Guitar Techniques 2013 October - 222

the finest guitar lessons on the planet

world’s clearest

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Born Under A Bad Sign Learn a classic from two giants

easy jazz Get jazzier today with just one easy lesson!

p.70

How to get the blues from your...

whammy bar

steve hillage Play like Gong’s amazing guitarist

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guitar tuition

l i s t e n , l e a r n a n d p l ay !

blues, rock, jazz & more

style studies

T-Bone walker Brooks & dunn johnny Thunders

ISSUE 222 octobEr 2013

the

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.

paul bielatowiCz One of our greatest rock guitarists, Paul plays with prog legends Carl Palmer and Neal Morse, and is a most welcome regular contributor to GT.

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

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

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

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

terry lewis Terry has toured the world in support of a host of big name acts. He currently teaches at BIMM Brighton, writes with canny insight and plays superb guitar.

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

Welcome IN HIS TRANSCRIPTION of Born Under A Bad Sign, Jacob opines that some see Albert King as the ‘ultimate blues musician’. I have to say I’m among that group. I was lucky enough to hear Albert at the time the album of the same name came out. We also had the single Cold Feet, with You Sure Drive A Hard Bargain on the B-side. I’d known about John Mayall for a couple of years, Hendrix was on the scene and Cream were in full Àow. So I was well into what I believed was real blues. Then I heard Albert and realised that my heroes, whom I loved and still do, were mere imitations of the real deal. They had to be, since these guys were not brought up in poverty in America’s southern states, where racial segregation was still rife and where blues was not a ‘musical genre’ but a way of life. Albert actually picked cotton on a plantation; he didn’t grow up in leafy Surrey or Cheshire! “There’s no problem for me to play the blues, because I’ve lived it, man,” he once said. “You’re lookin’ at a guy that’s been so low that gettin’ up didn’t even cross my mind. I sing the blues to tell a story. There’s just one way to play the blues, and that’s to play the blues. You can’t mix Lionel Hampton (jazz vibes player) in with the blues; you

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can’t mix The Cream in with the blues; you can’t mix Country Joe And The Fish (US hippy folk band) in with the blues; and you can’t mix The Rolling Stones in with the blues. You got to play the blues! Now, if you want to play somethin’ by The Rolling Stones, then you go and rehearse their stuff and you play it - but you won’t be playing no blues!” Albert didn’t mince his words! So it says a lot that he took Stevie Ray Vaughan to heart so readily. Sure, they were both from America’s south - Albert from Mississippi and Stevie a Texas boy but where this giant of a man could be confrontational with those he saw as ‘rivals’ (he even intimidated Gary Moore, a fellow not known for his bashfulness), he took Stevie under his wing. Vaughan paid Albert back in so many ways and this month’s tab of ‘Bad Sign’ brims with the mutual admiration of pupil and master. I hope you enjoy it. See you next month...

Neville Marten, Editor [email protected]

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

jaCob quistgaard Music Tech’s Jacob is a fantastic find. Not only is his writing great but he’s a superb player who can turn his hand to anything. Welcome aboard, Jacob!

stuart ryan Stuart is Head Of Guitar at BIMM Bristol, teaches at Bath Spa University and is a top solo acoustic guitar virtuoso. His debut CD, The Coast Road, is out now.

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

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

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

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

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

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

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

October 2013 GuitarTechniques 5

• C ON T E N T S • O C T ObE r 201 3 •

Learning Zone lessons introduction

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30-minute lickbag

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Jason Sidwell introduces this month’s music packed Lessons section.

BIMM’s Terry Lewis has six more licks for you in easy, intermediate and advanced flavours!

blues

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rock

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creative rock

72

hot country

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Prog

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acoustic

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rockschool

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John Wheatcroft looks at the legendary electric blues pioneer T-Bone Walker.

Martin Cooper goes punk this month with a lesson on the New York Dolls’ iconic guitarist Johnny Thunders.

RObeRt Knight ARchive/RedfeRns, dAvid RedfeRn/RedfeRns/getty imAges

Shaun Baxter has now moved his way up from 2nds to 3rds to 4ths to 5ths. High Fives then! Andy Saphir meets modern country music’s most popular guitar playing duo, the two and only Brooks & Dunn!

Paul Bielatowicz looks at the guitar style of original progger Steve Hillage, who also played with Gong, System 7 and The Orb.

cover feature albert king and srv! Born Under A Bad Sign Jacob Quistgaard gives us two for the price of one as he transcribes the superb performances of two great blues heroes!

FeaTUreS 30

special feature #2

welcome

5

theory godmother

8

David Mead addresses your technical, musical and theoretical issues.

talkback

9

intro

10

back issues

92

Tell us your views... don’t hold back! News, One-Minute Lick, 60 Seconds With, What Strings, That Was The Year and more...

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If you’d like to learn jazz but feel intimidated by the style, fear ye not, for Phil Capone has devised some cool gateways into the genre.

classical transcription ludwig van beethoven Ode To Joy

ViDeo MaSTerCLaSS

Nev waxes lyrical about Albert and Stevie Ray

Learn how to use the whammy bar to create fabulous bluesy effects in the styles of Beck, Hendrix, Satriani, Blackmore and many more.

easy jazz Learn jazz the easy way!

Charlie Griffiths continues his A-Z of music theory with N for Natural harmonics, Ninth chords, Neapolitan scales and Note values!

reGular features

special feature #1 whammy bar blues Abuse that tremolo arm!

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Bridget Mermikides arranges and transcribes a classical guitar version of the uplifting finale theme from Beethoven’s mighty Ninth!

Stuart Ryan arranges and transcribes John Bunyan’s haunting To Be A Pilgrim for modern solo acoustic guitar.

Missed one? See how you can get it – here!

albums

93

Top guitar CDs and DVDs reviewed and rated.

tab guide

94

Our terms and signs explained.

subscriPtions

96

next month

98

Save time and money – get GT delivered!

The Beatles’ Twist & Shout. Plus Clapton, Judas Priest, modal chord progressions and more!

steve lukather lesson Pt2 66

Toto guitar hero and session ace Steve shares more of his guitar secrets with all of us.


Q&A Post your playing posers and technical teasers to: Theory Godmother, Guitar Techniques, 30 Monmouth Street, Bath, BA1 2BW; or email me at [email protected] - your wish is my command! Fright Night! Dear Theory Godmother I took up guitar just under three years ago, starting on acoustic and progressing to electric last year. I am trying my hardest to learn pieces by my idol, Dr Brian May, using guitar tab apps and the trusty Guitar Techniques mag. I was overjoyed when I learned the solo from We Will Rock You. So, armed with a few good guitar songs, I entered a school talent show about two weeks ago. I felt fine until I actually got up on stage; but then my leg started to have convulsions, my hand started to shake, my strumming arm tightened up, my face felt hot and was going a bright shade of red. I was experiencing stage fright! It affected my performance and I didn’t win. What I was kicking myself about was that these were people I knew; I had no reason to be nervous. Have you any advice on how to combat stage fright, as I am eager to start up a band; but my stage fright, I fear, may hinder my performance. Help! Leon Everyone suffers from stage fright at some point in their career, Leon. But it’s usually cured by experience. The more times you appear on stage, the easier it will become and the nightmare you experienced at the talent show will be something you’ll almost certainly look back on with a smile! Meanwhile, if you try to play in front of people as often as you can in any context - friends and family (although they can be the worst critics!) - you’ll find that you gradually become more and more relaxed. And being relaxed while you’re playing is a major step towards a fright-free performance. There are many books on the subject and one I’d particularly recommend - as I know it’s helped a lot of people - is The Inner Game Of Music by Barry Green. In the book he talks about the reasons behind stage fright and there are exercises that will help you relax on stage - but the most important thing is to realise that you’re not alone and stage fright can be beaten.

8 GuitarTechniques October 2012

EXAMPLES 1 - 8 Ex 1

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Playing Over Changes Dear Theory Godmother

My problem with soloing is that I have trouble relating the chords to what I’m playing. For example, if it’s over a I IV V blues progression I feel like I’m sticking to the minor pentatonic the whole time and it sounds a bit too repetitive and stale. But I know that paying attention to the harmony while considering what notes to play is the way to go, although I have trouble grasping this concept while playing. Am I supposed to play the chord tones from the harmony on the backing track and use the best scale that corresponds to the chord tones? I play rock, blues and funk stuff so I believe that knowing more about playing from the chord rather than

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only using scales would significantly improve my soloing. I hope you can help me here! Jordan-Lee Johnstone Playing on the chord tones - or, better still, around the chord tones - will give you the best fit when it comes to taking a solo. If your pentatonic soloing has been at all randomised up until now, then it’s time to go back to the woodshed and review the relationship between melody and harmony. You mention a standard blues I IV V progression and so that’s probably a good way to start as it’s a common enough vehicle in all the music styles you mention. The only thing I would say is that the unique harmony of the blues - that is, three dominant 7th chords in a

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single ‘key’ - means that there’s not the same kind of relationship that you’d find in many folk, pop or rock songs where the I IV V would comprise two common major chords and a single 7th (Ex 1). Here, it’s likely that one scale would be enough to successfully navigate the progression - but it would fit that much better by paying attention to the chord tones underneath. In any case, the rules for locking melody and harmony together are very similar in any style and so I should be able to kick-start the process for you by looking at the blues. If you examine Example 2, you’ll see a C7 chord and the C minor pentatonic scale. You can see straight away that the scale-to-chord relationship is not a perfect one, mainly thanks to the b3rd (Eb) in the scale versus the major 3rd in the chord (E). But this can be remedied by either bending the 3rd sharp - the infamous ‘blue 3rd’ - or simply fretting the major 3rd as is. Now take a look at Ex 3 - this is a well worn blues cliché but look at what it’s doing. We’re basically tracing the chord by using a slightly skewed arpeggio and so chord and melody are in perfect alignment. But this lick wouldn’t fit the IV or V chords, despite them all sharing a common scale. So we remedy that by playing from the different roots as they come up in the progression (Ex 4). In truth the minor pentatonic only really tells half the story where blues soloing is concerned. But it’s a good introduction to this idea and if you use it often it can be a great vehicle for honing other guitars skill, such as bending, legato (hammer-ons and pulloffs, finger vibrato etc. Go through some transcribed blues solos (we have them in GT every month!), taking note of what’s happening over the chords. Soon your ear will ‘lock on’ to the harmony and your soloing will start to sound more intuitive. Then check out Jacob’s super Stunning Solos feature in GT221, which covers the topic in exhaustive detail.

Visit www.davidmead.net to check out DavidÕs books and solo CD...

Write to: Guitar Techniques, 30 Monmouth Street, Bath BA1 2BW. Email: [email protected] using the header ‘Talkback’. A WRITER SHADE OF PALE

Thanks for the inclusion of Lady Writer, and the music in the mag (very impressive). I have to disagree with you on this rock classic though. While Lady Writer has some great runs, it doesn't beat Sultans Of Swing for inventiveness. As a long time KnopÀer fan, I've always regarded Sultans as one of his best ever. It has so many innovative licks joined together. Lady Writer was great though. More like this please have you ever put Sultans in the mag? They would queue up to buy it! Tony Lansbury, Tonbridge, Kent We have indeed run Sultans – on more than one occasion in fact! And that’s why we chose Lady Writer this time, in order to give people some 70s era Knopfler while not unnecessarily repeating ourselves. Jon Bishop transcribed the piece and also played the audio. We were stunned by the quality of his work, too. We’d say it’s one of the best we’ve ever featured (and have told him so).

COMPUTER APP FOR GT?

I'm a relatively new subscriber. I tried to get all the issues from my local magazine shops from the moment I bought my ¿rst copy (#162 March 2009). I lived in Beirut, Lebanon until recently with no permanent address so I couldn't ever have a back issue sent to me. Therefore I am still missing a few copies from the past couple of years because I couldn't ¿nd them. I noticed that there is an app for IOS so I downloaded an issue of Guitar Techniques onto my iPhone. I must say that your work continues to impress and is still the best thing to improve anyone’s licks out there. However I’m not sure if this is just a ‘me being technologically incompetent’ thing or an ‘Apple’ issue but since I bought the issue through the App Store I can only read it on my iPhone or on an iPad, since I don’t have an iPad and really don’t feel like dishing out for one, is there any chance that GT can become available to read via my Mac through the app store? Clovis El-Khazen At the moment the GT digital version only works fully (with audio) on iPad and KindleFire. The reason it doesn’t on other platforms is that they can’t handle

Star LEttEr WritE onE and Win a prizE! ALBUM ORIENTATED ROCK

well constructed synth lines; cleverly thought-out guitar I was really looking forward to the Mick Jones piece riffs or arpeggios and usually very melodic bass lines – not and I enjoyed it, but it got me wondering. I like AOR to mention walls of vocal harmonies – means it’s often and I write songs but can't write quite tricky to pull AOR songs apart anything that sounds authentically that easily. The reason for this is that AOR. When I watch bands like there’s so much layering going on, and Journey, there's Jonathan Cain so many ‘implied’ harmonies, that bashing out recognisable shapes often you can’t say, “yes, that’s G to E but Neal Schon isn't. So what I am minor to C,” etc. From the writing wondering is if part of a style (along perspective, slash chords figure large with things like rhythm, chord – chords where the bass note is not the types etc) is the chord voicings that root – and small guitar chords (again are used. Does AOR sound like often three-note inversions where the AOR at least in part because they bottom note is not the root) add to the don't rely on the standard shapes confusion. Andy Saphir’s current that we all know and run back to? country series looks at how Nashville If that is the case then I was hoping songs are put together, and it strikes maybe GT would think about me that AOR is another candidate for considering some lessons in chord tackling in this way. So it’s on the choices and voicings of particular agenda, but boning up on your styles or particular bands. If it isn't CAGED chord shapes is a great start to Is there an answer to the AOR voicings then it's back to the understanding what’s going on! chord dilemma? woodshed for me, unless you feel like sharing the secrets... STAR LETTER PRIZE Duff Our friends at Sound Technology are donating a fab DigiTech The AOR thing seems to me to be an amalgamation of HardWire pedal to our Star Letter clever songwriting and amazing production – even writer every month. over-production. The layering of large keyboard ‘pads’ and the interactive audio. You can buy GT as a PDF page turner via Zinio and Google Play, but they don’t support the audio and so essentially you’re only getting half a magazine. However, as more and more touch screen desktop and laptop computers become available, the possibility that magazines such as GT could be used this way seems ever more likely. It would be great if Apple’s next generation computers were touch screen and opened up Newsstand for products other than tablets, smart phones etc; the same for PCs and Android. It would open up vast markets that are currently untapped, and help those without tablets to take advantage of what GT has to offer, digitally. GT is brilliant digitally too!

GET THE FUNK OUT

Have you guys ever thought of putting the tabs you do up for sale in PDF format or similar? I lost a lot of my magazines years ago and sorely regret it. I'd happily pay to get back some of the articles and especially some of the gold-dust tabs, such as Paul Gilbert's Scari¿ed. Seriously - would there not be a market for this? In other news, great magazine this month. I'm getting back into guitar after a long 'drought,' basically tried to take too much on (¿ngerstyle, Àamenco, jazz) - and I stopped playing. Now I'm sticking 90% to rock with 10% ¿ngerstyle on the side. The funk section was awesome; rhythm is sorely lacking from most players' skill sets. I greatly look forward to playing the changes in next month's mag, as well. In that same vein I recently ordered Troy Stetina's 'Fretboard Mastery' which I hope will help a lot. You can't beat your mag, it's the best out there focusing on the playing and theory from the best players around. Lastly, how under-rated is Nuno Bettencourt? His

funk-rock type playing is amazing, he makes great use of arpeggios and it's all so musical. How about instead of Clapton (lol) or Slash (who I do think is awesome) on the front, we go back to some of those great 80s and 90s rockers who could play skillfully with melody? Lastly, having failed to join a band (despite my excellent chops) I'm thinking of doing acoustic rock plus singing (I'm getting singing lessons) - have you ever done a feature on this? Thomas We are big Nuno fans, Thomas. He’s one of those rare beasts that combine pure funkiness with extraordinary rock chops. Thanks for your comments about our funky issue – we have tried over the years to big up the rhythmic side of things and you might not be surprised to learn that our more rhythm based issues are among our best sellers. On the PDF front, see my reply to Clovis – you can buy GT in PDF format (no audio, unfortunately) via Google Play and Zinio. Or if you have an iPad, it’s available with audio and animated tab – a cursor follows the music in time; you can download a free issue to try it, too!


• Gu i ta r t e ch n iqu e s • O c t Obe r 201 3 •

RIP JJ Cale (1938-2013)

Jan PerssOn/redferns

We are sad to announce the passing of JJ cale, a leading singer-songwriter whose laid-back style was a major inÀuence on the likes of eric clapton, neil Young, Waylon Jennings, Lynyrd skynyrd, Kansas and other rock artists. JJ passed away at 8pm on Friday July 26 at scripps hospital, california, after suffering a heart attack. clapton covered a number of songs by cale including cocaine and after Midnight during the early 1970s and the two stars later collaborated on the Grammy winning album, the road to escondido (2006). JJ was born John Weldon cale in Oklahoma city on december 5, 1938. he grew up and honed his musical skills in nearby tulsa and moved to california

during the early 1960s to work as a studio engineer and solo artist. his early singles after Midnight (1966) and crazy Mama (1971) achieved moderate commercial success but happened to draw attention from a number of leading artists, including clapton. he changed his name to JJ cale to avoid confusion with John cale of the Velvet underground. success came with early-to-mid 70s albums naturally (1972), really (1973), Okie (1974) and troubadour (1976), which cemented his legendary singer-songwriter status. his songs were evocative and his delightful, laid-back sound was never surpassed. clapton once said, “i’ve never really succeeded in getting a record to sound like him and that’s what i want.”

Peavey’s most advanced guitar amp yet? Peavey says its new Vypyr ViP modelling ampli¿ers (£155-£329 with ‘Variable instrument Performance’) “bring an new level of technological sophistication and tonal versatility to the world of amp modelling”. at the 2013 naMM show it earned the prestigious ‘Gotta stock it’ award, among other accolades. Peavey says the ViPs are the world’s ¿rst amps that contain electric guitar, bass guitar, and acoustic guitar models. With the company’s Variable instrument input, a single amp can work with all three instrument types. not only are players able to switch from an electric amp, to a bass amp, to an acoustic amp, they also have the ability to access instrument models as well. With the Vypyr ViP series, players can access realistic instrument simulations, allowing them to manipulate the sound of their electric guitar to mimic an acoustic guitar, a bass, a 12-string guitar, and more. sounds pretty cool! Visit www.peavey.com for further information.


A new VIP joins Peavey’s Vypyr modelling range...

Exciting new Clapton book! Carlton Books announces the publication of Chris Welch’s new book, Eric Clapton Treasures, a celebration of the career of one of the greatest living guitarists. It includes rare memorabilia and over 150 images. The book is out on November 14 and costs £30. In a career spanning 50 years Clapton has received countless awards and remains the only musician to be inducted into the Rock & Roll Hall of Fame on three occasions. Rolling Stone called him the “greatest living guitarist”. Welch has witnessed EC’s career first hand, so Treasures celebrates this legendary musician with expert text, rarely published photos and 20 items of facsimile memorabilia, including: signed photographs of Cream playing in Sweden in March 1967; an original business card for The Yardbirds with an endorsement from Sonny Boy Williamson, with whom the band recorded an album; an invitation to The Rolling Stones’ Rock & Roll Circus where Clapton played alongside John Lennon, Mick Jagger, Keith Richards and other legends in December 1968; and an autographed Delaney & Bonnie flyer featuring signatures of Clapton and George Harrison. Eric Clapton Treasures gives the reader both a front row seat and backstage pass to the career of a legendary musician. It’s a treasure trove, the ultimate celebration of Eric Clapton’s extraordinary career. Visit www. carltonbooks.co.uk for more info.

Godin left-handed 5th Avenue (left), Kingpin (centre) and Multiac (right) guitars

Buy Stuart’s new acoustic book!

Stuart Ryan has a new Book/CD of fingerstyle arrangements entitled The Tradition (£14.99). Says Stuart: “There are so many great traditional tunes from the British Isles and America. So I wanted to create a resource for guitarists to expand their fingerstyle repertoire, broaden their technique and explore some altered tunings. I’ve included a few modern twists technique- wise so players can also explore harmonics and percussive slaps. The book contains 11 tunes, performance notes for each track and it’s all on the accompanying CD. Virtuoso guitarist Thomas Leeb describes The Tradition as: “An instant classic, it’s well thought - and laid – out, and last but not least, the arrangements are gorgeous!” Visit www.stuartryanmusic.com for further information.

Godin announces new lefties are YOu a a lefty? does it irk you to bits that there are not enough great left-handed guitars around to choose from? Well help could be at hand as Godin has added a number of left-handed guitars to their extensive range. the 5th avenue Kingpin P90 Left (£699) brings you back to a time when the archtop acoustic guitar reigned supreme. Made from canadian Wild cherry, the body of the 5th avenue features a moulded

arched top and back, as well as an adjustable bridge, classic f-holes, contoured high-gloss headstock, Godin Kingpin single-coil P90 pickup, Àoating pickguard and cream binding. the session Left (£549-599) features a heavy canadian Laurentian basswood body, hard rock 22 fret rosewood or maple ¿ngerboard two Godin Gs1 single-coils and one Godin humbucker, a ¿ve-way switch and coil-tap facilities, plus vintage

style vibrato. and ¿nally, the Multiac nylon encore Left (£899) boasts the all-round sonic versatility of custom electronics by ePM and an easy-to-use blendable dual source system featuring an under-saddle transducer and an acoustic soundboard transducer so you can blend one into the other. Visit www.440distribution. com or www.godinguitars.com for further information on this exciting new range.

PHIL HILBORNE’S ONE-MINUTE LICK DOMINANT BENDING LICK all of these bends as accurately as possible and play them with lots of conviction. To replicate my version correctly you will need to add a ‘swing’ feel to the notes and make sure that you damp with both hands where possible, to lessen handling nose. Also, be sure to observe all the 8th-note rests as indicated in the music. After playing through the lick a few times, create similar ideas of your own invention, in different positions and using string bends on all the remaining strings.

Here’s a bluesy lick that’s played against a dominant chord type (1 3 5 b7). Notice how the ¿rst two bars contain a simple riff and a double-stop slide that serves to outline the accompanying B7 chord (B D# F# A). This is a typical thing to do as it sets up the lick and also helps you to ‘hear’ the chordal setting better – albeit in a fragmented way. Bars 3-4 feature an ascending series of four-note string-bend phrases that follow a 6-b7, b7root, root-9th and 9th-3rd (10th) bend sequence. Aim to pitch –

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60Secnds wit...

A minute’s all it takes to find out what makes a great guitarist tick. This month: The Spin Doctors’exciting lead guitarist, the great Eric Schenkman GT: Who was your first influence to play the guitar? ES: The guitar player in the apartment next door to ours when I was a baby.

Eric Schenkman: Spin Doctors’ SG wielding axeman

GT: What was the first guitar you really lusted after? ES: A tobacco sunburst Aria acoustic. GT: What was the single best gig you and the band ever did? ES: Glastonbury ‘94. GT: And your worst playing nightmare? ES: Breaking strings on live television. GT: What’s the most important musical lesson you ever learnt? ES: Know where ‘one’ is. GT: Do you still practise? ES: Yes. GT: Do you have any sort of pre-gig warm-up routine? ES: No... ummm… coffee!! GT: If you could put together a fantasy band with you in it, who would the other players be (dead or alive)? ES: Me, Lake and Palmer! GT: Present company excepted, who’s the greatest guitarist that’s ever lived? ES: Hard one. Maybe Albert King… or Jimi Hendrix… or Buckethead… GT: Is there a guitar solo you really wish you had played? ES: The Beatles’ Taxman (Paul McCartney)! GT: What’s the solo or song of your own that you’re most proud of? ES: Two Princes.

GT: And what are you up to at the moment – albums, tours, new equipment etc? ES: I’m on the road with The Spin Doctors supporting our new heavy blues record, If The River Was Whiskey (out on Ruff Records) in your town soon! Or visit us online at www.spindoctors.com for info. I’m also with Jerome Godboo trio finishing up his new thing and I’m working with my other band, Openhearts Society. Boogie!


I’m on the road with The Spin Doctors supporting our new heavy blues record, If The River Were Whiskey (out on Ruff Records) in your town soon! Boogie!

OsCar fernandeZ

GT: What would you most like to be remembered for? ES: My continuity.

What Strings Do You Use? Darrel HigHam

We ask a famous guitarist all those little questions you really DO want the answers to… This month: Katmen and Imelda May’s rockabilly plank-spanker extraordinaire, Darrel Higham. GT: Do you have a type of pick that you can’t live without? dh: i have custom picks with either my name on or imelda’s logo. this is so i remember who i am and what band i play in. GT: If you had to give up all your effects pedals but three, what would they be? dh: i only use three pedals! and one of them is really only for tuning. but i have a danelectro reel echo for the wonderful 50s slapback, a Marshall bluesbreaker that i bought over 20 years ago and i also use a Zoom G2 multi-fx. i’ve used Zoom pedals for years and swear by them. GT: Do you play another instrument well enough to play it in a band? dh: i play double bass. i’m an appalling drummer but have played drums on a lot of my solo albums. i’m not bad on bass. i’m a marginally better bass player than i am a window cleaner. GT: If a music chart were put in front of you, could you read it? dh: no.

Darrel Higham: playing his Gretsch with P90 pickup in the neck position

GT: Do guitar cables really make a difference? What make are yours? dh: i have no idea. GT: Is there anyone’s playing you’re slightly jealous of? dh: We don’t have enough room! but, off the top of my head – chet atkins, Merle travis, scotty anderson, cliff Gallup, brian

setzer, hank Garland, Joe Maphis, Grady Martin, eddie cochran, tommy emmanuel, danny Gatton, just to name a few. GT: Your house is burning down: which guitar do you salvage? dh: dif¿cult one this; do i go with my heart or my head? My 2008 custom shop Gretsch 6120 that’s

been modded to look like eddie cochran’s, or my Gibson switchmaster that i play onstage all the time? i’d grab both but i’d let the Gibson get burned a little… GT: What’s your favourite amp and how do you set it? dh: My Peavey delta blues with 1 x 15” speaker. best amp i’ve ever used. i have it on the drive channel with a little bit of overdrive. GT: What kind of action do you have on your guitars? dh: i like a low action as my hands are so small and dainty… GT: What strings do you use? (make/gauge and why…) dh: i use ernie ball 10-46 these days. reliability is what i’m after. GT: What are you up to at the moment? dh: i’m recording a new cd with imelda, which is sounding great – really rockin’! i’m touring with the Katmen in support of our new cd on decca – the Katmen cometh. i’m excited about a new amp i bought from John beer at amp-¿x, which is a reissue of an early 60s Watkins dominator. and i’m busiest being a dad to our beautiful little 11-month-old daughter, Violet. she’s a peach. Catch The Katmen in Bristol on 6th Sept at Thelka, The Grove, East Mud Dock BS1 4RB. Tickets £13.50.

The ultimate effects travel rig? Mono, creator of top quality music gear cases, has teamed with award winning Pedaltrain an “the ultimate effects pedals travel rig” that includes a co-branded, padded Mono M80 Pedalboard case and chromed Pedaltrain 1 frame for £199. this exclusive

Mono’s extremely cool but tough looking M80 pedalboard case

offer is collaboration between two of the world’s most respected manufacturers of high quality accessories. designed to travel hard, Mono hybrid cases are favoured by musicians worldwide for their supreme quality and portable instrument protection. On the inside, the unique chromed Pedaltrain1 snugly ¿ts with the Mono M80 Pedalboard case, internally cushioned by vinyl interior liners with soft, plush top panels to protect delicate knobs and switches. there’s a large exterior pocket for cables, effects, laptops and other gear. an interior pocket also provides a safe haven for those smaller items. Visit www. monocreators.com for more info.

Unique chromed Pedaltrain frame


That Was The Year...

1999 Cropper, Celestions and Colliery Horses

THE EURO IS LAUNCHED but Britain retains Sterling; the minimum wage is introduced; a hostile takeover bid for the NatWest Bank is made by the Bank of Scotland; the Midland Bank takes on the HSBC name and Ross Kemp leaves EastEnders after playing Grant Mitchell for ten years, signing a £1million deal with ITV. PEAVEY UNVEILS the Steve Cropper Classic signature model. The basic design borrows heavily from Steve’s own Telecaster but the guitar features a Peavey DB2 dual blade humbucking pickup at the neck and a mighty DB4 quad blade humbucker at the bridge position. It also has an additional coil tap switch along with the regular volume, tone and three-way selector switch. It’s available in a variety of colours including Rhythm Blue and Onion Green! SCIENTISTS REPORT that genetically modified food could be damaging to human health; with 1,300,000 people out of work, UK unemployment is at its lowest for 20 years; 100,000 former coal miners who have become the victims of lung disease are given £2bn in compensation; and Robbie, the last British colliery horse to work underground, is retired. AS A DIRECT RESULT of Gibson’s buy-out of Trace Elliot comes a new amplifier bearing the Gibson name. The Gold Tone series combos have acquired the best features of the Trace Velocette and repackaged them in tan and gold livery with a pair of golden circular metal speaker grilles. The GA-30RV offers 30 watts of power through a pair of Celestion Vintage 30 G12 speakers in one of the most unusual Gibson amplifiers ever. JUST A MONTH after receiving her OBE Dusty Springfield sadly dies. Others sharing her fate include Jimmy Roberts, Boxcar Willie, Anthony Newley, Mel Torme, Screaming Lord Sutch, Guy Mitchell, Charlie Byrd, Grover Washington, Hank Snow, Milt Jackson, Hoyt Axton, Rick Danko, Curtis Mayfield, guitar builder Jim Burns, composer Lionel Bart, film director Stanley Kubrick, and DeForest Kelley who played Star Trek’s Dr McCoy. AFTER MANY YEARS of building highly sought-after custom guitars, John Suhr has finally gone into production for himself and while the custom models are still available to order, he is also offering the John Suhr Standard as a regular off-the-shelf model. This twin cutaway S-style offers a basswood body with a quilted maple cap, two DiMarzio Virtual Vintage single-coil pickups and a stunning customised DiMarzio humbucker at the bridge, so it’s got tonal power to spare. The Gotoh 1099T bridge and vibrato unit is gold plated as is the rest of the hardware and the overall finish and feel is exceptional. In fact, the only thing standard about this Suhr guitar is the name.


The Fishmans have landed! Fishman’s long-awaited redesigned Loudbox Performer acoustic ampli¿er is ¿nally available in the uK (rrP £999). the big brother of the Loudbox amp family, the Loudbox Performer offers more power and enhanced features in a lighter, more ef¿cient design. the most powerful Fishman acoustic amp, the Loudbox Performer features 180 watts of pure acoustic power and two versatile input channels that accept ¼” and XLr sources.

each channel includes Fishman’s renowned 3-band eq, feedback¿ghting controls, and a new effects section for more tonal options than ever before. the Loudbox Performer’s dedicated midrange provides enhanced detail and note de¿nition over conventional 2-way designs, while an improved, integrated kickstand design allows the amp to be tilted back for better sound projection at short range. Visit www.jhs.co.uk for further information about Fishman amps.

Are your guitars insured? Many musicians don’t insure their gear and yet theft can happen to anyone – ask tom Petty, who had ¿ve guitars stolen last year! as adrian scott, head of music insurance specialists Musicguard says: “Musicians are prepared to invest in their equipment, but many fail to consider the impact

that the loss of, or damage to their instrument will have. When unforeseen circumstances do arise, musicians don’t want to be stopped in their tracks, and insuring with a specialist provider can help them back on stage as quickly as possible.” Visit www. musicguard.co.uk to learn more.

HOT FOR TEACHER yOUR RGT TUTOR NAME: (Big) Mac Baker TOWN: Wallington (Sutton, Surrey) STYLES TAUGHT: Rock, pop, blues, soul, R&B, funk and most other styles on acoustic, electric and bass. SPECIALITY: Blues, rock, funk LEVELS: Casual, style-based tuition from beginner to advanced – RGT grades if desired. I’m as happy to teach complete beginners or advanced. READING: Beginner to intermediate. CHARGES: £30 per 1-hour lesson, £15 per 30-minute lesson SPECIAL: Fully-equipped; can record lessons and provide backing tracks; basic guitar set-up service; I also teach Music Tech on my iMac Logic DAW. TEL: 07748 630200 EMAIL: [email protected]

play: BlUES

ON THE CD

TraCks 4-5

albert King & SRV Born Under a Bad Sign Jacob Quistgaard explores a phenomenal jam between two blues legends, Albert King and Stevie Ray Vaughan, transcribing the hottest parts of this raw, gutsy feast of tasty blues guitar playing.

Info

WIll IMprove your

Key: C#m Tempo: 106bpm CD: TRACKS 4-5

Blues vocabulary String bend control Melodic development

This TranscripTion is an excerpt from a 1983 session featuring the great albert King jamming with the equally phenomenal stevie ray Vaughan on King’s signature tune, Born Under a Bad sign. i have selected the best moments and condensed it to around ¿ve minutes of the almost eight-minute original. The way King and SRV met, de¿ned their relationship. Brother Jimmie and the then 19-year-old stevie were at antone’s in austin one night when King was playing. club owner clifford antone said to albert that he should let this kid come up and play. so, stevie got up and promptly started doing albert licks. There were open mouths at the sheer audacity of it, but albert loved it. he put his arm round the lad and the two became Blues Brothers. if you compare the musical language of

TeCHNIQUe FoCUS

Finger-picked bends

SRV often performed high bends on the top string using his picking hand’s second finger to pluck the note, rather than using his pick. Pulling the string outwards in this fashion can create a ‘popping’ effect if done with a suitable amount of force. Yet, at the same time it’s softer sounding than if the note were to be played with a pick. It’s a cool little effect, whether applied with subtlety or flamboyance, so go on and explore it yourself. Doing it on soft fingertips can make them sore if fingerstyle is not part of your regular routine. So go carefully if this is the case!

despite his genius Stevie happily admitted to standing on the shoulders of giants that came before him. B E G# c#) enabling him to perform huge bends with greater ease than standard tuning, due to the strings’ added elasticity. another factor to consider is that he was left-handed but played a right-handed guitar Àipped around so the thin strings were at the top. albert rarely used the lowest string and it’s the treble string bends that dominate his style. sometimes in the tab i’ve suggesting performing a big bend on the second string rather than the ¿rst (as Albert does it), to make it more playable on the average guitar with a standard set-up. i’ve also sometimes suggested playing consecutive phrases on different parts of the neck, even if they could all be played in the same spot. This is to get closer to albert’s sound and phrasing - an E at the 5th fret of the

second string has a different sonic contour to an E played at the 14th fret of the fourth. You will ¿nd that Albert spends a lot of time on the top strings when soloing. he also travels horizontally across the neck with Àawless Àuidity, which is another feature I have made sure to incorporate into the tab. The track starts with a condensed section of the song where albert sings and plays call-and-response licks to complement his vocals, then proceeds to Stevie’s ¿rst solo. Then, Albert takes his ¿rst solo, does a brief bit of singing, after which he takes another solo, leaving Stevie’s second solo ¿nishing off the track, with a bit of rif¿ng at the very end. The song is in c#, but as the soloing is mostly based around c#m pentatonic and blues scale, i have taken the liberty of notating it in c# minor. This spares us the nightmare of reading c# major (seven sharps!) and dealing with endless natural signs. The backing track will provide a fun vehicle for a wealth of fantastic blues licks. Enjoy!

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Albert King played his trademark Flying V on the session, with a fair amount of drive as well as a touch of phaser (MXR Phase 90), which he often used in the later years of his career. You may want to crank up your amp and drive it fairly hard to get that singing, sustained, nearlyfeeding-back vibe of his tone. Stevie played his famous Number One vintage Stratocaster on this occasion, so you could instead opt for a Strat-type guitar, a nice valve amp with a touch of drive and some lush spring reverb!

Track record Born Under a Bad Sign was the title track for albert’s 1967 album. other famous renditions include: Jimi Hendrix, cream, Paul rodgers, and Paul Butterfield Blues Band. This particular recording comes from a session the pair did in 1983. Search for ‘albert king & Stevie ray Vaughan in Session’ and you can watch the entire session as it went down. awesome and inspiring stuff!


DAVID REDFERN/GETTY IMAGES

Moderate/Advanced

srV and King you will hear plenty of common phrases. But stevie had his own voice and despite his genius on the guitar he was happy to admit to standing on the shoulders of the blues giants that came before him. stevie’s massive tone is the stuff of legend and, like King, his bends are ¿ercely executed; the difference being that stevie used gauge 13 strings, except when his ¿ngers needed a breather and he would opt for 11s. as for King, he’s one of the most inÀuential guitarists in modern blues; some would go as far as calling him the ultimate blues musician. in tabbing King’s part i’ve kept a realistic balance between two lines of consideration. First, i’ve prioritised playability. albert’s guitar was set up with a special tuning (c# G#

DALLE/IDOLS/PHOTOSHOT

ABILITY RATING

alBERt King & SRV BoRn UndER a Bad Sign

Albert King and Stevie Ray Vaughan: two absolute titans of electric blues


play: BlUES

Born Under a Bad sign Music & Lyrics by Booker T Jones and William Bell. ©1967 Irving Music, Universal Music Publishing International Ltd. Warner Chappell Music Ltd, Universal Music Publishing Limited. UK/EU reproduced by kind permission of Music Sales Limited. US/CAN reproduced by kind permission of Hal Leonard Corporation. All Rights Reserved. International Copyright Secured.

PLAYInG tIPS [Bars 1-13] This first segment is a condensed version of the verse and chorus and features the phrases Albert plays in between his vocals. Note the sliding double-stops in bars 9-10, where he slides up to the 3rd and b7th of the G#7 chord (B# and F#) from a tone below. In bar 11 he adds the 9th for extra colour. For the finishing phrase in bars 12-13 the tab suggests moving horizontally along the second string, rather then staying in minor pentatonic box shape 1 at the 9th fret.


ON THE CD

TraCks 4-5

CD TraCk 4

[Bars 14-25] For the start of Stevie’s first solo he jumps right in with a series of powerful bends on the first string. Almost every time you hear a firststring bend from the 14th to 16th fret or from 12th to 14th, he is primarily using his second finger to pick, creating that prominent ‘popping’ sound. The bends from the b3rd to the 4th – as between bars 16-17 – are executed with the first finger. This is tricky so you might prefer to quickly shift position and use your second finger so you can support these bends better.

Fast Forward... Blues Guitar (Guitar TAB and Audio CD, 64pp, £10.95 ref. AM951160). Are you seeking the chops to do Albert King and Stevie Ray Vaughan justice? Crammed full of riffs, licks and tricks for incorporating into your own playing style, this in-depth book and CD pack gets straight to the heart of improving your musical understanding and Blues playing. with clear, direct instructions and demonstrations. Featuring pro-quality audio examples and backing tracks. Available from: www.musicroom.com

PLAYInG tIPS [Bars 26-40] In this part of Stevie’s solo you’ll find some really tasty gradual bends going both up and down. There are some great slowly released bends in bars 26 and 34 and also some slow gradual bends in bars 29-32, which I strongly advise you support well with additional fingers ‘behind’ your bending finger. And speaking of supporting your bends, the bend in bar 28 is performed with the first finger, which obviously means you can’t support your bend, so that one might take some (very cautious) practice.

Albert King & SrV born Under A bAd Sign CD TraCk 4

Alternatively, do a quick change of position as earlier on, and use your second or third finger, which you can of course support. During the last two beats of bar 37 there’s a fairly challenging section of legato work, which is all performed by a single finger (choose either second or third), except for the very last note. To end this first solo, Stevie gets a bit riffy, combining lower scale notes from the minor pentatonic, plus dead notes and trills to great effect before he lets Albert take over.


play: BlUES PLAYInG tIPS [Bars 41-56] Here’s where Albert returns. I’ve tabbed the first few bars on the upper strings to get closer to his sound, even if it might be easier to execute in the minor pentatonic ‘box’ at the 9th fret. However, in bar 45 where the trademark screaming two-tone bends commence, I’ve suggested using the second string as this should make it easier to execute on a guitar tuned to standard pitch, with less fear of hand injuries or breaking strings.


ON THE CD

TraCks 4-5

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Take your time with those big bend combinations as often their will be fairly challenging combinations of pre-bends, two-tone bends, partial releases and so forth – and do remember to support your bends well with your remaining fretting hand fingers. Notice the delightful call-and-response nature of Albert’s soloing from bar 49 to 57, continually sliding up to the 9th fret, ‘answering’ and developing the idea further.

Albert King & SrV born Under A bAd Sign


play: BlUES PLAYInG tIPS [Bars 57-65] From bar 57 onwards, Albert really digs into those high bends. Notice how he re-picks at times (bar 60 for example) creating some exceptionally tasty and melodic lines. Make sure you practice these quite slowly at first to get the pitching sounding good. I recommend playing the


ON THE CD

TraCks 4-5

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notes of certain phrases (bar 62 for example) with no bends and ‘crossreferencing’ with the bending version to see if you are getting the pitch right. Also, notice how many of the phrases feature very heavy vibrato, especially when Albert lands on the b3rd (E) and the root note (C#).

Albert King & SrV born Under A bAd Sign PLAYInG tIPS [Bars 66-94] Bar 66 sees another heavily condensed‘singing section, featuring the only other chords in this track, the V and IV chord in C# - G# and F#, respectively. However, Albert is right back in there with a screaming two-bar lead-in to his second solo, from bar 70 onwards, digging into a great series of massive and powerfully emotive bends. Notice the dirty blues

CD TraCk 4

bend at the top of bar 80, where the second string is included in the first string bend, to create that wild sounding screaming effect. Make sure you take your time with the final series of bends in this solo, as there are some challenging combinations on display here. And always remember to warm up before attempting this type of stuff… it’s quite a workout!


play: BlUES PLAYInG tIPS [Bars 95-111] Here Stevie is back and he starts off in the traditional minor pentatonic shape 1 at the 9th fret. He then gets right down to business, making his way up the neck to the 12th fret at the end of bar 99 for another tasty combination of first string bends, for which I recommend involving your picking hand’s second hand finger, to emulate Stevie’s vibe. The bends from the 12th to 14th fret on the first string can be executed with your


ON THE CD

TraCks 4-5

CD TraCk 4

first finger, but if this is proving too much of a struggle, use your second or third finger instead. In bar 107 we embark on an awesome, somewhat ‘polyrhythmic’ pattern, that goes across the bars creating a great amount of rhythmic tension. This is beautifully released when Stevie quickly moves on, changing position again to the 12th fret for another series of screaming first string bends. It’s amazing how these two players complement each other.



play: BlUES PLAYInG tIPS [Bars 112-132] Right at the start of bar 112, we have a ninja-style, ultraquick pickup change, so I suggest you try doing that in time really slowly at first. The first bend is on the neck pickup, as it’s coming straight out of the previous long phrase, so the challenge is to get your fourth finger to quickly flick the pickup selector to bridge position in between that note and the next bend - which happens on the second beat of the same bar.


ON THE CD

TraCks 4-5

CD TraCk 4

What follows is another great series of high bends and an equally ninja-like switch back to the neck pickup (bar 118), upon return to the trusted minor pentatonic shape 1. The end gets nice and riffy, with some classic use of Mixolydian mode (C# D# F F# G# A# B, bar 121, beat 2) and some tasty runs, culminating in a return to the main riff in bar 128, which Stevie relies on while backing up Albert’s solos during this great jam.


Moved to austin, had no money, lived on a pool table in a club, but I had more fun than I’d had - ever - because I was doing what I wanted to do, and playing what I wanted to play. I don’t play with a great deal of finesse - I usually play like I’m breaking out of jail! Stevie ray Vaughan October 2013 GuitarTechniques 27

play: BlUES

ON THE CD

TraCks 6-9

Whammy Bar Blues Jon Bishop takes a look at the whammy bar approaches of some of the most famous blues and rock soloists, and shows you how to get more from your whammy!

Moderate Info

WIll IMprove your

Key: A blues Tempo: 110bpm CD: TRACKS 6-9

Whammy bar skills Musical possibilities Guitar mechanics

The vibraTo arm is an ingenious invention but its expressive possibilities are often overlooked by guitarists. all too often the arm hangs there looking sorry for itself, only being used for the odd shimmer or dive bomb. however, players like Jeff beck and Scott henderson have taken what is possible with the device to a whole new level over the past 40 years, and this feature will unlock some of their Àashy vibrato tricks and more. There are several manufacturers and designs, but they all essentially perform the same function - to tighten and loosen the strings, which in turn makes the pitch of the

TeChnique FoCus Pitching and vibrato With finger vibrato it is only possible to raise a note and return it to pitch. However the whammy bar is able to add a vibrato that goes both sharp and flat, the way a vocalist, violinist or indeed slide guitarist would use vibrato. The whammy bar can provide an expressive, vocal quality to notes, and also has a cool visual quality to it when you use it. You can also use the bar to bend notes higher and lower. But just as string bending with your fingers takes practice to get the tuning consistently good, so will bending notes with the bar. As an exercise play an E note (5th fret, second string); now fret an F (next fret up) and remember the sound. Can you pull the bar up so the note is bent from E to F? This exercise can be repeated all over the neck on each of the strings, both ascending and descending. This exercise is made trickier due to the fact that each note needs a slightly different amount of pressure to get the desired result, depending on which fret or string you are on. Watch Jeff Beck to see a master in action!

strings go sharp and Àat (as distinct from tremolo, which is ‘loud’, ‘quiet’, ‘loud’, etc). The Fender Stratocaster style vibrato bar is a simple yet effective 50s design that’s been tweaked and improved over the years, with the friction points being reduced and tuning and stability increased. The modern Strat bar has two studs from which the base plate can pivot both up and down. This two point system has less friction than the original six screw version. The amount of ‘pull up’ can be set by adjusting the 3-5 springs and claw in the back. Players like beck have their systems

To play the ideas in this feature it’s advantagious to have a bar that stays where you leave it without flopping down, so you can manipulate it in a variety of positions. set so that when the arm is pulled fully up, the open third string raises in pitch by a major third interval. This in turn means that the second string is raised by a minor third, and the ¿rst string is raised by a major second. a good modern set-up often features a roller, graphite or TeÀon nut, over which the strings can slip easily. This low friction nut means that the strings are less likely to get snagged and cause tuning problems when the system returns to pitch. The last part of the puzzle is locking tuners, which reduces the likelihood of the strings slipping by locking them in place on the machinehead itself. another popular option is the doublelocking vibrato as pioneered by Floyd rose. This system gets rid of the need for fancy locking tuners, or a roller nut, by ¿xing the strings in place at the nut with an allen key operated clamp. The Floyd rose is also referred to as a Àoating tremolo, as it is reliant on string tension to balance. This means if a string is broken, the guitar goes way out of tune. Changing strings can also be time

consuming, but the upside of the doublelocking system, is that it will stand the most ridiculous abuse and still stay in tune. once you have settled on your preferred amount of ‘pull up’, you can set about tweaking the vibrato arm itself. To play the ideas in this feature, it’s advantageous to have a bar that stays where you leave it, so it can be manipulated in a variety of positions. various interesting effects can be achieved by tapping on the bar, and this will only work if it is able to stay put, on a horizontal plane without Àopping down. The friction on the bar can sometimes be adjusted by a screw or an allen key, although some simply use an ‘interference’ ¿t. The bar should not be sloppy in its hole, or light touches won’t immediately be translated to the strings, which is vital. This month’s audio examples come in two sections. First, there are ten examples in the style of several whammy bar heavyweights. each example demonstrates a different whammy technique or concept, and the audio track has a gap for you to practise after each example is played. To put the ideas into context there’s a Whammy Jam with full backing track for you to practise over. happy whammying!

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The guitar sound used in this article works well with the whammy bar and is fairly easy to replicate. Simply select your bridge pickup and add a medium overdrive. To add some depth to this core sound, a small amount of reverb and delay can be added. Regardless of which whammy bar system you choose to use, good results will be reliant on your ability to manipulate the vibrato arm consistently. Regular and focused practice will really pay off when using the whammy bar.

Track record Jeff Beck and Scott Henderson cds contain jaw-dropping examples of what can be achieved - Beck’s 1989 album Guitar Shop is startlingly good. Hendrix and Van Halen are whammy users that have spawned an army of imitators and innovators. But don’t forget Holdsworth, Michael Lee Firkins, alan Murphy, Brian Setzer and The Shadows, all of whom bring something musical to the table.


CLAYTON CALL/GETTY IMAGES

ABILITY RATING

Whammy Bar Blues

Jeff Beck: does anyone use the bar better?


play: BlUES

ON THE CD

TraCks 6-9

ExAmPlE 1 Jeff Beck ViBrato and PitchinG

CD TraCk 7

This first example focuses on adding vibrato and string bending with the whammy bar. Use your thumb and first finger on you picking hand to pluck the notes and curl your third and fourth fingers round the whammy

bar. Various notes are bent sharp and getting these in tune will take some practice. The hardest ascending bend to play here is the last note, which is bent up from G to A. This might take some practice to get perfect.

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w/bar pickup with overdrive ©»¡¡º Bridge w/bar ~~~ . œ. ~~~n œ and delay n œ œ ### 4 Ó Œ œ œ œ œ œ œœ œ J Œ nœ nœ œ Œ œ œ œ n œ œ. œ . œ œ n œ w & 4 œ f With fingers w/bar w/bar w/bar w/bar ~~~ ~~~ 5 8 5 0 5

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ExAmPlE 2 Jeff Beck Slide Guitar Simulation

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Both the whammy bar and bottleneck slide have the ability to make notes go smoothly sharp or flat. This makes it possible to play cool, slide style phrases with the whammy bar. Using a fingerstyle technique will allow the unwanted strings to be muted. Check out the notation for directions on the whammy bar action. For the first phrase, hold down the A triad chord. Pick

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the E (5th fret on the second string) and then depress the bar; this means when you pick the C# it will be flat, and releasing the bar will bring it back to pitch. This is the same way a slide guitarist would play this phrase, thus providing a similar, slide like phrase. Beck is a great slide player so he knows how to make this whammy version sound dead right.

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Let ring

w/bar

Scoop

7

'

~~~~

w/bar

Scoop 7

4

7

ExAmPlE 3 hendrix Style doPPler trem

CD TraCk 7

This example uses the bar to add vibrato and this has an expressive, vocal quality. The second two bars use a simple to play idea that is very effective. Play the E and G notes on the second string and slowly dive the bar. This will

D/A

A7 Bridge pickup with overdrive and delay

E B G D A E

(7)

provide a sound similar to the Doppler effect of a siren, when it moves past you at speed. When many players first heard Hendrix do this in the 60s they had no idea how the sound was created!

A7 Dive with bar – approx pitches . . .

D /A

Scoop ~~~ # # # 4 Ï~~~Ï Ï Ï Ï~~~Ï Ï Ï Ï' n Ï Ï . Ï n Ï Ï Ï Ï Ï Ï Ï # Ï Ï Ï Ï Ï n Ï Ï Ï Ïj Ï Ï n Ï ~~ ⋲ ⋲ Ï (Ï ) & 4 J 3 3 3 3 3 Gargle f With pick w/bar Dive gradually w/bar w/bar w/bar Scoop ~~~ BU BD ~~ ~~~ ~~~ ' 11

(9) 7


w/bar

9

7 6

7

8

5

8 5 8 5 8 5 7

4 7 4 7 4

6 3 6

7 (9) ( 7)

5

7

( 7)

Whammy Bar Blues ExAmPlE 4 Joe Satriani Palm on the ViBrato

CD TraCk 7

A floating vibrato can be manipulated by hitting or pressing directly on the back where the saddles are. This ‘hitting’ raises the pitch momentarily, and is easy to do. The lick in the second two bars uses the idea repeated across

' ' œ nœ œ

Bridge pickup with overdrive and delay D7

# # # 4 œ' œ~~~‰ & 4 J J‰ G /D Scoop

Scoop

Let ring

'

Scoop E B G D A E

7

~~~ Scoop '

w/bar 7

9

œ~~~~ ˙

D7 Scoop

'

G /D

8

Doop

''

~~~~

10

11

'' œœœœœœ

D7

Hit trem with palm of hand Doop

w/bar

Scoop

the strings. Fret the E note with your first finger, hammer on to the F# and then hit the bridge twice in the specified rhythm. Any rhythm can be tapped out on the bridge, and this idea works well on a note with plenty of sustain.

5 7 7 7

5

œ n œ œ

'' œœœœ

G /D Doop

''

7

5 5 7 7 7

'

Doop

Doop

G /D

œ œ nœ nœ œ œ œ œ œ œ œ œ œ œ


''

D7

5

7

Hit trem with palm of hand Doop Doop

'

''

5

5 7 7 7

5 4

5 4

5 17

ExAmPlE 5 Scott henderSon douBle-StoPS

CD TraCk 7

This example ads vibrato to double-stops and also uses some pitch bends. Due to the way the vibrato system works, the notes will naturally bend up to

Bridge pickup with light overdrive D 7 and delay

E B G D A E

the pitches in the notation. The amount of ‘pull up’ is crucial for the tuning and it’s worth practicing this slowly at first.

C/D

D7

√ ~~ # # # 4 œ ~~ œj œj œ~~ n œ ~~ œ . œ œ & 4 œ ‰ œ œ ‰ nœ ‰ œ ‰ œ . œ œ f w/bar w/bar w/bar ~~ w/bar ~~ ~~ ~~ w/bar 8 14

10

12

14

11

12

9

C /D

~~~ œ ~~ ~~ œ n œ ‰ n œœ ‰ œœ .. œ œœ n œœ ww J J ~~

~~

w/bar

w/bar

~~~

w/bar

w/bar

12 (13) (12 )

10

8

7

( 8) (7)

5

12 (14 ) (12 )

10

9

7

(9) (7)

5

ExAmPlE 6 alan murPhy harmonicS

CD TraCk 7

Combining harmonics with the whammy bar can provide some very striking effects. All of the notes in this example are played on various harmonics on the fourth string. The approximate locations of the harmonics have been notated in the tab but the ones on 2.75 and 3.75 can be trickier to

D7 Bridge pickup with overdrive and delay

### 4 Ó & 4 f

E B G D A E

√Scoop Scoop ' ' n‚ n· Œ. J

With pick

get every time. A thick overdriven bridge pickup and a delicate touch will help these harmonics to sound out, and regular practice will soon have you playing these harmonics every time. Depress the bar just before hitting the harmonic and then release it, thus providing the scoop.

' n ·'

D/C

‚ J

Dive bar

' ‚.

Scoop

' ‚.

Scoop

D7

Scoop

j~~~ n ‚J ‚ ‚.

· ·

'

Scoop

Scoop

'

Scoop

'

NH

Scoop

2.75

2.75

5

3.75

7

NH

'

NH

NH

NH

~~~ Scoop ' NH

w/bar

2.75

D /C

Scoop w/bar

' ‚ Scoop J ‚.

'

Dive bar

Scoop 2.75

· NH

NH

'

Scoop

|

Scoop

'

Scoop

5

3.75

'

Dive bar

Dive bar


play: BlUES

ON THE CD

TraCks 6-9

ExAmPlE 7 ritchie Blackmore taPPinG the Bar

CD TraCk 7

Example 7 uses the favourite old trick of tapping the bar to add rhythm to notes. Set your bar so it sits horizontally, parallel to the strings. Now you can

Bridge pickup with overdrive and delay

### 4 œ & 4 Ó Œ. œ f With pick

E B G D A E

7 9

hammer onto the note and tap down on the bar. The combination of these two actions will help sustain the string. Blackmore loved this in Deep Purple.

' ' '' ' '' ' ' œ œœœ œœœœœœœ œœ œœœœœ œœœ

E7 Scoop Scoop

Scoop

'' ' '

' ' '' '

Scoop Scoop

Scoop ' ~~ œœ .. œœ œœ ~~ ˚j n œ‰ œ. ⋲ œ ⋲ œ nœ œ ˙ J E7

D/E Scoop Scoop Scoop

Scoop

9 7 9 9 7 9 9 9 7 9 9 7 9

9 9 7 9 9 7 9 7

~~

w/bar

Scoop Scoop Scoop

Scoop Scoop

D/E

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

9

14

'

Scoop 12

10 12 10

ExAmPlE 8 hendrix Style ViBrato 2

√

A7

### 4 & 4 f

E B G D A E

j œ œ.

' ' œ nœ œ œ

Scoop

' '

With pick BU 15 (17)

'

œ œ

(15 ) 13 15

15

time as the finger vibrato is played, then this interesting effect is produced. And to think Jimi pioneered such advanced ideas nearly 50 years ago!

D7

Scoop

œ

'

A7

œ œ~~~ œ

Let ring Scoop

Scoop

BD

12

CD TraCk 7

Here we have a classic Jimi Hendrix inspired idea. The note in the third bar has finger vibrato added to it. If the whammy bar is depressed at the same

Bridge pickup with overdrive and delay

17

13

vib œ n œ w Finger ~~~~~

∑

Dive bar slowly

~~~

14

Dive bar slowly

j œ œ

BU BD

14

~~~~~

Finger vib

15 (17 ) (15) 13

14

ExAmPlE 9 Jeff Beck Slide Simulation 2

CD TraCk 7

This example uses similar ideas to the ones we looked at in example 2. This time the line moves around to fit in with underlying chords.

A7

E B G D A E

Scoop Scoop # # # 4 Ó Œ . n œ' # œ œ œ' ~~~ œ œ œ œ & 4 J f With fingers Scoop ~~~ 5 7 ' Scoop' w/bar


5

~~

w/bar

6

5

6

7

n œ n œ' C7

√Scoop ~~~ œ~~œ . # n œœ ˙˙ ..~~~ œ n œ œ . 'j œ Œ nœ #œ œ J

'

Scoop 8

D7

Scoop

8

9

~~~

w/bar

10

'

E7

10

~~ 10 14

w/bar

Scoop 11

10

~~~

w/bar 15 16

16 17

Whammy Bar Blues ExAmPlE 10 michael lee firkinS douBle-StoPS

CD TraCk 7

String bending with fingers of the fretting hand increases the tension on one of the strings, and this in turns pulls the vibrato unit up, putting all the other strings flat. To counteract this, it is possible to correct the vibrato

position as the string is bent, by lightly pulling up on the bar. This also makes it possible to add vibrato to double-stops. This country style bend is tricky to get in tune but is well worth the effort.

D7 E7 ~~~~ ~~~~ œ œ œ œ œ œ . œ œ œ œ œ œ œ . œ œ œ ~~~~~~ ˙ œ Œ. J E7

# #4 & # 4 Ó f With pick and fingers

Let ring BU

E B G D A E

9 (13)

11 (13)

~~~~

w/bar

Let ring RP

BU

12

7

9 ( 11)

Let ring

~~~~ w/bar

10 ( 11)

∑

~~~~~~

w/bar

BU 4 (9)

7

ExAmPlE 11 Whammy Jam!

CD TraCk 8

[Bars 1-8] These opening bars use the ideas we looked at in Example 2. One way to get around the tuning issues of string bending, is to tap extra intervals on the bent string (bar 6). The phrase in bars 7 and 8 is a new idea that uses ‘pulling up’ on the bar, to create a flowing legato line.

Bridge pickup with overdrive A7 and delay Scoop

' œ

# #4 œ œ & # 4 f With pick and fingers

E B G D A E

w/bar (3)

5

'

Scoop 6

~~~ œ œ

'

~~~

œ

w ~~~~

œ œ

~~~~

BU (8)

7

w/bar

œ œ nœ

D /A

'

6

œ

~~~ Scoop '

7

5

œ

~~~~ œ œ w/bar

Let ring

w/bar

Scoop

(3)

5

Scoop

Scoop

7

'

~~~~

w/bar

Scoop 7

7

4

1

# # # œ œ œ' ~~~ œ œ & f w/bar Scoop w/bar ' ~~~ Scoop

(3)

5

6

' œ

Scoop

'

œ

œ nœ

Scoop

(10 )

8

Lœ œ

L

Tap 13th fret

BU 5

5

G /A

7

œ œ œ n œ œ. œ œ œ œ nœ œ œ œ œ œ

A7

œ nœ œ

w/bar

BD

( 15 ) 10

5

'

D7 Scoop

≥

œ

Let ring w/bar 8

≥

5

7

m

w/bar 8

(7)

5

7

≥

5

4 m

'

7

≥

m

Scoop 5

(4 )

7

≥

5

7

œ~~~~‰

7

w/bar ~~~~

' œ

G/D

nœ J J ‰

Scoop 9

' œ

D7 Scoop

'

Scoop 8

8

5

≥

m

Scoop

'

w/bar

8 10 (8) 5

10

m

### nœ œ œ œ œ œ œ nœ œ œ œ œ nœ œ &

8

w/bar

10 12 (10 ) 8

(8)

D /A

E B G D A E

'œ ~~~ ' œ ' Scoop

A7

w/bar 5

5

G /A

j œ nœ

Scoop

w/bar

A7

E B G D A E

' œ

Scoop

[Bars 9-12] This idea is the one we looked at in Example 4. [Bars 13-16] And here’s the lick we examined in example 3. [Bars 17-20] You’ll recognise this idea from Example 10. [Bars 21 to end] The piece ends with Example 9’s lick.

11

7

8 (7) 5

m G/D

œ~~~~~ ~~~~~

w/bar 10


play: BlUES

ON THE CD

TraCks 6-9

ExAmPlE 11 Whammy Jam! continued

' ' œ œ

D7

&

Doop

### œ œ

œ œ œ nœ œ œ

' '

Hit trem with palm of hand Doop E B G D A E

5

7

7

7

G/D

' '

7

5

5

7

7

7

11

9

# # nœ œ & #

7

œ œj

3

9

7

œ nœ œ œ œ œ œ œ œ œ œ Hit trem with palm of hand Doop

'

' '

5

5

7

w/bar

6

8

7

A7

7

Doop

7

5

4

5

4

5

17

Dive with bar – approx pitches . . .

nœ œ œ œ œ œ œ #œ œ œ œ œ

œ J

3

3

5

8

3

3

Dive gradually

w/bar

E7 œ œ œ œ~~~~~ œ. ~~~ œ # œ œ œ nœ œ œ ( )

6

3

6

7 (9)

Gargle

~~~

w/bar

BU BD (7)

5

5

8

5

8

5

7

4

7

≥

###

' n œ ' œ œ~~~ 1/4

1 A7 /4

' '

1/4

8

1/4

8

n œ œ œj œ œ n œ œ œ J ‰ œ ~~~ 5

5

7 ( 9)

BU

12

≥

Let ring Hold bend RP 7

9 (11)

( 11)

4

7

4

7

5

7

5

7

10

œ œ œ œ

w/bar ~~~~~~

0

D/A

j œ œ

9 ( 11 )

&

###

n ¡œ

' nœ

Scoop

'

~~~

w/bar

8

8

22


9

10

'

œ œ nœ œ

10

~~~ 14

11

10

10

m

Scoop ~~~ £œ ¡œ œ œ' # œ œ œ' œ œ

'

Scoop 9

7

5 10

w/bar

Scoop

≥

5

A7

7

E7 √Scoop D7 £œ ~~~ œ . # n œœ ™¡ ww ~~~~~ œ n œ~~~œ . 'j œ œ nœ #œ J

Scoop

5

Scoop

5

'

6

5

6

~~~

w/bar

Scoop

10 7

19

C7

5

m

m

BU

BU 8

~~~~~

(13 ) m

~~~~~~ œ œ œ œ œ œ œ D7

w/bar

9

11 (13 )

( 7)

7

Let ring BU

16

&

E B G D A E

G /D

Doop

13

D /A

E B G D A E

7

~~~~ # # # œ ~~~œ œ œ œ ~~~ œ œ œ œ' n œ œ . & f With pick w/bar w/bar Scoop ~~~~ ~~~ ~~~ ' w/bar D /A

Scoop

E B G D A E

'

Doop

11

A7

E B G D A E

5

' '

D7

œ œ œ nœ


5

' ' œ œ Doop

~~~~

£œ £œ

w/bar 15 16

16 17

17 17

Œ Ó

7

play: jazz

ON THE CD

TraCks 10-31

easy Guide tojazz! If you’d like to learn jazz guitar but feel intimidated by its apparent complexity, Phil Capone has prepared this lesson just for you. Welcome to the ultimate bluer’s guide to jazz!

Moderate Info

WIll IMprove your

Key: Various Tempo: Various CD: TRACKS 10-31

Ability to get a ‘jazzy’ vibe Harmonic knowledge Rhythmic awareness

“How can I make my playing sound jazzy?” is a commonly asked musical question and one that doesn’t have a simple answer. That’s because there isn’t a single scale, concept or technique that will make you sound ‘jazzy’. In reality it is one of the toughest styles to learn because it takes time and practise just to start sounding convincing. But don’t be put off, because you’ll ¿nd that delving into the world of jazz can be highly bene¿cial to your musicianship, whatever style you play. Practising jazz concepts will improve your phrasing, timing, harmonic knowledge, and also your fretboard navigation skills.

TeChnique FoCus

Your 10 Point Jazz Plan

Here is a 10 point check list to consider as you work through the following lesson... 1) Adding chromaticism to licks 2) Using the melodic minor scale (R 2 b3 4 5 6 7) 3) Understanding II-V-I progressions 4) Using chord tones, rather than scales 5) Working between ‘inside’ and ‘outside’ notes 6) Understanding straight and swing feel 7) Draw inspiration from piano and sax players 8) Understand modes over maj7, dom7 and m7 9) Chord melody ideas; play a melody then add a few chord notes to each melody note 10) Reduce vibrato and string bending, increase slides, hammer-ons/pull-o#s, etc...

Best of all, once you’ve got the bug, it can inspire you like no other genre. Jazz is a complex yet simple music, a ‘head and heart’ music. But one of the big truths that the would-be jazz guitarist must confront is that this is one genre where guitar is not king arguably the saxophone is the ultimate soloing instrument and, equally arguably, the piano is the ultimate accompanying instrument. But get over this and you will soon realise that because jazz is a language it is not instrument speci¿c: you can steal licks from horn players and piano players too.

Because jazz is a language it is not instrument specic. This means that you can steal licks from horn players, piano players and many other instrumentalists as well. Listening to how great players use superimposition, chromaticism, rhythmic concepts, and even the blues scale in their improvisations may change the way you think about soloing forever. Jazz is a huge topic and you’ll probably be thinking, “where on earth do I start? what should I practice?” well, in this lesson I have isolated certain key techniques that will make your playing sound instantly jazzier. But be aware that each technique deserves further exploration; you’re not going to morph into wes Montgomery overnight just because you’ve read this article. However, it will get you practising the most salient concepts. This provides a considerable shortcut on your jazz journey; most of this information takes a long time to grasp if you’re going it alone. For instance, just a

simple thing like losing vibrato on sustained notes can instantly make a solo sound jazzier. and everything you study here will be of bene¿t; so once you’ve gained ownership of your vibrato technique, you’ll be able to apply it more musically in non-jazzy scenarios too. Lastly, don’t forget that ‘jazz can’t come out if jazz doesn’t go in’ - so check out Track Record at the bottom of the page for tips on the hippest cats to start listening to today. Finally, we recommend that you listen to as many different styles of jazz as you can, in order to get a really strong feel for the genre: traditional Dixieland jazz (Louis armstrong and ‘King’ oliver), bebop (charlie Parker and Dizzie Gillespie), cool jazz (Miles Davis and Gil Evans), modern contemporary jazz and fusion (Yellowjackets and weather Report), and even the more ‘out there’ experimental free improvisation (anthony Braxton and Derek Bailey) that has wowed hardcore jazz audiences since the 1960s.

Getthetone 4

5

5

4

4

Gain

Bass

Middle

TReBle

ReveRB

Clean sounds are the most elusive of all tones, probably because they reveal what’s really going on with your technique, but also because you immediately lose all that lovely sustain. These settings are just a starting point; you may have to do more tweaking with your own combination of guitar and amp. One thing that you shouldn’t overlook is that it’s important to select your instrument’s neck pickup and then roll off its tone control. Almost any guitar will sound jazzy this way.

Track record You should start out by listening to the pioneering guitar players who helped to shape jazz. check out the following recordings for starters: charlie christian: The Genius of The electric Guitar (1987 compilation); Tal Farlow: autumn In New York (1954); Barney kessel: kessel Plays Standards (1955); Wes Montgomery: The Incredible Jazz Guitar of (1960); and Joe Pass: Virtuoso (1973).


DAVID REDFERN/REDFERNS/GETTY IMAGES

ABILITY RATING

10 StepS to jazz

Joe Pass: the best jazz guitarist of them all?


play: jazz

ON THE CD

TraCks 10-31

ExAmPlE 1 FUnKY LICK

CD TraCk 10

A heavily syncopated 16ths lick that illustrates how a staccato phrase can sound &uid and lyrical by added slides. Start the lick in shape 3 of the Am

©»¡ºº & 44

Latin

j Am j A mmaj7 #œ œ œ nœ œ

œ

11 12 11

E B G D A E

10

œ

⋲

13 10

A m6

⋲

10

œ

œ œ œ Am7

⋲

8

blues scale, moving down to shape 2 halfway through the $rst bar (playing both the A on the 10th fret and the G on the 8th fret with your $rst $nger).

Am

j œ

A mmaj7

Am7

Am7

A m6

j j ‰ # œ œJ œ n œ œ œ œ ⋲ œ œ œ œ bœ œ œ

j œ w

8 10

10

9 8

8

7 5

7

7

5

7 5

7

6 5

7

5

3

ExAmPlE 2 thReenoteSPeR StRInG LICK

CD TraCk 11

Applying three-notes-per-string with 16th note pull-o#s and a slide can e#ectively create cool bop style licks. At the end of the $rst bar, play the

©»¡¡º Am7 Swing œ œ œ œ œ A œm6 œ œ œ & 44 8

E B G D A E

10

8

7

10

8

A (7th fret) with your $rst $nger, then swiftly move your $nger onto the second string ready to play the F# at the start of the second bar (7th fret).

A m7

A m6

7

9

10

Am9

#œ œ œ œ œ œ œ œ œ œ 8

7

5

7

5

7

7

5

w

9

7

ExAmPlE 3 IIVI ReSoLUtIon LICK

CD TraCk 12

II-V-I sequences ‘take you home’ to a resolution chord (ie the I chord), so it’s really important to play the right notes so that your lines follow the harmonic movement. One of the best ways to start is by using chord tones

©»¡™º Swing #4 & 4

A m7

j œ œ.

b7 E B G D A E

4

Gmaj7

œ œ J

œ

œ.

œ œ J

œ

b3

b7

3

b7

5

5

4

5

5

D7

as illustrated in the example below. Here the chord tones are the 3rds and 7ths of each chord played - these notes that clearly de$ne the quality and sound of each chord.

5

j #œ œ .

j

j #œ œ

3

3

7

j

œ.

7

4

5

4

3

w

j #œ œ

4

5

ExAmPlE 4 IIVI ARPeGGIo LICK

CD TraCk 13

The next approach to playing over the II-V-I sequence involves creating lines from the relevant arpeggios. Being able to improvise lines like this takes time and practice, so be patient! The most important element to get right

©»¡™º Swing Bm b 5 œ & 44 œ œ œ œ œ œ œ œ b

7

5

8


œ œ œ œ œ œ œ œ #œ E7

b

7

9

10 9

7

8

6

9

7

Am7

œ œ œ œ œ œ œ œ

Am pentatonic

E 7 9 arpeggio

Bm7 5 arpeggio E B G D A E

in any II-V-I lick is the resolution notes. So in this lick you can see each new chord is matched with a chord tone on the $rst beat of the bar (ie G#, bar 2, beat 1, and C, bar 3, beat 1).

9

6

8

6

5

7

5

7

5

7

5

3

3

5

10 StepS to jazz ExAmPlE 5 PLAYInG WIth SWInG

CD TraCk 14

The ability to weave in and out of swing feel was once a feature of rock guitar too: listen carefully to the intro of little Wing if you don’t believe

©»¡¡º Swing # & 44 Ó .

me! This is an essential skill to develop; by varying your phrasing you will prevent your lines from sounding cheesy with too much swing.

1 D7

Am7

2 D7

Gmaj7

œ b œ .. œ b œ .. œ œ œ œ œ œ ˙ œ œ œ#œ œ œ œ œ œ #œ œ

E B G D A E

7

. .

6

(play straight 1st time, swing 2nd time) 5

4

5

7

7

5

4

4 7

5

6

7

. .

6

7

œ

4 5

6

œ œ œ ˙

7

7

5

7

4

ExAmPlE 6 MIXInG‘StRAIGht’WIth SWInG

CD TraCk 15

For the ultimate contrast between straight and swing phrasing, follow a double time 16ths lick with a cool swinging phrase as illustrated here. The fast Pat martino style 16ths lick below can be played entirely in the second

position ($rst $nger, 2nd fret). Here the phrase is based around a Cmaj7 arpeggio; thinking of it in this way will help you to ‘see’ it more clearly on the guitar fretboard.

©»¡¡º A m7 D7 #4 œ & 4 œ œ œ œ œ œ bœ œ nœ œ œ œ œ œ œ œ ‰ Œ œ

Swing

straight

E B G D A E

2

3

2

5

4

5

4

3

2

4

5

3

4

5

2

2

4

2

4

j œœ œ

œ œ

swing

5

U

Gmaj7

‰ œj œ œ

2

5

2

5

2

˙

4

ExAmPlE 7 MeLoDIC MInoR IDeA

CD TraCk 16

The ‘jazz melodic minor’ scale is so-called because it ascends and descends in exactly the same way (unlike its classical derivative with major 6th and 7th ascending, but minor 7th and 6th on descent). The scale has a very ‘angular’

©»¡¡∞ Swing & 44 Ó .

œ œ # œ œ A œm6 œœœ œ

A m7

‰ œJ

E B G D A E

sound, but stick with it and you will soon start to love the colour and tension that it can bring to your improvising table. This lick is typical of the cool and jazzy lines that it will enable you to create.

7

5

8

4

7

5

5

5

A m7

#œ

œ

#œ

5

4

7

6

4

œ

Am6

œ œ

œ

7

Am9

5

6

w

4

ExAmPlE 8 AnotheR MeLoDIC MInoR IDeA

CD TraCk 17

Because the jazz melodic minor scale contains the major 6th and major 7th intervals, it is can easily be used to outline dominant IV and V chords in a

©»¡£º Latin & 44 Ó . E B G D A E

œ #œ 7

4

minor sequence, as this lick illustrates. It’s also great for creating angular, John Sco$eld-like fusion &avours - as you can hear in bar 3.

# #

œ #œ œ œ œ # œ œ j œ œ œ œ #œ œ #œ œ œ . œ. Œ ‰ # œ œ

D9

5

E7 9 5

5

5

4

Am9

5 7

4

5

6

7

4

4

5

5

7

7 7

9

7

œ U œ ˙. Let ring 10 10


play: jazz

ON THE CD

TraCks 10-31

ExAmPlE 9 MInoRISAtIon 1

CD TraCk 18

minorisation was a concept pioneered by Wes montgomery and Pat martino in the early 60s. Essentially it means that all chords can be treated as minors as long as you start your scale on the right note. In this example a ‘static’

©»¡£º Latin # & # 44 Ó .

œ nœ

D9

œ ‰ J

dominant (ie non resolving and with major or perfect extensions such as 9/11/13) has been minorised by using a minor scale that starts on the 5th of the chord - ie D9 chord, A Dorian mode.

œ œ œ œ œ œ

jœ ‰ # œœ œJ ‰ œj n œœ n œœ œ œ Am pent / Dorian

A Dorian 10

7

E B G D A E

U œ œ. ˙.

8

7

8

9

10

8

7

7 8

8 9

7 7

7

5 5

7

7

5

7

ExAmPlE 10 MInoRISAtIon 2

CD TraCk 19

minorisation often works best with the melodic minor scale, but you can use any minor scale as your superimposition, including the minor pentatonic and minor blues scales. In this example the D melodic minor scale is used (ie

the minor scale that starts on the 5th of the chord) over G13. The major 7th of the melodic minor creates cool #11 sounds over the G13 chord. The late jazz guitarist Emily Remler liked this approach.

/' ©»¡¢º G 13 Swing j b œ # nœ œ œ œ œ #œ œ œ nœ œ œ œ nœ œ œ œ . J Œ J œ œ* œ œ œ œ n œ œ œ & 44 #œ œ œ œ 3 3 / 14

D melodic minor

E B G D A E

6

8 6 5

7

6

5

7

5

7

7

4

7

6

5

3

2

5

4

2

5

8

6 8

6 3

ExAmPlE 11 ReSoLVInG DoMInAntS

CD TraCk 20

Resolving dominants (the second chord in a II-V-I sequence and containing minor, diminished or augmented extensions such as 9/#9/5/ #5/13) need to be approached in a di#erent way. For this type of dominant the minor scale

is played a half step above the chord’s root. Here F melodic minor (F G Ab Bb C D E) is used to create altered tensions over E7#9. This works because the seventh mode of the melodic minor is the Superlocrian mode.

# #

Am9

E7 9 5

œ bœ œ œ œ œ bœ œ œ

œ œ

6

3

*C natural "borrowed" from D Dorian

©»¡£º Latin 4 & 4 Ó.

'

14

Gm pentatonic

œ bœ œ œ œ œ bœ œ

j #œ w

F melodic minor E B G D A E

5

6

8

9

5

8

6

5

6

5

7

8

8

5

6

10

8

7

10

8

ExAmPlE 12 DeSCenDInG LICK

CD TraCk 21

Even in a simple descending scalic lick such as this, the ‘minor up a half step’ approach will instantly create cool sounds. Remember that it’s important to get the resolution point right; you can arrive early (as in this example where

©»¡¢º E 7 # 9 . bœ œ œ œ œ œ œ bœ 4 bœ &4

the $nal C note is anticipated) but never late, and always resolve to a chord tone: although the root is good (it’s used here), consider other primary chord tones (3rd, 5th) or extensions (7th, 9th, 13th etc).

A m9

Swing

F melodic minor E B G D A E

9

11

9


8

9

10

9

7

10

8

bœ œ œ œ œ œ #œ œ 6

5

8

7

5

8

4

5

U w

10 StepS to jazz ExAmPlE 13 USInG ARPeGGIoS

CD TraCk 22

Arpeggio superimpositions are a great way to add colour tones to your licks in an instantly melodic way. Here the relative major 7th arpeggio (Cmaj7) creates b3/5/b7/9 sounds over the Am7 chord (note that the bland sounding

©»¡¡º Am7 œ 3 œ œ œ œ 4 &4 œ œ œ œ œ œ œ 3 3

7

7

8

n œœ b œ

10

œ œ

3 U œœ œ œ œ œ ˙

7

10 7

3

3

Cmaj7 arpeggio E B G D A E

œ œ œj œ œ Œ

j #œ

Swing

root is also omitted). make sure you can ‘see’ the Cmaj7 arpeggio shape 1 pattern clearly on the fretboard; this will make it easier for you to transpose the idea to other keys.

Let ring 7

9

9

8

9

10

7

10

7

6

6

8

7

10 7 8

9

10

5

7

5

7

ExAmPlE 14 SUPeRIMPoSInG ARPeGGIoS

CD TraCk 23

By superimposing a Bm7 arpeggio (in both double-stop and single line forms) over the Gmaj7 chord (a minor 7 arpeggio a 3rd above the root), this example illustrates how you can easily add 3/5/7/9 sounds to your lines.

©»¡£º # & 44

Swing

Gmaj7

j # # œœ

œœ œœj œœ

Œ

j nœ j # # œœ œ œœ

œœ Œ

jœ jœ # # œœ œ œœ œ

Note that this approach also e#ectively omits the problematic root note (which sounds dissonant against the major 7, especially when played high up on the fretboard).

‰ œœœœœœœ œœ

j j Œ # œœ œœ œœ œœ Œ

Bm7 double stops

Bm7 arpeggio

9 10 9 10 11 12 11 12

E B G D A E

5 4 7 6

4 6

5 7

6 6

7 6 7 7 6 7

3 2 3 4 3 4

2 3

4 7

4 7 4

7 4

5

j #œ w

œœ œœœ

7 2 5 rit

2 5

2

3

4

ExAmPlE 15 ADDInG MoRe CoLoUR

CD TraCk 24

In order to inject the maximum amount of colour into your licks, you can avoid primary chord tones (root, 3rd, 5th) completely. After all they are already in the chord so you won’t be adding anything new. By focusing on

©»¡™∞ #4 & 4 Ó.

œ œ # œj œ œ j #œ œ œ j œ œ #œ

Am7

#œ ‰ J

Swing

the colour tones (chord extensions: 9/11/13) instead you can create bold statements. This example shows how e#ective this can be, particularly when hitting the altered extensions of the D7 chord in the penultimate bar.

9

Interval:

7

6

13 7

6

7

9 7

3

D7

bœ b13

13

4

4

3

4

4

Gmaj7

bœ œ nœ œ œ

8

b9

#9 b9

R

6

8

5

6

w 5

ExAmPlE 16 eVen MoRe CoLoUR

CD TraCk 25

Another cool way to add colour tones is to superimpose extended (9/11/13) arpeggios over minor and dominant chords. By starting your arpeggio on the 5th of the chord, you will simultaneously be adding colour tones while

j ©»¡™º Dm7 œ #œ œ Latin œ œ œ 4 ‰ J &4 œ œ Am11 arp

12

10

9

12

12

œ œ œ œ œ Œ ‰

G7

Dm9 arp

(all arps 5th above/4th below each chord) E B G D A E

also omitting the root note. Identify the colour tones that are used against each chord here. Try larry Carlton’s $rst two albums - larry Carlton and Strikes Twice - where he featured this ‘super arpeggio’ soloing approach.

10

11 12

Cmaj7

j #œ œ

j œ œ œœ ˙

Gmaj arp 13

10

10

9

12

6

7

9

6

7

10


play: jazz

ON THE CD

TraCks 10-31

ExAmPlE 17 ChRoMAtICISM 1

CD TraCk 26

Chromatic Passing Notes (CPN) are so-called because they fall chromatically between scale notes. In isolation these notes would just sound wrong against the chord over which they are played, but when brie&y sounded

©»¡£º Swing # & 44 Ó .

Am7

CPN

œ bœ

between scale notes they create momentary dissonance that is quickly resolved. Notice, as always, that resolution notes in this example always fall on the $rst beat of each bar.

D7

œ

G maj7

CPN œ œ bœ œ œ œ œ œ

CPN

œ œ œ œ œ œ #œ

j #œ w

straight 8ths E B G D A E

7

6

5

4

5

7

7

5

7

4

8

7

5

5

4

7

5

7

3

4


CD TraCk 27

Static chords can also be given the chromatic passing note treatment. This is particularly e#ective when mixed with a few minorisation concepts, as you’ll $nd in this example. Notice that when the CPNs fall on the beat (as

©»¡™∞ Latin # & # 44 Ó

œ bCPN œ œ J ‰

in the pickup phrase and in beat 2 of the second bar here) their e#ect is intensi$ed. To resolve all this tension, the lick concludes with a bluesy A minor pentatonic pay-o# phrase.

D9

#œ œ nœ #œ œ œ œ #œ

œ bœ nœ œ œ j œ œ nœ

œ

A melodic minor 7

E B G D A E

j œ w

Am pent

6

5

4

5

5

6

4

7

7

8

8

7

4

5 7

5

7

5

5

3

7


CD TraCk 28

The chromatic approach note (CA) is another powerful tool for introducing jazzy chromaticism into your licks. However, unlike the CPN (that is safely

©»¡¢º A m7 # 4 #CAœ œ œ œ #œ œ œ #œ & 4

Swing

CA

E B G D A E

4

5

4

5

1

nestled between scale notes), the CA is played in isolation. The dissonance is resolved by instantly resolving up a semitone to a chord (or colour) tone.

D7

œ # œ œ œ n œ ‰ # œj œ CA

CA

CPN

2

3 2

2

œ

CA

3

5

4

4

3

G maj7

3

U œ œ œ ˙

4

2

5

4


CD TraCk 29

This example demonstrates how e#ective CA notes can be over static dominants. By thinking in scales and modes alone you’ll miss out on the interesting sounds and textures that can be created with this technique.

©»¡£º Swing # & 44 Ó .

Notice the use of chromatic approach notes in the concluding &urry of diatonic arpeggios here; this creates far greater motion than arpeggios alone would have provided.

CA CA #CAœ œ n œ œ œ œ CA œ n œ j j œ œ œ œ #œ œ œ nœ œ nœ œ w ‰ j #œ œ ‰ œ #œ ‰ œ Œ Œ ‰ . J œ œ CA G13

Dm

E B G D A E


5

8 9

5

6 7

5 5

6

9

5

Am7

6

7

8 5

E m7

5

7

6 7 4

F

5

5 7

7

8

7

9

10 StepS to jazz ExAmPlE 21 JAZZ WoRKoUt

CD TraCk 30

Here you can see how e#ective all of our previous examples can sound when used in the same piece. Far from being overkill, the phrases produced are melodic and jazzy. All of the concepts have been covered in the previous

steps with the exception of octaves; these sound very ‘Wes montgomery’. If you $nd playing octaves tricky, simply omit the lower octave and play the top line in the TAB only.

©»¡™∞ Swing

D7

Am7

A

& 44 œ œ œ œ œ # œ œ œ œ 5

7 5

4

7

4

6

7

5

7

4

7

5

7

7 5

4

5

5

. œ. œ œ œ œ œ œ &

j #œ

œ œœ œ œ œ #œ œ

5

7 5

4

5

5

D7

œ œ Œ

3

Cmaj7 arp

7

5

7

7

4

5

6

8

7

8 5

‰ œj j b œ œ œ

∑

Am Blues

5

4

7

6

4

7

7

7

5

6

5

5

D m7 CPN

C maj7

G7

CA œœ œ b œ œ # œ œ œ CA œ œ œ œ #œ œ œ bœ bœ œ œ œ #œ œ œ œ œ & 3

B

b

D melodic minor

E B G D A E

5

1

A m7

E B G D A E

œ œ #œ œ Ó

Am arp

A Dorian

A melodic minor E B G D A E

œ œœ œ œ œ œ œ œ

œ œ #œ œ Ó

8

7

6

6

5

A melodic minor

7

7

8

4

5 4

3

6

5

3

5

6

7

j A7 œ #œ

œ œ bœ œ #œ Œ

3

Em7 arp

2

œ œ

4 7

5

9

b

5 8

7 10 12

8

9

10

9

11 10

6

play: jazz

ON THE CD

TraCks 10-31

ExAmPlE 21 JAZZ WoRKoUt CONTINUED

&

jDm7 j # œœ œœ œœ

œœ œj œœ #œ

CD TraCk 30

b

G7

œœ ‰ J Œ j œœ

œœ b b œœ œœ œ Ó

œ œ nœ œ œ œ œ œ œ #œ œ œ œ Ó

j #œ

CPN

Fmaj7 double stops E B G D A E

11 12 11 12 7 12 13 12 13 9

Dm arp

8 10

7 9

7 8

8 10

6 7

7

5 6

8

7

7

6 5

7

7

8

7

6

5

9

8

7

13

.

.

b œ. n œ b œ œ œ. bœ nœ bœ œ œ &

C

Am7

œ. œ

b œ. n œ b œ œ œ. bœ nœ bœ œ œ D7

œ œ œ œ Ó

œ œ

CA E B G D A E

E7

B m7 5

œ. œ

œ œ

œ œ œ œ Ó

8

8

5

5

CA

11

12

11

10

8

8

9

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10 7

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12

11

12

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10 7

17

# œ œ œ. #œ œ œ & Am7

œ. # œ œ #œ œ Ó œ

œ œ . œ œ œ #œ

b

œ œ œ. œ œ œ

B m7 5

14

10

11

7

12

10 7

9

12 9

12

11

9

9

11

7

9

5

13

10

10

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12

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12 9

10

10

10

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8

8

8

9

12

5

6

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21

Dm7

arp œ œ Fmaj7 œ œ œ œ œ & œ œ œ œ œ .

G7

arp œ œ Fmaj9 œ b œ œ œ œ œ œ. bœ œ œ

straight 8ths E B G D A E

œ œ œ œ #œ ‰ œ Œ œ œ œ #œ J

Chord tones

Bm arp E B G D A E

E7

œ œ . œ œ œ œ

12 9

13 10 10

7

#

Cmaj7 11

>œ # œ œ œ >œ œ œ œ >œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ 3

3

Dmaj pent 10

9

7

8

7

5

25


15

13

12

10

13 10

13

12

10

11

10

8

12 9

14 12 10 11

9

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12 9

3

3 12 10 9

7

12 10 9

j œ #w œ #w

7

10 7

12 10 9

7

9

11

7

9

play: classical

ON THE CD

TraCks 32-33

Beethoven Ode To Joy

For your aural delight Bridget Mermikides transcribes her own classical guitar arrangement of the uplifting finale from Beethoven’s magnificent 9th Symphony.

Moderate Info

WIll IMprove your

Key: D major Tempo: 108bpm CD: TRACKS 32-33

this is a stunning work which was as progressive (with its use of a choir in a symphony, and its recursive symphonywithin-a-symphony structure) as it has proved enduring. Despite the misanthropy

Melody and bass line separation Melodic phrasing Classical repertoire

In thIs Issue of the classical guitar series, we turn our attention to a symphonic masterpiece by perhaps the most famous composer of all time, Ludwig Van Beethoven (1770-1827). this month I’ve made a solo guitar arrangement of one of the best-known classical works ever composed, the Ode to Joy from his last completed symphony no 9 In D minor, op.125. Completed in 1824, while the composer was almost completely deaf,

TeChnique FoCus

Warmth and clarity

Creating a good quality tone on the classical guitar requires time and effort. To produce a sound that has clarity, resonance and projection it is necessary for the picking hand fingernails to have length just beyond the end of the fingertip and they should be shaped, filed and smoothed to perfection. The string is plucked with the nail but the flesh of the fingertip is also involved and it is the combination of the two that creates warmth as well as clarity.

Beethoven often displayed in his life, his adaption and scoring of schuller’s inspiring poem with a melody of tremendous power and emotional resonance has become an international representation of brotherhood and community and indeed the european anthem. It has been performed and recorded

internationally a countless number of times, used in TV and ¿lm scores (including A Clockwork Orange, Die hard and the Coen Brothers’ hilarious second movie, Raising Arizona) and even the original CD duration standard of 74 minutes was justi¿ed by its ability to neatly accommodate the length of the symphony. For my arrangement, I’ve kept Ode to Joy’s original key of D major using drop D tuning and aimed to emulate the entries of each instrumental section and rousing build of the symphonic orchestration on just one guitar. You’ll hear - even in this solo guitar arrangement - how ingeniously Beethoven treats this simple but powerful tune, adding beautiful counter-melodies and harmonies to maintain the listener’s interest and lift his or her spirits. Remember ‘simple’ is rarely ‘easy’ so, as ever, take your time to really get this piece under your ¿ngers – using the tab captions as necessary – so that you can perform this with the Àuency, evenness of rhythm and clarity that it deserves. have fun, and I’ll return next issue with another classical masterpiece arranged for guitar. see you then!

remember ‘simple’ is rarely ‘easy’ so, as ever, take your time to really get this piece under your fingers. aim to perform it with the fluency, evenness of rhythm and clarity it deserves.

Track record We recommend the classic Berliner Philharmoniker (conducted by Herbert von karajan) recording of the complete Beethoven Symphonies (deutsche Grammaphon, 1963), and for historical resonance Bernstein’s performance at the Berlin Wall in 1989 titled ode To Freedom (deutsche Grammaphon, 1990). There are also other great recordings of Beethoven’s 9th available.


ISTOCKPHOTO

ABILITY RATING

Beethoven ode to Joy PLAYING TIPS

CD TraCk 33

The main 8-bar melody starts out as a single note line, emulating the double basses in the original score. This should be played in the fourth position (first finger by the 4th fret) and on the fourth and fifth strings as indicated in the tab. Play it smoothly with the thumb to give a warm, cello-like sound. At bar 9 a bass line comes in and again it closely resembles the original orchestral score where this section is played by the string section (violins, violas, cellos, basses). It is not completely obvious how to finger this, so

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there is some indication from bar 9 to 12 to help. Notice in bar 10 the fourth finger shift from the C# to D in the bass line and also take note that in bar 12, 3rd beat, the first and second fingers are ‘reversed’ on the B and E to help keep the two-part writing legato (smooth). In bar 15, 3rd beat, I use a short barre (first finger, 2nd fret) to press the fourth and fifth strings simultaneously until the last half beat of the same bar when it is released for the open A. It avoids ‘hopping’ with the fretting hand first finger.

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play: classical

ON THE CD

TraCks 32-33

PLAYING TIPS

CD TraCk 33

At bar 33 the melody is repeated an octave up with the previous bass line appearing as an inner voice over a new low D bass note. This provides a

D/A

E B G D A D

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CD TraCk 33

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play: classical

ON THE CD

TraCks 32-33

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CD TraCk 33

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LEarNiNG ZONE LESSONS GT222

30-MINUTE LICKBAG

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

56

BIMM’s Terry Lewis has six more licks to play, from beginner to advanced levels. How many of them can you manage?

BLUES................................................................................................. 58

John Wheatcroft examines the soloing style of a man that many regard as the father of electric blues, the incredible T-Bone Walker.

RoCK .................................................................................................. 62

Martin Cooper responds to several reader requests to take a look at New York Dolls’ proto-punk guitar stylist, Johnny Thunders.

CREATIVE RoCK .......................................................... 72

Shaun Baxter moves up from 4th to 5th gear as he looks at ways of incorporating different intervals into your blues-rock soloing.

CoUNTRY ................................................................................... 78

Andy Saphir recreates the kind of track associated with country superstar duo Brooks & Dunn and their Nashville studio session elite. THIS MoNTH, JACoB’S transcription of Born Under A Bad Sign raises an interesting topic that Neville and I had mulled over just a few months ago. You’re on stage with a guitar hero: do you give them their licks back or do you avoid referencing them totally? Born Under A Bad Sign is a perfect example of one icon playing another icon’s other licks back at him. It wasn’t just on this live song that Stevie Ray Vaughan opened up his toolbox of Albert King licks; Bowie’s 1982 album, Let’s Dance is full of Stevie’s Albertstyled soloing. So up on stage with the man himself or in a studio for a mainstream artist like Bowie, Stevie was happy to demonstrate the extent of his Albert inÀuence. Trawling through YouTube as I often do (research is a demanding mistress), I came across one gig where a relatively well known US blues guitarist was ¿ring out Eric Johnson licks at Eric Johnson. There was an audacity to it that took my breath away – this guitarist felt he could do it, therefore did it. Alternatively, watching Joe Bonamassa share the stage with EJ (another gig, another venue) I was expecting him to do similar; if anyone has the chops to do this well, it’s JB. However, Joe refrained from even a hint of sextuplet based pentatonic playing – it was all about emotive bends and

slippery slides with a Cream period Clapton vibe to his phrasing. In an interview I read later with Joe, he said it didn’t feel right to duplicate EJ’s licks in front of him. Nev also told me how he’d seen Joe playing with Jack Bruce: at the other end of the spectrum, he could have shredded all over the Cream songs he was playing, but stayed authentic to Clapton’s style and technique. Joe’s viewpoint was shared by Steve Vai back in the noughties when on the G3 tour with Satriani and Malmsteen. Having been asked if he would give any Malmsteen licks back to the shredding Swede, Steve was quite adament that he would not. Aside from the possibility that it could appear as a musical laying down of the gauntlet (possibly unleashing the fury too!), Steve stated that the audience were there to see the three of them ‘be themselves’, not ape each other. As GT provides many ‘sound-like’ tutorials each month, the question I’m keen to ask is this: If you found yourself sharing the stage with a favourite guitarist whose style you had studied extensively, what choice would you make?

pRoG ................................................................................................... 82

Paul Bielatowics meets one of prog’s most intelligent soloists and a man that helped invent ambient house music - the great Steve Hillage.

ACoUSTIC ................................................................................. 86

Stuart Ryan creates a gospel version of a 17th century English hymn, To Be A Pilgrim.

RoCK SCHooL ................................................................ 90

Charlie Grif¿ths continues his series musing over the A-Z of musical terms. This month: N.

On videO! In the second

part of our Steve Lukather mastercla ss Luke shows his amazing whammy bar style. Page 66


lesson: 30-Minute lickbag

30-Minute Lickbag

BIMM Brighton’s Terry Lewis has six more great licks for you at easy, intermediate and advanced levels. How many can you get through perfectly?

Brought to you by...

Easy Licks ExampLE 1 Kurt Cobain

cd track 34

this cobain style riff uses drop d tuning (d a d G B E) for easily fingered power chord shapes combined with jangly open strings. try it with a wobbly

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Easy Licks ExampLE 2 the eagles aCoustiC

cd track 35

this acoustic riff in G shows how you can use hammer-ons and sliding ideas to add ornamentation to familiar open chord shapes. Look out for the

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cd track 36

Here’s a slow jazz turnaround that is basically a series of ii-V progressions. the last note creates a #11 over the final chord (G# over dma9#11) for a super

cool jazz ending. try the neck pickup with a little tone rolled off for a warm sound for this and all other trad jazz licks.

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ON tHE cd

Learning Zone

30-Minute Lickbag

tracks 34-39

intErmEdiatE Licks ExampLE 4 gypsy rhythm

cd track 37

sometimes called ‘the pump’, this style of rhythm can provide the whole rhythm section, driving a gypsy swing tune by mixing in percussive muted

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adVancEd Licks ExampLE 5 mixo jazz-blues

cd track 38

if you want to make your blues more sophisticated, add some mixolydian! this scale can be a great addition to both minor and major pentatonic

blues soloing since it has a major 3rd but a minor 7th. With a few ‘outside’ chromatic tones thrown in, this lick will raise eyebrows at the blues jam!

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adVancEd Licks ExampLE 6 legato

cd track 39

Here’s a legato sequence that uses two-string scale runs to outline a chord progression. When constructing your own legato runs, be aware of what

chords you are playing over. notice a down pick is only used at the start of each phrase so your fretting hand is doing all the work here.

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≥ October 2013 GuitarTechniques 57

ON THE CD

T-Bone Walker


This month John Wheatcroft helps you to perfect your classic blues playing down to a T. We’re talking Texas blues, T-Bone Walker style.

to take to the ampli¿ed electric guitar, with a style that combined technical mastery, melodic ingenuity and jazz inspired sophistication. BB King had this to say: “When i heard T-Bone Walker play the electric guitar I had to have one. He had a touch that nobody has been able to duplicate”. Walker’s style of guitar playing possessed an uncanny balance of classy smooth melodic phrasing with urgent raw blues emotion and feel, with a great command of both tone and timing. If this were not enough then we should also consider his compositional Àair, his soulful vocal style and his dynamic stage persona that would later go on to inÀuence Chuck Berry and Jimi Hendrix amongst others. My personal favourite photograph of T-Bone features him dressed up to the nines and quite obviously ripping into a solo with the guitar behind his head whilst performing the splits! Although Walker released his ¿rst single under the name of Oak Cliff T-Bone on the Columbia label as early as 1929, his golden period was undoubtedly the decade T-Bone with a Gibson Barney spanning 1945-55, with literally Kessel semi dozens of hit records in this period for both the Black & White and Imperial labels. T-Bone’s 1947 hit, Call It ABILITY RATING Stormy Monday (But Tuesday Is Just As Bad) has gone on to become a ¿rmly established Moderate standard, frequently performed in blues clubs Info WIll IMprove your and bars all over the world and recorded by artists such as Albert King, Eric Clapton, Eva Key: Various Swing and time feel Cassidy, Gary Moore and perhaps most Tempo: Various Note selection famously by the Allman Brother Band on their CD: TRACKS 40-50 Extended rhythmic phrasing live album At Fillmore East. Just don’t call it Stormy Monday Blues, a different song Texan guiTarisT aaron Thibeaux written by Hines and Eckstine, which Walker ‘T-Bone’ Walker is widely credited with discovered to his dismay when signi¿cant de¿ning the genre of electric blues guitar. A royalties for Bobby Bland’s rendition of his contemporary of the great Charlie Christian, song were paid to them by mistake. T-Bone was the ¿rst signi¿cant blues guitarist

TraCks 40-50

There are ¿ve short musical examples presented here, each indicating a speci¿c device or concept that T-Bone employed as part of his improvisational vocabulary. Whilst it’s a great idea to treat these excepts as short prescribed studies or etudes, performing them exactly as written to the best of your ability, it’s also equally worthwhile to explore the underlying concepts behind each idea. You can then experiment by changing a speci¿c aspect or aspects such as the rhythm, the note selection, the dynamic contour or the harmonic setting to create ideas of your own. The other beauty of this kind of approach is that you can travel light and put yourself in situations where you are required to improvise taking just a selection of concepts that can generate a practically in¿nite amount of musical information; as apposed to memorising licks which is both musically limiting and memory intensive. To be fair, as with most things a combination of the two is usually the best approach and, to a greater or lesser degree, is where most great players are usually coming from.

It was an interesting life to come up like I did. I’d say I was about thirty years before my time. T-Bone Walker

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Considering Walker used a big-bodied archtop jazz guitar, his tone was surprisingly bright and piercing. This came from his right-hand picking technique. T-Bone would control the balance of treble to bass by altering his picking position, moving closer to the bridge to accentuate the treble and towards the neck to bring out the bass, often making this transition from note to note, favouring downstrokes almost exclusively with a bouncing motion coming from the wrist.

Track record For a comprehensive retrospective of T-Bone’s career we’d like to recommend the triple cd set, The complete capitol Black & White recordings (2001). equally impressive are The Imperial Blues Years (2012) and Midnight Blues (2008) and there is also some priceless video footage on YouTube. For further study try duke robillard’s tuition dVd, T-Bone Walker: Signature Guitar Licks (2003).


VAL WILMER/REDFERNS/GETTY IMAGES

lesson: blues

Learning Zone

T-Bone Walker ExAmplE 1 movinG from c7 to f7

CD TraCk 41

The principle concepts in our first example are the propulsive swinging 8th-note extended phrasing and the note selection that combines intervals found in both major and minor pentatonic scales with resolutions inspired by the underlying harmony. Our progression here toggles back and forth

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ExAmplE 2 walkinG steam train lick

CD TraCk 43

The ability to introduce tension into your sound is a big part of playing the blues. This example kicks off with what is essentially a Bb7 chord (Bb D F Ab) but from a semitone below. The idea is to bend the notes upward slightly but they should never actually reach the target pitch, producing a dissonant wailing sound reminiscent of the horn blowing from an old

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lesson: blues

ON THE CD

TraCks 40-50

ExAmplE 3 double-time lick

CD TraCk 45

If you’re working through these examples in sequential order then you’ll already be familiar with T-Bone’s ‘E-form’ note pool that he uses to originate much of his single-note vocabulary from lick 1. We see the following intervals across the top four strings: 1- R 2 b3, 2- 5 6 b7, 3- b3 3 4 b5, 4- b7 7 R. The trick to managing this information is to consider the harmonic

resolution of each phrase and how each note relates to the underlying chord. So with this in mind, against a major chord it’s much more likely to hear T-Bone move upwards from minor third to major than the other way around. The other intriguing aspect of this example is his use of ‘doubletime’, switching mid stream from swing 8ths to swing 16ths.

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ExAmplE 4 blues turnaround

CD TraCk 47

Our previous examples have been positioned towards the front end of the conventional 12-bar sequence, specifically the first eight bars. This example illustrates how T-Bone might approach the final section, the turnaround, in this case in the key of Ab. A typical stylistic consideration for blues from this

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period is to treat this section of the progression as an opportunity to use a IIm V I (Bbm6 Eb7 Ab6) something that you’ll also find in the conventional jazz-blues turnaround rather than the typical V7 IV7 I7 that you might find in Chicago blues or rock styles.

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CD TraCk 49

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lesson: rock

ON THE CD

TraCks 51-53

Johnny Thunders

Martin Cooper travels back to the early 1970s to witness the birth of punk with the notorious and most glorious New York Dolls!

ABILITY RATING

Easy/Moderate Info

WIll IMprovE your

Key: D Tempo: 200bpm CD: TRACKS 51-53

Playing stamina Rhythm technique String bending and phrasing

JoHNNY THUNDERS (BoRN John Anthony Genzale Jr.) was the guitar player in punk forefathers New York Dolls, who formed in 1971. The Dolls’ inÀuence on what would

hear some of the major meets minor pentatonic and even Mixolydian riffs and licks here. Check out the Berry style licks in the rhythm and lead parts and the Berry/Quo power chord section in the second half of the rhythm part. We’re in the key of D major as far as the chart goes, but there are a lot of non-diatonic notes such as the minor 3rd (F) in the ¿rst section of the track and then technically it modulates to a IV V I progression in E major (A, B and E chords) in the second half of the track. You don’t need to worry about the theory of it all though, it’s entirely about attitude and delivery! The parts aren’t dif¿cult to play, but you’ll need some stamina for this type of high tempo punk, and you’ll also need to get a good balance between an authentic ‘loose’ attitude (as later tyi¿ed by The Stones) and out of time, rough playing - aim for the former!

although the New York dolls inuenced the punk scene more than any other american band, their sound actually drew very heavily on rock and roll and r&B.

Getthetone 6

5

6

8

3

Gain

Bass

Middle

TReBle

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Rather than lots of gain, Johnny relied on raw volume for the power of his guitar tone. You may need to compensate with not being able to turn up loud with an aggressive picking hand technique, however. Thunders also favoured P90 pickups, but you should be able to dial the top or bottom end up or down if you’re using humbuckers or single-coils and get pretty close to the tone. Go for a gritty, raucous sound with the amp or pedal set-up.

Track record The eponymous New York dolls (1973) debut album, which was produced by Todd rundgren, features the songs Personality crisis and Jet Boy. The follow-up, Too Much Too Soon (1974) includes Stranded In The Jungle and Bad detective. There are also various live albums to choose from including red Patent Leather (1984).


HANEKROOT/REDFERNS/GETTY IMAGES

become the punk and new wave era really can’t be downplayed. They set the scene in New York ablaze and were one of the main inÀuences behind later bands such as Blondie, Talking Heads and Television. They were also the precursor to the British punk scene later in the 70s with bands like the Sex Pistols (who were also represented by the same manager, Malcolm McClaren). Although the Dolls inÀuenced the punk scene more than almost any other band, their sound drew heavily on rock’n’roll and R&B, and you can clearly hear this in the playing of Johnny Thunders. The Dolls’ two studio albums even featured covers of songs by the likes of Bo Diddley and Sonny Boy Williamson II. Their debut album and chaotic live performances also earned them the accolades of both Best Band and Worst Band in Creem magazine’s 1973 poll! But inÀuential bands and artists should polarise opinion, shouldn’t they? Their heyday was brief and Thunders left in 1975. Mystery and conspiracy theories surrounds his 1991 death, but the of¿cial verdict has been that it was drug related. In 2011 the New York Dolls reformed and toured the US with Mötley Crüe and Poison, although nothing can really recapture the attitude of their early breakthrough albums and gigs. This month’s track is fast tempo punk meets rock and roll. There are plenty of tips of the hat to Chuck Berry and other godfathers of rock in much of early punk music, and you can

New York Dolls in their early 1970s heyday


learning Zone

Johnny Thunders ExAmPlE 1 RhYthM GUItAR

CD TraCk 52

Whilst you want a good punk vibe this month, don’t let it become too out of time and sloppy. Watch out for unwanted open strings ringing in the rhythm part, and be aggressive with your picking hand throughout, without racing

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ahead of the beat. Also pay attention to playing cleanly at this fast tempo. You denitely want a strong picking attack coming through your amp, so adjust your treble control accordingly.

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lesson: rock

ON THE CD

TraCks 51-53

ExAmPlE 1 RhYthM GUItAR...ConT E

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CD TraCk 52

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ExAmPlE 2 LeAD GUItAR

CD TraCk 52

In the lead part, it is the bends and vibrato that often make this type of playing really come to life, and again here it’s an aggressive attack, without

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being too sloppy that you want to aim for. Use down picking where possible as it’s usually the strongest sounding stroke and provides instant attitude.

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learning Zone

Johnny Thunders ExAmPlE 2 LeAD GUItAR...ConT

CD TraCk 52

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lesson: video

VIDEO

steve lukather

ON THE CD

CD-rOM

Part 2

In the second installment of his Luke masterclass Steve Allsworth takes a look at Steve’s whammy bar technique, inspired by the mighty Je Beck. movement, you should be able to ¿nd a nice balance between vibrato arm set-up and the lower action required for more comfortable legato technique. the ‘scoop’ is Steve’s main technique of choice, grasping it with several picking hand ¿ngers. This will allow you to scoop up the bar (the ‘push down and release’ technique) without affecting your picking. this tends to go hand in hand with whammy bar vibrato, where the same picking hand ¿ngers curl around the bar to execute a gentle up and down movement. One of the most interesting techniques that Steve demonstrates is the slide guitar emulation. the trick with this aproach is to mimic all those classic Joe Walsh and Duane allman slide clichés without leaving the comfort of standard tuning or having to use a bottleneck. there’s a huge amount of scope for experimentation with this particular technique, so don’t stop at Steve’s pentatonic licks; these ideas could be used for pedal steel chord ideas and even different scales.

His status has allowed Luke to work with the nest guitarists around, including carlton, Santana, Satriani, Scoeld and Jeff Beck.

Getthetone 8

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7

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In the 80s Steve was one of the first to popularise huge Bob Bradshaw effects racks and for a long time was associated with Valley Arts guitars. These days his rig is simpler, with his signature Luke II (with EMG pickups) and Luke III (DiMarzio pickups) MusicMan guitars into Marshall amps. Although he uses a relatively saturated lead tone, he often uses the guitar’s volume to clean up the sound where necessary.

Track record Toto IV (1982) has to be top of the list with its virtually flawless tracklisting including rosanna, africa and I Won’t Hold You Back. Steve’s collaboration with Larry carlton on No Substitutions (2001) shows how two different players can work briliantly together. His most recent solo albums are all great: ever changing Times (2008), all’s Well That ends Well (2010) and Transition (2013).


ROB SHANAHAN

arranger, prestigious record producer and a-list session player on over 1000 albums. Steve’s outings with toto, Paul McCartney, Michael Jackson, eric Clapton, Chicago, Don henley, Lionel ritchie, the tubes, Cheap trick, randy Newman, Stevie Nicks, Boz Scaggs, and many others, are testament to his tone, technique, time, taste, and touch. Quincy Jones has even called him his favourite guitarist. it’s this status that has also enabled Luke to work with some of the ¿nest guitarists around, including Larry Carlton, Santana, Joe Satriani, John Sco¿eld and Jeff Beck. inevitably he has drawn inspiration from working alongside such greats, and it’s the latter that has provided the main inÀuence for this month’s video lesson. Jeff Beck’s People Get ready (with rod Stewart) was recently chosen by Steve on radio 2’s tracks Of My Years as one of his favourite songs. he also Luke is the consummate memorably covered Jeff’s the rock musician Pump on his live No Substitutions album with Larry Carlton, which is one of the ¿nest ABILITY RATING compliments one artist can give another. the premise of Steve’s whammy bar Moderate technique - as used in this lesson - is getting to Info WIll IMprove your grips with a Àoating type tremolo system. “It’s something i learned from watching Jeff Beck. Key: Various Whammy bar control he’s one of the greats, one of the best we’ve Tempo: Various Slide guitar emulation ever had. as far as single line, linear playing Use of chord tones CD: CD-ROM and melodies go, there’s no one better.” Jeff tends to have his guitars set up so they Steve Lukather iS an incredibly talented can bend upwards by up to a major 3rd on the and versatile musician who is the epitome of third string, which requires some adjustment the hard working rock star. in his 35-year to string height. as long as your bridge isn’t career he has been known as an international locked to the body and allows some upward pop and rock star, gifted songwriter and

learning Zone

steve lukather ExAMpLE 1 Basic Whammy Bar scoop

CD-rOM

This is the basic scoop and vibrato as based around Beck’s style. The main task here is to strike the string with the pick whilst simultaneously scooping

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upwards from a lower whammy bar position. This will give you that desired ‘bendy’ sound and is the basis behind much of Luke’s whammy technique.

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ExAMpLE 2 DouBle scoop technique

CD-rOM

Luke deviates from Je’s scoop technique with this chromatic blues idea. This involves a ‘double scoop’ so to speak, whereby you’ll scoop with the bar and also bend the string at the same time. It can be a little tricky to

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ExAMpLE 3 emulatinG sliDe Guitar

CD-rOM

A combination of upward scoops and downward bends will hopefully give the impression of a smooth sliding bottleneck. This technique works particularly well between the b7 and root note of the minor pentatonic and also the ambiguous major-minor 3rd that’s so vital to blues. Your downward

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lesson: video

VIDEO

ON THE CD

CD-rOM

ExAMpLE 4 comBininG scoops anD BenDs

CD-rOM

Similar ‘slide guitar’ technique is combined with the added subtlety of quarter-note and semitone bends. As with the previous example, this idea is

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ExAMpLE 5 Flutter‘WarBle’technique

CD-rOM

This technique isn’t strictly speaking a utter or ‘gargle’ as popularised by Steve Vai and the like, but uses the body of the trem to produce a little ‘warble’. The palm is used to hit the tail piece in order to achieve a quick

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steve lukather ExAMpLE 6 steve’s‘Doop’technique

CD-rOM

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Fifth intervals

Shaun Baxter continues to explore ways of applying intervals to create ear-catching blues-rock lines. This month it’s the turn of our friend the 5th.

ABILITY RATING

Moderate/Advanced Info

WIll IMprove your

Key: C Tempo: 160bpm CD: TRACKS 54-56

Recognition of 5th intervals Ability to use them musically Creation of lines using 5ths

In thIs current series, we've been looking at different ways of using a variety of scale intervals to create a stash of mediumpaced ideas to ¿t in with your blues-rock vocabulary. so far we've studied 2nds, 3rds

and 5ths; this month (you’ve guessed it!) it's the turn of 5ths. Within the modes of the major scale, each 5th interval will be one of two types: diminished ¿fth = six semitones (three tones); and perfect 5th = seven semitones (three-and-a-half tones). to illustrate this, have a look at Diagram 1, which represents the notes of c major (and any of its modes). If you start from any note, and then move clockwise or anti-clockwise to another note that is four notes away (in other words, with another three scale notes in between), the distance is either a perfect 5th (usually) or a diminished 5th (in this case, only between B and F). Perfect 5ths sound open and contemporary, similar to 5ths. In fact, a perfect 5th is an inversion of a perfect 4th: for example, C up to G is a perfect 5th (seven semitones), whereas C down to G is a perfect 4th (¿ve semitones). As we saw last month, the waveforms created by 4ths and 5ths are more stable and less dissonant than other intervals (apart from octaves) when used with distortion; consequently, they work well when played as double-stops and form the basis of many classic rock riffs. Once you have absorbed the various concepts featured within this month's demo examples, you should aim to apply the same principles to the other scales that you know shifting ideas up and down the length of the neck (lateral motion), as well as staying within the same neck area (vertical motion) - in order to develop useful repertoire that you can draw upon when improvising. Also, as indicated in the previous lesson, by this stage in our study of intervals, you should be aiming to execute each and all of the basic permutations, up and down the neck through each shape of a scale - as follows:

ON THE CD

TraCks 54-56

A series of ascending 5ths. A series of descending 5ths. A series of 5ths that alternate between ascending and descending. A series of 5ths that alternate between descending and ascending. As well as trying other permutations, such as: ‘Up, up down’ etc; various con¿gurations on each 5th interval; playing ideas that are a multiple of 2 (2, 4, 8) to a triplet count; playing ideas that are a multiple of 3 (3, 6 etc) to a duple count (8th-notes, 16th-notes etc). Finally, make a note of the most successful or useful ideas (according to your tastes), and try to see each one as a template that can be adapted: it's better to have a few Àexible friends that can be edited (expanded or compressed) to ¿t your purposes at any given musical juncture than hundreds of rigid licks and lines that are set in stone. consequently, you should practise by limiting your approach to just using one line only and seeing how much variety and expression that you can create by varying the rhythms, omitting notes, adding notes, applying bends, vibrato etc, to different notes.

It’s better to have a few exible friends that can be edited (either expanded or compressed) to t your purposes at any given musical juncture, than hundreds of rigid licks and lines that are set in stone.

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Generally it’s a good policy to work with as little distortion as you can, in order that the fundamental tone is audible. You may have to work harder, but there will be a core to your notes, rather than the fizzy transparency that results from using too much gain. If your guitar has humbuckers, they will probably be powerful enough for you to get all the distortion that you need from the amp; whereas if using singlecoils, you may need a distortion, overdrive or a gain pedal. I’d suggest 75% of the gain coming from the amp, and 25% from the pedal. A splash of reverb or delay (in tempo with the track) will help to give both size and smoothness to the sound and is a good substitute for drive.

Track record one of the most famous examples of stacked 5ths in rock guitar is the tapping section from Joe Satriani's The Mystical Potato Head Groove Thing from Flying in a Blue dream. Steve Vai also features 5th intervals in his playing, either as single notes or as double-stops. You could also think of the sus 2 shapes in The Police’s Message In a Bottle as two 5ths stacked.


david lyTTleTOn

lesson: creative rock

learning Zone

FiFths ExAmplE 1

CD TraCk 55

In bar 3, descending 5ths are taken down through the scale within one shape or neck area.

ExAmplE 2

CD TraCk 55

In bar 11, ascending 5ths are taken up through the scale by moving along the length of the guitar. Ex 1

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ON THE CD

TraCks 54-56

ExAmplE 3

CD TraCk 55

This example demonstrates a variety of approaches: stacked 5ths are employed within bar 17, whereas bar 19 features six-note motifs (each comprising two ascending 5ths and one descending 5th linked via slides)

taken laterally up through the scale. Finally, in bar 20, we see a succession of ascending 5ths employing pull-os, and nishing o with some 5ths that feature slides and lateral motion on the top two strings.

ExAmplE 4

CD TraCk 55

Here, we have three-note motifs shifted down the neck on the top two strings in bars 25 and 26. After the initial ascending 5th in bar 27, an inverted version of the three-note gures from the previous bars move up through

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the scale along the neck. In bars 25 and 26, each motif comprises a 'lownote + high-note + low-note' combination, whereas, in bar 27, each gure is composed of a 'high-note + low-note + high-note' sequence.

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learning Zone

FiFths ExAmplE 5

CD TraCk 55

The descending sequence shown in bar 35 of this example is typical of one used by Yngwie malmsteen. As you can see, after the initial descending 5th, it features a succession of three-note motifs following a 'low-note + high-note + low-note' conguration; however, I suspect that Yngwie simply

thinks in terms of the three-note motif encapsulated within each beat (that is, a descending 5th followed by a descending slide of either a major or minor 2nd: depending on whatever interval is required to stay within the parent scale).

ExAmplE 6

CD TraCk 55

In bar 43 of this example, we see a succession of stacked 5ths (alternating between ascending and descending) taken up through the scale. This

scheme is shifted up along the length of the bottom three strings with the help of an occasional slide. Slightly reminiscent of Andy Summers too!

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ON THE CD

TraCks 54-56

ExAmplE 7

CD TraCk 55

The sequence in bars 51 and 52 looks more complicated than it actually is. In fact, it is simply a descending three-note minor pentatonic sequence, played using shape 1 of A minor pentatonic within the fretting hand, while

the picking hand taps out the same shape a 5th higher. All the notes of both A and E minor pentatonic scales can be found within A Aeolian (and, for that matter, A Dorian).

ExAmplE 8

CD TraCk 55

In bar 57 we see a succession of four-note motifs based around stacked 5ths taken down through the scale within the same area of the neck. But it's easier to think in terms of the four notes within each beat (that is, an initial

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2nd interval followed by two descending 5th intervals). This is followed, in bars 58, by a succession of ascending stacked 5ths taken up through the scale (three ascending motifs followed by a descending motif).

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learning Zone

FiFths ExAmplE 9

CD TraCk 55

Another mixture of approaches. In bar 65, we see a combination comprising an ascending 5th linked via an ascending slide to a 5th ascending the scale. This initial movement on the fth and sixth strings is then repeated higher up on the fth and fourth strings. Next, in bar 66 we have a succession of

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lesson: modern country

ON THE CD

Brooks & Dunn style

The hit-making style of Brooks & Dunn is the subject of Andy Saphir’s latest lesson, so if great countryrock riffs, hooks and solos are your thang, read on!

Kix Brooks and Ronnie Dunn rock out live on stage!

TraCks 57-58


(2007). after an incredibly 20 years at the top, Brooks & Dunn disbanded in 2010, with both Ronnie and Kix pursuing solo careers. Their music is a mix of great power ballads like The Long Goodbye; anthemic style tunes like Only In america; feel-good middle-ofthe-road songs like She’s not The Cheating Kind; and foot-tapping rockers like Mama Don’t Get Dressed Up for nothing. Strong riffs and a rocky edge, mixed with shared lead vocals makes them essential listening for lovers of country pop-rock; the abundance of fantastic riffs and jaw-dropping solos make them a must for country-rock guitar fans. This month’s piece is in E and starts with a 16-bar intro, the ¿rst eight bars of which is a classic bluesy style riff which will need some coordination to perfect. I felt natural playing this hybrid style, but palm muted down strokes with a pick will work too. This riff acts as an anticipation of what is to folow, as the next eight bars feature a country blues-rock riff with a ‘question and answer’ double-stop, single-note line idea. again, I suggest hybrid here, but it’s not essential. an eight-bar acoustic ‘verse’ comes next - use downstrokes - followed by the eight-bar power chord style solo rhythm, to be played on electric. The solo isn’t too demanding, but is both musically appropriate and commercial sounding, with great licks and strong hooks just what’s required when playing this style.

Brooks & dunn released their first album, Brand New Man, in 1991. Its title track went straight to Number 1.

Moderate Info

WIll IMprove your

Key: E Tempo: 120 bpm CD: TRACKS 57-58

Hybrid picking Stylistic approach General fretboard skills.

If any fan of country music were asked to compile a list of legendary acts, Brooks & Dunn would surely feature near the top. Country is a colossal, mainstream style in the USa, so these guys are household names to a vast amount of people. yet in territories where country isn’t pumped out daily over the airwaves, they are possibly less well known. Singer-songwriters Kix Brooks, from

Louisiana, and Ronnie Dunn, from Texas, teamed up as a duo in 1990, releasing their ¿rst album, Brand New Man, on the Arista nashville label in 1991. Its title track went straight to number 1. a further three tracks also made the top slot, including line dance favourite Boot Scootin Boogie. 1993 saw the release of Hard Workin Man, the title track of which features classic Brent Mason doublestop style rhythm playing. Waiting On Sundown in 1994 yielded more chart-toppers, while Borderline in 1996 had the massive hit single My Maria, plus a great up-tempo number called White Line Casanova, which features sublime Brent Mason soloing. Other albums include Tightrope (1999), Steers & Stripes (2001), Red Dirt Road (2003), Hillbilly Deluxe (2005) and Cowboy Town

Get the tone 7

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For the electric riffs a Tele style guitar is always going to work best - it’s the sound of modern country. A healthy amount of compression is often necessary too, as it both evens out the sound and helps to punch it to the top of the mix. For the solo, use the same guitar but pile on a judicious amount of overdrive and add a short delay. Any decent acoustic will work fine but, if recording yours, add a bright EQ with a splash of reverb to help it lay in the track. The above settings are your electric lead tone guide (turn the volume down for rhythm/riffs).

Track record Brooks & dunn have a great selection of guitar friendly tracks to choose from. For awesome Brent Mason chicken pickin’ style, White Line casanova is a must, while Mama don’t Get dressed Up For Nothing is a lesson in how to come up with the perfect riff; and cowboy Town is just a great, feel-good country rock song with some exceptionally tasty guitar hooks.


SIPA PRESS/REX FEATURES

ABILITY RATING

Learning Zone

BROOKS AND DUNN ExAmplE brooks & dunn-style track

CD TraCk 57

[Intro: Bars 1 to 16] Bars 1-8 are the first half of the electric guitar intro. Watch the dynamics here, as it should be approached gently. If using hybrid picking, make sure the bass notes are palm muted, only use downstrokes with the pick and don’t pluck the fourth string too hard with your finger. Your prime target here is to achieve a really great feel. Bars 9-18 highlight the second half of the electric intro: the main riff. Again, I’ve suggested hybrid picking, but using just your pick should work okay. Accurate timing is essential, so make sure all the bass notes and double-stops are exactly where they should be or the riff will sound ‘out’. Also the single note lines

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lesson: modern country

ON THE CD

TraCks 57-58

ExAmplE brooks & dunn-style track

CD TraCk 57

[Bars 25 to 34] The electric rhythm part that’s played under the solo uses basic power chords - make sure they are rhythmically ‘in the pocket’ though. [Solo] A deliberate reference to the intro riff, the solo starts with a two-bar bluesy style sliding double-stop motif (notes B and D), imply an E7 chord (E G# B D). The single-note line that follows uses notes from the E minor blues scale (E G A Bb B D) but rounds off in A major pentatonic (A B C# E F#), resolving on the A note - a strong resolution over the A major chord. make sure the A to B bend on the third string at the beginning is confident and accurate, and let the open first string ring over the first two beats of it. D

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[Bars 29 to 34] A hooky single-note phrase starts this remaining section, which mainly uses notes from E major pentatonic (E F# G# B C#). The final passage reaches a climax by using a couple of bending licks as an ‘approach’ to the penultimate rock style Chuck Berry-esque bend and double-stop lick, which is again based on the E minor pentatonic scale. The solo tails off with a semitone bend from F# to G and back to E for the final resolution over the E major chord. Ensure all bends are played accurately, as poorly pitched bends ruin an otherwise well-played solo - most especially in country, where inaccurate string bending is an instantly sackable offence!

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lesson: prog

ON THE CD

TraCks 59-61

Steve Hillage of Gong

Paul Bielatowics delves into the playing of one of prog’s tastiest and most fluent guitarists: the great Steve Hillage of Gong, The Orb and as successful solo artist. one, with album after album securing his reputation as one of the great prog-rock guitarists. During the 80s, hillage’s unique blend of psychedelic progressive music fell out of favour with the fashions of the day so he moved to production, working with a number of successful artists including Simple minds. By the end of the decade hillage had almost disappeared from making music. then one day, in a local night club he heard a DJ who had sampled his Rainbow Dome musick album. hillage introduced himself and the two became friends - soon they were working together in the orb, a hugely inÀuential band that practically invented the electronic genre known as ‘ambient house’. hillage’s ambient dance music work continued with various projects through the late 2000s. he was recently reunited with his old gong band mates for their 2009 album release, 2032.

one day Hillage heard a dJ who had sampled his rainbow dome Musick album. Soon the two were working together in The orb, virtually inventing ‘ambient house’ music.

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To emulate Hillage’s sound you’ll need a valve amp (or emulator) capable of giving you a nice amount of natural sounding gain. We’re very much in classic valve amp territory this month, so no monster distortion or scooped mids allowed! Guitar-wise, something equipped with a smooth sounding humbucking pickup in the bridge position, would be ideal.

Track record If classic psychedelic prog is your thing then Gong’s radio Gnome Trilogy is a must. It consists of three classic albums: Flying Teapot, angel's egg and You. as for Hillage solo offerings, there’s a lot to choose from, but you might want to start with his 1975 offering, Fish rising – the album that launched his solo career. anything by The orb is great if ambient house is your thing.


BRIAN RASIC/REX FEATURES

Stephen SimpSon hillage was born on 2nd august 1951, in london. he started playing in bands while still at school and a little later made friends with inÀuential groups such as Caravan and Spirogyra, with whom he would often jam. While at University he wrote a large collection of songs and by 1970 had enough material for an album. the following year hillage formed Khan and recorded his debut album, Space Shanty. however, the band was short-lived. hillage disbanded it and joined Decadence, recording with them as well as touring the UK and France for two months. hillage was a fan of the Franco-British psychedelic prog band gong, so when the tour ended in France and the group asked him to stay there to work with them, he jumped at the chance. Soon he was a full member of gong, completing what is now considered their classic line-up. Between 1973 and 1974 gong released their bestknown work, the Radio gnome trilogy - a three-album set consisting of their classics Flying teapot, angel's egg and You. this ‘classic’ line-up lasted until 1975 when various Steve Hillage with a headless members left, including their Steinberger mastermind Daevid allen. this put hillage in the driving seat as the band’s leader. Feeling increasingly ABILITY RATING uncomfortable with his new role, Steve Moderate/advanced decided to leave to launch his solo career; a decision encouraged by the success of his ¿rst Info WIll IMprove your self-titled release Fish Rising, which he recorded while still in gong and which Key: E Legato soloing featured most of his band mates. Tempo: 150bpm Scale vocabulary his decision to go solo proved to be a good CD: TRACKS 59-61 Use of volume swells

LearninG Zone

Steve Hillage ExAmplE 1 volume swells

CD TraCk 60

This example demonstrates Steve’s use of volume swells with an E major 9 arpeggio (E G# B D# F#) and plenty of delay in the Fx loop. The fretting hand

©»¡∞º # & 44 E B G D A E

hammers each note while the guitar’s volume is off. The picking hand holds the volume knob, fading each note in and out using the fourth finger.

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ExAmplE 2 mixinG scales and arpeGGios

CD TraCk 60

This example shows how Hillage might change approaches mid-lick. We start off with a stock blues-type lick, descending the E blues scale (E G A

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Bb B D); then, when the lick ascends, the scale switches to an E dominant 7 arpeggio with and added 11th (or 4th) – an idea often found in his playing.

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ExAmplE 3 speddy leGato

CD TraCk 60

Here’s another example of the E7add11 arpeggio, this time it’s used in a fast repeated legato run.

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lesson: prog

ON THE CD

TraCks 59-61

ExAmplE 4 doublinG notes

CD TraCk 60

An effective way to build excitement and tension is to double each note in a run – it creates the effect of a fast run being held back (Gary moore would

& E B G D A E

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do this too). Example 4: Here’s the same ‘fast run being held back’ idea with the same E7add11 arpeggio.

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ExAmplE 5 syncopatinG a licks

19 16

17 15

CD TraCk 60

This example starts off with a single note played in a syncopated rhythm. The last four bars consist of a descending sequence using the same E7add11

shape as previous examples, only now we’ve added a b2, which makes it one note short of the phrygian Dominant scale (5th mode of harmonic minor).

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ExAmplE 6 creatinG dissonance

CD TraCk 60

Things are about to get a little dissonant. This example shows how Steve might take an interval, in this case a b5 or tri-tone, and use it to form a

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repeated pattern. As we’ve seen in past columns, these kinds of licks work great when played with conviction and resolving to a strong note.

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LearninG Zone

Steve Hillage ExAmplE 7 mixinG pentatonics and chromatics

CD TraCk 60

This is another example of mixing different approaches in one idea. Here we have a repeated minor pentatonic lick followed by a chromatic line. Again,

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CD TraCk 60

over the backing track. When the example moves to a four-note phrase (not rhythmically displaced), the excitement and intensity really seems to build, even though the speed has stayed exactly the same.

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the chromatic line sounds really strong when played with confidence and especially when it resolves to a strong note.

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lesson: acoustic

ON THE CD

TraCk 62

To Be A Pilgrim

This month our acoustic maestro Stuart Ryan has arranged and transcribed an old English hymn that has since become a popular gospel classic.

To Be A Pilgrim was written in 1684 by english composer John Bunyan, as part of his Christian allegory Pilgrim’s Progress. It is popular within the gospel scene and with some choice chords it can de¿nitely be given a gospel feel and sound. This solo arrangement is mostly based around a straightforward chord melody approach, although the last eight bars use a sophisticated technique of combining hammered-on bass notes with arti¿cial harmonics: this will require a great deal of coordination and synchronisation between picking and fretting hands. The ¿rst eight bars serve as an introduction before the main melody, and contain gospel style chord voicings that are worth committing to memory for those times when you want to inject a bluesy gospel sound into your arrangements. A particularly nice twist is the major to minor chord movement on the IV chord (in this case C) which is often expanded into major 7 to minor 7 or the even darker minor-major 7, which Tony McManus: contains parts of each. You’ll bass note hammer¿nd the ¿rst example of this ons plus harmonics on the C chord at the end of the second bar and this is another useful voicing to internalise. ABILITY RATING Though not a common chord type, any sort Moderate/Advanced of min-maj 7 has a truly unique sound. As complicated as it sounds it’s not to dif¿cult to Info WIll IMprove your construct – you simply combine a root and a Key: G Chord knowledge minor 3rd with a major 7th (the 5th is Tempo: 97bpm Artificial harmonics optional). So to create a C min-maj 7 you CD: TRACK 62 Playing dynamics would need a C (root), eb (minor 3rd) and B

(major 7th). Try playing around with this moody sounding chord and its variants and see if you can get it into one of your own arrangements. It’s most worthwhile. The ¿nal eight bars contain a great technique I ¿rst encountered in the playing of the amazing Celtic guitarist Tony McManus. The idea is to state the melody with arti¿cial harmonics while providing a simple bass note accompaniment via the use of ‘hammer-ons from nowhere’ with the fretting hand. To begin with I’d work on getting all the fretting hand shapes into place as the arti¿cial harmonics need the fretting hand to have the notes fretted before you can sound them 12 frets higher. This is something of a balancing act as there needs to be enough pressure on the ‘hammer-ons from nowhere’ to make them sound, but not enough so they drown out the arti¿cial harmonics. This section on its own should make for great study material and when you are comfortable with the technique have a go at applying it to your own arrangements as it can be done with virtually any melody that isn’t too complicated.

This arrangement is based around a straightforward chord melody approach, although the last eight bars use a combination of hammered-on bass notes and artificial harmonics.

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Track record There are many great examples of gospels, spirituals and hymns recorded for solo steel-string guitar, including Martin Simpson’s fantastic 1994 release, a closer Walk With Thee. For a great guitar reading of Billy Thompson’s gospel influenced classic I Wish I knew How It Would Feel To Be Free, check out Martin Taylor’s amazing solo version on his album The Valley.


LeArning Zone

To Be a Pilgrim ExAmplE to Be A PILGRIM

CD TraCk 62

[Bar 1] This intro sequence uses some typically gospel harmonic devices – in particular the I chord (G) changing from major to dominant 7th and the IV chord (C) transitioning from major to minor (or in this case min-maj7).

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[Bar 5] Here are some more classic gospel voicings, the G11 and a C min-maj7. [Bar 12] Aim to keep the first chord (D) sustaining as you move to the G to get the fullest sound possible.

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lesson: acoustic

ON THE CD

TraCk 62

ExAmplE to Be A PILGRIM

CD TraCk 62

[Bar 17] Changing register can be a great way of getting variations on a theme, though the D chord shape in bar 18 will require some finger stretching! Aim to get the notes on the 7th and 3rd frets in place at the same time to create this rich chord voicing. [Bar 20] Some brief though tasty dissonance courtesy of this G9#5 chord which hints at the jazz influence that is an integral part of gospel.

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[Bar 25] Here is the ‘hammer-on from nowhere’ and artificial harmonics section. The notes on the sixth and fifth strings need a strong hammer-on with the fretting hand. The artificial harmonics require the first finger of the fretting hand to lightly rest on the fret wire, 12 frets above the note on the tab stave. You can then use the picking hand thumb to strike the string to sound the artificial harmonic. You can treat this as a great exercise in itself.

4 5

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ON THE CD

A-Z of music theory: N

This month Charlie Griffiths notes the necessity of natural harmonics, ninth chords, Neapolitan chords and scales, but sadly no Neapolitan ice cream!

Pantera’s Heresy contains natural harmonics

human ear perceives them as a single note. The 12th-fret harmonic is the ‘fundamental’ and the lowest in pitch. It sounds an octave higher than the open string. This harmonic is found exactly half-way along the string. The harmonic a quarter of the way along the string is another octave higher and the one an eighth of the way along is another octave still. By dividing the string into other segments we can produce ‘overtones’ like 3rds and 5ths. These harmonics don’t always align with the frets so trial and error is required to measure the fractions.

Neapolitan chord

ABILITY RATING

Intermediate Info

WIll Improve your

Key: Various Tempo: Various CD: TRACKS 63-67

Scale knowledge Theory knowledge Chordal understanding

Natural harmonics

A natural harmonic is produced by lightly touching a string at a speci¿c point and immediately removing the ¿nger. Lightly run your ¿nger up and down a string while picking and you’ll hear a range of harmonics. When you play an open string you are playing all these harmonics at the same time, but the

So called because it is associated with a group of 18th century composers who resided in Naples, the Neapolitan chord is usually used in minor keys to make chord progressions sound more dramatic and intense, by borrowing from the Phrygian mode. If we take a progression such as Am Dm Em (Fig. 2a), these are the Im, IVm and Vm chords of the Am. We can make the move to the V chord more exciting by replacing the IV chord with a Neapolitan chord. The ‘N’ chord is a major chord played from the b2 scale degree; in this case Bb. Now the bass note movement from ‘N’ to ‘v’ is a tritone, a much more dramatic sound. We can take this a step further and turn the chord into something called a ‘Neapolitan 6th’ (N6 for short). An N6 is an N chord played in ¿rst inversion; the number 6 refers to the fact that the lowest two notes are now a b6 apart. In Fig. 2c we have made one more adaptation and changed the V chord from minor to major, which borrows from A harmonic minor.

Neapolitan minor scale

This is a scale version of the chord progression described above. Let’s start with the more familiar natural minor scale (Aeolian mode) and shift a couple of notes up

TraCks 63-67


or down to produce this exotic sounding scale. As we discussed way back at the beginning of our alphabetical adventure, the Aeolian mode contains the intervals 1 2 b3 4 5 b6 b7 which, in the key of A is A B C D E F G. We can create harmonic minor my raising the b7 interval up a semitone to a major 7th; this gives us the notes A B C D E F G#. To make Neapolitan minor we need to Àatten the 2nd degree to give us these intervals: 1 b2 b3 4 5 b6 7; this translates into the notes A Bb C D E F G#.

Ninth chords

This chord type is most associated with funk, blues and soul music and is used extensively by players like Jimmy Nolen (James Brown). The chord is constructed from notes of the Mixolydian mode (1 2 3 4 5 6 b7), which in the key of E is: E F# G# A B C# D. We usually build chords by stacking the odd numbered notes on top of each other. In this case the 1 3 5 b7 notes give us E G# B D, or an ‘E7’ chord. But we can also use notes from the second octave to add the extensions 9th, 11th and 13th - F# A C#. So an E9 chord contains the notes E G# B D F#, but they aren’t usually played in that order. The tab shows the most commonly used voicings.

Note values

Being aware of rhythm is an essential skill for any musician, but sadly one that is often overlooked by guitarists. A good way to practice this is to have a metronome ticking at a comfortable tempo, as it is important that you maintain accurate time keeping and don’t speed up or slow down. Start by playing a minim - four clicks of the metronome. Tap your foot with the click and count aloud ‘1 2 3 4’; this will help internalise your sense of time. Next, double the rate of your note so you are playing a semibreve every two clicks, but keep your foot tapping with the metronome. If you keep doubling the rate you get: crotchet, quaver and semiquaver (commonly referred to as the ‘British’ system). The ‘American’ system uses simpler nomenclature: wholenote, half-note, quarter-note, eighth-note, sixteenth-note; each time dividing the bar by the numerical value described. For other subdivisions we use ‘tuplets’, which are shown as brackets over the notes. The most common ‘tuplets’ are triplets which divide beats into multiples of three, but any odd number can be used: ¿ves (quintuplets), sevens (septuplets) and nines (nontuplets). You should be able to count all these subdivisions at will.

Track record dimebag used natural harmonics for the intro to Heresy on Pantera’s cowboys From Hell. Neapolitan tonalities are found in Beethoven’s Moonlight Sonata, but those architects of pop The Beatles also used them in do You Want To know a Secret (from Please Please Me). Jimmy Nolen made extensive use of 9ths with James Brown on classics like Get Up (I Feel Like Being a) Sex Machine.


MICK HUTSON/GETTY IMAGES

lesson: rockschool

LeArNiNg ZoNe

A-Z of music theory: N ExAmplE 1 Natural HarmoNics

CD TraCk 63

Notice these harmonics are exactly the same distance above and below the 12th-fret centre point of the string. Use plenty of gain and bridge pickup to

¤ ©»ªº ~~~ w/bar · ‚ ‚ & 24

‚ ‚

help the harmonics sing. If the harmonic sounds dead, move your finger up or down the string slightly as they require pinpoint accuracy.

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ExAmplE 2 NeapolitaN cHord

CD TraCk 64

Here are three progressively more dramatic sounding chord progressions. The first contains the I, IV and V chords in Am. In the second progression,

. .

E B G D A E

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Dm

Em

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CD TraCk 66

finger barre. The A9 has the root on the fourth string and is voiced: R 3 b7 9. The 5th is often omitted so as to allow for more colourful extensions.

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CD TraCk 67

˙

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thought of as ‘two notes per beat’, ‘three notes per beat’ and ‘four notes per beat’. Focus on keeping the notes of equal length and volume.

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Use a metronome as you divide each bar into evenly spaced notes. Tap your foot along with the downbeat and count aloud. Bars 4, 5 and 6 are best

E B G D A E

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ExAmplE 5 Note Values

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5th fret. When you play the second string use your first, second and fourth fingers, but be prepared for a wide stretch between frets 6 and 9.

Here we have two ‘9th’ chords: E9 and A9. The E9 has the root on the fifth string and is voiced: R 3 b7 9 5. play the first to third strings with a third-

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B b/D

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Am

CD TraCk 65

play the initial Am chord to give the scale context. play the lowest four strings using ‘one finger per fret’ with your first finger positioned at the

©»§º & 44

Fig 2c Im - bII (1st inversion) - V - I

Fig 2b Im - bII - Vm - Im

Fig 2a Im - IVm - Vm - Im

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the II chord is substituted with a Neapolitan chord. And thirdly we have a Neapolitan 6th and an E major V chord borrowed from A harmonic minor.

4

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4444444444444444


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each back issue costs (including postage and packing) n UK: £5.50 n europe: £6.50 n rest of the world: £7.50 92 GuitarTechnique October 2013

Music Reviews

What our ratiNgs MeaN: HHHHH Buy it HHHH Excellent HHH Good HH Average H Bin it!

New Albums

the new guitar releases, including Album Of the Month and Classic Album... Album of the month

AristocrAts

CuLtuRE CLASh Boing! HHHHH

the Aristocrats - purveyors of fine, fiery prog - bounce back with a second album packed to the rafters with whacky time signatures, quirky melodies and a white water ride of styles and genres. Bassman Bryan Beller, drum-meister Marco Minnemann and guitar’s Dark Lord Guthrie Govan blitz their way through nine instrumental tunes which will have the guitar world in raptures! the Aristocrats are a democratic bunch, the individual members having written three tunes apiece on the CD, and recent interviews with Bryan and Marco reveal that they were compositionally testing Guthrie’s inimitable skills by throwing everything they could at him to see if he could cope - and cope he does. Admirably. the instrumental rock guitar genre has a poor reputation for being all about how many notes it’s possible to cram into the bar, but in Mr Govan’s hands the missing elements of taste, melodic inventiveness and, most importantly, tone come to the fore, making this release an absolute joy from beginning to end. drawn into the whole thing. Bruce’s ability is quite astounding, the trio is amazingly tight and the production makes the tracks sound vast. Well conceived and executed throughout this is hot, heavy and laden with skill. Check out www.brucebouillet.net for further info.

Bruce Bouillet

REVIEWS BY ROGER NEWELL AND DAVID MEAD

the order of CoNtrol

Own Label HHHH One of the most difficult things for any player who has total control over speed, tone and delivery on the guitar is how to put that best to use. With almost too much ability and talent to be in regular band you become forced to lead your own outfit and produce an instrumental album. With Dave Foreman on bass and Glen Sobel on drums this is exactly where Bruce Bouillet finds himself, but where this album scores is in its musical variety and attention to melody. The album gets off to a blistering start with Blind As We Watched and it’s not until the fourth track, Giving Up The Ghost, that things start to cool a little. But there’s so much going on that you get

shirock

everythiNg BurNs

The Movement Group HHH If you’re living in Nashville it stands to reason you’d try and find your way in music and indeed Chuck and Pap Shirock have done just that. But not before they’d launched the Irock clothing range which has become very successful in the States. High school sweethearts became husband and wife and now this, their debut album, is being released in the UK hot on the

tail of the single pull, Still Young. But in a way the mention of Nashville is a red herring as this is by no means a Country album. In fact it’s pretty beefy material and even though it has a definite pop element this is like nothing we produce over here. The songs are well balanced, well constructed and most have a heavier element in the arrangements with strong guitar playing throughout. In America the clothing label, TV adds and Pap’s modelling posters give them lots of exposure so it will be interesting to see how well this album fares without that level of publicity.

ir (international rescue)

No CouNtry for old MeN

Cowboy City Records HHH Originally formed back in 1980, the early days for International Rescue were very encouraging but then the promised record deal collapsed and, in spite of a very full gigging schedule and lots of plays on the John Peel show, fame and fortune slipped away. The band also struggled to survive after losing guitarist Stephen Skinner to Orange Juice and Edwyn Collins.

attitude and ambient attack of early Allan Holdsworth with the Bruford band this set offers loads of originality within its spacious and expansive framework. You’re never allowed to dwell anywhere for long as the music twists and turns, flowing from track to track. Often commencing from a relatively simple riff the feel and intensity soon varies yet you’re continually caught in the foray, and that is what’s most striking about this album. The interplay between the musicians is very effective and as the listener you’re made to feel part of the whole experience. If you like your music unpredictable and sonically diverse then take a sample listen at www.tomfryer.com.au and remember not to confuse this trio with the Brit based Tom Fryer Band.

Vince Gill & Paul Franklin

Bakersfield

But remarkably in 2011 they reformed and No Country For Old Men is the result. It’s a refreshingly melodic album that dabbles in nostalgic sounds and yet is performed with a modern approach. So while the songs feel comfortable, what they offer is both new and inviting. The guitar work is effective rather than challenging so it would seem that Skinner has adopted the Collins philosophy. This is refreshingly different stuff and well worth a listen.

tom Fryer

dirty Math

Own Label HHHH We love to hear material from our readers, particularly when it offers something away from the mainstream blues or rock formulas and this album from Tom Fryer is just that. This CD arrived unannounced from Australia and features Tom on fretted and fretless guitars in seven instrumental excursions with the aid of Christopher Hale on bass and Ryan Menezes on drums. While it reflects some of the

MCA Nashville HHHH Steel guitarist Paul Franklin is most familiar in the UK for his work with Dire Straits on their On Every Street album and subsequent world tour, but back home he’s best known as a session steelie. For this album he joins forces with Vince Gill, a super country guitarist and great singer so you can count on this being full of stunning guitar work. It’s all Buck Owens and Merle Haggard material so will be familiar to country music enthusiasts, and as both guys came from Bakersfield you know why the album has this name. Vince declares, ‘This is as much a guitar record for me as it is a singing record’ and we agree. Just check out the interplay between Gill on clean picked guitar and Franklin on smooth and bluesy steel for The Bottle Let Me Down. Stunning! No huge surprises here, just class and flair, and, for extra authenticity, the great Merle Haggard writes the sleeve notes!


GT USER GUIDE

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

Relating tab to youR fRetboaRd 2 3

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 each transcription is broken down into two parts...

œ

œ

2nd string 3rd fret

2nd string 1st fret

3

1

& Chord example

Chord example (with capo)

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

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

x

a major scale

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

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

9 5 7

0

C

Em

œœ œœœ

œœ œœ œœ

# œœ œœ

D7

0 1 0 2 3

0 0 0 2 2 0

2 1 2 0

A m7

œœ œœ œ 0 1 0 2 0

Tabbing under the musical stave, tab is an aid to show you where to put your fingers on the fretboard. the six horizontal lines represent the six strings on a guitar – the numbers on the strings are fret numbers. the two stave and tab examples show 4 notes and 4 chords; c (c major), em (e minor), D7 (D dominant 7) and am7 (a minor 7).

Tapping & harmoniCS the left box shows an a minor pentatonic scale with added tapped notes signified by ‘t’s. above shows a cmaj9 (no 3rd) with harmonics at the 12th fret.

the diagram shows the fret-hand fingering for the a major scale (root notes in black). the photo shows part of the scale being played on the fourth string with first, third and fourth fingers.

2

x

&

SCale example

œ 4th string Open

muSiCal STaVe the five horizontal lines for music notation show note pitches and rhythms and are divided by bar lines.

8

R

œ 3rd string 2nd fret

Guitar techniques: How tHey appeaR in wRitten music... piCking variations anD alternatives Tremolo picking

up and down picking

& E B G D A E

œ

&

œ

7

5

≥

≤

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

E B G D A E

œ @ 5

@

œ @ 4

@

œ bœ @ @ 7

@

8

@

n each of the four notes are to be alternate picked (down- & up-picked) very rapidly and continuously.


pick rake

palm muting Palm Muting

& E B G D A E

nœ # œœœ

œ œ œ

n œœ œœ

PM 8 7 6 7

0

0

0

& œ œ

PM 8 7 6 7

0

0

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

¿

¿¿

w

appeggiate chord

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rake E B G D A E

X

X

X

5

n Drag the pick across the strings shown with a single sweep. often used to augment a rake’s last note.

E B G D A E

ggg ggg gg

0 0 2 2 X 2

ggg # ˙˙˙ ggg # # ˙˙ gg ˙ ggg ggg gg

4 5 4 4 4 5

n play the notes of the chord by strumming across the relevant strings in the direction of the arrow head.

freTTing hand hammer-on & pull-off

& E B G D A E

œ

œ

œ

œ

5

7

7

5

n pick 1st note and hammer on with fretting hand for 2nd note. then pick 3rd note and pull off for 4th note.

note Trills

& E B G D A E

~~~~~

tr

~~~~~

˙ (œ œ)

5

left hand Tapping

Slides (glissando)

tr

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b˙

(7 5)

E B G D A E

8

n rapidly alternate between the two notes indicated in brackets with hammer-ons and pull-offs.

5

7

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5

7

& E

5

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¿¿ ¿¿

¿¿ ¿¿

œœ œœ

¿¿ ¿¿

¿¿ ¿¿

8 7 6 7

X X X X

X X X X

X X X X

8 7 6 7

X X X X

X X X X

E B G D A E

7

7

E

n pick 1st note and slide to the 2nd note. the last two notes show a slide with the last note being re-picked.

fret-hand muting

6

n sound the notes marked with a square by hammering on/tapping with the frettinghand fingers.

n X markings represent notes muted by the fretting hand when struck by the picking hand.

bending and VibraTo bend up/down

&

j œ

re-pick bend

œ

œ

( )

( )

&

pre bend

j œ œ

œ

( )

( )

E

E

œ

œ

( )

( )

&

E

E

E

n Fret the start note (here, the 5th fret) and bend up to the pitch of the bracketed note, before releasing.

&

Vibrato

quater-tone bend 1/4

œ

œ 1/4

E

E

'

˙

&

'

~~~ ~~~ ~~~~~ œ œ ˙ ~~~ ~~~ ~~~~~

E

E

E

n Bend up to the pitch shown in the brackets, then re-pick the note while holding the bent note at the new pitch.

n Bend up from the 5th fret to the pitch of the 7th fret note, then pick it and release to 5th fret note.

n pick the note and then bend up a quarter tone (a very small amount). sometimes referred to as blues curl.

artificial harmonics

pinched harmonics

Tapped harmonics

n the fretting hand vibrates the note by small bend ups and releases. the last example uses the vibrato bar.

harmoniCS natural harmonics

&

â # âââ â â

&

á á á áá 12

12

12

E B G D A E

7 7 7

n pick the note while lightly touching the string directly over the fret indicated. a harmonic results.

â

ááá

AH 16

NH

E B G D A E

â

â

AH 17

4

7

n Fret the note as shown, then lightly place the index finger over ‘x’ fret (ah ‘x’) and pick (with a pick, p or a).

Ñ

Ñ

± ±±

AH 19

5

Ñ

&

&

7

5

7

n Fret the note as shown, but dig into the string with the side of the thumb as you sound it with the pick.

E B G D A E

â

â &

ááá

TH 17

PH

E B G D A E

â

Touch harminics

â

5

&

œ

œ

E B G D A E

4

7

n Fret the note as shown, but sound it with a quick righthand tap at the fret shown (th17) for a harmonic.

œ

œ

( )

( )

( )

&

E

n the note is picked, then the whammy bar is raised and lowered to the pitches shown in brackets.

9

n a previously sounded note is touched above the fret marked tch (eg tch 9) to sound harmonic.

Capo notation

gargle

dive bomb

( )

œ

E

E

2

Capo

Scoop & doop

œ

á

TCH

TH 19 TH 17

VibraTo arm (aka whammy Bar) Vibrato arm bends

Ï

& w

˙

˙

E

&

œ

œ

&

E

E

E

n scoop - depress the bar just before striking the note and release. Doop - lower the bar slightly after picking note.

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

(

#

)

œ œ #œ œ #œ œ #œ #œ

E

E

E

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.

oTher TeChniqueS pick scrape

& E

E

¿¿ ~~~~~~ ~~~~~~~~~~~ ~~~~~~~~~ X X

~~~~~~~~~~~~~~~~~ ~~~~~~~~ ~

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

Violining

&

# ˙˙ ˙˙ ˙

finger numbering

˙˙˙ ˙

&

right-hand tapping

pima directions

b¢œ £œ ¡œ œ ˙

&

£ ¡

œ

œ œ

œ œ œ œ

&

Lœ œ œ Lœ œ

œ

L L 6

E

E

E

E

E

E

E

E

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’.

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.


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Guitar Techniques 2013 October - 222

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