ERIC CLAPTON & JIMMY PAGE UNPLUGGED 279 MARCH 2018
39 PAGES OF LESSONS!
ACOUSTIC SPECIAL Top lessons in many acoustic styles Folk, blues, jazz, classical and more New guitar for Xmas? Get playing!
105 ROCK
JIMI HENDRIX
Learn the rhythm and lead licks of the best of all time!
Solos, chords, licks & scales to learn!
GYPSY JAZZ
Django Reinhardt Unravel the playing secrets of this true guitar genius FOLK-BLUES OF HOUSE THE RISING SUN
Legendary folk-blues tabbed for solo guitar CLASSICAL
MOONLIGHT SONATA
Play one of Beethoven’s most beautiful pieces
COOL LESSONS PLAY... 10 0 Y E A R S OF T H E BE S T
Acoustic Blues From the Mississippi Delta to the studios of LA, we bring you a century’s finest players
TOP STYLE STUDIES
Joe Bonamassa Fiery electric bluesman Duane Allman Blues-rock slide supremo Mundell Lowe Tribute to a jazz master
ISSUE 279 } MARCH 2018 Just a few of your regular GT technique experts... RICHARD BARRETT One of the best players around, Richard is adept at most styles but truly excels in the bluesier side of rock. He currently plays with ex-Spandau Tony Hadley.
SHAUN BAXTER One of the UK’s most respected music educators, Shaun has taught many who are now top tutors themselves. His Jazz Metal album is considered a milestone.
CHARLIE GRIFFITHS Guitar Institute tutor Charlie ďŹ rst came to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s top rock, metal and fusion guitarists.
PHIL HILBORNE The UK’s original magazine guitar tutor, Phil’s something of a legend. A great player, he’s currently touring Europe with the Champions Of Rock show.
PAT HEATH BIMM Brighton lecturer, ESP product demonstrator and all-round busy musician, Pat brings you six cool licks each month in 30-Minute Lickbag.
HARRISON MARSH Harrison has taught guitar for over seven years. With an ALCM diploma he teaches all levels and ages via Skype, as well as face to face in Somerset, UK.
RONAN MCCULLAGH Ronan works with major labels and TV alongside playing live and teaching at BIMM in London. He also holds clinics and masterclasses across the UK.
BRIDGET MERMIKIDES Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.
www.myfavourite magazines.co.uk
WELCOME FOR THE FIRST issue on sale in the new year we bring you a GT Acoustic Special. The very best of the best from the GT vaults it covers a host of styles at a variety of levels. There’s sure to be something for every acoustic guitar fan. We begin with two superb British electric blues and rock guitarists, who also love to go unplugged. But while Eric Clapton likes to doff his cap to his Mississippi blues heroes, Jimmy Page is more about open-tuned folk and world music styles. This intermediate level feature from Richard Barrett is chock full of fantastic licks and tricks from the two ex-Yardbirds. From the sublimely intermediate to the ridiculously advanced, next we meet gypsy jazz’s founding father, the unbelievable Django 5HLQKDUGW 'MDQJR GLG PRUH ZLWK D ¿UH damaged hand and only two fully functioning ¿QJHUV WKDQ PRVW RI XV FDQ ZLWK D FRPSOHWH digital compliment. John Wheatcroft, himself a renowned gypsy jazz performer, created this lesson for you. It’s not for the faint of heart, but if you fancy some Hot Club action then there’s no better place to start. Next we take a virtual 100-year tour of acoustic blues. Tristan Seume went back to the early 20th century to reveal the earthy styles of Robert Johnson and Big Bill Broonzy; the more country or ragtime inspired Reverend Gary Davis, Mississippi John Hurt and Doc Watson; the folky
READY TO SUBSCRIBE?
Josh White; the awe-inspiring Blind Blake and Lonnie Johnson; right up to contemporary players like Kelly Joe Phelps and Eric Bibb. It’s stuffed with amazing ideas; learn them wholesale or pick individual licks to add to your own acoustic arsenal... it’s up to you! 1LFN 'UDNH ZDV DQ HQLJPDWLF ¿JXUH RQ WKH English folk scene; a shy performer but a staggeringly inventive and musical guitarist. Stuart Ryan offers a warm tribute to his unique approach to writing and playing, with a quirky tuning you’ve probably never tried. Stuart also arranged and transcribed an American folk ballad made famous by The Animals. This version of The House Of The Rising Sun though, is for solo acoustic guitar. While bound to test your picking skills it will also provide a wonderful performance piece. Last but not least in our new year acoustic line-up, Bridget Mermikides takes a Beethoven piano masterpiece and transfers it seamlessly to the classical guitar. It’s incredibly rewarding to play - as are all these carefully chosen pieces. So do enjoy these and all the usual fantastic fare on offer, and I’ll see you next month.
Neville Marten, Editor neville.marten@futurenet.com
DON’T MISS OUR AMAZING DIGITAL EDITION Guitar Techniques’ iPad* edition is now even better!
MILTON MERMIKIDES One of the country’s most respected music professors Milton’s list of credits is embarrassingly long. Go to miltonline. com to learn all about him.
STUART RYAN Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs throughout the UK. His latest book/CD The Tradition is available now.
JUSTIN SANDERCOE One of the most successful guitar teachers ever, justinguitar.com is a mine of information, and his YouTube channel boasts almost 500,000 subscribers!
TRISTAN SEUME One of ACM Guildford’s leading tutors Tristan is also busy on the folk circuit playing with Jackie Oates and others. His great CD, Middle Child, is out now!
JOHN WHEATCROFT A phenomenal guitarist, John is a master at all styles but a legend in Gypsy Jazz. His new album Ensemble Futur is out now on iTunes and Amazon.
4
March 2018
Tap the links
Animated tab & audio
Play the videos
Finding your way around the magazine is easy. Tapping the feature titles on the cover or the contents page, takes you straight to the relevant articles. Any web and email links in the text are tappable too!
All the mag’s main lessons have the audio built in with a moving cursor that shows you exactly where you are in the music. Simply tap the ‘play’ button and you’re o - you can fastforward or scroll back at will.
Certain articles have accompanying videos full of useful insight and additional information. Once again, tap the play buttons to enjoy video masterclasses on your iPad (recommended) or smartphone.
PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to www.myfavouritemagazines.co.uk/GTQsubs * PLEASE NOTE: Only the Apple version contains interactive tab and audio. Zinio and others do not.
DISC AUDIO PRINT VERSION ONLY Sometimes the GT CD features some of the backing tracks as mp3 ďŹ les due to space. These will be found in a folder on the CD-ROM section of the disc, accessible only via a computer, and will not work in a regular CD player.
CONTENTS TURN TO PAGE 24 NOW FOR OUR LATEST SUBSCRIPTION OFFERS
s # /. 4 % . 4 3 s - ! 2 # ( s
REGULAR FEATURES
Our cover star is a Martin D-28 1937 Authentic model
WELCOME
4
Nev introduces this acoustic-themed issue.
INTRO
6
Food For Thought, Session Shenanigans, Jam Tracks, One-Minute Lick, Talkback and more.
USER GUIDE
12
Our easy-to-follow musical terms and signs.
FRETBOARD DIAGRAM
14
How to find all the notes on the neck
SUBSCRIPTIONS
24
Save time and money; it’s simple to get your copy of GT delivered every month.
BACK ISSUES
94
In case you missed one recently.
ALBUMS
95
We review and rate some of the latest CDs.
SIXTY SECONDS WITH...
96
We introduce guitarist Tom Leighton from a great Midlands rock band The Bad Flowers.
NEXT MONTH
98
Peter Green: a musical look at the life of this glorious player. Dorian mode: learn the secrets of this evocative minor scale. And much more!
LEARNING ZONE LESSONS INTRODUCTION
ACOUSTIC SPECIAL
61
Our music editor Jason Sidwell introduces this lessons section with more great advice.
30-MINUTE LICKBAG
62
Pat Heath has six more luscious licks to play. See if you can complete the full half dozen.
BLUES
FEATURES
FEATURES
ACOUSTIC SPECIAL ACOUSTIC GIANTS Clapton and Page
Two of the greatest British blues-rock guitarists are also fine acoustic exponents. While Clapton displays his Delta influences Page is more folk and world music inclined. Check them out!
DJANGO REINHARDT Gypsy jazz genius in 25 licks
26
One of the most extraordinary musicians of all time, he influenced many greats who came after him. Learn his stunning style through 25 licks.
VINTAGE TO MODERN BLUES 100 years of the greats
ROCK
ACOUSTIC SPECIAL 16
34
It’s such a compelling style to play, so here we cover a century of music via those that created the genre and ot that cont t today.
NICK DRAKE Legendary folk singer-songwriter 46 This troubled genius had a style all his own. Stuart Ryan pays tribute to a rare minstrel who struggled with insecurities but created beautiful music in some of the most unusual tunings.
THE HOUSE OF THE RISING SUN Traditional folk-blues 50 The Animals did a brilliant British R&B take on this ballad of a Cajun bordello, but here Stuart offers his solo guitar take on the trad legend.
68
Martin Cooper pays homage to AC/DC’s king of rhythm and riffs, the great Malcolm Young.
JAZZ
72
John Wheatcroft celebrates the genius of the almost unbelievably gifted, Earl Klugh.
CREATIVE ROCK
78
Shaun Baxter brings you another in his series examining the more unusual Pentatonic scales.
FRETBOARD FLUENCY
84
Martin Goulding guides you in that ongoing quest for perfect fretboard navigation.
SLIDE GUITAR
CLASSICAL TAB
88
Harrison Marsh meets another top slide player. This month the legend that is Elmore James.
MOONLIGHT SONATA Beethoven’s piano masterpiece
64
Ronan McCullagh examines the playing of an undersung but brilliant blues-rock guitarist, Frank Marino of Mahogany Rush.
54
It’s one of the most beautiful and recognisable pieces ever written. And it transfers brilliantly from piano to guitar, as Bridget demonstrates.
IN THE WOODSHED
92
Charlie Griffiths offers more help with honing those vital guitar skills. This month: how to master playing in the 5/4 time signature. March 2018
5
Intro FOOD FOR thought Justin Sandercoe of justinguitar.com lends GT his insight as one of the world’s most successful guitar teachers. This month: It’s all about rhythm?
H
ow is it that the great blues masters can say so much with so few notes? How can BB King tear out my heart with just IRXU RU ÂżYH" , FDQ SOD\ WKRVH VDPH notes, maybe even get creative with them and use them in the right place and the right way - but have nowhere near the same impact. Most people will likely agree that it’s the feel, but what is that that makes a great and effective ‘feel’? I think it’s great food for thought.
Q NOTES
Q DYNAMICS The volume of individual notes is a very strong expressive device that all good musicians can and should use. Expressing a tender feeling with a gentle pick, or anger through an aggressive ‘thwack’ should be fairly obvious, though often lost when people are still thinking too much about notes. Less obvious but just as important is the volume of notes within each phrase; which notes are accented, which ones are ghosted and the range of volumes used. So after getting the notes right, I think the next stop on the expression train should be dynamics and exploring the impact of dynamics. It’s a very hard thing to learn any other way than listening and imitating – which is the way it’s been done from the beginning, so don’t be afraid of it. 6
March 2018
Just says great rhythm is a huge part of great feel
Q MICRO TONALITIES What I’m referring to here is the way many great musicians manipulate pitch in a subtle (or not so subtle) way to help express themselves. Be it the use of vibrato, string bending or the use of things like the common blues quarter-tone bend on the m3rd – they can have a very powerful emotive effect. Many of these techniques would not be immediately obvious to someone not musically trained but removing WKHP RIWHQ GUDVWLFDOO\ ¾ÀDWWHQVÂś music (hear someone play a blues solo from a tab rather than listening to the original recording!). Some of these devices require the study of technique, the mechanics of performance and repetitive practice of these techniques until they become instinctive. If you have to think about stuff like this while playing it’s unlikely that you will get truly ‘in the zone’. Make sure your string bends are in tune (assuming you want them to be) and that vibrato is
FRQÂżGHQW DQG IHHOV QDWXUDO HYHQ LI you had to work on it).
Q RHYTHM The more time I spend studying music the more I believe that it’s the rhythm that really makes the biggest impact on how we feel about music, and is therefore the most potent ingredient in a performance. The subtle nature of rhythm is quite fascinating. A mathematically perfect beat doesn’t feel good to most people – there is something that needs to connect with our humanity. The rhythms of the blues are most fascinating to me because they can be so free – try accurately writing down a slow blues solo and you’ll soon know what I mean (you’ll get the same idea from looking at a transcription but it won’t be as painful).
Q FEEL How is it that some people seem to naturally have a great feel while others don’t? I’ve seen people with
Get more info and links to related lessons on all Justin’s GT articles at www.justinguitar.com/gtmag
NICK DELANEY
,ÂśP SUHWW\ FRQÂżGHQW WKDW PRVW intermediate players can ‘play the notes’ in the BB King Blues box or Minor Pentatonic scale. It’s not hard. Most people realise (some sooner than others!) that the scales are just alphabets and they need words to communicate, so they learn licks. But a handful of licks does not a BB make! Most people need to start with the notes, because without getting the notes right, it’s hard to develop the rest. But getting the notes right UHDOO\ LV MXVW WKH ÂżUVW VWHS
a very uncomfortable feel grow into super musicians by working on it, so I’m certain that it’s possible to develop it. Though how it happens naturally remains a mystery. Even in my early teens I could ‘feel’ something deep in music that connected somewhere in my subconscious. I spent most of my formative years transcribing and playing along with songs I liked, and I’m sure that’s one way to develop that kind of connection. But I’ve still spent a good deal of time trying to learn about feels, particularly trying to work on my jazz ‘time feel’ – something I know I need to do. I had a fascinating conversation with legendary jazz teacher Les Wise about it and he strongly suggested that it can be learned by picking solos that you really connect with the feel of, and then playing along with them until you could not distinguish your playing from the original. I’ve been exploring this and agree that with VRPH H[SHULPHQWLQJ \RXÂśOO ÂżQG D volume where if your time is bang on then you don’t hear the original part but if you’re late or early you will. Try it with a four or eight-bar section and see what happens. It’s at the very least a fascinating experiment; at most it may change how you practise. I found the above particularly effective for learning blues too – and while notes, dynamics and micro-tonalities are important for sure, I think the study of the rhythm is the most effective and EHQHÂżFLDO H[HUFLVH \RX FDQ GR DQG the intense listening required will mean you pick up information about dynamics (and more) without even trying. Like most of these things, until you try it and see the positive EHQHÂżWV IRU \RXUVHOI LW ZRQÂśW UHDOO\ make sense – so go grab your guitar and see how you feel about working on your feel!
Intro SESSION shenanigans The studio guitarist’s guide to happiness and personal fulďŹ lment, as related to us by Mitch Dalton. This month we ďŹ nd our hero pleading, art for art’s sake...
I
t has occurred to me that in recent articles I may have given the misleading impression that the self-employed professional guitarist’s life is composed mainly of a series of highly remunerated cameos in which little work but PXFK LQGROHQW ORDÂżQJ LV GRQH Before initiating the main thread of this month’s bulletin, I must dispel this (possibly self-perpetuating) illusion with the Trump-esque retort “Fake News!â€? Having just returned from a 10-day arena tour featuring the cinematic image of a deceased vocalist who intones the catch phrase “Uh-Huhâ€? with considerably more insight than his current president’s Twitter feed, I can vouch for the brutal nature of that itinerary. A kaleidoscopic daily sequence of dawn departures, trains, planes, hotel check-ins and outs, sound checks and three-hour concerts resulted in my returning home on the last night from the aesthetic delight that is The O2 Arena in a state of near collapse. Napoleon’s mishap during the away leg in Moscow may have been more challenging back in the day, but as far as I’m aware none of that bedraggled bunch of defeatists left their violin, their suitcase or their music behind through sheer fatigue during that frosty foul-up. All of which is but a feeble attempt to offer some counterbalance to the tale that follows, possibly the most unusual episode in my varied career as a wandering minstrel. It started promisingly. A message from The Royal Opera House, inviting me to VHYHQ UHKHDUVDOV DQG ÂżYH performances of a newly commissioned ballet, The Wind, with music composed by Frank Moon and performed by The Opera House Orchestra, natch. Now I do understand that elitism isn’t for everyone (come on, this is comedy gold; try to keep up) but there is something special about working within a building of stunning grandeur, in the
It’s not all fivestar travel, caviar and champagne, says our Mitch
knowledge that every individual with whom one comes into contact sits at the top of their profession and has worked their socks off to get there. Orchestra, conductor, dancers, choreographer, set designer, composer. Not forgetting the guy that designed and built the unique wind machine at the core of the production. All brilliant people. In short, it felt like a privilege to be a
immediately clear to me that Mr Moon was no mug. The composer of this magnum opus was busy setting up his gear in the midst of the full orchestra. A bunch of computers, screens and software programmes ZHUH DOO XQGHUJRLQJ SUH ÀLJKW checks prior to wind-off, as it were. As was his electric violin. And his electric Dobro. At this point I entered the outskirts of Unease, a
AT THIS POINT I ENTERED THE OUTSKIRTS OF UNEASE, A SMALL SUBURB NEAR QUEASY FEELING small part of so much talent working in tandem as I entered the enormous rehearsal room deep in the bowels of Covent Garden, on the ¿UVW PRUQLQJœV UXQ WKURXJK Which is when things started to become a tad, er‌ elliptical. Nigel %DWHV WKH VXSUHPHO\ HI¿FLHQW DQG reassuringly genial Music Administrator for The Royal Ballet was there to greet me and duly introduced me to Frank. It was
small suburb near Queasy Feeling. %HIRUH , DUULYHG DW P\ ÂżQDO destination, Mad Panic, I needed to ascertain exactly what my role might involve in this high-end creative endeavour. A quiet word was required with the two main men. And pretty damn quick. The session was scheduled for 10am and it was now 9.50. At which point the story began to unfold. And not in a good way. I had been
booked to play bottleneck electric guitar as a soloist in a quasi Ry Cooder ‘Paris Texas’ style, albeit within the context of a complex modernist orchestral work. Due to a combination of factors, including the ongoing development of the ballet in a series of workshops, the uncertainty of whether or not Frank felt comfortable performing the part live with an orchestra, the FDQFHOODWLRQ RI WKH ÂżUVW UHKHDUVDO D few weeks earlier due to the ballet UHPDLQLQJ XQÂżQLVKHG DQG D EXQFK RI RWKHU VWXII WKH 52+ KDG VHHQ ÂżW to book me as Frank’s deputy. Just in case. I explained that I didn’t play violin. They said that they’d tape the part if necessary. I explained that I didn’t play Dobro. They said ERWWOHQHFN JXLWDU ZDV MXVW ÂżQH , explained that I wasn’t a MIDI computer operator. They said they’d take care of it. I offered to give up the fee. They wouldn’t hear of it. Nevertheless, Frank had decided that he would perform the part in any case. As far as all involved were concerned, I didn’t have a job unless the Moonster happened to fall between the wheels of a London Omnibus on his way to work. Which thankfully he didn’t. And which is how I came to watch scenes of whirlwinds, rape and murder in Texas from a box at The Royal Opera House (six times), learn the score and pray for the continued good health of one F Moon esq. And then wait at home for a text message from Nigel every evening at 5pm to inform me that the star of the show was indeed in the building and that I was released IRU WKH HYHQLQJ ÂżYH WLPHV 5DWKHU oddly, I felt a vague sense of camaraderie with the Battle Of Britain pilots of back in the day. 0LQG \RX $ 6SLWÂżUH LV QRZKHUH near as dangerous as a bottleneck Strat. Obvs. ‌but money for Gawd’s sake.â€? (If you care to revert to the top of the page). For more on Mitch and his music go to: www.mitchdalton.co.uk March 2018
7
Intro INSTRUMENTAL inquisition! GT: What is it about instrumentals that appeals to you? MD: I’ve never been hugely into lyrics. And given that I am a lousy vocalist myself, I always gravitated towards playing instrumentals. But I don’t value instrumentals more highly than vocals; it’s still just lead over harmony. GT: What can an instrumental provide that a vocal song can’t? MD: The most obvious thing would be subjectivity. Instrumentals expand the capacity for self discovery on an emotional level. Essentially vocals tell you what to feel, melodies amplify your feelings. GT: Anything you embrace or avoid? MD: I try to avoid losing the melody LQ D ÀXUU\ RI WHFKQLTXH RU VLPSO\ misplacing it in the surrounding frequencies. It’s super important to emphasise your melody, both dynamically and tonally. I always aim to have a whistleable tune; sometimes if I come up with an idea I deliberately won’t record it or write it down for a day, then if I come back to the instrument and can remember the tune, it’s pretty solid. Another feature of my playing is the stacking of rhythms. This can contribute much to an instrumental piece, and to my own dexterity. GT: Is a typical song structure always relevant for an instrumental? MD: I would recommend this to someone getting into composing, as structuring pieces can be very daunting. But a rough structure I have been using a lot is a sort of sandwich, beginning with a theme and taking the listener on a journey before returning to the theme, or a variation thereof. You can hear this in tunes like The Impossible, Somewhere Home and The Old Room. I would certainly encourage experimentation; just remember to have something to say. GT: What are the pros and cons of making solo guitar instrumentals versus those that involve a band? MD: I got into this for two reasons. Firstly I’m a massive control freak. I’m a perfectionist and I’m sure it annoys those around me. Secondly, 8
March 2018
Mike Dawes uses new tunings for inspiration I grew up in a small town without a huge number of musicians, and solo writing enables you to do what you want, when you want. GT: How do you name a piece? MD: Usually the tune reminds me of something and that’s where the name and theme comes from. GT: How useful is studying a vocalist’s approach? MD: I feel a vocalist’s approach isn’t really that much different from that of an expressive and soulful player. There are obvious things like vibrato and other articulation, but RQH ELJ EHQH¿W RI DSSURDFKLQJ music as a vocalist is being XQFRQ¿QHG PHORGLFDOO\ ,I ,œP writing a top line for a piece, I’ll often sing it. This way I’m not FRQVWULFWHG E\ P\ ¿QJHUV UXQQLQJ up the same scales in the same shapes. Highly recommended! GT: Is there a typical approach or inspiration when composing?
MD: One big inspiration is playing in a new tuning. There are a couple of tunes on the new album Era, in an open Bm9 tuning that I hadn’t used before. They came out almost instantly, it was so inspiring. I also try to write at home, in comfort and with tea. There will always be days where the tunes won’t come out, and when that happens I’ll put the guitar down and do something else for hours; watch movies, see friends etc. That usually inspires me. Another thing would be listening to your favourite musicians, although that can also lead to the ‘I’ll never be good enough’ depression. GT: What do you aim for when your performance is centre stage? 0' 0XVLF ÂżUVW EXW LQ GRLQJ WKLV DV a full live show there needs to be variation. Every song needs a ‘thing’. I remember talking about this with my super talented buddy Petteri Sariola and I really believe
LISTENING TO YOUR FAVOURITE MUSICIANS CAN LEAD TO THE ‘I’LL NEVER BE GOOD ENOUGH’ DEPRESSION
that in a show it’s important. This leads to certain creative decisions that avoid too much repetition. GT: Any favourite keys or tempos? MD: Not consciously, although I do tend to gravitate towards midtempo tunes in D or Dm. I put that GRZQ WR WKH LQÀXHQFH '$'*$' tuning had on my upbringing. GT: Minor or major keys? MD: That depends on the tuning. A tuning like DADGAD is just as easy to work with in D or Dm because it’s ambiguous, just root, 4th and 5th. My tune Somewhere Home actually drifts from E to Em for this reason. GT: Any favourite modes? MD: I grew up on rock and metal so Phrygian was always there. Most of my early tunes were based around Aeolian. I love a bit of cheese. GT: Modulations into new keys? MD: Pierre Bensusan does this well. My tune, Maybe Someday Soon modulates from C to D easily as the tuning didn’t hinder it. But another, Forest Party goes from D to E and I literally drop a capo mid song. There was no other way! Please, jazz police, don’t arrest me! GT: And harmonising melodies? MD: It’s another tool I use to add interest and variation to an instrumental, be it through interesting chord voicings or just a doubled line, Thin Lizzy style. GT: What three guitar instrumentals have inspired you? So Long Michael by Pierre Bensusan is probably the reason I SOD\ ¿QJHUVW\OH ,WœV +8*( LQ P\ family. My Dad is always whistling WKH ¿UVW OLQH EHIRUH LW JRHV PHQWDO The Release by Petteri Sariola. Do check his new album, Resolution. 6XU¿QJ :LWK 7KH $OLHQ E\ -RH 6DWULDQL ZDV WKH ¿UVW LQVWUXPHQWDO guitar tune I ever heard. I actually learned it for my GCSE SHUIRUPDQFH 7KDW GH¿QLWHO\ changed the way I looked at the guitar, as I’d never heard it take the place of the vocal before. Joe is such a melody guy. Awesome tune. For more info, tour dates, albums and more, go to mikedawes.co.uk
LARRY DIMARZIO
Instrumentals have supplied some of music’s most evocative moments. We asked some top guitarists for their take on this iconic movement. This month: modern acoustic sensation, Mike Dawes.
Intro .
2008 PAUL REED SMITH RELEASES THE PRS Starla, a singlecut mahogany body with mahogany neck and rosewood board with dot inlays. Unique in the history of PRS it’s fitted with a Bigsby vibrato, Grover tune-o-matic bridge, vintage styled tulip tuners and a pair of chromed custom-voiced pickups. With volume, tone, built-in at coil-tapping and a three-way selector switch it’s grea tr llook k and feel. for both single-coil and overdriven sounds with a retro
SPACE EXPLORATION IS IN TOP GEAR AS THE Automated Transfer Vehicle is launched from Guiana Space Centre taking cargo to the International Space Station; NASA’s Phoenix spacecraft lands on the northern polar region of Mars; the Messenger space probe makes its closest flyby of Mercury; the Fermi Gamma-ray Space Telescope is launched; Iran sends a rocket into space from its newly-opened space centre; and the SpaceX Falcon 1 becomes the world’s first privately developed space launch vehicle to make orbit successfully.
TTHE KING COBRA IS THE LATEST edition to the impressive range of Matchless amplifiers, boasting a 35-watt, twin-EL34 power stage with added reverb and tremolo. Hand-wired point-topoint circuitry, top-dollar materials throughout and quality of build insures an impressive and powerful delivery from this weighty combo. Naturally the price tag is also hefty but an exceptional dynamic range and responsiveness coupled to brilliant tones and projection gives this Cobra plenty of bite.
JAM TRACKS tips Use these tips to navigate our bonus backing tracks Bossa Nova Blues (Bm) Let’s start with an easy-toapproach feel-good bossa nova style blues jam in B minor. Use B Minor Pentatonic (B-D-E-F#-A), B Blues scale (B-D-E-F-F#-A) and B Minor scale (B-C#-D-E-F#-G-A) as starting points and feel your way through it!
G Harmonic Minor Jam (Gm) T bluesy 12/8 jam was made for This ou to really dig into your G H Harmonic Minor scale (G-A-Bb-CD-Eb-F#). It moves between the chords Gm (Im) and D (V). You can also mix in some tasty G Minor Pentatonic (G-Bb-C-D-F), but beware of clashing with that crucial F# note on every D chord.
II-V-I Jazz Jam (Gm)
7/8 Shuffle Groove (Am)
Here’s a jazz play-along in G minor, on the classic minor II-V-1. Chords are Am7b5-D7-Gm-Gm. G Minor scale (G-A-Bb-C-D-Eb-F) works, and for the D7 chords, use G Harmonic Minor (G-A-Bb-C-D-Eb-F#). Arpeggios: Am7b5 (A-C-Eb-G); D7 (D-F#-A-C); and Gm7 (G-Bb-D-F). Happy jamming!
Here’s a fun odd-meter groove jam made for improvising on A Dorian mode (A-B-C-D-E-F#-G). The chord progression moves between Am7 and D7. Good old A Minor Pentatonic (A-C-D-E-G) will work, but for extra colour mix in E Minor Pentatonic (E-G-A-B-D) and B Minor Pentatonic (B-D-E-F#-A).
Jam tracks by Jacob Quistgaard. For free scale maps and hundreds more tracks, visit www.quistorama.com. You can also subscribe to www.youtube. com/QuistTV to get all the latest WUDFNV DQG OLFNV 2U ¿QG 4XLVW MDP Twitter, Instagram and Facebook.
RAGE AGAINST THE MACHINE PLAY THEIR first shows outside the States since reforming, headlining in Australia and New Zealand. Michael Jackson’s Thriller 25 celebrates the 25th anniversary of the biggest selling album of all time with Jackson as executive producer; and System Of A Down guitarist Daron Malakian, tells MTV that he is concentrating on his new project, Scars On Broadway, so the band is unlikely to reform.
FEARS OF A FINANCIAL RECESSION IN THE USA. Stock markets around the world plunge and the UK loses confidence in the banking system after unsafe investments are announced by many major highstreet banks. Northern Rock is the first in trouble and is quickly nationalised by the government. But things only get worse.
THE GIBSON CUSTOM SHOP RELEASES
RODOLFO SASSANO / ALAMY
a limited run for their 50th Anniversary 1958 ES-335. The original concept was for a guitar with the warmth of a hollowbody combined with the power and sustain of a solid, and it passed with flying colours. This model is equipped with Classic‘57 humbuckers plus the original rounded neck and dot markers, full binding to body and neck, nickelplated hardware, tune tune-o-matic o matic bridge, stopbar tailpiece, volume and tone controls plus a three-way switch and vintage tulip tuners all gently aged in Vintage Original Spec (VOS). For jam track 3, pull out some of your Robbenstyle licks!
March 2018
9
Intro TALKBACK your letters... GT CHANGED MY LIFE (SORT OF) Just wanted to say thanks for (kind of) changing my life. Back in ’95 I was heavily into SRV but stuck in the Minor Pentatonic. However I found a new magazine in the small Swedish town I was living at that time. In it was an article about Steve Vai’s style E\ 'DYH .LOPLQVWHU ,W ÀRRUHG PH , had never heard about the Lydian scale and it was a real eye-opener. I studied every article in that issue and started to practise several hours a day. I soon attended a one-year guitar course in Sweden and started to get a little more knowledge. After that I moved to London and enrolled at Musicians Institute in Wapping. What a great year. Wonderful tutors, great musicians from all over the world and a chance to play styles that were new to me. The great Eric Roche was a tutor and I studied the same year as Jacob Quistgaard (he was a monster player and still is). After that I moved back to Sweden and went to a guitar school in Stockholm. When P\ VWXGLHV ZHUH ¿QLVKHG , SOD\HG guitar for a living for 12 years, recorded several albums, did sessions and even managed to get a Guitarist Of The Year award, which was handed over by Kee Marcello. When I was done with touring I landed a teaching gig and have been a full-time guitar teacher since 2012. So once again thank you. I couldn’t have done it without GT. Magnus Åkerlund PS: Writing a column for GT is still on my bucket list!
iPad version (but not Android). We can’t yet upload MP3s so they can be burnt, but we are working on it. 3. Where can I find a list of all the Guitar Techniques mags ever made? I’m afraid we don’t even have that, Nate. With such a small team it’s been impossible to upkeep such a list. When the system to download MP3s is sorted, there will be the best list we can find also downloadable. 4. What software do you use to produce the notation and tabs for Guitar Techniques? Dave Kilminster was one of Guitar We have always used Finale. Techniques’ early 5. Is there an official musical contributors notation rule concerning when to use the (8va) symbol or is it all up to the person writing the music? What a great tale, Magnus. You know, It depends on the music – how broad it’s been a decade since Eric died; Dave in tonal range it is – and the discretion K is now playing with the legendary of the transcriber. Roger Waters; Guthrie is a veritable 6. How much do back issues cost in guitar superstar and Jacob still writes the digital iPad version? for us (in between touring with Bryan Check www.myfavouritemagazines. Ferry). As far as writing a column, send co.uk (note ‘favourite’ spelt the an email to jason.sidwell@futurenet. Thanks for your lovely comments, English way) as there are regular deals com with an example of your work. Nate. As with all publications things on subscriptions, plus regular offers to We’re not looking for anyone at the move on and GT was no exception. buy all back issues. moment but it’s always great to know I’ve answered (as best I can) your 7. How far back does the iPad there are those that could step in if individual questions below. version go? needed. Thanks for being such a loyal reader. Oh, and it was our pleasure! 1. What Issue does Paul Bielatowicz’s They go back to when Apple launched Newsstand in autumn 2011. tapping lessons start in? Paul did three: GT273, 274 and 275. LOVING THE LATEST FORMAT 2. Does the IPad version have all the Send your views on the world of Wow! I bought Guitar Techniques a same audio as the CD, including the guitars, guitarists and guitar few weeks ago. I haven’t looked at jam tracks and the extra stuff that is playing to: Guitar Techniques, 5 Ivo one since 2013 and I feel like I really sometimes in CD-ROM? If so are the Peters Road, Pines Way Industrial missed out. I thought it was great Estate, Bath BA2 3QS. Or email to: then but now I am totally blown away MP3s accessible so I can put them by how awesome you guys made this into iTunes and burn my own copy? neville.marten@futurenet.com thing! You jammed even more music All the content on the CD is also on the using the header ‘Talkback’ in there including four jam tracks, and backing tracks to all the other content. What I love the most is the variety of styles and techniques. Knowing there will all this stuff in every issue means I have to subscribe now. It’s also great to see chords above everything, especially in the classical music; I don’t think any of my classical guitar books have the changes written out. I wish this magazine was in the guitar book section of the book stores or in Guitar Center because than I would have found out about it a lot sooner. The only reason I even noticed it in the magazine section is because it had that CD icon at the top. I also like all the album listening suggestions and the album review page. Anyway I have a lot of questions so I’ll just number them in a list. Thanks so much for the great product. Nate, Colorado
PHIL HILBORNE’S ONE-MINUTE LICK HERE’S A FOURBAR question and answer swing-blues phrase, built mainly from an A7 arpeggio: A-C#-E-G. There are also a couple of extra notes: the b3rd (C) and 9th (B). Picking-wise the first two bars have all the ‘up’ beats played with up-strokes and all the ‘down’ beats played as down-strokes. This makes it ‘feel’ better to play as the pick strokes correspond to the groove. The second two bars use sweep picking on a descending A7 arpeggio with the first note of each four-note group falling on a down-stroke. This sequence is great for re-use in rock, metal, country, jazz and fusion. The final bar’s F# and C are the ‘targeted’ 3rd and b7 of the next chord in the progression, the IV chord of D9.
10
March 2018
Moderate
Swing Blues Lick
© ¡¶™ –
~~~~~
A7
qq=qce
. F
E B G D A E
3
0
2
4
2
4
1
2
6
5
5
~~~~~ 10
~~~~ .
~~~~~
~~~~
~~~~~
D9
E B G D A E
12
4
9
10
9 12
10
12
9
10
12
9
11
12
9
11
11 12
10
GT User Guide You can get more from GT by understanding our easy-to-follow musical terms and signs... RELATING TAB TO YOUR FRETBOARD 3
2
i
1
m
OUR RATING SYSTEM Every transcription or lesson in GT is graded according to its level of difficulty, from Easy to Advanced. We’ll also let you know what aspect of your playing will benefit by attempting a lesson.
a c
4 T
p
Advanced Moderate-Advanced
NUT & FRETBOARD
HAND LABELLING
Moderate
The fretbox diagram above represents the fretboard exactly, as seen in the accompanying photo. This is for ease of visualising a fretboard scale or chord shape quickly.
Here are the abbreviations used for each finger: Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), i (first finger), m (second), a (third), c (fourth).
Easy-Moderate Easy
READ MUSIC Each transcription is broken down into two parts...
CHORD EXAMPLE
CHORD EXAMPLE WITH CAPO
The diagram represents the G chord in the photo. The ‘O’ symbol is an open string, and a circled number is a fretting finger. Intervals are shown below.
The blue line represents a capo – for this A chord, place it at fret 2. Capos change the fret number ordering – here, the original fret 5 now becomes fret 3, fret 7 now fret 5, etc.
x
A major scale
œ
œ
2nd string 3rd fret
2nd string 1st fret
3
1
1E 2B 3G 4D 5A 6E
1E 2B 3G 4D 5A 6E
9 5 7
0
C
Em
œœ œœœ
œœ œœ œœ
# œœ œœ
D7
A m7
œœ œœ œ
0 1 0 2 3
0 0 0 2 2 0
2 1 2 0
0 1 0 2 0
TABBING Under the musical stave, Tab is an aid to show you where to put your fingers on the fretboard. The six horizontal lines represent the six strings on a guitar – the numbers on the strings are fret numbers. The two stave and tab examples show 4 notes and 4 chords; C (C major), Em (E minor), D7 (D dominant 7) and Am7 (A minor 7).
The left box shows an A minor Pentatonic scale with added tapped notes signified by ‘T’s. Above shows a Cmaj9 (no 3rd) with harmonics at the 12th fret.
The diagram shows the fret-hand fingering for the A major scale (root notes in black). The photo shows part of the scale being played on the fourth string with first, third and fourth fingers.
2
x
TAPPING & HARMONICS
SCALE EXAMPLE
œ 4th string Open
MUSICAL STAVE The five horizontal lines for music notation show note pitches and rhythms and are divided by bar lines.
8
R
œ 3rd string 2nd fret
GUITAR TECHNIQUES: HOW THEY APPEAR IN WRITTEN MUSIC... PICKING VARIATIONS AND ALTERNATIVES Up and down picking
œ
Tremolo picking
œ @
œ
œ @
Palm muting
nœ # œœœ
œ bœ @ @
œ œ œ
Pick rake
n œœ œœ
PM E B G D A E
7
5
≥
≤
Q The first note is to be downpicked and the last note is to be up-picked.
12
March 2018
E B G D A E
@ 5
@ 4
@ 7
@ 8
Q Each of the four notes are to be alternate picked (down- & up-picked) very rapidly and continuously.
E B G D A E
8 7 6 7
0
¿
œ œ PM
0
0
8 7 6 7
0
0
Q Palm mute by resting the edge of picking-hand’s palm on the strings near the bridge.
¿¿
w
Arpeggiate chord
rake E B G D A E
5 X
X
X
Q Drag the pick across the strings shown with a single sweep. Often used to augment a rake’s last note.
E B G D A E
ggg ˙˙˙ gg ˙¿ ggg # ˙ ggg 00 gg 22 ggg X2
gg # ˙˙˙ ggg # ˙ ggg # ˙˙ ggg gg ggg
4 5 4 4 4 5
Q Play the notes of the chord by strumming across the relevant strings in the direction of the arrow head.
FRETTING HAND Hammer-on & Pull-off
œ
œ
œ
Note Trills tr
˙ (œ œ)
œ
tr E B G D A E
5
7
7
5
Q Pick 1st note and hammer on with fretting hand for 2nd note. Then pick 3rd note and pull off for 4th note.
~~~~~
E B G D A E
Slides (Glissando)
œ
œ
(7 5)
8
Q Rapidly alternate between the two notes indicated in brackets with hammer-ons and pull-offs.
E B G D A E
œ œ
E
5
7
5
5
7
≠ 7
7
E
Q Pick 1st note and slide to the 2nd note. The last two notes show a slide with the last note being re-picked.
Fret-Hand Muting
6
œ
~~~~~
5
œ œ œ
b˙
Left Hand Tapping
Q Sound the notes marked with a square by hammering on/tapping with the frettinghand fingers.
nœ # œœœ
¿¿ ¿¿
¿¿ ¿¿
¿¿ ¿¿
œœ œœ
¿¿ ¿¿
¿¿ ¿¿
8 7 6 7
X X X X
X X X X
X X X X
8 7 6 7
X X X X
X X X X
E B G D A E
Q X markings represent notes muted by the fretting hand when struck by the picking hand.
BENDING AND VIBRATO Bendup/down
Re-pick bend
Q Fret the start note (here, the 5th fret) and bend up to the pitch of the bracketed note, before releasing.
Pre bend
Quarter-tone bend
Q Bend up to the pitch shown in the brackets, then re-pick the note while holding the bent note at the new pitch.
Q Bend up from the 5th fret to the pitch of the 7th fret note, then pick it and release to 5th fret note.
Q Pick the note and then bend up a quarter tone (a very small amount). Sometimes referred to as a blues curl.
Artificial harmonics
Pinched harmonics
Tapped harmonics
Vibrato
Q The fretting hand vibrates the note by small bend ups and releases. The last example uses the vibrato bar.
HARMONICS Natural harmonics
‚ ‚ ‚
# ‚‚ ‚
‚
NH E B G D A E
12
AH16
12
12
7 7 7
Q Pick the note while lightly touching the string directly over the fret indicated. A harmonic results.
E B G D A E
‚
‚ AH17
4
— PH
AH19
5
7
Q Fret the note as shown, then lightly place the index finger over ‘x’ fret (AH ‘x’) and pick (with a pick, p or a).
— —
E B G D A E
7
5
7
Q Fret the note as shown, but dig into the string with the side of the thumb as you sound it with the pick.
E B G D A E
‚
‚
TH17
TH19
5
7
Q The note is picked, then the whammy bar is raised and lowered to the pitches shown in brackets.
Scoop & doop
Q Scoop - depress the bar just before striking the note and release. Doop - lower the bar slightly after picking note.
‚
‚
œ
TH17
4
Q Fret the note as shown, but sound it with a quick righthand tap at the fret shown (TH17) for a harmonic.
VIBRATO ARM AKA WHAMMY BAR Vibrato arm bends
Touch harmonics
TCH E B G D A E
2
9
Q A previously sounded note is touched above the fret marked TCH (eg TCH 9) to sound harmonic.
CAPO Dive bomb
Q Note sustained, then the vib is depressed to slack. Square bracket used if a long-held note has new articulation applied.
Gargle
Q Sound the note and ‘flick’ the tremolo bar with picking hand so it ‘quivers’. Results in a ‘gargling’ sound!
Capo Notation
Q A capo creates a new nut, so the above example has the guitar’s ‘literal’ 5th fret now as the 3rd fret.
OTHER TECHNIQUES Pick scrape
Q The edge of the pick is dragged down or up along the lower strings to produce a scraped sound.
Violining
Q Turn volume control off, sound note(s) and then turn vol up for a smooth fade in. Called ‘violining’.
Finger numbering
Q The numbers after the notes are the fingers required to play the fret numbers in the tab below.
Pima directions
Q Fingerpicking requirements are shown at the bottom of the tab notation.
Right-hand tapping
Q Tap (hammer-on) with a finger of the picking hand onto the fret marked with a circle. Usually with ‘i’ or ‘m’.
March 2018
13
14
March 2018
E 6
A 5
D 4
G 3
Open Strings
B 2
E 1
œ
œ
œ
A#/Bb
# bœ
A
# bœ
œ
# bœ
œ
œ
#œ b
#
œ
œ
œb
G#/Ab
G
F#/Gb
F
#
B
G /Ab D#/Eb
D
F /Gb
C#/Db
F
C
E
B
A#/Bb
D /E #
G
#
# b
E
A
D
C#/Db
E C
B
œ
F#/Gb
B
D /Eb
#
D
F
A#/Bb
7
A#/Bb
A
6
A
G#/Ab
5
C#/D b
G
4
C
F#/Gb
3
G#/Ab
F
2
œ
C
F
A /Bb #
D#/Eb
G
C
8
# œ
œb
œ
D
C#/Db
# b
G
C
A F
D
10
F#/G b
B
E
G#/Ab
C#/Db
9
C /Db
œ
œ
# bœ
# b
D#/Eb
G#/Ab
#
A#/Bb F#/Gb
D#/Eb
11
œ
œ
E
A
D
B G
E
12
D /Eb
√
œb
F
A#/Bb
#
C G#/Ab
F
13
# b
œ
F#/Gb
B
E
A
C#/Db
F#/Gb
14
# b
œ
G
C
F
D A#/Bb
G
15
Many guitarists struggle to know which note is at what fret on the guitar. This is vital if you are to get on as a player - especially when it comes to reading, transposing to different keys, or interacting with other musicians. Here are the notes at each fret, with its corresponding notation below.
Open Strings
E B G D A E
1
# b
œb
œ
G#/Ab
C#/Db
F /Gb #
G
œ
A
D
œb
# bœ
√
# bœ
A#/Bb
D#/Eb
G /Ab #
F C#/Db
E C
A#/Bb
18
B
A
17
D /Eb #
G#/Ab
16 B
œ
œ
B
E
A
D
œ
F /Gb #
19
# b
#œ b
œ
C
F
A /Bb #
D#/Eb
G
C
20
œb
# b
C#/Db
F#/Gb
B
E
G /Ab #
C#/Db
21
D
G
C
F
A
D
22
FRETBOARD } FIND NOTES
HOW TO... ...find all the notes on the fretboard
PLAY } ACOUSTIC
ON THE CD
TRACKS4-13
Acoustic giants There’s more to these guys than crunching riffs and soaring solos. Check out Richard Barrett’s detailed examples for an insight into the acoustic styles of Eric Clapton and Jimmy Page... ABILITY RATING Info Key Various Tempo Various CD TRACKS 4-13
experimental acoustic styles of John Renbourn and Bert Jansch (among others) from a very early stage, and his distinctive acoustic playing features heavily on nearly all of Led Zeppelin’s albums. He jokingly refers a good overview of these techniques and to his eclectic mix of acoustic styles as his others, without the need for years of dedicated CIA (Celtic, Indian, Arabic) connection and study (you can always do that too, of course!). LW LV DV VLJQL¿FDQW D SDUW RI KLV VW\OH DV WKH More good news is, you don’t need racks of electric playing that frequently causes expensive gear to get close to the required =HSSHOLQ WR EH PLV ODEHOOHG DV ¾KHDY\ PHWDOœ tones. Admittedly Eric’s vintage Martins and Page’s frequent use of both altered and open his own signature EC model’s price tag puts tunings enhances his vocabulary of exotic VXFK LQVWUXPHQWV ¿UPO\ RXW RI WKH UHDFK RI scales and chords learned from the likes of Davy Graham, and from his own extended WUDYHOV LQ 1RUWK $IULFD -LPP\ ÀXFWXDWHV between this dissonant approach and a contrasting, more melodic folk sensibility. 2XU H[DPSOHV UHÀHFW WKLV XVLQJ D PL[WXUH RI FODZKDPPHU VW\OH ¿QJHUSLFNLQJ DQG PRUH FRQYHQWLRQDO ¾ÀDW SLFNLQJœ technique. Though Page was notable for DGGLQJ DPELHQW UHYHUEV DQG HYHQ ÀDQJLQJ effects to recorded acoustics on occasion, many players, but in truth any reasonable the basic tone was never completely DFRXVWLF ZLOO VXI¿FH obscured. The GT examples steer clear of Eric favours smaller bodied guitars for the the more outlandish effects, making it more focused midrange and clarity that they easier and more satisfying to sit and play deliver. For bottleneck, he often employs a UHVRQDWRU JXLWDU IRU WKH GLVWLQFWLYH ¾ER[\œ VRXQG WKHP XQDPSOL¿HG Page has used a wide variety of guitars, that’s ideal for this technique. including a Harmony, Gibson J-200, Martin The examples on the GT audio were D-45 and occasionally, a custom doublerecorded with a Yamaha CPX 900, which was neck Ovation for live work. So it’s fairly safe mic’d in front of the soundhole. A little reverb WR VD\ WKH VRXQG LV LQ WKH ¿QJHUV UDWKHU WKDQ was added for ambience afterwards. If you coming from any particular instrument. have an acoustic with a built-in pickup (like As with our EC examples, the GT Eric’s) then you may want to do the same with recordings were made with a Yamaha CPX D PHGLXP ¾URRPœ VHWWLQJ VXEWO\ EOHQGHG LQ 900, mic’d at the soundhole. A few different reverbs were used to give a little extra authenticity, but these are by no means necessary to make these examples sound ,QLWLDOO\ LQVSLUHG E\ VNLIÀH DQG URFN DQG UROO correct. Jimmy himself would have come up but eventually becoming famous as the with the ideas and tunings long before ultimate Gibson Les Paul-toting riffstudio effects came into the picture. machine, Jimmy Page was also drawn to the
Moderate - - - - Will improve your‌ General ďŹ ngerpicking Knowledge of open tunings Timing and chord changes
A
LTHOUGH BOTH PRIMARILY known for their groundbreaking electric work – Clapton in the Blues Breakers, Cream, Derek And The Dominos and as a solo artist, and Page primarily in Led Zeppelin and various collaborative forays – these two British icons have also done much for the furtherance of the acoustic guitar as a serious instrument of rock and blues. While their styles are very different, with 3DJH PRUH LQÀXHQFHG E\ WKH IRON VFHQH DQG world music, and Clapton maintaining his blues roots, both guitarists display great touch on the instrument. I’ve taken some of their best-known approaches and laid them bare in the following seven pages, so you can pick apart the acoustic styles of these two legendary players. There’s tons here to get \RXU WHHWK LQWR VR JUDE WKDW ÀDW WRS ¿QG \RXU best pick and emery those nails to perfection. Get plucking and enjoy the ride!
Eric Clapton Heavily inspired by the likes of Robert Johnson and Muddy Waters, Eric has always been a blues purist. So much so that he left The Yardbirds when they were on the brink of commercial success, objecting to the pop direction of For Your Love. Though a pioneer of loud overdriven electric guitar, Eric’s passion for the acoustic has been clearly demonstrated over the years. He is a master of many traditional techniques, such as bottleneck, clawhammer and using the SLFNLQJ KDQG ¿UVW ¿QJHU WR ¾ÀLFNœ FKRUGV ZLWK an upstroke motion, while playing bass notes with the thumb. Our examples aim to give you
ERIC WAS ALWAYS A BLUES PURIST, WHILE JIMMY WAS DRAWN TO THE FOLKY STYLES OF JOHN RENBOURN AND BERT JANSCH
Jimmy Page
CLAPTON TRACK RECORD Unplugged – The ‘unplugged’ session that started a craze, with everyone ditching their electrics to demonstrate their songs in a new stripped-down arrangement. A great opportunity to glean a few technique secrets by watching up close. Me And Mr Johnson – Eric gets back to his roots performing songs by his hero Robert Johnson. This album is full of his acoustic playing, so gets almost as many votes as Unplugged. PAGE TRACK RECORD Led Zeppelin III - the most acoustic-based of all their albums, this demonstrates almost every aspect of Page’s acoustic style featuring altered tunings, bottleneck and lush strummy 12-strings. Unledded - this 1994 duet with Zeppelin vocalist Robert Plant shows Jimmy continuing to pioneer new tunings and an ever-increasing Moroccan influence. Also available on DVD, to help you steal those fingerings.
16
March 2018
LARRY HULST / MICHAEL OCHS ARCHIVE / GETTY IMAGES
IAN DICKSON / GETTY IMAGES
APTON/PAGE { ACOUSTIC SPECIAL
Page playing a Martin D-28 with taped-on pickup
Clapton with his priceless prewar Martin 000-45
March 2018
17
PLAY } ACOUSTIC
ON THE CD
TRACKS4-13
ERIC CLAPTON ACOUSTIC STYL CLAPTON EXAMPLE 1: ARPEGGIATED CHORDS
CD TRACK 4
These melodic chords will have a familiar ring to most Clapton fans. Mixing chord shapes with melodic details and linking lines gives a very A
# #
#
E
3
self-contained part; this is further enhanced by the piano style chording in bars 3 and 4.
F m7
D /F
#
b
#
D /F
F m7
B m7/E
A
^
gg
n Let ring E B G D A E
2
2
0
3
2 3 2 2
4 2
1 2
0
2
0
2
2
2
3 2
4
2
0
2 1
4
2
2 1
3
2 2
3
1
2 2
2
3 2
2
2
3 2
4
^2 2 2 0
4
0
CLAPTON EXAMPLE 2: CLAWHAMMER PICKING
CD TRACK 5
notes in a repetitive pattern that remains almost identical throughout. Start slowly and all will become clear quite quickly. It works brilliantly in open tunings such as drop D, too.
This rhythmic clawhammer style is fairly simple to execute but gives an effective and complex sounding result. Basically, the thumb plays the root notes in a crotchet/quarter note ‘pulse’ with the fingers adding top
b
A maj7
#
B dim
B m7
Cdim
n
bœ Let ring E B G D A E
0
1
2
0
2 2
0
0
2
2
1
2
0
#
#
2
1
0
2
1
#
C m7
0
2
0
2
1
2
0
2
1
#
F 7sus4
F 7
2
4
2
3
2
4
2
2
4
3
2
4
2
b
Bm7
B m7 5
4
3
2
4
2
4
3
E sus4
3
4
2
4
4
3
E
œ E B G D A E
4
6
4
5
4 4
6
4
6
5
4 4
6
2
2
4
2
2 2
2
2
3
2
2
2
2
4
3
2
4
2
2
3
3
2 2
3
4 0
0
0
2
4
X
0
2 0
2 0
CLAPTON EXAMPLE 3: D TUNING SLIDE
CD TRACK 6
Though some handling noise from the slide is unavoidable - even desirable – it’s a good habit to mute the strings behind the slide (headstock side) to avoid unwanted notes.
Using open D tuning (low to high; D-A-D-F#-A-D) this example mixes bottleneck with traditional chording. Again, it’s a very self-contained sound and perfect for accompanying vocals, as Eric does so brilliantly.
© ©»©
F
–3–
Swung
0
1
D5
Gsus2/B
D7
Gsus2/B
D
3
D5
3
# 3
n
3
n
All slides with bottleneck D A F# D A D
12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12
Open D tuning
18
March 2018
0 0
3 3 3
0 0 0
0
0 1 0 2
0
0 3 0 3
0
0 1 0 2
0
12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0
3 3 3
0 0 0
APTON/PAGE { ACOUSTIC SPECIAL WHEN YOU ADD A SINGER, THAT’S WHEN THE MUSIC BECOMES SERIOUS; IT GOES FROM BEING A JAM TO A GENUINE MISSION Eric Clapton CLAPTON EXAMPLE 3 ...CONTINUED: D TUNING SLIDE G sus2/B D7 b 5
#
CD TRACK 6
G
D
F
G
D G D
F
D
Gsus2/B D
n D A F# D A D
0 0 0 1 0 0 2
n 2 0 3
0
0
5 5 5 5
0 3 0 3
5 5 5 5
5 5 5 5
5 5 5 5
0 0 0 0
3 3 3 3
3 3 3 3
5 5 5 5
5 5 5 5
0 0 0 0
5 5 5 5
0 0 0 0
3 3 3 3
0 0
0
b
0
0 0
3
2
0 0
1
0 0
0
0 0 1 0 2
0
0 0 0 0 0 0
CLAPTON EXAMPLE 4: UPSTROKE ‘FLICK’ TECHNIQUE
CD TRACK 7
and rhythm are well established, it’s possible to do this for surprisingly extended periods without losing the thread of the piece. Check out the tab, but use this idea as a springboard for further improvisation.
Playing palm-muted bass notes with the picking hand thumb and using the first finger to ‘flick’ the high strings in an upstroke motion, this example breaks into a mini ‘solo’ in bars 3 and 4. As long as the riff
© ©»© ; # –3–
n
A7
Adim
A7
bœ
‰
PM (Bass notes) E B G D A E
9 8 9 0
9 8 9
9 8 9
0
0
8 7 8 0
0
0
8 7 8
8 7 8
0
0
n
0
0
5 5
5 5
7
8
5
5 5
7
5
5 5
6
7
0
n
D7
#
9 8 9
A
A7
Bm
Cdim
A 7/C
œ E B G D A E
8 7 7
8 7 7
0
8 7 7
0
0
8 7 7
0
10 7 7
8 7 7
0
7 7 7
0
3 2 2
0
0
3 2 2
3 2 2
0
3
0
0
2
3
4
5 0
0
2
3
4
CD TRACK 8
Very reminiscent of a ‘boogie-woogie’ piano part, this idea uses offbeat bass notes in a shuffle style. Like many of these examples, it can take a while to make it sound ‘right’. In this case, play the bass notes in a
smooth non-accented fashion, keeping the focus on the moving chord/ riff. Also, note the rhythm/riff pattern is intentionally broken from time to time. Check bars 4, 6 and 7.
–3–
E B G D A E
#
E
œ 0 2
G F m7
3
2 0
0
2
4 0
5
0
4
0 0
2
1
0 0 0
2 0
4
E
3
n
œ 1
#
#
CLAPTON EXAMPLE 5: BOOGIEWOOGIE STYLE
© ©»© ; # #
0
7
3
2 0 2 2 0
œ
œ
œ
œ œ 0
1
2
2
4
4 0
5 0
0
2
2
4 0
0
1
2 0
4
1
4 0
5
2 0
March 2018
19
PLAY } ACOUSTIC
ON THE CD
TRACKS4-13
CLAPTON EXAMPLE 5 ...CONTINUED: BOOGIE WOOGIE STYLE A7
#
CD TRACK 8
3
E
3
œ E B G D A E
2
3 0
4
5
3
5
0
1
4
0
2
2
0
3 0
4
5
0
5 1
0
5
0
œ
œ
2
0
0
2 4
0
4
2
0
5
4
2
0
1
0 0
2
4
4
0
0
5
JIMMY PAGE ACOUSTIC STYLE I CHANGE TUNINGS AROUND. I’M SEARCHING FOR NEW CHORDS AND SHAPES. I DON’T JUST SIT DOWN AND PLAY SCALES Jimmy Page
PAGE EXAMPLE 1: DADGAD TUNING
CD TRACK 9
Using one of Page’s favourite tunings, D-A-D-G-A-D (low to high) this example mixes exotic scale patterns with occasionally dissonant chords.
The hammer-ons and pull-offs are a little fiddly at first, but a few plays through should make it more comfortable.
C sus2
#
œ
D A G D A D
0
œ 2
4
0 0
2 0
4
0 0
0 2
0 0
4
1
3 1
0
0
2
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
DADGAD tuning
# D A G D A D
20
G/B
... .. 0 2 0 0 2
March 2018
3
1/4
œ 0 2 0 0 2
0 2 0 0 2
œ
œ n 0 2 0 0 2
0 2 0 0 2
0 2 0 0 2
1/4
2
0
0 3
0
2
4
0 0
2 0
4
0 0
4
5 4 0
0
2
0
2
0
4
0
APTON/PAGE { ACOUSTIC SPECIAL
JIMMY PAGE ACOUSTIC STYLE PAGE EXAMPLE 1 ...CONTINUED: DADGAD TUNING
#
CD TRACK 9
b
Csus2
D A G D A D
0 3 0 0 3
B maj7/D
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 3 0 0 3
0 0 3 0 5 0
0 3 0 0 3
0 0 3 0 5 0
D5
0 0 3 0 5 0
0 0 3 0 5 0
0 0 3 0 5 0
0 0 3 0 5 0
0 0 3 0 5 0
0 0 3 0 5 0
0 0 3 0 5 0
0 0 3 0 5 0
0 0 3 0 5 0
0 0 3 0 5 0
0 0 3 0 5 0
0 0 2 0 0 0
PAGE EXAMPLE 2: G TUNED CLAWHAMMER
CD TRACK 10
Played in open G tuning (low to high, D-G-D-G-B-D) this example takes a more melodic, folky approach with clawhammer fingerpicking. It G
also demonstrates some interesting chord voicings that would not be possible in conventional tuning. G6
G maj7
G
# œ D B G D G D
5 5
0
4
0
0
0
5
0
4
0
2
0
0
0
4
0
2
0
0
0
0
0
2
0
0
0
0
0 0
0
Open G tuning
#
Cadd9
Bm 5
b
Am7
B 6
Am7
G
# b D B G D G D
5
5 5
5
0
3 5
5
0 4
3 4
0 4
1 4
0
1
0
2
2
0
2
2
0 3
1 3
0
0
0
2
2
0
PAGE EXAMPLE 3: STRUMMING WITH SUS CHORDS
CD TRACK 11
Using standard tuning, this example would also sound great on a 12-string. It demonstrates Jimmy’s approach to strummed chords,
D
#
gœ E B G D A E
^
g
2 3 2 0
D
.. .. œ
^
2 3 0 0
2 3 0 0
Dsus2
Am
adding a couple of sus2/sus4 melodic details and a nice ‘harmonics’ chord at the end!
Asus4 Am A sus2
^ G
C
œ 3 3 2 0
2 3 2 0
0 3 2 0
0 1 2 2 0
0 1 2 2 0
0 1 2 2 0
0 1 2 2 0
0 3 2 2 0
0 1 2 2 0
0 0 2 2 0
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
^ 0 2
0
3
g
5 5 5 3
March 2018
21
PLAY } ACOUSTIC
ON THE CD
TRACKS 4-13
JIMMY PAGE ACOUSTIC STYLE PAGE EXAMPLE 4: VOICE LEADING
CD TRACK 12
Using altered chord shapes to facilitate the top-line melody, this example keeps the finger-picking nice and even as it descends through
A m7
E B G D A E
F/A
Am
8 7
0
7
0
5
5
7
0
0 4
0
2
4
0
3
5
0
6
4
5
0
5
4
4
5
4
0
0
3
2 0
3
2
3
0
1
2
3
2 0
PAGE EXAMPLE 5: STRUMMING PLUS BASS NOTES
#
Gadd9 G
CD TRACK 13
G7
G9
b
b
Gadd 6
E m11/G
Gadd 6/ 9 Gadd 6
œ œ
^0
D B G D G D
g
0 0 4 0 0
0 4 0 0
0
0 0 2 0
0 0 0 0
0
0 0 4 3
0
0 0 4 3
0 0 2 3
0
0 0 0 3
0
0 0 4 2 0
0
0 0 4 2 0
0 0 2 2
0
0 0 0 2
0
0 0 4 1
0
Open G tuning
G
D /G G
#
G maj7 (no 3rd)
A m7/G G
A m7add11
Cmaj 9
^
œ œ œ œ œ œ
22
b
^
gg
D B G D G D
1 3
straightforward to play by this tuning. Using a pick, keep the strumming relaxed and watch out for the single bass notes, as these are an important detail.
Using open G tuning (as described earlier, but as a quick reminder D-G-D-G-B-D, low to high) this example contains elements of jazz chord voicings and chromatic chord movement, made relatively simple and
G
5
0
4
F/A
0
3 5
5
4
5
0
Fmaj7/A
2 0
G6/A
3
5
D7/A
2
G7/A
5
5
7
0
D /A
E B G D A E
G /A
6
5
various stages. Note the slight variation in picking for bar 6, allowing the melody to continue unbroken through the D7/A chord.
0 8 0 9 0
0 8 0 9 0
March 2018
0 0 7 0 0 7 0 0
8 0 9 0
0
0 3 0 4 0
œ œ œ œ œ œ
0
0 3 0 4 0
0 3 0 4 0
0 3 0 4 0
0 3 0 4 0
œ 0 1 0 2
0 0 0 0 0
œ 0 1 0 2 2
0 1 0 2 2
0
g 0 1 0 2 2
0 1 0 2 2
^0 X
5 4 5 5
0 0 4 1
0
0 0 2 1 0
0 0 0 1 0
APTON/PAGE { ACOUSTIC SPECIAL
Clapton: again playing a fabulous vintage Martin
March 2018
23
Subscribe to Save time and money; get GT delivered every month CHOOSE YOUR PACKAGE PRINT
DIGITAL
Play ng alo to the animated tab in our iPad edition
24
Every issue delivered to your door with a Guitar Techniques’ CD packed full of video and audio.
Instant digital access on your iPad, iPhone, or Android device. The iPad version also includes video with animated tab and audio
ONLY £17.00
ONLY £6.75
Every 3 months by Direct Debit
Every 3 months by Direct Debit
March 2018
GET THE COMPLETE PACKAGE PRINT + DIGITAL BUNDLE O Receive a Guitar Techniques’ CD packed full of audio and video every issue
SAVE
31%
O Every new issue in print and on iPad, iPhone or Android device ** O Never miss an issue, with delivery to your door and your device O Huge savings, the best value for money, and a money-back guarantee O Instant digital access when you subscribe today ** Android does not have audio or animated tab!
ONLY £20.00
Save 31%, every 3 months by Direct Debit
ORDERING IS EASY. GO ONLINE AT www.myfavouritemagazines.co.uk/GTQsubs Or Call: 0344 848 2852 TERMS AND CONDITIONS Discounted subscription price: Prices and savings quoted are compared to buying full-priced UK print and digital issues. You will receive 13 issues in a year. You can write to us or call us to cancel your subscription within 14 days of purchase. Your subscription is for the minimum term specified and will expire at the end of the current term. Payment is non-refundable after the 14 day cancellation period unless exceptional circumstances apply. Your statutory rights are not affected. Prices correct at time of print and subject to change. For full terms and conditions please visit http://bit.ly/magtandc. UK calls will cost the same as other standard fixed line numbers (starting 01 or 02) and are included as part of any inclusive or free minutes allowances (if offered by your phone tariff ). Offer ends 28/02/2018.
March 2018
25
PLAY } GYPSY JAZZ
ON THE CD
TRACKS 14-21
Django Reinhardt His style in 25 licks In this special feature John Wheatcroft takes a licks based look at the unique style of Belgium born gypsy guitarist Jean Reinhardt, better known to the world simply as ‘Django’. ABILITY RATING Info Key Various Tempo Various CD TRACKS 14-21
D
Moderate/Advanced Will improve your… Picking technique Projection and dynamics Gypsy jazz vocabulary
jango Reinhardt is the complete guitarist’s guitarist. George Benson, Brian May, Jeff Beck, Hank Marvin, Peter Frampton, Les Paul, Yngwie Malmsteen, Allan Holdsworth, Chet Atkins and millions of guitarists worldwide, famous and not so famous, have been captivated by the self-taught gypsy genius who knew nothing of music theory and could barely read and write. What’s more, he only had two IXQFWLRQLQJ ¿QJHUV RQ KLV IUHWWLQJ KDQG I was around 14 years of age and was being told off by my dad yet again. “Turn that racket down, and anyway; that music’s terrible. You should listen to this guitarist. He’s by far the EHVW DURXQG ´ &HUWDLQ WKDW D UHFRPPHQGDWLRQ from my dad was bound to be rubbish and that my pointy-headstocked-wielding, spandex-wearing, uber-shredding hero could not possibly be topped (it was the 80s, after all), I begrudgingly checked him out, mainly so that I could point out how unbelievably misguided and out of touch the old man was. Such is the impetuousness of youth. +RZ ZURQJ FRXOG , EH 'MDQJR¶V SOD\LQJ had it all: technical dexterity beyond anything I’d ever heard before (or since for that PDWWHU ¿OOHG ZLWK VHQVH RI MR\ DQG playfulness. There was the feeling of no restrictions whatsoever, with such a complete expressive and dynamic delivery, and all
- - - - -
executed with total ease. I literally couldn’t believe that the guitar could sound that beautiful, and when I then learnt that he was executing all of this with mostly two fretting ¿QJHUV , EHFDPH D IDQ IRU OLIH 6R ZKHUH GLG this musical genius come from? 'MDQJR ZDV ERUQ LQ LQ LQ /LEHUFKLHV Belgium, into a family of Manouche gypsies. Prodigiously talented, by age 13 he was
DJANGO STRETCHED THE GUITAR IMAGINATION TO ITS LIMIT. HE WAS THE FASTEST, THE MOST CREATIVE, HE HAD GREAT RHYTHM, AND HE WAS A GOOD COMPOSER TOO George Benson performing with the street entertainers of 3DULV EXW LQ KH VXUYLYHG D ¿UH WKDW OHIW KLP ZLWK D VHYHUHO\ GLV¿JXUHG OHIW KDQG +H RQO\ KDG IXOO XVH RI WKH ¿UVW DQG VHFRQG ¿QJHUV EXW ZLWK JUHDW GHWHUPLQDWLRQ KH evolved a completely new method for ¿QJHULQJ XVLQJ WZR ¿QJHUV IRU VLQJOH QRWHV and making limited use of the crippled third DQG IRXUWK ¿QJHUV IRU SOD\LQJ FHUWDLQ FKRUGV Inspired by the radical new art form of
TECHNIQUE FOCUS Django’s Picking A huge amount of Django’s tone, drive and musical personality came from his incredible picking technique. The technique comes from a completely ‘broken-wrist’ motion and its accommodating floating posture, rather like a controlled version of the move you’d use to shake your hands dry, and it’s hugely weighted in favour of the downstroke. The general rule is to start each new string with a down, even when descending through a scale or arpeggio. You’ll notice that most of Django’s really fast phrases are generally ascending, although he had his moments going the other way too! To assist the production of volume for what is essentially a completely acoustic style of playing, you’re after the plectrum equivalent of the classical guitar rest-stroke, although here the destination string that our pick comes to rest is nearest the floor. The type of pick you use makes a massive difference too. Generally they’re huge (5mm is not uncommon) and made out of genuine tortoiseshell, today a pretty non-PC material to be seen with. Thankfully Michel Wegen produces by far the best and most popular man-made alternatives (www.wegenpicks.com).
26
March 2018
jazz, and the trumpet style of Louis Armstrong LQ SDUWLFXODU 'MDQJR ZDV SHUIRUPLQJ DJDLQ DQG LQ KH IRUPHG WKH 4XLQWHWWH GX +RW Club de France with Stephane Grappelli. This ZDV WKH ¿UVW DOO VWULQJ MD]] JURXS DQ XQXVXDO line-up of two rhythm guitars, violin, double EDVV DQG ZLWK 'MDQJR RQ DFRXVWLF OHDG ,Q KH YLVLWHG $PHULFD DV WKH JXHVW RI 'XNH (OOLQJWRQ DQG RQ KLV UHWXUQ KH VZLWFKHG to electric guitar and began incorporating the LQÀXHQFH RI µEH ERS¶ LQWR KLV SOD\LQJ 6DGO\ KH VXIIHUHG D IDWDO VWURNH LQ %XW HDFK \HDU in June thousands of music fans visit the Jazz Manouche festival in Samois to celebrate the legacy of this gypsy jazz maestro. ,¶YH SUHVHQWHG H[DPSOHV WKDW ZRUN LQ D variety of harmonic settings, followed by a ORQJHU EDU VWXG\ DJDLQVW D EOXHV LQ * minor. This is literally the tip of the iceberg, as , FRXOG HDVLO\ SUHVHQW DQRWKHU QHZ LGHDV each month for the next 10 years. The aim is encourage some research of your own, as this is where the real learning will begin, but for now grab your acoustic and dive in. There’s no need to play the examples using 5HLQKDUGW¶V ¿QJHULQJV DOWKRXJK LW¶V DOZD\V fun discovering how they work). In a performance situation anything goes, so I’d advise that you play them whichever way works for you. I hope you enjoy play these ideas as much as I did putting this article WRJHWKHU 6R j ELHQW{W HW ERQ FKDQFH 5
5
5 3
3
GAIN
BASS
MIDDLE
TREBLE
REVERB
The above settings are for an acoustic amp. Django used a Selmer guitar by Maccaferri, but there are many affordable replicas, from bespoke hand-built jobs from Dupont and Rob Aylward (what you hear on the CD), to great off-the-peg brands such as Gitane and Manouche. Strings are light for an acoustic (.010 or .011), but these guitars have an extra-long scale length and the action needs to be high for projection and clarity. Of course any acoustic will do until you decide to get serious about playing gypsy jazz.
N NGO REINHARDT { ACOUSTIC SPECIAL
WILLIAM GOTTLIEB / GETTY IMAGES
Django: note the withered but not entirely unusable 3rd and 4th fingers
TRACK RECORD My personal favourites are the three JSP box sets chronologically covering his career from the earliest Quintette 78s to his later electric guitar sessions. Django was remarkably consistent, and I’d happily endorse anything that has got his name on it, but if pushed to pick just one CD that showcases his finest playing I’d choose (today at least) Jazz In Paris – Swing 48 (SSC 2002).
March 2018
27
PLAY } GYPSY JAZZ
ON THE CD
TRACKS 14-21
PLAYING TIPS
CD TRACK 15
[Lick 1] We kick off with a bouncy idea than outlines the move from chord V7 (G7) to chord I (C), although you’ll notice that often Django targets not the
©»™™º
usual 3rd and 7th degrees (B and F) but the 3rd and 6th (E and A). This line, like all of these examples, should be played with a ‘swung eighth’ feel.
G 7/ 6
C
‰ E B G D A E
3 2
3
5
4
4
5
4
[Lick 2] Two omnipresent themes within Django’s soloing are the targeting of the 6th degree (here we’re looking at this against a minor triad to create R-b3-5-6 = m6), and the chromatic decoration of basic triad and 7th chords
©»™™º #
B m6
3
5
A
‰ 3
3
E B G D A E
9
10
9
11
12
9
11
12
10 14
12 14 12 11 12
[Lick 3] Django’s lines had great rhythm, and he had fantastic timing. In this phrase, usually played in a break (when the rhythm section stops playing and the soloist is left to his own devices to keep time), he superimposes a
©»¡™º #
2
3
2 3 0 5
4
3
3
4 0
6
©»¡™§ #E 13 .. ‰
4
4
5
5
9 7 7 6
5
0 7
10
12 10
9
#
6
5
6 0
8
6
7
6
G
9 12 9
10
see frequently in both Django’s soloing and his unaccompanied style, no doubt influenced by a combination of their musical effectiveness and their fingering logic when using just the first and second fingers.
A 9#5
..
‰
‰
3
7
9
3
7
9
7
7
9
. .
6
7 6 6 5
[Lick 5] We begin with a closely positioned semitone neighbour-tone decorated C6 arpeggio (C-E-G-A), moving onto a widely spaced Cdim7 (C-Eb-Gb-Bbb ), and ending with a touch of blues by targeting the b3rd (Eb).
©»™ º
9 10 9
9
chromatically ascending arpeggio idea phrased in 6 against 4. You’ll find this fingering for major arpeggios used a lot in Django’s soloing, as this is one of the easiest shapes to play convincingly with just two alternating fretting fingers.
[Lick 4] Here’s a Django intro that leads to the key of D. He uses a mixture of chords tones, Whole Tone scale and chromaticism in one lick. Augmented ideas tackled with whole steps moving diagonally are another idea that you’ll
. .
10
10
b
0 4
E B G D A E
9
D7
E B G D A E
5
but in single-note form - Django would often preface an arpeggio with a chromatic note from below, giving it much more sophistication. We can clearly see both of these concepts employed in this neat II-V-I idea in the key of A.
#
E7
5
4
5
C
5 7 5
6
4
6
4
7
6
5
4
3
7
0
To facilitate the wide stretches Django would retract the first finger and turn his wrist to an angle counter-clockwise, so these kinds of stretches presented no problem to him. Mere mortals might like to use the third finger instead.
bC
C dim
b
C 6/ 9
3
E B G D A E
28
4
March 2018
5
4
5
4
5
4
5
4
5
4
5
4
4
7
5
7 8
10
8
10
11
10
8 10 8
8 8 7 7
N NGO REINHARDT { ACOUSTIC SPECIAL PLAYING TIPS
CD TRACK 16
[Lick 6] Athough famous for his ability to play in all keys it was not uncommon for Django to change the key of a piece to allow him access to a greater range of open strings and all the natural harmonics available in keys in which the
guitar works best. This idea sets up another rhythmically displaced phrase, here 3 against 4, and he’d keep this going for as long as an entire chorus, making amendments to the note content to maintain a sense of surprise. A b9 . . . . b bb
C
Š ™ º
b
.
E B G D A E
0
10
12
11
0 10
0 10
10
11
0 10
0 10
[Lick 7] Move over Yngwie Malmsteen, here’s a ďŹ ve-string major triadic sweep lick that dates back to the early ‘30s. Once again, this is perfectly playable with just two ďŹ ngers; you just need to jump about a little bit more but this adds to
Š ™¥º #
12
11 11 11 10
0 10
11 11 11 10
11 11 11 10
G b9 G9
. b bb
11 11 11 10
11 11 11 10
9 9 9 8
10 10 9 9
the jaunty nature of the line. The phrase begins with a device bebop musicians refer to as enclosure, boxing in the root of our G major triad with the semitone below (G#), and the scale tone above (A).
G
E B G D A E
15 14 17 14
15 14 17 14 15 14 17 14
15 10
[Lick 8] This phrase spells out the chords of Dm6 (D-F-A-B), moving towards Am. As you’re no doubt beginning to spot, Django really liked to use chromatic notes to connect strong chord tones together, so in this case we’re
Š ¥§º D m6b
3
3
12
12
b nœ
j #Ĺ“
3
3
3
9
9
10
12
12
12
10 15
joining the 5th and 6th of D (A to B) with the semitone found nestling inbetween. This lick showcases the ďŹ rst instance of the semitone bend, another Reinhardt staple move and instantly recognisable as him.
3
3
12
Am
Am6/ 9
w
‰
3 BU
E B G D A E
7
6
5
6
7
4
7
8
5
7
5
5
7
7
8
4
5
6
7
E B G D A E
7
4
6 (7 )
5
D b9
C
3
3
8
0
3
2
3
3
2
0
3
0
3
2
3
3
2
[Lick 10] Never mind two ďŹ ngers, how about no ďŹ ngers! Django used this idea to begin one of his most famous improvisations, showing how if you’re A11/E
Rubato
j Ĺ“
Ĺ“
3
9
8
9
0 0
0 0
0 0
0
0
8
7
9
A 11/E
j Ĺ“
B 6 C6
8
4 4 4 4
5 5 5 5
5
Ĺ“
. Ĺ“
j Ĺ“
Ĺ“
Let ring E B G D A E
7 7 5 7
resourceful and open to any idea you really can make such a little go a really long way. Follow the picking indications and you should be good to go.
5
Ĺ“
. Ĺ“
j Ĺ“
0
C
b
3
3
7 7 5 7
(Db-F-A b-C b-E b) resolving to C. Theoretically astute readers will recognise this as a ‘tritone substitution’, and if ever there was the perfect lick to be executed with just two ďŹ ngers then this is surely it!
[Lick 9] Django had a knack of making the simplest musical ingredients sound great. In this case it’s the humble C Major scale (C-D-E-F-G-A-B), although things get spiced up harmonically speaking with a shift towards Db 9
6
Let ring
0
0
0
0
0
0 0
0 0
0 0
0
0
0
0
0
0
0
March 2018
29
PLAY } GYPSY JAZZ
ON THE CD
TRACKS 14-21
PLAYING TIPS
CD TRACK 17
[Lick 11] This lick uses the same geometric shape moved horizontally to spell out the underlying chord changes. Pick each four-note group with three consecutive downstokes and one upstroke. If you were wondering just how Django might ďŹ nger such an idea, you may be surprised to learn that he did
A7
0
2
3
3
2
3
6
6
5
3
#
9
6
7
9
8
9
8
9
12
12
9 9
8
9
6
5
6
6
10
9
10 13
10
5
9
10
10
5
4
8 8
8
7
11
10
11
11
10
us many of the intervals found within G6 (6-R-3), so therefore both can be perceived as one and the same. In this line we also see the use of D Dominant Pentatonic against D7 (R-2-3-5-b7). I prefer to see this as a condensed version of a G9 arpeggio (R-3-5-b7-9), but with all the notes found within each octave.
j #Ĺ“
D7
G
13 10
12 13
b
5
[Lick 12] As we’ve seen, a huge amount of Django’s soloing vocabulary comes from the notes contained within the actual chords themselves, and this idea is no exception. Chord/arpeggio plurality is a frequently exploited Reinhardt device. So for example, E minor (E-G-B) positioned against a G root gives
Š™¥º #
7
6
B b6
11
12
b
7
9
b
9
Ĺ“
Dm
etc
A7
E B G D A E
#
Ĺ“b
E B G D A E
actually use all four fretting ďŹ ngers on occasion, and especially for chord playing. He was just unable to move the third and fourth digits independently and without shifting his entire hand which, as you can imagine, usually proved to be too ďŹ ddly for single-note work.
G
D7
BU BD E B G D A E
7
5
4
2 5
5
3
7
10
8
10 7
9 (10 ) ( 9) 7
F #6 / 9 G 6 / 9 G #6 / 9 A 6 / 9 B b6 / 9 B 6 / 9
b
7
9
9
7
8
7 10
8 7
considered by many to be the king of the octave in jazz - and Hendrix in blues and rock - as with so many techniques Django got there ďŹ rst and made them a big part of his soloing vocabulary.
[Lick 13] You see quite a lot of 6/9 chords in Reinhardt’s style, both as an accompaniment device and as a means of adding intensity to his improvised solos. Although legendary electric jazz guitarist Wes Montgomery is
8
9 7
C 6/ 9
n
~~~
j #Ĺ“
~~~ E B G D A E
2 2 1 1
3 3 2 2
4 4 3 3
5 5 4 4
6 6 5 5
7 7 6 6
8 8 7 7
8
8
6
5
5
3
8
10
A7 b 9
.
. E B G D A E
30
9
#Ĺ“ 9 10
March 2018
8
9 10
9
8
10 9
7
6
8
7
10
and even Baroque-era classical composition, all big inuences on Django. The use of this tonality gives much of Reinhardt’s soloing style a distinctly nonAmerican jazz avour.
[Lick 14] The ďŹ fth mode of the Harmonic Minor scale, the Phrygian Dominant (R-b2-3-4-b6-b7) produces a sophisticated and highly exotic sound against a dominant 7th chord. You’ll hear it in amenco, eastern European folk music,
Š¥¥§
9
8
5
8
7
5
4
7
5
8
6
9
8 10 11
10 11 10
N NGO REINHARDT { ACOUSTIC SPECIAL PLAYING TIPS
CD TRACKS 17-18
[Lick 15] This unaccompanied intro phrase implies the harmony of D7, G13(b9) and G13, using a combination of Pentatonics and arpeggios. These stretches
Š ¥ª™
E B G D A E
encourage Django to accentuate his staccato phrasing. Once again, he’d use his dormant fourth ďŹ nger for the high E note in our ďŹ nal G13th chord. G13 b 9
D7
5
5
7
5
7
5
8
8
12
8
5
5
7
D b7
AH E B G D A E
8
10
10
10
9
7
C6
G7/D
C6
B7
Ĺ“ E B G D A E
Ĺ“
9 7 8
10 9 10
8 7
8
Ĺ“ 7 6
9 7
7
8
6 5
6
5
6
6 5
. .
E B G D A E
E B G D A E
AH
10
11
10
9
9
7
5
D b7
G7
7
D bdim
C6
5 4
5 4 4
4 3
9 7
10 9
3
8
9
9
5
5
10 10 10
5
5
10 10 10
5
B7
.
nœ
9
9
9
9
9
9
9
9
10 (11 )
10 10 10
10
10 9
Ĺ“
5
. .
10
3
4
5
4
5
7
7
3
5 5 5
were no doubt carried over from playing the violin, helped by the fact that Django favoured extremely light strings but with a really high action. B7 b 5
j Ĺ“
BU
9
G7
G
.. 5
D m7
9 8
A b7 # 9
G
5
10
Ĺ“
b
G
[Lick 19] Reinhardt was one of the ďŹ rst guitarists to exploit the potential of bending strings, along with his expert control over vibrato. These techniques
Š ™ºº #
F
displacing the shift in groups of three against two/four. He’d often move up in semitones, targeting a strong chord tone to come o at an appropriate place.
[Lick 18] This idea is about fretting the same note in two dierent locations on the guitar, sliding into the lower note and adding interest by rhythmically
Š ™¢º # . .
8
A b7
D7
bœ
9 7
12 10 10 9
chord fragment combination was inspired by the sound of a train hurtling by at top speed, so aim for accuracy and work with the metronome daily to get things up to pace.
E b7
A7
12 10 10 9
AH
7
B b7
C6
7
b
6
[Lick 17] I could easily have ďŹ lled this entire article with just Django’s fascinating chord-based ideas, such was his inventiveness. Unfortunately for now this one will just have to whet your appetite. This rapid-ďŹ re bass line and
4
6
C7 b9
AH 19
11
4
G m7 b 5
b
b
7
point at the harmonic ‘node’ point exactly 12 frets higher than the note you’re fretting with your other hand. This is a tricky, but highly eective technical approach to get under your ďŹ ngers.
[Lick 16] Our next example showcases Reinhardt’s mastery of manipulating artiďŹ cial harmonics, sometimes over a complete chorus or greater. The trick is to hold the pick between thumb and second ďŹ nger, using the ďŹ rst ďŹ nger to
Š ¥¥§
12
8
.. ..
G 13
n b
E
.
BU
9
9
9
9
9
9
9
9
9
9 (10 )
8
10
9
March 2018
31
PLAY } GYPSY JAZZ
ON THE CD
PLAYING TIPS
TRACKS 14-21
CD TRACKS 18-19
[Lick 20] The important factor when using such open-ended chromatic vocabulary as you see here is having a clear destination point in mind, so that the exit sounds bold and conďŹ dent and is approached with conviction.
Š™ºº .
b
E B G D A E
12
12
E7
11
11
#
10
10
Django’s playing always had a super-strong sense of intent at all times. One never gets the impression that he doesn’t know where he is heading with any particular musical idea.
b
B 7
n
9
9
8
8
7
7
5
5
Am
4
4
6
6
5
5
5 7
[Lick 21] Here we see a typical arpeggio based idea against the chord of F7, morphing into a bluesy phrase against our destination I chord of C. We’re exploiting the minor 3rd against major here, a typical blues move, and you see
F7
b
.
7
this kind of stu all over Django’s late 40s playing, especially when he’s using a magnetic pickup into a small valve amp. Django had heard blues guitarist Lonnie Johnson and there’s clearly some of Lonnie’s inuence at work here.
bC7
j #Ĺ“
b
~~
3 E B G D A E
10 8 8
7
E B G D A E
#
nœ #œ œ œ
8
8
10 9
9
11 13
10 12
11 13
9 10 12 13 9 10
#
10
11 10
9
9
10
12
10
12
13
11
10
8 10
9 11
9
10 7
13
F7 11
8 10
9 11
11
b .
G7
9
8
b
C7
7 8 10 11 7 8
.
n #
12
9
n
F7
.
.
9 10 10 9
9 10 10 9
.
.
7 8 8 7
7 8 8 7
Ĺ“ E B G D A E
32
8
March 2018
9
8
7
8
7
10
8
10
11
9
10
8
10 11
(D-F#-A-C and Eb) and C7 (C-E-G-Bb-Db). Once again, we can sense a strong trace of amenco in Reinhardt’s choice of notes and rhythmic phrasing.
D7
E B G D A E
10 8
# n Ĺ“Ĺ“Ĺ“ Ĺ“ Ĺ“Ĺ“
Ĺ“Ĺ“Ĺ“ Ĺ“ Ĺ“Ĺ“
C9 5
12 13
[Lick 23] And here’s a technically more challenging idea over the same chords. This time we’re utilising a chromatically decorated G7(b9) arpeggio for both D7
11 10 8
straightforward to play, the implied harmony comes from D Whole Tone scale for the D7 (R-2-3-#4-#5-b7), G Lydian b7 for G7 (R-2-3-#4-5-6-b7), and then the same choices down a tone for C7 to F7.
G7 11
10 12
11 10 8
8 7
# #œ œ nœ œ œ œ œ œ
Ĺ“Ĺ“
D9 5
8 10
9 (10 )
[Lick 22] Even though Django was completely self-taught, he’d often display a thoroughly developed sense of harmonic sophistication within his lines. While this example, against the B section from ‘rhythm changes’, is fairly
~~
BU 11 8
11
9
7
6
10
7
N NGO REINHARDT { ACOUSTIC SPECIAL PLAYING TIPS
CD TRACKS 19-20
[Lick 24] Our penultimate phrase takes the chromatic connection concept a stage further, with an initial idea that connects a selection of tone gaps consistent with E13-E9. Once again these three-note couplets are rhythmically displaced against our underlying eighth-note quaver pulse. We end this phrase
#
with another example of the enclosure concept, that is to go a semitone lower and then the scale tone higher than each chord tone that we have in sight. You can create numerous variations on these ideas by mixing up the order, although it usually sounds strongest if you exit on the chord-tone itself.
n
E7
~~~~
A
~~~~ E B G D A E
9
8
9
7
8
9
7
8
7
9
8
4
7
9
8
A7 b 9
D6
#
E B G D A E
D
b
14 12 14
15
12 11 12
14
A7
10 10 11
12
10
A
7 7 7
4
9
5
5
9
G
5 5 6
7
Dmaj7
6
6
7
3 3 4
5
D
2 2 2
2
3 0
0
2
4
5
7 7 7 7
2
10
superimposing some eective substitution in the appropriate locations, such as G7 as a precursor to Cm (the secondary dominant principle), and A b 7 in place of D7 (tritone substitution). I hope you’ve enjoyed this look into the style of one of the true giants of guitar.
COMPLETE SOLO: Minor Blues] We conclude our look at Django’s unique soloing style with a complete solo study based around a typical blues 12-bar sequence in the key of G minor. The basic chords are Im (Gm), IVm (Cm), and V7 (D7), although Reinhardt demonstrates his harmonic awareness by
Š ¥œ§
7
is quite an amazing feat considering the extent of the damage to his paralysed third and fourth digits. But the music came ďŹ rst and necessity being the mother of invention, this is but one of the many solutions Reinhardt came up with to satisfy his desire for piano-like harmony from the guitar.
D6
9 8 9
5
7
[Lick 25] Okay, so I couldn’t resist shoehorning another chordal idea in, but this one’s so cool I’m certain you won’t mind. Here we’re connecting a series of associated voicings in D major with an associated ďŹ rst-string melody note. Once again, Django would approach these with all four ďŹ ngers, which in itself
Rubato
7
b n
Gm
.
n
‰
n 3
3 E B G D A E
5
7
8
7
6
8
10
8 10 8 10
8
10
8
11
9
10
6
8
7
8
9
7
9
7
10 11
7 10 8
1
C m6
3
E B G D A E
Gm
3
10 8
8
3
3
3
10 9
8 7 10
8 10
3
3
8 10
13
j #Ĺ“ 3
3
11 15 11
BU 13 12 8 5
7 5
3 4
6 (7)
7 5
5 6
4
3
5
5
D7
D7 b 9
Gm
Gm
‰ 3 E B G D A E
3
4
3
5
3
2
4 5
4
6
5
6 4
3
8 0
7
8
5
8
5
7
4
5
8
7
8
9
March 2018
33
PLAY } ACOUSTIC BLUES
ON THE CD
TRACKS 22-29
A hundred years of
Acoustic blues In this fascinating feature Tristan Seume takes a stylistically in-depth look at the acoustic blues greats of the last century, from Son House and Mississippi John Hurt up to Eric Bibb and Kelly Joe Phelps... ABILITY RATING Info Key Various Tempo Various CD TRACKS 22-29
F
Moderate - - - - Will improve your… Slide playing in open tunings Fingerstyle co-ordination Blues licks repertoire
ew playing styles provide us with the same level of satisfaction as acoustic blues. In spite of the sorrowful tales the lyrics often tell, there is something deeply appealing about the image of sitting on the front porch with nothing but three chords and a beat-up Gibson, Harmony or Kay. With that in mind, for this feature, we’ll be looking in depth at the tricks and idiosyncrasies of the acoustic blues greats from the likes of Robert Johnson and Blind Blake, right up to date with modern day masters such as Eric Bibb and Kelly Joe Phelps. One classic sound identifying early Delta Blues was bottleneck or slide guitar, in which players would adopt an open tuning, typically open E or A, and move an object such as the neck of a bottle, a piece of copper tubing or even a knife up and down the neck creating rudimentary harmonies, and microtonal increments. Charley Patton, Son House and %XNND :KLWH ZHUH LQÀXHQWLDO H[SRQHQWV RI this style who used National resonators to SOD\ UHSHWLWLYH RSHQ DQG VLQJOH ¿QJHU FKRUGV LQWHUVSHUVHG ZLWK VOLGH ¿OOV XVXDOO\ ZLWK D simple bass-string accompaniment. Possibly the greatest of all the bluesmen (certainly according to Eric Clapton) was the enigmatic Robert Johnson, whom Son House VWURQJO\ LQÀXHQFHG -RKQVRQ¶V P\VWHULRXV demise at the young age of 27 is one of the great legends of music. Johnson made just a handful of recordings, notably Sweet Home Chicago and, of course, Crossroad Blues. 0XFK RI WKH HDUO\ EOXHV ¿QJHUVW\OH repertoire was based on ragtime – a style borne out of classical idioms such as a leaping
34
March 2018
bass pattern offset by a syncopated melody. 7KH PRVW QRWDEOH H[SRQHQW RI UDJWLPH JXLWDU was Blind Blake – a player with speed and GH[WHULW\ WKDW¶V FRQVLGHUHG UHPDUNDEOH HYHQ by today’s standards. In contrast to the mournful rural sounds of the Mississippi Delta, the lighter side of blues ZDV GHPRQVWUDWHG E\ ¿JXUHV VXFK DV %LJ %LOO
INTERNATIONALLY RENOWNED ARTISTS SUCH AS BILL BROONZY WOULD INSPIRE AND PAVE THE WAY FOR NEW GENERATIONS OF ACOUSTIC BLUES GUITARISTS Broonzy, whose more urban, populist sound would see him perform at prestigious venues to black and white audiences alike (at a time when segregation was still rife in certain areas of America). Broonzy’s sound was muscular DQG IRUFHIXO VRPHWLPHV SOXFNLQJ VR ¿UPO\ that the strings bent sharp. He was, however, a highly rhythmic and articulate player, with songs such as Hey, Hey encapsulating his light-hearted approach perfectly. Internationally renowned artists such as Broonzy would inspire and pave the way for new generations of acoustic blues singers and guitarists: Kelly Joe Phelps, a former jazz musician converted to the blues after listening to the old masters such as
Mississippi Fred McDowell, brought the skilful touch and precise intonation of a modern virtuoso to the blues. And Martin Simpson, inspired by the likes of Big Joe Williams, switches from English ballads to authentic Delta blues with ease. Another QRWDEOH FRQWHPSRUDU\ ¿JXUH LV 1HZ <RUNHU Eric Bibb, a wonderfully tasteful player with D VPRRWK YRFDO VW\OH +LV SOD\LQJ LV D PL[WXUH of Travis-style alternating bass, with chord FKDQJHV LPSOLHG E\ LPSURYLVHG ¿OOV The following pages aim to demonstrate a ZHDOWK RI EOXHV LGHDV ZLWK H[DPSOHV RI VOLGH UDJWLPH DQG VHOI DFFRPSDQLHG ¿QJHUVW\OH culminating in a sort of â&#x20AC;&#x2DC;ultimate bluesâ&#x20AC;&#x2122; that incorporates a bit of everything. As ever, our aim is for you to use these H[DPSOHV DV D ODXQFK SDG IRU \RXU RZQ creativity. This is such a wonderful style to KDYH XQGHU \RXU ¿QJHUV ± HYHQ LI EOXHV LWVHOI LV not particularly your thing â&#x20AC;&#x201C; that everyone can enhance their breadth and repertoire by adopting some of these ideas. Check out some of the fabulous footage thatâ&#x20AC;&#x2122;s now accessible RQ <RX7XEH WRR +DYH IXQ 5 3
7
7 3
GAIN
BASS
MIDDLE
TREBLE
REVERB
Most of the early bluesmen like Robert Johnson and Blind Blake used small-bodied guitars â&#x20AC;&#x201C; portable and easy to handle. I used my diminutive 00-sized Fylde Goodfellow for the recording. For slide work, steel resonators sound great, and these days, there are many good instruments in the sub-£500 range. Try a variety of slides, bearing in mind that the heavier it is, the longer the sustain will be.
OUSTIC BLUES { ACOUSTIC SPECIAL
HULTON ARCHIVE / GETTY
Son House: One of the Delta’s most legendary blues performers
TRACK RECORD There are many great acoustic blues compilations out there but here are some of my favourites: Son House, Father Of The Delta Blues: The Complete 1965 Sessions (1992); Robert Johnson, The Complete Recordings (1990); Blind Blake, The Best Of Blind Blake (2005); Big Bill Broonzy, Trouble In Mind (2000); Kelly Joe Phelps, Shine Eyed Mr. Zen (1999); Eric Bibb, Booker’s Guitar (2010)
March 2018
35
PLAY } ACOUSTIC BLUES
ON THE CD
TRACKS 22-29
PLAYING TIPS
CD TRACK 23
EXAMPLE 1: SON HOUSE Son House’s rudimentary bottleneck style was all about feel and attitude. He played with his thumb and first finger, alternately
G
C
G
hitting the bass and treble strings using open tunings such as open G (D-G-D-G-B-D) as in this example.
B 5 G 5 C5 G
C
B5 G5 C5 G
# œ D B G D G D
œ 0 0 0
0 0
0 0
œ 5 5 5
œ œ œ 0 0 0
0 0
0 0 0
0 0
0 0
œ
0 0
4 4
œ 5 5 5
0 0
œ œ œ 0 0 0
0 0
0 0
0 0 0
0 0
0 0
œ 0 0 0
œ 5 5 5
0 0
œ œ œ 0 0 0
0 0
0 0
0 0 0
0 0
œ
0 0
4 4
0 0
œ 5 5 5
0 0
œ œ 0 0 0
0 0
0 0 0
0 0
1
Tuning – Open G – DGDGBD
b
D
C5 B 5 G5
C
G 5 C5
b
B 5 G
C G
B5 G5 C
# œ D B G D G D
7 7 7 7 7
7 7 7 7 7
7 7 7 7 7
7 7 7 7 7
œ
0 0
5 5
3 3
0 0
œ 5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
œ œ
0 0
5 5
3 3
0 0
œ 0 0 0
0 0
œ 5 5 5
0 0
œ œ 0 0 0
0 0
0 0 0
0 0
0 0
œ 0 0
œ 4 0 4 0
5 5 5
5
EXAMPLE 2: ROBERT JOHNSON This intro lick is a classic dissonant phrase for a blues in A, using a descending dominant 7th chord shape, that resolves
A7/E
qq=qce
b
A 7/E
3
.
.
9 8 9
9
G 7/E
3
bn
#
to an A chord. The last notes imply an E7 turnaround chord announcing the beginning of the song.
A
N.C.
E7
3
.
.
8 7 8
8
Œ
.
Œ
PM E B G D A E
9
0
1
8
0
8
0
0
qq=qce
D7/F
5 5 6 9
0
EXAMPLE 3: ROCK AND ROLL INSPIRATION Following the intro idea, here’s a groove that inspired the classic A5-A6 phrase so common in 50s rock ‘n’ roll, but
A7
7 6 7
7
8
7
7 6 7
0
placed in the upper octave with a monophonic thumbed bass. In bar 2 fret the F# bass note with your thumb by reaching over the top of the neck.
#
A7
E7
#
œ œ E B G D A E
5 5 6 0 1
36
March 2018
5 5
5 7 0
5 7
5 8 0
5 8
5 7 0
5 7
BU 1 2 2
1
3
2
1
3
2
(4 ) 3
2
1
5 5 6 0
5 5
5 7 0
5 7
5 8
5 7
0
0
5 5
7 6 7 0
7 6 7 0
0
7 6 7
0
OUSTIC BLUES { ACOUSTIC SPECIAL PLAYING TIPS
CD TRACK 24
EXAMPLE 4: MAJOR-MINOR Robert Johnson used open tunings for his bottleneck playing on songs like Travelin’Riverside Blues. Here’s a slide riff that
#
toys with the bluesy ambiguity between the minor and the major 3rd in G major. The tuning for this example is open (G-D-G-D-G-B-D), low to high.
#
G7 9
œ D B G D G D
œ 0 0
3 3
0
0 0
0 0
3 3
0 0
0 0
0
3 3
3 3
0
5 5
3 0 3 0
3 3
5 5
0 0
3 3
0
n
0 0
0 0
3 3
0 0
0 0
0
0
3 3
0 0
0 0 0
1
EXAMPLE 5: LONNIE JOHNSON Joining up chordal passages with licks that target notes in the chord changes can add a touch of class. Listen to Lonnie
qq=qce
#
>
‰
E B G D A E
0
5
7 5
5
6
0
6
6
0 0
0
#
>
2 0
n
œ
5 7 6
1
1
A7
> œ
3
3
2 0
3
Johnson, whose playing crossed over into jazz, for an object lesson in taste. Notice the piano-like hammer-ons, which add articulation and definition.
E7
3
3
5 7 6
0
5
7
5 3
3 4
5
6
0
3 4
5
0
E7
>
3
3
>
>
5 7 6
5 7 6
3 3
6 BU BD E B G D A E
5 6 5
6 0
0
5 6 5
0
9
7
9
0
7 (8) (7) 5
6 4
2 2
0 1
0
2
0
0
4
EXAMPLE 6: BIG BILL BROONZY Here’s a similar idea, but with a repeated melodic motif, in the style of Big Bill Broonzy. Notice the semi-muted bass
qq=qce
E B G D A E
C
0 X 3 1
4
0
3
1
2
0
1 0 X 3
double-stops; Broonzy would often play with such power as to inadvertently play two bass strings at once – but it sounded great!
C6
C
C7
C6
C
1 2 X 3
1 0 X 3
1 3 X 3
1 2 X 3
1 0 X 3
0 X 3
4
0
3
1
2
0
F
F6
F
F7
F6
F
1 2
3 2
1 2
4 2
3 2
1 2
X 1
X 1
X 1
X 1
X 1
X 1
March 2018
37
PLAY } ACOUSTIC BLUES
ON THE CD
TRACKS 22-29
PLAYING TIPS
CD TRACK 23
#
F
F7
F dim
G
C
# E B G D A E
0
4
0
3
1
2
1 2
0
X 1
X 1
5
1 2
1 2
X 1
1 2
2
0 0
0
3
3
0
0
3
X 3
2
4
0
3
1
2
1 0 2 3
0
X 3
X 3
PLAYING TIPS
CD TRACK 25
EXAMPLE 7: BROONZY TURNAROUND Broonzy’s light-hearted approach is shown here, with a turnaround phrase for the last four bars of a 12-bar in E
3
B 7/A
qq=qce
.
A7
#
E B G D A E
5
4
4
4
0
7
5
0
E7
3 4
major. Notice the lack of the usual V chord at the end of this phrase, giving a sense of urgency to the overall feel.
2
0
2
0 2
0
0
1
EXAMPLE 8: MISSISSIPPI JOHN HURT For a more country-blues sound, in the vein of great guitarists such as Mississippi John Hurt or John Fahey, try this
4 3 4
0 3 4
0
0
2
3
3
0
4
3
0 0
0
0
0
G
6
5
7
0 0
1
6
5
3
0
0
0
0
3
4
0 0
4
0
5
. 6
5
0
D
D7
#
5
5
2
38
0
March 2018
3
2
4 0
. 3
4
5 0
2
4 0
6 4
5
7
7
0 0
10 0
0
4 5
D
.
.
3 0
Tuning – Dropped D
5
2
.
E B G D A D
E B G D A D
0
1
dropped D tuning (low to high D-A-D-G-B-E) and alternating the bass as shown here. This style re-occurs often in the playing of these bluesmen.
D
#
3
0
0
OUSTIC BLUES { ACOUSTIC SPECIAL
Big Bill Broonzy: He inï¬&#x201A;uenced many later blues musicians
March 2018
39
PLAY } ACOUSTIC BLUES
ON THE CD
TRACKS 22-29
PLAYING TIPS
CD TRACK 25
EXAMPLE 9: DOCWATSON Doc Watson’s take on the blues crosses over with country and bluegrass. Note the banjo rolls in bars 3-4, which arpeggiate an E7
b
E7
qq=qce
chord. Why not try hybrid-picking this example, using a pick and your second and third fingers.
A 7 9/E
E7
b .
#
ΠE B G D A E
7
6
5
6
5
6
0
1
5 6
0
0
5 0
b
A9
A7 9
3
7
0
6
5
5
5
0
3 6
0
3
4
4
0
0
0
E
nœ #œ œ œ E B G D A E
0
4
N.C.
b .
#
4
3 4
n
œ
5 6
5
0
5
0
0
5
3
2
4
2
4
2
2
w
4
3
2
1
5
4
3
2
PLAYING TIPS
CD TRACK 26
EXAMPLE 10: JOSH WHITE For a minor blues like this one, the impeccable Josh White sometimes played offbeat grooves, beginning with a bass note and Am
qq=qce
F
.. . .0
E B G D A E
followed by choppy chords, to give a driving feel over which he could sing his deeply narrative songs.
‰ ‰ ‰ 0 1 2 2
0 1 2 2
0 1 2 2
E7
‰ 0 1 2 2
0
0 1 2 2
‰ ‰ ‰ 0
5
3
1 1 2 3
3 1
G 7/B
œ
0 0 1 0
0 0 1 0
œ
C
‰
5
0
3 1
. . 0
0 1 2 2
0 1 2 2
0 1 2 2
G6
C
G7
3
3
3
3
0
implied passing chords, and also how he would regularly pre-empt the beat by changing the chord early - which sounds very modern.
F7
3
qq=qce
œ
œ
‰ ‰ ....
..
‰
0
EXAMPLE 11: BLIND BLAKE Blind Blake’s style was highly individual and greatly admired. This ragtime style excerpt shows his sophisticated use of
‰
1 1 2 3
œ
1
1
C
1 1 2 3
Am
œ
Œ
Œ
œ bœ nœ œ
œ
œ
3 E B G D A E
1 0 3 3
1
40
March 2018
3
1
2
3 0
0 3
1 1
2
1 0 3
0
4 3 1
2 3
1 0
0 1
2
3
0
1
0 0
2 3
1
0 2
1
OUSTIC BLUES { ACOUSTIC SPECIAL PLAYING TIPS
CD TRACK 26
A7
D7
3
G
3 2
F7
3
‰ ‰ œ J
2
2 2
0
G 7/B
‰ 3
1 0 3
3
5
b n
Œ
Œ
1
0
3 0
3
2
1
1 0
2
0
4 3 1
3
1
EXAMPLE 12: REV GARY DAVIS Here, we recall the straightforward gospellike harmony of the Reverend Gary Davis, using an alternating bass (played as
qq=qce
C
G6
3
3
1 0
2
0
C
3
3
ΠE B G D A E
C
3
2
1 0
0 1
3
2
3
ever, with the thumb) and incorporating ‘blue notes’ such as the minor 3rd, Eb in bar 1, which resolves up to the major, immediately afterwards.
C
G
œ E B G D A E
0
0
4
0 3
3
0
3 0
0
3
1
3
0
0
3
3
1
C
C7
0
3
0
3
3
2 0
0
3
#
F
0
0
F dim7
G7
‰
‰
‰
2
3
C
# E B G D A E
0
4
0 3
0
3 0
3
3 2
3
2
2
3 1
1
5
2
3
0
1
2
0 2 3
3
3
PLAYING TIPS
CD TRACK 27
EXAMPLE 13: ERIC BIBB Eric Bibb’s blues playing is fresh and sophisticated. This idea demonstrates his style of playing a slow, simple groove over which he
qq=qce
A
D /A
3
#
A
sings, interspersed with Pentatonic and Mixolydian licks (R-2-3-4-5-6-b 7). The tricky part is keeping the bass going through it all.
A7 3
3
3
3
3
PB4 E B G D A E
5 6 0
0
4 5 5 6
5 5 10 0
0
0
7
7 7 0
5
5 6
7 0
3 3 3 5 5 5
3 3 3 3 3 3 3 3 3 5 5 5 5 5 5 5 5 5
0
0
0
0
BD (5)(4 ) 2 0
4 2
2 0
0
0
0
1
March 2018
41
PLAY } ACOUSTIC BLUES
ON THE CD
TRACKS 22-29
PLAYING TIPS
CD TRACK 27
EXAMPLE 14: ERIC BIBB DORIAN GROOVE This driving G Dorian groove (R-2-b 3-4-5-6-b 7) is typical of Eric Bibb’s arresting solo style, which brilliantly
qq=qce
Gm
œ
œ
5
0 3
1
C
> >
. .
0 3
1 Gm
C /G D m/A
..
3
E B G D A E
melds the traditional with the sophisticated. Notice the unusual low-string chord voicings here.
F/C G m/D
2 3 3
C
3
3
3
œ
œ
œ 0
3 5 5
3
2 Gm
C/G Dm/A
> > 0
5
2 3 3
3
F/C G m/D
Gm
3
œ
E B G D A E
. .
> > 0 0
5
2 3 3
3
3
3 5 5
2 3 3
5
5
3
0 3
5
EXAMPLE 15: KELLY JOE PHELPS Phelps is a slide guitar master, regularly playing in open D (D-A-D-F#-A-D) which is essentially the same as open E but
0
6 5 4
0
3 5 5
2 3 3
3
5
#
5
> >
0 3
3
3
> >
3 5 5
2 3 3
5
3 5 5
D 7#9
C /G Dm/A
3
> >
3
..
0
3 5 5
C/G Dm/A
3
5
5
with all the strings tuned down a tone from there. He plays licks where he switches from regularly fretted notes to notes played with the slide. G
N.C.
n
...~~~~~
n # ~~~~~
D A F# D A D
0
3
5
0
4
0
3
0
3
2
0
0
0
3
0
3
0 0
1
3
BU (4)
5 5 5 0
Tuning – DADF#AD
PLAYING TIPS
CD TRACK 28
EXAMPLE 16: KELLY JOE PULL-OFFS One of his favourite tricks is to play pullsoffs from notes played with the slide, such as in this example - be careful not to
#
be too heavy-handed with the slide, as you don’t want to push the notes all the way down to the fretwire.
N.C.
D A F# D A D
5
0
7
0
0
9
0
0
10 0
0
10
12
12
0 0
1
EXAMPLE 17: MARTIN SIMPSON, RY COODER By lightly strumming behind the slide, providing you don’t mute the strings as normal, you can create Dm
#
...~~~~~ .. .
^
g ^
D A F D A D 1
Tuning – DADFAD
42
March 2018
~~~~~ 12 12 12 12 12 12
Am
.. ... .
^
g ^
~~~~~
~~~~~ 12 12 12 12 12 12
7 7 7 7 7 7
atmospheric chords - players like Martin Simpson and Ry Cooder like this technique. Use open Dm tuning here, also known as D-A-D-F-A-D. Gm
... .. .
^
g ^
~~~~~
~~~~~ 7 7 7 7 7 7
5 5 5 5 5 5
Dm
~~~~~~
^
w
gg ^
~~~~~~ 5 5 5 5 5 5
12 12 12 12 12 12
OUSTIC BLUES { ACOUSTIC SPECIAL Eric Bibb: Modern, sophisticated blues singer, songwriter and guitarist
March 2018
43
PLAY } ACOUSTIC BLUES
ON THE CD
TRACKS 22-29
PLAYING TIPS
CD TRACK 29
EXAMPLE 18: PUTTING IT ALL TOGETHER Here’s a piece that I’ve concocted using a variety of the ideas from some of the guitarists featured in the rest
qq=qce
of the article. When you’ve learnt this, why not put some of your personal favourite licks together and come up with something of your own?
A7
E7
3
#
j nœ
œ E B G D A E
9 8 9
9 8 9
9 8 9
5
5
5
5
5
6 5
5
5
5
5
0 2
#
0
0
Am
3
j nœ œ
E B G D A E
3
1 0
0
1
2
1
A7
œ
5
3
4
œ
Π3
2 2
1 1
0
5
3
2
0
5
2
0
0
2
0
1 2
2
0
0
1 2
0
0
1 2
0
n # 3
5
3
1
2
0
2
0
BU 3 (4 )
0
4
#
3
D7
A7
j œ
n E B G D A E
0
7 5
6 4 0
7 5
5
7
5
7 5
0
5
1 2
0
0
8
E7
3
#
E B G D A E
4
4
3
0
7
3
4
12
E7b9
3
4
0
0
3
4 0
5 0
4 0
9
10
8 9
2 0
0
2
1
1
2
0
0
0
5
2 0
0
5
4
5
4
3
4
3
G #dim7
A
j
2
2 2
March 2018
œ n #
Œ
œ nrit
0
2
0
A7
1
0
^
^
ggg œ
ggg
^3
1 0
0 0
10 11
A7
3
15
44
2 0
4
6
œ nœ E B G D A E
8 10 8
10
D7
3
7
E7
#
3
3
j œ #
Œ
1 2
2
n
Œ
#
1 2
3
7
5
7
6
5
0
3
4 3
4 5
0
3
4
^5
g
6 5 0
3
OUSTIC BLUES { ACOUSTIC SPECIAL
Kelly Joe Phelps: Another great modern acoustic blues virtuoso
March 2018
45
PLAY } ACOUSTIC
ON THE CD
TRACK30
Nick Drake Stuart Ryan unveils the exotic tunings and beautiful melodic and rhythmic concepts used by the legendary singer-songwriter Nick Drake.
guitar styles but the amazing thing about Nick Drake was that he was using these tunings in the 70s - the use of DADGAD was only becoming prevalent from the guitar work of 'DYH\ *UDKDP LQ WKH V VR WR ÂżQG 'UDNH using such a range of tunings shows his unique approach to guitar. 7KHUH DUH VRPH Ă&#x20AC;HHW UXQV LQ 'UDNHÂśV PXVLF so your fretting hand will need to be up to speed on its hammer-on and pull-off WHFKQLTXHV WR PDNH VXUH HYHU\WKLQJ Ă&#x20AC;RZV 7KH picking hand will also require the ability to play a strong consistent rhythm - one of the most striking things about Drakeâ&#x20AC;&#x2122;s
YOUR FRETTING HAND WILL NEED TO BE UP TO SPEED ON ITS HAMMER-ON AND PULL-OFF TECHNIQUES TO MAKE SURE EVERYTHING FLOWS accompaniment is how steady it is and how much it grooves, propelling the music along. Today we are in the unusual tuning of B-E-B-E-B-E (low to high). Youâ&#x20AC;&#x2122;ll notice that all four lower strings are dropped down considerably compared to concert pitch. When using tunings as low as these you may ÂżQG WKH VRXQG UDWKHU PXGG\ LQ WKH EDVV ,I VR try a capo at the 2nd fret or beyond - the tone ZLOO EH EULJKWHU OHVV Ă&#x20AC;DSS\ DQG ZLWK PRUH separation between the notes.
Info Key: E Tempo: 140bpm CD: TRACK 30
T
Will improve yourâ&#x20AC;Ś Picking-hand rhythm Accompanying skills ConďŹ dence in open tunings
roubled folk pioneer Nick Drake was a great English singer-songwriter and his hauntingly beautiful music stands out for both its lyrical and melodic quality. Drakeâ&#x20AC;&#x2122;s guitar work is full of unique ideas with a melodic motion that pulls you in with every twist and turn. Altered tunings formed a huge part of his style; from simple tunings such as open D (D-A-D-F#-A-D) and double dropped D (D-A-D-G-B-D) through to those where he
would use unisons on the bass strings (B-B-D-G-B-E and A-A-D-E-B-E). A repertoire based around such disparate tunings would cause problems between songs. $ VK\ PDQ ZKR IRXQG LW GLIÂżFXOW HQRXJK performing in front of people, the agony of the silence between tuning changes was one of the reasons Drake didnâ&#x20AC;&#x2122;t enjoy playing live. As a result of these sometimes bizarre tunings Drakeâ&#x20AC;&#x2122;s guitar work gave him access to beautiful, ethereal chords that sometimes only altered tunings can achieve. Couple this with the low resonance of his detuned sixth DQG ÂżIWK VWULQJV DQG \RX KDYH D JUHDW ELJ guitar sound to complement his voice. Acoustic guitarists Martin Simpson and the late Michael Hedges also use(d) a large number of altered tunings to service their
NEXT MONTH Stuart looks at the style of another tragically starred musician, Elliott Smith 5
6
6
6 3
GAIN
BASS
MIDDLE
TREBLE
REVERB
Nick Drake played a Guild M20 acoustic. In some altered tuning situations a small-bodied guitar can help - it is less likely to muddy up as much as some dreadnoughts on the low register. If you plan to use a lot of altered tunings itâ&#x20AC;&#x2122;s also worth exploring how different scale lengths affect the guitar. A longer scale OM style may be preferable to the shorter 000.
TRACK RECORD Nick Drake only recorded three albums in his lifetime and all are indispenable. You can start with the best of, Way To Blue, but you would be as well off getting hold of Five Leaves Left (his debut, recorded when he was still at Cambridge University), Bryter Later and Pink Moon (his final album stripped bare of the band and orchestration of the other two). 46
March 2018
JEFF MOORE / PHOTOSHOT
ABILITY RATING - - - - - Easy/Moderate
ACOUSTIC SPECIAL
DRAKE EXAMPLE NICK DRAKE STYLE
CD TRACK 30
[Bar 1] A classic intro with a descending line. Nothing tricky but be careful
[Bar 11] A good exercise is to take sequences like this and then try them with
with the low bass notes - don’t whack them too hard or they’ll flap about!
as many different rhythmic permutations as you can think of. Listen to how effortlessly Nick Drake accompanied himself, varying things when he felt it necessary, or simply to maintain listener (and player) interest.
[Bar 8] Big chords in open tunings like this can sound muddy so new strings
and a lighter touch may help; or try a capo and play in a higher key.
©»¡¢º #
#
E 5/B
E add 11
E add11/B
œ E B E B E B
0
œ
4
5 7
E /B
4
5 7
0
0
5 7
5 6
0
œ
4
4
5 6
0
5 6
0
4
5 5
0
œ 4
5 5
0
0
œ 5 5
0
œ 4
5 4
0
5 4
4 0
5 4
1
Tuning BEBEBE
#
E5
E add 11
E add11/B
E /B
# œ E B E B E B
5 7
4 0
0
4
5 7
5 7
5 6
4
E
4
5 6
0
0
0
5
#
œ
œ 5 6
4
5 5
0
0
0
B 7(add11)
4
5 5
4 5 4 0 0 0
5 5 0
Asus2
E add9/G
#
œ E B E B E B
# E B E B E B
0 2
0 2 4
9
0
2
5
B sus4
7
7
0 0 0 4 5 0
0
0 5
E5
0
0
0
7
0 0
0
0
5
0
0
5
4
Asus2
0
0
0
0
0
0 5
0 4 5
0
7
E add9/G
0
0
0
5
0 4
7
0
7
0
#
0
0
0
0
0
7
13
March 2018
47
PLAY } ACOUSTIC
ON THE CD
TRACK 30
EXAMPLE NICK DRAKE STYLE
CD TRACK 30
[Bar 23] One of those fleet fingered runs to watch for - the trickiest thing is perhaps the transition from the steady fingerpicking sequence into something like this, and then back again. Make sure you lay back and don’t rush.
#
B sus4
#
E5
œ E B E B E B
[Bar 29] A simple variation on the opening sequence, taking advantage of the possibilities and varieties of arpeggiating a chord sequence. In this strange but very appealing tuning the notes sound simply gorgeous.
C m7
œ œ
œ
0 0 5 7
7
0
0 0
7
0 0
0
0
0
0
4
5
#
Asus2 11
0
œ
5
0
4
œ
nœ œ
0
0
0
0
2
0
3
nœ œ 2
0
5
5
œ œ œ
œ
0
0
3
2
0
E
œ
œ
w
0
3
2
0
0
2
0
0
25
#
E 5/B
E add 11
# œ E B E B E B 29
48
4
5 0
March 2018
E add11/B
E
œ 7
7
5
œ
5
4
5
7
6 0
6
0
3
0
0
3
0
0
œ œ œ
#
3 3
0
0 0
Bmadd11/F
œ
5
0
G6
G6
0 0
2
E m9
0 0 0 4 5 0
0
œ E B E B E B
0
œ œ nœ
21
#
0
0
2 2
B7
A maj9
œ
0
0
0
œ œ E B E B E B
œ
œ
17
#
Bsus4
5
5
4
5
6
5 0
5
5
5
5
5
4 0
4
3
0
Find Your Perfect Tone Every issue, Guitarist brings you the best gear, features, tuition and interviews to fuel your passion for guitar
Guita t m a ine is also available on Newsstand for iPhone, iPad & iPod touch Also available to order online at www.myfavouritemagazines.co.uk
PLAY } ACOUSTIC
ON THE CD
TRACK31
Traditional folk-blues When Stuart Ryan visited a house in New Orleans he wound up ruined, but not before heâ&#x20AC;&#x2122;d arranged and transcribed this fabulous folk-blues tune for you. ABILITY RATING - - - - - Moderate Info Key: Am Tempo: 100bpm CD: TRACK 31
Will improve yourâ&#x20AC;Ś Travis picking Chord stretching Style arrangements
T
hink of House Of The Rising Sun and itâ&#x20AC;&#x2122;s impossible not to imagine The Animalsâ&#x20AC;&#x2122; version of the tune. With Hilton Valentineâ&#x20AC;&#x2122;s arpeggiated Gretsch intro chords (that everybody had to learn as their six-string rite of passage in the 60s), Eric Burdonâ&#x20AC;&#x2122;s fantastic vocal delivery, Chas Chandlerâ&#x20AC;&#x2122;s thumping Epiphone Rivoli bass and of course that unforgettable organ solo from Alan Price. However it is actually a traditional American folk song (some even believe it to be a traditional English folk song that was taken over to the States and turned into a blues number), and has been recorded by artists as diverse as Bob Dylan and Nina Simone. Even The Beatles did a version. One
TECHNIQUE FOCUS Arranging Styles When sitting down to arrange a piece of music for solo guitar itâ&#x20AC;&#x2122;s worth thinking about the style you are going to create the arrangement in. As you can see here I have used the Tommy Emmanuel/Chet Atkins inďŹ&#x201A;uence for the ďŹ rst run through and then ďŹ nished oďŹ&#x20AC; with some Martin Taylor/Joe Pass inďŹ&#x201A;uenced ideas. Sometimes this approach can be enough but it might also serve as an indication that you need to get some more styles under your ďŹ ngers.
of our favourites is by the black acoustic blues man Josh White, whose heartfelt rendition takes some beating.Whiteâ&#x20AC;&#x2122;s 1947 recording predates The Animals by 17 years, it also sticks to the original narrative which talks about a New Orleans brothel, not a gambling den as Burdon, Price and co had it. For the solo acoustic guitar player, songs like this can either be a great bonus or a hindrance: a bonus as the simple melody offers many arrangement possibilities; a hindrance as the man in the street is so used WR KHDULQJ WKDW ÂżUVW DUSHJJLDWHG $ PLQRU chord that he may look at you strangely if you do anything different. +RZHYHU LW LV D VXUH ÂżUH ZLQQHU WR KDYH LQ the repertoire as its universal appeal and LQQDWH EOXHVLQHVV PHDQV WKDW LW VKRXOG ÂżQG favour, whatever the audience. So how do we go about arranging such an iconic piece of music? I decided to take two GLIIHUHQW DSSURDFKHV ÂżUVWO\ WR LPDJLQH KRZ D Travis picker such as Tommy Emmanuel might approach it and then to tip a hat to The Animalsâ&#x20AC;&#x2122; recording and use some arpeggios but with more sophisticated voicings and physical stretches, as a jazz guitarist like Martin Taylor might do. If you are new to Travis picking this arrangement will give you a great opportunity to work on the technique as the melody notes are quite long and you can really focus on putting the bass line and top melody together. If you are already a Travis picker you wonâ&#x20AC;&#x2122;t encounter too many problems, but itâ&#x20AC;&#x2122;s worth thinking about the tail end of the arrangement where you can try your rolling arpeggios on some tricky chords â&#x20AC;&#x201C; remember that with all guitar styles the fretting hand should be able
JOSH WHITEâ&#x20AC;&#x2122;S 1947 RENDITION PREDATES THE ANIMALS BY 17 YEARS; IT ALSO STICKS TO THE ORIGINAL NARRATIVE THAT TALKS ABOUT A NEW ORLEANS BROTHEL! to play anything it is required to, and bigger stretches must be overcome. When playing the chords make sure everything rings out so the melody can be clearly heard against the underlying harmony. Itâ&#x20AC;&#x2122;s really worth taking a simple song like this and re-arranging it (and check out Josh Whiteâ&#x20AC;&#x2122;s version with its bluesier chords). Enjoy learning this arrangement, but do use it as a springboard for your own ideas. 5
5
5
3
3
GAIN
BASS
MIDDLE
TREBLE
REVERB
Any guitar will do here â&#x20AC;&#x201C; a nice full-bodied acoustic or even a clean-toned electric or semi-hollow (Chet Atkins played a fair amount of his repertoire on a Gretsch). Many of the blues guys (including Josh White, pictured opposite) chose smaller-bodied acoustics for their mix of clarity and projection. The above settings are a starting point for an acoustic amp.
TRACK RECORD Everyone is probably already familiar with the version (that many people mistake as the original) recorded by The Animals. But you could try listening to versions by Bob Dylan or Nina Simone as their reading of it could give you some indication of how to adapt the melody. Josh Whiteâ&#x20AC;&#x2122;s much more mournful and bluesy version is on various compilations including the CD Blood Red River. 50
March 2018
BETTMANN / GETTY IMAGES
USE OF THE RISING SUN
ACOUSTIC SPECIAL
Josh White: top folk-blues man here with a stunning black Martin 000-42
March 2018
51
PLAY } ACOUSTIC
ON THE CD
TRACK 31
PLAYING TIPS
CD TRACK 31
[Bar 1] This is a little co-ordination exercise as you have to ensure that the hammered-on chords are played in time with the picking hand that’s sounding the alternating bass line. Larger chords in bar 2 create even more of a challenge so work on that fretting-hand strength and timing. [Bar 5] Here is the melody - it is syncopated in places (played off the beat) so if you are new to the technique try playing the bassline and chords separately at
first to get a sense of what is going on before you put both parts together. [Bar 7] A swift movement is required from the barred Am7 chord back to the open C chord where the melody appears at the 3rd fret. Try this slowly at first. [Bar 13] This more complex bass line will push you a little further with your Travis picking; it’s easy to get stuck in the rut of playing only one alternating bass pattern, so it’s crucial to be able to adapt to any variation.
#
©»¡ºº Am11
Am11 5
œ
œ
œ
œ
PM bass throughout E B G D A E
2 2
0
2 2 0
0 0
2 2
0 0
2 2 0
2 2
0
0 0
2
0
1 2 3
0 0
0 0 0
1 2 3 0
1 2 3
0 0 0
1 2 3 0
1 2 3
0
0 0 0
1 3
0
1
Am11
Asus2
C
.
. E B G D A E
1 2 2
0
0 0 0
1 2 2 0
1 2 2
0 0 0
1 2 2 0
1 2 2
0
0 0 0
1 2
0
1 2 2
0
0 0 0
1 2 2 0
1 2 2
0 0 0
1 2 2 0
0
2
2
2
0
2
0
0
1 2
3
2
3
3
D /F
#
F
.
# E B G D A E
3
0
2
6
D /F
2
3 1
.
2 0 2
3
2 3
3
2
2
0
1
D/F
March 2018
2 0
0
1 3
2
2 3
2
2
0
0
2 2
2
2
2 0
2
2
2
0
0 2
2
0
0
1 2
3
2
3
A5
0
1
2
#
3
0
1 2 1
2 0
Am7
3
3
1 1 2 3
2
2 0
...
5 5 5
5 5 5 5
5 5
0
C
.. .
..
n
2
0
0
F
2 0
2
2
0
. 3
.
.
# 2
2
E
. 0
3
0 0 1
5
C
13
52
0 1 0 2
.
1
.
0
3 1 0
C
.
œ
A5
1 2
0
2
2
5
5
..
n
Asus2
E B G D A E
5 5 5 5
A sus2
E
...
F
3
10
5 5 5
2 3
1
#
# E B G D A E
1 2
C
.. .
..
n
2 0
Am7
5
3 1 0 3
0 1 0 2
3
2
ACOUSTIC SPECIAL
USE OF THE RISING SUN PLAYING TIPS
CD TRACK 31
[Bar 16] Sometimes a lick like this can be a useful ‘punctuation mark’ (or just an opportunity to show off!). I remember seeing Tommy Emmanuel throw in licks like this and it always sounded very impressive to me and his audience. [Bar 20] Here is a ‘response’ lick – a common device in blues both vocally and on guitar; whereas the previous idea is descended from the first string, we now have an ascending idea from the sixth string that leads nicely to the E.
N.C.
E aug
[Bar 22] For this Martin Taylor-style section, big chords and flowing arpeggios are the order of the day so make sure everything is clean, even and well timed. [Bar 29] This sequence featuring a descending bass line has obvious echoes but it’s actually based on an old Broadway sequence that found its way into the rock arena. It’s a useful device – as the top line ascends, the bottom one descends and this contrary motion idea should be in any arranger’s arsenal.
Asus2
C
D 7/F
w E B G D A E
5
8
0
6
6
7
0
6
6
5
6 5 6
2 2
0 2
2
0
E
A5
2
0
0
Asus2
0
1 0 3
2
N.C.
2 2
2
0
0
19
0
1
2
2
0
C add9
E B G D A E
2
12
8
9
8
12
10
8
4
10
0 2 3
3
0
3
10
8
10
5
0
0
0
D7/C
Fmaj7
10
10 9 10 8
3
2
9
12
10 7 9 7
8
8
5
0 0 1
9 7 9 8
8
Am/maj9/G
5 5 5 7
5
E 7 9/F
10
5
5
5
5
5
b
E 7sus4
10
9
Am
7
5
5
7
Fmaj9/A
b
8
0 1 2
5
8
27
10 10 11 10
2
1
E ( 9)
7
E B G D A E
0
10
8
3
3
Amadd 9
C maj9/F
11
3
1
...
1
10
E m7
E B G D A E
0
1 2
0
3
2
E
D7
8
23
2 2 0
2
0
3
# 2
n 3
2
. E B G D A E
F
# 5
16
#
#
7 5 5 6
5
5
5
5
A m7/G
A m7/C
8 5 5 5
12 10 12 10
Amadd 9
5 9
9
5
5
5
30
March 2018
53
PLAY } CLASSICAL
ON THE CD
TRACKS 32-33
Moonlight Sonata Ludwig van Beethoven Bridget Mermikides has elegantly transposed this stunning peice by Ludwig van Beethoven, one of the most inďŹ&#x201A;uential composers of all time, from piano to guitar. ABILITY RATING Info Key Am Tempo 70bpm CD TRACKS 32-33
T
Moderate/Advanced Will improve yourâ&#x20AC;Ś Classicaltechnique Romanticrepertoire
his classical piece is one of Ludwig van Beethovenâ&#x20AC;&#x2122;s most well-known piano solos. In fact itâ&#x20AC;&#x2122;s one of the most familiar of all classical pieces, and is recognised by almost everyone whether they know what itâ&#x20AC;&#x2122;s called or not: the moody and evocative Moonlight Sonata. The piece was originally called Quasi Una Fantasia, meaning â&#x20AC;&#x2DC;almost a fantasyâ&#x20AC;&#x2122; and the title Moonlight Sonata only came after Beethovenâ&#x20AC;&#x2122;s death,
- - - - -
Arpeggio playing
when music critic and poet Ludwig Rellstab compared the effect of tune to that of moonlight shining on Lake Lucerne. The usual format for a Sonata is three movements, the tempos of which are normally fast, slow, fast. But this piece breaks that mould with a slow and extremely melancholy ÂżUVW PRYHPHQW 7UDJLFDOO\ %HHWKRYHQ ORVW KLV hearing towards the end of his life and the Moonlight Sonata was written in the early stages of his deafness. The piece was dedicated to Beethovenâ&#x20AC;&#x2122;s pupil, 17-yearold Countess Giulietta Guicciardi to whom the composer had proposed a marriage. The marriage - to this obviously much older man - was forbidden by the parents of the Countess and the pieceâ&#x20AC;&#x2122;s tragic quality has made a strong impression on many listeners. Indeed, John Lennon is said to have loosely based his song Because from The Beatlesâ&#x20AC;&#x2122; Abbey Road album on it, in order to capture the same sad mood. The French romantic composer Hector Berlioz is quoted to have said, â&#x20AC;&#x153;It is one of those poems that human language does not know how to qualifyâ&#x20AC;?. Beethoven Beethoven: himself, however, became his Moonlight exasperated by the popularity Sonata, a tale of of the piece saying, â&#x20AC;&#x153;Surely unrequited love Iâ&#x20AC;&#x2122;ve written better things!â&#x20AC;?
Piano music arranged for solo guitar is always compromised by the fact that we cannot play as many notes simultaneously as a pianist is able to. So some editing is necessary to make it physically playable, while striving to maintain the harmony, voicing and spirit of the piece. Also, in order to play it effectively on guitar it has been transposed from the original key of C#m to the far more guitar-friendly Am. This not only makes it easier to play, it actually makes it sound better on the guitar, as it uses the natural resonance of the instrument in that register - and of course some open strings - to good effect. Purists might balk at such downright blasphemy, but weâ&#x20AC;&#x2122;ll risk their
PIANO MUSIC ARRANGED FOR SOLO GUITAR IS COMPROMISED BY THE FACT THAT WE CANNOT PLAY AS MANY NOTES SIMULTANEOUSLY wrath this time in the knowledge that Ludwig himself would have probably loved the idea. If you enjoy playing this piece try arranging other famous classical tunes by Bach, Mozart and Schubert for the guitar. Many of them translate really well and itâ&#x20AC;&#x2122;s most educational, a really worthwhile challenge and also a lot of fun. And of course you can also transpose pieces to more familiar keys should the opportunity present itself. Anyway, Iâ&#x20AC;&#x2122;m sure weâ&#x20AC;&#x2122;ll be returning to this idea in the months to come so, as always, your suggestions are most welcome. NEXT MONTH Bridget arranges the Oboe Concerto in Dm by Alessandro Marcello
TRACK RECORD Thereâ&#x20AC;&#x2122;s a great album of Beethovenâ&#x20AC;&#x2122;s best-known sonatas out on Decca. Entitled Beethovenâ&#x20AC;&#x2122;s Favourite Piano Sonatas it has all three movements of the Moonlight, as well as Pastorale, Tempest, Appassionata, Waldstein, Rondo, Les Adieux and more. Itâ&#x20AC;&#x2122;s a great place to start if you want to try your own transpositions of the great manâ&#x20AC;&#x2122;s piano music for guitar. 54
March 2018
MOONLIGHT SONATA { LUDWIG VAN BEETHOVEN PLAYING TIPS
CD TRACK 33
[Bars 1-12] The start of the piece sets up the arpeggio accompaniment figure and is straightforward: bass notes are plucked with the thumb and the arpeggios notes with i-m-a. Keep the volume low and, to help the melody stand out from the accompaniment, rest stroke can be used. A barre is needed at bar 10 but can be dropped on the last beat when the Eb note comes in. Adagio sostenuto Am
The barre is back at bar 12 but should be placed on the final 16th note of bar 11. On beat 2 of bar 12 we unfortunately lose the full length of the melody note Eb when reaching down for the bass note G. However the ear manages to still ‘hear’ the melody note even though it does not sustain and it does not spoil the overall effect of the piece.
Am/G
3
3
3
3
3
3
œ œ w
œ œ
œ œ
œ œ
œ œ w
œ œ
œ œ
E B G D A E 1
1
2
2 0
i m p E7
a
i
a
1
2
2
m
Am/E
3
1
2
2
i
m
E sus4
3
#œ œ œ œ
a
1
2
2 i
m
œ 1
2
2
1
2
2
3
2 4
3
1
2
1 2
0
0
Am
Dm
£ œ¡
3
3
œ œ
œ œ
1
2
2
0
0
¢œ
0
2
œ .œ œ œ
œ œ œ œ
œ £Œ
œ
3
0
3
2
0
‰ # £ w
b
b .
œ
¡
œ
‰
.™
b£
5
6 8
5 6
5
5 6
Gm
5
1 2
3 5
5
C m6/E
™
¡
5
4
0
1
4 3
5
2
5
¡
‰¢
6
7
5
2
1 3 5
6
4
1
3
5
£
œ
3 3
3
3
œ œ. œœ œ 3
3
3 2
4
3 2
4
0 2
5
œ
6
3
0
4
6
5
2
b
3
6
4
#™
4 6
5
4
6
3 4
w
5
4
2
5
2
0
1
D7
™ ¡ ¢ £ ¡
œ
3
3 1
3 0
2
5
G
3
3
3
2
1
2
Gm
œ
3
#
2
5
3
0
D 7/F
‰
3
5
3
5
1
b
6
‰
3
0
œ
œ
3
A /G
.
4
6
2
b
3
5
1
œ
œ 3
3
.
3
3
5
3
œ
3
3
0
4
5
A
œ
3
œ
3
D7
¡
œ
œ Œ œ
3
3
3
6
. œ
œ 3
¡
3
3 5
œ œ œ
5
Gm/D
3
3
C
3
bœ
5
¡ ¢
1
œ
#
0
G7
¢
4
b
2
4
b
3
£
3
3
5
™
3
3
5
¢ ¡
™œ
3
4
2
0
E 7
6
Cm6
£
3
5
œ œ
3
3
4
3
b
.™
£
3
13
2
1
2
3
E 7/B
3
3
œ
3
0
1
2
œ
3
3
2
3
3
E B G D A E
3
2
G
œ
Cm
10
2
C /G
3
7
E B G D A E
2
3 5
D m/F
1
1
2
0
1
0
3
3
0
2
œ ‰ œ
™œ
3 E B G D A E
2
3
E 7/G
3
3 E B G D A E
3
1
Am
3
3
œ
1
2
2
B /D
3
3 etc
a
E7
1
2
2
b
F
3
3
3 5
3
3
3 5
4
3
3
3 5
4
3
3
March 2018
55
PLAY } CLASSICAL
ON THE CD
TRACKS 32-33
PLAYING TIPS
CD TRACK 33
[Bars 16-24] This is tricky and the fretting hand feels a little squashed at the beginning of the bar. Also, once more the melody note is unfortunately lost; this time on beat 2 in order to accommodate the accompaniment, but the
b
b
fingering indicated here is a good solution for keeping the triplets fluent. Alao again, a barre should be placed on the final 16th note of bar 24 to keep the melody connected.
#
b
b
#
Cm C m/E F dim/C G C m 6/G Cm Cm/E F dim/C > b ¡ . ¢ b œ¡ b . ¢ b œ¡ ™œ œ™ ‰ ™œ ¡œ # ‰œ œ¢ œ£ ‰œ œ ‰œ ™œ ¡œ # œ‰ ¢œ œ£ ‰ . œ œ œ œ œ œ œ œ œœ œ œ œ œ £ £ £ £ £ £ œ ¡ 3 ¢bœ 3 ™ œ 3 ¡ 3 ¢ œ 3 ™œ 3 w3 3 3 3 3 3
Cm 6/G
E B G D A E
4
4
5
5
4
5
5 3
5 6
2
4
5
3
4
5 3
#
C dim7/E
E B G D A E
3
3
4
19
3 0
Am
Asus2
2
œ œ
3
2
3
#
G dim/B
œ
5 3
2
4
b
Dm/F
1
5
2
0
2
Œ £œ
3
4 5 6
5
2
4
4
5 3
#
E /G
3
2
3
¢ ™
G dim7
4
0
3
0
1
2
3
2
3
3
3
6
7
œ 5 7
4
3
7
6
5
.
œ
œ œ
œ œ
œœ
3
3
3
3
5
8
6
7
0
8
6
7
5
8
6
4
3
5
4
3
7
3
A7
.
3
3
3
5
™
™ ¡œ
3
Dm/A
E 7/G
¢
£
3
#
.
Am
£ ¡
#œ
3
3
#œ
7
6
8
5
‰œ
œ 3
6
4
6
7 5
6
7
7
5
7
6
7
7
7 0
#
E
G dim7/E
¢
¢ ™
4 1 0
March 2018
3
0
0 1
3
0
1 1
6
3
0
5
7
6
6
8
5
7
Œ ‰ w
3 6
0
Am/E
¢
3
™ £ ¡ 3
3
3
0 2
1
0 3
™ ¡
1
w
9
7 0
6
£
‰ #œ ™
3
10 10
0
E7 9
1
4
10 9
b
E
‰ 3
5
7
3
D dim7
F 7
4
7
25
5
‰ œ
3
3
5
£
™ ¢ £
3
3
#
Dm6
¡
™
¡
cresc
56
0
œ œ
¢ ™
3
28
5
5
5
Dm
E B G D A E
5
Dm
2
2
4
5
3
3
0
0
5
4
3
™
2
A
22
E B G D A E
3 3
2
3
3
0
0
£
œ œ¡ # œ
3
0
0
0
4
œ b b£œ £ œ œ ‰œ œ œ œ œ œ œ bœ œ œ œ nœ œ œ œ # 3 ¢ ™ 3 3 3 3 3
œ
4
3
3
2
5
3
3
4
Dm
œ
#
3
3
3
4
5
œ œ E B G D A E
3
3
5
#
A7/C
œ œ œ œ œ ‰ bœ #œ œ œ œ 3
3
4
3
16
G
3
4
3
5
7
7 5
6
¢ ¡ ¡ 3
3
3
3 0 0
1
5
0 5 3 0
5
5 5
8
5 5
5
5 5
MOONLIGHT SONATA { LUDWIG VAN BEETHOVEN PLAYING TIPS
CD TRACK 33
[Bars 31-42] A half barre should be used on beat 3 of bar 33 and the following three bars are a good training for diminished 7th arpeggios. This part is easiest
#
A m/E
G dim7/E
‰ œ¡ œ œ ™ ¡ w 3 E B G D A E
2
¡
œ œ
œœ
3
2
3
2
2
3
2
3
#
F dim7/E
E B G D A E
8
7 34
5
8
7
w
11
3
¢ £ ¡ ™
œ
2
3
3
#¡ £ ¢
4
3
3
œ
¡ £ ¢
4 10
13 10 16
12
18
19
3
16
1
3
0
3
b
E7 9
0
2
0
F
#£ œ
œ
œ
0
3
2
3
2
0
Bm7 5
3
3
œ
œ
# œ
3
3
0
0
3
1
0
2
3
2
0
E7
3
0
40
2 1
E 7/G
3
2 0
#
E B G D A E
3
3
3 4
4
7 13
10
9
1
3
4
0
b
3
Dm/A
3
3
œb œ
œ
2
3
2
0
Am
1
0
3
0
0
Œ
3
.
2 2
3
2 2 0
2
1 2
0
1
3
2
3
1 2
0
Dm
2
3
1 2
C/G
2
3
1
0 2
G
2
1
0
G7
.
0
43
œ
œ
Am
. #
2
3
10
3
œ
0
12
4
E B G D A E
5
F
E
3
œ
13
B
3
0
2
b
F/A
5
3
G dim7
p
4
3
3
3
0
0
15
3
3
3 0
1
8
5
3 3 £ ¡ £ ¡ ¡ ¢ ¢ £ £ ¡ ¢
#
Dm/A
3
™
5
0
#
œ
5
5
2
œ
G dim7
3
‰™
dim
œ
w F
7
6
2
5
3
#¢
poco cresc
7
Dm/A
3
¢
4
3
3 0
3
14
13
1
0
0
¢ ™ ¢ ¡
37
5
3
1
3
G dim7/E
0
¡
E B G D A E
8
0
1
0
w 5
7
¢
œ œ œ œ
£ ™
#
#¡ £ #¢
# £ ¢œ # œ œ œ w
3
2 0
3
3
3
3
w
œ
¢
3
3
3
1
2
™
œ #œ œ œ œ ¢ œ
¢
¡
3
3
Am/E
3
3
3
3
¢
3
3
0
31
when committed to memory; that way it’s possible to see what you’re doing! The main theme begins again in bar 42.
3
3 2
4
3 2
4
3
3 0 2
3
0
0 2
4 0
3
3
1 2
2
1
1 0
2
3
3
3 3
2
3
0
1 0
3
1 2
3
3
3
3
3
0
5
4
3
5
4
3
March 2018
57
PLAY } CLASSICAL
ON THE CD
TRACKS 32-33
PLAYING TIPS
CD TRACK 33
[Bars 52-57] In bar 52 we have the awkward fretting-hand issue again where the fingers feel squashed in too close together. With perseverance it does
C
G7
œ Œ
w 3 E B G D A E
1
œ Œ 3
3
1
0
2
3
0
œ .
1 2
0
3
1
1
0
3
3 4
6 5
p
B b/D
Am
œ œ
Ϫ
œ œ
¢
3
3
5
7
6
5
7
Dm b 6/A
Dm
b .¢
8
10
9
10
0
0
b
œ
£
3
3
7
3
4
6 5
Bb
4
6
3 5
6
4
3
£ œ™
3
Œ
6 7
6
7
7 5
7
‰ œ œ 3
3
6
7
0
8
£
3
4
6
7
5
5
5
3
7
5 6
7
5
5
5
5
7 8
7
6
4 0
7
6
5 6
5 7
0
6
3
5 7
6
5
5 7
6
5
6 7
5
5
7
œ
7
6
3
5
5 7
6
5
G #dim7/D
D m/F
™ ¡
¢ £
3
3
£ ¢ 3
3
3
5
9
œ
5
Dm
b .¢
3
7
3
5
7
D m b 6/A
3
5
œ 3
0
A
3
9
5
£
6
3
A
3
3
¢ £
3
œ
7
. œ
œ œ
£¢ 3
3
Am
¢ ¢
Am
œ # ¡ œ¢ ™œ
3
3 5
E7
œ œ
6
10
9
G #dim7/D
™ ¡
œ
3
3
0
Dm/F
£
E B G D A E
3
œ
œ
3
E7
49
.
œ
E 7/B
cresc
3 2
C
. ‰ œ w3
46
E B G D A E
work! At bar 57 we get this lovely descending sequence; if possible aim to allow the upper melody notes to sustain over each triplet figure.
6
6
7
7 5
7 8
6
7
4 0
7
6
52
A
Dm
3
E B G D A E
5
5
0 55
58
March 2018
5 7
5
6
6 7
5
6 7
3 4
7 3
E 7/G #
Bdim
3
6 5
4
6 5
4
6
3 5 3
œ
3
3
3
5
1
5
1
5 0
#
3
3
™ 3
0
4 2
Am
£ ¡
¢ £
.3
3
Am b 6
C
.
3
3
6
G7
3
3
0 2
4 4
0
1
MOONLIGHT SONATA { LUDWIG VAN BEETHOVEN PLAYING TIPS
CD TRACK 33
[Bars 60-end] From bars 60 to 65 there is a dotted eighth note, plus 16thnote playing beneath the eighth-note triplets. This is not too difficult and just
Dm6/F
D m6
3
4
2
0
4
1
0
2
2
3
3
3 0
3
E7
0
0
0
2
1
2
2
3
3
2
0
1
2
1
E7
Am/E
3
¢œ £œ
™
. 2
4
3
3
3
œ œ œ œ œœ
3 2
4
3 2
4
.
0
0
1
0
4
2
2
8
10
0
12 8
10
0
1
2
2
3
1
2
2
2
1
2
0
0
3
9
0
7
9
10
7
6
4
3
1 3 2 0
3
0
0
Am/E
3
™
3
5
œ
3 3 # . œ¡ œ œ œ œ œ œ œ #œ œ œ . .
G #dim7/E
3
3
5
1
2
2 0
Am/E
0
1
2
2
3
.
3
œ.
G #dim7/E
™
œ
3
.™
0
3
.
0
3
œ œ œ œ
œ œ
3
0
3
3
3
3
3
3
61
£
0
58
E B G D A E
Am
œ
3
2
E
œ
™
3
A m/E
Dm6
3
¡ ¢
E B G D A E
E sus2
requires a bit of precision with the thumb. The piece eventually dies away softly in A minor arpeggios and the final A minor chords.
Am
3
3
3
0
3 3
3
.
œ
.
œ
œ.
œ decresc
E B G D A E
2
64
1
0 2
3 0
1
5
5
8
10
0
12 8
0
A m/E
0
10
9
7
6
4
0
3
1 3
3
0
0
2
5
8
2
0 0
5
5 7
3 0
5
5
5
5
5
0
Am
3
3
7
9
10
3
3
E B G D A E
2
2
1
0
1
2
2
2
2
3
2
3
0
5 5 5
5 5 5
0
0
67
March 2018
59
The No.1 website for musicians
Love this magazine? Youâ&#x20AC;&#x2122;ll love musicradar.com Thousands of gear reviews and killer video demos
Tips and techniques to help you play and sound better
LEARNING ZONE
Lessons from the worldâ&#x20AC;&#x2122;s greatest teachers and schools...
Brought to you byâ&#x20AC;Ś THE INSTITUTE OF CONTEMPORARY MUSIC PERFORMANCE
IN LESSONS GT #279
H
ave you ever been told, â&#x20AC;&#x153;You canâ&#x20AC;&#x2122;t do that!â&#x20AC;?? If the person was more advanced than you (especially a tutor), itâ&#x20AC;&#x2122;s likely you would have corrected yourself. The thing is though, sometimes with enough focus and application, a â&#x20AC;&#x2DC;wrongâ&#x20AC;&#x2122; can end up being great. For example, using a thumb over the neck is completely unacceptable in the world of classical guitar - itâ&#x20AC;&#x2122;s a dreadful approach due to how it positions the fretting hand so is banished from a studentâ&#x20AC;&#x2122;s playing as soon as it appears. But watch jazz icon Pat Metheny and his often visible thumb over the fretboard is a big part of his chord and soloing playing (his sixth and fourth strings are often fretted this way). Jimi Hendrix favoured the thumb too for both licks and chords (just check out Little Wing!). In the world of electric guitar, this â&#x20AC;&#x2DC;wrongâ&#x20AC;&#x2122; is perfectly acceptable, HVSHFLDOO\ IRU VWULQJ EHQGV DQG ÂżQJHUSDG (not tip) fretting; but neither of these options is hugely common among classical guitarists. Another example: I heard a great tutor state to a class, â&#x20AC;&#x153;Never follow the major 3rd (3) with a minor 3rd (b3) when soloing over a dominant 7th chord. He was both right and
wrong but, in the context of the classâ&#x20AC;&#x2122;s ability, he was right. Why? Because learning the most IUHTXHQWO\ RFFXUULQJ DVSHFW ÂżUVW LV EHVW 6R LQ this case the b3-3 movement is by far the most common option in blues and other styles (itâ&#x20AC;&#x2122;s a VDWLVI\LQJ UHVROXWLRQ 6R JHW WKRVH GHYHORSLQJ students to recognise and use the preferred RSWLRQ ÂżUVW WKHQ ZLWK H[SHULHQFH DQG LQVLJKW address how to approach the lesser used option. Want to hear this â&#x20AC;&#x2DC;wrongâ&#x20AC;&#x2122; in action? Check out Brian Mayâ&#x20AC;&#x2122;s solo on Queenâ&#x20AC;&#x2122;s Tie Your Mother Down; he plays a couple of 3-b3 downward bends that not only sound great but present a lesser-travelled road in rock soloing. 6R WKH ÂľZURQJÂś KDV UHVXOWHG LQ VRPHWKLQJ JUHDW As you work through this issue, youâ&#x20AC;&#x2122;ll see GT focused on the common, the popular DQG WKH JUHDW <RXÂśOO DOVR ÂżQG D IHZ ÂľZURQJVÂś EHLQJ FKDPSLRQHG WRR 6WRS DQG GZHOO RQ WKHVH DV \RX PD\ ÂżQG WKH\ marry well with your own tastes. Indeed, they may even give you an extra dash of uniqueness, and who doesnâ&#x20AC;&#x2122;t want a little more of that? Enjoy!
ROCK .............................................................68 This month Martin Cooper checks out the playing of a rock guitar icon who put Seattle on the map long before Kurt and Nirvana ever did.
CREATIVE ROCK ................................... 78 How can adding a minor 3rd to the Mixolydian scale expand our Pentatonic possibilities? Once again Shaun Baxter gets us right on track.
March 2018
61
LESSON } 30-MINUTE LICKBAG
ON THE CD
TRACKS 34-39
30-Minute Lickbag Pat Heath of BIMM Brighton brings you another selection of licks at easy, intermediate and advanced levels. Can you master every one?
Brought to you by…
EASY LICKS EXAMPLE 1 SOUNDGARDEN
CD TRACK 34
Approach this part with slow and controlled downstrokes with plenty of mood to capture the piece’s melancholic nature. Perhaps add a little vibrato with the fingers on the tail of each chord and make sure you don’t rush between the notes.
©»¡ºº
Am
Dm
C
..
.. F
. .
E B G D A E
Let ring 13
6
14
12
5
. .
5
7
5
3
EASY LICKS EXAMPLE 2 OASIS
CD TRACK 35
For this Gallagher-esque anthemic strummer, a fat, overdriven humbucking tone and lots of attitude are the order of the day.
#
©»ª
A5
A6 A5
A6
A5
A 6 A 5 A 6 A 5 A6 A5
b
A6 A5
C D m A5
A6 A 5 A 7 A5 A6 A 5
n # F E B G D A E
PM
PM
2 2 4 2 2 2 0 0 0 0 0 0
4 2 0 0
2 0
4 0
2 0
5 0
2 0
4 0
2 0
2 2 4 2 2 0 0 0 0 0
2 3
2 2 4 0
2 0
4 0
2 0
5 0
2 0
4 0
2 0
INTERMEDIATE LICKS EXAMPLE 3 DEF LEPPARD
CD TRACK 36
This part has been doubled with clean and overdriven sounds to capture Mutt Lange’s production techniques from the 30-year-old Hysteria album. Mute all notes, letting the open fourth string ring as a drone. On the clean (transcribed) part, let all notes ring.
#
©»¡¡º
#
E madd9
Cadd 11
D add11
F Letœ ring E B G D A E
7
#
E madd11
Cadd 11 D add11
A5
œ 4
0 3
0
4
5
4
0
4
0
4
0
4
7
0
0
4
0 3
4
0 5
4
0
2 4 2 0
0
INTERMEDIATE LICKS EXAMPLE 4 ERIC CLAPTON
CD TRACK 37
This A Major Pentatonic part needs a light overdrive, plenty of attack and loads of bluesy swing. As a suggestion for practise, work on the ‘chordal’tones at the end as a separate lick and join the two ideas together once both have been learnt. _ 1/4 N.C.
#
©»¡ º
~~~~
qq=qce
F E B G D A E
7 1
62
March 2018
3
~~~~~ 5
6
5
7
6
1/4
5
7
7
LEARNING ZONE
30-MINUTE LICKBAG INTERMEDIATE LICKS EXAMPLE 4 ERIC CLAPTON ...CONTINUED
n
~~~~
#
n
1/4
1/4
CD TRACK 37
Æ
3
E B G D A E
~~~~ 7
5
3
5
6
5
7
5
6
5
7
8 7
8 7
7
1/4
1/4
6
5 5
5 5
6
ADVANCED LICKS EXAMPLE 5 JOHN SCOFIELD
CD TRACK 38
This idea is based around a jazz II-V-I idea and uses typical Sco-style passing tones inside the arpeggios. I’d suggest looking at the Dm7-G7-C maj 7 arpeggio shapes as chords first, and then work the lick around them. N.C.
©»¡§
œ
F E B G D A E
5
8
1
5
7
7
7
5
7
5
6
7
6
5
8
7
6
5
2
5
3
5
4
3
6
3
1/4
1/4 E B G D A E
5
4
3
4
5
3
3
5
3 4
5
7
4
7
5
3
5
4
7
3
5
7
4
5
ADVANCED LICKS EXAMPLE 6 PAUL GILBERT
CD TRACK 39
Strap in for this high-octane alternate picked Minor Pentatonic idea which will work over any static Em chord. As with any demanding idea it should be practised slowly at first, nailing the position changes thoroughly and only then increasing speed.
©»¡¡º
N.C.
3
3
3
3
3
3
F
3
3
PM E B G D A E
10 12 1
3
3
15 10
12 15
12 14
17
10
12 15
12 14
17 12
12 14 17 2
12 14
17
10
12 15 ~~~
3
3
3
3
3
3
PM E B G D A E
14 17
12 14 17 12 14 17
15 17 20
12 14 17
15 17 20 15 17 20
15 17 20
20
~~~
March 2018
63
LESSON } BLUES
ON THE CD
Joe Bonamassa
Brought to you by…
Delve into the virtuosic world of Bonamassa with Ronan McCullagh as he examines the New Yorker’s powerfully versatile style.
TRACKS 40-43
back in the listener as his shows never get stale; he is often changing material, ensemble sizes and themes. Next time he’s in the UK it’ll be a spectacular, new and entertaining show, so be sure to get your tickets when he comes to your area. Not to mention you get to hear and see a real 1959 Les Paul (and other great guitars) trying to destroy a vintage tweed Fender amp, with a true blues master in the driving seat. -RH¶V VW\OH LV GLI¿FXOW WR GHVFULEH DV KH embodies so many different musicians that have moulded the language of blues. If it were to be summed up in two words it would be ‘powerfully versatile’. It’s obvious to any fan of the blues that Joe has spent considerable time researching Clapton, Gary Moore, Rory Gallagher, Stevie Ray and Jimmie Vaughan, the three Kings, and so many more. However, he has another edge with vocab from the likes
BONAMASSA IS YOUNG, HE’S GOT GREAT IDEAS. ONE OF A KIND. THE KIND THAT WILL BE A LEGEND BEFORE HE’S 25 BB King
ABILITY RATING - - - - - Moderate to advanced Info Key: Various Tempo: Various CD: TRACKS 40-43
B
Will improve your String bending Melodic soloing Pentatonic vocabulary
lues-rock guitarist extraordinaire Joe Bonamassa was born in New York in 1977, and he began by picking the strings of a short-scale guitar at the age of four. His father, a guitar player and dealer, showed him a thing or two but more importantly shared his great record collection with the youngster. One record in particular grabbed Joe’s ear: John Mayall’s
Bluesbreakers Featuring Eric Clapton. This is still evident in his playing and choice of ‘main’ guitar today: the 1959 Gibson Les Paul. Danny Gatton played a big role in Joe’s musical upbringing as a tutor, mentor and friend. BB King was another giant of the guitar to come along and discover the young Joe, who was being driven up and down the country to small and frequently underattended bar gigs. Often welcoming him to his own stage, King offered 18-year-old the opening slot on his 80th birthday celebration tour. That association and the national TV coverage it engendered, meant Joe’s parents were inundated with phone calls from managers and record companies. Joe’s taken on BB King’s advice of investing
NEXT MONTH Ronan explores the playing of Mahogany Rush’s incredible Frank Marino 5
4 3 8 9
GAIN
BASS
MIDDLE
TREBLE
REVERB
Joe is gear mad! His amp rig has changed through the years from Fender Super Reverb, to Marshall Silver Jubilee and plexi, Dumble Overdrive Special andTwo-Rock with the Silver Jubilee, to the Fender Twin tweed amps he tours with now. Guitar-wise Joe can be seen with pretty much anything but favouring vintage Fender and Gibson. Go for a smoothly driven tone, with no fizzy gain but plenty of natural valve-like guts. Add delay and reverb to taste but don’t overdo things.
TRACK RECORD Some say Sloe Gin (2007) was the album when the songs really came together for Joe; that doesn’t mean it isn’t full of epic guitar work. On this album, you can find beautiful acoustic playing through to warm, silky slide guitar tones that explores all sides of the word ‘dynamic’. The collaboration with Beth Hart is great too, and there’s no better place to start than the Live In Amsterdam DVD. 64
March 2018
CHRISTIE GOODWIN
Joe Bonamassa: playing a ’64 style Gibson Firebird I
of Danny Gatton, Robben Ford and Eric Johnson which is why Joe is such a wellrounded player. This knowledge that he has gained from hours of transcribing is the foundation of Joe’s playing – a big reminder to us all of the importance of understanding the language. It doesn’t stop there with his playing as Joe has a way of mixing all this iconic vocab together, delivering it with a personal touch, honesty and conviction. He really has a wide palette to play with, from lower dynamic phrases with lots of space right up to relentless machine gun-like lines that are treated with grade A precision.
LEARNING ZONE
JOE BONAMASSA EXAMPLE 1 SOLO 1
CD TRACK 40
This first solo is aimed at the earlier Joe Bonamassa style during the Bloodline era. The framework is very much C# Minor Pentatonic (C#-E-F#-G#-B) with plenty of string bending with a wide vibrato and the odd faster run that requires some legato work. As the piece develops we get the addition of the
#
# #
©»ª™
C 7 9
nœ
œ
‰‰
œ
major 6th (A#) and 9th (D#), which is a Dorian mode colour Joe would have used often to expand upon his Pentatonics. Another element to note is the busy nature of the solo. Joe has an amazing ability to keep that intensity within his playing and never seems to run out of steam.
j
~~.
BU
~~~
œ
nœ
œ œ nœ œ œ œ œ 1/4
œœ œ
3 BU E B G D A E
BU
12 (14 ) 12 (14 )
12 12 (14 )
n
9
9 12 14 12 12
12 9
12 9 11 9
11
n
1/4
1/4
1/4
9
11
9
BU
1/4
1/4
1/4
9 12 [12 ] (14 )
11
11
9
4
6
5
4
7
4
4 6
5
7
9
7
7
9 12 (14 )
3
. . ~~~
n
#
~~~
BU 9
12 (14 )
9
12 11
9
11
BU
~ .~ BU
BU
~~~~
14 (16 ) 14 ( 16 ) 14 (16 )
~~~
12 14
~~~~~
14
.
.
14
14
12
11
5
#
E B G D A E
12 14 12 9
9
1
BU
E B G D A E
9
11
#
E B G D A E
1/4
~~~ . ‰ ~~~ 14
n
. . BU
18 19 16 18
19
16
BU
17 (19 ) 17 ( 19 )
17 19 16 17 18 17 16
18 17 16
18 19 16
BU 9 ( 11 )
16
8
March 2018
65
LESSON } BLUES
ON THE CD
TRACKS 40-43
EXAMPLE 1 SOLO 1 ...CONTINUED
CD TRACK 40
~~~~~
1/4
#
11
9
11
9
11
10
9
12
11
n
#
9
9
#
9
12
11
12
11 11
12
12 11 13
13 11 9
11
11
11
9
9
BU
12 (14 )
9
9
9
12 ( 14 )
BU 9
9
9
12 ( 14 )
BU 9
9
9
12 (14 )
n
n
BU
9
9
~~~~~~~
BU
11 (12 )
11
12
11 (12 )
~~~~~~~
BU 11
9
11 (12 ) 11
9
12
9
12
9
12
12
15
9
EXAMPLE 2 SOLO
CD TRACK 42
This solo looks at the opposite, more current side of Joe’s playing. He seems to have developed a very strong melodic language and quite often chooses the slower tempos. The framework is B Minor Pentatonic (B-D-E-F#-A), with the 9th degree (C#) making an appearance at times; the concept is the idea of playing less but saying more. Embrace the space between what you play as it will make your next phrase even more powerful. Take full advantage of bending
#
©.» ª
Bm
.
E B G D A E
2
1
66
9
13
#
E B G D A E
11
n
BU E B G D A E
9 9
9
11
9
‰
~~~~~~
1/4 E B G D A E
.
March 2018
4
B m/A
those strings as it is such an expressive technique that we are equipped with as guitarists. If you are relatively new to bending be sure to build up the strength and intonation before you go ahead and add the vibrato. If your bending is already comfortable and accurate remember you don’t have to add vibrato to every bend. There’s a few of those vibrato-less bends in there to break those bad habits and bring back that control.
Bm/G
.
.
4
6
Bm/E Bm/A ~~~~~~~~~~ ~~ . .
Bm/A
Bm
.
B m/G Bm/A
.
.. ..
~~~~~~~~ ~~~~~
BU
BU
BU
BU
6 (7 )
7 (9 )
9 (11 )
9 ( 11 )
X X X X
LEARNING ZONE
JOE BONAMASSA EXAMPLE 2 SOLO 2 ...CONTINUED
#
E B G D A E
Bm
Bm/A
‰.
Bm/G
.
. œ‰
.
~~~ .
B m/A
‰.
‰
.
œ
Bm
.
Bm/A
.
~~~ 7 5
7
5
#
E B G D A E
CD TRACK 42
7
B m/A
7
5
7
B m/G
B m/A
~~ ~~ .
.
7
. BU 10
4
7
5
~~~~ .~
Bm
~~~~~~ 6
5 7
5
7
B m/A
BU ( 9)
7
9
7
9
..
B m/G
.
.
~~~~~~~
Bm/A 1/4
.
.
1/4
9 ( 11 )
7
9
9
1/4
7
9
1/4
7
8
#
.
Bm
B m/A
.
œ
œ
Bm/E
.
B m/G
.
Bm/A
.
Bm
.
Bm/A
.
œ
3
. BD
BU E B G D A E
7 10 7 9 7 11
9 7
9
9
9
9
7
9
7 7
9
10 7
Bm/G
#
7
7
Bm
B m/A
Bm/A
9
7 10
Bm/E
7
Bm/G
9
7
10
9
7 9 ( 11 )
Bm/A
Bm
1/4
.
.
.
œ
.
œ
œ
‰ ‰
œœ ~~~~~~
BU E B G D A E
1/4
(9 ) 14
7
7
7 5
5
7 (9 )
.~~~~~~
5 7
7 7
5
5 7
5 7 9
7 9
7 9 11
10
12
March 2018
67
LESSON } ROCK
ON THE CD
Brought to you byâ&#x20AC;¦
Jimi Hendrix This month Martin Cooper checks out the playing of a rock guitar icon who put Seattle on the map long before Kurt and Nirvana ever did.
TRACKS 44-46
WKH\ ZHUH Ã&#x20AC;RRUHG EXW KLV OHJDF\ OLYHV RQ LQ HYHU\ NLG WKDW SLFNV XS D JXLWDU DQG GUHDPV RI EHLQJ D URFN OHJHQG %HJLQQLQJ ZLWK ¶V $UH <RX ([SHULHQFHG RQH FODVVLF DOEXP DQG SHUIRUPDQFH IROORZHG DQRWKHU EXW WKH PXVLF ZRUOG ORVW RQH RI LWV PRVW IDPRXV VRQV ZKHQ -LPL GLHG LQ DJHG MXVW 2XU WUDFN IHDWXUHV +HQGUL[ VW\OH ULIIV DQG VRXO LQÃ&#x20AC;XHQFHG 3HQWDWRQLF UK\WKP SDUWV ZLWK D EOXHV\ VROR WKDW RIIHUV ORWV RI UK\WKPLF YDULDWLRQ :H¶UH LQ WKH NH\ RI ( PLQRU ( ) * $ % & ' EXW WKHUH DUH D YDULRXV µRXWVLGH¶ QRWHV VXFK DV WKH PDMRU UG * DQG b %b 7KHUH DUH DOVR VRPH W\SLFDO +HQGUL[ VW\OH FKRUGV WKDW KDYH WKH URRW QRWH
HENDRIX IS AS ICONIC TODAY AS WHEN HE FIRST BROUGHT HIS UPSIDE-DOWN STRAT AND MARSHALL STACK TO PROMINENCE WK DQG WK VOLGLQJ DURXQG WR DGG PHORG\ DQG KDUPRQ\ WR WKH XQGHUO\LQJ SDUWV 7KH FKDUW LV VLPSOH LQ WHUPV RI JHQHUDO KDUPRQ\ EXW WKHUH LV D ORW JRLQJ RQ LQ WKH UK\WKP VXFK DV WKH $ 0LQRU 3HQWDWRQLF ULII LQ WKH % VHFWLRQ DQG WKH DIRUHPHQWLRQHG FKRUGV WKDW VOLGH DURXQG XQGHU DQ $ PLQRU EDVV ULII DIWHU WKH 3HQWDWRQLF VFDOH QRWHV RI WKH UK\WKP WUDFN +HQGUL[ LV DV LFRQLF WRGD\ DV ZKHQ KH ¿UVW EURXJKW KLV XSVLGH GRZQ ULJKW KDQGHG 6WUDW DQG 0DUVKDOO VWDFN WR SURPLQHQFH LQ WKH V DQG LW¶V LQFUHGLEOH WKDW ZH FDQ VWLOO OHDUQ IURP KLP DOO WKHVH \HDUV RQ
An iconic photo of the most iconic guitar player of all
NEXT MONTH Martin pays fond tribute to Angusâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;right-hand manâ&#x20AC;&#x2122; in AC/DC, Malcolm Young
Info Key: Em Tempo: 116bpm CD: TRACKS 44-46
J
Will improve yourâ&#x20AC;¦ String bending and legato Use of chord inversions Dynamics and attitude
LPL +HQGUL[ LQÃ&#x20AC;XHQFHG HYHU\RQH IURP -RH 6DWULDQL DQG 6WHYLH 5D\ 9DXJKDQ WR 3ULQFH DQG 7KH %HDVWLH %R\V 7KH 5RFN DQG 5ROO +DOO RI )DPH FDOOHG KLP µWKH PRVW LQÃ&#x20AC;XHQWLDO LQVWUXPHQWDOLVW RI DOO WLPH¶ ZKLOH *XLWDU :RUOG PDJD]LQH QDPHG KLV UHQGLWLRQ RI WKH 6WDU 6SDQJOHG %DQQHU DW :RRGVWRFN µWKH JUHDWHVW SHUIRUPDQFH HYHU¶ ,QLWLDOO\ LQVSLUHG E\ URFN DQG UROO DQG
EOXHV -LPL WRRN WKHVH IRUPV WR D ZKROH QHZ OHYHO UHGH¿QLQJ JXLWDU WRQH DQG HYHQ WKH ZD\ WKH LQVWUXPHQW ZDV SOD\HG $ORQJ ZLWK KLV EDQGPDWHV DQG HQJLQHHU (GGLH .UDPHU +HQGUL[ UHFRUGHG VRPH RI WKH PRVW JURXQG EUHDNLQJ PXVLF LQ URFN KLVWRU\ KH SLRQHHUHG WKH XVH RI IHHGEDFN DQG ZDV SLYRWDO LQ WKH VRXQG WKDW EHFDPH WKH EDFNGURS WR WKH QH[W IRXU GHFDGHV LQ PXVLF DQG SRSXODU FXOWXUH $IWHU WRXULQJ ZLWK WKH ,VOH\ %URWKHUV /LWWOH 5LFKDUG DQG &XUWLV 0D\¿HOG IURP ZKRP KH OHDUQHG KLV QRZ UHFRJQLVDEOH UK\WKP VW\OH -LPL IHOW WKH QHHG IRU D PRUH FUHDWLYH RXWOHW WKLV OHG WR D PRYH WR /RQGRQ DQG WKH IRUPDWLRQ RI 7KH ([SHULHQFH ZLWK 1RHO 5HGGLQJ DQG 0LWFK 0LWFKHOO :KHQ (ULF &ODSWRQ DQG KLV FRQWHPSRUDULHV KHDUG -LPL
6
6 7 3
7
GAIN
BASS
MIDDLE
TREBLE
REVERB
Jimi famously played a right-handed Fender Strat left-handed, and is probably the most famous Marshall amp user in history. He also brought effects such as fuzz, delay, univibe, wah-wah, and octaver to prominence. Go for a neck pickup tone that isnâ&#x20AC;&#x2122;t too overdriven, but has a rich creaminess. Add whichever effects you deem appropriate. I used aThorn SoCal S/S guitar on the neck pickup and aâ&#x20AC;&#x2DC;virtualâ&#x20AC;&#x2122;Marshall on a Kemper Profiler.
TRACK RECORD Although Jimi only released three studio albums before his death there are many classic songs. 1967â&#x20AC;&#x2122;s debut, Are You
Experienced features Purple Haze and The Wind Cries Mary, while the following yearâ&#x20AC;&#x2122;s Axis: Bold As Love includes Little Wing and Spanish Castle Magic. Electric Ladyland boasts Crosstown Traffic and Voodoo Chile and there are many live recordings and â&#x20AC;&#x2DC;best ofâ&#x20AC;&#x2122; compilations. 68
March 2018
MARC SHARRATT / REX / SHUTTERSTOCK
ABILITY RATING - - - - - Moderate
LEARNING ZONE
JIMI HENDRIX EXAMPLE RHYTHM
CD TRACK 45
There’s a general 16th-note pulse that runs through the track as far as picking hand goes (Jimi’s rhythm was beautifully loose), even though a lot of the rhythms are actually eighth-notes. Make sure that there aren’t any unwanted open strings or extra noise added, and watch for the lightly muted notes too.
#
©»¡¡§
N.C.
..
bœ
œ œ #œ
7
Em
5 0 3
j œ
‰
X X
4 5
7
6 X X
7 0 3
4 5
j œ
12
12 14
j œ
X X
X X
12
14
12
0 3
4 5
12 14
12
12
12 14
12
12 14
12
10
12
10
10 10
10
12
12
j œ
12 14
12
14
12
12
j œ
12 14
12
12 14
12
10
12
10
10 12
Em
# ‰
X X
X X
j œ
12
12 12 14 12 14
j œ
12
14
12 12 12 12 14 12 14
12
10
12
F
# ‰
X X
X 12 12 X 12 14 12 14
j œ
12
13
j œ
Em
j œ
12
F
j œ
13
j œ
6 5
j œ
11
15
0 3 7
6 X X
F
j œ
12
7
5
6 X X
9
Em
E B G D A E
œ bœ œœ
F
j œ
X 12 X 12 14
# ‰
E B G D A E
.. . .
1, 5
#
E B G D A E
bœ œ œ #œ
bœ
œ œ #œ
œ œ
. .
E B G D A E
E B G D A E
œ
10
10 10
12 12
10 10
10 10
12
12 12
10 10
Am
j œ
12 12 14 12 12 14 12 14
12 10 12 10
12
10 12
10
10 10
X X 5 X X 5
5 5
7 7
5 7
7 7
X X 5 X X 5
March 2018
69
LESSON } ROCK
ON THE CD
TRACKS 44-46
EXAMPLE RHYTHM ...CONTINUED
CD TRACK 45
#
j œ œ
BU E B G D A E
5 5
7 7
7 7
X X
X X
7 7
BU
BD
( 8) ( 8)
( 7) 5 ( 7) 5
X X 5 X X 5
7 7
5 5
5 7
7 7
X X 5 X X 5
7 7
5 5
7 7
7 7
BD (8 ) (8 )
7 7
(7 ) (7 )
5 5
7 7
18
#
BU BD E B G D A E
5 5
5 5
5 5
7 7
X X 5 X X 5
7 7
7 7
5 5
7 (8 ) (7) 5 X X 7 ( 8 ) (7 ) 5 7 X X 7
7 7
24
7 5
7 5
7 10 10 10 10 12 12 12 12 14 14 14 5 8 8 8 8 10 10 10 10 12 12 12
5
7
7
7
7 10 10 10 10 12 12 12 12 14 14 14
N.C.
‰
14 12
17 17 17 17 15 15 15 15
19 19 19 19 17 17 17 17
14
17 17 17 17
19 19 19 19
œ
bœ
#
œ E B G D A E
7 5
21
#
5 3
5
7 0
3
4
5
6
bœ
#
œ
7 0
X X
3
4
5
6
X X
# œ E B G D A E
œ
bœ
#
7 3
4
5
6
X
œ bœ
œ
7 0
X
3
7
6
5
5 0
3
4
#
E B G D A E
70
5
6
G5 A 5
œ
bœ
œ œ #œ
7 0
March 2018
œ
bœ
œ œ #œ
7 30
3
4
5
6
X X
5 0
3
œ
bœ
#
œ
7
5 0
27
œ
4
5
6
X X
œ
œ œ œ bœ
œ
7 0
3
7
6
5
5 3
7 5
X
X
LEARNING ZONE
JIMI HENDRIX EXAMPLE SOLO
CD TRACK 45
Make sure that the staccato notes in the solo are played accurately and in time; the blend of staccato and legato lines help give the track its soulful edge.
©»¡¡§
#
. ‰
‰ 2
E B G D A E
~~~
BU
BU BD 12
15 (17 )
15
12
14 (16 ) ( 14 )
12
14
12
14
25
.
.
.
.
BU
BU
BU
BU
#
E B G D A E
.~~~
N.C.
12 14 14 (16 )
. .
~~~ ~~~
BU
12 14 ( 16 ) 12 14 (16 ) 12 14 (16 )
14 (16 ) 14
12
14
10 12
27
.
#
~~~
G5
3
14
12
12 14
12
A5
œb ~~~
BU E B G D A E
14 (16 ) 12
14
12
5
0
3
0 2
3 2 0
2
0
2
0
2
0 7
30
6
5
International readers can subscribe too! Don’t wait for the latest issue to reach your local store - subscribe today and let Guitar Techniques come straight to you. You can read the print, digital, or the complete print + digital bundle from just $36/€36!
IT’S EASY TO SUBSCRIBE... ONLINE
www.myfavouritemagazines.co.uk/GTQsubs
TERMS AND CONDITIONS: Prices and Savings quoted are compared to buying full priced UK print and dig gittal issues. You will receive 13 issues in a year. If you are dissatisfied in any way you can write to us or call us to cancel your subscription at any time and we will refund you for all unmailed issues. Prices correct at time of print and subject to change. For full terms and conditions, please visit http://bit.ly/magtandc
March 2018
71
LESSON } JAZZ
ON THE CD
Mundell Lowe John Wheatcroft pays heartfelt musical homage to a jazz guitar legend, the incomparable Mundell Lowe who passed away just last month.
TRACKS 47-60
/RZHÂśV SOD\LQJ ZDV JUDFHIXO EHDXWLIXOO\ FRPSRVHG DQG VXSUHPHO\ VRSKLVWLFDWHG KLV FKRUG ZRUN KDUPRQLFDOO\ DGYHQWXURXV DQG KLV VLQJOH QRWH OLQHV VZXQJ OLNH FUD]\ +LV LGHDV FDPH DFURVV DV IXOO\ IRUPHG ORJLFDOO\ GHYHORSHG DQG LQVWDQWO\ PHPRUDEOH +H DOVR UHSXWHGO\ NQHZ WKRXVDQGV RI VRQJV LQFOXGLQJ DOO WKH O\ULFV DQG YRFDO QXDQFHV 7KLV LQIRUPHG KLV PHORGLF DQG DFFRPSDQLPHQW FKRLFHV KH NQHZ H[DFWO\ ZKHQ WR ÂżOO LQ DQG ZKHQ WR KROG EDFN 1R ZRQGHU VR PDQ\ VLQJHUV ORYHG WR ZRUN ZLWK KLP DQG ZK\ SHUKDSV ZH VKRXOG VWULYH WR HPXODWH WKHVH DVSHFWV WRR /RZH UHOHDVHG KLV ODWHVW DOEXP 3RRU %XWWHUĂ&#x20AC;\ MXVW ODVW \HDU DQG KH ZDV SHUIRUPLQJ
WITH MY KIND OF JAZZ, ITâ&#x20AC;&#x2122;S EAR MUSIC. IF YOU CANâ&#x20AC;&#x2122;T HEAR IT, DONâ&#x20AC;&#x2122;T PLAY IT, BECAUSE IF YOU CANâ&#x20AC;&#x2122;T HEAR IT THEN THE LISTENER CANâ&#x20AC;&#x2122;T HEAR IT M. Lowe
YLUWXRVR SOD\LQJ RI SLDQLVW $UW 7DWXP WKH \RXQJ 0XQGHOO GHFLGHG WR WDNH D FKDQJH RI GLUHFWLRQ WRZDUGV MD]] Will improve yourâ&#x20AC;Ś Info $QG ZKDW D IRUWXLWRXV GHFLVLRQ WKLV SURYHG Key: Various Chordvoicingsindrop-Dtuning WR EH 0XQGHOOÂśV FDUHHU ZDV SKHQRPHQDOO\ Tempo: Various MotiďŹ cdevelopment VXFFHVVIXO +LV UHVXPH LV HVVHQWLDOO\ D :KRÂśV CD: TRACKS 47-60 Phrasing and line construction :KR RI MD]] LQFOXGLQJ DUWLVWV VXFK DV &KDUOLH 3DUNHU %LOOLH +ROLGD\ 'L]]\ *LOOHVSLH %LOO (YDQV %HQQ\ *RRGPDQ 6DUDK 9DXJKDQ DQG s has happened all too often recently, (OOD )LW]JHUDOG )URP WKH ZRUOG RI SRSXODU ZH ÂżQG RXUVHOYHV PRXUQLQJ DQRWKHU JXLWDU OHJHQG +RZHYHU 0XQGHOO /RZH PXVLF KH KDV SHUIRUPHG UHFRUGHG DQG DUUDQJHG IRU KRXVHKROG QDPHV VXFK DV %DUU\ KDG DW OHDVW OHG D ORQJ DQG IUXLWIXO 0DQLORZ +DUU\ %HODIRQWH %REE\ 'DULQ FDUHHU ERWK DV D VROR DUWLVW DQG DORQJVLGH 3HJJ\ /HH DQG FRXQWOHVV RWKHUV ,Q WKH V VRPH RI PXVLFÂśV PRVW LFRQLF DUWLVWV +H ZDV DOVR JLJJLQJ ULJKW XS XQWLO KLV GHDWK DW WKH ULSH /RZH ZRUNHG DV JXLWDULVW DUUDQJHU DQG FRPSRVHU IRU WHOHYLVLRQ DQG ÂżOP IRU ERWK WKH ROG DJH RI %RUQ LQ /DXUHO 0LVVLVVLSSL LQ /RZHÂśV 1%& DQG &%6 RUFKHVWUDV SOXV KH KDG D LQWURGXFWLRQ WR SOD\LQJ JXLWDU ZDV YLD FRXQWU\ VXFFHVVIXO FDUHHU DV DQ HGXFDWRU WHDFKLQJ DW ERWK WKH *XLWDU ,QVWLWXWH RI 7HFKQRORJ\ *,7
PXVLF %XW LQVSLUHG E\ WKH UHYROXWLRQDU\ DQG WKH *URYH 6FKRRO RI 0XVLF &DOLIRUQLD JXLWDU VRXQGV RI &KDUOLH &KULVWLDQ DQG WKH
ABILITY RATING - - - - - Moderate/Advanced
A
NEXT MONTH John takes an in-depth look inside the style of the most masterful Earl Klugh 5
4
5
3
3
GAIN
BASS
MIDDLE
TREBLE
REVERB
Mundell played a beautiful collection of archtops throughout his career, including Guilds, Benedettos and more recently an instrument made by James Mapson. Weâ&#x20AC;&#x2122;re after a balanced warm clean tone so select your neck pickup, roll the tone down a little, and go easy on the reverb. Youâ&#x20AC;&#x2122;ll get a much smoother and more authentic tone if you pick towards the neck, even as far as over the pickup, although be careful to avoid the plectrum striking the metal casing.
TRACK RECORD Guitar Player (Dobre 1977) is a wonderful introduction to Loweâ&#x20AC;&#x2122;s beautiful playing. His phrasing is inventive, expressive and technically superb. Numerous examples of his stunning chord/melody playing can be found on Guitar Moods (Riverside 1956), and weâ&#x20AC;&#x2122;d also like to recommend his trio album, Uptown (Telarc 1990), with pianist AndrĂŠ Previn and bassist extraordinaire Ray Brown. 72
March 2018
HERITAGE IMAGES / GETTY IMAGES
Mundell Lowe who passed away aged 95
UHJXODUO\ XQWLO VKRUWO\ EHIRUH KH GLHG 7KHUH DUH QLQH PXVLFDO SKUDVHV WKDW IROORZ HDFK LOOXVWUDWLQJ D SDUWLFXODU FRQFHSW DSSURDFK RU WHFKQLTXH WKDW 0XQGHOO PLJKW HPSOR\ ZKHQ HLWKHU LPSURYLVLQJ VHWWLQJ XS WKH PRRG RU ZLQGLQJ D VRQJ GRZQ ZLWK DQ DSSURSULDWH HQGLQJ <RXÂśOO QRWLFH WKDW /RZH WXQHV WR GURS ' H[FOXVLYHO\ VR ZKLOH VRPH RI WKHVH H[DPSOHV GRQÂśW DFWXDOO\ XVH WKH ORZ ' VWULQJ , PDGH WKH GHFLVLRQ WR VWLFN WR WKLV WXQLQJ WKURXJKRXW IRU WKH VDNH RI DXWKHQWLFLW\ DQG DOVR WR KRSHIXOO\ FRQMXUH XS VRPH RI WKH VSLULW RI DGYHQWXUH DQG H[SORUDWLRQ WKDW ZRUNHG VR HIIHFWLYHO\ IRU 0XQGHOO WKURXJKRXW KLV VWDU VWXGGHG DQG GHVHUYHGO\ JOLWWHULQJ FDUHHU 5,3 0XQGHOO /RZH
LEARNING ZONE
MUNDELL LOWE EXAMPLE 1 BLUESY BEBOP LINES THROUGH THE CHANGES
CD TRACK 47
Mundell made light work out of rapid tempo sequences of bebop chord changes and always managed to sound relaxed, bluesy and composed at the same time. Much of the material here is based around connecting the strong
©»™£º Swing
Gm7
notes from each of the chords found in this functional progression in the key of F, although the secret to his sound is to be melodic and create bold phrases that will withstand both repetition and development.
C7
Gm7
b
‰
C7
b
‰
Sixth string tuned down to D E B G D A D
9
12 11
9
10
12
13 10 12
10
11
10 12 13
10 12
9 12 11
1
F6
E B G D A D
9 10
10
b
10
13
B b6
F 7/A
11
Bdi m7
B b7
F7/C
b
‰
10
12 10
12
13
G m7
D7
10 13
13
13 14
10
Am7 b 5
13 12
12
10
15 12
6
EXAMPLE 2 BLENDING LINES WITH CHORDS
CD TRACK 49
This example makes good use of small chord voicings and connecting single-note lines that can be considered to be ‘in orbit’ around these chord forms. One feels that Lowe had a specific chord shape in mind for almost all of his soloing vocabulary, so see if you can make the explicit
©»™£º Swing ‰
connection between the chord shapes that you regularly employ and the melodic potential based around all the tools you might use, such as scales, arpeggios, Pentatonics, licks and lines. This example also makes effective use of Mundell’s drop D tuning, albeit just for one solitary note in bar 9.
A7
n
D11
#
‰
‰
‰
. #
‰
D9
Sixth string tuned down to D E B G D A D
6
7 6
7
5
7
6
8
7
10 8 9 10
5
8
10 7
7 9 10
1
D7 b 9 G9
E B G D A D
10 10 9 6
.. .
C7
b
.
9
10
10 7
8 10
9
#
7
6
7
8
6
10 7 8 10
7 0
March 2018
73
LESSON } JAZZ
ON THE CD
TRACKS 47-60
EXAMPLE 3 CLEAR MOTIFS THROUGH BOSSA CHANGES
CD TRACK 51
While again thereâ&#x20AC;&#x2DC;s nothing too technically demanding, each idea has the potential for development, is easy to remember, easy to sing and all ďŹ t the harmony beautifully. Although developing a vocabulary to match Mundell might take a lifetime, you can certainly speed things along by taking a
Straight
Dm7
G 13
compositional approach to melodies. Why not compose a solo against these changes? If it takes a while then no problem; the next time will be quicker and the next quicker still. Improvisational ability, like almost every other musical skill, responds to hard work and eďŹ&#x20AC;ort so you really do get what you put in.
B m7
.
nĹ&#x201C;
E9
b
â&#x20AC;°
Am7
Sixth string tuned down to D E B G D A D
4
5
6
5
7
7
6
5
7
9
7
7
9
10
9
8
1
E b7
D7sus4
D9
A bmaj 7
Dm7
G7
#
â&#x20AC;°
â&#x20AC;° 3
E B G D A D
9 10
7
12 8
10
9
10
10
9 10
8
12 13
9
9
11
11 13
10
13
12
10
10 12
13
10 13 10 12
6
EXAMPLE 4 CONTROL OF TENSION AND RELEASE WITH MELODIC CHOICES This example shows us how Mundell might balance consonance, by selecting notes that ďŹ t perfectly against the harmony, with select moments of dissonance. Letâ&#x20AC;&#x2122;s look at the strong Gb note in bars 3 and 4, held against an
Straight
â&#x20AC;°
CD TRACK 53
underlying F7 to create F7b9. While in isolation this is quite an abrasive sound in the context of what comes before and the subsequent resolution to Bbmaj7 in bar 5, this tension is both logical and musically colourful.
F7 b 9
Cm7
3
â&#x20AC;°
b
3 Sixth string tuned down to D E B G D A D
11
12
10
13
13
13
9
10 11
11
10
1
B bmaj7
B bm7
#
â&#x20AC;°
b n
#
6 6 E B G D A D
74
10
10 13
5
March 2018
11
10
12
12
10
12
10
13
6
7
8
6
7
8
6
7
8
6
7
8
12 10
12
LEARNING ZONE
MUNDELL LOWE EXAMPLE 4 CONTROL OF TENSION AND RELEASE WITH MELODIC CHOICES ...CONTINUED E b7 b 9
â&#x20AC;°
E B G D A D
5
6
8
9
8
A bmaj7
b
b
11 8
b
â&#x20AC;°
9
8
Dm7
â&#x20AC;°
11 8 9
8
CD TRACK 53
8
G13
â&#x20AC;°
12 9
8
Bm7
10
10
10
9
10 11
12
8
EXAMPLE 5 BIG VOICINGS IN DROP D TUNING
CD TRACK 55
Mundellâ&#x20AC;&#x2122;s decision to switch to drop D tuning exclusively was prompted by studying Segovia transcriptions using this tuning. He instantly fell in love with the extended bass range and the ease of ďŹ ngering to create lush and complex harmonies with the minimum of eďŹ&#x20AC;ort. This example illustrates this sonic and kinaesthetic potential perfectly, with a selection of chords in the key of F. In
Straight
A b9
n
Am9
reality, Lowe would take more rhythmic liberties here, pushing and pulling the duration of each chord to great expressive eďŹ&#x20AC;ect, although for the ease of both reading and learning weâ&#x20AC;&#x2122;ve kept the length of each chord uniform. Naturally, once youâ&#x20AC;&#x2122;ve learnt this as written, feel free to deviate in any direction you consider appropriate from both a rhythmic and harmonic perspective.
bb
G b9
Gm9
Ĺ&#x201C;
b Sixth string tuned down to D E B G D A D
Let ring
7
1
#9 D7#5
G m7
7 8 9 10
7
6
Let ring E B G D A D
4
3
Ĺ&#x201C;
3
3 3 5 7 0
5
1 1 3 4
SUBSCRIBE TO THE DIGITAL EDITION OF GUITAR TECHNIQUES FROM JUST ÂŁ6.75! FROM JUST ÂŁ6.75 EVERY 3 MONTHS
www.myfavouritemagazines.co.uk/GTQsubs
5
5
5 6 7 8
5
b
'
F /C
3 3 3 3 4
Let ring
4
2 2 3 2 3
Let ring
3
4 5 6 8
4
4
Fmaj7
Let ring
5
Let ring
Ĺ&#x201C;
b
Let ring
Let ring
6
G b7
G m7
Ĺ&#x201C;
6 7 8 10
Ĺ&#x201C;
b
Let ring
Let ring
b
3 5 5 3
12
' 13 10 10 10
10
O Instant digital access O All styles and abilities from intermediate to advanced O Lessons from world class players, all clearly explained O iPad version includes moving tab perfectly synched to top-quality audio for every lesson O Full tracks transcribed, the worldâ&#x20AC;&#x2122;s best tuition guaranteed
LESSON } JAZZ
ON THE CD
TRACKS 47-60
EXAMPLE 6 DEVELOPING MOTIFS THROUGH SWINGING FUNCTIONING CHANGES Thereâ&#x20AC;&#x2122;s more motiďŹ c development to be found in this snappy example. Take note of how the rhythm of each phrase remains remarkably unchanged throughout the chords, speciďŹ cally through bars 4 to 7. Make
Swing
N.C.
C #dim7
Cmaj7
#
â&#x20AC;°
CD TRACK 56
sure you observe the rests correctly and resist the temptation to rush whenever there are silences, the curse for many a guitarist; trust me, the other musicians in the band will notice and they donâ&#x20AC;&#x2122;t like it one little bit.
â&#x20AC;°
Dm7
â&#x20AC;°
Ĺ&#x201C; Ĺ&#x201C; Ĺ&#x201C;
G7
â&#x20AC;° Ĺ&#x201C;
â&#x20AC;°
â&#x20AC;°
3 Sixth string tuned down to D E B G D A D
5
6
3
7
3
6
4 3
5 2
5 5
5
5
7
7
7
6
9
7
1
E m7
Cmaj7
â&#x20AC;°
E B G D A D
4
5
9
9
Dm7
G7
â&#x20AC;°
10
â&#x20AC;°
9
10
â&#x20AC;°
10
10
C6
b
F #m7 b 5
Cmaj7
â&#x20AC;°
9
8
9
7
10
â&#x20AC;°
8 10
9
â&#x20AC;°
B7 b 9
â&#x20AC;°
8
8
9
7
8
10
7
10
6
EXAMPLE 7 CHORD/MELODY AND SINGLEď&#x161;şNOTE LINES
CD TRACK 57
More motiďŹ c development, speciďŹ cally bars 5-7. Again we see the seamless integration of chord voicings and single-note lines to great eďŹ&#x20AC;ect. The
Swing
Cmaj7 C #dim7
G13
â&#x20AC;°
combination of eighth-note triplet and swung eighth-note rhythms as in bar 10 is a bebop clichĂŠ that youâ&#x20AC;&#x2122;ll hear over and over again in this idiom.
Dm7
Ĺ&#x201C;Ĺ&#x201C;Ĺ&#x201C;
â&#x20AC;°
G7
C #dim7
Cmaj7
Dm7
Ĺ&#x201C; Ĺ&#x201C;Ĺ&#x201C; â&#x20AC;°
â&#x20AC;°
G7
Ĺ&#x201C; Ĺ&#x201C; â&#x20AC;°
â&#x20AC;°
Sixth string tuned down to D E B G D A D
5 5 4 3
7 5 5 5
5 5 4 3
5 3 5 4
6
5 6
7
5 8
7
8
5
7
6
6
7 5
4
1
F #m7 b 5
C6
â&#x20AC;°
.
â&#x20AC;°
Fm7
b
b
â&#x20AC;°
b
C maj7
b
.
3
E B G D A D
76
5
5
4
7
March 2018
7
6
5
7
4
5
7
5
8
7
8
8 9
10
9
8
11 10
8
11
9
8
LEARNING ZONE
MUNDELL LOWE EXAMPLE 8 CHORD FRAGMENTS WITH‘OVERTONE’BASS DRONE This example combines small three-note chord voicings with 12th-fret harmonic ‘overtone’ bass drones and is typical of the way Mundell might set up a tune. Creating effective intros and endings is a remarkably effective and oft-neglected skill and the previous compositional/
#
E m/D F/D
E m/D E b/D
'
'
g
7 8 9
8 9 10
7 8 9
12
12
12
6 7 8
12
12
· 12
1
#
'
G/D
.
O
'
NH E B G D A D
'
'
Swing
Sixth string tuned down to D E B G D A D
CD TRACK 59
improvisation considerations we covered in Example 3 are equally applicable here. Naturally, Mundell’s decision to tune both sixth and fourth strings to the same note affords us some musical potential that he would use to great effect in a line like this.
12
6
'
A badd # 11/D
G/D
O
7 9 10
·
7 10 11 12
O
'
D dim7
' 7 9 10
10 9 11
12
EXAMPLE 9 CONNECTING DIMINISHED VOICINGS FOR CHORD/MELODY We’re back to chord/melody for our final example in the key of D major. Mundell’s command of three and four-note voicings is superb, no doubt the result of his extensive study of harmony and his experience and skill as an arranger. Make note of the efficient use of voice leading, the
#
©»¡¡º Straight
D6
A7
C #dim
CD TRACK 60
management of connecting from chord to chord in a smooth and seamless way, and his use of symmetrical diminished voicings to connect these chords and to create horizontal motional along the fretboard in a logical and musically cohesive fashion.
D6
D 6/9
D 6 / 9 Ddim7
Dadd9
...
Sixth string tuned down to D E B G D A D
5 7 9
10 12 14
7 6 7 6
5 5 4 4
D 6/ 9
Ddim7
C6
D b6
D6
#
œ bœ 10 10 9 9
4 3 4 3
5 5 4 4 0
D 6/9
#
6
12 14 15
0
1
D 6 / 9 C #dim7
E B G D A D
9 10 12
10 12 14
9 8 9 8
œ 12 11 12 11
10 10 9 9
œ 5 5 4 4
4 3 4 3
7 6 7 6
10 10 9 9
12 10 12
13 11 13
14 12 14
0
March 2018
77
LESSON } CREATIVE ROCK
ON THE CD
TRACKS 61-63
Unusual Pentatonic scales for Dominant soloing ABILITY RATING - - - - - Moderate to advanced Info Key: A (A7) Tempo: 60bpm CD: TRACKS 61-63
Will improve yourâ&#x20AC;Ś Alternative Pentatonics knowledge Visualisation of unusual Pentatonics Unorthodox Pentatonic repertoire
R
ecently, we have been exploring various different ways of using Mixolydian (1-2-3-4-5-6-b7) over a Dominant chord (1-3-5-b7). So far, we have extracted different â&#x20AC;&#x2DC;devicesâ&#x20AC;&#x2122; DQG Ă&#x20AC;DYRXUV IURP WKH VFDOH WULDGV DUSHJJLRV Pentatonic scales etc). Each provides a different mental and aural perspective, leading you to play different ideas each time.
,Q WHUPV RI 3HQWDWRQLFV ÂżYH QRWH VFDOHV we have thus far looked at the following scales in this mini series: Major Pentatonic scale: 1-2-3-4 -6 Dominant Pentatonic scale: 1 -2-3-5-b7 Indian Pentatonic scale: 1-3-4 -5-b7 In rock and blues, it is also common practice to use the Minor Pentatonic scale as a darker alternative: 1 -b3 -4 -5-b7. This scale possesses a b3 that does not exist within Mixolydian, but has the effect of providing some ear-catching dirt that helps our lines to sound bluesier. By adding a b3 to Mixolydian, we end up with an eight-note hybrid scale: A hybrid Dominant scale: A-B-B#-C#-D-E-F#-G 1 - 2 - #2 - 3 - 4 - 5 - 6 - b7 Note that, when writing the scale (Mixolydian with an added b3), the b3 w be described as a #2 as there is will already a major 3rd present in the scale. In this lesson, we are going to look l at Pentatonic scales that can be derived from this scale that incorporate the #2(b3). A7#9 Pentatonic scale: A-B#-C#-E-G 1 -#2 - 3 - 5 -b7 Although A this could be called 7#2 Pentatonic, itâ&#x20AC;&#x2122;s betterl to think 7#9 as thatâ&#x20AC;&#x2122;s how a #2 would normally appear in a chord (an octave higher): A7#9 chord: A-C#-E-G-B# 1 - 3 - 5 - b7 -#9 6R WKLV ÂżUVW 3HQWDWRQLF VFDOH FDQ DOVR be b thought of as a 7#9 arpeggio in which w all the information is compressed within each octave. The next Pentatonic has the same notes as an A6#9 arpeggio where, again, all the information is compressed into each octave: A6#9 Pentatonic scale: A-B#-C#-E-F# 1-#2-3-5-6 Yes, Y it could be called A6#2, but, as b before, itâ&#x20AC;&#x2122;s more common to see the #2
referred to as a #9 in chords. Finally in this lesson, we are going to look at the m6 Pentatonic scale. Am6 pentatonic scale: A-C-D-E-F# 1-b3-4-5-6 Here, note that the #2 (B#) can now be considered as a b3 (C) because there is no other 3rd in the scale. Diagram 1 shows all three scales in each of its CAGED shapes. Note that the 7#9 and 6#9 Pentatonic scales are shown with a major
EACH SCALE PROVIDES A
DIFFERENT MENTAL AND AURAL PERSPECTIVE, LEADING YOU TO PLAY DIFFERENT IDEAS chord as a main superstructure, whereas, for the m6 Pentatonic scale, itâ&#x20AC;&#x2122;s a minor chord (due to the lack of major 3rd). Here, we will be looking at musical H[DPSOHV ZLWKLQ HDFK RI WKH ÂżYH &$*(' shapes of these scales; however, this should just be the start of the process, and your aim should be to start developing your own personal repertoire of licks and lines in each shape, so that you have more ammunition to work with when improvising. The backing track is very slow (60bpm); so, donâ&#x20AC;&#x2122;t worry too much about the sight of so many 32nd notes in the musical examples since, speed-wise, they are equivalent to 16th-notes at 120bpm. 5
4
5
7 3
GAIN
BASS
MIDDLE
TREBLE
REVERB
For this lesson, all the examples were recorded using a standard blues-rock sound - a Fender Strat through a distortion pedal (Zendrive) into a slightly overdriven Marshall JCM 800 valve head. Go for a tone that mixes clarity with enough guts to sound right for the blues-rock genre. A nice splash of delay or reverb will help the notes to sing out and sustain.
TRACK RECORD American jazz guitarist John Scofield springs to mind as a player who likes to explore these unorthodox Pentatonic scale-types. John is a great fusion-style composer and has played on lots of records, both solo and as a sideman; however, if youâ&#x20AC;&#x2122;re new to his work, I still recommend a string of three consecutive solo albums that he did between 1986 and 1987, Still Warm, Blue Matter and Loud Jazz. 78
March 2018
DAVID LYTTELTON
How can adding a minor 3rd to the Mixolydian scale expand our Pentatonic possibilities? Once again Shaun Baxter gets us right on track.
LEARNING ZONE
UNUSUAL PENTATONIC SCALES DIAGRAM 1 ALL THREE SCALES IN EACH OF ITS CAGED SHAPES SHAPE 1
SHAPE 4
SHAPE 2
SHAPE 5
SHAPE 3
EXAMPLES UNUSUAL PENTATONIC SCALES
CD TRACK 62
EXAMPLE 1 We start with a different example in each of the five CAGED shapes of the A7#9 Pentatonic scale (see Diagram 1). This first one is based around CAGED shape #1, and exploits the subtle difference between a C# and a C note that is bent up towards C#, but never quite makes it (curl). On the face of it, this might look like a standard blues line but, without thinking in terms of the 7#9 Pentatonic, the eighth note of the sequence would probably have been a D instead of a C#, and the line may have deviated even further later
#
©»§º
. ‰
1/4
3
n
6
3
6
1/4 E B G D A E
5
5
5
8
5
8
5
8
6
5
7
5
7
8
6
9
1/4
~~~~
BU
4
3
®
n
7
. ‰
7
~~~~
#
Ex 2
~~~~
1/4
1
E B G D A E
~~~~
1/4
n
Ex 1
on if there weren’t a defined concept shaping the results. Basically, the more concepts you have, the greater the variety and contrast of your musical ideas. EXAMPLE 2 Next, we move up to CAGED shape #2 of the A7#9 Pentatonic. Although the start may look like standard blues fare, I’m sure you’ll agree that the second half of bar 4 doesn’t. Again, this is purely because the discipline of having to stick slavishly to the concept of shape #2 of the A7#9 Pentatonic scale forces us to break out of our usual patterns of play.
7
7 8
(9 )
6 10
9
8
1/4
9
10
6
7
10
7
7
10
March 2018
79
LESSON } CREATIVE ROCK
ON THE CD
EXAMPLES UNUSUAL PENTATONIC SCALES
TRACKS 61-63
CD TRACK 62
EXAMPLE 3 By laying out these Pentatonic scales on the guitar’s fretboard, you will start noticing new shapes to explore. For example, this shape #3 line starts off with a four-note diagonal shape that falls under the hand very nicely and sounds suitably ear-catching too. Try to take note of the accents within this particular line. EXAMPLE 4 There are more accents in this shape #4 line too, as well as some string-skipping to keep things from sounding predictable.
EXAMPLE 5 This is the first in a succession of shape #5 lines. Note that this one features a wide stretch between the second and fourth fingers on the first string. Although there are hammer-ons, slides and pull-offs throughout, aim to keep to a strict 32nd-note rhythm from start to finish. EXAMPLE 6 In this next shape #5 line, rhythmic interest is provided by playing a three-note motif to a count of four. Musically, this ‘three against four’ effect is known as a hemiola.
slow
Ex 3
n
#
1/4
> >
.
‰.
slow 1/4 E B G D A E
10
11
12
13 10
12
11
10 12
10 11
9
11
12 9
11 10
9 12 10
11 10
12 9 12
10 11 10
10 13
12 14
10
6
Ex 4
#
n> >
>
n #
n #
Hold
3 E B G D A E
12
15 14 12
12 12
14 12
13 14 11 14
12 14 12 15
BU
11 14 11
15 12
11
15 12
8
Ex 5
# E B G D A E
15 12 15
12 15
n 14 17 18
17
15 17 21 17 15
n
#
# n
17
18 17 14
17 14
16 15
# n
n
#
n
17 17
14
17 14 17 14
12
March 2018
17
17 14
14
Ex 6
‰.
14 17
15
~~ ~~
# n BU
14
~~~
~~~~
10
80
12 14
~~~~
™ ¢ ™
14 17
E B G D A E
11 14
12 13 (14 )
~~
17 14
15 17
17 14
17 15
17 14
~~~~~~
17 21 (24 )
LEARNING ZONE
UNUSUAL PENTATONIC SCALES EXAMPLES UNUSUAL PENTATONIC SCALES
CD TRACK 62
Zawinul ofWeather Report. Finally, note how this example finishes on a b7 (G natural), which is not part of the 6#9 Pentatonic scale, but just sounded right. EXAMPLE 9 This shape #2 line starts with a two-note pick-up and reverts back to the more traditional shift from b3 (C) to 3 (C#) at the start of bar 18. EXAMPLE 10 A three-note pick-up this time is used at the start of this line that traverses shapes #3 and #2. Here, we’re using a symmetrical arrangement whereby the pattern on the top string-pair (second and first strings) is replicated an octave lower on the middle string-pair (third and fourth strings). Note how we pass from C to C# and also vice versa.
EXAMPLE 7 Like Example 3, this final shape #5 line exploits forms that visually jump out at us once we see the scale represented on the guitar neck. Here, we use a convenient triad pair (A and C) that exists within the A7#9 Pentatonic scale as the thematic basis of this rhythmic and melodic line. EXAMPLE 8 Next, we move on to different examples in each of the five CAGED shapes of the A6#9 Pentatonic scale (see Diagram 1). More often than not, blues-rock players will use a b3 to approach a 3, and not the other way around; however, here, in this shape #1 line, we do see C# followed by C twice. This shift from 3 to b3 is something frequently exploited by modern jazz artists such as Joe
#
n
Ex 7
#
~~ ~ n #
n
n
~
# n
~~~
~~~~
E B G D A E
14
14
14
17 14
17
17
17 14
14 17
15
14
14
14
17
17
17 14
17 17 14
14
# E B G D A E
n
Ex 8
5
7
5
6
7
5
8
7
~~
# n
5
9
~~~
# n
~~~
9
8
Ex 9
‰.
‰ 8
5
~~~ 7
5
6
7
5
7
4
7
7
10
5
16
# E B G D A E
8
~~~~~~~
1/4
n #
9
~~~~~~~
1/4
10
7
6
9
7
10
9
BU 7
7
Ex 10
~~~~ .
‰
®
~~~~~ 7 10
(9)
n
8
18
# E B G D A E
~~~~~
n
9
12
9
8
slow 1/4
~~~~~~ 10
7
9
6
5
7
4
7
7
slow 1/4
5
20
March 2018
81
LESSON } CREATIVE ROCK
ON THE CD
EXAMPLES UNUSUAL PENTATONIC SCALES
CD TRACK 62
EXAMPLE 11 Often, it’s good to consciously escape‘guitaristic’interpretations of a scale (in other words, familiar‘under the fingers’ideas). Here, the four-note pattern on each string-pair in this shape #4 line is more typical of a sax player than a guitarist, but will yield fresh-sounding results. Again, take note of the accents, which will help to make the line less mechanical and rigid. EXAMPLE 12 There are more accents in this shape #5 line, which will give it a bit of added rhythmic interest. Notice the convenient 9th and 12th fret noteconfiguration repeated on all of the top three strings in this shape of the 6#9 Pentatonic scale. EXAMPLE 13 Although we have been focusing on lines that dwell within a single CAGED shape for each of these Pentatonic scales, this example shows
Ex 11
>
# E B G D A E
12
>
11
14
15
11
11 14
14
13 14
11
14
how the same motif can be shifted laterally up or down the neck, morphing as it travels through one shape to the next. Have a look at what other ideas can also be shifted in a similar manner with each of the three Pentatonic scales featured in this lesson. EXAMPLE 14 Finally, we move on to different examples in each of the five CAGED shapes of the Am6 Pentatonic scale (see Diagram 1). The eagle-eyed among you will notice that this scale has the same notes as D Dominant Pentatonic scale (in other words, it’s one of its five modes). Most of the examples in this lesson feature 32nd notes; however, this shape #1 line demonstrates the sort of languid and sleazy results that can be created by playing much slower.
>
>n # >n
>
TRACKS 61-63
12 14
13
#
. ‰
14
17
22
Ex 12
# E B G D A E
14 16
#> n > # n
n
14 17
16
14 17
14
17
17 14
œ œ
# œ
17 14
14
14
17
17 14
n
17 14
1/4
17 14
16 14
14
1/4
14 16
15
24
Ex 13
# E B G D A E
n
17 18
17 19
18
17 19
17
19
20 17
19 17
14 17
18 17 18 14 17
17
14 17
14
17
17 14
17 14
17 14 17
26
# E B G D A E
( )
11 14
13 14
14
13 14
12
14
14 12
March 2018
‰.
14 13
14 11 14
~~~
~~
Ex 14
~~
~~~~ 4 12
27
82
~~~~
7
5
5
7
BU 5 6
(7 )
5
~~~ 5
LEARNING ZONE
UNUSUAL PENTATONIC SCALES EXAMPLES UNUSUAL PENTATONIC SCALES
CD TRACK 62
EXAMPLE 17 Similarly, this shape #4 line starts with a straight F#m7b5 arpeggio (which has the same notes as Am6) F#m7b5: F#-A-C-E Am6: A-C-E-F# 1-b3-b5-b7 1-b3-5-6 EXAMPLE 18 Finally, we conclude with a line that starts in CAGED shape #5 of Am6 Pentatonic and then finishes in shape #1 of the same scale.
EXAMPLE 15 We switch to a triplet feel for this shape #2 Am6 Pentatonic line. Also, it features some chromatic notes that are always used as bridging notes from one valid scale-note to another (in this case, C# passing between C and D, and then Eb passing between D and E). EXAMPLE 16 We’re back to straight 32nd notes for this shape #3 line. Note how the first nine notes are taken straight from a D7 arpeggio.
n. #. .
Ex 15
#
.
n
6
6
3 BU E B G D A E
8
9
10
5
BD (12 ) (10 ) 9
8
8
10 7
10 7
9
10
8
10
7
8
3
9
8
7
7
10 7
10 7
9
7
7
9
29
#
~~
n
Ex 16 3 1/4
‰
Ϫ
n
~~~ E B G D A E
1/4
7
9 12
10 12
11
10 13
10
13
12 10
13 10
11 9
12 10
12 9
8
31
#
.
1/4
n
Ex 17
1/4
b
1/4 E B G D A E
14
34
Ex 18
#
12 15
14
11 14
13
12 14 17 14 12
15
14
13
7 12 10 8
~ ~~~
1/4
14 15 14 11 14
13
14 11
14 12 14
~~~ ‰ ~~~
BU E B G D A E
12 15
15
17 (19 )
15 17 15
17 14
16 14 16
14 17
15 17
14 17
20 17
19 17
19 17
19
36
March 2018
83
LESSON } FRETBOARD FLUENCY
ON THE CD
Fretboard fluency Pt 3 This issue Martin Goulding explores one of the most popular scales for improvising over minor 7 chords: the ever musical Dorian mode.
TRACKS 64-69
Brought to you by...
In the third example, weâ&#x20AC;&#x2122;ll work on developing our recognition of the strongest intervals in Dorian â&#x20AC;&#x201C; the chord tones, or notes of the m7 arpeggio (R-b3-5-b :HÂśOO GR WKLV E\ â&#x20AC;&#x2DC;enclosingâ&#x20AC;&#x2122; each consecutive chord tone using an â&#x20AC;&#x2DC;upper neighbour toneâ&#x20AC;&#x2122; (scale note higher than the chord tone), followed by a â&#x20AC;&#x2DC;lower neighbour toneâ&#x20AC;&#x2122; (one scale degree lower). This provides a visual map of the key intervals from which we can start and resolve our melodies when improvising. :KHQ SOD\LQJ LQWHUYDOOLF SDWWHUQV WKDW require fretting-hand barring and rolling when playing adjacent notes across two strings, adopt a â&#x20AC;&#x2DC;square and droppedâ&#x20AC;&#x2122; hand position with the thumb positioned in the
PLAYING THROUGH THE EXAMPLES MAY PROVE CHALLENGING, SO BREAK THEM DOWN FOUR NOTES AT A TIME
ABILITY RATING - - - - - Moderate/Advanced Info Key: A Dorian Tempo: 120bpm CD: TRACKS 64-69
Will improve your: Alternate picking Muting, barring and rolling Interval recognition
D
orian is the second mode of the Major scale, so in the key of G Major that would be A Dorian: A-B-C-D-E-F#-G (R-2-b3-4-5-6-b7). A popular choice when improvising over m7 chords, Dorian mode is characterised by the major 6th degree (F#) which differentiates it from Aeolian and Phrygian, the other minor modes, both of which contain the darker minor 6th (F).
Based around last monthâ&#x20AC;&#x2122;s formula, weâ&#x20AC;&#x2122;ll arrange the Dorian mode as two â&#x20AC;&#x2DC;master exercisesâ&#x20AC;&#x2122; in positions 1 and 4, with the chord, scale, arpeggio and intervallic pattern all incorporated into a single exercise for PD[LPXP HIÂżFLHQF\ :HÂśOO EH SOD\LQJ WKURXJK WKH VFDOH ÂżUVWO\ LQ UGV DQG WKHQ LQ WKV ZLWK strict alternate picking. Playing through these LQWHUYDOV PD\ EH FKDOOHQJLQJ DW ÂżUVW VR WU\ breaking each example down four notes at a time and work on memorising each â&#x20AC;&#x2DC;fragmentâ&#x20AC;&#x2122; before moving on. Pay particular attention to WKH UHFRPPHQGHG ÂżQJHULQJV DV ZHOO DV WKH direction of the pick strokes, which form the momentum of the technique. As with all exercise routines, shake out the hands and arms as soon as you feel tension or fatigue.
NEXT MONTH Martin continues his series that helps to hone your Fretboard Navigation 6
6
6
7
GAIN
3
BASS
MIDDLE
TREBLE
REVERB
Iâ&#x20AC;&#x2122;d recommend you practise using a medium overdrive sound as itâ&#x20AC;&#x2122;s one of the best ways to monitor your muting techniques (any unplayed strings can produce unwanted dissonant overtones).The overdriven sound is also the tone of choice for many contemporary styles, and will lend a more fusion-orientated sound when playing some of the more jazz-based concepts weâ&#x20AC;&#x2122;ll be covering, with the ideas easily integrated with your existing blues and rock vocabulary.
TRACK RECORD Santana is well known for using Dorian colour tones in his Minor Pentatonic phrases; examples include Oye Como Va and Evil Ways. Intervals of a 3rd form the basis for classic melodies including Bowieâ&#x20AC;&#x2122;s 1977 single, Sound And Vision, while 3rds can fatten up lead melodies - think of The Boys Are Back in Town by Thin Lizzy and Hotel California by The Eagles, both featuring harmonised 3rds. 84
March 2018
STARTRAKS PHOTO / REX / SHUTTERSTOCK
Carlos Santanaâ&#x20AC;&#x2122;s playing is often tinged with the sound of Dorian
middle of the back of the neck, and with plenty of space between the underside of the neck and the â&#x20AC;&#x2DC;cupâ&#x20AC;&#x2122; of the hand. This â&#x20AC;&#x2DC;classicalâ&#x20AC;&#x2122; hand position may feel unusual if you are from a blues-based background and play â&#x20AC;&#x2DC;thumb over the topâ&#x20AC;&#x2122; style. But with the hand position square, youâ&#x20AC;&#x2122;ll be able to stretch out DQG SRVLWLRQ \RXU ÂżQJHUV IRU JUHDWHU DFFXUDF\ ZLWK WKH ÂżUVW ÂżQJHU VHW WR PXWH RII WKH adjacent lower string with its tip, as well as UHVWLQJ Ă&#x20AC;DW RYHU DQ\ KLJKHU WUHEOH VWULQJV XQGHUQHDWK :LWK WKH SLFNLQJ KDQG PXWLQJ RII any unattended lower strings, the notes should sound clear and even in velocity.
LEARNING ZONE
DORIAN MODE EXAMPLE 1A MASTER EXERCISE
CD TRACK 64
Let’s take the‘master exercise’that we’ve been using over the last two lessons to practise the G Major scale, and apply it to the A Dorian mode position 1. Starting off with the associated Am7 chord for reference, we’ll ascend and descend the scale and arpeggio forms before continuing playing the scale in 3rds. Isolate these three main sections and repeat slowly until memorised, before assembling the whole. Once you are able to play through the whole example cleanly with good timing and accuracy, turn on the metronome and
©»¡™º
Am7
find a comfortable speed. If you experience a build up of tension or fatigue, stop and shake out the hands and arms until any feeling of discomfort has subsided. Use strict alternate picking, starting on a downstroke. The whole exercise is written as eighth notes, so try tapping your foot to accent the downstrokes at the start of each beat. As the speed increases gradually over the weeks, you may wish to reinterpret the exercise as 16th-notes with the click, downstroke accent and foot reinforcing the beat every four notes.
N.C.
œ
E B G D A E
5 5 5
¢
£
¡
£
¢
¡
¢
8
7
5
8
7
5
¢
¡
5
8
5
5
7
£
7
5
¢
E B G D A E
4
# £ ¢œ
7
8
¡
5
£
7
£
7
¡
5
¡
5
œ £ ¡
¢
5
8
5
7
5
7
¢
™
¡
7
5
4
œ
£
¡
7
8
5
7
¢
8
™
¡
7
¢ £
4
¡
¡
¢
5
¢
4
£
8
7
5
5
7
¡
7
™ ¡
¢
™ ¡
5
7
5
4
5
¡
™
¢
¡
™ ¢
¡
5
7
4
5
4
¡
¢
5
7
5
8
8
¡
¢
¡
4
7
5
#£
£
¡
¡ ¢
¢ ™
4
5
7
5
7
7
5
8
¢
5
4
7
7
¡
£ ¢
¡
5
7
5
8
£
¡
7
5
muted off with the tip of the finger. When descending the scale, simply reverse the process with the tip of the finger set to mute the adjacent lower string before leaning forwards from the wrist and pinching onto the lower string to play the note. Once memorised, see if you can play through the first ‘master exercise’ again, this time replacing the 3rds with 4ths.
¡ ™ ¡ #£ £ ¢
N.C.
5 5 5 1
8
ϣ
CD TRACK 65
¡
5
7
5
EXAMPLE 1B PLAYING A DORIAN IN 4THS
E B G D A E
5
¡
¡
£
¢
¡
7
7
This example ascends and descends our position 1 A Dorian mode in 4ths. This will require the use of fretting hand barring and rolling techniques, so break the pattern down two notes at a time and work on playing the first note on your fingertip before leaning back from the wrist to play the adjacent note (fingerpad), and then with the previously played lower string Am7
¢
etc
11
©»¡™º
#£
£
5
¡
7
7
¡
5
¡ £ ¡
E B G D A E
4
¡
8
4
¡
4
7
¢
™ ¡
E B G D A E
7
™
¢
5
5
1
5
™
¡
£
¡
¢
£
¡
¡
¡
5
œ
¢
¢ ¢
7
¡
4
™
5
™
5
5
7
8
¢ ¢ ¡
7
7
4
¡ ¡
¡ ™ ™ ¢ ¢
4
5
5
7
7
4
5
5
7
7
8
5
5
etc
March 2018
85
LESSON } FRETBOARD FLUENCY
ON THE CD
TRACKS 64-69
EXAMPLE 1B PLAYING A DORIAN IN 4THS...CONTINUED
£
¡
£
¢
¡
£ £
™
¡
CD TRACK 65
¢
¡
¢ ™
E B G D A E
7
5
7
5
8
7
7
5
5
4
7
™
5
7
¡
¡
¢
4
7
4
5
¢
™ ™œ ¡ ¢
£
5
5
7
7
5
œ
£
8
5
¡
5
7
EXAMPLE 2A A DORIAN MINOR 7 CHORD, ARPEGGIO AND SCALE
CD TRACK 66
In examples 2a and 2b, we’ll apply the same approach with our A Dorian ‘master exercise’arranged in position 4, with the minor 7 chord, Dorian mode, minor 7 arpeggio and intervallic pattern again played in succession. Once
©»¡™º
Am7
N.C.
ww
E B G D A E
¡
¢
™
¢
¡
¡
™
£
14
15
15
14
12
15
13
12
14
12
11
14
12
12
15
¡
14
£ ¢
14
¡ ¢
12
¢ £ ¡
12
13
14 12
14
15 12
7
™ ¢
¡
¡
™
15
£ ¡
12
10 15 14
¡
¢
¡ ™
¢ £
15
¢
12
13 15
11
86
March 2018
12
13
14
12
12
14
11
12
14
11
12
14
¡
¢
12
™
¢
12
13
15
£
¡
12
14
£
™
¢
12
15
¡ ¢
¡ ¢ ™
¡
¡
£
14
¢
12
¡
15
11
14 12
£ ¢
14
14
15
¡ ¡
12
14
15
12
14
15
12
11 14 12
¡ £
E B G D A E
11
#£
¡
¡
12
14
£ ™
13
¡ ¢
¡ ¢
14 12 15
¡
¢
etc
¡
14
¢ £
£ ¡ ¡
E B G D A E
14
£
15
™ £ ¡
12
15
¢
4
¡
™
¢
¡
£ E B G D A E
¡
£
¡
¢
12
1
#£
¢
£
¡
# œ œ œ œ
£
¡
13 12 14 12
¢
more, use alternate picking and concentrate on clear note separation, with each digit released as the next goes down. On the 4ths, listen out for notes sounding together as you roll and barre the fingers across the adjacent notes.
12
14
¢
15
¡
12
£
¡
14
12
12
14
13 12 15
LEARNING ZONE
DORIAN MODE EXAMPLE 2B A DORIAN MINOR 7 CHORD, ARPEGGIO AND SCALE
©»¡™º
Am7
N.C.
13 12 14 12
™
¡
¢
¡
™
£
œ
™
¡
œ
12
14
#¡
14
15 12
¢
15
12
14
¢ ™
™ ¡
14
11
12
12
15
14
13
12
12
15
14
13
12
12
11
14
12
14
¢
£ ¡
£
11
12
14
14
11
12
12
13
14
¡
14
15
12
14
12
15
5
£ £
¢
14
15
¡
12
14
EXAMPLE 3 ‘ENCLOSING’USING NEIGHBOUR TONES
CD TRACK 68
Our final example uses eighth-note lead-ins on beats 2 and 4 to target the notes of the Am7 arpeggio – A-C -E-G (R-b3-5-b7th). Each lead-in phrase consists of an upper neighbour tone (one scale degree higher than the target chord tone), followed by a lower neighbour tone (one scale degree lower). Together, these surrounding intervals heighten tension and
©»¡¡
E B G D A E
œ
7
¡
£
3
5
5
œ
¡
¢
£
4 7
¢
™
5
8
7
£
¢
œ œ
¡
™
¡
1
¡
direct the listener’s ear towards the resolving target chord tones, which occur on the main downbeats – 1 and 3. Once memorised, play over the backing track on the GT audio before improvising around the framework, experimenting with melodies and phrases, remebering to always start and end phrases on the stronger chord tones.
N.C.
¢
¡
¢
¡
¡
™
7
4
5
¡
4
£
¢
¢
£
™
¢
5
7
¡
™
7
4
5
¢
¡
¢
¡
5
4
E B G D A E 7
5
¢
¢
7
7
8
¡
™
5
8
¡
7
7
4
5
4
5
œ
™
5
7
7
¢
8
œ
¡
7
5
£
¢
¢
7
8
5
7
7
7
œ
¡
3
™
4
¢
7
£
¢
7
™ ¡
E B G D A E
12
15 12
etc
¢ E B G D A E
¡ ¡
¢ ™ # œ¡ ™ ¡œ £
£ £œ ¢ # ¡œ ™ ™œ ¢œ ¢
¡ ¡
12
1
#£
¢ ¢ ¡ £ £
¡ E B G D A E
CD TRACK 67
5
4
~~~~~
™
5
~~~~~ 5
March 2018
87
LESSON } BEGINNERâ&#x20AC;&#x2122;S SLIDE
ON THE CD
TRACKS 70-77
Brought to you byâ&#x20AC;Ś
that would later be a highlight of the At )LOOPRUH (DVW OLYH DOEXP 7KH &RULFLGLQ SDLQ NLOOHU ERWWOH KH ÂżUVW XVHG DV D VOLGH DIWHU sustaining an injury would become a signature RI KLV HPXODWHG E\ PDQ\ RWKHU SOD\HUV 5ROOLQJ 6WRQH SXW 'XDQH $OOPDQ DW RQ their list of the Top 100 Guitarists, second only WR -LPL +HQGUL[ 'HVSLWH DQ LPSUHVVLYH VWXGLR FDWDORJXH LQ D UHODWLYHO\ VKRUW FDUHHU LW ZDV OLYH WKDW $OOPDQ VKRQH EULJKWHVW ZLWK /LYH $W )LOOPRUH (DVW DUJXDEO\ WKH EDQGÂśV ÂżQHVW KRXU Allmanâ&#x20AC;&#x2122;s phrasing was at times fast and FRPSOH[ DOZD\V ZLWK D XQLTXH YRLFH 0RVWO\ using open E tuning, he could still play HIIHFWLYHO\ LQ D ZLGH UDQJH RI NH\V +H DOVR used the whole neck of the guitar, including
ROLLING STONE PUT DUANE ALLMAN AT #2 ON THEIR LIST OF THE TOP 100 GUITARISTS EVER, SECOND ONLY TO JIMI HENDRIX
Duane Allman This month Harrison Marsh explores the style of one of the most inďŹ&#x201A;uential and revered slide guitarists the world has known. KDYLQJ DOUHDG\ KDG D VXFFHVVIXO FDUHHU DV D VWXGLR PXVLFLDQ +H UHFRUGHG ZLWK DUWLVWV VXFK DV $UHWKD )UDQNOLQ DQG IHDWXUHG KHDYLO\ Info Will improve your on Eric Claptonâ&#x20AC;&#x2122;s Derek And The Dominoes Key: Various Blues slide technique DOEXP /D\OD $QG 2WKHU $VVRUWHG /RYH 6RQJV Tempo: Various Playing with ďŹ ngers (1970), after Clapton heard his famous solo at CD: TRACKS 70-77 Touch and taste WKH HQG RI :LOVRQ 3LFNHWWÂśV FRYHU RI +H\ -XGH While arguably most famous for (Top Gear WKHPH -HVVLFD WKH IRXU $OOPDQ %URWKHUV espite his tragically early death at the albums with Duane are essential listening for age of 24 in a motorbike accident in DQ\RQH ZDQWLQJ WR LPSURYH WKHLU VOLGH JXLWDU 1971, Duane Allman was a hugelyLQĂ&#x20AC;XHQWLDO JXLWDULVW ,Q IDFW KH YLUWXDOO\ phrasing (as a side note, Allmanâ&#x20AC;&#x2122;s non-slide UHYROXWLRQLVHG VOLGH JXLWDU SOD\LQJ $ORQJ ZLWK SOD\LQJ ZDV HYHU\ ELW DV LQVSLULQJ $OOPDQ VWDUWHG WR SOD\ VOLGH KDYLQJ KHDUG EURWKHU *UHJJ WKH 1DVKYLOOH ERUQ JXLWDULVW 7DM 0DKDOÂśV YHUVLRQ RI 6WDWHVERUR %OXHV D VRQJ formed The Allman Brothers Band in 1969,
NEXT MONTH Harrison examines the playing of a real innovator, the legendary Elmore James 6
6
5
6
ABILITY RATING - - - - - Easy
D
2
GAIN
BASS
MIDDLE
TREBLE
REVERB
While he used a range of guitars including Stratocasters and a National Duolian, Allman was most famously associated with Gibson Les Pauls and his famous medicine bottle slide. Any guitar with a high enough action will work for slide but to get close to Allmanâ&#x20AC;&#x2122;s tone, a humbucker-equipped guitar with bridge pickup selected, a glass slide and a little overdrive on the amplifier will work well.
TRACK RECORD The Duane Allman Anthology (1972) highlights his playing as a session musician including The Weight, with Aretha Franklin. Check out Layla And Other Assorted Love Songs (1970) too, especially Key To The Highway and, of course, The Allman Brothers albums starting with Live At Fillmore East and One Way Out (2004), and Statesboro Blues (the Allman Brothersâ&#x20AC;&#x2122; version). 88
March 2018
MICHAEL OCHS ARCHIVE / GETTY IMAGES
Duane Allman was one of slideâ&#x20AC;&#x2122;s most influential figures
beyond the pickups (as can be heard on the IDPRXV /D\OD VROR $OOPDQ ORYHG WR intertwine his lead lines with those of Clapton RU 'LFNH\ %HWWV $V ZHOO DV KLV IDPRXV DELOLW\ DW LPSURYLVLQJ KH ZDV PDVWHUIXO DW FUHDWLQJ KRRNV DQG ULIIV ZLWK DQG ZLWKRXW VOLGH Duaneâ&#x20AC;&#x2122;s slide playing alone makes The Allman Brothers essential listening for any guitarist, but with both Derek Trucks and :DUUHQ +D\QHV SOD\LQJ ZLWK WKH EDQG DOEHLW years after Allmanâ&#x20AC;&#x2122;s death, the group and its fabulous guitarists remain one of the biggest LQĂ&#x20AC;XHQFHV RQ PRGHUQ VOLGH JXLWDU
LEARNING ZONE
DUANE ALLMAN EXAMPLE 1 SLIDE IN C
TRACK 70
All examples here use open E tuning and the slide worn on the third finger. This is a typical phrase Allman would use in the key of C. Be careful when moving quickly up to the 12th fret not to overshoot the desired pitch. Don’t overdo the vibrato when practising but learn it in a subtle and progressive way.
©»¡¢º
.
C7
‰ 3 Open E tuning E B G# E B E
8
6
8
8
6 6
8
6
8
10 12
8
8
8
1
.
F7
E B G# E B E
C7
b
13 11
8
6
13
8
6
6
8
6
8
8
5
EXAMPLE 2 INCORPORATING DOUBLESTOPS IN E
TRACK 72
The gradual double-stops and change of direction with the slide here both need to be worked on carefully so you don’t lose intonation. Try with quite a clean tone first and a slow tempo to allow you to hear any mistakes and rectify them during practice.
#
©»¶
n
E7
b
n
Open E tuning
E B G# E B E
12
12
12
12
12
10
12
10 12
12
10
11 11
12
12 12
12
10
12
12
1
n
#
E B G# E B E
n
n ‰
11
13 11
12
12 13
15
12 10
‰
12
12
12
12
12
15
16 12
12
12
12
3
March 2018
89
LESSON } BEGINNERâ&#x20AC;&#x2122;S SLIDE EXAMPLE 3 PLAYING ABOVE THE TOP FRETS
TRACK 74
Allman regularly used the higher frets of all the six strings, so if youâ&#x20AC;&#x2122;re a vintage Strat or Tele player the 22nd fret here will be virtual as the slide goes past the end of the fretboard. This puts your hand in an unusual position so back oďŹ&#x20AC; the muting for just that note if necessary. Listen carefully as you now only have your ear for intonation.
A7
#
E7
.
Open E tuning E B G# E B E
15
17
15
15
17
17
1
# E B G# E B E
17
17
( )
D7
A7
n
â&#x20AC;°
n
22 23 22
20
.
E7
.
15 17
15
.
17
17
A7
17 15
15
17
17
15
17
4
EXAMPLE 4 JAM TRACK
TRACK 76
This stomping track is based on the kind of thing Allman might improvive over something like Statesboro Blues. As you can see, we spend all of our time above the 12th fret, where notes are closer together and intonation more critical. Vibrato can be a great friend here, helping the notes to sound more on pitch.
#
Šâ&#x201E;˘ÂĄÂş
A7
â&#x20AC;°
â&#x20AC;°
â&#x20AC;°
Altered tuning E B G# E B E
17
90
15
17
15
17
17
15
17
17
1
D7
#
E B G# E B E
17
.
â&#x20AC;°
15
4
March 2018
17
17
17
15
17
17
â&#x20AC;° 19
20
15
17
17
DUANE ALLMAN
LEARNING ZONE
EXAMPLE 4 JAM TRACK ...CONTINUED
TRACK 76
( ) # ‰ E B G# E B E
A7
17
15
15
17 15
16
17
17
17
17
15
17
E7
15 15
17
17
15
15
17
17
11
#
E B G# E B E
17
8
#
E B G# E B E
15
D7
17
A7
15
17
17
15
17
17
15
17
17
15
17
15
17
17
15
15
17
15
Love this magazine? You’ll love musicradar.com March 2018
91
LESSON } IN THE WOODSHED
ON THE CD
Brought to you by…
In The Woodshed Master an essential facet of legato technique as Charlie Griffiths shows how to incorporate fretting-hand hammer-ons into your playing.
Fretting-hand hammers require strong fingertip connection to the strings as seen here
ABILITY RATING - - - - - Moderate to advanced Info Key: Various Tempo: Various CD: TRACKS 78-87
Will improve your… Fretting hand timing Finger placement accuracy Effective string muting
F
retting-hand hammer-ons are an essential facet of legato technique. It PHDQV GURSSLQJ \RXU ¿QJHU RQ WR WKH string to cause it to vibrate and therefore create a note. This is quite straightforward when staying on one string, but crossing strings is where the real skill of the technique lies. Traditional hammer-on and pull-off style legato typically means that
TRACKS 78-87
ZH SLFN WKH ¿UVW QRWH RI HDFK VWULQJ WUDQVLWLRQ This enables you to eschew the use of the pick DQG XVH RQO\ \RXU IUHWWLQJ ¿QJHUV WR LQLWLDWH the string change, sometimes called ’hammering-on from nowhere’, or ‘frettinghand tapping’. Players like Eddie Van Halen, Pat Metheny, Richie Kotzen, Greg Howe and Allan Holdsworth are the greatest at this approach and, as their playing demonstrates, can yields very smooth, speedy results. Example 1 will introduce you to the basic mechanics of the technique. With this H[DPSOH \RX ZLOO XVH HDFK ¿QJHU WR KDPPHU on to a new string. When you hammer on to WKH VWULQJ PDNH VXUH \RXU ¿QJHU ODQGV DV FORVH to the fret wire as possible for the cleanest possible tone. You shouldn’t need to use too
PXFK IRUFH MXVW D JRRG VROLG ¿QJHU GURS 7KH ¿UVW WLPH \RX WU\ WKLV \RX ZLOO SUREDEO\ QRWLFH that you not only hear the note you are hammering to, but also a lot of noise from the open strings. This is normal, of course, but we need to eradicate all this extraneous noise with some careful string muting. There are three points of contact which you can make with the unwanted strings. For the bass strings you can use the side of your picking hand palm to mute, but for the treble VWULQJV \RX QHHG D OLWWOH PRUH ¿QHVVH 7KH general rule is to use the underside of your IUHWWLQJ ¿QJHUV WR OLJKWO\ WRXFK WKH VWULQJV above the one you are playing. Also use the tip RI \RXU ¿QJHU WR WRXFK WKH VWULQJ GLUHFWO\ below the one you are playing. With these three points of contact all working in unison, you should be able to produce a single clean tone without any extra noise. Our second example shows how you can incorporate this technique into a simple descending scale. Notice that all six strings are played without a single pick stroke. Frettinghand hammer-ons are great for descending scales and arpeggios smoothly and quickly. Example 3 is more riff based and will help you get used to using the technique in the PRUH GLI¿FXOW DVFHQGLQJ IDVKLRQ 7KLV H[HUFLVH ZLOO DOVR KHOS WUDLQ \RXU ¿QJHUV WR VWD\ FORVH WR the strings. Example 4 puts the technique in a more hard rock lead guitar context. The melody descends through a sequence of four notes while each descending string change is performed with a fretting-hand hammer-on to a new string. Example 5 combines tapping with fretting-hand hammer-ons to create a smooth descending Eddie Van Halen-style stream of notes. Practise each lick slowly and accurately before gradually building up the speed until you’re ready to play along with the backing tracks we’ve provided. NEXT MONTH Charlie examines the art of mastering the tricky 5/4 time signature CD TRACK 78
EXAMPLE 1
Use your first finger to play the 5th fret and fingers two, three and four to play the 6th, 7th and 8th frets. As well as producing clean hammer-ons, focus on muting the higher strings with the underside of your fretting fingers and the adjacent strings with the tips of whichever fingers are fretting notes.
#
©»¡ºº
March 2018
F
..
. .
E B G D A E
92
A
..
5
6
5
7
5
8
5
7
. .
LEARNING ZONE
HAMMER-ONS
CD TRACK 80
EXAMPLE 2
Descend through this A Minor Pentatonic phrase smoothly and evenly. Use the underside of your first finger to keep the treble strings muted and use the side of your picking hand palm to touch the bass strings. Lift your fretting fingers off one string at a time.
©»¡ºº
~~~~
Am
..
. .
E B G D A E
..
œ 5
8
5
7
5
7
~~~~
5
7
. .
5
8
CD TRACK 82
EXAMPLE 3
For this prog-style riff, keep your first finger close to the fretboard and keep the underside of the finger in contact with the strings as much as possible. Hammer on the first note with your first finger, then the next two notes with second and fourth fingers throughout. Badd9
©»ªº
#
..
. .
E B G D A E
#
E add9
F add9
œ
#
C add9
Badd9
..
9
7
11
9
7
11
13
11
9
13
11
9
11
11
9
9
. . CD TRACK 84
EXAMPLE 4
This lick is based in E Dorian (E-F-G-A-B-C-D) with an added b5 (B b) for a cool bluesy sound. Maintain the first, third and fourth finger positioning throughout and descend four notes at a time. You can re-pick the first string, but hammer on to all the descending string changes with your fretting hand.
# ©»¡¡º
Em ..
. .
E B G D A E
~~~
15 14 12
15
14 12
15 14
12
~~~
15 14 12 15 14 12
14 12
15
12
15 14
15 14 12
14
..
. . CD TRACK 86
EXAMPLE 5
Here we initiate the first string with a picking hand tap to the 12th fret. Next pull off three notes before hammering on to the second string with your fourth finger. Next move down a string and repeat this pattern again. The phrasing of the lick is in quintuplets, which means five even notes per beat.
©»¡ºº
.. 5
E B G D A E
. .
12
8
7
5
8
~~~
o
5
5
12
8
7
5
8
12
8
7
~~~
5
7
..
. .
5
March 2018
93
NEVER MISS ANOTHER ISSUE
24 Turn to page e! ib cr bs su to
BACK ISSUES
The last six months still available! Missed one of our recent fabulous issues? Get one now while stocks last.
FEBRUARY GT278
JANUARY GT277
SPEED UP YOUR LICKS
BEATLES CHORDS
BLUES SCALE
Fast Pentatonic licks can sound most impressive. We show you a bunch of brilliant ones! John Mayer is a bona fide guitar great, AND a mega pop star. Check out his cool style! Plus: play the Monty Python theme, learn the styles of The Police, Jimmy Bruno & more!
Learn the chords and sequences that helped create the sounds of the greatest ever band. Discover sweep picking (all styles and levels; not just neo-classical rock). Plus: Tom Petty tribute, Tudor composer Robert Johnson’s ‘Alman’ tabbed, and so much more!
There’s way more to the Blues scale than meets the eye; make amazing music with these six notes in a host of styles. Grunge! We bring you 10 great pieces in the style of 10 of grunge’s top acts. Bach’s Goldberg Variations tabbed, and so much more inside!
NOVEMBER GT275
OCTOBER GT274
SEPTEMBER GT273
GARY MOORE
SOUTHERN BLUES ROCK
SWINGIN’THE BLUES
We look at this awesome guitarist’s full range of styles and bring you six fantastic solos to play. Learn how where you place the note around the beat can have a huge impact on how you sound. Play a hot rock solo piece, two-hand-tapping style. And loads more!
Southern rock took the 70s by storm. We show you how the bosses of the style did it. Learn how heavy rock tones and licks have influenced modern pop, and find out how to do it yourself. And, learn a hot Texas blues using two-hand tapping - it’s awesome!
Jazzy jump blues will stretch your chops a little but prove a whole lot of fun. Play like the titans of the genre! String skipping and tapping are not just for mega-rock; they can be applied to all styles with great results. We show you how... and so much more!
DECEMBER GT276
TO ORDER BACK ISSUES: Call 0844 848 2852 or visit www.myfavouritemagazines.co.uk Please do not call or email the magazine directly as we cannot deal with subscriptions or back issues. We regret that we cannot photocopy transcriptions from back issues
Each back issue costs (including postage and packing) Q UK: £5.99 Q Europe: £6.99 Q Rest of the world: £7.99
94
March 2018
WHAT OUR RATINGS MEAN - - - - - Buy it - - - - Excellent - - - Good - - Average - Bin it!
NEW ALBUMS A selection of new and reissued guitar releases, including Album Of The Month Album of the Month TOMMY EMMANUEL ACCOMPLICE ONE
Mascot Label - - - - Itâ&#x20AC;&#x2122;s a contentious thing to say but Tommy Emmanuel could be the best steel-string acoustic guitarist in the world. Why? Well, his sense of timing and stunning technique beggar belief. With this new album, he duets XS ZLWK D ZRQGHUIXO FDVW RI PXVLFLDQV VSDQQLQJ 0DUN .QRSĂ&#x20AC;HU DQG Jerry Douglas to Ricky Skaggs and Bryan Sutton. With a superbly crisp production the 16 tracks are a real joy. Tommy is a rounded musician in the fullest sense - he can blaze up front, comp with inventive and solid ideas and has a wealth of taste and tricks for six-string anoraks like us. Want some shred? Check out C-Jam Blues with David Grisman PDQGROLQ DQG %U\DQ 6XWWRQ DFRXVWLF 6PRNLQJ :DQW WDVW\ emotion? Keepingâ&#x20AC;&#x2122; It Reel with Clive Carroll is beautifully performed. Jazz with pretty chords? Djangology with Frank Vignola and Vinny Raniolo is foot-tapping and gorgeous. As for nice songs, You Donâ&#x20AC;&#x2122;t Want To Get One Of Those is humorous and chilled, as if Tommy and 0DUN .QRSĂ&#x20AC;HU DUH LQ \RXU ORXQJH RQH HYHQLQJ KDYLQJ D *XLQQHVV RU WZR DQG MDPPLQJ ZLWK VPLOHV RQ WKHLU IDFHV ,W WDNHV FRQÂżGHQFH WDVWH and ability to be this exposed on an album, but with Tommy itâ&#x20AC;&#x2122;s a walk LQ WKH SDUN +HÂśV ZD\ PRUH WKDQ PHUHO\ DFFRPSOLVKHG WKDWÂśV IRU VXUH
MUSIC } REVIEWS
was followed by the highly acclaimed Introvertigo in 2016 and since then, live appearances â&#x20AC;&#x201C; most recently a UK tour with Joanne Shaw Taylor in autumn 2017 â&#x20AC;&#x201C; have bolstered his reputation as an DOO URXQG 6WUDW SRZHUHG ÂżUHEUDQG and his collection of positive reviews and awards has begun to multiply. Both his previous albums have been produced by Theo Crous, but Perfection Kills sees the bluesman take over production duties himself. â&#x20AC;&#x153;I learnt so much working with Theo,â&#x20AC;? he explains. â&#x20AC;&#x153;I worked on pre-production and songwriting with Theo on a couple of the tracks for Perfection Kills and applied what I learnt to the recording and production process of this one.â&#x20AC;? The result is a raw, energy-enriched rollercoaster of an album that kicks of with the high-octane throb of Johnny and continues apace with some truly excellent rhythm and lead from Danâ&#x20AC;&#x2122;s battered 60s Strat. â&#x20AC;&#x153;Perfection Kills is all about my vision of making a record that still
explained, â&#x20AC;&#x153;With Faced With Rage I wanted to continue the same heavy journey that we began with 2015â&#x20AC;&#x2122;s Emergence but this time occasionally delve into more atmospheric and textural sounds that weâ&#x20AC;&#x2122;d not previously explored.â&#x20AC;? Itâ&#x20AC;&#x2122;s a dark journey, for sure, but the landscape is a fascinating one; constantly undulating with writhing, twisting guitar riffs and subterraneous bass parts, held together with Darranâ&#x20AC;&#x2122;s dystopian lyrics. Shafts of light emerge with tracks like We Are Leaving, a widescreen starless ballad with a creeping melodic guitar solo. Itâ&#x20AC;&#x2122;s an album that is constantly intriguing with labyrinthine changes of pace and colour, and ZH UHDOO\ OLNH LW
MOONPARTICLE HURRICANE ESMIRELDA
Moonparticle - - - - -
BLACK LABEL SOCIETY GRIMMEST HITS
REVIEWS BY JASON SIDWELL AND DAVID MEAD
Spinefarm Records - - - - Best known as Ozzy Osbourneâ&#x20AC;&#x2122;s guitarist during the late 80s and 90s, Zakk Wylde and his EMG-equipped Les Paul make for one of the most revered six-string pairings in rock. For over a decade Zakk has also fronted Black Label Society, and Grimmest Hits is their 10th release; not a greatest hits but rather a set of 12 slamming new songs. Think hard rock meets southern rock with ODVKLQJV RI EOXHV VFDOH ULIÂżQJ EOD]LQJ picking and pinch harmonics. The appeal with Zakkâ&#x20AC;&#x2122;s music is his ability to uniquely blend his LQĂ&#x20AC;XHQFHV %ODFN 6DEEDWK DQG Lynyrd Skynyrd to Eddie Van Halen and John McLaughlin) to create a IUHVK QHZ VRXQG 7KH ÂżUVW IHZ WUDFNV
are pounding riffers that evoke â&#x20AC;&#x2DC;Led Zeppelin meets Soundgardenâ&#x20AC;&#x2122; territory, with guitar work thatâ&#x20AC;&#x2122;s both memorable and rhythmically twisting. Four tracks in, All That Once Shined features not only a great vocal performance from Zakk, EXW WKH 6DEEDWK OLNH ULIÂżQJ DOVR inspires a fantastic solo; Wyldeâ&#x20AC;&#x2122;s vibrato is one of the best in all of hard rock. Itâ&#x20AC;&#x2122;s not all pounding dropped tuning though, as The Only Words is a lovely light-footed song with an emotive vocal and clean single-coil guitar playing; a potential radio single for sure, alongside The Day That Heaven Had Gone Away ZKDW D JRUJHRXV VROR ,I \RXÂśUH D fan of great guitar playing and an eclectic mix of rock songs, this really LV ZRUWK JHWWLQJ
DAN PATLANSKY PERFECTION KILLS
Caroline International - - - - South African blues rocker Dan Patlansky has been building a reputation as both a songwriter and virtuoso guitarist since his album Dear Silence Thieves made a serious impact back in 2014. This
makes the songwriting a priority as LQ WKH SDVW WKH ÂżQDO SURGXFW delivering a far more real and organic resultâ&#x20AC;Śâ&#x20AC;? There are certainly signs of an ongoing development in the crafting of songs like the moody and brooding Mayday which stands in direct contrast to the powerful grunt of Too Far Gone and Junket Man, the latter complete with a guitar solo that not only shreds, but pays due deference to Patlanskyâ&#x20AC;&#x2122;s hero Stevie Ray Vaughan at the same time. An album full of colourful contours, Perfection Kills certainly stands repeated listening and we suspect that when he returns to these shores to headline a tour in March, the album will have won him a new legion of fans.
Ex-Steven Wilson guitarist Niko Tsonev has gathered together an impressive prog posse for this solo project. Moonparticle is a collective of musicians drawn from every point of progressive rockâ&#x20AC;&#x2122;s compass: this includes Theo Travis RQ VD[ 6WHYHQ :LOVRQ 5REHUW Fripp, Soft Machine Legacy), YRFDOLVW *URJ /LVHH 2]]\ Osbourne) and drummer Craig %OXQGHOO 6WHYHQ :LOVRQ Âą \RX JHW the idea. A successful online pledge FDPSDLJQ \LHOGHG WKH ÂżQDQFH WR make the album and those who contributed have had their faith fully rewarded as the record dips and dives into melodic, wellconstructed songs, atmospheric instrumental passages and pounding guitar riffs. Itâ&#x20AC;&#x2122;s an impressive beginning and weâ&#x20AC;&#x2122;re already hungry for more.
GODSTICKS FACED WITH RAGE
K Scope - - - - As regular contributor to our sister magazine Guitarist, and Godsticks frontman Darran Charles
March 2018
95
INTERVIEW }
SIXTY SECONDS with... A minuteâ&#x20AC;&#x2122;s all it takes to ďŹ nd out what makes a great guitarist tick. Before he jumped into his limo for the airport we grabbed a quick chat with Tom Leighton, guitarist and lead singer for Midlands-based rock band, The Bad Flowers. GT: Do you have a type of pick that 7/ , KDYH QRWLFHG GLIIHUHQFHV LQ you canâ&#x20AC;&#x2122;t live without? clarity between different brands. TL: I use the Jim Dunlop Jazz IIIs, ,ÂśYH DOVR WHVWHG RXW GLIIHUHQW OHQJWKV the red Max Grip ones. I kept of cable to and you do seem to lose dropping picks all the time because some signal with longer cable of sweating on stage but these are lengths. Iâ&#x20AC;&#x2122;m currently using Klotz great. Theyâ&#x20AC;&#x2122;re also really easy to cables; theyâ&#x20AC;&#x2122;re really well made and tuck away when I need to use my seem to stand the test of time on the ÂżQJHUV WR SOD\ , ÂżQG KHDYLHU SLFNV road. In fact, I remember buying my better for control and dynamics. ÂżUVW KDOI VWDFN \HDUV DJR DQG WKH VDOHVPDQ WROG PH ,ÂśG KDYH WKH .ORW] GT: If you had to give up all your effects pedals but three, what speaker cable longer than the amp. would they be? He was right. I still use it now. 7/ ,ÂśYH DFWXDOO\ VFDOHG GRZQ P\ GT: Is there anyoneâ&#x20AC;&#x2122;s playing (past or present) that youâ&#x20AC;&#x2122;re slightly SHGDOV PDVVLYHO\ UHFHQWO\ , ZDV jealous of? going out with a huge pedalboard and I kind of took a step back and TL: Well last year we toured with thought, What can I get away with Jared James Nichols and his OLYH" %XW WKHUH DUH WKUHH SHGDOV RQ playing is insane. No pick, no neck that board I really couldnâ&#x20AC;&#x2122;t do pickup and he just shreds. He mixes without. First is my Analogman a lot of different styles and does King Of Tone. I use the orange side VWXII ZLWK WKH JXLWDU ,ÂśYH QRW VHHQ WR GULYH P\ DPS DQG WKH UHG IRU OHDG anyone else do on the circuit. breaks. Such a good pedal. The others are my EHX Micro Pog and %DVLF $XGLR *QDUO\ )X]] 7KHVH WZR just work so well, and when used together they add a monstrous thickness to my tone. GT:Your house or studio is burning down: which of your guitars do you GT: Do you play another musical run in to salvage? instrument well enough to do so in a band? TL: Iâ&#x20AC;&#x2122;d be running back in to get my 7/ ,ÂśYH SOD\HG D OLWWOH EDVV RQ VRPH 2005 Les Paul Standard. Itâ&#x20AC;&#x2122;s unique demo stuff at home but I wouldnâ&#x20AC;&#x2122;t ZLWK WKH EXUVW LW KDV RQ WKH ÂżQLVK VD\ ,ÂśP JRRG HQRXJK WR HYHU GR LW and it was a gift for my 18th OLYH ,ÂśYH DOZD\V IDQFLHG OHDUQLQJ WKH birthday from my Dad ,so it has a lot drums, as I hear guitarists say that RI VHQWLPHQWDO YDOXH , MXVW VHHP WR LW UHDOO\ LPSURYHV \RXU UK\WKP connect with it and it sounds when going back to the guitar. I absolutely killer! GT: Whatâ&#x20AC;&#x2122;s your favourite amp and WKLQN , ZLOO JLYH WKH SLDQR RU keyboards a try next though; I think how do you set it? TL: Iâ&#x20AC;&#x2122;m using an Orange OR50 head it would be pretty cool to use it on through a 1970s Orange cab. Itâ&#x20AC;&#x2122;s some recordings in the future. GT: If a music chart were put in VXFK D JUHDW DPS ,ÂśYH DOZD\V EHHQ D front of you, could you read it? fan of single-channel amps that 7/ 2K KHOO QR 0XVLF FKDUWV EDIĂ&#x20AC;H take pedals well. I used to run a PH ,ÂśP VHOI WDXJKW VR ,ÂśYH DOZD\V 0DUVKDOO -70 EXW , FRXOG QHYHU learned by ear or from tab. To be get the break-up out of it unless I honest though, I think itâ&#x20AC;&#x2122;s turned it up super loud, which something Iâ&#x20AC;&#x2122;m going to start didnâ&#x20AC;&#x2122;t make me popular with the looking at to expand my mind; I just sound engineers. The Orange I run GRQÂśW ZDQW LW WR NLOO WKH FUHDWLYLW\ RI the gain at half and use my pedals to writing music. push it a bit more. It also has this GT: Do guitar cables really make a cool â&#x20AC;&#x2DC;punchâ&#x20AC;&#x2122; knob that adds extra difference? What make are yours? PLGV , UXQ WKDW DOPRVW Ă&#x20AC;DW RXW
GT: What kind of action do you have on your guitars? TL: Itâ&#x20AC;&#x2122;s not too high and not to low. I OLNH WKDW IHHOLQJ RI KDYLQJ D ÂżJKW ZLWK the guitar. I think it adds to my SOD\LQJ , KDYH WKH VDPH WHFK VHW XS all my guitars, so theyâ&#x20AC;&#x2122;re all pretty similar and we tune down a half-step so it has to be right for that too. GT: What strings do you use? TL: Iâ&#x20AC;&#x2122;m using Dâ&#x20AC;&#x2122;addario NYXL 0.11s at the minute. I switched to them the last year and they seem to last a little longer and donâ&#x20AC;&#x2122;t need stretching in so much. The bends feel great and the tuning stability is GHÂżQLWHO\ LPSURYHG GT: Who was your first influence to play the guitar? TL: Thereâ&#x20AC;&#x2122;s always been music in my family. My Dad and Uncle were both pro musicians so I had a lot of LQĂ&#x20AC;XHQFH IURP WKHP %XW DV D NLG ,
Iâ&#x20AC;&#x2122;VE HAD TO LEARN TO WRITE PARTS FOR THE SONG, AND NOT JUST CRAM THINGS IN FOR THE SAKE OF IT
96
March 2018
was obsessed with Thin Lizzy, especially the twin-guitar stuff that 6FRWW *RUKDP DQG %ULDQ 5REHUWVRQ did. Iâ&#x20AC;&#x2122;d spend hours locked away learning all the parts to stuff like Emerald and Dancing In The Moonlight. Pretty weird really as ,ÂśYH HQGHG XS LQ D WULR GT: What was the first guitar you really lusted after? 7/ 7KDW ZRXOG KDYH WR EH P\ 'DGÂśV old tobacco sunburst Les Paul. I UHPHPEHU WKH ÂżUVW WLPH , HYHU VDZ it, and just thought it was the most DPD]LQJ WKLQJ ,ÂśG HYHU VHHQ +H VWLOO has it nd I still think the same thing. GT: Can you remember t the best gig you ever did? TL: We did a show at the Camden Assembly last summer, opening for 7\OHU %U\DQW 7KH 6KDNHGRZQ ,W ZDV WKH ÂżUVW WLPH ZHÂśG EHHQ SDUW RI a sold-out show in London and the atmosphere was amazing. The crowd was amazing too and I think we fed off that and played one of the best shows of 2017.
GT: And your worst playing nightmare? TL: Itâ&#x20AC;&#x2122;s got to be gear failure. I had an old Marshall that used to pop tubes just for fun! I was always counting my blessings when we got DOO WKH ZD\ WKURXJK D VHW %XW ZH played in Swansea recently and I hit WKH ÂżUVW QRWH RI WKH ÂżUVW QXPEHU DQG my sixth string went... there was VRPH VHULRXV LPSURYLVLQJ JRLQJ RQ throughout that song! GT: Whatâ&#x20AC;&#x2122;s the most important musical lesson you ever learn? TL: I think it was learning when not WR SOD\ DQG OHDUQLQJ KRZ OHDYLQJ VSDFH LQ WKH VRQJV FDQ DFWXDOO\ KDYH just as much impact as a note or a FKRUG ,ÂśYH KDG D VWHHS OHDUQLQJ FXUYH ZKHQ LW FDPH WR VRQJZULWLQJ too. I had to learn to write parts for the song, and not just cram things in for the sake of it. GT: Do you still practise? TL: Yeah! I try and practise as often as I can but itâ&#x20AC;&#x2122;s normally just off-the-cuff stuff. I like trying to come up with new riffs and chord structures and just sit and enjoy SOD\LQJ WKH JXLWDU ,ÂśYH EHHQ XVLQJ D lot of the backing tracks you can ÂżQG RQOLQH UHFHQWO\ WR SUDFWLVH VROR OLQHV DQG WU\ DQG LPSURYH P\ UDQJH of scales. Itâ&#x20AC;&#x2122;s all about repetition; the more you play something the EHWWHU \RX JHW , GRQÂśW WKLQN ,ÂśOO HYHU EH VDWLVÂżHG WKDWÂśV WKH EHDXW\ RI LW (YHU\ GD\ÂśV D VFKRRO GD\ GT: Do you have any kind of pre-gig warm-up routine? 7/ , WU\ DQG ÂżQG VRPHZKHUH RXW RI WKH ZD\ WR ZDUP P\ YRLFH XS IRU D few minutes. Then Iâ&#x20AC;&#x2122;ll sit and noodle on the guitar a little; try and JR RYHU VRPH VFDOHV DQG ZDUP P\ ÂżQJHUV XS 7KHQ , QRUPDOO\ SDFH XS and down waiting to go on stage, or Iâ&#x20AC;&#x2122;ll grab a pre-show whiskey - just the one though! GT: If you could put together a fantasy band with you in it, who would the other players be? 7/ ,W ZRXOG KDYH WR EH -RKQ %RQKDP RQ GUXPV *HH]HU %XWOHU RQ EDVV 'DYH *URKO RQ UK\WKP
MARK VARNEY
SIXTY SECONDS WITH { TOM LEIGHTON
THE FIRST TIME I SAW MY DADâ&#x20AC;&#x2122;S LES PAUL I THOUGHT IT WAS THE MOST AMAZING THING Iâ&#x20AC;&#x2122;D EVER SEEN Tom Leighton
JXLWDU DQG YRFDOV DQG 7RP 0RUHOOR on lead guitar. I think that would make for a pretty interesting show! GT: Present company excepted, whoâ&#x20AC;&#x2122;s the greatest guitarist thatâ&#x20AC;&#x2122;s ever lived? TL: My mind changes all the time. At the minute, due to the style of music weâ&#x20AC;&#x2122;re writing, Tony Iommi is ULJKW XS WKHUH ZLWK WKRVH PDVVLYH JXLWDU WRQHV %HLQJ IURP WKH 0LGODQGV P\VHOI %ODFN 6DEEDWK really shaped the music that came from this area. I managed to catch them at Download a few years ago and his tone and playing really made the hair on the back of my neck stand on end. GT: Is there a solo you really wish you had played? 7/ 2QH RI P\ DOO WLPH IDYRXULWH VRQJV LV 6LQFH ,¶YH %HHQ /RYLQJ <RX by Led Zeppelin. Jimmy Pageâ&#x20AC;&#x2122;s solo in that is incredible; the feeling and intensity of the song is amazing. GT: Whatâ&#x20AC;&#x2122;s the solo or song of your own that youâ&#x20AC;&#x2122;re most proud of? 7/ :H KDYH D QHZ VRQJ RQ RXU DOEXP FDOOHG /HW¶V 0LVEHKDYH ,¶P super proud of that one. Itâ&#x20AC;&#x2122;s probably got the longest solo on the album, but we really tried hard to lock it in with what the drums were doing in certain parts of the track so it adds to the feel. GT: What would you most like to be remembered for? TL: Iâ&#x20AC;&#x2122;d like to be remembered as a good songwriter. I want to make people feel something with the songs we create. If we can make people connect with the lyrics, guitar parts, drum beats, bass lines then Iâ&#x20AC;&#x2122;ll be happy guy. GT: And what are you and the band up to at the moment? 7/ 7KH %DG )ORZHUV UHOHDVH RXU debut album, Starting Gun, on February 16th. We then tour with 6WRQH %URNHQ DQG Jared James Nichols from 22nd February 2018. For more info, KHDG RYHU WR ZZZ WKHEDGÃ&#x20AC;RZHUV XN March 2018
97
NEXTMONTH MORE OF THE WORLD’S BEST LESSONS…
SUBSCRIPTION & BACK ISSUE ENQUIRIES
UK: 0344 848 2852 International Tel: +44 344 848 2852 Email: guitartechniques@myfavouritemagazines.co.uk
Subscribe online at: www.myfavouritemagazines.co.uk
FEATURE #2 DORIAN MODE Its musical secrets revealed
EXCLUSIVE VIDEO CARL VERHEYEN Soloing masterclass
This most accesible minor mode lends sweetness and melody to many styles. Jon Bishop has some cool licks to try.
This superb player takes an improvised solo on Jason Sidwell’s track, Roll With The Green. Full explanation and tab!
CLASSICAL TAB ALESSANDRO MARCELLO Oboe Concerto in D Minor
TECHNIQUE & THEORY NEW THINGS TO TRY 5/4 time and 5ths & 6ths soloing
Bridget arranges, transcribes and explains this delightful and evocative oboe piece, for classical guitar.
Charlie Griffiths and Martin Goulding have some excellent hints and tips on soloing in odd times and intervals.
A career-spanning look at the legend that is...
PETER GREEN!
One of the most loved and revered players in blues and rock, we examine the diverse musical approaches of this master of touch, taste and tone, from The Bluesbreakers to Fleetwood Mac. Phil Capone is your guide.
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: Katie Nicholls, katie.nicholls@futurenet.com Senior Music Editor: Jason Sidwell, jason.sidwell@futurenet.com Music engraving: Chris Francis Animated tab and audio syncing: Cliff Douse CONTRIBUTORS Richard Barrett, Shaun Baxter, Martin Cooper, Mitch Dalton, Charlie Griffiths, Pat Heath, Phil Hilborne, Martin Holmes, David Lyttleton, Harrison Marsh, Ronan McCulloch, Bridget Mermikides, Roger Newell, Jacob Quistgaard, Stuart Ryan, Justin Sandercoe, Tristan Seume, John Wheatcroft ADVERTISING Commercial Sales Director: Clare Dove: clare.dove@futurenet.com Advertising Sales Director: Lara Jaggon: lara.jaggon@futurenet.com Account Sales Director: Alison Watson: alison.watson@futurenet.com Account Sales Director: Steven Pyatt: steve.pyatt@futurenet.com Account Sales Director: Guy Meredith: guy.meredith@futurenet.com CIRCULATION Head of Newstrade: Tim Mathers PRODUCTION Head of Production: Mark Constance Production Project Manager: Clare Scott Advertising Production Manager: Joanne Crosby Digital Editions Controller: Jason Hudson Production Controller: Nola Cokely INTERNATIONAL Guitar Techniques is available for licensing. Contact the International department to discuss partnership opportunities International Licensing Director: Matt Ellis, matt.ellis@futurenet.com MANAGEMENT Managing Director: Aaron Asadi Commercial Finance Director: Dan Jotcham Editorial Director: Paul Newman Group Editor-In-Chief: Daniel Griffiths Group Art Director: Graham Dalzell Printed in the UK by: William Gibbons & Sons Ltd. Distributed by: Marketforce, 2nd Floor, 5 Churchill Place, Canary Wharf, London E14 5HU. Tel: 0203 787 9060
ELECTRIC LESSONS TOO! 30-Minute Lickbag Six more great licks to try
Elmore James Father of electric blues slide
Malcolm Young Tribute to AC/DC’s rhythm king
Frank Marino Blues side of this mega player
Earl Klugh Incredible jazz virtuoso
Elliott Smith
We are committed to only using magazine paper which is derived from responsibly managed, certified forestry and chlorine-free manufacture. The paper in this magazine was sourced and produced from sustainable managed forests, conforming to strict environmental and socioeconomic standards. The manufacturing paper mill holds full FSC (Forest Stewardship Council).certification and accreditation
All contents © 2018 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced 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: 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 of products/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 other changes or updates to them. This magazine is fully independent and not affiliated in any way with the companies mentioned herein. If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions.
Enigmatic acoustic genius
PLUS ALL THIS… Mitch Dalton, Justin Sandercoe Creative Rock, 60 Seconds With, Instrumental Inquisition, Fretboard Navigation, and a whole lot more!
APRIL 2018 ISSUE ON SALE WEDNESDAY 14TH FEBRUARY NOTE: CONTENTS SUBJECT TO CHANGE
Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR). www.futureplc.com
Chief executive Zillah Byng-Thorne Non-executive chairman Peter Allen Chief financial officer Penny Ladkin-Brand Tel +44 (0)1225 442 244 (Bath)
900
9001