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r@ muiiiradarcom T h ep l r c ef o rm L rcsm r k e r s STEVEALLSWORTH OneofGuitarXltoptutors Steveisa long-timecontributorto TotalGuitar andmore recentlytoGTtoo,He'sone ofthe mostskilledgultarlstsaround.
SHAUNBAXTER Oneofthe UK! mostrespectedmusic e d u c a t o r s , S h ahuans t a u g h t m a n y who arenow top tutors.HisalbumJazz Meta washailedasamiestone. JONBISHOP Anew€rGTwriter,ACMsJonhas His a readymadea big impression. recentalbumAcousticSketches boasts ninedelightfultunesfromJon.
PETECALLARD Pete! manycreditslncludeLionel Richie,Annie Lennox,Chaka Khanand shirleyBass€yHeworksregularlyln the studio,onTVandin theWestEnd.
MARTINCOOPER A tutorat BIMIMBrighton,Martin'sRo.k columnsarewrittenwith styleand commitment.His2006albumStateOf TheUnionisavailableoniTunes.
GIANLUCACORONA Recommended to the Guitarlnstitute by Al Di Meola,Gianlucahascastiron credentialsHestudiedatGlTwith ScottHendersonand BrettGarsed,
MARTINGOULDING oneoftheUK's foremost modernrock specia lists, Maninakoteaches at ICMP guitarwithtop andplays British progresslve bandLlnearSphere. GUTHRIEGOVAN Undoubtedly oneoftheworld!most guitaristtGuthrie's outrageous abilities arealmostboundless. HisalbumErotic Cakes isoutnowonCornford R€cords... PHILHILBORNE TheUK!original techniq ueswriter, Phil reguladyp aysguitarin WeWill Rock YouinLondon'sWest End.Healso heipedtolaunch GTback in 1994. SCOTTMCGILL US born ScottrunstheBAHonscourse atBlMMBrighton.HisbookTheGuitar ArpeggioCompendiumandsoloCD Symptomlmperativeareout now
PLAYING THE GUITAR is about more than just learningyour parts and playing them right. Things happen outside ofyour control, and you have to cope or go down with the ship. Butbeing a working muso has neverbeenharder- ludicrous licensing laws mean gigsare simply dying out; ourroad systemis in chaos...and haveyou evertried playing abroad?I feel a rant coming on... Last weekend I did a festival in Denmark, with other groups including Marn.nlade and The Illegal Eagles.What fun, youd say.And yes it was. I havegood matesin both bands and it was greatto seethem all again. But flying... what a nightmare! Our tickets were paid for by the promoter 'express and, understandably,we were going'budget'.So it's so-called check-in'- an arrangementdesignedpurely for their convenience,not yours, and for which you pay a cool fzo! Then there's the indignity of removingjacket,belt, watch, keys,coins,phone,shoes...and getting through the virtual body searchto where we all get dressedagain,in public, with nowhereto sit to re-tie lacesetc. Dont get me wrong: better that than the unthinkable alternative. but it seemswe're treated more like cattle and lesslike human beingsbythe day. When we did finally get on the plane, after two hours ofqueuing and hanging around, it's an exchangerate of one Euro to the Pound, six Euros (ie six quid!) for a glassofplonk, and a burger that was lip-scalding outsideand stonecold inside!Wehad alsobeentold. "no instruments in
the cabin,evenin gig-bags".Soflightcaseswereorganisedbig,hearythingsneedingtheir owncheck-in- thenthree of theguyscalmlywalkedon withtheirguitars. Grrr! Thegigwasgreatthough,but eventhat had its moment. Id askedfor a FenderTwin - that greatfailsafe- and expectedtheusual Twin-Amp (with distortion). As I nipped onstagetotune, minutes beforewe were to go on, I discovered a Twin Reverb - different amp, no gain channel!Yikes!But in the nick oftime the brilliant backline tech magicd up a BOSSME-5o from nowhere. I plugged in, went with the first distortion patch that cameup - and breatheda big sigh ofreliel The Daneshad aball and madeus trulywelcome. We got on with the job in hand and had a greattime in the process.I thinkwe'lldrive next time though...
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DAVIDMEAD Ex editorofGuitarT€chniquesand Guitaristandthe countryt top author of tuitionbooks,David's2006album, Nocturna,receivedravereviews,
STUARTRYAN StuartisHeadOf6uitaratBIMMBristol, teachesatBathSpaUniversityand isa top soloacousticguitarvirtuoso.His d e b u t C D T h e C o aR s to a d , i s o u t n o w JOHNWHEATCROFT HeadOfGuitaratGuitarX in London, J o h nh a n o u t s t a n d i npga y e r i n a l l m o d e r n s t y l e s . Hi sea k o a t o pg y p s y jazzman,playingwith JohnJorgenson.
WEWILL|Bringyouthewodd's frnestguitartuitioneverymonth, fromthe mostinspirational oftutors. Ourtranscriptions willbe asaccurate possible, ashumanly ourlessons will yourskils andourcoverCD improve youwithhoursof p aying willprovide fun.Wewi I makeyoua betterplayerl
luly 2009Guitallechniques3
. CONTENTS . JULY 20oq .
TRA}ISGRIPTI(II{ JOURNEY
Don'tStopBelieving
36
Playthis Americanrockclassicfrom Neal Schonand hiscohorts a greatpub trackl
TRACK2I22
SPECIAT FEATURE #1 .
BENDIT!
WithGuthrieGovan
16
:
Prettymu( h every (tring bFnd you ave dreamt about and a few you didn't are highlightedin this excellenttutofial... TRACKs4 IO
SPECIAT FEATURE #2 PLAYTASTIER LICKS! Sophisticated bluesPt2
IRAI{SCRIPTI(II{ FERNANDOSOR
26 S t u d yI n A M i n o r
44
In thissecondoftwo articles. John By popular requestBridgetMermikides Wheatcroft dragsyouawayfromstraight returnsto tab a wonderful piecethat'salso chordsandpentatonics intoa jazzierworldl a greatexercisefor the fretting hand-. rRAfKS| 20 IRACK2]
REGUTAR FEATURES
;
WELCOME
ALBUMREVIEWS
Nevdecidesit'stimefora rantl
Thisrnonth's CDand DVDreleasesl
TALKBACK
T H E O RG Y O D M O T H E, R , .,.. , . , , . . . 9 2
Including StarLettetl\,4y FavouriteThings and selectedextractg f romthe GTforum..-
Sendallyourplayingposersandtechnical wandwaverl teases to our resident
INTRO
USERGUIDE
News,geat WhatStrings and more...
H o w t o u s eo u r t a b a n d n o t a t i o n
90
95
5 U 8 5 C R t P T t O N S . . . . . . . . . . . . . . . . . . . . .N . . .E. .X. .TM . . .O. .N. .T. .H. ......5. .9. . . . . ........ . . .......... 9 8 FreegiftsandGTdelivered to yourdoorl
4 GuitarTechniques lu y 2oo9
Checkout what'scomingin GTandevenask yournewsagentto orderit inforyoul
mUS|CfaCEl.com T h ep a c ef o r . n u s i c maIers
LESS0NS rNTRODUCTtON................... Whispering wordsofwisdomfrom hisowr flamedmaplepolpit,Jasonpontifrcates...
30-MtNUTE LTCKBAG ............................ A brandnewcolumnfrom BIMMBrighton's headof BAHonsdeoreecoorse. ScottMcG,,,...
BLUES
52
JohnWheatcroft looksattheplayingofKenny WayneShepherd
ROCK............................................... ........s6 MartinCoopermeetstwo iconsof Britishrock, thevenerable KeefandRonofTheStones!
GUITAR ESSENTIALS
60
JonBishopexamines doLrblestops
PROGROCK Gianluca Coronabringsto thefofean guitarhero SteveHillage undersung
METALBOOTCAMP
68
Regimental Sergeant MajorGouldingconcudes hisseries on a ternatepickingin metal...
cREATf VEROCK.................................. 2 ShaunBaxtershowsthat by extracting triads you canbecomea moreinventive player
JAZZ................................................ PeteCallard showsyouhowtocreateeven morebeboplinesfromfragments...
ACOUSTTC
86
StuartRyanon the incredible CliveCarroll...
GARYMOOREPtI
76
In a newthree-parter, Garyshowsussomeof hishottest/icks- tabbedfor you by PhilCaponel
:
. lu y 2009GuitarTechniques 5
Writeto:GuitarTechniques,30 Monmouth Street, BathBAl2 BW.
[email protected] Email: WHERE SBlooiill{', TIIGHAETP I'm a guitaristthat livesin the US. I ftequentlybuyyour magazine ftom my localnewsagentandhave beena faithful readerfor a few years.I haven'tbotheredwriting before,asyou usuallyhaveple[ty ofwhatI likein themagazine,but tie time hascomefor a request. What I'd reallylike to seeis a real in-depthlessonfrom when MichaelBloomfield'splayingwas at its best.His postButterfield days,faomthe Al KooperSuper Session,The live Adventures,The LostTapes,LiveAt The Fillmore - CarmelitaSkiffle,Don't Throw Your l-oveOn Me SoStrong,etc, This waswhenhis plalng really developed,Listento RobbenFord; that'swhereall the useof 3rdsand 6tls camefrom. I tlink that not only would manyreadersenjoy sucha lesson,but alsoyouwould be sufficientlychallengedlearning theselicks.A greatlessonalong witi Gibson'scurrent launchof his LesPaul,would helprekindle Whenit comesto rosewoodor maplefingerboards the interestin his plafng. on Fendersand FenderstyleguitarsI always DdvidKeeping thoughtit wasaboutwhich oneyou liked the look of. It hadn't occured to methat it couldaffectt}Ie ln Britoinbockin thelate'60smony soundandtie playability. ofthegreatAmecanbandtslipped Youmightfindthisodd,Butassomeone who, underoutrcdat- I suppose becoute despitenineyearsofplaying,hasneverowneda wehadThe Beotles, Creom, Pink Stmtor Tele,I'veneverbeeninterested enoughto FIoyd,Hendi x, Ttoffic,Fleetwood readreviewsaboutthem,orto trythemout. MoCLedZeppelin andsoon,itwos However,asmy olderguitar-playingmatesaid ptettyhardto impressus. Even yearsago:"You'llsuccumbin theend,trustme!" groupslikeTheDoorsondGrcteful And soit is tiat recentlythe Telebughasstartedto Deadwercdeemedosquite bite, slowlybut surely. undetgrcund,andwheteasin o UK Talkingto peoplethough,they'vebeenasking aboutwhetherI'd gothe rosewoodor mapleroute. And I don't know. Froma lookspoint ofview I dont rea\ like the so-called'butterscotch'finish with blackpickguardandmapleneck,but I'm told this isthe classic lookandtheclassic tone.I tlink I preferthe darkerlook of rosewoodandmaybein sunburstor oneof thecustomcolourslike lake Placidblueor CandyApple red. My questionis: asexpetts,doyouhavea
R0sEw00D 0nilAPtE!
poll of top | 00 guitotists the Dead's JenyGarciawouldunlikelyfrgue, in theStateshed bein thetopfive!The some applied with Michael Bloomfield- lonly head about the Paul Bufterfreld BluesBand be.au se he and JohnMayolldidanLP together.Agoin,wehod Clapton, Poge,Beck,Green(plus'honoroty
6 GuitaxTechniques luly 2009
tone or playability? Or should I simply go with my instincts and selectthe one I like the look of) I want a Vintage Reissue,so it's a reasonable outlay and I don't want to make a wrong choice. Mi.haelRidley Theseate decisionsthat you hove to moke yourself, Michoel,olthough wecon help norrowdown that choice bygiving a few pointe6. l've alwoys been dnwn to the look of tosewood too - maple olwoys seemedanaemictome,My firtt goodguitorswereo black'67Telekutved rcsewoodboard)ond white ea y'60s Sttot ('slob'tosewoodboard)ond pehaps l'm swayedby whdt I becameusedto backthen. Thotsoid,mony prcferthe twangiettoneofthe original mople-neckedFenderc. Rosewoodis da*el soundingandindeedFendetswitchedto thinner turved' rcsewoodboordsfrom the'slab'typeused |rcm 59to orcund'62 becausetheslabvetsion soundedtoo fat. OfaouBethat'swhat drcwssome playerstothemovet theit maplecountetpatts- and pehaps whytoday Fendetgenerclly go oll-fiople, or slab rcsewood, to offet ateater tonolchoice. Maplefeels diffetent too - especially with thinnel and lowervintagestylefrctwirc.ltcan be haderto bend sttings and apply vibnto, as the fingettip can't get enoughpurchaseunderthe stringthot\ being bent (soFendernow offersbiggerfrctsond flattel boadson severolStrotond Televe$ions).Rosewood absorbsfingermoisturctoo, wheteaslacqueted maplecanget slippetyif you sweat.Add thisto the 'smdllfret'problemand itcon becomeanissue, lflooks orcyout moin priority,go for the one that appeals.lntheVintogeReissue rcngeyou'rcstuck with old-style 7.25 fingetboatd rcdius ond littleftets, ond oftet playinga fewyou might ptefet the feelof flotterboads (foundon monyTimeMochinemodets - checkoutwww,FendeLcom fot modeldetails). Lookotwhot ployeByou like,whichoption they fovour,whottonethey get,and aim to tty out os mony differentmodelsinthe tungeasyou can - it'swhot goodguitarshopsarc thetefot!
STAR TETTER PRIZE Au ftiendsat SoundIechnalaqy plc arcdanatinga DigiTech HardWieStereoRevetb RV-7pedal ta thew teIat'ourStatLettel
Btit'Hendix) and so on,and I supposeit waso caseof "Sowhat?" whenweheardMichael. With hindsight, of .ou tse Eloomfreldhasbecofiemuch more ofo legendhetetoo.Hisgleaningof frrst-hond knowledge from the otigi noI Chicago grcatsgovehis ployingan outhenticitythatwe Btitt
simplycouldn'tget- ot leost,not in quitethesomewoy. Wehdvelookedat hisplaying (bockin Gf137)but it might wellbe worth examiningo trucklikeDon't ThtowYoutLoveOn Me SoStrcng (which, incidentolly I heard on UK rcdio only last week!),Keepthose eyespeeledon future issues!
q
|.ETTIR$ - andthe factthat BBhasbeen brought out ofretirement dueto nnnnler
lpma.,l
I'm not saying dont look at other styles - in fact I thinkthe balance is about right - but please don't bow to a few diehard dissidents and stat giving us Pat Martino and Allan Holdswodl every month instead. Cover them, please, but not at the expense of what I believe most readeN actually want! FrcnkRiley Bluesiundoubtedlyoneofthe most populafgultar playlnggenres
STICKII{G UPFOR BI.UES (again) I've noticeda few peopleknocking the amountof bluesyou featurein GT- on forumsetc.But I actually think that most ofyou readerc playguitar becauseof the blues influenceofclapton, Page,Beck, Green,Gilmour, Kossoff,Moore, SRVandsoon.Andthengoing backto the originals- the three Kings,BuddyGuy,Otis Rush, T-Bone,Johnl€e Hookeretc.I'm surethat's true. It ceftainlyis for me,and all of my guitar-playing fliends. Sure,we now all like Coldplay,Uz, The Killers, Oasis, KingsOf l€on, etc(asweloved The Beatlesand Stonesbefore them),but thelureof the r2-baris insidious;wejust adoreit andlove playingit. Also,much ofthe playiDgin other genresstemsfrom blues ceftainlyjazz andclassic rock (not socertainaboutmetal, which seemsto havelessof ablues and more of a European/classical bent) andsotie connectionis there.Andjustlookatthe popularityof JoeBonamassa, GaryMoore,Claptonwhenhe gigs
wondering:couldtherebe a featuretlat's somewherein size betweenOne-MinuteLick and someofthekarning Zone lessons,suchasCreativeRock? Sometimesit's niceto dip into tl1emagazinerathertlan having to immerseoneselfintosomething sodeep.Someone oncesaidthere shouldbe 'onedump' readsand 'two dump' reads(sorryto be so goss !) andGTis mosdytwo dump reads!Thisisn'ta criticism,justa <,,oopctinn
Cheprcr
DoleWotthy Weore vetyaworethat the bulk of p li kesbluesand rcck, our reddershi or rcckand blues.That'swhat out rcodetsurveystellusond whatwe gleonby talking to peopleotgigs, shows,eventsIikelGF,RGf confetencesand so on. Wealsohave vaious pocketsof rcadercwhoorc passionateabout Holdsworth,love PatMartino,odorcMichoelHedges, bow down otthe feetofSegoviaand soon.And lfeelit's out duty to try to catetfor theirneedstoo - we'rc rcallytheonlymagozinethot con. Ofcoursewehoveto keepthingt in proportionond so ofcou6eyou'll seemorc Claptonond Hendrixthon Holdsworthand Martino.Butyou WILLsee Holdsworthandyou WILL rtino,And,osI soy,whot other seeA/1a mogozine conpromite you that?
Assooftenhappens,it'slikewercad yout th oug hts,So,stort i ng th is month,BIMMBristol\ headofthe degreecouBe,ScottMcGill, is doing o sort ofexpandedOne-lllinuteLick featurcthat weTecallingThittyMinuteLickbag.]t lookslikeit's exactlywhot you'reofter-thrce lots of two licks,ateosy,intermediate and advancedlevels.Soyoucdnnot onlycheckyourabilityagainstthem eachmonth, but alsomonitot your Prcgrctsovertheyeor,Youshouldbe ableto doyour two licksin holfan hour,but it'salsoworth keepingtdbs on onyyou find too difficultat this stage,to seewhethetyou can tackle themlateron.Letusknow what you thinkofthe idea.
THIRTY-MIIIUIE I.ICKBAG
ScottMcGill bringsyou 30-lMlnute Llckbag
I loveGT.I've beenbuyingit for yearsandI can'twait to getmy teethinto the variousfeaturesI know I'll find in it eachmonth: greatbig articlesthat will teachme technioues andtheor,' brilliantly. But that's part of my problem.I alsolove Phil Hilborne'sOne Minute Lick andwas
UnclepsychosisAt themanent I have 9t on ny lele and 11san my Schecter Corsair(semihollaw 335alikewith bigsby)In thinkingobautgaingup to 11s an theTeletao $tauldI need to setheruplWhenlwent ta 1lsan theSchecteratech diditfat meand hedid thinqtlikeadjuttthenut tlats. I dan'treallyfan.y doingonythinq complicatednyselflAsa conprcnite, mdybel'd maveta 1As. ls thtslets likelyta tequircadjustmenls? Smokingbeagle At lang as thestrings fh ln theslats(whichtheyshouldda), 11swill hapefullyanlyneedl/4 ta a 1/2turn af the ttussrad clockwiseto Fendett cauntettheextrctenstan. shauldnevetbepldyed'/r'th lessthan lAsanywoy! TheN un betofrheBeastBuy another 9uitarta puttheman! KatsumoWtns rn)tvatel MattANJHlfyau wantedto be REALL'/ onalobautit,yau shauldreallyseta guitotupot haveitselupifyaueven just chanqestinq nanufacturetlThere .n.
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between n a kets.I petsanoIly wou ld a l w a y s 9 e t a t e c ht a d a a s e t u p : l ltied it nytelfa few tinetand nedly destroyedthe neck af my quitar! Apache.onmunietions Re:d iffetent stI i ng m a n u fa at utets ha ti ng d if fete nt s t r i n gt e n t i a n sf a t t h e s a n e g a u g e ; t h a t ' si n t e e r ( t n g l d i d n l r c d l i t et h a l Presurnablytt rneanssome rnoket are ' e a t i e t ' t ap l a y ^ t i t h a h i g h e tg a u ? e l .pt ))n tfnnppd.rpt
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Guitarist: DaveGilmour partsof something greater Album: LowLevelOwlVols1 & 2 byTheAppleseed Cast- individual - theessence Track: TouchMel'mSickby Mudhoney of grungedistilled to itspurestform Solo: James DeanBradfield's beastin Archives OfPainbvManicStreet Preachers
A m p : Fender Twin- theessence oftone! Effect: lbanez TubeScreamerto fattenup theessence,..
from Quotes the GTforumat www.musicrada r.com Movingfrom 9s to 11s...
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Lick: TheStoneGossard riffto Pearl Jam's Alivegetsmeeverytime Guitar: Gibson LesPaulCustombestlookerof all?
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WilbetWell,over the last thfee month.5 I've gane fron 9t to 10t dnd om naw a n 1 1 5a n m y D a n e l e c t r ca n d i t ' sf i n e l've actually been able ta |a,^terthe a c t i a r ts t n c ep u t t i n g l l s a n t a L t n d s Uncle psychosisSa, I finally qot raund to putting l0t an. Fitst irnprcssian: qood, but maybe nat dll that dift'etenl f r a m 9 s S u s p e cltm a y n e e d t o g a u p t o l 1 sb u t t h d t ' | 1n e e d t h e n u t a k e r c d ta i(llbe o te.hjabl Johnny Gaad link thdt, even far nan
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luiy 2009GuitarTbchniques 7
. GUITAR TECHNIQUES . JULY 20o9 .
LennonandHarrison exhibitions TWO EXHIBITIONS have recently beenorganisedto celebratethe livesofformer BeatlesJohn l€nnon and GeorgeHarrison. Lennon's ex-wive C)'nthia and son Julian, in association with The BeatlesStory, are prcsenting the world premiere of White Feather: The Spirit ofLennon, an immersive experienceof Lennon'sfamily story backedby previouslyunshared personalpossessions. The exhibitionhasj ust openedat The BeadesStory in Liverpool and gives visitors the chanceto expedencea unique narrationoflife with John by Julian and C)'nthia. Julian Lennonsaid:"John Lennonis an idol to millions of peoplewhogrewup loving his music and ideals,but to me he is the father I lovedand lost. I hope this exhibitionletspeoplesee
anotheraspectofhis life and our time together as a family. This collectionrepresentssomethingof
Beatlefans shouldnot mlss two indeDendent exhlbltionsin memoryof Johnand George
greatimpotance to us asit is part of our history. " Visit beatlesstory. com for further information. Another exhibition, For George, is being launched on August r. Basedat St Ceorge's Hall, Liverpool, the free exhibition will run for sevenweeks and feature the largest collection of George Harrison memorabilia to date. The organisers ale also staging two concerts in the Concert Room at St George'sHall on August r. Musicians will be flying in fiom Italy, lndia and the US to celebrate George'smusical legary. Tickets are €ro (ATconcession) and all surpluses will go to George'sown cha ty, The Material world Chaitable Foundation. Visit rdww. forgeorge,co,uk for fu rther details and www.wegottickets.com for concert tickets.
GuitarfestandDrumfest- morenews... ProfessionalMusicTechnolos/ haveannouncedthat their world-famous,multlawardwinning Drumfest and Guitarfest shows arc joining forces with The National Rock alrd Pop Festival, and this year are alsosponsoring StickIt To MS, a world record attempt (more than 600 drummers playingtogetherunder one roof!) in aid ofthe MS Society(Multiple Sclerosis).The combinedfestival will be commencing on the July ro
a GuitaxTeclniques July2009
at the NationalIndoorArena, Birmingham,and running until July 13. With big name performers and great brands, Guitarfest 2oog look set to be a great show. Everyone from Vox,Ibanez,Dean,Marshall, Yamaha,Boss,Blackstar, Washburn,Peavey,Musicman, MesaBoogie,Matin, Digitechand Fenderwill all be thereunder one roof and there will be exclusive show deals.The performers will
includeYngwieMalmsteen,Glen Hughes (performing with an all star Band),JenniferBatten,Doug wimbush (performing with Will Calhoun),Stonecods, Jerry Donahue and SarahJory, The show dates are as follows: EducationDay:July ro, Guitarfest: July 11,Drumfest:July12, StickIt To MS: July13.Click overto www. guitarfest.net,www.drumfest.netor www.stickittoms.com for fu rther information.
tunings:dontcha n hernative /Fljust loveem!Notcontent guitars withplaying tunedto EADGBE, thefolkiesandbluesers hadtocome upwithDADGAD andGBDGBD,Then someSmart Alecscameup withopenC majortuning(CGCGCE), openD (DGDGBD), crossnote A (EAEACE), (DGDGAD) Gsus2 and C15(CGDGCD).What a loadof oldtoshlEveryone knowsthere's onlyonewayto tuneyourguitar andthat'sEF#GABC. Orbetter still,don'ttuneit at alland youraudienceto introduce the joy of microtonal music.I perronally usea one-string. 88-fretguitartuned downto a (32.7H2). verylowC lt covers the audiospectrum inonego,butI dowishtheneckwasn'tthe lengthofa telegraphpole!
WHO?TheSearchers WHEN?15th Decemberl963 WHAT?PlayingoneoftheirearlycharttopperslikeNeedles And Pins... WHERE?ThankYour LuckyStarsTV show GUITARS: MikePenderplayeda Burns 12 stringorGibsonE5-345, whileJohn McNallylhandpaintedblackHofnerClub60 wasreplacedby a FenderTelecaster. DIDYOUKNOW?TheSearchers named themselves afterthe 1956JohnWaynefilm of
the samenameandoriginallystartedasa skimebandinl959.RhythmguitaristJohn l\4cNally wasthe founderandsoonbroughtin (Pender). fellowguitaristMile Prendergast (on home madeguitar)was TonyJackson conscripted on bassandthe hit making line-upwascompletedby the additionofchris Crummey(whochangedhisnameto Curtis). The Searchers werethe secondgroup,after TheBeatles, to'invade'America when Needles And Pinsenteredthe USchartin 1964.Ton,
Hatch(ofcfossroads, Neighbours and Emmerdale themetune fame)produced I earlysearchershitsandwrotetheir severa secondchart-toppetSugarAnd Spice,under the pseudonymFredNightingale.TodayThe Searchers arestillperforming, with bassist (akaFrancis FrankAllen McNiece, replacing nowfrontingthe bandand spencer Jackson) JamesfrompopbandFirstClass(replacing Pender) on leadguitarFounderMcNallyisthe onlyremainingoriginalmember.
One DerAcommonproblem uith tapped arpeggio ideoscan be how to changefrom one chord to the other in a smoothand nofural ualj . In this month's lick ue seeone usefulsolution in Lulich eachup-coming arpeggio is preparedfor bA starting it earlv in this caseon the last tuo notesof each preceding bar. Doing this makesfor Q se@,n/ess trcnsiAon betueen the chords uith no ncrstgjumps betu)eenthe root notes. Technicalla, aou needto take care to auoid hondling norse- r/ts rs bestachieuedby careful useof damping . You needto rememberthat it is not alualjs about the notesgou ore plolitlg : it is often obout stopping the otleslJoudon't want to sotjtd Jrom being heard asuell!
9 Juy 2009Guita/Tecluriques
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1953 €hi, F^o^(,L a'o( Mqs{oq producesthe Deluxecombowith newdiagonal FENDER Tweedcovering anda darkbrownclothgrille.This 1o-watt guitarand beautyhasa 12-inah Jensen speaketinputsfor microphone, sepatatevolumesanda tone controlwith chicken-head knobs.lt'shighlysophisticated with a negative jack. feedbackloopand anextraspeaker ELVISPRESLEY startsrecording,FrankSinatra begins recording atCapitol, thePlatters form,The FourLadssing lstanbul(NotConstantinople), LesPaul&lr4ary Ford,NatKing Cole,DorisDayand DeanMartinareregularvisitorstothe chartsbutit'sFrankie Lainewho setstheall-time uK record withAnswerMe,HeyJoeland lBeliev€ totalling 27weeksat numberone in thesameyearI Believe alonewas NumberOne for lSweeksl
lN RESPONSE to Fenderand Gibson's LesPaulsolid bodyguita15, GretschproducetheDuoJetwith a chambered, singlecutawaysolid bodywitha pressed blackar
DeepPurplehaveanrouncedtheir 2oo9 UKtour. Boastingthe talents oflan cillan (vocals),SteveMorse (guitars),RogerGlover(bass),Don Airey (keyboards)and Ian Paice (drums),the bandwill play a limitedrun ofivedates aroundthe countryin November Tuesroth, ManchesterApollo; Wedsrlth, GlasgowClydeAuditorium; Fri r3th, BirminghamLC Academy; Sat14th,London Hanrmersmith Apollo; Sun rsth, lrndon HammeIsmithApollo.
DeepPurplehavebeena power housein musicfor four decadesand havesold well over roo million worldwideincludinSinnumerable platinum and gold records.Deep PuryleIn Rockisthe biggestselling rock album of alltime! Ticketsare on salenon'andare available from www.kililive.com, www.seetickets.com and www. ticketmaster.co.uk. The Credit Card Hotline is on 0844 844 0444.Visit www.deeppurple.com for fu rther detailsand updates.
Picturesof Queen ProudCentraiis presentingan intimate photographicportrait of legendaryrock band Queen, launchedto coincide with the anniversary of the band'sfinal gig and showcasing,rcvealing neverbeforeseen rmages. Selectedfrom photographerPeter Hince'sextensive archive,this exhibitionis setto rcvealthe hugelyinfluential bandliom the uniqueperspective ofaclosefriend who spenttwo
decadesasHead ofCrewduring the heightofQueen'sfamewith accessto allareasof Queen'slifeboth on stageand off, Hince's work exposesthe band's personalfaceaswellas its public facadein an incrediblycandid manner,resultingin a photographicprofile unlike any other. The exhibitionruns ftom July 3(, until September 13. Visit for wrvw.proud.co.ukfor further infomation.
N A M E : M a xM i l l i g a nL L C M( T D ) TOWN:Eedford STYLESTAUGHT: Acoustic,blues,funk, 5oul,pop, r o c K , l a zazn oc o ! J n r r y SPECIALITY: Acousticiingerstyle L E V E L SB: e g i n n etro a d v a n c e dR. G Tg r a d e sf d e s i r e d . A s o t e a c ho n t h e D e g r e ec o u r s e a tC ] \ l PL o n d o n R E A D I N GF: o rt h e g i g g i n gg u i t a r i ! t C H A R G E S : 1 3p0e r l h r l e s s o n S P E C I A L : J Vcl ur so o m / n u do ; r e . o r d i n go f l e s s o n s T E L : 0 1 2 3843 8 8 8 0 E M A I Lm T ll
[email protected] W E B :w w w y o u t u b e . c o m / a c o u s l l c m a x
July2009Guitafleclmiques11
Learnfrom GT
PRSTonareGrand:fancyone of theseCorgeousbeasts?
tutorsat lGF...
You readtheircolumnsin the magazineeirchmonth, watchtheir comingsanclgoingsgig-nise,but llow aboutrctudly beingtarrghtb) son1eoftbern faceto face?Wellthe m nufactlrrershtve beenlTolou tecl perfectoppodunity presentsitself bv MIPAforten yenr's,and awards each!-earat the hrtemational in nrorethan fbrtv different GlritarFestilalin Bath.What s categorieswercgilen this)'ear.PRS more,there s still time to bookI hasbeennominntedfor a MIPA Guthliervill be doinga lalc evelyyearsincethe awardwas nrasterclass and performingwith createdin 2ooo and hasrecei\€d his fusion bandThe Fellowship; the BestElect c Guitar ofthe Year Jason'sfunk coursethis y'ea|.$ ill be accoladesirtinres, a feat held N ith .Iamiroquai'samazing unnratchedbYanyother guitar rh)'thm section;Dario willbe jazziDgit up; John Wheatcloft nlr nufacturer.Visit www. prsglLitars. would like yoLrto go'belond rock'; com foI iirfther details aboutPRSguitars. N{afiin Gouldingand Charlilr
PRS win MIPAaward acoustics The receDtFrankfiirt Musiknresse sawPaulReedSmith s ne$'line of acousticBr.litars recei\'ethc MusiknresseIntematioDalPress Award (MIPA) for BestAcoustic Guitar',Awardswere presertedat a ceremonyheldduring the show in Frankfurl on April2 and wcfe besto\'\'ed on thebest productsof 2oo8/2oo9 asvoled for b) jou ralistsfrcm morc than 10o internrti(nralma€iazines. Siandort musicalinstmment and cqnipnlent
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i:ll$.'*;run @*'*"* Gri{fithsrvill haretheir megametal headson; r'r'hileNer,illesband workshopclassMOJO willbe gettingdifferent groLLI)s togetherto play rockyhits from the past5() Iears!It'sgoingtobefirbI Forgctthe recession,inmerse tourselfin summel sun a:rclmusic in bcautifulgrctnds at Newton St l,oc ncar Bath.Checkout www.igi org.ukfof more info. See] oLLtherei
MARK McGUIGA Weaskafamous /-rrriirrict
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Do you playanother instrument well enoughto be in a band?lfro what, and have you ever done it? hnverl(lqL'd t br ell! l),rybd55and Norlrrq q!ite rkehJ!,rr.lyouroy/n lrl,rlucncy rnnge lfa music
or reader allthoseinane questions thatyoureally wantto Knowtne answers to.This month, reader MarkMcGuigan... Do guitarcablesleallymakea
ditference?Whatmakeare youl'? Do you have a type ofpi(kthatyou .( antlylrledo!t v.rriar!\ adbles by can't live without? l,ri)lr,l|rdGeorqc lhe ewa5aver_! I ni DLrf(4rlll(-.rlmrr. I r. r)rre!rue 5 qhld fterence bLrlr\)tenoughLo p i c k b u l r o r l t l s e d t o L r \ e p l r p e Irrltify rhcpricein rrryopinionhnrly To(.xt){ k\ b!rrheyf ererrstcd \t,llltdona edrton.( rl)lc!frornAvrir(l Youhavetogiveupall your pedals 5e!!i(ni qrenlcibl,r\i(nrherlloncy. butthree,what willthey be? ls there anyone'splaying (pastol ..rry h,rvr.,r w;h v,/.h, nWlr,rf rrrry.nd pJesent)that you're slightly jealousof? lxrAl a onencc.l\10wah, a IV]XH aofstdntyi|f,r/erlwlthhisverlal ty ({rv,lr ni I hi! io beGLrlhrir
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Yourhouse/3tudiois burning down:whi(h guitardoyou 5alvage? lvlyovr,),sLrhf ProSere! ! I ll s ! ffp y thebaslqu tir o\,/n What3yourfavourite amp and howdoyouset it? CarvI Ifq:r.y tefd 10h,rvfM1w th hiqhn il., lrebe irndprf!{,f(e !o lt c!tr thl(nrqlr.rnd thr toff i! ri aeand whatkind ofaction do you have on yourguitars?(Anyparti
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Bend it likethebest! guruGuthrie Ourresident technique Govan takes anin-depth lookattheelectric guitarist's secret weapon.ltltimeto masterthose bends... requiring a deft spot of repair work with superglue. Most readerswill findthe fasytoAdvanced examplesinOuch! this month'sfeaturea lot more manageable with .oogsor,o1os... The set-up ofyour guitar isjust as g Stringbending KEY:Various accura(y important asyour choiceof string gauge. TEMPO:Various t Fretboard fluidity The action makesa huge difference,for CD:TRACKS 4-10 instance.High actiontendsto impart a more 'singing' quality to a bent note, but it also ONE OFTHE MOSTtun thingsaboutthe meansyour fingershaveto workharderto elecLricguitaris the hugescopeit offersin keepthe string pushedagainstthe llet as the realmofstring bending.This technique they executethe bending motion. Failure to not only allows you to makea note glide from do tltis can result in the string slipping away one pitch to another, it alsofacilitates those from underneathyour fingertip mid-bend, subtle, microtonal inflections which can generatinga loud and unpleasantnoise make your plafng sound so much more which eventhe most ill-informedoflisteners authenticin eveD4hingfrornbluesto Indian wouldimmediatelyidentifuasa'mistake'. classicalmusic...and a goodstringbending The radiusofyour freLboarddetermines techniqueis an essentialcomponentofthe howlowyou cangetyour actionwithout waywe generatevibrato. impairingyourabilityto bend.Ifyou setthe Essentially,the abilityto bendstrings action very low on a '6os-style Shat, you'll greatly increasesthe amount of nuanceand find that the strings chokeout asyou bend detailyou canimpart to eachnote;it's stuff them towards the centreofthe fretboard, like this that makesthe guitar such a dueto its pronouncedcamberandthe wonderfully expressive instrument. resulting curvature in the frets, Playerswho incorporate a lot ofwidebendsin[otheir Set-upconsiderations style tend to favour a flatter fingerboard, Beforewe getstarted,let'slook at someof which alleviatesthis problem. the facto$ that can affect your ability to The height ofyour frets makesa bend strings. String gaugeis hugely significantdifference.Tall or Jumbo'frets important. It's welldocumentedt}|at heavier allow you to 'dig in' more with your stringsgeneratemoretone,volumeand fingertips, making it lesslikely that the string sustain, along with the additional benefit of will try to escapefrom your clutches offeringmorestabletuning,but in bending terms they make life a lot harder. StevieRay Vaughanwasundeniablycapableof performinghugebendson a whoppingsetof ,o13s,but it's worth bearing in mind that he had unusually strong hands - the result of many yearsof practice - and that evenhe would periodically experienceproblems.The sheerforce required to wrench t}te required pitch out ofa bent string would sometimes rip the very callusesfrom his fingertips,
ooo
JaHigh actionimpaftsa rsingin$i qualitytoa more bentnote,butit means yourfngenshaveto work harden to pushthestring against thefret tt
mid-bend.Ifyou'veevertried a guitar with a scallopedboardlike Fender'sMalmsteen Strat,you'll know that bendsbecomemuch easier,but tiere's lesswoodthereto stopyou squeezingtoo hard when you're trying to play a'normal'note.This canresultin out-of-tunechords,somoderatelytall frets seemlikea bettergeneralcompromise,.. Ifyour guitar has a vibrato systemthat allowsyouto pull up aswell asbenddowl, you'll find that you have to work a little harderto getthe requiredresultsEachtime youbenda string.you'reinadvertentl] stretching the springs at the back ofthe guitar;this causesthe bridgeto move, looseningall tle stringsslightly- including the onethatyou'retrying tobend.Adding an extraspdng,ora devicelike the Tremsetter, canhelpto alleviatethis problem- though it sgenerallybestto seekadvicefrom a qualified repairpersonbefore trying anlthing like this; tweaksofthis nature can havea drastic effect on the overall feel of yourwhammybar. The followingmay soundlike a silly, triflingthing, butit reallycanmakea difference;newstringsmakethe whole bendingexperiencealot morepleasant.If you'vehadthesamesetofstdngsonyour instrument for any length of time, they will most likely haveaccumulateda magnificent coatingofgrime: this causesa grindingeffect asyourstringrubsagainstthe fiet midbend,generatingmoreftiction and most likely doingsomeunnecessary damageto your fingertipsin the process.If regular stringchangesare not a realisticoption,you canat leastminimisethe problembywiping your strings down after every gig or practice session.,.
Tipofthe day Stringbendingis all aboutaccuratepitching. As soon asyou start stretching a string, the D
TMCKBEC0BD Grectstringbendingcomesinallformsof nuslc,&rt blu$,classicrockandcourrTarcsomoof lts favoudtehaunts! Playors to choat0|rtIncludo: Sng,olaeton, llondrk,AlbeltflngandllbonttlollinsinbluoqStowUkathorOoto),Davld ollmoun Paull(Gsoff (!nse),Santsna andAngus Young inclasslcmck;andAlbsltLo€, &tnt llason,YincoGill,Amos 0arrettandJofla0onahuo Inoountry. l6 Cuitallbclmiques luly2OO9
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fretscannolongerfunctionasyour musical roadmap,soyou needto relypurelyon your earsto tell you ifyou'vebent the noteexactly the right amountto achievethe desired eflect.Bendingastringis alot like singing:if you neglectto monitor the pitch ofeachbent notewith greatcareit canoftensoundmuch worsethan simplyplayinga wrong note.
Bendingtechnique Thekeyto painlessstringbendingliesin the positionofyour frettinghand.Ifyou're familiar with classicalguitartechnique, youll doubtless be in thehabitofarching your fingersand keepingyour thumb low downatthe backofthe neck- this isvery helpfulwhenexecutingwidestretchesand difficult chordshapes.Sofar. sogood, However,imaginebendingyourfirst string up beyondthe second;in this situation,it makesa lot moresensetobring yourthumb up towardsthe sixth stringside ofthebackofthe neck- orevenoverthe top, Hendrlx-style- thusbringingtheundersides ofyour freHingfinBerscloserto thestrings. This way,it's easierto getyour wholefinger 'undemeath'the bend,tlus reducing the strain onyourfingeltip. Ifyou canpersuade yourfingeftipto ftet thenoteandjust executethe tiniesthint ofa bendingmotion inthe requireddirection,you canthen enlist the helpof the restofyour fingerto pushthe string further. As you keepbendingfurther andfurther, you'll reacha pointwherethe easiest solutionis to lockthejoints ofyour finger into positionandthenusea twistingmotion ofthewrist to generatethe necessaryextm force.Ifit's hurting,oryou find that the stringkeepstrying to escapefrom underneathyour fingertip,simply experimentwiththe angleofyour wrist until you find a handpositionwhichallowsyouto put the wholeofyour fingerinto the bending motion,ratherthan ex?ectingthe fingertip aloneto do the bulk ofthework. There'soneothervariablehere:which paft ofyourfingertip areyouusingto fret the stdng?lf the stringis too closeto your fingernail,youcanveryeasilyendup hurtingyourself-and ifit's too far towards thejoint, you run an increasedrisk oflosing yourgrip on the st ng.The optimumbit of fingertipto useliessomewherein between thesetwo extremes.
Reinforcement Theolherwayto makea bendfeeleasieris to rememberthat'manyfingersmakelight work'. Ifyou're bendingwithyour third finger,there'sno reasonnotto useyour secondfi ngerfor reinforcement;you might evenwant to useyour first linger as additionalback-up.Ifyou're applyingawide bendto a notewhichwould normallybe frettedwith your first finger,there's generallynoharm in 'cheating'by sneaking down a positionandusingyoursecond l8 GuitallechniquesJuly2009
fingerto fret t}|e note,with the fiIst actingas reinforcement- essentially whatevergets thejob doneandprolongsthe life ofthose hard-earnedcalluseson your fingertips! Most ofthesefingeringdecisionsfeel quite intuitiveonceyou'veacceptedthat usingmultiplefingersfor bendingis a good idea;the onepossibleexceptionariseswhen you'rebendinga notefrettedby the fourth finger.(You'llseldomseeabluesplayer doingthis an1.way, buthardlya goodreason not to tryit.) Inthis case,you might find that supportingthe bendwith your third finger provesto be somethingofa hinderance,and thatthesetwo adjacentdigitsstruggleto $,orktogethereffecti\ely. gi\en Lhatoneis somuchlongerthan the other.Ifyou can relateto this dilemma,try usingyour second fingerfor reinforcementinstead.tuckingit
It Theoptimum hand position isnotso$neat for otherkindsof playingpafticularly whenwidestretches areinvolved tt underneaththethird fingersoit moves closertothe fourth (withthe thirdfinger no longerin contactwiththe stringsbutmther restingontop ofits neighbours.)This approachisn't for everyone,but some playel'scetainly find it helpful... In summary:the optimumhandposition for stringbendingis not sogreatfor other kindsof playing,particular\ whenwi
Muting Makingabent notesoundgoodisn'tjust a matterofbendingthestringflawlessly;you alsoneedtopayfocuson the notesyoudon't want anyonetohear.The fundamentalidea behindall stringdampingtechniqueis that the undersidesofyour frettingfingerscan mutethehigherstrings,while the palm of yourpickinghandkeepsthe lowerstrings undercontrol.BendingaDystringwill inevitabllbringit perilously closeto its neighbours(whichwill ringout, creating unwantednoise)soyorfll needtobe extra-vigilantto avoidhandlingnoiseand roguestringvibration, Bendsthatspana tomeor moreare particularlyproblematic.Whenbendinga
high string upwards,your fingertipmay find itselffrettinga noteon the adjacentstring. Tolookat a specificexample;bendingthe first string upbya tonewill oftendisturbthe secondandperhapseventhe third string; it's particularlyhard to keeptheserogue stdngsquiet,becausethe very actof bendingthefirststring hasactuallycaused your fi€tting fingersto touchthem. In this kind ofsituationit helpsto focus on exactlywhatyourfrettinghandis doing. Trytofrct the string in sucha waythat a sparebit ofyour fingertipis 'lell over'.If you'resupportingthebendwith another finger- andyou reallyshouldbe - this secondarydigitcanbedeployedinthe same way;just makesureyou'refretting with a part ofthe fingertipthat isn't too closeto yourfingernail,and all will be well.As you startto executethebend,theseefirabits of fleshcomeinto contactwith the nextstring andpushit up.witlroutactuallyfrettingit. This way,the secondstdngcansimply'ride' the bendwithout cominginto contactwith the stdngyou actuallywant to hear;the tips of thefingersactasa wedge.maintaining a smalldistancebetweenthe two stringsand naturallymuting the secondin the process. Bearin mindthat detailslike the above aregenerallylearnedby trial and error - and rememberedpurelybythe waytheyfeel- so I suspecta lot of playersnaturallydo thrs without givingit a moment'sthought.
Microscopic details Scrutinising the behaviourof my own fretting hand, it would appearthat I've unwittingly developed someotherquirla littlebending habitsto makemy stringdampingtechnique a litde cleanerandmorereliable.Dont worry ifthe followingsoundsconfusingor hardto replicate;yourown frettinghandwill doubtlessfind similarsolutionsofits own,if it hasn'talreadydoneso. I invariablysupportathird finger,first stringbendwith my secondfinger,but for somebizarrereasonmyfirst fingeroften decidesto restlightlyon allthree ofthe unwoundstrings.ralherthanvolunleering an1'additionalbendingsupport- it's not pushingdownhard enoughto fret anynotes, itjustsits there.I haveno ideawhat gaveit the ideato do this, but it doesseem padicularlyhelpfulfor keepingthe other stringsquietwhilst releasingthebend.I also findit helpfulto tiltthe pick awayfrom the stringsslightlyafter striking the note,sothe sideofmy thumb canreston the second st ng without the pick disturbingthe string I dowantto hear.To me,this feelsa little moreprecisethan usingmy palm, particularlywhenaddingheaw vibratoto a long sustainednote. Don't worryif the abovesoundshard to replicate;it'sjust somestuffthat happensto work for me.Theimportantthing hereis to developan approachthat workswell for you - yourhandswill instinctivelylind the most
$rR[{GBElt efficientwayto execute an) bendingidea. providedyou listento yourselfobjectively all elsewhen and focuson accuracyabove you practise.Listenfor consistency and makesureyour fingersaren'tcreating unwantednoisesastheybendthe strings. Thefollowingexamplesillustratea range Someare usable ofbendingapproaches. hopefully licks,otheIsarejust exercises; you'll havegleaneda few newideasonce you'veworkedthroughthem all.li
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over andplayed 1-I 7,arerelatively stralghtforward Examples Theideasinthisfirstsection, backtothemaintextforfurtherbendinghlnts&tips... eithera Dm7or D7#9chord.Refer t h e e a s i e skt i n d o f s t r i n gb e n d , E x a m p l el i s a s i m p l eb l u e sl i c ki l l u s t r a t i n g w h e r e a n o t e i s b e n t u p a n d t h e n d o w n a g a i n . Y o u ' l l h a v e tboe n d o r p u l l t h e
frfth string down towards th€ floor, otherwise you'llfall offthe edge ofthe fretboard!
AUBO^BUBOBUaD
This Jimmy Page-esquerepeating lick ir demonstratedforyou at both halfand f u l l s o e e d so n t h e G T C D d e m o - T h eu o w a r db e n d sh e r es h o u l db € e x e c u t e da s
fastas possible,to ensurethat the target pitch (A)is heard for long enough.
lle
BL.l AO _
l i t h i na n y H e r e ba m e t h o d i c aal p p r o a c hf o r e x p l o r i n gt h e b e n d i n gp o t e n t i a w b l u e sb o x l ' v ec h o s e ns h a p e2 , t h e p o s i t i o no f c h o i c e f o rp l a y e r sl i k eA l b e r t K i n 9 .Y o u ' l ls e et h a t t h e t a r g e tp i t c ho f e a c h b e n d i st h e n e x t n o t e u p i n t h €
BU
BO
BU
BD
BU
BD
BU
BO
,f D m i n o rp e n t a t o n i c5 ( a l e( D ,F ,G ,A , C . ) T h e f i n g e r i n gi sn d i c a t e dh e r e a r e o c o u r s em , e r e l ys u g g e s t i o n sf e e lf i e e t o u s e w h a t e v e r c o m b i n a t i oonf f rn g e r si t takesto oet the iob done.
BU
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BU
BD
BU
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BU
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19 lu y 2009GuitaxTechniques
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Herethe bendsarea littletricker.asyouneedtomuteeachsvingin its bent cleanestsoundin9 results.Youmight llke the Jjmi-esque'fakebend'atthe end state,ratherthansimplyreleasing the bend.Experimenting with minute ofthe ljck.Incidentally,there'sa lot of mileage in thejudicious u5eofslides as in the positioningofyourfingertipsshouldhelpyouto achievethe an alternativeto wide Dainfulbends!) adjustments
The idea here is to evoke Rit
rest on the string for a moment priorto striking jt, to create the staccatoeffect indicated bvthose littledots abovethe note heads...
Thiseffectisoftenusedby bluesplayers, who knowthatyoucanmakea note toundmoreauthentic bysqueezing it slightlysharpandthendampingthe stringbeforereleasing the bend,soeachofthe notesmarkedwith a 1/4-tone
arrowgetsgradually sharperandthenstops.Dont do thisto everynote-the b3work5particularlywell,andthe b7canalsobeeffective(FandC in the keyof D)butbending therootnotedightlysharpwillsound hideousatbest!
Thisoneis reminiscent ofJanHammerdoinghistrickwiththe pitch,bending wheelonhiskeyboard. Essentially it'sth€samenoteoverandoveragain (Fatherledenthusiasts will perhapsrecognise elementsofthe immortalMy LovelvHorseheae,..) but it alternates betweena 'normal'fretted G anda G
bent upfrom twofrets below.The rhythm changesin the second bar, so that the releaseofeach bend effectivelydisappears(hencetheomission ofBD markings)-Releasethe bend whil5t simuhaneou5lyhammering on; you might find this easiestto do ifyou bend downwards (towardsthe flood.
BU BD
BU BD
AU BD
BU BD
BU BO
'scream Thislickshowshowyoucanplaybentandunbentversions ofthe samenote
20 Guita/Ibdmioues Julv2009
{[fii{l{l$il [:$TRll{G Btl{Dll{G wah-wahlTo bendthethird-stringnotein bar2 withoutaffectingthe second string,channelmost ofthe forceofyourbendintothe verytip ofyourfirst finger,sothe padglidesoverthe secondstring.Or...justgofor itl
Herea bentnoteiscombinedwith a normalfrettedone,but nowthetwo pjtchesaredifferent.Playedcleanit might 5ound'countrt but stepon the it becomes suitableforany kindofrockormetal-tryit witha overdriveand D7{9
isoneofthoseideaswhichstaftedout asanaccidentor Thislickillustrates a traittypicaI of playersrangingfromSRVtoRichieKotzen. bendup.I suspectthis presumably bluesplayerscametorealisethatit actuallysoundsgood Trypre-bending thefirststringslightlysoyoucanfeelthesecondstringunder 'mistake'; yourfingertip, thentry to trapthe two stringstogether,pickthembothand ifit's doneright!
BU (catch parlia B slrnq) BD
slow aU
sow BU (carch B string)
inthethirdstringbeingsimultaneously bentup second stringupa toneresults onesemitone. Onceyou'vebecomeaccustomed to the generalfeelofthis,the tabshouldproveeasyenough.
*catch B strtng at top ot bend
oneis basedon whatJimidoesover 12thwhilst bending up a tone, lfdone right, this gives a little extra characterto ThisoneisdefrnitelyHendrix-inspired.This the firstlV(hord in RedHouse, andthe trickisto slidefromthe 11thfretto the an otherwise all-too-common blues bend! D7$9
Examole 13takesthesimultaneous slide/bendideaa littlefurtherThefi rstBD markingshouldbe released duringthat slideupto the loth fret,renderingit
i n a u d i b l eP. r a c t i s e t h e b e n d ,t h e n i n t o t h e s l i d e f i r s tb e f o r ea d d i n go n t h e f i n a l Deno,
D7{e
BU
BD
21 iu v 2009GuitaxTechnioues
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H e r e w e s h o w t h e i d e ao f s l i d i n gd o w n a f r e t a n dt h e n b e n d i n gu p a f r e t .M i k e L a n d a uf a n sw i l l d o u b t l e s sr e c o g n i z e t h e i d e a . T h i sp a f t j c u l a lri c k d r a w so n t h e
notesofthe D Dorianmode(D,E,t G,A, B,C)but you mightpreferto thinkofir asa blueslickwihaddedflavouring.
D7$s
Pink Floyd buffswillsurely knowthis bend already.Theinterestingbit here i5 the ?ompound'bend in beat 4 ofth€ first bar,where the staning C atthe l3th f r e t i s b e n t f i r s tu p t o D a n d t h e n a l l t h e w a y u p t o E .N o t eh o w t h e s t r i n gi s
releasedin between thesetwo bends;this seemsto add more definlflon and drama to the lick...
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BU,!tNBUBDBU
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This exerciseis basedon a fouFnote pattern, applied to each note jn turn of the D Dorian mode. (lfyou've heardToccata& Fugue,the idea will be familiar.) D e p e n d i n go n w h i c h n o t e y o u s t a r t o n , y o um i g h t h a v e t o b e n d u p a t o n e
BU BU BO
AU BU BD
BU BU BO
'/n,
followedby a semitone,ora semitonefollowedbyatone,orindeeda tone followedby anorhertone...soitoffersa goodbendingworkout.Anypatn,refer backto the mainbodyoftextfor sometipson howto bendwithouttears.
AU BU BD
This lickstarts in Jimmy Page,Whole Lotta Loveteffitoryand then wandersoff into Vai-esquepastures- so the first main bend here spansfour wholefrets in
th
BU BU AD
BU BU BD
onego,andthenextbendtravelsa whoppingfivefrets- it,sallgoodcleanfun, thoughl
D7$e
Thefollowing examples areovera D chord, andstartto soundmoreimpressive. Don't - especially overdo things on multiple string bends andideas thatarenewto you...
22 GuiialTeclmiques lu y 2009
$$ili[$uL Btl{Dll{G $TRrl{0 Thlsoneisanadaptatlonofa SteveLukatheridea,Focuson the second.bar; here,the ldeaisto useyourthirdfingertobendup a tonefromthe 12thfret, andthenadda noteonefrethigherwithyourfourth finger... whilstthe noteis
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Thisis similartothepreviousidea...but nowwe'reusinga fingerfromthe pickinghandtotapthe highnotes,to createa 'vanHalenplayscountry'vlbe.
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ear a referencepoint;this way, it's easierto tell ifyout bends are in tune ot not. Here'samethodica I exercise alongthe linesof Example 3...with two Flrstly, we'reusingthe notesofthe D majorscale(D,E,F#,G,A, B, This is a good testofhow instinctiveyou r string bending technique reallyls:can differenc€s. C#)ratherthana minorpentatonic framework, sonowthebendswilleitherbe yourmuscle memory recallhow each bend feel5,on each string? pre-bendin9, a semitoneoratonewide.Secondly,we're soeachnotehasto be (lncidentally,it's good to trythings like this in variousparts ofthe neck, bentup to itstargetpitchbeforeyou pickit. Yqumightliketo startthisexercise given thatthe string tension feels greater near the nutthan it does around the byplayingeachnotein the tab 'normally'(iewithoutanybending)to giveyour l2thfret..)
PB12 BD
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PB1O BO
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Thh variationonthe precedingexampleusespre-bentnotesfromthe D major isstillprettymuchan exercise ratherthana lickperse,butstufflikethiscanbe pentatonicscale(D,E,F#,A, B)andthrowsin sofie slidesfo. goodmeasure.Thisa greatsourceof ideas...
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23 Juy 2009Gufta.flbchniques
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Thistestfor yourbendingaccuracy appliesthe compoundbendideato the fingersneedtokeepbendingthe stringupwards, evenwhenthe sequence (ieevery notesofthechromaticscale possible -smalltwisting note,in ascending ordescending of notesisdescending movementr fromyourwristshould be probablyfind orderl)You'll the secondbarmoredifficult;rememberthatvour enough to deFnethevarious semltoneswithin thisbi9bend...
Thisoneshowshowyoucanuseyournewlyacquired chromatic bending confidence in a moremusicaI setting;thislickisvaguelyreminiscent of Joe Walsh. Thelatterhalfofbeat2 shouldmakeyouparticularly gladthatyou
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workedon Example 22;hereyou'llfind threechromaticnotesin a row all playedfromthe 1othfret.Formaximumeffect,be sureto observethe staccato dotabovethe B;thiswaryoucandisguisethe benddescending to Bb.
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Anotherapplication for prebending; thisoneis meantto soundljkea koto.tt,s prettymuchimpossibletoplayeachofthe5eprebendsperfectlyin tune,but it'sreallytheoveralleffectthat counts- ifyou canget eachnotetostartsharp, ishandthenglidedown pitch,theresults tothecorrect shouldsoundsuitably
FarEastern. ForaddedEricJohnson vibes,try pickingthe notesoverthe fretboard, asclosetothefrets aspossible;thisthins outtheEQin anIntriguing wayandasa resultmakesyourinstrumentsounda littlelesslikeaguitar,.. you whichmayor maynot be the effect seek!
Thk lickillustrates somedescending 6th jntervalsfrom the D majorscale;for eachinterval,the lowernote isapproached fromonescaletone belowand
bent upto pitch,whilstthe higher note is played more convenflonally.
Thisoneisa littletrlckier, pafticularly inthefirstcoupleofbeats.In orderto maintainthe pitchofthat pre-bentF#pedaltone,youmayhaveto twistyour
wrist intoa slightly d lfferent position for each noteyoufret on the first string. This lick is something of a country classic,thouqh, so per5evere!
24 Guitallbdmioues -lulv2009
Herewe enter pedal steel tefiitory. The fu n part here is that we're playing three: note chords and bending the top note; forthe bends in the first two bars,you'll need to bend the third string down towards the floorto avoid colliding with the rest ofthe chord shapes.Inthe last baL there'sa SteveMorse-inspiredtwist; t h e b e n t t o o n o t e a c t u a l l v l o o k sl i k e t h e l o w e s tn o t e i n t h e c h o r d . . . T h ter i c k h e r ei s t o p l a y t h e E o n t h e t h i r d s t r i n ga s a na r t i f i c i a l h a r m o n i h c ,o l d i n gt h e p i c k b e t w e e ny o u r t h u m b a n d s e c o n df i n g e rw h i h t p o i n t i n ga t t h e 2 1 s tf r e t n o d e
w i t h y o u r p i c k i n gh a n df i r t f i n g e r t o m a k e t h en o t e s o u n da n o c t a v eh i g h e f (Thethird and fourth fingers of your picking hand can be left to piuck the top t w o 5 t r i n g 5 ' n o t e sO . )h ,a n d i f a l l o f t h i s s o u n d sa l t o g e t h e r t o oc o m p l i c a t e d , fear not - that last bar stillsounds pretty qood even ifyou don't bother with the artificialharmonic.(lncidentallt this lick actually outlines a D - E7lG*- A7(131/G - D c h o r dp r o g r e s r i o nb, u t t h e w h o l e t h i n g s e e m s t ow o r k o v e r a s t a t i cD m a j o r c h o r d , t o o - h e n c e t h em i n i m a l c h o r ds y m b o l si n t h e m u s ; c . )
This example is a kind of hybrid ofAmos Gaffett's playing on Midnight At The t h e c h a l l e n g ei s t h a t y o u h a v e t o b e n d b o t h n o t e so f t h e i n t e r v a l i nt u n e .N o t e Oasisand Jay Graydon'ssolo on SteelyDan'sPeg.The im porta nt concept here is t h e t e n s i o n - n a d - r e l e a sied e ai n t h e l a s t t w o b a r s , thatyou can bend and/or slide between differentdiatonicthird intervals...and
T h e l a s t t w o e x a m p l e sa r ed r a w nf r o m J e r r yD o n a h u e , t h eu n d i s p u t e dL o r do f l m p o s s i b l eS t r i n gB e n d sE . x a m p l e2 9 i s p r o b a b l ye a s i e r t od e s c r i b et h a n i t w a s to transcribe,so here goes.,.Everythinghappenson atfrcts l4 and 16,and your g o a l i st o l e t e v e r y t h i n gr i n g o u t a sm u c ha sp o s s i b l eY. o us t a r tb y b e n d i n gt h e f o u r t h s t r i n gu p w a r d s( t o w a r d st h e f i f t h ) a n dh o l d i n gi t t h e r e .N o w b e n d ( p u l l ) t h e t h i r d s t r i n gd o w n a n d c a t c ht h e s e c o n ds t r i n gw i t h y o u r f i r s t f r n g e r t i p ; y o u
should then be ableto soundthe 14th fret note on the secondstring whilst sustainingthe previousfourth and third stfing notes.Finall, bend the second string up (thus returning thethird string to its unbent pitch in the process) whilst simultaneouslyreleasingthe fourth string bend. The pay-offis that last chord,which is createdfrom threeother notes bending in d ifferent d ir€ctions (a device known as contrarv motion),
Now lefs complicate things even more,just forfun. Everybend here is performed behind the nut (ifyour guitar has a Floyd Rosebridge,all lcan say i s s o r r y- i t ' sj u s t n o t g o i n gt o h a p p e n l ) Y o um i g h tf i n d i t e a s i e r t ob e n d t h e s t r i n g si n ,t o w a r d s t h eh e a d s t o c kr,a t h e r t h a nb e n d j n gu p o r d o w n . E i t h e r w a t t h i s k i n d o f t h i n g c a n b e q u i t e p a i n f u l s, o y o u t e s t r o n g l ya d v k e d n o t t o d o too much of it in one sittjng. The second halfofthe lick usesa contrary motion a p p r o a c hl i k e t h e p r e v i o u se x a m p l et,h e f i r s t h a l fi s s i m i l a rb u t a l s o f e a t u r e s
some harmonics,Theseare played in the sameway as the artificial harmonic in Example27 - pointing atthe nodes at the 19th fret with the first finger ofthe p i c k i n gh a n d . T h e s e a r e t e c h n i c a l l y k n o wans n a t u r a h l a r m o n i c sr,a t h e r t h a n artificiaI ones,to reflect the fact that youle basing the harmonicon the open string rathef than having to fret anything. Good thing, too - yourfretting hand i s t r a p p e db e h i n dt h e n u t f o r t h e w h o l e l i c k ,p e r f o r m i n gi t s b e n d i n gd u t i e s . ThanksJerry!
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seewhathis.jazz a strollbutside'to ThismonthJohnWheatcrofttakes and fromuptheroadhavegottoofferus,withthesecond couslns (and part Licks chords!)feature... of ourPlaylastier final
point in history the differencebetweenboth styleswasminimal at best; and further, the to Advanced moumful and often dark melancholic Easy dominantnatureofthe blueslendsitself much more effectivelyto the addition of g Soloing vocabulary KEY:Various tensionthan.say.the upbeat,brightmajor gelplaying TEMPO:Various |Z'(han tonality of country music.I'm generalising,of chord knowledge course,simplyto getthepoint across, CD:TRACKsll-20t I)(tended but I'm sureyougettheidea. To tiis aim we havea selectionof ONEOF THE PRIMARYDE!'ICES employedwithinmusic,andalsomanyother musicallycohesiveand completestudiesfor formsofcommunication,is the settingup and you this month, in a vadety of stylesranging from a funky r6ths riff-basedblues,through a resolution oftension. without it there is no stmightLatin-inspiredrz-barandfinallya listenerto carry within the realcompulsion that on listening.Forexample.anyform oftension bebopmajorbluessequence incorporatesthe kitchen sink of repromotesexpectationby implying that a harmonisationandchordsubstitution.Each comingat somepoint balancing'answer'is rhythmpart is followedbyan accompanfng soon,ratherlike the punchline to a good joke.Mwic with no inherenttensionwould solo study.whilst it is a Sreatideato learn thesesolosin their entirety, you will get much be a rather bland and uninteresting grcatermileagefrom this articleifyouensure experiencefor all concerned,socomposers are andtechnicalapproaches the conceptual have erperimented improvisers alike and fully digestedfrom both a cognitiveand a with numerouswals to insidiouslyembed suchdeviceswithin their musicforcenturies. physicalperspective.The written parts arc just onepotential'solution'tothepuzzleof musicalstyles,it's Within contemporary playing through the changes.Ifyou arguablyjazz that pushestie'tension understandthe code,you'llbeableto figure envelope'furthest. The highly chromatic out your own parts and getone stepcloserto natureofthe harmonyandthe oftenfast that elusivegoalof developingyour own chord changesand frequent key switches meanst}Iateventhe mostbasic'standard'can playing stylein the process. For the last few yearsnow, oneof my o\44r be a potentialminefieldto the uninitiated,It's hearteningto rememberthat the devices employedare not necessarily'difficulf, more likely'unfamiliar'-the differencebeingthat the former will often remain psychologically hard, evenwhenyou know what you're lookingfor!Formany,thebasicI IVV harmonyofthe bluesis the perfectplaceto beginexpandingour harmonicandmelodic paletteald,aswe sawlastmonth,at one
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'onefor personalpracticetechniquesis the one'rule. Any time I leam anlthing from anyoneelse,either fiom transcribing fiom a recording,attending a clinic or evenfiom the pagesofthis magazine,I'll alwaysattempt to composean ideaof my own, similar in style perhapsand utilising the sameconceptsor techniques- but in my ovmway.By doing this,it's possibleto remain'inspired'and 'influencedwhilststill developinga unique and artistically qedible voice.Why not try this yourself and write somealternativesolo and rhythm studies?As always,enjoy! E
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0r lmtingto adda littlejazz-llkecoloulgety0u6olfa to freshenuDyourbluesDhrasing REG0RD TIACK fgou're inne€dot someinspiration you flandful 0f Blues or could try lla|tgmsr OiY$2005). lkeStern's1999reloasc, r.eleass, TalkToYom tond's1988 Ofamsrs) oopyof Bobben play(Aflantic severaltracks. andBillFnisgllon talentsofbothJ0hnSoofield theformidable andalsoshowcases isequally fantastic Jazz) July2oo9 26 GuitarTbctmiques
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Funky 16ths Blues The mighty RobbenForddirectlyinspiresour openingexample to the fourth degree of each chord in both rhythm parts.Tonally,you groove.Harmonically speakingthis is a fairlyneutralpart,spellingout shouldaim for a cleanand dry tone with plentyofattackand 'snap' our I lV V sequencewith arpeggjosderivedentirelyfromthe relevant from an articulationperspective.With parts such asthis a bit offret dominant7th chord(R3 5 b7).l'vepurposefully avoidedall reference buzzcanactuallyadd a naturaland 'human'element.
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Oursecondcomplementary rhythmpart isderivedalmostexclusively thecaseofbar10,approaching upwards in semitonesfrom a starting from 9th chordvoicingsfor eachofthe I lVandV chords(R3 5 b79), pointa tone below.lt'sa goodideato rememberthat anything althoughnoticehowfrequentlywe mi5sthe rootnotealtogetherto we candowithchords,we canalsodowithsinglenotes.This isan allowthebasspartsomeroomto breathe. Themaindeviceemployed approachoftenfavouredby LarryCarltonto obtainan butside' hereiscalled'sidestepping' andliterally means slipping in andout of soundagain5t a staticchordandit'sa deviceyoushouldcertainly eachharmoniceventby movingup or downby a semitone. That,or in experiment with whenyoujmprovise, ab9
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you'llbe no lfyou'vebeenfollowingShaunBaxter andPeteCallard strangertothe melodic minorscale{R2b3456 7)andthepotential attributesof its inherentmodes.Tobrieflyrecap,the mostuseful froma bluesperspective arethe fourthmode,the Lydianb7 (R2 3 (Rb2#23 b5#5 #45 6 b7),andtheseventh mode,theSuperlocrian 'non-fu b7).Lydian b7ismostfrequently employed against nctioning' (ie dominants anything thatdoesn't resolve up a 4thor downa
semitone),with the#4actingasa colourfulextension and beingthe reasonwhy I avoidedthe natural4th in the rhythm part5,whilstthe Superlocrian worksbestwhen resolvingin the way dominantchords naturallylike to unfold (up a 4th or down a semitone).All that extra ten5ion,in theform ofallthe sharpand flat notes,i5 dissipatedwhen the chordgetsto whereit is going sothingsshouldsoundperfectly natural,surprisinglog ical and 'correct'.
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Latin Blues Thetricktothis Latin-inspired fingerstyle bluesisto establish a clear rhythmbetweenthe thumb{bass) andthe fngers(chord). Asthe bass player(ifyouhaveone)wouldgenerally bedoublinguptherootnote andoftenthe 5th degreeofeachchord,youcande-emphasise this elementor evenleavethisnoteout altogether. Initiallyit'sprobablya goodideato leaveit in - l'vekeptthe Enotein but not the Bnote- as
the bassnote shouldhelpyou to visualise eachchordand feel more secureon the fretboard.A crucialadditionto the conventionalminor I lV V occursin bars9-10,with the appearance of the bvlmajT(Cmaj7) to V7 (87)move.Sometimes the bvl can be treatedalsoasa dominant 7th,and canbe heardin the songsLongTrainRunningby The Doobie Brothersand BBKinq'sversionofthe classic ThrillIs Gone.
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provides JohnScofield the primarylnfluence for ouraccompanying playlngmanagesto solohere.John's soundbluesy,butavoldsall theobviousbluerclichdsbyjumpingaboutthenotesandadding chromatic decorative notes,buzzingaroundthe destination chord tonesin a completely compelling andconvincing fashion. Ouropening phrases (EGA 8b arederivedfroma highlydecorated E'blues'scale B D),Tocreatecolouroverminorchords, Johnfrequentlyaimsforthe sweetsoundingmajor6thinterval, in thjscasethenoteC#(major6th ofEm).Repetition andthematicdevelopment alway5 featureheavilyin John'ssoloingstyle.Inbar6thereisrepetitionandstringskippingto
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createa hipsophistjcated edgeto the basicAmlnorpentatonic sound (AC D EG),Inbar7 weseehowa simpleideabasedInitiallyon the intervalofa5th(C#andG)canbe movedto variousdifferentlocatjons withinthe harmonically appropriate EDorianmode(EF#GA BC#D). In bar9 we moveawayfrom Scg'sinfluenceand toward oneof the phrases l've'developed'from CarlVerheyen andIncorporated intomy ownsoloingstylebasedaroundan intervallic C major7th(CEG 8)and a superimposed G major7th{GI D F#).The snakyskipping half-whole phrasein bar10comesfromJohn'sfriendandone-timeMilesDavis collaborator, Mikestern,
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lt|ajor httBlues lfyou've been following Pete'srecent serieson bebop playing,you shouldbe well acquaintedwith manyofthe devicesembeddedin the followingstudy.Forall its seemingcomplexity, thereareessentially just two movesat work here.Thefirst is to approachany significant point in a harmonicsequencewith a llm V to createa llm V I chain. The root note for each ofthese resultingchords is a 4th apart; take
our Fm7-Bb7-EbmajT in bars4-5 for example.The two main varieties, majoror minorgenerally(althoughnot alwayr),takeon the following order of llmT-V7-lmaj7for major,and llmb5-V7-lm7for minor Ourfirst 5e€tionis devoted entirely to chord voicings consistingof just the 3rd and 7th degreesforeach chord, with the root in brackets if you wishto playthattoo.
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The seconddeviceatworkhere is 'tritone' or 'flat-sth'substitution. Withinour llm V lwe cansubstitutea dominant7th chordwith a root note three-tones(hence'tritone') awayto createadescending chromaticbassline.Thisis possibleasthe two potentialdominant 7th options sharethe sameidentical3rd and 7th degrees,although what was oncethe 3rd now becomesthe 7th and viceversa.ltis al5onow BbmaiTl6
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possibleto approachourtritone substituteV via its llm - 5eebar 22 where F#m9{llm) movesto B'13{substituteV of F7)before resolvingto BbmajTin bar23. WesMontgomerywas particularlyfond ofthis move. Oursecondrhythmpart isessentiallya decoratedand harmonically more elaboratereworking ofthe same sequence.Voiceleading is employed to makethe movement between each chord smooth. Gmg
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Remember,whatever we do with the chords,we can mimic with singlenotes.Thispartis intendedto be a study,ratherthana you shouldbe ableto contextualised musicpiece,but nonetheles5 hearthe harmonyshiftfrom chordto chordin all the appropriate places,evenwithoul lhe backingtrack.Formanyjazzimprovi5ers, J - 2OO SwlnS BDI,'i'aiT
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thesecrucialnotesform the backboneoftheir melodicsoloing 'GuideTones'.Any strategiesand are therefore often referredto as the compositionthat is basedon fairlyfrequentchordchanges,and any is fairgamefor the guidetone preparation appropriateextension, treatment.
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Ourfnalstudyisa fleshed-out version of3a.Theskillhere isto keep the lineflowin9, connecting one5etof chordtonesto thenextin a logicalandcohesive fashion. LarryCarlton oftenquotesanearly lesson withJoePass wheretheeldermaestro assess Carlton's ability to playthroughchanges byaskinghimto playanunbroken serie5 of 8thnotestospelloutajazz-blues harmony. Nochords,licks or guitar - thetune'sinneftruth,if youlike!Although trickswereallowed w}lat
you see before you is a written study.the ultimate goal i5 to achieve this levelof melodicsophistication and controlwhen improvising. Obviously, on a realgig we can incorporaterestsand whateverelse we fancy (streamsofSth notes with no let-up can be tough going, not leastfor the ljstener!),but for the purposesofdeveloping strong musicianship aim for thi5perpetualmotionapproachinitially,lti5,in short,anultimateworkoutfor both yourfingersand your head.
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JonBishoptranscribes thisclassic Journey trackwithpowerful rock guitarparts anda classic intro. ltsalsothemostdownloaded - a'must catalogue songon iTunes learn'song fromthe'80s1
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With overtwo million iTune dou.nloads, Don't StopBelievingfeatruessomegreat Moderate guitar workbythe band'sguitarist,Neal Schon.There'sa goodvadety oftechniques to workon here,includingpower chords, KEY:Emajor t Piano style a(conpaniment single-noteriffs, palm muting andfast TEMPO: 120bpm 'l it4elodi. rockplaying picking.Thereis alsoa lovelyrnelodicsolo CD:TRACKS 12-13 tl Ioneandfeel to learn and a trickybut impressivelead fill too. The original lecordingwasplayed THIS TRACKIS consideredby many to be bytheband in the studio and not recorded Journey'ssignaturesong.The band formed in SanFranciscoduring 1973andwent on to becomea rockheaqrveight.sellingin excessof8o rnillion records.
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intro riffhas beenarrangedfor guitar. Due to the fact that keyboardplayershaveten fingersattheir disposal,the actualnotes usedin the keyboardriff neededto be adaptedtofit on the guitar fretboard.It is possibleto getpretty closeto the original part with oneguitarbearingin mind that playschordsin the righl thekeyboardist hand and doublesthe bassline with the left. Forthis, usehybrid picking (pick,'m'and 'a'fingers)or fingerstyle alone.The former doesmeanyou'vethepick handy for later! Manythanks to Jez Daviesfor recording the keyboardparts on the GT CD. Havefun playingwith the backingtrack and seeyou nexttime.Ii
tJ Togetmoremileage outofthetranscription, theintrokeyhoard riff TECHNIQUEFOCUS arnanged EMULATING KEYBOARDShasalsobeen fonguitartt
Whenemulatingotherinstruments, oneof the keyareastomimicisthe note articulation. Ifyou examinehowthe keyboardistplaysthe accompanimenton the originaltrack,you will noticethat allthe notesin the chordssoundsimultaneously. lf you strumthe guitaryouwill get a veryslight arpeggio asthe pick movesacrossthe strings- not the mostidealoptionhere.To geta morepianisticresult,useyourfingers to pluckthenotesofthe chord simultaneously.You canthen useyour thumbto playthebassnotepedaltone. Alternativelyyou could opt fora hybrid techniquewherethe pickplaysthebass notesand thefrngersplaythe chords.Either techniquewill providea keyboard-style sound,especially with chorusand reverb!
to a clicktrack, sothetempo shiftsalittle from l l8 bpm in lhc intro to around124in the exitingrocksections.As a conpromise I recordedthe GTversionat 12obpm. The songis in the key of E and the variouschordprogressionsthat makeup the tune are diatonic.Ifwe harmonisethe E rnajor scaleinthirds we getthe following chords:E major, F+ minor, G# minor, A major, B major, C# minor and D# diminished.If we takea look at the intro keyboardprogressionyouwill noticethat chordsI, IVandVare used,alongwith VIm and IIIn offeringsomeharmonicvadation. To get more mileageout ofthe transcription,the mernorablekeyboard
= (1981). TRAGf( IEC0BD original recordingofDon'tStopBelieving appeared 0ntheJourney albumTheEscape Thealbumis wellworth "he getting (includingWho's pll|ssone greatsongwdting hold0fas itfeaturesfour hitsingles Crying l{ovand0pen Arms) andinstrumental performanoes (2008). fromthewhole band.Also checkouttheir latestalbum, nevelation 36 GuitarTechniques Juy 2009
D0ilT$0PBtLtEl|til0 of the right sostartslowlyat frst. lfyoule usinghybridpicking,usethe pickfor bass a oneguitarversion lntro: Bars l-SlThissectionfeatures finger)and'a'(thirdfrnger)for higherstrings. and left handsofthe keyboardintro and it worksgreatwith somechorus notesand'm'(second 'l: the sameasthe introonly here,so lhaveincludedthis in andreverb. Thefingeringisall-important lverse Bars9-16]Thissectioni5essentially bassline. the notation. Playing the basslineandtop notessimultaneously istricky, with a slightlysimplified
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IBars 17- 24, previous page] Thissectionfeaturessomenatural harmonicsplayedon the 7th and 5th fretsofthefrrst string.Touchthe stringlightly abovethe requiredfret and asyou pickthe note takeyour fingeroffthe stringto releasetheharmonic.Usingchorusand the bridge pickupwill helpyou in yourquestfor harmoni(nirvana. (R-)- - - -,
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42 GuitarTeclmiques luly2009
oNTHECD$ rnaCx ZS
ternando $or This6tudebySor, transcribed foryoubyBridget Mermikides, isa greatexercise forthefingers whether guitar classical isyourthingornor...
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Schubert,Schumann,Beethovenand Chopin,Sorwasconsideredan obscureand Moderate/Advanced OOOI second-ratecomposer. Itwas not until the extraordinarycareer ofAndr6s Segovia(1893-1987)that Sor's rrvr f rnu;or. z frqrityf , ttu*iopiryingl musicbegan tobe heardagain.Segor,ra TEMPO: 120bpm t (hord muting would commonlyfeatureSor'spiecesin his (hord CD:TRACK23 s swit(hing fluency concerts,in addition to makingthe first recordingsof them. THEWORLD OFthe classicalguitar owesa Sor'sguilarcompositions included greatdealto FernandoSor.He playeda key divertissements, studies,sonatas,fantasias, role in elevatingthe statusofthe guitar minuets,waltzes,marches,siciliennes, from atavernainstrument toone capable guitarduos and largerscalesworks of musicofthe highestquality and worthy includingSerenade opus37 andCaprice ofthe most prestigiousconcerthalls. opus50. During his lifetime Sorbecamefamous In 1945Segoviapublishedavolume of asa guitarist-composerand wasdescribed zo careitlly selectedstudies.chosenfor by a respectedcritic of thetime as,"The theirmusical merit aswell astheir Beethovenofthe guitar". He waspraised for his profound musicianshipand performedin concertwith manycelebrated arlistsincludingat leasloncewith the young FranzLiszt. Sor-sguilarmusicbeganappearingin pdnt asearly as1808 andhe continuedto composeuntil his deathin 1839.Soonafter this, the guitar suffereda drasticdecline and practicallyall ofSor's musicwent out ofprint and many manuscdptswerelost. Comparedto his contemporariessucltas
technicalvalue,and inhis footnotehe says: "The studiescanbeusednot only for the developmentof the techniqueof the student,but aswell for the preservationof it at its height for the masters.Theycontain exercisesofthe arpeggios,chords,repeated notes,legatos, lhirds.sixths,melodiesin the higher registerand in the bass, interwovenpolyphonicstructures, extensionsfor the left (fretting) hand and more...which ifpractised with intelligence, will developvigor and flexibility in both handsand will finally lead to a better commandof the instrument." This samebookisavailabletoday (publishedbyHal Leonard)and it is used by countlessclassicalguitadststhroughout the world aspart oftheir standardtechnical and musicaltraining. Thepiecefeatured herc comesfromthis set. Thispieceinvolves The most recentsignificanteventin the a sequenceof staccatochordswith an attractiveharmonicprogression that isnot onlyfun and satisfying to play,butalsooneofthelessrechnicallydemandingofthestudies.Whether resurrectionofSor's music occurredin you playclassical guitaror notitSa wonderfulfretting-hand 1976whenthe eminent musicologistBrian exercise. Pickinghandfingernailsshould jitting postureisrecommended. be roundedandsmoothlyfiledfor a cleartoneandagoodclas5ical JefferyrepublishedSor'scompleteknown Themainobjectivesofthispiecearetoproduceanevenlybalancedand consistentsound works for guitar after ertensivelysearching on the chordtandthento mutethe stringsascleanlyas possiblebetweenthemto executethe rests.This forthem in librariesandprivate collections is - for the first time sinceSor'sdeath, mainlydonebythe pickinghandfingersastheyjumpbackontothestringstomuteafterplucking (releasingfretting guitaristsfinallyhad accesstohis musicl It handfingersalsohelps).Forthefrettinghand,aimto placethechordshapesdown in one blockforefficjencyand goodtiming.lhismaymeanconsciously hassincebeenreyisedand is publishedin a makingthe chordshapein theairabovethestringsbeforeplacingitdown. Practisethis number of volumesby Tecla(www.tecla. slowlyatfirstforaccuracy, com/authors/sor.htm).Ii
il $orbecamefamous asaguitarist-composer andwasdescnibed bya rcsfotedcriticofthe timeas,'The Beethoven oftheguitar"tt
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LE$$0}|$ {$$tff ONTHE CD:lRAaK51,119 3O-MINUTE LICKBAG 3O-MINUTE LICKBAG 50 Abrand new column from BIMIvt Brighton's BA (Hons) courselcader Scott Mccill... ONTHECO: lllACKS l0 l2
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John Wheatcroft meetsKenn]'Wayne Shepheld... O N T H E C D : T n A lCl Kl 5S
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Martin Coopcr uncoversthe cssentialguitar stylesofThe Rollirg Stones... ONTHECD:TRAIKS16l7
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Jon Bishop introducesdouble-stopsto the beginners tlick bag... IFAaKS ONTHECD: 18-19
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Learn to play guitar like SteveHillage. GianlucaCoronashowsyou how... ONTHECD:TRACKS 40 44
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patternfromhisearlyacoustic period. Thisisa classic Dylan-stylefolk Thelowerbaacketed chordsreference the basicchordshaoe. whilethe .-198
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\4IELCOMETO THE first column designed for maximum guitar fun with limited time! Eachissueyou'libe givensix licks,spanning acrossnumerousstylesthat referencegreat ideasand trick favouredby guitar legends and undergroundheroesalike. Soget into your practiceroom, shut the door, take the phoneoffthe hook and spendthe next half hour with theseshort and sw'eetguitar gems!
upperchords aretheresukofu5inga capoat the 3rdfret.
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50 GuitaxTechniques June2009
lettingthe soundsof bothstringscollide. Repeat with the secondand thirdstrings. Bridgesingle-coil intoa moderately drivenampwill work the Voodoowelll
I.ICI(BAG 3O-1|III!IUT[ ITENilUM suchasG, A linelikethisworkswelloverEm7andotherrelatedtonalities A9 or C#m7b5 to namea few.Thelickha5a lvlikesternflavourandmixes Gmajg
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Clarence'Gatemouth' Brown,Hubert Sumlin,Etta Bakerand a hostofothers, often capturedin their o$.nhomes,front porchesor inthe localbluesbarsand needless to say,it's absolutelybdlliant! There is a complete solo study for you to We'reboundforLouisiana asJohnWheatcroftchecks leam this month, two chorusesof a Texasstyleshufflein the keyofB. It's important phenomenon teenage ,r outhowa one-time hascome when analysingKenny'splayingto consider of age- theincendiary KennyWayne the completemusicalpictureratherthan Shepherd! just eachspecificlick. The balance,flow and buildofeach solois ofparamount importanceandin someinstancesthesum fronted his first band at q, ends up far greater than the individual parts. enteredt}le studioat 15,had a Repetition forms a hugepart of Kenny's major record dealat 16and soloing style. Rather than think ofthis as : releasedhisfirst soloalbum, somekind of limitation.cyclingphrasesin Iradbetter Heights,at the this mannercreatesat}?e of thematiclogic amazingageof seventeen! and continuity, a feature of almost all This record hit the top ofthe melodiccompositionalor improvisational Billboard chart and prompted techniquesand approaches.As alraays, many to proclaim that the new explomtionis the order ofthe day.Whilst it shining light of contemporary is a definite skill to focus on the detail in anv blueshadbeenfound,picking writtensoloand aim to perlorm t}ings as up the torch from the recently closelyaspossibleto the original,inblues deceasedStevieRayVaughan. stylesit's equally important to developyour Even at that frightening owl ideastakinginfluencesand asmuch youngage,Shepherd's playing inspirationaspossiblefrom the mastersof had completeautho ty, total the genre,addingyour own variationsand stylistic authenticity, wonderfuI stylisticpreferences asyou seefit. E touch,a hugetone,complete musicality, and a matudty that makesanycommentsrelatedto ageinsignificant.Whilst it's obviousthat StevieRayhas madea huge impact on Kenny, it's all executedwith such commandand deliveredsowell that Kenny should definitely be shepherd consideredasa significant blues blUeS !t r*', wayne guitarist in his own right. Kenny'ssubsequent releases have seenhim developin two directions; there is Kenny walne Shepherdthe blues guitarist, along with the wonderful Noel Hunt on lead vocalsexploringan edgr and rocll slantontheblues.Ald then there is KennyWayne Shepherdasfrontman/vocalist/guitadst, ffi taking a much more rock-odentated OOOa Moderate/difficult directionasshowcasedonhiszoo4 release The PlaceYou'reIn. WII.T IMPROVE YOUR Kenny's most recentblues project, a CD KEY:B Z PhEring and5tylisti( authentirity with a feature lengtfi documentaryon DtrrD TEMPO:'l'16 bpm g useofdynami(5 anddelivery entitledTen DaysOut: BluesFromThe CD:TRACK530-32 tl Pentatoni( vo(abulary Backroads, accompanies our man ona road trip/musical pilgrimage down souti to KENNr WAYI{ESHEPHERDpickedup his rediscoverthe origins ofthe style. Shepherd firstguitar at sevenyears ofage,performed performs with many ofthe surviving his first professionalengagementsat twelve, pioneersofthebluessuchasBB King,
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TflACK REC0RD I(enny'smostrecentbluesCD,/DYD dualreleas€, (Colour Tonltaysout Bluos Fr0nThegackroads 200?) is essential, notonly for guitaristsbutanyone interestod inmuslcand20thcenturyhist0ny. TwoothorGllsus€dinthopreparation for thisarticlewsreLive0n (Giantlg99)and (Giant hisdebut, Ledbstten lleights guitarwonk 200tr); bothfeature somo blistering andGome highty recommended indeed. 52 Guitallbclmiques July2009
KEIIIIY ut|AYIIT $1|tPl|IRD $IYI-t d e n d i n ga c t i o nw i t h t h e l B a r s 1 - 4 1 W eb e g i n w i t h s o m e B BK i n g - i n s p i r e b r o o t o n t h e s e c o n ds t r i n g .T h i st y p e o f p h r a s i n gi s m o r e a b o u tt h i n k i n go f t h e i n d l v i d u a l q u a l i t yo f e a c h n o t e a n d i t s r e l a t i v el o c a t i o nt o t h e r o o t , b u t j f y o u i n s i s tw e c o u l dv i e w i t a s m i n o r p e n t a t o n i cw i t h a n a d d i t i o n a 2 l nd (C#) of Kennyl SRV-inspired a n d 6 t h { G # ) I. n b a r 3 w e s e et h e f i f s t a p p e a r a n c e r a o i do u l l - o f f / s l i d e c o m b i n a t i o nm o v e .H e l i k e st h i s a l o t . l B a r s 5 - 8 1O v e r E 7w e ' r e t a r g e t i n gt h e m a j o r t h i f d ( G # )b e f o r ed e s c e n d i n g t h r o u g h a f r a g m e n to f t h e B b l u e ss c a l e( Rb 3 4 b 5 5 b 7 ) . W ee n d t h i s s e c t i o no f o u r s o l ow i t h s o m ep i a n o i n s p i r e dd o u b l e - s t o p sa, g a i na f e a t u r e
Swing
e x p l o i t e dh e a v i l yb y K e n n y ' sp r i m a r yi n f lu e n c e ,s t e v i eR a y V a u g h a n . s o r e r e p e t i t i o nh e r e .M o r e r e p e t i t i o n ?Y e s ,m o f e l B a r s 9 - 1 2 1 T h e r e 'm r ep e t i t i o n! T h i sc o n v e r s a t inoaI t o - i ng a n d f r o - i n g s h o u l dn o t b e u n d e r e s t i m a t ew d i t h i n y o u . s o l o i n g ,g , v i n gy o u r i m p r o v i s a t i o n apl h r a s i n g ' c o m p o s e df'e e l .O u r f i r s tb l u e sc h o r u sd r a w s t o a c l o s ew i t h a a logical b e a u t i f u l l y s l i p p yp h r a s ef e a t u r i n gh a m m e r s , s l i d eas n d d o u b l e s t o p s .D i d y o u s p o t K e n n y ' sf a v o u r i t el i c ka g a i ni n b a r 1 1 ?N o t i c eh o w t h e h a r m o n yi s t a r g e t e dw i t h t h e c h o i c es e l e c t i o no f F #n o t e st o c o i n c i d ew i t h o u r s h i f t t o F s 7i n b a f 1 2 .
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chorurstartswith a coobinationofrhythmand lBars13-161Oursecond in questionandanswerform. soloingapproaches, Thelow B notesin these bars5houldbeplayedwiththeedgeof thethumboverthetop of the fretboard.Jimi Hendrixstyle;andspeakingofwhich,the (ontrarymotion bendin bar 16is pureJimi!Thetrickro thislickisto initiallybendboth itringsup but onlyplaythe seaond nring.Oncewete upto pitch,shift the pressure overtothethird string,pickthisnoteandthenallowthebent pitch-6ddlybutwellwo htheeffort. stringto falldownto itsresting moredoesactuallymeanmorelln thisinstance lBarst7-201Occasionally wetetalkingaboutthedouble-stop's bigbrother,the triple-stop, another Stevie Raytrademark ideathatKennyhasadoptedandexe(utes sowell.The rapidpentatonic derjvedupstroke-rake/slide combinationin bar20canalso
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befoundextensively in the soloingstyleofsophisticated-bhes mae,tro RobbenFordandour veryownlvlatt5(hofi€ld,andveryniceit is too'heavy Kennyis definitelya subscriberto the string5,highfrets, tBa1321-251 highaction, hit it hard'approach to guitarplaying.and onerituationwhere thisis mostapparentis whenhe movesoverontothe lowstrings.Youreally needto di9 in herefor thesephrasesto soundjust right.In bar21we're selectingthe Ff bluesscale(F*A B C C#E),switchingto Eminorpentatonic (EGA B D)againstE7in bar22,progressing to yet moredouble-stopaction with a neattriplet-basedphrasetargetingthe root of our F*7and 87chords respectivelyto close. lt'sallstraightforward enough, ahhoughhighly musically effective, l'msureyou'llagree.
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The Rolling $tolre$ MartinCooperuncovers guitar theessential stvles ofTheRollinq Stones'Keith Richards and RonnieWood. ltsonlyrock'n'roll butwelikeit!
ThebeautyofThe Stones'playing is in howtheyfunctionasa unit - thereareno virtuosos on display,but what eachpe$on bringsto the tablercallydoesneantheyend up with far morethanthe sumoftheir parts. With 34 UK Top 10albums,The Stones aretruly one ofthe most successfuland hard workingbandsofthepastSoyears,and havinginfluencedmanygroupson both sides ofthe pondincludingTheStereophonics and Aerosmith,their styleandsoundwill liveon fbr rnanydecadesto come. This month's track employsmany ofthe Stones'tnits - mostnotablytheir simplicity. The rhlthm part is straightforward to play, andthe leadpart hasa lot ofspaceand repetitioninthe phrasing,butthat'spaft of the magicofTheStones! Aim for a lazyfeelto the rhythm guitar paft,but don'tgettoo sloppy.Forthe lead paft, mate the phrasesbuild uponeach other.It'snotso much'questionandanswer' asit is engagingina conve$ationwhere you'respeakingin phrasestogeta point acrossto someone. Theleadplayingin Stones songsusuallyenhances andworksaround the vocalmelody,rather than being the focal point.Checkout the plafng tips for sone moredetailon the theorybehindthe track, andhavefun!Ii
aaWith 54Top10albums, TheStones istrulyone ofthemostsuccessful andhardworking bands past years ofthe 50 tt
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KEY:G major vUseofspace inphrasing TEMPO:125bpmV Feeland dynami(s CD:TRACKS playinq 33-35 t Rhythm THER E ARE I\L{NY partnershipsthat help to makethis fairland olours a placewelove to callhorne:l,ennonandMccartney,fish andchips,BankHolidaysandrain,and,of couNe,there'sMick JaggerandKeith Richards!After nore than 40 yearsin the business, the Stoneshavetrulyearnedtheir placeamongstrockroyalty,plusasDel Prestonsaysin Wa)'ne'sWorld : "Keef
cannotbekilledby conventionalweapons..." I'd betterdo a goodjobthis monththen! Formingin 1962,the originalbandwas Jaggerand Richards,bassistBill Wyrr.ran, drummerCharlieWatts,pianoplayerIan Stewaftandmulti-instrumeDtalist Briarl Jones.Stewaftsoonleft the bandOut continuedto playwith themliveforyears), andtheline-upofJagger,Richards, Joles, W)'manandWattsremainsoneofthe most well kltown of an1,classicrock group.After Jonestragicallydrownedin r969, Bluesbreaker Mick Taylorreplacedhim, and Taylor'ssubsequent replacement, Ronnle Wood, is still a memberofthe band today. Theyrecordandtourwith sessionbassplayer DarrylJones,asWymanhasalsodeparted.
TMCI(IEC0BD (1066) ?/rerearesomcnySt0nes alh mst0 choose from,butLetlt Bleed hasGimme Shelter andYoucan'tAlways Getlvhat (1995) You lvant. Thealbum Stripped hasamoreintimate takeonthehitqhaying been recorded insmallvenues and'live'inthestudio, while thec0mpilation album F0rtyLicks(2002) hasjustabout everythingyou could everneed! 56 Guiiallechniquesluly 2009
R0Lr_[{G ST01{t$ $TYL[ lRhythm partl l'vewritten the keyasG major(GA BC D E F#),although the A majorchordcould be seenasa V chordfrom the keyof D (D EF#c A B C#)with the preceding G chordbeingthelVchord.lchoseG major
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Double-stop$ JonBishoptakes a lookat howto incorporate double-stops lntosolos. UsingSRVfor inspiration, he willhelpyoubuildupyourvocabulary ofcoollicks... find that all the notes sound goodwhen playedtogetherin double-stops.It is an obvious choiceto combinenoteson adjacentstringsastheseare easyto fingerand pick,but you cancombineanytwo notesto createa double-stop.The double-stoppingideas developedby earlyrock'n'roll playershaveremainedvery influentialfor modernrock, bluesandpop players.SRV often usedHendrix-style double-stopideasand also drew inspirationfrom classic rock'n'roll guitaristslike Chuck Berry and ScottyMoore. There are severaldifferent waysthat you can articulate double-stopson the guitar. The first and most simple is to barre two noteswith one finger and play them by picking down. Try playing the notes E and A together(sth fiet, secondand first strings) - play this doublestop with the first finger and embellishby sliding into it from below.Also try bending the third stdng up onetone at the lh fret and then plalng the 5th fret double-stopon the top two strings.Thereis a hostofChuck Berry sb'le, rock'n'roll licks waiting to be discoveredwith this technique(andabit ofAngustoo!) Itis alsopossibletobend onestring up Moderate to apitch andthen add a secondnoteto create a double-stop. Placeyour fourth fingeron the 8th fret ofthe secondstring. KEY:A !ZKnowledge ofdouble-5top5 Useyour third fingerto bendthe third TEMPO: 120bpm !zBlue5vocabulafy st ng up a tone from the 7th fret and then CD:TRACKS 36-37 !ZPhrasing andarti(ulation pluckthe noteyou havestoppedon the secondst ng. Countryplayersare THE MUSICALTERM 'double-stop'is particularlyfond ofbendingin conjunction simply a fancynamefor playingtwo notes with double-stops,asitis possibletocreate atthesametime.Ifyou lookatthe A minor a rangeofpedal steelstylesounds.Rock pentatonicscale(seelastissue),you will and bluesplayersalsousethis bending
Learn h o wt o p l a y b e t t ear t mUSrcfaoal.com' New!. Reviews.Tulton S a r a pe s . F o r L r m s Comm!nity \
techniqueto createfull sounding leaopassages. Double-stopsare also effectivewhen played on string pairs that skip a string. If you take a look at Example3, you will notice that the notes of t}le double-stop are fretted on the third and first strings. By skipping a string it is possibleto play wider, ear catching interyals. Many players embellish melodiesby plalng them in octavesand this techniqueis a goodexampleofhow useful double-stopping on non-adjacentstring pairscanbe. This month's examplesare in the style of StevieRayVaughar. All ofthe licks will work overanA7 chordor anAdominant blues progression.Onceyou have the licks under your fingels, try plafng them over the A blues backing track we usedlast month. Havefun and seeyou ne),t time! E
llThe musicalterm 'double-stop' issimplya
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TRAGI( flEC0flD All o/SRtzsalbumsaroworthchecking (2002) outbutthecompilation ThoEssentialStevie RayVaughan & DotbloTrouble great great isa brilliantdouble CDthatincludos allthehitsandsome livetrackstoo!And theDVD LiveAtEllilocambo showsthe mandoing penformance it live- lt'sa devastating that'senough toturncynics intofansinaninstant... 6{tGuitaxlbchnioues lu v 2009
DOIJBTI$OP$ Here's a goodaccompanimentfigurethatcan alsobe usedforsoloing.A the pickbackfromthe third stringto give a percussive effectbeforeyou keyfeatureofthis lick is the rakingofthe pickonto the low bassnotes.To hitthe bassnote.Eitherthe firstfingeror the thumbofthe frettinghand createthe effect,mute the stringswith the fretting handand then rake can be usedto playthe bassnote on the 5th fret ofthe sixthstring.
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Here's a classic SRVstyledouble-stop. Useyourpickandsecondfinger to pinchthe noteson thethirdandfirststringstogether.The maintrick isto teasethe listener withthe bluenote{Eb,6thfret,thirdstring)by
hammering on andslidingintoit. Youcanrepeatthisideaasmuchasyou likein differentrhythmsand permutations.lt's you onethatwillserve well,timeandtimeagain.
Julv2009Guita./Ibchnioues 61
Thisexample isa classic bluesideaandusesthetritoneintervalforthe double-stop.Makesureyou bend both notes5harpand playit with some
aggression! You'llfindthisin blues,rockand rock'n'roll, so it'sa lickforall - or all reasonsl Seasons
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Thisexampleis a Hendrix-style double-stopthat navigatesthe firstfour barsofa quick-change dominantbluesin A.sRVwasheavily influenced
byJimiandhisstylewaslitteredwith Hendrix-style ideas.Addfinger vibratofromeitherthesecondandthirdorthkd andfourthfingers.
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Thisfinalexample isa demonstration of howyoucancombinestring up in pitchbypullingdowntowardsthefloor.Withsomepractice, you bendingwithdouble stops.Useyourthirdfingertofretthenotesontheshouldbe ableto bendthethirdstringawholetoneandthe second 7thfreton the thirdandsecondstrings. Youcanthen bendthe strings stflno a Semtrone.
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52 GuitarTeclmioues Juv 2009
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he decidedto staythereandjoinGong,one ofhis favourite bands of the time. Steve gainedfull-time membershipafier recording Flying Teapot in January 1973. When Gong packed up Hillage moved straight into his solo career,boostedbythe successofhis solo album Fish Rising, recordedwhilestill playing with Gongand featuringmost ofthe band members.By the mid seventiesHillagewasestablished asa greatguitarist and an inspired composerinthe progfield. Thereforeit might havebeensurprisingto seehim ALTHOUGH BORN IN involvedin r977'sMotivation Radio,a Chingfordin NE London, straightfunk rockalbumwilh shorler. punchiertracks.However,that was SteveHillage is often associatedwith the followedby t978'sGreen,a new album so-calledCanterbury co-producedwith Pink Floyd'sNickMason scene.The late '6os which indicates a clear return to long melting pot of Canterbury instrumental parts, filled wiil intense in Kentbred a numberof momentsof improvisationand a creative progressivebands - Soft useoftape echo.Recordedin collaboration Machine,Caravan,Gong, with his gi friend and fellow composer HatfieldAnd The Nofth, Miquette Giraudy,creen hasbeenwidely Egg,Camel,The wilde consideredone of Hillage'sbestworks. Flowers. Avant-garde or Duringhis morerecentcareerHillage fusion musicianssuchas worked asa recordproducerfor artists Hugh Hopper,Dave suchasIt Bites,SimpleMinds, Murray Stewart, Robefi Wyatt, Head,NashThe Slash,RealLife, Cock Kevin Ayers, Daevid Robin and KoDJm Kobrn Robyn Hrtchcocl{. Hitchcock. bventually Eventually ln In Allen, Mike Ratledge, the early r99os he formed his owl ambient Fred Frith and Peter I dance project System7, which soon ' becamea popular act in the l,ondon Blegvadall startedoffin Canterburybands. undergrounddancesceneasit later Commonelements would worldwide. E includedtouchesof psychedeliaand majestic visionsthat became possiblethanksto synthesisersand effects like tapeechousedwith distortedguitarsfor epic solos.Along with these elements,there wasalsoa senseof freedom derived from the'freejazz' scene. In 1969,Hillagebegan tojam with local musiciansandbecame involved with bands such as Spiro$rra and Caravan, getting to know Caravan's managerTerry King who landedhim a contract afterlisteningto somematerialfrom a demo Hillage had previously recordedwith Moderate OOOa the helpofhis formerbandEgg.After touring Francewith KevinAyers'newlive [{r0 wft tMPRovt YouR band Decadence,with whom Hillage pre-bending !ZBending, &vibralo participated in the rccordings ofthe 1973 KEY:Various p€dal albumBananamour(make offtedelay withwlume TEMPO: Various t U5e sureyou check modes inasolo CD: TRACKS 38-39 !1useofdiffeRnl out his solo on Shouting In A BucketBlues.l
Ashedelvesdeeperintotheworldof progrock Gianluca Coronauncovers oneof itsfinest: the highly musicaland inventive Steve Hillage...
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64 Guitadlechnioues Julv2009
1|II-LAGE STEllE $YLt Usingan echo unit and a volumepedalmakesthe repetitionssound without the attack,an effectthat soundsvery 'ambient'.Repetitions are set to stayon the beat with a long feedbacknearlyas loud asthe dry guitar signal.Pre-bendingcan bechallenging,so lookforthe right pitch and give it the correcttriplet grooveas.with the delayon, thingswill get very rhythmical.Hillage'sbendingtechniqueis fast,
and often you don't even noticethe startingpitch.Try strikingthe string slightly after you start to bend it. The vibrato is fast, but not wide - very expressive indeed.Try to modulatethe vibrato'sspeed, and havefun with it. In bar 19,A Dorian(A B C D E F#G) meetsthe blues(the b5) and is followedby A Mixolydian(A B C# D E F#G) in bar 20.
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The presenceofthe majTin bar 22 will delivera very differentcolour (A lonian mode).Laterin bar 22 we are backto the minor 3rd (C) alongwith a minor6as well (F),suggestingthe tonal colourof the A Aeolianmode.We arethen backto the Mixolydian,both in B from bar 26,and in C#from bar 30. Fromthe verv end of bar 31 the minor
pentatonicalsoshowsup. Finally,the minor 2nd and the major 3rd on bar 35 suggestthe soundofthe Phrygiandominant mode. Mixingdifferentmodeslikethis can be very challenging,although Steveprobablythinksmelodicallyratherthan modally.Makesureto supportyour modal playingwith strongmelodicideas.
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leamt atsobpm with 12obpm as top speed. You should fully naster theseslower tempos before increasing yonr speed.Until the exercisesare stable when played slowly, it's pointless speedingup. Once you have done a week ofpracticc, the feel ofthe grouping will start to set in, and the foundationswill be set fordevelopment. Anyexamples that feature vibmto 'exit' or finishing notes,are musical phrasesas opposedto static repetition exercises,and shouldbe played with whole-tone-wide rock vibrato. 'Exit' notes on thefirst or secoird and then practising licks overtwo strings shouldbe pushed upwards, and on the strings before buildingupto the full lower strings, pulled downwards. six-string shapes.We have seenthat There are rormally threewide, slow altemate picking involves two st ng vibrato pulsesbefore trailingoffthe string. crossingoptions: 'inside the stfings' This aspectis the finishing touch in and'outsidetlrestrings'picking,and presentingthe ideas with an authentic both need to be practised foran even nrodern rockluance and is as important as technique. the run itselfsobe aware ofthe importance of Working with sextuplets,we have awellplayed finishing note. becomeusedto accentingthe first That's it for this serieson alternate picking.I would advise thatyoulook ovelthe note ofeach beat'sgroup ofsix with a downstroke.This is the samefor any last fourissues, and create a dailypractice pattem that coDtainsaneven routine thatincorpol"tes the main elemeDts numberofnotes per beat,ard by of the series.Try a couple of one string striking the st ng harderto exercises, a few ofyoul favourilefwo-slring accentuatethe downstroke,we exercisesaDd a selectionofsix-string runs. maintain accurateslnchrcnisation Practiceeach exercisefor3-5 minutes betweenthe two hands. continuouslywith quick shake-offsif any This month we will form a routine tensionstartstobuild. E tohelp developodd note groupinSs offive and seven.We are still in 4/4 time, but eachbeat is divided into five (quintuplet) or seven (sephrplet).This meansthat the first beatwillstart on a downstrcke as usual, but the secondbeat is accentedwith an upstroke. So as you move through the baryou alternate youraccent from a dowrstroke on the staftofbeat one, to an upstroke on the staft ofbeattwo and so on. Thecolumn follows our strategy ofdeveloping new patterns and motions on a singlestring, before expanding to covertwo strings where wesee the 'outside' and 'inside the strings' va ations, finallybuildingto six-string scaleshapes.Playingodd number' gloupings athigherspeeds givesa shledJikc sound characteriseclby the fllll roll motion and is common with moder'nrockvirluoscrs. As we are more usedto even-numbered ntns of four and six.at our new odd groupings may take somegetting used to. Practicefor ten minutesorso without a metronometo establishthepattern, then startthingsslowly. The exercisesi|l quiDtuplets are played on theCData'leam'speedof 6obpmfollowed bya top speedof$obpm, and septupletsare
MartinGouldingconcludes hisexcellent serles picking on advanced alternate techniques with a lookatfive-andsevennoteorouDinos...
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KEY:A Dorian lZ Hand 5vnchronisation picking TEMPO:VARlOUS!ZAlternate precition CD:TRACKS40-44t Scalicsequendng OVERTHE I-ASTthree motrthswehave beeD fbcusing on sextuplets,firstly obselving the picking motion and toDe oDasingle string,
plagersnftoey.s getmentioned picldng pr0uess. RECoRo CerrciD wh€n it cones to alternate These include Yngwie ltalmsteen, stevs |B r a TIACI( picldng Vai, (in il 0i ileola, Paul Gilbert, Stevc ttorsc and Petrucci.lwo John track ryortt checking out for bltts aru nacor X's Scarifred GI115) f..I (inGl135)! andDream Theater's Erotomania IFEE 68 Guitaxlbchniques lu ! 2009
At_TtRilATt PtC|(['t0 getsLrs.omfortablewith Thissingle-strinsfraqmentin position1,A Doian (CAGED), accentingthe beat,lirstlyond downstrokeandthen on beat2 with an upstroke.All examplesbuild from this exampleso take.are to a.centthe beatand get thefeelof
the quintuplet.Li5tencarcfullyiotheGTCDanddo not applyspe€duntilthe pick motion andthe feelofthe exerci5estalt to solidify.Usethe tip ofthe pickwith quite a swingofaround 2cmseithersideofthe 5tringto ensurea good eventone.
controlandsynchronisationwill comefrom a f rm accentednote on eachb€at.Make Herewe havea staticrepetitionfiagmentovertwo stringswhichwillbring to our sureyouconcentrateon the downstrokeac.enton beats1 and 3. on thefretting a t t e n t i o nt h e ' i n s i d e t h e s t r i n qml o t i o n , w h i cih! w h e nt h e p i c k t r a v e lbse t w e e n o n e t o t h e o t h e ra, s o p p o s e d t o a r o u nt hde s t i n g s . T h e handthe fi rst,thid andfourth 6nqersshouldbe used. t h e s t r i n g s aist . r o s s e s f r o m
Here'sthe 'outsidethe strings'or 'hookingaround' iechniqueasth e countelpart to the previousexampl€.Inthis casewe can noticethe picktravellingaroundthe to the f rct note of beat2 stringaswe crosstrom th e lastnote of beat I (downstroke),
(upstroke). swingthe pickwidelyat first at slowertemposright acrossthe stringsand aim for the verytip ofthe pickfor an evenvelocity,apaftfrom the accentthat should b e p l a y e ds l i g h t l y l o u d e r t o asi dy n c h r o n i s a t iboent w e e n t h e t w oh a n d s .
Thk featurestwo setsofquintupletsper string,shiftinqthroughthree symmettical ratherthanby a je*y motion.Thefourth fingerwillcontractand expand,reaching posilionsofA Dorianstartingin positionL Asyou movefrom beat2 to beat3, shift outwith a slightjumpfrom one positionto the next.Again,accentthe beatand youf hand positionby reachingforthe new positionby expandingyourfretting hand obseruedownstrokeson beats1 and 3, and upstrokeaccentson beats2 and4.
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'outside' technique.Try Hefewe havea threestringquintupletexample which is an excellentwayto practise and the movefrom the secondto the third strinqutilises it on differentsetsofstrings,and rememberto keepfocusedon accentingthe t h € ' o u t s i d teh e n r i n g st' e c hni qu e sT. h e s h i f t i n gf r o mt h e ' l n s i d et h e s t r i n g s ' t o ihe 'inside'technique, downstrokesand upstfokeson the beats. fi15tmovefrom the firlt to the secondstringdemonstrates
2-13-1s-'1312-12-13-15-13-1
Julv2009Guitallechniques69
Aim to keepthe run atan evenvelo.ityoftone by swingingthe plckwideover downwards'ton€-widerockvibrato.Usethewrist pivotingfrom the heavilyangled eachstdngwith contactrlghton its tip. Accenteachstring,notingthe downstrokes first finge/thumb-overclampand pulldownwardsusingwrist rotation- thefin9€rs o n b e a t s1 a n d 3 , a n d u p s t f o k e s o n b e a t s 2 a n d 4 . T h e e xf n i tiosfh n o t e l u s e s ' p u l l themselvesshouldremainrigid.
Thisexamplefinishes with a semitonebend,follow€dby wide rockvibrato.Think ofthe vibratoasbeingappliedonceth€ bend hasrelaxedbackto pitch,rathe.than
from the aDexofthe bend.ThreeDulseris the standardfor rockvibratoand makes for an authenticanddramaticexlt to theseideas.
Thishorizontalstackingof two shapesp€r stfingopensup th€ potentialfof serious speedasthe mind canfocusonuninterruptedpickingwithout changin9 nrings for longerdurations,Thlsalgohelpsus movethrcugh positionsahd canextend
the rangeofthe runs.Oncethlsexampleis learnt,deslgnyourown runs,moving in differentdistancesacrosstheneck.Themore runsyou d€sign,or transcribefrom the gr€ats,the betteryourvisualisation ofthe scaleand navigationofthe neckwlll be.
Her€'sa stringskippingexampl€in thestyle ofJohn Petrucci.Thl5 examplemayne€d to eachstring,you willus€ thearm to slmpiymanoeuvrethewristoverthe string breakingdown into sub-exercires and buildlngup gradually.Useth€wristwhen sets.Thiswill comefrom the €lbow,but is in no wayassociatedwith anytension. pickingovertwo strings,and noticethat in ord€rto ke€pthesamepickanglerelativ€ Pfactiseslou/yuntilmemorisedand build speedg.aduallyfromweekto week.
F VFI V i V n V F V F V r.irV I'i VF V r"rV Fl V Fi V fi VFivft V Ft V I't y||l V I't V Ft V F V F V ti V I't V F V F! Thisnext examplelooksat odd numbergroupingofseven,or septuplels.Eachbear in a bar of 4/4 is splitinto sevenequallyspacednotes.Similafto qulntupl€ts,we will s e e t h a t b e a tIs a n d3 a r c a l w a yps l a y e du s l n ga d o w n s t r o kaec c € n t , w i tbhe a t s 2
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70G ita/Ibdmiques luly 2009
and4accentedon the uprtroke.Thet€ptuplet i5a full rolland leadsfrom th€ fourth frngeron everybeat.Asyou playthroughslowly,try to associate thefoot tapping to the beatandalternatingthe pickaccent5.
ALTERIIATT PICl(IIIG Forthisexample,pick lightlyand€venly,swingingthe pickacrossthe stringwith p i e n t yo f w d s t m o m e n t u mU. s et h ev e r y t i po f t h e p i c k w i t ha s l i g h td o w n w a r d s
angleto 9€t an evenvelocityasyou playthrough.Keepyourfoottapping on the beat,andconcentrateonthealternatingaccents.
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your finger'stip againstit - knowna5ktubbing'.Thefirstfingershouldalsorestfat Herewe havea descendingseptupletrun acrossallsix nrings,finishingwith tone' wide'pull downwardJrockvibrato.Ensurethaton thefretting handyou areawareof overanystringsunderneaththe on€ beinqplayedin orderto mute off any unwanted t h e 6 r s t i n g e rm u t i n gt h e s t r i n ga b o v e t h e o n e y o a u r e c u r r e n t lpyl a y i n qb y r e s t i n g
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-VFVI'IVI'IVF V-VF Thisisthe upwardcounterpartto our previousexample.Thefnishnote is struck with a downstrokeand playedusinglone'wide rockvibrato.Picktherun asevenly
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V ||l V - V F V - V - V I'I V I'IV- V -VFI V Thisexamplei, basedon evensi)(teenthnotes,butyou can seethefamiliarseptuplet a lirniteduseaccording to certain tempos.Sixteenth-notephrasingcan be very p a t r e mm o v i n g t h r o u gthh e b e a t s . w i t h o u tdao u b t i t i sm o r e . o m m o n t o u s e melodicatmid-tempos,whilststrictseptupletscan be usedto createa shredsound odd groupingsbutphrasedassixteenthnotes,ratherthans€ptupletswhichhave
Lastly,here'sanotherexampleofsixteenth-notephrasingthat utilisesodd note sub-groupings.ln other words,you willnoti€e pattemsthat you mayassociate with 5sand 7s,but playedthrough the beatsusinga time feelofstrict sixteenths.
Thisconceptwillhelp you developa vocabularyofsi)(teenth-notemelodicph|ases with triplets, generatedfrom learningpatternsthatyou mayhaveinitiallyassociated quintupletsor septuplet5,or combinationsofthe5eodd numbergroups.
71 .luly2009GuitaxTedmiques
ON THE CD *
215-5() -' TRAGKS
lxtracting triads youuselsfulloftriads, Every scale orthree-note chords. guruShaun Ourcreative you Baxter sl-ows howto usethemcreatively whenimprovising...
from eachofthe scales. This paticular progression is very efncient because,apart from a straigl'ltdomiDant7 chord,it containsall tJtemain chord-B?esused in westem improvisation(maj7, m7, mTbSand Talt). Diagram l sho\vs the various triads that can be exlracted from the scalesused over each chord in tlre progression;furthemore, there are tlvo mol€ columDs, one devoted to a limited selectionof suspendedfouth tdads (triads complising intervalsofr, 4 and 5); and another one giving a suggestedtriad pair orer each chod. A triad pair is a pair of triads tiat exist within a pnrticuJarscale Ilrathave o notesin commol, and canbe combinedto grcat effect. Eagle-eyedtheorists among you may be wonderingwhy there are no sus2hiads (comprisingr, z and5). Thesehavebeen omitted becausesus2is an inversionof sus4:for example,Asus2(A, B and E) hasthe samenotes asEsus4(E, Aand B). At a glaDce,the table may look dauntiDg,but you must separatethis initial 'R&D'stagelionr the stagewherc you are actually applying these conceptsduring an improvisedsolo. Greatimprovisersdo not mentallyscrcll through hurdreds ofpossibilitieseachtime they arc confi onted rviti a chord, and then pick sometling off the shelftlat they hope will sound ght. Nordo theythinkto themselves,"l am nowgoiugto usean add rr arpeggioliom t]le flattcncd 6th ofthis altereddominant." Instead, everlthing gets edited down to a senes of useableshapes(not theoretical concepts) t}|at exist within particularscalcpanems: allowing a playerto usethe infonrlation in a much more iDstinctiveand intuitive way. Also bearin mindthat, having experimented, you may only want to use only zo% ofthe infolmation in the tablc. Most players $'ho are new to using triads find it difncult to make music using the larger intervalsin triads but, ifyou pcrsevere,triads will eventually feel completely natural. Work at creatirg ideasthat havesomefbrm ofrhl4hmic interest,asthis is a greatway of making triads sound more nrusicaland lessnrechanical Alimited amount ofscalesare used$'ithin this Dronth'ssolostudy (onescaleoption per chord),to kecpthiDgsrelativelysimplc. But it's alsopossibleto usesomealtemative(although lesscommon) scalesfor rnaly ofthe chord tlpes and in tinleyou should experimentwith the \adous t adsthat existwithin thesctoo (seeDiagram 2).8
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(1,b3.bsl. drmtntshed ,/ The easiestwayofexlmcting ' triads fronr a seven-note scaleis to play'everyothernote'fiom any given staniDgnote.Forexanlple,in ADodan (A, B, C, D, E, F#, G) you could stan from A and play A, C, E Oyjumpingover B and D): these thrce notesfonn an Aminor triad. You could adopt the same approach from B andplayB, D, F#,which would giveyou a Bmtriad. Getthe picture? Consequently, when lea|ningto findtriads within a scale, we'll stickto three-notes-per-stdng scale patterns at lirst, asthesc logical fingerings allowyou to apply tl'lisnethod more easilyaDdheb to get things ingrainedmuclr quicker. Improvisel.skeeptheir playing fresh by bcing selectivewith theil note choice.Ratherthan thinking in tenDsofA Dorianall the time, it's possibleto producea greater contrastby using,say,a G major triadas the basisofone idea,aDdB miDorpcntatonicfor another-both things existwithinA Dorian,but havequite differcnt flavours. In fact,by gradingideasin terms ofnote deDsity, it's possible to divide the rarious lNto w -t-tMPRovtYouR ingredicntswithin eachscaleinto the following catcgories:diads (two-noteideas),triads (thr.ccKEY:Am vljseoftradtfromwithin a'cale note ideas),arycggios(four-noteideas), ti Harrnonic TEMPO: 98 bpm strength pcutatonicscales(five-noteideas),hexatofiic CD:TRACKS45-50U|lmproviiinq usnqtiads scales(six note ideas). N{ANY P[-,\IT,RS improYiseusiDg'steps' In GTr64 $'e studied rvaysofettracting (intenlls ofn torleor less).Triads,howerer,are pcntatonicscalesfrclrl the variousseven-notc mmposedof biggelintervals,called'leaps'(b3rd scalesmost commonly associatedwith the or greatcf .'Ilis'vertical' approachincreases cbordtlpes in the followingprogression: hannonic content,helpingmelodicideasto Am7/ | / | / | ATaI / | Dm7/ | / | / sound stlungcl and fresher. B b n a ) 7 / / /| 8 m 7 b/ 5E T a/ l|t A m 7/ / / t l / E 7 a r / In issucl22we lookedat extractingtriads This ironth rve're going to look at exlracting from one kc) . But this month r{e \\,ill e\tract t adsusingthe sanlebackingtrack; ncn month triads fi'om the urious scalesassociatedwith lve will cxplore the progression in evel morc differcnt chord qpes. Triads are the sinplest depth by lookiDg at how to efiract arpeggios ,/
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il Themone'veftical'appro increases theharmonic content toeachmusical idea, andhelps things tosound bothstrongen andfnesheP tt
TRACX [EC0[DFrrsionplayerslikeScoJield, stern,llenderson andGambale all us€trladsintheirsolos.Thismonth'ss0l0probably sounds mostliketrankGambale.Irank hasr€cordsdmanyalb[msand workedasasideman t0jazzluminades lik€Jeanluc PonWand ChickCorea. TtVhisalbumAPres€ntForTheFuturefoaturesa grcat solo0nthe tnacklrzy Passior:a bit likoGeorge&ns0n neets Allanlloldsyorth.
72 GuitarTechniques .luy 2OO9
[)(TRACT|t{G TR|ID$ tno[| Uillll|ilr SClLr$ SCALE SOURCE
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lGenerallThis month'sstudy is composedentirelyofviad-based ideas.No solo is reallycomposedentirelyoftriad-basedideas,butthis should sery€both asa powerfuI exerciseand illustrativeexampleofwhat triad5can do foryour playingIEars 1-21Straight awa, we see that it i5 not important to play every note of a particulartriad. When I played the firstthree notes,the'concept'was an Am t r i a d ,b u t t h e m e l o d yi n m y h e a do n l y r e q u i r e dm e t o p l a y t h er o o t n o t e i n o c t a v e ss, o l l e f t o u t t h e b 3 r da n d 5 t h d e g r e e s . T h e f i r s t t h r eneo t e 5a r e f o l l o w e d b y a m e l o d y d e r i v e df r o m a C m a j o r t r i a d b ; u t t h r o u g h o u t t h et r a n s c r i p t i o yno u w i l l s e en o t e ss h o w ni n s q u a r eb r a c k e t sT, h e s ear e c h r o m a t i ca p p r o a c hn o t e s ; , h i c hn o t e sa r en o t s t f i c t l y I ' v ep u t t h e m i n b r a c k e t s o y o u c a n s e e ,a t a g l a n c e w
Am7 A harmonim c i n o r s c ae ( A ,B ,C ,D ,E ,F ,G # ) ATalt A P h r y g i ad n o m i n a n t s c a -l e( A ,B b , C #D, ,E ,t G ) A half-whol€scale- (A,Bb,B#,Cf, D#,E,F+,G) A Tritones.ale' (A,Bb,Cr, Dr, E,G) A a u q m e n t e sdc a l e ( A , 8 r , C f ,E ,t G s ) B b a u g m e n t esdc a l e ( 8 b ,C * ,D ,t G b , A ) am7b5 B L o c r i a n a t2 - ( 8 ,C # ,D E ,t G , A ) B D o r i a nb s - ( B , C #D, ,E ,F ,G # ,A ) B L o c r i a n a t 6 - ( 8 ,C ,D ,E ,F ,G # ,A ) A a u g m e n t e d s c a l e(-A ,B x , C #E, ,F ,G # ) ETatt EP h r y g i adno m i n a n t s c a -l e( E , F , G *A, . B ,C ,D ) Eh a l fw h o l e s c a l e ( 8 ,F .F l d , 6 , , A f , 8 , C * , D ) E T r i t o n e s c a l e( E ,F , G , , A { ,B ,D ) Ea u g m e n t esdc a l €- ( E ,F l { , G r , B ,C ,D # ) F a u g m e n t esdc d l € ( t G s , A , C ,D b ,E )
part of a triad.Thesechromatic notes are relatedto the triad nonetheless:they w o u l d n o t e x i s t i nt h e m e l o d yh a d I n o t b e e nt h i n k i n go f a p p r o a c h i n gs p e c i f i c triad notes.Atthe end ofbar 2, a Db augmentedtriad k used (with a chromatic passingnote).Although Db aug is the 'correct' term, Cf augmented might be more convenient becauseit's easierto think ofthis triad stemming from a major third (C* is the maior third of A), rather than a flattened fourth (Db is the b4 of A). [ 8 a r 5 ] T h i sb a r c o n t a i n sa n e x a m p l eo f t r i a d p a i r si n a c t i o n . T h em e l o d y a l t e r n a t eb s € t w e e na 8 b a n d C t r i a d .N o t eh o w t h e m e l o d y s t a r t so f f i n g r o u p s o f f o u f ,a n dt h e n s w i t c h e st o t h r e e( c r e a t i n ga ' 3 a g a i n s 4t ' f e e l a g a i n s t h e . h i ss h i f to f e m p h a s i sh e l p st o m a i n t a i nt h e l i s t e n e r ' isn t e r e s t . u n d e r l y i n gb e a t ) T A76l
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73 July2009Guit€xlbdmiques
IBar6l Eending and vibrato helpthetriadsto sound more expressive.ln this b a r , t h el a s tb e n d i s p l a y e di n a n t i . i p a t i o no f t h e A m T c h o r da t t h e s t a r t o f b a rZ [8ar lO] Listento the contrast between this passageandwhat,s been played so f a r . 5 u s 4 t r i a dh s a v ea n o p e n a n d m o d e r ns o u n dw h e n c o m p a r e dt o t r a d i t i o n a l 1 , 3 , 5 - t y p et r i a d sT . h i sb a r f e a t u r e sa h e a l t h ym i x o f r h y t h m i cs u b - d i v i s i o n(si n this case,sixteenth-note5and sixteenth-notetriplets), [ 8 a r t 2 j T h e r ea r es e v e n] , 3 , 5 - t y p et r i a d sf o r e a c hs c a l ei n D i a g r a mI ( at r i a d stemming from each note ofthe scale);however,you will notice that some of t h e t r i a d sa r e 5 h o w ni n b r a c k e t sT. h a ti s b e c a u s ei h e m o s t i m p o r r a n rt n a d s( n o r i n b r a c k e r ss)t e . nr r o m t h e ' t s r , 3 r d5, t h a n d 7 r h n o t e so f e a c hc h o r d( l e t , sc a t l ) , h e f e a st h e t r i a d st h a t s t e mf r o m t h e 2 n d , 4 t ha n d 6 t h t h e s ep r i m a r y t r i a d s w
notesad a5secondarytriads,and tend to be used when passingfrom oneof the primary triadsto another The passagein this bar shows atypicalexample ofthis, as it comprisesa long connected sequenceof diatonic triads. Note the use ofthe'3 against4' rhythm ic device again. l B a r ' t 4 l T h e r ea r e t w o p o i n t so f i n t e r e s th e f e .F i r s t l , n o t e h o w e a r c a t c h i n qi r i st o h e a r t h e s em i n o r a r p e g g i o st o p p e da n d t a i l e db y c h r o m a t i cp a s s r n gn - r e s (from a semitone below).Secondl, note how, in a minor iiV I progressio;, the sameideaplayedov€rthellmchord(inthiscaseBmTbs)canbeshifteduD m i n o r t h i r d a n du s e do v e rt h e V c h o r d ( i nt h i s c a s eE T a l t )F. i n a l l vs, i x t e e n t h n o t et r i p l e t sh a v eb e e n u s e do n c em o r e i n o r d e r t o r e l i e v e t h em o n o t o n vo f t h e s i x t e e n t h - n o tfee e l t h a t p r e d o m i n a t etsh r o u g h o u tt h e b u l k o f t h e s o l o .
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74 GuitafTechniques Juty2oO9
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ON THE CD t
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Gary'snewalbumBadForYou Babythat arewell worth checkingout (alongu,ith sonregreatblues plal.inglrom the man). Ifyou're goingto start addingcounrry flavoursto your soios,1'oull needto think like a countryplal'cr.Countn guita stsbase mostof lheir ideasrl o nd I6th notes,io in Example1Garydenonstrateshow to play thebluesscalewith roth r)otephrasing. Thc exampleopenswith somccoolclouble-stop bends,swelledin with the guitar''svolume pot to replicatethe sounclofa pedalsteel. You'llalsonoticehow mostofthe blues sculeidea:areusedin bilrs5. t' and tOexactly$'helethe lV chor.d(D7) is played. Ovcrthe I (A7)andV(E7) chor.ds,he'susing the lelatedmajorpentatoDicscalesto reflect the clrangingharmonyoftlre sequencesomcthingthatcountryguitaristsdo a lot. In Examplez Garydemonstratesanother big featureof countl' plal ing: the lhlthmic bend.Thebendson the first and thirdbeats in tlre exampleareplayedrhl'thmicall] - the pitch ofthe fimt noteis allowcdto ring bcforeit's bent.Theseare inr)rediately followedby straightlbrwardgracenote bends,soyoucanreallyhcal the differencc. ln thcfinal example,Garyusesthree-note pattcrnsto createmorc rh).thmicinterest (barsr ard z), and addsa dashofflashwith sornecoollegatosixteenthnotetriplet licks in bars4and10.Gan sumsuphiscountn' approachby concluding;'l lvastrling tojust p u tl h cc o un t r l ,s t l l ei n t oi t b u ts t i l l p l a )i n a bluesscule.Playing with ( otIntr"', phrasing - that waswhat madeit differelt fbr me". Visit www.garymool'e.con for moreinfo on Gary'salbumsandgig schedule.E
ltl|oorom Gary #\
VIDEO q'tl
Jl There aresome surprisingly hotand hearycountry-inspired solosonGany's newalbum BadForYouBabytt
Inthefirstof anexciting newthree-part series, guitar blues legend GaryMoore shares someof his tipsandtricks withus.PhilCapone transcribes...
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He has over thirty solo lbums to his name. Moderate/difficult Like all great pla)ers, Gary's llot afraid to bo[ow concepts fr.otDothergenres to keep youn his plafingfresh and cxciting,hencethc wrLL uupnovr ir)clusiunofsontc lrcll('ticcorrrltlyplit)l ng KEY:Various !ZSixteenth-note licks on the newalburn. As Cary revcaled, "I TEMPO: Various rZBiues playing s(dle wasn'ttrJing to go full out countr] - it's still CD:CD ROMFile Z Dynami(s andattack a rz-bar atthe end ofthc day".So don't IN ADDITIONTO a hugelysuccessful solo w'orr\, he hasn't convcrtcdjust I'ct! carcer,Gan l,loorc alsocnjoled eminence Nevefthelessthere ale sorrresurprisingll nith SkidRorr','l'hil Lizzl and Colisseumll . hot and hear1,countn-inspircd soloson
TRACK RIC0RD With ouerfhi'h/.so/oalbumsto hisname,hislatestoffering,SadForYouBaby, wasrecorded witha,straightoff the roadand int0tothestudio'policy. Thealbrmcertainlycapturesthat elusive livefeel,withilr Moore 0nblisteringform. cuitars0fchoiceinctude his hybridFender Telecaster variousGibson LesPauls, a Firebird(pictured) andGary'scherryred1963ES-3ts.lt,s Gary,sbestalbum for ages! 76 Guitat'Iechnique July 2009
|l/|OORT GARY $IYI-E Garybendsthisopeningbendwith hissecondandthirdfingers.However fingersto supportthe bend.Usealternatel6th note pickingfrom bar 5 youcouldalsotry bendingwith yourfourth,allowingyouto usethree onwards,taking carenotto letthepickingorderslipwhen addingslurs.
L Swell noles wilh volume pot
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It'salwaysa goodideato playa rhythmicbendphrasewithfretted notesfirst(ie replacethefirst bend with a hammer-onto the 14thfret)to
BU
BU BD
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BU BD
ensurethatyou'reallowingthe firstnoteto ringbeforeyoubendit. Gary isan absolute masterat thistvoeof lick.
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luly 2009GuitarTeclmiques 77
oN THEcD $ co-nonnnr-e
Thephrases in bars4 and 10areplayedthree-notes-per-string. Garyuses hisfirstandthirdfin9erswhenpullingoff to anopenstring(bar4),and
hisfirst,secondand third fingerswhen in fifth position(bar5).Notice howGaryplaysthe entireexampleusingjust hisstrongestthree 6ngers.
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thckcyofCfor theseexanrples andI re tabbedout fingerings,it's inlpoftant to rememberthat they'reonly suggestions - theseideascan,andshould,be moved aroundthe necksothat you canconfortabl)' usethem everyvhereand in everykey(as denonstratedin GT164and 165).Exampler teaturesa se esoftwo-beatminor lh fragrnents,followedby donrinantlh fiagmentsin Examplez and majorTh flagmentsin Example3. The notesat the staft and endofeachftagmentarekeyto Itowwe go aboutconnectingthemtogetlrer. The dominantlh and majorlh fragments approach:youfocusnrore in Examplesz and3 are arrangedin ordcrof directlyon eachcholdt1pe, the intervalwithwhich they start,going thus increasingyour' fromlines statingon the root ofthe chord familiadtv andcomtbrtwith and proceedingthrough(primarily) eachof them; ratherthanbeing'setin thechordtoncs.endingwith linesbeginning stone',your linesareflexible oDthe 71h.The ideais to connectthemas you caDconnectanyfiagment smoothlyaspossible- ie by movingup or to anyotherthat'sappropriate down no morethat atone from the end of andcreatelongflowinglines onefragmentto the beginningofthenext. that areconstantlyvariable. Examples4 to rr featurea seriesofshort As you'r'ethinking chordby Il-V-I linesploducedbyjoining someofthe chord,you'regenerallymore fiagmentstogetherusiugthis approach, As ever,practiseconstructingyour own awareofwhat you'replaying harmonically;andyou can linesfrom thesefiagments,and adapting easilycreatelinesto fit thescand anyotherfragmentsto work for unusualsequences. we otherchordtlpes. Usingtheapproaches Sofarwe'veusedourold discussedin GTr66you caneasilymodily friendthe II-V-I progression theseideasfor shortminor [I-V-I progressions, and constructedlinesby which wouldalsothenleave joining togethera se esofm7, you with all ttretoolsneccssarytoconstruct dominantTandmajT shoft III-VI-Il-V-l lines.SoI'd encourage fragments(movingon to the youto reallyexperiment.Il minor II-V-I sequence last month),but this approachcan - it's be usedon anysequence just a matterofhaving fragmentsthat work for differentchold qpes. This ChurtiePcrrker monthwe'regoingtofinishup play tt b y l o o k i n g r t i d e a s f o r a s hLolr-tV -iln ( . We first discussed the shofi II-VI progression waybackin the carefree, linanciallysecuredaysof GT issue92. Ifyou recall,asopposedtothe conventionalII-V-I progression which generallylastsfor four bars,a shortII-V-l featuresthe samechord progression but with two beatson the II chord,two beatson theVchord andonebar on lhe lchord.withthewholesequence lastingtwo bars.The shortII-V-l is a (arguably'the')fundamentalcomponentot bebop,and c mastcrl ofthe plogrcssionis essentialto a masteryofbebop. As previously,we'vegot a seriesof fragmentsculledfromthe playingofjazz mastefstoo numeroustomention,covering the componentpafts ofthe shoft II-Vl proglession. wc le in lncidentally. a1though
Building line bebop 's isbeauri[ul Small says C I jazzman PeteCallard joln ashecontinues to thedots,creating llVl)azz linesfromsmaller fragments or'motlfs'...
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youninstnument, ll Masten masterthemusic. andthen
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KEY:C t 50loing vocabulary TEMPO: Various t Harmonic knowledqe CD: TRACKS phra5ing 51-62 v Jazz LEARNINGLINESIS an impotant stepin thePlocess ofdeveloping asa jrzz so)oisl. altdoverthepastthreecolumnswe'vebeen discussinga commonapproachin bebop (andbeyond)basedaroundpnctisingnot somuchwholelines,butfragmentsoflincs that work for particularchordtypes,which canthenbe connectcd logetherto outline scqucnces. Althoughthe endproductis similar,thereareseveraladvantages to this
particularly IIACKBEC()ID Fo|c solidintroducnbn to bebop I'dheartily rccommend starting withthepi0ne€rs, alto-saxophonist Charlie (A ,Jazz Parker(Verye lilasters,lGnBurnsJazz:Charlie Parker), Dizzy trump€ter GillsspieilightinTunisia: ThcYerySest0f Dizzy Gillespie), and pianist BudP0well(The Amazing BudPowellV0l. l &2). 80 GuitalTeclmiques luly 2009
Lll{tS BUltDltlG B[B0P JAZZ: placesonthe neck.Also,rememberthe fingeringsare onlythereasa guideline- exploreeveryfingeringoptionto really9et the mostfrom rnem.
Example1 featurer a seriesoftwo-beat minor 7th fragments,or motifs. Although all of these are for a Dm7 chord, it's important to get used to playing them in every key and to play them in different
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81 July2009Guitaxlbclmiques
Here we have a seriesoftwo-beat dominant 7th fragments,or motifs, for GZ They'rearranged in order ofthe interval with which they start to makeconnectingthem easier, beginningwith fragmentsstarting
a)
on the root (2aand b),then the b9 (2cand d), the 3rd {2e -j), the 5th (2k- n) and finallythebTth{2oand p).
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82 Guitaflechniques luty2009
BUlL0lllG BtBOP tlllt$ JAZZ: Now we moveon to a seriesofone-barmajor7 fragments,or motifs, for CmajZAs with Ex2,they'rearrangedin orderof the intervalwith whichthey startto makeconnectingthem easietbeginningwith
fragmentsstartingon the root (2a),then the 9th (2b and c),the 3rd (2d - i),the 5th (2j - n) and finally the 7th (2o and p).
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83 Juy 2009Guitax'lbcluriques
Examples 4 to'11showa few ofthe manypossibilitjes producedby connectingshortminor 7th,dominant7th and major7th fragments
togetherassmoothlyas possibleto produceshortll-V-llines.The originalfragmentsusedare indicated...
Ex4
Dm7
G7
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Dm7
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84 Guitat'Ieclmioues lulv2009
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ON THE CD
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TRACK 63
Get moTe r p r n r d i n ot i n c
Inhiscontinuing serles on players whoemploy DADGAD tuning, StuartRyanlooks attheincredible gu;tar style of Brltish acoustic legend Clive Carroll...
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conceivablestyleauthenticalh and the fact that he is afantasticcomposerandyou OOOOO Advanced havea raretalent. Clive'sstyleis not easytomimic, INFO w "t"tMPRovt YouR however- his senseof d1'namicsand KEY:Dmajor '1 Picking hand timekeeping phrasingarehighly developedand his TEMPO:60/140 tt(lean chordfretting techniqueis honedto per{ection.A.lso, CD:TRACK63 t Dynamics havingstudiedcompositionat ahigh level, his piecesare oftenvery detailedand offer IT IS NO EXAGGERATIONto saythat this the contrapuntalchallengeof several month'ssubjectis oneofthe world's finest things happeningat once.For this month's acousticplayers- catch stud1I ha\ecombinedfwo areasof his him live and I'm sure approach- stading offwith a slow, you will agree!Like traditional inspiredmelody,whereyou can many ofthe bestplayers, focuson dynamics,phrasingand space, Clive'smusical and then movingonto somethingmore backgroundis particularly up-tempo,which includessomebluegrass diverse.Born in 1975,his inspiredruns and a Travis pickingbassline father madehimhisfirst setagainstsomewide chords. banjo in 1977and at the age Ifyou can,makesureyou seeClivelive ofnine, Cliveswitchedto the but don'tblame me ifyou go home and guitar. His formativeyears burn your guitar afterwards!Ii werespentplaying traditional I sh musicin thefamilybandandinhis late teenshe attended Trinity College,London, from where he graduated with a First Classdegreein Compositionand Guitar. In 1999 Clivemet folk legendJohn Renbourn,who encouragedhim to recordand subsequentlytook him on tour for severalyears. Clive'sdebutsoloCD, Sixth Sense,was releasedin 20oo and it is staggeringinits rangeand expefi technique. Clive'smusichastheenergyand passionof traditional music combinedwith the controlled,fluid techniqueofa classicalviftuoso. It's a rare combinationbutonethat yieldsstunningresults.Whether playinga traditional IrishAir, a Mississippibluesor the most demandingof classicalcompositions, Clive'sguitar playingis somethingto prowess CliveCafrolI histechnique,compositional andfeel mark himout as an extraordinaryplayer behold.Addto this his abilityto play any
ll In1999 Clive metfolk legend JohnRenbourn who
encouraged himto record andsubsequently tookhim
yearstt ontourfor sevenal
IIACKBEGoID Cliuehasthreesoloalbumsandevenyoneis tlled withcompositions 0f the highestorderandplayingthat's not0nly technically flawlessbutpackedwithfeel.ThethneeCDsare:SixthSense, TheRedGuitarandlife In G0l0ur. There'salsoa liveIn G0ncert DVD anda SoundTechniques seriesDVD, whereheplaysanddiscusses hisapproach. Eachis requiredlistening./yratching!
86 GuitaxTechniques Juy 2009
cLrvr crnR0tt $TYLI and lettingthe music'breathe', extendnote lBarll Focuson phrasing valuesasyou seefit,andtry andmakeityout own, by traditional music,Cliveiseverybit a lBar3l Althooghinfluenced (tapping, modernplayerandallofthe associated techniques slapping etc)featurein severalofhispieces the hammeronsandpull offsin pieces lBar6lWatchoutforcontrolling phrasing likethis-oftenthis is mimicking afiddlesoit needstobeswift cleanandin time. inspiredthemetogetusgoing.Strong [8ar9] Here'sabluegrass
hammerons/pull-offs at speedarerequiredhere.lwouldusethep andi pickingfingersexclusively for thissection. lBar121DidI mentionthatClivewasa banjovirtuosoaswell? youwillencounter Consequently a lot ofthesefastrunsacross the strings-pim isthepickinghandpatternofchoicehere. watchthe timingof the melodyagainsttheTravis-picked lBar151Just bassnoteshereandmakesurethetop strings(first,secondandthird) ringcleanly throughout. Therearea coupleofstretches to contendwith but it'sall partofthe fun. G addg/B
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Juy 2009Guitallbclmiques87
mayfeela bit odd at firstsostartthingsslowly. lBarl9l Thissequence Overallyou canthinkofthe pieceaslikea snapshot ofClive,s style,so everycoupleof barscanbe treatedasan isolated exercise ifyou wish. Thethemein bar25,playedin double-stops, willtakea bit ofgettingused to. Whereasmanyplayersoften playmelodieson singlestrings,Clivewilj D13
usually harmonise asmanynotesaspossible and not alwayswiththe conventional you mightexpect. harmonies [Bar29] Andfinally,herearesomeup-tempostretching chords.Make sureyouwarmup firstasthisisquitea challenge!
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aa Guitaflbchnioues Julv2009
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90 Guitaflechniquesluly 2009
seenasa sortofcs&N 'Unplugged'event thatnever actually happened. Embryonic, beforethe fairy-dust versions of songslike Marrakesh Express, AlmostCut MyHair,LongTime Goneand LoveTheOneYou'reWithstand upforthemselves, showing exactlyhowgoodtheyare, even whenstrippeddowntoone-manand-his-guitar renditions. Part-time fourthmemberNeil Youngevenpopsin tojoinhis colleagues on Musicls Love, whichappeared on Crosby's solo albumlf lCouldOnlyRemember MyName.Die-hard fanswill doubtless cheerloudly- andeven themildlycurious willbe rewarded byseeking out thisCD.
THlilUZZY
STILT DANGEROU5...
lostinthe mistsof rock'n'rollt past.But, archaeological thankfully,theywerewrong: Indiana Jonesisaliveandwell,it seems-and workingforthe recordindustry... Legendhasitthat Lizzy'sLive AndDangerous album-always nearthetop ofeverybodytlistof BestLiveAlbumsEver- tooka considerable effortto'fix'in the studiobeforerelease. Ofcourse, no suchfacilitywasavailable for thisCD- andtherelno signthatit waseverneeded,either,asthese performances areraw potentand drivingexamples of a bandat the peakof itspowers.Tracks like BoysAreBackandDancing InThe lvloonlight haveneversounded sogood;sositback,windit up andenjoyoneofthefinestbands evetcaptured intheirprime!
MAYALL
RETURN TOIOREVTR RETURNS EagleVision **** Oneofthepioneeringjazz rockbandsofthe 1970s, alongwithWeather Reportandthe Mahavishnu Orchestra, RTFintroducedrock audiences to intense, exploratory musicthat trulypushedthe boundaries.The most successful andexcitingline-upfeatured ChickCorea(keyboards), Al Di Meola(guitars), Stanley (basses) (drums). Clarke andLennyWhite Althoughthe bandsplitup in 1977, thefamousline-upreunitedlastyear fora woddtour,andthisDVDdocuments concerts filmedat (Florida)legs the Montreux(Switzerland) andClearwater of the tour.Thestrongesttunesfrom HymnOfTheSeventh (1973), (1974), Galaxy WhereHaveI KnownYouBefore No (1975) (1976) N4ystery andRomanticWarrior arefeatured, andtheperformances aretrulyawesomeDiMeolais positively smokingon a coupleof numbers! lt goeswithout purchase saying thatthisisanessential forallRTFand indeedallfusion fans!
JAN AKKERMAN
LIVE IN(ONCIRT. THE HAGUE 2(}()7
ThinLizzyPrcductions ** * Thisisoneofthosesituations wherea lotofpeopleknewthat thisparticularThin Lizzyconcert (whichtookplaceattheTower Theatre, Philadelphia in 1977)had beenrecorded,buttookfor grantedthatthetapes themselves hadlongsincebeen
J(]HN
RETURN TOIOREVER
BTUESBREAKERS .JOHN MAYALLWITH ERIC CLAPTON Decca ***** lfanyonewasunawareofthe nameEricC aptonbackthen, t h s w a st h e a l b u mt o c h a n g e allofthat.Gainingsome degreeof fameduringhis
timewithTheYardbrds,Eficdecided tojumpshipjun asthey (andcommercial) werebecoming successful andjoined.iohn M a y aI ' sB a n dJ.o h nw a sv i r t u ay u n h e a r d o f i n g e n e r a l c r c l e s b ut t h a ts o o nc h an g e dt o o .n l t l ay E r i c ' s s o u n d w a s t e a n ' b u t by ate1965hedadoptedtheoverdriven banageofGlbson LesPaulandMarshall guitarplaying ampandchanged forever.This albumwasreeasedn l966yettheopenng slde on AllYourLovestil sends chilsupyourspine. Although t h p r easnr 1 c o 1(.t c n c yt o t h ed l b u mr a p t o n s: o l oas r p absolutely stunning. Theinstrumenta s Hideaway andSteppin' Outhavebecomec assics, andEric's lightbutheartfelt lead vocalon Ramblin'On MyMindbarely hintedatthegreat s ngerhewoud become. lf thisisnotinyour collection then gettheDeluxe Edition CDright nowl
AlDhoCentauti Entertalnmert **** Akkermansappearance at a concertinThe Haguegave a rareopportunityto seethe guitarist legendary ex Focus in action.This DVDofthe gi9 boastslotsof Focusmaterial, andgoodcamerawork meansAkkerman's trickyrunsandphrases arerevealed.The famousmusical interchanges betweenkeyboards and guitararemuchin evidence withCoenMolenaar playing phrasing againstJan! on trackslikeAnonymous andthe legendary HocusPocus. gone A lotofthoughthasclearly intonewarrangements, somuchsothatHouseOfTheKing hasbecomePalace OfTheKing!LotsofAkkerman solo material isalsoincluded andtheconcertiswellpacedand variedenoughto preventanentirely instrumental setfrom becoming you'rea diehardfanorjust tedious.Whether curious, thlsisanentertaining DVDwithbonusfootage fromthe Bimhuis concert.There isalsoa soundtrack CDin thepackage, soit s goodvalueallround.
BOB DYTAN NEVER ENDING TOUR DIARIES
WINSTON WATSON INCONVERSATION lt4VDVisual*** Thiscurious offeringcombines a running interviewwith a visualrepresentation of Dylan's tourdiaries, madeovera periodof fiveyearsbyhisdrummer, Winston Watson. Watsonkeptajournal, writingat leasta pagea dayin hotelsandon planejourneys.When theodd gigturnsintohundreds, thingsareboundto beforgotten andWinstonwaskeento shareasmanyexperience5 as possible withhisfamily: "1've gota goodmemorybut not thatgood,"he explained. WhenCharlieQuintana left Dylan'sband he recommended Winston and,withoutan auditionor rehearsal, Winstonplayedinfrontof80,000 peopleat hisdebut9i9.This isnotguitarled,norevena tourconcert, butitisanintimateinsightto BobDylanand moreimportantly lifeon the roadwitha top band.lfthat's whatyouwantthenthiswillbe highlyinformative.
lu y 2009Guitallechniques91
Theorv Godmothe
yourplaying posers Post andtechnical teasers to me,Theory
Godmother, GuitarTechniques,30 Monmouth Street, Bath, BAl2BW,
[email protected]. Your wishismycommand. lWantlt All! DearIheoryGodmother As a guitarteacheryourselldid you evercomeacross5tudentswho seemedto expectthatthey could masterapieceor a solowithout doinganypractice at all?lfind that thisisthe caseamongstsomeof my youngerstudents:lwrite out the tabforthemandsendthem offinto the night,butwhen they returnthe nextweekthey clearly haven'tdoneanywork on it at allandget veryfrustrated whenI point this out to them. l wondered ifyou had managedto developany wayofovercoming this. Steve
to qLrit sornethlng thatdldnt wofiy r.e at ai becaLrse ld farratherhave students whowantto plrtlnthehouB thanthosewho donl. lguesswe ivein a socetywhere need5arebeingfulfiledmoreand rnoreeasly:jnstantdownloads, next daydellvefy, Googe it andind the answer- that klndofthlng.8ut,of course,noneoftheseappy to earnlng an n5trument;its hardworkthough. Sometrnes,youhavetolooka litt e deeperto hndthe answer, though;I oncehada youngpuplwho didn't ,9 d, y p drurr
dl
a , despltehisprotestatons to the lto d hisparents conlrary.When that hispfoqress wasunusualy s ow and askedlf he wa5practiclng at home, Th5certanlydoessoLrnd famiiar, hismotherrepled,'Oh, didntwetel youthat hesdyslexicT'From Steve.Stlrdents who seemto th nk then on, theycanlearnbyosmosls alone,wth lapproached the lessons d fferently absolutely no workon thelrbehalf andhe beganmaklngheadway. So at a .Tobe honest,folfdthatthe occasionaly f5 notdownto high F..F.i:ii..< ^r
(ounting 0utTime
l'mhavinga greatdealoftrouble workingout howto practicewith a metronome.Howdo I know how to setthe metronomewhen there i s n ta B P Mm a r k i n g a n d h o w d o i work out the notes-per-click when thereis? lrealisel'mprobablybeingtrulydim aboutallthis,but itt holdingme backandany helpwould be very gratefullyreceived. Andy
be h t and rnis5to nart wlth,but you' gainthe necessary soonlind that yor-r experience to qet t n theba pafk everytime. A
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AlittleWhine? DearTheoryGodmother l'vebeenusingthe samevalveamp (anold Fender) for a longtime now and it'sneverbeenoverhauledor serviced.Recently, l'vebeennoticing a sortofwhinecomingfromthe speaker-a bit likefeedback onlynot asloud.lsthisa signthat lneeda re-valveorservice?lt doesn'thappen allofthe time-just at the moments whenI reallydon't needittol Lary
Ithinkth s m ght beyoufamp'sway oftelingyouthatlt deinitey needs Let!deaLwjth onethingata tinie.f a sewcelValves don'tastforever and theresno metronomemarkinq, there tendto dies owlywth a whirnper m qht be somesortoftempo d fective and(thankfuly) notwltha bangA like'moderatol meaning'ata moderate teedback ikewhinesoundslkea teTnpowh ch transatesto betweerl vave becorningrnicrophonic andyoll 100120BPIVI on a metronome. Othe6 mightbeabe to 6ndthecLrlprt wrth lncudethese:Largoi 40-60,Adago:66 thlssimpletest.Turn theampon and rhF.CFNTV r:. p;.h 80,Andante:80-100, ALegro: 120168, Presto: t6B 200 otthevavesn ihe backwitha pencI Thereareothersandmosttheory Whenyoufindthe rnlcrophonlc one, t books(ortheinternet)wlbeabe w | 1nq'whenit'stapped thenyoLr'l fthere's to guldeyou. no markat knowwhlchoneto repace.Butit does a I,wh ch wouldbeLrnusua,then soundlikeyou needto getthe whole thechances arethatyou would arnpchecked out flt hasntbeenre' stll havesomepolntof feference, vaved in ages iketheoriginarecord ng if t wasa Onewordofcaution, though: transcripton. Counta ongwiththeCD p easebe carefuifyoutego ng to get unti youhavethetempoandthentry lnvovedwith the electroncsinside yourampValve to matahit on a metronorne.t m ght circLr ts havesome
wholearnguitortendta ptocetheemphasis on practtstng alone 33 People in theirroomswith o metranameratherthan developinqtheir skillsbyplaying jazzersdidn'[wastetheir togetherwith athermusicians. Thefirstgeneration timeprcctising;theyjammed togetherand in doingsopickedup valuable - hepst stuffliketimingandphrasing... StephaneIGrappel]il hatedreheorsing couldn'tunderstand it.Neithe( cauldhe understand whytherestof hisband procticing wouldbe in theirhotelroomswhilsthe sat and watchedTV.lt was justsomethinq to him whichwasa tatallyforeignconcept.ll
92 GuitaxTechniques lu y 2009
niinn.t
metronome,ltfealy comesdown to la rysimpe maths:the ab lty to dlvide a beat n haI or intothfee,foLror s x (seeExample l).lwou d recommend thatyouwofkthi5out in tialy by countng aloud,capping ortappng withouta guitarln yo!r hand.Get theldeaolsp ittingbeatsintother commondivlsions ntoyourheadand you'lind workingwth a rnetTonome becomeseaser andeaser.
r Exampletracttaken irom TalkingGuitars by 0avld lvlead,published by Sanotuary,ISBN: 1-86074-620-S. Price: 19-99 (UK), $14.99(USA).
MdE@@o& 1&2&3&4A
HybtidPowet Dear Theory Godmother
ExaFlple2
D Do an: rhec m4d.c.re
over a D bas3
EXAMPLE l ABOVE: Thereare two waysto countsextuplets:in rock t ranscpiptions they are moreoftenplayedrhythmicallyso that they soundliketwo groupsoftriplets '1 2 3 & 2 3'. Sometimes they are counted asthreegroupsoftwo -'1 &2 & 3 &'(on eachbeat)
Example3
lwantto learnhowto usehybrid picking.l'vetried usinga thumb pick, but l.iustcan'tget usedto it, but pick andfingersfeelsreasonably natural. Canyou suggestanyexercisesthat would setmeon thecorrectpath for learning this?
ts a I aboutgainnq independence in the pickinging-"rs.The exercises arevefyslmllartotho5e wouldg ve someoneto kickstart theiri ngerstyle playng blrt herewele merely sLrbstltutlnq the p ck for thejob the thumbwo!ld do.50takea lookat Example 4.These ldea5 5ho!ldstart you off nlcey.
D minor Denraronic- now wilh add€d maiorslhl
Example4
DearTheoryGodmother l'vehit a technicalbrickwall.There's a chordchangein a songl'm trying to learnthat ljustcant get every timelplaythe songit'sthesamebit thattripsme up.l'vebeenplaying for nearlyfour yearsand thought that situationslikethiswere behind me-Youmust havecomeacrossthis situationbeforewithstudents- are thereanywaysaroundit, apartfrom good old practice? Peter Practlce soveseverythinq. Okayl Thlsisthe cornmonenprobem ot al thebnethng'thattrrpsyou up in whereeverythng eise a tran5cripton goessmoothly.lf ts a chordchanq," you,then guessrts thatistroublinq rnerelyoneyou hnven'tencountered hof^,o
conslderab e vo taqesin themand a fataleleatfia shockcanbejustn careessgestufeawayl
Darned Modes Again! Dear Theory Godmother lsthereanywaythat you can addressthe modespentatonically and makeit work?l'vetried playing the minorpentatonic on the second noteofthe majorscale(ieD minor pentatonicin C)but when it'sover a D minorchord,allyou get isthe straightpentatonic and notthe truesoundofthe mode.I've readin interviewsthat playersusemodal codingin theirpentatonic-based soloing, but lcan'tmakeit work.
- thlnkyo!'vegot Hod on,Tfev thewrongendofthemodanick. S mplyp iyinga D m norpentnton c
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experencingisdlfficut to beginwith, scaleover a D rninorchordwont mportantcharacteristlc of the Dorian butwltha bitofpractlce t wilsoon pfoduceanykindofmoda effect mlnor.Tome, t ofl5etsthe mlnor ro loff the hngersn cely. atal Al youtedoingisplaying,D It3alsoraybetthatyou'ven-"ver 5oLrnd oftheflatth rdandaddsa ittle minorscae overaD minorchord sweetness to the scae - whlchlswhy takenthechordchangeoutofthe pieceandpractised thewhoe pointofr.odalp ayingis l'vea waysthoughtof lt asthe sweet it in isolaton R i ihf,i( i .i ma displacement: likep ayng C majorover rn.l (^ r'm^.la llteraly makinganexercise outoflt Do a D root(seeExampe2). 50 now if we lookat the noles thisanditwll 5oonfee easier presentin the D rainorpentatonc, n orderloseethingsa bitmore f weresittingtherewatchingyou yourfrettjng c eary,ets ookatthefundamenta you'lseewherewefal shortl lwoLrld bechecking n'fiprp..p hpi,^,aF. rn ^rninr ! n D minorpentatonic: handto makes!re thatyo! weren't m nor 5cae and the Dorin rnodel DFGACD tryinganythng impractlcal.wou d D minor: 1b3 45b7 1 alsoscrutinlse thefianscripton tor azy DE F G A Bb C D Theresno Bto 9 vethe scae lts copywfitlnglGTexcepted, ol cour5-.1). 12 b345 b6 b7 1 signature Dorian sound- a though lfeverythingcheckedout,then FVF^,ah.. F qPrhFrF c n.r.16r S. D Dorian: wo!ld wrltedownthechordchange DE FGABCD whenb uesp ayers saythatthey andrecommend thatyoup ay t four 12 b3456b7 1 usemoreof a Doran soundln their of livetlmesa daybeforeyoLrdo playing, Youcanseestraqhtawaylhat theyoftenmeanthatthey anlthingelseandcomebackand lhere'sbasicaly on y one noted ffefent playtheactuamodeltseforintroduce seeme in a week Believerne,thisw -the Bbispfesentn theofdinary D the malorsixthnto the pentatonlc usuayworK.. minofsaa e,butln theDoranrnode scale, asshown n Exarnp e 3. fyou try youshoujd Visitwww.davidmead.net it'ia B naturaThemajorsxthbeing p ayng thlsoveraD bass, to (heck presentn thescae ikethlss an beqinto hearsomemodalmagicl outDavid's books andsolo(D...
luly 2009GuitarTbchniques 93
pE3
._..
OTU$ER GUIDE
YoucangetmorefromGTbyunderstanding oureasyto followmusical termsandsigns...
RELATING TABTOYOURFRETBOARD o
Every transcription or esson in GT s graded accordinq to (s Levelof d iffc! lt, from Easyto A d v a n c e d . W e ' l l a l s oe t y o u k n o w w h a t a s p e c to f y o ! r p l a y i n gw i l b e n e f t b y a t t e m p t i n g a l e $ o n .
o
o
oaaao ooao ooo oo a READMUSIC
NUT& FRETBOARD HAND LABELLING Here are the abbreviations !sed for each finger: r,erLnql'dld l.2.r r.'I oilinghdrd p rhJmo.
The fretbox diagram above fepr€sents t h e f r e t b o a r de x a c d , a s s e e n i n t h e
, ( a n n u a r ) ,c ( i t t e f r n g e , i ( i n d e x ) ,m ( m l d d l e ) a
G
= g
Easy
Eachtranscription is brokendown into two parts...
3
CHORDEXAMPLE
(WITHCAPO) CHORDEXAMPLE
T h ed i a g r a mr e p r e s e ntthse c c h o r di n t h e p h o t o . T h e 'O'symbol s a n o p e ns t r i n ga, n da c i r c l e d n u m b e r sa fielting finger.lntervals areshownbelow..
Thebue ne fepresentsa.apo forthis A chord, placeit at frct 2. Caposchangethe fret n!mber ofd€rlng here 'hF origi.d f pl 1r os belones lret ftpt / ^owfrFr r 5 "r.
MUSICAL STAVE The five hofizontal lines for m u s c n o t a t i o n s h o w n o t e p i t c h e sa n d r h y t h m s and are dlvided by bar ines.
A m a j o rs c a l e
TAPPING & HARMONICS The eft box shows an A minor p e n t a t o n . s c ae w i t h a d d e d tapped notes s gnilied by'Ts. A b o v e s h o w sa C m a j 9( n o 3 r d ) w i t h h a r m o n i c sa t t h e 1 2 t h f r e t .
SCALEEXAMPLE T h € d i a g r a ms h o w s t h e f r e t - h a n di n q e r i n g f o r the A major scale koot notes in b ack).The photo shows paft ofthe scale being p ayed on the 4th s t r i n gw i t h f i n g e 6 1 , 3 a n d 4 .
TABBINGUnderthe musicalstave,Tab isan aid t o s h o w y o u w h e r e t o p u t y o u r f i n q e r 5o n t h e 'rp bod d The rr' ho rzontd Ine(r.pr.eelr rh"\i n f i n g s o n a g u i t a r t h e n u m b e r so n t h e s t r i n g s d € f,et nJ-bers. he rwo. ar'rdb e'" apler "nd show4 notes and 4 chords, C (C rnajor, Em (E m i n o r ) ,D 7 ( D d o m i n a n t 7 ) a n d A m 7 ( A m i n o r 7 ) .
PICKINGVARIATIONS ANDALTERNATIVES
@@@
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WEil
I Palmmutebyreningth€edge palmon the of picking-hands stfngsnearthebrdge.
tD€q the plck acrossthe nrings shown w th a s ngle sweep.Ollen used ro augment i
Ilhe frst note isto be downpjcked and the lan note isto be
94 GuitarTechniqups July2OO9
I Eachofthe fournotesareto bea ternatepicked(down & up-picked) veryrapidlyand
I Playthenot€sof the chordby strummrng across the relevant stringsn thedire.tionof the
FRETTING HAND @
]lEil
@F@
@EEI
@E@
I P i c kl 5 t n o t ea n dh a m m e r on with fretting hand for 2nd p i c k3 r dn o t ea n d note.Then
I Rapidly ahernate between the two notes indicated in brackets with hammerons
I Pi.k lst note and slideto the 2nd note.The last two notes show a slidewith the last note being re picked.
I Soundthe notesnra*ed w i t h a s q u a r eb y h a m m e r i n g on/tappingwith the fieting'
I X nrarkingsrepresentnotes m u t e db y t h e f r e t t i n gh a n d when nruck by the picking
BENDING ANDVIBRATO
E!@
@
@
--
I Fret the start note (here, the 5th fre0 and bend up to the pitch ofthe bracketed note, before releasing.
I Bendup to the pitch shown in the brackets,then re pick t h e n o t ew h i l eh o l d i n gt h e bent note at the new pitch.
I Bendup from the 5th frei to the pitch ofthe 7th frct note,then pick it and release
I P i c k t h en o t ea n dt h e nb e n d u p a q u a r t e r t o n et a v e r ys m a l l amount).Sometime5refered
t@
E@
lThefretting handvibrates the note by smalibend ups a n d r c l e a s e s - Tlhael t e x a m p l e usesthe vibrato bar.
HARMONICS
TE!@ f* Erfr
.l :tr.1t-:
-n
I P i c kt h e n o t ew h i l el i g h t l y t o u c h i n gt h e s t r i n gd i r e c t i y overthe fret indicated.A
I F r e t t h en o t ea ss h o w n , t h e nl i q h d yp l a c et h e i n d € x frngeo f v e r ' x ' f r e(tA H ' x 'a) n d pick (wlth a pick,p ora).
(AKAWHAMMYBAR) VIBRATOARM @ @
l T h e n o t ei s p i c k e dt,h e nt h e w h a m m yb a ri s r a i s e da n d loweredto the pltchesshown
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l s c o o p d e p r e stsh e b a r j u s t beforestrikingthe note and release. Doop- lowerthe bdr slightlyafterpickingnote.
I Fretthe note asshown, but dig into the stringwith t h e s i d eo f t h e t h u m ba sy o u s o u n di t w i t h t h e p i c k .
I Fretthe note as shown,but s o u n di t w i t h a q u i c kr i g h t handtap at the fret shown ( T H 1 7 ) f oar h a r m o n i c .
I A previously sounded note is touched above the fret mafkedTCH {eg TCH 9) to
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I Notesustained,then the vib is depressedto slack.Square bBck€t usedif a long'heLdnote h a sn e wa r t i c u l a t i oanp p l i e d .
l Soundthe note and'fli.k t h e r e m o l o b a f w i t hp i c k i n g handso it quiverslResultsin a 'argling'sound!
I A capo createsa new nut, s ot h e a b o v ee x a m p l eh a st h e guitaf's'literal' 5th fret now as
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l T h e e d q eo f t h e p i c ki s d r a g g e dd o w no r u p a l o n g the lowerstringsto producea
ITum volume contrcloff, s o u n d n o t e ( s )a n d t h e n t u r n volup for a srnooth fade in'violining: Called
I Thenumbersafterthe notesare thefnqers required to playthe fiet numbersin
I Fingerpickingrequirements are shownat the bottom of
l T a p ( h a m m e r ' o nw)i t h a f i n g e ro f t h e p i c k i n gh a n d onto the fret markedwlth a .ircleU . s u a l lw y i t h' i ' o r ' m i
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