WE'LL MAKEYOUA BETTERPLAYER IFF';IFFI;FFF'FI;FFI
tStiliuul]ltlulltr
OH BE Godfather of Rock!
Learn why every band from AC/DC to Zeppelinthink he'sThe Boss!
20GRE BTUES TICK
Beef up your blues with licks from the greats!
JUtIAl{IAG
Take a video lessonwith the new jazz sensation
Tbch &Theo
Learn bebop,augmente scales,advancedtapping, bossanova,Jimi's bends
Emm
BUDDY I.El{l{Y KRAV GUY. H|IIIE.GENTTE GIA] GREG I
mUSrcfaOSLc
iHltlu
-7L
T[eGuitat
7$lrSTlrUTt
Guitarlechniques
rssuE17()ocToBER 2009
lllUSlCfdOdllcom p
T h e a c ei o r m L r sc m a k e r s
STEVEALLSWORTH OneofGuitar X'stop tutorsStevehas b€ena GTwiterfor som€time.Oneof the most5killedguitaristsaround,he takeshuge pridein histranscribing.
RICHARD BARRETT Currentytouring withTonyHadley of Spandau fame,andhaving worked withFaces/Who drummer Kenney JonetRichie isafabulousguitarist.
SHAUNBAXTER On€oftheUKsmostrespectedmusic hastaughtmany educators,Shaun who arenowtop tutors,HisalbumJazz Metalwashailedasamilestone.
JONBISHOP ACMlJon hasmadeabig impression. with hisskillsin a varietyof playing styles.HisrecentalbumAcoustic Sketches boastsninedelightfultunes.
PETECATJ.ARD Pete'smanycreditsincludeLionel Richie,Annie Lennox,Chaka Khanand ShirleyBassey. Heworksregularlyin thestudio,onTVandin the WestEnd
CHARLCOETZEE
.|]e,
GuitarInstitute'studenttumed tutod Charlworkedwith severaltop 50uth Africanartists before relocating to London.He'sa phenomenalplayerl
-1.
Jffi
MARTINCOOPER Atutorat BllvlMBrighton,Martin! Rock columnsarewrittenwith styieand commitment.His2006albumStateOf TheUnionisavailableoniTunes.
IF LESPAULhadonlyhelpedin the developmentofthe solidbodyguitar andbeena half-decentclubplayer genius.Butheinvented onthe side,hed still befetedasa groundbreaking double-tracking andwasa brilliantguitaristandarrangertoo,whoadded a slewofnumberonehitsto his unparalleled roleof merit.Gibson,the guitarcompanywith whichLeshadbeeninvolvedfor around7oyears, wasdeeplysaddened by thelossofa friendandcolleague andsentus wordsfrom famousplayerswho,withouthim, mightnotbewherethey aretoday.Hereiswhatjusta fewofthemhadto sayabouta manwhose influencewassimplyimpossible to exaggerate... "I knou.;the amazing contributiorts Les Paul made to the art of making music,but if the general public knew hou muchofthat influenceis heardeuery day in the music that thea listen to, they would be amazed."JoePerry "LesPaul played until the day he died. That's the wag you kuea life.Youcouldtakeany oneofthe thingshe did and it would hauebeenenoughfor mostpeople. But the amount hepulled offis astounding."Derek Trucks "LesPauI uas a shining exampleof howfull one's Iife can be.He was so uibrant andfull ofpositiue energy.I'm huntbledto haueknoun andplayed with him ouer the years. He tuas an exceptionallg bri/hcnt mcn." Slash
GIANLUCACORONA Recommended tothe Guitarlnstitute by Al Di lvleola,Gianlucahascast-iron credentials. Hestudiedat GlTwith ScottHenderson andErettGarsed,
MARTINGOULDING Oneof the L,Klforemostmodernrock specialists, Matin alsoteaches at ICMP andplaysguitafwithtopBitish progressive bandLinearSphere.
"LesPaul brought six strings to electricity and electricity to sLx strings. He was an innouator, a groundbreaker, a risk taker, a mentorand afriend. Tly to imaghrcuhat we'dbedoing if LesPauI hadn'tcontealong and changedtheworld."Billy F Gibbons Enjoythis issue,but spenda fewmomentsreflectingon howour world wouldhavebeenwithoutLesPaul'sinfluenceon electricguitars,doubletracking,echo,andall the rest.GTwouldntbehere,that'sfor sure...
PHILHILBORNE TheUK's writer, Phil original lechniques guitarinWeWill regularlyplays Rock Youin London'sWest End.Healso helpedtolaunchGTbackin 1994. SCOTTMCGILL Us-born Scottrunsthe BAHonscourse atBIMMBrighton. HisbookTheGuitar Arpeggio Compendium andsoloCD Symptom lmperative areoutnow
STUARTRYAN StuartisHeadOfGu tarat BIMMBisto, teachesatBathspa Universityand isa top soloacousticguitarvirtuoso.His debutCD,TheCoastRoad,isout now.
JOHNWHEATCROFT
l
HeadOfGuitarat Guitar-Xin London. Johnisanoutstandingplayerinall modernstyles.Heisalsoatopgypsy jazzman,playingwith lohn Jorgenson-
WEWILL:Bringyoutheworld's finestguitartuitioneverymonth, fromthe mostinspirationa I of tutors. Ourtranscriptions willbe asaccurate possible, ashumanly ourlessons will yourskills improve andourcoverCD youwithhoursof playing willprovide fun.Wewill makeyou a betterplayerl
ocrober 2009Guitallechniques3
. CONTENTS . OCTOBER zoog .
IABBED! P(IIYER BATI.ADS BOSTON
MoreThanA Feeling
22
Learn thisclasslc'Bos weepiewithawesome TomScholz fretwork. Richard Barrett lsyorrl guideto toneandfeel... -:,,r1hri l.r,TRACKT-B
\:
FEATURE #1 SPECIAT HAILCHUCKBERRY Rock's Godfatherl .. ..
16
Rlchard Barrett dissects the styleandplots thelnfluence ofoneofthe mostirnportant guitarstsofalltime... electrlc TRACKS4 6
TRAI{SCRIPTIOI{
FEAIURE #2 SPEGIAT LICKS TWENTYBLUES Youneedto know...
4
40
Learn20authentic bluesickso d andnew withGuthre GovanandDaveKilminster ] 'TRACK II S I3
EXTREME (nnc for ove
32
SteveAllsworthtranscribes Nuno'sawesome f r ew o r I n o n e o l r x r e m e ,b e s t e r e rt - n e s l 'r-' I r,.'i i r TRACKS 910
REGU1AR FEATURES wElCOME...............................................................3 ATBUMREVIEWS NevlntrodLrces thlsmonth's lssLre..
88
ThismonthsCDand DVDreviews...
TA1KBACK...............................................................6 f HEoRy GoDMorHER..............................90
t
Including MyFavouriteThlngs StarLetter, and ele.tede ro.ri o.'r^ L r.rdddron lo j
probemsandtechnlca Senda yourplaying iss!esto Davidlvleadl
INTRO
USERGUIDE
News,OneMinuteL ck,DangerDouseand more...
How to useourtaband notation
SUBSCRIPTIONS
TEACHER DtRECTORY................................94
FreegrftsandGTde rvered to to!r doorl
Lookingtor a teacher? Seeoufdjrectoryl
BACKI55UE5 Missed an issue of GT?Ofdera backcopy
4 GuitaxTeclniques October2009
ato
NEXTMONTH Checkout what'scorningln GT
92
98
'@ mUSlcfad8lcom T h ep l a c ef o r m ! s c m a k e r s
L E S S O Nt N ST R O D U C T r O N . . . . . . . . . . . . . . . . . . 5 d d e | 5i n t f o d L r c ct5h i s m o n t r ' ! l d I t p . c k e d
30-MTNUTE 1tCK8AG ............................... sixmoregreat1ak5 hom ScottlV1.a
BLUES
50
l o h n W h e . r t c r o fsl t r n p io | l d p o k a d o t 5 t f i 1n n d p l a y ! n t h c 5 t ye o f E ! d . i y G u y .
ROCK lvl:rtlnaoopermeet!LennyKr:vltzl
GUITARESSENTIALS
58
ion Bishcp \'\/ih ;r es5of rif c ;5!ia Flcncirr liylp nfinq b.nds
PROG ROCK.................................... { r i d f L r c aa o f o n ; a o f a ! d e 5 h l 5p r o l l 5 e re ! \ \ / L t hn ,l.q ool ,L L J
METALBOOTCAMP l . o d " l i n f d t d p p n g Y o uw
1. ' | obeyl
66 ,..
CREATIVE ROCK.. ..
72
5 h a u f B d x t e rc o n t i n u a sh i s m i n s e re ! o | l n u q r f e f t e d 5 l ]o l l l q . .
JAZZ
80
P e l eC a la f d t i k . s a o o k ; r i t h p G o t i l l r y t h | l t b f i d q e ,o l t e n u l c d n b e b o p
4COU5TtC...............
84
S t u a r lR y n r a i o f . ! d e 5 h i ss L r p e r b i h r - " ep . r r Ls e r i e 5
t
J U L f A N1 A G E P t 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 6 n i h e f ir s t o f a f e w t h f , " ep n r t ! e r r s , l i z z p r o d i q y l u ; l n L . r g er ' r a f e 5s o r f e o i h s c o o r s t d c . r s
BathBAl2 BW. Monmouth Street, Writeto:GuitarTechniques,30
[email protected] Email: MtN0B SWrl{G. MAJOR SMII.E I havebeena reader sinceyou started and I have to say that the Django Reinhardt Minor Swingby John Wheatcroft in the September issuewas absolutelyfantastic.In fact it has reheatedmy passionfor playing; I cannot hearthis pafiicular piecewithout wanting to immediatelypick up the guitar andplayalong.I deft any lover of guital music l'lot to maFr'elat how energisingthis music is. \\4ren you hear the lnusic and playing of greats like Django, you want to be a part ofthat feeling and mood that they capture - is this not the reason we all started wanting to play the guitar? Pleasecontinue to include the odd classicpiece,whateverthe style,be itblues,jazz, rcck, metal, folk, etc. Popularsongsand instrumentals do either kick offor rekindle the need to play. All music is goodwhen played with the passion that DjaDgo gavc to the world. Keepit up GT - put the passionback into guitarmusicl Oh, and I would love to seesome mor.eChuckBerry. Steve WiIIi oms, Bticket Wood You'renotthe onlyone to have madesimilorcommentsSteve.Some formsofmusicjustput o grin on your faceand makeyou thinkthatallis right with the wold.That s definitely trueof Minor Swing.ld actuallysay that GT'swholepurposeis to highlight thepassionthat should alreadybe therein m usic.l aertainly think it i5in'our'kind of music and
B|IXIIIG GI.EVER ID t]le past I lbund that, despite on ning variotrs guitars for over five years and having so many books and magazines that I couldn't even keep track ofthem, guitar alwaystook a back seatto my othel vice. For vitually all my life I have been sedouslyiDto computergames- readingabout thcm, playing them, talking aboutthem. Theywerc almostlike a secondjobto me. whenever I sat do\a'n to play my Strat, I always thought I wouldbe more prcductive getting another 'achievenent' on my Xbox rather tlan learning how to playanewpiece. Sounds insaneI know, but rnentally nly mind thought that getting a high 'gamerscore' was more impoftant thall an)'thingelse. Then, three months ago I startedtaldng lessons;I had had elough ofnot going an).where.One of the fi rst things my tutor said whelr talking about pmctising was, "l bet you have a Playstation". I promptly corrected him that I had "an Xbox 360" and thought that it was an integral pat of rny life, my personality. I havealwayshad my video gamesto dependon, to entertain me they practicallyraisedmel But one week agoI sold my XAox 360 that I've had sinceDecember2nd2oo5 Oit too specific?). Ttvo weeksbeforethat I wassellint all nry tames on eBaya d raisedover €3oo that I spent on guitar elfects. I haven't played on a game for about two months and the amount oftime I have freed up is staggering!I've beenableto pick up the guitar at leastonce adayandpmctise, somethingwhich I only used to do weekly. Friends and family have
bythot I don't meonstylistically, ie rock,blues.jazzetc, but any music wherepeoplecate oboutgetting bettetasplayers.lnsomearca\ it's not coolta beseenas good'ot to coreobout theoreticolknowledgeor technical ability justthink how prcg wasdeidedwhenpunkcame olong.Sowe'llcorryon glorifying greatmusicianship, no morterwhat fotm it tokes.And enjoyoutChuck feotureon page 16.
:
BTUEST GREAIIVE I recentlystartedto look for ways to spiceup mybluesplayingsoI 6 GuitarTbclmiques october2OO9
beenuDsupportive,callingme "crazy"or,"you are goingto miss it!" Well I might miss it. I also know I m nol gonna be a rock god,but al lcast I can gei better at sometiing I love doing! I'm not saying sell all your worldlypossessions,but at least don't spendallyour Limein frontofa TV. or playingon your XBox or wastingtime oDthe internet. Actually put some efioft in, it will pay itself back many-fold! I still think video gamesare valid as an art form and are grcat enteftainment. They just took up too much oftny time. Neilsutcliffe I'veneverbeeninto computergamesat all; ljust don'tget thepoint of the things.Butlhave mony ftiendt who obsolutelylovetheconsoles,or orc semiaddictedto WorldOfWor.roftetc.so I'm not aqains(themolollandlhat \ Videopames cetlatnlynotwhyyou get t" """i"Ei "in " LetterOfThe Month,Neil.But badinfluence! anyonewho rctums to the guitorfold from any other .
-9 .-.
''
.
-,t<,,ir
/ffit
i< ^ ur^.t^
"':,1:i:':,;
g
certain goals with thingslikeXboxand PS2 than to geta porticulortrocksorted,learntond completelyundetyourfingersosa musician.l'dalso hozordthat the subtletiesoftouch,toneond technique,and the depthofunde$tanding (bottomlessifyou want itto be)requiredto playo musicalinsttumentto any grcatdegree,makesit muchhordetto brcakboftiets,but isinfinitelymore rewading in the long run.
TEIIER PRIZE $TAR Aur frlentls at Sound Te.hnalagy pic dretlonatinqLiDiqiTe.h HotdwircSterca ReretbRV7petlol tothewtitetat'out StatLetler.
looked through some back issues of Guitar Techniques to find some inspiration (they may not have meant too much at the time but when I'm rcady for them they arc therc).I didfind inspiration in ShaunBater's amazirlgCreative Rock articles and while I don't havethe timetotake in everlthing from every issue,I alwaysmanage to lind something that I can put into my own playing. I have rnanaged to work in some nice
licks usingthe
5'
DoriaD mode alonSsidethe pentatonicscaleshapes.It got me thirking; it might be nice to seea seriesofarlicles alongthe same lines,but againstbluestracks. Most of the blues stuff I play alongto while practising is essentiallyabasicbluesI, IV, V progressionand I imagine I'm not the only one. So how about teaching guitarists
howto makethe mostout ofall Shaun'slessons but ShaunBaxter: CreativeBlues articles maybe?
H,$s
READIR'S TETTER$ againststandardbluestracks without anyextrachordssowe canundeEtandtie qeative ideas in a basicliamework. PS:Any Matt Schofield transcriptionson the horizon? After looking backthroughthe in one listeningrecommendations of the TastierLicksarticles,I decidedto look into him and I've beenconverted. Poul,Tyneondwedr
A1{0... Fantastictwo-part on Tastier Licks- morelike tlis please!I'm havinga greattime witl it whilst extendingmy lick voca'bulary.One thing you maybe ableto helpwith (with is the samefor anypiecein GTI guess)is putting the newstuff in my headsoitjust rolls off asand whenit feelsfight to do so.whilst at homeitjust comesout,but whengiggingI seemto just fall backinto what I know audhave donefor years.Any tips on how you introducenewstuff into your playing? Fantasticmagby t}reway- I'm a subscriber;my interestin guitar hasshotthroughthe roof andits all down to you guys. Chtis
A LotOfNeck! Stratocaster andLesPaul
whichdo,whichmightwith o bitof tweoking ond which nevetwill, is all down to trc inin9 you I eo6 to heaL) Thot'show monygrcatploye5leam anyway they steol a lick thot they likeand ttytoinsinuateit into someth ing th ey aheady play. I t might needa metopho caslconel shavedoff hereor an edge frled owoy there,but it meonsyou'rc adoptingothet ideastoyour style and that'swhentheybecome'youts: ManyMott Schofieldideas,ond others from TostierLicks,willdtop straightin o 12-bor.Wemoy welltab a Mattschofieldtrccktoo!
AIOT|lF]{EGI(
I recentlywent lookingfor a new guitar andafter a lot ofresearch endedup, well,totally lost. The guitar itself is easy(Stmt of I thinkthebestthingbothofyoucan course!)but my problemis neck (ol profiles.I've readaticles about doistoseewhichofshaun's indeedonyotherlicksthotyoufind them andpickedup enough in Guitar Techniqueseoch month),workoverthe kind ofmusicyouplay. Youmightbesuryisedot howmanyof themwill. Thenyou can simply changea note hercand there fo, thoseth at don't. (Ofcoursesomewon't work a t aII; but discern ing
guitars in music shops to know tlle difference in sizebetween, say, a Gibsonand a Fender. But tlis doesnt really help since it takes more t}ran a short demo to get used to the feel ofa guitar. There seem to be so many options,
andto behonestI can't really figureout anyreasonwhy oneis betterthan another.A thinner neckseemsquickerto slide around,but a fatterjust feels better- moregrip, more control. My handsarequite smallthough! I alsocant tell whethera C-shape, V-shapeor anyotl]er shapeis for me;theyfeelsimilar,yet different! Is thereanyparticularneck that suitscertaintlpes ofplaying styles?I like to playbarrechords alongthe necksoI needto be able to zip up anddown,but a tlin neck just seemstoo...well,thin!Also,is therea tonal differencebetween neckshapes,or changesin sustain?I'm sureI'm not the only guitaristwho can'tgettleir head (or hand)aroundthis. JamesKeoting Likesomonythingsto do with guitots, including tone,type andso on,that'sit\ downtoyouttyingas manyaspossible andfinallysettling on whotwotksbestforyou. However, certainstylesconbe brcadlytwinnedwithtypesofneck, Fotinstonce, metalandskinny 'speed'necksgo togetheLasdo V-necks on Sttutswith cettainstyle! of ele.tricblues. Asa rule,rosewood frcboadssoundda*et andIess maple,ondset(of twongythan gIued-in)necks offerheavierandIess dynamicsoundsthinkSttotve6us LesPoul.Lorgernecks canolsoossist sustoin.Thetrcuble isthot,osnone of thesepoi ntsisscientificalIy layman, or indeed measurabletothe willrcmainconsistent fromone insttumentto the next,youronly reol option istoget down toyoutlocol deolerondtty asmany asyoucon.l con th ink of worsewoysof Iean i ng one\ subjectthough!
Bazzathinksthe5eare the coolestguitar thingsever.Sendyoursto
[email protected] ALBUM:
Pornograffitti ll - unbelievable funkmetalshredguitar GetTheFunkOut- secondmostfamoustappingever?
GUITAR:
humbucker issooooDokev! washburn N2:theEillLawrence
EFFECT:
- bestreverboedalever Hardwire reverb Diqitech
from Quotes the GTforumat www.musicrada r.com Is it possibleto make an elect c guitar sound like an acoustic? Roveryig lhis is prompted by my new Raland Micro Cube amp that afttved y e s t e r d a y( t h a n k si o m i e h ) . l t h o s o n 'aaoustic tettinq, bul pluqging in my Hogtttam Viking (3jS style) tt sounded n a l h i n g l i k ea n a c o u s t i c t am e . Eertiel\,4onyaf the acauttic s i m u l a t i o n sc a n s o u n d m u c h l i k ea 'plugqed in eiectro acouttic and thal saundspretty shite onyway... wezv Yeoh,you can only evet get sa fot.qut when you considerhow hatd it is Ia moke on electto-acoustiasound like on ocouslic, it makes senseFrcawied lhove o Rolond Cube ond I find that the acoustic simulotian wotks best with o single coil saund l i k e o S I t o t i l s a u n d sc r o p w i t h a h u m b u c k e re q u i p p e dL e sP a u l . I h e e m u l a t i a no f t h e R a l a n da m p t s b a s e d a n t h e B o s sA C3 p e d a l w h i c h i t u s u a l l y d e m o n t l 0 t e d b y s o r n e a n ep l a y t n g a Strct. Yout best aption will be to u s ea n o c a u s c q u t t a r a t g e t a p t e z o pi(kup/btidqe lat yaut Hagstram. Andrewry fhe only pickup synem I hove heard whi.h sounds convincinll i Ihe lhhman Auro imaget lor ocauslraguttots. Electriasjust haven t gat the properties whrch make an a c o u t t i cs a u n d l i k ei t d a e s ,a n d n a l does ony soft/hatdwarc I hove heotd e i t h e rA . c o u s t i cp l u s m l c @ p h o n ei 5 eaily the anly woy ta ga ll\/14. DigitolscrcamTheacousti( strnu Iotta n an my Zoam 69 2TIwatkt ptetly well with both pickups tagethet an my N.1 N a t l a A % ,b u t w h e ny o u v e q a t a b a n d b e h l n dy a u t t t p t e t t y h a t d t a t e l l t h e Roveryig5a the lt4iu()-Cube)s ttying to da on acouttic simulatian but the optians ote o lat mare limited than aD o ptopet' simulorian pedal, whiclj )sptobdbly why l.on't make l\,4Y e l e c I r c s a u n dn u c h l i k eM Y a c a u s t i c . Listeningta variout sound alipt ol t h e A C3 i t d a e ss o u n da s l h o u g h i t i s possible to get fairly clase though Colskilhave on Aa,2 and tt's akay ish fat the odd acoustic chunk in dn athetwise rocky tune. fhe brc(hute suppli ed q rves re.a m m ended set I i n al\ fat particular pi.kup typet and they seemlo wark ogoin, akay ish. . Eettie lfyau only need thdt saund lal d t a n g c ) tl w o i n a b i g q e r s e t l t h i i k a s t m u l a t i o no n d n e l e c l t i ai s j u s ta s g o o d a s u s i n ga n e l e c t t a a c a u s l i ( t I dll .lependsil you \qant to give tlle 'irnage af utinq an acausttc...
lE/ Bumblebeel ROCK MOMENT NunodoinqFliqhtOfTheWounded
lflllSlCfdOSllcom p
T h e a c et o r m ! s i . m : k e 1 5
October2009Guitallbchniques7
. GUITAR TECHNIQUES . OCTOBER 2oo9 .
NewSpongeBob electric auitar! with the junior electricand acoustic
Theall-newLoglc Studiohasloads ofvirtualamps, cabsand mics
Apple'snewguitarstudio Applehasj ust launchedits latest versionofLogic Studio,the company's flatship music software packate. It boastssome exciting guitar gearincludingAmp Designer, which lets you build your own virtual rig by mixing and matchingz5 amps,z5 speaker cabinetsand 3 mics,and Pedalboard,a selectionofSo stompboxesincluding Overdrive, Distortion,Fuzz,Delay,Chorus,
Flanger,Phaser,Tremolo,Treble BoostandWah. Hundredsof presetsgive you soundsthat are ready to go. You can start qxploring with classictones,genres,or characteristicslikeclean, crunch and distorted. The new Logic Pro 9, the main programin LogicStudio,alsohas FlexTime, a newcollectionof features that lets you manipulate timing and tempo quickly and
creatively plus a whole bunch of other new features,while Mainstage 2 lets you hit the stage with all the sameinstnrments and effectsyou used on your recording, and adds a backing track player and live loop rccorder. Irgic Studio retailsat €399 and is alsotully cornpatible with the brand new ApogeeGiO guitar controller. Visit www.apple.com/uk/ logicstudio/ for further details.
Korg'snewCA-1 and GA-ltuners
NewKorgtuners FOR NEARLY A decade,the Korg GA-3o guitar/bass and CA-3o chlomatic tuners have stood among the top-sellingtunerson the planet. Now meetthe GA-1 and CA 1,two new tunem offering the same featuresplus a new,enhanced design- at a lowerprice.The cA-r is a dedicatedguitar/basstuner.
8 GuitallechniquesOctober2009
It lets you selecteither 'Guitar' modeor'Bass'modefor easy operation with automatically detectedpitch. The wide detection mnge supports 7-st ng guitar (7B through 1E)and 6-stringbass0ow B, high C).Ahigh-sensitivitymike is built-in, allo\{ing easyand accuratetuning ofacoustic guitaN
for only € rr.49.And ifyou're aftera compact chromatic tuner, Korg's CA-1supportsa broadrangeofcl (32.7oHz) to C8 (4186.o1Hz), allowingspeedyandhigh-precision tuning ofmany differcnt instruments. It rctails at €13.79. Visit \auw.korg.co.uk for fufther info and otherproductdetails.
SponteBob instruments aheady having beenso successful,the 'vibe'has now SpongeBob been extendedto includefull-size electric guitars. Now you can have a full-size, classicshape twin-cutaway electric guitar with maple neck, three single-coil pickups on a 3-ply white scatchplate,proper vintage-sqde fulcrum vibrato system and all the otler featurcs found on this style ofguitar, and of cource decorated rn amazmg SpongeBob SquarePants graphics,for lr59l Visitwww.ihs. /r co.ulfor ,{t
,if
:-/
1
'i
)\
further details.
l'm sickandtiredof'80srock I ballads.Howdrearytheyare. There3nothingworsethan hearlnga scroteyex-hippy bleatingabouthow hiswife'sjust left him andhe can'tlivewithout heranymore.Nowondersheleft you,mate.You'vegot longerhair than her,yourvoice soundslikethe Smudson helium,she'ssickofyou wearingall herclothesandhas goneoff to find a realman.Pull yourselftogether,stopthat dreary 70bpmminorchordandAeolian nonsense rightnowand tu ne to DropC.Then shredlikemadatfull volumeuntilyou'vegot all of those lilyliveredthoughtsoutofyour system.lt will makeyourwretched existence morebearableandyou'll thankmefor it. Don'tsayI didn't tellyouso.
WHO?Steely Dan WHEN? l!ly 14,2007 WHAT?Playing oneoftheirsophisticated and produced jazz-tinged brilliantly numbers... WHERE? NorthSealazz Festival, Netherlands GUITARS: Although fortheirmanyalbums, Steely Danconscripted thecreamofthesession world's lo ploytreseddyrWdker B^.kertaler 9-rtarr
playsa LakePlacid guitarwhile BlueSadowsky his pannerin crime,DonaldFagen, blowsjazz on a H o h n eMr e l o d i c a . . . DlDYOtlKNOW?Inorderto 6nda majorchord thatsounded different andstrongetbutwithout anovertlylazzy'sound, Beckerand Fagen came up withwhathasbecomeknownasthe'mu majorlBuitoffthefirst, second, thirdandfifth degrees ofthescaleit isin essence anadd9chord '13521 - try Fadd9 voiced(lowto hi9h strings) 1.
Usualy played withthe rootin the bass, other panicular, inversions havealsobeenemployed.In (withthethirdasthelowest thefirstinversion note)istypically'Dan'try Fadd9/E asfo lows(low to highstrings) 5X556X. Partof whatmakes the mu majorsoundsodistinctive isthe pairof 'stacked fourths'(between the2ndand5th,and 5thandtonic). Apparently Fagen andBecker namedit themu majorasanin-jokeregarding theirpercelved self-importance asmusicians
ITUP Combining elemetltssLtchc$ techtliques,note choiceand r,hglhmi^,lrsllcllu res<sir ideos tl&t are nlore itltercstin(l ond wrp r edictablet han t he nor m. This montll'slick takes sonrethirg thot Loelloue seerl beforc - namelll a tapped, stritq skippedarpeggio - atld nlixesup differctlt ideo.slo moke itmore detnandine- ond lots norefun! Noticethe useof the tapped slidesin bars t and 2 etld also hou, il tern$ oJtrcte-choice, n1ircr pentototlic, blues scale and Dorian are all represented here.Be LterucdreJi uitll all tlle position shifts and aint to make the rhAthfiic clwtrye benueen l6tlr notesand 16th-notetriplets niceqndclear. October 2009 GuitarTechniques
74"/tJ"s74e/e^,...
2006
Ha,.z(4s a,.,a4 Her laE"* JUSTINHAWKINSquitsTheDarkness,guitaristAndy TaylorleavesDuranDuran(again)and TheWho release EndlessWire, theirfirst studio album for 24 years.BrianMay and RogerTaylorteamup with PaulRodgersto beginwork on a studioalbumandGenesis,TakeThat andAllSaints reform.TheCorrsreleaseDreams-TheUltimateCollection, Avril Lavignegets married,the lasteverweeklyedition of TopOfThePopsis screenedand Coldplay'sSpeedOf Soundisthe one billionth song downloadedon iTunes. GIBSONUSAlaunches no lessthanfifteennewguitar modelsatWinterNAMM.The newGibsonLesPaulVixen guitar and the GoddessSeriesareaimedatfemale players, beingslimmerandlighterin weightthantheirregular models,both featuring490R& 498Thumbuckers.Toreally catchthe eye,theylaunchthe New CenturySerieswith fullbody mirrorpickguards. Modelsavailable includethe Explorer, FlyingVLesPaulandSG.
{ I ThenewVlntage ThomasBlugmodel
guitar ThomasBlugsignature Many guitar enthusiastshave a
7.25" radius fingerboard and pe$onalised switching, all added to the already exceptionally wellspec'dVintage Re-issuedSeriesV6 guitar, it's a formidable tool. cuita sts looking for a pla)'rng edge with this iconic design, and who also aspire to emulate Thomas' spine-tinglinS guitar tones, can now buy exactly the same spec instmment tiat he usesin his day-to-day work. "To have all tlis in an instrument which literally anyone can afford, even a frrst time buyer, is anunbelievableachievement," says Thomas. Visit wwwjhs.co.uk.
Wireless breakthrough
TOPGEAR'SRICHARDHAMMOND iS
I riffu#*li['-tr]i+ffi9 swimmingin the RiverThames; a swanin Scotland isfound to havebird flu and bad weathercausesthe Hogmanay in Glasgowand Edinburgh celebrations to be cancelled.
I L I E|.E.
DEANGUITARSintroducestheV-Cou5tiCa V-shaped thinline electro-acoustic with a selectsprucetop and stylishT-wing soundhole.ln linewiththe company's current range of acoustics,it featuresan asymmetrical bridge,mahoganyneckand rosewoodfretboard.The buffer preampincludesthree-bandequaliser.
EEt I W-S
FINALCURTAINfor SvdBarett.lou Rawls. DesmondDekker'GenePitnev Freddie Garrity(Freddieand the Dreamers),
MTR, 27 year veterans ofBdtish pro-audio, has launch the first mid-p ced digital wireless system for guitars and bassesftom Dutch company stagecli\. Available now, the stageclix Jack digital system hastrvo major advantagesover analoguealternatives:ithas no compander or squelch control (becausenoneis needed),and it has a CD-quality ftequency response from zoHz-zokHz.Also,it works in the z.4Ghzband- legalworld-wide, and milesawayfiomthe undertheatVHF and UHFbandsbeing
sold off in the Government TV switchover. It transmits and receiveson three separate frequencies simultaneously - so therc's practically zero chanceof dropouts.Otheradvantagesinclude no audible delay, an end to latency problems, and an e),tremely quiet signal-to-noiseratio.Visitwlrw. mtraudio.com for further details.
wrlson Pr(Kert. Artnur : Buckowens.
'"'' J m&:FiE i""",i'#?lJ::l11l"l""Jlffi ororn,en.", err"g..,n ^, un,,. l{Hffi
Y-? Hecoros rounoer] anoregenoary orsc
{
loc\eyAran I Freeman. I ELIZABETH ll celebrates her8othbirtfraayat I QUEEN Windsor. thePrinceofWales andDuchess ofCornwallE beginaforeign tourand HelenMirrenis awardedbest actressfor her role inThe Queen.TonVBlairreshuffles hiscabinetandmakesMargaretBecketttheForeign Secretaryand the SecuritasDepot robbery becomes the largestknownin Britishcrime in history,at almostf53 million. produces FENDER theJaguarbassand it fitssonaturallyintothe catalogue that everyonewonderswhy it hastakenso long?Essentially it'sa crossbetweenthe Jazzbassandthe BassVlwith narrowneck, switch-basedtwin single-coilpickup designand active/passive mode switching. lt isinitiallyavailable in Hot RodRedwith matchingheadstockor black,and morefinisheswill follow.
ChasingTheShadows! The Berkshire ShadowsClub will be celebrating 5o years ofShadows music at loddon Valley Leisure Centre (lower Earley, Reading) on Friday 2oth November with a rock 'n' roll concert to raise funds for Children In Need. Hot on the heels of cliff and The shadows' European tour, fourleading Shadowst bute bands will staSean evening of nostalgia with a string of hits
includingApache,FBI and wonderful Land. The headline act will be The Shadowers,led by ex-Foot TappeN lead guitarist Justin Daish, famed for his uncanny resemblanceto Hdnk Marvin. Other acts include The Silver Shadows, The Driftin' Shadows,and The Shadders.Visit www' celebratingtheshadows.com for further details.
October2009Guitarlbchniques 11
T o p :B a c kl n 1 9 3 5a s h i l l b i l l yH h u b a r bR e d . l v l i d d l e : W i t lh\ , l a r yF o r di n t h e e a r l y ' 5 0 s .w t h a ' L o g ' - s t y l em o d f l e d a r c h t o p . B e l o w : P l a y i n ga t t ' r e l r i d J r t ' c l . , b .N c , ^Y o r ' 1t,! h L o P p r s o - d l
A I rl p f a th ^ ' o ' o o c t . , Cq u i t o r
Lt$PAulrsro-2ooe ^^^^,^,h ^/^rr ^ ^ o - e r o r r d\ r rg r e ag r g In r a sg l-\ \,
thesky. StuartRyanreminds I t. \^ l-.
.n. da lirr. \n n"oaL...
LllS P{lll, IS bouncltolrt' r'crrr'rnbclcrl in a live lecoltlirs scssi()nr\ il h corrdLlctol-s. Lt,ss sarlpirssin,.l conringso cLostto ottLol l plinrirlih lir' lris innr^ al ions \ itlrin gllitlr cngir)eer-snd-l)r(xl (1 fs irll()nhand delrdlinc.rrt, thoLrght\\'ed ilsk Stritft il\ irn iln(i clcctrolrichrrd\alc. -\ stnrrirt, [o supe]-\'isc. l.ess in\ c ti{) lili(l t o l a l )o l r l l i r c l l l l f i t c o o l l i c k s f o r - n o $ - t o intc'rrtor.he soushti\ il\ \ to nrilli(,tltl lill: do\\n thc blurpfi t li)r illl cLln(rut s h o \ \\ h i l t n l l t d cl , L sl ' a u l s L t c ah n o l t r c r r o r u s i c i r nb c l t r f .\ l t f t h c r t h r o L l t h lnultj-tlilcli studiosirclLr(li g home irrilucrceirr his ol r riilht. Itiscar-lrerpelinrcntatiorr\ itlr solidlxrdr conlpLltrrs\ ith sc(llrr'ncffslil(' Ii()cl(rr'x)llgLlitar-greats sLrchas guitar-soI his e|ourtdl)fcilliingin\ c tion Logic.Cul)rsc.l)igitll l'crli)nr('r ind l',ddicCochfirrr.(;enL'\'inccnts Cliff olmulti tlacliilig. t i . r l llr, r r r r rIlr , r r r r rt r, , l - n r r c . , U i i l l H ; r l e rs I'roTools.,\ndindcctl lhc rc(l)fding \!llctl)er he hnd nruchol inticcrlurtr' Dethodolog! thilt s l)rrclisc(l Corrcts.trxrkclcrncntsol liis str'le- spccdr i r r l ' r ri r r r , , te ; l t i l i f l l r , rltr r ' . . r ' s l r i r r r r r r t l l , rthroughout ' tlrc u1)rl(lorr u dailv birsis. tfiplcts, lrst jirlr\ lricliirtgand pu11
I
12 GuitarTechniques li iobr' .,tirLl
tEsPAUI. ltl IhEilONY The fast rakesare a nod ofthe hatto Les'sWesternSwing influences,whiht the palm muting ensured that these parts blended in perfectlywith allthe other
tracksthat he had akeadyoverlaid.Add some slapbackdelay (another Les Paul innovation)and you are therel
Youmayassociate thistype oflickwith modernshredders but Leswaspulling theseoff overfifty yearsago.This$/ouldhavebeenplayedat hightempoand
again would often feature palm muting and slapbackdelay.
Here are some triads and chord fragmentsto staft off with, phrasedwith basicallysweep picking - again,light speed ideascreatedover halfa
agolTakea look at some YouTubefootage to see the kind oftempo these ideas were played at (and executedperfectlyl)
PM'
.
PM---------,
;
Chordsare played in the higher registerat a brisk pace.Rememberthatthe Les P a u l g u i t a r n o t o n l y o f f e r ea d m p l i f i c a t i o pn o s s i b i l i t i ebsu t m ! c h e a s i e r a c c e s s
tothe upperreachsofthe neck,allowing Lesto pulloffthese ideasand create partswhich would reallystand outfrom the wa ll of multitracked guitars.
The octaveshint at Les'sacknowledgd Django influenceand the melodic outlining ofthe chord changessuggesthis obvious.jazzapproach. am.i7
afdlm7
October 2009Guitax1bclmioues 13
oNTHEcD$ rnlcxs +-o
;"\
Everyone knowshisname, butfewcancomprehend theenormous influence guitarplaying thismanhashadon rock'n'roll's fraternity. RiChardBarrett IOOkS at th" lencndth:t i
ooo
Easy/Moderate 7 Rock/blues vo(abulary g Basic licklibrary playing v Double-stop
JOHN LENNON ONCE said; "Ifyou tried to give rock and roll another name,you might call it ChuckBerry". Chuckwas certainlyone of the first on the scene, turning his amp up until it distorted, bending stringsand using double-stops way back in 1955and arguablyevenbefore then. Most guitaristsyou'veheard of(and many more that you haven't) havebeen profoundly influencedby him, and each
TECHNIQUEFOCUS DOUBLE-STOPS Berrytmostfamoustechniqueishisuseof double-stopsordiads - two notesplayedat once.Chuck'sfavouriteintervalsforthis are 4ths - for instancethe top two stringsplayed onthe samefret(the5th in A),asinJohnny BGoode,oronanyofthe lowefpai15 of stringssuchaSthreeandfour,orfourand five (5th or 7th fretin A). Healsofavours 3rds,suchasthoseatthe 9th and lothfrets(inA,thirdandfourth stringsrespectively), oron the third and se(ondstringsatthe 5th and 7th fret(again we'reinA).Sixthintervalswouldalsooften appeatasin the introto YouNeverCanTell. Chuckusuallyplaystheseon the thirdand fi rststringson the samefret (for instance7th or 9th fretsin A);ora fret apart (6th fre! third stringand 5thfret,firststringin A).Healso slightlybendsdouble-srops for thatclassic bluesysound.Experiment with other bendingideasaswell!
generalion carriesor er a rnholestockpile fircttobe inductedinto the Rock'n'Roll oflicks that he inventedto the next Hall OfFamein 1986.Playersasdiverseas knowingly or otherwise. The BeachBoys'CarlWilson, Jimi Hendrix, BefD acquireda lasLeforentertaining SteveJonesfrom The SexPistols,Angus while performingat high schoolin the early Young,SteveStevensand EddieVan Halen 194os.With this initial successunderhis all drawto someertent on Berry'sinfluence - and lheseare theplayerswhichfeaturein belt and influencedbyblues greatssuchas T-BoneWalker andMuddyWaters,he our'What If...?'jam, transcribedhere and decidedto learnguitar himself.In fact,it recordedon the CD. seemsan essentialingredientinthe Theseplayerseachrepresenta developmentofhis innovativestylewas contlastinggenreand/or stagein rock guitar'sdevelopment.Thereare dozens opennessto vaded,evenunlikely, influences.Joining a club band in the early morewe could haveincluded,like Keith 19sos(which later becamehis backing Richards,Eric Claptonand George group),he incorporatedthethen chafi Harrison,to namea few. friendly hillbilly-countrystyleguitar licks However,to setthe sceneforthis fantasy jam, ourfirst audio exampleis a solothat into his bluesysoloing,creatinga new genrethat appealedto both black andwhite incorporatesmost of Chuck'strademark licks includingrepetitivedouble-stops, bendsandmore. Sothe nexttime anybody says,"\ rhyis ChuckBerryso impofiant?" you'll havethe answerready.Ii
players Jt I likeblues likeBBKingandBuddy
guitan Guy, butthegneat manandmyall-time henoisGhuck Berryll
Angus Young audiences.At the sametime,he developed considerablyasa showman,usingfacial expressionsand moveslike the infamous 'duck-walk'manyofthese,aswell ashis licks,directlyinfluencedby T-Bone.This, plus his alreadygrowingcollectionof originalsongs,wasenoughto scoreBerry a dealwith Chicago'sChessRecordsin 1955, wherea streamofhitslike Maybellene,Roll OverBeethovenandJohnnyB. Goode establishedhin asan intelnationalstarand Chessasa nainstream label. Sincethen.in spilcofsomelengthlperiodsout ofthc spotlight,his starhas neverfaded.Infact, Berrywasamongthe
TSACK BECOnD For a g reat oueruieu,checkoutTheUniversal lilastersCollection, Anthologr 0r any0f theplethora0f compilati0ns available featuringhisclassichits.lilake surethecompilation featureslllaybellineand lladine, tvr00f hisgeatestearlytracks.T0hear Chuck duettingwiths0me0f themckr0yalryhehasinfluenced, try thes0undtrack t0 themovieHail!Hail! n0ck'n'n011... 16 GuitalTechniques october2009
:
oNTHEcD!. rnacxs +-o
playquite clean,Chuck'suseofa lot of bassin histone often helpedpush ofmanyof Berry's favourite IExample1]Thissoloisan amalgamation licks,pioneered duringthe mjd-l950s. Usea reasonablyclean toneanda thesmallvalveampsof the timeintooverdrive. Noticethe doubtestops, hardpickingattackforextra attitude.Althoughthe ideawasoriginallyto bendsand pull-offs- distinctive'Bery-isms! Fig 1
E B G E
JSJI
E B G D E
a G D
E o E
18 GuitaflechniquesOcrober2009
CIIUC|( BIRRY: a few ofthe styleswe know todaythat would the development ofrocksoloing fromthe obviously fantasyjamincorporates IExample2]Tracing notexistwithout ChuckBerry. Beprepared to practise someofthose derivativeBeachBoysparodyofChuck'strackSweetLittleSixteenat the beginning, to the eventual development ofVanHalenat thefinish,this oost-Chuckfiddlvbits!
Fig2
)=tzo
E a G D E
E B G D E
E B G D
2-12.|21
E
E B G D E
E B D
; I9 october2009GuitarTedmioues
Cl|UC|(BIRRT lceneral] Asfarasthetonesyou'llneedto playthe entiresolo convincingly, we go from pretty cleanto fairlydriving.Unlessyou have a multi fx and you'repreparedto programmea patchforeach player's
oNTHEcD$ rnacxsa-o
style,the bestcompromiseisto find the most overdriventone you'll needwith the guitar'svolumecontrolfull up, backit off for the earlier, lessdistortedsoundsthengradually workyourwaybackupfromthere.
E B D E
E B G D E
E B G E
E B
E
20 GuitarTedmiques October2009
71
1s<171--
1s(17)-15{17}-
12
-12-1 15(17}-
oNTHEGD$ rnacxs z-s
Boston Richard youthroughthismultiBarrettguides layered AORmasterpiece withafulltranscription andbacking track.Take it away, Rlchard...
m
greatacclaim,andhasbeena stapleofrock radio eversince, Moderate OaOa Subsequentyears saw further successful albumsandtours, but a combinationof Tom'sper{ectionismin the studioand KEY:D UiRo(k li(ks recordcompanylegalbattlesmeaneven TEMPO:108bpm tl A0Rrepertoife now, over thirty years later, there are only CD:TRACKST B t Use ofdistortion five studio albums to choosefrom. But no-onecouldeveraccuseScholzof INA BASEMENTstudio in Boston, beingidle. He is alsoaprolific inventor, Massachusetts, during the early 197os,a with no fewerthan two-dozenUSpatentsto young engineelwasspendingall his spare his name.Theseinnovationsincludethe time - and savingsfrom hisjob at the Rockman,aguitarist'sheadphoneamp and Polaroidcompany- writing, recording, direct recording device,which was re-recordingand refining a selectionof designedto gethis distinctivetone without songsthatwouldgoon lo defineradiohavingto endurepaint-blisteringlyloud friendly'adult orientedrock'- orAORas it Marshallsin his basementstudio.Aseries becameknown.His nane wasTom Scholz, ofpopular effects rack devicesfollowed, leader,guitarist,keyboardplayerand electonics geniuswith a group called Mother'sMilk. The band would later becomeknoun simply asBoston. Working in closepartnershipwith the sadlymissedvocalistBrad Delp,their years ofhard graft were eventuallyrewardedby Epic Records,who gavethem a contractin 1975.Boston'sself-titleddebut,topped with Delp'ssoaringmulti-layeredvocals, TomSchob wasreleasedin the hot summerof1976to which are no longerin production,but changehandsfor everincreasingsumsof money between guitarists in the knolv. Indeed,most ofBoston'sonstageand studioequipmentis Tom Scholz-designed, lfyou're using EQand effectspedalsin a evento this day. chain,hookin the EQbeforeanydistortion. However,in spiteofallthese Thishelpsto sculptthe tonefromthe'inside' groundbreakinginventions,Tom is a ratherthansuperficially trimminga sound sliclderfor analogue equipment, believing that hasalreadybeencreatedbya distortion pedal.It s alsolesshissyllt'spreferabletoo, digital technologr has a long way to go to haved istortion/overdrive beforeeffects beforeit candelivercomparablesound quality. Unbelievably, he considered suchasechoorchorut sothe delayor chorus'effects'th e d istortionand you don't himself a merenoviceon the guitar when this track wasrecorded,but it just goesto 9et distortedchorusor mushyrepeats. showwhat canhappenifyou aim high. And
just in caseyou thought this AOR stuff is too polishedand not up your street,thinkof the influencethe guitar plalng on this trackhad on a ceftainyoungguitaristfrom Seattle ashe wrote Smells Like Teen Spirit. This track was originally recorded with manyguitar overdubs.To makeit possible to play the wholething in onecomplete pass,we'vearrangedthe backingtrack so thatyou canclickoffthe distofiion (or tum down the guitar'svolumecontrol slightly) to play the acoustic12stringparts.Also,the doubled/harmonysoloparts are on the backingtrackto play alongwith. Checkthe tab andperformancenotesand all should becomeclear.Ei
il Youdon'tgointobans andhearpeople doing
Boston songs thatoften, asthey'rehardto sing
andhardto playfl
TECHNIQUEFOCUS EMPLOYING EFFECTS
politios, IIAGKREC0RD Dueto record.companylegal thereare0nlyfiveBoston albums available.0f course, thed€butalbumBoston hast0 betop0fthelist.Blt alsocheckoutDon'tL00kBackfor thecontinuation ofthistheme. FromThirdStage0n,Tonusedhisfamous Rocknan personalpreamp, which willbe0finterest t0t0netrainsDotters! 22 GuiiarTechniques Ocrobef2009
MoreThanAFeelingMus.&Lyr.sbyToniS.hozol9T6Pur-"5ongssofy/ATVM!5.P!b5hhqUK Worldwid.reprodu.edby ki.a pe'm $ on of AlLeonardCorpoiation A q i ! h l 3r e t e i v e dI n t e r n a t i o ncao p y r g h i 5 c . ! r . d .
chordpartis knownthe worldoverandis IBars1-17]Thi5arpeggiated stillnotbannedin guitarshops(asfaraswe know)!Gofora cleantone, or setthe guitar'svolumelow.Betterstill,finda friendwith an incredjble voice\,!hocan play 12-stringacousticl
ofthe leadguitarthe melody IBars18 - 23] Hereisthefirstappearance is simple,butthe Scholzvibratois deceptivelyhardto emulate.Wide,but controlled isthe bestapproach. Holdthe lastnoteover4bars,thendive intothechorus.
VERSE P l a y4 l i m e s ^ _ D
f'fi
X
B
E
B D E
D5
@@
'--'--.-
Electic Guitar E
BU*
^^&
BU
CHORUS
E
E
ELs
e
24 GuitaxTecluriques Ocrobef2009
To CODA
1S
|||ORI TI|AI{ AIETLII{O IBars24 - 31, previouspagel Oneofthe mostcommonwrongly playedclassics, this riffis so simple,yet takesquite a few triesto get into the feel.Tom's bass-light soundi5defrnitelythe waytogo here- a more conventional'metal'tone won'thavethedefi nition,andthe overtones fromthe lowendwouldobscurethe detai15.
to the 12-string/clean tone,thislightstrumming IBars32 - 391Returning sectionpavesthe way backto a re-introand verse- greatnewsfor all readersand transcribers! Theharmonytotheleadmelody lBars40 - 64] Asbars9-39,exactly. goingintothechorus i5includedon the backingtrack.
D/F$
t_----,-, l-1__= ,=+rJ
"
,
t='
1=7
J
B
D.S. al CODA
Cadd9
TI qt
?
-T
]
-.1
J
-
-0
f-
I
lr
J
E B o
;
CODA
s
E"n d
D/F$
A5
++44-+-+-+-+
tiiil"JJJ
J
ttit*tt*
Electdc -..
Guilar E D
soLo D/Ffl
@
.'..-r-J
r,
---....+r
:-
-3.]
BU E B o
----
7
7-F11
E
E
25 October2009GuitarTechniques
IBars65-83]Comingin herefromthe coda,thesemutedelectricchords openup intothe mainsolo.Thi5is pre-composed, doubledandcontains severalharmonysections.The double/harmonyparts are included on particular the backingtrack.Take noteofbars70,75and76,wherethe melodycallsfor a slightjumpout ofthe tomfoft-zone'fingering wise,
with thatjump betweenthe 7th and 11thfrets.Whileholdingthat lastD chord,prepareto comedown in to the 3rd verse, versebuildsstraightintothe chorus, unlikethe first IBars84-911This andsecondtimesround,withthesemutedchords,Get readyforanother shortsolol
B&
?
_
LJ:
|:
!J!
BU E B o E
B
E
G/B
G/B
Caddg
E
Cadd9
lr_J B
E
26 GuitarTechniques October2009
*=||
r
1
x
f€
Cadd9
l
[|OR[ T1|AII AIIELIIIG IBars 92-100]Moreblisteringpowerchordsand solosaboundhere.In bar93you shouldrecognise someJimmy Pagestyle'9host notes'. These are best achievedby fretting a 'dead'noteon the loth fret ofthe second
string,thenrakingaarossthiswith an upstroke,on your wayto the prebentthird.Lastchancetomaste I thatvibrato,thendig intothosechords likeneverbeforel
D5
C H O B U S /O U T R O G5
@
?=-\
e,
B
Em
E
x_X_9-9X_X x_x_g 9_x_x
E
x-xx-x xx
October2009GuitarTechniques 27
oNTHEGD$ rnlcxsz-a
A 5lightlyelongated versionofthe pre-chorus melody IBars101-127] here(you'llfindthe harmonyon the backingtrackofcourse) leadsto the finalsection, repeating thechorusto fade.Don'treston yourlaurelsyet
though,asTom'sattentionto detailcontinues rightupto - and perhaps evenway beyond- the finalfade,Watchfor variationsin bars115,119,123
E G
X-X--*X
xx7
7
X
xx5
9 XX7 XX XX9 xx.€-9-x_x_7-x_x
7
ti ll tH\r,I I I il I illlrr/
I I
il ql If: lfll il
I
a
I I lIt t:
) I
Techniq Subscribe to Guitar uestoday andsaveoverSAZoffthestoreprice!
Eil*I
O Saveover400lo off the storepriceandpayjust 529.62by quarterly creditcard. O That'sthe equivalent 1 perissue(usualprice of onlyS9.1
s1s.99)! O Struggle to finda copyof GuitarTechniques in stores? Thensubscribe todayandyou'llnevermissanotherissuedelivered byAirmail, directto yourhomeor workplace. O Getyourcopyup to 3 weeksbeforetheyhit the stores. Orderonline:www.imsnews.com/guitartechniques-a01 9 (ref:a019) OrcallTOLL FREE on:l-800428-3003 28 GuitaxTechniques Ocrober2009
OVERSEAS ORDERS r",.htdihsNanhane .al Ord eI onl in e at ww w.ntt faw u it e magazines.co.uk or.all +44 1a5a8a794 TERi\,4S AND CONDITION5: Ihis ofter B for n€w North A m e r c a n5 u b 5 cbr e 6 o n y Y o uw i l l r e c e v el 3 i s s l e s p e r y € a r Y o u rs u b s c r i p t i ow. i l n a i t w r h t h e n e x r a v a i l ae b s s ! e . M n l m ! m s u b s cpr t i o nt e r n i s l 2 m o f t h s . f a t a . y r m e d u r n 9 t h et i . s r6 0d a y sy o ! a r e dBsarisfedin anyway p eare notify !3 in writ n9 and w e w l r e f u n d y o u i o r a l l ! n - m ae d i s s u € i .
TRACKS 9-1O
Thisisthefirsttimea UKguitar magazine hastabbed thlsbig belter! SteveAllsworth Extreme trackanditsanabsolute greatguitarwork... getsto gripswithNunoBettencourt's
m
Nuno Bettencoufifor his electricguitar prowessand gyrnnastics. Moderate/Advanced OaOa After a reasonablysuccessfuldebut (which sawthe singlePlayWith Me featuredin Bill & Ted'sExcellent Adventure), Extreme II: Pornografflttr was TEMPO:70'75 bpm The released to muchcriticalacclaim. CDTTRACKS 9-10 band'sunique'funk-metal'stylewasa blend of glam-metal,funkandpop with the REWIND BACKTO r99o; hair metalwas occasionalforayinto JamesBrown-style in its deaththroes,Seattlewasstarting to brassstabs.Thebandwent onto sellover make a namefor itseli and Extremewere ro million albumsworldwideandbe one breakingheartsandhittingthebigtime ofthe most successful rock actsofthe with More Than Words. Although they're early'9os. bestk[own for this classicacousticballad, Nestledamongstsuchclassicsas Flight the guitar-playingfraternity will also OfThe Wounded Bumblebee,He-man rememberthe ridiculouslytalented Woman Hater and GetThe Funk Out is SongFor Love,a sing-alongpop metal
TECHNIQUEFOCUS TAPPED HARMONICS Nunousestappedharmonicstogreatmelodic effectattheendofthe solo.The basictheoryof harmonics isthatanymusicalnote containsa hostofothernoteswithinit octaves, 3rds,sth, andothers.These areallouieterthan themain (orfundamental') notebuttheyhelpmakeup the naturalsoundor'timbrelThebestwavto soundthemontheguitarisusuallytotargetthe strongest soundingonesatthe 12th,7thand sth frets,whichareopenstringharmonics, or harmonic'nodes:we canalsofretanynoteon the guitarandtheirharmoni.nodeswillbe situated5,7 or l2 fretshigherthanthefrefted note-Bytappingan octavehigher(12frets)than afrettednote,youwillgeta smoothsoundthat itself soundsgreatwithdistortion.Thetap shouldbeexactlyonthefretwireandnot in-between fret5,otherwisethe harmonicwon't is soundclearly.The beautyofoctaveharmonrcs you(an fo(uson the tappinghandwrthoul lookingtoo muchat yourfrethand,sinceyou'll beplayingexactlythesameshapes 12frets pra(tisingup dnddownthe6 mdjor higher.Try scaleusingonlytappedoctaveharmonics, remembering to miroryourfrethandshapean octavehigher
tJ Thechordstructure
itselfisfairlysimple, but
it'swhatl{unodoeswith it thatmakes it sound quirky andoriginalll
drums (as EddieVan Halen did too) He is renou,nedfbr his arpeggios,often articulatedwith string-skippingand a {earsome two-handedtappinglechnique. Bul like Eddie.Nunos rhythmplayingis oflcnoverlooked in [avourofhis soloing. Within our transc ption you'll find a host of interestingchordsand arpeggios, togetherwith someflavoursomechord embellishmentsthat are remirliscentofa modern-dayVoodooChile. The chordstructureitself is lairly simple,but it's whatNuno doeswith it that makesit soundquirky and original. Take yourtime to analysethe main chordsin the pre-chorusand chorussectionsto undentand how he approacheseachone then you'll be ableto improvise more fi'eely yourself.The legatophrasein bar t3 for example,is a nice exampleofembellishing a D chordwith scalenotesfrom aboveeach chordtone. Il
ballad that mixesgreat songwritingwith virtuoso technique.Nuno's stylecanbest be described asfunky, rhlthmical, aggressiveand melodic,rnixing obvious solo influencessuchas EddieVan Halen and RandyRhoadswith melodic echoesof Brian Mayand PatTravers.Oneofthe strongestelementsin Nuno's playing is his senseof rh1'thm;he often usesa loose wrist techniqueto executefast palmmuted triplet picking in a veryfunkyway. The percussiveside comesin part from an interest inAl Di Meola'sfastpalm-muted with picking (which might alsoexplain his useof polyrhS,thms), but alsoin a natural gravitationtowardsrhlthm which no doubt comesfrom stafiing out on the
g0anyfurtherthantheband's TMC(f,EC0f,D thenyouneedn't first threealbuns: someoflluno'sfinestvirtuosonoments, fyou're q.7ter (1089), (1990) morerecent,checkoutsaudades deBock(2000), which Extreme Porn0graffitti andlllSidesT0 Every Story(1992). Forsomething nic€lyback0nleadvocals. featuresthenevrandref0rmed linoup withGaryCher0ne 32 GuitaxTechniques octobef 2009
SongtorLov€M!si.&LyrcrbyNunoBetten.ourt&6aryCh€roneol990aoormebli.dMlr.Ll.lve6al M u s . P ! b s h n q L t d ! K / E ! r e p r o d ! . . d b r k n d p e r m $ o n o f M u s c 5 a l e 5 L t dU S / C A N r e p r o d u . ebdy [ . d permBson of Ha LeonaidCo'porarionA F qhts reservednlernalo.a Copyriqhr5ec!red
IBars 9-20] Althoughyou needto crankup the distortionin this section youcankeepthearpeggios your cleanby controlling soundingrelatively pickingaction.Easeoff slightlyforthefr rstfewbarsby grippingyourpick lesstightly,and then openout for the powerchords.
soensure shouldsustain asmuchaspossible IBais 1-8]The5earpeggios you holdeachshapedownaslongaspossible beforechanging.Tjp:try picking,alwayspickin the directionofthe nextnote,asthis directional will makethe faster16thnoteseasierto pla,.
E G D
x P a y h i g h e r f i go. n
GTIA
+rt --
E7r9/A
A5addb6
j
I
A6add11
17
E B o E
@
fca i.
ene-cnonus
E
EIFI
EiG$
J
J
t
+
+ + + 1,1,
1'
PI\,I - J
e o
EET
e)
E/cg
+-
=== tt+
t
+ 1'
+ + 1' 1j Pn4-.
E B
E
11
E/F{
a)
t
afd
E/Gfl
t
1,
1,
1,
Pl'l - -'
B
E
34 GuiiarTechniques October2009
E x $ e n e l l : P o r n o g r a l l i t t i ( C u t a r T r b , / v o . a , l t 0 p p ! 1 6 t 5 , r e t F L o o 6 9o0f lscta5 )n r . t . h i . q i o o t o t h e b r e a k r h r u W n 1 9 9 0a b u mt o m t f e A m e r . a .p o p n r e r a l r elr€ i l u rn q r h e5 o n g 5l l o r e T h a W . o r d sc] e r T h eF ! n rO u , F o t eH e a r r e d l De.r.le..e Daf.e and s.nq ForLovelA,13iqed ar ntermedareto adva..€d eve n gu tirGbature a.d standard n o r r t o nw r h . o m r , l e t ey i . s a . d . h o r d s A l a a b l et o m w w r
IBars 21-28] Nunois fond ofthe split E5powerchordasusedin the first bar.Adownstroke is usedforthe low E5whilean upstroke willtakecare ofthe first and secondstringswithout hitting the unwantedopenthird string(youcan mutethis strngwith a sparefrettinghand6nger).
$0ltG tOR r0vr
IBars 29-40] l\4oregreatchordvoicingsevokingthe intro playing.Watch handstrainon someofthe shapesasthey keeprepeating(G7l4,A5 add b6 andA6 add 11).
E G o
@
cHonus
E5
E B
E
B D E
E
INTERLUDE GTIA
A5addb6
E7t9tA
E D
V E B S E2 A5addb6
ttai. a,
1
1
E7bglA
A6adcl11
frifi,Ar 7
1
J
-+
+t. -.
E o
October2009GuitarTechniques 35
IBar 59-62,next pageiThi firstfourbarsaretypicalofNuno's aggressive techniquefromboth pickingand fretting hands.Yourfretting handreallyneedSto dig in with plentyofvibrato to get the mostout of the palm-mutes andpinchedharmonics. Watchyoudon'trushahead
of the slowtempo,particularly with the draggedtriplet crotchets. Surprisingly,this is one ofthe commonestmistakespeople make- it's often easlerplayingat fastertemposthan tying yourselfdownand stayingin the pocketof a slowerrhythmorfeel.
PBE-CHOFUS
-31
a,)
J
f
J
111
I
P[/l- r
l
E D E
E B D E
ll*l cnonus T----E
tl
,,t t zl ,,1 W
"1r
j+r44'
|W
-a-
rit B
E
r r,
I
qr\+ l-i
,!!i
PNt- -'
j
j
T-
t
j
PIV
E D
F t,
rrt
ii
D 53
36 Guitallbdmiques october2009
li tt
+l rl J P[,'t--,
Ftr
F.. PH
I
X:'*ttt
ff _-a ,
$0il0 roR L0vt ofthe openingmelodyrequires [8ars 63-68]Thevariation somegood intonationwiththe bending- Nunodoesthiscompletely instinctively andthat shouldalwaysbe yourgoal.Mostofyourattentionwillfocuson the twofaster licksin bars66 and 68,howeverThelatteris surprisingly
the trickiestasyou needto add somepickstaccatoto eachofthe notes. Thisis bestplayedwith downstrokes, with a further downstrokeneeded to mutethe stringforthe staccatoeffectat the end - ratherlikea cla5sjcal guitarist's ?est'stroke..
F,,?lsoro G5 tl
fJ lf -f
-+ -+ -+ -+ --t + + --.1--+--+ - -+| +| +| -+ l--++| l--\
=
ttttttttttt)tt
-PM----
PH BU
B
BD
BIJ \J'
+
rfrr
PH
RTI .zll-zgl.f
E
P [ , 4- - -
'
PH
P t \ ,-l - - ,
D
BU
BD
PB16 BD
BU BD
B
7H16Hl7H16Xt7x16l
t4 12141
E
E o
rake E D
777-7_..1
E
October2009GuitarTedmiques 37
issomeslidingmovementneededherefromthe IBars70-73lThere fretting hand,soyou'll needto keepone eyeon its relativepositionon the fretboard.Keepyourfrettinghandtaps neatand accurate(bounce offthe stringand fretwirequickly)otherwiseyou'llcreatea dull or muted
sound.Perhaps it goeswithoutsaying, but a richcrunchydistortion selected andthebridgehumbucker shouldgreatlyhelpthetapped harmonics' success.
12 iretsaboveLhelret n!mber E B D
B G
@l +ronus E5
A
A5
grad. E B
BD 1191
17 16 17
ts121l-
17-16-17-19
-
BU BUBD BU BU BU BU BU 1 4 1 1 6 h 4 1 1 6 X 1 4 ) 1 2 - -12-f4F14{1 6Fi4-(1 6)-14{1 6}i4{ 6F12-
D E
*BUBUBU Fl4-1 4-16-i 4-1 2-1411 6h4(i 6)-14-12i 4{l
B
E
@ E5
ltt B
E
38 GuitarTechniques october2009
wDar
to watchoutfor here,as IBars85-95]Therearesomeslightvariations wellasNuno'sCharacteristic Decadence Dancestylelickin bar94.lt'sjust a simpleA majorpentatonic idea,but ifyou adda pinchedharmonic to the first note it soundsevenbetter.
.)
-+
-+ -+
++ '
PM
j
iii PH
P I \ , 4- ,
E B
soundthe E5chordandlet itsustainforfour IBars96-end]Tofinish, bars,then turn your distortiondown from the guitar'svolumeknob and thenlightlyplaythe closingchords: veryemotional!
PM
-
'.irr+r
jl.
E.r
J.
PM -'
/\
o E
' #
"
J
T
ti
f--
JlqJ PM- -'
-+ -
+ 1+,
-+ -+
J
PI\,4-'
e
PM
11
iii.
ti;A
j{BU
E
-r4
lrot\
E
P[,4- -,
PN,1--
E B D
OUTRO
E5
o_i
CmaiTadd6i/E
______j--- =--5_
i*J",".o,*
reedback , lElectricGrrcol B G
October2009Guita/Iedmiques39
oNTHEcD"! rnlcxs r-rs
Blues licks HN
Insplration forourblueslicks comes fromsources asdlverse asBBKinq, provided Llghtnln'Hopkins SRV andRobben Ford. Licks 1to I0 were by DaveKilminster while1I to 20comefromGuthrieGovan...
m
saywhatreallymakesblues'blues'.Of coursewe all knowthat it cameftom the 'call and response'songs O O a O O A ll e v e l s or'hollers' of slavesworking in the fieldsof America's deepsouth.We alsoknowthat itbroke v Blue5 vo(abulary -primarily manyacceptedmusical'rules' TEMPO: Various !l5lyli5tic awarenest that a dominant chordcouldbe usedasa'I' CD:TRACKs 11-13 u Blues knowledge chord and a'W'chord, aswell asthe OUR D\'IJAMIC DUO hasa fantasticbagof traditionallyaccepted'V' chord.Thiswas greatblueslicksfor you to getto grips with almosta musicalc me backin the daybut this month. Theyspan ghtacrossthe our earshavebecomeso usedto it thal wc decadesand coverjust aboutanystylethat now acceptand think no more ofit, in many couldbe termedblues.Sowehaveacoustic, ifnot most modernt ?es ofpopular music. wehaveslide.we haveclassicMississippi. Bluesis oneofthe mostpopularstyles Chicago,Texasand evena bit ofSurrey for guitarists,for a numberofreasons. Delta.We alsohavesomemore First, to get a halfdecentsologoingyoucan sophisticatedideaswherethebluespalette relyon a coupleorthree positionsofa scale hasbeencolourfullytinted with a bit ofjazz that literallyfalls underthe fingers- the and other diverseinfluences. Apaft from a fewwell-knownchord sequences and feels,likethe standard shuffleor rz/8 slowballad,it's not easyto
TECHNIQUEFOCUS TIGHTBUTLOOSE
Theterm tight butloose is often usedto describethe generally'la2y'feelthat characterises blues,bluesystylesor bluesy bands.TakeThe Stones:no one would considerthem to be th e t ightestoutfit around,but allthoseapparently'loose' playerstogether makethe most amazing noise.Mostgreatbluesplayersplayslightly behindthe beat - itl almostimperceptible but it makesthesoundseemrelaxed-or pleasandy lazy.Playingaheadofthe beat canmakethe listenerfeeljittery andthat's not what bluesisabout.Usinga metronome, playa few ofyourfavourite licksand seeif you can deliberatelyplayaheadofthe beat and then behind it. Forblues,you'll soon see that'tight but loose'isthe way to go.
greatPaul Kossoffdid.Slightlyrnore sophisticatedplayersadd 6ths and gths to the scale- David Gilmour, CarlosSantana etc - while real blues'musos'havebecorne releasedfrom the confinesofscale-based playingand usethe guitar neckasa playgroundfor any musicalideathey can think of, wherethe fingersplayexactly what the headcanhear - RobbenFord, Larry Carlton,Matt SchofieldandJohn Scofield,ScottHendersonand Mike Stem are ramesthat fall intothis category.Then there'sslide,with everyonefrom Robert Johnsonto DerekTrucksand Sonny Landrethfinding a uniquevoicewith it. So,bluesis a hugesubjectforguitansts. Daveand Guthrie'slicks covcrasmuch ground asis feasiblein a six-pagefeature. Bluesloverswill expandtheirvocabulary bygoing through eachlick, to drawoutthe nuancesthat makeeachplayer'sstyle so distinctive.Happy bluesing!E
ll Blues lovers will expand theirvocabulary bygoing through each lick,to dnawouteach playeds tt nuanoes minorpentatonic. Manylegendshaveused little more than lhis scalethroughouttheir entire careers,but managedtostampout instant personalitywithit - PeterGreen and StevieRayVaughanfor instance. Othershaveaugmentedpentatonicswith noteslike the bSto createthebluesscale;or addedinthe majorthirdtounderlinetheI chord in a majorblues- FreddieKing and Clapton,ofcourse.Othem,likeBB King, mix najor and minor pentatonicswhiie some- Albert Collins,RoryGallagheretctargetstrongtonesin eachofthe chords. Othersenployspeedasa personalitytrait - the devastatingGaryMooreand Alvin l,ee areobviouschoices;orvibrato, asthelate,
TRACI( REC(IR|) g00dold'greatesthits'packagie I4rithsucha hugerange0fbluesstylesat ourdisp0salthe is aneasy, and0ftenveraoheap, Ytayt0 stockuponartistswhose w0rkyou'dllkeagoodgonsral overvlevr of.0f courso, thes€daystheInternotallonsyouto lookupblues sitesandtnd outwhich s0ngs exemplify each artist,soyouoandovnload specific tracksviaiTunes beforc committingto awh0le album. /ro GuitalTechniques Octobef2009
I h,l._..t \
{+.'.' .
October2009GuitarTechniques 41
tn') VL.
v
,ht
o')""
42 GuitalTbclndoues October2009
III$EIIIY:BLUtS Ll0|($
(withbofll€neck)*
4-14\1
-..-l
a)
BU.
-..r\l
-"r\l
-"'\l
BU BU BU BU -1s{7i- 12r s(12Fl} $/'J,7F12151:,7F12-
---.t
-l
tBU
43 october2009GuitaxTbclmioues
E B G E Pip
E B G o E
E B o
;
E B G 0 E
(Amixolydian) E
BU
0 E
/raGuitaxTecimiques October 2009
BU
BU
BU
BU
piP
8e
x-1s-t=+x-l2--1 -1 x 4-1 4--------+X X-JX_rr{
qq 2-r 4{
(Catch G sl nol ^^ BU 8BD
P
m
P
m
etc
8M_
october2009Guitallbchnioues 45
Lr$$0il$ ffiTT? ONTHECDTTRACKS l4 l9
3O.MINUTE LICKBAG
48
Scott Mccill with six ofthe best! ONTHECD:TRACI5 2022 Jim Clark with a legendthat needsno introduction, the amazing Buddy Guy...
Martin Cooperon the Lenny Kravitz style... ON THECD:TRACKS 2627
GUITARESSENTIALS Jon BishopexamineshowJimi Hendrix employedpentatonicstring bends ONTHECD:TRACK5 2829
PROGROCK
62
GianlucaCorona'sfinal prog act, GentleGiant ONTHECO:TRACKS 30 41
METALBOOTCAMP
66
Martin Goulding blings you more advanced tapping ideas... 42 45 ONTHECDrTRACKS
SOMETIMESVIDEOINGan artist can
partakingin a lavishspreadcraftedby
turn into a real nightmare. One ofthe team will turn up, enthusiastically greet said player, sit down with them and then ask carefully prepared questions relevant to their playing style and influences. In return we hope to film some great insights and ideas to then pass onto you. Thing is though, it doesn't always work out
nasterchef Heston Blumenthal. No, it's a great day when we've met an outstanding musician who is warm, giving and keen to relay their pearls of wisdom to us and (ultimately) to you. One such 'Yoda with a smile' musician is the fast risingjazz guitarist, Julian Lage. For someoneofsuch a young age,he
great:sometimesthe atist is plainly not happyto be there at all. Maybethey're uncomfortablewith the attention. Or perhapsthey feelwe'rethereto
is sogoodand sopleasaDtthatGTtutor,
'find
them out'and drown out their killer licks with belly laughs (not happened yet, honest). It's a shame, as we only want video masterclasses to t) celebrate a player's unique style and 2) provide you with an opportunity to learn newlicks from a player of considerable standing. Of course, we wouldn't want you thinking all altists are a struggle. Far from it, as on occaslonsa sesslongoes so well that the Cheshire cat grin we sport
afterwardssuggests time had beenspent with MeganFoxwhile
Charl Coetzeecame away almost stunned by his brilliance. "That *as phenomenal!"said Charl E
that afternoon.And nowwe caD passthat wow factorontoyou as this issuefeaturespart oneofa thr'ee-partmasterclass series with Julian.Tlirn to page 76 now and check out his approach to chords, comping and playing the right voicings for the gig. Effortless, virtuosic and highly charming, we hope Julian's playing is as iDlectious on you as it was fbr us!
CREATIVEROCK
72
ShaunBaxter: soloingwith augmentedscales! ONTHECDrTRACK46 58
JAZZ
82
PelpCallrrd looksat the rhythm bridge... ONTHECD:TRACK 59
ACOUSTIC
84
Stuart Ryan winds up his acclaimedserieson bossanova guitar playing...
oNTHECD $, rnACXSra-rg
Lickhag 30-[t|inute ScottMcGill,fusion virtuoso andBAHons course teaoer atBIMM inBristol, continues hisserles withsixtastynewlicks. ..
T h i s i s a R o b e r t J o h n s o n - s t y l e b l u e s e n d i n g . M a k e s u r e y o u u s e t h e t h ut m h ebbor fi d g e t o m a k e t h e m j u m po u t a b i t . P a ya t t e n t i o nt o t h e f e e l a n d s w i n gt o y o u r p i c k i n gh a n dt o s t r i k et h e l o w n o t e sa n d m u t e t h e m w i t h y o u r p a l ma t m a k e t h i so n e ' s i n g ' . T h eM i s s i s i p pDi e k aw i l lt h a n k y o uf o r i t ! Gldim
Gdim
Fldim
E
ETtcl
c7tBt, -3-
-J
BE7 r
T h e s es t a p l el i c k s€ m a n a t ef r o m t h e R & 8 ,M o t o w na n d G o s p e gl u i t a r t r a d i t i o n . and notice the use of4ths and 6th interuahderiv€dfrom the major pentatonic T h i n kD o b i e G r a y 'D s r i f tA w a y . T h e t r i c iks t o n a i lt h e s l i d e sa n d h a m m e r - o n s / scaleofthe chord ofthe moment. U5ea FehderTwintype clean tone to put it pull-offs to makeit sound authentic.Thechords outlined are supplied above all together.
H y b r i dc h i c k e n - p i c k i ni g5t h e o r d e ro f t h e d a y h e r ew i t h t h i s D a n n yc a t t o n i n s p i r e de x a m pe . Y o u rp l e c t r u mt a k e s t h el o w e rn o t e sa n d t h e s e c o n da n d t h i r d f i n g e r s g r a b t h eh i g h e r s t r i n g s . T h i sbi sa s e do n t h e G M i x o l y d i a n andG
m a j o rp e n t a t o n i cs c a l e 5 . T r y y o ubr i d g ep i c k u pi n t o a c l e a nF e n d e sf t y l ea m p s o u n dw i t h a c o m p r e s s oarn d s o m es l a pb a c ke c h o i f y o u h a v et h e m ,t o m a k e i t s i n go u t a si t s h o u l d . otF,
4a GuitaxTednioues Ocrober 2009
30-l'lll'lffil-ICKBAG
ThisJamesHetfield style meltdown has lots ofchromaticism. Makesure y o u k e e pt h e s i x t hs t r i n gm u t e da n d p u m p i n gt h e w h o l et i m e . T r ya l t e r n a t e E5
E'5
-t-i, -J -_t J+ !-a'PM-'PM'PM-'
t
- V-V -
c5 c[5
D5
p i c k i n gi f y o u c a n t m a n a g ea l l d o w n s t r o k elsi k e J Ha t t h i s t e m p o .A h i g h g a i n Boogiesound with a bridge position humbucker will make you Ihe Masterl
B5 C5
B'5
A5
G5
1 +l +]-+ + i++
+ +b'r++-+ +
PM-'
P!t-,PM-rPi/t-r
PM.'
VF V
H e r e ' sa r i p p i n gl l m V j a z z l i n e( G m 9 / C 1 3 ) t h a tg' sr e a t f o rh a r m o n i cm , elodic, and technicaldevelopm€nt. Looselybasedon the GmTth Dorian scale,there are also plenty ofchfomatic passingtones for a sophisticated,authentic
-
V NV -V-
V
Gls
F{5 Fs
E5
rJJrJJsts 1 -V]'tV-VF
pickingexcept bebopsoundreminiscent ofGeorgeBenson. Useallalternate forthe occasionallegato andsweeppickedpassages. Startdowlyandwork yourwayupto the140bpm markusinga warm,clean neckpickuptone.
tbt
9
,
2 '
'
,
ir;
;
c 13(e)
S t r i c t a l t e r n a tpei c k i n ga n d p a l m m u t i n gm a k e t h er i g h tc o m b i n a t i o nh e r e . T h e l i n ei s a l l s e x t u p l e t a s n d e a c hp h r a s ei s p l a y e do n o n e s t r i n ga t a t i m e a n d J = r9, cmajl3g11
follows the chord movement closely,Perfectthe slow versionofthe example a n d a c c e l e r a tuen t j l y o u ' r eu p t o f u l l s h r e da n d b e y o n d ! G maig/B
. l= s o s r o w ' 2 1
-
V I'I V -
VI'I V -
V -
V |l V |l V -
V
Btm9
october2009Guita.t'Ieclmioues 49
G',iffid
Buddy Guy
HereJohnWheatcroft brinosusatrueorioinator , of electric blues, andoneof themostrelevanI artists active today, thelegendary Buddy Guy!
m OOaa
Moderate
I'M GOINGTObeginthis month with a selectionofquotes:"Heavenis lying at BuddyGuy'sleetwhile listeningto him play
guitar."How aboutthis one? "Buddy Guy is an absolute monsterl"An unashamedly gushingoneup nert, "That was just the mostincrediblestuffI everheardin my life". I'll save the boldestandprobablymost controvercialoneuntil last: "BuddyGuyis by far and without a doubt the bestguitar player alive". Impressivestuff, I'm sure you'll agree.Thesequotescarry much more weight, in fact creatingmonumentalimpact whenyou discoverthat these accoladeshave comestraight from the mouthsofsuchguitar titansasJimi Hendrix,Jimmy Page,JeffBeckandEric Clapton respectively.I think we can safelysaythat Guy's playing hasmadean impressionthen,phew! Sowhat is it about Buddy's playing that grants it the royal sealof approval?Well,it could be the sheerauthenticityofhis phrasing,completelytapping into the rootsofthegenrebut unafraid to stretch its boundaries?Perhapsit's his amazingtouchandsenseof timing? Maybe it could be his reclless abandon,with many of his licks featuring wild and unpredictablest ngbends, unexpected bulst ofspeedand unpredictablenoteselection?Howabout the sheersenseofjoy that is apparentwhen he'sdoingwhat he doesbest,clearforall to see?AII this evenbefore we begin to add Guy'sexpressiveand heart felt, soulful vocal deliveryinto the picture! In realityit'sa combinationof all ofthe above.Add to this a lifelong dedication to championingtheblues,with a hugeback catalogueofclassicreleasesanda consistent dgoroustouringschedulethat hastaken
oNTHEcD$ rnacxs zo-zz
him to the four cornersofthe earthto spread the message, andyou canbeginto seewhy Buddyissorelevant.And like his hero and mentor,BBKing,he'severybit ascunent todayashe wasroyearsago,or 20, or3ol I've presenteda cohesivesolo study, with two choruses'wolth of Buddys bluesmagic overa regulardominantbluesI IVV sequence in the key ofAmajor. Whilst this study doesfunction as a suggestionofwhat GuymiShtplayin this context.in realib he wouJdreallymilk eachideafor all its worth, stretchinga singleconceptor themeacrossa wholechorus,or eventwo!Space necessitatesthat I squeezea kitchen sink's worth of Buddy'sphrasing into two compact but perfectly formed choruses.As always,go straight to the sourceand checkout Buddy's playing first hand, preferably by seeinghim live if you get the chance.You won't be ilisappointed,I promiseyou! I'd urge you not to overlook the simpler ideas,asit is herethat you canreally concentrateon the 'how' rather than the 'what'.Is yourtone, clarityof executionand useofexpression and dlnamics aseffective asit canpossiblybe?Ifyou're not sure, record yourself playing along with the backing and listen back objectively in a coupleof days.This may in factbe the single most effectivething you could ever do to improveyour playingin a remarkablyshoft spaceof time.tr
ll ldon'tneed a scale. ljust needtheheaftand
mindandsoul!!t a,aayc"y
TMGKBEC0SD Buddy'smostrecentrelease, Skinlhep(2008 Sony/8ilc) shows n0sign0f ourseptuag8narian attack hero'sincendlary melloving.lt displays hisinc6ndiary styleandfeatures notablo appearancesfrom ErlcClapton,0erek Trucks andnobert nandolph. Thesscond CllI usedinpreparati0n (1991 forthisafticleisarguablyBuddys rn0stsigniffcant 0annnightlivoGotTheBlues Silvertone), 50 GuiiarTechnioues October 2009
BUDDY GUY STYLT
[ 8 a r s l - 4 ] L e t ' sb e g i no u r f i r s t c h o r u sb y c o n n e c t i n gt h e f i r s t a n d s e c o n d s h a p e so f t h e m i n o r p e n t a t o n i cs c a l ew i t h s l i d e s( r b 3 4 5 b 7 ) ,a n d b y bridging the 9ap between the b3rd (C)and 4th (D) with the chromatic 'pa ssing-tone' fou nd in between (C#). lBars 5-81Yet more slippy pentatonic action to befound within these bars, although Buddy switchesto a more major/dominant o rientated tonality in b a r 7 t o c o i n c i d ew i t h t h e r e a D o e a r a n coef o u r h o m e A 7 c h o r d .T h i sc o u l d b € v i e w e da s a h y b r i dM i x o l y d i a ni d e aw i t h a n a d d i t i o n a l b 3( r 2 b 3 3 4 5 6 b 7 ) ,a l t h o u g hi t ' s l i k e l yB u d d y w o u l dj u s t b e t h i n k i n g a b o u t ' f r a m i n g - i n ' t h o s ea l l i m p o r t a n tc h o r dt o n e s{ r 3 5 b 7 )w i t h a p p r o p r i a t en e i g h b o u r i n g decoration from either above or below.
l B a r s9 - 1 2 1 W h agt o e su p - i n t h e f o r m o f a n a g o n i s i n g l yd r a w n - o u t a s c e n d i n gc h r o m a f i cb e n d t h a t g o e sa l l t h e w a y f r o m 4 t h ( D ) t o t h e b 7 ( G ) , w a t c h i n go u r f o r t h e p o s i t i o ns h i f t f r o m t h e t h i r d t o s e c o n ds t r i n gt h ; t c o i n c i d e s w i t ha s h i f t f r o m t h e f i r s t t o t h i r d f i n g e r t o s u p p o r tt h e b e n d must come downlOften the difference between an idea sounding like an exercise,or as an effective musicalstatement, is the rhythm employed, Michael Breckeronce stated that phrasing was allabout rhythm, with the notes merely a d ecoration!Thafs definitely the casehere, so follow the t h y t h m c l o s e l , a n d i n t u r n s e e i f y o u c a n c o m e u p w i t h s o m ei n t e r e s t i n g r h y t h m i cv a r i a t i o n so f y o u r o w n ,
J - t33 Swing
E B G E
BU BD E
0-to-{13}a:10J1
G D E
E
s G o E
E9
D9
l
?L3
BU
E B G D E
RP
A7
L3r
BU tol
-3'
L3'
E9
L3_______l
RP..- BU RP--\or 10r \or1/r
1rr
l,/-
\,rlol
LJ
----r
L3
BD
FP---
BD
]
RP---
\or1or \oI \o/
9
october2oo9Guita,llbclmioues 5t
[ 8 a r s l 3 - 1 6 ] W e k i c ko f f o u r s e c o n dc h o r u sw i t h m o r e p e n t a t o n i cs l i d e s , partnered with Guy'swide, deep vibrato. A9ain, rhythmic interest is i n t r o d u c e di n b a r sl 5 a n d 1 6 ,i n t h i s c a s eq u a r t e F n o t eo r c r o t c h e t r i p l e t s ,t o w h a t w o u l d o t h e r w i s eb e a f a i r l yp r e d i c t a b l eb e n d i n ge x e r c i s eA. t m e d i u m to fast tempos this is a highly effective rhythmic combination, so work with t h e C D t o m a k es u r ey o u h a v et h i s f e e l n a i l e da n d c a n m a i n t a i na c o n s i s t e n t f o o t t a p t h a t f o l l o w st h e d o w n b e a t ,a n d n o t t h e r h y t h my o u a r e p l a y i n g . lBars l7-201 lf we see bar 17from the perspectiveofA then we have introduced the Robben Ford-endorsedminor pentatonicwith an additional major 6th {r b3 4 5 6 b7),in factjust one note short ofthe grown-up and sophisticatedsounding Dorian mode (missingjust the 2nd degree).tf we see e f D , c o i n c i d i n gw i t h o u r D 9 t h a t o c c u r s t h j n g s f r o mt h e h a r m o n i cp e r s p e c t i v o
a t t h i sp o i n t , t h e n t h e e x a c t s a m e n o t e ( F # ) c a nb e p e r c e i v e da st h e m a j o r 3 r d , o n e o f D ' sc r u c i a l c h o r d t o n e sa l o n gw i t h t h e 5 t h , 7 t ha n d r o o t o f c o u r s e . As both viewpoints work, viva la differencelsay. Don'tworryso much about maintaininga strict rhythmic p ulsefor the trilk in bar 19,as Buddywould play t h e s e t h i n g su s i n gt h e h e a r t i l ye n d o r s e d? s f a s ta sy o u c a n ' a p p r o a c ht h a t I love so much and use more often than I careto admitl l B a r s 2 1 - 2 4 1E u d d y ' sp l a y i n gi s a c o n s t a n t j u g g l i n ga c t b e t w e e ns p a r s e , d e n s e , s i m p l ec,o m p l e x ,g e n t l e a n d b r u t a l , s ow e e n d w i t h a s i m p l e t h o u g h effective minor pentatonic phrasethat reiteratesour opening gambit in b a r s1 - 4 .R e s t a t i n g a m u s i c a il d e at h r o u g h o u ta n i m p r o v i s a t i o no, r s o m e variation on a theme, can give a performance a senseof lo9ic, composure a n d i s , t o p u t i t b l u n t l y ,a v e r y c o o l t h i n g t o d o i n d e e d .
BU E B
BU
BU
BU
2F10112F10'(12Fta(1
BU
BU
2F1o{1
E
__r tA. ,/
!3J )At ,/
E
E9
r,
=-=
-=Et
tFt-
6 E D
;
E B D E
52 Guitaxlbchniques october2009
LJ
-I
'^""""...,.'o
::..,i'., {.: brigrol
Lenny Krauitz Flying Vsandrockstarposes attheready thls month.MartinCooperlooksatthecoolrockbluesstyleof MrLennyKravitz...
m
ooo
Moderate
KEY:Eminor 7 Riffplaying TEMPO:97bpm !Z Rhythmicdisplacement CD:TRACKS 23-2s g Leadquitarphra5ing
NEWYORK born rocker Lenny I&avitz is oneof tlose guyswhojust makesthings soundcool. He'ssomeonewhocan play a pentatonic-based riffthat'll makeyou say "Why didnt I think of that?".This is oneofthe marks ofa greatmusician and songwriter,Icavitz's first massivesolohit was Are You GonnaGoMy Way and this was followedby a number of hit singlesand albums that sawhim regularly selling out arenasald stadiumsall around the globe. Lennygrew up listening to all ofthe classicrock balds suchas LedZeppelin,Aerosmith, Kiss,The Who andThe Jimi Hendrir Experience, andyou canhearthese influencesall meld togetherin many ofhis songsto this day.His first album, Let LoveRule, wasreleasedin 1989, with Kravitz eventually securinga recorddeal with Virgin after many other labelshad rejected him, not quite knowing wheretiey weregoingto market his styleofmusic. The album wasonly a modesthit in the USand UK not quite breakinginto the Top Soof eitl.rerchart. However,he did find success after co-$TitingJustiry My Love,which wasa smashsingleforMadonnain 1990.In 1991 he releasedthe album Mama Said,which featuredSlashon guitar for the singleAlways OnThe Run, and then in 1993the aforementionedAre You GonnaGoMy Way
oNTHEcD$ rmcxszs-zs
wasreleased,aswasthe subsequentalbum of t}le samename.TheseeamedIcavitz a Brit awardand an MTV award. Lenny'scareerhas ebbedandflowedsincethen.andalLhough someofhis albumssuchasCircushaverrr spawnedmany hits, songssuchasFly Away havenonethelesstopped the UK chart. This month's exampleis \4rical of Icavitz's writing style,and encapsulatesa Hendrix-inspired riff, with somefunkinfluencedchordwork. Thereis plenty of spacefor the musicto breathe,which is a commontrait ofl€nny's songs. Thesoloisbased around reEminor pentatonicscale(E GA B D), andis planted firmly in the 197osin terms ofphrasing and tone.This track is definitely a rocker,but it alsohaselementsof funk attachedto it, which hasalwaysbeenone ofthe defining featuresof lenny's music.It's not a difficult oneto play, but it might take a litde while to 8ettheright senseofliming andt}e feel. Oneofthe key characteristicsof ltavitz's musicis rhlthmic displacement,so checkthe playing tips sectionfor more information on this. Thereare a coupleofphrasesnerir the start of the solothat aresimilar to the ones usedfor the Jimrny Page-srylecolumn fiom GT168,but you canhear the difference betweenhow Kravitzand Pagewould play tlese O?esofclassicpentaLonic phrases. particularly in terms of timing. Finally, thanksto Mark Prenticefor playing basson this month's audio track. Ii
li Youcanhean the influence of ledZeppelin,
Aenosmith, Kiss, TheWho andJimiHendrix inmanyof lennyKnavit/s songs t,
TMCKREC0BD Orcusrsoneoflenny'sratherundeFrated albums andeventhough itdldn'tspawn toomanyhitsingles,one that didmakete chatswasRock & R0llls oead.Iis realbiggie, Ar€YouGonna G0l||yYkyfeaturesthetltletrack,plusanotherhit,B€lieve. llf coursd[onny's Greatest Hitsalbum features allthebigsingles inonepackage. 54 GuitaxTecimiques October 2009
o
<
LtlIIIY KRA'/IIZ $TNE
IRhythm partlThe E7#9and D7#9chordsare5implydomTchords,with an extraraised9th interval.l've writtenthe#9asGfortheE7#9chord
and Fforthe D7#9to makeit simpleon the page,blt in realitythose notesare F##and E**to keepthem ascorreatlytermed9th intervals.
E B D E
V
V V]IVE7{e
DTls
t_{
a E B
o E
5,21
ETfs
-+--
\-----
er
t\
E B G D E
sectionwe havedisplaced rhythms.The of the soloto seewhat I mean.Thereareal5oquite a few short(staccato) lLeadpartlThroughoutthis notesplayedarestraightl6thsand8thsandsoon,butwheretheyfallin notes,which accentuate the funk elementin Lenny'ssound. the barmeansthatthey soundsyncopated. Checkoutthefirsttwobars
ETle
E B D E
October2009Guitaxlbclmicnps55
lBa.s29 & 301Youmayfindthatthespeedandstaminarequiredhereis
5-17
15-17-15-17-15-17-15*17
demanding, butthe ideaitselfisactuallyvery simple.
15_1
>afi.0cortesepLags quLtars Ir.vwberLLwe stringsandthings.co.uUtimberline.htm
oNTHEcD!
rnacxs ze-zz
llote bending
are aiming for when you bend (the 16th fret on the third string) and you can fret this beforebendingfor a referencepitch.Now bendtheA up (ther4thon the thirdsl.ring) onetone (equivalentoftlvo frets)untilyou thinkyou havehit the B.You cancheckand re-checkthe intonationby playingthe fretted B. Try to memodsethe amount of effort it took to get the right pitch and also the soundofthe 'in tune' note.Usethis sarrre methodfor semitone(onefret) andtoneand a half (three fret) bends. Exercisel demonstratessomeofthe key STRINGBENDINGIS a thirdfingerbendingpointswithin shaper of great way to add expression the minor pentatonicscale.This exercisehas to your lead playing. You the addedadvantage ofhaining the earto couldevensayit'sbecome bend in tune throughout t}re scale. the singlemost defining This rnonth'spieceisa one-chordvamp techniquein modernblues in the style of Jimi Hendrix. Jimi usedthe androck.Bybendinga note 7+9 chordfor manyofhis funk-rock (pulling down or pushing up compositions (Foxeylady, SpanishCastle astring),youincreaseits Magic, Purple Hazeand othe$) sothis chord tensionandthereforethe is a perfectfoundationfor our solo. pitch dses.The ability to Thepieceisin thekeyofE andmostof manipulateanynoteon the the soloinghappenswithin minorpentatonic guitar fretboard this way is a Shape1.Trysomeof the ideasI havenotated greatasset.It meansyoucan overthebackingtmck. The solohasbeen accessmicrotonal inteFals h,Tittenwith the goal ofdemonstrating as not availableon instruments manypopularbendingpointsaspossible.If you find oneyoulike,memoriseitanduse it suchaspiano,organetc. Ifyou want to createan later. Playersof all levels canbenefit from a upwardglissando(a smooth bitofast ng-bendingrefresher.E upwardglideinpitch), simplybendthenoteup to the desiredpitch at the desiredrate.If youwould like to createa dou.nward glide,youcanpre-bendthe noteandthenreleasethe bend.Oncethe noteis bent to pitchyou canaddfinger vibrato to help with the intonation and add interest andexpression. Oneofthe keyproblem areaswith string bending is intonation- bendingintune. Just asa singerneedsto practisehitting all ofthe pitchesintune, sodoesthe stringbender.A popular method of developingyour ability to bend to pitch is to choosea targettoneas describedbelow. This month'strack usesthe E minor Easy/Moderate pentatonicscalesolet'schoosethenotesA practisewith. Fret the A note on the INFO WItt IMPROVEYOURand B to 14thfret of the third stringwith your third KEY:Edominant M Bending techniq!e finger.Wheneverpossible,placeyourfirst TEMPO:100bpm !l Bending intonation two fingersbehindthe third fingerfor added CD:TRACKS 26-27 !l Basic leadphratinq support.The B noteis the targettoneyou
Using JimiHendrix andthetrustyminorpentatonic scale forlnspiration, JonBishoptakes a lookathow youcanimprove yourbending technique...
r. Stning bending isa greatwayto add expnes$ion to youn leadplayin$rr
oo
'j .. \f CI
g00dlistening TIACK RECOR0 AnyJrrni Hendrixrecording willprovide for stringbending ideas. lf youwould likesonealternativ8 choices tothsclassic studioalbums thentpyRadio oneSessions 0r LiveAtYlinterland, whichfeatune theHendnix Experience at th0ir spontaneous best!'rimi'sliveversion isanobjeot of RedHouse lesson instringbending andoneof hisbostporformances ever!
58GuitarTeclmioues October 2009
ll0Tt BEilDillG
E B G D E
lBars l-2lThis first bend is very popularand goesbetweentwo strong intervals, the perfect4th(A)andthe perfect5th (B). IBars3-4lThlsnext bendgoesfrom the minorTth (D)up to the root (E), and isanotherof Jimi'sfavourites.Eachofthe phrasesin bars3 and5 is startedwiththesameChuck Berrystyle lick(beat4Bar2andbeat4 bar5). anotherkeybendingpoint that goesfrom the [8a155-6]Bar5 showcases minor 3rd (G)to the perfect4th (A).
the classic Hendrixstyletechnique ofpullingoff lBals7-81BarTfeatures to openstrings.ltisfaiflyea5ytogenerate somespeedwiththismethod andthe doublingofthe openstringnotes(Band E)an octaveup creates an eaf catchingef{ect. lBari9-l0l Bar9 usesbendingto createa classicblues-rockrepeat phrase.Take it slowlyatfirst, asitwillbeeasiertobuildthe speedonce thefingershavelealnedthe pattern.
I - tOOFunkRock I Bar DntmFlll...
I
:2-\
,--*
"tr
PB14
Middlepickupw/wah& luzz
BU
E
r4-{16F14-il6-15H14)
D
12-
E
E
BU
BU
B UB D
BU
*BU
G D E
c7f9
;---;-.Jl! E
BU
BU
D E
october2009Guitax1bclmioues 59
lBars 1l-l2l AnotherclassicJimi phrase,often imitatedby sRVThis soundscoolifyou playwiththe timingslightlybehindthe beat. bendingpointsup the octave. lBarsl3-141Herearea coupleofclassic getsmoretrickythehigheryougo andyouwill Thebendingintonation needto makesureyoudon'toverbend!
Bar15features a unisonbend,whichisanotherclassic lBars15-171 Hendrixtrick.Bendthethirdstringup a tonefromthe 2ndfret untilyou two notesringing hitthesamepitcha5theopensecondstring.These togethercreatea vocalstyleeffect,especiallyifygu rockthe wah-wah pedalaswell!
E B G 0
E c7$e
L3J
BIJ E B G D E
BUBU* E B G D E
BU Goosllat Laidback . . .
?ruplusu
Gentle Giant
ln hlsfinalcolumn onthegreatprogbands Gianluca Coronahighlights oneofthemost amazino ofthemall.theincredible Gentle Giant...
with a predilectionfor EricClapton,which becomesclearwhenyouhearhis musical vibrato.solosrootedin the bluestraditiol andwith alyricalstylethat offereda greatfoil for the rhythmicallymoreedgyanddissonant keyboards. Butthe realkeyto appreciating cary'sroleis thewayhefits in totheband. GentleGiantarca perfectexampleofan ensemble ofmusiciansdedicatedto explo ng compositionasdeeplyaspossible. Thelevel was ofinterplaytheycoulddemonstratelive alsoimpressive. Not onlydid theyshowgreat masteryof instrumentsandtechniques, they lineswitha harmonic couldalsosingcomplex visionthat madethemnot unlike contemporary classical composers. Their quirlf amalgamation ofjazzandfunk,hard rock,classical, madrigal-style andmedievalflavouredinfluences, distinguished themasa mdicalactin the early'7osprogscene. As punkwasaboutto burston the scene with smallerbands, shortersongsand prog'slongand an]'thingbutabstractlyrics, complex compositions madeit lookselfindulgentandoutmodedby comparison.But whilepunkcameandwent,progressive rock cannowbeseenasa greatforcein modern music.Ard todaya streamofbands,like DreamTheater, Rushand King'sX, carryon thevibeandeducatenewgenerations in this sophisticated andintelligentform ofmusrc that wasborn foul decades ago.I hopeyou haveenjoyedourjourneythroughprog historyasmuchasI did asyourguide!li
lJ Aspunkwasaboutto burst progrock's onthescene, long
andGomplex compositions made it lookself-indul8ent and
outmoded bycomparison tt trumpet,clavichord,violin,viola,and percussion. Anotherfundamental memberof Moderate/Advanced OOOO theband,classically t raired pianoand tNt0 WII-IIMPROVE YOUR keyboardwizardKerryMinnear,couldalso singandplaycelloandvibraphone. John ti Alternatepkking andlegalo KEYi Various Weatherswasthefinaldlumnrertojoinand irregllarpuhe overan TEMPO: Various ViPlayang couldsing,playguitarandtunedpercussion. andcounteryointideas CD: TRACKS28-29 !l lilerplay With their dedicationandversatilityGentle A SERIESON progressiverockwouldnotbe Giantsatat the pinnacleofprog,alongwith complete without Gentle Ciant. Sothis month Yesandcenesis.Althoughthebandusedall we aregoingto explotethe alchemyof lhis the devices for whichprogrockis famous, incredible bandwith a speciallook atthe role suchasoddtimesignatures anddramatickey ofguitarist Gary Green, shifts,theyavoidedthelongsoloingtypically Foundedby Shuhnan brothers Derek. Ray. associated with thegenre.insleadpreferring and Phil, all talented multi-instrumentalists to emphasise thebard asawlrole. and singers,the group quicklybecame knowl mallbehindthe GaryGreenwasthe group'sguitarworkandalsoaddedmandolin for polyrhythns and dalk arrangements,with a taste for classicalinstrumentslike clafinet. to the mix. His priDreinfluencewastheblues,
(released TRACX REC0RD FantasftcclbumssuchcsAcquiring lheTasto in10flanda prcttygooddGseiption ottheband's brandof (1972) Thrcelriends(192)andoct0pus aruthrc€0f themostrcpresentatiye super-complex composfti0n), 0f Gontl0 GlanfsGarlieroutpul probably octopus, them0stmaturcrccond theensemble svenreleased, i$theoneto lktento if youarcnewt0thoirmusic, 62 Guitsflechniees 2009 Ocrober
GfltTLtGrAilI$nt T h i si s t h e c l o s e s t t h i n gt o c l a s s i c aclo n t e m p o r a r ym u s i ca r r a n g e m e nlt' v e e v e rw r i t t e n f o r t h i s c o l u m n .A s G G ' sm u s i ci s b u i l t a r o u n dt h e b a n d ,w e h a v e p r e c i s ep a r t sh e r er o p l a yt h a t d o n t a l l o w m u c h i n t e r p r € t a t i o n5.0 m a k e5 u r e y o u g e t t o k n o w t h e m w e l l .T h e e n t i f ep i e c ek e e p sc h a n g i n gt i m e s i g n a t u f e , w h i c h i s v e r y t y p i c a lo f t h e b a n d ' sa r r a n g e m e n t as n d a l s oh i g h l yd e m a n d i n g . I n g e t t i n g t o k n o w t h i s t u n e y o u r r h y t h m s k i l l sa r e d e f i n i t e l yg o i n g t o Amai7Bl1sus4
F$maj7{11susa
i m p r o v eT . h e f i r s tp a r t i n c l u d e 5f a s t s t r u m m i n g , s ow a t c ht h e d i r e c t i o no f t h e s t r o k e sa s h i g h l i g h t e di n t h e t a b / n o t a r i o n A . s e r i e so f d o u b l e h a m m e r o n s c o m e sn e x t ,s o e x e r c i s ec a u t i o na t t h € e n d o f e a c h b a r a s t h e r e , sa s p a r e s i x t e e n Il n b a r s1 4 - 1 7l e t t h e o p e n f r f t h s t f i n g r i n g t h r o u g h o u tt h e r i f l I n b a r s1 8 - 2 8t h e p a r t s o u n d sv e r ya n i c u l a t e ,u s i n gb o t h a l t e r n a r ep i c k i n ga n d I e g a t o .l t ' s n o t h u g e l yd e m a n d i n g b , u t y o u ' l lc e r t a i n l yn e e d t o c o u n t !
ArnaiT$11sus4
F$mai7$11susa
E
D E
E
s
8,7
a,
tF-
Bb7i5
r+F=
T.
ffi
ffi
/
ffi
3
E
Ll +u
t_
tt-a+
E
october2009GuitaxTechniques 63
T h e l a s ts e c t i o n( b a r 3 3o n w a r d s ) i sa s h o r t e x a m p l e o f a ni m p r o v i s e ds o l o . A l t h o u g ho f t e n G r e e n 3i d e a sd o n ' t u s u a l l ys t r a y t o of a r f r o m t h e 5 0 n 9 ' s
october2009 64 GuilaxTeclmiques
o r i g i n a la r r a n g e m e n t as n d m o t i f s ,i t ' s a l w a y sw o r t h a i m i n gt o n a i l a s m a n yo f h i s p l a y i n gn u a n c e sa sp o s s i b l eS, o e a r sf r r s t ,f i n g e r ss e c o n d l
oNTHEcD$ rnlcxs so-ar
Tappingthroughsc Leftright,leftright,haltlStand to attention as Sergeant MartinGouldinginspects yourtapping technique forthethirdandlasttime... r98os on,with playerslike GregHowe andRitchieKotzenutilising the technique to createsuper-fast fluid scalelines.Bothhandswill comeinto play,oftenin quicksuccession ast}te fretting handhammersdownfiom nowhereto playthe first noteofthe scale,andthe pickinghandtapsdown onto the last note.Yourprime consideration with thistechniqueis successfulmuting betweent}Ie two hands.Thefrettinghandfirstfinger mustbetrainedto hammerdownon the string in sucha waythat tie finger mutesthest ngabovetheonebeing played(soit makescontactwith tlle stdngon thepad,notthetip, of the finger).Thisshouldalsohelpit lie fairly flat soasto alsomuteall strings undemeath.Theotherfietting hand fingersshouldbeslightlyarchedand contactingnearerthe tip. Thegeneral positionofthefiettinghandshouldbe droppedsothat the thumb is in the middleof the backof the neckwith plentyofspacebetweenthe guitar neckandunderneath thehand.You will seeinthisposition,thatthefirst fingercanlay flat andstraightoverthe remaininghigherstrings.Try hammering-on anynoteonthefifth striog with the first finger;oncethe notehassounded, immediately strrm all sixstrings,andifyou canhearany string noiseyouknowthat youhaveto firstworkonyourfiettinghandmuting. pickinghand,whichwill Consideringthe Moderate/Advanced beusedto tap,holdthepickasusualanduse thesecondfingerto tap.Thiswayyouwill WItI.IMPROVE YOUR ultimatelybeableto seamlessly integratethis tTapping skills lechnique inlootherlegato-based styles. TEMPO:70l140 aZAryeggio awafeners Whentapping,usetheheelofthe hand CD:TRACKS 30-41 !ZSpeed andfluency includingsomeofthethumbpad,to reston anyidlelowerstringsin ordertomute. WELCOME TO THE third in ourseries orr Betweenthetwo hands,youshouldproduce tlvo-handedtapping. This month we will look cleanerresultsaftersomecarefulpractice. at usingthepickingandfrenirrghandtapping Themaindifficultyat firstwith this techniqte to playscalarlines,This styleof parliculartechnique,is that thefrettinghand tapping developedlrom the later part ofthe firstfingerismorefamiliarwith beingpartof
legatolinesratherthaninitiatingthem,so mayproveweakandlackingin convictionat first.In previous wehavealready columns. encountered frettinghandtapping,but the hammerednoteswerealwaysexecutedby the third orfourthfingers,andsothis will be a newchallenge. Thefirst fingerwill needto hammerdownhardftom aheightwhilst mutingthestringaboveandall underneath. Oncethis techniquehasbeendeveloped, it will allowfor veryfastandverysmoothlines andis a 'sth gear'complement to the conventional legatotechniques. Thismonth'scolumnispresentedin E Dorian(R zb3 4 5 6 b7),whichis the second modein the keyofD major.All exampleson the CDareplayedtwiceat a slowand challenging learnspeed. followed by a top standardspeed.Tryto prioritiseslowand accuratepracticebeforeanyspeedis applied, workingoncertainspeedsfor weeksat a time, andasyouprogressto moreadvancedlevels, months.Try tojudgeyourprogressnot on speed,but on cleanandtimelyexecution. Oncethoroughlymemorisedandlearnt,play eachexampleforaperiodoffive minutes possible,only daily,ascontinuouslyas pausingfor shake-offbreaksif tension accumulates, Alwaysbe awareoftension;you wantthehands,arms,neckandjawallfully relaxedasyouplaythroughthe repetitions. youworkthroughthese I recommend examplesasa completeroutine.Nefi month wewill seehowwe canapplythis two-handed tappingtechniqueto arpeggios. E
yourprogress ll Jud$e not onspeed, butonthequality of execution. Speed will
occun natunally asa nesult z good of timinglt
ooao
-r---,J" TRACK BEC0BD AcoupleoJthesxamplos inthismonth's artiolsaroinsDired bylicksinthestyloof acsguitaristnebocach. R6bis bsstknown mokbands aslhkter, tvingor andalsolvhitesnake, soanyalbunsfeaturinghiminthesefinelino-uns wlll C(DC for hisuo in chclassicmodorn giyeyouan ideaast0 hisfluld mo of tappingtecNtniques, 55 GuitaxTechniques October2009
IAmilGlltR0UGlt$Cttt$ Although the key signature suggestsD major, there's an Eminor pad on the CD,so we $,ill be viewingEasthe foot.ThiJmeanswe seeth€ scalefrom the peEp€ctiveof its secondmode,E Dorian,soour first note (D)willbeview€d asthe bZ Anytimeyou are playingover. minorchord,simplymovebacka wholestepand playthe major
scal€shapeandyou willaccersthe Doriansoundstanhg on the bZ Asyou play,be awareofstring nolseandkeepallnotes€qualin velochy.Whenas.ending,thefirst noteon e.ch stringis hamm€reddown with thefretting handfirstfinger;on the d€scentthe pickinghandtapleadsthepatternacrossthe st ngs.
E D E
Here we move a(oss the fretboard ln three o€taves.The first six notes of anv thr€enotes-per-stdng 5caleshap€can be repeated symmetrically acrossthe three octaves and ls a commonnavigationalpathwayfof modefnro(k players.Leamand memo re the exampleslowlywith tlghtly contfolledmuting.Atfrst you mayneedto hammer
down the frettinghandtap from a height.Ensurethe fr€tting hand is dfopped with the thurnbin the middleofthe neckandwith plentyof spacebetweenthe bottom of the handandth€ guitaf neck,Thishelpsthefirstfrngerto hitdown fairlystraightand thefefofesoundthe note,whllstmuting the stringaboveandallunderneath.
E
E
Thielickascendsthefr5tlwelvenot6 ofthe conventionalscaleshapebefor€moving befofethewidevibratostans,quicklybring the pickinghand backandgently lodge intoan'octaveblock'for increasedrange.Forth€ €xit,practisepullingoffthe last the plckunderneaththe secondrtring.Thiswillhelp mute asthe pickinghand tap Into thevibrato note.Onceth€pull-offhassoundedand a ff.ction ofa second thumb l€ansinto the remainingskingsandwide cleanvibratowlll becomeposslble.
Yourfrettlng handfirstfnger maybe w€akhere,asit rarelyneedstohammerdown. Th€firstfingerfretsthe noteon its pad,leavingitstip to mute the sting above.Tfy Startslowlyand hamm€rdown hardatfirst,obseryingthe aforementioned hand thefrrstfour not€sand list€noutforanystring noise.Onthefourth notethe fir5t potition and keepingthe first 6n9erstraightso it mute5the other st ngson impact. fingermutesallstringsa5it soundsthelastnote.
E
D
October2009Guitaflbdmllr€s67
Nofretting handtappingis presenthercso moreattentioncanbe pl:icedon thethree positlons.This examplerequires accLrratetapping and pulling-offacross slow cleanand accuratememorisationbeforeitbecomespossibletoapplyany speed.Focuson the interactionofthetwo handswith the mutingtechnique,as
anyextraneousstringnoisescan interferewith and easilyoverpowerthe sound€d noteswithdissonantovertones.On the exit note,the pickcomesinto playin a quick motion,strikingtheinal note backnearthepickupsratherthanoverthe neck,with o . kv i b ' a r o . w i d e p u l l - d o w n w a r dr 5
Theinitialideahereis repeatedin bars2ahd 3 from eachconsecutivestring,asit movestowardsa root note exit with wide,pull'downwardsrockvibrato.Careful muting with the thumb padaid heelon the tapping hand,combinedwith the usual fretting handf lst frngermuting,shouldenablecleanexe€utionwith no unwanted
sting noise.Tryto playallnotesasevenlyaspossibl€.At frst, thefrelting hand firstfing€rshouldhammerdownhardand almostaccentedto encouragethe developmentofaccura€yand nrength. At mofe advancedlevels,you willtry to back powerandeachnote shouldbe assmoothand evenasthe lan. offany unnecessary
Thislickgoe5overtwo stringsand is then appliedthroughthe entnescaleshape. at Youmight liketo dividethe exampleinto three,two'stringrepetitionexercises first lowset,middl€setandhigh set.once the tim ing andaccuncyaresettledin, y o uc a ne x p l o r et h e r e m a i n i nsgc a l es h a p e s . Itnh i sc a s eo, u r e x i tp h r a s ei ! t h ef r n a l
rap,pulling-offtoa halfstepbendfrom the 9th {F#)to the b3 (G).Forthe vibratoto b e w i d e a n d € l e a n , s w i f d y b r i n g t h e p i c khianngd b a c k t o t h e n e c k p i c k u p a r e a t o l o d g eg e n t l yu n d e r ne a t ht h e s e c o n d5 t i n g .T h ep i c k i n gh a n d t h u m b w i l l t h e ln€ a n and mute offallthe remainingstrings.
68 Guiiaxlbclmiques october2009
IAPPIl{G Tl|ROUGII $CAI-t$ Thisisafull-rollideathatwe havelookedat in both tegatoandpickingtechniques. Theemphasiswillbe in successfully hammeringdown thefretting handilstfinger hardandcleanon the first note persting. Tapyourfoot hardon the metronome cllck,soasto reinforcethe feelingthatthefrst fin9erk teading.Theexit isthe same
half'stepbendfrom the 9th to the b3rdasperthe previousexample.tVemoriseand ma5tertheexampletoth€slow50bpm'l€arning'speedand stayon this speedfor a good we€kbeforemovingthe metronometempo !p asfar aspossibtewhitststitl m a i n t a i n l ncqo m p l e t e control.
Thisexamplebeginswith a one-octavescale fragment overthreestrings.On sixteenthnote exercises in generatbe verycarefulwithyourtiming,asthe pattern willwant to pullitselfinto a triplet feel!Thisis a commonchallenge,aswe aretrying 'feel' to in fours while playingthree-notes-per string.Accenteachmainbeatby
eltherhammering,lappingor pulling-otralittle harder.45 the timing setsin and rhe f€el of the exercisedevelops,lessenany accentssothe exercisebecomescompletely s m o o t h . n di n e f f e c u t n - d y n . m i c . l f t h e faef e . n y s e r i o utsi m i n gp r o b t e m st h, e n bfeaktheexercisedown beat by beat,buildingit backtogethergraduatly.
2Great Plauen phying 2Gnal Guitars slrung tllilh Great Shings erniebalLco.uk muslc-man.com photographs KenStrcet
Thisideautilisesslidesin orderto movein horizontalshiftsuDto a wide rockvibrato exiton the E root note.Payattentiontoth€timing ofthe slides,asinaccura(y willhave a knock-oneff€ctand thetime-k€epingwillstart to wobble.Theslides afe executedwith a veryrapid shifLwith the sixteenth-notetimeframestrictly
hand notonlytaps the note5but muteswiththe heelofthe observed.Thetapping handand thumb pad in orderto keepany low€rstrlngssllentasyou movethrough the pattern.Onthe exit,againyou willneed to smartlybring the pickbackto the pickupar€ain orderto mutethe stringabovefor a cleanand wide rockvibrato note.
Thislickas.endsshapeoneofour D major(but soundingEDorian)scaleandturns aroundwith a slideto des(endIntothe next shape.Afterworkingthroughthls €xample,the next stagefor moreadvanc€dplayerswouldbe to ascendshapel, desc€ndshape2,then carryon byascendingshape3, descendingshape4andso
on andon untilallsevenpositionshavebeencovered.ThekeyofG is a good keyto moveto anorderto playthrough allsevenposltionsIn one direction.Inour keyofD major(D Dorian),in this caseyoucould.lsotly slldlngdownwardstromshape1 to shap€7 andon and on.
Thissequencerepeatsusinga slideto moveintothe next position.Again,the dides canthrowthetiming completelyoutlf not o(ecutedwith strictacculacy,so start by memorisingthe€xample6longwith th€ 'learning'speedof60bpm and practis€ fora weekof more beforeapplyinganyspe€d.Aho, remembefto accentthe beat
bytapping,hammeringor pulling-offslightlyharderuntilyou developthefeelfor the slxteenthnotetimeframe.Therun exltson the b7 relativeto our tonal centreof EDorian,with wide 'push-upwards' ro(k vlbratothat can be execut€deitherby the ,econdorthethird frettinghand6ngers.Havefun!
70 Guitaflbclmioues October 2009
oNTHEcD !
rnlcxs +z-+s
Augmented soloing* master hisminiseries Ourcreative ShaunBaxtercontinues overthis uniquechord, bylooking dedicated to playing morecloselv attheauomented scale ltself...
- ALuall $! :l**::mit:T:li:"Ht", weresoing tnt 'nontt' toerplore l{OLDSWOpf
It would be a good idea to rcfer back to issues 13Band r39 of GT for more information and musical ideas raing the siy and nine-note
"soI{AT'S'TONs Sfr hdf Tffihdf
:
as This month'ssolostudycomprisesten lines #n:i.HlfirT,xllTen'|edscare ",,.-..+"1cnelpc
tl'latcanbeplayedoverthelastbar of a 12-bar rheausmentedisaslx-noLescale
sFMfroN;' ffiHl,T,Ul",:ffi: i'JxTk"
ii#P#
aOaaO
Advanced
7 Augmented scale knowledge KEY:A soloing TEMPO:120bpm tl A!gmented v ovenlltonaln nge CD:TRACKS42-45
TECHNICAI-LY, AN AUGMENTEDtriad rnajorthirds, splitting compdsesconsecutive eachoctaveinto thrceequalparls: consequently, it is the musicalequivalentof an equilateral triangle(seeDiagramr). K-nowing howto playovertlis chordis important becauseit representsoneoftle four primary tonal colou$ in Westemmusic(alongwith major,minor ard diminished). lnst rnonthwelookedat waysof usinga
blues(seeDiagram6). Eachline is actuallytwo barslong,becauseit is designedto rcsolveto the A7chordat the staft ofthe followingchorus(See Diagram7).Thenotesoverthe A7 chordwill b€ derivedfrom anyofthe following:
ffil"f,#:r#""i:Tr,:
senes rn which an interval oftJuee semi-tones is followed by an inteFr'al ofone semi-tone:seeDiagram2). Altemativeh Dia$am 3 shows how this scalecan be viewed as an augmented triad with a chromatic 'approach' note a semi-tone below each note; however, it can alsobe viewed ascomprising two augmented triads (in tlis case,E+ and D*+), because,when usingthis scale,it's possible to use tl,teD* + triad independently ofthe E+. There is also a nine-note version ofthe scale.This can can be seenas following a repeated lone, semitone, semitone' pattern (Diagram 4); but it can also be seenascomprising three augmented triads: in this case,E+, D#+ and D+ (seediagramS). \^/hen using the nine-note augmented scale, t}le rcsults tend to be darker and more 'geometricLsounding than when using tlle six-note version. But beware: becausethere are oDly three of the twelve notes in music not being used witlfn the nine-note augmented scale,things could easib descendinto a formless chromatic mess. Instead, you will get more mnvincing results if you interpret it in a more harmonic or 'vertical' way, wherebyvarious arpeggio sounds are extracted from within the scale.
47:AC#EG
r35b7 A B C# D E F# 123456b7 c D Eb E A minor bluesscalerA 1b34b55b7 A mixolydian:
G
Onthe GTCD,youwill hearme demonstrate (asa continuoussolo all ten linesin succession study)overa backingtrackthat simplyrepeats the E augmentedandA7 chords;however,there is alsoabackingtrackdevotedto the full r2-bar Thiswill allowyouto isolateand bluessequence. focusonjust oneline at a time, andto practise insertingit into the appropriateplacewitiin the bluessequence. To keepyour mind clearat tlis stage,I suggestthat youjust useA minor pentatonicor A minor bluesscalefor all the otler chordsin the progression,savingyour augmentedsurprisefor thefinal bar. Finally,rememberthat,becauseofthe augmentedscale'ss]rynmetrical nature,all lines canbeshiftedupordownin intervalsofa major third (four liets) andwill still work overtie E augmentedchord(thenotesthat resolveover theA7 chordwill haveto bechanged).li
qualityofbothq?es of Thesy,rnmetrical augmentedscalemeansthat theyareripe for all kindsofthematicdevelopment, becauseany musicalideacanbeshiftedup or downin intervalsofa majorthird (or four fiets) andwill stillraorkorer thesameaugmented cbord.
0f regularity. TIACK IECoIDAllanrto ldsworthb oneol lheonlyguitariststhatI kn0yr whousesthoaugmonted scal€withanydegree playerstondt0 b€moreadvanced \yiththeirsinglenotesoloingbecaus€ that'salltheydo.Soaswellas Howeven ingeneral, saxoph0ne ideas inacti0n. check otlttheincrcdible,l0hn Goltrane andll|iohael Srecksr t0 h0araugmented listening t0albums byH0ldsryorth, 72 Guitar1bchniques october2009
G
z d
AU0trrlrTrD $010[{G
Major3rd
Maior3rd
C{
a =E aug(conrainssamepitch€sas G[ augand C aug) Bothlhe augmenled.hord andaugrenred scaledonot .lasi.al-ba5edthery Letme giw youa.oupleorerampl$:
O=Dlaug (containssamepirchesas cauS and Baus) EF{r6r3 C Dr 1t2 3 5t6? Ho@er,lheFrrl@kmuch
cho'di5symmevical,This junwitng compl.atedthan samenotesasG{augand
FI l
G
AI
s
rho!ld p@bablybea #s(Bs), o glnal5rhintetoa{B)ihould
Conrlquen y,rrhinkir! best Ea!g:
Gl.ug:
t c, r315 6l Bl l3|5
8r Forpr&i(al use I pe@Elly D
caug:
C E G, l315 Intu.i,in rclatonshiproEaug, theCauqshoulda.lually be
8r.u9: 3{ D** Fl## t3f5 lFlsrisrre!m.pt.hasGt) S
1t2 3 5t5 J H@Mi ioreaseot Eading, Iwilldes. bethesenotesas EG6'BCD[ in thet.anrripdon,nota5 EF"GfBBIDI Al5owhendes. bingnotesin rhetext,lwila waysusethe unde6ta.dltofexamdeD inneadofC*f ),ewnrholgh emeclasicalpedant5 may
a = E a u s ( c o n t a i nssa m ep i t c h e sa sG { a u ga n dC a u g ) O = D l a u g ( c o n t " l n 's a m ep i t c h e sa sG a u sa n dB a u g ) A=Daug (containssamepitchesas Flaug and Btaug)
3l Knowing howto playoverthischord isimpoftant because it repnesents oneof thefourprimary tonalcolourc in Western music tt
,) October2009Guitat'lectmioues 73
(c) (G) l l i n e # l l M a n y o ft h e s e l i n e s l o o k l i k e t w i s t e d C # m i n o r b l u e s s c a l e lines.l'vedonethispurelyby isolating a patternwithinthe augmented G# B# D# F## scalethatjusthappened to looksimilarto a C#minorbluesscale G#maj7#5:1 3 #5 7 pattern.Taking existingminorblueslicks anddistorting themlikethisto NotethefinalbendfromC to C#relate5tothe A7chordin the nextbar. accommodatea newscaleisagoodwayofmakingyourideassoundmore lline 4l Thislanecomprises a series ofsweeppickedarpeggios. Each naturalin thissortofsetting. arpeggiois composedofa coupleof different chords,whichtechnjcally polychord makesthem arpeggios: the firstoneis E/6#aug, ILine 2l Again,this linecould be viewedasanothervariationon a andthe second standard C#minorblueslickwhoseshapehasbeendistortedin orderto oneisC/Eaug. fit strictlywithinthe Eaugmented scale. a sectionofthe Eaugmented scalethat lLine5l Here,I isolated playeda happenedtolooksimilarto an E minorbluesscalepattern,and lline 3l Arpeggiosarevery effectiveat providinga linewith inner strength.Here,the firsteight notesarederivedfrom a G#maj7#5 arpeggio, twistedversionof a standard Eminorblueslicksothatitfittedintothe whichisthenfollowed byadescendingC majortriad(playedasE,C,6). Eaugmented scale. Asmentioned earlietbecause ofthe symmetrical D
E B G D E
Line 3 BU BD
BU
E D E
tle
\Lr'
4:6
-];:
t4,6t
d
4:O
4:6
--+i
L1:6)
1:6
Line 4-
BU
-7 Line5- ,
E B G E
E Eaug
. J F c Fi u J -..-
a, BU BD E B G o E
74 GuitarTeclmioues October 2009
-_t Line6
BU
_q
AU01'|iltTtD $0L0iltG natureofthe augmented scale, anylickor scalepatterncanbe shiftedup or down alongthe lengthofthe fingerboardin stepsof a majorthird (four frets);consequently, if we wereableto visualisea scalepattern5imilarto C#minorblues scaleforlines 1 and2,itfollowsthatthesamepattern will alsooccuratboth EandG#positions on the fretboa rd. [Line6] Likeline3,apartfromthe secondnotein bar12(whichactslikea chromatic approachnotetoE),thenotesofthislickareall basedarounda G#maj7#5 arpeggio.Note how,overthe followingA7 chord,the G* note is useda5a chromaticpassingnote betweenthe A (root)and the G (b7). lLine 7l Thefirst four notesof bar 12can be viewedasthe third.fifth. rootandsharpnineofa Dadd#garpeggio. Thisfour notemotifisthen repeated a majorthirdhighereach time.50,itcanbeseenthatthis lineis
givenstrengthby beingbotharpeggio-based andtheme-based. -ineSlThislineisbasedona straightforward descentthrough the ninenoteEaugmented scale. lline 9l Therearethreedifferentarpeggiosusedin this line:CmajT#s, C majorandEaugmented. LikeLine#3, the finalbendfromCto C#relates to thefollowingATchord. lLin€10JLikeLine8,thisfinallinehasbeencomposed usingnotesof the nine-note Eaugmented scale.lt usesa mixtureof pickinghand andfrettinghandhandtapping,justto showyouthatthe technical possibilities areenormous, lookcloser lcenelall Whilethismayallseemrathercomplexor difficult, (maybeevenre-read) andyou'llseeit'sactually verylogical andusable.
Eaug
o
u-
'-.1
fi- ' , ' | 4 = ' T - - i . - a
E B G o
E::/
14
Line7
LineS---z2|.
'j1\
;
f
E
E B
2-13
1311
D E
E B G 0 E
October2009GuitaxTbdnioues 75
ON THE CD
.3
a' CD-ROM FILE
Lage Julian masterdm, **;*x** ,li lru'lls
anothernoteit orderto createa t\,vo-note
ThiscoolCalifornian dudelsreallv makinq waves. ;ffi;;;;;;;i.
I
ch;'rc.#;;il,'r;il" brightest newstarin the jazzguitarfirmament... 'viithulp youtoduuulop anauthorityon "na,#*#;fi:",..1i:ffiU::;;gr the guitar in terms of rhlthn playing. "When it comestoreallife comping,I throwtllat out and I think more aboutthe JULIAII I-AGEWASborn in SantaRosain melodylinesbecauseyoucandevelop California,pickedup the guitar agedfive themeswith your comping.It's realll, no and wasclassicallytrainedfrom an early differentto a solo- it just las a slighily ageat the SanFranciscoConservatory.He differentpuryose,wliich is to supporl alsostudiedJazzat SonomaState whoeverGsoloing."Example5 showshow Univercity.At age12he was'discovered'by Julian approaches,reallifercompingby the vibraphonemaestloGary Burton while playingovera rz-bar bluesin Sb. In plafing on the tllevised GrammyAwar.ds Example6, he demonstrateshow he miglrt and he hadtofillthe shoesofthe likes of choosehisvoicingsbasedon the melody PatMetheny,LarryCoryell,Mick Goodrick note ofthe previouschord. 'When and,JohnScofield. ii cornestovoicings,,'says BelaFlecksays,"He is oneofthe special Julian, "I'\'e leamt a lot of stuffout of ones!"and he hasbeencr.editedby none book and it neverstuckwith me becauseI otherthan Martin Tayloras would goto a gig and then forget it all. Gary beinghis favourite Burton told me to checkoutJim Hall and guitarist.High studyhowhe improviseschords.He also praiseindeedbut urgedme to get reallygoodat open and well desewed,as closedvoicings.The soloistdoesn't Lageis trulya necessarilyhear all the notesin the chords gifted and skilled but theywill hearwhetherthere is rcally musician..lulian is densestuffor operrsnrffbehindthem.' currentlypromoting his ExampleTshowsthc ditlerencebetween debutalbum, Sounding an openand closedvoicing,while in Point,a recordhe ExampleSJulian demonstrateshowhe waitedyearsto might practisethe open/closed-r'oicing release.Ashe concept.Next month we'll look at someof expJa ins: 'l vebeen J uliar's soloingappr.oilchcs. E ln a Dosruon wtere
ll BelaFleck says, "Heis l"X""X5"l"J,i",o"ffi;;;;li;;; "oneofthespec:alones" credited ,::ln'J:::i''" qnqhehasbeen
lr
asbeing ::ll:,*1r1"_1ll* _. byMaftinTaylor
avouritdguitaisttt ",","",,iinJll3j,1ll,"il'"1*ii}-uhisf
within the pastfour yearsI have feltthe musicreallytakeshapein the way I had alwaysimagiled. I feelgratefulthat therewereno pressureson Dteto makc a rccord until I felt it wastime." ffi This month Julian revealssomeofhis OOaO Moderate/Advanced insightswith regardsto compingand INTO WII.T IMPROVE YOUR voicingsand sharessomeofl'risown I approaches. "Onc ofthe thingsthat hcfed KEY:Various t Ac(ompaniment skills mc the lr]ostwasstudvingFreddieGr.een (hord TEMPO:Various tJazz knowledge fiom the Count BasieOrchestraand off CD: CD-ROMFile 7 (hordtoneawarenest course,DjangoReinhardt,"he explains,
TRACI( [EC0R0,{s.rrdion /ro.s yraiting scrd,hedeclinsd many ofers0far€cording yearsbefors deal. instoad many hefeltit wastimet0 conmithisown playingoan musict0 CD. Buthis beheard 0nGaryBurton'salbum Gonerations, Taylor Eigsti's luckyT0B€ e,oavid crisman's point Dawg ouosand,mostrccently, m hisovrnfrnallymleas€d debutalbum, Somding 76 GuitarTeclmique October2009
I-AGt JULIil{ |||I$T[RCLA$$ Julianbeginswith a seriesof ll-Vchordprogressions with someofthe cho.dsapproachedfrom a semitoneaboveor below (bars4-6).Keepthe
chordsshortby releasingyour fretting handpressureafterstrikingthe chords.Also,try accentingbeats2 and 4 slightly. BLmo
Herewe havethesameprogressionasoutlinedin Examplel, blt using onlyonenote!Theideaisto implythechordsratherthanplayingevery
note in them.Youcanadd a percussive effectby strikingsomeofthe mutedstrjngsalongwith thefretted noteson the fourth string.
E7
Watchhow Juliannowaddsa secondnoteto get a two-notechord fragment.Paftslikethistendto workreallywellinbiggerbandsetups because six-string voicings canget muddyandfailto cutthrough the mix.Essentiallyyou only needtwo notesto outlinethe chord
tonalitiesanyway.U5ingsmallervoicingslikethiswill leavemorespace, harmonically speaking, fortheothermusicians in the band,aswellas leavingmore roomforthe soloistto interpretthe harmonywith greater freedom-somethinglulian isat painsto pointout, Bm7
E
playingstyle,hereJulian givesussomeDjango-stylegypsyjazzcomping(accompaniment).. An avowedfanofDjangoReinhardt's innovative GmO
Bbm6
Am6
D7
GdimT
October2009Guita"tleclmiques 77
oNTHEcD$ co-nomnle
Btmo
'Jir.
,i
--t
i
-+
>>
E
12-bar in Bb.Observe howJulianusessmooth lBars1-41A quick-change voiceleadingby resolving the bass.note downa semitonefrom bar4to 5 by usinga Bb/Abvoicingand re5o'vingitto Cm/G. lBars 5-61Herewe havean jmpliedllV substitutionofthe lV chord(Eb) to createa strongerresolutionbacktothe I (Bb)chordin bar Z movesthelchorddownchromaticallt resolving to the IBars7-81Julian V chordbyfeaturing an Eb5underahighF note.
EFIG
78 Guitaflbchnioue 0ctober2009
IBar't0l Noticeherehow Julianapproachesthe I chordfrom a semitone aboveand then againfrom below.Eeboptenor supremoCharlieParker usedthistechnique extensively in hissoloing. Somemoredescending chromatic movement. IBars11-121 isthe startof a newchorusand insteadofplayingmore IBarsl3-161This chords,Julian optstoplaya coolbasslineusinghn overthebarline' approachto createsomesyncopatedrhythmicideas.
tAOt IIA$TERCLA$$ JULIAII a Gm7#5chordoverEbtocreatea lBars17-20lJuliansuperimposes lovelyEbadd9voicing. Eventhough bluesusesmostlydominantchords, an opensoundingadd9canadd contrast.Inbarsl9-20there! another chromatically descendingideausing9th,dim 7th and Tsus4chords. E teb
FTrs
windsthingsup lBars21-241Forourfir5tofthree videolessonsJulian nicelywithsomequartalideas(harmonybuilt from stackedfourths)and one lastchromaticallydescending chordpattern,alongwith a carefully placedrall(rallentando,orslowingdown)tofinish. Ah
Bt9
ELaddg/G
F 7 $ e F7{el5
Dbs{1i
Gbl3
ab
Bt1l/F
C7sus4
BLil
t:
I
rtt ---
Herewe seehowJulianchooseshisvoicingsbasedon the melodynotes ofthe previouschord- this is knownasvoiceleading,whereyou can hearmelodies withinthe chordchanges.
F7$5
c7L9
-
ln a closedvoicingthe maximumintervalbetweennotesisa third,and all the notesarenormallycontainedwithin one octave.An openvoicinggoes beyondthe octaveand the intervalsbetweennotesaremuchbigger.
A,BL BLi3
a17
;o
ttl
HereJulianshowsthe tlosed versusopen'voicingconcept.Theroot doe5n1necessarily haveto be there aslong asit workswith the chord. Bh
Bb7
BLl1
BhVG
I c
79 october2009Guitafleclmioues
oNTHEcD!. rnacxs ao-se
progre$$iolt Bebop bridge ffi$4$d$ I
uswith a II-V. As thebebopbridgeconsists
Inismonrh ouriazzexperr Pete callard explores.ffil:5i:"ffi;Hliiliji,:iffi']llll; b1irsre)arirerrchordroser upaseriesof
n
popularjazzs"qr*naaormusicaldevicec'-'rnn'1'""-'1" '
ttl
" ii;Y:,iX[1iJ'iJ,I3ffi:::"l, known Roebuck'brii;;. asthebebop or'sears short ll-V-Is. Forthe remaining examples
tvl
\\l .! }itij'. Y/
referred to as thebebopbridge. As you mayalreadyhave guessed,so called becauseit's often used asthe
we're entering the dangerousworld oft tone substitution (seeGT124).Example 5 isthe same as Example r, but with atritone sub for' the GTand F7 chords leavingus with a chord progressionthat descendschromatically, and
bridgesection(ormiddleB)in
Example6 addslI chordstothemix.
bebop tunes. lndeed inAmerica it's known as the SearsRoebuckbridge
ExamplesTand B are alternative versions of Examples5 and 6, this timewiththe D7 and
(afterthepopulardepartment store),suggesting it's socommon
C7chordsfrom the originalprogression replacedwith theirtritonesubs;Examples9
that you can find it an)'where.It's bestknown from the Gershwin tune I Got Rhlthm, which prcvides the framework forthe progression known as rh1'thm changes. something we'll be exploring soon.
and ro are basedsolely around the tritone substituted chords. For Example 11we're incorpoEting all ofthe original chords and tritone substitutions into the sequenceand, if thatwasn't enough, for Example t:uwe're adding II chords to each ofthem,leaving us
We1lconsidersoloingideasfor
with four timesasmanychordsaswestarted
the bebopbridge nexttime,but for now let's look at the progression itselfand, as no straightforward p.ogr"..ion everstaysthat wayfor long oncejazzmu.icians8et thejr pawson it, discusssubstitutjon ideasthat we can employ. The bebop bridge generally
withl Incidentally, each ofthese examples demonstmtes specificconcepts,but different approachescan be combined, and alterations and extensionscan be added wherever is appropriale. Ifall ofthis substitution hasn't leftyou too discombobulated,join me next time as we explore how to approachplaying on our new
beginson a dominantnh chorda
friend,thebebopbridge!Ii
: = ;
major 3rd up from thetune's key
dge ll centre(forituneinBbtheb
ln AmgniCait S knOWnaS
the'$earsRoebucldbnid ffiffii#ff;:';#::H; its s0common suggesting 3l"lil",T:f1".:j'"_".Tl::"":, t!\ o bars.endrngup on the v chord
tt voucanfindit anvwhene ll:t::.:l'"";lil3"1ill!i*' Example l demonstratesthe basic form in the key ofBb.
Thebebopbridgeis essentiallya
aoo
Moderate
INFO
IMPROVE YOUR WITI-
KEY;Bb vSoloing vocabulary TEMPO: Various t Harmoni( knowledge CD:TRACKS46 58 tJazzreperto re INJAZZTHERE are cetaiD chord sequences that occur frequently, so by mastering them we can improvise on anytune inwhich they arise.This monthwe're goingto studyan B-barsequencecornmon to bebop and ol1er1
,"., g dfill , -Z
se es ofV-I resolutions.Each chord actsas a temporary resting place (or non-resolving dominant 7th chord) for the firstbar ofits duration, thenbecomes a resolving(or functioning)dominant-1h chord ior the secondbarand resolvesto its relative I chord, whichbecomes the nextdominant zh chord ofthe sequenceandbehavesin the sameway as its predecessor,ultimately resolvingback to the I chord ofthe tune. You could, il1fact, call it a very long III-VI-Il-V-I. As anyjazz musician will attest,whenever there's a dominant lh chordwe're morally obliged to sticka II chord in front of it,leaving
(ofcourse) I GotRhythm, Anthr0pology, IRACK BECoED Thebebopbrtlgecanbef0undinnumerous standards including George Gershrvin's lesterleapsIn,Straighten lrpAndFlyRight,leetTheFlintstones, Susp0ne 01e0, oneBassHit,M00se TheM00ch, Perdido, Dexterity, Carayan, thechanges inothersongs. andScrapple From lheApple. Gheck'em outandseeif youcanrecognise
80 GuitaxTeclmiques October2009
BTBOP BRIDGT PROGRI$$IO!I Ourfirstexampledemonstrates the basicbebopbridgechordsequence in the keyofBb.Althoughthe bridgeitselfisI barslongl'veincl!deda
9th barwhichprovides the naturalresolution backtothelchord(Bb)at theendofeachexample.
Thisaddsa coupleofsubstituted llchordsto the previous, basic sequence.Byprecedingthe D7chordwith an Am7we geta Il-V-lin G
overthe firstfour bars,then the samething a whole-stepdown in F for the nextfourbars. G7
Thistakesthe originalbebopbridgesequence andaddssubstituted relative ll chordsin frontofeachdominant7thchord,leavinouswith a
seriesofll-Vsandculminatingina llV-lin Bboverthefinalthreebars. Takethin95slowlyandthe logicwill becomeclear.
Herewe'resubstituting llchordsin everysecondbartosetup short ll-V-lsinto eachdominantTthchord-vou couldalsosubstitutea short
ll-Vi leadingintothe initialD7(Em7- A7)whenplayedin the contextofa G7
Youcansubstitute anyresolving dominant7thchordfor a dominant7th chorda b5th away.In this case,we'veswappedthe G7and F7chords
Dm7
G7
for theirtritonesubs(Db7and 87respectively), leavinguswith a chord progression thatdescends chromatically fromD7to Bb. Dbz
Thistakesthe sequencefrom Example5 and precedeseachofthe dominant7th chordswiththeirrelative llchords.leavinouswitha
series of chromatically descending ll-Vs. YoucanimagineStevieWonder creating a sequence likethis. AtmT
Dr7
october2009Guita.llbchnioues 81
Hereisa variation on Example 5,but instead ofswappingthe G7andF7 chordsfor theirtritone subs,this time wete substitutingthe D7and C7
chordsfor Ab7and F#7respectively) leavinguswith a chordprogression thatdescendschromatically from Ab7to F7beforeresolvingto Bb.
ThistakesthesequencefromExample7 and precedeseachdom 7th chordwith its relativell chord,leavinguswith a seriesofchromatically
descending ll-Vs.Jazzallows usto expanda 5implesequence likethisso it'slessofa blackart andfar morelogicalthan isoftenthought.
Our penultimatesequencetakes thetritone substitutionconceptone stepfurther,thistime usingonly the tritone substitution5ofthe original
progressiontocreatea somewhatd ifferenttake on the sequence!Again, seehowthemovesawayfromthe originalrhythm changes arelogical. D'7
Thistakesthe sequencefrom Example9 and againprecedeseachofthe tritone substituteddominant7th chordswith their relativell chords,
leavinguswith a series ofllvs, eacha bsthawayfromthe originalchords in the seouence.
playingin each Thiscombines allofthepossibletritone substitutions, casetheoriginaldominant7thchordfor a barfollowed by itstritonesub
leadingchromatically downtothe nextchordin the sequence.
Thistakesthesequencefrom Example 1l andoncemoreprecedes each ofthe dominant7thchordswiththeirrelative ll chords.leavino uswitha
long seriesof shortllvs.
82 Guitaxlbclmiques 2009 October
oNTHEcD .! rnacx ss
Play Bossa ltlouam Forhisfinallesson in serles onthewonderfully summery sounds of bossa novaguitar, StuartRyan sornemoreadvanced r investiqates harmonies...
WELCOME TO THE third and final instalment ofmy serieson playingbossa nova style guitar.I hope you've enjoyedplaying some ofthese beautiful soundsand possibly learning new chords and rhlthms into the bargain. This month's study ramps things up with evenmore challengingvoicingsand a longer progressionthat is interspersedwith some cool melodic ideas. This study is influenced bythe chords and changes favouredbyAntonio Carlos Jobim, and whilst this type ofsoundmaybe newto your earsyou will hear a distinctive Brazilian flavour. The progressionitself featuresa bassline that often descendsby a semitone,a real feature of manybossanovatunes, and there is the fiery dissonancecommon to this music. The chords are often there to servicethe descendingbassline that addsto the tension and releaseaspect. The key featuresto this month's exerciseare the chordsyou will have to play, the use ofinversions, melodic ideasspelling out chords and the shifting syncopatedrhlthms. This style ofplaying doeswondersforyour chord vocabulary Moderate becausemany ofthe chord typesyou WII.I.IMPROVT YOUR haveto play are inverted - they don't featurethe root in the bass.'Root KEY:D minor voicings/inversions !ZChord orientatedthinking'is a cursethat TEMPO:65BPM !ZScales andarpeggios, hampersmany a guitarist's creativity, so CD:TRACK59 !z Syncopated rhythms getting to grips with new shapesand
inversions should provide you with a whole new vocabulary. The next idea is spelling out chords with melodic ideas or evenjust scales. Good bossanova playerscan think like a soloist evenwhen accompanying,and can spell out an entire progressionwith the relevant scalesor arpeggios.Try this foryourselfand seeyour fretboard knowledgego through the roof! The final aspectis the syncopated rhlthms - there are more examplesthis month,just to really give you a feel ofthe types of rhlthm that can be applied around the beat. In practice,you may just chooseone or two ofthese rhlthms for a more consistentsound but it's useful to be able to play any rhlthm thrown at you. Next month I'm starting a serieson ideasfor using the not-so-humble capo! E
JJThechordsareoften therejust toservice the descending bassline that addsto thetension and release aspecttt
m ooo
TBAGK REC0ID BosscnouomastersincludeBaden Povtell,,r0a0 Gilberto andGharlie Byrd,whohelned fusethesoundwithjazzthrough hisworkwithsaxophonist StanGetz. Patmetheny andEmily nemhralsoincornorated b0ssa intotheirstyles. Themaster 0fthegenne is il0bim, andanything byhimissimply sublirnecheck outFrancis AlbeltSinatra & Antoni0 Carlos,lobin, where ACJ duetswithtrank. 84 GuitallechniouesOctober2009
NAY BO$A IIWA . o s s ag u i t a r i s t so f t e n e n r i c ht h e i rc h o r d s w i t h l g a r l l E x t e n d e dc h o r d s E '€xtensions',notes beyond the root, third and fifth to draw on sevenths,ninths, e l € v e n t h san d t h i r t e e n i h sO . n a D m i n o r c h o r d , t h i s w o u l dm e a n a d d i n gn o t e s l i k eE ( t h en i n t h ) G , ( e l e v e n t h ) oBr ( t h i r t e e n t h ) . s .e r ek t h e j a z zi n f l u e n c ea t p l a y ,w h e r es m a l lm e l o d i c l B a r 4 l E m b e l l i s h m e n tH n n d a d d i n t e r e s tm f r a g m e n t sa r e u s e dt o e m b e l l i s ha p r o g f e s s i o a , e a n i n gt h a t y o u a r e n o i a l w a y ss i m p l yp l a y i n gc h o r d si n t h e b a c k g r o u n d .
s i e c e . T h e ya r ea l B a r 5 l L o o k o u t f o r t h e s t a c c a t oc h o r d s t h r o u g h o u t t h i p common feature ofbossa nova rhythm, l B a r 6 l l n v e r s i o n sH. e r ew e p l a ya r o o t p o s i t i o nC m 6c h o f d ( i ew i t h ' C ' i n t h e bass)which t h e n m o v e st o a f i r s t i n v e r s i o n G 7 ( m e a n i n gt h e t h i r d o f t h e c h o r d , B ,G i n t h e b a s s ) . T h itsy p e o f m o v e a l l o w s f o r as m a l l s h i f to f p o s i t i o ni n t h e bass- a semitonedescentfrom the C to the B, so the thkd ofthe G7 is now p l a y e di n t h e b a s so, n e f r e t a w a y f r o mt h e t o n i c n o t eo f C . s e e h o w i t w o r k s ?
c{m6f,5
E B D E
E B D E
E B
E
InthenewNXSeries, theacclamed performance ofour€lectro-acoustic guitars nylon'str!n0 tone meeblraditiona Combining super orcor.slrucllon cassleadn0eleclronilb ard 60y€ais0l knowhour'. tneNXSeresbreaks downme boundares 0Jnylonstrngst0 helpyou uneashyourmusic s nnervoice.
@YAMAH
bassH . e r et h e b a s sl i n ew i l l d e s c e n da g a i no v e rt h e n e x t IBarr5l Descending f e w b a r s ,a l l o w i n gf o f a n u l t r as m o o t hc h o r dp r o g r e s s i o n . T hiisso f t e n c a l l e d ' v o i c el e a d i n g ' a s y o uc a n h e a r t h ec h o r dc h a n g e ss p e l l i n go u t m e l o d i e so n different strings aswe move from chord to
w i t h i nt h e c h o r d- t h e f f t h o f a c h o r do n o n e f r e t b e c o m i n gt h e # 9 o f t h e s u b s e q u e n t c h o rodn t h e s a m €s t r i n go n e f f e t d o w n . . e r et h e B d i m Tc h o r di s a c t u a l l yi m p l i e db y a B t B a r 1 9 1S p e l J i nogu t c h o r d s H d i m i n i s h e ds c a l e / a r p e g g i o . T hi si sa g r e a t t e s t f o r y o u r s c a l e k n o w l e d g ea n d a w o n d e r f uw l a y o f l e a r n i n gt o i m p r o v i s e t r y i t w i t h a l l c h o r d sa n d a r p e g g i o s l
BACKISSUES LOOKWHATYOU'VE MISSED!
Missed a copyof GuitarTechniques? Ordera backcopynow buthurry- stockislimlted JUNE2OO9 GT166
JULY2009Gr167
TASTIER LICKS
BENDIT!
Do youwantto splceup your licks? Now'syourchancewiih lohn Wheatcroft's special PlayTastler LickstutoriaI Plus Stinq's ShapeOf MyHeart andJohnMayer's I Everyday HaveTheBiuestranscrib-.d.
Learnhowto befd it llkePage, GllmoutHendrix, C apton, Beck, Donahue, Vaiandmorel Journey's Don'tStopBeieving ful y transcribed andthe styesofthe RolingStones, SteveHillage andC iveCarroll uncovered.
AUGUST 2OO9 GTl68
SEPTEMBER 2OO9 GI]69
STORMYMONDAY
SPEED UPNOW!
Learnto p ayBfantastlc StormyMondaysolosin the stylesof EricClapton, Stevie RayVaughan, T-Bone Waker, MickTaylor, LarryCarlton, O t l sR u s h , l i m Hie n d r iaxn d DerekTrucks. Plu5Yoursls No Disgrace byYestranscrlbedl
No matterwhatstylewe p ay, everyguitarist wantsto do it fasterLThls monthwe offera greatwayto lnstantly speed up yourplaying. Alsocheck out greattabsof Bowie's ZiggyStardust andDjango's awesome l\,4inor Swing.
TO ORDERBACKISSUES: Call08708374773or emailguirartechniques@su bscription.co.u k postage Eachbacklssuecosts(including andpacking)f UK:f6.25I Europer fZ25l Restofthe world:f8.25
85 GuitarTechnioues Ocrober 2009
PLAY BO$$A I{OVA
l B a r 2 1 1 l w o u l dr e c o m m e n du s i n gt h e f r e t t i n gh a n dt h u m b t o f r e t t h e 6 t h string's Bb note here! { B a r2 9 l C h o r de n r i c h m e n t l AB m a j o r c h o r dc a nh a v en o t e sa d d e dt o i t t o m a k ei t s o u n d r i c h e rI.n t h i s c a s et h e n i n t h ( C ) i sa d d e dt o t h e c h o r d ,a s a m p l ed e v i c et h a t m a k e si t s o u n df u ' l e r a n dm o r ei n t e r e s t i n tgh a nj u s t a
Emzt5
BFmaF$11/E Btmaplll
ATrs
B b m a i o rc h o r d . l B a r 3 1 1A b i g c h o r dt o f in g e rh e r e ,w i t h t h e g u i t a rb e i n gs o p r o m i n e n ti n t h i s k i n do f p l a y i n g y o uh a v e t o b e a c h o r dm a s t e ra n d t h e f l a t f i f t h ( A b ) i nt h e b a s s ofthis chord gives a wondefful, tense ending chord. Getting the secondfinger b a r r eo n t h e f i f t h , f o u f t ha n dt h i r d s t r i n g si s t h e b i g c h a l l e n g eh e r e !
Dm7/A
DhiAt
Dl€
b4
fil
:T +
J
i_i
1
E B D E
Cm9
F13
BmZF$
F13tC
Eaug
Eaug/C
t a
,'.f
+-_f
t--
2-
r
+J-J' te
-_-
ht:--t
'
J
I Fl
E B D E
Dm13t5/At
E G D E
BPCAD\WAYMUSIC
,/e
SChERTTER
6tc)r(trrio$( 310 worple Road Raynes Park London
sw2o 8QU
|l
www.broadwaydluslc.co.uk E'ww.thlnkmusic. co:uk
kmusic.co.uk
tt:,:" TeL o2O 8739 OO81
[email protected]
WHAT 0URRATINGS MEAN: *****
it ****
Ex.ellent ***
Goad **
l|ewAlhums
gui[ar Thelatest releases, including Album OfTheMonthandClassic Album...
Avetaqe * Bin it!
arrangements andmeaningful guitarsolos- justcheckout Easy, andFly.There's a gentlerside,too, asexperienced in HollowHills andSoldier, makingthisa positively delightful albumfrom start to finish.
EUROPE
- MINI.ALBUM LAST LOOK ATEDEN
WALTERTROUT UNSPOILED BY PROGRESS Prcvague ***** Thetitlesaysit a I,forin splte nf h < vorr< ni ornor enre
Waterstildelivers hisb ues inthemostuncompromlsing andexciting way.n ceebration oftwentyyears asa soo artlst, hehascompiled thlsfantastic a bumfrom plusbrandnewmaterial, various stages ln hlscareer, previously unreleased tracks andsomegoodold-fashloned livefavourites.The ferocity ofhlsplaying isstileverybitas energetic asanyyoungguitarslinger on theblock, ashis newestrecordng,TheyCallUsTheWorking C ass, c eady shows.The soclacommentof thelyricisa soexpertly de lvered. Payingstyleafterstyleandsoloaftersolo,thlsset w l l - . . . 1 . Le n d g
d - o ' l w i l h - . . l r u c t . r e a n d e ' l eg ) .
makingthisoneofthebestmodernbluesalbums everput put,it'sessential together. Simpiy listening foranygujtarist w h od a b b l ei snt h eg e n r ea n d s u r e y t h a t ' s a l l o f u s L andguitarwork always seemvery laidback,but it'sthi5softly-softly approach thathasalwaysmade hismusicsoaccessible and inspirational..,eff Lynne's production qualities arevery evidenton certaintracks (particularlytheWilburysinfluenced CheerDown),andthis addsanotherstrongelementto thiscatalogueof favourites. If you haveyettoincludea George Harrison albuminyourcollection thenthishasgotto betheone.
=
-
.
a goodcross section *** of oldand ea t4USlC newsongsandtherecording Tocelebrate thenewstudioalbum qualityisfantastic, sothiswill dueoutlaterintheyear, earMUSlC appealto longestablished fans hasissued thismini-album from andnewcomers alike.Robben's Europeanditt a cracker. Ever touringbandhasbeenstablefor quitea whilenowandthisis reflected in thegeneral confidence andtightne5s ofthe arrangements.There arethree bandnewtracks; Earthquake, whichispartoftheliveset,plus thetwo studiorecordings, Don't WorryAboutMeandThoughtless. Thoughtless in particular offers greatopportunities Robben to sincethereturnofguitaristJohn showoffhisguitarexpertise with Norum,thebandseemstobe guitarbreaks somefabulous that highlycharged andinspired. and justleapoutofthetrack: thisisclearly inevidence on this excellentl special release.The titletrackand U DevilUarestudiocutstobe THE WISHING TREE included onthenewalbum,but OSIARA therearealsothreelivetracks earMUSlC **** here.Andbeautifullyrecorded Asmanyofyouwillalready be theyaretoo,particularly the great aware, theWishingTree isSteve versionof LedZeppelin's Sincel've BeenLovingYou.There's alsoa videoclipofLast LookAtEdenand although thisisthekindoffodder aimedat thehardened fan,it s actually wellworthtrying.Europe isstillaverygoodbandandthey reallydeliveron a live performance.Try thisonefor size!
Rothery's bther'project,wherehe departsfrom hisi\4arillion axe dutiestopairupwithevocative vocalist Hannah Stobart.Their GEORGE HARRISON firstcollaboration wasCarnival Of TET ITROI.L Soulswaybackin 1996, anda fine Parlaphone **** albumit wastoo,butwitha wane Thisisquitepossibly thebest in interestfrom Sonythen other GeorgeHarrison collection to gettingin theway, commitments dateasit offersa mixtureofsolo ROBBEN FORD thissecond albumha5beena singles andthreeliveversions of 50ut 0N10 longtimecoming.Butit'sa real the Beatlefavourites, WhileMy Can.atdRecatds **** treat;Hannah hasa delightfully GuitarGentlyWeeps, Therearetensoulfultracks purevoiceandSteveadoptsa Something andHereComesThe,indeedon Robben's latestalbum. verydifferentapproachto his great Sun.Georqebecamea playing, Therearejusttwo studiotracks, yetit's Marillion writet asthis cross-section whiletherestwasrecorded liveat undeniably him.There's no shows.but he wasalsoan TheIndependent in SanFranciscoholdingbackor takinga backseat exceptional anduniqueslide duringtwo performances from hereasthereareloadsof guitarplayer. Hisvocaldelivery Aprillastyear.The livematerial is opportunities forspacey 88 GuiiarTeclmiques October2009
5U5AN IEDESCHI BACK TOTHT RIVTR
Verve Forcc?st *** lf you'renotfamiliar withSusan Tedeschi's musicthentheonly pointofreferenceyou reallyneed isthatshestalks thesamegeneral electric countrybluesterritoryas BonnieRaitt.Sucha comparison
mayseema littleunfair,but it's inevitable in viewofthefactthat blues-drenched vocalsover hard-hitting countrysongscapes area domainthatBonniehas maoenerown. Howeveton thisparticular CD, MsTedeschi insists thatthe blues takesa backseat:"The bluesisstill there,butthere's a lotofother stuff,too':Thatotherstuffproves to bea mixof countryballads, funkycountryandblues-fuelled pop,alltiedtogetherwithwith someexcellent vocalsand pulsingguitarThere's evena track - Butterfly- whichwasproduced bySusan's hubbieDerekTrucks, who provides slideguitaron several tunes.Otherguitarduties falltoDoyleBramhall ll,making BackToThe Rivera surefire success for loversofred hotfret worklThis isexcellent stuffon 50manytevets
- or y Gabriela course, Rodrigo RodandGabsto theirfans- have takentheworldbystormwith their2006debutCDsellingover halfa millioncopies. 11:'l1represents thelongawaited followup to thatoriginal beit-selling albumandproves to beanotherunlikely hybridof metalsensibilities unleashed in the hithertotameenvironment of guitarThis so-calledtlassical' timearound, though,thefiery duoarewearing theirinfluences moreon theirsleeves, having invitedSlipknot andTrivium! producer ColinRichardson into the mixingsuite.Oh,andthere's Testament! AlexSkolnick making a guestappearance on onetrack, too.'Nylon Metal'mayseeman improbable alloy,but Rodand Gabspullit ofin style-thisalbum isgoingto behugel
RODRIGO YGABRIETA 1111 **** Rubywarks Itt suchanunljkelysuccess story: two die hardheavymetalfans pickup a coupleofnylon-string guitarsandbringtheirinfluences to bearon themusicoftheir Mexican roots.Indoingso,of
THEROttING STONES LETITBLEED Deaad)k)tJ
WithBrian Jones frredfrom theband,the 1969sessions f^r
ct i Rlcp.lc<
llv
ho.imt.
rhp (t:rr ^f'nh:
two'forTheRoling Stones. A though Brianhadrecorded
d l o u p l e o ' r rlds . h . u n . ea b i y d L p . e dr h ep o j e r -r o ]\,4ickTaylor hadto bebroughtin.Tayor natural y thoughthe wasjustdoingsessions butwhenJagger andRichards said "See youtomorrow"the pennydropped thathewasbeing a s k etdo j o i nt h eb a n dH. l sc o n t r i b u t i oi n sc l u d eodv e r d u b s forLiveWlthN4e, y,to the Country Honkand,moreimportant h i g h y s u c c e s s fl u n ko m e nw,h i c hw e i r d l iys n g l eH,o n k y T oW n o ti n c l u d eodnt h ea l b u m l T r a ci k e sGlmmeShelterandYou Can'tAlways GetWhatyouWantshowthewaythebandwi musica lyfollowthroughout the 1970s, andtheysti1standup l^d..
^n^ ^'li F
-o
r.l
THE BEATI.ES
RARE AND UNSEEN
Wienetwod *** Thisisthefullunoffcialstoryofthe FabFour astoldbyfriends,crew,promotersand managers. lt includes comments fromstars likeGerryMarsden, PhilCollins andKen Dodd.There arealsosectionsfrom an interview withJohnLennontalkingabout theearlydaysandthesearereallyworthwhile. Annoyingly, thiswassegmented forTVandsoisin partsthatinclude 'teasers'that breakup thecontinuity. Howevetwithsome recentlydiscovered earlyfootage,it will attractmanya
JOHNIENNON & THEPI.ASTIC BAND ONO LIVT INTORONTO'69 Wienerwald** Ljkethe proverbial bus,anotherDVDturns performance upfeaturing the historicalfirst ofThePlastic OnoBandinToronto.Yoko Ono provides somebackground information and althoughthisisattributed to Lennonit also includes shortextracts fromBoDiddley, performances .Jerry LeeLewisandLittleRichard.Their from earlierin thedayprovidea goodviewofwhatthose legendary figures wereup to at thatpoint.Lennon goingto introduces hissetwiththatfamousline"We'rejust do numbers we knowtausewe'veneverplayedtogether before'iand they'reoffwithBlueSuedeShoes. EricClapton, KlausVoorman on bassanddrummerAlanWhiteprovide musical support, whilstYoko wailsanddoesherthin9.ltl a setof rock'n'roll classics andPOBoriginals, not particularly wellplayed(Eric, for instance, wasin a badplaceatthis time)butasanhistorical documentitt priceless. Notan easylistening experience, it'sfordie hardfansonly.
JAMES BROWN
LIVE ATCHASTAIN PARK
*** Cascade Therearesurprisinglyfew DVDS aroundof theGodfather of 5oul,sothisperformance ofJamesBrownandhismassive bandin the 1980s ismostwelcome. Althoughthe limitationsof livevideoisverymuchin evidence andthesoundengineer takes virtually thewholesetto get mostofthe bandin the mix, thisisstillaverypowerfulset.lfyouwantto playfunky guitaror bassthenyoureallyneedto seethis.RonLaster andTonyJonesshare theguitarcredits andtogetherthey deliverhighenergyscrubbed chordsandstabbingsolosto order,but it'sbassplayerJimmy LeeMoorewhostealsthe instrumental show.Hisslappyfunktechnique isstunning throughout but hereaches newheightsduringhissoloin - brilliant!James It'sA Man'sWorld isthestaroverall however;vocally andvisually hewasa forceto be reckoned withon-stage. October2009GuitarTechniques 89
Theorv Godmothe
llEbnajT/ / / Ebnaj7/ / / Dn7h5///lG7/// lcn7 | | / lcnT / / / lBb67 / / / Ebi / / / / / / lcnT / // | ) Abnaj7 // / 1Fn7 / Bb-' lltbrajl F 7 / / / l c n 7 | F 7/ l F m r / / / l B b T / / / l l
I canunderstandbitsofthe above, likeopeningwith a coupleof barsof the tonic and endingwith the ll-Vin lasttwo bars.Therestis a mystery. Whythesechords?Hasthis beendevelopedfrom a very basic progressionusingsomeofthe principlesl'vementionedin the openingparagraph? Couldother progressions have
yourplaying posers Post andtechnical teasers to:Theory Godmother, GuitarTechniques,30 Monmouth Street, Bath, BAl2BW;or emailmeat lstheresucha thingasa basic - yourwishismycommand! [email protected] progression thatcan be playedover life InTheSlow[ane?
Dear Theory Godmothel I havetroubleplayingalongto metronometimeswhen theyare slow-anything around40 to 60 beatsper minuteand lfrnd myself gettinghopelessly lost.lsthis a commontrait or haveI got a lot furthertogo thanlthink? Mason
songswith no problem.Butwhy can'tlwrite myown songoreven rifPlcanl improvise atall.I know - naturaland majorandminorscales harmonic- but I stillcan'timprovise. Canyou guysatGTgiveme some tips or helpat all? Coin
Ithinkallmycoleagues hereon GT wou d agreethatlearningthe bascs Believe lt or not,the answertothis ofrhemusical language isonething, is reallyquitesimple,Mason.Al you but compo5ing or playingcreatively haveto do s doublethemetronome isanother n otherwords,thework you havedonea readywll standyou speedsothat nsteadofhavlngthe metronomeclickon the malnbeat ln goodsteadfroma techncalpoint n th-"bar,you haveit on the offbeat ofveW butit soundsikeyoulack aswe | (seeExample1).lt'sexactly expeiencewith'practlcamLrsicl the same,but psycholog lhavecomeacross callyyou thlsln students haventgot'thatvastamountof lromtimeto timeandpatienceis 'empty space'toqetost n. criticawhiieyouworkonyour5kilsas Eventualy, asyou becomemore writer an mproviserand experienced with 5lowermeters, Thefactisthateveryone can you'lbeabe to reverttobne ciick improvise to a degree- ltyou put on perbafagaln, butfornow thlswil a backingtrackandyou knowthekey Keepyouon rracK. thenyouwilbe abletocomeupwith something, evenif yoLr're not happy with the result.f at the sametimeyou Dear Theory Godmothel recordwhatyoudo,youwil be ab e I would classmyselfasan to hearthe thingsthatworkandthose intermediateguitarplayerat best that don't.Graduallyyou will bu ld !p lcan certainlyplaysomedifficult a vocabuLaryand yourearwllbegln
Write/sBlock?
i
to kicklnandleadyou moretowardi the'good'endof youraccumulated vocaDUtary Thislsoftena d fficultpathto folow on yourown,however, andlwou d strongy adviseyo! to seekouta teacherwho canactasa guideand offersomeobjectivecrticismon your Makesureyoujamwith endeavours. otherfriends whoplaytheguitaras we L t willtaketime, butI'msurethat youwil frndyourselfable to break thro!9h the.reatlveblockbeforeongl
(hordConundrum Dear Theory Godmother Asa guitarplayerof manyyearsI haveto admitto still beingmystified by chordprogressions. l'vestudied the theoryfrom magazines, tuition booksandfat text booksand still remainconfused. I think I understandthe principles ofthe -vt, the l[-vt- -V-t,halfstep approaches. walk-ups,walk-downs, flat V substitutions etc,etc.Butwhen lcometo a realpiece of music, the logicbehindthe chordprogression isusually not obvioustome, Thefollowingis a progressionI usefor the fi rstsixteenbarsof a well knownstandard:
any songstructure?Thereasonfor askingthisquestionisthat lplay rhythmgultarin a smalljazzband, playingstandardswingnumbers and blues.l'mnot quite Freddie Green!standardbut we keeptrying. Oftenmanyof the numberscan havetwo chordseachbarand when raftlingalongat 150bpm,it can be quitetough. I knowitt a hugetopicwith probablyno simplestraightforward answer,but give it a go if you can. Robett You'reright n that its a hugesubject, Robertl'lsplltmy response intotwo sections:first, we'll ookat progressions. To beglnwirh, 'd lketo differentate betweena chofd'progression'a nd a I be ievethey chord'arrangement'as aretwo differentthings.The firstisa - llteraly songsbasicstructuae how the composerlefti!the melody harmonised with somestraightforward chords.JoePassremarked oncethat he wantedto hearon y the'basic changes ofa pece- unadorned rnajoTs, m norsandsevenths when hewa5learning a newtune,Hewent on to saythathedidn'twanttobetold to playsomething that hadakeady been'arranged'by someoneelse.He wantedthe down-to-earth verslon ofthe tuneandthen hell decidefor
in a ctubployingFtidoy,soturday ij ttooka 1ob and Sunday and hadta learnall different kindsof musicforpeopleto danceto.Alsatherew0solw1yso guestentertainer - threeon a Sunday andsoyouhodto go in ondsightreadthemusic.I put myselfin thedeependto gaintheexperience andlreallyenjayed it.Theanlypersonwhopulled - andthenoneof meupfornatployingwhotwaswrittenwasa guyfromTheSeekers txampletract taken theotherguyschirpedupandsaid,'llikewhatTommy's ployingbetter!'Then in the'80s,rfrom TalklngGultaraby Davldilead, p!bllshed I wasdoingsomuchstudiowark- about30dateso week andI wasteaching and by Sanotuary,ISBN: playingin bands.Sathetimebetween198A ond l986wasjust a blut.ButI'veolways 1-86074-6209. Price:lg.99 (uK), donethingsfortheexperience, whereyouhaveta sinkor swim.ll s14.S9(USA).
90 GuitalTeclmiques Ocrober2009
@dEE@0&A ExampleI
Example2
)80
Example3
Example4
I
Moslmusc lendsio cyce rhrouchfiree areas:tonc,..ubdominanl anddomnanl.belorereturnifqlo lh6 toniclo'close theprogresson. Thisresultsm whal s possiblyrhe moslcommonty usodchordsequence n weslernmlslc - rhe rhreechordlrck
himself whathewasgo ng to do withit in thewayofembelishnrents, s!bsttutlons andsoforth. Oncethese havebeeaapp led,it turn5intoan 'arranqemenf of the tunesharmony and isdeinitelylesseasytoanaiyse. So'basic'is a waysa goodp aceto slartand ReaBooksareoftengood soLfceTnateria in th 5respectasthe 'vanila'chords areobvouslygoing to be the easiestones to analyse.l've triedto out inethe d flerencebetween 'basic changeland'an arrangement flrrtherforyouln Example 2 yo! ate SoonceyouaresuTe ook ng at the originalstructure,you canbeginto makesorneheadway towards workingoutexactywhats golngon buttheonythingd say heres,doyou reallyneedto know? Mytakeon the situationisthat analysinqa tuneisalwel andgoodin the c assroom, but canactualLy be an obsfiuctionif youtrytodo it on the bandstand. YoLJr bestfriendsarealways goingto beyourears, nota rnusica sldeJuel Theorgina jazzers Ltsed to empLoy 'melodc mprovisation'that ls,they mprovised aroundthe melodyand,ln general,d dn't attendmusc co lege to hnd out why it wasthat whatthey weredoingseemedto work. Thi5hasalwaysbeenmy firstnop w th jazzstudents- istentothe
laz: chor&,re ofrenplayedas .ut down vetsroi. in hnerarnnsemenG. Her€,rulrlzed bine v€* ons ol G7 are rhowi on rhe left. with the ibbrevhred verionsonrhe r3ht.The, borh.onuin the eme basicinlormlion b!!rhoie on dre rsht are easierro phra!speedl
melody,learn it on thefretboardand BbandEbchords. Next,we beqin tryto pay aroLrnd wth the notes. a roundabolrtjourney backto the Llteraly rearrange thema bitlkea tonicchord(Eb)with a lV n Bb,the m!rsrca anagfam to seewnatyou F7transformng intoa minorchordin cancomeup withoverthechords. the penultlmate barto fit nicelyinto Rememberthat (Fm7Bb7 a sonq's melodys the anotherlV progression original!olo overtheprogression and Ebmaj)to competethelongstycel so earninq tovaryit wil nearlyalways There's mysimpeanaysis and be successfu, whereastryinqto work beiieve me,icoulddroneon about out whichscae w | 6t oversuchand, paragraphs itfor anoth-"rten to offer suaha chordoften eavesyoLtalone youa morecoaapex version but I'm andconf!sed. 5Lrspecting thatyou're nil5atthere Hoppingdownfrommy askinq'yeah, but why?'Andthe answer soapbox,let!now ookat the les n thewaysongs werewrtten yoLtve quoted. cnoroarrangement backin thelhowtuneeralUnikethe Everrthlngherelookslke wete ln the populartunesoftoday,song5back keyofEbmajorandsotheirsttwo thenwoLrldoftenpassthrough a few bars,asyou !ay,statethe tonic.Then keys asindeedwe'veseenwith thls we hlta Dm7b5whichimmediatey exarnpe:it wasjustthe wayth ngs makes rnethinkthatwe're headng to weredoneonTn PanA ly,that'sal a rninorkey(anninorI V cornprsesa Regarding thebnesizeits a lchord m7b5folowedby a seventhfolowed arrangemenfthe answer is'ye5 and bya tonc minor)and looking atthe nolbutdefrnitey more'no'tha n 'yes'l G7andthentheC m norcon6rm5this.Popuar songsmovein predetermlned TheBbmTtelsmethatwe'reon the cycles:they beginon a tonlcchord, moveagainand/sureenough,were progress moveto a subdomlnantarea, headedtowardsthe keyofAb n'rajor towardsa dominantandthen back w i t ha n o t h ei rV l , t h s t m en a m a j o r hometo the tonlc.5implypLrt,its a 'threechordtrick'(5ee key(mlnor7,dom nant7,major). Exampe 3)and Sowe'vemovedfromEbrnajor manysong5 canbe broughtbaakto to C m norto Ab majorinjustn ne thlsbasicleve ifstrippeddown. barslButwe haventinshedthisittle ELrtthere! no'master'prog ression jazzrnagicalmystery tourqu te yet thatfitsantthing Let'!faceit;if t was asanother m7,dom 7,majsequence thefewedallbeGershw ns,Porters, to low5on mmediatelywith the I Kernsor Lennonandl\y'ccartneysl
Thelnabltyto wrlteisoftento do wth comparng yoLrreffortsto those - a lo5ng battle.Thats ofthe rnasters why ts greatto wr te w th other peoplesoyou 5harethe lnpr-rt, the embafiassrnent or lndeedthe g oryl Tryit Gettogethersametime every weekwithanother bandmernber and seewhatyouaorneup wth together Lasty,Freddie 6reenhassaidthat hedidn'tp ayal ofthechordsn anarrangement, but p ayed'partia chord(muchofthe tirne Theseare threeorfour notechord5,cut down ve|slons(omittlngtonics,6fths, erc)of the onescaledfor n the manuscrlpt. Ivegivenyooa coupeotexarnp esin Example4 soyoucanseewhatlmean. Jazzgu taraccompan menti5a difficultthinqto ma5ter it takes yearsofworkto find al the little harmonlc devcesthatthelegends used. Butratherthan tryto simplt yo! shouldrealy the pfogressions, be try ng to sirnpi6/thechofds themselves; rememberthal two notes cansuggestmorethanyou'reactualy (seethlsissue's playinq Julian Lage vdeo esson) Sopres5 on;trynotto anaysethingsovermuch; Jetyourears tel youwhatsrightandyoushoud frndyourway.Good uckl
Visitwww.davidmead.net to (heck outDavid's books andsoloCD... October2009GuitarTbchniques 91
OUIDE OTU$ER ^ ,,,-:.,,:. :*..1
Lerms andsigns... Yo;cangetmoreIromC I byundersranding ouredsyto follownusical
RELATING TABTOYOURFRETBOARD o.
:i
. ' ' J ',
Ev€fy tran scfiption or lesson in GT is graded accord ng to its leve ofd fii.u ty, from Easyto A d v a n c e d . W e ' l a k o l e t y o u k n o w w h a t a s p e c to f y o u r p l a y i n qw i l l b e n € f r t b y a t t e m p t i n g a l e s s o n .
e i"r o
oio o
o
ooooo oooa ooo oo o READMUSIC
.'"
{
Moderate'Advanced
NUT& FRETBOARD HAND LABELLING H e r e a r e t h e a b b r e v a t i o n su s e d f o r e a c h f i n q e r : F r € t tn g h a n d : l , 2 , l , 4 , ( T ) P i c k i f g h a n d : p ( t h u m b ) , i ( n d e x ) ,m ( m i d d e ) ,a ( a n n u l a r ,c ( l t t l e l i n q e r )
The fretbox dlagram abov€ represents the fretboard exactly,as seen in the accompanyinq photo.This is for ease o f v i s u a l s i n g a f f e t b o a r ds c a l eo r c h o r d
fi CHORD EXAMPLE I h e d i a q r a m r e p r e s e n t st h e G c h o r d i n t h e p h o t o . T h e o 'y rbo a r o p " r r n 9 . " r d " ' i L l " d n . m b . rr d fretting finger Intervals are shown below..
Easy
Eachtranscriptionis broken down into two parts...
(WITHCAPO) CHORDEXAMPLE p aceit Theb u€linerepresents acapo forthisAchord, at fret 2. Caposchangethe fret number ordeing hele the oiginal fret s now becomesfrct 3, fret 7 no!,vfrct 5, et(.
M U S I C A LS T A V E T hfer v eh o r z o n t a li n e sf o r m u s i cn o t a t i o ns h o wn o t €p i t c h e sa n . l r h y t h m s a n da r ed i v d e db y b a r i n e r .
A majorscale
T A P P I N G& H A R M O N I C S Thel€ft box showsan A minor p e n t a t o i i sc c a l ew i t ha d d e d t a p p e dn o t e ss i g n i 6 ebdy ' T s . A b o v es h o w sa c m a j e( n ol r d ) w i t hh a r m o n i cast t h e l 2 t h f r e t .
SCALEEXAMPLE The d agram shows lhefret hand fingering fof t h e A m a j o r s c a l e( r o o t n o l e s i n b l a c k ) . T h ep h o t o 5 h o w sp a r t o f t h e s c a l eb € n g p l a y e do n t h e 4 t h s t r i n gw i t h f n g € r s l , 3 a n d 4 .
T A a A I N GU n d e r t h em usi c a ls t a v eT, a bi sa n a i d t o s h o w y o uw h e r et o p u t y o ! r n n g e r so n t h e f p r b o " ' d .l l p \ i . h o i / o , r d l , r . ( r . p r e ( e n r h an . s t r i n go s n a g u t a r t h e n u m b e ros n t h e s t r i n g s two staveand tab examples ar€fret numbers.The s h o w 4n o t e sa n d4 . h o r d s r c( c m a j o r )E, m( E m n o r )D , 7( Dd o m i n a n7t ) a n dA m 7( Am i n o r7 ) .
PICKINGVARIATIONS ANDALTERNATIVES
@@
E@!8@
Eq@
EESM
[$flrmlEf,
llte filst note is to be down p c k e d a n d t h e l a ( n o t e i st o b e
I Eachof the four fotes are to be alternatepicked (down & up-picked)very rap dly and
I Palmmutebyrestinq the€dge palmonthe ofpicking-hand! strngsnearthebr dge.
I Dragth€ pickacross the strlnqsshownwitha s ngle sweep. Oltenlsed to augmenta
I Playthe notesofthechord by strummrng across the felevani stringsin the directlonofthe
92 GuitarTeclmiques october 2009
FRETTING HAND
I@E@
@
@@
@!E!@ .
I P i c kl s t n o t e a n d h a m m e r on with freting hand for 2nd n o t e . T h e np i c k 3 r d n o t e a n d
I Rapidly alternate between the two notes indicated in b r a c k e t sw i t h h a m m e r ' o n s
I P i c k1 s t n o t e a n d s l i d e t o t h e 2 n d n o t e . T h e l a s rt w o notes show a slide with the last note be ng rc-picked.
t-.t-.t-J I L-.1
l S o u n d t h e n o t e sm a r k e d with a squareby hammering on/tappingwith the frettinq-
l X m a r k i n g rsc p r e s e nnto t e s mured by the fretting hand when struckby the picking
@
@!@
Eil
l Eendup from the 5th fret to the pitch ofthe 7th fret n o t e ,t h e np i c ki t a n d r e l e a s e
l P i c k t h e n o t ea n dt h e nb e n d uPaquartertone { av e r ys m a l l amount).Sometimesrefered
lThe fretting handvibrates t h e n o t eb y s m a l l b e n du p s d n dr e l e a s eTsh. el a s te x a m p l e
BENDING ANDVIBRATO
@
@
: - j j =
;
an_ rr
I Fretthe nart note (here, t h e 5 t h f r e t ) a n db e n du p t o the pitch of the bracketed note,beforereleasinq.
:
-
I Bendup to the pitch shown in the blackets, then re-pick the note while holding the bent note at the new pitch.
HARMONICS
E@
@
@
^ --d;I P i c kt h e n o t e w h i l € l i g h t l y touchingthe stringdirecdy ovef the frer indicated. A
I Fretthe note as shown, t h e nl i g h t l yp l a c et h e i n d e x frngerover'x'fret (AH'x')and p i c k( w i t ha p i c k ,p o r a ) .
I Fret the note as shown, b u t d i g i n t o t h e s t r i n gw i t h t h e s i d eo f t h e t h u m b a s y o ! sound it with the pick.
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 l 7 ) f o ra h a r m o n i c .
(AKAWHAMMYBAR) VIBRATOARM
l A p r e v i o u s lsyo u n d e dn o t e is touchedabovethe fret markedTCH(egTCH9) to
CAPO
IE!@T
@
@I
@
E@
lTh€ note is picked, then the w h a m m y b d r i s r a i s e da n d lowered to the pitches shown
l S c o o p - d e p r e stsh e b a r j u s t beforcstrikingthe note and release. Doop- lowerthe bar slightlyafter pickingnote.
t N o t es u s t a i n e rdh, e nr h ev i b is depf€ssedto slack.Square bra.ketusedif a lonq held note h a sn e wa r l i c u l a t i oanp p l i e d .
l 5 0 ! n d t h e n o t ea n d ' R i c k ' t h e t r e m o l ob a rw i t h p i c k i n q h a n ds o i t ' q u i v e r sRl e s u hisn a 'gargling soundl
I A . a p o c r e a t eas n e wn u t , s ot h e a b o v ee x a m p l eh a st h e guitar's'literal'5th fret now as
@@
@ffi
OTHERTECHNIQUES
@
@
l T h e e d g 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 s the lowerstringsto producea
lTurn volumecontroloff, s o u n dn o t e ( s ) a ntdh e nt u r n v o l u pf o r a s m o o t hf a d ei n . Called'violinlnsi
l T h e n u m b € ra s f t e rt h e notesarc the finge15required t o p l a yt h e f r e tn u m b e 6i n
I F n q e r p i c k i nrge q u i r e m e n t s l T a p ( h a m m eor n ) w i t ha are shownat the bottom of frngeo r f t h e p i c k i n sh a n d onto the fret markedwith a c i r c l eU. s u a l lw y ith'i'or'ml
October2009GuitaxTecludoues 93
Guitaflechntqu B A C KI S S U EE N Q U I R I E S P l € a s € c a l li l S 1l 3 ' l t l l i , L l l ''r
.1,,'rL'il:iitrL..r'{i'r,11{r.ir.l
SUBSCRIPTIONS P h o n eo u r u K h o t l i n e o n i r i : : . 1 i r i l .rl| , ' . 1,, ln.'r n www.musicradar.
Editor: ArlEdiror Produ.tion Fditor
seniorMusicEditor
'
coNrHrslrrorl9
S€niorEditor CreariveDir€.ror ,
i
5€niorAitEditor' EdirorialDne.tor ADVERTISINC seniorAd Manag.r t ., A . , o u n r S a l . eM a n . 9 € ' 5 Classi6edAds LondonsaresDir€.rorii
r
campaign Marketinq Man.gerl PromotionrExe(!tive:i
Cir(ulation Trad€Marketinq Dir€.ror: PRINT&PROD1]CIION Produ.iionco ordinaror HeadofProdu.rion: LlcEr,ls Nc Int€rnational Li.ensinq Oiredor PI]3LLSI]]NL C MITED FI]TIJRE .r P u b l i s h i n gD i r e . r o r i Asso.iatePublish€r chiefoperaring Of6.er €hiefExe(urave.
,-"1",..:l:llj:::l:::::. EE -,-
