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STEVEALLSWORTH Oneof Guitar'XttoptutorsStevehas beena GTwriterforsometime.Oneof the mostskilledguitaristsaround,he tak€shuge pridein histranscribing.
SHAUNBAXTER Oneofthe UKsmostrespectedmusic educatort Shaunhastaughtmany w h o a r e n o w t o p t u t o r s , H i s a l bJuamz z Metalwashailedasamilestone. JON BISHOP ACMlJon hasmadeabig impression. with hisskillsin avarietyofplaying styles.HisrecentalbumA(oustic Sketches boastsninedelightfultunes.
PETECALLARD Pete'smanycreditsincludeLionel Richie,Annie Lennox,Chaka Khanand ShirleyBassey. Heworksregularlyin t h e s t u d i o , o n T V a ni ndt h e W e s t E n d
MARTINCOOPER A tutorat Bll\4MBrighton,Martin'sRock
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MARTINGOULDING Oneof the UK'sforemost modernrock specialists, Martinalsoteachesat ICMP andplaysguitarwithtop British progrcssive band LinearSphere.
PHILHILBORNE Th€UKsoriginal techniqueswritef, Phil playsguitarinWeWillRock regularly Youin LondonkWestEnd. Healso helpedtolaunch GTbackin 1994.
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JAMIEHUMPHRIES OneofGT's topplayers, trans(ribers and 50undproducertJamiedemosfor ErniBallMusicManandalsoplayswith hisoldfriendPhilin WeWillRockYou. SCOTT MCGILL LJS-born ScottrunstheBAHonscourse atElMMBrighton.HisbookTheGuitar ArpeggioCompendiumandsoloCD Symptomlmpentive areout now
STUARTRYAN StuartisHeadOfGuitaratBIMMBristol, teachesatEathSpaUniversityand isa top soloacousticguitarvirtuoso.His debutCDTheCoastRoad, isout now
JOHNWHEATCROFT HeadOfGuitaratGuitar X in London, Johnisanoutstandingplayerinall m o d e r n s t y l e s . Hi sea l s o a t o g py p s y jazzman,playingwith JohnJorgenson.
' fVE BEENTHROUGH everyguitar and amp combinationimaginableover the years,so you'dthink I d be comfortable with just about anlthing. Well, lately I've been doing a lot of playing with a mate who's a great guitarist. We were at the London International Music Show doing our bit, but over the weekend we also watched a number of others whose performances, frankly, made us want to becomegardeners,write children'sbooks or.bebeachbums in Greece. We then began to ana$se why we felt so inadequate. Was it their innate talent? Or that we have full-time jobs so can't dedicate the time for practice, study and performance? We then realisedthat unlike thesemonster players we changed our guitars every five minutes, while they tendedto stick to their own 'personal'instrument. Sort ol "This is the one for me". My mate's been switching between four or five different guitars with different feels,scalelengths,string spacing,tone, response,tensionand so on. And I've beenjust as musicallypromiscuous Was that, we wondered, part ofthe problem? My Teleand Strat are identical in neck carve,scalelength etc, and yet I do sometimes get into trouble with the different bridge styles - I miss-pick the bottom string becauseofit. And think of darts, golf or snooker players;top stars havelost their arrows,broken their putters or cues and their form has collapsed when given new'tools ofthe trade'to use.And they are no different to us reallv. are thev? So should we religiously stick with the guitar that seemsto be 'made for us'? TWogreat players that I know, Colin Pincott and Roger McKew, played their Tele and Esquire for literally decades.They knew them so well that they could tackle any electric guitar situation that presented itself. So I'm goingto try it and seewhat happens(and no, I'm not expectingto becomea Guthrie overnight - orselling everything I've got!). Of course some would argue that playing lots of different guitars expands your tone, your style and your vocabulary, and that I'm being naively simplistic. Perhapsyou ve got a particular view on which route is best. Oram I just your typical, insecureguitarist? Let me know ifyou have any thoughts on the subject.And I'll seeyou next month..
4'[r&Q TheGTPromise... WEWlLL:Bringyouthe word's finestgultartuitioneverymonth, fromthe mostinspirational oftutors. Ourtranscriptions willbe asaccurate possible, ashumanly ourlessons will improve yourskills andourcoverCD youwith hoursof playing willprovide [un.Wewi I nakeyoua betterp dyerl
Augun2009GuitarTbchniques 3
. CONTENTS.
AUGUST 2ooq .
IRANSCRIPTI(|N YES
Yoursls No Disgrace .
2A
JamieHumphries tabsthe bestguitarbitsof progrocktrack, withSteve thismonumental fingerson fire! FirstUKtranscription! Howe's
FEATURE #1 SPECIAT STORMYMONDAY Fantasybluesjam
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Takeeighttop bluesplayers that have coveredthisgreattrackandletthemslugit out on stage. That'sourfantasybluesjaml , TRACKS4 5
1
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FEATUBE #2 SPECIAT PICKING TRAVIS
Hybridpickingstudy
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lvlerle Travispopularised thispick'n'fi ngers styleandgaveit its name.StuartRyan guidesyouthrougha greattechnique. TRACKS ]5 19
REGUTAR FEATURES
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WELCOME
ALBUMREVIEWS
To switchor notto switchguitarsT
Album... CDandDVDreviews. DlusClassic
TALKBACK
THEORY GODMOTHER............................92
IncludingStarLetter,My FavouriteThings and selectedextractsfrom the GTforum...
Sendallyourplayingposersandtechnical teasestoour resident wandwaver!
INTRO
USERGUIDE
News,gear,What Strings andmore...
Howto Lrse ourtab and notation
SUBSCRIPTIONS FreegiftsandGTdelivef ed to yourdoorl
4 Guita"dlechniques August2009
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NEXTMONTH
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Checkoutwhat'scoming in GTandevenask your newsagenttoorderit in for you!
'@ mUSICTSOdLcom
T h ep la c el o r T n ! sc m a k e T s
LE550NS !NTRODUCTTON............... Whatdeepand mystical missivehastechnique guruSignorSidwellin storethisrnonth?
30-MtNUTE 1tCKBAG............................ A newcolumncontinues from BllvlMBrighton's headof BAHonrdpqreacoLrse. 5LoLrA,,r( G. ....
81UES............................ ................................. JohnWheatcroft looksatthe playingofthat otherTexantornado,ChrisDuarte...
ROCK...................... ...... ..... ...... ........................... Martincooperon the brilliantstyleofthe incomparab e JimmyPageand LedZepl
GUITAR ESSENTIALS
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JonBi'hopw th hammeronr aro pul. or{s...
PROGROCK
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Gianluca Coronaexamine5 the workof a true artistofthe guitatToddRundgren
METALBOOTCAMP
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MartinGouldingbeginsa greatnewseries on two handtapping,whereit all beganwith EVHI
CREATIVEROCK
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ShaunBaxtercontinues lookinqat how to extractfour notearpeggios fromscales...
J422................................_. - _ - .............82 PeteCallard examines the nutsand boltsof bebopwith chromatic approachnotes--.
ACOUSTTC S r L a r tR y a nw i t h d 1 p w . o . i F 9 o n b o s r d n o v a . . .
GARYMOOREPt2
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Morehotterthan hot licksfromthisamazing bluesguitarist, tabbedfor you by PhilCaponel
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Writeto:GuitarTechniques, 30Monmouth Street, BathBA12 BW Email: neviIle.marten@futu renet.com M|IRE R|ISEW|IOII A]ID MAPIE I readwith interestthe letter about Fendernecksandwhethermaple or rosewoodmademuch difference,A fiiend of mine who is mostknowledgeableon t}le subjectofold Fendersassuresme that certainyea$ weretlue 'vintage'years. Onesuchyearwas1963and manypeoplesaythe pickupswere a particularly goodblend and balalce aroundthat time. But my matehasalwaysswornthat it was tlle combinationoftlese $eat picl:upswith, crucially,the curved or 'veneer'rosewoodboardthat Fenderintroducedthat year. He agrceswith l-€oFenderthat the lower massof a slimmersliver of rosewoodqeated the perfect balanceoftwang andbeef.And that'swhy '63 curved-board Stmts,alongwith 'S9slabboards and '57all-maplenecksseemto be selectedassomeoftle bestyears. of their particular 't1pe'.He also saysthat thinner celluloselacquer is vital to greattone andtiat's why you donl heartrue aficionados talking aboutthe 'fabledsoundof the'78Stmt'. Just thought I'd addmy sayto the debate. Rolf Petetsen l'veheardsimilortalesand it certoinlyseemsthat Leohimself favouredthe veneerot tutved' boad overthe slabfotthe same rcason- it alsoappatentlymadeito Lastmonth's'63coverstar Stratocaster...
Thewhole'pedolsversusmulti-fx unitsbusiness is sucha can ofworms Nigel.Butyouthi-franalogyis an apt one.Justasmodem stockingsystems by Denonond othetsoreforclosetto separotesin quolity,the samehos happenedwith multi-fx.Gf\Jason Sidwellhasjustbeenupgrudinghis own pedalboad with votio)s 'boutiq ue' overdri ves, distor ti ons, moduIat ion devices,comprc ssot, boost,volume,deloyand soon.Het stillin theprocessof deciding wherc to putwhot, whichonesworkbest etc. Buthe\ dlsoa longtimeuser - and lovet- of B'SS\ GTmulti-fx rcngeand he'scometo the conclusion thot, while he still loves the individualityoftone thatthe pedalrcutehasgivenhim,his TCElectronic'sNovaSystem, around9400to you sir! rccentlyacquircdGT | 0 is bettetfot certaingigsol applications.Hedoessaythat itk allin the prcgrammingthough,sincemost multi-fx unit presets I'vejust got my first goodqualityvalveamp- a oretheretoshowthe thing\ capabilityand ore usuolly Marshall'hand-wired'r974X- havingbeen not that usableon stage.Thereate severolgreat persuadedin this directionby guitar magazines multi-fxboxesout therc,suchas DigiTech's RPronge andmoreer,perienced friendsin the game.Having ondtheTCElectrcnicNovaSystem(whichItriedjust donethat andalsohavingstadedto rcalisethe this weekand wos blown owoy with). l usuolly frnd tonal benefits,my dilemmanow is what to do for them too complicated and fiddly which is why I'm effects.I dont usethat many- a bit of echo,reverb, generallyd pedalman, but I'm seiouslythinkingof getting one for,asJasondoes,thosesituationsfor distortion.overdrive.a bit oftremolo sometimes andtlat's aboutit. But I do like l€slie, chorus whichtheyarc thesimpleroption,Healsopoints out andflangetoo. Sowhat was'not many is starting that in the'heotofbottle'there\ notthat much qudlitydifferenceanyway!So,if you want lotsof to mount up into a rathermoreo.tensivelist. So:do I gofor individual pedalsor a multi-{x soundsin a simple-tousefomat, the multi-fx unit probablywins(not leostbecauseof cost),but ifyou unit? Is it a bit like hi-fi, whereseparatesare wontjustdeloy,distortion,chorusand o tuneLpedols deemedbetterbecauseyou canselectthe exact funer, CDetcthat youwant,whereasa decentstack proboblymokesmoresense.
PEIIAI. P|IU'ER
systemis simplerbut comprcmisingin quality? I canseebenefitsin boti, but tl1esamefaiends that recommendedthe valveroute arealso'pedal snobs'andsaytlut multi-ft arefor kids.Is this tn re?lvhat wouldyouguysrecommend? NigelPhiips
morcstableneck.Myown l963Strut (lostmonth\ bluecoverguitar)isa fobuloussoundinginstrument- it just singsand evetyonewho hearcit 50ySSO, WhenI interviewedNoel GollogherforGuitarista fewyeors backhesaidthat a Strotisallovel Oasisrccods,evensomeofthe most famousones,but that he couldn't seehimselfusingit live becouseof theimogeit portroys.Iseemto recoll he saidthatwaso white'63model.
6 GuitaxTechniques August2009
STAR LEIIER PRIZE Ou ftiendsat Sound Technolagy plc arcdanatinga DigiTech Hardwie StercoReverb RV7pedal ta thewritetafaut StorLetteL
Andwhen Lafiy Corltonusesd Strdt it\ alsoa'631believe. I wasalsotalking toTrev Wi lki nsonof Wi Iki nsonguita t hqrdworeondFret-Kingfamednd hesaidit\ not the mateialofthe frnishthot counts- ie cellulosevs polyurcthane - but itsth inness. Poly finishesget a bad rep,not because theysoundinhercntlybad,he soys, butbecousettaditionollytheyorc sprayedon muchmorethickly,Food forthoughtthough...
SIICKIIIG UPFOR JAZZ Youprinted a letter la,stmonti (GT167,'StickingUp For Blues) in which tle correspondentsaidhe lovesbluesandreckonsthat most ofyour readersdo too. He went on to saythat, while it's pedecdy acceptableto haveAllan Holdsworthand PatMartino in tie magazineoccasionally(kind of him !), he wouldn't want to see peoplelike that featuredevery month, purely on the basisof
sP,
LETTTR$ READIR'$
GeoreeBenson:oneofthe fewlazz guitaristswho canafford a Ferarrip pressure on the magazine frcm blues haters. Well, I would happily seejazz players ofthat calibre in GT every issue. But I am also realistic enough to know tiat you have to sell magazines in order to exist. 'j And t]1at the words azz' and 'Feraari' are rarebheard in the samesentence ie,jazzplayers don't sell enough records or do enough gigs to have enough fans to buy mags in the quantities needed for you to survive ! So, to cut to the chase, I am one of I would imagine quite a lew readers who buy Guitar Techniques for Pete Callard's Jazz columnalone and the occasional otherjazz-t pe featurc. Indeed you are the ONLY guitar magazine that even touches such stuff and I, 'jazz few', thank you and my fellow for it! BtyonWolket
in thepast by sayingthatin reolity the magozineis morethan worth L5.25for ony singlefeaturein it. with Pete, lmaginewhat Iessons going throughwhot'sinjust one single Jazzarticle, would cost. But those'maglessons'(andCDsound clips) ore therc fotyou to keep rcferringto in peryetuity.Thesame goes for Shau n'sCreati veRock column,ot Mattin\ MetalBootcomp to get theamount ofrich, totally taryetedinformationthat'sin a sing Ie th ree-pag e feature wouId cost... well,lcan'tevenbeginto think.Sowhenpeoplewhinge becousewehavean eight-page bluesfeotureond ignotethesheer valueof whot'sin the restofthe issue,lget somewhotbemused.
Strings going as long asyou c.m. I also love the idea of tle occasional GT contributor one and even readers' ones too. I might even send in my own ! LeeTrcnt
WhenI thought up WhotSttingsasa nicelittle frcnt end featureitwat purclybecausethat kind ofquestion - Couldyou rcod o chott if itwete put in ftontofyou? Howdo you set yout amp?what stringsdo you use? seemsto havebeenlostfrcm many a rtist interviews.Perhops it's becousetheybecame'uncool:Like you,Lee,lcan'twaitto heottheir onswes and can'thonestlyimagine whot onyonewouldhoveagoinsto half-pogeotticlein the intrc section ofthemog the trcditionalplocefor Also,when we short,catchyfeotures, It's reallyweird.I wasjustreading emailthe questionsto peopleIike SteveLukathetand Buddy tircugh the postson the GTblog Whittingtontheyrcplywith thei at musicradar.comandnoticed someonesayinghow the relatively answersin doublequicktime,so THEYobviouslylikethemtoo!But newand,in their words,'inane' featurel{hat StdngsDoYou Use? eachto hisown lsuppose.
WHAT STRIIIGS9
wasindicativeofthe general declinein GT.Well, apad fiom the factthat I haven'tnoticedany declinein GTin all the yearsI've beenrcadingit - itjust gradually changesthis wayandthat, usually with my completeapproval- I LO\E what Strings!As the line at the top says,it's FXASfLY the questioDsI want the answersto not what colourunder?antsthey wear,what drugsthey takeor who they'resleepingwitl. Everysingleansweris genuine\ revealingaboutwhat makeseachguitaristtick. And it's the first tiing I goto eachmonth ; whenI getmy copyofthe - Wellh'sfunnyyou saythat, because magazine.Pleasedont listento I'vercspondedto certaincitics ofGT suchcomments- andkeepWhat
Lukesent hisl/hat strings?backby return - he obviouslylikedthe idea!
KeithNormanrcckonstheseare the coolestguitor thingsever- go on, sendusyours. giftedofthemall? Guitarist: PaulKossoffthemostnaturally form Free, Koss on blistering Album: Tonsof Sobs- classic Tra(k: TheHunter mean,moodyandmenacing... Clichdd? No,just9reatl FireAndWaterversion. solo: AllRightNow- theextended in AllRightNow classic! Lickl Gottabethefinalcrescendo UrDson Les Paul 5tanoaro lne lOneUI Lrool cuitar: 100-watt stackof coursel Amp: Marshall Manic Kossoff finger vibrato- allyouneed! Effect! Essex, circai972 Gigl TheHorn,Braintree, hislifeforever... EC with TheBluesbreakers andit changed When Koss went to see Ro(kmoment:
from Quotes the GTforumat r.corn www.musicrada Bridqe pins: brass, rose:w(iodor ebony? paulmappS3o'l hovedn Avolan silIerSeries acauttic.l'veloakeddt rcplacingtheplasLicbridgepinsand eDanyor ora's noveseentasewaoo, but don'tknawwhichwauldlmprave thetanethebeslan theguttarWhat\ t he canventianaI wisdam herel BertieTheteatepeaple\\/hatdy Ihat it mattersnat anejat whal[hepinsare madeaf,butthefit ls theimpattant thinqand allowinggaadbreakongle. Thereareal5athosethat saythings likeb@sspinsincreasesuttdinharie by leaguet.I'm in the ht5[cornp ond fat mepinsateprettymuchaesthelrc every ColskiBiackebanyteplocernents tirneon my acoustict.Nattied brots DigitalkettleI did: toa zinqy! skybone lhod a 4ASerieslurner pins thotcame\rithplasticbridqe but toundedo whalelat betterwith rcsewaad.I onlyreallyqat them becausetheylaokedbetter,but theyreallydid imprcvethe tane. Dependingon the bridgemdtetial: ga with totewaod;or rasev/ood, ebonybridge,ebonypirts. BettieDoyau guysredllythinkthey l'veebonyin rny maked difference? Brcak,andTBHlcauldda witha tad mareztng' mighthavea stabot SAme 00neones... WaI th d sking the.h dp5 Digitalkettle soddlematetialrniqhtbe at Ercok... tao lthink brass warth cansidering wauldbegoing tao fdl Weil,the bridqe,ba.k Paulmapp8306 and tidesate (ill rcsewoad \a thaLs Also, thaugh,thequilol d potsible. hasalwaysbeenon the ',,/armside whencampdredta l artint,Ioylars and Tdks ta noybeIthauldgivethe ga. brassanetd ln my expetrence tone Anclrewry madifierscometn thisarderaf n a9nitude: saddIe niatetia1,5[rings, Gibsonslinget Ruleof thurnb:thesame matetialat yout bridgernaketit like PaulmappS3o6 Okay,donetarne rcseorch an vdriaussttet,includinq l attin dnd laylor.The TGP, Gtbsan, re5ultis l'vearderedthetehllp:// I d... .g i.ebay ca.uk/ws/eBayISAP yauknawif m=27038439A3/51'l1|et and if to tthal theynake a differcnce,
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I 7 Aug!5r-009 GuitarTechniques
. GUITAR TECHNIQUES . AUGUST zoog .
Returnof Martin's1 Series Martin back bracing with full .F.MARTIN &CO. hale /t-l announcedtheretum of internal dbbon body construction, I theirhighlypopularrSeries book matchedsapelebackand V sides,bound and inlaid top, bound acousticguitars.Initially back,andhand-inlaidrosette,plus intrcducedin 1993,the l Seriesis a hard-shellcase.ln addition, an affordable,traditional solid wood guitar in the spiritofthe Style electric acousticsfeature stagereadyFishmanelectronicswith 15and Style17modelsthat Martin introducedduring The Great tone shapingcontrolsandan Depression.Addressingthe current on-boardtuner. P cesstart ftom arolnd 1999. Visitwww. concernsofconsumercacrossthe and www. world, Martin is making every theoneseries.com maninguitar.com for fu rther effolt to provide players with an details about the guitars. affordable,solidwood bodied guitar,backedby a heritageofover Martinbegan in 1796,in Markncukirchen, Germany, with r75 years of guitar building excellence. the birth ofChristian Frederick Ieaturesonall four l Selies Martin Sr. Bom into a longline of cabinetmakers,he took up the modelsincludesolid wood family craft at the early agebefore constfuction,sitkasprucetop with hybrid scallopedbracing, rosewood switchingover to makinggdtam. fi ngerboardandbridge,tmditional The rest,asthey say,ishistory!
forguitarlovers! Fabulous dayout in Essex THIS AUGUST,GUITARloverswill seethe welcomearrival of The Essex GuitarShow(Augustr, BlakeEnd, Braintree,Essexfrom toam to 6pm),hostedby leadingguitar outlet PeachGuitars. The free event will be oneofthe mostexcitingdays thisyearfor anyfanoftop-end guitarsand amps.For example, therewill be demonstmtionsliom industryprofessionals including SimonMcBrideand Charlie Simpson(Fightstar/Busted), ofljciai
demonstrators DaemonWaller liom Fender CustomShop and Chrisceorgefrom Marshall,plus Brent I ergusonftom Dr Z arnps(as usedby friend of GT Buddy Whittington). Brent will be mal
displayof PRSguitars,including modelsneverbeforeseenhere;a fabulousdisplayof top-classSuhr guitars(asusedby GuthrieGovan); DrZ Limited Edition ampsmade especiallyfor the EssexGuitar Showwill also be available; plus Fendermodelsnot available anJ'wheleelseinthe UK. Don't miss the opporlunity to seethese incredibleguitals.Visit www. essexguitarshow.com or call ot3Z6 553o16for further details.
MusicLiveMySpace CompetitionUt-F""fffi CLqRION EVLN-I'S,the organisers of MusicLive 2oo9 atthe NEC,have announcedan excitingopportunity for one of the show'sMySpace friends to per{orm on the event's Live Stagelater this year. Bandswith a presenceon Myspacecanput themselvesforward to play the Live Stageon Saturday ZNovember.The lucky winners will follow in the footstepsof ChadSmith (Red Hot Chili Peppers), TheAnswer,Breed 72,This Is MenaceandTheStone Gods,who have all rockcd the 16oo capacityvenuein recentyearc. To rcgisterlbr the chanceto play
I GuitarTechniquesAuctust2009
the NEC,bandsmust: addMusic Live (www.myspace.com/ musiclive) as a fi iend on their Myspace page;have cunent tracks postedon their Myspacepage;and emailwewannaplay@musiclive. co.ukwith detailsoftheir Myspace addressin orderforthe judging panelto auditionthe band online. Information and updates will also featureon Music Live 'Tweets'and thoseintercstedin performing should follow www.t\^ritter.com/ music-live. Visit www. musiclive. co.uk for fur1her information about this excitingUKevent.
ravispicking- now there! a I musicalcliche rfeverI've heardone!l'msickandtiredof hearingbassnotesplayedwith the thumb whentheycouldbe justaseasilyexecuted with a bjg toe, hubcapor larchtwig. Don't get me wrong- | thinkMerlewas a greatbloke who deserveda bit ofrecognition,even if he did play countrymusicand hada surnamebeginningwithl But wecan'tallbeperfect.I propose a new pickinghandtechnique calledDangerDousepicking. Theideais perfectlysimple-you canpickanypartof the guitar exceptthe strings.lt might not soundveryinterestingbut it lookshilariouslyfunnyand is guaranteed to breaktheiceat parties.Tryit and improveyour standingin the communitynow! T
WHO?KingsOfLeon wHEN?2009 WHAT?Playing oneoftheirgreatmodern rocKpopt!nes WHERE? Onstagesomewherel Gibsonplayers GUITARS: throughandthrough, instruments include Caleb's rareearly'70s ES325 andlvlatthew's Epiphone Sheraton, ES175and '71LPCustom, whileJaredsticks mainlyto Thunderbirdbasses... DIDYOUKNOW?ApartfromTheOsmonds and
T h e J a c k s o n st h, e r e . a n ' t b e m a n y b a n d st h a t a r e , ';lly fedg.d f6p y. ll- eeb othpr( aaleo. N a t h a na n d J a r e dF o o w i l l a r e s o n s o f a t r a v e l l i n gp r e a c h e r m a n ,v a n F o l l o w il , a n d s o were born in dlfferent Southern states.Father l v a n ,l i k eh i so w n D a d ,w e n t b y t h e n a m eo f L e o n h e n c e t h e b a n d ' s n a m e . T h e b r o t h e r sC a l e b o n r h y - ' m . J a r e do n b d , sd r d \ a r h a . o - o r u n s c o n s c r i p t e dc o u s i nI \ 4 a t t h e wa sl e a dg u l t a r i s ta n d t h e i rc a r e e rb e g a nw i t h t h e r e l e a s eo f 2 0 0 3 ' sE P H o l y R o l l e rN o v o c a i n e . T h e i rrfsi ta l b u m , Y o u t h
AndYoung l\,4anhood fairedbetterabroad thanin theirnativeArnerica andsotheirnextrelease, AhaShakeHeartbreak hitthe UKshopsseveral monthsbeforeit wasavailable at home.A single, TheBucket, wasa UKtoptwentyhit.Although \u(.eJslJlthefolow JpBe(dureOiIheTimec receivedmixedreviewsand it wasn'tuntil 2008's UKcharttoppingOnlyByTheNight,withsingles SexOnFireand UseSomebody making#1and#2 (aidedbytourssupportingThe Strokes, Dylan andU2),thatwor dwidefamewasassured.
$ucKASGEI|DIilG D0iilltAltl ucK ? h is n ron t/r s lrck il?ustraLes one of .mrJ s of plaging fcluoro.ite LuoLJ dotrtitl{lllt cllord at'peggios. The phrase feetLn.es e mixtro,e ol A7 Jolgerings - A, C#, E, G cold C#nl7bs.Jingeritlgs - C#, ,, c, B. Nohce hour tlrcnotes iiC#nlTb'qiue soutl(].'l'l1is tLJpeoJ !ouanAg a?eggio srbr^tit!fion isa uerg corttmort ond e.flecliLe i(1e0.
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THEGRETSCH PRINCEsS arrives, an offsetdouble cutaway guitartonstructedforgirls:lt featuresgold hardware, aTone Twistervibrato, trapezetailpieceanda colourchoiceofblue, pinkorwhitewitha matching headstock. Meanwhile their WhiteFalcongetsa faceliftwith doublecutawaysandthe Bigsbyvibratoasstandard.Onthe newstereo modelsapickup selectorswitchreplaces the mastervolume. AN EXTREMELY RAREgrandconjunctionoccursthat includes the 5un,lMoon, Mercury,Venus, Mars,lupiter, Saturnandeven -a the Earthattheexactmomentofihe newsolarecliose staggeringeight celestia I bodiesat once but nothingweird happens! PANDACROSSINGS areintroducedand cause confusion, theSundayTimes isthe fir5tpapertoprinta coloursupplement; the newCoventryCathedralis consecrated;the firstregularpassenger hovercraftserviceis introduced;Chris Bonington andlanClougharethefirst Britonsto climbthenorthfaceoftheEiger;and theLiberal Partyrevival beginsasEricLubbockgainstheOrpington seat fromConservative candidatePeterGoldman
MetalExtravaganza MHqc
LIILwl|||a.r gig is to showcasethe talentsofthe UK's finest tribute acts - HiOn Maiden,DressedTo Kill, Megadeth UK, UK Guns N' Rosesand Hulloween - to rclive the glory days of '8osmetal.
THIS ITAR seesMusic Live celebrateits loth anniversary. And with metal (specifically tin or aluminium,for thosethat are interested) the traditional material used for gifts to mark such an occasion,Music Live is to present its own metal gift to visitors. On Sunday 8 November, the event's Live Stagewill be given over to a recreationof the classic DoningtonMonstersO{Rock line-up lrom 1988 (featudng Ircn Maiden,Kiss,DaveLeeRoth, Megadeth,GunsN'Rosesand Helloween). The Titans OfTribute
Music Live show managerJasonHunt 'We're very said, pleasedto havebeenableto pull the Titans line-up together for this year's show - it'll be a lot offun. While rnuch ofMusic Live is about crcating original music, many of our visitors are in bands who pay tribute to their heroes in their sets. The Titans OfTribute will show all of us how it's done properly - and doubtlessinspirethe audienceto nail the dffs when they get home." Tickets (including accessto the Live Stage,including Titans Of Tribute) arc f 16in advance, available from www-musiclive. co.uk- or call 0844 s8r uog.
FRESH FROMTHE PATCH CABBAGE areGuyPratt(Pink Floyd),ClintBlack,Axl Rose,MichelleShocked, Taylor Dayne, JannArden,MCHammer,James Morrison, KirkHammett, Flea (ChiliPeppers), (DepecheMode), DavidGahan JoanOsborne, (Duran lanAstbury(TheCult),MichaelBall, NickRhodes Duran),Tom Cruise, NeilMorris5ey, Phillip5chofreld, JackDee, RalphFiennes, Mariella Frostrup andDemiMoore. WORLDl5INTENSION overtheCubanMissile Crisis until Khrushchev announcestheremovalof the Soviet missilebasesthere.TheTelstar satelliteallowslive televisiontobe broadcastbetweenAmericaand Britainforthe fi rsttime;ThatWasFheWeekThat Wasand University Challengebeginbroadcasting; _", theAdvertising Standards Authority is founded; severaldiein a Londonsmogrharlasts overfivedays;Fordlaunchesthe newCortinaand .,|| TheBeatlesfailan auditionforDecca Records. ALTHOUGH DUANEEDDYiSbest knownforusinga Gretsch6l20on hishit records, Guildproducethe DuaneEddy500Signature modelwitha similar design,In response, Duaneusestheguitarexten5ively for livework.GibsontweaktheiroooularE5-335TD semi-hollowguitar bymakingblockinlays thenew standard andpatentnumberpickups now replace thePAForiginals. DANELECTRO REVEALthe SilvertoneI457, a dualpickupguitarthatisto be marketed bySears in theUSA.Knownasthe?llln One' guitarcome5with design,the a casethathas an amplifi erbuiltin!ltaliandesignerWand16 Pelottiintroducesaft into guitarswith the curiousWand16 RockOvaI that featuresa lowercutawayextendingwaybackbelow guard,almosttothecontrol thescratch plate.The finishes areequally aswild.
1o Guitarlbchniques Auqust2oo9
Philplayswith the greats Our One-minuteLickmeisterPhil Hilborne has had a hectic schedule recently, rubbing shoulders with someimpressivedudes!During the past two months he has played live with ro lessthan three ofthe world'sbest-knownguitar icons.on May tr he was the special guest of Les Paul at the l dium Club on Broadwayin NewYork; then on
May r8 he played with Brian May at the Dominion Theatrc in Inndon as part of the We Will Rock You ^h Anniversaqyshow;and most recently he was seeowith SteveVai, who got up on stageto jam with him on 13-14June aspart of the London Intemational Music Show at Excel. Wejusthopethere aresomelick left for us, eh, Phil!
FabFourguitarstraps Frcm Hard Day's Night to Penny Laneand SargeantPepperto Yesterday,The Beatleswere the most creative,prolific and influentialpop band ofall time. PlanetWaveshashonouredThe Beatles'legacy by launchinga uniquecollectionof guitar straps featuring iconic album cover images that reflect the enduing spirit and essenceoftheband. Pricedat
Playthatfunkymusic Chicand Nile Rodgersare set to bring real discoba
Ozzysues Sabbath! OzzyOsbourne,BlackSabbath's original singer,is suinghis former band over royalty payrnents. He has accusedhis former guitarist bandmate,Tony Iommi, of illegally claimingsole ghtstotheband's name,thusdeprMng the singerof merchandisingroyalties.Iommi, however,claimsthat Ozzygaveup his rightsto theband'snamet\,vo decadesago. The singerrecentlyissueda statementsaying: Tony,I am so sorry it's had to getto this point by me havingto take thisaction againstyou. We'veall workedtoo hard andlong in our careersto allowyou to sellmerchandisethat featuresall ourfaces,old Black Sabbathalbum coversandband
logos,and then you tell us that you ^ffi
rhp.^n\ridhr"
Ozzysaidthat all four original membersofthe band shouldshare the band'snameequally.Overthe pastfour decadesBlackSabbath hassold in excessofroo million albumsworldwide.
arcund €5o, the strapsare ex?ected to be hugelypopularwith young and older musiciansalike.The Beatlesstrap line is an exlension of PlanetWaves'licensedrange,which includesWoodstock,Joe Sat ani and Pat Metheny. Visit www. planetwaves.com for fu rther information.In fact editor Nev was proudly wearing his Abbey Road strapat the recentLIMSshowl
Classic MXRpedalisback Following on from the fabulous soundof2oo8's re-issueofthe legendary '24 MXR Custom Shop Phase90, MXRhasjust unveiled a re-issue ofthe equally legendary '76 MXRVintage DynaComp! The MXR D''na ComP first producedbackin 19T6haslongbeen rcgardedasthe ultimate stompbox compressor. There was something inherently musical about the way it tightenedup a guitar signal,raising thevolumeofquiet notesand
levelling offpeaks to create rich, fu ll-bodied sustain. Meticulously researchedand superblycrafted, the re-issueversion feafures the exact same circuitry used in t}le original 1976model, identicalin its component layout, silkscreen and handmadewire harness. With supplies limited, t}le MXR'76 VintaSe D).na Comp,retailingat €229, Iookstobecomeas ultra-collectable as its noble ancestor- gmb onewhile you can! Visit wwwjhs.co.ul
WHO?BanyKitchin TOWNr Gillingham, Kent STYLESTAUGHn Moststyles SPECIALITY: rock,advanced Classic theoryand preparation improvisation, forall RGTgrades LEVELS: l,style-based Casua tuitionfrom beginnertoadvanced- RGTgradesifdesired READINGi Advanced CHARGEST f14 perhalf-hourlesson SPECIAL: Fully-equipped musicroom/studio withrecordingfacilities fELt07939 37299a EMAIL:
[email protected]
August2009GuitarTbclmiques 11
RockedOut 5 is here...
Haveyougot theGuitarFactor? Celebratingits 13thycar, thc Cunlb a Guitar Show,to be held overthe AugustBankholiday,is an eventnot to be nlissed.In a new exhibition hall lrith the cuitar Factorstage,it's a uniquechancc for talelltedguitar playersofall ages to showus what thcy carldo. Ileld at RllegedF,\hibitionand visitor centreneal Pendth,just off .Iunctionzloofthe M6, therewill be an arrayof dealers,manufacturers, collectorsand playcrsto see.With artistsGary Potter,KenNicol,
MarcusBonfanti,Matt IIarr-iott, EddieAllcn and Tony Foadplaying, it's an eventnot to be missed. Atyone wantingto plavon thc Guitar Factorstagecontact Malcolmon 019317132211or e ail guiiaftactor@cumbriaguitalshow. co.uklbr details.The h'inner ofthe Guitar Factolwill be decidedby public voteoverthe two daysofthe showandnillplay main stageatthe end ofthe show.Cliclto\.erto \w\w. cunrbria-guitarsho$'.co.uli for furthcrinfo nation.
FollowinSthe considerablesucccss ofthe firstfour RockedOut courses tbrmNicians, RockedOut 5 promisesto rock evenharder and louder.The newfive-daycoursehas beendesignedspecificallyto improvethe live perforrnancesof yoLmgmusicians,gi\irrg thenl the opportunityto play in a professional bandsituationwhilsi learning underthe guidanceofI collcctionof this country'sleadingn1llsicians andtlrtors. The class$.ill build students' confidence\,,'ithregardto musicianshipand songwriting (includingtheory and hannony) and improvetheir performance skills in termsof stagepresence, timing, enelgy,accumcy,passion and attitude.In fact,cvcry.thing they'll needwhen tl, eycometo do it out in the rcalworld. RockedOut 5 aimsto providean invaluablesteppingstonebetwecn collegeand ui\,€rsitv tbr aspi ng musicians,and bridgesthe gap betwecnrchearsalsand gigs,for bandsloohingto moveforward in
the contemporarymusicindustry. The coursetakesplacein Aldershot,Hants from A[gust 3 to August7 (Mondayto F da],)and costsl15o- Visit'$,_$..rocked-out. co-ukfor fufther details.
RUSTY C(l(lTEY guitarist Weaskafamous a I those q inane uestions youreally wantthe answers to.This month, shred m;A
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Doyou haveatype ofpickthatyoucan'tlive without? I uselim DunlopExtraHeavyGelPicks.This iswhat worksbestforme.I havetriedalloftheothersbut aLways comebackto thisone. lfyou hadto giveup all yourpedalsbut three, what would they be? WellI havea brandnewsignature overdrivejust released by Protone Pedals simplyca ledtheRusty Cooley Overdrive. I can'tlivewithoutthatoneof - LOLlAnd course, forobviousreasons to behonestI reallydon'tneedanythingbeyondthat. Do you play anotherinstiumentwell enoughto b€inaband? Yeahlcouldfakeit on bass.Neverdoneitbutit couldbedone it wouldbefunto bustout some shredding bassl lfa musi
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Y e st h e y d o , b u t l ' m g l d d m y e a r sa r e n o t t h a t s e n s l t i v eI.h a t eh e a r i n ge v e r y b o d yw h i n e a b o u t c'ap I le thdt it sgood ^nou9h fo 'nFro plug in andgo.
ls there anyone'splaying (pastor present)that you'reslightlyjealousof? No,ldon'tgetjealous whenI hearotherplayers kickingmyass. I getmotivated to get in thereand practise more it'sinspiration, anda good youbetter. butt kickingeveryoncein a whilemakes Yourhouse/studio is buiningdown:whi(hguitar do you salvage? ItwouldbemyveryfirstRustyCooeysignature mode sevenstringby DeanGuitars.Why? Because it wastheveryfirst onemadeandDeanGuitars was thefirstcompanythat believed in meenoughto b u i l dd g u i l a lr0 0 o o l o m y i p e (l sh i s g u t d rs amazrngl Whatt yourfavouriteampand howdoyou set it? ThePeavey 3120.Here's mystudiovolumesettings: (therestofthesettings Master'17, willbelistedasif youwerelookjngatthefaceof a clock);Volume 3, Treb1:30, l\,4id I l:30,Bass1:15, Gain3:00. Whatkind ofactiondo you haveon yourguitarr? llikeit verylow,to the pointofbuzzing.lhave learned to playtheguitarsoyoucan'thearthebuzz lcanplay'around'it, ifyouknowwhatI mean. What stringsdo you use? I useGH5Boorners.009 .042forstrings oneto six anda.060forthelowseventh string.lalso usean .008forthehighA on myeight-string.The.060 for thelowBgivesmesomeextra tensionthat I lose fromtuningdowna half-step-
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$tormylu|onday jamwithsomeofthemosticonic lmagine a Stormy Monday blues guitarists you thathaveplayed thesong. SteveAllsworthguides play-off|.. through eightgreatsolos inourall-star'virtual (how all thesegreatplayeE themselves stated out), but thenyou absolbthe feel Modetate/Advanced OOOO and phrasingsothat you canimproviseat will in anygivensituation.And the more peoplewhoseplayingwe listento and learn, KEY:G v Blues improvising thebroaderour ou n st1lewill become. phrasing TEMPO:58bpm t Pentatoni( Beyondlealning eachofthe eight solos CD:TRACKS 4-5 !i 5lideguitartechnique notefor note,you shouldlook at how each playertacklesthe chordprogression, MONDAY.byT-BoneWall(er.is a payingparticularattentionto howthey STORX,ry classicbluesthat'sbeencoveredby virtually approachthe differentchords.Eachhasa everyfamousguitaristin thegenre,and asa slightlydifferenttake,alongwith unique result hasbecomea stapletunelbr every mannerisms,so I'll breakdou.neach buddingblueserto play.We'reconsistently player'sapproachaswe go. askedbyGT readershow to improvisewith Dueto the problemsofdifferent keys convincinglicks and phrasing,but alsohow andtemposthat tabbingoriginal solos ne decidedto use to dealwil.hpossiblescaleandnotechoice". rnouldha\e plesented. Soto that endwe'vetaken a reverentiallook reallicks from eachplayerbut collatethem at how eight ofthe most prominent players into solosthat usedasmanyoftheir might tackleStormyMonday,in roughly signatureideasaspossible. chronologicalorder. ThebackiDgtrack is basedin part on The Whenil comesto lheart of improvising. Allman Brothers'classiclive versionfrolr part ofthe processis basedon learninglicks t 9 7 t .B u tw ed i v i d e di Li n t ol u o h a l v e s i n c e
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process isbased onlearning licks,butthenyouabsorb thefeelandphnasinS !! the earlierplayemtend to prefer a simpler chordprogression(I, IV and V chords,G9, Ca and D9). Sothe jazzierA.llmanBrothers versionfeaturesthe trademarkG9-Am7Bm7-Bbm7-D11-Cm/Eb sequencebefore the final two-barturnaround atthe end. This sectioncanbe t cky to negotiate {althoughmanyplayersshy awayfrom explicitlymappingout scalesfor each chord).Oftena simpleGblues scalewill suffice,with one-fretmovesto target the odd chords(Bbm7and Cm/Eb) which can usuallybedonebyear.Enjoy!E
TECHNIQUE FOCUS PLAYING IN12l8IIME At the expenseof beingoverlyscientific, any rhythmin whichan odd numberof beatsis playedoveran evennumber(orviceversa)in the predominanttempo is knownasan'irrational rhythmiThisis expressed asratioof beatsplayedto beatsin the underlyingtempo.A good exampleisthe humbletriplet,whichcanbe expressed as3:2,with the colonsimplymeaning 'in the spaceof:Whenplayingin triplettime {6/8,9/8, 12/8),this phenomenoncanhappena lot,simplybecausewe tend to'think'infours.A perfectexampleis bar 5 ofT-Bone's solo.lt's 'felt'asif we'replayingstraighteighthnotesin 4/4,but writtenas4:3in 12l8.Thisjust means four crotchetbeatsin the spaceofthree.l'msurewe'veall at onetime practised tappingout the classic coordinationtfick twobeatsinthelefthandwhiletherighttapsoutthree.TBone's lickusesexactlythesameprinciple,anditcanbeextendedtoincludeanygrouping/ratio:7:8, 1 l:l6, 5:3and so on.Tryexperimenting with different'irrational'rhythms overthe backing trackbyjusttryingto feelthenaturalpushand pullofyour blueslicks.
TBACf( IEC0RD Although wehavewritten ort s0l0sbyeightplayersthathavesucccssfully it s worthchecking covered StormyM0nday, outTheAllman Br0thers 1971live album AtFillmore East, to hearthejazzier changes used inpatthere. Thetrackalsoappears0n several compilation discsbyitscomp0serT-Bone lvalkelCallltStormy Monday: Essential Gollection, receivesan Amazon five-star rating 16 GuitaxTechniques August2009
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T-BONE'S styleisa straightmixofjazzand blues.lt'ssaidthatin the 1940she essentially mappedoutthewaythat electricblueswouldbe playedfromthen on,andwasa directinfluence on guitarists rangingfromBBKingto Chuck Berry.There area fewcomplexrhythmic figuresgoingon here,oftenwitha
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downward(towards thefloor)bendwhilst traditionally we wouldplayan upward bend.The othergreatbluesman to use thisstyleisof courseAlbertKing,whose hugebendsarelegendary. OtisRush playingdirectlyinfluenced EricClapton's henotablywrotethe Beanoalbum's famousopeningtrack,AllYourLove.
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IRIC CLAPTOII lNTHl5 soloEricmixesup elements fromtwo distinctly differentClapton eras.5o it contains echoesof hisearly andintensestyle,aswell aggressive legatophrases asthelatertrademark andsilkybends.Eric's a masterof dippingin an out of majorandminor pentatonic scales andat thestartwe seethe Etargetingthe brighterG whilstthe F andBb majorpentatonic, notesbringusbackintoG minor - Ericlearntthisideafrom pentatonic listening to players likeFreddie King in his andOtisRush.Whereas Bluesbreakers andCreamdayshe
basedhimselfcloselyaroundposition oneofthe minorpentatonic, today manyof Eric's fastlegatophrases are formedin thethirdshapeof the minor pentatonic scale(seebars3l and32), possibly because the secondand thirdfrngers togetherallowfor greaterstaminaandspeedthanone fingeralone.Alsonotethetrademark useofthefleetingmajor7th(F#)in bar34.Ericoftenusesthisratherthan thecommonerb7 (F).Strictly work,but the speaking thisshouldn't quickpull-offfromthe rootandback sounds9reat.
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possiblynow bestknownfor his ALTHOUGH best.This soloincludes slideandnormally legendarystintwithTheRollingStones, when fingeredplaying(thereshouldbe plentyof he recordedsuchclassics asBrownSugarand timeto removetheslidebeforethesecond HonkyTonkWomen, MickTaylor's firsttasteof half).ltalsomakesthemostoftheubiquitous possibly stardomwaswhenhe replacedPeterGreen in minor/major 3rd(Bb/B)hisClapton/ JohnMayall's Bluesbreakers agedjust18. Freddie Kinginfluences showing. Allthelazy Mick's solosalongside AlbertKingin his1982 slides andbendsfromBbtendtotargetthe performance major3rd (B)ofGTwhilstthe Bbitselfcovers of StormyMondaywith John Mayallareprecision, feelandtouchat itsvery the b70fthe c9 chord.
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FROMRedHousestylearpeggios andstaccato everythinghe played,with hisunmatched bendstocountrystyledouble-stops andfiery touchandawaywithsimplepentatonic ideas repetitivelick, Jimihadsomanydifferent thatmadethemsomehowtake on more trademarks gravitas. that evenhe rarelymanagedto Controlledaggression isthe keyhere, cramthemallintoo1 n2 e - b a r s o l o . A n d w h i l easit'sreallyeasytoovercooksomeofthe hemanaged towriteandplaysome simply bends.Noticehowthe major3rd(E)istargeted pop{ocksongsduringhisshortyears overthelVchord(C7)inbar55.Common brilliant asa superstaL at hearthewasa bluesman of chordtonessuchasthiscanhelDestablish the the highestorder.This wasevidentin soundofthe newchordveryeffectively..
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RAY ETTI|IE I|AUO}|AII SlMlLAR in somewaysto Jimi'srobuststyle - Steviewashugelyinfluenced by him- SRV hadseveralofhis owntrademarks, suchas usingthe b9 (Ab)asa passing note(bars65 and73).Toallintentsandpurposes, thislick or shaoehasthe lookandfeelofa C blues scale,but whateverthe theoryit sounds greatoverthe lchordandalsointhe turnaround.You couldtry movingthe same
shapeup to the 8thand1othfret- morehow Claptonwouldusethisidea- to targettheC9 andD9chords.LikeJimi,Steviealsoused heavierstrings buttuneddownto Eb(lowto : high strings:Eb,Ab,Db Gb,Bb,Eb).However, for convenience, andbecause therearesix othersolosto bearin mind here,wdve opted to stayin regulartuningthroughout.With : : Stevieit'sall aboutattack-soqo for it!
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LARRY CARLTOII
LARRY'S the perfectcrossover guitarist,mixingtastefulbluesand technically demanding rockwith jazzor harmonically morecomplex fusionleanings. Aswellasplaying typicalblueslicksusingmajorand minorpentatonics andtheblues scale, he'salsofondof a Mixolydian (R,2,3,45,6,b7)ovel approach dominantchords. Forexample, bars 74-75targettheFwhichistheb7of G9.OvertheAllmanBrothers chord - withthe risingand progression fallingG,Am,Bm,Bbm,D11 sequence
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DTRI|( TRUC|($ lT'5FAIR to saythat,withthe possible exception of SonnyLandreth, Derek Trucks'playing isunsurpassed in the worldofslide.Hisapproach tendsto beverylinear, in thathe'llviewthe fretboardfrom sideto sideratherthan stringsasmostofusdo. acrossthe Thistranslates intolotsof licksand scales thatsimplytravelup anddown onestring,withsomeincrediblyfast flurries. ToplayourTrucks sideways soloyou'llneedto practice theG bluesandG majorpentatonic scales up anddowneachstringin one
slidinglegatomove(thiswill help developa feelfor the distances involved). Derekgenerally sticksto an openEtuning(EBEG#BE), but you needn'tretuneyourwholeguitarto get closeto hisfeel.Usingthefingers andthumbon yourpickinghandwill alsoenableyou to coaxa bit more toneandcontrolout ofthe strings, whilstalsoallowingthemto muteany unwantedopenstringsin the process. Trucksusesa Gibson5Gfor the total its22nd-fret neck accessthat joinallows.
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Howe Yes and $teue Taken fromTheYes Album, thlsmonthstranscription by JamieHumphries features someofSteve Howe's finest proqressive moments, andindeedof rockitself...
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theband'ssignaturesound,alongwith Jon Anderson'setherealvocals. Modetate/Difficult Yeswasformedin lhelate'oosby singer OOOO Jon AndersonandbassistChrisSquire.The bandhashad many differentline-upsover scale lines KEY:Emajor v Fast the pastfour decades,buttheclassic 145bpm v Chord fragments TEMPO: quintet is from the ear\ '7os and which 6 14 t Arpeggio knowledge CD:TRACKS includedSteveHoweon guitar, Rick Wakemanon keyboardsandAlanl4rhiteon ALONG WITH P1NKFloyd andGenesis, drums,althoughother notablemembers Yes are without a doubt one of tle most have included keyboardist Tony I(aye, a important and influential progbandsto foundermemberwho returnedduringthe emergefrom the UK. Citedasan influence 'Bos,and drummer Bill Bruford.Many by Americanprog giantsDreamTheater, regardthe'7os asthe classicYesperiod Yescraftedlong, intricate songswith a with such albums asTime And A Word, blend of rock and classicalstructuresthat alsoshowcasedeachmember'smusical prowess.Complexanangements,different time signaturesand key changes,along with unison guitar and keyboardIineswere
TECHNIQUEFOCUS r|MESIGNATURES
Rabin. They releasedthe highly successful 9orz5, which sawthe outfitleaning towardsa more MTVand radiofriendly Americanrocksound.This wasparticularly apparentwith the hugehit singleOn'nerOf A LonelyHeart. The band alsoreunited originalmembersfor the albumUnionin r99r.Yeshavehada careerspanniug more than four decades,and continueto tour and "."^",1r^rl,i".i"This month'strack, taken from the The YesAlbum, clocksin at over nine minutes! But dueto the limited amount ofspace availablein the magazineand on the CD, the songhasbeenedited down into four sectionsthat include SteveHowe's impressivechordvoicings,country style licks and picking runs. E
Jl Differenttime siglnaturcs, keychanges guitarand andunison keyboard lineswere Yes ssignature sound tt
Mostpopularmusic isbasedaround4/4(or tommon time')butYourslsNo Disgrace usesa TheYesAlbum, Fragile,CloseTo The Edge, rangeof time signatures including4/4,3/4,6/4 Yessongsand TalesFrom Topographic and7/4,soa basicunderstanding ofhowthese Oceans.All ofthesewerehugelysuccessful workisessential.When lookingat atime and securedYesasone oftheworld's rock signaturewe seetwo numbers.The bottom supergrcups. numbers refers to thevalueofthebeat-for Internal disputesforcedthe group to example 2 isa halfnoleor mrnim.while4 isa split and,due tolegal reasons,reformed quarternoteor crotchetand8 isan ejghthnote usingthe nameAnderson,Bruford, orquavetThetop numberrefers to howmany Wakemanand Howe,Therewere alsoother beatsthere arein eachbar.Forexample4/4 collaborationssuchasAsia,which featured meanswe havefourquarter notestoa bat{we SteveHowe,bassistJohn Wetton and Carl wouldcountl, 2,3,4...). Anothercommon Palmeron drums. examplewould be3/4 or threequarternotesto the bandsplitup againduring a b a r f ( o u n t e1d, 2 , 3 . . . ) . c o m m o n l y f o u n d i n a AJthough the early'Bos,Andersonand Squire waltz.6/4and7/4 teptesentsixandsevenbeats reformedwith original membersTony Kaye to the bar re5pectively.
and Alan White, with a new guitaristTrevor
yes'sTospenodistheobvious (1971, TRACI( BEC0RD erat0 checkoutifyou'renewt0 theirworktheseinclude TheYesAlbum fromwhichour (19?2), (1972) (1074). (1983) (1987) trackistaken),tragile Glose T0TheEdge andnelayer Wevouldalsorecommend 90125 and8igcenerat0r for period. theTrev0r Rabin There arealsogreatcompilati0ns available andlots0fgreatfootage 0nYoutube. 28 GuitarTedmiques Augun2009
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PART 1 [Ba151-16]Here'sthe first part ofthe song'sintro,and this sectonfeaturesa seriesoftightly performedchords.I shouldpoint out guitar thatthroughoutthis tuneI haveselected the mostprominent partsandarranged piece. themasa singleplayable to thefirstsectionhere,withlhe song IBars17-20]Asimilarprogression
modulatingtoaC majorkeyandusinghigherneckpositionvoicings and slashchords. Tip:CDtimesrelatetoYes'originalrecording. IBars21-24]Thesebarsincludethefinalsecdonofour intro,with more tight,high-registerchofds, thistimein the keyofD.Noticehowwe're modulatingbetweenkeysalready,and the track'snot evengot going!
PART 1
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melodyandmaingroovebegin,The IBars25-36]Herethekeyboard Bb chord is only held thefirst time,and the guitarshouldrestforthe remainderofthe repeats.ln bars33-36checkout Steve,suseofarpeggios for outliningchordchanges.Take carewiththisasthe positionshiftscan paftconcludes be hazardous.This with a C minorpentatonic fill.
IBars 37-421Morearpeggiosbut seehowStevemakesuseofsome rhythmicdisplacement. IBars 43-501 NoticesomeofSteve'ssignaturescalelines,usinga mixtureof E majorandE Mixolydian scales.The sectionconcludes wjth a hammeredquarter-notetriplet ideathat leadstothefirstverse.
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leadfills.Payclose alsoincludea drivingchordfigure,andoccasional PART2 [Bars1-21This kick5off oursecondsectionwitha shortrun attentionto the descending3rdsfigureat bar 14. basedaroundA Dorianthatleadsintoour nextpartofthe tune. with Anotherkeymodulation, thistimeto 6 Mixolydian IBars 3-10]Thesebarsintroducea new riffbasedaroundE l\,lixolydian, IBars19-221 moremuted chords,plussometastyopen-stringcountrystyleIicks see leadfills. somesouthernstyleMixolydian andincludes intohisplaying. the sheerrangeof stylesthat Steveincorporates IBars11-18]TheEMixolydianthemecontinuesherebutthesebars already PART 2
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IBars23-26lWeconclude thissectionwith yetanotherkeychangetoA Mixolydian,with moredriving,mutedchords. PART3 [Bars l-l3lOurthird sectionintroducesthefunksectionand anotheredit.ForthisSteveemploysthe wah pedalandplay5somefunk inspiredEminor pentatonicli(ks and rhythmicmutes.payattention
to the differentbendsthatSteveuses,eitherquaftertoneorsemitone on the sixthstring.Thissectionconcludeswith a 3/4 bar so eitheroav attentionto your countingor learnthe sectionby earfirst. [8ars |5-2ll Here!a lowerregisterriffaroundD minor.Thiswas originallyperformedbytwo guitarsbut l,vearrangeditforone.
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Y0|JR$ r$rr0 Dr$oRAcr with Steveusing IBars 22-26] Checkoutthisgreatchordprogression, partialchords on the thirdandfourthstrings.This sectionmixesup6/4 and 4/4time sionatures, so beware! D minorriff,whichleadsbacktothe IBars27-33]Nowwe-introducethe Wedidn'tsaythiswaseasy! 6/4section.
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a re occurrenceof the6/4and4/4sectionswesaw IBars34-38]Here's previousl,butthistimelhavechosentotranscribe the nylonacoustic guitarpart,asSteveoutlinesthe changes with sometastefulchord arpeggios,Live,he would often usea guitarcradlethatallowedhim to playtheacoustic partwhilestillholdinghisE5-175 asnormal.
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Y0un$ 6iloDr$0RA IBars 39-52] Checkoutthis etherealsoundingsolo,drenchedin reverb - quiteAl Di MeolalThis andbasedaroundA Phrygian so,ohasa free flowinglegatofeeltoit,andalsoinciudes fasttrills.Alsobe sureto pay attentionto the differenttimesignaturesin this section,incllding 7/4. IBars53-60]Backwith morecleanscalelines,plussomefastblues
styleljcks.Payattentionto the note groupingshereand makesureyour pickingiscleanandprecise, aswe arenot drenchedin overdrivetohelp youout.Thissectionalsoincludes a fastdescending arpeggiosequence, so practisethis slowlvto startwith to makesureit'5clean.Stevewas reallyon top of hisgamehere,recognisedasone ofthe bestat the time.
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August2009Guitarlbchniques 35
YOuR$ r$l{0D|$GRA0E Againnote IBars61-67]Thissectionend5with morestabbingchords. Steve'suseofinterestingvoicings.Whenyou playwith a keyboardistof Yes's calibre- althoughKayeplayedon the albumitwasRickWakeman who toured it live- you haveto be inventivewith your chordvoicings. Thissectionmovesaroundtoo, sotakeyour time with the changes.
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PARI 4 [Bars 1-4] Nowwe find ourselvesbackto our funk intro.No rhythmicfigure unduesurprises hereapartfromthe littlebehind-the-nut at bars3-4 - seehow Stevewasaheadofhis time again? [8ars 5-20] Thesebarsre-introducea progressionwe sawin Part2,but licks. includemorevariations on our E lvlixolvdian
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36 GuitalTechniques August2009
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Y0lJR$ r$iloD|$GRAC asin Part2, but hereSteve IBars21-28]Again,the samemodulations usesbluesysounding6th and9th chordsin boththe G andA sections, performedwith slides. noteshere,performed with IBa1529-36]Therearesomenicesustaining
a classic'70s stylefuzzpedal-it couldwellhavebeena BigMuff.This lineshouldbe performed withvolumeswellsandslides quiteabitto concentrateon/ giventhe song'soverallcomplexityanyway.
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down - and Stevehada lot ofdiffefenttechniquesand approachesgoing, IBars 37-52]We concludethe trackwith a repeatof Steve'swell used arpeggios, a descending E majorscalerun,andhisneatquarternote especiallyin this song- go backand concentrateon anysectionsgiving 69ure.lfyouhaven'tquitegotallthesedifferentstyles youtrouble,ratherthan skimmingoverthemandquicklymovingon. triplethammer-on
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38 GuitafTbchniques August2009
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Trauis Picking HereStuartRyanuncovers oneofthemost -Travis popular picking, of allpicking styles named guitarlegendMerleTravis... afterthe country for whilst the thumb playsthe bassstrings 'on position the picking hand correctly - in t]le beat'the otler fingers canpick any essencea 'half palm mute' only on the bass EasytoAdvanced O O a,rl, combinationofrhlthmsincludingsome sideolthings.It will alsoallowyouto dig in slncopations,which canreally leaveyou harder on the bassnotesto getthe funky snap reeling.It's the classic'patting your headand required and,last but not least,it will stop you independence KEY:Various !ZFinger rubbing your tummy' scenario.And tlat's from blistering your thumb! Various v Fretting hand strength TEMPOT beforeyou evenconsiderthe speedat which Anotier elementoftlis styletiat canbe CD:TRACKS15-19 epeed V Accun(yand someofthesepiecesareplayedl overlookedis how strong your fietting hand Merle Travis had a hugeinfluenceon needslobe witi all mannerofchordvoicings. 1T'SIINUSUAI- FORa techniqueto be named many of the greatsincluding ChetAtkins, A lot ofthese piecesare actuallyplayed after a guitar player - for instance,twoJerry Reedand Tommy Emmanuel,who around chord shapesthat contain both the handedtappingisnt called'VanHalening'is developedtJletechniqueand madeit Lheir bassnotesand the chord/melody, soyou it? But this actuallyhappenedin the caseof own, producingwonderful resultsin tle needto be adeptat moving the hand around process.Perhapsthe oddestfeatureofthis quickly - sometimesinto awkward shapes. UScountryguitarstar MerleTravis.Travis picking is brilliart in its simplicity - the techniquein its original form (the way Merle It could be aryuedtiat the old-time blues playersweredevelopingtheseideasbeforeor thumb pluck out a bassline, qpically on the himself actuallyplayed)is that it only sixth anil fourth strings and alternating every incorporatesthe picking hand thumb (p) and ceftainly at the sametime asMerle,but perhapswhat setsTravis picking apart is the beat,whilst t]le remaining picking fingers are first linger (i) - checkout YouTubeto seehim fiee to pluck out melodies,chordsor both on in action,it's amazing.Although there are definite playing of melodies,chordsand solos the remaining strings. Howeverthis is also diehardTiavis pickerswho still pick in this overthe top of the bassline mther than short where the devilish complexityoccurs,asthe way,t]le vastmajority thesedayswill usethe or isolatedlicks. Ii pim or'pima. Theo*rerbig techniquerequirescompleteindependence morelogical betweenthe picking hand thumb and fingers, featureofthis styleis tlat it genemlly incorporatesa tiumbpick - this givesthe bass notesa crispnessand is often deemed TECHNIQUEFOCUS essentialto the technique. U S I NA GT H U M B P I C K Tlpically the bassnotesare palm muted, which givesthem a thumping, percussive Thethumbpickcantakesomegettingto soundand leavesthe treble stringsto ring out gripswith (ifyou'llpardonthe pun).Firstoffis carrying a melodyor chords(or both !). The to getthe sizeright-too big and itwillslip off, thumbpick is integral asit allowsyou to too smalland itwill be uncomfortable.
m
Thumpickt like regularpick, require experimentationsotryas manyasyoucan getyour hands(orthumbs)on. I likethe orangeFredKellyonesastheyhavea smaller exoosedDlasticsection.Alsobearin mind thatwearinga thumbpickwill changeyour pickinghandpositionquitedramaticallysoit willtake someqettinq usedto.
Travishada huge ll Menle
influence onmanyofthe greatsincluding Ghet Atkins, JerryReed andTommy Emmanuel among otherstt
Therecre manVgrcat players inthisgenreandanything IIA0Kf,EC0[D byl[erleTravisandChetAtkinsisworthchecking out JenAReed, lhomSFesh andTommy Emmanuel arealsoEreatadistst0 listento.P€rhaps thegreatestdartingpointwouldbet0 checkoutsomeold footage ofilerlehims€lf andthenwatchCh0tAtkinstsaching DVD t0 seethstechnique b0thclose upandsl0vrod down. 42 GuitaxTechniques August2009
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Here'sMerle playing his ostentatiouslyequipped cibson suDerlbo CEs
Augun2009GuitaxTechniques 43
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Thisone is designedto easeyou into the techniqueasa bassnote and a G Mixolydianmelodylineare both playedtogetheron the beat. lBar 1l Simpleasthisis,rememberthatbassnotes{sixth,fifth and fourth strings) aresupposed to be palmmutedwhilsteveryth in9 on thethird, secondand first stringsis allowedto ring out.
lBar2l Bythe time the fretting fingersare onto the first stringyou mayfeela bitofstretch betweenthe fingerfrettingthe ba55note and isessentialto thefingersdoingthe melodywork- thisseparation the technioue.
E B G D E
A littlebittrickier-thesamescaleshapeandbassnotesareusedbutthis pull-offsand syncopation timethe melodylinefeatureshammer-ons, (notesnot playedon the beat).
here. [8ar 1]Thehammeron isthe realchallenge [8ar 2l Payattentionthe syncopatednotes lBar 3l Nowthe challengeisto playthe pull-offcleanlyand in time.
B G D E
We'vechangedkeynow.Travispickingworksbestin keyswith open strings(fewernotestofret)but you do wantto be ablelo playin any key. [8ar ll5hifting to E,now therearemorehammer-onsand syncopated
notesto dealwith. lBar2l As before,butthistime with pull-offs. [Bar3l And nowwith pull-offsand hammeFons...
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lBar 1l Playthisfrom a full Echordshapeasyou now haveto contend with a slightlydifferentbassline (notthe B onthe 2nd freton the fifth stnnoi.
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TRAI|T$ PtCKtl{0 Nowwearegoingto expandalltheideasfromthe previousfourshort exercises. Thistime in the keyofC we will buildsomelargerchord voicings thatwillforcethefrettinghandto movearound. [Ba] 1l Startingoffquite strai9htforwardly we are simplyplayingaround an ooenc chord. lBar9l Adding someextranotesto the chordshaperequiresmorework on the pickingandfrettinghand remembertomutethebassstringsand
letthe melodynotesreallyringout. needtoemployafirstfingerbarre lBar131MovingtoanFchord,youwill frettingfin9ersto on thefrettinghandwhilst5tillmovingthe remaining get allthenotesin place. lBarl5lAndthefinalinsult-atripletrunonbeat2forwhichyoushould betweenthefifthand u5e'pim'(notethe basslineis nowalternating fourth,and sixthand fourth strinqs.
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Thingsget a little trickierhereaswe incorporatea descendingbassline -to addto thiswe aregoingto usethe frettinghandthumbon someof thesenotesaswell, [8ar 2] Usethefretting handthumb forthe F#bassnote (2ndfret, sixth Thiswill makeplayingsomeofthe chordseasierandisa device string), Travis usedhimseli lBar4lStillusingthe thumbtofretthe F#meansthatyoucankeepthe
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Here'sone with a slowet swingfeel.Againwe havethosejazzychordsto getto gripswith.Traviswould often movenotesaroundin a chord50thi5 exampledoeslikewise,totestthe fretting handa little more. pickinghanda lBar1]Watchoutforthetripleton beat2.Thiswilltestthe littlefurtherAlso,playthisonewith a lilting,swingfeeltoit, string,4thfreo movesup to an E lBar2l Youwill noticetheD#(second
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Th;sfinallickis reallyinfluenced byJefiyReed andBrentMason and showcases the moreuptemposideofthisstyle- a fastlicktobeginwith andthena funkyReed-esque riffbasedarounddouble-stops with an alternating bassIine. lBarllTravispickingis not allaboutpluckingchordsandbassnotesthereareplentyoflicksinvolvedandthisone isdesigned to getyour
fi ngersmovingall overthefretboardbeforethe riff begins. areplentyofintervals ofsixthsin Travispicking(andcountry IBar4lThere in generall. [Ba]61Here'sa fastarpeggiatedpatternfeaturinga realReeddevicegoingfrommajortominoronthe samechord(checkoutThe Claw). with the alternatingbass. lBarSl Nowthereare pull-offsto synchronise
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BIMN{ Brightons BA (Hons) coulse leader Scoll N4(Cill .ontinrc: his quick licks .eries ONTHECD:TRACKS 16-10
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John Wheatcroft introducesthe man many consiclerto be SRV'.S true heit Chris Duafte ONTHECD:TRA.[:]I ]] Martin Coopergivesus Led Zept mean and magnificerltaxe-nlan Jimmy Page ONTHECD;TRAaK514 39
GUITARESSENTIALS .Ion Bishop brings harnnrer-onsand pull-offs to thc guitar essentialstabie
GianlucaCoronashowsyou howto get the style ofa true prog genius,Todd Rundgrel ONTHECDiTRACKS 42s5
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M cl t i n C o u l d i n gb r i n g sl w o - h a n dl a p p i n Bt o the paradeground - atten.-.shunl FUNNY ISN'T IT: we're exposed to so much great music these days (thanks GT!) that we can't help but want to playbetter across moie styles, with often very little time on our hands to achieve our desires. Frustrating isnt it? Moreso, we may equate regular long practice sessions with solid development - one hour plus a day is hardwon (ifatall) amongst regular work and family matters.
segments a dayis asbcneffcial as a one-hour session broken into fifteen rninute breaks. Indccd, spieading out your sessions during the day may a
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ALrqust2009Guita/Teclmiques 49
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Lickbag 30-lt|inute ScottMcGill,fusion virtuoso andBAHons leader course at BIMMin Bristol, continues hisseries of sixtastylicks everymonth...
Thisis a greatelectricbluesriff to naildown and 5harewith yourfriendsat jam sessions. Reminiscent ofSeasickSteve and plenty ofthe bluesicons that precededhim,this is an E7riff with a traditionalmoveat the end.
Strumthe sixthstringwith a downstrokeand the top part ofthe chord youtereadytovisittheDelta!Optfor a witha down/upmovementand cleanorslightlyoverdriventone.
E B G D E
Here'sa thick rhythmguitarexampleinspiredby AC/DCthat will tighten upyourrockrhythmplaying. Makesureyoumutethechords in barsl and
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ThisJohnnyWinterinspiredlinewill haveyou Texas-bound in no time! The line is basedsolelyonthe G bluesscale(G,Bb,C, Db,D, F,G).Pay attentionto the slides,hammeFons,pull-offsand bendsasgetting this
E B G D E
50 Guita.fTedmioues Auoust2009
onerightisallaboutthefeel.DialinsomevintageFenderampoverdrive for.iusttherighttone.
30-||llilffir_rc|(BAG Here's a melodicchord/solo studyin F majorthatcanhelpbothyour jazzsoloingand comping.Playthe examplefingerstyle or with pickand GmTsus4 Gm7/D Gm7/F
GmTsus4 Gmg/F Gm7/F
fingers(hybridpicking)for bestresults. A warm,bassycleantonewiththe neckpickupdoesthetrickhere.
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combinations veryquicklysouseeithera pickandf ngersorfingerstyle exclusively. Usea cleanchorusedtone with delay.
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Duarte Chris #
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ThismonthJohnWheatcroft looksatthestyle ofoneof thebestbluesplayers ontheplanet, theTexan Stratmagician, ChrisDuarte...
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KEY:D&Cminor tlAtta(k tDelivery TEMPO:168/116m. andstamina CD:TRACKS 26-30 ZRep€tition WHEN CHRISDUARTE'Sdebutalbum, TexasSugarStratMagikwasreleasedin /cq6.wordhil lhestrpetthattherightful
heir to the throne previously occupiedby StevieRayVaughanhad beenfound.Afellow Texas,all ofthe obvious connectionswerein place. A passionfor churningout fiery pentatoniclickson a battered vintage Fender Stratocasterwith the obligatory huge fretwire througha wall of ampsand a coupleof choicestomp boxes,for manythe connectionwasperhapsa little too close.All that was requiredwasa hat with a featherin it audhis initials on the scratchplate. However,overthe past twentyyeaN,Duartehas goneon to provethat he is very much his ou'n man. The Stevieinfluence is still presentfor allto see,and the batteredStratocaster remains (although in fact it is a different'63),but Chris'sovvnvoicehas emergedasa guita stof considerable talentwith a large body of recorded work and a hugefanbase to boot. Tappingnot onlyinto hisbluesinfluences,an earlyfascinationthat predateshis loveofbluesfor prog-rockers like Yesandfusionmasterslike Allan Holdsworthflavourshis plalngstyle. These in{luences aresubtle,and} ou mighLmiss them on firstlisten,butgo searchingand hiddenbeneaththe outerlayerofbrashand bold Texanpentatonic ferocity you'll find a harmonicsophisticationand melodic sensibilitythat indicatesa comprehension ofmusicthat is beyondthe obviousblues clich6licksandwell-womturnarounds. Intensityisthe nameofthegamehere,so
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onceagainit's not somuchthe notesyou choose,morethe wayyou playthem.Ch s's playinghasa seriousamountof attackso he'll frequently sacrificeeconomyof movementto allowfor someaggressive right-handaction.Us guitaristsbeinga greedybunch,we want the bestofboth worlds.soyouneedto makeLhetransition betweensmalldelicatedetailedmovements music andbigwidewallopswheneverthe requrresrt, Duarteputs a hugeamountof eners/ into performingandtruly comesalivewhenhe's on stage,soifpossibleyoushouldcheckout somelive footageand ultimately checkhim out in the fleshif at all possible.The Fender : Stratis quitepossiblytheultimate inslrumenlfor somebody whoplay.Lhis physically,asthe dynamicnuancesofthis instrumentperfectlyrespondto eventhe subtlestpickingvariations. Therearetwo complete12-barsolo studiesfor you to devourthis month,in D major and C minor respectively. Thevast majodty of the vocabularyis derivedfrom the minor pentatonicscalewith the occasionalchromatic deviation, indicative of Duarte'sjazzinfluences. As always,treat these solosasthe start of your studiesand carryon in a similarvein to createsomemusicalexamplesofyourown. Why not take my backing tracks and try composingtwoofthe mostperfect12-bar solosyou'veeverplayed.Somuch ofyour musicianshipwill improveasa result,I promiseyoulE
ll l'mstilljustashungry asI waswhenI wasayoun$ man,butI usespace mone andI try to bea littlemone tastefulll cn*ouot"
yantage Point(Prouogue TRACr RECoRo 2oo8)isthemostrec€nt release fromChrisandhistrio,andisfull0f Duarte's incendiary Strat press (Provogue magic.llot 0fthe is596 2009), recorded withthe,lapanese blues ensemble Bluestone C0.There ares0me excellent clipson Yo[Tube, andy mayconsider s[bscribing t0thelatestwebsite t0 getthethumbs upfromwithinthenusicians' community, Spotify. 52 GuitaxTeclmiques August2009
Cl|RIE D|JARTE $TYLI lBars 1-41Repetition features heavily in Duarte'ssoloing style. Yesthafs r i g h t ,h e r e p e a t sh i m s e l f f r e q u e n d yN. o w ,r a t h e rt h a n t h i n k o f t h i s a s s o m e f o r m o f s o l o i n gw e a k n e s si,t a c t u a l l yh e l p st o p a c k a g eh G p h r a s e st o g e t h e r a n d b u ; l d si n a s e n s eo f m e l o d i ci n t e n s i t , r h y t h m j ct e n s i o na n d u l t i m a t e l y r e s o l u t i o nW . e k i c k t h i n g so f f w i t h a t y p i c a lc y c l i ct h r e e - n o t ed i s p l a c e di d e a derived from the D blues scale (Rb3 4 b5 5 b7),con
t h e y r e a l l yh e l p t o b r i n g t h e m u s ; ct o l i f e s o b e s u r et o c h e c ko u t t h e a u d i o . M i x i n ga p p r o a c h e s a n da d d i n g d e v i c e ss u ( h a sd o u b l e - s t o p si n b a r B h e l p t o m a i n t a i n a s e n s e omf u s i c a l b a l a n c e a pn rdo p o r t i o n a n d c o h e s i o n t o o u r s o l oo n t h e w h o l e ,G e t r e a d yf o r s o m ec h r o m a t i ca c t i o ni n . . . [ 8 a r s 9 - 1 2 ]. . . t h e n e x t m e a s u r el/e a d i n gi n f r o m t h e l a s tb e a t o f b a r 8 . l f you read any interviews with Chris,you'd often never guess he was a blues m u s i c i a nH . e f r e q u e n t l yn a m e - c h e c kG s e o r g eB e n s o nA , l D i l v l e o l ae t c , a n d therefore it's unsurprisingthatthe odd chromatic flurry might creep in from t i m e t o t i m e . T h a t s a i d ,w e e n d t h i s s o l ow i t h s o m ep e n t a t o n i cb e n d i n gt h a t b o t h s u r e l vm a k eb o t h H e n d r i xa n d s R Vo r o u d .
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l B a r s 1 - 4 1O u r s e c o n dc o m p l e t es o l o i s b a s e da r o u n da f u n k y m i n o r l 2 - b a r b l u e sf o r m a n d f e a t u r e sa l o t o f n o t e s !A l l t h e m e l o d i cm a t e r i a il n t h e f i r s t f o u r m e a s u r e s i s f r o m t h e C m i n o r p e n t a t o n i c s c a l e ( CB E bb )F. G s t a m i ni a s a n i s s u ew h e n p l a y i n gw i t h t h i s l e v e lo f i n t e n s i t ya n d d u r a t i o n w , ith many l o n g p h r a s e so v e r s e v e r a bl ar s w i t h o u t p a u s ef o r b r e a t h ,s o t a k e y o u r t i m e , learn to recognisethe different between pain and fatigue, and be patient. [Bars 5-al We're adding chromatic decoration here, firstly in the form ofthe 2 n d ( D ) a n dm i n o r 2 n d ( D b ) i n b a r 5 . T h i s t r i p l e t i d e ai 5 a m o v e t h a t S R V w a s p a r t i c u l a r l y f o n do l b u t b e c a r e f u l w i t ht h e t r a n s i t i o nt o l 6 t h n o t e s i n the 6th bar. Cm7
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54 GuitaxTechniques August2009
T h i si s a t r i c k yi d e at o e x e c u t ec l e a r l y w i t ha n y k i n d o f a t t a c ks o f o c u so n y o u r p i c k i n gh a n d o p t i o n s t o f i n d w h a t w o r k s b e s t .l u s ee c o no m y p i c k i n g w h e n p i c k i n ge v e r yn o t e o n e l e c t r i cg u i t a r ,s o i f t h e n e x t n o t e i s o n a s t r i n g toward thefloor it's a down, towards the skyand it's an up. Wete bridging t h e g a p sb e t w e e nt h e p e n t a t o n i cs t e p p i n g - s t o n eisn b a r 8 . l B a r s 9 - l 2 l A r r i v i n ga t t h e V c h o r d ( G m 7 )t,h e r e ' sa s t r o n gG m i n o r p e n t a t o n i cS h a p €1 l i c kt o e n j o y .T h e n o t e d e n s i t yg o e s u p a g e a r i n b a r 1 0 , w i t h s o m ep e r p e t u a l1 6 t h - n o t es e q u e n c i n ga, n d t h i s i s f o l l o w e d n i c e l yw i t h a n o c t a v e - t r a n s p o s evde 1 5 i o no f b a r S b e f o r ew e r o u n dt h i n q s o f f w j t h s o m e t a s t y p e n t a t o n i cp h f a s i n gi n b a r 1 2 .E a s ya st h a t l
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For this month's track, I wanted to write somelhing thatwassimplein constmclion but with a few'Page-isms'. Jimmy often employedDADGADtuning, but the track hereis drop D, sotuneyour sixthstringdown to D.We'rein D major,but the Dsus2add#11 in the rh]'thm guitar paft givesa distinct Eastern'vibe to proceedings. Thereare alsoa number of country and folk influencesin the openingphrasesofthe solo,whichusesa D bluesscale(D F G Ab A C)withanaddedmajorbth (B) anda major 2nd (E).Youmaynoticethat I ve calledthe fall entirely into. When ilterval a #11onthe rh],thmparlbecauseit Zepbriefly reformed hasa Lydiansoundto the chord,but the same (with ex-drummerJohn note (Ab) is a b5 from the bluesscalein the Bonham'ssonJasonon solotransc ption.The restofthe solois D skins)for a one-offshow minor pentatonic(D F GA C),andhereyou at London's02Arena, really want to find a wayto do what Eddie the 2o,oooticketssold VanHalencalls"fallingdownthe stai$ and out instantlyandchanged landingon your feet".Jimmy Pageis oneof handson the Intelnetfor thoseplayerswho hasa way ofplaying in a silly amountso{ money. loosewaywithout it sounding'wrong'.It is Jimmy Pagesits neady very difficult to do, but checkout the fast inhis placeon the 'rock legatosectionsofthesoloandhopefullyyou'll family tree' alongsidethe seewhat I mean.That paft ofthe solois likesofClaptonand rushed,yetstill basically'intime'.Enjoyand Hendix. In the merryI'll seeyou next month! Ii go-roundofthe 196os, whenbandswouldoften mix and match artists, PagejoinedThe Yardbirds (replacing bassistPaulSamwellSmith) but quictly switchedto leadguitar alongsideJeff Beck. \Ahen The Yardbirds calledita dayin 1968, Pageput togetheraband underthenameNew Yardbirds,whichsoon evolvedinto Led Zeppelin.Completedby the additionofsinger ! RobertPlant,drummer John Bonhamand bassistJohn PaulJones, the band washeavily influencedbybluesand folkmusic anduniquely blendedthesestyleswith a harderrock sound.With Page'spenchantfor mysticisn O Moderate and Plants fondnessfor Lord OfThe fungs stylemagicandwizardry,the paircombined INFO wnrruenovwoun I to hr te someofthe mostwell-knownrock KEY:D major h.rf.aq, l lz l,ru*trnrry songs ofthe pasthalfcenturyincluding TEMPO: playing 95bpm t tegato Black Dog andthe epicStairwayTo Heaven. CD:TRACKS 31-33 V Rhythmk displacement Thereis alsoa generalfeelingamongstthe TH ERXARE GUITAR heroes,there are rock guitarplayingfraternitythat ifyou think starsandtherearelegends,andit's the latter you ve comeup with a great riff, the chances categorythat Jimmy PageandLedZeppelin arethatJimmy Pagehasalreadywritten it!
MartinCoopersays thesongremains thesame, groupslegendary butsodoesa certain status ladeez andgentlemen, its LedZeppelin!
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TRI|CK RECORo ?/reseftitled 1969debutalbum featuressomeclassio trackssuchasDazed AndConfused andCommunication Breakdown, Themoreacoustic based LsdZeppelin lllfrom1070 haslmmigrant Song andSince l'veBeen LovingYou. Andthon,0fcourse, lodZeppelin ll (lvhole LottaLove, Heartbreakel Ramble0n etc)andledZeppelin lV(Yfhen TheLev€e oreaks, nockAnd Roll, ElackDog) arelegendary! 55 GuitarTbchniques August2009
PAGI $TYI-I JIIII|II|Y lcenelallluseddropDtuning(DA DG B E) to getathicksoundon the intro riff.
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souse somewhat,makinga setoftypical blueslickssoundslightlydifferent lsolo:bar 18onwardslTheopeningphraseofthe soloi5legato, At bar26,rushthe phraseslightlyin ordertofinish plentyof pull offshere.Thephrasing throughoutthesoloisdeliberately overthechords. in time. the rhythm in sucha waytodisplace lazyat times,andalsoemphasised
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LEGATOIS Agreat wayto playsmooth, fasterpassages on theguitar.In this lesson we aregoingtolook at waysto developtwo
techniquesthat makelegato playingpossible:the hammer-onandthe pull-off. I havedesignedthree exercises to helpyoudevelop yourtechnique.Each exerciseworks on every possiblefingering permutationsowith a little practiceyou should start to hearsomegreatbenefits. Irt's startby lookingat the hammer-on,asmany playersfind this technique the easierofthe two to master.Takeyour first fingerandslamit downon the 3rd fret ofthe third stri ng, The eners/ fiom the stringhitting the fret is transfened into vibration andtheAb notewill dng out. Youwill noticethat the tone andvolumeis differentto that ofa pickednote.To makethe notelouder,slam the fingerdownfasterand harder but be careful not to bendthe notesharpby pushingdownon the string afteritsounds. Exampler is an exercise that workson allfingers.I've notatedthis exerciseon the third stringasit hasless tensionthan the other unwound strings and you will find it easiergoing.To getmoremileage out oft}|e exercise. try it on all ofthe strings aspart ofa dailywarm-uproutine.Usea metronometoensuregoodtimekeepingand startslowlybeforebuildingup the pace. Thepull-offis slightlytrickierthan the hammer-ontechniqueand it is worthtaking a closelook at. I preferto think ofa pull-off aspluckinga notewith the frettinghand. Try the followingexerciseasal example. Freta C note(third string,Sthfret) with your firsL6nger.Now usethe third fingerof
your frettinghand to pluckthat note.You will noticethat you canusetheskin ofyour fingerto grip the string and then bypulling down acrossand awayfrom it, the fretted notewill sound.To developthis plucking ideathereis no needto play or fret a note, simplypracticepluckingtheC notecleanly with your fretting hand'sthird finger. Examplez is virtually the sameas Examplel but ithasbeenadaptedto develop your pull-offtechnique.Aimto releasethe fingerpressureofthe frettednotebefore pullingoff.Ifthe noteis stillfretted asyou pull offit will be bent slightlysharp.In exlremecasesthe soundofbendingpriorto pulling offis similar to a cat's"meow"! To applythesenewtechniques,I have written threelicksin the styleofrockguitar legendSlash.He oftenusesrepeatphrasesin his soloingand all threelickscanbe elongatedor woventogetherto createnew possibilities.Try creatingsomeof your own ideasusingthe pentatonicscaleandlegato. Havefun and seeyounexttime! Ii
ll legatoisa Sreatway to playsmooth, faster passages ontheguitartt
TRACK IEG0RD Slash/rasperfonnedin many musical situations ranging fromGuns il'n0sos ryithilicholJackson. The1989 to sessions albumApDetite ForDestruction byGuns il'noses isa classic album anda m|tstlistenfor fans0f mckguitan llislatsnworkwiththeband - Slash's greateramples playing Vslvet Revolver alsocontained 0f hislegato tone,too,isag00dbenchrnarkfor rocklegato Dlaying. 60 GuitafTechnioues Auqust2009
l|lil1iltn-01t8 lltDPUtt-0Ft$ Thisexercisewill help strengthenall your fingersand improveyour ablllty to playhammer-ons. Theaimisto makeallthenotesequalin volume,so
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A classicSlash-style rep€atphrasecombiningbent noteswith pull-offs.Buildup the speedgraduallywiththisone and maintaingood bendingintonation. Slow = 60bpm Fast= 120bpm
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Todd Rundgrelr Insearch of moreprogGianluca Coronatravels the roadto Utopia to discover theuniqueguitar tonesofthemaverick geniusTodd Rundgren...
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PHIT"ADELPHIABORN singer-guitarist,multiinstrumentalistand producerToddRundgren is a true cultlegend.Todd beganhis careerin r967 with aband calledThe Nazz.Theyrecordedthree pop-rockalbumsand a seriesof semi-successfu I singles(Hello It's Me reachedNumber4rin Canada).Rundgrenthen launcheda solocareer with Runt (r97o) and thenThe BalladofTodd Rundgren(r97r). Cdtical and,to a somewhatcertainertent, commercialsuccesscame with the double album Something/Anlthing? (t972),whereTodd playedall ofthe instruments,sangall of the vocalsand produced the project.By the mid-r97oshis musicwas lesspop-rockand more prog.AWizard, A True Star (1973)wasanother stepin that direction, featuring one side of idiosyncratically charismaticsongsand anotherof soulballads. Todd (1974)continuedin this directionwhile Initiation (1975) surprisedeveryonewith a 36-minuteinstrumental electronicpiecetitled ATreatise ln Cosmic Fire. Bythis time Todd had alsodeveloped his own uniqueelectricguitarstyleand showcasedit with his own six-piece prog band, Utopia.Theirfirst album,Todd Rundgren'sUtopia (1974),featureda 3o-minute prog magnumopuscalledThe Icon.The Utopia lineupchangedduring
the mid-rgTosbeforcstabilisinginto a four-piecewith Todd (guitars,vocals), RogcrWilcox fkeyboards,vocals),Kasim Sulton(bass,vocals)andWillie Wilcox (drums,vocals).Their most acclaimed recordingsinclude Ra (192), Oops!WroDg Planet(1977),AdventuresIn Utopia (1980) and DefaceTheMusic (r98o). Rundgren would often trade high-octanequestion and answerstyleguitarsoloswithWilcox's searingMiniMoogto greateffect. Todd's musicofferslots ofexamplesof oddtime signatures,int guing modulations,long intlos and outros, instrumcntals,hauntingballads, experimentalstudio techniques,multitrackedsynthsand cosmicideas. As a producer,anotherbig part ofhis musicalcareer,Rundgrenhasworkedwith Patti Smith, CheapTrick, PsychedelicFurs, XTC, GrandFunk Railroad,RingoStarr and The PersuitOf Happinessto namejust afew. His greatestproductionclaim to fame is perhapsMeat Loafs multiplatinum album Bat Out Of Hell, onwhich he alsoplayedsealingguitar! Hehasa longhistoryof multimedia projectsdatingbacktothe late'7os and his most recentalbums,Liars (zoo4) and Arena (2oo8), showthat he is still exploringnew avenuesand ideas.He rs one ofthe rock world's true originals! E
llTodd'smusic offers oddtimesignatures, intriguing modulation longintrosandoutros andcosmic ideasll
InACK nECqRD Forgrcatexamples ofl0dd's lcadguitarwonk, check outthsfollowing lftopia albums: Todd Rundgren's t topta(19?4), RA (1977) andAdventurss Inlftopia(1080). Youshould (1972), alsolistento S0metiing/AlythingP (19?b) AlYizard, ATnue star (192J), Initiaflon and fiars(2001) for unlque songuritingInd ifyouhadn'trcallsod, Toddtplayhgisall ovor Gatt-ods8atouttlf fioll,whichheatsoFoducod.
64 GuitarTbclmioues Auoust2009
IOOD RUl'IDOIRtII $TYLE Thanksto thoseessentiallong notes,a trademarkin manyof Rundgren'sintensesolos,the vibratoisthe realstarofthis intro. It is fast and wide, a bit like a Claptonvibratobut with a more aggressive motion.Next is a melodicriff,againwith vibrato.Then
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there's a section in 3/4 followed by 8/4 (3+3+2beats).Bending and alternatepickingtogethercan be demandingover a long run {bar 41 onwards),so a good warm-upis essentialbeforetaking this at a highertempo.
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getusedto holdingthe pickasusualand usingyoursecondfingerto tap.This is because nowadays it is morecommolrto blendtappingideaswith the morc conventional techniques like sweepingor legato,in whichcasetheinterconnection betweendifferenttechniquescanbe compromisedby havingtoabandonor manoeurtetie pickaround. Our audioexamplesareplayedfirstlyat a 'learn'speed, followedby an intermediate witha top doubJe-time speed. andfinishing 'shred'speed. Makesureyouperfectthe timing at theslowtemposbeforeapplying speed,Mostofthe examplesarebasedon single-string triadsandyouwill heara classically influencedsoundassomeofthe ideashaveoriginatedfi'omsingleline classical instrumentslike violin andflutc, Therearealsopentatonicideasandlicksthat will helpyouweldthesenewideasontoyour existingvocabulary. Thetappingtechniqueis veryaccessible andwithin daysevena novice will havea basicfeelfor the motions. In orderto getasmuchimprovisational valuefrom the examples, work on the'exit'or finishingnotes.Tappingtechnique is great for partypieces,but haslittleimprovisational merit unlessyoulook at howto exiteffectively andlearntoblendthetechniqueinwith other areasofyourplaying.This is what madeEVH suchan impressiveguitarplayer;not the isolatedtechniqueitself,but the wayhe integratedit sonaturallyinto the fouldahon ofhis blues-rockbased style.Ii
Shake outthosefingers asMartinGoulding begins athree-part series onthetappingstyles popularised byVanHalen andotherrocklegends...
Spanishcuitarback in 1952.Itis the oldest documentation ofa complete systemof tapping technicluesand would have been usedto play chords and melodies simultaneouslyin ajazz conte>d. The actual inventor of this technique as used on electric guitar, could well be Jimmie's influence and teacher,Harry DeArmond, who designedguitar pickups frorn themid r93os, and developeda tapping technique to demonstratetheh sensitivity. Later on in the 196os, expe mental guita st Harvey Maldel was well known for the technique and inthe r97os Steve Hackett from Genesiswas also exploring its creative use,along with FrankZappa, Brian May and Billy Gibbons integrating tapping into their vocabulary. Even with nearly fody years ofhistory, it was Eddie Van Halen in late 1978who brought the technique to the for efront of rock guitar playing with his showcaseguitar solo piece Eruptiolr, fiom the debut Van Halen record. As a new technologicalera commenced, the instrument and amplification systemswere undergoirlg relinement and advancement, with thinner neck, fl attet'fi ngerboards, lower actions,lighter st ng gauges,floating Modetate/Advanced vibmto systemsand an increasein available amp gain, theguitarwas nowsuggesting a INFO WfLL lfrfPnOVt VOUn new approach.A new era ofrockguitar fgV,V*io* technique\ asde\elopingfastwith EVH TEMPO:70l140 TArpeggio awarcnets leading the wayand influencing a generation CD:TRACKS 42'55 !zSpeed andfluen(y ofup and coming modern rock playerslike GeorgeLFch, SteveVaiand Paul Gilbert. THE TWO-HANDEDtappingtechniquehas Thiscolumn will look at the basic skills beenaroundsiDcethe eal\ daysofthe which serveas a solid foundatior for the electricguitar,with pioneeringjazzguitarist futher developmentthat will come over the JimmieWebsterreleasinghis bookThe next three issuesofthe series.Although EVH
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TBACK RECoBD Anuonenewto thetaqping,lochnique, espocially ina mokcontsxt,mustlistent0 thealbumthatstantodit it all,Vanllalen's (thebane0f evcrymusicst0reownsds eponynous first roloas6 from1970. Containing thetnackErupti0n lifefor at lsastthenext20y€ars!), thehcover0fTheXinksYouneallyGotlle, plusRulnin'tYithThoItevilandl'mlhs one,ifs anabsoldemmtasa documont of thisgroatstyle. 68 Guitaflechnioues Auqust2009
II/IO-}|AIIDtD IAPPIl{G Here'sthe halfrolltapping techniquethatstunnedtheworld in 1978!lt'sa singlestringA minortriad wirh the roor note on the 6rst finger,the b3rdon thefounh fnger, and the sth tappedat the 12thfret.A cleanexe€utionis crucial.Fotlowtherule that thefirstfingertip alwaysmutestherhickerstringnextto the one beingplayed.
Remainingnrings aremutedwith thetapping hand'sheelrestinggentlyon the s t i n g s .H o l dt h e p i c k a su s u a l a n du s e t h €s e c o n df i n g e r t o r a pP. L r l l o f i f r o m t h et a p d o w n w a r dasn do u t w a r d as n da i mt o g e t a l l n o t e se q u a l i nv e l o c i t yP. u l l i n go f f i n a n upwardsdirectionis alsocommon,so try both ifyou arenew tothe technique.
Here'san Emajortriad voicedwith the rcot on th€ tappednotefollowedin bar 2 by E diminishedand D majortriads.Th€voicingleadsfrom the root nots which i st h e t a p p e dn o t eo n a l l t r i a d s e x c e p t t h e f i rw s th,i c hh a s t h er o o tn o t eu n d e r t h e first frnger,th€ 3rd with thefourth finqerandthe 6fth, rappedat rhe 12thfret.This
is a greatwayto startmovingthe fr€tting handaroundwhikttapping, and you'll seethatthe tappednot€ is alsomovingmelodicallyto createa smoothsounding progression.Theffetting hand movesdown a semi-toneasthe tap sustains, disguisingthe movementandcreatinga fluid transitionfrom one viad to the next.
Herewehava e nA m i n o r t r i a d w i t h t h e 6 t ha s am e l o d yn o t ei n b a rt , m o v i n gi n t ob a r 2 w i t h a B m i n o r t r i a do n b e a t s1 a n d2 a n d aG m a j o r r r i a d o n b e a t s3 a n d 4 .T h e n i n b a r3 w e s e e a G d i m t r i a di n b e a t s1 a n d 2 , f o l l o w eidn b e a t s3 a n d4 w i t ha n A majortriad,finishingin bar4 with an A dim tiad resolvingto a B majortdad.Notethe
'exit'or finishing note.Thjsis the k€yto integratingthe techniqueinto other areas ofyour vocabulary.This particular 'third fingerslideexit'i5 one ofseveral(ommon playing.lwould tenden€iesin EVH'5 advisethatthe foulth fng€r is usedup to the very lasttap,andthen qui.kly swapto the third forthe slideand wide vibrato.
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Thisnext exampledemonnratesone of severalpossibilities for crossingst ngs,still canoccufifthe fretting handfourth fingeris stillhelddown,5of€el'6ngeron/finger usingour half roll triplet/sextuplettechniquesowe can leadacrossth€st ngswith off betweenthe notesasyou cross.Theexample€anbe playedwith the frrstand the tap.Assoonasthe tapped note hirsthe string,you willfeelthe frettinghandfilst f o u ( h f r e l t l n gh a n dl i n g e r so n t h e t o p t w o s t r i n g so f a s t h e 6 f s t a n d t h i r d , f o rm a ore f ngersnap quicklyinto position,waiting for the pull off from the tap.Dissonance blues-based angleto the handwhichk good for any possibleexits.
Auqust2009Giritadlbclmioues 69
Thenext two examplesdemonstratea coupleofcommonwaysthat EVHwould exit from half roll tapping licks,the first js the lap into bend' exit wh ich involvesslightiy rushingthe patternbyfeeltowardsthe frnishingnote.Thiswould translatenormally asa bdefmove from a tripletto four sixteenthnotesor,asin ourfasterexample,a
sextuplettofour thirty-secondnotes.Most rockguitarists,includingEVH,do this instinctivelya5theytargetthe nearestbeatfor eithertheexit note or next phrase. ExamDle6 demonstrates the 'reverseDatterntobend'exit.Bothareeffectiveideas f o rw e l d i n gt h i st e c h n i q u ien t ot h e e x i s t i n fgr a m e w o rok f y o u rp l a y i n g .
, i p ( b e n dd o w ns l i g h t l y ) a ntdh e nr e - p u s h b a c k t op i t c ha l l c o m e H e r et h e b e n d d from the fretting hand,the tap merelyholdingthe noteagainstthefret.Listen c a r e f u l l y t o t h e a u d i o e x a m p l eh teoa r t h ee f f e c tI.n b a r 2 , w e s e e s o mhea l fr o l l
p h r a s e a r o u nndi c e l y t a p p i n gt h a ti ss l i g h t l y f u s h eadt t h e s t a r t a n dw h i c h t u r n s t h e to talget the fretting handfirstinger on the beat.Themoveitselfisa turnaround o u t l i n i n gA m i n o r t oE b d i m i n k h e fdo l l o w e db y D m i n o rr e s o l v i ntgo A m a j o r .
Tap 11th frer
Tap 13lh irel
T h i se ) € m p l e w h i . hw i l l h e l p y o ud e v e l o pt h e f u l l r o l l t e c h n i q u e . W i t h tvhei sr s i o n o f Aim to minimiseany stringnoiseby restingthethumb padand heelofthe tapping the technique,thefourth (orthird)6ngeron the fretting handstayspresseddown as handon th€ 5trinqs,whikt the fretting hand'sfrrst6ngertip (youknow what l'm g o i n g t or a y l )m u t e s t h er e c o n ds t r i n g . t h e o t h e r h a n d t a D s a nDdu l l so f f .
Workout the intervalsin eachtriadto understand the voicing;and noticethat the tapped melodynotesmovein anticipationofthe followingchord.Thelickexitswith an EVHtrademarkthe replacementof the tap with a quickshift into rockvibrato.
70 Guitaxlbclmioues Auqu5t 2009
Usethe fourth fingerto playthrough up until bar 4, beat4, then prepare for exit by replacingthe foudh fingerwith the th ird.Thk couldalso be playedwith the fourth fins er allthe wayand a slidewith the second, third or fourth i nger!,soexperiment.
TI/YO-HAIIDtD TAPPIIIG
Alsoknownas'hamnreronsfromnowhere',th istechniqueallowsusto move acrcssthn e r i n g sl e a d i n gw i t h t h e f r e t t i n gh a n d a, so p p o s e dt o e x a m p l e 4 w h i c h t h e f r e t t i n gh a n dt a p ,a i mt o h i t d o w n u s e d t h ep i € k i n gh a n d t a p r ol e a d . W i t h h a f da n da c c u r a t e l y f r oamh e i g h ta t f i 6 t , a n dp r a . t i s el a n d i n gw i t ht h e t i p o f t h e
f in g e r m u t i n gt h a t a l l - i m p o f t a n t s v i nagb o v e a n dl i g h t l y d a m p i n g t hree m a i n i n g stringsunderneath.l would adviseusingyourf6t dndthird fretting hand frngerc throughout,exceptforthe sixthstringwherelwould bring the fourth inio play in oderto keeothe hand'souare' to the ftetboard.
T h i s f u l l r o l l i d e{ad e s c e n d r a nads c e n d tc a nb e s e e na sA m i n o rp e n t a i o n i c w i tahn added9th-Again,we usethe fretting handtap to moveacrossthe string.Forthe exit note,asin earlierexamples we seean acceleration, thk time from sixteenthsto
a si)(tee nth notetriplet which enablesusto exit with the fretting hand.lf no1for th is adjustment,or slightfulhing ofthe phrase,we would havererolvedon a tap which cansoundweakfor rockvibratoand be difficuhto fluidlv moveto anothertechnique.
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In bar 1 the tap pulls offinto a fretting handbend.Uponreleasing,betweenbeats 3 and 4, we seeanothertechniquewherewe bendfrom the frettinghandwhile holdinqdown the tapped noteon the secondstring'sl2th ffet.Thenwe seeour left
h a n d t a p t a k i n ug s o n t o t h e t h i r ds t r i n gi n b a r 2 f o r e x i tp, u l l i n go f f f r o m t h e t a p t o na g n da k o r e s t s o nt h e t h u m bp a d e n do n t h e f r e t t i n gh a n d f l s t f i n g e r . T h e t a p p i h and heelto muteoff any interferencefrom bassstrinss.
aim to hit down from a heiqhtand practicethe ac&racy ofthis move. T h i s n e x t e x a m p l e i s a n o t h e r t y p e o f f u l l r o l l w h i c h u s e s a n o p e n s v i n g . s t a t i n gAs w ialway!, th an A minortriadand movingvia an anticipationon the lasttwo notesof beat 1,to an A i m t o l a n ds u c . e l s f u l l y otnh e f i r s t s t r i nagn dm u t e t h e s e c o nsdt r i n ga b o v ew i t h E m a j o rt r i a d w , e c a ns e ea n o t h eer x a m p l e o f t h e f r e t t i n gh a n dt a p p l n gt e c h n i q u e . the verytip of the fretting hand'sfi rst6ngei.
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o u r f r n a l l i c ak p p l i e sa n o p e ns t r i n gr o l l a c r o st sh e n e c k s y m m e t r i c atlhl tr o u g hE , 8 , G ,D A , a n dE m a j o r t r j a d T s .h ee x i ti s t a p ,p u l l o f f ,s l i d e . Y ocua ne x i tb y t a p p i n g a n d then quicklyslidingeitherihe lecond,third offourth frngerinto place,replacing the tap with th€ samenote wilh thefretting handthen addvibrato.Alwaysaim to
memorisetheseexamplesat the slower'learn' tem po, beforeapplying5peed.Try timinq constantrepetionofthe ideasforfve minute peiods, only stoppingto shake offanytensionasit occurs.Next month we willcontinueby lookingat tappingasan extensionto our conventional leoatotechnioue. Goodluckuntil thenI
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Extracting arpeggios
chordor arpeggio,regardlessofthe octave. Notethat tlese intervalsarealsoprecededby theprefixsus.meaning suspended. r.2.5 (sus2)or r,4, S(sus4) But whena third is alsopresent,2 and4 are referredto as9 and rr respectively, regardlessof theoctave, ie:r,2,b3,S(maddg)orr,b3,4,5 (m add ). So.thefirsttwo r.2.3.5apeggiosin A Dorianshouldbe nanredasfollows: 12/9b35 A B C E (Amaddq) I b2ilb9 b3 s B C D F# (Bmaddbg) Andthefirsthvol, 3.4.5 arpeggios in A Doriar because, apartfi om a dominantZ it shouldbenamedasfollows: containsall themain chord-types I b3 4lrr s usedin Westemimprovisation A C D E (Amaddu) (maj7,m7,m7b5andTalt). 1 b3 4/u s This monthwearegoingto look B D E F# (Bmaddrl) at waysoferlracting andusing fu anq\ercise.tryworkingoutalltheotherr.2. arpeggios(four-notegroups)from 3, Sand1,3, 4, 5 tj?e arpeggioswithin A thescalesassociated with eachofthe Dorian,andgiveanappropriatenamefor each. chordsin thisprogression. Diagram4 showsa shortlistof suggested Playingsingle-notelines arpeggiosfor variousscales,ald Diagram5 composedof arpeggioswill giveyour showshowthis sameshordistcanbeapplied playingahamonic strengththat is overthismonth'schordprogression. missingwhenjust playing Most of the suggestions areusedin this consecutive scalesteps.Themost month'ssolostudy;however,theyareonly commonfour-notearpeggiosare suggestions. Youmustboth work out andtry seventh-t,?earpeggios, whichareall out all the variouspossiblearpeggiosfrom variationson a r, 3, 5,7 configuration within eachscalein orderto establishyour orvn (seeDia$am r). Try constructing preferences. As a long-tennaim,youcouldalso eachoneofthesearpeggiosfrom arry try extractingarpeggiosfrom the altemativelist givenstartingnoteusingtle interval ofscalessuggested in Diagram6. grid shownin Diagram2. Finally,notetiat it is alsopossibleto extract To seehowto eKractseventiL 3, S,6 - tlp€ arpeggiosfiom a scale;however, t)?e arpeggiosfrom a scale,let'slook thesecanbeignoredbecause theyaremerely atA Dorian.Aim to think ofthe notes invercionsofthe r, 3, 5, 7 -Bpe ones.For ofA Dorianasbeinga continuous example,in A Dorian,plalng thefirst, third, sequence that canbestartedat any point(seeDiagram3).Ne\t, if we stat from anA note,andjustplaythe first, third, fifth andseventhnotesin t}le seque[ce,we'll getour firct arpeggio:A C,E,C (Am7arpeggio).To getthe nerl arpeSgio, try thesamethingstaltingfroma B note:B,D, F#,A (Bm7arpeggro). Ifwe continuethis process,wegetdre followingsequenceof seventh-type arpeggios witiinADorian:Am7,Bm7,Cmaj7,lr,Frn7, F#m7b5,Gmaj7. Although,seventh-tnearpeggiosarethe mostcommonly-used four-notearpeggios, it is alsopossibleto playthe followinginterval conngurations: r,2,3,5o r 1,3,4,S.Inorderto nameeacharpeggioconectly,weneedto clari! abit ofmodem inteNal tenninolory. In termsof intervals,mostmusiciansthink of 9 andrr asbeingauoctaveabove2 and4 respectively; however,this classicalapproachto intervalsdoesntalwaysapplyto modern harmony.Generally,z and4 arereferredto asz and4 whentheyrcplacethethird in eithera
ThlsmonthShaunBaxterconcludes hisseries on creating distinct musical flavours byextracting four-note arpeggios forscales...
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IMPROVISERS MANAGETOkeeptheir playingfiesh bybeingselectivewith their note choice.In previousissueswehavestudiedways of exlractingtriads (three-notegroups)and pentatonicscales(five-notegroups)ftom the seven-notescalesmostcommonlyassociated with thechordsin thefollowingprogression: A m t/ / / l / / A 7 a l t / ) D ' r , 7 / / / t / B b m a j /T / / | 8 m 7 6 5/ E T a l/r | A m 7 / / / t /
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As mentionedlastDonth, this particular prcgrcssionprovidesaveryefficientstudy
TMCKBEC0ID RatherthanpartianlarartistsormoordlnfF, l uouldllte t0 sugestsomofurthor rsadirgty trtfull$eggios byoon ock (ftll Pro)andlho FrurkGambale Technique BookPart1&Part2( anhattan llusic).I alsorucommend thatyoulookat thefollowing yldeosJaz tusionlmproyisati0r (lvarn$Brs) and0nInDroyisation (DCl). instructional byScottilsndenson by,lohnScoffold 74 Guitat'Iedmioues Auoust2009
t)(TRACTilt0 ARPr00t0$ fiftI andseventhnotesfrom A (4 C,E,c), wouldgiveusthesameasplalngthefirst. third, fifth andsi\th notesftom C (C,E,q A). Onceyouhaveextractedan arpeggioftom a scale,experimentwith waysoffingeringit (tlree noteson eachstringwith string skips; two noteson onestrinssandonenoteon
ARPEGGIO
anotheroverseveralstrings;onenoteper string etc),until youhaveestablishedfingedngstlat feelright. Also,seehowyourfavouriteplayem fingerarpeggios,andthetechniquesthat they employto executethemsmoothlyat speed. Finally,try not getbrow-beatenby all the possibilitieshere.Youwill probablydiscard
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An7 (A,g C,D,E,F,G#) A harmonic minorscale A7.lt A Phrygiandominantscale (A Bb,C#,D,E,F,G) A half-whole scale- (A,8b,B#,C#,D#,E,F#,G) Atritonescale- (A,Bb,C#, D#,E,G) Aaugmented scale-(A,B#,C#,E,F,G#) Bbaugmented scale-(Bb,C#, D,F,Gb,A) 8m7b5 I Locrian nat2-(8,C#,D E,F,G,A) BDorianb5- (B,C#, D,E,F,G#,A) nat6- (8,C,D,E,F,G#,A) BLocrian A augmentedscale- (A,B#,C#,E,F,G#) E73lt EPhrygian dominantscale-(E,F,G#,A,8,C, D) Ehalf-whole scale- (E,F,F##,G#,A#,8,C#, D) (E,F,G#,A*,B,D) EtritonescaleEaugmented scale- (E,F##,G#,B,C,D*) Faugmented scale- (F,G#,A,C,Db,E)
[General] This study is composed entirely ofarpeggio-related ideas.However, somearpeggio notes have been approachedusing a chromatic note from a s e m i - t o n eb e l o w( s h o w ni n s q u a r eb r a c k e t s ) . T hiissm e r e l yt o d i s t i n g u i s h t h e m f r o m t h e n o t e so f t h e a r p e g g i o r t h e a y r en o t ' 9h o s t 'n o t e s ,a n d m u s t b e p l a y e da s l o u d a st h e o t h e r n o t e sa n d h e l df o r t h e f u l l n o t e v a l u ei n d i c t e di n t h e
BL o c r i a n ( 8 , CO , E ,' G , A ) )
ESuperlocrian (EF , , G , A b , 8 bC, ,D )
ARPEG6IOS Am7(A,C,E,G) Am add9 (A,B,C,L) cmajT{C.E.G.B) E m 7( E . CB, ,D ) Ftm7b5(Fc.A.C.E.) G a d d l l ( G , 8C D ) ATali C m 7( C E b , G , B b ) D b m a j T { s( D b i, A a ) , G.A) D b a u g * lt ( D b e samearA7t5(A,Cr,Er,G). Eb7(Eb,G,8b,Db) , b ,D b ,F ) G m T b s( G B Dm7 Dm7 (D,F,A, C) FmajT(t A, c, E) Am7 (4,C,E,c) 8m7b5(8,D,F.A) Dm addg (D,E,F,A) C a d d l l ( C ,E ,F ,G ) 8bn4AJ7 B b m a j T ( 8O, t A l Dm7 (D,F,A. C) 8m785 8m7bs (8,D,F A ,) F m a j T( F , A , cE Dm add9 (O,E,F,A) ETalt Gm7(G,Bb.D,F) , ,G ) A b m a j T #(sA b , CE Abaug#11 (Ab,C,D,E) sameas ETls(E,G*,B{,D) Bb7(8b,D,t Ab) Dm7b5{D,F,Ab,c)
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transcription,As with last month's triad-basedsolo, no solo is reallycomposed entirely ofarpeggio-based ideas,bntthis study should serve both as a useful exercise a n d a n i l l u s t r a t i ve x a m p l eo f w h a t a r p e g g i o sc a n d o f o r y o u r p l a y i n g , lBar ll I used my thumb to hold down the first note ofthe solo, but it's not vital t h a t v o u f r n o e ri t l i k e t h i s .
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lBars 3-41 Earlierin this afticle, I suggestedthat you investigatethe arpeggios within some Suggestedalternativescales.Thissection has been composed using two arpeggios that have been extracted frcm D melodic minor (D, g F, G,4,8, C#);namely Dm addg and AZThese two arpeggioswork welltogether, becausethey set up a very powefulVTto lm motion (known asa perfect c a d e n c et:h e e m b o d i m e n to f m u r i c a l t e n s i o n a n d r e l e a s ea,n d t h e b a s i so f a l l Westernharmony).Incidentallyrby now, you have probably noticed that not
allthe notesofan arpeggio need to be played when using it as the basisof your ideas.Finally,the Ab notetowards the end of bar 3 is used as a chromatic aPProachtothe following A note. [8a] 61Note that there are two
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lBar 9l lfyou want to switch to the neck pickup for bar 10,you will probably need to play the last triplet in thjs bar usingfretting-hand taps in orderto leave t h e p i c k i n gh a n d f r e e t oo p e r a t et h e p i c k u p s e l e c t osr w i t c h . l B a r 1 4 1I n t h i s b a r , t h eB m 7 b 5a r p e g g i os h a p ei s o f t e n p l a y e du s i n ga I n o t e o n t h e l 6 t h f r e t o f t h e t h i r d s t r i n g ,a n d t h e f o l l o w i n gD m 7 b 5a r p e g g i os h a p ew i t h a D note on the 19th fret ofthe third string; however,I omitted these because it makesit easierto playthrough these shapesat speed (in this case,by using a
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'you',"he said."If there'sno resistance there you canjust go anlrwhereyou want - there's almosttoo muchfreedom.I thinkyou needto be restraineda little bit, youneedan ES-335 dominatrix!" his In Exampler Garydemonstrates masteryofthe R&B rhlthm styleby playing a slickbackbeatgroove.It's an infectious rhlthm part with coollicksanddouble-stop fills that are seamlesslywoveninto the vamp. Thelicksandfills nevercompromisethe groove;it's a techniquethat only playersof Gary'scalibrecandeliver soefforllessly In Examplez, althoughthere'sno accompanimentbehind the licks, you canhear whetherGary's'thinking' C lnajor or A mrnor it's all achievedby focusingon the relevant notesof tle scale.Forinstance. theopenin8 double-stop licl
Gary||t|oorehlues lJ Theopening lickwould wonkovenanAminor it chord,butbecause Continuing ourthree-part videoseries GaryMoore Goncludes onthenoteCit rhythmand delivers a searing setof improvised justscreams Gmqjor!tt blueslicks. PhilCaponetranscribes...
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yritha 'straightoff theroad TSACK REC0RD Withouerthr'rtysoloalbums t0 hisname, Garyslatestoffering,8adForYouBaby, vasrec0rded andintot0thestudio'policy. Thealbum ceftainly captuiEs thatelusive livefeel,with lllr Moore0n blistering form.Guitars 0fchoice include hishybridFender Telecasten vari0us LesPauls, a Firebird andGary'scherryred 1965 ES-555.lt's Garysbestalbum forages! Gibson 78 GuitaxTeclmique August2oo9
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notes approach Chromatic jazzaficlonado Thismonthourresldent PeteCallard discovers thattheresa distinct methodbehindthe ^ ^P:O , ^| q . \l r r r 'r .' r- c' r]^\ _. 1r r^qc)c) . ' w [ t - , , , r n r lL ] u h co hLn. n/ \ _ . /n h rl o r c) co )c. . . o) P )aLLat v vr
aroundusingscalesand, pafticularly,arpeggios to outlinechordchanges, but there'smoreto sounding like ajazzmusicianthan just runningup and dor.n the odd arpeggio.The notes that lie betweenthe chord and scaletones- referredto aschromaticpassingnotes - area vital partofthe languageofjazz,but randomlysprinklingtherr hereandthereis not an automaticpathtoa Blue Notecontract.I'm afraid it's a little bit more complicatedthan that... At its mostbasiclevel, usingchromaticpassing notesis simplyamatterof filling up the gapsbetween scaletones(leavinguswith the chromaticscale),but without anykindof stlucturethis cansound pretryrandomand,at womt,an incoherentmess. Thegenelalideaof chromaticnotesinjazz and bebop,is to shapephrases sothat harmonically importantnoteslike chord tonesland on the strong beats- incidentally,Mike Stern's (GT1o1),while not wholly Chromazone relevantto this afiicle andcertainlynot bebop,is abrilliant exampleofthe useof chromaticpassingnotesto shapephrases andsetup resolutions. T}e application inja/2. ofchrornalicism and moregenerallyhowjazzphrasesareput together,canbe dividedinto a fewbasic approaches whichweJlbediscussing this rnonthand next.Todaywe'reexaminingthe chromaticapproach,the doublechromatic approachandencirclement. The chromaticapproachis the mostbasrc t
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useof chromaticisminjazz,andrefersto approachingachordtone or targetnote from a semitoneaboveor below,asshownin Diagramr. Examplesla a1ld1bdemonstrate this conceptappliedto a Cmajor arpeggio, followedby a coupleofjazzlines highlightingchromaticapproachnotesrn action(Example1c).The doublechromatic approachis anotherstraightforwardidea; this refersto movingup or down ilr semitones to a chordtoneor targetnoLe(ie starlingfrom awhole stepaboveorbelowseeDiagramz). Exarnple2a demonstmtes thisconceplappliedto a C majorarpeggio. followedbyacoupleofjazzlinesshowing doublechromaticapproachnotesin full hardcorejazzaction[Examplezb). Encirclementrefersto approachingthe chordtoneortarget notechromaticallyfrom aboveandbelow,orvice versa- literally encirclingthe notewith its chromatic neighbours,asshou'nin Diagrarn3. Example3a dernonstrates encirclement followedby a appliedto a C majorarpeggio. coupleofjazzlinesfeatulingencircleme[t (Example3b). Nextmonthr,rellbe de)vingererdeeper into chromaticapproachnotes,sojoin rne then - anddon't forgetyour hardhat.Ii
(Verve InACK Attintroduction isbcststarted Parker lGn nEC0nD toBebop withthepionoors likealt0-saxophonist Charlie Jazzl asters, (AilightinTunisia: (TheAmazing BurnsJazz- Charlie Parker), trumpeterDizzy TheVeryEest0f Dizzy andpianistBudPowell Gillespie Gillespie), guitar(boxset)featrresCharlie playing quintet. BudPowell Volumes 1& 2).TheGenius 0fTheElectric Christian withtheBenny Goodman
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(andalsoencirclement) doublechromatic approaches isthat,a9recurring three-notepatternsthey automaticallydisplacethemselvesrhythmically. (asin Ex Tryalternating betweenascending anddescending approaches 1b),andapplyingtheseideasto otherarpeggios andscales.
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84 Guitallbclmioues Auqust2009
APPROACl| IIOTt$ C||RO|l||AIIC ThisC majorarpeggio usesencirclementto leadintoeachchordtone.For the ascendingarpeggiowele startingfrom a 5emitoneabovethe chord tone,and forthe descendingversionwe'restartingfrom a semitone
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ALTHOUGH BOSSA NOVA ('newtrend'in Portugese)asbecome synon)-rnouswith cover versions ofGirl From Ipanema, the Latin sub-genreis a rich, melodic music featuring sophisticated rhythms and chord voicings,The nylon string guitar is the pedect instrument for this style - the warm, percussivequality ofa fingerpicked nylonstring makesit the pedect partner to the breathyvocals used in bossanova. One ofthe key elementsofthis style of playing is syncopation - not playing eve4,thing on the beat. Most fingerstylistscan play a cod bossarhlthm but there are actually many subtly different syncopatedrhlthms and I have included severalin this month's study. Bossahas a strong two-beats-tothe-bar feel, hencethe time signature of2/2 (alsoknown as cut time). The music also draws upon a large palette ofchords - like jazz, the harmony can be sophisticatedusing extendedor altered chords and awhole host of Moderate substitutions. Indeed ifyou are looking to expandyour chord vocabularythen bossais a great style to get into ! KEY:Cmajor ZSyncopation You will often encounter IIm-V-I TEMPO:55 BPM v Linking sophisti(ated chords chord progressionsand tritone CD:TRACKTl tiTiming atslower tempos substitution in this style - I will expand
more on thesetopics in next month's article but in bdeftritone substitution rs a great shortcut for getting an altered dominant chord sound - when you seea V7 chord resolving to a I chordyou can substitute a dominant seventhchord a b5 (a tritone) away from the V7 chord. The resulting chord sound contains the b5 and b9 ofthe original V7 chord thus giving you an 'altered dominant'sound. Many greatbossaguitarists exploit this devicefor the tension and releaseit provides. In fact, combining this with a syncopatedrhlthm is great way of getting an instant bossanova sound! This is a great style to get into and over the ne),tfew months we'll be looking at more rhythms, a wider arrayofchord voicings/progressions,and how to combine bossarhlthms with somejazzy licks. So pickup that nylon string, head down to the beachand get playing ! n
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IIACKREC0RD BossareaIIyreachedthemainstream (thealbum through themusic0fStanGetzandJoaoGilbert0 Getz/Gilberto also p0welland features Antonio Garl0s,robin). Thoro aremanygreatguitarists inthisstyle thsbetterknown Includ€ Baden Charlie Byrd. It'salsoworthoheckingout trancisAlbertSlnatra & Ant0nio Garlos Jobim 0nwhiah thetwocollaborated onthegreatbossa standands. 85 Guitaflbchnioues Auoust2009
il0llA 808$A sound than standardmajT chords (which can sound like elevator musicon n y l o ns t n g ! ) . w h i l s t t h er h y t h mh a s n l c h a n g e dy o u w i l l a l s on o w s e e t h e a l t e r n a t i n gb a s sl i n e o n t o t h e s i x t hs t r i n g . lBar 9l Here'sa changeof rhythm - watch out forthe syncopationson beat 2. lBar l2lHere is a tritone substitution the Db7 in place oftheGZ Reallywe a r e v i e w i n gi t a sa G T c h o r dw i t h p l e n t y o f g r e a ta l t e r a t i o n s t oa d d s o m es p i c e b e f o . e s t r o n g l y r e s o l v i nbga c k t o t h € | ( c ) c h o r d .
l B a r 1 l t h e f i r s t t h i n gt o r e m e m b e ri s t h a t i n 2 / 2 t i m e t h e m i n i ma c t u a l l y representsone beat - so the crotchetsare halfa beat and the quaversa q u a l t e ro f t h e b e a t . I h i so p e n i n gs e q u e n c es e t su p a t y p i c a l b o s s ar h y t h m . o u ' l ln o t i c et h e a n d a l l m ( D m ) V( G ) l ( C ) p r o g r e s s i ocno m m o nt o t h e m u s i c Y 'altered G7 in Bar4 has a #5 - what we refer to as an dominant'and something which gives bossaits bite! lBar 5l [,lajor and minor6/9chords are a big part ofthis music and wo(h committing to memory.They can have a rounder and lesspredictable
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f n r , r ' n . 6 I - t \ .i < - . 6 , r ,t - r utlL ^ b a n d a d n i \ that a ot ofthe successhereis due to producerDavid B e n d e t h . ' Hfei p p e do u r s o n g sa p a r tc, o m p l e t ey deconstructedus and it hurt"reveals bassistA,4atthew Leone.But it wasobviousy wofth the pain becausethis ls a stunningalbum.En.joy the diversityof Legends, Through The Painand Statlstics. MadlnaLakehavetoured extensively and it shows.Perhapssomeofthe bands r l ' e , ^ - p p o e d " a u b b ^ d o [ ' o n ' ^ n b u r i rc e t o i n l y works.Glvethis a listen- you won't be disappointed.
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F0lse l\ilamentum Songs**** Whata delightfully refreshing albumthisis,offeringa mixture ofrockandpopwithpoetic lyricsthatcanonlylightenthe spirit.This maybeJohnny's debutalbumbutthesongsare strongandthe playingissolid. Heknocksoutsomegreat guitarandsingswith acoustic go authority. Extraguitarcredits toJustinCraigandproducer DuaneLundy.There's lotsof 90 GuitaxTeclmiques August2009
variation here,fromthesolidtitle trackthrough thestompingbeat andmanicslideguitaronWorld On Fire,on tothe heartfelt Sailboat. AttimesBennettsounds a bit likeJohnSebastlan ofthe particularly LovingSpoonful, on YouWillBeginandtheslower material, butthere's nothing wrongwiththat!Let's hopethis bringshimasmuchsuccess.
BLAC( SABBATH
THE BEST 0F...
Sabbath werenotexactlya prolificbandwhenit cameto singles, sothiscompilation usesa selectionof populartracksfrom theirfirsteightalbums. lt'san obviousselectionfromthe Ozzy yearsbut it doesintroduceas possible. muchdiversityas Sabbath haddiscovered their ownstrengths andcollectjve
* Binit!
THEJOKERS
THTBIGRO(K & ROLL SHOW
**** Tap-Twa Theambitionto betheworld's greatest rockandrollbandmay beseenasaiminga littlebit hi9h, yetthisisexactly whatTheJokers, quartet,setout to a Liverpudlian withtheirdebutalbum. achieve soundandstuckfirmly to their Inspired bythe likesofCream, guns.There isa littlelightrelief Zeppelin, Hendrix,The Beatles withChanges but basically it'sthe andTheWho,onecanonlyreally trademarkriffy,heavyrock. expectdisappointment butfar production quality fromit - thisisgreatlThe Unfortunately album varies enormously sothereisa lackofcontinuity herebutwith Paranoid, 5abbathBloody NeversayDieandlron Sabbath, youcan'treally lvlan allincluded go farwrong.Soifyouwantjust oneBlackSabbath albuminyour collection thiscouldbeitl
WHITESNAKE STIP OFTHETONGUT 2OTHANNIV ED wasoriginally recorded in El\ll**** Thisisoneof twoWhitesnake Anniversary landmark albumson (theunsubtly currentrelease namedSlidelt ln 25th Anniversary istheother)andit is particularly curious. Dueto an quitarist regular accident, Adrian Vandenberg wasunableto
guitarist PaulHurst's livingroom andmixedin a Liverpoolstudio not buttheresultswere favourable. Ina desperate search acrossthe netthey discovered ACIDCproducer MikeFraser and wereinvitedto sendintheir mixes.lvlikewasimpressedand remixed thealbumintothe huge soundwe hearon nowlistening. Thisisanexcitingmixofstyles andissomehowboth retrospective andforward reaching at thesametime.As suchitstandsaloneandneedsto in orderto befullyabsorbed appreciateexactlywhat'son offer.
WIttIAM FIIZSIMMONS performduringtherecording, eventhoughhewascredited. hadseen SingerDavidCoverdale SteveVai'sguitarplayingin the filmCrossroads andcalledhimin forthesessionsandthe subsequent tour.Vandenberg hadoftenaccused Vai'sinputas 'somewhat inappropriate'and wouldhavepreferreda more bluesyapproach. Fansargueover itsmeritsbutwithsalesin excess offourmillioncopiesto dateit's obviously appreciated by many. Thisspecialversion includes a B-side, Vai'smixof FoolForYour Lovingandsomelive performances.as wellasa separateDVDsoit'sgreatvalue for money!
GOODNIGHT
WilliamFitzsimmons isthe youngest childoftwo blind parents andthisalbumwas inspired bythe'darkaftermath'of theirdivorce. Soyouknowright particular awaythatthis CDisn't goingto bea happy-go-lucky walkin the park,Infact,
Fitzsimmons saysthatthetime spanthatthisalbumdocuments was"absolutely oneofthemost depressed anddarkperiodsl've beenthrough'iFactorin the news that he hadhimselfbeenrecently througha divorceand we suspectdthe songson Goodnight mightactually be unbearably maudlin. Inactualfact,the collection of acoustic-based songson offerhereshows that thecatharsis hasbeenan effectiveone;sure,the materialis introspective, verypersonaland unbelievably dark- butthereisan underlying beautyallthesame. Thecompositionsrevealatrue songwriting abilityandit willbe interestingto seewhathappens nextin thecareer ofthistroubled butverytalented soul.
RICK DERRINGER
brothers, JohnnyandEdgar, beforebeingimmortalised by SteelyDanastheinspiration for theirhitRickyDon'tLoseThat Number. Allfineofcourse, but Derringerhasneverreally receivedcreditforthe thing he doesbest- playingbluesguitar. Hehasreleased a seriesofbluesy albumsoverthe pastdecadethat havefallenshortinthe public acclaim department, despite beingcreditable contributions to thegenre.This isn'tentirely Derringer's fault- theblueshas neverbeenfashionable, although newartistslikeJoeBonamassa couldchangeallthat.Knighted ByTheBluesfeaturesa greatdeal of self-penned materialaswellas someblindingcovers ofthelikes ofJimiHendrix. Maybe2009will be Derringerlyear?
BBKING
LIVE ATMONTREUX 1993 EagleVision **** The BBKingvideoarchiveshavebeenseverely plunderedrecently.Just a few issuesbackwe lookedat two concert5from the'7Osand now he'sbackwith this impressiveperformance from the MontreuxJazzFestivalinl993.Still, you can'thavetoomuchofa goodthing and BBlovedthisplace,playingitan amazingnineteentimes!Here he iswithhiseight-piece BBKingOrchestra and brasssection, with LeonWarrenon secondguitarandMichaelDosteron bass.Resplendentin a sparklybluejacket, BBsportsaLucille with hissignatureinlaidon the fretboard.lt'sa top performancefromthe man in both playingand voice,and the programmefeaturesmanyfavouritesincludingSinceI MetYou Baby,RockMe Baby.When lt AllComesDownandTheThrill ls Gone.ThisLiveAt Montreuxseriesshow5how luckvwe areto be ableto seesucha stunningselectionof performers,manyof whom havehardlybeenseenanywhereelse.They'regreat qualityrecordings aswell,both soundwise and visually.
ERI((APTON & SITVE WINWOOD LIVC TROM MADISON S()UARE GARDEN
KNIGHTED BYTHE BLUES
Prcvague *** RickDerringer isprobably best knownfor havingbeenthe prodigious guitartalentwithThe Mccoysduringthe mid I 960s - rememberHangOn Sloopy? Yep.that washim!Thenhewent on to playwiththeWinter
CROWDEDHOUSE WOODFACE Capitol ****
Woodface wasd curiously titledthirdalbumfrom Crowded Housebut it was theoneto leavethe most lastingimpact.Afterhaving two a bumsandseveratours behind t h e m ,e a d ear n d songwritN e re i F l i n nw o r k e d w i t hb r o t h e r T iomna na l b u m to becalledFinn.However therewasalsoa thirdCrowded H o u sa e l b u ms c h e d u l e d . WhenCapitol Records rejected mostoftheband's new (itwas"toodark"), material Neilasked Timiftheycoulduse someofthesongswrittenfortheirownalbum. Timagreed, joinedthebandandtheywentintothestudioto record seven songsto complete theproject.t wasreeasedinJuly1991 a n da c c l a i m ea dl lo v e r t h w e o rd . t r e m a i nosn eo f t h em o s t popa bumsofa I timeandcontains diverse andentertalning truec assics likeWeather WithYou,FourSeasons n OneDay, It'sOnlyNatufaandFallAtYourFeet. Therearegreat harmonies, witha useof chords plusa thatrivalsThe Beatles, superbproduction. Consider thisasessential listeningl
Repise***** Thisisa greatconcertfromsteve and Ericwith a superbandconsisting of ChrisStainton (keys), lanThomas(drums)and WillieWeeks (bass).This is a programmepackedwith so much good materialit'shardto pickout favourites. Fortheoldiesamonqus,thisi5 effectivelytheconcertwe would havelikedthe lacklustreBlind FaithAt HydeParktohavebeen.InBlindFajthEricdidnl want to singbut sincethen he! turnedintoa fantasticvocalist.This gig wasa bigoccasion andthe boatwasfirmlypushedout - the soundandvisualsarereallysomethingspecialand everyone wason top form, Checkoutthe similarfoot movementsfrom thefrontmen duringtheirjointsoloon HadToCryToday!The seconddiscis quitea gemtoo a5it featuresthe d ocumentary The RoadTo l\4adisonSquareGarden,plusextratracks, interviewswith Steveand Eric,rarefootage of Cream,Traffic and BlindFaith,and theacousticsoundcheckperformanceof RamblingOn My Mind.Highlyrecommended!
CROSBY, STITI.S & NASH (ANYON TTGENDS OfTHE
Univers1l** Thisband'sformationwa5all about crosspollinationwithin the folk sceneof LA! Laurel Withmajorartistes Canyon. of the time,likeThe MamasAndThe Papasand someofThe Byrds, living or'hanging out'in the area,it! not surprisingthat bandswere influencedby each other.Whatupsetthis idyllicexistencewasthe arrivalofThe Beatles. The effectwas explosive,with everyone d itching their goingelectric.And acousticsand whenthe pathsofDavid Crosbt StephenStillsand GrahamNashcrossedtheywere all readyforsomething newWhethertheymet at JoniMitchell! houseor CassElliotlthey5tillcan'ta9ree, but theirmagicfirst gig - atWoodstock- somehowmarkedthe end ofthe Laurel Canyonera.Althoughhistorjcallyinterestingthere! little here musicallyand it'salla bit too selfcongratulatory at times. Despitesomeunseenfootagefrom photographerHenryDiltz on the seconddisc,repeatwatchingisan unlikelyevent.
August2009GuitarTechniques 9r
Fearnot,Dave,thiss a problerf sharedby practicalyeveryoneln perod.fyouare theirearlylearning riqht-handed, rtslikelyrhaiyourleft handis usedto doingnothingmore gearn the sfienuous thanchanging caror ho dlnga coffeemug.50al the atnet csneces5aryto cnoreograprl wilhavecomeasqulte chordchanges a shoakto it.Theanswetasalways,ls time,patienceand plentyof practce butlwou d addthefolowingcheckist jLrstto makes![e that th ngsareon couTse Areyouhodlngthegultarneck you sothatyou tippedbacktowards lfso,your canwatchyouringers? wristwillnlmost certanlybecramped, makng rtdif6cut for rhefinger to movefreey.Tryto holdlhe neckso l'm no physicist but as undefstand It sounds lkeyouvegot ane ectrlcal thatyourwrist lsasstraight a5possible t,lfyouwereto do anexperlment faut, Pete and rnygues5 wou d be Dear Theory and,ifyouneedto checkthelocation 6odmother peerover,ratherthan Whyis it thatthesamegaugeof whereyou hadtwo stringsofldent ca thatthe bridgepckuphasa damaged of yoLrrFngers, stringfeelsd ifferenton a Strat sLJspended thlckness betweentwo orfauty coi.Sometimes theycan rip rhefretboardback. points- one at Fender to what it doeson a LesPaul? s 25.5andlhe shortpa(-waythrough thecoilbut Secondly, checkthal yourthumb position Someonetold me itwas down otherat G bsons24.75 andyou stilsoitofwork.You needto takethe iscorreclin genera,your to stringlengthbut surelyit'sthe wereto tuneboth stringstotheexact g!itarto sorneone who canmea5ure frettng handthumb shoLrd bejust sameon both instruments? witha meter 5amepltch,you'dfindthatthe tension thepcklrp5impedance aboutverticaland dehntey not prodLJced provdeyoLr n the shorterstrlngwas ess asthiswlll withconclusive eaninqtoo far eft or right proof.lfrtisdefective thanthatof ts counterpart.n other then 'm afraid Folowthesegeneraru es,keep practl5ing No,in facithe strlngengthon most wordt the shorternr ng doesntneed you'lhaveto change thepickupor and 'm sureyou'l be Fenderguita6isdlfferenlto thaton to beastautto achevethesamepitch. havethe brokenone re-wound. changng chordsmuchqu ckerbefore mostG bsons but letslirstdefine 50the samegaugeofstringswil fee Onthe otherhand,it couldbe sorne IOOOng. exactlywhat it iswe'retalk ng about. sliqhtly'ooser'on a LesPaulthan rtwi I sortofgltchwiththeinternawiring, pos5ibythe switch,and so f5 bestto Ag!itarsstringength'a so on a slrat. knownas'scale length- s measLled get the guitarcheckedout by a techas Dear As say,the sclencebehnd a I this Theory 6odmother iromthenuttothe brldgeand is beyondme,but thesearethefacts. sOOn a5yO! Can. Canyou explainwhat peoplemean represent9 tne actuaplayaD e lfanyoneout therewou d I keto give when they talk about harmonising lengthofthe string.Headstock size Lrsalayman's in thirds?lreadin a theorybookthat 9u de asto whythis phenomenonoccurtfeelfreeto write Dear or what sortofstringanchorpoint Westernharmonyis basedonthirds, Theory Godmother behindthebrdqedoesntaffectrhe in andletusknowl I havenot beenplayingfor too but lcan't reallyseewhatthey mean. measurement we'feconsidef ing. long,but I'm stillexperiencinggreat We harmonisewith whole chords, On a Stratocaster,thl5 d nance s diffculty in stretchingmy fretting don'twe? (65cm) 25.5lnches andon a Gibson, Dear handfingersacrossthe guitarneck Theory Godmother Itssllghly shorter at 2475inches Up untilacoupleofweeks agomy on certainchordslikeG majorand (63cm)and you'dthinkthat Stratsoundedgreaton allpickup whereas G7.lt'smythird and fourth 6n9ers Yes,we harmonise u5ingchords- but the 0 75inch(2cm)berweenrhem settings,but now itsuddenlyseems that seemto havetheproblem. chordsareactuallymadeupfrom wou d be neitherherenorthere,it to havebecomethin on the brjdge Couldyou tell me ifthis is normalor th rds.Letme explain.. canmakea conslderable difference and bridge/middleselections. Have am I likelytobe doingsomething n Example l,l'vewrittendowna you heafdofthis beforeand do you to thefeelofaninstrument, wrong?lguessl'm afterreassurance coupleof slmple chordssothatwe especialy!a/here knowwhat could havegonewrong? morethan anlthingl stringtenson is canexporetheirinnerworkings. lf we cofcetneo Pete noteswithin Dave consider theindividual
Theorv Godmothe
posers yourplaying Post andtechnicalteasers to me,Theory Godmother, GuitarTechniques,30 Monmouth Bath, Street, BA12BW [email protected]. Yourwishismycommand. .. StringTheory
IheThirdMan
ThetongStretch
Coil-tnpped?
jj
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peoplel've evermetondyetyau wauldn'tquessthathe urday *o, orc ofthe nicest wouldbesucha sweetguy.Hisrccordsweresoeorthyandyou can'timagtnesucha niceguy 'You singingall thisnastymusic!Buta lat of timesl uddyusedta tay, shouldhaveseenme whenlwasyoung,lwasa realhelkaiset!' l'msurehe was,but thelostfewyearswhenI knew him hedgatteno lot of respect frompeopleand hewasn'thovingto struggleonymare,and Ithinkheknewthepeoplelavedhim ond helikedthot.Hewasrealglodthat he wasgetting Hewasolsoa veryfum bandleader;he sameocceptonce. didn'ttakeany shit.lfhe didn'tlike fromthem. samething, hedlet themusicians knawexactlywhothewantedar expected Buthe wasrealgoodat beingniceand ciiplamatic at thesametime.r,
92 GuitarTechniques A!qust2009
r Exampletract taken from ]alklngCultarsby DavidM€ad,published by Sanctuary,ISBN: 1-86074-620-S. Price:t9.99 (UK), (USA). $14.S9
@dE@@0&A ExampleI
Example5 x
oa
E)@dnple 2
a)J
A generic'quartal harmony' chordshape- turns you into an instantjazzer!
6
demonslraton purtoses only
Example3
Example4
add9 sus4ora G 6/9and, suspect, a mu titudeofotherchordt too.Tfy takingthe baslcshape(Example 5) andpayingitchromatically up and downthe ingerboard.lt wi I turn lnto a newchordon everyfret,but your earwon'trealy be ab e totel exactly how it'fits'ina musicacontext,but somehowlt manages to performa psychoacoustic conjuringtrickwhich makesyou be ievethat everr4hing isin rrsproperp ace
l(eepAGrip? Dear Theory Godmother ihcm
n rhF.:
So whilstonewayofthinkingisto chord,we haveC to E- a majorthird saytnatwe usecnord5toaccorapany fo lowedby Eto G - a minorthird. a ot ofmusic,thefact isthatthose Puta lthreenotestogetherandyou chordshavebeenbLritfromthirds.ln havethe majortriad,oneol harmonys otherwords,we harrnonise in thirds. princpa buidlngblocks-b!itfrom IntToS, Thesameistrueofthe C m nor tr ad:thedlstancebetweenthe C Dear Theory Godmother andEbisam northirdandthat Whatdo they meanby quartal betweenthe EbandG isa rnajorthlrd, harmony'?lmet up recentlywith producinganotherverycommon someonefroma jazzbackground harmonlcdevce, and he wastalkingaboutit asifit Whenchordsareextended, other werethe next stepin evolution,but notestromthe scaleare addedto lfigured if it wasthat important the triadandyou'l findthat its the everyonewould betalkingaboutitl norrnapractcetoadd rnorethirds. Canyou offera few wordsofwisdom LookatExample 2:theC majorseven on the subject,please? comprisesthe C trlad,p usthenoteB. Lewit CmajorT=CEGB We'vea readyestabJished that the Youneedto watchwhatjazzers tell youaboutharmony, basictriadis madeup fromthlrds,bur Lewls- theyte if we considerthe distancebetweenG al barkng rnadin my experlence. and B,wefind that thl5too isa malor Seriou sly,if youtakea lookat the etter thlrd. above,yoLr'lseethatthe convention Now ets ookattheC7:thls tlme, inWestern harmony lsto harrnonlse we'veadded a BbtotheC triad. usingthirds orat leastchords made = C7 C E G Bb up frornthis nterva.However, thejazz Measurethe distancebetweenthe G fraternityisa waysooklngfor new andBbandwefinda m northird. soundsto experiment with andway
MayTheFourthBeWithYou
ls it wrongto grip'theguitarneck backinthe 1950s and'60sthere wasa with thefretting handthumb over movementthat beganinvestigating the edgeofthe fretboardwhen you the Lrse offourthsratherthanthlrdsas benda string?Afriend of mine said the basisfor harmony. that he'dbeentold by hisguitar Thethingaboutthe nteNaofa teacherthat you shouldkeepthe tourth(seeExarnple 3)isthatthejury thumbbehindthe neckat alltimes, lsstil outasto whetherit isconsonant but lknow l'veseenpicturesofmany (ienice-sounding) or d ssonant(le famousguitaristswith their thumbs nasty).50 anychords raadeup usng clearlyvisible. foLrrths tendto be a lift e ambguouschan in thatyoucan'trealyteI sounding ifwhatyoutehearingis majoror Tobe honest, Chan,dontseeanother minor, dlssonant or consonant.They're wayofdoing jt. lf you'febendinga dlficu tto deine,too;wlthoutmajor strng yoL.r needsorneklndofgrip present or mlnorthlfds asknown on theguitarneckandsohaving the points,tryingto anayse reference thumbthereassornething to push chordstructures bullton fourthscan a9alnst lsessential.lt woud be my guessthatyour friend'sguitarteacher bean absolutenightmare. Perfect for :77 ar^c,imc^t)ii^n rha^ isoneofthebldschoo'classlcal y Naturally,therearewhoe books basedvarietywherehavlnqyour wriftenon the subjectandl'dsuggest thurnbvisibeabovethefretboardis that ltyou wanta moredetalledlookat considered a heinous cr me. t mlght the whackywor d ofquartalharmony, betruein cJasslcalp ayingwhere you spendan afternoonbrowsing fretboards arewider,the repertolre the lnternet.8ut l leaveyoLrwith an vastlydifferentand bendingunknown, example ofhow paralelfourths can but goodold rock'n'rolstiI glvesneckbeusedln gultarchords.ln Example g r p p n gt h e t h u m busp ! 4,you'lfind a 6/9 chord;it 5made up frornthe notesE,A,D,G,which Visit www.davidmead.netto (he(k meanst coud be a rootessC 6/9,a D outDavidk books andsoloC0..,
August2009GuitaxTbclmiques 93
,P**.,I?II
xrynry
GTIJ$ER GUIDE ."i.s.::,:e.igf::tl
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YoucangetmorefromGTby understanding oureasy-to-follow musical termsandsigns...
RELATI NGTABTOYOUR FRETBOARD Everytranscriptionor lessonin GTis graded accordingto its levelof difficulty,from Easyto A d v a n . e d . W e l l a l lseoty o u k n o ww h a t a s p e cotf your playinqwillbeneft by attemptinga lesson.
ooaoo oaoo ooo oo o READMUSIC
Moderate-Advan@d
HAND LASELLING Herearethe abbreviations usedfor eachfnqerl l r e r l n g h i n d : | 2 . 3 . 4 .( l ) o i c l i n Sh a n d : pl r h u m b ) . i ( l n d e x )m, ( m i d d l e ) ,(aa n n u l a r ) , c ( i t t L e f n q e r )
NUT& FRETSOARD Thefretboxdiagram aboverepresents thefietboardexactl, asseenin the photo.Thisis forease accompanying ofvisualisinqa fretboardscaleorchord qul.kly.
G
Moderate
Eas}/-Moderate
A
Eary
Eachtranscription is brokendown into two parts...
CHORDEXAMPLE
CHORDEXAMPLE(WITHCAPO]
T h ed r d g r d r, F pF \ e n r rt h pc ( h o r dr r r h Fp h o t oT. h " 'O'symbolis a r o p e ns r i 1 9 .a n da c r r c l endJ m b e r sa fretting6nger.Int€ruals areshownbelow..
Thebluelinercp€sentsa .apo torthisA chod,placeit - here at fret2.Caposchange thefretnumberordering frctJ,Fer/ no,afiet 5.etc theo,qrnalf.et) nowbecomes
ItUSlCAl STAVEThefive horizontallinesfor musicnotationshow note pitchesand rhythm5 a n da r ed i v i d e db y b a rl i n e s .
A majorscale
1'a
TAPPING & HANMONICS
S C A L EE X A M P L E Thediagramshowsthe fret handfingeringfor the A majorscale(rootnotesin black).Thephoto showspartofthe scalebeingplayedon the 4th s t r i n gw i t h6 n g e ul , 3 a n d4 .
Theleft box showsanA minor pentatonicscdlewith added tappednotessignifiedby'T's. Aboveshowsa cmaj9(no 3d) with harmonicsatthe 12thfrei.
TABaINGUnderthe musicalstave,Tabis an aid t o s h o w y o uw h e r et o p u t y o u r f n g e 6o n t h e ffelboard.Thesixhorizontallinesrepresentthesix s t r i n gos n a g u i t a r - t h en u m b e r o s nt h e s t r i n g s arefiet numbe6.Thetwostaveandiab examples show4 notesand4 chordsjc (c major),Em(E minor),D7 (D dominant7) and Am7 (A minor 7).
PICKINGVARIATIONS ANDALTERNATIVES
@@
lThefirstnoteistobedown pickedandthe lastnoteisto be
I Each of the four notes are to be a temate picked (down & up pick€d)very rapidlyand
94 GuitarTbchniques August2009
I Palmmuteby restingtheedqe ofpickinghandspalmon the strlngsnearthebridge.
E@
TEE@
I Dragthe pickacrossthe strinqsshownwitha 5ingle sweep. Oftenusedto augmenta
I Playthe notesof the chordby nrumnrlngacross the relevant stringsin the dlrection of the
HAND FRETTING
@
@
@@
I@
@@
ffi ::iir=)I= I P i c kl 5 t n o t ea n dh a m m e f on wth frctting hand for 2nd n o t e . T h ep n i c k3 r d n o t ea n d
I Rapidlyalternatebetween the two notesindicatedin bracketswith hammerons
I P i c k l s t n o t e a n d s l i d et o t h e 2 n d n o t e . T h el a n t w o n o t e s l h o w a s l i d ew i t h t h e lan note being re-picked.
l Soundthe notesmarked w t h a s q u a r eb y h a m m e r i n g on/tappingwith the fretting-
I X markingsrcpresentnotes muted by the fretting hand w h e ns t r u c kb y t h e p i c k i n g
I Pickthe note and then bend up a quaftertone (avery small amount). Sometimes refetred
lThe fretting hand vibrates t h e n o t eb y s m a l l b e n du p s and releases. The last example usesthe vibratobar.
EENDING ANDVIBRATO
E@!l
@
@
I Fretthe start note (here, the 5th fret) and bend up to the pitch ofthe bracketed note,beforereleasing.
I Bend up to the pitch shown in the brackets, then re'pi.k the note while holdingthe bent note at the new pitch-
I Bendup from the 5th ftet to the pitch ofthe 7th fret note,then pick it and release
HARMONICS @
l@
EE!@
@ A
-'e
F*-----l-------T;-
a\^,n
;F--
^ =>
?I P i c kt h e n o t e w h i l el i g h d y t o u c h i n gt h e n i n g d i r e c t l y overthe fret indicared.A
I Fr€tthe note asshown, t h e nl i g h t l yp l a c et h e i n d e x f i n s e ro v e r ' xf r e t ( A H ' x) a n d p i c k( w i t ha p i c k ,p o r a ) .
(AKAWHAMMYBAR) VIBRATOARM @ IEE@
a T h e n o t e i s p i c k e d ,t h e n t h e w h a m m y b a r i s r a i s e da n d lowered to the pitches shown
l S c o o p- d e p r c s tsh e b a r j u n beforestrikingthe note and release.Doop lowerthe bar slightlyafter pickingnote.
! Fretthe note asshown, b u t d i g i n t ot h e s t r i n gw i t h t h e s i d eo f t h e t h u m ba sy o u soundit with the pick.
I A previouslysoundednote is touchedabovethe frct m a r k e d T C (He g T C H9 ) t o
I Fretthe note asshown,but s o u n di t w i t h a q u i c kr i g h t hand tap at the fret shown ( r n r / , r o ra n a r m o n r c .
CAPO
@
@
@@
I N o t es u n a i n e dt ,h e nt h e v i b is depressedto slack.Square brack€tusedif a long-heldnote h a sn e wa l t i c u l a t i oanp p l i e d .
l Soundthe note and'flick' the tremolo bar with picking h a n d s o i t ' q L r i v e 6 : R e s u l tisn a 'gargling'soundl
I A capocreatesa new nut, s ot h e a b o v ee x a m p l eh a st h e g u i t a r ' s ' l i t e r5atl h f r e t n o w a s the 3rd fret.
OTHERTECHNIQUES
@
@
I The edge ofthe pick is draqgeddown or up alonq t h e l o w e r s t r i n g st o p r o d u c e a
lTurn volumecontroloff, s o u n dn o t e { s ) a ntdh e nt u r n vol up for a smoothfade in. Called'violiningi
@
I Thenumbersafterthe noresarethe frngersrequired t o p L a yt h e f r e tn u m b e r si n
I Fingerpickingrequircmenls are shownat the bottom of
r T a p ( h a m m eor n ) w i t h a f rn g e ro f t h e p i . k i n gh a n d onto the fret markedwith a c i r c l eU. s u a l lw y 'th'i'or'm:
Auqusr2oo9GuitarTechnioues 95
Guitarlechniqu B A C K I S S U EE N Q U I R I E S Pleasecall:0844848 1602 on co.Lrk EmaiIg! rarre.hniq!€s@5Lrbscript
suBscRtPTloNs 2852 Phoneour UKhotlineon: 0844848 n
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