Real Rock Guitar by Pablo Bartolomeo

Real Rock uitar A

Classic Rock Bible of the '60s and '70s by Kenn Chipkin

Editor; Aaron Stang

Cover Design: Joann Carrera

WARNER BROS. PUBLICATIONS Warner Music Group An AOL Time Warner Company

USA: 15800 NW 48th Avenue, Miami, FL 33014

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INTERNATIONAL MUSIC PUBUCATIONS LIMITED ENGLAND: GRIFFIN HOUSE, 161 HAMMERSMITH ROAD, LONDON WS SBS

of the compositions this collection requires the written consent of the Publish.er. No part of this book may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and punishable by Jav.� Any duplication, adaptation or arrangement

contained in

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CONTENTS Page # INTRODUCTION Intro Music

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Page #

CD Track

CD Tracl

PART ll: RIFFS

Pentatonic Minor......................................42

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

Example 36 ....................................42 ..............38

Thning Notes ................................................................2

Example 37....................................43 ..............39

Example 38....................................44

PART 1: RHYTHM PARTS

The Boogie Pattern ....................................5

...

..........

Example 39 ....................................46 ..............41 Example 40

Example 1 ........................................5 ................3

Blues Scale Riffs

Example 2 ........................................ 6 ................ 4

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

..........

. . ..

...

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

.. . .

.......

. .. ..

....

...

..........

Example 41.................................... 48 ..............43

The Power 5th Chord ................................ 8 Example 3 .....................................,... 8 ................ 5

Example 42 ....................................49 ..............44

Example 4 ........................................ 9 ................6

Example 43 .................................... 49 ..............45 Example 44

Example 5 ......................................1 0 ................7

. ..

... .

. ..

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

......

.. 50 ..............46

Example 45 ....................................51 ..............47

Example 6 ......................................1 1 ................ 8 Example 7 ...................................... 11 ................ 9

Riff/Chord Combos ..................................53 Example 46 ....................................53 ..............48 Example 47 .................................... 54 ..............49

Major Triads, Dominant 7th and

Example 48 ....................................55 ..............50 Example 49 ....................................55 ............. .51

Dominant 9th Chords

Example 50 ....................................57 .............. 52

Major Triads ............................................12 Example 8......................................12 ..............10

Example 51 .................................... 58 ..............53

Example 9 ......................................13 ..............11

Example 52 .................................... 59 .............. 54

Example 10 ....................................14 ..............12

Example 53 ....................................60 ..............55 Example 54 ....................................61 ..............56

Dominant 7th Chords ..............................16

Example 55 ....................................61 ..............57

Example '11 ....................................16 ..............13

Example 56 ....................................62 ..............58

Example 12 .................................... 1 7 ..............14 Example 13 .................................... 19 ..............15

Double Stop Riffs Based On The

Example 14 ....................................20 ..............16

Mixolydian Mode .

Dominant 7th (3) ... .

. ....

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

...

Example 58 .................................... 64 ..............60

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

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

Example 57 ..........; ......................... 64 ..............59

Example 15 ....................................21 ..............17 Example 16 .................................... 21 ..............18

Example 59 .................................... 65 ..............61

Example 17 ...................................;22 ..............19

Example 60 ....................................66 ..............62

The Dominant 9th Chord ........................ 23

PART Ill: BLUES/ROCK LEAD GUITAR

Example 18....................................23 ..............20 Example 19 :.................................24 ..

...

.......

The Pentatonic Minor Scale

Example 20 ....................................25 ..............22 The Dominant 7 (#9) Chord . .. . .

... .......

...........

. ... .67 ..

Example 61 ....................................67 ..............63

.. 25

Example 62 ....................................68 ..............64

Example 21 ....................................26 ..............23

The Pentatonic Major Scale ....................70

Example 22 .................................... 27 ..............24

Example 63 ....................................70

Example 23

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

Example 24 . . . .

....

.. .

Example 64 .................................... 70

. 28 ..............25

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

. ......

.....

Example 65 .................................... 71 ..............65

29 .............. 26

...........

The Mixolydian Mode .

Example 25 ....................................30 ..............27

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

Example 66 .................................... 71 ..............66

Example 26 ....................................31 ..............28 The Minor Triad ......................................33

PART IV: GUITAR GREATS, U.S. TO U.K.

Example 27 .................................... 33 ..............29 Example 28 ....................................34 .............. 30

The Allman Brothers................................72 ..............67

Example 29 .................................... 35 .............. 31

Jeff Beck

Example 30 ....................................36 .............. 32

Eric Clapton ............................................81 ..............69

Example 31 .................................... 37 ..............33

Jimmy Page

Example 32 .................................... 38 .............. 34

Johnny Winter ..........................................90 .............. 71

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

... ...

....

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

(ZZ Top)

....

.77 .............. 68

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

.......

.....

. 85 .............. 70

...

Example 33 ....................................39 .............. 35

Billy Gibbons

Example 34

.36

Jimi Hendrix ............................................ 98 .............. 73

Example 35 ....................................41 ..............37

The Rolling Stones ................................106 .............. 74

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

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Appendix I

112

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

Appendix 11 . . ..

113

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

Guitar Tab Glossary

118

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

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

94 .............. 72

INTRODUCTION The blues/rock guitar style is set apart by its fusion of two related but very different genres: blues and rock. The expression goes, "Blues had a baby and named it rock and roll." This is a "black and white statement''-literally.

The blues began as music played by and for blacks only (up until the early '60s, blues and R & B were termed "race" music and were marketed only to a black audience via "race" record labels, music stores and radio stations). It wasn't until the 1950s that black music became popular with white audiences (often filtered through white artists heavily influenced by black music: Elvis Presley, Bill Haley, etc.) and in doing so, the cultural walls of "popular" (white) and blues (black) music began to crumble.

Rock and roll is a cultural collaboration (the

illegitimate child of a black/white union) and from its inception, rock and roll misfits and soul-searching white musicians have been borrowing heavily from the pure blues, unintentionally forging a new style. A child can imitate its parent to whatever lengths it chooses, while simultaneously finding its own path in realizing its identity. Acceptance is had either way, but ultimately, blues is blues and rock is rock. That is why blues/rock is identifiable as having its own separate identity.

The influence blues has had on rock is as undeniable as it is advantageous. The main advantage being the ability of blues/rock to extend, or even sever, its long-established roots in the blues language while still maintaining its audience appeal, ďż˝s well as the interest and respect of blues musicians themselves. A comparison of the "blues/rock" material represented in this book to that of the traditional, "pure" blues of guitarists such as T-Bone Walker, B.B. King or Albert King will immediately show clear dividing lines between the styles.* Amazingly, blues/rock has had a reverse influential effect on many of the great blues guitarists who were the original impetus for this new musical form. Muddy Waters called Johnny Winter "his son," and the two often played and recorded together in the last years of Waters' life.

B.B. Ki ďż˝g, Albert King, Buddy Guy and

Albert Collins have all sung high praises for Eric Clapton and Stevie Ray Vaughan-and these older blues musicians have found their music and even their playing affected by the new fires set by blues/rockers. Compare old and new recordings of the blues guitarists mentioned, and you will hear their blues "modernized."

The U.S. to U.K. Connection Although blues is primarily a Black-American music form, blues/rock is a cross-cultural and cross-continental phenomenon. By the '60s, black music had clearly crossed over into the American mainstream.

Many white

musicians were not only influenced by black music but were heavily involved in both blues and R&B. But still, the early '60s American music scene shows clear dividing lines between pop, rock, blues and R&B. It took a new generation of young, white English musicians who had grown up listening to American blues artists to actually fuse the two forms together. They joined the songs, licks and riffs of their idols, like Robert Johnson, Muddy Waters, Howlin' Wolf, B.B. King, Freddie King and Buddy Guy with the volume, energy and attitude of the rock generation. It is from this unique black/white, American/British union that bands like The Yardbirds, The Rolling Stones, Led Zeppelin, Cream, Deep Purple and even the Beatles were born. Kenn Chipkin Aaron Stang

*(See Real Blues Guitar, published by Warner Bros. Publications, Inc. for a full examination of blues guitar).

PART 1: RHYTHM PARTS This section deals with the foundation of the blues/rock style: rhythm guitar playing.

The following examples are

derived from the music of many well-known groups and players, and are in many cases identifiable as the main thrust behind important songs. These examples illustrate the common threads that weave through the blues/rock style.

The Boogie Pattern

The boogie pattern may be the single most identifiable feature of the blues, dating back to the Delta-blues style of guitarist/singer Robert Johnson.

This pattern is common to virtually all styles of music, and is especially

connected to the guitar-its main advocate. Chuck Berry is widely known to have exploited the boogie pattern a great deal in the early stages of rock and roll. Berry's aggressive approach to guitar playing has had a profound effect on all those who have followed. He basically took the boogie pattern, a blues staple, changed it from a shuffle to a straight-eighth feel, and put a fire under it. Once Chuck got it cooking there was no way to turn it back down. The flame continued to grow hotter as the feel continuously grew more aggressive and loud. Almost all of the examples in this section make use of the boogie figure. Example 1 This two-part example demonstrates a basic boogie figure a la Chuck Berry, played first in a shuffle feel, then (without change of tempo) in a straight feel. This is played in the key of E, and uses only two chords (or double stops): ES (power 5th) and E6 (power 6th). Practice switching from feel to feel at will. Shume feel ( n

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8 The Power 5th Chord As

guitarists caught on to Chuck Berry's sound and attitude, the door opened wider and wider, so that by the early '60s the power 5th shape began to carve its own path, breaking free from the typical 12-bar blues progression and forging new-found harmonic directions. New root movements utilizing this shape-not being limited to only the I, IV and V chords-were now being explored. Between domestic happenings, the onslaught of the "British Invasion" combined with maximum distortion and many new and experimental effects, the power 5th shape was on its way to becoming "the power chord" as we now know it, and "rock and roll" began to lose the "and roll." This laid the foundation for heavy metal. Example 3 This example in the style of Led Zeppelin, begins as a power 5th chord in the key of A, branching out to power 6th and power 7th chords as well. The chord progression stands as a perfect model of a "12-bar blues with a twist." The IV (DS) chord in bar 5 is followed by a string of chromatically connected power 5th chords resolving back to the I (AS) chord. After the V (ES) chord in bar 10, we come to an Fsus2, F being the root of the �VI chord, a commonly found chord in blues/rock progressions. "'

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This example, a Ia Joe Walsh, is obviously inspired by older blues tunes like "I'm a Man" by Muddy Waters, where the heart of the tune is a repetitive lick with a slow, creeping shuffle feel played between lyric phrases of some compelling story. The opening four bars in this example bring that situation to mind with the use of E5 (I) and A5 (IV) open position fingerings in the key of E. The boogie figure brings momentum to the changes from IV(AS and A6) to I (E5 and E6) in the following bars, ending the phrase with great stress on the V (B5) power chord in bars 11 and 12. The example ends with a chord movement of D major to E5 with an E pedal below. This superimposition of a triad, built on the b 7 chord is decidedly owned more by rock than blues. Note the inclusion of the boogie pattern on the E5 and E6 chords in the 7th position-clearly bringing blues and rock together in these final bars. "'

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Major Triads, Dominant 7th and Dominant 9th Chords Major Triads

major triad consists of the root, 3rd and 5th scale degrees of a major key played simultaneously to form a chord. There are many ways to arrange or "voice" a triad on the guitar. However, based on accessibility and sound characteristics, certain common voicings prevail in blues/rock. A

The occurrence of triads in blues/rock has its root in the country-blues styles of the deep south. The purity of the triad without the dominant 7th makes for a more light-hearted, simple feeling. The following examples show how the major triad can be combined with boogie figures, dominant 7th chords and the like, bringing contrast of moods. Example 8 From a famous Lynyrd Skynyrd song we have this guitar part which embodies three versions of the chord progression V-IV-I (D-C-G) in the key of G. The first four-bar phrase is played with open position chords making use of open strings. Csus2 is a common substitute for C in rock. The sixteenth note lick is derived from the G pentatonic major scale (G A B D E), complimenting the simple major chord character of the song. The next four-bar phrase moves the V and IV chords up the neck, making use of the 1st inversion voicing of D and C. (The 1st inversion of D has the 3rd (R) of the chord in the bass at the 9th fret, while the 1st inversion of C has its 3rd (E) in the bass at the 7th fret.) The I chord is represented by an open string lick that when held, forms an open G chord. The final four-bar phrase is the good old boogie pattern played over all three chords, with an interesting rhythmic figure on beats 2 and 4 of bar 1.

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This rock-solid rhythm part in G is borrowed from the great Johnny Winter. While the boogie pattern pervades the entire part, most critical are the movements to the Bb triad (the biii chord), the use of the bVJI chord (marked by the boogie pattern of F5 to F6) and the hook-like use of a 1st inversion C triad in the last four bars. These features, as well as the 2/4 bar where the half-step slides from 05 to 05 are found, epitomize this example as stellar blues/rock rhythm guitar. G5

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16 Dominant 7th Chords

The dominant 7th (or "7") chord is a major triad that includes the b7th (a minor 7th from the root). Example: C7 C E G Bb. 1 3 5 b7 =

Often, the dominant 7th chord appears without a root or a fifth. The crucial notes are the 3rd and the b7th. Provided the tritone (the interval between the 3rd and b7th) is heard, the ear tends to "fill in" the missing notes. The dominant 7th chord is one of rock's strongest ties to blues. In blues, the I, IV and V chords are usually dominant types or implied to be such and therefore when heard in rock contexts, one tends to recall blues immediately. The examples that follow establish varied uses of the chord, ranging from full blown voicings to the occurrence of the b7th degree without the major 3rd. Example 1 1

The boogie pattern is the backbone of this Beatles' rhythm part in A. While triads (G/A, D/A) and single lines play an important role, the dominant chords (A7 and D7, denoted by the asterisk *) are the musical hook, not to mention the most fun to play. The opening triads (G/A and D/A) are common inversion types found on the 4-3-2 string group. The bass guitar pedals A below the two chords. The single line fill found in the 1st and 2nd endings is based in the most common position of A pentatonic major (A B a E H) but substitutes 0 for a upon the bend. The A7 and D7 voicings are played here as triple-stops on the 3-2-1 string group. Note that A7 is a 2nd inversion type (the 5th, E in the bass) without a root, while the D7 is a root position type without a 5th (A). The single line that precedes these chords is based on an A pentatonic major lick, a E AI A.

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Here is yet another example a la The Be atles, this time with two guitar parts in J3l.. Guitar 1 kicks it off with a Chuck Berry-type fill over Bl>7 in 6th position. It then continues with a cool variation of a boogie pattern with mmers ha

from the 5th to the 6th of each chord change. Guitar 2 begins almost exactly alike, but then bits big 7th chords for each change. This example attempts to emulate the original with a revolutionary amount of distortion; mad e possible by plugging directly into the mixing board and purposely overdriving the daylights out of it. ,... ,

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19 Example 1 3

This example is chock-full of great blues/rock rhythm stuff, not to mention being a regular riot to play. This part comes to us courtesy of Joe Walsh. Its main signature bits are found in the opening two bars: first is the Am hammered to A7 form and second is the D/A (2nd inversion D triad) hammered to the G/A (1st inversion G triad). Looking at the A7 chord, you can see that while the minor 3rd (a) is hammered to the major 3rd (0), any other notes hit along with the a must be held after hammering. On beat 3 of bar 1, the notes (01, a, E and A) are barred with the 1st finger as you hammer to the 0, played with the 2nd finger. The same technique applies to the hammer found from D/A to G/A. On beat 1 of bar 2, all three notes of the D/A chord are played with a vibrato. Make sure your fret hand is laid across all six strings when playing the "dead hits" (denoted by the x's). In addition to a brief modulation to B (bar 9), this example also features power 5th chords (AS and B5) and an E7(�) that acts as the V chord, returning us to the original key of A. A7

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This memorable Rolling Stones' riff in D outlines the crucial 3rd and b7th of a D7 chord (H and 0) in two ways. Both combinations are found as tritone double-stops on two different string pairings. The first is R and 0 (b eat 1) and the second is the inverse, a and H (beat 3). Note that each are approached by the same shape using non chord tones from a half-step below. 07

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21 Example 1 5

This Beatles' guitar hook in 0 has the I, IV and V chords delineated as 7th chord arpeggios with additional notes. Each chord has its 3rd suspended to a 4th (i.e. 07 B up to C) as well as including its 9th (i.e. 07 has A). This line is such a great hook that Jimi Hendrix couldn't resist working it into his songs in concert. =

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The Dominant 7th No 3rd: 7ďż˝

This is a commonly used sound in blues/rock. Its very name is as ambiguous as its musical character. I have said that the major 3rd and the ďż˝7 are the two crucial notes in determining a dominant chord. How can it be dominant without the 3rd then? Well, it isn't exactly. It can be heard as belonging to the dominant family (major) or the minor 7th family depending on the context. In blues and blues/rock styles, however, this chord usually implies the dominant sound and that is why a major key signature is used. Despite the presence of this equivocal chord, by listening "around it," to the vocalist, soloist, etc., you can determine for your ears whether it is closer to dominant or minor. Example 1 6

From another classic Beatles' tune we find the dom7(J') in its natural habitat. Used here as a hook in the key of D, it's hard to tell the overall tonality until the boogie pattern starts in bar 5, confirming it as more dominant than minor, since the boogie pattern is inherently dominant. D7(.6)

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Like Example i3, this one requires that all notes played together must be held after the hammer. In this case, the hammer becomes a trill (a series of hammers and pulls), making it a little trickier to allow all notes of the chord to ring. With your 1st finger, find the barre position that will enable the A and A to ring while you trill to the D* with your 2nd (or 3rd) finger. The low B notes are best played with the thumb. This is a real useful device for all kinds of tunes at any tempo. Robin Trower is credited with this baby. ,.,,

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23 The Dominant 9th Chord

This is a sound that immediately evokes blues, R & B and funk styles. It tends to bring another level to rock, and has been used by everyone from Zeppelin and Hendrix to Extreme and the Red Hot Chili Peppers. The voicing that is found in the following examples (string group 5-4-3-2-1, Root-3-b7-9-5) is by far the most popular of its kind and is packed with musical history.

Example 18 This slice of Johnny Winter is a sort of psycho-up-tempo-country-blues/rock-funk-phenomenon. It's in the key ·.

of B and leans heavily on the B9 voicing in 1st position. Supporting the I chord (B9) are some slick B pentatonic minor (B D E F# A) licks articulated with hammers and pulls to open strings. Check out how although never piayed as a chord, the IV (E7) is alluded to with two different single line licks (bars 7 and 12) that accent the nunor third/major third (GVGil) relationship within the E7 chord. More on this to follow shortly. This example is connected umbilically to the blues by the "turnaround" figure found in the beginning (bars 1 and 2) and end (bars 11 and 12). B N.C.

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If ever there was a true crossover artist, it was Stevie Ray Vaughan, known for blues as well as for rock. This rhythm part (in the key of B) stands as solid evidence of his crossover tendencies. It brings with it a unique chord progression possessing strong blues influence: alternating I (B9) to IV (E9) chords; and a great open string lick ' using open E pentatonic minor (E G A B D) in bar 7. It is also drawn from a funky side of R & B, with its hom section-like stabs played with the 9th chords. �- �

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Exa mple 20 Our last dominant 9th example in E a la the Rolling Stones actually loses the b7th degree. The b7th is only implied in the IV (Aadd9) chord, as the intervals l(A), S(E), 3(0) and 9(B) are spread widely apart, forming a unique and useful chord voicing. The boogie pattern pervades the entire example. Employ subtle palm muting. < Il

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The Dominant 7(#9) Chord

More ambiguous than the dom7(.a) is the dom7(#9) and similarly, the general use of the b3 (aka #9) in dominant chord oriented situations. The dominant 7(119) is a tense and dead-serious sounding chord. Although it is of the dominant persuasion and is technically derived from a major triad, it tends to sound meaner than your average minor chord. Guitar players affectionately call it "the Purple Haze chord," owing to Hendrix's constant use of it, rnade especially famous as the signature chord in his song "Purple Haze." Its character is identified by the presence of both the major 3rd and the minor 3rd. The fact that both 3rds are rubbing together is what causes all the commotion. Of course the b3rd is the most common "blue note." When played over a dominant 7th type chord its effect is strong and emotional. So it only makes sense that if the sol<?ist can constantly use this note, then it was only a matter of time before it became common to add into the chord voicing.

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26 Check out the "Purple Haze chord": It spells from low to high: E (1), 7(19) voicings frequently delete the 5th (B). E7(�9) )(

Q (3),

D ('>7) and m ('>3, aka 119). Dominant

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3 �7 �3)

In this type of voicing, the �3 is referred to as a "119" in order to separate it from the �3. Technically speaking, the *9 of an E7 chord should be spelled as F double sharp, but in common use it is usually preferable to spell the chord with both Q and m. Understanding this will help you in reckoning with the mystery of how and why the 1.3 is so accepted as a melodic note when heard over a dominant chord or dominant implied (i.e. boogie pattern) situation. By "melodic note" I mean a note a lead guitarist or singer might hit. There will be more on this ahead in "Blues/Rock Lead Guitar," but in the meantime, think of any minor 3rd played in a dominant chord context as a "19"-a kind of gift from the blues to rock and roll. Example 21 Speaking of rock and roll, Jimmy Page helped make this type of Chuck Berry-inspired rhythm playing a staple of blues/rock early on with his slightly influential band, Led Zeppelin. This is a 12-bar blues form in A and it directs your ear instantly to the contrast of 3rds: first major, then minor. In each case, the b3 (or 119, right?!) is accented and bent slightly. A7's 119 is a, D7's is A and E7's is Gt 1/4 (A7) 1/4 "

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27 Example 22 Here is another 12-bar blues form a la Jimmy Page with "the Purple Haze chord" as the spearhead of this rhythm part in the key of E. Notable are bars 1 and 5 where the high open strings are played with a moving bass line below. In bar 1, the bass movement inverts the I (E) chord from root position (E5) to 1st inversion (Elm) to having the 4th in the bass (E/A) and finally to 2nd inversion (ES/B). The bass guitar joins this line, reinforcing the need to name the chords in such a way. In bar 5, the same idea is transposed to the IV (A) chord, bringing with it another set of chord inversions placing the open B and E notes above the moving bass. In bar 9, we expect B7 or B7(�) and instead get a commonly used alternative: a Vm7 (Bm7) which is functionally likened to a B7(�) more than a minor 7th. The progression ends with a blues turnaround a Ia Page, using the E pentatonic minor scale (E G A B D) in 12th position with passing tones D#(ll?) and A� (07). E5

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This team-working guitar part in the style of Eric Clapton is here to illustrate how striking the dom7(#9) sound can be when used sparingly at key moments. We are now in the key of A. Notice how the I chord is played as a straight A major triad bar chord (with doubling on the root and 5th). In bar 5, D7(IV) is found as a typical dominant chord voicing. However, bars 9 and 10 are the hot spots. E7(#9) is found for the V, and an unexpected 07(#9) is used for the IV-strange brew, huh? This example is a pillar-like 12-bar blues/rock part in respect to the consistent placement of the chord changes marked by an accented chord on beat 2 and by the A pentatonic minor (A C D E G) lick that runs through every bar. A > >

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29 Example 24 comes that sound again. Once more, the E7(�) stands as the mainstay to this rhythm part in E a la Hendrix. Guitar 2 plays a percussive and supportive role to Guitar 1-which uses simple E pentatonic minor (E G A B D) licks that put great stress on the � (Qq). The voicing found in bar 9 for the IV (A) chord is a typical Hendri.xism: an implied dom7(�) .chord without the 3rd. In this case, the 0 is lost as the pinky finger bars oq and 0 (9th fret), the 3rd finger plays the A (7th fret) and the thumb frets the low A (5th fret). Like in example 25, the dom7(�) type is used as a substitute for the plain dominant? IV chord. Here

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Example 25

This stands as an even stronger example of the implied dom7(119) on the I and IV chords in A, a Ia Jimi Hendrix. The so-called A7(119) (I) chord is missing its 3rd (0) as the 07(119) also deletes its 3rd (H). Both are voiced and fingered exactly like Example 26, with all low root notes fretted with the thumb. Bar 7 has a cool triad move where a C triad slides to a D triad and returns. The C triad (C E G) is a common substitution for a dom7(119) and leans heavily toward Am7 (A C E G). The D triad (D H A) represents the presence of the IV(D) chord. Note the E7(.a) chord moving chromatically to D7(6) before the I chord in bar 11. See the suggested fret-hand fingering for the A pentatonic minor (A C D E G) lick at the end; the position changes can be a bit tricky. G5

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lc Example 26

Jimi has the final word on dom7(#9) and the heavily stressed �3 on this ki]ling example of a "rhythm part'' he often piayed on a well-known blues cover tune. Rhythm part? Hardly typical of the kind of rhythm guitar someone would play while backing up their own lead vocal-which was the case with this one. This 12-bar blues form begins with a spirited 8-bar intro based on the I (A7(#9)) chord. Here and throughout the example, the emphasis is on A pentatonic minor (A C D E G) where the minor 3rd (#9) is terribly insistent. As a matter of fact, although this is a typical dominant-based blues, not a single major 3rd (0) comes up.Dig hard on this one, it's serious. Intro:

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The Minor Triad

The pure minor chord (1 �3 5) is somewhat rare in this genre, but has still made its mark. The minor triad has its roots in folk and country blues styles and is decidedly less "urban" and modern in its musical effect than the minor 7th chord. Exa mple 27

Here is a well-known example of minor blues/rock rhythm guitar a la Carlos Santana. In the key of G minor, the majo r IV chord (C) tends to "lighten" the atmosphere a good deal whereas if the unaltered minor IV (Cm) were used the effect would be much darker. This example consists of four different phrases that show what Carlos might do with the minor sound. The last phrase offers a common Santana move that extends the triad to a minor 7th momentarily as the 5th (D) travels up to the �7(F) by way of the �6 (E). Om

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34 'Example 28 Here is a very original progression using minor chords a la Hendrix. It tends to be dark and blues-oriented and is therefore written in the key of E. Once again the Purple Haze voicing (E7(#9)) is the I chord at the heart of it. Four times throughout the example this chord is approached from below by a slide, accenting the 00(#9) on the "and of 4." The same half-step connection is used preceding the IV (Am) and V (Bm) chords with G�m and A•m respectively. Mm is harmonically renamed as Blm in bar 7 as it descends downward to Am.

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Example 29

This is a great example of how the boogie pattern can be mutated to suit a minor chord. In the key of Gtlm, the altered boogie pattern involves the b3 (B) of the I (G#m) chord instead of the usual use of the 5th and 6th. The E7 stands as the bVI chord and appears as a dominant sound (without the 3rd). The outcome is a modem treatment of blues a la Stevie Ray Vaughan. Ill

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36 Example 30

Am?

is the home base for this, a classic Johnny Winter guitar part. It makes use of three different open strings, and can be played in 2nd position throughout while reaching up to the 5th fret for the Am? double-stop (bar 2). This is the kind of rhythm part that can spur endless variations, so I recommend much experimentation in this groove and style of playing. ./ �

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37 Example 31

This archetype inspired by Martin Barre of Jethro Tull is driven by a riff that is harmonically flexible enough to be played in a dominant 7 context as well as its usage here in (D) minor. Since no 3rd is heard, it can swing either way. On the change to the IV (Gm7) though, a full minor 7 quality is stressed. The phrase within the repeats (bars 7-11) makes use of a progression of chords commonly found in Dm, further confirming the minor tonality. (Dm7)

(Gm7) 3

hold - l

c >

hold - I

(Gm7)

hold - l

hold - I

(Dm7)

38 Example 32 . ZZ Top is well known for pushing the minor 7 issue over a dominant 7 situation. Due in part to them, the minor 7 chord has become a staple of rock's contribution to blues forms. In this case a la Billy Gibbons, Gm7 is sold hard in the G major key. This is a sort of bastardized Texas shuffle that gets a good deal of its punch from the boogie pattern, played on all the chord changes (1, IV and V). This 12-bar blues form ends with a standard blues turnaround move: the V (09) chord is approached from a half-step above {EI>9). ,.... ,

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39 Example 33 Another ZZ Top model, this one specifically in Gm (note the key signature), illustrating two guitar parts working together, creates a call and response effect. These two parts can be played by one guitar with limited difficulty. The first phrase has Guitar 1 playing a minor 7th voicing not as commonly found in blues and rock as it is in jazz and other styles. It spells (from low to high) G, B�. F, and it is approached from a half-step below with a slide. In response, Guitar 2 has a nice part that is based on double-stops using open strings. The next phrase that closes the example is based on the Guitar 2 part, only both guitars now play the figure together. This is some real cool, laid-back stuff that you can work into many Gm rhythm parts of your own. F�7 Gm7

Gtr. 2

• •

Gm/B� cs Gm/B�

os Both gtrs.

Gm/Bb

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40 Example 34

This one kicks butt in a minor. The low b3 (E) of the I chord is played as an open E and brings a lot of heaviness to this rhythm part by Robin Trower. Om7 is actually heard on "the and of 4" (bars 1 and 2) in 11th position. This barre-type of voicing on strings 4-3-2 is the most common minor 7 guitar voicing in blues/rock. Also intrinsic to the style is the use of a IV chord with its 5th in the bass, such is the case here with the F#5/0. The second phrase of this example exudes a strong chord progression of B7(tl9) (I-VII) to Gil (V) to A (\'VI) to B (\'VII) resolving to Om7 again. Most notable are the quick moves from the low roots of the Gil, A and B chords on the 6th string to the double stops that comprise the 5th and 3rd of each chord. Make this as clean as possible without allowing unwanted open strings to ring out.

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41 Example 35

mentioned in the last example, the minor 7th bar voicing on strings 4 3 2 is crucial to heavy blues guitar. We are now in the key of Bm, again in the style of Robin Trower, and all strings are to be hit where x's are shown, so your fret hand must mute carefully. Incidentally, the further towards the nut that you mute, the more bass the muted strings will give off, which is desirable for a heavy sound. The ending phrase uses B pentatonic minor (B D E Fll A) to create the simple, melodic ending. As

Bm7

E/B

N.C.

â&#x20AC;˘ â&#x20AC;˘

(Bm7)

PART II: RIFFS A riff is commonly understood to be a repetitive single-line idea. In being the main thrust behind blues/rock, the guitar's role outside of basic background rhythm playing is to lead the band with single-line riffs that very often include chords as well. In formative years, blues/rock groups were often one-guitar bands and the single guitar player wore both lead and rhythm hats to fill the music out. Influence can be traced to seminal blues guitarist/singer Robert Johnson backing his vocal with basic boogie patterns while throwing in single line riffs that identified the songs. Where blues may tend to play down riffs, putting them at even keel with other musical elements, blues/rock tends to glorify and exploit riffs as melodic hooks. This section deals with guitar parts making use of everything from simple, repetitive single lines, to difficult lines interspersed with small and large chord voicings. In any case, the riffs and voicings found in the examples that follow are fundamental to this guitar-oriented style and should be absorbed and used as tools for building your own improvised guitar parts. Pentatonic Minor: The Scale That Rules The Sound

Blues/rock would surely be lost without the pentatonic minor scale. A vast majority of the most classic, recognizable riffs are culled directly from it. Everyone from the Yardbirds to Stevie Ray Vaughan is indebted to, and is an expluiter of, the famous five intervals, 1 J,3-4-5-�7. This is the intervallic formula of the scale and, as you have seen from Part I, these intervals are the root of countless chord progressions. Part III will cover the scale in all its glory in five position forms. For now, let's just tune into the sound by playing an E pentatonic scale in closed and open positions, one octave apart. Open position

12th position

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Example 36

In the key of E is this early Led Zeppelin riff, pinpointing the union of blues and rock with a bass line doubled by guitar one octave higher and played with a shuffle feel. This is a good illustration of how in the hands of rock musicians, a background bass line figure is heightened to main-hook status.

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43 Example 37

Jimmy Page again, with a lesson on writing a "guitar melody" for a 12-bar blues-which incidentally would be near impossible an animal to find in traditional blues. We remain in the key of E, using E pentatonic minor (E G A B D) as the basis. However, this riff implies a "minor key blues" by virtue of the appearance of A pentatonic minor (A C D E G) played on the change to the IV in bar 5. The heaviness of this riff is due in part to the low, open position it's played in, making use of four open strings. (E7)

(A7)

(B7)

44 Example 38 Ritchie Blackmore of Deep Purple fame is responsible for this cool example in C. Although the chord change implications are deceptive, the meat of this riff is based on F pentatonic minor (F A� Bb C EP) and C pentatonic minor (C El> F G Bb), which obviously share many common tones. The opening eight bars alternate between F and C pentatonic minor, with a B� passing tone in bar 4. The next 12 bars (after the double bar line) stand as another 12-bar blues guitar melody. The implied blues changes are found in parenthesis. Note the slides in bars 11, 12, 15, 16 and 17 to be played with the 3rd finger for maneuverability. The implied V chord (07, bar 17) brings in a partial use of G pentatonic minor (G Bb C D F), showing that blues/rock often makes use of three different pentatonic minor scales based on the roots of the I, IV and V chords. It's safe to say most traditional blues music uses the tonic (I) pentatonic minor scale only.

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46 Example 39

The notes that this Hendrix line are built on are exclusively E pentatonic minor (E G A B D). The riff straddles two forms of the scale in 5th and 7th positions.Make the position shifts smooth and use a wah wah pedal to help teach your guitar to speak Hendrixese.

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Example 40

This riff a la Johnny Winter makes use of several A pentatonic minor (A C D E G) positions: open, 5th, 12th and 17th in the context of a 12-bar blues in A. The first three bars are played in the open position, exploiting the open D and G strings with fast hammer-ons. Tip: Stay on top of the time when playing these sixteenth-note triplets. m bar 4, a variation of the riff is played 8va, in 5th position. The familiar boogie pattern returns in bars 5 and 6 for the change to the IV (D7) chord. Another variation of the signature riff is then played in 17th position (bar 8). The only chord played full out is E7 (E ill B D) in bar 9. Check out the hip turnaround lick in bar 10 over the IV (D) that leads back down to open position with a fast and difficult two-step bend from 0 to E in bar 11. Bar 11 is imitated 8va in bar 12, and both versions sneak in a quick �5 (EI>), which when added to the five-note pentatonic minor scale makes it "the blues scale," our next subject.

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48 Blues Scale Riffs

The blues scale adds a sixth note to the pentatonic scale, the bS (or 114). Now the scale spells: 1 b3 4 bS qs b7. The inclusion of this note is a natural occurrence in blues and rock, and can be traced to the vocal inflections of early blues singers. Guitarists tried to find that "in-between-the-note" sound and often approach this "blue" note with bends and slides to imitate the voice. Example 41

This first example of the added b5 note is from a Hendrix vamp in D a la his Band of Gypsies days. The first version of this D blues scale (D F G Ab A� C) riff is in lOth position and is played four times. The next version is different rhythmically, putting greater stress on the star of the show: the b5 (Ab), in 3rd position. N.C.

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Here is another would-be bass line riff adopted by the guitar in a rock shuffle a la Robbie Krieger of the Doors. In the key of E, the E blues scale (E G A M B D) is used partially. Krieger played a Gibson SG without a pick. Note the pick(less) band muting on the open E string, similar to a bass player's approach . The ll4 (A#) is played with a hammer-on, be careful to balance the notes dynamically . ( f'"J

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This riff in E, a la Martin Barre of Jethro Tull, adds not only the ll4 (A#) to E pentatonic minor, but the b6 (0) and q'7 (DII) as well; arriving at a scale that spells: E G A A� B C D and rn. Guitar 2 plays the two-bar riff that is . comprised of these notes, while Guitar 1 is a one-bar lick based exclusively on E pentatonic minor.

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50 Example 44

This is a blues/rock guitar tour de force in the style of Johnny Winter. In the key of A, this example incorporates three-note power chords on the I, bill and IV (A5, C5 and D5) with an A blues scale (A C D El> B G) riff in 5th position (bar 2) and open position (bar 4), all within the first four bars. In bar 8, a variation of the blues scale riff is harmonized using A mixolydian (A B a D E R G). The boogie i bar 10 (beats 3 pattern is played for the bVI (F5/F6) and bVII (G5/G6) chords in bar 9. The double-stop 4ths n and 4) sound real heavy on these strings. Note: the predominant shape for double-stops on the guitar is the 4th, and you should harmonize the entire pentatonic minor scale in 4ths in all positions, because as you can hear, they are very useful. For the V (E7) chord, Johnny often makes use of the sort of move found in bars 12 and 14. The target chord tones of the E7 are Gf (3) and D (b7), and they are slid to from a half-step below. This double-stop is the interval of a tritone and will be dealt with in further detail shortly in the section on the mixolydian scale.

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Example 45 This last blues scale example is in the unlikely key ofF, a la Ritchie Blackmore. A signature of Blackmore's is the bend without vibrato as heard in bars 2-7, w/FJ> bent to F. The F blues scale (F Ab Bb B� C El>) crops up in bars 5 and 6 and all notes are picked (no slurs)--another Blackmore trademark. Bar 9 implies a change to the V (C7) chord as the F blues scale is continued. Whereas nine times out of ten the 114�5 note in a blues scale resolves either up or down a half-step to the �4 or q5, a very original exception is heard in bar 11, where the 114 (Bq) is followed by a b3 (Ab) returning to the 114 before finally resolving on the �4 (Bb) on beat 4. Bar 12 again stresses the blue note, this time as a typical passing tone up to the 5th (C) and down to the 4th (Bb). The final 4 bars mark the beginning of a decidedly English treatment of a 12-bar blues shuffle before the fade out. <n

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53 Riff/Chord Combos

The following examples are as diverse as the blues/rock guitar style itself. Their common thread is the dual functions they serve--furnishing a tune with an inventive "guitar hook," while also functioning as a rhythm part. The chords found in this section range from large, active voicings to two-note double-stops used for punctuation. The musical environments these riff/chord combos are culled from range in style from Eric Clapton and the Beatles to Lynyrd Skynyrd and ZZ Top. To whatever extent the guitar parts join the rhythm section or stray "out front," in the end, it's all good music. The dual function is personified perfectly in Example 23 a la Clapton. It's not unlike a typical Motown situation where two or even three guitar players play totally different parts while the sum total sounds like one impossible guitar part. Example 46

Staying with the Clapton style, we come to this decidedly rock take on a 12-bar blues in D a la Cream. The brazen use of the � (0) for the implied I chord is obviously lighthearted and rare in blues/rock. The main riff which is also transposed to the IV (07) in bars 5 and 6 is based on no particular scale, rather, it has each chord tone approached by a half-step below: D, Fll and A are proceeded by non-chord tones a, R and Gil. In bar 6, there's a novel double-stop lick that involves a superimposed F triad (F A C) slide up to a G triad (G B D)-the true essence of rock meeting blues. The turnaround that begins in bar 9 is more fitting of blues using common Chicago-style guitar voicings like the A6 and the A9(3') (for V) to G6 to 09(3') (for IV). N.C. (D7)

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54 Example 47

This one is a rock take on the standard of blues standards via Eric Clapton by his hero, Robert Johnson. The signature riff (in A) is carved out of A pentatonic minor (A C D E G) in bars 1 and 2. Bars 3 and 4 harmonize the riff with double-stop 3rds borrowed from A pentatonic major (A B 0 E Fl). The change to D7 (IV) in bar 5 brings to mind the Delta-style origins of the song by picking the notes of a basic open D7 chord (although it would have taken hundreds of Delta acoustic guitars to match the volume Eric used to play at). Study the lick played over the turnaround (bars 10-12), this is classic high-powered Clapton blues. Note the strength of the 0 (bar 10, the �7 of the D7/Fl chord) resolving to 0, being the major 3rd of the A7 chord in the next bar. "'�

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55 Example 48

Here we have a two-guitar riff in Cm by way of ZZ Top. Guitar 1 keeps it moving by bouncing two double-stops in 4ths over a low muted C note on the 6th string. The first double-stop (beat 2) can be considered an FS/C while the next (beat 3) is Cm7 (Bb and El>). Guitar 2 plays percussive hits on the low strings and a simple riff that compliments Guitar 1. F5fC Cm7

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Example 49 Moving a little further East, we arrive at this funky number in A, a Ia Lynyrq Skynyrd. This is a modified blues form, established by the implied I, IV and V chords. The first eight bars lay out the riff, based on A pentatonic minor (A C D E G), with an occasional m (�7) passing tone. In bar 9, there is a shift to D pentatonic minor (D F G A C). The double stop 4ths fatten up the line and tend to sound bigger than they really are. Upon the V (E7), the scale shifts to E pentatonic minor (E G A B D) as the idea is transposed to fit. N.C. (A7)

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57 Example 50

This Skynyrd riff picks up where Example 49 left off. Also in A, this riff takes the double-stop 4ths a few steps further, setting up the chord changes with some cool connections on beats 3 and 4 of bars 4, 5 and 6. Although the elements of the riffs for the I, IV and V chords are based on A, D and E pentatonic minor respectively, what lightens up the sound are the major 3rds played on the A5 (a, bars 1-4) and the E7 (ill, bars 9-12). The a is borrowed from A pentatonic major (A B a E Fll) and the ill from E pentatonic major (E Fll ill B a). A5 G5 �� I � � � \

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58 Example 51 Hendrix was famous for his constant use of the dominant 7(�) sound (the Purple Haze chord) in vague tonal situations that as in blues, have major (dominant) and minor played simultaneously. This example, however, is a clear-cut case of a minor key

(0 minor).

There are no dominant implications in this heavy-psychedelic-12-bar

blues, so the double-stops for Om7 and Flm7 are intended as minor chords for a change ! You don't get much hipper than the

0 pentatonic minor (0 E Fl OJ B) lick in bar 1

with �3 (E) played as an open 6th string. The lick

is transposed up to the Flm7 by simply moving everything up a string: the lick is now in Fl pentatonic minor (Fll A B a E) and the �3 is played as an open 5th string. The

1/4 tone bends in bars 9 and 10 should be played slight

and tight-don't over bend those notes.

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Example 52 Here is another child of Jimi's, one he loosely adopted from bluesman Muddy Waters. The main difference between the two approaches is that Hendrix played it thousands of times louder, with the accent on a crushing heaviness. An ominous sounding E pentatonic minor (E G A B D) in open position is at the center of it all. The tonal feeling is of E7(119), especially in bars 7 and 8. E7(3) (D and B) and A (01 and A) are paired down to double-stops and played over an E bass pedal in bars 6 and 7. Bars 9 and 10 do something Muddy probably never did: use bVI (C7(3)) and bVII (07(3)) in the chord progression-a staple of blues/rock. Note that the bVI and bVII chords are played only in part as special, two-note double-stops of root and b7. N.C. (E7(�9)) »�

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60 Example 53

Now another heavy-rocking guitar part in A a la Johnny Winter. This one uses small (double-stop tritones), medium (power 5ths, A5 and D5) and large (full open E) chords as well as a couple of riffs to get that busy, yet solid sound. Bars 1 and 2 show an A pentatonic major (A B a E R) lick that connects the A5 and D5 chords. Note the �III (C) chord connecting D and A in bar 4. Tritone double-stops for I, IV and V are found in bars 5, 6 and 7. As in all other occurrences of the tritone, the key chord tones that define A7, D7 and E7 are the 3rd and b7th of each. Try your best to avoid unwanted string noise after hammering to the double-stops-the low roots on the 6th string can be difficult to play cleanly. Using your thumb is your best bet. Jl

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Example 55

A strong contrast is struck between the F11 �3/#9) octaves in bar 5 and the R �3) found in the tritone double-stop with 0 (1>7) in bar 6. Although the whole riff is falling under the label "N.C. (07)," the superimposed G triad notes (G B D) play a very important role in suspending the R up to G momentarily. The single note licks are based on D pentatonic minor (D F G A C). Another good example of tritone double-stops is this one in D a la Stevie Ray Vaughan.

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Example 56

This riff/chord combo in E is a 50/50 split between single line and chords brought to you by the Beatles. Bars 16 make use of E pentatonic minor (E G A B D) with an added H. Bars 7-11 find the boogie pattern driving a progression of IV (A5/A6), bVII (05/06) and V (B5/B6). The closing bars are typical off-center meter shifts-a favorite of John Lennon's. Note how the single line here is crafted to match the chord changes. N.C. (E7)

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Double-Stops/Riffs Based On The Mixolydian Mode The mixolydian mode is very much like the major scale. Only one note is different, but that one note makes all the difference in the world. The note is the 7th degree. Major scales are spelled: 1 2 3 4 5 6 7. The mixolydian scale spells: 1 2 3 4 5 6 b7. Of chief importance is the relationship between that b7th and the major 3rd. We've been talking about and playing examples of this relationship with the tritone double-stop. Example 57

Here is a great case in point for mixolydian usage a la the Beatles. The key is E, and the notes are from E mixolydian (E F• 011 A B 0 D), except for the added m (b3) which helps emphasize the major 3rd (011) . This one speaks for itself.

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Example 58

Robbie Krieger of the Doors is credited with this popular shuffle-feel riff in E, using E mixolydian (E Fl G A B a D). The 011 (the 3rd) is the key note in the riff despite that it's trilled to from the m (b3rd). Otherwise, Fl and a are the only notes missing from the E mixolydian scale.

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Part II will now close with two final Mixo-Lennon/McCartney examples. This one in E is an unmitigated Le noon blues. The bending business in bars 1-4 is based on E pentatonic minor (E G A B D) and is best accomplished with the 4th finger on the m (5th fret) and the 1st finger on E (2nd fret). The 6/8 bar implies the chord change G to C-played with single notes. The next bar (8/8) is the hot spot, where the B7 chord is expressed with a cool double-stop 6th lick. A standard blues turnaround ends the phrase, returning to single note benels as in the beginning.

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66 Example 60 Last but not least is this memorable line from the Beatles, culled from A mixolydian (A B a D E F1l G, bars 1-4) and transposed to D (D E Fll G A B C) and E mixolydian (E A ffi A B a D) on the changes to IV and V respectively. Note the lower part (Gtr. 2) harmonizes the melody by adding to it the root note of the chord in question. Guitar 1 plays the melody 8va throughout with hammers and bends. N.C. (A)

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PART III: BLUES/ROCK LEAD GUITAR Can blues people play rock? Can rock people play blues? The answers lie only with you and your feelings about music. On one hand, the two styles continue to influence each other and guitar players like Stevie Ray Vaughan, Johnny Winter, Robert Cray and even Buddy Guy, all carry a torch for each. On the other hand, some players will always be lumped in one camp or the other, being as it is so hard to do both equally well. And, of course, there's nothing wrong with being "lumped"-the styles will always coexist. See Appendix

I for an examination

of their distinctions, from musical forms to number of amps. You could say "blues/rock guitar solos are like blues solos only played faster, louder and with a rock and roller's phrasing, articulations and attitude," but there is more to it than just that. The deep-seated reasons for their divergence encompasses factors like history, technology and changing trends and tastes. This part of the book aims to expose the bare bones that fuse the two together-the vertebrae that make up the spine of blues/rock, if you will. The strongest force is, of course, the pentatonic minor scale (and added notes) which will be dealt with in "exploded view'' fashion. Also of importance is the use of the pentatonic major and mixolydian scales-put forth in a contextual way. The Pentatonic Minor Scale This scale is � ithout question the foundation beneath single-line playing in blues/rock. The intervallic formula of the five-note scale is

1 �3 4 5 b7 (i.e. Am pentatonic

A CD

E G) and has been around hundreds of years before

Chuck Berry and the electric guitar were born. The scale has its origins in ancient Chinese and Indian folk music, clear on the other side of the world. It is important to understand that no matter how much you see a guitarist's fret hand move up and down the neck when playing this scale, only five notes are being played. In other words, five letter names (i.e. A C

D E G) are

repeated by playing the same exact pitch on up to six different strings in six different places on the neck, or by playing up to four different octaves of the five notes. The potenial t for different string groupings, positions and fingerings are infinite, although certain possibilities have remained most common among an entire world population of guitar players. As discussed earlier, the pentatonic minor scale can be superimposed over a major key signature, and the minor 3rd of the scale mixes with the often heard major 3rd found in the chords of a song. In notating music where this occurs, the major key signature is maintained, despite how "minor" the music may sound, and accidentals tell us where the "blue notes" like the b3, bS and which spells: A B C and

a D E R Of A.

�7 are played.

For example, the key of A is based on the A major scale

When the A pentatonic minor scale is used, (A C

D E G), we must

alter

Of to G.

Example 61 "

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A major scale

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68 Connecting The Five Pentatonic Minor Fonns

For practical purposes, there is a fingering form that covers all six strings based on and starting from each one of the five notes (hence "penta") of the scale. It is essential that all guitarists are intimately familiar with these forms-especially improvisers. These five forms divide the entire guitar neck into five "areas," that each in their own right can inspire thousands of guitar solos. Each form arranges the notes differently and therefore feels unique. Some licks playable in one form can be virtually unplayable in another. Although it is common practice for blues/rockers to use all five forms in fragments (2 or 3 strings at a time), it is important to know all five fingerings intimately. From this point on, the five forms will be idenified t by the scale tone found on the 6th string. Form I = root, Form II = �3, Form III = 4, Form IV = 5 and Form V = b7. We will begin on the lowest root of Form I in G and ascend through all five forms until reaching the highest note of Form I again, one octave higher, then reverse the whole process, ending on the original low root. Pay close attention to the indicated position shifts that connect the forms, as this is your key to transposing the exercise to any and all other keys. Fingerings will likely vary in actual playing situations. The suggested fingerings enable you to connect the forms smoothly. Alternate picking beginning on a downstroke should be applied throughout. Example 62

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70 The Pentatonic Majo r Scale In mood, this scale contrasts the seriousness of its counterpart with a light-hearted, country-like feeling, hence it is commonly known as the "country-blues scale." Its intervallic formula is 1 2 3 5 6 (also a five-note scale.) The chief contrast lies in its possession of the major 3rd versus the minor 3rd of the pentatonic minor. The 2nd and 6th degrees also bring it closer in kinship to the major scale. Actually, it can be thought of as a major scale (1 2 3 4 5 6 7) without the 4th and 7th degrees. As

stated earlier, combining the qualities of both scales is a staple of the blues/rock sound and appeal. Players like Eric Oapton, Leslie West and Dicky Betts are renowned for their extended usage of pentatonic major, as well as their abilities to combine the two lyrically. Example 63 (Not recorded) Ji

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Because blues/rock guitarists do not tend to lean on this scale as hard as country guitarists, extensive use of its five forms (originating on each scale degree like pentatonic minor) are not often found. However, the five forms are shown here in sequence, allowing you to compare the previous five minor forms to these five major forms. Notice that the major and minor forms lay out identically, differing only by their starting note. (For example: Major I and Minor I are the same pattern with different starting tones.) Example 64 (Not recorded) I Ji

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The "'Long Form" Major Pentatonic

The "long form" of the· major pentatonic scale is an often encountered and very useful fingering that is comprised of fragments from each of the five forms. This arrangement of notes allows for greater mobility when ascending or descending across the neck, and it gets right to the heart of the matter by showing what areas, fingerings and positions are favored by the guitarists mentioned in this book. Example 65

The Mixolydian Mode

As mentioned earlier, the mixolydian mode is much like the major scale, the only note difference is the 7th degree. The lowered 7th degree of the mixolydian scale makes it a more viable choice for blues/rock situations that often incl1�de dominant or implied dominant chords. You may also want to think of this mode as pentatonic major with the added 4th and b7th degrees. Whatever your view, it is a major-family sound that is rarely used in its full glory, fragments of it combined with pentatonic minor are responsible for many novel single line riffs and guitar solos in the style. Check out these three 3-octave fingerings for

A mixolydian below,

and experiment with

combining them with the pentatonic minor and major forms found in close range. When studying the solos in Part IV, look out for occurrences of this mode marked by lines that have the �3rd and b7th as the focal point while the 4th, 5th and 6th degrees of the key in question are added. Example 66 Major scale

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PART IV: GUITAR GREATS, US TO UK This section is designed as a collection of character studies. Each piece brings together a particular player's most

identifiable trademarks as they would play them, in the context of a vamp associated with each musician. These solos are based on extensive research of each player's style through varied sources, presenting musical ideas that are transplanted from the feels and tempos they were found in to work in this fabricated situation. Understandably, this process (which I call "making monsters") finds our guitar greats in a somewhat unnatural light where phrasing decisions and the like are not entirely their own. I mention this so you will consider that musical aspects such as rests and motivic development inherent to a player's style were sometimes compromised for the sake of producing a condensed yet intensive character study. I tried my best to reproduce each style with painstakingly repetitive practice and attention to detail-notably where articulations, touch and rhythm are concerned. Experimentation with guitars and amps commonly used by a given player allowed me to come within reasonable range of their known sound. Use the transcriptions and your ears equally, digest lick by lick, section by section, and you will have years of the most revered musicians' work in your own hands.

Allman Brothers The Allman Brother's Band is an American institution with a long history dating back to their 1969 debut. They are accountable for bringing older blues and R&B sounds to the attention of mainstream rock audiences. A great part of their soďż˝nd is due to Duane Allman's slide guitar playing in open E. Although he often adeptly played standard tuned guitar without the slide, his warm, humbucker pickup slide guitar sound was his trademark. His self-professed influences were Robert Johnson, Blind Willie Johnson and Muddy Waters. Duane is largely responsible for bringing slide guitar from the blues to the foreground of rock while raising its voice with the help of extreme amp wattage. The group's other guitarman, Dicky Betts, was a perfect foil to Duane, with his sound being bright and aggressive, coming mostly from the bridge and middle position of a Gibson Les Paul. Dicky's playing has a strong country influence running through it, marked by long flowing legato phrases and extensive use of pentatonic major.

Duane Allman Duane truly made a lot of a little. Open E tuning doesn't offer many comfort zones in which to get around easily. Note that the positions covered in this solo show the neck areas in which he spent most of his time. Transpose these positions to other keys in order to digest the ideas. This solo is in the key of C and leans heavily on C mixolydian (C D E F G A HI>) with nods to C pentatonic minor (C :& F G Bl>).

A favorite move of Duane's was to emphasize the major 3rd (E) by suspending it to the 4th (F) and resolving it back. Many different rhythmic phrasings of this can be found throughout. Note that when this alteration occurs on separate strings, there is a slight "bleed" which combined with the downward slide to the F note gives it a certain "grease." Check out how the changes to the IV (F7) chord in the 2nd chorus are strongly supported by the

g, note, borrowed from the C pentatonic minor scale, as it goes back to a for the return to I (C7). Another classic Allman trademark is the sort of tricky unison lick heard in bars 1 0 and 11 of the 2nd chorus. Again, the grease is made by the slides, bleed and the general "imperfect" intonation that occurs in the quick movement the slide must make to connect the F notes on the different strings.

73 Dickey Betts Dicky's style is marked by quick shifts between hard-core use of the blues scale (in this case the C blues scale: C EP F Fll

G Bb) and pentatonic major (C: C D E G A).

He is a smooth operator where connections between the two

are concerned-check out the opening three bars for example.

Betts often relies on slides, pulls and hammers

when making these connections, usually within the context of rhythmically repetitive note groupings. Another impetus behind his fluidity, and perhaps his most recognizable trademark, is his constant use of a musical germ that involves 3 notes with a pull-off, where the lowest note acts as a pivot point. The idea is found in plain view in bar

9 beginning with F,

C and

:EP before moving on to variations involving other 3-note groupings.

This is a

staple of his improvisational style and points towards country and bluegrass influence in its continuous, flowing nature, as does the common occurrence of pentatonic major licks involving the 2nd (D) bent to the 3rd (E). This sort of thing is not unlike pedal steel and slide guitar repertoire-check out bars 4 and

Open E tuning: @ E ®= B @) =

Q) = G- @= B Q) = E

Shuffle feel ( n

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77 Jeff Beck Although Jeff Beck has long been reputed as a musical chameleon-a guitarist able to change his style, sound and approach to deftly suit most any situation-there is an undeniable, heartfelt feeling of the blues running

his varied efforts. Jeff's interest in blues dates back to

through

his musical roots as a teenage blues buff in England. Beck's emergence began with his membership in the Yardbirds, where his associations with Eric Clapton and Jimmy Page were predicated on a mutual love and respect for American blues. The Jeff Beck Group (which included Rod Stewart and Ron Wood) was formed in 1967 and the albums "Truth" and "Beck-Ola" spearheaded the attack of British blues/rock. Beck is a terrifically unpredictable soloist with great technical command of his instrument--be it a Stratocaster, Telecaster or a Les Paul. He is most renowned for his amazing control and intonation of bends, unmistakable vibrato, and masterful tremelo bar work-not to mention his wholly-original touch, surpassed only by his remarkable instincts and taste. The first chorus of this three-chorus solo in G is dedicated to his "Truth" days where the unmistakable (and English) sound of a Gibson Les Paul (set to bridge pick up) played through a Marshall amp is heard. Talk about US to UK! G pentatonic minor (G Bl> C D F) form I is at the heart of the matter throughout with a touch of the G blues scale (G Bl> C 01 D F). Jeff's amazing control of the "ghost bend" (pre-bend) is illustrated in bars 5 and 6.

A known Beck trademark is the quick and repetitive bend to the root (G) via the �7 (F) followed by the unison G--as in barS 9 and 10.

The second chorus switches to a Stratocaster-whereby some of Beck's patented and original whammy bar antics are replicated. Flashy trills of all sorts are slants on innovations by Mr. Les Paul himself--one of Jeff's biggest inspirations. Another Les Paul bag that Beck made his own are the fast pull off licks to open strings like in bars 9 and 10 of this chorus and bars 1 and 2 of the third chorus. A notable Beck trait is the held bend lick in bars 7 and 8: the only way to achieve the separation needed at this fast speed is to go pick-less (as Jeff often does) and play the bent G and fretted Bl> between the thumb and another finger. Beck is also fond of playing double-stops without the pick--and ones that skip even 2 strings (3rd chorus, bar 10) are not uncommon to his solos. Chorus I: G7 t

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81 Eric Clapton Clapton' s guitar playing career is as long and diversified as the line of guitarists and musicians he has influenced. Like Jeff Beck, he was fortunate to come to prominence at an early age with The Yardbirds, while also in awe of American blues. More than a blues buff, Eric was a self-professed "blues snob" and was quoted as saying, ''If it wasn't black, I wasn't interested." This attitude of his formative years had kept the blues close to his heart despite the many stages his musical life has seen. As featured guitarist with John Mayall's Bluesbreakers and shortly afterwards, the guitar-playing third of blues/rock supergroup Cream, Eric Clapton is unquestionably a founding father of the blues/rock sound. Eric's style is at once personal and universal. Not without a healthy supply of chops, Clapton is well known for his reservedness and tendency towards simplicity as a soloist. His solos are distinguished by a foundation of balance, authority and stateliness. Generally, Clapton favored Les Pauls during his Bluesbreaker period, Firebirds, 335's and SO's with Cream and Stratocasters post-Cream. This solo is played over a vamp in E, with a triplet feel a la Cream. The E pentatonic minor (E G A B D) forms range from I in open position to I and II an octave higher at the 12th fret and above, and this scale is the impetus behind the solo. Eric has long been a master of combining and balancing the moods of pentatonic minor and major. Look for the phrases that use E pentatonic major (E F- G# B Ql, i.e. bars 10, 14, 19 and 20) along with E pentatonic minor. His ability to play phrases that swing from major to minor in a natural and lyrical way is one of his stronge�t trademarks. Another Eric Clapton trait is the seamlessness of position changes that further compliment the smoothness of his phrasing: check out bars 15 through 22 for evidence of this. During his Cream days, Eric affectionately named the sound that occurs when all the tone is rolled off of the rhythm pickup "woman tone"-and has since become a part of the guitar player's vernacular. This sound is heard in bars 19 though 27. The solo ends with a smoking pentatonic minor lick with pulls and hammers that are characteristic of Clapton's faster, legato playing: 3 slurred notes followed by a picked note in succession. He has been known to begin this 4-note idea from other intervals of the scale such as the root, b3rd or b7th-this one begins on the 5th. (I"J = J .b) �a�

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Jimmy Page Page was regarded as a top-notch London session player in the mid-60s backing such acts as the Rolling Stones, The Kinks and Donovan before joining the Yardbirds as their bassist. After then switching to guitar, Jimmy and Jeff Beck shared lead guitar responsibilities for a short time before the group disbanded in 1968. Page 's love of American pop and blues music served his guitar playing and songwriting well and with a good amount of interest and experience in record production under his belt, he formed Led Zeppelin in late 1968. Along with a highly original and well-rounded guitar style, influenced by blues, country and international folk music, Jimmy Page has the grand distinction of being one of the most respected and influential songwriters in the history of rock music. Much of Led Zeppelin's early material was based on the blues, and in their hands, the now hyper-amplified blues forms began to shape the future of blues/rock from the UK to the US. Page is known for his use of vintage Les Pauls, although he has used Telecasters (i.e. all of Led Zeppelin I and the solo on Stairway to Heaven), Dan Electro models and Stratocasters. This solo is played over a famous Led Zeppelin vamp the solo are based on

A pentatonic minor (A C D

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A which leans towards a bluesy A7 sound. The guts of E G) but A pentatonic major (A B Q E PM) plays an important

role throughout. Page is happy to rock out using standard pentatonic minor licks like the one in bars 33-36, 42 and 43 or Blues Scale

(A C D � E G) stuff like the line

in bars 23 and 24. However, Jimmy tends to throw in a good

deal more major-quality-country-guitar-inspired ideas than fellow Englishmen like Beck, Taylor, Blackmore or Gilmour. The opening licks in bars 1 through 5 are somewhat standard "country/blues" type moves for example, based on pentatonic major. Another pure usage of pentatonic major is found in bars 28 and 29 before switching gears to

A pentatonic minor in bars

30 and 31. Like Clapton, Page is very well acquainted with this sort of the

phrase that occurs in bars 7 through 1 1 . minor notes

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major/minor relationship even more succinctly is a lick that is a classic Page logo in bars 16 and 17. The notes B

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Texas-born Johnny Winter helped pioneer the blues/rock sound from the mid '60s through the '70s with a burning spirit that was unstoppable. He was famous for pumping rock and roll attitude and voluminousness into vintage blues numbers, most often with his Firebird guitar, scaring guitar players with his great musicianship. At this writing, Johnny has returned to playing straight ahead blues-maintaining a style all his own. This is a guitar player who has truly "crossed over" from the blues roots of his debut and second albums to the "arena-sized" rock of his next few albums, up to the mid-'70s where his working relationship with blues great Muddy Waters brought him full circle to pure blues once again. Johnny Winter is something like "the Charlie Parker of blues and rock" in respect to his virtuosity and ability to work a massive repertoire of great licks and turns of phrase into infinite combinations that suit any situation. Johnny has a wicked one-two-punch of pentatonic minor and major as his main weapons. This vamp is set in A and the majority of what is heard will be A pentatonic minor (A C D E G) with lesser use of A pentatonic major (A B Q E F)). As this solo clearly shows, Winter is a prolific Form I pentatonic minor user-many great licks are found in 5th and 17th position comprised of the Form I notes, unadulterated. Key elements of Johnny's soloing style are constant bends followed by a fast, stinging vibrato, unison bends (bars 6, 34 and 35) double stops (bars 9-1 1, 18 and 27), fast trills (bars 3, 24 and 25), use of the #4/1.5 (DII/S-bars 2, 14, 17 and 20) and a passion for blazing through fast phrases that cram large numbers of notes together (all over the place!). Check out the major tonality ideas like in bar 8 (A pentatonic major) over the 07 chord, or in bars 9-11, where B7, C and A7 chords are fleshed out with double-stops from B mixolydian (B Q D11 E fl G# A), C mixolydian (C D E F G A&) and A mixolydian (A B Q D E Ftl G) respectively. Chorus 1: "

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minor (E G A B D) and major (E F# G# B Q), the E blues scale (E G A NfBb D), as well as bits of E mixolydian (E F# 0# A B Q D) in various positions of the neck. Jimi favored pentatonic Form I, and while he often ventured to fragments of all five forms, an overwhelming majority of his greatest statements are made with the notes of form I. In E, the Form I at the 12th position is milked quite a lot (i.e. bars 6-24) while some use of an open position Form I is found in bars 36-39. Study how the E pentatonic phrases are connected with smooth combinations of hammers, pulls and bends (bars 22-24, 43-50, etc). A Hendrix trademark is found in bars 8 and 9 where a 4th (A) is bent up to the 5th (B) as another finger holds down the b7 (D) and/or the b3 (G). At high volumes this can sound like a Mack truck. Jimi was fond of double-stops, and bars 14-16 show a series of triplets that collectively use the notes E F# G A Bb B and D, which can be thought of as a combination of all the aforementioned scales, except for the inclusion of the major 3rd, G#. Classic Hendrix blues scale licks are heard in bars 18-20, 48 and notably in bars 23 and 24, where a difficult phrase that involves bending notes (D and G) while allowing other notes to "slip under the finger" are found. Other stand-out moments include: (1) phrases which add pentatonic major notes G# (3) and Q (G) to pentatonic minor (as in bars 26-27 and bar 45); (2) the virtually legato phrase that uses E F# G A B Q and D notes, ending with a G# (bars 38-42) achieved by

bending the open G to a G# behind the nut-a pet trick of Jimi's; (3) practically pure pentatonic major usage (bars 31-35), and a bewildering combination of hammer/pull licks effected by the whammy bar and wah wah that close the solo.

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Keith Richards)

The Rolling Stones are hugely responsible for importing America's own domestic sounds (blues, R&B and rock and roll) back to a wider American audience by the mid-sixties, but not before putting their own skiffle edge to it. Their blues-oriented repertoire was raw and hard in comparison to that of the Beatles, who were the chart kings of the day. The contrast was due in part to the less polished, gritty guitar playing and sounds of the Rolling Stones sharing center stage with their infamously explicit lyrics and social commentary. From the band's inception, Keith Richards pumped its life-blood with his soulful and inventive rhythm playing which of course led to classic rock songs. His knack for playing solos that drive a song by way of double-stops and simple pentatonic lines in a worker-bee style (often reminiscent of legend Chuck Berry) contrasted with the more individualistic solos of Mick Taylor, who was busy filling Eric Clapton's shoes in John Mayall's Bluesbreakers in 1969 when he was invited to be a Stone. Mick's playing is indeed in the tradition of the bold and aggressive English lead style that probably began with Clapton's notoriety in the blues/rock vein. His Les Paul/Marshall combination is big and warm sounding and his presence in the music is strongly felt through soulful solos and part playing which eminate sophisticiation in taste and touch.

Mick Taylor

These two solos are played over a bluesy rock vamp in C a la vintage Rolling Stones. Mick Taylor is up fust, and is immediately identified by the thick Les Paul neck pickup tone he is known for. Taylor's guitar style is bold and aggressive and his soulful, world-class vibrato is among the greatest ever recorded. The opening licks are demonstrative of Mick's penchant for interesting string bends and held notes within pentatonic minor positions. The lion's share of his harmonic approach tends to be straight C pentatonic minor (C S F G Blo) with added notes like -7 (B-. bar) 9th (bent D note, bar 14) and the 6th (A, bar 15) for spice. Legato phrasing based on bends, hammers, pulls and especially slides are a staple of Mick's improvisations. He is easily pegged by his tendency towards sliding many notes after a single pick attack-this perhaps inspired by Jimi Hendrix. See bars 6 and 8 for this approach. Another nice legato phrasing example is in bars 14 through 16.

Keith Richards

It is safe to say that Keith Richards' rhythm guitar innovations have helped shape the sound of rock music for the past 25 years. These innovations involve his world famous use of open G tuning (6=D 5=G 4=0 3=G 2=B 1=0) which in some cases epitomizes the Rolling Stones' sound. Although what he plays in this toning ranges from full chords to single note fills, his extended solos are played on a standard tuned Telecaster for the most part. His solos are marked by a brighter, harder-edged tone than Mick Taylor's, and his more modest technique tends toward a rock and roll pocket groove that is decidedly less outspoken and more teamworking. His obvious mentor is Chuck Berry and much of what he plays delivers a roots-of-rock-and-roll-feeling, borrowing from and building on stock from Chuck's warehouse of guitar history. His main ingredients are C pentatonic minor position I (C S F G Blo, 8th fret position) with much stress on the root/5th bar of the B and E strings, (bars 45 and 46 for example)-bends and slides to the 5th (G) (bars 33-35, 39-40, and 45-46) and various 2-note double-stops that employ a slight 1/4 step bend (bars 42-48). Keith also uses pentatonic major (C D E G A) for balance, and the lick in bars 61 and 62 offers pentatonic major with a country blues flavor.

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