THE FINEST GUITAR LESSONS ON THE PLANET! 250 DECEMBER 2015
take the challenge!
blues-rock bootcamp Beef up your blues-rock muscles and get your fingers fit with our ultimate Pentatonic workout!
HYBRID PICKING Master the style that
New Look! Updated layout Clearer design
many say is the best of all picking worlds
transcribed
Classical
Learn ’O Sole Mio, aka the Cornetto advert!
style studies
DOKKEN
With George Lynch
CHRIS REA
Classy British bluesman
SYSTEM OF A DOWN Off-the-wall US metallers
classic tab!
JOE SATRIANI
Always With Me, Always With You
Learn one of Joe’s most beautiful instrumentals
ALlAN HOLDSWORTH Undisputed jazz-rock genius
RICHARD THOMPSON
Learn his brilliant acoustic style
Play } PENTATONIC
ON THE CD
TRACKs 4-13
Pentatonic Boot Camp Part 1 Want a few cool new Pentatonic licks that don’t sound just like your old ones? Richard Barrett takes you to the source where all the great riffs came from. Be prepared to put in a little time! ABILITY RATING EasyBeginner/Moderate ✪ ✪ ✪ ✪ ✪ Info Will improve your… Key A Tempo Various CD TRACKS 4-13 Fretboard knowledge Improvisation/Composition Coordination
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any hardened guitarists don’t really know their Pentatonic scales. They may say they do, but I wonder how many can play all five shapes of the minor Pentatonic really fluently? If you stand guilty as charged, stick around because we’re here to change all that! The Pentatonic scale is the five-note staple of blues and rock guitar. Literally thousands
The practice of scales solves the greatest number of technical problems in the shortest amount of time Andres Segovia
of classic riffs and solos are derived from it. In this two-part study we’re going to start by looking at the five shapes of the A minor Pentatonic (A-C-D-E-G). This is often mixed up with the ‘Blues’ scale, which is almost identical but contains an extra note (Eb in this key). Firstly, check out the five fretboxes on page 14. It’s essential to familiarise yourself
with these; it may seem like a big task but, remember, we are only dealing with the same five notes, just in different locations. The principle is the same as learning where to put your fingers to grab a chord without having to look – conditioned reflex, or ‘muscle memory’, applied in this case to sequences of notes in a pattern visualised on the fretboard. The best way to acquire this facility is by playing through the five shapes regularly – perhaps a couple of times a day over a sustained period, rather than trying to take too much on board at once. As you will see, there are many ways to use these patterns, and it would be a shame to fall into a limited ‘comfort zone’. Playing through the shapes, you’ll hear how each is derived from the same five-note sequence and, as this happens, your ears will help guide your fingers to the right notes, which is exactly the facility we’re looking to build and expand upon here. Most aspiring guitarists get comfortable with Shape 1 first – and it’s not hard to see why many get stuck there. It’s arguably the most well used, featuring in pretty much any classic solo you could name, though usually not exclusively. Jimmy Page’s solo in Stairway To Heaven is an excellent example, starting
out with A minor Pentatonic Shape 1, but moving through most of the others as the solo progresses. It’s a great exercise to listen or indeed play through it and see how many shapes you can spot, however briefly used. Though we’ve chosen the key of A for this study, the same shapes can be transposed into any key, by simply moving them up or down
I don’t play pyrotechnic scales. I play about frustration, patience, anger. Music is an extension of my soul Dick Dale to different locations on the fretboard, as you would a barre chord. For example, take all five shapes and shift them down two frets to find G minor – take it up four frets from there and you’re in B minor. We’ll look more at playing in different keys in part 2. For now, stand by your beds, Pentatonics ready for inspection! Isn’t that what they say in boot camp? 5
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Technique Focus Alternate or economy picking? Some of the examples make great exercises for improving picking and hand-to-hand coordination. Most were played using alternate picking, starting with a downstroke – but in the slightly more musical context of the demo solos, certain groups of notes can suggest other approaches. Fig 4 (playing in groups of five notes to a phrase) can be played with alternate picking but also consider using a single downstroke to articulate the fifth note in one group, then the first note of the next on the adjacent string. Effectively, you are picking two notes with one downstroke. This is economy picking and has many uses. There isn’t a strict formula, but be aware of it as an option along with legato, of course, where you hardly pick at all.
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Solo 1 is a pushed Strat neck pickup tone, chosen with David Gilmour in mind and with a medium slapback echo (250ms) for a bit of atmosphere. Solo 2 is a Les Paul, using the bridge pickup and more gain, for a more ‘Gary Moore meets Eric Johnson’ feel: no delays, just a short room echo. This same tone is the basis for the example, with the gain rolled right back.
PENTATONIC BOOT CAMP PT1 { PICKING
JOBY SESSIONS IDOLS / PHOTOSHOT
Eric Johnson: uses Pentatonics in a particularly personal way
TRACK RECORD We could list virtually every guitar album ever made. But try Eric Johnson, Ah Via Musicom; Gary Moore, Still Got The Blues; and Stevie Ray Vaughan, Texas Flood for three different takes on the Pentatonic.
Stevie Ray Vaughan: almost certainly wailing with Pentatonics!
December 2015
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Play } PENTATONIC
ON THE CD
TRACKs 4-13
DIAGRAM 5 SHAPES OF A MINOR PENTATONIC
EXAMPLE 1 shapes 1-5 In Sequence
cd track 4
This example ascends Shape 1, using all possible notes and strings, then shifts to Shape 2, where we descend. Working up to Shape 5, we then reverse all the way back to Shape 1, using the same ascending and descending approach. GUITAR TECHNIQUES MAGAZINE 2 5 0
Richard Barrett's PENTATONIC BOOTCAMP
GUITAR TECHNIQUES MAGAZINE 2 5 0
Richard Barrett's PENTATONIC BOOTCAMP
GUITAR TECHNIQUES MAGAZINE 2 5 0 Fig 1
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Richard Barrett's PENTATONIC BOOTCAMP
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Play } PENTATONIC
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December 2015
8
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17
Play } ROCK
ON THE CD
TRACKs 14-16
Joe Satriani Always With Me, Always With You As Joe Satriani’s astounding ballad approaches its 30th birthday, Steve Allsworth guides you through the flawless technique, touch and beautiful melody from the master of space-age guitar. ABILITY RATING Info Key B/Bm Tempo 144bpm CD TRACKS 14-16
A
Moderate/Advanced ✪ ✪ Will improve your… Fluid legato technique Two-handed tapping coordination Unique chord shapes
lthough Joe Satriani is rightly renowned for his amazing guitar chops, it’s easy to forget that it was always his ability to pen a great melody that saw him become the premier solo guitarist of his time. Although many guitarists, from Duane Eddy to Freddie King, Hank Marvin and Jeff Beck, had paved the way for instrumental guitar music prior to Joe’s 1985 album Not Of This Earth, it was Satriani’s experiments in sound and melody (his use of modes in his writing is legendary) that saw him become the pioneer, effectively making solo guitar music cool again. Rubina – named after his wife – was perhaps a hint of things to come, with its haunting melody and astonishing solo section. Joe possessed all the modern rock techniques that we now take for granted: legato, tapping, alternate picking, sweep picking, pinched harmonics, whammy bar scoops and dives and more. These were always used to benefit the song, however, rather than as a means to an end (a criticism easily levelled at many of the 80s shredders). Every melody was easily singable, even in crowd-pleasers such as Surfing With The Alien on his follow-up album (1987). This is
✪✪✪
arguably what helped Joe bridge the gap between the average guitar aficionado and the general music-buying public. As if to underline this point, those purveyors of supremely singable melodies, Coldplay, were forced to settle out of court with Satriani after Satch sued Chris Martin and co over
I’ve always spent a lot of time on my records with what I think were unique rhythmic approaches... but no one ever writes about your rhythm playing Joe Satriani similarities between Joe’s 2004 track If I Could Fly and the band’s hit, Viva La Vida. This accessibility propelled Surfing to become a platinum seller and launched Joe’s fledgling career. Always With Me, Always With You was another tribute to his wife and originally started out in a completely different direction,
as Joe elaborates: “I thought it would be a very deep, lush, echo-y kind of a thing. But when we got to the studio, it turned out that all those arpeggios sounded better completely dry and direct and that all the drum performances that Jeff Campitelli had played on actually didn’t fit… It really helped the album, that when that song came on, suddenly it was not like a rock band; it was a different sort of canvas, so it was a bit of a revelation, actually, finishing that. It changed our thoughts about what we could do with a guitar instrumental.” Although this track is well known (and very nostalgic for any guitarists that grew up in the 80s) there are so many hidden gems – from the African style rhythm guitar in the playout to the Nashville-tuned guitar in the minor section – that you might not have noticed before. It’s worth taking the time to listen to all the infinite, subtle and deliberate ways that Joe approaches every single note. Whether it be slides, hammer-ons and pull-offs, or simply feathering the pick or touching the strings in a lighter way, there are many opportunities to vary the sound and approach. Study what Joe does and make it your own! 6
6
7
4
8
Gain
Bass
Middle
Treble
Reverb
Technique Focus Pitch axis theory Although this song only moves simply from B major to parallel B minor keys, it neatly demonstrates one of Joe’s key compositional concepts: moving through different modes based on the same root note (this is often referred to as ‘modal interchange’). Rather than using diatonic relative major and minor (where all the chords are the same) the unique construction of the new parallel scale will give you a whole new set of chords. This is a great way of conveying a completely different mood and can be used with virtually any other mode (try experimenting with modes of the Major scale to start with, but then delve into those of Harmonic minor and Melodic minor too). For a deeper analysis of parallel chords, check out GT248.
24
December 2015
Joe was still using his famous Kramer guitar here, prior to getting his Ibanez endorsement and it’s likely that he used a Boss DS-1 through the front end of a clean channel Marshall. Although it’s high-to-mid distortion with a humbucker, beware of too much distortion as this can be the enemy of any variation in dynamic and tone from your fingers.
Always With Me, Always With You { JOE SATRIANI
Duncan McGlynn
Joe Satriani: helped revive the guitar instrumental
TRACK RECORD Many fans’ favourite Satch album is The Extremist (1992), although since he has released so much excellent material, a good compilation is probably the best way to get an overview of his work. The Electric Joe Satriani – An Anthology (2003) and One Big Rush – The Genius of Joe Satriani (2005) are both excellent. Always With Me, Always With You is from his 1987 album Surfing With The Alien.
December 2015
25
Play } ROCK
ON THE CD
TRACKs 14-16
PLAYING TIPS
cd track 14
[General] Although this is written in 3/4, it could be argued that it has a 6/8 feel due to the handclap backbeat (this is certainly so in Joe’s live versions). That said, the melody pickup comes in on beat 3 and the time base is much easier to read in crotchets rather than dotted crotchets and quavers. You might end up feeling it and reading it two different ways, so whichever works best is fine!
[Bars 1-12] There are some pretty challenging chord stretches throughout this section, so your enemy here will be unwanted string sounds creeping through and fret buzz through unsure fingering. However, the bass notes are compressed and EQd way down in the mix on the original, so you could remove them entirely without really affecting the vibe of the track.
GUITAR TECHNIQUES MAGAZINE 2 5 0
ALWAYS WITH ME ALWAYS WITH YOU - Joe Satriani - Steve Allsworth GUITAR TECHNIQUES MAGAZINE 2 5 0
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[Bar 25 and Bar 127] There’s a really subtle difference between these two rhythms, mainly due to the staccato picking on the triplet. If anything, the first rhythm feels slightly more ‘dragged’. E B G D A E
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~~~ Œ ‰ œj ‰ œj œ . œj ‰ œj cd track 14
[Bar 32] This tricky adjacent string grouping is probably best approached via PM PM outside picking (up, down, up, down etc). It is difficult to perfect every time and even Joe has morphed it into a much easier triplet figure for his live shows.
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December 2015
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27
lesson } CHORD CAMP
Chord camp
Brought to you by…
In this first instalment of an exciting new column aimed at building your skill set, Iain Scott turns the spotlight on major and minor chords.
W
elcome to a new column aimed at expanding your chord knowledge. Starting with major and minor we will be looking at all the chord types, beginning with common shapes with roots on sixth, fifth and fourth strings; also first and
second inversions triads. Major chords are built using the root, the 3rd and the 5th of any Major scale - in C that’s C, E and G. Similarly, minor chords are built from the root, the b3rd and the 5th of the natural Minor scale – in C minor that’s C, Eb and G.
Example 1 Triad Inversions in classic rock
TRACK 54
GUITAR TECHNIQUES 2 5 0you the three possible triad inversions of D major: R-3-5 = root inversion; 3-5-R = first inversion; 5-R-3 = second inversion. Major triads. The opening bar shows Chord Camp - Major / Minor - I. Scott This exercise features a classic rock triad playing over a D pedal typical of Pete Townshend. Use a saturated tone and some trailing echo to complete the picture. Example 1
Major Triads - Classic Rock Chords
GUITAR TECHNIQUES 2 5 0
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Chord Camp - Major D A /D / Minor G-/DI. Scott
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E B G D A E E B G 7 11 2 D 0 0 A TRACK 55 Example Chords with roots on6th fourth, Example 22 Major Major Chords - Roots on 4th, 5th and Strings fifth and sixth string E E 5 10six notes are 2 actually triads with doubled 5 2 – open D 5major is R-5-R-3; 3 open A major is R-5-R-3-5; 10and open E 9 major is Major chords that use four, five or notes B 7D 3 7 3 5 3 10 A 10 E D A E D A E 10 G 11 roll staple: 2 it’s shown in two ways7– first using 2 common 6open chords and 4 then using pure triad shapes. 11 9 R-5-R-3-5-R. Example 27is a rock and D 0 0 0 0 0 0 A Example 2 Major Chords - Roots on 4th, 5th and 6th Strings E
. . ©»¡¡™ . . # # # 4 œœ œœ œ œœ .. œ œ ¢œ œ œ œ œ . œ ¡ ™ . . . œ œ . & ©»¡¡™4 Dœœ Aœœ Eœœœ Œ . Dœœ .. Aœœ œœ Eœœ œœ œœ œœ œœ . . ¡ Dœœ .. ¡ Aœœ œœ £ Eœœ œœ œœ œœ œœ . £ ¡ ¡ œ œœ œ œ œœ œœ œœ œœ œœ # . # œ œ .. œœ œœ Example 2# Major 44 Chords œœ -œœœRoots œœœon 4th,Œ5th and.. 6thœœ Strings .. .. ™¡ œœœ ... ¡¡ œœ œœ £¢ œœ œœ œœ œœ œœ .. & œ œ œ œ œ ©»¡¡™ Dœ232 Aœœ022 Eœœœ001 . Dœ232 . Aœœ22 œœ Eœœœ1 œœœ œœœ1 œœœ1 œœœ1 . . £ D32 ¡ Aœ22 œ ¡ Eœ54 œ œ54 œ54 œ54 . 2 2 2 2 2 2 . . 4 2 . # # # 4 œœ0 œœ20 œœ22 Œ .. œœ0 .. œ20 œ 22 ¢2 . œœ2 .. œœ œœ œœ0 œœ œœ20 œœ20 œœ20 .. .. ™¡ œœœ ... ¡¡ œœœ œœœ £ œœœ œœœ œœœ œœœ œœœ .. & 4 œœ23 œœ02 œœ000 5 5 5 . 32 œ22 œ œ1 œ œ1 œ1 œ1 . . £ 32 ¡ 22 . ¡ 54 œ22 œœ12 2 4 4 4 œ œ œ œ 0 0 2 2 2 œ 2 2 4 2 2 2 2 2 . . . . 0 2 2 2 2 Example 3 Minor Chords -0Roots2on 6th and 5th Strings - Reggae Groove 0 0 0 0 0 2 0 0 5 Em 5 5 5 . 232 A m22 . .D m32 22 . ©»ª§ Amœ 320 Dmœ 222 E012œm 1 . 1 1. 1 4 4 4 4. . . . . . œ 0 2 œ 2 œ 2 2œ 2 4 œ 2 2 2 2 2œ . . . 56 . œ œ œ œ œ Example 3 3 Minor Minor 6th and 5th fifth Stringsstrings - Reggae œœ -0Roots œœ ‰ œœ ‰ œœ ‰ TRACK Example Chords on2on sixth and in2a reggae 0 œ Groove 2 groove 2œ 2 œœœ Chords œ œ œ œ 4 . œ œ œ œ . 0 0 0 0 0 œ Œ ‰ ‰ ‰ ‰ ‰ œ . Major œœ A Natural œ œ œ œ D AmNatural œ minor areœ Am-Dm-Em, 4 (triads) Minor& chords takenDm from here used in a. Am Eœm minor (remember CA m is A Natural minor). The I, IV and V chords in Em œ J J J J J J J J ©»ª§ reggae groove. Notice are played favouring the top four strings . light phasing. œœ the chords . and should . be staccato . (very short) . with a bright . soundœœand . maybe œœsome œœœ œœœ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ Example 3 Minor Chords Roots on 6th and 5th Strings Reggae Groove œœ .. ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ ‰ œ .. œ Œ & 44 Amœœœ5 5 7m 5 œ J78 . Dm Eœ Am J J55 J55 J55 D m J56 J56 E m J78. 6 8 5 . ©»ª§ œœ55 . . . . . . 7 9 5 5 5 5 7 7 9 9. œ œ œ œ œ œ œ œ œ œ œ œ œ 7 7 9 7 7 7 7 7 7 9 . œ œ œ œœ7 œ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ9 ... œœ5 . Œ ‰ . & 44 œœœ7555 œ78 œ567 J789 J789 . . J555 J555 J555 J555 J567 J567 œ57 9 7 9 7 7 7 7 7 7 9 9 . . E B G D A E E B G D A E E B G D A E
E B G D A E E B G D A Example E E B G D Example A E
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7 5 7 - Clapton "Acoustic Style" Major and Minor Shapes 5 5 5 7 5 G6m B B C5 5D m 8 Dm 5 7 9 5 7 7 9 - Clapton "Acoustic Style"7 Major and Minor Shapes 7 5 7 5 Dm Gm B Dm B C
b b . ©»¡¡™ 4 œœ œœœ œœ œœ . œ œ œœ ˙˙ . œœ .. 4 b œ œ . & œœ .. œœb ˙˙ ©»¡¡™4 œ œ œœœ œœb œ œœœ Minor December œœ 2015 œ œ "Acoustic Example 4 4Major and Shapes - Clapton œœ ˙˙ Style"œœœ ... b œ & 4 œ œœœ œœœb .. œb ˙
E
Dm
œœ œœ Dm œœJ œ
5 5 5 7
5 5 5 7
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#œ œ œœ ‰ . . œœ j . . C #m ‰ # # œœœ œœœ Œ # #Fœœœ#m... œ #œ œ œ #œ. Jœœ œœ # œœ ‰2nd time . . # œ œ œ j . . # ‰ # œ œ Œ # # œœœ# ...
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j # œ n œ # Gœ#m # œj # n # œœœ#
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ON THE CD
œœ œœ œœ
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TRACKs 54-60
œœ œœ œ
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MAJOR AND MINOR CHORDS
E 5 5 7 B 5 6 8 G 5 7 9 D 7 7 9 Example 4 Mixed major and7minor chords A 7 5 E 5
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5 5 5 7
5 5 5 7
5 5 5 7
œœ. œœ. œœ. œœ. œ œ œ ‰ œ ‰ œ ‰ œ ‰ œœ .. J J J J
learning zone
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7 8 9 9 TRACK 57
A minor chord fourth-string root features in this rock ballad made from two chord progressions that can be viewed from Major or Natural minor. Dm-Bb-C-Dm, in D Natural minor are I-VI-VII-I. In F Major they are VI-IV-V-VI. C#m-F#m-G#m in C# Natural minor are I-IV-V. In E Major they are II-III-VI. Example 4
Major and Minor Shapes - Clapton "Acoustic Style"
©»¡¡™ D m G m B b D m œ 4 œœœ œœœ œœ œœ .. œ b & 4 œ œ œœ œ œ œ œ E B G D A E
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5 6 7 7 5
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Example 5 Major first inversion sixth-string root
2
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TRACK 58
2 Chords with different root notes often become ‘slash chords’. The opening bar shows G/B, a G major triad spread out so the 3rd (B) is in the root (3-R-5-R) also called ‘3rd in the bass’. Play the punchy rock chords in the style of Elvis Costello or the Clash with mild distortion to give it attitude. Example 5
Major 1st Inversion 6 String Root - Rock Chords
2
C G/B Am F Dm G ©»•§ G /B . œ. . . œ . . ¢ Example 5 Major 1st Inversion 6 String Root -œRock Chords œ œ œ œ œœ œœœ œœ œœ .. œœœ œœœ œœ œœ 4 œœ Œ Ó .. œœœ œœœ £¡ œœ œœ 1œ 2 2 & 4 C œœ œœ Fœ œ œ œ Gœ œ Am Dm ©»•§ Gœ/B œ. œ. ™G/B œ œ . . . œ. œ œ . œ. œœ œœ œœ 1st Inversion 6 String Root. -œœœRock Chords œœœ £¢ œœ. œœ. œ Example45 Major œ œ œœ œœ œœ œœ .. 2 œ œœ œœœ œœœ . œ œ ¡œ œ & 4 Gœ/B Œ Ó 1œ œ œ87. œ87. Am ©»•§ œ87 . Cœ89. œ89. ™G/B œ55. œ55. 1010Fœ. 1010œ. . Dmœ67. œ67. Gœ34 œ34 œœ5 . 1010œœœ 1010œœœ £¢ œœ5 œœ5 œœœ77 œœœ77 10œœ8 10œœ8 .. œœ75 œœ75 œœ5 œœ5 4 . Œ Ó . 8 8 7 7 & 4 œ78 œ55 œ55 10œ 10œ .. œœ6 œœ6 œ33 œ33 . œœ89 œœ89 ™¡ œœ87. œœ87. œ7 œ57. œ57. 1010 1010 . 77 77 œ45 œ45 5 10 10 5 5 . 10- Rock10 7 5 5 7 8 8 TRACK 59 Example first inversion root Example 66 Major Major 1st Inversion 5th Stringfifth-string Root 7 8 8Arpeggios 7 7 5 5 3 3 For these arpeggios in a rock ballad setting, the opening bar shows C/E on a fifth-string root (3-5-R-3 – C/E). This progression features a bass line connecting triads b b 8C/E 8 8 8 8 5 5 10 10 6 6 3 3 . . F C/E Dm C/E D /F B F/A C ©»•§ 7 Db/F (Db chord, first inversion) is9not from 9 F major 7 but still 7 sounds great! 5 You5can add10 7 4 4vibe. in the key of F. The light crunch for a7 more authentic 10 and tremolo 5 5 5 7 7 10 10 . ¡ 75¡ 75 ¢œ £ 5 5¢ œ . ™1010œ - Rock1010Arpeggios Example 6 Major 1st Inversion 5th String Root œ œ 7 7 8 8 ¡œ ¡œ œ œ œ b œ 4 ¡ œ œ . œ b 4 7 œœ Œ Ó . œ £ œ 8 œ ¡œ 8 7 œ 7 œ œ5 5 œb b œ b œ n œ œ œ3 ™œ 3£ œœ .. &©»•§ C/E F C/E Dœm C/E D /F Bb œ F/A C œ œ ¡ ¢ ¡ £ b œ œ ¡ ¢ ™ ¢ ™ ¡ ¡ œ œ œ œ ¡ œ £ ¢œ ¡ œ 1st Inversion 5th String Root - Rock Arpeggios œ Example 6 4Major & b 4 œœœ Œ Ó .. œ £ œ ¡ œ œ ¡œ œ œ œ œ œ œ œ œb b œ b œ b œ b œ n œ œ œ œ ™œ £ œœœ .. ©»•§ C/E 5 . ¢ F 5 6 £C/E 5 5 D m 7 6 C/E 5 5 D /F 6 6 b¢Bœ ¡ 3 3 ™F/A œ ¡ 6 5 ¡C 55 . 5 ™ ¡ ¡ œœ57 Œ Ó ... 8 £ œ7 ¡ œ œ 7 ¡5 ¡œ œ 5 œ7 œ œ 7 5 œ œ 8 b œ6 b œ œ 3 b ¡œ n œ 3 ¢œ £œ 3 ™5 £¢ œœ53 ... 4 b 6 œ 5 œ & 4 œœ5 œ 5 œ œ 5 œ œ œœ5 . œ 6 £œ 6 œ 6 bœ ¡ 3 6 . œ ¡ ¢ œ 5 5 5 7 5 6 ¢ 3 3 ™ 3 5 ¡ 5 55 . 5 2nd Inversion 6th 7 Root - Lenny 5 Kravitz Rock 7 Funk 5 6 . String Example 7 Major 8 7 8 7 5 7 3 3 6 5 1 2 6 5 E m/B 6 6 5 . /A G/D E m/B . Em D/A A /C5# N.C. Bm/F # 3 A/C6# G /D A/E ©»ª™ 55 D2nd 6 3 5 5 5 5 7 5 Example 7 Major Inversion 6th String Root Lenny Kravitz Rock Funk 5 7 5 7 5 6 3 3j 5 5 . 60 . j j œœ inversion œœ fifth-string œœ 5... œœ root Example sixth # #7 Major œœ7 ‰ œ œ 8 j 7 œ second 8 7 and 3 TRACK 3œ 4 œ œ œ œ . . œ . œ 6 2œ 5 œ œ œ Œ œ ‰ œ œ œ ‰ œ 1 œ/A chord œ andœ G/D areAœœ/Csecond œ inversion . Bm/F œœ triads: œœ .on This rock-funk and. a bass riff. In the opening bar D/A or ‘5th inœthe#œ bass’ major &©»ª™track 4 Duses œœ Efragments # œœ D/AGœœis/D5-5-R-3 G/D m/B Eœm E m/B D/A A/C A/E œrootœ– 5-5-R-3). œ # œœ N.C. œ œ sixth-string root; G/Dœis 5-R-3-5 (fifth-string root); Em/B is a minor chord secondœinversion (sixth-string Use overdrive and lay into the groove. œ œ . œ œ œ œ j Example 7 Major 2nd Inversion œ -œLenny œœ KravitzœœRock ... Funkœœ œœ œj œj # # 4 œœ œœ œœœ 6thŒ String. Root œ œ . œ œœ œœœ œœœ .. œ ‰ œ ‰ j œ œ ‰ œ . œ œ œ œ . œ & 4 D /A G/D œœ E m/B 1 2œ œ œœ2 # œœ Gœ3/D A/E œ5 . # œ œ œ . Bm/F A/C ©»ª™ œ77 34 œ89 3 3 . œ œ Eœ89m Eœ89m/B. D/A œ77 œ77 Aœœ22/Cj # œœjN.C. œ œ 4 4 2j 4 6 œœ97 œœ9 ... œœ7 œœ7 œ24 œ 5 2 .. œ4 œ4 2 5 7 . # # 4 œœ7 œœ55 œœœ9 Œ .. œ œ 4 5 . 0 0 œœ ‰ œ7 œ5 œ5 ‰ œœ œœ œj œ 3 . œœ2 œœ2 ‰ œœœ œœœ œœœ œœœ7 .. & 4 œ57 œœ3 78 8 . œ22 œ 34 56 . . œ34 œ34 œ89 . œ77 œ77 œ22 œ œ77 45 œ99 9 œ œ œ 9 9 2 2 4 4 2 5 7 . 7 7 . . 1
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