242. Guitar Techniques - Spring 2015

the finest guitar lessons on the planet 242 SPRING 2015

25 Licks...

yOu NEED TO kNOw! Pump up your playing today with a set of iconic licks no guitarist should be without!

GOOD ROCkING TONIGHT!

ROCK’N’ROLL RHYTHMS From Elvis to Bo Diddley, Beatles to Buddy Holly, Beach

21 YEARS OF THE FINEST GUITAR LESSONS

CLASSICAL

ERIk SATIE Play his dark but beautiful piece Gnossienne 3

Boys to Quo, learn the rhythms that drove 1000 hits!

STyLE STuDIES

THE DOORS

Robby Krieger soloing

THE HOLLIES

Tony Hicks’ tasty licks

ROBBEN FORD

Sophisticated jazz-blues

CLASSIC TRACk TABBED!

RORy GALLAGHER His glorious acoustic playing

Now i’m Here

Awesome riff • Great chords • Big solo Play this brilliant track in its entirety!

CARLOS SANTANA

Ultimate blues-rock improviser

ISSUE 242 SprIng 2015

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

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

jon bishop

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

pete Callard

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

jim Clark

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

phil Capone

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

Charlie griffiths

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

phil hilborne

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

pat heath

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

the

finest

guitar tuition you can buy !

Welcome WHO DOESN’T LOVE to learn a great new lick? I don’t know if people do it now, but when I was in my youth and bumping into fellow guitar-playing nerds, someone was always going, “Do you know this one?” and playing you a new lick that they’d learnt. What exciting times they were. Perhaps as we get more proficient we’re less willing to share our secrets, wishing instead to retain any musical advantage we think we might have. And that’s where GT comes in. Since we are the caring, sharing magazine we invited Jim Clark to dig deep and come up with 25 of the juiciest licks he could imagine - nothing horrendously difficult to play but just the kind of thing you’d want to add to your personal lickbag. And the great thing about licks is, change a note here and there, bend instead of sliding, pick instead of hammering and, hey presto! Brand new lick! So this feature really is the gift that keeps on giving. Queen and Brian May have been in the news a lot lately - the sold-out arena tour with Adam Lambert, the potential of Brian becoming an MP (who wouldn’t love to see that?) and the resurrection of previously unheard

tracks with Freddie. So we thought it about time we tabbed a great Queen tune, since we haven’t done so for some time. Now I’m Here is a brilliant track. From the huge opening chord to Brian’s screeching bends, that awesome riff and his Chuck-meetsAngus style rock and roll solo, it’s packed with great things to learn. As usual, Steve Allsworth does an amazing job, sonically and tab-wise, so you should have hours of fun learning this. And speaking of rock and roll, we were recently chatting about the range of rhythm styles you find in the genre - from Bo Diddley and the aforementioned Chuck Berry, to Scotty Moore and Status Quo. So we thought it would be perfect as this month’s third main feature. And, as Jon Bishop plays with 80s rock and roll star Shakin’ Stevens, who better to do it for you? And as usual, that’s only the tip of the iceberg: the magazine is packed with superb tuition in all manner of styles and pretty much all levels. So dig in, have fun and I’ll see you next month.

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.

steve allsworth Top tutor at Tech Music School, Steve has been a GT writer for years. Superbly skilled, he’s also a brilliant transcriber who takes a huge pride in his work.

john wheatCroft

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

Tap the links

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

Animated tab & audio

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

Play the videos

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

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

Spring 2015 GuitarTechniques 3

WIN! AN AppLE WATCH Turn to page 27

• C ON T E N T S • SPR I NG 201 5 •

Learning Zone

Many thanks to World Guitars for the loan of our beautiful cover guitar, a Nik Huber Orca with CITES certified Brazilian rosewood neck!

LEssONs INTROdUCTION

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30-MINUTE LICKbAg

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

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CREATIVE ROCK

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MUsIC REAdINg

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Les Davidson takes over from Wheaty this month with a look at the soloing style of the Latin legend that is Carlos Santana.

Martin Cooper looks at Robby Krieger’s playing style in iconic psychedelic band The Doors. Shaun Baxter shows how four-note moveable ‘cells’ allow maximum fretboard coverage.

Andy Saphir wants to beef up your technique: this month; string skipping, part 2.

Phil Capone explains the inventive guitar style of The Hollies’ precocious genius, Tony Hicks.

Pete Callard uncovers the jazzy side of modern blues maestro Robben Ford.

CoVer FeaTUre

Stuart Ryan gets the blues this month as he delivers a Rory Gallagher appreciation.

25 LICKS YOU NEED TO KNOW! 16 Jim Clark has selected 25 great licks that could form the basis of a solid blues-rock vocabulary. There’s a ton of great stuff here!

FeaTUreS

WELCOME

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TALKbACK

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THEORY gOdMOTHER

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More of your insights and opinions.

CARL VERHEYEN part 3

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This month Carl delivers a jaw-dropping firsttake solo over a track he’s never before heard!

David Mead sorts out your musical woes.

INTRO

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

transcription #1 36

Surely one of this mega-band’s greatest ever tracks, it has the lot: huge riff, clever chords, great solo and more power than a jumbo jet!

sUbsCRIpTIONs

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bACK IssUEs

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

ALbUMs

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New guitar CDs and DVDs reviewed and rated.

transcription #2 ERIK sATIE Gnossienne No.3

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Nev talks about this issue’s main features.

Jon Bishop pulls out the rock’n’roll rhythms every guitarist should know; from Berry to Bo Diddley, Beatles to Beach Boys and more!

QUEEN Now I’m Here

ViDeo MaSTerCLaSS

rEGuLar fEaturEs

spEciaL fEaturE #2 10 ROCK’N’ROLL RHYTHMs From the giants of the genre

In instalment 10 Charlie Griffiths puts all the reading elements together in four pieces.

TAb gUIdE

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Our terms and signs explained.

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Bridget Mermikides arranges a sublime piece by this mis-judged French composer who only latterly received the credit he deserves.

NExT MONTH

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Blues Theory - Everything You Need To Know; Soloing With Chromatics; Yes’s ‘Clap’ transcribed; The Django Legacy... and more!


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

LFI / PHOTOSHOT

SImOn JAy PrIce/ PHOTOSHOT

ALL ABOUT DA BASS After reading the articles about injured guitarists, I know bass guitars have been mentioned before in Guitar Techniques but this is worth bearing in mind... I’ve been playing guitar and bass ever since I started playing 40 years ago. My older brother played the bass and I often fiddled with it, much to his annoyance, and I’ve dabbled with both instruments ever since. Practising scales and riffs on the bass can do wonders for strengthening your fretting hand and, if using a pick, can improve your picking technique no end as well. Your fretting hand will feel like it’s been give a shot of steroids once you pick up a guitar afterwards, believe you me! Doodling on a guitar-like ‘thing’ while recuperating will put you in good stead for when you recover. I bought a Westfield Precision Bass copy from Cash Generators for £59.00 and it’s a great instrument. I’d recommend anyone having a go at playing the bass in a band situation, for when the ‘ego tripper’ takes a lead break you and the drummer have all the space in the soundscape to fill, which is great fun - that is unless you have a keyboard player pinching your bottom or, heaven forbid, a rhythm guitarist who’s competing with the lead player. I’ve been off work for nigh-on two years now after suffering a nervous breakdown and music as been my salvation! I’m writing my own songs and I can now play the bass fingerstyle - which I couldn’t do before, strangely, as I’ve been able to play the guitar fingerstyle since not long after I started playing. Anyway, it won’t hurt to dabble with a bass guitar! Lee Ruscoe The injury topic dominated the letters page for a month or two so, so as not to depress anyone further, I’ve halted it for a while. But I think playing bass for guitarists is a wonderful thing so I

wholly endorse your suggestion that we have a go too – although playing heavy strings with a weak or injured hand, at least in the early stages of recovery, I’d be more than a little cautious about recommending. Musically though it can do nothing but good. I love playing bass and did so in a couple of bands for several years. It really allows you to focus on the song’s structure, how it works rhythmically as well as harmonically, and how the various instruments knit together to become the whole. I’d even go as far as to say that playing bass will enhance any guitarist’s musicality.

BUCKIN’ ’IM? I was very much surprised to see that Fleetwood Mac frontman, Lindsey Buckingham did not get a mention in Jon Bishop’s otherwise excellent and informative fingerstyle lead feature (GT 241). Clearly, it’s not possible to include every lead fingerstylist, however, I’m sure there’s a good many of us that will agree that Lindsey is certainly one of the most cogent and energetic exponents of the style! John Noble Yes, we realised with hindsight that we’d omitted this fine fingerstyle player from the feature. Lindsey is without doubt a most musical and inventive musician, and whether playing tricky acoustic pieces or coming up with memorable lead lines on electric guitar, a powerful statement is inevitably made. Luckily we’d done a feature on him (in Martin’s Rock column) not long previously, so it’s not as though GT has ignored him completely!

Steve Hackett: well respected by those in the know but too often overlooked

So, as I see it... Major scale: R-1-2- 3-4-5-6-7 Melodic minor: R-2-b3-4-5-6-7 Harmonic minor: R-2-b3-4-5-b6-7 I hope you don’t mind being corrected; as an instructional mag I do think it’s important to be accurate, but understand these things can happen. David Newman You are indeed right, David. We try to be as accurate as we can and things are checked by several people; inevitably silly mistakes will get through - like that one and, coincidentally as the previous letter was about Lindsey Buckingham... when we spelt his name ‘Lindsay’ on the cover. Oops! Slapped wrists all

DIMINISHED POWERS? With reference to your Guitar Techniques 238 (Jan 2015) article, ‘Diminished Responsibility’: on reading the article I think I may have noted an error. In particular you have written half way down the first column that “…both Melodic minor (R-2-3-4-5-6-7) and….” I stand to be corrected but shouldn’t that be (R-2-b3-4-56-7) as the Melodic minor has a b3rd relative to the major scale?

Lindsey Buckingham: we missed him out of our fingers feature

round – and no, we never mind our mistakes being pointed out.

CHICKEN SATIE? Bridget Memikides’ excellent article on Satie, one of the most underrated composers out, could have mentioned in the Track Record examples Steve Hackett’s Sketches Of Satie, which is Satie’s Gymnopedies and Gnossiennes played on classical guitar and flute (the flautist being brother John Hackett). The album is very haunting and excellent late-night relaxation music. When I first purchased it, I didn’t realise how many Satie pieces I knew, so I then had to dig further. By the way, how about some Steve Hackett features? He is one of the best players out there, equally proficient in progressive rock and classical genres, and his solo career has eclipsed what he did in Genesis in terms of diversity and styles and number of released albums. Derek Cook I take your point, Derek. However, Bridget’s listening suggestions are usually piano or orchestral as that was how the majority of her choices were first conceived and she wants to show readers how the original concept might relate to her solo guitar performance– and possibly spur them on to trying their own arrangements. Regarding Steve Hackett, I couldn’t agree more about how under-rated he is - a hugely important figure. Let’s see what we can do at some point.


Q&A

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Theory Godmother - David Mead

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Email your playing posers and technical teasers to Theory Godmother at [email protected] - every wish is your Godmother’s command! Signature Licks? Dear Theory Godmother

I wonder if you can help clarify something for me? There are 12 notes in the chromatic scale sharing a major and minor key signature for each. But some notes have two names: C# and Db, G# and Ab, etc. So does this mean that there are more than 12 key signatures to learn? I’ve searched the net and browsed a few books, but this point seems to be passed over in most cases. Jeff This does seem to be an anomaly and loads of music students expect to find only 12 key signatures available until they do the maths. In fact, there are 15 key signatures recognised by the Associated Board of the Royal Schools of Music and I’ve laid them out below. No sharps/flats: C major/A minor One sharp: G major/E minor One flat: F major/D minor Two sharps: D major/B minor Two flats: Bb major/G minor Three sharps: A major/F#minor Three flats: Eb major/C minor Four sharps: E major/C#minor Four flats: Ab major/F minor Five sharps: B major/G# minor Five flats: Db major/Bb minor Six sharps: F# major/D#minor Six flats: Gb major/Eb minor Seven sharps: C#major/A# minor Seven flats: Cb major/Ab minor They are governed principally by the fact that you can only have a maximum seven sharps or flats in any key signature: sharps and flats are never mixed together in key signatures and are worked out by adding one flat or sharp at a time until the full complement is reached. As such we have what are called ‘enharmonic equivalents’; ie key signatures that are effectively the samesounding scales flying under a different flag, like Db and C# or F# and Gb. You’ll find that some crop up more than others on the guitar – E, A, D, G, C and so on – and some only occur occasionally as few composers for the instrument find themselves drawn to writing in C# major or the looney Cb!

Hendrix à la Mode? Dear Theory Godmother

I am a big fan of Jimi Hendrix and have figured out that he uses some modal licks. Could you show me some modal scales so I can solo over backing tracks? Huw

GUITAR TECHNIQUES EXAMPLES 1-5 MAGAZINE Ex Ex11


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Minor pentatonic + 6th mode

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œ aœ b œ n œ Hendrix was predominantly & player and not a modal Pentatonic player as we would define it today. So you possibly wouldn’t achieve the effect E 8 you’re B after by studying 11 8the modes of G 10 8 9 D the Major scale in their standard form. A But itE is possible to add modal elements to Pentatonic scales and there are Ex 5 plenty of examples œ ofœthis in œ theœplaying œ of guitarists that era. Hendrix’s œ b b from b & primary influence was the blues and he learned by listening to some of the principal bluesmen from the early E 8 11 9 8 part BGof the 20th century. However, 10 8 D experimentation was always key and so A E it’s no surprise that the occasional foray into modality would be on the cards. So let’s look at a couple of examples of how the Pentatonic can be embellished with modal overtones. The most obvious would be what is known as the ‘Minor pentatonic + 6th’ (Ex 1). Here, the major 6th has been added to the regular minor pentatonic, mimicking the presence of the major 6th in the Dorian mode (Ex 2). This is something that occurs in the playing of BB King and has gone on to inspire many other players like Robben Ford, too. Used over a minor chord, it adds a sweet edge to a bluesy solo. Another mode that Hendrix would definitely have found his way into is the Mixolydian or dominant 7th scale (Ex 3)

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and if we enhance the Pentatonic with b œ a dash of blues we end up œ add it and with licks like the one in Ex 4. A further example would be the Aeolian, a mode favoured by players such as 8Jimmy Page and Carlos Santana 10 to spice up a minor blues (Ex 5). If you experiment with these three modal additives to Pentatonic soloing you œ find might œ yourself straying into the territory you’re after. But it’s worth remembering that no scale by itself can instantly turn you into a soloing superstar. You need to supplement your 7 10 modal explorations by getting hold of some transcriptions of Hendrix in full flight – or, better still, transcribe some yourself – so that you can appreciate the context into which these ideas were introduced.

Jazz Scale Knockout Dear Theory Godmother

I realise that it’s almost impossible to generalise but if you really had to choose, which scale would you say is the most prevalent in jazz? It’s been the topic of discussion between some friends recently and no one can really offer a definitive answer, but statistically there must be one and I’d be interested to hear your take on the question. Carl

When I was getting curious about jazz, I went into Ivor Mairant’s music store in London looking for a book of jazz scales, hoping it might provide me with a database from which I could explore the genre. It was Ivor himself who served me, and he gave me some advice that I’ve remembered ever since. He told me that there was no such thing as a ‘jazz scale’ because every scale is neutral until it’s placed in a context that defines it. So if you were to take the natural Minor or Aeolian mode and employ it in a jazz solo, only then does it become ‘jazz’. Of course you wouldn’t play the scale from bottom to top and hope it fits; or play it randomly in the hope that something might work. But with the skill that only comes from practice you’d quote from it and turn it into something melodic. Eventually, with more practice, the choice of notes lives outside the world of schoolroom recitation and becomes inspired and practically subconscious. However, many musicians opt to use the Jazz Minor scale (R 2 b3 4 5 6 7). It’s the ascending version of the melodic minor scale so the name helps distance itself from that. You can think of it as a ‘jazzy Natural Minor’: try playing the A Jazz Minor scale (A B C D E F# G#) over the chords Bm7-E7-Am.


• Gu i ta r t e ch n iqu e s • spr i nG 201 4 •

Jam tracks tips

Walter Trout: continues his blues career!

1. B Minor Blues Here we have a blues progression in B minor. Chords are Bm (Im), Em (IVm), G (bVI) and F# (V). For scales, I’d suggest starting with B minor Pentatonic (B-D-E-F#-A) as well as the B Minor scale (B-C#-D-E-F#-G-A). For the F# chords you can also use B Harmonic minor (B-C#-D-E-F#G-A#), emphasising the A# in the process, which leads nicely back to the B minor chord following it.

2. Bossa (Cm) This is a bossa style backing track for a II-V-I progression in C Minor. If you want to conquer the classic tune Blue Bossa or just get some more jazz in your system, learning how to play on a II-V-I progression is a great place to start. Chords are Cm9-Cm9Dm7b5-G7(#5). Use C Minor scale (C-D-Eb-F-G-Ab-Bb) on Cm9 and Dm7b5 chords and then C Harmonic minor (C-D-Eb-F-G-Ab-B) over the G7 chord.

3. Groovin’ On Phrygian Mode

Walter Trout is back! aFter a liver transplant, and extensive rehabilitation, Walter trout feels strong enough to resume his career of 50 plus years and has announced his plans to return to stages across the globe in 2015. trout shares; “the last year has been one where the blues truly came calling, and i came face to face with death more than once. My wife moved me to nebraska to improve my chances of getting a life-saving liver transplant, and after a long wait, i got my new liver on May 26th, 2014. since then i have been filled with immense gratitude - for the

10 GuitarTechniques Spring 2015

fans who supported me via fundraisers, cards, messages, thoughts and prayers, for the donor and his or her family, for medical science, for my family, and for life itself. everything matters more to me now. now, seven months after my transplant i feel like a new man. i have strength and energy. in some ways i feel like i am in my 20s again! the past couple of years of playing i was getting dizzy spells, severe cramps in my hand and forearm and played many shows in severe pain. it turns out that was a result of my deteriorating liver. that is gone now! i am able to play

better than i have in years. i feel reborn. i cannot wait to get back out on the road again and do what i love to do for my fans. the future looks great!” Walter will make appearances across europe and north america in the coming months. the uK dates are as follows: 15 June – london, albert hall; 17 nov – stockton, arc; 18 nov – Glasgow, aBc; 20 nov – holmfirth, picturedrome; 21 nov– london, Forum; 24 nov - leamington, assembly; and 25 nov – Frome, cheese & Grain. visit www. waltertrout.com for further details.

4. Mixolydian b6 Jam Here we have a bit of an exotic sound happening. The progression is based around E and A Minor chords and the harmony is drawn from E Mixolydian b6 mode – aka the Hindu scale. The notes are E-F#-G#-A-B-C and D. The DNA of Mixolydian b6 is 1-2-3-4-5-b6-b7, in relation to the standard Major scale. It’s basically the 5th mode of the Melodic minor scale, so in this case A Melodic minor. Experiment with tension and release. As a rule of thumb, you can land”on any note of an E Major arpeggio (E-G#-B) every four bars and expect a sense of resolution. Happy jamming! Created for you by Jacob Quistgaard. For free scale maps and hundreds more tracks, visit www.quistorama. com. Also subscribe to www.youtube. com/QuistTV to get all the latest free jam tracks and licks!

jeff katz

The last year is when the blues truly came calling and I came face to face with death more than once.

This track consists of a specifically Phrygian-based two-chord vamp, moving between Bm and C. B Phrygian mode (B-C-D-E-F#-G-A) stems from the G Major scale – and being Phrygian, you will probably notice a ‘Spanishey’ vibe happening. You can also use B minor Pentatonic and B minor Blues scale for some cool colouring!

Classical and jazz guitar courses

Bonamassa with horn section

ChriStie Goodwin

FolloWinG the success of their first guitar course last year in andalucía, helicon arts are delighted to be running this holiday again with eminent tutors Bridget and Milton Mermikides in the spectacular palazzo Mannocchi in the Marche region of italy. the course is open to classical and jazz guitarists from the enthusiastic amateur to the professional, and is an excellent opportunity to further your skills in a relaxed and supportive environment. the course will take the format

of small group teaching, one-toone sessions, and ensemble coaching, culminating in a final performance in the iride theatre at petritoli. Workshops and lessons will take place in the mornings and early afternoons, leaving the rest of the day for planned excursions or time out. at least three years’ minimum experience is recommended, but enthusiasm counts! the holiday costs £995 per person. visit http://heliconarts. co.uk/guitar2015 for bookings and further information.

They call me Muddy Wolf! Joe BonaMassa’s latest release is a unique concert experience - a tribute to blues legends Muddy Waters and howlin’ Wolf. the concert, filmed near Denver in May last year, is now released as a DvD and cD. For Muddy Wolf, songs were carefully selected from the catalogs of howlin’ Wolf, one of chicago’s most influential bluesmen, known for his deep, scratchy voice, and Muddy Waters, considered the father of modern chicago blues. the concert features a selection of songs from each artist, followed by a 30-minute set of songs from Bonamassa’s own extensive catalogue. the line-up of players is also different from Bonamassa’s touring band, dubbed the Muddy

Wolf Band, and includes anton Fig (drums), Michael rhodes (bass), reese Wynans (piano, hammond organ), lee thornburg (trumpet, horn arrangements), ron Dziubla (saxophone), nick lane (trombone), Mike henderson (harmonica), and Kirk Fletcher (guitar). of the experience, a humbled and grateful Bonamassa says: “inspired was the feeling that permeated the camp from the very downbeat. it was the gig of a lifetime for me. What you see on this DvD is what it was like to play in front of the largest audience of my career, playing music that i loved, love, and fell in love with again in a much bigger way than i had before.” check it out!

Learn in Italy!

Xxxxxx xxxxxxx xxxx xxx xxxxx xxxx xxxxx Bridget Mermikides: classical maestro


Milton Mermikides: jazz virtuoso

ONE MINUTE LICK - by Phil Hilborne LYDIAN BENDING AND HARMONICS LICK

PHIL HILBORNE’S ONE-MINUTE LICK LydIaN BENdINg aNd HaRMONICS LICK Our lick begins with some scale-based bending ideas, using notes from the C Lydian mode: C-D-E-F#-G-A-B C. This scale is derived from the key of G Major and therefore contains exactly the same notes as the G Major scale, only starting from its 4th degree. The first bar-anda-half is the same six-note motif played three times descending by an octave on each repeat. This repetitive concept is good for adding continuity to a phrase and also offers a technical exercise that will test your bending accuracy on every string. The second part of the lick features three chords played using a fretted note in the bass and natural harmonics in the upper registers. Make sure the chords and bass notes ring out as much as possible. Steve Vai is among the many players that have used this sort of idea. As usual, see if you can develop similar ideas of your own!

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The Studio Guitarist’s Guide To Happiness & Personal Fulfilment This month our session hero begins a new, A-Z-style series that guarantees to make your life as a recording or gigging guitarist go so much smoother. In this first article Mitch looks at A) for Attitude and B) for Be Prepared!

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A: For Attitude at the point at which you walk through the studio door, it’s worth reminding yourself of the following truism. it applies equally to a one-hour commercial for cat litter or a week comprising three sessions per day for a major hollywood movie. and that is simply the fact that what you are about to record represents the most significant event since the Dawn of Man. or, at the very least, should be treated as such. Because, for days, weeks, months - and even years - the project to which you are about to lend your fretting fingers has been agonised over, revised, rewritten, reviewed, cancelled and re-started by any permutation of the composer, director, production company and a plethora of very interested parties. Many of them will know something about music. Meetings have been held. heels have been dug in. Fights have erupted. resignations have been tended. and accepted. Money is at stake. quite often, a lot of money. Your mission is to love this project as if it were your only child. assuming you happen to like kids, naturally. You must love it, nurture it, respect it and show that you care. a few right notes along the way are always appreciated, for sure. But you can usually drop those in later. and one other thing. several persons will greet you upon arrival with “hi! how are you doin’?”


these people may or may not be familiar to you. ‘tis of no matter. Do not - under any circumstances - tell them. even if your wife decamped with your best mate this morning. Don’t tell them how much you miss him. they don’t care. remember all this as you strike your first wrong chord of the day and you will circumnavigate the musical maelstrom as easily as Joey Barton sees red.

B: Be prepared the recording studio is an unforgiving mistress. a harsh environment. and a clinically accurate assessor. think that you sounded like the celestial choir and Mark Knopfler combined last night at that gig? sure? Because every buzz at any fret, any valve hiss, every speaker rattle or amp hum will be accurately captured and reproduced before your very ears and those gathered in the control room. if it’s audible it’s likely to render your performance unusable. recording engineers will tell you this gladly and in no uncertain terms. the level of gain on a microphone needed to record an acoustic guitar, is such that your merest immodest thought can spill onto ‘tape’. to say nothing of your breathing, the rustling of your strumming sleeve or the slightest adjustment of your instrument on those tK Maxx designer jeans. so. Your instruments must be professionally set up. they must

play in tune. use top quality leads and patching cables. carry a spare amp, strings and a guitar tool kit. and expect the unexpected. if you’re booked on electric guitar, bring a few. one should make a noise not unlike a strat. and another not unlike a les paul. and take an acoustic, too. i know: you were booked on electric. What use is that when ‘they’ change their minds? or rewrite the part? When booked on acoustic guitar, take a spanish along for the ride. think ahead. that love scene might suit nylon strings perfectly. i’m moist eyed at the very thought. When booked on 12-string it doesn’t hurt to bring an acoustic six-string and a hi-strung guitar (with the low strings tuned up an octave) as well. it offers another blend of sound if there is time and budget to overdub. and it all shows that you care. so. think ahead! next month, we move on. c is for... Behave, you at the back. Mitch Dalton has enjoyed a varied career as a studio guitarist. His credits include dates with jazz artists such as Herbie Hancock and Melody Gardot, pop hits with Robbie Williams, Monty Python and Van Morrison, The James Bond movies, TV shows and commercials. Many of his performances have been deemed adequate. Meet Mitch Dalton & The Studio Kings is available on Regius Records.

Rock icons Whitesnake are set to return with their 12th studio album this spring. The Purple Album will be released in Europe on May 15th, the UK on May 18th and in North America on May 19th via Frontiers Music. It is a re-imagination of classic songs from David Coverdale’s time as the lead singer for Deep Purple. “It’s a tribute, a homage,” explains Coverdale. “It’s a huge thank you from me to Deep Purple for the opportunity I was given over 40 years ago. As I said to Richie, you guys set me on an incredible journey that continues today and I couldn’t have asked for better teachers. The University of Deep Purple is an extraordinary, amazing school to learn from. We can’t wait to play these songs in concert.” From the opening notes of Burn to album closer Stormbringer, Purple’s songs are given a new energy in the very capable hands of the current Whitesnake line-up. Visit www. noblepr.co.uk for further details.

New PRS Santana Having unveiled the warmlyreceived new SE Standard range at the end of 2014, PRS Guitars has announced the arrival of the SE Standard Santana models to round out the series. In common with the rest of the high-performing but affordable SE Standards, the Santana and Santana Special feature all-mahogany construction, design touches including PRS’s iconic birds inlays – and a choice of PRS designed humbuckers (Santana Standard) or P90s (Santana Standard Special). Despite their high spec, the new models carry a retail price of £399/€499 and are supplied in a high quality PRS SE gig-bag. Click over to www.prsguitarseurope.com for further details and exact specifications of each model!

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Mitch Dalton’s

Coverdale’s purple snake is unleashed!

60Seconds with...

heather PorCaro

A minute’s all it takes to see what makes a great guitarist tick. Before he jumped in his limo for the airport we nabbed a quick chat with Toto’s superlative guitarist, STeve LukATheR. GT: Do you have a type of pick that you can’t live without? SL: I play small teardrop jazz picksheavy. Dunlop makes them for me. GT: If you had to give up all your pedals but three, what would they be? SL: A nice stereo delay, volume pedal and perhaps a distortion box. GT: Do you play another instrument well enough to be in a band? And have you ever done it? SL: Keyboards and bass, and I have done on TOTO records as well as other sessions. I played bass on Beat It for Michael Jackson as well as all the guitars except for Eddie’s solo. GT: If a music chart were put in front of you, could you read it? SL: Yes, unless it was like a classic two-part invention. My reading chops are a tad down now. I can read and I am glad I do. It helps. I used to be better at it. It is like another language. When you use it every day you speak it fluently. GT: Do guitar cables really make a difference? What make are yours? SL: In the studio, yes. Live, not so much. I have tried them all. Monster makes great stuff. GT: Is there anyone’s playing (past or present) that you’re slightly jealous of? SL: Everyone, Haha! Well Jeff Beck on one side. Perhaps Satch, Vai or Guthrie Govan and all the great jazz players. Like I said, everyone. GT: Your house/studio is burning down; which of your guitars do you salvage? SL: I would save my kids first and a few pieces of irreplaceable memorabilia. I don’t keep my vintage stuff at my house. That is in a fireproof locker hidden away. GT: What’s your favourite amp and how do you set it? SL: Right now it is a Bogner Ecstacy three-channel with clean, dirty and “look out it’s f***ing loud!” Hahaha. GT: What kind of action do you have on your guitars? SL: Pretty low. I don’t believe in killing myself. You can get f***ed-up fingertips and or tendonitis trying to be a tough guy.

Steve Lukather: Toto’s axeman and session ace

Billy Gibbons uses .007s. It’s in the hands, heart and ideas that the music flows, not your string gauges and or height. GT: What strings do you use? SL: Ernie Ball because they are simply the best! GT: Who was your first influence to play the guitar? SL: George Harrison! I Saw Her Standing There opened my soul! GT: What was the first guitar you really lusted after? SL: A Les Paul. GT: What was the best live gig you ever did? SL: Wow, So many great ones. There was a great gig on the last tour we did before Jeff Porcaro died. Rock N Ring in Germany 1991. 50,000 people shouting our songs back to us. Magic as I remember.

GT: And your worst playing nightmare? SL: The drunk years. I am very ashamed of them and played poorly. I wish I could take that shit all back. I am terribly sorry. I got strung out for a bit. I was sick. I have been well for many years now, thankfully. GT: What’s the most important musical lesson you ever learnt?

Less is more. Sometimes we forget in the heat of it live. It’s fun to play fast but much of that is bullshit in the end!

SL: Less is more. Sometimes we forget in the heat of it live. It is fun to play fast and all, but much of it is bullshit in the end. GT: Do you still practise? SL: Almost every day unless travelling, or the day I come home after a tour. I love to play and my quest to get better will never die. GT: Do you have a pre-gig warm-up routine? SL: Not any one, but I do warm up on my Yamaha acoustic 12-string a lot. Like swinging a bat with weights like baseball players do. GT: If you could put together a fantasy band with you in it, who would the other players be (dead or alive)? SL: Man, I have done it many times. But there are so many players I would love to play with and learn from. There’s too many to write. Haha! GT: Present company accepted, who’s the greatest guitarist that’s ever lived? SL: Well, it’s not me?! It is an impossible question to answer. What style do you mean? There is no such thing, any more than you can say, “Who is the most beautiful woman?” Art is subjective. GT: Is there a solo you really wish you had played? SL: Kid Charlemagne on Steely Dan’s Royal Scam record. Larry Carlton. Wow! GT: What’s the solo/song of your own that you’re most proud of? SL: I am proud of the solo on TOTO’s new album TOTO XIV, 21st Century Blues - It is everything I have been trying to be. But there’s always room for improvement. GT: What would you most like to be remembered for? SL: Being a great father, a great friend, funny, and an okay musician. TOTO XIV is out soon. The band’s world tour starts May 21 at the Glasgow Royal Concert Hall, followed by dates at Manchester O2 Apollo (May 25) and London Eventim Hammersmith Apollo (May 26). More info: www.totoofficial.com


That Was The Year... Tornadoes, Toranados and Tolls FeNDer iNrODuCeS The AMeriCAN DeluXe TOrONADO spawned from the first original Fender design to originate from the firm’s Mexican plant and the Toronado’s popularity has led to a US-built model. The body is like a reduced Jazzmaster loaded with a pair of humbucking pickups with individual volume and tone controls plus a three-way selector switch. It has a hardtail and separate bridge and you can have it with two single-coil pickups if you prefer but the price is the same. The uS AND AllieD FOrCeS invade Iraq, take control of Baghdad and end the regime of Saddam Hussein; a record number of tornadoes develop over America with 393 reported in 19 states; in orbit the three-month Hubble Ultra-Deep Field project begins concentrating on a small region of space in the Fornax constellation looking for ancient galaxies; and Concorde makes its final commercial flight. ThiS yeAr’S GlASTONBury FeSTivAl includes Primal Scream, Radiohead, Lamb, Doves and Manic Street Preachers; Elvis Costello marries Diana Krall at Elton John’s estate; Spandau Ballet’s Tony Hadley wins ITV’s Reborn In The USA; and Mick Jagger is knighted for his services to music.

Catch the kenny Wayne Shepherd gig! hot on the heels of rave reviews from his recent october 2014 tour dates, five-time Grammy nominated and multi-platinumselling blues-rock guitarist Kenny Wayne shepherd returns to the uK for a follow-up tour in april 2015. Dates include salisbury city hall (Friday 10 april), holmfirth picturedrome (saturday 11 april), Glasgow o2 aBc (sunday 12 april), aberdeen lemon tree (Monday 13 april) and london shepherd’s Bush empire (Wednesday 15 april). vip tickets for Kenny Wayne shepherd will be available for £50.00. this entitles all vips entry to soundcheck for a private meet and greet with Kenny along with photos and signing opportunity. each vip will also receive a commemorative tour laminate and tour poster. Kenny’s current album, Goin’ home, is an exploration into the music of shepherd’s biggest influences, and features guest performances by some of his closest friends including ex-Beatle

Adam Palma and Steve Vai jam live

rOBiN GiBB OF The Bee GeeS calls TV interviewer Graham Norton ‘scum’ after he jokes about Maurice Gibb the day after Maurice’s death. Others taking their final bow are Noel Redding, Barry White, Robert Palmer, Hank Ballard, Nina Simone, Edwin Starr, Bobby Hatfield (Righteous Brothers), Johnny Cash and June Carter Cash, guitarist Shawn Lane, composer Ron Goodwin and record producer Sam Phillips. NOw iN iTS SeCOND yeAr JJ GuiTArS releases two new models, the Jewel and the Retro. Both of these twin-cutaway solidbodies feature two humbuckers with master volume and tone plus a three-way selector switch. Each has a hardtail bridge, 22 frets and mahogany body and neck, where they differ is that the Retro body has a maple cap. Both models prove to be great guitars to play. The M6 TOll MOTOrwAy OPeNS to provide an alternative route avoiding the most congested part of the current M6; the use of hand-held mobile phones while driving is banned; the Government reveal plans for a new runways at Stansted and Heathrow Airports, to the dismay of the environmental groups; and the London congestion charge is brought into operation. TAKAMiNe ACOuSTiCS are often the gigging choice of many a guitarist, and now the company’s new cutaway classical model with nylon strings will appeal to even more players. The EC132SCXBL is finished in black over a solid cedar top and a solid rosewood back, while the neck is mahogany with a rosewood fretboard. The etched tuners retain the classical look and the guitar is fitted with under-saddle transducers wired into a choice of four preamps.


Rock and roll Poles european henDrix Fans will be interested to hear that the 13th annual thanks Jimi Festival will take place on May 1st 2015 in Wroclaw, poland. the festival was founded by leszek cichonski and organized by the city of Wroclaw to honour Jimi hendrix and to break the Guinness World record for the World’s largest Guitar

KWS giving it attitude!

ringo starr, eagle Joe Walsh and Gov’t Mule’s Warren haynes. the album features songs originally recorded by some of shepherd’s heroes such as BB King, Bo Diddley and stevie ray vaughan. Kenny says he reached deep into their catalogues and chose songs that inspired him when he was learning to play guitar. visit www.thegigcartel.com and www.noblepr.co.uk for tickets and further information.

orchestra. last year more than 7,000 guitarists played hey Joe in the old town Market square in Wroclaw. Many players from around the world joined via the internet. You too can join us via the web site http://en.heyjoe.pl and be a part of the biggest live Guitar union! (although only those actually present at the event count towards the attempt on the Guinness World record). last year’s headliners were virtuosos such as al Di Meola, steve vai, tommy emmanuel and steve Morse. this year the festival will be hosting John scofield, nigel Kennedy’s hendrix project, uli Jon roth, the Gypsy Kings, and an all star Band featuring top polish guitarists adam palma, leszek cichonski and many others!

HOT FOR TEaCHER yOUR RgT TUTOR NAMe: Jamie Holroyd TOwN: Leeds STyleS: Pop, rock, acoustic, jazz, blues, bottleneck and fingerstyle SPeCiAliTy: Jazz guitar and improvisation QuAliFiCATiON: BA Hons jazz levelS: Beginners to advanced, RGT grades if desired, jazz diplomas; sight-reading, beginners to intermediate ChArGeS: £15 for 30 mins, £20 for 45 mins and £25 for 60 mins SPeCiAl: Music room, work sheets, backing tracks and recording equipment. Skype lessons also available. Tel: 07510 828879 eMAil: [email protected]

Play: lICKS

ON THE CD

TRACKs 4-7

25 Classic Licks You Need To Know Join Jim Clark as he counts down 25 blues-rock licks that all electric guitarists should have under their fingers. Why not change them around and make them your own!

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Key: Various Tempo: Various CD: TRACKS 4-7

Stylistic knowledge Improvisational vocabulary Soloing range

a definitive list of 25 licks spanning the entire blues-rock universe is a contentious thing. We’d all come up with different results! so apologies if your personal favourites are missing. these are simply my attempt at providing you with a set of phrases that could form the core of a superb lick armoury; something that if you were just starting out would send you happily into the fray; and which, if you’ve been playing for years might fill out a tired or depleted quiver of arrows. the truth for any musician is that it’s important to have a grasp on the history and evolution of a musical style, and how the various traits of influential players from each era are related. for example, how is Muddy Waters’ You need love, connected to Jimmy Page? (Youtube it, you might be surprised!) it’s this type of knowledge that allows us to understand how our favourite players have used influences to inform their own playing. I find myself constantly reinforcing this to my

own students, as there are very few truly original voices in modern music - only a tiny minority of which are guitarists. in blues and rock, the harmonies and rhythms are often quite simple, but what is amazing is how great players down the decades have manipulated this relatively simple musical language and articulated it in their own way. What i have tried to achieve here is to put together a rundown of the most favoured components, be it harmonically, rhythmically or articulation wise, that reappear in licks from players from the 40s through to today. the lesson features 25 licks, in descending

Work on exploring the musical elements further, then invent some ideas of your own using players you like as inspiration. numerical order, each with a unique component that has been ‘borrowed’ from one or more iconic player, followed by a solo study featuring all these elements. You could use this lesson in one of two different ways. first, as a chops-building workout, whereby you play the licks back to back, as i have demonstrated on the audio. this would be great for stamina and focus if

you are to perform all 25 correctly, in one hit. alternatively you can view each lick as an individual study idea in its own right. Work on exploring the musical elements further, then invent ideas of your own using players you like as inspiration - combined, of course, with your own creative steam! Why not select a few of the elements discussed and write a 12-bar study using them exclusively. Can you make it sound natural, like a piece of music and not just a collection of contrived phrases stuck together? this type of musically creative practice is what the pros do. Good luck, and have fun!

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Rather than focus on recreating the tones of the players mentioned here, you’ll find it more rewarding - at least initially - to opt for a good blues-rock tone that doesn’t get in the way of the learning process. For the cleaner examples just roll down the guitar’s volume. Remember, the material here is conceptual and covers a wide array of artists, guitars, amps and effects, so get the ideas into your brain and onto your fingers before worrying about specific tones.

TRACK RECORD In situations like this when so many artists are considered, it can be best to select some ‘Best of’ compilations to achieve an overview. But for starters why not listen to John Mayall’s Bluesbreakers Featuring Eric Clapton (1966), Stevie Ray Vaughan’s Texas Flood (1983), Jimi Hendrix’s Are You Experienced (1967), Free’s Fire & Water (1970) and Robben Ford’s Talk To Your Daughter (1988).


Eric Clapton has come up with a few iconic licks in his time!

Paul Kossoff was a genius for creating great melodic hooks

BB King’s identity is stamped all over modern blues and rock guitar playing

Jimi Hendrix redefined blues vocabulary and made it his own

DALLE / PHOTOSHOT

PICTORIAL PRESS / ALAMY

BRIAN RASIC / REX FEATURES

GRAHAM LOWE / GETTY

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Play: lICKS

ON THE CD

TRACKs 4-7

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25 ClassiC liCks You Need To kNow ExAMPLES 25 LICKS

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LiCK 09: DouBLe-sTops A series of double-stop moves now, starting with a favourite of SRV’s older sibling, Jimmie Vaughan. We follow with

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some Chuck Berry/Keith Richards style phrases. Chuck and Keef get great mileage from such ideas by utilising clever rhythmic displacement.

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fingers, but use the wrist instead to take the weight; and always support the bending finger with others. You should clearly see how this type of progressive wide bending technique was adopted by David Gilmour.

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ExAMPLES 25 LICKS

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beat, resulting in a clever rhythmic displacement. Bar 2 demonstrates a similar rhythmic idea but using a minor arpeggio - you’ll hear it in Hotel California, the climax of Page’s Stairway solo and many a Cream live jam.

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FuLL soLo: To tie things up, I have composed a solo study incorporating vocabulary and should help make your solos more cohesive as a whole. Remember that music works in the same way as grammar - the statements all 25 concepts in 12-bar blues format. The ideas may not be obviously must make sense and have cohesion, not be simply a collection of placed, but rest assured they are all in there. This form of editing down GUITAR TECHNIQUES TECHNIQUES MAGAZINE MAGAZINE 2 242 2 GUITAR larger musical statements is a crucial 4part of establishing 25 TOPworkable BLUES / ROCK arbitrary LICKS ideas stuck together. Have fun... see you soon!

25 TOP BLUES / ROCK LICKS by by Jim Jim Clark Clark

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Play: RHyTHM

ON THE CD

TRACKs 8-11

Rock’n’Roll Rhythm In this special feature Jon Bishop examines the backbone behind some of the greatest guitar music ever recorded, as he delves into the world of rock’n’roll rhythm, using some of the genre’s most famous names as inspiration. ABILITY RATING

Easy/Moderate Info

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Key: A Tempo: Various CD: TRACKS 8-11

Down and hybrid picking Rock‘n’roll rhythm ideas Timing and phrasing

Forget “who put the bomp in the bomp-pah-bomp-pah-bomp”, today we’re going to find out who put the ‘rock’ in rock’n’roll! In this lesson we’ll be taking the famous rock’n’roll rhythm pattern - the backbone of the music - and exploring different ways to add interest and variety.

TeChnique FoCus

down picking and muting All 10 examples and the jam track will really test your down stroke picking and palm muting technique. Down picking can add uniformity to the attack and improve the timing, especially when using quavers (eighth notes). There is a cut-off, tempo wise, when down picking is no longer feasible, but with some practice it is possible to reach pretty fast tempos. Practice down picking a quaver rhythm with a metronome at a slow tempo first, and only when you can execute the part accurately should you raise the BPM. Remember speed is a bi-product of accuracy and you should strive to execute all the parts correctly at a slow tempo first. With this solid foundation established it is easier to bring things up to speed. The palm mute helps to thicken the sound, and also adds a percussive attack to the notes. Adding a palm mute does however change the position of the picking hand slightly, so it is good to practise alternating between palm mute and no palm mute. If you have a floating vibrato bridge extra care will need to taken, so as not to push the strings out of tune when you apply the palm mute.

The feature will focus heavily on the picking hand, and each of the examples requires a slightly different approach; some using down picking only; others featuring hybrid picking technique (pick and fingers); while others adopt a ‘fingers only’ approach that mimics those players who use a thumbpick and fingers (use that method if you prefer, as the tab fingering is the same). The rock’n’roll style borrows heavily from blues and also from country (Elvis Presley added black blues to white country, while Chuck Berry added white country to black blues), so it is no surprise that many songs

Some new rhythm ideas are guaranteed here, for even the most seasoned of rock’n’roll guitarists. follow the classic 12-bar pattern so commonly associated with these genres. For the purposes of our studies this means the I, IV and V chords are A, D and E. To add tension these are often changed to A7, D7 and E7. To create a rock’n’roll riff there are several scales and arpeggios that can be used and combined. These building blocks include the A major arpeggio (A-C#-E) the A major Pentatonic scale (A-B-C#-E-F#) and the A minor Pentatonic scale (A-C-D-E-G). The most basic version of the rock’n’roll riff is when the chords move between A5 and A6 to ape the left hand of a boogie-woogie pianist - think Chuck Berry or Status Quo. This boogie riff can be played with a straight eighth-note feel (Rockin’ All Over The World by Status Quo) or a swung eighth feel (Whatever You Want by Status Quo). Early innovators like Chuck Berry sometimes mixed up the feels, with the rhythm section playing a swing rhythm, and the guitar playing straight

eighths (Johnny B Goode). Once this base is established, we can add extra notes and ideas to expand our rock‘n’roll riff vocabulary. It can be hard work to get this otherwise simple riff to sound really good, and as ever the devil is in the detail. Things to consider are: how much palm mute should be added; how much fretting-hand muting is required; how are the dynamics of the rhythm to be played; and which notes are best accented? This month there are 10 audio examples to study, complete with notation, and each one focuses on the style of a famous rock’n’roll artist. To provide a familiar playing field the examples are in the guitarist friendly key of A (we mustn’t forget that, as many rock’n’roll riffs were written on the guitar they exist due to the instrument’s physical idiosynchrasies). As usual there’s a jam track, which is also in the key of A, as well as individual backing tracks supplied for you to practice with. Rock’n’roll is a hugely important genre for guitar, bridging as it does the old and the new - it’s also great fun to play, so please enjoy!

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Since rock’n’roll has been performed on guitars as disparate as Gibson ES-350, 335, 345 and 355, Fender Stratocaster, Telecaster, Jaguar and Jazzmaster - and of course all manner of Gretsches - pretty much any electric will work well this month. Just dial up an ‘almost clean’ tone (Fender amps were the main tool of choice), use whichever pickup feels right for the artist concerned, and experiment with the guitar’s controls to achieve the desired results. A bit of reverb or slap-back delay can be added for that final, professional touch.

TRACK RECORD Records that contain great rock’n’roll rhythm guitar are as numerous as they are varied. The aptly named Status Quo album 12 Gold Bars, contains some cracking rhythm guitar action, much of which is surprisingly not based on the 12-bar format. But any Chuck Berry ‘best of’ is worth a look, as are similar albums from Buddy Holly, Bo Diddley, Gene Vincent and Eddie Cochran.


JRFFREY MAYER / GETTY IMAGES

Rock’n’Roll Rhythm

Chuck Berry: one of the fathers of rock’n’roll guitar


Play: RHyTHM

ON THE CD

EXAMPLE 1 Beach Boys style

TRACKs 8-11

CD TRACK 8

GUITAR TECHNIQUES MAGAZINE 2 4 2 This first example is a fast paced, arpeggio based idea that was popular with palm mute. The timing and dynamics need to be even and driving. The ROCK N ROLL RHYTHM both surf, and rock‘n’roll bands in the 1960s. The use of exclusively down Beach Boys used twangy Fender guitars so go for a bridge pickup and select strokes of the pick is an important factor in creating the sound, as is a light a bright spring reverb if you have the option - and turn it up! Ex 1 - Beach Boys Style

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/ A6 A7 A6 A5 ' # # - Chuck Berry / # ''/ 0 & ©»¡§º n œ550 ¿XX œ440 ¿XX œ220E 5 œ220 X 2 œ440 A 6 A5¿XX œœ Swing œœ220 feel ¿ A5 œ 3 4 0 A 6 A5 X 2 n œ # œ œ0 quavers ¿X œ0 ¿X œ0 ¿X œ0 ¿X œ0 œ0 n œ33 œ0 0 2 3 4 straight ### 4 ‰ œœ œœ œœ œœ œœ œœ œœ & 4 ‘ ‘ œ œ œ œ œ œ œ œ Ex 3 - Chuck Berry œ œ œ œ œ œ œ œ Ex 3 - Chuck Berry CD Bridge Pickup EXAMPLE 3 chuck Berry / TRACK 8 ©»¡§º Swing feel A5 A 6 A5 A 6 A5 E5 ' ƒ PM with light overdrive X X 5 X X ©»¡§º Swing feel 2 2 A 6 A5 4 A 6 A5 4 2E 5 2 A5 Chuck Berry is a rock‘n’roll icon style4has influenced generations. which works straight 0 0 dissonance, 0 quavers 0 0 nicely in context. 0 X X feels set up0 a sort of X rhythmic X ## 4 parts0of Chuck’s straight quavers 22and3his sound 3 guitarists One of the #interesting is the use of straight quavers This part is nice and easy to play and should be familiar to most # # ‰ œ œ œ œ œ œ œœ 44 a swinging rhythm section.œTheseœ two (eighth of age or experience. & ‘ ‘ œœ juxtaposing œœ œ regardless‘ ‰ œ œ œ œ œ œ œ œ œ ‘ ¬es)# against œœ7 œœ7 œœ9 œœ7 œœ7 œœ7 œœ9 œœ7 œ97 œ97 œ97 œ97 œ97 œ97 œ97 Ex 3 - Chuck Bridge Berry Pickup 5 5 5 5 5 5 5 5 ƒ Bridge Pickup with light overdrive ©»¡§º Swing feel ƒ PM ≥ ≥ A≥6 A5 PM A5 E5 ≥ ≥ ≥ A≥6 A5≥ with light overdrive 2 straight quavers # 2 # Cochran Ex 4 - Eddie 44 ‰ œœ9 œœ9 œœ9 œœ9 œœ9 œœ9 œœ9 ‘ ‘ & #©»¡§º ‘ ‘ œœ7 œœ7 œœ9 œœ7 œœ7 œœ7 œœ9 œœ7 Straight Rock 7 E9 7 7 7 7 7 7 9 9 9 9 9 9 A 5 7 5 7 5 9 5 7 5 7 5 7 5 9 5 7 7 7 7 7 7 7 7 2 Bridge 5 5 5 5 5 5 5 5 #with# #light4Pickup ≥≥ ≥≥ ≥≥ ≥≥ ≥≥ ≥≥ ≥≥ ≥≥ ƒ PM overdrive ‰ & 4 2 Ex 4 - Eddie Cochran œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ Ex 4 - Eddie Cochran Bridge Pickup ©»¡§º Straight Rock ‘ ‘ with light overdrive A 9 E9 9 9Æ 9 9 9 ƒ ©»¡§º Straight Rock 2 A 7 7 9 7 7 7 9 7 7 E7 7 7doop7w/bar 7 7 ## # ## 4 2 5 5 5 5 5 5 5 5 ‰ ≥ ≥ ≥ ≥≥ ≥ ≥ ≥ & # 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 30 GuitarTechniques Spring 2015 Ex 4 - Eddie Cochran Bridge Pickup œ4 œ5 œ5 œ5 œ4 œ5 œ5 œ5 œ4 œ5 œ5 œ5 œ œ5 œ5 œ5 œ4 œ5 œ5 œ5 œ4 œ5 œ5 œ5 œœ0 œœ0 œœ0 Æ##Æœœ œœ0 œœ0 œœ0 Bridge Pickup with light overdrive ƒ ©»¡§º Straight Rock ≥A ≥ ≥ ≥ ≥ ≥ ≥ ≥ etc with light overdrive ƒ doopw/bar Ædoop E E B E Ex 3 G B D G A D E A E 11 11 E B G D A E E 11 B G D A E 13 E B E G B D G A D E A E 13 13 E B G D A E E 13 B G D A E 19

14 14 14

14

2

# # & # 44 Bridge Pickup with light overdrive E B G D A E

2

straight quavers

ƒ

EXAMPLE 4 eddie cochran

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 7 5

7 5

9 5

7 5

7 5

7 5

9 5

7 5

Ex 4 - Eddie Cochran

E B G D A E

2

19

‘

‘

‰ œœ œœ œœ œœ œœ œœ œœ

Rock’n’Roll Rhythm

9 7

A

9 7

9 7

9 CD 9 TRACK 9 8 7 7 7

E

‰

œœœœœœœœ œ œœœ œœœœ œœœœœœœœ ƒ 4 5 5 5 4 5 5 5

4 5 5 etc

≥ ≥≥ ≥≥ ≥≥ ≥

5

5 5 5

Scotty Moore is famous for his innovative early work with Elvis, and this example is inspired by his work. This idea can be played with a thumb pick, helpsMoore to accentuate 2 which xxxxxxxxxx Ex 5 - Scotty Style the attack of the bass notes. You may also wish A7

E7

œ œ œ #œ œ œ œ

Æ

doop w/bar

4 5 5 5 4 5 5 5

0

0 0

Æ

0 0 0

doop

EXAMPLE 5 scotty Moore style

2 xxxxxxxxxx

©»¡¡• Double time 2 ### 4 2 xxxxxxxxxx & ©»¡¡•4 Double time 2 #Bridge # Pickup 4 # Ex 5 - Scotty Moore back delay & & with 4 slap Style thumb pick ©»¡¡• Double time Bridge Pickup2 with slap back2delay & # # # thumb 4 pick & 4 2

9 7

bar 24 the fretting hand can reach down to depress the whammy bar as it is not required to fret a note. This use of the fretting hand to manipulate the bar allows the picking hand to go about its business unhindered.

≥ ≥ ≥ ≥≥ ≥ ≥ ≥

Bridge Pickup with light overdrive

‘

PM

13 example showcases a single-note riff used by rock‘n’roll and surf bands This alike. Simply slide your finger from a semitone below the target note. Punk bands would go onto adopt a similar idea for their riffs. For the open E riff in

©»¡§º Straight Rock 2 ### 4 & 4

‘

CD TRACK 8

to experiment with playing this one with hybrid picking. The key element is that the bass note A is on each of the four beats in the bar. Start slowly and make sure the pattern is clean with a nice feel before ramping up the tempo. A7

.. A 7 . œœ j‰ A7 œ œ œ. œ œ œ œ . E 7 œ œ œ œ œ œ œ n œ œ œ œ. œ. . œ n œ œ .. œ. œ. œ œ. œ. œ .. œ. œ œ. . œ. œ œ. œœ j‰ ƒ œ œ œ. œ œ œ œ œ œ œ n œ . œ œ œ œ œ. œ nœ œ Aœ 7 Aœ7 . œ. œ. œ. . Eœ7. œ œ. . œ. œ œ. . .. ƒ 2 2 .. œ5 œ7 œ7 œ7 œ5 œ7 œ7 œ7 ... œ7 œ7 3 0 0j ‰ 5 œ 7 0 2 2 0 2 2 œ œ œ 5 5 5 5 0 0 0 0 5 5 . œ œ œ œ . œp. i œp. m i œp. i œp. m i . etcœ œ œ . œ œ œ œ. œ. . n œ œ n œ3 œ Bridge Pickup 7 . 57 77 57 77 . . 0 2 . 2 2 . 0 2 . 2 2 with slap back delay & 5 7 7 3 0 CD0TRACK 8 EXAMPLE 6 Bo diddley styleƒ thumb pick 5 5 5 5 0 0 0 0 5 5 3 Ex 6 - Bo Diddley 2 p ipopular p m idea i p of imoving p m from i This Bo Diddley inspired example uses the theetc bent slightly sharp, and this helps them to fit in with the chord. Again it’s . . Straight minor©»¡£º 3rd to the majorRock of the pick all the way for that /' authentic feel. A 7 to C# here). The C natural /notes are / 23rd (C natural 7 2 2 ' . 5 7 7 7 5 7 ' 7 7 . 0down2 strokes Ex 6 - Bo Diddley # ## 4 5 7 7 3 0 0 2 0 2 2 5 5 5 5 0 0 0 0 5 5 3 œ & ©»¡£º4Straight Rock A 7 p i p mœ œi œp œ i p/ m i etc œ œ œ œ nœ #œ nœ ' œ œ nœ #œ n œ # œ œ œ œ œ n œ /' œ œ n œ # œ œ œ n œ/'œ 2 # œ œ œ œ # 44 Pickup Ex 6 - Bo #Diddley & Bridge ƒ nœ #œ œ œ œ œ nœ with light overdrive œœ œ œ œ œ œ œ œ nœ œ œ nœ #œ œ œ œ n œ # œ n œ # œ ©»¡£ºBridge Straight 2 Rock œ œ œ œ œ œ n œ/' / A7 / Pickup /' 2 ' / # # # with / ƒ light overdrive ' 2 '0 4 2 2 4 2 2 2 2 4 œ 2 2 4 2 2 & 4 2 0 0 3 4 œœ œœ 3 0 0 3 4 œ œ œœ 0 0 3 4 œ œ œœ 3 0 0 3 4 œ 0 / ≥œ ≥œ n≥œ #≥œ ≥2 ≥2 ≥4 2 n≥œ/ ' etcœ œ n œ # œ 2 2 2 4 2 œ œ n œ # œ 2 2 4 2 n œ ' œ œ n œ # œ 2 œ n œ3 /' œ Bridge Pickup ƒ with light overdrive 0 0 3 4 3 0 0 3 4 0 0 3 4 3 0 0 3 4 0 0 3 Ex 7 - Buddy Holly Style 2 ≥ ≥ ≥ ≥ ≥ ≥≥ ≥ etc / E # D ' rake— 2 CD TRACK / ©»¡£º Straight Rock A rake / ' F mrake 2 '0 8 rake — — 2 — 2 2 4 2 œ 2 2 2 4 2 2 4 2 ExEXAMPLE 7 - Buddy Holly Style holly œ œ 7 Buddy style # œ œ œ ## 4 œ œ œ œ œ 0 0 3g œ 4 œ 3 0 0 g3 4 0 0 3œ 4 3 0 0 3 4 0 œ œ œ œ œœ You may gg œœ œœto experiment ggg œœ œœthe notes out. ggg œœ œœ (A-F#m-D-E) œœ ‰ F #which œœœ thatDspreads œœ3 ‰with A progression m gœ E gneed Example the I, VIm, IV, V chord strum ©»¡£º Rock g—gg œœœ œœœœ slower & seven 4 usesStraight rake œ œ œ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ rake etc œ œ œ œ œ œ g rake rake g — was very popular in the 50s as a rock‘n’roll canvass. The rake stroke on beat how fast or slow the pick is swept across the strings to get the desired effect. g œ œ œ ¿ —g œ chords? œœ 50s songs—gcanœ you 2 g œœ œœ œThisœ is œJœsimply a slightly # œ œ g œ œ œ œ two of#each bar may take a little practice tog perfect. How many think ofœ that used these œ œ œ œ œ œ ¿ 4 g œ œ œ ggg œœ œœ PM œœ ‰ ggg œ œ PM œ # Holly ggg œœ œœ œœ ‰ œœœ Ex 7 - Buddy ggg œœœ œœœ Bridge Pickup & Clean 4 withStyle ƒ œ œ œ rake rake rake œ œ œ œ œœ rake gg g g œ œ œ ¿ # —g E — —g ©»¡£º Straight œ œ J5 F œmrake——ggg œ2 œ2 œ œ œ2 ¿ D rake 22 Rock Aœ rake 5 5 2 2 2 4 4 rake — g g g —gg œ5 œ5 PM œ45 —gg œ3 œ3 PM œ3 œœ56 ggg œœ56 œœ56 2 gg œ22 œ22 with Bridge Pickup # # Clean œ ƒ 2 2 2 2 rake rake rake 4 œ œ œ rake œœ7 ‰ —gg œœœ4 œœœ4 œœœ4 —gg œœ7 œœ7 —ggg œœœ46 œœœ46 7 7 œœœ46 ‰ —ggg œœ4 œœ4 5 5 œœ4 & # 4 2 5 7 7 7 7 4 4 4 X œ œ œ g œ gg 45 45 œ œ 45 œ≥5 gggg ≥556 ≤556 ≥œ5 ≥œ5 ≥J556 etcœ2 ggg œ222 œ222 œ2 œ2 œ222 ¿X œ gggg 232 232 œ œ 232 ¿ ggg 46 46 4 ggg 77 77 7 4 4 4 4 4 PM 4 6 g g Clean with Bridge Pickup PM ƒrake g g g 5 rake 5 5 7 rake 7 7 7 4 4 4 X rake g — — — — 2 2 2 5 5 5 X Ex 8 - Brian Setzer Style 2 2 2 4 ggg 45 45 ggg 23 23 2 3 5 ©»¡§º Swing feel A 7 ≥ gggg ≥556 ≤556 ≥ ≥ ≥556 etc gggg 222 222 2 2 2 2 4 4 g g g 7 7 7 4 4 4 4 4 4 6 6 g g g Ex 8 - Brian#Setzer Style2 >5 5 X 7 g 7 7 46 > gg 7 7 g ## 4 5 g 7 4 4 4 g & ©»¡§º 4 Swing2 feel A 7 œ≥5 j≥ ≤ œ ≥5 œ≥5 œ≥ œ œ etcœ2 œ œ œ2 j2 œX œ j œ œ œ œ œ œ œ œ œ j œ œ n œ # œ œ >n œ # œ > œ œ nœ #œ # # # 4Pickup nœ #œ œ Bridge œ Spring 2015 GuitarTechniques 31 Ex 8 - Brian Setzer Style & Clean 4w/slap back delay ƒœ j œ œ œ œ œ œ œ œ œ j œ œ j œ œ œ œ œ œ œ œ œ j œ ©»¡§º Swing2 feel A 7 n œ # œ œ œ nœ #œ œ nœ #œ nœ #œ œ Bridge Pickup Ex 5 - Scotty Moore Style

E B G D A E E B G 25 D A E E 25 B G D A E 25



E

14

14

14

14

14

14

14

14

14

14

1 1 44

14 14

14

14

14

14

2

— —œ œ —œ œ œœ3 œœ œœ œ œ ≥ ≥ ≥ggg œœœœ ≥œœœœ≥ ≥ ≥ œœœœ≥ ‰ etc gg œœœ œœœ œ œ g g œ œ ggg œ œ œ œ œœ ‰ gg œœ œœ œœ œœ gg œ œ g œ œ œ œ g g œ œ œ ¿ gg œ œ œ g g Ex 7 - Buddy Holly Style œ g œœJ œ œ œ ¿ # Clean with Bridge Pickup A F m D E PM PM 8-11 ©»¡£º Straight Rock ƒ TRACKs rake rake rake rake rake ON THE CD rake rake rake — — — — 2 œ œ œ 2 # #4 5œ 2œ 2œ 4œ œ gg 55œœœ 55œœœ gg 22œœœ 22œœœ gg 23œœœ 23œœœ gg 45œœœœ 45œœœœ 5œ 2œ 3œ 5œ ‰ œ œ œ6œ ‰ gg 6œ 6œ g g & # 4 g 2œ 2œ 2œ 2œ 2œ 2œ 4 4 œ œ 4œ g g œ œ g 4 4 5œ 5œ 4 X¿ 7 gg 6 6 7 7 6 4œ gg 44œ 44œ œ gg 7 7 œ œ 7 5 g 4 ¿ g CD TRACK 8 EXAMPLE 8 Brian setzer style 5 g 7 7 5 5 7J 2œ 2œ 2œ X Clean with Bridge Pickup PM PM ƒ ≥ etc rake repeating note is plucked ≥ ≥ ≤ ≥ rake rakeone slowly and rake This example is a simple, yet effective idea ≥ played with a hybrid picking with the third finger. Take this — — — — 2 down strokes gof5the5 pick, and5the top E g 2 then2 build up2 the speed forg 2a really style. The bass line is played with exciting 2 2 rockabilly sound. 4 gg 45 45 Ex 8 - Brian Setzer Style gg 56 56 5 2 2 2 3 3 3 5 g g g g g 6 2 2 2 2 2 2 4 4 4 gg 6 6 ggg 4 4 gg 4 4 ©»¡§º Swing feel A 7 ggg 77 77 7 4 4 6 g g 5 5 5 7 7 7 7 4 4 4 X g g 2 2 2 2 5 5 5 X > > # # ≥ ≥ ≤ ≥ ≥ ≥ etc & # 44 œœœœœ œœœœœœ j œ œ j œœœœœ œœœœœœ j œ œ j Ex 8 - Brian Setzer Style n œ # œ nœ #œ nœ #œ Bridge Pickup œ œ nœ #œ feel ©»¡§º Clean w/slapSwing back delay A7 ƒ > > 22 ### 4 & 4 œ 2œ 4œ 2œ 2œ 2œ j 2œ 2œ j 2œ 2œ 2œ 4œ 2œ 5œ 2œ 4œ 2œ 2œ 2œ j 2œ 2œ j 2œ œ 2œ œ 2œ 5 2 4 n œ # œ n œ # 4œ n œ # 4œ n œ # 4œ Bridge Pickup 0œ 4 0œ Clean w/slap back delay ≥ m ≥ m ≥ m ≥ m etc ƒ 2 Ex 9 - Status Quo Style 8 EXAMPLE©»¡§º 9 status Quo style 2 A6 2 2 2 2 A6 2 26 2 2 F #2 CD 2 TRACK Straight Rock A52 A5 2 A5 2 A52 A7 A7 A G G# 2 5 5 2 A 64 4 A52 2 4 4 2 A 6 A7 A 5 A 5 A5 E 5 Status Quo have taken the classic and again it’s 2 rock‘n’roll 0 riff, turned 4 up the volume and 4 all about 0 combining 4 down strokes of the pick with a driving 4 # then the tempo#- # and 4 injected it with steroids! It is harder time feel. The anticipations on the ‘and’ of beat four and the chromatic runs etc to m ≥ m ≥than m ≥you m think ≥ get the &‘Quo’ riff4really grooving (Rick Parfitt œ œ Quo. œ œ œ œ n œ œ œ œ œmustœ have œ n œforearms œ œ œof steel!)œ œ œ areœ nclassic Ex 9 - Status Quo Style œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ n œ œ # œ œ Bridge Pickup ©»¡§º Rock A5 A5 A5 A5 A6 A7 A6 A7 A 6 F# G G# with Straight light overdrive A6 A7 A 6 A5 A5 A5 A5 E5 2 # 2 # & # 44 œ œ œ œ n œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ n œ œ œœ œœ œœ œœ n œœ œœ œœ œ œ œ 7œ 7œ 9œ 7œ 10 7 9 7 7 9 7 10 7 7 7 9 7 10 7 9 2 œ 20œ 2œ 2œ n 3œ 3œ # 4œ 4œ Bridge Pickup 5 5 5 5 5 5 5 5 5 5 5 5 5 8 7 5 5 5 5 5 5 5 7 0œ with light overdrive etc ≥≥≥≥ ≥≥≥≥ 2 E

# # & # 44

31

Play: RHyTHM E B G D A E

E B G D A E

E B G D A E

E B G D A E

E B G D A E

E B G D A E

37

37

43

43

3

3

3

3

3

3

3

3

49

10 7 9 7 5 5 5 5

7 7 9 7 5 5 5 5

49

10 7 5 5

7 9 7 5 5 5 etc

≥≥≥≥ ≥≥≥≥

10 7 9 2 5 5 5 7 0

7 7 9 7 5 5 5 5

8 7

2 0 2 2

EXAMPLE 10 Brent Mason style

3 3

4 4

CD TRACK 8

This3final example is a country idea that can be played with pick or fingers. 3 A thumb pick can help to accentuate the attack on the bass notes, and the

fingers provide dexterity and plenty of tone. The picking pattern has been notated, and you can also try this one with all down strokes of the pick.

Ex 10 - Brent Mason Style Ex 10 - Brent Mason Style Swing feel

©»¡§º ©»¡§º Swing A 5 feel # # ## 4 A 5 Œ Ó & ## 4 œ Œ Ó & 4 œ Bridge Pickup œ Bridge with slap back delay & Pickup ƒ pick with slap back delay & ƒ thumb thumb pick

E B E G B D G A D E A 55 E 55

# # ## & ## & E B E G B D G A D E A 58 E 58

A A

‰ ‰

∑ ∑

7 5 7 5 A5 A5

œœ œœ

œœ œœ n œ # œ nœ #œ

œœ œœ œ œ

2 2 2 2

2 2 2 2

2 2 2 2

etc etc

3 3


4 4

0 0

A dim7 A 7 A dim7 A 7

n œœ n # œœ n œ n # œœ 5 4 5 4

6 5 6 5

A5 A5

‰ ‰


œœ œœ œ œ

2 2 2 2

2 2 2 2

3 3

4 4

0 0

A6 A6

œœ œœ œ œ 2 4 2 4

0 0


œœ œœ

2 2 2 2 m i m i

2 2 2 2 m i m i

3 3 p

4 4 p

p

p

A5 A5

A6 A6

œœ œœ

œ œ

2 4 2 4 m i m i

0 0 p p

œœ œœ


œœ œœ œ œ

2 2 2 2

2 2 2 2

2 2 2 2

3 3

4 4

œ œ

0 0

j n œj nœ

0 0 p p

œ œ

BU BU 3 ( 5) 3 ( 5)

Rock’n’Roll Rhythm EXAMPLE Final JaM

CD TRACK 10

The final jam track is an all-out extravaganza that implements some of the this time. The whole piece is played with down strokes exclusively and is a key ideas that we have worked on in the previous 10 examples. great workout for the picking hand. The Status Quo style riff in bars 7 and 8 GUITAR 4 2 with a two-bar count-in. The first ChorusTECHNIQUES 1 [Bars 1 – 14] MAGAZINE The jam track2starts comes to life with a light palm mute. To keep things exciting we go to a G5 ROLL RHYTHMchord in bar 12 instead of the more traditional change to the V chord, E. riff is very similar to Example 10, but we are using a ROCK pick andNdown strokes

JAM

©»¡§º ### 4 & 4

Adim7 A 7

Adim7 A7

n œ n # œœ œ

œœ œ nœ #œ œ

2

2 2

0

3

2 2

4

5 4

0

6 5

2 2

0

3

4

2 2

2 2 BU 0 3 ( 5)

0

3

### &

C5

D5

D6

œœ œœ n n œœ œœœ nœ #œ œ œ nœ 0

2 2

3

2 2

4

5 5 3

0

œœ œœ œœ n œœ n # œœ œ œ nœ #œ œ

œœ œœ œœ j n œ # œ œ œ nœ œ œ

œ œ ƒ Down strokes throughout

Bridge Pickup with light overdrive

E B G D A E

E B G D A E

Chorus 1 A7

2

Count in

D7

2 2 0

D6

œœ œ œ n œ œ œ œ œ œ œ œ œ œ With light palm mute

D6

###

A7

0

2 2

7 5

9 5

10 5

5

5

9 5

5

A dim7 A 7

3

2 2

4

5 4

0

œœ œœ ¿ n œ # œ ¿ ¿ œ

6 5

2 2

0

j j j œ œ n œœ ‰ n œœ ‰ œœ œ nœ C sus2

3 0 0

7 5

7 5

Chorus 2

&

###

A5

9 5

n œœ

nœ

3

4

X

PM

0

PM

2 2

0

2 2

œœ

PM

0

2 2

0

0

0

X

10 5

5

A5

5

'

3

7 7

0

3

2 2

4

œœ n œjn # œœ

0

~~ œœ ~~

7 7

5 5

PM

3

3 2 0

5 5

3

#

3

3

2

Adim7 A7

A7

œ

2 2 0

œœ œ œ

œœ œ œ œ œ

PM

3

X

n œœ n # œœ œœ œœ œœ nœ #œ œ œ

D/A

œœ œœ œ œ œ œ œ œ

'

1/4

D7

D/F

2 2

A7

2 2 0

3

3

12

A5

3 0

6 5

G5

9

G5

5 4

1/4

7 7 5

n œœ n # œœ œœ œœ œœ nœ #œ œ œ

### œ . œœ .. & œ.

E B G D A E

2 2

œœ œœ œœ œ n œœ œ œœ nœ œ

PM

E B G D A E

4

6

& E B G D A E

3

5

6 5

5 4

6 5

œœ œœ ¿ n œ # œ ¿ ¿ œ 2 2

0

3

4

2 2 X

X

X

A5

œ œ 0

0

œœ œœ œ œ œ œ œ œ

PM

0

PM

2 2

0

PM

0

2 2

0

0

0

15


Play: RHyTHM

ON THE CD

TRACKs 8-11

EXAMPLE Final JaM

CD TRACK 10

Chorus 2 [Bars 15 - 35 ] The second chorus starts with a typical rock’n’roll idea.2 Adding some finger vibrato to the double-stops in bars 16 and 18 xxxxxxxxxx really makes them stand out. The arpeggio-based line in bars 19 and 20 is similar to the idea we used in Example 1 and will benefit from being played

~~ œœ n œj # œ œ n œ œ

D/A

# # œ & # œ E B G D A E

7 7

œ

~~ 7 7

0

6 5

5

D7

###

œ œ nœ œ œ ¿

œ œ œ œ 0

0

5

7

5

5

7

5

œœ œœ œœ œœ œœ œœ œœ ¿

###

œ œ n œ œ # œ œ œœ œœ œœ œœ œœ œœ œœ œœ

X 5

0 5

0 4

0 5

0 5

0 5

G5

b œœ

nœ

2

œ œ

0 5

1

1

1

1

œœ œœ œ ¿ ¿ ¿ nœ #œ œ

nœ

2 2

3

3

b œœ

œ œ

X

PM

1

X

0 5

0 4

0 5

A

X

3 3

0 5

2 2

0

3

4

C/G

œœ œœ

nœ

2 2

0

Gm

2 2

3

4

2 2

0

4 ( 5)

1

1

1

5 5

3

X

X

3 3

2

4

0

3

4

2

C /G

Gm

G7

PM

0

1

U

N.C.

œ ˙ n œ # œ œ œœ ˙˙

BU 5 5 3


X

X

3 3

4

4

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With light palm mute

F7

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22

& E B G D A E

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18

& E B G D A E

A7

with a light palm mute. The idea in bars 21 and 22 is a variation on the Eddie Cochran style lick in Example 4, and is spiced up with the use of an open string, unison note. The ending section uses another surprise turnaround chord of F7 instead of E.

ww w

1

3

Play: ROCK

ON THE CD

TRACKs 12-13

Queen Now I’m Here

Brian May penned some of the greatest Queen songs and this one is no exception, being chock full of satisfying riffs, interesting chord progressions and rock’n’roll style soloing, says Steve Allsworth.

Moderate/Difficult Info

WIll IMprove your

Key: Various Tempo: 135 bpm CD: TRACKS 12-13

Counting ‘irregular’ rhythms Palm-mute chords Chuck Berry style soloing

Now I’m Here was largely recounting the rigours of extensive touring that the band carried out during the early 70s. This relentless gigging was the foundation of the band’s eventual success in America, and was by no means easy. They have since recounted their battle against the common ‘east Coast’ style rock of The eagles and Steely Dan which was very much the sound of American rock radio around that time. This was obviously at odds with Queen’s flamboyant style and classically-influenced brand of rock. Now I’m Here is more of a straight-ahead rock tune, however, much in the tradition of many of

TeChnique FoCus

Queen’s Harmony and Theory Behind the scenes of seemingly straightforward Queen songs are some surprisingly complex ideas. The non-linear big rock riff (most riffs have ‘square’ phrasing) and classical vocal canon on the intro section are two such ideas. Perhaps more complicated - but seemingly simple - is the rising harmony at the end of the verses. The chords are essentially a sequence of V-I cadences moving up a tone a time, but the vocal moves up chromatically, managing this transition between keys smoothly. This works by beginning on the 3rd of the first chord, ie a 1st inversion. This in turn becomes the root of the next, the 3rd of the next and so on.

may’s other rock classics such as Hammer To Fall, we will rock You, Fat Bottomed Girls and Tie Your mother Down. It was one of the first songs May wrote after recovering from a severe bout of hepatitis, which severely affected the Sheer Heart Attack sessions (1974). may has since admitted that he was nervous the band would find a replacement guitarist while he was recovering in hospital, and he was determined to return to work to

That was a Brian May thing. We released it after Killer Queen and it’s a total contrast, just a total contrast. It was just to show people we can still do rock’n’roll - we haven’t forgotten our rock’n’roll roots. Freddie Mercury stop that from happening. Clearly the band never even considered replacing may, and even left space in the songs they were already working on for him to add his parts when he was healthy enough. even for a rock’n’roll track, it has Queen’s typical musical complexity, containing four distinct sections and three tonal centres. As such, the form is also non-standard with the big rock riff almost sounding like a chorus in itself. Simpler Chuck Berry style elements can be heard throughout the verses and solos, however, with typical double-stop licks and even a nod to the great man with the lyric “Go, go, go little Queenie” towards the end of the song. Prior to the album, Queen also supported the band mott The Hoople in America, which provided

further inspiration for this song, referenced in the lyrics “Down in the city, just Hoople and me”. There’s also an arguable musical reference to their famous hit All The Young Dudes (written by David Bowie), with its rising wholetone/chromatic figure at the end of the chorus not sounding dissimilar to the end of the verses in the Queen track (see the Technique Focus boxout). The original track was typical of most songs of that era, in that it wasn’t played to click. Although the tempo moves around quite a lot, the non linear nature of the tempo provides added excitement during the big drum interludes and elsewhere. I’ve obviously tried to stay reasonably faithful to this, in order to retain much of the excitement and energy of the original. This track was evidently one of the band’s favourites, since it was played at virtually every gig from 1974-1986. There are therefore a number of excellent early live performances online (which show off the skills of drummer roger Taylor in particular), so it’s worth checking out some of these breakneck versions.

Get the tone 8

6

9

9

1

GAin

BASS

Middle

TReBle

ReveRB

Brian May has one of those truly unique guitar tones; a combination of coin instead of pick and his famous Red Special through Vox AC30s. A bridge humbucker with the amp’s mid-range boosted and a healthy dollop of drive will get you reasonably close, however. As well as plenty of mid-range, you might also like to push your hi-eq (on either amp or pedal) to get some of the brittleness that exists in Brian’s sound.

TRACK RECORD If you’ll excuse the pun, most of Queen’s tracks are absolutely killer with hardly any filler. A compilation is a great place to start, with the first two, Greatest Hits I (1981) and Greatest Hits II (1991) providing arguably the best introduction to their back catalogue. The track originally appeared on the band’s excellent and highly recommended third album, Sheer Heart Attack.


Lex van RoSSen / MaI / GeTTY IMaGeS

ABILITY RATING

QUEEN NOW I’M HERE

Freddie Mercury and Brian May, live and in full flight


Play: ROCK

ON THE CD

TRACKs 12-13

PLAYInG tIPS

CD TRACK 12

[Bars 1-20] The temptation here is to put in too many accents. Make sure you maintain a consistent downpicking tone, especially as you move to the GUITAR TECHNIQUES 2 balance 42 Csus2 and G/B chords. KeepMAGAZINE an eye on the between choking the NOW I'M HERE strings completely and providing just the right amount of palm-muting.

[Bars 21-28] Although the chords are easy enough, the 8th-note pushes can feel slightly awkward against Roger’s unconventional tom fills. Most tom fills tend to descend in pitch in a fairly linear pattern, but here they often rise - QUEEN - Steve Allsworth and in slightly unexpected places (make sure you’re counting carefully).

INTRO

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16

INTERLUDE G /B

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©»¡¢™ #### ˙ . ˙˙ .. ˙. 0:34

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now i’m Here Words and Music by Brian May ©1974 (Renewed 2002) Queen Music Ltd. all Rights for the US and Canada Controlled and administered by Glenwood Music Corp . all Rights for the world excluding the US and Canada Controlled and administered by eMI Music Publishing Ltd. all Rights Reserved. International Copyright Secured. Used by Permission. Reprinted by Permission of Hal Leonard Corporation.

QUEEN NOW I’M HERE

PLAYInG tIPS

CD TRACK 12

[Bars 29-34] This six bar riff feels like a 4-bar phrase plus a 2-bar tag, 2 xxxxxxxxxx although the syncopation and ties over the strong beats make the phrasing feel slightly awkward at first. It travels over the bottom three strings, so make sure you have decent muting to avoid note-bleed.

B sus 4

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25

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[Bars 35-50] There are roughly six layered guitars with varying degrees of overdrive giving Brian his huge sound, all playing slightly different parts. Live, he’d usually end up playing a composite of all of them for a fuller sound. Listen to the backing for an insight into the other parts.

n nn www

5 5 3


Play: ROCK

ON THE CD

TRACKs 12-13

PLAYInG tIPS

CD TRACK 12

[Bars 77-94] The first solo contains many of the main Chuck Berry style licks 3 (as borrowed by Keith Richards), including double-stops based on 3rds and 4ths. The predominant harmony here is B Mixolydian rather than B Major,

so the A natural (b7) crops up instead of A#, a popular rock ‘n’ roll approach when a little bluesy grit is needed in a major key. The key to this solo is repetition and rhythmic development.

INTERLUDE

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7 7 5

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4 5 5 3

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81


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7 8

9

9 9

7 7

A5

7 8

9

10 10 10 11 11 11

10 10 11 11

QUEEN NOW I’M HERE PLAYInG tIPS

CD TRACK 12

4 xxxxxxxxxx [Bars 89-94] Brian keeps to the 7th position using the B minor pentatonic scale with an added major 3rd (D#) to confirm he’s playing over a Mixolydian chord progression (B5-E5-A5).

[Bars 95-98] Here’s a return to syncopated chords that resolve to D then to F#. Watch your timing here: you may like to use alternate picking with ghost strums for timing accuracy or only down strokes for tonal consistency.

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A5

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BD

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10 10 11 11

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7 7

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7

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7 7

7 7

7 7

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7 7

9

7

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92

& E B G D A E

10 10 11 11

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89

& E B G D A E

10 11

14

85

& E B G D A E

10 10 10 11 11 11

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10

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11 11 11 9

10 11 11 9

INTRO RIFF

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2 2 2 0 0 0

2 2 0 0

0 0 3

0 0 3

0 0 3

0 0 3

0 0 3

0 0 3

0 0 3

0 0 3

99


Play: ROCK

ON THE CD

TRACKs 12-13

PLAYInG tIPS

CD TRACK 12

5

[Bars 114-121] A particular feature is the shifting of soloing rhythms with the sliding double-stops. Brian goes slightly further than the typical Johnny

&

##

B Goode style ‘three over four’ pattern, so you’ll have to keep a constant feel for where the ‘1’ is in each bar in order to feel the correct phrasing.

G m/B b

G /B

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ON THE CD

TRACKs 14-15

Erik Satie Gnossienne No 3

This issue Bridget Mermikides presents a dark and mysterious piece by a misunderstood master of minimalism: the French composer, Erik Satie.

ABILITY RATING

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Key: D minor Tempo: 70 bpm CD: TRACKS 14-15

Knowledge of scales Melodic phrasing Synchronisation

This monTh we return to the work of the highly influential French composer, Erik Satie (1866-1925). Despite receiving much criticism by the prevailing musical establishment, who dismissed his music as unschooled and bizarre, Satie’s idiosyncratic compositions with their diverse influences, exotic scales, surprising harmonies and sparse, hypnotic textures was championed by the likes of Debussy. It has subsequently had an enormous influence on the Impressionistic movement (Debussy, Poulenc and Ravel), Repetitive, Process and Minimalism music (Steve Reich and Terry Riley), Modal Jazz (Bill Evans). Ambient Music (Brian Eno), and many subsequent forms of electronic music. I’ve arranged the stunning Gnossienne No 3, one of three short piano pieces composed around 1890 and published in 1893. It is said that Satie wrote the three Gnossiennes shortly after he attended the 1889 Paris Exposition Universelle (a celebration of the centenary of the storming of the Bastille, and the unveiling of the Eiffel Tower).

Gnossienne No 3 was written in free time, with neither bar lines nor time signature, to imply a floating sense of time.

At this ‘World’s Fair’ Satie witnessed - and was influenced by - two diverse musical cultures, Romanian Folk and Javanese Gamelan. Echoes of the former can be heard in the ornamental grace note leaps (in Bars 8, 10, 23 etc.). The Gamelan influence can be heard in the characteristic scale which pervades the piece. It is similar to a Gamelan pelog scale with its ‘gapped’ wide leaps. Satie’s scale is D-E-F-G#-A-B (in my arrangement, the original is a 4th lower). A hexatonic (six-note scale which includes minor 2nd, major 2nd and minor 3rd (or augmented 2nd) intervals, creating an extraordinarily engaging effect. This scale is sometimes called

TeChnique FoCus

Rest stroke and free stroke In classical guitar we have two ways of plucking the strings; rest stroke where the string is plucked by a push of the finger or thumb which then rests on the adjacent string, and free stroke where the finger plucks free of the next (thicker) string. Rest stroke gives a warmer, fuller tone and is used for single-line melodies; to help a melody stand out from an accompaniment, or to accent or emphasise a single note.

the Satie scale (or when it includes the minor 7th,Dorian #4 (fourth mode of Harmonic minor)), and is transposed to each of the three main key areas in the piece: Dm, Gm, Am (Am, Dm, Em in the original). Gnossienne No.3 was written in free time, without bar lines or time signature, to imply a floating sense of time, but I’ve included them here for clarity. The rhythms imply a slow 4/4 with a lilting pattern in the accompaniment, which stresses beats 1, 3 and 4. To make the piece rather more idiomatic for the guitar, I’ve transposed the original key of A minor down a 4th to D minor, with drop D tuning which allows me to keep practically every note from the original. Other than that the arrangement is very close to the original - something quite rare for solo guitar arrangements of piano pieces! Despite the slow tempo, it may take some practice to maintain a lyrical melody and keep it balanced with the chords, so use the tab captions to help you through. I’ve also translated Satie’s Erik Satie: surreal performance notes for you to misjudged by enjoy as you learn this wonderful piece. many, he was championed by Debussy

NEXT MONTH: Bridget arranges Waltz Of The Flowers by Tchaikovsky

TRACK RECORD Aldo Ciccolini’s 1992 Double-CD release on EMI: Satie: Oeuvres Pour Piano includes a rendition of Gnossienne No 3 along with many of his other solo works including the famous Gymopédie No. 1 (GT202). French composer Poulenc arranged the Gnossiennes beautifully for orchestra, and they can be heard on Parade: Michel Plasson and the Orchestre du Capitole de Toulouse (EMI 2003).


Erik SatiE GnoSSiEnnE no 3 PLAYING TIPS

CD TRACK 15

[Bars 1-7] This magical piece consists of a melody line on the top, bass notes and accompanying inner voice chords. We want the melody to stand out a little so aim to pluck those notes a little stronger and keep the chords fairly soft by comparison. Plucking hand fingering indicated in the first four bars to help get you started – I use rest stroke on the very first melody note. A barre across five strings is needed at fret 7 in bar 1 and in bar 2 the Dm chord on beat 2 is a bit stretchy with the fourth finger reaching up to the

A note (5th fret, first string). I find that planting down the second, first and third fingers then stretching the fourth finger a fraction of a moment later is helpful for this particular chord shape. [Bars 8-13] At bar 8 a grace note E on the second string needs to precede the bass and melody note – listen to the audio to see how it should sound. A barre should be applied to make the inner chord playable. The same grace note appears at bar 10 and the same barre is needed at the end of bar 13.

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The No.1 website for musicians

Love this magazine? You’ll love musicradar.com Thousands of gear reviews and killer video demos

Tips and techniques to help you play and sound better

LEarNiNG ZONE LESSONS GT242 30-MINUTE LICKBAG

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

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

50

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

Les Davidson unveils the Latin-tinged blues of the one and only Carlos Santana.

RoCK .................................................................................................. 56

Martin Cooper rides the storm with Robby Krieger, psychedelic axeman with The Doors.

vIdEo ................................................................................................ 60

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

CREATIvE RoCK ......................................................... 68

Shaun Baxter continues his look at three-octave patterns in rock guitar soloing. If you dare!

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

Andy Saphir wants to beef up your chops with some useful string-skipping exercises.

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

THIS ISSUE SEES one or two tutor changes. After 10 years penning one of the world’s most in-depth monthly jazz columns, Pete Callard is taking time off to concentrate on his live playing, recording and family life. He’ll return occasionally to inform and empower your fingers but, for now, enjoy his unique observations on the marvellous Robben Ford; a master of Pentatonic and Altered Dominant phrases! Thanks, Pete! John Wheatcroft will be stepping into the jazz seat, and while John has been inspiring countless guitarists with his blues lessons he’s also a phenomenal jazz and fusion player- check out his new Ensemble Futur CD. So, from next month expect some new jazz insights starting with a bit of Django! With John over in jazz, what’s to become of blues? As a direct recommendation from John, Les Davidson is our new blues resident. Les is a legendary UK guitarist, having been a sideman for Joan Armatrading, Paul Rodgers, Pete Townshend, The Walker Brothers, Donovan, Tina Turner and Bill Wyman. We posted his blazing solo on The Walker Brothers’ Shutout (1978) on GT’s Facebook several months ago and many of you were mightly impressed! So we’re proud to present Les’s debut covering Santana’s style

with two examples guaranteed to please! Of course, we’ve plenty of other material for you to get your chops fired up; Pat’s eclectic mix in 30-Minute Lickbag (that sweeping lick is killing!), Martin’s appraisal of Robby Kreiger (The Doors), and the jawdropping one-take soloing of Carl Verheyen (check out bars 15-18!). Then there’s Shaun’s analysis of two-string cell ideas to move around the fretboard and unlock intervallic patterns – your first finger hammer-ons will improve too during the later examples. Talking of intervals, Andy’s Chops Shop involves string jumping sequential patterns of octaves, 6ths and 10ths - great pickinghand workouts! Following on from recent reader requests, Phil’s popular Brit R&B series looks at The Hollies; it’s full of great licks, riffs and an involving final performance piece. To round the issue off, Stuart looks at the acoustic style of the late, great Rory Gallagher; then Charlie tests your music reading chops with 16ths, triplets and ties. All in, we’ve a positively colossal amount of guitar playing for you; so enjoy, and I’ll see you next time!

Phil Capone needs just the air that he breathes, and some excellent riffs by The Hollies!

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

Pete Callard concludes his series with the style of mighty jazz-blueser Robben Ford.

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

Stuart Ryan adds some blues to his playing, with a little help from Ireland’s Rory Gallagher.

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

Charlie Griffiths puts a lot of the reading ideas looked at so far into a selection of short pieces.

On videO! Join the incred

ible Carl Verheyen as he continues his superb masterclass series. Page 60


lesson: 30-Minute lickbag

30-Minute Lickbag Pat Heath of BIMM Brighton brings you varied selection of fresh and exciting licks to learn, at easy, intermediate and advanced levels.

EASy LICkS ExAmpLE 1 Rock Picking


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cd track 16

Pat Heath's LICK BAG

Inspired by the soundtrack to the film Still Crazy, this is a classic 70s style intro that features controlled picking and moody root note changes. Lick 1

70s Rock Picking

Pat Heath's LICK BAG 1 2 ©»ªº G 5/F E m7 E bmaj7 G5 ˙˙ ~~~ Lick 1 #70s Rock Picking 4 œ œ œ œ œ œ œ œ . . GUITAR TECHNIQUES MAGAZINE 2 4 1 Pat Heath's LICK BAG &©»ªº4 . G5 œ œ œ œ Gn œ5/Fœ œ œ œ œ E m7 œ œ œ œ œ œ 1Ebbœmaj7œ œ œ œ œ . 2G5˙˙ Ó Lick 1 70s Rock Picking ˙˙ ~~~ #F4 . Letœring œ œ œ œ œ œ œ œ œ . &©»ªº4 . G5 œ œ œ œ Gn 5/F œ œ œ œ œ œ E m7 œ œ œ œ œ œ 1Ebbmaj7 œ œ œ œ œ œ . 2G5˙˙3 ~~~ Ó 3 3 3 3 3 3 . ˙˙30 ~~~ # 4 .. œ 0 œ3 0 œ 0 œ3 0 0 œ 0 0 œ 0 0 œ 0 0 œ 0 0 œ 0 0 œ 0 . F Let ring 3 3 2 2 1 1 . . . & 4 œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ ˙˙0 ~~~ Ó 3 3 . ≥œ ≥0 ≤3 ≤0 ≥œ ≥0 ≤3 ≤0 ≥ ≥0 ≤3 ≤0 ≥ ≥0 ≤3 ≤0 ≥ ≥0 ≤3 0≤ ≥ ≥0 ≤3 ≤0 ≥ ≥0 3≤ 0≤ ≥ ≥0 3≤ ≤0 . ≥330 F .Let ring 3 3 2 2 1 1 . 0 ~~~ Lick 2 Mudhoney3 3 EASy LICkS ExAmpLE 2 MUDHonEY STYLE . ≥ ≥0 ≤3 ≤0 ≥ ≥0 ≤3 ≤0 ≥ 0≥ 3≤ ≤0 ≥ ≥0 3≤ 0≤ ≥ ≥0 3≤ 0≤ ≥ ≥0 3≤ 10≤ ≥ ≥0 3≤ 0≤ ≥ 0≥ 3≤2 ≤0 . 330≥ cd track 17 b/B2b and one2on neckBwith b the b the1bass ofGthe b .Eb chord To get the vibe of this Gon Afor extra ‘Grunge’. 1 5th 0 ©»¡¡º . band,F5 this is a doubled guitarA b35riff with one3pickup onEbridge n 3 3 b œ œ œ œ Lick 2 Mudhoney b b 4 ≥.. ≥œœ œœ≤ œœ≤ œœ≥ œœ≥œœ≤ œœ ≤œœ œ≥ œ≥œ≤ œ≤ œ≥œ ≥œ ≤œ ≤ œœ ≥œœ œœ≥ œœ≤ œœ≤ œœ≥œœ≥œœ ≤ ≤œ œ œ≥ œ≥ ≤ ≤ ≥ ≥.. ≤ ≤ ≥ n œœ œœ œœ œœ b & 4 F5œ œ œ œ œ œ œ œ Aœb5 œ œ œ œ œ œ œ Eœb/Bœb œ œ œ œ œ œ 1B b bGœb œ œ œ 2bGœb œ œ œ A œ œ œ œ œ œ œ œ œ œ œ œ ©»¡¡º œ œ œ œ œ œ œ œ bœ œ œ œ b œ œ œ œnœ œ œ œ Lick 2 Mudhoney œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ 4 f b b 4 .. F5œœ PMœœ œœ œœ œœ PMœœ œœ œœ Aœœb5PMœœ œœ œœ œœ PMœœ œœ œœ Eœœb/BPMœœb œœ œœ œœ PMœœ œœ œœ 1Bœb œ œ œ bGœb œ œ œ .. 2bGœb œ œ œ nAœ œ œ œ & ©»¡¡º . œ65 œ65 œ65 œ65 œ65 œ65 œ65 œ65 œ œ œ œ œ œ œ œ œœ8 œœ8 œœ8 œœ8 œœ8 œœ8 œœ8 œœ8 œ3 œ3 œ3 œ3 b œ œ œ œ . b 11œ 11œ 11œ 11œ n14œ 14œ 14œ 14œ b 4 . œ3 œ3 œ3 œ6 PM . & b b f4 .. œœ3 PMœœ3 œœ3 œœ3 œœ3 PM œ œ œ œ64 œœ664 œœ664 œœ664 œœ664 PMœœ664 œœ664 œœ664 œœœ866 PMœœœ866 œœœ866 œœœ866 œœœ866 PMœœœ866 œœœ866 œœœ866 œœ1 œœ1 œœ1 œœ1 b œ42 œ42 œ42 œ42 . b œ9 œ9 œ9 œ9 n12œ 12œ 12œ 12œ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ œ≥ œ≥ œ≥ ≥œ œ≥ œ≥ œ≥ ≥œ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ b œ≥ ≥œ œ≥ œ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ f .. 653 PM653 653 653 653 PM653 653 653 6 PM6 6 6 6 PM6 6 6 88 PM88 88 88 88 PM88 88 88 3 3 3 3 4 4 4 4 .. 11 11 11 11 14 14 14 14 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 1 1 1 1 9 9 9 9 12 12 12 12 Lick 3 Classical Metal . ≥65 ≥65 ≥65 ≥65 ≥65 ≥65 ≥65 ≥65 ≥4 ≥4 ≥4 ≥4 ≥4 ≥4 ≥4 ≥4 ≥86 8≥6 8≥6 ≥86 ≥86 8≥6 ≥86 ≥86 ≥3 3≥ ≥3 3≥ 1≥2 ≥2 ≥2 ≥2 . 11≥ 11≥ 112≥ 11≥ 14≥ 14≥ 14≥ 14≥ E Em 6 6 6 G 6 6 B7/F 8 # 8 8E m 8 8 B87/F8# 8E m B /D # 4 m4 4 4 . ©»¡¢º E .m 3 3B/D3 # 3 E3m3 B3 7/F3 # 66 G66œ 66A madd9 6 œ6 6 œ 6 6 6 6 6 6 6 6 6 6 1 1 1 1 9 9 9 9~~~~~ 12 12 12 12 œ œ œ — 4 4 4 4 4 4 4 4 6 6 6 6 6 6 6 6 2 2 2 2 œ œ œ œ ˙ ˙ Lick 3 #Classical Metal œ œ ˙ œœ≥ ≥track InTErmEdIATE 4LICkS ExAmpLE 3 cLaSSicaL METaL ≥ 18 .. ≥œ≥ ≥ œ≥ ≥ ≥œ≥ ≥ œ ≥ ≥œ ≥œ≥œ≥ œ≥ ≥œ ≥œ ≥ œ≥ ≥ ≥ ≥œ ≥ ≥œ≥ ≥œ ≥ ≥ œ≥ 1≥ ≥ ≥ ≥ ≥ ≥.. 2≥gg ˙˙≥ ≥ cd Œ & 4 œ œ œ œ g A neo-classical type part metal track. Syncopate the # open # Eœmagainst œœ minor sound. B/D Eœmin aBmodern 7/F # G A madd9 G B7/F Eœmsecond B 7/Fstring E˙m œ # find #Bœ/D #movingE˙mdiatonic˙3rds with a ggHarmonic ©»¡¢º Eœmyou#might ˙˙ ~~~~~ œ g œ œ Lick 3 Classical Metal œ œ œ — g œ œ œ œ ˙ ˙ # 4 . œ œœ œ œ œœ 1 g ˙ œœœ Œ . 2gg ˙ œ œ œ œ œ œ œ Let ring F . œ . &©»¡¢º 4 Eœm #B/Dœ # Eœm B œ7/F # Gœ A madd9 Gœ B7/F œœ —ggE˙˙m~~~~~ œ5 # Eœ3m B 7/F œ5 # Eœ3m B# /Dœ2 # E˙3m ˙ ~~~~~ 3 2 3 5 7 8 7 0 ˙ œ g œ œ 0 0 0 œ 0 œ 0 œ 0 œ 0 œ 0 ˙ ˙ .. —gg ˙00 œœ # 4 .. œ œ0 œ œ0 œ œ0 œ œ0 œœœ Œ & 4 .F œ5 œ œ7 œ œ5 œ œ4 œ œ2 œ œ4 œ œ2 œ # œ1 œ ˙2 Let˙ring . —gggg ˙˙˙22 ~~~~~ œ2 # œ1 œ2 œ4 0 ˙ œ g . m3p 0i m2p 0i m3p 0i m5p 0i m7p 0i m8p 0i m7p 0i m5p 0i m3p 0i m5p 0i m3p 0i m2p 0i m3p ˙p . ggg ˙000 œ Let ring .F 2 1 2 4 5 7 5 4 2 4 2 1 2 . —ggg 22 ~~~~~ gg 0 Lick 4 Eric Clapton 0 3 2 3 5 7 8 7 5 3 5 3 2 3 . . m 0i m 0i m 0i m 0i m 0i m 0i m 0i m 0i m 0i m 0i m 0i m 0i m g ggg 002 ©»¡¢º . 2p 1p 2p 4p p p p p p p p p p p 5 7 5 4 2 4 2 1 2 . – /' / ~~~ qq=qce / ' ' b 0œ œ /' gggœ2 œ Lick 4 Eric Clapton ~~ œ # m œ i m i ~~ m œi m i m i m i m i mœ i m i œ m i œm i m iœ m 44 p pœ œ p Œp b œp œ p ⋲ p p Œ p p p œ pœ Œp œ œ œ Œ p &©»¡¢º œ œ œ – /' / ~~~ / ' Lickqq=qce 4 Eric Clapton ' b œ œ /' œ œ œ ~~ ~~ œ œ f # œ œ œ œ œ œ/ œ œ Œ ©»¡¢º44December / PB / œ œ~~ Œ bPBœ2 œ œ ⋲ œ~~~œ Œ œ œ~~'/ Œ 50 GuitarTechniques 2014 ' ' & 5 ' – / / ~~~ qq=qce 3 ' / 0 / 0 (6 ) 3 0 3 0 ' ' b œ ' ~~ œ œ5 3 œ œ 3 œ0 œ œ # fœ œ5 3~~œ œ ( ) GUITAR TECHNIQUES MAGAZINE 2 4 1 G5

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cd track 20

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cd track 21

Lick 6 Nuno Bettencourt mixing is Bettencourt important in this example as you pick and legato open strings between simple and compound time against a straight 4/4 beat. Lick 6 Nuno Lickrhythms Nuno Bettencourt Lick 66 Nuno Bettencourt

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December 2014 GuitarTechniques 51

Carlos Santana

ON THE CD


From blues to rock, from fusion to his native Latin and beyond, Les Davidson looks at the Living Legend that is the mighty Carlos Santana the guitar at age eight. the family moved from autlán de navarro to tijuana, on Mexico's border with California, on to san Francisco. It was here that Carlos heard everything from blues to jazz and folk music. After finishing school he washed dishes and went busking for small change, but was always honing his guitar skills. Carlos came to prominence in 1966 when promoter Bill Graham included him on a sunday blues jam at the Fillmore west, replacing Paul Butterfield who was indisposed. Butterfield’s guitarist Michael Bloomfield and Britain’s Peter Green influenced Carlos greatly, as did BB King, and you can hear these influences even today. But he also developed his own unique guitar voice. It was clear to all who heard him that a unique talent was emerging. Carlos was already in the santana Blues band along with organist and singer, Gregg rolie, David Brown on bass, and Marcus Malone on percussion. they played for free whenever they Carlos taking one could in San Francisco’s bay area. of his legendary Bill Graham gave the band its own top-of-the-neck spot at the Fillmore west in the excursions summer of 1968. santana's big breakthrough came at the ABILITY RATING 1969 woodstock festival where they gave a Moderate/Advanced superlative performance which was recorded and released on the subsequent woodstock Info WIll IMprove your film in cinemas all over the world, establishing santana as a powerhouse of latin-rock Key: Cm/Am Blues and rock vocabulary infused with blues, unlike anything that had Tempo: Various Repetition and stamina come before it. The first two albums, Santana CD: TRACKS 22-25 Speed and articulation and abraxas, were a mainstay in the album charts around the world and could be found in Carlos santana was born in 1947 in most discerning record collections of the time. autlán de navarro, Mexico but spent his early Carlos also investigated a more modal years around san Francisco. For over 40 years approach, as can be heard on his collaboration he has mesmerised audiences with his unique playing, mixing melodic blues, rock and modal with jazz giant John Mclaughlin on love Devotion surrender; he also lent his guitar ideas with intense latin rhythms. He learned to play the violin at age five and skills to Kora player Mory Kante’s late-80s

TraCks 22-25

album touma. He has since collaborated with some of the top names from both the old school and the musicians of today. the following two 16-bar examples serve as an introduction to Carlos’ melodic soloing style. First his late-60s approach and then his late-90s. Use the examples to expand your vocabulary and overall technical facility. Carlos tends to use his amp volume turned up and his guitar volume control backed down, opening it up for solos. He uses a conventional picking technique although both examples are playable with pick and fingers approaches. santana tends to play a mixture of languid lines interspersed with fast sprints. there are many ways to build up speed but the Gt

The most valuable possession you can own is an open heart; the most powerful weapon you can be is an instrument of peace. Carlos Santana approach is to suggest you learn the licks at a manageable tempo before attempting to play them at performance speed (unless of course this presents no problem to you). Doing things slowly and deliberately allows you to focus on where any problems lie - is it your picking letting the side down; or are your fingers simply not used to the positions or shapes used? Using a little patience to nail the problem area will reap huge rewards later on, in terms of precision when tackling and overcoming specific problems, and in your overall guitar technique. NeXT MoNTH: Les looks at the twisted but amazing blues playing of Oz Noy

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Santana has used several mainstay guitars over the years including Gibson SG Special, Les Paul and L6-S. In the late 70s he moved to Yamaha’s SG model but eventually settled with PRS, who now make several models bearing his name. Carlos initially used Ampeg and Fender amps but then met Randall Smith from Mesa Boogie and became a life-long fan. However he is sometimes seen playing a Bludotone and a Dumble Overdrive Reverb in his set-up. We’re aiming for a humbucker sound with a moderate to high level of overdrive - with reverb to taste.

Track record While always instantly recogniseable, Santana’s style has matured and refined over the years so we’d heartily recommend listening to recordings from both ends of his career. Santana (1969), abraxas (1970) and caravanserai (1972) are all superb, but the award winning Supernatural (1999) and its excellent follow-up Shamen (2002).


JuLeS AnnAn / ReTnA / PHOTOSHOT

lesson: blues

Learning Zone

CarLoS SanTana EXAMPLE 1 late 60s style

cd track 22


The challenges we face here are maintaining the necessary accuracy,BLUES - (C-D-Eb-F-G-Ab-Bb) but we also see lots of C minor Pentatonic (C-Eb-FLes Davidson SANTANA stamina and articulation to produce both long melodic lines and some G-Bb) action and bluesy bends. We even have a very rapid picking hand rapid-fire licks. Our first example is based upon a C Natural minor scale ‘tremelando’, so plenty of chops to be honing in this one.

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lesson: blues

ON THE CD

TraCks 22-25

EXAMPLE 2 90s style

cd track 24

In this example the music revolves (A-C-D-E-G) and blues bends. It’s important to get the languid lines to flow GUITAR TECHNIQUES 2 4mainly 2 around A Harmonic minor Les Davidson - the SANTANA (A-B-C-D-E-G#). But once again there are lots of A minor Pentatonic runsBLUESand 16th notes to be played accurately but without too much urgency.

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lesson: rock

ON THE CD

Robby Krieger


The Doors playing The Scene nightclub in New York, 1967

Moderate Info

WIll IMprove your

Key: E minor Tempo: 166bpm CD: TRACKS 26-28

Riff and lead playing Theory knowledge Composition

Robby KRiegeR is not only one quarter of rock legends The Doors, along with Jim Morrison, keyboard player Ray Manzarek and drummer John Densmore, but he also co-wrote several of the band’s most wellknown songs including the iconic Light My Fire. He is also listed at Number 76 on Rolling stone magazine’s Top 100 guitar players of all time! Krieger was born in Los Angeles in 1946 and as well as being influenced by the likes of

elvis Presley, he also cites jazz players Larry Carlton and Wes Montgomery as players that he has taken influence from. He also studied flamenco guitar in his formative years and this style can be heard in several of The Doors songs, including spanish Cavern. He also began listening to the blues at school and was a fan of blind Willie Johnson and Robert Johnson. As well as sometimes using a pick (mainly later in his career), Krieger has become known for using a fingerstyle approach to lead guitar playing. Robby went on to form a variation of The

robby krieger also co-wrote several of the band’s most well known songs including Light My Fire.

Doors with fellow band member Ray Manzarek on keyboards and ian Astbury of The Cult called Doors of The 21st Century, in 2002. Former Police drummer stewart Copeland also participated in some of these concerts before the group disbanded. He also played on the experience Hendrix tour in 2008, and in addition to all of these famous named friends, Krieger has also contributed to albums by the blue Öyster Cult, and has released several solo records. Robby has also had the honour of having a signature gibson sg made, and he continues to tour and record, most notably playing in support of gov’t Mule in New york City on New year’s eve 2013. The track this month deliberately has a very ‘live’ feeling. Krieger himself has stated that The Doors used two or four-track recorders, which meant there were minimal opportunities for repairs or overdubs - it was all down to playing well and capturing the best possible performance. We’re in the moody key of e minor (e-F#-g-A-b-C-D), but the track is composed modally so the chords are predominantly e minor and A major, the modal flavour being E Dorian (e-F#-g-A-b-C#-D). There is also a feeling of g Lydian in the solo section, which uses the same notes as e Dorian, but played over the g major chord. Therefore when you play the C# note over the g chord it’s an augmented 4th. Aim for a relaxed but confidant feel, and even though the piece is fairly aggressively played, it’ll need to be accurate. Check out the playing tips and notation for some more information, particularly on the fingerstyle technique. NeXT MoNTH: Martin examines the work of that creative rocker Steve Miller

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Robby Krieger is well known for using Gibson guitars, most notably an SG and a Les Paul. He also used Fender amps on a lot of occasions and minimal effects - a bit of fuzz, delay and reverb from time to time. Krieger’s tone was relatively clean, so make that your starting point and push things just enough for the amp to start ‘working’.

Track record The classic eponymous debut album from 1967 featured Break on Through (To The other Side) and Light My Fire, while the legendary La Woman (1971) featured the largely krieger composed Love Her Madly and riders on The Storm with its epic ray Manzarek and robby krieger solos. There are also several ‘best of’ compilation albums including Very Best of The doors (2007).


Don PaulSen / Michael ochS aRchiveS / GeTTy iMaGeS

Following last month’s ‘fingers only’ feature Martin Cooper checks out the flesh-powered playing of The Doors’ SG-toting legend, Robby Krieger.

ABILITY RATING

TraCks 26-28

Learning Zone

roBBY Krieger EXAMPLE RoBBY KRIeGeR StYLe

cd track 27


[General] It’s all played using fingers and thumbMartin this month, but shouldn’t Make sure that you’re Cooper's BIMM ROCK COLUMN - muting unwanted strings from ringing, particularly in pose too many problems if you went through last month’s cover feature.STYLEbars 25-28 where there’s a big jump across strings to the open sixth string. BOBBY KREIGER RHYTHM GUITAR

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lesson: rock

ON THE CD

TraCks 26-28

EXAMPLE RoBBY KRIeGeR StYLe

cd track 27


[Solo] The solo features plenty of legato playing, so aim to make the 42. COLUMN Obviously you Martin Cooper's BIMM ROCK - could also try the whole thing using a pick to hear the phrases as smooth as possible, especially the BOBBY Lydian scale run in bars STYLE 41difference between that technique and fingerstyle. KREIGER LEAD GUITAR

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lesson: video

VIDEO

ON THE CD

Carl Verheyen Masterclass

CD-rOm

PART 3

In part three of our exclusive video series with Carl Verheyen, this astonishingly good musician shows Milton Mermikides unique aspects to his playing. ABILITY RATING

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

WIll Improve your Dominant 7th vocabulary Fretboard fluency Long phrase construction

In THIs sErIEs of video lessons we are exploring the guitar style of session ace Carl Verheyen, one of the most respected and accomplished guitarists on the scene today. Carl has played on countless sessions with artists from Allan Holdsworth to Dolly Parton, and for this series he laid down a series of solos in one session, demonstrating his melodic sense, improvisational flair, fast thinking and stylistic diversity. In this article, I’ve transcribed Carl’s improvisation over two-and-a-half minute up-tempo country blues track that Jason put together, called Univibe Blues. The track is based on a very familiar and simple 12-bar form (repeated five times) in the key of Bb: Carl Verheyen: another real masterclass solo for you

Bb7 / / / Eb7 / Bb7 / F7 Eb7 Bb7 F7 Carl listened to the track partially and then delivered an incredibly polished, inventive and melodic solo in one take. It is in fact a masterclass in stylistically broad blues playing, fretboard mastery, technique, rhythmic invention and the amount of mileage that is possible over just one chord type - in this case dominant 7th. In our session with Carl he spoke of his long term habit over his 40-year playing career of writing down every lick and phrase that caught his ear, and

You can develop this level of blues playing by ensuring you can play the vocabulary in any key. now has ‘stacks’ of books of his own material. However, rather than simply mechanically delivering this set of phrases, Carl has developed a flexibility with this material and effortlessly transposes, edits, rhythmically adapts, and recombines these phrases in an intuitive and creative manner. There’s so much to learn from this solo but here’s a rundown of its key features. Carl’s playing is largely built on semiquavers throughout this solo. At 112bpm, constant quavers would be a little sedate, but semiquavers go by at quite a lick. Carl – rather than running up and down scales – relies on his huge vocabulary of melodic material to create musically coherent and satisfying phrases. Improvisation requires preparation! The solo is mostly on a single melodic line, but this is varied with the use of country-style over-ringing phrases (bar 4), as well as the use of hybrid-picked double-stops (bars 22-23). This variety adds textural interest to the solo. In GT241 we presented an article on four levels of blues playing, which described various degrees of harmonic engagement with a blues progression. In short these are: 1) use of minor Blues throughout; 2) mixture of minor and major Pentatonic;

3) the use of Mixolydian (with passing tones) for each of the chords (Bb Mixolydian for Bb7, Eb Mixolydian for Eb7 etc.) and 4) The use of Altered scales on each of the dominant chords, which outline the key function of the chord but with more dissonant auxiliary notes. This solo demonstrates all of these levels beautifully, and is mainly characterised by what, in that particular feature, we would call level 3 and 4 playing. You can develop this level of blues playing by ensuring that you are able to play the vocabulary in any key, so that one phrase can be used over each of the three chords. By absorbing several phrases they can be combined to form a basis to create an ever increasing number of spontaneous solos Carl has a laid-back feel to his playing, but he is in no way a lazy player; there are many active position shifts and string skipping (bar 16), repeated riffs are always subtly altered (bars 41-43) and he’ll flick the pickup selector from neck to bridge position for a short phrase - even just one note (bar 8) - just to create more ‘bite’ and timbral variety. There’s some really challenging technical demands here (all the more impressive given this was improvised in one take), but even if some are beyond you for the time being, the concepts and vocabulary here will make any study with this solo useful, and should act as a foundation to build your own blues solos and general improvisational vocabulary. NeXT MoNTH: Milton brings us more from this Carl Verheyen video series.

Get the tone 7

6

6

7

4

Gain

Bass

Middle

TReBle

ReveRB

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

Track record You are spoilt for choice when it comes to carl’s output, but to hear some work similar to this lesson check out country Girl (also featuring albert Lee) on Trading 8s (cranktone 2010) or Let’s ride on No Borders (1988 FMV).


Learning Zone

CarL VerHeYen MaSTerCLaSS PT 3 ExAMPLE CARL VeRheYen MASteRCLASS

cD -rOm

[Bar 3-4] This gorgeous country phrase uses a chiming effect achieved by the minor and major 3rd (sometimes called a ‘neutral 3rd’ or a ‘blues curl’). holding down adjacent strings as indicated in the tab. Notice that this is [Bars 14-18] This extremely fluid and musical passage will require some work all over a Bb7 harmonic context, and Carl shows two lesser known chord to negotiate the string skips and position shifts. Play it slowly but in time, as voicings for it, all integrated with in one phrase. the maintenance of consistent tempo is quite a challenge. Bar 14-16 uses a Milton's GUITAR TECHNIQUES MAGAZINE 2 4selector 2 [Bars 8-9] Notice how Carl flicks the pickup to the bridge position in the combination of Bb Mixolydian, Bb Phrygian Dominant and Bb Altered scale to CARL UNIVIBE same gesture as picking the ‘curled’ Db in bar 8 as well as the G bentVERHEYEN to an A in bar --create a tastyBLUES angular phrase. You may also notice some similarities in bar 17 9. This latter bend is flatter than an A, and over the F7, it is somewhere between to bar 3, but with the material transposed from Bb7 to Eb7.

©»¡¡™ Uptempo Country Blues b4 ∑ Ó &b 4

b

B 7

œœ Œ ‰ œ œj b œ œj œ œ bœ œ œ œ œ œj b œ J œ bœ œ œ nœ

Œ œ œ œ.

Drum Intro

With neck pickup

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E B G D A E

8

5

6 7

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~~~ B b7 bœ œ œ bœ œ œ œ œ / œ œ œ . œ œ œ œj b œ œ ' œ nœ œ œ œ n œ # œ n œ b œ œ œ n œ b œ b œ œ # œ œ Œ & b œ b œn œ œ J 14

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lesson: video

VIDEO

ON THE CD

CD-rOm

ExAMPLE CARL VeRheYen MASteRCLASS ...CONTINUED

cD-rOm

[Bars 22-23] These bars are an effective use of double-stops employing a mixture of major and minor Blues scales in the style of an organ riff - look out for the semiquaver triplets which add to the vibe. [Bar 26] Here Carl uses slides, allowing rapid shifting from the 6th fret to the 2 Take xxxxxxxxxx 13th. this slowly and prioritise consistency of tempo over speed.

[Bars 29-30] Carl finds another gear here, and shows he has chops to spare and ends this blistering run with a bent note and bridge pickup switch combination. You’ll notice that regardless of the fluency of the phrase, Carl always has a target – a phrase ending – in mind, which maintains a sense of musical purpose and direction throughout.

E b7 bœ bœ bœ bœ bœ nœ œ bœ j b œ œ œ œ œ b œ œ b œ œ b œ n œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ b œ œ œb œ nœbœ œ œ nœ œbœnœ ‰ &b œ

E B G D A E

7

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15

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Learning Zone

CarL VerHeYen MaSTerCLaSS PT 3 ExAMPLE CARL VeRheYen MASteRCLASS ...CONTINUED

cD-rOm

[Bar 32] This effect is achieved by bending up the first string so that the second string is trapped under the fretting finger with it. With the strings locked in such a way releasing the bend on the first string causes a contrary upward bend on the second string (and vice versa). Too much fun! 3 [Bars 33-36] Another finger-twisting semiquaver phrase which uses

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chromatic approaches to target notes in the chord. Again, slow practice is the key so that you build up the muscle memory not only to replicate this but so you can adapt it into other musical contexts. Notice how bar 35 again uses similar material to bars 3 and 17 but now with an ending target in bar 26 of F (the root of the underlying chord).

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35


lesson: video

ON THE CD

CD-rOm

ExAMPLE CARL VeRheYen MASteRCLASS ...CONTINUED

cD-rOm

[Bars 41-43] Here Carl demonstrates how a simple motif can be given varying inflections and note changes to fit the underlying harmony and maintain musical cogency and interest. 4 xxxxxxxxxx

& E B G D A E

bb

[Bars 45-46] Another great double-stop lick followed by a country-tinged chiming over-ringing phrase in bar 46. All these ideas can be transposed to different chords creating endless opportunities for recombining.

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5

3 8

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4

6

4

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5 8

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b

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E B G D A E

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47


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3

5

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Learning Zone

CarL VerHeYen MaSTerCLaSS PT 3 ExAMPLE CARL VeRheYen MASteRCLASS ...CONTINUED

cD-rOm

[Bars 49-52] Here’s yet another creative and blistering lick which ends with a bent note/bridge pickup switch at the end of bar 52. It’s most useful when 5 learning this phrase to maintain an awareness of underlying chord and scale shapes in Bb. This will allow you to understand the mechanics of the phrase,

increase security and will help you transpose to other keys and contexts. [Bar 58-59] Here Carl opts for a huge position change to finish the solo in style. With a characteristic attention to detail he ends the last note with tremolo bar vibrato and a volume knob fade out. What a pro!

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1/4 E B G D A E

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49

bœ œ bœ œ œ œ œ nœ œ bœ œ nœ #œ nœ œ œ nœ œ œ nœ œ œ œ œ bœ bœ œ œ b œ œ~~œ œj œ b œ b bœnœ & 3

3

3

3

12 11

14 11

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14 11

9 10 13

3

3

3 E B G D A E

11 14

3

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Bridge pickup

3

~~

BU BD 11

10

11 11 12

9 12 10

10 9 10

11

10 9

8

11

11 8

j œ œ

œœ

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BU BD BU BD

8 ( 9 ) (8 )

8 ( 9) ( 8 ) (9 ) (8 ) 6

11 8

51

B b7 b œ œ œj œ œ >œ~~~œ . œ œ œ œj b œ œ œ~~œ ¿ ¿ œ b œ œ œ œ b œ œ œ b œ œ œ n œ œ bœ œ œ œ &b œ œbœ œ œ œœ BU ~~~ ~~ 6 9 6 11 6

b

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F7 √ Bœb7 n œ . j œ œ œ bœ œ œ œ œ œ œ œ œ œ œ j œ. . œ œ b b œ œ œ œœ œ œ &b

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b

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w ~~~~~~~

w/bar

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9

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20 ( 21)

BD 21 ( 20 )

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18 17 15

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w/vol knob

~~~~~~~

15

59


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ON THE CD

Three-octave patterns

PART 2

Shaun Baxter continues his new series devoted to extending your range on the fretboard. This month he introduces three-octave patterns.

compressing the information into a single string-pair, so that the same shape ('cell') can be shifted over different octaves via the other string-pairs. For example, the five-note Am pentatonic scale can be arranged on the lowest stringpair as follows: Cell (5 - 0) (4 - 1) (3 - 2) (2 - 3) (1 - 4) (0 - 5)

ABILITY RATING

Moderate/Advanced Info

WIll IMprove your

Key: C Tempo: 120bpm CD: TRACKS 30-32

Interval recognition Seeing octave relationships Overall musical range

The principle of this series is one that’s exploited by pianists; namely, the practice of taking whatever they play and shifting it up or down, unchanged, over many octaves for both physical and visual convenience. This technique can be used on the guitar if we divide the six strings into three adjacent pairs. it involves taking any musical entity (triad, arpeggio, pentatonic scale etc) and

On 6th-string A-C-D-E-G A-C-D-E A-C-D A-C A -

On 5th-string G E-G D-E-G C-D-E-G A-C-D-E-G

So, six configurations that can each be shifted in octaves onto the other string-pairs without having to change shape. it’s the symmetry that’s important here. Because it’s consistent the shapes are easy to remember and it’s a great way of organising notes on the fretboard. each entity can be played in different inversions depending on the starting note. for example, in this case it’s possible to play five different inversions of Am pentatonic by starting from a different note each time: a) A-c-D-e-G; b) c-D-e-G-A; c) D-e-G-A,-c; d) e-G-A-c-D; and e) G-A-cD-e. And, like the original inversion, all of the others can be configured in the same six different ways on each string-pair. In the first lesson of this new series, we looked at playing two- and three-note entities across three octaves via various string-pairs; in this lesson, we are going to focus on four-note entities (7th arpeggios). These arpeggios can be configured as different numbers of notes played on each string-pair, as follows: 4-0; 3-1*; 2-2; 1-3*; and 0-4. (*These are suitable for sweep picking, because there is an odd number of notes on each string.) Different ways of playing the same thing will provide us with many interesting permutations. once you have worked through the various

TraCks 30-32

examples in this lesson, try to come up with shapes of your own in each of the cAGeD patterns of the various scales that you know. Make sure you establish the possible note-configurations (cells) in a systematic way, and audition each one against a backing track so that you can hear it in context, making a note of your favourites and experimenting with various ways of employing them in the most musical ways. But remember, you don’t have to play from the root of the underlying chord or scale that you are using; you can apply ideas starting from any note of that scale. Also, you are not obliged to play all three

This same principle is exploited by piano players; namely, the practice of taking whatever they play and shifting it up or down over many octaves. octaves each time, as this will severely limit you dynamically. instead, you might want to use one or two ‘cells’ instead: the important thing is that the musical idea might spring from the underlying ‘concept’ of three-octave cells. Don’t forget to work out the inversions too (four-note entities have four inversions). You may need to use tapping for shapes played lower down the neck, whereas you may be able to pick every note when playing higher up the neck; so be prepared to adapt your approach accordingly. finally, and most importantly, don’t only play fast ideas or you’ll sound predictable, whereas the aim is to be expressive. NeXT MoNTH: Shaun expands the series by looking at five-note entities

Get the tone 6

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I’m keeping to a typical rock tone for this series. I use a Fender Strat, so I always use a distortion pedal to boost the signal before it gets to the amp. Generally, try to go for 25% of your distortion from the pedal and 75% from the amp. You’ll find that the results are sweeter, more even and tight sounding than when getting 100% of the distortion from the amp. Typically, most amplifiers should be set as above. Some delay added to the guitar track, in tempo with the track, will help to give both size and smoothness to the guitar sound.

Track record Tony Macalpine is one in a long line of players that uses this three-octave approach. If you haven’t heard any of Tony’s work, any of his early solo albums make for ear-catching listening. These include: edge of Insanity (1986), Maximum Security (1987), Feedom To Fly (1992), and Madness (1993). His latest self-titled release (2011) sees the great man right back at the top of his game.


DAVID LYTTLETON

lesson: creative rock

Learning Zone

THree-oCTaVe PaTTernS PT 2 ExAmplES playinG cells over three octaves

cd track 31

example 1 The following examples are all based around ‘cells’ that exist within A Aeolian (A-B-C-D-E-F-G), and can be taken over three octaves via the various string-pairs. The intention is to help you to start building up a useful repertoire of shapes and lines for you to be able to draw upon when improvising. In the first example, each ‘cell’ (collection of notes each given string-pair) is arranged in a (1-3) configuration and comprises the notes of a first inversion Am7 arpeggio (with the 3rd as its lowest note - C-E-G-A). See how the notes are embellished using a combination of slides (articulation) and surrounding notes in order to give expression and interest? example 2 As in Example 1, each ‘cell’ in this and the following three GUITAR TECHNIQUES MAGAZINE 2 4 2

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lesson: creative rock E B G D A E

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ON THE CD

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ExAmplES playinG cells over three octaves

cd track 31

Ex 4 example 5 Here, each cell comprises the notes of a root position Am add11

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(A-C-D-E), which is the same as the first four notes of A minor pentatonic, and is also known as a minor ‘tetrachord’ (derived from the ancient Greek word téttares, meaning ‘four’). Note that, even though each cell is the same shape in each octave, the musical treatment is different for each one. example 6 Each of the cells in this example follows a (3-1) configuration. Again, like Ex3, each comprises the notes of a G add11 arpeggio, only this time they are in first inversion (with the 3rd as the lowest note – B-C-D-G). IfE you look at the transcription, you’ll see that there are several places 12 where the same finger is used to play two consecutive notes on adjacent B 13 13 G 12 12 14 9 9 strings. This will involve a barré roll movement whereby the first note D 10 10 10 has print A to be held 12 part of the finger so that there is 7 down 10with the 7 10 E

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enough finger left to play the second note. This involves redistributing the Loco downward pressure from the print part of the fretting finger (first note) to the tip (second note) by using an arm action (achieved by slightly pushing the elbow forward and bending the wrist), as opposed to distorting the shape of the finger. example 7 Here, each cell follows a (2-2) configuration and, like Ex2, comprises the notes of an Am add9 arpeggio, only, this time, they are in third inversion (each with the 9th as its lowest note - B-C-E-A). example 8 This example is based around the same shape(s) as the 15 12 15 17 15 previous one; however, 13 17 here, 15 we’re starting with the middle string pair and 17 14 14 some variation. Your job adding some picking hand taps in order to produce 17 14 is to use these ideas musically so as not to sound like playing exercises! 17

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Ex 8 example 9 This 16th-note triplet idea also use cells that follow a (2-2) of the principles shown in Ex5 and Ex10 in that, although the shape stays the Ex 8 Loco configuration. Here, each cell contains the notes of a third inversion Cadd9 same, its musical treatment is different in each octave. Loco arpeggio (each with the 9th as its lowest note – D-E-G-C). example 12 Here, each cell is arranged in a (4-0) configuration on each example 10 Another (2-2) configuration here. This time, each cell string-pair and comprises the notes of a C add9 arpeggio (C-D-E-G). This is comprises the notes of a third inversion Cmaj7 arpeggio (with the 7th as first four notes of the C major pentatonic scale, and is also known as a major its lowest note – B-C-E-G). If you look at the fingering shown, you’ll see tetra chord. Because this and the following three examples all use four notes consecutive notes aplayed on adjacent strings using the same finger. Again, per string, they are executed using a combination of fretting and pickingthis is achieved using a barré roll movement, only here you’ll be shifting hand tapping. Instead of playing the highest octave on the second string, BU This will present from the tip to the print part and back. The bits not boxed-out are still parts the same notes have been shifted up onto the first string. E BU 12 17 19 20 19 17 12 E of crosses cells.12 13 you 12 with different musical options, as well as visually keep you within the B the same cells, but this is where 12 17 19 over 20between 19 17 12 the 13 melody B G 12 13 13 12 9 14 14 9 example 11 Another Cmaj7 here, only this time played in second inversion same area of the neck as the lowest octave (in other words, in the same neck G D 9 14 14 9 10 9 9 10 (with the 5th area as the notes on the D A 9 as10its lowest note – G-B-C-E). This example demonstrates some 10sixth 9 string). 12 7

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~~~

LOVE TO PLAY BLUES GUITAR? Then this 100-page magazine with DVD-ROM is for you! Drawn from the best blues features in Guitar Techniques magazine it’s packed with lessons on how to play like over 50 blues legends. Pop the DVD-ROM into PC or Mac to hear brilliant audio synched to animated tab.

lesson: CHoPs sHoP

VIDEO

String Skipping

ON THE CD

CD-rOm TraCk

PART 2

Don’t be a chicken. Beef up your chops with Andy Saphir’s string skipping licks and you’ll be able to make mincemeat of your contemporaries! approach is necessary. In all of the following examples, I suggest alternate picking throughout, but if you feel more comfortable using another approach that’s fine, as long as it’s not haphazard, and you consider what might be appropriate for each of these exercises, and ultimately your own licks. For best results they should all be played at a slow tempo at first, and with a metronome.

In thIs month’s Chops shop we’re continuing with the string skipping technique, only this time incorporating exercises involving six-string chord skipping ideas, as well as intervallic concepts such as 6ths and 10ths. As seen in last month’s lesson, string skipping can present some technical challenges with both the fretting and the picking hand, so a considered

ExAMplE 1 harmonised g major scale: skipping one string

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This challenging exercise uses full six-string chord shapes, harmonically note individually (don’t hold down the chord shape) and take it slowly, as descending through the G Major scale (G-Am-Bm-C-D-Em-F#dim). Fret each both fretting hand and picking hand parts are challenging. GUITAR TECHNIQUES MAGAZINE 242 Andy Saphir's Chops Shop - STRING SKIPPING - Pt. 2 Ex 1

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lesson: r&b

ON THE CD

TraCks 33-44

The Hollies

Tony Hicks, Bobby Elliott, Allan Clarke, Eric Haydock and Graham Nash

ABILITY RATING

Moderate Info

WIll IMprove your

Key: Various Tempo: Various CD: TRACKS 33-44

Understanding of 60s R&B Using triplet phrasing in solos Playing straight over a shuffle

The hollies sTory begins with childhood friends Allan Clarke (vocals) and Graham Nash (vocals, guitar). As Clarke revealed to Goldmine Magazine in 1996, "We all wanted to be rock’n’roll stars, and skiffle was one way to start, because it was based on the easiest chords to play, A, D, G, and C, and we loved the songs. Graham and I played clubs in Manchester, doing an Everly Brothers-type thing. The Everly Brothers were our real inspiration, because of the two-part harmonies." The hollies were formed late in 1962 when the duo joined forces with Vic Steele (lead guitar), Eric Haydock (bass), and Don Rathbone (drums). After only a handful

of gigs around the clubs of Manchester, The hollies got their big break: a gig at the prestigious Cavern Club in liverpool. Producer ron richards was at the club that night and, on the strength of their performance, invited the band to record a demo at Abbey Road Studios. Unexpectedly, guitarist Vic steele quit just before the London recordings and his replacement, Tony Hicks, was swiftly lured away from rival Manchester band The Dolphins. Disaster averted, recording went ahead and the band was subsequently signed to EMI’s Parlophone label. But the line-up was still changing; drummer Don Rathbone quit in the summer of 1963 and Bobby Elliot (Hicks’ old bandmate from The Dolphins) was quickly

on Look Through any Window, Hicks played a wicked opening riff that screams 60s style.

drafted in as his successor and the classic early Hollies line-up was complete. Tony Hicks was an integral part of The hollies sound, not just because of his exceptional guitar talents, but also his writing skills. The songwriting trio of Clarke, Nash and hicks would provide all of the original material for The hollies’ second album, in The Hollies Style, plus the big hits, Stop Stop stop, on A Carousel, and Carrie Anne. hicks’ talent was showcased on the band’s earliest singles where his accomplished soloing and catchy riffs can clearly be heard. Early idols included James Burton, Scotty Moore, and Chuck Berry, but UK act Johnny Kid and The Pirates were also a big influence, as Tony revealed in a later interview: "i was 14 or 15 when I saw them, playing ballrooms. There was Johnny Kidd and this three-piece band, and they were just incredible to hear; they played so loud and clean. That was the sound that I wanted on stage - just one guitar, one bass, and drums, with no rhythm guitar in the way." This approach is clearly evident on the early Hollies recordings, which often contain no overdubbed rhythm parts; as Tony says it’s ‘stripped down’ 50s rock’n’roll style. But Hicks was by no means stuck in the 50s, he was ready to embrace new sounds too. Using a Vox Phantom 12-string on the 1965 single Look Through Any Window, he played a wicked opening riff that screams iconic 60s style. So whether you’re familiar with The Hollies’ recordings or not, grab your guitar, warm up that amp, and prepare yourself for a revealing journey into the world of Tony Hicks, Hollies guitarist extraordinaire. NeXT MoNTH: Phil introduces The Zombies’ six-string wizard Russ Ballard

Get the tone 3

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Tony Hicks played many different guitars during the early years of The Hollies, but his consistent favourite was a Gibson ES-345. While these are humbucker-equipped, that elusive 60s sound can be achieved on any guitar as long as you remember one important rule: keep your preamp gain low! Back in those days there were no master volumes; valve amps had to be played loud to achieve their ‘sweet spot’.

Track record Milestone Hollies singles include: Searchin’, Look Through any Window, Stay, I can’t Let Go, We’re Through, Stop Stop Stop, on a carousel, carrie ann and later; The air That I Breathe and He ain’t Heavy, He’s My Brother. recommended albums include: In The Hollies Style (1964), Bus Stop (1966) and The clarke, Hicks & Nash Years: The complete Hollies 1963-1968 (2011).


PICTORIAL PRESS / ALAMY

Phil Capone unveils the guitar style behind a band whose rich harmonies, slick licks and grooves made them the most successful British R&B group of all.

Learning Zone

THe HoLLieS ExAmplE 1 Syncopated & choked rhythm

cd track 33

It’s important to keep the G7 shape fretted GUITAR TECHNIQUES MAGAZINE 2 4 2 throughout this example.

fretting pressure (but without taking your fingers off the strings completely) R N Bfretting - THE HOLLIES - the Phil Capone percussive sounds are achieved by using a ‘squeezeBRIT and release’ to create damped chords. It’s a technique that will become second hand technique: squeeze the guitar neck to fret the shape, then release nature after a while.

Ex 1

Syncopated & choked rhythm

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Ex 1 Syncopated rhythm ∑ & 4 . Gn 35œœ7 35œœ XX¿¿ >35œœ XX¿¿ XX¿¿ n 35œœ XX¿¿ XX¿¿ >35œœ XX¿¿ ¿¿XX >35œœ XX¿¿ C53œœ7 53œœ XX¿¿ >53œœ XX¿¿ XX¿¿ 53œœ ¿XX¿ XX¿¿ >53œœ XX¿¿ ¿XX¿ >53œœ 53œœ . ©»¡¶• 3œ 3œ X ¿¿ 3≤œ3œœ X¿X¿¿ X¿X¿¿ n≥3œ3œœ X¿X¿¿ X¿≥X¿¿ 3≤œ3œœ ≥X¿X¿¿ ¿XX¿¿ ≥3œ3œœ X¿X¿¿ 3œ 3œ X¿ 3œ X¿ X¿ 3œ ¿X X¿ 3œ X¿ ¿X 3œ 3œ 3œœ ≥ 3œœ X #4 n ¿ ≥ ≥ 6 6 X . .. n 4œœ 4œœ X¿¿ 64œœ ≥XX¿¿ XX¿¿≤ n 64œœ XX¿¿≤ XX¿¿ 64œœ XX¿¿ ¿¿XX≤ 64œœ XX¿¿≤ b 53œœœ 53œœœ XX¿¿¿ 53œœœ XX¿¿¿ XX¿¿¿ b 53œœœ ¿¿¿XX XX¿¿¿ 53œœœ XX¿¿¿ ¿¿¿XX 53œœœ 53œœœ ... ∑ & 4 ExAmplE 2 FaSt triplet lick X 5track Ex 2 Fast triplet lick . 35œ3 35œ3 XX¿X 35œ3 XX¿X XX¿X 35œ3 XX¿X XX¿X 35œ3 XX¿X ¿XXX 35œ3 XX¿X 53œ3 53œ3 XX¿X 53œ3 XX¿X XX¿X 53œ3 XX¿X XX¿X 53œ3 XX¿X cd ¿X 3œ3 53œ35 .. 35 X ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 6 3œ 6 X X 3œ 6 picking X X X as indicated. 6 X X X X 3œ 6 X Xillustrates X 3œ 6 X X Hicks’ 5 / X 5technical X X prowess 5 X that X 5is clearly X X 5illustrated . 3œ 3œ The triplets should strict alternate mr X X G 7 be played using C 75 impressive X 4 X X X X 3 3 4 X X 4 X X 4 X j 3 3 ' X 3 X X 3 X X 3 ~~~ √≥43 will≥b43definitely This ©»¡¶• is no mean feat at 178bpm so you the≥3The≤XHollies’ single releases. Tony ≥ ≥ ≥ ≤ œ œ ≤ X ≤3 need X ≤Xto start X ≥ X ≤3 j≥Xon X X X Xœone X the 3 slowly 5 earliest 5 5 X 5 bXœwas 5 œ of 5 5 . . œ œ ~~~ b œ œ œ b œX most b œ 5 Xresults). 5 œ5 3 3 players 3 groups. X X X 5 X Xn3 X X 3 X X 3 3 and build gradually (use a metronome for best and inventive inX allXœthe 60s œThis53œ example œXX œXX œ53 œ XXindividual œ œ œ . œ œ # tempo n œ n œ œ n œ œ 3 3 3 3 X X X X X œ œ Ex 2 Fast4triplet lick & 4 .. G 7 . √≥364 ≥364 XXX≥ 364≤ ≥XXX XXX≤ ≥364 XXX≤ XXX≥ 364≤ ≥XXX XXX≤ ≥364‰ XXX≤ C 7353 353 / XXX 353 XXX XXX 353 XXX XXX 353 XXX XXX 353 Œ353 ... 3 œ 3 X 3 X j 5 X X 5 5 . 5 ' X 5 X X . 35 œ3 b35 œ XXœ 353 XX XX œ3 35 œXX 3XX œ35 jXXœ~~~ œ53 bXXœ XXœ b53 œ~~~ Ex 2 ©»¡¶• Fast triplet lick œ b œ X 5 Xb œ œ3 œ3 œ X 3 X X X œ X 3 3 œ . œ # 4 . Gœ7n œ n œ3 3 X œ3 œX Xn œ 3œ X œX 3 œ X X 3 X BUC 7 //' n œ œ ≥ ~~~ ~~~œ Œ .. ≤ ≥‰ ≤ b œj (20œ) 18œ 15 15 œ b œ œ b œ~~~ ~~~ &©»¡¶• 4 . œ √≥ 15≥b18œ ≥15 ≤ ≥ ≤ 15≥ 15≤ ≥ 15≤ BU œ j b œ œ n18œ œ 18œ 15 # 4triplet ... ... œlickn3œ œ 15 173 15 n18œ œ3 œ 183œ 15œ n18œ 3œ 18œ œ 183œ œ œ (20œ ). ‰ Ex 2 Fast 18 17 15 Œ & 4 . G177 15 17 . C7 // ~~~œ ' œ 15œ œ b œ œ b œ~~~ jBUœ ©»¡¶• 3 b œ œ3 œ √ 3 b œ 3 BU ~~~ 3 3 j œ b œ (20) 18 15 15 18 15 15 15 15 ≥ ≤ ≥ ≤ ≥ œ œ œ œ œ œ œ . ≤ ≥ ≤ ≥ ≤ ≥ ≤ # 4 .. œ n œ œ œ 15œ n18œ 18œ 18œ œ (20) ‰ n œ 18œ 15 15 n18 18 ... / 18 Œ ' 15 17 18 17 15 BU . & 4 BU ~~~ ~~~ 15 17 . arpeggiated . Ex 3 12 string riff (20) 18 15 15 15 3 15 15 17 3 3 15 18 15 3 18 15 18 3 15 (20) 18 3 18 18 18 18 15 . . 18 17 15 ©»¡£§ . ≥ A≤157 ≥17 ≤15 ≥17 ≤ ≥ ≤ ≥ ≤ ≥ ≤ G / . '15 15 BU 17 #3 412-StrinG BU ~~~ ~~~cd track # string 37 ExAmplE arpeGGiated riFF œ œ œ œ œ œ œ œ ( ) . œ œ . Ex 3 12 # arpeggiated riff 15 18 15 15 15 15 20 18 œ œ œ œ œ œ œ œ œ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ . œ œ œ . ( ) & 4 n œ n œ œ 15 18 18 15 18 18 18 20 18 18 15 . . œ 18œUse17the15œ alternate picking You don’t need a 12-string15 to play this riff! It will sound (well almost!) as cool fairly convincing œ 12-string simulation programs. ©»¡£§six-string. G to keep your performance sounding clean and tight.œ on a regular . 17A15œ7 17Don’triff17forget that many multi-effects units include indicated . n œ Ex 3 12 string arpeggiated # #©»¡£§ Let ring œ œ œ œ 4 œ œ œ œ & # 4 ≥.. A≤7 ≥œ ≤ ≥ 0≤ œ≥ 0≤ œ≥ 0≤ ≥ œ≤ 0 œ 0 œ 0 n œ 0 G œ n œ œ œ œ œ œ œ œ œ œ œ œ œ .. # 4 arpeggiated # #string . œ œ 7œriff œ 6œ œ 4œ œ 6œ œ 2œ œ 4œ œ 0 œ n œ 0 0œ 2œ 0œ 0 0œ 0œ 0œ 0œ œ 0œ ... Ex 3 12 &©»¡£§ 4 ... Let nœ œ 7 0 nœ 4œ 2 ring œ 0œ 2œ . œ A07 G œ 3œ n # # # 4 .. Let≥ ring≤ ≥œ ≤0œ ≥œ ≤0œ ≥œ ≤0œ œ 0œ 0œ œ 0œ 0œ 0 0 0 0 œ 2œ 0œ 0 0œ 0œ .... 6 4 2œ 0 œ 2œ œ 0œ œ œ 7lick 6 4 4 'n.. roll style n 0œ Ex & 4 V-IV-I rock 7 0œ n œ 4œ œ 2œ 0 0 0 0 0 0 0 0œ 0 0 0 0 0 0 0 . D 7. C 7 G 7n 3œ 7 6 4 6 4 2 0 0 2 0 ©»¡£º . Let≥ ring≤7 ≥ ≤ ≥ ≤ ≥ ≤ √ 0 4 2 0 . # 4 rock. ‰'n rollœ0 style œ œlickœ0œ œ œ0 œ œ œ0 œj œ 0œ œ œ0 œj œJ0b œ ‰0 œ 3œj œ ‰ œJ œj œ. œ œj œ ‰ œJ n œj œ œ œj œ œ. 2b œ. '/ . Ex 4 V-IV-I & 4 . D 7. ≥ ≤ ≥7 ≤ ≥6 ≤ ≥4 ≤ C6 7 2 4 0 G 7 0 0 0 0 0 0 0 .. 0 2 0 ©»¡£º 3 lick 7 nlick 4 . roll0rock . 39 Ex 4 V-IV-I4rock 'n style ExAmplE V-iV-i j 2œ œ 0 cd2 track b œ √œ 3j 0 œ j . œ j / j œring œ œroll œ Style j ring œ œ œ œ ' j Let Let # 4 was. Dno‰7 slouch œ œ œ n œ œ œ œ œ œ . . Tony Hicks when it came to ‘changes’ playing as this example C mixolydian over C7 (IV) chord, and a final position shift up to shape œ≤ weaved œ C7 œ ‰pentatonic œ BU œ BUœ ‰ J BU œ BUœ œ b œ / .. ≤ ≥that ≥ ≤create ≥ solos ≥ ≤ often J ‰ 1 of√GG7minor J œ BUœ over G7. demonstrates. their way through make sure your phrasing includes the &©»¡£º 4 . He would ''/ . j œ 15 b œ 5 5 15 15 15 j œ 11 syncopation œoflick Notice the use D5 major over indicated in bars 3jand 4. 15 j œthe8œD78œ(V)8œchord, œ œ œ œ . j j Exthe 4 chords. V-IV-I # 4 rock n œ (20) œ j 5œ style 7œ 5œ 37œ 5œ ... ‰'n roll œ 7œ œ pentatonic œ . . œ 9 œ (19œ ) 17 œ b15œ ... 7œ 12 J ‰ G 7 œ (19œ )‰ J œ (œ19 ) œ (19œ ) ‰ J &©»¡£º4 . D 7 LetCring Let ring 7 / BU √15œ BU 15œ BU 15œ BU 15œ BU 3 ''/ . j œ 15 j œ bœ œ œ œ œ . j j j j # 4 .. ‰ 5œ 7œ 5œ 5œ 7œ 5œ 5œ 7œ 5œ œ œLetj ring n œ œ . . (20) œ œ œ 8 8 8 œLet ring11 œ œ œ œ œ œ J ‰ ‰ J ‰ J b œ (19 ) (19 ) (19 ) (19 ) 17 15 / .. 7 9 12 BU BU & 4 .. acoustic riff BU BU BU Ex 5 Chromatic ' .. 5 5 15 15 15 15 15 (20) 5 7 5 7 5 37 5 8 8 8 11 . D m A 7 ©»¡¶∞. (19 ) 17 15 7 9 12 Let ring Let ring ~~~ BU(19) BU(19 ) BU(19 ) ~~ / . BU BU 4 œ b œ . œ # œ n œ b ∑ Œ Œ ' .. Ex 5&Chromatic riff . 5 5 7 5 œ b œ œ œ8 œ8 8 b œ œ 11 œ œ 15 5 15 œ b œ15œ œ 15 15 4 . acoustic œ b œ (20 ) 5 7 5 7 œ œ œ n œ b(19œ ) œ17 15 . (19A ) 7 (19 ) (19 ) 7 9 12 Dm ©»¡¶∞ . ~~~ Ex 5 Chromatic acoustic riff ~~ . 4 œ b œ . œ # œ n œ ∑ Œ A7 œ b œ œ œ œ bœ . Dm ~~ Œ .. & b ©»¡¶∞ 4 œ b œ œ œ œ b œ œ œ œ œ~~~ œ ~~~ œ n œ b œ œ~~ . . 7œ b 6œ 5œ b œ 4 . # 6œ n 5œ Ex 5 Chromatic acoustic riff b ∑ Œ Œ ... . œ b œ & 4 7 6 5œ œ Spring 2015 GuitarTechniques 77 .D m 5œ 6 5œ 8œ 7œ b 6œ 5œ 3œ 3œ 5œ œ b œ œ 8 7 6 5 œ A7 ©»¡¶∞ ~~~ ~~ 8 n 7œ b 6œ 5œ ~~~ ~~ GUITAR TECHNIQUES MAGAZINE G 2 74 2

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ExAmplE 5 chromatic acouStic riFF

riff. Start in fifth position and use your first finger to fret the D and C at the start of the second bar; this facilitates an easy position shift to the 3rd fret.

Ex 5 Chromatic acoustic riff

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GUITAR TECHNIQUES MAGAZINE 2 4 2 BRIT R N B - THE GUITAR 6TECHNIQUES ExAmplE Final Jam MAGAZINE 2 4 2 BRIT R N B - THE GUITAR TECHNIQUES MAGAZINE 2 4 2 Ex 6 FINAL JAM BRIT RNB The opening riff is relativelyMAGAZINE straightforward prevent no - THE GUITAR TECHNIQUES 2 4 2and so should Ex 6 FINAL JAM problems. But notice howRIFF the entire shape moves up toBRIT the 12th fretBin- THE RN Ex 6 FINAL JAM 7 track tempo is quite brisk, it would be bar 5 to transposeShuffle it to E.RIFF SinceBthe Ex 6 FINAL JAM Shuffle RIFFB 7 Shuffle RIFFjB 7 n œjB 7 Shuffle

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lesson: r&b

~~~

E B G D 7 A 7 9 9 E ExAmplE 6 Final Jam ...CONTINUED 34

ON THE CD

7

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SOLO 2

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9 cd track 43

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Watch it, hear it, read it Guitarist magazine on Newsstand for iPhone, iPad & iPod touch

Packed with video, audio, picture galleries and a whole lot more…

Robben Ford Join Pete Callard as he examines the greatest licks from the giants of jazz guitar. This month, the jazzier side of bluesman Robben Ford... of those; the jazz being where the harmonic hipness comes from, and the blues being so strongly about feeling. I liked the English style, but I was more drawn to Mike Bloomfield and BB King; and sax players John Coltrane and Wayne shorter, Archie shepp (my all time hero); ornette Coleman, Pharoah sanders… “i didn’t learn note for note; it was listening and then applying. one of the essential things was listening to saxophone players, not guitar players. If you listen to another instrument it doesn’t automatically apply to yours, so you have to make an effort to make things work on the guitar. Consequently you’re not gonna sound like a sax player, but you’re not gonna sound like other guitar players either, so there’s a greater opportunity to develop a style. “there’s more harmonic adventure in jazz, and the demands are greater on an instrumentalist, so to develop you need a challenge. For me playing only blues was limited, but the blues as a foundation is essential. Robben Ford: “My style is very blues and melding blues and jazz pentatonic and I use the other stuff largely as passing tones to get from one chord to the next. it’s years of ABILITY RATING doing it by ear and knowing what scale there Moderate/Advanced is over any given chord. i never learned a bunch of licks. I kept my music simple Info WIll IMprove your pentatonic and blues oriented, just played and played and pushed myself. I would use the Key: Various Jazz and fusion soloing pentatonic to make melodies, and play with Tempo: Various Jazz-blues phrasing how much you can get out of five notes - if CD: TRACKS 45-58 Improvising vocabulary your life depends on it, what will happen? “What’s really important is who you listen in this lesson we'll explore the jazz side of to. so again, i listen to saxophone players and Robben Ford. i interviewed him a while back, Miles Davis’s trumpet so there’s more of a so here’s a few reflections on his approach... tendency to play in a melodic way; they have “My first instrument was saxophone. The to breathe so their phrases are more broken things that I enjoyed most were jazz, blues up; not like guitar players who don’t have to and R&B; particularly great sax players and breathe so they can play all day. it’s like great blues guitar players. My style is a fusion

ON THE CD

TraCks 45-58

language; everybody speaks with inflection, so you bring that into your playing. “It’s important to embrace your handicaps cause that too will help you develop quicker. There are certain things that you can do and certain things that you can’t. Everybody has their strengths and weaknesses so it helps if you let your body tell you what you do best.” Ford’s soloing style is Pentatonic based, but he likes to hint at the changes and throw in the occasional harmonic curve ball, all coupled to sublime touch, tone and phrasing - an enviable combination that places him among the world’s most revered players. Although primarily favouring the blues these days, in the late 70s and early 80s Ford

For me playing only blues guitar was limited, but the blues as a foundation to me is essential. Robben Ford had one foot squarely in the fusion camp, evinced in his debut solo release The Inside Story and tenures with The Yellowjackets and Miles Davis. As such, I thought it would be interesting to focus on this overlooked area of his playing. so we’ve got seven examples in all - alongside great harmonic ideas, remember it’s the phrasing and articulation that are key to what makes them such storming lines. That’s it from me for the Jazz column, although I’ll hopefully be returning to GT’s hallowed pages from time to time. thanks to everyone who’s followed these columns over the years - it’s been a privilege to write about jazz for all this time, and i hope they’ve proved illuminating, instructive, inspiring and perhaps, occasionally, even entertaining! NeXT MoNTH: John Wheatcroft takes over with a look at the Django Legacy

Get the tone 7

5

5

3

3

Gain

Bass

Middle

TReBle

ReveRB

Ford has used a variety of guitars over the years, including a 1958 Gibson ES335, Sakashta and Baker custom builds, a 1958 Stratocaster, a Fender Esprit Ultra, and a 1960 Telecaster. For backline, he favours Dumble Overdrive Special and Fender Super Reverb amps, D’Addario .010-.046 gauge strings and D’Addario heavy gauge picks. To try to duplicate his tone, use the neck or bridge positions on a humbucker equipped guitar and use a lightly distorted tube amp sound. Ultimately, though, Robben’s sound comes down to his inimitable touch and feel.

Track record any robben Ford release is worth investigating, but I’d recommend Supernatural (1999), robben Ford & The Blue Line (1992) and keep on running (2003). For Ford’s jazzier side, try The Inside Story (1979) and Yellowjackets (1981), the debut album from the fusion legends of which Ford was a founder member. I’d also recommend his teaching video, The Blues & Beyond (reH).


RodolFo SaSSano / alamy

lesson: jazz

LEaRNiNg ZONE

ROBBEN FORD ExAmplE 1 II-V lIne In D mInor

cd track 45

GUITAR MAGAZINE 2 4end 2 of the bar sliding up to B (3rd) Ford beginsTECHNIQUES in D minor pentatonic, at the then G major scale. Over the Dm7 he moves up an Fmaj9 (or Dm11) arpeggio, The Pete Callard Jazz column to anticipate the G9. He then moves into a chromatic idea pedalling around then comes down an F triad, and over the final G9 descends, moving ROBBEN FORD the B note, then suggests G lydian b7, coming down G major pentatonic between G7 and G mixolydian to end on the b3 (F) of the closing Dm7. GUITAR TECHNIQUES MAGAZINE 2 4 2 GUITAR Ex 1 - II-VTECHNIQUES line in DminorMAGAZINE 2 4 2 The Pete Pete Callard Callard Jazz Jazz column column GUITAR TECHNIQUES MAGAZINE 2 4 2 The # 9/F #Callard Dm7 D7 G9 ROBBEN FORD The Pete ROBBEN FORD Jazz column ROBBEN FORD Ex 1 - II-V line in Dminor

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cd track 47

moving up Cmaj9 in the next bar then back up and down D mixolydian with a chromatic passing note. Over Ab13#11 he suggests Eb and Bb arpeggios, then closes with a D minor pentatonic lick anticipating the final G/A.

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lesson: jazz

ON THE CD

TraCks 45-58

2 xxxxxxxxxx

ExAmplE 3 Fast bebop lIne oVer II-V-Is 2 xxxxxxxxxx

cd track 49

2 xxxxxxxxxx

We descend from the 9th (G) to the b7 (Eb) over F9, down F mixolydian into Cm7 idea around Bb mixolydian to end with an implied C7 into Fm7; then Ex 3 - Fast bebop line over II-V-Is Cm7, down C Dorian, implying F7 and Cm(maj7) to end on the 4th (Bb) of F7. down F minor pentatonic plus a 9th (G), landing on the 3rd (D) and root of Ex 3 - Fast over II-V-Is F9sus Over Bb9 Fordbebop starts line on the root, outlines Ab over the Bb9sus4, echoes his F9sus4 Bb7. A sliding idea around the 3rd (G) and root of Eb7, to end on the 9th (F). 2 xxxxxxxxxx

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cd track 53

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lesson: jazz E B G D A E

ON THE CD

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cd track 55

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TraCks 45-58

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cd track 57

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lesson: acoustic

ON THE CD

TraCk 59

Rory Gallagher This month Stuart Ryan steps out of singer-songwriter mode and shows you how to play powerful fingerstyle acoustic guitar like this legendary Irish bluesman.

rory Gallagher’s deft acoustic picking captured the delta blues sound of his heroes perfectly. meant that he was able to hold down the alternating bassline on the sixth and fourth strings (often referred to as ‘Travis picking’ after the great Merle Travis); over this he would then effortlessly add syncopated and decorated melody lines with phrasing often sharing as much as it did with traditional celtic music as old time blues. If you are new to this style then work on just the bassline at first, preferably to a metronome. It may seem tedious initially but it’s critical that you internalise this alternating bassline so the picking hand thumb is on autopilot when it comes to playing the melody over the top. Interestingly, while many players choose to palm mute the bass notes order to tame them and let the melody notes ring out clearly, rory preferred to keep these two strings ringing open throughout, no doubt contributing to his big fingerpicking sound. A superb ambassador for music, rory Gallagher’s style showcased a truly individual approach to fingerpicking and is a great lesson whether you are a fan of blues, celtic or just fine fingerstyle guitar in general. NeXT MoNTH: Stuart switches tack with a look at fingerpicker John Denver

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Rory most commonly used his 1968 Martin D-35 acoustic for fingerpicking the blues, or a vintage National resonator guitar for traditional slide - he also played great slide on Telecasters and Les Paul Juniors. Any good acoustic will do the job here though a larger body size will give more volume.

Track record rory Gallagher was a legendary live performer who put 100 percent into everything he did, so is well worth checking out on video. athough most albums and live performances featured at least one acoustic track, the posthumously released acoustic collection Wheels Within Wheels (2003) is probably the best place to start if you really want to get into this side of his playing.


MICHAEL PUTLAND / GETTY IMAGES

however, while we commonly associate him with a Vox Ac30 and his famous battered Fender strat (supposedly the first to arrive in Ireland) he was equally adept at acoustic blues. Interestingly there is a definite Celtic influence in his phrasing and you can hear this in both his electric and acoustic work. consequently this month’s lesson is in DADGAD, a tuning rory himself used for several of his acoustic blues outings. rory Gallagher was born into an Irish family with a strong appreciation of music and his first instrument was the ukulele. Acoustic guitar soon followed and after a brief dalliance with skiffle he discovered the acoustic blues playing of legends big bill broonzy and leadbelly among others. Gallagher started out with blues-rock group Taste in 1966; they went on to perform support slots with cream and blind Faith. After disbanding Taste, rory went solo, which allowed his acoustic playing to come more to the fore. Gallagher’s deft acoustic picking captured the Delta Rory Gallagher blues sound of his heroes with his 1968 perfectly, whether he was Martin D-35 playing slide on his resonator or fingerpicking on his Martin D-35. However, ABILITY RATING he often included a twist which was the distinctive Celtic flavour that crept into his Moderate fingerpicking style. In this study we’re looking Info WIll IMprove your at how rory would play a blues in DADGAD tuning with a strong alternating bassline Key: D Alternating bass lines picking pattern and a moody Celtic influenced Tempo: 186bpm Acoustic blues phrasing melody over the top. listen to tracks like his CD: TRACK 59 Picking hand syncopation version of leadbelly’s out on A Western Plain and you’ll hear this approach in action. IrIsh blues rocker rory Gallagher is As with all great acoustic fingerpickers rightfully revered for his blistering electric rory had that rock solid internal groove which guitar work on tracks like Tattoo’d lady.

LEARninG ZOnE

RORY GALLAGHER ExAMPLE RoRY GALLAGheR StYLe

cd track 59

[Bar 3] Having set up the alternating bassline we can now focus on putting a simple syncopated melody over the top. If you are new to this style one of the biggest challenges can be co-ordinating the hammer-ons and pull-offs against the bassline so start slow if this is the case. [Bar 8] Small elements of phrasing can also provide challenges, such as this

slight bend on the first string, 3rd fret. It’s subtle, so don’t dig in too hard. [Bar 13] Much of effective fingerstyle playing comes from learning the various picking hand patterns that fingerpickers employ. This pattern is particularly common so internalise it and, when you see it again in another context, it will feel a lot more familiar.


ACOUSTIC RORY GALLAGHER STYLE - Stuart Ryan



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cd track 59

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TraCk 59

subtle quarter-tone bends but in this case it’s on the second string.

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ON THE CD

œ œ œ œ œ œ nœ œ

D7 (no 3rd)

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3[Bar 29] Use a 0fretting hand barre0with the first finger across 3 the 5th fret3 2to get these notes in place. 0 0 2 2 0 0 0 0 0 2 3 0 0

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lesson: rockschool

ON THE CD

TraCk 60-67

Reading Music Part 10

Mixing notes, ties and rests this month Charlie Griffiths combines all the elements he’s looked at in previous lessons into four cohesive musical pieces for you to study.

Music reading is one of the most important skills we can acquire

ABILITY RATING

Easy/Moderate Info Key: Various Tempo: 80 bpm CD: TRACKS 60-67

WIll IMprovE your Notation reading Fretboard knowledge Employability!

For the last four issues we have explored the world of reading rhythms. We have counted through quarter-notes, eighth-notes, 16th-notes and triplet rhythms; as well as their respective rests. We examined methods of extending the duration of those notes with dots and ties. Most recently we added ornaments such as trills and acciaccaturas to embellish melodies. In this lesson we will combine all of these elements into four different technical examples. In addition to this we will also reintroduce pitches, key signatures and some accidentals for an extra


challenge. these are not intended to be particularly great pieces of music, but are simply designed to contain all of the practise elements you will require to hone your reading skills efficiently. Our first example combines notes and rests divisible by two; half, quarter and eighthnotes. If you prefer the British terminology,

Acciaccatura, or ‘grace note’, is a note of almost no value, placed before the note to be played. these same become ‘minims’, ‘crotchets’ and ‘quavers’. as the name suggests, half-notes are worth exactly half a bar of 4/4. Dividing those into two produces ‘quarter-notes’ which are equivalent to our usual perception of the tempo of a piece and the rate at which we count ‘1, 2, 3, 4’ along with a piece of music.


By dividing these in two, we get eighth-notes. eighth-notes take up exactly half the time as quarter-notes and they can be counted as ‘1 & 2 & 3 & 4 &’. the second exercise features eighth-note and quarter-note triplets which are indicated by a bracket across three notes, with the number ‘3’ placed in the middle. this bracket essentially means that you need to squeeze three equal notes into the space where there are usually two. three eighth-note triplets take up the same time as two non-bracketed eighth-note triplets. eighth-note triplets are counted: 1 & a, 2 & a, 3 & a, 4 & a. the third example is based on 16th-notes, which are also known as semi-quavers. this subdivision is divisible by two, and last for half the time as eighth-notes to provide sixteen even notes per bar. these 16 notes can be counted phonetically: ‘1 e & a, 2 e & a, 3 e & a, 4 e & a’. Counting like this is essential when reading syncopated rhythms with notes that land on the off-beats. example four combines all of these note values within eight bars, making for a lot of counting in a short space of time. In addition to the actual notes, there are two common ornamentations; trills and acciaccaturas. a trill is a fast alternation between the written note and the next diatonic note in the key; usually played with hammer-ons and pull-offs. acciaccatura is the term for grace note and is essentially a note of almost no value, placed before the note to be played. all four of the exercises contain dots and ties which are both methods for extending the length of a note. Notes can be ‘tied’ together with a curved line to either sustain a note cross the bar-line, or to cross the centre of the bar. a small dot placed after a note extends its value value by an additional 50%; for example a dotted quarter-note is equivalent to a quarter-note, plus an eighth-note. have a go at practising these examples along with the backing tracks we have supplied. If the 80bpm tempo is too fast at first, feel free to use a metronome or drum machine at a slower tempo. NEXT MONTH: Charlie continues on his quest to get you Reading Music

Learning Zone

Mixing notes, ties and rests GUITAR TECHNIQUES MAGAZINE 2 4 2

Charlie Griffiths cd tRack 60 ExAmplE 1 1/4 NOTES, 1/8 NOTES, DOTS AND TIES Part 104 &’ throughout and keep your pick moving down and up in synch with This example combines half, quarter and eighth-notesREADING as well as rests. The smallest subdivision present is eighth-notes so count: ‘1 &, 2 &, 3 &,

Ex 1

1/4 Notes, 1/8 Notes, Dots & Ties

the count, in order to stay in time.

©»•º j j GUITAR 4TECHNIQUES MAGAZINE 242 j ‰ ‰Charlie Œ œ. &4 œ œGriffiths . œ œ œ ˙ READING Part 10 Ex 1 Ex 2

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Triplets, Dots & Ties ©»•º # 4 j œ ‰œ ‰œ œœj œ œj‰ œ œ œ Œ œ œ Œ Œ ExAmplE 2 TRIPLETS, DOTS AND TIES & 44TECHNIQUES GUITAR MAGAZINE 2 4 2 4˙ œ Charlie Griffiths œ J œ œ.

3 3 œœ. ‰ œ œJŒ ‰œJ œœ œ œ œ œœ œœ œ œ J J ˙. ˙ be sustained for their 3 full value, but only the initial note is picked. This 3

cd tRack 62

For this triplet rhythm count: ‘1 & a, 2 & a, 3 & a, 4 & a’ to keep track3 GUITAR TECHNIQUES MAGAZINE 234 2 3 Griffiths 3 3 means that the F notes are played as F# of both the down beats and the off-beats. Counting isCharlie especially READING Part 10melody is in the key of G, which important when playing the tied notes notes should throughout the piece. GUITAR TECHNIQUES MAGAZINE 2 4 2 as these combined Charlie Griffiths Ex 13 1/16 Notes, Dots & Ties 2 1/4 Triplets, Dots & Ties Ex Notes, 1/8 Notes, Dots & 2Ties GUITAR TECHNIQUES MAGAZINE 42

READING Part 10 Charlie Griffiths READING Part 10

3 3 ©»•º œ #1/4 4Notes, 1/8 ŒNotes,œDotsj Œ& Tiesœ œ œ œ œREADING œ œ œ œ œ j œ Part 10 œ œ 4b1/4 4Notes,œœ .1/8 Notes, Ex& 1 ©»•º Œ Dots œ œ& TiesœJ œjœ ‰ œ‰ œœjj œjj‰‰ œ . ‰ œ . œ‰ œœJŒ œ‰J. œ œœœ œJ⋲œ œ œ œœœ œ œœj ˙ ‰ & 4 41/4 Notes, Ex 1 ©»•º 3 j 3 ‰ ‰ œ3 œ 3 ˙. Œ Dotsœ& Ties œ . 3 œJ 3 ‰ œJ 3 œ œ œ & ©»•º 44 ˙˙ 1/8 Notes, . j j œ œ J j ‰ ‰ œ œ . Œ œ . œJ ‰ œ œ œ œ œ œ ˙ . &4 ˙ j j Ex 3 41/16 Notes, Dots & Ties œ œ œ jœ ‰ œ‰ œ œ œ œ œ œ œœ. œœ ‰ œJœ œ œœ œ ˙. Ex Dots & Œ Ties &2 4bTriplets, œ . œ œ œ œ œ J œ J œ˙ Dots & Ties j 3 ˙. œ j 3 Ex 2 # Triplets, œ 4 œ œ œ œ œ ‰ œ‰ œ Œ œ . œ œ œœ œ⋲3 œ œ œ œ3 œj ‰ 443 1/16 &2 #bTriplets, œ Œ ANDœJ TIESœ œœ œœ œ œ ‰‰ Œ& TiesœDOTS œ Dots . NOTES, ExAmplE Ex œ œ œJ œ œ J & œ œ œ ˙ œ œ ‰ logical œ œ up in synch 4 œ œ œ œ œ œ For with 16th-notes asŒthe3 smallest note value, the most with Œ the316th count, œ even when you are not 3 actually picking 3 Œ ‰ œ Ex 4 rhythms Combining Everything Ex 2 Triplets, Dots & Ties 3 œ œ œ 3Thisœ exampleJœ isœin the & œ is: ‘1 e &œa, 2 e & a, 3œJe & a,œ4 eœ3& a’.œ Forœ rock # 44method 3 key of F, whichœmeans thatœall of˙ the B counting œ3 œsolid‰ time œ œ any notes. œ 3œ Œ Œ ‰ Œ 3 keeping a good piece of advice is to keep your pick moving down and notes are actually played Bb. 3 œ 3 3 & # 44# 4œ j œ j Jœ j œ œ3 œ œ œ3 œœ œ œ œ œ œ œ 3 œœœ œ œJ œœœ œ3 œœ œJJŸ~~~~ œ œœ œ.3 œœ œ ˙ œ ˙ œ Œ ‰&œTies‰ œ Œœ 3 Jœœ Œ œ3 œœ ‰ 3 œ ‰ 3 œ œ œ ‰3 Œ 3 J 3 œ œ œ œ œ œ œ ˙ œ . Ex 3 b1/16 & # 4œNotes, œ œœDots 4 J Ex 3 1/16 Notes, Dots & Ties 3 3 3 3 3 3j 3 j 4 3 3 ‰ œ œ œ. Ex 3 b1/16 Notes, Dots & Ties & 44 œ . œj œ œ œ œj ‰ œ ⋲ œ œ œj ‰ Ex 34 b#1/16 Everything Ex Dots & Ties ⋲ œ œ œjj ‰ & Combining 44# Notes, œjœ ‰ œ œ ‰ œ œj ‰Œ . ‰j œ œ œ . ⋲ j œ Ÿ~~~~ œ . # œ ‰ j œ œj œœ. œj ˙ ‰ œ 3 œœ & b# 4# œ . j œ ‰ ‰ œ ⋲ œ . œ œ œ œ œ œ . œ œ ˙ œ & œ œ œ j œ œ . j bb # 44 44œ . œ ‰ ‰œj œj œœ Œ œ œœ ‰œ œœ œ‰ œ œ œ‰œ œœ œ œœœ œœœ . œœ œœ ⋲œ œœœ œœœ œœj œ ‰œ . & & œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ # œ œ œ œ ˙œ ~~~~ n n œ œ œ # œ 3œ œ œ œ n œ # œ3 œ œ œ & b# # #œ4 COMBINING œ œ # œ ExAmplE EVERYTHING œ œ œ n œœ œ œ œ areœ bestœ thoughtœ of as veryœquickœslidesœ fromœbelowœ the˙eventual & œ œ œ This beight-bar exercise combines all of the above, but introduces a # & œ œ # œ œ˙ bartarget œ œ œ œ3rdœbarœEverything œ œ œ œ j for Ex 4 in Combining œ œ trill the played with a quick succession of hammer-ons and notes. This example is diatonic to the key of A major, except 7, # . j b œ j ‰ ‰ ‰ Œ ⋲ œ œ œTheœ acciaccaturas jœ œ œ œ œ & œœ fingers. œ first œandœsecond pull-offs œ between contains non-diatonic j ‘accidentals’. œ . œin bar 6 which œ œ Ÿ~~~~ œ œ . Ex 4 Combining Everything 3 . œ œ œ œ œœ œ œ ˙ # # # 4 Everything j ‰ ‰ j j3 Œ œ ‰ œ œ œ œ Ÿ~~~~ Ex 4 Combining œ œ œ œ œ ˙˙ ~~~~ œ . œ œ œ . & # ## 44 œEverything œj œj j Ÿ~~~~ n œ œ œ Ex 4 #Combining ### 4n œ œj# œ‰ œ‰ nœœ œœj 3 Œœ # œ ‰ œ nœ # œœ œ œ œ # œ œ œ . ˙œ œ œ . ˙ & # 3 3 œ j œ 4 Ÿ~~~~ & # œ 3 œ. œ œ œ. ˙ & ## # ## 44 œj ‰ ‰ œj œj Œ œ ‰3 œ œ œ3 œ œ œ œ œ. œ œ j œ ‰ ‰ œ Œ œ ‰ œ & ⋲ j j œ œj œ œ ˙ & # ## # 4œ œ ‰ œ œœ ‰ œ œ ‰ œ . 3 œ Œ .. 3œjj œ œ œ j . j œ œj œ œ ˙ & # # # œ œ ‰ œ œ ‰ œ œ ‰ œ . 3 œ Œ . 3œj œ œ œ œ ⋲ œœj . œ j j œ œj œ œ ˙ & ## # ## œ œ ‰ œ œn œ‰ œœ œœ ‰# œ œ .n œ œ œ Œn œ. # œ œj œ œ œ œ œ œ # œ⋲ œœj . ˙ ~~~~ œ j œn œ œ # œ‰ œ œ ‰ œ œ ‰ œ . œ Œ œ œ ⋲ œj ˙ ~~~~ j œ œj œ œ ˙ & # œ œ ˙ &# # œ n œ œ œ # œ n œ œ n œ # œ œ œ œ œ œ œ # œ œœ . ˙ ~~~~ # œ # n œ ˙ # & ## nœ #œ œ nœ œ œ #œ nœ œ nœ #œ œ œ œ #œ ~~~~ œ ˙ ˙ & ### nœ #œ œ nœ œ œ #œ nœ œ nœ #œ œ œ œ #œ ˙ & Ex 1

cd tRack 64

cd tRack 66


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94 GuitarTechnique Spring 2015

Music Reviews

WhAt our rAtinGs mEAn: HHHHH Buy it HHHH Excellent HHH Good HH Average H Bin it!

New Albums

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

ToTo TOTO XIV

Frontiers Music HHHH

It’s been nearly 10 years since Toto’s Falling In Between but Toto XIV seems to reach much further back, being an implied ‘sequel’ to 1984’s iconic Toto IV. The line-up has changed again, albeit still headed up by David Paich (keys) and Steve Lukather (guitar). The opening track, Running Out Of Time is typical; chugging rhythms, searing guitar hook, whammy bar solo and huge vocals courtesy of Joseph Williams (son of Star Wars’ composer) and co. Holy War is another memorable rocker, driven hard by Luke’s crunchy riff and a stadium styled screamer of a solo. The band’s AOR sound is firmly in check with their savvy melodic hooks and infectious rhythms, married to an admirable dash of muso know-how. Standout track, 21st Century Blues ticks all these boxes with a cracking shuffle feel and Luke’s blues fusion solo – perhaps his best here. For guitarists, there’s much to like; 12-string acoustic on Unknown Soldier, pretty harmonics on The Little Things, clipped double-stops on Chinatown, tasty licks on the outro to Fortune. Sadly, there’s no instrumental this time round but for those hankering for great songs from these studio legends, Toto XIV will do very nicely indeed.

of Montreal

REVIEWS BY ROGER NEWELL

AurEAtE Gloom

Polyvinyl Records HHH Formed by frontman Kevin Barnes in 1996, of Montreal gets its curious name from a failed romantic connection between Barnes and a lady "of Montreal", and Aureate Gloom is no less than their 13th album release. The band is part of what is known as the Elephant 6 collective; a group of independent 60s influenced bands working in the Elephant 6 Recording Company during the 90s. Barnes is the only member left from the original line-up after he’d moved to Georgia. His vocal delivery is similar to that of Steve Harley during his Cockney Rebel years and, although the songs are vastly different, there

is definitely a similarly audacious and quirky element to their music. In spite of many changes in personnel and record labels the band has stayed busy and has naturally developed over the years. Yet there’s still a naivety about their music that should encourage any player to have a go. Perhaps this is more unusual than startling musically, but still definitely worth checking out.

robin troWer

somEthinG’s About to ChAnGE

V12 Records HHHH Slow and meaningful best describes this latest album from Trower, immediately evident in the title track that kicks off this excellent collection of a dozen songs. Robin’s voice is sounding better than ever and the guitar playing is exemplary. But then

what else could be expected from this legendary player? It’s almost a one-man show as he plays guitar and bass, with the only help coming from drummer Chris Taggart. Trower has always been great at creating an atmosphere with his music and the whole album benefits greatly from this. There’s a sophisticated quality too on tracks like Fallen and Til I Reach Home, and lots of high spots too. We particularly like Riff No 7 (Still Alive) that captures so much of the sound and delivery that we associate with the man. Generally it’s late night slow blues with an occasional lift in tempo and delivery for The One Saving Grace and Up And Gone. Robin remarks that “I can’t remember ever being so happy with a finished album before’”. We would add that it’s a polished performance that’s easy on the ear and well worth a listen.

ian Siegal

onE niGht in AmstErdAm

Nugene Records HHHH As you may well guess from the title this album is a live recording from Ian Siegal and his band taken from their show at North Sea Jazz Club last year. And it’s a brilliant performance from all concerned. This is not Siegal’s first live album but it is the

first with his band after their personnel shake-up in 2013. It really shows his prowess as a performer. It’s essentially blues but with something of a bluegrass element that’s particularly evident on the opening track, I Am The Train and Brandy Balloon with lead guitar duties falling to Dusty Ciggaar who does a sterling job throughout. We particularly like this version of the Harry Stephenson song, Writing On The Wall and the slide work on Early Grace and Please Don’t Fail Me. Siegal has gained seven British Blues Awards and two nominations for the US Blues Music Awards - the only British blues artist to do so - and this album and a tour in March offers a great way to check out his music.

band’s new percussionist-led line-up. Three drummers in the front line (Gavin Harrison, Pat Mastelotto and Bill Rieflin) add choreographed thunder to the backline of Robert Fripp and Jakko Jakszyk (guitars), bassist Tony Levin and sax and flute player Mel Collins as they pound their way through Crimson tracks old and new. The digi-pack comprises two discs: a straight CD plus a DVD-A containing high resolution 24/96 audio versions of classics like Starless, plus never previously performed live renderings of Sailor’s Tale and The Letters, where new Crim member Jakko’s vocal gets the chance to shine. At 41 mins in length, the CD offers only a glimpse of the new line-up’s potential, but if this is anything to go by, it could actually be the strongest Crimson yet!

John Wheatcroft

EnsEmblE Futur

Download HHHHH We go out of our way to provide the best tuition in all genres of playing and it’s a treat when one of our top contributors brings out an album that takes them out of the classroom and into the real musical world. This release from John Wheatcroft is a case in point, and is without doubt a peach of an album. His expertise in Gypsy jazz is unquestionable and here we find him within a group of players producing some of the best around. A liberal mixture of standards and originals these 13 tracks are the perfect way to appreciate John’s fluidity and speed across the fretboard in one of the trickiest genres around. Check out his versions of Django’s Swing 48 and Minor Swing - pure magic! Antiquity stretches the imagination nicely and I Remember Parris is a beautiful romantic piece. Varied and beautiful this album really is a delight to the ears, comes highly recommended and is available to download from iTunes and Amazon now.

King criMSon

livE At thE orphEum

Panegyric HHHHH Recorded during the newly-reformed King Crimson’s tour of the US last autumn, this live album gives everyone a chance to witness the


GT USER GUIDE

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

Relating tab to youR fRetboaRd 3

2

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

m

i

1

our raTing SySTem

a c

4 T

p

advanced moderate-advanced

nuT & freTboard

hand labelling

moderate

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

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

easy-moderate easy

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

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

GUITAR TECHNIQUES MAGAZINE USER GUIDE

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

Chord example

Chord example (with capo)

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

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Down & Up Picking

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2

9

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Capo Capo notation

·

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6

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7

E B G ED BA GE D A E

&

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7

5

&

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± ±± VibraTo arm (aka whammy Bar) AH16

E B G D A E

œ

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AH16

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left hand Tapping

E

5

7

Fret Hand Muting

6

5

5

E B G D A E

S

&

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8

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

re-pick bend Left Hand Tapping

Slides (Glissando)

(7 5)

& œ œ œ

b˙

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~~~~~

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

5

Slides (Glissando)

(7 5)

5

E B G D A E

8

tr

˙ (œ œ)

E B G D A E

~~~~~ 7 5

note Trills Note Trills

&

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

E B G D A E

&

E B G D A E

2

9

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

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

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

9

‚ oTher TeChniqueS œ & scrape pick

·

Violining

finger numbering

pima directions

right-hand tapping

TCH E B G D A E

2

9

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

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

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

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

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


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

feature

yes / steve howe

ChromatiC improvisatioN

Clap

Stuart Ryan transcribes Steve Howe’s wonderful solo acoustic extravaganza from the classic Yes Album.

transcription #2

tChaikovsky

John Wheatcroft shows you how to use outside notes to add extra colour and depth to your guitar solos.

video lesson

Carl verheyeN

Waltz Of The Flowers

Exclusive Masterclass Part 4

Bridget Mermikides arranges and transcribes a memorable piece by Russia’s most influential composer.

The awesome American guitarist shows more of his soloing secrets in his fourth essential masterclass for GT!

all yOu NEED TO kNOW abOuT...

blues theory

Jon Bishop explains everything from the chords and scales to turnarounds and jamming the blues. Don’t miss this fantastically useful feature! other great lessons Oz Noy Play outside the box like this virtuoso

Steve Miller

Check out his classic rock guitar style

Django legacy

Fantastic next-generation Gypsy players!

John Denver

The singer-songwriter’s style revealed

plus all this… Alternate picking, string skips, threeoctave cells, reading music, your theory questions answered - and much more!

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

May 2015 issue oN sale friday 17th april Please note: content is subject to change…

98 GuitarTechniques August 2012

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242. Guitar Techniques - Spring 2015

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