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PLAY BluEs • ROCk • jazz • aCOusTiC • ClassiCal • sliDE • THEORY 274 OCTOBER 2017

MakiNG YOu a BETTER PlaYER siNCE 1994

crAck the Awesome stYLe of...

SouTherN blueS rock Learn 10 great solos, riffs and rhythms Allman Brothers, Eagles, Lynyrd Skynyrd Little Feat, ZZ Top, Dixie Dregs & more!

Q&As

Marty Friedman Alex Skolnick

cLAssicAL

FANTASIA

Play John Dowland’s stunning composition

video sPeciAL

Two-HandEd

Muddy Waters

Play two full solos like the father of Chicago blues LeArn how to...

Make great pop tracks!

Modern pop perfection requires hot rock tones and six-string attitude

TAPPING Learn a superb uptempo

blues with no pick in sight!

Your Top Style Studies

Soundgarden’s Chris Cornell (Rock) Gypsy genius Birèli Lagrène (Jazz) Jack Johnson surf pop (Acoustic)

ISSUE 274 } OctOBER 2017 Just a few of your regular GT technique experts... rIchard barrEtt One of the best players around, Richard is adept at most styles but truly excels in the bluesier side of rock. He currently plays with ex-Spandau Tony Hadley.

ShaUN baxtEr One of the UK’s most respected music educators, Shaun has taught many who are now top tutors themselves. His Jazz Metal album is considered a milestone.

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

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

phIl hIlborNE The UK’s original magazine guitar tutor, Phil’s something of a legend. A great player, he’s currently touring Europe with the Champions Of Rock show.

pat hEath BIMM Brighton lecturer, ESP product demonstrator and all-round busy musician, Pat brings you six cool licks each month in 30-Minute Lickbag.

harrISoN MarSh Harrison has taught guitar for over seven years. With an ALCM diploma he teaches all levels and ages via Skype, as well as face to face in Somerset, UK.

roNaN MccUllagh Ronan works with major labels and TV alongside playing live and teaching at BIMM in London. He also holds clinics and masterclasses across the UK.

www.myfavourite magazines.co.uk

WElcoME THERE ARE PEOPLE we know as great guitarists, and there are those we know as something else but then discover them to be great guitarists too. Thus it was with me and Glen Campbell, who sadly died on 8th August. Who couldn’t love the Jimmy Webb songs with which he made his name - By The Time I Get To Phoenix, Wichita Lineman, Galveston etc - with those gorgeous arrangements and Glen’s rich and expressive voice? But in the late 70s I saw him on the BBC’s Diane Soloman Show on TV, and realised he was also an awesome picker (weirdly, I played in Diane’s band for about five years but couldn’t make the UK tour that she did with Glen). It seemed he could play anything, from hot Nashville country to lovely jazz, and a dollop of rock shred too. Having watched Glen in action I did a bit of boning up on his career. I found out that he’d been a member of the Wrecking Crew session syndicate - so named because these young bucks came from

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nowhere and ‘wrecked’ the comfortable situation that had prevailed among studio musicians. This amazing bunch, including bassist Carol Kaye, drummer Hal Blaine, keysman Leon Russell and many others, created Phil Spector’s ‘wall of sound’ You’ve Lost That Lovin’ Feelin’, Be My Baby and so on - as well as providing backing for The Beach Boys, Sinatra, Elvis, The Byrds, The Monkees and so many others. Glen was right in the thick of it, and probably played dozens of the licks that we sing along to every day on all those great songs. I love the story where Jimmy Webb sent him the unfinished Wichita Lineman. In such a hurry to finish the song, he grabbed Carol Kaye’s Danelectro baritone guitar and filled the ‘empty’ third verse with that deep and memorable solo. Look out for a feature on this remarkable player next month.

Neville Marten, Editor neville.marten@futurenet.com

DOn’t miss OuR amazing DIGITAl EDITIOn Guitar Techniques’ iPad* edition is now even better!

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

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

jUStIN SaNdErcoE One of the most successful guitar teachers ever, justinguitar.com is a mine of information, and his YouTube channel boasts almost 500,000 subscribers!

IaIN Scott For over 25 years Iain has taught in the UK’s top schools and academies, as well as a stint at GIT in LA. He can also boast playing with the legend Brian Wilson!

johN WhEatcroft A phenomenal guitarist, John is a master at all styles but a legend in Gypsy Jazz. His new album Ensemble Futur is out now on iTunes and Amazon.

Tap the links

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

Animated tab & audio

All the mag’s main lessons have the audio built in with a moving cursor that shows you exactly where you are in the music. Simply tap the ‘play’ button and you’re off - you can fastforward or scroll back at will.

Play the videos

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

plUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to www.myfavouritemagazines.co.uk/GTQsubs * PLEASE NOTE: Only the Apple version contains interactive tab and audio. Zinio and others do not.

Disc auDio (PRiNT VERsioN oNLY) Sometimes the GT CD features some of the backing tracks as mp3 files due to space. These will be found in a folder on the CD-ROM section of the disc, accessible only via a computer, and will not work in a regular CD player. October 2017

CONTENTS TURN TO PAGE 32 NOW FOR OUR LATEST SUBSCRIPTION OFFERS

• C ON T E N T S • O C T OB E R 2 017 •

LEARNING zONE

Many thanks to Vintage ’n’ Rare Guitars in Bath for the loan of this Gibson Custom Shop ’57 Les Paul Goldtop

LESSONS INTRODUCTION

30-MINUTE LICkBAG

Music editor Jason Sidwell introduces another fully-stacked GT lessons section. Pat Heath has six more licks for you to play at easy, intermediate and advanced levels.

BLUES

ROCk

JAzz

ACOUSTIC

CREATIvE ROCk

SLIDE GUITAR

RHYTHM ESSENTIALS

IN THE WOODSHED

Ronan McCullagh continues his new column with a look at Muddy Waters’ Chicago style.

Martin Cooper investigates the playing of Soundgarden and Audioslave’s Chris Cornell. John Wheatcroft goes gypsy this month as he dissects the awesome style of Birèli Lagrène.

Stuart Ryan grabs his surfboard to discover the acoustic pop-rock approach of Jack Johnson. Shaun Baxter continues this series with more great licks using Dominant Pentatonic scale.

Harrison Marsh on playing slide guitar in open D tuning, Elmore James and Johnny Winter style. Iain Scott looks at the rhythm guitar ‘track layering’ of legendary producer Quincy Jones and his incredible roster of session masters. Charlie Griffiths unmasks the frequently misunderstood CAGED system, unlocking the fretboard for both rhythm and lead.

FEATURES

WELCOME

CovER SToRy SOUTHERN BLUES ROCk 10 of the biggest bands

TALkBACk

INTRO

Your opinions on the world of six strings. Food For Thought, Session Shenanigans, Jam Tracks tips, One-Minute Lick and more.

USER GUIDE

SUBSCRIPTIONS

SIxTY SECONDS WITH...

ALBUMS

NExT MONTH

Our easy-to-follow musical terms and signs.

SPECIAL FEATURE 34

Modern pop songs often include raunchy rock parts to lend power and poise to the likes of Rihanna and Beyoncé. Jon Bishop shows how!

CLASSICAL TAb FANTASIA John Dowland

Thoughts on the late lamented Glen Campbell.

Play rhythm, riffs and full solos in the style of: The Eagles, ZZ Top, Lynyrd Skynyrd, Black Oak Arkansas, Allman Brothers, Black Crowes, Little Feat, Creedence Clearwater Revival & more!

MAkE GREAT POP TRACkS Creating and arranging parts

ExCLUSIvE vIDEO!

REGULAR FEATURES

Save money and that tiresome trip to the shops - get GT delivered every month.

Bridget arranges and transcribes this haunting tune whose beauty will touch all who hear it. Played sensitively it’s a genuine delight!

Something you won’t have been expecting: Carl Palmer’s guitarist Paul Bielatowicz taps out a Stevie Ray-style uptempo Texas blues!

...Marty Friedman, who talks track by track to music editor Jason Sidwell about his brand new album, Wall Of Sound. We check out some of the latest guitar CDs.

TWO-HANDED TAPPING Uptempo Texas blues

The Art Of Rhythm; Gary Moore, full technique overview and appraisal; full rock piece played two-hand tapping style; Classical - Barios, Una Limosna por el Amor de Dios. And loads more!

Paul Bielatowicz blows down to Texas for an SRV-type blues, twohand tapping style!

October 2017

TalkBack Post Guitar Techniques, Future Publishing, Ivo Peters Road, Bath, BA2 3QS. Email neville.marten@futurenet.com using the header ‘Talkback’.

LES PAUL LICKS & MORE

Guthrie Govan: shouldn’t we all be aspiring to his level?

ASPIRE TO BE AVERAGE? Last month’s editorial struck me as a little odd. It seemed you were suggesting that people don’t strive to get better as guitarists, but settle for playing averagely. Or at least playing average stuff. That hardly sits right with a publication that’s called Guitar Techniques, does it? I would have thought you’d be pointing to Shawn Lane, Allan Holdsworth or Guthrie Govan and saying these are the benchmarks we should look to attaining, not strumming a G chord and feeling happy about it! This is tantamount to Guitarist magazine saying we should be aspiring to own a £199 beginner’s guitar rather than a PRS, Anderson or Knaggs. Steve Bailey

No of course I wasn’t suggesting we aspire to be average. What I was trying to put over was that there is an art to playing simpler things but doing so impeccably. I exhorted people to try it and test themselves, using the Eagles’ Hell Freezes Over as an example of that art, having recently watched the DVD. I pointed out that if you watch guys of that musical level play, they do it with such style and panache that something relatively uncomplicated, does indeed become a thing of musical beauty. And when you have five people all playing together with that degree of accuracy, timing and feel, the whole thing becomes fabulous. On the other hand, if five people are just about coping with their parts, flailing around scrappily, the 6

October 2017

Thanks for the brilliant 50 Les Paul Licks feature. Richard Barrett did an amazing job of nailing so many different styles and ability levels. How he managed it I haven’t a clue, but it was certainly impressive. I seem to remember a similar feature on strat licks a while back. Is this something you intend to roll out to other guitar styles? If so, how about Telecaster (James Burton, Muddy Waters, Albert Lee, Jim Mullen, Stones); Gretsch (rock and roll, rockabilly, The Beatles, Chet Atkins, etc); Jazzmaster and Jaguar (grunge, indie, surf and so on); Rickenbacker (Beatles again, The Who, Jam, Byrds); ES Thinlines (BB and Freddie King, Chuck Berry, Cream, The Beatles yet again)? I’m sure there are others but this lot should keep you going for a while. Of course, then you could do amps – Marshall, Fender, Vox, Boogie – and even effects like fuzz, chorus, wah-wah etc. Food for thought? Dan Watson

Richard did indeed do a fabulous job on the feature – as he always does. And yes, we have indeed been thinking along those lines for further articles. However, you forgot to mention the Gibson SG (AC/DC, Cream, Beatles, Who, Doors, etc), Explorer/Firebird/ Flying V (U2, Roxy Music, Johnny Winter, Albert King, Hendrix), and perhaps an archtop like the ES-175 (Steve Howe, Joe Pass and so many more). Obviously these aren’t features that we could run every issue – more like two or three every 12 months - so there’s enough there to keep us going for a few years I reckon! All suggestions for features welcome, as always!

JAZZ CHORD SOLOING

Thank you so much for your recent lesson on soloing with jazz chords. It’s something I’ve looked at for years in total wonder, believing it’s some mystical art or particular genius on the part of a select band of players. I suppose I should have realised that there are ‘ways and means’ of cracking the code. And while I wouldn’t pretend to have nailed the entire process, the door has certainly been opened and I’m already making headway. I never, ever thought I’d have the wherewithal to think on my feet enough to solo using chords – I even struggled with 3rds before – but Milton Mermikides’ explanation and examples have made me realise these things can be done in manageable stages. Okay, I’m still at stage one, but before this I never thought I could even get to this point! Thanks, GT! Frank Norton

That’s always been a mystery to me, too, Frank (in fact I said so in my editorial that month). But as Milton explained, it’s a case of understanding the theory attached to chord soloing – knowledge of inversions and intervals, the CAGED system and so on. And while the genius of a Joe Pass or a Martin Taylor cannot simply be taught, the elements that they are using to apply their genius most certainly can. Glad you enjoyed it, and we are most happy to have Dr Mermikides on hand to supply such erudite and rewarding lessons.

and magazines would have merely nodded to his passing, but I somehow knew that GT would grab the baton and do something worthwhile and fitting. I loved the individual tributes that you managed to get from all those great players, plus their recommendations of tracks to listen to and why. But mostly it was Brett’s outpouring of genuine grief, plus his superb musical demonstrations that showed what an influence Allan had been on his playing, and what a master he truly was. With Holdsworth’s passing the guitar world has lost a unique gem of a musician, the like of which we’ll almost certainly never see again. So, thanks once more to all concerned. Joe Ricci

I couldn’t agree more, Joe. When we posted Brett’s video on YouTube and our Facebook page the comments flew in and were staggeringly positive. I’ll admit here and now – I know Jason would, too – that I found it hard not to well up watching it. The fact that Brett could so beautifully demonstrate some of Allan’s approaches certainly was the icing on the cake. I also loved Milton’s For Mortals feature. That they both did their pieces so willingly and at such short notice was also a testament to how much they thought of Allan. As you are aware, I did know him a little bit from my SynthAxe days, so it was particularly poignant to me. Many thanks for your kind words. I hope you like the Chris Cornell piece in this issue. Holdsworth: we will never see his like again

HOLDSWORTH TRIBUTE I just wanted to say a big thank-you to everyone at Guitar Techniques for all the excellent Allan Holdsworth coverage since his untimely death. Both the Holdsworth For Mortals article and Brett Garsed’s superb and heartfelt video feature showed a depth and understanding that wasn’t apparent elsewhere. I know Allan was not a household name and so most newspapers

ALAMY

result is likely to be a mess. And, as Gary Moore once said to me when discussing the notion of playing fast, “If you can’t play one or two notes with a great touch and feel, how can you ever hope to play a fast string of them with any degree of skill?”

Intro Food For thought

Every month, Justin Sandercoe of justinguitar.com lends GT his insight as one of the world’s most successful guitar teachers. This Month: Searching for the perfect ‘comp’.

October 2017

Is compiling or ‘comping’ parts to create a solo a good or bad thing? trendy these days to record to tape which makes comping a lot more difficult - although it’s not unheard of to record to tape, dump the tracks into Pro Tools for some comping or pitch correction and then put it back to tape. And while tape certainly has a cool sound, the idea of laying down music to tape is usually to capture a performance as a whole, warts and all. Recording ‘live’ and aiming for a perfect take has some interesting ramifications that can impact on the music a number of ways, some positive and some negative. I found that when recording live with the whole band playing, that I’m a little less likely to really push out and explore crazy ideas. But that also seems to make me listen to my ‘musical mind’ more and try to ‘hear in advance’ how it’s going to work, which I think is better. Other times when the whole band has been exploring together it’s taken me on fascinating musical journeys that I would have never taken on

my own playing take after take. That said, I enjoy working out parts and will often spend a few hours exploring different ideas, sounds and guitars; often I’ll record them all and comp my favourite bits along the way. Sometimes I’ll keep the bits and layer them up and other times I might learn and replay the comp to get a perfect take of the comped part. Comping often comes up when it comes to solos, but most of the favourite solos that I’ve recorded have been single takes. I remember really struggling to record a solo for a song called Freefall (from The We Came As Strangers album, Eyedom). The song was modern and wanted something a bit outside and crazy; after an afternoon trying different guitars and effects, slides, Ebow and getting myself more and more frustrated I took a break and tried to ‘imagine’ a solo in my mind. A Rage Against The Machine style thing appeared, so I grabbed by Whammy pedal, set up a tone I

people would work on a song For weeks to nail the parts beFore even thinking about recording it

liked and nailed it in one take. Which leads me to thinking about many of the great recordings that were done without comping, and how it got to be that most records made these days use tools like this and why ‘back in the good old days’ they didn’t seem to need it. Perhaps back then guitarists just played guitar… these days the vast majority of players do a lot more than just play: teaching, social media, recording, production, maybe filming and video editing, website maintenance and probably accounting too. Back in the day people sold more records and had other people to deal with other tasks and could just spend their days playing and creating. Maybe. Or maybe it was because bands played live more and spent more time preparing to go into the studio – it was more expensive to record and very few players had a home studio. Older friends have said they would work on a song for weeks trying to nail the parts before even thinking about recording it. Or perhaps it’s just a time thing? If I’m doing a session for someone it will be a lot faster to comp a few takes together than play it over and over until I get it down in one. There are extremes of course. I have a great producer friend who played guitar on a number of chart hits but could hardly play. He’d slowly get his fingers around a chord and strum it a few times and then comp them into a track. It was background parts in predominantly electronic pop, but still, it worked and made music that a lot of people liked. Oh the ethical dilemma! More on that another time I think. So next time you’re recording, do a few takes, comp them together and see how you feel about individual takes and the energy they have, versus the comped track which might be ‘better’. Happy trails and happy comping! Get more info and links to related lessons on all Justin’s GT articles at www.justinguitar.com/gtmag

TINA K

hile recording the last We Came As Strangers album, our bass player Tim Harries coined a phrase about the modern recording process, which was that the producer Owen was looking for ‘the perfect comp’ rather than ‘the perfect take’. I was explaining this to some students recently and was surprised to hear that most of them were not familiar with the process of ‘comping’ in a recording process, so I thought we might explore what it is, how it’s done and the pros and cons of the process and the ‘art’. Comping is short for compiling and is selecting sections from various takes and making them into a single track, not to be confused with jazz ‘comping’ which is short for accompaniment. These comps would normally appear to the listener as one person playing a take, and the engineer would hide any joining of takes. It would be fair to think that comping was part of the computer generation, but I first experienced it as a teenager recording to tape; the singer sang four or five takes and the engineer carefully muted and unmuted the tracks to select the best parts of each performance into one great vocal. My first feeling was that this was ‘cheating’ but there was no doubt the comped vocal was much better than any of the individual takes and that the listener would never know. Should the singer have gone back and sung it over and over until it was ‘perfect’? There was one verse that was really great, expressive and powerful but one held note was pretty flat. The engineer muted the main track for that one note and unmuted another at precisely the right time and the problem was solved. Had that not been possible the singer would have had to do it again and perhaps never captured that vibe again. Or maybe it would have been fine with the flat note? It’s worth giving thought to if you’re getting into recording. It’s

Intro session shenanigans

The studio guitarist’s guide to happiness and personal fulfilment, as related to us by top sessioneer Mitch Dalton. Part 7, where Mitch finds himself gyring and gimbling in the wabe.

very one loves a loser, right? Rest assured. Well, despite the fact that the events described are a quarter of a century old, the scars from this egregious episode remain to this day, the memory still buried deep in my brain fill site somewhere south of the cerebellum. To think that it all started so promisingly. An invitation to participate in a lavish TV video production of Alice In Wonderland, to be recorded in costume as an oratorio with an all-star cast including Claire Bloom, an impressive list of Luvvies and The Philharmonia Orchestra conducted by Oliver Knusson. My good friend Andy Pask (five-string bass guitar, double bass, good reader, own transport) and I were booked for a lengthy day at a church in Dulwich Village. Don’t ask me which one. Our attendance was required from 8am until 8pm, in return for which hefty financial compensation was offered and accepted with an unseemly mix of feigned dignity and suppressed alacrity. To be quite frank, our mission seemed like money for old minims. Our contractor, Burt Rhodes - a man who combined the seemingly incompatible roles of fixer and gentleman - had told us that our parts were written for all but one segment of the work, a musical setting of Lewis Carroll’s nonsense poem, Jabberwocky. At the point at which the analogue alarm bells ought to have burst into life, he concluded casually that the music had been written by the neoromantic, avant garde composer David Del Tredici. And he thought that he might send us the parts. Maybe I was a tad busy at the time but I forgot all about our date with destiny until an A4 sized envelope dropped through the letterbox about a week later. I slid open the contents and within five seconds I knew that my low-end colleague and I were in low end trub. Not only was the guitar part unplayable - it was

incomprehensible. At first sight it seemed as nonsensical as the eponymous mythical creature itself. Weird time signatures, odd note clusters, crazy displaced figures, non repeating atonal phrases. Everything you never want to see on a recording session. The intellect driving this work was clearly a genius or quite mad. Possibly both. There was no alternative. Every available practice minute was to be harnessed in an attempt at disaster avoidance. In the fortnight that followed, I shredded. I nightmared. And I visited Andy’s home on several occasions to play through the slythy toves. There was much gyring and gymbling, stopping only at bryllig for a cuppa. And by the eve of the big day, I truly thought that we might achieve this thing, given a slice of luck and a following wind. The next morning I arrived at a ridiculous hour, bleary of eye and faint of heart. To be sent away with Burt’s instruction, “We’re already massively behind schedule. Come

back after lunch and I’ll update you.” A pleasant luncheon in Dulwich Village ensued. As did afternoon tea. And dinner. We checked back periodically, to be dismissed repeatedly by an ever glummer fixer. “I’m so sorry, boys. They are nowhere near ready for your item. Can you stay until nine o’clock? We’ll pay, obviously.” And so it came to pass that at precisely 8.42pm Burt sprinted out of the gothic gloom and screamed, “Now! We’re recording you immediately! Get in here!” At which point merry hell broke loose and stampeded in our direction. Chairs, music stands and backline were all manoeuvred into place at the front of the orchestra in a desperate attempt to beat the clock. Power appeared miraculously as we jumped into our positions, reminiscent of those old Le Mans 24-hour motor racing starts. Presiding over this carnage was the maestro himself. “No time for a run through. We have precisely six

we were lost within seconds but continued with an assortment oF guessed attempts and drivel

The horrors when an almost impossible-to-play piece becomes exactly that!

minutes before the camera crew and technicians pack up for the night. Time for a single take.” The phrase “You avin’ a larf mate or wot?” might have been employed at this point. But it had yet to be invented. From my vantage point I could see Ms Bloom dressed as The Queen Of Hearts, as if confirmation were needed that I had landed at Wonderland Central. Nothing for it. I fixed my fretted bayonet and went over the top, intent on watching Mr Knusson’s baton like a hawk. Sadly, no one had briefed us about one detail in the staging. I counted the bars’ rest with the concentration of a high-wire artist on stilts, readying myself for my grand electric opening statement. And, at the exact moment the conductor cued my entrance, Mr Jabberwocky himself, all six foot five of him, dressed as a giant golden bird with a wingspan to match, leaped in front of Andy and myself. He then proceeded to spread his feathers and render a deafening interpretation of Lewis C’s opus, all the while obscuring Oliver Knusson’s conducting. Andy and I gazed at each other in open-mouthed horror. We were lost within seconds but continued with an assortment of guessed attempts, improvised phrases and utter drivel. Cue silence and staring at feet. “Sorry about that chaps. That’s all we have time for. Thanks for coming along.” And with that he was gone. Inauthentically but understandably, no grin remained. If I tell you that two weeks later I was booked to appear at Windsor station on a coruscating winter’s evening, don the garb of a Victorian railway porter, climb atop the coal scuttle of a steam engine and mime to the utter nonsense I had played previously in Dulwich, clutching a Strat and any number of straws, you might raise a quizzical eyebrow. But it happened. I still have the video. And the night panics. For more on Mitch and his music go to: www.mitchdalton.co.uk October 2017

Intro instrumental inquisition!

Instrumentals have supplied some of music’s most evocative moments. We asked some top guitarists for their take on this iconic movement. This month: American melodic thrash pioneer and jazz improvisor, Alex Skolnick. GT: What is it about guitar instrumentals that appeals ?

about developing it some more, maybe look for an accompanying melody, harmony, bass line etc. I build up collections of raw ideas on basic recordings that I’ll come back to at a later point. Admittedly not all of the ideas feel as interesting upon later review but some do and I stick with those. Going back with fresh ears inspires new possibilities for additional parts and development. Occasionally ideas originate on other instruments - I’ve written some of my trio originals on piano and some parts on bass. Sometimes it happens after I’ve seen a concert, a film or some other situation where I’ve heard some music I like and a musical idea is inspired by what I’ve heard, hopefully not derivative (and if so, I’ll try changing it around and if that doesn’t work, let it go). Sometimes it just happens while out and about. In that case I’ll just sing into my phone, then work on it later as soon as I have an instrument.

AS: To be honest, I’m generally not that big a fan of tunes that sound specifically targeted to guitarists and fans of the guitar - you know, the type of stuff one hears at music trade shows (not to rub anyone the wrong way, just my personal taste). That said, one of my favourite shows in recent years was the guitar instrumental king, Jeff Beck. However, he does it in a way that is as much about the mood, the dynamics, the textures and the band interaction as about the guitar. As a listener, I look for instrumental music that has these qualities, whether there’s guitar or not. As an artist, I do my best to strive for that in my own instrumental music.

GT: What can an instrumental provide that a vocal song can’t? AS: It can be refreshing to hear music that uses the texture and melody created on instruments as the main focus, as well as hearing what the musicians are capable of beyond supporting a vocal. Also, a good instrumental is free from being defined by words and more open to listener interpretation.

GT: Is there anything that you aim to embrace or avoid? AS: The most important thing to me is to capture a mood. This happens in a different way, depending on what sort of ensemble one is playing in, or whether one is playing unaccompanied or with loops. One thing that gets in the way, and something I do my best to avoid, is overplaying. There has to be a sense of musical development - where is the piece going? If you take the listener on a little audio voyage, then you’ve done your job.

GT: Is a typical song structure always relevant? AS: Every song is different, but returning to the same parts by following a familiar structure doesn’t always work. There are great instrumentals (Rush’s YYZ, Edgar Winter’s Frankenstein and Metallica’s Orion) where part of 10

October 2017

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

Alex Skolnick with his ESP signature guitar what makes them great is that they don’t follow a typical structure; hearing them for the first time you’d never guess what’s coming next.

GT: How useful is studying a vocalist’s approach? AS: It is quite useful. George Benson is someone whose singing and guitar playing are connected in a deep way. You don’t have to be blessed with a beautiful voice like that (few of us are) but you can still work towards being able to sing your own parts to yourself and develop that connection, as well as learn from the phrasing of vocalists you like. Learning to sing a bit greatly helps this process.

GT: How do you start writing one? AS: It usually happens by chance in one of a few different ways. Often, I’ll be warming up first thing in the day, just playing randomly to wake up the fingers, when all of a sudden, out of nowhere, I find I’m playing an interesting part that feels worth capturing. This is never planned. While I’m a complete rationalist and pragmatist, I have to say that it sometimes feels supernatural, as though this new musical idea came from another source. That’s how I know it’s worth saving. First, I’ll use my iPhone voice memo, ZOOM MP3 recorder or whatever’s close by, so it’s captured. Next, I’ll see

one thing that gets in the way [oF creating mood], and something i do my best to avoid, is overplaying

AS: I aim to go on a little journey and take everyone in the room with me. It can be all too easy to find yourself on stage just looking down at the guitar neck, retreating into your own headspace, forgetting to interact with the audience and even with your band. But in order to get to a place where you engage your audience and bandmates, it takes years of experience, awareness, the ability to critique your performance and abilities (which some aren’t able to handle). But if you can stick with it, develop through gig after gig (some of which won’t go well), you can eventually be a performer who engages the audience.

GT: Many songs feature a solo that starts low and slow then finishes high and fast. Is this structure useful for instrumentals? AS: I wouldn’t think so. The main reason is that a song can go from low-slow to high-fast or anywhere in between with a much more open canvas to work more freedom to shift gears than a solo. It would seem very limiting - to me at least

Intro - to to try to follow the arc of a solo, which is bound by its accompanying parts and generally has a much shorter time frame in which to make a whole statement.

GT: What type of guitar tone do you prefer for instrumentals? AS: It has to sound natural, whether clean or overdriven, capturing the quality of the guitar. Computer plugins, multi-effects units, modelling amps etc, don’t work for me and I don’t like the way they sound on recordings or live (the Kemper is a rare exception). As far as clean instrumental tone, I think Bill Frisell is my number one pick; he also has some nice distorted tone). As for overdriven tone, I love Beck’s sound. I caught one of the last Allman Bros shows, and Derek Trucks had the nicest tone I’ve heard recently, with just an SG into an amp, no effects. GT: Any favourite keys or tempos? AS: I like many keys but I suppose G has a special quality and brings out unique ideas. Any Major mode in G relates to the open Em position, which results in some great licks (although I try to avoid Em as a key just because it’s so typical and I’ve done so much of it as many of us have). I like many tempos, so no strong preferences.

GT: Do you find Minor or Major keys easier to write in? AS: Major keys can be tougher, simply because there is the danger of falling into the trap of sounding too ‘light’ or ‘sappy’ for my personal taste. I don’t mind the challenge though, and have written plenty of Major key ideas.

GT: Any favourite modes? AS: I just posted a video of me exploring Mixolydian (in G naturally). While I don’t usually think of this or any mode as a ‘favourite’, and tend to play around with the relative modes as well (particularly D Dorian in this case) there is something special about Mixolydian. For one thing, there are some great ‘third party’ patterns that it can be blended with, such as blues licks that incorporate the Minor 3rd. Since Mixolydian directly relates to the basic Dominant 7 chord (upon which the traditional blues form is based), this makes sense. Also, Mixolydian shares some notes in common with the half-whole diminished scale, which also works over a Dominant 7 chord to create many possibilities.

GT: Modulations into new keys? AS: I do some modulations but try to make them serve a purpose for the song as a whole, and not just be there for the sake of changing key. There are many ways to do it, though it’s hard to not sound too predictable or obvious. Sometimes I look at modulations I like by clever songwriters - The Beatles, Charles Mingus, David Bowie, movie themes, Pat Metheny etc. Or just think of songs I know that modulate. Then I’ll analyse their modulations, see how it relates to the melody and see if there’s something I can learn from. Then I apply that to my own writing. The Beatles were masters at doing these subtle modulations that used the notes of the melody to tie one key to another, sometimes very discreetly.

phil hilborne’s one-minute lick

Alex playing with melodic thrash metal band Testament

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

am a fan of harmonised melodies when used wisely and it’s a lot of fun to create them.

AS: Well, it’s really just a shifting of roles, as a vocal number has the guitar as part of the backing, along with the bass, keyboars, drums etc. Whereas with an instrumental piece, the guitar IS the vocal. So the other instruments have to apply that same support to the guitar, but the band has to be aware of the dynamic difference between a guitar as a lead instrument against that of a human vocal. GT: What are your views on harmonising melodies? AS: Harmonised melodies are like any other ingredient - speed, volume etc. Each can be incredibly effective when used creatively but there is also a very thin line between that and overdoing it. In general, I

GT: Are there three guitar instrumentals that you feel are iconic or have inspired you? AS: Jeff Beck, Goodbye Porkpie Hat (Wired) - it blends two of my favourite artists, JB and Mingus. Pat Metheny, Brightsize Life (Brightsize Life) - title track of an important debut, also introduced Jaco Pastorius. Al DiMeola, Suite: Golden Dawn (Land Of The Midnight Sun) - also features Jaco on bass. While the Jeff Beck album taught me how to bend, this taught me how to pick. For more information on Alex’s trio gigs, his album releases, tour dates, blog, ESP guitars and gear, and much more, go to alexskolnick.com

Am9 Arpeggio Sweeping-Tapping Lick

GUITAR TECHNIQUES MAGAZINE 74 This sWEEPiNG AND tapping combination creates a2 modern sounding tapping idea that sounds great and is easy to visualise on the neck. if you ONE MINUTE LICK - by Phil Hilborne arpeggio phrase that is reminiscent of Greg howe and Michael Lee Firkins. it find the stretches awkward, try the lick higher up the neck in keys such as begins with a swept Am arpeggio; be careful not to rush, as the timing and . . . LICK Bm, Cm or Dm and then move it down as and when it feels comfortable. Am9 note definition is important. Methodical practice will be the key to success After you have mastered it try to develop similar phrases using different here. The rest of the lick features a descending symmetrical stretch arpeggio types - there are tons more great ideas to be found!

NICK DELANEY

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October 2017

That Was The Year...

Intro

1980

ploders Erruptions, Ex ners and Executio MOONSTONE GUITARS IN CALIFORNIA

is becoming the talk of the town and the Exploder is another fine guitar built by self-taught luthier, steve helgeson. it’s a three-piece maple/padauk through-neck design with a classic reverse burl wood body shape. The neck is reinforced with graphite stringers and the rosewood fingerboard features 24 frets and pearl dot inlays. The distinctive headstock is faced with matching burl maple and all metalwork is gold plated. A pair of J-style Bartolini pickups is controlled by volume and tone rotaries.

JAPAN INTRODUCES DOMESTIC CAMCORDERS

and fax machines; the Pac Man arcade game appears; and a mini gold-rush occurs in the Australian outback. in Mexico a baby giant panda is born, the first ever natural birth of the species in captivity. The first phase of the Tyne and Wear Metro opens on Tyneside linking haymarket in Newcastle to Whitley Bay.

KATE BUSH BECOMES THE FIRST

British female artist to top the album charts; Duran Duran finalise the band’s line-up and sign with EMi; Cliff Richard is appointed an MBE; David Bowie and wife Angie file for divorce; Paul McCartney is arrested in Tokyo for possessing marijuana; and following John Lennon being shot dead his single (Just Like) starting Over shoots to number one on the charts.

THE PREVIOUSLY DORMANT MOUNT STHELENS

erupts in March. After several days of seismic action pressure continues to build and in mid May a massive eruption takes place and a large part of the mountain is blown away. Along with the explosions it creates mudslides and avalanches and a large ash cloud. Fifty seven people lose their lives and the activity continues.

AFTER 23 YEARS RICKENBACKER RETIRES

its tulip style 900 and 950 guitars. introduced back in 1957 these two 3/4 sized guitars have faired very well but their popularity is sadly in decline. The 900 and the two-pickup 950 version featured maple body and neck in their classic neck through body design. With fixed bridge and single coil pickup(s) they were available in Fireglo, Jetglo, Brown, Grey and Natural finishes.

GUITARS ARE OFTEN REFERRED TO AS AN ‘AXE’

but Kramer takes the designation literally by producing an Axe model for Kiss’s Gene simmons. While Gene’s model is naturally a bass the guitar version is cutting edge too! A limited, individually signed and numbered run of 1000, the design is based on the ‘Olde English Executioner Axe’ with a maple body, bolt-on aluminium neck (with rear wood inserts), 22-fret ebanol fretboard and a prong (or tuning fork) headstock with three tuners per prong. it’s loaded with a DiMarzio humbucker with volume and tone controls. Resplendent in a custom black and silver polyester finish, once seen it’s never forgotten!

October 2017

Jam tracks tips

Use these tips to navigate our bonus backing tracks ➊ Chicago Style Blues (B) Let’s start with this blues shuffle jam track featuring a Chicago style turnaround. It’s in B and you can have fun mixing B Minor Pentatonic (B-D-E-F#-A) and B Major Pentatonic (B-C#-D#F#-G#) as well as playing around with the main 7th arpeggios: B7 (B-D#-F#-A), E7 (E-G#-B-D) and F#7 (F#-A#-C#-E)

➋ Slow Blues (G) Playing the blues at this ultra-slow tempo can be great for developing your sense of time. Use G Minor Pentatonic (G-Bb-C-D-F) and G Major Pentatonic (G-A-B-D-E) as a starting point. G Mixolydian (G-A-B-C-D-E-F) also works great (G7 chords). As does G Dorian (G-A-Bb-C-D-E-F) on the C7 chords and good old G Major scale (G-A-B-C-D-E-F#) on the D chords.

➌ E Minor 2-5-1 (Medium Swing) Here’s a jazz practice jam track on the classic 2-5-1 progression in E Minor. The chords are F#m7b5, B7 and Em7, although you will hear extended versions of these chords. Use E Minor scale (E-F#-G-A-BC-D) for the F#m7b5 and Em7 - and E Harmonic Minor (E-F#-G-A-BC-D#) for the B7 chords. Then try treating the B7 as an Altered chord and use the B Altered scale (B-C-D-Eb-F-G-A) over it.

hot For teacher

➍ Jazz Blues in F We finish this month’s tracks with this simple jazz-blues in the key of F. With just bass and drums, you have plenty of space to both solo and ‘comp’ all over it. Use F Minor Pentatonic (F-Ab-Bb-C-Eb) and F Major Pentatonic (F-G-A-C-D) as a starting point and have a go at the arpeggios as well: F7 (F-A-C-Eb), Bb7 (Bb-D-F-Ab), Cm7 (C-Eb-G-Bb), Bdim7 (B-D-F-Ab), D7 (D-F#-A-C), Gm7 (G-Bb-D-F), C7 (C-E-G-Bb). Have fun, see you next month! Jam tracks created by Jacob Quistgaard. For free scale maps and hundreds more tracks, visit www.quistorama.com. You can also subscribe to www.youtube. com/QuistTV to get all the latest tracks and licks. Or find Quist and his jam tracks on Twitter, Instagram and Facebook.

your

WHO: Dean Whale TOWN: Rainham, Kent STYLES TAUGHT: Pop, rock, blues, funk, jazz, acoustic, classical, performance, singing and playing, using fx and equipment SPECIALITY: Rock, jazz, funk and rock guitar techniques. Guitar luthier work also carried out. QUALIFICATION: Grade 8 electric guitar, A-level in music LEVELS TAUGHT: Beginner to advanced, RGT grades if desired, music theory to advanced level SIGHT-READING: Beginner to advanced CHARGES: £16 per ½ hour SPECIAL: Fully equipped sound proofed studio / recording studio / guitar workshop for all repairs, modifications and setups / session musician TEL: 01634 260252 EMAIL: dean@dwstudios.co.uk

tutor

GT User Guide

You can get more from GT by understanding our easy-to-follow musical terms and signs... Relating tab to youR fRetboaRd 3

every transcription or lesson in Gt is graded according to its level of difficulty, from easy to advanced. we’ll also let you know what aspect of your playing will benefit by attempting a lesson.

our raTing SySTem

a c

4 T

advanced moderate-advanced

nuT & freTboard

hand labelling

moderate

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

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

easy-moderate easy

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

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

GUITAR TECHNIQUES MAGAZINE USER GUIDE

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

Chord example

Chord example (with capo)

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

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

a major scale

Down & Up Picking

E B G

& SCale example

E B G D A E

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

≤

9 5 7

œ @

E B G D A E

œ @

œ bœ @ @

# œœœ

E B G D A E

1E 2B 3G 4D 5A 6E

piCking variations anD ≥ alternatives ≤ GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking

up and down picking Down & Up Picking

Tremolo picking Tremolo Picking

œ @

palm muting Palm Muting

œ bœ @ @

œ @

nœ # œœœ

œ œ œ

E B G D A E

≥

≤

n the first note is to be downTremolo Picking picked and the last note is to be up-picked.

œ @

œ bœ @ @

n each of the four notes are to Palm Muting be alternate picked (down- & up-picked) n œœ very rapidly n œœ and continuously. œœ & # œœ

œ œ œ

œ œ

E B G D A E

@ 5

@ 4

@ 7

October 2017

Palm Muting

@ 8

E B G D A E

œ œ œ

E B G D A E

8 7 6 7

Pick Rake

8 7 6 7

n œœ œœ

œ œ

PM 8 7 6 7

n palm mute by resting the edge Rake ofPick picking-hand’s palm on the strings near the w bridge.

¿¿

rake

PM 8 7 6 7

E B G D A E

& E B G D A E

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4th string Open

2 1 2 0

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rake

E B G D A E

arpeggiate chord Arpeggiate Chord

rake

≥

0 1 0 2 3

E B G D A E

n Drag the pick across the Arpeggiate Chord strings shown with a single sweep. often used to augment a ˙˙˙ ggg # ˙˙˙ rake’s lastgg note.

Arpeggiate Chord

Pick Rake pick rake

PM E B G D A E

8 7 6 7

7 8 œ stave, œ œ tabœ isœ an aid Tabbing @ @ under thetomusical PM to show you where put your fingersPMon the E B 8 8 G horizontal 7 7 fretboard. the six lines represent the six D 6 6 A 7 7 strings on a guitar – the numbers on the E 0 0 0 0 0strings are fret numbers. the two stave and tab examples show chords; c (c major), em (e n œœ 4 notes andPick4 Rake minor), œœ D7 (D dominant 7) and am7 (a minor 7).

E B G D A E

3rd string 2nd fret 2

Guitar techniques: How tHey appeaR in wRitten music... E B G D A E

1st fret

œœ

1E 2B 3G 4D 5A 6E

the left box shows an a minor pentatonic scale with added 5 tapped notes signifiedPalm by Muting ‘t’s. ≤ above shows a cmaj9 (no 3rd) with harmonics at the 12th fret. nœ

1 E B G D A E 2nd string

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5 Tapping & harmoniCS @

≥ &

Tremolo Picking

Down & Up Picking

2nd string 3rd fret

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Down & Up Picking

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Tremolo Picking GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking

2B 3 1 muSiCal STaVeTremolo the five horizontal lines for 3G 2 C Em Picking D7 A m7 4D 0 5A music notation show note pitches and rhythms 6E # œ œ œ œ œœ and & are divided by œœbar lines. œ œœ œ b œœ

A E

1E 2B 3G 4D 5A 6E

2nd string 1st fret

ggg # # ˙˙ gg ˙ gggg 454 ggg 44 g 5

˙ & gggg ˙˙˙ ggg # ¿˙ g ggg gg ggg

0 0 2 2 X 2

ggg # ˙˙˙ gg # # ˙˙ ggg ˙

ggg gg ggg

4 5 4 4 4 5

n play the notes of the chord by strumming across the relevant strings in the direction of the arrow head.

~~~~~ ˙ (œ œ) b ˙

freTTing hand GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Fretting Hand

E B G D A E

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

E B G D A E

tr E B G D A E

( )

~~~~~

E B G D A E

& E B G D A E

E B G D A E

S 5

n Fret the start note (here, Left Hand Tapping the 5th fret) and bend up to 6 the pitch of the bracketed œ & before releasing. note, œ œ

≠œ œ ≠

≠

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natural harmonics Fret Hand Muting

& &

n œ ¿ ¿ ‚ ¿ œ# ‚‚ ¿ ¿ ‚# œœœ ‚¿¿¿ ¿¿¿ ¿¿¿ œœœ ‚ ¿¿¿ ¿¿¿

· · · ·· 8 X X X 7 X X 12X 6 12 X X X 12 7 X X X

≠ ≠ ≠

X X X X

n pick the note while lightly touching ‚ the‚string‚ directly over & the fret indicated. a harmonic results.

···

AH17

· · · ·· 8 7 6 7

X X X X 12

X X X X X X X 12X

X 8 7 X 6 X 7 7 X 7 7

X X X X

artificial harmonics

& E B G D A E

‚

± ±± 7

‚

‚ is‚ picked, then the n the note & whammy bar is raised and TH17 TH19 pitches TH17 lowered to the shown in brackets. E B G D A E

··· 5

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

nœ # œœœ

¿¿ ¿¿ ‚ ‚

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X X X X

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· · · ·· 8 7 NH 6 7

X X X X

8 7 6 7

¿¿ ¿¿

& E B G D A E

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

···

TH17 E B G D A E

TH19

‚

± ±±

···

TH17

TH19

dive bomb

‚

#‚ 8 X X ‚X 8 ‚ X ‚ ‚ 767 ‚XXX XXX XXX 767 XXX

AH17

E B G D A E

—

± ±± ‚

E B G D A E

‚

E B G D A E

TH19

¿¿ ¿¿

X X X X

‚

··· AH17

AH19

—

— —

± ±±

7 5 vibrates n the fretting hand 7 the note by small bend ups and releases. the last example uses the vibrato ‚ ‚ bar.

E B G D A E

‚

···

TH17

‚

···

TH17

TH19

TH17

Touch harmonics

TH17

n Fret the note as shown, but ‚ rightsound it with a quick hand tap at the fret shown œ & (th17) for a harmonic.

TH17

Tapped harmonics

œœ œœ

¿¿¿ ¿

· · · ··

Vibrato 4

AH19

¿¿ ¿¿

5 n pick the note and then bend up a quarter tone (a very small amount). sometimes referred to as a blues — curl. —

¿¿ ¿¿

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

E B G D A E

‚

···

AH16 E B G D A E

‚

TCH E B G D A E

n a previously sounded note is touched above the fret marked tch (eg tch 9) to sound harmonic.

TCH E B G D A E

gargle

Capo Capo notation

TCH

TH17

n scoop - depress the bar just œ & striking before the note and release. Doop - lower the bar TCH slightly after picking note. E B G D A E

— —

E B G D A E

nœ # œœœ

AH16

quarter-tone bend 12

7 7 7

—

· · · ·· 12

AH19

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

Scoop‚ & doop ‚ ‚

E B G D A E

# ‚‚ ‚

‚ ‚ ‚

≠ ≠ ≠ 5

E B G D A E

AH17

pinched harmonics

AH19

···

AH16

X X X X

7 7 7

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

pre bend

‚

··· AH17

E B G D A E

≠ ≠ ≠

—

≠

œ œ œ œ œ œ

≠œ œ ≠œ œ œ ≠œ 6

fret-hand muting Fret Hand Muting

E B G D A E

‚

E B G D A E

Vibrato — arm bends —

E B G ED BA GE D A E

AH19

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

± ±± VibraTo arm (aka whammy Bar) AH16

E B G D A E

n Bend up to the pitch shown Hand Muting inFret the brackets, then re-pick the noten while œ ¿ ¿¿ holding ¿ œœ# ‚ ¿¿ the ¿ # œœœ at‚¿¿¿ the ¿¿ ‚ ¿¿¿new œœ ‚‚ pitch. ¿¿ ¿¿¿ & note bent

AH16

X 8 7 7 X 6 7 X 7 7 X

E EB BG GD DA AE E

≠œ œ ≠œ œ œ ≠œ

≠œ œ ≠

≠ ≠ ≠ ≠ ≠ ≠

left hand Tapping

Fret Hand Muting

E B G D A E

n pick 1st note and slide to Left Hand Tapping the 2nd note. the last two 6 notes show a slide with the œ last &note beingœ re-picked. œ

re-pick bend Left Hand Tapping

Slides (Glissando)

(7 5)

œ œ & œ

b˙

bending and VibraTo bend up/down

~~~~~

Slides (glissando)

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

Slides (Glissando)

(7 5)

E B G D A E

˙ (œ œ)

E B G D A E

~~~~~ 7 5

note Trills Note Trills

n pick 1st note and hammer Trills fretting hand for 2nd onNotewith tr ~~~~~ note. then pick 3rd note and ˙ (œ 4th œ) b˙ pull note. &off for

E B G D A E

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

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

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

‚ oTher TeChniqueS œ & scrape pick

Violining

finger numbering

pima directions

right-hand tapping

TCH E B G D A E

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

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

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

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

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

October 2017

Play } SOUTHERN ROCK

ON THE CD

TRACKs 4-23

Southern Rock Rhythm, riffs & solos! Turn the clock back to the 1970s as Richard Barrett takes inspiration from 10 of southern rock’s biggest bands, each with a fully transcribed riff, solo and bespoke backing track!

Moderate Will improve your… String bends Harmony

ike all genres, it’s all too easy to hear one or two songs and presume we know more about it than we actually do. In the case of southern rock, many will immediately conjure up the image of Lynyrd Skynyrd’s Free Bird, or Sweet Home Alabama. While this would be absolutely correct, it would also be overly simplistic; a bit like thinking we know all about heavy metal after hearing Motorhead’s Ace Of Spades. Along with these undeniable classics there are different takes on similar ideas and different influences. The most obvious in southern rock is country – the soaring slide guitar on Free Bird fulfils a similar role to the pedal steel on many a country classic – but encompassing a more raunchy blues feel. Bernie Leadon’s Telecaster playing on the Eagle’s earlier material takes its influences from a similar place, but with a completely different result, also aided and abetted by the band’s flawless production even on those early albums. The term ‘melting pot’ is well on the way to becoming a cliché, but it’s probably the best way of describing the development of this style. Little Feat – featuring the expert slide guitar of Lowell George – took a funky approach, possibly absorbed from the funk and soul music they

✪✪✪✪✪

Feel and timing

no doubt heard happening around them. Black Oak Arkansas synthesised a mixture of blues, soul, country and gospel (with singer Jim Dandy also managing to be a major influence on Dave Lee Roth). Using carefully arranged multi-layered guitars both live and in the studio, the sound was not a deliberately contrived mix – it was a natural product of the

the SoaRing Slide guitaR on fRee biRd fulfilS a SimilaR Role to the pedal Steel on many a countRy claSSic

absorption of multiple influences, allowed to breathe and develop over hundreds of gigs. The attention to detail in the harmony lines of the Allman Brothers and Eagles remains a source of wonder to all those who study it, even today. At the other end of the scale, Canned Heat take a much more blues-based approach, with a simpler sound, often using harmonica as a solo instrument rather than the guitar. Creedence Clearwater Revival also put a little less emphasis on their

technique focuS Overdubs

While not a classic ‘technique’ in the accepted sense, knowing what kind of parts complement each other (and work in a mix) is a skill that separates the pro from the keen amateur. If there is an acoustic guitar strumming full chords already on a track, it may be redundant to simply duplicate this on electric. Adding a fingerpicked part might be the answer; and while you’re at it, why not try some different chord inversions too? Check out the eagles-style example to hear this in action. even adding another acoustic guitar might benefit from a similar approach – maybe capo at the 5th fret and play the d shape for an alternative voicing of G? Producers love this kind of thing and will often move parts like this slightly left and right in stereo.

October 2017

instrumental prowess, though it would be a particularly cold soul who didn’t appreciate their earthy appeal. John Fogerty’s confident guitar playing and soulful vocals sound great, even 40 years on. Perhaps the ‘wild card’ of the bunch is Dixie Dregs, featuring the precise, measured playing of Steve Morse. If you listen carefully, you’ll hear the country influence, though rock and jazz are present in equal measure. It we’re going to generalise about this, we should describe southern rock as a very broad genre, encompassing rock, jazz, blues, country, soul and gospel – though there is undoubtedly more going on, even than that. The 10 examples are formatted as follows; first, a rhythm guitar, accompaniment, riff section. This then leads to a solo section over the same (or similar) backing. The two sections are transcribed separately for your convenience. The backing tracks all run through a 16-bar cycle of rhythm, lead etc, so you can either switch between the different parts, or use the solo sections to brush up on your double-tracking skills: very good for the timekeeping. Hope you enjoy these examples and see you soon. 6 6

5 3

GAIn

bAss

MIddle

Treble

reverb

There can be no definitive setting here, but the most versatile would probably be a clean, slightly crunchy amp setting with a drive pedal for extra dirt. Try using the guitar’s volume knob for those in-between shades. Amps of the 70s were generally single channel, with little gain available. Players used to crank them high, then control them from the guitar. This approach will works at lower volume, with a drive pedal to help.

Ian DIckson/REX/shuttERstock

ability Rating Info Key Various Tempo Various CD TRACKS 4-23

10 BANDS { SOUTHERN ROCK

Allen Collins and Ronnie Van Zandt rocking out with Lynyrd Skynyrd

tRacK RecoRd You’ll know Free Bird (Lynyrd Skynyrd (Pronounced ‘Lĕh-'nérd ‘Skin-'nérd, 1973) and Sweet Home Alabama (Second Helping, 1974), but check That Smell (1977), for painstakingly arranged guitars and harmonies. No ProTools! To hear how futuristic Dixie Dregs were in 1978, check out Take It Off The Top. For a modern take on traditional influences, try Sister Luck (1990) by the Black Crowes.

October 2017

Play } SOUTHERN ROCK

ON THE CD

TRACKs 4-23

GUITAR1 lynyRd TECHNIQUES 274 EXAMPLE SkynyRd

cd track 4

SOUTHERN ROCK FEATURE - Richard Barrett Rhythm This should be recognisable to anyone familiar with skynyrd’s work. A semi-clean strat on the bridge and middle pickup setting frames alternative voicings d, C andSKYNYRD G, before adding Ex 1 ofLYNYRD STYLEa little extra gain for the solo.

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cd track 4

Solo For the solo, again I’ve paraphrased a few classic licks, but the overall approach is Pentatonic with a couple of held bends and carefully placed slides to allow seamless position shifts. Ex 1A

LYNYRD SKYNYRD STYLE

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cd track 4

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EXAMPLE 2 AllmAn BRotheRS GUITAR TECHNIQUES 274

cd track 6 SOUTHERN ROCK FEATURE - Richard Barrett SOUTHERN ROCK FEATURE - Richard Barrett Rhythm The simple e-e7-A progression is embellished by harmonised arpeggiated chords – the higher part is left on the backing track. The trickiest part is Ex 2 ALLMAN BROTHERS STYLE probably theBROTHERS harmony line leading to the main solo. don’t be surprised if it takes a little time to nail this. Ex 2 timing ALLMAN STYLE

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October 2017

⋲ j

Play } SOUTHERN ROCK E B G D A E

ON THE CD 9

TRACKs 4-23

EXAMPLE 2 BRotheRS - Rhythm ...COnT

& E B G D A E

####

cd track 6

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2 EXAMPLE 2 AllmAn BRotheRS - full Solo 2

cd track 6

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EXAMPLE 3 BlAck oAk ARkAnSAS

cd track 8

GUITAR TECHNIQUES 2 7 4 SOUTHERN FEATURE Richard Barrett Rhythm A mix of strummed and riffing guitars over a funky groove gets usROCK in the ballpark, with-light distortion without too much bass or mids. This riff incorporates several ideas into one, so there is a lot to absorb. Ex 3

BLACK OAK ARKANSAS STYLE

#### 4 & 4

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10 BANDS { SOUTHERN ROCK

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cd track 8

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EXAMPLE 3 BlAck oAk ARkAnSAS - full Solo

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TRACKs 4-23

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6 EXAMPLE 3 BlAck oAk ARkAnSAS - full Solo ...COnT

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0 0 0

3 3 3

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Solo This is about squeezing a lot out of a little, rather than getting carried away with the ease of soloing over such a simple chord structure. It’s bridge pickup, low-to-medium gain, and lots of mids and random pinch harmonics. Ex 4A

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1/4

EXAMPLE 4 ZZ top - full Solo ...COnT

j œ j œ

œ œ

7 7

EXAMPLE 5 little feAt

cd track 12

Rhythm Funky interlocking parts GUITAR TECHNIQUES 2 7form 4 the bedrock of this example, one played by you and one left on the backing track. For the solo sections, the ‘main’ riff GUITAR TECHNIQUES 2 7 4full. SOUTHERN ROCK FEATURE - Richard Barrett guitar joins back in to keep the sound SOUTHERN ROCK FEATURE - Richard Barrett Ex 5 Ex 5

LITTLE FEAT STYLE LITTLE FEAT STYLE

©»ª¶ ## 4 ©»ª¶ & & 444

G G

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

3 3

## & & bœ bœ E E E B B B G G G D D D A A A E E E 4 4 4

## & & E E E B B B G G G D D D A A A E E E 7 7 7

B /D B /D

œ œœ œ œœ œœ œœ œœ œœ

nn bb œœœ 3 3 3 3

1 1

C /E C /E

3 3

5 5

7 7

5 5 5 5

5 5

0 0 0 0 0 0

1 1 0 0 2 2

X X

œœœ œœ œ ¿¿

5 5 3 3

1 1 0 0 0 0

3 3

B B

bb œœ œœ œ bb œœ .. œœ œ nn œœ œ œœ n n œ œ œœ bb œœ œ œœ œ œ

X X

C C

3 3

1 1 0 0 3 3 X X 3 3

C C

3 3

0 0

3 3

0 0

0 3 0 0 3 0

0 0

1 1

3 3 3 3

2 2

0 0

B B

1 1

œœ œ

¿¿ ¿ œœ œœ œœ

œœ œœ ... œ ¿ œœ .. ¿ œ.

3 3 3 3

X X X X 3 3

5 5 5 5

5 5

3 3

X X

G7 G7

œœ ‰‰ œœœœ nn œ¿œ œœ ¿œœ

œœ œœ œ œ œ œ

1 1 0 0 2 2

2 2

1 1 0 0 3 3 X X 3 3

0 0

3 3

1/4 1 1//4 4

œœ ‰‰ œœœ œœ nn œ¿œ¿œ œœ œœ b œ œœ bœ

1/4 1 1//4 4

0 0 0 0

0 0 0 0 0 0

G7 G7

1 1 0 0 2 2

C C

œœ œ œœ œ ¿¿

0 0 0 0 0 0 X X 3 3

G G

œœ .. œœ ..

1/4 1 1//4 4

G G

œœ ‰‰ ˙˙ œœ ¿¿˙ ˙˙

œœ œ œœ œ ¿¿

∑∑

LITTLE FEAT STYLE LITTLE FEAT STYLE

B B

C C

3 3 3 3 X 1 X 1

0 0

1/4 1 1//4 4

bb œœ .. œ œœ œ œœ œœ nn œœ œœ œ œœ œœ 1/4 1 1//4 4

0 0 0 0

3 3

1/4 1 1//4 4

3 3

0 0

3 3

0 0

3 3

G G

œœ nn œœ œ œœ œœ œœ œœ œœ bb œœ œœ œ œ 3 3

0 0 0 0

0 3 0 0 3 0

0 0

3 3

0 5 0 5

œœ œ œ

3 0 3 0 0 0

October 2017

Play } SOUTHERN ROCK

ON THE CD

TRACKs 4-23

EXAMPLE 5 little feAt - full Solo 2

cd track 12

Solo lowell George would often use an open tuning (often G), but for your convenience, both the rhythm part and solo are arranged in standard tuning. All slides, vibrato and quarter note ‘bends’ are done with the slide. Ex 5A

LITTLE FEAT STYLE

©»ª¶ # 4 . & 4 Ó

n œœœ ... ⋲ J 10 10 10

~~~ # b œ œ œ.

œ nœ œ œ œ œ œ

œ . œ n œ. œ œ œ œ b˙ ⋲J

j œ

~~~

œ.

j œ

1/4

œ œ œ œ œ b œ œj œ œ œ œ œ œ œ n œ

1/4

13 15

10 12 10

15 15 15

12 10 8

13 15

15 15 15 13

& E B G D A E

12 12 12

j œ nœ

& E B G D A E

With bottleneck (all slides, vib, etc)

LITTLE FEAT STYLE E B G D A E

˙˙ .. ˙.

bœ

. . œ œ œ. n œ

˙ ~~~

bœ

w ~~~~~~~~

j œ

~~~~~~~~

~~~

EXAMPLE 6 cReedence cleARwAteR RevivAl

cd track 14

GUITAR TECHNIQUES 2 7 4 FEATURE - Richard Barrett Rhythm Though there are two sets of strummed guitars SOUTHERN in unison here, ROCK the brighter of the two is left on the backing track. The ‘main’ one rejoins to back the alternating solo sections. This was recorded using a neck humbucker and a leslie speaker effect. Completely optional, but sounded nice in the mix. Ex Ex 6 6 CREEDENCE CREEDENCE CLEARWATER CLEARWATER STYLE STYLE

©»¡¡∞ ## 4 ∑ & 4

D D

CREEDENCE CREEDENCE CLEARWATER STYLE STYLE CLEARWATER E E B B G G D D A A E E

A A

œ œ œ œœœ ‰ œœœ œœœ

œœ ‰ œœ œœ œœ ‰ œœ œœ œœ ‰ œœ œœœ œœœ ‰ œœœ œœœ œœœ ‰ œœ œœ œœ œ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œ œœ œœ œœœ œ œ œ œ œ

œœ ‰ œœ œœ œœ œœ œœ

œœ œœ

2 2 3 3 2 2 0 0

D D

# œ œ œ œ œ œ œ & # nn œœœœ œœœœ ‰ œœœœ œœœœ œœœœ ‰ œœ œœœ

0 0 0 0 0 0

0 0 2 2 2 2 2 2 0 0

0 0 0 0 0 0

1 1

0 0 1 1 0 0 2 2 3 3 6 6

October 2017

0 0 1 1 0 0 2 2 3 3

D D

œœ œœ

C C

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

G G

0 0 1 1 0 0 2 2 3 3

0 0 0 0 0 0

2 2 3 3 2 2 0 0

œœ ‰ œœ œœ œœ œœ œœ

œœ ‰ œœœ œœ

2 2 3 3 2 2 0 0

3 3 3 3 4 4

G G

3 3 3 3 4 4 5 5 5 5 3 3

D D

3 3 3 3 4 4 5 5 5 5 3 3

2 2 3 3 2 2 0 0

œœ œœ œœ œœ œœ ‰ œ ‰ œ ‰ œœ œœ œ œ œ

3 3 3 3 4 4 5 5 5 5 3 3

2 2 3 3 2 2 0 0

0 0 2 2 2 2 2 2 0 0

œœœ œœ

œœœ ‰ œœœ œœœ œœœ ‰ œœ œœ œœ œœ œœ œ 0 0 2 2 2 2 2 2 0 0

0 0 2 2 2 2 2 2 0 0

œœ œ 0 0 0 0 0 0

A A

œ œœœ œ œ

2 2 3 3 2 2 0 0

0 0 0 0 0 0

‰

0 0 0 0 0 0

10 BANDS { SOUTHERN ROCK

Photoshot (2) aLaMY GEttY IMaGEs

Little Feat (main pic) with Lowell George on slide: (inset) John Fogerty of CCR

Les Paul-toting Duane Allman (left) and Billy Gibbons in early ZZ Top (right)

October 2017

Play } SOUTHERN ROCK

ON THE CD

TRACKs 4-23

EXAMPLE 6 cReedence cleARwAteR RevivAl - full Solo 22

cd track 14

Solo You’ll easily recognise the Minor Pentatonic shapes in here, but take heed of the timing and phrasing. There is frequent repetition here, where a less experienced lead player may feel pressure to do more. As a great songwriter, John Fogerty was also expert at what the song needed, instrumentally. 6A CREEDENCE CREEDENCE CLEARWATER STYLE ExEx6A CLEARWATER STYLE

©»¡¡∞ ©»¡¡∞ # ## # 44 && 44

‰‰ œ œ œ œ œ œ

∑∑

CREEDENCE CREEDENCE CLEARWATERSTYLE STYLE CLEARWATER

œœ œœ œœ œœœœ œœœœ œ œ œ œ œœ œœ œœ

œœ

j œ

77 99 77 99

jj œœ

rotary/phaser effect effect rotary/phaser

EE BB GG DD AA EE 11

# ## # n nœœ ##œœ œœ œœ œœ œœ œœjj œœ œœ œ œ œ œ œ œ œ &&

77 77

77 99

1010 9 9 1111

jj œœ œœ œ œœ œœ œœ œœ œœ œœœ œ œœ œœ jj œœ

Let Letring ring EE BB GG DD AA EE 44

10 11 11 10

10 10

11 11

10 10

11 11

# ## # œœ œœ œjœj œœ œœ œœ œœjj œœ && EE BB GG DD AA EE 77

1111

10 10

1111 99

j œœ

œ œ

99 77 6 6 7 7 9 9

~~~~~~~ ~~~~~~~ œ œ œ ww œ œ œ œ ‰ J ‰ JJ

10 10 10 12 12 10

11 11

D D

~~~~~~~ ~~~~~~~

11 11

EXAMPLE 7 the eAgleS

cd track 16

GUITAR TECHNIQUES 7 4 leadon era, the first section consists of alternative chord voicings fingerpicked over a strummed acoustic. This gives way Rhythm Inspired by the earlier 2 bernie SOUTHERN ROCK FEATURE - Richard Barrett to more of a solo section using pedal-steel’ bends and double-stops. Ex 7 EAGLES STYLE

©»¡™º # 4 ∑ & 4

œœ œ œœœ œ œ œ œ œ œ œ œ œœ œœ œœ œ œœœ œœœœ œ œ œ

EAGLES STYLE E B G D A E

Let ring

3 5

5 0

0 2

& E B G D A E

C /G

D7sus4

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 0

October 2017

3 0

10 BANDS { SOUTHERN ROCK EXAMPLE 7 eAgleS - full Solo

cd track 16 2 2 Solo Though it’s not what you would call ‘shred’, the fine details take quite a while to get just right, so don’t be hard on yourself if it’s not as easy as it appears. no

special advice here, just be methodical and patient. Ex 7A EAGLES STYLE Ex 7A EAGLES STYLE

## 44 & & 44

œœ œ

˙˙˙ ...

G G

∑∑

(12 ) (12 )

## œ œ œœ œœ œœ œœ œœ & & œ œ C C

BU BU 7 7

BU BD BU BD 10 10 (10 12 ) (10 ) 8 10 (12 ) (10 ) 8

BU BU

10 10 10 10

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

5 5

œœœ œ œ œœ œœ

j œœj

œœ œœ œœ œœ œœ œœ œœ

D D

Em Em

˙˙

œœœ

j œœj

œ œœ œœ

3 3

Let ring Let ring

EAGLES STYLE EAGLES STYLE

E E B B G G D D A A E E 6 6

˙˙˙

Am Am

10 10

D7 D7

8 8

œœ œœ œ œœ œœ œœjj œ œ œ œ œ œœ

(7 ) (7 )

( ) (9 9)

5 5

7 7

7 7 9

9 9

7 7

5 5

10 10

7 7

8 8

9 9

G G

œœ

œœ œjj œœ œœ œ j œ œ œœj œœ œœ

5 5

7 7

5 5

7 7

5 5 5 5

7 7

8 8 9 9

7 7

C C

RP RPBD BD

( ) (9 9)

8 8

8 8 7 7

9 9

D7sus4 D7sus4

5 5

3 3

EXAMPLE dRegS 2 7 4 cd track 18 GUITAR8 dixie TECHNIQUES GUITAR TECHNIQUES 2 4 SOUTHERN ROCK FEATURE -left Richard Barretttrack but return for the solo. Palm-muted bass GUITAR TECHNIQUES 27 7form 4 the riff on double-tracked, Rhythm Power chords and triads distorted guitars. These are off the backing SOUTHERN SOUTHERN ROCK ROCK FEATURE FEATURE -- Richard Richard Barrett Barrett Ex occasionally 8 DIXIE DREGS STYLE notes double up on the second time round the riff. Ex 8 DIXIE DREGS STYLE Ex 8 DIXIE DREGS STYLE

## # ### # ## # & & & # #

©»¡™• ©»¡™• 44©»¡™• 444

E E E

œ œœœœ œœ œœ œ

∑∑ ∑

DIXIE DREGS STYLE DIXIE DREGS STYLE DIXIE DREGS STYLE

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

œœ œœ œ

œ nn nnn œœœ nœ

## #

Csus 4 C Csus 4 C Csus 4 C

œœ œœ œœ

œœ œ

œ œœœ œ

PM PM PM

E E B E B G B G D G D A D A E A E 4 E 4 4

5 5 5 5 5 5 5

## # ### # ## # & & & # #

œœ œœ œœ œ

0 0 0

nn œœœ nn œœ nn œœ œ œ œœ œœ PM

D D D

nn œœœ nn œœ œœ nn œœ œ PM

5 5 5 5 5 5 5

Dsus4 D Dsus4 D Dsus4 D

nn œœ n œœ œœ

œœ œœ œ

8 8 7 8 7 7 7 7

7 7 7 7 7 7 7

0 0 0

PM PM

0 0 0

10 10 9 10 9 9 9 9

0 0 0

0 0 0 C C C

œœ œ PM

D D D

œ œœœ œ

œœ œ

œ nn nnnn œœœ n nn œœœ 5 5 5 5 5 5 3 5 3 3

œœ œœ œœœ

nn œœœ n œœ

œœ œœ œ

D sus4 D sus4 D sus4

nn œœœ n œœ

œœ œ

PM PM PM 9 9 9 9 9 9 9

œœ œœ œœ œœœ nnn œœœ œœœ œ œœ œ

7 7 7 7 7 7 5 7 5 5

0 0 0

PM PM

7 7 7 7 7 7 5 7 5 5

9 9 9 9 9 9 7 9 7 0 7 0 0

PM PM 7 7 5 7 5 5 5 5

œœ œœ œœ

E E E

PM PM

9 9 9 9 9 9 7 9 7 0 7 0 0

## # ### # ## # & & & # #

E E B E B G B G D G D A D A E A E 7 E 7 7

œœœ œœœ œœ œ œœ.. PMœœ

E sus4 E sus4 E sus4

7 9 7 9 7 9

œ nn nnnn œœœœ n nn œœ 5 5 5 5 5 5 3 5 3 3

0 0 0

7 7 7 7 7 7 7

œœ œœ œœ œ œ œ œ œœ œœ nn œœ œ œœœ n œ œœ œœ œœ œ 7 7 7

9 7 9 7 10 7 9 7 10 7 10 7

œ n œ œœ œœ nnn œœœ œœ nn œœ œ œ 0 0 0

3 3 3

œœ œœ œ

5 5 5

7 7 7

œœ œœ œœœ

9 9 9 9 9 9 7 9 7 0 7 0 0

9 9 9 9 9 9 7 9 7 7

nn œœ nœ 5 5 5

j œœjj œ

7 7 7

œœ œ

8 8 7 8 7 7 7 7

7 7 7 7 7 7 7

E sus4 E E sus4 E E sus4 E

œœ œœ œœ

œœ œœ œ

10 10 9 10 9 9 9 0 9 0 0

9 9 9 9 9 9 9

œœ œœ œ œ

PM PM PM

0 0 0

7 7 7

7 7 7 7 7

5 5 5 5 5 5 5

0 0 0

D D D

nn œœœ nn œœ œœ nn œœ œ PM PM PM

nœ œ œœ œœœ nn œœœ œœœ œœ œ œ 9 9 9

œ nn nnn œœœ nœ

PM PM PM

0 0 0

œœ œœ œœœ œœ œ

D D D

3 3 3

C C C

PM PM PM

E E E

7 9 7 9 7 9

nn œœ n œœ œ

D D D

9 9 9

0 0 0

7 7 7 7 7 7 5 7 5 5

œœ œœ

7 7 7 7 7

October 2017

Play } SOUTHERN ROCK

ON THE CD

TRACKs 4-23

EXAMPLE 8 dixie dRegS - full Solo

cd track 18

Solo steve Morse is and was an amazingly able guitarist, so the solo may take some work. There are no special tricks or secrets to this; the key is to work through all the ideas slowly and methodically, building up to tempo. Ex 8A DIXIE DREGS STYLE

©»¡™• #### 4 Ó . & 4

√ ‰ œ J

œ œ

j œ

œ œ

œ n œj œ

DIXIE DREGS STYLE E B G D A E

16 16

13 13 14

14 13

11 13 11

œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ j œ œ œ œ. œ œ œ œ. n œ œ œ œ nœ œ œ nœ nœ ‰ œ œ œ #œ œ œ 3

Loco

7 8 7

8 7

9 7

10 9

7 9

6 9

7 9

D n œ œ œ ˙ ~~~ n œ œ œ œ œ nœ œ œ nœ nœ n œ œœœœœœœ

#### œ œ œ œ œ œ nœ œ œ nœ & 3

E B G D A E

(√) #### & E B G D A E

14 16

9 10 9 7

8 7

10 9 7 9 10

7 9 11

8 10 12

~~~

10 12 14

GUITAR TECHNIQUES EXAMPLE 9 cAnned heAt 2 7 4

cd track 20 SOUTHERN ROCK FEATURE - Richard Barrett GUITAR TECHNIQUES 2 7 4 Rhythm It’s a simple part, but too precise and it doesn’t work. Play it more messily? not that either. using a lightly-driven bridge pickup tone, allowing the fifth SOUTHERN ROCK FEATURE - Richard Barrett Exto 9 ring CANNED HEAT STYLE string just a little more than you would for a rock riff is the key. The texture produced as it combines with the other strings is what we’re after. Ex 9 CANNED HEAT STYLE

©»¡£¢ Swung ©»¡£¢ Swung ∑ & 444 ∑ &4

N.C. N.C.

œ‰œ‰œ‰ œœ‰œ‰œ‰ œ œ Letœring

CANNED HEAT STYLE

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

CANNED HEAT STYLE

Let ring

0 0

7 7

& œ œ œ œ ‰‰ œ ‰‰ œ & œ œ œ œ œ œ œ œ œ œ œ E B E G B D G A D E A 6 E 6

7 0 7 0

October 2017

7 0 7 0

œ œ œ

7 0 7 0

0 0

7 0 7 0

œ œ œ œ ‰‰ œ ‰‰ œ œ œ œ œ œ œ œ œ œ œ œ 5 0 5 0

5 0 5 0

œœœ œ

œœœœœœ œ‰œ‰œ‰œ œœœœ œœœœœœœœ œœ‰œ‰œ‰œ œœœœ œœ œœ œ œ œ œ œ œ

5 0 5 0

0 0

#œ #œ œ 4 0 4 0

7 0 7 0

5 0 5 0

œ ‰‰ œ ‰‰ œ ‰‰ œ œ œ œ œœ œ œ œ œ 4 0 4 0

4 0 4 0

2 0 2 0

7 0 7 0

7 7

5 0 5 0

5 5 5 5

7 7

œœ œœ 0 0 0 0

1/4

œœ œœ 5 5 5 5

œœ œ œ œ œœ œ œ œœ œœ œ œ œ œœ œ œ œœ 1/4

0 0

2 0 2 0

0 0

1/4

3 3

0 0 0 0

10 BANDS { SOUTHERN ROCK EXAMPLE 9 cAnned heAt - full Solo 2

cd track 20

Solo The slide part is quite rhythmic, often jumping between staccato notes without sliding at all! remember to position the slide directly over the fret for correct intonation. Canned Heat in their 60s heyday were all about creating a real blues feel, so aim for authenticity in your execution and expression. Ex 9A CANNED HEAT STYLE Ex 9A CANNED HEAT STYLE

N.C. ©»¡£¢ Swung N.C. ©»¡£¢ Swung œœ 44 Ó . ‰ & J . ‰ J &4 Ó

ww All slides etc All etc withslides bottleneck with bottleneck

CANNED HEAT STYLE CANNED HEAT STYLE E B E G B D G A D E A E 1 1

5 5

E B E G B D G A D E A E 6 6

14 14

~~~~~ ~~~~~

7 7

5 5

7 7

œœ œ.. œœ.. œœ.. œ œ œ. œ œ œ œ œ. œ 12 12

12 12

14 14

12 12

10 10

7 7

‰‰ Jœœ œœ J

1/4 1/4

5 5

7 7

˙˙

7 7

5 5

7 7

14 14

10 10

9 9

12 12

14 14

~~~~~~ ww~~~~~~

œœ œ œ JJ œ œ

‰‰

slow slide slow slide

~~~~~ ~~~~~

1/4 1/4

8 8

˙˙ ..~~~~~ ~~~~~ ‰‰ œœJ & & J

~~~~~ œœ œ œ œ œ œ~~~~~ œ œ œ œ œ ˙˙

#œ ‰‰ œœ # œ œœ œœ œ œœ œœ œ

~~~~~~ ~~~~~~

10 10

12 12

EXAMPLE 10TECHNIQUES BlAck cRoweS cd track 22 GUITAR 27 4 GUITAR SOUTHERN ROCK FEATURE -- Richard Barrett GUITAR TECHNIQUES TECHNIQUES 2 27 74 4 ROCK FEATURE Richard Barrett Rhythm strictly speaking, this is from the wrong decade,SOUTHERN but the influences heard in the black Crowes’ music and the band’s authentic feel warrant their SOUTHERN ROCK FEATURE - Richard Barrett honourable inclusion. There’s two funky distorted guitar parts here, one played by you, and one on the backing track. Ex 10 BLACK CROWES STYLE Ex 10 BLACK CROWES STYLE Ex 10 BLACK CROWES STYLE

### # ### ## # # & & & # # ##

©»ª™ ©»ª™ 444 ©»ª™ 44

B5 B5 B5

∑∑∑

BLACK CROWES STYLE BLACK CROWES STYLE BLACK CROWES STYLE

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

### # ### ## # # & & & # # ## E E B E B G B G D G D A D A E A E 4 E 4 4

### # ### ## # # & & & # # ## E E B E B G B G D G D A D A E A E 7 E 7 7

œœœ œœ

¿¿¿ ¿¿

¿¿¿ nnn œœœ ¿¿ œ

9 9 7 9 7 7

X X X X X

## #

F 5 F 5 F 5

œœœ

¿¿¿ nnn œœœœ ¿

7 X 7 9 X X 7 X 7 9 X 7 9 X

7 7 7 7 7

¿¿¿ ¿

œœœ œœ

¿¿¿ ¿¿

nœ ¿¿¿ nnn œœœ œœœ ¿¿¿¿ nn œœœ ¿¿ œ

9 9 7 9 7 7

X X X X X

œœœ

œœœ œœ œ œ

7 X X 7 7 X X 9 7 X 9 7 9

D5 D5 D5

œœœ œœœ

¿¿¿ ¿¿¿ œœ œœ ¿¿¿¿ ¿¿ ¿¿ œœ œ

œœœ œ

¿¿¿ ¿

¿¿¿ nn œœ ¿ nnn n œœ

11 11 11 11 9 11 9 9

X X X 11 X X 11 11 13 X X X X 11 13 X X 11 13

11 11 11 11 11

X X X X X

X X X X X X

7 7 7 7 7

X X X X X X

7 7 7 7 7

X X X X X

9 9 9

œœœ œœ

nœ j œ œœœ œœ œœœ nnn nn œœœ œœœjj œœœ œœ œ

9 9 7 9 7 7

9 9 9

B5 B5 B5

œœœ œœ 9 9 7 9 7 7

9 9 9

¿¿¿ œœœ œœ ¿ œœœ œ œ

œœœ œœ 9 9 7 9 7 7

7 7 7

¿¿¿ ¿ X X X X X X

œœœ œ

7 7 7 7 7 7 9 7 7 7 9 7 7 9

9 9 9

¿¿¿ nn œœ ¿ n œœ X X X X X X

7 7 7 7 7

nœ œœœ nn œœœ

7 7 9 7 7 9 7 9

7 7 7 7 7

9 9 9

œœœ œœ

¿¿¿ ¿¿

nœ ¿¿¿ œœ œœœ nnn nn œœœ ¿¿ œ

9 9 7 9 7 7

X X X X X

œœœ œ œœœ œœœ nnn œœœ 7 7 7 7 9 7 7 9 7 9 7

œœœ œ

œœœ œœ

œœœ

7 7 7 7 9 7 9 9

5 5 5

œœœ œ

7 7 7 7 7

7 7 9 7 7 9 7 9 7 9 7 9 7 9 7

E5 E5 E5

7 7 7

œœ œœœ œ

¿¿ ¿¿ ¿¿ ¿¿

9 9 9 9 7 9 7 7

X X X X X

## #

F 5 F 5 F 5

œœœ œœ œ œœœœ œ œœ œ

œœœ œœ

7 7 7 7 7

9 9 9

œœœ œ œœœ œœœ nnn œœœ 7 7 7 7 7

œœœ œœ ¿¿¿¿ œœœœ ¿¿¿¿ œœ

X X X X X 9 X 9 11 X X 9 X 9 11 X 9 11

œœœ œœ

9 9 9

œœœ œœ

9 9 9 9 9

7 7 7

5 5 5

œ œœœ œœœ œœœ

9 X X 9 9 X X 11 9 X 11 9 11

11 11 11

1/4 1/4 1/4

œœœ œ nn œœ œœ œœœ œœ n œ nnn œœœ

1/4 1/4 1/4

11 11 11 11 11 9 11 9 11 9 11 9 11 9 9 9 9 9

11 11 11 9 11 9 11 9 11 9 9 9

7 9 7 9 7 9

7 7 7

October 2017

5 5 5

Play } SOUTHERN ROCK

ON THE CD

TRACKs 4-23

EXAMPLE 10 BlAck cRoweS - full Solo

cd track 22

Solo The solo features quite a few Major, Minor and Minor 6th moments – a really distinctive sound that harks all the way back to ragtime piano. Take your time to2look at the rhythms, the spaces and the position shifts - these are what always make the most memorable solos. 2 Ex 10A BLACK CROWES STYLE 2 Ex 10A BLACK CROWES STYLE 2 Ex 10A BLACK CROWES STYLE

©»ª™ # # Ex 10A BLACK # CROWES 4 ©»ª™STYLE & # ## # # # 44 ©»ª™ ∑ & # # # # # 44 ©»ª™ ∑ & # # # # #BLACK 4 CROWES∑STYLE 4 #BLACK & 4 CROWES∑STYLE

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

E B G E D B A G E E D B 4 A G E E D B 4 A G E D 4 A E 4

E B G E D B A G E E D B 6 A G E E D B 6 A G E D A 6 E 6

E B G E D B A G E E D B 8 A G E E D B 8 A G E D 8 A E 8

~~~ ~~~ B5 œB5~~~n œ œ~~~n œ œ~~~n œ œ~~~n œ ~~~ 5 7 ~~~ 5

BLACK CROWES STYLE BLACK CROWES STYLE

#### & ##### & ##### & ##### # &

œ œ œ œ

7 E5

# # & # ## # ## # & ##### & ##### # &

nEœ5 # œ nEœ5 # œ nœ #œ nœ #œ E5

12 13 12 13 12 13

(√) # # # # (√œ ) n œ & # # # # # (√œ ) n œ # (√œ ) n œ3 & #Let# #ring # # RPœ n œ3 & #Let# #ring # # RP 173 & 12 13

Let ring (19 ) RP) Let ring (19 RP) (19 (19 )

October 2017

17 17 17

œ œ œ œ 12 12 12 12

j œ nœ j œ nœ j œ nœ j œ nœ

BU BD

(10 )BD( 9) 9 BU

(10 ) ( 9)

13 13 13

RP) (19 RP) (19 (19 )

(10 )BD( 9) 9 BU

RP) (19

œ7 œj n œ5 œ œj n œ œ œj n œ œ œj n œ 7

œ œ œ œ

œ œ œ œ RP

œ œ œ œ

14 12 14 12 14 12 14 12

œ œ œ œ 17 17 17 17

œ nn œœ œ nœ œ nœ œ

œ œ œ œ

13 13 13 13

œ œ œ3 œ3 RP 3

(RP ) 19 3 RP (19 ) (RP 19 ) (19 )

œ œ œ œ BD

œ œ œ œ 7

(10 )BD (9 ) 9 BU

9 (10 ) ( 9 )

œ œ œ œ

15 12

(10 )BD (9 ) 9 BU

15 12

(10 )BD (9 ) 9 BU

15 12

œ œ œ œ

(10 )BD( 9) 9 BU

n œ # œ œ œœ œ n œ œ œ nœ œ nœ #œ œ œ œ nœ œ nœ #œ œ œ œ œ nœ œ nœ #œ œ œ œ œ 9

œ œ œ œ RP

œ œ œ œ 13 13 13 13

œ œ œ œ 14 14 14 14

œ nœ œ nœ 3œ n œ 3œ n œ

œ œ œ œ

œ œ œ œ œ œ PB 9œ PBBD œ

13 12 13 13 12 13 13 12 13 13 12 13

(19 ) (17 ) 15 17 RP) ( ) (19 17 15 17 (19 ) (17 ) 15 17

( 11 ) ( 9 )

œ nœ #œ œ nœ #œ œ nœ #œ œ nœ #œ

RP) ( 3 ) (19 17 15 17 RP 3

œ œ œ œ 16 16 16 16

œ œ œ œ

nœ nœ nœ nœ

œ œ œ œ

F95

14 15

12 14

14 15

12 14

14 15

œ œ œ œ

nœ #œ nœ #œ nœ #œ nœ #œ

14 15

œ œ œ nœ #œ œ √n œ # œ nœ #œ

12 14

œ œ œ œ

# √F #5 9 √F #5 √nFœ#5# œ

12 14

œ œ œ œ

œ nœ #œ œ nœ #œ œ nœ #œ œ nœ #œ

œ œ œ œ

9 PBBD (911 ) ( 9 ) PBBD (911 ) ( 9 ) BD ( 11 ) ( 9 )

~~~ nœ œ~~~ n œ # œ n œ n œ # œ œ~~~ n œ # œ n œ n œ # œ œ~~~ n œ # œ n œ n œ # œ œ~~~ n œ # œ n œ # œ ~~~ 7 8 10 7 8 9~~~ 10 7 8 7 8 9~~~ 10 7 8 7 8

œ œ œ œ

14 14 14 14

j nœ j nœ j nœ j nœ

7 7

œ œ œ œ

œ nœ œ nœ œ nœ œ nœ 9

œ œj œ œj œ œj œ œj

œ œ œ œ

j œ œ œ j œ œ œ j œ œ œ Let j œ ring œ œ BULet ring

BULet) ring BU BD 16 (17 ) (16 ) 14 17 (19

BU BU BD 16 (17 ) (16 ) 14 17 (19 )

16 (17 ) (16 ) 14 17 (19 )

œ œ œ œ

j œ œ œ j œ œ œ j œ œ œ j œ BUœ BDœ

œ œ œ œ

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œ œ œ œ

( ) BD 17 ( ) 17BU 19 BD(17 )

( ) BD 17 17 (19 ) ( 17 )

(19 ) 17BU (19 ) 17BU

j œ œ j œ œ j œ œ j œBUœ BU 17 (19 ) BU 17 (19 ) BU 17 (19 ) 17 (19 )

˙~~~ ˙~~~ ˙~~~ ~~~ ˙~~~ ~~~ ~~~ ~~~

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(10 ) 9 BU (10 ) 9 BU (10 ) 9 BU 9

(10 )

~~~~~ ˙~~~~~ ˙~~~~~ ˙~~~~~ ˙~~~~~ ~~~~~ ~~~~~ ~~~~~ nœ nœ nœ nœ

œ œ œ3 œ3 RP 3

17 RP (19 ) 3 17 RP (19 ) 17 RP (19 ) 17 (19 )

œ œ œ œ 17 17 17 17

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October 2017

Play } modern pop

ON THE CD

TRACKs 24-35

Arranging parts for a modern pop song Whether writing and demoing the next Beyoncé smash, orchestrating tracks for that Top 40 band, or simply honing your arranging skills, Jon Bishop reveals the secrets to creating great pop tracks. Will improve your… Timing, feel and groove

elcome to this unique feature in which we aim to take simple and easy-toplay ideas to create modern sounding pop parts. When arranging guitar for a pop track, less is often more with a simple chord part, popping line or melody providing the hook. Don’t be fooled though, just because the part doesn’t use multi-digit tapping or legato at a break-neck speed, doesn’t mean it’s any easier to compose and articulate consistently. Subtleties such as timing, feel and tone choice all have a big say in how successful the part will function in the arrangement. In this feature we are going to look at many different ways to create parts for a pop track and there are backing tracks provided so you can try out your own ideas. Mega-selling pop artists often ‘cross over’ genre wise so the tracks are often a fusion of rhythm and blues, funk, hip-hop, country and rock. Fusing R&B and rock was perfected by Michael Jackson and Chaka Khan in the early 1980s and has become de rigueur for many modern acts. We have created six tracks in the style of some of modern pop’s greatest superstars to provide a window into what makes them so catchy and compelling. Kerchiiiiing!! Example 1 Rihanna style We start with a funky dance track featuring overdriven rock guitars, heavy synth line and the big beat that’s a cornerstone of Rihanna’s style. The guitar provides a dirty rock edge to proceedings with riffs and power chords and then moves into funky octaves for the second half. Nuno Bettencourt is Rihanna’s guitarist!

Easy ✪ Creating stylistically valid parts Interpretation and creativity

✪✪✪✪

Example 2 Beyoncé style Vocal diva Beyoncé tends not to use a lot of guitars in her studio productions, but live the band really rocks out, adding plenty of guitar action. For this track the guitar is used to add

fusing r&b And pop wAs perfected by michAel jAckson in the 1980s And hAs become de rigeur for modern Acts a retro sounding, funky cop show ‘wah-wah’ part. The ‘wah’ underpins the rhythm and the rock-style guitar stabs are very effective when played against this. Example 3 Justin Timberlake style The ex *NSYNC frontman and all-round entertainer Justin Timberlake has a killer band and a string of mega cool hits. The key to the guitar hook is the use of rhythmic, 16th-note arpeggios. These are not hugely difficult to play, but maintaining the consistency and getting the right sound is certainly a challenge. Example 4 Jamiroquai style Jay Kay is a master of blending old-style funk with modern sounds and guitarist Rob Harris is fantastic at executing them. For this track we used an up-tempo groove and the guitar plays a funky rhythm. For the second half of

the track, melodic, single-note popping lines phrase alongside the horn section. Example 5 Justin Bieber style In contrast to his often-controversial public persona, Justin Bieber is a talented musician who is just at home behind the guitar, drum kit or microphone. Our track uses openvoiced chords against a funky backbeat. Example 6 Katy Perry Style These ideas are easy to play but super effective and would provide a perfect backing for an 80s-inspired vocal melody. We start with some down-picked double-stops and end with some harmony guitar. What’s not to like? Finally, although this article focuses on pop; change the feel, tempo, groove, and some of the guitar tones, and many of these concepts will convert well to other genres. Many thanks to Universal Audio for the loan of the Apollo interface for the recording. Have fun and see you next time.

7 2

GAIn

BASS

MIddlE

TrEBlE

rEvErB

The guitar tones used in today’s pop tracks are vitally important for creating catchy and musically appropriate parts to fit a particular song, a certain artist’s style or the producer’s requirements. To that end, all the pickup selections and effects used are notated at the start of each piece for your reference. I played a James Tyler Studio Elite through Universal Audio’s Apollo interface for all the guitar parts in these arrangements.

trAck record Check out the documentary Justin Timberlake And The Tennessee Kids, which sees the gang in top form in Las Vegas. The live Beyoncé album entitled, I Am… World Tour, features a super-slick band and plenty of inappropriate overplaying, showing how much fun can be had playing pop. Nuno Bettencourt has been Rihanna’s longtime band leader and plays great guitar on her live shows.

October 2017

ALAMY (1) PHOTOSHOT {1) LIVEPIX (2)

Ability rAting Info Key Various Tempo Various CD TRACK 24-35

arranging { MODERN POP

Nuno Bettencourt’s guitar provides the backbone to pop diva Rihanna’s live shows

Ex-Destiny’s Child star Beyoncé is one of the finest pop vocalists ever

Rob Harris (left) drives the funk machine that is Jamiroquai

Justin Timberlake: talented musician, more than just a boy band member

October 2017

Play } modern pop

ON THE CD

TRACKs 24-35

ExamplE 1 Rihanna style

cd track 24

Each track has a four-beat count-in as notated. The first single-note riff uses feel. The octaves from bar 10 switch to a clean tone and the snappy delivery is GUITAR TECHNIQUES 4 16th-note rhythms and needs to 2 be7played with a rock attitude. The palm mute MODERN POP - Jonachieved Bishopby using fretting-hand muting (lifting the fretting-hand off the frets, adds a little fatness. Play the power chords with down strums for a positive but still in contact with the strings). Ex 1

Rihanna Style

©»¡£º Count In 4 ¿ ¿ ¿ ¿ &4

& œœ # œœ œœ œ œ œ œ œœ 2 2 0

# œœœ

2 2 0

4 4 2

X 2

œ. ¿ œ ⋲ ¿ œ. Œ

œ œ

X 2

X 3

3 1

œœ œ

œ. ¿ œ ⋲ ¿ œ. Œ

œ œ

2 2 0

¿ œ ⋲ ¿ œ. œ. ‰ œ ¿ œ ¿ œ œ J

œ.

X 2

X 3

X 2

⋲ Œ œ œ œ ¿ . œ œ . ¿

X 3

œ. ¿ œ ¿ œ. œ ¿ œ ⋲ ¿ œ Œ

œ. ¿ œ ⋲ ¿ œ. œ. ‰ œ ¿ œ ¿ œ œJ G5

œœ œ

# œœœ

œœ œ

2 2 0

4 4 2

5 5 3

Bridge pickup with distortion

œœ œ

œ. ¿ œ ¿ œ. œ ¿ œ ⋲ ¿ œ Œ

Clean middle pickup

2 2 0

œ. ¿ œ ¿ œ. œ ¿ œ ⋲ ¿ œ Œ

œœ œ

# œœœ

œœ œ

2 2 0

4 4 2

5 5 3

Bridge pickup with distortion

October 2017

Clean middle pickup

œ ¿ œ ⋲ ¿ œ Œ œ. ¿ œ ¿ œ.

X 3

5 5 3

X 3

œœ œ

X 2

& Œ

⋲ Œ œ ¿ ¿ œ œ œ . œ .

2 2 0

& Œ

E B G D A E

& œœ œ

E B G D A E

5 5 3

E B G D A E

4 4 2

⋲ Œ œ. ¿ œ ¿ œ. œ œ

E B G D A E

⋲ Œ œ. ¿ œ ¿ œ. œ œ

Bridge pickup with distortion E B G D A E

œœ œ 2 2 0

arranging { MODERN POP ExamplE 2 Beyoncé style

cd track 26

Our Beyoncé-style track features a prominent single-note wah-wah guitar line semi-improvised delivery. Keeping all the notes on the same string helps TECHNIQUES 2 groove. 74 thatGUITAR provides the backbone of the The wah treadle work has been to maintain a consistent tone and makes the picking easy as there are no MODERN POP - Jon Bishop notated, but this is only a guide as the best results will come from a looser, awkward strings to cross (a great tip for this kind of part). Ex 2 Beyonce Style

©»¡™º In b b 4 ¿ Count b ¿ ¿ ¿ & 4

Clean bridge pickup with wah wah E B G D A E

E B G D A E 4, 12

VERSE

b &b b

6, 14

& b E B G D A E

b &b b

Continue sim

= wah treadle forward = wah treadle back

X X X X 8

X X 8

X X X X 8

X X X X 8 X X 8 X X X X 8 X X

X X 8

¿ ¿ ¿ ¿ œ ¿ ¿ œ ¿ ¿ ¿ ¿ œ ¿ ¿ œ

¿ ¿ ¿ ¿ œ ¿ ¿ œ ¿ ¿ ¿ ¿ œ ¿ ¿ ¿

B b5

¿ ¿ ¿ ¿ œ ¿ ¿ œ ¿ ¿ ¿ ¿ œ ¿ ¿ œ

¿ ¿ ¿ ¿ œ ¿ ¿ œ œ œ œ œ

¿ ¿ ¿ ¿ œ ¿ ¿ œ ¿ ¿ ¿ ¿ œ ¿ ¿ œ

‰ ..

. .

¿ ¿ ¿ ¿ œ ¿ ¿ œ ¿ ¿ ¿ ¿ œ ¿ ¿ œ X

B b5

E B G D A E

. .

o+ o+

¿¿¿¿œ¿¿œ¿¿¿¿œ¿¿œ ¿¿¿¿œ¿¿œ¿¿¿¿œ¿¿¿

2, 10

b &b b

E B G D A E

o+ o +

o+ o+

œ œ œ œ

⋲

j ‰ Œ œ œ

October 2017

Play } modern pop

ON THE CD

TRACKs 24-35

ExamplE 3 Justin timBeRlake style

cd track 28

The key to nailing this JT inspired part is the 16th-note feel of the arpeggios. syncopated hits in bar 10 are very ear-catching and from bar 11 the arpeggios From a rhythmic point of view the are played on the downbeat, which should feel a bit more comfortable. GUITAR TECHNIQUES 2 first 7 4 beat is missed off to provide space for MODERN POP Bishop the bass and drums to hit hard. This makes the guitar part slightly trickier. The- JonThe ability to come up with parts like this is a great bonus as a pop musician. Ex 3 Timberlake Style

©»•º In # 4 ¿ Count ¿ ¿ ¿ & 4

Acoustic Guitar With fingers E B G D A E

9 1

˘ # ⋲ œ œ œJ œ &

œœ ‰ œœ

œ # œœœ

10 10 11 12

7 7 8 7

7 7 7

5 9

sim

12 12

10 10

>œ >œ ⋲ œœœ ⋲ œœ Œ œ

7 8 7

8 9

8 9 9 7

œ œ œ Œ 7

œ œ Œ œ œ

7 3

œ #œ Œ œ œ

œ œ œ Œ

7 7 7

7 8 7

>œ œœœ ⋲ ⋲

>œ œœœ Œ

œœ # œœ œ œ

œ œ œ Œ

12 12 12 14

œ œ œ œ Œ

C B œ œ # œœœ #œ œ Œ Œ œ &

E B G D A E

D B7 ˘œ œœ # œœ # œ & ⋲ œ œ J ‰ œ œ

E B G D A E

D C ˘œ ˘œ ˘œ B ˘œ E m ˘œ Bm ˘œ œ œ œ œ œœ œ œ ⋲ œ J ‰ ⋲ œ J ‰ ⋲ œ œ J ‰ ⋲ œ#œ J ‰ ⋲ œ œ J ‰ ⋲ œ œ J ‰

E B G D A E

p i m a Am

E B G D A E

Bm D Em ˘œ ˘œ Am ˘œ ˘œ B m ˘œ ˘ œ œ œ ⋲œ œ J ‰ ⋲ œœœ J ‰ ⋲œœœJ ‰ ⋲œœœJ ‰ ⋲œœ J ‰ ⋲œœœJ ‰

October 2017

8 9

œœ

7 7

œ œœ Œ

8 5

7 7 7

7 8 7

œ œ œ œ œ Œ œœ # œœ

7 3

ggg www ggg w gg 89 ggg 9 g7

arranging { MODERN POP ExamplE 4 JamiRoquai style

cd track 30

Xxxxxxx xxxx This one is a fast-paced funk work-out and at a tempo of 130 bpm is getting lines are constructed from the C Minor Pentatonic scale (C-Eb-F-G-B The final xxxxx b).xxxxx xxxx towards the edge of comfortable216th-note strumming. The wah-wah treadle line in bar 17 is phrased with the horn section. The balance in xxx playing style xxx this xxxxx xx GUITAR TECHNIQUES 74 MODERN POP - JonisBishop xxxxx can just be rocked back and fourth in time with the beat. The melodic popping to sound fluid, in-time and groovy, while not rushing in front xxxx of thexxx beat. Ex 4 JK Style

©»¡£º Count In 4 &4 ¿ ¿ ¿ ¿

œœ .. .. b œœ ..

Clean bridge pickup With wah wah

. .

¿¿ ¿¿

œœ œœ ‰

œœ. œœ

¿¿ ¿¿

¿¿ # œœ ¿¿ # œœ

œœ b œœ

œœ œœ

¿¿ ¿¿

œœ. œœ

¿¿ ¿¿

œœ œœ

¿¿ ¿¿

œœ. œœ

¿¿ ¿¿

X X X X

8 8 7 8

X X X X

8 8 7 8

X X X X

7 7 6 7

8 8 7 8

X X X X

8 8 7 8

X X X X

8 8 7 8

X X X X

8 8 7 8

X X X X

8 8 7 8

# œœœ # & œ

œœ b œœ

œœ œœ

¿¿ ¿¿

. œœœ œ

¿ ¿¿¿

œœ œœ

¿¿ ¿¿

. œœœ œ

¿¿ ¿¿

¿¿ # œœ œœ ¿¿ # œœ b œœ

7 7 6 7

8 8 7 8

X X X X

8 8 7 8

X X X X

8 8 7 8

X X X X

8 8 7 8

X X X X

œœ œ œ

¿¿ ¿¿

œœ œ œ

¿¿ ¿¿

œ n œœœ

¿¿ ¿¿

¿¿ ¿¿ ..

7 7 7 6

8 8 8 7

X X X X

8 8 8 7

X X X X

10 10 10 9

X X X X

. .

4, 8

œ bœ .

~~~~~ ‰ b œ. œ. œ. œ. œ b œ œ œ w

. . . & ‰ bœ œ œ œ œ ⋲ œ Œ

~~~~~ 8

8 7

8 10

1/4

œ ⋲œ œ b œ œ. œ œ

1/4

10 8

6 8

. . . & ‰ bœ œ œ œ œ ⋲ œ Œ

w~~~~~

œ œ ‰ b œ. œ. œ. œ. œ. b œ

~~~~~ 8

œ bœ œ bœ œ œ œ œ œ nœ œ & E B G D A E

E B G D A E

œœ. œœ

2, 6

E B G D A E

¿¿ ¿¿

Rock wah wah With pulse

E B G D A E

œœ œœ

¿¿ ¿¿ ¿¿ X X

X X

œœ J

‰

8 8

October 2017

Play } modern pop

ON THE CD

TRACKs 24-35

ExamplE 5 Justin BieBeR style

cd track 32

This track uses the same basic picking-hand rhythm throughout. The rhythmic is a trendy trick to add sophistication to the sound and is also used by artists slapGUITAR on beats 2TECHNIQUES and 4 is played by2hitting like Ed Sheeran and John Mayer. Again, in trying to keep up with the 120 bpm 7 4 down with the thumb on the fifth MODERN POP Bishop and sixth strings. From bar 10 a percussive accenting arpeggio is added. This - Jontempo it’s easy to overdo things and rush ahead, so watch out for this. Ex 5 Justin Bieber Style

©»¡™º Count In 4 ¿ ¿ ¿ ¿ b & 4

& b œ .. œ œ Œ ¿¿ œ. ¿ œ œ ¿ œ 2

3 1

œ. & b œœœ ... E B G D A E

6 5 7 8

3 1

X X

& b œ .. œ. œ E B G D A E

2 12

œ. & b œœ .. E B G D A E

6 7 5 15

October 2017

8 5

10 X X

6 5 7 8

X X

œ Œ ¿¿ œœ

2 X X

3 1

5 3

œ Œ ¿¿ œœ

¿¿ X X

œ ⋲

3 1

6 X X

X X

5 3

¿¿

œ œ œ

¿¿

5 X X

5 3

X X

œ. œœ ..

œ ¿¿ œ Œ œ

5 X X

¿¿ X X

5 3

œ. œœ ..

œ Œ ¿¿ œœ

D bmaj7 # 11/F

œ. œœ ..

œ ¿¿ b œœ

8 6

7 5

œ ⋲ 5

3 1

X X

œ œ œ

8 6 X X

3 1

œ. œ .. œ

7 5

X X

œ . œ j ‰ b œœ .. œ j ‰ œ . ¿¿ œ . ¿¿ œ.

7 5

¿¿

5 3

D bmaj7 # 11/F

X X

7 5

3 1

8 6

5 X X

3 X X

5 X X

7 X X

œ ⋲ œ. œ œ ¿¿ œ Œ œœ .. œ œ œ

œ Œ œ œ

7 5

10 8

¿¿

8 6

œ. œœ ..

7 X X

œ. œ j ‰ œ. œ j ‰ œ . ¿¿ œ. ¿ œ. œ. ¿

œ. œ œ. ¿ œ Œ ¿ œ. ¿ œ ¿ œ

X X

3 1

BRIDGE Bb

3 1

¿¿

X X

œ ¿¿ œœœ Œ

10 8

C /E

X X

œ. œ œ œ. ¿ œ Œ ¿ œ. ¿ œ ¿ 10 8

X X

8 5 X X

E B G D A E

10 8

œ. œ œ. ¿ œ Œ ¿ œ. ¿ œ ¿ œ

Clean neck pickup With fingers 10

œ. œ œ œ .. ¿ œ Œ ¿ œ ¿ œ ¿

E B G D A E

C/E

X X

˙˙ ˙

arranging { MODERN POP ExamplE 6 katy PeRRy style

cd track 34

You might be surprised at how much rock influence (guitar tones and attitude) at bar 6 to life. The power chords add to that rock edge and the final five bars GUITAR TECHNIQUES 2 7 4double-stops benefit from a heavy and exist in modern pop. These opening feature an 80s-style harmony guitar line. The backing track has this part muted POP - JonsoBishop consistent down-picking technique. Some delay effect willMODERN bring the melody you can hear it in all its glory. Ex 6 Katy Perry style

©»¡¡º Count In 4 ¿ ¿ ¿ ¿ &4

œœ œœ œœ œœ œœ œœ œœ œœ

Bridge pickup clean E B G D A E

œœ œœ œœ œœ œœ œœ œœ œœ

5 5

2 3

Heavy down picking

5 5 1

5 5

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October 2017

lesson } video

ON THE CD

TRACK CD-ROM

Two-handed tapping pt 2 Uptempo Texas blues Tapping a Texas blues? A digit too far, surely? Paul Bielatowicz begs to differ as he taps his way through a 12-bar to make SRV smile! ABILITY RATING ✪ ✪ ✪ ✪ ✪ Advanced Info Key: A Tempo: 160 bpm CD: TRACKS CD-ROM

Will improve your Overall technical ability Tapping facility New blues vocabulary

his month we continue our series on two-handed tapping with a blues piece. As I write this, I’m picturing dozens of blues purists shaking their heads in disapproval, but bear with me. While tapping isn’t usually a technique associated with the blues, I hope you’ll agree there are plenty of

creative opportunities waiting to be explored by adding an extra digit here and there. Guitarists of all styles and genres have been using digits on both hands for years, and not just to play rock music. Allan Holdsworth used tapping to add extra notes to his impossibly stretchy chords, Vittorio Camardese pioneered the technique in the 60s with his nylon acoustic mastery (check him out on YouTube), and Steve Hackett dazzled 70s prog rock audiences with his innovative two-handed repeated blues licks. In this lesson we’ll be tackling a blues piece that uses nothing but tapping – not a pick in sight. Obviously this is an extreme example of Tapping has no boundaries says Paul B as he powers through a speedy Texas blues piece

TEChNIqUE FOCUs Open-string noise

as we’ve mentioned in previous tapping columns, one challenge with the technique is minimising unwanted open strings noise as the fingers on both hands are often far too busy playing notes rather than muting. One solution is to use a damping device: i opt for a Gruv Gear’s FretWrap, but made sure it was close enough to the nut to allow the first string to ring out when required.

what you can do using both hands in a fast blues style. We’ll be tapping runs and chords with ease, proving that two hands can be better than one! The two-handed tapping technique lends itself perfectly to playing arpeggios – the otherwise tricky wide intervals fall naturally under the tapping fingers, opening up a world of new sonic possibilities. Many guitarists can remember the first time they heard Stevie Ray Vaughan’s blistering piece Scuttle Buttin’ – those lightning fast opening runs set a new benchmark among blues guitarists, and many of us practised for hours until we could come close to mimicking them. But what would happen if we decided to use two hands to achieve a similar effect? Surely using two hands would be easier than doing the same thing with just one, right? Why not share the work between both hands? Ladies and Gentlemen, we give you “Scuttle Tappin’”! NEXT MONTH Paul delivers another two-handed extravaganza, this time a Classic Rock piece 5

7 3

GaiN

Bass

Middle

TreBle

reverB

For this piece you’re looking for a bluesy crunch tone with enough oomph for the notes to carry, but not so much overdrive as to cause extraneous string noise or uncontrolled open-string feedback. Neck pickup (single-coil or humbucker) will help with that natural sustain, and a judicious amount of delay or reverb will help you sound classy!

TRACK RECORD The style of licks and feel of our track takes influence from fast Texas shuffles including Stevie Ray Vaughan’s Scuttle Buttin’ from his 1984 Couldn’t Stand The Weather album. However, if you’re looking for players who use digits from both hands in a bluesy manner then look no further than Steve Hackett – thought by many to have been the first to use the technique in a blues-rock style. 42

October 2017

VIDEO MASTERCLASS

TWO-HAND TAPPING PT2 PLAYING TIPS SCUTTLE TAPPIN’

cd track cd-rOM

[Bars 1-2] The main theme for this piece can be found in the first two bars. it this very slowly then aim for even dynamics and timing with both hands before makes great demands on the two-hand tapping technique; flexibility of both any attempt is made to increase the tempo. For bar 2’s chords, aim to have both hands working closely together, fretting hand’s first finger hammering-on hands’ fingers tap the fretboard together, with the same dynamics. GUITAR 7 4using the picking hand’s first three fingers (squared noteTECHNIQUES and fret numbers)2and [Bar 6] The picking hand’s fourth finger (c) is needed to tap the d7 chord’s high Scuttle Tappin' - Paul B is to have its volume the same as that of the other fingers. (i, m and a shown next to the circled notes and fret numbers) to tap with. Practise C note. Your goal

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October 2017

lesson } video

ON THE CD

PLAYING TIPS SCUTTLE TAPPIN’

cd track cd-rOM

[Bar 23] This new passage is a twisting two-handed affair as the bluesy chromatics ascend the fretboard. Watch the hand crossing at the end! 2 26-28] The16th-note tapping figure over these two bars is a great [Bar

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workout – consider it as a brilliant warm-up exercise once mastered. [Bar 29-35] at this point you might appreciate a slightly easier-to-play passage. This one switches between both hands, almost like a trill.

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TRACK CD-ROM

October 2017

10 14 10 14 10 14 10 14

VIDEO MASTERCLASS

TWO-HAND TAPPING PT2 PLAYING TIPS SCUTTLE TAPPIN’

cd track cd-rOM

[Bar 36] Here’s an a dorian (a-B-C-d-e-F#-G) descending run that sounds nice and bluesy over the implied a7 chord. This final e7#9 chord is a great alternate voicing to the typical Hendrix one that everyone plays. A7

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October 2017

lesson } video

ON THE CD

PLAYING TIPS SCUTTLE TAPPIN’

cd track cd-rOM

[Bars 38-49] Here the piece changes from a straight eighth-note feel to a shuffle, perhaps more typical of the Texas style we expect from the vaughan stable. 4

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The guitar licks still follow the chord progression - even played solo you can hear the underlying harmony - with some tapped double-stops and slides.

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TRACK CD-ROM

October 2017

17 14 10

13 10 7

15 13 10

VIDEO MASTERCLASS

TWO-HAND TAPPING PT2 PLAYING TIPS SCUTTLE TAPPIN’

cd track cd-rOM

[Bars 57-58] Be careful here with the placement of your picking hand’s tapping fingers as you’re at the top of the fretboard where the frets are close together.

Make sure your action is quite low otherwise tapping up at the dusty end will prove pretty difficult due to the energy required to press the strings down.

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October 2017

lesson } video

ON THE CD

PLAYING TIPS SCUTTLE TAPPIN’

cd track cd-rOM

[Bars 62-72] More trills and some voice leading. This section features a really useful tapped trill approach – the high note of the trill is played by alternating 6

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October 2017

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between a tapped and hammered note (picking then fretting hand). This allows for a much faster and smoother trill with minimum effort.

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TRACK CD-ROM

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13 12 11 5

VIDEO MASTERCLASS

TWO-HAND TAPPING PT2 PLAYING TIPS SCUTTLE TAPPIN’

cd track cd-rOM

[Bars 73-end] We finish with the opening theme. Phew! This piece could take

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some time to master, but persevere and it will reward you many times over.

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October 2017

Play } CLASSICAL

ON THE CD

TRACK 36

John Dowland Fantasia We switch to lute tuning this month as Bridget Mermikides tabs a glorious piece by a genius English composer. ABILITY RATING Info Key E Tempo 80 bpm CD TRACK 36

Will improve your… Renaissance repertoire

his month we are tackling the work of the genius composer-lutenist-singer John Dowland, a major figure in English Renaissance music and, incidentally, our earliest composer in this series. His work has had a major revival with the 20th century early music movement as well as through an adoption of (and new compositions inspired by) his lute works for classical guitar. Most probably born in London, Dowland published many works chiefly for lute, songs for lute and voice, and choir; he travelled extensively as a performer and court musician, and was reportedly one of the

pERFECTION IN ANY sKILL CANNOT BE ATTAINED wIThOuT ThE wAsTE OF mANY YEARs, muCh COsT, AND ExCEssIvE LABOuR AND INDusTRY

Advanced ✪ ✪ Handling of multiple voices and feels Playing in lute tuning

✪✪✪

highest-paid court musicians of his day in the service of King Christian IV of Denmark. His music is characterised by beautiful melodies, seductive harmonies and complex infectious rhythms (with more in common with rock than a conventional notion of ‘classical’ music); and all his music is infused with a musical and lyrical melancholia, the postElizabethan artistic culture of dark (and beautiful) sadness. Semper Downland, semper dolens (‘Always Dowland, always mourning’) was his motto. Here I’ve arranged his Fantasia No 7 from the 1610 Varietie Of Lute-Lessons a book of solo lute works and studies (published by his son Robert Dowland and, incidentally, using tablature [see Fig 1]). Alongside works by Robert Dowland and other composers, it included several works written by John Dowland in England between his employments with King Christian and King James I. Not bad patronage, eh? The piece is stunningly beautiful, with an increasing rhythmic subdivision from minims

Fig. 1 The first three staves of Fantasia No. 7 in Varietie Of Lute-Lessons (1610)

Fig. 2 Dowland’s instructions in Varietie Of Lute-Lessons (1610) for tuning the lute. Note the perfect 4ths and Major 3rd intervals between strings (“4” and “3 Major”), and how to check tunings with unisons and octaves.

and crotchets in the first three bars (actually a melodic theme found in other Renaissance works) to the use of quavers and then extended semi-quaver runs (eg bars 59-69), followed by changing metrs from 4/4 to 12/8 to 2/4 to 6/8 and back to 4/5 (see bars 73 to end). This increasing rhythmic density and shifts of metric feel create a wonderful forward propulsion to the work as well as a technical challenge of fluency and playing in multiple voices (the tab captions will help). One important feature of this arrangement is the use of lute tuning, achieved by tuning the third string down a semitone from G to F#, a conventional guitar tuning for this repertoire that imitates the lute (this tuning and a capo on the 3rd fret is equivalent to the lute’s open strings see Fig 2), so there may be some mental as well as finger gymnastics involved in learning this piece. But as Robert Dowland writes in the introduction to the Varietie Of Lute-Lessons (and I paraphrase) “perfection in any skill cannot be attained without the waste of many years, much cost, and excessive labour and industry”. So there’s melancholia for you! NEXT MONTH Bridget arranges Una Limosna Por El Amor De Dios by Agustin Barrios

TRACK RECORD I really enjoy the sensitive performance by Göran Söllscher on Renaissance Album (2005 Deutsche Grammophon); it’s also worth listening to a lute rendition, for which I recommend Elizabeth Kenny’s on Britten & Dowland – Lute Songs (Hyperion 2007); and Benjamin Britten’s Nocturnal for solo guitar, a seminal 20th century work for the instrument based on a Dowland theme. 50

October 2017

Fantasia { john dowland PLAYiNg TiPS

cd track 36

[Bars 1-18] I like to break this piece into sections. The first is bars 1-10, beat 3. the bass notes – don’t cut them short. In bar 9 I play the C# on beat 2& with a We begin with a single-note theme played with alternating fingers for three hinge barre to prepare for the B7/F# on beat 3. The next section is bar 10 beat 4 TECHNIQUES MAGAZINE 2 744and played with the thumb with bars.GUITAR This is repeated an octave down in bar to bar 18 beat 1. Treat the fingering with a similar approach as before and aim GUITAR TECHNIQUES MAGAZINE 274 Dowland's -- FANTASIA FANTASIA a counter melody above. Picking-hand fingering is providedDowland's for the wholeMermikides for precision and a consistent tone. Fretting-hand neatness and dexterity is arr. Bridget Mermikides section. Aim to give a clear distinction between the parts andarr. payBridget attention to vital so practise each movement from shape to shape slowly and carefully.

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October 2017

Play } CLASSICAL

ON THE CD

TRACK 36

PLAYiNg TiPS

cd track 36

[Bar 19-37] The next practice section is bar 18 beat 2 to bar 28 beat 3. This begins with just two voices and a third is introduced on beat 4 of bar 20. This is quite a fiddly section so go slow at first and, again, pay attention to the note 2 xxxxxxxxxx lengths - especially the bass notes in bar 23. Also, notice the suspensions in

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bars 25 and 26 and make sure the notes ring over correctly. The next section is from bar 28 beat 4 to bar 39 beat 3. Notice the tied notes in the melody in bars 34 and 37 and be sure to allow them to ring over the lower parts. Your aim is to mix precision with expression - no mean feat on a piece like this.

October 2017

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Fantasia { john dowland PLAYiNg TiPS

cd track 36

[Bar 38-54] In bar 39 we have a cross-string trill and I have suggested using a tremolo fingering in the picking hand. This trill is often played on the second string with out string crossing. Either way it’s tricky and needs practice to gain 3 sufficient speed. My next suggested practice section is bar 39 beat 3, to bar 46. Notice the new phrase that keeps occurring, starting on beat 3& in bar 40

with the three repeated E notes. Play this slightly staccato and notice how is it echoed in the following few bars. At bar 46 we have another new section – a one-bar motif that’s repeated an octave up. This one-bar motif continues and develops and is always repeated at a different octave. Use this opportunity to play with contrasting dynamics and tone.

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October 2017

Play } CLASSICAL

ON THE CD

TRACK 36

PLAYiNg TiPS

cd track 36

xxxxxxxxxx [Bar4 55-69] The one-bar motifs continue until a new section at bar 59, where we have continuous semiquavers (16th notes) with simple bass notes. B/D #

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Alternate the picking-hand fingering as indicated in bar 59 and continue to alternate throughout the whole section.

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October 2017

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Fantasia { john dowland PLAYiNg TiPS

cd track 36

[Bar 70-92] At bar 73 the piece changes gear with the 12/8 bar with dotted rhythms followed by the 2/4 bar and finally switching to 6/8 time at a faster tempo. I’ve added the picking-hand fingering I use throughout these bars. The 6/8 section needs to be quite speedy but do practise it slowly at first and

be sure to keep alternating the picking-hand fingers. From bar 83 onwards the picking hand thumb has to work hard on the bass line. Keep the thumb straight but relaxed and allow some flexibility of movement in the wrist to get enough momentum.

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Learning Zone

Lessons from the world’s greatest teachers and schools...

Brought to you by…

The InsTITuTe of ConTemporary musIC performanCe

in Lessons GT #274

’m a big endorser of progress through limitation; exclusive use of a certain parameter from which to determine your potential and then expand upon it. Often referred to as the ‘handcuff’ approach it could entail soloing over one 7th chord until you run out of your typical licks so have to dig deep for new ones. It could mean only playing chord tone notes during a solo; using only one rhythmic pattern while improvising; maybe avoiding the root note (or 3rd) of any chords; playing with only ‘up’ picks perhaps; soloing only above the 12th fret. Handcuffing - you get the picture. Another limitation is an accident or ailment that reduces one’s ability. Many of us will have seen Steve Morse in plaster some years ago when he broke his frettinghand’s arm and, more recently, with a picking-hand glove due to arthritis. I was reading the inlay for Mike Stern’s new album, Trip, and he talks of breaking both arms in a fall. Even after two surgeries, he’s been using glue to hold his plectrum; a big change since he’s one of the best pickers around. Then there are lifechanging events; the fire that

damaged Django’s hand; the accident that chopped off Tony Iommi’s fingertips; the axe accident that befell Jerry Garcia’s middle finger; Yngwie Malmsteen’s car crash that left him unable to hold a pick for months. All very sad and restrictive compared to what was once possible. However, as Mike Stern sums up: ‘If you’re down, even though it feels impossible you got to try to get right back up and keep going as best you can.” So what does this have to do with you and this issue of GT? Well, what I’d like to propose is while you work through the issue (and more importantly, afterwards) start considering what you like best among the pages, work on it and use handcuff limitations (theoretical, technical or both) to greatly extend and enhance your playing. Consider it a process to make you sound more uniquely you, while on the immediate level you’re focused on improving your dom 7th vocabulary or ‘up’ pick chops. Enjoy the issue!

CreaTive roCk ................................... 78 Want to learn a useful method for playing long lines that will hold the listener’s interest? Shaun Baxter knows a trick or two...

eLeCTriC sLiDe ...................................84 We continue studying slide guitar with Harrison Marsh, this time in open D tuning for electric guitar, à la Johnny Winter and Elmore James.

October 2017

lesson } 30-minute lickbag

ON THE CD

TRACKs 37-42

30-Minute lickbag Pat Heath of BIMM Brighton brings you yet another varied selection of fresh licks to learn at easy, intermediate and advanced levels.

brought to you by…

Easy Licks ExampLE 1 Steve Clark

cd track 37

Pioneering and rhythm player of Def the late Steve Clark’s riffs were timeless. This slow-picked, clean-sounding minor pattern requires steady GUITAR writer TECHNIQUES MAGAZINE 2 7Leppard, 4 picking and the application of careful chord fingering changes. Imagine perfectionist Pat Heath's LICK BAGproducer Mutt Lange is looking over your shoulder as you play it! Ex 1

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learning zone

30-minute lickbag intErmEdiatE Licks ExampLE 4 allan holdSworth

cd track 40

GUITAR TECHNIQUES MAGAZINE 2 7 4voicings were as familiar as his stunning legato lead lines. Be careful to count the 5/4 rhythms, but the chord Sadly no longer with us, Allan’s clean chordal

Pat to Heath's BAG changes are relatively simple, repeating non-diatonic shapes give theLICK requisite ‘fusion’ sound. GUITAR TECHNIQUES MAGAZINE 2 7 4 Ex 4 Allan Holdsworth style

Pat Heath's LICK BAG

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lesson } blues

ON THE CD

Muddy waters

Brought to you by…

Join Ronan McCullagh as he explores the style of post-war blues giant Muddy Waters, who brought the Delta sound to Chicago and beyond.

TRACKs 43-46

Man, I’m Ready, and I Just Want To Make Love To You. In 1958 jazz bandleader Chris Barber brought Waters to the UK but the press didn’t respond well to his uncompromising sound. However, when he returned in the 60s he was met by the sounds of The Rolling Stones, Yardbirds and others, clearly influenced by his style. Muddy continued to inspire until his death in 1983, with masterpieces such as his first live album at the 1960 Newport Jazz Festival, and The London Muddy Waters Sessions among others. Although Muddy has said he wasn’t musically fulfilled by this album, what a treat it is to have Muddy and Rory Gallagher on the same record. “My blues look so simple, so easy to do, but it’s not. They say my blues is the hardest blues in the world to play,” Muddy has said of his

My blues look so siMple, so easy to do, but it’s not. they say My blues is the hardest blues in the world to play Muddy Waters

ability ratinG ✪ ✪ ✪ ✪ ✪ Moderate/Advanced Info Key: Various Tempo: Various CD: TRACKS 43-46

Will improve your Blues vocabulary Slide playing Stylistic authenticity

orn McKinley Morganfield in Rolling, Mississippi in 1913, it was Muddy’s grandmother that gave him his nickname after noticing that her grandson’s favourite pastime was messing around in the mud. Mainly playing harmonica growing up, it wasn’t until age 17 that Muddy switched to the guitar, a Stella from Sears Roebuck for $2.50. Moulding his style on the

likes of Charley Patton and Son House with their showmanship, slide guitar and preaching style of singing, no wonder Muddy was recommended to folklorist Alan Lomax by locals in 1941. Lomax came looking for Robert Johnson but learnt that he had been murdered a few years before so he headed to Stovall’s Plantation for Muddy Waters. In 1943 Muddy found himself in trouble over a wages dispute and so boarded a train to Chicago. It was here that he would move from acoustic to an amplified setup as they battled with the volume of juke boxes and a rowdy clientele. Recording with Aristocrat, later to become Chess, Muddy met writer Willie Dixon. His works with Dixon brought national success with tracks such as Hoochie Coochie

NEXT MONTH Ronan delves into the equally influential style of Cream-era Eric Clapton

GAIn

7 3

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In the earlier years Muddy used a Gibson L-5 or Les Paul Goldtop with P90s but soon switched to his red Fender Telecaster (which started life as a blonde 57 maple neck but was resprayed and fitted with a 60s rosewood one). Amp-wise you are looking for that cranked-but-clean Fender blackface sound. It’s bridge pickup all the way here, with just a hint of reverb to lend some natural ambience. If you can’t crank your amp the tiniest hint of drive will simulate power-stage break-up.

traCk reCord Muddy’s performance at the Newport Jazz Festival in 1960 bought his sound to a more mainstream (and largely white) audience. Performed with his band that included half brother Otis Spann on piano the album captures the raw energy of Muddy’s blues. The 1972 London Sessions featured Rory Gallagher, Steve Winwood (organ), Rick Grech (bass, Family, Blind Faith) and Mitch Mitchell (drums). 60

October 2017

RIC CARTER / ALAMY

Muddy Waters and his classic capo’d red Tele

approach to the genre. The playing style of Muddy Waters is full of depth, captured within simplicity. He is known for his slide style with piercing tones and a large serving of vibrato. Muddy often preferred to place the slide on his fourth finger, also favouring the short steel slides known as ‘knuckle’ slides. Although his note choice and rhythms are quite basic, it’s his phrasing and note decoration that sets him apart. Never afraid to repeat his signature phrases numerous times we can all take a page out of Muddy’s book and discover that less is often indeed more.

learning zone

MUDDY WATERS ExamplE 1 SOLO 1

cd track 43

[Bars 1-4] This four-bar frame is based on ‘call and response’ or theme and GUITAR TECHNIQUES 2 7 4using a double-stop along with a wide variation. In bar 1 we play the theme DUES GUITAR 2 7 or 4 variation. We moveBLUES vibrato. next,TECHNIQUES we have the response to a single-note BLUES DUES GUITAR TECHNIQUES 2 7 4 phrase basedTECHNIQUES around e Minor Pentatonic add theDUES classic BLUES GUITAR 2 7 4 (e-G-A-B-d) and we SOLO 1 DUES GUITAR 2 7 4sharp. In bar 3 we getBLUES blues touch ofTECHNIQUES bending the b3 slightly the theme or ‘call SOLO 1 BLUES DUES E 7 take on the ‘response’ from bar 2.‘again and1follow it up with a slightly twisted SOLO E7 SOLO 1 E7 SOLO 1 E7

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[Bars 5-10] These bars show how Muddy would repeat and develop a phrase, and to keep it all tied together we use the double-stops again along with a MUDDY Ronan McCullagh e MinorWATERS Pentatonic-(e-G-A-B-d) single-line figure. Bar 8 uses an exaggerated MUDDY WATERS - Ronan McCullagh chromatic climb into the v chord (A). MUDDY WATERS - Ronan McCullagh MUDDY WATERS - Ronan [Bars 11-16] In typical MuddyMcCullagh style we are back to our original theme again MUDDY WATERS - Ronan McCullagh A7 with E7 but a slightly developed response.

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7 7

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October 2017

lesson } blues

ON THE CD

TRACKs 43-46

ExamplE 2 SOLO 2 - NO SLIDE

cd track 45

[Bars 1-8] We start off with a full bend on the second string from the 15th fret GUITAR TECHNIQUES 2 7the 4 upGUITAR to the 17thTECHNIQUES while holding down The next few BLUES DUES 2 7 4 first string at the 15th. BLUES DUES GUITAR TECHNIQUES 2 7A 4Blues scale (A-C-d-eb-e-G). phrases are constructed using the BLUES DUES [Bars 9-10] This idea draws from our opening phrase but this time we employGUITAR TECHNIQUES 2 7 4 sliding double-stops built using MajorAand Minor 6ths. BLUES DUES GUITAR TECHNIQUES 2 7 4 7 [Bars 11-12] Here we have a typical blues whichDUES is a A 7 turnaround phrase, BLUES -

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10 10 10 10 10 10

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descending line falling chromatically into the root (d) of chord v with the key centre root (A) pedalling overMcCullagh the top. MUDDY WATERS - Ronan [Bars 13-16] Back to the Blues scale again with more bending to finish off MUDDY WATERS - Ronan McCullagh MUDDY WATERS - Ronan McCullagh this example. notice the repetitive nature of the figures; it’s perhaps counterto constantly recycleMcCullagh our ideas,A7 but if we do we are left with a stronger MUDDY WATERS - Ronan D intuitive 7 connection our solos and more mileage in the vocab tank. D blues 7 A7 MUDDY WATERSwithin - Ronan McCullagh Loco

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lesson } ROCK

ON THE CD

Chris Cornell

TRACKs 47-48

Brought to you by…

Martin Cooper honours Soundgarden and Audioslave’s sadly-departed rock genius Chris Cornell with a look at his ‘solo era’ style.

which set them alongside Nirvana and Pearl Jam at the forefront of the grunge movement. The band dissolved in the late 90s amid tensions due to musical direction. But before forming Audioslave, Cornell released four solo albums, all of which made the top 20 in America and all but one (Scream) the UK top 40. The first was 1999’s critically acclaimed Euphoria Morning. This newfound freedom gave Cornell a new lease of life and he continued to tour and record as a solo artist. His touring band has at times included Pete Thorn who these days is widely known for his in-depth YouTube demos and lessons.

CORNELL hAD A sOARING vOICE, whICh hAD A NEARLY fOuROCTAvE RANGE

Chris Cornell: one of rock’s greatest ever frontmen

ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate Info Key: B Minor Tempo: 134 bpm CD: TRACKS 47-48

Will improve your… Rhythm and lead guitar playing Part writing Theory knowledge

n 18 May the rock world lost one of its greatest frontmen: Chris Cornell of Soundgarden and Audioslave. Cornell had been on tour with the reformed Soundgarden when the effects of on-going medication seem to have got the better of his judgement and he was found dead in his hotel room in Boston. Heartfelt tributes have been paid by fans and peers alike.

Cornell was one of the founding members of Soundgarden who, along with Nirvana, spearheaded the grunge movement in Seattle in the early 1990s. Soundgarden’s style was more sophisticated than many of their contemporaries, and often used odd time signatures and interesting changes, while always being built around Cornell’s soaring voice, which had a nearly four-octave range. Chris went on to form the supergroup Audioslave with instrumentalists from Rage Against The Machine, releasing two highlyacclaimed albums. He has also won two Grammys for his writing and performing. Cornell and Soundgarden signed to the Sub Pop label in 1987, but didn’t achieve a real breakthrough until 1994’s Superunknown,

Cornell’s eclecticism led him to co-write and record a Bond theme in 2006, and also record a cover version of Michael Jackson’s Billie Jean. He eventually reformed Soundgarden and they had been enjoying a successful tour right up to the day of his death. The track this month focuses on Cornell’s rockier solo side. It’s in the key of B Minor (B-C#-D-E-F#-G-A) although there’s an E Major chord in the first part and an F# Major that lends a Harmonic Minor vibe to proceedings. The track is not tricky to play but you’ll need to combine volume and aggression with control and finesse. Watch out for unwanted open strings ringing, and check out the playing tips for more details. NEXT MONTH Martin looks at the rock guitar style of Aerosmith’s amazing Joe Perry 5

6 7

Gain

Bass

MiddlE

TrEBlE

rEvErB

Cornell and his guitarists have used many types of guitar and amp, but always a typical grunge sound with aggressive, high-gain tube tone. Effects include octave, delay and various types of modulation (the latter employed during the classic grunge ‘quiet bit’ before the distorted guitar onslaught). Use your guitar’s volume or a distortion pedal for the loud sections.

TRACK RECORD Chris Cornell’s first solo album Euphoria Morning (1999) includes Can’t Change Me and a tribute to Jeff Buckley, Wave Goodbye. His 2007 follow-up album Carry On features the track You Know My Name, written as the theme tune to the Bond film Casino Royale, plus a jazz swing cover of Michael Jackson’s Billie Jean. His final solo album, Higher Truth, was released in 2015. 64

October 2017

learning zone

CHRIS CORNELL ExamplE RHYTHM

cd track 47

accent the chords stridently on the first eight bars, and on the following 16 bars play them quite clipped. Use the volume control on the guitar to roll the volume back after the first eight bars to clean the tone up and then roll it up a little from bar 24, and up full from bar 32. Or jump on your distortion pedal if you prefer.

GUITAR TECHNIQUES 2 7 4 GUITAR TECHNIQUES 2 7 4

CHRIS CORNELL STYLE - RHYTHM GUITAR

GUITAR TECHNIQUES 2 7 4

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BIMM ROCK COLUMN CORNELL BIMM ROCK COLUMN CORNELL BIMM ROCK COLUMN Bm CORNELL BIMM ROCK COLUMN Bm CORNELL

7 7

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Martin Cooper's CHRIS Martin Cooper's CHRIS Martin Cooper's G CHRIS Martin Cooper's G CHRIS

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.. .. .. . ... . .. .. .

October 2017

lesson & # œ} ROCK œ œ œ

# ON THE CD

œ œ œ œ œ œ œ œ

ExamplE RHYTHM ...CONTINUED E B G D A E

& E B G D A E

13, 21

E B G D A E

w 0

F m

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E B G D A E

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38, 46, 54, 62 E B G D E A B E G D 38, 46, 54, 62 A E 38, 46, 54, 62

7 9 9 7 7 9 9 7

October 2017

j œœ œœ j œœ œœj œœ79 œ97

F m

30 E B G D E A B E G 30 D A E 30

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cd track 47

TRACKs 47-48

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Play 4X

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Ó Ó Ó

learning zone

CHRIS CORNELL ExamplE LEAD

cd track 47

GUITAR TECHNIQUES 2 7 4 Martin BIMM ROCKTrickiest COLUMN - of this article: tackle the first or second beat’s [Bars 44-56] Octaves are not the sole domain of jazz guitarists: add Cooper's some [Bars 61-62] section CHRIS CORNELL distortion and strong picking for great rock phrasing! descending slurred pattern first (slowly). Then increase speed and add the [Bar 58-59] slippery B natural minor action here. other positions afterwards. CHRIS CORNELL STYLE - LEAD GUITAR

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10 (12 )

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October 2017

lesson } JAZZ

ON THE CD

biréli lagrène He’s a talented and boundary-breaking musician, says John Wheatcroft as he explores the style of this virtuoso gypsy guitar genius. Biréli playing a Fylde guitar built in the Maccaferri Selmer style

TRACKs 49-66

said his favourite guitarist at that time was Eddie Van Halen, identifying clearly with the ‘anything is possible’ spirit. This has served him well, as Biréli is not only one of the most accomplished players on the planet, he is also stylistically one of the broadest. While Lagrène’s facility is without question and the fluidity of his execution is at the highest level, this isn’t what makes him so entertaining. It’s his speed of thinking; how rapidly he can switch between an impulse and the execution of any idea. I’ve seen him countless times and spent most of the gigs laughing with incredulity at his playfulness and inventiveness. I’ve witnessed him at the same venue on multiple nights and the only similarity might be the names of the songs. With this level of creativity on display, you may wonder what’s the point of attempting to

I grew up In a famIly wIth a lot of players, so It was natural. I’d get back from school, and all I dId was play

Biréli Lagrène

set these ideas in stone by learning a set of licks. Well, make no mistake, Biréli, like every other great player, has his favourite phrases and patterns; it’s often simply the way that he connects or develops fragments to create new ideas, or juxtaposes contrasting elements in a split second that sets him apart. With this in mind, learn the lines presented here to begin with. Then, once you’re comfortable with them, start to explore the potential of changing the rhythms, the melodic choices, the dynamics or any other musical editing tool that you have at your disposal.

abIlIty ratIng ✪ ✪ ✪ ✪ ✪ Advanced Info Key: Various Tempo: Various CD: TRACKS 49-66

Will improve your… Fast tempo articulation Single-note vocabulary Authenticity and breadth

iréli Lagrène was born in 1966 in Alsace, France into a family of Romani musicians. Surrounded by music he started playing guitar before his fifth birthday; he and brother Gaiti would play constantly, inspired by the performers within their community and by the recordings of Django Reinhardt. Biréli developed prodigiously and was performing concerts before his teens. He recorded his first album, Routes To Django, in 1981, and even at this

young age his playing was staggering. Thirty-plus years later his style is still evolving and, while the Django influence is never far away, he is no mere copycat, with a clear sense of identity and a relentless desire to maintain integrity and truly capture the uniqueness of each moment he plays. A big advantage to his development came from the musical connections he formed while in America, aged around 19, when the opportunity came for him to perform with legendary bassist, Jaco Pastorius. This gave him an exposure to music far beyond his gypsy roots and Lagrène immersed himself in these explorations. Alongside Django, you can clearly hear George Benson, Pat Martino, Frank Gambale, Larry Coryell, Al Di Meola, BB King and many more. I remember reading an interview from this period where Biréli

NEXT MONTH John examines the extraordinary playing of yet another prodigy, Julian Lage 5

GaIn

BaSS

MIddLe

TreBLe

reverB

Ideally for Biréli’s gypsy tone you need a Selmer-style acoustic, although there is a great clip on YouTube of him tearing through Minor Swing on a Yamaha Pacifica. For his electric jazz sound, the perfect choice is a hollowbody with flatwound strings. But of course these examples will work fine on any good guitar. For extra authenticity it’s good to note that Lagrène holds the pick sideways and addresses the string with one of the rounded, fatter shoulders to get less ‘click’ and a more rounded bloom to each note.

track record Biréli’s return to Django’s music is documented on Gipsy Project (Dreyfus 2001). For more of his jazz influence, try Standards (Blue Note 1992), or Blues Eyes (Dreyfus 1998). Two recent releases showcase overdriven solidbody and organ-based quintet on Mouvements (Emarcy 2013); and nylon-string trio with Jean Luc Ponty and Stanley Clarke on D-Stringz (Universal 2015). 68

October 2017

learning zone

Biréli lagrène ExamplE 1 Major arpeggio against Minor chord froM Minor 3

cd track 49

The line mixes django-inspired lines with bebop in equal measure. We start chromatically using some rapid first-finger shifts against G7. The lines in bars GUITAR TECHNIQUES 2 7 4on to a superimposed Fmaj7 with a blues figures in barsMAGAZINE 1 and 2, moving 5 and 6 come straight from the django lickbag and you’ll hear ideas similar to LAGRENE by JohninWheatcroft (F-a-C-e) and Fmaj7#5 (F-a-C#-e) juxtaposed againstBIRELI dm7 before descendingSTYLE this frequently Biréli’s gypsy style. Ex 1 Major arpeggio against minor chord from min3

bœ œ œ bœ œ √ ©»¡ª™ Swing 3 œ œ bœ œ œœ œœ œœœœ œ œ œ GUITAR4TECHNIQUES MAGAZINE 2 7 4 b œ œ œ œ ‰ #œ ∑ &4 BIRELI LAGRENE STYLE by John Wheatcroft œœœ J œ 3 3 C6

D m6

C/E

E dim7

Dm7

Ex 1 Major arpeggio against minor chord from min3

E B G D A E

b11œ 10œ œ8 b11œ 10 8 œ œ 10œ b œ8 C6

E B G D A E

C/E

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C6 Loco 10

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D9 G Our D first four bars here come exclusively from the d Major scale (d-e-F#-G-aSwing A B-C#). Things get a bit more chromatic in the following measures, with some E 4 tone-gap filling during bar 5 and choosing the flat 9th (Bb) against a7 (a-C#-

Ex 2 Major II V I melodic phrases

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Œ cd track 51

~~ œ ‰ j ‰ œj œ œ œ œj ‰ œ œ œ œ œj ‰ œ œ Œ Œ œ

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9 12 15

Swing

Ex 2 Major II V I melodic phrases E 16 15 14 13 12

8 12

C6 Loco 8

B ExamplE 2 Major ii V i Melodic phrases 6

e-G) in bar 6. The principle skill 9 here is10in establishing 10 melodic 10 ideas that sound like tunes, rather than fragments of exercises so the trick is to remain rhythmic and shape the phrases with musical intent.

A7 ~~ 10 12 10 10~~ œ ‰ 11j ‰ 12œj 11 12œ œ œ œj ‰ œ 11 12 9j ‰ 9 9 Œ Œ œ œ œ œ œ œ œ E m7

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E B G D A E

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Swing

Straight

E B G D A E

10 12 10 12 10

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Straight E B G D A E

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17 14 15 12

14 13 12 11 14

14 12 15

October 2017

lesson } JAZZ

ON THE CD

TRACKs 49-66

ExamplE 3 swinging through the changes

cd track 53

In2general the lines here fit the chords explicitly, so it’s imperative that you are xxxxxxxxxx aware of the note content of each and every chord in a sequence. In bar 8 Biréli 2 xxxxxxxxxx implies Bm6 against Bb, a structure found with the B Melodic Minor scale (B-C#-

d-e-F#-G#-a#). When you play this scale in this location, a semitone above a dominant chord, this creates a beautiful and much used device in jazz, the altered scale or Superlocrian mode (r-b2-#2-3-b5-#5-b7).

2 xxxxxxxxxx Ex 3 Uptempo swinging through the changes

Uptempo swinging through the changes Cm Swing Uptempo swinging through the changes Cm Swing Cm Swing

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

E B G E D B A G E E D B 4 A G E D A 4 E 4

E B G E D B A G E E D B 8 A G E D A 8 E 8

b & bbb œ nœ œ #œ œ Œ & bbb œ nœ œ #œ œ Œ & b b œ nœ œ #œ œ Œ 8

b B b6 B bŒ6 B 6

8 8 8

B dim7

C m7

B dim7

C m7

7 7 7

8 10 8

b E b 69 œ E b 69 E 69

œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8

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10 13

9 9

7 7

Fm7

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10 13

Fm7

10 13

Loco

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b œ E bdim7 œ E bdim7

E dim7

IT’S eaSY TO SuBSCrIBe...

October 2017

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learning zone

Biréli lagrène ExamplE 4 arpeggio blues

cd track 55

This perpetual line spells out a blues in C perfectly and illustrates the use of two ways, firstly from the perspective of F and we choose and F dominant 9th, 6th arpeggios in gypsy jazz. For the I7 chord you often substitute I6 (r-3-5-6), albeit with no root (3-5-b7-9: a-C-eb-G); but you can see the exact same notes GUITARinTECHNIQUES MAGAZINE 2 7 here, 4 although bar 4 this becomes I7 and again Lagrène treats this with the C from the perspective of Im6, in this case Cm6 (C-eb-G-a), exactly the same notes altered scale (r-b2-#2-3-b5-#5-b7: C-db-d#-e-Gb-G#-Bb). For F7, youLAGRENE can see this inSTYLE but much easier to see and make the transition from I6 to Im6. BIRELI by John Wheatcroft Ex 4 Arpeggio blues C7 œ ©»™£¢ œ BIRELI LAGRENE STYLE by John Wheatcroft œ œ œ œ œ bœ #œ œ #œ œ bœ œœ œ œ œ œ GUITAR4TECHNIQUES MAGAZINE 2 7œ4 œ œ œ œ œ œ STYLE by John Wheatcroft œœœ ∑ bœ œœ &4 BIRELI LAGRENE Ex 4 Arpeggio blues GUITAR TECHNIQUES MAGAZINE C6 2 7 4 Swing

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

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Ex 4 Arpeggio blues Swing

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G 5 Rhythmic 12 triad ExamplE 5 rhythMic Minor Ex minor line triad line12

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InABjazz improvisation, the rhythm if not we introduce a sense of tension and release 10 13 is equal to,13 10 more important 12against 15 12 a G Minor chord, 13 12 12 than, the 14 although 12 G E 14 12 five barsGhere 12 12 m6 are simply a12 notes The first G Minor triad (G-Bb-d) by occasionally switching B natural (major 3rd) for Bb (minor 3rd). D 5 you select. 10 13 13 10 10 14 14 10 10 14

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10 11 10 8 10 11 10 8

11 10

October 2017

lesson } JAZZ

ON THE CD

TRACKs 49-66

ExamplE 6 Maj7 arpeggio against chroMatic functioning harMony In2this instance Bireli is considering the bigger picture, rather than getting xxxxxxxxxx too involved in the smaller details of the moving harmony. So, rather than following the chromatic descending movement of dominant 7th chords from G7 down to e7, he instead plays a strong ascending phrase based around

cd track 59

a G major 7th arpeggio (G B d F#) and allows this slight sense of tension to resolve itself when the sequence finally comes back to the tonic key of G major. From a rhythmic perspective, aim to stay as accurate as possible to the centre of each beat.

Ex 6 Maj7 arpeggio against chromatic functioning harmony

E B G D A E

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ExamplE 7 electric bebop lines through changes

cd track 61

GUITAR TECHNIQUES MAGAZINE 4 For our final three examples, we switch 2to7Biréli’s electric style. There’s a

from explicit connections between the chords and melody, although we see noticeable difference in time feel with the notes falling slightlyLAGRENE more behind STYLE evidence of db minor against Gm7 to C7alt, implying db Melodic Minor against BIRELI by John Wheatcroft the beat than in Gypsy styles. again, much of the material here is derived C7 to yet again create the C altered or Superlocrian mode. GUITAR TECHNIQUES MAGAZINE 2 7 4

Ex 7 Electric bebop lines through changes

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

BIRELI LAGRENE STYLE by John Wheatcroft

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E 6 7 8 6 7 8 B G D A E 6 7 8 6 7 8 E B G5 D A ExamplE 8 altered lines with legato pull-offs E 5

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5 cd track 63

The scale happens twice here, in both instances against G7, right compositional intent. repeating ideas with this type of development is a very Ex 8altered Altered lines with legato pull-offs from the outset and again in bar 5. notice how the first four bars are almost good way to maintain listener interest and really helps you to get the most Cmaj7from every idea. E b7 repeated, with just slight variation and adjustment to create a logical sense of

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ExamplE 8 altered lines with legato pull-offs ...CONTINUED G 10 8 9 7

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cd track 63 10 10 9

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10 10

we found in example 1. In this instance, in bars 5 and 6 we see Bbmaj7 (Bb-d-F-a) against Gm7 and C7, to create Gm9 and C13 respectively.

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cd track 65

F maj7

2 xxxxxxxxxx Ex 9 Mid-tempo swing lines

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ExamplE 9 Mid-teMpo swing lines There’s more than a touch of George Benson about this final example, which 2 xxxxxxxxxx once again uses a maj7th motif juxtaposed a b3rd above a Minor chord such as

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3 3

October 2017

lesson } ACOUSTIC

ON THE CD

Jack Johnson This month Stuart Ryan goes surf-side as he shows you how to get the cool and groovy vibe of this chilled-out acoustic troubadour. Jack Johnson: he spent life as a pro surfer before going solo as a musician

TRACKs 67-68

like Jimi Hendrix and Bob Dylan to those who formed their music career just before Johnson – Ben Harper, Radiohead and G Love And Special Sauce. Indeed, it was working with the latter in 1999 that led to his big break and Ben Harper contributed to his 2001 debut album Brushfire Fairytales. The instrumentation on Johnson’s recordings is often sparse – typically his voice will be backed up by just his acoustic guitar, bass and drums. You’ll find everything from simple open-chord strumming to more challenging barre chord work. Indeed, barre chords are something that many acoustic guitarists tend to overlook (or live in fear of) so I’ve included some Johnson-esque barre chord phrases in this month’s study. If you are new to barre chords or building up strength to focus on them please work through these sections slowly and carefully as it is

barre chords are something that many acoustic guitarists tend to overlook (or live in fear of) surprisingly easy to develop wrist and hand-related injuries from excessive barre work - even with a good, modern action. This month’s piece combines a riff-based idea with some more basic chord work but listen out for the chord changes as Johnson doesn’t always take the predictable route you’ll sometimes hear twists and turns and longer chord sequences than the average I-IV-V pop strummer. As always, ensure you focus on your rhythm and timing as you play through this piece and don’t forget those all essential loud-to-quiet dynamics (a hang-over from grunge). See you next issue. NEXT MONTH Stuart examines the acoustic style of Americana legend Dave Matthews

Info Key: Am Tempo: 92 bpm CD: TRACKS 67-68

Will improve your… Strumming rhythms Barre chords String muting

orn in Hawaii in 1975, Jack Johnson took up guitar at the age of eight and was writing songs before he was a teenager. However, music wasn’t his first calling – he is the son of the famous surfer Jeff Johnson and his childhood and teenage years were spent developing his surfing skills on the professional circuit. But

for an accident at the age of 17 things may have taken a different course altogether, and he could have become a surfing superstar instead of a global acoustic success. However, after his accident music was clearly ‘in the pipeline’ and his love for playing grew while he studied at the University of California and played rhythm guitar in a band. Johnson’s guitar style is quite simple but also quirky and catchy. You’ll hear both strumming and fingerpicking but don’t expect solos as his style is more based around laid-back acoustic songwriting – essentially the guitar is used as a writing and rhythm tool with plenty of interesting ideas contained therein. His influences range from classics

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Johnson uses Martin, Taylor and Cole Clark acoustic guitars – he often plays the Cole Clark Talisman, a dreadnought-sized acoustic. As usual, any style of flat-top will work fine for these examples. Just make sure your strings are changed regularly (to optimise tone and intonation) and that your action is checked to ensure optimum playability.

track record Johnson has released five studio albums and one live CD. His 2001 debut, Brushfire Fairytales, was a critical success and is a logical starting point in getting into Johnson’s music. Inbetween Dreams (2005), Sleep Through The Attic (2009), and To The Sea (2010) all hit the UK number one spot. Singles-wise, 2005’s Better Together is his biggest hit but several others have made the top 100. 74

October 2017

LIVEPIX

ability rating ✪ ✪ ✪ ✪ ✪ Moderate

learning zone

JACK JOHNSON ExamplE JACK JOHNSON STYLE

cd track 67

[Bar 1] This riff will be great for the picking hand – make sure you are using alternate picking and also think about adding a touch of palm muting to the open fifth string so you get a nice contrast between that and the chords. [Bar 3 ]Watch the rhythm at the end of the bar here; you’ll want to pick the ‘B’ note (fifth string, 2nd fret) at the end of the bar with an upstroke so you are GUITAR TECHNIQUES 2 7 4 Stuart's Acoustic ready with a downstroke at the start of the next bar. JACK JOHNSON

& 44

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[Bar 9] This is a typical Johnson-style rhythm part where you play muted strings on the beat and the chord itself off the beat, which almost gives an ‘acoustic reggae’ feel. The bluesy dominant 7 chords are also characteristic of Johnson’s sound and approach. [Bar 16] don’t forget to play the G7 chord staccato here – hit the chord and quickly release the fretting fingers without letting them leave the strings. STYLE

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October 2017

lesson } ACOUSTIC

ON THE CD

TRACKs 67-68

ExamplE JACK JOHNSON STYLE

cd track 67

[Bar 18 ] The G chord here is subtle – a sus2 instead of a regular G Major but things like this can be interesting when creating or layering parts. [Bar 25] More barre chords to work through here with some muted strings in 2 Acoustic

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October 2017

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between. The jumps between chords are quite rapid, so if you are new to these shapes just start slowly and build up speed. sometimes the open strings might sound between changes but that’s quite common and not a huge problem.

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learning zone

JACK JOHNSON ExamplE JACK JOHNSON STYLE

cd track 67

[Bar 29] Although the rhythms are the same now, the Minor chords are played as m7ths, which adds a bit of variety to things: this is always useful when repeating sections and the m7 itself is more ‘airy’ and a little bluesier.

[Bar 33 ]This simple sequence is another example of how Johnson builds riffs by moving chord shapes around an open string (in this case the fourth string). Pete Townshend is another player who uses this ploy to great effect.

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October 2017

lesson } CREATIVE RoCk

ON THE CD

TRACK 69

Dominant Pentatonic Note groupings ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate to Advanced Info Key: A Tempo: 115 bpm CD: TRACK 69

Will improve your Dominant Pentatonic knowledge Rhythmic displacement Vocabulary in all CAGED shapes

n the previous lesson, we learned that the Dominant Pentatonic scale is often a more appropriate scale to play over a static dominant 7th chord than, say, the Major Pentatonic or Minor Pentatonic scales as it contains all the vital chord tones plus a Major 2nd interval, giving it the same notes as a 9th

arpeggio (although some players might prefer to think of it as being like the Major Pentatonic scale with a minor 7th degree instead of a 6th): A Major Pentatonic: A B C# E F# 1 2 3 5 6 A Dominant Pentatonic: A B C# E G 1 2 3 5 b7 By taking the traditional two-notes-perstring shapes of A Major Pentatonic, and raising each 6th (F#) a semitone higher (so that it becomes a minor 7th, G), we get the five shapes shown in Diagram 1. Note that each one is based around a basic A7 chord shape and fits perfectly within the CAGED system. So far, we’ve looked at vertical lines (ones that are played within the confines on a single scale shape or neck position) with the Dominant Pentatonic scale; however, before we move on to lateral motion (moving along the length of the neck), we are going to study a technique that’s very useful for creating variety when playing long lines played at pace, using any scale. Note groupings: When playing 16th-notes, by repeating musical motifs (‘groupings’) that are not divisible by 16 (3, 5, 6, 7, 9, 10, 11, 12 etc) it is possible to create a constant shift of emphasis known as rhythmic displacement. For example, look what happens when we repeat a five-note grouping to a 16th-note count (four notes per beat): see Diagram 2. First, the ‘1’ is on the beat, then the ‘5’, then the ‘4’, the ‘3’ and then the ‘2’, before eventually returning to the ‘1’ to start the sequence all

NEXT MONTH Shaun continues his series on playing the Dominant Pentatonic scale 5 7

7 2

GaIN

BaSS

MIddle

TreBle

reverB

For this series, I’ve gone back to a classic bluesy sound, with the amp clean and the drive coming from a pedal (Wampler TUMNUS: gain at 2pm, level at 2:30pm, treble at 11pm). If you’ve read GT for long you’ll know we often recommend a cleaner tone when practising, since too many effects can obscure faults in your technique and slow your progress.

TRACK RECORD One guitarist who uses note-groupings is Robert Fripp, founder of prog band King Crimson (try 1981’s Discipline, which also features Adrian Belew). However, he is also known for the ambient albums that feature his Frippertronics approach, and the angry style featured in his band The League Of Gentleman, leading him to be recruited by David Bowie for his album Scary Monsters (1980). 78

October 2017

DAVID LYTTLETON

Want a useful method for playing long lines that hold the listener’s interest? Shawn Baxter reveals a trick or two to make you sound great!

over again (in this case, from the second beat of bar 2). The advantages of using this approach are: 1) It reduces the amount of thought required. Instead of having to be endlessly creative through the duration of a long lines: the technique or science does all the work for you as the emphasis changes automatically. Paradoxically, it’s a technique that allows us to repeat a figure without sounding repetitive, thus maintaining the listener’s interest. 2) It produces an inner musical logic to each line, which helps to make it sound cohesive and ‘right’ for the listener: in other words, the notes sound that they belong together. Although this technique brings many musical advantages, it can be technically challenging if you are new to it, as it requires a form of rhythmic spatial awareness. The acid test is that you must be able to tap your foot on each quarter-note throughout. This means that, rhythmically, you remain wellgrounded; a bit like an acrobat who knows where the floor is mid somersault. If you experience difficulty doing this, you should break down each example beat by beat, establishing the contents of each quarternote, and then practise inching your way from one beat to the next. Finally, note that the same principle can be used for any time signature: rhythmic displacement will occur if your ‘groupings’ are not divisible by the underlying rhythmic subdivision. For example, groupings of 2, 4, 5, 7 etc will work well when playing eighth-note triplets (three notes per beat).

learning zone

Dominant Pentatonic Scale DIAGRAM 1 A DOMINANt PENtAtONIC SCALE

GUITAR TECHNIQUES MAGAZINE 2 7 4 CREATIVE BOXOUT

DIAGRAM 2 ShOwINg rhythMIC DISPLACEMENt IN ACtION

& 44

ÛÛ 1

Û Û

ÛÛ 5

ÛÛ

Û Û 2

Û Û 1

ÛÛ 3

ÛÛ

Û Û 5

Û Û 4

ÛÛ 1

Û Û 3

ÛÛ 5

etc

ÛÛ

Û Û

PLAyINg tIPS

Û Û

cd track 69

EXAMPLE 1 This line features a series of three-note groupings in CaGed shape EXAMPLE 2 Here we have another line featuring three-note groupings played #3 of a dominant Pentatonic. These are not triplets: this is 16th-notes divided to a straight 16th-note count (four notes per beat), only, now, we’re arranging into groups of three, so make sure you understand this line in terms of the four the scale three-notes-per-string in a manner than spans the area covered by notes in each beat, and be able to play them with your foot tapping on the both CaGed shapes #4 and #5. Note that string skips are used on the way back GUITAR 7 4start of each three-note Shaun Baxer's CREATIVE COLUMN start of each TECHNIQUES beat rather than on2the grouping. down (second half of the-line).

Dominant Pentatonic Scale Shaun Baxer's CREATIVE COLUMN Dominant Pentatonic Scale

GUITAR TECHNIQUES 2 7 4

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Ex œœœ ©»¡¡∞ (3) (3) Ex 1 1 (3) (3) œœœ (3) (3) (3) (3) œ œ (3) (3) ©»¡¡∞ œ œ œ (3) œ œ (3) (3) n œ œ œ œ œ œ ### # ### ©»¡¡∞ ‰‰‰ œœœ œœœ œœœ œœœ œœœ nn œœ œœœ œœœ œ œœ œœœ œ œ œœ œ œ ## 4444 ÓÓÓ ... & & & 4 } CREATIVE RoCk lesson E E B E B G 9 12 9 B G 9 11 9 12 9 11 D PLAyINg tIPS 9 11 G 9 11 9 12 9 11 D 9 11 A D 9 11 11 9 11 A EXAMPLE 3 let’s skip four-note groupings as they don’t provide the rhythmic E A E 1 E displacement we need to avoid predictability; we’ll 11jump straight to five-note

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12 12 12

A E 3 E 3 3

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E E B E B G B G D G D A D A E A E 7 E 7 7

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20 20 20

9 9 9

12 12 10 12 12 10 12 12 10

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TRACK 69

~~~ ~~~ ~~~

BU BU 9 BU 9 12 (14 ) 9 12 (14 ) 12 ( 14 ) cd track 69

12 10 12 10 12 10

process, and then start stringing beats together, making sure that you are hitting all the relevant coordinates with both your fingers and foot. You may well have to slow things right down and practise to a metronome at first, (3) (3) gradually speeding up to the pace of the backing track. (3) the metronome (3) (3) (3) (3) (3) shapes #1(3) (3) line interpolates between (3) EXAMPLE 4 This and #5 of a dominant (3) (3) (3) Pentatonic. Here, each five-note motif is composed of(3) the same 2-1-2 threestring note-configuration. again, if you experience any difficulty playing the line while tapping your foot to the underlying 4/4 pulse, start by practising inching your way from beat to beat before stringing everything together. EXAMPLE 5 as with example 2, note the use of string skips in the second half of the line (bar 18). This around CaGed shape #4. 17line 12is based 15 12 15 12 example 14 17 EXAMPLE17 6 This effectively takes the repeated motif from example 17 12 15 12 14 16 12 14 17 16 12 14 16 3 12 14 17 12 14 1616th-notes) 12 14 down through a vertical scale (an eighth-note followed by three 16 12 14 16 12 14 16 12 14 shape (CaGed shape #5). 16 12 14

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j œœjj œ

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12 12 12

(5) œœœ (5) (5) œœœ œœ œœœ œœœ œ

17 17 19 17 17 19 17 17 19 17 20 17 17 19 17 20 17 17 19 17 20 17 17 19 17 20 17 17 19 17 20 17 17 19 17 20 17 17 19 20 17 20 17 20 17

(5) √ (5) ~~~~ (5) œœœ √ √ œ œœ œ œ œ œ~~~~ (5) œ œ (5) œ œ œ (5) ~~~~ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ n œ œ œ œ œ œ œœ œ œœ œœ nn œœ œœ œœ œœœ Œ œœœ œœœ nn œœ œ œœœ œœ œ ŒŒ

Ex 4 Ex Ex 4 4

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(5) (5) (5)

15 19 14 17 17 15 19 14 17 16 18 17 15 19 16 18 16 14 17 17 18 16 18 17 16 17 16 16 18 14 16 18 14 17 16 16 19 17 14 17 16 19 17 16 19

Ex 5 Ex Ex 5 5

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17 17 19 17 17 19 17 17 19 17 20 17 17 19 17 20 17 17 19 17 20 17 17 19 17 20 17 17 19 17 20 17 17 19 17 20 17 17 19 20 17 20 17 20 17

17 17 17

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12 10 12 10 12 12 10 12 12

ON THE CD

œœœ œ nn œœ œ œ œ œ œ œ œœœ œœ œœ œœ n œ œœœ nn œœ œœœ œ n œ œ œ n œ œ œ ˚ n œ œœœ œ œœ ‰‰‰ ... œ˚˚jjj œœœ œœ œœœ n œ œœœ œœ œ œœ œ œœ ... ÓÓÓ œ œœ œ

groupings. Here’s a repeated lick in CaGed shape #1, a dominant Pentatonic. Ex 2 which leaves us with The grace note at the start lick has no rhythmic value, Ex Ex 2 2 by three 16ths). (3) notes totalling five 16th-notes (eighth-note followed (3) (3) Five-note motifs take a long time to complete - it would(3) take four bars (3) (3) before the same lick would start on the first beat of the bar again (bar 9). as mentioned earlier, if you are having difficulty playing a five-note grouping like this while tapping your foot to the underlying 4/4 pulse, you should practise inching your way from beat to beat (rather than from lick to lick). In this case, start by targeting the note that corresponds to your foot falling on beat 2 of E E B E 9 (the last note of the first five-note lick). Then try going from that to the bar B G B G note that corresponds to your foot when placed down on the third beat of 14 D G 17 11 D 11 14 A 16 etc. 12 Continue 14 17 D bar (the penultimate note in the second five-note lick) 14 17 11 the this A 16 12 14 E

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10 10 12 10 12 12

9 9 9

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E E B E B G B G D G D A D A E A E 15 E 15 15

12 14 12 14 12 14

21 21 21

BU BU BU 17 17 17 17 20 ( 22 ) 17 17 20 ( 22 ) 20 ( 22 )

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(5) (5) (5)

11 11 11

14 14 14

12 12 12

14 14 14

12 12 12

14 14 14

11 11 11

14 14 14

12 12 12

14 14 14

12 12 12

14 14 14

12 12 12

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(5)

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Ex 7

learning zone

Dominant Pentatonic Scale PLAyINg tIPS

cd track 69

EXAMPLE 7 Here, each motif totals six 16th-notes (one 16th followed by two 2 2 32nd notes and then four 16ths). The first motif is followed by the equivalent 2 an octave higher. In bar 26, the line deviates from dominant Pentatonic and, instead, concludes with a bluesy phrase using notes of a dorian – note the Loco chromatic passing note (F Natural) used to bridge between the e andLoco F# notes. Loco EXAMPLE 8 Next, we move on to seven-note groupings (in this case, each Loco comprising one 16th-note followed by two 32nd-notes and then five 16thnotes). Geographically, this shifts from CaGed shape #1 down through #5 before finishing in shape #4. again, don’t forget to practise inching your way from beat to beat to a slower metronome count until you are able to play this example up toEspeed while tapping 17 17your 12 foot to the underlying 4/4 12 pulse. 17 15Finally, 12 note that E B 17 17 12 12 17 15 12 E penultimate note the is a C ( b 3rd) that is tweaked towards the more 17 17 12 12 17 15 12 appropriate B G 14 12 12 14 B G C#D that12 never quite makes12 it (hence 14 14 E via a shallow bend G 17 17 17 bluesy 15 12effect). 14 12 12 12 14 12 the

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D A B D A E G A E D 18 E 18 A 18 E 18

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E E B E B G B G D E G D A B D A E G A E D 22 E 22 A 22 E 22

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œœ œ nœ œ œ n œ œœ œ nœ œ

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14 12 14 14 12 14 14 12 12 14 14 12 14 14 12 14

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~~ ~~ 16 ~~ 1414 16 16 14

16 14 16 16 14 14 17 17 17 16 14 16 17

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17 14

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

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17 14

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17 14 16 17 14 16 16 17 14 16

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17 17 14 14

œœ nn œœ œ nœ

16 16 16 16

12 14 12

∑∑ ∑

Ex 8 Ex 8 8 √ √Ex œœ 8œœ œœ œœ n(7) (7) Ex (7) œœ √ n (7) œ œ œ œ nœ

œœ œ œ œœ œ œ œ œ œ œ

19 21 19 17 19 17 19 21 21 19 19 17 17 20 20 20 17 17 18 18 19 21 19 17 18 20 17 18

∑∑ ∑

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Ex 9 Ex Ex 9 9 Ex 9

nœ ‰‰ n œ nœ ‰

16 16 16 16

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17 14

œœ nn œœ.. œœ . œ œ nœ

~~ ~~ ~~

17 19 17 15 17 14 17 19 19 17 17 15 15 17 17 17 14 14 16 16 17 19 17 15 16 17 14 16

nœ œœ nn œœ ## œœ œœ nn œœ œ nœ #œ œ 15 17 15 15 17 17 15 17

16 14

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17 15

~~ ~~ ~~

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12 15 12 12 15 15 12 15

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1/4

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1/4 1 1//4 4

19 19 19 19

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15 17 15 15 15 17 17 15 15

14 14 14 15 17 15 14

171/4 17 17 17

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12 15 12 12 14 15 15 14 14 12 15 14

œœ nn œœ œ nœ

12 12 12 12 14 14 14 12 12 14 14 12 14 14 12 14

>œ >œ œœ nn œœ œ (9) (9) (9) > œ œ > œ œ œ n œ œœ (9)œ >œ œ >œœ œ œ œ œ 17 15 17 17 15 15

~~ œœ~~ œ~~

Loco 1/4 Loco Loco

17 17 17 18 17 20 20 20 17 17 18 18 17 20 17 18

œœ œœ œ (7) (7) œ œ (7) œ œ œ (7)œ œœ œœ œœ œ œ œ œ

14 14 17 14 14 14 17 17 14 17 17 14 17 14 17 17

~~ œœ œœ œœ~~ œœ œœ œ œ œ œ œ~~ œ œ œ

17 15 17 14 17 17 15 15 16 14 17 17 14 14 14 14 17 16 17 15 16 14 14 17 14 14 16 14 17 14 17 14 16 14 14 17 14 14 16 16 17 14 17 17 14 14 16 17

17 19 20 21 17 20 17 17 19 19 20 20 21 21 20 14 16 14 16 18 17 17 20 16 14 16 18 14 17 14 17 19 20 21 14 16 14 16 18 14 16 14 17 20 14 17 17 14 14 16 14 16 18 14 16 16 14 17 14 16

12 14 12 12 12 14 14 12 12

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17 14 17 17 14 14

œœ œ

(5)

(6) (6) (6)

E E B E B G B G D E G D A B D A E G A E D 28 E 28 A 28 E 28

## # ## & & # ## # &

∑∑ ∑

~~ œœ (5) œœ~~ œ (5) (5)œ œ œœ œ ~~ (5) œ œ œ œ œ ~~ ~~ 14 ~~ 14 17 14 14 17 14

(5) (5) (5)

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E E B E B G B G D E G D A B D A E G A E D 25 E 25 A 25 E 25

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~~~ œœ nn œœ~~~œ.. ~~~œ œ n œ œ. ~~~ ~~~ ~~~

EXAMPLE 9 as with the previous four-note groupings that we passed over, we are going to skip eight-note groupings as well, since they will fit perfectly into our underlying count (four notes per beat), and therefore Ex16th-note 6 Ex Ex 6 6 displacement that we need not provide the rhythmic Loco to avoid predictability; (5) Loco Locoto nine-note(5) consequently, thisEx time straight groupings. 6 we’re(5)going to jump(5) (5) (5) (5) Here, the first grouping (bar (5) 33) contains all(5) five pitches Loco of a dominant (5) Pentatonic scale compressed(5) into a single string-pair (second and first (5) strings). This grouping is then shifted down an octave using exactly the same fingering on the middle string-pair (fourth and third strings) and then again down another octave on the bottom string-pair (sixth and fifth strings). This, three-octave symmetrical motion is very 17 15 15 convenient on guitar (and a principle 17 17 and 14 15 17 14 that we 17 have 14 studied many 14 exploited by every piano player) is something 17 15 15 15 17 17 17 14 14 17 14 14 16 17 17 14 14 16 14 14 14 times in these Creative 16 16 17 rock 15 lessons. 15 16 16 14 14

œœ œ

nœ œœ n œ nœ œ

13 13 12 13 12 14 12 14 14 13 12 14

œœ nn œœ œ nœ

12 14 12 12 14 12 14 14 12 14 14 12 12 14 14 12 14 12 12 14 14 12 14 12

œœ œ

1/4 1 1//4 4 1/4

œœ œ 14 14 14 14

~~ ~~ œ~~ œ œ ~~ ~~ ~~

œœ œ(9) >>œœ œ œ œ œ œ >œ œ (9) (9) (9)

9 9 9 11 11 11 9 11

12 12 12 11 11 11 12 11

October 2017

>>œ œ >œ 9 9 9 9

lesson } CREATIVE RoCk

ON THE CD

TRACK 69

PLAyINg tIPS

cd track 69

EXAMPLE 10 This example, which employs 10-note groupings, also utilises the same three-octave symmetrical finger principal: this time, ascending from the base of CaGed shape #3 right up through shapes #4 and #5 to #1. EXAMPLE 11 More 10-note groupings, this time in the form of a repeated three-notes-per-string lick in CaGed shape #4 of a dominant Pentatonic.

E B G D A E

(9) ~~~ ### œ œ œ nœ œ & œ œ > œ >œ œ œ œ œ ~~~ 9

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10 12 10

12 14

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nœ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ

& E B G D A E

EXAMPLE 12 Next, we move onto 11-note groupings; again, we’ll be employing the three-octave symmetrical approach across the top, middle and bottom string pairs. Geographically, this example starts in the top of CaGed shape #5 and shifts down through #4 to finish in a pretty straightforward ascent of shape #3.

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12 14 12 14 16

11 14

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12 16

E B G D A E

(√) # # œ œ & # nœ œ œ E B G D A E

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October 2017

17 15

17 14

14 12

14 11 14

14 12

~~~~ œ œ n œ œ œ nœ œ œ œ œ œ œ œ œ ~~~~ 11

10 12

12 14

learning zone

Dominant Pentatonic Scale PLAyINg tIPS

cd track 69

EXAMPLE 13 More 11-note groupings here. This time, we’re applying the principle to a three-notes-per-string pattern that spans CaGed shapes #4 and #5 and employs string skipping. EXAMPLE 14 Finally, we finish with a line that use 12-note groupings utilising the same three-octave symmetrical fingering employed in example 11; only,

this time, we’re ascending instead of descending. as with example 8, notice how we finish with a bluesy C (adding a b3rd, not found within the a dominant Pentatonic scale) but bent towards the more appropriate C# via a shallow quarter-tone bend (known as a blues ‘curl’). I hope that you enjoy these ideas and can begin to incorporate them into your day-to-day playing.

4 4 4

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11//44

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1/4

14 14

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171/4

∑

1/4

October 2017

lesson } BEGINNER’S SLIDE

ON THE CD

TRACKs 70-73

Brought to you by…

Johnny Winter: check out those long digits and fourth finger

transpose some existing blues phrasing to open tuning for slide. But what makes a new tuning exciting is the ideas that come from playing by ear without going back to the same familiar patterns; plus, some phrases are a lot easier due to the intervals in the new tuning. This is even more true when limited by the slide. Remember that three of the strings here are D and two are A, so working out where notes are by fret number should be familiar from regular tuning – once you’ve done it for one string the others are done for you and octave ideas are made very simple indeed. Slide guitar is full of tonal and technical nuances that can be very rewarding to explore. One of the more difficult techniques

what makes a new tuning exciting is the ideas that come from playing without going back to the familiar patterns

Harrison March continues exploring slide guitar styles, this time looking at Elmore James and Johnny Winter’s favourite open D tuning. ability rating ✪ ✪ ✪ ✪ ✪ Easy/Moderate Info Key: E Tempo: 120bpm CD: TRACKS 70-73

Will improve your Vibrato using slide Slide intonation Open tuning use

pen D tuning has been used by everyone from Robert Johnson to Johnny Winter and was the favoured tuning for Elmore James who was a profound influence on Derek Trucks, Duane Allman and many other slide players. Elmore James’ tunes such as The Sky Is Crying, Shake

Your Money Maker and It Hurts Me Too have been popularised by Fleetwood Mac and Stevie Ray Vaughan. Like open G, the open strings form a Major chord with the 5th, 7th and 12th frets forming I, IV, V chords. However, open D tuning has its own unique sound and is quite distinct from open G. Tuning the first and sixth strings down to D, the third string down to F#, and the second string down to A gives from low to high (D-A-D-F#-A-D). Open tuning presents a number of challenges. First, the fretboard knowledge you have is suddenly not relevant and it takes time to work out where your root notes and intervals are. It can be effective to

NEXT MONTH Harrison delves deeper into playing slide guitar in Open D Tuning 6

GAin

BAss

MiddlE

TrEBlE

rEvErB

Any electric with high enough action will work. Elmore famously used an acoustic with pickup. Choice of slide is as important as choice of guitar, and whether you use glass, steel, brass or ceramic will be down to tonal choice and feel. Johnny Winter played Gibson Firebirds with mini-humbuckers for a bright, tight sound. Here’s one occasion where we say more distortion might be best, although it does make extraneous noise more of an issue.

track record Elmore James’s The Sky is Crying, It Hurts Me Too and his famous version of Dust My Broom are essential listening. The Best Songs Of Elmore James is a great place to start. Johnny Winter’s take on Highway 61 Revisited is fabulously exciting, and any Winter album will include great slide. Greatest Hits contains this, plus the stunning Rock And Roll Hoochie Coo and Drown In My Own Tears. 84

October 2017

RICK DIAMOND / GETTY IMAGES

electric slide

to master can be following an open string with a note played using the slide, effectively ‘hammering on’ with the slide without unwanted noise. To minimise such problems, make sure the muting fingers come into contact with the string at the same time as the slide. Practise this with single notes initially then move on to playing multiple strings and longer phrases, trying to eliminate noise at every turn. Tip: When playing a phrase on the top three strings it is not essential that the slide covers all six, this simple insight really helps reduce string noise. Happy sliding!

learning zone

ELECTRIC SLIDE GUITAR TECHNIQUES 2 74

GUITAR TECHNIQUES 2 74 Title : Harrison's RGT SLIDE GUITAR COLUMN ExamplE 1 elmore james-style strings and grace notes Title : Harrison's RGT SLIDE GUITAR COLUMN GUITAR TECHNIQUES 2 74 non-adjacent

TRACK 70

GUITAR TECHNIQUES 2 74 Title :: Harrison's RGT SLIDE GUITAR COLUMN -inspired non adjacent strings in bars 2 and 4 and needs careful practice at slow tempo ensure intonation accuracy. Title Harrison's RGT SLIDE GUITAR COLUMN Ex 1by Elmore James this phrase jumps between Ex 1 note slides here are important but can be subtle. James didn’t use that much vibrato but feel free to add it, as this brings out your own personality. The grace D Ex 1 Ex 1

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Open D tuning Open D tuning Open D tuning Open D tuning

D D A A F# D F# D D A D A A F# A F# D D A A D D

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12 12 12 12

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11 11 11 11 11 11 11 11 11 11 11

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~~~~~~~ ~~~~~~~ ~~~~~~~ ~~~~~~~

ExamplE 2 elmore james-style 12th-fret jumps

TRACK 71

so much Ex 2 of Elmore James’s phrasing concentrated around the 12th fret, which often involves some fast, accurate jumps back and forth between strings. Be Ex 2 careful the vibrato here. Ensure not to over-shoot notes following a slide. D Ex with 2 Ex 2

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Open D tuning Open D tuning Open D tuning Open D tuning

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11 11 11 11 12 11 12 11 11 11 12 12 11 11

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12 12 12 12 12 12 12 12 12 12 12

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11 11 11 11

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11 11 11 11 12 11 12 11 11 11 12 12 11 11

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14 14 14 14

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12 12 12 12

ExamplE 3 johnny Winter-style open strings and jumps

~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~ 12 ~~~~~~~~~ 12 12 12 12 12 12 12 12 12

TRACK 72

Johnny Winter often included open strings in his phrasing, which can be hard to control, especially with very large leaps from 3rd to 12th fret. The triplets in bar 4 wereEx a signature of Winter’s playing, as were his power and aggression. 3

# & # 44

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October 2017

Open D tuning

lesson } BEGINNER’S SLIDE D A F# D A D

12THE CD ON

ExamplE 3 johnny Winter-style open strings and jumps ...CONTINUED

j œ

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D A F# D A D

TRACKs 70-73

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w # ww

11 11 11

12 12 12

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TRACK 72

GUITAR TECHNIQUES 2 74 Title : Harrison's RGT triplets SLIDE GUITAR COLUMN GUITAR4 TECHNIQUES 2 74 Winter-style TRACK 73 ExamplE jam tracK: johnny single-note Title : Harrison's RGT SLIDE GUITAR COLUMN GUITAR TECHNIQUES 2 74 This Johnny Winter-inspired track starts with triplets that Winter would have played with a thumb pick. A lot of the phrasing uses just the second string. Title Harrison's RGT SLIDE GUITAR COLUMN JAM TRACK Practise good intonation and rhythmic accuracy at slow:speeds before playing at tempo.

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JAM TRACK

~~~~ ~~~~ ~~~~

Open D tuning Open D tuning

D A D F# A D F# A D D F# A D D A D

1 1

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11 11 11 11 11 11 11 11 11 11 11

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October 2017

3 3

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5 5

lesson } essential rhythm guitar

ON THE CD

TRACKs 74-76

George Benson has Quincy to thank for superb production on his pop hits

Iain Scott explores the layered guitars of legendary producer Quincy Jones, revered by Michael Jackson, George Benson and more. ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate Info Key: Various Tempo: Various CD: TRACKS 74-76 88

October 2017

Will improve your Arranging skills Octave playing Interlocking parts

Brought to you by...

The InsTITuTe of ConTemporary musIC performanCe

MEPHISTO / REX / SHUTTERSTOCK

Quincy Jones Rhythm Track

ulti-instrumentalist, poducer and composer Quincy Jones has been a driving force in music since the former jazz arranger turned to producing pop in the late 60s. The multiGrammy Award winning artist has put his significant talent behind many of pop’s groundbreaking albums, including Michael Jackson’s Off The Wall and Thriller, and many of George Benson’s pop hits. His rhythm guitar tracks are played by a team of super-skilled players that include Steve Lukather, Dean Parks, Lee Ritenour, Paul Jackson Junior and David Williams; players that can draw on funk, rhythm and blues and soul to provide creative and inspiring parts. There are many great examples on Quincyproduced albums, so let’s look at something with a verse and a chorus for some ideas.

learning zone

Quincy Jones example 1 Guitar 1 – HiGH Part and Octaves

TRACK 75

The first four bars (repeated) form a typical verse section. The part is a high contrast the verse you play ‘modern’ octaves, so switch to a warm neck pickup syncopated funk line. Play all the notes extra short for a tight, funky feel tone but use a pick as opposed to the thumb (Wes Montgomery- tyle) and play GUITAR TECHNIQUES 7 have 4 it. The chorus starts and add slow subtle phasing if 2 you at bar 5 and to- ESSENTIAL with a tighter feel, soGUITAR not too jazzy. IAIN SCOTT Rhythm -

QUINCY LAYERS IAIN SCOTT - ESSENTIAL Rhythm GUITAR QUINCY LAYERS IAIN SCOTT - ESSENTIAL Rhythm GUITAR Gm7 B bmaj7 Am11 QUINCY LAYERS IAIN SCOTT - ESSENTIAL Rhythm GUITAR Gm7 B bmaj7 Am11 QUINCY LAYERS

GUITAR TECHNIQUES 2 7 4 Guitar 1. High Part and Octaves.

GUITAR TECHNIQUES 2 7 4

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Guitar 1. High Part and Octaves.

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October 2017

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lesson } essential rhythm guitar

ON THE CD

TRACKs 74-76

example 2 Guitar 2 – interlOckinG lOwer Part

TRACK 76

Again the first four bars are repeated and feature a funky line, as in Example 1, but this time an octave lower, so it is a complementary part as a whole, but also cleverly interlocks exactly at specific points with the ‘Guitar part 1’ to make the 2 parts interesting and cohesive when heard together. The chorus section two 2 Guitar 2. Interlocking lower part.

b ∑ & b 44 b 4 Guitar & 2.b Interlocking 4 lower part.∑ b ∑ & b 44 b ∑ & b 44

E B G D E A B E G 3, 7 D E A B E G 3, 7 D E A B E G D 3, 7 A E 3, 7

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6 6

October 2017

‰ ‰ ‰ ‰

. œ. B bmaj7 œ J. b . ⋲ œ B maj7 J. b œ. ⋲ œ B maj7 J. œ. ⋲ œ7 œ5 ⋲ J

‰ ‰ ‰ ‰

A m11

œ œ œ œ8

.. .. b œ. b œ ⋲ œ .‰ œj ‰ œj œ œ œ J œ. b œ ⋲ œ ‰ œj ‰ œj œ œ œ J. œ b œ ⋲ œ ‰ œj ‰ œj œ œ œ J. œ œ ⋲ œ ‰ j ‰ j œ 1, 5

b &b b &b b &b b &b

B maj7

j .. Gm7 œ. j .. Gm7 œ. j .. Gm7 œ .... œ5. j ..

2 Guitar 2. Interlocking lower part.

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

Gm7

2 Guitar 2. Interlocking lower part.

provides a chord backing pad to Guitatr 1’s octaves part (as a double-stop) and also a funky part for contrast, over both the Fm7 and Cm7 chords. Use a ‘both pickups on or ‘in-between’ selection and turn up the compressor (again, if you have one) to make the notes ‘pop’. Have fun!

œ. œ. œ. œ8. 8

˙ b ˙˙˙8 b ˙˙˙ D7#9 b ˙˙˙6 b ˙˙546 5 4 6 5 4 6 5 4

œ. œ. œ. œ8. 8 8 8

1, 5

5 5

Am11

1, 5

Am11 Am11

œ7

Cm77

8 8

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œ œ œ œ8

Œ Œ Œ Œ

ww7 Cm7 ww Cm7 ww Cm7 ww88

j G m7 6 œ. j G m7 œ. j G m7 œ. j œ5. 5 5 5

‰8 ‰ ‰ ‰

‰ D m7 ‰ D m7 ‰ œ7 œ7 ‰ 7

œ. b œ. J œ. b œ. J œ. b œ. J. . œ œ

‰ B maj7 ⋲ ‰ B maj7 ⋲ ‰ B maj7 ⋲ ‰ J7 5 ⋲ 7 7 7

5 5 5

8 8

œ œ œ œ8

j œ j œ j œ j œ5

j œ j œ j œ j œ3

‰5 1‰ 1‰ ‰ 1

Am11

Œ Œ Œ Œ

œ œ . Am11 œ œ . Am11 œ œ . œ7 œ8 Am11

œ œ œ œ7

‰ ‰ ‰ ‰

Dm7

œœ. Jœ. œ Jœ. œ Jœ8. œ8 J8

.. .. .. .. ..

8 8

j œ .j œ .j œ .j œ7

8 8

œ. œ. œ. œ5.

8 8 8

Fm7 8

. .. .. . .œ . œ . œ . œ

9, 13

4 5

9, 13

4 5

9, 13

4 5

œœ .. œœ .. œœ .. œœ88 ..

9, 13

8 8 8

œœ œœ œœ œœ67

8 8

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œ. œ. œ. . œ5. 5

ww Fm7 ww Fm7 ww ww45

.. .. .. ....

j œ .j œ .j œ .j œ7 7

jDm7 œ. ‰ jDm7 œ. ‰ jDm7 œ. ‰ j œ8. ‰ . 12

j Dm7 œ. ‰ j Dm7 œ. ‰ j Dm7 œ. ‰ j œ8. ‰

‰ ‰ ‰ ‰

. .. .. œœ. œœ. œœ. œœ.

5 1

8 8

B maj7

œ œ œ œ7

8 8

G m7 6

8 D m7

œ œ œ œ8

œ. A m11 œ. A m11 œ. œ7. A m11

8 D m7

Am11

Œ Œ Œ Œ

Dm7

8 8 10 Gm7 8 8 10 Gm7

œ > Gm7 œ > Gm7 œ > œ5 > 5 5 5

6 7

Œ Œ Œ Œ

6 7

Œ Œ Œ Œ

6 7

Ó Ó Ó Ó

œ. œ. œ. œ8. 8 8 8

.. .. .. .. .

. .. .. .

lesson } IN THE WOODSHED

ON THE CD

In The Woodshed

Brought to you by…

Expand your major chord knowledge across the fretboard and improve finger fluency with the CAGED system, with Charlie Griffiths. ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced Info Key: Various Tempo: Various CD: TRACKS 77-81

Will improve your… Interval knowledge Fretboard visualisation Finger dexterity

irst make sure you are familiar with the five open chord shapes as this is the foundation upon which all of the following chords are built. If you already know the shapes then spend some time looking a bit deeper at them. Each of the open chords contains a collection of roots, 3rds and 5ths. The open C chord for example has a root, 3rd, 5th, root, 3rd from low to high. Being able to name all of the intervals and notes in a chord shape is very useful as this will allow you to adapt and add to the shapes. Example 2 focuses on moving up and down the neck using all five of the CAGED shapes. The general rule here is to finger the open chord shapes using the second, third and fourth fingers then use your first finger to fret what would have been an open string. This

TRACks 77-81

example shows the C chord in six different places, but of course this method can be applied to any major chord from A to G#. Pick a chord, any chord, and see if you can play it as close to the nut as possible, then move up the neck one position at a time. Remember that the lowest position won’t always be a C shape; the system can start with any shape. Example 3 shows the real efficiency of the CAGED system. The idea is that you should

Fretboard fluency is available via the caged system

be able to find any chord progression at any position on the fretboard. Here we have shown a C-F-G progression in five different places. Each one of them uses three of the five different shapes to change chords efficiently. You might notice that we have adapted the D and G shaped chords and made them slash chords. This essentially means that the 3rd interval is the lowest note and not the root note. This makes them more playable and helps them blend with the other chords sonically. Examples 4 and 5 have an extra note added to the triads. For the maj7 chords we add a maj7th interval (1-3-5-7) and for the Dominant 7 chords we add a minor 7th interval (1-3-5-b7). For these examples the root notes move in a predetermined manner. We have chosen 4ths and 5ths, which are quite common ways chords move around. You can try any other interval jumps such as 3rds or 6ths to test your chord change chops. This challenges your mind and your fingers in equal measure, and with practice you will become quicker at visually navigating the fretboard as well as the physical aspect of getting your fingers around the inevitably awkward manoeuvres. NeXT MONTH Charlie continues exploring the CAGED system, this time in minor form

GUITAR TECHNIQUES MAGAZINE 2 7 4

Charlie Griffiths' - ROCK SCHOOL - WOODSHED cd track 77 Developing Fluency with CAGED Chords Get acquainted with the five open major chord shapes as these act as the basis for learning chords all over the fretboard. Focus on placing your fretting fingers as Charlie Griffiths' - ROCK SCHOOL - WOODSHED accurately as possible and do your best to avoid any dead strings or fret buzz. with CAGED Chords Developing Fluency

ExamplE 1 GUITAR

TECHNIQUES MAGAZINE 2 7 4

Ex 1

.. ..

∑ ∑

. .. .

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

ExamplE 2

œœ œœœ œœœ

# Aœœœ # œœœ œœ

0 1 0 0 2 1 3 0 2 3

œ œœœœ œ œœœ

# Dww # ww ww

œ # œœœ # œœœ œœ 0

0 2 2 0 2 2 0 2 2 0

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

.. ..

. .. .

2 3 2 2 0 3 2 0

0 1 0 2 0 2 1 0 2 2 0

cd track 78

Here are Ex 2the same five major chord shapes again, but this time they are adapted to be ‘movable’. All of the ‘open’ strings have been replaced with the first finger so they can be played from any root note. Try playing the shapes in different keys to get accustomed with the fingerings all over the fretboard.

Ex 2

.. ..

∑ ∑

. .. .

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

Ex 3 Ex 3

October 2017

©»•º

F/A

œœ œœœ œœœ C shape C

0 C shape 1 0 0 2 1 3 0 2 3

œœœ œœ œœ A shape

3 A shape 5 5 3 5 5 3 5 5 3

C/E

œœ C œœ œœœ œœ E shape

G shape 8 G shape 5 5 8 5 5 7 5 8 5 7 8

G /B

8 E shape 8 9 8 10 8 10 9 8 10 10 8

œ œ ˙

˙˙ .. ˙˙˙ ... ˙˙˙ ...

œœ C œœ œœ

œ C œœ œœœ œœœ

C C

D shape

C shape

D 12 shape 13 12 12 10 13 12 10

C 12 shape 13 12 12 14 13 15 12 14 15

C/E

F/A

F G /B œœ œœ ˙

.. ..

. .. .

4 &4

.. œœœ œ

∑

. .

E B G D A E

ExamplE 3

œœ œ

œœ œœ

A shape

G shape

œœ œ

caged system (majOr)

C shape 0 1 0 2 3

3 5 5 5 3

E shape

8 5 5 5 7 8

˙.

learning zone

D shape

8 8 9 10 10 8

12 13 12 10

C shape

. .

12 13 12 14 15

cd track 79

This exercise shows a simple I-IV-V progression in the key of C. Notice how each bar uses the same C-F-G chords and each set of three chords is confined to the same area on the neck. The G and D shaped chords have been adapted to first inversion chords (ie 3rd is the bass note) to make them more practical. Ex 3

4 &4

©»•º

∑

E B G D A E

2 xxxxxxxxxx xxxxxxxxxx 2 2 xxxxxxxxxx 2 xxxxxxxxxx ExamplE 4

F/A

œ .. œœ œ

œœ œ œ

˙˙ ˙˙ ˙˙

. .

6 5 3

3 3 4 5 5 3

5 5 5 3

C/E

œ œœœ

œœ œœ œ

5 5 5 7

5 6 5 7 8

G /B

˙˙ ˙ ˙ 8 7 5 7

œœ œœ œ œ

œœ œœ œ

8 8 9 10 10 8

8 10 10 10 8

7 8 7 9 10

C/E

˙˙ ˙˙ ˙

œœ œ œ

F/A

13 12 10

10 10 10 12

˙˙ ˙ ˙

œœ œœ

œœ œœ œ œ

œ œœœ œ

12 13 12 14 15

13 13 14 15 15 13

12 12 12 10

G /B

˙ ˙˙˙

12 12 12 14

. .

cd track 80

Here we have maj7 versions of the CAGED positions. In this exercise the root notes of the chords are continually ascending in 4ths. After playing the first five chord Ex 4 4 Ex shapes, move up one fret and repeat them again. You can continue doingb this all the bway up the neck, changing key as you go. b b chromatically b

Ex 4 Ex 4

G maj maj 7 7 C maj 7 7 G C maj G maj 7 C maj 7 G maj 7 C maj 7

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

# œœ & # # œœ & & ## # œœœ œ

ExamplE 5

5 5 6 6 5 6 6 5 6 6 5 5 6 5 5

œ œ œ n œœ nn œœ

Dmaj7 Dmaj7 Dmaj7 Dmaj7

G maj maj 7 7 G G maj 7 G maj 7

5 5 7 7 5 6 6 5 7 7 7 7 6 5 5 6 7 7 5 5

7 7 7 7 7 7 7 7 5 5 7 7 5 5

# œœœœ ## œ œ œœ

œ œ œ n œœ nn œœ

B maj7/F maj7/F B B maj7/F B maj7/F

5 5 5 5 5 5 5 5 3 3 5 5 3 3

5 5 3 3 5 3 3 5 3 3 3 3 3 3

3 3 5 5 3 4 4 3 5 5 5 5 4 3 3 4 5 5 3 3

3 3 4 4 3 4 4 3 4 4 3 3 4 3 3 A maj maj 7 7 A A maj 7 A maj 7

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

œœ œœ œœ œœ

œœ # œœ ## œœ œœ

b b b

Fmaj7 Fmaj7 Fmaj7 Fmaj7

œ b œœœ bb œœœ œ

œ n œœœ nn œœœ œ

C maj maj 7/G 7/G C C maj 7/G C maj 7/G

b b b

E maj7 maj7 E E maj7 E maj7

˙ b ˙˙˙˙ bb ˙˙˙

b b bb œ

b œœ bbb œœœ œ bb œœ

Bmaj7/F E maj 7 7 Bmaj7/F E maj Bmaj7/F E maj 7 Bmaj7/F E maj 7

bbb œœ bœ b bbb œœœœ bb œ

b b bbbb œœœœ bb bbb œœœ

# ##n œœœ ## #nn œœœ ## œ

4 4 6 6 4 5 5 4 6 6 6 6 5 4 4 5 6 6 4 4

6 6 6 6 6 6 6 6 4 4 6 6 4 4

6 6 4 4 6 4 4 6 4 4 4 4 4 4

4 4 5 5 4 5 5 4 5 5 4 4 5 4 4

3 3 3 3 3 5 5 3 6 6 3 5 5 6 6

A maj 7 D D maj 7 G G maj7 maj7 A maj 7 maj 7 A maj 7 D maj 7 G maj7 A maj 7 D maj 7 G maj7

# ##n ˙˙˙˙ ## #nn ˙˙˙˙ 4 4 4 4 4 6 6 4 7 7 4 6 6 7 7

Fmaj 7 7 Fmaj Fmaj 7 Fmaj 7

˙ n ˙˙˙˙ nn ˙˙˙

7 7 5 5 7 5 5 7 5 5 5 5 5 5

5 5 5 5 5 7 7 5 8 8 5 7 7 8 8

cd track 81

Here we have Dominant 7 versions of the CAGED positions. In this exercise the root notes of the chords are continually ascending in 5ths. After playing the first Ex 5 5 move down one fret and repeat them again. You can continue to do this all the way down the neck, again changing keys chromatically. Ex five shapes, Ex 5 Ex 5

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

## & ## # & & # E E B B E G G E B D D B G A A G D E E D A A E E

œ n œœœœ nn œœ œœ

D7 D7 D7 D7

10 10 10 10 10 11 11 10 10 10 10 11 12 12 11 10 10 10 10 12 12 10 10

E E7 7 E7 E7

B7 B7

12 12 12 12 12 13 13 12 12 12 12 13 14 14 13 12 12 12 12 14 14 12 12

7 7 10 10 7 8 8 7 10 9 9 10 8 8 9 9

œœœ œB7 B7 œ n œœœ # œœœœ nn œ ## œœ œœ œ

œ # œœœœ ## œœœ œ

E7 7 E E7 E7

# œœœ ## œœœ œœ œ

#B7 œ B7 ##B7œœœ œ œœ

5 5 8 8 5 6 6 5 8 7 7 8 6 6 7 7

10 10 9 9 10 9 9 10 9 9 9 9 7 7 9 9 7 7

11 11 10 10 11 11 11 11 10 9 9 10 11 11 9 9

A7 7 A A7 A7

F F F F

#77

C C 7 7

#7 #C #7 # œœœœ#7 ##Cœœœœ#7 ## œ œœ œœ œ œ 12 12 11 11 12 11 11 12 11 11 11 11 9 9 11 11 9 9

13 13 12 12 13 13 13 13 12 11 11 12 13 13 11 11

# # # ˙˙#

G G G G

#77

# # ˙˙#77 ## ˙˙˙ ˙˙ ˙ 11 11 13 13 11 11 11 11 13 13 13 13 11 11 11 11 13 13 11 11

b b bb b bb bb

E E E E

b77

œœœbb77 b œœœ bb œ œœ 11 11 11 11 11 12 12 11 11 11 11 12 13 13 12 11 11 11 11 13 13 11 11

b77 b7 œœb7 B B B B

n œœœœ nn œ œœ œ

C7 C7

n œœœœœ nn œœ œ

F F7 7 F7 F7

nC7 œ nnC7œœœ œœ œ

G G7 7 G7 G7

n ˙˙ nn ˙˙˙˙ ˙˙

6 6 9 9 6 7 7 6 9 8 8 9 7 7 8 8

11 11 10 10 11 10 10 11 10 10 10 10 8 8 10 10 8 8

12 12 11 11 12 12 12 12 11 10 10 11 12 12 10 10

10 10 12 12 10 10 10 10 12 12 12 12 10 10 10 10 12 12 10 10

F 7 7 F F 7 F 7

## ˙˙˙ ˙˙ ˙

9 9 11 11 9 9 9 9 11 11 11 11 9 9 9 9 11 11 9 9

October 2017

interview }

Marty FriedMan Wall Of Sound With the release of his new, mostly instrument album Wall Of Sound, one of metal’s virtuoso guitarists got together with Jason Sidwell to discuss tone, technique and songwriting.

new Marty Friedman album is always something of an event here at Guitar Techniques. So when Wall Of Sound hit the GT doormat, a chat with Mr Friedman was high on our wish list. Marty is one of those guitarists who embodies real rock attitude alongside phenomenal technique and a deep melodic understanding. He doesn’t hold back on what he considers constitutes good music and great musicianship, either, so a conversation with Mr Friedman is bound to keep you on your toes. Using mostly his signature Jackson MF-1 guitar and its prototypes, as well as various Engl amps - the Inferno production model and prototypes, along with the Artist and Special Edition Marty has indeed created a wall of sound on...Wall Of Sound. Before we got into our track-by-track examination of the new release, we quizzed Marty on various aspects of his technique, and began with a question about his string bending - notably the very vocal sounding ‘quick bend, drop, slower bend up’ approach. “This is only one of maybe a hundred or so different ways that I may bend a string,” he says. “I tend to bend strings in an effort to control the notes with more depth than just a cool-sounding vibrato. Even a wicked vibrato would get stale fast if you applied it on every note you play. I often play like a vocalist, who may control his or her separate interpretation of each note, depending on the feeling to

October 2017

be portrayed at that particular moment. It is important to be able to play each note exactly the way your heart wants to ‘sing’ it. To do that, I suppose I am very in tune with each little subtlety of bending a note. I’m not sure what influenced this, but I think since I play an abnormal amount of melodies, at times I express myself like a singer more than a guitarist.” Anyone that’s watched Marty play will have noticed his rather unusual method of picking, where the picking hand is positioned away from the strings. We wondered how did he develop that and how does he reduce unwanted string noise? “I’ve never thought about it,” he tells us. “Until that is I became professional and was asked constantly about it. And then I realised that I could not give a real answer. It just happens. I hate the

way it looks. The only logical answer is that I hate the typical ‘muted guitar solo’ sound which was big in the 80s. You will notice that keeping my palm away from the strings allows the strings to ring loud without being muted. About the unwanted noise: a lot of it has to do with where you are standing in relation to the amp, and finding the sweet spots where the unwanted noise is least. Playing accurately helps but I am way, way more interested in having an emotional performance than an accurate one. Both together is ideal, though.” Marty is known for unique note combinations, sometimes slightly unusual Pentatonic choices such as Am6 (A-B-C-E-F#). Does he find Pentatonic vocabulary a strong foundation, we wondered? “There are no home bases for me,” he retorts. “Each melody or

Marty Friedman with one of his Jackson MF guitars

phrase is unique unto itself and solely exists for the purpose of where it is in a given song.”

Track by Track Marty was happy to divulge what went into each track on Wall Of Sound, from musical approach to technical issues and even scale choices. We go through each track in order, finishing with the final tune and starting with the first...

Self Pollution GT: This opener certainly lives up to the album title. How many guitar tracks were on this? MF: Lots and lots, like all the songs! Do you have any tips about mixing clarity with so many guitars? MF: Limit unpleasant distortion, play as clean as possible, and plan out your tracks well. Mute anything that covers anything important up. Be honest about whether you need the part or not, no matter how cool it is or how hard you worked on it. Be prepared to get rid of anything. GT: There’s a lovely moment when you go from intense Harmonic Minor distortion soloing to an ambient, cathedral-like section involving slow bends and a clean tone. Nice tritone chord shift too (A-Eb). Other guitarists can struggle with such an abrupt shift but your fans almost expect it. How do you compose and then arrange this? MF: I love abrupt shifts when they are effective. Making a strong contrast like this takes a lot of trial and error, as well as listening closely to find the best way to make the contrasting parts really work for each other.

Takaaki Henmi 2017

INTERVIEW { Marty FriedMan

be honest about whether you need the part or not, no Matter how cool it is or how hard you worked on it Marty Friedman

October 2017

interview } Marty Friedman: loves mixing melody with violent tones!

Sorrow and Madness GT: The intro on this violin and guitar piece is very arresting; how do you travel into the world of classical sounding music with intense guitar tones while still sounding fresh? MF: Fresh is the key word. I don’t want to ever repeat myself, much less repeat something someone else has done a lot. So I try many, many things until I come up with something that sounds fresh to me. Jinxx (guitarist/violinist of Black Veil Brides - Ed) came up with this violin melody, and that was all I needed to be inspired to create a Frankenstein from it.

Streetlight GT: Although much of your music is heavy, you’re not averse to using Major key harmony and embracing chords like maj7s. MF: This is because I am all about the melody and arrangement. The fact that I do this with heavy guitars is the only thing metal about it. In the rhythms of this song there are some very basic jazz chords like G Major over A spread out over several tracks. If you played them at once on one guitar they would sound awful with distortion, but separating them allows me to use these ‘forbidden’ chords in the world of metal, when they fit in with my arrangement.

Whiteworm GT: A great climbing arpeggio riff begins this track; can you tell us how it come about? MF: A guitar intro has to make listeners want to pick up a guitar and play it. These days, they are a bit more skilled than those who hopped onto the guitar via Smoke On The Water and Stairway To Heaven. This intro, and Self Pollution’s, also had that in mind. But the intro can’t just be an intro, it has to be a solid theme that you can flesh out a good song with. 96

October 2017

possibly done much more intricate things under it, but I prefer chords that are easy to digest.

Miracle

GT: How many detuned guitars were tracked for the syncopated thrash riff? What were they tuned? MF: It was a seven-string in drop A. Nothing fancy. GT: The Latin rhythms in the track, how did they come about? MF: I had planned them in the first drafts of the song, but the piano was an afterthought which brought out the drastic shift that you hear there. I laughed the first time I tried it. GT: The melancholic melody on this track is a trademark of yours. You’re obviously comfortable with shifting from intense thrash guitar to touching melodies... MF: The melodies here sound even more melancholy and touching after having your head kicked in with a steel-toed boot by the previous part. By itself, the melody might have only been so-so.

Pussy Ghost The main sections are cinematic with soaring melodies and doom-laden dropped tuning guitars. Do you visualise anything when writing instrumentals? MF: For this one, literally an emaciated cat or a scary ‘pussy’. GT: How do you keep drop-tuned guitars in tune and so rhythmically precise when riffing? MF: By simplifying parts to match the ability I may have (or not have) to play the part. There is no room for error when you are stacking busy things. It’s no time to be a hero. I simplify it and be sure I can play it tight.

The blackest rose GT: Your lead tone has just enough drive for bends to sing. How do you decide how much amp gain to use?

i had been playing these songs For over a year so was able to track all the guitars in nine days For a Friend GT: This is primarily one theme that is developed and explored rather than being a piece structured with different ideass. Do you favour one approach over the other? MF: No, the strength of the melody dictates the overall approach. GT: When you vary your distortion, as in this piece, do you favour picking lighter or reducing your guitar’s volume control? MF: I will play in whatever way gets the notes to sound the way I hear them in my head. I’ll try everything until it all comes together. But it takes a while sometimes.

MF: I let the engineers and techs decide that kind of thing. I am too busy concentrating on performing.

The Soldier GT: This is an interesting track that is enhanced by cello and shows you leaning towards beautiful Far Eastern sounding melodies. Is there a link between the chord progressions between classical and, say, Japanese music? MF: On this I actually envisioned a more Chinese theme. I must have missed the mark! This is quite a simple chord progression under the main melody. Others would have

GT: Your fans don’t often associate you with the acoustic guitar but there is some evident on this album. With this upbeat, melodydriven piece did you always envisage the acoustic strumming as the driving factor? MF: That was the best way to not get in the way of the important melody in this song.

The Last Lament GT: This is a very creative final piece with a little of everything that is on the album; intense riffing, shredding solos, upbeat melodies, intense guitar stacking, melancholic leads. It would seem to be quite a lengthy process to structure and record this. How long did it take in total? MF: I can’t really single out any song and say how long it took to record as the whole album was done as one big project over about 18 months. Because of the exhaustive demo process, recording countless new demos in different keys, tempos and styles, by the time I hit the real studio to track guitars, I had been playing these songs in one form or another for over a year. Because of that, I was able to track all the guitars on the whole album in nine days. Even I find that unbelievable, but actually it felt like a young band who had been playing their best songs for a long time before they got signed, and then banged out their debut album in a week. I really can’t say enough about good preparation! Wall Of Sound is out now on the Prosthetic label. Buy it from good music stores or direct from www. martyfriedman.com where you will also find information on other releases, buy merchandise and learn about live events.

whAt our rAtiNgs meAN ✪ ✪ ✪ ✪ ✪ Buy it ✪ ✪ ✪ ✪ Excellent ✪ ✪ ✪ Good ✪ ✪ Average ✪ Bin it!

New Albums

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

Martin Simpson has released 20 solo albums during his remarkable 40-year career and Trails And Tribulations is yet another example of his craft and finesse as both songwriter and acoustic guitarist. The central theme of the album is travel: “I travel, I learn songs, I write and try to get better at the skills required for me to do my job…” he says. Kicking off with the folk staple Blues Run The Game, the album unfolds with a mix of traditional songs peppered with originals, like the excellently evocative Maps. Martin exchanges his PRS acoustics for banjo and electric guitars during the standard edition’s 13 tracks – and there’s another six if you choose the deluxe version. Fabulous stuff!

Defying gravity

REVIEWS BY DAVID mEAD AnD jASon SIDWEll

Back in 1991, at the time of the band’s memorable debut with the album Lean Into It, Mr Big was, for many, the dream heavy rock supergroup. The presence of Paul Gilbert on guitar and Billy Sheehan on bass alone meant some virtuosic stringmanship even before the talents of Pat Torpey on drums and Eric Martin were dialled in to complete the quartet. Twenty six years on the band returns with all the humour and death-defying riffs from Messrs Gilbert and Sheehan that we know and love. From the Beatles-like chords of the title track, to the acoustic Damn I’m In Love Again and the screaming soloing of Mean To Me, it’s a musical smorgasbord. Watch out for Paul, Billy and co in the UK this autumn.

Mike Stern trip

Concord Music ✪ ✪ ✪ ✪ ✪ News of Mike’s fall last year worried his fans but this new album (Trip - get it?), recorded at the start of

ChriS rea

roaD SongS for LoverS

Topic ✪ ✪ ✪ ✪ ✪

Frontiers ✪ ✪ ✪ ✪ ✪

Amelia is an uplifting piece that he milks with slides, bends and tasty chords. If you like dynamic and stylistic variety from a jazz guitarist, Mike is highly recommended.

BMG ✪ ✪ ✪ ✪ ✪

Martin SiMpSon

Mr Big

music } reviews

2017, sees the bop and roll jazz rocker in full flight courtesy of gluing the pick to his hand! Mike sits broadly in the same revered space as Pat Metheny, John Scofield and Bill Frisell with a style that spans emotive ballads to full-out jazz-rock burning. Opener, Trip features a syncopated chromatic head, a Stern trademark complete with a strong funky groove and some blazing distorted lines come solo time. Half Crazy is a busy swing number with great interaction between Bill Evans’ sax and Mike’s overdriven guitar. Screws (named after Mike’s first surgery) is a dark and brooding groover, almost cinematic and featuring one of the album’s best solos. Mike’s nylonstring playing is centre stage on Gone, a ballad with gorgeous chords, upright bass, piano and soft percussion. Leni Stern’s ghoni (three-string African instrument) features on two tracks (Amelia and I Believe You); a lovely timbre that complements Mike’s clean chorus tone. Following encouragement from bassist Richard Bona, Mike’s also singing some of his melodies;

It figures that self-confessed motor enthusiast Rea should put together an album of road songs – after all, his biggest hit to date is 1989’s Road To Hell (Pt 2). But the focus on Road Songs For Lovers couldn’t be more different to that rant about the frustrations of motorway driving. On this album, the theme is the romance of the open road – and, indeed, romance itself – and that signature gravelly baritone and soulful, silky-smooth slide guitar have never sounded better. Lead single The Road Ahead, with its laid-back groove and great playing all round, typifies what this album

has to offer, and it’s impossible not to like it. This November sees Chris take to the road for a short run of gigs throughout the UK, so keep an eye on his website for details.

Living CoLour ShaDe

Megaforce records ✪ ✪ ✪ ✪ ✪ Living Colour is back with the first new album in eight years, blending blues, hip-hop and metal. Vernon Reid’s riffs and shred guitar always grabs the attention; it’s aggressive, rhythmically driving and the album features LC’s best riffs since the days of Stain (1993). The cover songs are worth the purchase alone; Robert Johnson’s Preaching’ Blues, The Notorious B.I.G’s Who Shot Ya? and Marvin Gaye’s classic, Inner City Blues all sound very fresh. The former was the impetus to make the album and it’s a bold take on this blues classic; a lurching riff, exclamatory guitar licks, impassioned vocals from Corey Glover and a solo that twists, lurches, whammys and screams in a

manner only Vernon can achieve. Who Shot Ya? features an infectious metal hip-hop stomp while Inner City Blues retains the original’s swing groove but the driving guitar makes it feel relevant for today. Of the originals, Always Wrong stands out with its soul-hop, mid-tempo groove. If you hanker for foot-onthe-gas bluesy funk metal, Living Colour really is still the business.

Mike DaweS era

Qten Records ✪ ✪ ✪ ✪ ✪ Mike Dawes found YouTube fame via his cover of Goyte’s Somebody That I Used To Know). He’s part of the new wave of acoustic guitarists who favour a percussive style but aren’t averse to straightforward fingerpicking. His fifth album, Era features 12 solo performances that are largely self penned, although his arrangement of John Mayer’s Slow Dancing In A Burning Room is worth a mention; it’s full sounding with some great overdubbed outro guitars (even single-coil electrics). Much of the appeal is the very high technical level of Mike’s playing his harmonics are clear and ringing, every body slap and fretboard tap is precise and the dynamic balance of chords, percussion and melody within the arrangements is well considered. Put on headphones though and you’ll hear excellent production too - this is no ‘one mic in front of an acoustic guitar’ release. Instead, there is a lot of recording craft involved, making for an immersive, cinematic listening experience. Beirut is just one piece worthy of note - there’s a lot going on but the playing and the production make the music super crisp, big and involving. Lovely!

October 2017

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feature #2 the art of rhythm Your ultimate lesson

video lessoN solo two-hand tapping A fantastic rock piece to play!

Our most comprehensive rhythm feature yet. Learn how greats from Wes to Jimi cracked the rhythm code.

Paul Bielatowicz continues his video tapping series with a full-on rock onslaught to scare the neighbours!

classical tab agustin barrios Limosna Por El Amor De Dios

techNique & theory things to learn & play Minor CAGED & Open D slide

Bridget arranges and transcribes a fabulous piece by this Paraguayan master of the classical guitar.

Our second CAGED feature looks at minor chords and licks; we tab out more great open D slide examples.

A full musical appreciation of...

gary Moore!

he was one of the most adored of all our guitarists. he had feel, tone, taste and chops by the truckload. big fan richard barrett runs the gamut of his repertoire including blues, ballads, heavy rock, Celtic, fusion and beyond.

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Aerosmith’s legendary axeman

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One of Americana’s leading lights

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