THE FINEST GUITAR LESSONS ON THE PLANET 238 JANUARY 2015
20 YEARS OF THE FINEST GUITAR TUITION
BOOST YOUR PLAYING WITH...
BLUES-ROCK
POWER! Learn how top three-piece guitarists make a trio sound huge with some neat tricks that will amaze you!
PLUS...
Theory questions answered, learn to read music, give your chops a workout, & more!
2 EXCLUSIVE LESSONS!
Diminished &Augmented The chords: their shapes, types and where to use them The scales: diminished and whole-tone licks and solos
PLAY LIKE...
BILLY GIBBONS
Get down and dirty with this Texan Titan
NEIL YOUNG Nail his dreamy chords and solid strumming
TRANSCRIBED
Can’t Get Enough BAD COMPANY This blues-rock pub favourite tabbed - learn chords riffs and solos in open G tuning...
HUMBLE PIE
Crack the styles of Steve Marriott & Clem Clempson
THE ANIMALS
Discover this band’s fine but under-rated Hilton Valentine
ISSUE 238 JANUARY 2015
Just some of your regular GT technique experts... SHAUN BAXTER One of the UK’s most respected music educators, Shaun has taught many who are now top tutors. His album Jazz Metal was hailed as a milestone.
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!
PETE CALLARD Pete’s credits include Lionel Richie, Gary Barlow, Annie Lennox and Shpongle. He can be seen and heard on numerous tv shows, recordings and film soundtracks.
PHIL CAPONE Phil is a great guitarist who specialises in blues and jazz. He teaches at ICMP in London, writes for GT and Total Guitar and has published 10 top tuition books.
CHARLIE GRIFFITHS Guitar Institute tutor Charlie first came to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s top rock, metal and fusion guitarists.
PHIL HILBORNE The UK’s original magazine guitar tutor, Phil’s something of a legend. A great player, he regularly plays guitar in the Queen musical, We Will Rock You.
PAT HEATH BIMM Brighton lecturer, ESP product demonstrator and all-round busy musician Pat takes over from Terry Lewis on 30-Minute Lickbag. Welcome, Pat!
BRIDGET MERMIKIDES Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.
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Welcome
SAD BUT TRUE, we’ve reached a time in the world when music legends are passing on in droves. In one week in Britain recently we lost three: pop-rock idol Alvin Stardust, trad jazz clarinet icon Acker Bilk, and, most personally sad for me, the incomparable Jack Bruce. I didn’t know Jack at all, but the music he made with Eric and Ginger fuelled my desire to play blues and rock guitar. He was the musical glue that held those two together, linking the rhythmic and harmonic elements in Cream to form something spectacular. And if you’ve never delved beyond Cream into Jack’s solo works, then I recommend you check them out to see just what a talent he was. A couple of years ago I went to see his big band perform at the Royal Festival Hall. Joe Bonamassa was standing in for the recently demised Gary Moore, taking the ‘Clapton’ parts in the Cream section of the evening. The show was excellent, but -DFN ZDV ÀDZOHVV +LV vocals were sublime and he never played a note even vaguely sharp or ÀDW RQ KLV :DUZLFN fretless. I was there on behalf of GT and Guitarist and so had after-show passes. Jack came back to meet friends and
family who had come, so I girded my loins and went over to tell him how brilliant I thought KH¶GEHHQ:LWKKLV¿HU\UHSXWDWLRQ,ZRUULHG that he might think me just another sycophantic punter; still, I introduced myself and paid my compliments. A tiny man for such a huge presence, he looked me straight in the eye, smiled and said, quietly, “Oh, thank you, man. Coming from you that means a lot.” It meant a whole lot more to me that this giant of my youth had the tiniest inkling of who I was. :KLOHLW¶VJRRGWRVHHVRPHRIWKHJUHDW bands persevering when key members have gone - and why the hell not? - if the same unlikely thought ever occurred to Eric and Ginger, I’d venture it would be impossible. I don’t think there’s ever been a more equal set of musicians in a band; and one could easily argure that Jack was the most vital ingredient of all. There’s never been a bassist like him, and there will never be another band like Cream. RIP Jack. Our condolences to friends and family.
Neville Marten, Editor
[email protected]
DON’T MISS OUR AMAZING DIGITAL Our digital edition for iPad, iPhone, Kindle Fire and Nook is now e
JACOB QUISTGAARD Royal Academy trained, Quist is a superb player who can turn his hand to any number of styles and topics. He’s currently on tour with Bryan Ferry.
STUART RYAN Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs throughout the UK. His latest book/CD ‘The Tradition’ is available now.
ANDY SAPHIR A top teacher at the Guitar Institute (ICMP), Andy is a phenomenal player in a host of styles. He mixes just the right degree of flash with consummate taste.
TRISTAN SEUME One of ACM Guildford’s leading tutors Tristan is also mega busy on the folk circuit playing with Jackie Oates. His brand-new CD, Middle Child, is out now!
JOHN WHEATCROFT A truly phenomenal guitarist, John heads up the guitar facility at Tech Music Schools in London. He’s a master at all styles, but a legend in Gypsy Jazz.
Animated t Fin ing your way around the magazine is easy. Tapping the feature titles on the cover or the contents page, takes you straight to the relevant articles. Any web and email links in the text are tappable too!
Most songs and l the audio built in, with a moving cursor showing you exactly where you are in the music. Simply tap the ‘play’ button then you can fastforward or scroll back at will.
ay t in of accompan useful insight and additional information. Once again, tap the play buttons to enjoy video masterclasses on your iPad or smartphone.
PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio).
January 2015 GuitarTechniques 3
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LEARNING ZONE LESSONS INTRODUCTION
53
Music editor Jason Sidwell introduces this month’s lessons with more words of wisdom.
30MINUTE LICKBAG
54
BIMM’s Pat Heath has six more licks for you.
BLUES
58
John Wheatcroft gets dirty with the style of ZZ’s irrepressible axeman Billy Gibbons.
ROCK
62
Martin Cooper eats Humble Pie with Steve Marriott and Clem Clempson!
VIDEO
66
The amazing Carlos Bonell presents his third video on classical-guitar technique.
CREATIVE ROCK
72
Shaun Baxter’s bootcamp turns its steely attention towards one-bar triplet lines.
CHOPS SHOP
76
Andy Saphir on linear alternate picking.
BRITISH R&B
78
Remember The Animals? Of course you do! Phil Capone looks at guitarist Hilton Valentine.
JAZZ COVER FEATURE
COVER FEATURE BLUESROCK POWER!
ACOUSTIC
16
WELCOME
92
VIDEO MASTERCLASS 3
Nev talks about Jack Bruce and more...
BAD COMPANY Can’t Get Enough Of Your Love 30 You’re in good company here as Jon Bishop tabs this hugely popular rocker from the 80s. But was it open C or open G tuning?
TALKBACK
7
Tell us your views... we want to know!
THEORY GODMOTHER
9
Answers to your musical and theoretical issues.
INTRO
10
News and regulars, plus Phil’s One-Minute Lick, That Was The Year, Hor For Teacher and more.
SPECIAL FEATURE
SUBSCRIPTIONS
DIMINISHED RESPONSIBILITY Expand your vocabulary 38
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John Wheatcroft explores how diminished chords and arpeggios can be combined and used in all styles of music.
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BACK ISSUES ALBUMS
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New guitar CDs and DVDs reviewed and rated.
TRANSCRIPTION #2 BACH Minuet In G
MUSIC READING
Charlie Griffiths continues his series on reading with a look at quarter and eighth notes.
REGULAR FEATURES
TRANSCRIPTION #1
88
Stuart Ryan unveils the laconic chords but assertive strumming style of Neil Young.
Jon Bishop shows you how to really fill out the sound and make the most in a traditional blues-rock trio format.
FEATURES
84
Pete Callard on the dreamlike qualities of the symmetrical Whole-Tone scale.
TAB GUIDE
96
Our terms and signs explained.
48
Bridget Mermikides presents a great arrangement and transcription of a famous piece attributed to JS Bach (but was it really?).
NEXT MONTH
98
Whitesnake’s Fool For Your Loving, plus Better Soloing, Soulful Chords, Jimmy Page, Graham Bond Organization, and more…
CARLOS BONELL Part 3
66
Classical guitarist Carlos Bonell demonstrates his approach to the tricky tremolo technique.
January 2015 GuitarTechniques 5
Write to: Guitar Techniques, The Ambury, Bath, BA1 1UA. Email:
[email protected] using the header ‘Talkback’.
DEZO HOFFMAN / REX FEATURES
BROTHER IN ARMS I’m 63 and have played guitar, keys and brass since teenage years, to home amateur standard, and played in bands in my late teens and early 20s. GT has been my go-to guitar magazine for many years. It’s a wonderful idea that’s grown and developed into the best tuition aid for guitar in the world. Congratulations on being involved in it and helping to make it what it is. In September on holiday I had a bad bicycle accident: badly Any professionals out there with some injury bruised and lacerated hands, rehab advice for Peter? broken right forearm, multiple fracture elbow, broken ribs and general bashing and cuts elsewhere. Right now I rehabilitation – things to do and things to avoid (that can hold the guitar semi-appropriately and make four-fret bend, for instance). plinking noises. I have not written in for sympathy, The incident you recall is when Jason Sidwell fell and although I’m sure that your team, and most other hurt his fretting hand badly – he devised his own players out there, would sympathise with my progressive set of exercises and his playing is now fully back predicament. My reason for writing in is the rehab its normal (scary) level. It was these exercises we printed in process and relearning how to play. I’ve started GT218. But also, many years ago, a friend of mine seriously physiotherapy and that’s great. My pot comes off damaged his hand – including bones and tendons – on a next week. The physio exercises are all about circular saw. He lost all feeling in it, and would drop pints of getting back muscle tone, tendon and joint beer because he couldn’t feel the glass in his fingers; or articulation and extension. With regard to all the would smell ‘cooking’ and realise his cigarette had burnt ¿QHPRWRUVNLOOVUHTXLUHGIRUSOD\LQJ PXVLFDO down do to the stub and was melting his flesh! When his instruments all the advice is about.... doctors discovered he played guitar they said it d Well, just play... but don’t overdo it. Is was brilliant natural rehab; and although it w WKHUHDQ\PRUHVSHFL¿FNQRZOHGJH ttook him time he did get back to playing and experience out there you could and regained much of his facility when guide me to. I seem to remember tthe nerves and tendons knitted back a similar experience happened to and the muscles regained strength. a one of your team. As a There are various hand-held FRQVHTXHQFH\RXSULQWHGVRPH training devices that promise miracle exercises music and tab some time cures for everything from carpal tunnel ago. I shall be digging this out syndrome to shattered bones after an when my pot comes off. accident. We’re not here to offer How about a more in depth article, or recommendation but it might be series even, on recovery and exercises for us worth chatting to your physio guitar players. I bet there’s lots of people who take about these to see what he or she GT who have had similar misfortune and would thinks; and whether a combination of welcome such an article. Furthermore in exercises, guitar playing and a device commissioning and researching such an endeavour like a Powerball might speed things you may be able to discover and disseminate who along. I’d love to be able to wave a magic the specialists involved are and the specialist wand over your injuries. Unfortunately I FRQVHQVXVDGYLFHUHJDUGLQJVSHFL¿FUHFRYHU\ can’t, but I’m sure a combined regime with exercise might be for us guitar players. guitar (and possibly other instruments you Peter Modern, Read, Lancashire play that exercise different muscle groups) at the centre of it would make That sounds like a real nightmare, Peter. I’m glad you’re your physical rehab a far more on the road to recovery, at least. It’s rather scary for a rewarding experience. non-medical magazine like GT to offer what really is We do have many doctor bona-fide medical advice, so I’m going to simply suggest readers of GT, so I wonder if one of you speak to your physiotherapist a little more deeply them might write in with some about your music – maybe even take your guitar along medically sound advice. Most of and show him or her how you play. It might be that there’s all, good luck and we all hope you specific advice about using the guitar as physical get back to playing soon!
TURNING THE PAGE Thanks for creating the best guitar magazine I have ever seen - by far! My only complaint is that it wasn’t available when I started playing in 1974. And you can’t have too many articles or news items on the great Jimmy Page. He’s the main reason I picked up the guitar. Mark Leander, La Mesa, CA Thanks, Mark. Oh yes, had there been a magazine like GT when I started playing, heaven knows how much better I’d have become. Still, guitarists are pretty resourceful when it comes down to it and I suppose we all found ways to learn. Interestingly, most of those players we admire, such as Mr Page, had nothing like this either, so real talent will hopefully come through anyway – it’s just that, in the marathon of learning to play the guitar, GT offers a sneaky mile start!
HOLLIES’ BUDDY! I’ve been subscribing to GT for some years now and it does what it says on the tin. Superb! However I KDYHDVSHFL¿FTXHVWLRQDQGWKDWLV has Long Cool Woman (In A Black Dress) by The Hollies ever been transcribed by your mag? I’ve looked back through mine without success. If not, are you due to transcribe this in the future? Look forward to your reply. Phil Hughes Thanks Phil. We do fewer transcriptions these days, for a variety of reasons, so I honestly can’t say when or if we will be tabbing Long Cool Woman. However, I’m a great fan of Tony Hicks’s inventive guitar playing and am pleased to say that Phil Capone will be covering this great player in his British R&B series in a few months. There will be plenty of ‘Tonyisms’ in there for you to plunder (and I might even nick a few myself). Hope that offers a reasonable alternative.
Tony Hicks of The Hollies with Bigsby equipped 335
January 2015 GuitarTechniques 7
Q&A Theory Godmother
Post your playing posers and technical teasers to: Theory Godmother, Guitar Techniques, 30 Monmouth Street, Bath, BA1 2BW; or email me at
[email protected] - every wish is your Godmother’s command! Slash ’n’ burn Dear Theory Godmother I still don’t really understand the concept behind slash chords. If a chord is written out with a different root, how come it doesn’t just change the nature of the chord completely? If, as an example, you have a C major chord followed by a C over E, then why can’t the second chord be some kind of E chord instead? Surely this would be tidier on the page and less ambiguous? Mel The idea of chord symbols in a piece of music is to keep the harmonic movement clearly defined. So if there’s a variation on the I chord in C major as you suggest, then a slash chord remains the easiest way of pointing this out. All that’s happening in a C/E chord (Ex1) is that we’ve inverted the chord so that it has its 3rd in the bass instead of a root. Typically this: C E G E G C Cmaj: C/E: 1 3 5 3 5 1 The nature of the chord and the role it plays in the ongoing harmony hasn’t changed at all; we’ve just mixed up the notes a little to offer a slightly different flavour to the same basic idea. The most important thing is that it remains a I chord and it’s clear that the harmony hasn’t shifted away from the root. If we tried to analyse the same chord from the point of view of its revised bass note – E – then we’d end up with some kind of E minor b6th which would send out confusing and potentially calamitous signals to anyone trying to play along. So, while the slash chord might not always be the perfect shorthand for what’s happening within a song, it’s universally understood and the best means we have available.
Pine Fresh?
Dear Theory Godmother My question relates to the famous song Where Did You Sleep Last Night? by Kurt Cobain. I am aware that this song is in the key of E minor. Armed with this knowledge I decided to confidently attack the fretboard knowing that the key of Em will only allow me to employ the following
EXAMPLES 1 5 Ex 1
Ex 5 C
E B G D A E
C/E
1 0 2 3
1 0 2 3 0
E5
A5
Ex 2
Ex 6 E B G D A E
2 2 0
2 2 0
Ex 3 E
A
G
B
E
A
A7
B
E
Ex 4 A
chords: Em, F#dim, G, Am, Bm, C and D. I was wrong. When I began playing the second chord of the song directed me towards Am (the IV chord of Em). This sounded horribly wrong but when I changed it to a major chord, everything resolved itself. Basically, I would just like to ask why the A major works in this situation? Niall First of all this song was not written by Kurt Cobain, although Nirvana’s version is certainly one of the better known. The song exists with at least three different titles, too, including In The Pines and Black Girl. It’s a traditional American folk song dating from the 19th century and was a hit for blues legend Leadbelly in the 1940s, but the original composer is unknown. So the song and its chord arrangement belong to the folk tradition so it might just break a few musical rules, simply because the rules wouldn’t have been an issue with whoever wrote it.
E
Secondly, I’ve scampered about the internet and found a few different versions and I’m pretty sure that the key is E major and not E minor. The chords to the song are one continuous repetitive sequence comprising E, A, G and B and so, if we take the E, A and B to be the standard I IV V chord arrangement in E major, then it’s really the G that is the odd one out. Part of the confusion is that in the Nirvana Unplugged video, Kurt is playing the E and A chords as ‘5’ or ‘power’ chords (Ex 2) as opposed to their fuller versions. So a lot of people are not hearing any 3rd and assuming that it’s minor because of the bluesy nature of the melody. But, not only are we talking folk, we’re also talking blues, because Leadbelly’s version was certainly in that stylistic region. And a great many blues tunes have very minor-sounding melodies strung over major chords. Depressingly, I’ve found several You Tube videos out there, some done by seemingly ‘official’ guitar
Star LETTER PRIZE Blackstar are giving our star TG letter one of their brilliant pedals each month. Visit www.blackstaramps. co.uk and tell us which you’d like, should your letter be the lucky one.
tuition sites, that teach this simple song in the minor key. Beware: the Theory Godmother knows who you are! So if we’re agreed on the major nature of the song – and I hope we are – then all we’ve really got to talk about is the G chord. Take a look at Ex 3: this is the chord sequence of the original. The G chord crops up at the same point that the vocal melody hits a G – E’s minor or ‘blue 3rd’ – as if the harmony is really just accentuating or underlining this bluesy point in the tune. If I were going to reharmonise it and keep things harmonically on track I’d probably just use an A7; the G being the b7th of the A7 chord, it would carry the melody and then I would go straight to the B and back through the A before ending up on the E once again (Ex 4). Play both with the melody; I think the original is better. The thing is, A7 is not quite as dramatic as a nice fat G5 (Ex 5) at that point and so, despite the fact that it might clash a little with conventional music theory – and let’s face it, both the blues and a great deal of traditional folk music does just that – it’s better to let it stand. Try playing the tune in the way I’ve outlined it here – in the key of E major, not E minor – and hopefully it will sound a little more authentic.
The Name Game
Dear Theory Godmother I discovered a really nice chord recently, but I don’t know what it’s called or where I should use it. Is there any chance you could come to the rescue please? Jim The chord you sent me (Ex 6) is an Am9. The notes, from bass to treble are: A G C B E. A is the root, G is the b7th, C is the b3rd, B is the 9th and E is the 5th. Put those in the correct letter order – A C E G B or root, b3rd, 5th, b7th and 9th – and you have a textbook Am9. Sweet-sounding version, too! It sounds great with the b3rd sharpened to C# (try one after the other); conversely you could play the six-string version with the open first string and follow it with G6 (simply play an open G chord with the first string open! Nice chords!
January 2015 GuitarTechniques 9
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Jam tracks tips 1. 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 three chords Cm7 (C Eb G Bb), Fm7 (F Ab C Eb) and Gm7 (G Bb D F). 2. 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# and G. I also recommend playing around with the Pentatonic scales inherent in this harmonic context, namely: E Minor Pentatonic (E G A B D), F# Minor Pentatonic (F# A B C# E) B Minor Pentatonic (B D E F# A).
Jack Bruce: much missed rock bassist and songwriter
REX / SUNSHINE INTERNATIONAL
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10 GuitarTechniques January 2015
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3. Bossa I-II-V (Am) 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 chord. Notice that only one note changes: the G becomes a G#, which effectively ‘pulls towards’ and resolves on the following Am chord. 4. Funky Blues (E) 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 mixing 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).
Created for you by Jacob Quistgaard. For free scale maps and hundreds more tracks, visit www.quistorama. com. Also subscribe to www. youtube.com/QuistTV to get all the latest free jam tracks and licks!
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Foreigner: still going strong!
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URFN¶VEHVWNQRZQKLWVLQFOXGLQJ )HHOV/LNH7KH)LUVW7LPH&ROG$V ,FHDQGWKHLFRQLFEDOODG,:DQW 7R.QRZ:KDW/RYH,V ³2XUPXVLFKDVWRXFKHGDORWRI SHRSOHZRUOGZLGH´VD\V)RUHLJQHU IRXQGHUOHDGJXLWDULVW0LFN -RQHV$OVRVHUYLQJDVH[HFXWLYH SURGXFHURIWKHQHZDOEXPWKLV 6RQJZULWHUV¶+DOO2I)DPH PHPEHUZURWHRUFRZURWHHYHU\ )RUHLJQHUVRQJDQGFRQWLQXHVWR OHDGKLVEDQGWRQHZKHLJKWV0LFN FRQWLQXHV ³8QZLWWLQJO\ZH¶YH ZHDYHGRXUPXVLFLQWRWKHIDEULF RISHRSOH¶VOLYHV´&OLFNRYHUWR ZZZIRUHLJQHURQOLQHFRPIRU IXUWKHUGHWDLOVDQGXSGDWHV The Best Of Foreigner 4 & More is also available now for pre-orders via Pledge Music through this link: www.pledgemusic.com/projects/ foreigner in CD, vinyl, limited edition posters and remake t-shirts from their 1981-1982 tour.
HIL ILB NE’S N - IN TE LICK DOMINANT ARPEGGIO/SCALE LICK have notated it using a mixture of sweep picking, slide and legato - as this is obviously how I play it. However, do feel free to experiment with any other methods that you might prefer. As always, try to come up with other similar licks of your own in varying keys, tempos and styles….
This month’s lick features an ascending dominant arpeggio line that uses elements of triads (three-note chords), chordal extensions and short, scale-based ideas. Combining different concepts in this way often makes for less predictable and more musically interesting lines. I
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January 2015 GuitarTechniques 11
MITCH DALTON’S
Preisner, Poland and er... Personal Growth This month our hero finds himself in Cracow on a scary session in an unfinished concert hall; the leader sacks half the orchestra but Mitch makes the cut...
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12 GuitarTechniques January 2015
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Orange winners The 2014 Classic Rock Roll of Honour awards were recently held at the prestigious Avalon in Hollywood, California. For the fifth consecutive year Orange Amplification was the presenting sponsor of the awards, which was hosted by Grammy Award winner and member of the Rock and Roll Hall of Fame, Sammy Hagar. The star-studded event was attended by rock royalty and it culminated with ZZ Top’s Billy Gibbons presenting the Orange Amplification sponsored Living Legend award to Rock and Roll Hall of Fame inductee and icon Gregg Allman of The Allman Brothers Band. The other winners were as follows: Inspiration - The Doors; Band Of The Year - Queen; Film Of The Year Metallica’s Through The Never; Album Of The Year - Wilko Johnson & Roger Daltrey’s Going Back Home; Classic Album - Ozzy Osbourne’s Blizzard Of Ozz; Outstanding Contribution - Jeff Lynne; Reissue Of The Year - Led Zeppelin I, II, III Deluxe Editions; Maestro - Joe Perry; Metal Guru Dave Mustaine; The Bluesman - Eric Burdon; and Best New Band - The Cadillac Three. Visit www. orangeamps.com for further details.
Rotosound’s free guitar strap For a limited time only, guitarists and bass players can buy some of Rotosound’s most popular strings and get a free webbing guitar strap (STR1) worth over £5. This offer is available with all purchases of promotional packs containing three sets of guitar or bass strings and is UK only. The fully adjustable, black woven polyester straps are suitable for all ages, heights and playing styles. The well-constructed, tough and lightweight strap is useable with both electric and acoustic instruments. The straps are free in specially packaged sets of Rotosound’s acoustic Jumbo Kings (JK10/JK11/JK12/JK13), Roto Pinks (R9), Roto Yellows (R10) electric guitar strings or a set of the legendary Swing Bass 66 (RS66LD). Rotosound strings are used by the likes of Guthrie Govan, Arch Enemy, The Cribs, Fun Loving Criminals, John Renbourn, Billy Sheehan, Geddy Lee and many more. Visit www.rotosound.com for further information.
Sends wi...
A Minute’s all it takes to find out what makes a great guitarist tick. Before she jumped in her limo for the airport we grabbed a quick chat with British blues diva Joanne Shaw Taylor GT: Who was your first influence to play the guitar? JST: Stevie Ray Vaughan. My father introduced me to his Live From Austin, Texas DVD when I was 13. My dad played a lot of older country blues artist such as Mississippi Fred McDowell, Bukka White etc but Stevie was the first player that really inspired me to start.
have an additional delay I use that gives me a longer effect on solos like Jealousy. Dimebag Darrell Signature wah-wah. My favourite wah-wah so far. I don’t tend to use a great deal of this but it’s a cool effect to have in the arsenal. I tend to use it more for rhythm than lead - I may kick it on to give me a deeper sound for rhythm parts on songs like Diamonds In The Dirt.
GT: What was the first guitar you really lusted after? JST: 1972 Telecaster Thinline. I’d seen Jonny Lang playing one and thought it was really cool .
GT: If a music score were put in front of you, could you read it? JST: No way!
GT: What was the best gig you ever did? JST: I opened for BB King when I was 17 in Switzerland. That was a dream come true.
GT: Is there a guitarist whose playing you’re slightly jealous of – and why? JST: Paul Kossoff. I fell in love with his vibrato the first time I heard The Hunter. Great tone, feel and phrasing. He really did have it all.
GT: What’s the most important musical lesson you ever learnt? JST: You never play as good or as bad as you think you did. That’s kept me in a good frame of mind - aware of the importance of improvement but without being to obsessive or anxious about it.
GT: If your house or studio was burning down, which guitar would you dive in to save? JST: My 1966 Fender Esquire. It was my first guitar and regardless of its value I just couldn’t replace it. I have too many memories I created with the help of that guitar.
GT: If you could put together a fantasy band with you in it, who would the other players be? JST: That’s a tough one. It would probably have to be Paul McCartney on bass, Keith Richards on rhythm guitar, Booker T on keyboards, and Benny Benjamin on the drums. Maybe the Memphis horns, too.
GT: What’s your favourite amp and how do you set it? JST: I don’t use them too much live any more but I’m still a huge fan of the Fender Bassman. Volume depends on the show but treble 5 bass 6.
GT: Who’s the greatest guitarist that’s ever lived? JST: That’s obviously personal opinion and the problem with opinions is everyone has one. My favourite would probably be Gary Moore.
ROB MONK
GT: Is there a solo you really wish you had played? JST: Cliffs Of Dover by Eric Johnson. GT: What’s the solo or song of your own that you’re most proud of?
Joanne Shaw Taylor: back on the road soon
JST: I would say that Diamonds In The Dirt is the song I’m most proud of. And I suppose my favourite solo of mine would probably be on the song Soul Station.
It’s all down to personal opinion but my favourite all time guitarist would probably be Gary Moore.
GT: If you had to get rid of all your pedals but three, what would they be? JST: Tubescreamer TS9. I inherited it off my older brother when I was 14. I’ve tried many different overdrive pedals but I keep coming back to this one. It gives a nice clean overdriven boost but isn’t too distorted and gives me the right amount of high end. Aqua Puss delay. I leave this pedal running through most of the show for a little slap-back echo (a trick I learned off a few country players) and then I
GT: What strings do you use? JST: Ernie Ball, skinny top heavy bottom. I used to use .011s but the strain of doing as many shows as I do every year it was worth going a step down. Tis the burden of small girly hands - new set every show! Joanne Shaw Taylor starts her nationwide UK tour with special guest Bernie Marsden on Saturday Nov 1st at the Norwich Epic. Joanne will perform songs from her critically acclaimed new album The Dirty Truth. Tickets can be ordered from the 24-hour box office: 0844 478 0898, or booked online from The Gig Cartel.
January 2015 GuitarTechniques 13
Bonnie, Prince George & Bombshells SCHECTER EXPANDS ITS DIAMOND SERIES with two new guitars, the Ultra B-17 Bombshell and the PT F4 Phantom, continuing the Aviation Collection designs byy coving the guitars with WWII bomber and fighter decals and rivets. While this presentation may limit their appeal they are fantastic sounding and versatile instruments. The Tele-like Phantom is loaded with two Schecter Custom Alnico humbuckers and the reverse-bodied Bombshell features Seymour Duncan Active Blackout humbuckers and both are ready for action. THE MUSIC INDUSTRY MOURNS THE LOSS OF Peter Banks, Alvin Lee, JJ Cale, Lou Reed, Richie Havens, Reg Presley, George Jones, Jeff Hanneman (Slayer), Ray Manzarek (The Doors), Jim Hall, Rick Huxley (Dave Clark Five), Clive Burr (Samson, Iron Maiden), Tony Sheridan, Kevin Ayers, Kenny Ball, Terry Lightfoot, Trevor Bolder (Bowie, Uriah Heep), Patti Page, Trevor Gordon (The Marbles), Eydie Gormé, Mindy McCready, Chi Cheng (Deftones), Chrissy Amphlett (Divinyls) and producer Andy Johns. We welcome to the world, Prince George of Cambridge. AS THE DATE FOR THE SCOTTISH INDEPENDENCE REFERENDUM is announced as 18 September next year Prime Minister David Cameron rejects the idea of a head-to-head TV debate with Alex Salmond, Scotland’s First Minister. All former police forces in the country are merged to become known as Police Scotland. The National Crime Agency is also brought into action and is designed to tackle some of Britain’s most serious crimes. GODIN RELEASES THE MONTREAL PREMIERE, a fine Les Paul shaped guitar with a hollow body, twin humbuckers and a hardtail. The body features a spruce centre block that is arched in three places so there is more contact with the top than the back and allows the sound to circulate. While the body is bound front and back the neck is unadorned and the rosewood fretboard sports simple pearloid dots. RICHIE SAMBORA QUITS BON JOVI just hours before a concert; Kate Bush receives a CBE from the Queen; Bonnie Tyler performs Believe In Me in the Eurovision Song Contest and finishes 19th; Fall Out Boy reforms; My Chemical Romance and The Mars Volta disband; Stone Temple Pilots replace singer Scott Weiland with Chester Bennington from Linkin Park; Paul McCartney’s new album is appropriately called New and Jimi Hendrix’s People, Hell And Angels album is released. TWO NEW SIGMA MAHOGANY-TOPPED electro-acoustics combine classic looks with electronic versatility and all at a budget price. Both the SDM-15 and the S000M-15 models retail at just under £500 and look like purely acoustic guitars but the discrete inclusion of Fishman Sonitone electronics with endpin jack and soundhole-mounted tone and volume controls make them more useable on stage and in the recording studio.
Sigma SDM-15 Dreadnought electro-acoustic
14 GuitarTechniques January 2015
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HOT FOR TEACHER YOUR RGT TUTOR Name: Svilen Mikov Town: Edinburgh Styles: Classical, Blues, Rock, Progressive, Heavy Metal Speciality: Progressive instrumental rock, Neo-classical rock Qualification: DipLCM Levels: Intermediate to advanced, RGT Electric and Rock grades if desired up to Grade 8 Sight-reading: Beginners to Intermediate Charges: £30 per 1 hour lesson Special: Fully-equipped teaching studio, digital recording capabilities, secure building, free secure parking Tel: 07598 703608 Email:
[email protected]
PLAY: BLUES-ROCK
ON THE CD
TRACK 4-9
Blues-Rock Power! Looking to beef up your parts and fill out the sound? Jon Bishop could have the feature you’ve been waiting for, as he examines how great Power Trio guitarists make their bands sound huge!
Moderate INFO
WILL IMPROVE YOUR
KEY: E TEMPO: 160bpm CD: TRACKS 4-9
Feel and phrasing Articulation and vibrato Open G tuned parts
IN THIS FEATURE we aim to showcase a variety of techniques and concepts to help WKH JXLWDU WR ¿OO RXW WKH VRXQG DQG IXQFWLRQ with just the bass and drums as a backing. The blues-rock power trio format really took shape in the late 1960s with bands like the Jimi Hendrix Experience and Cream fusing EOXHV DQG URFN ZLWK ORXG DPSOL¿FDWLRQ 0DQ\ other notable guitar players have been inspired by these late-60s innovations, and our 10 notated examples showcase some of them with a view to you incorporating them into your own tick bag. To give you a chance to try out these rhythm and lead ideas there are three backing WUDFNV FRPSOHWH ZLWK WDEEHG SDUWV 2XU ¿UVW track features 10 examples that isolate a VSHFL¿F HOHPHQW RI WKH EOXHV SRZHU WULR VW\OH Some of the techniques are so effective that they occur in multiple examples. In the trio format the idea is to imply the harmony and ¿OO RXW WKH VRXQG /DUJH ¿YH DQG VL[QRWH chords can be used, but two- and three-note ¿QJHULQJV FDQ VRXQG MXVW DV HIIHFWLYH LI SOD\HG in the right place. We’ll be looking at concepts such as using open strings, unison notes, unison bends, octave melodies, 7#9 chords, double-stops, pedal tones, arpeggios, tremolo picking and chords with a thumb bass note. Our examples are recorded and separated
by a two-bar drum break to give you a chance to change pickup and effects. Once you have learned the examples you can practise playing along with the backing track. 7KH¿UVWMDPWUDFNSXWVVRPHRIWKHVHLGHDV into context in an all-out, Jimi Hendrix style EOXHVURFNMDPVROR7KH¿UVWMDPXVHVWKH same tempo, key and feel as the examples and is in the ever-friendly key of E. The bass line is left deliberately ambiguous in tonality, so as not to force you down one particular route, so
Major and Minor Pentatonic scales can be mixed and matched and seasoned blues-rock improvisers like Eric Clapton have mastered the knack of changing between the two at the right time. there’s plenty of scope to try out new ideas. For jam track number two we are going to test out the ideas using a Stevie Ray Vaughan style quick-change dominant 12-bar blues DOVRLQWKHNH\RI(,W¶VD7H[DQVKXIÀHDQG the chord progression looks like this. || E7 | A7 | E7 | ‘/, | A7 | ‘/, | E7 |‘/, | B7 | A7 | E7 | B7 ||
We can also refer to each of the three chords in the blues as a Roman numeral. E7 is the I chord, A7 the IV and B7 is the V chord. This numbering allows us to label the ideas WKDW¿WHDFKRIWKHWKUHHFKRUGVDQGWKHQ easily transfer them to other situations such as playing in a different key. As the 10 examples and the two jam tracks
are in the key of E, the vocabulary we will be learning is mainly constructed from two core scales. These scales are E major pentatonic (E, F#, G#, B, C#) and E minor pentatonic (E, G, A, B, D). These two pentatonic scales can be mixed and matched at will, and seasoned blues-rock improvisers like Eric Clapton have mastered the knack of changing between the two at just the right time. Why not try constructing or improvising your own power trio style solos using some of the techniques and concepts showcased in this article. Then try them out over backing tracks, at your own gigs or in blues club jams. 0DQ\WKDQNVWR2ZHQ0DUWLQIRU SHUIRUPLQJWKHVKXIÀLQJGUXPVRQMDPWUDFN two. Have fun and see you next time.
GET THE TONE 7
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When beefing up the guitar to sound big in a power trio go for a thick, middle frequency orientated overdrive. The guitar will actually sound bigger with less distortion (think SRV or Jimi Hendix). Effects like delay and modulation can help create a stereo picture with more depth. The examples on this month’s CD were recorded with a James Tyler SE guitar and this was plugged into a Marshall 6100 Anniversary amplifier. The ideas in this article can be played on any type of guitar. All of the pickup selections and effects are notated alongside the relevant examples.
TRACK RECORD Great blues power trio records are numerous and the format has endured well through the decades. Good starting points include Hendrix albums Are You Experienced (1967), Axis: Bold As Love (1967) and Electric Ladyland (1968); Disraeli Gears (1967) and Wheels Of Fire (1968) by Cream; and almost anything by Stevie Ray Vaughan, Scott Henderson, Larry Carlton or Robben Ford.
16 GuitarTechniques January 2015
REX FEATURES / MARC SHARRAT
ABILITY RATING
BLUES-ROCK POWER!
The Jimi Hendrix Experience, one of the formidable power trio line-ups
January 2015 GuitarTechniques 17
PLAY: BLUES-ROCK
ON THE CD
TRACK 4-9
EXAMPLE 1 WIDE POWER CHORDS WITH A THUMB BASS This is a classic, Hendrix style way of playing the E7#9 chord with riffs and embellishments. Shape 3 of the E minor pentatonic scale can be played
#
1
#
B5
‰
œ œ œ œœ œ 8 7 6 7 5
0
0
7
7
0 5
0
0
7
7
X X X
#
E7 9
9
0
0
7
7
0 5
6
3 3
5 5
5 5
5
5
7
7
3
3
5
5
G5
‰
œ œ œœ œ
7 7
7 7
5 5
5 5
9
9
7
7
7
7
5
5
8 7 5 7
3 3
E 9
8 7 6 7
0
0
7
7
0 5
œ œ
8 7 6 7
6
3 3
3 3
5 5
5 5
5
5
7
7
3
3
5
5
œ œ
œ
DRUM AND BASS BREAK
7 7
7 7
7 7
10 10
10 10
9
9
9
12
12
7
7
7
10
10
EXAMPLE 2 UNISON INTERVALS AND OPEN STRINGS Open strings have more sustain than their fretted counterparts. The unison interval is two notes of the same pitch played simultaneously and
A5
D5
‰ #
œ œ œ œœ œ
X X X
8 7 6 7
6
A5
œ œ
#
A5
B5
8 7 6 7
0 5
œ œ
8 7 6 7
6
‰
Bridge/middle pickup with light overdrive
8 7 6 7
E7 9
E B G D A E
G5
œ œ œ
ƒ
DRUM INTRO
E B G D A E
around the same 5th-8th fret area and sounds great, especially when the open strings and unison notes are exploited.
E7 9
©»¡§º
E B G D A E
TRACK 4
TRACK 4
this helps to bolster the tone. Playing double stops is a great way to imply harmony; the 3rds in bar 19 are particularly effective.
#
1/4
E7 9
œ
œ
œ
pick-up ƒ Middle with overdrive E B G D A E
3
0 5
0 5
0 5
18 GuitarTechniques January 2015
œ Let ring 1/4
BU BD 0 5
3
0 5
0 5
0 5 3
0 5
0 5
0 5
0 5 2
13
œ
œ
( 3 ) (2 )
0
X 2
3
0 5
0 5
0 5
0 5 3
0 5
0 5
0 5
8
BLUES-ROCK POWER! EXAMPLE 2 UNISON INTERVALS AND OPEN STRINGS ...CONTINUED
#
1/4
œ
œ
TRACK 4
œ
œ
(Let ring) 1/4 E B G D A E
7
BU BD
8
8
9
10
10
0 5
3
0 5
0 5 3
0 5
0 5
0 5 3
0 5
0 5
0 5
0 5
( 3)
2
(2 )
X
0
2
16
#
1/4
1/4
1/4
‰ DRUM AND BASS BREAK
Let ring 1/4 E B G D A E
0 5
10 12
10 12
10 12
10 12
9 10
9 10
9 10
1/4
7
8
1/4
7
8
8
19
EXAMPLE 3 ROCK ‘N’ROLL STYLE DOUBLESTOPS Classic double-stop licks never seem to lose their charm. Players like Robben Ford use them to great effect. Obviously two notes will fill out the sound more than one and combining any notes of the minor
pentatonic will sound good. Bend the double-stops in bar 25 slightly sharp for that bluesy touch. For the double bend in beat one of bar 29 simply pull both notes down and the pitches will take care of themselves. 1/4
#
E7 9
j œ
TRACK 4
j œ
j œ
j œ
#
j œ
14 (16 )
1/4
BU
BU 12 12
12 12
14 (16)
BU 12 12
12 12
14 (16 )
BU 12 12
12 12
1/4
1/4
1/4
1/4
1/4
1/4
1/4
1/4
1/4
1/4
BU 12 12
12 12
14 (16 )
12 12
12 12
15 14
15 14
12 12
15 14
15 14
15 14
12 12
15 14
15 14
23 1/4
1/4
1/4
j œ
# 1/4
15 14
12 12
15 14
n #
b
1/4
1/4
BU E B G D A E
14 (16)
1/4
#
Bridge/middle pickup with light overdrive E B G D A E
1/4
15 14
12 12
12 12
12 12
14
(16)
12 12
BU 12 12 15 (17 )
BU 12
12
BD
14 (15 ) (14 )
14
12
14
12 12
14 14
12 12
26
January 2015 GuitarTechniques 19
PLAY: BLUES-ROCK
ON THE CD
TRACK 4-9
EXAMPLE 3 ROCK ‘N’ROLL STYLE DOUBLESTOPS ...CONTINUED j # œœ
j œ
14 (15 ) 14 14 (16 ) 14
12 12
14 14
j œ
12 12 14 (16 )
12 12
12 12
‰ DRUM AND BASS BREAK
BU
BU
BU
BU E B G D A E
j œ
TRACK 4
14 (16)
12 12
12 12
14 (16 )
12 12
12 12
12 12
29
EXAMPLE 4 USING PEDAL TONES AND ARPEGGIOS The sixth string is left ringing while the phrases are played and this helps in two ways; first, by filling out the sound, and second by anchoring the harmony. Arpeggios are musically very descriptive as they spell out the
#
Œ
E B G D A E
w
Middle pick-up with overdrive
X
9
. w
~~~
7
9
33
w 7
8
9
9
7
10
11 10
8
10
8
9
9
Em
F m
#
G
7
9
PM
PM
PM
9
7
8 9
9
7
5
5
7
#
F m7
9
7
9
Gmaj7
BU 8
10 9
39
20 GuitarTechniques January 2015
10
12 11
12
10
12
14
12
14
14 (15 )
10
12
11
10
j ~~~ # œ
36
7
.
j œ
E m7
E B G D A E
.
b
‰
0
.
E B G D A E
harmony in single notes. In bar 37 we are using some Eric Johnson style open chord/arpeggio voicings. These can be played with a down, down, up picking pattern as notated or with hybrid picking (eg down, m, a).
~~~
E7 9
ƒ
TRACK 4
~~~
DRUM AND BASS BREAK
8
10
8
7
9
BLUES-ROCK POWER! EXAMPLE 5 UNISON BENDS
TRACK 4
Unison bends have a unique sound and are another Jimi Hendrix innovation. Bend the note on the third string up until it is the same pitch as
j œ
ƒ
#
Middle pick-up with overdrive
~~~
BU E B G D A E
14
12
j œ
~~~
BU
14 (18 )
16
~~~
j œ
~~~
BU
12 (16)
ww ~~~ ~~~
BU
10 (14)
14
~~~
#œ
~~~
BU
12 (16 )
9 (13 )
11
43
~~~
j œ
~~~
~~~
BU E B G D A E
~~~
j œ #
ww ~~~
E7 9
the note being fretted on the second string. Your ear will tell you when to stop bending and some finger vibrato will add interest and aid intonation.
BU
10 (14)
12
9
~~~
œ
~~~
~~~
BU
7 (11 )
DRUM AND BASS BREAK
5 (9 )
7
48
EXAMPLE 6 SIXTH INTERVALS AND DOUBLESTOPS Players like Scott Henderson use the 6th interval to great effect. In this example the 6th is used to outline the chord and finger slides help to
j œ
E7
#
TRACK 4
create a more colourful result. A hybrid picking approach will make these more playable, so this method has been notated.
.
j œ
.
‰
‰
Bridge pickup with overdrive
ƒ Let ring
E B G D A E
9 7
9
7
9
7
53
2
1 1
0
m
m
m
7
3
6
2
m
m
9
7 9
m
m
m #
#
j œ
9
2
4
m
9
0
5
7
#
j œ
. 2
56
m
7
9
7
‰ E B G D A E
Let ring
7
7
10 7
m
m
10
10
11
9 9
m
m
m
9
10
11
11
12
January 2015 GuitarTechniques 21
PLAY: BLUES-ROCK
ON THE CD
TRACK 4-9
EXAMPLE 6 SIXTH INTERVALS AND DOUBLESTOPS ...CONTINUED
#
TRACK 4
#
b
‰ DRUM AND BASS BREAK
E B G D A E
59
12
12
12
12
14
14
15
15
16
16
16
16
16
16
16
13
13
13
13
14
14
15
15
16
16
16
16
16
16
16
etc
EXAMPLE 7 USING PEDAL TONES AND OUTLINING CHORDS Pedal tones abound in classical music and the idea (to play a melody against a static note) is as effective now as it has ever been. Players like Larry Carlton use intervallic ideas like this to great effect. For this example
Em
TRACK 4
the notes on the fourth string are played with down picks and the notes on the second string are plucked with the second finger. Keep the timing even and add some finger vibrato bar 70.
D/E
C/E
~~
B/E
pick-up ƒ Middle with overdrive E B G D A E
8 9
63
9 m
~~ 7
10 9
9 m
7
9
8 7
7
7
5 7
4
7
5
5
5
5
5
B/E
#
8
10 9 9
12 9 9
67
22 GuitarTechniques January 2015
15 12 12
4
4
~~ ~~
#~
A/E
~~ ~~ ~ 9
4
cont sim ...
Em
E B G D A E
7
15 12
14 12
14
14 14 14
16 14 14
16
16 16
16 16
DRUM AND BASS BREAK
4 4
4
BLUES-ROCK POWER! EXAMPLE 8 USING THE MAJOR PENTATONIC AND DOUBLESTOPS
TRACK 4
This example showcases how the major pentatonic can be phrased in double-stops. This style works well in R&B and soul, as well as blues-rock. E
j j œ # œ
ƒ E B G D A E
j œ #
‰
j œ #
j œ
‰‰
Middle pick-up with overdrive 12 12 14 12 14
12
12 12
12 13
12 12 12 10 13 13 13 11
12 13
10 9 10 9 10 12 11 9 11 9 11 13
9 9
12 12 14 12 14
12
12 12
15
16
73
œ
‰
#
‰
DRUM AND BASS BREAK E B G D A E
12
12
12 10 13 11
14 12 13
9 9
10 11
9 9
10 12 11 13
9 9
78
EXAMPLE 9 OPEN POSITION MINOR PENTATONIC LICKS Playing a bass note on the sixth string with the fretting hand thumb provides a few key advantages. Check out the chord in bar 84: there’s an
TRACK 4
octave between the sixth and fourth string, which sounds great. The 7#9 chord is a favourite in this style and is again another Hendrix favourite.
#
E7 9
‰œ
‰ ƒ E B G D A E
œ
Middle pick-up with overdrive 3 3
BU BD 3 3
X X
X X
( 3 ) ( 2) 0
2
3 3 2
0
0
83
‰
œ
‰
3 3
3 3
X X
3 5
0 5
0 5
3 5
0 5
0 5
3 5
0 5
0 0
‰œ DRUM AND BASS BREAK BU BD
E B G D A E
3 3
3 3 X 3 3 X 2
87
0
( 3 )(2 ) 0
2
0
0 2 4 4
0 4
0 0 0 0 0 4 7 7 7 7
0 4
0 0 0 0 0 4 7 7 7 9 9 7 9 9
0
January 2015 GuitarTechniques 23
PLAY: BLUES-ROCK
ON THE CD
TRACK 4-9
EXAMPLE 10 TREMOLO PICKING AND OPEN STRINGS Tremolo picking delivers a rapid fire, barrage of notes that sounds impressive and also helps to fill out the sound. Use a consistent alternate
#
E7 9
TRACK 4
picking style and keep the timing even. Using an open string along with a fretted note again makes a for a larger sound. Don’t tense up too much!
..
#
pickup ƒ Bridge/middle with light overdrive E B G D A E
0 12
0 12
0 12
0 12
0 12
@ @ @ @ Alternate picking
93
0 12
0 8
0 10
0 7
0 7
0 7
0 7
@ @ @ @
@ @ @ @
0 8
0 7
0 5
0 5
0 3
0 3
0 12
0 12
0 15
0 15
@ @ @ @
@ @ @ @
etc
# DRUM AND BASS BREAK E B G D A E
0 14
0 14
0 15
0 15
0 17
0 17
@ @
@ @ @ @
15 0 0 0 0 0 15 0 17 17 17 17 17 17 17 17
0 0 0 0 15 0 0 0 15 0 15 17 17 17 17 17 17 17 17 17 17 17
98
This first performance piece stitches together some of the 10 examples and expands on the ideas whilst placing them in context.
JAM 1 JIMI HENDRIX STYLE JAM
TRACK 6
The jam starts with a classic Hendrix style way to play the E7#9 chord in the open position. Box one of the E minor pentatonic scale can be played in the open position and sounds great especially when the open strings and unison notes are exploited. For the idea in bar 11 and 13 let the notes
©»¡§º
#
E7 9 DRUM INTRO
‰
‰
j œ
œ ƒ
Middle pick-up with overdrive E B G D A E
ring into each other and push the G (8th fret, second string) slightly sharp. It is well worth having a listen to the track and learning some of the ideas in the demonstration solo. After this why not try improvising or composing a part of your own with the backing track provided.
BU 3 3
3 3
X X
X X
2
(3 )
( 2)
0
2
0
0
0
1
BD
‰
‰
œ
‰ œj
œ
œ BU BD
E B G D A E
3 3
3 3
3 3
X X
3 5
0 5
0 5
3 5
0 5
0 5
3 5
3 3
0 5
3 3
3 3
X X 2
5
0
24 GuitarTechniques January 2015
0
0
( 3) ( 2 ) 0
2
0
BLUES-ROCK POWER! JAM 1 JIMI HENDRIX STYLE JAM ...CONTINUED
TRACK 6
1/4
1/4
1/4
1/4
j œœ
Let ring 1/4 E B G D A E
0 2 4 4
0 4
0 4
0 7
0 7
0 7
0 7
0 4
0 4
0 3 7
0 3 7
0 7 9 9
7 8
0 7 9 9
7
7
8
1/4
1/4
1/4
7
8
7
8
9 9 9 9 10 10 10 10
7 8
9
1/4
1/4
1/4
1/4
#
j œœ
#
Let ring E B G D A E
1/4
1/4
1/4
7 8
7
7
8
1/4
7
8
7
8
7 8
9 10
9 10
9 10
9 10
10 10 10 10 9 9 9 9 12 12 12 12 10 10 10 10
7 8
7 8
7 8
7 8
..
j œ
5 7
5 7
~~~
j œ
Unison bends BU BD 5
3
0 5
0 5
3
5
0 5
0 5
0 5
2 (4 )
(2)
0
2
0
12
2
~~~
BU
BU 14 (16)
14
12 (16 )
17
BU 16
~~~
.. œj #
j œ #
E B G D A E
5 7
13
j œ
E B G D A E
5 7
14 (18 ) 16
BU 14 (18)
~~~
j œ
..
BU 10 12 (14 )
j œ
BU 10 12 (14 )
~~~ ~~~
j œ
..
BU 12 14 (16 )
j œ
BU 12 14 (16 )
~~~
#
~~~
j œ
9 9
7 9
7
7
7 9
11
20
January 2015 GuitarTechniques 25
PLAY: BLUES-ROCK
ON THE CD
TRACK 4-9
JAM 1 JIMI HENDRIX STYLE JAM ...CONTINUED
#
#
E B G D A E
10 11
11
9
9
#
#
#
9
TRACK 6
#
b
10
11
12
12
12
12
14
14
15
15
16
16
16
16
16
16
16
16
11
12
13
13
13
13
14
14
15
15
16
16
16
16
16
16
16
16
1/4
1/4
1/4
1/4
1/4
1/4
1/4
1/4
1/4
1/4
1/4
1/4
24
1/4
#
# 1/4
BU E B G D A E
14 (16 )
BU
BU 12 12
12 12
BU
14 (16)
12 12
12 12
12 12
14 (16 )
12 12
14 (16 )
BU 12 12
12 12
12 12
14 (16 )
12 12
15 14
15 14
12 12
15 14
15 14
15 14
12 12
1/4
1/4
# 1/4
1/4
BU 15 14
12 12
15 14
15 14
12 12
12 12
12 12
12 12
14 (16 )
BU 12 12 15 (17)
1/4
1/4
1/4
BU 12
12 14 (16 )
14 12 14
30
1/4
1/4
#œ
œ 1/4
1/4
œ
œœ
œœ
œœ
12 12
12 12
12 12
..
1/4
1/4
BU 15 14
1/4
# 1/4
E B G D A E
15 14
27
1/4
E B G D A E
15 14
12 12
15 14
33
26 GuitarTechniques January 2015
15 14
14 (16 )
14 12
14
14 X X
0
12
14
12
15 14
15 14
BLUES-ROCK POWER! JAM 2 STEVIE RAY VAUGHAN STYLE JAM
TRACK 8
Now it’s time to stretch out and adapt the concepts we’ve learned to fit in with the 12 bar blues. The demonstration solo is not overly hard to play but the notes need to be attacked as its all about the attitude and tone. The first chorus recycles a simple Freddie King style motif, which is answered by open string riffs. The idea in bar 11 is a classic dominant
#
©»¡¡§
E7 DRUM INTRO
A7
ƒ 0
3
3
BU BD 0
1/4
j nœ
j œ
‰
Middle pickup with overdrive E B G D A E
7th Hendrix style lick that SRV went on to adopt and develop. In bar 15 the second chorus kicks off with some tried and tested rock ‘n’ roll style double stops and this time there is no quick change to the A7 to navigate. The turn around idea in bar 23 and 24 outlines the chords nicely and is a trick SRV would use and improvise with regularly.
0
2
1/4
BU
7 ( 9 ) ( 7)
5
7
0 5
6
0 5
0 5
0 5
8 (10)
8
5
0 5
6
1
#
E7
A7
j œ
3
j nœ
œ œ
3
3
3
BU BD E B G D A E
0 5
0 5
0 5
0 5
0 5
3
0
0 2
0
0
1
0
0
2
7 (9 ) (7 )
5
7
0 5
0 5
6
0 5
0
5
#
'
1/4
j nœ
E7
3
œ
3 Let ring BU E B G D A E
8 (10 )
8
5
6
0 5
0 5
0 5
3
0
1
0 0
0 0
0 A7
E7
j œ
# 3
4
2
4
3
j œ
j nœ
3 Let ring
BU BD
2
2
4
3
2
3
0
2
0
2
2
0 2 ( 4)
(2 ) 0
2
0
1
2
3
4
4
2
3
4
4
11
B7
j #œ # œ
j #œ œ
E7
n #
#
3
3
E B G D A E
2
8
B7
E B G D A E
0
7 7 8
7 7 8
7 7 8
9
10
11
11
11
9
10
11
11
11
11 11
12 12
12 12
j #œ œ 3
12 11 12 12 11 12
12 12
j #œ œ 3
12 11 12 12 11 12
12 12
3
12 12
11 12 11 12
12 12
12 12
14
January 2015 GuitarTechniques 27
PLAY: BLUES-ROCK
ON THE CD
TRACK 4-9
JAM 2 STEVIE RAY VAUGHAN STYLE JAM ...CONTINUED
#
j #œ # œ
j #œ œ
j #œ œ
3
TRACK 8
j nœ
j #œ œ
3
3
3
3
12 12 12 11 12 12 12 12 12 12 11 12 12 12
11 11
12 12 12 12 12 12
11 11
12 12 12 12
11 11
12 12
j nœ
A7
j nœ
j œ 3
n
j œ
3
3
1/4
BU
BU
12 12 15 (17) 12 12
14 (16 )
BU 12 12 12 12 12 12 15 (17 ) 12 12
14 (16 )
BU 14 (16 )
12 12 12 12
1/4
1/4
n
1/4
1/4
1/4
j œ
3
BU 12 12 12 12 12 12 15 (17) 12 12
3 1/4
1/4
1/4
1/4
1/4
1/4
1/4
BU
BU 12 12 12 12
14 (16)
n œ œj œ
~~ œj œ
#
3
15 14
15 14
15 14
15 15 14 14
15 14
~~
14 ( 16)
12
12
12
15 12
œ
j œ
3
15 15 14 14
~~
14 (16)
12
14
12
12 12
14 (16) 14
12
œ
14
3
‰ 3
3
BU 9 ( 11 )
14 14
j nœ
œ
3
BU (goes flat)
BU
B7
~~
œ
3
7
7
10
7
9
8
7
10 7
9
X
21
A7
#
j nœ
F9 E 9 n U
E7
b 3
3
j œ 3
j nœ
3
BU
rubato BU BD
7 (9 )
5
5
7
6
5
8
5
3 2 ( 4) (2)
0
2
0
1
0
3
0
2
0
1
8 8 8
2
24
#
E B G D A E
3
18
E7
E B G D A E
1/4
1/4
1/4
E B G D A E
BU 12 12 12
15 ( 17) 12
3
16
#
E B G D A E
j œ
3
BU E B G D A E
j nœ
j œ
j œ
9
7
9
27
28 GuitarTechniques January 2015
7
œ
7 9
8
7
7
2
0
2
0
1
0 0
0
7 7 7
7
PLAY: ROCK
ON THE CD
TRACKS 10-11
Bad Company Can’t Get Enough Jon Bishop transcribes a classic 1970s hit by Bad Company, featuring some classic rock riffing, cool harmony lead guitar, great outro soloing - and an interesting story about a tuning! ABILITY RATING
Moderate INFO
WILL IMPROVE YOUR
KEY: C TEMPO: 124 0bpm CD: TRACKS 10-11
Classic rock rhythm Bluesy lead soloing Use of open G tuning
CAN’T GET ENOUGH was released in 1974 and was featured on Bad Company’s eponymous debut album. The opening guitar part, performed by Mick Ralphs, is one of those classic riffs and it is a lot of fun to play. The song uses two classic, blues style, three-chord tricks. The opening riff, verse and bridge use F, Bb and C - the I, IV, and V chords in the key of F. The chorus is C, F and G another I, IV, V, this time in C. Feel-wise it’s a VKXIÀHZLWKDOOWKHTXDYHUVVZXQJ7KHWHPSR moves around a bit, so for the GT recording we have selected a happy medium and set an easy tempo of 124bpm for the whole piece. Perhaps the most interesting thing from our perspective is the guitar tuning. Mick Ralphs originally wrote Can’t Get Enough in open G tuning. Singer Paul Rodgers liked the VRQJEXWUHTXHVWHGWKHNH\EHFKDQJHGIURP* to C. To make this possible Ralphs tuned all WKHVWULQJVXSDWKZKLFKUHTXLUHGWKH¿WWLQJ of lighter strings due to the dramatically increased tension on the neck. However, we have chosen to tab the song in open G tuning so as to be accessible to all guitarists without the need to change setups. It will also help to preserve the guitar necks of the nation and make all the lead and rhythm work playable in
one performance. To re-tune from standard WXQLQJVLPSO\GURSWKHVL[WK¿IWKDQG¿UVW strings down a tone. If you strum the strings IURPWKH¿IWKVWULQJXSWKHFKRUGRI*PDMRU is produced; you can now add melody notes to WKLV*PDMRUIRXQGDWLRQZLWKUHODWLYHHDVH Many styles use open G tuning including the Hawaiian ‘slack key’ and Delta blues slide genres. Keith Richards of The Rolling Stones is also a fan of open G for general riff action (think of Brown Sugar and Start Me Up), as
As a one finger barre is all that’s required to play a major chord with the Open G tuning, the other fingers are free to play melody notes. DUH )UDQFLV 5RVVL DQG 5LFN 3DU¿WW RI 6WDWXV Quo (Down Down etc). The rhythm guitar on Can’t Get Enough is very much in this vein. $RQH¿QJHUEDUUHLVDOOWKDW¶VUHTXLUHG WR SOD\DQ\PDMRUFKRUGRQWKHQHFNVRWKHRWKHU ¿QJHUVDUHIUHHWRSOD\PHORG\QRWHVRQWRS the song will sound great with your bridge pickup selected and a gritty, overdriven tone. There is a fair bit of lead work to navigate at the end of song. This has also been arranged to be played on a guitar tuned to open G so you can play the whole song from start to ¿QLVKZLWKWKHEDFNLQJWUDFN,QDWZRJXLWDU band the solo can be performed on a standard WXQHGJXLWDUDQGLWZLOOZRUN¿QHDVDOORI WKH notes fall on the ‘un-detuned’ strings. As the soloing only comes over the chorus chord pattern of C, F and G, Bad Company axe
man Mick Ralphs uses the tried and tested EOXHVWULFNRIPL[LQJWKH&0DMRUDQG&0LQRU Pentatonic scales. There are some tips of the hat to bluesmen like Albert King who combine simple signature licks with string bending and vibrato. There are also some tone-and-a-half bends to navigate, so be sure to warm up before attempting such heroics. Singerguitarist Paul Rodgers played the harmonised ¿UVWVRORDORQJZLWK5DOSKV The audio features a recreation of the original track, and a backing track with all the transcribed parts removed for you to practice with. Our track has the same count-in as the original, which goes one, two, one, two, three. Finally, many thanks to Pete Riley for recording and performing the drums!
GETTHETONE 7
7
6
7
2
GAIN
BASS
MIDDLE
TREBLE
REVERB
Mick Ralphs is a big Les Paul fan and the guitar tones on Can’t Get Enough certainly sound like they were produced using a bridge humbucker. So to get a similar sound with your own setup, simply select the bridge pickup and dial up a classic rock-style, crunch orientated overdrive. Huge amounts of gain were not really available at this time so the most authentic results will come from a moderate overdrive (not fizzy front-end gain) and the amp cranked as loud as is bearable.
TRACK RECORD Can’t Get Enough by Bad Company was released in 1974 on the band’s platinum-selling eponymous debut album. It reached number 5 in the US Billboard hot 100 but only made 15 on th UK singles chart. For a career overview you may wish to dip into The Original Bad Company Anthology which contains all the hits including Feel Like Makin’ Love and Shooting Star.
30 GuitarTechniques January 2015
PICTORIAL PRESS / ALAMY
BAD COMPANY CAN’T GET ENOUGH
Paul Rodgers would also have played guitar on Can’t Get Enough
January 2015 GuitarTechniques 31
PLAY: ROCK
ON THE CD
TRACKS 10-11
PLAYING TIPS
CD TRACK 10
[Intro: Bars 1-10] The track starts with the classic count-in. The iconic intro riff is simple to play and made even easier by open G tuning. Use the frettinghand first finger as a barre and then add second and third fingers for the Bb chord when required. This riff will sound best if played with down strums as this will help you to ensure a solid feel and consistent dynamic. [Verse 1: Bars 11-18] The verse riff has a shuffle feel and is very much in
©»¡™¢ Shuffle quavers 2
Intro C5
b
F
B
2
11 11 10 10 12 12
5 5 5
B
b
F
10 10 10 10
11 10 12
Verse 1 & 2
b
B
.. ..
F
‰
‰
C
B
11 11 10 10 12 12
10 10 10 10
5 5 5
F
B
b
F
B
b
0.19 1.05
5 5 5 5
11 11 10 10 12 12
10 10 10 10
11 10 10 12 10 10
10 10 10 10
10 11 10 10 10 12 10
X X X
11 35
B
b
F
B
b
F
B
b
C
B
b
F
‰
5 5 5 5
11 10 12
11 10 12
B
b
F
B
b
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10 10 10 10
11 10 12 10
10 10
10 10 10 10
10 10 10 10
5 5 5 5
11 10 12
11 10 12
11 10 12
10 10 10 10
10 10
11 10 12 10
10 10 10 10
10 10 10 10
11 10 12
13 37
C
B
b
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B
b
Bridge 1 & 2 G5
>
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5 5 5 5
11 10 12
11 10 12
10 10 10 10
10 10
11 10 12 10
10 10 10 10
10 10 10 10
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0.34
12 12 12
>
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12 12 12
12 12 12
1.21
12 12 12
19 43
17 41
b
B 5
F5
Chorus 1 & 2 C5 F/C
b
E 5
> 15 15 15
15 15 15
21 45
32 GuitarTechniques January 2015
10 10 10
8 8 8
C
C5
F5
5 5 5
10 10 10
b
B
b
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C5
> 0.41
D B G D G D
C5
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10 10 10 10
11 10 12
8
C
D B G D G D
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10 10 10 10
b
.. f
D B G D G D
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3
Open G tuning
D B G D G D
b
ƒ
Bridge pickup with overdrive D B G D G D
B
keeping with the Keith Richards school of rhythm guitar. Again use your first finger as a barre and then add the extra notes when required. The rhythm parts are pretty loose so aim to nail the feel and the main features. [Bridge 1: Bars 19–22] The bridge takes us neatly into the anthemic chorus. Only the first finger is required to barre the notes and it’s just a case of moving it around to the required fret.
8 8 8
5 5 5 23 47
1.29
5 5 5
6 5 7 5
5 5 5 5
10 10 10
11 10 15 10
10 10
10 10 10 10
10 10 10 10
11 10 12
5 5 5
Can’t Get Enough Of Your Love Music & Lyrics by Mick Ralphs. © 1983. Badco Music Inc, W B Music Corp. Warner/Chappell North America Limited. UK/EU reproduced by kind permission of Faber Music Ltd. US/CAN reproduced by kind permission of Hal Leonard Corporation. All Rights Reserved. International Copyright Secured.
BAD COMPANY CAN’T GET ENOUGH
PLAYING TIPS
CD TRACK 10
[Chorus 1: Bars 23–30] This section uses the same techniques as found in the verse. The pattern is a bit more specific and well worth learning. [Bars 31–34] This section is a repeat of the intro riff. Make sure you follow the repeat marks to verse two. [Verse 2: Bars 35–42] This section is a repeat of verse 1. [Bridge 2: Bars 43–46] This section is a repeat of bridge 1.
F/C C
C5
b
F5
B
‰ D B G D G D
6 5 7 5
5 5 5
5 5 5 5
5 5 5
b
F
b
C5
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C5
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F5
B
‰
11 10 10 10 10 10 15 10 10 10 10 10
5 5 5
B
[Chorus 2: Bars 47–54] Another repeat of chorus 1. Take the second time bar which skips the tag and takes us into the solo. [Harmony Guitar Solo: Bars 55–74] This section features notation for the higher part of the harmony guitar solo. The melodies are relatively easy to play, but the timing and intonation of the string bends is essential for this to work. Check out Ralphs and Rodgers’ heavy vibrato too!
10 10 10 10
10 11 10 10 5 10 12 5 10 5
6 5 7 5
5 5 5
5 5 5 5
5 5 5
b
F
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5 5 5
.. . .
G
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C/G
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.. ‰ ..
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25 49
Tag 1
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Harmony Guitar Solo
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65
January 2015 GuitarTechniques 33
PLAY: ROCK
ON THE CD
TRACKS 10-11
PLAYING TIPS
CD TRACK 10
[Chorus 3: Bars 75–82] This section is similar to other chorus sections but the big difference is the C5 chord stab on beat 2 of bar 77 and 79.
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[Chorus 4: Bars 83–90] This final chorus features the C5 chord stab on beat 2 of the bar and also has some lead breaks in bars 86 and 90.
16
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2.23 D B G D G D
5 5 5
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11 10 12 10
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10 10 10 10
11 10 12
10 10 10 10
5 5 5
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5 5 5 5
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11 10 12 10
10 10 10
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75
>
C5
D B G D G D
5 5 5 5
5 5 5
C
C5
5 5 5 5 5
5 5 5
5 5 5 5
5 5 5
b
F5
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b
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b
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F
10 10 10 10
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G
10 10 10 10
10 10 10 10
.. ..
C/G
‰
12 12 12 12
13 12 14 12
G
13 12 14 12
12 12 12 12
79
Chorus 4 C5
>
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C5
B
b
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B
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C5
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C5
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1/4
j œ
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BU BD D B G D G D
5 5 5
5 5 5
5 5 5 5 5
5 5 5 5
83
34 GuitarTechniques January 2015
5 5 5
5 5 5
11 10 10 10 10 10 12 10 10 10 10 10
10 10 10 10
10 11 10 10 10 10 10 12 10 10 10
5 5 5
5 5 5
5 5 5 5 5
5 5 5 5
5 5 5
5 5 5
11 10 10 10 10 10 12 10 10 10 10 10
10 10 10 10
1/4
10 10 10 (12 ) ( 10) 8 10 10
BAD COMPANY CAN’T GET ENOUGH PLAYING TIPS
CD TRACK 10
[Outro Solo Fills: Bars 91–122] The chorus repeats four times and is interspersed between the vocal lines and some improvised lead passages. In true classic rock fashion, these lines are created with the C Minor and C Major Pentatonic scale. It is possible to play this solo on a guitar tuned to open G
C5
C
C5
>
b
F5
B
b
F
or standard tuning as none of the notes fall on the first string. Many of the phrases are very similar and again it’s more about the vibe than playing this note-perfect. These lines would never have been played the same way twice. The main thing to watch out for is the timing and bending intonation.
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b
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11 10 12 10
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11 10 12
10 10 10
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Outro Fills and Solo
D B G D G D
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105
January 2015 GuitarTechniques 35
PLAY: ROCK
ON THE CD
TRACKS 10-11
PLAYING TIPS
CD TRACK 10
[Bar 123 to End] The song finishes with the opening riff and there are some simple lead lines that fit in with what’s going on. Hold the last note
(
C
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~~
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16 18 ( 20)
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19 ( 21)
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and allow it to tail off naturally. This superb British rock song is a favourite among pub and bar bands and always goes down a treat!
Bb
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1/4
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16
F
C
j œ
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125
36 GuitarTechniques January 2015
Bb
~. ~ ~~
20 (22 )
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17
PLAY: THEORY
ON THE CD
TRACK 12-32
Diminished Responsibility! John Wheatcroft shows how to broaden your harmonic horizons, adding intrigue and sophistication to your voicings and lead lines with the beautiful sound of the Diminished. ABILITY RATING
All Ability Levels INFO
WILL IMPROVE YOUR
KEY: Various TEMPO: Various CD: TRACKS 12-32
Knowledge of harmony Chord vocabulary Application of concepts
DIMINISHED CHORDS ARE among the most useful devices in music. They are a cornerstone of three-note harmony, along with Major, Minor and Augmented. When extended to incorporate a 7th degree, our three-note triad goes in one of two directions: to create a four-note Half-diminished chord or arpeggio; or the four-note Diminished 7th. We call this chord symmetrical, as each note is situated a minor 3rd (three frets) apart, dividing the octave into four equal parts. 7KH SXUSRVH RI WKLV OHVVRQ LV WR GH¿QH WKH construction and sonic properties of these chords, moving on to highlight a selection applications for both ‘Half’ and ‘Full’ Diminished across all musical styles. :H FDQ ¿QG HYLGHQFH RI D 'LPLQLVKHG WULDG in the Major scale: when extended to become a 7th chord, we see the Half-diminished or PE
arpeggio, or the complete Diminished 7th. We end with a musical piece based around a reharmonised minor blues sequence, two choruses in length, with all the concepts we have looked at expressed in both chord and single-note form. Once you have worked through these ideas, make sure you invent your own short etudes with a view to incorporating them in the music that you play. Make sure you support all this study and practice with an equivalent amount of listening and analysis. It’s vital to connect your body and all your senses when you create
My sister brought home some Gabriel-era Genesis records, and they had inverted and diminished chords, which made the songs extremely intriguing. Yngwie Malmsteen music, so your techniques are communicating clearly with your mind, applying the correct patterns and shapes and monitoring all this aural activity carefully as we go - so UHPHPEHU ¿QJHUVEUDLQH\HVDQGHDUV Theory tells us there are seven natural notes, labelled alphabetically from A to G, DORQJZLWKWKH¿YHDVVRFLDWHGÀDWRUVKDUS notes in the tone gaps between, with the exception of E/F and B/C, which are a semitone apart and therefore require no bridging tone. For many purposes these notes can be considered to be one and the same, so Bb and A# occupy the same fret location and are essentially identical. From a theory perspective, however, they serve different purposes, governed as they are by a number of rules related to scale construction, intervallic relationships and so on. The numeric value of an interval relates to the number of alphabetical steps needed govern its spelling. So, a minor 3rd up from C must be an E note of some kind, although in
this case the required distance dictates this QRWHQHHGVWREHÀDWWHQHGVRWKHFRUUHFW answer would be Eb and not D#. Likewise, a ÀDWWHQHG GLPLQLQLVKHG WKIURP&ZRXOGEH Gb and not F#. When we look at full-diminished 7ths we JHWLQWRWKHZRUOGRIGRXEOHÀDWV(VVHQWLDOO\ this is the same distance as a major 6th but, theoretically, if we were to use C as our root, the correct answer for a diminished 7th would Bbb and not A natural. The spelling for C diminished would be C, Eb, Gb, Bbb and not C, D#, F#, A, although they live in the same place on the fretboard and sound the same. When presenting parts containing GLPLQLVKHGKDUPRQ\RQHKDVWR¿QGWKH balance between readability and theoretical accuracy. The spelling of a note has great VLJQL¿FDQFHZKHQLWFRPHVWRWKHUHODWLRQVKLS between it and the surrounding harmonic and melodic options, so it’s good to know the correct spelling. But my band mates would kill me if I presented them with a score full of GRXEOHÀDWVGRXEOHVKDUSVDQGVRRQ especially if I’m expecting them to read this at ¿UVWVLJKW7KHUHIRUHDZRUNLQJFRPSURPLVH needs to be made to attempt to balance these two factors, so it’s not uncommon to see knowingly acceptable ‘misspellings’ in lead sheets, scores and transcriptions.
GETTHETONE 3
6
5
6
3
GAIN
BASS
MIDDLE
TREBLE
REVERB
As we’re dealing mainly with conceptual ideas here, you can use pretty much any guitar, even an acoustic, for the majority of the examples. I used a Gibson ES-335 throughout in Guitar Rig 5. As we’re dealing with quite dense harmonic material, you should approach all of the chord-based examples with a clean tone, although you can become more generous with the gain for the single-note licks and lines.
TRACK RECORD Django Reinhardt, Complete Recordings For Solo Guitar (Definitive 2005) is full of the ideas we’re looking at here. Yngwie Malmsteen is another great option for diminished ideas; check out his solo debut, Rising Force (Polydor 1989). To experience halfdiminished chords check out the jazz standard Stella By Starlight, which has been played by almost everyone in the world of jazz.
38 GuitarTechniques January 2015
RETNA / PHOTOSHOT
DIMINISHED RESPONSIBILITY
Mr Malmsteen likes his Diminished scales and chords
January 2015 GuitarTechniques 39
PLAY: THEORY
ON THE CD
FIG 1 TRIAD DEFINITIONS
TRACK 12-32
FIG 2 DIMINISHED EXTENSIONS
TRIAD/INTERVALC ROOT 3RD
5TH
7TH/INTERVAL ROOT THIRD
FIFTH
SEVENTH
Major Augmented Minor Diminished
G (Perfect 5th) G# (Aug 5th) G (Perfect 5th) Gb (Dim 5th)
Half-Dim Dim 7th
Gb (Dim5th) Gb (Dim5th)
Bb (Flat7th) Bbb (Double-flat 7th)
C C C C
E (Maj 3rd) E (Maj 3rd) Eb (Minor 3rd) Eb (Minor 3rd)
C C
Eb (Minor 3rd) Eb (Minor 3rd)
EXAMPLE 1 TRIAD DEFINITIONS
TRACK 12
We’ll ease into proceedings by defining the four types of triad: Major, Augmented, Minor and Diminished. As the Augmented triad possesses
a major 3rd this is considered as a variation on Major. Conversely the Diminished triad, with its minor 3rd is closest to Minor.
1a: Triad definitions
©»¡ºº
C
E B G D A E
10
C aug
8
9
8 9 10
Cm
9
9
10
9 9 10
10
Cdim7
8
8
8 8 10
b
7
8
10
EXAMPLE 2 DIMINISHED EXTENSIONS
TRACK 13
Our next example develops our three-note Diminished triad into a four-note 7th chord. This generally goes in one of two ways: the Half-diminished chord (R b3 b5 b7)’ sometimes referred to a ‘minor 7b5’, or the Diminished 7th (R b3 b5 bb7). A confusing thing here is that some players call this just ‘Diminished’, making no distinction between the three-note triadic version 2a: Diminished extensions
Cm7 b 5
©»¡ºº
E B G D A E
b
b
8
10
7
and the four-note 7th development. It’s good to aim for accuracy and precision when labelling chords but in practice often corners get cut, rather like grammatical rules that get relaxed in the spoken word. For our purposes we’ll use the correct titles of ‘Diminished’ for triad and ‘Diminished 7th’ (or the symbol ‘o’) to indicate the four-note version.
b b
6 7 8 10
6
b
Cdim7
b
7
8
5 7 8 10
5
10
EXAMPLE 3 HALFDIMINISHED VOICINGS
TRACK 14
All this theory is well enough, but how do these chords look, feel and sound on the guitar? This example shows a couple of musically effective ways to voice the Half-diminished chord on guitar. The first set is based around ‘drop-2’ voicings. This is a concept used in arranging to spread the notes wider and more efficiently, providing both a richer spread of sound and a more practical fingering than playing the notes in sequential order, root, 3a: Half-diminished Drop-2 voicings
©»¡ºº
Am7 b 5
3, 5 etc. The ‘drop’ part refers to which note is lowered by an octave, in comparison to the theoretically correct ‘close’ position. So, R b3 b5 b7 would take the second highest (b5) and put this on the bottom, leaving us with b5 R b3 b7. This can now be developed through each inversion and that’s what you see here. The remaining shapes display our Half-diminished through each of the five CAGED forms. This is far from exclusive, but it’s a good start. 3b: Half-diminished CAGED Am7 b 5
b
" E B G D A E
40 GuitarTechniques January 2015
8 8 8 7
7 8 10
11 10 12 10
3 1 2 1
5 4 5 5
4 5 5 5
b
" 5 5 6 5
8 8 8 7
11 13 12 12
13 12 13 12
DIMINISHED RESPONSIBILITY EXAMPLE 4 DIMINISHED VOICINGS
TRACK 15
Here we see a similar principle but this time we’re looking at the Diminished 7th. There’s no real need for five forms here though, as the symmetrical nature of this chord means that each subsequent shape is identical, shifted up or down in m3rds, and equally that any note in each shape could be 4a: Diminished 7th Drop-2 voicings
©»¡ºº
b
Adim7
b
E B G D A E
8 7 8 7
4b: Repositioned string groups
b
b
14 13 14 13
11 10 11 10
considered the root. Here we also see how a form can be repositioned to new string groups and finally we introduce the related voicing concept of ‘drop 3’, where R b3 b5 bb7 would become b3 R b5 bb7, spreading the voicing further while still representing each component note once only. 4c: Drop-3 voicings
Adim7
A dim7
b
17 16 17 16
8 7 8 7
13 11 13 12
5 4 6 5
b b
b
4 5 4
7 8 7
5
8
11 13 11
8 10 8
12
9
EXAMPLE 5 HARMONISED MINOR SCALES
TRACK 16
The purpose of this example is to highlight both Half-diminished and Diminished 7th potential in both the Natural minor/Aeolian mode and the related Harmonic minor scale. As you can see, the harmonised Aeolian features a B Half-diminished situated on its second degree, whereas the 5a: Harmonised A Aeolian/Natural minor
©»¡ºº
A m7
Bm7 b 5
1 0 2 0
3 2 3 2
E B G D A E
5b: Harmonised A Harmonic Minor A mmaj 7
E B G D A E
1 1 2 0
Harmonic minor has both Half-diminished on degree II and full Diminished 7th located on degree VII. Remember that the symmetrical nature of Diminished 7 means that this chord can be replicated also in minor 3rds, so that G#dim7 has the same notes as B, D and Fdim7.
C maj7
Dm7
E m7
F maj7
G7
Am7
6 5 7 5
8 7 9 7
10 9 10 8
12 10 12 10
13 12 14 12
E7
Fmaj 7
G #dim7
A mmaj 7
10 9 10 8
12 10 12 11
13 13 14 12
5 4 5 3
Bm7 b 5
Cmaj7 # 5
Dm7
3 2 3 2
5 4 6 3
6 5 7 5
9 7 9 7
EXAMPLE 6 THE 7b9DIM7 CONNECTION
TRACK 17
Continuing this symmetrical theme, we can see the Diminished 7th as a the b9, F, this gives us yet another minor 3rd. If we chain these minor 3rds substitute extension for Dominant 7b9. The notes in E7 are E, G# B and D. together, G#-B-D-F you’ll see a G# Diminished 7th. Therefore E7b9 and This gives major 3rd, minor 3rd, minor 3rd. If we expand this chord to include G#dim7 are essentially interchangeable. This example shows the connection. 6a: 7 b 9-dim7 connection
©»¡ºº
G #dim7
E7
6b: Moveable chord-voicings
E 7 b9
E 7 b 9 G #dim7/E
" E B G D A E
7
6 9
7
6 9
7
6 7
6 9
7
6
"
w
1 0 1 0
4 3 4 3
7 6 7 6
10 9 10 9
13 12 13 12
0
0
0
0
0
January 2015 GuitarTechniques 41
PLAY: THEORY
ON THE CD
TRACK 12-32
EXAMPLE 7 SANTANA/LATIN MINOR II V I/I VI II V
TRACK 18
Our first musical example places a selection of nifty minor II V I ideas in a Latin based setting derived from a decorated I minor, IV minor move in C minor. This is a typical sequence you might hear in a santana song. The Half7: Santana/Latin Min II V I/I VI II V
©»¡£º
Dm7 b 5
Cm7
‰
. . E B G D A E
diminished chord serves two functions here, firstly as the IIm7b5, as part of the II V I sequence; and secondly, as a VIm7b5, as part of a minor I VI II V, bringing the sequence to a close in the final two bars.
4 3 5 3
‰
.
4 3 5 3
4 3 5 3
G 7 #5
œ
œœ
6 5 6 5
6 5 6 5
‰
D m7 b 5
‰ E B G D A E 6
‰
. .
.
1 1 1
1 1 1
1 1 1
1
1
1
G 7 #5
œ
œœ
6 5 6 5
6 5 6 5
‰
Dm7 b 5
‰
‰ 4 5 5
‰
.
3 3 1 3
A m7 b 5
4 3 5 3
3
3 3 1 3
3
œ œ X X X
X X X
4 4 3
C m7
4 4 3
‰
. .
1
Fm7
G m7 b 5
C m9
3 3 1 3
œ
œ œ
2 3 3
2 3 3
3
3
‰ X X X
4 3 2 3
G 7 #5
C m6
4 4 3
8 8 7
8 8 8 8 7 7
3
8
8 8
‰
œ 6 5 6 5
5
C 7 #9
EXAMPLE 8 MANICS/IMAJ IIM7b5
TRACK 20
While the Half-diminished is generally associated with the minor II V I progression, it’s also possible to use this chord as a II leading to a Major I chord, in this case from Bm7b5 to A. This is considered to be a ‘deceptive
cadence’, as the resolution is not what you might expect, although both of these chords can be found lurking on the 2nd and 1st degrees of the Harmonic Major scale (R 2 3 4 5 b6 7).
8: Manics/Imaj IIm7 b 5
#
B m7 b 5
A
3
3
3
3
3
3
3
3
Dm/B B m7 b 5
Aadd9/C #
3
3
œ
œ E B G D A E
0
2
2
2
2
2
0
2
2
2
2
2
2
3
2
3
2
3
2
3
3
3
3
œ
3
3
3
2
3
2
3
4
2
2
0
2
2
4
2
2
0
2
2
0
2
3
1
3
2
6 0
7
1
Bm7 b 5
Asus2
#
3
3
3
3
3
(B m73b 5
3
3
3
3
Asus2
—
œ 3
E B G D A E
D m/B
A add9/C #
0
2
2
0
0 2
2
6
42 GuitarTechniques January 2015
0
2
0
2
2
2
3
2
3
0 2
3
3
3
3
3
2
3
2
3
4
2
2
0
0 2
2
0
2
0
2
2
0
2
3
1
3
3 3 2
3
gg —0
3 1 2
3
2
0 2 2 0
0
6 7
DIMINISHED RESPONSIBILITY EXAMPLE 9 RED GARLANDBIRELI LAGRENE/ #4 MINOR b5 ENDING/INTRO Another application for the Half-diminished is to create an ending or intro that connects chromatically from the #4 all the way down to the root. In this instance, C#m7b5 is utilised as a substitute for G, working our way down
TRACK 22
the chords chromatically until we achieve the required destination, with the sonic ‘glue’ provided by a high G root note consistently sounding within each and every chord.
9: Red Garland-Bireli Lagrene/ #4 min b 5 ending/intro
#
C #m7 b 5
©»¡™º
Cm7
B bm6/ 7
G add2/B
‰
‰
E B G D A E
8 9 9
8 8 8
A bmaj9
Am7
‰
8 7 7
‰
8 6 6
8 5 5
Gsus2
‰ 8 5 5
8 5 5
8 8 8
8 8 8
8 7 7
1
C #m7 b 5
#
‰
E B G D A E
G
#
2/
8
A bmaj9
Am7
‰
œ
9
6
Cm7
‰
7
6
‰
5
Gsus2
‰
‰
5
5
4
# œ œ 4
4
5
3
EXAMPLE 10 V7 TO I RESOLUTIONS
TRACK 23
The Diminished 7th chord can be viewed as an excellent pathway to modulation. As we’ve seen, any Diminished 7 voicing can be viewed from four different perspectives and therefore its associated 7b9 be seen to have
10b: V7( b 9) to I resolution options
10a: V7 to I resolultion
©»¡ºº Straight
G7
C
" E B G D A E
four potential outcomes expressed as both major or minor resolutions. Here we see how G#dim7 can be expressed as G, E, C# and Bb7b9, along with their subsequent resolutions.
3 4 3
5 5 5 3
3
G 7 b9
C /G
E 7 b9
C #( b 9)
"
"
3 4 3
5 5 5
3 4 3
2 2 2
3 4 3
2 3 4
3 4 3
4 3 1
4
3
4
5
4
2
4
3
A
#
"
#
F#
Bb7 b9
"
"
EXAMPLE 11 SECONDARY DOMINANT DIMINISHED CONNECTIONS For this exercise we explore the concept of secondary Dominant chords, where we essentially pre-empt select chords, or in the case every new chord in a sequence with its associated Dominant 7. We develop this idea
Eb
TRACK 24
further here by converting each Dominant 7 (R 3 5 b7) into a 7b9 (R 3 5 7 b9), or more accurately into its Diminished 7th cousin. This achieves a smooth transition from chord to chord, with tons of semitone motion in the bass.
11a: Secondary Dominant - Diminished Connections
©»ªº
E B G D A E
C maj 7
Dm7
E m7
Fmaj7
E m7
Dm7
Cmaj 7
5 4 5 3
6 5 7 5
8 7 9 7
10 9 10 8
8 7 9 7
6 5 7 5
5 4 5 3
1
January 2015 GuitarTechniques 43
PLAY: THEORY
ON THE CD
TRACK 12-32
EXAMPLE 11 SECONDARY DOMINANT DIMINISHED CONNECTIONS ...CONTINUED
C maj 7
A7
Dm7
B7
E m7
C7
F maj7
B7
#
E m7
A7
D m7
#
5 4 5 3
5 6 5
6 5 7 5
5
6
7
C maj7 C #dim7 Dm7
D #dim7
5 4 5 3
5 3 5 4
6 5 7 5
8 9 8
7 5 7 6
10 9 10 8
8
7 8 7 7
#
8 7 9 7
8 6 8 7
10 9 10 8
5 6 5
8 7 9 7
E dim7 F maj7 D #dim7
E m7
#
# E B G D A E
8 7 9 7
7 8 7
G7
œ
œ E B G D A E
TRACK 24
E m7
E dim7
G7
C maj7
5 4 5 3
3 4 3
5 4 5 3
œ
6 5 7 5
5
C maj7
3 4 3 3
Dm7
Ddim7
œ
3
C maj7
D dim7 C ma j7
œ
7 5 7 6
8 7 9 7
8 6 8 7
6 5 7 5
œ
6 4 6 5
5 4 5 3
6 4 6 5
5 4 5 3
10
EXAMPLE 12 CHARLIE PARKER BEBOP DIMINISHED LINES
TRACK 25
Here we see our first single-note line example illustrating similar concepts to Example 11. The underlying sequence is I VI II V in Bb (Bb G7 Cm7 F7), although our Diminished reharmonisation makes light work of these chords
with beautiful economy of motion throughout. Make sure you identify the connection between these melody lines and the underlying harmony. Once you are comfortable with the principles, invent some lines of your own.
12: Charlie Parker - Bebop diminished lines
B bmaj7
©»¡§º Swing
b
Bdim7
C #dim7
Cm7
‰
3 E B G D A E
10
8 10 7
10 7 8
9
7 10
9 11 8
10 9 7
8 10
8
8 7
10
9 12
11
11
9 10
1
Ddim7 G7
( )
Dm7
‰ E B G D A E
10
7
bœ
9 10
6
44 GuitarTechniques January 2015
9
#
10
Cdim7 F7
( )
Cm7
7
8
B bmaj7
b
10
8
7
C m7
‰ 7
8
B dim7
8
5
6
7
6 9
b
‰
10
7
8
Cdim7 F7
11
( )
B bmaj7
9
10
DIMINISHED RESPONSIBILITY EXAMPLE 13 YNGWIE MINORDIMINISHED CONNECTION
TRACK 27
The following pair of examples shows us how the Swedish neo-classical maestro Yngwie Malmsteen and the legendary jazz guitarist Wes Montgomery approach minor harmony by employing exactly the same G #dim7 E 7 b 9/G #
13: Yngwie - Minor-Diminished connection
(
Am
©.»¡§º
E B G D A E
device, albeit with markedly contrasting sonic results. Here we see how Malmsteen uses Diminished 7th arpeggios to approach each A minor triadic arpeggio, implying the transition from E7b9 (E G B D F) to A minor (A C E).
12 17 12
13
12 16 13
13
G #dim7
Am
15
14
13
15
12
8
10
8
10
16
7 10 7
9
9
9
7
10
1
G #dim7
Am
G #dim7
Am
Am
4
~. ~
4
œ
.
œ
~~
BU E B G D A E
8
5
5
5
5
7
4
6
4
6
5
8
5
7
5
4
6
5
7
15 (17 )
5 7
4
EXAMPLE 14 WES DIMINISHEDMINOR 6 CONNECTION
TRACK 29
In this example we see exactly the same principle, although using four-note Diminished 7th voicings resolving to minor 6, implying E7b9 to Am6 (A C E
14: Wes - Diminished-min6 connection
©»¡ º
A m6
E B G D A E
4 3 4 3
5 5 5 4
# 7 6 7 6
‰
‰
b
# 11 9 10 9
10 9 10 9
8 7 9 7
F#) and A7b9 (A C# E G Bb) to Dm6 (D F A B). For extra-added authenticity, try strumming through each voicing with the fleshy pad of your thumb.
#
12 10 11 10
n
11 10 11 10
# 10 9 10 9
‰ 8 7 9 7
. .
‰ 5 5 5 4
8
10
8
10
5
7
5
7
1
. E B G D A E
D m6
#
5 5 5 4 3
9 8 9 8
10 10 10 9
# n
12 11 12 11
‰ 13 12 14 12
##
15 14 15 14
#
#
n
‰ 16 14 15 14
17 15 16 15
16 15 16 15
15 14 15 14
‰ 13 12 14 12
‰ 10 10 10 9
n
. . 8 5
10
8
10
7
5
7
5
January 2015 GuitarTechniques 45
PLAY: THEORY
ON THE CD
TRACK 12-32
EXAMPLE 15 DIMINISHED FUNK PIECE
TRACK 31
We wrap things up with a 24-bar study, two choruses of a funky blues in the key of C minor, loosely based on an expanded version of the concepts we first visited way back in Example 7. The first 12 bars are exclusively chord-based, so select a warm sounding combination of neck and bridge pick pickup, although be ready to flick to the bridge and kick an overdrive on for the upcoming single-note solo. Each line here follows the underlying harmony and manages to outline
15: Diminished Funk (Rhythm)
©»¡º¢ Straight
the requisite harmonic colour with just the combination of lead line and bass. I’ve deliberately left a rhythm guitar/keyboard part off the backing to illustrate this concept. As always, these licks are just one of an infinite number of musical outcomes to fit these changes, so once you’ve learnt the solo as written, try to invent some similar ideas of your own to fit with the same chord sequence and backing. This is the only way to move on and make musical capital out of the lesson.
D m7 b 5
Cm7
... .
‰
D dim7
.. . .
‰
Gm7 b 5
Cm7
... .
‰
G dim7 E dim7
‰
Embellish with muted grace notes E B G D A E 1
E B G D A E
8 8 6 8
8 8 6 8
.. .. 8 8 6 8
8 8 6 8
œ œ E B G D A E
6 5 6 5
j
‰
6 5 6 5
6 5 6 5
8 8 8
8 8 8
9 9 10 10 10 10
9 9 10 10 10 9
9 10 9
8 8 8 8 8 8
8 8 8
8 8 8
8 8 8
8 8
8
8
8
10 10
10 10
10
8 8
8
8
8
D dim7
8 8 6 8
.. œ .. œ 6 5 6 5
6 5 6 5
10
... .
‰
9 9 10 10 10 9
9 10 9
8 8 8
8 8 8
8 8 8
8 8 8
8 8 8
10 10
10 10
10
8
8
8
8
8
A bdim7 Bdim7 C m7
‰
... . n
nœ
6 5 5
6 5 5
6 5 5
3 4 3
6 7 6
8 8 8
4
4
4
4
7
8
Dm7 b 5
Cm7
A m7 b 5
. .. . .
8 8 8 7 0
Ddim7
11 10 11 10
11 11 10 9 11 11 10 10
8 8 8 7
A bmaj/D
8 8 8 7
8 8 8 7
8 8 8 7
... . ‰
‰. 8 8 9 11
8 8 10 11
Cm7
10
10
7 8
14
46 GuitarTechniques January 2015
10
10 10
8
11
8 10
8 8
9
1/4
j
8
8 8 8 7
A bmmaj 7/D b
BU E B G D A E
8 6 8 7
.. ..
‰
9 9 10 10 10 10
A bmaj7/6
11 10 11 10
Am7 b 5
C m7
.. . .
‰
6
Dm7 b 5
8 8 8
Dm7 b 5
Fm9
‰
8 8 8 8 8 8
1/4
10 ( 12 ) 10 8
11 10 8
9 10
8 8
10
DIMINISHED RESPONSIBILITY EXAMPLE 15 DIMINISHED FUNK PIECE ...CONTINUED G m7 b 5
#
Gdim7
3
TRACK 31
n
Fm9
~~
9 10
8
11
10
11
7 8
9
8 11
8
9 11 9
8
11 9 9 10
D dim7
‰
~~
BU E B G D A E
Dm7 b 5
10 (12 ) 10
10
8 11
10
9
8 11
9
7
9
8
17
Am7 b 5
Cm7
D m7 b 5
n
œ
BU E B G D A E
11 8 7
10 8
10 (12 )
10
8
10 7
8
8
10
10 11
10 12
11
10 12
10
10 12
9
12 8
9
20
A bmaj7/6
A bdim7
n
E B G D A E
12 11 12
Bdim7
10 9 10
13 12 13
A m7 b 5
Cm7
b
11 13
A bmaj/D
BU 11 13 (15 ) 13 11 13 11
A bmmaj 7/D b
BU
13
11 13 10 12
12 10 8
10
10
8 10 9
23
8
8 (9 )
11
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January 2015 GuitarTechniques 47
PLAY: CLASSICAL
ON THE CD
TRACKS 33-34
J S Bach Minuet In G
Bridget Mermikides arranges and transcribes this relatively simple but beautifully constructed piece by Johann Sebastian Bach - or was it Christian Petzold?
ABILITY RATING
Moderate INFO
WILL IMPROVE YOUR
KEY: G TEMPO: 120 bpm CD: TRACK 33-34
Combining melody and bass Baroque repertoire Rest and free stroke
FOR THIS ISSUE’S classical guitar column, I’ve arranged the popular and well-known Baroque keyboard composition for solo, Minuet in G. We’ve attributed it here (as almost everyone does) to the great composer JS Bach but the credit is apocryphal. There is a strong consensus that the piece was not by Bach, and most probably by his contemporary, the German composer and organist, Christian Petzold. (The µ$QK¶QH[WWRWKHRI¿FLDO%:9 %DFK Works Catalogue) number indicates a piece of doubtful authenticity). The reason for this confusion is WKDWWKH0LQXHW,Q*¿UVWDSSHDUVLQ the second of two ornately decorated manuscripts that Bach gifted to his wife in the 1720s, collectively referred to as the Notebook (or Notebooks) of $QQD0DJGDOHQD%DFK7KH¿UVWERRN contained pieces entirely by Bach, but the 1725 second (and longer) set of manuscripts (often referred to as simply the Anna Magdalena Notebook) contained works by Bach
and also by various of his contemporaries. Anna Magdalena was a professional singer and copyist and this set of works is a wonderful insight into their musical family life with pieces Bach dedicated to her, as well as works he felt were worthy to include alongside them. The Minuet In G is a wonderful piece for beginning keyboard students, as it is written entirely in two single line voices in the friendly key of G major. This means that for once on our guitars we can play every note of the
The parts are singable, memorable and musically balanced; they also work together, outlining a satisfying progression.
SITTING POSTURE An important aspect of technique in classical guitar playing is adopting the correct sitting posture. The guitar is placed on the left thigh (for right handed players), which is raised by placing the foot on a footstool. The left knee should be pointing forwards and the right knee to the side so the guitar rests on the inside of the right thigh. The guitar should be positioned at angle where the neck is pointing slightly upwards, and the right forearm rests on the instrument’s larger bout. This should hold it securely in place and give ease of facility for both hands.
J S Bach: did he write our minuet or not?
original composition, in the original key. Those of you who caught our introduction to Part Writing (GT234) will see all the principles in here. Both parts are individually singable, memorable and musically balanced; but they also work together, perfectly outlining a satisfying harmonic progression. The melody is mainly in the upper voice, but is handed over occasionally (for example in bars 8 and 12) to the bass. Although this is a relatively rudimentary keyboard piece, and one of the easier guitar arrangements of this series, it will take work to keep the melody lyrical, the parts balanced and the tempo VXI¿FLHQWO\ÀXHQWWRJLYHWKHSLHFHLWV required lilting waltz feel. Refer to the tab captions to help you achieve this ÀXHQF\DQG\RX¶OOEHUHZDUGHGZLWKD wonderful piece that remains engaging despite it being close to its 300th birthday, and irrespective of who actually composed it! NEXT MONTH: Bridget arranges Satie’s Gymnopedie No 2
TRACK RECORD There are countless versions out there, but Robert Prosseda’s piano and Igor Kipnis’s harpsichord recordings (Decca 2008 and BMG 1965 respectively) demonstrate how phrasing and ornamentations might be used to decorate this melody. The latter also demonstrates the use of ‘notes inégales’ (uneven or ‘swung’) quavers.
48 GuitarTechniques January 2015
J.S. BACH MINUET IN G PLAYING TIPS
CD TRACK 34
[General] This piece consists of just two single line parts – melody and bass line throughout. We need to use the thumb on the bass line and fingers on the melody and try as much as possible to consistently alternate the picking hand fingers. For the first eight bars there is suggested picking hand fingering indicated in the tab to help you get started. For classical players it is quite natural to play rest stroke on the first beat of the bar in a piece such as this, so for example the very first D melody could be played rest stroke in combination with a free stroke thumb on the bass note G. All the rest of the notes could also be played free stroke. This combining of rest stroke and
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January 2015 GuitarTechniques 49
PLAY: CLASSICAL
ON THE CD
TRACKS 33-34
PLAYING TIPS
CD TRACK 34
[Bar 17] From bar 17 I have included more suggested fretting hand fingering to help you achieve fluency and a smooth performance. Although not an overy difficult piece to play, it’s always worth taking things slowly at
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50 GuitarTechniques January 2015
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LEARNING ZONE LESSONS GT238 30MINUTE LICKBAG
.....................................
54
Pat Heath sets six more challenges at easy, intermediate and advanced levels.
BLUES................................................................................................. 58 John Wheatcroft looks at the blues streak running through ZZ Top’s Billy Gibbons.
ROCK .................................................................................................. 62 Martin Cooper on Humble Pie’s axe heroes Steve Marriott and Clem Clempson.
VIDEO ................................................................................................ 66 Carlos Bonell continues his masterclass with a look at classical guitar tremolo technique.
CREATIVE ROCK ......................................................... 72 Jazz-metal wizard Shaun Baxter creates a selection of one-bar Mixolydian triplet lines.
CHOPS SHOP ..................................................................... 76 Andy Saphir focuses his attention on linear alternate picking to upgrade your chops.
BRITISH R&B ....................................................................... 78 WELCOME TO THE Learning Zone! A substantial part of what makes GT an interesting source to study from is the breadth and variety we offer, often in ways that aren’t initially obvious. Case in point: this month we’ve two theoretical topics that just so happen to be sold via the ‘shop windows’ of Shaun Baxter’s Creative Rock (page 72 onwards) and Pete Callard’s Jazz (page 84 onwards). The topics – Mixolydian and Whole-Tone – could have featured anywhere in the magazine but this time these two articles are penned by two of our A-list tutors who write regular generic columns. ,I\RX¶UHH[SHFWLQJ¿QJHUWZLVWLQJVOXUUHG lines (Jazz) or sweep and tapped 32nd-note shred phrases (Rock) you’d be mistaken though. Both tutors largely bypass their respective genre trademarks to provide solid, foundational information that ZRXOGVHUYH¿QJHUSLFNHUVDVPXFKDV metallers or funksters; the point being, their material is great to learn from whatever your persuasion. With Shaun’s examples, he’s laid out a CAGED approach so you deepen your fretboard knowledge in relation to the Mixolydian mode. As this is ideal for soloing with over dominant 7th chords, it makes sense for everyone to learn from the article, not just fans of virtuosic rock technique.
Certainly, dom7 loving bluesers absolutely require this knowledge, as do country, funk and indie-pop musicians too. The best aspect though is because it’s Shaun, your Mixolydian savvy-ness will be honed via one of the most organised tutorial approaches you could ever read. Turning to the Whole-Tone scale, this unique synthetic scale (ie not derived from a diatonic scale such as major) features only six notes (hexatonic), a tone apart. It can sound odd, partly due to its open nature (no semitones) and also because every chord from it has a b5 or #5; not a perfect 5th in sight! That said, there is much fun to be had learning and practicing it; check out the theory in Ex 2 and arpeggio fretboard mapping routes from Ex 5. While used in jazz (not to the degree you might think though), it can also be found in genres like metal and pop so, again, it should be on everyone’s list to check out. There’s no better time than now to have Pete unravel its mystical properties especially for you. As always, enjoy learning with the best tutors around, and I’ll see you next time!
Phil Capone meets the criminally underrated Hilton Valentine of The Animals.
JAZZ ...................................................................................................... 84 Pete Callard explores the symmetry and unique character of the mysterious Whole-Tone scale.
ACOUSTIC ................................................................................. 88 Stuart Ryan on the acoustic style of Canada’s multi-talented singer-songwriter, Neil Young.
READING MUSIC ........................................................ 92 &KDUOLH*ULI¿WKVFRQWLQXHVVHULHVRQUHDGLQJ music with a look at quarter and eighth notes.
ON VIDEO! See how Car
los Bonell uses his tremolo technique to great effect. Page 66
January 2015 GuitarTechniques 53
LESSON: 30-MINUTE LICKBAG
30-Minute Lickbag
Pat Heath of BIMM Brighton presents six more tasty licks at easy, intermediate and advanced levels. Go on, test yourself now!
Brought to you by...
EASY LICKS EXAMPLE 1 RICHIE SAMBORA STYLE
CD TRACK 35
Here’s a simple A major example, played with a little light tremolo, as Richie Sambora may well use. The chords are fleshed out with 6ths, as Hendrix
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EASY LICKS EXAMPLE 2 DIMEBAG DARRELL STYLE
CD TRACK 36
Given that it’s 10 years since we lost the great Dimebag (who I had the pleasure of meeting when I was 15!), here’s a riff influenced by his band Pantera.
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INTERMEDIATE LICKS EXAMPLE 3 VITO BRATTA STYLE
CD TRACK 37
Vito was the master of melody with White Lion. Here is how to make the most out of a major arpeggio. Whenever you learn an idea like this you can
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make it work so much harder for you by repeating it for all the chords in any progression. Use your second finger for the high tapped note.
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INTERMEDIATE LICKS EXAMPLE 4 NILE RODGERS STYLE
CD TRACK 38
Nile appears to be everywhere at the moment, and rightly so. Try this Chic style riff around an E9 chord that modulates up to F9. A relaxed but tight
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picking hand is required throughout - in fact it’s vital to cultivate this if you are to play funky styles. Use your fourth finger to introduce the 13th.
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54 GuitarTechniques January 2015
X X X X
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... throughout
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ON THE CD
LEARNING ZONE
30-MINUTE LICKBAG
TRACKS 35-40
INTERMEDIATE LICKS EXAMPLE 4 NILE RODGERS STYLE ...CONTINUED E9
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E B G D A E
CD TRACK 38
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ADVANCED LICKS EXAMPLE 5 YNGWIE MALMSTEEN STYLE
CD TRACK 39
To imitate Yngwie, go for a single-coil sound with lightish overdrive. For the fretting hand use the fourth finger for the high first string notes, second
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ADVANCED LICKS EXAMPLE 6 STEVIE RAY VAUGHAN STYLE
CD TRACK 40
Try this Strat line based on a classic I–IV–V chord progression. Keep the emphasis on the upstrokes and hammer-roll the licks off and on the open
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January 2015 GuitarTechniques 55
ZZ Top
ON THE CD
Brought to you by...
John Wheatcroft dances the Fandango with ‘un solo hombre’ who knows more that a thing or two about the blues - the wonderful Billy F Gibbons! we’ve hardly seen his face, buried as it is beneath the obligatory hat, sunglasses and super-long beard. It must have something to do with his wonderful tone, his exemplary command of time, groove and swing and his infectious vocal growl not to mention all those hook-laden rock and boogie blues songs that he and his band have written. Billy paid his dues treading the boards in his hometown of Houston, Texas. He met his future manager, Bill Mack Ham, backstage at a Doors concert way back in 1967. Gibbons’ band at the time, The Moving Sidewalks, had a local hit with the song 99th Floor. They opened on The Doors’ Texas tour, and after doing the same for the Jimi Hendrix Experience, The Sidewalks broke up and Gibbons and Ham contracted to form a new band. After recruiting Dusty Hill on bass and Frank Beard on Drums, ZZ Top was formed in 1969, and they’re still going strong, Billy F Gibbons: master of guitar well over four decades later! understatement 7KHEDQG¿UVWFDPHWR prominence with their third album, Tres Hombres, which contained the ABILITY RATING classic song La Grange, about the bordello that’s the subject of the musical The Best Moderate Little Whorehouse In Texas. However, they’re INFO WILL IMPROVE YOUR now best known for a series of groundbreaking videos aired on MTV during the mid KEY: A Blues Boogie/swing soloing V7KHLU¿UVW*LPPH$OO
TRACKS 41-43
half-century of guitar playing experience into two choruses of a blues, we’ve decided to restrict our gaze here to a pair of fantastic ZZ Top albums from the band’s early period that capture Billy’s playing at peak form: Tres Hombres from 1973 and its stunning ’75 follow-up, Fandango. Each phrase in our 24-bar study can be found within these tracks. Billy’s style is remarkably accessible, so if you’re new to picking out licks from recordings, if you’re armed with a reasonable knowledge of the Pentatonic shapes and with a fundamental grasp of technique, I’d urge you to dive in with these albums and start ¿JXULQJ VWXII RXW IRU \RXUVHOI ,¶P VXUH WKDW¶V
We tend to pay a lot of attention to tone. I think that obscene tones are Billy Gibbons quite acceptable how Billy learnt, along with going to gigs, OLVWHQLQJ UH¿QLQJ JHWWLQJ VRPH WKLQJV ZURQJ but making it work somehow. Learning is important too. It’s all a question of balance, DSSOLFDWLRQ UH¿QHPHQW WDVWH DQG VR RQ DORQJ with maintaining enthusiasm and dedication. You might wish to consider investing in some some software to allow you to reduce the tempo of a track while leaving the pitch unaltered, such as Transcribe or RiffMaster Pro. While Gibbons’ playing is harmonically and melodically straightforward and direct, the complexity is in the subtlety of his delivery, his rhythmic command and his expressive articulation. These are hugely important considerations for a musician in any style; there are loads of things to learn here so be sure to pay attention to detail and you’ll go far. As always, enjoy! NEXT MONTH: John looks at the bluesier side of the great Jimmy Page
GETTHETONE 8
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During this era Billy’s main squeeze was a ’59 Gibson Les Paul nicknamed Pearly Gates, plus various Fenders, so it’s more the way you play than what you play. We’re looking for a bottom-heavy full overdriven. A medium powered amp and overdrive pedal will do the trick, as will many modelling alternatives. Experiment with light palm muting on the bass strings. With high gain this’ll thicken the tone and put let you either accentuate this or make the transition toward pinched harmonics.
TRACK RECORD We’d recommend any of ZZ Top’s early albums. Why not begin with Tres Hombres (1973) and Fandango (1975) and then work backwards via Rio Grande Mud (1972) to the imaginatively entitled ZZ Top’s First Album (1971). For a comprehensive retrospective, including pre and post ‘huge beard’ eras you should search out Rancho Texicano: The Very Best Of ZZ Top (Warner 2004).
58 GuitarTechniques January 2015
LORNE RESNICK / REDFERNS / GETTY IMAGES
LESSON: BLUES
LEARNING ZONE
ZZ TOP EXAMPLE ZZ TOP STYLE SOLO STUDY
CD TRACK 42
[Bars 0-8] Our opening boogie-blues phrase in the key of A mixes both Minor Pentatonic (A C D E G) and Mixolydian mode (A B C# D E F# G) against the underlying A7 tonality (A C# E G). There’s nothing tricky from a technical perspective here, but interest comes from all the slick bends, slides and other expressive devices of which Gibbons is a master. There is a little bit of chromatic motion too, although it’s likely that Billy would view this as a ‘filled-in’ Pentatonic idea as so many blues players do - BB, Clapton, Hendrix etc. Essentially you can bridge any of the two-fret gaps with the semitone passing tone found lying between. So long as you keep going the ear will completely buy into this move, irrespective of the dissonance that
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this new interval might cause if used independently and not surrounded by its neighbouring stable tones. The intervallic string skips in bar 5 are reminiscent of the great Albert King. [Bars 9-12] Our turnaround features yet more interval skips which you could tackle with a purely plectrum based approach or with a combination of pick and fingers. The closing phrase in bars 11-12 requires two notes at once on non-adjacent strings, so hybrid picking makes perfect sense, rather than switching to fingers only, not only because it’s faster to make the transition but the tone will be more strident with overdrive - and easier to control muting. Plus it puts you in the right frame of mind for the licks that follow.
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January 2015 GuitarTechniques 59
LESSON: BLUES
ON THE CD
TRACKS 41-43
EXAMPLE ZZ TOP STYLE SOLO STUDY
CD TRACK 42
[Bars 13-16] When you think of tapping, Van Halen initially springs to mind. Well, Billy got there before him (although there were players several decades before using the technique also; check out Jimmie Webster’s 1958 album for further evidence). We’re after a kind of drunken and slurred sound here, with the vibrato coming from the fretting hand and not the tapping digit, which for me would be the second finger so that I can keep the pick in place between thumb and first. The hybrid picking idea in bars 15-16 sounds rather like a Hammond B3 lick transferred onto the guitar and you really need to be using a hybrid picking approach here. [Bars 17-20] There’s a repetitious pentatonic lick in bars 17-18 that rhythmically displaces in a 4-against-3 pattern. Ideas of this nature will withstand numerous repetitions, so we’ve cut things a little short for the sake of brevity. Billy often stretches these types of ideas over several
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choruses so occasionally it pays to be bold and stick to your guns. [Bars 21-24] Pinched harmonic have become something of a signature technique and a huge component of the Gibbons sound. In this earlier era of Billy’s playing they are still present but not quite so frequently exploited, proving that it’s good when researching a player’s style to visit different periods to gauge their development and progress. Anyway, here’s the trick to perfecting pinched harmonics. It’s essentially the same technique you’d use for palm muting although the wrist is slightly rotated clockwise; causing the thumb to cross the string you intend to pick at a right angle. As you pick downwards with just the tip of the plectrum the thumb should now make contact with the string, creating a node point and - hey presto! - a harmonic should now leap out. Experiment with different points along the length of the string to bring out different overtones. It’s fun to be random at times!
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LESSON: ROCK
ON THE CD
TRACKS 44-45
Humble Pie Martin Cooper checks out the influential guitar styles of Steve Marriott and Clem Clempson from the early-70s rock supergroup Humble Pie.
Pentatonic phrasing in his playing, as well as WKHLQÀXHQFHRIRWKHUVRXOEDVHGPXVLFLDQV DQGEDQGV&OHPSVRQLVDOLWWOHPRUHµURFN¶LQ style and there are Minor scale phrases and arpeggios in his playing, along with those tried and trusted Pentatonics. 2XUWUDFNVWDUWVLQWKHNH\RI' '()*$ %& DOWKRXJKWKHUHDUHDQXPEHURI non-diatonic notes and chords such as the Cadd9 and C5. When we get to the solo section
Humble Pie have influenced artists such as Kiss, Aerosmith, Stereophonics and Mr Big. WKH NH\ PRYHV XS D WRQH WZR IUHWV RQ WKH JXLWDU WR ( ( ) * $ % & ' DOWKRXJK again there are non-diatonic notes included such as D, G and C. 7KH ¿UVW HLJKW EDUV RI WKH VROR LV LQ 6WHYH Marriott’s style, and based largely on the E Minor Pentatonic scale (E G A B D), while the last eight bars is more Minor scale and arpeggio based, in the Clem Clempson style. &KHFN RXW WKH 3OD\LQJ 7LSV QRWDWLRQ DQG Get The Tone box for more information. NEXT MONTH: The Graham Bond Organization’s John McLaughlin
GETTHETONE 6
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BASS
MIDDLE
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REVERB
Marriott used Gibson guitars for a lot of the time with Humble Pie, including a Les Paul and an ES-335, while Clempson favoured a Les Paul and a Fender Stratocaster. Marriott also liked Gibsons and Epiphones with minihumbuckers and P90s, and was one of the first players to understand the merit of vintage guitars. To get close to the Humblie Pie tone a humbucking guitar is preferable, with a light amp overdrive and little in the way of effects - a touch of ambient reverb should be enough. Select neck or bridge pickup to taste.
TRACK RECORD The final Humble Pie album to feature Peter Frampton was Rock On (1971) and includes Shine On and a cover of Muddy Waters’ Rollin’ Stone. The first album on which Clem Clempson appeared is Smokin’ (1972), featuring Hot ‘N Nasty, 30 Days In The Hole and a cover of the Eddie Cochran classic C’mon Everybody. The band’s Greatest Hits album gives an overview of the various line-ups.
62 GuitarTechniques January 2015
ANDRE CSILLAG / REX FEATURES
LQÀXHQFHGRWKHUZHOONQRZQ artists including Kiss, Aerosmith, Stereophonics and Mr Big, who covered 30 Days In The Hole on their eponymous debut album. Humble Pie were initially signed to Andrew Loog Oldham’s Immediate Records and scored a Top 5 hit single with Natural Born Bugie, and Rolling Stone magazine described their debut album in 1970 as one RIWKH¿UVW+HDY\0HWDO$V the 70s progressed they also found fame in America. Frampton was subsequently replaced by ex-Colosseum guitarist Clem Clempson, and their sound continued to PRYHWRZDUGVDKDUGHUURFN style, having previously dabbled with more acoustic offerings before his departure. They disbanded in 1975, only to reunite in 1979 with changes to the line-up, but this later LQFDUQDWLRQODFNHGWKH success of the early 70s line-up of Marriott (guitar and vocals), Clempson (guitar), Greg Ridley (bass) Steve Marriott: and Jerry Shirley (drums). with customised Sadly Marriott battled LP Custom! ZLWKGULQNDQGGUXJVDQG GLHG LQ D KRXVH ¿UHLQKLVWKFHQWXU\(VVH[ ABILITY RATING home in 1991. It’s also worth remembering what a great Moderate singer Mariott was - he did vocal sessions INFO WILL IMPROVE YOUR including TV commercials and is rated as KDYLQJRQHRIWKH¿QHVWYRLFHVRIKLVHUD KEY: D/E Riff writing The incarnation of the band that we’re TEMPO: 142 bpm Lead and rhythm playing ORRNLQJDWKHUHLVWKH0DUULRWW&OHPSVRQKDUG CD: TRACKS 44-45 Theory knowledge URFNVW\OHDQG\RXFDQKHDUKRZWKLV ULIIEDVHGPXVLFKDVLQÀXHQFHGDQXPEHURI FORMED IN ESSEX in the late-60s by famous artists over the past four decades. ex-’Small Face’ Steve Marriott and ex-Herd Marriott’s playing is founded in the blues and guitarist Peter Frampton, Humble Pie gained there are also elements of Hendrix-style considerable success around the world. They
Brought to you by...
HUMBLE PIE EXAMPLE HUMBLE PIE STYLE RHYTHM PART
LEARNING ZONE CD TRACK 44
The rhythm part is perfectly straightforward to play, but nailing the feel between guitar, bass and drums is vital. Watch out for unwanted open
strings and don’t rush ahead of the beat. Its quite a hard edged style and sound, but also played with good old British Rock swagger.
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January 2015 GuitarTechniques 63
LESSON: ROCK
ON THE CD
TRACKS 44-45
EXAMPLE HUMBLE PIE STYLE LEAD PART
CD TRACK 44
The lead part begins on the bridge pickup for the first four bars, before switching to the neck pickup for the next four. Then its back to the bridge
pickup for the Clempson style part. Check out the notation for picking direction and which fingers to use for those phrases as well.
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64 GuitarTechniques January 2015
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LESSON: VIDEO
VIDEO
Carlos Bonell
ON THE CD
CD-ROM
PART 3
In the third of our exclusive classical masterclass video series, Carlos Bonell demonstrates his tremolo technique to Bridget Mermikides.
ABILITY RATING
Moderate/Advanced INFO
WILL IMPROVE YOUR
KEY: Various TEMPO: Various CD: CD-ROM
Tremolo technique Fretting hand positioning Hammer-ons and pull offs
The rest stroke, being a heavier stroke, is perfect for playing single-line melodies and also for producing the accent and the rhythmic shape. Continuing with the fretting hand, Carlos now shows us some useful hammer-on and pull-off exercises. These short exercises use all WKHFRPELQDWLRQVEHWZHHQWKHIRXU ¿QJHUV DQG¿UVWRIDOOVHSDUDWHWKHKDPPHU RQV DQG pull offs, before then combining the two. These are very much stamina building exercises and Carlos warns not to push the speed if you feel pain or aching in the arm. It’s a question of gradually increasing what you can manage and being aware and careful when increasing a speed and duration. These exercises are for building technique and stamina, and need to be practiced with care and attention to how you feel. Carlos warns that if you experience pain you must stop and rest. Little and often is the best way to build up strength in the fretting hand. NEXT MONTH: Carlos concludes his four-part masterclass with some professional tips
TECHNIQUE FOCUS ANGLING YOUR NAILS Subtle differences in tone can be achieved by altering the hand position; turning the hand so that the nails are more square onto the strings, for example, will create a thinner tone and is a way of bringing out the top note of the chord. Turning the hand the other way, so that there’s more angle of the nail against the string, will produce a warmer, fuller tone. A higher wrist and straighter thumb can help to make the bass notes sound louder.
TRACK RECORD Carlos Bonell has a formidable discography but if you would like to see him performing some of the best-loved classical repertoire he has an interactive performance DVD available. The menus allow you to view the performance by choosing to watch either hand, while the main footage allows a close-up of the techniques employed. It is available from www.carlosbonell.com.
66 GuitarTechniques January 2015
ROY STEDALLHUMPHRY
TREMOLO REALLY IS a great effect, and although you do often hear a similar sound coming from other stringed instruments - mandolin in particular - the way it’s performed on the classical guitar is unique. Tremolo is a way of creating a melodic line by repeating the same note in quick succession. On classical guitar this is GRQHXVLQJWKUHH¿QJHUVRI the picking hand and is combined with a bass line played by the thumb. This month Carlos takes us through the steps of playing an arpeggio using ‘p a m i’ across different strings and gradually bringing in the ¿QJHUVWRUHSHDWRQWKH same string (Ex 1 and 2). The idea is to achieve ÀXHQF\LQWKHWHFKQLTXH E\XVLQJWKHVDPHUHÀH[ action as with a repeated downwards arpeggio. Next Carlos talks about the positioning of the fretting hand. A classical guitar has a wide neck and wide spaces between the strings and, unlike electric guitar technique where the thumb reaches around and ‘grips’ the neck, a classical guitarist needs to keep the thumb lower down behind the neck WRHQDEOHWKH¿QJHUVWRUHDFKDOORIWKHVWULQJV more easily. Also to accommodate the larger fret board size, Carlos demonstrates how ‘pivoting’ the arm from the shoulder rather WKDQ¿VKLQJZLWKWKH¿QJHUVLQGLYLGXDOO\FDQ help to reach different chords shapes (see Exercises 3 and 4).
Carlos Bonell: demonstrates tremolo picking
LEARNING ZONE
CARLOS BONELL PT3 EXAMPLE 1 BUILDING TREMOLO TECHNIQUE
CD-ROM
Here is where Carlos demonstrates a method of working up to a tremolo by starting with a picking hand arpeggio. This is in four parts. First we have the downwards arpeggio starting with a bass note thumb and then the third, second and first fingers pluck the first, second and third strings respectively.
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Repeat until it feels easy. Next bring the first finger to pluck the second string so it is now plucked twice. Repeat the same fingering then pluck twice on the first string so finally all three fingers pluck the first string. Repeat several times and gradually increase speed to produce the tremolo effect.
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EXAMPLE 2 ADDING MOVEMENT
. .
CD-ROM
For this exercise Carlos adds a simple chord sequence with a moving bass line to the tremolo.
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January 2015 GuitarTechniques 67
LESSON: VIDEO
VIDEO
ON THE CD
CD-ROM
EXAMPLE 3 PIVOTING THE FRETTING HAND ARM
CD-ROM
Carlos shows how important it is to ‘pivot’ the fretting hand arm when switching from one type of chord shape to another. He explains that rather than ‘fishing’ around with individual fingers the actual arm position can help find the right angle for the fingers. This exercise uses a diagonal shape across
the top four strings and then mirrors that shape the opposite way, creating the need for an opposing arm position. He continues this switching of one shape to another all the way up the fretboard and shows clearly on the video what the arm is doing.
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EXAMPLE 4 SWITCHING STRINGS
CD-ROM
This is similar to the idea in Example 3 but complicates the previous pattern by switching strings. This is a great way to develop accuracy and make that
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EXAMPLE 5 TRILLS AND LEGATO
CD-ROM
This exercise introduces trills and Carlos demonstrates that a fair amount of effort is needed on the classical guitar when executing hammers and pull offs.
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68 GuitarTechniques January 2015
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VIDEO
LEARNING ZONE
CARLOS BONELL PT3
EXAMPLE 6 HAMMERONS
CD-ROM
Here Carlos uses only upward slurs (hammer-ons) and uses all fingering combinations. Do this slowly at first and build up speed gradually.
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CD-ROM
Conversely, this example uses downward slurs only (pull-offs) and again includes all fingering combinations.
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EXAMPLE 8 COMBINING HAMMERONS AND PULLOFFS
CD-ROM
Here we combine both types of slurs (hammer-ons and pull-offs) into groups of four notes. Exercise 9 does the same thing backwards.
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January 2015 GuitarTechniques 69
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70 GuitarTechniques January 2015
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January 2015 GuitarTechniques 71
One-Bar Triplet Lines Following his previous lesson, Shaun Baxter cranks up the pressure by halving the amount of time to play your Mixolydian vocabulary over each chord.
ABILITY RATING
Moderate/Advanced INFO
WILL IMPROVE YOUR
KEY: Various TEMPO: 107 bpm CD: TRACKS 46-48
Mixolydian knowledge Dominant chord improvising Playing over key changes
TO BE CREATIVE, it helps to know where you are going and to have such a clear grasp of what you have learnt that you can apply that knowledge in different contexts. In this series of lessons we are looking at developing a vocabulary of lines for each shape of the Mixolydian mode, and applying
that repertoire systematically in different keys all over the neck. The idea is not just to build your lick repertoire so that you have things to play, but also to have instant access to that vocabulary when improvising. To start with, Diagram 1 shows the ¿YH&$*('VKDSHVRI$0L[RO\GLDQ Once you have learnt one scale in all areas of the neck, it is possible to transpose this information to allow you to play from any other root note in the same manner. Ultimately, this leads to you being able to access any VFDOHXQGHU\RXU¿QJHUVDWDQ\WLPH wherever you are on the neck, purely by selecting the appropriate shape. The backing track for this lesson is devoted to a progression comprising DVHTXHQFHRI$&')* RQH bar on each chord). Basically, we go through the alphabet, but have taken DZD\WKH¿UVWFKRUGHDFKWLPHWKHUHLV only a semitone between two chords. There is very little you learn about C if you’ve simply moved up a semi-tone from B, and the same goes for E and F. By removing B and E, you still have to mentally acknowledge where they are in order to get to C and F; but, of equal importance, by omitting these two chords, we’ve ended up with a ¿YHFKRUGVHTXHQFHWKDWDOORZVXVWR SUDFWLVHDOO¿YHVKDSHVRIWKH&$*('V\VWHP in each area of the neck in a streamlined and HI¿FLHQWPDQQHU 'LDJUDPVKRZVKRZWKH&$*('V\VWHP can be used for each chord-type in order to SOD\LQMXVWRQHDUHDRIWKHQHFN*HQHUDOO\ the neck areas or positions shown correspond to the ones delineated by the various position markers on the fretboard. Try building up your approach to playing the full version of the exercise shown in the WUDQVFULSWLRQ DORQJZLWKWKHEDFNLQJWUDFN by doing the following: Start by playing each A Mixolydian line $6KDSH EDU $6KDSH EDU
ON THE CD
TRACKS 46-48
$6KDSH EDU $6KDSH EDU $6KDSH EDU 2) Then, take each A7 line and transpose it ODWHUDOO\ WRDQRWKHUSDUWRIWKHJXLWDUQHFN IRU&')DQG* QRWHWKDW\RXFDQXVH the backing track to practise this): Shift each A7 line up three frets for C7 Then up another two frets for D7 Then up another thre frets for F7 7KHQXSDQRWKHUWZRIUHWVIRU* DQG¿QDOO\XSDQRWKHUWZRIUHWVWRJHWEDFNWR A7. Note, as you ascend the fretboard, you PD\KDYHWRGRXEOHEDFNDQRFWDYH SOD\WKH VDPHWKLQJVIUHWVORZHU LI\RX¿QGWKDW\RX are running out of neck 3) Next, use the backing track to work in just
In order to be creative, it helps to know where you are going, and to have a clear understanding of what you have learnt. one position of the neck using a different &$*(' VKDSH DQG DVVRFLDWHG 0L[RO\GLDQ line) for each chord. 4) Then work through the length of the neck DJDLQ ZLWK WKH EDFNLQJ WUDFN SOD\LQJ D different line for each chord as you shift up through the positions in the same manner as shown in the transcription and demonstrated on the lesson audio. 5) Finally, you can also use the backing track to practise your own licks and lines for each of WKH ¿YH &$*(' VKDSHV RI 0L[RO\GLDQ NEXT MONTH: Shaun continues taxing your brains as well as your fingers!
GETTHETONE 6
7
5
5
4
GAIN
BASS
MIDDLE
TREBLE
REVERB
I’ll be keeping to a moderate blues-rock fusion tone for this series. I use a Fender Strat, so I always use a distortion pedal to boost the signal before it gets to the amp. Generally, try to go for 25% of your distortion from the pedal and 75% from the amp. You’ll find that the results are sweeter and more compressed (even and tighter sounding) than when getting 100% of the distortion from the amp. Typically, most amplifiers should be set as above. Note that I have chosen the ‘out of phase’ position between the neck and middle pickups: this helps to give the guitar a sweeter sound with more middle honk.
TRACK RECORD Like Robben Ford, Larry Carlton has a strong blues vein running through his style but with more sophisticated aspects too. My favourite Larry album is Friends (1983), but, to kill two birds with one stone, you could to listen to Larry Carlton With Robben Ford Live in Tokyo (2007). You may also like to know that Larry has now released a blues course as a set of educational CD-ROMs.
72 GuitarTechniques January 2015
DAVID LYTTLETON
LESSON: CREATIVE ROCK
LEARNING ZONE
ONE-BAR TRIPLET LINES DIAGRAM 1 A MIXOLYDIAN
DIAGRAM 2 REFERENCE GRID FOR‘CAGED’SYSTEM NECKAREA/POSITION 5TH 7TH FRET AREA TH
TH
7 9 FRET AREA TH
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NOTE: The shapes used on the line devoted to 15th – 17th fret area/playing position also apply to the neck-area or position an octave down, in and around the 3rd-5th frets. Play either side of the nearest root for chords with a flat or sharp root note. For example, Bb is simply played down a semitone from B.
CD TRACK 47
EXAMPLE [General] The main exercise for this lesson involves playing a set series of one-bar triplet Mixolydian lines non-stop, over the same chord-type in different keys in all areas of the neck. These one-bar lines have been derived by editing the two-bar lines that we looked at in the previous lesson. The point now is that you have half the time on each chord, and so need to think twice as fast. [Bar 1 (A7 shape #1)] As we saw in the previous lesson, the Blues scale (1,
b3, 4, b5, 5, b7) is often used as a grimier alternative or in close conjunction with Mixolydian. If taking the latter approach, the close interplay often just results in the two notes that are unique to the Blues scale (b3 and b5) being used as passing notes within Mixolydian. This first example starts with a double-stop bend whereby the 6th and 3rd intervals (tension) are bent up to the chord tones b7th and maj 3rd (resolution) respectively. Note how the rest of this line is composed entirely of chord tones (relating to A7).
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January 2015 GuitarTechniques 73
LESSON: CREATIVE ROCK
ON THE CD
TRACKS 46-48
CD TRACK 47
EXAMPLE [Bar 6 (A7 shape #2)] This line is composed mainly of two arpeggios, an A triad C# (3rd), E (5th), A (root), and a G triad, G (root), B (3rd), D (5th). It ends at beat 3 by targeting the major 3rd (C#) of the A7 chord. [Bar 11 (A7 shape #3)] The first four notes of this line comprise a chromatic
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ascent from a C# (the major 3rd of A7: here, played using a bend) to an E note (5th of A7) via D and Eb (4th and b5th). The following C note marks the introduction of a sour minor flavour taken from the Blues and Minor Pentatonic scales. The line finally resolves at the root of A7.
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74 GuitarTechniques January 2015
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LEARNING ZONE
ONE-BAR TRIPLET LINES
CD TRACK 47
EXAMPLE [Bar 16 (A7 shape #4)] This line is composed using four different notes of A Mixolydian: note that three of them are chord tones. [Bar 21 (A7 shape #5)] There are two possible perspectives for the first three notes of this final line; one could see them as two notes of A Minor
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Pentatonic and Blues scales, resolving to the 3rd of A Mixolydian (C#); the same three notes could be seen as a ‘double chromatic’ approach to the C# chord-tone: here, approached via a combination of notes a semitone above and below. Note that the remaining three notes are all chord tones.
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January 2015 GuitarTechniques 75
LESSON: CHOPS SHOP
VIDEO
ON THE CD
CD-ROM TRACK
Chops Shop In his quest to beef up specific areas of your guitar technique Andy Saphir has some prime cuts for you this month, using linear scale based alternate picking. Experimentation here can help you to develop a range of ideas and sounds. Technically, if this key or position feels like too much of a stretch, play the exercises further up the fretboard where the frets are closer together. Pick from the wrist, without tensing up, and keep the pick at a slight angle to the string.
THESE EXERCISES USE a three-notes-perstring method, which ultimately gives a more linear fretboard coverage than staying in one SRVLWLRQ $OWKRXJK WKH\¶UH DOO EDVHG RQ D ¿IWK string root C Major scale (C D E F G A B), the approaches used can be transferred to any type of scale, key, or position.
EXAMPLE 1 8TH NOTE PICKING
CD ROM
Here’s the basic concept of 8th note picking. Play downstrokes on the beat and upstrokes on the offbeat. Follow the picking directions and practise all
exercises with a metronome, playing evenly and in time. The triplets in bar 4 start with a downstroke on beats 1 and 3, and an up on beats 2 and 4.
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EXAMPLE 2 C MAJOR SCALE EXERCISES
CD ROM
The first two bars get you playing the first octave of the C major scale, the
third and fourth bars, the second octave. Try these as two separate exercises.
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EXAMPLE 3 TWO OCTAVES
CD ROM
This exercises combines the two octaves of Example 2 into a single fivestring, two octave scale. A great idea is to look at your picking hand instead
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LEARNING ZONE
LINEAR SCALE BASED ALTERNATE PICKING
EXAMPLE 4 8TH NOTE TRIPLETS
CD ROM
These 8th-note triplets require three 8th notes to be played in one beat, not two, so practice slowly at first. Note how the pick plays a downstroke on each new string, but alternates on the straight scalic descent. Try reversing
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this exercise with the repeated triplets at the top of the scale, descending. Or start with an upstroke instead of a downstroke, thereby giving you an ‘inside’ picking approach to each new string.
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EXAMPLE 5 TAKING IT FURTHER
CD ROM
This common sequence can be really useful for rock soloing. It’s tricky to get your fingers round to begin with, so a slow approach is a good idea at first.
When you’re okay with this exercise, try practising it using the full five-string pattern. Also try the same sequence with different scale patterns too.
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EXAMPLE 6 8TH NOTE TRIPLETS IN 3RDS
CD ROM
This is another 1/8th note triplet pattern which plays the scale in 3rds. As with all the exercises, a slow approach to begin with will be beneficial to
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The Whole Tone scale Join Pete Callard as he unlocks the secrets of a highly recognisable and surprisingly versatle scale that’s found in jazz, pop, rock and classical music. 7KH:KROH7RQHVFDOHLVFUHDWHGE\PRYLQJ up in tones, so creating a symmetrical scale Moderate/Advanced DQGOHDYLQJXVZLWKWKHIRUPXOD E ([DPSOHDQG'LDJUDP %HFDXVHRIWKLV INFO WILL IMPROVE YOUR LQWHUYDOOLFFRQVWUXFWLRQWKHUHLVRQO\RQH shape of the Whole Tone scale (although there KEY: Various Jazz Soloing DUHGLIIHUHQW¿QJHULQJRSWLRQVVHH'LDJUDP TEMPO: Various Harmony knowledge ,I ZH VWDUW IURP WKH VHFRQG QRWH RI WKH CD: TRACKS 61-66 Scale vocabulary scale, we are left with exactly the same scale as IURP WKH ¿UVW QRWH DQG VWDUWLQJ IURP WKH WKLUG THIS MONTH WE’RE going to be exploring QRWH JLYHV XV WKH VDPH QRWHV DV VWDUWLQJ IURP some of the theory behind, and uses for, one the second note, etc. As well as only one of the more enigmatic of scales - the Whole shape, this also means that there are only two Tone. The Whole Tone is known as hexatonic different Whole Tone scales - if we start on C, since it is made up of six notes (hexa meaning ZH FDQ DOVR KDYH &'E :KROH 7RQH VFDOH VL[ MXVWDV3HQWDWRQLFVFDOHVFRQWDLQ ¿YH EXW WKHQ ' :KROH 7RQH VFDOH LV WKH VDPH DV & QRWHV SHQWDPHDQLQJ¿YH :KROH 7RQH DQG '(E :KROH 7RQH VFDOH LV WKH VDPH DV &'E Whole Tone, and so on. To put it another way, as each LQWHUYDO LQ WKH VFDOH LV HTXLGLVWDQW any one of them can be considered WKH URRW DQG DV WKHUH DUH VL[ QRWHV LQ WKH VFDOH & DQG &'E :KROH Tone scales between them contain DOO QRWHV RI WKH &KURPDWLF VFDOH 7KH ¿UVW VWHS LQ XVLQJ DQ\ QHZ VFDOH LV WR ¿QG RXW ZKDW FKRUGV LW ZLOO ZRUN RYHU DQG WR GR WKLV ZH need to harmonise it (build a 7th FKRUG E\ VWDFNLQJ WKH VW UG WK and 7th notes). Harmonising the Whole Tone scale, we get the LQWHUYDOV DQG WKHUH DUH only six notes in the scale, so the WK QRWH ZRXOG EH WKH RFWDYH JLYLQJ XV DQ $XJPHQWHG WULDG ([DPSOHV DQG $V WKHUH LV only one shape of the Whole Tone scale there are no other modes to harmonise, but if we build another augmented triad from the scale’s second note, between the two chords we get all the notes of the Whole Tone scale, meaning that it can be seen as being built from two Thelonius Monk: augmented chords a full step the Whole Tone (Whole Tone) apart. pervades his Another interesting aspect of stunning music Augmented chords is that, as each
ABILITY RATING
ON THE CD
TRACKS 61-66
LQWHUYDOLVHTXLGLVWDQW DPDMRUUGDSDUW any one can be considered the root - so C Augmented can also be seen as E Augmented DQG*$XJPHQWHGDVWKH\FRQWDLQH[DFWO\ the same notes, and each of those chords FRXOGHTXDOO\EHVHHQDV&$XJPHQWHG7KXV any time we play an Augmented chord we can use any of the three notes as the root, and PRYHLWXSRUGRZQLQUGV ([DPSOH %HFDXVHRILWVV\PPHWULFDOLQWHUYDOOLF FRQVWUXFWLRQZLWKHYHU\QRWHFDUU\LQJWKH same harmonic weight and thus none standing out, the Whole Tone scale has a XQLTXHXQUHVROYHGVRXQGDQGLVIUHTXHQWO\ employed for eerie, ethereal, dreamlike effects. It’s widely used in classical music, and LVDIHDWXUHRI'HEXVV\¶VLPSUHVVLRQLVWLF sound world. In popular music, examples of
The Whole Tone scale is frequently employed for eerie, ethereal, dreamlike effects. Augmented harmony include the intros to 6WHYLH :RQGHU¶V
GETTHETONE 2
6
5
2
2
GAIN
BASS
MIDDLE
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You can use any sound that you feel is appropriate for this month’s examples. For a good classic jazz tone, use the guitar’s neck pickup with the tone control rolled off to around 3 or 4 (or take the treble down on the amp), and set up a warm clean tone on your amp. Thick strings work better, as does a hollowbody guitar, but neither is essential.
TRACK RECORD The Whole Tone scale is fundamental to jazz, from bebop to fusion, and of course it’s all over the classical repertoire, so our listening recommendations could encompass just about anything. Some music featuring the Whole Tone scale includes Debussy: La Mer, Pelleas and Melisande, Bartok: String Quartet #5, and Thelonius Monk: Genius of Modern Music Vol. 1 and 2.
84 GuitarTechniques January 2015
MICHAEL OCHS ARCHIVE / GETTY IMAGES
LESSON: JAZZ
THE WHOLE TONE SCALE DIAGRAM 1 WHOLE TONE SCALE SHAPE
LEARNING ZONE
DIAGRAM 2 THREE ALTERNATIVE FINGERINGS FOR THE WHOLE TONE SCALE
DIAGRAM 3 THREE USEFUL AUGMENTED ARPEGGIO SHAPES
EXAMPLE 1 A WHOLE TONE SCALE
CD TRACK 61
Example 1 features a common fingering for the Whole Tone scale in the guitar-friendly key of A, although due to the fact that every note is a whole
step apart, any of the notes could be considered the root. See also Diagrams 1 and 2 to help contextualise this.
#
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5 7
9
6
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8
6
9
7 5
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EXAMPLE 2 HARMONISING THE A WHOLE TONE SCALE
NO AUDIO
When it comes to harmonising the Whole Tone scale, we get the intervals 1, 3, #5 (in A, the notes A, C#, E#) which gives us an augmented triad. Aaug
1
2
3
#4
#5
b7
1
3
#5
...
January 2015 GuitarTechniques 85
LESSON: JAZZ
ON THE CD
TRACKS 61-66
EXAMPLE 3 VOICINGS FOR A AUGMENTED
CD TRACK 62
Here are seven suggested chord voicings for A Augmented.
#
E B G D A E
1 2 2 3 0
2 2 3 4 5
9 10 10 7
6 6 7
6 7 8 5
#
10 10 11 12
5
14 14 15 12
EXAMPLE 4 MOVING A AUGMENTED UP IN 3RDS
CD TRACK 63
Although we’re moving the same shape up a 3rd each time, you’ll notice that each chord consists of the same three notes - A, C# and E# - and as such any
of the notes can be considered the root. Try it with each of the chord shapes in Example 3 in turn.
##
#
E B G D A E
1 2 2 3
9 10 10 11
5 6 6 7
##w
13 14 14 15
17 18 18 19
EXAMPLE 5 A AUGMENTED ARPEGGIO SHAPES
CD TRACK 64
Examples 5, 6 and 7 feature three arpeggio shapes for A Augmented. As with the chords, all of the intervals in the arpeggios are equidistant so augmented arpeggios can also be moved up in major 3rds. You can think
œ #œ # E B G D A E
5
4
8
7
6
6
of these three shapes as options - you could equally just learn one of the shapes and move it around; or create more depending on which string you place two notes on. See also Diagram 3.
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6
7
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4
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EXAMPLE 6 A AUGMENTED ARPEGGIO SHAPE 2
CD TRACK 64
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86 GuitarTechniques January 2015
9
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8
7
6
10
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9
9
10
10
6
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LEARNING ZONE
THE WHOLE TONE SCALE EXAMPLE 7 A AUGMENTED ARPEGGIO SHAPE 3
CD TRACK 64
# #
E B G D A E
11
12
13
10
10
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13
13
14
14
10
10
11
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EXAMPLE 8 DESCENDING AUGMENTED ARPEGGIOS IDEA
CD TRACK 65
The Whole Tone scale can be spelled out with two Augmented arpeggios a tone apart. Example 8 features a Whole Tone scale pattern in A, moving
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down Augmented triads in whole steps, and with three-note groupings played in 8th notes to create a displacement effect. Try it ascending too.
.. . .
E B G D A E
# 5
6
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4
6
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EXAMPLE 9 ASCENDING WHOLE TONE PATTERN
CD TRACK 65
Here’s a four-note pattern moving up in whole steps.
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8
10 12
10 12 14 12 10
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EXAMPLE 10 ASCENDING WHOLE TONE PATTERN
4
. . CD TRACK 65
Here’s a similar idea, this time with a major 3rd skip thrown in and moving down. Aaug
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. . January 2015 GuitarTechniques 87
LESSON: ACOUSTIC
ON THE CD
TRACKS 67-68
Neil Young This month Stuart Ryan unveils the acoustic side of one of rock’s most original and enduring six-stringers - the maverick Canadian superstar, Neil Young.
Neil Young with his gorgeous Martin D-45
ABILITY RATING
Moderate INFO
WILL IMPROVE YOUR
KEY: D TEMPO: 107bpm CD: TRACKS 67-68
Swing rhythms Picking hand attack 6 and 9 chord recognition
ACCLAIMED FOR HIS work with Buffalo 6SULQJ¿HOG&URVE\6WLOOV1DVK
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GET THE TONE
Drop D tuning was a huge feature of grunge music; many thought it unique to the genre when in fact Young and others had employed it for years.
Neil Young is a big fan of the pearl-laden Martin D-45 - and Martin dreadnought models as a breed. Generally a largerbodied guitar is preferable for this as it will give you the big low end and sweeter treble tones you are looking for when strumming. I recorded this on a Froggy Bottom Model M.
NEXT MONTH: Stuart examines Mark Knopfler’s bluesy clawhammer style
2
7
6
6
2
GAIN
BASS
MIDDLE
TREBLE
REVERB
albums as they won’t deliver the pastoral acousticism you may be expecting (in fact they are loud and brash - but equally brilliant)!
88 GuitarTechniques January 2015
LIVEPIX
TRACK RECORD If you are new to Neil Young, MTV Unplugged is a great place to start. Harvest and After The Goldrush are classics, full of great and insightful songs. If gentle acoustic music is your thing, you may want to be cautious with some of Young’s electric
LEARNING ZONE
NEIL YOUNG EXAMPLE NEIL YOUNG STYLE
CD TRACK 67
[Bar 1] Aim for a ‘lilting’ feel throughout – in essence it’s a very relaxed, lazy swing feel that characterises pieces like this one. [Bar 3] Try attacking the open sixth string (low D note) with a bit more vigour than you may normally do so to really achieve the Neil Young effect.
D6sus2 Dmaj9 (omit3)
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0 3 4 0 0 0
0
1
# E B G D A D
Dmaj9 (omit3)
0 5 6 0 0 0
4
D6 (omit3)
0 2 2 0 0 0
0 2 2 0 0 0
0 2 2 0 0 0
0 5 6 0 0 0
0 5 6 0 0 0
D6
0 5 6 0 0 0
D6sus2
2 3 4 0 0 0
2 3 4 0 0 0
Dadd9
2 3 4 0 0 0
0 0
5 3 4 0 0 0
5 3 4 0 0 0
5 3 4 0 0 0
0 3 4 0 0 0
0
Dmaj9 (omit3)
0 3 4 0 0 0
0
Dmaj9 (omit3)
#
D6sus2 Dadd9
5 3 4 0 0 0
D 6sus2
2 3 4 0 0 0
0 0
This study can be played with fingers or a pick but I’d try for the former. [Bar 7] Part of the ‘pastoral’ sound that Neil Young is known for comes from the addition of softer sounding intervals of 6ths and 9ths in his playing, so if you like this sound learn as many 6, 9 and 6/9 chords as you can!
0 7 7 0 0 0
0 7 7 0 0 0
0 7 7 0 0 0
D6 (omit 3)
0 2 2 0 0 0
0 2 2 0 0 0
0 2 2 0 0 0
0 5 6 0 0 0
D6
0 5 6 0 0 0
5 3 4 0 0 0
0 0
5 3 4 0 0 0
5 3 4 0 0 0
5 3 4 0 0 0
Gmaj13
œ œ œ E B G D A D
0 3 4 0 0 0
0
7
0 7 7 0 0 0
0 7 7 0 0 0
0 7 7 0 0 0
0 5 6 0 0 0
Em7
0 5 6 0 0 0
2 3 4 0 0 0
0 0
2 3 4 0 0 0
2 3 4 0 0 0
2 3 4 0 0 0
Gmaj13
0 0 0 4 5 5
5
0 0 0 4 5 5
0 0 0 4 5 5
0 0 0 0 0 0
A9(omit3)/D
# œ œ œ œ œ œ œ œ E B G D A D
0 0 0 0 2 2
10
#
0 0 0 0 2 2
0 0 0 0 2 2
0 0 0 0 2 2
0 0 0 0 2 2
0 0 0 0 2 2
G6
0 0 0 0 2 2
0 0 0 4 5 5
5
0 0 0 4 5 5
0 0 0 4 5 5
0 5 4 5 0 0
D6/9(sus4) Em7
0 5 4 5 0 0
0 5 4 5 0 0
0 5 4 5 0 0
13
5
0 3 4 0 5 5
0 3 4 0 5 5
0 3 4 0 5 5
0 5 4 5 0 0
Gmaj13
œ œ œ E B G D A D
0 5 4 5 0 0
œ œ 0 0 0 0 0 0
0 0 0 0 2 2
0 0 0 0 2 2
0 0 0 0 2 2
0 0 0 0 2 2
0 0 0 0 2 2
0 0 0 0 2 2
0 0 0 0 2 2
5
0 0 0 4 5 5
0 0 0 4 5 5
0 0 0 4 5 5
January 2015 GuitarTechniques 89
LESSON: ACOUSTIC
ON THE CD
TRACKS 67-68
EXAMPLE NEIL YOUNG STYLE
CD TRACK 67
[Bar 16] Beyond Young’s favoured 6th and 9th chords make sure you ears get used to the sounds of suspended and suspended 7th chords as these are also a feature of Young’s earlier, country-tinged works. [Bar 19] By now you’ll have noticed that although we are only really dealing with D, G, A and Em type chords, all the movement up and down the second A7sus4
and third strings adds a lot more interest than simply strumming an open D major throughout. It’s a great device for any songwriter to be aware of. [Bar 22] There are only a handful of rhythms throughout this piece so just make sure you are aware of the syncopated sections (chords played off the beat) and those chords that change off the beat as well.
Dadd9
Dsus2/4
D
# E B G D A D
0 3 0 2 0
0 3 0 2 0
0 3 0 2 0
0 3 0 2 0
0 3 0 2 0
0 3 0 2 0
0 10 11 0 0 0
0
16
Dadd9
Dsus2/4
0 8 9 0 0 0
0 8 9 0 0 0
0 8 9 0 0 0
5 7 7 0 0 0
Dadd9
5 7 7 0 0 0
5 7 7 0 0 0
Dsus2
0 10 11 0 0 0
0
19
# E B G D A D
D6/9 (omit3)
0 0 2 0 0 0
22
0 8 9 0 0 0
0 8 9 0 0 0
0 8 9 0 0 0
0 7 7 0 0 0
Dmaj9 (omit3)
0 0 2 0 0 0
0 7 7 0 0 0
0 7 7 0 0 0
Dsus2
0 2 2 0 0 0
0 2 2 0 0 0
A7sus4
0 2 2 0 0 0
0 2 2 0 0 0
0 3 2 0 0 0
0 7 7 0 0 0
0 7 7 0 0 0
0 7 7 0 0 0
0
D D sus2
0 3 2 0 0 0
2 3 2 0 0 0
0 3 2 0 0 0
A6
0 3 2 0 0 0
0 3 2 0 0 0
0 3 2 0 0 0
0 3 2 0 0 0
A7sus4
5 7 7 0 0 0
5 7 7 0 0 0
Dmaj9 (omit3)
# E B G D A D
5 7 7 0 0 0
0 3 2 0 0 0
0 2 2 0 0 0
D
Dsus2
2 3 2 0 0 0
0 3 2 0 0 0
0 2 2 0 0 0
0 2 2 0 0 0
0 3 2 0 0 0
0 3 2 0 0 0
A6
# E B G D A D
0 3 0 2 0
0 3 0 2 0
0 3 0 2 0
0 3 0 2 0
0 3 0 2 0
0 7 6 7 0
0 7 6 7 0
0 7 6 7 0
0 7 6 7 0
0 7 6 7 0
0 7 6 7 0
0 7 6 7 0
0 3 0 2 0
0 3 0 2 0
0 3 0 2 0
0 3 0 2 0
0 3 0 2 0
0 7 6 7 0
0 7 6 7 0
0 7 6 7 0
0 7 6 7 0
25
A 7sus4
Dmaj9 (omit 3)
# E B G D A D
0 3 0 2 0
0 3 0 2 0
29
90 GuitarTechniques January 2015
0 3 0 2 0
0 3 0 2 0
0 3 0 2 0
0 2 0 2 0
0
Dmaj9 (omit 3)
D6sus2
0 5 6 0 0 0
0 3 4 0 0 0
0 3 4 0 0 0
0 3 4 0 0 0
0 2 2 0 0 0
Dsus2
0 2 2 0 0 0
0 3 2 0 0 0
0 7 6 7 0
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LESSON: ROCKSCHOOL
ON THE CD
TRACK 69-74
READING MUSIC PART 6
Quarter & Eighth notes
Brought to you by...
Join Rockschool’s Charlie Griffiths as he continues his 14-part series designed to up your musical game, get you reading music and potentially earning more! :KHQHLJKWKHLJKWKQRWHVDUHSOD\HGLQDURZ WKH\DUHW\SLFDOO\JURXSHGLQWRIRXUDQGIRXU Quarter-note rests are shown as vertical squiggles and eighth-notes rests look like a VPDOOQXPEHU5HVWVWDNHXSH[DFWO\WKH same time as notes, so they are counted in H[DFWO\WKHVDPHZD\7KHRQO\GLIIHUHQFHLV WKHDEVHQFHRIDQ\VRXQG7KLVVKRXOGQ¶W PHDQWKDW\RXGRQRWKLQJKRZHYHU µSOD\LQJ¶ WKHUHVWVLVMXVWDVLPSRUWDQWDVNLOODVSOD\LQJ WKH QRWHV DV WKH WHQGHQF\ ZLWK LQH[SHULHQFHG UHDGHUV LV WR UXVK WKURXJK WKH UHVWV Notes can be ‘tied’ together using a KRUL]RQWDOFXUYHGOLQH7KHUHVXOWLVWKDWERWK notes are ‘glued’ together to make a single,
Eighth-notes take up exactly half the time as quarter-notes and can be counted ‘1 & 2 & 3 & 4 &’.
Quarter and eighth notes are the basis of most simple music
ABILITY RATING
Easy INFO KEY: Various TEMPO: 60 bpm CD: TRACKS 69-74
WILL IMPROVE YOUR Notation reading Fretboard knowledge Employability!
ALSO KNOWN AS ‘crotchets’, quarter-notes are shown as a black dot with a single vertical stem attached to the left or right, in the same FRQ¿JXUDWLRQDVWKHOHWWHUVSDQGG7KHWLPH signature shown at the beginning of the stave KDVWZRQXPEHUVZKLFKDUHXVXDOO\7KLV WHOOV\RXWKDWHDFKEDULVPDGHXSRIµIRXU TXDUWHUQRWHV¶7KHVHIRXUTXDUWHUQRWHVDUH EHVWUHJDUGHGDVDQHYHQUHSHDWLQJSXOVHRID VRQJWKDW\RXQDWXUDOO\WDS\RXUIRRWDORQJWR 7KLVLVVRPHWLPHVFDOOHGWKHEDFNEHDWDQGLV
92 GuitarTechniques January 2015
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ORQJHU QRWH 7KLV XVXDOO\ KDSSHQV LQ WZR SODFHV ¿UVWO\WRFURVVWKHEDUOLQHDQG VHFRQGO\WRFURVVWKHFHQWUHRIWKHEDU,WLV FRQVLGHUHGEDGSUDFWLFHWRSODFHQRWHV through the centre line of a bar as it is much PRUHGLJHVWLEOHZKHQSUHVHQWHGDVWZR distinct halves, as if there is an imaginary EDUOLQHEHWZHHQEHDWVDQG 'RWVDUHDQRWKHUZD\RIH[WHQGLQJWKH YDOXHRIDQRWH3ODFLQJDVPDOOGRWDIWHUWKH QRWHLQFUHDVHVWKHYDOXHE\DQDGGLWLRQDO A dotted quarter-note is therefore the same as DTXDUWHUQRWHSOXVDQHLJKWKQRWHRUDJUDQG WRWDORIWKUHHHLJKWQRWHV 7KHIROORZLQJUK\WKPLFH[DPSOHVXVHD combination of quarter-notes, eighth-notes, UHVWVWLHVDQGGRWV7KHH[HUFLVHVDUHDOO SOD\HGRQWKHQRWH&ZKLFKZLOOVRXQG somewhat monotonous; this is deliberate, as it will enable you to concentrate fully on the rhythmic information without having to worry about changing notes; we’ll combine WKHVHVNLOOVLQDIXWXUHLVVXH8VHDPHWURQRPH or a drum machine to ensure that the H[DPSOHVDUHSOD\HGDWDFRQVLVWHQWWHPSR and feel free to increase or decrease the VXJJHVWHG ESP WR VXLW \RXU OHYHO NEXT MONTH: Charlie looks at 16th notes, more dotted notes, rests and ties
QUARTER & EIGHTH NOTES EXAMPLE 1 BASIC QUARTER & EIGHTH NOTES
CD TRACK 69
Set your metronome at 60bpm and play the first four quarter-notes using downstrokes. For the eighth-notes in the 2nd bar keep your pick
©»§º
moving at the same rate, but use up-stokes to add the upbeats. The same rhythm is repeated in bars 3 and 4.
EXAMPLE 2 COMBINING QUARTER & EIGHTH NOTES
CD TRACK 70
When combining quarter and eighth-notes it is important to keep your picking hand moving consistently so that downbeats are played with
downstrokes and upbeats are played with upstrokes. Keep the pick moving down and up even when you’re not actually picking a string.
EXAMPLE 3 QUARTER & EIGHTH RESTS
CD TRACK 71
Give them the same length as the notes. Keep counting ‘1 & 2 & 3 & 4 &’ so you can keep each note and rest even, as well as mentally keeping
‰
‰
track of your position in the bar. Notice that in bar 4, the quarter-notes are preceded by eighth notes and therefore start on the upbeats.
‰
‰
EXAMPLE 4 TIED NOTES
CD TRACK 72
Ties are usually placed across the bar-line or through the halfway point of the bar. Play the first note of the tie as normal and let the note
sustain through the second note without re-picking. Continue to count and keep your pick moving, in order to stay in time.
EXAMPLE 5 DOTTED NOTES & RESTS
CD TRACK 73
Dotted quarter-notes are equivalent to three eighth-notes and can only be placed in four different positions. In the bar 1 they start on
.
LEARNING ZONE
.
.
.
downbeats 1 and 3, so could be counted: ‘1 & 2’ or ‘3 & 4’. In bar 2, they start on upbeats: ‘& 2 &’ and ‘& 4 &’. Dotted rests are counted the same.
.
.
‰
.
.
January 2015 GuitarTechniques 93
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MUSIC REVIEWS
WHAT OUR RATINGS MEAN: +++++ Buy it ++++ Excellent +++ Good ++ Average +Bin it!
New Albums
A selection of new and reissued guitar releases, including Album Of The Month... ALBUM OF THE MONTH
WINTER IN EDEN
COURT OF CONSCIENCE Firestreak Media +++++ This five-piece band from the North of England shows that we’re as good as any when it comes to symphonic rock. Court Of Conscience is the band’s third album and arguably their best to date. Vicky Johnson provides driving and melodic vocals over the solid, down-tuned and dirty rock band that is the core of Winter In Eden. And although it’s not a new trick by any means, they show that they have the genre firmly in their grasp. For this album they are aided and abetted by the superb production and mixing talents of Ruud Jolie and Stefan Helleblad respectively, who are also responsible for the recorded sound of Within Temptation. They are obviously a great choice as the overall sound here is huge. As with all big production rock albums, it’s hard to pick out best songs and there’s little in the way of exposed guitar solos but what there is works well. Check out Before It Began and the riffy intro to Order Of Your Faith. All in all, a tight, varied and entertaining album from an excellent band.
REVIEWS BY ROGER NEWELL AND DAVID MEAD
THE CALL FEATURING ROBERT LEVON BEEN A TRIBUTE TO MICHAEL BEEN Lightyear +++ Despite opening for major acts like Peter Gabriel and Simple Minds, The Call never really managed to emerge from their cult status. But along the way they’ve gathered a huge following of fans and the respect of fellow musicians and producers. The band was originally formed by bassist-vocalist Michael Been and drummer Scott Musick in Santa Cruz in 1979, when they joined forces with guitarist Tom Ferrier and Greg Freeman. The Call did have a couple of hit singles - I Still Believe and Let The Day Begin - and produced seven studio albums before disbanding in 1990. A brief reforming in 1997 produced their
eighth album, Heaven & Back but then Michael became the sound engineer for his son Robert’s band, Black Rebel Motor Cycle Club until he sadly died of a heart attack backstage. Here Robert Levon Been has reformed The Call (with Jim Goodwyn on keys) in memory of his father for this performance Troubadour in Los Angeles, taking on the role as singer and bassist. It’s a fine performance and a very fitting tribute to a man and a band that should have received greater acclaim in the first place.
THE PINEAPPLE THIEF
MAGNOLIA
kscope Music ++++ You’re never sure what to expect from this well established band. They’re always diverse with their material and arrangements, and this album is surely one of their best. Catchy guitar
intros open the first two tracks, Simple As That and Alone At Sea, that lull you in gently but then both break into hard and forceful songs and you’re totally hooked. They make clever use of arrangements throughout, which tends to tip them into the progressive bag, but also include a heavier element not normally associated with the genre. It’s the juxtaposition of hard hitting instrumentals with soft vocals on some tracks that makes this something special, and it’s never shown to better advantage than on Breathe. The album is liberally laced with surprises, and the more you play it the more you discover. This is the 10th studio project from founder and guitarist Bruce Soord, and represents a new chapter for the band.
MATT WOOSEY
WILDEST DREAMS
Robar Music Records +++ Matt has managed to keep up a remarkable consistency of album releases - this is his seventh since 2008! His mix of acoustic guitar and vocals may cause him to be put into the usual singer-songwriter bag, but that would be unfair as he has so much more to offer than the majority of performers in the genre. Essentially this is a blues set but it’s got so much
energy and delivery and the songs are great too. There’s a good variation of styles; for instance the title track is set at a slower pace but with a steady and dramatic drum beat throughout, which immediately catches the attention; and there’s the soft and sultry Nowhere Is Home, which is positively delightful. When talking about Matt’s guitar playing names like Jimmy Page, Lindsey Buckingham and John Martyn are often mentioned, and indeed there are elements of these players’acoustic attributes on show, but Matt is very much his own man. He’s also a guitarist for today; original and dynamic rather than someone regurgitating the past.
BEN POOLE
worthy as an album release. Sonsisting of seven songs plus a bonus studio recording, Starting All Over Again, a well-constructed number using different musicians to complement the live material. Ben is from the UK, has a very personal way of singing and playing that belies his years, and he engages the ear in a most delightful manner. This a good set with a tight band that allows him to fully demonstrate his take on the blues and features original tracks running alongside more familiar material, although the arrangements of covers are like nothing you’ve heard by anyone else. Check out the sharp version of Otis Redding’s Mr Pitiful and the solo voice plus guitar section at the start of Billy Myles’ Have You Ever Loved A Woman. It’s definitely blues with a difference!
GARY MOORE
LIVE AT BUSH HALL 2007 Eagle Records ++++ Gary introduces this performance with the words “We’re going to do like a different set tonight. We’ll be doing some stuff off the new album, hope you don’t mind eh?” and true to his word it’s a very different set indeed and of course the audience didn’t mind! The album he’s referring to was in fact Close As You Get, and he’s using the same musicians here including Thin Lizzy’s Brian Downey on drums, so it comes as no surprise that there’s a nod to the legendary rockers in the shape of Don’t Believe A Word. It’s the usual rock meets blues set, including some great slide guitar work on If The Devil Made Whiskey. The slow blues of Trouble At Home, also from the ‘new’ album, allows him to tear waves of emotion from his guitar. With a fresh take on old favourites like Walking By Myself and Still Got The Blues, there’s a good mixture of material, so thank goodness someone decided to record the show. `it also reminds us of what a fantastic guitarist Gary was and how sorely he is still missed.
LIVE AT THE ROYAL ALBERT HALL BBC Licensed Recording ++++ As live recordings go this is one of the most intimate sounds we’ve ever heard. It was recorded for the Paul Jones Show on Radio 2 as part of the Bluesfest concert and first broadcast in October last year, and is definitely
January 2015 GuitarTechniques 95
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
i
1
m
OUR RATING SYSTEM 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.
a c
4 T
p
Advanced Moderate-Advanced
NUT & FRETBOARD
HAND LABELLING
Moderate
The fretbox diagram above represents the fretboard exactly, as seen in the accompanying photo. This is for ease of visualising a fretboard scale or chord quickly.
Here are the abbreviations used for each finger: Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), i (first finger), m (second), a (third), c (fourth).
Easy-Moderate Easy
READ MUSIC Each transcription is broken down into two parts...
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
œ
œ
2nd string 3rd fret
2nd string 1st fret
3
1
1E 2B 3G 4D 5A 6E
1E 2B 3G 4D 5A 6E
9 5 7
0
C
Em
œœ œœœ
œœ œœ œœ
# œœ œœ
D7
A m7
œœ œœ œ
0 1 0 2 3
0 0 0 2 2 0
2 1 2 0
0 1 0 2 0
TABBING Under the musical stave, Tab is an aid to show you where to put your fingers on the fretboard. The six horizontal lines represent the six strings on a guitar – the numbers on the strings are fret numbers. The two stave and tab examples show 4 notes and 4 chords; C (C major), Em (E minor), D7 (D dominant 7) and Am7 (A minor 7).
The left box shows an A minor pentatonic scale with added ta s signified by ‘T’s. Ab s a Cmaj9 (no 3rd) with harmonics at the 12th fret.
The diagram shows the fret-hand fingering for the A major scale (root notes in black). The photo shows part of the scale being played on the fourth string with first, third and fourth fingers.
2
x
TAPPING & HARMONICS
SCALE EXAMPLE
œ 4th string Open
MUSICAL STAVE The five horizontal lines for music notation show note pitches and rhythms and are divided by bar lines.
8
R
œ 3rd string 2nd fret
GUITAR TECHNIQUES: HOW THEY APPEAR IN WRITTEN MUSIC... PICKING VARIATIONS AND ALTERNATIVES Up and down picking
œ
Tremolo picking
œ @
œ
œ @
Palm muting
nœ # œœœ
œ bœ @ @
œ œ œ
Pick rake
n œœ œœ
PM E B G D A E
7
5
≥
≤
Q The first note is to be downpicked and the last note is to be up-picked.
96 GuitarTechniques January 2015
E B G D A E
@ 5
@ 4
@ 7
@ 8
Q 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
¿
œ œ PM
0
0
8 7 6 7
0
0
Q Palm mute by resting the edge of picking-hand’s palm on the strings near the bridge.
¿¿
w
Appeggiate chord
rake E B G D A E
5 X
X
X
Q Drag the pick across the strings shown with a single sweep. Often used to augment a rake’s last note.
E B G D A E
ggg ˙˙˙ gg ˙¿ ggg # ˙ ggg 00 gg 22 ggg X2
gg # ˙˙˙ ggg # ˙ ggg # ˙˙ ggg gg ggg
4 5 4 4 4 5
Q 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
œ
œ
œ
Note Trills tr
˙ (œ œ)
œ
tr E B G D A E
5
7
7
5
Q Pick 1st note and hammer on with fretting hand for 2nd note. Then pick 3rd note and pull off for 4th note.
~~~~~
E B G D A E
Slides (Glissando)
œ œ œ
b˙
Left Hand Tapping
œ
œ
5
œ œ
œ
~~~~~ (7 5)
8
Q Rapidly alternate between the two notes indicated in brackets with hammer-ons and pull-offs.
E B G D A E
≠
E
5
7
5
5
7
7
7
E
Q Pick 1st note and slide to the 2nd note. The last two notes show a slide with the last note being re-picked.
Fret-Hand Muting
6
Q 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
8 7 6 7
X X X X
X X X X
E B G D A E
QXm mute when hand.
i
r tti h
nt notes hand cking
BENDING AND VIBRATO Bendup/down
Re-pick bend
Q 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
Q Bend up to the pitch shown in the brackets, then re-pick the note while holding the bent note at the new pitch.
Q Bend up from the 5th fret to the pitch of the 7th fret note, then pick it and release to 5th fret note.
Q 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
Q 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
AH16
12
12
7 7 7
Q Pick the note while lightly touching the string directly over the fret indicated. A harmonic results.
E B G D A E
‚
‚ AH17
4
— PH
AH19
5
7
Q Fret the note as shown, then lightly place the index finger over ‘x’ fret (AH ‘x’) and pick (with a pick, p or a).
— —
E B G D A E
7
5
7
Q Fret the note as shown, but dig into the string with the side of the thumb as you sound it with the pick.
E B G D A E
‚
‚
TH17
TH19
5
7
Q The note is picked, then the whammy bar is raised and lowered to the pitches shown in brackets.
Scoop & doop
Q Scoop - depress the bar just before striking the note and release. Doop - lower the bar slightly after picking note.
‚
‚ œ TH17
4
Q 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
Q A previously sounded note is touched above the fret marked TCH (eg TCH 9) to sound harmonic.
CAPO Dive bomb
Q Note sustained, then the vib is depressed to slack. Square bracket used if a long-held note has new articulation applied.
Gargle
Q Sound the note and ‘flick’ the tremolo bar with picking hand so it ‘quivers’. Results in a ‘gargling’ sound!
Capo Notation
Q 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
Q The edge of the pick is dragged down or up along the lower strings to produce a scraped sound.
Violining
Q Turn volume control off, sound note(s) and then turn vol up for a smooth fade in. Called ‘violining’.
Finger numbering
Q The numbers after the notes are the fingers required to play the fret numbers in the tab below.
Pima directions
Q Fingerpicking requirements are shown at the bottom of the tab notation.
Right-hand tapping
Q Tap (hammer-on) with a finger of the picking hand onto the fret marked with a circle. Usually with ‘i’ or ‘m’.
January 2015 GuitarTechniques 97
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SO OULFUL CHORDS
Jon n Bishop shows how you can use exxtensions and inversions to create Steve Allsworth transcribes the Moody and Marsden parts of this rock classic and beetter and more soulful chord seequences q for your music. throws in a Vai solo for good measure!
VIDEO LESSON
ERIK SATIE
CARLOS BONELL
Gymnopedie No. 2
Classical Style - Part 4
Bridget Mermikides arranges and transcribes another French minimalist masterpiece for classical guitar.
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FOLLOW THE PATHWAY TO
BETTER SOLOING!
Has your lead playing reached a plateau where you don’t seem to be improving any more? It’s a common problem but fear not, as Jon Bishop has an arsenal of brilliant tips and tricks to help make you an all-round better soloist!
OTHER GREAT LESSONS Acoustic Legends Stuart Ryan offers insight into the clawhammer style of Mark Knopfler.
Rock Martin Cooper nails the styles of rock icon and Silver Bullet Band leader Bob Seger.
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