Guitar Techniques 2013 September - 221 - Free Download PDF Ebook

ISSUE 221 SEPTEMBER 2013THE FINEST Welcome GUITAR TUITION Just some of your regular YOU CAN GT technique experts... BUY ! SHAUN BAXTER One of the UK’s most respected music educators, Shaun has taught many who I’VE NEVER BEEN the biggest user of effects to be sucked into it myself. Of course there’s are now top tutors. His album Jazz Metal always been one lurking somewhere in a was hailed as a milestone. combo - a Mark II, before the B or C - I swore drawer, cupboard or gig-bag, but there’s PAUL BIELATOWICZ that using any kind of ‘transistor’ distortion currently not one on my pedal board and One of our greatest rock guitarists, Paul was sacrilege. I mean, why fork out vast sums hasn’t been for years. Because of that I now plays with prog legends Carl Palmer and for the best valve amp in the world at the time keep the board behind me on stage, butted up Neal Morse, and is a most welcome - mine cost £750 in 1980, when an annual UK in front of my amp, so I just turn delays and regular contributor to GT. salary was £6000 - and then put cheapo drives off and on between numbers. However, JON BISHOP transistors in front of it? It seemed bonkers. that might all be about to change. Jon is one of those great all-rounders I did have one of the early BOSS DM-2 Reading through Jon Bishop’s excellent who can turn his hand to almost any analogue delays and CE-2 chorus pedals and wah-wah feature this month, has inspired me style. No ‘Jack of all trades and master of they were fantastic. But mainly, I just none’, he nails every one with ease! plugged in, turned up and that was it. spot on the board so I can start to put some PETE CALLARD Some years later I fell foul of the of Jon’s ideas into practice. I’m sure at this Pete’s many credits include Lionel rackmount thing, with Quadraverbs, stage of the game my own wah-wah Richie, Annie Lennox, Chaka Khan and multi-fx and a Boogie Tri-Axis MIDI witterings are Shirley Bassey. He works regularly in the preamp. But then one day I plugged not going to studio, on TV and in the West End. back into the old mahogany and change music CHARLIE GRIFFITHS wicker Boogie and that was it. forever. But I do Guitar Institute tutor Charlie ﬁrst came These days it’s still think it’s time I stopped to fame in Total Guitar’s Challenge simplicity all the way, with a ignoring the wonderful - and Charlie series. He’s also one of the UK’s nice distortion (yes, I got over very musical if you don’t overdo top rock, metal and fusion guitarists. the transistor business - or it - possibilities available. So, PHIL HILBORNE perhaps overdrive pedals got back on the treadle it is for me! The UK’s original magazine guitar tutor better, one of the two), a delay and See you next month... Phil’s something of a legend. A great a chorus and tremolo pedal. player he regularly plays guitar in the What I’m getting round to, is Queen musical, We Will Rock You. the fact that I’ve never been a huge TERRY LEWIS wah-wah user. In fact they used to Terry has toured the world in support of so annoy me at gigs when other a host of big name acts. He currently players wouldn’t get off the darned Neville Marten, Editor teaches at BIMM Brighton, writes with things, that I took a silent vow never [email protected] canny insight and plays superb guitar. BRIDGET MERMIKIDES Guildhall and Royal Academy trained, Bridget is a Royal College of Music, DON’T MISS OUR AMAZING DIGITAL EDITION examiner, a respected classical player and award winning blues guitarist. Our digital edition for iPad, iPhone, Kindle Fire and Nook is now even better! JACOB QUISTGAARD Music Tech’s Jacob is a fantastic ﬁnd. Not only is his writing great but he’s a superb player who can turn his hand to anything. Welcome aboard, Jacob! STUART RYAN Stuart is Head Of Guitar at BIMM Bristol, teaches at Bath Spa University and is a top solo acoustic guitar virtuoso. His debut CD, The Coast Road, is out now. ANDY SAPHIR A top teacher at the Guitar Institute (ICMP), Andy is a phenomenal player in a host of styles. He mixes just the right degree of ﬂash with consummate taste. Tap the links Animated tab & audio Play the videos Finding your way around the Most songs and lessons have Certain of the articles have TRISTAN SEUME magazine is easy. Tapping the the audio built in, with a accompanying videos full of One of ACM Guildford’s leading tutors feature titles on the cover or moving cursor showing you useful insight and additional Tristan is also mega busy on the folk the contents page, takes you exactly where you are in the information. Once again, tap circuit playing with Jackie Oates. His straight to the relevant articles. music. Simply tap the ‘play’ the play buttons to enjoy brand new CD Middle Child is out now! Any web and email links in the button then you can fast- video masterclasses on your text are tappable too! forward or scroll back at will. iPad or smartphone. JOHN WHEATCROFT A truly phenomenal guitarist John heads up the guitar facility at Tech Music PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition Schools in London. He’s a master at all regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can styles but a legend in Gypsy jazz. also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio). September 2013 GuitarTechniques 5 9000 ( ( ( 3 ( ( ( LEARNING ZONE COVER FEATURE LESSONS INTRODUCTION 49 SOLO OVER CHORD Jason Sidwell ushers in our Lessons section PROGRESSIONS Nail those changes! 16 30MINUTE LICKBAG 50 Do you get stuck beyond basic blues soloing? BIMM’s Terry Lewis has six great licks for you! Learn how to play over diﬀerent chord BLUES 52 changes and be a more complete player! John Wheatcroft looks at the bluesier side of Pink Floyd’s legendary David Gilmour. BLUES 56 JW has even more blues for you, here in the style of the awesome Kenny Wayne Shepherd. ROCK 60 Martin Cooper goes glam this month with a lesson on Mott The Hoople’s Mick Ralphs. CREATIVE ROCK 68 Shaun Baxter has looked at 2nds and 3rds. This month “it’s one more, isn’t it” - 4ths! HOT COUNTRY 72 Andy Saphir meets a modern country superstar, the one and only Alan Jackson. PROG 76 Paul Bielatowicz unveils the original and inﬂuential style of Patto’s Ollie Halsall. JAZZ 80 Pete Callard visits the unmistakeably Latin jazz guitar style of Charlie Byrd. ACOUSTIC 86 Many thanks to Jeff & Stuart Ryan transcribes the gospel favourite Mark at World Guitars Just A Closer Walk With Thee. in Stonehouse, for the ROCKSCHOOL 90 SIMON LEES loan of this lovely Tom Anderson cover guitar Charlie Griﬃths continues his A-Z of music theory with a look at M for Modes and More! FEATURES REGULAR FEATURES VIDEO MASTERCLASS WELCOME 5 SPECIAL FEATURE #2 Nev on the power of wah... WAH GUITAR! THEORY GODMOTHER 8 Express yourself 26 David Mead addresses your technical, musical and theoretical issues. Check out the expressive wah guitar styles of Joe Walsh, Jimi Hendrix, Eric Clapton, Isaac TALKBACK 9 Hayes, Thin Lizzy, Steve Vai and many more! Tell us your views... don’t hold back... INTRO 10 SPECIAL TRANSCRIPTION News, One-Minute Lick, 60 Seconds With, What Strings, That Was The Year and more... DAVID BOWIE: STARMAN BACK ISSUES 92 Ziggy’s classic transcribed! 34 Missed one? See how you can get it – here! Wanna learn some classic Bowie from the ‘70s? Now’s your chance with Jon Bishop’s great ALBUMS 93 transcription of an iconic Ziggy masterpiece! Top guitar CDs and DVDs reviewed and rated. TAB GUIDE 94 CLASSICAL TRANSCRIPTION Our terms and signs explained. JS BACH SUBSCRIPTIONS 96 Save time and money – get GT delivered! ‘Arioso’ from Cantata 44 Bridget Mermikides excels herself this month NEXT MONTH 98 STEVE LUKATHER LESSON 64 with a truly beautiful solo guitar version of Albert King and Stevie Ray Vaughan, T-Bone Toto guitar hero and session ace Steve shares one of Bach’s classics. Learn it now! Walker, Johnny Thunders and Steve Hillage! his guitar secrets with all of us. September 2013 GuitarTechniques 7 Q&A Star LETTER PRIZE Post your playing posers and technical teasers to: Theory Godmother, Blackstar are giving our star TG letter one of their brilliant pedals each Guitar Techniques, 30 Monmouth Street, Bath, BA1 2BW; or email me at month. Visit www.blackstaramps. co.uk and tell us which you’d like, [email protected] - your wish is my command! should your letter be the lucky one. Harmonia Mundi EXAMPLES 1  8 Dear Theory Godmother I like to use harmonics in my playing, but so far the process has been a bit hit or miss! Could you tell me how to work out the pitches of the harmonics found at the 12th, 7th and 5th frets for each string to give me a bit more of an idea about what I’m doing? Greg The harmonics on a guitar always relate to the pitch of the open strings and so they’re fairly easy to remember. The 12th fret gives you the open string up one octave, the 7th fret is the 5th above that and the 5th fret harmonic is two octaves above the open string. I’ve mapped them out for you in Ex 1 to give a clear picture of which pitches are to be found at the frets you mention. If you want to explore the world of natural harmonics further, you can also ﬁnd some more lurking around the 3rd and 4th frets. The actual positions of these harmonics don’t conveniently line up with the frets like the ones at the 12th, 7th and 5th, but if you touch the so-called ‘Devil’s Interval’ - but I can’t the resolution, too. In essence this for forming chords and if you look at Ex string lightly along its length between ﬁnd it! Surely a 7th contains root, is what happens whenever a chord 4 you’ll see that this gives us a straight the 5th and 3rd frets while plucking, you 3rd, 5th and ﬂat 7th? So where is the arrangement calls for a V-I change; the V7. So the textbook minor blues would should be able to ﬁnd them. You might diminished 5th in that lot? devil is thwarted in his attempt to create be Im-IVm-V7. The V chord has a special need a fresh set of strings to hear them Peter musical chaos every time! ability to signpost the tonic via the clearly and I’d be inclined to try to ﬁnd resolution of in-built tension but this them on the bass strings ﬁrst as these There’s a b5th in every dominant 7th, Minor League? resolution doesn’t exist in a V minor should ring a bit clearer than on the Peter - but it’s not related directly to Dear Theory Godmother and so the movement between the V treble side. The pitches involved here the chord’s root; the devil is a bit more I’ve been getting more into blues and I chord is less powerful. So classical include the major 3rd, 5th and b7th cunning than that! playing recently but one thing puzzles music written in a minor key will nearly two octaves above the open string - in You’re absolutely right in that the me; if someone suggests playing a always employ the V7, whereas pop, fact you can spell out a dominant 7th formula for a dominant 7th is root, minor blues I have been assuming that folk, jazz and pretty much everything chord in harmonics with very little hand 3rd, 5th and b7th, but the b5th occurs all the chords – the I, IV and V – would else, frequently avoid this convention, movement. There are more harmonics inside the chord between the 3rd all be minor, but I’m told this isn’t so often choosing to harmonise using the to be found - I’m told that the highest and 7th. So, if we take G7 we ﬁnd the and that the V chord is still major. But natural minor scale instead. of them is around the middle of the notes G, B, D and F (see Ex 2) and if we how can this be? If you harmonise the As the blues already breaks rules by 2nd fret on the ﬁrst string, but you need examine the intervallic relationship natural minor scale (the scale many employing three dominant chords in quite a lot of gain on an amp (using between the B and F, we ﬁnd our b5th. rock players would use to play a minor the course of its 12-bar run, taking an the bridge pickup) to be able to get it The devilish dissonance created by this blues) then the V chord becomes ‘anything goes’ attitude here is totally to sustain. It’s a very high B and I’d be diabolic interval is resolved when the a minor 7th – and furthermore, it acceptable so either can be considered happy to notate it for you but I don’t harmony moves to the tonic chord: in actually sounds okay when I play it. So ‘right’. I would add that one of the most think my music software actually goes the case of G7, the note B moves up a which rule of music determines that famous C minor blues in rock, Led up that far. semitone to C and the F moves down the V chord is still major? Zeppelin’s Since I’ve Been Loving You, a semitone to E, creating the perfectly Nat uses both the Gm7 and G7 – and if it The Devil’s In The Detail consonant major 3rd – C and E. A good works for Led Zep, who are we to argue? Dear Theory Godmother way to hear this in isolation is to play Where I think the confusion might lay I’ve read that a dominant 7th chord Ex 3; you can clearly see the movement is that conventional harmony dictates Visit www.davidmead.net to check out contains a diminished 5th - the I’ve outlined on the fretboard and hear that the harmonic minor scale is used David’s books and solo CD... 8 GuitarTechniques September 2012 Write to: Guitar Techniques, 30 Monmouth Street, Bath BA1 2BW. Email: [email protected] using the header ‘Talkback’. STAR LETTER WRITE ONE AND WIN A PRIZE! LESS TECHNIQUE, MORE FEEL Some excellent points there, Jonny. But there’s also a quote I felt inclined to write to tell you how much I am from Mahavishnu Orchestra guitarist John McLaughlin enjoying the August issue of Guitar Techniques. The that goes something like: “Technique is not the enemy of feature on Nile Rodgers is fantastic. I was fortunate expression; technique only allows you to express yourself enough to see Chic perform in Manchester in May better.” Perhaps therein lies the answer. For me there is (even shaking the man's hand as he deﬁnitely too much music out there left the stage!) in what was an that’s big on technique but small on incredible display of guitar playing. expression. I adore the playing of both Tony Dawkins letter (GT 220) Albert King and Allan Holdsworth: these Larry Carlton: makes a great point about punk. He two great guitarists brim with feel and an amazingly name checks some great players expression; Allan does it with rather gifted player and I'd love to see something on more notes than Albert, but I defy Tom Verlaine and company. I know anyone to listen to Holdsworth’s music DIMINISHED some playing of that era is less (with open ears) and not come to the RESPONSIBILITY 'technique' focused than your more same conclusion. But we do need to I’ve been reading Guitar regularly featured artists, but I'd tackle the kind of player you mention, as Techniques for the last year and I love to read the theory behind the we get asked this question on a can honestly say my playing has ideas of minimalist players such as relatively regular basis. Johnny evolved leaps and bounds in that Bernard Sumner, explained. Thunders is coming up soon, and it time. Through your magazine I I came across a great quote by might be worth putting together an have been turned onto the playing John Frusciante, where he states, overview of players that contribute styles of Robben Ford and Larry “I'd rather hear someone play the hugely to the music, albeit with the Carlton, who I now love. I've heard best they’re capable of with the Latest GT: we’re pretty Chic too! minimum of notes. them both mention the diminished minimum amount of technique, scale - half-tone, whole-tone and than someone with a lot of technique who plays whole-tone, half-tone. I understand without feeling." I found this quite inspiring, and I'd STAR LETTER PRIZE how the scale is made, I just don't love to see you guys break down the ideas of some of Our friends at Sound Technology understand how to use it in a blues the less conventional and perhaps more avant-garde are donating a fab DigiTech context to get that 'outside' playing and reductive styles of guitar player out there. HardWire pedal to our Star Letter style that sounds so unique. Any Jonny Hughes writer every month. help would be greatly appreciated? Vincent, Colchester, Essex. pointed out that I should observe very high on the neck, grasping it That’s an interesting point, Ross. I think the way I hold the guitar and what snuggly in the curve between his much of it hinges around how high or That’s the problem with the “Use this low we choose to wear our guitar on its scale over this chord” approach to He also suggested some grips that I even when on the low strings. Steve strap. Somene once told me the ideal teaching. It doesn’t really teach you could try depending on the musical Vai on the other hand keeps his height is so the guitar hangs in the same much at all. As an example, the minor situation and style at hand. thumb in the middle of the neck and place as it would if you were sitting and major pentatonic scales have the He also suggested that I look at down. This places it in the position of same notes and so are ‘nominally’ how other players hold their neck approach, with a gap between the least stress for the arms, hands and interchangeable. That’s easy to say, but bottom of the neck and his palm; ﬁngers, and allows most techniques to without explaining how the function of some pretty interesting things. Tom whereas Eric Johnson will start his be accessed easily. Now whether that’s each note in the ‘shape’ changes in Kolb for instance will play a minor runs in a positional grip but will true or not I don’t know. Like many relation to the chord below, people can pentatonic scale using his fourth alternate to a blues grip when he players, I hang my guitar where it feels start landing on notes that are strong in gets to the higher strings, often right on my body. Not as low as Jimmy the minor pentatonic, but weaker in stretch but keeps his thumb resting Page but not as high as Guthrie Govan. major. I’ve discussed the topic with ; If you do lots of playing with the thumb Jason and we will be running an article Medium to low I believe guitarists should be behind the neck, it pretty much describing the diﬀerences between the rock guitar aware of this. Unlike classical demands you wear it a little higher. That strap height half-whole and whole-half, and how to guitar, which has a set of rules with said, while Eric Johnson has his guitar best employ them. quite high by rock standards, Paul position, contemporary styles are Gilbert slings his lower (and look at TO HAVE AND TO HOLD less formal. These styles have Larry, above left). As with most things One thing that many players different expressive qualities, so guitar related, we all ﬁnd the way that there’s a balance to be found works best for us, dependant upon the the way in which we hold the guitar between technique and expression. styles we play and how the ‘comfort-to- with our fretting hand. As I started So my question is: what is good looking-cool ratio relates to us. I to progress, I began noticing that technique and where do you see the couldn’t play the guitar where Page has application of different grips and it, but feel self-conscious with it as high STEVE GILLETT/LIVEPIX when I tried to play fast and ‘scaly’, as Guthrie. It’s probably up to us to ﬁnd how we can approach certain lines our own level; one that balances the steps. When I began taking lessons and if so what are the trade offs? styles we play, with comfort and safety from my lecturer at university, he Ross Pirrelli, Sydney, Australia - and that dreaded ‘cool’ factor. September 2013 GuitarTechniques 9 ( / ( / ( ( 3 ( ( 2013 Guitar Tutors Conference 3/ ( ( 5"(" "6.(*-(.5"(,"$+(-*+(074.$+( ."$ 5"+& 8(.5"( ( "04&.+,(*-( 74.$+( 7.*+&( ( 667$%( 74.$+( 7.*+&( *6-"+"6 "8(&!*6&*+"#( ,( )"6#"+8( 4%%( "(5"%#(*6( 76#$,( "!."1 "+( ($.(.5"( 64 "+&4.,(*-( "&.( *6#*6'( 5"+"( 4%%( "($6(" ."6&4 "( !+*0+$11"(*-(&"146$+&( ,(.*!(17&4 ("#7 $.*+&8( 46 %7#460 ( "$ 5460( 74.$+(/6( 5"(/6."+6".( 0" ( "$ 5460( 4!%*1$& ( $4% $+"()*+( 74.$+4&.& ( Laka concert * $ 4%%,8( *7&.4 ($6#( ".$%( 74.$+( %$,460( ukulele with " 564 7"& ( " "%*!460( 6#( +*1*.460( *7+( 74.$+( onboard tuner "$ 5460( " &4." ( * ( 74.$+( $1& (3"0466"+( Laka adds a new concert-sized " "%( *7&.4 ( 74.$+( $1& ( 60%4&5()*% ( 76"&()*+( model to its extensive ukulele Baker Street 74.$+ (3+"$ 6" (3+"$ #* 6 ( +$6&-"+$ %"( 4%%& ( range. The VUC50 (£89.99) has a soloist Hugh # $6 "#( +$#"&( %" .+4 ( 74.$+( $1& ( *7&.4 ( solid mahogany top with Burns talks at )460"+&.,%" ( %$&&4 $%( 74.$+( .,%"& ( %" .+4 ( 74.$+( mahogany back and sides, in an RGT conference "+-*+1$6 "( 4!%*1$&'( open pore satin ﬁnish ( 4+" .*+( *6,( 466"+(&$,& ( 5"( ( complemented by a nato neck *6-"+"6 "(*--"+&(074.$+(."$ 5"+&($( $%7$ %"( and rosewood fretboard. The *!!*+.764.,(.*(0$46(!+*-"&&4*6$%(#" "%*!1"6.( VUC50’s side-mounted chromatic .+$46460( 4.5(&!" 4$%4&.&(46(.5"(2"%#8($&( "%%($&($( tuner features an easy-read LCD 764 7"( 5$6 "(.*(1"".( 4.5(576#+"#&(*-(*.5"+(074.$+( display that ﬂashes green when ."$ 5"+&' ( (5$&($.."6#"#(1$6,( ( *6-"+"6 "&( your note’s in tune and makes $6#(4.(4&($% $,&($(+" $+#460($6#("6 *,$ %"(" !"+4"6 "( tuning the instrument incredibly -*+($%%( *6 "+6"#($6#($(0+"$.(*!!*+.764.,(-*+( 7&,( simple, while the chrome ."$ 5"+&(.*(0".(.*0".5"+($6#(& $!(4#"$&'( machineheads with pearloid buttons increase tuning stability. .."6#$6 "(4&( ,($# $6 "#( ** 460(*6%,'( 5"( *&.( Another packed As with all Laka ukes, the VUC50 Registry seminar -*+(.5"("6.4+"(" "6.(4&( ( *+( (-*+( (1"1 "+& '( comes ﬁtted with premium 4&4.( '+0.'*+0(-*+(-7+.5"+(#".$4%&' grade Italian Aquila strings. The VUC50 is the big brother of PRS Video Competition the successful VUS50 soprano uke. Concert-sized models ( 74.$+&(5$&(%$76 5"#($( *1!".4.4*6(.5$.(.7+6&( feature a 15” scale length, .5"(&!*.%405.(*6(4.&( ( 60"%7&($ *7&.4 (1*#"%(.54&( compared to a soprano’s 13”, with &711"+'( 7&.*1"+&( 7,460($6( ( 60"%7&( "-*+"( ( a correspondingly bigger sound. "!."1 "+($+"(46 4."#(.*(&5$+"($( 4#"*(*-(.5"1&"% "&( The VUC50 is aimed at students !%$,460(.5"4+(6" (074.$+(-*+(.5"( 5$6 "(.*( 46($( and more advanced players who +" *+#460(&"&&4*6(46($(!+*(&.7#4*'( 460"+ &*60 +4."+&( require great tones and features $6#( 4+.7*&*(!4 "+&($%4 "($+"("6 *7+$0"#(.*(&7 14.($( in an aﬀordable package. Visit 4#"*( ,(7!%*$#460(.*( *7 7 "( *+(*.5"+( 4#"*( www.jhs.co.uk/laka for further 5*&.460(&4." ($6#(!*&.460($(%46 (.*( '-$ " ** ' details about the VUC50 and all *1 !+&074.$+&"7+*!"(*+(. "".460(. 4.."+' *1 other Laka ukes. !+&074.$+&"7+*'( " *+#460($6#(2%1460( 7$%4.,(4&6 .($&( 41!*+.$6.($&(.5"(!"+-*+1$6 "($6#(!$&&4*6( "546#(4.8( &*(" "6(&41!%"( " $1 (%$!.*!( 4#"*&($+"( "% *1"#'( 6 &.$0"8(+"5"$+&$%(*+(&41!%"( "#+**1(!%$,.5+*705( 4#"*&($+"($%%(!"+-" .%,($ "!.$ %"'( 5"(&7 14.."#( 4#"*&( 4%%( "(5405%405."#(*6( ( 74.$+&( 7+*!" &(&* 4$%(1"#4$( 5$66"%&8( 4.5(.5"(. *( "&.( 466460($(+" *+#460(&"&&4*6($.(.5"( +*( **%&( *-.(#"& " 74!!"#( "$#%46"( 7&4 ( .7#4*&(6"$+( Go on, video $1 +4#0"'( 4&4.( '!+&074.$+&"7+*!"' *1(-*+( yourself and The Laka VUC50’s win a PRS! onboard tuner -7+.5"+(46-*+1$.4*6(*6(.54&(" 4.460( *1!".4.4*6'( 10 GuitarTechniques September 2013 Fender honours Brit rock legend Wilko with a signature Telecaster Red Box 5 has arrived Hughes & Kettner have updated Wilko’s Solid Fenders! their industry standard DI box with the new Red Box 5 (£89.99). / ( / ("%" .+4-,460(!+*.* ,*7+(5$6#&8( 4.5(-"$.7+"&( H&K say: “The beauty of the Red !76 ( "%" $&."+( 5*!&8($607%$+( 46 %7#460($( %$ (264&5($6#( Box 5 is that it does not sound like *6&.$0"(& $00"+($6#(!+" ,#*6( &460%" !%,(+"#(!4 07$+#8(1$!%"( a mic’ed cab - it sounds like the .5*7&$6# ,$+#(&.$+"8( 4% *( 6" ( 4.5( *1-*+.$ %"( &5$!"#( cab itself! This makes it ideal for *56&*6(4&($6(7614&.$ $ %"( ( !+*2%"8($6#(#7$%( 46.$0" &.,%"( live and studio situations in any 074.$+(5"+*'( 4.5(!7 (+* ( &460%" *4%(!4 7!&'( .5"+(-"$.7+"&( genre.” Red Box 5 boasts Ground 46&.4.7.4*6( +()""%0**#8( 4% *( 46 %7#"($( ' +$#47&(+*&" **#( Lift and Pad switches to adjust $&($6(*+4046$%($+ 54." .(*-(.5"( 260"+ *$+#( 4.5( ( 46.$0" &.,%"( input gain, with three unique +4#0"(-+*1(3+4.4&5( 3(.*( -+".&8(.5+"" $,(!4 7!(& 4. 54608( sound-shaping ﬁlters so you can &6$+%460(5405 "6"+0,(!76 '( 4&( 46.$0" &.,%"(&.+460& .5+*705 mimic your favourite cab. Useful !"+ 7&&4 "%,( 5*!!,(260"+&.,%"( *#,( +4#0"( 4.5(.5+""( 5+*1" /(5$ "( ""6( *+ 460( %*&"%,( for home recording, studio and *+ (*6($( ( "%"(-7+4*7&%,( $++"%(&$##%"&8($6#( 46.$0" &.,%"( 4.5()"6#"+(*6(.5"(#".$4%&(*-(1,( live shows, the Red Box 5 could -7&"#(+5,.51($6#(%"$#8(46&!4+460($( .76"+&'( !" 4$%(46 $&"(" .+$&( &406$.7+"( "%"8 (&$4#( *56&*6'( be your key to an authentic cab 6" (0"6"+$.4*6(*-( (!76 8(6" ( 46 %7#"(. *( 4% *(!5*.*&($6#( /. &(0+"$.(.*( 6* (!"*!%"( 4%%( "( sound. Without the cab! Visit $ "($6#(!*&. !76 (074.$+4&.&'( -$ &414%"&(*-(.5"(6*." ** (!$0"&( $ %"(.*(!%$,($6(46&.+71"6.( 7&.(%4 "( www.hughes-and-kettner.com )"6#"+ &( 4% *( *56&*6( *6( 54 5(5"(!"66"#( +()""%0**#( .5"(*6"(.5$.(5$&(&"+ "#(1"(&*( "%%( or nip over to www.jhs.co.uk/ hughesandkettner for more info. "%" $&."+(6* (!7.&(54&( 54.&( 5"( *"&(/.( 405.8(3$ (/6( 5"( .5+*705*7.(1,( $+""+' ( 4&4.( ' #4&.46 .4 " %** 460(46&.+71"6.(46( 405.($6#( * ".."' -"6#"+' *1(-*+(-7+.5"+(#".$4%&'( PHIL HILBORNE’S ONE-MINUTE LICK CHORDY ROCK LICK Chord-based licks such as this are essential to many musical styles and often serve to successfully bridge the gap between approach of the two. However, bars 3 and 4 are best played rhythm and lead playing. They are very adaptable and can be played straight, swung, dirty or clean. All of these approaches at once’ sound. Ideas such as this can be heard in the work of will work well with today’s lick, so please experiment - your guitarists such as Eric Johnson, Robben Ford, Jimi Hendrix primary aim should be to make it sound effortless and ‘slick’. and Steve Vai, so make sure you seek them out. September 2013 GuitarTechniques 11 60Se nds wi... A minute’s all it takes to ﬁnd out what makes a great guitarist tick. This month: one of the greatest progressive guitarists of all time, the incredible Steve Hillage GT: Who was your ﬁrst Steve Hillage playing inﬂuence to play the guitar? Steinberger headless SH: Lonnie Donegan, Buddy Holly, The Shadows. GT: What was the ﬁrst guitar you really lusted after? SH: Various Hofners in a music shop. I really loved the look of those guitars. GT: What was the single best gig you ever did? SH: Honestly, it’s really hard to say. There’s no such thing as a ‘perfect’ gig, and sometimes you might come oﬀ stage thinking you’ve done a fantastic gig but there’s a guy in the crowd who though the last time you played there was much better. Or there’s times when you think the gig was bad and some fan from the audience comes up all emotional and says they’ve had a sublime experience. I’ve had many gigs that I’ve really enjoyed with a magical vibe, but in the end I always say you’re only as good as your last gig. It’s best to try to stay as much as possible in the here and now and respond the best you can to the moment. GT: And how about your worst SH: I have a few scales and tender age of 15, sitting just six SH: Having my own distinctive playing nightmare? exercises that I generally do feet from him. I was blitzed for life! style, and using music to bring SH: I did a gig on acid once and before going on stage, to get the positive energy into this my guitar ‘disappeared’ while I muscles warmed up. GT: Is there a solo you really wish troubled world. was playing it. Not nice. I don’t you had played? recommend it. GT: If you could put together SH: Could I name two? Hendrix – GT: And what are you up to at a fantasy band with you in it, Axis Bold as Love; Clapton with the moment – albums, tours, GT: What’s the most important who would the other players Cream – Badge. new equipment etc? musical lesson you ever learnt? be (dead or alive)? SH: The current big thing is my SH: It’s important to use music as SH: I would love to have played GT: What solo or song of yours collaboration with Japanese true self-expression and through some really tasteful haunting are you most proud? band Rovo, called Phoenix that to try and reach your higher guitar with the Weather Report SH: Aftaglid on the Fish Rising Rising. We have an album self. Or as Jimi Hendrix once said, line-up that made the Mysterious album – recently re-recorded live coming out in September, a “Stay with your thing, man”. Traveler album. in Amsterdam in 2006 at the Gong Japan and Taiwan tour in Unconvention. The solo on Hurdy November and a UK and Europe GT: Do you still practice? GT: Present company accepted, Gurdy Man is pretty good also. In tour starting next March. I’m SH: Yes most days I practise a bit. who’s the greatest guitarist terms of pure song I particularly also doing a big concert in At intense times I practise a lot. that’s ever lived? like These Uncharted Lands. Tokyo with the synthesiser SH: Jimi Hendrix – who I was playing legend Tomita, so Japan GT: Do you have a pre-gig fortunate to see twice at the GT: What would you most like to ﬁgures heavily in my musical warm-up routine? Marquee club in 1967 at the be remembered for? universe at the moment. 12 GuitarTechniques September 2013 What Strings Do You Use? KENNY WAYNE SHEPHERD We ask a great guitarist all those GT: What’s your favourite guitar questions you really do want the amp and how do you set it? answers to. This month, US blues (/(5$ "($(671 "+(*-(-$ *7+4."( legend Kenny Wayne Shepherd. $1!&8($%%(*-( 54 5( "+"( 74%.( ,( %" $6#"+( 71 %"'( 7++"6.%,(1,( GT: Do you have a type of pick that -$ *7+4."(4&($( ()"6#"+( you can’t live without? 3$6#1$&."+(5"(1*#42"#( $%%"#(.5"( ( *1"*6"(*6 "(0$ "(1"($( %.+$ 5*64 '(/.(5$&(-$6.$&.4 ( 0"6746"(.*+.*4&"&5"%%(!4 ($6#(/ "( %"$6&($6#(&7!"+4*+(&7&.$46( 4.5( 6" "+(-*76#($6*.5"+(!4 (.5$.(-""%&( "$7.4-7%(* "+.*6"&' 74."(.5"(&$1"'( 7++"6.%,(/ 1( GT: What kind of action do you 7&460( ("#4.4*6(5"$ ,(0$70"( have on your guitars? !4 &(1$#"( ,( 76%*!' ( "#471(.*(5405($ .4*6( 4.5( GT: You have to give up all your 71 *(-+".&($6#(5"$ ,(0$70"8( pedals except three. Which ones +64"(3$%%(&.+460&' do you keep? GT: What strings do you use? ( ,(*+4046$%( * ( %,#"( (/ 1( 7++"6.%,(7&460( +64"( *,( $5( " $7&"(/(&.4%%(5$ "6 .( 3$%%( * $%.(&.+460&'(' (' (' ( -*76#($( $5(!"#$%(.5$.(&*76#&( ' (' (' '( 5",(&*76#(0+"$.( ".."+'( ,(/ $6" ( ( 7 "( 4.5(%*.&(*-($..$ ($6#(411"#4$."( +"$1"+(5$&(( ""6(" "+, 5"+"( +"&!*6&"'( "$ ,(&.+460&(#"264."%,( 4.5(1"($6#(5$&(6" "+(-$4%"#(.*( (*8(/ 1($-+$4#(6*.'( (/(#*6 .(%4 "(.5"( *+#( 5$ "($( 400"+(&*76#($6#( 7.( #"%4 "+(0+"$.(.*6"'()46$%%,8(1,( GT: Do guitar cables really make a "$%*7& '(/ #(&$,(.5"+"($+"($(%*.(*-( .5+*705(.5"(14 ( ".."+' 6$%*0( $6( 460( -( *6"(!"#$%( diﬀerence? What make are yours? $+.4&.&( !$&.($6#(!+"&"6. ( 5* &( GT: And ﬁnally, what are you up to (4. &($(-$6.$&.4 (&*76#460(* "+#+4 "( ( $ %"&( "+.$46%,(1$ "($( !%$,460(/(5$ "($(%*.(*-(+"&!" .(-*+'( at the moment? !"#$%(.5$.(/(7&"( *6&.$6.%,'( #4--"+"6 "'( *1"($+"(1*+"(+"%4$ %"( 8( "6#+4 ($6#( * "+.( *56&*6( ( 5"(" 4.460(.5460($.(.5"( GT: Can you play any other musical .5$6(*.5"+&($6#(&*1"(-$4%( 74 %,'( 7&.(.*(6$1"($(-" '( 6"(07,(/(+"$%%,( 1*1"6.(4&(.5"(6" ( $6#( 5"( instrument well enough to do so *(.5"(.+$46"#("$+8( $ %"&( $6(5$ "( +" *11"6#(%4&."6460(.*(4&( *,%"( 4#"&8($%&*(-"$.7+460( ."!5"6( .4%%&( in a band? $6("--" .(*6(,*7+(.*6"($&( "%%'(/( , "&'( " &( 7&.($6(46 +"#4 %"( $6#(3$++,( *%# "+0'( 7+(#" 7.( (/( *7%#(!%$,( $&&'(/($%&*( 5$ "( 7&.*1(1$#"( $ %"&($6#(/(7&"( $ *7&.4 (074.$+(!%$,"+' $% 718( $6 .( ".( 6*705( *1"&( "%4" "(/( *7%#( "($(0**#(#+711"+( $( $ %"(1$#"(*-(&*%4#(&4% "+(.5$.(/( GT: Your house is burning down: *7.(*6( +* *07"( " *+#&(*6( 4-(/( *7%#( 7&.(26#("6*705(.41"(.*( 7&"(46(.5"(&.7#4*'( which guitar do you salvage? 707&.( .5'( 6#( 5" (*7.( ' !+$ .4&"(.5"(46&.+71"6.'( GT: Is there any guitarist’s playing ( ,( ( .+$.* $&."+'(/. &( "66, $,6"&5"!5"+#'6".(-*+( GT: If a music chart were put in (past or present) of which you’re 1,(671 "+(*6"(074.$+(.5$.(/( $6 .( 46-*+1$.4*6(*6( (040&8($% 71&( front of you, could you read it? slightly jealous? %4 "( 4.5*7.' $6#(*.5"+(6" &' Two new Canadian acoustics *(%* "%,(6" (1$5*0$6,(074.$+&( $.+4 (%7.54"+&($+"(#" *."#( If mahogany’s your 5$ "(+" "6.%,( ""6(+"%"$&"#( ,( $+.4&$6&( 5*(%* "(.5"4+( +$-. (.5"&"( thing, why not join the Canadian Club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eptember 2013 GuitarTechniques 13 That Was Alligator: see you The Year... now, not later! 1973 Coal, Cod, Captain And Corr Yamaha introduces the SG-30 based on the well-loved Gibson design featuring a Katsura-wood slab body, bolt-on neck with dot inlays and a pair of humbucking pickups. It’s a short-lived model but marks the beginning of a highly successful phase for the Japanese company’s electric guitar production. Last Of The Summer Wine and The Ascent of Man begin on BBC TV; the Open Three cool new Danelectros! University awards its ﬁrst degrees; the Dalai Lama visits the UK; Biba re-opens in Kensington; Princess Anne and Captain Mark Phillips get married in Westminster Abbey; and the Royal Navy protect $6"%" .+*(5$&(.5+""(6" (1*#"%&'( )+*1(&7+-(46&.+71"6.$%&(.*( British ﬁshing boats during the Cod War with Iceland. 5"( ( "$ "6(2+&.($!!"$+"#($&( #* 6 .76"#(+* (+4--"+,8(.5"( ( Jan Akkerman of Focus is chosen as the Best Guitarist in The .5"( $ ( $ (46( '( * (4.( 3$+4.*6"( (5$&(.5"(%* ("6#( World by readers of a UK magazine, inspiring +".7+6&( 4.5($(0+"$.(6" ($6#( * "+"#'( $4%$ %"(46(0%*&&(3%$ 8( Framus to produce one of the ﬁrst ever signature 7 ".&(*-(.*6"'( 4.5(&*7!"# 7!( .5"(&460%" 7.( (3$+4.*6"(.4 &($%%( guitars the following year. However, Jan wasn’t 4!&.4 (!4 7!&8($# 7&.$ %"( +4#0"( .5"(" !" ."#( $6*( * "& (. *( happy with the prototype and was never seen $6#($%%40$.*+(264&58(,*7( $6( 5**&"( 4!&.4 (&460%" *4%&8(1$!%"(6" ( using it on a gig. Brothers Malcolm and Angus -+*1( "#8( +$60"8(3%7"8( +"1"( 4.5(+*&" **#( *$+#8(6*(-7&&( Young put together AC/DC in Australia; Journey 8(*+( %*&&(3%$ ( ' *6.+*%&8(!%7&($1$ 460(%** &8( is formed in San Francisco; David Bowie ‘retires’ $6* &(1*&.(-$1*7&(1*#"%($%&*( !%$,$ 4%4.,($6#(.*6"'( %%(.54&8(!%7&( Ziggy Stardust at the end of his UK tour; Queen +" "4 "&($(&6$!!,(6" (!$46.( * ( (-+".&($6#($6(" ."6#"#(& $%"( release their ﬁrst album and Ian Gillan says it’s *!7%$+4&"#( ,( 411,( $0"8(.5"( %"60.5( (-*+($%%(.5"(%* (6*."&(,*7( time to quit Deep Purple. #*7 %" 7.$ $,( (4&(-$ %"#(-*+(4.&( *7%#(" "+( $6.( (1$ "(.54&(*6"( Gibson releases the L-6S single-cut, the ﬁrst .*6"&8(!%$,$ 4%4.,($6#("--*+.%"&&( "+&$.4%"($ " ( model to be built with the help of designer Bill Lawrence. &"6&"(*-( **%'( * (4.(+".7+6&($&(.5"( 4&4.( '#$6"%" .+*' *1(*+( It features a maple body and 24-fret neck, pearl block inlays, ( %%40$.*+(46( +$6#(6" ( +$60"8( ' 5&' *'7 #$6"%" .+*074.$+&( black scratchplate and headstock facia, two covered "#(*+(3%7"(264&5"&( $%%( '( -*+(-7+.5"+(46-*+1$.4*6'( humbuckers, two volumes, a tone control and a 6-way rotary Free Rockschool music lessons! switch, with a chicken head knob on the scratchplate. This switch was the key to the guitar’s sound as it oﬀered coil tapping and various * & 5**%8(.5"(+"&!" ."#(+* ( #4--"+"6.($&!" .(*-(." 564 7"(*+( combinations. It was $6#(!*!(" $146$.4*6( *$+#8(4&( .5"*+,(-*+(074.$+8( $&&($6#(#+71&'( favoured by Carlos 6* (*--"+460(-+""(17&4 (%"&&*6&( 4$( 5"(%$."&.(%"&&*6(4&(-*+(074.$+($6#( Santana and Rich .5"(6" &(&" .4*6(*-(4.&( " &4."'(( &5* &(5* (&.7#"6.&( $6(41!+* "( Williams of Kansas. $ 5(.7.*+4$%( *1"&( 4.5( .5"4+(&.+460( "6#&( ,($41460(-*+( The Queen opens the new .$ %$.7+"8( 4#"*8( $ 460(.+$ &( .$+0". (6*."&'( 5"(-7%%(.7.*+4$%(4&( London Bridge; the Isle of $6#($(%4&.(*-(+" *11"6#"#( $ $4%$ %"(.*( $. 5($6#(#* 6%*$#( Man issues its own postage stamps; The Bosporus %4&."6460( $&"#(*6(.5"(%"&&*6 &( -+*1(.5"( * & 5**%(&4."'( 4&4.( Bridge in Istanbul is completed; the energy crisis begins &7 " .'( (6" (.7.*+4$%( 4%%($!!"$+( '+* & 5**%' *'7 (*+( *7 7 "( following the Arab Oil Embargo on countries that support Israel; " "+,(1*6.58(-* 7&460(*6($( -*+(-7+.5"+(46-*+1$.4*6'( the Sears Tower in Chicago becomes the world’s tallest building; and coal shortages caused by industrial action in the UK instigate the Three-Day Week. HOT FOR TEACHER YOUR RGT TUTOR Hamer Guitars is founded by guitar shop owners, John WHO? John Hardy TOWN: Preston STYLES Montgomery, Paul Hamer and Jol Dantzig. Their early designs TAUGHT: Rock, pop, metal, blues, folk, Celtic, are based on Gibson’s Flying V and Explorer models. jazz SPECIALITY: Classic rock and ﬁngerstyle Making an entrance are: Caroline Corr, LEVELS: From beginner to advanced, lessons Peter Andre, Mick Thomson (Slipknot) and tailored for personal needs – RGT grades if Anders and Jonas Björler (At The Gates). desired READING: Beginner to intermediate Departing are: Ron Pigpen McKernan CHARGES: £10 per 30-minute lesson, £20 per hour SPECIAL: Good teaching (Grateful Dead), John Rostill (Shadows), room and resources, can provide material to Jim Croce, Bobby Darin, Gram Parsons, study at home TEL: 07713 622145 Noël Coward and Pablo Picasso. EMAIL: [email protected] 14 GuitarTechniques September 2013 '% , ' ' ''- $''- - '+ % "$ + *%* '"% $ "- +$ %' "$ $%% % $' *% $%# XQGHUVWDQG WKH ¿QHU PHFKDQLFV RI PXVLF $ PDNH FDQQ\ XVH RI FRPPRQ QRWHV EHWZHHQ WKH JUDVS RI EDVLF PXVLF WKHRU\ ZLOO GHHSHQ \RXU FKRUGV WKH QRWHV WKDW VWD\ WKH VDPH /DUU\ NQRZOHGJH WR WKH H[WHQW WKDW LW ZLOO DOORZ \RX DQG -RH NQRZ WKHLU VWXII WR VROR RQ PRUH FRPSOH[ SURJUHVVLRQV DV $QRWKHU YLWDO LQJUHGLHQW LQ JUHDW VRORLQJ LV IRXQG LQ MD]] DQG IXVLRQ IRU H[DPSOH ,W¶V DW WKH UK\WKPLF HOHPHQW $ VWURQJ UK\WKPLF ?+3I@ WKLV OHYHO \RX FDQ VWDUW WR VHH WKH EURDGHU PRWLI RU LGHD FDQ VRPHWLPHV PDNH QRWH ?+3I@ SHUVSHFWLYH DQG QR ORQJHU IHDU XVLQJ WKH FKRLFHV EHFRPH VHFRQGDU\ :LWK D JUHDW '*41 µZURQJ¶ VFDOH LQ FHUWDLQ FRQWH[WV UK\WKPLF FRQFHSW ÀRZLQJ WKURXJK \RXU VROR ,W LV DOVR DW WKLV OHYHO \RX PD\ OLNH WR SOXV SXUH HQHUJ\ IURP WKH SOD\HU HYHQ µZURQJ¶ /(7¶6 )$&( ,7 VRORLQJ FDQ EH D ORW RI IXQ HPSOR\ D µSLWFK D[LV DSSURDFK¶ OLNH -RH QRWHV FDQ VRXQG JUHDW 6R H[SORUH DV PDQ\ :KHQ LW DOO µFOLFNV¶ DQG PHORG\ UK\WKP DQG 6DWULDQL ZRXOG VHHLQJ HDFK SURJUHVVLRQ IURP GLIIHUHQW UK\WKPLF ¿JXUHV DV \RX FDQ WKLQN RI FRQFHSW DOO FRPH WRJHWKHU LW FDQ IHHO XWWHUO\ RQH WRQDO SHUVSHFWLYH UDWKHU WKDQ D VXFFHVVLRQ $ JUHDW ZD\ RI H[SDQGLQJ \RXU UK\WKPLF DPD]LQJ SOD\LQJ WKRVH VL[ VWULQJV 7KLV DUWLFOH RI FRPSOLFDWHG KDUGWRUHPHPEHU VFDOH ODQJXDJH LV WR FODS D RQH RU WZREDU SDWWHUQ ZLOO DWWHPSW WR GHHSHQ \RXU DZDUHQHVV RI ZD\V SDWWHUQV )RU H[DPSOH LI \RX KDYH DQ $ GR WKLV \RXUVHOI RU JHW VRPHRQH HOVH WR GR LW WKDW ZLOO LPSURYH \RXU VRORLQJ DQG RYHUDOO µKLW FKRUG IROORZHG E\ D ' FKRUG \RX PLJKW WKLQN DQG WKHQ UHSHDW WKH SKUDVH EXW WKLV WLPH RQ UDWH¶ LQ WHUPV RI FUHDWLQJ EULOOLDQW PXVLFDO RI SOD\LQJ $ 0L[RO\GLDQ $ % & ' ( ) * WKH JXLWDU ZLWK QRWHV IURP D FKRVHQ VFDOH 7U\ PRPHQWV HYHU\ WLPH \RX VROR IROORZHG E\ ' 0L[RO\GLDQ ' ( ) * $ % & DV FRQWLQXDOO\ JRLQJ EDFN DQG IRUWK EHWZHHQ $ JUHDW ¿UVW VWHS WRZDUGV OHDUQLQJ KRZ WR FODSSLQJ DQG SOD\LQJ ,W¶V IXQ DQG \RX¶OO OHDUQ FUHDWH PRUH PHORGLF VRORV LV WR JHW JRRG DW 8$4 ! /8 * + / 2Q WKH IROORZLQJ SDJHV ZH ZLOO H[SORUH LGHQWLI\LQJ WKH FKRUG WRQHV ZLWKLQ DQ\ JLYHQ HLJKW GLIIHUHQW H[DPSOHV RI VRORLQJ RYHU FKRUG ,I \RX FDQ VD\ ³& ( *´ DV VRRQ DV , VD\ /$$! / /8 * $. $.+ YDULRXV SURJUHVVLRQV 6SHQG WLPH DQDO\VLQJ ³& PDMRU FKRUG´ DQG ³) $ &´ DV VRRQ DV , ! *# #+ / /$$! / /8 WKH SKUDVHV DJDLQVW WKH SURJUHVVLRQV WR VHH LI VD\ ³) PLQRU FKRUG´ WKDW¶V D JUHDW VWDUW 7KLV \RX FDQ VSRW IXUWKHU DSSURDFKHV LQ DGGLWLRQ WR NQRZOHGJH ZLOO SURYH KHOSIXO QRW RQO\ DV D UXOH *# !$. $.+ 33-/ WKRVH , KLJKOLJKW LQ WKH VXSSRUWLQJ WH[W RI WKXPE ZLWK UHJDUGV WR ZKLFK QRWHV \RX FDQ .3 /3.3) $4 !-3 $ 7KH WKLQJ LV ZKLOH VRPHWLPHV \RX FDQ¶W SXW µWUXVW¶ ZLOO ZRUN LQ FRQWH[W EXW DOVR DV D SRLQW RI UHIHUHQFH LQ VLWXDWLRQV ZKHUH \RX DUH 6.$! 63 $. 3$!/) XQVXUH ZKLFK VFDOH ZLOO ¿W ,I \RX NQRZ WKH WKH 0L[RO\GLDQ µIRUPXOD¶ FRUUHVSRQGV WR WKDW FKRUGV \RX FDQ¶W JR ZURQJ ZLWK WKH FKRUG RI D GRPLQDQW FKRUGV VXFK DV WKHVH +RZHYHU WRQHV«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¿QJHU RQ ZK\ D FHUWDLQ VROR ZRUNV UHDOO\ ZHOO PRVW RI WKH WLPH \RX FDQ H[DPLQH DQ\ KDUPRQLF IUDPHZRUN DQG UK\WKPLF FRQFHSW DQG VHH KRZ WKLQJV ¿W WRJHWKHU <RX FDQ WKHQ VHH WKH SOD\HU¶V LQWHQWLRQ EHKLQG KLV FKRLFH RI QRWHV DQG UK\WKPV 2XU HLJKW H[DPSOHV DUH GLYLGHG LQWR IRXU EDUV RI D SURJUHVVLRQ IROORZHG E\ IRXU WR ¿YH EDUV WKDW WZHDN WKH VDPH SURJUHVVLRQ DQG WDNH LW VRPHZKHUH HOVH PXVLFDOO\ :H VWDUW RII ZLWK DUJXDEO\ WKH PRVW SRSXODU FKRUG FRPELQDWLRQ RI DOO WLPH WKH WRQLF , FKRUG VXEGRPLQDQW ,9 FKRUG DQG GRPLQDQW 9 FKRUG )URP FODVVLFDO PXVLF WR WKH EOXHV IURP '\ODQ WR PRGHUQ GD\ SRS DQG EH\RQG WKH ,,99 LV DQ HVVHQWLDO WRRO DQG RIWHQ DOO \RX QHHG WR FUHDWH D JUHDW VRQJ 7KHVH WKUHH FKRUGV FRQWDLQ DOO WKH QRWHV RI WKH PDMRU VFDOH DQG SURYLGH DOO WKH WHQVLRQ DQG UHOHDVH D VRQJ FRXOG DVN IRU )URP WKHUH ZH¶OO SURJUHVV WKURXJK D YDULHW\ RI SURJUHVVLRQV H[SORULQJ FRQFHSWV VXFK DV PRGDO LQWHUFKDQJH SLWFK D[LVVW\OH FRPSRVLQJ DOWHUHG FKRUGV DQG VODVK FKRUGV DV ZHOO DV VLQJOHOLQH FRQFHSWV OLNH IRUPLQJ \RXU SKUDVHV DURXQG FKRUG WRQHV XVLQJ FKURPDWLF DSSURDFK QRWHV GHYHORSLQJ D UHSHWLWLYH PRWLI DQG XVLQJ WKH EOXHV VFDOH DQG RWKHU µEOXH FRORXUV¶ LQ WDVW\ ZD\V 5HPHPEHU WKH H[DPSOHV DUH DOO UHSUHVHQWHG DV DXGLR DORQJ ZLWK WKH EDFNLQJ WUDFNV ,W¶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et More From Your Wah! Jon Bishop takes a look at the wonderful wah-wah pedal and examines the stylings of ten of its most famous users. This will help you to get even more from this great pedal! ABILITY RATING There have been many iconic guitar This month’s track contains an assortment of recordings created with the wah-wah over the ten riffs and licks in the style of our ten Moderate years, ranging from numbers by Eric Clapton featured players. Each four-bar idea has been and Jimi Hendrix in the late 1960s, through notated, and the demonstration track has a INFO WILL IMPROVE YOUR the funk and disco classics of the 70s and on to space after each example for your own wah KEY: C minor Wah operating skills the present day. practice. In the interests of extra detailed TEMPO: 115 bpm Wah-wah ‘vocalisations’ The wah-wah is great for bringing vocal study, the wah treadle position has also been CD: TRACKS 20-23 Tone generating skills qualities to lead guitar work and it’s also notated above the tab where appropriate. An handy for adding percussive elements to ‘O’ indicates the wah treadle was forward or THE WAH-WAH PEDAL is surely one of the rhythm playing - think of the intro to Jimi ‘toe down’, while an ‘+’ means the treadle was most iconic and expressive of all guitar effects. Hendrix’s Voodoo Child (Slight Return). The rocked back or ‘heel down’. While the arguably commoner overdrive and As a bonus there is also a jam track that delay are fantastic too (and we’ll be studying ; ; ;; places many of the ideas from the examples these at a later date), step on your wah-wah left in one position (think of Micheal into a functioning performance piece. Many Schenker’s explosive soloing in his UFO days). thanks to Pete Riley for recording the drums The wah’s circuit was invented in the late It is worth experimenting with where you ; 1960s by Brad Plunket who was working for place the wah pedal in your chain of effects, the Thomas Organ Company. Plunket was set This month’s track offers GET THE TONE Mid Range Boost switch on a Vox valve ten riffs and licks in the style (pot) that created a spike in the frequency of ten featured players. Each 7 6 7 7 4 range; this boosted a certain frequency and idea is notated and there’s a GAIN BASS MIDDLE TREBLE REVERB rotated, the frequency spike shifted back and space after each example for A basic wah-wah pedal and an amp is all you need to replicate the sounds demonstrated fourth and the ‘wah-wah’ sound was produced. The last part of the puzzle was to your own wah practice. in this monthÕs feature. Some overdrive and delay will also help bring things to life. The too. It can be very effective to place your pickup section and effect combinations operation with a foot was possible. A few overdrive pedal before the wah for a ‘super have been notated next to the relevant sleeples nights later and the wah-wah pedal as wah’ tone. Using delay and echo in examples in the tab. There is now a vast we know it was born. conjunction with the wah can also provide selection of wah-wah pedals available, in a The president of the Thomas Organ ; ; seemingly endless range of colours, flavours Company pursued trumpet player Clyde for some amazing Bowie or Floyd type and brands. The original wah set-up and McCoy as an endorsee for the pedal, as he felt sounds). And if you want to create really weird sound has been tweaked and modified over the sound the wah-wah produced was and wonderful sounds, plug your wah-wah in the years, and many of the worldÕs top reminiscent of McCoy’s ‘cup mute’ trumpet with the leads the wrong way round and then players now sport a signature pedal that recordings. The original wah-wah pedals had twist the volume and tone controls on your reflects their own preferences. Regardless of both the Cry Baby and Clyde McCoy logos on, guitar. While not being the most musical or which pedal you choose, good results will or the Vox logo. Both the Cry Baby and the practical way of using the wah pedal, some be reliant on your treadle control skills Vox wah-wah were essentially the same pedal extremely interesting sounds can be created. combined with your guitar playing so, as made by Thomas Organ, the only difference Be sure to have your amp turned down though ever, the key here is plenty of practice. being the branding. TRACK RECORD Recordings that feature wah-wah span almost all genres since the late 1960s. Check out Electric Ladyland by Jimi SIMON LEES Hendrix, Disraeli Gears by Cream, Shaft by Isaac Hayes and Jailbreak by Thin Lizzy for starters. For an overview of the history of the wah-wah pedal it is well worth tracking down the documentary film entitled Cry Baby: The Pedal That Rocked The World. 26 GuitarTechniques September 2013 GET MORE FROM YOUR WAH! The wah-wah: surely the most expressive of all guitar effects pedals September 2013 GuitarTechniques 27 PLAY: ROCK ON THE CD TRACKS 20-23 EXAMPLE 1 CURTIS MAYFIELD STYLE ‘WACKA CHICKA’ CD TRACK 21 This ﬁrst technique will help you to get used to working the treadle. Start get the iconic 1970’s ‘wacka chicka’ funk sound as used in the bridge of by muting all of the strings with the ﬁngers of your fretting hand. If you Pusherman by Curtis Mayﬁeld. There’s a plethora of sounds available with strum the muted low strings with the wah treadle back, a ‘wack’ sound this technique, depending on how you hit the strings, where you place your is produced. Strumming the muted high strings with the treadle forward muting ﬁngers, and position and speed of wah usage. Hendrix was a master produces a ‘chick’ sound. By combining these two ideas it is possible to of improvising rhythmic phrases with this muted strumming approach. EXAMPLE 2 ISSAC HAYES RHYTHM WITH SUSTAINED CHORDS CD TRACK 21 This second example showcases a simple idea that is useful for creating a like. This rocking of the pedal adds a wah-wah rhythm to the sound. This variety of parts. First click on the wah-wah pedal and then strum a chord. example uses a crotchet triplet rhythm, which sounds interesting against The more the chord rings out the better, so make sure your fretting is the funky 4/4 drum pattern. You may need to put in a bit of practice to get accurate and your tone is clean and fuss free. As soon as the chord is ringing the more complex rhythms perfectly in time, especially if you are new to this out you can rock the wah-wah pedal back and forth in any rhythm you idea. Short on ideas for a rhythm track? This could be your answer! EXAMPLE 3 CHARLES ‘SKIP’ PITTS ISSAC HAYES OCTAVE STRUMMING CD TRACK 21 The intro to the theme from Shaft helped set the funk guitar template and forward slowly it acts like a tone ﬁlter, pulling out certain frequencies and is one of those classic moments. Octave strumming in a 16th note rhythm is cutting the rest. This slow sweeping is eﬀective on notes and chords alike. great for funk, and adding wah is the icing on the cake! Rocking the pedal Check out the notation and take this one slowly as there is plenty going on. 28 GuitarTechniques September 2013 . . . GET MORE FROM YOUR WAH! EXAMPLE 4 ERIC CLAPTON STYLE LEAD CD TRACK 21 Eric Clapton was one of the pioneers of using the wah-wah pedal in style phrases with the wah pedal. Clapton generally rocked the pedal in the early days and he recorded some great wah guitar riﬀs and solos time with the music, but he also used it as an expression device by swelling throughout his career. This example combines some typical, early Clapton into notes and string bends to give them a more vocal quality. EXAMPLE 5 STEVE VAI STYLE LEGATO CD TRACK 21 Steve Vai is another wah master, and uses his Bad Horsie signature pedal to fully released the pressure from the bar, you can bend the string up a further great eﬀect. This lick starts with a large upward glissando (scoop) into the semitone to complete the eﬀect. The second two bars feature a fast Vai style Bb. To play this, ﬁnger the note A (10th fret, second string) and depress the tapping run that’s superbly accentuated with the wah pedal. The trick here whammy bar. Now pick the note and release the bar slowly. When you have is to rock the treadle forward at the start of each descending phrase. September 2013 GuitarTechniques 29 PLAY: ROCK ON THE CD TRACKS 20-23 EXAMPLE 6 THIN LIZZY STYLE LEAD CD TRACK 21 Lizzy liked a bit of wah and used it to great eﬀect in songs like Jailbreak in combination with fast tremolo picking and string bending. The string and Don’t Believe A Word. This example sees the wah working as a ﬁlter bending needs to be gradual to create exactly the right eﬀect. EXAMPLE 7 JIMI HENDRIX STYLE ‘WATCHTOWER’ LEAD CD TRACK 21 Hendrix was a master of the wah-wah and recorded some iconic moments Watchtower. The added delay accentuates the sound, and the semiquaver using one. This example takes its inspiration from the solo in All Along The run beneﬁts from the wah’s treadle being rocked in a quaver rhythm. EXAMPLE 8 SLASH STYLE LEAD CD TRACK 21 Slash is another rock player with a penchant for wah, and who can forget in the ﬁrst bar is played with a third ﬁnger barre. Clamp both notes with the that change of gear in Sweet Child O’ Mine when the wah is clicked on? third ﬁnger and bend them up. If you maintain the string spacing on your The wah sounds very eﬀective when combined with double-stops and this ﬁnger as you bend, the pitches will go up a full tone on the third string and a example opens with some stock, rock style phrases. The double-stop bend semitone on the second string, which is a happy coincidence! EXAMPLE 9 MICHAEL SCHENKER STATIC WAH, ‘TONE FILTER’ STYLE LEAD CD TRACK 21 Leaving the wah set in one position is a popular trick. Slowly rock the pedal sweep where everything sounds particularly good. Certain pedal designs back and forth as you play, until you ﬁnd the ‘sweet spot’. This is partly down have the option of turning the wah on with a separate switch and this is to personal taste, but you will ﬁnd a place somewhere in the middle of the particularly handy as you can pre-set the sweet spot before taking ﬂight! 30 GuitarTechniques September 2013 GET MORE FROM YOUR WAH! EXAMPLE 10 KIRK HAMMETT STYLE LEAD CD TRACK 21 The Kirk Hammett lead style is synonymous with the use of the wah-wah open-string pedal tone. The natural harmonics in the ﬁnal bar (played by pedal, and many of Kirk’s most famous Metallica solos feature it heavily. lightly touching the strings at the 5th fret position) are particularly pleasing, The wild, double-stop bends that Kirk likes to augment with the wah-wah and create a wonderful dissonance when combined with a dive-bombing have become a Metallica trademark, as is the use of legato while using an whammy bar. Pure thrash metal! EXAMPLE 11 32BAR WAHWAH PARTY JAM CD TRACK 21 Now it’s time to put those wah-wah pedal ideas to the test in our 32-bar with delay and are inspired by players like U2’s The Edge. The wah is used jam track. The synth style chord swells that feature as part of the backing as a tone ﬁlter, and the delay helps to accentuate the sweep across the track have not been notated but are created by placing the wah pedal after frequencies. This sweeping tone ﬁlter with delay provides some spacious, all the eﬀects. This means the wah pedal sounds super eﬀective and ﬁlters synth style eﬀects. Set your delay to a dotted 8th note, as this will help set everything in the signal path, including the delays and chorus. The result is up that classic Edge style delay sound. The wah sweep is easy to do and is a spacious, synth like sound and this idea is well worth checking out (once notated above the tab. The semi-quaver strumming rhythm may take some you’ve gone through all ten examples ﬁrst, of course!). practice to get, but this concept will work with many other semiquaver [Bars 1–8] These opening bars combine a 16th-note strumming rhythm rhythms and is worth spending time exploring. September 2013 GuitarTechniques 31 PLAY: ROCK ON THE CD TRACKS 20-23 EXAMPLE 11 32 BAR WAH PARTY JAM CONTINUED... CD TRACK 21 [Bars 9Ð16] This section introduces a funk style single note line that is like George Lynch and Zakk Wylde. Dig in hard and keep the ﬁnger vibrato inspired by John Squire’s wah work in The Stone Roses seminal track Fools wide and pronounced. The wah-wah pedal helps to vocalise the notes Gold. Keep the wah treadle rocking in a steady quaver rhythm. The mute and this is done by swelling the treadle forward as you hit the note. This strokes are all important as these work with the wah to create the ‘wacka technique is particularly eﬀective on string bends. Bar 22 features the chicka’. Hendrix style idea of playing a double-stop bend and then adding rhythm [Bars 17Ð24] It’s time to rock, and these lead lines are inspired by players to it by rocking the pedal. 32 GuitarTechniques September 2013 GET MORE FROM YOUR WAH! EXAMPLE 11 32 BAR WAH PARTY JAM CONTINUED... CD TRACK 21 [Bars 25 to end] This section utilises the Steve Vai style idea we looked at Bar 31 features the Hendrix style, clashing bends we looked at in example earlier back in example 4 (page 29). This time it’s shifted up four frets to ﬁt seven, and the piece ends with the dramatic dive bomb harmonics, from the the E minor key of our 32 bar wah party jam. Kirk Hammett Metallica style lick in example 7. September 2013 GuitarTechniques 33 PLAY: ROCK ON THE CD TRACKS 24-26 David Bowie Starman Jon Bishop transcribes a classic David Bowie track which is great fun to play and has nice lead and rhythm ideas in which to sink your teeth (or pick). ABILITY RATING charismatic lead guitarist and a good all round musician and took care of the string Starman originally faded Easy arrangement for Starman. out, so to make the backing Starman uses chords from the harmonised INFO WILL IMPROVE YOUR F major scale: Fmaj7, Gm7, Am7, Bbmaj7, C7, track more fun to play along KEY: F major Barre chords and fretting Dm7 and Em7b5. A few extra chords are to I have used the same ending TEMPO: 102 bpm String bending intonation added here and there, to help the progression CD: TRACKS 24-26 Strumming technique that the band used live. add to the tension and release factor. To act as being heightened. The other extra chord in the DAVID BOWIE IS a cultural icon whose a turnaround an Ab major chord is used on chorus is where the Bb changes to a Bbm. This career has spanned an amazing six decades. route to the Bb major chord at the end of verse changing of chords from major to minor is a Starman was released in 1972, just three years one and three. These two chords are from the popular songwriting tool (think of the C to Cm key of Eb major and provide a momentary lift in Radiohead’s Creep). In addition to being a superb songwriter back into the F chord in verse two. To take us The original Starman recording fades out, and charismatic front man, Bowie is also a into the chorus Am and Gm are changed to A so to make the backing track more fun to play solid rhythm guitar player. He performed the and G major. These are from the key of D along to, I’ve created an ending. This is the 12-string acoustic guitar parts on hit songs major and sound stronger than their minor same as the ending that Bowie’s band used to like The Man Who Sold the World and Space counterparts for setting up the chorus. In the Oddity, as well as this month’s featured track. chorus Dm7 is changed to D7 and this sets up live. This ending should make sense to the ear These parts combine barre and open chord a perfect cadence to the G minor. This and is simple to play. shapes with a nice sense of timing and groove. changing of chord type to a 7th is referred to Thanks to Pat Hughes, for playing bass, Mick Ronson was Bowie’s guitarist of as a secondary dominant and sounds very and to Charlie Rinks, for the violins. Have fun choice during the early 1970s. Ronson was a effective due to the tension and release factor practicing and see you next time! TECHNIQUE FOCUS GET THE TONE Rhythm strumming An important aspect of playing good rhythm with rock rhythm guitar. The verse part relies on a guitar is to keep the strumming hand moving up muted strumming approach and this is governed 6 7 8 7 3 and down in time, regardless of whether or not it by the pressure you apply with the fretting hand GAIN BASS MIDDLE TREBLE REVERB is hitting the strings. It’s hopeless to try and nail a ﬁngers. If you release the pressure of the fretting groove by guessing with single strums here and hand but leave the ﬁngers in contact with the Bowie played his trusty12-string acoustic on there. So using the strumming hand to ‘ghost’ the strings, the chord will not sound and the strings Starman - as he did on so many great tracks. rhythmic sub-division is a far more mechanical will be muted. This might feel strange if you are But since not that many players own one a way of making sure your timekeeping is sound not used to doing it, but after a while it becomes a six-string will work just fine - try a light pick - every great rhythm player does it. The electric natural byproduct of your playing that you won’t for a slightly more shimmery tone. Mick guitar riﬀ in the bridge section is particularly fun even think about. With regards to the rhythm Ronson would almost certainly have to play. This will sound best if played exclusively playing in particular, try treating the transcription performed the electric parts on his Les Paul with down strokes of the pick as this evens the as a guide only: in a live situation Bowie and the Custom, but any electric with a bridge pick attack and adds weight to the sound. Playing band would add extra nuances and rhythms so up will work just fine (knock some treble off quavers with down strokes is the way forward no two performances feel exactly the same. single-coils if you can). A bit of overdrive and phaser are the icing on the cake. ILPO MUSTO/REX FEATURES TRACK RECORD The original version of Starman appears on The Rise & Fall Of Ziggy Stardust & The Spiders From Mars (1972). This album was the fifth released by David Bowie and followed up the hugely successful Hunky Dory. If you are looking for a career overview, Starman appears on the compilation album Best Of Bowie (2002) along with many other classic tracks. 34 GuitarTechniques September 2013 DAVID BOWIE STARMAN Ziggy played guitar! Here it’s a Swedish- made Hagstrom 12 September 2013 GuitarTechniques 35 PLAY: ROCK ON THE CD TRACKS 24-26 PLAYING TIPS CD TRACK 25 [Intro: Bars 1-8] These opening bars combine interesting sounding chords [Verse 1Ð2: Bars 9-23] The verse uses a semi-quaver strumming pattern with a galloping strumming rhythm. When changing positions, sound the with some mute strokes in it. To play the mute strokes, lift oﬀ your fretting open strings to keep the momentum going. Lifting your fretting hand oﬀ hand pressure so the strings are oﬀ the frets. Keep your fretting ﬁngers in the strings when changing chord positions helps to eliminate handling contact with the strings so they are muted. A thinner pick will provide a noise, which on acoustic guitars can be unpleasant. bright, percussive attack sound, which is a key feature of the original part. 36 GuitarTechniques September 2013 Starman Music & Lyrics by David Bowie. ©1972 Tintoretto Music. RZO Music Inc, Chrysalis Music Ltd and EMI Music Publishing Ltd. UK/EU reproduced by kind permission of Music Sales Ltd. US/CAN reproduced by kind permission of Hal Leonard Corporation. All Rights Reserved. International Copyright Secured. DAVID BOWIE STARMAN PLAYING TIPS CD TRACK 25 [Chorus 1: Bars 24–34] The guitar part in the chorus changes to a simpler, you are playing on a 12-string acoustic you may ﬁnd the barre chords will quaver rhythm and this contrasts nicely with the busy verse strumming. If take a bit of holding down so be careful not to strain your hands. September 2013 GuitarTechniques 37 PLAY: ROCK ON THE CD TRACKS 24-26 PLAYING TIPS CD TRACK 25 [Bridge: Bars 35-41] In the interests of extra study, the electric rhythm part A medium overdrive with a bridge pickup setting (humbucker preferably) has been notated here instead of the lead guitar melody. However, that has should provide the required amount of rockiness. Picking with all down been tabbed in the outro so feel free to play this as a solo here, if you prefer. strokes will help the groove and feel. 38 GuitarTechniques September 2013 DAVID BOWIE STARMAN PLAYING TIPS CD TRACK 25 [Verse 3-4: Bar 42-56] This section is a repeat of verses 1 and 2. Live, feel free to do similar here. Bars 55 and 56 feature the funky high octave part David’s playing would often get more exuberant as the song progressed so that leads into the chorus. A bit of phaser will set this part oﬀ a treat. September 2013 GuitarTechniques 39 PLAY: ROCK ON THE CD TRACKS 24-26 PLAYING TIPS CD TRACK 25 [Chorus 2 and 3: Bars 57-78] This section is a repeat of chorus 1. This time repeated three times. The main thing to concentrate on here is the bending the chorus is repeated to make one long, double chorus. intonation. Mick Ronson had a great bluesy-rock feel and the original [Outro/Guitar Solo: Bars 79-90] This section is the main, sing-a-long recording has plenty of vibe. It will really come to life with a bit of mild, melody, which is played in unison with the strings. These four bars are Marshall-esque overdrive and a touch of phaser. 40 GuitarTechniques September 2013 DAVID BOWIE STARMAN PLAYING TIPS CD TRACK 25 [Bars 91 to 102] The end solo has a nice contour and is relatively easy to [Bar 103 to end] The original recording fades out, so in the interests of play. The main scale in use here is F major pentatonic. There are some extra having a functioning backing track we’ve added the ending that David colour tones added in for extra ﬂavour but again it’s all about the attitude Bowie himself uses when he performs the track live. The ending is logical and vibe here, as it’s technically quite straightforward. and uncomplicated and rounds a great track oﬀ nicely! September 2013 GuitarTechniques 41 PLAY: CLASSICAL ON THE CD TRACKS 27-28 Johann S Bach The Arioso In her ongoing quest to ﬁll our classical repertoire with timeless nuggets Bridget Mermikides arranges and transcribes another great Bach piece for your delectation. ABILITY RATING including modernism, metal, jazz, pop, electronica, tango and everything in between. JS Bach would almost Moderate/Advanced This month I’ve made an arrangement of certainly have approved of the sinfonia - also known as The Arioso - of his INFO WILL IMPROVE YOUR Cantata BWV156. Written in 1729 during his us transposing his work for KEY: D Melody and bass separation slavishly demanding teaching and composing another instrument and TEMPO: 80 bpm Baroque repertoire position in Leipzig, this stunning CD: TRACKS 27-28 Rest stroke and free stroke amending it to suit the movement to a set of vocal pieces written in guitar’s requirements. THIS MONTH WE are looking at a solo the cantata form (literally a vocal performance classical guitar arrangement of a wonderful accompanied by instrumentation). Listening performed so effectively on a range of piece of music by Johann Sebastian Bach to the entire work and then learning that instruments and within various ensembles (1685-1750) who, despite not receiving Johann Sebastian wrote over 200 other – you can even hear strains of it in Carly cantatas (among hundreds of other works) Simon’s award-winning pop song Let The almost universally considered one of the gives you an idea of his incredible - some greatest composers of all time. Bach’s would say unfathomable - productivity. Working Girl. It also helps us feel comfortable enormous body of masterpieces has been The Arioso itself is not only well loved as a in the knowledge that JS Bach himself would hugely praised and adored by countless short piece in its own right, but Bach himself almost certainly have approved of what we are music-lovers and musicians through the ages. reused the theme as the middle movement in doing here today - transposing his work for His incredible control of counterpoint his Harpsichord Concerto in F minor (also another instrument and amending it to suit (multiple simultaneous melodies) and played as the ‘reconstructed’ Violin Concerto that instrument’s musical vagaries and complex harmony, coupled with the ability to in G minor) and also in the middle movement technical requirements. express deeply the gamut of human emotions, of his Oboe Concerto in F major. So, with that in mind, to make the piece This is an indication of the portability of more idiomatic on solo classical guitar I’ve of Western classical music and continues to Bach’s sublime music between instruments, transposed the original key of F major down inspire composers in almost any musical style and it is no surprise that the Arioso is now to D and added a drop D tuning. This introduces a typically guitaristic resonance, TECHNIQUE FOCUS which is also rather lovely and lends the piece breadth and, of course, depth. I’ve Posture embellished the repeat of the melody with When playing classical guitar, posture is super some Baroque ornamentation, as is perfectly important in order for both hands to work appropriate to the style and is often used in eﬃciently. The traditional method is to sit up instrumental reworkings of the Arioso. straight on the front edge an upright chair and If you’ve not encountered a ‘cross-string raise the left knee (right-handed players) by using trill’ before, the tab captions will explain how a footstool. The guitar sits on the left thigh and to execute them, as well as guide you through the head of the guitar tilts upwards. For long some of the piece’s trickier sections. hours of playing, many people prefer to have Performing The Arioso with the ‘simplicity’ it both feet on the ﬂoor keeping the pelvis level and good alternatives to the footstool are the demands is not easy at all, but you - and Dynarette guitar cushion. The Gitano guitar rest hopefully your listeners - are unlikely to tire of this beautiful work, so all the practice will ROGERVIOLLET/REX FEATURES and the ErgoPlay guitar support. hopefully be worthwhile. TRACK RECORD To hear The Arioso in three of its countless incarnations, try the 1998 Teldec recording of the Bach Cantatas 154-157 under Nikolaus Harnoncourt; Edwin Fischer’s exquisite vintage recording of the Keyboard Concerto in F minor (Bach Concertos EMI 1989); and Alexei Ogrintchouk and the Swedish Chamber Orchestra’s Bach’s Oboe Concerto in D minor (Bach: Oboe Concertos 2010 BIS). 44 GuitarTechniques September 2013 J. S. BACH THE ARIOSO JS Bach: wrote hundreds of glorious works September 2013 GuitarTechniques 45 PLAY: CLASSICAL ON THE CD TRACKS 27-28 PLAYING TIPS CD TRACK 28 [Bars 1-10] Follow the ﬁngering carefully in bar 2 and listen to the audio to ﬁngering works best for you. This trill is optional and if it proves too diﬃcult, hear the timing on the cross-string trill in beat 4). Plucking hand ﬁngering no one will miss it! Follow the ﬁngering guides as the piece becomes a little is indicated beneath the tab to show how this trill is played. Slow practice stretchy - the ﬁrst half of bar 4, and bar 10 for example. Practice slowly and is necessary until it becomes a ‘reﬂex’ movement - and to ﬁnd out which commit to memory as this makes it so much easier to focus on your hands. 46 GuitarTechniques September 2013 J. S. BACH THE ARIOSO PLAYING TIPS CD TRACK 28 [Bar 11 to end] On bar 11, beat 4 use a half barre and continue to use it some simple embellishment (Baroque style ornamentation) - do refer to the into the next bar for a beat and a half. Work slowly and carefully through recording to hear how these ﬁt in rhythmically. I hope you enjoy learning the next few bars. On bar 15 the main melody returns but this time with this lovely piece of music! September 2013 GuitarTechniques 47 LEARNING ZONE LESSONS GT221 30MINUTE LICKBAG ..................................... 50 BIMM’s Terry Lewis has six more licks to play, from beginner to advanced levels. BLUES................................................................................................. 52 John Wheatcroft looks at the bluesier side of Pink Floyd’s ace axeman, David Gilmour. BLUES 2 .......................................................................................... 56 JW has two bites of the cherry this month. Here he revisits the mighty Kenny Wayne Shepherd. ROCK .................................................................................................. 60 Martin Cooper examines the rocky style of Mott The Hoople and Bad Company’s Mick Ralphs. CREATIVE ROCK .......................................................... 68 Shaun Baxter highlights the open and modern sounds created by using 4ths in your playing. COUNTRY ................................................................................... 72 Andy Saphir visits the music of Nashville star Alan Jackson and his top session buddies. PROG ................................................................................................... 76 WE HOPE YOU’RE enjoying the issue and with three chord types; a dominant 7th, a Patto’s criminally undersung Ollie Halsall. in particular Jacob’s piece on soloing over major 7th and a minor 7th as these are the chords. The premise is simple: when playing commonest. Now add a second chord to create JAZZ ...................................................................................................... 80 over chord progressions, what are the best a short progression and see if one or more Pete Callard focuses on the acoustic Latin approaches to take? And what do we do when ; :4 # style of the fabulous Charlie Byrd. some of the chords seem a little out of place? that are exclusive to each chord – these may Playing solos on songs with twisty chord well be game changers and help generate a ACOUSTIC ................................................................................. 86 Stuart Ryan creates a soulful version of the sequences can be tough (Midnight At The very melodic solo. If you’ve chosen two related gospel classic, A Closer Walk With Thee. Oasis - yikes!). Sure, one can ‘whitewash’ a chords (say Am7-D7) go for two unrelated ones instead (Am7- F#m7). Can you solo ROCK SCHOOL ................................................................ 90 friend as long as you phrase well) but wouldn’t in a way that pleasingly marries unrelated it be better to sound like you’re playing for the chords? Are any notes shared between the over the A-Z of musical terms. This month: M. song rather than alongside it? So I suggest you chords (A and E are found in both Am7 and tackle Jacob’s article over several sessions, PZ # : to glean as much as possible from it. I’d also ;# like to add a few extra pointers for you to soloing. This deepens your awareness of your take on board. First up, knowing where harmonic environment; it’s like baking the notes are on your fretboard is a huge the cake before you add the icing and cherry on top! Then spend time on things over the fretboard - without hesitation, like primary chord tones, extended with a metronome ticking away to keep arpeggios, pentatonics and modes, and you steady? Good fretboard knowledge you will be increasingly able to select makes chord and scale playing the best easier, plus it strengthens the approach bond between the two roles. from your Here’s another tip; get to ‘musical know a single chord well toolbox’. You’ll be by playing only chord tones over it (root, 3rd, ; ; you previously never had. ON 5th and 7ths onwards, if present in the chord). Happy soloing! VIDEO! In the ﬁrst par t of this With this note-to-chord Steve Lukather mastercla relationship you will learn ss Luke shows how he plays where the important notes ‘outside’ the blues. are within your scales. Your Page 64 aim is to get chord tone savvy September 2013 GuitarTechniques 49 LESSON: 30-MINUTE LICKBAG 30-Minute Lickbag Top BIMM Brighton tutor Terry Lewis has six more Brought to you by... fabulous licks to play at easy, intermediate and advanced levels. How many of them can you play? EASY LICKS EXAMPLE 1 DAVID GILMOUR CD TRACK 29 If you’re still learning to cope with string bends then Gilmour licks are a scale features often. This lick in B minor features Gilmour’s vocal like great resource. A lot of his playing is rooted in blues so the minor pentatonic phrasing with some medium delay for ambience. EASY LICKS EXAMPLE 2 FUNKADELIC CD TRACK 30 This lick uses the A blue scale (ACDEbEG) with a slightly swung feel to get but you can achieve a similar eﬀect with a manual wah by closing it to the funk. It’ll sound best played through an envelope ﬁlter or auto wah emphasise each pick stroke. INTERMEDIATE LICKS EXAMPLE 3 NILE RODGERS CD TRACK 31 Nile’s rhythm style deﬁned a whole era of disco music and decades later hand and good fretting hand muting skills are required to make this bouncy his sound still pops up on tracks by other artists. A consistent strumming chord riﬀ sound happening. Try neck or neck + middle pickups on a Strat. 50 GuitarTechniques September 2013 ON THE CD TRACKS 29-34 30-MINUTE LICKBAG LEARNING ZONE INTERMEDIATE LICKS EXAMPLE 4 RY COODER RHYTHM CD TRACK 32 Here’s a swampy ﬁngerpicked riﬀ in G. Since it’s based around chords I and track. A bridge pickup with a little dirt and some spring reverb and tremolo IV you can use this kind of idea to lend a rootsy ﬂavour to a blues or folk will help to set it oﬀ nicely. ADVANCED LICKS EXAMPLE 5 MELODIC TAPPING CD TRACK 33 Tapping is not just for high octane, Van Halen style rock. There are a host melody and chord parts. Playing this lick clean will reveal any imbalances in of players out there such as Stanley Jordan, Tosin Abasi and Wes Borland to note volume and is a great way to practise tapping to even out the dynamic name a few, who use tapping in a highly compositional way to create riﬀs or (volume) balance between your two hands. ADVANCED LICKS EXAMPLE 6 SWEEP PICKED MINOR 7 FLAT 5 ARPEGGIOS CD TRACK 34 Sweeping arpeggios can sound a lot like an exercise if you simply go them mid pattern. Some players like to use the neck pickup to reduce straight up and down them. This lick is a way to practise changing between picking harshness when they sweep pick. September 2013 GuitarTechniques 51 LESSON: BLUES ON THE CD TRACKS 35-44 David Gilmour This month John Wheatcroft looks at the blues- Brought to you by... inspired playing of that king of touch, taste and tone - the legendary Pink Floyd axeman, David Gilmour. themselves are often straightforward enough long does he leave a note before going for the I’m completely the anti- purist. I was never going to dedicate my life to being BB King. My inﬂuences were all David Gilmour: a complete hotchpotch. one of the true David Gilmour guitar greats ABILITY RATING GET THE TONE Moderate 6 6 5 5 4 INFO WILL IMPROVE YOUR GAIN BASS MIDDLE TREBLE REVERB KEY: Various Melodic blues phrasing TEMPO: Various Expression and delivery David’s Pete Cornish switching system CD: TRACKS 35-44 Bending accuracy allows him to access a smorgasbord of tones. Guitar-wise it’s Strat into a valve amp, usually Hi-Watt or sometimes a pair of WE’VE GOT CAMBRIDGE to thank for one of has a magnitude, a sense of theatre almost, Fenders, with a selection of stomp boxes the greatest and most famous universities in and rack gear to achieve huge overdriven tone with all kinds of delay and modulation effects. For a good generic Gilmour tone set PETER MAZEL / SUNSHINE / SUNSHIN up a medium drive in front of a long delay with depth and feedback adjusted to taste. TRACK RECORD The Wall (EMI 1979) sees Gilmour playing his heart out on every track. Dark Side Of The Moon (EMI 1973) is equally well conceived but arguably less guitar heavy. For something completely different try Paul McCartney’s Run Devil Run (MPL 1999) featuring blistering Gilmour solos on Fender Esquire alongside Mick Green of Johnny Kidd & the Pirates, with Deep Purple’s Ian Paice on drums. 52 GuitarTechniques September 2013 DAVID GILMOUR LEARNING ZONE EXAMPLE 1 PLAYING OVER EM TO AM CHANGE CD TRACK 35 Our ﬁrst example outlines a harmonic shift between E minor and A minor, and super-conﬁdent at all times. The triplet-based ﬁgures in bars 2 to 4 can primarily derived from the E minor pentatonic scale (E G A B D) followed by be pulled back ever so slightly to emphasise the sense of drama and intent A Dorian (A B C D E F# G). David is really comfortable with sparse rhythmic that is present in Gilmour’s playing on just about everything. This use of phrasing over both medium and slow tempos, sounding super-composed space is something we should all try to achieve. EXAMPLE 2 LICKS IN TRIPLET RHYTHMS CD TRACK 37 Much of Gilmour’s soloing vocabulary is pentatonic based and this example looking at the longer crotchet triplet, essentially spacing three notes evenly is no exception, outlining a Im V7alt progression in Bm (Bm-F#7#9) with across two beats. If in doubt refer to the audio and make sure you can really carefully selected notes from the B minor pentatonic scale (B D E F# A). hear where these notes should land before attempting this on your guitar. Again, triplet rhythms feature heavily here although in this instance we’re Again, it’s all about using available space wisely. September 2013 GuitarTechniques 53 LESSON: BLUES ON THE CD TRACKS 35-44 EXAMPLE 3 BRINGING LIFE TO ARPEGGIOS CD TRACK 39 David treats devices like these as he would the minor pentatonic by intervals: so our ﬁrst phrase would be 3, 5, 8 of G followed by a bend up to adding bends, slides, pick rakes and vibrato. Compare the melodies with the 3rd from the 2nd. If you’re aware of this, changing a lick from major to the underlying harmony. It’s good to quantify what you play in terms of minor or from one key to another becomes straightforward. EXAMPLE 4 EXPRESSIVENESS CD TRACK 41 The theme for this example is mixing rhythms and adding expressive to deﬁne a set rhythm but vary the end result by exploring all the possible devices such as unison bends, slurs and vibrato. It’s often a good idea when dynamic, timbral and expressive devices you have at your disposal. Doing practicing to select a prescribed selection of notes, even going so far as this gives even a single lick an almost inﬁnite range of expression. EXAMPLE 5 ADDING CHROMATICISM CD TRACK 43 We round oﬀ our study of David’s bluesy moments with a collection of neat with the associated passing tone. Here we see the connection between root descending phrases based around the E ‘blues’ scale (R b3 4 5 b7). Towards and b7th (E to D) and 5th to 4th (B to A) although this is a device that you the end of bar 4 we add some chromatic colour with a pair of semitone could employ in any instance where you ﬁnd tone gaps - the great thing ‘bridges’, basically ﬁlling in the gap between two notes usually a tone apart about it too, is that it will work over any harmony. 54 GuitarTechniques September 2013 LESSON: BLUES BROUGHT TO YOU BY ON THE CD TRACKS 45-47 Kenny Wayne Shepherd We’re Louisiana bound as John Wheatcroft revisits a one-time teenage phenomenon who has seriously come of age: the incendiary Kenny Wayne Shepherd! My ﬁrst concert was Muddy Waters with John Lee Hooker when I was three years old, so I hit the ground running when it came to the blues. Kenny Wayne Shepherd GET THE TONE 7 6 6 5 2 GAIN BASS MIDDLE TREBLE REVERB Kenny Wayne as the 90sÕ blues With his beloved ’61 Strat currently retired wunderkind from active use, Fender recently repaid Kenny’s lifelong devotion with a signature ABILITY RATING model. Unsurprisingly, Kenny’s rig is traditional all the way, utilising a bunch Moderate/Advanced of diﬀerent valve combos, as Kenny says, “All built by Alexander Dumble,” plus a INFO WILL IMPROVE YOUR selection of suitably retro overdrive and KEY: B Phrasing and authenticity eﬀect units between guitar and amp. You’ll TEMPO: 116 bpm Dynamics and delivery always ﬁnd a use for a good Strat, a quality CD: TRACKS 45-47 Pentatonic vocabulary overdrive and a medium output valve combo. Don’t go mad with front-end gain KENNY WAYNE SHEPHERD picked up his otherwise the personality of the guitar, amp - and player - won’t come through. R GRABOWSKI / RETNA TRACK RECORD Kenny’s CD/DVD dual release, Ten Days Out: Blues From The Backroads (Colour 2007) is essential for anyone interested in blues. Two other CDs used in the preparation for this article were Live On (Giant 1999) and his debut, Ledbetter Heights (Giant 2003); both feature blistering guitar work. Recent CDs include 2011’s stunning How I Go, and The Rides release Can’t Get Enough - all come highly recommended. 56 GuitarTechniques September 2013 KENNY WAYNE SHEPHERD STYLE LEARNING ZONE EXAMPLE KENNY WAYNE SHEPHERD STYLE CD TRACK 46 [Bars 1-4] We begin with some BB King-inspired bending action with the exploited heavily by Kenny’s primary early inﬂuence, Stevie Ray Vaughan. root on the second string. This type of phrasing is more about thinking of [Bars 9-12] There’s more repetition here. More repetition? Yes, more the individual quality of each note and its relative location to the root, but if repetition! This conversational to-ing and fro-ing should not be you insist we could view it as minor pentatonic with an additional 2nd (C#) underestimated within your soloing, as it gives your improvisational and 6th (G#). In bar 3 we see the ﬁrst appearance of Kenny’s SRV-inspired phrasing a logical ‘composed’ feel. Our ﬁrst blues chorus draws to a close rapid pull-oﬀ/slide combination move. He likes this a lot. with a beautifully slippery phrase featuring hammer-ons, slides and double- [Bars 5-8] Over E7 we’re targeting the major 3rd (G#) before descending stops. Did you spot Kenny’s favourite lick again in bar 11? Notice how the through a fragment of the B blues scale (R b3 4 b5 5 b7). We end this harmony is targeted with the choice selection of F# notes to coincide with section of our solo with some piano inspired double-stops, again a feature our shift to F#7 in bar 12. September 2013 GuitarTechniques 57 LESSON: BLUES ON THE CD TRACKS 45-47 EXAMPLE KENNY WAYNE SHEPHERD STYLE ...CONTINUED CD TRACK 46 [Bars 13-16] Our second chorus starts with a combination of rhythm and in bar 20 can also be found extensively in the soloing style of sophisticated soloing approaches, in question and answer form. The low B notes in these blues maestro Robben Ford and the UK’s very own Matt Schoﬁeld - and very bars should be fretted with the edge of the thumb over the top of the tasty it is too. fretboard, Jimi Hendrix-style. Speaking of which, the contrary motion bend [Bars 21-25] Kenny is deﬁnitely a subscriber to the ‘heavy strings, high frets, in bar 16 is pure Jimi! The trick to this lick is to initially bend both strings up high action, hit it hard’ approach to guitar playing, and one situation where but only play the second string. Once we’re up to pitch, shift the pressure this is most apparent is when he moves over onto the low strings. You really over to the third string, pick this note and then allow the bent string to fall need to dig in here for these phrases to sound just right. In bar 21 we’re down to its resting pitch - it’s ﬁddly but well worth the eﬀort. selecting the F# blues scale (F# A B C C# E), switching to E minor pentatonic [Bars 17-20] Occasionally more does actually mean more! In this instance (E G A B D) against E7 in bar 22, progressing to yet more double-stop action we’re talking about the double-stop’s big brother, the triple-stop, another with a neat triplet-based phrase targeting the root of our F#7 and B7 chords Stevie Ray trademark idea that Kenny has adopted and executes so well in respectively to close. It’s all straightforward enough, although highly his own way. The rapid pentatonic derived upstroke-rake/slide combination eﬀective, I’m sure you’ll agree - as we so often state, it’s all in the ﬁngers. 58 GuitarTechniques September 2013 !#% " "'' "$$$ # '$ '"$ * $ *' ' $$ *$, $', '' , + $! 7RXULQJ LQ ,WDO\ XQGHU WKH QDPH WKH 5DOSKV¶ SOD\LQJ LV DV \RX¶G H[SHFW LQ WKH 'RF 7KRPDV *URXS DQG LQ WKH 8. DV FODVVLF JODP URFN ULIIV DQG VRORV EDOOSDUN EXW 7KH 6KDNHGRZQ WKH\ DFWXDOO\ XQOLNH PDQ\ RI KLV FRQWHPSRUDULHV RQ WKH UHFRUGHG WKHLU ¿UVW GHPR DV 6LOHQFH HOHFWULF JXLWDU KH H[SHULPHQWHG ZLWK WXQLQJV 7KH JURXS FDPH WR WKH DWWHQWLRQ RI VXFK DV RSHQ & & & * & ( * RQ WKH ,VODQG 5HFRUGV H[HFXWLYH *X\ DIRUHPHQWLRQHG &DQ¶W *HW (QRXJK 6WHYHQV ZKR OLNHG WKH EDQG EXW ZDV 7KLV PRQWK¶V WUDFN KDV URRWV LQ JODP DQG QRW NHHQ RQ VLQJHU 7LSSLQ $UFKHW\SDO URFN µQ¶ UROO ZLWK &KXFN %HUU\ VW\OH FKRUG ULIIV 0RWW IURQWPDQ ,DQ +XQWHU UHSODFHG DQG D ERPEDVWLF OHDG JXLWDU VHFWLRQ 7KH NH\ LV KLP 7LSSLQ EHFDPH WRXU PDQDJHU * PDMRU * $ % & ' ( ) DOWKRXJK WKH DQG WKH EDQG UHOHDVHG WKHLU VHOIWLWOHG WRQDOLW\ RI WKH OHDG VHFWLRQ LV UHDOO\ PRUH & GHEXW DOEXP LQ 7KLV ZDV D PL[ PDMRU GXH WR WKH ) FKRUG 7KH FKDUW LV OHIW LQ RI FRYHUV DQG RULJLQDOV DQG EHJDQ WR WKH NH\ RI * VR \RX GRQ¶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¶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¿Q DQG VLQJHU 6WDQ WKH 5DOSKV SHQQHG 7RS KLW &DQ¶W *HW ( %!$ 090 (0 $< !1 $$ <(8 &- % 7LSSLQ ZHUH SOD\LQJ WKH EHDW EDQG FLUFXLW (QRXJK D SXE EDQG IDYRXULWH WR WKLV GD\ (55 ((*$/1 $8% $8% $$ (8& 81 +)'27, 5801 5 5"5$ 50# *$81 (90 ( $95 &00(8&/1 :5 &- ($$(:!8* 0$1 (55 +)'26, "&$81 $$ ; 0(% %* "1 & (&$(( " (("- (%*&;/1 *(&;%(81 85 1*:& &/5 5 &(8 : "$ 5 ($$(:!8* 50" 5 ((50 580 $ "# #"& (9- '# )-( ) 85(0!5< !1 5 &% ( 5 % 5!1 %(&5- (01 !& 5 *! 0 # 180 55 5 (01 0 $&$< ;85 :!5 &( ;50 0!&!& &0$$< 5:( &(5 !01 & 50 0 $1( *$&5< ( 1!&$ &(51 !& 5 150!&1 & 5# ;50 0 55 1 <(8 %(9 0(% (& (0 5( 5 &;5 0<5% 8!50 *05- ( <(8/$$ & 5( *$< *055< 0 & $& 5( 0$$< <(8 05 (& 805$<- !1 5<* ( *05 !1 58$$< $(5 %(0 !8$5 %# 5 *011 !5 (%- 5( *$< (&9!&!&$< 5& !51 **0&5 1!%*$!!5< %!5 !%*$<- '# )-( 7 5 !1 1$ ;*$&5(0< 1( (&&505 (& <(80 *!#8* &1 015 !5 01 0! *!#8*2 1:!5 5( &# 5 0 632 # 5( 0! 5 0 )- VHPLQDO *UDPP\ZLQQLQJ OLYH DOEXP 1R 6XEVWLWXWLRQV ,W ZDV UHFRUGHG ZLWK RQH RI KLV FKLOGKRRG KHURHV /DUU\ &DUOWRQ ZKLFK GHPRQVWUDWHV WKH HDVH ZLWK ZKLFK KH FDQ PL[ LW ZLWK VRPH RI WKH EHVW JXLWDULVWV DURXQG 7KHUH DUH PDQ\ VLGHV WR 6WHYH¶V SOD\LQJ EXW % !"% %! !%! % " %) ( %! WKLV DOEXP LQ SDUWLFXODU VKRZFDVHG PRUH RI "%! %" % " **! WKH JXLWDULVW¶V MD]]URFN YRFDEXODU\ 6WHYH GHPRQVWUDWHV D WKRURXJK ! % " )! (" "( XQGHUVWDQGLQJ RI KDUPRQ\ WKHRU\ VFDOHV DQG DERYH DOO SKUDVLQJ :KHQ DVNHG DERXW KRZ KH DSSURDFKHV WKH EOXHV KH WDONHG H[WHQVLYHO\ DERXW PRYLQJ RXWVLGH VWDQGDUG SHQWDWRQLF 0LFKDHO -DFNVRQ 3DXO YRFDEXODU\ WR SURYLGH PRUH KDUPRQLF 0F&DUWQH\ %DUEUD LQWHUHVW :LWKLQ 6WHYH¶V YHUVDWLOH VW\OH DOO WKH 6WUHLVDQG 4XLQF\ -RQHV XVXDO EOXHV UHTXLUHPHQWV DUH WKHUH RI FRXUVH (OWRQ -RKQ $UHWKD YLEUDWR EHQGV FDOO DQG DQVZHU SKUDVLQJ DQG )UDQNOLQ &KLFDJR DQG &KHU SHQWDWRQLF VFDOHV EXW WKH\ DUH SOD\HG ZLWK D ³6RPH ZHUH JUHDW VHVVLRQV PRGHUQ WRQH DQG WKH RFFDVLRQDO EXUVW RI IDVW SDUWLFXODUO\ LQ WKH ODWH V DOWHUQDWH SLFNLQJ 5HJDUGLQJ VFDOHV DQG HDUO\ V´ KH UHFDOOV /XNDWKHU V OHDG SOD\LQJ EOHQGV SHQWDWRQLFV ³7KLV LV D WLPH EHIRUH GUXP DQG PRGDO VFDOHV ZKLFK JLYHV KLV OLQHV D PRUH PDFKLQHV DQG EHIRUH SHRSOH VRSKLVWLFDWHG VRXQG ZLWKRXW WUHVSDVVLQJ WRR KDG VRSKLVWLFDWHG KRPH IDU LQWR MD]] WHUULWRU\ VWXGLRV 7KHUH ZRXOG EH D ,I \RX¶UH ORRNLQJ WR DGG VRPH µMD]]\¶ OLFNV SLDQR DQG YRFDO GHPR RU LQWR \RXU EOXHV RU URFN SOD\LQJ WKLV LV D JUHDW DFRXVWLF JXLWDU GHPR 2U VWDUW 7R GHYHORS \RXU RZQ VHQVH RI ZKHUH DQG WKH\ ZRXOG SOD\ WKH VRQJ IRU KRZ WR XVH 6WHYH¶V GHYLFHV LQ D SOD\LQJ \RX :H G EDVLFDOO\ VLWXDWLRQ LW¶V LPSRUWDQW WR XQGHUVWDQG ZK\ UHDUUDQJH DQG UHZULWH WKH WKH\ ZRUN WKHRUHWLFDOO\ ,W¶V DOVR HTXDOO\ VRQJ IRU WKHP MXVW EHFDXVH LPSRUWDQW WR UHPHPEHU WR VSHQG SOHQW\ RI ZH ZDQWHG WR JHW WKH KHOO RXW WLPH SOD\LQJ WKHVH LGHDV RYHU \RXU RZQ FKRUG RI WKHUH 0RVW RI LW ZDV SURJUHVVLRQV DV \RX FDQ HDVLO\ JHW ERJJHG SUHWW\ EDG PD\EH RI GRZQ LQ WKH WKHRU\ ZLWKRXW XVLQJ \RXU HDUV WKH VHVVLRQV ZHUH JUHDW EXW WKH UHVW ZHUH IRUJHWWDEOH´ $V ZHOO DV WKHVH QRWDEOH &$1 4- %# % %/%+- VHVVLRQV /XNH DOVR "%-/ -2--2! 5,- 4# FRQWULEXWHG WR WKH PXOWL DZDUGZLQQLQJ SODWLQXP /5 " 2 %#/,2/%# DOEXPV WKDW 7RWR UHOHDVHG /% ! -%#+- ,!!, IURP RQZDUGV +H MRLQHG WKH EDQG DW WKH # %/% ',%'!! / # WHQGHU DJH RI DQG KDG WKH /% '!/#2" -//2-* RSSRUWXQLW\ WR OHDUQ IURP WKH LQFUHGLEOH PXVLFLDQVKLS RI EDQG OHDGHUV -HII 3RUFDUR GUXPV DQG 'DYLG 3DLFK NH\V YRFDOV 7RWR ZDV 'DYH DQG -HII V EDQG DQG YLVLRQ´ /XNH H[SODLQV ³, ZDV DQG VR KRQRXUHG WR EH LQYLWHG LQ <RX JRWWD GLJ WKHVH JX\V ZHUH DQG VWLOO DUH P\ KHURHV , VWLOO FDQ W EHOLHYH WKH\ FKRVH PH´ ZDV RQH RI 7RWR¶V ' 7 @3 7; <3 *' * 7 "237 7* PRVW VXFFHVVIXO SHULRGV ZKHQ WKH\ PDGH D ,*,:%2"3 : * 23 < 73 2$3 ' *2 %*' 7"& <3 33*"7 <"7 2"*:3 KXJH FRQWULEXWLRQ WR 0LFKDHO -DFNVRQ¶V %%> 273 :"723/ 3 >3 "3 2" "3 ! 7KULOOHU DOEXP :KR FDQ IRUJHW 6WHYH¶V NLOOHU 3"&,%2 <"7 "3 3"'7:2 :$ -<"7 ULII RQ WKH WLWOH WUDFN" $QG JXHVV ZKDW KH ,"$:,3. ' :$ -"2?"* ,"$:,3. 67(9( /8.$7+(5¶6 /(*(1'$5< JXLWDU SOD\HG WKH EDVV WRR 7KDW VDPH \HDU WKH 7RWR :3"' :"723 "'7* 23 %% &,3/ SOD\LQJ KDV JUDFHG FRXQWOHVV WUDFNV IURP KLV ,9 DOEXP ZDV SURSHOOHG WR SODWLQXP VWDWXV E\ %7 *: :33 2%7";%> 37:27 % WLPH DV RQH RI WKH KRWWHVW /$ VHVVLRQ JXLWDULVWV KLWV VXFK DV 5RVDQQD DQG $IULFD 7*' *7' :33 7 :"7213 ;*%:& 7* RI WKH V µ/XNH¶ SOD\HG IRU WKH OLNHV RI 6WHYH IRUJHG KLV RZQ VROR FDUHHU %' :, 7 3*:' < 2 '332>/ *HRUJH %HQVRQ 'LDQD 5RVV %R] 6FDJJV WKURXJKRXW WKH V FXOPLQDWLQJ LQ WKH # %/% (&$1) - /% /%' % / !-/ 4/ /- 3,/2!!5 !4!-- /, !-/# #!2# %-## , # %#+/ %! %2 * /3+- %!!%,/%# 4/ ,,5 ,!/%# %# % 2-//2/%#- (166&) -%4- %4 /4% ,#/ '!5,- # 4%, ,!#/!5 /%/,* - "%-/ ,#/ -%!% !2"- , !! ,/ 3, ## "- (166) !!+- !! / #- !! (16&6) # ,#-/%# (16&0)* %! '+& + 237 %"$ 3,%%3 *:7 ' :&'7 2,"* 2*& :,2%*2"' *2 < " "3 7 72"7*' 3:37"7:7 * 7 4 *2/ 23:%7 * :3"' 7 "3 3% %72 3% - ./ 7 &$3 7 4 ,:%% 7*<23 ( 3 " "713 ' 2,"* ";3 :3 7 *3 "'7237"' *:73" *2 0%721 '*73 * ) ! "' 7 $> * / 7 %3* 3,%%3 *:7 7 *2 7*'3 * ( - . ( ' )(/ *< 7; 23*%;3 7* 7 '"' &#*2 82 -). * 7 (/ + ' '> %:3 >*: ' 3'3 * &*;&'7 2*& *' *2 7* 7 '=7/ 4 - . *23/ $> "'72;%3 "' 7 "3 "'37' 2 7 0:" 7*'1 82 ' 7;13 &*% %:3 ,,2* &"=3 &#*2 ,'77*'" - 9 8 5. ' 47 -) ' * 4 ' ) ' * 4. < "% 7 :,2%*2"' '*73 * "=*%>"' - 9 8 5 4. 3 ,3 7* %, ' 7 3*:' * 7 4 - . ' ' %, 7* ;%*, 7 3'3 * 7'3"*' *;2 7 4/ 9 2"7*' 3:37"7:7"*' "3 *&&*'%> :3 ;" "' #??/ :3 * 7 * 4 "3 7 72"7*' 3:37"7:7 * ' 4 *2/ 2 7; 3,%%3 *:7 4 '7:2% 72"7*' *2 "'72;% "' *&"''7 47 *2 7<' 7 82 ' *;2 377" 2**7 '*7 3* *'%> "&,%"3 7 "3 72"7*' 3:37"7:7"*'/ "' 7 47 "713 ,*33"% 7* :"% '*7 2 *&"''7 47 *2 2*& 7 * '> :,2%*2"' 3% "3 :3 2*:' 7 "3 *2 7 "3 3:373 3"&,% 4 7* 4 :'7"*'"' *&"''7 47 *2 -7 82 ' 47 3"&,%> 3<, 2*:'./ *2 ,2*233"*' :3"' 7 4 3 7 72"7*' 3:37"7:7 *2 4/ %! '+& 8 >*:12 7 %% &"%"2 <"7 7 %%&' 2*7 23 %33" 7*2&> *'> "';23"*'3 * ' :&'7 *2/ "';23"*' 3"&,%> 2"7273 7 >*:1%% $'*< 7 7 ' :&'7 *2 ' :3 3 3" 3:37"7:7 *2 3& *2 3,%%"' -+ 8 ). "' "2'7 2 * 7 '$ ' "3 27 <> 7 *2/ 7; 7$3 7 "3 *' 37, :27 2 > 3,%%"' *:7 7 2 "2'7 * 2%%> &"%$"' 7 3*:' * 7 "3 *2/ 7;13 &*% ,,2* 7* %:3 ' 3' "' 7 "3 2*$"2 =&,%/ *2 "' %:3/ 2*& 7 8 "713 %% "=*%>"' - ) ./ 7 *:% 7 &*; 7* ( 7; 7273 7 &#*2 57 * -)./ 72"7%> 3,$"' "713 7 *: 7 * 3 *2"' :, :'7"% 2 9. 3* 7; "3 '"%"' 7 3*:' * 7 ( 2%%> &"'*2 ,'77*'" <"7 7 &#*2 57 < " "3 ;2> *&&*' 3> " %" 7"' 7 '"' 82 ' 47 < " 2 ,23'7 "' 7 3%/ %! '+& LESSON: CREATIVE ROCK ON THE CD TRACKS 51-53 Using fourthsContinuing his focus on intervals Shaun Baxter shows that using 4ths can create contemporary sounding phrases, riﬀs and lead lines. between descending and ascending. P P P P P When played as double- stops, 4ths form the basis of many classic rock riffs. Purple and Rainbow. GET THE TONE 7 7 5 5 5 P GAIN BASS MIDDLE TREBLE REVERB ABILITY RATING It’s a good policy to practise with as little P distortion as you can. You may have to work Advanced harder, but there will be a core to your notes INFO WILL IMPROVE YOUR rather than the fizzy transparency that results from using too much gain. If your KEY: C (Am) Recognition of 4th intervals guitar has humbuckers, they will be TEMPO: 160bpm Use of 4th intervals in solos powerful enough to get all the distortion CD: TRACKS 51-53 Contemporary solo style P you need from the amp; if using single-coils, you may need a drive pedal, with 75% of the IN THIS SERIES, we've been looking at ways gain coming from the amp and 25% from of using various scale intervals to create a the pedal. Finally, some delay in tempo with the track will help to give both size and your blues and rock vocabulary. So far, we've smoothness to the overall sound. fusion guitarists Scott Henderson, prefer to DAVID LYTTLETON TRACK RECORD Fusion guitarists use 4ths a lot! Frank Gambale employs them extensively in his super-fast sweep-picked arpeggio playing. If you don't know Frank's work try his early solo album, A Present To The Future. John Scofield also uses stacked 4ths from each scale in order to construct interesting and open-sounding chords. Try his albums Still Warm, Blue Matter and Loud Jazz. 68 GuitarTechniques September 2013 FOURTHS LEARNING ZONE EXAMPLE 1 ROCKY DOUBLESTOPS CD TRACK 52 During this series, the object is to build up a G) in conjunction with the A minor blues scale variety of interval-based approaches over the (A C D Eb E G). Bars 1 and 2 start oﬀ with some same backing track using A Aeolian (A B C D E F typical rock-style double-stops. EXAMPLE 2 DESCENDING SCALE 4THS CD TRACK 52 Bar 11 features descending 4ths taken down two 4ths (and the last one) in this bar are played through the same scale shape while staying using barré rolls, whereas as the ones across within the same neck position (vertical motion, the third and second strings are played using as opposed to lateral motion). Note that the ﬁrst individual ﬁngers. EXAMPLE 3 ACROSS AND UP THE FRETBOARD CD TRACK 52 Bars 19 and 20 again highlight scale 4ths, this scale shape, the fretting hand moves diagonally time alternating between descending and by shifting from the thin to the fatter strings ascending directions, and played using a mixture whilst also simultaneously drifting up towards of barré roll movements and individual ﬁngers. the bridge. Also note that pull-oﬀs have been Here though, instead of staying within the same added for technical ease. September 2013 GuitarTechniques 69 LESSON: CREATIVE ROCK ON THE CD TRACKS 51-53 EXAMPLE 4 STRETCHY 4THS CD TRACK 52 In bars 25-27 many of the 4th intervals in this section are played on a single against four’ feel. Note the mixture of technical approaches in the latter string, therefore requiring a large stretch in the fretting hand. Here, an part of bar 26, whereby 4ths played using a wide stretch on the same string equivalent of the initial nine-note musical motif is repeated further down are juxtaposed by 4ths played on neighbouring strings: again, this has been the neck. Because this motif is three beats long, repetition creates a ‘three done for technical ease. EXAMPLE 5 THREENOTE 4TH MOTIFS CD TRACK 52 Here, wide stretches and barré rolls are combined in order to play length of the neck. In bar 36, note how unisons (the same note played either three-note 4th motifs that alternate between descending and ascending simultaneously or consecutively on diﬀerent strings) are created when directions as they are taken down through the scale laterally along the employing a succession of wide-stretch-style 4ths on neighbouring strings. EXAMPLE 6 CHROMATIC APPROACH NOTES CD TRACK 52 In bar 42 of this example, we see the inclusion of an Eb note from the A top two strings) via a chromatic note a semi-tone below. Finally, at the end minor blues scale; however, many more chromatic notes are then added to of bar 44, note that there is another chromatic approach from a Bb note to the mix by approaching each note of the 4ths highlighted in bars 43 and 44 the B note at the start of the following bar (in this case, the ﬁrst note of a (descending 4ths shifted down through the neck in a lateral motion on the descending G triad). 70 GuitarTechniques September 2013 FOURTHS LEARNING ZONE EXAMPLE 7 WIDE INTERVALS AND STRING SKIPS CD TRACK 52 This example starts oﬀ with a motion very similar to the principles used 52, we see a succession of ascending 4ths using a combination of wide in Example 3, only in a diﬀerent position of the sale. Then, in bars 51 and stretches (involving a hammer-on on the same string) and string skips. EXAMPLE 8 COMBINING VARIOUS APPROACHES CD TRACK 52 Using a combination of some of the principles featured in Examples 3, 4, 5 and descending 4ths taken up through the scale using a combination of and 7, bars 57 and 58 feature a nine-note motif comprising both ascending legato, wide stretches, unisons, string-skips and slides. EXAMPLE 9 STACKED 4THS CD TRACK 52 This ﬁnal example features some 'stacked' 4ths whereby a succession of 4ths stretches, legato and string-skips. But for the ﬁrst time here we also see a are played in one direction (either descending or ascending) on adjacent six-note motif taken down through the scale. Finally, in bar 68, we ﬁnish oﬀ strings. Although many of the perfect 4ths in bar 65 are played within the with some more stacked 4ths within one fret (this time, across ﬁve strings); space of one fret, they don't have to be played using a barré roll (although again, due to the moderate tempo, we can take advantage of the option to they could) because the tempo is relatively slow. Bar 67 sees a return to each use separate ﬁngers of the fretting hand or a barré roll movement. Now see 4th interval being played on a single string using a combination of wide how many of these ideas you can incorporate into your everyday playing. September 2013 GuitarTechniques 71 LESSON: MODERN COUNTRY ON THE CD TRACKS 54-55 Alan Jackson style One of modern countryÕs superstars is the focus of Brought to you by... this monthÕs column, as Andy Saphir examines a contemporary traditionalist, Alan Jackson. spanning the 80s to the present day. such a huge variety of artists’ albums over the years that it’s probably true to say that his out the song, www.memory), his style ; ; is perhaps more traditional sounding ; than other modern country-pop or ; ; ; often use instruments associated with preference to this. I have therefore played and transcribed the electric guitar parts with this technique in mind. Of course, if you feel you’d ; ; all means go for it. As with most country songs, an open chord strummed steel-string acoustic is of utmost the talents of country music’s importance, as this underpins and acts a recording elite, such as Brent Mason generic ‘pad’ throughout the song. It also ; verse or even throughout a ballad. So don’t ; ; ; guitar styles if you want to be an all-round country guitarist and, although it may seem amazing Nashville players. basic, ensure you are familiar with those chords and can play them mean and clean. style song might feature a catchy Fortunately for we guitar the style of master session man Brent players, country music gives ‘verse’, which would underpin, but plenty of opportunity to play not get in the way of, the lead vocal; tasty, technical stuff. and a catchy solo, again in the style of Alan Jackson: things interesting. In proper session GET THE TONE traditional yet style, of course, we always defer to the modern country feel of the song. Fortunately for we guitar players, 7 6 4 8 2 country music gives plenty of opportunity to ABILITY RATING GAIN BASS MIDDLE TREBLE REVERB play some tasty and technical stuff. However, If you’re a country fan you’ll probably own a Moderate T-style guitar, and that will give you best INFO WILL IMPROVE YOUR results here. A good, modern clean style it is vital to consider this so that we always ‘twang’ will often incorporate compression KEY: A Hybrid/thumbpick technique play the appropriate parts. Great session and even a degree of overdrive added to a TEMPO: 180 bpm Country vocabulary players in all styles are masters of their craft, short delay. The drive often comes from CD: TRACKS 54-55 General fretboard skills due to their ability to play the right thing at small studio amps cranked a little (or a lot) the right time and do it faultlessly, time after so please try to avoid wasp-like fizz at all ALAN JACKSON IS a household name to time after time! costs. Acoustic guitar parts are often played country music fans. Hailing from Georgia, Brent Mason has appeared on many of on dreadnought sized flat-tops, and a USA, the singer-songwriter’s rich country ; thinner pick than your regular electric vocal style and great catchy songs have given truly amazing solos and riffs. Brent’s list of plectrum will add the required shimmer. JASON L. NELSON/PHOTOSHOT him numerous country hits in a career recording credits is vast, and he has played on TRACK RECORD Alan Jackson’s back catalogue will please any twang hungry guitarist. Check out I Don’t Even Know Your Name, with great electric and acoustic soloing by Brent Mason. His classic hit, Gone Country (again with Brent on guitar) is the perfect example of an open style country riff, whilst many songs feature acoustic playing by, among others, Bruce Watkins and Jimmy Capps. 72 GuitarTechniques September 2013 ALAN JACKSON LEARNING ZONE EXAMPLE 1 INTRO CD TRACK 54 [Bars 1 and 2] For this electric intro part pay attention to the picking thumb instead of pick, and ﬁngers ‘i’ and ‘m’ in place of ‘a’ and ‘m’. Ensure instructions if you’re using hybrid technique. For thumbpick players, use bends are accurate and double-stops are played staccato (clipped). EXAMPLE 2 RHYTHM GUITAR CD TRACK 54 [Bars 6 to 13] Although this acoustic ﬁngerpicked part is simple compared [Bars 14 to 23] Here’s the acoustic strumming part that’s played during the to the electric guitar intro, it still needs to be approached with care. Fret electric solo. It’s vital to ensure clean, accurate fretting and to keep the 1/8th cleanly so all relevant strings ring clearly. Again, pay attention to picking note rhythm even and smooth, employing downstrokes on the beat and directions, and pick smoothly and strictly in time – country players tend to upstrokes on the oﬀ beat. A medium to light gauge pick is ideal for this kind be spot on the beat, not behind as you’ll commonly ﬁnd in blues or jazz. of part as it lends a certain ‘shimmer’. September 2013 GuitarTechniques 73 LESSON: MODERN COUNTRY ON THE CD TRACKS 54-55 EXAMPLE 3 LEAD GUITAR CD TRACK 54 [Bars 13-14] The solo starts with an Em pentatonic (E G A B D) bend which [Bars 15-19] Here’s a typical Brent Mason double-stop lick. Make sure you needs to begin on ‘4&’ of bar 13. Try using the second ﬁnger of your fretting pluck these notes with ﬁngers ‘m’ and ‘a’. The bend on the third string in bar hand for the note of A on the second string. This helps you to reach the high 18 is quite a challenge if you’re new to this style, as it can be tough to bend E note on the ﬁrst string with your fourth ﬁnger. Fret the last E note (9th that string up a tone down at that end of the neck. So be careful! Pick the fret, third string) of bar 14 with your third ﬁnger, as you need to play the G notes with the suggested instructions, as this will help to make the phrasing note (8th fret, second string) with your second ﬁnger and bend it up a tone feel ‘in the pocket’. as you bend the third string up to E. This gives you a ‘double bend’. When [Bars 20-22] This is a also challenging bending lick, not only due to the you pluck that bent second string with your second ﬁnger, and then the necessity of bending the strings accurately, but also because of the quick bent third string again with the pick, release the double bend, thus giving fretting hand shift that’s necessary in bar 22 between the high D note (10th you the sound of two strings descending in pitch. Fretting hand stamina is fret, ﬁrst string) and the next high G note (15th fret, ﬁrst string). This lick required here - the pitches of the notes have to be accurate too. needs to sound ﬂowing and continuous, so practise slowly. 74 GuitarTechniques September 2013 LESSON: PROG ON THE CD TRACKS 56-58 Patto’s Ollie Halsall Some players are hugely inﬂuential among the guitar elite yet taste meagre success themselves. Paul Bielatowicz examines the criminally undersung genius, Ollie Halsall. short list when they were ; ; ; ; Peter John 'Ollie' Halsall was ; ; ; ; ; ; ; ; moved to London to play the latter ' '; ; ; ; prodigious talent and the high standards he ; set, meant he struggled to settle in any single ; ; ; ; ; ; ; ; ; It wasn’t until he was 18 that Halsall ﬁnally took up the ; ; ; guitar. Within just three years ;; of playing it he had become ;; regarded as one of the world’s leading guitarists. ;; ; Ollie Halsall with GET THE TONE his three-pickup white SG Custom ; 6 7 6 5 1 ABILITY RATING GAIN BASS MIDDLE TREBLE REVERB The sound we’re trying to emulate is Moderate Halsall’s SG Custom going through a classic that Allan Holdsworth used a similar guitar in INFO WILL IMPROVE YOUR 70s valve amp (Fender). Ollie’s Custom was ; heavily modified and he later used an SG KEY: A Legato phrases Standard, so as long as you aim for the TEMPO: 140bpm Rhythmic ideas ; ; classic rock sound, any humbucking guitar CD: TRACKS 56-58 Use of dissonance will put you in the right ballpark. Select the ; bridge pickup but go easy on the gain and THIS MONTH WE’RE looking at a hugely ; treble, and check out the suggested ; settings for more detail. The tone we want is ; one that sustains the longer notes without other household names; someone so well ; ; ; losing the clarity of the sound. ; ; MICK GOLD/REDFERNS TRACK RECORD Halsall’s innovative playing and experimental chord progressions on Patto’s 1970 self-titled debut caused an underground stir. But if you’re looking for out-and-out wow factor then check out the band’s live album, Warts And All, released in 2000. As the name suggests, it’s not the best recording quality, but it captures Halsall’s raw talent perfectly. 76 GuitarTechniques September 2013 OLLIE HALSALL LEARNING ZONE EXAMPLE 1 DORIAN TONES CD TRACK 57 Halsall mixed blues phrasing with fast repeated licks. This is minor pentatonic, with the exception of A Dorian F#s in the ﬁrst bar (A B C D E F# G). EXAMPLE 2 PUSHING AND PULLING THE TIMING CD TRACK 57 Here we start oﬀ with some Chuck Berry style bends, which then transform into straight 8th-note bends. EXAMPLE 3 RECURRING THEMES CD TRACK 57 The phrase in beats 3 and 4 of the ﬁrst bar is repeated in the second bar, after which the opening phrase of the example is repeated an octave lower. EXAMPLE 4 CHANGING GEAR CD TRACK 57 Here’s another example of how Ollie might have changed the timing of a lick mid-ﬂow, to add excitement. EXAMPLE 5 CHROMATIC TENSION CD TRACK 57 Halsall would take phrases and move them chromatically to create tension – if you end on a strong chord tone this approach can be extremely eﬀective. September 2013 GuitarTechniques 77 LESSON: PROG ON THE CD TRACKS 56-58 EXAMPLE 6 USING DISSONANCE CD TRACK 57 This example is based on the same idea as the previous idea – taking a shape and moving it around the neck. Simple but eﬀective! EXAMPLE 7 REPEATED LEGATO IDEAS CD TRACK 57 Here’s an example of Halsall’s repeated legato licks played on a single string. blues licks, making them sound like one and the same. Halsall pioneered He had an uncanny ability to slip between this style of playing and stock this ﬂuid approach later taken up by Holdsworth, Bill Nelson and others. EXAMPLE 8 DOUBLING THE SPEED CD TRACK 57 This lick uses the same notes as Example 4 only this time we’re playing it at illustrates how Halsall could switch gears while playing the same line. Try twice the speed! Not only does it sound considerably more ﬂash, but it also this with a few of your own licks to see how eﬀective it can be. 78 GuitarTechniques September 2013 OLLIE HALSALL LEARNING ZONE EXAMPLE 9 LEGATO AND OPEN STRINGS CD TRACK 57 For this single-string legato and open-string lick, keep your pick strokes completely natural. Ollie, like Holdsworth after him, endeavoured to make alternate (as directed in the notation) and you’ll soon have this one feeling his legato notes sound as close as possible to his picked ones. EXAMPLE 10 LEGATO, PENTATONICS AND CHROMATICS CD TRACK 57 After the opening legato run the example switches to an ascending minor 1. The example ends with a nice ascending chromatic run. Switching pentatonic sequence, based on the same repeated pattern seen in Example between ideas like these was a Halsall staple. EXAMPLE 11 MIXOLYDIAN ASCENDING RUN CD TRACK 57 This ﬁnal idea is a long A Mixolydian (A B C# D E F# G) legato run. We start by the neck in 16th-note triplets. From these brief examples you should get an climbing the strings and end with a two-string ascending lick that moves up idea of how advanced this sadly unsung player was for his time. September 2013 GuitarTechniques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³,W ZDV OLNH HDFK RI WKH VHYHQ H[DPSOHV 7KH H[DPSOHV SOD\LQJ ZLWK *RG´ %DFN LQ DOVR GLVSOD\ %\UG V IDYRXULQJ RI PDMRU DQG :DVKLQJWRQ %\UG IRUPHG PLQRU SHQWDWRQLFV WKH EOXHV VFDOH DQG D WULR DQG EHJDQ SOD\LQJ LQ DUSHJJLR VKDSHV DV WKH EDVLV IRU KLV VRORV ZLWK ORFDO FOXEV EXW FKRVH WR VRPH FKURPDWLF PRYHPHQW DQG HYHQ HVFKHZ WKH FRQYHQWLRQDO RFFDVLRQDO EOXHV\ EHQGV GHVSLWH EHLQJ SOD\HG KROORZERG\ MD]] ER[ LQ RQ Q\ORQVWULQJ JXLWDU +H DOVR XVHV WKH IDYRXU RI KLV FODVVLFDO ¿QJHUV RQ KLV SLFNLQJ KDQG FODVVLFDO VW\OH JXLWDU ³, ZDQWHG WR DSSO\ SLPD UDWKHU WKDQ D SLFN , KDYHQ¶W LQGLFDWHG ZKDW ,¶G OHDUQHG DERXW WKH WKHVH XQGHU WKH WDE VR IHHO IUHH WR XVH DFRXVWLF JXLWDU WR MD]]´ KH ZKDWHYHU GLJLWV \RX ZLVK WR SOD\ DOO RI WKH H[SODLQHG %\UG IRXQG WKH IROORZLQJ H[DPSOHV WULR WKH LGHDO IRUPDW IRU KLP WR FRPELQH KLV ORYH RI MD]] EOXHV DQG .( ( ,! FODVVLFDO UHOHDVLQJ KLV ¿UVW DOEXPV -D]] 5HFLWDO %OXHV )RU 1LJKW 3HRSOH LQ 01 ,! ( .( 6HYHUDO UHFRUGLQJV IROORZHG EXW LW ZDV V (!, (# ,' 4$,=5 &KDUOLH %\UG $W 7KH 9LOODJH 9DQJXDUG WKDW LQWURGXFHG KLP WR D ZLGHU DXGLHQFH ,W ZDV (#',.1 !' 0,/' 4$,=5 DOVR LQ WKDW KH XQGHUWRRN D 6WDWH 01 & &KDUOLH %\UG *#6< 'HSDUWPHQW VSRQVRUHG WRXU WR 6RXWK $PHULFD ZLWK KLV WULR JLYLQJ KLP WKH RSSRUWXQLW\ WR 7+,6 0217+ :( 5( JRLQJ WR EH H[SORULQJ YLVLW %UD]LO %ULQJLQJ EDFN UHFRUGLQJV RI -RmR WKH GHOLJKWIXO VRORLQJ VW\OH RI WKH OHJHQGDU\ *LOEHUWR DQG $QWRQLR &DUORV -RELP KH SOD\HG &KDUOLH %\UG &KDUOLH /HH %\UG ZDV ERUQ LQ WKHP WR VD[RSKRQLVW 6WDQ *HW] DQG WKH\ 6XIIRON 9LUJLQLD RQ 6HSWHPEHU WK +H GHFLGHG WR PDNH D UHFRUGLQJ RI WKH VRQJV JUHZ XS LQ &KXFNDWXFN 9LUJLQLD DQG ZDV UHOHDVHG LQ DV -D]] 6DPED 7KH DOEXP WDXJKW WR SOD\ DFRXVWLF JXLWDU EDQMR DQG UHDFKHG QXPEHU LQ WKH %LOOERDUG FKDUWV PDQGROLQ DW WKH DJH RI E\ KLV IDWKHU %\UG VWD\LQJ RQ WKH FKDUWV IRU ZHHNV ODWHU DOVR ':",=!" "4'$ =5 '55$' !=$:4 SOD\HG LQ KLV VFKRRO RUFKHVWUD DW 9LUJLQLD WKH VXEMHFW RI D ODZVXLW ZKLFK VDZ %\UG /,)3: ,)=5 "$( ?$:" $''A A4 , $5,) A4') (0 :"5 @(.'5 ?,4& !4: 3RO\WHFKQLF ,QVWLWXWH WKHQ ZDV GUDIWHG LQ DZDUGHG KDOI RI WKH UR\DOWLHV DQG VWDUWLQJ WKH ,) ':4$1 5 :" !=$:435 )& .$&=. DQG VDZ FRPEDW LQ WKH ::,, HQGLQJ XS µ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À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ust A Closer Walk With Thee This gospel standard has been covered by many great artists including Johnny Cash, Martin Simpson and Ella Fitzgerald. Here’s a Stuart Ryan solo arrangement. arranger must work up given the arrangement a lilting, swing feel to Johnny Cash in suitable and interesting keep things moving along. The picking thumb his pre ‘Man In harmony if their version plucks the alternating bass notes throughout Black’ period is to be successful. and while it’s common in these situations to Although you’ll often palm mute the bass notes, I’ve elected to play them without muting all the way through – With Thee scored in the this just seems to help with the swing feel as these notes sustain and ring a bit more this in the G instead, and used an open G major thumb with or without a thumbpick, but in tuning (DGDGBD) for either case be careful not to hit the bass notes the job. Although too hard as you don’t want them to common in slide, this is overshadow the subtlety and simple beauty of also a fantastic tuning the melody and chords. for arranging anything ; ; with a bluesy or soulful twisting moments in our arrangement (I don’t vibe. For a start, you get want to make things too easy for you!) but it’s the tonic note, G, on the mostly open strings, melody and some sparse chords so aim for that relaxed, lilting feel all strings, meaning that the way through. these can easily be If you’re a singing guitarist, why not wow accessed for both bass your audience by introducing the song and melody duties. instrumentally, singing a couple of verses Next, you have the 3rd then adding a middle solo (this arrangement of a G major chord, B, again), singing another verse or two before located as the open going out on the solo arrangement. Plus, you second string; this can always embellish my version with ideas of again puts it in easy your own, as well as experimenting with capos reach for either melody (especially if you’re singing). Have fun! or harmony roles. Finally, you have the 5th of G major, which is Although you’ll often ﬁnd of course D, located on Just A Closer Walk With Thee the open sixth, fourth scored in the key of C, I’ve ABILITY RATING As we’ll see in this arrangement, the arranged it in G instead and happenstance of these string tunings proves Moderate invaluable for many reasons. First, it allows used an open tuning - great for a simple but unbeatably effective for bluesy or soulful vibes. INFO WILL IMPROVE YOUR alternating bass line on the I chord, G, which KEY: G Fretting hand barres appears throughout. Next, we can also utilise TEMPO: 112 bpm Alternating bass lines the open D strings when we want to suggest GET THE TONE CD: TRACK 73 Fluidity in open G tuning the V chord, D major, again using the Any good acoustic will serve the purpose alternating bass line system. All these open here though with us being in an altered AS WITH MANY great gospel songs, the strings also make it easy to play fragments of tuning you’ll want to watch your string author of this one is unknown. But in a way chords or hint at chordal extensions - for MOVIESTORE COLLECTION/REX FEATURES gauge – something around the medium size that’s the best thing possible since it allows us instance the note B is the 6th or 13th of D, and or heavier will be best (try 12 to 53). I to work from a blank canvas, musically is a useful and attractive colour tone. recorded this on a Froggy Bottom model M. speaking. Presented with just a melody, the Given the sparse nature of this melody I’ve TRACK RECORD There are many great versions of this from legends including Johnny Cash and Bob Dylan, Patsy Cline and Willie Nelson, a stunning one from Ella Fitzgerald and more. I love Martin Simpson’s version of this on his album A Closer Walk With Thee. Another great version worth watching is that of Eric Clapton, Wynton Marsalis and Taj Mahal playing together – check it out on YouTube. 86 GuitarTechniques September 2013 JUST A CLOSER WALK WITH THEE LEARNING ZONE PLAYING TIPS CD TRACK 73 [Bar 2] The bluesy sliding double-stops are a typical phrasing device in playing barres like these; it doesn’t take too much pressure to hold down all songs such as this, but please make sure you time them so they are played the strings and a relaxed ﬁrst ﬁnger barre will make it easier to fret the note just before the beat, as grace notes. at the 7th fret string, ﬁrst string with the fourth ﬁnger. [Bar 11] This barre at the 5th fret will sort the men from the boys! Although [Bar 17] From here the melody repeats but there are some subtle changes it may feel contrary, aim to keep the fretting hand quite relaxed when to the chords and bass lines to watch out for. September 2013 GuitarTechniques 87 LESSON: ACOUSTIC ON THE CD TRACK 73 PLAYING TIPS CD TRACK 73 [Bar 21] There are some ﬁnger twists in this bar to accommodate the [Bar 25] For the harmonics at the end of this bar, I’d use the third ﬁnger. moving bass line – make sure you keep the chord on beat 1 sustaining [Bar 28] Here’s the obligatory gospel diminished passing chord! As with bar against the bass line for three whole beats. 11 this sequence will be a good work-out for your barring ﬁnger. NORTH AMERICAN SUBSCRIPTION OFFER Subscribe to Guitar Techniques today and save over $89 oﬀ the store price - it’s madness! SAVE OVER !""Yes, you can save over 40% oﬀ the store price and pay just $29.50 by quarterly credit card. 40% !""That’s the equivalent of only $9.07 per issue (usual price $15.99)! !""Struggle to ﬁnd a copy of Guitar Techniques in stores? Then OVERSEAS ORDERS Excluding North America subscribe today and you’ll never miss another issue - delivered by Order online at: www.myfavourite magazines.co.uk Airmail, direct to your home or workplace. Or call +44 1604 251 045 !""Get your copy up to three weeks before they hit the stores. TERMS AND CONDITIONS: This offer is for new North American subscribers only. You will receive 13 issues per year. Your subscription will start with the next ORDER ONLINE: www.imsnews.com/guitartechniques available issue. Minimum subscription term is 12 months. If at any time during OR CALL TOLL FREE on: 1-800-428-3003 the first 60 days you are dissatisfied in any way please notify us in writing and we will refund you for all un-mailed issues. Come and join the GT family! 88 GuitarTechniques September 2013 LESSON: ROCKSCHOOL ON THE CD TRACKS 74-78 A-Z Of Music Theory: M Charlie Griﬃths mutters about movable chords, Brought to you by... major as an example, it contains the notes CDEFGAB. Starting from each note of the major pentatonics, modal interchange, multi-ﬁnger scale in sequence produces the following tapping and the Mixolydian mode. Mmmmm! modes: C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian and B Locrian. Each of these modes contains the same notes, but start from different ‘root’ notes are major pentatonic. This P 4 P P either major or minor pentatonic, on. Since the ‘parent scale’ note spacing is depending on which note is P designated the root. On the guitar each mode has its own unique structure. this means that the same scale shape can double up as either major or minor pentatonic. Movable Major Chords When chords are concerned the 4 4 M ixolydian parent major scale and has a similar 4 : positions across the fretboard. The basis of intervallic structure: 1 2 3 4 5 6 b7. : As you can see, the intervals of the formulation of which is frequently Mixolydian are almost exactly the attributed to jazz guitarist Joe Pass who was same as the major scale, except for 4 the 7th degree. The Mixolydian is the 4 only one of the seven modes to open chord shapes C, A, G, E and D. If you can contain both the notes of a major already play those open shapes, the next step triad and a b7. This makes the scale is to create movable versions that can be perfect for playing over dominant 7th : : chords. The scale not only contains the entire fretboard. Essentially there is a the notes of a major triad, but also all 4 giving it a light and bright character, move the shape up the neck to the desired fret but the addition of the 4th and b7 intervals suggest a hint of minor pentatonic, without becoming too Angus Young mixes minor and major pentatonic dark. This scale is often found in blues, funk and soul music. M ulti-Fingered Tapping This technique utilises two or more : ABILITY RATING M odes So far in this series we have encountered six modes: Aeolian, Dorian, the fretboard. These extra digits allow for greater possibilities than the typical ‘one- : Moderate Ionian, Locrian, Lydian, and Mixolydian. In a inspiration from piano and Chapman Stick few months we will look at one more called players. Guitarists like Joe Satriani, Tosin INFO WILL IMPROVE YOUR Phrygian. These seven modes might better be Abasi, Bumblefoot and Stanley Jordan each KEY: Various Musical knowledge thought of as ‘moods’, since each one has its 4 TEMPO: Various Application of theory own unique atmosphere with which we can tapping, suggesting that there is still room for CD: TRACKS 74-78 Overall understanding emotionally connect. When we hear the interpretation and innovation within this pentatonic scales in Ex1, most people perceive M ajor and minor pentatonic the major as bright and happy, whereas the These two scales are the basis of every guitarist’s toolkit. The two scales can be minor is darker and sadder. The seven modes can be viewed in the same way, but with more with your plectrum to free up all four of your : support your hand and keep your downward viewed as relative major and minor. A minor 4 pentatonic contains the notes A C D E G, mode is because each contains a unique set of possible. Try hammering-on and pulling-off making the intervals 1 b3 4 5 b7. By starting intervals. The modes also relate to each other notes and playing scale fragments until your the same scale from the C we get C D E G A, on a deeper level, as each one can be derived which changes the intervals to 1 2 3 5 6. These from the same parent major scale. If we take C different the fret spacings. ANGELA LUBRANO/LIVEPIX TRACK RECORD Angus Young combines pentatonics in You Shook Me All Night Long. For Mixolydian mode try Norwegian Wood by The Beatles. Norwegian Wood’s Dorian bridge shows how a change of mode creates a change in mood. Steve Vai uses CAGED’s movable major shapes in Creamsicle Sunset. For multi-fingered tapping, Satriani’s Midnight is one the most influential pieces ever. 90 GuitarTechniques September 2013 A-Z OF MUSIC THEORY: M LEARNING ZONE EXAMPLE 1 MAJOR AND MINOR PENTATONIC CD TRACK 74 Play the A minor barre chord to give the scale context. Play up and down the C chord and repeat the same scale. Notice that each diﬀerent chord changes scale use one-ﬁnger per-fret when ascending and descending. Next play the the sound of the scale. EXAMPLE 2 MIXOLYDIAN CD TRACK 75 Play the A7 chord to give your ear a musical reference point; this type of down the scale naming the intervals as you go and be sure to use alternate chord (dominant 7th) is synonymous with the Mixolydian mode. Play up and picking throughout. EXAMPLE 3 MODES CD TRACK 76 Here we have two modes C Ionian and D Dorian. Both modes contain the D Dorian is DEFGABC. To fully appreciate a mode, it should be played same notes, but from diﬀerent starting points; C Ionian is CDEFGAB, while repeatedly over a chord or root note for context. EXAMPLE 4 MOVABLE MAJOR CHORDS CD TRACK 77 Fret each chord shape as quickly as possible and hold the chord for as long tricky if you are not used to playing a variety of barre chord shapes. Try as possible before moving to the next one. Some of these chords can be playing in other keys by moving all the shapes up and down the neck. EXAMPLE 5 MULTI FINGERED TAPPING CD TRACK 78 This part is mostly tapped with the picking hand, so put your pick down. fretting hand. Use your picking hand ﬁngers to tap the melody at the 12th Play a full Emaj7 barre chord at the 7th fret and hold the position with your fret and allow all the notes to sustain and ring together as much as possible. September 2013 GuitarTechniques 91 NEVER MISS ANOTHER BACK ISSUES ISSUE 96 Turn to page to subscribe! MISSED IT? GRAB IT NOW! Your copy of Guitar Techniques gone walkabout? Quick, get one now while stocks last! APRIL GT 215 SPRING GT 216 MAY GT 217 HARMONY GUITAR SOUTHERN BOOGIE ELECTRIC BLUES Play multiple guitars like Thin Lizzy, Steve Play Southern Rock like Lynyrd Skynyrd, FINGERSTYLE Vai, The Eagles and Queen with our Allman Brothers, Creedence Clearwater Learn why ﬁngers is the only way for so fabulous Harmony Guitar feature. Plus a full Revival, ZZ Top and more. Plus 20 Unique many great players. Play like James Taylor, transcription of Scott Henderson’s awesome Guitar Sounds, Charlie Christian, Wilko Anthrax, Steve Morse, Eric Johnson and Well To The Bone, and play like Eric Clapton, Johnson and an exclusive video masterclass Jimmy Raney. Plus a great instrumental Gary Moore and Jimmy Page! with the legendary Larry Carlton! acoustic medley and banjo rolls! JUNE GT 218 JULY GT 219 AUGUST GT 220 ALTERNATE PICKING UPGRADE YOUR BLUES FUNK UP YOUR BLUES Gain more speed, dynamics and expression Add a note to the pentatonic scale and Make your blues groove with our fabulous with our alternate picking masterclass. A full transform your world into Hexatonic funk-blues tutorial, and learn classic funk in transcription of the Ten Years After classic Heaven! Plus a full guitar transcription of the style of Nile Rodgers. Master the art of I’m Going Home. Plus the styles of Keith Dire Straits’ fabulous Lady Writer. Master odd eight-ﬁnger tapping and play in the styles of Richards, Camel’s Andy Latimer and Alice In time signatures and play like Freddie King, Joe Satriani, Rory Gallagher, Joe Pass, Keith Chains’ Jerry Cantrell. Jim Hall, Vince Gill and Mick Jones! Urban, Ty Tabor and Martin Barre! 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) QUK: £5.50 QEurope: £6.50 QRest of the world: £7.50 92 GuitarTechnique September 2013 MUSIC REVIEWS WHAT OUR RATINGS MEAN: +++++Buy it ++++Excellent +++Good ++Average +Bin it! New Albums acoustic led pieces. It takes inspiration from a wide variety of music too with a bit of Celtic inﬂuence here and there mixed in with folk, a tad of country, a reel or two - it even gets a little funky in The new guitar releases, including places. Highlights include Sidhean Album Of The Month and Classic Album... Mor and the stunning Raising The Bar which does exactly that. The feelgood factor created by this ALBUM OF THE MONTH the musical world. Fronted by lead album is immense so it’s well worth vocalist and bass player Jon Harvey, taking a listen. BRAD PAISLEY Monster Truck takes no time at all to WHEELHOUSE pile on the pressure so the title ZZ TOP Arista +++++ seems highly appropriate. Guitar THE STUDIO ALBUMS 1970  1990 duties fall to Jeremy Widerman and Rhino +++++ Paisley’s country pickin’ ability Following the current CD box set he positively shines throughout this has never ceased to amaze and album. There’s a general blues-rock trend here we have the ﬁrst ten yet again he pulls out some feel to the music but with that albums from Texan blues-rockers ZZ truly stunning six-string heavy hard rock element that’s both Top. As you’d expect from one of the acrobatics, seemingly making riﬀy and infectious. If there is any world’s biggest bands it comes use of every fret and note over criticism then it is a bit short on light nicely packaged, with each disc in the entire surface of his relief but what they oﬀer here is its own slipcase complete with the Telecaster’s fretboard. But this latest album is far from being just a consistently good on composition original artwork, including the demonstration of guitar prowess. It’s packed with grat songs, feels and performance. Sweet Mountain gatefolds for Tres Hombres and and evocative lyrics. Yes there are also the usual heartbreak and River is the well chosen single pull. It Tejas. This fantastic collection heartache themes associated with the country genre; but there’s showcases the band rather well and represents the band’s time with humour too, like Harvey Bodine who’s reluctantly brought back to has helped them achieve success in life after a heart attack. There’s a running theme of a radio dial their homeland. We also love the tuning between the tracks which keeps things light hearted but slower paced My Love Is True: this there’s controversy too on Accidental Racist. What remains borders on grunge but again comes constant however is the impact of Brad’s guitar work and that’s with a strong riﬀ acting as the DNA apparent on every track. Check out Runaway Train, Tin Can On A of the song - and once again String and Southern Comfort Zone, all oﬀering something a little featuring a great solo from Widerman. If you like things to be diﬀerent. This is deﬁnitely a departure from Paisley’s previous hot and heavy then make sure you albums but for us there’s extra excitement as a result. Three listen to this. diﬀerent versions are available too, two of which feature extra Warner Brothers and sees Billy, tracks and that’s never a bad thing with this amazing musician. WINGIN’ IT Dusty and Frank (or Rube as he was FOR THE MANY known on their ﬁrst album) develop originals and some standards but all Wingin’ It Records ++++ from a home-grown blues-rock trio played in the cleanly picked and Acoustic guitar duos are few and far into an internationally acclaimed imaginative style for which he is between and even rarer is a act. That said, their rough edges known. The title track is a niftily combination of players as well have never really gone away but picked upbeat reel and we matched as these. Following a there was certainly a lot more particularly like the Celtic elements commission for ten minutes of overdubbing, sequencing and more that creep in. So be sure to check original music for the Gordon obvious production on the big out Larry’s Favourite/Harper’s Reel, Duncan Memorial Trust, the pair selling albums like Eliminator, as well as his arrangements of Cyndi was asked to perform the music live Afterburner and Recycler at the end Lauper’s Time After Time, and the in Perth Concert Hall. It was so well of this set. Bill Ham was in charge of TRISTAN SEUME standard, Georgia, which are both received that Adam Bulley and Chas production on all ten of these MIDDLE CHILD superb. Those of you who regularly Mackenzie realised they had the albums and this has kept a Download +++ follow Tristan’s tuition will ﬁnd this core element for this, their debut continuity to the group’s sound It’s not often that we get the both informative and helpful as it album. And what a captivating and throughout Top’s impressive career. opportunity to review something illustrates his approach beautifully. evocative instrumental album it is, Bill also shares writing credits on a from one of our contributors so More importantly it’s a listening taking you through an exceptionally great deal of the songs so could we are delighted to bring this delight to anyone that buys it. It’s varied selection of predominantly almost be considered the fourth REVIEWS BY ROGER NEWELL AND DAVID MEAD beautiful album from Tristan download only at the moment but a member of the band. All in all this is Seume to your attention. Tristan is CD is coming soon. Go to info@ a fantastic collection of American an acoustic guitarist of some tristanseume.co.uk to get it! blues-rock, full of character and renown and teaches at the nostalgia but inspirational too. As Academy of Contemporary Music MONSTER TRUCK simple as it all sounds there’s often a as well as working with award FURIOSITY lot more going on than you might at winning folk singer Jackie Oates. Dine Alone Records ++++ ﬁrst think, and this set is the perfect This is his second solo album and Furiosity is the debut album for this opportunity to appreciate ZZ Top if oﬀers a collection of ten tough Canadian four-piece and this immense band is not already instrumental tracks, some oﬀers a mighty powerful entry into evident in your record collection. September 2013 GuitarTechniques 93 GT USER GUIDE You can get more from GT by understanding our easy-to-follow musical terms and signs... RELATING TAB TO YOUR FRETBOARD 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. Advanced Moderate-Advanced NUT & FRETBOARD HAND LABELLING The fretbox diagram above represents Moderate Here are the abbreviations used for each ﬁnger: the fretboard exactly, as seen in the Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), accompanying photo. This is for ease Easy-Moderate i (ﬁrst ﬁnger), m (second), a (third), c (fourth) of visualising a fretboard scale or chord quickly. 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 The blue line represents a capo – for this A chord, place it ‘O’ symbol is an open string, and a circled number is a at fret 2. Capos change the fret number ordering – here, fretting ﬁnger. Intervals are shown below.. the original fret 5 now becomes fret 3, fret 7 now fret 5, etc. MUSICAL STAVE The ﬁve horizontal lines for music notation show note pitches and rhythms and are divided by bar lines. A major scale TAPPING & HARMONICS TABBING Under the musical stave, Tab is an aid SCALE EXAMPLE The left box shows an A minor to show you where to put your ﬁngers on the The diagram shows the fret-hand ﬁngering for pentatonic scale with added fretboard. The six horizontal lines represent the six the A major scale (root notes in black). The photo tapped notes signiﬁed by ‘T’s. strings on a guitar – the numbers on the strings shows part of the scale being played on the fourth Above shows a Cmaj9 (no 3rd) are fret numbers. The two stave and tab examples string with ﬁrst, third and fourth ﬁngers. with harmonics at the 12th fret. show 4 notes and 4 chords; C (C major), Em (E minor), D7 (D dominant 7) and Am7 (A minor 7). GUITAR TECHNIQUES: HOW THEY APPEAR IN WRITTEN MUSIC... PICKING VARIATIONS AND ALTERNATIVES Up and down picking Tremolo picking Palm muting Pick rake Appeggiate chord Q The ﬁrst note is to be down- Q Each of the four notes are to Q Palm mute by resting the edge Q Drag the pick across the Q Play the notes of the chord by picked and the last note is to be be alternate picked (down- & of picking-hand’s palm on the strings shown with a single strumming across the relevant up-picked. up-picked) very rapidly and strings near the bridge. sweep. Often used to augment a strings in the direction of the continuously. rake’s last note. arrow head. 94 GuitarTechniques September 2013 Q Pick 1st note and hammer Q Rapidly alternate between Q Pick 1st note and slide to Q Sound the notes marked Q X markings represent notes on with fretting hand for 2nd the two notes indicated in the 2nd note. The last two with a square by hammering muted by the fretting hand note. Then pick 3rd note and brackets with hammer-ons notes show a slide with the on/tapping with the fretting- when struck by the picking pull oﬀ for 4th note. and pull-oﬀs. last note being re-picked. hand ﬁngers. hand. Q Fret the start note (here, Q Bend up to the pitch shown Q Bend up from the 5th fret Q Pick the note and then bend Q The fretting hand vibrates the 5th fret) and bend up to in the brackets, then re-pick to the pitch of the 7th fret up a quarter tone (a very small the note by small bend ups the pitch of the bracketed the note while holding the note, then pick it and release amount). Sometimes referred and releases. The last example note, before releasing. bent note at the new pitch. to 5th fret note. to as blues curl. uses the vibrato bar. Q Pick the note while lightly Q Fret the note as shown, Q Fret the note as shown, Q Fret the note as shown, but Q A previously sounded note touching the string directly then lightly place the index but dig into the string with sound it with a quick right- is touched above the fret over the fret indicated. A ﬁnger over ‘x’ fret (AH ‘x’) and the side of the thumb as you hand tap at the fret shown marked TCH (eg TCH 9) to harmonic results. pick (with a pick, p or a). sound it with the pick. (TH17) for a harmonic. sound harmonic. Q The note is picked, then the Q Scoop - depress the bar just Q Note sustained, then the vib Q Sound the note and ‘ﬂick’ Q A capo creates a new nut, whammy bar is raised and before striking the note and is depressed to slack. Square the tremolo bar with picking so the above example has the lowered to the pitches shown release. Doop - lower the bar bracket used if a long-held note hand so it ‘quivers’. Results in a guitar’s ‘literal’ 5th fret now as in brackets. slightly after picking note. has new articulation applied. ‘gargling’ sound! the 3rd fret. Q The edge of the pick is Q Turn volume control oﬀ, Q The numbers after the Q Fingerpicking requirements Q Tap (hammer-on) with a dragged down or up along sound note(s) and then turn notes are the ﬁngers required are shown at the bottom of ﬁnger of the picking hand the lower strings to produce a vol up for a smooth fade in. to play the fret numbers in the tab notation. onto the fret marked with a scraped sound. Called ‘violining’. the tab below. circle. Usually with ‘i’ or ‘m’. September 2013 GuitarTechniques 95 NEXTMONTH THE WORLD’S BEST GUITAR TUITION... SUBSCRIPTION & BACK ISSUE ENQUIRIES UK: 0844 848 2852 International Tel: +44 (0) 1604 251045 Email: [email protected] Subscribe online at: www.myfavouritemagazines.com EDITORIAL Editor: Neville Marten, [email protected] Art Editor: Carlton Hibbert, [email protected] Production Editor: Cliﬀ Douse, cliﬀ[email protected] Senior Music Editor: Jason Sidwell, [email protected] Music engraving: Chris Francis EXCLUSIVE FEATURE #1 EXCLUSIVE FEATURE #2 CD mastering: Adam Crute CONTRIBUTORS WHAMMY BAR BLUES 10 STEPS TO JAZZ Steve Allsworth, Shaun Baxter, Paul Bielatowicz, Jon Bishop, Martin Cooper, Adam Crute, Cliﬀ Douse, Charlie Griﬃths, Phil Hilborne, Make your guitar wail! The ultimate guide Martin Holmes, Simon Lees, Terry Lewis, David Lyttleton, David Mead, Bridget Mermikides, Roger Newell, Jacob Quistgaard, Stuart Ryan, Andy Jon Bishop shows you how to whammy Jazz isn’t as diﬃcult as you think. Phil Saphir, Tristan Seume, John Wheatcroft like Jeﬀ Beck, Jimi Hendrix, Joe Satriani, Capone has devised a method to get Senior Art Editor: Mark Thomas Scott Henderson, and other greats! you up and running in no time. Group Senior Editor: Julie Tolley Editor-in-Chief: Mick Taylor Group Art Director: Rodney Dive TRANSCRIPTION STAR VIDEO LESSON Creative Director: Robin Abbott Editorial Director: Jim Douglas ADVERTISING BEETHOVEN STEVE LUKATHER PT2 Advertising Sales Director: Clare Coleman-Straw, Ode To Joy Scoops, doops and gargles [email protected] Advertising Sales Manager: Amanda Burns, Bridget Mermikides arranges and Steve adds to our special whammy bar [email protected] Account Sales Managers: James L’Esteve, james.l’esteve@futurenet. transcribes that triumphant theme from feature with some of his own vibrato com; Alison Watson, [email protected] Beethoven’s mighty 9th Symphony. bar secrets. Don’t miss out! Sales Executive: Simon Rawle, [email protected] MARKETING Head Of Marketing: James Kick TWO BLUES LEGENDS ON ONE BLUES CLASSIC! Marketing Executive: Sarah Jackson ALBERT KING & SRV: Direct Marketing Executive: Alex Moreton CIRCULATION Head of Trade Marketing: James Whittaker Trade Marketing Manager: Daniel Foley, [email protected] BORN UNDER A BAD SIGN Direct Marketing Executive: Ryan Lewis PRINT & PRODUCTION Production Co-ordinator: Ian Wardle, [email protected] In 1983 Albert King and Stevie Ray Vaughan joined forces to perform the ultimate LICENSING version of Albert’s blues classic Born Under A Bad Sign. Now you can learn what both Licensing & Syndication Director: Regina Erak, players contributed to this seminal blues recording! [email protected] FUTURE PUBLISHING LIMITED Managing Director: Andy Rice Group Information Oﬃcer: Stuart Anderton THESE GREAT LESSONS Head Of Music: Rob Last Chief Executive: Mark Wood A-Z of Theory Future Publishing Ltd, 30 Monmouth St, Bath, BA1 2BW. Tel: +44 (0) 1225 442244 Fax: 01225 732275 This month it’s N for Ninth Email: [email protected] chords, Note values and the Printed in the UK by William Gibbons (covers printed by William Gibbons) Neapolitan scale! Distributed in the UK by Seymour Distribution Ltd 2 East Poultry Avenue, London EC1A 9PT. Tel: 0207 429 4000 30-Minute Lickbag Licks in the styles of Kurt Cobain, The Eagles, Kenny Burrell and Member of the Audit other great players... Bureau of Circulations. 20,468 Jan-Dec 2012 Play like... T-Bone Walker, Steve Hillage, Future produces high-quality multimedia products which reach our Brooks & Dunn, Johnny audiences online, on mobile and in print. Future attracts over 50 millions consumers to its brands every month across ﬁve core Thunders and more! sectors: Technology, Entertainment, Music, Creative and Sports & Auto. We export and license our publications. Future plc is a public company Chief executive Mark Wood AND THERE’S MORE... quoted on the London Stock Exchange (symbol: FUTR). Non-executive chairman Peter Allen Chief ﬁnancial oﬃcer Graham Harding www.futureplc.com Tel +44 (0)207 042 4000 (London) Contemporary Country, Tel +44 (0)1225 442 244 (Bath) Gospel Acoustic, Creative © Future Publishing Limited 2013. All rights reserved. No part of this magazine may be used Rock... So just make sure or reproduced without the written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. The registered office of you don’t miss GT222 - Future Publishing Limited is at Beauford Court, 30 Monmouth Street, Bath BA1 2BW. All information contained in this magazine is for information only and is, as far as we are aware, October issue! correct at the time of going to press. Future cannot accept any responsibility for errors or will be happy Your local newsagent inaccuracies in such information. Readers are advised to contact manufacturers and ques for you retailers directly with regard to the price of products/services referred to in this magazine. to order Guitar Techni If you submit unsolicited material to us, you automatically grant Future a licence to publish t trip into each month. Save tha your submission in whole or in part in all editions of the magazine, including licensed fantastic town and get to those editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk and, although every care is taken, neither Future nor and transcriptions, lessons its employees, agents or subcontractors shall be liable for loss or damage. exclusive video classes even quicke r! We are committed to only using magazine paper which is derived from well managed, certiﬁed OCTOBER 2013 ISSUE ON SALE FRIDAY 6TH SEPTEMBER forestry and chlorine-free manufacture. Future Publishing and its paper suppliers have been independently certiﬁed in accordance with the rules of the FSC (Forest Stewardship Council). Please note: content is subject to change... 9001

Guitar Techniques 2013 September - 221

Description

Comments