PLAY bLUeS • rock • jAzz • acoustic • LeAd • rhythm • ANd morE! 259 AUGUST 2016
thE world’s bEst guitar lEssons!
spice it up with some...
Exotic
BLUES Learn new notes to excite your sound Ditch those tired old predictable licks Master ‘outside’ playing today!
tRiBute
PLUS Play
great acoustic like John Mayer!
Lonnie Mack Play hot blues-rock
like a true legend
esseNtiAL sKiLLs
tapping Stamina Put power in your second third and fourth fingers
RocK LiKe...
Ac/Dc Learn the rhythm & lead styles of Angus & Malcolm Young
Your Style Masterclasses Learn great licks from the greatest players! Featuring: Al Di Meola, Tomoyasu Hotei, White Lion
ISSUE 259 } August 2016 Just some of your regular GT technique experts... rIchard barrEtt One of the best players around, Richard is adept at most styles but truly excels in the bluesier side of rock. He currently plays with Spandau’s Tony Hadley.
ShaUN baxtEr One of the UK’s most respected music educators, Shaun has taught many who are now top tutors themselves. His Jazz Metal album is considered a milestone.
joN bIShop Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease!
lES davIdSoN Les has worked with Mick Taylor, Rumer, Jon Anderson, Pete Townshend, Tina Turner & more. He also runs a recording studio and teaches at BIMM London.
charlIE grIffIthS Guitar Institute tutor Charlie first came to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s top rock, metal and fusion guitarists.
phIl hIlborNE The UK’s original magazine guitar tutor, Phil’s something of a legend. A great player, he’s currently touring Europe with the Champions Of Rock show.
pat hEath BIMM Brighton lecturer, ESP product demonstrator and all-round busy musician, Pat brings you six cool licks each month in 30-Minute Lickbag.
brIdgEt MErMIkIdES Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.
www.myfavourite magazines.co.uk
WElcoME During my years on guitar mags, and having done a bit of teaching myself, one misconception still crops up: “if i learn that scale, i’ll be able to play like that person.” every teacher will tell you how many times he or she gets asked to show a student the mixolydian so they can sound like Larry, the half-diminished so they can sound like robben, or the Harmonic minor so they can sound like yngwie. sadly, this ignores the fact that these players aren’t about ‘scales’. They’re musicians who’ve put in years of practice, done 1,000s of gigs, trained a naturally gifted ear and innate sense of taste to become the fabulous artists that they are. They’ve developed sublime touch and feel, and probably a few tasty chops into the bargain. it’s tempting to believe that there are ‘secret’ notes that such people play: “i know they’re on my guitar’s fretboard; if only someone would show me where!” The truth is that, whatever new ‘thing’
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we learn, we also have to learn to apply it. if you’ve got rubbish vibrato and your string bending sucks, learning a new mode won’t fix it; if you don’t know all five minor Pentatonic shapes, what makes you think you’ll apply yourself better to a scale that’s got two extra notes in it? it’s tough, but this is the reality of being a musician. But there is some good news! Here at gT when we show you a new scale, we also show you how to use it in context, with a bit of background theory thrown in. Hence the altered ideas in this month’s exotic Blues feature will let you apply some cool sounding notes to licks that will make you sound great. But you’ll need to dig deeper, discover how to make these notes work over other chords, and then apply such ideas to your own playing - including that ever-improving bending and vibrato!
Neville Marten, Editor
[email protected]
Don’t miss our AmAzing DIGITAl EDITIOn Guitar Techniques’ digital edition is now even better!
MIltoN MErMIkIdES One of the country’s most respected music professors Milton’s list of credits is embarrassingly long. Go to miltonline. com to learn all about him.
StUart ryaN Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs throughout the UK. His latest book/CD The Tradition is available now.
jUStIN SaNdErcoE One of the most successful guitar teachers ever, justinguitar.com is a mine of information, and his YouTube channel boasts almost 500,000 subscribers!
IaIN Scott For over 25 years Iain has taught in the UK’s top schools and academies, as well as a stint at GIT in LA. He can also boast playing with the legend Brian Wilson!
johN WhEatcroft A phenomenal guitarist, John is a master at all styles but a legend in Gypsy Jazz. His new album Ensemble Futur is out now on iTunes and Amazon.
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plUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can also find us on www.zinio.com (Please note: Zinio editions do not have interactive tab or audio).
Disc auDio Sometimes the GT CD features some article’s backing tracks as mp3 files due to space. These will be found in a folder on the CD-ROM section of the disc, accessible only via a computer and not a conventional CD player. August 2016
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CONTENTS TURN TO PAGE 26 NOW FOR THE LATEST SUBSCRIPTION OFFERS
• C ON T E N T S • AUGU S T 2 016 •
LEARNING zONE LESSONS INTRODUCTION
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30-MINUTE LICkBAG
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Jason Sidwell considers the diversity of styles in this issue of Guitar Techniques BIMM’s Pat Heath has six more great licks at easy, intermediate and advanced levels
BLUES
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ROCk
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HARD ROCk
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jAzz
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ACOUSTIC
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CREATIVE ROCk
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CHORD CAMP
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IN THE WOODSHED
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Les Davidson tips his hat to the blue-eyed soul man, the wonderful Lonnie Mack! Martin Cooper checks out the influential sound of Japanese blues rock guitarist and composer Tomosayu Hotei One of the most forgotten hair bands of the 80s: White Lion and Vito Bratta gets the Charlie Griffiths treatment
John Wheatcroft explores the style of one of the world’s most exciting pickers: Al Di Meola Stuart Ryan looks at the acoustic side of electric blues star and pop icon: John Mayer Part two of Shaun Baxter’s exploration of Mixolydian triads Iain Scott applies augmented triads to retro, jazz and Latin grooves
Nev’s own Custom Shop 1960 Fender Strat cover guitar
Charlie Griffiths taps with fingers 2,3 & 4
FEATURES
WELCOME
COVER FEATURE EXOTIC BLUES Playing the Altered scale
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Justin Sandercoe’s new column; plus Session Shenanigans, Jam Tracks and more.
TALkBACk
Your comments and communications...
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SUBSCRIPTIONS
26
BACk ISSUES
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Missed a copy of GT in the last six months? See how you can get it here!
ALBUMS
BRETT GARSED Video Masterclass
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TIM LERCH Video Masterclass
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In the third instalment of this video masterclass, Brett plays over a harmonicallychallenging piece, Beyond The Void
In the final instalment of this three-part series, Tim offers up more ideas for a 12 bar blues. Milton Mermikides is your guide. Tim Lerch: ideas for a 12-bar blues
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Roger Newell reviews this month’s releases: Paul Gilbert, John Mayall and the Dan Reed Network.
USER GUIDE
TRAnSCRIPTIOn GASPAR SANz Canarios
INTRO
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SPECIAL FEATURE They’re the hottest sibling act in rock history! Jamie Humphries explores the killer playing style of the Brothers Young!
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Nev explores the value of teaching techniques.
John Wheatcroft shows you how to broaden your harmonic horizons and add tension, spice and excitement to your blues by using the Altered scale. Get your thinking caps on!
GUITAR GIANTS Angus and Malcolm Young
VIDEO CLASSES
REGULAR FEATURES
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Get more from GT by understanding our easy-to-follow musical terms and signs.
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This month, Bridget Mermikides transcribes for modern classical guitar a Baroque piece that boasts a unique Spanish rhythmic drive.
NEXT MONTH
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Intros and outros: top and tail your blues! The Rhythms of Motown; Vai’s Passion And Warfare – we celebrate the 30th anniversary!
August 2016
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Intro food for thought
Every month, Justin Sandercoe of justinguitar.com lends GT his insight as one of the world’s most successful guitar teachers. In his third column, Justin asks: “Do you feel it?”
B
NICK DELANEY
eing a first-hand purveyor of online ‘debate’ (and trolling!) one of the more common arguments I see is over ‘feel’ and ‘soul’ of certain guitarists – do those who play fewer notes, have more ‘feel’ than those who play a lot of notes? Does it matter? Please note that this is just food for thought (not concrete) and there are many areas in between and beyond. There are a few interesting thought streams to explore here though – and a good one to start with is what ‘expression’ means in a musical sense. When you ‘hear’ a musical idea in your head (or heart, or wherever it is you feel it) and can make those sounds come out of your instrument, then you are expressing yourself in a pure form (and we’ll be exploring this concept in much more depth in a future article). However, it is equally valid to express yourself using the physical motions of playing guitar to release your energy, anger or feeling. For some people the physical thrashing out of some chords (in a punk rock band) might have a similarly satisfying release as banging your fist on a table in frustration, and it would be arrogant to think that a blues or jazz guitar player that ‘hears’ his licks is any ‘more an artist’ than someone who gives it all they’ve got in a different way. It’s also valid to express ‘intellectual stimulation’ of complex ideas, some kind of concept that has been practised and refined and is then brought forward in a musical composition to be admired and ‘understood’ by those that ‘get it’ – maybe this idea could be considered a bit elitist but is again equally valid expression. And then there’s interpreting written music (such as classical guitar), which can be technically simple or incredibly difficult, and it is the job of the performer to breathe life into the dots on the
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August 2016
Justin asks us: “What is expression?”
page. I found studying and performing classical guitar to be one of the most effective ways of ‘learning to express myself’ which I found had a positive impact on everything else I played. What I found was that, when you have set (written) notes to play you have to find other ways to project your expression through the music (dynamics, time, touch and tone, just to start with) which can enhance your playing in any style. To pick some popular favourites, I
think that we should appreciate Neil Young’s passionate raw solos as much as BB King’s tasteful melodies; John Scofield’s complex, angular jazz lines or Joe Satriani’s technical mastery. They are all ‘expressive artists’ with vastly different technical abilities, but what matters is that they say something and mean it, which makes for music that connects with many people. We all feel music differently, and that is what makes us unique
when you have written notes to play you have to find other ways to project your expression
and beautiful – there are no right or wrong ‘answers’ here, just lots of questions. Sometimes thinking and debating such things with yourself or your friends can lead to profound personal insights. So how do you express yourself? Are you aware of what methods you use? How they make you feel? Is it worth exploring others? Of course it is! Safe travels. J. Check out www.justinguitar.com/ gtmag for some example routines and links to exercises you might like to try out for each section!
Intro
U
nless you’ve been living under a pile of plectrums for the last couple of decades, it cannot have escaped your notice that the terms ‘oligarch’, ‘billionaire’ and ‘obscenely wealthy person with little or no taste and the ability to indulge it’ have become a feature of our media lexicon of late. And if you’re a musician (or an event management company, international singing superstar or acrobat) the news just keeps getting better. You’re working! These chaps have birthdays, anniversaries and weddings just like us. However, unlike Dave Cameron’s “hard working families”, they’re only too happy to spread the word (and a minute proportion of their wonga) by mounting a series of ever more ostentatious bashes in what appears to be a surreal catering arms race. But be ye not afraid. It’s not the road to armageddon. Arm-and-a-leg-ageddon, more like. With extra servings of helicopters, yachts and olives. Only last month I was flown to Moscow with one of the UK’s finest orchestras. ‘Twas the 50th birthday of a cheeky chappie from Chechnya who had decided to hire the Olympic stadium to mark the occasion. For the week. For two hundred guests. For the sheer hell of it. The usual avalanche of entertainment ensued – dancers, gymnasts and Andrea Bocelli featuring prominently.We played Let Me Entertain You for three minutes. And flew home.
followed by – frankfurters. No bun, roll, fries or accoutrements of any kind. Just frankfurters. Unless you count some weird radioactive yellow gunk that looks like a sci-fi cross between mustard and gravy, probably from Planet Piggon. I decline and walk back to the coach and thence to the hotel at 1.30pm. I change guitar strings and return to bed. I set the alarm for 5pm and wake early, grumpy and hungry. Sadly, Snow Blonde is nowhere in evidence, although she is due to jump out of her Marilyn Meringue at the conclusion of our set while we attend to our rousing rendition of Diamonds Are A Girl’s Best Friend. There is no beginning to an event organiser’s originality! Still, one mustn’t grumble. This two-minute addendum to our 45-minute workload is about to cost them another 50 euros per man. All that remains is for me to don my dinner jacket, coach it back to the venue, pig out (literally), do our thing to apparent approval, and get the hell out. Don’t get me wrong. I’ve got time for Jezza Corbyn and social equality. But let’s be frank. We need to look after these people. Give ‘em what they need. Tax breaks. Anonymous off-shore accounts. Entire utility industries. And the age old aspirations of Liberté, Egalité and Beyoncé will just have to wait a while longer. I mean, after all. A gig’s a gig. And a pig’s a pig, for that matter.
Mitch Dalton’s
session shenanigans The studio guitarist’s guide to happiness and personal fulfilment. R is For Rich, Russia & Rat Pack. Rolling Stones.“One year of playing – and 29 years of hanging around”. Transfer by Mercedes MPV to Hotel Adequate. Dinner at far-too-late o’clock courtesy of our hosts at a local traditional restaurant: ie. Pork n Pilsner. Saturday. We are herded to the castle at 8.30am after a perfectly pink pigfest. We then march to the castle walls, don galoshes in order to protect the pristine venue from the ravages of global storming, spin out the soundcheck until 11am, hang about some more, schlep to another part of the vast edifice where we are shown our dressing room, and traipse across the courtyard to yet another medieval extension where we are offered lunch – potage du pork (or a lacklustre vegetarian alternative)
Then there was Schloss Heidelberg – the place, not the man. A step down, I admit. This particular ‘high net worth’ individual could only run to hiring Germany’s most famous castle for his birthday weekend. And he wanted value for money. No less than a full 45-minute feast of Sinatra, Martin and Davis Jr impersonations accompanied by the finest big-band musicians that Euros can buy. Or rent. Here are my impressions from the world of conspicuous consumption. The names have been redacted to protect the guilty. Friday. Frankfurt airport. We arrive and I am immediately reminded of a Charlie Watts interview in which he was asked to summarise his career with The
Gypsy encirclement lick
phil hilBorne’s one-Minute licK This lick is the sort of phrase that you will hear in gypsy jazz. it’s based on chord tones and scale notes. The accompanying chord is G major (G-B-D) and the idea is to ‘encircle’ each chord tone by playing the scale note above, then a chord tone and then a semitone below the chord tone; then another chord tone. i use just fingers 1,2 and 3, as this is the way most gypsy jazzers would play it; it’s also easier to play up to speed like this. But feel free to use whatever works for you. And try to compose ideas of your own using the same concept around differing chord types.
With slight swing feel
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For more info on Mitch go to: www.mitchdalton.co.uk
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August 2016
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Intro
Instrumental Inquisition! Instrumentals have supplied some of music’s most evocative and exciting moments. We asked some top guitarists for their take on this iconic movement. This month: acoustic instrumentalist par excellence, Laurence Juber
MICHAEL LAMONT
GT: What appeals to you about guitar instrumentals? LJ: One of the first records that made an impression on me was The Shadows’ Apache. So the concept was baked into my musical consciousness from the beginning. GT: What can an instrumental provide that a vocal song can’t? LJ: Playing the tune without vocals puts the focus on the melody, although, with a familiar song the audience may be mentally filling in the missing lyrics. That familiarity can create an interesting live performance dynamic. It also leaves room for melodic, harmonic and textural embellishment. And it’s the player that sets the agenda, rather than following the singer’s lead. GT: Any tendencies that you aim to embrace or avoid? LJ: On acoustic, I’ve made it my artistic focus to explore the possibilities of arranging and composing for fingerstyle guitar. I attempt to embrace the lyrical ‘meaning’ of the song, articulate the melody, be true to the harmony, or at least expand on it appropriately. It has to be both at the service of the song and guitaristically satisfying, which, for me, often means using an altered tuning, typically DADGAD or CGDGAD. Composing is a more random process and it depends on how the tune and the texture evolve. I try to avoid note-spinning and look for something guitaristic to hang the work on. On electric lead guitar it’s simply about finding the right voice and tone. The way that Jeff Beck coaxes multi-dimensional fingerstyle solo lines is the epitome of that, to me. Rhythmically, I enjoy being able to integrate something percussive. You’ll find different grooves in my work – shuffles, reggae, swing – whatever fits. GT: How useful is studying a vocalist’s approach for guitar melodies? LJ: I recently played at event for Tony Bennett’s 90th birthday. He is a master of putting the song across with no artifice. It’s a pure engagement with the audience. 8
August 2016
Laurence Juber with his OMC-18VLJ Martin signature
i atteMpt to eMBrace the lyrical ‘Meaning’ of the song and expand on it appropriately There’s a 1959 Johnny Mathis album, Open Fire, Two Guitars recorded with Tommy Mottola and Al Caiola – it has an amazing interplay of Mathis’ voice and the chromatically-voiced, jazz-toned guitars. Great vocalists all have one thing common: they are great storytellers. I look for something that sparks the imagination. GT: What do you aim for when your performance is centre stage? LJ: I try to stay focused, as it’s usually 90 minutes of solo playing. When I’m with my trio, I have a lot more freedom to extend the soloing.
GT: What type of guitar tone do you prefer for instrumentals? LJ: I don’t use fingernails and I pluck rather than pick the string so I work to bring out the voice of the guitar. Mostly I use my Martin signature OM model which has the tight focus of a smaller-body guitar and the 25.4” scale that keeps it from getting flabby in dropped tunings. On electric I’m partial to some Hank Marvin-style twang from a Strat! GT: Any favourite keys or tempos? LJ: Jazz guitarists are typically pushed into flat keys by playing
with horn players. Sharp keys are naturally friendly to standardtuned solo guitar because of the open bass notes E, A and D. I’ve written tunes in B major and minor, and used DADGAD for the flat keys. CGDGAD is great for Cm and Gm. My arrangement of Bacharach’s Alfie uses that tuning in the key of Bb. In DADGAD, I’ll tend to start in D – it’s the home key, whether major or minor. Tempos are all over the map. It can be fun to take a fast tune and arrange it slowly, or the reverse. GT: Are minor or major keys easier ? LJ: I’m a fan of melodic minor because, if you include blue notes, it’s almost completely chromatic. Otherwise I’m equal opportunity. GT: What about key modulations? LJ: I like the twists that come with a tune like All The Things You Are, where the modulations are a compositional feature. Half-step modulations of the ‘here-comesthe-last-chorus’ kind are tricky for solo guitar as you’ll often end up with handfuls of barre chords. I do tend to look for ways of doing more distant key changes. GT: And harmonising melodies? I’m all for it! Sometimes all you need is the minimum to establish the harmonic perspective: a bass note, a 3rd, 6th or 10th. I enjoy playing chord melody style. An altered tuning can allow sax section-type four-note parallel voicings that don’t finger so easily in standard tuning. In DADGAD, the multiple octave strings allow for a 12-string like effect, as well as a Wes Montgomery octave approach. GT: What three guitar instrumentals have most inspired you? LJ: There are many but the top three are: Apache (The Shadows), Anji (the Bert Jansch version), Goodbye Pork Pie Hat (Jeff Beck), from the album Blow By Blow. Laurence is at Pizza Express in London on Wednesday August 3rd and Thursday August 4th 2016. Pizza Express, 10 Dean St, London
Intro
MARILYN STRINGER
GT
: Do you have a favourite type of pick that you can’t live without? JLW: Yes, medium gauge Tortex picks, so the pick doesn’t slip out of my fingers – they get slippy sometimes on stage from wiping sweat off my face. GT: If you had to give up all your pedals except three... JLW: I use delay for a bit of slap, auto-wah for wah-wah sounds, tremolo for a swampy vibe and groove. All three together would also boost the gain. GT: Do you play another instrument well enough to perform in a band? JLW: I play harmonica, keys and bass. I’ve played harmonica with bands, and I’ve played bass guitar and keyboards. But why’d anyone would want to get an okay player of those instruments when they could have a pretty good guitar player? GT: If a music chart were put in front of you, could you read it? JLW: I could read a music chart. If it’s a classical score it would take a while to get in that groove though. GT: Do guitar cables make any difference? What make are yours? JLW: They make a difference if the cord is a very cheap one because it won’t last any wear and tear. I use Dunlop cords. GT: Is there a guitarist, past or present, that you’re slightly jealous of? JLW: Otis Rush makes me a bit envious because of his vibrato. I call it the right hand of God. GT: Your place is burning down – which one guitar do you salvage? JLW: My 1969 Les Paul Custom. I’d take it because of the great tone that’s always true; plus the guitar is so heavy it’d work as a battering ram to escape the burning building. GT: What’s your favourite amp and how do you set it? JLW: I’ve several favourite amps. But right now it’s a Paul Markwalter special order amp. It a small, powerful amp, tube driven, no reverb, with three knobs. GT: What kind of action do you like? JLW: I’ve got what you’d call a kind of high action, which I like because it helps with my vibrato. GT: What strings do you use? JLW: I use Dunlop strings. Gauges 10-42, my special gauge set-up – they have good durability. GT: Who inspired you play guitar? JLW: My father turned me on to so much music – blues in particular, and guitar players especially.
Joe Louis Walker: multi Blues Hall Of Fame inductee
60 seconds with...
A minute’s all it takes to find out what makes a great guitarist tick. Before he jumped into his limo for the airport we grabbed a quick chat with brilliant US blues master, Joe Louis Walker GT: What was the first guitar you really lusted after? JLW: Sears and Roebuck Silvertone was what I wanted. I bugged my mother to get one for me. When she put enough money aside she got it. GT: What’s the most important musical lesson you ever learnt? JLW: Dynamics is the most important musical lesson I’ve learned. You can do just as much with silence as you can with volume. Sometimes you can do more. GT: Do you still practise? JLW: Yes I still practise, mostly when I’m inspired in today’s internet crazy world – sometimes you gotta break away from the computer (like now!).
GT: Do you have a particular warm-up routine? JLW: No I don’t have a particular warm-up. Should I have one? Is there one that makes me play like Django Reinhardt? GT: If you had to put together a fantasy band with you in it, who would the other players be? JLW: BB King, Albert King, Freddie King, George Harrison, Les Paul, Jimi Hendrix, Elmore James, Mike Bloomfield, Son House... I think you get the idea that it’s a guitar band only! GT: Who’s the greatest guitarist ever? JLW: There’s no greatest anything, let alone guitar players. But you can grab one from my previous answer!
i’ve got what you’d call a Kind of high action, which i liKe Because it helps with My viBrato
GT: Is there a song or solo by another guitarist that you wish you’d played? JLW: I still think Manic Depression by Jimi Hendrix is untouchable. Someone might be able to play it note for note, but they didn’t think of it. Only he could. GT: And a favourite song or solo of your own? JLW: Messed My Mind Up off the New Direction CD. It’s a kinda crazy and fun solo in a serious tune. GT And what are you up to at the moment – gigs, albums etc? JLW: My new album, Everybody Wants A Piece is out now on Provogue Records. I’m also proud of the work we’re doing with Blues For Peace, promoting peace through music and raising money for refugees around the world. For more info on Joe please visit www.joelouiswalker.com August 2016
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That Was The Year...
Intro
1986
ey, Liberty, Hallhorty Duf f y And s WITH MANY OF ITs GUITARs
now being manufactured outside the UsA, Fender officially develops the American standard stratocaster as the all-American built model. Although the main dealers are fully aware of the strategy the guitar itself (in all its vintage looking glory) will not be unveiled to the public until the January 1987 NAMM trade show.
HALLEY’s COMET RETURNs
and reaches its closest approach to sun (Perihelion) and also makes its closest approach to Earth. in hot pursuit are three probes, the UssR’s Vega 1 probe and Japan’s suisei and sakigake. soyuz T-15 transports two cosmonauts to the newly launched soviet space station, Mir. The space shuttle challenger tragically explodes soon after take off.
INTERNATIONAL PEACE YEAR BEGINs
The Pope and Mother Teresa meet in calcutta; spain and Portugal join the European Economic community,;actor clint Eastwood is elected as mayor of carmel in california; a gallon of petrol costs £1.89; the GcE ‘O’ level and csE exams are replace by the new GcsE course.
TAKAMINE INTRODUCEs ITs
‘Natural’ series starting with the EN-10 dreadnought model with a solid cedar top and mahogany back, sides and neck. Along with an unadorned rosewood fingerboard and bridge it features a crystal pickup fitted beneath the bridge and a three-band EQ mounted on the upper body edge.
THE sTATUE OF LIBERTY Is REOPENED
by Nancy Reagan after being fully refurbished; two days later the a soviet TV news programme announces a nuclear accident at chernobyl power station; British Gas is floated on the stock Exchange and the bank of England declares the year end interest rate at 10.8%.
ENGLAND Is KNOCKED OUT OF
the World cup by Argentina and Maradona’s ‘hand of God’ incident; the biggest turnaround in TV history sees Bobby Ewing (Patrick Duffy) returning from the dead on Dallas; Disneyland opens its living seas attraction; and videotapes are released showing the sunken wreck of the Titanic.
QUEEN’s MAGIC TOUR BECOMEs
their most successful to date but sadly it will be their last with the original members; Jerry Garcia (Grateful Dead) is released from hospital after being in a coma for three weeks; Rock Me Amadeus by Falco and chicken song by spitting image both reach No 1 on the Uk pop chart in consecutive weeks ;and Geffen Records signs Guns N’ Roses to the label.
HOFNER Is NO LONGER THINKING small as it phases out both the 180 and the 181 shorty guitars. introduced in 1980 these full-scale ‘travel guitars’ had tiny bodies and were offered in a range of finishes and featuring a cool shadow humbucking pickup. Amazingly, in spite of its diminutive proportions the 181 shorty super even had a built-in amp and speaker!
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August 2016
jam tracks tips
Use these tips to navigate our bonus backing tracks ➊ Smooth Minor Blues (Cm) Here we have a blues progression in C minor, with a smooth groove jazz feel to it. Basically, the C Minor scale (Aeolian mode) works throughout. The notes are C-D-Eb-F-G-Ab and Bb. Of course C Minor Pentatonic and the Blues scale will work great too. You could also try outlining the arpeggios for the chords – Cm7 (C-Eb-G-Bb), Fm7 (F-Ab-C-Eb) and Gm7 (G-Bb-D-F).
➋ A Mixolydian Groove This track is based on a two-chord vamp: A and G/A, which effectively creates a specifically Mixolydian context. A Mixolydian mode is the 5th mode of the D Major scale and contains the notes A-B-C#-D-E-F#-G. I also recommend playing around with the Pentatonic scales inherent in this harmonic context: Em Pentatonic (E-G-A-B-D) F#m Pentatonic (F#-A-B-C#-E) Bm Pentatonic (B-D-E-F#-A).
chord. Notice that only one note changes: the G becomes a G#, which effectively ‘pulls towards’ and resolves on the Am chord.
➍ Funky Blues (E)
➌ Bossa I-II-V (Am)
Here we have a standard 12-bar blues progression in E with a funky feel and groove to it. To make it sound great try E major Pentatonic (E-F#-G#-B-C#) with E minor Pentatonic (E-G-A-B-D) for some nice bluesy colours in your soloing. Major Pentatonic works best on the I chord (E9) and V chord (B7), whereas the minor Pentatonic works best on the IV chord (A7).
This bossa style track features a continuous loop of two bars on the Im chord (Am), followed by one bar on the IIm7b5 (Bm7b5) and one bar on the V7b9 chord (E7b9). I suggest using A Minor scale (A-B-C-D-E-F-G) for the first two chords and then applying A Harmonic minor (A-B C-D-E-F-G#) for the final V
Jam tracks by Jacob Quistgaard. For free scale maps and hundreds more tracks, visit www. quistorama.com. You can also subscribe to www.youtube.com/ QuistTV to get all the latest tracks and licks. Or find Quist and his jam tracks on Twitter, Instagram and Facebook.
hot for teacher
your
WHO: Mark stuart TOWN: Felixstowe STYLES TAUGHT: Rock, pop, blues, country, jazz, folk, etc SPECIALITY: Blues LEVELS: Beginner-advanced. All RGT grades if required READING: To intermediate level CHARGES: £27 per hour SPECIAL: Fully-equipped teaching studio, recording facilities, guitar repairs and set-ups. Professional guitar and bass tutor since 1991 TEL: 01394 210343 EMAIL:
[email protected]
teacher
TalkBack Post Guitar Techniques, Future Publishing, Ivo Peters Road, Bath, BA2 3QS. Email
[email protected] using the header ‘Talkback’. George Stapley: on the hunt for his old guitar
BACK TO THE FUTURAMA On a recent visit to Cornwall, I took the opportunity to visit Guy McKenzie (www.the guitarcollection .org.uk) and his fantastic guitar collection. I particularly like one of his guitars; it’s called a Futurama Coronado Automatic. My mother died in 1962 and in 1963 when I was 15 my father decided to buy me this guitar; I suppose to cheer me up. At the time it was unique and still looks so cool, so I am now on a mission to obtain this model again – I foolishly sold it for guitar lessons (well I was only 18). If there is anybody out there who could help me track one down I would be over the moon to own one again, as it’s a tangible connection to my past. George Stapley That’s a romantic story, George. Perhaps our hawk-eyed readers will be able to help – I don’t know of any Coronado Automatics that are available out there. But I too got my first ‘decent’ guitar back (or one like it); a Hofner Club 40 that my first guitar-playing mate had; he lent it to me for months and I sort of came to treat it as my own! Good luck in tracking yours down – it will indeed be a lovely reminder of old times and absent ‘friends’.
THE FEMALE OF THE SPECIES First of all I would like to congratulate you and your team on producing such a wonderful publication – but there is a glaring
omission that I can no longer keep silent about! Where are all the female guitar players? Looking back at your past three issues (#255-#257), there is a grand total of one female guitarist included (Emily Remler, #256). I have a feeling that this may actually be more than your average! This is just not good enough. Surely there must be numerous female guitarists out there that deserve a bit of column space. I am not going to list names, simply because I do not know that many. But there have been countless male guitarists that I have not been aware of until I read about them in your magazine and followed up by listening to them. So I believe it is incumbent on you to make more of an effort to showcase female guitar talent that is out there and provide them with
DIGITAL DILEMMA I’ve been a player for over 40 years, but recently I had the most depressing accident and cut off the first finger of my fretting hand. It has been sewn back on but the middle knuckle is fused so the finger is ‘set’ straight. Now all I can use it for is the soft pad at the root of the finger to fret first and sometimes second strings for something like a first position Bm chord (I also cut through the tendons in the ring finger but this has been repaired and, though stiff, I can use it). I am slowly teaching myself to play again, using the remaining three fingers, and thanks to my style which was mainly fingerpicking and ragtime(ish) my pinky is used to doing something so it’s not a complete new beginning. However, here is my problem: I’m
I BELIEvE IT IS InCUMBEnT On yOU TO MAKE MORE OF An EFFORT TO SHOwCASE FEMALE GUITAR TALEnT greater exposure so that some of your readers, like myself, may take the time to give them a listen. After all you have the wonderful Bridget Mermikides on your team: there must be more of them out there! Ali GT Production Editor Katie Nicholls replies: Thanks for your letter, Ali – this is a topic that’s well worth exploring! Undoubtedly, the majority of players that feature in GT are male (although we have had some wonderful female players recently: Eva Cassidy and Joni Mitchell and, as you mention, Emily Remler). I think the lack of female players is reflective of a wider, societal problem whereby girls aren’t encouraged at a young age to become guitarists, drummers or bass players but rather stick with being the vocalist. I wrote a feature on this issue for the Musicians’ Union and it’s certainly an issue that needs to be addressed by schools and teachers. To some extent, GT is reflecting what is a bigger issue. It’s just a real shame that we don’t have more female guitarists to feature!
struggling to find good sounding replacements for chords that are now impossible for me to fret, like a simple C or F chord. I can’t play barre chords shapes any more (unless I mute the low strings because I can’t reach to fret them, so I end up playing partial chords or open major 7ths and the like, which are great sounding chords when you want a major 7th, but awful when you don’t. I am beginning to develop a new style which is almost chordless, but sometimes you just want to ‘bash-out’ an old song and it’s very frustrating. Can you or the readers offer any advice on maybe long forgotten chord shapes or any other tips? Maybe a feature of simple three-fingered alternatives that might be useful to any player. And please don’t anyone suggest I take up the banjo! PS. I have kept a diary of the recovery and story of my relearning so far, so if any readers suffer a similar fate and would like support or advice I’m happy for
you to give them my contact details! Dave Hardman What a terrible story, Dave. Three things spring to mind: open tunings, slide guitar, and ‘thumb over the top’ playing. Look at Derek Trucks and Sonny Landreth; both play slide almost exclusively, so perhaps a slight musical career change is a possibility. And check out the awesome Joey Landreth (no relation) who plays regular guitar and slide interchangeably, so wears a tube on his finger almost all the time – of necessity limiting the number of fingers available. He plays simply, but amazingly! Many open tunings rely on having open strings ringing into chords, and often use two or three-finger shapes. So that’s another thought – although it doesn’t address your ‘bashing out a tune’ question. And many players – from Hendrix to Pat Metheny to Richie Havens – use the thumb-over technique to play bass strings, thus ‘sort of’ replacing the first finger on things like barre chords. In a way your playing problem is a bit like when we fortunate all-finger players put a barre down and then try to play regular chords – C, G and D are all tricky – on top. So it looks like that’s your basic option; simply to reconfigure those shapes. As weird coincidence would have it, in the next issue we are running a feature on ‘avoiding the first finger’. It’s in Charlie’s Woodshed article and so is more to do with lead than rhythm, but it is sure to offer something. I do hope some readers can come up with ideas that might help. In the meantime we all wish you all the very best!
Joey Landreth: wears a slide
August 2016
11
Play } BLUES
ON THE CD
TRACKs 3-17
Exotic Blues The Altered scale In this exclusive feature John Wheatcroft shows how to broaden your harmonic horizons and add tension, spice and excitement to your blues by using the Altered scale. ABiLiTY RATinG Info Key Various Tempo 120 bpm CD TRACK 3-17
G
Will improve your… Melodic sophistication
ot your thinking caps on? Good – we’ve got a lot to get through! I promise that there will be some sexy licks to learn at the end but let’s start with the theory bit – stick with it, as this will help you later on. It’s possible to view the jazz Melodic Minor scale as a Major scale with a lowered 3rd (R-2-b3-4-5-6-7). This has a knock-on effect on all the subsequent modes of the Major scale, so that this modified note moves through and impacts upon the scale one note in turn. So this means the second mode is like a Dorian with a lowered 2nd (R-b2-b3-4-5-6-b7) and by the same logic the seventh mode would be like Locrian with a lowered 4th (R-b2-b3-b4b5-b6-b7). If this sounds like a foreign language then you should recap the basic Major scale modes as a matter of some urgency. Back to Locrian with a flattened 4th; notice everything is flattened in this scale, so from a C root it would look like this: C-Db-Eb-Fb-Gb-AbBb. If we follow conventional chord construction, taking the root, 3rd 5th and so on, with this scale we’d end up with a C diminished triad (C-Eb-Gb) and a C halfdiminished 7th chord (C-Eb-Gb-Bb). All well and good, until we listen to the sound that C to Fb creates. All the theory in the world cannot
Easy to advanced ✪ ✪ Command of tension and release Application of theoretical concepts
✪✪✪
hide the fact that our flattened 4th sounds undeniably familiar and rather like something else. Why not play those notes now? Sounds like a major 3rd, right? Well, sound trumps theory on every level, so what we now have is a scale with both major and minor thirds, sonically if not theoretically. Like every good Hollywood movie, light triumphs over dark and the Major pushes the Minor out of position, so the opening steps of this scale now sounds more like this: Root-b2-#2-3. If we’re opening the door to enharmonic respelling then we can do the same with the next notes in sequence: the b5 can stay but our b6 could in turn be seen as #5, leaving the b7 as we’d find it. This new way of seeing this scale, the ‘Super-Locrian’ now looks more like this: Root-b2-#2-3-b5-#5-b7 (C-Db-D#-E-Gb-G#-Bb). Now might be a good time for some tea! Suitably refreshed? Let’s continue. One of the strongest moves in music is the V7 to I resolution, known in the trade as a ‘perfect cadence’. By definition, a dominant 7th chord needs to have a major 3rd and a flattened 7th to be considered worthy of this title, but we can enhance the sense of tension and release by raising or lowering the 5th degree and
raising or lowering the 9th. This works musically because these new notes attach themselves to particular target tones in the intended resolution chord. So, G7 (G-B-D-F) can become G7#5 (G-B-D#-F). The D# note resolves perfectly to the E note found embedded in the structure of our destination C major7 chord (C-E-G-B). This is just one example as we’ll see – and these connections can be found in melody lines, chord voicings and solos. So a Dominant 7th with raised or lowered 5th and raised or lowered 9th comes under the heading of ‘Altered’. If we string the notes together we get R-b2-#2-3-b5-#5-b7. Recognise it from earlier? Yes, this is the same ‘Super-Locrian’ scale we got from Melodic minor, also known conveniently as the ‘Altered scale’. Hopefully that didn’t hurt too badly (and if it did seem scarily complex, simply read it again, and maybe again until it starts to sink in). As promised here are those sexy chords and licks I mentioned earlier, guaranteed to turn heads at your next blues jam. You’ll be a huge step closer to the exotic sophistication of Larry, Robben and a host of other blues players with that illusive jazzy edge. 6
GAin
6
BASS
5
MiDDlE
6
TrEBlE
3
rEvErB
TEchniquE Focus Diminished Whole-Tone
The Altered scale is sometimes called the ‘Diminished Whole-Tone scale’ due to its similarity to these two structures: Diminished is based on whole-tone-half-tone steps, while Whole-Tone is a series of two-fret gaps. Altered scale is: root-half-whole-half-whole-whole-whole-whole; then second octave, half-whole and so on. So, from the 3rd to the octave we have five notes as in the Whole-Tone scale; and from the b7th to the b5th is a six-note pattern of alternating whole and half steps, with six of the seven notes as you would find them in the Half-Whole scale. This makes it easy to go from Altered to Whole-Tone or Altered to HalfWhole; simply replace the 2 and #2 with a major 2nd for a complete Whole-Tone scale, and replace Altered’s #5 with a perfect 5th and major 6th for Half-Whole scale. Easy! 12
August 2016
You can use pretty much any guitar for these examples, but when you’re dealing with single-note lines you can add anything from a light crunch to a fully blown distortion sound. The one thing that we always want to keep clean, however, is articulation, so ensure all notes ring true and that you keep any idle open strings at bay with adequate muting.
PLAY { EXOTIC BLUES
WhEn You LEARn ThE AppRoAch oF pLAYinG ThE MELodic MinoR A hALF sTEp ABovE ThE v choRd, You ThEn jusT sTART BREAkinG iT doWn inTo MusicAL phRAsEs Larry Carlton
TRAck REcoRd You can’t go wrong with Robben Ford and Larry Carlton. Try Robben’s Tiger Walk (Blue Thumb 1997), Larry’s Last Nite (MCA 1986) or two for the price of one with Live In Tokyo (335 Records 2013). We’d also recommend Bireli Lagrene’s amazing Mouvments (Emarcy 2013); and anything by John Scofield is definitely worth a listen. For starters, try his groove-tastic Überjam Deux (Decca 2013).
August 2016
13
Play } BLUES
ON THE CD
TRACKs 3-17
EXAMPLE 1 V-I resolutIons wIth aDDItIonal tensIon on the V The trick to using altered tensions in both chordal and single-note situations, is understanding where the tensions resolve. This study shows where the b5, #5, b9 and #9 of the v7 chord push towards in both ascending and descending directions when resolving to the i, in this instance a major7 chord. We initially
©»¡™º 4 &4 E B G D A E
G7
∑
4 3
5 2 3
# b
G7 5 9
b ˙˙ # & ˙˙ ˙
# #
G7 5 9
˙ # # ˙˙ ˙ ˙
˙ ˙˙˙ ˙
#5b9 4 4 4 3
#5#9
3 5 4 5 3
3
2 4 3
b
b ˙˙ ˙˙
G7 9
9 10 9 10
10 9 9
11 10 9 10
# #
# # ˙˙˙ ˙˙
n ˙˙ ˙ ˙ 5 5 4
11 11 10 9 10
n ˙˙ ˙˙
4 4 3
3 4 2 3
3
#
# ˙˙ ˙˙
C maj 7/ 6
G7 9
10 9 9
11 10 9 10
8
# b
# b ˙˙˙ ˙˙
˙˙ ˙˙
C maj 7
G7 9 5
#9b5
#9#5
3
Cmaj9
#5
n ˙˙ ˙ ˙
#9
G7 9 5
3
# ˙˙ ˙˙
8
Cmaj 7/ 6
6 4 4 3
#
n ˙˙ ˙ ˙
# ˙˙ ˙ ˙
3 4 2 3
3
G7 9
G7 5
n ˙˙ ˙˙
2 4 3
Cmaj 7/ 6
#
Cmaj9
b ˙˙ ˙ ˙
1 4 2 3
3
8
G7 5
˙˙˙ ˙
b5
8 9 9
b
Cmaj7
b ˙˙ ˙ ˙
˙˙ ˙ ˙
9 10 9 10
C maj 7
G7 5
Cmaj 7
b9
5 4 5 3
3
11
b ˙˙ ˙˙
G7 9
˙ ˙˙˙
4 4 3 6
b
Cmaj7
& # ˙˙˙ ˙
E B G D A E
˙ ˙˙
3
1
G7
E B G D A E
˙˙ ˙
treat each tension individually and in turn, although the study ends with some combinations. The final #9 b5 voicing is particularly colourful as the resolutions are in two different directions at once, with the #9 of G (A#) moving down by a semitone towards the 6th of C (A) and the b5 (D b) moving up to the 9th (D).
b
C
cd track 3
12 12 12 10
9 11 10 9 10
C maj 9
˙ ˙˙˙
7 8 7 10
n n ˙˙˙ ˙ ˙
Cmaj13 (no 11)
10 10 9 9 8
EXAMPLE 2 V–I Major, DoMInant & MInor
cd track 3
This example shows us how the same altered voicings can be used successfully in major, dominant and minor contexts. While there are some dominant scales that work best resolving towards major chords (such as Mixolydian) and some
& 44 E B G D A E
14
# #
b
# # ˙˙˙˙˙
b ˙˙ ˙˙
6 6 8 9 10
9 10 9 10
G 7 5 9 G7 9
∑
1
August 2016
Cmaj7
˙˙ ˙ ˙ 8 9 9 8
that resolve best to Minor (Phrygian Dominant, for example), the Altered scale and its resultant chord harmonisations can be used equally effectively against each of the three main chord family types.
# #
b
# # ˙˙˙˙˙
b ˙˙ ˙˙
6 6 8 9 10
9 10 9 10
G 7 5 9 G7 9
Ó
C7
˙ b ˙˙ ˙ 8 9 8 8
# #
b
# # ˙˙˙˙˙
b ˙˙ ˙˙
6 6 8 9 10
4 6 4 5
G 7 5 9 G7 9
Ó
Cm7
˙ b b ˙˙ ˙ 8 8 8 8
Ó
PLAY { EXOTIC BLUES EXAMPLE 3 BuIlD your own altereD VoIcIngs
cd track 3
This study is designed to develop awareness of the location of these tensions around a root-3rd- b7th foundation. First, it allows us to build our own voicings, where the core of the chord remains the same but the upper extensions can be
b9
3a) Root on 5 C7
4 &4 E B G D A E
b˙
bw ww
∑
#˙
2 3 2 3
b5
b˙
b ˙˙ ˙˙
4
2
4 3 2 3
#5
#˙
˙ b˙ ˙˙ 2
˙ b˙ ˙˙
4
4
3 2 3
3 2 3
1
b5
3b) Root on 6
b˙
C7
& E B G D A E
#9
b ˙˙ ˙˙
2
3 2 3
customised on the spot. Secondly, viewing intervals as ‘notes in orbit’ around a foundation root or chord form is extremely helpful when selecting strong melody notes in improvisation or when composing a melody.
b ww w
∑
7 9 8
8
7
#˙
˙ b ˙˙ ˙
7
9 8
#5
b
b ˙9
˙ b ˙˙ ˙
9
9
9 9 8
8
#
# ˙9
˙ b ˙˙ ˙ 9
8
˙ b ˙˙ ˙
11
11
9 8
9 8
8
8
EXAMPLE 4 fIngerIngs for altereD scale
cd track 4
There are almost as many fingering choices for scales as there are players playing them, but here is a pair of good ones to get us started. You should notice that both of these fingerings begin and end on the root. This is, of
œ œ b œ # œ œ b œ # œ œ
∑ (With specific accidental spellings)
R
3
1
G7alt
& œ œ #œ bœ œ #œ œ œ E B G D A E
10 5
œ œ bœ b œ # œ œ bœ #œ
G 7alt
& 44 E B G D A E
course, a teaching device only. Once you’ve developed some fluency with the basic shapes you should explore entering and exiting each scale from multiple locations, not just the root.
8
11
9
7
9
11
8
b9 #9
4
b5 # 5 b7
3
2
6
4
6
3
R
5
10
11
8
9
11
10
Ó
etc
6
œ œ œ bœ #œ œ bœ #œ 8
#œ bœ œ
8
3
4
6
4
6
3
4
6
bœ #œ œ bœ #œ bœ œ œ
9
11
7
9
11
9
7
11
4
3
bœ œ . J Ó 9
8
August 2016
15
Play } BLUES
ON THE CD
TRACKs 3-17
EXAMPLE 5 altereD scale VIeweD froM perspectIVe of V anD I
the following intervals: 5-#5- b7-7- b2- b3-4. This is helpful when attempting to hear or imagine the sound of these notes before we play them. if we were to presume that the i chord was based around the Major scale, combining these two sounds gives us all but one ( b5) of the 12 chromatic tones.
We’ve seen how this scale looks in terms of intervals when viewed from the v (r- b2-#2-3- b5-#5- b7), but how does it look when seen from the perspective of the i? After all, this is really the true sound of these intervals unless, of course, you don’t intend to resolve to this location. From the i chord, we get
4 &4
bœ #œ œ œ
œ bœ #œ œ
∑
#
b
b5 # 5 b7
2 R 3 2 (Accidentals from G7) E B G D A E
10
8
11
9
8
11
10
cd track 6
˙˙ ˙˙
G7
Ó
bœ bœ œ œ
œ #œ bœ nœ #
b
5 7 maj7 5 (Accidentals from C)
R
8
8 10 9 10
10
8
11
9
b2 b3
4
8
10
11
˙˙ ˙ Ó
C
5
8
8 9 10
1
EXAMPLE 6 IV scale connectIons (MInor to altereD)
cd track 8
A great way to learn this scale is to imagine both the Altered and the intended resolution scale, in this case Dorian, at the same time; tricky if we attempt to see the six-string picture all at once, but if we break it down into single strings
it’s much more manageable. We’ve chosen just one area, but you should repeat this procedure in different locations and keys and also work on exiting towards a Dominant i7 (Mixolydian) and Major imaj7 (ionian/lydian).
6a) Complete shapes
œ œ œ œ bœ œ #œ bœ
D m7 (Dorian)
& 44
œ œ œ œ œ œ œ œ œ œ œ œ ˙
∑
œ œ #œ bœ ˙
A7alt (Altered)
(Accidentals enharmonically spelled for reading ease) E B G D A E
5
8
œœœœ˙
Dm7
&
5
7 8
7 5
7
7
5
7
8
7
5
5
8
6
8
6
8
5
5
6
6
8
7
œ bœ œ bœ œ œ œ 5
6 8
9
8
6
5
6d) String 3
6c) String 2
œœœœ˙
bœ œ œ œ ˙
Dm7
5
6 8 6
A 7alt
5
4
6 8
Dm7
A 7alt
œ bœ bœ œ ˙
œœœœ˙
6 4
4 5 7
5 4
5
6
8
6 5
6
& œœœœ˙ 3 5
6f) String 6
6e) String 5
Dm7
16
7
A7alt
6d) String 4
E B G D A E
5
5
1
6b) Single string - String 1
E B G D A E
7
4
7 5
12
August 2016
3
A 7alt
œ œ bœ œ ˙ 5
7
8
7 5
D m7
œœœœ˙ 5 7 8 7 5
A7alt
Dm7
#œ bœ œ œ ˙ 4
6
8 6
4
A 7alt
œœœœ˙
œ bœ œbœ œ œ œ
5 7
5
8 7
5
6
8
9 8
6 5
PLAY { EXOTIC BLUES EXAMPLE 7 superlocrIan In 3rDs, trIaDs & arpeggIos
cd track 10
minor. The triads and 7ths that we now find are Gdim(m7 b5), A bm(maj7), Bbm(7), Cbaug(maj7), D b(7), E b(7), Fdim(m7 b5). Make sure you can name these structures out loud as you play them, so go slow. Knowing what you play is just as important as fluency and good technique.
it’s immensely useful to break a scale down into its intervals, triads and fournote 7th chords. While these are presented in ascending forms only, naturally you should repeat the process descending. For ease of identification it’s best to revert back to the ‘parental’ Melodic minor here, in this case A b Melodic
& 44 E B G D A E
3
1
6
2
4
3
4
6
&
6
6
4
5
6
3
6
4
3
6
5
6
3
5
3
5
œ bœ bœ œ œ œ œ bœ
3
b
6
4
b
&
12
3
b
B m
œ bœ bœ œ bœ bœ 3
8
b
A m
4
6
3
6
2
4
6
C aug
4
3
4
6
2
6
b
A m (maj7)
D
4
4
6
6
œ bœ bœ œ œ bœ bœ bœ 3
6
4
6
2
4
b
E
b
2
6
Fdim
4
G dim
bœ b œ œ b œ b œ b œ œ œ œ œ œ œ œ œ œ bœ bœ bœ œ bœ bœ œ bœ
bœ œ
b
Gm7 5
E B G D A E
4
2
3
5
Gdim
E B G D A E
4
6
4
6
œ bœ œ bœ œ œ œ bœ & E B G D A E
bœ nœ bœ œ œ b œ œ b œ b œ b œ œ œ bœ œ bœ œ
bœ bœ œ bœ bœ bœ œ œ
∑
b
B m7
5
6
2
#
3
4
6
4
b
C maj7 5
3
5
6
b
D 7
3
6
4
6
b
E 7
3
3
5
6
b
Fm7 5
Gm7 5
bœ œ œ bœ bœ œ bœ œ bœ œ bœ bœ œ b œ b œ œ œ œ œ œ bœ bœ bœ bœ bœ bœ bœ œ bœ bœ bœ bœ 3
6
4
3 4
2
6
5 6
4
3
6
2
6
5
3 4
3
6
4 6
5
3
6
3
6
4
4 5
3
6
August 2016
6
17
Play } BLUES
ON THE CD
TRACKs 3-17
EXAMPLE 8 II-V-I connectIons
cd track 12
This study is a microcosmic blues sequence encapsulating i7-i7alt to iv7 and v7alt to i in just four bars. The ideas come from G Dominant to G Altered towards C Dominant and then D Altered back to G Dominant, repeating
©»¡™º Swing #4 Œ & 4 Ó E B G D A E
j #œ
œ
œ œ
3
4
5
5
3
j œ
œ œ ‰ œj
3
4
5
G 7alt
œ œ bœ bœ œ #œ œ œ 4
5
3
5
6
5
6
2
3
1
& E B G D A E
‰ œj
G7
through each of the five CAGED shapes, taking in every possible location. There is a huge amount of information required to underpin this process, so take your time as attention to detail and patience reaps rewards.
#
C7
D 7alt
j ‰ ‰ j bœ nœ œ œ œ œ
5
5
3
5
œ bœ nœ bœ œ bœ œ
3
6
G7
4
6
3
6
4
G7
# & 44 Ó
œ œ œ œ œ
‰ Jœ
Œ
3
œ œ
3
5
'
6
1/4
Œ
œ œ œ œ œ
2
5
3
5
3
bœ nœ bœ bœ œ #œ œ ‰ J
G7alt
‰ œJ
'
1/4 E B G D A E
5
8
7
6
8
7
7
6
7
6
9
7
8
8
9
7
&
#
j œ
C7
œ œ œ œ bœ Œ
‰ b œj
œ bœ œ nœ bœ œ œ œ bœ œ nœ œ œ œ
D7alt
G7
3
3
3
bœ
7
(9 )
'
Ó
1/4
BU E B G D A E
'
1/4
8
7
5
9
8
9
7
6
6
8
6
7
8
6
7
8
7
8
6 7
10
# & 44
œ œ #œ œ œ œ ‰ J ‰ J
G7
∑
j œ
bœ bœ #œ œ bœ bœ œ nœ
G 7alt
BU E B G D A E
18
10 ( 12 )
13
August 2016
8
9
10
8
8
11
9
8
9
8
11
10
8
PLAY { EXOTIC BLUES John Scofield is one of the finest ‘outside’ players in jazz-blues
August 2016
19
Play } BLUES
ON THE CD
TRACKs 3-17
EXAMPLE 8 II-V-I connectIons ...continuEd
&
#
bœ œ œ œ bœ n œ bœ j ‰ œ œ
C7
œ
cd track 12
œ œ œ
j bœ
œ
j G7 œ œ
D 7alt
7
10
8
8
16
11
œ b œ /' œ ‰ J J ‰ 14
G7
#4 & 4
10
10
9
10
∑
'
8
11
7
BU BD 8
10 ( 12 )
8
10 ( 12 ) ( 10 )
nœ œ ‰ œ #œ ‰
~~~
3
3
3
8
12
bœ ' œ œ # ‰ J ‰ œ &
11
12
9
12
9
j bœ œ nœ œ nœ bœ n œ œ bœ œ bœ œ bœ œ
1/4
'
D 7alt
3
3
3
3
3
1/4
11
13
12
13
11
10
# Ó
√ ‰ j œ œ œ 12
n œ œ œ œ œ œ b œ /' œ
G7
‰
14
3
3
3
13 10
11
10 13 12
13
10
12
11
10
'
Œ
1/4
13 12 ( 13 )
13 12 10
10 12
13
11
12
G7
j œ
œ
œ œ
j œ
14
12
œ œ
3
14 ( 16 )
‰ œj
BU 13 15
G7alt
j #œ
bœ bœ
œ
12
‰ œj
œ œ
3 BU
14 ( 16 )
j œ
BU 14
15 ( 16 )
16
15 ( 16 )
12
25
(√) C 7 # œj œ n œ œ & BU
20
œ
12
BU 11 13 ( 15 )
13
BU
BU
E B G D A E
j œ
11
22
& E B G D A E
11
12
19
C7
E B G D A E
10
13
œ
3
1/4 E B G D A E
j œ
nœ œ bœ nœ #œ
G7alt
œ œ
Œ
3 BU
E B G D A E
œ œ œ~~~œ
j œ
15 ( 17 )
D7alt
j œ
œ œ
‰ b œj
28
August 2016
nœ bœ
j œ
œ œ œj œ œ œ
~~~ j œ œ œ œ œ œ œ œ Œ 3
j œ
3
BU 13 15
j œ bœ
G7
15 ( 17 )
BU 13
15 ( 16 )
BU 13
14
15 ( 16 )
BU BD 15 ( 16 ) (15 )
BU 13
BU BD
~~~
12 15 14 (16 ) 14 ( 16 ) ( 14 ) 12
PLAY { EXOTIC BLUES EXAMPLE 9 II-V-I connectIons
cd track 14
Examples 9a and 9b explore the ii-v-i progression in both major and minor situations. While this progression is mostly associated with jazz, you definitely feel their presence in the vocabulary of players like robben Ford and larry Carlton. in fact, you can superimpose these ii-v-i lines into situations where the rhythm section is playing just v-i and even in some instances just vamping
©»¡™º Straight ∑
on the i. Again we see each of the associated scales for the three events within each sequence situated in the same fretboard location, as this will allow us to make connections by seeing the common tones and the notes that are in close vicinity as the chords change, rather than running each scale up and down from the root to the root with no sense of cohesion.
Ex 9a: II V I connections (Major)
#4 & 4 E B G D A E
A m7
˙˙ ˙
#
&
A m7
3
6
5
3
5
2
4
E B G D A E
b
˙˙ ˙
11
2
3
Dm7 5/A
∑
3
5
G maj 7
b
5
4
G7
6
5
3
Cm7/G
n ˙˙ ˙ 4 3
3 1
4
3
3
b
D m7 5
3
2
5
3
6
5
3
3
5
6
4
3
5
4
5
3
6
#
D7 5
2
4
5
3
b
4
6
3
Gmaj9
4
5
3
Ó
2 5
6
œ œ œ b œ # œ œ œ n œ œ œ #œ œ œ œ œ œ
Dm7 5
G7alt
6
3
5
6
3
5
3
5
5
b
Ó
3
6
4
6
œ œ œ nœ bœ œ œ n˙ œ
Dm7 5
G 7alt
3 6
2
5
˙ œ œ #œ œ œ œ œ #œ
Ó
C m7
6
3
2
Am7
5
G7alt
3
Altered (With specific accidental spellings)
3
b & b b œ œ nœ œ œ œ œ œ œ œ œ œ nœbœ bœ œ ˙ 5
2
2
Ó
˙˙ ˙
5 3
C m6
E B G D A E
œ œ œ b œ # œ œ œ œ œ œ bœ #œ œœœœ
4 4
œ œ œ œbœ œ œ ˙
2
5
Ex 9b: II V I connections (Minor)
b & b b 44
D7alt
(Accidentals enharmonically spelled for reading ease)
Ionian
2
Am7
Dorian
D7alt
œ
œ œ œ œ œ œ œ œ
Ó
˙˙ ˙
5 4 5
5
1
G maj 7
˙ ˙˙
5 5
G maj 7
E B G D A E
D7
3
6
5
4
4
6
3
C m6
6
6
4
Ó
5
16
August 2016
21
Play } BLUES
ON THE CD
TRACKs 3-17
EXAMPLE 10 coMplete pIece
cd track 16
[Bars 1-12 rhythm] Our study is based around a bluesy-jazzy 12-bar sequence full of v-i resolutions. You’ll see many of the voicings from the previous studies here in a more complete musical setting in order to create a logical sense of tension and release, with a strong voice-leading to create melody within the harmonic motion. internalise these forms and then experiment with any other possible solutions to the sequence as you see fit. it’s also a good idea to observe the rhythmic choices carefully, as these ‘comping’ rhythms form the backbone of many players’ swing and shuffle-based vocabulary.
A: Chords
# 4©»¡™º Swing ∑ & 4 E B G D A E
b b
j j ‰ œœœ Ó œœœ ‰ œœœ Ó œ bœ œ
œ n œœ œ 3 2 3 2
3 2 3 2
1
#9 E 7# 5
# œœœ ‹ Œ ‰ # œœ J
G13
œœ # œœ œœ & n œœ œœ Œ ‰ œœ Œ J E B G D A E
8 9 9 8
8 9 9 8
b
D7/A A 7 5
G7
3 5 4
3 5 4
4
4
œœ n œœ 3 5 4 3
œœ œœ ‰ Œ œ J
œ œœœ Œ
œ ˙ ‰ œœœ Œ n ˙˙˙ J
3 5 4 3
3 5 4 3
˙˙˙˙ .... # # œœœœ ‰ œ J
10 12 12 10
˙ ˙˙˙ ˙
b ˙˙˙ ˙
œ b œœ œ
œ ‰ œœ œ J
œœ œœ œ œ ‰ Œ bœ œ J
3 4 4 3
3 3 3 2
3 3 3 2
8 10 9 8
C9
G 13
œœ œ nœ
Ó
10 11 10 10 9
3 5 4 3
œ œ œœœ Œ ‰ œœœ Œ J 3 5 4 3
œ œœœ Œ
C13
œœ ‰ œœ Œ J
8 10 9 8
8 10 9 8
b b b
#9 D 7#5
D7 5 9 A /D
1 1 3 4 5
4 5 6 5
‰ # # œœœœ .... bb ˙˙˙ œ. ˙
3 5 4 3
8
/' œ œ #œ bœ nœ Œ œ œ œ b œ ‰ n œj œ # œ
B: Solo 1 D7alt
G7
G7
œ . #œ œ nœ J
# Œ œ jœ & œ #œ nœ #œ œ œ E B G D A E
#
G7 5
3 5 5 3
#9 D 7# 5
Am11
12 13 12 12 11
8 9 9 8
G13
[Bars 13-24 solo chorus 1] We continue our study with complete single-note line based chorus resplendent with altered v-i action. Points of note are the anticipation in the opening bars, changing to D7 in the middle of beat 3. There is another nod to a different kind of Melodic minor move over C7, with the inclusion of the raised 4th (F#) to imply lydian Dominant (r-2-3-#4-5-6- b7), although this is quickly accompanied by Mixolydian F natural note (F). Our task is to compare melody line to chord, keeping the connections as explicit as possible while striving to remain musical and without sounding predictable.
j œ nœ
3
14
BU 5
5
3
4
3
4
3
3
5
( 6)
4
6
3
5
3
3
G7alt
'
1/4
5
3
3
4
3
4
6
4
6
14
C7 G7 E 7alt # œ ‰ œ œ œ œ œ ‰ nœ œ bœ nœ œ bœ Œ Œ œ œ œ œ œ œ œ #œ nœ nœ œ œ œ œ œ & J # œ œ nœ nœ œ œ J
E B G D A E
2
5
2
3
5
6
5
3
œœ # œ œ œ & œ œ œœ
5
3
4
jD7alt œ œ #œ
3
22
5
7
7
5
4
5 7
6
7
8
9
8
6
5
7 5
6
5
8
7
5
18
A m7
E B G D A E
4
3
7
22
August 2016
5
4 7 5
5
8
7
8 10
3 ~~~ 3 nœ œ œ #œ œ œ œœ œ œ œ œ n œ b œ œ #œ œ œ bœ bœ ‰ j œ b œ œ 3 3 œ bœ 3 ~~~ 9 8 7 10 6 8 10 G7
7
7
D 7alt
10
8
10 7
6
5
7 2
4
≥
6
5
m a etc
8
6
8
8
10
PLAY { EXOTIC BLUES Robben Ford’s playing brims with exotic sophistication
August 2016
23
Play } BLUES
ON THE CD
TRACKs 3-17
EXAMPLE 10 coMplete pIece ...continuEd
cd track 16
create Am9, F minor (F-A b-B b-C-E b) against D7, giving us D7 ( b9-#9- b5-#5) and back down again to E minor against G, the relative minor of the harmonically super-stable G major Pentatonic (G-A-B-D-E).
[Bars 25-36 solo chorus 2] The second chorus concludes our study on Altered, for today at least. There are some intriguing Pentatonic ideas in the closing bars, with E minor Pentatonic scale (E-G-A-B-D) superimposed against Am to
/ œ œ bœ ' œ
C: Solo 2
&
#
œ
14
G7
'
D7alt
3
8
10
6
œ
3
BU 8 8
10
9
10
11
10
BD
13 ( 15 )
( 13 ) 11 13
œ
œ
œ œ nœ œ
11
12
3
15
12
15 14 13
15
j n œ œ œj œ œ œ œ ‰ œ œJ œ 3
3
18 16 15
18 16
~~~ 16 15
18 17
15
18
18
17 16 15 17
14
17
14
BU
j œ
œ
3
15 ( 17 )
17 16 15
œ
œ
œ
j œ
#œ
œ.
‰
16
15
15
16
15
3
3
16 14 16
BU
15 ( 16 )
15 ( 17 )
16
12
32
# ‰ bœ bœ œ nœ œ bœ œ bœ œ œ ‰ & 3
3
3
j œ
13
13
15
15
13
13
15
15
13
13
15
14 12
14
3
3
3
BU
14 ( 16 )
12
12
15
12
14 (16 )
12
14
12
35
√ D 7alt # j nœ bœ œ œ & bœ œ œ 3
37
August 2016
œ œ ‰
13
16
13
13
16 ( 18 )
œ 3
BU
BU 13
j nœ bœ
3
3
BU 15 ( 17 )
j œ
13
17 ( 19 )
14 12
12
œ œ œ œ œ œj œ œ œ œ œ œ ‰ 3
3
12
12
G7
BU
24
12
3
D7 alt
E B G D A E
15 ( 17 ) ( 15 ) 13 15
œ ‰ œ œ œ œ œ œ œ œ œ ‰ 3
˙
j œ
3
15 14
Am7 Loco
E 7alt
BU
E B G D A E
BU BD 13 15
29
(√)G 7 # j œ œ & œ œ œ œ E B G D A E
18
26
C7 (√) Gb7alt 3 œ ~~~ # bœ œ nœ bœ œ œ œ b œ œ œ b œ œ Œ b œ œ & œ bœ œ œ nœ œ œ œ
E B G D A E
œ œ
‰
3
3
1/4 E B G D A E
G7
√ j n œ ‰ n œj œ œ b œ œ œ œ œ œ œ œ œ
14
G7
‰
j ~~~~~ n œ ˙˙
~~~~~
BU 15 18 ( 20 )
Ó
14
12
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August 2016
27
Play } ROCK
ON THE CD
TRACKs 18-34
Guitar Giants Angus & Malcolm Young Jamie Humphries lays bare the devastating rhythm, riff and lead styles of the hottest sibling act in rock history. Move over Ray and Dave, Noel and Liam, Justin and Dan… here come The Brothers Young! ABiLiTY RATinG Info Key Various Tempo Various CD TRACKS 18-34
H
Moderate/Advanced ✪ ✪ ✪ Will improve your… Open chord voicings Understanding of slash chords Vibrato and string bending
owever good you recall that infamous group of Aussie/Glaswegian/Geordie miscreants AC/DC as being, whack on Back In Black and recoil in amazement at how brilliant they really are. It’s astonishing the level of power, tightness, excitement and sheer musicality this bunch of guys manages to convey. And despite recent upheavals due to illness and other troubles, they are out on the road again with Axl Rose fronting, Chris Slade (back) on drums, and the Youngs’ nephew Stevie replacing Malcolm on guitar. While the band’s lineage is clearly rock and roll and blues, they are also credited with pioneering heavy metal. However you define them, they sit alongside the very best guitar acts in history, the melding of Malcolm’s rhythm and riffing with Angus’s fiery leads providing the musical platform from which song after hit song has sprung. The brothers formed AC/DC in 1973, and after several line-up changes settled with singer Bon Scott, Phil Rudd on drums and bassist Mark Evans. In 1975 they released High Voltage, following up with Dirty Deeds Done Dirt Cheap and Hell Ain’t A Bad Place To Be (containing the classic Whole Lotta Rosie). Bassist Cliff Williams replaced Mark Evans and in ’78 the band released Powerage.
✪✪
AC/DC’s breakthrough came in 1979 when the five-piece was put together with legendary rock producer Mutt Lange for their best release so far, the landmark Highway To Hell. The results of this Gibson and Gretsch-fuelled onslaught shot the band into rock’s top ranks, but just a year later tragedy struck when singer Bonn Scott died after a heavy drinking bout. They considered calling it a day, but instead re-emerged with ex-Geordie singer Brian Johnson at the mic, releasing the finest album of their career thus far, the awesome Back In Black. This seminal rock record reached #1 in the UK and went on to sell more than 22 million copies in the USA alone. For Those About To Rock We Salute You proved almost as successful, but during the ’80s the group’s popularity diminished. Drummer Phil Rudd was replaced by Chris Slade (Rudd later re-joined but Slade is now back on kit). With the 90s came a rock resurgence, and with it AC/DC’s reinstatement at the top of the pile. The band has continued to release hugely successful albums, and has now outsold The Beatles in the US, making them one of the biggest acts in music history. Such albums as The Razor’s Edge, Fly On The Wall, Who Made Who and 2008’s amazing return to form Black Ice, prove what an unstoppable
force this band is. Add the soundtrack to the movie Iron Man 2 and 2014’s worldwide smash Rock Or Bust, this time with Angus and Stevie Young on six-string duties, whatever happens next their legacy remains solid gold. AC/DC’s original sound comes from the perfect pairing of Angus on lead guitar and Malcolm on rhythm. Malcolm makes uses of open-position voicings and slash chords, displaying a phenomenal sense of timing and groove – he knows instinctively what, and what not to play. Angus punishes his Gibson SG with quick-fire licks, rapid vibrato and perfectly executed single-string lines – all delivered in trademark school uniform. They display a great balance of physical abandon, technical accuracy and musical integrity. If you study the following rhythm and lead parts it will help you to work out AC/DC songs and solos much more easily, as you’ll be acquainted with the thought processes involved. We’ll include ideas from both Angus and Malcolm, and will give you an insight into their very individual approaches. To round things off there’s an AC/DC-inspired piece that makes use of the techniques covered in this lesson. I hope you enjoy our journey down under, up over… and beyond! 6
5 7
8
GAIn
2
BASS
MIddlE
TREBlE
REvERB
Technique Focus Slash chords
A slash chord has its usual root replaced with another note. The most common slash chord is called an inversion, where the new root comes from within the chord itself. Take C Major (C-E -G :1-3-5). We ‘invert’ the chord by changing the order of the notes. Re- ordering as E-G-C (3-5-1) we get C first inversion (or the slash chord C/E). G-C-E (5, 1, 3) is C second inversion (or C/G). The first letter is the chord; the second tells us the bass note. Often they are used for a smooth transition between chords. Take a C5 powerchord with the root on the 3rd fret, fifth string, and the 5th on the 5th fret, fourth string: to change to G, simply drop the C bass note a semitone to B. B and G played together make a G/B chord – or G first inversion, as moving C’s root down a semitone it becomes the 3rd of G (B). We don’t have to use notes from within the chord to create slash chords, and the Young brothers use this approach too. In For Those About To Rock, we find B5/A – a B5 chord with A (the b7) in the bass – also referred to as a third inversion. Try experimenting and see if you can perform smoother changes with the use of slash chords.
28
August 2016
Angus uses a Gibson SG based on his own 1968 model, into a Marshall 100-watt stack. Malcolm prefers a Gretsch based on his 1963 Jet Firebird, also into a 100-watt Marshall. The brothers’ tones are quite different; Malcolm’s having a little more top end while Angus’s is thicker, with more gain. You’ll need plenty of natural rock drive for both sounds, so why not set your lead sound (not too much distortion – this is rock, not metal!) and turn the guitar’s volume down for rhythm.
GUITAR GIANTS { Angus & MAlcolM Young
When i WenT on sTAGe in Those Bush puBs i ReALiseD i’D hAve To Move ARounD, BecAuse i KneW ThAT WiTh ThAT schooL suiT AnD cAp on i’D Be A pReTTY GooD TARGeT
JOEY FOLEY / GETTY IMAGES
Angus Young
Angus and Malcolm Young, doing what they do best!
TRAcK RecoRD There are loads of albums to choose from if you are new to AC/DC. Choice material from the Bonn Scott era includes High
Voltage, Let There Be Rock, Dirty Deeds Done Dirt Cheap, Hell Ain’t A Bad Place and Highway To Hell. Great albums with Brian Johnson at the helm include Back In Black, For Those About To Rock We Salute You, Flick Of The Switch, Fly On The Wall and Razors Edge. Top pick: Back In Black. August 2016
29
Play } ROCK
ON THE CD
MalcolM-style rhythM and riff ideas…
cd tracks 19-22
ExamplE 1 We begin with a short rhythm idea that demonstrates how Malcolm makes use of space. Pay close attention to the rests between the chords to keep them sounding punchy and tight. I have also included an A5 G5 D ©»ª∞ œœ œœ œœ œœ œœ ## 4 . ‰ . œ & 4 œ œœ œœ œœ ‰ œœ œœ œ œ œ œ
. .
E B G D A E
3 3 0 0 X 3
2 2 0
1, 5
3 3 0 0 X 3
3 3 0 0 X 3
2 3 2 0
example of how Malcolm uses slash chords (bar 2) for a smooth transition at the end of bar 2, using a C5 to G/B move. This example concludes with a short lick based around E minor Pentatonic (E-G-A-B-d). C5
G /B
D /F #
j œœ œ œ œ
2 3 2 0
2 3 2 0
0
T
3 3 0 0 2 3
E B G D A E
G
œœ œ œœœ
œœ œ œ œ
2 3 2 0 X 2
2
œœ œœ œœ
D /F #
T
3 3 0 0 2 3
5 3
œœ œ œ œ
E B G D A E
0
1, 5
0
0
0
0
0
0
œœ œ œ œ
œœ œ
3
3
3
3
1, 5
# & # E B G D A E
30
2
0
0
2
0
4
0
3
4
0
3 3 0 0 2 3
3, 7
August 2016
0
2
0
4
0
3
4
0
2
2
2 2 0
0
2
2 0
3
2
0
3
. .
ww w
ww w
2 2 0
3
C5
A5
œœ œœ œœ œœ œœ œœ .. œ œ œ œ œ œ > >œ œ œ >œ œ œ >œ œ > >œ œ 5 5 3
3
D5
3
3
5 5 3
3
3
5 5 3
7 7 5
3
5
5
7 7 5
5
2 2 0
5
. .
3
and A dorian respectively. The riff also uses a syncopated 16th-note rhythm and transposes easily, by simply dropping down to the next group of strings. Practise slowly to begin with, making sure the note lengths are even.
œ
0
0
0
2
0
œ œ œ œ œ œ 2
3
œ œ œ œ œ œ œ œ œ œ œ œ œ 2
3
œ œ œ œ œ œ nœ œ œ œ œ œ œ œ 2
2 2 0
3 3 0 0
constant and even, and pay close attention to the accents as they really bring the riff to life.
N.C. ©»ªº ## 4 . & 4 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ
. .
2 2 0
œ
2 2 0
œœ œœ œœ œœ œ œ œœ œ œ œœœ œ œ œœœ œ > > >
0
œœ .. œœ Œ œ œ œ œ œ œ
A5
ExamplE 4 This typical Malcolm idea makes use of E minor and A minor Pentatonic scales (E-G-A-B-d and A-C-d-E-G). The riff also includes a 6th interval – C# against the E riff – and F# against the A riff, implying E dorian
E B G D A E
2 2 0
G
3 3 0 0 2 3
G5
changing between these chords, be sure to leave your third finger on the second string, as the d note is used in both chords.
2 3 2 0 X 2
3 3 0 0 2 3
E5
œœ ‰ œ œ œ ‰ œ œ œ œ œ œ œ œœ
5 2
ExamplE 3 Here we see how Malcolm uses tight down-stroke rhythms, palm muting and accents. Make sure you keep the eighth-note rhythm solid, E5 ©»¡¡º # & 44 .. œ œœ œ œ œœœ œ œ œœœ œ > > > . 2 2 . 22 2 2
A5
œœ ‰ œœ œ œ œ œ nœ œ
ExamplE 2 This figure illustrates how Malcolm likes to change chords on the off-beat and across the bar. Once again we see slash chords – d/F# to G. When G ©»¡™º œœ .. # & # 44 œœ .. œœ ..
TRACKs 18-34
0
2
0
4
4
0
4
3
0
2
œ nœ
œ œ œ œ œ
0
4
3
0
2
0
3
3
œ 0
.. . .
GUITAR GIANTS { Angus & MAlcolM Young anGUs style licKs
cd track 23-25
ExamplE 5 Our first Angus-style example is based on a bending double-stop figure that uses notes from A minor Pentatonic. This lick is inspired by one of
©»¡¡º # & 44
j œ
œ œœ œœ
A
BU
E B G D A E
7 (9 )
5 5
j œ
œ œœ œœ
BU
5 5
5 5
7 (9)
j œ
œ œœ
BU
5 5
œœ
5 5
7 (9)
Angus’s favourite guitarists, Chuck Berry. Pay attention to the vibrato on the final note, as Angus has a very fast and distinctive style – almost Kossoff-like.
œ œœ œœ
j œ
BU
5 5
7 (9)
ExamplE 6 This rock and roll style lick is also in A Minor, and will require some slow practise at first to sort out the picking approach. luckily, it’s just
©»¡¡º √ Aœ # & 44 E B G D A E
17
œ œ
œ
œ
œ
œ
œ
20
5 5
œ œœ œœ
BU
5 5
7 (9)
œ
17
17
19
20
7
~~~~
œ
œ
œ
œ
œ œ 3
3 17
17
19
17
20
17
17
19
17
17
20
17
17 19
17
20
17
17 19
17
20
j œ
17
20
17
19
w ~~~~~~
3
3
3
17
17 19
BU 17
20
17
~~~~~~
20 (22)
19
2
ExamplE 7 Ideally you would use only downstrokes to perform these 3rds to maintain an even velocity.
E B G D A E
5
1
3
E B G D A E
(7) ( 7)
(8) (8)
7 7
(√) # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & E B G D A E
œœ œ ~~~~ œ ˙
b œœ
BU BD
5 5
œ œ
œ
3
17
j œœ
one repeating idea: five notes played over and over, starting on a main beat each time.
œ œ
3
17
5 5
j œ
If this proves too difficult (that’s fast!), opt instead for alternate down-up strokes (as shown) but watch your timing doesn’t drag!
©»¡£º √ A # 4 œœ & 4
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
20 21
20 21
20 21
20 21
20 21
20 21
20 21
20 21
20 21
20 21
20 21
20 21
20 21
20 21
20 21
20 21
≥
≤
≥
≤
etc
1
(√) # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ &
# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
20 20 20 20 20 20 20 20 20 20 20 20 19 19 19 19 21 21 21 21 21 21 21 21 21 21 21 21 19 19 19 19
17 17 17 17 17 17 17 17 17 17 17 17 17 17 17 17 18 18 18 18 18 18 18 18 18 18 18 18 18 18 18 18
2
August 2016
31
Play } ROCK
ON THE CD
anGUs style licKS ...CONTINUED
cd track 26-28
ExamplE 8 Here’s how Angus performs fast Pentatonic runs. This lick is based around E minor Pentatonic (E-G-A-B-d) and E blues scale: once again, go slowly E ©»¡™º # & # 44 Ó
Œ ‰.
j~~ œ œ
J
to start with and build up to tempo, all the time aiming for Angus’s great feel, sense of dynamics and aggression.
œ œ œ œ œ œ œ œ œ œ œ bœ nœ bœ
BU ~~
15 (17 )
E B G D A E
TRACKs 18-34
15
12 15 12
15
12
ExamplE 9 Angus loves open strings, and sometimes evokes pseudo-classical results - here’s an E Harmonic minor tonality (E-F-G-A-B-C-d#) at the start,
15 12 15 12
12
15
~~~ œœœœœœ œ œ bœ œ œ œ
15
14 12
14
14 12
14 12
~~~
14 13 12 10
outlining B, and Em, and using the open second string. The lick concludes with a descending sequence to imply an exotic B7 sound.
B Em B ©»¡™º œ œ œ œ # 4 . #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ . . & 4 .
E B G D A E
1, 4
. .
4 0 7 0 4 0 7 0 4 0 7 0 4 0 7 0
≥ ≥ ≥ ≥
5 0 8 0 5 0 8 0 5 0 8 0 5 0 8 0
E B G D A E
1, 5
>œ # # # # œœ &
. .
E sus4
E B G D A E
12 0 14
>œ œœ
œ œœ
œ œœ
>œ œœ
œ œœ
œ œœ
>œ œœ
œ œœ
œ œœ
>œ œœ
œ œœ
œ œœ
>œ œœ
œ œœ
>œ œœ
œ œœ
11 0 11
11 0 11
11 0 11
11 0 11
11 0 11
11 0 11
11 0 11
11 0 11
11 0 11
11 0 11
11 0 11
11 0 11
11 0 11
11 0 11
11 0 11
11 0 11
B
≥i etc œ œ œ œ œ œ m
12 0 14
12 0 14
>œ œ œ
œ œ œ
œ œ œ
>œ œ œ
œ œ œ
12 0 14
12 0 14
12 0 14
12 0 14
12 0 14
œ œ œ
>œ œ œ
œ œ œ
œ œ œ
>œ œ œ
œ œ œ
>œ œ œ
œ œ œ
12 0 14
12 0 13
12 0 13
12 0 13
12 0 13
12 0 13
12 0 13
12 0 13
E
3, 7
[Bars 1-4] Here the chords of A5, G5/d and d are played lightly with the guitar’s volume backed off. Watch the rhythm in bar 3, and make sure you
E B G D A E
32
2 2 0 1
August 2016
. .
nice fat sound. Pay attention to the accents, as once again these are vital to the sound and overall feel of the lick.
EXAMPLE 11 ac/dc style piece - MalcolM, rhythM part
A5 ©»¡™º # & # 44 ww w
4 0
etc
ExamplE 10 This final Angus-style lick uses the open second string and outlines the chords of B, Esus4 and E and should be performed fingerstyle for a
©»¡™º #### 4 . & 4 .
10 0 8 0 7 0 5 0 8 0 7 0 5 0
. .
cd track 30
leave your third finger on the second string when shifting from G5/d to d. Above all, go for that great AC/dC attitude! G 5/D
ww w
..
j œœ œœ
œœ .. œœ ..
D
3 3 0 0
2 3 2 0
œœ œœ
G 5/D
ww ww w
œœ œœ
A5
3 3 0 0
5 5 2 2 0
GUITAR GIANTS { Angus & MAlcolM Young EXAMPLE 11 ac/dc style piece - MalcolM, rhythM part ...CONTINUED [Bars 5-8] The main riff features a melodic figure performed on the fourth string against the open fifth string. Although this has been written as ‘A riff’, the descending notes on the fourth string outline the chords of A7, A6 and A5. Mute the recurring open fifth string but remove the mute when you play the notes on the fourth string. This figure concludes with the chords of d/F# to G. [Bars 9-12] The second half of the verse riff is similar to the first, although the melody changes slightly with the addition of the B note on the fourth string,
cd track 30
plus a short lick that concludes this section. [Bars 21-28] In the chorus, see how Malcolm would employ space, with openvoiced chords performed with pushes. [Bars 29-32] Again we see those slash chords – check out this B5 to B5/A movement. This section also uses a familiar rhythm, with the chords changing on the off-beat – a favourite AC/dC ploy. [Bars 33-37] Our rhythm part concludes with a repeat of the intro riff. D /F #
A Riff (see text)
# & # .. œ œ œ œ œ œ œ œ œ œ œ E B G D A E
5, 13
. .
7 0
5 0
≥ ≥ ≥ ≥ 0
0
0
4 0
0
œ œ œ œ œ œ œ œ œœ œ
0
0
5 0
0
4 0
0
2 0
0
œœ œ œœ œœ œ œ œ œ 0 0
0
2
2 0
2 0
0
0
0
œœ œ œ œœ
œœ œ œ œ
œœ œ œ œ
2 3 2 0
2 3 2 0
2 3 2 0
2
2
2
T
0
0
etc
G
œœ œœ œœ
œœ œ œœœ
3 3 0 0 2 3
3 3 0 0 2 3
A Riff
# œ & # œ œ œ œ œ œ œ œ œ œ E B G D A E
7 0
0
5 0
0
0
21, 25
. .
0
0
5 0
0
4 0
0
4 4 2
G
œœ œœ œœ œœ œ
0 0 1 2 2 0
# & # œœ .. œ.
˙˙ .. ˙.
œœ œœ œœ
œ œœ
2 0
2 0
2 0
j œœ œœ œ œ 4 4 0
##
B5
œœ œ 4 4 2
j œœ œœ .. œ œ.
B 5/A
4 4 0
A5
ww w 2 2 0
œœ œ œœœ
3 3 0 0 2 3
2 2 0
B 5/A
˙˙ .. ˙˙ .. ˙˙ ..
0
0
0
0
j œ 5
B5
B 5/A
œœ œ
œœ œ
4 4 2
4 4 0
T
G 5/D
ww w
j œœ œœ
œœ .. œœ ..
D
3 3 0 0
2 3 2 0
D /F #
œœ .. œ .. œ. œ
j œœ œ œ œ
2 3 2 0
2 3 2 0
2
2
œœ œœ
.. j œ œ œ nœ œ
A5
œœ œ
œœ œ œœœ
œœ œ œ œ
2 2 0
3
5
3
3
. .
.. . .
ww w www
3 3 0 0 2 3
œœ œœ
A5
ww ww w
ww w
3 3 0 0
5 5 2 2 0
2 2 0
G 5/D
3
j j œœ œ œ œ.
2 2 0
G
5
2
j œœ œ œ œœ
D5
3 2 0
29
& E B G D A E
0
4 0
A5
# ˙. & # .. # ˙˙˙ ... ˙˙ ..
B5
E B G D A E
0
5 0
œ œ œ œ œ œ œ œ œ œ œ œ
9, 17
E
E B G D A E
0
9 0
œ œ œ œ œ œ œ œ œ œ œ
33
August 2016
33
Play } ROCK
ON THE CD
TRACKs 18-34
EXAMPLE 12 ac/dc style piece - anGUs, lead
cd track 33
[Bars 9 -12] Bluesy sounding A minor Pentatonic licks use double-stops and the open fourth string for the 16th-note triplet hammer-on figure. [Bars 13-16] More bluesy licks – this time including the F# note for an A dorian sound; followed by a figure based around A major Pentatonic (A-BC#-E-F#).
[Bars 1-4] Our Angus-style intro demonstrates how he would use his picking hand fingers (‘i’ ‘m’ usually) to perform diads (double-stops). This example follows the intro chords. [Bars 5-8] Here we have some more Chuck Berry-inspired double-stops and bends. Aim to emulate Angus’s fast and aggressive vibrato style.
E B G D A E
A sus4 G5/D D G5/D A5 ©»¡™º A 5 .. > œœ~~~ > > œ œ œ > > > > > > # # 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ ‰ œœ œ J ‰ j & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ ~~~ BU 5 2
5 2
5 2
5 2
5 2
5 2
5 2
# # œ œœ œœ œj œ œœ œœ œj œ œœ (9)
5 5
BU
5 5
7 (9)
5 5
5 5
BU
5 5
7 (9)
5 5
3 2
3 2
3 2
3 2
3 2
8 7
8 7
8 7
7 7
7 7
7 7
7 7
7 7
10 9
10 9
7
BU
5 5
5 7 (9)
5 5
BU
5 5
5 7 (9)
5 5
œœ œj œ œœ œj œ œœ œj œ œœ œj b œœ œ
BU
5 5
7 (9)
BU 7 (9)
5 5
BU
5 5
7 (9)
BU
BU BD
5 5
7 (9)
7 7
(8 ) (8 )
5
#
(7) (7 )
A Riff
G
‰
~~~~
5
œ nœ œ œ œ œœ œ nœ 3
‰
œœ n œœ œœ œ œ œ œ œ œ 3
BU
7
0
5
5
7
7
5
5
0
3
5
7 7
7
5 5
7
5
7
8
## œ œ œ œ œ nœ œ œ œ œ &
34
3 2
œœ œj œ œœ œœ œj œ œœ œœ œj œ
A Riff (see text)
# # œœ n œ ~~~~ œ ˙ &
E B G D A E
3 2
1
D /F
E B G D A E
5 2
0
& E B G D A E
5 2
5 9 11
August 2016
nœ #œ œ œ œ nœ #œ œ BU
8
5
7
5
7
7 7
5
[5]
(6)
7
7
5
6
5
œ œ œ œ nœ œ œ œ 5
BU 7
(8)
5
8
7
5
5
GUITAR GIANTS { Angus & MAlcolM Young EXAMPLE 12 ac/dc style piece - anGUs, lead ...CONTINUED
cd track 33
[Bars 17-20] look out for bars 17-18, where we bend up a tone and a half (three frets) and then a tone (two frets) for great bluesy effect. This section ends with some high-register, A minor Pentatonic bluesy bends. [Bars 21-24] The chorus kicks off with one of Angus’s favourite speedy
## œ œ œ nœ œ œ œ œ & E B G D A E
5
7
5
7
5
7
## œ œ œ œ œ œ œ
7
2
œ œ œ
œ œ
(4 )
2
#
nœ
G
œ ˙
BU BD
4 (6)
2
4
œ œ
j œ
j œ
œ œ œ œ
œœ
BU BD 10 10
11
4 (6)
2
4
4
[ 2]
2 3
11
10
11
œ œ œ œ œ RP
BU
12 (14) (12 ) 10
10 12 (15 )
j œ
15
15 (17 )
(17 )
15
j œ
w ~~~~~
j œ œ nœ œ œ
~~~~~
BU
BU BD 15 (17 ) (15 ) 13
15 (17 )
17
# & #
j œ
œ œ œ œ œj œ œ œ œ œj œ œ œ œ œj œ œ œ œ
E
A5
3 BU 15 (17 )
12
3 BU
15 12
12
14 (16 )
3 BU
15 12 15 (17 )
12
j œ
jG œ œ œ œ œj œ œ œ œ œj œ œ œ œ œ œ
BU 15 12
14 (16 )
12
3
3
3 BU 15 12
15 (17 )
12
BU 15 12 15 (17 )
12
3 BU
15 12 15 (17 )
BU 12
15 12
15 (17 )
21
& E B G D A E
j j œ œ œ œ
œ œ
D /F
14
&
E B G D A E
j œ
BU 8
A Riff
E B G D A E
œ
Pentatonic ideas. It’s pretty tricky at this pace, so take care with the pulloffs and bends – and remember, Angus would be playing stuff like this while cavorting all over the stage. And when you think about that there’s an awful lot of skill and stamina involved!
##
˙
œ œ œ œ
D5
PB 15 15 (17 ) 15
j œ
œ œ œ
A5
BU 15 (17 ) 15
12
j œ
œ œ.
E
œ J
œœœœœœœœœœœœœœœœœœœœ 5
5
5
5
BU 15 (17)
14 23
A5
12 11 9 12 11 9 12 11 9 12 11 9 12 11 9 12 11 9 12 11
≥ ≤ ≥ ≤ ≥ etc August 2016
35
Play } ROCK
ON THE CD
TRACKs 18-34
cd track 33
EXAMPLE 12 ac/dc style piece - anGUs, lead ...CONTINUED [Bars 25-28] Angus loves using fast, single-string picking lines to add excitement. Use alternate picking, starting on a down-stroke. [Bars 29-32] The solo climaxes with a figure that pedals off the second string
œ
## œ œ œ œ œ œ œ œ & E B G D A E
œ œ œ œ œ œ œ
G
œ
œ
5
with a descending B Mixolydian line (B-C#-d#-E-F#-G#-A), and a B Major arpeggio. We book-end the piece with the piece’s intro. nice!
9 12 11
9
12 11
9
4
16
0
15
(16 )
14
RP BD
RP
BU
(16)
15
(16)
w ~~~~~~
j D5 œ œ
A5
~~~~~~
BU
(14)
12
15 (17 )
26
B5 B 5/A B5 B 5/A B5 B 5/A ## œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ &
6
E B G D A E
12 0 10 0
0 10 0
9
0
##
j œ
œ
D /F
#
œ
BU
10
10 (12 )
j œ
œ
œ.
0
BU
j œ
œ
9
0
7
0
5
0
7
0
5
0
10 (12)
w ~~~~~~
œ
G
4
0
7
4
0
7
4
0
7
4
0
7
4
(10 )
10 (12 )
8
A5
>œ œ œ >œ œ œ >œ œ œ œ œ œ œ œ œ œ
~~~~~~
BU
BD
5 2
5 2
5 2
5 2
5 2
5 2
5 2
31
# œ > œ > œ > œ & # œ œœ œ œœ œœ œ œœ œ E B G D A E
36
7
29
& E B G D A E
9
6
5 2
3 2
3 2
3 2
3 2
3 2
3 2
3 2
>œ œ œ >Dœ œ œ G5/D œ œ œ œ œ œ >œœ œœ
G5/D
8 7
8 7
8 7
7 7
7 7
7 7
7 7
7 7
œœ ˙˙ ~~~~ U ww ~~~~~ ‰ J ‰ j œ ~~~~~ ~~~~~
A5
10 9
10 9
0 34
August 2016
10 9
5 2
0
PLAY } LEAD
ON THE CD
TraCk CD-rOm
brett garsed masterclass Part 3 In part three of our video series with Aussie legend Brett Garsed, we examine Brett’s performance over the harmonically challenging backing track, Beyond The Void. Jon Bishop is your guide. Brett used his black Gibson SG for this month’s track
centred around creating a strong melody and outlining the harmony. The combination of sophisticated phrasing, clever note choices and a modern-sounding tone makes this one a must-study piece. The backing track is included for you to practise over, in addition to a full transcription of Brett’s performance from the video and the chord chart with suggested scale choices. Hopefully, there will be a new technique, lick or phrase in here somewhere for you to perfect. If you find one you like then
as brett creates the melody to suit the chord using broken scales and arpeggios, there are no ‘scale shapes’ as such
ability rating ✪ ✪ ✪ ✪ ✪ Advanced Info Key: C minor Tempo: 90 bpm CD: CD-ROM
Will improve your… Switching between tonalities Fluid rock fusion soloing Hybrid-picked 16th-note triplets
W
elcome to this issue’s masterclass series where we are going to look at how Brett tackles the third of Jason Sidwell’s backing tracks. This particularly tricky set of changes is entitled, Beyond The Void. As Brett explains, the track has many chord changes and there’s an almost classical feel. Brett decided on a smooth but not too forceful overdrive this month, even though his legendary legato style is still to the fore. Instead of getting too caught up in the theory side, Brett chose to use his ears to navigate the changes. As an extra help, we have placed some scale choices you could use
on the accompanying chord chart – some of which Brett has used in his solo. As Brett tends to create the melody to suit the chord using broken scales and arpeggios, there are in fact no real ‘scale shapes’ to speak of. You will be best studying the solo and the possible scale and arpeggio choices and then, like Brett, using your ears. Part of the reason this piece has the advanced rating is that there is no way to play through this piece effectively just using one scale. Changing from one tonality to the next ‘in the moment’ will take a great deal of practise and planning. In his spoken introduction, Brett hammers home the importance of leaving space and not filling all the gaps. As you study the tab take a look at how Brett plays the lines – and which notes are picked and which are plucked with the fingers. Brett’s solo is both rhythmically and harmonically advanced and it will take some time and effort to digest, but this work will be well worth it. The notation looks pretty intimidating, but the phrases are always
memorise it and use it in the future, especially if the sextuplet feel is what’s required. Once you have mastered some of the concepts in Brett’s solo, why not try creating a solo of your own over the very same backing track. Check out the chord chart for the harmonic changes and scale choices and, most importantly, use your musical ear. Have fun and I’ll see you next time for some more Garsed goodness! NEXT MONTH Brett performs another staggering improvised solo over the track Grasshopper
7
Gain
7
Bass
7
Middle
6
TreBle
3
reverB
Brett used the bridge pickup of his Gibson sG into a Carl Martin Plexitone pedal and rola JTM 45 amp. Tone and volume controls were set to taste. any electric will work well; just dial up a creamy, dynamic overdrive and experiment with the guitar’s controls to achieve the desired sounds. a bit of reverb or delay will add that final splash of panache.
track record Brett is best known for his live and recorded work with Australian rock star John Farnham. But his earlier albums with T J Helmerich are legendary for their technique and musical interplay. He also works with American rock band Nelson. To hear Brett playing his own music, check out his solo albums, Big Sky (2003) and Dark Matter (2011). For all things Brett Garsed go to www.brettgarsed.com.
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August 2016
VIDEO MASTERCLASS
BRETT GARSED PT3 EXAMPLE CHORD CHART fOR beyOnD THe vOiD
1
6
©»ªº ∑ & 44
A
Cm C Natural Minor Scale
’ ’ ’ ’
A b Major Scale Ab
Cm/E b C Natural Minor Scale
’ ’ ’ ’
D7 D Mixolydian
’ ’ ’ ’
A m7 b 5 A Minor Blues Scale
B b/A b
Fm6 F Dorian Scale
G 7 G Phrygian Dominant
Cm C Natural Minor Scale
D7 D Phrygian Dominant
Cm/E b C Natural Minor Scale
D7 D Phrygian Dominant
Am7 b 5 A Locrian Scale
B b/A b
’ ’ ’ ’
& ’ ’ ’ ’
’ ’ ’ ’
10
& ’ ’ ’ ’
14
’ ’ ’ ’
E bmaj7 # 11/G
Gsus2 G Mixolydian Scale
& ’ ’ ’ ’ F m F Melodic Minor Scale
& ’ ’ ’ ’
C Super Locrian Scale C7 Gm7 b 5
’ ’ ’ ’
22
Fm/A b F Natural Minor Scale
& ’ ’ ’ ’ Fm F Melodic Minor Scale
& ’ ’ ’ ’ Fm/A b
& ’ ’ ’ ’
Cm C Natural Minor Scale
Am7 b 5 A Locrian Scale
& ’ ’ ’ ’
43
Gsus2 G Mixolydian Scale
& ’ ’ ’ ’
47
’ ’ ’ ’ ’ ’ ’ ’
G sus2 G Mixolydian Scale
’ ’ ’ ’
C7/F
’ ’ ’ ’
C7/F
Ab 7
’ ’ ’ ’ D 7 D Mixolydian
’ ’ ’ ’ A b Lydian Scale Ab
B b/A b
’ ’ ’ ’
E bmaj7
Fm
E b Lydian Scale
’ ’ ’ ’
’ ’ ’ ’
F #7 # 11 F # Lydian Dominant Scale
’ ’ ’ ’ C/Bb
’ ’ ’ ’ D b Lydian Scale
C/Bb
G7
’ ’ ’ ’ ’ ’ ’ ’
C Phrygian Dominant G
’ ’ ’ ’
’ ’ ’ ’
’ ’’’
D7 D Mixolydian
’ ’ ’ ’
G Mixolydian Scale
E bmaj7 # 11/G E b Lydian Scale
E b Dorian Scale
Gsus2 G Major Pentatonic Scale
’ ’ ’ ’
E bm/G b
A b Major Scale Ab
F Melodic Minor Scale B bm6
Cm/E b C Natural Minor Scale
G sus2
’ ’ ’ ’
B b m7
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
D bmaj7
’ ’ ’ ’
C m/G C Melodic Minor Scale
E bmaj7 # 11/G E b Lydian Scale
F Melodic Minor Scale B bm6
Fm
C Super Locrian Scale Gm7 b 5 C7
’ ’ ’ ’
& ’ ’ ’ ’
39
’ ’ ’ ’
C7 C Phrygian Dominant
A b Major Pentatonic Scale Ab
34
Gsus2 G Phrygian Dominant
Gm7 b 5 G Locrian Scale
’ ’ ’ ’
26
30
E b Major Scale
’ ’ ’ ’
18
C
D7 D Mixolydian
’ ’ ’ ’
& ’ ’ ’ ’
B
cd track cd-rom
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
TOP THRee LiCKS in THe PieCe Lick 1 Blues scale for the m7b5 chord: Bar 6 In this lick we have the potentially tricky Am7b5 chord to negotiate. While A Locrian mode (A-Bb-CD-Eb-F-G) is the classic and therefore obvious choice, Brett instead goes for the A Blues scale (A-C-D-D#E-G), which works perfectly.
Lick 2 Blues releases the tension: Bars 34-35 Using bluesy sounding phrases is a great way to release harmonic tension, and this phrase is a real cracker. Brett treats the chord as Ab7 and the scale chosen is the sweet sounding Ab major Pentatonic (Ab-Bb-C-Eb-F).
Lick 3 Allan Holdsworth style solo line: Bar 38 This line is a bit tricky and is made up of semiquaver sextuplets (24 notes). There are some great intervallic ideas here – no doubt inspired by guitar players like Allan Holdsworth – so this would be a great lick to get under your belt.
August 2016
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PLAY } LEAD
ON THE CD
EXAMPLE beyOnD THe vOiD
cd track cd-rom
[Bars 1-21] The backing track starts with just drums in order to prepare you for the entrance. The solo starts with a flourish using the C natural Minor scale (C-d-eb-F-G-ab-Bb). The F# is included to outline the sound of the d7 chord in
©»ªº b 4 &b b 4
A
Œ
∑
bars 3 and 5. in bar 5 beat 2 onwards, Brett opts for the a Blues scale which, again, works perfectly over bar 6’s am7b5 chord. This is challenging stuff so it’s worth taking the fast legato line in bar 11 slowly at first. 7 œ œ œ œ Dœ~~~ œ œ nœ œ #œ
j œ
œ œ œ œ œ œ œ œœ
Cm
3
3
6
Bridge Pickup with Overdrive
10 12 13
12
11 13 15 16 18 18 (20 )
~~~
18 16
b
œ nœ œ bœ nœ œ œ œ b œ n œ. # œ œ œ œ ~~~ b œ œ ˙ œ œ ‰ ‰ b J ⋲ & b D7
3
11 10
8
7
6
8
b b
B /A
A
4
7
10
&
b
~~~ œ ˙ œ œœ ~~~ ~~ ~~
6
b &b b E B G D A E
15 10
40
11
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10
5
8
7
8
7 8 7
b
œ œ œ œ~~œ nœ œ œ œ œ œ œ
A m7 5
~~~
~~
3
7 8 7 5 7
8 7 5
5
5
7 5 7 5
6
6 5
6 8
5 5
5
5
5
10
√ Cm œ b bb
11 13 8
‰
10 11 13
j œ
œ J
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August 2016
20 ( 23 )
6
#
10 13 15
‰
5
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12 13 15
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7 5
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5 6 5
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12 15 16
œ œ œ nœ J ⋲ J 22
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22
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5
8
10
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ
œ~~ . œ œ œ œ œ œ œ œ œ œ œœœ 3 ~~ G7
3
3
8
8
E maj7 11/G
Fm6
j œ
œ œ
3 ~~~ 3 ‰ œœœœ ‰ œ n œ œ œ œ œ œ œ œ œ œ œ œj œ œœ œ œœœœ ~~~
6
8
b
Gsus2
15
6
13 16 15 13
16
13
15 16 15
22
17
15 16 18
D7
nœ #œ ⋲ n œ ⋲ œJ 22
19
18
~~~ ⋲ ˙ ~~~
BU E B G D A E
12
4
b &b b E B G D A E
15
1
Cm/E
E B G D A E
œ œ
3
BU E B G D A E
TraCk CD-rOm
20
19
15
VIDEO MASTERCLASS
BRETT GARSED PT3 EXAMPLE beyOnD THe vOiD ...CONTINUED
cd track cd-rom
[Bars 16] Brett’s got great command on m7b5 based licks: look at this great twister phrase!
Cm/E
b &b b E B G D A E
b
bœ œ œ 3
18 17 15
œ œ œ œ
b
17 15
17
15 13
15 13
15 (17 ) 15 13
12
15
b b
13
~~~
12
10
b
3
6
3
12 14 12
13
17 14
#
E maj7 11/G
(√) œ ~~œ ~~ b ‰ J J ‰ œ œ œ~~ œ b & b 18
~~~
BU
15
12 13 16
j œ
A √ B /A œ œ œ œœ œ j ~~~ œ œ œ~~~ œ œ œ nœ œ œ œ œ œœ œœ
b & b b Œ.
E B G D A E
j œ
14
b
~~~ œ œ œ œ~~~œ œ œ œ œ œ nœ œ œ œ œ D7
~~
A m7 5
E B G D A E
œ ~~ œ œ ⋲ ‰
[Bars 23-27] This multiple bar phrase based in sextuplets is quite breathtaking, not just for speed but for intervallic and string crossing variety. each beat’s six notes is full of colour.
~~
~~
15
~~
16 15
17
3
~~~
15 16 15
15 16
17
18
13
12
Gsus2
3
~~~
15 15
~~
BU BU 18 ( 20 )
15 16 18
10
12
~~ œ œ ‰ J
œ. œ
j œ
12
( 22 )
j œ
œ. œ
BU BU 18 (20 ) ( 22 )
15
# #
F 7 11 œ~~ œ. œ~~ œ œ. œ~~ #œ #œ #œ nœ œ #œ œ nœ Œ ⋲ œ œ #œ #œ 3 ~~ ~~ ~~
G sus2
15
16
13
15
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13 11
8
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b
C7 C 7/F Fm 6 6 ~~~ 6 ~~~ nœ œ œ œ œ œ œ œ œ œ ‰ nœbœ bœ œ œ œ œ . œ nœ bb œ b œ œ œ & œ œ nœ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ ⋲ œ. œ œ
B
Fm
G m7 5
3
E B G D A E
~~~
8
8
5 6 8
5
5 6
6
~~~
3 8 9
8 6 8
5
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4
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6 5
3
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3
5 6 5
7 8
5 8 6 5
5 8
5 6 5
6 5
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22
b
b
b
C/B Fm/A n œ b œ b œ œ œ œ œ œ œ œ œ œ œ œ ~~~ œ œ œ œ bœ œœœ œœœœœœ œ n œ œ œ b œ œ œ. œ œ œ œ œ œ œ œ &b b B m6
6
E B G D A E
9
8 6 9 8 6
6
6
9
6 8 9
6
6 8
12
11 8
9
9 8
11
8
11 8 9
10
8
8
6
~~~
10 8
6
10
lay back . . .
6
13 11 10 11
10 13
11
10 13 15
13 15
13 14
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August 2016
41
PLAY } LEAD
ON THE CD
EXAMPLE beyOnD THe vOiD
cd track cd-rom
line draws heavily on G Phrygian dominant (G-ab-B-C-d-eb-F) with a passing b3 (Bb). Take your time learning this tricky phrase!
[Bars 22 to 38] Using blues-style phrases is a great way to release the tension. The chords in bar 34 and 35 are treated as ab7 and the scale used is the sweetsounding ab major Pentatonic (ab-Bb-C-eb-F). The descending sextuplet-based
b
œ . ~~~ œ b œ œ œ œ œ œ œ œ œ œ œ
Gm7 5
& E B G D A E
bbb
3
~~~
16
3
j œ
œ œ œ œ
œ œ œ œ~~~ œ
œ
C7
3
3
3
BU BD BU 15 14 13
15
13 14
13
15
13
13 13
15 (17 ) (15 ) (17 )
15
œ œ
~~~
lay back . . .
15 13 12
13
12
27
b
D maj7
bb
& b E B G D A E
TraCk CD-rOm
j œ
œ œ œœ
b
B m7
œ œ~~ . œœ œ œ
√ œ
15 17 18 17 15 18
17
18
~~
20 18
16 18
j œ
b
nœ œ bœ œ œ œ œ œ~~~œ œœœ œœœ ⋲œœœ œ Œ ⋲
Fm
G m7 5
~~~
18 20 18 20
C7
3
16 15
18 18 18
15
18
12
13 14 13 11
13 12 10
29
b b b b b j œ bœ jœ œ . œ œ œ ˙~~ œœ œ œ œ. n œ. b œ. . . . . ~~~ j b œ œ œ œ. œ œ œ . ‰ ‰ œ œ œ œ œ &b b Œ J œ œ œ œœ C7/F
Fm
B m6
C/B
Fm/A
A
A 7
3
3
3
E B G D A E
8 9
3
10 9
~~~
3
11 10 8 6 8 10
5
6 5 3
G7 ~~~ œ œ œ œ . œ~~~œ œ œ . œ œ bb Œ ‰ œ œ J Œ. b &
3
42
6
8
6
6
6 8 10
8
9 11 13
11
11 ( 13 ) 11
9
32
Cm/G
E B G D A E
~~
BU 9
8
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August 2016
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8
~~~
10
6
8 10
11 10 8 10
~~~
œ bœ œ œ nœ bœ œ œ œ œ œ œ œ œ œ œ œ œ nœ bœ 6
6
Freetime . . . 10
9 6
8
6
6
œœœœ
Rush ahead . . . 7
6
9 8 6
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7 8 7
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10 8
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11 10 8
11
VIDEO MASTERCLASS
BRETT GARSED PT3 EXAMPLE beyOnD THe vOiD
cd track cd-rom
[Bars 39-end] From a ‘notes per bar’ perspective these final 12 bars will seem like a walk in the park compared to the blistering stuff that’s gone before. note
Cm
E B G D A E
D7
~~~ œ œ œ b b ~~~ œ b œ & œ œ œ œ œ ~~~ ~~~ C
. œ~~~ œ
6
8
39
10 11
how Brett milks every ounce of emotion and feeling from each phrase, so in terms of technique the focus is now on articulation and expression.
~~~
12 13 12
10 13 15
b
12
n œ ˙ ~~~
14
15
b b
Cm/E
Œ
~~~
bj œ
œ œ œ œ~~ √ œ œ œ œ
15 16
15
~~
17
BU BD 15 (16 ) (15 ) 13
17
b
B /A A G sus2 œ œ (√) D7~~ ~~ ~~ ~~Am7 5 j œ œ ~~ œ œ œ nœ œ œ œ œ > > > > ~~~ n œ œ œ œ œ œ œ ˙ œ œ œ ⋲ b œ . b Œ ‰ Œ ⋲ ⋲ ⋲ ⋲ b &
E B G D A E
3
~~ ~~ ~~ ~~
15
15
15
15
15 17
~~~
~~
BU
16
16 18
18
18
20 ( 22 )
20 18 16
15
15
13
12
12
10 12
42
b
#
b
œ nœ œ œ œ œ ~~ b œ œ œ œ œ b ⋲ ⋲ ⋲ ⋲ ⋲ ⋲ n œ ⋲ ⋲ ‰ ‰ ‰ œ ⋲ & b œ œ œ œ œ. œ œ œ œ œ œ nœ œ œ œ E maj7 11/G
E B G D A E
11 10
Gsus2
~~
12
10 12 10
13
12
10 12 10
9
5
5
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5 5
5
5 5
5 5
5 8
7 5
5
3
46
b
E m/G
b
œ œ bœ . bb ‰ b œ œ b œ & œ bœ
œ œ œ
3 E B G D A E
E maj7
3
4
3
5
6
4
6
7
6
8
6
œ œ œ ~~~ œ œ ⋲ Jœ . œ
G sus2
~~~ 7
8
8
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10
15
w ~~~~
15
~~~~
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August 2016
43
PLAY } JAZZ-BLUES
ON THE CD
TRACK CD-ROM
Tim Lerch Masterclass Part 3 In the final instalment of his video masterclass series, Tim Lerch presents more great ideas for a 12-bar jazz-blues. With Milton Mermikides.
for, say, Bb7 you can play Bb7-Cm7-Dm7, which creates a satisfying bassline but doesn’t ‘break’ the harmony. 3) Passing diminished chords. Diminished 7th chords have harmonic stability, and a tendency to resolve upwards or downwards by a semitone, so they can be used to approach any chord. For example, these first three devices can turn Bb7 into a nice ascending figure of Bb7-Cm7-C#dim7-Bb/D. Diminished 7ths also have the property that they can be shifted up or down in minor 3rds while maintaining their chord quality (inversions are the same shape). Take a look at bar 6 of Example 1, where music is created when an Edim7 is shifted up a b3rd to Gdim7 (identical to Gdim7/G Edim7/G).
wALKING BAssLINEs ARE REALLY EffECTIvE whEN COMBINED wITh ChORDs, pLAYED EIThER fINGERs OR hYBRID Tim Lerch creates a masterful blend of classy jazz and moody bluesiness
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced Info Key: Various Tempo: Various CD: TRACK CD-ROM
W
Will improve your… Walking basslines Jazz-blues comping Using approach chords
elcome to the final part of Tim Lerch’s video masterclass series. Tim is a Seattle-based jazz and blues guitarist and a fantastic player and teacher. In this series Tim has presented many excellent harmonic ideas in the context of a 12-bar jazz blues, so do check out the first two parts as they are a great foundation in this style of playing and you’ll want to be secure with the basic 12-bars jazz-blues form when going through this month’s lesson. The progression is presented in below, although be aware that this basic harmonic skeleton is often elaborated and varied in performance, as we will continue to see. We’ll call it Fig 1. Bb7 | Eb7 | Bb7 | | Eb7 | Edim7| Bb7 | (G7) | Cm7 | F7 | Bb7 G7 | Cm7 F7 |
In this lesson Tim plays over two choruses of the sequence (Example 1), then goes on to explain many of the concepts used (Examples 2-6). Finally he plays an outro solo (Ex 7), which is a freer improvisation using concepts from all three instalments in the series. The main concept today is that of walking basslines. These are really effective on the guitar when combined with upper chords (played either hybrid or fingerstyle). In order to create an interesting walking bassline on the guitar, you have to know how to choose alternatives to the root chord. Tim’s four approaches offer countless opportunities. 1) Inversions. A 7th chord contains four unique notes and any one of these can be in the bass. So for example Bb7 (or Bb9 etc.) can be voiced as Bb7/D (first inversion), Bb7/F (second inversion) or Bb7/Ab (third inversion). See chord boxes opposite. 2) Diatonic substitution. This is the use of a chord from the same key in place of your basic chord. For example in the key of Bb, the chords Cm7 and Dm7 are formed on the 2nd and 3rd degrees respectively. This usually happens on the ‘weaker’ beats (2, 4 and sometimes 3). So
4) Chromatic approach. Finally, any chord can be approached by any chord of the same type from a semitone above or below. This ‘parallel’ motion is challenging on the piano, but great on the guitar where you simply approach a chord from a fret above or below. Tim uses these approaches in Examples 1-6, while the outro solo combines these concepts with some from GT257 and 258 - creative fuel for your jazz-blues playing. Thanks to Tim for sharing his knowledge, passion and unique musical insight. NEXT MONTH More exciting video masterclasses will be coming soon! 6
3
Gain
Bass
6
6
Middle
TreBle
3
reverB
in the video Tim is playing his 2000 Fender Custom shop nocaster with lollar pickups, straight into a Fender Princeton reverb reissue. Obviously any guitar and amp will do, but a clean – or cleanish – neck pickup tone will get you into the ballpark. Keep the tone up, as we don’t want old-style muffled jazz but vibrant, singing tone. a hint of reverb won’t hurt, either.
TRACK RECORD Check out the Tim Lerch Trio – The Carriage House Sessions Vol 1 (Vol 2 coming soon). As well as a new live recording Lee Oskar and Friends Live. Available at www.timlerch.com You might also want to check out his instructional DVD Tim Lerch - Blues Guitar Road Trip available from Hal Leonard. Check out www.timlerch.com for more info on tours, recording and studying with Tim via Skype.
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August 2016
TIM LERCH PT3
VIDEO MASTERCLASS
CHORD SHAPES ESSEnTIAL JAZZ BLUES cHORdS The following 29 chord shapes represent the majority of the chord shapes in these examples. it is recommended that you understand the scale degrees of each (and not just a ‘shape’) so that you can – as Tim does – adapt them at will in every context and even make up your own variations.
E SHAPE dOM 7
c SHAPE dOM 7
c SHAPE 2nd InVERSIOn
August 2016
45
PLAY } JAZZ-BLUES
ON THE CD
TRACK CD-ROM
ExAmPlE 1 JAZZ-BLUES PERFORMAncE (THREE cHORUSES)
cd-rom
Here are two great choruses of a 12-bar blues with Tim focusing on the walking bass techniques presented above and, in fact, they explain the vast majority of the chords as elaborations of the basic harmonic skeleton in Fig 1. We see inversions throughout (see for examples beat 4 of bar 1, beats 2 and 3 of bar 2 and beats 2, 3 and 4 of bar 3). There are also some examples of diatonic substitutions (such as the Cm7 and dm7 chords in bars 1 and 9), You’ll see that almost every diminished
©»•º approx b 4 ∑ &b 4 E B G D A E
1
b
b
B 7
B /D
b
Cm7 C dim7
#
b œœ œ
œœ n œœ œ bœ
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8 6
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#
b
E 7
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B 7/A
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E 7/B
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11 8
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b A b7
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11 10 11
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5
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G 9 11
F9 (omit 3)
D b7 j Œ ‰ n b œœ Œ b œœ œ œ #œ œ nœ œ bœ
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F 7/C
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j œ G dim7 j œ ‰ œ bœ ‰ b œœœ œ nœ . œ œ. J J 7
6
8 6 8
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#
Dm7
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D dim7
10 10
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j œ œ œ œ œ œ b œ œ ‰ bœ œ œ bœ œ œ bœ nœ œ
œ œ b œœ œ nœ
11 9
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C /D
nœ œ œ œ # œ œ n œ œ nœ œ œ bœ n œ n œ # œ œ
9
G7 5
b
E dim7
C7
10
#
B 7
8 7 8
10 9
b b
11
13 12 13
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G7 9
nœ œ bœ nœ œ œ œ bœ œ b bœ n œœ &b œ bœ nœ œ 8 8
5
b
B 7/A B 7/F B 7/D
bœ œ n œœ b œœ
6 6
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6
7
6 5
B 7
12
œœ œ œœ œ œ. J
œœ
b
œ b œœ b œ bœ œ œ bœ nœ œ
#
B 7
7 6
6
C madd 9
46
b
E 9/B
œ
b œœ b˙
nœ Œ b n b ˙˙œ œ b b œ b œ & nœ bœ œ
E B G D A E
b œœœ bœ
œ œ nœ
E /G
6 7 6
B 7
E B G D A E
b
E 9
8 8
C dim7
3
b
B /D
7 6
œœ œ œ n œœ œ œœ bœ nœ œ
b & b b œœ œ E B G D A E
B 7
chord either resolves up a semitone, or is shifted in minor 3rds. Finally, there are many examples of chromatic approach where a chord (in this case dominant 7) are approached by a dominant chord a fret above or below. (Bar 4 beat 4, bar 10 beat 2, bar 11 beat 4, bar 13 beat 4&, bar 16 beat 4, bar 19 beats 3 and 4, bar 20 beat 2, bar 22 beat 2, bar 23 beat 4, bar 24 beat 2). in the last bar, the penultimate chord is an example of an upward chromatic approach.
3 4
4 3
10
11 10
10
11
11
#
C7 9
13
12 10 12
F7
F 7/B
#œ œ œ œ œ œ n n œœœ œ n œœ n œ œ œœ œ 4 3 2 3
4 3
2
4 2 1
4 2 1
b
VIDEO MASTERCLASS
TIM LERCH PT3 ExAmPlE 1 BLUES PERFORMAncE (THREE cHORUSES) ...CONTINUED
b
b
B 7sus4
B 7
j œ b b œ &b b œ ˙ E B G D A E
8 6
j j œ œœ œ œ œ.
6
8 6
6
13
b
b
E 9/B
b
6 5 6
6 6
b
E 9/G
6 5
6
b
b
B 9/D
& E B G D A E
bb
A 7 B 7/A
b
6 5
0
5
20
b
6
#
B 7
G 7 11
b œ Œ n b œœ b œ & b bœ n œ n œœ # œ bœ E B G D A E
6 7 6 23
10
6
9
10
11 10 9
11 10 9 10
b
6
11
C7
b n œœ nœ
7 6
6
6
8 7 8
6
11
12 11 13
D 7
C7
#
œœ bœ
b n œœ œ
10 9
9 8
9
8
8 7
7 6
8
6
b
b
9 8
10 8
11 10
12 10
8
10
11
12
b
F9 (omit 3)
13
Cm
œ œ œœ b n œœ œ bœ nœ œ 9 8 9
8 8 8
8
b
b #
8 8
10
8
8 8
6 7 6
8
6
7
7 6 7
8
b
C9/E C 9/E
œœ œ nœ
bœ nbb œœœ
8 7 8 7
7 6 7 6
9 10 8
0
b
b
G 9 11
F9 B7 5 (omit 3) 3
nœ œ œ nœ bœ œ œ œ bœ œ n ‰œ 10
10 8
œ b œœ œ
8 7
b
11 12 12 11
b œœ œ
b
9 8
j B b9/F ‰ œœ œ ‰ b œœ œœ J nœ
Cm9
B 7
8
8
13 12 13
B /D
6
6
B 13/A
bœ n œœ
nœ œ #œ œ œ nœ œ n œ œ œ nœ #œ nœ nœ
G 7
Fm F 7/C E 9
œ œ œ b œœ œ œ b œ œ b˙ œ n œœ n b œœ ˙
B 7
12 11 13
B /D C dim7 C/E
8
9
B 7
6
8
14
b
b
F 7/C
bn œœ n œœœ œœ œ œ œ œ
13
G7 9
11
7 6
6 6 5 6
œ
bœ œ œ œ œ ˙ œœ b œœ œ ˙
#
b
B 7
4
F7
b
14 12
œœ # œ n œ œ œ œœ œ œ n œœ n b œœ n œ n œœ ‰ œ bœ J 6 5 6 5
B 7
B dim7
11 8
11
10
6
17
b
E 9
4 6 5 6
6 5
j ‰ ‰ j b œœ œ b b œ œ œ & b bœ nœ œ œ. œ œ J œ E B G D A E
b
E 7
6 7 6 7
6
E 9
b
E 7
j œ œœ b œ œ œœ œ b œœ œ n œ œ˙ œ œœ œ œœ œ J
6
7 6
b
E7
cd-rom
8
10
9
b
B 13/A
œ œœœ
b
8 8
7
8
D13/C
œ # n œœœ
6
8
7
b
b œœ b œœ
E 13/D
Œ
3 6 8 7 6
10 12 11 10
11 13 12 11
August 2016
47
PLAY } JAZZ-BLUES
ON THE CD
TRACK CD-ROM
ExAmPlE 2 BASSLInE USIng dIATOnIc, dIMInISHEd, InVERSIOnS And cHROMATIc APPROAcH cHORdS
cd-rom
Here Tim shows the four concepts in action, elaborating a basic harmony. i’ve annoted the concepts with the following abbreviations: inversion (inv), diatonic substitution (dia), diminished 7th approaches (dim) and chromatic approach (Chrom). Basic Harmony : B b7 Elaborated Harmony : B b 7
C m7
b & b 44 b œœ œ
E B G D A E
1
E b7
E b9
b b œœ & b œœ E B G D A E
6 6 5 6 4
C #dim7
B b/D
Dia
E b7
b œœœ œ
œœ œ
n œœ #œ
œœ œ
E b7
Dim
Inv
7 6
8 8
9 8
10 8
8 10 11
6
8
9
10
11
E b9/B b
Inv
Dim
Dim
6 6 5
6 8 6 8 7
9 11 10 11 10
E b7/B b
E b7/G
Inv
Inv
Inv
œ œœ
b œœ œ
11
14 12
11 10
13
B b13/A b
œ b œœ œ
Gdim7
œœ œ n œœ
6
B b9
b œœ œœ œ
E dim7
œœ œ œ
B b7
E b7/G
B b9/F
œœ n b œœ
13 13 13 13
œ œœœ
Inv
Inv
11 12 12 11
9 7 10 8
B b9 B b9
œ b œœ œ
œ œœ
11 10
B b9/D
Inv
Inv
Inv
6 8 7 6
13
C b13
B b9/F
œœ n b œœ
13 13 13
11
B b13/A b
œ œœœ
9 7 10 8
œœ n œœ 6 5 6 5
B b7
b ∫b œœœ bœ
˙ b ˙˙ ˙
Chrom 9 8 7
6 7 6
7
6
Ó
ExAmPlE 3 APPROAcHIng cHORd VI FROM cHORd I (BAR 8 FROM BLUES PROgRESSIOn)
cd-rom
in bar 8 of a Bb blues a vi chord is often used (G7);Tim shows how it can be approached by a series of chromatic chords from above bar 1, or single notes from below (bar 2).
b
B 7
b & b b œœ œ E B G D A E
1
b
A7
A 7
3
b n œœ bœ
# œœ nœ
b #
G7 13 9
‰ n ˙˙ n˙
7 6
6 5
5 4
4 3
6
5
4
3
b
j œ bœ 4
G7 9
#
D 7
b
C7
œ
nn œœœ #œ nœ
8
11 10 9 10
10 9
9 8
9
8
B 7
b œœ bœ
6 7 6 6
9
b œœ b n œœ bœ nœ
ExAmPlE 4 ELABORATIOnS FOR THE II cHORd (BAR 8-9 OF BLUES PROgRESSIOn)
cd-rom
Here Tim shows how a C7 can be elaborated beautifully using the four concepts of inversion, diatonic, diminished and chromatic approach chords. in bar 2, Tim shows some lovely ornamentation of a Cm7 chord using 9ths, together with the F7 inversions; this creates a great iim-v voicing, a very important chord sequence in jazz. C7
E B G D A E
48
1
C/E
# œœ #œ
œœ nœ
10 10
11 10
12 10
10
11
12
b nœ & b œœ
n œœ nœ
9 8 8
August 2016
#
Dm7 D dim7
nœ
13
œœ œ
n œœ œœ œ
10 10
9 8
10 8 8 8
11 8 8
8 8 12
8 8 10
10
8
8
8
8
8
Dm7
n œœ nœ
C7
C m9
C m7 C madd9
b œœ œœ œ nœ œ œ
Cm
œœœ œ
F9
œœ œœ 8 8 7 8
F 7/C
œ
n œœ œ 10 8 7
8
VIDEO MASTERCLASS
TIM LERCH PT3
ExAmPlE 5 TURnAROUnd USIng cHROMATIc APPROAcHES (BARS 11-12 OF PROgRESSIOn)
cd-rom
The last two bars of a 12 bar blues is known as a turnaround and a common execution of this is Bb -G7-C7-F7. On beats 2 and 4, the following chord can be approached by a fret above the next root. This can be notes (example 5a), or chromatic chords (example 5b). simple and very effective.
b
B 7
b œ & b bœ œ E B G D A E
7 6 6
1
b
B 7
b & b b œœ œ E B G D A E
7 6 6
1
G7
bœ
œ n n œœ
11
10 9 10
b
A 7
C7
bœ
b n œœ œ 9 8
G7
9
8
b
C7
bœ n b œœ
œ n n œœ
D 7
b œœ bœ
b n œœ nœ
11 10 11
10 9 10
10 9
9 8
9
8
b
F7
bœ
bœ n œœ
9
8 7 8
b
G 7
F7
B 7
b ˙˙ ˙
bœ
Ó
7 6 7
6
b
B 7
C 7
b
bœ b œœ
n bn œœœ
∫ œœ bœ
9 8 9
8 7 8
8 7
7 6
7
6
b ˙˙ b˙
Ó
ExAmPlE 6 wALkIng 10THS On I And IV cHORd
cd-rom
in example 6a, Tim demonstrates a ‘stride piano’ technique to embellish a bar of a major or dominant chord by using intervals of a 10th (eg a d an octave and a 3rd above the root), this fits great when moving from Bb to eb creating a constantly rising
b
Cm
œ œ
b
œ bœ
Fm
7
8
9
10
12
6
8
9
10
11
B 7
b
C m7
C dim7
B /D
b
E 7
b œœ bœ
Fm7
b b œœ œ
7 6
8 8
9 8
10 8
11 12
6
8
9
10
11
B
b &b œ œ E B G D A E
1
b & b b œœ œ E B G D A E
1
œ œ
œœ œ
#
C dim
nœ #œ
#
n œœ #œ
b
bassline. This bassline can be fleshed out using the concepts of inversions (beat 4), diatonic substitution (beat 2) and passing diminished chords (beat 3). isn’t it amazing how much brilliant stuff can be created from these ‘relatively’ simple ideas?
B /D
n œœ œ
E
b
bœ œ
#
nœ #œ
b
œ œ
F dim
E /G
13
14
15
13
14
15
F dim
n œœ #œ
E /G
13 13
14 13
15 13
13
14
15
#
b
œœ œ
August 2016
49
PLAY } JAZZ-BLUES
ON THE CD
TRACK CD-ROM
ExAmPlE 7 OUTRO SOLO
cd-rom
This solo uses many of the walking bass techniques presented here, with some tasty blues licks thrown in. This is a culmination of all three articles (back issues from www. myfavouritemagazines.com), so take your time to understand how each chord relates to Fig 1, as well as the technique needed to execute them with the required fluency. B b13/A b E b13/D b E b13/D b E 13/D D b13/C b D b13/C b
A 13/G
œœ n b œœœ n œœœ b œœ b œ b œ
# œœ Œ #œ œ
b & b 44 Ó
5 7 6
E B G D A E
6 8 7 6
5
n n b œœœ bœ
œ n œœœ
12 14 13 12
11 13 12 11
9 11 10 9
11 13 12 11
.
E dim7
6 6
8 6 8 7
Gdim7
j œ œœ œœœ ‰ b œœ œ n œ ‰ Jœ
œ b œœ œ 6 6 6 6
Adim7
b nn œœœ b &b œ
œ nb œœœ œœœ nœ
10 9 10 8 3
E b13/D b
œœ œ b & b bœ
œ bœ b b œœ n n œœœ nœ
6 5 6 5
8 7 8 7
6 6 7 6
œœ œ bœ
9 7 10 8
B b7/A b
B b7
œ bn œœœ n # œœ œœ nœ ‰ J
8 7 8 6
6 5 6 5
6 5
œœ œ
Eb
7 6
B b7/A b
E b9
œ b œœ œœ j œj ‰ Œ ‰ œ # œ œ bœ œ œ œ nœ b˙ J ‰
11 13 12 11
11 13 12 11
9 10 8
7 6
8 8
6 7 6
6
8
6
6
B b9/A b B b9/C E bm7 B b7/D
8
7
jœ b œœœ
œ œ Œ œ œ ‰ n Jœ
6
6 6 5
6
B b B bdim A b
Cm7
œ nb œœœ b œœœ œœœ j b œœœ b œœ ‰ b Jœ b œ n œ œ
b œœœ nœ
12 11 12 11
6
15 14 15 14
œœ n œ œ n œ œœ b œ & b b œ n œ œJ ‰ œ 11 8 8
18 15 19 17 18
11 11 12 10
0
9
6
8
0
10 6
B b7/A b
b œ œ œ œj ‰ œ b œœ b œœ n œ œœ œ b œ
j bœ nœ bœ n œ
Cm7/B b Cm7/G
œœ œ
9 8 12
August 2016
11
9
10
9
8
6
12 10
9
10 8
9 8
8 6
7
œ œœ œ J
10 8 8
11 8
8 8 12
8 8 10
8 8 8
11 8 10
F9/E b
11
10
8
8
8
8 7
8
7 6
7
B b6
œ nœ œ 6 5 6
8
G7#9
n bn œœœ n œ bœ 11 10 9 10
9
9
G7#9
j ‰ n b œœ Œ ‰ b œœ œœ n œœ œœ Œ œ Œ œ bœ œ œ nœ bœ œ # œ J 3
3
11 10 10
6
B b7/A b
G dim7
3
C 9/E
10
13 11 13 12
11
œœ œœ œœ œœ ‰ n œJ œ b œ
j œ œ nœ œ bœ ‰ n œ b & b n n œœ œ nb œœ œ bn œœ
50
15 13 15 13
8 G 7 # 9/F
E B G D A E
16 15 17
Cm7/E b Cmadd9/E b Cm/D C m
Cm7
E B G D A E
9 8 9 8
E b/B b
3
6
5
E dim7/D b E dim7
œœ n œœ œœ œœ
A7
3 E B G D A E
B bdim7
1
B b7 B b/A b B b9/F E bmaj7 B b9/D
E B G D A E
9 11 10 9
## n œœœ nœ
E b9
10 10
3
11
11
11
11
11
11 10
12 11
12
E7
3
E b9
E9
8
9
10 10
11 10 9
9
bœ nœ œ Œ ‰ œj b œ n œ œ œ b œ b œœ b œœ n œ n œ j b œ b œœ # n œœ bœ nœ œ Ó Œ ‰ J 8
6
6 0
6
7
7 6
6 5 6
7 6 7
3
8
9
8
6
9
8
6
6
8
“Which musical megastar contributed to the soundtracks of (among others) Showgirls, Striptease and Happy Feet?”
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PLAY } JAZZ-BLUES ExAmPlE 1 OUTRO SOLO ...CONTINUED
cd-rom
b
b
b b b
E 9 E /B E /G 3 j 3 j 3 3 3 Œ œœ œ b œœ n œœ œ œœ b œœ n œœ œœ œ Œ œ œ œ ‰ n œ b n œ b œ œ œ œ bœ œ œ œ œ œ œ bœ œ & b bœ œ ‰ œœ œ œ œ œœ œ œ œ œ œ Ó 3 B 7
E B G D A E
15
6
6
6
6
6
6 7
8 8
6 6
8 8
6 7
8 8
7 8
8
6 6
6 7
b b
b
B 7 j j ‰ Œ Ó œ œ œ b bœ œ œ nœ &b œ œ œ œ bœ nœ œ ‰ b œ œ
œ œœ œ
3
11 10
11
10
10
4 3 5 3
8
4
5
6
6
3
6
œœ b œ n œ œ œœ b œœ œ
13 11 12 10
11
10 8 8 8
b
b
b œœ œ b & b bœ
9 11 10 9
b
b
B 13/A
bœ n b œœœ 6 8 7 6
b
b
A 13/G
bœ n b œœœ 4 6 5 4
b
8
6
6 6 5
0
5
10
8 8 9
F7
10
A13/G
F7/C
8
8 10
7
5 6 5
10 8 10
6 6 5 6
6
5
b
A 13
œ nœ bœ b n œœ n œœ n œœ bœ œ nœ
6 6 5
6 5 4
5 5 4
b
b œœ b œœ
b
b
6 8 7 6
D 13/C
œ 0
b
E 13/D
b
3 4 3
11 13 12 11
b
B 13/A
# # n œœœ œ nœ
n œœœ œ
4
5 7 6 5
6 8 7 6
b
12 14 13 12
b
˙˙ b ˙˙ b˙ 6 8 7 6 6
24
August 2016
4
5
6
b
b
b
b
b
b
b
b
E 13/D E 13/D E 13/D D 13/C
B 13
˙˙ ˙ A˙
8
3
b œœ n œœœ # # n œœœ n n b œœœ b œœ b œ n œ b œ 9 11 10 9
10
n ˙˙œ # œ n œ œ n˙
0
b
8 8 10
G7
4 5 4
4
B 13/A
8 8 8
5
8
Œ œ
4
8
5
‰ œœj œœœ œœœ œ n œœœ œ œ œ 8 8 12
6
3
6 5
Cmadd9/D Cm/B
11
8
j œ # œœ œœ n œœœ œœœ œ n œJ n œ 3 A7
6 7 6
0
6
21
D 13/C
52
8
Cm11 C madd9/B
b b b œ˙ œ n œ b œ b & n ˙˙
E B G D A E
8 8 8
18
C m7
E B G D A E
6
6
E /B
E B G D A E
8
11 13 12 11
b
œ œœœ
9 11 10 9
b
œ œœœ
11 13 12 11
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Play } CLASSICAL
ON THE CD
TRACK 35-36
Gaspar Sanz Canarios Here’s a Baroque gem that boasts a unique Spanish rhythmic drive guaranteed to get your fingers moving and feet tapping. Bridget Mermikides arranges for modern classical guitar. Ability rAtinG Info Will improve your… Key Drop D Tempo 100 bpm CD TRACKS 35-36 Metric and rhythmic security
T
his month we are tackling a work by the Baroque composer, guitarist and polymath Gaspar Sanz (1640-1710). Born in Aragon (a community in north-east Spain), Sanz graduated in theology but later studied organ and Baroque guitar; an instrument favoured from the 17th to the early 18th century that you might recognise from paintings such as Vermeer’s The Guitar Player. Smaller in length than the modern classical guitar, it generally consisted of five strings (each of them with two courses), with a tuning from high to low of E-B-G-D-A. These latter two strings were often tuned (or
Moderate Baroque repertoire
✪✪✪✪✪ String crossing
included a course) an octave above the fourth and fifth strings of a contemporary guitar. The E-B-G-D-A tuning and fingerstyle approach (with both plucking and strumming), means that much of the Baroque guitar’s repertoire has been readily adopted by the classical guitar. Sanz invented a chord notation system (similar to the ‘Nashville’ Roman numeral idea still in use today) and his set of three instruction books published in 1697 are now a staple of the contemporary classical guitarist. Canarios is taken from his first volume of the three-book set, Instrucción de Música Sobre la Guitarra Española (written in 1674).
Although it is part of the ‘classical’ repertoire, remember that this is a dance form, with a very Spanish flavour, so rhythmic drive is vital. You can hear this in the 6/8 metre, which switches from two groups of three (eg bar 7) to three groups of two (bar 8). This sort of metric device is known as a hemiola (think of the opening of Bernstein’s America from West Side Story) and that rhythmic feel
A briGhter tempo iS moSt AppropriAte. pAy Attention to pluCkinG hAnd finGerinG And StrinG CroSSinG should be absorbed and communicated in performance. The harmony is simple, so the spirited rhythmic drive and deft melody are central. This will sound good at any speed, but a brighter tempo is most appropriate. So pay attention to plucking hand fingering and string crossing – as addressed in the tab captions. This is a beautiful piece to learn and also might open up your awareness to the rich diversity of styles through the ages that are available to our instrument. NEXT MONTH Bridget arranges and transcribes Edward Elgar’s glorious Salut d’Amour
teChnique foCuS Watch your timing
Sanz surrounding by harp, cello and guitarist nymphs
Guitarists are notorious for rushing ahead of the beat during tricky passages, or where time changes occur. We can often dash from one metre to another and arrive noticeably early, rather than taking our time and slipping into the new rhythm with ease. So take extra special care in the sections where the 6/8 metre shifts from groups of two to groups of three; make it sound like you’re in control of the timing – not the other way around!
trACk reCord This piece has been performed beautifully by many players but it’s hard to beat any version by John Williams (eg Spanish Guitar Music CBS 2009), as his phenomenal touch, tone and timing are instantly recognisable. But since this is a 17th-century piece it’s also worth hearing it on Baroque guitar, so why not try Lute & Baroque Guitar (Virginio Fadda Bongiovanni 2015)? 54
August 2016
Canarios { Gaspar sanz PLAYING TIPS
cd track 36
[Bars 1-20] The picking hand fingering can feel quite awkward in this piece due to the triplets and string crossing, and also because we need to play it with some speed. The indicated slurs are not sacrosanct and can be changed as you D
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wish. I have added a suggested picking hand solution for the first eight bars to help keep the fingers alternating and fluent. Notice also how the rhythm frequently switches from 6/8 to 3/4 time.
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55
Play } CLASSICAL
ON THE CD
TRACK 35-36
PLAYING TIPS
cd track 36
[Bars 21-40] Most of this piece is played free stroke; but there are places where rest stroke can accent the notes nicely – for example in bars 10 and 11 on the melody notes on the first beat and half-way through the bar (second dotted
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Canarios { Gaspar sanz PLAYING TIPS
cd track 36
[Bars 41-57] Similar material continues here – follow the fingering in bars 46 and 47. There are a couple of strummed chords (bars 55 and at the end), which I like to hit with back of the middle fingernail for a strong punchy sound. Watch your timing, get into the piece’s Spanish rhythm and play like you’re having fun!
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August 2016
57
Learn to
play like your heroes
on sale noW
every lesson tabbed – plus quality audio on the free disc! This magazine/DVD-ROM is packed with all you need to become the next acoustic hero, with technique lessons, style studies of acoustic guitar’s key players, plus three fantastic solo pieces. Just pop the DVDROM into your PC or Mac to hear top audio synched to animated tab.
www.myfavouritemagazines.co.uk/music-guides-and-specials
Learning Zone
Lessons from the world’s greatest teachers and schools...
Brought to you by…
Lessons gT #259 30-MinUTe LiCKBag ..................... 60 Pat Heath has six more licks for you to play at easy, intermediate and advanced levels. We challenge you – can you play them all?
BLUes ........................................................ 62 Les Davidson pays musical tribute to one of the most influential of the modern electric bluesmen, the Flying V-wielding Lonnie Mack.
roCK ......................................................... 66 Martin Cooper jets off to Japan to examine the playing of Hotei, the Land of the Rising Son’s legendary guitarist, arranger and composer.
O
ne popular aspect of GT, you tell us, is our diversity of style, ability, technical approach and theoretical explanations. Take this issue: you’ve had a user-friendly analysis of the Altered scale (p12); a big overview of one of the world’s most popular rock bands, AC/DC (p28); a beautiful solo by Brett Garsed (p38) that, while filled with hugely impressive playing, shows just how good Brett’s ears are to navigate so many changes. Then there’s the last in Tim Lerch’s series on solo jazz-blues playing (p44); even if you only take a couple of chords from this, you’ll be the richer for it; and the jaunty Canarios by Gaspar Sanz (p54), a great fingerpicking workout that’s brimming with energy and upbeat major key joy! Theory, lead and rhythm, chords, genres, fingerpicking; that’s the diversity I’m talking about.
HarD roCK.......................................... 70 Here in The Learning Zone, you’ve got numerous shorter articles. These are largely genre led but that’s not to say an acoustic player wouldn’t benefit from Creative Rock or a fan of Chord Camp won’t find a few new licks in 30-Minute Lickbag. So, get wise to the man who inspired many including SRV and Clapton - the late Lonnie Mack (p62); admire the fluidity of Vito Bratto in Hard Rock (p70); marvel at the rhythmic twists, picking chops and exotic scales of fusion legend, Al Di Meola (p74); the savvy acoustic arranging of John Mayer (p80); the blues rock appeal of Mixolydian lead lines (p84); and the eyebrowraising quality of augmented chords (p90). Enjoy the issue – and our never-ending diversity!
Charlie Griffiths stands back in awe at the playing of glam metal’s incredibly melodic and technically inspiring Vito Bratta of White Lion.
JaZZ............................................................ 74 John Wheatcroft flexes his picking hand, ensures his timing’s right in the pocket, as he investigates the playing of a jazz-rock titan, Al Di Meola.
aCoUsTiC ................................................ 80 Stuart Ryan delves into the playing of pop-rock superstar, iconic blues legend and rather good acoustic picker, the multi-talented John Mayer.
CreaTive roCK ...............................84 Shaun Baxter continues his series blending bluesy ideas with the Mixolydian mode – this month he pulls out even more great-sounding triads.
CHorD CaMP.......................................90 Iain Scott continues his series uncovering the mysteries of chords with a dissection of augmented triads in a variety of useful styles.
in THe WooDsHeD .......................... 94 Charlie Griffiths aims to perfect your techniques. This month, he’s being particularly mean by making you tap without using your first finger!
August 2016
59
lesson } 30-minute lickbag
ON THE CD
TRACKs 37-39
30-Minute lickbag Pat Heath of BIMM Brighton brings you yet another varied selection of luscious licks to learn at easy, intermediate and advanced levels.
brought to you by…
Easy Licks ExampLE 1 Soundgarden
cd track 37
Most guitarists should be able to cope with this early Kim Thayil Soundarden riff. It sits neatly on the open sixth string descending chromatically; drop down from the 9th fret and bend the G note up a time for a 90s grunge turnaround. Use your bridge pickup with thick grungy distortion.
©»¡£º #4 ∑ & 4
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cd track 37
Maintain downstrokes on the rhythm hand using an on-off chord pressure following the D chord with the fretting hand. Bar 3’s arpeggio should be picked as if it’s a Stones rhythm part with a loose ‘Keith-strum’ twisting wrist.
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intErmEdiatE Licks ExampLE 3 Tower of Power
cd track 38
A classic and timeless funk band, this Tower Of Power idea is a typical riff where the E9-E13 change is interspersed with a sixth-string ‘bassline’. This example is recorded with chorus and compressor for a dynamically controlled, colourful tone typical of TOP.
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learning zone
30-minute lickbag intErmEdiatE Licks ExampLE 4 robin Trower
cd track 38
Robin Trower has one of the best blues rock guitar tones around. Playing on neck or bridge single-coil, this idea works around two octaves of the E Blues scale (E-G-A-Bb-B-D), making use of the b5 (Bb note in E Blues scale) as a feature on both the riff and the descending lick.
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advancEd Licks ExampLE 5 STevie ray vaughan
cd track 39
For authenticity this riff requires a super Texas Stratocaster tone with a combination of high octane 16th notes and triplets to accentuate the SRV style. Pull off with conviction – your goal is to make all the fretting hand legato notes equal volume to your picked notes.
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cd track 39
Nuno is known for his relentless and awesome rhythm style, but this lick exemplifies the early arpeggios from Extreme’s eponymous first album using controlled sweep picking (up and down) on a multi-positional E major arpeggio. As with all these shred-style arpeggios, break them down and build slowly up to speed.
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61
lesson } blues
ON THE CD
lonnie mack
Brought to you by…
Wham, bam – Lonnie Mack was the blue-eyed soul man! Les Davidson tips his own hat to a recently-departed but seminal bluesman. Lonnie Mack’s Flying V helped to inspire a raft of great players
TRACKs 40-42
It wasn’t long before Lonnie was making something of a name for himself locally, and by the time he was in his early teens he had dropped out of school and was essentially a pro guitar player. His first recordings were for the Esta Label and he had a few cuts released, most notably Pistol Packin Mama. Throughout the 1960s, Lonnie had a regular band and was splitting his time performing and recording for various other artists. His big break came in 1963 when he released two seminal cuts that arguably helped to change the face of guitar playing: the mighty Memphis and Wham. On both of these instrumentals Lonnie displayed a remarkable dexterity in his soloing, coupled with double-stops and a powerful and direct guitar sound that grabbed the listeners attention. It’s safe to say that
lonnie spent his early life in a rural farming community; they powered the family radio from a tractor battery Lonnie ensured that rock guitar would never be the same again! The list of world-class players that cites Lonnie as an influence is enormous and includes such legends as Stevie Ray Vaughan, Keith Richards, Ry Cooder, Eric Clapton, Duane Allman and Ted Nugent. Lonnie continued to record and tour right up until 2010 and his legacy will be a benchmark for many new generations of upcoming guitarists. Lonnie tended to tune down a semitone to Eb. However, for the sake of continuity the following examples employ regular tuning. NEXT MONTH Les examines the fiery Louisiana blues style of Kenny Wayne Shepherd
ability rating
✪ ✪ ✪ ✪ ✪ Moderate Info Key: G Tempo: 185 bpm CD: TRACKS 40-42
A
Will improve your Blues-rock phrasing Use of double-stops Quick-fire Pentatonics
s we lose yet another legendary guitarist we pay homage to the great Lonnie Mack. Born Lonnie McIntosh in 1941, Mack was an influential blues guitarist and so-called ‘blue-eyed soul’ singer from West Harrison, Indiana. Lonnie’s early
life was spent in a rural farming community with no electric power. He recalls that both his mother and father played and sang country music and powered up their radio from a tractor battery so they could listen to the Grand Ole Opry, broadcast from Nashville. Lonnie started playing guitar at age seven and it wasn’t long before he was playing for pennies outside a local hotel. His early influences included some of the most important blues, country and jazz players and numbered among them Merle Travis, Jimmie Rogers, Jimmy Reed, Hank Williams, Les Paul and T-Bone Walker.
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Lonnie was famous for using a Gibson Flying V. In 1994 Gibson created a limited edition Lonnie Mack version with only 185 guitars produced. A big part of Lonnie’s sound was his early use of a Magnatone amp with tremolo, and later a Roland Jazz Chorus. Go for a natural drive tone with added chorus, tremolo or Leslie speaker emulation - Univibe etc.
tracK record Lonnie Mack’s 1964 recording, The Wham Of That Memphis Man is a must-have as it contains the hit instrumental version of Chuck Berry’s song Memphis, on which he used his legendary Gibson Flying V, serial number 007, and its unusually located Bigsby vibrato unit. In 1985 he recorded another seminal album with the help of big fan Stevie Ray Vaughan, entitled Strike Like Lightning. 62
August 2016
Clayton Call / getty images
6
7
learning zone
lonnie mack ExamplE 1 G MAJOR WITH DOUBLE-STOPS AND CHORDS
cd track 40
Both of this month’s examples are based around a typical dominant G blues chord sequence. In true Lonnie Mack style this first solo employs quick-fire Pentatonic licks, powerful string bends and the occasional passing note to add spice. Of course you’ll also find plenty of trademark double-stops.
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August 2016
63
lesson } blues
ON THE CD
TRACKs 40-42
ExamplE 2 G MAJOR SOLOING WITH SINGLE NOTES
cd track 41
In this solo we home right in on Lonnie’s rapid-fire single-note lines. Once you’ve got the phrases under your fingers the task is to deliver them with Lonnie’s power and attitude – the sort of vibe that influenced the likes of sRV, duane Allman, eric Clapton, Keith Richards and many other blues-rock legends.
& 44
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lesson } ROCK
hotei
ON THE CD
Brought to you by…
This month Martin Cooper checks out the influential style of iconic Japanese blues-rock guitarist and composer, Tomosayu Hotei. Tomosayu Hotei: one of Japan’s most famous rock stars
TRACKs 43-44
Stranglers, David Bowie and Andy Mackay of Roxy Music. His recordings often feature electronic and dance influences. He played onstage with The Rolling Stones in 2014 before a crowd of 53,000, and at the closing ceremony of the ’96 Summer Olympics. Hotei’s playing style is based on classic rock and blues, and he also manages to blend all his influences together in a very accessible way, creating grooves and melodies that weave their way through his songs effortlessly. The track is in the key of A minor, and is largely driven by powerchords in the rhythm part, and an A Natural minor (A-B-C-D-EF-G) and A minor Pentatonic (A-B-C-D-E-G) lead part. There’s an F# note in the first half of the solo, which lends a Dorian sound, being the major 6th (A Minor has a b6th - F).
hotei blends his influences in a very accessible way, with grooves that weave effortlessly through his songs
There are several other instruments on the recording this month; in addition to the usual bass and drums you’ll hear an EDM-style synth bass and a keyboard synth part, which underlines the fact that even though Hotei is the main focus in his band, he never takes over the ensemble – the guitar is just one focal point, always playing the right thing at the right time. The reverb on the track also helps to sit the guitar back a little in the mix, so as to work better with the rhythm track and synths. Check out the playing tips and Get The Tone box for more information. NEXT MONTH Martin gets twangy (and a bit scary) as he meets the King Of Surf, Dick Dale
Info Key: A minor Tempo: 168 bpm CD: TRACKS 43-44
T
Will improve your Blues-rock style Ensemble playing Creating of parts
omoyasu Hotei is a legend in his homeland of Japan, having sold over 40 million albums during a 30-year career, as well as having featured songs in movies such as Quentin Tarantino’s Kill Bill. His song Battle Without Honor Or Humanity from the Kill Bill soundtrack has
appeared in numerous TV commercials, video games and other films. If you write even one song that gets as much traction as Battle Without Honor Or Humanity, you’re likely to keep the wolf from the door for some while! Hotei was born from parents of Korean and Japanese/Russian descent, and began playing guitar at the age of 14, after being inspired by Marc Bolan of T Rex. His high school band came runners-up in the school Battle Of The Bands contest, but Hotei was expelled before graduation. He is a multiinstrumentalist, composer and producer and has collaborated with numerous high-profile musicians such as Hugh Cornwell from The
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Hotei uses a Zodiacworks signature hot rod Tele style guitar, and has also used Strats and Les Pauls. There’s quite a bit of reverb and delay on his tracks, and amps are ‘classic’ sounding British and American clean and overdriven sounds. Go for a classic rock sound with plenty of reverb and delay added, but make sure the notes are still clearly defined.
tracK record There are many albums to choose from if you want to check out Hotei’s music but a good place to start would be the most recent release, Strangers, from 2015. Among other songs, this features Battle Without Honor Or Humanity. 2009 album Guitarhythm V is a blend of dance grooves, rock guitar and pop influenced vocals and there is also a ‘best of’ called All Time Super Best. 66
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ability rating ✪ ✪ ✪ ✪ ✪ Moderate
learning zone
tomosayu hotei ExamplE 1 RHYTHM GUITAR
cd track 43
When you play the low A note on the 5th fret of the sixth string in the opening riff, it may be best to use your second finger, because it’ll be easier to get there from the previous C note on the fifth string. Try the third finger for the higher A (7th fret, fourth string). The rest of the rhythm part is basically a succession of powerchords, or 5 chords, with no 3rd: this ambiguity leaves the other instruments to imply major or minor tonalities. RHYTHM GUITAR
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lesson } ROCK
ON THE CD
ExamplE 2 LEAD GUITAR
TRACKs 43-44
cd track 43
This is classic blues-rock fare, with all its attendant techniques such as string bends and vibrato, plus a healthy mix of alternate picking and legato. Hotei attacks the notes quite hard but his playing always remains controlled and measured. Make sure you listen to the recorded track for different vibrato speeds and widths, and to hear how Hotei might blend his playing into the backing track, rather than simply blasting all over it.
LEAD GUITAR
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lesson } hard rock
ON THE CD
TRACKs 45-56
latter being the most obvious comparison due to Vito’s mastery of tapping. But solos from songs like Wait, Hungry and Goin’ Home Tonight, prove that Mr Bratta had his own melodic sensibility; often tapping an octave or more higher than the fretted note and bending and sliding tapped notes. Our solo example explores some of Vito’s approaches to tapping in the key of G major (G-A-B-C-DE-F#). Notice that the solo is very lateral, using the length of the second string to play the notes, rather than the usual scale shapes. Not only is Vito a bona fide God-like rock guitarist, but his songwriting is also top notch with some of the most catchy and inventive riffs in the genre. So let’s look at some of his most awesome riffing techniques. Our first riff could come straight off 1987’s Pride and it demonstrates Vito’s creativity
the explosion of grunge led to waning interest in hard rock and white lion decided to call it a day in late 1991
white lion
Charlie Griffiths taps, slides and picks through the style of one of the most underrated rock guitarist of all time: the great Vito Bratta.
aBility rating ✪ ✪ ✪ ✪ ✪ Moderate Info Key: Various Tempo: Various CD: TRACKS 45-56
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Will improve your Two-handed tapping String skipping Arpeggiated picking
he White Lion tale started when vocalist Mike Tramp moved from his native Denmark to New York City and met guitarist Vito Bratta. They formed White Lion in 1983, were signed in 1984 and released their first album Fight To Survive in 1985. The album had some success, but things didn’t start to take off until Pride, in 1987. Full of solid rock songs fuelled by Bratta’s creative
and technically brilliant guitar style, the lead single Wait made the top 10 and coincided with tours with AC/DC, Aerosmith and Kiss. Two years later, Big Game achieved similar success, but 1991’s Mane Attraction would be the last Tramp/Bratta release. The grunge explosion led to waning interest in hard rock and White Lion called it a day in late 1991. This was also to be the last music Vito Bratta released as, soon after the Mane Attraction tour, he withdrew from the music business and remains something of an enigma. Some reports cite that a wrist injury has left Vito unable to play, but fans still hope for a ‘classic line up’ reunion. Vito cites Page, Hendrix, Robin Trower and Van Halen as his main influences, the
NEXT MONTH Charlie celebrates 30 years of Passion And Warfare by the great Steve Vai 5 3
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Vito used an ESP and Steinberger guitars with Duncan or EMG pickups, through the ADA MP-1 preamp and a Marshall head as power amp. This set-up is very simple and a similar sound can be achieved with any humbucker-equipped guitar and high gain amp. If you feel like you need more gain, put a Tube Screamer between your guitar and the amp and enjoy the gain!
track record 1987’s Pride is a gem of fantastic guitar playing – from the intricate riffing of Hungry to the impossibly melodic solo in Wait, there’s something for every rock guitar lover. Its 1989 follow-up Big Game is also great, with tracks like Little Fighter and Cry For Freedom. The 1991 release Mane Attraction is a bit of a departure from the hair-metal style and hints at what greatness could have been. 70
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Vito Bratta: retired from music after White Lion split
when playing a simple progression. Rather than sticking to strummed chords he would spice things up with arpeggiated picking and jaw-dropping licks. Raunchy riff 2 is more akin to Big Game-era Lion, while example 3 is an old-school rocker in the vein of their 1985 debut and is a good test of string-skipping. Our final riffs are inspired by 1991’s Mane Attraction, which moved away from hairmetal towards a more modern approach. Practise each example slowly and accurately before attempting to play along with the backing tracks at full speed.
learning zone
White Lion ExamplE 1 Double-stops anD pickeD arpeggios
cd track 45
This riff is based around D, Em and C chords. Keep your picking hand moving down and up to keep up the momentum of the riff and in bar 4 slide your picking hand over to the 12th fret to tap on each string while hammering-on with a B minor Pentatonic scale shape.
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cd track 47
This riff is based in A Mixolydian mode (1-2-3-4-5-6-b7) with an additional b3rd, which adds tension and release when played before the major 3rd. Play the riff in a shuffle feel so that the downbeats are twice the duration of the upbeats.
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cd track 49
ExamplE 3 palm-muteD riff with Double-stops
First learn the double-stop riff on the middle two strings and repeat it throughout the first three bars. next add the bass notes; first A, then G, then F#. The pattern changes in the 4th bar but uses the same concept. You can lightly palm mute the single notes to help separate them from the double-stops.
& 44 E B G D A E
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3
2 2 3
3
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3
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lesson } hard rock
ON THE CD
TRACKs 45-56
cd track 49
ExamplE 3 palm-muteD riff with Double-stops ...continuEd
& E B G D A E
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ExamplE 4 alternate-pickeD blues scale riff
cd track 51
This riff is based in F# Blues scale (1-b3-4-b5-5-b7) and is best played one-finger per-fret starting with your first finger at the 2nd fret and your fourth finger at the 5th fret. Keep your pick moving constantly in alternate down and up strokes and palm mute throughout to aid note separation.
©»¡™º 4 ∑ & # 4
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cd track 53
Start by tuning your sixth string down a tone to D and use it as a low droning pedal note. Use slides and pull-offs to move between the 2nd and 4th frets and allow the open strings to sustain as much as possible to create a ringing, overlapping effect.
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learning zone
White Lion ExamplE 6 solo
cd track 55
This solo is played using only the G Major scale (G-A-B-C-D-E-F#), and the first eight bars are entirely along the length of the second string. Play the first bar by hammering on to the 8th fret, then tapping on to the 15th fret. Hold the tapped note still and use your fretting hand to bend the string up a tone and
©»¡º∞ #4 ∑ & 4
let back down again. Hold your pick with your first finger and use the second finger of your picking hand to tap the notes, so you can transition easily between tapped and picked notes. The last five bars are played with alternate picking and wide stretch legato.
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~~~~~ 16 12
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lesson } jazz
ON THE CD
Al Di meola This month John Wheatcroft examines one of the world’s most exciting and influential pickers, the explosive Al Di Meola. Al Di Meola: getting into the groove with his Gibson Les Paul
TRACKs 57-71
improvised solo, an arpeggiated rhythm part or even how he might drill a scale in the form of a technical exercise. Meola’s playing can reach speeds considerably higher than those presented here. Nonetheless, these are challenging ideas to perfect and you can gain a huge amount from learning these musical examples even at a reduced tempo. You can try different methods to improve progressively when practising. A common approach is to slow things down then build tempo in increments as your accuracy and stamina improves. You could also attempt to leave the tempo on the brisk side and increase your success percentage by breaking each lick into small pieces and aiming to play more and more of each idea. Finally, at the end of each workout give the example a go, full speed ahead and allow yourself to mess up if necessary. It’s never a problem to make mistakes so long as you diagnose and address
A guitArist must be Able to tAp his foot when he plAys. you cAn forget About every other lesson in the book Al Di Meola
them. This final approach gives you a clear picture of exactly which areas require the most attention. Try a combination of these ideas plus any others you have picked up along the way. The trick is to mix things up, be kind to yourself and recognise your strong points as much as your weaknesses. Lastly, keep your ears open and, most of all, remember to have fun.
Info Key: Various Tempo: Various CD: TRACKS 57-71
A
Will improve your Picking dexterity Speed and fluency Rhythmic control
l Di Meola is one of the most influential guitarists of the 70s fusion explosion. From his earliest electric recordings with Chick Corea’s Return To Forever with bassist Stanley Clarke and drummer Lenny White, through his stunning acoustic trio with John McLaughlin and Paco De Lucia. Then, on to his impressive body of Latin and jazz-inspired recordings as a bandleader, Al Di Meola has been at the
NEXT MONTH John looks at the modern jazz-blues world of the incredible Scott Henderson 6
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Al sounds like himself on almost any guitar, so it’s mostly technique and less about settings, picking close to the bridge with the palm at the ready to provide muting on demand. That said, a humbucking electric guitar set to a fullbodied overdrive tone with a little reverb added, would get you in the general ballpark for the Di Meola electric lead tone.
trAck recorD Friday Night In San Francisco (1981 Sony Jazz) is a ferocious album featuring Al’s incendiary playing in the company of equally virtuoso guitar stars, John McLaughlin and Paco De Lucia. From Meola’s solo releases, we’d recommend his most recent album, Elysium (2015 Inakustik) and a blast from the past, Elegant Gypsy (1977 Columbia). There are also tons of great clips on YouTube. 74
August 2016
ZUMA Press, Inc. / AlAMy stock Photo
Ability rAting
✪ ✪ ✪ ✪ ✪ Advanced
cutting edge of contemporary guitar for four decades – and he’s not finished yet! Meola’s alternate picking technique is the stuff of legend, with remarkable speed and punch. Equally at home on electric, steel and nylon-string acoustic guitar, Al’s style has earned him a devoted following with lovers of fusion, acoustic, jazz and, in particular, rock. Yngwie Malmsteen, John Petrucci and Zakk Wylde have all waxed lyrical about the beauty of Meola’s super-energetic and articulate approach to playing. His recent CD, Elysium, finds Al in fine form on Les Paul, plus steel and nylon-string acoustics, flying about the fretboard with, to steal the name from one of his compositions, passion, grace and fire. The following lesson consists of eight examples typical of how Al might approach an
learning zone
al di meola ExamplE 1 Scale Sequencing and connecting ShapeS
cd track 57
Our first example demonstrates Al’s effortless mastery in connecting the positions of a scale, in this instance A natural Minor (A-B-C-D-e-F-G). Take note of the mixed rhythms at the start of bar 2 and in bar 5. The trick is to keep the
©»¡¢º 4 ∑ &4
picking hand relaxed but controlled. Al rests his palm on the bridge for easy access to muting and to feel securely located close to the strings. i generally float my picking hand, although for the recording i stayed close to Al’s technique.
Am11
√
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
E B G D A E
14 12 14
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14 12
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j œ œ œ œ œ œ œ œ œ œ œ œ œœ
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1
A m11 œœœœœœœ œœ œ œ œ & Œ ‰ œœœœœ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ 3 G Loco
E B G D A E
20 19 17 20 19 17
BU BD BU BD 18 17
19 17
16 14
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17 15 14 15 17
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14 16 17
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16 ( 17 ) (16 ) ( 17 ) (16 )
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ExamplE 2 Melody on a Single String
cd track 59
A step towards greater fretboard proficiency is learning your scales along the neck rather than across. Here’s how Al might solo over a static G minor using a combination of G natural Minor (r-2-b3-4-5-b6-b7) and G Harmonic minor
©»¡¶º b ∑ & b 44
(r-2-b3-4-5-b6-7) using a single string and, in bars 13-14, a single finger. There is a real connection between distance travelled and pitch so try this on different strings, then pairs, then groups of three, four and so on, and also in all keys.
Gm7
√ j œ œ œ œ. Œ ‰ Jœ œ œ ‰ œ J ‰J ‰ Œ œ œ œ ‰ Jœ ‰ œJ œ œ œ ‰ œj œ œ œ œ œ Œ 10 13 11
E B G D A E
13 15
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14 15 17 18 17 15
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(√œ) œ œ œ œ b J J b ‰ ‰ & E B G D A E
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(√) œ œ œ œ b œ J œ œ œ . . ‰ J J ‰ ‰ Œ &b ‰ œœ œ œ œ E B G D A E
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œ œ J
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August 2016
75
lesson } jazz
ON THE CD
TRACKs 57-71
ExamplE 3 5 againSt 4 rhythMS
cd track 61
Here’s one of Al’s super-efficient scale exercises that features a repetitious pattern of three notes in a rhythm that covers five 16th notes rather than expected 2x3=6. He does this by speeding up the first and second event, turning these notes into 32nd rhythms, with two notes now fitting into the
space previously occupied by one 16th and this displaced the pattern across the beat and barline. Muting helps with clarity and punch and also stops you from hitting the strings too hard, as this will have a negative impact on speed, tone and time-feel.
œœœ œ œ œ œœœ œ œ œ œœœ œ œ œ œœ œœœœœœœœœœœœœœœœ
©»¡ºº ∑ & 44
3a) 5 against 4 rhythm (three notes)
‰
PM E B G D A E
12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13
≥≤≥ ≤ ≥ ≤
1
15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15
etc
œœœ œ œ œ œœ œ œ œ œ œœœœœœœœœ
œœœœœœœ œ œ œ œ œ œ œ œ œ œ œ & œœ œ 3b) 5 against 4 rhythm (moved through single-string scale)
3
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PM E B G D A E
1 3 5
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≥≤≥ ≤ ≥ ≤
5 6 8
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8 10 8 10 12 10 12 13 12 13 15
17 15 13 15 13 12 13 12 10 12 10
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ExamplE 4 croSSpicking arpeggioS
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œœœ
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76
œ
Let ring
Let ring
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≥ ≤ ≥ ≤ ≤ ≤
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B madd b 6
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Let ring
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œ œ œ ˚j œ œ œ œ œ œ œ ⋲œ œ œ œ œœ œ œ œ œ œœœ Let ring Let ring Let ring 3
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Let ring
Let ring
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August 2016
œ ⋲ ˚j œ œ œ œ ⋲ ˚j œ œ œ œ œ œ œ œœ œ œ œ œ œ œ
B m11add b 6/F
PM
3
the syncopations as written. if your reading is not your strong point then use the audio as your guide. Thirdly, to create maximum sonic impact, observe all the written muted and ‘let ring’ indications, as the contrast between staccato thud and legato chime really sets this idea alight. Again, use the audio here as a guide and build speed up slowly and over time. Bm11add b 6/F
œ
œ
2
# & # E B G D A E
œ 0
3
3
cd track 62
B m11add b 6
E B G D A E
B m11add b 6
5
etc
There are a number of technical obstacles to navigate with this arpeggio idea. First, you need to accurately target each string and in some instances the string skips are as big as they can be, spanning all six strings. To this aim, Al uses outside picking to ensure that he is in place and on target before striking each new note. The second skill is in successfully mixing rhythms and achieving all
©»ªº ## 4 & 4
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≥≤≥≤
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learning zone
al di meola ExamplE 5 up up down/down down up
cd track 64
You may have noticed in the picking indications for the previous example a couple of instances where Al plays consecutive up strokes to cross a pair of adjacent strings. it turns out that he’s no slave to alternate picking and while this is his chosen technique in the main, there are instances when consecutive pick strokes (not economy picking though!) are the best way to go. such is the
# # 4©»¡º∞ ∑ & 4
case with this example, where each three-note pattern, albeit displaced in 16th notes, is articulated with an up, up, down picking pattern or the reverse, down, down, up to turn the pattern around. This is in effect a form of ‘outside’ picking, where the pick moves in a helix formation and turns around at the apex of each manoeuvre. All much easier to hear and play than talk about, so give it a whirl.
F #( b 9)/G
œœ œœ œœ œœ œœœœ œœ œœ œœ œœ œœœœ œ œ œ œ œ œ œ œ
PM E B G D A E
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4 1
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B b/F
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≥ ≥ ≤ ≥ ≥ ≤
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D/A
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ExamplE 6 rhythMic pentatonic idea connected to long bendS
& 44
©»¡¢º
12 10 1
. ˙ ~~~
& E B G D A E
~~~
10
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
E B G D A E
G7
cd track 66
sure all the motion comes from a revolution of the forearm, rather than the fingers. This not only sounds better but also is also far more efficient - and safe. Again, remain relaxed for the short 32nd-note rhythmic burst in bar 8.
A m11
∑
‰ œ œ 9
10
12
. ˙ ~~~ ~~~
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12 10
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4
Let ring
5
There’s more syncopation and scale connections here, although this time it’s A minor Pentatonic (A-C-D-e-F) to A natural Minor (A-B-C-D-e-F-G). Al’s vibrato and bending are quite rocky and this is evident here in bars 3, 4 and 8. Make
4
4
œ nœ bœ œ œ nœ œ œ œ œ œ œ œ
PM
5
0 4
etc
A/E
# & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4
4
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≤ ≤≥ ≤ ≤≥ ≤ ≤≥≤ ≤≥≤ ≥≤ ≥
G/D
E B G D A E
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√ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
A m11
Œ
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August 2016
77
lesson } jazz
ON THE CD
TRACKs 57-71
ExamplE 6 rhythMic pentatonic idea connected to long bendS ...CONTINUED
cd track 66
G (√) œ œ œ œ œ œ œ œ œ œœ œ œ œ œ & œœ œœ œ œ œ œ œ ⋲œ œ œ œœ œœœ œ œ œœ E B G D A E
13 12 15 13 12
14 12
14 12
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15 14
15 14
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12 14
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14 12
14 12 14
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˙.
j œ
BU 12 15 (17 )
6
ExamplE 7 aeolian/harMonic Minor interchange
cd track 68
Here we find Meola in a more lyrical mood with some marginally slower phrasing that once again showcases the interchange between A natural Minor (A-B-C-D-e-F-G) and A Harmonic minor (all the same except G# replaces G). You’ll notice that he aligns this transition to coincide with the chord of e7 in our
progression. Usually this would be an e minor in A minor but our G# allows us to create an e7, thus strengthening the resolution from v7 (e7) to i minor (Am), improving the harmony along the way and thus eliciting the name ‘Harmonic’ minor scale. easy!
Am G ©»•• œ œ œ œ œ œ œ œ ~~~ ˚j jœ jœ œ œ œ œ. œ œ œ œ œ œ œ Œ ⋲ œ J ⋲ œ J œ œ œ œ ⋲ œ œ œ ‰ ‰ . ⋲ & 44 Ó œ J 6 6
6
BU E B G D A E
BD
BU 7 ( 9)
7 ( 9)
(7 ) 5
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5 7
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7 8 7 5
8 6 5
~~~
7 5 4
4 5 7 5 4 4
1
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E7
& œ œ œ œ œ œ œ œ œ œ œ œ œ 3
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E B G D A E
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[4] 5
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E7 Am 3 ~~~ œ œ œ œ œ œ œ ⋲ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ ˙ Ó & ⋲ œ œ œ œ œ œ ⋲ F
E B G D A E
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August 2016
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learning zone
al di meola ExamplE 8 Minor Mixing rhythMS
cd track 70
We finish with a mode modern example of Al’s playing, so there is a little more in the way of syncopation and there’s a wonderfully slipping intervallic lick in bar 6 that’s not too tricky but sounds super-hip and interesting. Bars 7 and 8 feature
©»¡¡º 4 ∑ & 4
œ Œ ‰ œ œ œJ ⋲
Em
E B G D A E
~~~~ œ œ. ˙
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8 7
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9 10
8 7
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3 œ œ œ. œœœ œœœœ œ œ œ œ œ œ œ œœœœœœ œœ ‰ œ œ œ ⋲ ˚j œ œ œ 3 3 3
~~~~ 7
PM
7 5 3
7 5 3
BU BD 7
5 3 7 5
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4 ( 5 ) (4 )
5 7 5 4 7 5
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& E B G D A E
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& E B G D A E
œ œ œ b œ œ . ˚j œ œ œ œ . œ œ œ œ œj œ œ J ⋲ Œ J ‰ œ ⋲ œ ⋲ J ⋲ J ‰ J 3
8 7 8
9 7 9
a little more space and in bar 9 you’ll find one of Meola’s favourite chromatic decoration descending figures for dressing up the natural Minor mode. i hope you’ve enjoyed this look at one of fusion’s most influential players.
œ œ . Jœ . J . Œ ‰ J ‰ ‰ 7
8
5
œœœ 7
œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ . ⋲J ‰ ‰ ⋲ J
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August 2016
79
lesson } ACOUSTIC
ON THE CD
John mayer In this month’s column Stuart Ryan discovers that electric blues icon and pop superstar John Mayer has a more subtle, acoustic folk side! John Mayer: more than just a great electric blues guitarist
TRACKs 72-73
fiery showboating of a track like Neon is replaced by song-focused acoustic parts that demonstrated his enviable mastery of fingerpicking technique. Fast forward to 2012 and the Bay Area jazz sound has been replaced by pastoral tinged fingerpicking that bears the hallmark of a strong Crosby, Stills and Nash, Neil Young, Joni Mitchell and James Taylor influence – in essence, the great Californian songwriters of the 1960s and 70s. However, whether deliberate or not, you’ll also hear evidence of players like Jorma Kaukonen in the more complex passages. The folk sound is still in evidence on follow-up Paradise Valley and represents a deliberate shift in musical tone by Mayer that was led by his acoustic guitar-focused writing. Mayer’s parts on these albums are great – fantastic groove, melodic
the showboating on tracks like neon was replaced by acoustic parts that demonstrated his fingerpicking ideas and that consistent timing that is always in evidence with his picking hand. However, when learning these parts it’s a good idea to go to the source and immerse yourself in the artists listed above (plus, of course, Bob Dylan!) so you’ll get a greater idea of how he is building the acoustic parts that are at the forefront of his playing these days. And, finally, let us not forget that most difficult aspect of fingerstyle – tone. Mayer plays with a great attack and articulation and this is something to really work on when playing these parts. NEXT MONTH Stuart brings us a slice of American Pie as he looks at the playing of Don McLean
Info Key: G/B Tempo: 84 bpm CD: TRACKS 72-73
W
Will improve your Picking hand articulation Fingerstyle timing Fast fretboard fills
hen I last covered John Mayer for GT way back in GT127, I focused on his complex, groove-based fingerstyle as found in tracks like Neon. At this time Mayer was heavily influenced by San Francisco eight-string jazz guitar legend Charlie Hunter and his fingerpicking featured deft, contrapuntal lines the likes of which had rarely been seen in the mainstream pop-rock
sphere. Alongside this he showcased a deep knowledge of chords that resulted in memorable and creative strumming based tracks like his break-out hit No Such Thing. Although it’s common to focus on Mayer’s electric guitar style and the influence of BB King, SRV and Hendrix on this side of his playing, the acoustic side has always run parallel to this from album tracks to allacoustic EPs like his debut release Inside Wants Out and The Village Session, both essential listening if you want to hear Mayer in pure acoustic mode. By the time he released his smash album Continuum the electric guitar was well and truly at the fore, but even here you start to hear a development of his acoustic style – the
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GAIn
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Mayer has an enviable guitar collection but is usually seen playing smaller bodied Martin models, primarily his signature OM and 00-42SC. If you are feeling (very!) flush then hunt out one of Martin’s 25 limited edition 00-45SC models. I recorded this on a Circa 000 built by the gifted John Slobod from the USA, but any decent acoustic will do.
track record There are many sides to Mayer’s acoustic sounds and it’s worth checking out everything from his first EP, Inside Wants Out, the pop focused parts on Room For Squares all the way up to the distinctly classic American sounding approach on Born And Raised and Paradise Valley. And if you play electric too there’s a wealth of inspiration to be had from this consummate player’s blues and rock albums. 80
August 2016
© WENN Ltd / ALAmy Stock Photo
ability rating ✪ ✪ ✪ ✪ ✪ Moderate
learning zone
john mayer ExamplE john mayer acoustic style
cd track 72
[Bar 1] I’ve used a capo at the 4th fret to put the guitar in the key of B. do the same if you want to play along with the backing track. notice how the capo sweetens and brightens the sound of parts like this. [Bar 2] Watch out for the fleet run at the end of this bar. This bluegrass-tinged lick hints at the classic American folk sound that has found its way into Mayer’s playing over recent years.
©»•¢ #### 4 # 4 &
B (G)
Capo fret 4 E B G D A E
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E sus4 E 13 (Csus4) (C13)
cd track ??
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œ œ œ œ œ œ œ œœ œ œ œ œ œ n œ œ œ œ œ œ # œ n œœ œ œ œ œ œ œ œ œ œ œ n œœ œ œ œ œ œ œ œ œ œ œ œ œ 1 0 3
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B add11 (Gadd11)
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0 0 0 3
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œ œœœ œ œ œ œ œ œ œ œ
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E sus4 E 11 (Csus4) (C11)
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œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ n œ œ œ œœ œ œ œ œ œ œ œ œ œ œ
∑
B (G)
[Bar 9] Why play major when you can play sus? Mayer has a great knowledge of chords and you can learn a great deal from his chord voicings. [Bar 13] Mayer is a ‘thumb over the top’ guy – the Hendrix/Srv influence. You can play these types of chords with conventional fingerings but learning how to hook the fretting hand thumb over the top of the neck on to the sixth string will make these things a lot easier; this is indicated by a ‘T’ underneath the notation.
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0
0
1 0
3 2 0
0
2 0
3 E (C)
E 13 (C13)
œ œ nœ œ œ œ œœ œ œ œœ œ œ 3
1 0 2
1 3
2
3 2 0
2 0
0
August 2016
0
81
lesson } ACOUSTIC
ON THE CD
TRACKs 72-73
ExamplE john mayer acoustic style ...CONTINUED
cd track 72
[Bar 17] Here’s another ‘thumb over the top’ idea – again, it’s not essential, but it frees up the fingers for embellishments on the top strings.
&
####
B (G)
B7sus4 (G7sus4)
B (G)
[Bar 26] Another Mayer-esque chord at the end of this bar, a Csus2 that is more subtle than the obvious C major.
B7sus4 (G7sus4)
B (G)
œœ œ œœ n œ œ œ œ œœ œ œœ n œ œ œ œ œœœ œœ œ œœœ œœ œ œ
#
T
E B G D A E
0 0 0
E B G D A E
82
3
3
0 0 0
3
3
0
1 0
0
3
3
####
1 0 3
3
3
0
0
0 2
1
3
3 4 0
3
3
0 0 0
0
2 0 0
0
3
3
0
3
0 0
3
A6 A maj13 (F6) (Fmaj13)
0
0
3
œœ œ œ œ œ œ œ œ œ nœ œ œ œ 1 2 0
0
3
0 0 0
0
3
0
3
1
B (G)
B6 (G6)
0
1
1
0
0
1
3
3
E sus4 E 11 (Csus4) (C11)
22
G #m (Em)
œ
0
1 0
0
1
œœ œœ
0
1
0
3
1
1 0 3
E sus2 (Csus2)
0
1
0 1
0 2
0 3
0
1 0 0
1 0
3
0
2 0 0
0
0 0
0
3
0 3
F #/A # (D/F # )
œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ 2 3 2 0
0
3
3
B7sus4 (G7sus4)
3 2
3 0 2
2
3
2
0 2
2
0 0
3 G #m (Em)
2 3 2 0
August 2016
0 2
0 0 0
0
3
œœ œ œ œœ œ ˙
3
0 0 0
0
œœ œ œ œ œ # œœ œ œ œ œ œ œ œ œ œ œ 2
3
0
B (G)
F #/A # (D/F # )
29
3
1
3
0
3
B (G)
1
0
3
2
3 2
3 0
2
2
B (G)
3
2
0 2
0
2
B 7sus4 (G7sus4)
œ œ œœ œ œ œœ œ œ œ n œ œ œ œ œ œœ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
0 0 0 2 0
1
3 4 0
0
0
œœ œ œ œ œ œ œ œ # œ œ œ œ œ n œœ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ 1
####
0
œœ œ œ œ œ œ œ œ œœ œ œ
B (G)
1
1 2 0
26
1
3
19
& E B G D A E
0
A6 Amaj13 (F6) (Fmaj13)
œœ œ œ œ œ œœ œ œ œœ œ œ # œ n œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
# # & # ## E B G D A E
3
1
E sus4 E 11 (Csus4) (C11)
3
& E B G D A E
####
1 0
0
3
15
&
0
B6 (G6)
3
0
3 3
1
0
3
0 0 0
0
3
E sus2 (Csus2)
3
B (G)
0 0
1
0
3
3
3
B 7sus4 (G7sus4)
1
0
3 3
B (G)
œ œœœ œ œ œ œ œœœ œ œ œ œ œœœ œ œ œ œ n œ œ œ œ œ œœœ ˙˙˙ ... œ œ œ œ œ œ 0 0 0 2
0
1
0
0 2 0
0 3
1 0 0
1 3
0
0 0 0
0 3
0 0 3
1
0
3 3
1
0
3 3
0 0 0
0 3
0
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August 2016
83
lesson } CREATIVE RoCk
ON THE CD
TRACKs 74-76
mixolydian triads Part 2 ability rating ✪ ✪ ✪ ✪ ✪ Moderate/Advanced Info Key: A (A7) Tempo: 120 bpm CD: TRACKS 74-76
I
Will improve... Extracting triads from a scale Using triads in soloing Developing triad-based lines
n the previous lesson, we looked at ways of deriving triads from A Mixolydian to be used as the basis for new musical lines. Triads introduce harmonic motion into your line by imposing one chord sequence on top of another (in this case, the sound of moving triads over a static A7 vamp) making your lines sound a lot stronger than simple scale-step-based ideas. In this lesson, rather than play a triad from each note of the scale (as we did in the previous one), we are going to look at ways of stacking triads on top of
each other within the confines of a single scale shape; however, before we dive into the musical examples, we’ll need to revise the principles studied so far. Triads comprise three successive scale ‘3rds’. Here are the ones that exist within A Mixolydian (A-B-C#-D-E-F#-G): A C# E A triad – 1 3 5 B D F# Bm triad – 1 b3 5 C# E G C#dim triad – 1 b3 b5 D F# A D triad – 1 3 5 E G B Em triad – 1 b3 5 F# A C# F#m triad – 1 b3 5 G B D G triad – 1 3 5 It’s not important to think of the name of each triad as you extract them from a scale when you improvise. Instead, it’s possible to merely recognise triad ‘shapes’ within each scale. Every one of the above triads is created by taking any one of the notes of A Mixolydian (A-B-C#-D-E-F#-G) and then playing every other note from that point (A-C#-E then B-D-F# then C#-E-G etc). When exploring ways of constructing single-note lines from triads, it’s important to acknowledge that we can play any of the following mathematical permutations from the scale. Three-note sequences (order of notes: 1-3-5 1-5-3 3-1-5 3-5-1 5-1-3 5-3-1 Four-note sequences (order of notes): Criteria: all three notes used; only one note repeated; same note cannot be played in succession, in other words consecutively. 1-3-5-1 1-3-5-3 1-3-1-5 1-5-1-3 1-5-3-1 1-5-3-5
3-1-5-3 3-1-5-1 3-1-3-5 3-5-1-5 3-5-1-3 3-5-3-1 5-1-3-5 5-1-3-1 5-1-5-3 5-3-1-3 5-3-1-5 5-3-5-1 Although we will only be applying these permutations to root inversion shapes in this lesson; it is also possible to apply them to first and second inversion shapes: First inversion – 3 (lowest pitch), 5 (middle pitch), 1 (highest pitch) Second inversion – 5 (lowest pitch), 1 (middle pitch), 3 (highest pitch) Most players who are new to using triads find it difficult to make music using leaps rather than steps; however, through perseverance, it’ll soon become possible to use triads as a natural vehicle for expression.
it’s not important to know the name of each triad in every scale, but recognise ‘shapes’ in each scale as you play them The ideal scenario is to be able to play sequentially using scales and intersperse arpeggios in a seamless and musical way – just as the great jazz-rock guitarists do. Finally, remember to try working at creating ideas that have some form of rhythmic interest, as this is a great way help to make triads more musical and less mechanical, or like exercises. NEXT MONTH Shaun delves even further into the use of Mixolydian triads in your playing 5
5
5
5
5
GaIn
BaSS
MIddle
TReBle
ReveRB
Triads will sound good either clean or distorted. However, as this is Creative Rock, the examples were recorded using a Fender Stratocaster through a distortion pedal (Zendrive) into a (Cornford) valve head. From that starting point one just needs to consider which pickup to use (I used bridge pickup) and where to apply palm muting in order to clean things up in places.
track record Richie Kotzen stacks triads on to each other in order to create super arpeggios and whips up and down these to get large, super-smooth arpeggios. Ritchie has worked with 80s rockers Poison as well as a band called Vertú with jazz legends Stanley Clarke (bass) and Lenny White (drums). Some of his flashiest playing, though, is on the collaborations that he did with rock fusion ace Greg Howe. 84
August 2016
DAVID LYTTLETON
Shaun Baxter continues to delve into the Mixolydian mode, stacking triads to create new and interesting blues-rock lines.
learning zone
mixolydian triads GENERAL Playing tiPs When working through the examples it’s important that you refer to diagram 1, which contains the five CaGed scale-shapes of a Mixolydian. In this lesson we are going to stay within one scale position or shape. later on in this series on triads, we’ll be looking at ways of shifting laterally along the neck. In the backing track, a bridge part was inserted just to mix things up and make it less monotonous. The polychord (ie chord on chord) names may look a bit
scary [Gmaj7 (no 5th)/e5 F#m7 (no 5th)/e5, dmaj7 (no 5th)/e5 and C#m7 (no 5th)/e5]; however, every note of each of these four bridge chords are to be found within a Mixolydian, so you’ll be able to continue to play a Mixolydian throughout. Finally, all of the examples have been ‘trimmed off’ with a bluesy ending, just to give you an idea of how the two approaches (triads and blues) can be forged together.
DIAGRAm 1 – 5 CagED sCalE sHaPEs OF a MiXOlyDian
ExAmpLEs
cd track 75
ExamplE 1 This first example in CaGed Shape #1 of a Mixolydian, features two chromatic notes in the latter half. Firstly, the C (b3rd of a) at the end of bar 1 is used as a passing note towards the C# (3rd) at the start of bar 2. This is a movement we’ve viewed many times when looking at how Mixolydian can be used in conjunction with the minor Blues scale over static dominant 7th chords. Secondly, a G# note is used as a passing note (acting as a chromatic bridging note) between a (root) and G (b7) in the first half of bar 2. note that examples 1-3 all feature three-note entities (triads) played to a four-note count (16th-notes, which feature four notes in each beat). This creates a constant change in rhythmic emphasis; a concept known as rhythmic displacement.
E B G D A E
©»¡™º ExA71 œ œ œ œ œ bœ ~~~ n œ ### 4 œ œ œ œ œ n œ œ œ œ œ & 4 œ œ nœ œ nœ œ œ œ. Œ œ Em D A ~~~ 3 7 9 5 5
1
&
###
4
5
7
5
7
4
5
8
5
8
7
5
6
5
7
6
5
4
7
5
œ œ œ œ nœ œ œ œ n œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ nœ œ Em # # # Bm
Ex 2
A
E B G D A E
ExamplE 2 The ascending and descending ‘triad run’ at the start of this example demonstrates how three-notes-per-string modal patterns can be used to painlessly extract triads from a scale. The triads are all marked within the transcription. However, there is different way to view things: in bar 1, after the initial note, it could be said that we are simply playing the three notes on each string in a 1-3-2 order in which 1 is the lowest pitch, 2 the middle pitch and 3 the highest. Similarly, after the initial note in bar 2, we can simply think of things in terms of playing the three notes on each string in a 3-1-2 order: much easier than thinking in terms of playing the following triads: em, Bm, F#m, C#dim and G.
5
4 7 5
D
4 7
G
5
C dim
4 7 6
5
8 7
F m
5 9 5
#
C dim
7 4
5
F m
7
8 5 7
7 4 6
7 4 5
G
7
3
4
2 ∑
7
~~~ Œ Ó œ ~~~
∑
5
August 2016
85
lesson } CREATIVE RoCk
ON THE CD
TRACKs 74-76
ExAmpLEs
cd track 75
ExamplE 3 So far, we have played each triad straight up or down (1-3-5 ascending, and a 5-3-1 descending); however, in this example, we’re mixing things up bit by playing the notes in a different sequence. Here, we’re playing each triad as 5-1-3; this further highlights the rhythmic displacement that occurs from playing three-notes to a four-note count; and by stacking the triads in 4ths we get a convenient symmetrical fingering on each string pair.
&
###
ExamplE 4 although triads are three-note entities, by playing one of their notes twice, it is possible to create four-note motifs that do not get rhythmically displaced when played to a four-note count (in this case, because we are playing 16th-notes, each motif will fit perfectly into each beat). In this example, each triad is played in a 3-1-3-5 note-order (see the 24 permutations discussed earlier).
√ œ œ œ~~ œ œ nœ œ œ œ œ œ n œ œ œ œ nœ . œ œ ⋲ ‰ œ œ œ œ œ œ nœ D C #dim G A ~~ BU
Ex 3
~~~ œ Œ Ó
1/4
~~~
1/4
E B G D A E
7
&
###
4
5
9
7
5
4
7
6
5
9
7
5
5
5
7
13
4
5
4
5
7
6
7
~~
D
A
6
5
7
7
5
7
7
5
7
5
5
7
œ œ œ. œ~~~ ‰ J
œ~~. œ
œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ Em
5
8 (10 )
Ex 4
Bm
E B G D A E
4
5
8
5 7
∑
j œ
9
9
BU (10 )
9
2 ∑
~~~
10
ExAmpLEs
cd track 75
ExamplE 5 Here’s a variation on the same series of stacked triad used in the previous example, only this time, an extra 16th-note rest has been added to the end of each pattern in order to create a series of five-note motifs that, when played to a count of 4 (in this case, a 16th-note count) become severely rhythmically displaced. The resulting shift in rhythmic emphasis sounds less predictable and so helps to maintain interest for the listener. Finally, some more triads have been tagged on to the end of the original sequence; in this case, each descending three-note triad motif also has a 16th-note rest grafted
Ex 5
& E B G D A E
###
#
Dmaj7 (no 5th) / E5 ~~~~ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ ⋲ œ⋲ œ ⋲ ⋲ ⋲ ⋲ œ œ nœ . œ œ œ œ Œ œ œ œ œ nœ œ œ œ. œ œ œ œ Em D Em D Bm A A ~~~~ 5 7 5
Gmaj7 (no 5th) / E5
5 17
Ex 6
5
7
4
5
7
F m7 (no 5th) / E5
5
4
### œ œ œ œ œ œ œ nœ & A7
A
D
E B G D A E
86
onto the end in order to produce a series of consecutive four-note motifs. ExamplE 6 This example represents a hybrid of many of the previous examples: it starts with the same triad shapes used in examples 4 and 5, each following a simple three-note 5-3-1 note-order. This is then followed, from beat 4 of bar 21, by the ascending stacked series of 1-3-5 triads used in example 1. note how each triad motif is three notes long; so, again, the overall effect is rhythmically displaced: producing a ‘3 against 4’ effect when played to a 16thnote count.
5
21
August 2016
7
7
5
6
Em
7
4
5
6
7
6
5
7
7
7
8
9
7
7
5
6
7
4
5 5
4 4
7
4
5
G
A
7 5
4 7
5
4 7
5
œœœœ ~~~ œœœœ Œ Ó nœ œ œ œ œ Em ~~~ 3 7 9 5 8 5
7 6
7
5
7 5 4
∑
7 7
œ nœ œ œ œœœœ œœœœ Bm
#
C m7 (no 5th) / E5
5
∑
learning zone
mixolydian triads ExAmpLEs
cd track 75
ExamplE 7 now we’re going to start playing equivalent ideas in the other positions of a Mixolydian. This one occupies the territory between CaGed Shape #1 and Shape #2.
ExamplE 8 The bulk of this line is based around Shape #2. It also features another C (b3rd) to C# (3rd) move in beat 3 of bar 29 before finishing with a traditionally bluesy phrase in Shape #1 (bar 30).
œ œ œ œ n œ~~~ . ˙ ### ‰ . J œ œ œ œ œ œ œ œ œ & œ œ œ œ œ F #m F #m A A Bm BU ~~~ 9 5 5 9 Ex 7
E B G D A E
7
6
7
9
5
9
9
6
7
œ œ œ nœ #œ œ œ n œ œ œ œ œ œ n œ œ œ
Ex 8
#
7
9
G
Bm
C dim
29
5
7
25
### & E B G D A E
9
10
7
9
11
8
7
7
(8 )
7
j nœ
œ œ œ œ œ~~ Ó
7
8
BU
9
10
9
7
2 ∑
3
A
10
2 ∑
BD
8 (10 )
6
(8 ) 5
~~
8
ExAmpLEs
cd track 75
ExamplE 9 next, we move up to Shape #3. ExamplE 10 This example occupies the territory between CaGed Shape #3
Ex 9
### ‰ . &
œœ œ nœ œ œ n œ~~. œ œ œ œ œ~~~~~~ œ œ œ J œ ‰ œœœœœ #
A
E B G D A E
and Shape #4 before shifting up in Shape #4.
C dim
12 9
10
12 9
11
#
C dim
D
12 9
33
10
9 12
11
9
~~
12
9 (11 )
9
#
F m7 (no 5th) / E5 n œ œ œ œ œ~~~ œ œ œ œ œ œ nœ œ œ # # œ œ œ œ œ Ó & # œ nœ œ œ Ex 10
Gmaj7 (no 5th) / E5
Em
E B G D A E
37
12
10 14
D
12
11 14
Hold---|
Bm
12
10 14
15 12
15 14 12
14 14 12
11
12
Ó
∑
~~~~~~
BU 10
Œ
[ 9]
Dmaj7 (no 5th) / E5
∑
#
C m7 (no 5th) / E5
∑
~~~
9
August 2016
87
lesson } CREATIVE RoCk
ON THE CD
ExAmpLEs
cd track 75
ExamplE 11 This example, which generally occupies Shape#4 but also borrows from Shape#5, features a variety of motif lengths (6+6+5+3+4), which helps to produce results that sound less regimented and, therefore, more organic and natural to the listener.
œ nœ œ œ œ œ ### œ nœ œ œ œ œ œ œ & œ œ Ex 11 A7
#
41
14
12 16
14
#
C dim
Em
F m E B G D A E
12 16
14
12 16
14
14
12 16
12 15 12
ExamplE 12 again, this example, which mainly exists within Shape #5, also features a variety of motif lengths, none of which reflect the four-note underlying rhythm: rather than 4+4+4+4, the 16 notes in bar 45 are divided as 3+3+5+3+2.
œ œ nœ ~~~ œ œ œ œ œ nœ . œ Œ #
Em
14
16 12
14
16 12
14
12
12
15
œ œ œ œ œ ~~~ œ œ œ œ œ œ œ n œœ n # œœ n œœ # œœ ### œ œ œ nœ #œ ‰ ‰ & nœ œ œ #
45
15
14 17
16
14 18
#
D
F m
G
15
14 17 14
F m
15
18 14
G (partial)
16
~~~
BU
14 17 14
13 11
2 ∑
~~~
F m
Ex 12
E B G D A E
TRACKs 74-76
14 12
13 11
2 ∑
14 12
15 (16 )
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August 2016
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lesson } CHORD CAMP
ON THE CD
Augmented triads
TRACKs 77-86
Brought to you by…
Attention! Colonel Iain Scott sharpens his sabre – and his 5th – to create augmented triads that he applies to retro, jazz and Latin grooves.
W
elcome to this month’s instalment of Chord Camp. As you started out on your musical learning journey, you will have surely heard about triads. But you might not have realised that they are built from the four combinations of major 3rd and minor 3rd intervals. Hence a major triad is built from a major 3rd and a minor 3rd stacked on top of one another; a minor triad is built from stacked minor 3rd and major 3rd; a diminished triad from minor 3rd and minor
3rd; and an augmented triad from a major 3rd and major 3rd. G augmented is, therefore, G-B-D# (R-3-#5). Also, as this is a symmetrical shape (it can be repeated every four frets on the guitar), G augmented can also be seen as B or D# augmented. Here are four sets of voicings that show you the augmented triad and four-note (chord) voicings that are common in all styles of playing. You will often see the augmented chord name shown as either ‘G aug’ or ‘G+’.
ExamplE 1 Augmented triAd And chord voicings.
TRACK 77
Set 1. G augmented triad inversions – R-3-#5 (G-B-D#) Here we have a G augmented triad moving up the neck in symmetric major 3rd intervals on the fourth, third and second strings. Root position = R-3-#5 = G-B-D# First inversion = 3-#5-R = B-D#-G Second inversion = #5-R-3 = D#-G-B Root position = R-3-#5 = G-B-D# Set 2. G augmented chord voicings. This set just adds an extra note to each triad, making the triad fuller and providing a more solid and useful voicing. Because these shapes are symmetrical we can still view the first shapes as G augmented even though the lowest note is a #5, or D#.
©»¢º # 4 ∑ & 4
œ œœ
G Augmented Triad Inversions
# œœœ
E B G D A E
œ œœ
1st Inv
2nd Inv
Root
4 4 5
8 8 9
12 12 13
16 16 17
œœ # œœœ œœ œ
G Augmented Chord Inversions
∑
œ œœœ
# œœœ #œ
S1
S2
S3
S4
4 4 5 6
8 8 9 10
12 12 13 14
16 16 17 18
∑
1
&
90
# œœœ
Root
œœ # œœœ œ
G Augmented triads in Symmetric Series
E B G D A E
Set 3. G augmented triads in symmetric series. This very useful and interesting row of triad shapes moves up the neck in major 3rd intervals. You can use four shapes with roots on the sixth string, fifth string, fourth string and third string. If you wanted to, you could add a lower note to each shape to fatten it up, as in Set 2, once you are on the fifth string root shapes. This motion is similar to diminished chords (see GT258) that move up in minor 3rd (three-fret) intervals. Set 4. G augmented chords in five CAGED shapes. Here the augmented triads fit the five CAGED shape positions. An extra (doubled) note has been added to help make them useful for each shape’s character in the CAGED system. Shapes 4 and 5 are sometimes tricky to use as general chords but sound great nonetheless.
5
#
# œœœ 1 2 3
August 2016
œœœ 5 6 7
œœœ # œœœ 4 5 6
8 9 10
# œœœ 8 8 9
12 12 13
11 12 12
œœ œ 15 16 16
œœ # œœœ œœ œ
˙ ˙ ˙ #˙
G Aug Chords in Five CAGED Shapes
∑
# œœ œ œ
œœœ œ
S1
S2
S3
4 4 5
8 8 5
3
7
8 8 9 10
S4
S5
11 12 12
15 12 12 13
10
Ó
learning zone
augmented triads ExamplE 2 Augmented chords in A slow blues groove
TRACK 79
Starting with the classic augmented arpeggio, this blues progression uses several augmented chords as substitutes for resolving dominant 7th chords. The difference being the augmented chord does not feature a b7. In the pick-up
©»∞§ ### 4 ∑ & 4
E aug
3
nœ œ. œ. .
Ó
E B G D A E
7
5
# # # œœ. & œœ
#
F aug
. œœœ œ
œœ. œœ
œ # œœœ
7 7 7 5
7 7 7 5
œœ. œœ
Bm7
6
7 7 8 9
7 7 8 9
7 7 8 9
7 7 7
F m7
S3
œœ œ œ
7 6 7
5 4 5
2 2 3 4
8 9 8
7 8 7
9
8
7
5 6 5 5
A 13
# #n ˙˙˙˙ ... . ˙.
4 5 5
Œ
2 2 4 5 5
7
4
A7
n œœœ # n œ œ œ n œœ
9 10 9
2
3
8 9 9
F m7 E m7
2 2 2
n œœœ œœ œ J ‰ œJ ‰ n Jœœ ‰ 3 12 13 13
œœ b n œœ ‰ œœ b n œœ 3
E aug
˙ ˙˙ ˙
3
7 7 8 9
3
#
C aug
Œ œœœ œœœ n œœœ J œ
5
œœ. œœ
S3
#
5 6 5
1
D
E B G D A E
6
œ n œœ œ
3
5
5
A7
œ. œ. . œ
S3
bar, E7 would resolve to A7; in bar 2 the C#7 resolves to F#m7; in bar 4 the F#7 resolves to Bm7. Bar 5 features E7 resolving to A7 using falling symmetric triad inversions. Think of great blues tunes like Need Your Love So Bad.
ExamplE 3 Augmented chord voicings used in A retro groove Here we have augmented chords again substituting for dominant 7th chords in a fusion progression over a 70s disco groove. The pick-up bar shows A augmented resolving to Dm11 (also in bar 5); in bar 3, F augmented (inversion
©»¡º§ & b 44 Ó
œœ .. ‰ # œœ ..
Aaug
D m11
œœœ œ
œœœ ... œ.
œœœ œ
5 6 6 7
œœœ ‰ œœj œ œ œ
œœœ œ
3 5 5 3
3 5 5 3
3 5 5 3
3 5 5 3
œ .. ‰ # œœœ ..
& b ˙˙˙ ˙
œœœ œ 3 5 5 3
. ‰ # œœœœ ...
˙˙˙ ˙
6 6 7 8
œœœ ... œ.
œœœ œ
œœœ œ
3 5 5 3
3 5 5 3
3 5 5 3
G 11
œœœ ‰ œœj œ œ œ 3 5 5 3
1 2 3 3
j œœ # œœ
E aug
œœœ ... œ.
S3 5 5 6 7
œ œœœ
œ. œœœ ...
œ œœœ
œœ œœ
œœ ‰ n œœj œ œœ œ
5 5 3 5
5 5 3 5
5 5 3 5
5 5 3 5
5 5 3 5
Dm9
S3
3
S1 5 6 6 7
4
D m11
Faug
1 2 3
1
A aug
E B G D A E
3 5 5 3
of A augmented) moves to Dm9, and finally E augmented resolves to Amaj7. Keep the rhythm guitar playing light, bright and vibey here.
G11
S1 E B G D A E
TRACK 81
j œœ ‰ # œœ œ œœ œ
A maj7
œ. œœ .. œ.
A11
j œ # # œœ œ
5 6 6
5 6 6
5
5
3 4 5 5
˙˙ ˙ ˙
August 2016
91
lesson } CHORD CAMP
ON THE CD
TRACKs 77-86
ExamplE 4 Augmented chords in A lAtin groove
TRACK 83
In this Santana-like groove, the augmented chord in bar 1 is being used as a substitute for an Am/maj7 chord. E augmented is E-G#-C and Am/maj7 is
& 44
©»ª§
A m7
œœœ.
∑
A-C-E-G#. The E augmented (E+) in bar 3 is a substitute for E7 as part of a II-V-I progression as Bm11-Eaug-Am7, repeated in bar 4 as Bm11-Eaug-Am11.
E aug
œœœ.
. ⋲ œœœ # œœœ œ
œœ ... œœ .
œœ œœ
œœ œœ .
œœ œœ .
5 5 6 7
5 5 6 7
5 5 6 7
S3 E B G D A E
5 5 7
5 5 7
5 5 6 7
1
Bm11
E aug
œœ œœ œœ . & œ œ œ .. œ œ œ. E B G D A E
5 5 7
Am7
3
5 7 7
5 7 7
7
7
œ # œœœ
œœ ... œœ .
œœ œœ
œœ œœ
œœ œœ
œœ œœ
S3 5 5 6 7
5 5 6 7
5 5 6 7
5 5 6 7
5 5 6 7
œœ œ œ.
œœ ⋲ œœ œœ œ #œ œ œ. œ. œ
5 5 5
5 5 5
5 5 5
5
5
5
E aug ˚j œœœ œœœ ... # œœœ œ œ. œ
Am7
A m6
Bm11
œœ œ œ.
œœ ‰ . œ œ.
5 5 5
5 5 5
5 7 7
5
5
7
S3
œœ œ œ.
œœœ œ.
5 5 4
5 5 4
5 5 4
5
5
5
œœ œ œ
Am11
œœ ... œœ œœ . n œ œ
5 5 6 7
˙˙˙ ... ˙.
Œ
3 5 5 5
ExamplE 5 Augmented chords feAtured in A jAzz blues
TRACK 85
This 12-bar blues uses three of the augmented voicings bases on the CAGED shapes in Ex 1. Some shapes are voiced widely so weren’t suitable for this type of jazz blues. One of the best-sounding augmented shapes is used in bar 1 – an
©»¡™§ ∑ & b 44
B bmaj7
œ. œ ‰ œœœ ... # œœœ Fmaj7
Faug
S3 E B G D A E
10 9 10 8
j œœ œ œ
œœ œ œ
œœ œ Œ œ
6 7 7
6 7 7
6 7 7
6
6
6
œœ .. b & œ. œ. E B G D A E
5
C7
œ. & b ‰ œœ ... œ E B G D A E
92
6 6 7 8
1
B bmaj7
5 3 5 3 9
August 2016
Gm7
˙˙ ˙ ˙ 3 3 3 3
F aug/A
# œœœ œ
œœ œ œ
6 7 7
6 6 3
6 6 3
6
5
5
S2
A baug
œ .. b ˙ ‰ œœ . b ˙˙˙
S3 11 10 10
9 9 10 11
j œœ œ œ
œ . ˙˙ ‰ œœœ ... # ˙˙
G m7
œœ .. œ. œ.
Œ
F augmented on the four middle strings in shape 3, so this has also been used in bars 1, 3, 7, 10, 11 and 12. In bar 6, the F augmented is shape 2 and in bar 8 the G augmented is shape 1.
6 7 7
3 3 3
6
3
Fmaj7
˙˙ ˙ ˙
A aug
Cm7
S3 10 9 10 8
œœ œœ
3 3 4 5
F aug
œœ œœ ‰ b œœœ ˙˙˙ œ ˙ J S3
10 9 10 8
6 6 7 8
8 8 8
6 8 7 8
8
œœ Œ œœ
S3
Fmaj7
œœœ œ J
˙˙˙ ˙
Gaug
‰ # # œœœ ... œ.
Œ
b œœœ ... œ.
10 10 11 12
Daug
œœ œ œ
F7
3 3 4 5 B bmaj7
3 3 4 5
E aug
œœ œ œ
Œ b œœœ œ
6 7 7
5 5 6 7
6
S3
n # œœœ œ
S1
œœœ œ
4 4 5
4 4 5
3
3
Fmaj7
‰
œ n œœœ J 5 5 7 8
˙˙ .. ˙˙ ..
œœœ œ
Œ
Œ
whAt our rAtiNgs meAN ✪ ✪ ✪ ✪ ✪ Buy it ✪ ✪ ✪ ✪ Excellent ✪ ✪ ✪ Good ✪ ✪ Average ✪ Bin it!
New Albums
A selection of new and reissued guitar releases, including Album Of The Month Album of the month Paul GilBert i CAn DeSTroy
earMUSIC JJJJJ Most of you will be familiar with Paul Gilbert from Mr Big and Racer X, as well as clinics and demonstrations at guitar shows over the years. Any who have seen him will agree that he’s a great entertainer as well as a phenomenal player. And there’s plenty of that entertaining quality on this latest album. There’s a sense of humour to his lyrics and even his guitar work makes you smile because he’s just so darned good! He covers most styles but it’s his speed and accuracy that never fail to amaze: just check out the dual-tracked title song with its surprise ending and eye-watering pace. This is Paul’s 18th solo album, yet his songs always sound fresh and uplifting and he’s got a great voice too – proving that some people are at the front of the queue when raw talent is given out! This is an inspiration to all guitarists, regardless of musical leanings, so make sure you sample its many delights.
music } reviews
the material is excellent throughout and, although by no means a guitar-heavy album, the lead work from Brion James is meaningful and exceptionally well constructed. Good contrasts between the songs and no padding here whatsoever. Our favourite tracks include the funky Infected, the poignant Save The World and Champion with its relentless slow beat and soaring guitar and vocals. Arguably, the Network’s best album to date!
Blaak heat ShiFTing mirrorS
Tee Pee Records JJJ With so many guitar albums being released, we’re always eager to check out those that are off the beaten track, and Shifting Mirrors is most definitely that! This is a fascinating, mainly instrumental album from a guitar, bass, drums trio, originally formed by guitarist and vocalist Thomas Bellier in Paris in 2008 and choc full of melody. What sets it apart, however, is the distinct Middle Eastern flavour.
for Peter to shine. He already had great phrasing and tone, proving what a good choice Mayall made for filling Clapton’s shoes. Definitely for fans and collectors only due to sound quality but still stunning and a very worthwhile release.
John Mayall’s BluesBreakers Live in 1967 – voLume Two Forty Below Records JJJ
It’s always fantastic when live recordings from legendary artists are unearthed and assembled into albums, but even more important when a particular line-up was together for only a short period of time! Here we are presented with a second release from John Mayall’s Bluesbreakers that includes Peter Green, Mick Fleetwood and John McVie who would shortly break away to form Fleetwood Mac. Taken from a variety of gigs in 1967, the recording quality leaves a lot to be desired. And while a few missed beginnings is annoying, the quality of the playing is top class and that’s what makes this collection so important. Stormy Monday, So Many Roads and Greeny are all included, as well as Tears In My Eyes and Sweet Little Angel – so plenty of opportunities
FighT AnoTher DAy
It’s been a cool 25 years since the last studio album release from the Dan Reed Network, the last being The Heat back in 1991. Two years later the band gradually drifted apart, although there was never an official split; then on New Year’s Eve 2012 all the original members played a reunion show and decided they would work together again. Fight Another Day is the result and it’s a truly classic sounding album from the band, seamlessly melting rock, soul and funk across all 13 songs. Divided is a heavy statement and kicks off this set delightfully but
kris Barras BanD LuCky 13
Own Label JJJJ
Dan reeD network Frontiers Records JJJJJ
his formative albums, from Voyage Of The Acolyte to Highly Strung – all of which have been remastered, with new stereo mixes of Please Don’t Touch and Spectral Mornings by Steven Wilson. Each LP is faithfully reproduced here (including the inner sleeves) and pressed in top-quality vinyl. If this wasn’t enough to whet your appetite it also includes live recordings from Reading in 1981 and Oxford in 1979 and a live 12-inch EP from Oxford and Drury Lane in 1979. With many of Steve’s most revered songs included, this is the perfect way to indulge nostalgia in a contemporary format, as an exclusive download card is also included in this fabulous nine-album set.
Think psychedelic desert rock meets 1001 Arabian Nights – and the amalgamation is strangely appealing. It’s 10 full-on tracks with no pauses between the them so it is an intensive listen, but the quality of playing from all concerned is exceptional and the production is amazing. This is a stunning and atmospheric album that also displays great dexterity of playing. Well worth checking out.
steve hackett
The ChAriSmA yeArS 1975-1983 (vinyL BoxeD SeT) Universal/Virgin JJJJJ If anyone was in doubt about the astonishing comeback of vinyl, then this fantastic box set of LPs from Steve Hackett should provide the proof! Steve is always aware of trends, either setting them or getting on board quickly, and this set is an absolute triumph. As the title suggests, this collection revisits
This second album from the KBB sees the trio evolve into a quartet, with keyboard player Matt Vowels coming in to expand the potential of this blues outfit considerably. Barras is a great slide guitarist and a fine singer too – and the quality of songwriting is excellent on all 11 tracks. We particularly like I Got Time, which features great slide and regular electric guitar. Although relatively new material, much of it has been played live over the past year and that familiarity with a song is always advantageous when getting it down. This is high-energy stuff and shows Kris’s guitar at its best, but it’s a fine band and credit goes to all involved. The album title refers to the time Kris has spent as a pro musician and a justification of time well spent. Let’s hope the band stays lucky and keeps on turning out great music.
August 2016
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lesson } rockschool
ON THE CD
TRACK 87-96
Brought to you by…
tapping with fingers 2, 3 & 4 We’re keen to see those fingers strong and in command, so this month Charlie Griffiths works on the tapping strength of your three weakest picking-hand fingers. You can use any bit of finger or hand you have in order to silence those idle strings, so experiment with what feels most comfortable. Once you have effective muting in place, it makes adding those picking-hand taps a lot easier. The first example is a second finger tap, which is a good way of increasing stamina as it starts with a single tap and increases in rate with each repeat. The tapping technique is just the same as a frettinghand hammer-on. When practising, focus on accuracy to produce a clear, crisp note rather than using force as you will get tired
Developing strength in your weakest tapping digits
aBility rating ✪ ✪ ✪ ✪ ✪ Moderate Info Key: Various Tempo: Various CD: TRACKS 87-96
M
Will improve your Tapping accuracy Finger strength Power and control
ost of us have dabbled in the classic Eddie Van Halen tapping method, using one of our pickinghand fingers to hammer and pull off notes on the higher frets, essentially extending the legato technique between two hands to create licks that wouldn’t otherwise be possible. Although EVH will always remain the king of tapping, the technique has evolved over the decades to utilise more than one finger from the picking hand. Multiple-finger tappers such as Kiko Loureiro, Jennifer Batten, TJ Helmerich, Chris Broderick and Ron Thal
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August 2016
have used all eight digits to great effect. This month’s examples will work on strengthening the stamina and improving the accuracy of your picking-hand fingers with five licks. The examples start off relatively simply, with an exercise to help build stamina in your second finger and gradually introduces the third and fourth for some more challenging licks. A lot of picking-hand tapping relies on good fretting-hand tapping and string muting. This means hammering on to a fresh string ‘from nowhere’ to initiate the note. The lick shown in Example 3 uses this technique and is based around the A minor Pentatonic scale (A-C-D-E-G), which should be a familiar shape to you despite the string-skipped arrangement. First hammer-on to the 5th fret with your first finger and simultaneously mute the other five strings with the underside of your finger and the side of your picking hand.
when practising, focus on accuracy to produce a clear note rather than using force as you will get tired quite quickly quite quickly. Example 2 is our first introduction of tapping with the third and fourth fingers. This may feel unnatural at first but with practise your fingers will learn where the string is. Examples 3 and 4 are string-skipped licks using the second, third and fourth fingers to traverse the fifth, third and first strings without having to move the whole hand. The tapped notes fit within the A minor Pentatonic scale and are played an octave higher than the fretting-hand notes. Experiment with moving your tapping hand around the scale to create different melodies. The final example is the most challenging as it involves two successive picking hand hammer-ons per string. At first try taking your fretting hand out of the equation and focusing on your tapping hand until your fingers can find the strings more naturally, then try combining your two hands. NEXT MONTH Charlie focuses on the weaker digits with Avoiding The First Finger!
learning zone
tapping strength ExamplE 1 second-finger tap
cd track 87
This lick is based on an Amaj7 arpeggio (A-C#-D-E) and is six beats in length. Pick the first two notes with downstrokes, then hammer-on, followed by a
©»¡™º ### 6 & 4
second-finger tap (m above notation) at the 16th fret with your picking hand. Repeat the lick twice more, first with a double tap and again with a triple tap.
L
A maj7
L L
L L L
Play 4 times √ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. m
m
∑
. .
E B G D A E
L
9
10
12 16 12
9
LL
9
10
m
m
12 16 12 16 12
9
9
10
m
m
LLL
12 16 12 16 12 16 12
ExamplE 2 tapping with third and fourth fingers
cd track 89
This lick is harmonically and rhythmically similar to Example 1, but this time the top melody moves between G#, A and B. Rather than moving your picking
hand, position our pick over the fretboard and tap the two higher notes with your third and fourth fingers (a and c above notation respectively).
L L
L
A maj9
©»¡™º ### 6 & 4
L L L
Play 4 times √ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . .. œ œ . m
∑
. .
E B G D A E
L
9
10
9
12 16 12
LL
9
10
c
a
a
12 17 12 17 12
9
9
10
c
c
LLL
12 19 12 19 12 19 12
ExamplE 3 tapping with second, third and fourth fingers Start on the fifth string and hammer on to 5th and 7th frets with your fretting hand, then tap the 19th fret with your second finger (m). Repeat the same
& 44
©»•º
a
a
√
a
c
m
m
6
6
5
5
5
ExamplE 4 tapping up the octave
7
7
19
5
19
5
7
This lick is based around the same notes as Example 3, but this time the picking-hand tap comes first, then the fretting-hand hammer-on follows.
& 44
L
D maj9
.. œ œ œ
a
m
∑
Lœ œ œ Lœ
7
19
5
19
5
7
7
8
20
19
5
a
m
19
œ œ
Lœ œ œ Lœ
a
m
œ œ
Lœ œ œ√Lœ c
19
5
7
19
cd track 93
L œ œ ..
6
19
7
19
a
6
20
5
L ..
œ œ œ
L . L L L L .L L L 6
19
7
Notice that the tapped notes are the same as the hammer-ons, but are now shifted up an octave.
6
E B G D A E
Lœ . œ . a
≠œ ≠ L≠ . L ≠ ≠ ≠ L L .≠ L ≠ L ≠ L 6
6
E B G D A E
. .
pattern on the third string, but this time tap with your third finger (a). On the first string hammer-on with first and fourth fingers and tap using your fourth (c).
m
∑
9
cd track 91
Lœ Lœ ≠œ œ Lœ Lœ œ œ Lœ œ Lœ L œ ≠œ œ .. ≠œ œ ≠œ œ ≠œ œ ≠ ≠œ D maj9
©»•º
. .
9
5
5
7
7
19
19
5
5
5
8
7
19
5
7
ExamplE 5 second and third, then second and fourth finger taps Expanding on Example 3, this lick has two fretting-hand hammer-ons which are mirrored an octave higher with two picking-hand taps. For the fifth and
7
. .
cd track 95
third strings, tap with your second and third fingers, but on the first string, tap with your second and fourth.
√ L L L œ Lœ ≠œ œ Lœ Lœ L L L L L L L œ Lœ ≠œ œ ≠ ≠ L œ Lœ .. œ ≠ ≠ ≠œ ≠œ œ
©»¡™º œ œ œ œ œ œ 4 œ œ œ œ œ œ & 4 .. œ œ œ œ m
m
E B G D A E
. .
5
7
m
m
≠ LL ≠ 5
a
a
17 19
a
m
a
m
a
m
a
m
a
L L ≠ L L ≠ L L ≠ L L ≠ L L ≠ L L ≠ L L .. 5
7
c
17 19
5
5
7
17 19
7
17 19
5
5
7
7
17 19
8
17 20
5
7
17 19
17 19
August 2016
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GT User Guide
You can get more from GT by understanding our easy-to-follow musical terms and signs... Relating tab to youR fRetboaRd 3
2
every transcription or lesson in Gt is graded according to its level of difficulty, from easy to advanced. we’ll also let you know what aspect of your playing will benefit by attempting a lesson.
m
i
1
our raTing SySTem
a c
4 T
p
advanced moderate-advanced
nuT & freTboard
hand labelling
moderate
the fretbox diagram above represents the fretboard exactly, as seen in the accompanying photo. this is for ease of visualising a fretboard scale or chord shape quickly.
here are the abbreviations used for each finger: Fretting hand: 1, 2, 3, 4, (t) picking hand: p (thumb), i (first finger), m (second), a (third), c (fourth).
easy-moderate easy
Read music each transcription is broken down into two parts...
& Chord example
Chord example (with capo)
the diagram represents the G chord in the photo. the ‘o’ symbol is an open string, and a circled number is a fretting finger. intervals are shown below.
the blue line represents a capo – for this a chord, place it at fret 2. capos change the fret number ordering – here, the original fret 5 now becomes fret 3, fret 7 now fret 5, etc.
x
a major scale
2nd string 1st fret
3
1
œ
œ
3rd string 2nd fret
4th string Open
2
0
muSiCal STaVe the five horizontal lines for music notation show note pitches and rhythms and are divided by bar lines.
x
& R
1E 2B 3G 4D 5A 6E
9 5 7
C
Em
0 1 0 2 3
0 0 0 2 2 0
œœ œœ œ
D7
A m7
2 1 2 0
0 1 0 2 0
# œœ œœ
œœ œœ œœ
œœ œœ œ
Tabbing under the musical stave, tab is an aid to show you where to put your fingers on the fretboard. the six horizontal lines represent the six strings on a guitar – the numbers on the strings are fret numbers. the two stave and tab examples show 4 notes and 4 chords; c (c major), em (e minor), D7 (D dominant 7) and am7 (a minor 7).
Tapping & harmoniCS the left box shows an a minor pentatonic scale with added tapped notes signified by ‘t’s. above shows a cmaj9 (no 3rd) with harmonics at the 12th fret.
the diagram shows the fret-hand fingering for the a major scale (root notes in black). the photo shows part of the scale being played on the fourth string with first, third and fourth fingers.
œ
2nd string 3rd fret
1E 2B 3G 4D 5A 6E
8
SCale example
œ
Guitar techniques: How tHey appeaR in wRitten music... piCking variations anD alternatives up and down picking
&
œ
Tremolo picking
&
œ
œ @
œ @
palm muting
œ bœ @ @
&
nœ # œœœ
œ œ œ
pick rake
n œœ œœ
PM E B G D A E
7
≥
5
≤
n the first note is to be downpicked and the last note is to be up-picked.
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August 2016
E B G D A E
@ 5
@ 4
@ 7
@ 8
n each of the four notes are to be alternate picked (down- & up-picked) very rapidly and continuously.
E B G D A E
8 7 6 7
0
0
0
œ œ
PM 8 7 6 7
0
0
n palm mute by resting the edge of picking-hand’s palm on the strings near the bridge.
& E B G D A E
¿
¿¿
w
arpeggiate chord
rake
X
X
X
5
n Drag the pick across the strings shown with a single sweep. often used to augment a rake’s last note.
E B G D A E
˙ & gggg ˙˙˙ ggg # ¿˙ g ggg gg ggg
0 0 2 2 X 2
ggg # ˙˙˙ gg # # ˙˙ ggg ˙
ggg gg ggg
4 5 4 4 4 5
n play the notes of the chord by strumming across the relevant strings in the direction of the arrow head.
freTTing hand hammer-on & pull-off
& E B G D A E
œ
œ
œ
œ
5
7
7
5
n pick 1st note and hammer on with fretting hand for 2nd note. then pick 3rd note and pull off for 4th note.
note Trills
& E B G D A E
tr
~~~~~
tr
~~~~~
˙ (œ œ) 5
Slides (glissando)
œ œ & œ
b˙
(7 5)
8
n rapidly alternate between the two notes indicated in brackets with hammer-ons and pull-offs.
E B G D A E
5
7
5
œ
œ
5
7
& E
fret-hand muting
6
œ œ œ œ œ œ 7
7
E
n pick 1st note and slide to the 2nd note. the last two notes show a slide with the last note being re-picked.
≠ ≠ ≠ ≠ ≠ ≠
left hand Tapping
n sound the notes marked with a square by hammering on/tapping with the frettinghand fingers.
&
nœ # œœœ
¿¿ ¿¿
¿¿ ¿¿
¿¿ ¿¿
œœ œœ
¿¿ ¿¿
¿¿ ¿¿
8 7 6 7
X X X X
X X X X
X X X X
8 7 6 7
X X X X
X X X X
E B G D A E
n X markings represent notes muted by the fretting hand when struck by the picking hand.
bending and VibraTo bend up/down
re-pick bend
n Fret the start note (here, the 5th fret) and bend up to the pitch of the bracketed note, before releasing.
pre bend
quarter-tone bend
n Bend up to the pitch shown in the brackets, then re-pick the note while holding the bent note at the new pitch.
n Bend up from the 5th fret to the pitch of the 7th fret note, then pick it and release to 5th fret note.
n pick the note and then bend up a quarter tone (a very small amount). sometimes referred to as a blues curl.
artificial harmonics
pinched harmonics
Tapped harmonics
Vibrato
n the fretting hand vibrates the note by small bend ups and releases. the last example uses the vibrato bar.
harmoniCS natural harmonics
&
‚ ‚ ‚
# ‚‚ ‚
· · · ··
&
NH
E B G D A E
12
12
12
7 7 7
n pick the note while lightly touching the string directly over the fret indicated. a harmonic results.
‚
‚
···
AH16 E B G D A E
‚
AH17
4
&
7
n Fret the note as shown, then lightly place the index finger over ‘x’ fret (ah ‘x’) and pick (with a pick, p or a).
— —
± ±±
&
PH
AH19
5
—
E B G D A E
7
5
7
n Fret the note as shown, but dig into the string with the side of the thumb as you sound it with the pick.
‚
‚
···
TH17 E B G D A E
‚
5
TH19
7
n the note is picked, then the whammy bar is raised and lowered to the pitches shown in brackets.
Scoop & doop
n scoop - depress the bar just before striking the note and release. Doop - lower the bar slightly after picking note.
&
œ
TH17
4
n Fret the note as shown, but sound it with a quick righthand tap at the fret shown (th17) for a harmonic.
VibraTo arm (aka whammy Bar) Vibrato arm bends
Touch harmonics
‚
·
TCH E B G D A E
2
9
n a previously sounded note is touched above the fret marked tch (eg tch 9) to sound harmonic.
Capo dive bomb
n note sustained, then the vib is depressed to slack. square bracket used if a long-held note has new articulation applied.
gargle
n sound the note and ‘flick’ the tremolo bar with picking hand so it ‘quivers’. results in a ‘gargling’ sound!
Capo notation
n a capo creates a new nut, so the above example has the guitar’s ‘literal’ 5th fret now as the 3rd fret.
oTher TeChniqueS pick scrape
n the edge of the pick is dragged down or up along the lower strings to produce a scraped sound.
Violining
n turn volume control off, sound note(s) and then turn vol up for a smooth fade in. called ‘violining’.
finger numbering
n the numbers after the notes are the fingers required to play the fret numbers in the tab below.
pima directions
n Fingerpicking requirements are shown at the bottom of the tab notation.
right-hand tapping
n tap (hammer-on) with a finger of the picking hand onto the fret marked with a circle. usually with ‘i’ or ‘m’.
August 2016
97
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