2 1 1 2 2

16 (( 18 16 )) 16 18 )) ((16

18 18 18 18 18

15 15 15 15 15

7 7 7 7 7

6 6 7 8 8 8 8 6 7 8 8 7 8 8 6 6 8 8 7 7

bœ bœ œ bœ bœ œ bœ bœ œ

bœ bœ bœ 1 1 1 1 1

œ œ œ

5 5 5 5 5

6 6 6 6 6

6 6 0 6 0 0 55 6 6 5 0 0

œ œ œ

œ œ œ

12 12 12 12 12

12 12 12 12 12

6 6 6 6 6

8 8 8 8 8

18 18 18 18 18

15 15 15 15 15

16 16 18 16 16 16 18 17 17 16 18 16 17 16 18 16 16 18 17 17

œ œ œ

nœ nœ nœ

14 14 14 14 14

15 15 15 15 15

œ œ œ 15 15 15 15 15

5 5 5 5 5

bœ bœ œ bb œœ bb œœ œ œ

3 3 5 3 5 5 3 3 5 5

nœ ‰ n œJ ‰ n œJ ‰ J

4 4 4 4 4

b œ bb œœ nn œœ n œ b œ bœ nœ b œ nn œœ bb œœ nn œœ bb œœ nn œœ b œ b œ n œ bœnœbœ bœ 13 13 13 15 13 15 13 13 15 13 13 13 13 15 15

6 6 6 6 6

5 5

b/B bb A A bb/B A /B b b/B bb A A b/B

BU BD BD BU BU BD

((18 BD )) ((16 )) 16BU 16BU 18 BD 16 16 ( 18 ) (16 )

7 7 7 7 7

5 5 5 5 5

n œ bb œœjjj œ œ b œ b œ n œ b œj œ œ b œ b œ b œ n œ b œ œ œ b œ b œ b œ nn œœ bœ nœ

BD BD

) (16 ) 16BU(18BD 16 (18 ) (16 ) ) (16 ) 16BU BU(18BD BD

15 11 15 15 11 10 111015 15 10 11 11 10 10

* * *

œ œ œ

Fret 13th 13th fret fret while while * Fret string is tone Fret fret a while string13th is bent bent a tone up up * string is bent a tone up Fret 13th 13th fret fret while while Fret * string string is is bent bent a a tone tone up up œ œ nœ nœ œ j n œ # œ n œ œœœ ⋲⋲ œœœ nn œœ œœœ œœ œœ œœ œœ œœœjjj bb œœ œœ n œ œ nœ#œ nœ ⋲ œ œ b œ œ nn œœ œ nœ#œ œ

œ œ œ œ bœ œ œ

œ nn œœ b œ œ bb œœ œ œ b œ œœ b œ œ œœ n œ n œ œ œ bb œœ œ nn œœ œœ b œ œœ œœ b œ nn œœ œ b œ œœ n œ œbœœ bœnœ nœ œ nœ


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1 1 1 1 1

œ ## œœ .. œ œ #œ .

' j nœ j '' n œj œ œœjj œœ œ œ n œ œœ œœ œ œ b œ n œj œ n œ œ œ œ œ n œ œ œ œ b œ œ 1/4 1/4 1/4 1 1//4 4

n œ œ n œ nn œœ œ œ œ œœ œ.. œ œ œœ œœ œ n œ œ n œ œœ œ œ œ œ nœ nœ œœ nœ œ œ / / / / 14 1/4 1/4 1 1//4 4

10 10 10 10 10 10 12 12 10 10 10 12 10

n œ œ nn œœjjj œœ œ nœ nœ ⋲⋲ œœ œœn œ œœ œœ nn œœ n œj œ œœ œœ œœ n œ œ œ nœ œ œ n œ œ nn œœ œ n œ # œ œœ œœ œœ ⋲œœ n œ œ n œ œœ n œ # œ œ œ œ nœ #œ 8 5 10 5

' j '' '' j j '' n œj œ œj ' œ œ' œj n œj œ n œ n œ œj œœ œ œ œ. œ œœ œ œ œj 1/4 1/4 1/4 1 1//4 4

bœ bœ ## bœ & ## # & # &

50 50

'' '

1/4 1/4 1/4 1 1//4 4

œ œ œ œœ œ œœœ

1/4 1/4 1/4 11/4 /4

6 6 6 6 6

œ œœ œ œ ⋲ œJJ ⋲ JJ ⋲ J ⋲ J ⋲⋲

18 18 18 18 18

20 20 20 20 20

15 15 15 15 15

œœ œ

œ œ œ

œœ œ

18 18 18 18 18

17 17 17 17 17

15 15 15 15 15

18 18 18 18 18

œ œ œ 15 15 15 15 15

Learning Zone

CarL VerHeYen MaSTerCLaSS PT 4 ExAMpLE CARL VeRheYen MASteRCLASS ...CONTINUED

cD-rOm

5[Bars 56-57] If you thought Carl’s solo so far is at the top of his technical 5ability, he unleashes this beautiful sequence of 16th-note sextuplets before 5 5transitioning seamlessly into an ornamented Bb7 arpeggio 5 [Bars 59-61]b Here Carl superimposes harmony on a chord. This jazz-fusionb b B 7 A /B B bb7 B b7 B b7 B 7

œ œœ œœ

œ bb œœ nn œœ œœ bb œœ nnn œœœ œœ b œ

œ œœ œœ

nœ nn œœ nn œœ

œ bœ œœ bbb œœœ œœ b œ

œ œœ œœ

œ œœ œœ

œ œœ œœ

œ œœ œœ

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

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

55 55 55 55 55

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


57 57 57 57

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


17

16 16 16 16

17 17 17 17

B b7

15 17 15 15 15 15

œ nœ bœ œœ nn œœ bb œœ œœ nn œœ b œ bœ

B bb7 B b7 B b7 B 7

3 3 3 3 3

15

13

15 15 15 15

13 13 13 13

B b7 B bb7 B b7 B b7 B 7

‰ ‰‰ ‰‰

61 61 61 61 61

63 63 63 63

15 15 15 15

(20 ) 18BU BU BU BU 18 (20 ) 18 (20 ) 18 (20 ) 18 (20 )

œ nœ bœ bœ œ œœ nn œœ bb œœ b œ n œ œ b œ œœ nn œœ b œ bb œœ nn œœ œœ bb œœ b œ b œ nn3œœ œ bb œœ 3

16 15 13 16 16 16 16

15

15 15 15 15

13 13 13 13

3 3 3 3

15

13

15 15 15 15

13 12 13 15 12 13 13 15 12 13 13 15 12 13 15 13

15

12

16

15 18 18 16 15 16 18 15 18 16 18 15 18 16 18 15 18 18 18

7

8

7 7 7 7

8 8 8 8

B bb7 B b7 B b7 b œ7 B

6

8

6 6 6 6

8 8 8 8

6

8

6 6 6 6

8 8 8 8

⋲ # œJ nn œœ nnn œœœ ⋲⋲ ### œœJœ nn œœ nn œœ ⋲⋲ # JœJ n œ J

bb Jœœ bb œJJœ JJ

11 11 11 11 11

13 13 13 13

7

œ n œ # œjj œ œœ nn œœ ## œœjjj œœ œœ3 nn œœ ## œœ œœ

7 7 7 7

9

6 6 6 6

9 9 9 9

13

11 12

15

13 12

12 11 12 12 15 11 12 12 15 11 12 12 15 11 12 15

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passage involves the use of an angular phrase (bar 59, beat 3& to the end of

the bar) which outlines a Bb13#9 chord. This juicy chord is then transposed up to C13#9 and then Db13#9, creating a powerful tension on the underlying harmony before releasing into material drawn from Bb Lydian Dominant (Bb-C-D-E-F-G-Ab) in bar 61. This stunning one-take solo contains a wealth of great information that could keep you going for months, if not years!

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ON THE CD

6-note string-pair cells This month Shaun Baxter ups the ante as he continues his series devoted to exploiting the symmetry of the guitar fretboard in string-pairs.

string-pairs, the shapes remain the same in each octave, providing physical and visual convenience: sixth-fifth; fourth-third; second-first. revision: For example, an Am triad (three-note entity) can be arranged on the lower string-pair (sixth and fifth strings) as follows:

ABILITY RATING


WIll IMprove your

Key: C (am) Tempo: 120bpm CD: TRACKS 42-44

Interval recognition Seeing octave relationships Extending musical range

This series is devoted to the practice of compressing the information of a musical entity (triad, arpeggio, Pentatonic scale etc) into a single string-pair, so that the same shape (cell) can be shifted up and down over three octaves via the other string-pairs. If we confine our approach to the following

Cell

Notes on sixth-string Notes on fifth-string

(3-0) (2-1) (1-2) (0-3)

A-C-E A-C A -

E C-E A-C-E

So, that’s four possible configurations that can each be shifted up in octaves onto the other string-pairs without having to change shape. Furthermore, each entity (here, Am) can be played in different inversions depending on the starting note. For example, in this case, it is possible to play three different inversions of Am by starting from a different note each time: A-C-e-Ce-A (A has been copied off the front and duplicated on the end); and e-A-C, (A and C have been taken off the front and placed on the end). And, like the original inversion, all of the other ones can be configured in the same four different ways on each string-pair (3-0, 2-1 etc). so far we’ve looked at playing two, three, four and five-note cells. Today we are going to focus on six-note cells, which can be configured as follows within each string-pair: 6-0; 5-1; 4-2; 3-3*; 2-4; 1-5; and 0-6. (* the 3-3 note-configuration is convenient because it is based on a familiar approach to most guitarists. Furthermore, it is also suitable for sweep picking, because there are an odd number of notes on each string). All six-note string-pair cells are good for hexatonic scales such as Whole-tone; and different ways of playing the same thing will provide us with different musical possibilities via new technical opportunities. As usual, once you have worked through the examples in this lesson, try to establish

TraCks 42-44

The meThoD

Take any cell on the lower string-pair (sixth and fifth strings): shift up two frets and play the same shape on the middle string-pair (fourth and third strings); then shift the same shape/cell up another three frets and play on the top string-pair (second and first strings). Do this and you will have played the same thing over three octaves.

some useful shapes of your own in each of the CAGeD patterns of the scales that you know. establish the various possibilities in a systematic way, and try each one against a backing track so you can hear it in context, noting your favourites and working out ways of employing them musically. But remember:

Six-note string-pair cells are good for hexatonic scales (six-note scales) such as the Whole-tone scale. You don’t have to play something from the root of the underlying chord or scale; you can apply ideas starting from any note. You are not obliged to play all three octaves each time, as this will limit your musical approach; you might want to use just two cells (or one): the important thing is that the musical idea might spring from the ‘concept’ of string-pair cells. Don’t forget to work out the inversions too (six-note entities have six inversions) You may need to use tapping for some of the shapes lower down the neck; just be prepared to adapt your approach accordingly. Finally, don’t only play fast ideas, or you’ll just sound the same all the time. Above all, be expressive, as the point of learning any new technique or theoretical concept, is to be able to make music with it; not sound like you are simply running up and down exercises. NeXT MoNTH: Shaun introduces seven and eight-note string pairs

Get the tone 7

7

5

5

5

Gain

BaSS

Middle

TReBle

ReveRB

I’m keeping to a typical rock tone for this series. I use a Fender Strat, so I always use a distortion pedal to boost the signal before it gets to the amp. Generally, try to go for 25% of your distortion from the pedal and 75% from the amp. You’ll find that the results are sweeter and more compressed (even and tighter sounding) than when getting 100% of the distortion from the amp. Finally, some delay will also added to the guitar track that is in tempo with the track. This helps to give both size and smoothness to the guitar sound.

Track record although he’s played with bands like Poison and Mr Big, richie kotzen is also known for being part of the wave of Shrapnel records shredders (Greg Howe, Paul Gilbert, Tony Macalpine, Jason Becker etc) that appeared in the ’80s. If you haven’t heard richie, you should probably start with the instrumental album Tilt which he recorded with his compatriot Greg Howe, who has a similar style.


david lyTTleTon

lesson: creative rock

learNiNg ZoNe

5-Note striNg-pair cells DIAGRAm 1: ExplAInInG ExAmplES 10 AnD 11

ExAmplES 1 & 2

cd track 43

example 1 The following examples are all based around six-note stringpair ‘cells’ that exist within A Aeolian (A-B-C-D-E-F-G) and arranged in a 3-3 note configuration (apart from Ex11). The intention is to help you to start building up a useful repertoire of ideas for you to draw upon when improvising. This first example is based upon a particular string-pair cell and a symmetrical descending 16th-note triplet pattern used frequently by Richie Kotzen. Each cell is composed exclusively from the notes of the following Am11 hexatonic scale (six-note scale): A-B-C-D-E-G. You don’t have to use fretting-hand taps when changing from string to string (you can pick the first note on each string instead); however, this is how Richie plays it,GUITAR and the TECHNIQUES absence of pickMAGAZINE attack makes2for 4 4a smoother effect.

example 2 Here, we’re using an inversion of the previous hexatonic scale string-pair (the same notes arranged in a different order). Again, all octaves are treated in the same way, only this time it’s an ascending melodic sequence and we’re playing septuplets (seven notes per beat). If you haven’t used this sort of pattern before, it’s a lot easier than it looks. Basically, if you roll forwards, backward and forwards using hammer-ons and pull-offs on a single string where there are only three notes, you will end up playing seven consecutive notes; so, when playing this example, just focus on rolling back and forth through the notes on each string, and target the first note in each so it lands on the quarter-note pulse. As long as you keep an even space between each note, you’ll be playing perfect septuplets.

SHAUN'S CREATIVE GUITAR 6 - NOTE STRING - PAIR CELLS

Ex 1

©»¡™º œ œ œ œ œ œ œ œ œ œ 6 6 6 œ œ œ œ œœœ œ 4 œ œ &4 œœ œœ œœœœœœ œœœ b œ n œ œ œ œœœœœœœ 6 6 6

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5 7 8 7 5 7 8

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7 3 5 7 5 3

5 7 10 7 5 7 10

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≠ ≠ ≠≠ ≠≠ ≠ ≠ rock≠ ≠ lesson: creative G D AE EB G1 D A E E B 1 G D A E 1

&4

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12 8 10612 10 8

6

12 8 10 12 10 8

12 8 10 12 10 8

12 8 10 12 10 8

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TraCks 42-44

5 7 ~~~ 7 3 57 7 5 3 3 5 6 7 j œ œœ œœ 7 7 3 5 7 5 3 5 œ Ex 2 ∑ & ~~~œ Œ œ œ œ7 œ œ cd 43 ExAmplES 3, j4 & 5 œ œ 7 œ œ œ œ œ track œ œ œ œ œ a variation œ œon theŒ A11 hexatonic ∑scale string-pair cells example 5 The minor Blues scaleœ isœalsoœ a7œhexatonic œ œ Hold œ 7œ œ œ œ example 3 Here’s scale (1-b3-4-b5-5-b7) œ œ Ex 2 & œ œ w/bar œ inœ7 a œ3-3œstring-pair cell travelling up in octaves. Try from the previous it’s ~~~Allœ octaves are treated in the same way,œbutœtheœ œ7 Here œ the BU example. œ arranged ~~~ œ j Hold œ œ œ œlowest pattern in each octave is a little more complex than in Examples 1 and 2. working out five inversions (this one has the 4th œ as the 7 œ œ œ œ string-pair œ Œ cell is treated∑in the same basic way note; next, take b5other œ œ 8each 7 string œpair7œ and example 4 Although as the lowest note onœeach play the scale œ œ œ œ œ w/bar & œ œ ( 9) 9 12 9 7 9 12 BU by playing œ œ œ (a simple descent), the middle octave twice, we are effectively three notes per string; then try from from the 5th etc: ~~~ 7 9the 10same 9 7 approach 9 10 œ œ œ œ œ repeating œ œ 5the7 approach 10 7 5 until 7 10 you have started from all six notes). doubling back on ourselves, which helps to avoid predictability. œ œ E B G D AE EB G3 D A E E B 3 G D A E 3

9 5 7 9 7 Ex 52 9 5 7 9 7 5

7

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5 7 8 7 5 7 8

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E B G D AE EB G6 D A E E B 6 G D A E 6

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7 9 10 9 7 9 10

5 7 10 7 5 7 10

5 7 8 7 5 7 8

10 12 13 12 10 12 13

13

10 12 15 12 10 12 15

17

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7 9 10 9 7 9 10

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12 9 12 9 7

12 15 12 10

15

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13 12 10

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7

7

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16

3

10 11 12

12

12 11 10 11 12

10 12 15 12 10 12 15

12 13 14

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14

14 13 12 13 14

12 14 17 14 12 14 17

15 16 17

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1/4

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learNiNg ZoNe œ œ œ œ œ œ bœ nœ œ œ 3 œ Œ ‰ Exb5œ n œ œ œ b œ œ n œ œ œ œ œ œ œ œ œ b œ n œ œ b œ œ œ n œ bœ nœ 2 & Ó œ œ œ œ œ cdœtrack œ œ ExAmplES 6 & 7 œ3 œ œ b œ n œ œ b œ œ n œ œ pentatonic scale (which œ exists within A Aeolian): A-B-C-E-F. 43 œ œ Ó Œ ‰ Ex 5 example 6 This example employs the same string-pair cell used in Ex1, Japanese œ œ œ œ & œ each œ note that, because it is a five-note scale andœwe’re playingœ three-notesœ œ œ inn œwhich œ bœ nœ œ b3œ n œ melodicœ bsequence only this time we have an ascending œ œ œ œ œ œ octave is treated differently. œ of theœ bnotes œ œ isœdoubled n œ in each octave (the E note15appears œ b œ none 5 œ œ œ œ œper-string, Ó 7 EachŒ octave ‰ isExbtreated example differently in this example too. Here, in each string). This particular example is played using a combination œ œ & œ œ 14œ 12œ 14œ 17œ œ b16œ ofn17œ 12 14 17 14 œ3noctave œ is derived œ b œ œfromœ the n œ exotic-sounding picking-hand the string-pair cell used inœeach 12 13 14andœ fretting-hand 14 13 12 13tapping. 14 œ œ bœ nœ œ bœ œ nœ & Ó Œ ‰ 10œ b11œ n12œ 12œ 12œ b11œ 10œ 11œ n12œ 10œ 12œ 15œ 12œ 10œ 12œ 15œ 12œ 13 14 14 14 13 12œ 13 14 12 14 17 14 12 14 17 15 16 17 5-Note striNg-pair cells

Ex 5

2

E B G ED BA E G

16 D EA BE 16 G D E A B E G 16 D A E 16

10 11 12

12

12 11 10 11 12

10 12 15 12 10 12 15

15 16 17

12 14 17 14 12 14 17 14 Ex 6 √ 12 13 14 14 13 12 13 14 12œ 10 12 15 12 10 12 15~~~ 15 16 17 ' œ œ b œ œ 10œ n 11œ 12œ œ 12 œ11 10œ 11œ 12b œ œ 3 12 14 17 14 12 14 17 14 Ex 6 œ . 12 13 14 14 13 12 13 14 ∑ Ó Œ ‰ œ œ & √œ œ 12 10 12 15 12 10 12 ~~~ 15 3 œ œ b œ œ œ10n œ11œ12œ 12œ 11œ106 œ11 b12œ œ œ . ' œ œ ∑ Ó Œ ‰ œ œ Ex 6 &√ ' ~~~ ' ~~~ œ17 œ b œ œ œ n œ œ15 œ17 œ20 œ17 œ156œ b œ œ œEx3œ6 œ œ . √ ∑ Ó Œ ‰ œ & œ 17 16 15 16 17 œ œ œ œ œ 17 16 15 13 '' œ14~~~ ~~~ 3 17 œ b œ œ œ n œ 15 17 20 17 156 œ b œ œ œ . 14œ œ 17 16 15 13 ∑ Ó Œ ‰ œ3 œ5 œ7 & 17 16 15 16 17 ' ~~~ œœœ 17 15 17 20 17 15 6 3 5 7 17 16 15 16 17 17 16 15 13 ' 14 ~~~ 7 17 15 6 17 20 17 15 œ œ œ œ œ œ œ œ œ œ œ œ3 œ5 œ7 œ 17 616 15 16 17 17 16 15 13 œ œ 14 œ œ œ œ & œ œ œ6 œ œ œ œ œ6 œ œ œ œ œ œ œ œ œ œ œ 7œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3œ 5œ œ7 œ œ œ œ œ 7 7 & œ œ œ œ œ œ œ œ6 œ œ œ œ œ œ7 œ œ œ œ œ 7œ œ œ œ œ œ 6œ œ œ œ œ 6 œ œ œ œ œ œ œ œ œ œ œ œ 8 12 8 107 8 10 12 10 8 œ œ7 œ œ œ 6 6œ œ œ œ 7œ œ œ œ œ 6œ œ œ œ œ œ œ œ œ œ œ œ œ 8 & œ œ œ œ6 œ œ œ œ 6œ œ 9 5 9 5 7 5 7 9 7 5 9œ7œ œ 9 5 7 9 7 5 5 7 9 œ 10œ 12œ œ œ œ œ œ œ œ œ œ 12œ 10œ 8œ 10œ 12œ 5 7 7 5 7 œ 8 12 8 7 10 8 10 12 10 8 7 œ œ œ 9 œ 12 10 8 10 12 & 3œ 5œ 7œ 5œ 3œ 7 3œ 5œ 7œ 5œ 7œ 9œ 5œ 9 5œ77œ 5œ 7œ 9 7œ 5œ 9œ 7œ 5œ 7œ 9œ 5œ 7œ 96 7œ 5œ 9œ 5œ 7œ9 6 8 10 12 7 7 3 5 7 5 3 œ 3 5 7 6 8 12 8 10 8 10 12 10 8 Ex 7 7 6 7 12 10 8 10 12 8 10 12 Loco 5 9 5 7 5 7 9 7√ 5 5 7 9 7 5 5 7 9 œ 9 7 5 7 9 5 7 9 9 ~~ œ Exœ7 œ 8 12 8 10 8 10 12 10 8 œ œ 3 œ5 7 5 3 3 5 7œ œ œ œ . 12 10 8 10 12 8œ10 12 œ 7 œ œ œ Loco 5 9 5 7 5 7 9 √ 5 7 9 7 5 5 7 9 7 5 ~~ Œ Œ ‰ Exœ7 œ & œ3 5 œ7 5 œ3 7 œ3 5 œ7 5œ7 9 œ œ œ œ 9 œ7 5 7œ .9 œ œ9 œ 6 œ 5 √ Œ Œ ‰ Locoœ œ &œ œ œ œ œ ~~ Ex 7 œ œ œ œ. œ œ œ ~~ 6 œ œ Loco 5 √ 15 17 [ 20] 8 12 15 10 10 20 ~~ Œ ‰ 12œ 13œ & œ œ œ œ 13œ 12œ œ10 12œ 13œ œ œ œ . œ œ œ Œ ~~ [ 20] 8 12 15 6 10 20 œ 12 513 10 15 17 13 Œ Œ ‰ 12 13 & 12 10 ~~ 6 [ 20] 8 12 15 10 15 17 20 12 13 5 10 13 13 12 12 ~~ œ8 œ 12œ œ15 10 [ 20] 10 15 17 20 12 13 ~~~ œ œ 13œ œ 10 13 œ œœœ œ 12œ œ 12 œ œ œ œœœ œœ œ œ & œ œ œ œ 10 œ œ œ œ œ~~~œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ œœ œœ œ œœœ œ œ Œ &œ œœœ œ œ œ œ œ œ œ œ œ œ ~~~ œ œ œœ œ ~~~ œ œ œ œ œœœ œœ œ 17 œ 13œ 12œ 17œ 13 12 œ œ œ œ œ œ Œ & ~~~ œ œ 14œ 10œ 9 14 10 9 10 14 9 10œ 14œ 10œ 9 14 10 9 œ œ œ œ œ œ œ œ œ~~~ œ 17 13 12 œœœœœœœ œ œ œ œ 12œ 8 7 œ 7 8 12 8 12 17 13 12 œœœ œ œ Œ 12 8 7 8 12 & 9 10 14 10 9 14 10 9 œ œ œ œ œ œ 14 10 9 10 14 14 10 9 œ œ ~~~ œ 7 8 12 8 12 12 8 7 17 13 12 12 8 7 8 12 17 13 12 9 10 14 10 9 14 10 9 ~~~ 14 10 9 10 14 14 10 9 17 13 12 1/4

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lesson: creative rock

ON THE CD

TraCks 42-44

ExAmplES 8, 9, 10 & 11

cd track 43

example 8 You are not obliged to take a string-pair cell through all three octaves. Here, we’re covering two octaves only, and each octave is treated differently. note that this cell is a previously-unused inversion of the A11 3 hexatonic scale employed in many of the earlier examples. example 9 Another example that just spans two octaves, this one is based 3 3 the same string-pair cell used in Examples 2, 3 and 4. around Ex 8octave is obscured example 10 Here, the string-pair cell used over each 3 3 somewhat due to the melodic overlap between each Refer to Ex octave. 8

œ œ œœ 8œ Ex œ Ex œœ 8œœ

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Ex 8

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





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74 GuitarTechniques June 2015 42 42

~~3 5 8 œ œ ~~ Œ œœ œœ~~ ~~ Œ œœ œœ~~ ŒŒ ~~ Œ BU BD ~~ (14 )BD (12 ) 9 12 BU ~~ BU ~~ (14 )BD (12 ) 9 12 BU BD ~~ (14 ) (12 ) 9 12

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Diagram 1, which will help you to visually isolate each shape. Again, strictly speaking, this example only employs the cell in two octaves and is based on an inversion of the A minor Blues scale cell that formed the basis of Ex5. example 11 This final example features more instances of melodic overlap between each shape (hard to place a box around each of the lower two octaves); so again refer to Diagram 1 to help with the shape visualisation. Here, the Blues scale is arranged in the same 2-4 note configuration on each string-pair. And, melodically, each octave is treated differently.

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lesson: CHoPs sHoP

Arpeggios

VIDEO

ON THE CD

CD-rOm TraCk

PART 1

This month Andy Saphir mixes a few arpeggios into the stock - choice cuts to help make your solos sound beefier and with a whole lot more taste. block chord. Because of this, it is necessary to ultimately learn many different dedicated arpeggio ‘shapes’, but when you’ve learned some, and learned some tricks as to how they can be effectively used, a whole new world of sonic possibilities can open up.

Using arpeggios can transform your lead playing by adding a melodic, non scalic approach to licks and lines. an arpeggio in this context, is literally playing the individual tones of a chord one after the other in a melodic framework, rather than fretting a

ExaMplE 1 c major ascending and descending

cD ROM

The first two bars startTECHNIQUES with an ascending C Major and the and smoothly. While alternate picking is great for precise articulation and GUITAR MAGAZINE 2 4 4arpeggio (C-E-G), Andy Saphir's second two bars are the same but descending. Make sure youChops pick accurately timing, many Shop - ARPEGGIOS - Pt. like 1 to use economy picking for easier string crossing. Ex 1

©»¡ºº - ¡§º œ Ex 1 & 44 - ¡§º ©»¡ºº œC œ œ œ œ GUITAR TECHNIQUES MAGAZINE & 44 œ œ œ œ œ œ Ex 1 ©»¡ºº - ¡§º C 10 7 10 10 7 4 8 & 4 œ≥ œ≤ œ≥ œ≤ ≥œ œ≤ ≤ ≥ ≤ ≥10 ≤ ≥

Andy Saphir's Chops Shop - ARPEGGIOS - Pt. 1

GUITAR TECHNIQUES MAGAZINE 2 4 4 C

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fourth strings respectively; see how the low root, 5th, and octave root note of the arpeggio correspond exactly to the lower half of a big Cm chord?

8 sim

10 6 6 ≥œ œ≤ ≥œ œ≤ œ≥8 œ≤ ≤ 10≥ ≤ ≥ ≤ ≥

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sim E Here’s a C MInor arpeggio Cm (C-Eb-G). The low root note is on the sixth string, B G b3rd on the fifth string, then the 5th and octave root note on the fifth and D A E

10

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≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ sim ©»¡ººor- ¡§º ≤ ≥ C≤ ≥ ≤ ≥ ≤ ≥ C C 4 10 10 10 œ œ œ 3 6 œ10 & 4 - ¡§º œ 10œ œ6 8 œ6 œ œ8 6œ 10œ œ 10 œ6 œ 8 œ œ œ10œ 6 8 œ 6œ 10œ œ10 œ10œ œ10 10œ 6œ œ8 œ6 œ10œ 10œ 8œ œ ©»¡ºº cD ROM ExaMplE 3 fifth-string root c major ≥ ≤ etc or ≥ ≥ ≤ ≥ ≤C ≥ ≤ ≥ ≤ sim C ≤ ≥ ≤ ≥ ≤ C ≥ ≥ ≥ ≥ ≤ ≤ ≤ ≤ The first bar is a fifth-string-root C Major arpeggio and the second is a tone is played on a separate string. The fourth and fifth bars share the 44 is a sixth-string œ œ root shape, butœnoteœ how œ œ as bars one andœtwo, œ but œ œ the sixth string.same variation. The third each chord œ‘shapes’ their root notesœ are on œ œ & bar œ Ex 3 œ œœ œœ œœ œœ œœ œœ œœ œœ œœ ©»¡ºº - ¡§ºœ 5 5 5 C 2 5 C C 5 2 5 5 5 5 10 10 3 3 3 7 7 3 7 7 7 10 10 7 10 10 4 8 8 8 8 8 12 œ œ œ œ œ & 4 or ≥œ œ≤ ≥œ ≤ ≥œ œ≤ ≥œ etc œ œ œ œ œ œ œ œ 12œ œ8 ≥œ œ≤ ≥ ≤ ≥ œ≤ ≥œ or ≥œ œ≤ ≥ ≤ ≥ œ≤ œ≥ etcœ œ œ œ œ œ ≤ ≥2 ≤5 ≥5 ≤5 ≥2 ≤ 5 5 ≤ ≥ ≤ 10≥ ≤ ≥ ≤ 5 5 5 5 10 8

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©»¡ººor-Cm ¡§º ≤≥ ≥≤ ≥≤ ≥5≤ ≥≤ ≥≤ ≥≤ 2 5 œ 5 2 4 4 3 & b œ œ œ œ 3œ ©»¡ºº4 -Cm ¡§º œ or ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥œ ≤ ≥ ≤ 4 & 4 Ex 4 bœ œ œ œ œ ©»¡ºº -Cm ¡§ºœ 5 1 5 5 1 76 GuitarTechniques June 2015 3 3 4 œ & 4 or œ≥ b œ≤ ≥œ ≤ ≥œ œ≤ ≥œ E B G D Ex A E

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œœ & 4 Cm œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œœ œœ œ œ œ œ œœ œœ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ & 4 œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ bœ œ œ œ 5 5 5 2 5 5 2 5 5 5 5 10 10 BrouGHT 3 3 3 7 7 3 7 7 7 10 10 7 10 10 5 5 5 ZOnE PT1 8 8 8 8 8 12 12LEARnInG 8 To you By... 2 5 5 25 5 5 5 5 10 ARPEGGIOS 10 5 5 3 3 3 7 7 3 7 7 7 10 10 7 10 10 ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ or etc ≤ or etc ≤ ≥ ≤ ≤ ≤ ≤ ≤ ≤ 2 5 5 2 5≤ 5 5 5 108 108 8 8 8 12 12 8 3 7 ≤ 3 ≥ ≤ 3≥ 7≤ ≥ ≤ 7 etc3 8 7 ≥8 ≤ ≥ 8≤ 7≥ 10≤ 10≥ 10 or7 ≤≥8 10≥≤ ≥≤ 8 ≥≤ 12≥≤ 10≥≤ ≥≤ 10 12etc or ≥ ≤ ≥ ≤ ≥ ≤ ≥ 8 10 10 10 ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≥10≤ ≤ ≥ ≥ 10≤etc≥6 ≤ ≥ 6≤ 10 10 ≤ ≥ ≤ ≤ ≤ or ≥ 4≤ 6c≥ etc ≤ ≤ ≥ ≤ cD ROM ≤ ExaMplE minor arpeggios ≤ Ex 104 10 6 6 10≥ 6 or ≥ 6≤ 10 6 10 10 6 ≤ 8 ≥ ≤ ≥ ≤ ≥ ≤ 8 8≤ ≥ ≤ ≥ ≤ ≥ ≤ 8 8 8 ©»¡ºº ¡§º Ex 4 This exercise idea as accuracy, whatever the tempo! ≥ Ex≤3, butetcdeals with Cm arpeggios. ≥ Cm≤ ≥ Watch ≥ same or ≥ ≤is the sim ≤ ≥¡§º ≤ ≥string≤ crossing ≤ ≥ your Cm Ex 4 ≥ ≤-Cm ≥≤ ≤ ≥ ≤ ≥ ≤©»¡ºº Cm Cm Cm 4 ©»¡ºº - ¡§º Ex 3 & 44 œ b œ œ œœ œ œ œ œ b œ œCmœœ œ œ œ œ b œ œ œœ œ œ œ œ b œ Cm œ œœ œ œ œ œ b œ œ œœ œ œ œ Cm ©»¡ºº4 - ¡§º & 4 œ œ œ œ œ œ œ œ œ œœ œ & 4 C b œ œ œ œ œ œ b œ b œ œœ œœ œ œ œ b œ C b œ œœ œœ œ œ œ b œ C b œ œœ œœ œ œ œ b œ b œ œœ œœ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ &4 œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ œ œ 5œ œ œ5 œ œ œ5 œ œ œœ œ E B G E D B A G E D A E

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GuitarTechniques 77

ON THE CD

The Troggs The Troggs’ simple but powerful sound inspired the 60s garage rock movement and paved the way for the birth of punk rock later in the 70s.

The Troggs: Reg Presley front and Chris Britton right

ABILITY RATING

Moderate Info

WIll IMprove your


Authentic 60s tone Barre chord riffing Blues vocabulary

The Troggs weren’T from the big city like their peers; they came from the quiet rural town of Andover in hampshire. But that didn’t stop them from singlehandedly pioneering an exciting new 'proto-punk' sound. Formed in 1964 the original line-up featured reg Presley (vocals), Chris Britton (guitar), Pete staples (bass), and ronnie Bond (drums). In 1965 they were signed to Page records (owned by Kinks manager Larry Page). Their first single Lost Girl flopped, but their second attempt wild Thing, a cover of a song penned by songwriter Chip Taylor, was a worldwide

success (it was even covered by hendrix). with its simple, powerful three-chord riff the song was an instant success, reaching no2 in the UK and going no1 in the UsA. The band achieved their sound by keeping things simple, recording direct to a four-track tape recorder. As Chris Britton recalled in a recent pre-tour interview, “we drove up to London with all the gear, set it up and in 10 minutes recorded wild Thing and with A girl Like You.” The hit was an inspiration to teenagers worldwide. The band were no strangers to controversy either, their fourth single I Can’t Control Myself was banned by the BBC

We drove up to London with all the gear, set it up and in ten minutes recorded Wild Thing and With a Girl Like You.

TraCks 45-56

because of the implied sexual content - and yes, you did read right, ‘implied’ sexual content! In 1967 their last big UK hit Love Is All Around heralded a change of direction; the band were focusing more on pop ballads than the primal sound of their earlier hits. They continued to release singles and albums, but by the early 70s their sound was out of step with the new sound of prog and heavy rock and chart success eluded them. In recent years The Troggs have enjoyed something of a renaissance, and continue to perform and release new material despite the death of vocalist reg Presley in 2012. guitarist Chris Britton is the only surviving original member in the current line-up of the band. Like all the bands in this series, The Troggs were heavily influenced by American music of the 50s. This is not immediately apparent when listening to the sugar pop ballads that followed the success of their early singles, but dig a little deeper and their influences become much more apparent. Their first two albums From nowhere (1966) and Trogglodynamite (1967) not only contain covers of Chuck Berry and Bo Diddley songs, but the more adventurous album tracks also demonstrate Chris Britton’s accomplished, bluesy soloing style. rather than merely mimicking his American idols, Britton delivers established rock'n’roll and r&B vocabulary with a contemporary 60s sound, using a fuzzbox to provide fat, creamy sustain. Probably held back by the success of the band itself, Britton has never really received the recognition he deserved for being a player on the cutting edge of the 60s rhythm and blues scene. But he was a guitarist who not only defined the sound of the 60s, but also helped The Troggs take America by storm. NeXT MoNTH: In his final article in the series Phil looks at Pete Townshend of The Who

Get the tone 8

7

9

10

4

Gain

Bass

Middle

TReBle

ReveRB

This amp setting is designed to replicate Chris’ crunchy rhythm tone. The slightly high input gain setting would be overkill on a modern amp, but when used on a vintage style amp like a Vox AC30 it cranks the overall volume, causing the amp to 'break up' nicely. To achieve his creamy lead tones he would most likely have employed the fuzz box of the day: the Gibson Maestro Fuzz-Tone pedal! For best results select your bridge pickup for rhythm work, switching to the neck pickup for solos while adding distortion with a fuzz or overdrive pedal.

Track record The milestone singles from reg, chris and the boys include: Wild Thing (1966), With a Girl Like You (1966), I can’t control Myself (1966), Love Is all around (1967) and any Way That You Want Me (1968). essential Troggs albums include From Nowhere (1966) and Trogglodynamite (1967). on The Ultimate experience you can hear Jimi Hendrix’s fantastic interpretation of the song.


© ReTna / PhoToshoT

lesson: r&b

Learning Zone

THe TroggS ExAMplE 1 Barre chord riff

cd track 45


The D chord should be played on the fifth string as BRIT a shapeRfour fret these notesCapone with individual fingers). By angling your finger at the first N B(A -shape) THE TROGGS - Phil barre chord. To achieve the best sound it is important to barre with your knuckle you will be able to mute the first string and keep the sound of the third finger across the second, third and fourth strings (in other words don’t chord tight and resonant.

Ex 1

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lesson: r&b

ON THE CD

TraCks 45-56

ExAMplE 4 Bo diddley style Groove

cd track 51

2 xxxxxxxxxx

The impact on popular music of this infectious, syncopated 16ths groove has been immense, and it was employed by many 60s acts including The Troggs. Create the percussive strums by releasing the pressure of your 2 xxxxxxxxxx

fretting hand (keep your fingers on the strings) Invaluable for creating funky grooves, this technique is not widely used by contemporary rock guitarists, so practise it slowly at first if it is unfamiliar to you.

Ex 4

©»¡¡º Ex 4 ## 4 &©»¡¡º 4 ## 4 & 4

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7 7 7 5 7 7 7 5

X X X X X X X X

7 7 7 5 7 7 7 5

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7 7 7 5 7 7 7 5

Ex 5

This example is typical of Chris Britton’s style in the late 60s when he was starting to incorporate psychedelic ideas into The Troggs’ sound. percussive Em E5 pick scrapes may seem tame today but they sounded new and exciting at Ex 5

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

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7 5 cd track 53

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the time, particularly when played through a fuzz pedal. To achieve the percussive effects form a three-note E51/shape on the 7th fret, gently resting 1/4 4 your fingers on j the strings but without fretting thej notes.

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ExAMplE 6 final jam

cd track 55

This example combines Chris’s comping and soloing style to provide an then slide your first finger down to the 7th fret (without re-picking). In the exciting conclusion. play the verse riff in bar 7 using a sixth-string palm solo section take your time when practising the incremental bending in bar muting to prevent the sixth string from ringing into the chord detail that 32 (use three fingers for added strength), and also the final 16th-note lick GUITAR TECHNIQUES MAGAZINE 2 4 4 follows. play the hammer-on/pull-off at the end of the BRIT bar by R fretting in bars 41-44. sure you can confidently play the accents indicated at a N B with - THE TROGGS - Make Phil Capone your first finger and using your third finger to apply the hammer-on/pull-off, slower tempo (always use a metronome) before playing along to the track. Ex 6

FINAL JAM

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ExAMplE 6 final jam ...CONTINUED E


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cd track 55

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ON THE CD

Django's Legacy

PART 2

John Wheatcroft concludes his look at Django Reinhardt's influence, bringing us up to date with the current crop of amazing gypsy jazz guitarists. In fact, there are few styles that can be traced back to one solitary musical figurehead. While Charlie Parker was of mighty significance to bebop, you also have monk and Gillespie. while Robert Johnson was another vital musician, so too were son house, leadbelly and dozens of others. with gypsy jazz, all roads lead back to Django. It’s impossible to go around him, such is the weight of his influence. I can only think of Earl Scruggs’ five-string banjo playing as another instance where one single player defined an entire movement based upon their style alone. we have nine examples, each based around the following artists, from the 40s to the present day... argentinian oscar aleman was based in Paris during Django’s time and is considered to be one of the few contemporaries in his class. aleman unusually favoured a thumbpick and finger approach. Although Pierre ‘Baro’ Ferret performed with Django many times on rhythm, he was a formidable improviser. a swing waltz demon, much of today’s repertoire Birelli Lagrene: can be traced back to him. equally at home with straight or Fapy lafertin has performed in gypsy jazz styles the gypsy jazz style for years and, for many, he comes closest to preserving Reinhardt’s early sound, tone and feel. Baro’s ABILITY RATING nephew, Bolou Ferré was one of the genre’s Moderate/Advanced first child prodigies, playing his first concert at eight years old. now in his sixties, he Info WIll IMprove your continues, along with brother elios, to blend traditional gypsy material with bebop, Key: Various Authentic vocabulary classical and even free jazz influences. Tempo: Various Negotiation of chord changes another child star, Bireli lagrene is a CD: TRACKS 57-73 Articulation and delivery terrifying guitarist but always so musical with last month we looked at the style of the legendary Django Reinhardt. here we see how Django’s legacy has thrived and evolved due to the talents of remarkable musicians, gypsy and non-gypsy, that have created another link in the chain while sounding groundbreaking in their own right. no mean feat when you Hank Marvin consider Django’s huge influence.

There are sensational players in the gypsy jazz world, not necessarily famous, but they deserve to be.

TraCks 57-73

it. equally at home with straight-ahead and fusion styles Bireli recorded a selection of albums in his early teens that display a phenomenal mastery of the genre and the instrument. he’s a little over 30 years older now and continues to grow and grow. Bireli’s favourite gypsy jazz player, with a more traditionally authentic style is the mighty stochelo Rosenberg. he has stunning vibrato and phrasing, with an immaculate rest-stroke picking technique and projection. French guitarist angelo Debarre is one of the most exciting gypsy players active today, with super articulate technique and an encyclopaedic knowledge of the style. he’s also not afraid to push the envelope in terms of note selection, rhythm and harmony, although generally within a fairly traditional repertoire of tunes. Jimmy Rosenberg achieved huge success before even hitting double-figures, age wise. now in his mid-30s, personal problems have stunted his career but he remains one of the most expressive players in the genre, still with a ridiculous clean and super fast technique. as both a solo artist and as part of the gypsy jazz ‘supergroup’, selmer 607, adrien moignard is an inventive improviser and the shining light of the current Parisienne scene, equally at home with gypsy and modern jazz vocabulary - definitely a name to keep your eye on, a real player for the future. there are hundreds more amazing players in this style, such as Liverpool’s Gary Potter, from america John Jorgenson and Frank Vignola, the group les Doigts de l’homme, swedish virtuoso andreas oberg, Robin nolan, Romane, a dozen players with the name Rosenberg - and not forgetting Django’s grandson, David Reinhardt. even hank marvin has adopted the gypsy style! anyway, enough reading and not enough playing, so grab your guitar and dive straight in! NeXT MoNTH: John looks at father and son legends Bucky & John Pizzarelli

Get the tone As this style is predominantly acoustic, the best thing you can do to improve your tone and maximise you volume and projection is to sort out your picking. Use the heaviest pick you can manage and attempt to introduce each new string with a downstroke. Most modern gypsy players play with a relaxed ‘broken’ wrist posture and pick through each string, so a note on the second string ends with the pick resting on the first rather like a classical guitar rest stroke. Use gravity and the weight of the hand here rather than brute force as this will create tension in the wrist, slow you down and produce a sound that is tight and forced, rather than fluid and smooth.

Track record The brilliant Bireli Lagrene & Friends dVd also features Stocholo rosenberg, angelo debarre and more. Selmer 607 showcases a staggering display of talent from young players such as adrien Moignard, rocky Gresset, richard Manetti, Noé reinhardt and Sébastien Giniaux. of course modesty prevents me doing anything so crass as plugging my own album, ensemble Futur - oops!


DALLE / RETNA / PHOTOSHOT

lesson: jazz

LEArNiNG ZONE

DJANGO’S LEGACY GUITAR TECHNIQUES MAGAZINE 2 4 4 GUITAR TECHNIQUES MAGAZINE 2 4 4

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This example displays how Fapy might frame a common sequence outlining both V7 (D7) and Im (Gm6) with a combination of arpeggios andEx surrounding decorative chromatic embellishment. Rather like using 3: Fapy Lafertin

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E E B B G G D D E E A A B B E EG 1 G D1 D AA EE 11

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ExAMplE 2 Pierre Ex 2: Pierre 'Baro'‘Baro’ Ferret Ferret Ex 2: Pierre 'Baro' Ferret

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7 7 œ œ 8 7 5 7 8 j œ œœ œ œ ˙~~~ b œ 2 5 4 œ œ b œ n œ œ œ b 4 laFertin ∑ ...CONTINUED Œ œœœœœ cd track 61 ExAMplE &3 FaPy #œ œ œ œ œ 2 xxxxxxxxxx 2 xxxxxxxxxx œ #œ D7 œ œ œ Gmœ6 œ œ œ Ex 3: Fapy Lafertin œ ˙~~~ Ex 3: Fapy Lafertin b ‰ œ # œ œ œJ ‰ n œ ‰ œ ‰ œ œ # œ œ œ n œ œ œ œ œ œ 10 6œ œ œ # œJ ‰ J ‰8 D 7 G m 6 8 10 & b ©»™º• J J œ D7 Gm 6 Swing J Swing ~~~ 5 7 8 7 6 7 œ# œœ 7 7 j 7 œ œ œ œ ˙ 4 7 8 7 5 7 8 b œ 4 œœœ œœœ œ ∑ Œ 2 5 3 6# œ œ œ œ œ b œ n œ &b 4 œ œ œ 11 13 11 10 #œ œ 10 13 D8 7 7 Gm 611 12 7 6 7 10 9 8 8 7 6 7 10 9 8 11 œ 10 8 7 7 10 œ œ œ œ œ œ 12~~~ œ 10 10 10 96 6 œ œ # œ b n œ œ œ n œ œ œ 8 10 8 œ œ œ œ œ ˙ & b ‰ J # œ J ‰ J ‰ J ‰ # œ44 77 55 77 88 77 œ 66œ 77œ œ # œ œ 8 œ77 88 J77 ‰55 77 88 77 10 77 J8 ‰ 3 6 E B G D A E

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4: Boulou Ferré

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LEArNiNG ZONE

DJANGO’S LEGACY ExAMplE 6 stochelo rosenBerG

cd track 67

3 3

3 up-down-down-down picking pattern is frequently used in gypsy jazz. This We3 saw it last month as used by Django and here we see Stochelo’s take. The Ex 6: Stochelo Rosenberg trick toStochelo maintainRosenberg a clear 16th-note rhythm and not fall into a lumpy tripletExis6: 3 6: Stochelo Rosenberg Ex

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E E E BB B GG E DD G B A D A E GE A E 1 B D E 1 A 1 G D E A 1 E 1

feel sweep. Aim to let each first-string note ring for as long as possible, while you can cut the underlying harmonically defining notes on the lower strings a little short to aid articulation and delivery.

14 14 14

14 12 12 14 14 12 12 12 12 10 10 12 12 10 10 12 12 14 12 12 12 14 11 14 12 11 12 12 10 12 10 10 10 12 9 12 10 9 10 1214 12 12 1212 14 12 1114 12 12 1112 1012 10 11 1010 12 9 12 10 10 9 10 12 11 10 1212 1212 12 11 1211 1110 1110 10 9 10 9 14 12 14 12 12 12 14 12 14 12 12 12 12 11 12 10 11 10 12 10 12 10 10 10 12 12 11 11 10 10 9 9 14 12 14 12 12 12 14 12 14 12 12 12 12 11 12 10 11 10 12 10 12 10 10 10 12 12 11 11 10 10 9 9 12 12 12 12 11 11 10 10

≤ ≤≤≥≥≥≥≥≥≥≥≥≤ ≤≤ ≥≥≥≥≥≥≥≥≥ ≤≥≥ ≥ ≤ ≥≥≥ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œ œœœœœ œ ≤œ œ≥œœœœ≥œœœ≥œ ≤œœœœ≥œ ≥œœœ≥ œnnœœœœœœœœ œ œœœœœœœœ œœœœœœœ œœœœ # # &# ### œ œœ œ œ œœ œ œ œœœ œ œ œœœ œ œ œœn œ œ œ œœœ œ œ œœœœœœ œ œœœœœœ & A7sus4 A7sus4 A7sus4

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E 10 10 9 9 9 9 7 7 9 9 7 7 7 7 5 5 7 E 10 10 9 810 89 9 9 9 79 9 7 7 77 7 9 9 69 9 7 7 67 7 7 7 57 7 5 5 55 5 7 7 E BB 10 9 98 8 98 8 77 7 77 7 7 66 76 6 65 5 65 5 B GG 9 9 7 7 7 7 6 6 E GDD 10 9 10 9 9 9 9 7 9 7 7 7 9 7 9 7 7 7 7 6 7 5 6 5 7 B AA D 8 8 7 7 6 6 5 5 E E G AE 10 9 10 9 9 9 9 7 9 7 7 7 9 7 9 7 7 7 7 6 7 5 6 5 7 4 B D 4 E 8 8 7 7 6 6 5 5 A 4 G 9 9 7 7 7 7 6 6 D E Ex 7: Angelo Debarre 4 A Ex 7: Angelo Debarre E Ex 7:how Angelo Debarre Here’s Angelo might approach a blues in G minor. We following sequence all against G Gm 6 see evidence of 4 Gm 6

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lesson: jazz

ON THE CD

TraCks 57-73

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4 xxxxxxxxxx ExAMplE 8 Jimmy rosenBerG

cd track 70

4 xxxxxxxxxx Here we see Jimmy in a relaxed although beautifully romantic mood, Ex 8: 8: Jimmy Jimmy Rosenberg Rosenberg Ex Ex 8: Jimmy Rosenbergwith decoration. The skill here is in the clarity of 4 xxxxxxxxxx again featuring arpeggios execution. Each of the numerous triplet embellishments needs to really jring

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lesson: acoustic

ON THE CD

Glen Campbell Continuing his search to uncover the greatest acoustic guitarists Stuart Ryan examines the burning style of a legendary country picker. Glen Campbell: the first player to endorse Ovation

TraCks 74-76

his playing with The ‘Alabama Wildman’ Jerry Reed and you’ll see what I mean! Born in Pike County, Arkansas on April 22nd, 1936, Campbell learned how to play guitar from an uncle. He moved to LA and spent the 60s working as a studio guitarist and solo artist signing with Capitol Records in 1962. After initial solo offerings failed to generate the needed hits it looked like his solo career may falter. However, 1967’s Burning Bridges album spawned several hits including the album’s title track. The following year his version of Jimmy Webb’s Wichita Lineman was a huge success and cemented Campbell’s position as a serious solo artist. The hits continued to come in the 70s with the single rhinestone cowboy shifting a staggering two million copies.

I would have been content to just do studio work. Making it on my own never really entered my mind. Glen Campbell

Moderate Info

WIll IMprove your

Key: G Tempo: 223 bpm CD: TRACKS 74-76

Country rhythm playing Alternate picking Melodic country soloing

You will certainlY have heard of Glen campbell, but you might not know what a fabulous guitarist he is. one of the most prolific session musicians in America in the 60s he played on scores of hits that belong to the pantheon of modern classics – it’s his gentle acoustic strumming on Frank Sinatra’s Strangers In The Night and on The Righteous Brothers’ That Loving Feeling. He

also featured on many of The Beach Boys’ tracks and worked for Nat King Cole, Phil Spector, Elvis Presley and many others. In the 60s he was part of the famous ‘Wrecking Crew’ team of session musicians and his achievements during this time would have left many a guitarist feeling that they had reached the apogée of professional achievements. However, Campbell was only just getting started and went on to have a glittering solo career that spawned 73 Top 40 hits and even saw him outsell the Beatles in 1969. with over 50 million album sales to his credit it’s fair to say that Glen campbell is a true guitar legend. What’s more, he was able to more than hold his own against some of his most gifted picking contemporaries – just check out

NeXT MoNTH: Stuart looks into the acoustic playing of George Harrison

Get the tone 2

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Glen Campbell was most often seen with an Ovation (my first acoustic!) and the company created a limited run Signature model. Any good acoustic will work well for this - I recorded it on a Gibson J-35 Collector’s edition.

Track record His 1968 release Wichita Lineman contains the stunning title track and there are many great performances on YouTube – check out the versions of Gentle on My Mind for some burning licks and Southern Nights for his collaborations with Jerry reed. or listen to Sinatra’s Strangers In The Night or The righteous Brothers’ That Loving Feeling, to hear some of Glen’s top session tracks.


© Retna/Photoshot

ABILITY RATING

Campbell’s idiosyncratic guitar style is evidence of his wide ranging studio career where an ‘everything goes’ approach to the instrument would have been essential. You’ll hear plenty of country but also be-bop and Django-infused licks alongside bluesy phrases. His highly individual style does make demands on you as a player as a typical Campbell guitar part can feature anything from chicken pickin’ to high-tempo alternate picking. A superb rhythm and lead player I’ve elected to look at his strumming style and his lead approach. Sadly, Glen announced in 2011 that he was suffering from Alzheimer’s disease and after a farewell tour he retired from music. If you are looking for a lesson in taste and technique then you don’t have to look much further than Glen Campbell.

learning Zone

glen campbell ExAmplE Glen Campbell rhythm

cd track 74

[Rhythm part: Bar 1] These chords aren’t too much of a challenge though the famous intro to Stairway To Heaven! Owing to the inner voice ascending the tempo is quite brisk, so make sure you keep the strumming hand relaxed on the third string I’ve written a suggested fingering for these chords. and loose TECHNIQUES throughout. In a session get it right first time! [Rhythm part: Bar 15] Embellishing chords with quick bass runs is very GUITAR 2 4 4 Glen would have to Stuart's Acoustic [Rhythm part: Bar 9] moving inner voices within chords is an old common in country, but just ensure that you can get the hammer-on even GLEN CAMPBELL STYLE songwriter’s trick that was especially common in the Broadway days – and dynamically, and in time.

GUITAR TECHNIQUES 2 4 4 Glen Campbell - Rhythm

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lesson: acoustic

ON THE CD

TraCks 74-76

ExAmplE Glen Campbell Solo

cd track 74

2 [Solo: Acoustic Bar 1] Campbell is a master at beginning his solos with melodic

it’s typical of Campbell’s country/bluegrass approach to soloing. [Solo: Bar 9] This phrase shows how he is always aware of the underlying chord movement and crafts his solo accordingly. Note how this motif is developed to accommodate the changes in the A minor chord throughout.

fragments and this G major pentatonic lick is an example of how he will start with space and melody before exploding up the fretboard! Bar 5] A great picker, this run is just an ascending G major scale but 2 [Solo: Acoustic

Glen Campbell - Solo 2 Acoustic

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lesson: rockschool

ON THE CD

TraCkS 77-86

Reading Music Part 12

Dynamics & Articulations


In this lesson Charlie Griffiths explains how you can be more emotive or groovy when you apply dynamics and articulations to your music. the diverging lines. the diminuendo is the opposite of a crescendo and is sometimes called a decrescendo. It is also shown as a hairpin, but with the pointy end towards the right. With diminuendo the music should start loudly and gradually become quieter. Often certain notes within a passage or riff are stressed more loudly than the others. this is comparable to our speaking voices in that we stress the important words slightly more than the less important ones. these variations make for a more interesting listening experience. In music we refer to those individual louder notes as ‘accents’ and are indicated by small V

The first method of denoting the volume of a piece or a section is by using the letters p and f - piano and forte, or loud and soft.

Dynamics can be applied to chords as well as lead playing

ABILITY RATING

Easy Info Key: Various Tempo: 60 bpm CD: TRACKS 77-86

WIll ImprovE your Notation reading Fretboard knowledge Employability!

It Is unusual for a piece of music to be played entirely at the same level of intensity and volume throughout. some parts may be played strongly and loudly while other sections might be more suited to a lighter, more sensitive touch. these changes in volume are called dynamics and they can be marked on the score in a number of ways. The first method of denoting the general volume of a piece or a section is by using the letters p and f. these are the initials of the


words piano and forte; ‘p’ means soft and ‘f’ means loud, and these can be applied to the guitar by picking softly or harder to produce different levels of volume. Varying degrees of volume are indicated by adding more letters; pp (pianissimo) means even quieter and ff (fortissimo) means even louder. the letter ‘m’, short for ‘mezzo’ can be used in conjunction with these indications and means moderately. Mezzo-piano or ‘mp’ means moderately soft and represents your normal playing level. a crescendo is a gradual increase in volume over a designated time. It is shown as a long hairpin shape beneath the stave with two lines converging on the left and getting gradually wider apart as they travel right. start quietly at the beginning of the hairpin and increase the volume incrementally and evenly until the end of

shapes rotated 90º left which are placed either above or below the note-head in question. a very loud accent is shown as a completely inverted V shape. staccato means that the notes should be played in a ‘broken’ fashion, with each note separated from the next by a moment of silence. this essentially means that there are rests between the notes, but the lengths of those rests are not specified on the notation. Each note is simply written at its full value and a small dot is placed above or below the note head. these dots aren’t to be confused with ‘dotted notes’, who’s dots are placed to the right of the note head. the length of space you leave in between notes is up to your artistic interpretation of what sounds good to you, but generally staccato notes are played as short as possible. the following examples demonstrate these dynamics; play through each slowly, making sure that you are playing the directions accurately. use the backing tracks provided, or a metronome and focus on staying at the same tempo throughout. NEXT MONTH: Charlie concludes his 14-part series on Reading Music

learning Zone

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Charlie Griffiths

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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

The ArisTocrATs

CuLTuRE CLASh LIVE! Boing! Music HHHHH

Collectively known as The Aristocrats, Guthrie Govan, bassist Bryan Beller and drummer Marco Minnemann spent over a year on the road bringing their album Culture Clash to the world by playing 105 concerts in 28 countries. Now you can relive the show if you saw them, or get a good taste of it if you didn’t, on this excellent sounding CD plus a bonus DVD. Five shows were videoed but technical issues prevented any single concert being used so instead you get a look at the guys from different gigs and different angles, thanks to ‘onboard’ cameras, split screen usage, audience and on stage shots; naturally the sound alters a bit too but it’s all of a good quality. The playing proficiency of all involved is exemplary and this is a rare opportunity to see them as well as hear them. Each track is highly individual and full of musical twists and turns, none more so than the excellent Get It Like That, which is full of contrasts allowing Guthrie to use just about every fret on the guitar - just as it should be. These guys are scary as well as inspirational, but more importantly they are fun to watch, so although the DVD is billed as a bonus it’s a great addition and only three tracks are the same performances as on the CD.

whammy bar derring do aplenty. But the one thing sets this DVD apart from other fretboard smouldering outings is Steve’s infectious enjoyment of being out there, playing for people. In fact some of the joys of touring are catalogued on the second DVD where a section entitled Tour Mischief begins with the band in rehearsal mode; it also features highlights including audience interviews and sundry concert footage. It’s well shot, sounds great and is bags of fun!

Mylets

ArIzonA

Sargent House HHH We currently live in an Aladdin’s cave of effects pedals with a seemingly endless stream of products offering just about every sound imaginable. Far from daunted by what’s available guitarist Henry Kohen, armed with a variety of units, sets up loops, vocals, harmonies, keyboards and rhythm tracks as he positively dances around the stage to produce a full band sound that is totally convincing. Nothing is pre-programmed; it’s as live and organic as any band, and Arizona is the album that will bring Kohen’s abilities to the masses. There’s a surprising variety of song structures here which is pretty amazing when

a tight band that is obviously totally committed to their unique sound. The result is an entertaining and exciting album so if you fancy something way out of the ordinary then give this a try!

steve vAI

sTIllness In MoTIon – lIve In lA

And so I WAtch you FroM AFAr

REVIEWS BY ROGER NEWELL

heIrs

Sargent House HHHH This is And So I Watch You From Afar’s fourth album and it’s a strong contender. With 30 potential tracks written during a six-month period in Belfast it’s no wonder that the 10 included on Heirs are exceptional. Run Home kicks things off and sounds like The Police on crystal meth! This is a forceful and melodic set that explores several moods and genres. We particularly like Wasps with its heavy driving rhythm and stadium sound quality. It’s by no means a long track but boy does it deliver. Guitarist Rory Friers has a magic touch that often leads things, with good chordal structure, sometimes layered in harmony then interlaced with superfast licks. This is

Legacy HHHH This is Steve Vai’s first release under the newly formed Legacy/Sony alliance and comes in the form of a choice of double disc packages: either twin DVDs or a double CD. Taken from a live gig recorded in October 2012 during Steve’s Story Of Light tour, the concert features newer material as well as staples like The Animal and For The Love Of God. Needless to say, the playing is an exuberant display of fretboard wizardry from the outset, with Vai powering his Jem into stratospheric feats of virtuosity with tapping extravaganzas galore and

you consider how the songs are constructed. If you use pedals then this guy is nothing short of inspirational. Needless to say you need to see him live, but until then this a great album.

Joe BonAMAssA

Muddy Wolf AT red rocks

Provogue HHHH For this double DVD Joe takes a visit to the Mississippi Delta, trying to get the essence of what it was that made it the breeding ground of so many great blues players. Robert Johnson, Son House, Howlin’ Wolf and Muddy Waters were raised on the plantations where picking cotton by day and playing blues at night was the norm. The fantastic Red Rocks Amphitheatre plays host to this concert where Joe performs with a big band rather than his regular players and, as the title suggests, features the music of Muddy Waters and Howlin’ Wolf. So expect classics like You Shook Me, Spoonful and namy others. It’s a well-staged affair that has video

inserts of both legendary players. Just when you think the event is over Joe returns to present some of his own material to make a great concert even better. The 9000-strong crowd certainly appreciates it and so will you, as the sound is great and it’s brilliantly filmed so you really get the atmosphere both on and off the stage. The second DVD features vintage footage of Wolf and Waters and the background to the concert. The soundtrack is also available separately as a double CD. Fantastic!

Wes MontgoMery

In The BegInnIng

Resonance Records HHHH Wes Montgomery was a guitar legend in every sense. He had a unique and infectious way of playing that made jazz guitar accessible to the masses, from novice listener to hardened fan. He sadly passed away in 1968, and finding previously unreleased Wes material is a very rare thing. But here we have several live performances from the infamous Turf Club in Indianapolis from 1956, plus other live shows and some rediscovered recording sessions from 1949 and 1955, produced by Quincy Jones. The live material is surprisingly good quality when you consider the technology available at the time, and the performances are brilliant. The studio material (some of which is written by Wes) is quite simply fantastic and naturally just recorded as takes with none of the overdubbing or editing that we get today. Some of these tracks feature his brothers Buddy and Monk on piano and double bass respectively. This two-disc CD digipack also includes a 55-page booklet with recollections of Wes and the Turf Club along with exclusive photographs, making it informative as well as a rare and wonderful opportunity to experience the joy of his playing. Look out for the vinyl release too - something of which Wes would definitely approve!


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Yakety Axe

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Aquarium

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Bridget Mermikides arranges and transcribes a standout piece from Saint Saens’ Carnival Of The Animals.

The incredible American guitarist shows yet more of his soloing secrets in this final essential masterclass for GT!

Grateful Dead, Allman Brothers, Phish and more...

play like the jam bands! Milton Mermikides explains how you can play extended bluesy improvisations in the styles of these legendary American bands!

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other great lessons Jimmy Vaughan

Play like this Fabulous Thunderbird!

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The Who

Phil Capone’s final British R&B lesson

Bucky & John Pizzarelli

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Two great jazzers for the price of one!

George Harrison

The quiet Beatle’s acoustic style revealed

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plus all this… Classic Steppenwolf style, 30-Minute Lickbag, sight reading, arpeggio picking - and much more!

will be happy Your local newsagent ques for you hni Tec tar Gui er ord to t trip into each month. Save tha fantastic town and get to those and transcriptions, lessons exclusive video classes even quicker!

july 2015 issue oN sale friday 12th juNe Please note: content is subject to change…

98 GuitarTechniques August 2012

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244. Guitar Techniques - June 2015

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