Beginner Guitar Lessons- What You Need to Know

THE FINEST GUITAR LESSONS ON THE PLANET! 250 DECEMBER 2015

take the challenge!

blues-rock bootcamp Beef up your blues-rock muscles and get your fingers fit with our ultimate Pentatonic workout!

HYBRID PICKING Master the style that

New Look! Updated layout Clearer design

many say is the best of all picking worlds

transcribed

Classical

Learn ’O Sole Mio, aka the Cornetto advert!

style studies

DOKKEN

With George Lynch

CHRIS REA

Classy British bluesman

SYSTEM OF A DOWN Off-the-wall US metallers

classic tab!

JOE SATRIANI

Always With Me, Always With You

Learn one of Joe’s most beautiful instrumentals

ALlAN HOLDSWORTH Undisputed jazz-rock genius

RICHARD THOMPSON

Learn his brilliant acoustic style

ISSUE 250 } DECember 2015 Just some of your regular GT technique experts... richard barrett One of the best players around, Richard is adept at most styles but truly excels in the bluesier side of rock. He currently plays with Spandau’s Tony Hadley.

Shaun Baxter One of the UK’s most respected music educators, Shaun has taught many who are now top tutors themselves. His Jazz Metal album is considered a milestone.

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

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

les davidson Les has worked with Mick Taylor, Rumer, Jon Anderson, Pete Townshend, Tina Turner & more. He also runs a recording studio and teaches at BIMM London.

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

phil hilborne The UK’s original magazine guitar tutor, Phil’s something of a legend. A great player, he’s currently touring Europe with the Champions Of Rock show.

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

the finest guitar tuition you can buy!

Welcome IF YOU’RE LIKE me you’ll own a few guitars. It just happens, really: a desire is awakened for, say, a Tele when really you’re a Les Paul kind of guy and, before you know it, there’s another case vying for space in the house, studio, bedroom, etc. Jason Sidwell, Stuart Ryan and I call it ‘getting the worm’ – like an ear worm of a song you can’t get out of your head, only with guitars. I mention this purely because I dug out my ES-335 the other day (the one in this picture) as I simply fancied playing something different to my P90 Goldtop or maple-necked Strat that have been my main squeezes lately. Everything changed: amp settings, pedal controls, gain structure and whatnot that I’d set up for these other guitars, all went out of the window. But I had a ball playing it, and in some ways it made me sound rather better. That then got me wondering: suppose GT readers put away their favourite practice guitar – the

one they play best on – and pulled out something a little off the wall to go through this month’s issue? For instance, do you still have the instrument you learnt on? Or is there something lurking under the bed that hasn’t seen the light of day for yonks, that could do with a restring and a bit of TLC? If not a guitar, how about revisiting an old pedal (I also did this with an old Japanese Boss Blues Driver that I’d not even set eyes on for 15 years. It sounded brilliant!). The point behind this seemingly mindless waffle is that the different sound, or the feel of an unfamiliar neck, can get the head in a different space, and perhaps inspire one to push on; you know, knuckle down to the sound of a new you. Try it, and let me know how you get on! See you next time...

Neville Marten, Editor [email protected]

Don’t miss our amazing digital edition Guitar Techniques’ digital edition is now even better!

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

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.

COVER PHOTO: OLLY CURTIS

iain scott Music tutor and session guitarist, Iain has played with a host of big names, including Brian Wilson. He teaches at The Institute and runs his own studio.

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

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

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

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

December 2015

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CONTENTS • C ON T E N T S • DE C E M B E R 2 015 • LEARNING ZONE

Do you know the five Pentatonic shapes? And can you play them fluently?

Lessons Introduction

51

30-minute lickbag

52

GT’s music editor Jason Sidwell introduces another feature-filled lessons section. BIMM’s Pat Heath has six more great licks at easy, intermediate and advanced levels.

blues

54

rock

58

CREATIVE ROck

70

choRD CAMP

76

HARD ROCK

78

jazz

82

Acoustic

88

music reading

92

Les Davidson looks at the man from up North with his heart in the deep south: Chris Rea. Martin Cooper dissects the heavy riffs and odd time signatures of System Of A Down. Shaun Baxter take a different look at the Pentatonic scale using three notes per string. In the first of a brand new series aimed at building your skill set, Iain Scott looks at major and minor chords.

Say hello to Mr Scary as Charlie Griffiths picks apart the guitar style of US metal heroes Dokken and their main man, George Lynch. John Wheatcroft tips his hat to the incredible soloing style of Allan Holdsworth.

COVER FEATURE blues-rock bootcamp

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Fifty years of fingerstyle virtuosity and Richard Thompson is going strong, says Stuart Ryan.

Get to grips with the five shapes of the guitarists’ stalwart: the Pentatonic, and arm yourself with some very cool new riffs

FEATURES

Welcome

Nev picks his way through another editorial.

JOE SATRIANI Always With Me, Always With You 24 Steve Allsworth guides you through this space-age classic as it, unbelievably, reaches its 30th birthday. An iconic track from Satch that reveals his flawless technique and touch.

34

COVER PHOTO: OLLY CURTIS

In the final instalment of Phil Capone’s series, he looks at how to use both pick and fingers to create an incredibly versatile technique.

6

Intro

8

You tell us what we get right – and wrong!

NIGEL PRICE, Part 4

62

In the final instalment of this wonderful series, the talented jazzer looks at the minor blues.

60 Seconds, Session Shenanigans, One-Minute Lick, That Was The Year, Jam Tracks and more.

Subscriptions

68

BACK ISSUES

94

Missed a copy of GT in the last six months? See how you can get it here!

Albums

95

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

USER GUIDE

transcription #2

3

talkback

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SPECIAL feature #2

Eduardo Di Capua O Sole Mio

VIDEO CLASS

REGULAR FEATURES

transcriptIon #1

SORT YOUR PICKING PT3 Hybrid picking

Charlie Griffiths injects some metal into the manuscript by reading below the stave.

96

Get more from GT by understanding our easy-to-follow musical terms and signs.

44

Bridget Mermikides transcribes a quintessential piece of Neopolitan pop opera that was made famous by Elvis and Cornetto!

Next Month

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Clapton, Green and Taylor: John Mayall’s guitarists; Pat Metheny’s Have You Heard; Pentatonic Boot Camp, part 2, plus much more.

November 2015

5

TalkBack Post Guitar Techniques, Future Publishing, Ivo Peters Road, Bath, BA2 3QS. Email [email protected] using the header ‘Talkback’. DYING SWAN?

GARY MOORE

I was looking forward to Bridget’s transcription of The Swan and then I saw the queer key she had chosen. Have most people got the time to detune five strings from standard tuning, never mind the repercussive out-of-tuneness problems on cheap guitars when going back to normal tuning. So here’s my tip for anybody tackling this: play it in E major by tuning the A to B and the G to G#. Life’s too short! Alan Beecroft

Thanks so much for running a tab of Parisienne Walkways (GT249). And also thanks for the extended outro solo – I may even have been at the gig where he played that very take! But do you realise it’s almost five years since Gary died? We lost him on 6 February 2011 and I was wondering if you’re planning anything special to remember him by? He’s surely one of these islands’ greatest ever guitarists and deserves a bit more praise than he gets – IMHO. Derek Martin

MORE RHYTHM PLEASE! Firstly, let me thank you for a great magazine. I subscribed to GT about a year ago to help me progress musically and technically, and since I’ve been reading it I definitely have. I’ve been playing a bit of guitar for years but only seriously for the last couple. I’ve noticed in the magazine that there is naturally a lot of focus on lead playing but less on interesting rhythm parts – some of the genius of the best players seems to be their ability to play simultaneously interesting and unobtrusive parts that work in the context of the ensemble. What I’d love to see would be a few different rhythm parts and progressions focusing on chordal playing in different styles, especially some examples that 06

December 2015

thanks for running tab of gary moore’s track parisienne walkways and long outro solo would be useful for jazz, where I personally struggle with interesting voicings. There was a feature on soul chords I found invaluable in February and would love to see something similar in other genres. Even transcriptions of the basis of some of your excellent jam tracks would be welcome! Alex Leigh It’s certainly true that we cover a lot of lead playing and the techniques and theory required to become a proficient or even great player. This is mainly because of all the styles we cover. But over the years we have also looked at chords and rhythm in some pretty hefty features. In fact, last month’s Blues Shuffle contained at least as much rhythm as lead. Stuart Ryan did a great article in issue 193 on comping in a trio. Then there was the Ultimate Rhythm Guitar lesson

in issue 202; and in 206 we covered Western Swing. John Wheatcroft wrote a superb feature on jazz comping and big band playing in issue 222; and Jacob Quistgaard’s feature on sophisticated chord progressions in issue 227 is definitely worth a look. Milton Mermikides did a great Bossa Nova feature in GT237 too. Sadly, our back issues only go back six months so try ebay as there’s a surprising market in old GT copies. As it happens, this month we also begin a new series on chords – I know it’s not rhythm, per se, but it should prove invaluable to your chord repertoire as each lesson endeavours to put the chords into context. Also, Nigel Price’s recent video series is a cornucopia of great jazz comping as well as soloing. So, looking at it, we’re not that bad on the old rhythm front. That said, I do take your point.

We weren’t planning anything commemorative, but our sister magazine Guitarist will indeed be running a great feature on Gary. I won’t spill their beans as that’s not my right but, suffice it to say it’s going to be the best coverage of this great and much missed musician that you’ll see anywhere! So keep those eyes peeled!

ACOUSTIC BLUES? I know you have a monthly acoustic column in which Stuart Ryan sometimes covers blues. He also did a short series on old blues guitarists. But the ragtime examples in your recent blues shuffle piece, got me thinking that it’s time for a bigger feature on the subject; something like the excellent Four Levels Of (electric) Blues that you did in issue 240, only for acoustic blues players? Now that issue I would buy! Michael Donnolly We were discussing this just yesterday and came up with exactly that solution, Michael. As Richard Barrett is a fine acoustic player, and superb at all styles of blues, we thought we’d ask him to do it. It will be a cover feature too, so look out for a pearl-inlaid Martin 000-42 gazing out at you on the newsstand in a few issues’ time!

DALLE / PHOTOSHOT

Bridget replies: Alan, your way would also need the D tuned up to an E, as well as the A to B and G to G#. I don’t mind tuning the G up to G# but I don’t want to tune the A and D strings up a whole tone; it’s too much tension for a classical guitar. With my tuning you don’t tune any string more than a semitone away from its standard note and mostly it’s a semitone down – three go down and two go up. Yes, it’s a slight faff but it’s not the end of the world... and it sounds great!

Intro INSTRUMENTAL INQUISITION! Instrumentals have supplied some of guitar music’s most evocative and exciting moments. We asked some top guitarists for their take on this iconic movement. This month: Be-Bop Deluxe and solo artist, Bill Nelson

MICHAEL PUTLAND / GETTY IMAGES

GT: What is it about guitar instrumentals that appeal to you? I’ve loved instrumentals since taking up the guitar at 10 or 11 years old. It was Duane Eddy, The Shadows and The Ventures that inspired me to play. I was drawn to the atmosphere of guitar instrumentals and the fact that there wasn’t a pesky singer getting in the way! Electric guitars sounded like liquid chrome to me. GT: What can an instrumental provide that a vocal song can’t? A certain ambiguity, an enigmatic quality, a chance to interpret mood without the lyrics dictating a specific interpretation. GT: Anything that you aim to embrace or avoid? Instrumentals can be as wild or as straight as you want, so I take an ‘anything goes’ approach. GT: Is it a typical song structure of intro, verse, chorus, verse? Instrumentals can conform to a typical song structure if that’s what you need, but because they’re unhampered by vocals, the sky’s the limit. GT: For guitar, how useful is studying a vocalist’s approach? I sometimes think in terms of vocal lines, leaving pauses where a singer would pause for breath. Other times I’ll put long lines together that couldn’t possibly be sung; John Coltrane and Charlie Parker’s ‘sheets of sound’ approach. Then I’ll go into more abstract realms, letting ideas flow in a torrent, without constraint. GT: Is there a typical writing approach or inspiration for you? It often begins with a drum or percussion base: ‘laying the carpet’ is how I think of it, then placing furniture in the room and moving it about until it looks good. You just put something, anything, in place to get a starting point, then react to that. I tend to take inspiration from areas other than music. It can be a title jotted 8

December 2015

Bill Nelson with his iconic Bepop Deluxe Gibson ES-345 guitar

down in my notebooks, something I’ve read, a scene in a film, a memory that conjures a mood. I just try to conjure up atmosphere and a sense of time and place. GT: What type of guitar tone do you prefer for instrumentals? I use a broad palette of tones; clean, jazzy, high-gain ones, reverse guitars, extreme filter and

it doesn’t matter which era or genre it is from, great music is without boundary

ring modulator effects, delays, reverbs, tremolos, E-bow, the whole range of possible guitar sounds. Sometimes I’ll make a reference to an historic guitar sound, to a particular era, but set within a post-modern context. GT: Favourite keys or tempos? I vary keys and tempos as much as possible. When creating an album I make it flow from start to finish, which means not putting tunes in the same key together, changing tempo from track to track, etc. GT: Do you find minor or major keys easier to write in? I favour major keys, probably because of my optimistic outlook. But I use minor keys when I need

a more melancholic or sinister feel. There’s no more or less difficulty in writing for minor or major keys. Things can be easy or challenging in any key. GT: Any favourite modes? Being a person who learned by ear, I shamefully admit that I wouldn’t know a ‘mode’ if it kicked me in the shins! So, no, I simply play what sounds right to me. GT: What about key modulations? That can be very effective when used to release previously set up tension. Then again, you can achieve a very trance-like effect by sticking with one tonal centre and letting the top line suggest changes. The ambiguity of not having a clearly defined harmonic centre can be very hypnotic. GT: What are your views on harmonising melodies? I do like harmonies on certain lines; it can add a richness and a different texture. GT: Three iconic instrumentals that have inspired you? Duane Eddy’s Because They’re Young features a strong guitar melody plus a string arrangement by Lee Hazelwood. I owe my career to hearing that track. Duane was my first ever guitar hero! I’d also have to cite a Shadows track, possibly Midnight, which I loved after seeing them perform live in Wakefield when I was still at school. Hank Marvin’s sound and touch made the simplest melody shine. Then there’s Chet Atkins who was inspirational to me in my early teens. He was a phenomenal and meticulous player... listen to Main Street Breakdown. It doesn’t matter which era an instrumental is from, or what genre it operates in, great music is timeless. Bill’s new album, Plectrajet is out now and can be bought direct from his website at www.billnelson.com

Intro

I

’d like to make it clear that I’m employing the word ‘journey’ in its traditional sense for the purposes of the modest entertainment that follows. I’m not a fan of the alternative use of this noun when deployed to describe a wannabe’s harrowing account of the battle to reach the pinnacle of showbiz Everest via any number of emotional obstacles. But enough of Simon Cowell. As it happens, I am no more enamoured of the misuse of words like ‘challenge’ or ‘workshop’. When I hear these words mangled in impolite society it’s as much as I can do to resist the urge to substitute a truss rod for a suppository upon the person in question. However. We digress. My point is merely that if one is minded to pursue this professional guitar pickin’ game, then prepare yourself for the long haul, in at least two senses. Back in the day when men were men and Gibsons were Hofners, there were studios on every corner, in every basement and even on the top floor of department stores in the West End. There were times when I felt like a regular commuter with a day job as I drove into town, parked effortlessly and inexpensively and played on two or three sessions per day. On one madcap Tuesday I performed on six one-hour commercials in six different studios. It’s all there in Bic, in my week-to-view diaries. Suffice it to say that times have changed. These

Ardingly, Sussex. 75 miles of mortal motorway combat. The inevitable M25 accident and I’m late for a 10.30 start for my own project with the lovely Russell Stone. Embarrassment is tempered only by the fact that our percussion player is delayed too. Wednesday: 6am. Up with the lark, who is apparently booked on backing vocals somewhere. Drive to Islington for a 9am TV session at Angel studios. This series is the one about the sleuthing cleric. Obviously. I emerge at 1 ‘o clock. I look back at Monday’s feeling of being done in with nostalgia. Thursday: The John Altman Big Band with James Tormé at The Palace Theatre, Southend-On-Sea. The M25 has been biding its time all week. And now it puts the boot in. I sit in a sea of metal for two hours. I wait as long as I dare before making the call. “Don’t worry. The band’s all here. Except there’s no rhythm section. Or singer. We’ve gone to the pub. Just get here when you can.” The sound check was at 4pm. I arrive at 6pm. We rehearse for 10 minutes. I sight read the gig. I meet Peter Green, who is in the audience. At this point in the week, I’m actually beginning to think I’ve morphed into a sales rep that happens to keep particularly funny hours. It could be worse. At least I don’t actually flog toothbrushes.

Mitch Dalton’s

Session Shenanigans

The guitarist’s guide to happiness and personal fulfilment. This month: J is for ‘Journey’ at the Kent coastline and ponder the meaning of it all. I arrive at the composer’s rustic residence and overdub my performance for the last episode in the current TV series. The one about the GP who is named after a popular brand of footwear. I’m quick, I will say that. I plough through it all in an hour and a half and... that’s it. Back in the car. Another 100 miles later I’m home. Done in. Tuesday: Up at 6am. Drive to Curtis Schwartz’s Studio in

days you’d be wise to invest in an alarm clock fed through a Marshall 4x12 cab, a comfortable set of wheels and a catering pack of patience. Here is part of a not untypical week from last month. Monday: Up at 5.30am. Emergency caffeine and off to a picturesque village on the outskirts of Canterbury. M25. Dartford Crossing. A2. M2. One hundred glorious miles of tedium and occasional terror. I stop in Whitstable for breakfast. I gaze out

Mitch Dalton is one of London’s most sought-after musicians. More info at: www.mitchdalton.co.uk

ONE MINUTE LICK - by Phil Hilborne Phrygian Arpeggio Lick P D ADominant LICK

PHIL HILBORNE’S ONE-MINUTE LICK

GUITAR TECHNIQUES MAGAZINE 2 5 0

Here’s an alternative way of harmonising the Phrygian dominant scale. In ascending order, the harmony of Phrygian Dominant is: major/dominant 7, major, diminished, minor, diminished, augmented, minor. I have retained the first, second, fourth and seventh chords but changed the third and fifth to major/dominant 7 and the sixth to minor. This avoids diminished and augmented arpeggios and results in a great sounding (and easier to play) arpeggio sequence. Yngwie Malmsteen, Vinnie Moore, Jason Becker and Tony MacAlpine use similar ideas. Keep the sweeps clean and in-time – palm-muting will help, but don’t rush ahead. Methodical practise is the key to mastering this.

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December 2015

9

Intro 60 SECONDS with…

A minute’s all it takes to find out what makes a great guitarist tick. Before he jumped into his limo for the airport we grabbed a quick chat with legendary blues, jazz and fusion player, John Scofield GT: Do you have a type of pick that you can’t live without? JS: No. I use regular music store picks, normal sized and heavy. GT: If you had to give up all your pedals but three, what would they be? JS: Tuner pedal cause I need to tune up, RAT pedal and wah-wah. GT: Do you play another instrument well enough to be in a band? JS: There are a lot of really bad bands out there so, yes. I can play very mediocre bass and technically lousy drums but my time is okay. I’ve played bass before on one of my records. GT: If a music chart were put in front of you, could you read it? JS: Yes. Read it; write it. I am proficient in music as a language. GT: Do guitar cables really make a difference? What make are yours? JS: I use VOVOX cables and they are better than others. GT: Is there anyone’s playing (past or present) that you’re slightly jealous of? JS: For sure, but almost all of them play saxophone. GT: Your house/studio is burning down: which guitar do you choose to salvage? JS: Oh, what a thought. I don’t know. I have my AS-200 that I can’t imagine living without but also a few others that are way more valuable. What’s the choice? Love or money? GT: What’s your favourite amp and how do you set it? JS: I am amp fickle. I fall in love so easily, and out again. Like all guitarists I guess, I turn it way up. GT: What kind of action do you have on your guitars? JS: Medium. GT: What strings do you use? JS: D’Addario 12, 16, 20(P), 32, 42 10

December 2015

John Scofield: ‘Proficient in music as a language’

52. And sometimes a set of 10s to rock out.

GT: Who was your first influence to play the guitar? JS: The Kingston Trio. GT: What was the first guitar you really lusted after? JS: Fenders, but I couldn’t afford them at age 12. GT: The best gig you ever did? JS: I have no idea. Happy to say that I have loved many and all for different reasons. I couldn’t even narrow this down to the best band or project over my career so far. I really enjoy what I do.

GT: Do you still practise? JS: Yes, but we Americans spell with a C. I pretty much practise every day. Mostly just playing but I play to write and play to keep my hands going on non-gig days. Playing is a ‘use it or lose it’ situation like many other things. I practise along to a play-along record called Good Time – featuring Adam Nussbaum on drums. I turn off the bass track and play standards. GT: Do you have a pre-gig warm-up routine? JS: Generally, we call it dinner.

GT: And your worst playing nightmare? JS: If the drummer isn’t really good, the music isn’t good.

GT: If you could put together a fantasy band with you in it, who would the other players be (dead or alive)? JS: I’m living my fantasies.

GT: What’s the most important musical lesson you ever learnt? JS: Practise makes perfect – or at least better.

GT: Who’s the greatest guitarist that’s ever lived? JS: Not me. I don’t know who. Guitar is impossible.

i am amp fickle. i fall in love so easily, and out again. like all guitarists, i turn it way up.

GT: Is there a solo you really wish you had played? JS: I make my students memorise Lester’s Young’s solo on Lady Be Good. You can find it on YouTube. GT: What would you most like to be remembered for? JS: I won’t care at all because I will be dead. GT: And what are you up to at the moment – tours, album, etc? JS: My new album Past Present came out 25 September on Impulse. I’m really proud of it and it features some of my longtime colleagues and friends: Joe Lovano with drummer Bill Stewart and bassist Larry Grenadier. We’re touring it now in the States and Europe. I also have a duo with singer/keyboardist Jon Cleary and we have a few USA shows in December. Next year, will mean a new recording with a different group and concept. I’ll be touring a particularly special project next summer with [jazz pianist] Brad Mehldau and there are always ‘jam’ gigs here and there with Phil Lesh, Govt Mule, etc.

That Was The Year...

Intro

2004

Diana, Danos, And Dancing

DANELECTRO BRING OUT three Wasabi

pedals with a distinctively 50s look but a 21st century delivery. Offering distortion, overdrive and delay, the three pedals are well equipped with controls and linking facilities and all for a reasonable outlay. No wonder they’re causing a stir.

ItALIAN-BUILT BRUNETTI AMPLIFICATION

arrives in the UK with an impressive combo built in Modena, where Ferraris are made. Just like the cars, the MC2 is a very stylish production. Valve driven with solid-state rectification it has a power rating of 60 watts and offers three channels and a five button foot switch, which is essential to access all the features it has to offer. With a single Jensen 12-inch speaker this baby is seriously loud.

STRICTLY COME DANCING AIRS FOR THE

first time and is won by BBC newsreader Natasha Kaplinsky and her dance partner Brendan Cole. Peppa Pig premieres on Channel 5, football matches are reclassified with Division 1 becoming the Football League Championship and the others becoming Leagues 1 and 2.

PRO-HUNT CAMPAIGNERS BREAK INTO THE House of Commons but it doesn’t prevent the Hunting Act 2004 banning fox hunting in England and Wales being passed. £26.5 million is stolen from the Northern Bank in Belfast and it’s an important year for British architect Norman Foster as his designs for the Gherkin and Millau Viaduct are opened in London and France respectively.

ERIC CLAPTON SELLS HIS BLACKIE STRAT at Christie’s auction and raises $959,000 for his Crossroads drug and alcohol rehabilitation centre. Johnnie Walker returns to Radio 2 after receiving treatment for cancer and Fender celebrates 50 years of the Strat with its 50th Anniversary American Stratocaster. Cardiff‘s Wales Millennium Centre is opened. Coca Cola sponsorship of BBC’s Top Of The Pops’ credits is cancelled as it is deemed unsuitable to promote unhealthy drink products to teenagers.

A MEMORIAL FOUNTAIN to Diana,

Princess of Wales is unveiled by the Queen; the Daily Mirror publishes a letter where Diana alleged that someone was trying to kill her; the coroner’s inquest into her death and that of Dodi Al-Fayed is opened. Other sad losses this year are Dimebag Darrell, John Peel, Ray Charles, Carl Wayne (The Move), Laura Branigan and Johnny Ramone.

IF YOU WANT SOMETHING UNUSUAL

and classy then the David T McNaught Vintage SC Singlecut guitar (below) may be just what you’re looking for. Built in the USA it’s essentially a boutique LP style with a set neck and an arched top but the body is one-piece black limba and finished with a diamond quilt maple cap. It has a pair of Rio Grande Zebra humbuckers, a three-a-side headstock with a distinctive cut-out at the end and all the hardware is top quality and gold-plated so, naturally, it’s expensive.

Jam Tracks Tips

Use these tips to navigate our bonus backing tracks ➊ Boogie Blues (A) You can play with this John Lee Hooker inspired jam in A using regular tuning or take the plunge and tune to an open A chord (E-A-E-A-C#-E), enabling you to riff along and maybe even break out your slide finger! For scales, try mixing A minor Pentatonic (A-C-D-E-G) and A major Pentatonic (A-B-C#-E-F#), perhaps adding some A Mixolydian (A-B-C#-D-E-F#-G) and A Dorian (A-B-C-D-E-F#-G) for extra flavour.

Mixolydian (A-B-C#-D-E-F#-G), A Dorian (A-B-C-D-E-F#-G) and good old A Major scale (A-B-C#D-E-F#-G#) on the E7 chords.

➋ Swinging Jazz Blues (Em)

➍ Acoustic Blues Shuffle (E)

First part has the rhythm guitar but before long there’s no rhythm part, leaving you lots of space to comp, solo or both. Use E minor Pentatonic (E-G-A-B-D), E Blues (E-G-A-Bb-B-D) and the E Minor scale (E-F#-G-A-B-C-D). For the C7 chords you can use C Lydian dominant (C-D-E-F#-G-A-Bb) and for B7 I’d suggest E Harmonic minor (E-F#-G-A-B-C-D#).

This acoustic blues jam tips its hat to Chicago style blues and will work nicely with your favourite Clapton-style blues shuffle licks. Mix E minor Pentatonic (E-G-AB-D) and E major Pentatonic (E-F#-G#-B-C#) and E Mixolydian (E-F#-G#-A-B-C#-D) for good measure. Knowing the arpeggios will also help: E7 (E G# B D), A7 (A C# E G) and B7 (B D# F# A). Happy jamming!

➌ Funk Jam (A) In this James Brown-style funkout there’s lots of space to practise your 16th-note funk strumming technique – as well as your soloing. Use A minor Pentatonic (A-C-DE-G) and A major Pentatonic (A-B-C#-E-F#), as well as A

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Jam tracks by Quist. For free scale maps and hundreds more tracks, visit www.quistorama.com. You can also subscribe to www.youtube.com/ QuistTV to get all the latest tracks and licks. Or find Quist and his jam tracks on Twitter, Instagram and Facebook.

You can befriend Guitar Techniques Magazine on our Facebook page. You can check out subscription and other offers, but also interesting stories that Nev, Jason and the team have spotted; great tracks we think you might like to hear; teaser licks and details of upcoming issues. You can also message us (we try to answer as quickly as we can!) and even ask us to post links to your own projects (which we do at our discretion). See you there!

hot for teacher

Your

Teacher

Who: Chris Bailey Town: Ashford Styles: Blues, rock, heavy rock, fingerstyle, acoustic Speciality: Blues and classic rock Qualification: Diploma M.I. London, Certificate of Education Levels: Beginners to advanced, RGT Grades if desired up to Grade 8 Sight-reading: Beginners only Charges: £16 per 30-minute lesson Special: Fully equipped music rooms, studio, instrument shop Tel: 01233 647474 Email: [email protected]

December 2015

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Play } PENTATONIC

ON THE CD

TRACKs 4-13

Pentatonic Boot Camp Part 1 Want a few cool new Pentatonic licks that don’t sound just like your old ones? Richard Barrett takes you to the source where all the great riffs came from. Be prepared to put in a little time! ABILITY RATING EasyBeginner/Moderate ✪ ✪ ✪ ✪ ✪ Info Will improve your… Key A Tempo Various CD TRACKS 4-13 Fretboard knowledge Improvisation/Composition Coordination

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any hardened guitarists don’t really know their Pentatonic scales. They may say they do, but I wonder how many can play all five shapes of the minor Pentatonic really fluently? If you stand guilty as charged, stick around because we’re here to change all that! The Pentatonic scale is the five-note staple of blues and rock guitar. Literally thousands

The practice of scales solves the greatest number of technical problems in the shortest amount of time Andres Segovia

of classic riffs and solos are derived from it. In this two-part study we’re going to start by looking at the five shapes of the A minor Pentatonic (A-C-D-E-G). This is often mixed up with the ‘Blues’ scale, which is almost identical but contains an extra note (Eb in this key). Firstly, check out the five fretboxes on page 14. It’s essential to familiarise yourself

with these; it may seem like a big task but, remember, we are only dealing with the same five notes, just in different locations. The principle is the same as learning where to put your fingers to grab a chord without having to look – conditioned reflex, or ‘muscle memory’, applied in this case to sequences of notes in a pattern visualised on the fretboard. The best way to acquire this facility is by playing through the five shapes regularly – perhaps a couple of times a day over a sustained period, rather than trying to take too much on board at once. As you will see, there are many ways to use these patterns, and it would be a shame to fall into a limited ‘comfort zone’. Playing through the shapes, you’ll hear how each is derived from the same five-note sequence and, as this happens, your ears will help guide your fingers to the right notes, which is exactly the facility we’re looking to build and expand upon here. Most aspiring guitarists get comfortable with Shape 1 first – and it’s not hard to see why many get stuck there. It’s arguably the most well used, featuring in pretty much any classic solo you could name, though usually not exclusively. Jimmy Page’s solo in Stairway To Heaven is an excellent example, starting

out with A minor Pentatonic Shape 1, but moving through most of the others as the solo progresses. It’s a great exercise to listen or indeed play through it and see how many shapes you can spot, however briefly used. Though we’ve chosen the key of A for this study, the same shapes can be transposed into any key, by simply moving them up or down

I don’t play pyrotechnic scales. I play about frustration, patience, anger. Music is an extension of my soul Dick Dale to different locations on the fretboard, as you would a barre chord. For example, take all five shapes and shift them down two frets to find G minor – take it up four frets from there and you’re in B minor. We’ll look more at playing in different keys in part 2. For now, stand by your beds, Pentatonics ready for inspection! Isn’t that what they say in boot camp? 5

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Technique Focus Alternate or economy picking? Some of the examples make great exercises for improving picking and hand-to-hand coordination. Most were played using alternate picking, starting with a downstroke – but in the slightly more musical context of the demo solos, certain groups of notes can suggest other approaches. Fig 4 (playing in groups of five notes to a phrase) can be played with alternate picking but also consider using a single downstroke to articulate the fifth note in one group, then the first note of the next on the adjacent string. Effectively, you are picking two notes with one downstroke. This is economy picking and has many uses. There isn’t a strict formula, but be aware of it as an option along with legato, of course, where you hardly pick at all.

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Solo 1 is a pushed Strat neck pickup tone, chosen with David Gilmour in mind and with a medium slapback echo (250ms) for a bit of atmosphere. Solo 2 is a Les Paul, using the bridge pickup and more gain, for a more ‘Gary Moore meets Eric Johnson’ feel: no delays, just a short room echo. This same tone is the basis for the example, with the gain rolled right back.

PENTATONIC BOOT CAMP PT1 { PICKING

JOBY SESSIONS IDOLS / PHOTOSHOT

Eric Johnson: uses Pentatonics in a particularly personal way

TRACK RECORD We could list virtually every guitar album ever made. But try Eric Johnson, Ah Via Musicom; Gary Moore, Still Got The Blues; and Stevie Ray Vaughan, Texas Flood for three different takes on the Pentatonic.

Stevie Ray Vaughan: almost certainly wailing with Pentatonics!

December 2015

13

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ON THE CD

TRACKs 4-13

DIAGRAM 5 SHAPES OF A MINOR PENTATONIC

EXAMPLE 1 shapes 1-5 In Sequence

cd track 4

This example ascends Shape 1, using all possible notes and strings, then shifts to Shape 2, where we descend. Working up to Shape 5, we then reverse all the way back to Shape 1, using the same ascending and descending approach. GUITAR TECHNIQUES MAGAZINE 2 5 0

Richard Barrett's PENTATONIC BOOTCAMP



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Play } ROCK

ON THE CD

TRACKs 14-16

Joe Satriani Always With Me, Always With You As Joe Satriani’s astounding ballad approaches its 30th birthday, Steve Allsworth guides you through the flawless technique, touch and beautiful melody from the master of space-age guitar. ABILITY RATING Info Key B/Bm Tempo 144bpm CD TRACKS 14-16

A

Moderate/Advanced ✪ ✪ Will improve your… Fluid legato technique Two-handed tapping coordination Unique chord shapes

lthough Joe Satriani is rightly renowned for his amazing guitar chops, it’s easy to forget that it was always his ability to pen a great melody that saw him become the premier solo guitarist of his time. Although many guitarists, from Duane Eddy to Freddie King, Hank Marvin and Jeff Beck, had paved the way for instrumental guitar music prior to Joe’s 1985 album Not Of This Earth, it was Satriani’s experiments in sound and melody (his use of modes in his writing is legendary) that saw him become the pioneer, effectively making solo guitar music cool again. Rubina – named after his wife – was perhaps a hint of things to come, with its haunting melody and astonishing solo section. Joe possessed all the modern rock techniques that we now take for granted: legato, tapping, alternate picking, sweep picking, pinched harmonics, whammy bar scoops and dives and more. These were always used to benefit the song, however, rather than as a means to an end (a criticism easily levelled at many of the 80s shredders). Every melody was easily singable, even in crowd-pleasers such as Surfing With The Alien on his follow-up album (1987). This is

✪✪✪

arguably what helped Joe bridge the gap between the average guitar aficionado and the general music-buying public. As if to underline this point, those purveyors of supremely singable melodies, Coldplay, were forced to settle out of court with Satriani after Satch sued Chris Martin and co over

I’ve always spent a lot of time on my records with what I think were unique rhythmic approaches... but no one ever writes about your rhythm playing Joe Satriani similarities between Joe’s 2004 track If I Could Fly and the band’s hit, Viva La Vida. This accessibility propelled Surfing to become a platinum seller and launched Joe’s fledgling career. Always With Me, Always With You was another tribute to his wife and originally started out in a completely different direction,

as Joe elaborates: “I thought it would be a very deep, lush, echo-y kind of a thing. But when we got to the studio, it turned out that all those arpeggios sounded better completely dry and direct and that all the drum performances that Jeff Campitelli had played on actually didn’t fit… It really helped the album, that when that song came on, suddenly it was not like a rock band; it was a different sort of canvas, so it was a bit of a revelation, actually, finishing that. It changed our thoughts about what we could do with a guitar instrumental.” Although this track is well known (and very nostalgic for any guitarists that grew up in the 80s) there are so many hidden gems – from the African style rhythm guitar in the playout to the Nashville-tuned guitar in the minor section – that you might not have noticed before. It’s worth taking the time to listen to all the infinite, subtle and deliberate ways that Joe approaches every single note. Whether it be slides, hammer-ons and pull-offs, or simply feathering the pick or touching the strings in a lighter way, there are many opportunities to vary the sound and approach. Study what Joe does and make it your own! 6

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Technique Focus Pitch axis theory Although this song only moves simply from B major to parallel B minor keys, it neatly demonstrates one of Joe’s key compositional concepts: moving through different modes based on the same root note (this is often referred to as ‘modal interchange’). Rather than using diatonic relative major and minor (where all the chords are the same) the unique construction of the new parallel scale will give you a whole new set of chords. This is a great way of conveying a completely different mood and can be used with virtually any other mode (try experimenting with modes of the Major scale to start with, but then delve into those of Harmonic minor and Melodic minor too). For a deeper analysis of parallel chords, check out GT248.

24

December 2015

Joe was still using his famous Kramer guitar here, prior to getting his Ibanez endorsement and it’s likely that he used a Boss DS-1 through the front end of a clean channel Marshall. Although it’s high-to-mid distortion with a humbucker, beware of too much distortion as this can be the enemy of any variation in dynamic and tone from your fingers.

Always With Me, Always With You { JOE SATRIANI

Duncan McGlynn

Joe Satriani: helped revive the guitar instrumental

TRACK RECORD Many fans’ favourite Satch album is The Extremist (1992), although since he has released so much excellent material, a good compilation is probably the best way to get an overview of his work. The Electric Joe Satriani – An Anthology (2003) and One Big Rush – The Genius of Joe Satriani (2005) are both excellent. Always With Me, Always With You is from his 1987 album Surfing With The Alien.

December 2015

25

Play } ROCK

ON THE CD

TRACKs 14-16

PLAYING TIPS

cd track 14

[General] Although this is written in 3/4, it could be argued that it has a 6/8 feel due to the handclap backbeat (this is certainly so in Joe’s live versions). That said, the melody pickup comes in on beat 3 and the time base is much easier to read in crotchets rather than dotted crotchets and quavers. You might end up feeling it and reading it two different ways, so whichever works best is fine!

[Bars 1-12] There are some pretty challenging chord stretches throughout this section, so your enemy here will be unwanted string sounds creeping through and fret buzz through unsure fingering. However, the bass notes are compressed and EQd way down in the mix on the original, so you could remove them entirely without really affecting the vibe of the track.


ALWAYS WITH ME ALWAYS WITH YOU - Joe Satriani - Steve Allsworth GUITAR TECHNIQUES MAGAZINE 2 5 0

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6

8

6

4

6

6

8

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8

E maj 7 add 6 6 4 6

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18 D E A B E G 18 D E B A G E D 18 A E 18

26

4 Badd11 4 THEME 4 Badd11 4 THEME Badd11 0:25 THEME Badd11

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

E B G D E A B E G 13 D E A B E G 13 D E B A E G D 13 A E 13

PM 4

E maj 7 add 6

2 5 0

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

B add11

6

6

4

1, 5

7

5

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9

8

9

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1, 5

0

7

6

4

6 6 E 4 maj 7 add 6 j6 6 œ E maj 7 add 6

F sus 4 5 7 8 8 9 9 F #7sus 4

œ œ # F sus œ 4œ œ œ4 œ2 4 œ 4 F #sus

2

œ œ œ œ4 4 4

œ œ œ œ2 2

2 F #sus 2 4

0

œ0 œ œ œ4 4 4

6

6

œ œ œ œ4 4

4F

6

F#

6

œ œ # F œ # Fœ œ œ œ4 œ2 4 2

F #sus 4

œœ Fœ#sus 4œ œ # Fœ sus 4œ œ œ œ4 œ4 œ2 4 4 F #sus 4

2

4 2

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2

3

4

4 4

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2

3 4 B add11 2 3 4 B add11

œ œ œ œ2 2 2 2

œ œ œ œ4

œ œ œ œ4 4 4 4

4 4

0 2 4 6 j ~~~~~~ œ . œ 2 4 œ 4 # œ 4 œ 4j œ ~~~~~~ 4œ ˙ 6œ . œ Ó J ‰ j J 2 ‰ J F sus 4 J œ ~~~~~~ 2 0 j ˙~~~~~~ œ . œ œ œ œ œ 4 œ œj œ . B add11 ‰ E majj7 add 6 J ‰ Jœ F #sus J J ~~~~~~ œ Ó ~~~~~~ j ˙ œ . œ œ ‰ œ F #sus œ ~~~~~~œ E maj 7 add 6 œ 4 œJ œj œ ~~~~~~ . B add11 œ Ó ‰ ~~~~~~ J J j ~~~~~~ J j ˙7 œ . 9 7 5 4 5 œ œ j œ ~~~~~~œ œ œ . œ Ó J ‰ J ‰ J œ J œ œ6 ~~~~~~ 7 9 7 5 4 5 6 ~~~~~~ ~~~~~~ 7 9 7 5 4 5 ~~~~~~ 6 ~~~~~~ # E maj 7 7 add 6 F 9sus 4 Badd11 7 5 4 5 6 j ~~~~ . 6 œ œ œ F #sus~~~~~ j œ~~~ œ 7œadd j . œj ‰ E maj 4 Badd11 Œ ‰ ‰ J ˙ . ~~~~~ œ œ ~~~ j ~~~~ . 6 œ œ œ F #sus 4 œ 7œadd E maj Badd11 Œ ‰ PMœj ‰ œj œ . PMœj ‰ J ˙ . ~~~~~ ~~~ j j ~~~~ . 6 œ œ œ F #sus~~~~~ E maj add 4 Badd11 œ 7œ~~~~ j ‰ j œ~~~ . œ ‰ Œ ‰ J ˙ . œ œ PM PM ~~~~~ ~~~ j ~~~~ œ œ~~~~ œ8 œ œ6 4 ~~~~~ j j ‰ 4j œ4~~~ 9 . . Œ ‰ 4 J ˙. œ œ œ4 ‰ PM PM 9 8 6 4 ~~~~ ~~~ PM4 4 4 4 ~~~~~ PM ~~~~ 9 8 6 4~~~ ~~~~~ 4 4 4 4 F #sus 4 G #m7add11 E maj 7 add 6 F # sus 4 F# j 9 8 6 4 . ~~~~ . 4. œ œ œ œ 4F # sus ˙ . 44 ˙F4.# F #˙sus 4 7 add 6 Œ G #m7add11 œ œ Œ œ œ E maj . œj œ œ œ ~~~~ . . œ œ 3 œ ˙. ˙F .# Œ G #m7add11 œPM Œ F #˙sus 4 E maj 7 add 6 F # sus 4 j œ . ~~~~ . . œ 7 add 6œ œ F # sus œ Œ œ3 œ E maj ˙.4 ~~~~ F #˙sus 4 G #m7add11 ˙F #. Œ œ j . PM 4. ~~~~ œ9 œ7 œ5 5. 7 ˙4 . ˙6 ~~~~ Œ ˙2 . œ4 œ Œ œ3 œ œ 4

6

5

7

5

7

5

7

5

7

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4

œ œ œ œ4 4 4 4

œ œ œ œ4

.. .. .. ....

. . . .. .

4

4 4

4 4

4 4

8 8

8 8

7

j œ j œ j œ j œ4 4 4 4

D A E

13

&

####

PLAYING TIPS

#

j œ œ

Always With Me, Always With You { JOE SATRIANI # j œ

œ J

E maj 7 add 6

œ.

j œ

F sus 4

[Bar 25 and Bar 127] There’s a really subtle difference between these two rhythms, mainly due to the staccato picking on the triplet. If anything, the first rhythm feels slightly more ‘dragged’. E B G D A E

4

6

6

8

9

8

8

6

~~~ Œ ‰ œj ‰ œj œ . œj ‰ œj cd track 14

[Bar 32] This tricky adjacent string grouping is probably best approached via PM PM outside picking (up, down, up, down etc). It is difficult to perfect every time and even Joe has morphed it into a much easier triplet figure for his live shows.

~~~~

6

Badd11

~~~~ ~~~~~ œ. œ œ œ J ˙.

~~~

~~~~~

4

4

4

4

4

4

18

E maj 7 add 6

# # & # ##

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˙

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G #m7add11

. œ. . œ œ Œ œ

6

4

8

6

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9

7

5

F # sus 4

F#

˙.

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4

2

3

~~~~

E B G D A E

E maj 7 add 6

PM

6

4

4

5

7

23 2 xxxxxxxxxx


Badd11

E maj 7 add 6

~~~~~~ # # # # Badd11 ˙ # . & ~~~~~~ # # # # Badd11 . ˙ & # # # ~~~~~~ . & # # # ˙ ~~~~~~

E B G D E A B E G 29 D E A B E G D 29 A E 29

~~~~~~ 4 ~~~~~~

B4add11

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

œ. j œ. œB add11 j œ œ. j œ

B add11

14


12


19 ( 21 )

(√) # # #√# & ( #) # #(#√# ) &# # # & # ##

E

Œ Œ Œ

4

12

14

11

12

14

11

B add11

œ. j œ. œB add11 j œ œ. BU j œ

B add11

BU 19 ( 21 )

19

19 ( 21 )

19

BU

G #m7add11

(√) œ # # # #G #m7add11 J œ ( & √) ## œ #√# #) #G m7add11 œ ( & # # # Jœ PB18 & # # # 19J œ BD

4

5 5

7

4

5 5

7

4

5 5

7

14 14

14

14 14

14

14 14

14 ( 16 )

œ œ J œ œ J œ œ J 19

j ~~~ œ# œ F sus 4 j ~~~ œ4 Fœ #sus ~~~ j œ œ

7

9

7

9

7

9

9

11

17

X E maj 7 add 6

X

18 ( 19 ) ( 18 ) (19 ) BU BD BU

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BD

19

œ œ nœ œ nœ œ #œ ‰ J E maj 7 addœ6 œ n œ œ3 n œ œ # œ ‰ J œ œ n œ œ3 n œ œ # œ ‰ 16J 15 14 13 11 14

œ J œ J œ J

16

16

F #sus 4

œ œ F #sus 4 œ œ œ œ 12 11 F #sus 4

11

14

12

11

16

15 14 13

11

14

12

11

~~~~~~~~~ ˙. ~~~~~~~~~ F # sus ˙.4 ~~~~~~~~~ ˙ .~~~~~~~~~

19

œ. œ. œ.

18 ( 19 ) ( 18 ) (19 )

15 14 13

F # sus 4

œ. œ. œ.

16

16

F # sus 4

12

18 ( 19 ) ( 18 ) (19 ) BU BD BU 19

3

0

j œ

12

œ œ œ œ F #œ susœ 4 œ œ œBUœBD œBUœ

E maj 7 add 6

17

17 ( 19 )

18

F #sus 4 F #sus 4

18

~~~~ ˙ ¿ ~~~~ j ¿ œ. œ ˙ ~~~~ j œ BU˙ ~~~~ ¿ œ . ( 19 ) X 0 œ BU ~~~~ . ( 19 ) X 0 BU ~~~~

œ E maj œ7 add 6 œ œ œ E maj œ7 add 6 œ œ œ œ œ 16 œ 18

œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ~~~ ‰ 9 9 9 11 11 12 12 ~~~ 9 9 9 11 12 12 11 ~~~ 9 9 9 11

18

j œ

E maj 7 add 6

œ J œ J œ

œ œ J ‰ J j ~~~ œ . 6 œJ E maj œ 7œadd J ‰ j œ~~~ œ œ . œ ~~~ J ‰ J7 7 9 ~~~ 7 7 9 ~~~ 7 7

E maj 7 add 6 j ˙~~~~~ œ ¿ √ jœ œ œ 6 œ œ œ. E maj 7 add j ˙~~~~~ œ ¿ ‰ √‰ j J œ E maj 7 add œ 6œ œ œ œ. j ˙~~~~~ œ ¿ ‰ √‰ j J œ œ BUœ BD œ œ œ. BU ~~~~~ ‰ ‰ (19J ) ( 18 ) 16 ( 16 ) X 19 BU BD BU ~~~~~ ( 19 ) ( 18 ) 16 ( 16 ) X 19 BU BD BU ~~~~~ ( 19 ) ( 18 ) 16

œ œ œ œ œ œ œ œ œ 11

j ~~~ œ œ. E maj 7 add 6

j œ œœ œ j œ œœ œ j œ œœ œ

F #sus 4

F#

˙F #. ˙F #. ˙.

19

~~~~ œ œ œ ⋲ ~~~~ œ~~~~œ œ ⋲ œ~~~~œ œ ⋲ [14 ] 14 ~~~~ 14 ~~~~ [14] 14

[14 ]

December 2015

## ## ##

27

D B A G E D A 33 E 33

14 ( 16 )

14 14

X

Play(}√ROCK ) B add11

19

19

ON F #sus 4 THE CD

E maj 7 add 6

j œ. œB add11 j œ œ.

TRACKs 14-16

E maj 7 add 6 œ œ j ~~~~ œ œ n œ œ n œ œ # œ œ œ œ~~~~œ œ # #(#√# ) œ ˙ ~~~~ ¿ J œ œ ‰ J j œ œ n œ œ n œ œ # œ œ œ œ~~~~œ œ ⋲ & ##### ¿ œ ˙ J cd track PLAYING TIPS ⋲ 14 œ. ‰ J # 3 & [Bar 39] Joe tends to play this figure with three fingers, sliding through into [Bars 41-42] This country-inspired lick needs to have a little ‘finger roll’ (where œ. 3 BU the 11th fret, producing virtually an identical effect. Choose your most natural one finger ‘rolls’ over from one string to the next) from the first finger in order BU ~~~~ ~~~~ way, ensuring that youBU don’t to avoid strings. ( 21 ) rush into 19 the D# (11th fret, first string). 16 nasty note 15 bleed 14 13between 11 14 12 11 ( 19~~~~ ) BU X 0 14~~~~ [14 ] ( 21 ) 19 16 15 14 13 11 14 12 11 E B G E D B A G E D A 37 E 37

19

17

19

17 ( 19 )

#

(√) GG #m7add11 œ (#√# #) # m7add11 & # # # # # JœJ œœ # & E B G E D B A G E D A 41 E 41

19 19

œ E maj œ7 add 6 œ œ œ œ œ Jœ œ œ J

PB18 BD PB18 BD ( 20 ) (18 ) ( 20 )

X

E maj 7 add 6

18

16 16

18

(18 )

16

16

16

16

MIDDLE

Bmadd9 (√) Bmadd9 # #(√) ∑ & ## ∑ &

j œ j œ

MIDDLE

œ œ

œ. œ.

(19 )

19 ( 21 )

(19 )

~~~~~~~~~ ˙ .~~~~~~~~~ ˙.

#

˙F . ˙.

19

F #7sus4

E madd9

œ œ œ œ

## ##

~~~~~~~~~ 19 ~~~~~~~~~ F #7sus4

œ œ œ ‰ Jœ œ œ œœ œ œœ œ œ œ œ œ œ œ ‰ J

E madd9

[21]

( 21 )

[21]

( 15 )

21 ( 22 )

F#

F # sus 4

BD

( 21 ) BD 19BU

œ œ

F # sus 4

œ Jœ J

BU

[14 ]

14

( 22 ) BD ( 21 ) 21 BU

BU

1:05

j œ j œ

0

PB 14 BD PB (14 15 ) BD ( 14 ) 12

1:05


F #sus 4

BD

( 14 ) 12

15 15

12

j œ j œ

14 17

15 14 12

12

œ œ

14 17

15 14 12

~~~~ . œ~~~~ œ Jœ œ. J ~~~~ 14 ~~~~ [14] [14]

14

3 3

œ œ œ œ œ œ œ Jœ œ œ œ œ œ &# œ J # . ‰ & B madd9

j œ B madd9 ## ‰ . j œ


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

F #7sus4

~~~~ # #F #7sus4 & # œ~~~~ . & # œ. ~~~~ ~~~~


28

4 4

5

5

7 7

10 10

Bmadd 9

j Œ œj Œ œ

E madd 9

6 œœœœœ 9 œ œ œ œ œ œ E madd œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6œ œ œœœœœ œ œ œ œ œ œ œ œ5 œœ œ œ œ œ œ œ œœœ œ œ œ 5 œ œœœ 3 3

Ó Ó

Bmadd 9

7 7

10 8 7 10 8 7

7 6 4 7

6 4

9 7 6 7 9

7 6 4 7

6 4

BD

) 6 BU( 7 BD

[4 ]

6

[4 ]

F #7sus4

j # ˙~~~~ # # œjF #7sus4 & # œ # ˙~~~~ # 2015 & December

G add9

œ ‰ œJ ‰ J

j œ œG add9 j œ œ

( 7 )

7 7

4 4

7 7

5 4 5 7 5 4 5 7

4 4

7 5 4 7 5 4

7 5 7 5

E madd9 œ œ œ œ œ œ œ œ œ ~~~ œ œ E madd9 œ ±~~~ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ± œ œ œ œ œ ~~~ 7 9 10 9 7 7 8 10 10 8 7 ) ( 6~~~ 6 7 9 7 9 10 9 7

±± ±± ±± PH

BU

3

9 7 6 7 9

— — — —

PH

3

≠ ≠ ≠ ≠

( 6 )

7

9

7

9

E madd9 œ ~~~~~~~ E madd9 ˙ œ. œ œ œ ˙~~~~~~~ œ . Jœ œ J

6

7

9

F #7sus4

7

8

10

œ. F #7sus4 œ œ œ. Jœ œ J

10

F #7

8

~~~~~ ˙~~~~~ œ œ ˙ œ œ

F #7

7

D B A G E D 49 E A B E G 49 D A E 49

≠≠ ≠ Always With Me, Always With You { JOE SATRIANI œ œ œ

BU BD BU BD ( 9 ) ( 10 ) ( 9) 9 ( 10 ) F #7sus4

10

7

10 8 7

7

10

10 8 7

7

9 7 6 7 9

7 6 4 7

6 4

9 7 6 7 9

7 6 4 7

6 4

7 7

7

4

7

4

7

5 4 5 7 5 4 5 7 5 4 5 7

7 5 4

4

7 5

7 5 4

4

7 5

7 5 4

7 5

~~~~ ~~~ Bmadd 9 E madd9 œ œ œ œ œ œ œ œ œ œ œ # #F #7sus4 œ — œ — ± œ Œ Ó œ œ œ œ œ j ~~~ œ & # # œ~~~~ œ œ œ œ œ . — œ œ cd track 14 — ± œ # PLAYING TIPS F 7sus4 E madd9 Œ Bmadd Ó 9 œ œ j œ & œ œ œ œ œ œ 2œandœ3, from . ofœquintuplets, triplets and 32ndPHnotes should ~~~~ ~~~each grouping. Thisœ is particularly [Bars 49-52] œtrue of beat 1, bar 50 and beats œ # Theœpresence œ — — ± œ indicate that#this section is fairly free – and not a little challenging. A good trick bar 51. This will help visualise smaller, more manageable parts of the whole Œ Ó jmanageable BD ~~~run andœ youœ can work towards putting them ~~~~ & PH BU to make sectionsœlike this more is to target the starting note of all together. 7 9 10 9 7 .~~~~ œ 7 8 10 10 8 7 BU BD ~~~ E B G E D B A G E D 52 E A B E G 52 D A E 52

4 4

# & ## & # # & #

E B G E D B A G E D 56 E A B E G 56 D A E 56

Bmadd 9

~~~~

±± ±± ±± ±± ±

[4 ]

10 12

8

10 12

0

10 12

~~~

( 6 ) E madd9

E B G E D B A G E D 61 E A B E G 61 D THEME A E 61 THEME

14 ( 15 ) ( 14 )

Badd11

√ Badd11 ## # #√ Ó THEME & # # # #Badd11 # # Ó & √ # # & # ## Ó

œ œ œ œ œ œ

1:32 1:32

E B G E D B A G E D 67 E A B E G 67 D A E 4 67 xxxxxxxxxx

& E B G D A E

####

14

1:32

#

j œ

9

œ

7

œ J 9

j œ j œ j œ

15

12

12

12

11

12

12

11

12

12

œ.

E maj 7 add 6

j œ

9

11

j œ

œ.

7

9

6

7

9

12 12

9

6

7 9 F #7sus4

œ œ Œ ‰ Jœ œ Œ ‰ Jœ œ Œ ‰ J

11 11

12

11

~~~ œ Jœ ‰ Jœœ J ‰ J œ ~~~ J ‰ Jœ 16 ~~~ 14 12 16 14 12 ~~~

œ œ. j ~~~ . 6 œ œ7 add E maj j ~~~ œ œ. j 7 add 6 E maj

14 14

14 16

9

14

12

F # sus 4

j œ

9

˙~~~~~ œ ‰ J 7

10

7

8

10

7

9

10

9

7

7

9

10

9

7

F #7 F #7

8

7

10

8

7

9

[9]

9

[9]

11

œ œ œ # ˙ . ~~~~~ œJ œ œ # ˙ . ~~~~~ J œ œ œ # ˙ . ~~~~~ J ~~~~~ 9 [9] 7 6 ~~~~~ 9 [9] 7 6 ~~~~~ 9 [9] 7 6

F # sus 4 F # sus 4

œ sus 4 F #œ œ 11

~~~ œ~~~ . œ. ~~~ œ~~~ . 9 ~~~ 9 ~~~

œ Jœ J œ J12

11

12

11

12

Badd11 Loco Badd11 Loco Badd11 Loco

#### ##### # #### #

∑ ∑ ∑

9

Badd11

Œ ‰ œJ ‰ œJ

~~~~~

10

~~~~~ #7~~~~~ œ œ F˙ ˙~~~~~ œ œ ˙~~~~~ œ œ ~~~~~ [9] 9 ~~~~~

11

#Fœ# . # œ# . F #œ.

12

8

11

F#

12

7

œ œ Jœ œ J œ œ J

BU BD ( 14 ) 14 ( 15 )

E maj 7 add 6

œ œ œ J

BU BD ( 11 ) 11 ( 12 )

9

6

( 14 ) 14 ( 15 ) BU BD ( ) ( 14 ) 14 15

14

˙ ~~~~ Œ ˙ ~~~~ Œ ˙ ~~~~ ~~~~ Œ 14 ~~~~ 14 ~~~~ 14

11

9

œ œ. œ œœ œ F #7sus4 œ. Jœ F #7sus4 J œ œ œ. œ J BU BD

#

12

7 7

F 7sus4 œ œ ˙ . ~~~~~ ~~~ œ G add9 œ E madd9 F #7sus4 œ ˙ œ ## Œ œ œ œ ˙ . ~~~~~ ~~~ œ ˙ & # G add9 E madd9 F #7sus4 œ # œ ˙ . ~~~~~ Œ ~~~ œ & œ œ ˙ # ~~~~~ ~~~ 14BU( 15BD & # Œ BU BD ) ( 14 ) BU BD ( 15BD ) ( 14 ) ~~~~~ 14BU 12~~~ ( 14 ) 14 ( 15 ) 14 ( 15 ) ( 14 ) 12 BU BD ~~~~~ ~~~ BU( BD ) ( ) E madd9

G add9

7

( 6 )

E madd9 ˙~~~~~~~ œ. ~~~~~~~ ˙ œ. E madd9 ˙~~~~~~~ œ . ~~~~~~~ ~~~~~~~ ~~~~~~~

G add9

8

( 7 )

6

jG add9 œ œ j œ œG add9 j œ œ

œ ‰ J j # ˙~~~~ œJ ‰ œ ~~~~ œ ‰ J 11~~~~ 0 11 ~~~~ 0 11

( 6 )

( 7 ) 6 PH ) 6 BU( 7 BD

[4 ]

F #7sus4 [4 ] 4 ~~~~ jF ##7sus4 œ ˙ j ˙~~~~ œ F ##7sus4

8

E madd9

~~~

PM

11

œ~~~ . œ œ J ‰ J

11

12

PM

11

11

72

&

####

E maj 7 add 6

#

j œ

˙

j œ

œ

F # sus 4

. — —~~~~ J Œ

~~~~ œ — œ œ œ œ ‰ J‰ J‰ J

G #m7add11

E maj 7 add 6

F # sus 4

˙ ~~~~~~ .

F#

˙ . ~~~~~~

December 2015

29


Play } ROCK

ON THE CD TRACKs 14-16 E maj 7 add 6 F # sus 4 Badd11 j œ. j j œ. œ œ œ œ Fj# sus~~~~~ ~~~ 4 xxxxxxxxxx œ œ œ E maj 7 add 6 œ ˙ 4 œ ‰ Badd11 œ œ œ. œ œ #### j œ J j j œ. J Œ ‰ ‰ ‰ J J # J J J 14 œ . œ œ œ ~~~ # j & œ œ œ œ ~~~~~ 7 add 6 4 Badd11 œ . œ cd track PLAYING TIPS œF sus ˙ œ œ œ # # # # j œ J j œ . E maj j œ. œmoment, œJ œ œeasyœFj# susstrong ~~~ Œ ‰is tapping ‰theJpickingœhand ‰onlyœJ(away [Bars& 84-94] This#is the (or iPhone) in the air A‰great Badd11 practise rhythm œ Zippo œ œ ~~~~~ J J J E maj 7 add 6although it’s 4 beat). œ . PM PM # ˙from the guitar) œ ‰againstŒyour ‰foot orœ a metronome. œ Remember œ that thisœ lick to rush due# to the ‘three feeljof œ the tapping figure. This j unusual j œ 16ths’ Jœ isn’t # # #slightly . œ BU . BD J œ œ ~~~ ‰ ~~~~~ j starts œ hand œ placed œ J J J means that the picking tap linearly in the bar (eg on every in the second bar of the four-bar phrase (ie bar 84, notJ83). ‰ J œ œ . & œ ˙ E ( 11 ) 11 ( 12 ) 9 œ œ œ œ œ # # 9 7 9 9 11 PM PM 4 xxxxxxxxxx

& # ##

B G D E A B E G 72 E D B A G E E D 72 B A G E D 72 A E 72

9

7

9

7

J 9 9

J

~~~~ . — — F # sus 4 J Œ ~~~~ . & — — # F sus 4 ~~~~ —PH. 4 J— Œ & F # sus * ~~~~ . J— Œ —~~~~ &# *PH & # # # 14 16 14PH~~~~[ 14J ] Œ *14 [ 14 ] 14 16 ~~~~ Partial Harmonic *14PH 14 16 ~~~~[ 14 ] TAPPING SECTION *14Partial[ Harmonic 14 16 14 ] B add11 ~~~~~ ¿ ¿ TAPPING SECTIONœ œ . ¿¿ ¿¿Harmonic *Partial # # # # B add11 ‰ ~~~~~ # œ TAPPING ¿¿ ¿J¿Harmonic & #SECTION œ . *Partial B add11 # # # œ ~~~~~ œ . ¿¿ ¿¿J ‰ TAPPING & # # #SECTION ¿¿ ¿¿ B add11 # ~~~~~ # ~~~~~ # œ œ . ¿¿ ¿¿J ‰ &# # ¿ ¿ ‰ # & # # 12~~~~~ J X X 12 X ~~~~~ X 12 X ~~~~~ X X

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Always With Me, Always With You { JOE SATRIANI PLAYING TIPS

cd track 14

[Bar 95] If you tap with your picking hand’s second finger (i), your pick (held between thumb and first finger) is ready to down pick the slide into the double-stop at the 4th fret.

[Bar 97] After the double-stop 4ths, use a light whammy bar scoop into this (and bar 98’s) 6th interval.

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B [BarsG104-105] Joe demonstrates his blues roots in this excellent B major D Pentatonic lick. Most of the tricky rhythmic control is needed from the third A E 97

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December 2015

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B 4 5 5 7 7 X [Bars G136-139] Joe’s final passage of slippery legato is great for your ‘square D 4 on’ fretting hand shape – avoid angling the fingers to accommodate the larger A E 115

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cd track 14

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138

December 2015

33

Play } PICKING

ON THE CD

TRACKs 17-35

Sort Your Picking Part 3 Hybrid Picking Still promising yourself a better picking technique? Well stop dreaming and make it a reality! In this concluding instalment, Phil Capone demonstrates how to radically expand your playing potential using pick and fingers. ABILITY RATING Info Key Various Tempo 225bpm CD TRACKS 17-35

I

Moderate ✪ ✪ ✪ Will improve your… Versatility – more gigs! Controlled double-stops Keyboard style comping potential

n the two previous articles we explored the concepts of alternate and economy picking and how these techniques could provide increased speed and accuracy. In this final instalment, the focus is less about velocity and more about versatility – as well as showing how hybrid picking needs to be an essential part of your technique. Hybrid picking is basically a mix of fingerstyle and plectrum techniques where your remaining picking hand fingers don’t just huddle round the pick but are also used to sound the strings, opening up a whole new world of possibilities. Like any other technique, hybrid picking evolved over time rather than being ‘invented’ by one specific player. Over the decades there have been many famous devotees including: Chet Atkins, Brad Paisley, James Burton, Jimmy Page, Ritchie Blackmore, Eric Clapton, SRV, Eric Johnson, Zakk Wylde, and Wayne Krantz. This list is just the tip of the hybrid ‘iceberg’ but clearly illustrates the wide range of genres to which it can be applied. If you’ve never been tempted to experiment with hybrid picking, or maybe thought of it as a country player’s thing, then it’s definitely time you did some serious re-evaluating. Hybrid

✪✪

picking is equally useful in comping or soloing scenarios. Double-stops or three-note chords can be sounded simultaneously without the raking effect caused by the drag of the pick across the strings. Fingerpicking passages can be seamlessly integrated without that embarrassing pause where you put the pick down on your amp (and then lose it). Wide

Hybrid picking is a mix of fingerstyle and plectrum techniques where your remaining fingers are also used to sound the strings intervals that would normally demand tricky string jumps can be played with ease. Bluesy SRV-style licks with that high chord tone sounding as if by magic, ‘fatten up’ your solos. The benefits, as you can see, are immense. The examples in this article have been grouped to build your technique gradually. Examples 1-4 focus on easy hybrid picking examples using the pick plus your second finger and are based mainly on a variety of double-stop themed exercises. Examples 5-8

introduce hybrid picked lead lines featuring the same ‘pick plus second finger’ approach and covering a range of styles and settings. In examples 9-12 you will learn how to use both your second and third fingers with the pick to create cool jazzy comps and pseudo fingerstyle riffs, all of which are worth their weight in gold when playing in duo scenarios. Examples 13-17 illustrate some useful scale practice patterns, plus a couple of triad based, keyboard style riffs. The final workout (Ex 18) features a melody harmonised in block triads, plus a solo chorus that illustrates how authentic phrasing can be achieved using hybrid picking in this context. Finally, you’ll be able to give all those tired Pentatonic licks a new lease of life. As with the picking challenges covered in the previous articles, remember that the only way to master any technique is to incorporate it into your playing style immediately and reinforce this with daily practice. Playing through all of these examples with a clean sound will help you to focus just on your technique and highlight any issues that need attention. And whether you’re a novice or you already use hybrid, there’s something for you here. 5 7

Gain

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6

6

Middle

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3

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Technique Focus Picking hand technique It’s important to ensure that, while grasping your pick firmly between your thumb and first finger as you would normally, your remaining fretting hand fingers are free to move independently. So if you keep all your fingers tightly clasped together, or you always anchor your remaining fingers on the guitar then you will need to make some minor adjustments to your basic technique. As a warm-up routine, practise picking pairs of adjacent open strings using your pick on the lower string and your second finger on the higher. Pick the strings simultaneously using a pinching motion; keeping your picking hand in position above the strings in exactly the same way as a fingerstyle guitarist would.

34

December 2015

The settings above are intended as a starting point for some of the more overdriven sounds. Back off your guitar’s volume to clean up your tone or, if you have amp channel switching, use the settings above on your clean channel but keep the preamp gain as low as possible. The great players sound the same way whether they are playing with a clean or distorted tone.

HYBRID PICKING { PICKING PT3

JAMES FORTUNE / REX ROBERT KNIGHT / GETTY IMAGES

Jimmy Page getting ready to hybrid pick blues-rock licks

TRACK RECORD Try these albums to hear hybrid in action: The Best Of

Ricky Nelson (James Burton); Hiding (Albert Lee); Deep Purple In Rock (Ritchie Blackmore); Images And Words (John Petrucci); Led Zeppelin II (Jimmy Page).

James Burton: hybrid-picking country rocker

December 2015

35

Play } PICKING

ON THE CD

EXAMPLE 1 Double-stop riff

TRACKs 17-35

cd track 17

TECHNIQUES MAGAZINE 250 ThisGUITAR classic rock riff in the style of Ritchie Blackmore illustrates how much tighter power chord riffs sound when played with hybrid picking. Lower notes are

Phil Capone - out SORT YOUR PICKING played with your pick (using only down-picks) while your second finger picks the upper note of each double-stop. Aim to keep your picking hand steady and poised in position above the strings to minimise movement – efficiency is the key here. Ex 1 Double stop riff GUITAR TECHNIQUES MAGAZINE 2 5 0 C 5 B b5 G 5 B b5 G5 F5

Capone b5 G 5 C5- SORT YOUR BPICKING b5 G5 B b5 F #5 Phil G5 B G5 C5 B b5 G5 ~~~ ©»¡ºº j j 44 stop Ex 1 Double .. œœriff œœMAGAZINE œœ œœ œ œœ œœ œ œj œj .. œœ œœ2 5 0œ œ # œ œ œœ œ œœ ˙˙ GUITAR & bTECHNIQUES œ œ ˙ œ b b # b b b b Phil Capone SORT YOUR PICKING œ œ œ œ œ œ œ ˙ B. 5 G5 B 5 G5 C5 œ œ Bœ5 G5 ©»¡ºº C 5 B. 5 G 5 B 5 G5 F5œ # Fœ5 G 5 B 5 G.5 C5~~~ j j 44 stop ˙˙ œœ œ œ œ œ œ œj œj .. œœriff œœMAGAZINE .. Ex 1 Double œœ œœ2 5 0œ œ # œ Philœ Capone œœ œ œœ- SORT GUITAR œ & bTECHNIQUES œ ˙ œ œ œ œ YOUR PICKING b b # b b b b ~~~ œ œ œ œ œ œ œ ˙ B. 5 G5 B 5 G5 C5 œ œ Bœ5 G5 ©»¡ºº . C 5 B. 5 G 5 B 5 G5 F5œ # Fœ5 G 5 B 5 G.5 C5~~~ j . j j j Ex 1 Double stop 4 5riff 3 3 3 5 5 3 3 œ ˙ œ œ . . œ b œ œ œ œ œ œ . . œ5 Bœ3.b5 G5œœ55 Bœ3b5 œ G5œœ55 C5œ53 œ Bœ31b5 G5œœ55 ˙˙ & 4 Cœ55 Bœ3.b5 Gœœ555 Bœ3b5 œ G5œœ55 F5œœ33 # #Fœœ44#5 Gœœ555 Bœ3b5 Gœœ555 C5œ5 ~~~˙ œ œ œ ©»¡ºº . m m . ~~~ j 4 œœ55 œœ33 œ5 œœ33 œœ œ5 œ5j œj œ3 œ5j ˙ ... & b 4 .. ≥œœ55 ≥œœ33. œœ55 œœ33 œœ œœ55 œœ33 # # œœ44 œœ55 œœ33 œœ55 œœ55 ~~~˙˙ œ5 œ3 œ œ1 œ5 cd ˙ track 18 . œ5 EXAMPLE 2 Hybrid-picked 6ths . Ex 2 Hybrid picked sixths m m . . 5and≥3clear when Sixths just sound clean played with hybrid picking; there is no delay as there would be when dragging a pick across three strings to sound them. C7 ≥ F75 3 3 5 3 3 These 6ths have been with5your pick while your œ. generated 5œ 3 5œfrom 3 the relevant 5 3 Mixolydian 4 5mode 3 of 5 each 5 chord. Lower notes 5 3 are5sounded 3 5 3 second 5 finger picks.the ©»¡ºº j œ 5 aim œ œ5 your 5 œ steady 5 3 1 œ4 b œœhand œ 5 œand~~~ upper notes throughout; as before, œ. œ sixths ˙in positionœœabove œ theœ 5relevant œ œ bstrings. jœ 5 œ Ex 2 Hybrid picked œ œ œ b toœœ keep œ œœ3 picking œ œ b œ 4 œ . œ œ œ m m bœ 3 œ5 ˙ b œ 3 œ œ 3 œ œ œ œ œ œ b œ œ œœ ˙˙ .. & 4 . C7œ. ≥55 ≥33 5 33 F75 5 3 4 5 3 5 5 5 3 5 3 5 5 3 5 . ©»¡ºº œ œ 5œ œ b œ œ5 œ3 œ4 b œ 5 j œ 5 5 5 3 1 5 œ œ œ œ ˙ œ œ j œ sixths Ex 2 Hybrid picked œ œ œ œ œ œ œ œ bœ œ œ ˙ œ b œ œœ œ œœ b œœ œœ œœ œ b œœ œ œ œ ˙ .. & 44 .. C7œ ≥m ≥m œ bœ œ œ ˙ F7 ©»¡ºº 12 10œ œ8 10œ œ8 b œ6 œ8 œ6 œ5 b œ6 j œ5 3 œ œ8 œ6 œ8 œ6 b œ4 œ6 œ4 œ3 b œ4 j œ3 1 œ œ sixths 10 .. Ex 2 Hybrid . picked œ 9 œ7 œ9 œ7 œ5 œ7 b œœ œ5 œ3 ˙ 4 12 10 œ 9 10 œ . œ 3 œ1 ˙ œ œ ˙ b œ œ . œ œ œ 10 8 7 8 7 5 7 5 3 5 F7 œ œ œ œ bœ œ œ ˙ . &©»¡ºº 4 C7œ œ œ j œ œ œ œ 8 œ6 œ8 œ6 b œ4 œ6 œ4 œ3 b œ4 j œ3 1 10 œ . 1212m≥œ 1010≥mœ œ89 1010œ œ89 b œœ67 œ89 œœ67 œœ55 b œœ67 b œœ œœ55 œœ33 ˙˙ 4 . œ b œ 7 œ8 œ7 œ5 œ7 œ5 œ3 œ5 œ œ3 œ1 ˙ ... &4 . 10 8 œ bœ œ ˙ Ex 3 Walking tenths 12 10 8 10 8 6 8 6 5 6 5 3 m m 10 8 6 8 6 4 6 4 3 4 3 1 . Swing . 12 ≥ ≥ 10 9 10 9 7 9 7 5 7 5 3 b b C 7 F7 C 7 G m D B B C 10 8 7 8 7 5 7 5 3 5 3 1 £ . . ©»¡£º œ ¢œ b œ n œ cd track 19 EXAMPLE 3 Walking 10ths ¢œ Ex 3 Walking tenths ¢12 10£œ 8 #10 8 œ6 8 6 5 6 5 3 £œ œ œ w #3œ particularly œto play m octave) m 8b œ using 6 8 abregular 6 technique, 4œ 4 . 3 when £10 . to œ them Tenths (a 3rd great on the guitar but it is nigh they need œ6 4 pick . in3 CC. 11Once again œ5 onhere3impossible Swing 12 10 9 7 9 œ 7 7œ œ£ 5 #illustrated & 44plus... Cone ≥œ7 10≥ œ 9Thesound ¡10ths b b be sounded simultaneously. pianoœstyle ‘walking’ based on the first four bars of a 12-bar blues progression play 10 F7 Care 7 G m D B B 8 7 8 7 5 7 5 3 5 # œ b œ w of 10ths). . the ¡¢ œ‘pinching’ ©»¡£º b œ second b œBlackbird n œ for the sound ¡£ while simultaneously œ finger b œ (think ofœ The¡¢Beatles’ b œ the n œ upperœ note with ¡£œ your ¡¢tenths lower with your pick Exnotes 3 Walking œ ™ œ # œ œ œm m œ w Swing & 44 .. Cœ≥7 ≥ œ # œ œ F7œ ¡ œ # œ œ Cœ7 œ £ œ b œ bGœm bDœb Bœb # Bœ .. Cw ¡¢ b £œ n œ œ ©»¡£º . ¡£ œ ¡¢œ6 b œ3 n œ4 . w5 Ex 3 Walking¡¢5tenths œ 11 12 13 ¡£œ b œœ ™œ b œ œ 6 7 8 10 œ # œ œ 4 Swing .. œ C97 7 £ œ5 b œ4 bGœ3m bDœ4b Bœ1b # Bœ2 .. C3 & 4 œ # œ ¡ 10 œ C37 F7 œ 5 6 7 8 11 12 £ œ # œ ©»¡£º ¡¢mœ ¡£ w œ œ ¡ .. ≥œ5 œ6 # œ7 œ8 ¢10œ b11œ n12œ 13 ¡£œ89 b œœ67 £™œœ55 bb œœ44 b œœ33 ¡¢œ6 b œœ3 #n œœ4 .. w5 4 . & 4 . œ3 œ5 # œ6 œ7 œ8 ¡ 10œ #11œ 12œ œ b œ b œ 1 4 2 ¡ b œ n œ ¡ œ b œ 8 6 5 4 3 ¡ ¡ Ex 4 Phrygian workout œ 6 3 4 . w35 ™ 6 7 8 10 11 12 13 .N.C.¡≥m5 Dominant 7 5 4 3 9 . 3 ©»¡ºº . 3 5 6 7 1 8 10 11 12 4 2 8œ 6 5 4 3 Ex 4 Phrygian Dominant workout œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ≥m5 œ 6œ # œ7 œ 8œ œ 10 11œ 12 13 9 7 5 œ4 œ œ3 œ 6œ œ3 œ œ4 œ œ. # œ5œ œ œ œ œ .. & 4 ..N.C. ˙ . ©»¡ºº 3 5 6 7 œ8 10 œ 11œ œ12 œ œ œ # œ œ œ4 œ 1œ œ 2 . 3 cd track # œ EXAMPLE 4 Phrygian dominant workout 8 6 5 œ 4œ 3 œ œ œ workout 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 .. 20 Ex 4 Phrygian 4 ..only œ≥mœDominant œ So far you have played ‘pinched’ double-stops simultaneously. This example introduces syncopation & 4 # œ œ œ œ where œ œboth œ ˙a static œnotes areœ 0sounded œ œ # œby sounding N.C. œ upper melody after each note of the bass melody; this wouldœbe0tricky to0play0with0regular picking but is quite easy when using hybrid. Pick the static open E œ ©»¡ººnote œ œ 0 0 0 0 0 0 0 0 0 0 0 œ #the œ0 0 0 0 0 0 0 0 0 . œ œlowerœ 0melody œ 0 # œwith andEx open notes your second finger throughout, leaving your pick free œ to play 0 downstrokes. . œ5with 4 B Phrygian Dominant workout œ œ œ œ œ œ œ 4 2 œ4 œ 1 œ2 œ œ1 œ œ . œ œ œ œ œ œ 0 œ œ2 œ œ3 œ # œ1 œ œ2 œ œ3 œ ˙2 .. & 4 .N.C. œ œ # œ œ œ3 œ œ2 œ3 œ0 œ2 3 œ0 2 0 0 ©»¡ºº œ2 0 œ3 0 œ 0 0 0 0 0 0 . 4 0 0 1 4 0 0 0 0 0 0 0 0 0 0 0 œ 0 0 œ 0 œ 0#œ œ # œ œ 0 0 0 0 . m m œ ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≥ 4 œ œ œ œ œ œ 0 œ œ2 œ œ3 œ # œ1 œ œ2 œ œ3 œ ˙2 .. & 4 .. œ5 œ2 œ4 # œ1 œ2 œ3 œ1 œ2 œ3 œ0 œ2 œ3 œ0 2 0 œ œ œ0 œ2 œ3 œ .≥5 m0 ≥2 m0 4 0 1 0 2 0 0 1 0 0 0 0 0 0 0 0 0 # œ4 0 œ0 0 œ1 0 # œ4 0 0 0 0 0 0 0 1 0 2 0 0 . 3 2 3 0 2 0 0 2 3 3 2 . . 3 2 0 0 2 3 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 4 0 0 1 4 0 0 0 0 0 0 0 0 0 0 0 0 . .≥ m ≥ m 1 2 0 2 3 3 2 . .5 2 4 1 2 3 1 2 3 0 2 3 0 2 0 0 2 3 4 0 1 4 ≥ m≥m E B G D A E B G D A E E B G D A E E B G D A E

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

3 3 3 3 3 3 3 3



36

December 2015

1 1 1 1 1 1 1 1

HYBRID PICKING { PICKING PT3 EXAMPLE 5 Chicken pickin’ lick

cd track 21

This archetypal country style lick could be played with regular alternate picking but it just wouldn’t sound right; hybrid picking really enhances generic 2 xxxxxxxxxx authenticity in this style. Use the picking indicated throughout – (‘m’ indicates second finger as used in traditional fingerstyle notation). Pay particular attention when playing the hammer-ons and pull offs: these need to be performed rhythmically accurate throughout (ie not as grace notes). Ex 5

Chickin' pickin' lick

.œ /' œ Œ

Double time groove G

©»¡ºº # 2 xxxxxxxxxx & 44 .. œ # œ œ œ n œ œ n œ œ œ œ œ œ œ œ œ œ Ex 5 E B G D A E

E B G D A E

E B G D A E

14

b œ. œ œ. œ œ. œ n œ œ . .

Chickin' pickin' lick

' ' œ. 1/4

Double time groove G

©»¡ºº . # 4 . 2 3 œ0 3 2 0 3 0 2 3 0 3 2 0 3 5 œ nœ œ nœ œ œ œ œ œ œ œ œ œ & 4 . œ #œ ≥ m ≥ ≥ ≥ m ≥ ≥

3 3

b œ. œ5 œ. œ5 œ. œ5 n œ3 5 œ . m . m ≥ ≥œ ≥ m m 3

5

3

G 3 # .. 2 3 0 3 2 0 3 0 2 3 / 0 33 2 œ 0 33 5b œ 3 5 œœ 5 œœ5 3 5 . 3 3 Œ ' . . œ & œ œ œ œ œ œ œ 5 nœ œ œ œ bœ œ. œ œ œ œ . nœ .≥ ≥ œ œ ≥ œ œm ≥œ m m m ≥ ≥ ≥ mœ ≥œ ≥ m C

14

&

#

C

' ' œ œ œ œ œ œ nœ œ œ œ œ œ bœ 1/4

0

0

≥œ

0

3

≥

m

2

0

m

2

3

≥

0

0

2

≥

m

1/4

0

3

m

1

≥ ≥

'

œ 0 3 5 b œ n œ3 œ5 œœ5 0 5 7 . . ≥œ œ œ m ≥œ œ œ m ≥ ≥m 3

3

5

5

3

. G œ5 œœ œ5 œ3. .. œ5. ≥ m≥ ≥ 3 3

1/4

Œ

'

1/4

Ó

Œ

Ó

1/4 E Ex 6 Pedal steel style licks B 5 3 cd track 22 G Double time groove 0 0 0 0 5 3 5 3 D 5 0 2 2 3 0 2 3 5 5 5 3 A E Double-stop bends are both A 0 3notes 0 3really come to life when played with hybrid 3 1picking;0not 5 only 7 5 clearly stated because they are picked simultaneously, but 3 theE sound is somehow sweeter. In this example hybrid picking allows you to get closer to the sound of a pedal steel guitar than could be achieved with regular

. . ©»¡ºº j œ . m œm # #≥#upper ‹ œ œœ .. bends.œœ ‰ œ ofœeach m. ≥ mœ ≥ œ mœ≥ mj ≥œ m ≥œ ≥ œ thatœmyou ≥allow it toj ring ≥œ ensuring 4 œ œ picking. Pick#the note bend with your second finger, for the full duration of#the lower note ‰ œ ⋲ ≥ ≥ ≥ ≥ . œ œ & 4 J œ. œ œ J EXAMPLE 6 Pedal steel style licks

Let ring Pedal steel style licks Double time groove BU BD BU BD A5 (5 ) 5j ( 7 ) ( 5) ( 7)

Ex 6 E B G D A E

E B G D A E

E B G D A E

©»¡ºº # # # # 4 .. & 4 .

œ œ œ œ œ œ J ‰ m ≥ Let ring

&

####

BU B 7 BD

BU BD

j 11 œ œ ) (12œ ) 10 (12 œ œ ) (10

BU BD BU BD 11 10 (12 ) ( 10 ) (12 ) (10 )

E

œœ œ œ œ œ 4 œ. m Let ≥ ring

j œ 4

5 (6 ) (4 ) ( 6)

BU BD BU BD

4

BU BD BU BD 7 (7 ) 7j ( 9 ) (7 ) ( 9 )

œ œ œœ œ œ œ J ‰ J ‰

(10 )

Let ring

BU BD BU BD

œ # # # # œ.. œ œ œJ œ œœ œ (œ56) (4œ) ( 6) ‰ J ‰ & Let ring Let ring ≥m ≥m j œ

B 7 BU BD BU BD 5 ( 5 )j 5 ( 7 ) ( 5) ( 7)

Let ring E B G D A E

Let ring

Let ring BU BD BU BD 7 (7 ) 7 ( 9 ) (7 ) ( 9 )

3

(4 )

2

j œ

(4 )

j œ 2

5 œ.

œ 6

œ7 ⋲ 8 ‹ œ8 œœ99 .. œ #œ Let ring

œœ œ. 2 E

4

j œ

2

œœ. œ 5 œ œ . 6 7

E

7

œœ 9 œ ˙ . 9 . ‰ . 8

8

Let ring

Let ring

j 12 œœ ) 12 œ (14 BU E

œ œ ‰ J

7

BD

BU 7 (12 ) 7j ( 9 )

œ.

œ

œœ. 12œ œ5 œ .

E BU 7 (9 ) 7

. œœ œ ˙ . ‰ .. Let ring

Let ring BU BD BU 12 7 12 (14 ) ( 12 ) 7 ( 9 )

12

5

. .

BU 7 7

(9 )

December 2015

37

Play } PICKING

ON THE CD

TRACKs 17-35

EXAMPLE 7 Minor pentatonic lick #1

cd track 23

Hybrid picking can be used to replace the up-pick that occurs in regular 16th-note alternate picking. This not only makes 16th passages like this example much easier to play, it also gives the phrase a more fluid and relaxed feel. The picking used here is complicated by the use of slurs, so make sure you play this through 3 with a metronome before you play along with the backing track. slowly Ex 7

3

©»¡¡º N.C. œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ # & 44 ..

Ex 7 E B G D A E

E B G D A E

E B G D A E

Minor pentatonic lick #1

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ⋲


©»¡¡º . N.C. 12 15 œ 12œ 15œ 15œ 15œ 12œ 15œ 12œ 15œ 12œ 15œ 12œ 15œ 12œ. œ # . & 44 .. ≥ m ≥ m ≥ ≥ m ≥ m ≥

œ œ 15œ 16œ 14œ 12œ 14œ 12œ 12œ 14œ 12œ 12œ 14œ 14œ 14 œ ⋲ ≥ ≥ ≥ ≥ m ≥ ≥ m m

14 16

/' ~~~ # œ . œ12 œ15 12œ 15œ 15œ 15œ 12œ 15œ 12 œ 15 œ12 œ15 œ12 œ15 12œ œ 14 œ16 œ15 œ16 œ14 œ12 œ œ œ12j 12 14 12 12 14 14 œ œ . & œ œ 14.. 14 ≥ m ≥ ≥ m ≥ ≥ m ≥ ≥ m ≥ m ≥ ≥ m ≥ m ≥ ~~~ / ' /' ~~~ .. # 12œ 14œ 14œ 14œ 12œ 14œ 12œ 14œ 12œ 14œ 14œ 14œ 12œ 14œ 12œ 14œ 12œ 14œ 14œ 14œ 12œ 14œ 12œ œj 12 œ œ 10œ 12œ .. & m ≥ m ≥ m ≥ ≥ m ≥ m ≥ m ≥ ≥ ≥ m ≥ m ≥ m ≥ ≥ ≥ 14

14

14

14

Ex 8


©»¡™º œ œ œ œ œ #### 4 . œ bœ œ nœ œ œ œ œ œ nœ &the picking 4≥ . m ≥in themfinal≥bar for that observe m indicated m 16th-note ≥ swift ≥ m ≥lick. m ≥ ≥

~~~

' .. œœ ' œ~~~ œ nœ ‰ ≥ m ≥ ≥ ≥ œ

n œœ ' ‰ ≥ m ≥

1/4 E E7 A7 1 1 cd track 24 B Shuffle /4 /4 G 12 14 12 12 14 12 12 14 12 In Dthe first bar of this14 example14 an upper14 melody note (E) is sustained and then re-picked against a simple blues lick. This approach has been used by many famous 12 14 14 14 14 12 14 14 14 14 12 A 14 12 experimentation. 10 blues and jazz guitarists and it will take your playing into the deep freeze (ie making you sound super cool!) so it’s well worth further Be sure to E 12

EXAMPLE 8 Minor pentatonic lick #2

Ex 8 E B G D A E

E B G D A E

12 ©»¡™º Shuffle . 12Eœ7 œ b œ # # # # 4 .. 14œ 15 14œ n12œ 14œ & 4 . m ≥ E7

œ 12 œ 12

# # œ. œ œ j œœ œ & # # n œ . 14 œ 15 14œ œ12 14 œ 12 12

12

12

0 E7 7

E B G D A

0

# # œ œ & # # nœ œ 7

0

0

0

œœ

j 9 œ œœ

œœ

4

7

7

Hybrid picked jazz comp B b130

©»¡™º Swing 7 j 7 4 b 4 .. # # œœ b œœœ œœ œœœ ‰ b & 4 œ œ 0

0

7

Ex 9

38

œœ 14

œ 12 œ

12

œ n12œ ≥ ≤

14

~~~ 12 14œ œ 12

Hybrid picked jazz comp

B b13 ©»¡™ºDecember Swing. 7 8 2015 j 87 6 œ 7 œ # œ œ b b 4 ... # œ b œœ6 œ5 œœ6 ‰ 7 6 5

m

≥

N.C.

12

0

12 12

‰

'

~~~ ~~~ 14 œ œ n12œ ‰

1/4

'

œ 7

~~~

1/4

1/4

‰ 7 .. n œ œ12n œ œ œ œ œ œ œ14 œ œ œ12n œ m ≥ ≤ œ ≥ 12 12

14

~~~ 0 ~~~ œœ4

12 12

N.C. 5 7 7 5 7 0 2 n ≥œ œ n mœ ≥œ mœ ≥œ mœ ≥œ mœ ≥œ œ mœ n ≥œ3 0 œ 5

~~~ 0

B b7alt

7

E b9

9 œœ7 œœ œœ4# # œœ œœ b5œœœ b7œ 5 7b œœœ. 7 ‰ œ œ bœ œ œ ‰ ‰ ≥ m ≥ m œ 0

' œœ '

1/4

1/4

A7 1 12 /4 12

12

m

Ex 9 E B G D A E

'' œ nœ


≥ E B G D A E

m

5

0

0

D9 E b9 E dim7

. ‰ ...

.œœ5 n œ5 œœ7 0 b œœ n œœœ0 b œœœ n œœœ œ≥ # œœm œ≥ ‰ nmœ ≥0 œ2 m ≥3 ‰0 J Œ

. ...

Let ring

B b7alt 9 7 7 7

E b9

D9 E b9 E dim7

6 6. 6 5 6 b œ b œ œ 6 6. 5 6 œœ œœ œœ # # œœ œœ œœ œ œ ‰ œ œ bœ œ ‰ ‰ b œ œ5 n œœ4 œœ5 ‰ 8 7 6

8 7 6

7 6 5

8 7 6

7

6 9 n121211œœ . 5 bœ 8 œ 6 9 b œœœ n œœ œœ ‰ Jœ Œ ... 8 6 8

# # # # n œœ œœ & E B G D A E

œœ œj œœ œœ

~~~ œœ ~~~ 0

0

0

0

7

7

4

7

0

0

9

7

EXAMPLE 9 Hybrid picked jazz comp

‰ .. œ n œ œ œ œ œ nœ œ œ œ œ nœ œ HYBRID PICKING {œ PICKING PT3

4

5

7

5

0

. .

0

cd track 25 5 7 7 5 7 0 2 3 0 Applying hybrid picking when comping jazz style can give your performance that elusive pianistic quality. Chords soundmcleaner and syncopation becomes tight m m m m

≥

≥

≥

≥

≥

≥

and snappy. In this example each three-note chord is sounded simultaneously using your pick, second finger and third finger as indicated. There’s no need to worry about damping the unwanted open strings either, as you would with regular picking. Ex 9

Hybrid picked jazz comp

©»¡™º Swing j B b13 b 4 . # # œœ œœ œœ œœ ‰ b & 4 . œ bœ œ œ

E B G D A E

. .

7 6 5

8 7 6

7 6 5

B b7alt

œ

8 7 6

E b9

œœ. œœ œœ œœ # œ œœ b œœœ b œ ‰ œ œ b œ # œœ œ ‰ ‰ bœ

D9 E b9 E dim7

bœ nœ œœ. n œœ œœ ‰ b œœ n œœœ œœ ‰ œœJ Œ . . œ #œ œ nœ œ

Let ring

8 7 6

8 7 6

7 6 5

8 7 6

9 7 7

7

6 6 6

6 6 5

5 5 4

6

6 6 5

7

8 6 8

6 5 6

9 8 9

12 11 12

EXAMPLE 10 Walking bass line with chords

. .

cd track 26

This example illustrates how a simple two-chord vamp (Am7-Bm7) can sound more interesting when separated into bass line and chord stabs. Traditionally, this 4 xxxxxxxxxx would be played fingerstyle, but using hybrid picking makes it easy to switch between single line playing (ie soloing) and comping. Use the suggested frettinghand fingering (bar 1) to allow first double-stop chord to sustain over the second bass note. Ex 10 Walking bass with the chords

œ # œj œ Bm7 A m7 Bm7 G #m7 Am7 ©»¡™º œœ # œ œ jœ j nœ Ex 10 Walking bass with chords j j 4 œ œ # œ ¡ £ . œ . œ œ œ œ œ # œ œ ‰œ ‰ œ œ ‰ # œj œJ Œ .. . ‰ ¡ œ . £ œ Œ œ œ Œ œ ## œœ œ ‰ œ & 4 Swing 4 xxxxxxxxxxA m7 œ™ œ Aœm7 # œ Bm7œ G# m7 ©»¡™º œ # œ Bm7 œœ ## œœ œœ œ œ nAm7 jœ j j j ™ Ex 10 4 Walking ¡bass with chords œœ œœ Œ œœ # œœ œœ ‰ œ œ # œ ‰ œ œ # œ n œ ‰ œ œ ‰ # œ œJ Œ .. & 4 .. ‰ ¡¡ œœ .. ££ œœ Œ Swing œœ # œj 12œ Bm7 Am7 œ™ œ Aœm7 # œ Bm7œ G##m7 # œ n œ 15 ©»¡™º . Aœm7 œ 5 13 . ¡ 5 ™ 7 j œ # # œœ 10œœ9 j j 5 5 7 4 5 5 #œ œ 5 j nœ 7 12 œ 4 œ ¡ £ œ . œ œ œ œ œ œ . . # œ ‰ Œ Œ œ ‰ ‰ ‰ ‰ Œ 7 10 5 . 7 5 5 7 4 5 7 7 . œ œ œ œ . . œ œ œ &4 J £ ¡œ #œ œ 15 12 œ55 5 # œ6 œ77 # œ44 n œ55 5 13 10 m . . ≥œ5¡ m5a# œ6™ œ77™ œ0 ≥ ≥ ≤ ≥ ≤ ≤7 ≤ 5 ≤ 5 12 9 ≥ 7 10 7 5 5 7 4 5 7 7 . . 5 cd track 27 EXAMPLE 11 I-VI-II-V walking bass and chords 5 6 7 0 5 6 7 4 5 Ex 11 I-VI-II-V walking bass & chords 12 a previous idea of using hybrid picking to play a jazz-style walking ≥ 1513m≥ bsince it introduces ≤ more≤ complex ≤ ≥ bass≤5comp.≤ It is≥also slightly ≥onBthe This example builds 10 . m Swing . b7 (indicated D bm7 5 Cm7 G b7 inF7 G7 Bas13 5 7 G7in brackets) 5 ‘walk’ 7 4 Dm7 5 7 F13 12 5 3 clipping any 5C9 9 chromatic approach chords that unison with the bassline. Avoid bass notes: let them ring longjas possible; this will j 7 10 ©»¡™º 5 7 5 5 7 4 5 7 7 . . j & chords ¡œ œand third fingers to pick out the chord œtones. create two simultaneous parts. Use your pick to play the bassline, leaving your second Ex the 11 illusion I-VI-II-Vofwalking bass b œ œ œ . . b 5 6 7 0 5 6 7 4 5 ‰ œ Œ ≤ G7 b 4 .. b‰a b œœ Œ n œ b bœ œ bGœœb7 F7œœ Œ Dm7 Swing ¡ œ≥n 3œ ≤ ≤ ≥C9‰ n œœœ≤.. F13‰ b œœœ≤ .. ≥.. m≥B ‰b13b œœj Œ Ó & ™ j b œ œ œ ©»¡™º 4 ≥ Bmœ7 jb œ G7œœ Db œm7 Cm7 b œœ¡ œœœ b œ œ Œ ‰ œœ b œŒ œ¡ ¡œ œ£ ˙‰ œ .. ˙‰ œ . . œ‰ œœ ŒŒ ÓÓ b ¡ bass ‰ œ Œ 4 ¡ Ex 11 I-VI-II-V walking & chords ¡ . b œœ . b œœ .. . b œ b 4 . b œ n œœ ¡ œ nœ & bGœœb7 F7œœ b œ Dm7 n Swing ™ b œ œ œ b b œ ˙ B bœ7 G7 D m7 Cm7 G7 C9 F13 3 jb œ œ¡ ¡œ3 œ£ ©»¡™º . ¡ jb œ¡ œ¡ 5¡ 4 b œ œ ˙ 3 . B œ13 œ8j Œ Ó 6 3 b œ4 œ3 3 2 Œ œ5 b 4 3 4 3 . 2 . 7 7 & b 44 .. ‰ b œœ6 Œ n œœ3 b b œœ4 œ3 b œœ2 œœ1 b œ4 ‰œ5 œ Œ ¡ œ n ™œ 3 œ5 ‰3 n œœœ2 .. ‰ b œœœ1 .. .. ‰ b œœ6 Œ Ó 4 6 bœ . ≥œ6¡ 7a b≥œ4 œ34 54¡ œ43 b œ23 œ12 œ33¡ 4 a ≥£ ˙≥ m33a ˙1 32 . œ6 87 Œ Ó . m6 ¡ 3¡ 4 3 2 1 4 5 5 ≥2 1 1 . 6 6 5 3 6 fingerstyle 4 3 2 1 4 3 Ex 12 Hybrid picking a a ≥ ≥ m3a 3 Double time groove 6 8 . ≥ m7 ≥ 4 54 43 3 2 ≥3 N.C. 32 . 5 3 4 7 F F/G Ex 12 HybridCpicking fingerstyle ©»¡ºº 6 3 2 1 C7 2 1 6 . . 28 EXAMPLE 12 Hybridjpicking fingerstyle j j 4 3 j 4 5 5 3 . cdn œtrack . written j œ Double time groove 6 4 3 2 1 4 3 1 6 ‰ ⋲ ‰ ‰ ‰ œ # œ œ . . œ œ œ . œ œ . œ œ œ œ œ œ . It’s perfectly4possible to play conventional fingerstyle comps using hybrid picking as this Chet Atkins-style example illustrates. This has been using œ œ œœ F œ aœœ.≥F/G œ ≥ œmaœ. N.C. œ œ # œ œ n œ œ ‰ . .≥ œtwo & 4 . C notation œ œ (ie stems œ systems œ œ. bfor C7 bass ©»¡ºº œ≥j mœa œusing œj down traditional fingerstyle notes, stems up for melody notes) to clarify the picking. œ # œ Use.your .pick. to play bass notes œ œ œ throughout and your second and third fingers melody œ⋲fingerstyle œ to play‰ the œœ basœœindicated. œœ œ . œ‰ œj œ œ‰ œj œœ ≥ œ. j 4 ‰ Ex 12 Hybrid picking . œ œ . œ . œ œ œœ ## œœ œœ nn œœ œ ‰ .. . . . œ . œ . & 4 œ œ œ œ œ œ œ œ œ œœœ œ œœ œœœ œ œ Double timeœgroove œ. œ # œ œ . œ œ œ œ œ œ œ œ C C7 F F/G N.C. ©»¡ºº . 1j 1 1 3 4 .. ‰ œ2 ⋲ 0j2 . œ . 2 0 2 ‰ œ12j œ 0 2. b œ3 . 2 œ1 œ œ3 2. ‰ œ13j œ œ2 3. ‰ œ13j œ œ2 3. œ # œ44. œ55. n œ33 œ12 ‰ ... 0 1 2 œ3 & 4 . œ3 œ1 œ œ œ31 œ œ œ œ œ3 œ1 œ œ œ3 œ1 œ œ1 œ 3 œ1 3 œ œ3 œ # œ œ 1 œ3. # œ4 œ5 n œ3 œ1 . 3 3 3 3 1 1 . ≥3 m2a ≥œ 0am2 ≥3a m2 0a ≥œ m2 3 2 œ 0 2 33 2 œ 3 2 œ 3 œ 2 3 œ 3 œ 2 3 ≥3. ≥0 1 2 m m≥3 4 5 3 2 . 3 3 3 3 1 1 3 3 a ≥ am a m a ≥ m ≥ ≥ ≥ m m≥ m Ex 13 Minor pentatonic in fourths . 1 0 ≥1 0 1 1 1 1 1 3 4 5 3 1 . 0 3 3 2 2 N.C. 2 ©»¡ºº 2 2 2 2 2 2 2 œ 3 3 3 3 0 1 2 3 4 5 3 2 . . Ex 13 Minor pentatonic in fourths 3 3 3 3 3 3 3 œ œ œ œ3 œ œ 1œ œ œ 1œ œ3œ œ 3œ ≥3 ≥ m m .. œ b b 44 ≥ .. mN.C. œ œ Œ Ó a ≥ a m a m a ≥ œm &©»¡ºº œ œ œ œ œ œ œ œ ≥ ≥ œ œ œ œ œ œ œ œ œ œ œ. Œ2015Ó b b 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. December & œ œ œ œ Ex 13 Minor pentatonic œ œ œ œœœœ œ œ œ inœfourths . Swing 4 xxxxxxxxxxA m7

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

4

4

4

6

11 9 8

6

11 9 8

6

11 9 8

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

E B G D A E

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

39

44 .. ‰ œ ⋲ œj . œ . œ ‰ œ œ . b œ . œ œ œ . ‰ œ œ œ . ‰ œ œ œ . œ œœ ## œœ. œœ. nn œœ œ ‰ .. & œ œ œ F œj œ F/G œj œ N.C. ©»¡ºº Cœ œj œ œ œ œ œ œj œ C7œ œ œ. œ # œ œ . . . œ œ œ œ œ œ œ œ œ j ‰ œ ⋲ œ . œ . œ œ ‰ œ œ œ .bœ . œ œ œ . ‰ œ œ œ . ‰ œ œ œ . œ CD# œ œœ n œTRACKs œ œ ‰ .. 17-35 ON THE & 44 }..PICKING Play 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 n œ œ . 1 0 1 0 1 1 1 1 1 3 4 5 3 1 . 2 2 3 3 3 3 0 1 2 3 4 5 3 2 . . 3 2 2 3 2 2 3 2 0 2 33 2 3 2 3 cd track 29 EXAMPLE 13 Hybrid3picking in 4ths 3 3 1 1 1 3 1 3 . 1 1 1 1 3 1 3 4 5 3 1 . a ma a a m m m m ≥ ≥ ≥ ≥ 0 0 0 3 3 2 2 ≥ This useful workout illustrates it is to play notes on adjacent strings when using hybrid picking. Here the picking is based on regular alternate picking 2 2 2 2 2 2 3 3 3 3 0 1 2 ≥ 3 4 5 3 2 . m2 2how≥ easy . Double time groove

E B G D A E E B G D butAwith no up-picks; and executed 3 these are replaced 3 3 instead by the 3 second finger. The ‘burst’ of 16ths in the fourth bar3illustrate the effortless fluency that can be E 3 3 3 3 1 1 3 3

achieved when applying hybrid picking in this way. a Ex 13

≥ ≥

a am ma Minor pentatonic in fourths m

≥

≥

≥≥

m

mm

≥ ©»¡ºº N.C. œ œ œ œ œ œ œ œ œ œœ œ œ Ex 13 Minor in fourths b 4pentatonic œ . œ œ .. b œ œ &©»¡ºº4 . N.C. œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œœ œ œ b 4 .. œ œ œ œ œ .. œ œ b & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œœœ œ 3 6 3 3 6 3 6 3 6 3 . . 5 3 3 5 5 3 5 3 . 3 5 3355 33 5 5 3 5 . 5 3 5 3 1 3 6 3 3 3 1 6 6 3 6 3 6 3 6 . . ≥3 m3 ≥5 m5 3 3 5 3 5 . ≥m ≥m 3 5 3 3 5 5 3 5 . E B G D A E E B G D A E

Œ Ó

œ. Œ Ó œ. 3

5 3 5 3 5 3 5 3 1 3 1 3 cd track 30 6 m m m m 14 Mixolydian in thirdsCAGED shapes one and two. Notice that the second finger always picks the higher note of each 3rd, replacing the ThisEx example spans themode G Mixolydian 3 EXAMPLE 14 Mixolydian 6 mode in 3rds

≥ ≥

≥ ≥

©»¡™º #Mixolydian mode in thirds &©»¡™º44 .. N.C. # 4 . œœœœœœ & 4 . œ œœœœœ . . 2 3 5 . ≥3 m ≥5 m 7 .

conventional up-pickN.C. in alternate picking technique. You’ll find this much easier to play if you fret the upper notes exclusively with your first finger – so, to play major 3rd use first and second fingers, and to play a minor 3rd use fingers first and third. Ex 14


3

2

m

5

≥ ≥

3

m

7

œ œ œ nœ œ œ œ nœ 3

5 3

2

3

5

2

3

5

œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ nœ 7

7

5 3

5 3

2

5

2

5

4

4

7

7

5

5

5

5

4

4

3

3

œ œ œ nœ œ œ œ œ œ nœ 2 7 2 7

5

5

3

5

3

5

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3

2 7 2 7

5

5

5

5

.. w .. w œ ww . . 3 2 . 3 . 2 3 œ

3

EXAMPLE 15 Arpeggiated triads 5

cd track 31

This example would be quite difficult to play using regular alternate picking; hybrid picking not only makes the picking a breeze, it also allows a more musical and relaxed delivery to be achieved. Keep your picking hand steady with pick and fingers poised above the relevant strings throughout (this example is played 5 along the second, third and fourth strings); this will ensure your delivery is effortless and accurate. entirely Ex 15 Arpeggiated triads Shuffle Am E G D F C G E Am Bm C D Dm œ E œD m œ E 3 ©»¡ººArpeggiated 3 3 3 3 triads œ œ œ # œ œ œ 4 .. Amœ œ œ # Eœ œ œ nGœ œ œ D œ œ F œ œ C œ œ G œ œ E # œ œ Aœmœ œBœmœ Cœ œ Dœ Dm Eœ # œ Dœm œ Eœ œ œ .. Shuffle & 4 #œ 3 œ 3 œ 3 œ 3 œ 3 œ œ œ œ ©»¡ºº œ œ œ 3 œ #3œ 3 # œ œ œ 3 œ œ œ œ œ3 œ œ œ œ œ3 œ œ3 .. & 44 .. œ œ3 # œ œ3 n œ œ3 # œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ 3œ œ œ 3 3 3 3 3 3 . 53 5 43 5 43 3 2 3 2 1 0 1 0 0 1 0 35 5 7 7 9 8 1110 14 15 1312 10 10 93 9 . 10 12 15 14 7 9 12 9 .7 6 5 4 3 2 0 2 . 5 5 3 3 1 1 0 0 5 7 8 10 15 12 10 9 . . ≥ m5 a ≥ m4 a 4 2 2 0 0 1 5 7 10 9 9 11 14 13 10 12 15 14 7 9 12 9 .7 6 5 4 3 2 0 2 .

Ex 15


EXAMPLE 16 Piano m astyle m atriad riff

≥

≥

Am

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5 5 7 5 5a m 7

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cd a track 32 m

However your alternate picking technique is, it is not possible to achieve a tight, controlled piano style delivery when playing a quick succession of triads Ex 16good Piano style triad riff (three-note chords) as required by this example. Notice also that diatonic major and minor triads (using notes exclusively from the key scale) are used exclusively b7 guitarists. B by throughout; this isCa common keyboard player’s approach and one that is all too often neglected

©»¡ºº Piano style triad riff œ 4 & 4 .. Cœœœ œœœ œœ œœœ ©»¡ºº œ & 44 .. œœœ œœœ œœ œœœ . 5 7 9 7 . 57 78 1010 78 . 5a 7 9 7 . m≥57 78 1010 78

Ex 16


Ex 17

5 5 7 5 5 7

œœ œ œœ œ

œœ œ œœ œ

œœ œ œœ œ

6 5 7

8 7 9

6 5 7

5 5 5

6 5 7

8 7 9

6 5 7

5 5 5

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œœ œ œœ œ

5 5 5 5 5 5

≥

G7 December 2015 ©»¡™∞ SRV style triad riff # ¡ œœ n™œœ ¡¡ œœ Shuffle 4 . ¡ œ

Ex 17

œœ œ œœ œ

œœ œ œœ œ

œœ œ Jœ œœ J

œœ ‰ œ œœ ‰ œ 5 5 7 5 5 7

b œœ b œœ B bœ7 œ b œœœ b œœœ

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3 3 3

4 3 5

3 3 3

4 3 5

6 5 6

8 7 8

6 5 6

3 3 3

4 3 5

3 3 3

4 3 5

6 5 6

8 7 8

6 5 6

ww w ww w

a m triad riff SRV style

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40

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E B G D A E

5 5 7

7 7 8

9 10 10

7 7 8

5 5 5

5 5 7

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b œœœ b œœœ œœœ œœœ ‰ b œœ œœ œœ

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HYBRID PICKING { PICKING PT3

6 5 7

8 7 9

6 5 7

5 5 5

3 3 3

5 5 7

EXAMPLE 17 SRV style triad riff

4 3 5

3 3 3

4 3 5

6 5 6

8 7 8

. .

6 5 6

cd track 33 a m This example illustrates how effective hybrid picking can sound when used to play conventional blues riffs. Because all of the notes are sounded simultaneously

≥

the riff has an organ-like quality that would be harder to achieve using conventional picking. This will be much easier to play when using the suggested fretting hand fingering and then simply moving the riff to the 8th fret to transpose it to C7. Ex 17

SRV style triad riff

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E B G D A E

3 4 3

5 5 5

6 5 7

B b7 A7

A b7

j œ œ j œ. œœ œœ n œœœ b œœœ œœœ œœ n œœ # œœ n b œœ . œ # œ n œ # ‰n œ bœ b œ b œ œ b œ . n œœ Œ Ó # œ n œœ œ œ œœ ‰ œ . œ. C7

5 5 5

3 4 3

2 3 2

5 3 5 3 4 5 3

7 8 7

8 9 8

C7

10 10 10

11 10 12

10 10 10

8 9 8

6 7 6

5 6 5

4 5 4

3

a m

G7

. .

3 4 3

≥

EXAMPLE 18 FINAL WORkOUT

cd track 34

The intro (bars 1-4) uses hybrid picking to create an authentic Mississippi Delta blues vibe reminiscent of Robert Johnson’s pioneering style. The tune (bars 5-16) uses a block chord harmonisation approach where a simple blues melody (ie the top line) is harmonised using three-note chords (a mixture of triads and partial GUITAR TECHNIQUES MAGAZINE 2 5 0 Philpick, Capone SORT PICKING voicings). The whole of this section should be played using your second- and thirdYOUR fingers to sound the chords. Ex 18

FINAL WORKOUT INTRO

©»¡£º E9 # # # 4 œœ .. & 4 œ. Shuffle

E B G D A E

œœ ‰ œœ œ œ J J

7 7 6

7 7 6

7 7 6

n œœ. nœ

D9

6 6 5

5 5 4

n œœœ ...

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A7

5 5

5 5

5 4

5 3

5 2

7

5

4

3

2

5 5 4

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5

6

≥ ≤ ≥

a m

1

5 5 5

7 6 7

a m

≥

≥ # œœ n œœ. n n œœ œ # œ œ n œ œœ ‰ n n œœœ J

MELODY A7

# # # œœ œœ œœœ œœœ œ œ & E B G D A E

5 5 6

7 7 7

7 7 7

8 7 8

7 6 7

5 5 6

5 5 5

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6

7 7 7

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4 4 5

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j # œ ‰ n œœ

3 3 4

4 4 3

5

n n œœœ

D7 # # # n œœ œœ œœœ œœœ & œ œ

E B G D A E

9 8 9

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5 5 4

7 7 7

5 5 5

7 7 7

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8 8 9

7 7 7

5 5 5

7 7 7

œœ œœœ œœœ œœœ œœœ nœ A7

4 5 4

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December 2015

41

# # # n œœ & œ

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7 7

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Play } PICKING E B

G 5 WORKOUT 7 5 ...CONTINUED 7 EXAMPLE 18 FINAL D 4 7

œœ œœ œœ b œ œ nœ œ ‰ œ œ 7 7 7

5 5 5

7 7 7

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7 7 7

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4 5 4

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5 5 6

7 7 7

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ON THE CD

TRACKs 17-35

5 5 6

9 cd track 34

TheAEsolo incorporates many of the techniques you have studied in this article; hybrid picked 6ths (bars 17 and 19), static upper chord note over a minor Pentatonic 9 lick (bars 21 and 22), chicken pickin’ (bar 24), and double-stop riffs (bars 27-28). There are also several instances where hybrid picking has been used to replace conventional alternate picking. As always take your time and practise each section separately (building tempo gradually with a metronome). Have fun!

. # # # œœœ &

œœ. œ

œœ œœ œ œ ‰ œœœ

7 9

9 10 9

10 12 9

E7

E B G D A E

13

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9 10 9

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5 7 7

7 8 7

A

5 5

5 5

5 4

5 3

5 2

7

5

4

3

2

SOLO

5

5

7 6 7

6

8

9

8

7

5

8

9

8

7

6

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Ÿ ~~~~~ nn œœœ # œ n œ œœœ

7 6 7

m

5 5 5

6

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8

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# # & # # œœ n œœ œ œœ œœ œœ

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4

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December 2015

5

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4 3

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back ~~~E 7 Lay ~~ j œ œ œ # œ n œ œ n œ n œ œ œ œ œ #œ œ œ œ œ œ œ œ œ 3 ~~ ~~~ BU

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20

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ON THE CD

TRACKs 36-37

Eduardo Di Capua ’O Sole Mio

Written in the late 19th century for the Festival of Piedigrotta, Bridget Mermikides transcribes a piece for lovers of a certain brand of ice-cream – and Neapolitan pop opera.

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Moderate ✪ ✪ ✪ Will improve your… Separation of melody and accompaniment Ornamentation Melodic phrasing

t’s very common to categorise almost any western music up until the 19th century as ‘classical’. If it seems somewhat sophisticated, has been notated and, especially if it uses orchestral instruments, then it’s given the ‘classical’ label. In fact, these loose criteria include a huge range of diversity in terms of musical culture and populism. Such is the case with this month’s piece ’O Sole Mio, which is often assumed to be part of the operatic high-art repertoire. But its Eduardo origins are as ‘pop’ as any music Di Capua you could name today. It is a Neapolitan song, that is a song written for the Festival of Piedigrotta’s annual songwriting competition based in Naples, Italy that ran from 1830 to 1926. Like one of today’s hits, ’O Sole Mio

Presley to Pavarotti, Caruso to Cornetto, this Italian melody lingers on our taste buds

✪✪

(a 1898 entry to the competition) had multiple contributors; the lyrics are from a poem by Giovanni Capurro and the music by his friend, the Italian singer and songwriter Eduardo di Capua (1865-1917), as well as (the then uncredited) Emanuele Mazzucchi. The song came second and its rights sold for a mere 25 Lira. It has, of course, since become hugely popular, been performed and recorded countless times by Italian singers such as Enrico Caruso, Beniamino Gigli and Luciano Pavarotti (whose recording of the song won a Grammy in 1980). It also received a wider audience when its lyrics were translated to English, or the melody adopted with entirely new English lyrics, such as in Charles Harrison’s Down From His Glory, Tony Martin’s There’s No Tomorrow and Elvis Presley’s It’s Now Or Never, as well as Tony Bennett’s big band version. More recently, a long-running UK advert for Wall’s Cornetto kept the tune in popular culture. The melody was inspired by Di Capua’s tour of Crimea with his violinist father and is an utterly irresistible melody, immediately

accessible yet with a disarming grace and emotional power that sets Capurro’s romantic lyrics perfectly. For this arrangement, I’ve used drop D tuning in the key so that the characteristic bass ostinato is playable under the lyrical melody and chord punctuations. The technical challenge here is to keep these three elements appropriately balanced and distinct,

There are versions by Presley, Caruso, pavarotti and tony bennett and, of course, a cornetto advert! and the tab captions will help you achieve this. It’s very useful to be able to play this completely in time and then use your musical sensibilities to pace the melody expressively. For added expression, pay particular attention to the melodic ornaments (eg bars 31 and 38) and fermata signs (in bars 31 and 71) where you can rest on the note musically before continuing. NEXT MONTH Next month, Bridget arranges Francisco Tárrega’s Capricho Árabe

Technique Focus Nail care

Look after your picking hand fingernails! It’s very important for tone production and control of technique to get your fingernails sorted. You need to work on finding the right length and angle of nail to produce a clean warm tone. The contact on the string should be both flesh of the fingertip and nail simultaneously. It can take a bit of time and experience to get it just right, then you need to maintain the condition of your nails with regular filing and polishing to keep the nail edges smooth and gleaming.

TRACK RECORD The most famous recording is by Luciano Pavarotti, which won the 1980 Grammy for Best Vocal Soloist Performance, it can be found on Favourite Neapolitan Songs (Decca 1979). Or you may want to check out Tony Bennett’s big band take on It’s Now Or Never (1972 Victor). If your tastes are more classic, Enrico Caruso’s 1916 recording has serious charm (The Great Caruso Vol 1 2008 Classic). 44

December 2015

ULI DECK / PHOTOSHOT

ABILITY RATING Info Key Various Tempo Various CD TRACKS 36-37

’O SolE Mio { Eduardo Di Capua PLAYING TIPS

cd track 37

[General] We want to make the melodic line sing in this piece. Start with a warm rest stroke, playing over the middle of the soundhole and continue using rest stroke for the melody wherever possible. I have indicated the picking hand fingering for the first eight bars and I often leave the finger down on the adjacent string and leave it there until the next note or chord is needed. For example; in bar 2, I play the E melody note rest stroke and leave the finger resting on the third string while the bass note is plucked. The finger is then already on that string to pluck it in the middle of the D chord

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on beat 2. This kind of technique can be used a lot if you organise the picking hand fingering accordingly; it also increases security and tone control. If you go carefully you should see how this works for the first 8 bars. [Bar 9] At bar 9 we get repeat of the main theme with a different ending, leading to what would nowadays be called a chorus at bar 17. Aim to keep the melody nice and smooth (legato) and the accompaniment well articulated. At bar 20 you will need a barre across five strings at the 7th fret and bar 22 will need a four-string barre at the 2nd.

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NOW ON

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WANT TO PLAY LIKE YOUR HEROES? Learn to play like over 70 electric guitar legends. Style studies, licks, solos, chords, riffs and more. In this magazine/DVD-ROM there’s all you need to become the next electric hero! Pop the DVD-ROM into your PC or Mac to hear brilliant audio synched to animated tab.

www.myfavouritemagazines.co.uk/music-guides-and-specials

The inside story of the guitars that made Fender and Gibson great – featuring valuable vintage gems, rare prototypes, star guitars, Custom Shop creations and amazing photography from the makers of Guitarist magazine

Learning Zone

Future Publishing, Ivo Peters Road, Bath, BA2 3QS.

Brought to you by…

Lessons GT #250 30-MINUTE LICKBAG ......................52 Pat Heath has six more fantastic licks at easy, intermediate and advanced levels.

Blues.........................................................54 Les Davidson looks at the playing of a UK poprock star who moved over to the blues – Chris Rea.

Rock ..........................................................58 Martin Cooper examines the playing of alternative US rockers, System Of A Down – or SOAD!

video.........................................................62 Jazz guitarist Nigel Price continues his masterclass, this month playing a gorgeous minor blues.

creative rock ................................70

I

recently had the fortune of working on a show alongside another guitarist. The show was pop/rock based with the main musical numbers running the gamet of chugging eighth-note riffers, pretty ballads, funky dance numbers and uptempo rockers. Many shows only need one guitarist so working with another proved a lot of fun as my co-six stringer turned out to be a ‘360 musician’; good tone, solid chops, broad chord vocabulary, stylistically savvy; he read notation and improvised with admirable creativity. Even though most shows are highly pointed in their requirements, the latter ability – creativity – is a must when faced with a chord chart that requires solid rhythm and soloing ability. So every musical base was ticked. During a short rehearsal break, he told me he’s been a heavy user of Guitar Techniques for over 15 years. So that, alongside countless performing and teaching situations (big stages to

Shaun Baxter looks at some interesting new ways to play Pentatonics using three notes per string.

pubs, schools to one-on-one lessons), had resulted in him being the excellent and very hire-able musician I was working with now. As you work through this issue, I hope your progress towards being a ‘360 musician’ is made more real. We’ve plenty on offer from hybrid picking (chop versatility) to Pentatonics (theory), Joe Satriani (modal soloing) to a solo version of ’O Sole Mio (fingerpicking chops). Then there is the tutorial section you’re about to enter, crammed full of stylistic, technique, theory and reading articles (Wheaty’s Allan Holdsworth lesson starting on page 82 is particularly insightful). Good luck, keep creative and maybe I’ll see you on a show sometime in the future too!

CHORD CAMP........................................ 76 In a new series, Iain Scott digs deep into the world of chords: how they work and how to use them.

HARD ROCK...........................................78 Charlie Griffiths rips off his shirt to get into the mood of 80s rockers George Lynch and Dokken.

JAZZ.............................................................82 John Wheatcroft delves into the mystical world of a fusion giant – the amazing Allan Holdsworth.

acoustic.................................................88 Stuart Ryan examines the playing of a British folkrock legend, the incredible Richard Thompson.

reading music.................................92 Charlie Griffiths continues his series with a rocking reading study using low-register leger lines.

On video!

Join Nigel Price as he shows us how to play a great sounding minor blues. Page 62

November 2015

51

lesson } 30-minute lickbag

30-Minute Lickbag GUITAR TECHNIQUES MAGAZINE 2 5 0

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cd track 41

2 xxxxxxxxxx This EVH style-tapping riff is constructed around shape 4 of E minor Pentatonic with tapping on the 12th fret. Keep time by focusing on beat 1 each time and use

your picking hand’s tapping finger (Eddie uses his first but try your second instead) as a reference point as to where you are in the bar. Lick 4

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53

lesson } blues

Chris Rea


Although better known for his MOR chart-toppers, Les Davidson explores how ‘the blues man from the north’ has his roots imbedded in the deep South. Chris Rea: fine blues player in slide and regular style

Chris Rea as a bona fide, international rock star and a well-respected guitarist. In 2000 Chris started a battle with pancreatic cancer and after several operations and a long recovery he returned to work again. His illness appears to have reshaped his musical journey and he returned to his blues roots with the release of several more albums, all deeply steeped in the genre that first

Chris Rea has the ability to keep it simple yet play the important notes inspired him. “It’s not until you become seriously ill and you nearly die and you’re at home for six months, that you suddenly stop to realise that this isn’t the way I intended it to be in the beginning,” says Rea. “Everything that you’ve done falls away and you start wondering why you went through all that rock business stuff.” Whichever genre Chris Rea chooses, he has that desirable ability to keep it simple, yet play the right notes and connect with his listeners. Example 1 is tuned to E major for the slide playing, and the licks are executed ‘fingers only’. Example 2 is in regular tuning and played using pick and fingers. Enjoy! NEXT MONTH Les examines the authentic blues style of the great Robert Cray

Info Key: Em and Dm Tempo: Various CD: TRACKS 44-47

Will improve your Slide playing Use of chord tones Melodic phrasing

B

orn in 1951 in Middlesbrough to an Italian father and Irish mother, like so many musicians before him Chris Rea worked menial jobs before cutting his teeth as a professional musician. After toiling in his father’s ice cream shop, he purchased his first guitar (a Hofner V3) at the ripe old age of 21, finding inspiration in Sonny Boy Williamson, Muddy Waters and Sister

Rosetta Tharpe. Although he initially wanted to be a scriptwriter and film music composer, around 1973 Chris joined the band Magdalene – replacing David Coverdale – and later The Beautiful Losers. In 1974, he secured a solo contract with Magnet Records, releasing his first single, So Much Love. However, it was his debut album, Whatever Happened To Benny Santini (produced by Gus Dudgeon) in 1978 that gave Rea a top 20 hit in America with Fool If You Think It’s Over. His next three albums did not fair so well, but the release of Water Sign in 1983 gave him some European and Irish success. The big breakthrough came eventually in 1989 with The Road To Hell and its follow up Auberge (1991), both albums firmly establishing

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Chris has been associated with his 1962 Fender Strat ‘Pinky’ for most of his professional career but he also plays a variety of other guitars from Gibson and Hofner to an Italia Maranello Classic. He’s also been using a pair of Fender Blues Junior amps. Go for a mainly clean neck pickup sound, with a touch of natural amp drive and simply add reverb and delay to taste.

TRACK RECORD Fool If You Think It’s Over features the title track, as made famous in the UK by Elkie Brooks; The Road To Hell also features the title hit track, plus Tell Me There’s A Heaven; Auberge boasts more title track hit action, plus the classic single Looking For The Summer. Rea’s blues box set Blue Guitars is an amazing walk through Chris’s influences and is full of fabulous authentic blues. 54

December 2015

LIVEPIX

ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate

ON THE CD

learning zone

CHRIS REA

TRACKs 44-47

Example 1 slide in e major

cd track 44

Tuned to an E major chord and played bottleneck. The key centre of the track is E minor but you can play notes of a minor chord by flattening the 3rd interval (one fret lower on the third string compared to other strings will generate a minor chord ). You’re essentially playing notes from E Natural minor scale. (E-F#-G-A-B-C-D). GUITAR TECHNIQUES MAGAZINE 2 5 0 GUITAR TECHNIQUES MAGAZINE 2 5 0 Ex 1 GUITAR TECHNIQUES E m MAGAZINE 2 5 0 j Ex 1 GUITAR TECHNIQUES MAGAZINE 2 5 0 #œ Em Ex 1 j

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Les Davidson's BLUES - CHRIS REA STYLE

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December 2015

55

lesson } blues Example 2 regular lead style

cd track 46

This example uses a favourite Chris Rea technique of playing double-stop chord tones. Hitting the chord tones – mainly the 3rd, 5th and 7th – brings out the strongest notes of each chord. The single lines are from the C Major scale (C-D-E-F-G-A-B). Take your time and – most importantly – have fun! GUITAR TECHNIQUES MAGAZINE 2 5 0




Ex 2 GUITAR TECHNIQUES MAGAZINE 2 5 0 Dm7 Ex 2 GUITAR TECHNIQUES MAGAZINE 2 5 0

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lesson } ROCK

System Of A Down Martin Cooper checks out the heavy riffs and odd time signatures of talented US thrash metallers System Of A Down.


even though the album was actually number 1 in America on September 11th of that year. In 2004 and 2005 they recorded two more albums, they were released six months apart and both debuted at number 1 in the US After a hiatus the band regrouped in 2010 and continue to record and tour, including festival appearances at Download. Their style is a blend of late 80s thrash metal and the more accessible melodic alternative rock; plenty of heavy riffs, odd time signatures and quick changes mixed with clean acoustic passages and melodic vocals. Their influences are anything from Middle Eastern music to Van Halen. Malakian often

The System of a down style is a blend of late 80s thrash metal and the more accessible melodic alternative rock

ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced Info Key: E Minor Tempo: 120bpm CD: TRACKS 48-50

Will improve your… Odd time signature playing General timing Rhythm playing

S

ystem Of A Down formed in 1995 in California and currently comprise four Armenian-American musicians; lead vocalist and keyboard player Serj Tankian, Daron Malakian on vocals and guitar, bass player Shavo Odadjian and drummer John Dolmayan. This Grammywinning band have had three US number 1 albums and sold over 40 million records.

SOAD began life as Soil in 1993, before changing their name to System Of A Down after a poem written by Malakian. They recorded three demo tapes with drummer Ontronik Khachaturian before being replaced by Dolmayan. These caught the attention of producer Rick Rubin, who signed the band to Columbia in 1997. They enjoyed some success with their eponymous debut, as well as opening shows for Metallica, but it was with Toxicity in 2001 that they gained far greater success. The album featured some politically-charged lyrics, a tricky area to write about during that year, due to the 9/11 attacks. The song Chop Suey! was taken out of radio rotation due to some of its lines potentially causing offence

NEXT MONTH Martin examines the playing of Bad Company’s lead guitarist Mick Ralphs 6

6

Middle

Treble

7

3

9 Gain

Bass

Reverb

Daron Malakian has used a wide array of guitars including Gibson Les Paul and SG, Ibanez Iceman and Jackson Randy Rhoads. Amps include Soldano, Marshall and Mesa Boogie. Aim for a tight, high-gain sound with a humbucker if possible, or wind the gain up and treble down if using single coils. I used a Luxxtone El Machete guitar with Friedman Phil X amp for the track.

TRACK RECORD Toxicity, from 2001, was System Of A Down’s big breakthrough album and features the title track plus the controversial song Chop Suey! (which was banned on many US radio stations due to 9/11 sensitivity). Steal This Album! released the following year has the single Innervision, while Mezmerize from 2005 includes B.Y.O.B. All SOAD albums feature down-tuned riffage and fine musicianship. 58

December 2015

LIVEPIX

SOAD guitarist Daron Malakian with Gibson SG

writes in heavily down-tuned keys. However, for ease of playing and tuning the track this month is in standard tuning, and the key of E minor (E-F#-G-A-B-C-D). This month there are odd time signatures and non-diatonic notes and chords to deal with, so pay close attention to the playing tips. There’s no solo, but the track uses single-note riffs and melodies, so there’s plenty to work on. Once learnt, why not have a go at playing it with your guitar tuned down to D or even lower, for the real SAOD feel and sound.

ON THE CD

TRACKs 48-50

SYSTEM OF A DOWN

learning zone

Example SYSTEM OF A DOWN STYLE

cd track 49

The track begins in 4/4 time and then moves to 7/8. The easiest way to whether it’s with the tight single-note heavy riffs, or much more acousticapproach this is to think of a 4/4 bar with a beat dropped off the end. For flavoured clean guitar lines towards the end of the track. There are plenty example if you count 1 + 2 + 3 +245+ for of stops as well, with short rests, so make sure these are also in time and GUITAR TECHNIQUES 0 4/4, the 7/8 bars become 1 + 2 + 3 + Martin Rock - articulated SYSTEMwell. OF A DOWN STYLE 4, 1 + 2 + 3 + 4 (or 1-2-3-4-5-6-7) etc. You’ll need to play cleanlyCopper's throughout,


Martin Copper's Rock - SYSTEM OF A DOWN STYLE

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E B G D E A B E G 13 D A E E B 13 G

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59

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lesson } ROCK 2 &

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Example SYSTEM OF A DOWN STYLE

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[Bars 13-16] The power chord arpeggios in bars 13-16 are played using all E down strokes, with heavy palm muting for that big ‘chugging’ sound. B G [Bars 17-24] There is some slight palm muting throughout the rest of the D A E

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7 8 cd track 49

heavy parts, and the clean parts in bars 17-24 are played with second finger and thumb. Rolling the guitar’s volume control back will clean up the tone without the need to switch amp channels.

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lesson } video

ON THE CD

TRACK CD-ROM

Nigel Price Masterclass Part 4 In the final instalment of his jazz masterclass series, Dario Cortese examines Nigel Price’s approach to many guitarists’ great favourite: the minor blues. ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced Info Key: A minor Tempo: 78bpm CD: TRACK CD-ROM

Will improve your… Minor blues vocabulary Chord melody Jazz phrasing

W

elcome to the fourth and final part of our Nigel Price video masterclass. In this article we’re going to look at Nigel’s way to play over a jazzy minor blues. To make the most out of this final encounter we decided to play a blues in bossa feel in order to see how Nigel approaches playing on a straight groove. The result is, again, tasteful playing of the highest calibre. A pleasure to listen to. Before we start looking at Nigel’s solo, let’s talk about the minor blues structure and clarify what we mean. In jazz there are many

possible ways to play a minor blues. Some blues are very simple harmonically and feature only three chords: Im-IVm-V (or Vm). Others are a bit more colourful and intricate. The structure that Nigel played on is a very popular minor jazz blues and probably considered the most standard structure. We’ve chosen the key of A minor for various reasons: it’s a guitar-friendly key and is a bit easier to get one’s head around it harmonically. Here’s the structure: | Am / / / | Bm7b5 / E7 / | Am / / / | A7 / / / | | Dm / / / | Bm7b5 / E7 / | Am / / / | F#m7b5 / / / | | F7 / / / | E7 / / / | Am / F#m7b5 / | Bm7b5 / E7 / |

Compared to a standard blues there a few extra chords added to create more harmonic movement that the players can use. Mostly this is achieved by adding II-V to a destination chord; for example, a II-V to get to Am would be Bm7b5-E7. Although all the chords in a progression are important, some are a bit more important than others. For instance, Nigel Price: the A7 in bar 4 is a formidable UK jazz guitarist chord that a lot of players like to play over because it creates a nice transition to the Dm in bar 5. This makes it the perfect place to use the V-I vocabulary, which is such an ingrained part of the jazz sound. Another key chord is the F7 in bar 9. This chord can be seen as the result of a couple of substitutions that musicians started using simply because it ‘sounded’ right. Without getting too much into the details of how this is possible, here’s a short explanation from a theory perspective. The ‘original’ chord that, sticking to the diatonic harmony, should have been there is Bm7b5. That would have created a II-V into the Am (Bm7b5-E7-Am). How do we get from a

Bm7b5 to an F7? Jazz musicians like to make most chords dominant 7 so that they have more options harmonically. So Bm7b5 becomes B7. Jazz musicians also like is the tritone (b5) substitution (ie a diminished 5th interval away from the original chord). So B7 becomes... bingo! F7! A long story for something our ears pick up naturally.

This type of minor jazz blues is worth knowing even for the players who are not, strictly speaking, jazz players This type of minor jazz blues is worth knowing even for the players who are not, strictly speaking, jazz players. Even BB King and traditional blues players have played over similar structures. I hope you’ve enjoyed this series as much as I have preparing them! NEXT MONTH We begin a brand new series with LA blues and fusion maestro Allen Hinds 6

5

2

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Bass

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Treble

Reverb

For jazz a humbucking guitar on the neck pickup with the tone rolled off is standard. Plug it in a clean amp with a hint of reverb. Popular choices are Polytone or Fender but AER acoustic amps provide a great tone. Use flatwound strings for a traditional tone but many modern players such as Joe Diorio use roundwounds and still get a very authentic tone.

TRACK RECORD If you’d like to listen to Nigel playing some minor jazz blues, check out his rendition of Jimmy Smith’s Alfredo from his album Fool’s Gold (2011). Other great examples are to be found in Jim Mullen, Barney Kessel and Wes Montgomery.

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nigel price masterclass pt 4 EXAMPLES MASTERCLASs

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[Bars 1-3] Nigel starts his solo in the way most of us would: using A minor When this is done well we can potentially remove the rhythm guitar and still Pentatonic (Bar 2 is particularly interesting because although he’s playing hear the changes. In order to achieve this, Nigel is relying heavily on arpeggios over a II-V, he’s still using the same scale). What’s important to note is that he as in bars 7 and 10. happens to choose notes that belong to the chords in that bar – Bm7b5 and [Bar 11-13] This is the first turnaround and it’s very interesting to see how E7. The main note is that D note that is, in fact, the b3rd of Bm7b5 and the b7th Nigel approaches it. In this instance he decides not to go into the harmony and of E7. Coincidence? keep things easy and melodic. So his approach to the first turnaround is simply [Bar 5-6] In bars 5 and 6 Nigel uses D Harmonic minor scale to highlight the V-I playing off the key centre (Am). In this case he’s playing A blues scale ‘ignoring’ chord change – A7-Dm. This is a very be-bop approach, especially the b9 (Bb) the individual chords of the turnaround. over the A7. Also it’s interesting to note the ‘delayed‘ resolution of bar 6, which [Bar 14-17] The beginning of the second chorus already shows a slight change happens on beat 3 and lends a lovely languid feel. in direction. Nigel is highlighting all the chord changes and bringing out more [Bar 7-10] In this section Nigel goes a bit more into the details of the chord colourful notes in his phrasing. You can tell that he’s totally in control of the GUITAR TECHNIQUES MAGAZINE 2 5 0 changes over which he’s improvising and highlights some of the key notes. harmony simply by noticing placement of the chord tones. NIGEL PRICE VIDEO LESSON Part 4 -- his Dario Cortese GUITAR TECHNIQUES MAGAZINE 2 5 0 NIGEL PRICE MINOR BLUESVIDEO JAM LESSON Part 4 -- Dario Cortese GUITAR TECHNIQUES MAGAZINE 2 5 0 NIGEL MINOR PRICE BLUESVIDEO JAM LESSON Part 4 -- Dario Cortese GUITAR TECHNIQUES MAGAZINE 2 5 0 NIGEL PRICE MINOR BLUESVIDEO JAM LESSON Part 4 -- Dario Cortese b5 Am 7 E7 A m7 MINOR BLUESBm7 JAM 3

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December 2015

69

lesson } CREATIVE rock

Pentatonic Scale Part 1 three-notes-per-string Shaun Baxter explores an approach that is sure to breathe some new life into the way we use our tried and trusted friend: the Pentatonic scale.

Info Key: C (Am) Tempo: 120bpm CD: TRACKS 51-53

Will improve your… Three-notes-per-string ideas Pentatonic shape connection Advanced Pentatonic legato

T

he aim of this lesson is to help you to break out from the melodic and technical restrictions of playing the Pentatonic scale using its traditional two-notes-per-string formula. This will

help you to avoid clichés and provide you with the opportunity to create new sounds maximising on the most practical, flexible and commonly-used scale in popular music. Furthermore, you will start to see how the notes of the scale are distributed on the fretboard in a different way: importantly, it will widen your field of vision, so that you can see the relationships between various positions more clearly. Finally, this technique will allow you to create some ear-catching and impressive-sounding musical effects by opening the door to legato techniques, including picking and frettinghand tapping. All instrumentalists, such as keyboard players and sax players, use the Pentatonic scale, only they don’t all use it like guitar players. Arranging the scale two-notes per-string has its obvious advantages on guitar; however, it makes it easy to get drawn into playing the same old stuff, just because it falls under the hand in such a familiar way, and is a method used by every other guitarist. We know the scale works, so let’s try to do something else with it. Arranging the scale three-notes-per-string undoubtedly has its challenges. Firstly, there are the somewhat large stretches required by the fretting hand. Take your time with this and build up your strength gradually (over a period of weeks or even months, depending on your technical level). If you overdo things at the start, you risk getting various repetitive strain injuries. Secondly, when visualising the scale, you’ll have to widen your field of vision in order to sometimes take in two adjacent two-notes-per-string Pentatonic shapes. Note that, when playing

straight up or down the scale, some notes will be repeated because the last note of the previous string will be the same pitch as the first note on the following string. Playing the same note in quick succession on strings of different thickness can give the illusion of speed; furthermore, it also mimics a sound

instrumentalists from keyboard players to saxophonists and far beyond, use the Pentatonic scale, only they don’t all use it like guitarists used by many modern sax players called ‘ghosting’ where each note is played on different parts of the instrument: because the notes are the same pitch but have a slightly different tone, there is an earcatching phasing or ‘shimmer’ effect. In next issue's lesson, we’ll be looking at expanding our three-notes-per-string approach to the Pentatonic scale by incorporating string skips. Until then, start practising the various five-note scales (Pentatonic) that you know, using this approach in all positions and in all keys. 6

Gain

5

5

5

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7

Bass

Back off the distortion: it means having to work harder, but you’ll get a much better tone. If using single-coils, use a distortion pedal to boost the signal. Generally, go for 25% of your distortion from the pedal and 75% from the amp. Finally, add some delay to the guitar track in tempo with the song. This helps to give both size and smoothness to the sound.

TRACK RECORd Yorkshire legend Allan Holdsworth has been burning up and down the Pentatonic scale three-notes-per-string since the early 1970s with bands such as Igginbottom’s Wrench, Tempest and Soft Machine. These early recordings are better places to start than his more recent stuff as the scale use will be more apparent. Anything by Mr Big’s Paul Gilbert will demonstrate these ideas to superb effect. 70

December 2015

David Lyttelton

ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced

ON THE CD

learning zone

PENTATONIC SCALE PT1

TRACKs 51-53

DIAGRAM 1 a minor pentatonic neck diagram A minor Pentatonic isn’t the only scale that you can use over this lesson’s backing track. However, we’re going to stick to it for the purposes of this study. Diagram 1 shows the scale on the entire neck, rather than divided into separate positions; however, you should be able to see the five familiar CAGED

patterns; when you play three-notes-per-string, you straddle two adjacent shapes at the same time. This study is not supposed to represent a wellbalanced solo. Instead, it’s an unrelenting succession of three-notes-per-string A minor Pentatonic ideas: so, more a technical workout than a musical piece.

ExampleS 1 & 2

cd track 52

Example 1 This first example features the phenomenon whereby, when self-contained digital sequence. In this case 2-3-1 relates to the fact that, of the shifting from one string to an adjacent string, the same note is repeated. three pitches on each string, we play the middle note first (2) followed by the Here, we’re missing out the middle note on each string within our threehighest note (3) followed by the lowest note (1). notes-per-string approach, which gives us a modern sound comprising 4th Example 2 In bar 5, a succession of 1-2-3 units are grouped in a 3-3-2 intervals (between the lowest and highest notes on each string). In bar 3, we configuration, which helps to provide rhythmic interest. Note that, although see a straight descent from the third string down to the sixth using a 2-3-1 the contents of bar 6 (a mixture of 3-2-1 and 1-2-3 units) is rhythmically more SHAUN'S GUITAR GUITAR MAGAZINE 50 unit on eachTECHNIQUES string. Remember a unit isCREATIVE a straightforward, it demands more accuracy from the fretting hand. (from the2previous lesson) that 3-Notes-Per-String Pentatonics SHAUN'S CREATIVE GUITAR (Part 1) 3-Notes-Per-String Pentatonics (Part 1) SHAUN'S CREATIVE GUITAR 3-Notes-Per-String Pentatonics (Part 1) F/A A 7sus4/A

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Example 4 Here, we see a graphic use of a 3-1-2 unit used on each string. 6 6 Example 5 The first half of bar 9 is reminiscent of early Holdsworth. The large E 6 B stretches in the second half of the bar make it easy to execute the various G E D B A G E D5 A E 5

12 15 17 12 15 17

Ex 3

12 15 17 12 15 17

L L

F #7sus4/A

Ex 3

# œ œ œ &F 7sus4/A & œ œ œ

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

LL

12

LL 17

12

15

17

12

15

17

Lœ Lœ & 17

Ex 4 Ex 4

& E B G E D B A G E D8 A E 8

6 6

15

12

12 14 17 12 14 17

12 15 17

12 14 17 12 14 17

Lœ œ ≠œ LLœœ Lœ œ ≠œ

LL ≠ LL ≠ 12

17

15

12 15 17

15

L L

12

17

13

15

17

13

15

17

LL

D A E

9 9

9

Ex 6 9

& œ & œ

11

11

≠ ≠ ≠ ≠

9 9

14 12 10 12 14


C/A

œ œ œ œ

C/A

6 6

17

12

14

17

12

14

LL

LL ≠ LL ≠ 17

12

17

12

17

15

17

15

19 17 14

œ œ œ œ

12

17 14 12

17 14 12 10 12 14 17 14 12 10 12 14


9 12 14 12 9 7 9 12 14 12 9 7

6

14

LL ≠ LL ≠ 17

14

17

12

14

12

6 6

17

13

15

17

13

15

14

L L

12 10 7 12 10 7

L ≠ L ≠

œ œ œ œ œ œ œ œ œ œ

E 7sus4/A

6 12

17 14 12

E 7sus4/A

L L

L L

6

17

12

14

17

12

14

LL 17 17

12

LL

14

12

14

6

17

12

14

17

12

14

LL

L L

17

12

14

17

12

14

LL

L ≠œ L ≠œ LL ≠≠ œ Lœ ≠œ œ Lœ ≠œ

14 12 10 12 14

œ œ

5

7

10

7

10

12 12

& œ December 2015 & œ

7

9

7

9

B b/A B b/A

5

6

14 12 10 12 14

œ œ œ œ5

F #7sus4/A

72

19 17 14

6

14 12 10 12 14

F #7sus4/A

D A E

12 14 17

19 17 14

LL ≠ ≠ 17

13

17

13

14 14

L L

17

12

15

17

12

15

F/A

6

Ex 6

E B G D E A B E G

12 14 17

19 17 14

E b/A >œ >œA7sus4/A >œ œœ œ œ œ œ F/A œ œ œ œ œ œ Eœb/Aœ œ œ œ œ œ œ œ œ œ œ œ > œ >A7sus4/A &B 7sus4/Aœ œ œ > œ œ œ 6 œ œ œ œ œ œ 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 œ œ œ œ œ œ6 œ œ œ & B 7sus4/A

E B G D E A B E G

12 14 17

12 14 17

6 œ œ Bœb/A œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6 œ œ œ œ 6 6 6

2 2

12 14 17

L L

15

B b/A

12 14 17

hand tapping fretting-hand legato. However, more technically adept players 6 6 6 tapping does6produce a may want to rely just on the fretting hand (although pleasingly fluid tone).

œ œ

9

12

9

14

9

12

9

9

12

9

14

9

12

9

Lœ œ Lœ œ œ Lœ œ Lœ œ Lœ œ œ Lœ œ

12 12

9 9

C/A C/A

LL LL L L 12

9

12

9

7

12

9

12

9

7

14 12 10 12 14 14 12 10 12 14

9

14 12 10 12 14 14 12 10 12 14

Lœ ≠œ LL Lœ ≠œ LL ≠≠ LL œ Lœ œ œ Lœ œ œ Lœ œ œ Lœ œ

E 7sus4/A

œ œ œ œ œ œ

9

7

10

12

12

9

7

10

12

Ex 7

œ Exœ 7 œ œ

17

12

15

17

12

15

~~~ >œ œ œ œ œ ~~~ > œ œ œœ œ ~~~ 13 9 12 9 ~~~ 13

9 12 9

L L

L L

œ œ œ œ œ œ œ œ E 7sus4/A œ œ œ œ œ œ œ œ œ œ

5 5

12

Lœ œ Lœ œ œ Lœ œ Lœ œ Lœ œ œ Lœ œ

6 9

LL

14 14

6

9

12

14

12

9

12

14

12

LL L L 14

12

9

14

12

9

14

12

10

L ≠ LL L≠ 14

12

10

œ œ œ œ œ œ œ œ œ œ 6

&

6 E B 6 G 9 9 D E 14 12 10 12 14 A B ONEGE THE CD9 TRACKs 51-53 9 D 14 12 10 12 14 B 9 A G 9 9 E D 14 12 10 12 14 Ex 6 A 9 E F 7sus4/A 9

#

Ex 6 ExampleS 7-10

#

& œ & œ & œ

≠ ≠≠ ≠ ≠≠

L ≠œ LL ≠≠œœ LL ≠≠ ≠

6

6

6 14 12 10 12 14

9

12

9

14

9

12

9

7

14 12 10 12 14

9

12

9

14

9

12

9

9

12

9

14

9

12

9

Lœ œ Lœ œ œ Lœ œ LLœœ œ LLœœ œ œ Lœ œ œ œ œ Lœ œ

7

10

7

10

L

LL LL L L L LL

12 12

12

7

9

7

9

L≠ LL ≠≠

12

12

14 14 14

9

B b/A

12

9

7

9

9

12

9

7

17 17 17

12

12

14

17

14

17

14

12

12

14

17

14

17

14

12

12

14

17

14

17

14

12

9

14 12 10 12 14

9

9 12 9

learning zone

14 12 10 12 14

9 12 9

13

9 12 9

Lœ ≠œ œœ LLœœ œœ LLœœ œœ œ Lœ œ œ LLœœ ≠≠œœ œ Lœ œ Lœ œ œœ LLœœ œœ œ œ LL ≠≠ LL LL LL L ≠ L L Lœ Lœ œ Lœ œ œ Lœ œ œ Lœ ≠œ Lœ Lœ ≠œœ œœ LLœœ œ Lœ œ œœ Lœ œ œœ Lœ ≠ œ œ Lœ œ 14 12 10 12 14

14 12 10 12 14

œ œ œ œ œ œœ œ œ 7

cd track 52

E 7sus4/A

Example 10 Here we have a succession of 3-1-2 units reminiscent of a pickingE 7sus4/A hand tapped figure used by Edward Van Halen in his solo from Michael Jackson’s hit Beat 5 It. Again, like Example 6 it’s taken laterally on the fretboard on the middle two strings up through 5 the various positions. Like Examples 3 and 4, the pickinghand taps trace out an eighth-note rhythm. 9 12 14 12 14 12 9 5 10

12

12

9

7

10

12

12

9

7

10

12

LL ≠≠ LL LL LL L≠ L L L 5

9

6 14 12 10 12 14

13

E 7sus4/A

Lœ œ Lœ œ œ Lœ œ LLœœ œ LLœœ œ œ Lœ œ œ œ œ Lœ œ

12

œ œ Bœb/A œ œ & œ œ Bœb/A œœ œ & œ œ œ5 œ & 5

E B G D E 12 A B E G E D 12 B 12 A G E D Ex 8 12 A 12 B 7sus4/A E 12

9

12

C/A

œ œ œ

œ œ œ œ œ œ

10

9

6 14 12 10 12 14

PENTATONIC SCALE PT1

14 12 10 12 14

F 7sus4/A C/A Ex 6 7 Although tagged seamlessly onto the previous phrase, this Example # F which 7sus4/A C/A example, comprises consecutive 1-2-3 units, constitutes an independent line in its own right. 5 Example 8 and Example 9 It doesn’t all have to be a blur of 16th-note triplets and 32nd notes. Here, our unorthodox fingering for the Pentatonic scale leads E 5 toBsome fresh-sounding 16th-note lines with ear-catching slides in both. G 7 9 12 9 12 9 7 5 D E A B E G E D B 11 A G E D A 11 E 11

9

12

~~~ ~~~ 13~~~

6

Ex 7

œ Exœ 7 Ex 7 œ œ œ œ

14 14 14

9

12

14

12

14

12

9

9

12

14

12

14

12

9

LL LL L L

12

14

17

17

14

12

14

17

17 A 7sus4/A

14

12Ex 9 14

19 19

17 19 E b/A

10

14

12

10

14

12

10

LL ≠≠ LL L≠ L 6

6

14

12

6

6

17

14

6 14

17

19

14

17

14

17

19

14

17

14

17

19

14

17

19

6 15

17

20

15

17

20

15

17

20

19 19

œ F/A œ œ œ œ œ œA 7sus4/A œ œ œ œ √ Ex 9 œ œ F/A E b/A œ œ œ œ œ œ œ œ œ œ œ œ œ œ B 7sus4/A œ œ œ œ œ Ex 8 Ex œ9 œ œ œ √ œ œ œ œ œA 7sus4/A œ E b/A œ &B 7sus4/Aœ œ œ œ œ F/A œ œ œ œ œœ œ œ œ œ œ √œ œ œ œ œœ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ & 10 15 17 12 17 15 12 15 20 17 15 17 Ex 8

E B G D E A B E G E D B 13 A G E D Ex 10 A 13 F E 13Loco Ex 10

13

9 14

13

9 14

Lœ & Lœ & Lœ

13

9 14

15

10 15

17 12

10 15

17 12

#7sus4/A

&

E B G D E A B E G E D B 15 A G E D A 15 E 15

3

& E B G D A E

LL L

12

14

17

12

14

17

12

14

L 17

16

6

17

Lœ

15

L LL

œ œ œ œ œ œ œ œ œ œ œ œ6œ œ œ

F #7sus4/A Loco # F 7sus4/A Loco

Ex 10

15

6

LL L 17

12

14

17

12

14

17

12

14

17 12 14 19 17 12 14 19

17 20 15 20 17 20 15 20

17 15 13 15

17 20 15 20

17 15 13 15

Lœ LLœœ

œ œ Cœ/A œ œ œ œ Cœ/A œ œ œ œ6œ œ œ

17

12

14

17

12

14

17

12

14

17 12 14 19

LL L

L LL

C /A

6 6

LL L 17

L

L

17 15 13 15

12

14

17

12

14

17

12

14

17 15 12 15

20 17 15 17 20 17 15 17

20 17 15 17

œ œ œ œ œ œ œ œ œ E 7sus4/A œ œ œ œ œ œ œ œ œ E 7sus4/A œ œ œ œ œ 6 6 œ œ œ œ œ œ œ œ œ œ 6 6

19

14

17

19

14

17

19

14

17

LL L

L LL

20 17 15 17

Lœ LLœœ

L LL

6

LL L 19

L

L

20 17 15 17

17 15 12 15

L LL

E 7sus4/A

14

17

19

14

17

19

14

17

LL L 19

14

17

19

14

17

19

14

17

6

L

L

LL L 19

14

17

19

14

17

19

14

17

L

B b/A œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

6

13

Ex 11

15

L 17

12

14

L 17

6

13

15

L 17

12

14

F/A A7sus4/A œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ & B7sus4/A

L 20

6

15

17

L 19

14

17

L 20

6

15

17

L 19

14

17

E b/A

œ œ œ œ œ œ œ œ œ œ œ œ œ December œ œ œ2015œ œ

73

lesson } CREATIVE rock 3 3 3 3

LLLœœœœ &

ExampleS 11-15

œœ œœ

œœ œœ

13 13 13

15 15 15

LLLœœœœ

B b/A

LLLœœœœ

œœ œœ

œœ œœ

13 13 13

15 15 15

LLLœœœœ

bb/A repetition of the same lick. The lick lasts Example 11 This example seesB the B B b/A /A two and a half beats (10 16th-notes, or five eighth-notes), so it becomes rhythmically displaced each time it’s repeated. In other words, it starts off in a different part of the bar each time – causing the melodic and rhythmic 6 6 emphasis to change, which6helps to keep things fresh for the listener. 6 6 Example 12 and Example 136 Here, we see a very straightforward66but effective use E of 2-3-1 units descending through example 12, and 3-1-2 units ascending B 17 13 13 15 E through example 13, all15 within the same area of17 the neck. E

& & &

G B E B D G B G A D G D E A D A 16 E A E 16 E 16 16

LL 17 17 17

Ex 11 Ex 11 B7sus4/A Ex Ex 11 11

œœ œœ & & & &

œœ œœ œœ œœ œœ œœ

B7sus4/A B7sus4/A B7sus4/A

E B E E G B E B D G B G A D G D E A D A 17 E A E 17 E 17 17

12 12 12 17 19 12 12 17 19 12 17 19 12 12 17 19

Ex 12 Ex 12 F #7sus4/A Ex Ex 12 12

& & & & E B E E G B E B D G B G A D G D E A D A 19 E A E 19 E 19 19

12 12 12 12

17 17 17 17

œœ œœ

12 12 12 12

14 14 14 14

LL 17 17 17

19 19 19 19

12 12 12 17 19 12 12 17 19 12 17 19 12 12 17 19

14 14 14 14

17 17 17 17

14 14 17 12 14 14 12 14 14 17 17 17 12 12 14 14

œœ œ œ œ œœ œ œœœ œœ œ œœ œ œœ œ

17 17 17 17

15 15 13 17 15 15 17 15 12 17 14 15 13 13 17 14 12 13 17 17 15 15 12 12 17 12 17 14 14 12 12 12


17 17 17 17

10 10 10 10

5 5 5 5

8 8 8 8

9 9 9 9

7 7 7 7

Ex 15 Ex 15# Ex F 7sus4/A Ex 15 15

C /A C /A 6C C /A /A

F ##7sus4/A F F #7sus4/A 7sus4/A 6

5 5 5 5

7 7 7 7

6 6 6 6

12 12 12 12

12 12 12 12

9 9 9 9

E 7sus4/A E 7sus4/A 6 E E 7sus4/A 7sus4/A 6

E B E E G B E B D G B G A D G D E A D A 23 E A E E 23 23 23

74

5 5 10 5 5 10 10 10

8 8 8 8

5 5 5 5

8 8 8 8

5 10 5 10 5 5 10 10

December 2015

5 7 10 510 7 10 5 510 7 7 10 10 10 10

7 7 7 7

5 5 5 5

5 7 10 5 7 10 5 5 7 7 10 10

6 6

5 7 105 10 7 7 105 5 10 7 7 7 10 10 10 10 7 7

5 5 5 5

7 10 7 10 7 7 10 10

8 8 8 8

œœ œœ

œœ œœ

LL 20 20 20

15 15 15

17 17 17

E b/A E bb/A E E b/A /A

œœ œ œ œœ œœ œœœ œ

œœ œœ

19 19 19 19

14 14 17 12 14 14 12 14 14 17 17 17 12 12 14 14

>>œA7sus4/A A7sus4/A A7sus4/A œœ >>>>œœ œ >>œœœA7sus4/A œœ œœ œœ œ

6 6 œœ œœœ œœœ œœœ œœ œ œœ œœœ 6 & œ œœ œœ œ œ œ œ œ œœ œ & œ œœ œœ œœ œ œ œ œœ œœœ œœ œ & œœœ œœ œœ œœœ œœ œœœ œœ & œœœ œœœ œœœœ œœ œœœœ œœ œœ œœ œœ œ œœ œœ 6 6 6

14 14 14 14

14 14 14 14

17 17 17 17

10 10 10 10 12 12 12 12

œœ œœ 7 7 7 7

œœ œœ

Ex 13 Ex 13 13 Ex Ex 13

LLLœœœœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

LL 19 19 19 19

œœ œœ

14 14 14 14

7 7 7 7

5 9 5975 9 5 5 597 9 9 9 97 75 5

20 20 20


12 12 12 17 19 12 12 17 19 12 17 19 12 12 17 19

œœ œœ

œœ œœ

15 15 15

17 17 17

LLœœœœ

cd track 52

œœ œœ

œœ œœ

17 17 17 17

12 12 12 12

17 17 12 15 17 15 17 12 15 17 17 15 17 17 12 12 15 15 15 15

>>œ >>œ œœ œœœœ œœœ œœ œ œœ 9 9 9 9

14 14 14 14

12 12 12 12

15 15 15 15


œœ œœ

>>œ >>œœœ

10 10 10 10

12 12 12 12

œœ œœ 14 14 14 14

6 6 6 6

œœ œœ

5 5 5 5

8 8 8 8

10 10 10 10

12 12 12 12

19 19 19 19

14 14 14 14

17 17 17 17

œœ œœ

19 19 19 19

12 12 17 19 12 19 12 17 17 17 19 19

14 14 14 14

17 17 17 17

14 14 17 12 14 14 12 14 14 17 17 17 12 12 14 14

œ œœ œœ œœœ œœ œœ

œœ œœ œœ œœ

œ œœ œœœ œœ

œœ œœ

17 17 13 15 17 17 12 14 17 13 15 17 17 12 14 17 12 14 17 17 13 13 15 15 17 12 14 12 14 17 12 14 12 12 14 14

>>œ >>œœ œ œœ œœœ œœœ œœœœ œ œœ œ

œœ œœ

17 17 17 17

12 12 12 12

9 9 9 9

12 12 12 12

17 17 17 17

14 14 14 14

œœ .. '' œ œ œ œœ .. œœœ œœœ œœ œ

B 7sus4/A B 7sus4/A 1/ 4 B 7sus4/A 7sus4/A B 1/ 4 1/ 4 1/ 4

6 6 6

5 5 8 10 5 10 8 5 8 10 7 9 5 8 10 5 5 8 10 5 10 8 795 58 8 10 10 10 10 8 85 58 8 10 10 7 79 9

LL

œœ œ œ œ œ œœ œœ œœœ œœ œœ œ œ œ œ œ œœ œœœ œ

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

œœ œœ œœ œ œ œ œœ œœ œœœ œœœœ œ œ œœ œœ œ œ œ œœ œ œœ œœ œœ œœœ œœœœ œœœ œœ œœ œœœ œœ œœ œœ œœœ œœœ œœœ œœ œœ œ œœ œœ œœ œ œœ 6 5 5 5 5

LL

17 17 17 17

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

6 6 6 6

LLLœœœœ

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

14 14 12 17 15 14 17 15 12 14 12 12 12 17 17 15 15 12 12 12

F/A

9 9 9 9

12 12 12 12

œœ œ œ œœ œœœ œ œœ œœ œ œ œ œœœ œ œœ œœ œœœ œœœ œ œœœ œ

œœ œœ

5 5 5 5

œœ œœ

E 7sus4/A E 7sus4/A E E 7sus4/A 7sus4/A

>>œ F/A F/A >>œœœ F/A œœ œ œ œœœ œœ œœ œœœ œœœ œ œœ

E B E E G B E B D G B G A D G D E A D A 21 E A E 21 E 21 21

œœ œœ

A7sus4/A A7sus4/A A7sus4/A A7sus4/A

>>œ œœ œ >>œœœ œ & œœœ œœ œœœ & & & B 7sus4/A B B 7sus4/A 7sus4/A

17 17 17 17

œœ œœ

C/A C/A C/A C/A

Ex 14 Ex 14 Ex B 7sus4/A Ex 14 14

LL

F/A œœ œ œ F/A œ œ F/A œœ œœ œœœ F/A œ œœœ œœœ œœœ œœœœ œ

œœ œœ

F ##7sus4/A F F #7sus4/A 7sus4/A

œœ œœ

LL

œœ œœ

LLLœœœœ

Example 14 To whet your appetite for the following lesson, an example that employs string skips has been snuck in here. Hopefully, you will agree that this really does start to take the three-notes-per-string approach to Pentatonic scales into another dimension. Note the use of lateral motion similar to 6 6 example 6. 6 6 6 6 6 we’re back to an example that is reminiscent 6 Example 15 Finally, of example 5, only this time each nine-note pattern takes one and a half beats to complete, 15 some 17 rhythmic interest before 20 a 15 so20 provides bluesy17finish.

8 8 8 8

'' '

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

10 10 10 10

F/A F/A F/A F/A

>>œ >>œœœ 15 15 15 15


œœ œœ 17 17 17 17

˙˙~~~ ~~~ ~~~ ∑ ˙˙~~~ ∑∑∑ fade fade fade BU ~~~ fade BU ~~~ BU ~~~ BU ~~~ 12 (14 ) œœ œœ

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

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lesson } CHORD CAMP

Chord camp


In this first instalment of an exciting new column aimed at building your skill set, Iain Scott turns the spotlight on major and minor chords.

W

elcome to a new column aimed at expanding your chord knowledge. Starting with major and minor we will be looking at all the chord types, beginning with common shapes with roots on sixth, fifth and fourth strings; also first and

second inversions triads. Major chords are built using the root, the 3rd and the 5th of any Major scale - in C that’s C, E and G. Similarly, minor chords are built from the root, the b3rd and the 5th of the natural Minor scale – in C minor that’s C, Eb and G.

Example 1 Triad Inversions in classic rock

TRACK 54

GUITAR TECHNIQUES 2 5 0you the three possible triad inversions of D major: R-3-5 = root inversion; 3-5-R = first inversion; 5-R-3 = second inversion. Major triads. The opening bar shows Chord Camp - Major / Minor - I. Scott This exercise features a classic rock triad playing over a D pedal typical of Pete Townshend. Use a saturated tone and some trailing echo to complete the picture. Example 1

Major Triads - Classic Rock Chords


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Chord Camp - Major D A /D / Minor G-/DI. Scott

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E B G D A E E B G 7 11 2 D 0 0 A TRACK 55 Example Chords with roots on6th fourth, Example 22 Major Major Chords - Roots on 4th, 5th and Strings fifth and sixth string E E 5 10six notes are 2 actually triads with doubled 5 2 – open D 5major is R-5-R-3; 3 open A major is R-5-R-3-5; 10and open E 9 major is Major chords that use four, five or notes B 7D 3 7 3 5 3 10 A 10 E D A E D A E 10 G 11 roll staple: 2 it’s shown in two ways7– first using 2 common 6open chords and 4 then using pure triad shapes. 11 9 R-5-R-3-5-R. Example 27is a rock and D 0 0 0 0 0 0 A Example 2 Major Chords - Roots on 4th, 5th and 6th Strings E

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

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7 5 7 - Clapton "Acoustic Style" Major and Minor Shapes 5 5 5 7 5 G6m B B C5 5D m 8 Dm 5 7 9 5 7 7 9 - Clapton "Acoustic Style"7 Major and Minor Shapes 7 5 7 5 Dm Gm B Dm B C

b b . ©»¡¡™ 4 œœ œœœ œœ œœ . œ œ œœ ˙˙ . œœ .. 4 b œ œ . & œœ .. œœb ˙˙ ©»¡¡™4 œ œ œœœ œœb œ œœœ Minor December œœ 2015 œ œ "Acoustic Example 4 4Major and Shapes - Clapton œœ ˙˙ Style"œœœ ... b œ & 4 œ œœœ œœœb .. œb ˙

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4 &4

ON THE CD

œœ œœ œœ

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TRACKs 54-60

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MAJOR AND MINOR CHORDS

E 5 5 7 B 5 6 8 G 5 7 9 D 7 7 9 Example 4 Mixed major and7minor chords A 7 5 E 5

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5 5 5 7

5 5 5 7

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learning zone

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7 8 9 9 TRACK 57

A minor chord fourth-string root features in this rock ballad made from two chord progressions that can be viewed from Major or Natural minor. Dm-Bb-C-Dm, in D Natural minor are I-VI-VII-I. In F Major they are VI-IV-V-VI. C#m-F#m-G#m in C# Natural minor are I-IV-V. In E Major they are II-III-VI. Example 4

Major and Minor Shapes - Clapton "Acoustic Style"

©»¡¡™ D m G m B b D m œ 4 œœœ œœœ œœ œœ .. œ b & 4 œ œ œœ œ œ œ œ E B G D A E

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Example 5 Major first inversion sixth-string root

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TRACK 58

2 Chords with different root notes often become ‘slash chords’. The opening bar shows G/B, a G major triad spread out so the 3rd (B) is in the root (3-R-5-R) also called ‘3rd in the bass’. Play the punchy rock chords in the style of Elvis Costello or the Clash with mild distortion to give it attitude. Example 5

Major 1st Inversion 6 String Root - Rock Chords

2

C G/B Am F Dm G ©»•§ G /B . œ. . . œ . . ¢ Example 5 Major 1st Inversion 6 String Root -œRock Chords œ œ œ œ œœ œœœ œœ œœ .. œœœ œœœ œœ œœ 4 œœ Œ Ó .. œœœ œœœ £¡ œœ œœ 1œ 2 2 & 4 C œœ œœ Fœ œ œ œ Gœ œ Am Dm ©»•§ Gœ/B œ. œ. ™G/B œ œ . . . œ. œ œ . œ. œœ œœ œœ 1st Inversion 6 String Root. -œœœRock Chords œœœ £¢ œœ. œœ. œ Example45 Major œ œ œœ œœ œœ œœ .. 2 œ œœ œœœ œœœ . œ œ ¡œ œ & 4 Gœ/B Œ Ó 1œ œ œ87. œ87. Am ©»•§ œ87 . Cœ89. œ89. ™G/B œ55. œ55. 1010Fœ. 1010œ. . Dmœ67. œ67. Gœ34 œ34 œœ5 . 1010œœœ 1010œœœ £¢ œœ5 œœ5 œœœ77 œœœ77 10œœ8 10œœ8 .. œœ75 œœ75 œœ5 œœ5 4 . Œ Ó . 8 8 7 7 & 4 œ78 œ55 œ55 10œ 10œ .. œœ6 œœ6 œ33 œ33 . œœ89 œœ89 ™¡ œœ87. œœ87. œ7 œ57. œ57. 1010 1010 . 77 77 œ45 œ45 5 10 10 5 5 . 10- Rock10 7 5 5 7 8 8 TRACK 59 Example first inversion root Example 66 Major Major 1st Inversion 5th Stringfifth-string Root 7 8 8Arpeggios 7 7 5 5 3 3 For these arpeggios in a rock ballad setting, the opening bar shows C/E on a fifth-string root (3-5-R-3 – C/E). This progression features a bass line connecting triads b b 8C/E 8 8 8 8 5 5 10 10 6 6 3 3 . . F C/E Dm C/E D /F B F/A C ©»•§ 7 Db/F (Db chord, first inversion) is9not from 9 F major 7 but still 7 sounds great! 5 You5can add10 7 4 4vibe. in the key of F. The light crunch for a7 more authentic 10 and tremolo 5 5 5 7 7 10 10 . ¡ 75¡ 75 ¢œ £ 5 5¢ œ . ™1010œ - Rock1010Arpeggios Example 6 Major 1st Inversion 5th String Root œ œ 7 7 8 8 ¡œ ¡œ œ œ œ b œ 4 ¡ œ œ . œ b 4 7 œœ Œ Ó . œ £ œ 8 œ ¡œ 8 7 œ 7 œ œ5 5 œb b œ b œ n œ œ œ3 ™œ 3£ œœ .. &©»•§ C/E F C/E Dœm C/E D /F Bb œ F/A C œ œ ¡ ¢ ¡ £ b œ œ ¡ ¢ ™ ¢ ™ ¡ ¡ œ œ œ œ ¡ œ £ ¢œ ¡ œ 1st Inversion 5th String Root - Rock Arpeggios œ Example 6 4Major & b 4 œœœ Œ Ó .. œ £ œ ¡ œ œ ¡œ œ œ œ œ œ œ œ œb b œ b œ b œ b œ n œ œ œ œ ™œ £ œœœ .. ©»•§ C/E 5 . ¢ F 5 6 £C/E 5 5 D m 7 6 C/E 5 5 D /F 6 6 b¢Bœ ¡ 3 3 ™F/A œ ¡ 6 5 ¡C 55 . 5 ™ ¡ ¡ œœ57 Œ Ó ... 8 £ œ7 ¡ œ œ 7 ¡5 ¡œ œ 5 œ7 œ œ 7 5 œ œ 8 b œ6 b œ œ 3 b ¡œ n œ 3 ¢œ £œ 3 ™5 £¢ œœ53 ... 4 b 6 œ 5 œ & 4 œœ5 œ 5 œ œ 5 œ œ œœ5 . œ 6 £œ 6 œ 6 bœ ¡ 3 6 . œ ¡ ¢ œ 5 5 5 7 5 6 ¢ 3 3 ™ 3 5 ¡ 5 55 . 5 2nd Inversion 6th 7 Root - Lenny 5 Kravitz Rock 7 Funk 5 6 . String Example 7 Major 8 7 8 7 5 7 3 3 6 5 1 2 6 5 E m/B 6 6 5 . /A G/D E m/B . Em D/A A /C5# N.C. Bm/F # 3 A/C6# G /D A/E ©»ª™ 55 D2nd 6 3 5 5 5 5 7 5 Example 7 Major Inversion 6th String Root Lenny Kravitz Rock Funk 5 7 5 7 5 6 3 3j 5 5 . 60 . j j œœ inversion œœ fifth-string œœ 5... œœ root Example sixth # #7 Major œœ7 ‰ œ œ 8 j 7 œ second 8 7 and 3 TRACK 3œ 4 œ œ œ œ . . œ . œ 6 2œ 5 œ œ œ Œ œ ‰ œ œ œ ‰ œ 1 œ/A chord œ andœ G/D areAœœ/Csecond œ inversion . Bm/F œœ triads: œœ .on This rock-funk and. a bass riff. In the opening bar D/A or ‘5th inœthe#œ bass’ major &©»ª™track 4 Duses œœ Efragments # œœ D/AGœœis/D5-5-R-3 G/D m/B Eœm E m/B D/A A/C A/E œrootœ– 5-5-R-3). œ # œœ N.C. œ œ sixth-string root; G/Dœis 5-R-3-5 (fifth-string root); Em/B is a minor chord secondœinversion (sixth-string Use overdrive and lay into the groove. œ œ . œ œ œ œ j Example 7 Major 2nd Inversion œ -œLenny œœ KravitzœœRock ... Funkœœ œœ œj œj # # 4 œœ œœ œœœ 6thŒ String. Root œ œ . œ œœ œœœ œœœ .. œ ‰ œ ‰ j œ œ ‰ œ . œ œ œ œ . œ & 4 D /A G/D œœ E m/B 1 2œ œ œœ2 # œœ Gœ3/D A/E œ5 . # œ œ œ . Bm/F A/C ©»ª™ œ77 34 œ89 3 3 . œ œ Eœ89m Eœ89m/B. D/A œ77 œ77 Aœœ22/Cj # œœjN.C. œ œ 4 4 2j 4 6 œœ97 œœ9 ... œœ7 œœ7 œ24 œ 5 2 .. œ4 œ4 2 5 7 . # # 4 œœ7 œœ55 œœœ9 Œ .. œ œ 4 5 . 0 0 œœ ‰ œ7 œ5 œ5 ‰ œœ œœ œj œ 3 . œœ2 œœ2 ‰ œœœ œœœ œœœ œœœ7 .. & 4 œ57 œœ3 78 8 . œ22 œ 34 56 . . œ34 œ34 œ89 . œ77 œ77 œ22 œ œ77 45 œ99 9 œ œ œ 9 9 2 2 4 4 2 5 7 . 7 7 . . 1

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lesson } hard rock riffs in tracks like It’s Not Love and The Hunter showcase an inventive use of double-stops played against palm-muted open fifth and sixth-string pedal notes. He often pulls out major 3rd and dissonant #5 and b5 double-stops for a more raunchy flavour – check out Ex1. George is also a master of the pinched harmonic and a pioneer of incorporating squeals into heavy riffs (Ex2). Check out tracks like Kiss Of Death and Lightnin’ Strikes Again. In 87 the album Back For The Attack featured an instrumental called Mr Scary (Ex4’s inspiration). This was more intense than anything previously heard from Dokken with its palm-muted picking and face-melting soloing. It not only provided Lynch with an alias but also cemented his place in the guitar hero hall of fame and paved the way for his solo band, Lynch Mob.

lynch had a bag of tricks to rival that of van halen, making him an instant 80s guitar hero

Dokken Charlie Griffiths explores the riffing and soloing techniques behind 80s American metal heroes Dokken and guitarist George Lynch. ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced Info Key: Various Tempo: Various CD: TRACKS 61-72

Will improve your… Blues-rock phrasing Finger vibrato Hard rock attitude

W

hile singer Don Dokken has enjoyed his share of guitar legends since his band’s formation in 1978, it was George Lynch whose playing defined the band’s classic 80s sound. This started with the release of 82’s Breaking The Chains and continued until 1987 with Back For The Attack. George was armed with a bag of tricks to rival Van Halen, making him an instant 80s

guitar hero and led to an audition with Ozzy Osbourne where Randy Rhoads narrowly pipped him to the post. After an acrimonious split Dokken reformed in 1992 although George and Don enjoy an on-off relationship these days. The band is still active and features Jon Levin on guitar, whose playing is clearly influenced by childhood hero, Lynch. George was perfect Dokken, where heartfelt ballads like Alone Again, Unchain The Night and Slippin’ Away enabled him to showcase lush chords (Ex3), to melodic soloing with strong melodies, soulful bends and whammy nuances. George favours the minor Pentatonic (1-b3-4-5-b7) and its related modes: Aeolian (1-2-b3-4-5b6-b7) and Dorian (1-2-b3-4-5-6-b7). His hard rocking

NEXT MONTH Charlie investigates the playing of Bon Jovi’s axe ace, Richie Sambora

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George’s guitars are also very recognisable; from the tiger-striped Charvel of the early 80s to the Skull And Crossbones ESP he’s used since ’86. Both guitars are super S-style style, with Floyd Roses and humbuckers. Amp-wise it’s been Marshall, Soldano, Bogner and Randall. You’ll get a scary enough tone with any high-gain amp and humbucker fitted guitar.

TRACK RECORD Breaking The Chains features fiery riffing and awesome soloing, but the band got into its stride with Tooth And Nail and Under Lock And Key, and anthems like Unchain The Night and riffs like It’s Not Love. 1987’s Back For The Attack features Mr Scary, George’s calling card to this day. The album also features Dream Warriors, which was the theme song (and subtitle) for A Nightmare On Elm Street 3. 78

December 2015

LIVEPIX

George Lynch hits the top fret of his ESP guitar

In our final riff example, fingerpicking the chords creates an almost keyboard style attack as all the notes are hit at the same time and the finger contact with the strings cuts off the chords creating a staccato effect (Ex5). For our solo example we have combined as many Lynch elements as possible, including the core techniques, such as melodic phrases, bends, legato and scale sequences as well as those other nuances that really elevate things to ‘rock god’ status: controlled but wide vibrato, whammy bar scoops, harmonic dive bombs and tapping.

ON THE CD

learning zone

DOKKEN

TRACKs 61-72

cd track 61 Example 1 RIFF 1 GUITAR TECHNIQUES 250 Charlie's Use the side of your picking hand palm to mute the fifth string at the bridge forDOKKEN a tight, percussive tone. By way of contrast, allow the double-stops on the middle two strings to sustain; these two-note chords belong to A Dorian mode (A-B-C-D-E-F#-G). Allow the notes of the final two arpeggiated chords to ring together. GUITAR TECHNIQUES 2 5 0 Ex 1 Charlie's DOKKEN A madd9 A5 D/F # Gsus2 ©»¡º∞ A m Am7 Am Am6 A5 N.C. A5~~~~ A m Charlie's DOKKEN œ Amœ Am6 œ œ 4 œ A5œ A madd9 j D/F # œ Gsus2 .. Aœœm œ œ # œœ œœ A5œœ œœ N.C. jA5œœ~~~~ &©»¡º∞ 4 .. Aœœm Am7 œ œ œ .. œ #œ œ œ œ GUITAR œ œ œ œ2 5œ0 œ œ œ œ œœœœœ œœ œ œ Ex 1 1 œ Charlie's œ œ . DOKKEN Ex 4 TECHNIQUES œ œ œ œ œ .. œ œ œ œœ PM œLetj #ring &©»¡º∞ 4 .. AAœœmmPM Am7 j œ œ .~~~~ AAœmmPM AA madd9 # œ œ A5 œ # œ œ Gsus2 PM Am7PM Am AmPM Am6 A5 N.C. A5 madd9 A5 D/F Gsus2 œ œ N.C. œ~~~~ œ PM A5 Am6 A5 D/F œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ex 1 3 3 ... 4 . œ7 PM Amœœ9 PM Am6 2 œGsus2 2 œ PM œ42 PM A5œ22 PM œLetj #ring .. Aœœ52mPM A madd9 œ œ D/F # ~~~~ &©»¡º∞ 4 ... Aœœ57mPM0 0 Am7 œ5 0 5 0 0 # œœ54 œœ A5œœ22 œœ22 N.C. jA5œœ22~~~~ œ œ œ 4 5 œ . 0 0 0 0 œ 0 0 œ 0 0 œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 . œ œ 3 3 .. 4 .. œœ5 œ7 œ9 œ54 œ œ22 œ22 PM j œ22 .. œ52 PM 2 2 œ 2 œ 4 œ j œ œ œ Let ring & 4 œ œ œ œ 5 2 2 4 5 7 PM 5 PM PM PM PM . Let ring # œ œ œ œ PM œ~~~~ œ PM0 0 0 0 œ PM0 0 œ PM0 0 œ # œ œ PM PM cd track 63 0 0 0 0 0 Example 2 RIFF 2 PM œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 œœ Ex 2 3 ‘down up’ to 3 play Palm-mute all of the sixth-string notes throughout this riff and use downstrokes to play the consecutive eighth notes and a quicker 3 3 . open . any 2 2 2 PM 2 2 PM 2 2 5 7 5 5 4 Let ring 2 2 2 2 2 5 N.C. 7 PM 9 9 PM 5 5 PM 4 PM PM D 5 it with N.C. consecutive ©»¡¢º 16th notes. Add pinched harmonics to the fifth string by touching side of your 5 4 2 2 2 2 ~~~~ 2 the 2 thumb 2 during a strong 4 downstroke.5 5C 5 G /B 7 5 5 4 2 2 2 2 2 4 . 7 5 . 0 0 0 0 0 0 0 0 0 0 0 0 0~~~ 0 0 0 Ex 2 # 4. . 00 00 00 00 00 ~~~ 3 3 3 3 3 3 .. œ 52 N.C. 42 2 2 2 Dœ5 2 2 2 œ &©»¡¢º 4. 57. N.C. 75 95— 54~~~ Cœ5 Gœ/B — 2 —2 — 2 œ 2 4 5 œ — — — ~~~ œ œ œ . 0 0 0 0 0 —0 0 0 # 4 . 0œ 0œ œ 0œ 0œ 0 œ 3 œ 3 œ Ex 2 2 .. œ œ œ œ œ œ œ œ œ œ Ex œ œ PM PH PH PH PH PH PH &©»¡¢º 4 . N.C. œ œ œ Play 4 times — — — PM PM PM PM PM — œ œ — — — C 5 G /B D 5 N.C. — N.C. D5 N.C. Cœ5 G /B œ ~~~ œ œœ œ œ œ œ PH œ œ PH~~~ œ PH œ œ Playœ 4 times Ex 2 # 4 .. œ œ œ œ PH œ œ PH~~~ .. PH PM PM PM PM PM PM œ &©»¡¢º 4 . N.C. 75 7 55 Gœ/B œ 5 Cœ Dœ N.C. .. — — — œ œ — — — 7~~~ 7 5 5 3 5~~~ 5 3 2 2 — œ œ œ # 4 .. œ0 œ0 œ0 œ0 —5 œ0 œ0 ~~~ .. œ0 PH œ0 œ0 œ7 œ7 œ0 œ0 œ0 œ0 PH œ0 œ0 PH œ0 PH œ0 œ0 œ5 Play PH PH PH PH PH PH . Play 4 times times PH PH 4 & 4 . PM œ œ 5 PM PM PM PM PM — — — PM — PM PM PM 7 5 PM 7 5 5 3 PM 5 5 3 2 2 — — — œ œ — œ œ œ Ex 3 œ0 œ0 œ0 œ0 PH œ0 œ0 PH~~~ œ0 PH œ0 œ0 œ0 œ0 œ0 œ0 PH œ0 œ0 PH~~~ Dadd9 œ0 PH add11œ0 œ0 Play 4 times. . E m9 C add9 PM PM PM PM PM 7 7 5 5track . 65 7 7 5 cd5 Example 3©.»§º RIFF 3 . PM 5 7 7 5 5 3 5 5 3 Ex 3 5 7~~~ œ 7 5 5 3 5~~~ 5 3 œ2 2 2 2 # 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 6 œ œ œ œ . 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Switch to a clean tone. for this riff and hold the fretted notes as chords for as long as possible to allow everything to ring together smoothly; you can use a..delay E m9 C add9 Dadd9 add11œ &©.»§º8the sustain œ arched and useœ your fingertips œ 7 to press œ down œto avoid accidentally œ. œ œyourœfingers œ œ5 strings. œ pedal to increase too. Keep the strings touching5the open 7 . œ œ œ œ œ œ 5 7 7 5 5 3 5 5 3 2 2 # œ œ œ0 0 68 .. œ0 0 0 0 œ 0 0 œ œ0 œ œ 0œ 0 œ Ex 3 3 0 0 0 0 0 0 0 œ Play 4 times. Ex & œ œ œ œ œ œ œœ. E m9 m9 C add9 add9 œ Dadd9 add11 Let ring E C Dadd9 add11 œ œ œ ©.»§º œ œ œ œ 0 0 # . œ Ex 3 3 . œ 3 œ 4 times œ3 œ0 œ3 Play 0 0 0 . &©.»§º68 .. LetE m9ring œ4 œ0 œ4 œ0 0 œ œ0 œ œ0 œ œ C add9 2 Dadd9 add11 4 4 œ . œ œ œ 0 œ2 œ3 œ5 œ0 œ2 œ3 # 6 .. œ0 œ2 3 3 3 3 . œ œ œ œ œ œ Play 4 times times 0 0 0 0 0 0 0 0 . Play 4 . & 8 . Let œ œ œ œ œ œ œ œ 4 4 2 4 4 œ œ œ œ Let ring ring œ œ 5 2 0 2 3 2 œ 3 œ œ œ œ 0 0 œ 0 0 Ex 4 3 3 3 3 . œ0 3 3 3 3 Play 4 times. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 N.C. ©»¡¡º.Let ring 2 44 4 2 4 4 . 4 2 4 4 5 0 2 2 3 2 3 3 # 0 0 5 2 0 3 2 # Ex 4 0 4 3 3 3 # 4. ..0 N.C. 0 0 0 0 0 0 & ©»¡¡º n œ œ4 0 œ3 œ 4 0 .. œ œ œ 4 4 2 . œ œ # # # 44 .0 œ2 œ œ œ œ œ œ œ œ œ 0 œ2n œ 3 œ œ œ œ œ 2 œ3 5œ œ œ œ cdœtrack Example 4 RIFF n œ 67 Ex 4 Ex & 4 . N.C. 4 n œ œ œ œ This riff is based in the F# Phrygian mode (F#-G-A-B-C#-D-E) , changing to F# Blues (F#-A-B-C-C#-E) in the final bar; these two scales provide the scary intervals œ PM PM PM PM PM PM œ PM œpalm-muting œ œ PM n œ b2 N.C. ©»¡¡º strict œ œ (G) and b5 (C). Maintain alternate picking throughout theœpiece using to control the strings and keep theœnotes separated. n œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # # 4 .. œ Ex 4 . PM PM PM PM & ©»¡¡º4 . N.C. n œ5 PM œ4 œ5 œ4 PM œ4 PM œ2 PM œ5 œ4 œ2 œ4 # # . œ0 œ2 œ2 œ2 œ2 œ2 œ2 œ2 œ2 œ5 n œ3 œ0 œ2 œ2 œ2 œ2 œ2 œ2 œ2 œ2 œ2 œ2 n œ3 & # 44 .. PM n œ5 PM 4 2 4 œ PM œ4 PM PM PM PM PM PM PM œ PM PM œ PM œ5 PM œ5 PM 4 2 œ œ4 PM œ œ 0 2 2 2 2 2 2 2 2 5 nœ 3 0 2 2 2 2 2 2 2 2 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ2 n œ3 œ . œ PM PM PM PM 4 PM 2 PM 4 PM 5 PM 4 # # # .. 00 22 22 22 4 22 22 2 22 22 55 22 44 22 55 33 00 22 22 22 4œ 22 22 n5œ 22œ 422 22 55 22 44 ~~~ 2 3 3. 2 . œ œ œ & n œ œ œ œ 4 2 4 5 4 . œ . ~~~ œ œ œ œ n œ # # œ œ 0 œ2 œ2 2 œ 2œ 2 œ 2 2 œ 5 œ2 n œ4 2 5 3 0œ 2œ 2œ 2œ œ 2 2 n œ 2œ 2 2 5 2 4 2 3 . œ œ œ Play 4.times. & # PM œ œ PM PM œ PM œ PM n œ œ n œ œ PM ~~~ œ œ n œ~~~ ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ4 Play 4 times. n œ5 œ4 œ2 œ4 2 .. PM PM PM PM PM & n œ5 œ2 PM ~~~ 4 œ 4 œ œ œ . 4 5 4 4 4 nœ 3~~~ œ œ œ œ # # # œ0 œ2 œ2 œ2 œ2 œ2 œ2 œ2 œ2 n œ3 . œ0 œ2 œ2 œ2 œ4 œ4 œ4 n œ5 œ4 œ2 œ4 2 Play Play 4 4 times times.. & n œ 5 2 PM PM PM PM PM PM œ œ4 n œ3~~~ PM . œ4 PM œ5 PM œ4 PM œ4 œ PM0 œ2 œ2 œ2 PM œ0 œ2 œ2 œ2 œ2 œ2 œ2 œ2 œ2 n œ3 œ Play 4 times. 4 5 4 4 2 2 4 5 PM PM PM PM PM PM 5 2 2 4 4 4 4 2 2 ~~~ . 5 4 4 4 5 4 4 4 3 3 4 5 4 4 4 0 2 2 2 2 2 2 2 2 2 2 2 2 2 3 3 0 2 2 2 2 2 2 0 2 2 2 0 . 4 5 4 2 5 2 4 4 4 2 . 4 5 4 4 4 3 Ex 1 GUITAR TECHNIQUES 2 5 0

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

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

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December 2015

79

lesson } hard rock Example 5 RIFF 5 2

cd track 69

2

This riff is based on a repeating melodic figure on the third and second strings, with bass-notes using mainly open strings. You can either play the 7th fret B bassnote with your first finger, or with your thumb over the top of the neck. Fingerpick the chords so the notes ring together, and also to produce the staccato effect. Ex 5 Ex 5

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

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7 7 7 7 0 0

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8 10 8 7 10 7 7 0 7 0 0 0

10 10 7 7 0 0

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8 8 7 7 0 0

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D/A D/A

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8 10 8 7 10 7 7 7

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10 10 11 11 0 0

10 10 11 11 0 0

10 10 11 11 0 0

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8 8 7 7 0 0

8 8 7 7 0 0

E m/D

8 8 9 9 0 0

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B m7

7 7

Example 6 SOLO

.. ..

cd track 71

This E Natural minor (E-F#-G-A-B-C-D) solo begins with some melodic phrases enhanced with slides and whammy bar scoops; repeat these first four bars and GUITAR TECHNIQUES 2 5 0 follow the first and second time endings. For the ascending legato run in Bars 6 DOKKEN and 7, keep your fingers relaxed and light on the strings to enable swift movement. Charlie's The final tapping lick moves the same two-string shape down the strings in three different octaves; again follow the first and second time repeat endings. Ex 6

scoop ©»¡º∞ # 4 . ˙~~~ j doop œ œ œ œ œ. & 4 .

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December 2015

#

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ON THE CD

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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 TRACKs 61-72 6

6

learning zone

DOKKEN

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Example 6 SOLO ...CONTINUED

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cd track 71

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X X 11

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E B E G B D E G A B D E G 13, 15 A D E A 13, 15 E 13, 15

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E B E G B D E G A B D E G A 14 D E A 14 E 14

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2 6 6 # 2œœ œ œ œœ œ œ œ œ œ œ 6 & # œ œ œœ œ œ œœ œ œœ œ œ œœ œ œœ œ œ 6 œœ œ œ œ œ 66 œ œ &# œ 6 œ œ œ œ6œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 6 œ œ œ œ œ œœ œ œ œœ œ 6 6

E B E G B D E G A B D E G A 16 D E A 16 E 16

LL LL LL LL L L L L L L L L LL LL LL LL 6

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w w/bar w ~~~~~~ w/bar w ~~~~~~ w/bar ~~~~~~

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December 2015

81

lesson } JAZZ

Allan Holdsworth John Wheatcroft looks at the soloing style of a legendary and totally unique guitarist: the phenomenal Yorkshireman, Allan Holdsworth.

Holdsworth has access to a sophisticated vocabulary that is steeped in the tradition of jazz but is undeniably his own. We’re looking at his soloing style here; we’ll leave the other huge components of his playing to a later date. Our nine examples should form the basis of your research into his style. They are mostly in common time signatures and based around relatively conventional sequences. His compositions are often hugely polyrhythmic, so removing this aspect from our studies allows us to concentrate on note selection, their groupings and the articulation required to execute them cleanly. Your challenges are timing, projection and intonation. Allan employs a largely legato approach, so avoid rushing and any sloppy rhythms, especially at fast tempo. As his technique employs lots of hammer-ons and pull-offs, you’ll need to balance the volume of picked and slurred

It takes maybe a couple of years before something I’m working on now will find its way out naturally

Allan Holdsworth

ABILITY RATING ✪ ✪ ✪ ✪ ✪ Advanced Info Key: Various Tempo: Various CD: TRACKS 73-90

Will improve your… Fluency and articulation Technique and timing Melodic sophistication

Z

appa and Shawn Lane loved him. Frank Gambale calls him the ‘Grandmaster’ and other famous guitarist fans include Eddie Van Halen, Kurt Rosenwinkel, John McLaughlin, Greg Howe, Joe Satriani and Yngwie Malmsteen. Holdsworth is a special artist, with a unique approach to music and one of the most recognisable sounds from the late 60s to the present day.

Born in 1946 in Bradford, Yorkshire, Holdsworth’s pianist father encouraged him to practise and, with remarkable discipline, he set about learning to play entirely by himself. Influenced by artists such as saxophonist John Coltrane, he determined to sound entirely like himself and worked out a personal approach to creating music, with improvisation and harmony at the core. Allan’s illustrious career began with jazz crossover groups such Tempest, Igginbottom’s Wrench, Gong, Soft Machine, Jean-Luc Ponty, Bill Bruford and Tony Williams’ Lifetime. This led to a career as a bandleader; each new release awaited by his fans and live performances attaining almost mythical status.

NEXT MONTH John looks at the jazz playing of another legato master, Tim Miller 6

7

Gain

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Holdsworth’s overdriven lead tone is full bodied, with a smattering of reverb, more recently delay, and with a pronounced mid-range bias. Go easy on the gain, as the fluidity of his tone is a product of his accurate legato technique and too much distortion adversely affects both dynamics and changes the vowel sound of a sustaining note.

TRACK RECORD Tales From The Vault, a compilation of unreleased tracks funded by an online Pledge campaign is awaited with baited breath. I.O.U (Enigma 1985) features breathtaking playing and beautiful compositions; The DVD, Allan Holdsworth and Alan Pasqua – Live At Yoshi’s (Wienerworld 2008), featuring Jimmy Haslip and Chad Wackerman, is great too, as are Sand, Metal Fatigue and. 82

December 2015

CLAYTON CALL / GETTY IMAGES

Allan Holdsworth with his Carvin Fatboy signature

notes. You might need to de-emphasise the pick volume, although Holdsworth has developed this skill to a degree that he can place an accent at any point, on any finger within a flurry of notes. The final consideration is intonation, especially with regard to the use of light strings and performing pull-offs. Make sure you’re not unintentionally bending as you pull, as this will drag the notes undesirably sharp.

ON THE CD

learning zone

ALLAN HOLDSWORTH

TRACKs 73-90

Example 1 Wide intervals and chromatic ideas over shifting major tonalities

cd track 73

We begin with some of Allan’s signature wide stretches. You can really see wide intervals, the preceding line is much more compact and features a why players such as Eddie Van Halen thought he was using tapping before combination of scale-wise motion (Ab Lydian for Ab/Gb, B Lydian for C#/B: R-2GUITAR TECHNIQUES MAGAZINE 5 0 wear the guitar medium The John Wheatcroft Jazz they could see him in action. It will help if2you to 3-#4-5-6-7), withcolumn some chromatic decoration for good measure. Look out for GUITAR TECHNIQUES MAGAZINE 50 HOLDSWORTH STYLE The John Wheatcroft Jazz column high on your chest and keep your thumb2behind the neck for theALAN stretch, the busy 16th-note based legato phrasing in bars 4 and 5: break it into 8-note ALAN HOLDSWORTH approximately in line with the second finger. In contrast to these opening groupings atSTYLE a slow tempo to learn it quickly. Ex 1 Ex 1

Wide intervals and chromatic ideas over shifting major tonalities Wide intervals and chromatic ideas over shifting major tonalities D/C D/C j GUITAR TECHNIQUES MAGAZINE 2 5 0 # œ The John Wheatcroft Jazz column j GUITAR TECHNIQUES MAGAZINE 2 5 0 # œ ALAN HOLDSWORTH STYLE The John Wheatcroft Jazz column

©»¡™∞ 4©»¡™∞ & 4 ÓÓ &4

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

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


1 1

1 1

4 4

Œ Œ

œ ~~~ œ. œJ~~~ œ . J

‰ ‰

œ # œ œ œ œœ œJ # œ œ œ ALAN JHOLDSWORTH STYLE 3 3

Wide intervals and chromatic ideas over shifting major tonalities Wide intervals and chromatic ideas over shifting major tonalities D/C D/C 7j 8 10 7 # œ7j 8 10 7

©»¡™∞ 4©»¡™∞ & 4 ÓÓ &4 b b

√AA b/G/G b™ b¢œ √ ¡œ b œ™ b¢œ & ¡œ b œ & √ √ & &

b b b b ¢ bœ ¡œ b ™œ™ b ¢œ ¡œ b œ

Œ Œ

‰ ‰

#œ

~~~ ~~~ œ ~~~ œ . œJ œ . J

~~~~ ~~~~ ˙ ~~~~ ˙

œ # œ œ œ œœ œJ # œ œ œ J 8 8

10 10

~~~~ ˙ ~~~~ ˙

12 12

3 3

™ b ¡¡œ bb œœ™ bœ bœ bœ

Œ Œ

¡ b ¡œ

Œ Œ

¡ b ¡œ

b ™™œ

™ ¡ ™ b ™œ bb13¡œœ bb16œœ™ b1313œ b1616œ 13 16

~~~~ CC ##/B/B ~~~ Loco ~~~~ ~~~ 8 10 7 8 10 12 Loco œ b œ b œ œ b œ œ œ œ b œ b œ œ b œ b œ œ8œ œ b œ œ b œ 10œ b œ b7 œ 8 10œ œ 12œ n œ b œ œ œ n œ œœ # œ . œ # œ . œ . 13 16 œ bœ œ bœ œ œ œ b œ œ b œ œ b œ œ n œ # œ . # œ . #13œ œ16. œ 13# œ #16œ bœ œ bœ œ bœ œ œ nœ œ #13œ 16 œ # œ # œ 3 7 7

# #

3

A /G A13/G 16 21 13 16 13 16 21 13 16

C /B C /B

Loco Loco 13 12 11 10 13 12 11 10 11 8 8 11 8 8

11 14 13 11 œ œœ b11œ bb14œœ 13œ b1414œ 1111 11œ 1414œ 1111 bb œœ œœ bb œœ œ bœ œ bœ bœ œ œ œ bœ œ

œ œ œ bœ œ b œ b œ œ b œ9 œ88 1111œœ œ88 n œ99 bb œœ88 1111œ œœ88 nn œœ99 1111œ ## œœ88 .. œ99 ##1111œœ .. # œ88 œ99 .. œ88 #11œ # œ9 b œ œ b œ9 œ œ n œ œ # œ œ œ #11œ # œ9 3 3

Ex 2 Mixing semiquavers with quintuplets E 13 16semiquavers 21 13 16 with 11 quintuplets 14 13 11 Ex 2 Mixing cd track 75 Example 2 Mixing semiquavers with quintuplets B 14 11 11 14 11 E 13 16 21 13 16 11 14 13D/C G 13here 12 we 11 see 10 8 11 8is wonderfully 9 11 8 fluid and he frequently mixes up B 14 11 14 11 While Allan does everything in his power to avoid clichéd licks, line. Holdsworth’s time-feel D/C D 9 11 8 9 8 G 13 12 11 10 11 8 8 9 8 11 8 9 8 11 8 9 11 8 A of his favourite melodic forms, employed to great effect, based 9 care one around 11 8 rhythmic8 groupings, without D 11 8 9 completely spontaneously 9 and 11 no8 doubt 9 8 11 a E A 9 be 4 a decorated maj9 arpeggio (R-3-5-7-9). We’ll see more of this shape later on, in8the9world. You might wish to use words to assist you here, so bar11 3 could

œ œ œ #œ œ œ ©»¡™∞ œ œ œ #œ œ œ ©»¡™∞ 4 ∑ ‰ JJ Œ & 4 but for now our principle∑consideration is the rhythmic component of this ‰ Œ &4 E

4

Ex 2 Ex 2





1 1

Mixing semiquavers with quintuplets Mixing semiquavers with quintuplets D/C D/C 15 15

©»¡™∞ ©»¡™∞ & 44 &4

œ œ 12œ #14œ œ œ œ œ 12œ #14œ 15œ œ 15 ‰ JJ ‰

∑ ∑

1

4 4

5

5

œ œ

œ œœ œ

13 12 13 12 14 13 12 14 13 12

œ11 œ11 12 14Œ10 9bb œœ10 œœ9 bb12œœ 11œœ 12 99œœ 11 12 12 9 12 11 12 11 12 14Œ10 9 10 3 3

3

b œ99 bb1111œœ 1313œœ œ88 b œ 11 b œ œ b13œ 12œ b11œ 10œ 11œ 1010œœ b1313œ b11œ b œ & b13œ 12œ b11œ 10œ 11œ & 3 b b

œ œ œ #œ nœ #œ œ œ œ # œ n œ #11œ 12œ œ œ #11œ 12œ œœ99 11œ 12œ 9 12 œ 11 œ œ œ 14œ 10œ # œ9 10œ œ9 12œ #11œ 12œ 11œ 12œ 12 14 10 # œ 9 10 5 5

13 12 13 12 14 13 12 14 13 12

Œ Œ

15 b12œ 14bb œœ15 œœ œ 15 b œ 12 14 b œ œ b œ œ b œ œ œ œœ b œ b œ b œ 15 & bœ œ bœ œ œ & 3 Fm/G Fm/G

5

5

Fm/G b Fm/G b

1

œ œ œ #œ nœ #œ œ œ œ #œ nœ #œ œ œ œ œœ ## œœ œœ œœ œœ œœ œ œ œ # œ rhythmically interpreted as ‘university-3e&a-university. œ œ #œ œ œ 5 5

œ88 œ

œ99 1111œœ œ

œ œ

Œ Œ

b œ99 œ88 b œ77 œ66 bœ œ bœ œ 3 3

3

13 13

12 12

11 11

10 10

11 11

10 10

13 13

11 11

9 9

11 11

13 13

8 8

8 8

9 9

11 11

9 9

8 8

7 7

œ œ

6 6

4 4

December 2015

83

lesson } JAZZ Example 3 Descending chromatic motifs

cd track 77

Allan is exceptionally good at filling in the gaps between harmonically supportive and consonant notes and the less stable dissonances that are 2 xxxxxxxxxx found nestling in the cracks between them. This is perfectly demonstrated xxxxxxxxxx by2 the five-note ‘enclosure’ in bar 4, with beat 3’s four notes encircling the Ex 3

Descending chromatic motifs

©»¡¢™ # # # # ©»¡¢™ 4 2 xxxxxxxxxx # & # # 44 2 xxxxxxxxxx # & 4

Ex 3

Ex 3

Descending chromatic motifs

Descending chromatic motifs Descending chromatic motifs

‰ ‰

∑ ∑

#### œ œ œ & # # # # ‰ œ œ Jœ ‰ ‰ J‰ &


# # & # ## # ## &

Ex 4

¢ 9 7 œ £ œ ¡ œ b¢11œ ™œ9 ¡ œ7 n10 ¢ œ £ œ9 ¡ œ7 b¢11œ ™œ9 ¡ œ7 n10

B m/E B m/E


E

‰ ‰

B m/E

©»¡¢™ # # # # ©»¡¢™ 4 & # # # # 44 & 4

Ex E 3 B G E D B A G E D A 1 E 1

¢ ¡ œ n ¢œ £ œ ¡ œ b¢œ ™œ ¡ œ n œ £ œ ¡ œ b¢œ ™œ

B m/E

∑ ∑

intended destination of A, which is in itself an early anticipation of the preceding Bm/E chord. You should go through each of these lines to determine which of the notes are intentional resolutions, and which are tensions that are still in motion.

œ7 œ œ b œ œ œ n œ œœ œ7 œ œ bœ œ œ nœ

n œ¡ n œ b œ œ œ n œ E maj 7 n œ¡ n œ b œ œ œ n œ n œ œ œ œ œ j ‰ Œ œ œ œ n œ œ œ œ œ œj œœœ ‰ Œ œœœ

n œ88¡ n12œ b11œ 10œ œ9 n12œ 10 9 E maj 7 n œ¡ n12œ b11œ 10œ œ9 n12œ n10œ œ9 œ88 œ9 11œ 6 9j ‰ Œ n œ œ œ œ9 œ œj ‰ Œ 11 œ œ6 œ9 B m/E F/G œ œ 10œ 9 œ 7n œ 9 8 œ œ œ b œ n œ n œ œ B m/E 11 œ9 8 1212œ 1111œ 1010œ n œ99 n1212œ œ10b œ9 œ œ 8b œ9œ n œ œ n œ F/G 10œ 9 œ 7n œ 11 œ 8b œ œ11n œ6 œ 9n œ œ ‰ 10 9 œ 9 ‰ 11 6 9

B m/E œ 16œ n10œ 14œ 9 12 14 œ œ B m/E œ b œ n œ œ œ œ œ 9 12 14œ 16œ n10œ 14œ ‰ œ9 œœ5 œJœ7 ‰ œ9 12œ b11œ œ9 10œ n12œ œ œ ‰ J‰ 9 5 7

9 12 11 9 10 12

Wide intervals to ascending chromatic idea 9 12

©»¡¢™ # # # # ©»¡¢™ ∑ & # # # # 444 ∑ & 4

14

16

10

14

B 9 to 5 ascending 7 9to 12chromatic 11 9 10 12 Ex 4 Wide intervals Example 4 Wide intervals ascending E maj 7 idea chromatic idea G

E 9 12 14 16 10 14 D We that clearly B begin with a completely 9 5 7‘inside’9motif 12 11 9 10 12 outlines our underlying A E maj 7 G Emaj7 tonality (E-G#-B-D#), before moving into rather more chromatic territory E D A 4 against our Bm/E. Rhythmical intent, along with the selection of an ultimate E 4

Ex 4

œœœœœ œ œ œ œ Jœ J

E maj 7

œ88 œ44 œ66 œœœ Œ 8 Ó4 Œ Ó

8 4 6 6

F/G œ œ œ n œ n13œ 12œ b11œ 13œ 12œ b11œ œ10 9 œ 12œ n10œ n13œ 12œ b11œ 13œ 12 11 10n12œ œ11n10œ F/G 12 14 œ œ b œ œ n12œ œ11n10œ œ9 Œ Ó ‰ œ Œ Ó ‰ 12 14 12 10

£

¡œ n œ # œ¢ n £ ¢ b œ œ œ ¡ n œ #œ n œ # œ you resist scrappy andnmuch œ ‰ ‰to rush,œ asœ this n œwillœsound b œ œ less ‰ œ œ œtheœ temptation œ œ œ convincing throughout. n œ # œ ‰ œ œ œ œ Jœ ‰ ‰ œœ œ œ œ n œ œ J 12 14 12 10

12 11 13 13 12 11 10 cd track 79 Bm/E 12 11 10 9 12 14 12 10 12 11 strong resolution plays in the of lines of this nature. Ensure 13 a big part 13 12 11 success 10 Bm/E 12 11 10 9

£

¢

n10¡œ n£13œ #14œ¢ 9 10 b11 œ œ œ E maj 7 11 Bm/E 8 8 8 8 10 11 j œ œ œ œ9 11œ œ9 11œ œ 11œ ‰ œ9 11œ œ œ9 11œ ‰ ‰ n œ # œ 9 10 b11œ n10¡œ n13œ #14œ œ 7 9 n10 œ œ œ œ 6 7 9 œ6 11œ œj œ8 œ9 11œ œ9 11œ œ8 11Jœ ‰ œ9 11œ œ8 œ9 11Jœ ‰ ‰ œ7 œ9 œ7 œ9 n10œ œ8 n10œ #11œ œ J J œœ œ E maj7 £ œ œ # œ œœ œ œ œ œ 10 13 14 ¡œ ¡ n œ œ¡ ¢œ n œ£ ¡ œ™ ¡œ œ E maj7 œ n œ # œ # œ n œ # œ 9 10 11 œ œ £ # œ œ # œ œ œ 8 8œ 8 10 11 œ œ ¡œ # œ¡ n œ œ¡ ¢œ n œ£ ¡ œ™11¡œ 8 œ n9œ # œ11n œ9 11 œ # œ8#11œ 9 11 8 9 11 œ7 9œ7# œ9 œ10 œ8 10œ 11# œ9 œ10 œ11œ10 Ó13 14 œ 11 œ8 #œ 6 9 11 9 11 11 9 11 9 11 7 9 10 œ œ # œ JœJ 3 œ Ó 3 3 6 73 9 3 3 3 3 3 3 3 E maj7 3 œ £ # œ œ ¡11 œ 14œ 16œ #18œ 19œ 18œ 19œ œ œ # œ œ #11œ¡ n13£œ 11œ¡ 14¢œ n13œ£ 12¡œ 13œ™ 12¡œ 12œ 16œ n15œ #14œ n13œ #14œ #16œ E maj7 17 ¡ ¡ ¡11 œ #11œ¡ n13œ 11œ 14¢œ n13œ£ 12¡œ 13œ™ 12œ 12œ 16œ n15œ #14œ n13œ #14œ #16œ 17œ 14œ 16œ 18 19 18 19œ 18œ 16œ #15œ 16œ 13œ 14œ #13œ 16œ 13œ 14œ Ó 18 16 15 œ œ 14œ #13œ 16œ 13Jœ 314œ Ó 16 13 3 3 3 3 J 3

©»¡¢™ # # # # ©»¡¢™ ∑ & # # # # 444 ∑ & 4


# # & # ## # ## &


#### & #### &


84

œ œj œ œ œ œ œj œ œ œ Wide intervals to ascending chromatic idea


Ex 4

E maj 7

Wide intervals to ascending chromatic E maj 7 idea

Bm/E

6 6

6 6

3

11 11

11 11

December 2015

13 11 13 11

14 13 12 13 14 13 12 13

12 12

12 16 15 14 13 14 16

17

12 16 15 14 13 14 16

17

3

14 16 18 19 18 14 16 18 19 18

3

19 19

18 16 15 18 16 15

3

16 13 16 13

3

3

14 13 14 13

16 13 14 16 13 14

ON THE CD

learning zone

ALLAN HOLDSWORTH

TRACKs 73-90

Example 5 Pentatonic three-notes-per-string

cd track 81

Much analysis of Holdsworth’s soloing style features one common error, the assumption of reliance upon near random repositioning of some form of wide 3 stretched geometric shape up and down in semitones or across the neck. 3 patterns do obviously occur, at best this should be viewed as a gross While Ex 5

©»¡™• # # ©»¡™• 3 & # # 43 & 4

Ex 5 3 3

Ex 5 Ex E B G E D B A G E D 1 A E 1 E B G E D B A G E D A E

Pentatonic 3 notes-per-string

1 1


# F #m

Pentatonic 3 notes-per-string

Phrygian Mode Pentatonic 3 notes-per-string

¡

F #m F #m

™

7 12 œ 7 12 10 œ œ œ œ 7 7 12 7 9 11 9 œ œ 7 12 œ œ 7 ∑ Œ œ9 œ9 œ7 œ7 œ9 œ7 12œ œ7 9 11œ œ7 12œ 10œ 9 œ œ 7 œ 9 œ œ œ œ œ œ7 œ9 œ œ œ ∑ Œ ¡7 œ9™ ¡œ7 12 œ9 œ9 œ Phrygian Mode ¡ ™ ¡ Phrygian Mode œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ n œ œ b œ œ œ œ œ 7œ 12œ 10œ œœ œ 7. 12 œ œ œ œ œ œ œ œ œ œ œ œ œ7 œ9 b œ7 12œ 9œ 9 œ 7 œ7 n œ 9œ b7 œ 12œ 7œ 9 œ11œ 7œ 12œ 10œ 9 œ 7. 12 7 7 12 7 9 11 9 œ œ 7 12 9 7 9

Phrygian Mode Pentatonic 3 notes-per-string

## &# & #

¢ œ ¢

Œ Œ

©»¡™• # # ©»¡™• 3 & # 43 & #4 5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¡œœ œ œ œ œ œœ œ œ œ œ œ œ œ ¡ œ™ œ œ ¡

F m

∑ ∑

over-simplification and the reality is closer to the example seen here, based around a three-notes-per-string fingering that combines elements of B Minor (B-D-E-F#-A) and E minor Pentatonic (E-G-A-B-D) scales against an F# Phrygian tonality (F#-G-A-B-C#-D-E).

¢ œ 12 ¢

7

9

9

œ œ 12œ 10œ œ7 12œ 10œ 7 œ7 7 10œ 12œ œ7 12œ b11œ 14œ 12œ 11œ 14œ n13œ 12œ b11œ 11œ 11œ 10œ 12œ 10œ 12œ 14œ 15œ 14œ . # 10 7 10 7 œ 7 œ 7 12 œ b11œ 14œ 12œ 11œ 14œ n13œ 12œ b11œ 11œ 11œ 10 12œ 10œ 12œ 14œ 15œ 14œ . œ & # # œ œ 12œ œ œ 12œ 10œ œ7 œ œ7 10œ 12œ œ # &

Ex 6

10 7

Maj7 arpeggio pathway & four-notes-per-string scale

b b b b

E 10 7 10 7 7 7 12 11 14 11 11 10 12 14 15 14 Ex 6 Maj7 arpeggio pathway four-notes-per-string scale B 12 10 7 & four-notes-per-string 7 10 A 12/G 12 11 10 12 Slight swing 16ths& 12 cd track 83 Example 6 Maj7 arpeggio pathway scale 14 13 12 11 G E 10 7 10 7 7 7 12 11 14 11 11 10 12 14 15 14 D A /G Here we see that Maj9 pattern from Ex1 and Ex2, reinterpreted with subtle counter-clockwise so that the thumb is ready to be positioned behind the neck B 12 16ths 12 10 7 7 10 12 12 14 13 12 11 11 10 12 Slight swing A G melodic variations to fit in both G and Ab Lydian contexts (R-2-3-#4-5-6-7). and approximately behind the second finger. The wrist itself should remain E D4 A There are some wide stretches on the fifth string here, so make sure your relatively fixed to avoid injury, with most repositioning work achieved by this E fretting hand posture is prepared for this workload by turning the wrist revolution of the forearm. 4

©»¡¡º b 44 ∑ ⋲ œœ & b b b ©»¡¡º ∑ ⋲ & b b 44 Ex 6 Maj7 arpeggio pathway & four-notes-per-string scale

œ bœ œ œ œ œ b œ œ œ œ bœ bœ œ bœ œ œ œ œ œ #œ œ bœ œ œ œ œ œ œ bœ œ bœ œ œ œ œ œ œ #œ œ G b Lydian œ b/G b Ex 6 Maj7 arpeggio pathway scale Slight swing 16ths& four-notes-per-string A G b Lydian 11 13 14 13 11 13 15 16 √ 14 11 12 ©»¡¡ºswing 16ths A b/G b Slight b œ 13 11 10 10 11 12 œ œ 11 11 b b ©»¡¡º œ 13 14 13 b14œ œ œ 13œ 15œ 16œ √Ó 4 11 10 11 b œ 11 12 b ∑ ⋲ œ & b 44 œ b œ œ b œ 13 b11œ 10œ b11œ 13œ 8 13œ 10œ 11œ 10œ #11œ 12œ œ b œ œ œ œ œ œ b ∑ Ó ⋲ œ b œ œ b œ 13 œ8 13 œ œ # œ œ & b 4b G Lydian œ œ œ œ b b B /A b 11 13 14 13 11 13 15 16 √ GB bLydian 14 11 12 /A b ~~~ œ / 13 11 10 10 11 12 11 13 14 13 11 13 15 16 b œ √ 11œ 10 11 œ 14 11 12 Œ ' 13 8 13 ~~~ & bbb œ œ œ œ œ œ œ œ / 13 11 10 10 11œ 12 œ œ œ œ œ œ œ 11 10 11 œ œ œ œ œ œ 13 8 13 œ œ ' œ œ Œ œ œ &b b œ œ œ œ œ œ œ œ A b Lydian b/A b ~~~ / √ ABBb15Lydian ~~~ /'/ œb/A b 16œ 15 13 12 13 12 15 17 15 b √ 12 15 12 13 13 15 œ 16 œ '/ 15œ œ~~~ Œ & b b b œ œ 15œ 13œ 12œ 13œ 15œ 10 13 12œ 15œ 12œ 13œ 12œ 15 17 œ œ 13 œ œ œ œ œ œ 15 10œ 13 œ Œ &b b b œ œ' œ œ œ œ œ œ œ œ œ œ A Lydian ~~~ / A b15 Lydian 16 ~~~ /' 15 13 12 12 15 17 15 √ √Ó Ó

œ bœ œ bœ

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

14 14

1 1

14

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

114 4 14

14

'

14

16

4

13

15

13

12

13

15 15

10 10

13 13

12

15

12

13

12

15

12

13

13

12

15

17

13

15 15

4

December 2015

85

lesson } JAZZ Example 7 Outside line over F Dorian vamp

cd track 85

While we couldn’t be more F minor to begin, with a melodic figure toggling between F and Ab (root-b3), things become much more ambiguous in bar 1, 4 xxxxxxxxxx with clear evidence of major 3rds (A) and even a chromatically approached 4 xxxxxxxxxx F7b7b9 arpeggio (F-A-Cb-Eb-Gb), before returning to an even keel with Ex 7 Ex 7

Outside line over F Dorian vamp Outside line over F Dorian vamp

Ex 7 Ex 7

Outside line over F Dorian vamp Outside line over F Dorian vamp

œœ œœ œœ ©»¡¡º Slight swing 16ths ©»¡¡º Slight swing 16ths 4 xxxxxxxxxx 4 xxxxxxxxxx ŒŒ ⋲⋲ bb bb bb 44 ÓÓ & & 4

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


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

Gb Lydian (Gb-Ab-Bb-C-Db-Eb-against our underlying Ab/Gb harmony. Holdsworth is clearly at home with harmonic ambiguity – in fact, he rejoices in it – and likes to combine ideas with both major and minor 3rds, along with major and flattened 7ths, as illustrated.

nœ œœ nn œœ bb œœ bb œœ œœ œ n œ œœ nn œœ œœ œœ n œ œœ œœ œ nœ JJ ⋲ JJ ⋲  ⋲  ⋲

Fm Fm

œœ 16œœ 13œœ ©»¡¡º swing 16ths 13 ©»¡¡º Slight Slight swing 16ths 13 16 13 bb bb bb 444 ÓÓ ŒŒ ⋲⋲ & & 4

œœ nn17œœ bb14œœ JJ ⋲ 17 14  ⋲

Fm Fm 15 15

nœ œ bb16œœ œœ œ n œ 13œœ nn15œœ 16œœ 1313œœ n1717œ 1515œ 1313œœ 13 16 JJ ⋲ 13 1313œ n1414œ 13 15 16  ⋲

13 17 15 13 A b/G b 13 17 15 13 17 14 16 A b/G b 13 13 15 16 bb œœ œœ nn œœ œœ nn ¡¡œœ bb œœ™™ ™™œ 1313n œ££ 1616¢¢œ n1313¡¡œ ¡ b1515œ™ œ n œ 17 14 16 13 13 15 16 n œ b œ 13 14 b œ ¡œ b œ™ œ œ œ œ n œ œ n œ 13 14 œ n œ n œ b œ b n œ b œ bœ œ nœ bœ Œ œ œ œ œœ œœ ⋲ bb œœ ⋲ œœ ⋲⋲ n œ ⋲ JJ ‰ bb & ⋲ ⋲ JJ n œ ⋲ ‰ Œ & b bb 6 3 3 3 3 6 3 3 3 3 A bb/G bb A /G bb14œœ 1313œœ nn1212œœ 14œœ nn1010¡¡œœ bb1111œœ™™ ™™11œ n12œ££ ¢¢œ n10¡¡œ ¡¡ b œ™™ œœ nn œœ nn1010œœ bb œœ99 b œ œ n œ b œ 12 œ n œ œ n10œ 10œœ b11œ œ 10œœ œ œ b œ œ 14 14 11 12 13 12 J b b1111œ 1010œ n œ99 b œ88 Œ b bb bb ⋲⋲ b1111œ ⋲⋲ 1010œJ ⋲⋲ nn œœ99 ⋲⋲ J ‰‰ 12 œ œ 13 10 11 12 10 10 œ & Œ 12 10 12 & J 6 3 3 3 6 3

3

3

Ex 8

3

3

Outside triplet phrase over dominant swing groove

E 13phrase 12 over 10 11 Ex 8 Outside triplet dominant swing dominant groove Example 8 Outside triplet phrase over swing groove E B 14 13 12 14 10 11 11 12 10

cd track 87

b 9 flattened G 11 10 11 10 and 9 8 Swing Having mentioned Holdsworth’s love of mixing majorE13 and and Ab respective), alluding to Lydian b7 (R-2-3-#4-5-6-b7) G 13 10 11 3rds 11 10 9 Mixolydian 8 b 9 10 D 12 10 10 12 11 10 9 E D 12 10 12mode11 10 9although Allan has both his own symbols and his own A 7ths, in this instance we’re dealing with a static Eb dominant 9th tonality. and (R-2-3-4-5-6-b7), A E We with a motif that utilises both raised (#) and natural 4th degrees (A descriptive nomenclature for these scales. E begin 3 Swing 14

B

3

©»¡§º ©»¡§º b b b b bb b 44 & b & 4

Ex 8 Ex 8 E B E B G D G D A A E E 1 1


14

11 12

∑∑


86

nn œœ bb œœ

˙˙

Outside triplet phrase over dominant swing groove Outside triplet phrase over dominant swing groove Swing Swing E 9 E 9 10 9 10 9

bb

©»¡§º ©»¡§º b b 4 b b b & & b bb 444

nn œœ bb œœ

∑∑

˙˙66

bœ bb bb bb bb nn œœ b œ œœ œœ œœ œœ bb œœ œœ bb œœ œœ œœ nn œœ & & 3 3 10 10

9 9

6 6

3 3

3

3

E B E B G D G D A A E E 5 5

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ON THE CD

learning zone

ALLAN HOLDSWORTH

TRACKs 73-90

Example 9 straight 16ths over a swing groove

cd track 89

Another Eb9 chord backing but this time some snakey 16th-note action on the top two strings (bars 4-5 especially). With harmonically varied playing like this, see what ‘inside’ and ‘outside’ notes tie in with the Eb9 chord. Most interesting! 5 5

Ex 9 Ex 9

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Subscribe to the digital edition of Guitar Techniques and get your first 2 issues completely FREE! Instant digital access All styles and abilities from intermediate to advanced ● Lessons from world class players, all clearly explained ● iPad version includes moving tab perfectly synched to top-quality audio for every lesson ● Full tracks transcribed, the world’s best tuition guaranteed ●

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December 2015

87

lesson } ACOUSTIC

Richard Thompson Fifty years of virtuoso picking and Richard Thompson is still wowing audiences with his fingerstyle technique, says Stuart Ryan.

solo works followed, mostly in collaboration with his then wife, folk singer Linda Peters – the most renowned being, I Want To See The Bright Lights Tonight. The Celtic sound came to the fore with uptempo fingerpicked parts accompanying his plaintive, wellthought-out lyrics. Cementing his position as an acoustic virtuoso, he explored an allinstrumental set on 1981’s Strict Tempo!, which focused on traditional music from the British Isles and North Africa. Sadly, this album is out of print but a good hunt around YouTube will yield some of its gems. The release of Rumor And Sigh in 1991 introduced the world to his acoustic tour de force: 1952 Black Vincent Lightning. Today Thompson is as busy and popular as ever and a whole new generation of fingerpickers is discovering his virtuoso

a true original, thompson is worthy of an in-depth study if you are a fan of first-rate playing

Richard Thompson fingerpicking his signature Lowden

technique. He often tours solo, heading up festival bills, but he can also be seen accompanied by his old friend, legendary bassist Danny Thompson. His musical range is vast and goes from the English folk to wistful Celtic styles and even covers of The Who and Britney Spears. Although often seen in an electric context it is the image of Thompson fingerpicking his trusty Lowden L27f that is most prevalent – so much so, Lowden has honoured him with a signature model. A true original, Richard Thompson is worthy of an in-depth study if you are a fan of first-rate acoustic playing. NEXT MONTH Stuart looks at the American singer-songwriter legend Jackson Browne

Info Key: D Major Tempo: 103bpm CD: TRACK 91

Will improve your… Playing in 6/8 time Note embellishments Incorporating bass notes

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rowing up in 50s England, Richard Thompson was surrounded by a disparate set of influences. He absorbed the music of the legends he discovered among his father’s jazz record collection: Django Reinhardt, Louis Armstrong and Duke Ellington – while his tastes were also dramatically shaped by the rock and roll artists he heard emanating from

his sister’s radio. The early jazz influence was soon combined with the sounds of Buddy Holly and Jerry Lee Lewis meaning that the young Thompson was destined to create a unique approach to making music. Add in a burgeoning interest in blues, traditional Celtic styles and English folk and you have the makings of a pioneering, multi-voiced artist. Thompson burst on to the English music scene in the late 60s via his band Fairport Convention, whose wild fusion of English folk and American blues ushered in a new sound. After finding success with Fairport he decided to go it alone and in 1972 showcased his already considerable abilities as singersongwriter and instrumentalist on his first solo release, Henry The Human Fly. More

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Thompson is most known for playing his signature model Lowden F (Fingerstyle) model. While any guitar will work fine here something with a crisp, warm tone will help get that Celtic sound across. Use the above settings as a guide should you be plugging into an acoustic amp. These examples also sound great on a clean Strat tone with a splash of echo.

TRACK RECORD Richard Thompson’s breadth of work is staggering, beginning with his raft of albums with Fairport Convention and Richard And Linda Thompson – all of which contain typical flashes of genius in the writing and playing. A great starting place if you are new to Thompson’s solo work is 1991’s Rumor And Sigh (with 1952 Vincent Black Lightning); also check out 2005’s superb Front Parlour Ballads. 88

December 2015

LIVEPIX

ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate

ON THE CD

learning zone

RICHARD THOMPSON

TRACK 91

Example Richard thompson

cd track 91

[Bar 1] The 6/8 time signature and drop D tuning are favourite Thompson [Bar 5] Embellishing the sequence with quick pull-offs and hammer ons (as in devices. We are playing in the traditional folk form of a jig here, so ensure you bar 8) is a common feature of Thompson’s style so make sure the fretting hand are comfortable with the rhythmic feel before progressing through this one. is fully warmed up so you can execute these at the required speed. [Bar 3] Being a self-accompanist Thompson really values the importance of [Bar 14] As you’ll have noticed, although we have a straightforward chord bass notes, so you’ll often find ascending or descending basslines being played sequence many of the voicings are not standard shapes, they are ‘enriched’ by against his chords. It is the luxury of the fingerpicker to be able to create this the addition or exclusion of certain notes. These rich voicings are part of what ‘two instruments at once’ illusion but it can also result in tricky fingerings! defines Thompson’s style as a guitarist and songwriter. GUITAR TECHNIQUES 2 5 0 Stuart's Acoustic RICHARD THOMPSON STYLE GUITAR TECHNIQUES 2 5 0 Stuart's Acoustic RICHARD THOMPSON STYLE GUITAR TECHNIQUES 2 5 0 Stuart's Acoustic RICHARD THOMPSON STYLE GUITAR TECHNIQUES 2 5 0 Stuart's Acoustic RICHARD THOMPSON STYLE D add 9 D sus2 D5/C # G/B A 7sus4

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Buy it, play it, love it Expert buying advice, playing techniques, and tips and tricks for recording and playing live. It’s essential strummer reading…

Ordering is easy. gO Online at

www.myfavouritemagazines.co.uk/guides-and-specials

lesson } rockschool

ON THE CD

Reading Music, Part 18

Below the stave

TRACKS 92-93


Who says reading music doesn’t rock? This month Charlie Griffiths injects some metal into the manuscript with a low-down and dirty reading study. tempo marking of ‘90bpm’ (beats per minute), which means that there are 90 of those quarter-notes for every minute. Now we have an overview of the general tonality and feel of the piece we can start looking at the notes. The first and last notes are often (but not always) a telling piece of information as to where the piece gravitates towards; here we start and begin with an F# note, so it is a safe bet that this piece is in the key of F# minor, which indeed it is. In order to translate the notes on to the fretboard as easily as possible, it is a good idea to map out where you expect most of the notes to be with a scale position, so here an F# Minor scale around the 2nd fret seems most appropriate. As is the modus operandi of bands like Black Sabbath, Metallica or Slayer, riffs need not stay diatonic to one particular scale or mode (ie using that scale’s notes exclusively), and the dark and moody

The first and last notes are often quite telling as to where the piece gravitates towards, key-wise

For this piece we return to the use of bass leger lines

ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced Info Key: F# minor Tempo: 90bpm CD: TRACK 92-93

Will improve your… Music reading skills Fretboard knowledge General music theory

T

his month we will continue to combine the various reading elements we have studied previously in this series into a single piece of music that, hopefully, you can follow from start to finish. Here we will focus on the low register of the guitar and reacquaint ourselves with the leger lines below the stave. This register of the electric guitar is very often the domain of hard rock 92

December 2015

and metal music, so we encourage you to engage your distorted tone and bring forth the fury to the fretboard. The most important information is shown at the beginning of the first line of the piece; first, the treble clef tells us that all the notes will be safely within the realm of a standard tuned guitar. Next we have the key signature which has three sharps; this could either be the key of A major (A-B-C-D-E-F#-G#) or the relative minor (F#-G#-A-B-C#-D-E); we will discover which one with further investigation of the actual notes. The third piece of information is the 4/4 time signature, which means that the regular pulse of the music rhythmically latches on to four quarter-notes per bar. This information is linked to the

intervals like b2 (G natural) and b5 (C natural) are utilised at will. These are adjusted with the use of accidentals throughout the piece, so prepare to step outside of your scale shape when you see those. The rhythmic subdivisions range from half-notes, to quarter notes, to eighth notes, to eighth-note triplets, and 16th notes that are all mixed together but should all latch on to the designated tempo without speeding up or slowing down. Have a go at playing through the piece without playing the notes to check that you can count through it, then slow any problematic areas down until you can make rhythmic sense of them. For the final two bars a ‘rallentando’ (or ‘rall’) means you should gradually slow down the tempo; you can follow this on the backing track we’ve supplied and match the decrease in tempo accordingly. In a band situation, eye contact would keep everyone in time. NEXT MONTH Charlie continues his Reading Music with another full piece for you to play

BELOW THE STAVE

learning zone

Example full R&B style piece

cd track 92

Play bars TECHNIQUES one to four, including the first2time to the first bar and repeat the section, this time skipping to the second time ending. Continue GUITAR MAGAZINE 5 0 ending, then return Charlie Griffiths GUITAR TECHNIQUES MAGAZINE 2 5 0 to play up to the end of bar 13. Next, follow the instruction ‘DC al Coda’; ‘DC’ throws you back to the beginning of the piece and the ‘Da Coda’ at the end of bar 2 Charlie GUITAR TECHNIQUES MAGAZINE 2 5 0 Charlie Griffiths Griffiths catapults you to the Coda, which is the ‘bullseye’ symbol ahead of the final Part three bars. READING 18 Finish the piece when you see the double bar line. GUITAR TECHNIQUES MAGAZINE 2 5 0 GUITAR TECHNIQUES MAGAZINE 2 5 0

8 8 8 8 8

READING Part Charlie Griffiths READING Part 18 18 Charlie Griffiths READING Part 18 READING Part 18

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4 4 4

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NOVEMBER GT249

OCTOBER GT248

SEPTEMBER GT247

Master this vital style with 11 superb rhythm and lead examples to play. Plus, part two of our picking series. Learn economy picking and play fast and fluid – just like the pros! Tabbed in this issue is the full album version of Gary Moore’s Parisienne Walkways.

An exclusive lesson in part 1 of our picking series. Banish sloppy alternate picking and enjoy more accuracy, speed and tone. Plus, get your teeth into The Knack’s wonderful classic, My Sharona – a track chock full of glorious riffs and plenty of solos.

A guitar icon since he and his band stormed Woodstock in 1969. Learn Santana’s rhythm and lead style. Play The Allman Brothers’ classic Statesboro Blues with stunning solos from Duane and Dickey. Plus we pay musical tribute to John Renbourn – and much more!

AUGUST GT246

JULY GT245

JUNE GT244

Want to get inside the playing mind of Pink Floyd’s musical maestro? This feature offers insights into every facet of the great man’s playing. Plus, learn Mr Big’s awesome Addicted To That Rush, get started with Jazz Soloing – and lots more in this packed issue!

Bands like The Grateful Dead, The Allman Brothers and many others made their name as ‘jam bands’. We look at great tricks to get you jamming. Play Chet Atkins’ amazing Yakety Axe; learn how to sweep pick 7th arpeggios, plus loads more amazing stuff!

Learn how to make the most of the music intervals and master the art of Ragtime Blues. Plus, a full guitar transcription of New Born by Muse and the styles of The Troggs, Chickenfoot, Glen Campbell and Eric Gales unveiled... and lots more!

learn the blues shuffle

Genius Of: DAVID GILMOUR

SORT OUT YOUR PICKING

JAM THE BLUES!

PLAY LIKE CARLOS SANTANA

EXPAND YOUR BLUES!

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94

December 2015

What our Ratings Mean ✪ ✪ ✪ ✪ ✪ Buy it ✪ ✪ ✪ ✪ Excellent ✪ ✪ ✪ Good ✪ ✪ Average ✪ Bin it!

New Albums

A selection of new and reissued guitar releases, including Album Of The Month Album of the Month Joe Bonamassa

Live At Radio City Music Hall

Provogue ✪ ✪ ✪ ✪ ✪

We’ve got used to Bonamassa’s incredible output, but what never ceases to astound is the sheer quality of everything he does. This album finds Joe fulfilling a lifelong ambition to play this legendary New York venue. Recorded at the start of the year, it’s a concert in two sections. Joe is backed by The Huckleberries for the opening acoustic set, then reunites with his regular band, plus horn section, for the harder electric set. The video has all the material in sequence, whereas the CD scrambles the set for a better listening experience. But, whichever you choose, Joe trips through songs from his vast repertoire with total professionalism. Tracks like Dust Bowl, I Can’t Be Satisfied and One Less Cross To Bear are superb but there’s so much more here. It’s a brilliant show; great sound, excellent camera work and it’s available on DVD, CD, Blu-ray and vinyl formats. So, what are you waiting for?

music } reviews

spacious mix that positively sparkles; there are performance aspects never before revealed, too. Also on the master tapes other gems have been discovered, including alternative versions of South Side Of The Sky, Mood For A Day and Roundabout, plus a new track that would become two songs on their next two albums – and much more! This is classic Yes at its best, but sounding like it was recorded yesterday. Quite simply, this is fantastic.

Joel Hoekstra’s 13 Dying To Live

Frontiers Records ✪ ✪ ✪ ✪ ✪ Hoekstra is best known as lead guitarist with Whitesnake but his recording career also includes three solo albums. These were largely instrumental but here he enlists the help of vocalists Jeff Scott Soto and Russell Allen. Add a great selection of musicians and his dreams of a great melodic rock album have come to fruition. Sound comparisons have been

heavy; it finishes the album in style, so if you want something very different, entertaining and inspiring, we recommend it.

Yes

Fragile – Remastered

Chantel McGregor Lose Control Tis Rock Music Ltd ✪ ✪ ✪ ✪ ✪

Guitarist and singer-songwriter Chantel McGregor returns with a second album and it’s quite a leap from 2011’s Like No Other. A child of the blues she has, thanks to four years of touring, become far more rock influenced. So this set of 10 originals is much heavier and more riff based than her previous output. The songs are strong and well delivered and there’s some great playing here too; plenty of commitment, attack and dynamics. Check out Your Fever with its cross rhythms and the title track with its speedy riff over a slow back beat. There’s a lighter side on display too, the acoustic-led Anaesthetize and Home offering a moment to catch your breath. Walk On Land is a real tour de force, morphing from slow and meaningful to hard and

Panegyric Recordings ✪ ✪ ✪ ✪ ✪ This is the fourth Yes remaster by Steven Wilson and it’s the best to date. There was little wrong with Eddie Offord’s 1971 offering, but with today’s technology, Wilson’s incredible ears and the complexity of Yes music, their back catalogue deserves such attention. It’s also a fitting tribute to late bassist Chris Squire as this includes some of his finest moments. Fragile also saw the inclusion of keyboard wizard Rick Wakeman, so it’s no surprise that between the main ensemble pieces each band member has the opportunity to shine. Wilson has produced a cleaner, more

made with Dio and Foreigner and, while you can certainly see why, Long For The Days could easily be a Whitesnake track even though this album was conceived before Hoekstra joined the band. It’s an excellent album, with great arrangements, stunning guitar work and well-constructed songs. This one deserves a listen so check out the title track and you’ll agree that 80s rock lives on!

David Gilmour Rattle That Lock

Columbia ✪ ✪ ✪ ✪ ✪ A new David Gilmour album is a rare thing indeed. Happily, Rattle That Lock delivers on every front. Moody and spacious there’s more essence of Pink Floyd here than on most of David’s earlier releases, yet make no mistake his personality shines through. In fact, rather than the highly polished solos that we associate

with Floyd, the guitar work here seems far more spontaneous. The title track worked as an excellent single sampler, but there’s much more going on here, and right from the opening track, 5am, you’re drawn in. We like the variety, how tracks like A Boat Lies Waiting evolve, and the continental feel on Faces Of Stone. There’s great guitar work throughout, of course, but one particular highlight is the solo on In Any Tongue. Available in several formats, including vinyl, it’s already hit the UK number 1 spot, so snap up your copy soon.

Jared James Nichols Old Glory & The Wild Revival

Listenable Records ✪ ✪ ✪ ✪ ✪

Currently performing as the special guest on the Glenn Hughes European tour Jared James Nichols is an ‘old school’ rock guitarist: loud and proud and with serious attitude. He’s well worth catching live but this latest album is also a treat as he’s a seriously good songwriter. While his guitar playing is indeed wild, his songs are beautifully structured. We particularly like Crazy, with its wide panning and a tone that brings back memories of Hendrix during the Electric Ladyland sessions; Can You Feel It, has such a great boogie feel – no wonder this track is attracting attention in America. A cracking 12-track studio offering, it also includes two extra live tracks: You Won’t Last and Playin’ For Keeps, both from a gig at the Viper Room. These really allow Jared’s showmanship to shine through and this is a seriously good rock-blues album.

December 2015

95

GT USER GUIDE You can get more from GT by understanding our easy-to-follow musical terms and signs... Relating tab to your fretboard 3

2

Every transcription or lesson in GT is graded according to its level of difficulty, from Easy to Advanced. We’ll also let you know what aspect of your playing will benefit by attempting a lesson.

m

i

1

Our rating system

a c

4 T

p

Advanced Moderate-Advanced

nut & fretboard

hand Labelling

Moderate

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

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

Easy-Moderate Easy

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

œ œ Tablature œ & Technique Examplesœ - Treble Clef And Guitar Down & Up Picking

GUITAR TECHNIQUES MAGAZINE USER GUIDE

GUITAR TECHNIQUES MAGAZINE 2nd string Guitar Technique Examples - Picking 3rd fret

Chord example

Chord example (with capo)

The diagram represents the G chord in the photo. The ‘O’ symbol is an open string, and a circled number is a fretting finger. Intervals are shown below.

The blue line represents a capo – for this A chord, place it at fret 2. Capos change the fret number ordering – here,œ & the original fret 5 now becomes fret 3, fret 7 now fret 5, etc.

A major scale

Down & Up Picking

E B G

x

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5

7

Fret Hand Muting

6

5

5

E B G D A E

S

&

E B G D A E

8

n Pick 1st note and slide to Left Hand Tapping the 2nd note. The last two 6 with the notes show a slide œ last ¬e beingœ re-picked. œ

Re-pick bend Left Hand Tapping

Slides (Glissando)

(7 5)

& œ œ œ

b˙

BENDING and vibrato bend up/down

~~~~~

Slides (Glissando)

n Rapidly alternate between Slides (Glissando) the two notes indicated in brackets with hammer-ons œ œ and &pull-offs. œ œ 5

5

Slides (Glissando)

(7 5)

5

E B G D A E

8

tr

˙ (œ œ)

E B G D A E

~~~~~ 7 5

Note Trills Note Trills

&

n Pick 1st note and hammer Trills fretting hand for 2nd onNotewith tr ~~~~~ note. Then pick 3rd note and ˙ (œ 4th œ) b˙ note. pull &off for

E B G D A E

&

E B G D A E

2

9

n Note sustained, then the vib is depressed to slack. Square bracket used if a long-held note has new articulation applied.

n Sound the note and ‘flick’ the tremolo bar with picking hand so it ‘quivers’. Results in a ‘gargling’ sound!

n A capo creates a new nut, so the above example has the guitar’s ‘literal’ 5th fret now as the 3rd fret.

9

‚ Other techniques œ & scrape Pick

·

Violining

Finger numbering

Pima directions

Right-hand tapping

TCH E B G D A E

2

9

n The edge of the pick is dragged down or up along the lower strings to produce a scraped sound.

n Turn volume control off, sound note(s) and then turn vol up for a smooth fade in. Called ‘violining’.

n The numbers after the notes are the fingers required to play the fret numbers in the tab below.

n Fingerpicking requirements are shown at the bottom of the tab notation.

n Tap (hammer-on) with a finger of the picking hand onto the fret marked with a circle. Usually with ‘i’ or ‘m’.

December 2015

97

NextMonth the world’s best guitar lessons… transcription #1

Pat metheny

feature

blues-rock boot camp

Have You Heard

Part 2

Jon Bishop transcribes this uptempo jazz swinger with an astounding solo from one of the genre’s greatest players.

Continuing last month’s Pentatonic lick fest, Richard Barrett shows how to seamlessly move through the keys.

transcription #2

francisco Tárrega

video lesson

allen hinds

Capricho Arabe

Masterclass, Part 1

Bridget Mermikides arranges and transcribes one of Tárrega’s most beautiful guitar compositions.

This incredible guitarist from LA begins a six-part series on how to make your blues sound cool and sophisticated.

British Blues Triple-Threat...

clapton • green • taylor John Mayall’s Blues Breakers was the spawning ground for three of the most influential British blues guitarists of all time. Jon Bishop unravels the styles of Eric, Peter and Mick! MORE GREAT lessons

Robert Cray

Authentic modern blues

Bad Company 70s blues-rock icons

Bon Jovi

Stadium-filling rock!

Jackson Browne LA singer-songwriter

Tim Miller

Modern jazz virtuoso

plus all this… Classic 30-Minute Lickbag, Sight Reading, Creative Rock, Chord Camp, Instrumental Inquisitions, 60 Seconds With – and more!

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Beginner Guitar Lessons- What You Need to Know

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