Guitar Player Vault - 2016-02

FEBRUARY

2016

W W W. G U I TA R P L AY E R . C O M

CARLOS SANTANA GOING DEEP WITH THE GUITAR GURU

TODD RUNDGREN

LESSON DIMINISHED WORKOUT

Detailed Video Lessons The DVD included in in every book book contains contains complete complete video video lessons and full play-along demonstrations of all the songs.

TNT 2 Software

        parts from classic Led Zeppelin songs with:     •In-depth written lessons •PDF transcriptions with TAB      play-along tracks

Sound-alike and play-along MP3s are included, as well as TNT 2 software software which which allows you to create your own own mixes, mixes, slow tracks down, isolate sections and licks, and loop parts for optimal practice.

  Additional play-along series with video lessons available for Rush, The Doors, Grateful Dead, John Lennon, Led Zeppelin, The Rolling Stones, and The Beatles! Visit alfred.com/uepa for more infomation.

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Bill Amstutz Bob Ziltz Bob Jenkins Beatrice Kim ChristopherCampana Stacy Thomas Ulises Cabrera Mara Hampson

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4 | February 2016 | GUITAR PLAYER VAULT

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BOSS RV-6

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PRS SE 277 Semi-hollow Soapbar

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*Offer applies only to single-receipt qualifying purchases. No interest will be charged on promo purchase and equal monthly payments are required equal to initial promo purchase amount divided equally by the number of months in promo period until promo is paid in full. The equal equal monthly payment will be rounded to the next highest whole dollar and may be higher than the minimum payment that would be required if the purchase was a non-promotional purchase. Regular account account terms apply to non-promotional purchases. purchases. For new accounts: Purchase APR is 29.99%; Minimum Interest Charge is $2. Existing cardholders should see their credit card agreement for their applicable terms. Subject to credit approval. **Please note: Apple products are excluded from this warranty, and other restrictions may apply. Please visit visit Sweetwater.com/warranty for Sweetwater.com/warranty for complete details.

The Return of a Classic

The CE 24 Returning after nearly a decade, the CE 24 is back and better than ever. With a satin nitro maple neck and our 85/15 treble and bass pickups, the CE 24 offers our traditional bolt-on feel with a sound all its own: resonance and punch with great clarity.

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February 2016 · Volume 6, Number 2

nn

from the vault 8

Carlos Santana The guitar guru talks music and spirituality as only he can. (from the November 1974 issue of Guitar Player )

12

Todd Rundgren The Man from Utopia discusses what goes into his unique brand of pop-rock. (from the October 1977 issue of Guitar Player )

Gear 16

New Gear From the February 2016 issue of Guitar Player.

oN the NewsstaNd 20

GP February 2016 Table of Contents

lessoNs 22

Diminished Workout (from the July 2010 issue of Guitar Player )

24

Groove Lesson (from the July 2010 issue of Guitar Player )

sessioNs 26

R E D N A M

The ever-popular TrueFire Lessons

traNscriptioNs

K R A M : O T O H P

28

“Put Your Lights On” Santana

42

“1, 2, 3, 4” Plain White T’s

48

“Runaway Train” Soul Asylum

Carlos Santana - Page 8 GUITAR PLAYER VAULT | February 2016 | 7

classic interview


november 1974

GUITAR PLAYER VAULT | February 2016 | 9

classic interview

november

1974

CLASSIC INTERVIEW

CARLOS TEARING IT UP IN THE MID ‘70S.


from the November 1974 issue of Guitar Player magazine

WE’VE TAKEN DIGITAL WIRELESS TO THE NEXT LEVEL . . .

THE FLOOR

SYSTEM

STOMPBOX

DIGITAL 2.4 GHz HIGH- F IDELIT Y WIRELESS

Combining advanced 24-bit, field-proven performance, easy setup and clear, natural sound quality, our System 10 Stompbox delivers the ultimate wireless experience. With the tap of a foot on the rugged, metal Stompbox receiver, guitarists can toggle between dual ¼" balanced outputs or mute one output without affecting the other. And, since the System operates in the 2.4 GHz range, it’s free from TV and DTV interference . You can also pair multiple UniPak ® body-pack transmitters with a single receiver to easily change guitars. So go ahead, give it a try – we think you’ll be floored.

classic interview


october 1977


classic interview


october 1977

CLASSIC INTERVIEW from the October 1977 issue of Guitar Player magazine

TODD ON TV IN 1977. YES!

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new gear Our NAMM Gallery Previews Some of the Goodies You’ll Want in 2016 THERE ARE HUNDREDS—IF NOT THOUSANDS— of new products debuted

each year at the Winter NAMM show in Anaheim, California. And, no, we can’t see into the future and detail all those gear releases for you right now. But some manufacturers do allow us a little peek into their forthcoming plans, and they’ve made it possible for us to compile this “petite potpourri” for all of you impatient gear freaks. Enjoy. —MICHAEL MOLENDA

1

Collings 360 LT M

An offset solidbody with a Mastery Offset Bridge and Offset Vibrato, a solid ash (or alder) body, and custom Lollar P90s. collingsguitars.com 2 Dan electro 64

2

For Danelectro’s 60th anniversary, here’s a delightful reimaging of a ’60s Mosrite. The 64 pairs a lipstick humbucking pair (with a coil-split option) with a P90. danelectro.com 3 D’Angelico

Tear Drop New Yorker

For the first time in more than 40 years, D’Angelico is building guitars in New York City. This Tear Drop New Yorker was entirely handmade by master builder Victor Baker and his assistants. dangelicoguitars.com

1

3


4

4

Dr. Z Surgical Steel

The good doctor embraces the growing pedal-steel market with a new design—a KT88-based ultra linear amp head with an EF86 front end (for high-input signals), and an Eminence EPS15C speaker. drzamps.com 5 EarthQuaker

Devices Night Wire Handmade one at time in Akron, Ohio, this versatile harmonic tremolo can produce subtle or throbbing tremolo, fixed-filter effects, envelope-filter sounds, and phase shifting. earthquakerdevices.com 6 Eminence HempDog 12

Pete Anderson lent his expertise to this neutral-voiced speaker that balances clarity and a lush low end. “It has the high fidelity I 7

require and the warmth of a hemp cone—an outstanding combination that covers all genres of music,” says Anderson. eminence.com 7

ESP LTD M-400 Maple

New to the popular 400 Series are the M-400 Maple and M-400 Rosewood—each in metallic finishes with Floyd Rose tremolos and Seymour Duncan or EMG

6

pickups. espguitars.com 8 Fishman Fluence

Signature Series Three hot players, three Signature models, two voices per pickup. Devin Townshend’s Transcendence does raging metal or something sweeter. Greg Koch’s Gristle-Tone

5

gives Teles great lead or rhythm 8

sounds. Stephen Carpenter’s Signature (shown) gives 7- or 8-string players the chance to switch between a midrange emphasis and more heat and grind. fishman.com


new gear >>>

NAMM PREVIEW

9

9 Harrison MIXBUS

Harrison consoles are responsible for scores of platinum albums (Thriller , anyone?), and this DAW

11

is based on the company’s hardware mixers—easy to use, and with great-sounding EQ, filters, dynamics processing, and bus summing. harrisonconsoles.com 10 Kiesel Aries AM7

A multi-scale, fanned-fret hot rod with sculpted horns and body and forearm cutaways for easy play. Hundreds of Custom Shop options too! carvinguitars.com 11 Knaggs SSC Signature

The latest Steve Stevens Signature is a more classic take on his previous SS1 and SS2 models. “After pushing the envelope of high-bling factor, we felt the next SS guitar should go back to the roots,” says Stevens. “The SSC showcases a highly fig-

10

ured top, then adds an old-school ABR-style bridge to complement the vintage styling, and includes hand-wound Bare Knuckle pickups for a ‘vintage meets modern’ sound.” knaggsguitars.com 12 Mack ie Reach

Professional PA System This all-in-one sound solution features built-in personal monitoring, Bluetooth music streaming, a 6-channel digital mixer, speakervoicing modes, 16 effects, a feedback “destroyer,” and control via iOS and Android apps. mackie.com


12

NAMM PREVIEW

<<<

13 13 Michael Kelly CC50 Guitar

It’s a vintage-looking guitar with a modern-day secret weapon— the Quad Mod, 4-way tone selector for the CC50’s hand-wound Lindy Fralin pickups. Go from vintage to overwound sounds with just a click. michaelkellyguitars.com 14 Peavey 6505+ Piranha

This aggressive, 20-watt micro head is designed to produce high-

14

gain metal sounds, and features a Bright switch, a Scoop control, and Peavey’s exclusive psychoacoustic effect that chugs massive low-end even through very small speakers. peavey.com 15 Reverend Billy Corgan

BC-1 Signature Two years in the making—mostly

15

due to a promise between Corgan and Reverend founder/designer Joe Naylor not to repeat themselves— the BC-1 includes a raised center ridge, strategic chambering, a segmented aluminum pickguard, and Railhammer Billy Corgan Signature pickups. reverendguitars.com 16 Xotic Effects 16

RC-Booster Scott Henderson Fusion phenom Henderson adds a gain switch to the original RCBooster recipe for more level control. The limited edition comes in sophisticated chrome or copper. xotic.us 17 Yamaha RevStar Series

Evoking the café racer style of motorcycles that swept London and Tokyo 17

in the ’60s, the RevStars feature hip colors, sleek contours, and handwound pickups. usa.yamaha.com


current issue

February 2016 · Volume 50, Number 2

Here’s what’s in th e February 2016 issue of Guitar Player on Newsstands Now! ,

RIFFS Janet Feder gets prepared, Joel Hoekstra keeps you in the game, Steve Hunter talks Lou Reed, Gary Brawer gets you set up, Jim Campilongo spins vinyl, and more!

COVER STORY Billy Gibbons C H A R L E S D A U G H T R Y

29

FEBRUARY2016 /GUITARPLAYER.COM

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A GUITAR PLAYERS PECIALACOUSTICSECTION

J.D. Simo · Billy Duffy · Andy Powell · Francesco Artusato · Johnny A

GLENN JONES OFF-BEAT TUNINGS! PARTIAL CAPOS! AN AMERICAN PRIMITIVE GUITARIST CONFOUNDS THE CONVENTIONAL

NEW! FRETS ACOUSTIC SECTION Glenn Jones Review Breedlove Legacy Concert LTD

BREEDLOVE LEGACY CONCERT LTD REVIEWED

FEBRUARY2016 /GUITARPLAYER.COM

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NAMM Preview

CLASSIC RECORD REVIEWS FROM 1982 STEPHANE GRAPPELI, MIKE AULDRIDGE, AND MORE!

PLUS! NAMM PREVIEW

D R A P P E H S E S S E J

The badass bearded bluesman works his mojo in a totally new context with his latest, Perfectamundo. The Rev spills the frijoles about his tone, his groove, and what it’s like to survive in the industry for nearly half a century.

Vintage Excerpt Record Reviews (from the July 1982 issue of Frets)

121

6 _ rf t _ c o v r _ ph . i n d

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LESSONS Feature Lesson Ri Lineage: The evolution of “Dust My Broom” New Column! Music Reading No more screwing around. Today is the day you learn how to read music!

Riff Lineage Six Degrees of “Dust My Broom”

IT’S T RULY A MA ZING HO W CERTA IN

blues licks and phraseology have evolved both rhythmically and melodically after beinghandeddownoverthecourseofmany generations.Onecaseinpoint,andperhaps themostnotorious, is thesignaturetwobar,“buglecall”rifffrom“DustMyBroom.” Though earlier inferencesto thesong’s melody exist—thetitlelyric“I believeI’ll dustmybroom”firstsurfacedonsingerCarl Rafferty’s “Mr. Carl’s Blues,” recorded in 1933—thefamedguitarfiguredidn’tbegan totakeshapeuntilayearlater. Ex.1 depicts arguably the first recorded appearance of the series of eighth-note triplet doublestopsessentialtothe“DustMyBroom”riff

BY JESSE GRESS

Ex.1

GEAR

= ca. 88

Open C Tuning (C G C E G C

)

C 4 4 3 w/slide C G E C G C

0 0 0

3

even gliss

let ring T A B

3

0 0 0

11 11 11 12 12 12 12 12 12 11 11 11 12 12 12 12 12 12

12 12

0 0 0 0

12 12

12 15 12 15

12 12

10

0 0 1 2 10 0

“I BelieveI’llDustMy Broom”

Words andMusicbyRobert Johnson.Copyrigh t (c) (1978),1990,1991Standing OvationandEncoreMusic(SES AC).Underlicens efrom TheBicycleMus icCompany.All Rights Reserved.Rep rintedby Permissionof Hal LeonardCorp oration.

70

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on _f

GUITARPLAYER.COM/FEBRUARY2016

ur t _du t mybroom_ln .indd

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M O C . R E Y A L P R A T I U G

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NEWLESSONS!

• CLASSICRIFF: “WHATI LIKE ABOUTYOU”

MOREGEAR!

GUITARTALK!

Classic Riff The Romantics’ “What I Like About You” Artist Lesson Cop the keyboard solo to Edgar Winter’s “Frankenstein”

• STOP STALLING! LEARNHOWTO READ MUSIC • ROCKEDGAR WINTER’S “FRANKENSTEIN” SOLO

N T I O S E C S I F F S O ’ S T I P S T P L D R W L P E O - E T O O L A M • H F H O R E V • S E L • C O /

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NAMM Preview PRS CE 24 Bolt-On Epiphone Joe Bonamassa Signature Les Paul ISP Theta Pro Swope GTO Gretsch G6120 Brian Setzer Nashville Ernie Ball Music Man Cutlass and StingRay Crazy Tube Circuits Splash mk3 Mindblower of the Month MXR EVH 5150 Overdrive Mojotone Stompbox Suitcab Dream Studios Jupiter Blues Mu-FX Octave Divider and SviSound Overzoid Whack Job Rainy Day Instruments Artist Box Guitar Classic Gear 1967 Marshall JTM50 “Plexi” Head

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classic lesson

Creative Edge Robot Invasion! BY ANDY ELLIS

IN

LAST

MONTH’S

LESSON

[“Diminished Transformers,” June 2010 GP], we explored the concept of unfolding a diminished 7 chord into four dominant 7s, an idea we can attribute to Pat Martino. We compared this process to manipulating Transformers from their robot form into something new and different. In this lesson, we’ll take this chord-generating technique even further. For starters, let’s revisit the basic principle: If you lower a note within a diminished 7 chord by a half-step, you’ll get a dominant 7 chord with the lowered note as its root. Because lowering any of the

diminished 7’s four notes will generate a new dominant 7, one diminished 7 voicing spawns four dominant 7s. Look at Ex. 1, which has a Gdim7 as the first voicing. Pluck Gdim7—it’s our diminished 7 transformer in this lesson—then lower the root on string six by one halfstep to F #. As shown in the second grid,

Ex. 1



Gdim7

F 7

X

X

7 3 5

1

X

7 3

1



E 7

X

X

5

3

1 5

A7 X

X

7

7

C7 X

X

5 1 3

5

X

3

71

Ex. 2 Gdim7 X



A7 X

F 7

X

X

C7

X

X

X

IV

3

 7

1 5

X

X

IV

V

V



E 7 X

V

1

7 3

5

3

1 5

7

7

5 1 3


5

3

7 1

this lowered note becomes the root of F #7. At the bottom of the grid, you’ll see each tone’s function in this new chord. To help you visualize the root, it’s shown as a hollow circle on every chord grid. After strumming Gdim7 again, drop the note on string four by one half-step and you’ll get an Eb7. Repeat the process lowering the notes on strings three and two to generate A7 and C7 chords, respectively. We’ve now created four dom7 voicings from a root-position dim7 voicing. Moving a diminished 7 voicing three frets higher brings you to its nearest inversion. Ex. 2 begins with a 1st-inversion Gdim7, which, like its root-position predecessor, spawns four dom7s. We get new fingerings of the same four chords we generated in Ex. 1— F #7, Eb7, A7, and C7—except now they’re in a different order. Examples 3 and 4 carry us through the 2nd and 3rd inversions of Gdim7 and yield two more sets of our dom7 chords. This means

july 2010 Ex. 3

Gdim7 X

C7 X

A7

X

X

X

X

F 7 X

VII

5 3 71

X

X

VII

VIII

VIII

CHORD INVERSIONS





E 7

X

VIII

7 3

1

5

3

1 5

7

7

5 1 3

5

3

7 1

Ex. 4

Gdim7 X



E 7 X

X



C7 X

F 7

X

X

A7

X

X

X

7 5 1 3

X

X

XI

XI

X

XI

7 3

1

5

3

1 5

7

7

5 1 3

5

3

7 1

Ex. 5

A7 X

A6 X

X

Am7 X

X

Am6 X

IV

X



Am7 5 X

IV

X



A7 5 X

IV

X

X

IV

V

V

7

1

1

3 5

Amaj7 X

7 3 5

1

6 3 5

Amaj9 X

X

A9 X

IV

1

X

6

3 5

X

V

7 3 5

X

A13 X

X

X

IV

V 1

A7 5

X

7 3 5

1



A7sus4 X

7 3 5

1

1

7 9 5 (2)

1

7

9 5 (2)

we now have four ways to play F #7, Eb7, A7, and C7. Some of these 16 dom7 chords are old friends, but it’s likely some will be new, or at least, less familiar to your fingers. And because these voicings are moveable—they contain no open strings—every one of them can be played chromatically up and down the fretboard. Wow, a plethora of dom7s! But what’s the point? Beyond having a wealth of dominant 7 possibilities at your fingertips, there’s an excellent reason for spawning so many dom7s from diminished 7 transformers: A dominant 7 chord makes a superb platform for generating a wide variety of other chord types. Let’s take just one dom7 fingering to make this point—the A7 we first encountered in Ex. 2. Because it’s conveniently positioned in the middle of the fretboard, raising or lowering one or two notes in this A7 fingering is easy. Look at Ex. 5 and the 1-b7-3-5 A7 voicing in the upper left grid. If you lower the b7 to 6, you get A6. Or—returning to A7—lower the 3 to b3 to generate Am7. Or combine the 6 and b3 to get Am6. See what’s happening? By sliding one or two notes up or down from

V

1

7 4

5

V

1

7 3 5

1

7

3 13 (6)

our starter A7, we get the 12 chord types shown here. In other words, from a humble A7 we can wrangle A6, Am7, Am6, Am7b5, A7b5, Amaj7, Amaj9, A9, A7sus4, A7#5, and A13. And with a little investigation, you’ll find other chords too. Let’s recap: • We start with a single dim7 fingering. • Lowering any one note of this dim7 yields a dom7 voicing, for a total of four dom7s from one dim7. • Moving along the fretboard through the given dim7’s inversions (root, 1st, 2nd, and 3rd) generates a total of 16 dom7 chords. • Raising or lowering one or two notes within a dom7 chord yields other chord types, such as m7, maj7, 7 b5, and so on. • Because we’re working with moveable forms, every chord shape we uncover can be played in all 12 keys. At this point, we have a wonderful alternative to a chord dictionary. If you recall, in last month’s lesson we looked at four dim7 fingerings on different string sets. In this lesson, we walked one of these dim7s through its inversions. To get a thorough workout,

A seventh chord is composed of four notes—the root, plus the third, fifth, and seventh tones of a major scale starting from the same root. This 1-3-5-7 arrangement can be altered according to specific formulas to create a variety of chord types. For instance, a dominant 7 chord has a formula of 1-3-5- b7 and a minor 7 chord has a 1- b3-5-b7 formula. When the root is the lowest note, the chord is—not surprisingly—in root position. But there are other ways to stack the notes. When you move the root up an octave, the chord is in its 1st inversion (3-5-7-1). Now move the 3 up an octave, and you get a 2nd-inversion seventh chord with the 5 as the lowest note (5-7-1-3). Moving the 5 up an octave yields a 3rd-inversion seventh chord (7-1-3-5). In each of these inversions, the notes remain within a single octave; this is called a close voicing. In an open voicing, selected notes are shifted to lower or higher octaves to create seventh-chord harmony that extends beyond an octave. —AE

march the other three through their inversions. Simply start with a dim7 transformer, grind out the dom7s in each inversion, tweak the dom7s as we did in Ex. 5 to create other chord types, and you’ve got dozens and dozens of useful voicings all over the fretboard. No doubt you’ll like the sound of some but not others, and you’ll also find some are easy to play while others are very difficult. Write down the voicings you like, and discard the rest. It takes time to explore the fretboard this way, but such is the price of mastery. To avoid being overwhelmed, just ease into the concept, and whenever you get an “aha” moment, remember to thank Pat Martino. g Andy Ellis hosts The Guitar Show weekly radio program, which streams online. Visit the guitarshow.com for details.


classic lesson Back to School GIT’S DEAN BROWN MAPS THE DNA OF THE GREAT AMERICAN GROOVE BY JUDE GOLD

“EVER BEEN TO THE EXPERIENCE MUSIC PROJECT

in Seattle?” asks Dean Brown. “You gotta go. They have that big Hendrix exhibit, and one cool thing you can do there is listen to famous Hendrix tunes with the different tracks isolated. You can solo Jimi’s individual guitar parts. For a guitar player, that’s heaven.” What mesmerized Brown most about being able to put Hendrix’s tracks under the microscope in this manner was not so much the note choice and tone, but the guitar god’s incredible sense of groove; his powerful pocket. “Each time I listened to just his part with all the other instruments muted, I was amazed,” says Brown. “It didn’t need the bass, the drums, or anything. The whole tune was there in his playing.” By now, you’re probably wishing you could hear exactly what Brown heard, but don’t worry—if you can’t get to Seattle anytime soon, here’s the next best thing: Pretend you’ve never heard “Voodoo Child (Slight Return)” before, get out your favorite set of headphones, close your eyes, and listen to the song’s famous guitar intro. “The wah-wah tone is amazing, but for me, the real magic of that part lies in how Jimi carries the groove within his strumming,” says Brown. “Before he starts playing actual notes, he’s strumming the muted strings, hitting accents, like he’s a drummer. The crucial thing to notice here is that when he switches to the melody part, he’s still playing like he’s a drummer. He might fret only one note, muting the other strings, but he’s still striking all the strings, keeping that groove going, never falling out of drummer mode. That’s a blues thing that goes a ll the way back. Listen to old recordings of acoustic blues players—they rarely, if ever, strike just one string at a time.” If you can judge a guitarist by the company he keeps, then it’s obvious Brown takes groove very seriously, because many of his world tours—as well as his new solo album, DBIII: Live at the Cotton Club Tokyo [Abstract Logix]—feaMORE ONLINE ture powerhouse drummer Dennis Chambers and top call bassist Will Lee. That duo Check out Dean Brown Dig into a private wouldn’t step on stage with anyone posas he throws down at lesson with Dean the Baked Potato. Brown. sessing less than awesome time. And when he is teaching at GIT, the guitar program at Musicians Institute in Hollywood, his educational passion is clear: “My whole mission in life is to get guitar Get these links and more at www.guitarplayer.com/july2010 players to buy into this thing about deliver-


july 2010 ing the complete groove, whether they’re playing a melody, a solo, or a rhythm part,” says Brown. “The guys who do this naturally are the ones who get all the work, because they make it feel good for the artist and the other musicians. A guy can have all the chops in the world, but if the pocket doesn’t feel right, it’s no fun. Don’t be that guy.” Over the years, Brown has developed some very handy exercises that can help you avoid ever being “that guy.” To get started, mute all the strings, perhaps using the comfy, muted E9 grip in Ex. 1. Then, get out your metronome and strum the muted strings in sixteenth-notes—that’s four strikes per downbeat—using an alternating down/up strumming attack [ Ex. 2]. Whatever you do, do not overlook the two accent marks. “The most important thing is to bring out beats two and four,” says Brown. As he loops the example, he really whacks those two beats. “Those two accents have to be strong and stand out. Those are your snare hits; your handclaps.” Ex. 1

Ex. 2



  4                                 4 4       4                     

X2 1 3 3 3 X X

them, remember two things: Even though your strumming hand “plays through” every pulse in the bar, you don’t always have to make contact with the strings. (“If you do, you’ll eventually drive your drummer crazy,” cautions Brown.) And when it comes to written music, it will rarely be presented in this level of sixteenth-note detail. “You’ll probably see stuff written more like this,” says Brown, referring to Ex. 7, which shows how Ex. 6 would appear in a typical score or lead sheet. The ultimate goal is to apply this level of alternating-strum groove not just to rhythm parts, but also to riffs and melodies—everything from simple, one-bar hooks to more elaborate phrases, such as the B section to Brown’s song “Beatin’ Silver” [Ex. 8]. “Keeping the strumming hand going through everything is about something way bigger than rhythmic precision,” reflects Brown. “It’s about music—particularly backbeat-oriented music, like funk, jazz, blues. American music.” g

Ex. 3

Evenly

E9(muted) VI

In the next few examples, you’ll actually fret E9 in places. While maintaining your sixteenth-note strumming pattern, fret the chord wherever you see a solid note head. In Ex. 3, that means you fret the chord on beats one and three, and mute the strings for the other 14 pulses in the bar. “But don’t accent E9 in these examples,” says Brown. “You still only accent beats two and four. E9 shouldn’t be strummed any harder than any other pulse in the bar except those two accented strikes. Two and four should pop.” Clear on the concept? Now, apply it to Examples 4, 5, and 6, always keeping the accented strikes on beats two and four much louder than the others. “Now we’ve covered every pulse in the bar,” says Brown, “and each pulse has its own signature in how it relates to beats two and four—its own rhythmic DNA.” It may take weeks, months, even years to truly master basic building blocks of groove such as these, but as you work on

E9(muted)

= 60-100

= 60-100

E9

*

XXX

*

= downstrum,

= upstrum,

= accent

Ex. 4



Ex. 5



    4 4             4    4                = 60-100

E9

Ex. 6



= 60-100

E9

Ex. 7



  4 4                     4 4                      44                                                                        = 60-100

E9

= 60-100

E9

Ex. 8

= ca. 80

()

T A B

1010

10

10

10

10

7 7

7

7

7

7

6

3

2 5

3

3

4

4 7

5

5

5

6

7

7

5

5

4 3 2

6 5 4

3


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Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.

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SITTING IN: BLUES GUITAR

                                                                                   

 

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52 | December 2016 | GUITAR PLAYER VAULT

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