THE FINEST GUITAR LESSONS ON THE PLANET! 252 FEBRUARY 2016
YoUR GUIdE To...
classier soloing!
Best Lessons Clearest, m ost accurate tab!
Revealed! Those cool notes and scales that help Larry CarLton and robben Ford sound so sublime. Play classier solos today...
Wacky SCALES
Ten of the sickest scales to spice up your playing TRANScRIbEd
classical
Un Bel Di Vedremo from Madame Butterfly
STYlE STUdIES
robin trower 70s blues-rock genius
johnny cash Acoustic country giant
def leppard British heavy legends
TRAcK TAbbEd!
STEVIE RAY
VAUGHAN Tightrope
Learn this brilliant SRV number and bag a whole new bunch of licks too!
eddie lang
Jazz guitar pioneer
bachMan-tUrner oVerdriVe Canada’s top rockers
ISSUE 252 } February 2016 Just some of your regular GT technique experts... rIchard barrEtt One of the best players around, Richard is adept at most styles but truly excels in the bluesier side of rock. He currently plays with Spandau’s Tony Hadley.
ShaUN baxtEr One of the UK’s most respected music educators, Shaun has taught many who are now top tutors themselves. His Jazz Metal album is considered a milestone.
joN bIShop Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease!
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.
lES davIdSoN Les has worked with Mick Taylor, Rumer, Jon Anderson, Pete Townshend, Tina Turner & more. He also runs a recording studio and teaches at BIMM London.
charlIE grIffIthS Guitar Institute tutor Charlie first came to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s top rock, metal and fusion guitarists.
phIl hIlborNE The UK’s original magazine guitar tutor, Phil’s something of a legend. A great player, he’s currently touring Europe with the Champions Of Rock show.
pat hEath BIMM Brighton lecturer, ESP product demonstrator and all-round busy musician, Pat brings you six cool licks each month in 30-Minute Lickbag.
The finesT gUItar tUItIoN you can buy!
WElcoME I STILL REMEMBER the first time I heard Robben Ford properly. I’d caught the odd Yellowjackets track but I’d not heard him particularly featured. Then his record company sent through his new album: Talk To Your Daughter. It was on cassette and, when I left my desk at Guitarist for the hour’s drive home, I stuck it in my car’s player. Oh... My... God...! It was everything that I’d ever wanted to be as a player: that huge distorted tone; the direct connection to 60s blues players like Bloomfield and Clapton, and the clear love for BB King and Albert Collins; but there was this whole jazzy ‘other side’ that lent huge dollops of sophistication and intelligence to the music. I already knew Larry Carton’s work since I’d got his first three albums after a friend introduced me to him. But, not knowing the two had watched each other and almost learnt from each other’s
playing, the first question in my interview with Robben the next day: “Your playing sounds somewhat Carlton-esque,” didn’t exactly go down too well. But we got over that minor hump and I’ve interviewed him several times since. He did quite like it that I spotted that one of his strings had slipped flat in one of the album’s outro solos: “Wow, not many people would notice that: I did realise it but I liked the solo and decided to leave it.” This month, Phil Capone has dissected the playing of these great guitarists to show that you can get a few of their nuances into your own playing – bolstering up the usual Pentatonic and Blues scale licks to sound much more interesting. Phil includes loads of great licks and some of the theory behind it all. Enjoy, and I’ll see you next month.
Neville Marten, Editor
[email protected]
Don’t miss our amazing diGiTal ediTion Guitar Techniques’ digital edition is now even better!
brIdgEt MErMIkIdES Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.
MIltoN MErMIkIdES One of the country’s most respected music professors, Milton’s list of credits is embarrassingly long. Go to www. miltononline to learn all about him.
StUart ryaN Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs throughout the UK. His latest book/CD The Tradition is available now.
IaIN Scott Music tutor and session guitarist, Iain, has played with a host of big names, including Brian Wilson. He teaches at The Institute and runs his own studio..
johN WhEatcroft A phenomenal guitarist, John is a master at all styles but a legend in Gypsy Jazz. His new album Ensemble Futur is out now on iTunes and Amazon.
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February 2016
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CONTENTS • C ON T E N T S • F E BRUA RY 2 016 • leARNING zoNe
Thanks to Stuart Ryan for the loan of his gorgeous ES-335
lessoNs INTRoDUCTIoN
49
30-mINUTe lICKBAG
50
Jason Sidwell waxes lyrical about this month’s action-packed Lessons section. BIMM’s Pat Heath has six more great licks at easy, intermediate and advanced levels.
BlUes
52
RoCK
56
CReATIVe RoCK
68
CHoRD CAmp
74
HARD RoCK
78
jAzz
82
ACoUsTIC
88
mUsIC ReADING
92
Les Davidson gets into the mindset and playing style of great British bluesman Robin Trower. Martin Cooper looks at the op-rock playing of Canadians, Bachman-Turner Overdrive. Shaun Baxter shows you cool new ways of bringing Mixolydian sounds to the blues.
Iain Scott looks at how common chords can be built on the sixth, fifth and fourth strings. Charlie Griffiths examines the hard rocking style of Sheffield’s finest men of steel: Collen, Campbell and Clarke of Def Leppard.
John Wheatcroft doffs his cap to one of jazz guitar’s founding fathers: the great Eddie Lang.
CoVeR FeATURe
Stuart Ryan looks at the chords and moving bass line style of the Man In Black and country legend, the late Johnny Cash.
ClAssIeR soloING larry Carlton & Robben Ford 12 We reveal the scale and note choices that make these two titans of blues, jazz and fusion styles so compelling to listen to.
FeATURes
AlleN HINDs, pART 2
TAlKBACK
6
Our resident LA session star and soloist shares more of his playing secrets on a cool track entitled Monkey Swagger.
INTRo
8
Nev introduces the latest issue.
22
Your comments and communications...
32
Fancy learning some sick scales to either frighten or impress your mates? Then join Dr Milton Mermikides as he digs out his Top 10.
sUBsCRIpTIoNs
66
BACK IssUes
94
Missed a copy of GT in the last six months? See how you can get it here!
AlBUms
95
ELO, Def Leppard, Fleetwood Mac and more: the new guitar CDs reviewed and rated.
UseR GUIDe
trAnSCrIPtIon #2
60
60 Seconds, Session Shenanigans, One-Minute Lick, That Was The Year, Jam Tracks and more. Save time and money – get GT delivered!
SPECIAL fEAturE #2
GIAComo pUCCINI Un Bel Di Vedremo
3
WelCome
Jon Bishop transcribes this amazing SRV track. It’s full of so many great Texas blues licks and ideas that on its own it could form the basis of a healthy new lickbag. You’ll enjoy this one!
WACKY sCAles We show you 10 of the best
VIDeo ClAss
rEGuLAr fEAturES
trAnSCrIPtIon #1 sTeVIe RAY VAUGHAN Tightrope
Charlie Griffiths treats us to a pop-rock reading study in the style of Coldplay or Snow Patrol.
96
Get more from GT by understanding our easy-to-follow musical terms and signs.
42
Bridget Mermikides arranges one of opera’s most famous pieces from Madame Butterfly by the wonderful Puccini.
NexT moNTH
98
How To Develop Speed; Free’s Wishing Well and Fernando Sor, Op 6, No 9 tabbed; Allen Hinds Video; Blind Faith, Joni Mitchell & more!
November 2015
5
TalkBack Post Guitar Techniques, Future Publishing, Ivo Peters Road, Bath, BA2 3QS. Email
[email protected] using the header ‘Talkback’.
Congratulations on 250 issues! Guitar Techniques is brilliant. It’s absolutely astonishing how much is crammed into each issue. There’s such a variety of lessons, each one guaranteed to take your playing to the next level. You had some fantastic DVD issues a few years ago. Several of your great contributors were featured. So we got to SEE as well as HEAR them. It’s amazing how helpful seeing someone play a lick or a piece of music is. It adds so many elements that you might miss when just listening. You can get a greater understanding of how to improve dynamics, timing etc. Are there any plans for similar issues? I understand this can be tricky from a logistical standpoint, but it’s great every once in a while. Also, I don’t think I’ve ever seen Shaun Baxter in action in any video. I have hundreds of issues. Shaun is in all of them – Creative Rock, Guitar Gym, Extreme Guitar etc. But no footage. He’s brilliant. His technique and phrasing is flawless and he’s an authority on improvisation. It would be really great if you could get Shaun to do some videos, so we could all see up close how he does it. Thank you very much for your time. I’m looking forward to the next 250 issues! Brian Clancy Thanks for those kind words, Brian. Actually the issue numbering system 06
February 2016
master of them at all. It seems that session players could get away with anything back then. If so, I’m on the next plane to Los Angeles! Don Laver That’s a tricky one to answer, Don. I got to meet Tommy Tedesco many years ago and he regaled me with some of these stories. I think the reality is that he realised most producers didn’t really know what they wanted; but he was so experienced in the studio that he could invent something on the spot that fitted. He was also a serious reader when it was required. True, he came unstuck on a few occasions, but he also devised some truly memorable parts. He told me he was asked if he could play flamenco: “Yes, of course,” he replied. He turned up to the session and it was for the famous TV show Bonanza: he simply
listen to tommy tedesco’s playing on it’s not easy being green to see he was a genius cost was not recouped by extra sales. But I love the idea of Shaun appearing in a video lesson, so that is now very much on the agenda. We are in the process of coming up with an idea that suits him and his playing style. He’s an amazing player and teacher, and he has a great way of presenting both basic and advanced skills to camera. Watch this space!
tommy tedesco I was browsing through GT’s Facebook page and came across the Tommy Tedesco video. I’d never heard of him before and I was amazed that he was one of the most recorded studio guitarists of all time. I couldn’t believe the stories he told – about working with Frank Zappa, Frank Sinatra, Barbra Streisand, Elvis Presley, Ray Charles, (composer) John Williams and many more. What amazed me most was how he says he bluffed his way through thousands of sessions, pretending he could play flamenco, classical and other styles, when he wasn’t a
strummed, ‘dum-diddle-um-diddleum-diddle-um-diddle-dee-dum’ (a total bluff), but it turned out to be the perfect part. Today, in truth, I don’t think you could get away with it – partly due to the number of available tracks and the total separation of each instrument. Back then Tommy was often on a session with three other guitarists, all recorded onto one track with half the orchestra, so mistakes were usually hidden; or couldn’t be traced back to you! But listen to Tommy’s beautiful playing on The Muppets’ tune It’s Not Easy
Check out GT’s Facebook page for some cool tracks, offers and more
Wilko: should we tab Feelgood’s track Roxette?
Being Green and you’ll realise he was a genius. An hilarious genius too!
thompson & Johnson I was struck by a certain irony that issue 250 featured hybrid picking, without referencing my favourite musician, Richard Thompson (and, as it were, vice versa, as the picture of him in his tragically short section in Acoustic, showed him doing just that). Obviously I think you should run three issues dedicated to him, but at the very least comparing Don’t Renege – electric hybrid – with the object lesson of 1952 Vincent. I would also like to nominate Wilko Johnson for a feature – unique and interesting style. Roxette is short enough! As regards altered tunings (the letter regarding Bridget’s ‘Swan’); I would suggest trying them when you put on new strings, so you can work your way to standard tuning by changing one or two strings’ tuning at a time. Tony Evans Yes I see that irony too, Tony. Richard Thompson is a fine picker in all styles, but we can’t always fit everyone into these features although we do our best throughout the year to get them in. Great choice of Wilko and Roxette, as it’s different, a bit rock and roll-y (which our readers seem to love) but not too hard. Altered tunings also sound amazing on a brand new set of strings – very piano-like – so we approve of that suggestion too.
GETTY IMAGES
250 and counting
didn’t come in until Future purchased Guitarist and Guitar Techniques in 1996, so actually we should be on something like GT288 by now since we launched in March 1994. I was editor of Guitarist at the time and insisted that, as it had been going a decade longer than GT, we retain its real issue number. Hence they are now on Guitarist 402. Those DVD issues were great, and we really enjoyed doing them. But they got superseded by the Play Guitar Now series of DVD magazines that Stuart, Jon, Bridget, Milton and company did so brilliantly for us. Those have now finished and are being replaced by Play Like Your Rock Heroes – using the best stuff from the GT vaults but put together with a DVD-ROM that uses the animated tab found on the digital issue (iPad etc). It’s unlikely we’ll be doing more DVD issues of GT as their production
Intro Instrumental Inquisition!
Instrumentals have supplied some of music’s most evocative and exciting moments. We asked some top guitarists for their take on this iconic movement. This month: virtuoso rock guitar star, Paul Gilbert
JAMES CHIANG
GT: What can an instrumental provide that a vocal song can’t? PG: It gives the guitar a lot more time to be featured. I’m not sure if there is an emotional result that is unique to guitar as opposed to other instruments. And there is also the athletic element. Not many singers sing fast – but lots of guitar players certainly play fast. And if it’s done right, it can be exciting to hear. GT: What do you embrace or avoid? PG: As a kid, I worked hard and built technique for playing fast. So now I have to work really hard to get my melodic playing to a similar level of quality. I have to play the music that I love and I’m just digging the old jazz clarinet and saxophone guys so much, that I have to see if I can speak some of their language. GT: How useful is studying a vocalist’s approach? PG: Extremely useful. I’ve thought about doing an experiment at my online school by saying: ‘Half of the students will spend the next year practising scales and arpeggios, and the other half will learn only vocal melodies.’ At the end of the year, I know which group I predict would sound better. GT: How do you start writing one? PG: I come up with as many small, inspired ideas as possible. I don’t edit or judge. I just want to get a bunch of ideas that gave me a good first impression. After I’ve got 30 ideas or so, I’ll go back and listen. I’ll pick whatever still gets me excited, and start to build on that idea. If the process gets boring, I’ll move to something else. It’s almost like traffic: I want to drive on the open road; if there’s traffic, I turn around, come back later and see if it has cleared up. GT: You’re centre stage for the entire instrumental , so what’s your goal? PG: To connect to the music and the band; to the phrases that I played before and to the phrase that’s coming – to the audience, 8
February 2016
and to what I am hearing in my head. This is what’s so wonderful about improvising. You can constantly adjust your playing. When a song has set parts, if you feel you’re not connecting to the audience, you can’t do anything about it; you just trudge through and hope that the next song works much better.
my bIggest dIscovery wIth modes has been to purposely leave notes out of them GT: Many solos start low and slow and finish high and fast. Is this structure useful? PG: I’ve been covering a song called And The World Weeps in my clinics lately, that starts very quiet and gradually gets louder, but this is more of a jazz tune. Rock tends to start loud and stay loud. I hope that my quiet playing can become interesting enough where the audience genuinely likes it. GT: Any favourite keys or tempos? PG: I write in a lot of different keys. Lately, I’ve really been into swing, whether a slow blues shuffle, or a faster tempo like Little Richard’s Slippin’ And Slidin’. I love swing’s dynamics, and the way it makes my body move. It’s looser and more dynamic than a straight groove. GT: Minor or major keys? PG: Both fine. Although I’ve been working on the major Blues scale lately. Rather than just doing the ‘three frets down’ trick with my minor Blues licks, I’ve been working out fingerings that emphasise the major sound. It’s been revolutionary in how I see the fretboard. Unfortunately, many
of the shapes are not easy to play or visualise. But I love the sound, so it’s worth the effort. GT: Any favourite modes? PG: My biggest discovery has been to purposefully leave notes out of them. If I play a Minor scale and leave the 4th and the 6th out, it sounds more focused. I’ve also been working on m7b5 arpeggios. These can be great in a blues. Think about a blues in A. For the IV chord, play a D9. When that hits, you can play an F#m7b5 arpeggio, and it gives you all the notes of a D9 chord except for the root. The
Paul Gilbert: plays and talks with equal articulation
fingerings are challenging, but great if you want to ‘break out of the box’. All the horn guys use it. GT: What about harmonising melodies in instrumentals? PG: I’m working on my new album and I’ve got two other guitarists in the band, so we’ve been doing a lot of three-part harmonies. It’s nice because you can get a big sound without using so much distortion. And it makes me spend the time to actually write some melodies! GT: What three instrumentals have particularly inspired you? PG: Eruption was incredibly inspiring to everyone in my generation. But suddenly athleticism became so important, that people forgot to work on rhythmic structure. Eddie is a master of rhythm, but that’s not what most of his followers were inspired to work on. I’m not guiltless either. The first step to recovery is admitting that you have a problem! Far Beyond The Sun by Yngwie Malmsteen is always fun. Yngwie performs with such energy… He’s like James Brown. I don’t have that kind of physical energy. He looks like he’s fighting invisible
pirates. And with Far Beyond The Sun, not a single pirate is left standing! Yngwie reigns victorious. And just in case, Majestic By Journey is one of my favourite pieces from Neal Schon. I learned it when I was a teenager. It’s a great composition and Neal plays it beautifully.
Intro
I
’d like to refer to the fact that it’s a big old world out there, whatever they may tell you. And wherever the intrepid adventurer may wander, footloose and fancy fret, there he will stumble across an ethnic musical instrument. It could be in the remotest village in Tibet or the sumptuous surroundings of a Hindu temple. No matter. Inevitably, it will possess a sound hole, a neck, tuning pegs (if you’re lucky) and strings varying in number, courses and pitch, all seemingly selected by recourse to the ‘lucky dip’ method. The body may be topped with the stretched duodenum of an iguana (hopefully, but by no means certainly, one that is no longer conscious). The strings may be constructed from the web of the almost extinct South American banana boat spider. ’Tis of little consequence. What is of singular relevance to the studio plucker is that as sure as mare follows night, you’re gonna get asked if you play the thing. Or own it. Or at the barest minimum, are acquainted with someone you met at a party in 1998 who is in possession of a functioning example, minding its own peaceful business under the bed. And what is more, this is going to occur very early on in your tentative attempt to scratch a living in The Land Of The Red Light. And, frankly, with increasing frequency thereafter. It goes like this. ‘Hi Mitch. It’s Kylie here from the BBC. Joe Chancer asked me to call you. We’re
Mitch Dalton’s
sessIon shenanIgans
The studio guitarist’s guide to happiness and personal fulfilment. This month K is for Kobsa*. Or Kontrived. Or even (In)Konvenient. Chamber Pot. And Joe thinks that the mandolin will work beautifully for the scene. It’s only the one cue and he’s written something really simple for you and...’ (You have stopped listening. You are already combining the noble arts of panic and Googling ‘cheap mandolins and how to play ’em’.) And the rest, dear reader, is mystery. This half year’s tax bill lies on the kitchen table, unopened, unsmiling and unpaid. There is
filming a 32-part drama set in the time of the civil war. You know the sort of thing: Roundheads meet Cavaliers in a thrilling cocktail of politics, blood, gore and sex. Sometimes simultaneously. Anyway, we want you to play the classical guitar. (You wait. You know what’s coming.) Well. There’s this scene (Yes. Yes. Here it comes. Get on with it.) Sir Roger de Todger is caught in flagrante with Clara, Second Mistress Of The King’s
nothing for it. A mandolin is duly acquired. Cheaply. Or inexpensively, if you posh plectrists prefer. You remind yourself of the inconvenient violin tuning, G-D-A-E. You ring the copyist and have the part sent in advance. You practise. And you arrive at the studio in very good time to practise some more. You blast through 15 guitar cues, waiting apprehensively all the while for mandolin meltdown. Finally, and inevitably – because we’ve run out of time at the end of the session – it’s one shot at sexy romp time with plucking accompaniment. You nail it. Good grief. Your luck must be in. Except that it isn’t. They love it. And they then proceed to ditch the guitar and write the remaining 31 episodes entirely on the mandolin. In case you’re sceptical, this happened. Er, to me. And we never even got around to the banjo, the chirango, the ukulele, the bouzouki, the balalaika and the requinto. I got ’em all and I’ll use the lot if backed into a corner. However, I don’t play the oud. Nosireebabe. That is where it stops. Further afield madness surely awaits. *The kobsa is a plucked lute or guitar from the Ukraine. And no. I don’t have one. But let’s talk about the money, shall we? Maybe we could work something out. Mitch Dalton is one of London’s most sought-after musicians. His latest album, Mitch Dalton & The Studio Kings is out now. For more info go to: www.mitchdalton.co.uk
Mixolydian/Lydian Dominant Lick
phIl hIlborne’s one-mInute lIcK
Here’s a four-bar jazz-blues question and answer phrase that uses a 5th to the next chord. one of the most commonly cited Lydian Dominant Mixolydian (a-b-C#-D-e-f#-G with a C (b3) passing tone for the initial two-bar melodies is Danny elfman’s theme tune from The simpsons. It’s not a difficult lick to play but you may find the fingerings unfamiliar and also the ‘question’ and a Lydian Dominant (a-b-C#-D#-e-f#-G) for the ‘answer’. In GUITAR MAGAZINE 252 a little tricky to maintain at the suggested tempo. after playing case you’reTECHNIQUES unfamiliar with the a Lydian Dominant scale it’s most commonly ONE MINUTE LICK ‘swing’ - byfeel Phil Hilborne through this, work on ideas of your own where you combine scale ideas in a used when playing over static or non-resolving dominant 7th chords. or in MIXOLYDIAN / LYDIAN b7 LICK similar manner. It’s a great way of producing tasty lead lines and licks! other words, dominant 7th chords that don’t move up by a 4th or down a –
E B G D A E
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February 2016
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Intro 60 seconds wIth…
A minute’s all it takes to find out what makes a great guitarist tick. Before he jumped into his limo for the airport we grabbed a quick chat with Canadian rock band Monster Truck’s guitarist, Jeremy Widerman
BROOKS REYNOLDS
GT: Do you have a type of pick that you can’t live without? JW: Yes! Brain 0.88s with the cat’s tongue grip. I pretty much just order 50 of them about once every year. GT: You have to give up all your pedals but three, what are they? JW: I only use three pedals! So I’d keep my Dunlop Jerry Cantrell wah (given to me by Jerry!), MXR Phase 90 (I use it on so many songs) and my KTR Klon Overdrive (I use it almost all the time). GT: If a music chart were put in front of you, could you read it? JW: If I had an hour to transcribe it. I’m not very good at sight reading but I could do it… just very slowly. GT: Do guitar cables really make a difference? What make are yours? JW: My main concern is that they are sturdy and that the solders are accessible for repairs. I hate it when a cable breaks and you can’t fix it on the road. For the studio I have a super-high end cable but I’m not sure it made much of a difference. GT: Is there anyone’s playing that you’re slightly jealous of? JW: Scott from Rival Sons. We had a tour with them a while back and his style and execution is just so cool. Very tasteful and original solos and lead patterns. He’s also a master of fuzz, which is something I’ve only started dabbling in. GT: Your house is burning down: which guitar do you salvage? JW: Mustard 1. It’s my main SG and the guitar I used on our new record, Sittin’ Heavy. It’s not vintage or expensive but it’s my favourite to play live and in the studio. GT: What’s your favourite amp and how do you set it? JW: My 100 watt 1981 Marshall JMP into two Traynor 4x12s loaded with Celestion V30s. Treble off, Presence off, Middle at 6.5, Bass at 2, Pre-gain 10, Master at 3-5. GT: What kind of action do you like? JW: Lower than Gibson factory but higher than shred height. No real quirks, it just has to feel right. 10
February 2016
Jeremy Widerman: Monster Truck’s SG toting axeman
I worKed my ass off to come up wIth somethIng I’d be proud of, and that would serve the song GT: What strings do you use? JW: I’m currently using a gauge of my own creation from D’addario’s new NYXL strings: 54,44,32,24,16,12. My biggest quirk with strings is that I like to use a wound G. GT: Who was your first influence to play the guitar? JW: I actually hate to say it because I’m so sick of Nirvana now but Kurt Cobain and the whole grunge scene in the 90s got me started. GT: What’s your worst playing nightmare? JW: I’ve actually lived my worst nightmare. In Australia in front of a
sold-out arena my amp died seconds before we took the stage. We began the song and I had no sound coming from my amp. It took five minutes to sort out while I stood in front of 20,000 people and it felt like it took an hour to fix. It ruined the whole show for me and I had nightmares about it for weeks. GT: What’s the most important musical lesson you ever learnt? JW: Being yourself; it’s as much a musical lesson as it is a life lesson. Everything changed for me when I was able to stop caring what other people thought and concentrated on what I loved and wanted to do.
GT: Do you still practise? JW: I have to. Guitar playing doesn’t come naturally to me and I have to constantly push myself to get better. We are always writing new songs that have greater demands on my ability than I have the skill for, so I’m constantly spending time working on my ability to sing and play guitar at the same time, as well as finding new ways to evolve my playing. GT: If you could put together a fantasy band with you in it, who would the other players be? JW: I don’t think my fantasy band would have me in it! Jimi Hendrix or Mark Farner on guitar, John Bonham or Mitch Mitchell on drums, John Paul Jones or Tim Commerford on bass and Bon Scott on vocals. GT: Who’s the greatest guitarist that’s ever lived? JW: I know it’s cliché but I have to say Hendrix. He’s just on another planet and sometimes when I listen to him I get that feeling I used to get all the time when I was young. That feeling where you have absolutely no idea how he is doing what he is and you are just in awe. GT: Is there a solo you really wish you had played? JW: Queens of the Stone Age – Make It Wit Chu is just the tastiest and sexiest solo I’ve ever heard. Super simple but just so very cool. I just listened to it again because of this question. GT: What’s the solo or song of your own that you’re most proud of? JW: It would be off our new record. We have the first song we have ever written in a major key, it’s called Enjoy The Time and I had to totally work my ass off to come up with something that I would be proud of and would serve the song. I’m very happy with how it turned out. Monster Truck will release their new album Sittin’ Heavy on 19 February 2016 via their new home of Mascot Records. For more info please visit ilovemonstertruck.com
That Was The Year...
Intro
1933
Underground , ts h g u o n d a e Dr etary and Interplan GIBSON INTRODUCES THE L-CENTURY flat top guitar specifically for the massive Century of Progress International exhibition in Chicago. It features a headstock and fingerboard covered with pearloid (celluloid plastic) giving it a very modern appearance although the sound of the instrument suffers as a result. It’s a pretty guitar with spruce top, curly maple back and sides, round soundhole and a tortoiseshell scratchplate. The bound head and neck features rosewood blocks with pearl diamond inlays and the guitar has a sunburst finish.
THE LONDON UNDERGROUND MAP
is introduced to the public and the London Passenger Transport board begins operations by unifying multiple services; battersea Power station begins generating electricity; the Milk Marketing board is introduced and the british Interplanetary society is founded. Cricketer Donald bradman scores 103 runs against the controversial bodyline tactics adopted by british bowlers in the second Test but england goes on to regain the ashes.
ACOUSTIC ENGINEER LLOYD LOAR
is so fascinated by Vega’s electric banjo and the stromberg-Voisinet pickup he leaves his top position at Gibson to start his own company with former Gibson board member, Lewis Williams. The new company, Vivi-Tone produces an electric hollow-body archtop guitar designed to forsake the natural acoustic properties and concentrate on the sound produced by the vibrating strings by means of an electromagnetic unit mounted beneath the bridge.
NASTY BUSINESS IN GERMANY
as adolf Hitler is appointed chancellor and after only two days in office dissolves the reichstag (Parliament). Hermann Goering bans Communist meetings and introduces the Gestapo secret police; Heinrich Himmler becomes Police Commander of Germany and Joseph Goebbels is Nazi Germany’s Minister of Information and Propaganda. a popular lyric about these four is written and sung to the tune of the Colonel bogey March. Winston Churchill warns of the dangers of German rearmament in his first public speech.
Jam tracks tips
Use these tips to navigate our bonus backing tracks ➊ Slow blues in E You can approach this in various ways. Em Pentatonic (E-G-A-B-D) will work, as will E maj Pentatonic (E-F#-G#-B-C#), although the latter works best on the I chord (E9) and V chord (B9). Mixing in some E Mixolydian (E-F#-G#-A-B-C#-D) works perfectly for the I chord (E9).
➋ Rock-out in G G minor Pentatonic (G-Bb-C-D-F) and G Blues (G-Bb-C-C#-D-F) are good starting points but try some more colourful scales. The chord progression is: G-Bbmaj7-Cadd9Abmaj7, so try G Mixolydian (G-A-B-C-D-E-F) on G chords, G Dorian (G-A-Bb-C-D-E-F) on Bbmaj7 and Cadd9, and G Phrygian (G-Ab-BbC-D-Eb-F) on the Abmaj7.
➌ 7/8 groove in F#m Count the subdivisions of this 7/8 groove track as 1-2-1-2-3-1-2. It’s in F#m, but harmonically speaking it’s quite open, so try a variety of scales: F# Dorian (F#-G#-A-B-C#-D#-E); F#m (F#- G#-A-B-C#-D-E); F# Phrygian (F#-G-A-B-C#-D-E) and F# Mixolydian (F#-G#-A#-BC#-D#-E). F# minor Pentatonic and F# Blues scale also work great!
Mind the Strat!
London Underground map Fender! The Strat has been an American design icon since 1954, but it’s just received a very British makeover
AMERICA IS ENDURING THE GREAT
depression but in a rousing inauguration speech, President franklin D roosevelt proclaims: “The only thing we have to fear, is fear itself”. but it’s also suffering a natural disaster from a series of violent dust storms around south Dakota where topsoil is stripped by the wind. after the storms abate the area becomes known as the Dust bowl.
MOVIE AND RECORDING STAR
Gene autry orders the very first Martin D-45 dreadnought acoustic, one of only three made with a 12-fret neck. only 91 will be built prior to World War II. The bound rosewood body features a solid spruce top and abalone purfling. Martin adds a pearl signature inlay on the bound ebony fingerboard for autry but the rest have snowflake inlays. In 1994 Martin offers a limited run of 66 guitars that faithfully replicate autry’s original purchase.
➍ C jazz-blues – medium swing
hot for teacher
Try mixing C major Pentatonic (C-D-E-G-A) and C minor Pentatonic (C-Eb-F-G-Bb) for a start. One additional jazzy colour to catch is the A7 in bar 8 of the 12-bar cycle. Perhaps have a go at outlining an A7 arpeggio here (A-C#-E-G), or use D Harmonic minor (D-E-F-GA-Bb-C#), which also works perfectly. Additionally, see if you can whip out an F# Diminished arpeggio (F#-A-C-Eb) in bar 6 for the F# diminished chord. Jam tracks by Quist. For scale maps and 100s more tracks, visit www. quistorama.com. Subscribe to www. youtube.com/QuistTV for the latest tracks and licks. Or find Quist on Twitter, Instagram and Facebook.
due to a partnership with London Underground. The Tube Map Strat boasts the unique ability to get you home after a gig, courtesy of its Tube map finish. It comes as TFL and the London Transport Museum celebrate Transported By Design, a programme of events and exhibitions on good design in transport networks. 50 Fender Tube Map Stratocasters have been produced, each priced at £599 and available to pre-order from the London Transport Museum Shop.
your
teacher
Name: Dan sandman TowN: London STyleS: acoustic, rock, pop, classical SpecialiTy: fingerpicking QualificaTioN: DipLCM(TD) levelS: beginners to advanced, rGT exams up to Grade 8 if desired SighT-readiNg: beginner to intermediate chargeS: £30 per one-hour lesson Special: fully-equipped music room/studio; can record lessons; electric piano Tel: 07952 868902 email:
[email protected]
February 2016
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Play } BLUES
ON THE CD
TRACKs 4-27
Larry & Robben Sophisticated Blues Phil Capone treats you to an in-depth analysis of the playing styles of two legendary guitarists: Larry Carlton and Robben Ford
M
ention the names Larry Carlton and Robben Ford to a roomful of guitar players and chances are they’ll begin talking in the hushed, revered tones others reserve for royalty or heads of state. And no wonder because these two monster players have been tweaking and delighting our aural preceptors for decades. Their playing just oozes taste, tone and sheer jaw dropping musicianship. In 2007 the guitarists joined forces for a world tour that produced their first collaborative album, Live In Japan. The partnership was a perfect pairing: Carlton’s sophisticated jazzy style underpinned by Ford’s more straight-ahead blues approach. It’s rumoured that a 2016 tour is on the cards, so if you get the chance to catch the ‘dynamic duo’ in action, grab it! Grammy Award winning guitarist Larry Carlton shot to fame in the mid 70s when, already a huge name on the LA session scene, he appeared on arguably Steely Dan’s finest album, The Royal Scam. The legendary solo on Kid Charlemagne was a tour de force; an intoxicating combination of harmonic dexterity, impeccable phrasing and stunning
tone, all delivered in his signature cool, bluesy style. In addition to his solo career, (currently 35 solo albums and counting) Carlton has recorded with pretty much everyone from Barbra Streisand to Michael Jackson. At the peak of his session career during the 70s and 80s he was hitting 500 recording sessions a
it’S RumouRed that a 2016 touR iS on the caRdS, So if you get the chance to gRaB the dynamic duo in action, gRaB it! year! For those of you ‘young’ enough to remember the hit American TV series Hill Street Blues in the 80s, it was Carlton who featured on the show’s lyrical theme tune as well as composing the instrumental music to the 1984 movie, Against All Odds. Robben Ford’s long and successful career began at the tender age of 18 while touring and recording with blues legend Charlie Musslewhite. At this young age he was already
technique focuS
a virtuoso blues player with phrasing and tone to die for. In addition to performing and recording as a solo artist he has worked with acts as diverse as Tom Scott, Joni Mitchell, the Yellowjackets (as a founder member), Kiss, and Miles Davis. After working with Davis he released his seventh solo album, Talk To Your Daughter, an album that almost every guitarist owned back in the late 80s. His fat tone (he used a Dumble amp on the recording), incredible phrasing and an uncanny ability to incorporate exotic -sounding jazz licks in his blues playing, put him at the top of the decade’s most influential fusion players. In recent years, his playing has lost much of the fusion angularity that was part of his earlier style; a fact that some lament, while others marvel at Robben Ford’s continued ability to make a basic blues sound so damn good! Both of these musicians are fantastic jazz and blues players, but it’s their shared love of the blues that makes their collaborations so exciting. In the following examples you will discover new ways to revamp and revive your love of the blues, courtesy of two of its greatest modern exponents. 5
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How to make your playing really clean We’re not talking tone here – we’re talking clean and flawless delivery, the level of technique that put larry Carlton at the top of the ‘most wanted’ la session players list throughout the 70s and 80s. sometimes players can be unaware of just how much extraneous noise they may be generating due to weaknesses in their technique: poor string damping, lack of picking dynamics, clumsy pick work, bad fretting, these are just a few things that can keep your playing from progressing to the next level. There isn’t a single exercise that will eradicate all of these problems, however, the first thing is to be aware! record yourself and listen carefully to what’s going on; if you’re playing to backing tracks then use a multi-track recorder to isolate your guitar. Use your back issues of GT, your guitar teacher or online lessons to help you address whatever gremlins you have in your technique… then get practising!
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February 2016
These settings are intended to provide a fairly generic, jazzy clean tone that can be ‘thickened’ with an overdrive pedal (keep it light, no saturated distortion here please!). Keep your drive settings low to gently push the front end of your amp; this will enable you to achieve those ever elusive touch responsive ‘not too clean, not too dirty’ tones.
RODOLFO SASSANO / ALAMY
Moderate/Advanced ✪ ✪ ✪ ✪ ✪ Will improve your… Blues soloing vocabulary Cleaner more accurate playing Application of Melodic minor scale
CRAIG LOVELL / ALAMY
aBiLity Rating Info Key Various Tempo 76 bpm CD TRACKS 4-27
LARRY CARLTON & ROBBEN FORD { SOPHISTICATED BLUES
Larry Carlton: superb jazzy feel and ultra tasty note choice
Robben Ford: intoxicating and inspiring in equal measure
tRacK RecoRd Recommended albums from Larry Carlton: Larry Carlton (1978), Friends (1983), Last Nite (1986). Robben Ford: Talk To Your Daughter (1988), Mystic Mile (1993), Keep On Running (2003), Into The Sun (2015). As a duo: Larry Carlton With Robben Ford Live In Tokyo (2007), Larry Carlton & Robben Ford Unplugged (2013)
February 2016
13
Play } BLUES
ON THE CD
TRACKs 4-27
GUITAR TECHNIQUES MAGAZINE 2 5 2 EXAMPLE 1 Comping styles: larry Carlton GUITAR TECHNIQUES MAGAZINE 2 5 2 The Blues Style of Larry Carlton & Robben Ford -
cd track 4 Phil Capone The Blues Style of Larry Carlton & Robben Ford Phil Capone This example mixes single note lines with jazzy chord voicings to create a slick should be played rhythmically but the G13 slide in bar 7 is played as a quicker 1 The chromatic slides into the G13 and d9 chords in bars 1, 3 and 5 bluesEx comp. grace note slide. it’s this level of detail that makes larry’s work sound so ‘right’.
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E B E G B D G A D E E A B E G D A E E B G E D B A G E D A E
E B E G B D G A D E E A B E G D A E E B G E D B A G E D A E
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E B E G B D G A D E E A B E G D A E E B G E D B A G E D A E
E B E G B D G A D E E A B E G D A E E B G E D B A G E D A E
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©»ª∞ ' j b œ. nœ œ œ ' # 4 ‰ . ˚j œ œ delivery œ ⋲ b œ Ó ‰ b œ œ œ œ ‰ Œ ⋲ bœ œ is the sign of a truly great player; the understated and relaxed fool & 4 œ. œ nœ œ . œ œ nœ J œ nœ œ Ex 4 / '/ 3 /' /' ~~~ straight ©»ª∞ G 7 /' / /' / / /' . j # 4 ‰ . ˚j n œ ' ' ' ' ⋲ bœ Ó ‰ œ b œJ6 œ5 b œ3 œ œ3 œ n œ œ3 œ3 œ œ n œ ‰ Œ ⋲ œ3 6 œ5 œ3 b œ3 œ & 4 œ n œ3 œ5 3 5. 5 3 œ . 5 3 5 EXAMPLE 4 minor pentatoniC style: robben Ford
8
1/4
1/10 4
8
1/4
10thinking 8 their playing 6 the listener into is effortless. notice the extensive use of 1/4 3 8 quarter-tone bends on the Bb notes, raising the slightly sharp minor 3rd to fit the G7 vamp more accurately.
14
E B G D A E
E B G D A E
E B G D A E
14 14
14
14
14
14 14
14
14
5
'
5
1
' j nœ ' ' 5
1/4
1/4
1
& &
# #
œ œ 5
4
1/4
straight ~~~ / ' /' 3 6 /' 3 3œ 5 3 ~~ œ bœ 3 œ . œ œ œ nœ 5 5 œ Œ
33 3 6 5 3 3 œ œ œ3 5 5 3 œ 5 œ b3œ 5 œ 3 5 bœ œ œ œ nœ ‰ ‰ œ œ bœ Let ring /' j nœ 3 3 ~~ œBU œ BDœ BU œ BD œ b œ ~~ œ /' œ3 œ b œ œ 3 œ. 13 b œ3 œ œ3 œ n œ ‰ ‰ ( 15 ) ( 13 ) (15 ) (13 ) 11 12 11 Œ 5 6 5 œ œ bœ 3 5 5 5
5
~~~ 5 # œ œœ j & bœ œ œ œ œ ‰ Œ 5
6
5
3
~~~ # œ œ œ ~~~ j & bœ 7 œ œ œ œ ‰ Œ PM
E B G D A E
14
13
5
10 8 10
6
'
œ /'œ n œ œ 11
1/4 straight
14
straight
E B G D A E
14
14
14
3
4
14
1/4
3
1
Let ring BU
E B G D A E
cd track 10
1/4
8
straight
~~~
PM
10 8 10
7
7 10
8
7 10
3
BD BD BU 13 (15 ) (13 ) 11 13 ( 15 ) ( 13 )
b œ 1œ œ œ œ œ œ œ œ œ œ n œ œ œ œ ‰
5
3
5
3
bœ œ œ œ œ œ œ œ œ œ œ n œ 10 œ œœ ‰ 11 13 11 13 11 10 12 12 10 10 12
straight
10 12
12
j œ j œ
~~
'
11
10 12
11 13
10
11 13 11
12 10
12
10 12
'
12
1/4
1/4
11
12 ~~~˚ jœ œ b œ œ ⋲ œ ⋲ œ œj ‰ . Œ 12
12 10
~~~ œ b œ œj œ ⋲ œ ⋲ œ~~~œ˚j ‰ . Œ
12 10
8 10 12
8
straight
10 12
12 10
straight
12 10
8 10 12
8
10
~~~ 10
6
February 2016
15
Play } BLUES
ON THE CD
TRACKs 4-27
EXAMPLE 5 major to minor over i-iv Changes: larry Carlton an essential tip for making your blues more authentic: play the major 3rd over the i chord (ie d over Bb7), and the minor 3rd over the iv chord (d b over e b7). This 3 3 3 is preferable to using different scales for each chord (ie B b and e b Mixolydian), in
fact, avoiding ‘scale hopping’ over changes usually provides the most melodic results. The resolution of the phrase in bars 4-5 occurs on the chord change, acknowledged by playing Bb7 chord’s major 3rd (d) on the first beat of bar 5.
/' 'œœ œ b œ j 33 ~~~ b œ œ b œ œ œ œ ~~~ ‰ œ œ b œ œœ ## œœj œœ œœ ŒŒ ⋲⋲ œ j œ œ œœ ## œœj œœ .. ‰ / ' 3 pp b œ /œ pp œ ~~~ œ j / ' œ œ b œ œ œ ~~~ ' # œ Œ ⋲ 11 œ œ œ j ~~~ ‰ 9 9 9 11 #œ œ . 11 11 11 10 9 8 10 12 11 7 10 10 7 10 12 12 10 9 9 8 8 7 8 8 p 8 8 6 5p 8 5 / 8 6 6 5 ' ~~~ 9 E bb 7 ( ) 11 15 11 11 11 11 bbEEœœ.. 77 œœ.. œ œ œœ bb œœ œœ10b œ 9œ 8 7 8 œ œ bb œœ œœ 10œœ b12œ œ b œ œ bb œœ œ œ b œ8 œ6 œ5 / 3 ' / 3 b œ œ œœ œœ b œ œ œ bb œ œ b œ œ bb œœ œ œ œœ œœ ' b Œ ‰ ⋲ b œ b œ œ & œ b œ ‰ ⋲ œ Œ œ b œ œ œ œœ b œ œ & E.b7 . 3 b œ œ 6 6 3 b œ œ3 œ œ b œ œ 6 3 œ3 b œ œ b œ 6 F 6 3 6 FBB bb Dorian 6 œ œ 6 / 3 b œ b œ œ ' œ œ b œ B Dorian Dorian œ œ œ œ œœœ b b œ b œ œ œ bœ œ œ œ Œ ‰ ⋲ 131313 121212 111111 14 11 & b 161616 151515 131313 16 14 13 b œ œ/ 14 16 14 14 13 13 15 613 12 14 11 116 13 10 3 16 3 13 15 13 10 10 13 14 13 15 13 13 12 12 15 13 11 10 11 13 3 11 13 /' FB b Dorian 13 15 13 11 11 10 10613 11 10 13 14 14 13 13 11 11 13 13 11 13 13 15 13 6 13 11 ' 13 11 10 13
j ~~~œ œœj œœ œœ.. œœ œœ œœ~~~ œJ ⋲⋲ J ‰‰ B b7 j œ . œ œj œ œ π F F œ œ œ~~~œ œF F π BU ~~~ BU BU ⋲ 11 11 11~~~J ‰ BU BU (13 ) 11 11 BU ((13 11 ( 15 ) 11 13 )) 11 11 (( 15 ) 11 15 ) 11 11 11 11 11 F F π BU BU ~~~ (13 ) 11 11
Ex 5 Ex Ex 5 5
bb œœ œjj œ
©»¶º ©»¶º 3 b b b 4 Ó & Ex 5 & b 444 Ó ©»¶º b & b 44 Ó E E E B B B G G G D D D A A A E E E 1 1 1 E B G D A E 1
cd track 12
B 7 B 7 B 7
œœ
1/4 1 14 4
14
14 1 14 4
11 11 11
13 13 13
6 6 6
4 4 4
14
11
13
6
14 1 14 4
4
14
E E E B B B G G G D D D A A A E E E 4 4 4 E B G D A E 4
E E E B B B G G G D D D A A A E E E 6 6 6 E B G D A E 6
14 1 14 4
13 11 10 13 11 9 13 13 11 11 9
16 15 13
b bb & &b &
bb
~~~ œ~~~ . œ jj œ œ . œ ## œœ œ B b7 Let ring ~~~ Let œ. œ Let ring j ring # œ œ ~~~ ~~~ 11 bb
B 7 B B 7 7
16 14 13
œœ
15 13
ŒŒ
œ
œœ œœ# œjj #œ
15 13 11 10
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Œ
11 11
11 12 11 Let12 ring 11 12
12
8 8 8
~~~
œœ 12œœ œ b œ œ b œ œœ œœ œ b œ b œ bœ bb b & & œ œ œ bœ œ œ œ bœ b 8 6 &b 8 8 6 6 9 8 6 11
11
6 6 6 6 6 6
6
8
/ ~~~ ' ~~~ 13 11 10 13 11 9 œœ œ œ b œ œ . œ œœ œ b œ œ . ~~~ œ œ œ b œ~~~ ~~~œ . œ 14
7 7 7
7
6
13
13 12 11
8 8 8
8 8 8
7 7 7
⋲⋲ ⋲
j œœj b œ bœ
~~~
j œ bœ
8
7
10
6
E E E B B 9 B G 9 8 8 6 6 8 6 G 8 6 G D 8 6 D D A A A E E E 9 9 9 E 8 6 B 9 8 6 G 8 6 8 6 D 8 8 8 6 Ex 6 Just as in the previous example, this exercise illustrates how your blues8soloing A Ex 6 6 Ex 6 E 9 A 7 will be improved 100% if A you play with the changes as opposed to simply 9 A7 7
J6 6 6
œ œ œ œ œ œ bœ
5 5 5 8 8 8 5 8 5 8 8 8 5 8 8 B Dorian
b
6
8
5
8
8
6
7
11 b œ13 œœ13œœ b œ ‰‰ /' œ bœ œ œ//' ‰ ' 8 11 999
6 6 6
1 1/4 4
14
14 1 14 4
'
8 8 11 11
1/4
bb
~~~~~ ~~~~~ . . ˙˙ . œ . œ j ## œœj bœœ B 7 ~~~~~ ~~~~~ . œ ~~~~~˙ . jœ #œ
B 7 B 7 78 5 8B
4 4 4
8
' œœ '
1/4 11 13 13 14 13
bb
6 6 6
EXAMPLE 6 major to minor over i-iv Changes: robben Ford
13 10
B Dorian B Dorian B Dorian
8 j œœ œœ œœ bb œœ œ ‰‰ œœ œœ ## œœj nn œœ œœ œ œ œœ bb œœ œœ œ œœ.. P F# œj n œ œ œ œ œ œ b œ œ œ P‰ œ F œ œœœ b œ . 8 6 8 7 œ 8 7 8 8 6 6 8 8 8 7 8 8 8 6 8 8 8 6 8 8 8 8 8 6 8 6 8 8 8 6 8 8 8 6 6 8 6 6 9 6P F 9 9 6 6
œœ œœ
14 11
œ œ bœ JJ œ œœ œ œœ œœ œœ b œ E b7
10 10 10
6 6 6
bb
E 7 E E 7 7
6
8 8 8
5 5 5
~~~~~
~~~ œœ .. œœ~~~
8 11
cd track 14
8
œœ..
9
you play over it; this is particularly effective 8 6 4 5 on phrase conclusions as in bars 2 6 and 4 where a slide into the major 3rd also helps to highlight the note. You’ll j j j œœj added to minor Pentatonic licks superimposing Pentatonic the chords you’re playing notice also that the major 6th interval is nnoften œœj licks without considering œœj over. To achieve this simply add the major 3rd (C#) of the i chord (a7) every time (see example 9 for more info on this).
## # ## 4 4 & & # 44 Ex 6
E E E B B B G G G D D D A A A E E E 1 1 1 E B G D A E 1
16
### 4 & 4
œœ œœ œœ
j œ œ BU BU BU
A7
7 (9 ) 7 7 (( 9 9 ))
œ œ5 3 3
5 5 5
5 5
3
œœ œœ œœ bb œœ œœ n œ œ œœ œ œ nœ œ œ œ
j œ œ BU BU BU 7 7 7
February 2016
3 3
5 5
8 8 8
3
7 7 7
5 5 5
7 7 7
7 7 7
7 3 7 7
5 5 5
œ. œ œ œ 5 3 3
6 6 6
5 5 5
3
7 7 7
5 5
BU
BU 7 (9 )
( 9) (( 9 9 ))
œ œ5 b œ œ n œ œ œ œ œ 5 5 5 3 3
œœ œœ œœ
5
5 7
( 9)
5
5 8
7
5
7
7
7
5
6
5
7
5
j nœ
~~~ œ . œ~~~ ~~~ 10
8 8 8 10 10
~~~
8 10
‰‰ ‰
LARRY CARLTON & ROBBEN FORD { SOPHISTICATED BLUES 4 xxxxxxxxxx
' 3 ~~ nœ œ œ œ œ nœ nœ œ œ œ
EXAMPLE 6 major to minor over i-iv Changes: robben Ford ...CONTINUED
### & 4 xxxxxxxxxx
j œ
cd track 14
nœ œ œ j nœ 3 œ œ œ œj n œ œ œ œ œ œ nœ œ œ j Ó nœ #œ 3 3
' ~~ n œ œ œ7 œ 7 n œ6 5 3 ~~ œ n œ œ7 4 œ7 œ 3
3
E B G D A E
3
&
###
BU BD
BU BD
n œ œ œ œj (n12œ ) ( 11œ ) 9 œ
BU BD
j 12 œ
( 13 ) (12 ) 10
11
3
3
j œ ) ( 9) œ9 n( 10 œ 3
E B G D A E
E B G D A E
3
&
###
j œ
œ œ9 œ7 œ n œ5 œ7 œ5 j 4 Ó nœ #œ 3
œ n œ œ œ n( 12œ ) ( œ11 ) 9œ œ œ œ ( 10 ) ( 9 ) 7 œ 9 œ7 3 BU BD
BU BD
12 ( 13 ) ( 12 ) 10
3
9
3
3
5
1 1/4/4
5
~~ Ÿ 5 5 G #œ13 Aœ13/' 8 ~~~~~ œœ œœ Ÿœ ~~~~ œ œ œ 7 6 œ œ œ œ # œ œ œ œ #7 œ œ5 Ó œ nœ œ œ nœ 7 4 7 3
3
14
A7
BU BD
11
D7 8
3
7
1/4
D7
j 5 nœ #œ
7
5
3
4
Ÿ ~~~~ Ÿ ~~~~~ #4 5 5 G 13 A 13 Ÿ 5 5 7 ~~~~ œœ œœ œ5 œ œœ œ7 Ÿœ55 ~~~~~ œœ654 œœœ765 # # # œj œ9 n œ œ9 œ7 n œ5 7 œ7 7 œ5 7 3 œ # œ œ nœ œ œ œ # œœ n œ Ó œ œ œ œ7 œ5 j 4 & n œ # œ 3 3
Let ring
A7
8
7
5 5
7 7 7
3
6
3
3
' ' n œ œ œ œ œ œ œ œ~~ œ œ Œ. Œ J J ‰
Let ring
©»§∞ # # # 12 Ó . & 8
Ex 7
E E 7 1/4 EXAMPLE 7 v-iv blues 8Changes: larry Carlton B
5 5
Ÿ ~~~~ Ÿ ~~~~~ . œ œ œ n œ œ œ œ œ œ. n œ
œ œ. n œ n œ. œ '
7 4 5 cd track 16 D7 5 7 5 5 7 5 6 7 1/4 5 Pentatonic is7played 5 over the e7 chord 5 j 6 see that7e minor both times j (rather than 4b œ 5
1/4
G 7 5or the tonic minor 7 9 9 7 5 You can, D of course, play either the tonic major 7 Pentatonic 7 7 œ by a quarter A Pentatonic scale (ie a minor Pentatonic over the e7 ‘v’ chord,) but7your5 solos 3 4 a minor Pentatonic). notice also how the minor 3rd (G) is raised E 6 more interesting if you acknowledge the v chord by playing the will sound tone bend in both bars 1 and 5, as this really helps to get closer to the major 3 minor Pentatonic that starts on the same root note. so in this example you can tonality of the e7 chord.
'' '' nœ œ œ œ
Em pent E B G D A E
©»§∞ # # # 12 Ó . & 8
1
Œ . Œ œJ 5
Em pent
# # # ~~~~~ . œ œ 5 œ. Œ nœ œ ˙. & A7
E B G D A E
E B G D A E
1
4
E 7 1/45 8
j œ œ
A 7~~~~~ 5 5 7 # # # 7 ~~~~~ . œ5 œ7 œ. Œ nœ œ ˙. &
' œ
7
œ
8
8
14
1/4
8
7
E 7 / BU BD / ' ' ~~ / ' . n5œ 7 œ œ( 8) œ (7œ) 5œ 7 j5 8 5 8 5 5 5 5 7 œ . 7 7 5 9 5 ‰ Œ Œ œ œ œ nœ #œ œ . n˙ . J œœœ 4
' ˙.
14
'' nœ œ
j œ5 œ
œ7 œ 7
˙5 . n˙ . 5
E B G D A E
E B G D A E
14
1/4
9. Œ . Œ œJ
E 7 1/4 7 8
'
7
œ œ8 /' 9 7 œ œ œ9 œ7 j 6 7 ‰ 2 4 œ2 œ4 nœ #œ œ . œœ 4
Em pent add 6
1/4
BU
14
9
5
Let ring / / A7 j b œ. /' ' ' / ~~~~~ œ œ œ . œ œ. œ7 œ9 œ ' œ5 7 5 '/ 7 œ 5 n œ ~~. BU j ### nœ . œ j œ œ 8 8œ b œ œ œ œ œ nœ #œ œ J 9 9 7 œ œœ ‰ n œ œ 2 4 2 Œ4. & 7 6œ 9 7 œ 5 œ 7 J Œ 7Œ 5 7 Em pent1 add 1 6
D7
E B G D A E
14
8
Let ring
5
14
7
3
1/4
1/4
5
BU BD ~~ / D( 87) '/' (7 ) 5 7 5 7 5 . 5 5 5 5 7 8 5 n œ . œ œ œ œ j œ œ œ ~~ n œ œ b œ œ7. 5 œj n œ9. œ5 œ œ7 œ œ ‰ œ œ nœ J
1/4
1/4
Ex 7
14
14
4
4
14
5 5
4
BU
D7
# # 5 œ j (5 ) 4 2 4 œ 2 5 & # nœ . œ œ œ œ œ œ œ J 3
7
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5
4
BU 5
3
4 (5 ) 4 2
'
8 b œ. œ n œ œ œ œ . œ 10œ. Œ J 10
2 5
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~~ œ œ9 b œ8 œ7 j 6 7 œ ~~ n œ # œ œ 7 ‰ 5 œ7 œ . Œ . n œ œ
1/4 1 /4 1/4 1 /4
8 8
Swing 16ths
10
''
10
8 10 10
11 10
8
10
8 8
10
Let ring
7 5
5
1/4 1 /4
1/4
5 4
1/4
A7 8 10 10j 11 10
5
Swing 16ths
9
8 7
5
6
Let ring
7 5 7
7
~~
5 7
7
February 2016
17
Play } BLUES
ON THE CD
TRACKs 4-27
EXAMPLE 8 v-iv blues Changes: robben Ford
cd track 18
in this example the BB King ‘blues box’ (r-2-4-5-6) is used to generate the sound of the v chord. Over the iv chord, the licks return to the minor Pentatonic but 5 6th interval (F#) replacing the minor 7th (b7) of the scale. This perfectly with the
©»¡£º E 7 √ # j œ œ Ex 8 # # 4 &©»¡£º4 œ Eœ7 Shuffle √ 3 # # # 4 œj œ œ œ & 4 12 14
describes the iv chord harmony because the F# is the 3rd of d7. robben favours this dorian Pentatonic (r-b3-4-5-6) quite a lot as it’s minor with the major 6th adding sweetness.
Ex 8 5
E B G D A E E 1 B G D A E 1
E B G D A E E 3 B G D A E 3
j . œ nœ
Shuffle
12 14
œ œ œ œ œ. ‰
œ
j . œ nœ
œ œ œ œ œ. ‰
œ
BU
14 ( 15 )
3
3
12
14
3
12
14
12 14
&
###
14 ( 15 )
14
œ nœ œ œ œ œ
A7
j œ
### &
œ nœ œ œ œ œ
A7
3
3
j ring Let œ
38
9 Let ring 7
9
8 3 8
9
12
14
12
14
7
35
5
7
5
3
7
6
5 3
7
~~~ / / # # # œ œ œ n œ œ œ œ ‰ n œ ' œ ' ~~~ œ ‰ & D7 A7 3 3 ~~~ / / # # # œ œ œ n œ œ œ œ ‰ n œ ' œ ' ~~~ œ~~~ ‰ ~~~ /' /' & 8 7
D7
8
9
9
8 8
9
9
7
5
5
7
5
7
14
14
6 A7
5
7
14
~~~
' '
EXAMPLE 9 dorian pentatoniC over blues Changes
©»¡º• #4 Ex 9 & 4 Ó ©»¡º• Shuffle #4 & 4 Ó
œ œ bœ '
~~~~ ˙ G7 ~~~~ ˙~~~~
~~~
Shuffle over any chord in a blues progression. You can spot G dorian Pentatonic (G-Bb1/4 C-d-e) throughout, but bars 3 and 9 are particularly good. Both players use this
18
Œ Œ
œ œ b œ /' ' 3
1/4
14
5
3
3
3
'
1/4
& &
# #
j œ
œ œ œ œ
G7
j œ
œ œ œ œ
G7
3
BU BD BU
8 (10 ) ( 8 ) ( 10 )
3
3
3
5
10
12
11 ( 12 ) ( 11 3 ) ( 12 )
Let ring
BU BD BU 10
12
8
11 ( 12 ) ( 11 ) ( 12 )
10 12
' œ nœ œ ' nœ œ nœ œ ' nœ '
~~~
œ œj œ n œ
10
11
10
10
12 10
38
12 10
8
9
9
8
10
8
10
3
3
j œ œ
1/4
3
j œ œ
1/4
5
3
7
8
10
. œ œ œ ‰ œ bœ 3 3 jE 7 œ œj œ œ œ n œ œ œ œ. œ b œ ‰
5
7
5
1/4
5
(12 )
10
11
1/4
œ n œ œ3 J 5
10 3
BD
10 12
œ nœ œ J
5
7
5
7
7
5
7
5
9
8
Œ
nœ œ œ œ 5
8
Œ
nœ œ œ œ 3
9
5
cd track 20
5
3
œ b œ œ œ œ œ œ~~ J C7 3 3 œ b œ œ œ œ œ œ~~ J~~ 8
scale extensively in their solos so this example5is in 5generic ‘Carlton/Ford’ style rather than beingC7 attributed to either player.
‰
Œ
‰
j œ j œ 7
5
j œ b œ n œœ b œ n œ ‰ J j œ 3 œ nring œ bœ nœ œ b Let ‰ J BU BD BU 5
BU BD BU 8 (10 ) ( 8 ) ( 10 )
February 2016
~~~~
Œ
~~~
7 10
(12 )
jE 7 œ œ
7 10
5
BD
12 ( 13 )
j œ œj œ~~~œ œ œ œ nœ œ Œ œ œ œ œ œ 3 3 3 j œ œj œ~~~œ œ œ œ nœ œ ~~~ Œ œ œ œ œ œ 5 9
nœ
BU
14
14 14 E B 7 10 7 10 3 3 G 7 5 5 D 7 A 1/4 1/4 E E 6 8 B 7 10 7 10 G 7 5 5 D 7 Ex 9 A This dominant 7th sequence illustrates how the dorian Pentatonic can be used E 6 G7
E B G D A E E 4 B G D A E 4
D7
BU 12
14
E B G D A E E 1 B G D A E 1
j œ
12 ( 13 )
3
3
D7
BU
14
œ œ œ œ~~~ Œ œ œ3 œ œ~~~ ~~~ Œ
nœ
j œ
œ J œ J 9
œ b œ œ œ œ œ~~~œ 7
9
œ b œ œ œ œ œ~~~œ BD ~~~ 3
( 11 ) 10 3 8
9
BD ( 11 ) 10 8
9
8
~~~
8
8
11 3
8
11
11
8
œ ‰ J œ ‰ J 8
8
8 3
11 8 D7
j œ
œ
j D7 œ œ
8
9
œ~~~
‰
œ~~~ ~~~ ‰ 8
~~ ~~~
8
8
œ œ œ œ œ 9
œ œ œ œ œ 3
10
12
10 12 10
12
10
12
10 12 10
12
3
Œ Œ
LARRY CARLTON & ROBBEN FORD { SOPHISTICATED BLUES 6 xxxxxxxxxx
EXAMPLE 9 dorian pentatoniC over blues Changes ...CONTINUED 6 xxxxxxxxxx
bœ # & bC7œ 6 xxxxxxxxxx # & # bbC7œœ # & & bC7œ9 # & 9
œ bœ œ bœ œœ b œ bœ œ8 b œ6
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j œ j œj œœj j œ5
‰ ‰ ‰‰ ‰
~~~ ' D7 Œ œ j /Dœ7 ~~~ œ G7œ ' G7 œ /'D 7 ~~~ Œ j œ œ ~~~ Œ œœ //'Dœ7~~~ jG7œ Œ ' œj œ œ / œ ~~~ œ ' j bœ œ8 /' 5 ~~~ Œ j œ7 œ / œ ~~~ 3 5 7 3 5 8 8 /' ~~~ 3 3 7 ' 5 cd track 22 5 3 5 7 5 8 5 7 8 5 3 chord, creating tension before the 5. The lick resolves to 7 change 5 8 to chord iv in 8 bar / 5 ~~~ 3 7 5 ' the F7 /' right on the moneyj(ie beat 1 of bar 5 with a: F7’s major 3rd); crucial as late 5 3will kill your licks!bin 7 minor (C-d-eb-F-G-a-B) ~~~~ is used œ œ bar 65the œ C8 Melodic œ resolutions œ 5b)œsounds œ 8bover œ5 the . 7 toœgenerate F lydian dominant (F-G-a-B-C-d-e F7 chord. œ ‰ / œ bœ œ ~~~~ j bœ ' œ œ œ œ/ œ . œ œ œ bœ œ j bœ ' b œ ‰ œ ~~~~ / j œ œ œœ œ ' œ . œ œ œ ~~~~ œ /' œ bb œœ. ‰‰ œ BUb œ BD œ œ œ œ bb œœ œœ œœ~~~~ / j œ ) ( 10 ) 8 ~~~~ œ BUb( 11 œ œ 10œ œ8 b œ8 œ8 œ8 /' 10œ 8. BD ~~~~ 7 10 œ ' b œ ‰ BU( 11 ) BD ( 10 ) 8 œ ~~~~ 8 8 8 /' 10 8 BU BD ~~~~
G7
œ œ œœ J5 3 œ œ3 J5
j œ Gœ7 J jG 7 œ Gœ7 j J œj œœ œ GJ7
E B 3 G D E 8 6 6 8 A B 8 3 E G7 E 3 9 8 6 6 8 D 5 B E 3 5 9 8 6 8 6 8 6 A G B 8 3 5 E D G Ex7 10 5 b A D The Melodic minor (r-2- 3-4-5-6-7) will give your blues a level of jazzy 5 E A 9 C 87 6 6 8 6 sophistication Pentatonics alone8cannot! it has to be phrased with an B 7 3 5 E Ex7 10 G understanding of how jazz vocabulary works. Here, db Melodic minor (db-eb-Fb-GbD 5 7 superlocrian (C-db-eb-e-Gb-ab-Bb) licks over the tonic A ab-Bb-C) used to createCC7 Exis10 E Ex7 10
~~~ œ œ œœ œ
j œ
EXAMPLE 10 use oF the melodiC minor: larry Carlton
©»¡º∞ 4 &©»¡º∞ 4 ©»¡º∞ 4 ©»¡º∞ Ex & 10 4 44 & ©»¡º∞ &4 & 44
E B G D E A B E G E D B E A G B E D G A D E A B E G D A E
E B G D E A B E G E D B E A G B E D G A D E A B E G D A E
1
1 1 1
1
4
& & & & &
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4 4 4
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C7
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j ~~~~~~~ bœ w j ~~~~~~~ b œ Cw 7 j C 7 ~~~~~~~ ~~~~~~~ b œj w bœ w
œ bœ œ bœ œœ b œ bœ œ8 b11œ
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~~~~~~~ BU ~~~~~~~ 8 (13~~~~~~~ ) 11 8 BU 10 8 BU ~~~~~~~ 8 (13 ) 8 11 8 (13 ) 11 8 10 8 G b7 10 8 BU ~~~~~~~ b œ bœ œ œ bœ bœ 8 bœ ‰ b(13œ )b œ œ œ b œ G b7 b œ b œ 11œ b œ8 œ10b œ8 b bb œœ œ œ b œ GGbb œbœ77 b œ b œ b œ œ b œ b œ ‰ Dbb œœb melodic œ œ œminor ‰‰ 9 11 9 8 b œ Gb œb7 bb œœ bb œœ bb œœ œœ bb œœ œ b œ b œ œ œminor D œ bœ b œb melodic b11œ b œ9 b œ9 b œ8 b11œ 10œ b œ8 10 b11œ minor 11 9 8 ‰ DD 9bb melodic melodic minor œ 11 9 j w )~~~~~~~ b11œ (13 BU C7
11 11 11
11
9 9
11 9 8 11 9 8 11 D melodic minor 11
b
œ œ œœ œ8
'
1/4
bœ / ' b œ //' bb œœ ' / /' ' b œ8 /' 9
11 9 8
14 14 14
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11
9 9
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9
8
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8 8
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11 10 11 10 11 10
8
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10 11
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©»¡™º & 44 œj ©»¡™º ©»¡™º & 444 œj ©»¡™º j 4 & œj &4 œ ©»¡™º & 44 œj
~~~~~ ˙ ~~~~~œ œ ˙ ~~~~~ ~~~~~œ œ ~~~~~ ˙˙ œœ œ ~~~~~ œ ~~~~~ ˙~~~~~œ œ ~~~~~
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~~~~~
j Œœ j Œ œj ŒŒ œœj
œ J œ Jœ œJ J5 œ J5
j bœ j bœ j b œj bœ 3
3
3
G7
œ C7 C7 œ Cœ œ7 3 œ
Œ Œ ŒŒ Œ
C7
G7
5
D7
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1/4 14 14 14
14
14 14 14 14
5
14
5 5
14
5
14 14 14 14 14
10
14
10
8 8
' œ. ' 14 1/4
10
10
8
( 10 ) 8 ( 10 ) 8
10 ( 11 ) 10 ( 11 )
8 8
7
10
œ œ 77 1010~~~~ œ œ . j 8 b œ (œ11œ) œ œ( 10œ) œ8 œ 10 8 8 œ œ œ œ œ F7 œ œ œ10 .8 œ. 10œj œ. 8œ . œ 7 10 F7 . œ j j b œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ F7 œ œ œ . œ. œ. œ œ.j œF . Cb œmelodic œœ œ œminor œœ œœ œ œ œ œœ œœ œ œ œ . œ œ . j œ œ œ j œ b œ œ œ œ œ œ 7 10 7 œ œ œ Fœ .. œ7 œ œ œœ.. œœj œœ.. œœF 8 œ œ œ 8 C melodic minor . œ œ8 œ7 10 9 7. 10 8 10 8 7 7 8 œ œ j œ b œ œ œ œ œ œ 7 10 9 10 j 12 8F C melodic minor œ œœ 7 10 7 œ œœ 8. œ œ 8 8 . C 8melodic œ . œF minor 7 10 10 8 7 7 8 8 7 10 F 710
8 8
1/4
10 10
8 8
BU
BD
10 10
8 8
10
10
7 10
7 7 10 7 7 10
10 10
8
F
8 10 12 8 8 10 12 8 8 10 12 8
b 7œ 10n œ 8 bœ nœ F bb œœ nn œœ F b œ8 n œ9 F F 8 9 8 9 F 8 9
7 10
' œ . œ bœ œ œ œ œ œ œ ' œ . œ bb œœ œ œ œ œ œ œ ' œœ .. œ b œ œœ œœ œœ œœ œœ œœ '' œ ' j œ bœ œ œ œ œ ' Œ œ. œ œ œ '' '
EXAMPLE 11 use oF the melodiC minor: robben Ford
C7
3 3
14 14 E B G 14 D E A B 8 E 1 G7 10 8 1/4 E /4 10 8 10 D 10 8 B E 8 A G B 10 8 8 E D 7 G 10 8 10 10 8 10 81 Ex 11 A D /4 10 8 10 10 8 E A 1/4 Am7 B 8 E 7 1/4 G 10 8 Ex7 11 D 10 10his 80s work 8 (Talk To Your robben’s use of Melodic minor is10more8 prevalent in A 1/4 Am7 use of the superlocrian Ex 11 His effortless daughter). (in the context of the blues). 1 E /4 Ex7 11 Here B Melodic minor licks are used in bar 4 to generate 1/4 Am7(B-C#-d-e-F#-G#-a#) 1 1/4the modulation to chord ivm. On Am7 superlocrian sounds over a7, highlighting /4 1/4 Ex 11 1 1/4 /4 BU BD 1/4 Am7 E 1/4 B G )( 7 ) 5 51 7 BU( 8BD 7 5 1/4 /4 7 5 D 5 7 5 7 7 E A 7 B 1/4 1 E BU BD G1 )( 7 ) 5 5 1/4 7 BU( 8BD 7 5 1/4 E /4 7 5 D 5 7 5 7 7 B E A 7 G B 5 7 ( 8 )( 7 ) 5 7 5 E D 1 G 5 7 5 51 7 5 7 ( 8 )( 7 ) 5 7 7 7 5 1/4 BU BD A /4 7 5 D 7 5 5 7 7 7 E A 7 B 1 E G1 5 7 ( 8 )( 7 ) 5 7 5 D 5 7 5 7 5 7 7 A 7 E 1
'' '
cd track 20
œ #œ 12 8 œ #œ œœ ## œœ 10 œ #11œ
10
10
11
10 10
11 11
œ œ œœ œ8 8 8 8
7 10 7 9 10 10 9 8 7 10 7 8 8 10 8 7 7 8 8 8 8 7 C 8melodic minor 10 8 7 9 10 7 8 8 7 10 9 9 10 10 9 7 10147 / 8 8 8 10 8 7 7 8 8 7 9 10 j 10 9
nœ nœ nn œœ n10œ
bœ bœ bb œœ b œ8
10 10
8 8
10
8
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'j bœ œ œ bœ œ ' b œ œj œ b œ ' œj bb œœ œjj œ b œ ' œjj œ œ bœ ' œ b œ œj œ b œ ' œj '' œ œ œ œ œ œ 'œ
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1/4 1/4 1/4
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8 8
10
8
6 1/4
10
8
6 1/4
8 8 10
1/4
8 b 6 8 96 1 A 7 # 5 /4
j 11 œ œ10 8 œ 10 œ of bar 6, F Melodic 10 minor 8 lastœtwoœbeats (F-G-abb9-Bb-C-d-e) to create e b œ #isœused 8 7#5 6 œthe A Œ j (e-F-G-G#-Bb-C-d) sounds œover10e7#9, b œreturn superlocrian highlighting the œ to the œ b œTheœrest of the œ soloœ staysœwithA 7œa#b599minor tonic minor Pentatonic, .keeping it œ œchord. œ œ œ bœ #œ bœ œbluesyŒ with 7#5 j a more traditionalœapproach. œœ œ œœAminor œ Bœb melodic œj œœ œ œœ œœ œ œ œ œ œ œb9 œ œ bb œœ # œ b œ œ. œœ Œ œBU BDœBU # œ b œ œœ. 75# 5 Œ 8j(10 ) (8) (10 ) 8 5 8Aminor B5b melodic œ œ 8 6 œ œ œ œ œ œ œ œBU œ œ b œ8 # œ6 8 5. B b melodic minor œ Œ œ8BU(10BD 5 8 5 8 5 bœ œ B b melodic minor8 6 ) (8 ) ( 10 ) 9
8
BU BD BU BU BD BU 8 ( 10 ) ( 8 ) ( 10 ) 8 ( 10 ) ( 8 ) ( 10 ) BU BD BU 8 ( 10 ) ( 8 ) ( 10 )
10
5 8 5 8 5 5 8 5 8 5 8 6 B melodic minor8 6
b
5 8
5
8 5
8 6
cd track 24
8
6
8 8
6 6
8
6
.
8 5 8 5 8 5 8 5
February 2016
19
Play } BLUES
ON THE CD
TRACKs 4-27
7
EXAMPLE 11 use oF the melodiC minor: robben Ford ...CONTINUED
. œœœ œ œ Œ œ & Dm7
j œ
Let ring E B G D A E
5
7
8
7 9
9
cd track 24
A m7 3 ~~~ œ /' . . œ œ . œ bœ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ # œ n œ ˚ j œ œ œ œ œ ‰. Ó œ œ # œ œ. 3 F melodic minor ~~~ BU BD
#
E7 9
7 5
5
7
14
8 6
7
'
5
5
6
5
( 8) (7 ) 5
7 8 5
6
7
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1/4
5 7 5
7 5
7 5 3
5
EXAMPLE 12 Final jam
cd track 26
The main tune is harmonised, les Paul style, in this example. ‘larry’ plays you’ll notice that the harmony has been left on the first statement of the tune the main melody (panned hard left) while ‘robben’ plays the harmony part while the main melody can be heard on the concluding chorus. This is to allow GUITAR TECHNIQUES MAGAZINE 252 (panned hard right). The solo chorus is similarly panned so youStyle can clearly you to&play both parts (as written the chart), main melody on the first chorus The Blues of Larry Carlton Robben Ford - PhilonCapone FINAL JAM distinguish the licks on the full mix. When you play along to the backing track, and harmony part on the final chorus. There is also a slight overlap between Ex 12
©»¡™∞ Shuffle G7 3 #4 3 & 4 œ œ œ#œ œ œ Ó
C7
G7
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C7
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3
3
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3
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3
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TUNE (main: Larry Carlton) E B G D A E
5
5 7
8 9 5
G7
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5 7
8 9 5
7
8
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6
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5 7
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3
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SOLOS
j ‰œ
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Larry Carlton
1/4
6
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5
4
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8
7
7
10
11
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10
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Robben Ford
~~
8
5
7
8
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10
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10 12
10
5
11
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nœ œ bœ nœ œ œ bœ œ nœ œ bœ bœ nœ #œ œ œ
Robben Ford
20
7
9
6
# œ & #œ nœ œ bœ œ œ
E B G D A E
8
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3
3
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8 5
1
# & œ b œ œ# œj œ n œ œ Œ E B G D A E
5 7
5 7
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16
February 2016
#œ œ œ nœ bœ œ
~~~
G7
œ. œ. œ œ n œ œ . œ œ #œ n œ˙ œ b œ œ Ó C7
Larry Carlton
(82 )
10
~~~
8
10
7
10
3 3
7
8
'
9
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3
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8
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4
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LARRY CARLTON & ROBBEN FORD { SOPHISTICATED BLUES œ œ œ. œ. Dm7
G7
C7
nœ œ bœ nœ œ œ bœ œ bœ bœ nœ #œ œ œ nœ œ
œ nœ œ #œ œ œ b œ œ n œ˙ Ó
Larry Carlton
EXAMPLE 12 Final jam ...CONTINUED Robben
one lick:Ford at the start of bar 17 ‘robben’ sustains his last note (e) over the start E of ‘larry’s’ phrase. This adds authenticity to the mix but you can omit this note B when Gplaying along to the track. all 16th7licks10should 9 be 8 played7straight (ie D A E
10
8
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9
11
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8
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10 7
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2 xxxxxxxxxx 18
&
#
' nœ œ œ œ D7 1/4
'
Larry Carlton E B G D A E
3
Robben Ford
3
5
6
4
3
~~
3
10
6
5
3
~~~
3
5
3
8
9
8
8
9
5
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Larry Carlton
~~~
10 11
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8
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Robben Ford
1/4
7
3
5
7
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5
8
6
5
3
21
#
' œ œ bœ
#
~~~ œ nœ œ ˙
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1/4
3
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5
3
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œ nœ œ œ#œ œ Ó
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3
3
3
TUNE (harmony: Robben Ford)
3 5
5
C7
3
4
6
7 4
3 5
3 5 7 3
3 5
4
6 7 4
6
6
7
6 5
24
#
C7
œ œ œ œj œ b œ œ Œ
& nœ œ bœ œ œ œ Ó 3
3
3
E B G D A E
~~~~
~~~ œ œ œ bœ œ œ œ
Robben Ford
10
1/4
C7
~~ œ œ œ ‰ # œJ
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6
& E B G D A E
3
8
10
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Larry Carlton
10
(82 )
10
' 3 3 ~~~ ~~~ 3 Œ ˙ n œj œ œ œ œ œ œ œ b œ œ œ n œ œj œ bœ
#œ œ œ nœ bœ œ # nœ œ œ bœ & œ nœ œ œ bœ 9
cd track 26
with no swing) over the shuffle groove creating a tense, double-time feel. To 8 bridge 10 pickup, replicate the sound of each player why not switch from neck to 8 10 or kick in an overdrive pedal to 7 create 10 7robben’s 8 9 slightly dirtier tone.
16
E B G D A E
.
3
5
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7
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7
G7
#œ œ nœ nœ œ Ó
œ nœ œ œ #œ œ Ó 3
3
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8
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4
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4
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29
# nœ #œ œ nœ œ œ œ & D7
3
3
C7
Œ
œ nœ œ bœ œ œ Ó 3
3
N.C.
œ nœ bœ #œ œ bœ œ œ
G 7/D
b
A 7
U
4
3
G7
œ. b œ n œ ˙
rit E B G D A E
10 11
10
10
9
12
3
5
3
5
7
3
5
6
4
2
3
3
5
2
4
33
February 2016
21
Play } BLUES-ROCK
ON THE CD
TRACKs 28-29
Stevie Ray Vaughan Tightrope Jon Bishop breaks out his heavy-strung Strat for a look at this classic SRV track. With Hendrix-style phrasing and a tone to die for, Tightrope is a must-learn for expanding your blues-rock repertoire. abiliTY RaTinG Info Key B major Tempo 96 bpm CD Tracks 28-29
S
Advanced ✪ ✪ ✪ ✪ ✪ Will improve your… Blues improvisation and knowledge Phrasing and soloing in B minor Pentatonic String bending technique
tevie Ray Vaughan’s classic recording of Tightrope offers a positive trick bag of blues-rock techniques and ideas. The song is based around a Hendrixstyle riff in the key of B and a reworked blues form for the solos. It’s a straight-ahead major key track in 4/4 time signature and will give you oodles of scope for improvising – once you’ve learnt all of Stevie’s licks, of course. Perhaps unsurprisingly, Stevie Ray bases much of his lead work around various shapes of the B minor Pentatonic scale, then adds colour tones and chromatic notes to taste – a common ploy among blues guitarists. If you study the notation you’ll notice that Stevie is particularly fond of the b5 (F) and also the 9th (C). Throughout the song, he courteously tips the hat to two of his biggest heroes, Jimi Hendrix and Albert King, and while accompanying his vocals he plays a funky, semiquaver 9th chord pattern. Stevie Ray Vaughan’s guitar tone is the stuff of legends and is the product of several different things. A key factor is high-output, single-coil pickups, which help to drive the
amplifier’s front end into a singing overdrive. To help with playability Stevie always fitted higher, fatter frets to the neck of the guitar to aid bending and vibrato – both key techniques in Stevie’s style. The third factor is the use of valve amplifiers (often Fender, Dumble and Marshall), turned up loud along with a couple of Ibanez Tube Screamer pedals, which were used for extra boost.
STeVie baSeS hiS lead woRk aRound b minoR penTaTonic Then addS VaRiouS colouR ToneS and chRomaTic noTeS If you listen to the original Tightrope recording you will notice that Stevie’s guitar is de-tuned by a semitone, so instead of sounding in the key of B as we have notated, the track is in Bb. This was standard practise for Stevie, no doubt inspired by the likes of Jimi Hendrix and today carried on by most of
the players subsequently influenced by Vaughan himself. The many benefits of tuning down like this include a fatter tone and reduced string tension (meaning a heavier string gauge feels ‘normal’). It also makes the classic guitar keys of E, A and D easier to sing over. However, we’ve transcribed and recorded the track at concert pitch to allow you to learn the tune and practise it without the need to re-tune. If you wish to play along with the original recording you can still use all the same fingerings as the tab dictates, but just detune your guitar to Eb (Eb-Ab-Db-Gb-BbEb). The original studio recording fades out, so as an extra treat we have included the ending that the man himself used for most live renditions of the number. You can use the GT backing track to practise all kinds of blues and rock ideas. In fact, I’d highly recommend that you come up with an original solo, using some of your own ideas mixed in with those that you’ll find tabbed throughout the following pages. Many thanks to Pete Riley for playing and recording the drums, and to Jez Davies for adding fantastic keyboards. Have fun and see you next time. 6
6
3
7 8
Technique FocuS
GAIn
BASS
MIddLe
TReBLe
ReVeRB
Bend those strings! Many of the phases in this month’s solo make use of string bending. String bending can be challenging from both a physical and technical standpoint. If you are new to this concept then you need to take care not to damage yourself. At first, bending notes up may be a little uncomfortable so practise slowly, and build up the skin and finger strength required gradually. You may find that it is best to lock the finger in position and then use the power of the hand to bend the string. As with all bending practise you can use a target tone to make sure you are bending to pitch. To start with work on semitone (one-fret) bends and then build up to whole tone (two-fret) bends. If you really want to guild the lily you can try some toneand-a-half bends as SRV does in this solo (bar 48). When you consider the set-up (Stevie Ray performed these techniques on gauge 12 strings!) you start to realise that he was not only a supreme musician, but also something of a circus strong man!
22
February 2016
To get the Tightrope sound set your amp for a dirty-clean tone (where the power stage is breaking up but without an excess of preamp gain). Select your neck pickup and hit the strings with attitude. A fast chorus can provide a reasonable Leslie speaker simulation, and if you do need more grit then add a decent overdrive pedal in front of the amp.
TIGHTROPE { STEVIE RAY VAUGHAN
Christian rose / Dalle / iConiCPix
Stevie Ray: burning at the 12th fret!
TRack RecoRd Tightrope is taken from Stevie Ray Vaughan’s1989 album, In Step. This album also contains the classic tracks Crossfire and Rivera Paradise. The DVD entitled Live From Austin was recorded in the same year and is definitely worth watching as you can really see how Stevie approaches his playing, the level of attack he brought to the table and the fabulous tone that his fingers produced.
February 2016
23
Play } BLUES-ROCK
ON THE CD
TRACKs 28-29
PLAYING TIPS
cd track 28
Intro [Bars 1-4] The opening riff is played with conviction and the position with a consistent alternating up and down stroke strumming action. The G# shifts are a little more awkward than one might imagine. The Voodoo Chile minor and e9 chords are added to link back to the riff, which was played as the style open-string lick will also take a little bit of getting used to. intro. Bar 13 contains a variation on the open-string lick where, instead of playing Verse 1 [Bars 5-15] The B9 chord is played with a thumb bass note. Playing bass with string bends, hammer-ons and pull-offs are used. GUITAR MAGAZINE 5 2 was a Jimi Hendrix trademark notes with theTECHNIQUES thumb over the back of the2neck Verse 2 [Bars 16-24] A repeat of verse 1, here the intro riff is only played once Jon BYcontains SRV a chromatic phrase linking the second verse to the chorus. and something that SRV copied. The funky 16th-note rhythm willBishop's sound best TIGHTROPE and bar 24 D B9 A G E ©»ª¶ E ~~~ œ #### 4 . ¿ œ œ œ œ . œ ⋲ œ œj œ œ n œ œ .. #4 . œ œ ¿¿ n œœ .. n œ œ œ & œ œ œ n œ œ œ œ ¿ # œ. œ œ nœ nœ . nœ œ ¿ f Neck Pickup with Leslie Speaker ~~~ 0 BU BD INTRO
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February 2016
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0
TIGHTROPE { STEVIE RAY VAUGHAN PLAYING TIPS
cd track 28
Chorus [Bars 25-32] The chorus alternates between e9 and B9 chords. The A chord in bar 31 can be played with a thumb bass note – as Stevie would have done. There is a cool B minor Pentatonic riff in bar 32 that’s played in unison with the band. This takes us into the guitar solo. Guitar [Bars 33-44] The solo is played over a 12-bar blues form using 2 solo xxxxxxxxxx
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E B G D A E
the chords B9-e9-F#9. The first 12-bar chorus features some fully committed blues-rock soloing utilising the first and second boxes of the minor Pentatonic. Learning these licks will really help unlock some key SRV trademarks. Bar 38 is a timeless Albert King-style phrase and bar 39 contains the classic SRV method of negotiating position changes.
10
35
~~~
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X X
February 2016
25
Play } BLUES-ROCK
ON THE CD
TRACKs 28-29
PLAYING TIPS
cd track 28
Guitar solo [Bars 42-44] Bars 42, 43 and 44 contain a double-stop bending phrase that is tricky and might take a few goes at getting right. The key to
doing so is in ensuring your third-string bend intonation is absolutely on pitch. If you struggle with this, practise it in isolation before returning to the song.
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46
February 2016
7
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14 12
TIGHTROPE { STEVIE RAY VAUGHAN PLAYING TIPS
cd track 28
[Bar 50] There’s a high B note on the 19th fret that sounds best with a liberal amount of finger vibrato – again, isolate this if it’s something you struggle with.
Link [Bars 56-59] To link from the guitar solo to verse 3 there’s a repeat of the intro riff with an added pause bar to navigate in bar 59.
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2 3
X
February 2016
27
Play } BLUES-ROCK
ON THE CD
TRACKs 28-29
PLAYING TIPS
cd track 28
Verse 3 [Bars 60-68] Verse 3 is pretty much an exact repeat of verse 2. Chorus 2 [Bars 69-77] Chorus 2 is a repeat of chorus 1 and links to chorus 3 via the chromatic approach riff in bar 77.
Chorus 3 [Bars 78-85] Another repeat of chorus 2. However, there’s a slight variation in the rhythm guitar in bar 85, which is a nice funky touch. Slide in from a semitone below as directed.
5
VERSE 3
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####
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2:28 E B G D A E
7
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7 78
February 2016
7
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6
TIGHTROPE { STEVIE RAY VAUGHAN PLAYING TIPS
cd track 28
Guitar solo 2 [Bars 86-103] For the double-stop bend that starts in bar 89 bend the third and second strings a tone and a semitone respectively. This can be achieved by pushing the second string up and grabbing the third string 6 xxxxxxxxxx on the way. With some practise the intonation can be mastered and plenty
#### # & E B G D A E
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7 7 7 6
7 7 7 6
7 7 7 6
7 7 7 6
7 7 7 6
of finger vibrato will complete the effect. It’s worth spending some time on developing the repeating phrase that starts in bar 97. For the idea in bars 100 and 102 bend the first string up and catch the second string under the bending finger so it rings as well.
B9
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84
GUITAR SOLO 2 E9
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10 ( 12 ) 10 ( 11 )
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(12 ) ( 11 )
92
February 2016
29
Play } BLUES-ROCK
ON THE CD
TRACKs 28-29
PLAYING TIPS
cd track 28
[Bars 94-99] The solo continues apace. Really concentrate on your timing (don’t rush ahead), on the accuracy of your string bends and on making your
7 7 7 7
#### &# # # & ##### & ##### & # ##
E B G D E A B E G E 94 D B A G E D E 94 A B E G D 94 A E 94
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February 2016
31
Play } scale THeORY
ON THE CD
TRACKs 30-51
10 Wacky Scales! Get off the beaten path of the old blues jam with the most strangely beautiful and eminently useful scales in the world. By Milton Mermikides.
T
he concept of the scale (a limited set of notes, repeating at the octave and used to build melodies and chords) is practically universal to all music styles and cultures. Although there are a few that are almost ubiquitous – like the major Pentatonic – there is still a vast diversity and number of scales in use around the world. This is hardly surprising given the sheer number of possibilities. Consider this: even if we limit our consideration to the 12 equal divisions of the octave, five to eight notes repeating every octave – and don’t count transpositions (ie G major to A major) as different scales, and we only include fixed scales (no different ascending and descending forms) there are still literally hundreds and hundreds of possibilities. Well, 1,584 to be precise! Since many guitarists only know a dozen or so of these already, how do we possibly start to choose between the hundreds of other possibilities? This article will introduce you to and guide you through a curated choice of the 10 most important, exciting and useful ones to learn next. Each entry also provides a useful foundation for further exploration. Let’s start with the ground rules, disclaimers and justifications for the list. Please read before sending in your outrage!
ScaleS focuS Scale terminology The letters and numbers R-2-3-4-5-6-7 always refer to the notes of the Major scale from root to the 7th. b and # symbols flatten and sharpen the degrees by a semitone. Many of the scales go by different names (and scale terminology is still vague in these areas) but I’ve listed a number of aliases for each scale.
32
February 2016
✪✪✪✪
In order to establish ‘wackiness’ of the scales, it was decided that there would be: • No major scale or any of its modes (Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian) • No major Pentatonic, minor Pentatonic (or any of their three other modes) • No simple subset of any of the above (eg major without the 7th degree) and no simple ‘passing-tone’ versions (eg bebop Dominant,
Since many of uS knoW only a dozen or So ScaleS, hoW do We poSSibly chooSe betWeen hundredS of poSSibilitieS? which is Mixolydian with a passing tone between the minor 7th and the root) • No Natural minor, Harmonic minor or Melodic minor, nor the chromatic or Whole-tone scales (which are often the ‘tested’ group in instrumental studies) • Absolutely no minor or major Blues scales, as glorious as they are. To establish usefulness and immediate applicability, the following criteria were used: • 12-tone equal temperament (so no moving or removing of frets) • Only fixed forms (no separate ascending and descending forms) • 5-8 notes within an octave • Scales were only chosen if they could be quite immediately applied to common harmonic situations, or there were clear examples available in the pop, rock, jazz and classical guitar repertoire. Disclaimers: Some of these (eg Lydian Dominant and Altered) may be dismissed as
‘standard practice’ (particularly to jazzers). However, we need to draw a line somewhere, and the importance of learning these scales to those who wouldn’t otherwise encounter them, justified their inclusion. This does mean we leave out a huge amount of beautiful scale practice (including the hundreds of scales of Indian classical music, Arabic maqam, Indonesian music and Slonimsky’s mind-bending Thesaurus of Scales and Melodic Patterns) so do consider this the base camp, and not the summit, of your scale expedition. Wackiness is a cultural construct – as is normality. With all this established, let’s take a look at our Top 10 list (all based from an E note to clearly reference the intervallic variations). We’ll look at the construction and use of each scale, how to find it on the fretboard and a short melodic idea as well as scale patterns that capture its essence. We then follow them up with a short piece that I’ve called Covered In Scales, that uses all them in a fretboard and brain-melting manner.
ScaleS focuS Scale usage I’ve given alongside each scale some particular suggestions for use. But here’s some broad guidance. Scale usage usually depends on the nature of harmonic context. If you are playing single lines (monophonic playing) unaccompanied or to a drone, then you are entirely free on what scale type to use (this is the basis of Indian classical music and Joe Satriani’s Pitch Axis system). A root and 5th backing allows any of the scales with a 5th (or at least all without a b5 or #5). A minor chord can support any scale with a Root, b3 and 5 (or at least a scale that doesn’t have a 3 b5 or #5) and so on. In short, the simpler the harmonic context – the more numerous the available scales, which goes somewhere to explain the abundance of scale patterns in dronebased monophonic styles such as Hindustani classical music and Arabic maqam.
JON LUINI
Moderate ✪ Will improve your… General scale knowledge Creativity Musical diversity
FRANK WHITE
ability ratinG Info Key Various Tempo Various CD TRACKS 30-51
{ 10 WACKY SCALES!
Marty Friedman: loves the Harmonic minor scale and its various sub-sets
Joe Satriani: his encyclopaedic scale knowledge informs his compositions
track record Scale wizards include: the encyclopaedic Joe Satriani; Marty Friedman of Megadeth (Harmonic minor modes etc); Mattias Eklundh (Asian modes to Gypsy scales); the Raga influenced John McLaughlin; Jonny Greenwood’s (octatonicism and mixed mode scales); Steve Vai (melodic minor modes and odd equal temperament) and Guthrie Govan and Eric Johnson with their penchant for Japanese modes.
February 2016
33
Play } scale THeORY
ON THE CD
TRACKs 30-51
SCALE 1 Lydian dominant SCaLE (E)
cd track 30
Aka: Overtone, acoustic, Mixolydian #4, Lydian b7 (4th mode of Melodic minor). Jobim’s Girl From Ipanema, the melody of The Simpsons to Wes Montgomery’s Note: with the 5th omitted this is known as the Prometheus scale. soloing. An essential scale to study. Construction: R-2-3-#4-5-6-b7 Harmonic usage: Over a dominant 7 chord, particularly if it includes a #11; over a I7-II7 vamp; when descending by a semitone or otherwise ‘floaty’. Example: Melody of Elfman’s The Simpsons and countless others. PerhapsGUITAR the most natural placeMAGAZINE to start is the Dominant. ‘Natural’ TECHNIQUES 2 5Lydian 2 perhaps because it is the first seven-note scale that is approximated the Milton'sbyWACKY SCALES GUITAR TECHNIQUES MAGAZINE 2 5 2 Harmonic series (what you hear if you play harmonics at theMilton's 12th, 7th, 5th, WACKY SCALES 4th andExample 3.2 frets1:etcEofLydian an open string. Examples abound from Antonio Carlos Dominant
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34
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February 2016
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nœ œ œ œœ œœ œœ nn œœ n œ œ œ nn œœ œ. ⋲ œœ nn œœ n œ œ œ . nœ œ ⋲ 4 4
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œœE 7 œ œ Eœ œœ7 œœ œ 7 7 œ10 10 7 9 7 9 7 0
œœ œœ œœ
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œœ œD7/Eœ n œ n œ œD7/E œœ œ n œœ n œ ⋲ œœ œœ ⋲ œ œ œ œ 9 7 9 7 9 7 59 7 5 7 5
E07 E7
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{ 10 WACKY SCALES! SCALE 3 LoCrian naturaL 2 SCaLE (E)
cd track 34
Aka: Aeolian b5 (6th mode of Melodic minor), Locrian #2 Construction: R-2-b3-4-b5-b6-b7 Harmonic usage: When playing over a minor 7b5, or in the context of a dark (usually metal) dissonance. Examples: Main riff of Metallica’s Enter Sandman (which harmonises it in parallel2powerchords). xxxxxxxxxx This scale emerged as a less dissonant way than the Locrian2mode for negotiating m7b5 (aka half-diminished) chords. It also can xxxxxxxxxx create very powerful riffage material (as the mighty Metallica will attest). The naturalExample 2 interval3:allows a littleNatural more lyricism to the demonic Locrian scale. E Locrian 2
œ œ œœ œ œ b œ œ œ b œ œ œ œ # 4©»¶º ©»¶º œ œ œ œ œ b œ œ œ œ œ b œ œ œ œœ œ œ œ b œ œ b œ œ œ œ œ œ œ bœ œ & 4 œ œ œ œ b œ œœ œœ œœ œ œ œ b œ œ œ œ œ œ œ bœ
Example 3: E Locrian Natural 2
E B E G B D G 2 xxxxxxxxxx A D 2 xxxxxxxxxx E A 1 E 1
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©»¶º ## 4©»¶º 4 & # 4œ œ œ œ œ & & œ œœ œ œ œ œœœ bbœ œ œ œ
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Example 3: E Locrian Natural 2 Example 3: E Locrian Natural 2
E E B E B G E B G D B G D A G D A E D A E 1 A 3 E E 1 3
7 7
10 9 70 0 2 3 0 010 2 9 3 7
51 1 5
œœ œ 3 38 8
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5
4: E Altered Dominant SCALEExample 4 aLtErEd dominant SCaLE (E)
## # ©»¶º œ# ©»¶º 4 & & # ## #œ# 4œœ œœ œœ œœ œ bnœ n œ & 4 œ n œ n œ # œ bœœ bnœœ n œœ œ nœ nœ #œ bœ
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©»¶º ## # ## # ©»¶º 4 bb œœ nn œœ nn œœ # # 4 & n œ # œ # # n œ # œ n œ œ n œ # & & # 4# œ œn œn œn œn œ #œœœ nnbbœœœœ nnnnœœœœ bnnœœ # œœ nnœœ nnœœ # œœ œ bœ #œ nœ nœ œ nœ nœ #œ œ œ
Example 4: E Altered Dominant Example 4: E Altered Dominant
E E B E B G E B G D B G D A G D A E D A E 1 A 3 E E 1 3
E B E G B D G A D E A E 3 3
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## # ## # # & & # ## œœ nn œœ nn œœ œœ nn œœ nn œœ b œ # œ n œ b œ # œ n œ nn œœ œœ œœ 11 10 11 10
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œ œ œœ œœ bbœœœ œœœ œ œœ œ œœ œ œ œ œ b œ . œ œ œ œ œ œ œ œ œ œ œ œ œb œ .. œ œ œ .
8 10 12 10 8 8 10 712 810 7 8 1011 11 7 9 7 8 7 10 7 9
810 7 8 7 10 8 9 7 7 9 7 8 7 9 8 7 7 10 8 9 7 10 9 8 8 7 9
b œœn œœœnn œœœœ œœ œœ œœ œœn œ œœœ œ n œ # œ . n œ b œ nœ œ n œ n œ œ.. nœ œœ nbœ # œœb œœn œ b œ n œ # œ n œ œœ œn œ #œœ b œœn œ n œ œ œœn œ œ œ œ
Example 4: E Altered Dominant Aka: Altered, Superlocrian, Ravel, Pomeroy, Diminished Whole tone, Locrian b4 (7th mode of Melodic minor) Construction: R-b2-b3-b4(3)-b5-b6-b7 Harmonic usage: Play the scale over a dominant chord for maximum dissonance, particularly if the chord is resolving to a I chord (eg E7-A), or the chord spelling includes altered intervals, b5 or ‘alt’ symbol. E B Examples: No clear melodic examples but an embedded part of standard and E G B contemporary jazz7and fusion vocabulary. This scale can be thought of as a1 3 E D G 0 1 3 B A 1 of 3 9 but 7 the5root down a semitone. D 0 2 3 The odd result 7 10 Major scale with every degree G E A 81 63 5 3 2 0 01 3 10 9 7 5 D 3 the flattened 4th0degree this is that becomes a major 3rd, the scale now has the 0 2 3 E 1 3 4 8 6 5 3 2 0 A 3 1 1 3 (impostor) 3rd and b7th – the of a dominant 7th chord. E 0 essential 1 3 components 4 1
œœ bb œœ œ bb œœ œ
œœ œ œ
œœ œœ œœ œœ .. .. œ œ
œœ bb œœ œ œ œ œ
œ œ œ bœœœ œ œ œ œœ bœ œ œ
1
œœœ nœ n œ œ nœœ n œœ
. . .
cd track 36
œœœ n œœn œœb œ.. œ n œœn œœb œ.
Along with these degrees are all the ‘altered’ and dissonant extensions to the dominant chord (b9,#9,#4/b5,b6). It is the ultimate scale for creating dissonance on the dominant 7th chord, while still maintaining its essential function.
. ...
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. ...
nn œœ nn œœ œœb œœœ nnœœœ œ œ n œ b œ n œ # œ n œ b œ œœ. n œ n œ # œn œ n œ b œ œ œœ œ n œ nn œœ œœ n œ n œ b œ. œ œ b œ n œ nn œœ n œ‰ b œ. .. œ # œ b œ n œ ⋲ n œ ⋲ n œ b œ n œ n œ ‰ .. . œ #œ bœ ⋲ ⋲ E 7alt E 7alt
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bœ œ œ .. # œ b œ nn œœ ⋲ nn œœ ⋲ b œ œ œ œœ nn œœ b œ n œ n œ ‰ .. . œœ # œ b œ ⋲ ⋲ bœ nœ nœ ‰ . E 7alt E 7alt
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February 2016
.. .. 35
Play } scale THeORY
ON THE CD
TRACKs 30-51
SCALE 5 romanian SCaLE (E)
cd track 38
Aka: Ukrainian Dorian, Dorian #4, Dorian #11, Lydadorian (4th mode of Harmonic minor) Construction: R-2-b3-#4-5-6-b7 Harmonic usage: Minor chord tonality Examples: Satie’s Gnossienne No 1 and No 3 (GT208 and GT242) This is the first of our ‘gapped’ scale; ‘gapped’ because it is a seven-note scale that includes an augmented 2nd (a three-fret leap), unusual in the context 3 of the more even spacing of standard scales. This is a beautifully evocative 3 scale that can work on a minor (or simpler) tonality. It blends the familiar (and eminently useful) mode with a Lydian mysticism due to the sharp #11. Example 5:Dorian E Romanian
# œ œœ œœ œœ œ œ œ œ œ # œ œ # 4©»¶º œ œ œ œ œ œœ œ œ # œ œ ©»¶º œ œœ œ œ # œ œ # œ # œ œ # œ œ œ #œ œ œ œ & 4 œ œ # œ œ ## œœ œœ œœ œœ œ # œ œ # œ œ œ œ #œ œ œ
Example 5: E Romanian
E B E G B3 D G A3 D E A 1 E Example 1
0 2 3 0 2 3 5: E Romanian
1 1
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# 4©»¶º ©»¶º & # 4# œ œ œœ œ # œœ œ ## œœ œœ & # œ œ œœ œ # œœ œ œœ ## œœ
Example 5: E Romanian
E B E G E B D B G E A G D B E D A G1 A E D E 1 A 3 E 3
8 0 52 8 0 52
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# œ œœ ## œœ œœ œœ œœœ œ œ œ œ #œ œ œ ## œœ œœ ## œœ œ œ œ œ .# œ## œœ œœœ # œœ œœ œ œ ... œœœ œœœ œœœ œœœ #œ œ œ œ œ # œ œ œ œ 0œ 2 3 6 7 933 10 12 10 0 2 3 4 4
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œœ . œ # œ œœ . œ # œ œœ .. œœ . œ. œ. 97 0 97 0 0 0
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# œ œ œ œ œjj œ . cd track 40 œ # œ # Example 6: E Phrygian Dominant #n œœ œtoœœexploit œœœn œ tends œœœ œœ 7thœœœ ..arpeggio found # œœ which .. on Aka: Mixolydian b9/b13, Spanish Phrygian, Hijaz (5th mode of Harmonic minor) classical..metal, œ n œœœ theœ diminished ©»•º # # œ œ œ œ & œ œ œ œ œ œ # œ . . .. n œ œ ©»•º Construction: R-b2-3-4-5-b6-b7 the b9, 3,. 5 and b7œscale degrees. # n œ n œ œ œ œ œ œ n œ n œ œ œ # œ # œ . œ # 44a major n œ n œ œ œ œ & œ œor dominant œ œ œ œ œ n œ n œ # œ œ œ œ œ œ œ # ## #Over n œ n œ Harmonic& usage: chord (particularly with an added œ œ œ #nœœ n œœ œ# œn œ œœ œœ œ œn œ n œœ œ œ œ .n œ n œ œ 3 3 b9 and/or b13). & I-bII or#I7-bII7 4 vamp. œ œ œ œ œ œ. n œ 3 œ 3 œ œ nWhite œ Rabbit, Juan Tizol’s n œ œ œAirplane’s n œ œ Jefferson Examples: Joe Satriani’s War, œ œ n œ Little Savage Caravan and Yngwie Malmsteen’s . 606 707 909 10100 909 707 606 707 . 6: E Phrygian Dominant SCALEExample 6 Phrygian dominant SCaLE (E)
E B E G The Phrygian Dominant can be4thought of as a Phrygian scale with a major B E D 8 5 G B A 1 3 4 rather than minor 3rd, allowing it to7add a5 Flamenco edge of the b9 to a0 major E D 8 5 4 G E 7 6 31 22 01 3 B 3 A 7 on5a dominant 4 or dominant 7th chord. You’ll hear this a D 0 chord 2 3 resolving0down G E 1 2 7 6 3 2 0 A 0 form 2 3 in any 3 5th in aDErange of styles, or in0 a more stable 0 2music 3 form that evokes 1 4 A 1 0 2 3 Example 6: Eor Phrygian a Spanish, Flamenco Moorish flavour. It is also an essential ingredient in neoE 0 1Dominant 4 1
©»•º # # # # ©»•º & # # # # 44 & # # # # 4œ œ nnœœ œœ œ œ n œ nn œœ œœ nn œœ œ œœœ nnœœ œœnn œœœn œ œ œn œœ œ & n œ œ œ œ nn œœ œ œ
Example 6: E Phrygian Dominant
E B E G E B D B G E A G D B E D A G1 A E D E 1 A 3 E 3
E B E G B D G A D E A 3 E 3
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February 2016
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œ nn œœ nn œœ œœ œœ nn œœ œ œ œ n œ œ œ œ œ œœ .nnnœœœnn œœ œœ nnnœœœ œœ œ œœœœ œœ œ n œ n œ œ œ œ nœ œ œ œ œ œ .. n œ nœ œ œ œ . œ œ 0 PM 0 1 4 5 7 8 10 12 10 8 7 PM 1 3 1
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# # & # ## # ## œ œ n œ œ n œ n œ œ œ nœ œ nœ œ œ œ nœ & nœ œ œ œ nœ œ œ œ œ 7 6
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œ œ nœ œ nœ œ œ n œ3 œ n œ n œ nœ j 3 œj nn œœ œ n œ œ ŒŒ œ œ nœ œ
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œ nn œœ œ œ œ œ œ n œ 3 œ œ œ œ œ œ nœ nœ œ œ œ j 3 Œ . n œ œ œ œ œj nn œœ œ n œ œ Œ ... œ œ nœ œ 10 10
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{ 10 WACKY SCALES! SCALE 7 in SCaLE (E)
cd track 42
Aka: Sakura, Miyako-bushi (modes include Iwato, Japanese Traditional, Hirajoshi and Kumoi-Choisi) Construction: R-b2-4-5-b6 Harmonic usage: Over a 5th, Sus, Phrygian, Phrygian Dominant tonality. Examples: Yocoh’s Sakura Variations The In scale is a fundamental Pentatonic in Japanese traditional music. Unlike other Pentatonics the In is a hemitonic Pentatonic. That it is to say, it includes a 4 xxxxxxxxxx semitone (actually two) in its construction, unlike the more ‘open’ anhemitonic 4 xxxxxxxxxx scales like the major and minor Pentatonic. This gives the In more ‘edge’. In addition this scale Example 7: isEequivalent In Scale to a Phrygian mode without its 3rd and 7th.
0
1
œ œœ œœ œœ œœ œœ œ n œ œ 3 3 œ œ nœ œ œ œ œ nœ 3 3 œ œ œ œ œ œ 3 3 3 nœ œ œ œ œ nœ ˙ 3 3 3 3 œ nœ ˙ 3 5
7
8 12 8
7
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©»ªº 3 3 ©»ªº # 4 33 3 œ œœ nn œœ 3 œ œ n œ & 4 œ n œ œ œ œœ œœ n œ œ œ œ 3 3 œ nœ œ œ
Example 7: E In Scale
E B E G 4 xxxxxxxxxx B D G 4 xxxxxxxxxx A D E A 1 E Example 7: E 1
0
0 1 0 In 0 Scale 1
©»ªº ©»ªº # 4 33 & # 4. & # 4.. œœ n œœ & . œœ n œœ
Example 7: E In Scale
E B E G E B D B G E A G D B E D A G A 1 E D E 1 A 4 E 4
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œ œ œ œœœœ n œ n œ œ œ œœœ œœ œœœ œ nnœœ œ œ œ œ 3 3
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œœ n œœ œœ n œœ
œ œœ œ
œ œ œœ œ œ œ œ 3œ œ 3
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The 3rd and 7th are crucial in western harmony in determining the tonality of a scale, so these exclusions give the scale a beautiful harmonic neutrality.
7
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œ œ nœ œ œ nœ œ n œ3 œ n œ3 7
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œ œ œ ~~~ cd track 44 œ # n œ œ œ œ20thœcentury modernism (Messiaen, œ œ œ œ œ œ . ©»•∞ # œ œ b œ Aka: Symmetric diminished, Whole-half (or Half-whole), Diminished mode, Takemitsu). Zappa it in The..Perfect œ œ nœ #œ œ n~~~ œ œ œStranger œKendœ œ œ n œ œand .. Zar bœœParadise œusedœGreenwood’s & ## ©»•∞ jœœin Jonny œ n œ œ œ œ .. intro œ œ # œ œ b œ Korsakovian, Pijper, Ef Dupree’s and you can hear it œ n œ # œ n œ œ œ œ . 4 # œ b œ œ & j œ œ œ n œ # œ œ n œ b œ œ œ œ # œ œ Construction: R-2-b3-4-b5-b6-bb7-7 to Just and in the Ondes Martenot part of the National Anthem. n œ & 4 œ œ œ nœ œ . œ œ #œ œ œ œ œœ Over n œ # œ b œ # œ œ # œ œ Harmonic& usage:4Over a diminished 7 chord in either orientation. a b œ œ. œ œ œ œœb9,b#9œ and/or # œ œ # œ œ œœ with dominant chord (particularly 13) in Half-whole orientation. ~~~ Example: Intro of Radiohead’s ~~~ . œ œsong, Just 9 10 8 88 77 10 10 9 . 1
0
Example 8: E Octatonic
SCALE 8 oCtatoniC SCaLE (E) Example 8: E Octatonic
. .
E B E G This scale B E is used in both configurations 8 and Half-whole 10 patterns. D 7 9 10 of Whole-half G 9 also 10 be derived from the diagram. 10 9 B A 7 The former is shown here, but the latter can E D 7 9 10 G E 5 6 B A 7 D 4 extraordinary It has some properties and has been theorised and adopted by 4 5 7 8 G E 5 6 A 3 4 6 7 D composers 4 (Scarlatti), 5 7 818th E 4 from 7th century 0 2 Persia, 3 5 to 617th century Baroque A 1 3 4 6 7 Example 8: E Octatonic and 19th Romantic Mussorgsky, Rimsky-Korsakov) to E classical and 0 2 3 (Beethoven, 5 6 1 Example 8: E Octatonic
E B E G E B D B G E A G D B E D A G A 1 E D E 1 A 3 E 3
E B E G B D G A D E A 3 E 3
©»•∞ # ©»•∞ & # 44œ # œ b œ n œ œ & # 4œ # œ b œœn œœb œ œ œb œœ œ œ # œ ## œœ œœ œœ œ œ œ œb œ œ œb œœ œ# œ# bœœ n œ b œ œ & œ#œ bœ nœ bœ œ œ œ œœœ 9 9
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œ #œ bœ œ # œ b œ œ œ œœ nn œœ ## œœ ## œœœœ b bbb œœœ # œ #œ bœ nœ bœ œœ & # œ #œ bœ nœ bœ œ œ œ œ #œ bœ nœ œ b b œœ œ & œ œ œ#œ bœ bœ œ œ œ nœ bœ œ œ œ œ œ 8
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Play } scale THeORY
ON THE CD
TRACKs 30-51
SCALE 9 doubLE harmoniC (E)
cd track 46
Aka: Double Harmonic major, Miserlou, Arabic, Gypsy major, Byzantine, Hijaz Kar, Mayamalavagowla, Bhairav. Construction: R-b2-3-4-5-b6-7 Harmonic usage: 5th, Major tonality. I-bII vamp. Examples: Dick Dale Miserlou, Ritchie Blackmore’s solo on Gates Of Babylon Another scale with a symmetrical quality is the hypnotising Double Harmonic scale. The symmetry is in the repetition of the pattern of minor 2nd, 5 augmented 2nd, minor 2nd on both root and 5th. This tetrachord – which you may recognise from the top four notes of the Harmonic minor – is known in 5 Example 9: E Double Arabic music as the Hijaz, andHarmonic is recognisable in Flamenco music. The most popularly known example is in Dick Dale’s Miserlou (Pulp Fiction) which is,
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E B G 5 E D5 B A G E D1 Example A Example E 1
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based directly on a traditional Arabic song Misirlou (recorded in 1919 with the name Bint Misr). This scale generally works where the Phrygian dominant does, but the two augmented 2nd intervals give it an extra ‘gappy’ exoticism.
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E E B B G G D D A A E E 3 3
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February 2016
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{ 10 WACKY SCALES! FINAL PIECE CoVErEd in SCaLES
cd track 50
To try and put all these exotic and unusual scales together in a musically cohesive context was never going to be easy. I have, however tried to make our piece sound ‘musical’ and not just a weird collection of notes over a sequence of chords. You will probably recognise some of the tonalities and that’s always a great step towards being able to use these scales yourself. Once you’ve learnt Covered In Scales, see if you can incorporate some of these sounds into TECHNIQUES your regular playing. Start simply, GUITAR MAGAZINE 2 5 2 with just one or two ideas and build from there.
More scales to investigate... The ultra magical augmented Lydian (R-2-3-#4-#5-6-7) The twisted Persian scale (R-b2-3-4-b5-b6-7) The Pelog scale of Javanese Gamelan that approximates to R-b2-b3-#4-5-b6-b7 Hungarian minor (R-2-b3-#4-5-b6-7) Hungarian gypsy (R-2-b3-#4-5-b6-b7) Phrygadorian (implied in Radiohead’s Everything In Its Right Place) (R-b2-b3-4-5-6-b7) The Yo Scale R-2-4-5-6 Harmonic Major R-2-3-4-5-b6-7 Milton's WACKY SCALES
GUITAR TECHNIQUES MAGAZINE 2 5 2
Milton's WACKY SCALES Covered in Scales
GUITAR TECHNIQUES MAGAZINE 2 5 2
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Play } CLASSICAL
ON THE CD
TRACK 52
Giacomo Puccini Un Bel Di Vedremo
Taken from the enduringly popular opera, Madame Butterfly, Bridget Mermikides arranges one of Giacomo Puccini’s most beautiful, melancholic and emotionally-charged arias.
aBility ratinG Info Key Various Tempo Various CD TRACK 52
Moderate ✪ ✪ ✪ ✪ Will improve your… Differentiation of melody and accompaniment Melodic phrasing Playing in octaves
W
elcome to this issue’s classical column in which we return to the work of the Italian composer Giacomo Antonio Domenico Michele Secondo Maria Puccini (try saying that after a couple of Proseccos!). Puccini’s contribution to the opera repertoire cannot be understated and the melodies within such operas as La
Puccini: Madame Butterfly was not well received
✪
Bohème, Gianni Schicchi, Tosca and Madame Butterfly are as sublime, well-loved and resilient to the passage of time as anything you might find anywhere in the classical music canon. Here we take the devastatingly beautiful aria Un Bel Di Vedremo from one of the most
i haVe enDeaVoUreD to PreserVe the meloDy, harmony anD stylistic feel when translatinG the work for solo GUitar popular operas of all time, Madame Butterfly. This opera, actually Puccini’s fifth, was written in 1904 and met with a very unfavourable reception. It was subsequently rewritten over the next three years into the ‘standard version’ that is best known and performed today. Puccini was inspired to write this opera when he saw Belasco’s theatrical adaptation of John Luther Long’s short story of the same name (which was, in fact, not entirely original). There is something timeless about the story, which has since been put on film, and re-contextualised in the contemporary production, Miss Saigon. Madame Butterfly tells the sad tale of tragic romance between an American lieutenant (Pinkerton) and a Japanese geisha (Cio-Cio-San). The aria Un Bel Di Vedremo (‘One good day we will see’) appears in Act II, when Cio-Cio-San – who has now been abandoned by Pinkerton – sings of the happy
day when she will see on the horizon a plume of smoke signalling her lover’s return. The stunningly beautiful melody and moving lyrics she sings is undercut by the tragedy that the day he returns will actually lead to her devastation, and this overwhelming melancholy has made it one of the most famous, and emotionally powerful, operatic arias of all time. As is always the case with these arrangements, I have endeavoured to preserve the melody, harmony and stylistic feel of the work when translating a voice and orchestra to solo guitar. To do so, I’ve transposed up a semitone from the original key of Gb to G, and supported the melody in octaves (eg bars 8-18, 49-63), flowing semiquaver arpeggios (bars 1-8) and used harmonics (bar 12) to complete the harmonic implications of the original. The challenge here is to project the melody while keeping the accompaniment separate and supporting at all times. Practise methodically and carefully and you’ll have your audience weeping in no time… for all the right reasons! NEXT MONTH Bridget arranges and transcribes Study: Opus 6, No 4, by Fernando Sor
techniqUe focUs Warming up
It’s always very good to warm up slowly when practising. Just 10-15 minutes of preparation can set you up for a really beneficial practice session, and protect you against injury. One (of many) possible approaches to warming up is to take a very small section of a piece you are working on, and play it extremely slowly, focusing on relaxed precision, clarity of tone and efficiency of motion. In this way you can improve your technique, warm up optimally and imprint a secure muscle memory in your repertoire.
track recorD There have been many adaptations of Madame Butterfly including the musical Miss Saigon, Weezer’s album, Pinkerton, and even Malcolm McLaren’s version of Un Bel Di Vedremo. Despite there being many great classical performances of this work, I have to recommend Maria Callas on The Very Best of Maria Callas (EMI 2002). Callas delivers the aria with sublime artistry. 42
February 2016
Un Bel Di VeDremo { giacomo puccini PLAYING TIPS
cd track 52
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Learning ZOne
Future Publishing, Ivo Peters Road, Bath, BA2 3QS.
Brought to you by…
LessOns gT #252 30-MinUTe LiCKBag ..................... 50 Pat Heath has six more cool licks at easy, intermediate and advanced levels.
BLUes ........................................................ 52 Les Davidson looks at the lovely playing style of the great British blues-rocker, Robin Trower.
rOCK ......................................................... 56 Martin Cooper delves into the pop-rock artistry of Canadian rock outfit Bachman-Turner Overdrive.
videO ........................................................ 60 Legendary session guitarist and frontman of his own great band Allen Hinds continues his series.
CreaTive rOCK ............................... 68
A
s a teenager, Larry Carlton had a guitar lesson from the great Joe Pass. Keen to see the quality of Larry’s soloing vocabulary, Joe asked him to play over a jazz-blues using only eighth-note rhythms with no ‘guitarisms’ (no cliche licks, string bends etc, just good note choices against the underlying chords). Now this can be quite a test (try it!), so it was a wake-up call for Larry. One could deduce that this led him to his ‘super arpeggio’ ability (ie knowing every note for a chord from root to 13th, via alterations like #5 and b9) found in his session work and solo repertoire. The ability to float over a chord sequence using Pentatonics is a fantastic way to solo. Countless guitarists do it every day and it sounds great. But getting in tight with chords by acknowledging the primary notes (root, 3rd, 5th), extensions or alterations
Shaun Baxter shows how mixing blues ideas with the Mixolydian mode can spice up your sound.
(7th, 9th, 11th, b9, #9 etc) provides a richness that will make a player really stand out. You’ve already seen Sophisticated Blues (pg 12) where Pentatonics, Melodic minor modes and chord tone targeting happily exist together. Next you’ll see Pentatonics, Melodic minor, Lydian and arpeggio shards during the exquisite soloing of our video masterclass artist, Allen Hinds (pg 60). Likewise, there are some wonderful moments in Jazz (pg 82) where Eddie Lang’s style is explored; the ending of Ex 5 and the dressing up of chord tones in Ex 9 are very nice! As for the eighth-note ability that Joe was so keen on with Larry, you can cultivate it via the Mixolydian+ blues scale study in Creative Rock (pg 68). It’s a particularly‘musical’ issue this month, so I do hope you enjoy it!
CHOrd CaMP....................................... 74 Iain Scott looks at forming major, minor and dominant chords from various bass strings.
Hard rOCK.......................................... 78 Charlie Griffiths hits Sheffield to study the styles of steely pop-rock megastars, Def Leppard.
JaZZ............................................................ 82 John Wheatcroft goes back to the dawn of jazz guitar soloing with the extraordinary Eddie Lang.
aCOUsTiC ................................................ 88 Stuart Ryan examines the simple but compelling acoustic style of the legendary Johnny Cash.
reading MUsiC................................ 92 Charlie Griffiths continues his series with a ‘Snow Patrol meets Coldplay’ style piece for you to read.
On videO!
Join the amazingly fluent Allen Hinds in the second in his masterclass series on modern soloing. Page 60
November 2015
49
lesson } 30-minute lickbag
30-Minute lickbag Pat Heath of BIMM Brighton brings you yet another varied selection of fresh licks to learn at easy, intermediate and advanced levels.
Easy Licks ExampLE 1 THE CLASH
brought to you by…
cd track 53
This may be as musically simple as anything, but get the delivery right and you can make a big impression. Strong strumming hand attack and plenty of ‘attitude’ GUITAR MAGAZINE 252 is required forTECHNIQUES this example. Select a crunchy-toned bridge pickup and hit the strings with tight stops and mutes. Pat Heath's LICKhard, BAG Ex 1
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A signature legato style ending with a pinched or artificial harmonic is key to getting this lick to feel right. Practise this example in sections and put the two bars m m m m m m m m m m together when comfortable, in order to get the best results – but resist the temptation to pile on too much overdrive! Ex 6
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Although the temptation with country is to reach for the clean channel, I recorded this on overdrive with the volume knob on the guitar very low for a nice edgy attack. Hybrid pick this throughout with a fluid ascending-descending movement. Very impressive indeed! Ex 5
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51
lesson } blues
Robin Trower
Brought to you by…
From Procol Harum to the Bridge Of Sighs, Robin Trower has been an influential player for half a century. Les Davidson unpicks Robin’s 60s-influenced take on blues-rock. Robin Trower playing one of his Fender signature Stratocasters
whom Robin would later join in Procol Harum. After leaving Harum in 1971, he branched out on his own and after a few false starts achieved huge success with 1974's album Bridge Of Sighs. The album broke Robin internationally and he remains a very active recording and touring artist today. On both examples this month I'm in regular tuning, although Robin will
ThE fIRsT REAL ThING I hEARD wAs ThREE O’CLOCK BLuEs BY BB KING, ThAT’s whERE IT ALL BEGAN fOR mE sometimes use a set of heavy strings and tune his guitar down a semitone. I'm also using pick and fingers, depending on the tone I'm aiming to produce, so please feel free to experiment and try to find the most comfortable approach for you. What we learn over time is that every great player has their own way of doing things and that’s what gives each one their particular style. For instance, Trower has a very distinctive vibrato, which clearly comes from the blues tradition of Hendrix, Clapton etc. Take your time with these examples and have fun! NEXT MONTH Les checks out Muddy Waters and Howlin’ Wolf guitarist Hubert Sumlin
Info Key: Various Tempo: Various CD: TRACKS 59-62
Will improve your Blues-rock soloing Finger vibrato Vocabulary
A
distinctive, psychedelic approach to the blues has often earned Robin Trower comparisons to Jimi Hendrix. A quick look at his list of influences certainly reveals his heart was in the deep South of America while he was growing up in Southend on Sea during the 1950s. Unlike
today where access to music is instant, it was difficult for a young British musician to hear black American music, but Robin had a friend who sent him singles from Memphis as they were released. Howlin’ Wolf, Muddy Waters, Big Boy Crudup, Big Mama Thornton, BB, Albert and Freddie King and Otis Rush were a big influence on his development as a singer and guitar player. Trower took his considerable talent to London in the early 60s and became an important player during the London music boom – an experience reflected in his later work, both lyrically and sonically. His musical career began with The Paramounts, which included Gary Brooker
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In his solo years Trower has always favoured Strats, but it was SG or Les Paul with Procol Harum. Amp-wise it’s usually Marshall. Robin uses overdrive for his solos and has been associated with the infamous Leslie speaker clone, the Univibe. Use a light to medium overdrive and if you don’t have a Univibe type pedal, some chorus and delay will work fine.
TRACK RECORD Although Procol Harum was driven by the sound of Gary Brooker’s Hammond organ, there’s still plenty of guitar to be heard on the band’s 1969 album A Salty Dog, which is packed with great songs and superb arrangements. Robin’s album Bridge Of Sighs (1974) is deemed one of the most important guitar albums of the 70s, cementing him as a true legend of the instrument. 52
February 2016
COLIN D. TOD / PHOTOSHOT
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced
ON THE CD
learning zone
ROBIN TROWER
TRACKs 59-62
ExamplE 1 Pentatonic with aPProach notes
cd track 59
Our first example uses the Strat’s middle pickup – a tone favoured by Hendrix, SRv, Clapton and indeed Trower, and is based around e minor Pentatonic (A-G-ATECHNIQUES MAGAZINE 2 5 2 C-d).GUITAR Like these other guitar greats, as well as the likes of Rory Gallagher and Gary Moore, Robin will also use slides and other approach notes from the natural Les Davidson's BLUES - ROBIN TROWER STYLE minor scale (in e that’s e-F#-G-A-B-C-d). These add style and panache so be careful to include them in your performance. Ex 1
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February 2016
53
lesson } blues ExamplE 1 Pentatonic with aPProach notes ...CONTINUED
cd track 59
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ExamplE 2 note Production and vibrato
cd track 61
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February 2016
55
lesson } ROCK
ON THE CD
TRACKs 63-64
Bachman–Turner Overdrive Martin Cooper is takin’ care of business this month as he checks out the playing style of Canadian rockers BTO, fronted by the great Randy Bachman.
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Their eponymous debut album didn’t have a hit on it, but it stayed on the US chart for several months and gave the band a platform on which to build. The follow-up, Bachman Turner Overdrive II was a huge success, however, reaching Number 4 in the US and including hit singles Takin’ Care Of Business and Let It Ride. Bachman says they focused on writing and playing, “Good ole, dancing rock and roll”. Shortly after,Tim Bachman
ONE Of mE ALL-TImE fAvOuRITE BANDs Of ALL TImE, mATE! Harry Enfield
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate Info Key: E major Tempo: 117 bpm CD: TRACKS 63-64
Will improve your… General rhythm Rock timing and feel Bluesy rock soloing
E
ven if this Canadian 70s rock group isn’t directly on your radar, songs such as You Ain’t Seen Nothing Yet are still staples on Classic Rock radio and compilation albums. As well as selling over 30 million albums, tribute to them have been made by the likes of comedians Harry Enfield and Paul Whitehouse (“One of me all time favourite bands of all time, mate!”) and The Simpsons.
In the 60s, guitarist Randy Bachman had been a member of Canadian band The Guess Who. When he joined forces with bassist and singer Fred Turner (at the suggestion of Neil Young), the Bachman Turner connection was made. At the time they went by the name Brave Belt, but the band gained little success until their demo fell into the hands of Charlie Fach of Mercury Records in 1973. Fach convinced Bachman that a change of name was in order. When he and the rest of the group saw a trucker’s magazine called Overdrive, they decided that BachmanTurner Overdrive (BTO) described their music perfectly. The line-up was completed by Bachman’s brothers Tim on guitar and vocals and drummer Robbie.
NEXT MONTH Martin checks out rock’s adventurous guitarist Frank Zappa 5
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Randy Bachman has used many guitars over the past 40 years. These days it’s often Fender Stratocasters but he’s probably most closely associated with the Gibson Les Paul. We’re looking for a classic American rock tone so think natural overdrive that comes for from the power stage than the front end. Go for minimal effects – perhaps light and short echo.
TRACK RECORD Bachman Turner Overdrive II from 1973 includes Let’s Ride and Takin’ Care Of Business. The follow up album Not Fragile from 1974 features the classic You Ain’t Seen Nothing Yet. 1976 compilation album Best Of BTO (So Far) focuses on their early years; and the more recent (2001) The Very best Of Bachman-Turner Overdrive is a more extensive career retrospective. 56
February 2016
CHRIS WALTER / GETTy ImAGES
Randy Bachman: “Good old dancing rock and roll”
was asked to leave after reportedly being in dispute with his brothers. Tim was replaced by Blair Thornton and more hits and hectic touring continued until Randy quit in 1977. The group reunited in 1983 and continue to tour with different members arriving and leaving, but with Randy and Fred as mainstays. Our track is in E major (with the exception of the D natural before the solo) and the rhythm uses triads and powerchords. The solo uses E major Pentatonic (E-F#-G#-B-C#). It’s not tricky to play, but have a look at the playing tips for more guidance.
learning zone
Bachman-Turner Overdrive PLAYING TIPS RHyTHm
cd track 63
The triads in the rhythm part are generally inversions of the chords, but the bass guitar sticks to the root notes to create breadth of sound. Make sure you
GUITAR TECHNIQUES 2 5 2
play the chords with quite a light touch, making them slightly staccato, while avoiding unwanted open strings ringing.
Martin Cooper's BIMM ROCK COLUMN BACHMAN TURNER OVERDRIVE STYLE
RHYTHM GUITAR
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February 2016
57
lesson } ROCK PLAYING TIPS RHyTHm ...CONTINUED
cd track 63
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PLAYING TIPS LEAD
cd track 63
The solo has a nice bounce to it, and again employs some clipped staccato notes. don’t over bend the strings and also try to keep this part quite light, but with a little rock aggression too. it’s not difficult, so focus on delivering a good, clean performance with a convincing touch and tone.
GUITAR TECHNIQUES 2 5 2
Martin Cooper's BIMM ROCK COLUMN BACHMAN TURNER OVERDRIVE STYLE Martin Cooper's BIMM ROCK COLUMN BACHMAN TURNER OVERDRIVE STYLE
GUITAR TECHNIQUES 2 5 2
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February 2016
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lesson } video
ON THE CD
TRACK CD-ROM
monkey swagger In part two of his series Allen Hinds demonstrates some smooth lead work over our slick-sounding backing track, Jon Bishop is your guide. aBiliTy RaTing ✪ ✪ ✪ ✪ ✪ Moderate Info Key: D minor Tempo: 122 bpm CD: TRACK CD-ROM
Will improve your… String bending and vibrato Slow bluesy fusion lead Feel and touch
L
ast month, we started with the first in a series of six video masterclasses with LA guitarist Allen Hinds. In each issue one of the six performances will be transcribed and then analysed from a technique and music theory point view. You
Allen Hinds: one of the smoothest techniques around
can learn the techniques and concepts with a view to broadening your vocabulary. The backing track by Jason Sidwell is included to practise over as an MP3 file on the CD. In this instalment, we are going to look at the second track entitled Monkey Swagger. As Allen explains, his main focus at the beginning is on creating simple, memorable motifs and phrases that people could sing along with. As the tonality is D minor, the main scale of choice is D minor Pentatonic (D-F-G-A-C) and it is possible to make a lot happen with just these five notes. If a seven-note scale were to be used, D Dorian mode (D-E-F-G-A-B-C) would be perfect as it contains no ‘avoid’ notes (tones that are dissonant against the chord). When the chords change (Bb major 7, A minor 7, G minor 7) Allen skilfully changes to D Natural minor (D-E-F-G-A-Bb-C), which contains the same notes as the F Major scale from which all three chords are derived. Allen hammers home the concept of playing chord tones (arpeggio notes) on the first downbeat of the bar as the chords change. This helps the melodies to fit in with the chords and sounds very informed. Many players do this by ear, but it’s also worth establishing a pathway or fretboard roadmap to navigate these target tones. Allen also reminds us of the handy concept of using the Lydian mode over non-diatonic major 7 chords. In the case of this
track, it’s the Eb major 7 chord for which the Eb Lydian mode (Eb-F-G-ABb-C-D) is his scale of choice. Allen finishes up with a couple of nuggets of wisdom: the first is to play a solo without the backing to make sure you can hear the chords being implied and the second is when playing
slowly and melodically, always sing along. The notation contains all of the fingerings, articulations and phrasing from the video performance. It would be well worth taking a close look at the way Alan fingers and picks the phrases. He has an incredibly smooth and efficient way of playing – no unnecessary
When playing sloW and melodic ideas, alWays sing along energy is spent with fingers flailing around all over the place; each digit falls exactly where it’s needed, allowing him to then add personality and feel to each note or phrase. There’s bound to be a new technique, lick or phrase in here for you to perfect. If so, memorise it and use it wherever the Dorian sound would be appropriate. Once you have mastered some of Allen’s ideas, you could try creating a solo of your own over the backing track. Have fun and see you next time. NEXT MONTH Allen sets up a great distorted Strat tone for a light fusion track, Ramp’s Letter 6
Gain
6
Bass
7 3
7
Middle
TreBle
reverB
allen used his sunburst vintage strat into a small red Plate valve amp. The neck pickup tone complements the style, although any guitar will work well; just dial up a sparkling, clean tone and be prepared to experiment with the guitar’s controls to achieve the desired settings. a bit of compression, reverb or long delay can be added for that professional touch.
TRacK RecoRd To date, Allen Hinds has released four solo albums: Falling Up, Fact Of The Matter, Beyond It All and Monkeys And Slides. All four albums feature different aspects of Allen’s playing and are well worth checking out – especially if you like blues, rock and fusion based flavours with impeccable tone from Allen’s collection of amazing vintage guitars. Go to www.allenhinds.com for more info.
60
February 2016
learning zone
MONKEY SWAGGER Allen Hinds MONKEY SWAGGER - Chord Chart
GUITAR TECHNIQUES MAGAZINE 2 5 2
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February 2016
65
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February 2016
67
lesson } CREATIVE RoCk
ON THE CD
TRACK 66
Mixing Mixolydian with the Blues scale Part 1 Shaun Baxter steps between the cracks and looks at bridging the divide between tension and release when playing blues-rock.
Info Key: A Tempo: 160 bpm CD: TRACK 66
Will improve your… Feel for tension and release Knowledge of scale intervals Blues-rock in all areas of the neck
L
oosely speaking, in popular music, you will get a choice of three tonalities: minor, dominant and major. We have taken an extensive look at minor over the years so, in this new series, we are going to study how to play over dominant chords (major is the least important of the three tonalities because, generally, it is too happy for rock, which tends to favour the dark and broody sounds of minor or dominant).
Eventually, in true Creative Rock tradition, we will go off the beaten track when looking at how to play over a dominant tonality; however, to start with, we will build a solid basis by studying the time-honoured sweet and sour effect of combining Mixolydian (Dominant 7) with the Blues scale. The most significant difference in the two tonalities is mainly outlined by the use of either a major 3rd or a minor 3rd. The distinction between the two tonalities isn’t always clear, as most blues, rock and country players will occupy a microtonal transitional sound that occurs between the cracks. In the transcription of the various musical examples in this lesson, you will see a microtonal ‘curl’ that only happens on the minor 3rd. Basically, it’s where the minor 3rd starts slowly inching its way up to a major 3rd, but never quite gets there. Diagram 1 shows the neck in five different areas (in accordance with the CAGED system). Make sure that you can extract all of the following sounds in each position: Dominant sounds, A Mixolydian (1-2-3-4-5-6-b7), A Dominant 7th arpeggio (A7) (1-3-5b7), A major Pentatonic (1-2-3-5-6) Minor sound: A Blues scale (1-b3-4-b-5-b7) – note that the b5 is the darkest note of all, but it is a ‘passing’ note that needs to be handled with care. A minor Pentatonic scale (1-b3-4-5-b7). Over the next four lessons, we are going to look at building vocabulary in all five CAGED shapes for different speeds. Diagram 2 shows some standard rhythmic subdivision in 4/4, starting relatively slow with eighth notes and then shifting up through the gears to 16th-note triplets. You don’t always have to lock in to specific rhythms like this, but it sets a good foundation allowing you to develop control. If you’re always floating above the
music, you can’t practise playing accurately by hitting your marks (playing in time). Over the next few lessons we are going to shift up through the various rhythmic denominations shown in Diagram 2, establishing some useful vocabulary in each of the CAGED shapes shown in Diagram 1. But
ThE MOsT sIGNIfICANT dIffERENCE IN ThE TwO TONALITIEs Is MAINLY OuTLINEd BY ThE usE Of EIThER A MAjOR 3Rd OR A MINOR 3Rd in this lesson, to ease you in, we’re going to start with eighth notes. All of the musical examples in this lesson are based on playing eighth notes over an A7 tonality. Because we’re playing relatively slowly, we have the opportunity to add various details in order to produce more expression and to create more interest for the listener. This can take the form of any of the following: articulation (bends, slides, vibrato etc); pushed notes (syncopated notes that are played in anticipation of the downbeat); occasional eighth-note triplets or 16th notes; rhythmic displacement in order to avoid predictability. The options are endless. 6
Gain
5
5
5
MiddLe
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7
Bass
When getting a good blues-rock sound it’s important to use minimum distortion. You don’t want it completely clean because it will sound too thin; however, too much distortion and the sound will be fizzy and lacking any central core. Less distortion forces you to work harder, however the improvement in tone and dynamic response will be well worth the effort.
TRACK RECORd As we’re starting with eighth notes, Joe Walsh is a good player to study, as he’s a guitarist who plays pretty slowly and is firmly based in blues-rock, freely combining dominant and minor sounds over a dominant chord. Listen to his hits Life’s Been Good and Rocky Mountain Way. He’s also one of the two featured guitarists on Hotel California by the Eagles (he comes in second during the solo). 68
February 2016
David Lyttelton
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced
learning zone
MIXING MIXOLYDIAN & BLUES SCALE DIaGRam 1 fivE cagEd poSitionS on thE nEck: mixolydian + BlUES ScalE Shape 1
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four notes are taken directly from the a major Pentatonic scale. Example 2 (shape #1) a lot of the examples in this lesson have a country rock create tension then release (there flavour. Here, we’re continuing to hold down the initial bend for the bulk of the 16th-Notes notes beat)is a major 3rd in an a7 chord). note how the 16th-Note Triplets(4 (6 notes perper beat) SHAUN'S CREATIVE GUITAR GUITAR TECHNIQUES MAGAZINE 252 minor 3rd in bar 3 (fourth note) has been relocated from the sixth string to the first bar; so take note of the fingering in the transcription in order to achieve 6 6 6 6 16th-Note Triplets (6 notes per beat) SHAUN'S CREATIVE TECHNIQUES MAGAZINE 252 Mixolydian CombinedGUITAR with Scale: Linesin knots. fifth GUITAR string in order to facilitate the this Blues without tying8th-Note your fingers 6 6 slide to the major 6 the last 6 3rd. also, see how
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Mixolydian Combined with Blues Scale: 8th-Note Lines
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February 2016
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69
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lesson } CREATIVE RoCk
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ON THE CD
1
TRACK 66
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œ nœ bœ œ œ nœ bœ œ nœ œ œ œ nœ bœ œ nœ œ œ nœ œ œ
10
œœ œœ œœ 14 14 14 14 14 14
12
10
13
12
10
12 12 12
10
11
10
11
14 14 14
14 14 14 14 14 14 14 14
12 12 12 12 12 12
12 12 12 12 12 12
n œœœ n œœ nœ
‰ Jœœ ‰ Jœ ‰ J
14 14 14
14 14 14
12 12
12 14
12
12 14
12 14
œ n œœœ n œœ nœ
œœ.. œœ. œœ œ
œœ.. œœ. œœ œ
œœ.. œœ. œœ œ
œ n œœœ n œœ nœ
12 12 12 12 12 12 12 12
14 14 14 14 14 14 14 14
12 12 12 12 12 12 12 12
14 14 14 14 14 14 14 14
12 12 12 12 12 12 12 12
œœ œ œœœ œ œœ œœ œ œ œœ œ œœ œ œœœ œ œ
œœ œ œœ œœ œ œ
12 12
12 12
Example 9 (shape #5) With a country-rock-style opening passage reminiscent A7 G/A of example 2, the bend at the 16th fret of the third string is held throughout the first one and a half bars of this example while other notes of Mixolydian are added from the strings above it. The first half of this line is straight a Mixolydian, whereas the second half is based more around an a Minor tonality. note that a Mixolydian with a minor 3rd instead of a major 3rd gives us 12 12 14 12 12 a dorian: a-B-C-d-e-F#-G 12 12 14 12 12 12 12 14 14 14 12 12 14 1-2-b3-4-5- 614 - b7 12 12 14 12 12
12 12
10 10
12
10
12 12
14
12 12
14
12
A7 A7
14 14 14 14 14 14
12 (14 )
cd track 66 Ex 6 (Shape #4)b handled with care, and here it (e ) resolves to a d note (fourth degree) in beat G/A A7 Ex 6 (Shape #4) 4 of the same bar. G/A A7 Ex 6 (Shape #4)
nœ j œ œ nœ #œ œ œ nœ nœ œœ œ œ œ n œ œ œ n œ j A7 nœ #œ œ nœ œ n œœ œœ G/A œ œ œ œ n œœ œœ œ œœœ œ œœ nn œœj œœ œœ n œ # œ œ œ n œ n œ œ œ œ
œ # # ## A 7 Jœœœœ & # # # ‰‰ Jœœ & ## ‰ J &
# # ## Ó & ### Ó & ## Ó &
13
G/A G/A
A7 A7
E B E G B D E G A B D E G A 25 D E A 25 E 25
12
12
10
11
~~~ œ œ n œ ~~~ œ œ n œ œ~~~œ œ œ nœ œ œ œ~~~œ ~~~ ~~~
Example 7 (shape #4) The first chordal fragments in this example are all taken A7 from a Mixolydian; however, this opening is followed by a descending line A7 featuring some sour-sounding minor 3rds (each featuring a ‘curl’) in bar 27. A7 Example 8 (shape #4) The double-stops at the start of this line each comprise an e note (5th of a7) and C (minor 3rd against a7) bent up to a C# 3 (major 3rd of a7); furthermore, there 3 are yet more examples of C notes being bent up towards C# notes via ‘curls’ (which means that they don’t quite get 3 E but occupy a nebulous and microtonal area somewhere in between). there, B 10 E Finally, G also note the bend from a 12fourth degree to a flattened 5th and B 12 the 10flattened 5th 10 needs 11to be backDEG(second half of bar 31).10 as stated 12 13earlier,
12
12 (14 )
11
11
ExamplES mixing dominant and minor tonalitiES
# # ## œœ & ### œ & ## &
10
11
11
‰ Jœ ‰ n œ œJ ‰ J ‰ J BU ~~~ BU 10 11 12 ~~~ learning zone 10 10 11 12 BU (14 ) 10 ~~~ 10 11 12 (14 )
12 12
13 13
14 14
12
13
14
12 12 12
œ œ œ
1/4 1/4
1/4
13 1/4 13
15
14
14
1/4
15 15
14 14
'' ' '' '
1/4
13
14 14
14
12 12
14 14
~~~ œ~~~œ œ~~~œ œ œ
14 14
Ex 7 (Shape #4) Ex 7 (Shape #4) G /A G /A Ex 7 (Shape #4)
œ n œœœ ‰ n œœJ ‰ n œJ ‰ J
Œ Œ Œ
G /A
~~~ ~~~ 14 ~~~
12 12 12 12 12 12 12 12
14 14
G/A ~~~ A7 G/A œœ œ œ œ œ ' ' œ A7 œœ œœ œœ~~~ œœ ‰ G/A A7 ' œ n œ œ œœ ‰ JJœœœ œœœ œ~~~ œ œ œœ n œ ' œœ nn œœ œ œ n œ '' nœ œ nœ œ œ nœ ‰ J œ œ nœ ~~~ ' 5 ~~~ '' 12 10 8 7 '' 5 11 9 5 12 10 8 ~~~ 7 7 5 5 1/4
1/4
1/4
1/4
1/4
1/4
1/4
G/A G/A
Œ Œ Œ
G/A
11 12 11
9 10 9
8
A7 œ œ # œ œ œ œœ n œ '' A7 n œ # œ Ex 8œ(Shape #4) œ n œ œ œ ‰ nn œœœ ## œœ A7œœ nn œœœ ## œœ œ œ JœJ nn œœ ' œ ‰ J ‰ Hold Hold
œœ # œ œœ # œ œœ # œ
1/ 4 1/ 4 1/ 4
E B E G B D E G A B D E G A 28 D E A 28 E 28
Hold
14 14 14
'' '
Hold Hold
1/ 4
12 Hold ( ) 13 12 14 14 13BU(14 ) 12 14 13BU(14 ) 14 BU
12 12
14 14
12
14
1/ 4
7
5
5
≤ ≤ ≤
7 7
5 5
3 3
7
5
3
≤ ≤ ≤ œ
G/A n œœœ # œ œ œœ œœ G/A n œ '' œ n œœ # œ œ œ œ G/A Jœ n œ ' nœ #œ œ J nœ J Hold 7
5
1/4 1/4 1/4
Hold
12 Hold ( 14 ) 13 12 13 BU( 14 ) 12 13 BU( 14 )
13 1/ 4 13 13
œ œ œ
1/ 4
5
7
'' '
1/4
12 Hold ( ) 13 12 14 14 ( 14 ) 13BU 12 14 ( 14 ) 13BU 14 BU
BU
'
1/ 4
1/4
Ex 8 (Shape #4) Ex 8 (Shape #4)
HoldBU 12 BU Hold ( ) 13 12 BU14 13 ( 14 ) 12 13 ( 14 )
1/ 4
1/4
12 12 14 12 12 14 12 12 14
œ Jœ Jœ J
1/4
13 1/4 13 13
14 14 14
3
~~~ # # # œ œ b œ n œ n œ œ œj b œ œ n œ ' œ œ œ œ œ Œ & A7
j œ
1/4
E B G D A E
BU BD
'
12 13 14 31
12 14
12
(13 ) (12 )
15
12
14
### œ nœ œ nœ œ œ œ œ nœ ' œ & A7
1/4
œ
œ œ œ œ Gœ/A œ œ œ
Hold bend
~~~
1/ 4
œ nœ œ œ œ œ
Ex 9 (Shape #5) A7
G /A
BU 17 16 (18 )
15
( 18 )
14
( 18 )
12
~~ œ Œ
G /A
(18 )
17
18
15
18
16 14
16
A7 œ œ œ œ œ œ œ œ February œ 2016œ œ
Ex 10 (Shape #5)
œ ‰ J j œ
71
lesson } CREATIVE RoCk
ON THE CD
TRACK 66
3
ExamplES mixing dominant and minor tonalitiES 3
' œ nœ ' œ œ œ nœ ' œ œ œ nœ ' œ œ œ nœ œ œ '' '' œ œ n œ '' œ œœ n œ ' œ œ nœ ' œ nœ '' ''
Example 10 (shape #5) another country-rock-style example here that starts 3 A7at the 16th fret of the third string while adding other G /A off with a held bend 3 /4 is followedG /A notes from the topA7 two strings to form an a major triad. 1This j scale double-stops before A7 G /A by some typical country-rock major Pentatonic 1/4 œ j the gap between A7 G /A a finishing with a passage that, again, bridges a Minor and 1 / 4 œj Major (dominant). Try making a note of where the C and1/C# 4 notes occur, and œj or back down to a B note. how the C note is either resolved to the C# œ Example 11 (shape #2 to #1) Here, we have first of two examples that BUtheBD E through positions. We start with an emphatic Major sound via a doubleshift 1/ 4 B BU BD E comprising a 5th and major 3rd, G stop is promptly followed by a 12 but 14 this 1/ 4 BU BD
### & # # ## & ## # # & # &
### & ### & ## # ## & # &
E B E G B D E A G B D E G A B 35 D E G A 35 D E A 35 E 35
### & # # ## & ## # # & # &
A7
72
bœ bœ bœ bœ
12 (13 ) (12 ) 12 14 BU BD 151/ 4 12 13 14 12 (13 ) (12 ) 1/ 4 12 14 15 12 13 14 12 14 12 (13 ) (12 ) 15 12 13 14 12 (13 ) (12 ) 15
œ œ œ œ
nœ nœ nœ nœ
A7 A7 A7
14
œ œ œ œ
œ nœ œ nœ œ nœ œ nœ
17 17 14 17 17 14 17 14 17 17
œœ œ œœ œœ œ œœ œœ œ œ œœ œ Hold œ
Hold Hold 14 14 Hold 14 14 14 16 14 14 14 14 16 14 14 14 14 14 14 16 14 16
5
6
5 5 5
6 6 6
RP RP RP
February 2016
œ œ œ œ
œ œ œ œ 5 5 5 5
œœ œœ œœ œ
œ œ œ œ
œ œ œ œ
17 14
‰ n œJ # œ ‰ nn œœJ ## œœ ‰ n œJ # œ ‰ J
œ # # # œœ & # # ## œ & ## # # & # RP &
E B E G B D E A G B D E G A B 46 D E G A 46 D E A 46 E 46
œ b œ n œ nn œœ œ bb œœ nn œœ n œ œ bœ nœ nœ œ
14 14 14
# # & # ## # & ## # ## & # &
E B E G B D E A G B D E G A B 42 D E G A 42 D E A 42 E 42
œ œ œ œ
12 13 14
B D E A G B D E G A B 31 D E G A 31 D E A 31 E 31
E B E G B D E A G B D E G A B 38 D E G A 38 D E A 38 E 38
œ œ œ œ
1/4 1/4
14 14 14
œ œ œ œ
14
16
14 14 14
16 16 16
œ nœ #œ œ nn œœ ## œœ œ nœ #œ œ BU
15 14 17 15 14 17 15 14 17 A7
œ n œ~~ œ Jœ n œ~~ J œ Jœ n œ~~ Jœ ~~ œJ n œ Jœ J ~~ J 5 5 8~~ 5 ~~ 5 8 5 ~~ 5 5 8 5
‰ ‰ ‰ ‰
G /A G /A G /A
A7 A7 A7
(16 ) (16 ) (16 )
œ nœ œJ n œ œJ n œ œJ n œ J 7 7 7 7
8
œ œ œ œ3 3 3 3
œ œ œ œ
œ j #œ œJ # œ œ nœ #œ Jœ n œj # œ J J BU
14
12
14
14 14 14
12 12 12
14 BU 13 (14 ) 14 BU ( ) 14 13 14 13 (14 )
G /A
G /An œ G /A j nœ G /A j
13BU(14 )
151/ 4 15 15 A7
œ ‰ j Jœœ ‰ œœj JJœ Hold ‰ bend J ‰ BUbend Hold
œ œ œ œ
Ex 10 j (Shape #5) Exœ10 (Shape #5) j Exœ10 (Shape #5)
G /A G /A G /A
Œ Œ Œ Œ
5 5 5 5
7
8 7 5
7 7 7 7 7 7
8 7 5 8 7 5 8 7 5
7
~~~ œ~~~ Jœ~~~ Jœ~~~ Jœ J~~~ ~~~ 14~~~ 14~~~ 14 14
œ œ œ œ
7
7 7 7 A7
œ œ œ œ
A7 A7 A7
A7 A7 A7
17 17 17 17
(18 ) 16BU 16 (18 ) 16 (18 )
'' n œ 'œ n œ 'œ œ œ nœ œ œ œ n œ 'œ œ œ '' œ œ ' 1/4
œ œ œ œ
A7
HoldBU bend Hold (18 ) 16bend BU
16 17 18 14 (15 ) (14 ) 14 17 16 17 18 14 14 (15 ) (14 ) 16 17 18 14 (15 ) (14 )17 17
œœ œœ œœ œœ
œ œ œ œ
Ex 10 (Shape #5)
G /A
17 17 17
œ bœ œ bb œœ œ bœ œ
œ œ œ œ
œ œ œ œ
Œ Œ Œ Œ
1/4 1/4 1/4
1/4 1/4
5
1/4
5 5 5
1/4
œ nœ œ nœ œ nœ œ nœ
16 14 12 16 14 12 16 14 12 16 14 12
7 7 7 7
œ œ œ œ 14 14 14 14
4
7 7 7
5 5 5
4 4 4
14 14 14
17 17 17
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ 17 17 17 17
œ œ œ œ
œ œ œ œ
PB 16 BD PB 16 PB BD (18 ) (16 ) 16 PB BD 16 (18 BD ) (16 ) (18 ) (16 ) (18 ) (16 )
œ œ œ œ 14 14 14 14
œ œ œ œ
œ œ œ œ
16 16 14 16 16 14 16 14 16 16
œ œ œ œ
œ œ œ œ
14
16 14 16 14 14 16 16
œœ œ œœ œ œœ œ Hold œ œ
Hold Hold 14 Hold 14 16 14 14 16 14 14 14 16 14 16
œ~~~ ~~~ œœ œ n œ œ œ ' j œ œ Œ œ œ~~~ œ n œ J n œ ' œj Œ œ œ~~~ œœ œœ n3œ œœ œJœ n œ '' œj n3œ œ Jœ nn œœ œj Œ œ Œ ~~~ 5 3 J ' œ 9 ~~~ 5 38 7 5 5 ' 9 9 ~~~ 7 8 5 5 7 5 ' 9 9 ~~~ 8 5 ' 7 9 5
Ex 11 (Shape #2 to #1) /A(Shape #2 toA#1) 7 ExG11
1/4
/A(Shape #2 toA#1) 7 ExG11 ExG11 /A(Shape #2 toA#1) 7 G /A A7
1/4 1/4 1/4
1/4 1/4 1/4 1/4
9 8 7 5 7 9 Ex 12 (Shape #3 to #4 to #5) G /A Ex 12 (Shape A 7 #3 to #4 to #5)
Œ œ Œ œ ŒŒ œ œ
5
14
17
œ œ œ œ
œ œJ œJ œJ J
‰ ‰ ‰ ‰
œ nœ œ nœ œ nœ œ nœ
œ bœ nœ nœ œ#œ bœ nœ œ # œ bb œœ nn œœ nn œœ œ#œ #œ nœ
A 7 #3 to #4 to #5) G /A Ex 12 (Shape G /A Ex 12 (Shape A 7 #3 to #4 to #5) G /A A7
7
œ œ œ œ
œ œ œ œ
œ œ œ œ
17 15 18 18 17 15 18 17 15 18 18 18
17 ( ) 15 ( ) 14 ( ) 16 (18 ) 18 18 18 ( 18 ) ( 18 ) (18 ) 16 (18 )
~~~ b œ n œ œ œ œ œ n œ œ œ ~~~ œ b œ n œ œ œ œ œ b œ n œ œ n œ œ œ ~~~ ~~~ œ œ œ b œ n œ œ n œ œ œ œœ œ œ œBUn œBD œ œ ~~~œ BU BD ~~~ BU BD ~~~ 14 ) (14 ) ~~~ BU(15 BD 16 17 18 14 17 14
œ œ œ œ
œ œ œ œ
(18 ) 17 ( 18 ) 15 ( 18 ) 14 (18 ) 16BU
A7 A7 A7
BU BU (16 ) 15BU
14 17
1/ 4
151/ 4
œ œ œ œ nn œœ œ œ œ œ nœ œ œ œ œ nœ œ œ œ œ
Œ Œ Œ Œ
~~ œ~~ œ~~ ~~ œ œ~~ ~~ ~~ ~~ 17
œ œ œ œ
1/4
G/A
14 14 14 17 14 14 17 14 14 17 14 G /A17
12 12 14 12 12 12 14 12 14
1/4
14
14 14 14
œ œ œ œ
14
1/ 4
14
G/A G/A G/A
12
œ œ œ œ
~~~ œ ~~~ œ œ ~~~ œ œ ~~~œ œ~~~œ ~~~ ~~~ 12~~~
cd track 66
Ex 9 (Shape contradictory minor#5) Pentatonic line. From there, the interpolation between A 7 continues G /A a C or a C# Ex 9major (Shape #5) minor and throughout (make a note of where j A7 G /A note is used). Ex œ9 (Shape #5) Ex12 9j (Shape #5) A(shape 7 G /Aexample Example #3 to #4 to #5) although the start of this œj A 7 G /Afirst two notes, features chromatic notes, it also focuses on chord tones. The œj e and C# are the 5th and 3rd of a7. This two-note motif is then moved up œ bend Hold chromatically to G and e (12th frets of third and first strings respectively), bend which areHold the 7th and 5th of a7. The shift from minor to major BU flattened 17 of15 happens Hold inBU thebend middle bar 46,14 in which a C note (minor 3rd against a7) is 17 15 Hold bend bent up to C# (major (18 ) 17 ( 3rd ( 18 ) 14 (18 ) 15 a7). 16BU 18 ) of 18 18 16 14
9 9 9 9
œ œ œ œ
œ œ œ œ
12
14
12 12 12
14 14 14
9
10
11
12
9 9 9
10 10 10 10 10 10 10
11 11 11 11 11 11 11
12 12 12 12 12 12 12
√ √œ nœ √œ œ n œ √œ œ n œ œ œ nœ œ 17 17 17 17
15
14 14 14 14
15 15 15
~~~ œ~~~G/A œ G/A œ~~~G/A œ œ~~~œ œ œ ~~~ 17 ~~~ 17~~~ 17~~~
5 5
œ nœ œ nœ œ nn œœ œ
BU (15 ) 14BU (15 ) 14BU (15 ) 14BU 14 (15 )
G/A
17
7 7
Œ Œ Œ Œ
lesson } CHORD CAMP
Chord camp
Brought to you by…
Colonel Iain Scott is on a mission to improve your chord knowledge. This month, he examines common shapes with roots on the sixth, fifth and fourth strings. Attention!
A
Let’s look at just three of these chords. For C major, the next note is a 7th (B), making Cmaj7. For D minor, it’s a b7th (C), making Dm7. For G major, it’s a b7 (F) making G7. Note: in bar 3 and bar 10, the major 7 voicings have extra top notes to help with the voice leading; and in bar 7 the Am7 is close-voiced – R-b3-5-b7 - fingered 4-3-2-1 from the root.
I C major: 1-3-5 (C-E-G) II D minor: 1-b3-5 (D-F-A) III E minor: 1-b3-5 (E-G-B) IV F major: 1-3-5 (F-A-C) V G major: 1-3-5 (G-B-D) VI A minor: 1-b3-5 (A-C-E) VII B diminished: 1-b3-b5 (B-D-F) Adding the next 3rd gives us a four-note chord that expands the harmony greatly.
fter our look at major and minor chords last issue, in this instalment we up the interest by adding a higher note to the harmony. To recap, in diatonic harmony (ie within any given key), triads (three-note chords) are built using 3rd intervals sourced from the scale – that is 1-3-5 from every scale note, again in any given key. In C major the triads created would be:
TRACK 67 ExamplE 1 GMaj7, G7 and GM7 in five shapes GUITAR TECHNIQUES 2 5 2 These sets of five shapes for maj7, dom7 and m7 fit nicely on the neck from a G root, making it easy to practise and memorise. All shapes are four-note voicings to Chord Chops - MAJ 7, DOM 7, MIN 7 - IAIN. SCOTT
make the chords sound good without doubling notes. Notes in brackets (eg S3) put the 5th in the bass; these are optional, but interesting to try anyway. Ex 1 Gmaj7, G7 and Gm7 Chords GUITAR TECHNIQUES 2 5 2in Five Shapes
Chord Chops - MAJ 7, DOM 7, MIN 7 - IAIN. SCOTT
Gmaj7 in Five Shapes œœ Ex 1 ©»¢º Gmaj7, G7 and Gm7 Chords in Five Shapes œ œ # 4 Gmaj7 inœ œFive œœœShapesœœ œœœ Œ œ œ ©»¢º & 4 œ œœ œ œœ œ # 4 (œœ ) œœ œœœ œœ œœ Œ & 4 S1œ S2œ S3œ S4œ S5 (œ3 ) 77 7 12 14 12
G7 in Five Shapes
n œœœ Shapes ¢¡ n œœ G7 œœ in Five n œ œœ ¡£™£ œœœœ œœ n œœ ¢™n œ(œ) nS1œ S2œ ££ S3œœ œ 7 ()
E B 3 6 S1 S2 S3 S4 S5 S1 S2 G 4 7 7 12 4 7 11 D 4 5 9 12 3 5 12 E A 7 14 7 10 10 B E 7 7 12 12 6 3 3 G1 4 7 7 12 4 7 11 D 4 5 9 12 3 5 12 A 10 10 ExamplE 2 Maj7 chords a liGht latin Groove E 2 Maj7 3 in a Light in 3 Ex Chords Latin Groove 1
8 S3 10 9 10 8 10 10 9 10 10
œœ œ œœ œœ œ S4 12 S4 10 12 10 12 10 12 10
Gm7 in Five Shapes n œœ ™bœ œ œ œœ n œ ¢ œœ œœ Gm7 œin Five n œœ Œ n b œœ ™™£¡b œœœShapes £¡ œœ œœ £ œœ (œ) ¡ œœ n ™£ œœ ¢¡ œœ œœ Œ b S5 n S1œ ¡ S2œ ££ (S3œœ S4œ ) 13 6 ¡ œ3 12 6 8 11 S5 12 12 13 12 12 12
S1 3 3
S2 7 5 6 6 7 5
3 3 3 3
S3 10 8 10 8 10 10 8 10 10
¢ nœ ¡b œ £ œœ ¢ ™n œ ¡b œ £ œœ ™
Œ Ó Œ Ó
S5 13 11 S5 12 12 13 11 12 12
S4 10 12 10 11 10 12 10
TRACK 68
This is typical Latin rhythm guitar – fairly fast and the rhythmic content needs to be tight. Generally the strumming aligns with 16th-notes ‘down-up-down-up’ as 1 required, except for the last two bars where down C maj7 Fmaj7strokes are favoured.
©»¡¡™ œœ ... C maj7 4 . &©»¡¡™ 4 . œœ . œœ ... 4 . . & 4 S1œ . . S189 . 9 . 8 . 99
Ex 2 Maj7 Chords in a Light Latin Groove
E B G D E A B E G 1, 3 D A E 1, 3
2
œœ .. & œœ .. œœ .. & S4œœ ..
œœ œœ œœ œœ
©»§º
b
2
E B G D E A B E G4 D A E Ex4 3
74
Dm7
œœ Fmaj7 œ ‰ œœœœ œœ œ ‰ S3œœœœ œ
8 9 9
8 9 9
8
8
8 9 9
8
Dm7
œœ œ œœ œ œ
8 9 9
œœ œœ œœ œœ
œœœ œ œœœ œ
5 S3 5 7 8 5 5 7 8
b
D maj7
œ bbb œœœ œ bbS4œœœ
D maj7
œœœ œ œœœ œ
œœœ œ œœœ œ
œœœ œ œœœ œ
œœœ œ œœœ œ
œœœ œ œœœ œ
5 5 7 8 5 5 7 8
5 5 7 8 5 5 7 8
5 5 7 8 5 5 7 8
5 5 7 8 5 5 7 8
5 5 7 8 5 5 7 8
j. œ ⋲ œœj.. œ .. œ œ ⋲ œ .. œ.
œœ œœ œœ œœ
6 6 6 S4 S4 5 5 5 7 7 6 5 5 4 6 6 6 5 5 5 7 7 6 5 5 4 Dominant 7 Chords in a Slow Blues Groove
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February 2016 B 7 Ex 3 Dominant 7 Chords in a Slow Blues Groove
œ œ œ œ
6 5 6 4 6 5 6 4
b
œ œ œ œ
E 7
b
.. 1 œ œ b Bb maj7 œœ .. œœ .. bS5œœ .. B maj7
5 3 S5 3 3 5 3 3 3
œœ œœ œœ œœ 5 3 3 3 5 3 3 3
b
œœ .. œœ œœ œœ œœ .. Ebbmaj7 œ œ œ œœ .. œœœ œœœ œœœ œœ .. bS2œœ œœ œœ E maj7
5 3 3 3 5 3 3 3
3 3 S2 3 1 3 3 3 1
3 3 3 1 3 3 3 1
œœ œœ œœ œœ 3 3 3 1 3 3 3 1
œœ œœ œœ œœ 3 3 3 1 3 3 3 1
C maj7
˙˙ ˙˙ ˙˙ ˙˙ S4
Ó Ó
C maj7
5 S4 4 5 3 5 4 5 3
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1
œ œ œ œ œ. œ. œ. n œ œ œ œ œ. œ. œ. b
A 7
b
D 7
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2
b
œœ . œœ œœ œœ .. œœ œœ & ON THE CD & œ ..TRACKsœœ 67-72œœ
œ bb œœœ bbœ
Dm7
S4
j. C maj7 œ j ˙˙ ⋲ œœ .. Ó ˙˙ ⋲ COMMON Ó œ .. ˙˙ SHAPES œ. S4
œœ œœ œ
D maj7
S4
learning zone
S4 S4 S4 E B 6 6 6 6 5 E G TRACK 69 ExamplE 3 doMinant 5 5 7th chords 5 in a slow blues Groove 5 4 B 6 6 6 6 5 D 7 7 6 6 5 G 5 5 5 5 4 A This example uses5 ‘high’ voicings derived from the five shapes. These4shapes are often 5 4 3 used by blues players like Robben Ford and Robert Cray and help when D 7 7 6 6 5 E working When A 4 with keyboards. 5 5 you play this 4 ‘old school’ triplet feel, the 4 first triplet is 3light alternate picking (down-down up-down) and the second triplet is E accentuated downstrokes (down-down-down). Practise this rhythm until it is easy to play and you can control and add dynamics. 4 Ex 3 Dominant 7 Chords in a Slow Blues Groove Ex 3 Dominant 7 Chords in a Slow Blues Groove
©»§º ©»§º b & bb b 44 & 4
œ b œœœ bœ
œœ œœ œœ
œœ œœ œœ
œœ œœ œœ
œœ.. œœ œœ
œœ.. œœ œœ
œœ.. œœ œœ
S1 6 6 6 7 6 6 7 6
6 6 6 7 6 6 7 6
6 6 6 7 6 6 7 6
6 6 6 7 6 6 7 6
6 6 6 7 6 6 7 6
6 6 6 7 6 6 7 6
6 6 6 7 6 6 7 6
b Bœb7 B 7
.. ..
S1
. . .
E B E G B D G A D E A 1, 3 E 1, 3
2
C7
3 3
b & bb b & E B E G B D G A D E A4 E 4
3 3
3 3
C7
S4 8 9 8 8 9 8 8
8 9 8 8 9 8 8
8 9 8 8 9 8 8
8
8
8
b œœœ b œœ
S3* S3* 6 4 6 6 4 5 6 5
œ œ œ œœœ œœœ œœœ œœ œœ œœ 6 4 6 6 4 5 6 5
3 3
6 4 6 6 4 5 6 5
œœ.. œœ œœ
œœ.. œœ œœ
œœ.. œœ œœ
6 4 6 6 4 5 6 5
6 4 6 6 4 5 6 5
6 4 6 6 4 5 6 5
6 4 6 6 4 5 6 5
3 3
j b œœj ‰ ‰ œœ œœ b œœœœ ‰ ‰ œœœ. œ œœ. œ œ œ. œ.
œœ œœ œ œ..
3 3
3 3
F7
S3 S3 6 8 6 7 8 8 7 8
8 9 8 8 9 8 8 8
6 8 6 7 8 8 7 8
6 8 6 7 8 8 7 8
1
b
b œœœb b œœ bœ
œœ œœ œœ
S2 8 7 8 8 7 6 8 6
8 7 8 8 7 6 8 6
1
A 7 A 7
S2
b b
F7
j œ n œœj ‰ ‰ œœœ œœœ n œœ ‰ ‰ œœ œœ œ œ.. œ.. S4
2
3 3
b Eœb7 E 7
3 3
œœ œœ œœ
œœ œœ œœ
œœ.. œœ œœ
œœ.. œœ œœ
œœ.. œœ œœ
nDœœb7 bn œœ b œœ
œœ œœ œœ
8 7 8 8 7 6 8 6
8 7 8 8 7 6 8 6
8 7 8 8 7 6 8 6
8 7 8 8 7 6 8 6
8 7 8 8 7 6 8 6
S5 7 6 7 6 6 6 6 6
7 6 7 6 6 6 6 6
3 3
b
D 7
S5
3 3
œœ œœ œœ
œœ œœ œœ
œœ.. œœ œœ
œœ.. œœ œœ
œœ.. œœ œœ
7 6 7 6 6 6 6 6
7 6 7 6 6 6 6 6
7 6 7 6 6 6 6 6
7 6 7 6 6 6 6 6
7 6 7 6 6 6 6 6
3 3
.. .. . . .
B 7 B 7
œœ b œ œœœ œœ œœ. b œ . S1œ
Œ Œ
Ó Ó
S1
6 8 6 7 8 8 7 8
7 6 7 6 6 6
ExamplE 4 Min7 chords in a funky Groove
TRACK 70
Use 16th-note alternate strumming for funk rhythm guitar. This will help you to play tightly in the groove like Al McKay or Nile Rodgers. In this example you will find it goes ‘down-up-down-up-down-down’ in bars 1, 2 and 3. Bar 4 goes ‘down-up-up-up-up’. Use a bright neck pickup or ‘in-between’ sound when you play this one, 2and add a bit of compression and phasing if you have them. 2 4 Min7 Chords in a Funky Groove Ex
©»•™ ©»•™ b & b b b 444 &b b 4
Ex 4 Min7 Chords C inm7 a Funky Groove
œœ œœœ œ S1
C m7
S1 8 8 8 8 8
E B G E D B A G E D A1 E 1
8 Fm7
b & bbb &b b
œœ œœ œœ
Fm7
E B G E D B A G E D A3 E 3
S3 S3 9 8 6 9 8 6 8
œœ œœ ‰ œ ‰ œ
œœ ... œœ .. œ. œ.
8 8 8 8 8
8 8 8 8 8
8
8
Fm7
œœ œœ œ
œœ œœ œ
œœ œœ œ
S4 9 8 9 8
9 8 9 8
9 8 9 8
8
8
8
Fm7
S4
b B b7 B 7
œœ œœ œ
b Fm7/A b
S2 11 11 12 11 10 11 12 10
œœ .. œœ .. œœ ..
11 11 12 11 10 11 12 10
11 11 12 11 10 11 12 10
Fm7
Gm7
S1 1 1 1 1 1
S1 3 3 3 3 3
9 8 6 9 8 6 8
6 7 6 7 6
6 7 6 7 6
S2 4 5 3 4 5 4 3
6
6
4
Gm7
œœ ⋲ œœ œœ .. œœ œœ .. œœ œ œ œ. . œ œœ ⋲ œœ œœ ... œœœ œœœ ... œœ œ œ œ . S1 S1 œ 4 5 3 4 5 4 3
4 5 3 4 5 4 3
4
4
œœ œœ œœ
œœ œœ œœ
S5
œœ œœ œ œ S2
œœ œœœ œ
6
S2
œœ œœ œœ ‰ ‰
Fm7
œœ œœ œ œ
S1 6 7 6 7 6
C m7
Fm7/A
œœ œœ .. œœ œœ œœ ‰ œœ ... œœ œœ œœ ‰ œœ .. œ œ œ œ S1 9 8 6 9 8 6 8
œœ œœ œœ
C m7
S5 6 4 5 6 5 4 5 5
œœ œœ œœ
œœ œœ œœ
6 4 5 6 5 4 5 5
6 4 5 6 5 4 5 5
C m7
œœ œœ œ œ
œœ Œ œœ Œ œ S4
C m7
Ó Ó
S4 4 3 4 3 3
3
Ex 5 Combined Chord Types in a Jazz Style Ex 5 Combined Chord Types in a Jazz Style Fm7 B 7 E maj7
©»ª§
œ œ
Fm7
b B b7
b E bmaj7
b A bmaj7 A maj7
1 Dm7 G7
C m7
Dm7 G7
C m7
1
C7 C7
2 Cm7 2 Cm7
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E B G D E A B E G D1 A E 1
Fm7 S1 8 8 8 8 8 8
b
B 78 8 8 8 8 8
8 8 8 8 8 8
9 S4 8
bb b œœœ} œœœ ‰ œœœ ... œœœ œœœ 898œœœ lesson & œ CHORD œ œ . CAMP œ 8 œ 8œ 8 8 b
S3 Fm7
BS17
œœ œœ .. œœb œœ œœœ ‰ œœœ ... œœ œœ œœ ‰ œœ .. S1œ œ œ œ Combined Chord Types in a Jazz Style
b &b b b &b b
œœ œœœ œœ S3
œœ œ œ
œœ œ œœ œ
œœ œ œœ œ
E ExamplE 5 coMbined chord types in jazz style
b
Fm7/A9 8
œœ œ œ
11 11 11 Fm7 11 S2 12 12 10 11 10 11 11 11 12 12 10 10
11 Gm7 11 12 10 11 11 12 10
œœ ⋲ 898œœ œœ .. œœ œœ .. œœ œ œ œ. œ œ. œ 8 œ 8œ œ . œ
œœ œ œ
œœb ⋲ œœ œœ .. œœ œœ .. œœ œœœ ⋲ œœœ œœœ ... œœœ œœœ ... œœœ œ œ œ. . œ œ œ œ . S1œ œ S1œ
œœ œ œœ œ œ
8 9 8
S2 Fm7/A
œœ œœ œœ S2 œ
9 8
b
S1 Fm7
S1 Gm7
6 4 C m7 S5 5 5 6 4 5 5
œœ œ
6 4 5 5 6 4 5 5
Œ
Ó
6 4 5 5 6 4 5 5
CS4 m7
œœ Œ œœ Œ S4 œ
Ó Ó
TRACK 71
B 9 9 9 6 6 4 4 4 1 3 4 Fm7 B6 7 Fm7/A Fm7 Gm7 C m7 G The style is ‘jazz fours’ using 1 and to give3good top-note voice-leading to a common chord 8 with 8 just a couple 8 7of syncopated 7 ‘pushes’ 7 5 shapes 5 5 4 repeatedly 1 3 D 6 6 6 6 6 6 3 3 3 1 3 progression. There are on the first string to keep the voicings lower and darker as an accompanying part A 8 no 8 notes played 8 3 to a voice or sax. Use a semiE guitar, neck humbucker and a dark hollow 6 tone 6 6 4 4 4 3 3
Ex 5 E B G D E A B E G D3 A E Ex3 5
9 S3 8 6 8 9 8 6 8
9 8 6Fm7 8 9 8 6 8
9 6 6 S1 8 7 7 6B 7 6 E maj76 8 9 6 6 6 6 8 7 7 6 6 6 8 6 6 Combined Chord Types in a Jazz Style
b
6 7 A6 maj7 6 6 7 6
b
b
4 S2 5 3 4 4 5 3
4 4 5 5 3Dm7 G7 3 4 4 4 4 5 5 3 3
1 S1 1 1C m7 1 1 1
3 S1 1 3 3 3 3 3
4 S4 3
2 Cm7
©»ª§ 3 4 œ œ œ œ œ œ œ œ b b 4 .. œ œ œœ œœ œœ œœ œœ ˙˙ œ œ n œœ œœ b œœ œœ .. n œœ ˙˙ 33 .. ˙˙ b Ó ˙ 4 4 œ œ4 œ œ œ ˙ & 4 œ œ 6œ 3 œ œ . ˙ œ œ œ ˙ œ œ œ 1œ J 2 S4Types inBS1 S4 S4 G7 S1 S47 S4 bmaj7 Ex 5 Combined Chord abJazz StyleE bmaj7 7 AS1 Dm7 CS4 m7 C Cm7 ©»ª§ Fm7 1 2 œœ9 œœ9 Bœœ6b7 œœ6 E bmaj7 œ œ 8 8 4b 6 6 3 3 4 5 4 . . œ œ b ˙ œ . n ˙ Fm7 Aœ maj7 Dm7 G7 Cœ m7 Cœ 7 ˙ Cm7 4 œ œ œ œ 8 8 7 7 7 7 5 5 5 4 4 3 3 . œ ˙ œ œ . . ©»ª§ b œ œ n œ œ b œ œ œ ˙ ˙ Ó & b 4 . œ8 œ8 œœ6 œœ6 œ86 œ86 œ5 ˙ œ5 œ5 œ3 œ3 œ3 œ . œ5 ˙ . ˙33 b œ œ 6 6 œ4 ˙ n Jœ ˙ 3 3 Ó & b b 44 .. S4œ œ S1œœ œœ S4œœœ œœœ S1œœ ˙˙ S4œœ œœ nS1œœœ œœœ bS4œœ œœ .. S4œœ ˙˙ .. S4˙˙ œ œ J œ ˙ œ œ Ex 6 Combined Chord 9 in 2S1 65 1 Loops 6 8 8 S1 4 6 6 3 3 S4 4 5 . bS443 S4 S4 S1 S4 . S498 Types 8 7types 7 inb 2/5/1 7 7 5 5 5 4 4 3 3 ExamplE 6 coMbined chord loops C m7 F6 F7 B maj7 A m7 D7 Gmaj7 C m7 F7 8 8 5 3 3 5 .. all89 chord89 jtypes66 into66 II V Ijprogressions . B maj7 ©»¡º§ 6 6 5 5 3 8 8 4 (eg Cm7-F7-B 6 bmaj7), 6œ . using 3 typical 3 3 4 voice leading 5 shapes in a .light pop 4 groove. Playing this This example combines ˙ . 6 8. 8œ 6 7 7 7 7 4 5 5 5 . 3 4nœ 3 4 3w 3˙ 3œ œ www œ ˙ example will cover œœ6 œœ6 œœ 86 ww86 5 # œ œ w œ 3 3 5 bb 4 almost n ˙ . ˙ œ . ... œœ8.. every8œœshape. œ œ w œ ˙ œ . ˙ 5 5œ . 3 n œœ 3 3ww & 4 œ . œ œœ6 œœ6 œ w 4 ˙ œ . 3Jœ ww œ w J Ex 6 Combined Chord Types in 2J5 1 Loops bmaj7 S3 BS1 S5 S3* S2 S1 CS1 m7 F6 F7 AS2 m7 D7 Gmaj7 CS5 m7 F7 B bmaj7 Ex 6 Combined Types in 2 5 1 Loops j ©»¡º§ Chord j (S3) ˙ œ 8 8. 7 6 5 5 n œœ7 ww ˙˙4 F7œ4 .. B bmaj7 œ www œ œ 8. 8 F6 6 F7 6 B bœ 6maj7 w 8 7 . Gmaj7 6 . C m7 An ˙ m7 D7 C m7 œ œ # œ œ œ . œ b œ ˙ . œ œ w 4 œ w œ œ 8. 8j œ 7 8 7 9 7 7 5 5. 7 . ˙ œ ©»¡º§ ˙7 œ7 . nn œœ9 ww ˙5 œ3 . Jœœœ8 www & b 4 . œœ8 . œœ8 œœœ78 œœœ78 œœ7j ww ˙˙ œœ .. œœ ww bb 4 .. œœ8 .. œœ8 œœJ œœ œœ6 ww n ˙˙˙ # œœœ ... n10œœœJ www œ w ˙ S2œ . S1J w & 4 S1œ . œ (S3)œ S3œ S1 S2 S5 S3* S5 œ w J J 1 2 8 8 7 b 6 5 5b A m7. S1 Gm7 C7 S2 B bS5 m7 E b7S2 AS1 8 D7 8 (S3) 6 Gmaj7 6 6 8 7Fmaj7 S3* 7B 7 4 4 6maj7 S3 S1 S5 j 8 8 7 8 7 9 7 œ. 7 j 5 5 7 œ . n w œ . . 8 8 7 7 7 7 7 9 5 3 œ . n œœœ 889 ˙˙˙ 877 n œœœ .. 10777 œœ ˙˙ . b b ˙˙˙˙645 ˙˙˙ 545 8567 ww bb n ˙˙˙ .. 88 # ˙˙˙ 88 867 # 868ww 667 ˙ . 8 ˙ 8 7 7w 7 & œ . œ 7 ˙ 7 œ . 109b œ ˙ . 5 ˙ 3 8 w 8 8 œ ˙ bw 8 8 6 1 2 b b b S3* S4 S2 S4* S1 S4* S1 S1* S4 S1 A m7 D7 Gmaj7 Gm7 C7 Fmaj7 B 7 B m7 E 7 A bmaj7 j j œ . . œœ8 . œ6b ˙ . 2 bb˙˙46 ˙8b 1 10 n ww77 œœ .. nC7œœ8 ˙˙ Fmaj7 ˙˙˙89 #D7˙˙75 11 10 4 #Gmaj7 Gm7 B 7 B m7 E 7 A bmaj7 bb An m7 n œ w œ ˙ b ˙ w ˙ 7 10 9j 9 .. 7 6 6 5 œ . w ˙ œ ˙ ˙ j œ . œ ˙ b . 5 8 10 6 8 8 5 œ & 1012˙˙ # ˙˙75 w n w œ . . œ b ˙ ˙ 10 8 6 # ww œ . n œœ8 ˙˙ n œœ .. œœœ6 ˙˙˙ . b ˙˙˙ ˙˙ bb n ˙˙˙ ˙˙ w b ww4 . S1* S4˙ & S3* S4˙ wS2 œS4*. S1œ ˙ œS4*. bS1 S1 œ ˙ b w 7 10 8 4 8 7 7 11 8 10 6 6 8 4 S3* S4 S2 S4* S1 S4* S1 S1* S4 S1 . 6 6 9 5 7 10 9 9 7 5 10 7 5 8 10 6 8 8 5 . 7 10 8 4 12 5 10 8 6 8 7 7 11 8 10 6 4 . 66 86 8 6 4 9 5 7 10 9 9 7 5 10 7 5 8 10 6 8 8 5 . 12 5 10 8 6 C7
E B G D A E
E B G D E A B E G D A E
E B G D A E
TRACK 72
1, 11
E B G D E A B E G D 1, 11 A E 1, 11 E B G D A E
7, 17
E B G D E A B E G D 7, 17 A E 7, 17
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lesson } hard rock Phil Collen: from Sheffield’s finest band of steel!
the way for Phil Collen to join the ranks; Phil has since become the group’s longest-serving guitar player. Vivian Campbell was Clark’s replacement – some readers may remember him from his time with Dio. The Leppard guitar style has evolved over the years, with the first two albums featuring a raw, rock and roll sensibility with tracks like Rock Brigade and Let It Go. Phil Collen’s first album Pyromania exhibits a more refined guitar style. The ingenious double-stop riff in Photograph and the heaviness of Rock Of Ages, not to mention the fantastic guitar solos throughout the album, which reveal Phil’s love of players like Steve Stevens and Al Di Meola. Hysteria also has awesome riffs and solos, but also a finesse in the rhythm parts of songs like Love Bites, which is reminiscent of Steve Lukather’s work in Toto and with Michael Jackson.
Def LepparD’s guitar styLe has evoLveD over the years, the first two aLbums having a rock anD roLL sensibiLity
Def Leppard have been rocking since way back in 1977. Charlie Griffiths investigates the musical alloy of pop mixed with hard rock. abiLity rating ✪ ✪ ✪ ✪ ✪ Moderate Info Key: Various Tempo: Various CD: TRACKS 73-78
Will improve your… Blues-rock phrasing Finger vibrato Hard rock attitude
D
ef Leppard are still a name to be reckoned with in hard rock. But they were enormous in the 80s and early 90s after releasing Pyromania in ’83, Hysteria in ’87 and Adrenalize in ’92. Most of the songs on the subsequent greatest hits release can be found on those albums. It was Hysteria that garnered the band crossover appeal and made Def Leppard a band for
everyone, not just rock fans; it alone has sold in excess of 25 million copies. The crystal clean production was achieved under the watchful eye of Mutt Lange, and although Leppard had worked with him since the 1981 release High N’ Dry, the goal with Hysteria was to push the band to its full potential. The recording took three years, partly due to drummer Rick Allen losing his arm in a car crash, but also because of the incredibly detailed technique of recording each guitar string separately, to achieve a perfect sound. Introducing the Leppard guitarists starts on a sombre note as in 1991 founding member Steve Clark suffered a drug-related death at the age of 30. The group’s other founding guitarist Pete Willis was fired in 1982, paving
NEXT MONTH Charlie examines the playing of Extreme’s amazing Nuno Bettencourt 5 7
6
6 2
Gain
Bass
MiDDLe
TreBLe
reverB
Def Leppard’s tone is supplied by the Marshall JMP-1 pre-amp, its smooth distortion is perfect for melodic solos and its crystal clean sound cries out for stereo chorus. Leppard have recorded with many guitars but it’s Phil Collen’s Jackson PC1 that sums up their sound. Go for a smooth drive with lashings of delay and use a whammy bar for those rock histrionics!
track recorD Def Leppard’s 1983 release Pyromania boasts stand-out tracks Photograph and Rock Of Ages. The 1987 pop-rock followup Hysteria remains their most successful album; the mindset being to write a ‘greatest hits’ album from scratch, with singalong choruses and sublime guitar tones. 1992’s Adrenalize was the first release after Steve Clark’s death and sees Phil Collen handling all guitar duties. 78
February 2016
LIVEPIX
Def Leppard
Def Leppard solos are always in service of the song; they typically balance melody and rock flamboyance with pinched harmonics, whammy bar dive-bombs and fast scale runs all on the menu. Check out Animal, Armageddon It and Women. We touch on various facets of the Def Leppard style. Some of them will take some practise to play them with the accuracy of Collen and Campbell, so repeat each one 10 times or so, taking it slowly with a metronome at first to train your muscle memory before gradually speeding up over time.
ON THE CD
DEF LEPPARD
TRACKs 73-78
learning zone
ExamplE 1 clean riff
cd track 73
Play this Hysteria-inspired clean riff with a middle pickup selection for the most even tone possible. Play the 3rd and 4th frets on the fourth and third strings withGUITAR the second and fourth fingers. Keep2those TECHNIQUES MAGAZINE 5 2 two notes fretted throughout, leaving your first and third fingers free to play the changing bass notes. LEPPARD STYLE Maintain arched fingers throughout to avoid accidentallyDEF muting the strings. Ex 1
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E B G D A E
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ExamplE 4 raUnchy dOUble-StOPS
cd track 76
This early 80s Pyromania-era riff is based on raunchy double-stops played on second and third strings. The harmony of the first bar suggests C Lydian (C-D-e-F#G-a-B), but when the bass note changes to e we get an e natural minor flavour. Use downstrokes throughout and focus on jumping over strings cleanly. 2 xxxxxxxxxx Ex 4
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ON THE CD
learning zone
DEF LEPPARD
TRACKs 73-78
ExamplE 6 SOlO
cd track 78
This solo is based in e natural minor (e-F#-G-a-B-C-D) and starts with some melodic bends and slippery slides. Bar 4 is best played with alternate picking; start with a downstroke, then try the same with an upstroke to see which is most3comfortable for you. in bars 5 and 6 use your second finger to slide up and down the scale on the second string while letting the first string drone Ex 6
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throughout. next, position your second finger over the fret wire at the 7th fret and lift your finger off as you pick to produce the natural harmonics; then grab the whammy bar and give it a good shake! The solo finishes with some melodic unison bends before climaxing with one of Phil Collen’s trademark alternate-picked scale runs.
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≥ ≤≥ ≤ ≥ ≤ February 2016
81
lesson } JAZZ
Eddie Lang John Wheatcroft sets his time machine to the roaring 20s and brings back some red-hot licks from an early virtuoso of jazz guitar. Eddie Lang: is he the father of jazz guitar?
time and dynamics, always knowing when to hold back and when to step forward when an intricate and intelligent solo was called for. Eddie featured prominently on recordings and radio broadcasts and can be seen on screen as a member of Paul Whiteman’s orchestra in the 1929 film, The King Of Jazz. Tragically, Lang died in 1933 on the operating table undergoing what should have been a routine procedure to remove his tonsils. We can only guess where his style would have gone and how he would have sounded on electric guitar, but at least we can enjoy the wonderful and plentiful music that he left us. We’ve presented 10 examples for you this month, ranging from bluesy Pentatonics to classical chordal harmony, traditional jazz voice leading and motif development to rapid scale connections. It really pays to do your research when approaching a new style; find
EddiE Lang – hE was thE boy. hE was thE first onE that i hEard that rEaLLy infLuEncEd mE Les Paul
out who your favourite players listened to and how this contributed to their style; then figure out who their influences’ influences were, going back as far as possible to create an ‘inspiration family tree’. Paying your dues in this way will inform your playing tremendously; you’ll get inside the music and your confidence and stylistic authenticity will benefit greatly. You’ll also have a lot of fun, and with the likes of Spotify, YouTube and other valuable research resources online, it couldn’t be easier. Have fun! NEXT MONTH John examines the modern jazz-blues-fusion style of John Scofield
abiLity rating ✪ ✪ ✪ ✪ ✪ Moderate Info Key: Various Tempo: Various CD: TRACKS 79-88
Will improve your… Stylistic authenticity Single-note line vocabulary Use of small chord fragments
E
ddie Lang could legitimately hold claim to the title ‘father of jazz guitar’. Lang performed with all the superstars of the age, including Paul Whiteman, Bix Beiderbecke, Bing Crosby, Hoagy Carmichael and Bessie Smith and his recordings in the late 20s and 30s with violinist Joe Venuti arguably established the template for Django Reinhardt and Stephane Grappelli. Lang revolutionised
the role of the guitar, elevating its status as a fully-fledged ensemble member, equally capable of rhythm and soloing duties. Born in 1902 as Salvatore Massaro, son of an Italian-American instrument maker, music was never far away. By his late teens Lang was performing professionally on violin, banjo and guitar. Guitar was to prove his forte with a style ranging from raw blues through to swinging jazz, with a liberal measure of classical harmony thrown in. Emerging just before the invention of the electric guitar, Eddie favoured Gibson’s L4 and L5 archtops with outrageously heavy strings. Never heavy-handed, however, Lang was a superb rhythm player and considered the perfect accompanist of the time. He had an equally impressive command of
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Eddie played Gibson archtop acoustic guitars. He favoured Herculean string gauges (15-73) although modern styles and amplification means we can bring those gauges right down. Although Eddie played purely acoustically, these lines and chordal passages will work equally well with a clean and full-bodied electric guitar tone, as detailed above.
tracK rEcord Lang’s recording career lasted just less than seven years, but he was remarkably prolific. We’d recommend Virtuoso (Yazoo 2000), along with The Joe Venuti & Eddie Lang Collection 1926-33 (Fabulous 2014). The blues recordings he made, some under the pseudonym of Blind Willie Dunn, can be found on the equally valuable Eddie Lang And Lonnie Johnson: Blue Guitars Vol I&II (BGO 2008). 82
February 2016
ON THE CD
learning zone
EDDIE LANG
TRACKs 79-88
ExamplE 1 Solo guitar chordal etude
cd track 79
There is a distinct classical feel to our first example, although Eddie would From a harmonic perspective we begin in E minor, before a short execute chord etudes such as this with the plectrum, rather than the transpositional detour to G minor in bars 3 and 4, before returning to the GUITAR TECHNIQUES MAGAZINE 2 5of 2 a classical guitarist.The John Wheatcroft conventional fingers and nail combination home keyJazz oncecolumn again in bar 5. EDDIE LANG STYLE GUITAR TECHNIQUES MAGAZINE 2 5 2 The John Wheatcroft Jazz column EDDIE LANG STYLE Ex 1 Solo guitar chordal etude
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œ b œœ œ b œœœ œ œ b œœ b œ bb œœœœ n œœœ n œœ b ·œ Em œ Let ring œœœ ·· Em 8 œœ 8 ·· Let44ring 7 8 5 5 8 4 8 8
··· ··· 6 NH 6 NH 12 12 12 12 12 12
6 4 5 6
7 7 5 5 7 5
·· œ œœ œœ # œœœ œœœœ ·· # E m0 œœ # œœ œœœ n œœ B72 # œ E m70 œœœœ # œœœ œœ œœ # œ # œœ œœ œ 3 2 œ œ · & # 0 œœ # # œœœ œœ n œœ œœ œ # œœ œœ œ # œœ œ 0 # œ œ œ œ œ œ œ œ # œ & œ œœ lines œ NH Ex 2 Fast single-note œ œ ring œ Let Let ring œ œ D m6 Dm D m (maj 7) Dm7 Dm Dm (maj 7) D m7 NH Dm6 B9 Ex 2 Fast single-note lines cd track 80 ExamplE 2 ©»™¡º FaSt Single-note Let ring Let ring 1 j8b œ 11 œ 12 0Swing2 3 lineS 7 5 8 7 12 œ œ œ œ œ D mand (maj1 7) Dm (maj 0 could 2 be both 3 Dm 5a brief 7D m 5 scale 10 12 D m7 4 certainly œ 7 7) œ b-C-d-E), œ œ121212a longer #and œ heDm7 # œ œD m6 œ 455œfragment lang’s single-note lines intricate speedy of FœMajor (F-G-A-B before 0 3 4 2 2 7 8 7 11 12 œDm6‰ and bB9œmore 0Swing 2 3 œ 1J 7 8 œ 7 œ j8 8 11 12 bœ b 44©»™¡º ‰ J ‰ 2 4 œ œ b œ œ knew& his scales and modes, ably demonstrates. From notes phrase derived‰5fromœthe A Phrygian dominant scale (A-B -C#-d-E12 0 ∑ as 2 this example 3 5œinvolved 4 7 7 10 12 1œ ‰ # œ 4 œ #a œ œ œ œ œreturning Jœ 8 minor 0 4 scale 8mode 7 Harmonic 11 12 before12 œ ‰ Jœtobour œ home 440 looking œ for3 the‰d2minor œ œof the perspective, we’re at3d ‘Blues’ scale, Jb ‰2(r-Jb3-4-24b5-5-b7), 0 7F-G),œ the5œJJ fifth b ‰ ‰ 2 ∑ & J J moving to C Mixolydian/dominant scale (r-2-3-4-5-67) for2 C7, followed by key of d minor. 3 Em
E B G E D B A G E D A 6 E 6
E B G E D B A G E D A 6 E 6
2 2 F3# 2 2 F3#
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B7
4 2 4 4 2 4
5 4 B 75b 9 5 4 B 75b 9
8 7 8 8 7 8
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Fast single-note lines
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8
5
7 5 7 7 5 7
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0
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8
5
5
4
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4
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7
3
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5
6
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5
6
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7
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7
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7 7
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6 6
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5 5
February 2016
83
lesson } JAZZ ExamplE 3 turnaround in d
cd track 81
Here we see how lang might mix small chord fragments in with single-note lines to create a soloing style that pretty much accompanies itself. it’s clear that Eddie is acutely aware of the underlying harmony at all times so your job 2 is xxxxxxxxxx here to flag the connection between the notes he chooses, predominantly
decorated arpeggios, and the chord symbols. Once again, lang goes for a plectrum-based approach, most likely for tonal and projection reasons although there is no reason why you shouldn’t explore other options such as hybrid picking or even a purely fingerstyle technique.
2 xxxxxxxxxx Ex 3
Turnaround in D
Ex 3
Turnaround inSwing D
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E Ex 3 B G E D B A G E D A 1 E 1
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3
4
3
4
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E B G E D B A G E D A 5 E 5
3
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Atrack 82 cd
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9
1
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E B G D A E
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Ex 5
E B G E D B A G E D A 1 E 1
2
3
Swing E 5 B again, it’s plectrum Once intro in D/Fthis i-vi-iv-v Bm G 6 key of d 4 all the way for 3 the G Swing 4 4 see 4 an abundance of 1 6th chords in (d-Bm-G-A). rather like django, you’ll D 4 2 4 A styles of this era, so ensure you are fluent with 2 a number of voicings 2 chord E 0 4 5 for both the major and minor variation in different areas of the fretboard and
1
Let ring 3
4
Let ringE 7/B
Ex 4 Solo intro in D ExamplE 4 Solo intro in d
E B G D A E
3
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B G E D B A G E D 1 A E 1
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3 4 œ 3 4 3 4 œ œ # œ œ œ œ œ œ ‰ œJ œ œ œ b œ
Em
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D
3
3 5 3 5
Turnaround in D
B7
1
Gm6
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E B G D A E
Em
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7
BU
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6 7 5
7
5
8
9
7
6 7 5
5
5
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6 6
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A
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A
œ A —g œœ œB m œ œ G 6 œ Bm œ œ œ œ œ œ œ —gg œœ œ œ œ œ œ zone 3 œ œ œ œ œlearning œ œ œ œ œ œ œ œ EDDIE œ œ LANG œ . g œ œ œ œ œ œj ggg œœ .. œ œ œ œ œ 3 œ3 œ œ œ 3 œ œ gggg œœœ œ œ 3 T T g g œ œ œ œ œ 3 3 3 3 T T — — 3 3 cd track ExamplE 5 Major Pentatonic blueS7 ggg 55 —ggg 55 83 7 5 7 7 5 — 7 this major 7 Pentatonic (r-2-34 6 7 7 7 of the 7 day. django, 4 4 other 3 5 3 gg 5675hand, Eddie wears his blues influences with pride in popular amongst American guitarists on the ggg 75 super-light 7 5 7 9 5 7 9 7 5 7 7 9 7 5 ggg 67 5-6) influenced example, once again in9 the key but favoured a high action. speaking of 0django, 0 used 0 9 strings 7 of d. You’ll 7 notice that there 4 6 7 7 7 7 4 4 gg 7 a distinct reinhardt 3 5 7 variety 9 and one3instance 5 of a 7 7 flavour 9 9 decorated are some bends here, mainly of the semitone there’s to the A9th arpeggio (A-C#-Eœ œ
E B G E D B A G E D A 1 9 E which is no mean feat when you consider the super-heavy tone, 3 string gauges 1
Ex 5
E B G E D B A G E D 1 A E 1
3 G6 3
0 9
0
G-B) that takes us across the barline for bars 7 to3 8.
Major Pentatonic Blues
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Ex 5
0
D/F #3
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D6
10 10 7
10
10
10 10 7
10
10
10 10
BU 9 ( 11 )
9
7
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9 ( 11 )
9
7
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E B G E D B A G E D A 6 E 6
BU
10 BU BU 9 ( 10 ) 9 ( 10 ) 9 10 7 10 9 ( 10 ) 9 ( 10 ) 9
7
9
7
9
10
7 11
10
7 11
10
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9 7
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9 7
9 9
7
7
7
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A7
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ExamplE 6 Whole-tone line to intro in F
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10 13 10 13 10 13 10 13
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13 13
13 13
3 3
11 13 11 11 13 11
9 9
11 11
9 9
7 7
10 10
F F
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13 13
13 13
5 5
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6
1/4
Pentatonic (F-G-A-C-d) used against its associated major chord. intriguingly, lang moves on to exploit the whole tones found in db Mixolydian, namely the intervals 3-2, 2-root and root to-b7, before concluding with some wide-spaced intervals, a touch of blues and a beautiful arpeggio idea in the home key of F.
3 3
Whole-tone line to intro in F Whole-tone line to intro in F Swing Swing
6
cd track 84
in stark contrast to all that Pentatonic shenanigans, there’s nothing like a bit of Whole-tone action to put a spring in your step. This example begins with B Whole-tone (r-2-3-#4-#5-b7) against our harmonically appropriate B9#11. We can’t stay away from Pentatonic for very long, however, with F major
Ex 6 Ex 6
' '
1/4
Straight
9 9
7 7
7 7
8 8
œœ
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11 11
10 10
‰‰
F/A F/A
j j œœ
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b œ & &b œ
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C7 # 5 C7 # 5
F F
‰‰ b œ n œ œœ œœ b œ œ ˙ bœ nœ bœ œ ˙ 3 3
3 3
3 3
Gm6 Gm6
C9 C9
February 2016 œ œ œ œ œ œ œ œ bœ ˙
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©»¡™º œ œ œ isœbroken œ œTheœ pattern œ œ œtowards # ascending notes moved throughout the scale. 4 œœœœœœ # ∑ & 4 Ex 7 Guitar/Piano harmony intro line A7 ©»¡™º Straight œœœœœœœœœœ œ ## 4 œ œœœœ 5 7 5 ∑ & 4 8 7 8 5 7 5 7 6 7 4 6 4
C9
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˙ 3
0
3
3
5
cd track 85
2
Aaug 0 lang 3 provides sonic 5and timbral 4 3 the conclusion of the idea1 and interest with a cheeky two-octave A harmonic at the 5th fret, followed by an unresolved A7#5 (A-C#-E#-G), surely an indication of good things to follow.
34 œ œ œ 4 œ œœœœœœœœ 4
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7
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6 7 4 6
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4
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7
4
2
5 7 4
2
2
0
1
cd track 86
the rhythm and shape of each idea continues and develops as this example unfolds. This sense of continuity with theme and development is present in all great improvisers, great soloists and also all the great composers.
4 xxxxxxxxxx
4 xxxxxxxxxx Ex 8 Motific development
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Bluesy pull-offs
Ex 9
Bluesy pull-offs
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3
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4
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4
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February 2016
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ExamplE 8 MotiFic develoPMent lang’s playing was always musically cohesive, logical and melodic. This example shows how he might maintain interest over a set of moving chords by producing intelligent variations and developments on the spot. notice how
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cd track 87
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cd track 88
lang has got quite an inventive way with harmonics and this example showcases one such approach. The trick to this example is to play the openstring harmonics fairly loudly and allow this note to ring on and spill into the 5 following single-note lines, providing a sense of both call and response and 5 Ex 10 Ex 10
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also giving the illusion of two instruments playing at the same time. There are some single-string arpeggios ideas in bars 5 and 6, followed by some semitone bluesy bending in bar 7 to conclude and you’re done. Hope you’ve enjoyed this look into the style of one of the true founding fathers of jazz guitar.
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lesson } ACOUSTIC
Johnny Cash The Man In Black had a legendary rhythm that encapsulates the country sound. Stuart Ryan nails Cash’s simple, open-chord strumming style.
Fire (actually written by June Carter and Merle Kilgore) and you’ll instantly hear Cash’s simple yet effective rhythm guitar parts at play. His even, rhythmic approach gels perfectly with the rockabilly drum pattern and gives Luther Perkins a perfect palette over which to craft his distinctive licks and bass runs. This is definitely not a hard style to get down – Johnny Cash would usually set up a simple, open-chord strumming pattern using the root and 5th of the chord as an alternating bassline between each strum. As guitarists, this is usually one of the first things we are shown when learning but when you know its origins it makes more sense. What you do need to have is a relaxed, well-timed strumming hand and you also have to be accurate in picking the root-5th bass note in between each chord, which can actually be trickier than it first appears.
There’s always rhyThm going in my mind… i’m eiTher singing Them... or i have goT The beaT going from one, or i’m wriTing one
Johnny Cash playing a lovely Takamine guitar
Cash’s playing can be heard in a more detailed format on the American Recordings from 1994, a set recorded by the legendary Rick Rubin in Cash’s living room. With just guitar and voice, his distinctive style is to the fore. The series is essential listening if you want to focus on Cash and his guitar, as he uses more arpeggiated patterns and subtle embellishments. As simple a style as this is, it’s actually a lot of fun to play! NEXT MONTH Stuart looks at the wonderfully laconic style of the great Joni Mitchell
Info Key: A Tempo: 193 bpm CD: TRACK 89
Will improve your… Strumming country rhythms Making open chord changes Picking out bass notes
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hink of country music and it’s hard not to conjure up an image of the ‘man in black’, Johnny Cash himself. His bass-baritone voice and relaxed style are instantly distinctive and his plaintive songs of heartache put him alongside Hank Williams on the pedestal of country fame. Growing up in Arkansas in the 1930s Cash started his working life in cotton fields aged
just five and he would have learned work songs along with his family and fellow workers. Guitar lessons came courtesy of his mother and a friend and by the age of 12 he was already writing songs. After a stint in the army, Cash began his musical career in the early 50s playing alongside the famed Tennessee Two, guitarist Luther Perkins and bassist Marshall Grant. Perkins country-rockabilly lead style gelled perfectly with Cash’s more traditional strumming based accompaniment. Although they started off performing gospel music it wasn’t too long before they took on rockabilly as their main sound. Listen to Cash classics such as Folsom Prison Blues, I Walk The Line and Ring Of
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There’s no getting away from it, you need an American classic for this style and a big one at that! Cash was most often seen with Martin Dreadnoughts – D28 and D35 mainly – though he also played Gibsons and could be seen with a J-200 in the late 1950s. I recorded this on a Gibson J35 Collector’s Edition.
TraCK reCord To really hear the raucous side of Cash’s country guitar style and how he and Luther Perkins’s styles perfectly knitted together, check out the legendary live albums Johnny Cash At Folsom Prison (1968) and Johnny Cash at San Quentin (1969). At the other end of the spectrum, the American Recordings from 1994 onwards demonstrate a much more intimate side to this legendary musician. 88
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BETH GWINN / GETTY IMAGES
abiliTy raTing ✪ ✪ ✪ ✪ ✪ Easy
ON THE CD
learning zone
JOHNNY CASH
TRACK 89
PLAYING TIPS
cd track 89
[Bar 1] This is a simple Cash-style pattern that he would often use: root of the chord (A), strum, 5th of the chord (E), strum. There are many variations on this approach but this is the classic Cash move. GUITAR 2 5 D7 2 chord – the root (D)Stuart's Acoustic [Bar 5] Here’s TECHNIQUES the same tactic on the is alternated with JOHNNNY CASH the 5th (A) for the bass accompaniment.
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[Bar 9] The bass accompaniment pattern doesn’t always have to include open strings. On an E chord you have root (E) followed by the 5th (B), which appears on the 2nd fret of the fifth string. Plus, the pattern doesn’t always have to go root-5th: there are many occasions where you’ll hear root-3rd used as the bass STYLEespecially over G and C chords where it falls under the fingers. pattern,
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lesson } rockschool
ON THE CD
TRACK 90
Reading Music Part 20
Changing gear This alternative pop style piece by Charlie Griffiths features eight and 16th note rhythms, repeats, ringing guitar arpeggios – and a truck driver’s key change!
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Keeping the chord tones on different strings should come quite naturally as almost all of the chord tones are stacked in 3rds. Third intervals are quite easy to spot on the stave as they always land on the next line or space away from the one you are on. For example, if the lower note is on a space, the diatonic 3rd can be found on the next space up. If you have note on a line, the next line up is also a diatonic 3rd. Diatonic 3rds can be either major or minor and this is dictated by the position in the scale you happen to be. In a major key, the 1st, 4th and 5th root notes will have a major 3rd above them and the
RepeAT BRACkeTs ARe deNoTed BY A ThICk veRTICAL BLACk LINe, NexT To A ThIN BAR-LINe wITh Two AdjACeNT BLACk doTs
This month we give you the legendary ‘truck driver’s key
ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate Info Key: A/B Tempo: 90 bpm CD: TRACK 90
Will improve your… Understanding of diatonic scales 8th & 16th-note rhythm reading Reading notes simultaneously
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his piece is reminiscent of alternative pop-rock bands such as Snow Patrol. The chart is largely in the key of A major, which means that the relevant notes are A-B-C#-D-E-F#-G#. A good knowledge of the A Major scale positions will be a big help as 92
February 2016
having an over-arching harmonic context can steer your fingers towards the correct notes more quickly than approaching each dot as an individual piece of information. The ‘let ring’ bracket above the stave in certain sections means that you should let the notes ring together as chords for the duration of the section. This requires you to fret the notes on separate strings, which requires a little more forward thinking when it comes to choosing where to play them. This is good preparation for charts with chords in which three or four simultaneous notes have to be read, understood and found on the fretboard.
remaining 2nd, 3rd, 6th and 7th notes will have a minor 3rd above them. Throughout the chart are various methods for repeating bars, starting with something that looks a bit like a % symbol, these ‘single bar repeats’ instruct you to repeat what you just played in the previous bar. Next we have repeat brackets, which are denoted by a thick vertical black line next to a thin bar-line with two adjacent black dots. Everything within these repeat brackets should be played again, exactly as before. Multiple repeat endings are shown with brackets above the stave with a number on the far left indicating the order in which those endings should be played. The final section of the piece features the common pop music trope affectionately known as the ‘truck driver’s gear change’. This essentially means that the key of the piece suddenly modulates upwards to achieve an exciting musical lift. The nickname refers to the somewhat inelegant and rather abrupt nature of the practise. Our piece moves up a tone from ‘A’, which has three sharps, to the key of ‘B’, which has five sharps: B-C#-D#-E-F#-G#-A#. NEXT MONTH Charlie continues his Reading Music with another full piece for you to play
learning zone
THEORY INTO PRACTICE ExamplE CHANGING GEAR
cd track 90
Play GUITAR this pieceTECHNIQUES with a clean tone using a middle for a balanced MAGAZINE 2 5 2 pickup selection Charlie Griffithstone with some reverb added. Play the first eight bars letting the notes ring together where appropriate. Play through the next eight bars including the first ending, then follow the repeats before jumping to the second ending which also contains a crescendo. Play the final eight bars slightly louder than the previous and follow the repeat brackets to play the section twice. READING Partsections 20
©»ªº ### 4 & 4
A Let ring
1 bar count in
∑ 1
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JANUARY GT251
DECEMBER GT250
NOVEMBER GT249
Play like three Bluesbreaker titans. Discover their influences and where their styles differed. Learn Pat Metheny’s Have You Heard with its astonishing solo. Plus, style studies with: Robert Cray, Ritchie Sambora, Bad Company, Jackson Browne and more!
Beef up your soloing with our Pentatonic blues-rock workout; learn Satriani’s Always With Me, Always With You and discover why so many top players use hybrid picking. Plus: O Sole Mio tabbed, Allan Holdsworth, Chris Rea, Richard Thompson, Dokken and more!
Master this vital style with 11 superb rhythm and lead examples to play. Plus, part two of our picking series. Learn economy picking and play fast and fluid – just like the pros! Tabbed is the full version of Gary Moore’s Parisienne Walkways plus an amazing three-minute live outro solo.
OCTOBER GT248
SEPTEMBER GT247
AUGUST GT246
An exclusive lesson in part 1 of our picking series. Banish sloppy alternate picking and enjoy more accuracy, speed and tone. Plus, get your teeth into The Knack’s wonderful classic, My Sharona – a track chock full of glorious riffs and plenty of solos.
A guitar icon since he and his band stormed Woodstock in 1969. Learn Santana’s rhythm and lead style. Play The Allman Brothers’ classic Statesboro Blues with stunning solos from Duane and Dickey. Plus we pay musical tribute to John Renbourn – and much more!
Want to get inside the playing mind of Pink Floyd’s musical maestro? This feature offers insights into every facet of the great man’s playing. Plus, learn Mr Big’s awesome Addicted To That Rush, get started with Jazz Soloing – and lots more in this packed issue!
CLaPtoN, taYLor, GreeN
sort out Your PiCKiNG
bLues-roCK bootCamP
PLaY LiKe CarLos saNtaNa
LearN the bLues shuffLe
GeNius of: DaviD GiLmour
to orDer baCK issues: Call 0844 848 2852 or visit www.myfavouritemagazines.co.uk 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: £5.99 n Europe: £6.99 n Rest of the world: £7.99
94
February 2016
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
music } reviews
track, Blind Faith if you need confirmation. It’s an album that’s hard to fault at any level. Yes it’s commercial, but Leppard is one of the few heavy bands to carry it off well – and carry it off they do.
John mcLaughLin & The 4Th dimension
Album of the month
BLack LiGht Abstract Logix ✪ ✪ ✪ ✪ ✪
fLying coLors
seconD fLiGht: Live at the Z7
Mascot ✪ ✪ ✪ ✪ ✪
After Flying Colors’ second album, Second Nature, a tour was inevitable and this performance from Z7 in Switzerland is from that outing. If you are unfamiliar with the band then expect an amazing fusing of mainstream pop with complex prog arrangements and stunning playing from all. Flying Colors features Steve Morse on guitar, Dave LaRue on bass, Mike Portnoy on drums, Neal Morse on keyboards and vocals and Casey McPherson on vocals and second lead guitar. The concert features songs from both albums plus tracks from other top bands with which they are also associated. It’s is an immensely rewarding performance; the songs are really strong with powerful arrangements and an abundance of musical expertise. We particularly like the dual lead sections from Morse and McPherson but this is all magnificent stuff. Various formats are available but we do recommend getting the video footage. You won’t be disappointed.
Any new album from McLaughlin is a pleasure: just knowing your ears are about to be treated to high-energy, fluid music that will lift the heart and the soul and this latest release delivers on all levels. This is a fusion of fine players, full of respect for each other: “I am always excited to play with these musicians,” states McLaughlin and it’s easy to hear why. Often when you’re in the presence of such outstanding competence you can feel left out, but this album presents a lush musical landscape that begs you to explore. In line with previous outings this is full of light and shade with intricate passages
Bryan Adams is on the move again and he really means it!
def Leppard Def LepparD
Bludgeon Riffola/earMUSIC Records
✪✪✪✪✪
Bryan adams Get Up
Universal ✪ ✪ ✪ ✪ ✪ A new all-original Adams album is always a treat. It’s been a long wait since 11, back in 2008, but this is a stunning collection of songs. The opening track, You Belong To Me could have been recorded in the 50s and it sets the mood for the album rather well for in Bryan’s own words: “It’s up, it’s rock and it’s retro!” Well, if by that he means it takes us back to the classic years of Reckless and 18 Til I Die then we agree. Each track is a delight on the ears and when you get to the end you just want to put it on again. Keith Scott continues to add his guitar magic to Bryan’s relentless rhythm and Jim Vallance is still co-writing – but an important newcomer is Jeff Lynne as producer. Lynne’s production qualities are distinctive and the combination is truly fantastic.
Def Leppard too have been absent from the studio for quite a while, but they’re back and they’re hot! This is a real return to form as will be plainly obvious from the single pull Let’s Go. The band is very excited about this album as they feel they’ve explored a lot of new avenues with their music as well as maintaining their high quality of material. Another thing that hasn’t changed is the commercial appeal, as almost every track has that elusive radio friendliness. Production and performances by all concerned are top notch and it does indeed widen their musical horizons. Check out Man Enough, Sea Of Love, the acoustic-led Battle Of My Own and the final
moving effortlessly from theme to theme, yet the melodic content remains high and appealing. It’s hard to pick out one track over the rest – it’s all stunning and delightful. Check it out.
fLeeTwood mac tUsk (DeLUxe reissUe)
Rhino ✪ ✪ ✪ ✪ ✪
When it was first released in 1979, Fleetwood Mac’s double album Tusk failed to muster the attention expected. Perhaps it was just too ‘experimental’ for the record-buying public. Of course, with mainstay songs like Sara it eventually went on to sell well enough, but it’s never received the accolades attached to its predecessor, Rumours. Now this new deluxe reissue offers the perfect opportunity to re-evaluate Tusk’s merits as it includes a remastered version of the original double album, an alternative
recording made up of outtakes, plus single mixes, demos, several versions of I Know I’m Not Wrong as well as previouslyunreleased live performances from the 79 tour. It’s well supported with a booklet and new interviews. Lindsey Buckingham’s guitar work is exceptional and his arranging and production qualities have stood the test of time. Various formats are available including vinyl, 5.1 Surround Sound on DVD and digital downloads, but the deluxe set will take some beating.
Jeff Lynne’s eLo aLone in the Universe
Columbia ✪ ✪ ✪ ✪ ✪
We’ve become accustomed to hearing Jeff Lynne’s name under the guise of producer, but it’s been an incredible 28 years between his last ELO gig and the band’s reunited performance at BBC Radio 2’s Festival In A Day in Hyde Park last year. A fantastic success, the show was the catalyst for this new studio album by Lynne and sound engineer Steve Jay. It’s not the longest album around, but every one of its 32 1/2 minutes is filled with melody and songcraft, all with that unmistakable Lynne sound that’s full of flair and expertise. Jeff also provides great guitar throughout but we particularly like the Peter Green sound and feel of the solo on When The Night Comes: short but brilliant. Then there’s the clean slide on I’m Leaving You, a song that could have been written for Roy Orbison. During April 2016 Lynne will perform with his ELO in major cities throughout the UK, ending up at London’s prestigious O2.
February 2016
95
GT User Guide
You can get more from GT by understanding our easy-to-follow musical terms and signs... Relating tab to youR fRetboaRd 3
2
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 œ & Technique Guitar Examples - Treble Clef And Tablature œ 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.
a major scale
Down & Up Picking
E B G
x
xD
œ
& SCale example
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.
œ
≤
9 5 7
œ @
E B G D A E
7
œ @
œ @
&
œ bœ @ @
# œœœ
7
E B G D A E
1E 2B 3G 4D 5A 6E
5
piCking variations anD ≥ alternatives ≤ GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking
up and down picking Down & Up Picking
&
œ
Tremolo picking Tremolo Picking
&
œ
œ @
@
5
@
4
@
7
8
palm muting Palm Muting
œ bœ @ @
œ @
@
&
nœ # œœœ
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7
E B G D A E
5
≥
≤
n the first note is to be downTremolo Picking picked and the last note is to be up-picked.
&
œ @
œ @
œ bœ @ @
@
@
5
@
4
@
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8
n each of the four notes are to Palm Muting be alternate picked (down- & up-picked) n œœ very rapidly n œœ and continuously. œœ & # œœ
œ œ œ
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PM
96
E B G D A E
@ 5
Palm Muting
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February 2016
E B G D A E
œ œ œ
E B G D A E
8 7 6 7
Pick Rake
0
0
0
8 7 6 7
0
n œœ œœ
0
0
0
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PM 8 7 6 7
0
0
n palm mute by resting the edge Rake ofPick picking-hand’s palm on the strings near the w bridge.
&
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rake
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0
E B G D A E
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& E B G D A E
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E B G D A E
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E B G D A E
& gg ˙ ggg # ¿˙ g gg 00 ggg 22 ggg X2
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0 0 0 2 2 0
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E B G D A E
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5
appeggiate chord Arpeggiate Chord
w
rake
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œ
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5
E B G D A E
n Drag the pick across the Arpeggiate Chord strings shown with a single sweep. often used to augment a ˙˙˙ ggg # ˙˙˙ rake’s lastgg note.
5
Arpeggiate Chord
0
Pick Rake pick rake
PM E B G D A E
8 7 6 7
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œ
7 8 œ stave, œ œ tabœ isœ an aid Tabbing @ @ under thetomusical PM to show you where put your fingersPMon the E B 8 8 G horizontal 7 7 fretboard. the six lines represent the six D 6 6 A 7 7 strings on a guitar – the numbers on the E 0 0 0 0 0strings are fret numbers. the two stave and tab examples show chords; c (c major), em (e n œœ 4 notes andPick4 Rake minor), œœ D7 (D dominant 7) and am7 (a minor 7).
@
PM
E B G D A E
3rd string 2nd fret 2
Em
Guitar techniques: How tHey appeaR in wRitten music... E B G D A E
7
1st fret
œœ
1E 2B 3G 4D 5A 6E
4
the left box shows an a minor pentatonic scale with added 5 tapped notes signifiedPalm by Muting ‘t’s. ≤ above shows a cmaj9 (no 3rd) with harmonics at the 12th fret. nœ
œ
1 E B G D A E 2nd string
C
œ bœ @ @
œ @
5 Tapping & harmoniCS @
≥ &
œ
R
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Tremolo Picking
Down & Up Picking
&
œ
2nd string 3rd fret
5
≥ &
Down & Up Picking
œ3
1E
Tremolo Picking GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking
&
œ
2B 3 1 muSiCal STaVeTremolo the five horizontal lines for 3G 2 C Em Picking D7 A m7 4D 0 5A music notation show note pitches and rhythms 6E # œ œ œ œ œœ and & are divided by œœbar lines. œ œœ œ b œœ
7
A E
8
1E 2B 3G 4D 5A 6E
&
2nd string 1st fret
ggg # # ˙˙ gg ˙ gggg 454 ggg 44 g 5
˙ & gggg ˙˙˙ ggg # ¿˙ g ggg gg ggg
0 0 2 2 X 2
ggg # ˙˙˙ gg # # ˙˙ ggg ˙
ggg gg ggg
4 5 4 4 4 5
n play the notes of the chord by strumming across the relevant strings in the direction of the arrow head.
&
œ
œ
œ
œ
5
7
7
5
~~~~~ ˙ (œ œ) b ˙
tr
&
tr
freTTing hand GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Fretting Hand
E B G D A E
hammer-on & pull-off Hammer On & Pull Off
&
œ
œ
œ
œ
5
7
7
5
E B G D A E
tr E B G D A E
5
( )
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tr
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E B G D A E
8
& E B G D A E
œ
œ
œ
œ
7
5
E B G D A E
S 5
7
5
5
5
n Fret the start note (here, Left Hand Tapping the 5th fret) and bend up to 6 the pitch of the bracketed œ & before releasing. note, œ œ
≠œ œ ≠
≠
œ
≠ ≠ ≠ harmoniCS E B G D A E
P
P
5
7
0
P
5
7
0
natural harmonics Fret Hand Muting
& &
n œ ¿ ¿ ‚ ¿ œ# ‚‚ ¿ ¿ ‚# œœœ ‚¿¿¿ ¿¿¿ ¿¿¿ œœœ ‚ ¿¿¿ ¿¿¿
· · · ·· 8 X X X 7 X X 12X 6 12 X X X 12 7 X X X
≠ ≠ ≠
X X X X
n pick the note while lightly touching ‚ the‚string‚ directly over & the fret indicated. a harmonic results.
···
7
0
P
5
7
0
4
AH17
5
&
· · · ·· 8 7 6 7
12
X X X X 12
X X X X X X X 12X
X 8 7 X 6 X 7 7 X 7 7
X X X X
artificial harmonics
& E B G D A E
‚
‚
± ±± 7
5
7
‚
‚ is‚ picked, then the n the note & whammy bar is raised and TH17 TH19 pitches TH17 lowered to the shown in brackets. E B G D A E
··· 5
7
4
P
P
5
7
0
P
5
& E B G D A E E B G D A E
&
nœ # œœœ
¿¿ ¿¿ ‚ ‚
¿¿ ¿¿
X X X X
X X X X
¿¿ ¿¿
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· · · ·· 8 7 NH 6 7
X X X X
12
12
X X X X
8 7 6 7
¿¿ ¿¿
5
&
4
& E B G D A E
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).
7
···
TH17 E B G D A E
TH19
5
7
4
‚
2
± ±±
·
5
7
···
TH17
5
TH19
7
dive bomb
&
œ
‚
&
#‚ 8 X X ‚X 8 ‚ X ‚ ‚ 767 ‚XXX XXX XXX 767 XXX
AH17
4
E B G D A E
E B G D A E
—
± ±± ‚
E B G D A E
‚
‚
E B G D A E
5
TH19
7
¿¿ ¿¿
¿¿ ¿¿
X X X X
‚
‚
‚
··· AH17
5
AH19
7
—
— —
± ±±
7 5 vibrates n the fretting hand 7 the note by small bend ups and releases. the last example uses the vibrato ‚ ‚ bar.
&
E B G D A E
‚
···
TH17
‚
···
TH17
TH19
5
7
4
·
TH17
4
Touch harmonics
&
‚
œ
·
TH17
n Fret the note as shown, but ‚ rightsound it with a quick hand tap at the fret shown œ & (th17) for a harmonic.
TH17
4
7
Tapped harmonics
&
œœ œœ
PH
7
5
¿¿¿ ¿
· · · ··
Vibrato 4
AH19
7
¿¿ ¿¿
NH
&
5 n pick the note and then bend up a quarter tone (a very small amount). sometimes referred to as a blues — curl. —
&
¿¿ ¿¿
n X markings represent notes muted by the fretting 12 7 hand 12 7 12 7 when struck by the picking hand.
E B G D A E
‚
···
AH16 E B G D A E
‚
7
0
TCH E B G D A E
2
9
n a previously sounded note is touched above the fret marked tch (eg tch 9) to sound harmonic.
TCH E B G D A E
2
9
gargle
Capo Capo notation
·
TCH
TH17
n scoop - depress the bar just œ & striking before the note and release. Doop - lower the bar TCH slightly after picking note. E B G D A E
&
— —
7
E B G D A E
12
P
5
nœ # œœœ
AH16
quarter-tone bend 12
7
0
&
&
7 7 7
P
P
PH
7
—
· · · ·· 12
AH19
n Fret the note as shown, but dig‚into ‚the string ‚ with the &side of the thumb as you sound it with the pick.
Scoop‚ & doop ‚ ‚
&
5
E B G D A E
# ‚‚ ‚
‚ ‚ ‚
≠ ≠ ≠ 5
NH
E B G D A E
PH
7
5
AH17
pinched harmonics
AH19
7
···
AH16
&
X X X X
7 7 7
7
n sound the notes marked with a square by hammering on/tapping with the frettinghand fingers.
7
0
pre bend
‚
··· AH17
4
PH
E B G D A E
≠ ≠ ≠
PH
—
≠
œ
œ œ œ œ œ œ
≠œ œ ≠œ œ œ ≠œ 6
fret-hand muting Fret Hand Muting
6
7
E
E B G D A E
‚
NH
E B G D A E
Vibrato — arm bends —
7
E B G ED BA GE D A E
&
AH19
7
5
&
n Bend12up from the 5th fret to the pitch of the 7th fret note, then pick it and release to 5th fret ‚ note. ‚ ‚
± ±± VibraTo arm (aka whammy Bar) AH16
E B G D A E
œ
n Bend up to the pitch shown Hand Muting inFret the brackets, then re-pick the noten while œ ¿ ¿¿ holding ¿ œœ# ‚ ¿¿ the ¿ # œœœ at‚¿¿¿ the ¿¿ ‚ ¿¿¿new œœ ‚‚ pitch. ¿¿ ¿¿¿ & note bent
AH16
X 8 7 7 X 6 7 X 7 7 X
P
P
NH
E EB BG GD DA AE E
≠œ œ ≠œ œ œ ≠œ
œ
≠œ œ ≠
≠ ≠ ≠ ≠ ≠ ≠
left hand Tapping
E
5
7
Fret Hand Muting
6
5
5
E B G D A E
S
&
E B G D A E
8
n pick 1st note and slide to Left Hand Tapping the 2nd note. the last two 6 notes show a slide with the œ last ¬e beingœ re-picked. œ
re-pick bend Left Hand Tapping
Slides (Glissando)
(7 5)
œ œ & œ
b˙
bending and VibraTo bend up/down
~~~~~
Slides (glissando)
n rapidly alternate between Slides (Glissando) the two notes indicated in brackets with hammer-ons œ and &pull-offs.œ œ œ 5
5
Slides (Glissando)
(7 5)
5
E B G D A E
8
tr
˙ (œ œ)
E B G D A E
~~~~~ 7 5
note Trills Note Trills
&
n pick 1st note and hammer Trills fretting hand for 2nd onNotewith tr ~~~~~ note. then pick 3rd note and ˙ (œ 4th œ) b˙ pull note. &off for
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’.
February 2016
97
NextMoNth the world’s best guitar lessons… tRANscRiptioN #1
wishiNg well
New video lessoN
Creative aCoustiC
By Free
With Chris Woods
Great riff, superb feel and unforgettable Paul Kossoff licks and solo. Richard Barrett tabs every note of this top track.
This new series from acoustic master Chris Woods gets to the heart of how to play modern percussive styles.
tRANscRiptioN #2
ferNaNdo sor
video speciAl feAtuRe
alleN hiNds exClusive
Opus 6, Study 9
Part 3 of 6
Bridget Mermikides arranges and transcribes another musical study from this highly-revered Spanish composer.
Our LA session giant shows you some of his coolest licks over the exclusive track GT track, Ramp’s Letter. Awesome!
A practical and structured lesson on...
how to develop speed! Using the ‘effortless mastery’ approach, this lesson from Richard Barrett gets to the heart of what it takes to gain speed and fluidity using only conventional techniques – ie no tapping! MoRe GReAt lessoNs
Hubert Sumlin
Muddy and Wolf’s main man!
Blind Faith
Eric Clapton’s post-Cream style
John Scofield
Cool licks over a single chord
Extreme
The amazing Nuno Bettencourt
Joni Mitchell
Legendary open-tuned songstress
plus All this… Classic 30-Minute Lickbag, Sight Reading, Creative Rock, Chord Camp, Instrumental Inquisitions, 60 Seconds With – and more!
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march 2016 issue oN sale WedNesday 20 jaNuary Please note: content is subject to change… 98 GuitarTechniques August 2012 November 2015 98
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