Guitar Specials 50 (Sampler) by Future PLC

the ultimate collection

Play Like 40 Rock Legends

Half a century of the greatest rock guitarists

Accurate Tab & Notation

Easy to follow tab, clearly explained playing tips

Chords & Scales

featuring

Jimi Hendrix Jimmy Page Eric Clapton Tony Iommi Angus Young Brian May David Gilmour Matt Bellamy paul gilbert Joe satriani

…and many more

Your essential rock toolbox!

BRILLIANT rock BACKING TRACKS

Stones van halen skynyrd malmsteen santana rush eagles

PRESENTS

the ultimate collection

Learn to play like the finest rock guitarists of the past 50 years Drawn from articles in Guitar Techniques magazine, Play Like Your Rock Heroes is packed with lessons on how to play like the most influential guitarists ever: Cream’s awesome Eric Clapton, the mighty Jimi Hendrix, the Stones’ Keith Richards, Led Zeppelin’s Jimmy Page and Free’s blues-rock hero Paul Kossoff; then add the metal of Black Sabbath’s Tony Iommi, the Latin-rock of Carlos Santana, the southern rock of ZZ Top’s Billy Gibbons; and, of course, the stadium rock of AC/DC’s Angus & Malcolm Young, Queen’s Brian May, Foo Fighters’ Dave Grohl and Slash from Guns N’ Roses; plus the pyrotechnics of Eddie Van Halen, Joe Satriani and Yngwie Malmsteen. And lots more! All lessons are on DVD-ROM with audio and animated tab, so pop the disc into your computer and get playing!

Play Like Your Rock Heroes: the essential learning tool for all rock guitarists!

WELCOME the ultimate collection

Future Publishing Ltd, Quay House, The Ambury, Bath BA1 1UA Tel: +44 (0) 1225 442244 Fax: 01225 732275 Email: guitar.techniques@futurenet.com EDITORIAL Editor: Neville Marten, neville.marten@futurenet.com Art Editor: David Dyas, david.dyas@futurenet.com Production Editor: Cliff Douse, clifford.douse@futurenet.com Senior Music Editor: Jason Sidwell, jason.sidwell@futurenet.com Music engraving: Chris Francis CD mastering: Adam Crute Contributors Steve Allsworth, Jon Bishop, Martin Cooper, Jamie Humphries, John Wheatcroft Advertising Advertising Enquiries: Alison Watson, alison.watson@futurenet.com MARKETING Group Marketing Manager: Laura Driffield, laura.driffield@futurenet.com Marketing Manager: Kristianne Stanton, kristianne.stanton@futurenet.com CIRCULATION Trade Marketing Manager: Michelle Brock (0207 429 3683) PRODUCTION & DISTRIBUTION Production Controller: Nola Cokely nola.cokely@futurenet.com Production Manager: Mark Constance, mark.constance@futurenet.com LICENSING Licensing & Syndication Director: Regina Erak, regina.erak@futurenet.com Management Content & Marketing Director: Nial Ferguson Head of Content & Marketing, Film, Music & Games: Declan Gough Group Editor-In-Chief: Daniel Griffiths Group Art Director: Graham Dalzell Printed in the UK by: William Gibbons & Sons Ltd on behalf of Future Distributed by:Seymour Distribution Ltd, 2 East Poultry Avenue, London EC1A 9PT, Tel: 0207 429 4000 Overseas distribution by:Seymour International

Future is an award-winning international media group and leading digital business. We reach more than 49 million international consumers a month and create world-class content and advertising solutions for passionate consumers online, on tablet & smartphone and in print.

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Chief executive Zillah Byng-Maddick Non-executive chairman Peter Allen Chief financial officer Richard Haley Tel +44 (0)207 042 4000 (London) Tel +44 (0)1225 442 244 (Bath)

All contents copyright © 2015 Future Publishing Limited or published under licence. All  rights reserved. No part of this magazine may be reproduced, stored, transmitted or used in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price and other details of products or services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any changes or updates to them. If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk and, although every care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage.

Welcome

ock wouldn’t exist without guitars and amps. It came about when the blues, R&B and pop bands of the 1960s came of age and wanted to make more of their music; to take it to new (and louder) places. Take just one musician: Eric Clapton started in Londonbased R&B band The Yardbirds with a Fender Telecaster and Vox AC30 (the amp of The Shadows and Beatles); he then moved to John Mayall’s Bluesbreakers where those instruments gave way to a Gibson Les Paul and 50-watt Marshall combo (and Eric turned up louder for more distortion); just a year or so later his 5o-watt combo had become two huge Marshall 100watt stacks, set flat out and with a fuzz pedal in the front! And so it continued with bands getting ever louder and new equipment arriving every week to conjure up new sounds. Concurrent with this march of the decibels came an

explosion in technical facility. From the Chuck Berry-esque solos of the bands just five years earlier, by 1970 we had Led Zeppelin II, Deep Purple In Rock and Black Sabbath’s Paranoid! Playing blues covers was no longer enough; bands wanted to write their own music and demonstrate these newfound skills and sounds. In this fantastic magazine we’ve dug deep into Guitar Techniques’s vaults to bring you some of its very best rock lessons. Almost all rock styles are covered, from those 60s blues-rockers to the most technically gifted guitarists the genre has to offer. Our finest tutors explain everything in minute but clear detail, with the most accurate and easy-to-follow tab out there. It’s literally hours of playing pleasure that will beef up your music knowledge too. Have fun!

Neville Marten, Editor neville.marten@futurenet.com

YOUR CONTRIBUTORS..... STEVE ALLSWORTH

jon bishop

An incredibly gifted and versatile musician, Steve plays all guitar styles to an extremely high standard. He has worked with a huge variety of top artists, both on the road and in the studio, including the likes of Rod Stewart, Westlife, LeAnn Rimes, Ronan Keating and Lily Allen.

Jon can turn his hand to any guitar style, nailing every one with ease! He has dozens of big name album, TV and radio credits, has a Gold Disc plus a Classical Brit Award to his name and currently plays with 80s rock and roll superstar Shakin’ Stevens.

MARTIN COOPER

jamie humphries

Martin is our regular rock columnist on Guitar Techniques, so is versed in dozens of different styles of playing, from classic 60s to modern, hightech playing. Martin’s rock band Thorntree has a new CD, Bullet Proof, out now. He also teaches at Brighton Institute of Modern Music.

Jamie is one of the UK’s busiest guitarists. Anyone that’s seen the Queen musical We Will Rock You in London may well have heard him in action, recreating all of Brian May’s amazing guitar parts. He has recently been playing Champions Of Rock shows around Europe.

Jacob Quistgaard

John Wheatcroft

Royal Academy trained, Quist is a superb player who can turn his hand to any number of styles and topics. Look out for his album Trigger in 2014! Jacob has produced the great backing tracks that you can enjoy playing over once you’ve been through the lessons.

A phenomenal guitarist, left-hander John is a master at all styles including rock, jazz and blues. However he’s a legend in gypsy jazz and his new abum, the stunning Ensemble Futur is available to download on iTunes. John also regularly plays live with his band, Professor Wheaty’s All Stars.

Play Like Your Rock Heroes \ 3

CONTENTS Freddie and Brian of Queen: two rock heroes!

Lex van Rossen / MAI / GETTY IMAGES

Carlos Santana: Latin rocker!

TIM MOSENFELDER / GETTY IMAGES SHIRLAINE FORREST / WIREIMAGE

Slash: Guns N’ Roses axe hero

4 / Play Like Your Rock Heroes

CONTENTS Angus Young: back to school with AC/DC

Matt Bellamy of Muse

JOEY FOLEY / GETTY IMAGES DIDIER MESSENS / GET TY IMAGES

Contents 07 TAB USER GUIDE

Our tab guide makes navigating the music in your Rock Heroes magazine simple

08 ROCK SCALES

Learn these scales and you’ll find that everything else falls nicely into place

10 ROCK CHORDS

These are the chords you’ll encounter in rock songs and jams, but they’re usable in blues, pop, country and jazz styles too!

12 Blues ROCK 14 16 18 20 22 24

This style began when young electric guitarists began performing American blues with louder amplification during the 60s. It was the precursor to rock and continues to influence even to this day! Rolling Stones Jimi Hendrix Carlos Santana Jimmy Page Paul Kossoff of Free Gary Moore

26 SOUTHERN ROCK

Beginning in the Southern states of America (hence its name!), this style fuses rock with country music and the blues. Learn the styles of some of the most legendary performers of this popular and influential genre!

28 Lynyrd Skynyrd 28 ZZ Top 28 Creedence Clearwater Revival 28 Black Oak Arkansas 29 The Allman Brothers 29 Molly Hatchet 29 The Band 29 Kansas 30 Little Feat 30 The Eagles

36 five ROCK GIANTS 38 44 52 58 60

Learn the styles of five of the most influential rockers who have taken the genre to new levels and inspired countless other musicians along the way. Eric Clapton Angus and Malcolm Young of AC/DC Slash of Guns ‘N ‘ Roses Brian May of Queen Eddie Van Halen

62 PROGRESSIVE ROCK 64 66 68

While most rock artists have been content to base their music on simple riffs and chord progressions, there are others who have opted for more lengthy and complex pieces with a strong instrumental bias. Welcome to the wonderful world of prog! David Gilmour of Pink Floyd Alex Lifeson of Rush Matt Bellamy of Muse

70 HEAVY ROCK 72 74 76 78 80

Here’s a diverse selection of influential rock artists who have favoured a bigger, harder and heavier sound and branded their own original stamp on rock music over the past 40 years. Pete Townshend of The Who Joe Perry of Aerosmith Michael Schenker of UFO/Scorpions Tony Iommi of Black Sabbath Dave Grohl of The Foo Fighters

82 INSTRUMENTAL ROCK

Joe Satriani was one of the first and most original guitar giants of the instrumental rock world. And as if that’s not enough on your CV, he also taught Steve Vai, Kirk Hammett and Alex Skolnick how to play!

88 neo-classical ROCK

Begun by Deep Purple’s Ritchie Blackmore and Ozzy Osbourne’s Randy Rhoads, this style was taken to the next level by Yngwie Malmsteen, Vinnie Moore, Tony MacAlpine and Paul Gilbert. Can you take it even further?

96 6 BACKING Tracks

And after all that here’s six pro-level backing tracks in a variety of styles over which you can practise all you’ve learnt!

Play Like Your Rock Heroes \ 5

LOVE TO PLAY GUITAR? Then get serious with your playing with the world’s best tuition magazine! Every issue’s packed with blues, rock, jazz, country, classical and folk lessons from the vey best tutors, all with audio and backing tracks. And It’s out now!

We’ll Make You A Better Guitarist - Guaranteed! Latest issue in the shops now. To buy or subscribe visit www.myfavouritemagazines.co.uk

USER GUIDE

Tab User Guide You can get more from this magazine and DVD-ROM by understanding our easy musical terms and signs...

Relating tab to your fretboard 2

GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking

m a

Down & Up Picking

4 T

Down & Up Picking

hand Labelling

E The fretbox diagram above represents the fretboard B G is for exactly, as seen in the accompanying photo. This D ease of visualising a fretboard scale or chord quickly. A E

Read the music

A major scale

GUITAR TECHNIQUES MAGAZINE GuitarExamples Technique Examples Picking Guitar Technique - Treble Clef -And Tablature

Each tutorial features music notation and guitar tablature (Tab). & Down & Up Picking

Scale example

œœ

2nd string 3rd fret

œœ

2nd string 1st fret

E B3 G D A E

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

GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking

E B G D A E

Picking variations and ≥ Down & Up Picking

& E B G D A E

1 7

≤

œœ & œœ

@ œœœ @

Guitar Technique Examples - Fretting Hand

≤

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

œ bœ & @œ @œ MAGAZINE @ @ GUITAR TECHNIQUES

Fretting hand &

@œ

D A E

n5 œ # œœœ

n œœ œœ

~~~~~

tr 6 7

œ 0œ

6 7

bend tr ~~~~~ Pick Rake up/down

E B G D A E

(7 w5) ¿¿

œ œ œ

E B G

5 ˙ & gggg ˙˙˙ ggg # ¿˙ g Left Hand Tapping ggg 00 g 2

ggg #5˙˙˙ ggg # # ˙˙ gg ˙

ggg g

4 5 4

œ œ

~~~~~

7 tr 6 7œ

˙ ( œ0)

~~~~~ 5 ( w) ¿

b0˙

PM 8 7 6 7

¿¿

7 5

˙ 7 g #5 ˙˙ 5 & gggg ˙˙˙ gggg # ˙˙ ggg # ¿˙ ggg # ˙˙ g Left Hand Tapping ggg 45 ggg 00 ggg 6 44 ggg 22 X 4 g & g 2 œgg œ5 œ n Bend up œ toœ the pitchœ shown in the

œ 5

E B G D A E

≠

≠ ≠

≠ ≠ ≠

brackets, then re-pick the note while holding the bent note at the new pitch. E B G D A E

Fret Hand Muting

2 0

nœ # œœœ

Trills

œ œ œ

~~~~~

8 7 tr 6 7œ

˙ ( œ0)

D A E

¿¿

œ œ

8 7 6 7

& E B G D A E

& œ œ œ

g #5 ˙˙ 7 ˙7 & gggg ˙˙˙ gggg # ˙˙ ggg # ¿˙ ggg # ˙˙ n Pick 1st slide to the 2nd g note and note. The last two notes show a slide Left Hand Tapping 0 4 g g 0 5 g 4 re-picked. with thegg last ggg 22 notegggg 6being 4 X 4 œ & gg 2 œgg œ5 œ œ œ

E B G D A E

≠

≠ ≠

≠ ≠ ≠

Pre-bend

E B G D A E

¿ ¿¿

œœ œ

0 1 0 2 3

0 0 0 2 2 0

@œ

7 A m7

5 n œœ 2 #120 œœ

7 0

œœ œœ œ

Palm Muting

E B G D A E

@œ

œ œ œ

n œœ œœ

1 0 2 0

Trills

œ œ

8 TAB Under the musical notation, Tab is87an aid 7 tr 6~~~~~ 6 to show you where to put your on the 7 ˙ 7(œ fingers 0œ) 0 0b ˙ 0 & fretboard. The six horizontal lines represent0 the six strings on a guitar – the numbers on the strings aren œœfret numbers. The two stave and tab examples ~~~~~ tr Pick Rake E œœ 4 notes and 4 chords; show C (C major), Em (E B G 5 (7 w 5) D minor), D7 (D dominant 7) and ¿ ¿ Am7 (A8 minor 7). A œ œ œ

8 7 6 7

E Slides B G D A E

rake (Glissando)5 X X X

Appeggiate chord Arpeggiate Chord

5 ˙ 7 g #5˙˙ 5 & gggg ˙˙˙ gggg # ˙˙ ggg # ¿˙ ggg # ˙˙ g Left Hand Tapping ggg 00 ggg 45 ggg 22 ggg 6 44 X 4 œ & gg 2 œgg œ5 œ notes œ chord by n Play the œ of the E B G D A E

≠

≠ ≠

E B G D A E

≠ ≠ ≠ ≠ ≠ ≠

≠ ≠ ≠

strumming across the relevant strings E B in G the direction of the arrow head. P P D A E

Fret Hand Muting Fretting-hand Muting

@œ

rake

On & Pull Off

A E

E Note B G D A E

g # ˙˙ ˙ & gggg ˙˙˙ gggg # ˙˙ ggg # ¿˙ ggg # ˙˙ g Fretting-hand Tapping ggg 00 6 gg 45 g 4 2 & gggg X2 œ œ gggg 44œ gœ 5 œ g 2

E B G D A E

œ≤

4th string Open

D7 @ & # œœœ œœœ œ

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

rake

Slides (Glissando)

E 5 Slides (Glissando) B X G X D X A E

œ œ

8 7 6 7

b0 ˙

1E 2B 3G 4D 5A 67 E

nœ # œœœ

E Hammer B G

Em D

œœ œ &b œ œœ @ @ œ

Pick rake

n œœ œœ

œ≥

2nd string 3rd string Picking 1st fret Tremolo 2nd fret

œ @

Pick Rake

2nd string 3rd fret

≤

œ @

E B G D A E

Arpeggiate Chord

n Rapidlyrakealternate between the two notes indicated in brackets with E 5 BSlides (Glissando) X and pull-offs. hammer-ons G X D A E

0 1 0 2 0

œ@

7 2 1

n Palm mute by resting the edge tr ~~~~~ Pick Rake of the picking-hand’s palm on the E B strings near G 5 (7 w 5the ) bridge.

E B G D A E

Re-pick bend

n Fret the start note (here, the 5th fret) and Chord bend up to the pitch of the Arpeggiate bracketed note, before releasing. E S B G D A E

œœ œ

Pick Rake tr

E B G D A E

Arpeggiate Chord

rake

5 Slides (Glissando) X X X

œ@

( ) b˙ & & BENDING and vibrato D A E

œ@

Note TrillsTrills 8

œ œand œ hammer œ œ on with n Pick 1st note PMfor 2nd note. PM Then pick fretting hand E Note Trills B 8 8 3rd note and pull off7for 4th note. G 7 ˙

# œœœ

ENote B G D A E

Palm Muting E B G D A E

5 0

E Note B G D A E

n Each of the four notes is to be Palm Muting alternate picked (down-up-picked) E B very rapidly continuously. G 5n œ and 7 7n œ 5

Guitar Technique Examples - Fretting Hand

On & Pull Off & Pull-off Hammer-on

E Hammer B G D A E

œ@

On & Pull Off

œ@

œœ œ œ

Palm muting Palm Muting

E B G D A E

œ bœ & @œ @œ MAGAZINE @ @ GUITAR TECHNIQUES

≥

E Hammer B G0 D1 A0 E2

≥

Palm Muting

@ œœ @

E B G D A E

Chord example

GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Fretting Hand

0 œ@ 022 œ@ alternatives 3 & ≤ 0 1E 2B 3G 4D 5A 6E

Tremolo Picking

EHammer B G D A E

≥

4th string Open

E B G D A E

MUSIC NOTATION Tremolo Picking The five horizontal lines D7 m7 divided show noteC pitchesEm and rhythms and Aare by verticalœ bar lines. œ œ œ œ# œ b œ œ

Tremolo picking

3rd string 2nd fret

œ How they appear in written music...œ Up and down picking

2 B diagram 3 represents 1 The the G2chord in œthe bphoto. œ 3G œ œ a 0circled 4 D ‘O’ symbol is an open &string, The @ @ 5A @ and GUITAR TECHNIQUES MAGAZINE @ are 5E 6 number is a fretting finger. Intervals Guitar Technique Examples -shown Fretting Hand

Tremolo Picking

GUITAR TECHNIQUES MAGAZINE USER GUIDE

The diagram shows the fretting-hand fingering for the A major scale (root notes in black). The photo Down & Up Picking shows part of the scale being played on the fourth string with first, third and fourth fingers.

œ&

nut & fretboard

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).

GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking

GUITAR TECHNIQUES MAGAZINE USER GUIDE GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples Guitar - Picking Technique Examples - Treble Clef And Tablature

E B G D A E

n Sound the notes marked with a square by hammering on/tapping with the fretting-hand fingers.

Quarter-tone bend

n œœ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿ # œœ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿ 8 7 6 7

X X X X

8 7 6 7

X X X X

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

Vibrato

Fret Hand Muting

¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿ n Bend up from the 5th fret to the &

nœ # œœœ

pitch of the 7th fret note, then pick itE and release to 5th fret note. B G D A E

8 7 6 7

X X X X

8 7 6 7

X X X X

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

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

Play Like Your Rock Heroes \ 7

Am6 Pentatonic Am6 Pentatonic C Shape D Shape

Am6 Pentatonic E Shape

LEARN ROCK SCALES R

b7 b3

8 Rock Scales ...you need to know!

2 4 R

4 1

p4 p5

3 4

1 2 3 4

b7 b3

2 4 R

4 1

x 5 –R

5 6 7

Ex 3

3 5 3

3 5 R 4

# b7 1

3 4

x 5 – Diags page 1

5 6 7

Ex 3

3 5 3

3 5 R 4

# b7 1

b7 b3

5 R

Am Pentatonic D Shape 5 R 4

5 R 4 5 R 4 b7 b3 5 R

b7 b3

Am Pentatonic C Shape 5

b7 b3

4 b7 b3

5 5 R 4

b3 4

b7 b3

R 4 12 5 R 4 4 b7 b3

b3 b7 b3 4 b7 b3 4 12 5 R RSCALE 1 MINOR PENTATONIC

R 4

5 R 4

12 5 R 4

b7 b3

Am Pentatonic A Shape

5 R 4

5 R 12 5 R 4 b7 4

b7 b3

17 R 4 b7 b3

b7 b3

5 R 4 b7

5 R

to4 learn b7 17allRthe b7 b3 5and 5 but remember 4 shapes 4 b3 4 bto R aim 7 use,

to come up with a new lick each time you play them. FOR R 2 3 5 6 – Stuart Ryan A FIVE SHAPES C D A MAJOR E PENTATONIC G b–3 scale This is perfect for soloing over minor chord R b3 4 5 b7 sequences, or over progressions featuring 7ths. If Amaj Pentatonic Pentatonic AmajPentatonic Pentatonic Amaj The minor scale’s fivePentatonic notes have shaped you simplyAmaj add the b5 note youAmaj createPentatonic another A scale Shape G Shape E and Shape D Shape blues, rock beyond. It sounds great and is easy C Shape extremely useful - the minor Blues scale. FIVE SHAPES FOR A MAJOR PENTATONIC – R 2 3 5 6 – Stuart Ryan Amaj Pentatonic Amaj Pentatonic Amaj Pentatonic Amaj Pentatonic Amaj Pentatonic 3 6 3 6 2 C Shape A Shape G Shape E3 Shape D Shape 5 R

5 R

7 2 5 R

3 3 6 2

6 2

6 5 R

3 3 6 2 5 6 2 7 2 5 R

p56

3 4

1 2 3 4

2 2 34 62 22 54

3 4

2 5

12 5 R

6 2 5 R 3 6 2 5 12 5 R

3 6 2 6 2 5 R 3 6

Ex 3

3 5 3

3 6 2 3175 RR

# b7 1

5 R

3 4 5

2 MAJOR PENTATONIC SCALE

with the 4th and 7th removed, and fluency with this Diags page scale is2 essential, particularly if you want to become adept at mixing major and minor sounds in your solos. The major Pentatonic perfect for soloing over If you’ve heard Slash and Paul Kossoff then you are rock progressions using major chords - simply add acquainted with this one. It’s simply the major scale the b3rd note to create the major Blues scale. FIVE SHAPES FOR A MINOR 6 PENTATONIC – R b3 4 5 7 – Stuart Ryan

B 2

C# 3

Am6 Pentatonic E Shape

E 5

F# 6

Am6 Pentatonic Am6 Pentatonic C Shape D Shape

3 4

2 2 34 2 2 54

5 R 4

5 R

5 R 4 6

b3 6

R 4 12 5 R 4

3 MINOR 6 PENTATONIC SCALE

5 R

R 4 6

17 R 4

C# 3

8 / Play Like Your Rock Heroes

R 4 3

D 4

12 5 R 4

x 5–

Ex 3

Diags page 3

E 5

G b7

Ex 3

Am Blues A Am Blues Am Blues C Shape A E Shape D Shape b b b FIVE SHAPES FOR A MINOR BLUES – R 3 4 5 5 7 –

5 R 4

b7 b3

5 R

5 R 4

b5 b7 b3

5 5 R 4

b7 b3

12 5 R

R 4

b b43 b7 3 b5 Rb7 b43 12 54 R b7 4b3 b7 R 54 b5

b5 4 b7 b3 b5 b7 bSCALES: 3 BLUES 3

R 4 12 5 R 4

MINOR BLUES FIVE SHAPES FORb5A SCALE MAJOR BLUES b5 A C R Blues b3 Amaj

A A

b5 b7 b3

5 R 4 5 R 4 b7 b3 5 R

Am Blues C Shape

Am Blues D Shape

D Eb 4 Amaj b5 Blues

E 5

– Rb5 2

b3b

12 5 R

b7 b

33 5 6 –

G b7 Blues Amaj

Amaj Blues C Shape

A A

C Shape A Shape D Shape As E their name implies you can’t go wrong with FIVE SHAPES FOR A MAJOR BLUES – R 2 b3 3 5 6 –

Amaj Blues 3 Shape 6 2 E

5 R

Amaj Blues D Shape 7 2 5 R

2 5 R b 6 3 5 R 5 R 3 6

3 6 2 5

6 2

3 3 6 2 5

12 5 R

3 6

3 R

12 5 R

5 BLUES SCALES: MAJOR BLUES SCALE A R

B 2

C b3

C# 3

E 5

F# 6

12 5 R

6 2 12 5 R

2 5 R

2 5

3 R

3 6 3 6 2 5

3 3 6 2 5 6 2 7 2 5 R

5 R

known as the Dorian Pentatonic. This scale has the b7 replaced byba major 6 (in the key of Am the G A FIVE SHAPES C D A HINDU E PENTATONIC F# FOR – R 3 4 5 7 – Stuart Ryan becomes F#). It’s a jazzy sound beloved of players like R b3 4 5 6 Robben Ford and Larry Carlton, but also blues-rockers A Hindu like Pent A Use Hindu Pent A Hindu Pent HinduofPent Hindu Pent A closeAcousin the minor A Pentatonic, this is also Santana. it over minor chords or sequences. C Shape A Shape G Shape E Shape D Shape

3 12 5 R

Used by players like Jeff Beck and Eric Johnson this exotic sounding scale creates a powerful sound. Diags page 3 FIVE SHAPES FOR A MINOR BLUES – R b3 4 b5 5 b7 –

2 5 R

AH A

3 4

A R

4 6

4 b7

3 44 b7

3 3 6 2

12 5 R 4

4 HINDU PENTATONIC x 5SCALE – 5 6

1 2 3 4

5 R

A Hindu Pent C Shape

R 7 1 2 3 4 5 6 7 3 3 R b7 b3 p4 p5 2 2 4 2 2 4

Am6 Pentatonic Am6 Pentatonic A Shape G Shape

5 R 4

1b 2

3 4

5 R 4

A R

R 4 12 5 R 4

b7 5b3 Rp44 p5

5 R

17 R

6 2 5 R 3 6 2 5

x 5–

5 R

Am Blues E Shape

2 5 R

12 5 R

6 2 5 R 3 6

3 6

3 R

5 6 7

3 6 3 6 2 5 12 5 R

3 R

2 5 R 5 R R 2b7 5b3R p4

3 6 2 5

R 4 6

A Hindu Pent D Shape

3 R

5 R

5 R 4

5 R

A Hindu Pent E Shape

Am Pentatonic G Shape

12 5 R

FIVE SHAPES FOR A HINDU PENTATONIC – R 3 4 5

Am Pentatonic Am Pentatonic Am Pentatonic Am Pentatonic Am Pentatonic C Shape A Shape G Shape E Shape D Shape FIVE SHAPES FOR A MINOR PENTATONIC – R b3 4 5 b7 – Stuart Ryan Am Pentatonic E Shape

3 4 5

Diags page 1 FIVE SHAPES FOR A MINOR PENTATONIC – R b3 4 5 b7 – Stuart Ryan

5 R 4

5 R 4 6

1 2 3 4

5 R

3 4 5

p4 p5

3 4

5 R 4

3 4

Am6 A

6 2

ntatonic ape

Am6 Pentatonic Am6 Pentatonic A Shape G Shape

LEARN ROCK SCALES

6 12 5 R 4

5 R 4

5 R

b of scales you can use in rock is b The range almost endless, withb some interchangeable b b b with blues and others far more exotic. Here are x 5– some vital ones to know - but always use themEx 3 to make music and not sound like exercises... 6

5 R

17 R 4

3 5 R

3 4

1 2 3 4

IC – R 3 4 5 b7 – Stuart Ryan

u Pent ape

A Hindu Pent A Shape

A Hindu Pent G Shape

2 2 4 2 2 4

7 3 p4 p5

3 12 5 R 4 b7

A AEOLIAN – R 2 b3 4 5 b6 b7 – Stuart Ryan 2FIVE 3 SHAPES 4 1 2 FOR 3 4 2 2 4 2 2 4

p4 p5

3 4 5 Minor 1 A 2 Natural 6 7

R 4

5 R 3

Ex 3

3 5 3

3 5 R 4

page 3

3 bpage 3 4 b5

17 R #4

b7 1

3 4 5

Blues ape

Am Blues G Shape

R 4

5 R 4

b5 5

5 R 12 5 R 4 b7

b7 b3 b 5

5 R

b7 b3

4 5 R

3 R

6 5

3 6 3

2 5 R b3 2 5

2 5

12 5 R

6 2 5 R 3 6 2 5 12 5 R

6 2 5 R 3 6

5 R R

5 R

7 2 R 4 6 2 7 2 5 R

b7 b3

b77 b33

5 4 b7 4 b7 3 b6 R 7 b3 R 4 12 12 5 R 4 5 R 7 2 5

3 6 2 6 2

bb7

5 R

b7 b3

4 4

b b33 b6 R R A77 Dorian

4 4

C Shape 6

D 6 Shape 2 5 5

b33 b6

7 2 5 R 4 6 2

4 b7 b3

6 2 5

R 4 12 5 R 4 b7 2 5

b77

2 5 2 5

5 R 6 A 2 Shape R

b77 b33 b6

4 4

b77

b77 b33 b6 b A Dorian4 77 G Shape 6 2 2

17 3 5 R R R 4 b7 7 b3 17 R

6 12 b5 R 4

2 5 R 5 R

b6 A Dorianb33 b6

5 R 4

5 R

7 2 5 R 4 6 6 22

b7 b3

2 5

4 3 6 6

2 5 R

17 R 4 b7 b3 5 R

3 6 2 5 3 12 5 R 4 b7 2 5 6 2 5 R 3 6 4 b7 adds 5 some spice. 2 Ryan 6 R Dorian 2 5 The is – 6R 22 53the 4 key 5 12 6ofb5Am) 7 R – really Stuart

R 4 7 2 A5 MIXOLYDIAN 4 SHAPES 7 b3 5 R FOR R FIVE 7 5DORIAN MODE

bb7 b progression 4 R 4 for jazzing up ba minor chord 4 bb7 b perfect or A A Mixolydian A 4 GMixolydian R 4 3 7 3 3 4 b7 7 Mixolydian songs featuring m7 chords - compare this to the C Shape A Shape G Shape 6 6 5 3 R 6 2 3 6 2 7 b7 3 6 similar minor 5 R 6 Sophisticated 6 2 players like 6 26 Pentatonic. b bb7 b licks, 4thebb77Dorian b b 5 R to4 bb7 Eric 2 5Johnson 4 Idealb for jazzy blues is a great way 4 4 7 R R 5 7 R 7 12 and some traditional blues men, such 17 b b7 b3 3 R 4 12 5 R 4 7 2 5 4 4 b7 17 R 4 b7 b3 5 R 3 7 3 3

AA Mixolydian B C R2 4 6 b3 5 Shape 2 R22 E 6 2 5 R 4

bA b3 3 Mixolydian D E b7 F# 66 Shape 225 55 36 43 D

get those modern blues sounds – the major 6 (F# in 3 6 2

as Albert Collins, have employed this scale.

3 6

FIVE SHAPES FOR A MIXOLYDIAN – R 2 3 4 5 6 b7 – Stuart Ryan

5 R 4

5 R

A Mixolydian

R 4 6 2 5 Shape 2 E

7 2 5 R 4 6 2

A Mixolydian

6 Shape 2 5 3 D

5 R 4

R 4

A Mixolydian 3 6 C Shape

7 2 5 R 4 6 2

b7 3 6 2 5

4 b7

B 2

C 3

D 4

E 5

2 5

A Mixolydian

5 R 3 6 2 Shape 6 A

6 2 5 R 3 6

A Mixolydian y7 G 3 Shape 6 2

4 b7 17 R 4 b7

5 R

3 6 3 6 2 5 4

b7 3 6

3 12 5 R 4

R 4 12 5 R 4 b7 2 5

F# 6

2 5

G b7

You could think of this as the major scale with its 7th

6 2 5 R 3 6

R 4

8 MIXOLYDIAN MODE A R

3 12 5 R 4

3 5 R

5 R

3 6 2 5

R 4 12 5 R 4 b7 2 5

4 b7

3 6 2

2 5 R 4 6 2

The major blues scale is a major pentatonic that has a minor 3rd as well as a major 3rd. Again, this scale is perfect for weaving between major and minor sounds.

12 4 R 4 12 5 R

6 2 5

b7 b3 A Dorian7 3

3 6 2 17 R

3 6

b33 b6

G Shape 2

17 R 4 b7 b3 5 R

FIVE SHAPES FOR A MIXOLYDIAN – R 2 3 4 5 6 7 – Stuart Ryan FIVE SHAPES FOR A DORIAN – R 2 b3 4 5 6 b7 – Stuart Ryan b3 b7 b3 b3 b7 b3 R 4 b3 b7 Mixolydian 4 Mixolydian 4 b7 A A Mixolydian A A Mixolydian AA Mixolydian A Dorian A Dorian A Dorian A Dorian Dorian C Shape A Shape G Shape E Shape6 D Shape 6 5 2 6 C Shape G Shape 5 R 2 E 6 6 2 2 D Shape 5 Shape 6 A 2 Shape R 4

5 R 4

3 6 2 6 2 5 R 3 6

6 2 5 R 3 6

b77 b33

b3 17 R

b3 b6 b7 b3 b6 b b3 b6 key b6 quality. b6 b7 b3 Perfect 4 Am)b6that gives itb3this R of 4forb7 B Minor C AD E Minor F A4Natural GA7 Dorian A Dorian A Dorian A Dorian A Dorian Minor A Natural Minor Natural Minor AA Natural Natural soloing over minor blues, forA Latin influenced songs C Shape A Shape G Shape D Shape 5 2 5 2 R2 E 2 b3 4 5 b6 b7 R 5 Shape 4 2 2 R or of course for getting that mystical Santana sound Also breferred to as b3 b6 Rthe4 natural b7 b3 b6 Players 4 b7 mode b7 the b7 b3 5Gary b3 Aeolean 12 5 R 4 b7 into 2 5your playing. 4 b7like 3 b6 R R 4 Green, 17Peter minor scale is perfect for getting those emotive Latin Moore b b and Rory Gallagher used it too.

6 2

Amaj Blues G Shape

b33 b6

b3 when4playing b7these b3 5ofR b7 17 Rblues. 4 b7Think

Amaj Blues 3 6 A Shape

b3 b6

A 5 R 2 Shape

b7 b3 b6

2 5 R

Diags page 4

A Dorian6

the minor blues scale as a minor 2 b3b3 3 5 6 – Stuart Ryan b5 b5th (in 5 pentatonicbwith an added the key of A this would be Eb). Great Blues Amaj Blues Amaj Blues for soloing over minor or major (also ape A Shape G Shape called dominant 7) blues. 2 b3 3 5 6 – Stuart Ryan

Blues ape

C Shape

D Shape 2 5

2 5

FIVE SHAPES FOR A DORIAN – R 2 b3 4 5 6 b7 – Stuart Ryan

4 b7 17 R 4 b7 b3 5 R b7 b3 b3 4 b7

12 5 R 4

2 R 4 2 5 5 R 4 b7 2 5 2 5 R 5 R 4 7 b3 5 R 7 2 b 12 playing. 6 NATURAL SCALE FIVE FOR – –R R2 2b3b34 45sounds –into Stuart Ryan FIVE SHAPES SHAPESMINOR FOR A A DORIAN AEOLIAN 56 b67 b7 – your Stuart RyanIt’s the minor 6 (F in the

5 R 44 5 R

5 R

2 5

4 b7 b3 b6 R 4 12 5 R 4 b7 2 5

2 E 2 R 5 Shape 2 R 4 6 2

Am Blues A Shape

b7 b3

2 6 2

Am Blues G Shape

12 5 R 4

b3 b6

5 b7 – Stuart Ryan

Blues Am Blues A Shape bape b b 3 4 5 5 7 – Stuart Ryan

5 Shape 2 E R 4

and is a great means of# sounding 5 3 5 3 5 R 4 b7 1 2 3 4 Exmore 3 3 sophisticated. You’ll find it perfect for soloing over a dominant 7th chord or a progression of dominant 7ths.

SHAPES FOR A AEOLIAN – R 2 b3 4 5 b6 b7 – Stuart Ryan 2FIVE 3 4 1b 2 3 4b b b7 b3 b3 b6 b7 b3 b6 b 3 6 4 b7 b3 b6 R 4 6 4 b7 A 6Natural A Natural Minor # A Natural A Natural Minor x 5A 1 2 3 4 5 Minor 6 7 5 3 5 R 4 b7 1 2 3 4 5 – Natural Minor Ex 3 3 5 3Minor

5 R 2

Diags page 4

5 R 2 4 R5 Rb7 4b3 b7p4b3p55 R2 27 42 2

#b A Natural Minor A Natural Minor x 5A 5 3 5ARNatural – Natural Minor Ex 3 3 5 3Minor 4 71 2 3 4 5 C Shape A Shape G Shape D Shape

5 R 3

Diags page 4

b7 b3

E Shape

3 4

5 6 7

earn all five shapes of each scale. This unlocks the fretboard and lets you see the neck as a single entity, allowing you to connect notes and phrases at will. This makes you #b 3 5 R leading 5 3 5fluent, 3sound flowing solos; it 3 longer, 4 5 4 7 1 2 to also stops you getting stuck in ruts. A good idea is to practise up one shape then down another.

4 3 6 2

4 b7 17 R 4 b7

5 R

flattened. The inclusion of a major 3rd and a minor 7th (b7) make this the perfect choice for soloing over progressions featuring 7th (dominant 7) chords. Check out how Gary Moore and Eric Clapton use Mixolydian in an up-tempo, rock-blues context.

Play Like Your Rock Heroes \ 9

LEARN CHORD SHAPES

35 Rock Chords ...you need to know! R

e spend much more time playing rhythm than we ever do soloing. So being a decent chord player is vital if you want to be a good all-rounder. In rock the chords used are ‘straighter’, with fewer ‘sweet’ sounds than you’d find in pop, jazz or even blues. Some players just hit the bottom two or three notes of chords, leaving out the 3rd so they are neither major nor minor. Others literally just fret the root and 5th (say 5th fret, sixth string and 7th fret, fifth string) to create a ‘power chord’ or ‘5’ chord. However, it never hurts to know a few choice shapes, and since artists like Queen, Santana, Joe Satriani, Muse, Pink Floyd and others do throw in a few curved balls from time to time, we thought we’d list some of the more interesting ones too. Roman numerals are often used to describe chords. This is because you can build a chord from each note in a scale, and the numerals refer to which interval the chord is built from. So that ‘5’ chord above, will often be referred to as a ‘V’ chord as it contains the fifth note of the scale. In a blues in the key of A, the ‘home’ chord of A is the 1 chord (I in Roman numerals); the chord D is the 4 chord (IV) as it’s built on the fourth note in the A major scale (D); and E is the 5 chord (V) as it’s built on the fifth note of the A major scale (E). Likewise, all the chords here are shown with each note as an interval, so you can see exactly how it’s made up. Sometimes players add dissonance to the V chord, which usually comes before the start of the next verse. This sets up a tension which is then released when you resolve to the I chord (the first chord of the new verse). Play through the ‘useful’ V7 altered (alt) chords and see if you can get them into the next jam session. In rock the 7#9 altered chord is often used as the I chord too, as in Hendrix’s Purple Haze. Experimenting with chords can be great fun, and can lead to new ideas - even the creation of whole new songs.

10 / Play Like Your Rock Heroes

b7 b3

p4 p5

3 4

2 2 4 2 2 4

3 4

1 2 3 4 R b7 b3 p4

5 6 7 p5 2 2 4 2 2 4

1 2 3 4 R b7 b3 p4

5 6 7 p5 2 2 4 2 2 4

3 4

x 5–

Ex 3

3 5 3

3 5 R 4

# b7 1

x 5–

Ex 3

3 5 3

3 5 R 4

# b7 1

3 4

Diags page 5

3 4

3 4 5

55 R 4 # b7 1 27 3 3 5 3Ryan – RREx 3 53 73 –53Stuart Diags page 5 Amaj7 Amaj7 Amaj7 Amaj7 Amaj7 C Shape A Shape G Shape E Shape D Shape x x x x x FIVE ESSENTIAL MAJOR SEVENTH CHORDS – R 3 x5 7 – Stuart Ryan Diags page 5 Amaj7 Amaj7 Amaj7 Amaj7 Amaj7

5 MAJOR x are... 5 – CHORDS 4 57ths 1 FIVE 2 3 ESSENTIAL 6 7 notes MAJORused SEVENTH

4 5

C Shape A Shape G Shape E Shape D Shape x x x FIVE ESSENTIAL xMAJOR SEVENTHx CHORDS – R 3 x5 7 – Stuart Ryan 5 R

Amaj7 5 R E Shape

7 3

5 R 5

5 R

R Amaj7 D Shape

x x

3 5 7 3

R 5 7 3

RAmaj7 A Shape

R 5

5 R

R 5 7 3

7 3 5 R 5

5 7 3 Amaj7 C Shape

5 R 3 Amaj7 G Shape

x x

3 5

5 R 3 7

3 5

5 R 3 7

7 3 5 7 3

R 5

R 3 12 CHORDS FIVE 7ESSENTIAL MINOR SEVENTH – R b3 5 b7 –7 Stuart Ryan

5 7 3 3 5 Am7 3 5 Am7 Am7 Am7 Am7 C Shape A Shape G Shape E Shape D Shape R b3 5 b7 12 x R b b MINOR 7ths notes used are... x x x x FIVE ESSENTIAL MINOR SEVENTH CHORDS – xR 3x 5 7 – Stuart Ryan

Am7 Am7 Am7 Am7 Am7 C Shape A Shape G Shape E Shape D Shape x x x x FIVE ESSENTIAL MINOR SEVENTHxCHORDS – xR b3x 5 b7 – Stuart Ryan

5 R

b7 b3 5 R Am7 E Shape

5 R 5

b7 b3 b7 b3

5 R

R Am7 D Shapeb b 7 3 x x

R 5

b7 b3

Am7 C Shape b

R x

b3 b7

b7 5 14 R Am7 A Shapeb 3

R 5

R 5 b7

R 5

5 R 3 6 Am7 G Shape

x x

5 R 3 6

b7 b3SEVENTH b7 R 12 R b3CHORDS FIVE ESSENTIAL DOMINANT – R 3 5 b7 b3– Stuart Ryan

5 A7 5 A7 A7 A7 A75 C Shape A Shape G Shape E Shape D Shape b7 x 12x R x xRyan x FIVE ESSENTIAL xDOMINANT SEVENTH CHORDS –x R 3 5 b7 – Stuart

RA7 D Shapeb

A7 C Shape

C Shape A Shape E Shape Shapeused are... R 3 5 DOMINANT 7thsD notes x x x FIVE ESSENTIAL xDOMINANT SEVENTH CHORDS –x R 3 5 b7 – 5 R

bA7 7 5 R E Shape 3

5 R 5

b7 b7

5 R

x x 7

R 5

5 R

R 5

R 3

b7 5

R x

3 5

R 3

3 12

x 12

R 12

b7 b7

5 G Shape b7 x xRyan Stuart

5 R A7b7 A Shape

R 5 b7 3 5

R 5

5A7R 3 G Shape b 7 x x 5 R 3

b7 5 R 3

FIVEUSEFUL USEFULMAJOR MAJORCHORDS CHORDS –– Stuart StuartRyan Rya FIVE Amaj9(no (noth th Amaj9 A6 Amaj13 A6 Amaj13 xx

xx xx

LEARN CHORD SHAPES 66

b7b7 b3b3

p4 p4 p5 p5

22 22 44 22 22 44

11 22 33 44 11 22 33 44

77 33 Ex Ex33 33 55 33

xx 55––

11 22 33 44 55 66 77

55 RR

Am11 Am11

Amaj9 Amaj9

55 7

FIVEUSEFUL USEFULMINOR MINORCHORDS CHORDS FIVE Diags page Diags page66 Am6 Am9 Am6 Am9 xx

## b7b71 2 1 2

33 55 RR 44

13 99 13

FIVE FIVEUSEFUL USEFULMAJOR MAJORCHORDS CHORDS –– Stuart StuartRyan Ryan Amaj9 A6 Amaj13 Amaj9(no (nothird) third) A6 Amaj13

A6/9 A6/9

bb Having a good chord vocabulary is essential when bb accompanying other soloists or singers. The following bb bb bb b b chord shapes will help set you up as a knowledgeable x 5– Ex 3 b b rhythm guitarist and make you a popular choice when # b7 FIVEUSEFUL USEFULDOMINANT DOMINANTCHORDS CHORDS FIVE it comes to playingx 5with others... # b7 A9sus4(G/A (G/ A9sus4 A9 A7/G A9 A7/G – Ex 3 xx

7 3 p4 p5

3 4

1 2 3 4

2 2 4 2 2 4

3 4

2 2 4 2 2 4 55 RR 2 3

7 3 p4 p5

77 33

3 4

3 5 3

3 5 R 4

1 2

77 99

1 11

55 RR

3RR 4 5

112 122

55 77

3 4 5

77 33 33 66

3 5 R 4

13 13 99

5 6 7

12 12

55 RR

5 6 7

33 55

55 RR

xx xx 66

12 12

FIVE MINOR CHORDS FIVEUSEFUL USEFUL DiagsMINOR page 6CHORDS Am11 Am11 Am13 Am6 Am9 Am11 Am11 Am13 Am6 Am9 xx xx xx xx xx xx xx Ryan xx 33 xx FIVE USEFUL MAJOR CHORDS – Stuart 1 11 Diags page 6 b7 b3 p4 p5 MAJOR 2 4 2 2 4 2 CHORDS Amaj9 (no third) Amaj9 A6/9 A6 Amaj13 5R USEFUL 5 USEFUL V7 b b b b R R 9 10 77 12 RR 10 12 99 x x x x x x x 77x9 55 CHORDS 1 2 3 4 1 2 3 4 ALTERED b3b3 FIVE USEFUL MAJOR CHORDS – Stuart Ryan 66 11 11 11 11 # b b b 6 6 3 3 3 R R 5 5 7 5 7 7 x 5– R4 Ex 3 3 5 3 5 1 2 3 4 5 1 2 3 4 5 6 7 Amaj9 (no third) Amaj9 A6/9 A6 Amaj13 b b b x

b7 b3 6p4

5 R

7 3 3

15 R2 3 4 1 5 2 35 R4 FIVE USEFUL MAJOR CHORDS –7 StuartR Ryan 9

12 12 R

Diags3 page 6

2 2 4 2 2 4

x 3b3 5x5

55 RR

x x6

b7b7 99 12

3 6

55 RR 12 12 RR 3 FIVE 6 CHORDS FIVEUSEFUL USEFUL3V7 V7 CHORDS b b #5#9#9b3b3 9 A7 A7 (no third) A7 third) R 9 99(no 5 #5 A7 R 12

b7 3b3 7

55 RR

b7b7

b7b7 b3b3

b5b9b9 A7b5 A7

13 13

13 9 USEFUL FIVE CHORDS 7 5 7 FIVE USEFUL DOMINANT CHORDS # DOMINANT x 5– 3 5 3 5 3 5 R 4 b7 1 2 3 4 5 Ex 3R Amaj9 9 7 3 R 9 A9 5 Amaj9 (no third) 12 A6/9 Amaj13 12 A9sus4 A13 A13 A7/G A9sus4(G/A) (G/A) A13 A13 A9 A7/G x x x x x x x x xx xx 33 xx xx xx xx xx b b b9 FIVE USEFUL MINOR CHORDS 9 9 33 13 9 7 5 7 Am11 Am11 Am13 Am6 Am9 b b b b R R 7 R 7 R 77 12 12 12 x x x 12 x x x x x x FIVE6USEFUL MINOR 33 page #9#9 #5#5 These are chords that CHORDS could replaceDiags a major or 6major 7 chord by33adding a 9 and/or b7b7 11 5 511 55 RR 13. You’d find this type of chord in jazzier rock styles, or sophisticated rock ballads. Am11 Am11 Am13 Am6 Am9 5 R 310 6 b7b7 3 b7b7 5 R 5 R x b7b7 99 55x 10 RR 55 RR 99 x12 RR FIVE USEFUL CHORDS Ryan x9 x x –7 Stuart x x MAJOR x b312 6 11 11 7 3 b 12 R A6/9 9 335 66 Amaj9 (no third) 12 R Amaj99 99 A63 Amaj13 b7 33 55 RR 7

1 2 3 4A635 6 7

13 9

5 Rx x

5 USEFUL MINOR CHORDS b3 5 5 RFIVE6USEFUL MINOR CHORDS 5 R x

b7 9 12 R Am9 Am6 5 5 R x x x 7 3

5 7 5 11

b7 b3 5 R 12 b7 CHORDS b3 5 R FIVE V7 FIVEUSEFUL USEFUL V7 CHORDS

7 b7 9

bA7 A7 7 bb99(no R Am11 (nothird) third) Am13 A7##55##99 6 A7 xx x3 xx 3 xx x x FIVE USEFUL DOMINANT CHORDS b93 9 13 9 5 12 R 12 R

b7 b3 5 R Am11 7 x R

x 9 b3 13CHORDS FIVE6USEFUL DOMINANT

7 5 11

A9sus4 (G/A) A9b3 5 A7/G 5 R x x xFIVE USEFUL x MINOR CHORDS x 3 b7 9 12 R Am9 b7 b3 Am6 5 R Am11 12

A7/G

b9 11 b9

A9sus4 (G/A) x

A13 b7 b3 R

xx x

A13 33

FIVE3USEFUL V7 CHORDS

5 USEFUL DOMINANT # # CHORDS A7 b5 b9 A7 b9 (no third)

A7 5 9R b7 9 5x DOMINANT 10 x b7 12 Rx 9 x FIVE USEFUL CHORDS b9 b 6 3 5 R 7 (G/A) A9sus4 A9 A7/G x

5 R

b7 R 12 CHORDS 12 FIVE3USEFUL V7 b # #9 # 9 # 5 5 A7 9 b(no 7 third) 5 R A7 5 b b

7 9 5 x

10 x

3 6

5 R x

x 12

b9 b5

b7 11 b A7 5 b9

5 R

5 R 5 R

b A13 b 9

9 13 3 13

3 A13

#93 #513 13 9

b9 A13 b9 x b7 b7

Rx 12 55 R R

9 A13

bb77

3 13 5 R A13 b913

3 12

b9 b5

33 13 13 55 RR

b7b7

5 R

b9b9

A13 b9

3 13

b77

9 55 R 13 3 13 R

5 R

3 13

3 13 55 RR 9

b9 b5

b9 b9 b7 b7 R 3 R 12 CHORDS 12 FIVE USEFUL As well as yourV7 more conventional dominant 7th chords, consider these instead. #9 #5 b9 b(no #5 #9distortion 5 7will A7 b5 bothers 9 A13 b9clean - experiment. A13 b913 5 R A7 third) A7 Some sound great with while are better x

b7b7

A13

b9b9 b5b5

A13 b9

b9 b5

A13 A13bb99

xx x

3 13

5 R

b7 3

b7b7

13 13 99 55 RR 13 9

A7 A7bb55bb99

b7b7 5 R x 12 12 12 R 12 RR 11 # # # # b b R b 5 7 5 99 5 77 R Am11 55 R Am13 5 b7 x x x x 12 R x b7 9 5 x 10 x b7 x R x 5 R 9 b 9 13 3 3 13 3 11 b7 3 6 3 5 R b7 b3 RCHORDS b7 b7 9 5 DOMINANT 10 R USEFUL 12 FIVE 5 R 9 11 11 13 9 Want6some sophisticated minor chords? Try these for size. By adding notes like b7slow 9 6 3chords A9sus4 (G/A) A13 3 bound to impress. R 9ths A9 orb311ths to minorA7/G in a5moody rocker you A13 are b b 7 3 5 R 5 R 5 x x x x x x USEFULxV7 CHORDS FIVE b7 13 9 5 R b7 9 12 R b7 third) b3 R b9 (no R #5 #b79 5A7 12 A7 A7 b5 b9 A13 b9 x

A13

b7 b3

5 R

If a spicy jazz flavour is your thing, you’ll want to nail these next time you play a dominant 7 type chord. They work well with attitude too, so think Hendrix meets George Benson!

Play Like Your Rock Heroes \ 11

A13 A13bb99

b7b7

13 1

BLUES ROCK INTRO

Blues Rock

We celebrate six great guitarists who cranked up their amps, turned on the attitude and from the blues explosion of the mid-60s gave life to a new form of music - Rock!

The Rolling Stones Hailing from Dartford in Kent, Brian Jones, Keith Richards and Mick Jagger were so besotted with the blues that they named their new band after a Muddy Waters song – Rollin’ Stone. They inhabited London’s growing blues-club scene where they rubbed shoulders with others jostling for their position in the new scheme of things, including The Who, The Kinks, The Animals and all three future members of Cream. From these lowly R&B beginnings The Stones went on to global superstardom, and when Jones was sacked in 1969 they recruited ex-John Mayall guitarist Mick Taylor who helped create some of the band’s most revered early-70s recordings, before he was replaced by ex-Faces guitarist Ron Wood who still plays with the band today.

Jimi Hendrix While Hendrix cut his teeth as a sideman in US soul and R&B bands, upon his arrival in

12 / Play Like Your Blues Heroes

England in 1966 he launched his own rock power trio with Noel Redding on bass and Mitch Mitchell on drums. Fusing elements of funky R&B, riffy rock and blues he created one of the most exciting stage acts the world had ever seen. His music was hugely inventive and his playing like nothing ever heard before. One of the few players to use a Fender Stratocaster over the preferred Gibsons of the time Jimi’s powerful and instantly recognisable numbers took unprecedented advantage of new effects pedals such as wah-wah, fuzz and Leslie-style rotary speaker simulations.

Paul Kossoff One of the most exhilarating live acts on the late 60s and early 70s British pub and club circuit, Free typified the organic move from blues to rock. Paul Rodgers’ powerful vocal approach and stage presence, allied to the prodigious playing of ex-John Mayall bassist Andy Fraser and powerhouse Simon Kirke on drums, were the perfect foil for a remarkable young guitarist, the classically-trained Paul Kossoff. Kossoff’s manic vibrato and beautifully constructed solos sat atop catchy riffs and chart-topping hooks. Their huge hit All Right Now made the UK Top 10 twice, and has become a classic staple of every pub band set.

Jimmy Page When The Yardbirds eventually imploded after a tempestuous few years with both Eric Clapton and Jeff Beck preceding him on guitar, Jimmy Page was not about to let things lie. Putting together one of the most powerful bands of all time with John Bonham on drums, fellow session maestro John-Paul Jones on bass and leather-lunged vocalist Robert Plant, Led Zeppelin set the visual and musical template for rock bands from the late 60s on. Page’s musical vision, advanced production methods and playing skills born of 1000s of hours as a session ace, lent power and grace to perhaps the first real rock band of them all. Page and co led the second so-called ‘British Invasion’.

Carlos Santana When Mexican blues-rock virtuoso Carlos Santana and his band lit up 1969’s Woodstock Festival with lyrical solos and infectious Latin rhythms, his success as a guitar legend was assured. Then a Gibson man, Carlos also helped Randall Smith develop his Boogie combos and his thick, sustaining tones were a revelation, as were his more exotic scale choices and melodic approach. We look at his soloing style, his use of tremolo picking and Dorian flavoured ideas.

Gary Moore Born in Belfast, Gary Moore’s father was a music promoter and the young Gary saw many players pass through. While he was influenced by them all, his devastating technique came from listening to this Bluesbreaker heroes Eric Clapton and Peter Green. He went on to join Skid Row alongside Phil Lynott and the two would collaborate on solo projects and in Thin Lizzy. Throughout his life Gary switched between blues, rock, fusion and more, with a technique and touch all but unsurpassed.

Middle

Treble

Gain

Bass

Reverb

The guitarists here used a wide range of instruments but mainly Fender Stratocasters, and Telecasters, plus Gibson’s Les Paul, SG and ES-335. Amps were all valve and, while effects were coming on the scene the majority of the tone came from turning up loud. To create similar tones set your amp to the point where it pushes into natural overdrive, then kick in a fuzz pedal for added thickness and drive. Turn the guitar’s volume control down to clean things up , and crank it to the max for the full-on blues-rock solo.

DAVID REDFERN / GETTY IMAGES

fter the R&B and blues booms of the early and mid-60s, the guitar world was experiencing all kinds of growth: amps were getting bigger and louder, technique ever more spectacular and effects pedals were becoming the new rage. Playing covers of blues standards had given way to the writing of original songs that displayed this newfound ability, testosterone-driven attitude and more distorted guitar tones. Compositions were often built on heavy riffs, while a guitar solo was not so much an option as a prerequisite. The following artists helped shape this brave new world. Hailing from as far afield as Mexico and London, Belfast and Seattle, they had one love in common: the music of the previous generation of black American blues masters, among them Albert, Freddie and BB King, Muddy Waters, Buddy Guy, John Lee Hooker, Chuck Berry, Otis Rush and others. They in turn would become the new legends.

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