Guitar Techniques - March 2023

Here are a few of your regular GT tuition experts...

SIMON BARNARD

Simon is a graduate of ACM and The Guitar Institute, holding a Masters degree in music. He teaches, examines and plays everything from rock to jazz.

DECLAN ZAPALA

Declan is one of the UK’s top classical guitarists and teachers. He is a Master graduate of RCM and his solo arrangements are sublimely creative.

JON BISHOP

Jon is one of those great all-rounders who can turn his hand to almost any style. He’s also rock legend Shakin’ Stevens’ touring and recording guitarist.

MARTIN COOPER

A tutor at BIMM Brighton, Martin’s Rock columns show an incredible breadth of technique and style. His 2006 album State Of The Union is out on iTunes.

CHARLIE GRIFFITHS

Charlie is a well studied guitarist who specialises in high end rock playing and plays with top UK metal-fusion band Haken. His debut album is Tiktaalika.

JAMIE HUNT

Jamie is Principal Lecturer at BIMM Bristol. He also leads performance workshops, plays in metal band One Machine and is endorsed by ESP guitars.

JOHN WHEATCROFT

A phenomenal guitarist, John is a master at many styles but a legend in Gypsy Jazz. His second album Future Light is out now on iTunes and Amazon.

ANDY G JONES

As well as being Head Of Guitar at LCCM Andy has played with innumerable top musicicans, from Sir Van Morrison and Dr Brian May, to Sir Cliff Richard & more.

JACOB QUISTGAARD

Quist has been with GT since 2009. Currently Bryan Ferry’s guitarist, his YouTube channel is viewed by millions and he creates our monthly jam tracks.

STUART RYAN

Stuart Ryan is great at all styles but best known for his superb acoustic work. He was Head Of Guitar at BIMM Bristol and has many top tuition books to his name.

ANDY SAPHIR

Andy is a stunning guitarist in all styles, but his country-rock licks are fabulous; he’s smooth, fast, and very musical. Check him out on Jamtrack Central.

DAVID GERRISH

David teaches at BIMM in London across many styles and is a busy performing and recording guitarist. His jazz-bluespop leanings are very impressive.

PHIL HILBORNE

The UK’s original magazine guitar tutor, Phil’s something of a legend. A great player, he’s got the Phil Hilborne Band back together so catch them if you can.

WELCOME

JIMMY PAGE. Where does one start when admiring Led Zeppelin’s guitarist? Riffs? Of course. His have shaped what rock music means all over the world, from Black Dog to Immigrant Song. Lead solos? Definitely, from dynamic blues phrasing to roaring flurries, his range is beyond impressive. Heartbreaker’s middle solo is just one example. Rhythmic elements? Absolutely, odd time signatures, syncopated darting between the beats and emphatic power statements are rife. For starters: Kashmir. Acoustic picking? His acoustic chops are as arresting as his electric abilities. Going To California and Tangerine are just two of my favourites.

And so the list goes on. In short, there isn’t a guitarist that has staked more sonic ground, more imagination with more breadth to bigger audiences than Jimmy Page. He is, pretty much without exception, the definitive role model for being a guitarist in a band. Within Led Zeppelin, he did the full mass appeal version of what a guitarist can be first, with more impact than any of his peers.

We heartily embrace that this issue as Jon Bishop deftly presents four study pieces that show much of what we all love about Page. There’s a rousing rock riffer, an expressive slow blues, a DADGAD tuned

strummer and a wonderful fingerpicker to provide four stylistic strands of the great man’s majesty. We hope you enjoy playing through it all.

As for the rest of the issue, it’s a pleasure to present so much variety; we’ve nine video examples of brilliant licks, riffs and chords from Eric Gales plus six gypsy jazz licks (again, on video) from GT’s own John Wheatcroft to highlight his new album, First Light. The emotive Caro Mio Ben has been arranged for solo guitar by Declan Zapala (his video performance is exquisite) and the fingerpicking skills of country superstar Keith Urban are shown on video by Stuart Ryan. John Wheatcroft looks at the jazzy blues of Billy Butler (if you’ve not heard of him do check him out!), Charlie Griffiths presents the shred licks of Zakk Wylde, and David Gerrish shows the bluesy soloing of rocker Dan Patlansky. AC/DC riffing and soloing comes courtesy of Martin Cooper and we’ve the first of a four-part series focused on groovy funk guitar by Steve Allsworth. Until the next issue, keep happy, keep listening and keep playing!

Jason Sidwell, Editor Jason.sidwell@futurenet.com

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GT USER GUIDE

& 1 E 2 B 3 G 4 D 5 A 6 E 2nd string 3rd fret œ 2nd string 1st fret œ 3rd string 2nd fret œ 4th string Open œ 3 1 2 0

MUSICAL STAVE

GUITAR TECHNIQUES: HOW THEY APPEAR IN WRITTEN MUSIC...

PICKING

Up and down picking

Tremolo œ @ @

FRETTING HAND

Hammer-on & Pull-off

TAB Under the musical stave, Tab is an aid to show you where to put your fingers on the fretboard. The six horizontal lines represent the six strings on a guitar – the numbers on the strings are fret numbers.

œ b @ @ 5 4 7 8

œ @ @

n Each of the four notes are to be alternate picked (down& up-picked) very rapidly and continuously.

& E B G D A E œ œ œ œ n # œ œ œ œ œ œ œ n œ œ PM PM 8 8 7 7 6 6 7 7 0 0 0 0 0 Palm muting

n Palm mute by resting the edge of picking-hand’s palm on the strings near the bridge. picking & E B G D A E

Slides (Glissando) Note Trills &

n Pick 1st note and hammer on with fretting hand for 2nd note. Then pick 3rd note and pull off for 4th note.

n Rapidly alternate between the two notes indicated in brackets with hammer-ons and pull-offs.

BENDING AND VIBRATO

Bend

Pick rake

Appeggiate ¿ ¿ ¿ rake X X X

n Drag the pick across the strings shown with a single sweep. Often used to augment a rake’s last note.

n Play the notes of the chord by strumming across the relevant strings in the direction of the arrow head. w 5

n Pick 1st note and slide to the 2nd note. The last two notes show a slide with the last note being re-picked.

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

up/down Pre bend Re-pick bend Quarter-tone bend

n Bend up to the pitch shown in the brackets, then re-pick the note while holding the bent note at the new pitch.

HARMONICS

n Pick the note and then bend up a quarter tone (a very small amount). Sometimes referred to as blues curl.

Natural harmonics Pinched harmonics Artificial harmonics Tapped harmonics

& E B G D A E ‚ · ‚ · ‚ · ‚ ‚ ‚ # · · · NH 12 7 12 7 12 7 & E B G D A E ‚ · ‚ · ‚ · AH16 AH17 AH19 4 7 5 & E B G D A E — ± — ± — ± PH 7 5 7 & E B G D A E ‚ · ‚ · ‚ · TH17 TH19 TH17 4 5 7

n Pick the note while lightly touching the string directly over the fret indicated. A harmonic results.

n Fret the note as shown, but dig into the string with the side of the thumb as you sound it with the pick.

n Fret the note as shown, but sound it with a quick righthand tap at the fret shown (TH17) for a harmonic.

n

markings represent notes muted by the fretting hand when struck by the picking hand.

CAPO

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

TAPPING

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

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

COVER STORY

CONTENTS

TUNE

THE LEARNING ZONE

30-MINUTE LICKBAG

52

Jamie Hunt brings you six vibrant licks from: Ted Turner, Taylor York, Captain Kirk Douglas, Eric Steckel, Josh Smith & George Lynch.

BLUES

54

how he does it with GT!

David Gerrish looks at high-octane bluesrocker from South Africa who’s making waves over here, the excellent Dan Patlansky.

ROCK

Martin Cooper has devised a great rock track that showcases the rhythm and lead styles of AC/DC’s brilliant Malcom & Angus Young.

SHRED

Charlie Griffiths has five challenging licks to play from Pentatonic master and alternate picker extraordinaire, Zakk Wylde.

FUNK & SOUL

Steve Allsworth of Fundamental Changes starts a new series looking at James Brown’s fabulous roster of guitarists.

ECONOMY PICKING

58

62

FEATURES

COVER FEATURE

JIMMY PAGE

Riffing, soloing, fingerstyle 14

The quintessential rock guitar legend, Page has it all, from writing legendary riffs, to edge-ofyour-seat solos, acoustic tunings and picking. Jon Bishop delves deep into his many styles.

SPECIAL FEATURE

THE CROSSROADS

Billy Butler 40

This jazzman had a style that was tasteful and musical. John Wheatcroft checks out his jazzyblues licks, chord phrasing and more.

CLASSICAL TAB

GIUSSEPPE GIORDANI

Caro Mio Ben 48

Declan Zapala tabs this glorious piece made famous by Pavarotti and other opera greats.

REGULARS

WELCOME 3

Jason looks at Jimmy Page’s great heritage.

HUGH CORNWELL 6

The Stranglers’ ex-guitarist turned solo artist answers our 60-Seconds With... Q&A.

INTRO 8

All your regulars including Justin, Mitch, Quist, Phil, and Richard Barrett’s Substitute.

JULIAN LAGE

This superb jazz guitarist offers his thoughts on playing and writing instrumentals.

12

SUBSCRIPTIONS 38 Great offers at www.magazinesdirect.com.

BACK ISSUES

Missed a print or digital edition? Get it here!

61

ALBUM REVIEWS 81

Six of the best new guitar albums assessed and rated by Jason Sidwell and David Mead.

NEXT MONTH 82

John Mayer & The Strat Blues Players! Ant Law & Carl Verheyen video; Hendrix, turbo-charged blues; Rory, Morse, George Lynch & more!

66

70

Simon Barnard looks into a picking style that will allow you to create smooth, flowing lines using as few different pick strokes as possible.

ACOUSTIC COUNTRY 74

Stuart Ryan checks out the acoustic side of a self-made Nashville guitar star who’s better known for his scary electric work: Brad Paisley.

CASCADING SEXTUPLETS

78

Andy G Johns explores using streams of scintillating sextuplet lines in the style of Texan guitar legend Eric Johnson.

EXCLUSIVE VIDEOS!

ERIC GALES

9 examples to play 26

The incredible American blues guitarist sat down with us and demonstrated a whole raft of exciting lead and rhythm ideas that will greatly enhance your blues vocabulary.

JOHN WHEATCROFT 34

GT’s John Wheatcroft is a highly respected gypsy jazz guitarist in his own right. Here he shows us six of his favourite licks.

AUDIO & VIDEO

PLEASE NOTE…

All audio and video lessons are available online via a bit.ly link (see below) where animated tab versions of every lesson can be found. What’s more, you can view these on any type of computer, making for a much more rewarding experience. All the audio and video is also available to download to your computer (hi or lo res). Simply look for the red links on the landing page. Type the bit.ly link below into your browser to get to the GT page:

Jimmy Page, triple threat: Riffs, Solos, Acoustic. Learn

UP Tap here for an audio clip to help you tune your guitar

HUGH CORNWELL

GT:Do you have a type of pick that you can’t live without?

HC: I sure do, it’s a Jim Dunlop .73. It’s the only one I’ve found that has any grip on it. I don’t think it’s what they intended but the writing on it gives you something to hold on to. I can get by with an .88 but prefer a .73.

GT: If you had to give up all your pedals but three, what would they be?

HC: I guess a tuner doesn’t count, right? It’s an easy question for me, as I only use three basic pedals. They are a distortion pedal for soloing, a digital delay, and the Electro Harmonix Small Stone, which gives that round envelope you can vary the speed on, sort of like a flangy tremolo.

GT: Do you play another instrument well enough to perform in a band? If so, have you ever done it?

HC: I started out as a bass player and played bass in my first band at school with Richard Thompson. I learnt to play on a homemade bass I bought from a classmate and the neck was a piece of wood 3x2”. It made playing the violin bass I bought next really easy!

GT: If a music chart were put in front of you, could you read it?

HC: I could figure it out if I had a week to study it, but I never learnt to read music fluently. I’m glad in a way because I had to rely upon my ears and my imagination to work out how to play things. And because of

not learning the rules of written music there are no laws for me when it comes to composing songs.

GT: Do guitar cables really make a difference? What make are yours?

HC: I think guitars sound different when the sound travels down a cable. It’s a bit like recording: things recorded in an analogue way sound warmer and more substantial than things recorded digitally. I think you get a broader spectrum of soundwaves generated using analogue cables.

GT: Is there anyone’s playing (past or present) that you’re slightly jealous of? (And why?)

HC: Not really. You get to a point where you

A minute’s all it takes to discover what makes a great guitarist tick. Before he jumped into his limo for the airport we grabbed a quick chat with exStrangler and now solo artist, Hugh Cornwell.

Hugh Cornwell, the exStrangler turned solo artist, first started in a band with folkie Richard Thompson

accept that what you do is what you do, and that’s it. I’ve never been a twiddly twiddly soloist, and really, the more notes you can play the less value each of those notes has.

GT: Your house/studio is burning down: which guitar do you salvage?

HC: Always the number one Telecaster, without doubt. My life depends upon it, and my sanity too.

GT: What’s your favourite amplifier and how do you set it?

HC: I’ve been a Vox AC30 man for many years. I like the tone it creates and always have done. And because it is only 30 watts it will very rarely be too loud. Mine have been modified, and the cut switch is now a master volume, so it’s possible to set your gain up

GT: What was the best gig you ever did?

HC: Now that’s a hard one. I always feel there’s a better one that will come along and surprise me.

GT: And your worst playing nightmare?

HC: This is a real nightmare, turning up for a show and being underprepared. Rather like the common one of having to sit an exam without being warned.

GT: Do you still practise?

HC: Most days. I have to as my present band is so on it. I don’t want to be shown up by them when we rehearse!

GT: Do you have a pre-gig warm-up routine?

HC: I discovered that classical pianists leave their fingers in a bowl of warm custard to

improve the blood circulation before a performance, but I’ve never tried that. I like to have emptied bowels, as that can impede your movement. And a few warm-up Vocalzones are essential to clear the throat.

GT: And what are you up to at the moment? (Gigs, tours gear, etc)

HC: Well, we’ve just completed our UK tour in November to promote my new album, called Moments Of Madness, that was released on October 21.

Hugh Cornwell’s new album, Moments Of Madness was released on October 21, 2022, and is available in all good record stores and on all the usual digital platforms. For more news about Hugh, his band and their music, please go to www.hughcornwell.com

first without drowning everything else. It helps being a vocalist who became a guitarist, because for me the most important thing that must be heard is the voice.

GT: What kind of action do you like to have on your guitars?

HC: Very low, the higher the action you have, the more energy you use pushing down on the strings to make them hit the fretboard. It also helps me move quicker around from one part of the neck to another.

GT: What strings do you use?

HC: Rotosound Roto Blues, 10-52. They used to be called light top, heavy bottom. When you are the only full instrument in the band you play a lot of chord work as well as single notes, so the bigger lower strings give you the oomph for the chords, while the lighter high strings give you the sharpness you need for the solos.

GT: Who was your first proper influence to play the guitar?

HC: I think I have to say it was a tie between Hank Marvin, Cliff Richard’s guitarist, and Eddie Cochran, the American wunderkid who penned so many great songs when I was growing up.

GT: What was the first electric guitar that you really lusted after?

HC: It was a Fender Telecaster, and it always will be. I think it’s the best-looking guitar that’s ever been manufactured. A work of beauty, in design and execution.

“I’VE NEVER BEEN A TWIDDLY TWIDDY SOLOIST, AND REALLY, THE MORE NOTES YOU CAN PLAY, THE LESS VALUE EACH NOTE HAS”

For Hugh, the Fender Tele is the number one, and always will be

JUSTIN SANDERCOE

“When you don’t feel it, you don’t do it. Do not try. Do not try to write,”

I heard my hero Neil Young say on a TikTok clip. It echoes a brilliant poem by Charles Bukowski called So You Want To Be A Writer. Look it up. It holds a lot of truth, but not the whole truth. Is developing expression something that takes time and practice? There will be many questions here and a few stabs at answers, but this article is about uncertainty and an elusive definition…

When you first start doing anything it’s likely to be clumsyyou need time to learn the fundamental skills that make the art. Right? But is expression related to skill or technique?

When a child dances along with music, they are feeling the music and expressing themselves, and probably in a much purer way than an adult might. They’re not worried about how things ‘should be done’, or that others might judge them… they’ve not been burdened with rules yet. So why do we struggle so much to tap into that feeling of expression when we learn an instrument?

Awareness of these questions and thinking about them can help you free your expression. We all feel self conscious when we play for others - so expression is certainly best explored alone where there is nobody to judge us, so nothing to fear and nothing to lose. Even someone who knows just one chord can tap into expression in the way that they hold the instrument and strum the strings. Musical expression is not skill or technique. Is it?

As you develop your technique you are better able to control the sound that comes out of your instrument. You develop an affinity with music, an understanding of how things work, about how YOU connect with music and how YOU hear it,

how YOU feel it and how YOU express it. Does that mean that someone with great technique is better at expressing themselves than someone with limited technique?

Now we get into some interesting territory. The answer is no. For sure. A punk rocker thrashing out some chords and giving it all they got is just as expressive for their requirements as the classical guitar master performing the most intricate and complex baroque masterpiece with finesse and ease. So there is more than one type of expression?

If we accept that music is a form of individual expression,

then uniqueness is to be celebrated. And think of the multitude of ways there are to express ourselves… there are classical arts like painting and pottery, and dance - but even the way we choose to dress and speak is a form of expression. So people can express themselves any way they want to?

Yes. But. Most people will already have a preconceived idea of how they would express themselves if they could - this is a blessing and a curse. If someone has the desire to express themselves playing a soulful lead solo, then they are likely to think that they have to achieve a certain level of technique and

understanding before they are able to express themselves. The mistake here is that learning to express oneself is something that can be developed right from the start. I regularly see beginners playing that have already opened that ‘expression channel’ and are doing it for real - and I know many working professionals that struggle to really express themselves. So how does one know that they are ‘actually’ expressing something?

They won’t be trying. I think this is the point that Neil is making. Trying is something we do in the practice roomdeveloping skills and techniques. Trying a new thing, exploring it. Trying is an effort or an attempt… the hours of practice… the evolution of ideas and knowledge… augmenting your palette… perfecting your technique. Expression is in the doing. Only sometimes it’s not.

For some artists the effort or attempt IS THE ART. And that’s okay too. Who are we to judge how anyone chooses to express themselves? For many others, learning the craft is part of the art. And understanding the craft allows for that much coveted effortless expression. Others believe we are just conduits for expressions and that we need to be open for the songs or notes or ideas to travel through us.

What matters is making a connection. If someone is able to connect with what you are expressing, it has been successful. And if a feeling is pure and you let it out, then it’s likely that there are others just like you that will connect with it. I love the fact that music is full of contradictions and there is rarely a right or wrong. You can express yourself right now if you just stop trying. Or can you? Safe travels!

The founder of justinguitar.com lends GT his insight as one of the world’s most successful guitar teachers. This Month: Do Not Try.

There are as

many questions

as answers this month confesses Justin

"MOST PEOPLE WILL ALREADY HAVE A PRECONCEIVED IDEA OF HOW THEY WOULD EXPRESS THEMSELVES IF THEY COULD"

SUBSTITUTE Playing Over Changes

THE PENTATONIC SCALE is a good friend to us guitarists, but there occasionally comes a time when we want to spread our wings a little and think outside ‘the box’. Many of us investigate harmony and theory books and websites, only to have our interest rebuffed with musical jargon and exercises that seem impossible to assimilate into our repertoire (that has taken many a long hour to acquire as it is). A good solution could be to

start with a universal pattern (like the Pentatonic or ‘Blues scale’), then add in more informed note choices on a progressive basis. Taking a wellused fragment of chord progression (known in many circles as a II-V-I) we’ve arranged three scales or patterns in the same area of the fretboard to demonstrate how to subtly shift between chords - plus a couple of ‘deluxe’ added notes to really nail the specifics of the chord.

THIS DM7 SHAPE takes its name from the C (or b 7) that occurs on the third string. You could also add a C from the 8th fret of the first string for a brighter effect.

THIS SHAPE 4 D Minor Pentatonic contains the C that gives the matching chord its name. Try using any Cs as a temporary root, (start or finish phrases with them). This is a case of looking at existing shapes differently, rather than actually learning new ones…

BASED AROUND A shape 2 G

Major Pentatonic, there are some added F Naturals on the fifth and second strings. These allow you to reference the b 7 that characterises this chord without needing to learn new shapes or having to jump round the fretboard.

USING THE SAME principle as Ex 5, this shape 5 C Major Pentatonic adds a B on the third and first strings - perfect for emphasising a Major 7th feel - even over a straight C chord!

G7 DIFFERS FROM a regular G (or Gmaj7) chord by virtue of its F (or b 7) on the fourth string. It’s also possible to add another F in at the 6th fret of the second string.

A C MAJOR 7 CHORD contains a B note, and this sets it apart from a regular Major or 7th chord (with its b 7). It occurs here on the 4th fret of the third string.

MITCH DALTON

The studio guitarist’s guide to happiness and personal fulfilment, as related by our resident session ace. This month: If It Ain’t Broke, It Soon Will Be.

Oddly enough, I find that the most stressful aspect of studio work is not the fear of failure. The nightmare of being handed a guitar part that you can’t sight read. Or then, having blundered through a stormy sea of semiquavers, discover that it’s technically beyond your ability due to tempo torture or musicality malfunction. Modesty, humility and other undesirable professional defects dictate that I must confess that any or all of the above can happen on occasion. But the thought doesn’t keep me awake at night clutching my Bonnie Raitt comfort teddy. In truth, my particular confidence crusher is the constant anxiety that something, somewhere along the human/instrument interface will let go with an accompanying bang, crash and involuntary four-letter outburst. To be followed by a silence in which musical director and orchestra stare contemptuously as you flounder helplessly, studio time evaporating at the speed of fright. What follows is an inventory of my emergency tool kit, assembled to ward off both psychological and physical angst should disaster strike. Of course, it isn’t foolproof. It won’t prevent universal mirth if the bridge on your banjo collapses with an explosion to shame a ground-toair missile. It isn’t an icebreaker at dinner parties. But it’s a start.

1. Pencils. Essential for altering parts when requested, and considerably less risky than attempting to memorise said changes or borrowing an item from charitable colleagues in amateurish fashion. I’d go for the tactility and softness of 2B grade or beyond. The Blackwing Palomino 602 at a mere £30 per dozen is the pencil pusher’s pencil but the Staedtler Noris at £2.60 per three pack will get the job done, unless you’ve misheard the arranger’s instructions under the

sound of scratching. Pair with an eraser from the WH Smith Oxford range and a quality sharpener (metal or plastic) to complete this season’s look.

2. Capos. Handy for retaining open-sounding chords that will please your producer when handed a part in Ab , for example. Handily positioned at the 1st fret, astound your friends (optional) as you play as if in the key of G. You’ll need a selection of these artefacts to accommodate the neck curvature of acoustic, Spanish and electric instruments. I like Shubb products for their design and ease of use. You won’t see much change out of a ton, as we say down The Queen Vic.

3. Spare strings. I bring a couple of sets for each instrument: 0.0110.049 for Strat and 335 type guitars (or 0.0105 for a tad more

bend-ability), 0.012-0.052 (round and/or flatwound) for jazz guitars, 0.012-0.052 phosphor bronze for acoustics, Spanish guitar nylon wound items and on into the whacky world of banjos, mandolins and ukuleles. In a word, an expensive nightmare.

4. Tuners. At least two. I use the Snark models that clip on to the headstock relatively painlessly.

5. You’ll need spare 2032 size batteries as these babies run through ‘em like Lionel Messi through Doncaster Reserves. Of course, you’ll also require a premium selection of PP3s for tired and emotional foot pedals, AA and AAA sizes for others and those funny little round ones that are lethal to animals and small children. And guitarists.

6. A set of screwdrivers of progressive gauges to change all

kinds of screws that will detach themselves at vital moments from bridges, pickups and pedals.

7. String winders, string cutters, and pliers of assorted sizes. And expense.

8. Spare picks. I favour Fender 351 celluloid ‘tortoiseshell’ heavy gauge at around £4 per dozen. The colour is immaterial but I guess you could experiment with blue for one specific genre.

9. Spare valves. Personally, I draw the line at the prospect of carrying 6L6s or EL84s and attempting to change the blighters under stress. Better to carry a wee Fender Champ in the boot as insurance.

10. Bottlenecks, glass and/or metal, for slide guitar stylings and pedal steel impersonations.

11. Emery boards and block to maintain nail perfection for those filigree fingerstyle passages. Available from Messrs Boots of Nottingham. Clearly, an unnecessary expense if you’re a thrash or death metal exponent.

Sadly, you’ll have concluded that it will be necessary to carry around a flight case of not inconsiderable proportions just to accommodate this plethora of plectrum perquisites and stave off acute anxiety. But after detailed cost-to-benefit analysis, I have concluded that it works out slightly cheaper overall to sell five or 10 million albums and then employ your own tech guy to take care of the angst-filled details of your professional life. And perhaps your personal one.

In ironic conclusion, I will tell you that one of my favourite effects pedals is the Obsessive Compulsive Drive offered by Fulltone Musical Products, Inc. I have promised myself that the day I bring two OCD pedals to the session is the day I seek qualified medical assistance…

For more on Mitch and his musical exploits with the Studio Kings, go to: www.mitchdalton.co.uk

Mitch: obsessive and compulsive? He certainly tries very hard not to be so!

"IT WORKS OUT SLIGHTLY CHEAPER OVERALL TO SELL FIVE OR 10 MILLION ALBUMS AND THEN EMPLOY YOUR OWN TECH GUY!"

JAM TRACKS TIPS

Use these to navigate our bonus backing tracks

➊ Slow Blues (C)

We start with a simple slow blues in C, where C Minor Pentatonic (C-Eb -F-G-Bb ) and the C Major Pentatonic scale (C-D-E-G-A) are great places to begin. Dig in to milk the notes and tone!

➋ G Mixolydian Vamp

This jam is a simple two-chord vamp (G-F), exploring Mixolydian mode in the context of a bluesy trip-hop vibe. Aside from the obvious G Mixolydian (G-A-B-C-D-E-F), I recommend G Minor Pentatonic (G-Bb -C-D-F) and also G Major Pentatonic (G-A-B-D-E) to produce an uplifting Major key feel.

➌ Jazz Blues (F)

Here’s a slow jazzy-blues in one of the more highly favoured keys of jazz musicians - F. You can mix between F Major Pentatonic (F-G-A-C-D) - same five notes as D Minor Pentatonic - and F Minor Pentatonic (F-Ab -Bb -C-Eb ) to great effect on this standard jazz-blues progression.

➍ Sweet Groove Blues - E Minor

We finish with a fun groove blues in E Minor, where you can use E Minor Pentatonic (E-G-A-B-D) to sound more SRV or Clapton, and E Minor scale (E-F#-G-A-B-C-D) which is more appropriate to Gary Moore or Peter Green. E Harmonic Minor scale (E-F#-GA-B-C-D#) sounds great too.

Visit www.Quistorama.com/ jamtracks and subscribe to www. youtube.com/QuistTV for more jam tracks. Quist’s new album Garden Grooves is out soon and you can find him on Spotify and Instagram, as well as Patreon for his full library of tabs & lessons.

PHIL HILBORNE’S ONE-MINUTE LICK Natural Harmonics Rock Lick

This month’s lick is a phrase comprising only natural harmonics. Obvious influences for this type of idea would be Eddie Van Halen (bars 1-2) and Jeff Beck (bars 3-4). You will need to be super-accurate with your fretting-hand finger placement and always aim to touch the indicated ‘node points’ by gently resting, then quickly releasing your finger(s) immediately after each pick stroke. You also need to let the notes ring into each other – but not too much so that it sounds messy. Muting can help with this aspect. I have given a suggested picking stroke order - this is how I play it - but feel free to change this

to suit. Some sweep picking would also be feasible here - so do experiment! The chord names are given to indicate the relationship between the harmonic notes and the bass line. On the demo track I only played ‘5’ chords throughout. Lastly, it’s wise to experiment with whereabouts on any given string you are picking. This especially applies to the closing E7 arpeggio that's played on the sixth string. The highest notes come out best when the pick is positioned closer to the sting saddles. This shorter string length behind the pick can really make the harmonics sing out.

Try your best Ernest Ranglin jazzy-blues licks over jam track #4

INSTRUMENTAL INQUISITION!

JULIAN LAGE

Guitar instrumentals have supplied some of music’s most evocative moments. Jason Sidwell asks top guitarists for their take on this iconic movement.

This month: US jazz virtuoso, Julian Lage.

GT: What is it about guitar instrumentals that appeals to you?

JL: I think inherently the guitar is an orchestral instrument. It has a wealth of possibilities and combinations, harmonically, rhythmically, timbrally. It makes so much sense that there could be almost a distinctive vocabulary of writing, something that's distinct to the guitar that the composer is using. What I love about it is the marriage of the sounds that guitars can make and what the guitar asks of the player; the techniques and approaches. In other words, writing on the guitar is one of the ways I practise the guitar.

GT: What can an instrumental provide a listener that a vocal song can't?

JL: I'm a fan of abstract art and there's something abstract about instrumental music. It's not literally saying the intent. The trouble with that argument though, is that often the best songs with lyrics aren't literal either. So instrumental and vocal songs can deal in abstraction. That said, one works differently than the other. In many respects, I think both lyric based music and instrumental music have an abstraction element that allows the listener to project their own feelings onto. That's a very powerful mechanism to me.

GT: Any tendencies you aim to embrace or avoid, like rhythm, harmony, playing approach, tones?

JL: When composing on the guitar you don't want to just write the same stuff because there can be a muscle memory element to playing. You can easily go for familiar chord shapes and lines with the danger of sounding the same. I am of the school of thinking that says it's okay to write music that comes easily. Maybe you don't want to write them again and again though. But there's no reason to avoid the obvious, at least as you develop as a composer. I try to remind myself that you can write it even if it's easy, you've done it before or even if you don't think it's a big deal. To create something is the point for me, and hopefully you exhaust the familiar approaches to see newer vistas and have different freedoms. You kind of have to go through the processes. That's a good thing.

GT: Is a typical song structure of intro, verse, chorus, verse chorus, middle outro chorus always relevant for an instrumental?

JL: It doesn't have to. The question is, is it relevant? It absolutely can be if that's what the writer wants. I don't think it's mandatory. As a listener, my experience is that I want to make sense of the songs I'm hearing. So I tend to project forms; this must be with the middle, this must be the bridge. And whether the composer intended that or not, it doesn't take away from the fact that I'm subconsciously or consciously trying to make sense of the music. It's one of the things I love about improvised music, I hear different structures. And I know with great humility that I have no idea what those players were actually thinking. So I like that at least there's a question mark around that. But yes, that typical song form can absolutely work great. But it's not the only way.

form of communication that has the intent of communicating a message is really what's of interest to me.

GT: How do you start writing one? Is there a typical approach or inspiration for you?

JL: I can't say that I have one way of doing it. I will say I write with pencil and paper and a guitar; that format is pretty set and gives me a place to start. Is it a one-page song? Is it a two-page song? Or how far are the notes spaced out? Is it a dense page? Is it a really spacious page? Those kinds of decisions actually help me even though they might not seem as glamorous as hearing a melody and then writing it down. I think the practicality of sitting down and trying to fill a page with music that looks like a song has been very helpful for me thus far.

GT: What do you aim for when your performance is centre stage?

GT: How useful is studying a vocalist approach for guitar melodies?

JL: I think it's very important. There's a certain concept that the voice is natural and playing the guitar is not. Therefore you have to adapt the guitar to be like the voice. I get that, the logic is sound. But I also think it's important to embrace the notion that musical development, much like a voice, is organic. So if a hand moves a certain way, or both hands move a certain way on the guitar, while it might not sound lyrical it doesn't mean it's not native, natural or compelling. Often of more interest to me than the singer is a speaker, the way we talk, the way others speak, often has a very organic idiosyncratic cadence to it. Fundamentally, it’s about communication. Singing, just like playing, can at times fall into similar traps; the act of singing doesn't necessarily mean you're communicating, it can be a fabrication or facsimile of communication. Ultimately, any

JL: Although I can't say I relate to it entirely, I don't think there's a time when you are putting your instrument for every performance at centre stage. You know, even if you're in a position of accompanying someone, your role for the listener who chooses to focus on you needs to be compelling. I think keeping a zoomed-out approach where you're able to is the best way to view this. Metabolise the music as a whole, not just your own part, is something that I'm constantly trying to get better at.

GT: Many vocal songs feature a guitar solo that starts low and slow then finishes high and fast. Is this useful for developing pace? JL: Yeah, it certainly can be. There's also a lot of great solos that are very exciting upfront, and then once the ears are captivated, the player can guide us into areas that are less obvious. I think the notion that we have to generate architecture can act as a burden on creativity. Like, you have got to get somewhere to achieve a result. Educationally speaking, academically speaking, that soloing approach is typically taught. It's my experience to counteract with an apathetic solo that might read as kind of flat. I think, alternatively, you can have solos that aren't necessarily flat but are more conversational, where something happens,

"METABOLISE THE MUSIC AS A WHOLE, NOT JUST YOUR OWN PART, IS SOMETHING THAT I'M CONSTANTLY TRYING TO GET BETTER AT"

then something doesn't and then something happens again. You get distracted, you find something else that’s cool, then there's a pause and then you go back to the beginning. In other words, they can be circuitous, albeit very compelling. There are many directions a solo can go, not unlike listening to someone speak or give a monologue.

GT: What type of guitar tone do you prefer for playing instrumentals? Do you like to vary it or do have a set kind of sound?

JL: That totally depends. I wouldn't say I have one in mind. Something with nice lows and middle, and not too bright often works. And I don't say that facetiously; I like a full sound and then changing the attack and the touch to promote those frequency ranges.

GT: Do you have a favourite key or tempos?

JL: I love the key of Ab. I don't have a favourite tempo but I do like slow tempos that have fast subdivisions built into them so that they kind of feel tempo-less.

GT: Do you find Minor or Major keys easier to write in?

JL: I do not.

GT: Do you have any favourite modes?

JL: I do not.

GT: What about modulations into new keys?

JL: It's great if you can do it.

GT: Would you view the backing band in a different way than on a vocal song?

JL: I don't know. Keep in mind I don't sing so I don't come from a vocal song background. All I do is instrumental ensemble chamber-like playing so that's very, very important to me. So I would imagine it might be different.

GT: What about harmonising melodies?

JL: I'm not sure if I have any views on it. I think a lot of my favourite players feature it in their musical identity. In the ways they harmonise melody, someone like Jacki Byard

(US jazz multi-instrumentalist - Ed) is very different to Thelonious Monk who is very different to Keith Jarrett, different to Jim Hall, but they all have a piece of their musical DNA. Other people may lean more heavily into rhythmic and interpretive adjustments to the melodies to showcase but harmonising them is one of the most potent forms of introducing your voice to a song.

GT: What three guitar instrumentals would you consider iconic, or have inspired you?

JL: Villa Lobos’ Prelude Number 1 is very important to me. And there's a recording of Jim Hall playing Careful, one of his own songs, a live performance on YouTube of him playing it solo; you get the whole picture of what's possible on the guitar. There's many Toru Takemitsu pieces too so it's hard to pick just one. These are all instrumentals that feature solo guitar in all its glory.

The exceptional Lulian Lage with his beautiful Collings signature guitar

Julian Lage’s album, View With A Room is out now on Blue Note Records.

PLAY LIKE… JIMMY PAGE

authentic sounding blues approach, very much in the Peter Green vein, yet still left plenty of room for his own unique approach and interpretation to shine through.

Welcome to this month’s main feature, which focuses on the guitar styles of Jimmy Page. Page started his career in the 1960s and quickly became a sought-after session guitarist on the London recording scene. In 1966 he served his apprenticeship in R&B supergroup The Yardbirds and in late 1968 he formed Led Zeppelin with fellow members John Paul Jones, John Bonnham and Robert Plant.

In this article we aim to identify many of Jimmy’s key techniques and innovations from his Led Zeppelin period, with a view to incorporating these ideas in your own style.

TECHNIQUE FOCUS Using Altered Tunings

By changing from standard tuning (EADGBE) guitarists can open up many new sounds and possibilities. An altered tuning will effect where the other notes are positioned on the fretboard and this can make chords that are usually impossible to play in standard tuning easier to finger. Using an altered tuning therefore promotes use of the ears to create melodies instead of tried and tested fingering patterns. Jimmy was a fan of DADGAD tuning and used it for songs like Kashmir and Black Mountain Side. This tuning’s name comes from the new notes the strings are tuned to. DADGAD tuning is often referred to as a modal tuning, and is ambiguous in terms of being neither Major nor Minor as it contains perfect 4ths (G), perfect 5ths (A) and the root (D). The open strings strummed together basically create a big Dsus4 chord. This tuning is popular among solo acoustic fingerstyle guitarists and is especially effective when playing folk and Celtic style arrangements. Many percussive style acoustic performers also love this tuning. So, get detuning and experiment!

Page’s early recordings featured him mostly using a Fender Telecaster. However he is arguably most associated with the classic combination of his sunburst 1959 Gibson Les Paul (named Number 1) plugged into a Marshall stack. Other guitars such as the black Danelectro 3021 and the doubleneck Gibson EDS-1275 are also iconic additions to the arsenal.

Jimmy’s vibrato and string bending technique are very much at the heart of his style. His fiery approach often puts the emphasis on feel and attitude over clinical precision. However, the overall effect sounds exciting, evocative and musical.

Jimmy often includes large string bends in his solos (tone-and-a-half and even two-tones!). He also often bends all the Minor 3rds in the scale slightly sharp. These quarter-tone bends help the notes to fit and also adds a dirty blues-rock flavour. If you then incorporate his finger vibrato and bending styles with shape one of the Minor Pentatonic, the results will immediately start to sound very 70s blues-rock.

To give you a chance to try out some JP flavoured ideas we have recorded four jam tracks complete with tabbed performances.

Our first jam is a fast-paced romp that draws inspiration from the band’s first two albums. Jimmy was a master of riff writing and these were often built from Pentatonic scales and the Blues scale with its b5 note. The soloing is frenetic blues-based rock and showcases some of Jimmy’s favourite concepts such repetitive phrases and large, ear-grabbing string bends.

The second track is a slow blues number inspired by songs like I Can’t Quit You Babe and Since I’ve Been Loving You. Page had an

Page is an accomplished acoustic guitarist too, and both six and 12-string acoustics are put to good use in Led Zep’s back catalogue. Therefore our third jam track is inspired by big strummers like That’s The Way, and altered tuning acoustic classics such as Black Mountain Side. We are using DADGAD tuning, which has always been one of Jimmy’s favourites (see Technique Focus).

Our fourth and final jam track is a finger-picking workout in the style of big ballads such as Babe I’m Gonna Leave You and the radio classic Stairway To Heaven. Jimmy is an excellent fingerstylist, so it would be remiss not to have a bit of acoustic fingerpicking in here, too.

As ever, all sthe main guitar performances have been notated in the tab, and of course the backing tracks are supplied with our lead performance muted for you to practice over. Good luck, and have fun!

A common mistake that many people make when going for a Page-like sound is to pile on the preamp gain. That is not the way to emulate the power and ferocity that a screaming amp makes. Overdrive softens the tone so opt for a loud, clean tone just pushing into distortion. Add light drive from a pedal if you like, but don’t swamp the basic note. Add effects to taste.

TRACK RECORD Led Zeppelin recorded eight amazing studio and four live albums. If you are looking for a career overview the 1990 compilation Led Zeppelin - Remasters contains all the classic tracks you’d expect. If you are looking to experience the sights, sounds and smells of a hard-working heavy rock outfit on the road, the rock-umentary film The

Song Remains The Same

is well worth a watch.

NEXT MONTH John Mayer heads up our cover feature cast of Great Strat Blues Players!

This month Jon Bishop delves deep into the techniques of one of the most influential blues, rock and folk guitarists of all time, aiming to unlock many of his playing secrets.

GAIN BASS MIDDLE TREBLE REVERB

Jimmy Page as we know him best, open shirted with his Les Paul!

“Jimmy Page is the quintessential riff master”

TRACK 1 A WHOLE LOTTA ROCK

Our first jam track is a fast-paced romp that draws inspiration from the first two albums with their more organic, less produced sound [Verse 1-2: Bars 1-18] The track starts out with a riff that combines palm muting on the sixth string and chord stabs. JP was one of the first rock guitarists to use the palm muting

technique to beef up his riffs. Aim to use down picking throughout as this will help to maintain that even sounding, driving attack. E Blues scale (E-G-A-Bb-B-D) is used to create the fills. There’s a never-ending font of great sounding riffs waiting to be discovered within the notes of this scale.

PLAY LIKE… JIMMY

TRACK 1 A WHOLE LOTTA ROCK

[Bridge: Bars 19-26] The bridge section uses the classic rock and roll riff combined with barre chord stabs. The barre chord can be held in place and then the fretting hand fourth finger used to add the note on the fifth string. Solo: Bars 27-end] We start with a classic JP repeating phrase. This combines

string bending on the third string and a pull-off on the second. There is a great bend to negotiate in bar 30 so be prepared for this. Jimmy often uses open strings to pull off onto and in bars 39-41 we see an ascending chromatic pattern. The solo finishes with a Blues scale riff that’s played in unison with the bass.

Our second track is a slow blues number inspired by songs like I Can’t Quit You Babe and Since I’ve Been Loving You [Chorus 1: Bars 1-13] This solo uses the A Minor Pentatonic scale as a roadmap. In the trio format chords can be included

in a question and answer fashion and this helps provide both accompaniment and musical dialogue. Again there are some big string bends to navigate in here so be sure to warm up if you’re not used to these

BLUES

[Chorus 2: Bar 14 -end] The second chorus starts with a strummed A9 chord that build to a crescendo. [Bars 16-17] This repeating fast phrase is a classic

PLAY LIKE… JIMMY PAGE

Jimmy Page trademark. [Bar 19 and Bar 24] The unison bends help to beef up the notes; players like Jimi Hendrix were also fond of using these.

TRACK 3 THE DADGAD STRUMMER

Our third jam track is inspired by Led Zeppelin acoustic favourites and we are in DADGAD tuning. [Section A: Bars 1-11] This track starts with full, six-string harmonics played above the 12th, 7th and 5th frets. The first strumming section

exploits the DADGAD tuning and allows for a one-finger melody to be played on the third string. On the repeat we beef up this melody by adding in a chord behind it. A light pick (under 1mm) is best as it evens out the percussive attack.

TRACK 3 THE DADGAD STRUMMER

[Section B: Bars 11-20] In section B we add in the B Minor chord to provide some variety. To save space we have used repeat marks and a first and second time bar. [Section C: Bars 21-26] For this section the Csus2 chord provides a

PLAY LIKE… JIMMY PAGE

shift in mood. The 12-string guitar can be a bit of a beast to work with so all of the chords here are relatively easy to finger (you can always use your six-string) [Section D] For the final section we reprise the main melody from section A.

Jimmy playing his Martin acoustic - note the metal slide stuck to the guitar’s shoulder

TRACK 4 ACOUSTIC FINGERPICKING

Our fourth and final jam track is a fingerpicking workout in the style Babe I’m Gonna Leave You and Stairway To Heaven. For this one we are back in standard tuning EADGBE. [Intro: Bars 1-5] The picking pattern starts with a pinch between the thumb and third finger, followed by second and first finger

PLAY LIKE… JIMMY PAGE

plucking. For clarity we have written the picking pattern in the notation. [Verse 1: Bars 6-9] The picking pattern from the intro section remains the main crux of the piece. The only elements that change in the verse are the location of the bass note and also which group of three strings is being used.

TRACK 4 ACOUSTIC FINGERPICKING

[Verse 2: Bars 10-13] For this first repeat we add in a simple yet effective part based around a barre on the 5th fret. This is played over the pattern we learned for Verse 1. If you have a loop pedal you can loop verse 1 and then have fun layering verse 2 and 3 over the top. [Verse 3: Bars 14-17] To increase the

intensity we shift position up to the 8th fret. The picking pattern here is a little more intricate, but the pull-off from the 10th fret to 8th fret on the first string is the key. [Outro:] To finish, we have a few lines that use the A Blues scale (A-C-DEb-E-G). This is played over the same picking part from the intro. Enjoy!

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VIDEO MASTERCLASS Eric Gales

This month GT is thrilled to present an exclusive video lesson from blues-rock rock phenomenon Eric Gales, with nine fully transcribed musical examples that showcase his broad range of styles, techniques and approaches.

Gales is one of the most exciting bluesrock guitarists from today’s burgeoning scene. Just like his contemporaries such as Joe Bonamassa and Josh Smith, who both incidentally produced his most recent album, Eric’s playing is both bang up to date and equally steeped in history, with a sound that is vibrant, energetic and full of life. Eric was raised in musical family, starting at the age of four and with both of his elder brothers to teach him. By 15, Eric was signed to Electra records and from that point to this he has released a steady stream of critically acclaimed albums, toured relentlessly, both as a bandleader and also as a member of the Jimi Hendrix tribute, Experience Hendrix, building up a loyal and devoted following of

fans from all four corners of the world. Eric’s playing is based on blues foundations, but as you’ll see, there are definitely heavy traces of rock, funk, jazz, and country to be found bubbling away not too far from the surface. His tone is on the fiery side, with considerable technical prowess and speedy runs in abundance. But Eric can also be lyrical and beautifully sensitive, with a gorgeous clean tone and a harmonic awareness that nods back to his early roots playing gospel music in church.

Take a close look at Eric’s guitar and see if you can see anything unusual. That’s right, like Hendrix he plays left-handed, but unlike Jimi, who restrung the guitar so that the strings align in the conventional way, Gales leaves his guitar as it would be for a conventional right-handed player and subsequently his strings are upside down. This is a time honoured tradition for blues guitarists, with artists such as Albert King and Otis Rush choosing this route and also contemporary players such as Doyle Bramall and, interestingly, all three Gales brothers, Eric, Eugene and Manuel (aka Little Jimmy King). The good news is that these examples are all layable on a regularly tuned guitar, although you might have also spotted that Eric is tuned down a semitone to Eb, so for you to duplicate his playing exactly, you’ll need to tune down too. Our standard tuning and tab allows everyone to tackle his licks even if they don’t want to tune down and, as the examples are mostly unaccompanied, this shouldn’t present any problems.

There’s tons of new techniques, concepts, phrases, licks and lines for you to learn here. Don’t be put off if at first these ideas look too involved. Building technical facility doesn’t happen overnight, so be patient and perserverve. As always, enjoy…

NEXT MONTH US session legend, Carl Verheyen solos on Jason’s track, Good To Go.

Blues rock vocabulary Rhythmic phrasing Articulation and expression

John Wheatcroft brings you a video lesson from the stunning US blues-rocker that ranges from blues to country, via funk and rock.

Gales with his signature Magneto

RawDawg

a right-handed guitar he plays upside-down

Eric pairs a Magneto S-style guitar with a clean toned DV Mark amplifier, stacking both fuzz and drive pedals to achieve his tone. Explore all pickup combinations on whichever guitar you have, and control the gain with a combination of pedals and your guitar’s volume pot, for a wide range of dynamically varied sounds in keeping with the music you’re playing.

GAIN BASS MIDDLE TREBLE REVERB

“Keep yourself surrounded by the right people, and try to stay inspired. With those things I think you’ve got a winning chance”

Eric Gales

EXAMPLE 1 COLOURFUL PENTATONIC RHYTHMIC SEQUENCES

Here’s a Minor Pentatonic phrase in B Minor (B-D-E-F#-A); remember Eric is tuned down a semitone so this will sound in Bb Minor while it looks like he’s in B Minor on the fretboard. While it’s good to attempt all Eric’s nuances, feel free to mix up your patterns to create your own versions of them.

EXAMPLE 2 BLUESY PENTATONIC PHRASING

More B Minor Pentatonic action here (R-b3-4-5-b7), but moving through the scale in more of a straight line. Take the opportunity to closely explore Eric’s use of vibrato, micro bends and slides to add expression and articulation to this otherwise dry and academic scale structure.

TRACK RECORD Eric’s playing is absolutely burning on his most recent release, Crown (Provogue 2022). Produced by Joe Bonamassa and Josh Smith, this album is full of staggering playing and comes highly recommended by everyone at GT. Other high lights from his extensive recorded portfolio include Story Of My Life (Phantom 2008) and The Bookends (Provogue 2019).

We’re turning the heat up, again using B Minor Pentatonic as the source. In keeping with the change of tone, Eric ups the intensity. Watch for pickup selection, the use of slides and hammer-ons and the variety of rhythmic subdivisions. Eric uses slides a great deal which add a different colour next to hammer-ons and pull-offs.

We’re moving to F# minor for our next Pentatonic excursion (F#-A-B-C#-E). Eric pushes and pulls the tempo organically, so feel free to incorporate some of this rubato feel in your own playing, particularly when playing unaccompanied. Again, pay close attention to the micro bends, adding an idiomatic bluesy feel to the lines.

Next up we experience Eric’s considerable county chops, with a definite trace of Jerry Reed to the note selection and phrasing. It’s remarkable just how orthodox this sounds, when we consider Eric’s technique is completely flipped upside down. Of course, don’t forget to turn the overdrive off as you want a clean tone here.

EXAMPLE 3 BLUES-ROCK LEAD PLAYING

EXAMPLE 4 CREAMY TONED BLUES-ROCK PHRASING

EXAMPLE 5 COUNTRY-BLUES CHICKEN PICKING

EXAMPLE 5 COUNTRY-BLUES CHICKEN PICKING CONTINUED…

While it’s understandable to concentrate on Eric’s incredible soloing skills, he’s also a wonderful rhythm player. Here he’s demonstrating a funky groove against a B7 tonality, also encompassing Em9, G9 and F#7(#5#9) before making it home

to B7. Pay attention to how Gales switches effortlessly from rhythm to lead without missing a beat, and manages to combine chord fragments, complete voicings and single notes to create a cohesive whole.

EXAMPLE 6 FUNKY-SOUL GROOVE CONTINUED…

EXAMPLE 7 BLUESY TRIPLET-BASED GROOVE

There’s a underlying triplet feel to this example, so we’ve shifted time signature in the accompanying notation to 12/8 (1-&-a, 2-&-a, etc). Eric’s playing stays locked into this new rhythmic grid perfectly and once again we’re staying

around a B7 tonality, although the harmony ultimately shifts to the bII7 (C7), IV7 (E7) and V7 (F#7). Again, there’s a health spread of single notes, double stops, chord fragments and complete chords on offer.

7 BLUESY TRIPLET-BASED GROOVE CONTINUED…

EXAMPLE 8 COMBINING LEAD AND CHORDS

Gales starts with some brooding root-5th powerchords, swelling in by using his guitar’s volume pot. After some mean and vibey overdriven single-note lines he turns the pedal off and delivers a selection of beautifully delicate clean ideas

that blend single-note ideas with chords. Again, the tempo is quite fluid, relaxed and free here, so aim to incorporate some of this natural rubato feel in your own unaccompanied playing.

EXAMPLE 9 SOLOING OVER A JOHN MAYER STYLE SOUL GROOVE

We’ve tabbed this in Eb tuning because of the backing track (which is provided for you); play all fret numbers up a tone if you want to play in standard E tuning. Here’s a solo against a John Mayer style two-bar backing loop based around B

Aeolian (B-C#-D-E-F#-G-A). The extra space afforded by this extended groove allows Eric to develop his phrasing. Notice how he states a theme and then expands upon it with repetition, variation and development. It’s clear that he

©»¡ºº B Aeolian groove/loop

Chords and notes are literal, tab is in E b tuning

ERIC GALES { BLUES LICKS

EXAMPLE 9 SOLOING OVER A JOHN MAYER STYLE SOUL GROOVE CONTINUED…

could continue in this fashion all day long, creating new ideas but making sure to develop each phrase fully before moving onto the next. Working on this aspect

of your improvisational vocabulary will allow you to create and maintain interest in your solos, engaging the audience in the process - just like Eric!

Gypsy Jazz Licks

To go with the release of his new album, First Light, we ask gypsy jazz expert and GT tutor John Wheatcroft, to demonstrate six favourite licks in this fascinating style.

Long-standing GT tutor John Wheatcroft’s new album, First Light, explores his life-long passion for the music of the gypsy jazz genius, Django Reinhardt, but with a sound also inspired by more modern jazz influences, from players such as Michael Brecker, Joe Diorio, Allan Holdsworth and many more. ‘It’s all fair game,’ say John. ‘I’ve been fortunate to have the opportunity to perform with many of the truly great current gypsy jazz guitarists from within this tradition, such as Stochelo Rosenberg, Paulus Schafer, Angelo Debarre and more, and universally they have all been very welcoming and really seem to enjoy hearing different ideas brought into this style.’

Recording for First Light started during lockdown, after John recovered from a particularly traumatic battle, including a

spell in hospital due to Covid 19. Fortunately, he has now made a full and complete recovery, but the experience definitely made an impact on the music. ‘I had a lot of time on my hands to take stock, so one thing I decided was to not over-obsess about the creative process and just let the music I make be what it is. With both the compositions and the selection of the right improvised takes, I definitely adopted a more organic and spontaneous mindset here. Surprisingly, for me at least, removing the desire to produce a perfect take in every way got me so much closer to what I was after, and produced a more direct, honest, engaging and hopefully entertaining result.’ The six cohesive musical phrases that follow are loosely divided into three topics with a pair of examples for each. We begin

with some classic gypsy jazz ideas, similar to what you might hear Django employ on his early recordings with the Quintette du Hot Club de France or from the more traditional players within this style. The next couplet of ideas explores common techniques from this idiom. We round things off with two lines indicative of classic and modern vocabulary, taken directly from John’s playing. While this style might not be something you regularly play, we’re certain that there

will be ideas that you can transfer to your lick repertoire. It’s great to explore new genres with a view to borrowing a technique here, or a concept there, so feel free to mix and match ideas, integrating them into your style to expand its range of colours. As always, make sure to transpose these lines into new keys, explore a range of fretboard positions and try these out on any guitar or with any guitar tone that you see fit. As always enjoy!

NEXT MONTH Ant Law joins GT to bring us some cool licks using the interesting 4ths Tuning

John Wheatcroft in his studio laying down his six licks

‘I decided to not over obsess about the creative process and just let the music I make be what it is.’ - John Wheatcroft

John used a Selmer/Maccaferri styled ‘Petit Bouche’ guitar build by UK based luthier Rob Aylward for the GT examples, using a combination of mic’d acoustic tone along with a magnetic pickup located in the soundhole, courtesy of Pêche à La Mouche. Strings are very light (.010-.045) but the action is on the high side to aid volume, attack and projection.

GAIN BASS MIDDLE TREBLE REVERB

GYPSY JAZZ LICKS { JOHN WHEATCROFT

TRACK RECORD John’s latest album, First Light is available digitally from the usual places, or physically from johnwheatcroftguitar.com. This stripped-down release of original compositions features John on acoustic or archtop guitar, with double-bass virtuoso, Mark Rose. His first album, Ensemble Futur, has some heavyweight guest contributions from the likes of John Jorgenson, Huw Warren and Martin Shaw.

John was hit hard by Covid, but has made a long and total recovery

We begin with a classic Django-inspired line in the key of G, spelling out a common harmonic move of I6-IVm6 (G6-Cm6). This early-era gypsy jazz idea stays close to the harmony, as the concluding G Major triad (G-B-F) against the G6 chord illustrates.

This line, in the key of D Major, demonstrates two key concepts from this style. First, we see the use of a chord shape to generate a single-note line, specifically the one-note-per-string A7alt or Eb9/A idea against A7. Further, we see the two main ‘triplet’ embellishment figures. While the first two instances in [bars 1-2]

are triplets, the figure in [bar 3] is actually an eighth note combined with two 16ths, although with a swing feel these two variations sound rather similar and are practically interchangeable. You’ll see decorations such as this all over the place in gypsy jazz so it’s good to get under the fingers.

For this example we’re exploiting the contrasting tones of a fretted note against and open string. This allows us to create interest when just selecting one single note (G: 5th of C) across two entire bars. We create harmonic interest in bar 3 by implying the move between Cdim7 (C-Eb-Gb-Bbb), resolving back to C (C-E-G).

EXAMPLE 1: CLASSIC LINE #1

2: CLASSIC LINE #2

EXAMPLE 3: TECHNIQUE IDEA #1

GYPSY JAZZ LICKS { JOHN WHEATCROFT

Here are two modern sounding arpeggio ideas that use superimposition to imply the move between E7alt to Am. Both of these arpeggios come from the E Altered scale, which can also be seen as F Melodic Minor (F-G-Ab-Bb-C-D-E). If you

explore the arpeggios buried within, you should find a Bb Major triad (Bb-D-F), along with an Fm6 (F-Ab-C-D), along with a host of other options. However, it’s these two sounds that we’re applying here.

EXAMPLE 5: VOCABULARY #1

Here’s a classic sounding line that addresses the II7-V7-I (G7-C7-F6) progression in the key of F and as such could be used as a turnaround, as an intro or even an ending idea. Make sure you transpose such ideas to other keys and string

sets, and make sure to check out the hidden pull-offs and slides, which add immensely to the bounce of the lines and make the articulation easier and smoother when playing at faster tempos.

We end with a modern intervallic idea against the chord Gm6 (G-Bb-D-E) moving to Dmaj7 (D-F#-A-C#). The opening half uses the tritone interval (three tones) to ascend across the strings before falling back down with an intervallic idea that

uses just the 6th (E), 5th (D) and 2nd (A) of our G Minor transposed in octaves. The second bar uses hammer-ons to bridge the gap between open strings before sliding up to end on an A, the 5th of our underlying D Major harmony.

THE CROSSROADS Billy Butler’s Swinging Blues

For this month’s Crossroads, John Wheatcroft discovers the legendary guitarist behind the 1956 hit instrumental Honky Tonk, and much more besides.

time in the key of C. These lines are followed by three contrasting phrases courtesy of Django Reinhardt, Oscar Moore (Nat King Cole) and Danny Gatton (Gene Vincent).

Billy Butler was a wonderful guitarist with a beautiful tone, inventive lines and impressive stylistic range that included authentic blues, swinging jazz, genre defining R&B chops and much more besides. Probably most famous for his work in the mid 50s with pianist and organist Bill Doggett, and more specifically for the 1956 instrumental that he co-wrote with Doggett,

TECHNIQUE FOCUS Double-stops and chord fragments

You can add another level of interest to your soloing style by incorporating small fragments of chords and the occasional double-stop here and there as you wish. This’ll give your phrasing a more three-dimensional sense, but remember be careful to not overdo the level of gain. One of the benefits to choosing a completely clean or very slightly driven guitar tone is the opportunity to play multiple notes at once. One way to approach adding chord fragments is to divide your playing into two distinct parts, one devoted to ’soloing’, articulating predominantly single -note lines, and one doing the ‘comping’. Here we essentially punctuate our melodic statements with chordal figures placed rhythmically in the gaps, almost taking on the role of two players or rather like the twohanded approach of a piano player. A second approach is to consider our part as a whole, where lines can be delivered as single notes but then also these be executed in two, three or four-part harmony. Here, it’s good to evaluate each melodic choice intervallically against the underlying harmony, making sure we have an arsenal of available chord forms for each chord type and from each and every chord tone, so that you can drop an appropriate chord fragment underneath your melody note to add impact on demand. Try it over our backing.

Honky Tonk, Butler maintained a steady career as session musician, sideman and leader in his own right.

Butler’s playing swung like crazy and was rooted in the blues, although the influence of Charlie Christian was also clearly evident. Billy’s lines were always super clear, with a real sense of both melodic and rhythmic intent. This direct and at times simple melodic playing can be deceptively difficult to deliver with authority, as every note really counts and any rhythmic anomaly or glitch in the delivery stands out a mile. Needless to say, Butler made everything sound effortless and the musical ideas that he conjured up and delivered expertly, always sounded like they originated directly from his musical imagination, and not from any kind of memorised finger pattern or shape.

The musical examples that follow explore two sides to Billy’s impressive and musically compelling style. First off we’ll explore his shuffle blues phrasing, beginning with three examples taken directly from his improvisational vocabulary. You’ll notice an abundance of triplet rhythms here, consistent with the underlying pulse of the rhythm section. We follow this with three similar ideas found in the wider world of blues from Duke Robillard, Kenny Wayne Shepherd and Jimmie Vaughan. Next up, we contextualise these ideas with a cohesive solo based around the same shuffle groove and around a complete chorus of a 12-bar blues in the key of G.

For the next section we’ll look at Billy’s jazzy swing playing, again with a trio of phrases although this time we’ve upped the tempo and these ideas are delivered over a stylisticallt appropriate I-VI-II-V vamp, this

We’ve mentioned many times in these articles the immense musical benefits that come from transcribing, and we’d urge you to go directly to the music for each and every artist that we cover here. If you’ve shied away from this activity, the clarity and directness of Billy’s playing might be the just the thing to give your confidence with transcription a massive boost, and you’d learn a huge amount of valuable musical information along the way. Start by attempting to pick up just a bar or two at first sitting, rather like learning a language one word at at time. Before you know it, you be able to decipher longer and more complex musical phrases in real time, just by listening alone. Like all worthwhile skills, this takes time, patience and perseverance so start small and learn to appreciate it’s the journey that counts, not just the destination. And, as always, enjoy.

NEXT MONTH John checks out the turbo-charged blues style of the unequalled Jimi Hendrix

Billy favoured Gibson or Epiphone archtops, and occasionally a Les Paul Recording with low impedance pickups. We’re after a warm, clean tone so select the neck pickup, make sure your delivery is articulate, picking more towards the neck for the jazzier sounding examples. If you’re using single-coils, take the treble down at the amplifier, but don’t reduce the highs too much.

TRACK RECORD Every guitar player really must hear Billy’s phenomenal playing on Bill Doggett’s Honky Tonk (King 1956). To hear him in a more straightahead jazz setting, try Don’t Be That Way (Black & Blue 1976). His playing here is intelligent, articulate and swings like crazy. We’d also recommend Night Life (Prestige 1971), reputedly a firm favourite of the amazing Telecaster maestro, Roy Buchanan.

GAIN BASS MIDDLE TREBLE REVERB

✪ ✪ ✪ ✪ ✪ Moderate Bluesy jazz phrasing Blending major and minor Use of tritone substitution

BILLY BUTLER’S SWINGING BLUES { THE CROASSROADS

Billy Butler playing perhaps the king of jazz guitars, Gibson’s L-5CES

‘Billy Butler and Honky Tonk, my sister used to bring home all the hits of the 50s and I used to sit around the house and learn all those things’ –Danny Gatton

EXAMPLE 1 BUTLER’S BLUES

Let’s begin with a set of Butler-inspired blues lines in the key of G, against various points from within a 12-bar. 1a) is taken from the first four bars of the sequence and uses a small chord fragment idea that follows the transition of B (Maj 3rd of

G) to Bb (b7th of C7). In 1b) we transpose the idea to follow the V7 (D7), IV7 (C7) and I7 (G7) changes. For 1c) we map out the movement between G7 (I7) and C7 (IV7), while maintaining the same consistent fretboard location.

BILLY BUTLER’S SWINGING BLUES { THE CROASSROADS

Our initial Duke Robillard idea explores bluesy single notes and double-stops over the first four bars from a 12-bar in G. There is a real Hendrix-meets-SRV vibe to our Kenny Wayne Shepherd idea in 2b), against the move between V7 (D7)

via IV7 (C7) towards I7 (G7). We end with the melodic/riff based example, 2c), courtesy of the mighty Jimmie Vaughan. Take note again of the connection here between the note B against G7 (Maj3), falling to Bb against C7 (b7th).

Jimmie Vaughan

Billy Butler with 1950s jazz group The Harlemaires, on Epiphone archtop

BILLY BUTLER’S SWINGING BLUES { THE CROASSROADS

We round this section off with a solo over a 12-bar blues in G, full of Butler’s trademark licks. Note the abundance of triplet rhythms, along with articulation of the underlying harmony with the selection of relevant chord tones and the

balance of single notes, double-stops and three-note chord fragments, all blended together to create a cohesive whole. Be aware of the arpeggio tones for each of the three chords, G7: G-B-D-F,

EXAMPLE 4 BUTLER’S SWING

Here we’re looking at a selection of Billy’s swing lines against a I-IV-II-V vamp in C (C6-A7-Dm7-G7). In 4a) and 4b) we see sidestepping, where we move an idea from C up a semitone to Db. This works best if we stick to Major triad ideas (R-3-5) or Major Pentatonic (R-2-3-5-6). This is because our Db functions as the tritone substitute for our V7 chord, in this key, G7, so ideally we’d need to also include

the b7th on our Db chord to make this into a Dominant 7th. Sticking to triadic or Pentatonic ideas eliminates the need to change this interval from Major 7th against or I chord (C6 or Cmaj7: B) to a flattened 7th against out bII7 (Db7: Cb). In 4c) we see C Minor Pentatonic against C Major (C-Eb-F-G-Bb). As this has the potential to sound tense your delivery needs to be confident and bold.

BILLY BUTLER’S SWINGING BLUES { THE CROASSROADS

Let’s round off this study with three swinging ideas courtesy of Django Reinhardt, Oscar Moore (Nat King Cole) and Danny Gatton (Gene Vincent) respectively, with each employing the semitone upward sidestepping motion we’ve just witnessed in Billy’s playing. For 5a) we’re employing a three-note cross rhythmic idea that repeats over the bar line and uses the open third

string as a pedal. In 5b) we’re definitely in full-swing with a line based around C Major Pentatonic scale (C-D-E-G-A), albeit with chromatic decoration and embellishment. For our final example, 5c) we’re employing pedal steel style added 6th and 9th voicings courtesy of the legendary Danny Gatton. Again, here the rhythmic intent and confidence of delivery goes a long way.

TOMMASO GIORDANI Caro Mio Ben

This

This month’s classical arrangement is a hugely recognisable piece among singers, perhaps due to its accessibility as a short-form and self-contained aria. It has found itself a staple of both the stage and the classroom for these reasons, which has secured its continued popularity 250 years after its inception.

The piece’s composer, Tommaso Giordani, had a rather unconventional musical training. He was born in Naples in 1733 and initially grew up watching his local Neapolitan contemporaries such as Domenico Scarlatti [GT337] composing in

the baroque style, but by the time he began showing an interest in music, local tastes were changing which would pave the way for what we would later define as the classical period of music. The prevalence of Opera is one such defining aspect of this era and was Giordani’s vessel with which he carved out a musical career for himself, as well as being the source of his unconventional musical training. During the 1740s his father formed a small touring opera company which the family took part in, so from a very early age a young Tommaso found himself immersed in a life of music, travelling all around Europe alongside his parents and siblings as an

operatic singer and dancer, even playing London’s Theatre Royal in Covent Garden in 1753 (known today as the Royal Opera House). By this time, aged 20, Giordani had taken an interest in composition and his first comic opera La Comediante Fatta Cantatrice premiered in Covent Garden on the 12th January 1756.

Giordani spent most of his adult life living in Dublin and London, and during these years wrote a large body of music including chamber and orchestral works, alongside cantatas and operas. Sadly many of his operas received less-than-ideal criticism from his peers with many operas doomed to financial failure, one even saw him receive accusations of plagiarism which resulted in him choosing to leave Ireland and moving back to London for 16 years.

His piece Caro Mio Ben or ‘My Dear Beloved’ is perhaps the song Giordani is most remembered for, though even this sentiment must be taken with a pinch of salt as there are suggestions that it could have in fact been written by another member of his family. Either way, Caro Mio Ben is a beautiful and evocative piece to have emerged from the early classical period and translates beautifully to the solo nylonstring guitar.

NEXT MONTH Declan arranges and transcribes for solo guitar, El Colibri by Julio Sagreras

TECHNIQUE FOCUS Nail It!

The field of nail care for classical guitarists is a vast and often hotly contested area for discussion, but the basics are generally the same - you simply grow out your plucking-hand nails to a length that slightly protrudes from the fingers when viewed from underneath, then file and buff their edges to form a smooth slope from which the strings can be released. When viewing a split-second pluck in slow motion the flesh of the fingertip damps the string and leads the string onto the ramp of the nail before releasing it, avoiding an audible collision in the process. This approach achieves excellent tonal control and, depending on wether you want to play with a bright or mellow sound, you merely need to alter the angle at which you pluck.

TRACK RECORD Pavarotti features Caro Mio Ben on his 1983 album Mattinata accompanied by the New Philharmonic Orchestra. Aled Jones, back in his early ‘Snowman’ days, released a version of Caro Mio Ben accompanied by organ on his album Heiden Röslen • Caro Mio Ben, and again over 20 years later with orchestra on his album For You: The Collection - it makes for a fun ‘before and after’ comparison.

month Declan Zapala explores a timeless Neapolitan aria. Deeply infused with the opera style it brings plenty of warm, lush chords and beautiful, charming melodies.

Check out Luciano Pavarotti’s heartwrenching version of Caro Mio Ben

“From a very early age Tommaso found himself immersed in a life of music, travelling around Europe with his parents and siblings”

PERFORMANCE NOTES &

[Bars 1-9] In bar 2 hold the G/D chord’s notes with first and second fingers in third position and slide them down to first position for a graceful transition to the Am/D notes. In bar 5 use the quaver rest to shift the fretting hand up early to the high G/B chord. It is recommended to use this idea whenever moving from one chord to another. In bar 7 the D6 to C chord shift is easier than it first seems -

hold the D6 with first, third and fourth fingers, then slide third and fourth fingers down to the lower two notes of the C chord while adding the second finger to its high C. Practice this backwards and forward to feel secure. In bar 8 trill between 2nd and 4th frets with first and second fingers - this involves widening the gap between those fingers so use Ex 2 on page 51 to prepare for this bar.

PLAYING NOTES

Start bar 18 with a 5th-fret barre and then for the next three quavers maintain a five-string barre at the 7th, keeping the fretting hand still while the fingers traverse their notes. You could simplify it by dropping the A in the Am9/E chord, and instead hold the C below it at 10th fret with the fourth finger. This maintains the flow with minimal impact to the overall texture. There is a lot of repetition in this piece which can leave things feeling flat. Create variation by adjusting

your plucking-hand tone position. A nice moment to move to a thin sounding ponticello position (plucking near the bridge) is at bar 30. This then broadens out to a dramatic stop at bar 33, so gradually move back to a warmer tone position during these intervening bars. The trill at bar 34 can be executed with first and third fingers but so as to sustain the final trill over the next chord, end the trill on the fourth finger - take a look at Exercise 1 to explore this idea further.

EXAMPLES

EXERCISE 1 PREPARATION OF BAR 34 SLURRED TRILL WITH GLISS, FOURTH FINGER ON FINAL SLUR

This exercise is preparation for the trilled cadence found at bar 34 and is divided into repeated sections. Repeat each new section until the final note on the first string is light in the fretting hand and has a relatively strong tone, though inevitably it will be slightly weaker in tone than the

note that it has glissed from. Pluck each note separately and gliss the final note, then once this feels light add the remaining slurred notes. We see the addition of the inverted D7 chord at bar 8 and the goal here is to sustain the upper note so you hear the full four-note chord ringing on as one.

EXERCISE

2

PREPARATION OF SLURRED TRILLS OVER A SUSTAINED CHORD

The enemy of speed is tension, so attempting a trilled note while holding a tense chord underneath can feel like trying to punch underwater. This exercise attempts to loosen tension in the fretting hand by building the two main chord shapes found underneath the trills. We start with a less complex version of each

chord followed by the full thing. For the simpler version ensure you are placing minimal pressure on the note underneath the trill - try putting so little pressure on that it buzzes as you trill the note above . The lighter you can hold your chord the more nimbly the finger executing the trill above it will be able to move.

30-MINUTE LICKBAG

Jamie Hunt of BIMM Bristol brings you a new and varied selection of licks to learn at easy, intermediate and advanced levels.

EXAMPLE 1 TED TURNER (WISHBONE ASH)

This riff uses the open D Major chord shape and slides it to a range of positions along the fretboard. Look out for the sus4 chords within the sequence. On these variations, add your fourth finger to the first string, a fret above the usual note

within this chord shape. Also, take note of the Ebsus#4 in bar 3. Here, we stretch the fourth finger one fret higher than the typical sus4 shape. Use your bridge pickup and enough gain for some grit, then, add chorus and a splash of reverb.

EXAMPLE 2 TAYLOR YORK (PARAMORE)

This riff uses octaves, along the fifth and third string, to create a smooth melodic sequence. To control the un-played strings, let the tip of your fretting fingers touch against the neighbouring, thicker string, ansd let the underside of your

first finger touch against the un-played, treble strings. This allows you to attack the downstrokes and drive the phrases along. Use your bridge pickup, select the drive channel on your amp, set a medium gain level, and add reverb.

ROOTS)

This lick features a descending sequence in B Minor Pentatonic, while including the 2nd/9th (C#) for further interest. Each phrase in the sequence lasts three beats. So, this causes the pattern to displace against the 4/4 groove. Familiarise

with the hammer-on, pull -off passages, as they bring fluidity to the faster subdivisions. Select your bridge pickup, set your amp to the drive channel, turn the gain up just above halfway, and add some treble for clarity and definition.

EXAMPLE 3 ‘CAPTAIN’ KIRK DOUGLAS (THE

This E Blues scale lick uses semitone slides on the third string to maintain pace and fluidity. It’s easy to run ahead of the beat when playing phrases like this. So, focus on the duration of each sliding note and try to hear the 16th-note triplet subdivision (six notes per beat) as you tap your foot to the pulse. This provides an

accurate and consistent reference point. For the sound, use your bridge pickup, select the drive channel of your amp and dial in a decent amount of gain. If you have a delay pedal, set it to repeat at a quarter note (90bpm). This thickens your tone and brings extra weight to the notes.

This passage is built around a blues in A and targets the IV7 chord (D7), plus Ebdim, Gbdim, and Abdim. These chords create movement and tension before resolving back to the I chord (A). Each phrase uses the corresponding arpeggio, to reinforce the chord changes. Make sure you include the pull-offs, hammer-

ons, and slides as they maintain the bluesy phrasing within the jazz-inspired note choices. For the tone, use your bridge pickup or two pickups together, and add a light amount of gain from the amp. This enhances the dynamic range and sustain of the notes.

This lick begins with phrases in C# Phrygian Dominant. Rather than alternate pick everything legato and sliding sequences are used for variety. The 4th bar contrasts this by featuring a full-on alternate picking sequence on the first string. Look ahead to the notes up at the 21st, 20th, and 19th frets. This will help you to

land these notes with accuracy. Use a hi-gain distortion and add a quarter note delay to bring further size to the phrases. Use your neck pickup for a smooth tone during the C# Phrygian Dominant phrases (bars 1-3). Then, change to the bridge pickup for the closing alternate picking sequence. Enjoy the shredding!

EXAMPLE 4 ERIC STECKEL (BLUES ROCK GUITARIST)

EXAMPLE 5 JOSH SMITH (BLUES/R&B GUITARIST)

EXAMPLE 6 GEORGE LYNCH (DOKKEN/LYNCH MOB)

DAN PATLANSKY

Join David Gerrish as he explores

hand. Moreover, any of Dan’s studio recordings or live shows demonstrate a powerful, muscular sound that is perfectly partnered with his fiery, ferocious chops. Rolling back the volume slightly, he creates a sweet, clean chime with an airy, glassy quality, and it is here that we see the softer side of Patlansky. His live shows will often include a segment that sees Dan bring the volume down to almost inaudible levels, forcing the audience to really lean in to hear his notes at pin drop volume. This ability to strip back the frills and deliver delicate, controlled, often highly emotive guitar playing, demonstrates a well-rounded, mature musician who clearly has a lot to say with his music.

Dan’s sound is emotive and visceral and he draws the listener in with the intensity of

South Africa may not be a place tht one most associates with producing blues guitar virtuosi, but this month’s featured artist provides us with an incredible exception to the rule.

Hailing from Johannesburg, Dan Patlansky has carved a career path in a world that must have seemed out of reach as a young budding musician hooked on the blues. Dan himself describes how his music taste made him a bit of an outlier growing up, as the only teenager for miles with a burning passion for the music that made up his parents record collection. He wasn’t to let

this deter him though, and his ambition saw him forming bands in his teenage years, eventually leading him to release his debut album in 2000. Since then he has been working tirelessly, recording albums and touring all over the world.

Dan clearly has done his homework, so is well versed in the language of the blues. He takes influence from artists such as SRV, Hendrix and David Gilmour, so it’s no surprise that he would adopt the Fender Stratocaster as his exclusive axe of choice. He unashamedly professes his love of the Strat’s sound and advocates for the approach of sticking to one guitar in order to have a deeper understanding of every nuance, every unique characteristic, thus allowing him to coax every imaginable sound from the instrument. What is obvious is that tone is an incredibly important part of his music, made evident by his tattoo of the word printed across the fingers of his picking

his performance. There’s always a rootsy edge to his approach, whether that’s during a slow ballad or a heavier rock influenced riff laced with plenty of fuzz. His lead playing is extremely expressive and he is comfortable taking his time with ideas. You will notice him really digging to strings bends, wrestling with the guitar to produce a strong, singing vibrato, milking every ounce of emotion from a single note before dazzling you with a flurry of speed. Above all, he takes a melodic approach with solos in order that their prime role is to serve the song. Enjoy!

Dan’s immense tone is achieved with the use of Fender Stratocasters paired with a Fender style amp set to the edge of breakup. We’re going for a clear, strong tone that has enough gain to sustain strings bends but without becoming too saturated. Dan is also not afraid of reverb, often using his amp’s built-in spring reverb paired with a digital pedal for extra shimmer.

Silence Thieves, which was voted the #1 Blues Rock Album in the world by Blues Rock Review in 2014. His new album Shelter Of Bones includes some killer blues playing as well as showcasing his not insubstantial talents as a songwriter.

the blazing licks and colossal tone of South African, Stratslinging guitarist and songwriter, Dan Patlansky.

TRACK RECORD Dan has been no slouch when it comes to releasing music and as a result there is much to choose from. We’d recommend his worldwide breakthrough Dear

GAIN BASS MIDDLE TREBLE REVERB

NEXT MONTH David explores the incredible playing of of the wonderful Rory Gallagher

Strat man Dan Patlansky says get to know one guitar

“His live shows will often include a segment that sees Dan bring the volume down to almost inaudible levels”

PLAY BACKING

STUDY 1 BLUES-ROCK SOLO

This track looks at the blues-rock side of Dan’s style and showcases his melodic playing. His approach is often Pentatonic based, but Dan will add colour with the extensions such as the 9th and an occasional 6th. Pay close attention to intonation when it comes to the string bending idea in bar 6 as this can be tricky.

PLAY BACKING

STUDY 2 12-BAR SHUFFLE SOLO

Our second study shows Dan’s approach to a more typical 12-bar shuffle. The focus here is on capturing the ferocious nature of Dan’s playing as the licks themselves aren’t too complicated. Focus on your vibrato and don’t be afraid to allow for a little handling noise as it’s easy to lose authenticity if the execution is too clean.

AC/DC

Brought to you by…

Waters, Freddie King and Chuck Berry. Malcolm was influenced by many of the same players, but it’s his rhythm guitar sound that has always been the foundation of AC/DC. The band has been described by producer Rick Rubin as the greatest rock and roll band of all time, and they’ve won numerous awards as well as being inducted into the Rock And Roll Hall Of Fame.

The band has enjoyed countless sold-out tours and shifted millions of albums - Back In Black alone selling more than 50 million units to become the highest-selling album ever by a band. After the death of Malcolm Young AC/DC continued to record and tour, with nephew Stevie Young playing rhythm guitar, as he had done during the Blow Up Your Video world tour in 1988 when Malcolm took a break to clean up from substance abuse problems.

The track this month is simple to play,

but it will be the way that it’s played that needs real focus. We’re in the key of B Major which is B-C#-D#-E-F#-G#-A# but the sound of the track is largely built around the B Mixolydian mode - the same as listed above but with an A note (b7) replacing A# (maj7). This lends more of a bluesy sound to the track. The solo is built around B Minor Pentatonic scale (B-D-EF#-A) but also leans heavily towards the blues with its Minor sound over the Major chords in the progression.

AC/DC needs very little in the way of introduction, but for those (about to rock) who need it, they were formed in 1973 in Sydney, Australia by Scottish born brothers Malcolm and Angus Young. The Young brothers have been the bedrock of the AC/DC sound since they began and the classic line-ups of the group consisted of drummer Phil Rudd, bassist Cliff

Williams and singer Bon Scott, who was replaced after his death by Brian Johnson. Johnson’s first album with the band was the classic Mutt Lange-produced Back In Black. The most notable recent name to have a stint with the band was Axl Rose, who temporarily took over lead vocal duties when Brian Johnson needed to get medical help for hearing loss issues.

The band’s sound has always been a blend of rock, blues and heavy metal, but perhaps more so than almost every other band they are virtually a genre in their own right, and have been the blueprint for many other artists over the past five decades.

One of Angus Young’s main influences is his own brother Malcolm, as well as Muddy

TRACK RECORD Let

There Be Rock from 1977 includes the title track and Whole Lotta Rosie, and the first Brian Johnson sung album Back In Black features the title track and You Shook Me All Night Long. Blow Up Your Video from 1988 features the classic track Thunderstruck and the most recent album Power Up from 2020 includes the single Shot In The Dark.

One can’t hear the name AC/DC without picturing Gibson SG and Gretsch guitars. There is less gain needed than one may think, so let the power amp work harder than the preamp, or set plugins or modellers with this in mind. Aim

for a ‘plexi’ style sound, using your guitar’s bridge pickup (roll back some treble from single-coil guitars) then add light reverb.

GAIN BASS MIDDLE TREBLE REVERB

NEXT MONTH Martin examines Deep Purple’s 90s onwards sound with guitarist Steve Morse

Angus Young sporting Gibson SG and blue velvet school uniform!

“Back In Black is the highest selling album of all time by a band”

This month Martin Cooper checks out the rhythm and lead sounds of Australian classic rock legends, Malcolm and Angus Young.

Focus on timing and accuracy when approaching the rhythm part. AC/DC is famous for preferring open-position chord shapes than barres, wherever possible. Also, Malcolm’s parts are always bang in time with the insistent drum beat (or even slightly lazy), so watch out for your timing and attitude here.

The solo is not difficult to play, but you will need to bring bags of confidence and authority if you are to get anywhere near Angus’s strong and bold attitude.

BACK ISSUES

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JANUARY GT343

HANK MARVIN

Three full pieces to demonstrate Hank Marvin’s iconic style plus interview. Exclusive Joel Hoekstra & Emiliano Sampaio videos, Greensleeves for classical guitar; George Benson, Paul Gilbert, Robert Cray, Keith Urban & Pearl Jam.

DECEMBER GT342

FOLK ROCK

Learn the licks of UK guitarists that forged a whole new style from the late 60s on: Richard Thompson, Nick Drake, Martin Barre, John Martyn, Jimmy Page & more! Plus: Dave Grissom, Slash, Smith/Kotzen, TJ Helmerich & more!

NOVEMBER GT341

MARK KNOPFLER

Learn five rhythm and lead styles that make him unique. Steve Morse and Brett Garsed video masterclasses; exclusive tutorial lessons from two masters. Plus: Michael Schenker, Earl Hooker, Scott Henderson, Glen Campbell.

NOVEMBER GT340

BRITISH BLUES EXPLOSION!

Learn how five British guitarists took influence from the blues greats they so admired, and sold it back to America where it sparked a music revolution. PLus: Tim Lerch video; Eric Johnson, Guthrie Govan, Chili Peppers & more!

TO

OCTOBER GT339

ACOUSTIC TURBO BOOST!

Our 8 acoustic legends video will push your picking to new heights! Plus: video masterclass with Andy Timmons. Also: John McLaughlin, Al Di Meola & Paco De Lucia; Knopfler, Petrucci, Page, Gibbons; Weiss’s Fantasie - & much more!

SEPTEMBER GT338

GEORGE HARRISON

Learn four facets of this great innovator’s style: riffing, melodic soloing, acoustic picking, and slide. Plus: Nick Johnston & Kris Barras video lessons; ‘Farewell Lad’ classical; Steve Morse, Joe Bonamassa, Eric Gales, Slash & more!

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ZAKK WYLDE

There’s No Rest For The Wicked

each fragment, the pick moves into and away from the strings. Starting ‘away’ from the strings allows for a clean first ‘downstroke’ on any string. So, whether so are traversing multiple strings, like Ex1, or moving back and forth between a pair of strings like Ex3 and Ex4, this technique will serve you well.

Once you are comfortable with alternate picking, we can add pinched harmonics, or harmonic squeals or screams. To achieve Zakk level harmonics you’ll need gain and chorus to widen the sound. The pinched harmonic is so called because we ‘pinch’ the string with the side of the thumb as we pick it. The physics are the same as producing a regular two-handed natural harmonic, except the node point touch, pick and release motion is all performed with the same motion. The harmonic’s pitch and clarity depends on the point on the string at which you are positioned. Move up and down the string to discover the different harmonics available. Once you hit the harmonic, use your fretting hand to add a wide vibrato. There is really no vibrato too wide in the Wylde world. Use your forearm and wrist to repeatedly bend the string up and down at least a tone, but a Minor 3rd bend will probably sound more Zakk-like.

Our final example is an approach Zakk takes when phrasing three-note arpeggios across strings as with his famous Miracle Man solo. Rather than alternate picking, Zakk uses a downward sweep picking motion across two strings, followed by an upstroke to complete the three-note repetition. This is a cool technique to use in any style of playing.

Zakk Wylde was born in New Jersey in 1967 and since his appearance on Ozzy Osbourne’s No Rest For The Wicked in 1988, has remained one of the most respected and renowned players in the hard rock and metal genres. Zakk’s combination of bluesy feel, shredding alternate picking and trademark pinched harmonic vibrato is as legendary as it is recognisable.

Zakk’s tenure with Ozzy has continued throughout the years with No More Tears and Ozzmosis being highly recommended rock guitar masterpieces. As well as this, Zakk released the acclaimed Pride And Glory in 1994, which paved the way for his Book Of

Shadows solo works and Black Label Society, with whom Zakk has released multiple albums. His bluesy Southern metal style makes him the perfect choice to honour Dimebag Darrell’s legacy for the forthcoming Pantera tribute shows.

Zakk uses a lot of alternate picked Pentatonic and Blues scale patterns and Example 1 demonstrates a typical six-note descending sequence with each note picked with confidence and attack. The key to mastering this two-notes-per-string picking technique is in the angle at which you tilt the pick. The common perception is that we hold the pick in a horizontal plane and move it in a ‘down-up’ motion. Although this theoretically works when playing on one string, changing strings is a messy and inexact affair. Instead, position your hand so the tip of the pick is higher up in space than the round edge of the pick. This makes picking more of an ‘in and out’ motion, with some ‘down and up’ movement too. So with

Play each example very slowly at first and focus on accuracy rather than speed as you learn these techniques.

MONTH Charlie has five examples to try, emulating the great rocker George Lynch

To get you in the ballpark you’ll preferably need a humbucking guitar, although single-coils will work if you tame the treble. Amp-wise it’s high-gain stuff, either from the amp itself (set the gain to 8 or 9), or with a distortion pedal (distortion plus overdrive works great). Zakk often uses chorus to make his pinch harmonics jump out, so try that too, plus light delay.

him fronting his own band then check out Pride And Glory and Book Of Shadows. Zakk has ben leading the heavy rock band Black Label Society since the realease of Sonic Brew in 1999, and Grimmest Hits (2018) represents a great career overview.

in Wylde’s world of fast alternate picking and pinched harmonics, says Charlie Griffiths of this great rocker.

TRACK RECORD Ozzy Osbourne’s No Rest For The Wicked, No More Tears and Ozzmosis are great places to hear how Zakk works as a highprofile sideman. To hear

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Brought Info Alternate picking Pinched harmonics Wide finger vibrato

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EXAMPLE 1

This lick is based in the D Blues scale (D-F-G-Ab-A-C) and is phrased with a descending sixes pattern. Start with a downstroke and use alternate picking throughout, being sure to move your pick in and out of the plane of the strings to enable clean string changes.

EXAMPLE 2

Play the pinched harmonics (PH in the tab) by touching the string with the side of your thumb and releasing as you pick with a downstroke. You can produce different pitches of harmonic by picking different points along the string. Remember, more gain and using the bridge pickup means stronger harmonics.

EXAMPLE 3

This two-string lick is perfect for honing your fast alternate picking. As with Example1 angle your hand so the upstroke brings the pick away from the strings; this should make string changes and downstrokes a lot cleaner.

Now transfer the two-string picking technique to the first and second strings and this time the lick moves up the fretboard through the E Minor Pentatonic scale (E-G-AB-D). Use the side of your palm to keep the open bass strings muted for a cleaner lick.

This lick is based in ascending arpeggios found within D Minor Pentatonic scale (D-F-G-A-C). The picking style is more like sweep picking with a repeating pattern of two downstrokes and an upstroke. The lick starts with slower triplets, then speeds up to 16th notes.

“Zakk’s tenure with Ozzy Osbourne has continued throughout the years, with No More Tears and Ozzmosis being highly recommended rock guitar masterpieces”

Zakk is touring with Pantera to fill the late Dimebag Darrell’s shoes

FUNK RHYTHM GUITAR PART 1

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ABILITY RATING

Intermediate

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Chord knowledege

Funk rhythm repertoire

Timing and precision

Funk is one of the most important musical styles of the last 60 years. Its musical tentacles reach into so many genres that it’s difficult to overestimate its influence. It can feed into all aspects of your playing, from holding down a basic rhythm to helping develop groove within your soloing.

In this series of lessons, we’re embarking on a funk odyssey, from its early roots with

the James Brown-era guitarists, through to modern players of the YouTube generation, like Cory Wong and Mark Lettieri.

All forms of funk lead back to the pioneer and Godfather Of Soul, James Brown who, in the mid-60s, began to experiment with the syncopated rhythms of New Orleans jazz. While R&B, soul and motown tended to emphasise the backbeat (beats two and four), the classic JB signature groove was to emphasise the downbeat with a heavy emphasis on beat 1.

This month we’ll zone in on three of Brown’s most prominent guitarists: Jimmy Nolen, ‘Catfish’ Collins and ‘Cheese’ Martin. All three were responsible for some of his most iconic funk hooks, where simplicity and space are crucial.

NEXT MONTH Steve continues his series looking at top funk styles from the 70s Golden Era

TRACK RECORD With such a huge output spanning five decades, one of James Brown’s many compilation albums, such as the excellent James Brown 40th Anniversary Collection, will give you a cross-section of his music. But obvious classic tracks to bone up on include, Papa’s Got A Brand New Bag, Get Up (I Feel Like Being A) Sex Machine, Get Up Offa That Thing, Please, Please, Please, and This Is A Man’s World.

“All forms of funk lead back to the pioneer and Godfather Of Soul, James Brown”

Steve Allsworth has a brand new series devoted to funk guitar, a style that can benefit your rhythm chops no matter what style you play.

‘Catfish’ Collins - one of the early James Brown guitarists that helped to create the funk sound

EXAMPLE 1 COMMON FUNK DEVICES

Ex1 features three common funk devices: syncopation, fretting-hand muting and the ubiquitous Dominant 9 chord. Jimmy Nolen tended to pick close to the bridge where there is less give in the strings, to create a punchy, percussive

sound. His single-note ideas were based around the chords rather than being derived from scales, and they would often outline the song’s harmony with 3rds, b7s and a sound you’ll often hear in funk rhythm guitar, octaves.

EXAMPLE 2 SLIDING DOMINANT CHORDS

A trademark of JB’s funk was moving to the IV chord for the bridge section, used here with Dominant 9 and 13 extended chords. The move to the V chord at the end of the phrase gives the classic blues-style anticipation of returning ‘home’.

The emphasis here is on offbeat 16th upstrokes, which create the syncopation against a classic Clyde Stubblefield-style drum groove. The semitone chord slides became a Nolen trademark that all subsequent JB guitarists mimicked.

EXAMPLE 3 JIMMY NOLEN 16TH STRUMMING

Ex3 is a great example of Nolen’s relentless 16th-note technique, focused on single notes with swing. It can take some time to build up to his almost superhuman stamina, so take this slowly at first, being mindful of any tension that can easily creep into your forearm or shoulder.

EXAMPLE 4 TWO GUITAR ARRANGEMENTS; THE LOWER PART

The next two ideas show how Nolen and Alphonso ‘Country’ Kellum would find parts that fit seamlessly together without stepping on each other’s toes. The initial descending Bb Minor Pentatonic idea is split across two guitars in two octaves, then the main low note groove features Nolen-esque single-note picking.

EXAMPLE 5 TWO GUITAR ARRANGEMENTS; THE HIGHER PART

Kellum’s job was to keep out of the way of Nolen’s intricate 16th ideas, so we see an economy of movement on beats 2 and 4. It’s important to pay attention to the rests, as they’re crucial to create space between the two parts. Placing each guitar part in a different register creates separation in both pitch and timbre.

EXAMPLE 6 CHICKEN SCRATCH STYLE

The next riff draws on James Brown’s hypnotic groove style with what looks like a fragment of a Dm chord. However, the small triangle chord shape is actually part of a bigger chord. The notes of F, A and D are the actually the b7-9-5 from a

9th chord, with no 3rd played. In this band context, they become part of a Gm9 sound. The three precise string mutes on beat 1 and the switching between single and multi-string mutes are typical of Nolen’s ‘chicken scratch’ style.

EXAMPLE 7 CATFISH COLLINS RHYTHM

Ex7 is an example of ‘Catfish’ Collins’ more energetic 16th-note playing, as heard on tracks such as Super Bad. His ferocious picking hand was relentless at higher tempos, so maintain a floating hand position and keep a very loose wrist to

replicate his style. If the pick digs into the strings, you’ll stumble, so try not to aim into the body of the guitar on the downstroke (your pick should not travel into the pickguard).

EXAMPLE 8 CATFISH COLLINS PULL-OFF LINE

The is based on one of Collins’s trademark pull-off lines. We’re normally taught to avoid pull-offs from the Major to Minor 3rd in blues, but it works here as the predominant sound we hear is still the D7 chord. Use downstrokes, with the pull-off happening as the picking hand returns in mid-air as an upstroke.

EXAMPLE 9 CATFISH COLLINS RIFFING AND CHROMATICS

This demonstrates Collins’ jazz roots with a D Dorian based riff with some chromatic notes thrown in. Check out his extended solo on the 1971 Paris Olympia Live rendition of Sex Machine where you’ll hear his amazing Wes Montgomery-meets-funk style in all its glory.

EXAMPLE 10 CHEESE MARTIN SYNCOPATIONS

This ‘Cheese’ Martin-style idea has lots of cross-rhythms and syncopation as the picking hand mainly follows groups of three 16th notes. Beat 4 is used as a pivot to get back to the downbeat on beat 1. There are two backing tracks for this example to help you experiment playing both straight and swung rhythms.

EXAMPLE 11 SYNCOPATION USING TRITONES

This final groove is a slight variation of the previous example, but focuses on the economical tritone (b5) shape. Depending on how you look at these two intervals, they could be viewed as the 3rd and b7 (G and Db) of Eb7, or the b7 and 3rd (G and C#) of A7 . Bottom line, it’s a very useful shape in funk!

ECONOMY PICKING

genre. There are many rock, jazz and fusion players who employ economy picking such as Frank Gambale, who championed the technique and released a series of books and videos on the subject. Other notable economy pickers are Eric Johnson, Jimmy Bruno, Yngwie Malmsteen and Les Paul. One style of music that uses its own take on economy picking is gypsy jazz, with its most well-known exponent being the great Django Reinhardt.

Many players will often combine economy picking with legato for an even more fluid sound and even less strain on the picking hand. This technique is favoured by many fusion players who employ streams of semi-quavers and sextuplets in their phrasing. However, although there are many benefits to using economy picking, it can lack the articulation and definition of alternate picking. So have a go at using alternate and economy picking, depending on what works best in any given situation.

Key: Am Tempo: 95 bpm https://bit.ly/3EsttvD

improve your

picking Sweep picking Fretboard fluidity

When it comes to using a plectrum there are two main ways of doing so; alternate picking and economy picking. Whereas alternate picking uses a strict succession of up and down strokes to play single-note lines, economy picking takes a different approach where the choice of whether to pick up or down is directed by which string is being picked. For example, when tackling an ascending three-notes-per-string scale, the pick strokes will follow the pattern of down-updown on each string, meaning that the third note on each string is played with a

downstroke while the plectrum continues the same downward motion to strike the first note on the next string. When descending a three-notes-per-string scale, the picking pattern would be up-down-up on each string. Try playing a three-notesper-string scale with both alternate and economy picking so you can see and feel the difference.

If you haven’t experimented with economy picking before and are a devout alternate picker it can be tricky to adjust to this new method. However, it’s a technique worth investing time in. The main advantage is that it reduces the work of the picking hand with it not having to play constant streams of up and down strokes. It can also aid fluidity, especially when playing arpeggios due to the close link between economy picking and sweep picking.

Economy picking is used across a range of guitar styles and is often dictated by

This month’s Examples and study piece show how economy picking can be used across a range of scale and arpeggio ideas. Make sure to follow the picking directions indicated on the score, as these are crucial to playing the Examples correctly.

NEXT MONTH Simon looks at a technique that still baffles some guitarists, Finger Vibrato

The choice of guitar or pickup doesn’t really matter here but since many of the guitarists mentioned are rock or fusion players, a certain amount of gain and slight delay and reverb will help you achieve a suitable tone to accompany the backing tracks. But do keep gain and effects to their required minimum, as too much can mask how well or badly you are playing.

TRACK RECORD Frank Gambale is arguably the master and a dedicated economy or sweep picker. Frank’s debut solo album Brave New Guitar is a good place to start. Yngwie Malmsteen’s Arpeggios From Hell showcases the Swede’s use of the economy picking technique. It’s also worth going back a generation or two, to see how players like Les Paul and Django Reinhardt also used economy or sweep picking.

Simon Barnard delves into a fluid and super efficient technique that allows your pick to glide across the strings creating long, flowing lines.

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Aussie jazz-rocker Frank Gambale is the acknowledged master of sweep picking

EXAMPLE 1 THREE-NOTES-PER-STRING SCALES

Here’s how economy picking is used when navigating three-notes-per-string scales. Ensure that you follow the picking direction, aiming for fluidity.

EXAMPLE 2 PICKING THROUGH ARPEGGIOS

This lick illustrates economy picking when playing arpeggios. This exercise contains elements of sweep picking, which is associated with economy picking.

EXAMPLE 3 STRING CROSSING

Here’s another three-notes-per-string idea which demonstrates how economy picking is used when changing strings.

EXAMPLE 4 INTERVAL BASED LINES

Here’s economy picking for intevallic lines. Start with a downstroke across three strings then the first note of the second four note groupings onwards is up picked.

LESSON } Playing Skills

EXAMPLE 5 ARPEGGIOS ON TWO STRINGS

This is another chordal example using arpeggios on the first and second strings. Again, start with a downstroke before a repeating economy picking pattern is used.

Yngwie Malmsteen is one of rock guitar’s greatest economy pickers

STUDY PIECE USING IDEAS FROM THE EXAMPLES

We start off with an arpeggio line similar to that in Example 5, a little reminiscent of players like Zakk Wylde and John Norum. Start with a downstroke, using the direction to dictate your economy picking. There is a scale run at bar 9 before another arpeggio idea is introduced at bar 10 using the first, second and third

strings. Follow the picking directions and aim for fluidity within your playing. In bars 18-21 we switch back to a series of scale runs which outline the chords played by the rhythm section, before ending with a descending and ascending run in the penultimate bar before resolving to a sustained A note.

BRAD PAISLEY

first album, Who Needs Pictures, was released in 1999 and gave him his first number one country single with the beautiful ballad, We Danced.

Country superstar Brad Paisley was born on October 28, 1972 in Glen Dale, West Virginia and began learning guitar aged eight. His first performances were in the local church and by his early teens he was writing his own music. Soon he was performing regularly and opening for major

acts like Ricky Skaggs and George Jones. Unlike many musicians, his entrance to the business followed a planned trajectory - he studied music business in college and worked as an intern at Atlantic Records before signing a publishing contract with EMI just a week after leaving college. His

Paisley’s high-octane electric style has been covered many times but his skills as an acoustic part writer and accompanist are equal to his electric chops. His acoustic playing can be solid strumming accompaniment or ferocious lead work. For

this study I’ve focused on his colourful approach to playing through standard chord progressions and this piece examines how he uses chord voicings to create a backdrop to his hit ballads. You can fingerpick this one or use a pick - Brad will often use a plectrum when playing parts like these. The main technique here is ‘chord enrichment’ which means taking standard, ‘obvious’ chords and changing or adding a few notes to them to make more colourful and ‘richer’.

NEXT MONTH Stuart checks out top Nashville musician and writer, Chris Stapleton

This month Stuart Ryan gets to grips with the acoustic style of a Nashville superstar who’s better known for ripping out scary electric licks.

TRACK RECORD Paisley has released many albums since his debut in 1999, all of which provide stunning playing. Start with the instrumental album Play, to hear his acoustic playing alongside his burning electric work. But his Life Amplified, World Tour album gives an insight to his terrific stage presence, while debut release Who Needs Pictures shows where he began. His last US hit album was No 1 In Beer.

Brad Paisley has Martin D28 and Gibson J-45 style instruments, both popular for this style, but he also plays a signature Santa Cruz dreadnought. Any decent acoustic will of course work for our examples, but new strings and a good set-up always help. I recorded using a Gibson Custom Shop 1934 Jumbo with Royer and DPA mics and API 550a eqs.

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HULST/MICHAEL OCHS ARCHIVES/GETTY

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“Brad worked as an intern at Atlantic Records before signing a deal just a week after leaving college”

Brad Paisley here playing his prewar style Santa Cruz dreadnought

PLAYING BRAD PAISLEY STYLE

[Bars 1-16] A simple device for getting more colour from chords is to maintain a ‘pedal note’ against them, in this case the open fourth string is played against both the D chords in the first bar and the A in the second bar. Depending

on what the rest of the band is doing, the open fourth string in the second bar either gives you an A/D chord or a Dmaj9 (no 3rd). On guitar this works especially well with triads on the top three strings like these.

[Bars 17-32] Descending bass lines are a songwriter’s preference that Paisley often employs. Using a bassline to descend from the I chord to the V chord is common and in this example that means moving from D (I) to A (V). Using chord

inversions makes the bassline smooth, so in bar 21 you move from a D chord with the root as bass note to the A in first inversion with a C# as the bass note, giving an ultra-smooth bass line (known as voice leading).

SEXTUPLET RHYTHMS

Andy G Jones examines how Eric Johnson likes to combine economy

picking with legato Pentatonics to create beautiful streams of notes.

Much has been written about pick slanting. This is where you angle the pick up slightly. This can be very effective with economy picking, but aim to avoid letting the pick move within your grip.

The second example starts off within A Minor Pentatonic but then branches off into the A Dorian mode. While a lot of teachers suggest that Aeolian is the first choice for sustained soloing over a m7th chord, the

This month’s column continues our investigation of the use of sextuplet rhythms. This time we explore economy picking and position shifting. Both of these techniques constitute a huge part of the great Eric Johnson’s technique. Don’t worry! We won’t go for the blazing speed that Eric is known for, plus many of these lines rely on the Minor Pentatonic scale.

However, I thought I’d push the envelope a little by being a bit more adventurous with the last two examples. In these I’ll combine classic Blues scale and Minor Pentatonic ideas with the Half-Whole Diminished scale over a D7 chord. The notes of this scale are

Eric Johnson’s lines are full of majesty and musicality, with great technique

D-Eb-F-F#-G#-A-B. Notably, this scale gives us the flat AND sharp 9ths with the Major 3rd and the #11. With experimentation, you will note that any pattern of notes within this scale can be moved up or down by Minor 3rd intervals (three frets at a time) and it will still be within the scale.

This sound is more evocative of players like John Scofield and Scott Henderson. And this scale if used over a D7 chord would be really useful if you want to create tension before resolving to a rather more consonant G or G Major 7th.

Economy picking is simply where you can choose to stroke the pick from one string to the next (See Fundamental Changes article). This can work with an upstroke or a downstroke, and this approach can make crossing from one string to another much easier. Most devotees of this approach tend to freely mix it with alternate picking and sweep picking (where you ‘sweep’ the pick over more than two adjacent strings).

flattened 6th degree can be a little strident, so many find the Dorian sound is in some ways a little more stable.

The third example steps out of the economy picking format. It’s a legato Minor Pentatonic idea with a few Blues scale moments, and spans several positions of the neck. There are a few moments where I used chromatic notes to pre-empt notes of the Pentatonic. These notes make the line a little less familiar, and hopefully add interest.

You’ll need reverb and delay for this tone. Try a vintage style delay. The tone should be a classic British cranked head into a 4x12 cabinet sort of tone (with a classy overdrive and possibly a boost pedal as well). If there’s too much drive, the note definition could be compromised. The same could be said for the delay - too much will simply make your faster lines a mush.

TRACK RECORD While these lines don’t require Eric Johnson’s virtuosity, they might help you get some of that spirit. Eric’s albums have been extremely influential. His music is full of beautiful harmonies and atmospheric soundscapes. Check out the classic track Cliffs Of Dover from Ah Via Musicom. His tone is always amazing. Eric has guested with artists as diverse as

and Christopher Cross.

Carole King

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NEXT MONTH Andy moves on from triplets and sextuplets to soloing using Septuplets

“Many devotees of economy picking tend to freely mix it with alternate picking and sweeping”

EXAMPLE 1 MINOR PENTATONICS AND BLUES SCALE IDEAS

Our opening Example is a wide ranging lick based on the E Minor Pentatonic and E Minor Blues scales. Economy picking helps with string crossing.

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EXAMPLE 2 ECONOMY PICKING PENTATONICS

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This one makes even greater use of economy picking. To break up the relentless Minor Pentatonic lines, I added a blues-rock element at the end.

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This idea is a mostly legato lick but you might want to use some economy or sweep picking where it helps. This one is impressive and spans more than three octaves.

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œ œ œ œ œ œ œ b œ n œ œ œ # œ œ œ œ œ œ œ 6 6 6 12

12 11 14 11 12 14 11 12 14 12 14 15 12 15 12 15 12 15

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EXAMPLE 3 THREE-OCTAVE LICK WITH ECONOMY PICKING, CONTINUED…

4 STRING-SKIPPED ARPEGGIOS PLUS

This idea starts with a bluesy idea but quickly slips into the D Half-Whole Diminished Diminished scale and resolves at the end.

EXAMPLE 5BLUESY LICK WITH A DIMINISHED LINE

We finish with another ostensibly bluesy lick, but this one uses the #11 and #9 as a bridge to the Diminished line that follows.

NEW ALBUMS

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

ALBUM OF THE MONTH

KENNY WAYNE SHEPHERD TROUBLE IS…25

(Provogue Records) 9/10

Twenty-five years after its first release, Kenny Wayne Shepherd has re-recorded Trouble Is. The 1997 album helped put him on the map as an outstanding blues musician at the ripe young age of 18, infused with great songs and impressive Hendrix/SRV guitar theatrics. Comparisons could be made between 1997 and 2022 but it’s worthwhile listening to this with fresh ears as Kenny and his band show just how great the songs are and what years of performing them live can do in the studio. Certainly his guitar chops and tones have a power that only experience can enrich. For guitar fans, there is a lot of it on the album from riffs, licks and extended solos that show his rhythmic, chordal and soloing appeal. Slow Ride has a funky groove and tons of great playing, the Strat strutting of True Lies is a perfect driving song, while Everything Is Broken evokes considerable SRV magic. The stinging solo on Jimi’s I Don’t Live Today is quite something, as is the Texas swagger of Somehow, Somewhere, Someway. Brilliant burning blues, born again! (JS)

STEVE HILL

DEAR ILLUSION

(No Label Records) 8/10

Blues-rock fans will like this new album from Canadian singer-guitarist Steve Hill; 10 tracks of upbeat, horn section infused songs with spirited vocals and punchy guitar. All About The Love has a slinky riff and gospel-like big beat drums, and its stinging solo has a biting Texas vibe, a la Albert King. The motorway friendly Keep It Together has a spirited drive, and the ZZ Top tinged beat and rhythm of Everything You Got has chart single quality stamped all over it. Dear Illusion is a passionate ballad and Steal The Light From You has a great Tom Petty/Americana vibe. Dropped D riffer Don’t Let The Truth Get In The Way (Of A Good Story) tells a good yarn and is augmented by The Devil Horns. The soulful Stax

were presented to the others in the studio and then recorded. Certainly, there’s a freshness, an exploratory quality to the music that’s in keeping with much of Blue Note’s’ past canon of classic recordings. Dear Old Friend is a pleasingly soft and warm opener, headed up by Greg’s sax. The Pioneers has a bluesy Americana quality with Bill’s guitar flitting between chords and counterlines. The funky Holiday explores staccato rhythms and angular lines as the band darts around itself. The moody Lookout For Hope keeps the ears peeled as piano and guitar provide sizzling chords alongside bass clarinet phrasing. The bluesy New Orleans vibed Waltz For Hal Willner is most inviting, as is Good Dog, Happy Man. (JS)

ORIANTHI ROCK CANDY (Frontiers Music) 8/10

DAVID CROSBY & THE LIGHTHOUSE BAND

LIVE AT CAPITOL THEATRE

BMG 9/10

Back in 2016

David Crosby released his Lighthouse album and has continued to work with this line-up ever since, featuring Becca Stevens, Michelle Willis and Snarky Puppy founder and bassist Michael League. This is the first live solo release from Croz and that fact is celebrated by the release of the full concert on DVD. Even in his late 70s, as he was at the time of the recording – he’s 81 now – Croz has lost none of the soaring power of his vocals, and his songwriting is as strong as ever. The set begins with two new ones, The Us Below and Things

styled Follow Your Hear features a great vocal, tasty guitar fills and a singing guitar solo. As for Steve’s blues soloing, check out She Gives Lessons In BluesPentatonic phrasing, Hendrixstyle catch bends and Walshesque staccato slide licks. Good stuff indeed. (JS)

BILL FRISELL

FOUR

(Blue Note) 8/10

Bill Frisell’s third album for Blue Note Records sees him in a quartet setting with Gerald Clayton on piano, Johnathan Blake on drums and Greg Tardy on sax and clarinet. With no bassist, the music has a bright sound, the two polyphonic instruments doing much of the contextual harmonic setting as everyone takes turns with the top lines. Initiated over lockdown, Bill’s musical sketches and ideas

The PRS wielding rocker has released a follow-up to 2020’s O, with 11 tracks collated under the title of Rock Candy. Rock it sure does from the opening instrumental, Illuminate (part 1), with its Vai-like tone and phrasing (a tasty sweep too) through to the penultimate pounding pop stomper, Getting To Me (searing Pentatonic licks and string bends). Light It Up would be a good gig opener with four-on-the floor drums, an infectious drop D riff and big vocal stacks. The country pop-rocker, Where Did Your Heart Go features melancholic verses and screaming choruses with bluesy guitar fills and screaming bends in the solo. Red Light pumps hard, reminiscent of US bands like Nickleback; the solo ends with a ‘blink and you’ll miss it’ arpeggio lick that evokes Paul Gilbert (Racer X) and Jeff Tyson (T-Ride) style chops. The electronically infused Void switches between frugal verse arranging and huge chorus with a powerful octaver effect on the guitar riff. If you fancy a genre mashup of catchy songs from one of rock’s premier guitarists, then this album comes highly recommended. (JS)

We Do For Love. Both mellow and beautiful with engaging harmony vocals that will inevitably draw comparisons with his CSN&Y days. The rest follows suit with some gorgeous arrangements of solo material; it’s not until track 12 that he tips a hat to the old band with Guinevere, Déjà Vu and Woodstock. Stunning! [DM]

GARY MOORE

A DIFFERENT BEAT

BMG 8/10

Originally released in 1999, this album is now receiving its first ever release on double vinyl. But digital audio enthusiasts needn’t despair as it’s available in a deluxe CD format, too, with both version receiving brand new liner notes. The album was Gary’s 12th solo release and finds him trying to shake off his ‘back to the blues’ image by experimenting with a more pop-rock approach. But, as the saying goes, you can take the man out of blues, but you can’t take blues out of the man, and Gary’s roots are showing throughout the album. Worry No More has a harder edge and some great guitar playing, while Surrender is a dark ballad with some masterful soloing. Not his finest album perhaps (our standout track is Surrender), but still plenty here to enjoy. [DM]

MORE OF THE WORLD’S BEST LESSONS…

CARL VERHEYEN

Good To Go

This great American session player performs and explains a vibrant solo over Jason Sidwell’s track!

JULIO SAGRERAS

El Colibri (The Hummingbird)

Declan Zapala arranges and tabs this stunning piece from an Argentinian guitarist, teacher and composer.

THE CROSSROADS

Hendrix turbo-charged blues

John Wheatcroft shows the links between Jimi’s fiery blues style and those that came before and after.

ANT LAW

Playing lead in 4ths tuning London based Ant Law demonstrates a variety of stuning phrases and licks in 4ths tuning.

The Great Stratocaster Blues Players

Mr Mayer finds himself among some great company, with so many and varied giants of blues guitar favouring Fender’s slinky second model. Andy Saphir brings his considerable knowledge to this feature, exploring many players’ styles from different Strat decades. Don’t miss it!

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