the finest guitar lessons on the planet – all on cd! 220 august 2013 UK £5.50/US $15.99
world’s clearest
funk up
guitar tab
your blues Play tastier chords and slicker licks Loosen up your rhythm and riffs Sound a whole lot groovier today guitar of daft punk
Nile Rodgers Nail his amazing style!
Joe Satriani Learn 10 cool things this genius of rock gave us play like...
Joe Pass
Ultimate jazz taste
ty tabor
King’s X’s axe hero
keith urban
Master the art of...
Eight-Finger
Tapping
Astonish them with this mind-blowing technique!
Nashville megastar
martin barre
Tull’s tasty titan of tone
august 2013 PRINTED IN THE UK
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ISSUE 220 AUGUST 2013
Just some of your regular GT technique experts... SHAUN BAXTER
One of the UK’s most respected music educators, Shaun has taught many who are now top tutors. His album Jazz Metal was hailed as a milestone.
PAUL BIELATOWICZ
One of our greatest rock guitarists, Paul plays with prog legends Carl Palmer and Neal Morse, and is a most welcome regular contributor to GT.
JON BISHOP
Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease!
PETE CALLARD
Pete’s many credits include Lionel Richie, Annie Lennox, Chaka Khan and Shirley Bassey. He works regularly in the studio, on TV and in the West End.
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 regularly plays guitar in the Queen musical, We Will Rock You.
TERRY LEWIS
Terry has toured the world in support of a host of big name acts. He currently teaches at BIMM Brighton, writes with canny insight and plays superb guitar.
BRIDGET MERMIKIDES
Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award winning blues guitarist.
Welcome PLAYING WITH GROOVE is something a lot of guitarists never think about. Some just do it without knowing it, while others, to quote one famous musician talking about another, “Swing like a statue’s appendage” (I switched the word ‘appendage’). You can tell certain guitarists by the rhythm of the notes they play - Hendrix, Robben Ford, Holdsworth, Van Halen, BB King, Pat Martino spring to mind. Others let fly with a constant stream of notes and this can quickly sound dull. So remember, rhythmic interest is just as important as harmonic invention when soloing. When it comes to accompaniment or chord playing, groovy feels are often associated with cooler, jazzier chord sounds - think of James Brown and his 9ths and 13ths; the lovely changes in a Steely Dan tune; or indeed the cool-as-ice minichords in many funk songs. Jacob’s Funky Blues feature covers these areas and shows chords that may have slipped your attention, and some amazingly cool licks that fit such a harmonic backdrop. I’ve seen it already and know how good it is! Of course, when groove or funkiness is mentioned, one man’s name leaps out. Nile Rodgers is never off the radio at the moment.
THE
FINEST
GUITAR TUITION YOU CAN BUY !
As well as being on the road with his own band Chic, it was also Nile that played the funky rhythms on the worldwide smash hit, Get Lucky, by Daft Punk. A big Nile fan, Jason has devised a great lesson to show the kind of chord shapes you’ll find in disco and funk, as typically played by Rodgers; there’s a range of great grooves to try them with too. And while funk or groove may not be terms you’d immediately associate with instrumental rock supremo Joe Satriani, there is in fact a lot of style and groove in Satch’s playing. He often comes off best in those G3 jams because of his inherent bluesiness and feel, while other technical rockers sometimes struggle to sound as comfortable jamming a 12-bar. Jon Bishop looks at 10 things Satch gave us guitarists; it’s a super feature and one that looks perfect to roll out for other players. I hope you enjoy the new issue and I’ll see you next time...
Neville Marten, Editor neville.marten@futurenet.com
DON’T MISS OUR AMAZING DIGITAL EDITION Our digital edition for iPad, iPhone, Kindle Fire and Nook is now even better!
JACOB QUISTGAARD
Music Tech’s Jacob is a fantastic find. Not only is his writing great but he’s a superb player who can turn his hand to anything. Welcome aboard, Jacob!
STUART RYAN
Stuart is Head Of Guitar at BIMM Bristol, teaches at Bath Spa University and is a top solo acoustic guitar virtuoso. His debut CD, The Coast Road, is out now.
ANDY SAPHIR
A top teacher at the Guitar Institute (ICMP), Andy is a phenomenal player in a host of styles. He mixes just the right degree of flash with consummate taste.
TRISTAN SEUME
One of ACM Guildford’s leading tutors Tristan is also mega busy on the folk circuit playing with Jackie Oates. His brand new CD Middle Child is out now!
JOHN WHEATCROFT
A truly phenomenal guitarist John heads up the guitar facility at Tech Music Schools in London. He’s a master at all styles but a legend in Gypsy jazz.
Tap the links
Finding your way around the magazine is easy. Tapping the feature titles on the cover or the contents page, takes you straight to the relevant articles. Any web and email links in the text are tappable too!
Animated tab & audio
Most songs and lessons have the audio built in, with a moving cursor showing you exactly where you are in the music. Simply tap the ‘play’ button then you can fastforward or scroll back at will.
Play the videos
Certain of the articles have accompanying videos full of useful insight and additional information. Once again, tap the play buttons to enjoy video masterclasses on your iPad or smartphone.
PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio).
August 2013 GuitarTechniques 5
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• C ON T E N T S • AUGUS T 201 3 •
LEARNING ZONE
COVER FEATURE FUNK UP YOUR BLUES With groovier licks & chords
LESSONS INTRODUCTION
51
30MINUTE LICKBAG
52
Jason Sidwell waxes lyrical about the truly wonderful jazz guitar playing of Joe Pass.
18
Do you hear others playing licks and chords you just can’t seem to get? We know how you feel, so we created this feature just for you!
Six more licks at easy, intermediate and “Ooh my word!” levels, from BIMM’s Terry Lewis.
BLUES
54
ROCK
58
CREATIVE ROCK
66
HOT COUNTRY
72
JAZZ
80
ACOUSTIC
86
ROCKSCHOOL
90
John Wheatcroft revisits one of blues’s most popular and brilliant performers, the late and much lamented Rory Gallagher. Martin Cooper looks at Ty Tabor of rock, pop, prog and vocal harmony band King’s X. Shaun Baxter describes how to create sweet sounding rock lines using 3rd intervals.
Andy Saphir meets a Nashville (via NZ and Oz) superstar - the fabulous Keith Urban. If you were to name one man that epitomises jazz guitar, it would surely be Pete Callard’s subject this month – Joe Pass.
SPECIAL #1
Stuart Ryan transcribes perhaps the most famous and beloved of all spiritual songs – originally an English ballad – Amazing Grace.
SIMON LEES
NILE RODGERS Chic & Daft Punk’s rhythm ace 16
Charlie Griffiths continues his essential A-Z of music theory with a look at L for Latin, Lick, Legato, Locrian and Lydian – Let’s go!
Jason Sidwell looks at the grooves, chords and technique of the great funkster, with plenty of quotes from Nile himself...
FEATURES SPECIAL #2 Joe Satriani was instrumental in popularising many harmonic and technical concepts that pervade rock guitar today. Here’s our Top 10.
SPECIAL #3 This extraordinary technique came to the fore in the 80s and is still one of the most impressive to perform. Here’s how to do it!
5
THEORY GODMOTHER
8
David Mead addresses your technical, musical and theoretical issues.
TALKBACK
Tell us your views... don’t hold back...
9
INTRO
10
BACK ISSUES
92
News, One-Minute Lick, 60 Seconds With, What Strings, Diary Of A Gradman and more...
34
Missed one? See how you can get it – here!
ALBUMS
93
Top guitar CDs and DVDs reviewed and rated.
CLASSICAL TRANSCRIPTION ALBENIZ Tango
WELCOME
Nev gets into the groove...
10 THINGS SATRIANI GAVE US Concepts and techniques 26
8FINGER TAPPING Learn how to do it
VIDEO MASTERCLASS
REGULAR FEATURES
44
Bridget Mermikides arranges and transcribes another fantastic piece for you to play on solo acoustic guitar. You’ve been Tango’d!
TAB GUIDE
94
Our terms and signs explained.
SUBSCRIPTIONS
96
NEXT MONTH
98
Save time and money – get GT delivered!
Soloing over chords, get the most from your wah-wah, Bowie’s Starman tabbed... and more!
CLIVE CARROLL LESSON
62
The third and final part of Clive’s exceptional video masterclass series. This month: Irish jigs!
August 2013 GuitarTechniques 7
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• Gu i ta r T e c h n iqu e s • augus t 201 3 •
The Ibanez guitar bible! simone ceccetti
Tommy: catch his amazing show at CFF
Cambridge Folk Festival 2013 AN army OF folk, rock and world artists is lined up for this year’s Cambridge Folk Festival, which will take place from Thursday July 25 through to Sunday July 28 at Cambridge’s Cherry Hinton Hall Grounds. The Cambridge Folk Festival showcases both international headline artists and young, emerging talent across four different stages and continues to enjoy sell-out success year on year. Renowned for its unique parkland setting, great facilities and family friendliness, the festival offers something for everyone with street theatre, music workshops and sessions, raucous ceilidhs, open stages, a youth area,
internet café, kids’ ceilidh, storytelling, free creche, paddling pool and playground and real ale bars. The line-up includes The Mavericks (Sat), The Waterboys (Sun), KT Tunstall (Sat), Levellers (Fri), Steeleye Span (Sat), Capercaillie (Sun), Tommy Emmanuel (Sat), Martin Carthy & Dave Swarbrick (Sun), Martin Simpson (Sat/Sun), Le Vent du Nord (Sat/Sun), The Reverend Peyton’s Big Damn Band (Sun), Valerie June (Sun), Jim Moray’s Silent Ceilidh (Sat), We Banjo 3 (Sat/Sun), The Brass Funkeys (Thurs), and many more. Visit www.cambridgefolkfestival.co.uk for further information and to purchase tickets.
IGF Guitar courses this month! Do you want to spend a whole week getting better at the guitar? If so, you might want to sign up for a set of new guitar courses featured at this year’s IGF festival. Running from July 19 to July 25 in the picturesque city of Bath, each class is focused on making you a better guitarist through the week and culminates with a student concert to demonstrate what you’ve learnt. Hosted by past and present GT tutors there’s a course for everyone, priced at £325
A class gets to grips with new techniques
(accommodation not included). Courses include: Jazz And Beyond with Dario Cortese; Blues with Gianluca Corona; Advanced Fingerstyle with Stuart Ryan; Groove Empowerment with Jason Sidwell; and Singer-songwriter with Jay Stapley. Plus there’s a
range of classical guitar courses with Tom Kerstens, Graham Devine and Amanda Cook. Visit igf.org.uk (there is no www. at the beginning of the web address) for further information and to sign up for a course. A great time is guaranteed for all!
Ibanez is one of the most successful and influential Japanese guitar brands of all time. Tony Bacon’s new tome, The Ibanez Electric Guitar Book (Backbeat Books, ISBN 9781617134531, £10.84), tells the story of the company’s electric guitars, tracking the fortunes of this impressive brand from humble origins to international success. The reader is hooked after first paragraph: “How on earth were they going to sell all these mad-looking guitars? Would they prompt Ibanez’s final plunge into guitar-making oblivion?” Well, we all know the story has a different ending, and Tony Bacon tells it in fascinating and captivating fashion. The Ibanez Electric Guitar Book leads us from the early years, through the decades and right up to today. From the first cheap and basic models, to copies of Gibson Les Pauls, SGs, and Explorers (later known as the ‘lawsuit’ guitars owing to legal issues with Gibson); to Steve Vai’s spectacular JEM signature models in the late 80s and the huge success of this and other original Ibanez designs. Exclusive interviews with Steve Vai, Joe Satriani, George Benson, Mick Thomson and others, illustrate Ibanez’s increasingly important role among guitarists of many styles: from metal to pop, to jazz and alternative rock. Tony Bacon’s Ibanez Electric Guitar Book is now available from all leading booksellers including Waterstones and Amazon.
10 GuitarTechniques August 2013
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Farewell Johnny Smith
denver post/getty images
Johnny Smith, an exceptional American jazz guitarist and composer of The Ventures’ instrumental hit classic, Walk Don’t Run, died on June 11 aged 90. Johnny became established as one of the best East Coast jazz guitarists by the 1950s and played with some of the biggest names of the time including Bing Crosby, Count Basie, Benny Goodman and even the New York Philharmonic. He received worldwide acclaim for his superb album Moonlight In Vermont (1952), which also boasted the lyrical tones of legendary saxophonist Stan Getz. Johnny was a true jazz great, a real gentleman and an inspiration to many later jazz and fusion players including George Benson, Pat Martino and Bill Frisell. He won’t be forgotten!
Meet the Next Step Pedalboard Cradle
The TriplePlay is here!
Electro-Harmonix (EHX) have created a convenient, secure way to mount any of their innovative and renowned Next Step pedals to a pedalboard. The new Pedalboard Cradle ($16.96, around £11) is custom-designed of a lightweight, durable polymer. It adheres to a pedalboard with standard hook and loop fastener and the pedal rocks freely and securely within the cradle. When the musician is ready to pack up their pedalboard, a security strap locks down the effect for transport. The EHX line of Next Step Effects consists of the Crying Tone Wah, Expression Pedal, Pan Pedal, Talking Pedal and Volume Pedal. These pedals’ advanced design uses no potentiometers, no optical or magnetic operating systems and so solve many of the reliability probelms associated with traditional rocking pedal types. Visit www.ehx.com for further information about any of these products.
The long-awaited Fishman TriplePlay wireless guitar controller (£499) has finally arrived in Europe. The TriplePlay is a composing, performing and recording system that puts, according to Fishman, “an unlimited palette of instruments and sounds at your fingertips, all with the freedom of wireless control.” Ideal for the guitarist who doesn’t play keyboards and wants to be able to lay down ideas and tracks on any instrument, the TriplePlay lets you compose music with more tonal options, easily share arrangements with your band, and switch between instruments. It also lets you play up to four instruments at the same time, choosing from a huge variety of guitar, bass, brass, woodwind, strings, keyboard and drum sounds. The TriplePlay is easy to install and use – there are no permanent guitar modifications necessary and the low profile TriplePlay controller fits neatly behind your guitar’s bridge - and it’s wireless, so there are no heavy 13-pin DIN cables to trip over. It also comes bundled with all the software you’ll need for recording, editing and playing back your music. Visit the JHS website (www.jhs.co.uk), or check out Fishman’s dedicated TriplePlay page (www. fishman.com/tripleplay) for further information.
Fishman’s TriplePlay fits simply into place
PHIL HILBORNE’S ONE-MINUTE LICK Chromatics and Open Strings note. In the remaining two bars are two descending three-note This month we look at a tasty country lick in the key of A that groups followed by two that ascend. In both groups the 3rd note uses on open strings and chromatic notes. In the opening bar is played as an open string. This results in a typical country we see the b3rd (C) used as a lead-in note to the 3rd (C#), GUITAR TECHNIQUES MAGAZINE 2 2 0 ONEupMINUTE - and by Phil Hilborne sound should be played either fingerstyle or pick and fingers followed by a chromatic line played from the b5 (Eb) to the LICK (‘hybrid’ picking). There are many variations on this idea, so see b7 (G). In the second bar there is a chromatic ascent of A, Bb, CHROMATIC COUNTRY LICK if you can write some similar licks of your own. B, C, interspersed by an open second string (B, or 9th) pedal
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LEssOn: bLuEs
ON tHE cd
Rory Gallagher
Brought to you by...
This month John Wheatcroft takes a look at the explosive blues style of one of Ireland’s finest musical exports, the irreplaceable Rory Gallagher.
Gallagher’s playing, ranging from his superb acoustic blues fingerpicking through to his expert acoustic and electric slide playing in both open and standard tunings. However, I’ve decided to concentrate exclusively on his unique electric soloing style today, although I’d urge you to check out these other facets of the great man’s playing as there is a wealth of ideas for you to explore. Whilst on the subject of listening, I’d urge you to take another careful listen to your favourite soloists and pay close attention to the ‘shape’ they create when they play. When do the dynamics rise and fall? How about the contrast between space and intensity? How about technical dexterity and aesthetic beauty? Needless to say, Rory Gallagher pretty much got this right and we should all aim to do the same.
Listening to a blues artist you can almost tell where he comes from and what he’s been through. This is the raw Rory Gallagher feel I try to get.
GET THE TONE 8
5
7
5
2
GAIN
BASS
MIDDLE
TREBLE
REVERB
We’re after a classic blues rock tone here so ideally you should use a Strat-style guitar into a warm valve amplifier with the assistance of a quality overdrive and plenty of volume. Rory controlled the level of gain by manipulating his Stratocaster’s volume control; he also exploited each of the five pickup selections to great effect, while expertly employing hybrid picking to combine the best sonic and practical aspects of regular plectrum playing, along with fingerstyle. as always, ensure the notes are articulated cleanly and clearly and make sure your guitar is free from buzzes and rattles and you’ll be good to go.
TRACK RECORD Our personal CD recommendations would be Big Guns: The Best Of (Sony 2009) and the amazing live Irish Tour ’74 (Sony 2012). For DVD you won’t go wrong with Live At Montreux (Eagle Vision 2006), a comprehensive retrospective career overview drawn from Rory’s five appearances at the legendary Swiss jazz festival between 1975 and 1994.
FIN COSTELLO/REDFERNS/GETTY IMAGES
After serving his apprenticeship in numerous Irish showbands, Rory moved to London in 1968 and found international success with Taste. Whilst his blues credentials were firmly established, his traditional Irish roots were never far from the surface, seamlessly mixing ballsy Chicago inspired pentatonic wailing with sensitive Celtic modal melodies. Gallagher was also a fine acoustic fingerstyle and Dobro slide master, not to mention his prowess on banjo, mandolin and almost any stringed instrument that took his fancy. Rory was also a great singer, a prolific songwriter and a charismatic showman with the ability to connect with his audience. From 1971 to his death in 1995 due to complications following a liver transplant, Rory released a steady stream of rocking bluesy albums, toured the world non-stop and became an inspiration to the next generation of aspiring guitarist. The Edge, Slash, Johnny Marr, Brian May and countless others cite him as a major influence. I was fortunate to see Rory live a number of times in my late teens and he was never anything less than Rory loved superb, performing each song with playing live conviction, vitality and an unswerving as clearly seen here belief in that most important thing, the music. So compiling the examples for this month’s article was an absolute joy. ABILITY RATING Speaking of which, there are three slightly Moderate longer pieces for you to learn this month. Rory was not so much of a lick player so I decided to INFO WILL IMPROVE YOUR contextualise a number of his soloing KEY: Various Melodic blues phrasing concepts and devices into a trio of cohesive TEMPO: Various Articulation and expression mini solos. This allows me to show how he CD: TRaCKS 47-53 Tonal control might develop a specific melodic idea or motif, BORN IN 1948 and raised in Cork, Rory’s first using repetition, variation and development to create a logical musical statement that exposure to music was through skiffle and makes sense, so the intention of the soloist is rock’n’roll. By age nine he was learning the both engaging and clear to the listener but acoustic guitar; at 12 he owned his first without becoming predictable or cliché electric and, by 15, had bought the Fender derived. There’s so much to choose from with Strat that was to become his trademark.
tracks 47-53
54 GuitarTechniques July 2013
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Learning Zone
RORY GALLAGHER Example SOLO 1 GUITAR1TECHNIQUES
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BLUES DUES - RORY GALLAGHER Style Solos
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cd track 50
night after night. Rory’s Strat 12had the vibrato blocked permanently, allowing 14 those14 14 12 14 ©»¡¡™ double-stop bends to sound perfectly in tune in bar 7. Whilst there œ 14 ©»¡¡™ ~~~ ~~~~ ©»¡¡™ œ œ are no doubt more elegant solutions, as my bridgeœis floating I had to resort œ ~~~ œ œ œ œ œ ~~~~ œ œ œ œ œ œ œ ~~~~trademarked œœ œœ œœ‘block œœ shoved œœ approach œin aœœway that œœ~~~ œœ œœ œœœ œœ œœto theœœœACME œœ œœof wood œœ œœœ inœœ theœœœ cavity’ D m7 on repetition and thematic soundsœnatural, ©»¡¡™ ÓÓ ... feeldevelopment bb 444Half-time œ & œ œ œ œJ ‰‰‰ ~~~ œ ~~~~ œ the GTCD, hastily removed once the session was complete.J unforced and spontaneous. Rather like a great actor delivering their lines Ó b & 4 œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ Jœ ‰ œ œ œ œ œ SOLO 2 b 4 Ó . & 4 J D m7 ©»¡¡™ Half-time feel œ ~~~ ~~~~ ~~~ œ œ œ œ ~~~~ œ œ œ œ œ œ œ~~~ ~~~~ ~~~ ~~~~ 13 10 œ œ œ 10 9 10 9 œ 10œ œ9 10œ œ9 œ ‰ 4 . œ 13 10 12 Ó b 10 9 10 9 9 ~~~~ 13 10 12 & 4 10~~~ 9 10 9 12 9 10 9 10 9 12 10 9 10 9 12 J 10 12 12 10 9 10 9 12 9 10 9 10 9 12 10 9 10 9 12 10 12 E E B E B G B G D E G D A B D A E G A E D E A E E
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July 2013 GuitarTechniques 55
GTC220.blues.indd 55
6/21/13 6:04 PM