Guitar Techniques 2014 Spring PDF

the finest guitar lessons on the planet 229 SPRING 2014

play better rock

today

with our...

complete workout

worl cleareds’st

guitar tab

Improve all your rock guitar skills and be ready for any musical challenge!

acoustic

seventh heaven!

classical and folk

Does your dominant soloing suck? Spice it up with exotic scales!

Mozart’s 40th & Laura Marling style study

play like…

Takin’ Care Of Business

FreddIE

KING Learn a classic from the most influential electric bluesman of them all!

Ted nugent

Byrdland-toting rocker Each month

the best

guitar tuition

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

blues, rock, Jazz & more

chuck wayne

Undersung jazz virtuoso

joe louis walker San Francisco’s giant of blues

ISSUE 229 SPRING 2014

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 Bielatowicz has a new solo album Preludes & Etudes available from his website www.paulbielatowicz.com.

jon bishop

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

Phil Capone

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

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.

the

finest

Welcome Of the three blues Kings it seems to me that Freddie comes off worst when it comes to the reverence in which the trio of legends is held. BB is of course the sweet-toned man of taste and musical refinement, while Albert is loved for his rawness and a seeming link directly to ‘the source’, whatever that source is. But I think Freddie is rather too often overlooked as the ‘one in the middle’. In reality his influence is probably the most wide reaching. Yes, you can hear a touch of BB in a ton of people’s playing, and Albert looms large as an influence in certain guitarists’ styles; but it’s difficult to find anyone who came after Freddie that doesn’t owe him a debt of sorts. In a way, Freddie took the T-Bone Walker template, the ‘shape’ system, ramped it up a few notches, added his own brand of showmanship and his own amazing songwriting skills, and became the perfect all-round blues machine. And let’s not forget that voice! Check out a few slow Freddie songs and see if you can spot where a certain Ripley boy got his ‘rasp’. And listen to the original of this month’s transcription: could that not be Peter Green singing - and playing? Add Greeny’s out-of-phase

guitar tuition you can buy !

honk and the licks are a pretty good match. Pile on extra guts and spite and it’s Bluesbreakers Clapton again. But have a listen to Stevie Ray Vaughan or Johnny Winter, and you’ll also hear big chunks of Freddie’s style coming out - even though in Stevie’s case he’s not the first King that springs to mind. And when you consider how hugely influential players like Clapton, Green and Vaughan were in their turn, it’s fair to say we have a lot to thank Freddie’s fingers for. Taking Care Of Business is not the hardest Freddie track we could have chosen. But it’s him in his more formative years and we felt it was a good idea to bring you the essence of this giant of a man and giant of a player. The backing track will allow you fantastic leeway to extend Freddie’s licks, add new ones of your own or perhaps even practice that silky vocal style! Have fun... 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

Royal Academy trained, Quist is a superb player who can turn his hand to any number of styles and topics. Look out for his album Trigger in 2014!

Stuart Ryan

Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs throughout the UK. His latest book/CD ‘The Tradition’ is available now.

andy saphir

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

tristan seume

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

john wheatcroft

A 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).

Spring 2014 GuitarTechniques 5

• C ON T E N T S • SPR I NG 201 4 •

Learning Zone Lessons Introduction

55

30-minute lickbag

56

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

BIMM’s Terry Lewis has six more licks for you at easy, intermediate and advanced levels.

blues

58

rock

62

jazz-funk special

66

Creative Rock

70

session

74

PROG

78

jazz

82

Acoustic

88

ROCKSCHOOL

92

Jim Clark looks at the electric guitar approach of blues singer-songwriter Joe Louis Walker. Martin Cooper gets cat scratch fever while he plays in the rock guitar style of Ted Nugent. Jason Sidwell pays tribute to Ronny Jordan, a great guitarist who recently passed away.

Shaun Baxter combines sweeping and tapping to produce exceptionally smooth arpeggios. Andy Saphir turns to session country guitar with a look at the extraordinarily gifted and successful Brent Mason.

Paul Bielatowicz on the prog guitar style of Ty Tabor from the hugely underrated Kings X.

COVER FEATURE complete rock workout Be ready for that gig! 16

Pete Callard looks at the soloing style of New York based jazz virtuoso Chuck Wayne.

John Wheatcroft presents the ultimate rock guitar workout to make sure you hit that stage like a seasoned pro!

FEATURES

REGULAR FEATURES Welcome 5

transcripton #1 FREDDIE KING Takin’ Care Of Business

Nev talks about the influence of Freddie King.

Theory Godmother

30

Jon Bishop transcribes a classic and hugely influential track by a true titan of blues - the one and only Freddie King.

special feature #2 EXOTIC scales... ...over a Dom 7 chord

Bored playing the same old things over a dom 7 chord? Jacob Quistgaard shows six alternatives that sound fabulously exotic.

38

LIVEPIX

8

David Mead addresses your technical, musical and theoretical issues.

talkback

Tell us your views... How are we doing?

10

Subscriptions

87

back issues

91

Save time and money – get GT delivered!

Charlie Griffiths continues his A-Z with U for Ultra Locrian, Unisons, Unison bends, Upbeats and Upstrokes. Until next month... Laura Marling: featured in Acoustic this month (p88)

9

Intro

News, One-Minute Lick, 60 Seconds With, What Strings, That Was The Year and more...

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

Albums

transcripton #2 MOZART Symphony 40 (1st Mvt)

Stuart Ryan unveils the acoustic approach of singer-songwriter Laura Marling.

95

Top guitar CDs and DVDs reviewed and rated.

TAB GUIDE

48

Bridget Mermikides arranges and transcribes one of Mozart’s most best-known pieces for classical acoustic guitar.

96

Our terms and signs explained.

Next Month

98

Play extreme guitar and use the pentatonic in different genres. Plus Chilis’ tab and more!


Q&A

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Breakdown On A6? Dear Theory Godmother I’ve just bought the Play Guitar Now: Rock & Roll and on Lick 1 of Danny Cedrone you have an A6 chord. However, due to its shape, which is the same finger position as a open Dm just five frets up, why isn’t it a F#m? Cynthia The reason behind this is that F# is the relative minor key to A major and A6 and F#m share many of the same notes. Let’s look at the two scales (Ex 1): in A major, the triad is made up from the notes A, C# and E - and if we add the 6th to turn it into a major 6th chord, we need the note F# as well. Now check out F#m: once again we need the root, 3rd and 5th of the scale which adds up to F#, A and C#. So the two chords are near as dammit the same thing to begin with. In fact, if we add the missing E to the F#m we’ll produce F#m7, then the two chords would be an exact match. In the case you’re quoting, a Dm shape at the 5th fret would produce the notes C#, F# and A - the 3rd, 6th and root of A, and just enough information to confirm it as an A6 chord. I suspect there would be a prominent A in the bass to confirm this so all would be well. This sort of thing crops up many times in music - we’ve only got 12 notes in the chromatic scale and thousands of chords that can be made from them. So it’s inevitable that many shapes are either going to look similar or, as we’ve found here, exactly the same!

Yngwie B Goode

Dear Theory Godmother I’ve played for years and stuck to rock/blues type songs where I can use the pentatonic or blues scales to improvise a solo. However, I want to learn to play more like Yngwie Malmsteen as I love the sound of the harmonic minor scale. My problem comes in the songs I play. I can’t play Malmsteen’s style lightning fast so how would I incorporate his style licks into a solo to Johnny B Goode or All Right Now? Please help, as I’d love to change my solos to sound like his. Andy

8 GuitarTechniques Spring 2012

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transcriptions and backing tracks of Malmsteen material and practise that 3 2 3 2you can get it up to speed. And until as3 far2 as that speed is concerned, I’m afraid that there’s no quick solution. Playing scales and exercises against a metronome is really the only way and it takes time and patience. But if you stick at it and do your speed-increasing exercises on a daily basis, you’ll see 7results 5 6after a short period of time. 7 7 So, 5 6 leave the harmonic minor for 7 5 6 7 songs that7 are in a minor key, but when playing the material you mention like Johnny B Goode or All Right Now, stick to your pentatonics or blues scales.

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Time On My Hands Dear Theory Godmother

OK, I’ll admit it: my timing sucks. The problem isn’t actually playing in time - that I can do. But when I’m working out a transcription I’m mainly

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using the tab and while the more straightforward stuff doesn’t give me any problems, some of the more complex rhythms floor me every time. I listen to the track, but sometimes that’s just not enough to get it inside my head. I want to do things properly and work the rhythm out from the music, but I get easily flustered. Is there a way around this situation? Ian Ordinarily, I’d say that it’s a question of working out the maths of the situation and sitting there with a metronome, tapping rhythms out with a pencil. But we live in modern times and these days there is help out there. If you look around the net, you’ll find that there are free notation programmes with cut-down features that will allow you to type in rhythms and hear them played back to you. One that I know of is Finale Notepad, but there are others and I’m sure a quick search will reveal them all. Then, when you find a rhythm that you have trouble with, copy it into the programme to hear it played back to you. I would recommend that you don’t bother about the pitches of the notes - copy it all onto a single line on the staff so that you can hear the rhythm of the phrase in isolation. After a while, you’ll begin to recognise rhythmic phrases at sight as more and more of them become familiar to you.

Write to: Guitar Techniques, 30 Monmouth Street, Bath BA1 2BW. Email: [email protected] using the header ‘Talkback’. Star LEtter Write one and win a prize! GREAT LESSONS

JAM TRACK TAB Is it possible to include the written music for your jam tracks, even if it was a PDF on the disk if you couldn’t fit into the mag? There have been some real great accompaniments over time. I’m not the greatest transposer by ear, although you would undoubtedly say I should develop that skill by using these! I’ve often thought when listening to them, “I’d like to be able play and practise that...” as they are very varied and could be used to back a variety of music genres. By the way, I’ve been buying and reading the mag since 1999. David Newman, Tasmania At the moment, unfortunately we just don’t have the resources to do that, David. The backing tracks are made up and played on the spot (mostly by me!) and no music is ever written down. We should always make sure that the chords are written out (or spelled out if they are a bit weird) in the jam track notes at the front of the magazine, though, as that would certainly help. Also we are desperately short of jam tracks as they take a lot of time to do and we have no budget for creating them. We are trying to sort something, however, and if things work out there’s a slim chance that we could even tab them too (no promises though).

come through them with your eyes opened. Like I’ve got to tell you guys that issues 227 and 228 had me, you’ll probably feel quite a bit better about two of the best music features I’ve ever seen in Guitar your guitar playing, too. Techniques: Your Instant Guide Brian Wilkin To Better Chords, and How Good Are You? I’m glad that these features are I’ve often watched great going down so well. In fact, several guitarists, effortlessly running people have said the same to me. their hands up and down the When tab became so expensive to neck, playing the kinds of do legally, we had to look at other chordy rhythm stuff that I ways to reach our audience, while simply couldn’t comprehend! still giving them great tuition. It Well, although I still don’t get it quickly became apparent that all, your Better Chords feature these features should be on topics put so much information in one that people can’t simply Google. place that it’s opened doors to While online tabs were pretty dire things I could never work out for back in the day, they are getting a myself. I’m still going through it lot better and, in this climate bit by bit, and feel my technique where everyone seems to think and knowledge are gaining everything should be free, we ground simultaneously. needed a compelling proposition The How Good Are You to retain our most loyal followers. feature looked a bit scary at first. It was to that end that we began I’ve never taken any exams and, the kind of lessons you are talking Did you take the Guitar Techniques although I’ve been playing about, Brian: they are incredibly ‘How Good Are You’ challenge? guitar on and off for over 20 in-depth and insightful, packed years, felt I wasn’t a contender for any such gongs. with nugget after nugget of information; they are written But I did go through it (still am, actually) and quite by the country’s top tutors and you can’t get them honestly I’ve surprised myself. I’m not sure where anywhere else but here. So thanks for your appreciation I sit – it would seem somewhere around Grade 6 in of everyone’s work. More to come soon! general terms – but I now have a goal to attain in a whole variety of areas. Also, I downloaded the issue STAR LETTER PRIZE on my iPad as the tab’s moving cursor and synchedOur friends at Sound Technology up audio helps enormously. are donating a fab DigiTech I know I’m preaching to the converted, but if they HardWire pedal to our Star Letter haven’t already, everyone really should go through writer every month. both of those brilliant articles – I guarantee you’ll always remembering that everything he plays must serve the song. And the intro to Look Through Any Window is an all-time classic - as well as being fiendishly tricky to learn and play at pace. One

of my all-time best gigs, and like most of us, I’ve seen a few bands in my time. Maybe you could do a tab of Look Through Any Window at some time…. Colin Gibbs

LFI / PHOTOSHOT

THE HOLLIES I read your editorial welcome in the February issue with interest and no small amount of nostalgia - it described exactly the musical environment I grew up in - talk about being spoilt! And then, I unexpectedly had the chance to go and see The Hollies play in Wellington last Saturday. I had forgotten just what a great guitarist and exemplary professional Tony Hicks is, even in his, ahem, senior years. He is an object lesson for us all - still capable of playing well constructed, at times blistering and technically excellent solos, but

Graham Nash, Alan Clarke and Tony Hicks fronting The Hollies mid 60s...

Yes it’s hard to convey to people who grew up in later decades, just what it was we had. I only scratched the surface with my list of groups but really they were exceptional times – even watching Clapton’s career grow through The Yardbirds, John Mayall and into Cream; and seeing The Beatles’ extraordinary development from Yeah Yeah Yeah to the Golden Slumbers medley in six short years; witnessing the British R&B boom turn into the blues boom, and then into all kinds of rock. There will never be times like those again. Tony Hicks is a lovely man, a great player and a fine ambassador for the music business. Whether or not we tab Look Through Any Window (it might have a rather restricted fan base in this day and age), we will most certainly look at Tony’s playing style very soon, in a new series from Phil Capone all about British guitar-driven pop/rock/R&B.

May 2014 GuitarTechniques 9

• G u i t a r T e c h n i q u e s • S P RIN G 2 0 1 4 •

Jam tracks tips Use these tips to navigate our bonus backing tracks. 1. T-Bone style slowie: A A Mixolydian (A B C# D E F# G) will be perfect for this. But when playing the major 3rd (C#) either hammer on to it from the b3rd (C) below, or play the C and bend it slightly sharp for a blues ‘curl’.

Brian Johnson and Angus Young: still rockin’ out!

Anniversaries galore! 2014 is a huge year for anniversaries, with AC/DC celebrating their 40th and Walter Trout his 25th. Also Fender’s Strat and Gibson’s Les Paul Junior will reach the almost pensionable age of 60, while the Jackson Soloist is now a mature 30. AC/DC have already revealed plans to go in the studio to mark their anniversary and record a first new album since Black Ice (2008). They have also planned a 40th Walter Trout: 25th anniversary


anniversary tour, comprising 40 of my earlier recordings revery special gigs. released and celebrated in “It’s been 40 years of the band’s high-quality audio, is a thrill of the existence,” explains frontman highest order,” says Trout. “I hope Brian Johnson, “so I think we’re my friends and fans will enjoy this gonna try to do 40 shows to thank commemorative series as much as the fans for their undying loyalty. I will. There is something about Our fans are just the best in the re-hearing the music on vinyl. The world, and we appreciate every one of them. So, we’ll have to go out, even though we’re getting a bit long in the tooth. It’s been Brian Johnson, AC/DC four years, and I’m really looking forward to it.” warmth and the expansiveness of Meanwhile the American blues the sound takes me right back to legend Walter Trout is celebrating the day it was recorded.” his 25th anniversary as a solo The release dates are as follows: artist, and in joyful celebration No More Fish Jokes (March 3), Provogue will be releasing ten of Deep Trout (April 7), The Outsider his classic back catalogue albums (May 5), Positively Beale Street as a limited edition deluxe vinyl (July 7), Breakin’ The Rules series throughout 2014. The high (August 18), Life In The Jungle quality 180g vinyl editions will (Sept 8), Unspoiled By Progress be limited to 2,000 copies per (Oct 6), Transition (Nov 3), album (worldwide), and will have Prisoner Of A Dream (Dec 1), and a maximum of 20 minutes of Face The Music (Dec 15). music per side for enhanced Visit www.acdc.com and www. sound quality. waltertrout.com for additional “To have some of the best parts details and further updates.

It’s been 40 years of the band’s existence, so I think we’re gonna try to do 40 shows to thank the fans for their undying loyalty.

3. Anthemic ballad: E The chords here are: E, G#aug, A, D9, then G# aug, A, D9, then Eadd9/G#, G7add6, F#m11, Esus4/B, B7 (the final two chords played in the space of the previous one). E major pentatonic (E F# G# B C#) is a worthy starting point, but you’ll need to adjust the scale to suit the ‘out of key’ notes in many of the chords. Instead of trying to jam it, why not create your own rock instrumental anthem over this interesting sequence? 4. Brit style minor blues: G Minor pentatonic and natural minor scales are your best friends here. Try mixing them up! But this time don’t sharpen G minor’s minor 3rd (Bb) as it doesn’t sound right in a minor context. Of course the b5 ‘blue’ note (Db) can be brought in to add nice chromatic touches, and don’t forget to target strong notes in the chords, like the Eb in the Cm (IVm chord). Have fun!

KEVIN MAZUR / WIREIMAGE / GETTY IMAGES

2. Neil Young style rocker: Am Two approaches work well here: A minor pentatonic will fit pretty much all the chords; but A natural minor (A B C D E F G) will sound more authentically Neil Young especially with a searing tone and manic tremolo picking.

A new network for musicians!

DALLE / IDOLS / PHOTOSHOT

Paco de Lucia: greatest flamenco guitarist of all time?

Paco de Lucia 1947-2014 It is with deep sadness that we report the death of Paco de Lucia, regarded by many as the finest flamenco guitarist in the world. Paco was born Francisco Sanchez Gomez in Algeciras, Spain. His father was the flamenco guitarist Antonio Sanchez, who encouraged Paco to take up the guitar at an early age and practise 12 hours a day. Paco made his first public appearance on Radio Algeciras at age 11 in 1958, and had become an established flamenco solo artist by the late 1960s. Paco’s name reached a wider audience via his collaborations with jazz-fusion guitar virtuosos during the late 70s and the live album Friday Night In San

Francisco (1981), with Al Di Meola and John McLaughlin, is one of the most celebrated acoustic live albums of all time. Paco was an innovator who took Flamenco guitar to new levels. However his biographer, Donn Pohren, described him as an extremely shy and private person, who “was dismayed at the increased pressure fame placed upon his shoulders, demanding that he constantly innovate and work harder to achieve technical and revolutionary perfection”. Paco died on February 26 while on holiday in Mexico, of a heart attack while playing with his children. He will be sorely missed by the music world. RIP Señor!

A new site for musicians called Meet & Jam has launched with the intention of helping musicians to find and connect with each other. Musicians can put up profiles, list their influences and instruments, post video and audio, and then connect with each other. The videos mean you can have a good look at another musician’s level and style before you contact them - saving time and embarrassment in the studio. The site is for all genres and levels of ability. There are professional drummers on the site, looking for a new band, as well as enthusiastic amateurs looking to play more. There are singer-songwriters, violinists, trombonists, pianists, death metal guitarists, vocalists, rappers... all

wanting to meet and jam. The free classified ads are a chance for bands and musicians to connect; but also the perfect place for music teachers and students to get together. It’s a great place to get noticed. Put up a profile (it doesn’t matter if you’re an engineer, a guitarist, a producer or a vocalist) and you have a chance of being found - not just by other musicians, or by bands looking for new members, but also by the industry. Meet & Jam is also an online booking system for rehearsal and recording studios. Bands and musicians can browse through dozens of UK studios, view their rooms and kit, and then book online if they so choose. Visit https://meetandjam.com for further information.

PHIL HILBORNE’S ONE-MINUTE LICK DANNY GATTON STYLE CHORDAL LICK also the frequent chromatic approaches – played Here’s a Danny Gatton influenced idea that’s played here as sliding double-stops. Technique-wise, pick around a standard chord fingering. The chord and fingers or just plain fingerstyle would be the outlined is a 5th position A7 (A C# E G). However, best approaches to use. Keep your timing ‘tight’ and the notes D and F# are also briefly added to imply a attack the strings fairly hard so that the notes sound typical D-A7, or IV-I move. Licks like this have their GUITAR TECHNIQUES MAGAZINE 2 2 9 ONE MINUTE LICK - by Phil Hilborne percussive and ‘snappy’. After you have this mastered, origins in jazz and blues Hammond organ phrases DANNY GATTON STYLE CHORDAL LICK licks of your own, around other see if you can develop – this facet is particularly evident through the use of chord types all over the neck. repeating pedal tone of A (on the fourth string) and

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Orange goes white! Orange Amplification are launching a limited edition white finish of their Rockerverb guitar amp heads and combos, Thunderverb 200 and 50 heads, legendary PPC412 and the more compact PPC212 speaker enclosures. For a limited time only, these sought-after heads and speaker cabinets will be available finished, as never before, in a prestigious white Levant covering trimmed with traditional gold piping and gold capped handles – the ultimate in luxury! The matching white PPC412 and lighter PPC212 speaker enclosures are built to the usual high standards and deliver the distinct warm, midrange tones synonymous with Orange. The white limited edition ranges will be available for general distribution from April 2014. Visit www.orangeamps.com for further information.

60Seconds with...

Half a minute’s all it takes to find out what makes a great guitarist tick. This month: First Lady of US AOR sensations, Heart, Nancy Wilson

Nancy Wilson: always at the heart of Heart!

Dave Davies returns Dave Davies of The Kinks will be performing his first UK concert for 13 years at London’s Barbican Hall on Friday 11th April. This concert will see him celebrating the 50th Anniversary of the revolutionary guitar sound he created, which also launched The Kinks to international stardom. “As lead guitarist and cofounder of the Kinks, Dave Davies is one of the most unpredictable and original forces in rock,” enthuses writer Bill Crowley. “His distinctive guitar style went on to have a major impact on several key guitar-rock styles, including heavy metal and punk.” Tickets are already on sale from the Barbican Hall box office, so contact www.barbican.org.uk or phone 0207 638 8891).


GT: Who was your first influence to play the guitar? NW: The Beatles!

musical lesson you ever learnt? NW: When to shut up and not play.

GT: What was the first guitar you really lusted after? NW: The cheapest one in the local music store.

GT: Do you still practise? NW: Every night on stage!

GT: What was the best gig you ever did? NW: Kennedy Center Honors.

GT: Do you have a pre-gig warm-up routine? NW: Sometimes we have an acoustic vocal session with the other band members - like a Hootenanny.

GT: And your worst playing nightmare? NW: When you’re asleep and you have a ‘Rockmare’ - you’re nude on stage, don’t know the song and the show has already started.

GT: If you could put together a fantasy band with you in it, who would the other players be (dead or alive)? NW: The current line-up of Heart is my fantasy band.

GT: What’s the most important

GT: Present company excepted,

My worst nightmare would be a ‘Rockmare’, where you’re nude on stage, don’t know the song and the show has already started!

who’s the greatest guitarist that’s ever lived? NW: Unanswerable. There are too many great guitar players. GT: Is there a solo you really wish you had played? NW: The solo on Third World Man from Steely Dan’s Alive In America. GT: What’s the solo/song of your own that you’re most proud of? NW: Can’t pick one. GT: What would you most like to be remembered for? NW: My music, my comedy, and my humanity. GT: And what are you up to at the moment? NW: Our new record, Fanatic Live from Caesar’s Colosseum, is released by Frontiers Records on CD and DVD Deluxe Edition, DVD and Blu-Ray on 24th February. Further info from: www.heart-music.com

What Strings Do You Use? ZAKK WYLDE

Yes, good cables do indeed make a big difference to your guitar sound. I use Monster cables.

We ask a great guitarist all those little questions you really do want the answers to… This month: six-string rock legend, Zakk Wylde GT: Do you have a type of pick that you can’t live without? ZW: Dunlop Ultex Picks, Super Heavy

GT: Your house or studio is burning down: which guitar do you salvage? ZW: The Grail and the Rebel.

GT: If you had to give up all your pedals but three, what would they be? ZW: Black Label Chorus, Zakk Wylde Overdrive and Zakk Wylde wah pedal - all made by Dunlop.

GT: What’s your favourite amp and how do you set it? ZW: Marshall Zakk Wylde 2203, 100-watt signature amp - I set it on low heat for 45 minutes so my socks come out perfectly fluffy and warm for my footsies.

GT: Do you play another musical instrument well enough to do so in a band? ZW: Bass, piano and keyboards I’ve jammed with people, but not as a band.

GT: What kind of action do you have on your guitars? ZW: I set the action very low; although I can still play slide on the guitar.

GT: If a music chart were put in front of you, could you read it? ZW: Yes.

GT: What strings do you use? Dunlop Zakk Wylde Icon Series signature strings.

CLAY PATRICK MCBRIDE

GT: Do guitar cables really make a difference? What make are yours? ZW: Yes, good cables make a difference - I use Monster. GT: Is there anyone’s playing (past or present) that you’re slightly jealous of? ZW: Yes, there are many guitar players I get jealous of - especially if they have a nicer sock collection than me!

Zakk Wylde: ‘sock’ legend!

GT: And what are you up to at the moment? ZW: Black Label Society’s new album, Catacombs Of The Black Vatican, is released by Mascot Records on Monday April 7th. Further info at http://blacklabelsociety.com

An evening with Foreigner!

Foreigner: the latest line-up

Alongside their fast-selling string of UK dates, Foreigner today add a special ‘Evening With Foreigner: Unplugged’ show at O2 Shepherd’s Bush Empire, London on Saturday 12th April. A Q&A session with the band, hosted by Team Rock’s Kylie Olsson (presenter of The AOR Magazine Show), will also take place on the night with fans invited to submit questions. The announcement of the Unplugged show, comes ahead of the release of the band’s new album, I Want To Know What Love Is – The Ballads. The album features 14 of Foreigner’s best and most timeless ballads, never released before on one

album. It will be available in both CD, and 2CD Special Edition-digipak formats, with 200 exclusive signed copies available to purchase at the O2 Shepherd’s Bush Empire show. The April 2014 dates are as follows: Thursday 3 - O2 Apollo Manchester; Friday 4 - Newcastle City Hall; Saturday 5 - Glasgow Clyde Auditorium; Monday 7 - Nottingham Royal Centre; Tuesday 8 - Sheffield City Hall; Wednesday 9 - Portsmouth Guidhall; Friday 11 - Bristol Colston Hall; Saturday 12 - O2 Shepherd’s Bush Empire (Unplugged); Sunday 13 Hammersmith Apollo; and Tuesday 15 - Wolverhampton Civic Hall. Visit www.foreigneronline.com for more.


That Was The Year...

1993

GIBSON INTRODUCES THE NIGHTHAWK with a radical new look. Although the basic body shape is similar to a Les Paul it has a sharper cutaway, a nipped in waist and through-body stringing. Available as the Custom, Standard or Special, (depending on cosmetics), all three Nighthawks are fitted with two or three pickups. The covered mini-humbucker at the neck and the slanted open humbucker at the bridge are common to all, while the third unit is an NSX single-coil situated between the two. THE BANK OF ENGLAND lowers the interest rate to 6%, the lowest in 15 years; the unemployment figure has fallen, inflation is down and with the economy growing by 0.6% the government declares the official end to the recession. Hospital waiting lists reach one million for the first time; although not fully operational until next year the first high-speed train successfully travels through the Channel Tunnel from France to England; British Airways admits liability after a ‘dirty tricks’ campaign against Virgin Atlantic is revealed; and the odds on the monarchy being abolished by the year 2000 are shortened from 100 to 1 to 50 to 1 by bookmakers. CREAM REFORMS BRIEFLY to perform at their Rock And Roll Hall Of Fame induction ceremony; Depeche Mode reach number one on the Billboard 200 with their Songs Of Faith And Devotion album; Suede’s eponymous first LP enters the UK charts at number one, the fastest ever for a UK debut album; a concert at the Hollywood Bowl to celebrate Earth Day is headlined by Paul McCartney and the bill includes Steve Miller, Don Henley and Ringo Starr; Susanna Hoffs of The Bangles gets married; and the US Postal Service introduces an Elvis Presley stamp. New to the world are Zayn Malik, Liam Payne and Niall Horan - all destined to become members One Direction. PRS GUITARS REPLACE the Artist Series I with Series II; it has a figured carved maple top and a reduction of frets from 24 to 22. The neck has a maple-bound rosewood ‘board with abalone bird inlays; the pickups are PRS Artist Series Humbuckers and the guitar features a wrapover bridge/tailpiece. Options include PRS vibrato system, semi-hollow body and a quilted maple top. GRETSCH UNVEILS THE G6118 Anniversary, in glorious two-tone green. Originally introduced in 1958 to celebrate 75 years of the Company, the guitar is now reintroduced to mark an amazing 110 years of Gretsch instruments. The green comes from Cadillac’s 1958 colours and with a laminated maple body and neck, multiple body binding, a pair of Filter’Tron pickups and a ‘G’ Tailpiece, this is one very smart cookie indeed.


The Kenny Wayne Shepherd band!

Shepherd is back! Five-time Grammy-nominated and multi-platinum-selling blues-rock guitarist Kenny Wayne Shepherd has confirmed that his new studio album, Goin’ Home, will be released on May 5th through the Mascot Label Group. Kenny Wayne will also embark on a 15-date whistle-stop tour of Europe to coincide with the album release, including a concert at London’s O2 Academy Islington on Wednesday April 30. Goin’ Home is an exploration into the music of Kenny Wayne’s

biggest influences, and it features songs originally recorded by many of his musical heroes, such as BB King, Albert King, Bo Diddley, Stevie Ray Vaughan, Johnny Guitar Watson and Lee Dorsey. The album includes guest performances by some of Kenny Wayne’s closest friends including Ringo Starr, Joe Walsh, Warren Haynes, Keb’ Mo’, Robert Randolph, Kim Wilson(Fabulous Thunderbirds), Pastor Brady Blade, Sr and the Rebirth Brass Band.Visit www.kennywayne shepherd.net for further details and tickets.

New Dunlop products unveiled JHS has announced the release of new accessory lines from the award winning Jim Dunlop range. The brand new Primetone sculpted plectra are intended to provide an effortless way for guitarists to play superfast runs and tight rhythm. Made from super-durable Ultex, they are available in three different shapes and a wide range of gauges. The ever popular Jazz III pick series has some new additions - getting the Ultex treatment. The Ultex Jazz III XL adds the lightweight and smooth feel of Ultex to the larger

size plectrum with the precision of the sharp tip. The bright, familiar tone of Tortex has also been introduced to the Tortex Jazz III XL series with five gauges available to choose from. For modern metal guitarists, the Dunlop strings range now includes 7 and 8 string nickel wound electric sets. With tonal and tactile balance and a warm, aggressive midrange, they are intended for a wide range of styles. Visit www.jimdunlop. com or www.jhs.co.uk for further information about these and other Dunlop products.

HOT FOR TEACHER your RGT TUTOR WHO? Gordon Rivers (Rivers Way Guitar Tuition) TOWN: Eastleigh, Hampshire STYLES TAUGHT: Rock, metal, pop, electric and acoustic blues. SPECIALITY: Songwriting, lead improvisation and popular music theory. LEVELS: Beginners to intermediate; RGT electric guitar to Grade 5, and acoustic grades to Grade 2. READING: Beginner only. CHARGES: £15 per 45-minute lesson. SPECIAL: Fully equipped music room/studio. TEL: 07584 32791 EMAIL: info@riverswayguitartuition. co.uk WEBSITE: www.riverswayguitartuition.co.uk

MARK SELIGER

Artists, Anniversaries & Nighthawks

play: ROCK

ON THE CD

track 4-21

Complete Rock Workout Been a long time since you rock and rolled? Fear not, as John Wheatcroft takes you through all the steps required to prepare you for that Big Rock Gig.

ABILITY RATING

Easy/Advanced Info

Will improve your

Key: Various Tempo: Various CD: TRACKS 4-21

Musical confidence Technical headroom General playing skills

“The disgusting stink of a too loud electric guitar: now that’s my idea of a good time”. So said Frank Zappa, an incredibly diverse and articulate musician who could create in a wide variety of styles. Put an electric guitar in his hands, however, and it was time to rock and roll. The purpose of this article is to hone a variety of techniques that you might wish to develop when preparing for that big rock gig. It’s no different whether it be for the start of a 30-date tour, or a Friday night pub gig where you need to impress - your family is coming, or perhaps other musicians will be there (potential future bandmates?). The better prepared you are, the more ‘headroom’ your playing has. Play at the limit of your abilities and mistakes are much more likely to occur. We have eight studies designed to develop particular areas, such as open-string and moveable power chords, riffs and melodic hooks, all the way to bending in the pentatonic scale, string skipping, tapping and so on. We round the lesson off with a short piece that incorporates many of these concepts, with a couple of cool new ideas thrown in. Execute each study as written; then, once you’re comfortable with them, it’s up to you to create equivalent studies using the same concepts, but in your own way. We’ve aimed for mainstream techniques that you can hear in action if you do some careful listening. In fact, listening and absorbing is as important as any other area of your practice routine. An actor, preparing for a role that requires a specific dialect, would research by listening to that accent, and maybe even visit the area for a while. Likewise, you’re never going to be able to play convincing rock guitar if you’ve not absorbed it by listening - thoroughly.

Think of learning a new idea as a process of ‘turning on’ various sounds that you are familiar with; this speeds up the intuitive side of learning tremendously. Your approach to gig ‘etiquette’ can really make a difference too. Other musicians notice if you turn up to shows or rehearsals knowing the tunes inside out, with the right equipment, on time and with a positive attitude - they notice the opposite, too. Make sure you have a tuner, preferably one that allows you to tune silently between songs; spare strings, valves, fuses, leads and batteries if you need them. A spare guitar is a good idea too - break a string and you can do an impressive quick change. It’s a great idea to record performances and rehearsals. It doesn’t need to be anything fancy; most phones have the facility to record and, for the purposes of reviewing your performance, the quality will be fine. It’s important to be kind but firm to yourself. While it’s good to be critical, you need to strike a balance between acknowledging the areas that need work, and those aspects of your playing personality that you actually like and should aim to accentuate.

Make your tone work for you

Your choices regarding tone can make a dramatic difference to the way your guitar sounds and is perceived. Most rock players agree that a quality valve amp turned up loud with a couple of select pedals is the way to go. We’re generally after one good tone, varying the gain level by using the volume on your guitar and kicking an overdrive or distortion pedal in or out. The gain structure is the most crucial factor in establishing your tone, and can have a dramatic effect on the playability and ‘feel’ of your guitar. Here are some points to consider: Moderately overdriven tones are particularly expressive, especially at stage volume. The tone is rocky but still responsive to pickup changes and picking dynamics. Paul Kossoff and Angus Young are two leading exponents of this approach to tone production. Take care when mixing picked-notes and hammer-ons, as volume imbalances can be apparent.

If you’ve ever witnessed Zakk Wylde or James Hetfield in action you’ll be aware of the power, projection and sustain that a fully distorted sound is capable of. The drawbacks are limited dynamic range and increased handling noise. Techniques such as vibrato need to be exaggerated as the gain increases, if they are to be truly effective. Single-coil pickups produce a clear, bell-like tone. They are particularly good at reproducing picking dynamics and excel in clean and moderately overdrive settings. Noise can be an issue with high gain though, prompting a number of makers to design hum-cancelling options. Full humbucking pickups produce a more strident, bold and fatter sound that fills a lot of tonal space. The unit closest to the bridge produces the brightest sound while things get progressively warmer, closer to the neck. Generally speaking, the bridge pickup sees the most action in rock as overdrive and distortion fatten the tone considerably, although the neck pickup can sound particularly flute-like, and flatters a range of high-gain techniques such as sweep picking and string skipping. Just watch any video of Yngwie Malmsteen and the number of pickup changes from bridge to neck and back again, is likely to run into double figures in every piece he plays! I hope you enjoy our ‘technique tune-up’, and remember to refer to it any time your playing needs a shot in the arm.

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While it’s perfectly possibly to get a fantastic rock tone with single-coils, the general consensus is a good quality guitar with a top class bridge position humbucker is the way to go. Amp-wise we’re looking at a moderately driven valve head (find its sweet spot) or combo for rhythm with an additional overdrive or even a distortion pedal to push things over the brink for those moments of high-gain lead excess.

TRACK RECORD The world is your oyster in terms of listening, and with YouTube and Spotify you’ve never had it so good! But here are five unmissable rock albums: Free - Fire & Water (1970 Island), AC/DC – High Voltage (1976 Sony), Thin Lizzy – Live And Dangerous (1978 Mercury), Van Halen – Women And Children First (1980 Mercury), Guns N’ Roses – Appetite For Destruction (1987 Geffen).


COMPLETE ROCK WORKOUT

ISTOCK

The better prepared you are, the more headroom your playing has. Play at the limit of your abilities and mistakes are more likely to occur.


play: ROCK

ON THE CD

track 4-21

STUDY 1 Power Chords (Open/Moveable)

TRACK 4

We begin our studies with root/5th power chords. The first half of this piece is overdriven tone without any risk of unwanted dissonance. For the second half based around the five open-position CAGED shapes, although each has been we stack 5th on top of root to create moveable power chord shapes that form modified to eliminate major or minor with an the backbone of many rock guitar player’s chordal vocabulary. GUITAR TECHNIQUES 2 3rd, 2 9 allowing us to strum awayJohn Wheatcroft's

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Œ Œ Œ Œ

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X X X X

COMPLETE ROCK WORKOUT STUDY 2 Creating Riff and Hooks

TRACK 6

for learning purposes, ‘hand-cuff’ exercises such as these can be productive 2 This Titlesection deals with the creation of strong riffs, and we’re restricting our 2 Title variables to notes from the A minor pentatonic scale (A C D E G) and rhythmic and rewarding. Your task is to go on to create riffs/hooks using the same 2 values Title based around quarter (crotchet), eighth (quaver) and eighth-note process. Notice the change in dynamics and feel between the first and second STUDY 2 Creating Riffs Hooks rest values. Obviously, in and the real world we need not be so prescriptive but repetition, where we shift from palm-muted to an open tone. STUDY 2 Creating Riffs and Hooks Ex 2b Rhythmic variables (Up to quavers) Ex 2a 2Basic scale definition (A minor pentatonic) STUDY Creating Riffs and Hooks Ex 2a Basic scale definition (A minor pentatonic) Ex 2b Rhythmic variables (Up to quavers) Ex 2a Basic scale definition (A minor pentatonic) Ex 2b Rhythmic variables (Up to quavers) Am Am Am

©»¡™• ©»¡™• ©»¡™• 44 & & 44 œ œœ œœ œœ &4 œ œ œ œ œ

E E B B EG G BD D A G A E D E A E

0 0 0

3 3 3

5 5 5


5 5 5

7 7 7

7 7 7

œœ œœ œœ œœ œ œ œ œ

‰‰ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ

jj ‰‰ œœj ‰ œ



j œœjj œ

0 0 0

0 0 0

0 0 0

0 0 0

0 0 0

0 0 0

0 0 0

0 0 0

0 0 0

Am Am Am

STUDY 3 Clean Arpeggios

.. . .

1

0 0 0

0 0 0

.. œ ‰‰ jj œ œ œ ŒŒ . .. œ ‰ œœj œ œœ œ œ Œ œœ œœ œœ œœ œ ... . œ œœœœœ œœ . œ œ œ œ œœ Mute 1st time only Palm œ 1st time only Palm Mute 1st time only Palm Mute .. .. 5 .. 77 7 55 7 55 77 . 7 7 5 7 3 0 . 7 7 7 3 0 5 . 7 77 5 77 5 7 . 7 7 7 3 0 ‰‰ ‰

j ‰‰ œ œœ œœ .... j œ œœj ‰ œ œ œ . time only Palm Mute œ1st 1st time only Palm Mute 1st time only Palm Mute .. 5 7 . 5 7 0 7 0 7 5 7 . 0 7

jj ‰‰ œœj ‰ œ 0 0 0

TRACK 8 I’ve included some picking indications to help you out. We’re aiming to let all notes ring as long as possible so go easy on muting/resting to achieve as smooth and legato a tone as possible.

E m9

Gsus2

Am9

F6/ 9

0

2

0

4

3 etc

0

0

2 0

2

5

0 1

œ œ # œ & œ œ œ œ œ œ œ œ œ œ œ œ œ 0

2

4

3

5 0

Gsus2

#

Am9

Fadd9 11

Let ring throughout

≥≥≥≤

0

E m9

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E m11

4

0 0 0

Clean Arpeggios

©»∞• Half-time feel # ∑ & 44

E B G D A E

0 0 0

.. Am œ ... œ œœ œœœ œœ œ œ œ .. . 00 77 55 77 . 0 7 5 7

No self-respecting Metallica epic would be complete without the clean arpeggio section in E minor. Parts such as these are often deceptively difficult 3 to play cleanly and evenly, maintaining picking accuracy and timing as we go.

E B G D A E

0 0 0

Ex 2f Am Ex Am 2f

jj œ œ œ œ .... œœj œ œœ œœ œ . œ time only Palmœ Mute œ 1st 1st time only Palm Mute 1st time only Palm Mute .. . 0 3 5 7 3 0 3 5 7 3 . 0 3 5 7 3

‰‰ ‰

0 0 0

Ex 2d Ex 2d Am ExA2d m Am

.. œœ œœ œœ œœ œ œ œœ œ œœœ œœ .... .. œ œ . œœ œœ œ œ œ œ œœ œœ œœ œœ œ œœ œ œœ œ . œtime only Palm Mute œ œ1st œœ 1st time only Palm Mute 1st time only Palm Mute .. . .. 0 0 77 77 55 55 7 7 0 0 5 7 55 7 555 77 ... . ≥00 0≤0 ≥7 ≤7 ≥5 5≤ ≥77 ≤77 00 00 55 77 5 77 7 . ≥≤≥≤ ≥ ≤≥≤ ≥≤≥≤ ≥ ≤≥≤ Ex 2f

∑∑ ∑

. & & .... œ œœ œœ œœ œœ œœœ & œ œ œ œ œ œ .. . 00 3 5 7 55 77 . 0 33 55 77 5 7

STUDY 3

0 0 0

Am Am Am


Ex 2e Ex 2e Ex 2e

5 5 5

7 7 7

Ex 2c Ex 2c Ex 2c

& & &

œ œœ œœ œœœ œœ œ œ

4

2

3

0

3 4

0

4

2

≥ ≥ ≥ ≥ ≤ ≤ ≤ ≥ ≤ ≤ ≤ ≥ ≤ ≤ ≤ ≤

0

3

0 2

0

E m7

œ 0

œ œ œ 7

9

0

4

0 3

œ 8

0

0

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2 0

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0

9

7

8

2

5

œ œ 0

0 3

œ 8

3

0

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0

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Spring 19 9 2014 GuitarTechniques 9 7

# 4 & 4

..

∑

play: ROCK

. .

E B G D A E

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Let ring throughout 0

4

2

0 STUDY1 3 Clean Arpeggios ...CONTINUED

& E B G D A E

E B G D A E

4

E m11

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2

œ

5

3

0

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0

4

2

0

0

3 etc

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ON THE CD

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3

3

0

4

2

5

2

0

0 3

1

0

0

2

0

3

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4

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2

9

7

0 etc

0

4

0

5

3

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9

0

6

14

15

16

17 0

16

15

15

0

0

16

14

16

14

0

9

7

0

10

8

0

9

8

8

0

9

7

9

7

0

9

Œ

9

7

Ó

0

STUDY 4 Double-Stops/Mixing fingers with pick

TRACK 10

The biggest challenge here is making the rapid transition between Section 1, which is played exclusively with the thumb, first and second fingers and 4 Title Section 2, which is all pick. I personally position the pick out of the way by gripping between the first and second fingers between the hand and the STUDY 4

. .

0

0

œ œ œ

8

0

7

8

0

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≥ ≥ ≥ ≥ ≤ ≤ ≤ ≥ ≤ ≤ ≤ ≥ ≤ ≤ ≤ ≤ œ E m11 E m7 œ œ œ œœ œ œ # œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œœœ œ œ œ œ œ œ œ 0

3

TRACK 8

10 0

2

0

œ œ œ

8

0

2

0

0

track 4-21

knuckle and with careful practice and a dash of sleight of hand you can do this in a very short space of time. From a harmonic perspective most of the material here is derived from D minor pentatonic (D F G A C), A natural minor (A B C D E F G) and D natural minor (D E F G A Bb C).

Double Stops / Mixing Fingers with Pick

©»¡™º & b 44

Dm

œ œœ œœ œ œœ œœ œ œ œ

.. œœ œœ œœ œœ œœ œ œ œ

∑

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E B G D A E

1, 5

1

5 p

5 5

7 7

m i

m i

6 5 5

5

5 5

7 7

5 5

5

8 7

7 7

5

6 5

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7 7

5

5

5 5

6 5

7 7

5

5 5

5

7 7

p etc

Am b œœ œœ œ œ b œœ œœ œ b b œ œ œ œ .. œœ œ œ ‰ .. œœ œœ n œœ œœ n œœ œœ œœ & b œ œœ œ œ J œ œ œ œ œ œœ œ œ œ œ œ œ œ 2

1/4

1/4

E B G D A E

5

5 7 5 7

9 8

8 7

5

6 5 5

7 7

4

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1/4

1/4

5 7 5 7

5

9 8 5

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6 5 5

8

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0 0 20 GuitarTechniques0Spring 2014 11, 15

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0

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5 7

0

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4 5

0

5 7

0

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0

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0

7 9

≥≥

≥

0

4 5

5 7

≥

. . . . . . . . . . . . . . . . œœ œœ œœ œœ .. .. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Dm

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PM

≥≥≤ ≥≥

9, 13

F5

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PM

5 3

5 3

5 3

. . . .

17, 21

8 7

8 7

8 7

6 5

6 5

m m m m etc i i i i

6 5

6 5

5 5

5 5

5 5

5 5

6 5

6 5

6 5

5 5

6 5

œ b œ œ œœ œœ .. œ œœ b œ œ œœ ‰ .. œœ n œœ œœ œœ n œœ œœ œœ œ & b œ œœ œ œ J œ œ œ œ œ œœ œ œ œ œ œ œ œ 1/4

E B G D A E

5

5 7 5 7

9 8

8 7

6 5

5

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7 7

5

1/4

9 8

5 7 5 7

5

8 7

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6 5

5

PM

5

0

PM

4 5

0 0

PM

5 7

0

0

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4 8 9, 13 STUDY 4 Double-Stops/Mixing fingers with pick ...CONTINUED

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n œœ

PM E B G D A E

0

4 5

0

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0

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5 3

0

5 3

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5 3

17, 21

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8 7

8 7

6 5

6 5

6 5

6 5

5 7

0

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PM

0

0

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≥

4 5

0

8 7

8 7

8 7

TRACK 10

≥

6 5

6 5

6 5

6 5

5 5

5 5

5 5

5 5

6 5

6 5

6 5

5 5

b B b5 j ~~ C/B .œœ œœ. œœ. œ . . . œ ‰ œœ œœ .. œœ œœ œœ œœ œœ ‰ œœ œœ ‰ J

1 C/B

5 5

5 5

b

b

2

B 5

5 5

5 5

3 3

~~

5 5

3 3

. .

5 5

5 5

5 5

3 3

3 3

3 3

≥ ≤

STUDY 5 Five positions & minor pentatonic

TRACK 12

This study encapsulates the five areas where you can find the minor pentatonic scale (R b3 4 5 b7) in the key of A minor (A C D E G) and introduces 5a melodic phrase showcasing a selection of potential bends in each area.

Ex 5a

1/4

Am

j œ œ

‰

œ œ œ œ

J

7 (9)

Ex 5b

j œ

∑

7

E B G D A E

∑

j bœ

BU 7

j œ

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j œ

~~

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BU 8 (10 )

8

5

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1/4

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j œ œ.

1/4

8

10

8

10

9

8

10

8

BU

BD

10 (13 )

j œ ~~ œ œ œ œ œ œ nœ œ œ œ œ œ œ

( 13 )(12) 10 12

~~

BU

12

10 12

9

Œ

7

PB 12 BD

Ex 5d

8

8 (10 )

5

BU

Ex 5c

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10 (12 )

E B G D A E

j œ

1/4

BU

E B G D A E

&

Adding expression in this way turns dry, academic material into threedimensional musical ideas. Explore each area further, to find out where all the good bends, slides, hammer-ons etc, are available within each shape.

Five Positions and Minor Pentatonic

©»•∞ ∑ & 44

&

6 5

m m m m etc i i i i

19, 23

STUDY 5

5 7

Dm

11, 15

&b E B G D A E

0 0

œ

PM

œœ

œœ

4 5

0

PM

COMPLETE ROCK WORKOUT

. . . . . . . . . . . . . . . . œ œ œ œ .. .. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ

F5

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PM

10

12 (14 )

10 13

12

10

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BD

9 (12)

BU (9)

7

8 7

~~

8 (10)

10

7

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12

10 13

11 10

BU 13 10

12 (14 )

~~


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play: ROCK

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1/4

BU 10 (12 )

E B G D A E

œ

œ

8

10

8

10

8

9

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8

10

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ON BD THE CD BU

BD

10 (13 )

(10)

9 (12)

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track BU 4-21

7

8 7

8 (10)

10

7

STUDY 5 Five positions & minor pentatonic ...CONTINUED Ex 5c

&

PB 12 BD

E B G D A E

Ex 5d

j œ œ

12

12 (14 )

10 13

BU BD 13 (17 ) (13 ) 10

10

12

15 (17)

12 15

BU

15 (17 )

12 15

BU

15 (17 )

12 15

BU

~~

1/4

15 (17 ) 15 13

14

BU

12 (13 ) 12

Ex 5e

√ œ œ œ œ œ œ œj œ œ œ œ œ œ

&

∑

BU BD

E B G D A E

17 (21) (17 )

14

14 17

BU

1/4

BU 14 16 (17)

15 17

17 14

14

15

(17)

16

BU 13 10

12 (14 )

12 14

14

13

12 15 (17 ) (17 )(15 ) 13

17

(16 ) (15 )

15

STUDY 6

14

∑

D √ .. n œ œ n œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ

. .

E B G D A E

E B G D A E

Exercises mixing Blues with Triad Arpeggio

D Blues

# & # 44

&

TRACK 14

pattern relocated slightly to spell out the notes of a major arpeggio while keeping the same picking, pull-offs, hammer-ons and identical rhythmic bounce. The final example, 6d, takes the arpeggio idea one stage further by spelling out a harmonic sequence in the key of B minor.

Hammer-Ons-Pull Off with String Skipping Ex 6a - 6c

##

15 (17 )

14

15 (17 )

17 14

STUDY 6 Hammer-Ons and Pull-Offs with String Skipping This time we introduce string skipping, maintaining the two-notes-per-string feel from the pentatonics example. This is our way to incorporate arpeggios into blues or pentatonic-based vocabulary. Examples 6a-c switch between a blues 6 scale Title based sequential idea (R b3 4 b5 5 b7) followed by the same

~~

j œ œ œj b œ œ œ œ ˙~~ œ œ BU ~~ BU BD

j bœ nœ

1/4

12

11 10

10 13

j j œ œ œj œ œ~~ œ œ œœ œ œ œœœ œ PB 15 BU BU ~~ BD

j œ œ

1/4

BU E B G D A E

9

10 12

10

~~ œ œ œj œ œ œ œj œ œ œ œj œ œ œ œ

√ ∑

~~

BU

( 13 )(12) 10 12

&

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j œ ~~ œ œ œ œ œ œ nœ œ œ œ œ œ œ

j bœ

∑

TRACK 12

13 10

13 10

13

10 13

10 13 10

13 10

13

10 13

10

14 10

10 14 10 14 11

12

11 14

10 14 11

12

11 14

. .

Ex 6b D Blues

∑


D √ .. œ n œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ

. .

10

13 10

13

10 13

10

13 10

13

10 13

10

13 10

10 13

10 14 11

12

11 14

10 14 11

12

11 14

14 11

12

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√ Ex 6a - 6c Exercises mixing Blues with Triad Arpeggio ## 4 nDœBlues œ n œ œ œ œ œ œ œ œ œ œ œ œ Dœ œ œ œœœœ œ .. . ∑ STUDY 6 Hammer-Ons-Pull Off with String Skipping œ œ . & 4 #œ œ 6 Title œ œ œ œ √ œ œ Ex 6a - 6c Exercises mixing Blues with Triad Arpeggio # n œ œ œ œ 4 œ œ œ œ œ œ œ œ .. STUDY 6 # Hammer-Ons-Pull String nœ œ #œ œ œ œ œ œ œ œ D œ œ œ œ COMPLETE .. DSkipping Blues ∑ Off with√ œ œ & 4 ROCK WORKOUT œ œ œ œ Ex 6a - 6c Exercises mixing Blues with Triad Arpeggio 13 10 10 13 10 10 14 10 10 14 10 10 # 4 n œ œ n13œ 10 10 13œ œ œ œ 13œ 10 10 13œ œ Dœ œ œ ∑ œ #13œ œ œ 13œ œ œ 11œ 12œ 11œ 14œ œ œ 14œ 11œ 12œ 11œ 14œ œ ... 14 √... D Blues & # 4 TRACK 14 œSkipping œ 10 œ 10 STUDY# 6 Hammer-Ons String ...CONTINUED 10 13 10 10 14 10 14 10 4 .. n13œ 10œ n13œ 10œwith 10 ∑ and Pull-Offs œ 13œ œ œ 13œ 10œ 13œ 10œ 13œ œ œ 14œ 11œ 11œ 14œ œ œ 14œ 11œ 11œ 14œ œ .. & # 4 # œ 13 œ œ 12 12 . Ex. 6b 13 10 10 13 10 10 14 10 10 14 10 10 D Blues13 10 D 10 13 13 10 10 13 . . 13 13 14 11 11 14 14 11 11 14 √. 12 12 . Ex 6b 13 10 10 13 10 10 14 10 10 14 10 10 ## œ œ œ œ 13 10 10œ13œ 13œ10œ œ10 13 . n œ œ D Blues D ∑ œ # œ œ13 œ œ œ 13 œ œ œ œ14œ11œ12œ11 14œ œ œ œ14 œ11 12 11œ 14œ œ ... & √.. Ex 6b ## œœ œœ .. Dœ Blues n œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ Dœ œ .. ∑ œ œ & œ œ œ œ œ √ œ 10 œ 10 œ Ex 6b 10 10 10 10 ## œ œ œ œ D Blues D 13 10 10 13 13 10 10 13 13 10 . n œ œ œ œ œ ∑ œ #13œ œ œ 13œ œ œ 13œ 14œ 11œ 12œ 11œ 14œ œ 14œ 11œ 12œ 11œ 14œ œ 14œ 11œ 12œ ... √.. & ## .. 10œ n13œ 10œ #13œ 10œ 13œ 10œ 13œ 10œ 13œ 10œ 13œ 10œ 13œ 10œ 13œ 10œ 14œ 11œ 11œ 14œ 10œ 14œ 11œ 11œ 14œ 10œ 14œ 11œ .. ∑ & œ œ œ. 12 12 12 Ex. 6c 10 10 10 10 10 10 D 13 10 10 13 13 10 10 13 13 10 . √. D Blues 13 13 13 14 11 11 14 14 11 11 146 14 11 12 12 12 . . Ex 6c 10 10 10 10 10 10 ## n œ # œ œ œ œ 13 œ10n œ 10 13œ 13 10 10 13 13œ10 œ D œ . œ . D Blues ∑ œ 13œ # œ œ 13 14 11œ 12 11 14œ œ 14 œ11 12œ 11œ146 œ 14œ 11 12 .. 13 √.. & Ex 6c ## nDœBluesœ n œ 6 œ œ œ #œ œ . . 6œ œ œ D œ œ6œ œ ∑ œ œ . √ & #œ œ œ œ œ 6œ œ . Ex 6c 10 #14 10 # n13œ 10 10 œ 10 10 ∑ √.. D Bluesœ n13œ 6 œ 13œ 10œ 13œ 10œ #13œ 6 10œ 13œ œ D œ 14œ 6 œ 14œ 11œ 14œ 11œ 12 611œ 14œ œ .. & # . n13œ 10 10 . œ ## #14œ 10œ 10œ 10 10 œ œ œ . n œ œ œ œ 6 œ 13 13 10 13 10 10 13 . ∑ . œ œ #13œ 6 œ œ 6 14œ 11œ 14œ 11œ œ 11œ 14œ & 14 12 . 10 example . Ex 6d 13Musical 10 14 10 10 10 6 10 ¢ œ 6 13 . ¡ œ 10 £œ13 10 13 Bm œ œ13 10œ 13 A 14œ6 14 œ11 œ14œ 11œ œ12 œ11 14œ .. ¡œ œ . ¢ 10 Ex 6d¡13Musical ## œ10 13œexample œ œ10 14 œ10 œ 10œ œ œ 10œ œ. œ œ 13 10 ¢ œ 13 10 œ 10 13 . œ ∑ œ œ 13 14 14 11 14 11 11 ¡ œ £œ & œ œ12 14 . B. m A œœ œ œ ¡œ œ ¢ œ œ œœœœ Ex 6d¡ Musical œ œexample œ œœ ## œ œ œ œ ¢œ œ œ œ œ ∑ œ œ ¡œ œ £œ & œ Bm A œ œ ¡ œ œ œ œ Ex 6d¡ Musical 19 14 ## œ¢ 12 œexample œ 12 œ œ œ 10œ œ œ 14 10œ 17œ 12 14 10œ œ 10œ œ œ œ œ 15 12 ¢ œ 15 12 œ ∑ œ ¡ œ £ œ Bm & œ ¡œ œ œ 16 œ 16 12 A 11 14 œ 14 11 œ œ œ œ œ 14 œ 14 11 12 16 12 ¢ œ 16 œ œ œ 12 œ œ 12 œ œ 10 œ œ 14 10 17 12 14 10 œ 10 œ œ ## 14 ¡ 19 14 15 12 ∑ œ œ 12 œ 15 12 œ & 12 16 16 12 16 16 12 11 14 14 11 14 14 11 14 12 19 14 17 12 12 15 12 15 12 12 10 14 10 14 10 10 œ œ œ œ œ G A #dim œ œ 12 16 16 12 16 16 12# œ 11 14 œ 14 œ11 14 j ~~ 14 11 17 12 œ # # œ œ œ œ œ 14œ 12 œ 15œ 12œ 19œ 14œ15 12 12œ œ 12œ œ 10 14 10 14 10œ œ 10œ . œ œ œ œ A##œ dim & Gœ 12 16œ œ16 12 16 16 12 11 14 œ 14 11 14 11 œ # œ œ œ œ14œj œ~~ 14 12 œ œ œ œ ## œ œ œ œ œ œ . œ œ œ œ œ A##œdim œ œ œ & Gœ œ BU ~~. # # œ œ œ8 œ œ 12œ œ8 15œ 10 12œ œ8 œ œ8 œ œ # œ œ #11œ œ œ 14œ 11œ 15œ 12 14œ 11œ œ œj œ~~ œ œ œ 14 BU(14~~) & Gœ 9 12 12 9 œ œ œ œ 12 œ 12 9 A# œdim 11 14 # œ 14 11 œ œ œ œ # # 10 œ œ 8 œ œ 12 8 15 10 12 8 œ 8 œ œ 13 œ œ 11 œ œ 14 11 15 12 14 11 œ œj œ~~. #œ & œ 9 12 12 9 (14 ) 12 12 9 11 14 14 11 14 BU 10 13 15 10 15 12 ~~ 8 12 8 12 8 8 11 14 11 14 11 (14 ) 9 12 12 9 12 12 9 11 14 14 11 14 BU 15 10 15 12 10 13 ~~ 8 12 8 12 8 8 11 14 11 14 11

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play: ROCK

ON THE CD

track 4-21

STUDY 7 Tapping ‘Chop-builder’

TRACK 16

As soon as Van Halen’s debut album hit the shelves the rock guitar world went triplet-tapping crazy! This study takes these triplet figures in the rock-friendly key of A minor (pentatonic) and moves through the six possible permutations using three notes only and placing each note at each point in the sequence. Taking ideas like this through each permutation is a great way to develop and expand, 7 as some will come easily and others less so and you can decide which STUDY 7

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variations work for you. Ensure you mute idle bass strings with either the palm or the thumb and be sure your hammer-ons are crisp and firm. The final example takes variation 7d and places this is a more expansive setting. This example has been rhythmically displaced so that each three-note idea repeats against a 16th note (four events-per-beat) pulse. If your rhythm reading isn’t up to scratch make sure you listen carefully to the GT audio.

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so complete equality is impossible; but that doesn’t mean we should not strive to redress the balance and get every finger in on the act.

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play: ROCK

ON THE CD

track 4-21

STUDY 9 full study

TRACK 20

We have a little bit of everything to round things off, starting with clean picked arpeggios, moving through palm muted open fifth string and power chord combinations, moving into a short lead section. I’ve managed to cram a couple 9 of other concepts in too, namely sweep picking in bars 15 and 16 STUDY 9

and a half-picked descending scalar figure in bar 18. The trick to this is to alternate between a legato string and a picked string to create a compromise between all legato (smooth) and all picking (stiff) that many players prefer as it combines the best attributes of both.

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Play: BLUES

ON THE CD

TRACKs 22-23

Freddie King Takin’ Care Of Business

Jon Bishop breaks out the thumb and finger pick, and takes a look at a seminal Freddie King blues recording. It’s easy to hear the Texan Cannonball’s influence on many contemporary guitarists!

ABILITY RATING

Moderate Info

Will improve your

Key: Db Tempo: 128bpm CD: TRACKS 22-23

Blues soloing and phrasing Fingerstyle lead playing Use of thumb and fingerpicks

Of the ‘Three Kings’, Freddie is often overlooked. He never quite achieved the superstar status of BB or Albert King - due in part to his untimely death at the age of 42. His style, however, fused BB’s melodic lead lines with Albert’s ferocious attack, and had a huge

influence on the blues-rock guitarists that were to follow. Freddie, like so many bluesmen of the time, had very much his own approach to playing the electric guitar. He wore his strap over the picking hand shoulder instead of around his neck. He also used metal thumb and fingerpicks to attack the strings as apposed to a flat pick or fingers alone. His use of thumb and fingerpick was originally inspired by players like Jimmy Rogers. The metal picks provided a bright and biting tone Dbm Pentatonic

Dbmajor Pentatonic

Technique Focus Phrasing Transcribing the solos of great musicians can unlock the secrets of how the melodies were constructed. Examine this month’s transcription and notice how Freddie mostly starts his phrases on the off beat. If you count the quavers 1 + 2 + 3 + 4 + you’ll find most of the lines start on the ‘and of four’ and the ‘and of one’. This sounds less obvious than starting on the downbeat and slightly more sophisticated. The main rhythmic subdivisions are swung quavers, quaver triplets and crotchet triplets. The note choices come from Db major pentatonic and Db minor pentatonic scales, mainly played in shape 1 which limits the decision making process further. restricting the rhythmic subdivisions and the tonal palette in this way helps to free up the creativity. The scale diagrams opposite will help you visualise Freddie’s fretboard roadmaps. A general rule is: Db major and Db minor pentatonic scales work over chord I (Db7); and Db minor pentatonic will work over chords IV and V (Gb7 and Ab7). Any note can be bent up to the next note in the scale but Freddie avoids any three-fret bends here and sticks to the two-fret bending points exclusively. Once you have studied Freddie’s licks, try improvising your own solo using the scale shapes on this page, combining them with some simple rhythms. Hopefully this approach of limiting the parameters of the improvisation will free you up to be more expressive and creative.

and when this was combined with a valve amp on full volume with the treble turned right up, Freddie’s signature lead tone was born. Eric Clapton covered Freddie’s Top 40 hit, Hideaway, which served as lead guitar tour de force on the John Mayall’s Bluesbreakers ‘Beano’ album, as well as live. In this track it’s also easy to hear Freddie’s influence on other players, including Clapton, Peter Green and, later on, fellow Texan, Stevie Ray Vaughan. Takin’ Care Of Business was originally recorded in 1961. The song is in the key of Db and is essentially a Db dominant blues. The vocal verses are a slightly unconventional 16 bars long. This structure makes sense to the ear and is essentially a 12-bar blues with an extra four bars added. The solos are a standard 12-bar progression. The feel of the track is a shuffle at 128bpm. This shuffle feel can be written with a 12/8 time signature but

to make the notation easier, we chose 4/4 with all the quavers swung. That way it’s clearer to see where the swung quavers, quaver triplets and crotchet triplet rhythms are, and how they function in the track. The form consists of: 4 bars intro; 16 bars vocal chorus 1; 16 bars vocal chorus 2; 12 bars guitar solo 1; 12 bars guitar solo 2; 16 bars vocal chorus 3; and 12 bars outro. The guitar tuning on the original recording is a little out of whack, and this is a feature that we have chosen not to replicate for the GT version. Many popular 60s recordings featured slightly out of tune guitars, but modern production values have established the tuning of all instruments to be a key element. The original track fades out, so to make the backing track more fun to play along with, the GT version has a classic, blues style ending attached. For the GT recorded version, a live band was the only way to go, so many thanks to James Compton for performing piano duties and to Pete Riley for playing drums!

Get The Tone 4

0

0

10

3

Gain

Bass

Middle

Treble

Reverb

Freddie King was heavily associated with Gibson guitars; a Les Paul Goldtop with P90s in the early days, then cherry ES-345 or 355. Takin’ Care Of Business was probably recorded on the Les Paul, plugged straight into a loud Fender valve amp. Freddie favoured the biggest Fenders available at the time and was often pictured with a Dual Showman. The amp was set with the volume and treble turned up full, and bass and middle on 0. To get the tone with your rig, select a crunchy tone with plenty of bite. Use the bridge pickup or bridge and neck pickups together and go for a minimal overdrive setting - just enough to provide some sustain is the key here.

TRACK RECORD Takin’ Care Of Business was recorded in 1961 and was featured on the Freddie King Sings album. You may wish to check out the 1993 compilation Hideaway as it includes 27 of Freddie’s best-loved tracks including Takin’ Care Of Business. There are also many great live performances of him online, where you can watch his technique and see his guitars and amps close up.

30 GuitarTechniques April 2014

FREDDIE KING TAKIN’ CARE OF BUSINESS

Freddie King taught me just about everything I needed to know.

IDOLS / PHOTOSHOT

Eric Clapton

The fabulous Freddie King, here playing a Gibson ES-355

April 2014 GuitarTechniques 31

Play: BLUES

ON THE CD

TRACKs 22-23

PLAYING TIPS

CD TRACK 22

[Intro: Bars 1-4] The opening riff is something a slide player in open tuning This ‘question and answer’ phrasing harks back to the work songs of the might play. Use down strokes and increase the attack as you progress. The deep South. If you are playing with a thumb and fingerpick like Freddie, it’s 9th chords in bar 4 make for a sweet sounding turnaround. just a case of working through and finding the most intuitive way to pluck GUITAR TECHNIQUES 2 2 9 Jon Bishop's [Chorus 1: Bars 5-20] The verses are a mixture of rhythm and lead lines. The the various notes. Of course most players will probably favour a plectrum Freddie KIng tone with a metal pick or coin. lead lines function as an answer to the vocal phrase Takin’ Care OfTAKING Business.CARE andOF youBUSINESS can get pretty- close to Freddie’s

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Takin’ Care Of Business Music & Lyrics by Rudolph Toombs ©1985 Fort Knox Music Co, Trio Music Co Inc. Lark Music Ltd. UK/EU reproduced by kind permission of Carlin Music. US/CAN reproduced by kind permission of Hal Leonard Corporation. All Rights Reserved. International Copyright Secured.

FREDDIE KING TAKIN’ CARE OF BUSINESS

PLAYING TIPS [Chorus 2: Bars 21-36] Clapton fans will recognise many of the licks in here, especially the turnaround sections, since Freddie was a huge influence on guitarists like Eric Clapton and Peter Green. 2 Title [Solo 1: Bars 37-48] And we’re off! Freddie takes flight with some classic blues phrases in shape one of the Db minor pentatonic scale. Dig in hard

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and really attack the strings. See if you can make your string bending and finger vibrato aggressive and powerful. The phrasing in bar 42 is laid-back so the rhythm here is just a guide. The phrase in bar 45 features some fast, three-note fall-offs. These are a popular device in blues soloing and act as a punctuation point.

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CD TRACK 22

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37


Play: BLUES

ON THE CD

TRACKs 22-23

PLAYING TIPS [Solo 2: Bars 49-60] The second chorus of soloing starts with a simple yet very3 effective melody. The three-note repeating phrase in bar 51 is another idea that Eric Clapton would go onto develop into a show-stopping part

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of his soloing style. The turnaround lick in bar 59 is also recognisable to Clapton fans as it forms the foundation for the turnaround lick EC uses in Cream’s version of Crossroads.

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CD TRACK 22

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46

SOLO CHORUS 2

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FREDDIE KING TAKIN’ CARE OF BUSINESS PLAYING TIPS [Chorus 3: Bars 61–76] The third vocal chorus is unsurprisigly similar in

4 Title structure to choruses 1 and 2. Again the lead phrases are improvised around

standard Freddie licks, and are in direct answer to the vocal phrases.

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The double-stop idea in bar 76 is a classic R&B style lick that’s used by keyboard players and guitarist‘s alike. Combining vocals and lead fills is a fine art, and one at which all three Kings have excelled.

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CD TRACK 22

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CHORUS 3

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69


Play: BLUES

ON THE CD

TRACKs 22-23

PLAYING TIPS [Solo 3: Bar 77 to end] This final section features more simple yet effective 5 ‘question and answer’ phrases and the GT ending. The original track fades out but we have included a stock blues finish to make the piece complete -

E B G D A E

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73

SOLO CHORUS 3

E B G D A E

as Freddie would do live. The phrases used for the ending are classic Freddie King style licks and fit in well with the rest of the song. You will need to listen to the ending a few times to get the final hit perfectly in time.

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CD TRACK 22

11

9

12 14

~~~

9 9 8

play: exotic scaleS

ON THE CD

tracks 24-41

Seventh Heaven!

Fancy giving your playing over dominant 7th based chords an upgrade? Fancy no further, as Jacob Quistgaard looks at six spicy scales that will add colour and tension to your playing.

Moderate/Advanced Info

Will improve your

Key: A Tempo: Various CD: TRACKS 24-41

Exotic scale playing Theory knowledge Improvisation

This special feature will explore six colourful scales, each of which you can apply to dominant chords in a variety of situations. The ‘bread and butter’ option for soloing over any dominant chord - 7th, 9th, 13th etc - is the Mixolydian mode, but there are more exciting colours at your disposal. These more ‘exotic’ scales will come in handy when reaching out for that extra bit of spice.

Altered Scale

1 b2 b3 3 b5 b6 b7

The altered scale, also known as Superlocrian, is the 7th mode of the melodic minor scale. The altered scale features all of the possible alterations one could use in a dominant 7th chord - b2, b3, b5 and b6 – hence the name. As a result of these altered notes, the scale is perfect for creating maximum tension on a dominant chord, and for this reason it is the most common scale choice in modern jazz, in the context of a V7 dominant chord that resolves onto a Im chord.

13th(b9), which - as you will see - is different from the altered chord in that it has a major 6th (13th) interval in it. The symmetric diminished scale is is most commonly used on dominant V chords in a major key, leading to the resolution on a I chord. Try it over a regular 7th chord and see how it sounds.

Mixolydian b6

1 2 3 4 5 b6 b7

Out of all of our exotic scales for dominant 7th chords, this is one of the closest to the most standard option favoured in this context: the Mixolydian mode. In fact only one single alteration separates the Mixolydian b6 from standard Mixolydian, and that is the interval of the 6th, which is flattened. This means it

Obviously, the bread and butter option for soloing on any dominant chord is the Mixolydian mode, but there are quite a few more exciting colours at your disposal. has both a perfect 5th and a b6th interval present, making it a nice tool to create moments of tension and release over chords such as 7#5 (#5 = b6).

Symmetric Diminished Scale

Lydian Dominant

The symmetric diminished scale is also known as the half-whole scale, due to its ongoing pattern of half step, whole step, half step, whole step, etc. This results in an eight-note scale that has a b9, #9 and #11 in its construction, making it the only octatonic (eight-note) scale in this feature. Because of this list of alterations, a chord that would prompt usage of this scale would be a

This is the fourth mode of the melodic minor scale, and an extremely important tool in the repertoire of any jazz guitarist, both as an optional ‘hip’ colour to add to basic dominant chords, and as an essential way of navigating common chord progressions within jazz and blues. The Lydian Dominant scale is a good choice when you want to imply the sound of chords such as 7b5 or 9#11.

1 b2 b3 3 #4 5 6 b7

1 2 3 #4 5 6 b7

Phrygian Dominant 1 b2 3 4 5 b6 b7 The Phrygian Dominant has a recognisable sound and is common in many types of folk music, including Turkish, Jewish, Arab, Persian and Spanish. It is a common tool for the jazz guitarist, as a slightly less complicated option than the altered scale, in the context of playing over a 7th chord leading back to the tonic. However, it is also quite common in rock, especially in prog, metal and various shred related genres, exemplified by Yngwie Malmsteen. Great for 7b9 chords!

Whole-tone Scale 1 2 3 #4 #5 b7

Like the symmetric diminished, the wholetone scale is completely symmetrical, as it consists of a series of whole tone steps only. It’s our only hexatonic (six-note) scale of this feature. Some might say it’s a little awkward to blend it into your improvisational efforts, but our examples will show how easy it is. Some of these scales fit perfectly over dominant chords such as 9ths, 13ths and so on, but they will all sound spicy over a Dominant 7th too. Try them over all the dominant chords you know and see which ones perk up your ears.

Get The Tone 2

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As this article deals with fundamental musical concepts rather than a certain style or artist you can execute these ideas on any chosen guitar with any desired sound. Our examples were played on a vintage Strat, through a Fender Hot Rod amp and an MXR Dyna Comp, as well as Wampler’s Faux Spring Reverb pedal.

TRACK RECORD For examples of the altered scale, check out the solos of George Benson, Wes Montgomery and Pat Martino. For the symmetrical scale try Jim Hall, Robben Ford and Mike Stern. The Mixolydian b6 has been employed by Joe Satriani, Frank Gambale and Larry Carlton. Lydian dominant users include Scott Henderson, Joe Pass and Sonny Rollins. The Phrygian dominant is often favoured by Yngwie Malmsteen and Al Di Meola. You can hear the whole tone scale extensively in solos by Frank Zappa and Robert Fripp, as well as in the music of Debussy.


2 PHOTOS: LIVEPIX

ABILITY RATING

soloing over 7ths

George Benson: intuitively plays tasty scales over dominant chords

Joe Satriani: often adds exotic scales over 7th chords in rock Spring 2014 GuitarTechniques 39

play: exotic scaleS

ON THE CD

tracks 24-41

CHORD DIAGRAMS

ExampleS

TRACKs 24-41

Altered Scale Ex 1 Our first example of altered scale playing consists of a 16thnote run, which primarily uses a three-notes-per-string shape (not on the second string). Remembering that you are playing the notes of Bb melodic minor might help you see the shape quicker. Take your time working out a good fingering and feel freeGUITAR to stray from my use of legato2- this TECHNIQUES 2 9could all be picked as well.Quist's

Altered Scale Ex 2 For this V7alt – Im9 progression the high C note (#9), which continues into the descending arpeggio along the top three strings at the 6th fret, creates a classic jazz lick. You could sweep pick the three notes (Bb, F, C#), using your first finger to barre the 6th fret, sliding to the 5th fret then continuing down the scale to resolve on F (b3rd of Dm9).

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ON THE CD

tracks 24-41

©»¡ºº œ bb œ # œ œ œ œ œ œ nœ œ #œ TRACKs 24-41 ExampleS 4 A13 9 Symmetric Diminished Scale Ex 1# œ # œ œ Symmetric bœ b œ # œ œDiminished œ theD maj7 Ó œ œ ˙ & 4 œ œ œ Symmetric Diminished Ex 2 Here we have a colourful sequence that essentially Ex 3 We start by ascending scale using a fourœ œ b œ œ œ œ ©»¡ºº # œ œ œ # œUsen œfirst,# œsecond and fourth b3rd consists of major triads descending using first and notes-per-string pattern. fingers and slide up another #fingers œ œ forin three-fret œ œtriadnI prefer 4 A13 œ # œintervals. œwith# œsweep 9 maj7 thisÓtime œ œ second, then first andbthird each# descending along semitone with your fourth. The second half moves in b œ b œ œ Dintervals, œ œ œ ˙ & 4 œ œ œ # œ œ picking (alternate orœhybrid picking is possible though). Notice that the pattern adding a pull-off. We finish with more ‘snakey’ scale lines based around the E shape œ œ b œ œ # œ œ œ n œ # œ œ œ œ contains four notes, but the#rhythmic grouping is triplets. (CAGED system), which#combines picking and legato. œ œ 4 Ó œ & 4 8 6 7 5 5 8 # œ4 # œ6 7 5 n œ5 b œ œ4 # œ6 œ œ œ5 b œ3 # œ œ œ2 œ # œ œœœœ ˙ œ # œ n œ # œ 8 7 5 4 5 4 5 7 8 7 8 6 5 E B G D E A B 7 E G 24 D E 8 6 A B Symmetric Diminished 7 E G 24 D Shuffle 8ths A Symmetric Diminished E A13 9 24

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A7 # 9 Spring 2014 42 GuitarTechniques

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soloing over 7ths

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TRACKs 24-41 3ExampleS A13 9 Mixolydian b6 Ex 1 This example immediately touches on the two key colours, Mixolydian b6 Ex 3 The progression instantly sets the mood of Mixolydian b6, 9 the major 3rd (G#). Use your fourth finger to fret the B (9th fret, fourth by way of the A and G13/A chords. The notes inherent in those two chords alone the b6A13 (C) and string). The ascending run primarily uses a three-notes-per-string pattern, ending will cover all the notes of the Mixolydian b6 scale. We start by creating a pentatonic A13 9 on a tension release moment, as you play the b6th (13th fret, first string) – the version of Mixolydian b6, taking five intervals of the scale (1, 2, 3, 5 and b6) and tension – following by the perfect 5th (12th fret, same string) – the release. moving this ‘box’ up through three octaves. For the high G on the first string (15th A13 9 Mixolydian b6 Ex 2 This example consists entirely of octaves played with your fret), use your fourth finger and remain in the 10th position. Notice how the second thumb. Use fretting hand muting to prevent unwanted notes from ringing. We half features a run of diatonic triads - Faug, Em, Dm, C#dim and B dim arpeggios. To Eare playing with tension and release here; the 6 F note (b6th) and8the6Dm/A chord 11 finish, 9 we are back8 in the 6 E shape, working 5 with tension and release around the 5th Bproviding the tension and the E note (5th) and C#7(the 3rd) providing the7 release. and b6th on the final 8E (5th). 10 intervals and resolving 7 7 5 E G 6 8 6 11 9 8 6 5 6 6 9 6 8 6 5 B D 7 7 10 7 8 7 5 8 5 7 5 7 G A 6 6 9 6 8 6 5 E 6 8 6 11 9 8 6 5 D E 8 5 7 5 7 B 7 7 10 7 8 7 5 A G 39 E 6 6 9 6 8 6 5 6 8 6 11 9 8 6 5 E D B 8 5 7 5 7 7 7 10 7 8 7 5 A 39 G 6 6 9 6 8 6 5 E D 8 5 7 5 7 A 39 A7 9

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5


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10 10

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10

10 10

10


play: exotic scaleS

ON THE CD

tracks 24-41

ExampleS

TRACKs 24-41

Lydian Dominant Ex 1 This first example uses arpeggios to really paint the colours of Lydian Dominant, essentially outlining an A9 arpeggio and a B major triad. The last three notes are best played using either fourth, first and third fingers, or fourth, first and second. Lydian Dominant Ex 2 This example moves up groups of four notes, one scale step at4 aTitle time. Crucially though, the Lydian Dominant has been converted into a pentatonic scale, using intervals 1, 3, #4, 5, and b7. Make sure you devise a good 4 Title plan for fingering and stick with it as you build up the speed here. Try alternate

œœ.. œœ œœ œœ œœ œœ JJ ‰ & & ‰ E B E G B D G A D E A E 59 59

10 10

15 15

picking this throughout, or alternatively adopt my more legato approach. Lydian Dominant Ex 3 The extended 12-bar Lydian Dominant example starts in the E shape, with an ascending slightly sequential scale run, which follows a three-notes-per-string pattern up the fretboard. Then we play with moving a twonote legato figure around, using first and third fingers, and first and second fingers respectively. This phrase culminates in a quick couple of pull-offs, from 4th, to 2nd fret to the open second string, which is promptly followed by a natural harmonic found an octave higher at the 12th fret of the same string. Then, halfway through,

G13/A œœ # œ G13/A œœ œœ œ œœ œ œ # œ œœ œœ œœJ œ ‰ œ œ ‰ J‰ ‰

A A

10 15 13 12 10 15 13 12

10 10

14 12 14 12

10 10

12 12 10 12 12 10

œœ œ ‰‰ œœ œœ œœ œJJ ‰‰ JJ ‰‰ œ œ œœ ## œœ œ œ

A A

G13/A G13/A

ÓÓ

12 12 9 9 5 5

9 9

7 7

8 8

7 7

9 9

9 10 9 10

A G 13/A A G13/A A œœ # œGGœ13/A 13/A A G 13/A A G13/A A œ œ # œ œ œ œœ Jœ œœ œ œœ œ œœ œœ œœJ œ œ œœ # œ œ œœ œ œ œ œ # œ ‰‰ J œ œ ‰‰ J œ œ # œ œ œ œ œœ œ œ # œ œ œ œœ œ ‰‰ jj jj œ jj & œ œ œ œœ œœ œœ œ œœ ˙˙ &

12 12

A A

E B E G B D G A D E A E 64 64

12 12

9 9 9 9

10 10

14 14

12 12 14 12 12 12 14 12 14 15 14 15

10 10

8 8 6 10 9 8 6 7 8 11 9 10 12 7 12 11

Lydian Dominant Ex 1 Lydian Dominant Ex 1 A7 A7

©»¡¡º ©»¡¡º œœ.. œ œ œ œ œœ ## œœ 44 œ # œ œ œ & # œ &4 œ


12 12

16 16

12 12

14 14

16 16

14 14

14 14

9 9

6 6

5 5

7 7

6 6

13 13

7 7

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13 13

16 16

14 14

10 10

5 5

8 8

5 5


5 5

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A7 A7

7 7

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12 12

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7 7

14 14

5 5

6 6

7 7

8 8

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7 7

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6 6 7 5 9 7 7 5 9 7

B7/A B7/A

Lydian Dominant Ex 2 Lydian Dominant Ex 2 Shuffle 16ths Shuffle 16ths A 9 11 A 9 11


5 5 7 7

9 9

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7 7

5 5

9 9

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5 5

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8 8

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5 5

5 5

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5 5

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soloing over 7ths ExampleS

TRACKs 24-41

we have a series of stacked 4th intervals (perfect and augmented 4ths), all of which remain diatonic to the scale at all times, creating a nice bit of colour. Using single fingers for each note makes it easier to achieve clarity. The run that spans the two bars before the final bar, demonstrates a really useful pattern, which clearly spells out the scale, repeating the intervals 1, 3, #4 and b7. Phrygian Dominant Ex 1 We start by exploiting the tension and release in the 5 namely the 4th - D on the 10th fret, plus the lower octave (the tension); and scale,

the 3rd - C# on the 9th fret, plus the lower octave (the release); as well as the minor 2nd - Bb on the 11th fret, plus the lower octave (the tension); and the root - A on the 10th fret, plus the lower octave (the release). Be sure to mute unwanted strings! Phrygian Dominant Ex 2 We are in 3/4 time for this descending pattern that repeats in three octaves. Use your first finger for the slides. Notice how the final scale run up to the final A note constitutes another pentatonic scale, this one consisting of intervals 1, 3, 4, 5, and b7.

Lydian Dominant Ex 3

©»¡•º & 44

E B G D A E

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A7 A9 B aug9/A

∑

5

77

7

6 7

9

5 7

9

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7

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8

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11

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6

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6

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6

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Phrygian Dominant Ex 1

©»¡ºº Shuffle 8ths A7 œ œ # œ œ Ab 7œb 9 œ. œ œ #œ œ ‰ bœ œ & 44

E B G D A E

12

10

9

9

7

6

b . . . # œ œ b œ œ œ œ œ œ œ Œ œ œ b œ # œ œ œ œ œ œœ Œ Œ œ œ œ # œ b œ œ œ œj ‰ Œ

A

A7

A7 9

3

3

11 10

8

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3

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93

Phrygian Dominant Ex 2

b

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12 13 12

97

15 14 11 10

12

10 11 10

12 10

9 10 9

12 11 8 7

10

7 8 7

10 8

7 8 7

10

9

6 5

9

5 7

5

7


play: exotic scaleS

ON THE CD

tracks 24-41

ExampleS

TRACKs 24-41

Phrygian Dominant Ex 3 This extended 12-bar starts out by playing with the same areas of tension and release as we saw in the first example, namely the b2nd/root (tension/release) and 4th/3rd (tension/release). Then we embark on a descending 3rds sequence. Make sure you hatch a good plan for a fingering and stick with it, building up speed slowly. I recommend using fourth finger for the 9th fret on the first string, as well as the 8th fret on the second string, 8th fret on fourth and fifth, and 9th fret on the sixth. Following this, we have a sequential series of pull-offs with the open first string as your anchor, which is a common type of 6 Title harmonic device for some of the kinds of styles in which the Phrygian Dominant

gets used. We finish off with another series of triplets, again revolving around the root/b2nd and 3rd/4th intervals, as well as the 5th/b6th. Pay good attention to your picking technique while getting this final cascade of picked triplets up to speed. Alternate picking should produce a great result. Whole-tone Scale Ex 1 Here we have a handy ascending sequence, which goes up six notes of the whole-tone scale at a time, while maintaining a three-notes-perstring pattern as it travels up the neck. I combine picking and hammer-ons in this example, but you could of course also try using hammer-ons exclusively or picking every note in true shred guitar style.

6 6 Title Title

Phrygian Dominant Ex 3 Phrygian Ex Phrygian Dominant Dominant Ex 3 3 Shuffle 8ths Shuffle 8ths A Shuffle 8thsB A B A B

©»¡£º ©»¡£º 4 & 4 &4

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8 8 8

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3 3

3 3

9 9 9

7 7 7

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5 5 5

3 3 3

3 3

6 6 6

8 8 8

5 5 5

6 6 6

8 8 8

5 5 5

6 6 6

7 7 7

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5 5 5

3 3 3

6 7 6 7 6 7

A A A

3 3 3

17 0 15 0 13 0 12 0 13 0 15 0 17 15 0 13 0 12 0 13 0 15 0 17 0 0 15 0 13 0 12 0 13 0 15 0

6 8 6 7 8 5 7 5 6 7 8 5 7 8 5 7 8 8 7 8 5 7 8 5 7 8 7

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0 0 0

12 12 12

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3


10 10 10

b

3

10 10 10

0 0 0

12 12 12

3 3 3

0 0 0

10 10 10

3 3 3

3 3 3

14 15 14 14 17 14 15 14 15 14 15 14 15 14 17 14 15 14 14 15 14 15 14 15 14 17 14 15 14 15 15 15 14 15 15 14

3 6 3 3 6 6

5 5 5

3 3 3

b

5 5 5

3 3 3

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6 6 6

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6 6 6

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3 3 3

3 3 3

18 15 17 14 15 14 18 15 17 14 15 14 15 14 15 14 18 18 15 15 18 15 17 14 15 14 15 14 15 14 18 15 15 14 15 14

3 3 3

9 9 9

0 0 0

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15 14 14 15 15 14 15 14 14 15 14 12 15 14 14 15 14 12 15 15 14 15 15 14 15 14 12

Whole-tone Scale Ex 1 Whole-tone Scale Ex 1 Whole-toneA9 Scale 5 Ex 1 A9 5 A9 5

b ©»ª∞ ©»ª∞ bb 4 Œ & 4 &4 Œ


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4 4 4

6 6 6


4 4 4

6 6 6

8 8 8

4 4 4

6 6 6

8 8 8

6 6 6

8 10 8 10 8 10

6 6 6

8 10 12 10 12 14 8 10 8 10 12 8 10 12 10 12 14 10 12 14 8 10 12 8 10 12 10 12 14 10 12 14 8 10 8 10 8 10 12 10 12 14

0

3

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.. œœ ~~ ~~ ‰‰ ÓÓ ~~ ~~

soloing over 7ths ExampleS

TRACKs 24-41

Whole-tone Scale Ex 2 This 3/4 time example shows how you can use the whole-tone scale to negotiate a V-I(m) progression, using it as dominant chord tension, which resolves on the Im9 (Dm9). It is a descending sequence of pull-offs, with a logical fingering of fourth, second and first respectively. We end by landing on the final A note which, in the context of our Dm9 chord, is the 5th. Whole-tone Scale Ex 3 In our final example, the harmonic context is a G augmented triad with A in the bass going to an F augmented triad with A in the bass. The chords are written like this as it makes it easier to translate to the guitar 7 the nature of the whole-tone scale means chord names can be ambiguous. since

We start by travelling up the fretboard by way of a three-notes-per-string shape, adding some sequence based scale ideas. We then land on an augmented A triad at the 10th fret, which gets moved back down the neck in whole tone steps. I recommend using first, second and third fingers, the third finger on the fifth string and first finger on the 3rd. This idea is then repeated and further developed higher up the neck, starting from 17th fret. Logical fingering is: first finger on the first string, third finger for the 2nd and second finger for notes on the third string. For the final phrases, your first finger can be used effectively to barre the second and third strings (4th, 6th and 8th frets).

Whole-tone Scale Ex 2

#

A7 5 ©»¡º∞ œ œ œ œ œ # œ œ œ # œ #œ #œ œ œ œ œ œ œ œ œ #œ œ œ 3 ⋲ ⋲ ⋲ ⋲ ⋲ ⋲ &4

Dm9

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4

E B G D A E

17 15 13

15 13 11

13 11

9

11

9

7

9

7

5

7

5

3

5

9

7

3

5

120

Whole-tone Scale Ex 3

©»¡¶º Gaug/A & 44 Œ ‰

E B G D A E

5

& Ó

7

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14

9

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10

6

9

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14

12

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10

10

11

8

10

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12

11

7

9

10

7

9

11

8

10

8

11

10

~~

8

10 12 10

G aug/A

œ ‰ #œ œ œ #œ œ ‰

10

11

12

10

8

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6

9

10

8

6

7

7

128

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Faug/A

15

18

17

13

16

16

14

14

G aug/A

#œ œ œ #œ œ œ œ ‰

13

11

12

9 12

10

10

œ

9

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7 8

8

7

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5

6

6

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& Œ E B G D A E

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Faug/A

Gaug/A

E B G D A E

6

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6

6

6

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4

4

10

8

8

10

8

G aug/A

œ #œ œ œ œ #œ œ

10

8

8

6

8

6

9

œ

Œ

Ó

7

136


play: classical

ON THE CD

tracks 42-43

Wolfgang Amadeus Mozart Symphony 40 1st Movement This month GT’s own classical diva Bridget Mermikedes arranges and transcribes a piece by one of the genuine daddies of any musical era, the genius that is Mozart. ABILITY RATING


Will improve your

Key: D minor Tempo: 148 bpm CD: TRACK 42-43

Melody-bass separation Hinge barre technique Classical repertoire

In this issue we return once again to a work of the musical genius Wolfgang Amadeus Mozart (1756 – 1791). By the time he wrote his Symphony No. 40, completed in 1788, Mozart was in his early 30s and had produced an enormous body of stunning works - including 40 symphonies (He completed the 41st before his 40th), a similar number of concerti for one, two and three pianos, bassoon, violin, flute, harp and horn, 20 operas and hundreds of other works – so his technical ability and creative force were at a peak. Symphony no.40 is an epic work in four movements whose popularity has endured over centuries, and has had an influence on many composers, including Beethoven. Here I’ve arranged the first (and most famous) of the four movements with its powerful and much admired tragic theme. A core work of the Classical repertoire, Symphony No. 40 (and often the first movement on its own) has been recorded and performed countless times over the last two centuries, and is embedded in popular culture appearing in many films and TV shows wherever that dark classical vibe is required. I’ve changed the original key of G minor to D minor with drop D tuning to help this piece to work effectively on the guitar, and the low D nicely reinforces its sombre character. I’ve also abbreviated the structure of the first movement’s extended sonata form to make it more appropriate for a solo guitar performance, but there’s plenty to get your

Mozart: one of music’s finest ever composers

Symphony no.40 is an epic work in four movements and has influenced many subsequent composers including Beethoven. teeth into here. Incidentally, if you caught the Classical Harmony article in GT226 this provides an excellent case study to see all those concepts in action. As always, be patient learning this arrangement, so you can get the technical control required. There are also some awkward moments, so consult the tab captions to help you best approach them. In the first few bars fingering is indicated

for both hands to get you started. On the last half beat of bar 9 I use a ‘hinge’ barre – the F pulls off onto the E note using the first finger as a full barre but the tip of the finger stays off the sixth string so as not to mute the low D. The finger is then in place to press down a full 5th fret barre at bar 10. Same thing happens on the last beat of bar 11 into bar 12. The same kind of hinge barre is also used in bar 15 but the other way round; the barre lifts off on beat 3 for the open E note but the tip of the finger remains in place on the bass note Bb to keep it sustained to the end of the bar. This is typical technique on the classical guitar when we are dealing with polyphonic writing, and simultaneous voices have different note lengths. It’s a struggle sometimes but we should always try to give notes their correct values in order for the music to sound good and make sense! This is why finding the most effective fingering is so important. I hope you enjoy learning this wonderful piece of music, and I’ll see you next time with another classical masterpiece arranged for solo guitar.

Technique Focus Use your nails All professional classical guitarists pluck the strings using the fingernails. These need to be kept the right length and shaped correctly so that they create a good plucking action and the best possible tone. Every serious player keeps a variety of nails files, buffers and a big favourite is very fine wet and dry sanding paper. This is used to smooth off the edges of the nails and keep them buffed to a fine polish. The better the nails the better the tone!

Track record If you want to hear this piece in all its detailed glory you can’t do better than the Scottish Chamber Orchestra conducted by Sir Charles Mackerras, Symphonies 38-41 (Linn, 2009). For a more sombre performance Emil Tchakarov and the Sofia Soloists Chamber Orchestra do a fine job; you get several other glorious Mozart pieces as well on Best Of Mozart (Resonance, 2007).


Wolfgang Amadeus Mozart Symphony 40 PLAYING TIPS

cd track 43

[Bar 9] In the first few bars fingering is indicated for both hands to get you press down a full barre at bar 10. Same thing happens on the last beat of bar 11 started. On the last half beat of bar 9 I use a ‘hinge’ barre – the F pulls off onto into bar 12. The same kind of hinge barre is also used in bar 15 but the other way Bridget's MOZART'S 40th the SYMPHONY the E note using the first finger as a full barre but the tip of the finger- stays off round; barre lifts off on beat 3 for the open E note but the tip of the finger the sixth string so as not to mute the low D. The finger is then in ready place to remains in place on the bass note Bb to keep it sustained to the end of the bar.

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ON THE CD

tracks 42-43

PLAYING TIPS

cd track 43

xxxxxxxxxx [Bars234 to 76] The fingering for this passage is shown in bar 34. This little

to sustain for two beats. It may seem a bit tricky at first but it works! On beat 3 of bar 39 I use another hinge barre and the same technique is used from bars 72 to 76.

scale passage is played with the use of the open second string (B) at the start of each bar and a clever fingering designed to enable the low G note C7

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play: classical

ON THE CD

tracks 42-43

PLAYING TIPS

cd track 43

4 xxxxxxxxxx

[Bars 77 to end] The chords at bar 77 are played with a downwards strum with the back of the fingernail – either the first or second finger is fine, B bsus2

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whichever works best! Throughout the rest of the piece there are various bits of fingering advice to help you and hopefully the rest will be fairly clear.

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cd track 43

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Andy Saphir explores the studio guitar style of country session monster Brent Mason!

prog.................................................................................................... 78

I HOPE YOU enjoyed our two big features: a complete rock workout and exotic scales to play over 7th chords. These are in direct response to your requests to illuminate specific topics. Please keep them coming! Now you’ve arrived at the Lessons section, we’ve more great articles that should appeal, regardless of your ability or musical leanings. It’s this broad variety that makes GT the most thorough guitar tuition magazine there is. If time is tight, 30-Minute Lickbag has six varied licks at easy, intermediate and advanced levels. Tackle them all, or work on one you particularly like; the choice is yours. This issue’s Blues lesson shines a spotlight on US legend Joe Louis Walker, with two solos crammed full of tasty licks, stinging string bends and awesome phrasing. Upping the distortion, Rock features the roaring chops of Ted Nugent. You’ll love the pounding power chord riffing and frenzied pentatonic licks that pay homage to this unique US rocker. Then it’s time for a complete change as we look at the UK groove jazzer, Ronny Jordan who recently passed away. If you like mixing funk and jazz on a clean guitar tone, this is for you. Pull out the overdrive pedal again, as Creative Rock dives into the world of sweep picking and tapping. If you want to boost your chops and up your

speed, there’s much here to work on. Many of you have been in contact about our new Session Secrets article, again appreciating the stylistic variety on tap. This month we look at the Nashville chops that get Brent Mason so much A-list session work. Tasty double-stop bends, snaky chromaticism, strong chord tones and lots of hybrid picking - it’s a workout you’ll keep coming back to! Prog rock has one of the most devout fan bases around. Ty Tabor from the great King’s X is considered on page 78, with examples of his string bending, pentatonic ideas and a liking for irregular note groupings. Dial in a clean neck pickup and check out the improvisations of jazzer, Chuck Wayne. He may not be a household name but his soloing over II-V-I progressions was highly musical, and not a little scary at times. Acoustic and A-Z of Theory round things off, with the cool chords of singersongwriter Laura Marling, and the letter U: Ultra Locrian, Unison bends and Upstrokes are among the topics we... er... Uncover. As always, enjoy the issue and I’ll see you next time with more guitar goodness.

Paul Bielatowicz looks at the musical style of Ty Tabor from spritual proggers Kings X.

JAZZ....................................................................................................... 8 2

Pete Callard has some great licks in the style of legendary jazz guitarist Chuck Wayne.

acoustic.................................................................................. 8 8

Stuart Ryan continues his series on modern acoustic minstrels with the style of English ‘nu-folk’ exponent Laura Marling.

a-z of music theory.. ............................... 92

Charlie Griffiths Unzips the Ultra Locrian scale with Unisons, Unison bends, Upbeats and Upstrokes. Unbelievable!

Brent Mason: country ace and Nashville session giant


lesson: 30-Minute Lickbag

30-Minute Lickbag BIMM Brighton instructor Terry Lewis has six more cool licks for you at easy, intermediate and advanced levels. How many can you manage?

Brought to you by...

Easy Licks Example 1 Johnny Marr style

cd track 44

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cd track 48

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≤ ≥ ≤ ≤≥≤ ≥ ≤ ≥ ≤ ≥≤≥ ≤ ≥≤≥≤ ≥≤ ≤ ≥ Spring 2014 GuitarTechniques 57

Joe Louis Walker

ON THE CD


This month Jim Clark examines a player that’s a veritable encyclopedia of blues history, vocal and guitar styles - the mighty Joe Louis Walker! licks by the blues greats, attempting to capture the essence of the blues from vinyl. By contrast our artist this month has it written in his DNA; he was born into it, fortunate enough to live and breathe the music his whole life, and developing a deep subconscious understanding. Growing up in San Francisco in the 50s, Joe Louis Walker was surrounded by blues and gospel music on a daily basis, as a result of a highly musical family - he took up the guitar aged just 8. It’s no wonder then that, by the early part of his teens, he was treading the boards nightly as part of the Bay Area blues scene after spending several years immersed in the music of T-Bone Walker, BB King and Amos Milburn. By the time he was 19 he would receive further education onstage with legends such as Jimi Hendrix, John Lee Hooker and Thelonius Monk. During this period he struck up a close friendship with blues giant Mike Bloomfield, who was his roommate for several years and a pivotal figure in his musical growth. Bloomfield’s tragic death affected Joe deeply Joe Louis Walker: sophisticated to and sparked a complete change fiery, he has it all of lifestyle. He took time away from the music scene and enrolled at college, where he gained degrees ABILITY RATING in English and Music, and broadening his understanding of harmony. Moderate In 1985, fronting a new band called The Info Will improve your Bosstalkers, he returned to the blues scene, going on to release five albums for the Key: C Melodic phrasing Hightone label before being signed to Tempo: 125bpm Rhythmic displacement Polygram and putting out another six. CD: TRACKS 50-52 Cohesive solo structure Joe’s playing is steeped in blues tradition ranging from the early jazz-blues stylings Joe Louis Walker is the real deal; a of T-Bone Walker, to wailing overdriven genuine living legend of the blues. We’ve all Hendrix pyrotechnics. What sets him aside read about Clapton, Beck, Green etc, cutting from many others who may simply churn out their teeth as teenagers, painstakingly lifting

tracks 50-52

pre-learned licks lifted from their heroes, is his innate understanding of music as a language, demonstrated by the strong sense of continuity always present in his lead work. When listening to Joe solo, you hear tremendous musical clarity in his phrases. He often uses simple melodic motifs numerous times within a chorus, adding harmonic and rhythmic decoration, but without ever sounding boring or repetitive. He changes his picking hand placement to vary the attack and dynamics many times within a single solo. His rhythmic phrasing displays a keen use of space, as well as sophisticated, displaced repetitious figures; harmonically he always manages to target the underlying chords while sounding uninhibited and expressive; never contrived or sterile. Our two solo studies show contrasting facets of Joe’s style. The first is in the T-Bone vein, where you can see how a simple idea can be developed on a chorus while maintaining the integrity of the harmony. Secondly, we have a more fiery Hendrix vibe; this ably demonstrates Joe’s use of space, rhythmic phrasing and expression. When nabbing ideas by your favourite players (which we all do), try not to just learn a lick in isolation; also aim to get to grips with the context within which it is used. Where is it placed in a solo? What happens before and after it? Why? What’s the relationship? Is it rhythmic or harmonic? Is it an opening statement or better suited to the climax? What chord is it outlining? And so on… You get the picture? This may seem a little ‘trainspotterish’, but the fact is, interpreting music like this is crucial if you are to gain fuller understanding of it as a language and art form - as all the greats clearly do.

Joe Louis Walker is the real deal; a genuine living legend of the blues.

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Joe tends to play guitars to suit a song, so don’t be surprised to see numerous changes during a set. His tastes are traditional, favouring Gibson ES-335, or Les Paul types for cleaner to moderate overdrive settings, while for Hendrix type rock tunes he reaches for a Strat. He has used Fender and Marshall combos, so aim for a good quality valve amp, set quite loud with a relatively flat EQ, changing dynamics with the picking hand and volume control. Perhaps add an overdrive pedal for those Hendrix moments.

Track record Joe’s latest offering, Hellfire (2012) showcases Joe’s knowledge of blues guitar styles and his vocal talents. There is also a lot of great live footage from over the years on YouTube, not to mention a couple of lengthy and fascinating interviews where he speaks in depth about his early years in San-Francisco, befriending Mike Bloomfield, and his thoughts and philosophy on music.


JOHN ATASHIAN / FRANK WHITE PHOTO AGENCY

lesson: blues

Learning Zone

JOE LOUIS WALKER EXAMPLE 1 SOLO 1

cd track 50

we move to the IV chord (F9 - F A C Eb G), Joe continues to use the C minor pentatonic (C Eb F G Bb), which as you can see contains similar notes, outlining an F7 arpeggio in bar 6. A jazzy idea in bar 7-8 where we target the root note of the V chord (G9) with an enclosure idea by ascending with double-stops then descending with chords (A9, Ab9, G9), before hitting G9. We finish with the turnaround featuring C minor and C major based lead playing.

Our first solo is very much in the T-Bone Walker style, based around a standard 12-bar shuffle in the key of C. Joe opens with C minor to C major pentatonic idea utilising the blues note (b5, Gb) with a slide on the second string resolving on the root note (C). The following phrases (bars 1-4) expand on this idea further, decorating the basic form with chromatics and chord tones outlining a C7 arpeggio in bar GUITAR TECHNIQUES 2 2minor 9 Clark's Blues 2 then branching into some pentatonic ideasJim for bar 3. When

JOE LOUIS WALKER Jim Clark's Blues JOE LOUIS WALKER

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lesson: blues

ON THE CD

tracks 50-52

EXAMPLE 2 SOLO 2

cd track 51

is played against a triplet (three notes per beat) feel but is four notes in Our second study is a great example of how to shape a solo using length, resulting in rhythmic displacement, whereby the down beat of rhythmic density. Notice how things start very sparse overall for the each triplet corresponds with a different part of the lick as the repetitions first half, with lots of sustained notes, bends and rests, before becoming go by. Things are drawn to a close with an interesting triplet pentatonic increasingly busy in the later stages with less space providing a logical lick using 4th intervals on the top two strings. Execute the fingering build in intensity, making the whole part musically cohesive to the cleanly by pushing the fretting hand elbow forward and back slightly, listener. Throughout we use the C minor blues scale (C Eb F Gb G Bb) with allowing the finger pads of the fretting hand to roll across the 11th and some effective position shifts between shapes three, two and one. Bar 9 TECHNIQUES 2 2 9with some quirky bending. JimThe Clark's 8th frets to execute this phrase correctly. is aGUITAR clever four-note repeating motif lick Blues

JOE LOUIS WALKER Jim Clark's Blues JOE LOUIS WALKER

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Everything you need... A magazine/DVD package with scales, exercises, riffs and tips, plus fabulous full tracks to learn!

On Sale Now! Just £6.99 from WHSmith and all good newsagents

lesson: rock

ON THE CD

tracks 53-55

Ted Nugent This month Martin Cooper ducks for cover as he checks out the playing style of the Motor City Madman, The Nuge – the great Ted Nugent!

The high-volume at which Nugent plays, and the nature of his gear (a hollow thinline Gibson Byrdland), means he often uses sustained feedback notes in concert. Ted still tours to this day, although without quite matching his schedule of 300 concerts per year during the late 60s and early 70s! Our musical example is in the key of A minor (A B C D E F G), although the G and D power chords in bars 13-14 and 17-18 hint at a bVII-IV progression in A Dorian, which adds to the blues-rock feel. It’s built around a driving rock riff, with classic power chords, rhythm guitar arpeggio parts and a solo that uses unison bends, minor pentatonic and blues scale phrasing. The feel is aggressive but controlled during the rhythm part, so it’s best to mute any unwanted strings and play the open fifth string and power chords accurately. Also feel free to add some palm muting to the rhythm part. There’s a slightly lazy, almost behindthe-beat feel to some of the lead phrasing, particularly with some of the string bends, so aim to get the correct feel here as well - and don’t rush ahead of the beat.

While he may not necessarily be a household name, Nugent has sold over 30 million albums. Get The Tone 6

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Ted Nugent is well known for using a thinline Gibson Byrdland guitar; an unusual choice for a rock player, although it does help in achieving sustained feedback. He also uses several Fender Super Twin and Deluxe amps, and more recently he has been playing through Peavey 6505s. Aim for a naturally trebly sounding crunch if possible, but watch out you don’t overdo the brightness if you’re using single-coil pickups.

Track record Ted Nugent’s eponymous 1975 debut solo release is an excellent place to begin discovering this great artist’s cartalogue, as it includes tracks such as Stranglehold and Snakeskin Cowboys. Cat Scratch Fever, which came two years later, is probably best known for its title track. Ted is a fantastic live act and there are many great live Nugent albums, such as Double Live Gonzo! (1978).


ROB VERHORST / GETTY IMAGES

but it was as a 70s solo artist that he enjoyed most of his success. These days he is also associated with strongly Conservative political views on hunting and gun ownership. However, although he is often criticised for these views, he is also an active campaigner against drug and alcohol abuse. While he may not necessarily be a household name outside rock guitar circles, Nugent has sold over 30 million albums in a career that has spanned almost 50 years. And he actually played his first gig at just 10 years of age! Ted’s musical output is firmly in the classic rock genre, but he has also toured with the likes of US Country star Toby Keith, and played on Christian artist David Crowder’s Remedy album. Ted is also a fan of musicians as diverse as Frank Zappa and Muddy Waters, and he has also appeared in TV shows such as Miami Vice, and also in Nickelback’s video for their hit Rockstar, in 2007. Nugent is famed for playing through amps at extremely loud volumes, but he has also Ted Nugent: suffered considerable hearing brandishing a Byrdland loss over the years - so don’t crank up the volume to hazardous levels this month! ABILITY RATING When Ted formed the Damn Yankees, he joined forces with some stars of the day such Moderate as Night Ranger’s bassist, Jack Blades, and Info Will improve your former Styx guitarist, Tommy Shaw. But it is his solo output from the 1970s that we’re Key: Am Riff writing referencing this month. This era of The Nuge’s Tempo: 127 bpm Rhythm playing playing featured plenty of blues-rock riff CD: TRACKS 53-55 Lead phrasing playing, not a million miles away from southern rock bands like ZZ Top. His tone and Born in Detroit in 1948, and the son of a guitar equipment was unique in rock circles very strict Army staff sergeant, Ted Nugent (see our Get The Tone box), and he always found fame both with The Amboy Dukes in played aggressively but with plenty of taste. the 1960s and the Damn Yankees in the 80s.


Learning Zone

TED NUGENT Example rhythm

cd track 54

You’ll need to dig in using palm muting to tighten your rhythm playing significantly. Don’t press too2hard GUITAR TECHNIQUES 2 9 or you could bend notes sharp and also

find it harder to pick. The palm mute will also help to damp unwanted strings from ringing, but don’t forget your fretting hand can also help here.

Martin Cooper's ROCK COLUMN - TED NUGENT STYLE

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lesson: rock

ON THE CD

tracks 53-55

Example solo

cd track 54

2 Title

Although from Detroit, Nugent’s playing has a lot of southern boogie about it. This style has an inherently laid-back feel - think of ZZ Top - and so the

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lesson: FUnK

ON THE CD

Ronny Jordan

SEEThE NEw

Ronny Jordan: sadly missed UK jazz guitarist

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WIll IMprove your

KEY: Various TEmpo: 105bpm CD: TRACKS 56-57

Chord knowledge Picking technique Octave playing

in the early 90s a major new talent was breaking on UK radio stations: the london based jazz guitarist, ronny Jordan with his reworking of Miles Davis’s seminal So What. his new version upped the original’s tempo, featured a strong drum loop groove and combined the original’s bassline and chords to make a strong guitar part. ronny created two new melodies to work over the Dorian progression before tipping his hat to the iconic trumpeter with a vibrant bebop section and guitar solo. the instrumental showed that in ronny Jordan, england had a guitarist that could combine authentic jazz sensibilities

with modern r&B arrangements to create a new style. With seven studio albums to his name and numerous guest appearances, ronny found new avenues, letting the old and new co-exist in ever appealing ways. Much of ronny’s style comes from his early days playing guitar in church and listening to countless jazz records. at the same time he was fascinated with the urban rhythms found in funk and hip-hop music. With such a colourful fusion of styles, it was only a matter of time before ronny amalgamated his jazz playing with infectious hip-hop drum breaks. Several years of fine tuning later he signed to island records and released his debut, the antidote. throughout the ten tracks, his eS175 tones showed that not only did he have strong jazz sensibilities; he could also create strong enough melodies without anyone missing vocals. in addition, his modern rhythms have been strong enough to be club savvy enough to fit alongside incognito or Bobby Brown.

“What makes me sad about a lot of jazz today is old jazz tunes being played where the arrangements don’t change. Sure some are taking chances with their solos but not with arrangements or form. It’s good in one sense in that people want to uphold the art form but bad also in that nothing is developing. You have to move up to another level to make it relevant for today. That’s what I’ve tried to do with standards like So What, Mr Walker and Mambo Inn as well as songs like Come With Me and Why.”

When i spoke to ronny in 2000 he picked out three great players that moulded his style: “i got into jazz when i was 13 and Wes Montgomery was the guitarist that first inspired me. People forget about Wes and Grant Green. if it wasn’t for those two players, George Benson may not have developed the way he did. i’ve spent time with George and he’s said a few times, ‘if it wasn’t for those cats I’d be nothing’. They were very influential to him and having hung out with them, knew what made them tick. So those two guys are really the architects of contemporary jazz guitar. For example, it is very hard to listen to a smooth jazz guitar album and not hear octaves. That’s really the influence of Wes. In a similar way, acid jazz or early funky jazz, was put on the map by Grant Green who’s the architect for acid jazz guitar. he really brought a lot of funk-type grooves into jazz. Where i come into the equation is that i use hip hop beats that makes me a little different but really i’m coming from that lineage. Overall, i got from Wes the smoothness of sound and from Grant, the rhythmic attitude as he had the best feel.”

I got into jazz when I was 13 and and Wes Montgomery was the first jazz guitarist that inspired me. Wes and Ronny Jordan Grant Green.

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Ronny favoured ES-335 or (more often) ES-175 for their full, warm tones. Latterly he used a modern Phifer archtop from NY guitar maker, Woody Phifer. Although a modern player his tone was pretty traditional. So select your neck pickup and roll the tone back until it sounds warm, with just the tiniest bit of cut discernible. Any guitar - even a Strat or Telecaster - can provide and authentic jazz tone when treated this way.

Track record ronny recorded seven albums under his own name, favourites being The antidote (1992), The Quiet revolution (1993) and a Brighter day (2000). He also recorded with Guru (for the Jazzmatazz vol 1 and vol 2 albums), don-e (1992’s Unbreakable) and dJ Spinna (2003’s Here To There). check out his funky version of My Favourite Things that you can find on a few jazz compilation albums.


david RedfeRn / geTTy imageS

To acknowledge his untimely passing in January, Jason Sidwell takes a fond musical look at one of the UK’s funkiest ever jazz guitarists, Ronny Jordan.

ABILITY RATING

TRACKS 56-57

leaRning Zone

RonnY JoRDan ExAMPLE 1 chord stabs

TRACK 56

The first of our seven examples features a catchy blues intro before settling into chord rhythm using hybrid picking (pick and fingers). To add variety, a single note line rounds off each four bar phrase. Notice how the two chords (Dm and Eb) are

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made more interesting by using voicings that feature 7th and 9th extensions. Even when accompanying, Ronny is mindful of providing colour in his playing with these types of approaches.

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ExAMPLE 2 octave melody

TRACK 56

Like numerous other jazz guitarists (most notably Wes Montgomery), Ronny uses octaves to beef up his playing - the lower octave adding body to the upper octave. It also encourages you to be more melodic and less ‘box’ based with your phrasing. Notice how the syncopated D Dorian melody (D E F G A B C) is rounded

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off in bar 4 with chord voicings in 4ths. You can hear Ronny using these types of chords on tracks like So What, which up the sophistication quota without confusing the underlying harmony. If you like this type of chordal approach you could do a lot worse than checking out the jazz pianist, McCoy Tyner.

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lesson: FUnK

ON THE CD

TRACKS 56-57

ExAMPLE 3 doublestops in thirds

TRACK 56

This is a very appealing way of creating a hook for a song without getting in the way of anyone else in the band (80s soul music being a particularly good place to explore). The best approach to use here is to make sure your timing is precise

and notes don’t linger on longer than they should. Notice that predominantly the third and fourth strings are used to keep the sound consistent (moving up or down the neck, rather than across from thicker to thinner strings, etc).

1,3

2,4

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. .

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ExAMPLE 4 descendinG and ascendinG chords

TRACK 56

Ronny’s chord knowledge was pretty extensive, as demonstrated in this example. Fundamentally it creates interest over a static chord progression (here Dm to F/G) but the approach taken is a little different - the upper step-wise melody was created first and then this was turned into chords derived from the D Dorian scale.

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Although this may be a new approach to chord building for you, it focuses you more specifically on melodic content rather than just chord shapes that get the job done. Needless to say, standard chord playing will seem pretty pedestrian after travelling down this path.

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TRACK 56

Sometimes when the harmony of a song shifts around, the best role to take is a ‘common denominator’ approach, using notes that are common to the different chords. It also means you create a hook for listeners to latch onto. So here I’ve

used just three notes (A Bb and B) played in octaves with a Ronny style rhythm to ‘glue’ the changes together.. There’s a certain Zen quality to this: maximising results through minimum movement!

4

2

1,3

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leaRning Zone

RonnY JoRDan ExAMPLE 6 SYNCopaTED guiTar aND baSS riff

TRACK 56

Although Ronny was a jazzer on the odd occasion he’d feature a head-bobbing bluesy funk riff! Here a funky unison line shows how space and note placement

can transform a simple minor backing into something with much more street cred. Don’t overlook the slinky slides into notes as these up the attitude factor.

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TRACK 56 it’s limited to the middle of the fretboard (9th to 15th frets), his chord voicings, melodic fills and rhythmic placement makes for a challenging part to play. Get this under your fingers through careful practice and your jazz funk playing won’t ever be the same again. Now go and check out Ronny for yourself!

It seemed apt that as Ronny was primarily a jazz guitarist, a funky chord melody drawing on his Wes Montgomery and Grant Green influences would be appropriate to close with. It’s a pretty simple Im-bVI-IIm-V progression that has a syncopated rhythm, but look at what Ronny might play over it. Even though

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Sweeps and taps Shaun Baxter shows you how to combine two of the guitar’s most labour-saving devices to execute exceptionally smooth arpeggio passages.

ABILITY RATING


Will improve your

Key: C (Am) Tempo: 104bpm CD: TRACKS 58-60

Sweeping with tapping General technique Technical versatility

last month we looked at ways of using two-handed tapping to play arpeggios. This issue, we’re going to add sweep picking to the mix. Diagram 1 shows a series of useful arpeggios that exist within A minor that we will be incorporating into the lesson. Fretting-hand tapping requires a much stronger and more purposeful action when

producing notes with fingers of that particular hand, so that they sound crisp and even without incurring any unwanted noise. The required action is particularly demanding on the first finger if you are new to this technique, as this particular digit tends to be clamped to the guitar as a pivot for most ‘normal’ playing. Apart from finger strength and accuracy, extraneous noise is your biggest enemy and should be abated using the following techniques: as usual, use the side of the picking hand to damp all idle bass strings by resting on them firmly, and the underside of the fingers of the fretting hand to damp any idle treble strings. You must leave each string in such a way that you minimise noise. So move the finger outwards from the neck in a way that is both swift but gentle, rather than down towards the floor. You should fret notes by stubbing the end of each finger (especially the first) up against the adjacent bass string (thus damping it): this entails holding down each string using the print part of each fretting finger, and not the tip. Also, some players use a string damper (often just a hair band, although several proprietary dampers are available) on the first few frets in order to eradicate extraneous open-string noise; however, you then cannot use your open strings for things like harmonics, so it is worth perfecting your technique without having to resort to this if you can. Sweep picking is the practice of playing more than one note with a single pick stroke - a technique that can only be applied when travelling from one string to another. Sweep picking is particularly effective as a means of playing arpeggios that are arranged one-noteper-string, as one can ascend the arpeggio using one continuous down-sweep, or descend it using one continuous up-sweep. The ‘sweep’ is effectively a controlled strum in which only one note is held down at a time by the fretting hand: this ensures that all the notes

ON THE CD

tracks 58-60

are heard separately, rather than running into each other and mushing up the overall effect. When sweeping for the first time, it is not uncommon to rush; but if you don’t learn to sweep in time your approach will be limited, and everything will simply sound ‘sweepy’. In an effort to play in time, some players break the sweep action into separate strokes at slow tempo; but it’s better to commit to the sweep, then work on improving your timing. At slow tempos, some find it helpful to think of a sweep as a succession of classical-style ‘rest’ strokes, whereby the pick follows through and comes to rest on the neighbouring string; the pressure is then increased, in order to force the pick through this second string, following through to the third, and so forth. This approach should help you learn to sweep in time when playing at slow tempos. The pick should be angled on each downsweep, but should be held straight for each up-sweep. Ideally, you should show a very small amount of plectrum to the string when picking. Then, when sweeping, the fingers and thumb of the picking hand can act like stabilisers on a child’s bike – allowing you to lean on the back of fingernails during downsweeps and on the side of thumb during up-sweeps, to angle the pick correctly. Finally, when sweeping across several strings, it’s important to try to use a wrist action wherever possible, because the aim is to integrate the sweeping technique naturally in to the rest of your picking.

If you don’t learn to sweep pick properly in time, your approach will be severely limited, and everything will simply sound ‘sweepy’.

Get The Tone 7

7

5

5

4

Gain

Bass

Middle

Treble

Reverb

Although the increased sustain and compression produced from using more gain’makes tapping easier, it also increases your chances of producing extraneous handling noise: and your tone will suffer too; consequently, you need to find a working compromise between being prepared to work a bit harder with less gain, but not making things tortuously difficult. Generally, if you have a guitar with single-coil pickups, try getting 25% of your distortion from the pedal and 75% from the amp. You’ll find that the results are sweeter and more compressed (even and tighter sounding) than when getting 100% of the distortion from the amp. Finally, some reverb and delay (matched to the tempo of the track) will help to give both size and smoothness (polish) to the guitar sound.

Track record Tapper and sweep-picker Tony MacAlpine has recorded several solo albums (try Maximum Security) and educational videos (Star Licks). Apart from over a dozen releases with his own band, Tony has also played keyboard and guitar with Steve Vai, and recorded with Planet X, as well as enjoying success with his fusion trio CAB with drummer Dennis Chambers and bassist Bunny Brunnel.


david lyttleton

lesson: creative rock

Learning Zone

SWEEPS AND TAPS DIAGRAM 1: arpeggio diagrams for this month’s lesson

ExampleS

cd track 59

EXAMPLE 1 We start off with a four-note version of some of the five-string EXAMPLE 2 More four-stringed arpeggios here; only this time we are using arpeggioTECHNIQUES shapes in Diagram 21. 2 The each arpeggio in shapes further up the neck, and are shifting from one to the other via a slide on GUITAR 9 extra fourth string notes on Shaun Baxter's bar 2 serve to create Am add9 (A C E B) to G add9 (G B D A) respectively. Critically first string. Note that, in bar 5, the second arpeggio shape has been modified GUITAR TECHNIQUES 2 2 9 Shaun Baxter's the ARPEGGIOS Sweeps to & create Taps a suspended version that can be played to a strict triplet here, the use of fretting hand taps to descend each arpeggio saves the picking with somewhat ARPEGGIOS with count Sweeps & Taps hand from having to rush into position from the previous picking hand tap. (see beat 3). Ex 1 Ex 1

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cd track 59

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lesson: session

Brought to you By...

ON THE CD

Brent Mason soloing

It’s Stetsons and cowboy boots on as Andy Saphir heads off to Nashville for a hot twangin’solo in the style of Music City’s session legend, Brent Mason. Brent Mason: stunning chops but always with taste

ABILITY RATING


WIll IMprove your

Key: g Tempo: 120bpm CD: trACKS 61-62

Phrasing Hybrid picking Stylistic vocabulary

A column bAsed on session soloing would, in my view, be incomplete without a look at modern country-pop-rock, as its popularity is so huge. many of the albums that come out of nashville are produced using top session musicians, and one of the busiest of recent times is the awesome guitarist, brent mason. However, it’s not just country fans who have heard the sublime playing of this virtuoso picker. The multi-award winning nashville A-lister is a giant of the session world, having not only played with country stars like George strait, shania Twain, Alan Jackson and

brooks and dunn, to name a mere handful, but also on TV shows, commercials and movie soundtracks too. In fact, he has played on so many hits that he is widely regarded as one of the most recorded guitarists in history, and his playing truly has influenced the sound of modern country music. brent is not only a country player, but also a master guitarist in many different styles. His solo albums, Hot Wired and smoking section, boast tracks with virtuosic jazz, blues, latin and acoustic playing as well. This month’s lesson features a solo in the style of brent’s country picking, the kind of thing that might be heard on albums by the aforementioned country stars. The piece is written in the key of G major (a very popular key for country) and it features a catchy 16-bar riff section that will present a few technical challenges. The following 19 bars consist of the ‘solo’. This section noticeably shifts up a gear in terms of complexity, but is

TraCks 61-62

still restrained, so as not to appear too ‘out there’ for the sake of it. Remember that our approach here is commercial, where playing the right thing for the song is what’s required, and not being flash or self-indulgent. Technically, the piece features many well-known techniques used by all good country players. These include hybrid picking (Brent tends to use a thumbpick and fingers, but I’ve used hybrid picking style, with a flatpick and the second and third fingers of the picking hand), double-stops, complex bending ideas, chicken pickin’, chord fragments, and changing scales with chords. If you’re already competent in this style you’ll recognise many of the techniques, and it goes without saying that the more proficient you are, the better you’ll make it sound. If you’re new to the whole hot country thing, go easy and do lots of listening homework to familiarise yourself with it. Pay attention to the picking hand fingering suggestions written below the tab – it will help enormously with your progress. You’ll notice quite a few ‘let ring’ instructions; it is important to pay attention to these, as one of the characteristics of this style, is the sound of notes ringing together. This is achieved by holding down appropriate fingers on the fretboard and letting previously played open strings ring through. This can take a lot of practice, as the concept might be alien to some players. my previous country columns are crammed full of helpful stuff to aid your country playing, so check ‘em out if you haven’t already!

Paying attention to the picking suggestions written below the tab throughout the piece, will help enormously with your progress.

Getthetone 2

7

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8

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A variety of tones can be used for soloing in this style, from clean, to chunky overdrive or distortion. the more traditional‘country’style of song, as opposed to the more‘rocky’style would often use clean amps with single-coil,‘twangy’ guitars like the Fender telecaster. In addition to this, a compressor pedal is essential to add thickness and eveness with a very small amount of either amp or pedal based overdrive for a clean but slightly edgier sound. Some reverb and a short delay can add ambience and thickness.

Track record There is no shortage of songs on which you can hear Brent Mason’s amazing playing. alan Jackson’s album Who I am has classic Brent country chops, from ballads to chicken pickin’ flashiness. Brent’s solo album Hot Wired is a collection of sublime instrumental tracks which showcase his versatility, as is his and brother randy Mason’s album, Smoking Section.


learning Zone

BrenT Mason sTYle soloing ExAmplE BRent MASon Style Solo

CD TraCk 61

[Bars 1-8] the first eight bars establish the riff. Bar 1 has a plucked doublestop 4th ‘chord fragment’ of D and g over the g chord, followed by a twostring bending lick where the second-string note, D, remains fretted, while the third-string note, A, bends up a tone to the major 3rd of the chord, B. this can be challenging down at this end of the neck, so go steady and ensure the bend is accurately pitched. Fretting the second-string D note with your fourth finger and the third string A note with your second or third, might help to make the bend easier. If you struggle, try practising the lick higher up the neck where it’s physically easier and gradually move it down as you get more comfortable. Note how in bar 2, the double-stop is a chord fragment of the C major over which it’s played. the notes are g (5th of C major) and C (the root). Bar 3 plays the same motif as in bar 1, but bar 4 resolves with a double-stop over a D chord, using the notes of D and A (root and 5th repectively of D major). Bar 5 is almost the same as bars 1 and 3,

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with the resolution in bar 6 over C major again being played with a doublestop chord fragment, but this time with the root (C) on the fifth string and the major 3rd (E) on the fourth. Bar 7 uses an open-string arpeggiated chord idea over the Em, implying an Em9 tonality (E g B D F#) before a semitone ‘behind-the-nut’ bend on the fifth string from A to Bb and back to A resolves to the g root note over the tonic chord. Behind-the-nut bends are particularly difficult (and can be painful) when you’re not used to them, so be careful. replace the bend with a hammer-on and pull-off if you like. [Bars 9-16] these eight bars are similar to the previous ones, but watch out for the fourth string, 2nd fret bend (E to F#) in bar 15. this is not easy and requires a lot of strength in order to pitch it correctly. Again, the same practising technique as mentioned before can help, but fourth string bends aren’t easy at the best of times, so make sure you support such bends with any other available fingers.

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lesson: session

ON THE CD

TraCks 61-62

ExAmplE BRent MASon Style Solo

CD TraCk 61

[Bars 17-25] of note in this section of the solo is the held bend in bar 19, where you need to hold the second string bend to pitch while fretting the appropriate notes on the first string before a very quick fretting hand move down to the 3rd fret for the lick in bar 20. the third-string bend from D to

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learning Zone

BrenT Mason sTYle soloing ExAmplE BRent MASon Style Solo

CD TraCk 61

[Bars 26-35] things to watch out for in this final section are another second-string held bend from A to B in bar 30. the descending double-stop lick in bar 31 requires repeated plucking with the second and third fingers, so this should be approached slowly at first. In bar 32, the open fourth

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lesson: prog

ON THE CD

tracks 63-64

King’s X This month GT's prog hound Paul Bielatowicz unlocks the guitar style of Ty Tabor from the spiritually inclined and highly musical three-piece, King’s X.

ABILITY RATING


Will improve your

Key: D minor Tempo: 125bpm CD: TRACKS 63-64

Pentatonic phrasing String bending Position shifting

outfit, called The Edge. McCollam left and was soon replaced, and when his replacement decided to quit the band, they made the fateful decision to continue as a trio. They changed their name to Sneak Preview and released a self-titled EP in 1983. A few years later the band were picked up by the vice president of ZZ Top’s production company, who took them under his wing, becoming their manager and influencing their name change to King’s X. Although highly rated and receiving great reviews in the press and accolades from many big-name artists, King's X never got the commercial success that they deserved. However, with the band Tabor has become one of most well respected guitarists in the prog rock genre today. His style and tone, as well as his vocals and songwriting, are crucial elements in the innovative King’s X sound. Spiritual in nature, the band’s lyrics have often led to them being labelled as 'Christian rock', although that’s consistently been shrugged off by the members as untrue.

With King’s X, Tabor has become one of most well respected guitarists in the genre today.

Get The Tone 7

5

6

6

3

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Bass

Middle

Treble

Reverb

In the early days of King’s X, Tabor’s guitar sound was a closely guarded secret. He played a rare Fender Strat model called the Elite, which was only in production between 1983 and 1984, featuring active mid-boost circuitry. In an attempt to keep his signature sound from being discovered, he swapped logos on his amps so the source of his tone remained a mystery. It was years later, before he finally revealed that he was actually using a solid-state Gibson amp for the band’s first four albums. For an approximation of Tabor’s sound, I’d recommend using a single-coil guitar with just enough gain on your amp to give the sustain you need.

Track record King’s X’s second studio album, Gretchen Goes To Nebraska, is considered by many fans to be their landmark, recorded at the most creative period in their career and featuring classic songs and riffs such as Summerland and Over My Head. For a fuller overview there is 2007's compilation Best of King's X. If you're unfamiliar with the group's work there's no better place to start.


FRANK WHITE

Ty Tabor was born in 1961, in Pearl, Mississippi. He began singing and playing guitar at a young age, and by his early teens was performing with his father and his brother in a bluegrass band. As the popular music of the 60s and 70s began to catch his ear - much of it coming from the so-called British Invasion bands with their interesting chords and great vocal harmonies - he wanted to do the same and so started playing in high school bands. One of these was a Christian rock group called Matthew, which would be the vehicle that kick-started young Tabor's touring career, not long after he graduated. A little later Tabor moved to Springfield, Missouri to attend college; once there he immersed himself in the local music scene. One band he played with had the opportunity to open for the successful Christian guitarist, Phil Keaggy. Keaggy's drummer was Jerry Gaskill; he and Tabor hit it off personally and musically, and it wasn’t long before the two would get together and form a band, changing both of their careers forever. In the spring of 1980 Ty was asked to perform at a college talent show with a female singer. Bass player Doug Pinnick was in the audience, and was so impressed by Tabor's performance that he got in touch with the guitarist and the two began collaborating. Eventually Tabor, Pinnick, Gaskill and guitarist Dan McCollam formed their own

Ty Tabor: ace six-stringer with King's X

Learning Zone

KING'S X Example 1 minimalism and repeated motifs

cd track 63

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cd track 63

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ON THE CD

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cd track 63

We begin with another minor pentatonic sequential idea before moving on to some fluid legato and tapping. Although Ty has the chops, he never lets

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ON THE CD

Chuck Wayne

Pete Callard looks at the guitar style of Chuck Wayne, who played with Woody Herman, George Shearing and many other jazz greats.

ABILITY RATING


WIll IMprove your

Key: Various Tempo: Various CD: TRACKS 65-84

Jazz soloing Phrasing Swing feel

Born Charles Jagelka on 27 February, 1923 in new York City, Chuck Wayne came from a Czechoslovakian family, and started out on mandolin, banjo and balalaika. It was the playing of Charlie Parker that switched him on to bebop, and he was one of the very first guitarists to master the style, even recording with Dizzy gillespie in 1945. Wayne became a successful player on the new York scene, working with george shearing, Tony Bennett, Frank sinatra, Barbra streisand, Coleman hawkins and lester Young among others; and like many of his contemporaries moving between the studio and television worlds alongside his jazz career. He released his first recording as a leader, The Jazz guitarist Chuck Wayne, in 1946, and continued to record albums into the 90s. In the 80s Wayne took up a teaching position at the Westchester Conservatory of Music outside new York, and continued to play and teach through the 90s, notably authoring a couple of books detailing his distinctive playing approach. Chuck Wayne passed away on July 29, 1997 at the age of 74. Czech-born Chuck had a unique, highly jazz master conceptual approach to guitar Chuck Wayne playing, both from a technical and a harmonic standpoint. Initially frustrated in his attempts to make the guitar swing like Charlie Parker he even considered switching to saxophone, but ultimately pioneered a whole new playing approach. The foundation of Wayne’s soloing style is built on what we now know as economy and sweep picking, but which he called ‘Consecutive-alternate Picking’, and

TraCks 65-84

he got much of the motion of the pick from the first joint of his first finger and thumb, rather than from his wrist and arm, resting his fourth finger lightly on the pickguard to anchor the hand. Wayne was a real master of this approach, treating his listeners to lightning flurries of notes and long, blazing double-time passages in his live performances, even into advanced age. he also utilised hybrid picking, most notably for contrapuntal improvisation and octave playing, where he used the pick for the lower note while alternating between second and third fingers for the top note. It wasn’t only as a soloist that Chuck Wayne was an innovator. In his efforts to emulate the freedom with which pianists were able to voice chords, Wayne rigorously developed a whole chordal system based around generic four-note chord forms as opposed to voicings specific to individal chords - an exhaustive approach that finds parallels in the work of the legendary chord melodist and educator Ted greene. Wayne presented his complete system for guitar in a couple of tuitional books essential for any serious student of his playing, called guitar studies – scales, and guitar studies - Chords. he also in 1965 published a guitar arpeggio Dictionary, sadly long out of print. Chuck’s playing style is lyrical, flowing and melodic, with great technical command coupled to a pure, smooth, bell-like and reverb rich tone. For this month’s 10 playing examples we’re going to be investigating his soloing approach, taking in areas such as sweep and economy picking, chromaticism, II-V-Is, III-VI-II-V-Is, anticipated resolutions, pedal note ideas, lines based on 4ths, intervallic ideas, whole tone patterns, motifs and double-time lines.

chuck Wayne had a unique, highly conceptual approach to guitar playing, both from a technical and a harmonic standpoint. Getthetone 2

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For a good classic jazz sound, use the guitar’s neck pickup with the tone control rolled off to around 3 or 4 (or take the treble down on the amp), and set up a warm clean tone on your amp. Thick strings work better, as does a hollowbody guitar, but neither is essential.

Track record chuck Wayne’s career spanned several successful decades so there’s a lot of matrial to choose from. aside from his work with many legendary artists, some listening recommendations from chuck’s solo recording catalogue include The chuck Wayne Quintet (1953), Tapestry (1963), Morning Mist (1964) and, with Joe Puma, Interactions (1973).


PAUL HOEFLLER / GETTY IMAGES

lesson: jazz

CHUCK WaYne ExAmplE 1 IIVI In F

CD TraCk 65

Although the chords in this example follow the pattern of a short II-V-II-V-I, this line can also be seen as a long II-V-I in F. Over the Gm7, Wayne plays around a Gm7 arpeggio and outlines C9 over the C7, then treats the next

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learning zone

Gm7 as C7, moving down C altered scale (C Db Eb Fb Gb Ab Bb) then landing on the 5th (G) and moving up chromatically into an Fmaj9 idea that nicely anticipates the resolution to Fmaj7.

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Wayne moves up chromatically to the 11th (C) on the Gm7, then comes back down in G minor with an initial chromatic passing note. Over the C7 another

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chromatic passing note leads into Bbm7 and C7b9 arpeggios, and the line resolves to an Fmajor idea around a C pedal.

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CD TraCk 69

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ExAmplE 4 MInor IIVI In D MInor

CD TraCk 71

Although ostensibly over a short minor II-V-I, Wayne double times it so the line can be seen as a long minor II-V-I idea. He starts in Dm over the Dm7,

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then comes down an Em arpeggio, back up to the 11th (A), and moves down to imply Gm7 and C altered over the A7, resolving back to D melodic minor.

Dm7 œ œ œ œ œ # œ nA7œ œ bœ œ bœ bœ œ œ œ œ œ #œ œ œ Œ ‰ œ E m7

∑

3 E B G D A E

7

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lesson: jazz

ON THE CD

TraCks 65-84

ExAmplE 5 LonG IIIVIIIVI In F

CD TraCk 73

Over the Am7 Wayne comes up and down an Am7 arpeggio, then outlines the Ab7 and moves up chromatically into a couple of sweep picked

©»¡ª∞ 4 &4

arpeggios (Gm7 and Em7b5) over the Gm7. Over the Gb7 he comes down Gb9 then Gb mixolydian and resolves to F lydian over the Fmaj7.

A b7 G m7 œ œ œ œ bœ bœ œ bœ œ œ œ œ œ œ # œ ‰ œ œ ‰ bœ bœ bœ bœ nœ œ #œ œ 3

A m7

∑

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E B G D A E

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1

Fmaj7 . . . œ œ bœ œ œ b œ b œ ¿ b œ b œ œ œ. &

b

G 7

E B G D A E

8

9

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11

X

11

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œ œ œ #œ œ nœ œ ‰ œ œ œ œ œ œ Œ

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∑

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ExAmplE 6 LonG IIIVIIIVI In G

CD TraCk 75

Over the Bm7 Wayne slides up from the maj7 (A#) into a sweep Bm7 arpeggio, then comes down Bb minor pentatonic over the Bb7. Over the Am7 he comes down an Am7 arpeggio then the A minor scale, and over the Ab7 he outlines

©»¡ª∞ & 44

D7b9 (Ab7 is a tritone substitution for D7) before landing on the 6th (B - which could also be seen as the 3rd of Gmaj7, thus anticipating the resolution). After a brief pause he then closes on a nice 4ths idea in G major.

b

B m7

B 7

œ œ œ ‰ # œj œ œ # œ œ

∑

bœ bœ œ bœ œ bœ ‰ œ

A m7

œ œ œ œ œ œ œ œ

3

E B G D A E

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A 7

bœ & #œ œ œ œ œ œ E B G D A E

7

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5

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œ œ œ œ œ Œ #œ

Gmaj7

Œ

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œ œ œ œ #˙

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5 7

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∑

5

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7

learning zone

CHUCK WaYne ExAmplE 7 B FLat whoLe tone pattern

CD TraCk 77

Here’s a descending Bb whole tone scale (Bb C D E Gb Ab) pattern over Bb7#5, resolving to Eb. Wayne moves down a major 3rd then up a 2nd, taking this sequence across the neck, two notes per string, ultimately

b#

©»¡¡∞ 4 &4 E B G D A E

resolving to the 5th (C) on the Eb69 chord. Wayne would have used economy picking for this, playing the first two notes with an upstroke, then the next two with a downstroke, and so on.

œ bœ bœ bœ œ œ œ œ œ œ bœ œ œ bœ œ bœ

B 7 5

∑

8

9

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E 6/ 9

w

∑

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1

ExAmplE 8 B FLat LIne

CD TraCk 79

Over the Ebmaj7 Wayne slides into an Ebmaj9 swept arpeggio then comes down the Eb major scale with a chromatic passing note, anticipates the change to Ab7, then anticipates the Bbmaj7 with an echo of the opening phrase, this time sweeping up a Bbmaj9 arpeggio. Over the short Cm II-V-I

b

©»¡•∞ & 44 E B G D A E

∑

b

b

b

B maj7 E 7 œ œ bœ bœ A 7 œ œ bœ œ œ b œ œ œ œ bœ #œ œ œ ‰

3

11 12

11

10 13 12

11

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13 11 12

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13 10 11

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Dm7

& E B G D A E

œ œ œ bœ œ œbœ # œ ‰ J

E maj7

he outlines Dm7, G7b9 then resolves to Cm, then outlines F7b9 over the Cm7 and F7 chords and anticipates the Bbmaj7 resolution, moving into a Bb major pentatonic idea with a chromatic passing note and closing around the Ab7 and G7 arpeggios.

œœ

G7

Cm7

G7

bœ œ ‰ œ œ œ bœ œ Œ ˙

C m7

b

b

F7

A 7

B maj7

G7

bœ œ œ ‰ œj œ b œ œ œ œ œ b œ ‰ œ # œ œ œ œ b œ œ b œ œ œ Œ

∑

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lesson: jazz

ON THE CD

TraCks 65-84

ExAmplE 9 G Major LIne

CD TraCk 81

Wayne opens with a simple G6 motif, then syncopates and extends it around the Am7 and D7 chords with some chromatic movement. Over the short III-VI-II-V he moves up B minor pentatonic then lands on the 3rd (G#) of the

©»¡¶∞ 4 &4 E B G D A E

E7 on beat 4, then outlines Am7 and D7b9, resolving to an implied Gmaj7 (anticipating both chords by a beat) over the Dm7. Over the G7 and Cmaj7 he throws in a nice intervallic idea, ending on the 9th (G) over the F7.

Am7

G maj7

Ó.

∑

D7

œ

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1

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9

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9

G7 F7 œ œ Cmaj7 œ œ œ œ œ œ œ œ #œ bœ œ œ œ œ. œœ œ bœ œ œ œ œ œœ ˙ œ Ó ‰ œ & D7

E7 9

#œ œ ‰ #œ ‰ œ jœ œ œ œ œ b œ œ #œ œ œ #œ œ œ œ. J

7

A m7

b

Bm7

7

9

7

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Dm7

∑

Ó

3 E B G D A E

8

9

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12 7

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ExAmplE 10 LonG IIIVIIIVIs In B FLat

CD TraCk 83

Over the Dm7 Wayne moves up and down a Dm9 arpeggio, then over the Db7 he plays around Db lydian b7 with a chromatic passing note, ending on the 5th (D) and 3rd (B) of G7 (of which Db7 is a tritone substitution). Over the Cm7 he moves up the C minor scale then down a Cm7 arpeggio, then comes down B lydian b7 with a chromatic passing note and resolves

œœœœ œ œ œ œ bœ œ œ œ œ bœ œ œ œ œ bœ œ œ œ bœ Ó . ‰ œJ œ œ bœ œ œ b œbœ œb œbœbœ 3

©»™£º ∑ & 44 E B G D A E

b

D m7

D 7

10 12

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C m7

8

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8 7

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B7

8 10 8

10 8

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1

b

B maj7

& E B G D A E

to Bb5, followed by a rather ‘out’ sounding tritone idea between B and F over the B diminished 7. For the closing 3 bars, he moves up a Cm7 arpeggio into an implied G7 and back to Cm over the Cm7, then comes down a B major triad over the B7 and resolves to the root of the Bbmaj7. I hope you’ve enjoyed our look at this intriguing guitarist.

7

. œ bœ

b œ. .

6

8

Bdim7

n œ.

8 7


œ.

8

. œ. œ œ. 9

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œ nœ œ œ bœ œ #œ #œ œ b œ œ #œ #œ œ bœ Œ Ó œ bœ

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7

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lesson: acoustic

ON THE CD

tracks 85-86

Laura Marling Stuart Ryan takes a look at the acoustic stylings of a Brit Award-winning artist and leading light in the nu-folk scene, the supremely talented Laura Marling. At just shy of 24 years of age, English singersongwriter Laura Marling is already seen as a leading light in the still burgeoning nu-folk movement. She receives regular airplay on influential radio programmes like Bob Harris’s Saturday night special and the Mark Radcliffe Folk Show, both of which air on BBC Radio 2. A Brit award winner, Marling emerged from the same scene that gave rise to acts such as Mumford & Sons and Noah And The Whale. Not only has she collaborated with these giants of the genre, at one stage the former were actually her backing band and she was briefly a member of the latter! A very credible artist indeed, music critics have even likened her songwriting abilities to those of Bob Dylan and Joni Mitchell. Marling, who hails from Hampshire in the UK, comes from a musical family and learnt the guitar at age six from her father - he ran a recording studio and her mother was a music teacher. Her early influences Laura Marling: included Neil Young, James a leading light in Taylor and Bob Dylan. You the nu-folk scene can hear all of these in her guitar playing, from the delicate, ornamented fingerpicking of Taylor ABILITY RATING through to the heavy, percussive attack of Neil Young and the more straight-ahead Easy strumming of Dylan. Info Will improve your However, Marling herself notes that her first love was punk and as she grew older she Key: A minor Picking hand time keeping also discovered alternative country artists like Tempo: 126bpm Use of common tones Ryan Adams; this too informed her style, CD: TRACKS 85-86 Fretting hand chord work

which has a distinct Americana element mixed in with the modern English folk sound, and more than a hint of punk attitude. Marling released her first album, Alas I Cannot Swim, at the tender age of 18 and she now has a total of four highly regarded releases to her name. You can hear her perform in a number of contexts, from solo singer-songwriter mode where the guitar is used to perform the traditional role of fingerpicked accompaniment, to a full band featuring cello in the line-up. For this study I’ve focused on the fingerpicking side of her style and put together a conventional chord progression that’s made more interesting via some different note choices within the chords. More and more of today’s young singersongrwriters are finding that they can write using the traditional, if you like ‘well-worn’ progressions, as long as they make their own voicings unique - just as players like James Taylor did. As we’ve seen before, the use of open strings is now very common, and just one open string can often serve as the ‘glue’ which holds an entire progression together. That’s the approach I’ve taken with today’s piece. In this case the open second string appears throughout most of our chord sequence, tying everything together. Why not try a similar idea on other progressions?

Marling released her first album, Alas I Cannot Swim, at the tender age of 18.

Get The Tone 2

7

6

6

2

Gain

Bass

Middle

Treble

Reverb

Any acoustic is fine for this style of playing. Marling herself has a large guitar collection and can be seen with a number of different instruments, she favours anything from a Martin D-45 to a nylon-string classical. I recorded this on a Froggy Bottom Model M.

Don’t Know; and Once I Was An Eagle. All have either won or been nominated for prestigious prizes including Brit, Mercury, NME, Q etc. Also check out albums by her influences: Neil Young, James Taylor and Bob Dylan.


LIVEPIX

Track record You can’t go wrong with any of Marling’s superb albums - Alas, I Cannot Swim; I Speak Because I Can; A Creature I

Learning Zone

LAURA MARLING Example LAURA MARLING style

cd track 85

[Bar 1] Although we are dealing with a standard chord progression in A [Bar 9] A slight change in fingerpicking pattern here; nothing too drastic minor, the voicing of this Amadd9 chord makes things just that bit more but you may want to think about which fingerpicking approach you are interesting than a standard A minor shape. The ‘add9’ refers to the fact that using, as several apply. You could used the traditional method of saying it has a B note, the 9th of A, included in the chord which comes in the form the picking hand thumb takes care of the three bass strings while the of the open second string. first, second and third fingers take care of third, second and first strings [Bar 2] SeeTECHNIQUES how the B now functions respectively. Alternatively, in this case you may also bring the first finger up GUITAR 2 2 9 as the major 7th of the C chord and Acoustic then as the #11th of the F chord in the next bar. We canStuart's refer to this B note as to take care of the fourth string – so the bass string motion becomes thumb LAURA MARLING STYLE a ‘pedal tone’ or as a ‘common tone’ between all the chords. to first finger. Experiment and see what works best for you.

©»¡™§ Amadd9 œ œ œ œ œ & 34 œ E B G D A E

0

&

#

œ

œ

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œ

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#

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œ

œ œ œ œ œ

œ œ œ œ œ

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˙. 0

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œ œ œ œ œ œ

œ

5

œ œ œ œ œ 0

0

2

3

Am

4

2

œ

5

0

1

2

G6

10

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4

˙.

F maj7add 11

œ œ œ œ œ

0 3

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9

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5

œ œ œ œ œ

œ

3

œ

3

Am

œ

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œ

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œ œ œ œ œ

2

œ œ œ œ œ

3

Am

G

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0

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œ œ œ œ œ

0

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17

Cmaj7

10

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#

& œ

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œ œ œ œ œ

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œ œ œ œ œ 7

Fadd 11

E B G D A E

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œ

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G

œ œ œ œ œ

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&

E B G D A E

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#

Fadd 11

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Amadd9

E B G D A E

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œ œ œ œ œ

œ

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Fadd 11

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7

C maj7

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œ œ œ œ œ 2

2

1

2

2

œ 0

œ œ œ œ œ 2

2

1

2

2


lesson: acoustic

ON THE CD

tracks 85-86

Example LAURA MARLING style

cd track 85

[Bars 11-12] There is another usage of a ‘common tone’ here – this time it’s the open first string E which acts as a hinge between the F and G chords. [Bar 17-18] You can try the various picking methods described before over Acoustic the D2 minor and G chords; you may find you have a preference for using the thumb on more than one bass string or you may prefer to bring in the first

œ œ œ œ œ & œ Dm

E B G D A E

0

3

1

3

&

œ

œ œ œ œ œ 3

25

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œ œ œ & œ œ œ 0

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œ

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29

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G

œ œ œ œ œ 0

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3

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œ œ œ œ œ

œ

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G

E /G #

Am

œ œ œ œ œ

œ

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#œ

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#œ

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œ œ œ œ œ 2

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œ œ œ œ œ œ

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œ œ œ œ œ œ

œ œ œ œ œ 2

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Dm

E B G D A E

œ

3

1

Fadd # 11

œ œ œ œ œ

2

21

Fadd # 11

E B G D A E

2

G

finger more – in bar 18 the thumb can pluck sixth string then fourth, or the thumb can pluck the sixth followed by the first finger plucking the fourth. [Bar 27] This first inversion (3rd in the bass) E major is a surprise for the ears but it works as a great transition back to A minor and allows the bass notes to rise from G to G# and finally back to A, a common songwriter’s device.

2

1

2

2

˙. 0

2

2

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Learn how chords relate to modes, and see how rhythm and lead slot together. Check out our full transcription of The Beatles’ Twist & Shout, featuring both George’s and John’s guitar parts. And play like Cream-era Clapton, Judas Priest and Kenny Burrell.

Master the styles of 11 blues giants including Clapton and the 3 Kings! Play Eva Cassidy’s beautiful version of Autumn Leaves. Use drop tuning to play cool styles. And play like John Squire, Robert Johnson, Robert Fripp and much more!

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lesson: rockschool

ON THE CD

A-Z of music theory: U This month Rockschool’s Charlie Griffiths take an Upbeat look at Unisons, Unison bends, Upstrokes and the Ultra Locrian scale. Unbelievable!

Ultra Locrian

This scale is the seventh mode of the harmonic minor scale and is associated with a diminished 7th chord. As the name suggests, the scale has similar delusions of grandeur previously witnessed in the Superlocrian. As we previously saw, the intervals of Superlocrian scale are all flat (R b2 b3 b4 b5 b6 b7), but the Ultra Locrian goes one better. This time all those flattened notes remain, except the last note is a double flat 7th (R b2 b3 b4 b5 b6 bb7). The bb7 interval literally means the 7th has been flattened twice. The eventual note is essentially the same as a major 6th, but since it actually is the seventh note of the scale it is correct to call it a bb7.

Unisons

The layout of the guitar fretboard is such that the same pitch can be produced at multiple points on different strings. Knowing where these ‘unison’ notes reside is an essential part of learning the logic of the fretboard and extremely useful when navigating the guitar and eventually finding the notes you are looking for. The locations of the unison notes on the guitar Steve Cradock are made slightly more of Ocean Colour complicated due to its Scene uses unison bends asymmetrical tuning. The strings are tuned ‘EADGBE’, which means the lowest four strings are 4th interval ABILITY RATING apart, but the third and second strings are a 3rd apart; finally the second and first strings Easy to Advanced are again tuned to a 4th. This means that Info Will improve your unison notes are always found five frets apart, except for the third and second strings which Key: Various Music theory are always four frets apart in conventional Tempo: Various Scale knowledge guitar tuning. CD: TRACKS 87-91 Rhythm understanding

tracks 87-91


Unison Bends

The unison bend is a hugely expressive technique that usually features in blues, rock and metal styles. The sound is arguably unique to the electric guitar as the lighter string gauge allows each string to be independently manipulated without affecting the others. If your guitar has a vibrato system, any string bending will pull on the bridge and slightly flatten the other strings; this isn’t usually a problem, but is noticeable when performing unison bends. The technique starts as a double-stop played on adjacent strings; usually with first and third fingers playing the two notes a tone apart. Both strings are picked at once; the lower of the two is then bent up a tone, while the higher string stays where it is. This creates a pleasing microtonal dissonance between the notes, which sounds great with a distorted sound. Eventually the two strings will be playing the same pitch, hence the name ‘unison’.

Upbeats

When we divide a bar of 4/4 into eight equal notes, these notes can either be called quavers or eighth notes. An easy way to think about this is to simply count aloud as follows ‘1 and 2 and 3 and 4 and’. We naturally feel the ‘numbers’ as strong beats and the ’ands’ as weaker beats. In rock and pop music, the stress is usually on the stronger ‘downbeats’, but other styles such as reggae or traditional African music, the ‘upbeats’ are emphasised more which often gives the music a cheerful, lighter, more optimistic character.

Upstrokes

When picking a note or strumming a chord you have two choices; do you use an upstroke or a downstroke. It seems logical that a downbeat should be played with a downstroke, since this is usually the first note or chord of the song and it just feels right to hit that string confidently from above, much as a drummer would hit a snare drum. Using downstrokes for downbeats of course conversely means that upstrokes are good for upbeats. This is actually a very good system to connect the inherent rhythmic structure of the part you are playing to the physical feeling of playing it. Generally for most players, upstrokes are weaker than downstrokes, so it is a good idea to devote some practice time to strengthening them.

dim 7th arpeggio from this mode in tracks like Rising Force. Unison Bends can be heard throughout in rock, from Jimi Hendrix’s Manic Depression to the Riverboat Song by Ocean Colour Scene. The use of upbeats is huge in reggae - try Bob Marley’s Lively Up Yourself. Dimebag Darrell used upstrokes to create syncopated groove-metal riffs in Pantera, most famously in the track Cowboys From Hell.


LIVEPIX

Track record The Ultra Locrian has an unresolved sound and is therefore not used on its own; however Yngwie Malmsteen uses the

A-Z of music theory: U

Learning Zone

GUITAR TECHNIQUES Example 1 Ultra Locrian 2 2 9

Charlie Griffiths ROCKSCHOOL COLUMN cd track 87 A-Z - "U" Play the Adim7 chord and listen carefully as this will give the scale context. volume as you play up and down it. Notice the minor 3rd (three frets) stretch Start the scale with your first finger even in timing andROCKSCHOOL between theCOLUMN first and third GUITAR TECHNIQUES 2 2and 9 keep the notesCharlie Griffiths - fingers on the fourth string. Ex 1 ULTRA LOCRIAN A-Z - "U" GUITAR TECHNIQUES 229 Charlie Griffiths ROCKSCHOOL COLUMN Adim7 A-Z - "U" Ex 1 ULTRA LOCRIAN

©»§º œ œbœ œ bœ bœ œ bœœbœbœ œ b œ b ww b ˙˙ ... b œ 4 œ œ b œ Griffiths ROCKSCHOOL GUITAR 229 Charlie COLUMN - b œ œ b œ œ w ˙ bLOCRIAN b 4 TECHNIQUES b œ Adim7 œ Ex 1& ULTRA ©»§º b œ b œ œ b œ œCOLUMN b œ b œ A - Z - Griffiths " U " bROCKSCHOOL œ GUITAR TECHNIQUES 22œ 9 bœ œ bœ œ Charlie b œ b œ œ w œ b ww b ˙˙˙ .... 4 Adim7 œ b" œ œ b œ œ b œ œ b œ b œ œ b œ œ b œ A - Zb œ- œ"bU ©»§º œ b w & 4 b œ b Ex 1 ULTRA LOCRIAN b œ b œ œ b œ œ b œ b œ œ b œ œ5 6 8 6 œ5 b œ œ b œ b œ œ b œ œ b œ b œ œ b œ œ b ˙˙˙ .. b w œ 4 b œ w œ Ex 1 ULTRA LOCRIAN b w45 & Adim7 ©»§º4 Adim7 b œ œ b œ œ 5 6 8 6b œ7 œ b œ œ b œ œ b œ7 6 8 6 5 œ b œ œ b œ b œ œ b œ œ b ˙˙45 .. b œ œ b œ w œ œ 4 7 8 ©»§º4 b ww4 4 6 8 b œ œbbœœbbœœœœ6b œ 7œ 5b œ 6 œ 8b œ 6œ 5b œ 7œ 6bbœœbbœœ œ b œ8 œ7b œ4 œ8 b œ6 4 8 6 5 bbb˙˙˙˙454. ... œ &44 bbwww545 b œ 5 6 8 œ b œ & 4 b ww44 œ b œœœbbœœ4b œ 6œ 8b œ 4œ 7b œ 8œ 5 6 8 6 7 5 6 8 6 5 7 6 8 6œ 5b œ 8œ 7b œ 4œ 8b œ 6bbœœ4œœ b œ œ b ˙˙˙544.. . cd track 88 Example Ex 2 2 Unisons UNISONS w54 string andœplay 5b œ 6 8 8b œ 6 œ 5 ˙ 5. 8 6 5 5 6 8 Start with the open first the E note, then play the next unison between 4 7count 8 up five frets 4 The remaining E 8 7 the 4 second and third strings. ©»¡™º N.C. 4 6 8 5 6 notes 8 can 6 5all be found by jumping 8up 6the4neck in five-fret intervals. on theEx second to play the same 5 pitch 6 8 again. Count up four frets6to 7 5 8 6 2 UNISONS # 4 7 6 45 #string ˙ ˙ ˙ ˙ 5 6 ˙86 7 5 ˙6 8 6 ˙5 7 6 ˙ 8 6 5 ˙ ˙ w 455 # #45444 N.C. 4 7 8 4 8 7 4 ©»¡™º & 8 6 5 5 6 8 5 4 6 8 8 6 4 Ex 2 UNISONS 4 7˙ 8 45 8 7˙ 4 # # # #5454 ˙ 5 6 8 8 6w 5 ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4 6 8 8 6 4 5 6 8 5 5 8 6 5 4 N.C. &©»¡™º # # # # 4 ˙0 Ex 2 UNISONS ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w0 Ex 2 & UNISONS 5 ©»¡™º 4 N.C. 5 9 9 ©»¡™º 14 14 # # # # 4 N.C.˙0 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w0 &# # # 44 ˙ ˙5 ˙9 ˙ ˙19 ˙24 ˙19 ˙ ˙9 ˙5 w 14 14 & 4 E B G D E A B E G D E A B E G D EA BE EG BD GA DE A E E B G D E A B E G

D E 0 A 19 B 5 Ex 3 UNISON BENDS E 24 G 9 D 14 A 19 EEx 3 0 UNISON BENDS BE 24 5 EG 0 9 Play the higher note of each double-stop with your first finger and the lower BD 5 14 GAEx your one with third finger. Bend the lower string up with your third 9 3 UNISON BENDS 19finger, DE 14 24 A 19 E 24

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j 14 j ww .. 0 ©.»¡™º j ˙˙ . œ ˙˙ .. 19œ ˙˙ . cd track 89 j ˙˙ . j ˙˙ . . œ j 5 . . œ # 12 . œ ˙˙ .. n œ . 0 bend gradual to emphasise j ˙for 9. support. Make each using yourj second finger . .. ww . at the in-tune ‘unison’. j ˙˙ . the dissonant ..14 before œ ˙9 eventually . 5 arriving . j j ˙˙ . œ ˙˙effect & ©.»¡™º 8 j ˙˙ . œ 19 œ . . # 12 . œ ˙˙ .. n œ . 14 .. 19 j ww .. & ©.»¡™º 8 . j ˙˙ . ˙ ˙ .. œj ˙˙ .. j ˙˙ . œ j œ j œ BU . BU BU BU . Ex 3 UNISON # 12 BENDS ... œ BU˙˙5 .. n œ BU˙˙8 .. .. j ˙(˙12 Ex 3 & UNISON j ˙(˙10 . 8 BENDS ). w w 10 12 15 17..) . ©.»¡™º j . œ jBU˙(˙14.) BU(9) BU BU BU BU œ j (12) ( ) j j . . œ ˙˙12.. œ ˙˙16. ww .. ©.»¡™º # 12 . .. jœj ˙˙5 .. njœ ˙˙8 .. jœ ˙˙10. . œj ˙˙12. . œ ˙˙(10 . ) (17) 15 ... . . ˙ ˙ . œ . # n œ (12 ) (14 ) (16 ) & 128 . . œ ˙BU˙(9.. ) . BU BU BU BU BU .. . & 8 . 10 12 Ex 4 UPBEATS. (15) (17) 5 8 10 12 . (9) (12) (14 ) (16 ) D G DBU G A BU BU BU BU BUA . Ex 4 UPBEATS . œ. œœ. œœ. . ©»¡¡º BUœ. œ. BU œ. œ. BUœ. œ. BU œ. œ. . (1015) œ. BUœ.(1217) œ. BU œ œ 5 8 10 12 œ œ œ .. . D G A D G œœ(9) œœ (12œœ) œœ #©»¡¡º œœ.10(14‰) œœ. ‰ 12(œœ16. ) ‰ œœ. ‰ œœ. (1015‰) œœ. ‰ (œœ1217. ) ‰ œœ. ‰ œœ. ‰ œœœ. ‰ Aœœ. ‰cdœœ. .track 4 . ‰ ‰ 5. ‰ . ‰ 8 . ‰ . . . 90 Example Ex & 44 Upbeats UPBEATS # 44 . ‰ (Jœœœ9) Jœœœ ‰(12œœœJ) ‰ œœœJ ‰ Jœœ(14)‰ Jœœ ‰ (16œœœJ) ‰ Jœœœ ‰ Jœœœ ‰ œœœJ ‰ Jœœœ ‰ œœœJ ‰ Jœœ ‰ Jœœ ‰ Jœœ ‰ œœJ. . .. ‰ D G A D G A Count aloud and foot on the along with each foot-tap, and strike the strings with . &to‘1©»¡¡º 4 2 .and 3 Jand 4 and’ J. your J. Jœ. hand J. automatically J. J. fall Jon Jœ. Jœ. Jœ. theœJ. upstrokes. J whileJ. tapping J. Jœdown, . should . the upbeats. downbeats give yourself .a solid .foundation. Move your œstrumming They Ex 4 UPBEATS œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # 4 . Dœœ5 œœ5 œœ5 œœ5 œ œ œ œ œ œ œ œ Ex 4 UPBEATS & ©»¡¡º 4 .. ‰ D .J77 ‰ .J77 ‰ .J77 ‰ .J77 ‰ GGœ.Jœ787 ‰ œ.Jœ787 ‰ AA.œJ555 ‰ .Jœ555 ‰ DD.Jœ577 ‰ .œJ577 ‰ .Jœ577 ‰ .œJ577 ‰ GGœ.Jœ787 ‰ œ.Jœ787 ‰ AAœ10.J89 ‰ œ10.J89 ... # 4 . . ‰ œ. œœœ57 œ. œœœ57 ‰ œ. œœœ57 ‰ œ. œœœ57 ‰ œ. œœ78 ‰ œ. œœ78 ‰ œ. œœœ55 ‰ œ. œœœ55 ‰ œ. œœœ57 ‰ œ. œœœ57 ‰ œ. œœœ57 ‰ œ. œœœ57 ‰ œ. œœ78 ‰ œ. œœ78 ‰ œœ. œœ108 ‰ œœ. œœ108 ... ©»¡¡º # & 4 . œœJ7 ‰ œœJ7 œœJ7 œœJ7 œœJ7 œœJ7 œ 5 œ 5 œœJ7 œœJ7 œœJ7 œœJ7 œœJ7 œœJ7 œJ9 œJ9 . & 44 .. . ‰ J 57≤ ‰ J 57≤ ‰ J 57≤ ‰ J≤57 ‰ J≤78 ‰ J≤78 ‰ JœJ≤55 ‰ œJJ55≤ ‰ J≤57 ‰ J 57≤ ‰ J≤57 ‰ J 57≤ ‰ J≤78 ‰ J≤78 ‰ J108≤ ‰ J10≤8 .. . . 7≤ 7≤ 7≤ ≤7 ≤7 ≤7 ≤5 5≤ ≤7 7≤ ≤7 7≤ ≤7 ≤7 9≤ ≤9 . . . 5 5 5 5 Ex 5 UPSTROKES . E 5577≤ 577≤ 577≤ 577≤ 7787≤ 7787≤ 5555≤ 5555≤ 5577≤ 5577≤ 5577≤ 5577≤ 7787≤ 7787≤ 81089≤G5 81089≤ . Ex 5 ©»¡™º UPSTROKES 8 8 5 5 7 7 7 7 8 8 10 10 . . 7 7 5 5 7 7 7 7 7 7 9 G5 9 ©»¡™º # 4 .. .. E 577 77 77 77 . Ex & 5 UPSTROKES # 44 .. œ ≤ œ ≤œ œ ≤ œ ≤ œ œ ≤œ œ≤ œ ≤ œ ≤œ œ ≤ œ ≤ œ œ≤ œ ≤ œ œ ≤ œ ≤œ œ ≤ œœ .. ≤ ... . 4 . Eœœ5≤ œœ ≤ œœ œœ≤ œœ ≤ œœ œœ ≤ œœ ≤œœ œœ ≤ œœ ≤ œœ œœ≤ œœ ≤ œœ œœ≤ œœ ≤ œœ œœ ≤ œœ ≤ œœ œœ≤ G5œœ ... ≤cd track 91 Example& 5 ©»¡™º Upstrokes œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ex 5 UPSTROKES œ . Play 4 times Play the first power chord with a downstroke and œall the following ones with is struck first. Aimœto strum loosely from the wrist while at the same time PM throughout # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 44 lend ... PM Ex 5 this UPSTROKES upstrokes; will them a more cutting tone since the highest note maintaining the palm-mute throughout. Play &©»¡™º œœ ..4 times... Eœ 5 throughout G5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ©»¡™º # .E 5œ2 œœ22 œœ22 œœ œœ22 œœ22 œœ œœ22 œœ22 œœ œœ22 œœ22 œœ œœ22 œœ22 œœ œœ22 œœ22 œœ œœ22 œœ22 œœ22 G5œ55 . .. 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 &# 444 . .. . PMœœ2202 throughout œ53 . 4 times. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Play & 4 . œœœ≥0 œœœœ≤20 œœœœ≤20 œœœœ œœœœ≤20 œœœœ≤20 œœœœ œœœœ≤20 œœœœ20≤ œœœœ œœœœ20≤ œœœœ≤20 œœœœ œœœœ≤20 œœœœ≤20 œœœœ œœœœ20≤ œœœœ≤20 œœœœ œœœœ20≤ œœœœ≤20 œœœœ≥20 œœœœ≤53.. .. .. . . œ≥ œ ≤ œ ≤ œ œ ≤ œ ≤ œ œ ≤ œ ≤ œ œ ≤ œ ≤ œ œ ≤ œ ≤ œ œ ≤ œ ≤ œ œ ≤ œ ≤ œ≥ œ ≤. œ 22 throughout œ 22 œ 22 œ œ 22 œ 22 œ œ 22 œ 22 œ œ 22 œ 22 œ œ 22 œ 22 œ œ 22 œ 22 œ œ 22 œ 22 œ 22 Play55 4 times . . PM Play 4 times 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .PM0throughout ≥ ≤ ≤3 . .. ≤ ≤ ≤ ≤ ≤ ≥ ≤ ≤ . . 22 22≤ 22≤ 5 2≤ 2≤ 2≤ 2≤ 2 2 2 2 2 2 2 2 2 5 2 2 2 2 2 2 2 20 20 20 20 20 20 20 53 . . 220 220 220 2220 2220 2220 2220 2220 2220 5 2 2 2 2 2 2 2 ≥ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≥ ≤ ≤ 0 0≤ 0≤ 0≤ 0≤ 0≤ 0≤ 0 0 0 0 0 0 0 0 0 3 ≥ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≥ ≤ ≤ ≤ ≤ ≤ ≤ ≤ 9

Example 3 Unison Bends

E B G E D B A G E D A E E B G D EA BE EG BD GA DE A E

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Music Reviews

What our Ratings Mean: ★★★★★ Buy it ★★★★ Excellent ★★★ Good ★★ Average ★ Bin it!

New Albums

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

Matt Schofield

Far As I Can See Provogue HHHHH

Matt has recently returned to the UK after a successful tour in the US. His recording history is already impressive, but this latest release is exceptionally good, even by his own high standards. The opening track, From Far Away sets the mood for the whole album: a selection of cool, sophisticated and well-produced blues tracks that are bursting with excitement and technical expertise. It’s no wonder then that Matt is considered to be the best blues guitarist to appear from any country in decades, and is constantly increasing his fan base. We love the slick paced Getaway, it’s totally brimming with delights, the funky Hindsight with its tight horn section and the Latin flavoured Yellow Moon. Matt is singing and playing at a whole new level; these are great songs and performances, and there’s not a single track that doesn’t deserve to be here. The album is also available as a double LP for those of you who love vinyl, so play and enjoy!

like the Please Be With Me demo as it’s just Eric singing and playing acoustic guitar. The Crowd extras show how much influence recording in Kingston, Jamaica had on EC as the Bob Marley element was definitely creeping into his material. Happily the blues is still there too. Check out the bottleneck work on It Hurts Me Too; raw and dirty, this is a very moody track. While this release is clearly aimed at devotees it’s still great to hear both albums again.

Within Temptation

Hydra

Dramatico HHHHH Named after a mythical beast that grew two heads when one was cut off, this new album is considered by Within Temptation to be something of a rebirth. Certainly they have always looked for new ways to expand their music, and following up their last album The Unforgiving, was no easy task. So a new approach made the most sense. Last year they released Paradise (What About Us), an EP that featured rock diva Tarja Turunen on the title track, along with demos of three other songs. The collaboration proved inspirational and all four tracks appear here but with the demos now fully formulated. Other guest artists appear too: US rapper Xzibit on And We Run,

and Leeches, violent bends on Leave This Town and emotional turmoil on Breathing. There is a wonderful fluidity to all he plays. MoonKings will be touring in April so do get to see them.

Eric Clapton

Give Me Strength – The ‘74/’75 Studio Recordings

Vandenberg’s MoonKings

REVIEWS BY ROGER NEWELL AND DAVID MEAD

MoonKings

Mascot Records HHHH Guitarist Adrian Vandenberg is best known for his tenure in Whitesnake, especially his solos on their 1987 eponymous album. Now he’s back with his first release in 16 years, featuring a new band with singer Jan Hoving, bassist Sem Christoffel and drummer Mart Nijen. Hoving’s delivery is similar to that of David Coverdale, making it all sound very comfortable on the ears. As you would expect it’s a mix of hard rockers and ballads, plus a cover of Whitesnake’s Sailing Ships that feature’s Coverdale himself on vocals. Vandenberg gets plenty of chances to shine and he doesn’t waste a moment, from the fret melting on Close To You, hard riffs on Steal Away

Polydor HHH The appetite for re-releases with extra tracks is as strong as ever, and here we have both 461 Ocean Boulevard and There’s One In Every Crowd getting a new lease of life in this double-disc presentation. Each features the original 10-track album plus out-takes, several of which have not been officially released before. As an added bonus, the non-album singles of Knockin’ On Heaven’s Door and Someone Like You are also included. The out-takes vary between abandoned songs, run throughs and ideas, but we particularly

Dave Pirner from Soul Asylum on Whole World Is Watching, and Howard Jones, the former singer with Killswitch Engage, joins Sharon den Adel to sing Dangerous. This is brilliant and operatic. Death metal has never sounded better, or more musical. It is available in various formats, including a double CD with eight extra tracks, a vinyl release, an 18-track download version, and a luxury box set with a 100-page booklet. Over the top? Absolutely! But deservedly so we say.

Pierre Bensusan

Encore – 40 Years Of An Open Mind

DADGAD Music HHHH Over the past 40 years Pierre Bensusan has taken his music all over the world, notching up more than 3,000 gigs and captivating audiences everywhere. To celebrate this remarkable anniversary we are treated to a triple CD of live performances taken from some of the concerts performed between 1974 and 2013. This French-Algerian fingerstylist is one of the foremost

exponents of DADGAD tuning and listening to this you can understand his appeal and mastery of this system. His music is fluid, technical and beautiful and there’s always an element of surprise during the concerts, be it a guest star, introduction of unusual sounds or just the sheer magic he creates. There’s 35 tracks in all and it’s an eclectic mixture too. Some of the longer pieces are particularly pleasing, like a 1998 performance of Anthem For The Ocean, which also features Jordan Rudress (Dream Theater) on keyboards. Pierre occasionally scat sings along and this adds yet another element. Perhaps what is most impressive though is the continuity in sound when you consider how many different venues are involved, as well as the significant time span. All in all, it’s totally brilliant.

No Sinner

Boo Hoo Hoo

Provogue HHH This nine-track tour de force comes from a Canadian blues-rock quartet. It’s fronted by twenty-five year old singer Colleen Rennison, who declares a liking for the vocal tones of Janis Joplin, Joe Cocker and Bessie Smith. It’s obvious when you hear her sing and she proves to be a real driving force for the band as she had a hand in writing all but two of the tracks. Their name was chosen after a relative informed Colleen that her surname was No Sinner if spelt backwards. The title track has two distinctive sections; just when you think you’ve got it sussed it changes into a slower and ballsier delivery. We like that approach! Like many of her inspirations, Rennison “lives life hard and rough” and that adds to both her performance qualities and appeal. Guitar duties fall to Eric Campbell, who seems very controlled, holding back and keeping things in order until he’s given the chance to let loose. While the playing from all concerned is good, it’s the voice and the personality here that really captured our imagination.


GT USER GUIDE

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

Relating tab to your fretboard 3

2

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

m

i

1

Our rating system

a c

4 T

p

Advanced Moderate-Advanced

nut & fretboard

hand Labelling

Moderate

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

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

Easy-Moderate Easy

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

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

GUITAR TECHNIQUES MAGAZINE USER GUIDE

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

Chord example

Chord example (with capo)

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

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

Down & Up Picking

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&

œ

œ

œ

œ

5

7

7

5

E B G D A E

tr E B G D A E

5

8

~~~~~

tr

~~~~~

7

5

& E B G D A E

œ

œ

œ

&

≠œ œ ≠œ œ œ ≠œ

E B G D A E

S 5

7

5

5

n Fret the start note (here, Left Hand Tapping the 5th fret) and bend up to 6 the pitch of the bracketed œ & before releasing. note, œ œ

≠œ œ ≠

≠

œ

≠ ≠ ≠ harmonics E B G D A E

P

P

5

7

0

P

5

7

0

Natural harmonics Fret Hand Muting

& &

n œ ¿ ¿ ‚ ¿ œ# ‚‚ ¿ ¿ ‚# œœœ ‚¿¿¿ ¿¿¿ ¿¿¿ œœœ ‚ ¿¿¿ ¿¿¿

· · · ·· 8 X X X 7 X X 12X 6 12 X X X 12 7 X X X

X X X X

n Pick the note while lightly touching ‚ the‚string‚ directly over & the fret indicated. A harmonic results.

···

P

5

7

0

4

AH17

5

· · · ·· 8 7 6 7

12

X X X X 12

X X X X X X X 12X

X 8 7 X 6 X 7 7 X 7 7

X X X X

Artificial harmonics

& E B G D A E

‚

‚

± ±± 7

5

7

‚

‚ is‚ picked, then the n The note & whammy bar is raised and TH17 TH19 pitches TH17 lowered to the shown in brackets. E B G D A E

··· 5

7

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

&

4

7

0

nœ # œœœ

¿¿ ¿¿ ‚ ‚

¿¿ ¿¿

X X X X

X X X X

P

5

¿¿ ¿¿

œœ ¿¿ œœ ¿¿ ‚ # ‚‚‚ X X X X

X X X X

8 7 6 7

12

¿¿ ¿¿

5

&

7

5

4

TH19

5

7

E B G D A E

7

4

‚

2

&

± ±±

·

5

7

···

TH17

5

TH19

7

Dive bomb

&

œ

‚

‚

AH17

4

&

E B G D A E

—

± ±± ‚

E B G D A E

‚

‚

E B G D A E

5

TH19

7

œœ œœ

¿¿ ¿¿

· · · ·· ‚

¿¿ ¿¿

X X X X

‚

‚

···

Vibrato 4

E B G D A E

AH17

5

AH19

7

—

— —

± ±±

7 5 vibrates n The fretting hand 7 the note by small bend ups and releases. The last example uses the vibrato ‚ ‚ bar.

&

E B G D A E

‚

···

TH17

‚

···

TH17

TH19

5

7

4

·

TH17

4

Touch harminics

&

œ

TH17

n Fret the note as shown, but ‚ rightsound it with a quick hand tap at the fret shown œ & (TH17) for a harmonic.

TH17

4

7

Tapped harmonics

&

¿¿ ¿¿

PH

7

5

¿¿ ¿¿

NH

AH19

7

¿¿ ¿¿

n X markings represent notes muted by the fretting 12 7 hand 12 7 12 7 when struck by the picking hand.

&

5 n Pick the note and then bend up a quarter tone (a very small amount). Sometimes referred to as blues — curl. —

&

7

0

#‚ 8 X X ‚X 8 ‚ X ‚ ‚ 767 ‚XXX XXX XXX 767 XXX

E B G D A E

‚

···

AH16 E B G D A E

— —

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

12

P

5

n œœ # œœ

AH16

Quater-tone bend 12

7

0

&

&

7 7 7

P

P

PH

7

7

· · · ·· 12

AH19

—

‚

·

TCH E B G D A E

2

9

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

TCH E B G D A E

2

9

Gargle

capo Capo Notation

·

TCH

TH17

n Scoop - depress the bar just œ & striking before the note and release. Doop - lower the bar TCH slightly after picking note. E B G D A E

5

E B G D A E

# ‚‚ ‚

‚ ‚ ‚

≠ ≠ ≠ 5

NH

E B G D A E

PH

···

TH17 E B G D A E

AH17

Pinched harmonics

Scoop‚ & doop ‚ ‚

&

···

AH16

AH19

7

7

&

X X X X

7 7 7

œ œ œ œ œ œ 7

≠œ œ ≠œ œ œ ≠œ 6

Fret-Hand Muting Fret Hand Muting

6

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

7

0

· · · ·· 8 7 NH 6 7

12

PH

—

P

P

5

&

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).

PH

E B G D A E

≠ ≠ ≠

Pre bend

‚

··· AH17

4

E B G D A E

7

≠

œ

E B G D A E

‚

NH

AH19

Vibrato — arm bends —

&

≠œ œ ≠

E B G ED BA GE D A E

&

± ±± vibrato arm (aka whammy bar) AH16

E B G D A E

7

n Bend12up from the 5th fret to the pitch of the 7th fret note, then pick it and release to 5th fret ‚ note. ‚ ‚

AH16

X 8 7 7 X 6 7 X 7 7 X

7

0

5

&

n Bend up to the pitch shown Hand Muting inFret the brackets, then re-pick the noten while œ ¿ ¿¿ holding ¿ œœ# ‚ ¿¿ the ¿ # œœœ at‚¿¿¿ the ¿¿ ‚ ¿¿¿new œœ ‚‚ pitch. ¿¿ ¿¿¿ & note bent

NH

E EB BG GD DA AE E

P

P

5

5

7

Fret Hand Muting

6

≠ ≠ ≠

œ

E

E B G D A E

5

œ

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

Re-pick bend Left Hand Tapping

œ

5

≠ ≠ ≠ ≠ ≠ ≠

Left Hand Tapping

E

E B G D A E

8

S

Slides (Glissando)

E B G D A E

8

& œ œ œ

b˙

BENDING and vibrato bend up/down

(7 5)

Slides (Glissando)

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

~~~~~

5

Slides (Glissando)

(7 5)

5

E B G D A E

7 5

tr

˙ (œ œ)

E B G D A E

~~~~~ ( )

Note Trills Note Trills

&

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

E B G D A E

&

E B G D A E

2

9

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

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

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

9

‚ Other techniques œ & scrape Pick

·

Violining

Finger numbering

Pima directions

Right-hand tapping

TCH E B G D A E

2

9

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

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

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

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

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


NextMonth the world’s best guitar tuition... special feature 1

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Stretch your musical limits!

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Steve Allsworth tabs a Californitastic track for you to learn, by the Red Hot Chilis. Time to get the funk out!

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video lesson

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Prelude In C Bridget Mermikides arranges the most famous piece from Bach’s legendary Well-Tempered Clavier for guitar.

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Learn how this super-versatile scale can be put to spctacular effect in styles as diverse as blues, rock, country and even jazz. It’s your musical best friend!

other great lessons A-Z of Theory Next month it’s V for Vibrato, Vivace, Voice leading, Volume swells and Voodoo blues scale!

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