Guitar Techniques - October 2014 UK.pdf

the finest guitar lessons on the planet 235 OCTOBER 2014

20 YEARS OF THE FINEST GUITAR TUITION

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world’s best tab

60Licks

NEW on video

ChopS SHOP! Hone your technique Part 1: how to join up shapes using legato

STRAT

60 Years, 60 Players, 60 Licks  One world-changing guitar! 

PLay like...

NEIL YOUNG

Learn those dirty riffs and runs

JAMES TAYLOR

His fingerpicking fully explained

BB KING

Licks from the epic gig in Zaire, 1974

MOODY BLUES

Their early R&B style explored

TRANSCRIBED

Gary Moore COLD DAY IN HELL One of Gary’s fieriest tracks tabbed, with audio and full backing track!

ON VIDEO Lesson with blues icon

BERNIE MARSDEN

ISSUE 235 octoBER 2014

Just some of your regular GT technique experts… Shaun Baxter

One of the UK’s most respected music educators, Shaun has taught many who are now top tutors. His album, Jazz Metal, was hailed as a milestone.

paul bielatowicz

One of our greatest rock guitarists, Paul plays with prog legends Carl Palmer and Neal Morse, and is a most welcome regular contributor to GT.

jon bishop

Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease!

Phil Capone

Phil is a great guitarist who specialises in blues and jazz. He teaches at ICMP in London, writes for GT and Total Guitar and has published 10 top tuition books.

charlie griffiths

Guitar Institute tutor Charlie first came to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s top rock, metal and fusion guitarists.

phil hilborne

The UK’s original magazine guitar tutor, Phil is something of a legend. A great player, he’s about to start a sevenmonth stint on We Will Rock You.

pat heath

BIMM Brighton lecturer, ESP product demonstrator and all-round busy musician Pat takes over from Terry Lewis on 30-Minute Lickbag. Welcome, Pat!

bridget mermikides

Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.

Welcome

WHAT CAN i say about Leo Fender’s 1954 creation that has not been said before? Well, stop me if you’ve heard this one, but… My first Strat was white, small peghead, slab rosewood ’board. That marked it out as 1959-1962. The body was alder, heavily contoured, and its celluloid pickguard was green, which signalled a similar era. But it had a 1967 serial number on an F-stamped neck plate. Curious. Curiouser, the pickups were a different vintage to both, so my Fender Stratocaster was made of potentially three different guitars. What’s more, it had been used as a leftie, played upside down! The nut had been turned around, and it had a second strap button on the lower horn. Now, I could never prove anything, but I bought it the year after a certain upside-down-Strat-playing legend (and known ‘tinkerer’) died. And at that time, how many such Strat players were there, or could afford to buy three and make ‘bitsers’ out of the parts? As I say, I have no proof, but the evidence is compelling. Sadly, mine was a bit of a dog; the neck wouldn’t stay straight, as if the truss rod was loosening; I adjusted it to its limit and still it kept bowing. The pickups were weedy, too, and although it looked great (as you can see

in the hands of that skinny Woodstock reject below), I got rid of it and bought a Les Paul. Since then, I’ve owned Strats old and new. On stage, they just work for me; and although I don’t use it live much any more, I’ve had my blue ’63 for over 20 years; it’s appeared on the cover of GT and Guitarist and, unlike the ‘JH’ one, is a brilliant instrument. Got any great Strat stories to share? I’d love to hear them! This month’s big Strat feature shows just how versatile the model has been over its 60-year lifespan. If you can manage all 60 licks, video yourself, post it on your Facebook page, send me a link and we’ll share it on social media and on musicradar.com. Lastly, check out our great offer on page 8 – get a free Apple Newsstand version of GT and start enjoying all the interactive features – such as the audio synched with animated tab – on your iOS device. GT seems made for the tablet format, so please do try it out. And I’ll see you next month…

Neville Marten, Editor [email protected]

Don’t miss our amazing digital edition Guitar Techniques digital version for iPad, is now even better!

jacob quistgaard

Royal Academy trained, Quist is a superb player who can turn his hand to any number of styles and topics. Look out for his album Trigger in 2014!

Stuart Ryan

Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs throughout the UK. His latest book/CD ‘The Tradition’ is available now.

andy saphir

A top teacher at the Guitar Institute (ICMP), Andy is a phenomenal player in a host of styles. He mixes just the right degree of flash with consummate taste.

tristan seume

One of ACM Guildford’s leading tutors Tristan is also mega busy on the folk circuit playing with Jackie Oates. His brand-new CD, Middle Child, is out now!

john wheatcroft

A truly phenomenal guitarist, John heads up the guitar facility at Tech Music Schools in London. He’s a master at all styles, but a legend in Gypsy Jazz.

Tap the links

Finding your way around the magazine is easy. Tapping the feature titles on the cover or the contents page, takes you straight to the relevant articles. Any web and email links in the text are tappable, too!

Animated tab & audio

Most songs and lessons have the audio built in, with a moving cursor showing you exactly where you are in the music. Simply tap the ‘play’ button then you can fastforward or scroll back at will.

Play the videos

Certain of the articles have accompanying videos full of useful insight and additional information. Once again, tap the play buttons to enjoy video masterclasses on your iPad or smartphone.

PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio).

October 2014 GuitarTechniques 3

• C O N T E N T S • octo B E R 2 0 1 4 •

Learning Zone Lessons Introduction

52

30-minute lickbag

53

Music editor Jason Sidwell introduces this month’s lessons with more words of wisdom.

BIMM’s Pat Heath has six more licks for you at easy, intermediate and advanced levels.

blues

56

rock

60

Creative Rock

70

chop shop

76

British R&B

78

jazz

82

Acoustic

88

music reading

92

John Wheatcroft travels back in time to Zaire in 1974, to explore the classic playing of BB King. Martin Cooper checks out the many-faceted rock stylings of Neil Young.

Shaun Baxter continues his piece on creating harmony-guitar parts in the neo-classical style. Andy Saphir kicks off his new series of articles focusing on technique fundamentals, with a look at legato and the Minor Pentatonic.

Phil Capone turns his attention to The Moody Blues, the metamorphosising R&B band from Brum who became prog’s spiritual fathers.

COVER FEATURE

Pete Callard celebrates the 75th Anniversary of the highly influential Blue Note label.

60 Strat Licks 60 Years, 60 Players, 60 Licks 16

Stuart Ryan on the unorthodox fingerstyle of US songwriting legend, James Taylor.

Jon Bishop celebrates the Stratocaster’s 60th Anniversary with a mammoth selection of licks from the greatest Strat players ever.

FEATURES

Welcome 5

Strats… he’s had a few… and here again, is one to mention. Nev applauds Fender’s finest.

36

Steve Allsworth transcribes this classy track from the late blues-rock great, featuring some of his finest phrasing and tastiest chops.

SPECIAL feature chops shop Brand-new Series

Theory Godmother

7

Answers to your musical and theoretical issues.

talkback

9

Tell us your views…≈ we want to know!

Intro

10

Subscriptions

63

back issues

94

Session and playing insight from Mitch Dalton and Carl Verheyen, plus news and regulars.

76

Andy Saphir’s new series focuses on the fundamentals to jumpstart your technique. This issue: Using legato with Minor Pentatonic.

Save time and money – get GT delivered! Missed one? See how you can get it – here!

Albums

transcriptIon #2 Erik Satie Gnossienne No.2

VIDEO MASTERCLASS

REGULAR FEATURES

transcriptIon #1 gary moore Cold Day In Hell

Charlie Griffiths continues his 14-part series on reading music notation. This issue: Accidentals.

95

New guitar CDs and DVDs reviewed and rated.

TAB GUIDE

48

Bridget Mermikides takes another look at the work of the innovative French pianist and composer, Erik Satie.

96

Our terms and signs explained.

Next Month

98

Sir Paul, Django Reinhardt, Clapton, Kings Of Leon, Spencer Davis Group and more…

bernie marsden Part 2

64

This issue, watch and learn how Bernie Marsden approaches a major blues-style solo.


Q&A

Theory Godmother

Post your playing posers and technical teasers to: Theory Godmother, Guitar Techniques, Quay House, The Ambury, Bath, BA1 1UA or email [email protected]. Every wish is your Godmother’s command! On The Turn Dear Theory Godmother I’ve been concentrating on playing Pentatonic blues recently, and can usually come up with something half-decent, given a following wind and the correct planetary alignment. But the one area that still needs work is the turnaround. When I hear players like Clapton, SRV and Robben Ford play, they sound right on the money, but when I reach that part in a blues I sound meandering and a little bit lost. I wonder if you have any tips for how I could learn to focus my efforts a bit more, and deliver some turnaround licks that really sound positive? Jerry In a turnaround of a 12-bar blues the chord changes come relatively thick and fast compared to the rest of the sequence (see Ex 1). So if you’re using the straight Minor Pentatonic scale over the top, it probably isn’t quite enough to do the same job as the players you mention. The best way to sound positive and on topic when playing over any arrangement is to quote chord tones. This way, you tie the melody in to the harmony so that everything appears connected; the problem with the Minor Pentatonic is that it doesn’t quite go far enough, as it doesn’t have quite enough notes in it. Let’s look at a blues in A; over this, you’d be using the A Minor Pentatonic scale (see Ex 2), containing the notes: A C D E G. This represents the root, b3rd, 4th, 5th and b7th of A. If we look at the A7 chord you’d be using these notes over, we find the following: A7 = A C# E G 1 3 5 b7 If you compare scale with chord, you can see straight away that we can do a fairly good job of outlining the chord in the melody line, because we’ve got a lot of tones available which are common to both. Moving on to the next chord, which would be D7, we’re again not too badly off in terms of reference points: D7 = D F# A C. But when we reach the V chord, we’re a little short: E7 = E G# B D. Only two notes in A Minor Pentatonic are present – D and E – and these are just root and b7th, so the opportunity to outline the chord in the melody

set in stone here? Or are we expected to amend and adapt chord fingerings to make changing between them as smooth as possible? Don

EXAMPLES 1 - 5 GUITAR TECHNIQUES MAGAZINE 2 3 4 Theory Godmother - David Mead Ex 1 1 Ex

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is all but lost. Without the ability to quote from the harmony in your solo, the chances are that things will sound random and directionless. This is why players like Robben Ford will expand the Minor Pentatonic to include more chord tones so that all chords can be represented in their melodic lines. In order for you to hear what I mean, I’ve written out a blues turnaround melody that uses only the chord tones and you should be able to hear that it sounds far more relevant (Ex 3). Incidentally, if you think that Ex 3 sounds like a bass line you’d be right – now you know what they’ve been up to all these years! Of course, we wouldn’t just use chord tones, but they are essential aural landmarks that tell the audience where you are in the sequence and a lot about where you’re headed, too. I suggest that you begin by expanding your scale vocabulary to include the Major Pentatonic as well (Ex 4: A B C#E F#). This will help fill in a few blanks and if you keep playing the arpeggios of the chords you should be focusing on, you’ll get the sound in your head and

Star LETTER PRIZE

Blackstar are giving our star TG letter one of their brilliant pedals each month. Visit www.blackstaramps. co.uk and tell us which you’d like, should your letter be the lucky one.

quoting from them should begin to happen naturally.

Digital Dilemma

Dear Theory Godmother I hope you won’t mind a question from a fumble-fingered beginner with fingers like a pack of disobedient chipolatas! It regards the fingering for chords; in most music books, the fingering for Em, E, C, G and so on is pretty consistent, but occasionally, I’ve come across songs that recommend you play something slightly different. For instance, take G: sometimes it’s shown like ‘Exhibit A’, my rather crude enclosed drawing, but the other day I saw it shown as ‘Exhibit B’. Is anything

I’ve reproduced the chords you drew in Ex 5. Both are fully working versions of G major; the only difference is that the second one has the D on the second string instead of an open B (G B D F). So we end up with similar notes, differently distributed, that’s all. You are right in thinking that the fingering for chords isn’t necessarily set in stone and may alter slightly depending on the context – where you’ve just come from and where you’re going to next. So feel free to adopt and adapt as necessary!

Alternative Tuning Trouble Dear Theory Godmother

I’ve recently been retuning my acoustic guitar to some alternative tunings and have come across a problem. The book I’m using has an open G tuning as D G D G B D, but surely this is some kind of D tuning? Why not tune the bass string to G and the A to B? I think it’s possible that I’m missing the obvious here, but to me, it doesn’t make sense as it stands. Mike The reason why this tuning is referred to as an open G is because all the notes within the basic G major triad are present (G B D); it’s just that the G bass note is on the fifth string and the open sixth string is the 5th (D). The alternative you suggest would involve tuning the bass string up a b3rd to G, putting additional tension in the string and on the guitar neck. Moving the A to B is a little less dramatic, but it’s still going the wrong way in terms of guitar and string health. Most tunings involve dropping the strings in pitch, as reducing the tension is potentially less harmful to both the guitar neck and string life. If you try the open G suggested in your book, I’m sure you’ll find that it sounds more like G than it does D in context, and that’s really all that matters! So treat the fifth string as your G bass note, and hear how lovely any D chord sounds when you play it with that rich and sonorous open D bass note.


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Write to: Guitar Techniques, Quay House, The Ambury, Bath, BA1 1UA. Email: [email protected] using the header ‘Talkback’. Star LEtter Write one and win a prize! SO MUCH TO LEARN, SO LITTLE TIME

BONKERS RATINGS? What am I doing wrong? I played the ‘moderate advanced’ tunes Welcome To The Jungle and Brent Mason soloing with no problems at all, but am finding bar 31 of ‘bluesy fusion’ style from GT233 impossible – and this is only rated ‘moderate’. Your rating system for a tune’s difficulty is totally duff. Get it right GT. Apart from that, brilliant mag. Jimmy Oliver Any ratings system, ours included, is fraught with difficulties; we know that. The tutor supplies a rating to us that he or she thinks is appropriate for the piece. But very often what’s ‘moderate’ to a fabulous musician (ie the tutor) is ‘advanced’ for others (ie many readers – or me!). So we usually tweak whatever rating they have given, in order that there’s a degree of consistency across the magazine and that ‘moderate’ does mean moderate to the average reader. And even saying that is daft – because what’s average? Also, you highlight a point that certain styles are more tricky to certain players – one could argue that straight shredding contains less trickiness than a Robben Ford piece with all its harmonic complexity, slippery technique and so on. What’s more, something that is indeed moderate overall, might have one bar that’s a pig to play; but should that mean we rate the whole thing as advanced? It’s a balance thing: we have to give some idea, hence there being ratings in the first place, but it’s not that simple – we’ll try to do better.

KEEP TAKING THE TABLETS! I wanted to send my thanks from the other side of the globe to you and the whole GT team for your excellent magazine. I look forward to its arrival on my iPad every month. I’m a middle-aged wannabe who first got bitten by the guitar bug while sitting in a caravan parked in the back yard of an Aunt’s house in

Just wanted to say a huge thankyou to the team at Guitar Techniques for the excellent efforts they make to bring the best guitar instructional magazine on the market to our hands. I have been a guitarist for 27 years and (try to) play many different styles from the blues of BB King, the country of Chet Atkins, the jazz of Joe Pass and classical of Segovia. Your magazine has something to grab me each month and the CD has really been of use throughout the years to learn and re-learn these styles. Your lessons have made me a better guitarist, a better person and put food on the table from when I have gigs using the skills I have learnt. Loving the latest edition with Granada, the fusion of Clapton and Ford and the background story of Welcome To The Jungle. Only one grumble: that there isn’t enough time in the month for me to learn them all before you bring another issue out and I’m hooked again! Thank you very much and long may you reign as ‘Kings Of The Jungle’. James Taylor (not the famous one), Kent

STAR LETTER PRIZE Our friends at Sound Technology are donating a fab DigiTech HardWire pedal to our Star Letter writer every month. Melbourne in 1973. My cousin, Chris, kept me transfixed as he played song after song by ear on a beautiful sky-blue Strat, and made it all seem so damn easy. Well, while Chris went on to play with some well-known (at least in Australia) artists, including as lead guitarist in Paul Kelly And The Dots, unfortunately, whatever musical genius gene he inherited didn’t get as far as my branch of the family tree. I tell people that I’m improving, though; I used to be atrocious, now I’m just really bad and one day I hope to be able to brag that I’m not very good. Still, I’ll keep plugging away and hopefully, with the hints I have picked up since becoming an online subscriber, I might actually exceed expectations. Greg Paull

MORE TABLETS I have read with interest your correspondent from New York, Mr Areana, and the diplomatic response

Everything from Segovia to Guns N’ Roses is what separates GT

from your writer. I feel that what our American friend needs to make GT not good, but the best, is to subscribe to the digital version of the magazine. I swapped to the new format a few months ago, and although I miss the monthly drop of the mag onto the doormat, I can’t help thinking that the printed version is on its last legs after the improvements that have been made to the digital edition. It’s as if the format was made for digital media, with instant access to great videos and sound clips making it impossible not to pick up and play the magazine for hours. So big thanks to your team for the hard work, and getting this guitarist out of the ‘ruts’ and playing quality music again. Matt Smith Thanks, Matt. I do hope the printed version is not on its last legs, because many readers still prefer the physical thing (and we like our

jobs!). Some also tell us that they have music rooms set up with amps, CD player or computer, music stand, headphones and all the paraphernalia required for a good practice den. Those readers hate the thought of the physical GT disappearing and we get strongly worded letters about the CD, should anyone suspect it’s about to be dropped in favour of some other medium – there was a veritable flood of them when Guitarist relinquished its covermount. However, that said, I do agree that the tablet is the perfect environment for GT, as the screens are clear, the audio is instant, and the whole shebang is portable. Actually, we are looking at some software that could improve the iPad version further (slowing down, looping sections etc), and could potentially release the digital edition onto other platforms – Android etc – and even make it useable on desktop browsers. If it happens, it’s still a way off yet, but the digital edition does allow these kinds of upgrades as and when they become available/viable for us. In the meantime, I hope those that prefer paper stick with us, and those that fancy trying something new give the iPad edition a go.


• G u i t a r T e c h n i q u e s • O CT O B ER 2 0 1 4 •

Jam Tracks Tips

Triple threat: Joe Bonamassa, Slash and Paul Gilbert are back

Use these tips to navigate our bonus backing tracks. 1) 12-bar Blues (C) Here we have a basic 12-bar blues progression in the key of C. Your basic C Minor Pentatonic scale will work great (C Eb F G Bb), but you can of course also treat each chord as a dominant 7th and use Mixolydian mode (C mixo, F mixo and G mixo respectively for the I, IV and V chord of the blues progression). Alternatively, try simple mixing in key chord tones – the arpeggios: C7 (C E G Bb), F7 (F A C Eb) and G7 (G B D F).

Triple Whammy It’s a feast for guitar lovers, as Joe Bonamassa, Slash and Paul Gilbert all have new solo records out this month

New guitar records are tumbling all around us like Autumn leaves, as three of the world’s top players release their new albums in September. First up, and out now, is Paul Gilbert’s new solo record, Stone Pushing Uphill Man. The Mr Big guitarist’s 12th solo offering is a mix of inspiring covers and originals; the album is all-instrumental, save for the gospelflavoured title track, and is as diverse as it is packed with lead-guitar thrills. Talking about his cover of Elton John’s Goodbye Yellow Brick Road, for example, Gilbert told MusicRadar: “I really felt that, for my purposes, the song needed some kind of guitar solo. I wrote a part that’s sort of a Van Halen-y version at the end of Bold As Love by Hendrix, and I just

played as angrily as I could over it while still navigating through the chord changes.” Meanwhile, Slash is back on 15 September with his second solo album featuring Myles Kennedy And The Conspirators. World On Fire finds the Cat In The Hat on blistering form, and he told Guitarist: “The creative flow of making the record was nothing short of remarkable. We focused for the entire recording and it was almost effortless.” See issue 259 of Total Guitar for a full interview about the making of the record. Finally, Joe Bonamassa’s latest, Different Shades Of Blue (out 23 September) is packed with edge-ofthe-seat blues playing, and even features Strat sounds among Joe’s usual retinue of to-die-for Gibsons – the recording session even featured four Dumbles! He told Guitarist magazine: “I’ve always been that maverick guy who’s got a very liberal view of what blues is… And that’s the way I’ve always played, writing some stuff that’s in the genre, some stuff that’s not in the genre, and some stuff in-between.”

Short But Sweet Perhaps you’re a player with smaller hands, a youngster struggling to get to grips with the physicality of full-size guitars, or maybe you’re a guitarist who loves the more compact feel of smaller models like the Mustang and Jaguar? Fender’s new Short Scale additions to the Modern Player

10 GuitarTechniques October 2014

series should cater for all of these needs and more. The Short Scale Stratocaster and Telecaster both feature 20-fret 610mm (24-inch) necks, bolted to downsized alder bodies. The guitars also feature Guild ‘Anti-Hum’ humbucking pickups in the Strat’s bridge and the Tele’s neck positions. There’s also a Short Scale Jazz Bass model with a 30-inch scale, too. See www.fender.com for more info.

2) Groove Time (Am) The progression for this track is Am – D9 – Fmaj7 – E7. You can use a variety of modes here, but your basic A Minor Pentatonic scale is still great (A C D E G). Dorian mode (A B C D E F# G) works perfectly over the Am and D9 chords, whereas you’d want to switch to A Aeolian – ie the minor scale – for the Fmaj7 (A B C D E F G). Finally, A Harmonic Minor is a great way of negotiating the E7 chords (A B C D E F G#). 3) Spanish Flavour (C# Phrygian) Here’s a Spanish-sounding track, which is perfect for diving into the 3rd of the major scale modes, namely Phrygian (C# Phrygian consists of C# D E F# G# A B). Using C# Minor Pentatonic (C# E F# G# B) and C# Blues scale (C# E F# G G# B) are also great options. Try playing around with spelling out a C# minor arpeggio (C# E G#) and a D major arpeggio (D F# A) for maximum ‘Phrygian effect’. 4) 7/8 Groove (Em/Gm) This fairly challenging 7/8 groove track shifts continuously between E minor and G minor. The E minor progression is Em7 to A7, and therefore E Dorian mode (E F# G A B C# D) is a top scale option, as well as E Minor Pentatonic (E G A B D). The G minor progression is also of a ‘Dorian’ nature, with the chords being Gm7 to C9. G Dorian mode (G A Bb C D E F) and G Minor Pentatonic (G Bb C D F) are the winners here. Enjoy. Jam tracks by Jacob Quistgaard

off the record

before. Even a famous artist like Ángel Romero has to struggle sometimes, but I was inspired by his confidence and relaxed temperament. There is also confidence that comes from realising your strengths. On my very first session with composer Graeme Revell, I was called into the studio to play on a new Brandon Lee film called The Crow. There was a gnarly scene in the movie where the Crow character is playing a heavy-metal guitar solo on top of a building and throws the guitar over the edge at the end. I noticed the music on the chart and the action on the screen didn’t really match up: his fingers were wailing, but the music Graeme had written was a slow, soulful ballad. After playing the part I told the composer, “With all due respect, I can improvise something vibier for this scene.” I pointed out that the on-screen hands of the actor were blazing up the neck, yet the written part called for whole notes. Pulling out a ‘stunt guitar’ with a Floyd Rose bridge, I played a long run followed by a huge dive bomb as he heaves the guitar from the rooftop. After, I got paid for the session as well as a very generous ‘ghost writer’ fee. When you’re first starting out as a professional musician you don’t have the nerve to suggest something like that to a well-known film composer, but with experience, one’s confidence grows. At some point, confidence kicks in and you realise: “I know more about the guitar’s strengths and limitations than anyone here. I’m the one with tens of thousands of hours behind these six strings.” Carry this confidence over to the stage – it will kill your stage fright dead! Realise that you’re there for a reason and, even when critical eyes stare at you, nobody in the room can play it like you. You’re rehearsed and ready. And there’s only one you. Visit www.carlverheyen.com for more about Carl and his UK tour in Sep/Oct.

Session ace and Supertramp guitarist Carl Verheyen offers well-chosen words of wisdom on life as a guitarist. This month: it’s all about confidence. Before I became active as a solo artist, I was a studio musician. On the road, I still get asked about my years of playing in the LA studios and what it took to play with confidence every day. Real confidence only comes with experience. And real-world work experience can never be learned in the practice room or the rehearsal studio. In my early 20s, I spent months teaching myself how to sight-read on the guitar in my apartment bedroom. But I never really ‘owned it’ until I’d done a handful of TV and movie sessions involving some intense reading along with the pressure of 30 to 105 orchestral players in the room. Guitarists who can’t cut it don’t get called back; there are no second chances. That’s pressure! Once, on a feature-film session, I pulled up a chart with 19 bars of solo nylon-string guitar before the orchestra’s entrance. It was very difficult ‘stacks of notes’ chord reading. During take after take, as I got close to bar 19, I’d see the 56 string players lift their bows out of the corner of my eye. Invariably, I’d get freaked out and blow it. I started to sweat a bit, but soon realised this would be hard for any guitar player! You need to breathe deep in these situations and remind yourself, “Wait a minute, here! I’m the expert in the room on this instrument, and playing this intro is something most classical players would practise for weeks before performing.“ A week later, I played on a movie called The Milagro Beanfield War, with a beautiful score by Dave Grusin. They’d hired Ángel Romero, one of the world’s finest

As I got close to bar 19, I’d see the 56 string players lift their bows… classical players, to do the Spanish-style acoustic stuff. I remember the other guitarists on the session (Lee Ritenour and Mitch Holder) and I sat in front of him to watch him do his parts, but he kindly asked us to leave. Even the heaviest cats get nervous sometimes! We all went into the booth and saw him work through take after take of this very difficult music, just like I had done the week

PHIL HILBORNE’S ONE-MINUTE LICK Chromatic Dominant I-V Blues Lick GUITAR TECHNIQUES MAGAZINE 2 3 5

Phrases using chromatic ideas are ©»¡£∞ A¡ 7 ¡ popular in a multitude of styles. This # # n œ # ™œ œ£ œ & # 44 idea is very simple in concept, in that 3 the chromatic notes are ‘filling in the gaps’ between the stable chord tones. E B 12 Nearly all the notes in this idea can be G 12 13 14 D A seen as being common extensions of E 1 a Dominant 9th chord fingering. For D7 instance, in bar 1 we see the b7 (G) # # œ nœ heading to the root (A) via the maj7 & # nœ #œ œ (G#); this is followed by the 9th (B), the 3 3 3rd (C#) via the b3 (C), and finally the 5th (E) to the 6th/13th (F#) via the b13 EB 9 10 (F). If you analyse the notes in relation GD 10 11 12 A E to the following D7 chord you will see 3 that it is the pretty much the same idea repeated – only here using the extensions of a D9 chord. Keep it as metrical as possible – it is easy to rush this type of legato lick. Also, try it with a variety of sounds – it will work well played dirty, clean or anything in between. Licks

ONE MINUTE LICK - by Phil Hilborne CHROMATIC DOMINANT 1 IV BLUES LICK

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like this were common in Jimi Hendrix’s playing – especially in the latter period of his career. Please note that my lick is deliberately exercise-like, so aim for more variety in your versions – they will sound a lot better for it. October 2014 GuitarTechniques 11

Mitch Dalton’s Ace Academy

You may recall our hero has been recording ‘folkie’ tracks to be mimed by actresses for an upcoming episode of Midsomer Murders. He’s also appeared on camera as the village’s ‘wandering minstrel’, learnt a complicated bouzouki song by folk superstar Seth Lakeman (on guitar!) and today is hired as ‘consultant’. What could possibly go wrong?

Scene 4. June 6th. Interior. Village Hall. 10.00am.

EMILE HOLBA

Unfortunately, the wrong village hall. I’ve returned to (real village) Sydenham (where we filmed last time). Schoolboy error. ‘Lower Crosby’ (fictional village) has vanished, as if it had never been. Sydenham has been restored to its bucolic glory. Turns out that I should be in Nettlebed, apparently. Nettlebed is 15 miles away. I burn rubber and arrive late, but unnoticed. I hang about all morning drinking coffee and chatting to Jim (the producer) while waiting for Lucie’s scene and my indispensable contribution to its authenticity (actress Lucie is miming to a piece I played, Midsomer Ballad). I look forward to a reprise of BMW limo-ness and lunch. This is the life. Except

that Renny (the director) has decided that our pristine recording of the Midsomer Ballad is too long and must be rerecorded. Now. On location. During the lunch hour. “I know I told you that you were here today only as a consultant, but have you brought your guitars?” Indeed I have. I’m not that dim and I got the hang of this filming malarkey a long time ago. We record a short version of Seth’s ‘bouzouki’ tune. We eat an even shorter lunch. We return. The new recording is promptly binned and an edited version of the original studio mix is substituted. They film Lucie’s scene a lot. Her dainty hands mimic my playing very well. She can play a bit, so it helps. Not that it matters. No male under the age of 90 will be watching her hands.

I know I told you that you were here today only as a consultant, but have you brought your guitars? 12 GuitarTechniques October 2014

My job seems to consist entirely of telling her that she’s doing brilliantly in between every take. Which she is. Finally, I seem to have discovered my vocation in life. I think I could do this for a living. Amazingly, after many takes, Lucie tires, forgets the odd line or two and exudes less on-screen energy. The girl is human after all. I am promptly struck off as a consultant. The day ends. I drive home. Or I mime driving home to a click track while two cameras disguised as cars film me along a track camouflaged as the M40. I can’t tell any more. Mitch Dalton has enjoyed a varied career as a studio guitarist. His credits include dates with jazz artists such as Herbie Hancock and Melody Gardot, Pop hits with Robbie Williams, Monty Python and Van Morrison, The James Bond movies, TV shows and commercials. Many of his performances have been deemed adequate. Meet Mitch Dalton And The Studio Kings is available on Regius Records.

Talented rock player Ace, of Skunk Anansie fame, will be launching his Academy for guitarists aged from 12 to 16 at London’s Institute this month. The three-level programme consists of one-hour lessons, structured around the school calendar, with a performance element, and begins on 27 September. See www.icmp.co.uk for more.

Singlecut Above

We realise this issue is a little Stratocaster-heavy, thanks to our main licks feature celebrating the model’s 60th anniversary, so to redress the balance, here’s a treat for Les Paul lovers. Dave Hunter’s latest book, The Gibson Les Paul, is a thoroughly researched and entertaining tribute to the Strat’s main rival, tracing the guitar’s origins and focusing on the guitar stars who have made the Les Paul such a classic. The book is £25, published by Voyageur Press; see www.voyageurpress.com for info.

Play Guitar Now! Guitar Soloing

A reminder that the latest tuition book and DVD from the makers of this very magazine, Play Guitar Now! Guitar Soloing, is on sale now, priced £6.99. A must-watch for any player grappling with the intricacies of lead-guitar playing, this book-and-video will help you mastering the fundamentals and learning the licks of famous guitar players in no time. More info at www.myfavouritemagazines.com.

. . . th i w s d n co e S 60 Bachman-Turner Overdrive’s Randy Bachman

A minute’s enough time to find out what makes a great guitarist tick. Before he jumped in his limo for the airport, we grabbed a quick chat and chucked a dozen questions at Randy.

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GT: Who was your first influence to play the guitar? RB: Chet Atkins, whom I discovered by listening to Lenny Breau. I couldn’t believe all those fingerpicking parts could be played at once. GT: What was the first guitar you really lusted after? RB: A Gretsch Chet Atkins 6120, which is what Lenny Breau, Chet and Duane Eddy played. GT: What was the best gig you ever did? RB: Seattle Pop Festival, 1969. I was with The Guess Who and the three-day line-up was mindboggling. Led Zep, Bo Diddley, The Byrds, Ike & Tina Turner, Chuck Berry, Chicago Transit Authority, Santana, 10 Years After, Flying Burrito Brothers, Tim Buckley, Youngbloods, Charles Lloyd, Albert Collins, Lonnie Mack, Spirit, Vanilla Fudge…

Mark Maryanovich

GT: And your worst playing nightmare? RB: It was at an outside gig in West Canada, when a windstorm came up and blew all the lighting and sound rigging down onto the stage. GT: What’s the most important musical lesson you ever learnt? RB: To let the soloing breathe. Space is as important as note choice; and also to play something you and others can sing, not a blur of scales. GT: Do you still practise? RB: Yes, several hours a day.

GT: Do you have a pre-gig warm-up routine? RB: No. GT: If you could put together a fantasy band with you in it, who

Space is as important as note choice. Play something you and others can sing, not a blur of scales.

would the other players be (dead or alive)? John Bonham – drums; Sting – bass; Robert Plant – vocals; Joe Bonamassa – guitar; (German boogie-woogie prodigy) Michael Kaeshammer – piano. GT: Who’s the single greatest guitarist that’s ever lived? RB: Probably Lenny Breau. GT: Is there a solo you really wish you had played? RB: Yes, Clapton: Live Crossroads, from Wheels Of Fire.

GT: What’s the solo or song of your own, of which you’re most proud? RB: American Woman. GT: What would you most like to be remembered for? RB: For writing good songs and being a nice guy! GT: And what are you up to at the moment? RB: Touring with Fred Turner as Bachman-Turner, doing solo gigs with my band, and preparing charts for a series of gigs.


That Was The Year...

1963 Cleopatra, Birds and Wild Dogs

SWEDISH MANUFACTURER HAGSTRÖM produces 200 Futurama Coronado Automatic guitars for the Selmer Company in London to their specification. It’s a curious guitar with a Jazzmaster-like appearance, through-neck construction and a striking orangey-red sunburst finish. It sports a vibrato, three single-coil pickups with individual edge-mounted volume controls, plus a gang of 12 numbered switches on a chrome plate. The ‘Acrylite’ fingerboard features large white dot inlays, and the sealed-gear tuners have distinctive ‘crown’-style plastic buttons. LYNDON B. JOHNSON IS SWORN in as President following the assassination of John F Kennedy in Dallas; Sir Winston Churchill becomes an honorary citizen of the United States; Kuwait joins the United Nations; and 70,000 Ban The Bomb marchers leave Aldermaston and head to London for a massive demonstration. TEISCO-MADE MJ2 SOLID-BODY GUITARS offer a cheap alternative to the major manufacturers and, like many Japanese guitars, they’re issued under different brand names such as Lafayette, ET200 and St. George. The pickups are surface mounted with the channelled wiring hidden by the scratchplate. It’s a good guitar, with a contoured body, thumbnail inlays and a substantial ‘V’ profile to the neck.

Elvis Costello

Sheryl Crow

Beth Hart

Royal Blues Festival Blues fans – you need to witness the fireworks on show at this year’s BluesFest, taking place between 26-31 October at the Royal Albert Hall. This gigantic six-day festival of blues music has a great line-up of rootsy household names, as well as some world-renowned guitar talent, as you’d expect. Alongside Van Morrison, Gregory Porter, Elvis Costello, Robert Cray and Sheryl Crow, a crop of blues, soul and jazz names will descend on the Hall for a series of daytime concerts. Dr

Feelgood, Mud Morganfield, Beth Hart, Curtis Stigers, Georgie Fame, Jo Harman, Jess Roberts and rising stars Marcus Bonfanti, Danny Bryant and Dan Owen will all be playing, and there’ll also be a series of ‘In Conversation With...’ sessions, and a strong educational thread featuring instrumental workshops, masterclasses and clinics. For aspiring young blues boys and girls, there are children’s Blues Storytelling sessions, too. See www.ticketmaster.co.uk or www.royalalberthall.com for info.

THE MUCH-TROUBLED FILM Cleopatra is finally released after heavy cutting; Alfred Hitchcock’s film The Birds is released; and the United States finally gets to exhibit Leonardo da Vinci’ s Mona Lisa at the National Gallery of Art in Washington DC. ONE DAY IN THE ABBEY ROAD STUDIOS for The Beatles to record their Please Please Me debut album. Their second album, With The Beatles, is also released this year, and Beatlemania arrives. The Freewheelin’ Bob Dylan and Phil Spector’s ever-popular A Christmas Gift For You are also in the shops, and after trying to register at a ‘whites only’ motel, Sam Cooke and his band are arrested. It results in him recording A Change Is Gonna Come. THE UNIVERSITY OF EAST ANGLIA is established in Norwich; a new island, Surtsey, is created following a volcanic eruption in the sea off the coast of Iceland; the AC Cobra appears for the first time at Le Mans; and Italian car manufacturer Lamborghini begins production. AMPEG IMPORTS BURNS GUITARS from England. The six models are exactly the same, except they have ‘Ampeg By Burns Of London’ etched on the scratchplate. One of the most popular models is the Jazz Split Sound guitar, known in America as the Wild Dog (taken from the setting named on the rotary tone selector). It’s a powerful guitar with its unusual Split-Sound pickups, offering a closer nod to Fender with a shorter scale and contoured body; it proves very popular on both sides of the Atlantic.


New Jamtrack Site Jamtrackcentral has redesigned its site recently, and is offering visitors free 14-day trial access to its Premium content, as well as a pay-as-you-go service. See jamtrackcentral.com to sign up and explore the site’s trove of backing tracks and instructional material, which was created (and jammed along to)

HOT FOR TEACHER Name: Geoff Lea Town: Southampton Styles: Rock, blues, pop, acoustic, jazz, metal, everything! Speciality: Rock and theory Levels: All levels, RGT grades up to grade 8 if desired Sight-reading: Most levels offered Charges: £25 per hour Special: Full facilities Tel: 07859 009910 Email: [email protected]

by some of the world’s finest guitar players. You’ll be aware of many of the players on the site from their regular contributions to Guitar Techniques; so take a look and gain expert insight from the likes of Guthrie Govan, Lee Hodgson and Aynsley Lister, among many others.

play: STRAT LICKS

ON THE CD

tracks 4-15

60 Strat Licks

What better way to mark 60 years of the Fender Strat than to pay homage to 60 of its most iconic players? Jon Bishop dusts off his ’73 Strat and walks you through the essential techniques used by 60 of the most famous Strat players of all time.

ABILITY RATING

Easy to Advanced Info

Will improve your

Key: Various Tempo: Various CD: TRACKS 4-15

Lead feel and phrasing Tonal awareness Stylistic breadth

Welcome to this behemoth of a cover feature, which focuses on the playing styles of no fewer than 60 of the most famous Fender Stratocaster-wielding guitarists of all time. Fender’s Strat was first sold in 1954, and was the follow-up to its bolt-on brother, the Telecaster. A much more ambitious design than the Telecaster, the original 1954 model Strat featured many new innovations, including three single-coil pickups, a contoured double-cutaway body, and the ‘Synchronized Tremolo’ vibrato unit. Over time, the Stratocater’s unrivalled musicality and versatility have earned it a place as a genuine 20th-century design icon. Famously, David Gilmour owns the 1954 Stratocaster with the serial number 0001, although it is widely accepted this was probably not the first one manufactured. Over the years, the Strat has seen many changes; some of these were due to manufacturing constraints, some were to improve the overall functionality, and others were responses to prevailing fashions. One of the most important sonic changes happened when the three-way pickup selector was replaced with a factory-fitted five-way in 1977 – of course, players had known for years that the three-way selector could be lodged in between positions 1, 2 and 3 to access an extra two sounds. While now legendary, it’s worth reminding ourselves of those five pickup selector combinations:

Position 1 = Neck pickup only Position 2 = Neck and middle in parallel Position 3 = Middle pickup only Position 4 = Bridge and middle in parallel Position 5 = Bridge pickup only Many of the biggest modifications, however, have been player-led, and the Stratocaster remains the number-one guitar for experimentation and hot-rodding. This ‘easy maintenance’ ethos was part of Leo Fender’s original intent, and the Strat’s simple, bolt-together construction makes it a relatively

The Stratocaster’s unrivalled musicality and versatility have earned it a place as a genuine 20thcentury design icon. simple task for the owner to change tuners, pickups, vibrato units, necks, pickguards or even the entire body. Indeed, some players end up with the classic ‘Trigger’s broom’ scenario, where none of the guitar’s original parts remain unchanged. As a result of all this tinkering and improvement, many of the players featured have a signature Stratocaster model of their own, reflecting the innovations and personal preferences each has added to their own instrument. These features can range from the rather drastic scalloped fretboard of Yngwie Malmsteen to a more subtle addition, like Eric Clapton’s mid-boost circuit. The following 60 examples are divided into six audio tracks, with 10 examples per track – put very broadly into categories, just to keep the ‘six tracks, 10 licks’ vibe intact; so please don’t beat us up if you disagree! Each

example is four bars long with a two-bar drum break to separate each one. A backing track is provided for each of the six tracks, with the transcribed performance muted so you can play along. While it’d indeed be a challenge to learn all 60, the aim here is to have fun, to pick up a new technique or trick along the way, and to remind ourselves – an almost unbelievable six decades on – what a fantastic invention Leo Fender’s Stratocaster truly was. This article is in no way intended as a ‘Top 60’ countdown, or a ‘best of the best’ list. To try and ascertain the best Strat player of all time is as subjective as it is futile. Instead, it’s meant as a fun way to celebrate 60 years of a brilliant guitar and its players, and as a jumping-off point for many different areas of study. We had enormous fun compiling this list of our favourite and most musically interesting Stratocaster users. Apologies if your top twanger has been missed out, but the line-up of Strat supremos is all but endless.

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The examples on this month’s CD were recorded with a 1973 Fender Strat, but any Stratocaster or S-type derivative will do. All of the effects and amp-tone combinations are listed in the notation, alongside the relevant examples, and the two-bar drum break will allow you time to change settings as you go. The ideas in this article can of course be played on any type of guitar, but the most authentic results will undoubtedly come from an instrument with the Stratocaster’s key attributes.

TRACK RECORD For a celebration of the Fender Stratocaster and some of its finest players, it’s well worth dipping into the 2004 DVD entitled The Strat Pack: Live In Concert. This concert marked the 50th anniversary of the guitar, with fantastic performances from the likes of Joe Walsh, Gary Moore, David Gilmour, Hank Marvin and Phil Manzanera. Even Amy Winehouse and Jamie Cullum showed up!


LIVEPIX x2

PHOTOSHOT & GETTY

60 STRAT LICKS

Jeff Beck gets sounds from his Strat that Leo never imagined

Mark Knopfler made positions 2 and 4 on the selector his own

Hank Marvin: surely the most melodic Strat player ever!

Yngwie Malmsteen transformed the Strat into a bonafide rock machine


play: STRAT LICKS

ON THE CD

tracks 4-15

Track 1 Classic Rock

Example 1 TECHNIQUES Ritchie Blackmore GUITAR MAGAZINE 2 3 5 Ex 1

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Deep Purple and Rainbow guitarist Ritchie Blackmore favoured big- 60th Strat headstock 1970s Strats. His fast vibrato and signature vibrato arm work are

key components of this example. The open strings also feature heavily in Blackmore’s solos, which are of course his trademark.

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60 STRAT LICKS

Track 1 Classic Rock

Example 4 Richie Sambora

TRACK 4

The Bon Jovi axeman has his own signature-model Strat, complete with a 2 xxxxxxxxxx bridge humbucker, locking tremolo and star-shaped fretboard inlays. This example combines several of his favourite soloing techniques. Strike the Ex 4

RICHIE SAMBORA

Bridge pickup with overdrive, octave pedal and delay

©»¡™∞ #4 & 4

D5 E5 Scoop Scoop Scoop Doop

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Drum Break Ex 4 RICHIE SAMBORA Ex 4 RICHIE SAMBORA Ex 4 RICHIE SAMBORA Bridge pickup with overdrive, E Bridge pickup with overdrive, octave pedal and delay withdelay overdrive, B Bridge octave pickup pedal and G octave pedal and delay

©»¡™∞ ©»¡™∞ ©»¡™∞## 4 & # 44 & & 44

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D A E

harmonics on the 5th fret and then depress the vibrato arm in the desired rhythm. The ascending tremolo-picking line is classic Sambora fare. As is the attitude you’ll need to bring this lick to life!

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Drum Break Ex 5 JAKE E LEEDrum Break Drum Break Scoop Scoop Scoop Bridge pickup with heavy distortion and delay Scoop BU Scoop Scoop Scoop Doop Scoop BU Doop Scoop Scoop Scoop E 5 1/4 Scoop D5 E 5 14 D5 Example 5 Jake E Lee E (19 ) TRACK 4 12 15 17 17BU Doop E 12 14 15 17 17 (19 ) B ( 5 ) ( 5 ) ( 5 ) ( 5 ) 5 12 15 E ( B 12 14 15 17 17 The 1980s Ozzy axeman has played a variety relatively easy to 12 do. Simply (( 55 )) Stratocasters(( and 55 of Fender 55 ) ( 55 ) ( 5 15 tap the string fast with the edge19of) the pick on the G 5 ) B (( 5 ))) ((( 5 ))) (( 5 )) G 5 )) of tapping on 12 tab 15 5 rock((trick D S-type guitars throughout his career. The old the fret indicated in the – if you’re not used to tapping, spending just a few G 5 5 5 5 5 ) ( ) ( ( ) ) ( D A

~~ ~~ ~~ √ ~~ — — œ Æ — @ — @ — @@œ @@ œ @@œ~~. @@ œ œ Æ @@ soon@@have you@ mastering œ œ — œ@ @ @ œ œ fretboard with the edge of the pick provides a barrage of notes and is minutes on this will this particular effect. Drum Break ƒ PH PH Ex 5 JAKE E LEE Tap with pick . . . / Ex 5 JAKE E LEE BU BD BU BD ~~ ~~ ' ExBridge 5 JAKE E LEE pickup with heavy distortion and delay 2 Bridge pickup with heavy distortion and delay Bridge pickup with heavy distortion and delayE D5 E5 D5 125 / ©»¡™∞ E12 5 D5 14 ( 16 ) ( 14 ) 12 D5 14 ( 16 ) ( 14 ) E 5 √17 12 17 12 ©»¡™∞ Eœ5 //' E14 5 12 14 D5 — — √ 22 14 12~~ D5 — ~~ ©»¡™∞ — — — œœ ' œœ œ~~ . √œœ œ œœ œ ~~ œœ —— —— —— œœœ —— —— —— œœ œœ œœ œœ~~ 2 4 ~~ . œ 4 œ œ œ œ œ . œ œœ œ œœ & œ œ œ & & 44 Drum Break E5 C5 Drum Break ƒ Drum Break PH PH ƒ Tap with pick . . . PH PH (√) ƒ//' with pick . . . BU BD PHBU BD ~~ œTap ~~œ œ PHœBU Tap withœpick . . . BU BDœ BD œ œ œ œ œ22 œ œ œ œ œ /'œ œ œ ~~ œ œ œ œ ~~ œ œ œ BU œ BD BU œ BD ~~ ~~ œ œ œ 12 17 12 17 œ12 2 & ( ) ( ) ) ( ) ( 12 17 12 17 12 2 22

©»¡™∞ & 44

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play: STRAT LICKS 3

Example 6 Michael Landau

ON THE CD

Track 1 Classic Rock TRACK 4

LA session ace Michael Landau is a Strat fan, and has a rather nice, aged Custom Shop signature Strat to his name (as well as some nice originals). This 3 6 Ex

example uses rather expensive-sounding major 9 chords and moves them around the fretboard in various intervals.

MICHAEL LANDAU

Bridge / mIddle pickup clean with chorus 3 Ex 6 MICHAEL LANDAU

tracks 4-15

b

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w/bar # ww ~~~~~ # œ œ œ nœ # œ Gmaj9# œ œ Cmaj9œ B bmaj9 œ œ Dbbœmaj9 œ Gœmaj9 b œ b œ n œ E#maj9 A maj9 œ œ œ œ b œ œ œ œ w/bar (no œ 3rd) (no 3rd) (no 3rd) (no 3rd) (no 3rd) (no 3rd) (no 3rd) # ww ~~~~~ # œ œ œ œ œ œ D bmaj9b œ b œ n œE#maj9 œ nœ œ3rd) (no A maj9 # œ Gmaj9 # œ Cmaj9 B bmaj9 G maj9 œ œ b œ œ œ œ w/bar (no 3rd) (no 3rd) (no 3rd) (no 3rd) (no 3rd) (no œ b œ F œ œ # ww ~~~~~ w/bar œ œ # œœ 3rd) œ ~~~~~ œ œ b œ n œ # 4œ 7 5 œ 8 14 # 2œ # œ 11 œ œ œ 2œ 3œ 2œ œ 7œ b œ 5œ 6 5œ b œ b 8œ 9 n œ 11 12 14 15 w/bar œF 4 7 10 14 17 5 8 11 ~~~~~ 14 4 2 7 5 8 11 15 3 6 9 12 F 14 w/bar 4 2 2 7 5 5 8 11 7 10 14 17 5 8 11 ~~~~~ TRACK 4 Example 7 Alan Murphy 2 Ex 7 ALAN MURPHY 4 2 7 5 8 11 14 A maj9 (no 3rd)

©»¡™∞ 2 Bridge / mIddle pickup clean 4 with chorus Ex & 6 MICHAEL LANDAU 4 ©»¡™∞ Bridge / mIddle pickup 2 Drum Break clean with 4 chorus &4 ©»¡™∞ 2 4 Drum Break &4 Drum 2 Break

Gmaj9 (no 3rd)

Cmaj9 (no 3rd)

E B G D A EE B 31 G D EA E B 3 Whammy-bar wizard and 1980s guitar session maestro Alan Murphy used 31 D5 G Bridge 4 2 2 pickup with overdrive and variousD modified Squier Stratocasters todelay unit7 7great effect. 5 His locking vibrato10 w/bar A and stacked single-coil-sized humbucking pickup additions were important Scoop EEx 7 ALAN MURPHY Scoop 31

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ERIC JOHNSON

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6 stock design. This 9 example uses 12 the bar to embellish 15 tweaks to the a simple A5 14 5 8 11 melody. Dial up5a compressed, mids-orientated overdrive for this one – Alan Scoop 14 17 8 11 used a Fender Super Champ for its own natural overdrive. w/bar w/bar

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16 14 # 11 4 Dmaj7 # 11 ©»¡£º 16TRACK 14 12 ~~~ œ ~~œ œ œ œ œ œ Amaj7~~~ ERIC JOHNSON 2 ~~ ~~ Eric plays#his 1954 Sunburst Stratocaster, lovingly named ‘Virginia’ old classic. Our example combines open-voiced triad arpeggios with a˙fast œ œ œ œ œ œ œ œ . # pickup œ œ results. œ the concepts œ œ # ˙are keyœ components œ œ œ # ofœ the EJ style, as is the Middle withElectric overdrive and delay 44Total œ He has ~~pentatonic run. Both in his tutorial video, Guitar, with jaw-dropping #his own ‰ j œ & # # since sold it, but signature Strat has many of the same features as the violin-like overdrive you’ll need to make the notes sing. œ Dmaj7 11 11 ©»¡£º Ex 8 ERIC JOHNSON ~~~ œ œ œ œ œ œ œ Amaj7~~~ œ ~~ 2 œ œ Break # 4withDrum œ œ œ œ œ œ # ˙ œ œ œ œ # œ œ œ . œ ˙ ~~ Middle #pickup overdrive and delay œœ œ ~~ # ‰ j # f 11œ ~~ œ ~~~ œ~~ œ Dmaj7 Amaj7 # 11 ©»¡£º & 4 BU BD œ œ ~~~ œ œ œ œ 2 # # # 4 Drum Break ‰ j œ œ œ 10œ œ 12 9 12 9œ 9 12 9œ œ 12 9œ œ œ # ˙~~~œ œ œ œ # œ œ œ . œ ˙ ~~ 8 11 11 8 8 13 13 (14 ) (13 ) 11 11 9 & 4 f œ œ 11 œ 12 ~~ BU BD ~~ ~~~ ~~ ~~~ 12 9 Drum Break 2 12 9 9 10 10 12 9 12 9 12 9 f ) 8 11 11 11 9 ~~ ~~~ 11 11 8 8 13 13BU(14BD)(13~~ 12 ~~~ ~~ 2 Middle pickup with overdrive and delay

D Example 8 Eric Johnson A

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4 xxxxxxxxxx

Example 9 Stevie Ray Vaughan

TRACK 4

Stevie Ray Vaughan’s No. 1, a vintage Strat made up of genuine parts of differing ages, helped popularise the beaten-up, heavy-relic look. Some of Ex 9 Stevie STEVIE RAY the tweaks made toVAUGHAN his Stratocasters included fitting bass frets, using

©»¡£º Shuffle & 44

extremely heavy-gauge strings, fitting a Hendrix-inspired left-handed vibrato unit and downtuning to Eb; all of which supercharged his tone at source, and inspired an army of imitators.

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TRACK 4

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and effects with the Stratocaster. This example uses the ring-modulator effect, which adds a random wobble to whichever note is played.

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Example 10 Frank Zappa

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Track 1 Classic Rock ƒ

Drum Break Example 9 Stevie Ray Vaughan …CONTINUED

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Track 2 Surf & Rock ’N’ Roll Example 11 Hank Marvin

TRACK 6

Hank was TECHNIQUES there right at the start with his Fiesta RedJon (often referred GUITAR MAGAZINE 2 31959 5 Bishop's to as Flamingo Pink) Stratocaster. The guitar was a custom order, and was Strat 60th purchased by Cliff Richard for Hank. Some special features included a birdseye Ex 11

HANK MARVIN

©»¡™º & 44

Bridge pickup with tape delay

E B G D A E

∑ Drum Intro

maple neck, ash body and gold hardware. The impact Hank had with this Strat has echoed on, and his style favours the vibrato arm in conjunction with the bridge pickup and a tape echo – and, of course, Hank’s touch!

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Ex 12

BUDDY HOLLY

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Ex 11 HANK MARVIN GUITAR TECHNIQUES 235 Bridge pickup with tape MAGAZINE delay

Jon Bishop's

Am 60th C Dm Dm Strat w/bar ©»¡™º w/bar w/bar w/bar w/bar ~~ ~~ ~~ ~~ ~~ ˙ Ex 11 HANK MARVIN œ œ œBishop's . œ œ œ œ œON THE GUITAR4TECHNIQUES MAGAZINE 2 3 5 œ œ œCD tracks œ4-15 ∑ delay Ó ‰ J œ œ Jon Bridge ˙ & 4pickup with tape œ Strat Am 60thJ Dm œ w/bar ©»¡™º Drum Intro w/bar w/bar ˙w/bar œD m œ C ~~ ˙w/bar ~~ Ex 11 HANK MARVIN ~~ ~~ ~~ ˙ œ f œw/bar . œ ˙w/bar w/bar œ œ œ œ œ w/bar w/bar œ œ œ GUITAR TECHNIQUES Bishop's Bridge4pickup with tape delay ∑ MAGAZINE Ó 2 3 5‰ œJ œ Jon & 4 ~~ w/barDœm Strat 60thJ ~~ Dm C œ Am~~ ~~ w/bar ©»¡™º w/bar w/bar w/bar ~~ ˙~~ ~~ ˙ œ ~~ ~~ ~~ œ7 œ6 œ7 Ex 11 HANK MARVIN ˙ Drum Intro Track 2 & Rock ’N’ Roll 6Surf 5 6 5 5 8 œ œ œ . œ5 ˙ œ œ5 œ 4 œ œ œ œ f 7 7 7 7 ∑ Ó ‰ Bridge pickup with tape delay 7 5 w/bar &124 Buddy Holly œ w/bar J w/bar w/bar 6 Example J 0~~ Dm Dm Am C ~~ ~~w/barincluding ~~ ~~ w/bar ˙3w/bar œ TRACK ©»¡™º w/bar œ w/bar w/bar idea ˙ ~~ Buddy was one of the Drum first high-profile artists to use the Stratocaster, and the aforementioned Hank. This example is a simple that ~~ Intro ~~ 6œto seek one 5œ~~ 6œ 5œ 5œ a8˙tone apart. ~~ 6œ . out,5œ his 1958 Sunburst guitaristsf the world 7œ over effectively links together 4 Strat inspired 7œ 7œ 7œ two major chords 5œ 7œ 7œ ‰ ∑ Ó w/bar ˙ w/bar w/bar w/bar w/bar 7 5 & 4BUDDY HOLLY œ Ex 12 J ~~ 3˙~~ œ ~~ J ~~ 0~~ ˙ œ 6 Bridge pickup Drum with reverb Intro 6 5 5 5 8 6 f 7 7 A 5 G 7G # A A7 G5 A G 7 A G7 ©»¡¢º w/bar 7w/bar 5 w/bar w/bar w/bar ~~~~ Ex 12 BUDDY HOLLY ~~ ~~ 0 3 ~~ ~~ ~~ # n œ # # # 4withwreverb œ œ œ œ œ œ œ œ œ œ œ œ œ # œœ . œ n œ # œ œ Bridge pickup Ó œ œ œ 6 & 4A n œ #7 œ 6 Aœ7 œ5 n œG 5œ œ Aœ œ n œ Gœ 7 6 7 A 5 5 G5 8 A 7G # G7 ©»¡¢º 7 5 Ex 12 BUDDY HOLLY ~~~~ 0 3 # # # 4withwfreverb Drum Break Bridge pickup . n œ # œ œ œ œ n œ œ œ œ œ œ œ n œ œ œ œ n œ # œ œ œ œ œ œ œ œ œ œ œ œ œ n œœ # # œœ# Ó & 4 A ~~~~ A G A G A G A G G ©»¡¢º HOLLY 3 4 Ex 12 BUDDY ~~~~ # n œ # 5 5 3 5 3 3 # wreverb œ œ6 œ4 œ4 œ œ # œœ4 4withf Drum Break 6 4 6 4 œ 4 nœ 5 6 œ œ 6 œ 4 œ œ 4 œ 6 œ # . œ # œ œ Bridge pickup Ó œ œ & 4 A ~~~~ n œ5 # œ6 Aœ7 œ7 n œ5 G œ5 œ7 Aœ œ7 n œ5 Gœ A G A G G# ©»¡¢º 3 4 ~~~~ 5œ 3 5œ 3 n 3œ # 4œ # # # 4 5wf Drum Break 6œ 4œ 6œ 4œ 4œ n 5œ 6œ 6œ 4œ œ 4œ 6œ 6œ 4œ 4œ œ œ # œ . # œ Ó Ex & 13 13 PETE 4TOWNSHEND n 5œ # 6œ 7œ 7œ n 5œ 5œ 7œ œ 7œ n 5œ œ TRACK 6 Example Pete Townshend ~~~~ 3 4 Bridge pickup with overdrive The Who’s axeman extraordinaire has played (and indeed smashed) many Eric Clapton signature Strat. This example pays homage to those classic 5f 5 3 5 3 3 open 4 Drumthe Break A A5 he’s D4 Dsus4 A5 guitars of©»¡¢º all shapes and sizes. However, since late 1980s, power-chord and5A5 will sound best pickup 6 favoured 4 the 6D sus4 riffs, 4 6 6 4with 4the6 bridge 6 4 selected. 4D 5 6 7 7 5 5 7 7 5 Ex 13 PETE œœ ~~~~ # # # 4TOWNSHEND j n œœ œœ œœ .. j n œœ œœ œœ .. 3 4 . Bridge pickup with overdrive Œ Ó Ó Œ œ œ œ œ . œ œœ5 6 œœ4 4Dœœ3.. 3Aœœ5 œœ4 œ w œ œ w œ 5 3 & 4 A5 œ œ œ 6 w 4 6D sus4 4œ 4 5œ œ 6 w 6 4 4 6 œ Dsus4 A5 D A5 œ œ . ©»¡¢º 5 6 œ7 œ 7 w 5 5 7 Ex 13 PETE TOWNSHEND œj n7œ 5 œJ œ . œ œ w œj n œ œJ œ . œ œ œœoverdrive # . ƒ Drum Break Bridge#pickup with 4 œ œ œ œœ œœ œœ .. œ œ Ó Œ . A5œœ œ w œœ D sus4 œœ œœ œœD .. A5œœ œœ ww œœ Dsus4 & # 4 A Œ Ó ©»¡¢º œ w œ3 œ3 œD2 . Aœœ5 œœ 5 3 3 2 Ex 13 PETE TOWNSHEND œ œ w œ œ œ w œ œ # # # 4ƒ j n œœ32 Jœœ32 œœ32 .. 2 2 2 j n œœ32 Jœœ32 œœ32 .. 2 2 œ5DrumŒ Break Bridge pickup with overdrive . œ22 œ22 w22 Ó Ó Œ œ œ œ œ w œ œœ0 œœ0 Dœœ0 .. Aœœ205 œœ20 0 0 œ 0 . 2 œ 2 2 & 4 A A5 D A5 œ0 œœ0 ww0 œ0 œœ0 ww0 œœ D sus4 œœ Dsus4 ©»¡¢º œ œ œ . œ œ œœ 3 3 3 3J 2 Jœœ 23œœ .. n œ n 3 3 3œ 3œ 3œ .. # # # 4ƒ55œœDrum Break j j œ œ œ œ Œ Ó Ó Œ . 22œœ 22œœ 22ww œœ 20œ 20œ 20œ . 220œœ 220œœ 220ww œœ 20œ 20œ 20œ . 220œœ 220œœ & 4 Ex 14 DICK DALE 0 0 0 œ œ œ . 5 œœ w œ 33 J33 23 œ œ w œ œ33 œJ33 œ23 . œ œ Bridge pickup with5spring reverb 2 ƒ Drum Break 2 2 2 2 2 2 2 2 2 2 2 2 2 A5 Am E Am 0 ©»¡§¶ 2 2 2 0 0 0 2 2 F 2 0 0 2 2 TRACK Example 14 Dick Dale 0 0 0 0 0 0 0 0 6 Ex 14 DICK DALE 4 5 3 3 2 3 3 2 j ¿ ¿ The kingBridge of ‘surfpickup guitar’ uses a left-handed 1960 Stratocaster, strung upside and vice-versa. Dale is a fan of tremolo-picking his melodies, and a¿lashing of ‰ ¿ ¿ w ¿ ¿ œ ¿ with spring reverb 5 3 3 3 3 3 3 &4 ¿ ¿ ¿ ¿ 2¿the œ œ2 œ œ # œof hisœsurfAsound. œ œ œ20isœ an20œ essential œ . 22œ 22 component œmœ20œ œ œ20 œ 20 ¿ 22¿ ¿22¿ down with gauge 14wstrings. This puts the first string ¿where is, spring 2 ¿2¿sixthœ22 string œ reverb œ A5 E0 F 2 œ ©»¡§¶ 2 2 Am w œ œ œ Ex 14 DICK DALE 0 0 0 0 0 0 0 0 Drum Break Slide finger down ¿ ¿ j Slide finger down ƒ Bridge4pickup with spring reverb ‰ ¿ ¿ ¿¿ & 4 A5ww ¿¿¿¿ muted string¿ ¿ ¿ ¿ ¿ ¿ œ ¿ ¿string ¿ ¿ Am œ œE œ œ œ œ œ . œ œF œ œ œ # œ œ œ Aœmœ œ œ œmuted ©»¡§¶ œ œ w œ œ œ œ Ex 14 DICK DALE Drum Break ¿ ¿ ¿finger ‰ Slide ¿ ¿ ¿down Bridge ¿X ¿X ¿Xdown ƒww220 with spring reverb 2 ¿finger & 44pickup ¿ ¿ X ¿X ¿X ¿X ¿X ¿X 0 0 0 0 2 œ3 œ0 œ2 œ2 œ2 œ2 œ2 œ . œ2j œ3 œ3 œ3 œ3 # œ1 œ2 œ3 œ2 œ2 œ2 œ2 Slide œ œ ¿X ¿X muted X string X X X Xstring X XX X¿ muted A5 Am E F A m ©»¡§¶ w œ œ œ œ œ Drum Break ¿ ¿ ¿finger ƒ22w HARRISON‰ Slide ¿ ¿ ¿ down ¿finger ¿string 2 & 44GEORGE ¿ ¿ ¿ ¿ ¿ X¿ X¿ X¿ 0 0 0 0 2 3œ 0œ 2œ 2œ 2œ 2œ 2œ œ . 2œj 3œ 3œ 3œ 3œ # 1œ 2œ 3œ 2œ 2œ 2œ 2œ Slide ¿ ¿down Ex 15 muted muted œ œ ¿ X¿ X X X Xstring XXXXXXX XXXXX 0w œ Bridge / middle phaser w pickup withDrum œ œ œ œ Break A5 C sus2 G/B D sus2 Csus2 G /B 1 2 Dsus2 2 Slide finger down ©»¡™¶ Slide finger down ƒ 2 2 2 2 2 2 3 3 3 3 3 2 2 2 2 2 2 0 Ex 15 GEORGE HARRISON muted muted X X X Xstring XXXXXXXXXX 0 0 0 0 2 3 XXXXX 0 œ œX string œ œ œ œ œ œ œ œ Bridge4/ middle pickup with phaser Œ Ó Ó Œ œ œ œ œ & 4 A5œ2 œ œ œ œ C sus2 G/B D sus2 Csus2 G /B 1 2 Dsus2 œ œ œ œ 2 2 2 2 2œ œ 2 œ 3 3 3œ3 œ 3 2 2 2 2 2 0 Ex©»¡™¶ 15 GEORGE œ20 HARRISON œœ œ œœ Example 15 George Harrison X TRACK X XœX#XœX 6 XXXXXXXXXXXXXX 0 0 0 0 2 3 Bridge4/ middle pickup with phaser œ œ œ œ œ œ œ œ œ œ but was F Drum Break George Harrison got hisŒfavourite recording of Rubber almost work. It started out life as a Sonic Œ for theC sus2 œ allœhis later slide Csus2 œ Blueœcolour, G/B œ D sus2 G /B œ Dsus2 & 4 A5 Ó Strat,Ó ‘Rocky’, œ œ Soul. You©»¡™¶ can hear itœon the solo to Nowhere Man, licks in Day Tripper and œ repainted in its iconic livery by Harrison himselfœin the late 1960s. œ œ 0 0 Ex 15 GEORGE œ HARRISON œœ œ 3œœ 3 œœ œ 3œœ 3 3 3 3 œ œ œ œ œ œ œ œ œ œ3 œ # œ Bridge4/ middle pickup with phaser 0 0 2 2 0 0 2 2 Œ Ó Ó Œ Drum Break F œ œ œ œ 2 0 0 & 4 œ œ œ œ C sus2 G/B D sus2 Csus2 G /B Dsus2 ©»¡™¶ A5œœ0 œ0 œ2 œ3 3 œ2 œ 3 œ œ 3 0 3 œ0 œ2 œ3 3 œ2 œ 3 œ œ 3 0 3 œ3 # œ2 œœ œœ 44 Drum 0 œ 0 œ 2 œ 2 0 œ 0 œ 2 œ 2 Break 2 &F œ0œ Œ Ó Ó Œ 0œ 2œ 3œ œ 2œ œ œ 0œ œ œ œ 0 0œ 2œ 3œ œ 2œ œ œ 0œ œ œ œ 0 3 2 3 3 3 3 3 3 3 3 œ #œ 0 0 2 2 0 0 2 2 F Drum Break 2 0 0

play: STRAT LICKS E B G D A E E 1 B G D A E E B1 G D A E B 1 G D A E

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60 STRAT LICKS

Track 2 Surf & Rock ’N’ Roll

Example 16 Peter Green

TRACK 6

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For many, Peter Green is associated with ‘that’ 1959 Gibson Les Paul; but Peter also recorded some of his most iconic guitar parts with a late 50s Sunburst

Strat. The Emaj7 chord has a mellow vibe, and this example outlines that laconic sound nicely.

Ex 16 PETER GREEN 2 Neck xxxxxxxxxx pickup with reverb

©»ªºPETER Swing feel E maj7 A E maj7 A œœ j # # 4GREEN . # œ œ œ œ . nœ #œ œ œ ˙ # œ œ œ œ pickup with reverb Œ Ó 2 Neck xxxxxxxxxx Ó ‰ Œ ˙ ‰ œ j & Swing4feel ˙ œ œ n œ # œ ©»ªº E maj7 A E maj7 A œ œ œœ Ex 16 PETER GREEN j . œ œ ˙ . œœ œ # # # #F œ œ œ 2 xxxxxxxxxx 4 n œ # œ œ œ œ œ Ó Ó ‰ œ j Œ œ ˙˙ ‰ œœ DrumŒBreak Neck & pickup with 4 reverb n œ # œ œ œ E maj7œ œ SwingGREEN feel A E maj7 A 5 Ex©»ªº 16 PETER 5 4 7 4 7 4 5 œœ œ j . # œ œ œ # 6 4 6 6 4 6 œ œ nœ #œ œ 4 . F Neck pickup œ #with 4 reverb ˙ œ œ œ # Drum Break 7 6 Œ Ó Ó ‰ Œ ˙ ‰ œ ˙ & Swing4feel 0 4 7 6 ©»ªº A E maj7 œ A œ 4œ n œjE#maj7 œ 2 7 œ œœ œœ556 j 4 5 7 œ. 4 œ 7 4 œ #### 4 œ Œ Ó œ . 6 4 6 6 4 n œ # œ œ ˙ œTRACK 6 Ó ‰4 74 j 6 Œ œœ7 ˙˙6 ‰ œ œ œ œ4 F & JOHN17LENNON 4John Drum Break Ex 17 Example Lennon œ n œ # œ œ œ œ7 hold Middle pickup with For the recording of phaser the Soul album, John and George both got a matching pair in Sonic Blue. This example uses open strings 5 to provide œ2 B with œ0sentRubber 5 4 7style. 4 7 4 5 of ©»¡™¶ a Strat each –F they roadie Mal Evans out to find them a jangling rhythm part, E maj7 E and he came back Atypical of John’s E 6 4 6 6 4 6 Drum Break Ex 17 JOHN LENNON 7 6 4 # w # œ œ œ œ 4 7 4 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww0 Middle pickup # # 44with phaser ∑ œœ œœ œ 7œ 2 œœ œ œ œ œ œ 5 œœ œœ 4œ œ œœ7œœ œ4œ7 œœ 4 œœ œœ œœ55 œœœ & 4 6 6 A 4 6 E B 6 E ©»¡™¶ E maj7 7 6 4 w Ex 17 JOHN 4 7 4 6 # # # # LENNON œ œ œ œ 44 fphaser ww0 Drum Break ∑ œœœ œœœ œœœ œ7œœ 2 œœœ œœœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ Middle & pickup with E B A E ©»¡™¶ E maj7 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Ex 17 JOHN LENNON 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 # w f Drum Break # œ œ œ œ 9 9 8 9 11 11 11 6 8 9 8 6 4 4 4 4 4 1 œœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ 01œœ 01œœ Middle pickup with phaser # 4 w # ∑ w œ & 4 E maj7 œ œ œ0 œ0 E B A E ©»¡™¶ 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 # # # # 4 fww44 Drum Break ∑ œœœ4 œœœ4 œœœ9 œœœ9 œœœ8 œœœ9 œ11œœ œœœ œ11œœ œ11œœ œœœ6 œœœ8 œœœ9 œœœ œœœ8 œœœ6 œœœ4 œœœ4 œœœ1 œœœ œœœ1 œœœ1 Ex 18 OLDFIELD & MIKE 4 w Ex 16

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E B G D A E B 37 G D A E Neck pickup with overdrive and tone control down E 37 4 0 0 0 0 B 4 Drum Break E m 0 0 0 0 Swing quavers G 4 4 4 9 9 Ex D 18 MIKE OLDFIELD A Neck pickup with overdrive and tone control down E 4 0 0 0 0 E Mike B 37 favours the neck 4 pickup with the tone rolled down for 0 his0lead 0 work, 0 Swing quavers Em G 9 4 4 feature 4 9 some which is often harmonised. Classic albums like Tubular Bells D 3 Drum Break Ex A 18 MIKE OLDFIELD E Neck pickup with overdrive and tone control down 37

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 B 0m 0 0 0 0 0 0 0 0 0 0 0 ©»¡™¶ f E0m 0 8 9 11 11 11 6 8 9 8 6 4 4 1 1 1 2 œ ~~ ~~ 6 Example œ œ œœœœ œ œ œ œ œ0 œ œ0 0 œ0 œ0 œ œ 0œ 0 œ0 œ 0 # œ0j œ œ0 0œ 0 0 TRACK # 4 18 Mike Oldfield 0 Œ Œ œ œ Œ inventive Stratocaster tones. He also uses fingerstyle or pick and fingers rather 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 & 4 œ1 1 ©»¡™¶ m 11which adds 8 B9m 11 just aE11 6 8softness 9 6 note’s 4 attack. 4 1 than pick, to8each 3 3 2 œ ~~ #4 fœ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ # œj œ œ3 œ œ œ ~~Œ & 4Swing quavers œ~~ BU ~~ ©»¡™¶ Em Bm Em 2 7 3 3 3 Ex 18 MIKE OLDFIELD 2Break 8œcontrol 8 7 œ 8œdown # 4 withDrum œ 9œ 7œ 8œ Œ 8œ 8œ 8œ 7œ 9œ 7œ~~ Œ 8œ 8œ 8œ 7œ 9œ œ 8œ 8œ # œj(7œ) 6œ3 4œ 6œ 4œ 5 ~~Œ Neck pickup overdrive and tonef BU ©»¡™¶ & 4Swing quavers œ ~~ Em Bm ~~ E m 22 7 œ ~~ 3 3 3 # 4 Drum Break fœ8 œ8 œ8 œ7 œ9 œ7 œ8 Œ œ8 œ8 œ8 œ7 œ9 œ7 Œ œ8 œ8 œ8 œ7 œ9 œ8 œ8 # œj (œ7) œ63 œ4 œ6 œ4 ~~Œ & ROBBIE 4 ROBERTSON - THE BAND œ5 ~~ Ex 19 BU ~~ 2 3 3 3 7 Bridge pickup with lightBreak overdrive C 5 Drum A5 G5 3 f8 8 8 œ7 9 œ7 8œ œ 8Eœ58. 8 7 9 7 8 8 8 7 8 8 ( 7) 6 4 6 4 ©»¡º™ 9 œ 2 5 ~~ Ex 19 ROBBIE ROBERTSON - THE BAND BU œ j œ œ œ œ œ . œœ œœ .. ~~œ œ œ ˙˙ 7 œ œ 2 4 œ œ œœœ œ ‰8 œ œ ( ) Bridge pickup with light overdrive C‰85 8 8 7 A58 8 8 7 7 8 8Eœ58. 8 J7 7 J 8 G5 & 4 9 7 6 4 6 4 œ 9 œ 3œ œœ œ . œ 9œ . ©»¡º™ Drum2Break œ 5 ˙ jœ 6 Example 19 Robbie Robertson œ œ œ œ œ Ex 19 ROBBIE ROBERTSON - THE BAND f . œ œ 4 œ œ œ œ œ œ œ TRACK ˙ ‰ ‰ This country-style example in the style and dial inA5 a light overdrive. Robbie’s style isœsimple but he always plays œ œ Bridge pickup with light overdrive & 4 œ C 5 of The Band man uses double-stops, E5 G5 J what’s required – nothing more, nothing less.BU . 7J 7 exactly and the major 6th interval is also very countryœrock.œSelect œ3 the13œœ bridge15œœ pickup 12 12 12 8 5 ©»¡º™ Drum œ Ex 19 ROBBIE ROBERTSON . œ œ . 22Break - THEfBAND 8 ˙ œ œ œ œ œj(9œ) 7œ œ 5œ œ 9 9 10 12 12 12 14 16 7 7 7 5 5 . œ œ œ œ œ Bridge4pickup with light overdrive C‰5 E5 A5 G5 ˙ œ 5 7 7 ‰ . œ BU &4 œœ œ œ œ3 œœ 15œœ . Jœ7 œ7 . J 22 ©»¡º™ 12 12 12 13 8 5 œ ˙ j 8 œ œ (œ9) œ7 œ œ5 5 44 Drum Break f‰ 10œ 12œ 12œ 12œ 14 16 œ7 œ7 . œ7 œ9 œ9 ˙5 œ ‰ 5 œ 7 œ7 & œ J J Ex 20 RICHARD THOMPSON BU 2 3 Bridge / middle pickup with light overdrive 12 12 12 13 Drum Break 8 f 10 12 12 12 14 3 1516 77 77 7 9 8 9 55 ©»•∞ C5 (9 ) 7 5 3 5 5 7 7 BU Ex 20 RICHARD THOMPSON 2 4 œ 12 12 12 13œ 15 7 7œ 8 5 œ # œ # œ # œ Bridge / middle pickup with ∑ light overdrive Œ Ó œ œ œ œ œ œ œ œ œ œœœœœœ œ œ œ 10 12 12 œ 12 14 œ œ16œ # œ œœœ & 4 C5 œœ7 9 œ9 5 œ œ œ œ5 # œ 8œœœœœœ œ œ5œ œ (9 ) 7 7 7 ©»•∞ 3 5 37 7 Ex 20 RICHARD THOMPSON f 4 œ œ Œpickup Ó with light ∑ overdrive œ œ œ œ œ œ œ œ œ # œ œ œ œ œ # œ œœœ œ œœ œ # œ œ œ œœœœœœ œ œ# œ œ œ œ œ # œ œœœœœœ œ œ œ œ Bridge & 4/ middle ©»•∞ C5 3 October 2014 GuitarTechniques 23 3 Ex 20 RICHARD THOMPSON 0 0 2 3 2 0 0 2 f 5 2 4 4 4 4 2 4 4 2 0 0 4 4 4 2 4 4 4 4 2 4 4 2 0 Bridge4/ middle with light overdrive œ Œpickup # œ œ œ œ 2 # 4œ 5œœœ5 œ 5œœ5 œ œ # œ œ œ œœœœœœ œ œ# œ œ œ 0œ 2 # 4œ 5œœœœœœ 55555402 Ó ∑ œ œ œ œ œ œ œ œ œ & 4 œœ œ ©»•∞ œ œ E B G D A E B 43 G D A E E 43 B G D A E E B 43 G D A E 43 E B G D A E B 49 G D A E E 49 B G D A E E B 49 G D A E 49 E B G D A

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Ex 19

ROBBIE ROBERTSON - THE BAND

©»¡º™ 4 &4

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play: STRAT LICKS‰ f

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Example 20 Richard Thompson

Folk supremo Richard Thompson is just as at home on acoustic or electric 49 guitar, but when playing electric he invariably resorts to a Strat. This example Ex 20

BU

Track 2 Surf & Rock ’N’ Roll 12

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combines open strings with hammer-ons and pull-offs for a quintessentially folk-rock-style riff.

RICHARD THOMPSON

©»•∞ C5 4 &4 œ Œ Ó f

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Example 21TECHNIQUES Jimi Hendrix GUITAR MAGAZINE

Track 3 BLUES Rock 235

Jon Bishop's

TECHNIQUES MAGAZINE 2 3Hendrix? 5 Jonwhen Bishop's Where GUITAR would the Stratocaster be without Jimi At a time the Strat 60th Strat 60th Strat was falling out of fashion and Gibsons ruled supreme, Jimi changed Ex 21 JIMI HENDRIX GUITAR TECHNIQUES Ex 21 JIMI HENDRIX MAGAZINE 2 3 5 Middle pickup with overdrive and Uni-vibe Middle pickup with overdrive and Uni-vibe

Jon Bishop's StratE60th 7#9

©»¡™∞ JIMI HENDRIX ©»¡™∞ 4 ∑∑ and Uni-vibe ÓÓ Middle pickup with overdrive & & 44 ©»¡™∞ Drum Intro 4 Ó & 4 Drum∑Intro

ŒŒ .. Œ.

Ex 21

E B E G B D G A D E E A 1 B E G1 D A E 1

TRACK 8 everything with his exploitation of the Stratocaster’s controls and features. The Uni-Vibe effect works particularly well for those Hendrix-style wig-outs.

Drum Intro

# √ œœ œ œ √œ E 7œ 9œj œ . œ œ œ j œ œ E 7 # 9 œ œ . œ œ œœ œ œœ œ œœ œ œ œ œœ J œ œœ √J j œ œ ƒœ œ . œ œ œ œ œ œ œ œ œ œ œ J ƒ BU 12 15 BU 12 (17) 12 15 12 12 15 12 12 12 15 ƒ (17) 15 12 14 12 15 12 14 12 14 12 14 15 15

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Example 22 Steve Winwood

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14 16 12 14 16 12

14 16

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œœ œ œ œ Œ œ œ œ œœ Œ œœœœ Œ œ

14 12

14 12 10

˙˙ ˙

~~~

TRACK 8

Steve Aas 5 a vocalist and keyboard player G5 over the Middle past 50pickup years.with He isoverdrive also a great guitar player, and favours the G Strat A5 5 for

©»¡™∞ 22 STEVIE WINWOOD œœ œjj ˙˙~~ ©»¡™∞ ~~ œ œ 4 œ œ Middle pickup with overdrive ‰ œ A 5 & ‰ œœ & 44 Drum Break ©»¡™∞ 2 œ œj ˙~~ œ ƒ 4 œ Drum Break ‰ œ ƒ &4 ~~ 2 5 ~~ Drum Break 2 ƒ5 7 55 5 1010 5 7 ~~ 2 5

Ex 22

E B E G B D G A D E E A 7 B E G7 D A 23 TREVOR RABIN (Yes) Ex E Ex7 23 TREVOR RABIN (Yes) Clean, middle pickup with chorus

12 15 12

14 12

~~~ j œ ~~~ œœ œ œj œ œ . œ œœ œ œ œ œ . j œ œ~~~ œ œ œ œ . œ ~~~ ~~~

√ √œ œ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ √ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

E 15 12 B E 15 12 12 G B 12 D G A D E E 15 12 A 5 B 12 E G5 D A Ex 22 STEVIE WINWOOD E Ex5 22 STEVIE WINWOOD Middle pickup with overdrive Winwood has had a prolific output

14

œœ~~ ~~ œ~~ ~~ ~~

œœ JJ j œ œ J

j œj œ

8 8

5 7

5

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œœ œ . œ. G5 œ œ. 8 8 10 10 8

10

E5 B5 C5 D5 Clean, middle pickup with chorus E5 ‚ B5 C 5 ‚ D5 ©»¡™∞ 24 GuitarTechniques October 222014 Ex©»¡™∞ 23 TREVOR RABIN (Yes) ‚ ‚‚ ‚ ‚ ‚ ‚‚ ‚‚ JJ B 5 ‚ C‚5 D5 Clean,4middle pickup with chorus E‰5 &4

his smooth blues-rockG/F style. # In fact, it was Steve’s use of the A 5 Strat that helped j Eric Clapton # to the model from his1 Gibsons. to persuade G/Fover A5

~~~ œœ~~~œœ .. œœj œJœ œœ œœ œœ œœ œœ œœ œ œjj œ /'/' ~~~~~ œ œ œ œœ Aw5 ~~~~~ G/F # J j ~~~ w œ œ . œ œJ œ œ œ œ œ œ œ œj œ /' ~~~~~ œ w BU ~~~ / '/' ~~~~~ ~~~ BU((1212)) 1010 88 1010 88 10 8 ~~~~~ 7 5 10 8 7 5 ~~~ BU(12) 10 8 10 8 / ' 77 ~~~~~ 4 14

14

14 14

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10 8

9

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E5

E5 √ √‚‚ JJ E5

·'·'

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7

5

7

Scoop Scoop Scoop

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Ex 22 STEVIE WINWOOD A E Middle pickup with overdrive 5

#

A5 G/F A5 G5 j œ ~~~ œ ©»¡™∞ œ œ œ / j ~~ œ œ œ 2 œœ ˙ œ. œ œ. J œ œ œj œ ' ~~~~~ Ex 22 STEVIE WINWOOD œ 4 œ œ œ Aw5 60 STRAT LICKS Middle & 4pickup with overdrive A‰5 G5 G/F # j ©»¡™∞ Drum Break j ˙~~ œ œ . œ~~~ œ . œ œ œ œ œ œ œ œ œ j /' ~~~~~ 2 œ œ ƒ œ œ œ 4 J ‰ œœœ BU w ~~~~~ &4 ~~~ ~~ / 2 ' (12) 5 8 10 8 10 8 5 10 10 10 8 Drum Break 7 5 ƒ 5 7 Track 3 BLUES Rock 7 Example 23 Trevor Rabin BU ~~~ ~~~~~ TRACK 8 ~~ / 2 ' ( ) 8 12 by lightly 10 touching 8 10 8 the string above the fret indicated. As you pluck This example in the style of the Yes guitar slinger5 combines harmonics with harmonic 14

14

14

E B 8 G D A E E 7 B 5 8 10 chorus and some vibrato-arm shimmer.5 Use G 7 the tip of the finger D Ex 23 TREVOR RABIN (Yes) A E Clean, middle pickup with chorus 7 E5 B5 C5

10

9

14

10

10

to release the

‚ D5‚ ‚ ©»¡™∞ ‚ ‚ ‚ 2 ‚ Ex 23 TREVOR RABIN (Yes) 4 J ‰ Clean, & 4middle pickup with chorus E 5 B 5 C 5 ‚ D5 ‚ ‚ ©»¡™∞ Drum2Break ‚ ‚ ‚ ‚ ƒ NH 4 ‰ J &4 2 12 Drum Break ƒ NH 12 12 7 7 7 2 12

‚.

··· · · · ··· · · ·

E B G D A E E 13 B 12 G 12 Ex D 24 ERIC CLAPTON A / middle pickup overdrive and midShop boostStrats E Bridge Eric has used a variety ofwith vintage and Custom 13

Example 24 Eric Clapton

7

7

‚.

©»¡™∞ERIC CLAPTON √ ~~ 2 j œ. œ œ Bridge4/ middle pickup with overdrive boost œ œandœmid ‰ &4 ©»¡™∞ Drum2Break D5 √ J B b5 ƒœj œ œ œ~~œ œ. 4 ‰ BU J ~~ &4 2 Drum Break ƒ (19) 15 15 15 17 BU ~~ 2

E B G D A E E 19 B G D A E 19

17 (19 )

· ·

Scoop

·' ' '

« « «

Scoop 5

Scoop

5

«

5

TRACK 8

boost circuit that helped to simulate the sound of humbucking pickups. This example is pure ‘Slow combiningGstring bending and finger vibrato. D5 B b5 Hand’, C5 5

j j ~~ œ œ œ œj œ ˙~~ ‰ œ œ œ. œ œ ⋲ œ œJ ⋲ œ œ œ œ . œ œ œ œ œ œ œ Ó C5 G5 D5 B b5 C5 G5 j j œ . jœ j œ ˙~~ œ œ œ œ œ J œ œ œ . œ œ œ œ œ œ œ~~ œ œ œœœœ œ ~~ ‰ 15 17 ⋲ 17 ⋲15 1715 15 17 15 15 17 ~~Ó BU j œ œ

17 18 1715 17 17 ( 18)

17

15 15 15 17

Scoop

5

7

7

·'

E5

√‚ J E5 √‚ J

since the early 70s. He was the first to have a signature that model featured a 25dbG5 midD5 Strat, and B b5 C5 Ex 24

10 8

the string, quickly remove the finger 9and 7 the 5 harmonic will ring out.

BU 17 18 1715 17 17 ( 18)

15 18

~~

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15 15 17 15 18

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15 17

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15 1715 15 17 18

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15 17 18

~~

Example 25 Mark Knopfler

TRACK 8

2 xxxxxxxxxx

Mark’s Fiesta Red 1961 Strat has become an icon, and is the guitar he used to record classics like Sultans Of Swing and Lady Writer. Here’s some classic

Knopfler-style vocabulary; the key is to combine fingerstyle picking technique with a bridge-and-middle pickup combination and a touch of compressor.

Ex 25 MARK KNOPFLER 2 xxxxxxxxxx Clean with bridge / middle pickup E m7 Ex 25 MARK KNOPFLER

D E m7 ©»¡£∞ 2 œ œ œ œ œ~~. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ # œ œ œ œ œ œj œ . Clean 4 with bridge / middle pickup J ® ® E m7 & 4 E m7 D . ©»¡£∞ ~~ œ œ œ 2 œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ # œ œ œ œ œ œj œ . Drum Break 4 J ƒ ® ® &4 BU ~~ 2 Drum Break (8 ) 12 15 12 15 12 15 12 10 12 10 12 10 8 10 8 10 8 7 8 7 8 7 5 7 ƒ 12 14 BU ~~ 2

E B G D A E E B 25 12 15 12 15 12 15 12 G 12 14 D Ex 26 JEFF BECK A pickup with mid and boost overdrive delay E Bridge Beck is a true innovator, has pushedand what is possible with a 25

Example 26 Jeff Beck

' œ . œ œ œ œ .' œ ‰ √Œ ' œ . œ œ œ œ .' œ ƒ Œ ' ‰ ' ƒ ' '

12 10 12 10 8

©»¡¡∞ 44 & ©»¡¡∞ & 44

2

√

E B G D A E E B 31 G D A Ex 27 E 31

2

Drum Break

2 Drum Break 2

Scoop

Scoop

17

15 17 15 Scoop

17

15 17 15

17 15 Scoop

17

15

10 8 10 8

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17 14

17 14

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17 14 17 14 17 14 Scoop Scoop 17 14

7

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17 14

17 14

' œ~~ œ Scoop œ . ⋲ œ œ JScoopœ œ œ œ œ œ œ ~~ ' œ œ œ . ⋲ œ JScoop ~~ œ œ ' œœœœ œ œ

~~

0 5 7

0 5 7

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E5

.

7

(RP 8) ( 7) 5 7 BD ( 8) ( 7) 5

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TRACK 8

7

5

7

‚ ‚ ‚ ‚ Scoop Scoop ‰ ‚J ‚ ' ‚ ' ‚ NH ‰ J Scoop

·· · · ·· · · ' ' ' '

Scoop

Gargle

NH ( 5 )[ 5 ] 5 ( 5 )Scoop Scoop Gargle 5 ( 5 )( 5 )[ 5 ]

7 5

JIMI PAGE

©»¡º∞ 4JIMI PAGE∑ overdriveÓ . Bridge pickup with

7

5

7

Bridge pickup with overdrive

Ex 27

BD

7

Scoop Scoop of the vibrato arm, the volume and tone controls. This example is a good Scoop workout for the bar, and also features pull-offs and harmonics.

Strat to its Scoop Scooptechnique with precise manipulation limits. Jeff combines fingerstyle picking Scoop Ex 26 JEFF BECK Bridge pickup with mid boost overdrive and delay Scoop Scoop

D

7

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October 2014 GuitarTechniques 25 E9

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' ' √ ' ©»¡¡∞ Scoop ' œ œ œ . œ œ œ œ œ~~ 2 .œ ' œ œ œ boost overdrive and delayœ . œ Scoop Scoop 4 œ œ . œ Œ ‰ ‰ ‰ ⋲ ONœTHE CD tracks 4-15 œ & 4 œ œ œ Scoop Scoop Scoop J œ ' œ ' ~~ œ Scoop Ex 26 JEFF BECK √ ' Scoop ©»¡¡∞ Drum .œ œ œ NHScoop Scoop Bridge pickup with2Break mid boost overdrive and delay ' . ' œ œ œ œ œ œ œ Scoop œ Scoop Scoop ƒ Scoop Scoop Scoop œ œ'. œ 4 œ ' . œ Scoop Gargle ' Scoop Scoop Œ ‰ ‰ ‰ ⋲ ' √ œ œ ~~ Scoop ' & 4 œ œ œ Scoop '' œ ©»¡¡∞ JScoop 17 22 . 15œ 17œ 15 17œ .' 15 œ œ œ .' œ œ œ œ œ œ~~ œ œ 5 ( 5 )( 5 )[ 5 ] Track 3 BLUES Rock Drum Break NH 4 œ ‰ Scoopœ 17 14 ‰ 17 1417 14‰ 17 14 œ 7⋲œ 5. Œ Scoop ƒ œ œ Scoop 0œ 5 7 7œ 5 œ 5 7 &274 Jimmy Page ' J Example ScoopTRACK ' 7 Gargle 8 Scoop œ œ Scoop ~~ Scoop ' ' 2Break for 17playing ' Drumbest-known Jimmy Page is probably 1964 Lake Placid Blue Strat in the late 1970s. This exampleNH is typical of his Strat 15 a Fender Telecaster or Gibson ( 5 )[ 5 ] ƒfoundScoop 17 15 5 ( 5 )Scoop Scoop Les Paul in Led Zeppelin, but he also time17to15perform some17tunes and works well with ' 14 on 17 a 14 playing 17 14 7 a medium 5Scoop overdrive setting. Scoop Gargle ' Scoop ~~ Scoop17 14 ' 0 5 7 ' 7 5 7 5 7 5 ( 5 )( 5 )[ 5 ] Ex 27 JIMI PAGE2 ' 17 15 17 15 17 15 Bridge pickup with overdrive 17 14 17 14 17 7 5 1 14 2 E5 E9 17 14 0 5 7 7 5 5 7 ©»¡º∞ œœ 7 # Ex 27 4 JIMI PAGE . . . ⋲ . & 4pickup with∑ overdriveÓ ¿ . # œœ Bridge œ œ œ œ j œ œ œ œ œ œ 1 E5 E9 œ œœ 2 Ex ©»¡º∞ 27 JIMIDrum PAGEBreak œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ # œœ ƒ Bridge4pickup with overdrive . ∑ Ó ¿ .. E 5 œ ⋲ .. 2 œ #Eœœœ97 &4 ©»¡º∞ œœ 1 œœ j œ œœ œ œ œ 4 Drum∑Break Ó . ƒ ... œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 0 ⋲ œ ... œ œ œ œ œ œ œ œ œ ## œœœ776 &4 ¿X œ7 œ5 0 0 0 0 0 œ7 œ5 0 0 0 0 0 œ7 œ5 0 0 0 0 j œ7 œ5œ œ7 5 0 0 0 œ7œ5 0 0 3 0 0 0 0 0 0 œ œ œœœ œœœœœœ 7 Drum Break ƒ . œœœ œœœœœ œœ œœœ œœœœ 7 . 7 Ex 28 28 ROBIN TROWER TRACK Example Robin Trower 0 6 8 . . 75 75 75 75 5 7 Middle pickup with overdrive and Uni-vibe Procol Harum guitarist Robin Trower switched Stratocasters almost downtuned, and often tuned a whole tone down (D, G, C, F, A, D). To keep things 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 0 0 0 7 7 5 X to using 7 . # its Hendrix-inspired . 7 exclusively duringShuffle his solo career, which was famedEfor simple, this example is in standard tuning and combines his sought-after fuzz 16th ©»¶º 7 9 0 6 . . ~~ guitar moments. Robin is no stranger to how good a Strat can sound when tone and Uni-Vibe effect combination with the E7#9 chord. 2 7 5 7 5 7 5 7 5 5 Ex 28 ROBIN TROWER .. 7 5 œœ 0 0 0 0 0 3 0 0 0 . 0 0 0œ 0 0œ 0 0 0 0 0 0 0 0 0 0 0 0 7 œ X . œ 4 œ œ Middle pickup with overdrive and Uni-vibe.. ⋲ ¿ œ œ œ œ œ ⋲ ¿ &4 œ œ .. œ œ œ # Shuffle 16th Ex ©»¶º 28 ROBIN TROWER œ Drum Break ~~ 2 and Uni-vibe E 7œ 9 œ .. œ œ œ .. œ Middle pickup with overdrive 4 œ œ œ œ .. Eƒ ⋲ ¿ œBU œBDœ œ ⋲ ¿ ©»¶º 7#9 & 4 Shuffle 16th 22 œ œ~~~~ .. œ œ œ œ 3 3 3 3 œœ3 .. œœ3 X œ . œ œœ3 .. œœ3 X 2 (4) (2) 0 Drum Break 4 œ . ... ⋲ ¿ œ ⋲ ¿ . œ œ 5 .ƒ &4 œ œ2 œ0 œ BU BD œ7 œ5 œ7 œ7~~ 0 0 Drum2 Break 3 3 3 3 œ œ 3 3 X . ƒ 3 3 X 2 (4) (2) 0 . BU BD 5 2 0 . . ~~ Ex 29 GARY MOORE2 5 7 7 3 3 3 3 0 0 3 3 3 3 / X 7 . . Bridge pickup with overdrive A7 ' j j j j X 2 (4 ) (2) 0 j œ ©»¡¢º 5 ~~~ . 2 0 ~~ œ œ.. œ œ œ œ œ œ œ œ œ . œ œ œ . 2 5œ 7œ ˙ . 7 œ œ œ J0 œ TRACK 8 Example Gary Moore # œ Ex 29 29 GARY MOORE 0 7 J 4 ‰ Gary Moore his ’61 Fiesta Red StratA7 extensively in the 80s, and performed concert, with Mitch Mitchell on drums! Pump &used 4pickup Bridge with overdrive /' up the overdrive and dig in hard j œ Of j œFender j œStratocaster j œ a dynamite version of Red House at the 50 Years The – the more vibratojand ferocious string bending you employ, the better. . ~~ œ œ œ œ œ œ œ . Ex©»¡¢º 29 GARY Drum MOORE œ œ œ œ. œ œ œ œ # œ œ œ ˙ ~~~ . 2Break ƒ Bridge4pickup with overdrive A7 /' J J ‰ œjBUœ . œjBUœ œjBUœ œjBUœ œ ~~~ ~~. œjBUœ œ . œ œ / &4 ©»¡¢º ~~ œ œ 10˙ ~~~ . 22 œ œ œ œ œ (17 ) (17) (17 ) (17) 15 13 (15 ) 13 10 10 13 # œ Drum Break 4 J J 11 14 14 ƒ ‰ &4 /' BU BU BU BU ~~~ ~~ BU Drum 2 Break ƒ (17) (17) (17) (17) 15 13 (15 ) 13 10 10 13 10 11 14 14 /' BU BU BU BU ~~~ ~~ BU 2 ( ) ( ) ( ) ( ) D A Bridge pickup with mid E E B G 25 D A Ex 26 JEFF BECK E Bridge pickup with mid 25

boost overdrive and delay 12 Scoop15 12 15 12 15 12 10 Scoop 12 10 12 10 8 Scoop10 8 10 8 12 14 Scoop

BU

7

8

7 8 7 5 7 7 (8 )

play: STRAT LICKS

·· · · ·· · · ·· · ·

E B G D A E E 31 B G D A E E B G 31 D A E 31


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E B G D A E E 43 B G D A E E B 43 G D A E

BD Scoop Scoop ( 8) ( 7) 5

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Example 30 Ronnie Wood 3

TRACK 8

Rolling Stones’ guitarist Ronnie Wood favours his 1955 Sunburst Stratocaster that features a hardtail bridge. This example incorporates some nice and easy Ex 30

RONNIE WOOD

©»¡¢º & 44

Bridge pickup with light overdrive A7

E B G D A E

2

Drum Break

2 55


rhythm and blues style licks played over a Stones-esque boogie rhythm. Like Robbie Robertson, Woody never plays more than what’s required.

'' ' ' ' ' '' ' œ œ . œ œ . œ œ . œ œ œ 1/4 1 /4

1/4

1/4

1/4

1/4

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ƒ

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1/4

8 7

1/4

8 7

1/4

5 5

8 7

1/4

8 7

1/4

1/4

5 5

8 7

8 7

1/4

1/4

5 5

8 7

8 7

1/4

8 7

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1/4

'

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5 5

5 5 13

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1/4

12

13

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1/4

13

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1/4

1/4

12

1/4

12

13

12

1/4

13

14

~~

LIVEPIX & PHOTOSHOT

60 STRAT LICKS

John Frusciante infused RHCP with clean, dry Strat tones

Stevie Ray Vaughan brought Strat blues to the masses in ’83

Track 4 FUNK & FUSION

Example 31 Nile Rodgers GUITAR TECHNIQUES MAGAZINE 2 3 5

TRACK 10

Jon Bishop's

Nile Rodgers has been a prolific hit machine since the heady disco days of the 70s, Strat 60th right up to the present day. His sound has stayed pretty much the same, so select Ex 31 NILE ROGERS GUITAR TECHNIQUES MAGAZINE 2 3 5 Clean with neck pickup Gm7

©»¡º∞ Ex 31 NILE ROGERS2 44 Clean with neck pickup & ©»¡º∞ Drum2Intro & 44 2 Drum Intro

œœ b œ ..Gm7œœ œ œœ b œ ƒ .. œœ œ 10 10 11 .ƒ . 1010 12

D m7 D m7 ¿¿ œœ Strat œœ ¿¿ 60th ¿¿ œ D 7sus4 ¿¿ œœ ⋲ œœ ¿¿ ¿¿ œœ ¿¿¿ œœœ ⋲ œœœ ¿¿¿ œœ ¿ œD m7œ ¿ œœ D m7 ¿¿ œœ œœ ¿¿ ¿¿ œœ D 7sus4 ¿¿ œœ ⋲ œœ ¿¿ ¿¿ œœ ¿¿¿ œœœ ⋲ œœœ ¿¿¿ œœ œ ¿ œœ œœ ¿ X 13 X 10 X X

Jon Bishop's

E B X 11 X 10 11 X X 10 G X 10 X 12 10 X X 10 D 12 X X 10 X 12 X 10 A 10 12 12 E E 10 10 X X X X 10 13 10 1 B X 10 10 11 X 11 11 X X 10 G X 10 X 12 10 10 X X 10 DEx 32 EDDIE HAZEL - Funkadelic 10 12 X 12 12 X X 10 X 10 A 10 12 12 E Clean 10 be achieved 10 The Stratocaster is an excellent guitar for funk, and good results can middle pickup with wah wah 1

2

the neck (or neck/middle) pickup, dial up a lively clean tone and strum those funky 16th-note rhythms. Thin picks and light strings round off the equipment list.

. .

Example 32 Eddie Hazel

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Cm7

œ ¿ b b œœœCm7œ ¿¿¿ œ œœ ¿¿ b b œœ œ ¿¿ œ

C m11

C m7

œœ œœ œœ œœ œœ ¿¿ ¿¿ œœ œœ . œœ ⋲ œœC m11 œ œ⋲œ¿¿œ œ⋲. œ œ œœ œœ C m7œœ ¿ ¿ œœ œ œœ œœ œœ œœ œœ œœ ¿¿ ¿¿ œœ œœ . œœ ⋲ œœ œœ œœ ⋲ variation œ ¿ ¿ onœ rpt . œ. . ⋲ . œ œ œ œ œœ ¿ ¿ œœ œ œœ X 8 8 8 8 8 X X 8 8 . X 8 10 10 10 8 X X 8 8 8 8 8 8 X X on8 rpt . .8. variation X 8 . 10 X 10 10 10 10 10 X X 8 10 10 8 8 8 8 8 8 8 X 8 8 8 8 8 X X 8 8 . X 8 10 10 10 8 X X 8 8 8 8 8 8 X X 8 8 TRACK X 8 . 10 10 X 10 10 10 10 10 X X 8 10 10

10 X X 8 10 X X 8 10 X X 8 12 X X 8 10 8 10 X X 8 10 X X 8 10 X X 8 12 X X 8 10 dreams can8come true! 8 This example 8 8 8is in the 8 style of8funk master 8 funk Eddie

favoured the Strat for his work with Parliament and E 9Funkadelic. ©»¡º∞ # œœ. ¿ œœHazel,œœwho . œœ œœ 2 - Funkadelic EDDIE HAZEL . j j # ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ œœ j Clean 4 middle pickup with wah wah & 4 œE 7œ œ. œ. ¿¿ ¿¿ œ. œ œ ⋲ œ . œ œ œ. œ. ‰ # œ. œ ⋲ J œ œ œ. œ. ¿¿ ¿¿ œ. œ œ ⋲ œ . œ œ œ. œ. ¿¿ ¿¿ ¿¿ ¿¿ E 9 ©»¡º∞ œœ œœ Drum2Break œ ¿¿ œ œœ .. j j # 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ƒ j ¿¿ ¿¿ œ œ ⋲ œ . œ œ œ ‰ ⋲ J œ œ œ ¿¿ ¿¿ œ œ ⋲ œ . œ œ œ ¿¿ ¿¿ ¿¿ ¿¿ œ œ &4 œ œ œ œ œ œ œ. . . œ œ. . 2 7 7 7 .. . . . 14 X 14 12 Drum Break 7 7 7 X X X X X X X X X 14 14 12 7 7 7 ƒ XX 5 5 XX XXXX 7 7 5 7 XX7 5 7 7 7 5 7 7 7 5 7 XX7 5 7 7 7 5 7 XXXX 2 7 7 7

with all five pickup selector positions. E 7 Add a bit of a wah-wah pedal and all your Ex 32

E B G D A E E B 7 G D AEx 33 CURTIS MAYFIELD 7 E 7 Clean middle pickup with wah

14 X 14 XX 14 X 14 5 XX 7 5 7 XX7 5 7 7 7 5 7 wah F6 Rock wah in crotchet rhythm

©»¡™∞ 2 CURTIS MAYFIELD 4 ¿¿¿ ¿¿¿ ¿¿¿ Clean middle pickup with wah wah &4

Ex 33

¿¿¿ œ œ ¿¿¿ œ ¿¿¿ ¿¿¿ ¿¿¿

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œ ¿¿ ¿¿ œ ¿¿

XX XX 7 7 5 7 XX7 5 7

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XXXX XXXX 7 7 5 7 XXXX

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7 7 7 7 7 7


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on rpt . . . 8 X X 8 8 . 10 12 X 12 12 X X 1010 12 X 1012 1012 XX XX 88 10 XX 108 108 108 108 variation . 10 X X 8 10 10 X 13 X 10 10 10 X X 10 10 8 8 8 8 8 8 8 8 . 1010 11 XX 1011 1011 XX XX 1010 XX 1012 1010 XX XX 88 XX 88 108 108 108 88 XX XX 88 88 . ©»¡º∞ 2 . 10 12 X 12 12 X X 1010 12 X# œœ1012. ¿ œœ1012 XXœ . XX 88 10 XX 108 108 108 108 108 XX XX 88 10Eœ9108œ . j 10 j 10 ¿ 10 œ . 8 8 THE 8 jCD 8 8 8 ¿ ¿ ¿8¿ #4-15 ¿¿¿ ¿¿ ¿¿¿ ¿¿ ON 4 tracks ‰ ¿¿ ¿¿ ¿¿ ¿¿ œœ8œœ ⋲ ⋲ J ⋲ . . & 4 œ œ ¿ ¿ œEœ7 œ. œ. œ. œ œ œ œ œ. œ. # œ. œ œ œ œ. œ. œ. œ œ œ œ œ. œ. E9 ©»¡º∞Drum2Break- Funkadelic Ex 32 EDDIE HAZEL œ œœ œœ . œ ¿ œ œ . j j # ¿ ⋲J Clean 4 middle pickup with wahƒ wah ¿¿ ¿ ¿ ¿ ¿ œœ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ ¿ ⋲ ‰ ¿ ⋲ ¿ . . & 4 ¿ œ ¿ œ ¿ ¿ ¿ ¿ ¿ ¿ E7 E9 ©»¡º∞ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. . . œ œ. . # œœ ¿ œœ œœ .. œ. . . œ œ. . 2 j j # œœ777 œœœ777 777 14 ¿X & 14 12 4 FUNK FUSION 4 Drum Break ƒ Track ¿ ¿ ¿ ¿ ¿ j X ¿X X 14 ⋲ 12 X ¿X X¿ X¿ X¿ X œ 14 ‰ ¿ ¿ ¿ ⋲ J ⋲ ¿ ¿ ¿ &334 Curtis Mayfield Example œ7 œ7 œ.5 œ.7 ¿XX ¿XX œ.7 œ5 œ7 œ5 . œ7 œ7 œ.5 œ.7 œ7 œ7 œ.5 œ.7 ¿XX ¿XX œ.7 œ5 œ7 œ5 . œ7 œ7 œ.5 œ.7 ¿XX ¿XX ¿XX ¿XXTRACK 10 2 7 7 and 7 Curtis Mayfield is another Strat player who liked the sound of the wah pedal. From Shaft. This example combines a single-note riff with muted strings, Drum Break 14 14 12 pedal is rocked back and forth in a crotchet rhythm. 7 7 7 Just think of those iconic ‘cop show’-style theX ƒ partsXfrom X songs like The Theme Xwah-wah XXXX 7 7 7 XX 14 14 12 5 5 XXXX XX Ex 33 CURTIS MAYFIELD 7 7 5 7 X X 7 5 7 7 7 5 7 7 7 5 7 XX7 5 7 7 7 5 7 XXXX XX 2 7 7 7 Clean middle pickup with wah wah 14 X 14 12 7 7 7 XX X 14 12 XX XXXX 7 7 7 14 F6 5 in crotchet rhythm 5 ©»¡™∞ X X Rock wah XX XXXX 2 7 7 5 7 X X 7 5 7 œ œ 7 œ7 5 7 7 7 5 7 XXXX Ex 33 CURTIS MAYFIELD œ ¿ ¿ œ 7 7 5 7 XX7 5 7 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Clean middle pickup with wah wah &4 ‘ ‘ ‘ ¿¿¿¿ ¿ ¿¿¿¿ ¿¿ F6 ©»¡™∞ Rock wah in crotchet rhythm Ex 33 CURTIS MAYFIELD Drum2 Break ¿¿ ¿¿ ¿¿ ¿¿ œ œ ¿¿ œ ¿¿ ¿¿ ¿¿ ¿¿ œ ¿¿ ¿¿ œ Clean4middle pickup with wah wah ƒ & 4 ‘ ‘ ‘ ¿ ¿¿¿¿ ¿¿ F6¿ ¿ ¿ ¿ ©»¡™∞ Rock wah in crotchet rhythm 2 Drum Break 4 ¿¿XX ¿¿XX ¿¿XX ¿¿XX 10œ 10œ ¿¿XX 10œ ¿¿XX ¿¿XX ¿¿XX ¿¿XX 10œ ¿¿XX ¿¿XX 10œ ‘ ‘ ‘ ƒ &4 ‘ ‘ ‘ ¿X ¿X ¿X ¿X ¿X ¿X ¿X ¿X ¿X ¿X ¿X Drum 2 Break X X X X X X X X X X X X X X X 10 10 X 10 X X X X 10 X X 10 ƒ ‘ ‘ ‘ Ex 34 ERNIE ISLEY X X X X X X X X X X X TRACK 10 Example 34 Ernie Isley 2 Bridge pickup with fuzz and phaser Ernie Isley created his distinctive signature leadXtone That Lady X by X combining X X a fuzz X X X X X XPart 2 are classic examples of his Hendrix-esque fuzz-tone freakouts, Dm7 Am7 X X XBreeze X 10 X X X X X example X 10 Dm7 10 10 and 10this ~~ tone, heavy phaser and of course a Stratocaster. Who’s and is very much ‘ in that vein. ‘ Am7 ‘ ~~ j œ XX Summer j ©»¡™∞ X œX . X X œ X jX X X X X √ œ œ œ Ex 34 ERNIE ISLEY œ œ j ~~ 2 œ œ œ œ œ œ œ. œœ œœ œœ œœ œœ œ œ œ œ œ œ ˙ Bridge4pickup with fuzz and phaser J J ∑ ‰ J œ œ œ œ Am7œ & 4 Dm7 Am7 Dm7œ j œ œ œ~~ j Ex ©»¡™∞ 34 ERNIE ISLEY √ . œ œ j œ œ œ 2fuzz and phaser œ œ œ œ œ œ œ~~. œ œ œ œ œ œ œ œ œ œ œ œ œj œ œ œ ˙~~ Drum Bridge pickup withBreak ƒ 4 J J ∑ ‰ jBU RP RP J ~~ Dm7œ œ œ œ œ Am7œ BU RP RP~~ Dm7 ~~. œjBUœ œ œAm7 jBU &4 ©»¡™∞ √13 10 13 10 13 10 13 10 13 10 13 10 j (15) (15) (15~~ œ œ œ œ~~ 2 œ œ œ œ œ œ œ~~ . œ œ 10œ œ 10œ œ 10œ œ 10œ œ 10œ œ 10œ œ œ œ ˙ ) (15 ) (15 ) (15 ) (15 ) Drum Break 13 10 4 J J (14 ) 12 10 12 ƒ 10 ∑ ‰ J œ œ œ œ œ œ &4 RP ~~ BU BU BU RP RP ~~ 13 10 13 10 13 10 13 10 13 10 13 10 BU(15) (RP ~~ 2 15 ) (15 ) Drum Break ( ) ( ) ( ) ( ) 15 15 15 15 13 10 10 10 10 10 10 10 ƒ (14 ) 12 10 12 10 RP ~~ Ex 35 IKE TURNER BU BU BU RP RP ~~ 13 10 13 10 13 10 13 10 13 10 13 10 BU(15) (RP ~~ 2 15 ) (15 ) Clean with bridge pickup (15 ) (15 ) (15 ) (15 ) 13 10 10 10 10 10 10 10 G9 G9 G 6 G 9 (14 ) 12 10 12 10 G 7 Shuffle quavers G 7 ©»¡¡∞Ike œ œ œœ œœœ œœ 10 TRACK Example Turner Ex 35 35 IKE TURNER 2 j œ œ j j œ œ j œ œ œ œ œ œ œ shrillœand j j œœ ‰ impresario, œœ ‰ bR&B-style Rock ’n’ roll innovator, bluespickup legend and œ all-round play, but veryœeffective, riff. Ike’s 44with bridge œœ ‰ IkeœœTurner œœ ‰sound Clean œœanused œœ b œwasn œœdeliberately ‰ ‰ ‰ Œ b œ example n b easy œ n œœ Œto Œ œ n œœand‰just Œ & œ œ œ œ his Stratocaster to great effect on many big hits. This features dry, so select the bridge pickup go for it! G 7 G9 G 7 G9 œ J œ œ- œ- J J œ J œ œ Gœ6 Gœ9 ©»¡¡∞ Shuffle quavers J J Ex 35 IKE TURNER 2 Drum Break Clean4with bridge pickup ƒ œ œœ ‰ b œj n œœj ‰ œœ ‰ œœ b œj n œœ Œ G9œœ œœ GŒ7 œœ ‰ œœ ‰ b œj n œœj ‰ œœ ‰ œœ b œj n œœ Œ G9œœ Gœœ6 Gœœ9 œ Œ ‰ G 7 & 4 Shuffle quavers œ œ œ œ ©»¡¡∞ œj œJ œ œ œ- œœj œJ œ œ œ œœ œ 2 J J J J 10 10 œ œ Drum Break œœ67 ‰ œœ55 ‰ b œj n œœ34 ‰ œœ67 ‰ œœ55 b œj n œœ34 Œ 1010œ 1010œ Œ œœ67 ‰ œœ55 ‰ b œj n œœ34 ‰ œœ67 ‰ œœ55 b œj n œœ34 Œ 101010œœ 121212œ 101010œœ 4 ƒ Œ &4 œ5 œ5 œ5 œ5 œ3 œJ5 œ5 œ3 œ3 œJ5 œ5 œ3 J J J J 2 10 10 10 12 10 Drum Break 3 6 5 3 10 10 6 5 3 6 5 3 10 12 10 ƒ 67 55 4 7 5 4 10 10 7 5 4 7 5 4 10 12 10 5 5 3 5 5 3 5 5 3 5 5 3 2 10 10 10 12 10

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D Ex 32 EDDIE HAZEL - Funkadelic A E E B 1Clean middle pickup with wah wah G E7 D AEx 32 EDDIE HAZEL - Funkadelic E 1Clean middle pickup with wah wah

play: STRAT LICKS E B G D A E B 7 G D A E E B 7 G D A E 7

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Example 36 John Frusciante 2 xxxxxxxxxx

TRACK 10

The Red Hot Chili Peppers’ lead guitarist, John Frusciante, favours his beatenup Sunburst 1964 Stratocaster. The Strat is the perfect choice for his hybrid Ex 36

funky rock style, and features on many of the biggest Chili Peppers’ hits. Again, John’s tone is usually clean and dry – the Strat’s bare bones, if you like.

JOHN FRUSCIANTE

Clean with middle pickup and cocked wah wah

©»¡ºº & 44

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F5 G5 D5 F5 D5 œ œ C5œ ˙ ~~~ ~~~ Dœ5. . ~~~ ~~~ œ . œ. œ œ œ œœ œ ˙ œœ œ ˙ œ ˙ ƒ ~~~ 5 8 ~~~ ~~~ ~~~ D5

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Ex 37 JOHNOctober MAYER 2014 28 GuitarTechniques

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Neck pickup with light overdrive Dm

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Ex 36 JOHN FRUSCIANTE 2 xxxxxxxxxx Clean with middle pickup and cocked wah wah

F5 D5 G5 D5 F5 D5 ©»¡ºº œ œ C5œ ˙ ~~~ 2 ~~~ . ~~~ ~~~ œ . . . œ œœ œ œœ œ ˙ œ œœ 4 60 STRAT LICKS œ ˙ œ ˙ &4 D5 F5 D5 G5 D5 F5 D5 C5 ©»¡ºº Ex 36 JOHN FRUSCIANTE Drum2 Break ~~~ œ . ~~~ œ . œ œ œ ˙ ~~~ ~~~ œ . œ œ . œœ œ ƒ œ œ 2 xxxxxxxxxx 4 œ ˙ Clean with middle pickup and cocked wah wah œ ˙~~~ œ ˙~~~ &4 ~~~ D5 ~~~ 2 D5 F5 D5 G5 F5 D5 5 ©»¡ºº 8œ œ C5 Ex 36 JOHN FRUSCIANTE Drum 2 Break ~~~ . ~~~ 6 . Track 5 6FUNK 5 6 5 8 4 & FUSION ~~~ œ œ ˙ ~~~ œ . œ œ 7œ ˙ œ. œ œ 7 ƒœwah wah œ œ 4 7 Clean with middle pickup and cocked TRACK 10 Example Mayer œ ˙~~~ œ ˙~~~ & 4 37 John ~~~ D5 dial in a creamy ~~~ 22Break 5 5 G5neck pickup and F5 D5 5 C5in hard ©»¡ººblend ofDrum Mayer’s pop and blues is theDperfect fit forF5 a Strat, and hisDSRV-style blues overdrive. Digging is rewarded 8œ ~~~ 6œ . 5the 7 with~~~ . œsound. ~~~of hisœsignature 6guitarists. 5 8œ ˙ ~~~ tone has inspired a new generation ofƒ For this example, select a big, fat6œtone –5 the cornerstone . . œ œ œ œ œ œ œ 4 œ ˙ 7œ ˙ 7œ ˙ Ex 37 & 4JOHN MAYER2 ~~~ 5 8 ~~~ ~~~ ~~~ Neck pickup with light Break overdrive Drum ~~ 6 5 6 5 6 5j 8 j œ œ œ ƒ ~~7 Dm ©»¡ºº œ œj b œ œ œ 7œ n œ . œ œ œ 7 œ œ œ œ œ œ œj . Ex 37 JOHN MAYER œ œ ~~~ Œ 5 8 œ œ œ œ œ~~~ ~~~ ~~~œ œ ‰ Œ . J 4 œ œ . œ œ 2 ∑ Ó Ó ‰ œ œ Neck & pickup 4 with light overdrive œ 6 5 6 5j ~~œ 8 j œœ œ3 j ©»¡ººDrum Break Dm 63 5 ~~7 œ œ œ œ 3j 37 œ œ œ œ œ œ œœ 3 Ex 37 JOHN MAYER œ . œ 3œ Ó ‰ œ b œ œ œ œ n œ œ . œ œ ‰ Œ . J 7 ƒ 4 œ œœœ . œ ∑ Ó Œ œ Neck & 4pickup with light overdrive œ ~~ œ ~~ j j œ œ13 j œ ©»¡ººDrum Break Dm 3 3 3j 3 œ œ 15œ œ1315œ œ13œ œ œ13 œ ~~ 13 10 15 13 b œ n œ œ . 3 œ œ œ œ. œ œ10 œ 3 Ex 37 JOHN MAYER 12 ƒ 4 with∑light overdrive 12œ 10œ Ó . 12œ 10œ 12œ 10œ~~12œ 10œ12œ Ó ‰ 13 1210œ 12 10 12œ 10œ ‰ Œ . J~~ Œ Neck & pickup 4 12œ8 j j œ œ œ 13 œ œ œ 13 œ 13 ©»¡ººDrum Break Dm 3 œ œ œ 3j 3j 3 œ œ œ ~~ 13 10 15 15 13 15 13 b œ œ œ 12œ n œ10œ . œ 12 œ œ10 œ 3 ƒ œ 10œ . 12œ 103œ œ Ó ‰ œ 13 1210 œ 10œ ‰ Œ . J Ex 38 4 HIRAM BULLOCK . œ 10 12 12 12œ 10œ TRACK 10 ∑ Ó Œ Example 38 Hiram Bullock œ &4 12 12 12œ8 ~~ ~~ Neck pickup with chorus and octave up The late Hiram Bullock worked with everyone from Jaco Pastorius and3David 3 this example uses a melody13 played in octaves13 and the chorus effect is great for 13 3 Drum Break b b 13 Strat; 10 15 15 13 B13 15 13 3 all sorts of sounds ©»¡º™to Billy Joel B 7He coaxed D from 13 the Cthat m7 80s sound. Sanborn, creating 3 10 12 10 3 13 1210 12 10 2 and Sting.ƒ Ex 38 HIRAM BULLOCK 10 12 12 10 12 10 12 10 œ b œ œ b œ b œ12bupœ œ b œ œ ~~œ œ œ12‰ ‰ b œ b œ œ b œ œ Œ ‰ b œ b œ œ b œ~~œ13 œ œ ‰ b13œ 13b œ œ b œ œ b œ 12œ Œ8 Neck & 44pickup with chorus and‰octave J 13 12 10 10 15 15 13 B13 15 ©»¡º™ Drum Break B b7 J D b13 J 13 C m7 J 10 13 1210 12 10 2 Ex 38 HIRAM BULLOCK 10 12 12 10 12 10 œ ƒb œ12upœ b œ œ œ œ12‰ ‰ b œ œ b œ œ b œ œ Œ ‰ b œ œ b œ œ b œ œ œ ‰ b œ œ b œ œ12b 10œ 12œ Œ8 44 Neck pickup with chorus and‰octave bœ bœ bœ bœ œ & ©»¡º™ Drum2Break B b7 J D b13 J C m7 J B13 J 2 Ex 38 HIRAM BULLOCK ƒb8œ bup6œ 8œ b6œ œ 8œ 6œ 8œ ‰ ‰ b8œ b6œ 8œ b8œ œ b 6œ 8œ Œ ‰ b8œ b6œ 8œ b 6œ œ b8œ10œ 6œ 8œ ‰ b8œ b6œ 8œ b8œ œ b6œ 8œ Œ 4 Neck & 4pickup with2 chorus and‰octave ©»¡º™ Drum Break B b7 J D b13 J C m7 J B13 J 2 œ ƒ Ex 39 4 LEE RITENOUR ‰ b8œ b6œ 8œ b6œ œ 8œ 6œ 8œ ‰ ‰ b8œ# b6œ 8œ b8œ œ b 6œ 8œb Œ ‰ b8œ b6œ 8œ b 6œ œ b8œ10 6œ 8œ ‰ b8œ# b6œ 8œ b8œ œ b6œb 8œ Œ & 4 Neck pickup clean A7J 9 A7 9 A 7J9 A7 9 J JF 2 with chorus√D m7 Drum Break ©»¡º™ 8 6 6 8 10 6 8 6 ƒj 8 6 8 6 8 6 8 2 Ex 39 LEE RITENOUR œ 8 6j 8 8 œ 8 6 8 8 8 j œ8 6 8 10 Example 39 Lee Ritenour 4 œ œ œ œ œ œ œA 7œb 9 ⋲ F⋲ œ ⋲ œ Ó œA 7 # 9b œ œ œA 7œb 9 TRACK Œ Œ Neck pickup clean with chorus œ D m7 œ ¿ œ œ œ A7‰# 9b œ œ 2 & 4 œ œuses theœ œfingerstyle Session ace and fusion pioneer√ Ritenour is well known for his Cherry Red ES-335. This example to play a melody in octaves. Select œ œ ¿is6œalsoœ aœgreatœ guitar for jazz-fusion. œ œthe œ œ8 10technique œ œdialb up But©»¡º™ he also plays an EMG-loadedœStrat, which and b œ œ a œlively 8 6 neck-and-middle-pickup 6 combination 6 8 clean 6 sound. œ 2Break Ex 39 LEEDrum RITENOUR œ 8 6 8 8 6j 8 8 œ 8 6 8 8 j œ8 6 8 j œ8 6 8 œ œ 8 4 œ œ œ œ œ ƒ œ fingers ¿ œ œ œ Œ A7‰# 9b œ œ œ Aœ7 b 9œ ⋲ ⋲F œ ⋲ œ Ó œ A 7 # 9b œ œ œ Aœ7 b 9 Œ With Neck pickup clean with chorus œ D m7 &4 √ œ 2 œ œ ¿œœœ œ œ œ bœ ©»¡º™ RITENOUR b œ j œ 15œ 13œ 15œ 13œ 15œ 15œ œ13 13œ œ15 œœ œ 2Break 15 13 X 13 13 13 15 Ex 39 LEEDrum j j 15 13 12 œ 12 10 13 12 10 4 œ œ œ œ œ œ ƒ œ œ ¿ œ œ œ œ œ œ œ With fingers 12 10 10 10 10 12 12 10 12 12 10 10 12 12 X # b # Œ ‰ ⋲ ⋲ ⋲ Ó Neck A 7 9b œ œ A 7 b 9 Œ & pickup 4 clean2with chorus√œ D œm7 œ ¿ œ œ œ œ A7 9b11œ 10œ œ œA 7œ 9œ œ F œ œ œ œ 11 10 œ 8 œ œ œ bœ ©»¡º™ Drum2Break 15 13 b œ œ œ X 13 13 13 13 15 15 13 œ j 15 œ ⋲1512œ ⋲ 1512œ 1310œ ⋲ 1310œ 1512œ Ó œj 1512œ 13 12 10œ œ Œ 13j12 œ 12 10 œ œ Ex 40 4 SCOTT HENDERSON ƒ œ 12 œ ¿ œ œ œ œ With fingers 10 10 10 10 12 12 10 X Œ ‰ b b11œ 10œ œ8 œ œ œ œ œ œ œ œ œœ œ œ &4 11 10 Neck pickup with 2 overdrive œ 7 œ œ ¿ œ œ œ œ G b7 # 5 b œ œG bœ7 # 5b œ C C7 15 13 œ œDmœ 15 ©»¡¡• Drum2Break j ƒ15œ 13 b Xœj 13œ 13œ13b œj15œ œ b œ 13 12œœ15 13 12œ 10 15 15 13 13 15œ 13b œ 12 10 n œ œ b œ Ex 40 SCOTT HENDERSONœ œ 12With œfingers b11œ œ10 12œ œ10œ œ œ œ œ12œ œ œ12 10 10œ 12 œ . 10 12 X 10 10 10 12 4 Œ bœ n œ Gbbœ7 # 5 11 10 œ8nDmœ Neck pickup with overdrive 2 &4 C7 G b7 # 5 C7 15 13 J 15 13 12 10 œ 15 13 Xj 13 13 13 15 15 13 15 15 13 13 15 ©»¡¡•Drum HENDERSON 10 j œ 12œ 10œ b œ 10œ 10œ10b œj12œ œ b œ b13œ 12œ12œ 10 12 b œ b œ n œTRACK 10 2 Break œ œ Ex 40 SCOTT œ œ œ . 12 12 10 10 12 12 X œ ƒ œ œ œ Example 40 Scott Henderson 4 œ œ œ b œ 11 œ10 11 10 œ8n œ œ œ Œ b œ n œ Neck &Henderson 4pickup withis2overdrive G bstraight-ahead 7#5 7 that real jazz-rock flavour. G b7 # 5 Scott favours Dm a gnarly tone, BUC 7 but also has BU a penchant for Scott a fusion master, the Whole Tone scale C for J j œ 8œ tone, 8œ neck-pickup j ©»¡¡• blues. This example showcases his classic combined with so crank the amp’s front end or use a medium distortion from j bœ œ œ b 9œ b11œ 9œ 9œ11œ 9œ 7 9œ 7œ 9œ 7 7œ 9œ 7 5 b11œ b 9œ an12good œ 15œ pedal. 2 10 œ 8œ . Drum HENDERSON Break Ex 40 SCOTT œ (12œ ) 8œ (13) b œ 11 ƒ 4 œ œ œ b œ n œ œ CŒ7 b8œ 10œ 12 n9œ G11b7 # 5 9œ Dm Neck & 4pickup with2overdrive BUC 7 G b7 # 5 BU J j ©»¡¡•Drum Break j œ 8œ 8œ b œ (13œ) 8œ b œj 11œ œ b 9œ b œ 9œ œ 9œ 7œ 7œ b11œ b 9œ n12œ 15œ 2 10 8œ . œ œ (12 ) ƒ 11 9 11 9 7 9 7 9 7 5 œ œ œ œ œ œ œ œ Œ b8œ 10œ œ 9œ n12 n9œ b11œ & 44 BU BU J 2 8 8 11 9 9 9 7 7 10 8 11 9 12 15 Drum Break 11 9 11 9 7 97 9 75 ƒ(12) 8 (13) 8 10 9 11 9 12 BU BU 2 8 8 D5 Ex 36 JOHN FRUSCIANTE 2 xxxxxxxxxx Clean with middle pickup and cocked wah wah

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play: STRAT LICKS

ON THE CD

tracks 4-15

Track 5 BLUES Example 41TECHNIQUES Chris ReaMAGAZINE GUITAR

235

Ex 41 CHRIS REA GUITAR TECHNIQUES MAGAZINE 2 3 5 Bridge pickup with overdrive C7

TRACK 12

Jon Bishop's

60th Blues guitarist Chris Rea is a Strat man. Inspired by the great RyStrat Cooder, he often plays his lead melodies with a slide. This example uses a very simple

rhythm, but comes to life with some heavy slide vibrato. Use the slide to swoop up from below the note.

Jon Bishop's Strat 60th

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E B G D A E B 1 G D A E E 1 B G D A E E 1 B G D A E E1 B G D A E B 7 G D A E E 7 B G D A E E 7

B G D A E E7 B G D A E B 13 G D A E E 13 B G D A E E 13 B G D A E E13 B G D A E B 19 G D A E E 19 B G D A E E 19 B G D A E E19 B G D A E B 25

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SONNY LANDRETH

Middle pickup with overdrive

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RY COODER

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E B G D A E The Irish 19

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~~~ . œ. œ. œ. œœ. œœ. œœ. œœ. œ œ b œ œ œ œ œ j ~~ ~~ b œ Mayer n œ tipsœ b œ n œ œ . œ œ œ œ œ bœ œ œ œ b œ œ ‰John J ‰ ‰ J Œ his hat to Strat legends Hendrix, SRV and Clapton f With slide ~~ ~~~ ~~ 8 8 8 8 8 8 8 8 8

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Example 45 Rory Gallagher

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blues legend was a dab hand with a slide, and perhaps the first-ever player to popularise the ‘beaten-up Strat’ look. Fender now makes an exact Ex 45

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TRACK 12

replica of Rory’s original, complete with all the wear and tear! Rory played in earnest, so throw back your head, dig in and enjoy every note you play!

RORY GALLAGHER


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E B G D A E

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Buddy ~~ Guy: one of the Strat’s œ œ œ œ longestœ Œ standing

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Example 46 Buddy Guy

TRACK 12

2 xxxxxxxxxx

One of the most expressive bluesmen ever, Buddy was an early adopter of the Strat, and today a polka-dot paint job adorns his signature model. Buddy’s setEx 46

BUDDY GUY

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up is simple – fit .011-gauge strings and plug straight into a Fender Bassmanstyle amp, with all the controls up apart from the bass, which is left on 0.

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Ex 47


ROBERT CRAY

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Note how the fall-off lick (bar 3, beat 4) is the 8 to the C7 œ œ œ . b œ ~~ j œ . b œmark. (13) playing ~~ Breakinfluenced 11 8 8 sound. 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E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E

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60 STRAT LICKS

Francis Dunnery: It Bites’s stunningly gifted guitarist

Kenny Wayne Shepherd: blues whizz-kid who’s really come of age

Track 6 Alternative & Progressive Example 51 Adrian Belew

TRACK 14

GUITAR TECHNIQUES MAGAZINE 2 3 5

Bishop's Experimental guitarist Adrian Belew has an eye for the Jon unusual, and his work 60this all about with David Bowie proved to be a great partnership. ThisStrat example

Ex 51

the atmosphere the guitar can bring to a track, and uses an aggressive fuzz tone and a bridge pickup selection.

ADRIAN BELEW

©»¡º¶ Ex 51 ADRIAN # # 4 BELEW 2 Bridge & pickup4 with fuzz and delay ©»¡º¶ # # 4 Drum2Intro & 4 2

GUITAR TECHNIQUES MAGAZINE 235 Bridge pickup with fuzz and delay

E B Drum Intro G D A E E 1 B G Ex 52 DAVID GILMOUR D A Neck pickup with compressor and delay E The m7 1 neck pickup of the Strat soundsDgreat

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~~~~ Strat 60th . œ œ œ œ w œ J D ~~~~ w œ . œJ œ œ œ ƒ ~~~~ Jon Bishop's

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Example 52 David Gilmour

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TRACK 14

for blues-orientated a key component of the Gilmour style, but underneath it all is a finely honed ~~~~ j œleadjwork, j œ . are ˙ ~~~ especially when a compressor andœbigwdelays are added. Big technique all about note choice ©»¡¡º ˙ œ string œbends œ œ œ œj œ œ œ j and placement. œ œ that’s 2 œ œ Ex 52 DAVID GILMOUR œ œ œ œ œ œ œ œ œ J œ Neck pickup & 44 with compressor and delay ~~~ jD m7 ~~~~ ˙ œj œ œj œ . ©»¡¡º Drum2Break ƒ œ w ˙ œ œ œ œ œ œ œ œ œj œ œ œ œ œ œj œ œ œ œ œ œ BU RP J ~~~ BU BD BU BU & 44 BU ~~~~ 2 10 ( )(17) ( ) ( 17) 13 13 10 10 10 13 10 Drum Break ƒ(15) (14) 12 10 12 10 12 12 10 10 (14 ) 12 RP BU BU BD BU ~~~ BU BU ~~~~ 2 10 ( )

E B 13 G D A E E 7 B 13 (15 ) G Ex 53 THE EDGE D A E Clean with bridge and middle pickup and Herdim pick 7 Set delay to dotted quaver repeats and crotchet repeats

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©»¡£• œ œ œ œ œ œ œ œ œ œ Eœm œ œ œ œ œ œ œ œ œ œ œ œ Cœ œ œ œ œ œ October œ œ2014 œœ THE EDGE GuitarTechniques 33 œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ Clean with bridge and middle pickup and Herdim pick 4 &delay4to dotted quaver repeats and crotchet repeats Set

Ex 53

BU BD ~~~~ ~~~~ ~~~~ 10 ©»¡¡ºDAVID GILMOUR ˙ œj œ œj œ . 12 ˙12~~~15œ 15œ œ œ 5œ œ 3 œj œ œ œ œ 7œ œ(j8) œ(7œ) 5 œ œ w 2 œ œ œ œ pickup 4 with compressor and delay J ONœTHE CD tracks 4-15 & 4 D m7 ~~~~ j ©»¡¡º GILMOUR ˙ œj œ œj œ . ˙ ~~~ œ œ œ œ œœœ jœ j œ w 2Break ƒ Ex 52 DAVIDDrum œ œ œ œ œ œ œœœœ œ œ 4 with compressor and delay J œ Neck pickup RP &4 m7 ~~~~ BU ~~~ BU j BD BU j ~~~ BU jD w 2Break ©»¡¡º Track ˙ ( BU œ œ œ œ. œ (Alternative ˙ œ 13œ 10œ œ 10œ œ œ œ œj œ 10œ 10œ 13œ 10œ œj œ œ œ œ œ Drum2 )(17) ( ) ( 17) 15 ) 13 & Progressive ƒ 6 (14) 12 10 12 10 12 12 10 œ 10 (14 ) 4 RP J 12 &534 The Edge Example BU ~~~ BU BD BU BU TRACK 14 BU ~~~~ 2Breaksynonymous with Gibson’s Explorer,(U2’s) 10 Though he’ll always be visually delay10 to make a simple, repeating group Drum ( ) 17 ( ) ( 17) ‘dotted 13 8ths’ style 13 10 10 13 10 of notes sound way ƒ(15) (14) 12 10 12 10 12 10 counterpart. 10 (14 ) inventive guitarist is no stranger to the Strat. This example uses his signature more impressive than12 its non-delay RP 12 Ex 53 THE EDGE BU BU ~~~ ~~~~pick BU BD BU 2 middle pickupBUand Herdim Clean with bridge and 10 ( ) ( ) ( ) ( ) ( ) 15 17 17 13 13 10 10 10 13 10 Set delay to dotted quaver repeats and crotchet repeats (14) 12 10 12 10 12 12 10 Em C 10 (14 ) Ex©»¡£• 53 THE EDGE 12 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œand œ middle pickup œ œ andœ Herdim pick œœœ œœœ œœœ œœ œ œœœ œœœ œ œ œ Clean # with bridge 4 Set &delay4to dotted quaver repeats and crotchet repeats E m C ©»¡£• œœ œœ œœ œœ œœ œœ œœ œœ Ex 53 THE EDGE œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Clean #with bridge and middle pickup and Herdim pick F Light PM 4P Set &delay4to dotted quaver repeats and crotchet repeats E m ©»¡£• 8 7 8 10œ 10œ 10œ 8 7 8 10œ 10œ 10œ 8 7 8 5œ 10œ 10œ 8 7 8 10œ 10œ 10œ 8 7 8 10œ 10œ 10œ 8 7 C8 10œ 10œ 10œ 8 7 8 10œ 10œ 10œ 8 7 8 10œ 10œ 10œ œœ œ œFœ œLight PM œ œ œ œœœ œœ œ œœœ œœœ # 4Pœ œ œ & 4 10 10 5 10 10 10 10 10 10 8 7 8 10 10 8 7 8 10 10 8 7 8 10 8 7 8 10 10 8 7 8 10 10 8 7 8 10 10 8 7 8 10 10 8 7 8 10 10 F P Light PM TRACK 14 Example 54 Andy Summers Ex 52 D A Neck E E1 B G Ex D 52 A Neck E 1

DAVID GILMOUR

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pickup with compressor and delay jD m7

play: STRAT LICKS E B G D A E B 7 G D A E E 7 B G D A E 7

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E B G D A E B 13 G D Ex 54 ANDY SUMMERS A Andy Summers perhaps best-known for his use ofback a Custom Telecaster for E /ismiddle pickup with E Bridge 10 chorus and slap 10 5 10 13 his guitar into8 B work in The Police. 8 7 8 He 10 has, 10however, 8E madd9 7 8had 10 many 10 8an7excursions 8 10 G D Ex 54 ANDY SUMMERS A E Bridge / middle pickup with chorus and slap back 13

Strat territory over the years. This example combines typical Police-style add9

a slapback-style 7 8 10arpeggios 10 8and 7 8 10 10 8 7 delay. 8 10 10 8 7 8 10 10 8 7 8 10 10 Cadd9 ©»¡£• 2 #4 œœœœœœ œœœœœœ œœœœœœ œœœœœœ œ œ & 4 œ œ œ œ E madd9 Cadd9 ©»¡£• œ œ 2 Drum Break œ œ Ex 54 # ANDY SUMMERS œ œ œ œ œ œ œ 4 œ œ œ œœœœœœ œ œ œ œ œ Bridge / middle pickup with F chorusPM and œslap back & 4 œ œ œ œ œ œ E madd9 Cadd9 ©»¡£• Drum 2Break œ œ 2 8 8 œ œ # œ œ 11œ œ 11œ 11 œ 9œ 12œ 12œ œ 9œ 12œ 12œ F PM 9œ 11œ 9œ 11œ 9œ 11œ 9œ 9 9 12 œ 12 œ & 44 œ œ œ œ 7œ 7œ 10 10 10 10 10 10 2 8œ 8œ 8 8 Drum Break F PM7 9 11 9 11 9 11 7 9 11 9 11 9 11 10 12 10 9 12 10 12 10 12 10 9 12 10 12 Ex 55 BILLY CORGAN 2 distortion Bridge pickup with heavy 8 8 8 D E85 ©»¡£• 11 11 11 11 11 11 9 9 Ex 55 55 BILLY CORGAN TRACK Example Billy Corgan 9 9 9 9 9 9 12 12 12 12 12 # œ œ œ œ œ œ œ10 œ1214 œ œ 7 7 10 10 10 10 10 4 . pickupgrunge with∑heavy distortion SmashingBridge Pumpkins’ master Billy Corgan¿created some heavily layered with the octave interval. To get the best results, use Ó 8 8 downstrokes of the pick &in4the early-90s. This example œœ œ œ #example. œœœœ D Eœ5 tone combined soundscapes uses a big fuzz throughoutœthis ©»¡£• Break Ex 55 BILLY Drum CORGAN œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ƒ. ¿ œ Slide 4 Bridge pickup with heavy distortion ∑ Ó first finger down string first finger down string &4 œ œ # œ œ œ Slide œœœœ to release random harmonics Eœ5to release random harmonics ©»¡£• Drum Break D œ œ œ œ œ œ œ œ œ œ 10œ 10œ #13œ 13œ 9œ œ œ œ œ œ œ œ œ œ œ 10œ 10œ 7œ 7œ ƒ 9œ 4 . first finger down string Slide first finger down string ∑ Ó ¿ X &4 œ 11œ 7œ Slide 7œ to release random harmonics 8œ 8œ #11 8œ 8œ 5œ 5œ to release random harmonics 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Drum Break œ œ œ 10 10 13 13 9 œ œ œ œ œ œ œ œ œ œ 10 10 7 7 9 œ œ œ œ œ œ œ ƒ 10

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Example 56 Francis Dunnery

TRACK 14

2 xxxxxxxxxx

This example is fun to play. Select the bridge pickup and go for a hearty sustain. The prog-pop group It Bites hit the big time in the 80s, and Francis Ex 56

FRANCIS DUNNERY (It Bites)

Bridge pickup with overdrive and delay

©»¡™∞ & b 44

E B G D A E

Dunnery’s inventive guitar parts and fluid legato – redolent of Allan Holdsworth, Bill Nelson and Ollie Halsall – were all part of the charm.

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34 GuitarTechniques October 2014 (Bachman - Turner Overdrive) Ex 57 RANDY BACHMAN Bridge pickup with overdrive G5

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Ex 56 FRANCIS DUNNERY (It Bites) 2 Bridge xxxxxxxxxx pickup with overdrive and delay

Fsus2 E bsus2 B bsus2 Fsus2 E bsus2 B bsus2 ~~~~ ~~~~ ©»¡™∞ . . œ ˙ œ 2 œ œ œ œ œ œ œ œ œ œ . œ w~~~~ Ex 56 FRANCIS DUNNERY (It Bites) J 4 2 xxxxxxxxxx 60 STRAT LICKS b J B bsus2 Bridge & pickup 4 with overdrive and delay Fsus2 b E sus2 B bsus2 Fsus2 E bsus2 ~~~~ ©»¡™∞ Drum 2 Break œ . œ œ œ œ œ œ œ œ ~~~~ œ œ ˙. f œ . œ w~~~~ Ex 56 FRANCIS DUNNERY (It Bites) 2 xxxxxxxxxx 4 J With light picking harm . . . b Bridge ~~~~ J B bsus2~~~~ ~~~~ & pickup 4 with overdrive Fsus2 E bsus2 B bsus2 Fsus2 E bsus2 2 and delay 6 ~~~~ ~~~~ ©»¡™∞ Track Alternative & Progressive . . œ œ11 œ10 œ11 œ10 œ11 œ10 œ11 œ10 œ . œ6 w~~~~ Drum2Break Ex 56 FRANCIS DUNNERY (It Bites) fœ11 œ13 ˙ TRACK 14 Example 57 Randy Bachman J b With light picking harm . . . b 4 Bridgebpickup with overdrive and delay J B bsus2 & 4 Fsus2 E bsus2 B sus2 Fsus2 E~~~~ sus2 ~~~~ ~~~~ Bachman Turner Overdrive had some big hits, and this simple riff is very much pickup and dial in a rock-orientated overdrive. Downstrokes of the pick will 2 ~~~~. 6 ©»¡™∞ . œ11 œ10 provide ˙ . Select theœ bridge in their style (checkDrum out Randy’s 2Break Q&A in thefœ11Introœ13section). œ11 œ10 theœ11 mostœ10consistent œ11 œ10 results. ~~~~ œ œ w Ex 57 RANDY J With light picking harm . . . 4 BACHMAN (Bachman - Turner Overdrive) b & 4 Bridge pickup with overdrive ~~~~ J E 5 ~~~~ C 5 ~~~~ E 5 2 G5 D5 C5 G5 D5 ©»¡™∞ Drum 11 10 11 10 11 10 11 10 f11 13 j j j j 6 œ ¿ ¿ 2 Break Ex 57 4 RANDY BACHMAN (Bachman - Turner Overdrive) œ ¿ ¿ With light picking harm . . . œœ ‰ œ ¿ ¿ œœ ˙˙ œœ œœ ‰ œ ¿~~~~ ¿¿ œœ ˙˙ Œ ‰ ~~~~ & 4pickup with overdrive œG5œ Œ ‰ D5œœœ~~~~ œ Bridge 2 œ ¿ ¿ œ ¿ œ œ œ œ Cœ5 ˙ ©»¡™∞ Drum Break œ 11 13 j j E 5 11 10Cœ5 11˙ 10 11 G5œ 10 11 10 D5j j 6 E 5 2 Ex 57 RANDY BACHMAN (Bachman - Turner Overdrive) 4 œœ œœ ‰ œœ ¿¿ ¿¿ œ ˙ œœ œœ ‰ œœ ¿¿ ¿¿ œ ˙ ƒ Œ ‰ Œ ‰ Bridge & 4pickup with overdrive œ œ œ ˙ œ5 ˙˙ 2 œ œ œ œ œ œ G5 D5 Eœ 5 ¿ ¿ Cœ 5 G5 D5 Eœ 5 ¿ ¿ Cœ ˙ ©»¡™∞ Drum 2 Break œ œ 7j 7j 7j 7j Ex 57 RANDY BACHMAN (Bachman - Turner Overdrive) œœ997 ¿¿XXX ¿¿XXX œ553 ˙ œœ997 ¿¿XXX ¿¿XXX œ553 ˙ 5 7 œ7 5 7 œ7 4 œ œ ƒ Bridge pickup with overdrive Œ ‰ Œ ‰ ‰ ‰ 5 5 5 5 5 5 œ œ œ œ &4 œœ3 œœ3 œœ ˙˙ œœ ˙˙ G5 D5 Eœ5 ¿ ¿ C 5 G5 D5 Eœ5 ¿ ¿ C 5 2 œ œ œ œ ©»¡™∞ Drum Break j j j j 2 œ œ Ex 58 4TOMMY BOLIN (Deep Purple) œœ77 œœ77 ‰ œœ99 ¿¿XX ¿¿XX œ55 ˙ œœ77 œœ77 ‰ œœ99 ¿¿XX ¿¿XX œ55 ˙ TRACK 14 Example 58 Tommy Bolin 5 5 Œ ‰ Œ ‰ ƒ & 4pickup with 2overdrive œœ53 Blackmore when œœ53 when doubled ˙˙ fare, especially 5 5 5 5 Bridge œ7 Purple ¿X ¿Xin œœ3 Purple œ7 organ. ¿X ¿XPullœœ3the ˙˙minor 3rd (G) œ œ œ œ The late Tommy Bolin replaced Ritchie he left Deep with the N.C. ©»¡£º Shuffle Drum8ths œ the E Minor Pentatonic scale is typical slightly 1975. This shuffle-orientated / sharpœto achieve that blues-rock flavour. 2Break riff using ' ~~ 5 3 77 77 99 XX XX 553 ~~~ 7 7 9 X X 35 3 Ex 58 TOMMY BOLIN (Deep Purple) ƒ 9 X X 5 5 7 7 4 7 3 5 5 5 X X Bridge & 4pickup with 2overdrive 3 œ œ œ œ œ œ œ 53 œ œ 5œ 5 œ œ 7 X X œ 3œ œ œ N.C. œ œ œ œ œ œ˙ ©»¡£º Shuffle 8ths Drum 2 Break 9œ X 9 œX œ X 5 œ5 œ 3 77 77 œ X 5 /' ~~ 5œ œ 3 77 77 ~~~ 9 X X 35 9 X X 53 Ex 58 TOMMY BOLIN (Deep Purple) ƒ 4 7 7 PMX X 3 5 5 5PM 5 5 PM5 PM X X 3 Bridge pickup with overdrive 3 &4 2 œœœœ œ œ œ œ œ œ œ /' œ~~ 3 œ œ œ œ œ œ œ œ œ œ ~~~ N.C. ©»¡£º Shuffle 8ths / ˙ Drum2Break Ex 58 TOMMY BOLIN (Deep Purple) œ œ 3 5 ' ~~ œ œ 3 œ œ 3 ~~~ ƒ PMœ œ 7 35 5 5 7 PM Bridge4pickup with overdrive PM PM 7 5 7 7 5 5 5 7 7 5 & 4 Shuffle 8ths2 0 0 œ œ 7 œ 7 œ œ 0 0 œ œ 7 œ / œ ~~ 0 0 œ œ 7 œ 7 œ œ 0 0 œ œ 7 3~~~ N.C. ©»¡£º ' / œ œ œ œ œ œ ˙~~~ ' Drum 2 Break ~~ 3 3 3 œ œ œ œ œ œ œ œ Ex 59 MARTIN TURNER (Wishbone Ash) 3 ƒandPMdelay 7 5 5 5 7 PM 7 5 œ5 7 PM 7 5 5 5 7 PM 7 5 Bridge & 44pickup with2overdrive 0 0 œ œ œ7 œ œ7 œ œ 0 0 œ œ œ7 / œ~~ 0 0 œ œ œ7 œ œ7 œ œ 0 0 œ œ œ7 ~~~ 3 ©»¡£º Shuffle A7 E7 ' ~~ ~~ ~~ ˙ Drum8ths Break j j j j j j j j j œ œ œ œ œ œ œ œ ~~~ 2 ƒ Ex 59 MARTIN TURNER (Wishbone œ œ œAsh)œ . œ œ œ œ œ œ œ œ œ . œ œ 5œ œ œ œ # œ n œ # œ . œ n œ # œ n œ œ j œ œ . ˙ TRACK 14 Example 59 Martin TURNER 4 PM PM PM PM œ J 7 5 5 Gibson J 7 5 finger J0 is 7typically 5 7 5 5 5 7 7 5 Bridge pickup with overdrive and delay ~~ ~~~well on a / 7vibrato, & 4Strat partnered 2 Turner’s perfectly 0with0 Andy Powell’s Flying0V on and British in style. Harmony 7 7 0 7 0 7 7 0 0 Jguitar 7 works 3 ' ShuffleAsh 8thsrecords and A7 ©»¡£º 7 Iron Maiden ~~ classic Wishbone tours. This~~ example uses Strat 3– just thinkEof or The Eagles 3 string bending and 3 – or, in this case, The Ash. ~~ j j j j j j j j j Drum2Break ~~~ Ex 59 MARTIN TURNER (Wishbone œƒœ Ash) œ œ . œ œ œ œ œ œ œ œ œ . œ œ 5œ œ œ œ # œ n œ # œ . œ n œ # œ n œ œ j œ œ . ˙ œ 4 7 5 5 5 7 7 5 7 7 5 5 5 7 7 5 J Bridge pickup with overdrive and BU delay BU BD BUJ0 0BU ~~ 7BU BD BU 0 0 BU ~~7 BU BD 7 0 J0 BU ~~ 7 7 0 0 BUJ ~~~ 7 3 & 4 Shuffle 8ths 2 (17) (17~~ ) (17)(15)12 (16 ) (16) (17) (15) 12 (17 ) (17~~ ) (16) (15) 12 ©»¡£º A7 E 7 ~~ 3 3 3 ( ) 17 17 j j j j j j j j j ~~~ Drum Ex 59 MARTIN TURNER 2Break(Wishbone œƒœ œAsh)œ . œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ # œ n œ # œ . œ n œ # œ n œ œ j œ œ . ˙ œ Bridge4pickup with overdrive and delay J BU ~~ BU BD BUJ BU ~~ BU BD BUJ BU ~~ BU BD BU BU & 4 Shuffle 8ths J ~~~ 2 ©»¡£º A7 E 7) (17) (17~~ ) (17)(15)12 (16 (16~~ ) (17) (15) 12 (17 ) (17~~ ) (16) (15) 12 j j j j j j j j j 3 3 3 ~~~ ( . . 2 Drum Break œƒœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ n œ # œ . œ n œ # œ n œ œ j œ17) œ17. ˙ Ex 60 4WALTER TROUT œ J BU ~~ BU BD BU J EBU7 ~~ BU BD & 4pickup with 2overdrive BUJ BU ~~ BUABD7 BU Neck BUJ ~~~ ( ) ( ) (17)(15 (16) (17 ) (17) (16) (15 17 17 √ (17) (15 3 ) 12 3 )12 j (16 ) 3 ) 12 ©»¡£º Shuffle 8ths Drum Break ~~ œ~~ œj n œ n œ œ œ œ~~ œ œJ œ œ œ n œ œ œ~~ œ œ œ(17n œ)~~17œ œ Ex 60 WALTER # # # 4 TROUT∑ ƒ j œ œ œ BUABD7 œ ŒBU. BUJ ~~ BU BDœ ‰ BU EBU7 ~~ BUœ BD BU ~~~œ ‰ Œ Neck & pickup 4with 2overdrive BU(17Ó) . BU(17œ ~~ ) (17)(15)12 (16 ) (16) (17) (15) 12 (17 ) (17) (16) (15) 12 √ (17) 17 ©»¡£º Shuffle 8ths j 3 3 Drum Break ƒ j œ œ~~ œ~~ œj n œ n œ œ œ œ~~ œ œJ œ œ œ n œ œ œ~~ œ œ œ n œ~~œ 3œ TRACK 14 Ex 60 WALTER # # # 604 TROUT Example Walter Trout . and œ ~~‰lickBUroundsE 7off our selection.œ I ~~ ∑ Ó . œ œ 7~~œ ~~Œbends Neck pickup with overdrive BUJgreat ~~ theœ ‰rideŒ and that & 4 Trout’s aggressive and super-hot blues style, with itsAfrequent attacking hope you’ve enjoyed ( 21) √ 19learning 17 ©»¡£º phrasing, Shuffle 8ths vocal-like have earned him a dedicated following. This speedy and you get as much fun from these licks as I did playing j 3 17 17 17 Drum Break ~~ 3them for you. j n(œ20) n œ 17 1918 17 œ œ œ œ œ3n œ20 171817~~ œ15 œ12 Ex 60 WALTER TROUT œ 18 18 ~~ 14n œ 12 ~~ ~~ # ƒ # œ œ œœœ œ14 œ12œ14‰ Œ # 44with overdrive œ œ Aœ7~~œ œ ~~Œ . BUJ œ œ œ~~‰ BUJ E 7 Neck pickup ∑ Ó . œj √ ~~ & ~~ ©»¡£º Shuffle 8ths j ( 21) 19 17 3 j n(œ20) n œ 17 19 17 œ œ œ œ œ3 n œ20 17 17~~ œ15 œ12 17 17 17 œ14n œ12~~œ 3 ~~ ~~ ~~ # # # 4 Drum∑Break ƒ œ œ 18 18 18 18œ j œ œ œ œ œ œ J œ . œ ‰ BU œ 14 œ 12œ ‰ Œ Ó. œ œ & 4 14 ~~ ~~ ~~Œ BUJ ~~ (21) 19 173 ~~ 3 Drum Break (20) 17 19 17 20 17 17 15 12 3 ƒ 18 17 17 18 17 18 18 14 12 14 12 BU ~~ ~~ ~~ BU ~~ (21) 19 17 ~~ 14 E B G D A E E 31 B G D A E E 31 B G D A E B 31 G D A E 31 E B G D A E E 37 B G D A E E 37 B G D A E B 37 G D A E 37 E B G D A E E 43 B G D A E E 43 B G D A E B 43 G D A E 43 E B G D A E E 49 B G D A E E 49 B G D A E B 49 G D A E 49 E B G D A E E 55 B G D A E E 55 B G D A E B 55 G D A E

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55


play: BLUES

ON THE CD

tracks 16-17

Gary Moore Cold Day In Hell

The late, great Gary Moore pulls out some of his tastiest blues chops in this fiery track, effortlessly proving that he was one of the finest exponents of rock-blues rhythm and phrasing. Steve Allsworth gives you Moore.

ABILITY RATING

Moderate/Advanced Info

Will improve your

Key: C# minor Tempo: 100 bpm CD: TRACKS 16-17

Large string bends 8th-note triplet phrasing Pinched harmonics

Like so many of his generation that grew up in the 60s, Gary was heavily influenced by the likes of Elvis, Clapton and Hendrix. Peter Green remained one of his most enduring loves however, with the great man even becoming his mentor while in Dublin (Gary also covered his material in 1995’s Blues For Greeny). After opening a show for Fleetwood Mac, Green (the band’s original founder) personally requested their manager help

TECHNIQUE FOCUS Playing triplets over a straight groove A big feature of this track is the numerous triplet runs that pepper Gary’s phrasing. This particular idea isn’t unique to blues, but it lends itself very well to the sound of the Minor Pentatonic scale, especially when playing over a straight groove in 4/4. Since this tends to be a two-notes-perstring pattern, we’re naturally used to hearing it in straight patterns of 2/4/8 etc. Once we divide the scale into threes, it takes on a completely different complexion, as we’ll hear notes in odd places across the beat. The ability to flit between straight 8ths and triplet 8ths can be a challenge, however, so make sure you’re well versed in all the different rhythmic groupings before trying it out in your own improvising.

secure Gary’s band Skid Row a recording contract with CBS. After cutting three albums and supporting the likes of The Allman Brothers Band and Mountain on tour, he briefly explored a solo career before becoming the replacement for Eric Bell in Thin Lizzy. This was short-lived however, and Moore set about a busy period of studio work, before joining up with a prog rock, fusion outfit, Colosseum II (where again he appeared only fleetingly). In 1978, he

This is my version of the blues. Whatever people think of it is another story, but that’s my interpretation. Gary Moore issued his second solo release, Back On The Streets, which spawned a surprise UK Top 10 hit with Parisienne Walkways and a lovely slow blues version of Don’t Believe A Word. This modern-day classic album featured vocal contributions by Lynott, as well as hinting at the searing blues style that was fully realised with 1990’s Still Got The Blues. Gary joined Lizzy once more in 1979 on one of their best albums, Black Rose, which proved to be a huge hit in the UK. Gary ultimately exited the group once more as a rift had developed between himself and Lynott. During the early 80s, Gary concentrated on his solo career, releasing such heavy-metal classics as Corridors Of Power (1982), Victims Of The Future (1983), Dirty Fingers (1984), Run For Cover (1985), Wild Frontier (1986) and After The War (1989), establishing a huge following in Europe. It wasn’t until the aforementioned Still Got The Blues that Gary

finally came full circle and really embraced his blues roots. Ably supported by the likes of George Harrison, Albert King and Albert Collins, the album was a huge success, particularly with the title track. Gary explored these roots even further with the follow up, After Hours (1992), which contains this month’s track. Overall, it’s a more polished affair, replete with shiny horn stabs and Hammond organ, but it’s still got Gary’s trademark aggression and needlesharp phrasing all over it. Nods towards his earlier rock material take the form of pinched harmonics, palm-mutes and a raucous high-gain sound, but it’s rooted in many of the best blues clichés that encompass the style of players from SRV and BB King to Hendrix, Green and beyond, all delivered with Gary’s unique intensity and flair.

Get The Tone 8

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Gary’s sound is all about pure tone, so a Les Paul (or bridge-humbucking equivalent) guitar into a cranked Marshall-style valve amp will get you close. Gary was also fond of using the Marshall Guv’nor pedal into his JTM45 on the Still Got The Blues album, so it’s possible he retained its services for his massive sound on this track. A similar, tonally rich distortion or boost pedal will do the trick. Gary also uses a little slapback delay of around 100-120ms to create a nice feeling of depth without saturating the sound with loads of reverb.

Track record Gary’s Platinum Collection (2006) is an excellent compilation that charts a cross-section of his rock and blues styles, along with live recordings, on three CDs. Of course, Still Got The Blues (1990) is essential listening (with the title track’s amazing one-take solo!), and the compilation Gary Moore: The Best Of The Blues (2002) encompasses his four Virgin-label blues albums.


LFI / PHOTOSHOT

GARY MOORE COLD DAY IN HELL

Gary Moore playing his own signature Les Paul model


play: BLUES

ON THE CD

tracks 16-17

PLAYING TIPS

cd track 16

[Bars 1-9] The intro targets the b7 (G) from A7 (bar 2) to nail the changes between A7 and C#m. This note is also the b5 from the C# Blues Scale (C# E F# G G# B), so covers some well-trodden Blues-Scale vocabulary. Of particular note are bars 8-9, GUITAR TECHNIQUES 3 5 a classic Gary turnaround lick. which eventually target the V chord2with

[Bars 10-17] The verse section follows tried-and-tested blues-style ‘call and answer’ phrasing, in between the vocal lines. The rhythm guitar actually plays C#m chords throughout this section despite the more explicit I-IV (C#m – F#9) that is implied in the notation and by the bass movement.

COLD DAY IN HELL - Gary Moore - Steve Allsworth

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E B G D A E

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BU down to clean things up, then this [Bars 23-25] If you haven’t tried turning

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[Bars BU 34-41] Here, Gary1/4spells out the1/4underlying chord movement with some simple but effective Steve Cropper-style 6th chords (ie inverted root and 3rd). This is a great way to add harmonic interest and texture without 11 (12) 11 9 bulking up the chord shapes11and filling 9 out too much space in the track [11] 11 (especially if you’re using distortion/overdrive). Gary innately knew what worked where, and also had a great sense of dynamics.

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section (bar 33) is the first of Gary’s more extreme bends, and these might D A need extra practice. Try rolling the whole hand to the side (as with a BB E King-style vibrato) rather than trying to pull down on the first finger alone. 24

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PLAY GUITAR WITH... THE GREATEST GUITAR SOLOS OF ALL TIME (Guitar Tab, 144pp. £18.95 ref. AM984401). Play guitar with 15 classic 1/4sound. hits, with two specially recorded audio CDs that put you and your playing in the music so you can hear how it really should E such artists as Van Halen, Dire Straits, Gary F Moore, 5 A711 more songs presented C m in guitar TAB, in the same keys as Featuring Joe Satriani and the original recordings, with standard notation, chord symbols, and full lyrics for vocalists. Available from www.musicroom.com

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[Bars 50-57] solo mixes Gary’s typical blues phrasing BU The first half of the BU with rockier bottom-string ) 12 (14 12 9 palm-mutes. There’s also some great triplet 12 two bars of this section, where you’ll really and timing in the final [ 6phrasing ] 11 (12 ) 11 9 11 to dig in with down picks to find the sweet spot11for the pinched [ 5need ] [11 ] harmonics (somewhere around the middle-to-bridge pickup position).

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E jazzier harmony, including A13 and 0typical Dorian-sounding F#/C# chords. B Roll the volume back a little for this0section, but don’t over-pick the low G 9 6 C#) or they’ll sound too big. Gary uses a great5bit D notes (particularly the 9 A of chord modification (D#m7b5 changed to D#9) and 4 a chromatic 4 passing E 0 get us back 0 to 0 C#m. 0 0 2 2 2 0 chord of Dmaj7 to 38

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41 11 October 10 2014 9 GuitarTechniques 7 9 ( 11)

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B style catch bends. For these you’ll need to push the first fingertip over the until the A7 (although this is theoretically the wrong note5for this chord,5it is G 6 6 6 6 first passing back5 to C#m, Gary’s playing is the perfect D string slightly in order to find the lower string as you push through the 2 4 2 so 4works in the 4 context!). 6 A 3 on a very long repicked bend up. This obviously2 4 combination of attitude and real 4 musicality – a rare thing. bend. Gary finally ends E

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GARY MOORE COLD DAY IN HELL PLAYING TIPS

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[Bars 74-89] The final chorus circles around the same four-bar turnaround to reiterate the main vocal line and allow for some more question-and-

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track 18

Erik satie Gnossienne no. 2

Bridget Mermikides arranges a piano piece by Erik Satie, a true innovator of classical composition whose work influenced a host of later composers, across countless genres and generations.

ABILITY RATING

Moderate Info

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Key: ‘Open’ key Tempo: 58 bpm CD: TRACK 18

Melody over chords Use of artificial harmonics Fingerpicking patterns

similar ideas in minimalistic composers such as steve Reich and Philip Glass. the piece is also written in an ‘open key’, so with no prescribed key signatures, and the chord progression wanders enigmatically through various and diverse modal centres, including G Dorian, e Phrygian, A, F and F# Ionian, A Lydian and the exotic D Dorian b5 and D Locrian nat.2. In terms of chords, Gm and em are key resting points, and they respectively start and end the piece. I’ve kept the tune in the original transposition and very close to the original composition (switching some octaves when

In thIs Issue’s classical-guitar column, we return to the work of the highly influential French pianist and composer erik satie (1866-1925). Although satie received much criticism in his day – dismissed as dull, talentless or bizarre – his mesmerising music has gone on to influence a huge range of composers and artists in a range of styles from jazz and ambient to minimalism and electronica. At a time when composers were writing romantic music of increasing virtuosity and harmonic/textural complexity, satie chose the quiet rebellion of simple, sparse, seductive melodies. he often drew on exotic scales and modes, and created musical atmospheres that were both accessible and utterly transporting to the listener. here, I’ve arranged his gorgeous Gnossienne no. 2 from a set of three short piano pieces composed around 1890 and published in 1893. these have appeared in many tV shows and films, including Scorsese’s Hugo (2011) and the soundtrack to the Oscar-winning documentary Man On Wire (2008). Gnossienne no. 2 is written without bar lines, but I’ve included them and written the piece out in the implied 4/4 Pianist and meter, with triplets in the melody, for composer, clarity. It could also be written in 12/8, Erik Satie and this metric ambiguity predates

Satie chose quiet rebellion: simple, sparse and seductive melodies, drawing on exotic scales and modes. necessary). however, to make the piece idiomatic and sonorous for the guitar, the sixth and fifth strings are both tuned down a tone to D and G respectively. even at this slow tempo, it will take some work to create an appropriate lyricism in the melody, a balance of bass, melody and chords, and a clarity in the artificial harmonics, so refer to the tab captions to help guide you through this wonderful piece. I’ve put in translations of satie’s lovely and bizarre performance instructions (which include with astonishment, don’t leave, with much kindness, and without arrogance) for you to enjoy, and even somehow follow! this enchanting piece consists of three parts: melody line, bass notes and supporting harmony in the form of twoand three-note chords. the opening two melody notes can be played rest stroke to stand out, and the high e needs to be held and sustained over the following accompaniment chords, the second of which needs to be held and sustained underneath the melody triplets. the same exact sustaining techniques apply throughout the whole piece where longer melody notes or chords occur. some fretting-hand fingering is indicated in the first few bars to help you. NeXT MoNTH: Bridget arranges Bizet’s Habanera, from Carmen

Track record It’s always worth listening to pieces in their original form, on the instrument they were written for; this gives brilliant clues as to dynamics, emotion etc. aldo ciccolini’s 1992 double-cd release: Satie: L’oeuvre Pour Piano includes an excellent rendition of Gnossienne No. 2 along with many of his other solo works, including the famous Gymopédie No. 1 (arranged in GT202).


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cd track 18

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Download NOW from www.guitarpracticedperfectly.com October 2014 GuitarTechniques 51

Learning Zone LESSONS GT235 30-MINUTE LICKBAG . ..................................... 53 Pat Heath throws down the gauntlet with six licks at easy, intermediate and advanced levels.

Blues. ................................................................................................ 5 6

John Wheatcroft travels back in time to Zaire in 1974, to explore the classic playing of BB King.

Rock .. ................................................................................................. 60

Martin Cooper checks out the many-faceted rock stylings of Neil Young.

video. ................................................................................................ 6 4

This issue, watch and learn how Bernie Marsden approaches a major blues-style solo.

creative rock.......................................................... 70

Shaun Baxter continues his series on creating harmony-guitar parts in the neo-classical style.

new series: CHOPS SHOP. . ................. 7 6

Andy Saphir kicks off his new series of articles with a look at legato and the Minor Pentatonic.

BRITISH R&b........................................................................ 78

Confidence is one of the most important attributes you can have as a player. Regardless of style, ability or instrument type, it’s a hugely invaluable component to how well you come across to an audience. Not only did I see this truth throughout the week I was at this year’s IGF, from students and fellow tutors, but also during discussions I’ve had with name players. For example, here’s a recent quote from studio A-lister, Allen Hinds, when I spoke to him for a recent article in GT’s sister title, Guitarist. “When I was a student at MI in LA, I sat with Robben Ford one week out of every month. Once I had got over the ‘jitters’, I saw first hand that he was human after all. The big thing I learnt from him was all successful players have one thing in common… confidence. To the point that, if I had to choose between more technique or confidence, I would take the latter every time.” Most interesting; despite the ability that Allen has, he would rather trade some of it to increase his sense of comfort and control. Of course, the question borne from this is; how to get (more) confident? Some musicians appear to be born with it, to the point that, regardless of their ability, they will perform to a very high level, seemingly effortlessly. Can seem a bit unfair, eh? Of course, there are simple and well-known solutions to puffing up one’s sense


of worth (imagining the audience naked; pretending you’re your favourite guitarist; these kinds of things). But I and countless others recommend one important perspective; the more prepared you are before a gig, the better you will perform. This is because you have cultivated a solid foundation to rely on when a gig feels like tough going, or something outside of your control occurs (a band member throws a wobbler, or some great player walks in the door just as you are about to go on). By knowing the material, practising and isolating the tough sections, running a mock gig scenario on your own and with the band (very useful this!), and having all gear checked and working well, your level of confidence has a very definite reality to draw on. So, whether it’s a gig you’ve got coming up, or you’ve planned to do a one-take recording of Gary Moore’s Cold Day In Hell (page 36) in three weeks’ time to test your memory and chops, I hope your levels of confidence are directly proportionate to the amount of preparation you’ve put into your guitar playing. Now smile, and step out onto that stage!

Phil Capone turns his attention to The Moody Blues’s inventive guitarist, Justin Hayward.

JAZZ. ...................................................................................................... 8 2

Pete Callard celebrates the 75th Anniversary of legendary jazz record label, Blue Note.

acoustic.................................................................................. 8 8

Stuart Ryan on the signature fingerstyle playing of US songwriting legend, James Taylor.

reading music......................................................... 92

Charlie Griffiths continues his 14-part series on reading music notation. This issue: Accidentals.

On video! Watch and

learn how Bernie Marsden approaches a major blues-style solo. Page 64

ON THE CD

Learning Zone

tracks 19-24

30-Minute Lickbag Pat Heath of BIMM Brighton brings more slick licks to the party, at easy, intermediate and advanced levels.

Brought to you by...

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cd track 19

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cd track 21

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your sound with a heavy bottom-end 4x12 sound, and make a left-and-right recording with one sound slightly sharper in both tone and tuning.

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cd track 24

This metal lead example is played with a high-gain setting and is based 3 3around a D minor (tuned down) diatonic arpeggio chord progression. m

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ON THE CD

BB King, Africa’74


This month, John Wheatcroft looks at BB King’s dazzling fretwork on the legendary African musical festival in Zaire, an almost unbelievable 40 years on.

BB King with a Gibson ES-355, years before his signature ‘Lucille’

ABILITY RATING

Moderate Info

Will improve your


Phrasing Stylistic authenticity Expression and delivery

Originally intended as the precursor to what was then touted as the greatest boxing event of all time, the legendary Rumble In The Jungle fought between Muhammad Ali and George Foreman, Zaire ’74 was a three-day celebration of black music. Many of the artists considered it a spiritual homecoming and a return to their African roots. James Brown, Sister Sledge, The Crusaders and Bill Withers gave inspired performances alongside traditional African singers and musicians, such as Miriam Makeba and Manu Dibango. Although an injury sustained by Foreman in training caused the fight to be delayed (it took place a month later with Ali coming out

the victor), the festival went ahead regardless. It was a resounding success, too, with an attendance of over 80,000 people. For me, one performance stands out head and shoulders above the rest. Having celebrated his 49th birthday a week earlier, BB King was at the height of his creative powers. Leading an orchestra featuring a mixture of regular sidemen and hired session players – including a fresh-faced upstart called Larry Carlton on rhythm guitar - King delivered a blistering set with scintillating playing from start to finish. Video footage shows a man that is clearly on top of his game, commanding the band with complete authority, controlling dynamics from a whisper to a roar and

I pulled out some BB King records and every time he didn’t play I was playing. I had my phrasing just the opposite of the real thing. Larry Carlton

tracks 25-28

dictating the feel of each tune effortlessly. He gives a vocal performance to die for; in fact, his vocals and guitar are so entwined that we may as well consider them one and the same. While many rate 1965’s Live At The Regal as his finest moment, for me, Zaire ’74 is where it’s at. There are two full solos this month, based around King’s playing from this concert. The obvious beauty of his style is that it’s organic, and while his preference for certain melodic ideas and rhythmic patterns might change to suit his mood, you’ll hear him revisit many of these devices in his playing from then until now. The trick is to think less about licks and more about short musical motifs and themes. A motif is similar to a lick, but shorter. This brevity allows greater freedom when we come to connect ideas. While a lick has a fairly predictable outcome – from the first note you have a good idea of what is about to happen a few bars down the line – a motif can be developed infinitely; certain aspects might remain constant, such as rhythm, choice of notes, the scale you’re using and so on, but the musical outcome is much less predictable. Great improvisers deal more with motifs and less with licks, and BB is no exception. But it’s still worth learning these solos, as not only are you establishing the building blocks of a language (as you might learn set phrases if you were attempting to learn to speak Spanish, say), but you can also study other crucial skills, such as the pacing of the notes, the development of ideas and the overall shape of a piece, rather than simply independent and disconnected musical ideas. As is so often the case, a balanced outlook and approach to learning is your best strategy, so get stuck in and, most importantly, remember to have fun when you play – just as BB most certainly did in Zaire all those years ago! NEXT MONTH: John looks at Eric Clapton’s playing on the Robert Johnson album

Get The Tone 5

5

5

4

3

Gain

Bass

Middle

Treble

Reverb

At this stage in King’s career, Lucille was a Wine Red ES-355, and for this show, she was plugged directly into a cranked ‘silverface’ 2x12 Fender Twin. We’re after quite a hot sound by BB’s standards, so dial up a moderate drive and select both pickups if you have a two-humbucker guitar, then balance the tone with the two volumes. If you’re using single-coils, boost bass and mid and cut some high end. But, as much of King’s sound comes from his expression and note choice, feel free to use whatever you’ve got.

Track record There’s a selection of DVDs, starting with BB King – Live In Africa (Wienerworld 2009). For an overview of the complete festival, including backstage action and some stunning performances from King along with James Brown, Bill Withers and many more, check out Soul Power (Eureka 2012). To learn more about BB’s unique guitar style, you should check out BB King Blues Master, Volumes I, II and III.


“SOUL POWER” MOVIE STILL © Antidote Films, Property of Sony Pictures Classics

lesson: blues

Learning Zone

B B KING AFRICA ’74 SOLO 1 bb king-style, zaire 1974

cd track 25

Our first complete solo showcases King’s approach to outlining the harmony, in this case moving between Im7 (Dm7), Vm7 (Am7) and IVm7 (Gm7), while staying almost exclusively with the E-form box pentatonic shape (R b3 4 5 b7). He does briefly add a couple of colour tones, specifically the 2nd (E) in bar 2 and the 6th (B) in bar 8. From a conceptual perspective, your job here is to align the target notes with the underlying harmony to quantify his note selection. A clear example John Wheatcroft's GUITAR MAGAZINE 2 3 5 pentatonic lines is in barTECHNIQUES 3, where BB points his D minor towards the

BLUES DUES - B B KING Style John Wheatcroft's BLUES DUES - B B KING Style John Wheatcroft's BLUES DUES - B B KING Style John Wheatcroft's BLUES DUES - B B KING Style

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lesson: blues

ON THE CD

tracks 25-28

SOLO 2 bb king-style, zaire 1974

cd track 27

No King performance would be complete without a slow blues or three. To rival King’s enviable arsenal of ideas, you need to be resourceful and think less about specific licks and more about managing your phrasing to create variations on the fly. BB is a master of organising his vocabulary in a musically logical and rhythmically flowing manner. Notice how each phrase is a complete musical idea, but also how each relates in some way to the 2 xxxxxxxxxx preceding ideas. You’d be well advised to listen just as closely to BB’s singing style. His phrasing is impeccable and highly sophisticated. Check out his use B B KING - AFRICA 74 SOLO 2

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of declamatory statements, often repeated; his use of questions and then the following resolution provided by the answer. We’re moving between E-form box shape action plus his trademarked ’BB Box’ that combines aspects of both major (R 2 3 5 6) and minor (R b3 4 5 b7) pentatonic scales, pivoting around a solid second-string root note. It’s likely that King doesn’t consider this like a scale at all, more like a landmark tonic with the other intervals that he’d like to hear at any given time floating a predetermined distance away, either above or below this fixed reference point.

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lesson: rock

ON THE CD

tracks 29-30

Neil Young This month, Martin Cooper takes a virtual trip to ‘Tronno’ as he checks out the unmistakable guitar style of the Godfather Of Grunge, Neil Young.

Neil Young has been called the Godfather Of Grunge, and counts Pearl Jam, Noel Gallagher and Dave Matthews among his many fans. him as such an influence on their own work. Young continues to record and tour these days (including a recent TV appearance in America with Jack White), and has completed work on the second volume of his memoirs scheduled for release later this year. The track this month takes on the rock side of Neil Young’s writing and playing, so there’s no acoustic guitar. However, you could easily rework these kinds of chord-based riffs and progressions as acoustic songs. Much of the track is in the key of A major (A B C# D E F# G#) and the three main chords D, E and A are all taken from that key. However, there are also a lot of non-diatonic notes such as the C natural in the main riff and the G natural in the G power chords. The solo is primarily using E Minor Pentatonic (E G A B D) and the E Natural Minor scale (E F# G A B C D), even though it’s played over the D, E and A chords, so there are some nice, aggressive blues-rock clashes in the harmony. NEXT MONTH: Martin delves into the playing of Kings Of Leon

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6

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7

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Neil Young has used many guitars and amps in his career, including a 1953 Gibson Les Paul Goldtop, a Fender Broadcaster and a Gretsch White Falcon. Amps are generally Fender Deluxe models, so the tone is in classic-rock territory. Don’t use too much saturated gain, and let the power section of the amp do as much of the work as possible. Neil’s tone is not saturated with effects either, but a dribble of delay or reverb will live things up a little.

Track record There are so many albums to choose from, but Everybody Knows This Is Nowhere from 1969 has Cinnamon Girl and Down By The River, 1979’s Rust Never Sleeps includes Hey Hey, My My (Into The Black) and Powderfinger, and Freedom from 1989 features Rockin’ In The Free World. But all Young’s albums are full of great songs and packed with filthy guitar playing!


LFI / PHOTOSHOT

Of Grunge, counts Pearl Jam, Noel Gallagher and Dave Matthews among his fans, has been nominated for an Oscar and has been granted the Order Of Canada, the country’s second-highest civilian order. As well as all of this, he was ranked number 34 in Rolling Stone magazine’s 100 Greatest Artists awards in 2000. Of course, he has also recorded some of the most recognisable and widely covered songs of the past 50 years. Oasis have recorded his Hey, Hey, My, My (Into The Black), and Bon Jovi often play the anthem Rockin’ In The Free World in concert. Neil Young was born in Toronto, Canada in 1945 and began his musical journey by playing in a Shadows covers band, before moving to America in 1966 and forming Buffalo Springfield with Stephen Stills, who he later joined as the fourth member of Crosby, Stills, Neil Young playing Nash & Young in 1969. his battered and Neil Young has modified Les Paul experimented with various styles of music over his career, which ABILITY RATING includes 35 albums, but generally it can be split into two halves – the folk-meets-rock Moderate acoustic side of things, and the aggressive Info Will improve your hard rock of his time with his band Crazy Horse. The rockier side of proceedings has led Key: A General timing to hits such as the aforementioned Rockin’ In Tempo: 120 bpm Lead and rhythm playing The Free World, Cinnamon Girl and Wrecking CD: TRACKS 29-30 Theory knowledge Ball. Young is known for his interesting melodic soloing style as well as for writing Neil Young is one of those artists that seem to enjoy success, both commercially and hard-hitting riffs and chord progressions. Take a listen to any of his rock albums, and it’s critically, among music fans and his fellow easy to hear why bands such as Pearl Jam list rock stars. He has been called the Godfather


Learning Zone

NEIL YOUNG Example rhythm part

cd track 29

The track is played loud and aggressively throughout, but pay careful your fretting of the notes. There are also some open strings that you want to GUITAR TECHNIQUES 2 3 5 attention to the intonation of the chordsMartin and riffs.Cooper's It’s very easy to pull ROCK a lot of COLUMN let ring in the rhythm and lead parts, but again, make sure you play accurately BIMM - NEIL YOUNG STYLE these open-chord-type riffs out of tune, so be aggressive but accurate with and don’t just let random strings ring out where they aren’t wanted. RHYTHM GUITAR

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lesson: rock

ON THE CD

tracks 29-30

Example lead part

cd track 29

The solo is quite straightforward to play, but make sure that the string the bar. Also, feel free to add aggression to the string bends by grabbing the bends are accurate and in tune and don’t rush ahead of the beat when adjacent string a little and getting some of the overtones from that note as GUITAR TECHNIQUES 235 playing the lead phrases – the rhythm-guitar chords preempt the changes, well, such as in the bend on the first string in bar 40. Neil’s lead playing is a Martin Cooper's BIMM ROCK COLUMN - NEIL YOUNG STYLE but the lead part is generally playing each new phrase at the beginning of kind of controlled mayhem, so that’s the kind of attitude to go for. LEAD GUITAR

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lesson: video

VIDEO

ON THE CD

Bernie Marsden Part 2 We’re looking at a transcription of Bernie’s improvised performance over a more upbeat Dominant 7 blues backing track, with Jon Bishop as your guide.

Bernie plays a major blues for us this time

ABILITY RATING

Moderate Info

Will improve your

KEY: D Tempo: 60 bpm CD: CD-ROM

String-bending technique Slow blues lead Blues-guitar vocabulary

Following on from last issue’s article focusing on how Bernie would typically tackle a minor-blues progression, this month, we see him in dominant seven mode. For those of you who may have missed last month’s instalment, Bernie is probably best known for his work with Whitesnake, and his rich, blues-orientated style has won favour with many guitar fans around the world. When we caught up with Bernie, he was kind enough to play two solos: last issue’s was a minor-key blues, this issue, it’s a major-key blues. The chord progression used in Bernie’s Dominant 7 blues track is constructed from chords I, IV and V of the harmonised D Major

scale. The Major scale has the following intervals: root, 2nd, 3rd, 4th, 5th, 6th, maj7th. If one harmonises the A Major scale in 3rds, the following chords are produced: Dmaj7, Em7, F#m7, Gmaj7, A7, Bm7, C#m7b5. As you can see, the chords I, IV and V are Dmaj7, Gmaj7 and A7. To make this collection of chords sound more bluesy, and provide more options for improvisation,

Some new vocabulary is guaranteed for even the most seasoned blues player. chords I and IV can be changed to D7 and G7 (Dominant). This gives us the classic blues chords of D7, G7 and A7. The 12-bar sequence Bernie uses in his backing track is often referred to as a quick-change blues, and this is how the changes stack up: D7 / G7 / D7 / – / G7 / – / D7 / – / A7 / G7 / D7 G7 / D7 A7 /. From a soloing standpoint, the D Minor Pentatonic scale (D, F, G, A, C) is a solid ‘home

CD-ROM

base’. Many of Bernie’s licks and phrases have this scale at their core. D Minor Pentatonic can be used over D7, G7 and A7, so it is a solid choice. To add variety, D Major Pentatonic can be used over the D7 as well as D Minor Pentatonic. Mixing these two scales is a dyed-in-the-wool blues technique, and is a concept used by many of the finest bluesmen. String bending and finger vibrato are key articulations, along with finger slides. Bernie adds these articulations to pretty much every phrase, while also varying the dynamic (how loud or soft the notes are played) and his pickup selection. A key aspect of this solo is the use of space and pacing. Bernie never gets carried away with long phrases or lots of fast notes. Everything is placed in a considered fashion, and the emphasis is on melody. Before learning this solo, it may well be worth playing through each of the five D Minor Pentatonic shapes as notated in examples one to five. These fingering patterns provide the foundation of this solo, and learning them will help you to unlock the neck and appreciate the nuts and bolts of the phrases. Knowing where all the D Minor Pentatonic notes are will also help you to work out when and where Bernie is adding in extra tones, such as those from D Major Pentatonic. The notation contains all of the fingerings, articulations and phrasing from the video performance. Take a close look at the way Bernie fingers and picks the phrases, but don’t be intimidated by the look of the notation. It may seem busy due to the tempo and 12/8 time signature, but the ideas are straightforward – it’s Bernie’s articulation that makes them sound rich and musical. If you find a lick you like, then memorise it and incorporate it in your own playing, for use in future solos. Have fun, see you next time. NEXT MONTH: Revered classical guitarist Carlos Bonell discusses his technique

Get The Tone 6

6

7

7

4

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Middle

Treble

Reverb

Bernie used his PRS SE Bernie Marsden signature model guitar direct into a vintage Vox AC4 amp. The bridge, neck, or both pickups together, plus tone and volume controls were set to taste on the fly. Many blues and rock guitarists change the controls from phrase to phrase and this helps to add variety and also promotes natural pauses in the phrases. Any electric guitar will work well for this month’s performance. Dial up a creamy, light overdrive and be prepared to experiment with the controls to achieve the desired settings. Add a bit of reverb or delay for that pro touch.

Track record The 2004 compilation album Whitesnake – The Early Years is well worth a listen, and contains the classic Marsden/ Coverdale compositions Here I Go Again and Fool For Your Lovin’. Bernie’s most recent solo release, Shine, has some great guitar playing and tones, and features guest appearances from Joe Bonamassa, Ian Paice, Don Airey and many other fantastic musicians.


Learning Zone

BERNIE MARSDEN PART 2 Jon Bishop's BERNIE MARSDEN Video Part 2 EXAMPLES MinOR PENTATONIC BOXES: the five shapes MAJOR PENT BOXES


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lesson: video

VIDEO

ON THE CD

CD-ROM

BERNIE MARSDEN’ S MAJOR BLUES

cd-rom

Intro [Bars 1-4] The backing track starts with four bars of the turnaround, which Chorus 1 [Bars 5-16] Chorus 1 starts out with a collection of licks that uses shape is a popular blues arrangement trick. Bernie skilfully navigates the turnaround one of D Minor Pentatonic as a foundation. The dissonant high-string doublechords with licks based around shape four of the D Minor Pentatonic scale. Select stop in bar 6 adds an interesting effect and makes the simple descending Minor Jon Bishop's GUITAR TECHNIQUES MAGAZINE 2 3 5 the bridge and middle pickups together if you have a guitar with Les Paul-style Pentatonic line sound more effective. In bar 8, Bernie switches to the neck pickup BERNIE MARSDEN Video Part 2 out how much tweaking of the guitar’s controls Bernie wiring. Check out the lick in bar four that targets the A note, as this is the tonic or for tonal variety. Check MAJOR BLUES ‘home’ note of the V chord (ie A7). does in between the phrases, as he plays on the video. Switch over to the

©.»§º Shuffle Blues # & # 128 Ó . F

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Learning Zone

BERNIE MARSDEN PART 2 BERNIE MARSDEN’ S MAJOR BLUES

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bridge pickup in Bar 12. Good blues and rock guitarists, from Jimi Hendrix to Jeff Beck, often vary the guitar’s controls. Don’t be afraid to experiment with the volume and/or tone controls so your phrases have the biggest impact. 2 [Bars 17-28] Chorus 2 sets off with some licks using the D Major 2Chorus xxxxxxxxxx Pentatonic scale, and note the classic cliché lick that incorporates chromatic passing notes in bars 17 and 18. Bar 23 brings in some extra colour tones which

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E B G D A E

add an extra level of sophistication. The major 9th (E) and major 13th (B) both come from D Dorian mode, which works nicely over our D7 chord (chord IV in the key of A). Bar 24 provides a great illustration of the interchange between the minor and major 3rd intervals – that delightful ambiguity that we all love in the blues. Any major 3rd (F# in this case) can be preceded by a minor 3rd (F natural) to add a ‘tension and release’ factor.

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24


lesson: video

VIDEO

ON THE CD

CD-ROM

BERNIE MARSDEN’ S MAJOR BLUES

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Chorus 3 [Bars 29-40] Change to the neck pickup in bar 32. Bar 34 features a fast re-picked bend, that is brought to life if the bend is allowed to go flat and is then pushed back up to pitch each time another note is picked. The lick in bar 3 37 is a particularly effective way of negotiating the A7 chord, and is well worth

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memorising so you can use it in future solos. An imperative blues technique is to bend the minor 3rd slightly sharp to hint at the major 3rd (the blues ‘curl’). This bending of the minor 3rd aligns phrases against accompanying Dominant 7 chords, imparting a darker sound in keeping with the essence of the blues.

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7

Learning Zone

BERNIE MARSDEN PART 2 BERNIE MARSDEN’ S MAJOR BLUES

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Chorus 4 [Bars 41-53] Chorus 4 starts with a second-string bend. To add momentum to this, Bernie repeatedly bends the string up and down in the rhythm, without re-picking. The contour and pacing of Bernie’s solo up 4 specified xxxxxxxxxx to this point has all been gradually building, and this fourth chorus is a crescendo. CHORUS 4

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Many of the licks here are played in a higher register and use some faster rhythmic subdivisions. Change to the bridge pickup in bar 46. Bar 51 again uses Dorian mode to navigate the turnaround, and this run is similar to the sort of 4D xxxxxxxxxx thing Jimi Hendrix might play in this situation. CHORUS 4

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51


5

ON THE CD

creatingharmonyparts

Part 2

Continuing his in-depth look at neo-clasical rock vocabulary, Shaun Baxter explores more ways of producing harmony parts for any given melody.

ABILITY RATING

Moderate/Advanced Info

WIll IMprove your

Key: C (Am) Tempo: Various CD: TRACKS 31-33

Harmony playing Understand of voice motion Chord tone awareness

last month, we looked at creating harmonies for melodies containing both chord and scale tones. this time, we’ll do the same, but with melodies containing non-scale (chromatic) tones, too. when harmonising a melody, two pitches may move in three types of motion in relation to one another. to recap: 1) Contrary motion: voices move in opposite directions.

2) similar motion: both voices move in the same direction. 3) oblique motion: one voice remains stationary while the other moves. similar motion is most commonly used in rock. we harmonise a melody by playing an equivalent line a certain number of scale notes away. we could do so in 4ths by playing another line four scale notes higher or lower. this is known as parallel motion, and this term applies even if one adjusts each interval in order to keep within a set scale (so, a perfect 4th followed by an augmented 4th is still parallel 4ths, even though the 4ths are unequal). when creating three-part harmony, we start by identifying the chord tones (strongest notes) within the original line, then ensure that each of these is underpinned by chord tones in the other two harmony parts, with no notes doubled. the object is to link these up using scale tones as passing notes between the chord tones, in a way that any motion is mirrored as closely as possible. so if, over a C chord, a melody travelled from e (chord tone: 3rd of C), to D (scale tone), to C (root of C), this could be harmonised in another part using another line played a 3rd higher, with G (chord tone: 5th of C), to F (scale note: 4th of C) to e (3rd of C). so, both lines would go: chord tone, scale tone, chord tone, using similar motion, with no doubling of notes. But parallel motion doesn’t always provide harmonies that are relevant to the underlying chords; and there is the problem of note repetition - especially when using 3rds. If one were to create a parallel harmony for a two-note melody of G to B, by simultaneously playing B to D, although harmonious we would get two consecutive B notes. this can sound tedious, especially when harmonising arpeggios in parallel 3rds, and so on. when creating harmonies you should

TraCks 31-33

avoid doubling notes or crossing parts (where the lower one becomes the upper, and vice versa). But it’s all a question of creating a desired effect: what sort of texture do you want? on what interval type are you basing each harmony, since 3rds, 4ths, 5ths etc have different moods? You can then employ each approach in various octaves so that the interval is doubled or tripled; creating a similar effect at a greater distance, so the character of the harmony is different. Do you want parts above the original melody, below it, or both? Do you want block harmonies

Strict parallel motion doesn’t always provide harmonies that are relevant to the underlying chords. (where the notes are played together in unison); or rhythmic counterpoint? what type of motion will work best: similar, oblique or contrary? also, does every note need to be harmonised? sometimes, a single-note line can have more impact when following a harmonised section. Conversely, certain notes of a melody can have more impact if harmonies are introduced at that point. Finally, note that some music styles, such as jazz, present greater freedom in terms of note choice, as there are more chord tones per chord. this makes your choices even more subject to taste. In future issues we’ll create harmonies using rhythmic and melodic counterpoint (oblique and contrary motion, etc); here, though we focus on how parallel motion can be used to harmonise some of the melodies featured so far in this series. NeXT MoNTH: Shaun continues with more harmony ideas in neo-classical rock

Getthetone 7

7

5

5

5

Gain

BaSS

Middle

TReBle

ReveRB

Whatever your tone, successful harmonies rely on blend. Backing vocalists know this and adjust their tone, technique and vibrato accordingly. The GT examples were recorded with a distorted tone, but when composing your own parts, pay attention to the amount of distortion required, your pickup selection, dynamic range, and the techniques you are using. If vibrato is required, match it to the other parts. When layering distorted harmonies, it’s easy for the sound to become too big for the track; so when mixing harmonies in the studio, roll off some bottom end and make sure that the main melody is slightly louder than the harmonies.

Track record Many rock fans first heard harmony guitar in the dual (mainly parallel) melodies of Thin Lizzy. another notable example is the final section of Hotel california by The eagles. In terms of counterpoint (harmonic and rhythmic), some of Brian May’s guitar ‘orchestrations’ show how superb distorted guitar can sound this way. check out Good old-Fashioned Lover Boy from a day at The races.


david lyttletOn

lesson: creative rock

learning Zone

creating HarMonY Parts Pt2 ExAmplE 1 non ChoRD toneS

CD TraCk 31

In this and the following example, every note not shown in square brackets relates directly to the underlying chord (in other words, is a chord tone). Here, we witness a series of pedal movements whereby each half of each bar features the constant reiteration of a three-note motif comprising a side-step from a chord tone to a chromatic note a semitone lower, and then back to the original chord tone. Guitar parts 2 and 1 are a 3rd and 6th higher respectively G œ ©»¡º¢ Amœ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ 4 &4

than guitar part 3. If you visually scroll up and down through the three guitar parts, you’ll see that: 1) Each chord tone is mirrored by two other complementary chord tones in the other parts, with no doubling; 2) Each scale note is mirrored by two other complementary scale-notes in the other parts, again, with no doubling.

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15

12 [11 ] 12

12 [11 ] 12

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1

G F G Am √Am œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ ˙ ~~~~ Ó &

12

E B G D A E

13 [12] 13

17

13 [10 ]13

15

15 [14] 15

19

15 [14] 15

17

18 [17] 18

20

18 [17 ] 18

19

20 [19 ] 20

22

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~~~~ 22

G Am œ œ # œ œ œ œ œ œ Gœ œ # œ œ œ œ œ œ √£F œ œ £ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ ˙~~~~ Ó & Am

E B G D A E

13

12 14 [13] 14

14 [13 ] 14

15

15 16 [15] 16

16 [15] 16

18

17 17 [16] 17

17 [16 ] 17

20

~~~~

19 19 [18 ] 19

19 [18 ] 19

21

œ G F G Am œ œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ # œ œ œ œ œ ˙ ~~~~ Ó & Am

E B G D A E

~~~~ 14

13 14 [13] 14

14 [13 ] 14

16

15 17 [16 ] 17

17 [16 ] 17

17

18 19 [18] 19

19 [18 ] 19

19

20 21 [20] 21

21 [20] 21

22

3



ON THE CD

TraCks 31-33

ExAmplE 2 nonChoRD toneS

CD TraCk 32

Another three-part-harmony example. This one features another (but different) use of the same type of chromatic side-step move featured in Example 1. Harmonised parts that are based on parallel motion and contain chromatic notes

like these first two examples sound reminiscent of the late American jazz guitarist and recording pioneer, les paul: especially when sped up. listen to tracks like How High The moon, with les’s wife, mary Ford. G œ œ œ œ ™œ ¡ ¡œ œ œ œ £œ # œ œ œ # œ œ œ

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learning Zone

creating HarMonY Parts Pt2 ExAmplE 3 nonChoRD toneS

CD TraCk 33 brackets) match up. Exceptions are: the fourth note in bar 9, which is chromatic in Guitar 1, but a scale-note in Guitar 2 (to imply E7); and the third note in bar 15 – a scale-note in Guitar 1, but chromatic in Guitar 2. However, both notes form the lower part of a three-note semitone pedal motif based around a chord tone.

While this example features mainly parallel motion, oblique motion (one part remains stationary, the other moves) is used where parallel harmony would fail to produce notes that relate well to the underlying chord. All chord tones, scale notes (in brackets with a star above) and non-scale/chromatic notes (square

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a) Scale notes are indicated by ( ), and should be played as normal b) Chromatic/non-scale notes are indicated by [ ], and should be played as normal

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ON THE CD

TraCks 31-33

ExAmplE 3 nonChoRD toneS …CONTINUED

CD TraCk 33 for this reason that 3rds and 6ths are also inversions of each other: playing a 3rd higher will produce the same notes as when playing a 6th lower (only they will be an octave apart); conversely, playing a 6th higher will generate the same notes as a 3rd lower; (although, again, they will be in a different octave).

If you’ve followed this series on neo-classical rock so far, you’ll see that we are merely playing different inversions of the same arpeggios simultaneously: because triadic arpeggios are based on stacked 3rds, one inversion higher is the same as a 3rd higher, and two inversions higher is the same as a 6th higher. It is

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learning Zone

creating HarMonY Parts Pt2 ExAmplE 3 twopaRt haRmony foR you to CReate a thiRD!

CD TraCk 33

Finally, you will note there are only two parts here. Your challenge is to not only study both parts, but also to develop a third part in which there are no notes doubled (played simultaneously) in the existing two parts. You could always

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try posting your efforts on YouTube and sending us a link, as it would be fun nominating the most successful one! See you next month, with more harmony ideas in the neo-classical rock guitar style.

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5


lesson: CHOPS SHOP

VIDEO

ON THE CD

CD-rom track

Chops Shop Andy Saphir wants to boost your fretboard prowess. In this first lesson he shows how to use legato to shift between positions using the Minor Pentatonic scale.

Example 1 sixth-string root legato idea

cd ROM


Andy Saphir's

The first four exercises use A Minor Pentatonic scale (A C D E G) with various sixth-string root scale pattern that ascends using hammer-ons, and descends Chops Shop - Legato minor pentatonics legato approaches. I’ve included pick direction and fingering suggestions, using pull-offs. Note how slides are used on the fifth and third strings to but youEx might find another way suits you better. This first exercise is a linear, enable a smooth legato feel between positions. 1

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Example 4 repeating sequential idea 3

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3 52’s scale 3 5 on exercise pattern, this repeating sequential descending pattern sees you going back up a string, before continuing the descent. Again, accuracy and good timing are essential. There are two pick direction

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Learning Zone

LEGATO MINOR PENTATONICS 8

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cd ROM

suggestions: first, an alternate picking approach which has downstrokes on the beats and offbeats, and ups on the 16th notes either side of those; and secondly, one that gives an ‘inside picking’ approach between strings.

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Example 5 SIX-bar study

cd ROM

For this study, played over a Im (Em) IVm (Am) Vm (Bm) progression in E minor, bar 1 uses Example 2’s ascending fifth string root scale, but this time 2 as xxxxxxxxxx E Minor Pentatonic (E G A B D) over the Em chord. It leads into bar 2 which 2 xxxxxxxxxx is part of Example 1’s pattern over the Am chord. Bar 3 uses Example 3’s idea over an Em chord, but as a sixth-string root, E Minor Pentatonic. Bar 4 is a B

Minor Pentatonic (B D E F# A) idea over the Bm chord. Bar 5 is a fragment of Example 1’s approach but as E Minor Pentatonic, leading into bar 6’s fifthstring root, ascending A Minor Pentatonic scale over the Am. Finally, bars 7 and 8 incorporate Example 1’s shape in E minor, but with the approach seen in Example 4. Picking suggestions are given for you to try out.

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ON THE CD

The Moody Blues

Phil Capone takes a look at Justin Hayward’s playing style, and how he kept the blues alive as the group moved further from their R&B roots.

Justin Hayward and John Lodge of The Moody Blues

ABILITY RATING

Easy/Moderate Info

Will improve your


16th-note rhythms Open-C chords Major Pentatonic licks

Although known for their lavish MOR ballads and prog-rock symphonies, The Moody Blues began playing R&B on the British blues scene of the early 60s. Formed in Birmingham in 1964, the original line up featured Ray Thomas (percussion, flute, vocals), Michael Pinder (keys, vocals), Clint Warwick (bass, vocals), Graeme Edge (drums, vocals), and Denny Laine on guitar (who would later form Wings with Paul McCartney). Their second single, Go Now, was a UK Number 1 and Top 10 in America, establishing the band as A-listers among the British Invasion bands. Their debut album, The Magnificent Moodies, was a mix of

R&B covers and original songs (written by Laine and Pinder). Unfortunately, further singles failed to match their initial success and, with the band facing debts and management issues, Warwick and Laine quit in 1966. Bassist John Lodge and guitarist Justin Hayward were swiftly drafted in as replacements, and the famous Moody Blues MkII line-up was formed. This period of change offered the Moodies a chance to change direction; they moved away from their R&B roots and focused on their classical influences instead. New single releases followed, but these were met by a lukewarm response from critics and punters alike. However, this provided an opportunity

Hayward's solid rhythm work and pioneering use of open tunings became an important part of the group's new 'prog rock' sound.

tracks 34-45

for further experimentation and space to develop their style out of the limelight. It was around this time that Michael Pinder started playing the Mellotron (a complex analogue sampler), an instrument responsible for creating the Moodies’ trademark lush string sounds. In 1967, the band released their second album Days Of Future Passed, a heady fusion of orchestral arrangements, poetry, and rock ’n’ roll; a pioneering album now recognised as a milestone that launched the prog-rock movement. The Moody Blues were instantly established as ‘serious’ album artists. The album also contained Justin Hayward’s epic ballad, Nights In White Satin, one of the band’s most iconic songs. Hayward is equally proficient on acoustic and electric guitars. The percussive qualities of acoustic (six- and 12-string) are perfect for laying down rhythm parts. His solid rhythm work and pioneering use of open tunings became an important part of the group's new prog rock sound; but the roots of his style are steeped in 50s rock and roll. “My idol was always Buddy Holly, and the way he played was truly the greatest influence on me. It’s the music that you love when you are young that's the most enduring, and the way Buddy played had everything I aspired to as a guitarist.” Other influences include James Burton (evident in his preference for the Major Pentatonic); Roy Buchanan (a clear influence on Hayward’s expressive soloing); and Hank Marvin (pioneer of melodic electric guitar). Justin’s main axe, a Cherry Red Gibson ES-335, provided the rich tones that can be heard soaring above the band's dense symphonic arrangements. If you’ve never explored the music of The Moody Blues, you’re in for a treat! Grab your electric (and acoustic) and prepare for a journey in search of the lost chord… NEXT MONTH: Phil examines the playing of Spencer Davis Group's Steve Winwood

Get The Tone 6

7

5

9

3

Gain

Bass

Middle

Treble

Reverb

During the late 60s, Justin was primarily using a Vox AC30 ‘Top Boost’ combo in the studio. He also used Marshall 100-watt and 50-watt stacks, and twin HiWatt stacks live. To get closest to the tone, you’ll ideally need a humbucker-equipped guitar. It doesn’t have to be a vintage ES-335, but this would help. Select the bridge pickup and roll off some tone control to sweeten the sound. When a cleaner sound is required, simply back off your guitar’s volume control to reduce the dirt.

Track record The Moody Blues catalogue includes a number of classics – Go Now (1964), Nights In White Satin (1967), Tuesday Afternoon (1968), Ride My See-Saw (1968), Lovely To See You (1969), and Question (1970), among others. Listen to their albums in chronological order to chart their progress from R&B upstarts to psychedelic multi-instrumentalist experimentalists.


PICTORIAL PRESS / ALAMY

lesson: BRITISH R&B

Learning Zone

THE MOODY BLUES GUITAR 235 ExampleTECHNIQUES 1 ACOUSTIC STRUMMING STYLE

cd track 34

Phil Capone - BRITISH R & B - MOODY BLUES Style

GUITAR TECHNIQUES 2 3sixth 5 string when you’re Phil Capone BRITISH R strumming & B - MOODY BLUES Style Don’t worry about muting the playing the A -minor note throughout, making sure you use the picking suggested for chord; this will add weight and authority to your sound. Use alternate 16thAcoustic strumming style

Ex 1

Acoustic strumming style ©»ªº ©»ªº ∑ & 444 ∑ &4

œœœ œœœ œœ œ0

> >œœ œœ œœ œœ œ0

≥ ≥

≥ ≥ ≤ ≥≤ ≥≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥≤ ≥≤ ≥ ≥ ≤

Am

Ex 1

.. ..

Am

. . .

E B G E D B A G E D A 1 E 1

1 2 0 2 1 0 2 0 2 0 0

1 2 0 2 1 0 2 0 2 0 0

Example 2 LINEAR SOLOING APPROACH

œœ œœœœ œœ œ0

œœ œœœœ œœ œ0 1 2 0 2 1 0 2 0 2 0 0

1 2 0 2 1 0 2 0 2 0 0

> >œœ œœœœ œœ œ0 1 2 0 2 1 0 2 0 2 0 0

3

œœ œœœœ œœ œ0

œœ3 œœ œœ œœ œ0 1 2 0 2 1 0 2 0 2 0 0

1 2 0 2 1 0 2 0 2 0 0

> >œœ œœœœ œœ œ0

> >œœ œœ œœ œœ œ0

1 2 0 2 1 0 2 0 2 0 0

ExPlay 2 the Linear approach thirdsoloing string bend at the end of the second bar using your third

©»¡∞∞ ©»¡∞∞ & 444 ∑ &4 ∑

the 16th-note triplets.

1 2 0 2 1 0 2 0 2 0 0

b Bb

(add your firstapproach and second fingers for extra strength). Hold the bend Exfinger 2 Linear soloing C B

œ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ

C

BU

E B G E D B A G E D A 1 E 1

6 8 6

5

6 8 6

5

7 5

7

7 5

7

BU 5 7 5 7

j œ œ j œ œ

~~~ œ~~~˙ œ ˙

N.C.

G

œ œœœ œœ

œ œœœ œœ

0 0 0 0 0 0

0 0 0 0 0 0

N.C.

œœ .. œ. œœœ ... œœ .. œ.

œ œœœ œ œœœ œ

G

3 3 3 5 3 5 3 7 5 5 3 7

3 3 3 5 3 5 3 7 5 5 3 7

> >œ œœœ œ œœœ œ 3 3 3 5 3 5 3 7 5 5 3 7

~~~ ~~~

N.C.

œœ œœ œœ œœ œ


F

1 1 2 1 3 1 3 2 1 3 3 1


1 1 2 1 3 1 3 2 1 3 3 1


1 1 2 1 3 1 3 2 1 3 3 1

1 1 2 1 3 1 3 2 1 3 3 1


œœ N.C. œ œ œœ œœœ œœ .. œœ œ œœ .. œœ œ œ œ (rpt to fade) 1 (rpt 0 0 to fade) 1 0 0 . 2 0 0 1 3 0 0 . 1 3 2 0 0 1 3 0 0 . 3

1 1 2 1 3 1 3 2 1 3 3 1

1

cd track 36

in position while fretting the G on the second string with your fourth finger; re-pick the bend before releasing the bend back down to D.

œ œ œ bœ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ. œ . 3

RP BD RP 8 BD (9 ) ( 9 ) ( 7) 5 8 (9 ) ( 9 ) ( 7) 5

F

3 5

7 5

3

5 3 2

0

5

7 5

3

5 3 2

0

3 3

0 2 0 2

~~~~C ‰œ ~~~~ ‰œœœœ œ œœ w œœœ œœœ w ~~~~ ~~~~ 3 2 0 C

3 0 5 3

3 2 0

3 0 5 3

Example 3 USE OF OPEN TUNINGS FOR ACOUSTIC RHYTHM

GUITAR TECHNIQUES 2 3 5

Ex 3 Use of open tunings for acoustic rhythm

∑ Open C Tuning (low to high: C-G-C-G-C-E)

E C G C G C 1

b

0 0 0

0 0 0

0 0 0 0 0 0

0 0 0

œœ œœ œœ œ œ œ œœ œ

3 3 3 0 0 0

3 3 3

3 3 3


3 3 3 0 0 0

3 3 3

3 3 3

3 3 3 0 0 0

3 3 3

b

3 3 3

Fadd2

b œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ b & œ œœ œœ œœ œœ œœ œ œ œ œ 8

3 3 3 0 0 0

3 3 3

3 3 3

3 3 3 0 0 0

3 3 3

3 3 3

3 3 3 0 0 0

3 3 3

3 3 3

3 3 3 0 0 0

5 5 5 0 0 0

3 3 3 0 0 0

F/C

œœ œœ œœ œœ œœ œœ œœ n œœ œœ . œ œ œ œ œ œ œ œ œ . œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 . 2 2 2 2 2 2 0 0 0 0 0 0 0 . 0 0 0 0 0 0 0 0 0 0 ≥ ≥ ≥ ≤ ≥ ≥ ≥ ≥ ≤

3 3 3 0 0 0

≥

œœ œ œœ œ


E 6

E C G C G C

0 0 0 0 0 0

Fadd2

b œœ & b œœ œ œ 6

0 0 0

≥ ≤ ≥ ≥ ≤ ≥

E 6

E C G C G C

chord by aiming your pick onto the top three strings. This doesn’t have to be precise, so don’t worry if you include the fourth string occasionally.

C m7 > > œœ œœ œœ œœ œœ œœ b b œœœ œ œ œ œ œ œ œœ œœ œœ œ œ œ

> > .. œœœ œœœ œœœ œœœ œœ œœ œ œ . 000 000 000 000 0 . 00 0 0 0 ≥ ≥ ≤ ≥ C

©»¡¢• & 44

cd track 38


Accent the downbeats in the first bar throughout; this is where the bottom three strings (or ‘drone notes’) are sounded. Play the upper part of each

œœ œ œœ œ

5 5 5 0 0 0

œœ œ œœ œ

œœ œ

5 5 5 0 0 0

0 0 0

œœ œœ œœ œ œ œ œœ œ 5 5 5

B b/C C > > > > œ œœ œœ œœ œœ œœ œœ b œœ œœœ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ

0 0 0

5 5 5 0 0 0

5 5 5

5 5 5

5 5 5 0 0 0

5 5 5 0 0 0

10 10 10 0 0 0

12 12 12 0 0 0

5 5 5

5 5 5 0 0 0

œœ œ œœ œ 5 5 5 0 0 0

œœ œ œœ œ 5 5 5 0 0 0

U ww w ww w


lesson: BRITISH R&B

ON THE CD

tracks 34-45

GUITAR TECHNIQUES 2 3 5RIFF WITH DOUBLE-STOPS Phil Capone - BRITISH R & B - MOODY BLUES Style Example 4 MAJOR PENTATONIC GUITAR TECHNIQUES 2 3 5

©»¡™∞ # # ##©»¡™∞ & # # ## 44 ∑∑ & 4

Ex 4

Major pentatonic riff with double stops E E

A A

n œœœ .. j œ œ œj œ œ j œ nœ .. j œ œ œj œ œ œ œ œ œ œ œœj œ œ œœ 7 . 4 7 7 . 4 2 6 4 2 .0 0 4 2 6 4 2 7

E B E G B D G A D E A 1 E 1

cd track 40


In the Moodies, Justin would often mix double-stops in with single notes as part distinctive riffing the notes used over the A Ex of 4 his Major pentatonic riffstyle. with Notice doublethat stops

2

0 0 2

4

6

4

6

chord in bar 5 are from A Mixolydian (A B C# D E F G), effectively implying a nice, bluesy IV7 chord. E

A A

œœ ‰ œœ ‰ œ ‰ œœœ wEww œœ ‰ œœ ‰ œœœ ‰ œœœ www 5 6 5 6

3 4 3 4

.. Œ Ó œ nœ œ œ . Œ Ó n œ œ nœ œ œ nœ œ œ nœ . œ œ nœ œ œ . 2 . 2 5 4 2 5 4 2 5 4 2 . 0 5 4 2 3 1/4

0 0 0 4 0 4

2 2 2 2

1/4 1/4

4

3

Example 5 USING BENDS AGAINST OPEN STRINGS By sounding the open first stringopen against second-string bends, a bigger Ex 5 Using bends against strings sound achieved, a technique reminiscent of James Burton’s Excan 5 be Using bends in against open strings

©»¡™º # # ##©»¡™º & # # ## 44 & 4

j j œj Eœ œj œ œ œ E

.. œ ..

∑ ∑

. . .


œ œ œ œj œ œ œ œœ ‰ œj œœ œ œ œ ‰ œJ J

Let ring Let ring BU BD 0 BU0 BD 0 12 14 12 ( 14 ) (12 ) 0 0 0 12 14 12 ( 14 ) (12 )

Example 6 Final Jam

0 10 0 10

E E

1/4

0

cd track 42

country style. Make sure that your fretting fingers are positioned carefully (at 90 degrees to the fretboard) to avoid muting the open first string.

œœ œœ

Let ring Let BUring BU0 7 ( 9) 0 7 ( 9)

j œj œ

œœ œœ œœ œœ œœ œœ

BU BU0 7 ( 9) 0 7 ( 9)

0 7 0 7

D D

A/C A/C

# #

E E

nœ œ œœ ‰ œ ‰ œ n œ œœ n œ œ œ œœ œ n >œ >œ œ nn >œœ > > ring > Let ring Let

1/4

.. ..

1/4

0 5 0 6 5 5 5 6

Let ring

2 2

2 2

0 0

3 3

w w

Let ring

4 4

2 2

. . .

1/4

2 2

1/4

3 3

0 0

cd track 44



OurGUITAR jam opensTECHNIQUES with a 16th-note picking classic Moody - BRITISH by two bars This makes the time signature and tempo change easy 2 3 5 pattern in 6/8 time:Phil Capone R &ofBorgan. - MOODY BLUES Style GUITAR TECHNIQUES 2 3 5alternate picking, you’ll Phil Capone - BRITISH R&B MOODY BLUES Style Blues ballad territory! Instead of using find the to negotiate. The -four-bar riff that follows is created by sliding an open E shape economy suggested easier, or alternatively use a repeated 'm, i, p' along the strings. Finally, the solo section should present no problems – just Ex 6 picking Final Jam Ex 6 Final Jam fingerstyle picking pattern. On the backing track, thearpeggio riff in barstyle 21 is preceded ensure that your bends are accurate both in pitch and rhythmic execution. Ballad Final Jam ©.»∞∞ ©.»∞∞ ## 6 ©.»∞∞ & # 6688 & & 8

22 2∑∑ ∑

Ex 6

E B E G B E D G B A D G E A D E A E

Ballad E m arpeggio style Ballad E m arpeggio style

.. ..

22 2

.. .. .

œœ œ œœ œ EE mmœœ œ œœ œ Cmaj7 œœ œ œœ œ œœ œ œœ œ EE m9 œœ œ œœ œ œœ œ œœ œ m9 Cmaj7 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ E m9

Let ring Let ring Let0 ring 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

≥≥ ≤≤ ≤≤ ≥≥ ≤ ≤≤ ≥≥ ≤≤ ≤ ≥≥ ≥ ≤ ≤ ≥ ≤≤ ≤ ≥ ≤ ≤≤ ≥ Cmaj7 # 11 Cmaj7 A m9 # œœ œœ œœ œœ œœ œœ AA m9 ##Cmaj7 œœ œ# 1111 œœ œ Cmaj7 Cmaj7 Cmaj7 m9 œ œ & # œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœœ œœ œ œœœ œœ œ œœœ œœ œ œœœ œœ & & œ œ œ œ œ œ œ œ 3, 11 3, 11 3, 11

E B E G B E D G B A D G E A D 6, 14 E A E 6, 14 6, 14

2 2 3 3 2 0 2 0 3 0 3 0 0 0 0 2 0 2 0 3 0 3 0 0 0 0 0 0 0 0 0 0 0 0 0 0

©»¡£∞ ## ©»¡£∞ ©»¡£∞ 44 & # & & 44

E B E G B E D G B A D G E A D E A 19 E 19 19

5 5 5 5 5 0 5 0 5 0 5 0 0 0 0 5 0 5 0 5 0 5 0 0 0 0 0 0 0 0 0 0 0 0 0 0

22 2∑∑ ∑

E shape against open strings

œœ œœ œœ œœ BBBœ777 œ œ œ ˙. œ œœ œ œ œœ œ œ œœ œ œ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ ˙˙ .. œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ 7 7 8 8 7 0 7 0 8 0 8 0 0 0 0 7 0 7 0 8 0 8 0 0 0 0 0 0 0 0 0 0 0 0 0 0

œœ

˙˙˙

œœœ

œœœ

A/C A/C A/C

˙˙˙ ˙

2 2 2 2 2 0 2 0 2 0 2 0 2 2 2 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 2 2 2 2

.. .. .. .. .

2 2 2

.. ..

Play 3 times Play 3 times Play 3 times

œœ œ œ œ œ œœ œœ œœ œœ œœ œœ œ œ œ œ œœ 4 4 4

21, 23, 21, 25 0 23, 21, 25 23, 25

G /E G /E G /E

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

≤≤ ≤≤ ≤≤

.. N.C. ‰‰ œ œ .. œ œ œ œ œ œœ œœ œœ œœ œœ œ ‰ œ œ œ .. 0 0 2 .. 0 2 0 2 0 2 0 . 00 22 00 0 22 2

22 2 œœ

Cmaj7

2 2 3 3 2 0 2 0 3 0 3 0 2 0 0 2 0 0 3 0 0 3 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Open string riff Open string riff N.C. Open string riff N.C.

E shape against open strings E 2014 80 GuitarTechniques October E shape against open strings

## # ## # . EE˙ # . ˙

Em

Em

œœœ œ

œœœ œ

2 2 2

0 0 0

C/E C/E C/E

n ˙˙˙˙

2 2 2

0 0 0

œœœœ

3 3 3

2 2 2

.. .. .

œœœœ

..

2 ∑

# 4 & 4

..

2

E B G D A E

Example 6 Final Jam

21, 23, 25

19

‰ œ

œ œ œ œ œ œ

. .

2

0

0

0

0

2

2

.. œ œ œ œ œ œ œ œ Learning Zone THE MOODY BLUES . 4 2 0 . 2 0 Play 3 times

44 3 cd track 2

E shape against open strings

# # # # . ˙˙ . ˙˙ & ˙˙ E

. .

E B G D A E

& E B G D A E 35

œœ œœ œœ

0

0 0 1 2 2 0

0 0 1 2 2 0

27, 31

####

œœ œ œœœ œ

G /E

˙ nn ˙˙˙˙ ˙

œœœ œœ œ œ

0 0 4 5 5 0

œœœ œœ œ

˙˙˙˙ ˙ ˙

0 0 4 5 5 0

0

SOLO E

A/C

œœœœ œ œ œ

0 0 6 7 7 0

œ œ œ œ œ œ j œ

0

0 2

4

2

4

2 4

4

œ

j œ œ

~~~

~~~~

7

5

6

œœœœ .. œ œ

œ. œj n œ

~~~

BU BD

5

6

. .

0 0 9 10 10 0

0

~~~ œ œ œ

A /E

5

œœœœ œ œ œ

0 0 9 10 10 0

~~~~ œ œ œ

5

˙˙ n n ˙˙˙ ˙

0 0 6 7 7 0

~~~ œ œ œ œ œ 6

6

œœœœ œ œ

0

G /E

C/E

7 7

( 8)

2

C /E

E

# # # # n œ œ œ œ œ œ œ. œj n œ. œ~~~~˙ &

œ œ J

~~~~

5

BU E B G D A E

(7 ) 5

7

6

5

7

(8 )

7

5

√~~~~G/E œ ˙ J

A/E

~~~~ œ~~~ . œ ˙. J

~~~~

~~~

17

17

œ œ

~~~~

17

17

17

38

(√)j C/E #### œ nœ œ œ œ œ œ Œ & BU E B G D A E

19 ( 20 ) 19 17 19 17

~~~ œ œ œ œ œ œ œ jœ œ œ œ j œ œ œ œ œ œ ~~~

E

4 0

42

G/E

0 2

2

4

7

5

5

5

(√) ~~~~~~ # # # # œj n œ œ œ œj n œ œ j w j œ œ nœ œ & œ nœ œ œ nœ œ œ œj n œ œ BU BU BU BU ~~~~~~ BU (15 ) 14 12 C/E

E B G D A E

4

6

2 4 6

5

14

E

12 (13 ) 12 10

11 (12 ) 11

G/E

9 4

46

( 5)

4

2

0

2

A/E

j œ nœ

8

7

A/E

w

œ œ œ~~~œ 7

9

~~~

√ ‰ œ J

7

12

C/E

˙

Ó

0 2

(3 ) 2

0


lesson: jazz

ON THE CD

tracks 46-47

Blue Note Anniversary Join Pete Callard as he celebrates 75 years of jazz’s greatest-ever label – Blue Note Records, home to Thelonius Monk, John Coltrane, Grant Green and many, many others. Blue Note is renowned for its stylish cover art, which became as iconic as the music itself. Gordon’s name, from the film Round Midnight in which he also starred, were released as The Other Side Of Round Midnight on Blue Note in 1985. One of the greatest of all jazz musicians, tenor saxophonist John Coltrane (23 September, 1926 to 17 July, 1967) released only one album for Blue Note Records – 1957’s seminal Blue Train – but as it is generally considered among the most important and influential albums in jazz history, he demands inclusion in any list of Blue Note legends. Wayne Shorter (born 25 August, 1933) is equally renowned as a composer and saxophonist. A key member of Miles Davis’ second great quintet, Shorter’s first recording for Blue Note was 1964’s Night Dreamer, and he went on to release 11 albums for the label between 1964 and 1970, also featuring on Blue Note recordings by Art Blakey, Freddie Hubbard, Lee Morgan and McCoy Tyner, among others. In 2013, Shorter returned to Blue Note after more than 40 years, with the live album, Without A Net. NEXT MONTH: Pete looks at some of the great Blue Note guitarists

Get The Tone 2

6

5

2

2

Gain

Bass

Middle

Treble

Reverb

As none of the featured artists are guitarists, you can use any sound you feel is appropriate for this month’s examples – I’ve gone for a variety of tones for the audio. For a good classic jazz sound, use the guitar’s neck pickup with the tone control rolled off to around 3 or 4 (or take the treble down on the amp), and set up a warm clean tone on your amp. Thick strings work better, as does a hollowbody guitar, but neither is essential.

Track record For Blue Note releases of the artists covered, I’d recommend Freddie Hubbard’s Ready For Freddie (1961), Dexter Gordon’s Go (1962), John Coltrane’s Blue Train (1957) and Wayne Shorter’s Speak No Evil (1964). But a trawl through a history of Blue Note (even Wikipedia) will show just how much jazz greatness that this label harnessed. There’s a lifetime’s listening!


MICHAEL OCHS ARCHIVE / GETTY IMAGES

Note’s original focus on trad jazz and swing soon became a paragon of forward-thinking Moderate/Advanced modern jazz – particularly the ‘hard-bop’ style. The label is also renowned for its stylish Info Will improve your cover art, courtesy of artist Reid Miles and often featuring images by photographer Key: F Jazz soloing Francis Wolff, which became as iconic as the Tempo: 120bpm Harmony knowledge music itself and proved hugely influential in CD: TRACKS 46-47 Scale vocabulary the graphic-design world. Blue Note was bought by Liberty Records in 1965, which was THIS YEAR sees the 75th anniversary of in turn absorbed by United Artists Records in arguably the most famous and iconic of all 1969. In 1979, EMI bought United Artists jazz labels – Blue Note Records. Founded by Records and phased out Blue Note, but it was Alfred Lion and Max Margulis in 1939, Blue relaunched in 1985 and continues to this day, now expanded to cover several labels as the Blue Note Label Group. In tribute to Blue Note’s 75th anniversary, we’ve put together a Blue Note blues, featuring a chorus each on a jazz blues in F from some of the label’s biggest names – starting this month with Freddie Hubbard, Dexter Gordon, John Coltrane and Wayne Shorter. Trumpet great Freddie Hubbard (7 April, 1938 to 29 December, 2008) released nine albums for Blue Note in the 1960s as a leader, beginning with Open Sesame in 1960 and culminating with 1965’s live Night Of The Cookers. Hubbard also played on a further 28 Blue Note releases as a sideman including classic recordings by Art Blakey, Herbie Hancock, Wayne Shorter and Dexter Gordon. He returned to the revived Blue Note in the 1980s for a further four releases. Tenor saxophonist Dexter Gordon (27 February, 1923 to 25 April, 1990) released a series of albums in the 1960s for the John Coltrane: label, beginning with Doin’ Blue Note artist Alright in 1961. He also featured and all-time on Herbie Hancock’s Takin’ Off. giant of jazz The final recordings under

ABILITY RATING

Learning Zone

BLUE NOTE ANNIVERSARY Example 1 Freddie Hubbard

cd track 46

Hubbard begins his chorus suggesting Cm7 and F7, then comes down Bb plays around G Dorian with a #4 (C#) thrown in, then comes down a rhythmic Mixolydian with chromatic passing notes over the Bb7 ending on the 3rd (A) motif in C Half-Whole Diminished over the C7 and outlines Am7 then F over and root of the F7. He then comes down F Half-Whole Diminished (or Altered the Am7. On the D7, he seems to be treating it as Gm7, then descends in C Scale) resolving to Bb Mixolydian with chromatic passing notes over the Bb7 Half-Whole Diminished initially, then chromatically, and over the final C7 JAZZ Callard comes up C7 then descends chromatically, ending on an enclosure idea and suggests Fm7 and Bb7MAGAZINE over bar 6 of the going back -toPete F Minor GUITAR TECHNIQUES 2 3chorus, 5 anniversary -ending 1 to anticipate the F7 chord followed by a repeated F note.blue Overnote the Gm7, he on the 5th (C) of the F7. JAZZ - Pete Callard

GUITAR TECHNIQUES MAGAZINE 2 3 5 GUITAR TECHNIQUES MAGAZINE 2 3 5 Ex 1 Freddie Hubbard Blues Chorus in F2 3 5 GUITAR TECHNIQUES MAGAZINE

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17 10 13 17 15 14 10 12 10 13 10 11 17 10 12 10 Gordon Dexter Blues Chorus in F 10 Dexter Gordon Blues Chorus in F 10

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Freddie Hubbard Blues Chorus in F

blue note anniversary - 1 JAZZ - Pete Callard blue note anniversary - 1 JAZZ - Pete Callard blue note anniversary - 1 F7

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œ n œ œ œœ œœ œ œœ œ n œ œ œ œ œœ œ œ nœ œ œ œ œ œ œ nœ œ October 2014 GuitarTechniques 83

Dexter Gordon Blues Chorus in F

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lesson: jazz

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ON THE CD

9

tracks 46-47

D7 œ œ œ #œ œ œ œ œ œ #œ œ bœ bœ œ œ œ œ œ œ cd track 46 Example 2 Dexter Gordon œ ⋲ ⋲ ⋲ œ b œ & feature of this Dexter Gordon chorus is his repeated use of over the F7 resolving toœ the 3rd (D) and 5th (F) on the Bb7. He suggests Fm An interesting

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major 7ths over dominant 7th chords. Gordon begins with a sort of four-note over the Bb7 and moves up Bb Mixolydian, then in the next bar comes down interrupted indirect resolution motif around each of the notes of an F major Bb6 (or Gm7), moving back up chromatically, then down Bb minor. Over the arpeggio over the F7, then moves between F and Bb7 over the Bb7, moving F7 and Eb7 he plays around the F Major scale, then ascends in D Mixolydian down chromatically and outlining Bb6 (or Gm7) on beats 3 and 4. Over over the D7 moving to G Dorian over the Gm7 with a chromatic passing 17 Am7b5 15 14 he theE F7, he returns to his initial pattern around F major, moving up Cm7 in note, and outlines C7b9 resolving to F major over the10C7.13 On the B 13 14change, 13 then 10over 11the10Cm7 comes down in 3rds in C suggests F major 8 and D7 altered, moving 10 13down 10 chromatically 11 17 anticipation of the chord to outline G 12 11 9 8 9 10 12 Dorian (with a surprise F# thrown in) over the Cm7 and outlines F7 and F7b9 (or the D7#9 and Gm7. D 7 Gm11) over10 11 10 Bbmaj9 8 A E

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Learning Zone

BLUE NOTE ANNIVERSARY

C7 Example 3 John œ œColtrane œ œ œ n œ œ œ œ # œ œœ .. G œm7 ‰ œœ œœ œ œ œ œ b œ œ b œ œ n œ œ œ b œ œ . cd track 46 b Œ œ œ œ # œ œ œ œ œ &Coltrane œ œ œ œ then John starts in œ F Mixolydian with a chromatic passing note, then the Bb7, moving into Bb Mixolydian J œ œ note, œ œ œ œ b œ theœ nwith œ nœ œ œLydian b œ œb7œandœ F Mixolydian œ œ œover œ œœFthe œ œa chromatic b œ œœ œpassing ‰ œ . moves with a chromatic passing note over the Bb7, ending F7. Over the Am7b5, heœcomes down & bup BbŒ Mixolydian œ J œ œ œ œ 3 in Bb Half-Whole Diminished and moving back to land on the 3rd (A) and F Major Scale with a chromatic passing note leading into an Ebdim7 arpeggio E 7 E 7

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over the D7 and resolves to a Gm arpeggio, then uses G Melodic Minor over the Gm7, moving down chromatically then coming back up C Mixolydian over the C7 and closing in F Mixolydian over the final F7.

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Ex 4 - Wayne Shorter blues chorus in F G m7

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lesson: jazz

Gm7 Gm7 Gm7

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Example 4 Wayne Shorter E

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8 10in the next bar, suggesting Bb passing note, throwing in an implied Fm7 and 10 10 9 7 7 9 10 8 10 10 8 10 8 10 10 10 9 b7 7 11 10 9 to F7. 10Over 10 D7#9, 10 C7 and 10 Bb7 8 10 Lydian C7b99 resolving back the chords 8 10 7 10 9 7 and 7 9 10 10 10 10 10 11 10 9 8 10 10 8 10 11 10 9 8 10 laid-back descending 4ths idea, and 10closes on he moves into a characteristic a simple, sparse ascending rhythmic figure.

Ex 4 - Wayne Shorter blues chorus in F Ex 4 - Wayne Shorter blues chorus in F Ex 4 - Wayne Shorter blues chorus in F G m7 C 7 F7 G m7 C 7 F7 G m7 C 7 F7

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lesson: acoustic

ON THE CD

tracks 48-49

James Taylor Stuart Ryan returns to the work of this US singer-songwriter and guitar legend, with a piece in 3/4 time designed to show various aspects of his easygoing but musical playing style. Taylor’s fingerpicked passages don’t always follow the basic singer-songwriter patterns, and often feature subtle chord alterations. something new in his playing each time. For this lesson, we’re going to focus on the three-four time signature, not so common for singer-songwriters perhaps, but something that works to great effect in a track such as Sweet Baby James. It’s important to really feel the pulse all the way through, so if you’re new to this time signature, try getting the hang of it first by counting ‘1 2 3, 1 2 3’ as you play some simple strummed chords. Part of the challenge of getting Taylor’s style under your fingers is his slightly ‘languid’ approach – ie a relaxed feel that never rushes, and sometimes, even travels slightly behind the beat. This can be even more of a challenge in three-four, as the waltz-like nature of this time signature almost commands you to move forward with robotic precision. Maintain a relaxed picking hand all the way through, keep an ear on the beat and you’ll be fine – try stretching some of the chords out just a little bit longer than feels right at first. NEXT MONTH: Stuart continues his look at the legends with a piece on Sir Paul McCartney

Get The Tone 2

7

6

6

2

Gain

Bass

Middle

Treble

Reverb

He first hit the big time using an old Gibson J-50, but today, Taylor is famous for his James Olson model, a small jumbo-sized instrument. However, you’ll need to be feeling very flush if you’re going for one, as they fetch many thousands of dollars. However, any good acoustic will do the job, and newish strings will get you closer to Taylor’s clear tone. I recorded this on my Froggy Bottom Model M, another fine guitar for those after something special.

Track record Taylor’s breakthrough album was 1970’s Sweet Baby James, featuring the hit Fire And Rain. Its follow-up, Mudslide Slim (And The Blue Horizon) contains his Carole King cover, You’ve Got A Friend – both albums are a must in any collection. The Grammy-winning Hourglass is superb, as is October Road. Any of the live albums capture him in his natural environment.


LFI / PHOTOSHOT

consummate guitarist who always crafts the right part to accompany his easygoing vocal style. Finding his voice in the Californian songwriting community of the 1960s, he developed a guitar style that, while ostensibly simple, has hidden depths. Unlike many of his contemporaries who either strummed open chords or created simple fingerpicking parts, there is a greater complexity to Taylor’s playing style. Firstly, his deft fingerpicked passages don’t always follow the predictable, basic singersongwriter patterns; and secondly, his chord work often features subtle alterations to the underlying chord sequences, so expect to see all manner of sus, 7th and diminished type chords in his playing. In addition, rather than simply arpeggiate the chord shape under his fretting hand, he will often add embellishments to the chords via an array of hammer-ons, pull-offs or James Taylor and picking patterns. one of his James Olson guitars Taylor actually started his musical journey by learning the cello as a child, and also tinkered ABILITY RATING with his sister’s piano. In fact, he has stated that he views his approach to the guitar as Easy/Moderate something akin to piano playing, with his Info Will improve your picking-hand thumb as the left hand of a piano player and his picking-hand fingers as Key: D Fingerstyle in 3/4 time the right hand. This approach is in evidence Tempo: 144 bpm Chordal embellishments when you listen carefully to his parts and hear CD: TRACKS 48-49 Open-position chords the interdependence between the thumb/bass notes and the fingers/chord work. A LEGEND in the songwriting world and the I’ve covered James Taylor several times for first artist to be signed to The Beatles’ Apple GT over the last decade, but I always find Records label in 1968, James Taylor is a

Learning Zone

JAMES TAYLOR Example JAMES TAYLOR style

cd track 48

[Bar 1] Use this simple intro sequence to orientate yourself with the 3/4 [Bar 10] Sus and 7sus4 type chords are very common in Taylor’s writing, and pulse if necessary. A standard ‘pima’ picking hand approach will work well ‘soften’ the sound of standard major or dominant chords. If you’re new to throughout this piece. these voicings, then they are well worth committing to memory. [Bar 5] Moving basslines are a key feature of Taylor’s style, and hint at the [Bar 16] Embellishments on simple chords are another essential element of GUITAR 2 to 3 5his playing. Use the fourth Stuart's piano-likeTECHNIQUES approach he brings fingerAcoustic on the his style – this simple hammer-on within a D major chord appears time and STYLE fretting hand to reach for the bass note on the 4th fret, JAMES fifth stringTAYLOR here. again in his music – in fact, you could call it his signature lick.


Stuart's Acoustic JAMES TAYLOR STYLE G Stuart's Acoustic A 7sus4 JAMES TAYLOR STYLE

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0 2014 2 GuitarTechniques October 89 3

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lesson: acoustic D

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the sixth-string bassline descending just one fret. Watch James’s fretting hand, chord shapes, especially3 E and you’ll see 2 that he uses rather unorthodox 2 3 B D. But you’ll3be fine with ‘normal’ fingerings 3 3 A and throughout this piece. 3 G D A E

2 0

0

2

0

2

0

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A7sus4

Dsus2

tracks 48-49 D

œœ œ œœ œœœ œ œ œ œ œ œ œ cdœtrack 48 œ œ [Bar 28] Taylor often serves up the unexpected, such as this Csus 2 chord –

typical of the devices that add a brief tension to his writing when needed. Taylor’s hands seem to crawl across the fretboard 3 2 0 2as he changes chords; 2 as 3 3 to play the next shape cleanly. 3 notes are3 played he moves the fingers in time 0 0

0

2

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2

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3

13

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# œœ & # œ œ E B G D A E

3

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ON THE CD G

œœ œœ œ œ œ œ [Bar 21] This G to D movement is another Taylor favourite and is guided by

# # œœ œœ œ œ & Example JAMES œ TAYLORœ style

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lesson: rockschool

ON THE CD

trackS 50-57

Reading Music Part 3

Accidentals


Join Rockschool’s Charlie Griffiths as he continues in his quest to demystify the art of reading music. This issue: how to spot and deal with ‘accidentals’. ways, since they can be arrived at from two different directions. We previously moved from D to D# by moving up a semitone, but we could also start from E and move down a semitone to arrive at E b; either way, we have arrived at the same fret on the guitar. When a note has two different names, but they both sound the same, we call them ‘enharmonic’. Almost every note can be flattened and sharpened, and the resulting accidentals can be spelt in one of the two ways mentioned ie, sharp or flat. Exceptions are E and F, and B and C, which are already a semitone apart – so ‘F b’, for example, would more easily be expressed as ‘E’. It is unusual, but not

Play the examples with a metronome at a very slow tempo - you should have enough time to name each note before you play it.

Use a one-fingerper-fret approach to play the examples

ABILITY RATING

Easy Info Key: Various Tempo: 60 bpm CD: TRACKS 50-57

Will improve your Notation reading Fretboard knowledge Employability!

SO FAR IN in this series, we have studied the five lines of the stave and learnt that they represent the notes ‘E G B D F’ from low to high, and that the four spaces inbetween indicate the notes ‘F A C E’. We also located these notes on the guitar by placing the notes into three groups (E F G), (A B C) and (D E F), then locating each trio of notes on a different string. If you play all of these notes as a scale, it effectively sounds like the E Phrygian mode – you don’t necessarily have


to think of it as such, but some might find it a useful sound to remember. If we arrange these notes starting on the C (C D E F G A B), it is clearer that all these notes belong to the key of C major. This gives us seven of the 12 possible semitones available on the guitar; the remaining five notes are called ‘accidentals’. Accidentals are spelt using the same letter names, but are prefixed with the sharp (#) and flat ( b) symbols, which effectively move the written note up or down a semitone; the equivalent of one fret. If we take the note D for example, placing a # after it makes it D# (D sharp), which is a semitone, or one fret, higher. Likewise, a b preceding the note makes it D b (D flat), which is one semitone, or one fret, lower. To return the note to its original status the natural symbol ( ) is used. Accidentals can be spelt in two different

n

unheard of, to see ‘E sharp’ and ‘F flat’ notes; the same is true of ‘B sharp’ and ‘C flat’ notes; but this usually depends on the key in which you are playing. In the following exercises we’ll build on the skills you’ll have acquired in the two previous lessons, and use the same ‘threenotes-per-string’ scale fragments as before, but you will now add two or three extra notes per string, either by adding an extra finger, or by shifting your hand up or down one fret. For best results, play the examples with a metronome starting at a very slow tempo – a good gauge for what tempo to practise at is that you should have enough time to name the note before you actually play it. I hope you persevere with these articles. Anyone can learn to read music, and notions of difficulty are dispelled once you break it down as we are doing here. If you missed lessons 1 and 2, you can get them in back issues from www.myfavouritemagazines. co.uk; or download them to an iPad, from itunes.apple.com – good luck! NEXT MONTH: Charlie looks at Leger Lines above and below the stave

READING MUSIC: ACCIDENTALS Example 1 E F G – with extra2‘sharps’ GUITAR TECHNIQUES MAGAZINE 35

Learning Zone cd track 50

Charlie Griffiths

Keep your fingers in a one-finger-per-fret position and use your first, where it is and use your idle third finger to play it. To play the G#, move second and fourth fingers to play the E, F and G notes.READING We will now add Part 3 your hand up a fret and play it with your fourth finger. This ‘correct’ two extra notes, F# and G#; when the F# is introduced, keep your hand fingering helps, since it frees you from looking at the neck so much.

©»§º 4 &4 œ

Ex 1

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Charlie Griffiths

READING Part 3 4 œ œ œ bœ œ œ bœ œ bœ œ œ bœ œ œ bœ œ &4 Ex 1 ©»§º2 A B C – with extra ‘flats’ Example Ex 3 4 to the previous example, keep your fingers in a one-finger-perSimilar is introduced, keep your hand where it is and simply use your second & 4 œ but use œ third œœ to play#b œœit. To playœ the Aœb note, moveœ your#hand œ # œœ a fretœand œ # œ fret position, the first, and fourth fingersœto play the A,#nBœ œ œ # œ we #willœ also add œ twon extra œ notes, Ab and B b. When the B b finger œ finger.b œ œ # œ down and C4notes; play it with your fourth &4

cd track 52

Ex 2 GUITAR TECHNIQUES MAGAZINE 2 3 5

4 œ œREADING œ Part bœ 3 œ œ bœ œ & 4 œ œ œ bœ 4 œ #œ œ œ œ œ bœ œ œ bœ nœ œ Ex& 1 4 Ex 3 ©»§º 4 œ #œ œ nœ œ œ #œ nœ œ bœ œ bœ & & 444 œ œ œ # œ œ œ œ œ œ œ# œ # œœ #œœ n œœ œœ #œ œ œ2 3 5 b œ n œ MAGAZINE GUITAR & TECHNIQUES Charlie Griffiths Charlie Griffiths

Ex 4

Ex 2 Ex 4 Example 3 D E F – with extra sharps and flats

4 œ & & 444 œ # œ ©»§º Ex 3 4 &4 œ œ 44b œœ n#œœ & & Ex 2

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Keep your fingers in a one-finger-per-fret position, and use your first, and fourth fingers to play the D E and F notes. The first bar shows Exthord 1 a D# and an E b adjacent to each other. These are two names for the

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Example 4 all the notes

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This exercise encompasses all 12 notes from the chromatic scale (any parent scale with all its sharps and flats added) across all three strings. If an accidental is used near the beginning of the bar, then it endures for the remainder of the bar. The second note in the first bar is C#, so all

Ex 4

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cd track 54

œ œœ ## œœ # œ œ #œ œ

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same pitch, so are called ‘enharmonic’; use your second finger to play this note. You will also need to shift your hand down a fret to play the D# with first finger and shift up to play the F# with your fourth finger.

œ #œ # œœ b œ n œœ b œœ œ œ bœ œ bœ nœ

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cd track 56

of the following C notes are also played as C#; the bar line cancels the accidental, so the first note of bar 2 automatically reverts back to C natural. A note can also be ‘naturalised’ within the same bar when the natural symbol ( n ) is placed before it.

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SEPTEMBER GT 234

AUGUST GT 233

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Explore the licks and techniques of Clapton’s psychedelic-blues period. Plus, a special lesson on four-part harmony; focus on Keith Richards and Brian Jones in the early Stones; and a complete transcription of Wes Montgomery’s jazz-pop classic, Sunny.

Learn 20 amazing string-bending licks to ignite your solos! Master the acoustic style of Jimmy Page, riff like The Kinks and The Faces, improve your classical and jazz technique – plus a complete transcription of G N’ R classic, Welcome To The Jungle.

Master timing with our in-depth lesson – it’s crucial to playing more fluently, accurately and musically. Plus, learn Joe Walsh’s guitar parts with our transcription of Funk 49, learn Grieg’s Peer Gynt and check out the video masterclass with Thomas Leeb.

JUNE GT 231

MAY GT 230

SPRING GT 229

Learn SRV’s awesome rendition of the blues classic The Sky Is Crying, and Vivaldi’s Winter. Play like Nashville’s Top 10 session men. Master the styles of Frank Marino, Chris Stein, Steven Wilson, George Benson and acoustic nylon-string ballad guitar!

Unlock the true potential of the pentatonic in blues, rock, jazz and country music. Learn extreme guitar techniques. Play like Dream Theater, George Benson, Leslie West and Jonny Lang. Plus a full transcription of the Red Hot Chili Peppers’ Parallel Universe!

Don’t miss our ultimate guide to making sure you’re prepared for any big rock gig, and a superb guitar transcription of Freddie King’s blues classic, Takin’ Care Of Business. Plus Ted Nugent, Chuck Wayne, Joe Louis Walker, Brent Mason and many more!

CREAM OF CLAPTON

STEVIE RAY VAUGHAN

string bends

PENTATONIC POWER!

PERFECT YOUR TIMING

COMPLETE WORKOUT

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Please do not call or email the magazine directly as we cannot deal with subscriptions or back issues. We regret that we cannot photocopy transcriptions from back issues

Each back issue costs (including postage and packing) n UK: £5.50 n Europe: £6.50 n Rest of the world: £7.50 94 GuitarTechniques October 2014

Music Reviews

What our Ratings Mean: ★★★★★ Buy it ★★★★ Excellent ★★★ Good ★★ Average ★ Bin it!

New Albums

A selection of new and reissued guitar releases, including Album Of The Month… Album of the month

Umphreys McGee

Similar Skin

Nothing Too Fancy Music HHHHH When a CD arrives with a ‘Caution, contents are awesome’ sticker on it, you have to admire the audacity. Truth is the statement is, if anything, an understatement. This is an extremely original rock album that borders on progressive, with strong songs, adventurous arrangements and quality performances from this American sextet. That will come as no surprise to their followers as, amazingly, this is their seventh studio album. Originally a four-piece, the band was formed in Chicago in 1997 by Brendan Bayliss (vocals, guitar), bassist Ryan Stasik, drummer Mike Mirro and Joel Cummins on keys. And boy, do they make a great sound together! Plenty of variation in styles and musical emphasis here make it a sonic delight from start to finish, with 11 finely-crafted and beautifully performed songs that capture the imagination and the heart. Bayliss can certainly throw out a good solo (listen to Loose Ends), but that’s not what this album is about. Check out the staccato sections on Educated Guess and the excellent opener, The Linear. This is rock music at its best, so we urge you to give it a listen.

Randy Bachman

REVIEWS BY ROGER NEWELL

Every Song Tells A Story

ILS HHHH Taken from his Vinyl Tap Tour, this is Randy Bachman in an intimate theatre environment, playing and chatting about his musical life. Randy likens Winnipeg to Liverpool in his early days, with lots of gigs and a drinking age of 21. Highly influenced by British music, his band played material by Cliff and The Shadows, and their first single was a cover of Johnny Kidd’s Shakin’ All Over. As they didn’t have a name, the record company put it out as Guess Who and it stuck. Jamming at a gig, Randy came up with the riff that became American Woman and a number one all over the world. Randy has an easy way that makes you want to watch and listen, and the DVD makes great

use of split-screen, which allows for a lot of nostalgic and relevant pictures from the past. The stories he tells are really entertaining, and anyone who’s ever been in a band will connect. Randy formed a new band, Brave Belt but with his two brothers and Fred Turner on bass they became Bachman Turner Overdrive and a whole lot heavier. This is a very enjoyable DVD and it comes with a bonus CD of just the songs. He’s a great character with a good band behind him – well worth checking out.

Space Elevator

Space Elevator

Space Elevator HHHH Eponymous first albums on their own labels certainly get the name across! Three members of the band were involved with the West End show, We Will Rock You and when that finally came to the end of its run, it was time

to begin a new project and Space Elevator is exactly that. Guitarist David Young and vocalist ‘The Duchess’ wrote some fine songs together, and this album began to take shape. The Duchess was in Curved Air and brought the drummer along with her to complete the band. And what a band they are – this is hard-hitting commercial rock at its best, as the songs are really strong. Excellent production also plays its part, as does the bass work from Neil Murray, so no wonder Brian May likes this band so much. Young is a very talented guitarist and the cat-suited Duchess can really deliver a song. And since she’s such a dynamic performer, it’s well worth catching a live Space Elevator show.

Philip Sayce

Influence

Provogue HHHH The title says it all, really. This is Sayce acknowledging his roots and reflecting the musical styles of the guitarists that influenced him. But unlike similar projects from other artistes, Philip has written much of the material rather than simply reworking classics. This approach works extremely well, and just listen to Out Of My Mind for some of the most atmospheric references to Jimi Hendrix we’ve ever heard. The

heaviest part of the album comes in the shape of Fade Into You, a slow moody song which Sayce admits ‘comes from a sad, dark place’ in time that reflects his disappointment in the music industry. It’s very personal, showing him at his best and totally at one with his guitar. The music is as varied and wonderful as the material that his heroes produced, but given that extra Sayce mastery.

Gentle Giant

The Power And The Glory

Soul Food HHHH We’re beginning to wonder if Steven Wilson ever gets home at night, juggling his own projects with a heavy schedule of remixing classic albums from the likes of King Crimson, XTC and Yes. Now his attentions are on Gentle Giant, one of the most underrated bands ever. Incredible musicianship was at their core, but by avoiding any commercialism they stayed firmly underground. Perhaps it was reaction to their chart-topper Kites, when they were known as Simon Dupree And The Big Sound; whatever the reason, as

Gentle Giant their albums are individual and timeless, so giving them this remastering treatment makes perfect sense. The Power And The Glory is perhaps a strange choice as a first re-release, as it’s a particularly complex album. It was their seventh, and followed hot on the heels of In A Glass House where the band was in transition due to the departure of vocalist Phil Shulman. The most accessible track is Playing The Game, a favourite on their live performances with great guitar work from Gary Green. Also included is the single (also called The Power And The Glory) which the record company demanded to the band’s dismay, and was subsequently withdrawn. Expect the usual multi-format releases, extras and stunning production for this truly remarkable album. If this one grabs your attention, prepare to be hooked.

Red Sky July

Shadowbirds

Absolute HHHH This London-based trio offers a fresh take on country rock with great songs, smooth luscious harmonies and delightfully clean guitar work from Ally McErlaine. Ally is probably best known for his tenure in Texas and is now married to Shelly Poole (daughter of Brian Poole) who formed Alicia’s Attic with sister Karen. The third member of the outfit is Charity Hair, who kicked off her singing career in The Alice Band, so it’s hardly surprising that they make excellent music together on this beautifully produced album. There are plenty of highlights: Lay Down Your Love opens this set, and it’s powerful stuff – no surprise that it’s been taken as the first single pull. Jack Savoretti sings with Shelly on Any Day Now, a song they wrote together; and the acoustic guitar on the title track is exceptionally well executed. What started out as a side project produced a successful debut album release in 2011 and this is the follow-up. “We just wanted to make something beautiful” says Shelly, and indeed they have.


GT USER GUIDE

You can get more from GT by understanding our easy-to-follow musical terms and signs...

Relating tab to your fretboard 3

2

Every transcription or lesson in GT is graded according to its level of difficulty, from Easy to Advanced. We’ll also let you know what aspect of your playing will benefit by attempting a lesson.

m

i

1

Our rating system

a c

4 T

p

Advanced Moderate-Advanced

nut & fretboard

hand Labelling

Moderate

The fretbox diagram above represents the fretboard exactly, as seen in the accompanying photo. This is for ease of visualising a fretboard scale or chord quickly.

Here are the abbreviations used for each finger: Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), i (first finger), m (second), a (third), c (fourth).

Easy-Moderate Easy

Read music GUITAR TECHNIQUES MAGAZINE USER GUIDE Each transcription is broken down Guitar Technique Examples - Treble Clef And MAGAZINE Tablature GUITAR TECHNIQUES into two parts... Guitar Technique Examples - Picking

œ œ Tablature œ & Technique Examplesœ - Treble Clef And Guitar Down & Up Picking

GUITAR TECHNIQUES MAGAZINE USER GUIDE

GUITAR TECHNIQUES MAGAZINE 2nd string Guitar Technique Examples - Picking 3rd fret

Chord example

Chord example (with capo)

The diagram represents the G chord in the photo. The ‘O’ symbol is an open string, and a circled number is a fretting finger. Intervals are shown below.

The blue line represents a capo – for this A chord, place it at fret 2. Capos change the fret number ordering – here,œ & the original fret 5 now becomes fret 3, fret 7 now fret 5, etc.

Down & Up Picking

œ

xD

8

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Down & Up Picking

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E B G D A E

The diagram shows the fret-hand fingering for the A major scale (root notes in black). The photo GUITAR TECHNIQUES MAGAZINE Guitar Examples - Picking shows part of the scale being played onTechnique the fourth string with first, third and fourth fingers.

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Tremolo picking Tremolo Picking

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Hammer-on & Pull-off Hammer On & Pull Off

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4

n Fret the note as shown, but ‚ rightsound it with a quick hand tap at the fret shown œ & (TH17) for a harmonic.

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7

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‚

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9

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·

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2

9

capo

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·

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TH17

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± ±± 5

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7 7 7

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— —

7

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‚

7

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P

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NH

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7

0

n X markings represent notes muted by the fretting 12 7 hand 12 7 12 7 when struck by the picking hand.

· · · ·· 12

P

P

E B G D A E

# ‚‚ ‚

12

AH19

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&

5

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6

n Sound the notes marked with a square by hammering on/tapping with the frettinghand fingers.

7

0

· · · ·· 8 7 NH 6 7

12

PH

—

P

P

5

&

n Fret the note as shown, then lightly — place the — index — finger & over ‘x’ fret (AH ‘x’) and pick (with a pick, p or a).

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&

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7

n Bend12up from the 5th fret to the pitch of the 7th fret note, then pick it and release to 5th fret ‚ note. ‚ ‚

AH16

X 8 7 7 X 6 7 X 7 7 X

7

0

5

&

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E

E B G D A E

8

S

Slides (Glissando)

E B G D A E

8

& œ œ œ

b˙

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(7 5)

Slides (Glissando)

n Rapidly alternate between Slides (Glissando) the two notes indicated in brackets with hammer-ons œ œ and &pull-offs. œ œ 5

~~~~~

5

Slides (Glissando)

(7 5)

5

E B G D A E

7 5

tr

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~~~~~ ( )

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&

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E B G D A E

&

E B G D A E

2

9

n Note sustained, then the vib is depressed to slack. Square bracket used if a long-held note has new articulation applied.

n Sound the note and ‘flick’ the tremolo bar with picking hand so it ‘quivers’. Results in a ‘gargling’ sound!

n A capo creates a new nut, so the above example has the guitar’s ‘literal’ 5th fret now as the 3rd fret.

9

‚ Other techniques œ & scrape Pick

·

Violining

Finger numbering

Pima directions

Right-hand tapping

TCH E B G D A E

2

9

n The edge of the pick is dragged down or up along the lower strings to produce a scraped sound.

n Turn volume control off, sound note(s) and then turn vol up for a smooth fade in. Called ‘violining’.

n The numbers after the notes are the fingers required to play the fret numbers in the tab below.

n Fingerpicking requirements are shown at the bottom of the tab notation.

n Tap (hammer-on) with a finger of the picking hand onto the fret marked with a circle. Usually with ‘i’ or ‘m’.


NextMonth the world’s best guitar lessons… transcription #1

feature #2

django reinhardt

passing chords

Nuages

Sound like a pro player

Our resident Gypsy Jazz expert John Wheatcroft transcribes the loveliest version of the master’s greatest tune.

Improve your rhythm chops with this in-depth feature on how to incorporate passing chords into your progressions.

transcription #2

video lesson

georges Bizet

carlos bonell

Habanera

Popular classical guitarist

Bridget Mermikides arranges and transcribes this aria from the French composer’s most celebrated work.

He’s worked with McCartney, his Queen arrangements have been praised by Brian May – and now he’s here for you!

Cover feature: your ultimate…

blues workout!

Imagine the biggest blues gig of your life – the Royal Albert Hall, or down the pub with your mates, family and local musos coming. Fear not: John Wheatcroft is here to hone every skill you’ll need for the big day (or any day, come to that).

other great lessons Play like these greats… Paul McCartney – his acoustic side Kings Of Leon – US modern rock legends Spencer Davis Group – Steve Winwood Stevie Ray Vaughan – Texas lightning!

SUBSCRIPTION & back issue ENQUIRIES UK: 0844 848 2852 International Tel: +44 (0) 1604 251045 Email: [email protected] Subscribe online at: www.myfavouritemagazines.com EDITORIAL Editor: Neville Marten, [email protected] Art Editor: David Dyas, [email protected] Production Editor: Cliff Douse, [email protected] Senior Music Editor: Jason Sidwell, [email protected] Music engraving: Chris Francis CD mastering: Adam Crute Contributors Shaun Baxter, Owen Bailey, Paul Bielatowicz, Jon Bishop, Pete Callard, Phil Capone, Martin Cooper, Adam Crute, Charlie Griffiths, Pat Heath, Phil Hilborne, Martin Holmes, David Lyttleton, David Mead, Bridget Mermikides, Roger Newell, Jacob Quistgaard, Stuart Ryan, Andy Saphir, John Wheatcroft Senior Art Editor: Graham Dalzell Group Editor In Chief: Daniel Griffiths Group Art Director: Rodney Dive Creative Director: Robin Abbott Editorial Director: Jim Douglas Advertising Advertising Sales Director: Clare Coleman-Straw, [email protected] Advertising Sales Manager: Richard Hemmings, [email protected] Account Sales Managers: Alison Watson, [email protected]; Leon Stephens, [email protected] Sales Executive: Simon Rawle, [email protected] MARKETING Group Marketing Manager: Laura Driffield, [email protected] Marketing Executive: Richard Stephens, [email protected] CIRCULATION Head of Trade Marketing: James Whittaker Trade Marketing Manager: Daniel Foley, [email protected] Direct Marketing Executive: Ryan Lewis PRINT & PRODUCTION Production Co-ordinator: Marie Quilter, [email protected] LICENSING Licensing & Syndication Director: Regina Erak, [email protected] FUTURE PUBLISHING LIMITED Managing Director: Nial Ferguson Head Of Music: Rob Last Chief Executive: Zillah Byng-Maddick Future Publishing Ltd, Quay House, The Ambury, Bath BA1 1UA Tel: +44 (0) 1225 442244 Fax: 01225 732275 Email: [email protected] Printed in the UK by William Gibbons (covers printed by William Gibbons) Distributed in the UK by Seymour Distribution Ltd 2 East Poultry Avenue, London EC1A 9PT. Tel: 0207 429 4000

Chops Shop

Andy Saphir’s new video column shows you how to hone your technique: Part Two looks at Legato Pentatonic ideas.

Jazz

Pete Callard celebrates the guitarists of the influential Jazz label, Blue Note.

plus all this… Theory Godmother, Acoustic Legends, 30-Minute Lickbag, One-Minute Lick and more… So make sure you don’t miss GT236, November 2014 issue! will be happy Your local newsagent ques for you to order Guitar Techni t trip into each month. Save tha fantastic town and get to those and transcriptions, lessons exclusive video classes r! even quicke

november 2014 issue on sale tuesday 30th September Please note: content is subject to change…

98 GuitarTechniques August 2012

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