THE FINEST GUITAR LESSONS ON THE pLANET241 APRIL 2015 20 YEARS OF THE FINEST GUITAR LESSONS ExCLUSIvE LESSON! Playing with FINGERS Ditch your pick and join a host of great guitarists that have turned on to Flesh Tone! PLUS... Theory questions answered, learn to read music, give your chops a workout, & more! CLASSICAL MOZART YOUR ULTIMATE... COUNTRY WORKOUT Play Eine Kleine Nachtmusik for solo guitar Get your country rhythm, lead and hybrid picking chops up to speed with our comprehensive feature PLAY LIkE CLASSIC TABBED! THE WHO Baba O’Riley Learn a classic from Who’s Next - plus Paul Gilbert’s Mr Big guitar intro tabbed! PAUL WELLER His mellow acoustic side BRAD PAISLEY Scary country-blues licks! GEORGE HARRISON Post-Beatles era including slide THE SMALL FACES Steve Marriott’s bluesy R&B style ISSUE 241 aprIl 2015 Just some of your regular GT technique experts... shaun baxter One of the UK’s most respected music educators, Shaun has taught many who are now top tutors. His album Jazz Metal was hailed as a milestone. jon bishop Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease! pete Callard Pete’s credits include Lionel Richie, Gary Barlow, Annie Lennox and Shpongle. He can be seen and heard on numerous tv shows, recordings and film soundtracks. phil Capone Phil is a great guitarist who specialises in blues and jazz. He teaches at ICMP in London, writes for GT and Total Guitar and has published 10 top tuition books. Charlie griffiths Guitar Institute tutor Charlie first came to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s top rock, metal and fusion guitarists. phil hilborne The UK’s original magazine guitar tutor, Phil’s something of a legend. A great player, he regularly plays guitar in the Queen musical, We Will Rock You. pat heath BIMM Brighton lecturer, ESP product demonstrator and all-round busy musician, Pat brings you six cool licks each month in 30-Minute Lickbag. bridget mermikides Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist. the finest guitar tuition you can buy ! Welcome WHEN I LEARNT to play lead I had a cheap acoustic and I’d often lose my only plectrum and have to resort to fingers. I soon developed a method of using thumb and first finger that sounded convincing, but different to the tone that emanated once I’d retrieved my pick from down the side of the sofa. Fingers also allowed me to play things I couldn’t with a bit of plastic. It gave me another string to my bow within my relatively limited style, and it’s great to call on when looking for a softer type of attack, or a particular dynamic to suit a certain song. So successful has it been that a number of great players have copied me and are now doing the same thing themselves (joke, by the way). Jeff Beck, Mark Knopfler, Lindsey Buckingham, John Mayer, Robby Krieger, Hubert Sumlin and a host of others use the technique all the time, or simply bring it to bear when the moment feels right. So Jon Bishop has come up with a feature that focuses on playing lead guitar using flesh only. If you’ve not done this before, do get into it and I guarantee it will add a new dimension to your existing style. While we were in a ‘picking’ frame of mind it prompted this month’s other big feature - Your Ultimate Country Workout. If you’re a regular reader you’ll know that no style is an island unto itself and that licks from one genre, or techniques generally reserved for that genre, can be succesfully transplanted into others. With that in mind I don’t know of ANY guitarist that wouldn’t want a bit of Chet-style picking, Albert Lee-style pull-offs or Brad Paisley-style machine gun lead in their arsenal. So, even if you’re a rock, blues or jazz player, PLEASE give this one a go as Steve Laney has done the most thorough piece on the subject - both rhythm and lead - we’ve ever seen. It’s not for the faint-hearted, but if you glean just five ideas it will be worth at least the cost of a year’s subscription. A quick note about the main song: The Who’s Baba O’Riley is not their most guitar-heavy track, but it’s one of their best so Steve Allsworth has tabbed Pete Townshend’s synth part for guitar, and also Mr Big’s superb version. Give it a go, have fun and I’ll see you next time. Neville Marten, Editor
[email protected] DON’T MISS OUR AMAZING DIGITAL EDITION Our digital edition for iPad, iPhone, Kindle Fire and Nook is now even better! jaCob quistgaard Royal Academy trained, Quist is a superb player who can turn his hand to any number of styles and topics. He’s currently on tour with Bryan Ferry. stuart ryan Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs throughout the UK. His latest book/CD ‘The Tradition’ is available now. 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. tristan seume One of ACM Guildford’s leading tutors Tristan is also mega busy on the folk circuit playing with Jackie Oates. His brand-new CD, Middle Child, is out now! john wheatCroft A truly phenomenal guitarist, John heads up the guitar facility at Tech Music Schools in London. He’s a master at all styles, but a legend in Gypsy Jazz. Tap the links Finding your way around the magazine is easy. Tapping the feature titles on the cover or the contents page, takes you straight to the relevant articles. Any web and email links in the text are tappable too! Animated tab & audio Most songs and lessons have the audio built in, with a moving cursor showing you exactly where you are in the music. Simply tap the ‘play’ button then you can fastforward or scroll back at will. Play the videos Certain of the articles have accompanying videos full of useful insight and additional information. Once again, tap the play buttons to enjoy video masterclasses on your iPad or smartphone. PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio). April 2015 GuitarTechniques 3 . SPECIAL fEAturE ultimate country workout Nashville here we come! 34 Save time and money – get GT delivered! Steve Laney’s comprehensive study will give you all the chops you need to survive the most stressful country gig or recording session. Santana. Paul Weller. 10 Rock’n’Roll Rhythms. BIMM’s Pat Heath with six new licks to try. talkback 7 tHeory godmotHer 9 Go on. mozart Eine Kleine Nachtmusik carl verHeyen part 2 Check out Carl’s totally improvised piece on video . CoVer FeaTUre play lead with fingers 14 Stuart Ryan reveals the gentler. The Hollies & The Doors and much. Queen’s Now I’m Here tabbed. Pete Callard examines Mike Stern’s straighter jazz side in this second in a two-part series. including slide. Martin Cooper focuses on George Harrison’s post-Beatles playing style. 66 David Mead answers your theory queries. intro 10 subscriptions 71 back issues 91 Includes Phil’s One-Minute Lick. Andy Saphir shows how string skipping can make you sound a whole lot classier. Shaun Baxter shows how to move ‘cell shapes’ conveniently up and down the fingerboard. Check out what you missed and how to get it! trAnSCrIPtIon #2 New guitar CDs and DVDs reviewed and rated by our very own Roger Newell. Jon Bishop says you can too! Charlie Griffiths on the use of ornaments. Mitch’s Session Shenanigans and more. FeaTUreS welcome trAnSCrIPtIon #1 tHe wHo Baba O’Riley ViDeo MaSTerCLaSS rEGuLAr fEAturES 3 Nev gives this month’s issue the finger(s)! 26 No Teenage Wasteland here as Steve Allsworth not only tabs out the full Who version but also Paul Gilbert’s amazing ‘synth intro on guitar’. Phil Capone examines a band that was way ahead of its time . plus Rory Gallagher. Carl Verheyen astounds us with his ability to navigate the neck .Steve Marriott’s Small Faces. get on your high horse.• C ON T E N T S • a pr il 201 5 • Learning Zone lessons introduction 55 30-minute lickbag 56 Music editor Jason Sidwell muses over this month’s full-as-ever lessons section.and prepare to be amazed! albums next montH 48 Fancy a little night music? Bridget Mermikides has arranged and tabbed one of Mozart’s most famous and best loved pieces for you to play.. 95 98 We have something for every guitar player including 25 Greatest Blues Licks Of All Time. 60 Seconds With. blues 58 rock 62 video 66 creative rock 72 cHops sHop 78 britisH r&b 80 jazz 86 acoustic 92 music reading 96 John Wheatcroft looks at the bluesier side of country picking wizard. Brad Paisley. Many of the greatest players have chosen to ditch the pick in favour of the more organic tone of flesh.. much more! April 2015 GuitarTechniques 5 . acoustic side of revered singer-songwiter-guitarist.luckily he shares his secrets. . it has to be face-to-face with a good history and physical done. how do the professionals deal with this whole area. However. I’m sure our injured readers will take heed. we try to balance the styles but blues keeps dong best on the news stand and so we use it on the cover to sell issues. I love Guitar Techniques and only hope you’ll continue to cover as much blues-related material as possible. I will have another think. if using the distortion channel on a twochannel amp (a JCM900). Is there a better way? I’ve owned different systems ranging from racks to plug in and play. turning up the rhythm channel instead of using the lead channel. in a proper live situation. so that might be a way to help your sound punch through the live mix. I have in the past just left the amp on the clean channel and used pedals for rhythm and lead sounds but the amp’s distortion channel sounds better for rhythm. 30 Monmouth Street. or add presence to a room full of carpets and cushions – and people! My first port of call would be to make sure your amp has enough headroom: what might deafen you in a shop could be killed once the drummer and bassist kick in. Recently I’ve returned to playing solo acoustic instrumental sets local venues. My band plays a couple gigs a month (we’re in the Seattle. Paul Hill someone so eminently qualified. of course one’s state of preparation in all areas is key to playing that music live. lay back on the distortion: by its nature distortion removes definition. I took this new amp to my next gig and whenever I started soloing I couldn’t be heard: I tried turning up the volume.no. My pedal board doesn’t include a compressor. Nothing worked. I tried out an amp in a shop many years ago and was so impressed I bought it there and then. Secondly. these can be wiped out by bass guitar. but listen to EVH or Hendrix and you’ll be surprised at how clean their tones mostly are. extent of improvisation. Wilkins more . Email: neville. This made me consider various areas (level of practice. choice of set. I kind of said that in my long-winded way (and that a music magazine has no place giving medical advice!). but also often removes middle and adds bass and treble. whenever we try it we always come back to the fact that we are a magazine about playing music and we should really retain all the space for that. I used this amp at a recording session and it was great but I couldn’t use it live. but unless it was set on zero gain and no volume boost. Washington area) and I try to find a way to integrate all that I’ve learned about the blues into whatever song we’re playing. That’s what your EQ is for – to tweak a hard-edged room softer. find a physical therapist specialising in hand and wrist recovery. A DECENT LEAD TONE? I am a long-time guitar player (55 years) and a long time ER doctor (40 years). And I mean loads! April 2015 GuitarTechniques 7 . boosting the mids. I couldn’t use it. and led to an enjoyable night. A recent gig at a wine bar with 150 people was a big deal for me and made me focus on how I prepare and practice in advance. Though it’s shockingly hard to understand. Craig. However. Your editorial prompted me to think it would be great to have an article (even a periodic feature) on the psychology of taking your techniques from the bedroom into the live arena. You may one week play open air and the next you’re in a poky little bar and your set-up sounds completely different.com using the header ‘Talkback’. though. that’s the nature of sound. This is a typical problem faced by guitarists. Jon. patience. what’s a good way to make a lead sound? I currently just use my distortion pedals to boost the signal on top of the amp’s dirty channel. Why did the sound cut through in the studio but not on stage? How about an article on how to respond to these typical types of issues? Also. I couldn’t disagree with Mr. This is the kind of series that Guitarist would do brilliantly – so I’ll talk to the editor and suggest it! NOT TOO MUCh BLUES! I was just going to write you an email telling you how much I enjoyed GT236. I found the GT236 issue incredibly valuable.a combination of time. to do just such a thing. hard work that is professionally advised. Yes. Most guitarists imagine great rock tones are all about distortion. keyboards. follow their advice and be patient . even with the best gear on the planet. Another problem is the lead sound disappearing into the mix. This got me thinking more about preparing and performing live. particularly when as a solo performer you feel even more under the spotlight. Bath BA1 2BW. So I would always start with the cleanest sound you can get away with and work up. but problems like this can occur regardless. whereas the middle frequencies are where good guitar tone lies and where those other instruments don’t excel. audience contact etc) which I dealt with in my own way. But if non-blues-lovers open the mag they will find loads of stuff in other genres. could one of those solve these issues? So how about an article on sound and set-ups for working guitarists? In the meantime can you answers the above questions? Roderickdav Thanks. Regarding rehab (GT239/240). The thing is. and deal with the performance on the night. I turned off all reverb and had no delay. can accomplish unimaginable things! Jon Mustonen Last night I gigged at a venue with a low ceiling and lots of hard surfaces. A DOCTOR’S ADVICE Tone: is it a bottomless pit of woe for guitarists? gear. when I got my February issue and read the Talk Back letter titled Too Much Blues. my view is that you can’t get meaningful advice this way. As I keep saying. different ways to set up effects: for example. hi-hat and cymbals. But it’s great coming from This is a huge question. as a while back we received an offer from a specialist in performance anxiety. but articles like this inevitably get pushed to the back.marten@futurenet. When I engaged the pedal I use for soloing it fed back instantly. Blues Workout. PERFORMANCE ISSUES I enjoyed your editorial in the Feb issue about the organisation and techniques for live performance. not the other way around. Many GT tutors swear by compressors. I guess not everyone loves the blues as much as I do. not the nature of We’ve thought a lot about that. Paul. we HAVEN’T had enough! Ken Craig Ha-ha! Thanks. buffer or EQ.Write to: Guitar Techniques. First. but sometimes it feeds back and is noisy. you’ll get a different sound from gig to gig. . If I wanted to play the major scale example in the key of B. Even if there are a few ‘spare’ notes at either end of the scale. it makes things a lot clearer if you notate only the ‘whole notes’ and remember that ‘sharp’ means one fret to the right and ‘flat’ means one fret to the left as you view the fretboard from the playing position. I can pull off a reasonable solo as long as it’s short. The trouble I’m having is translating the chords I see in songbooks into something that sounds right. Regarding the minor 9 chord. then try trimming them down and playing them in different songs to see if they sound more like what you’re hearing on records. in all instances. sweet and fairly slow but anything else is virtually out of the question. always begin and end on the root note as this will go a long way towards tuning your ear into the correct sound of each scale EXAMPLES 1 . The first thing you need is a chart of the guitar neck that shows you where all the notes are. or email me at info@davidmead. Jed. you’ll find it becomes easier and easier to traverse from one key to another. as I’ve outlined in Ex 3. April 2015 GuitarTechniques 9 . The basic major or minor chord comprises only three notes so it’s feasible to break the fuller chord shapes on the guitar neck down to root. Ex 6 You can be amazingly economical with chord voicings. .6 Ex 1 Ex 2 Ex 2 Xxxxxxxxxxxx Ex 3 Xxxxxxxxxxxx Ex 4 Xxxxxxxxxxxx Theory Godmother . I find the major 9th and minor 9th such a finger-twister that I can’t get to either fast enough. the root notes are clearly marked. . And get transcriptions of rhythm parts so you can see specifically what different players do to trim their chords down. too crowded and not at all like the record. but it would be better if you copy it out onto a large sheet of paper and hang it somewhere that you’ll see every day. I know practice makes perfect. 3rd and 5th. but it isn’t that simple is it? Any advice would be greatly appreciated.every wish is your Godmother’s command! Root Of The Problem Dear Theory Godmother I am trying to learn and practise scales. all I have to do is find a B on the sixth string – at the 7th fret – match it to the root and play the shape in the diagram.Q&A Theory Godmother Post your playing posers and technical teasers to: Theory Godmother. BA1 2BW. no one will hear any difference. I am now trying to move into jazz and add 9ths but. Don’t worry about the sharps and flats for now. but how do I know how much is enough? How economical can you be with a chord and still get the point across? Jed 7 5 6 8 5 6 8 6 5 Ex 5 8 6 5 7 5 8 7 5 8 7 5 8 6 5 6 8 . Guitar Techniques. So I’m turning my attention to rhythm. one major scale. in context with bass and even keys. b œ œ œ œ œ œ & 4 . apart from the dominant 9th shape. Then. It’s very important that you begin on the root. you’ll have to perform this task slowly and methodically. œ œ œ œ œ œ œ œ œ œ E B G D A E . 1 2 b 3 4 5 b 6 b7 1 D E F G A Bb C D 5 7 8 5 7 8 5 Ex 4 Economic Sanctions Dear Theory Godmother I gave up the idea of ever becoming a flashy lead player a long time ago. Get a chord book to see where the intervals fall within the various shapes. it just sounds wrong. In Ex 2 I’ve written out a couple of examples of scale diagrams with the root marked. I know that rhythm players often play reduced versions of chords. all you have to do is take a scale pattern. Bath. as in Ex 5 where we’re only playing the 7th.net . Dominant 7ths can be pruned down to essentials. but the minor shape is quite common and shouldn’t be causing you too much of a problem. Next.David Mead GUITAR TECHNIQUES MAGAZINE 2 4 1 Natural Minor Ex 33 DDNatural MinorScale Scale œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ . Jazz Nines Dear Theory Godmother I have been playing guitar for a few years and can play open and barre chords successfully and with relative ease. the other minor.. The problem is how am I supposed to practise them in different keys? I’m told all you need to do is find the root notes. Louis When you first start out practising the scales in different keys it can seem a little bewildering. locate the relevant root and play it. But there is a system and. œ . but as you get more used to the system you’ll find that matching up a scale with any particular root note takes no time at all. If I play whole barre chords in some rock songs. You can even go with root and 5th or root and 3rd. a lot of players leave out the two lower bass strings and just play the top four strings as a barre with the 9th played by the fourth finger. I’m assuming that you have a book detailing the scales you want to learn and I’m hoping that. I’ve provided one in Ex 1. but can you tell me if there is an easier. 3rd and 5th (Ex 4). 30 Monmouth Street. To begin with. once you’ve mastered it. my goal being that I can one day join a band and play a useful role as a solid accompanist. It’s a lot easier and. finger-happy configuration to play major and minor ninths? Andrew Of the chord shapes you sent me (see Ex 6) the major version is a bit of a handful. . Also subscribe to www.thegigcartel. Blues Shuffle in G Here’s an uptempo 24-bar blues shuffle in G to get you started. GT: What’s your favourite amp and how do you set it? rt: Marshall 1987X GT: What kind of action do you have on your guitars? rt: i use a quite high action but tune down a whole step.youtube. This is especially handy when dealing with bar 6 (C# dim chord. Of course you can also stick with F minor Pentatonic (F-Ab-BbC-Eb) and even add the ‘blue note’ B to make it the F Blues scale for extra bluesy colouring. GT: Do you have a type of pick that you can’t live without? rt: ernie Ball medium. Further information: www.quistorama. Of course knowing and outlining the arpeggios for this basic I-IV-V (G7-C7-D7) blues is more than helpful too! 2. GT: Who was your first influence to play the guitar? rt: scotty Moore. F Dorian is your top choice (F-G-Ab-Bb-C-DEb). GT: What was the first guitar you really lusted after? rt: a strat. arp = C#-E-G-Bb) and bar 8 (E7 chord. which means if you were to play a seven-note scale on this. • Gu i ta r t e ch n iqu e s • a Pr iL 201 5 • MIKE PRIOR We ask a famous guitarist all those little questions you really do want the answers to. com. 1. This month. GT: Do you have a pre-gig warm-up routine? rt: i always play for 15-20 minutes before a gig.trowerpower. 3.60Seconds with.. arp = E-G#-B-D) of the 12-bar progression. Fat Boost. Lydian Grooving (A) Here’s a groove-based A Lydian mode track. in san Francisco in 1974 GT: …and your worst playing nightmare? rt: Playing to an empty room! 10 GuitarTechniques April 2015 Jam tracks tips Use these tips to navigate our bonus backing tracks. F Dorian Funky Rock Jam This is a specifically F Dorian mode two-chord vamp (Fm-Bb). GT: Do you play another instrument well enough to do so in a band? rt: not really. you can also arpeggiate your way around the chords – effectively bringing out more of the colour inherent in this brilliant progression. and Deja Vibe. GT: What was the single best gig you ever did… rt: Winterland. RobIn TRoWeR. GT: If a music chart were put in front of you. visit www. 4. GT: If you had to give up all your pedals except three. For free scale maps and hundreds more tracks.com. Something’s About To Change is released by Manhaton Records on March 9th. GT: Is there anyone’s playing (past or present) that you’re slightly jealous of? rt: i would not say i’m jealous. Created for you by Jacob Quistgaard. Robin Trower’s new album. which you can use to get your Zappa/Vai/Satriani licks out! It features a basic two-chord vamp. For scales. 24 hour box office: 0844 478 0898 or book tickets online from www. consider using G minor Pentatonic (G-Bb-C-D-F). could you read it? rt: not a note! GT: Do you believe that guitar cables really make a difference? What make are yours? rt: not sure if they do but i use Fulltone cables. Medium Swing Jazz Blues (G) This is a jazz blues in G and although you can attack it from a basic blues perspective mixing the G major Pentatonic (G-A-B-D-E) and the G minor Pentatonic (G-Bb-CD-F). GT: Is there a solo by another guitar player that you really wish you had played? rt: crosscut saw by albert King GT: What’s the solo or song of your own of which you’re most proud? rt: have not recorded that yet. com. GT: Your house or studio is burning down: is there one particular guitar you would save? rt: the two latest signature models received from Fender. He tours the UK from March 26th to April 17th with special guest artiste Joanne Shaw Taylor. who would the other players be? rt: i would have loved to play with James Brown. GT: Do you still practise? rt: i try to play every day if i can. and can you share it with us? rt: to never try to learn other players’ licks. A Lydian mode consists of the notes A-B-C#-D#-E-F#-and-G#. which ones would they be? rt: that would be my Fulltone rtO (my signature overdrive). but i do love the playing of albert King and Jimi hendrix. Robin Trower: one of our great blues guitarists GT: What’s the most important musical lesson you ever learnt. GT: What would you most like to be remembered for? rt: For being a soulful musician. which alternates between the chords A and B/A. GT: If you could put together a fantasy band with you in it. com/QuistTV to get all the latest free jam tracks and licks! . GT: What strings do you use? rt: e Ball 12-15-17-26-36-48 – heavy on the top for better tone. ex-Procol Harum and solo blues-rock guitar legend. G minor blues (G-Bb-C-C#-D-F) as well as G Dorian mode (G-A-Bb-C-D-E-F) and G Mixolydian mode (G-A-B-C-DE-F). Playing second guitar in a reformed Led Zeppelin? Helping out The Stones? McCartney? Elton? U2? Nothing so passé. Four continuous weeks of sell-out arena gigs. rhythms this. we will have played to nearly 200. and repetition there will most certainly be. compressor. cameras. feel free to up. it’s all rather retro. there’s no Business Like show Business. legato and slides – all the fingering note. it’s a tad laborious but i Our hero finds himself on 31-date. Sixteen trucks. w ~~~~ n œ ™œ ¡ œ ™ # œ n œ ™ # œ n ¡ ¡ # œ n œ n œ ¡ # œ œœœœ nœ œ & # # 44 E bass pedal (throughout) E B G D A E 7 1 ≥ 6 5 4 5 4 6 7 6 ≤≤ ≥≥ 9 10 7 8 7 9 10 9 12 ≤ ≤ ≥≥ 14 11 12 11 12 ≤ ≤ 13 12 15 ≥ ≥ 17 14 15 14 15 17 ~~~~ ≤ ≤ ≥ April 2015 GuitarTechniques 11 . a rather nice retro Boss Digital Dimension pedal in lieu of chorus. as this former hackney boy refers to it) and Gibson L-4. as the stage is invaded by dozens of locally hired crew. and on that stage my five instruments. the computery. through which i play my heavily modified clapton strat (or upper clapton strat. culminating in six shows in London (two at Wembley arena. When this occurs – or also when you are composing – you don’t have to slavishly follow strict harmonic guidelines. We perform the opening waltz of this Ballroom Bonanza in Birmingham. containing the usual stuff. lighting. every night.Dances From A Small Island Mitch Dalton’s after a week of rehearsals in London’s deeply untrendy Kings cross industrial estate. digital fun is all around. I have used a playing over any chords at all – just a single pedal bass mixture of ‘mini sweeps’. This month’s lick is a great example of using as much variety in terms of scale choice. i slip out of my fetching black suit and matching accessories and head for the artiste bus. thereby allowing me to use one jack plug to switch between both instruments without detonating unwanted acoustic explosions throughout the arena. that way the dancers get to hear the music exactly as they wish to perform to it. i interface a volume pedal between it and them. but with every note as a major chord as opposed to GUITARusual TECHNIQUES MAGAZINE 2 4 1 ONE scheme. this consists of a speeded-up backwards movie version of the set-up. Make no mistake. it’s the same every night.. however. four crew buses and two artiste coaches disgorge their contents into a giant Brummie shed. the strictly come Dancing tour tangos out of town.000 foxtrot fanatics. Within an astonishingly few minutes the entire staging has been reduced to its component parts. experiment with your own chosen articulations and don’t forget to compose other similar ideas of your own invention rules and schemes. a Di box receives a jack input from both my electro-acoustic and electro-classical guitars. This particularly applies to a bass. it’s the Strictly Come Dancing Tour! have learned from experience that it will get easier with repetition. It works well because you can There are often situations in music when you are not still hear a logical progression of arpeggios. the third feed is from my miked up Mesa-Boogie amp.. hard hats and shouting. thirty-one bits of repetition. four crew buses and two artiste coaches disgorge their contents into the giant Brummie shed that describes this passable imitation of all the other giant sheds that we will visit for the next month. a simple microphone suffices to waft my banjo stylings to an unsuspecting world for if You could see Me now. at the national indoor arena for a week of full company rehearsals and then five performances. major arena jaunt. and means that there can be no complaints. i send three separate feeds to the sound desk. a noise gate and a combined delay and reverb. who even provide me with a cute mini foldback wedge to monitor my efforts. the fact that i start to doubt if i will actually play in time ever again is but a small price to pay. drums. any band would kill to make it this big. Which is the last tune of the night. this is a proper tour. Bear in mind that some B-C-D). Here I have harmonised E Natural minor (E-F#-G-Aand techniques as you can think of. it seems to be appreciated by the sound chaps. This is an interesting sound. For those that have quickstepped their way thus far. i disassemble the gear as if my life depends on it (which it almost certainly does) and flee the vicinity to the soundtrack of apocalypse now. sixteen trucks. MINUTE LICK bynot Phil Hilborne scales-will work so well using this approach – but you the more Em-F#dim-G-Am-Bm-C-D ‘diatonic’ NON DIATONIC ARPEGGIO can have a LICK lot of fun experimenting. However. another volume control sits at the end of the chain. i proceed to set up amid the chaos. dear... and keyboardists like Keith # N. By the time we hit the billowing pillows of the canary Wharf Marriott hotel on the last night. four at the O2 arena). We listen on headphones to click tracks for all the dances.C. is the primordial outline of a stage. in between is my pedal board. at the conclusion of our stay in each of Britain’s mostly northern cities we pack down the gear. PHIL HILBORNE’S ONE-MINUTE LICK NON-DIaTONIC aRPEggIO IDEa Emerson use similar ideas. overdrive (Fulltone OcD). somewhere in the midst of this terrifying scene of half-erected scaffolding. F G A B C D E ¡n œ n œ¢ œ œ¡ ™ ¢œ œ b œ¡ ™ ™ ©»¡¡º ¢œ £ ™ ¡ ™œ ¡ œ¢ n œ œ¡ ™ n œ ¡œ œ œ . guitar lineand picking directions are given. the clicks are ‘mapped’ for each dance arrangement. flight-cased amp and accessories await me. That Was The Year... Presley, Cremona and Kit Kat hARMoNy’S cReMoNA AcouSTic RANGe gets a major overhaul with several new models being introduced; from the H1263 Grand Concert version to the top of the range H1307 Cremona VII with its distinctive Wine Red Shaded carved spruce top, herringbone top trim, flamed maple back and sides. The neck has a soft-V profile, pearl inlays and a racing stripe on the fingerboard. During wartime the whole range is modified with the tuners and tailpiece quality downgraded due to metal shortages, but it remains a great series of guitars. iN ceLeBRATioN oF KiNG GeoRGe v’s Silver Jubilee the London North Eastern Railway introduces the Silver Jubilee streamliner service between Kings Cross and Newcastle-Upon-Tyne, employing Nigel Gresley’s LNER Class A4 steam locomotives. The driving test is made compulsory, populated areas are given a 30 mph speed limit for the first time and ‘cat’s eyes’ are introduced on British roads. The FiRST DeMoNSTRATioN oF RADAR takes place in Daventry conducted by Robert Watson-Watt; the new steelworks at Corby begins production; and the Hawker Hurricane fighter performs its maiden flight. Designed in the International style the De La Warr Pavilion opens in Bexhill-On-Sea; Penguin Books publishes paperbacks for the first time; and Rowntree produces its Chocolate Crisp bar soon to be renamed Kit Kat. New TADpoLeS iN The poND include Elvis Presley, Jerry Lee Lewis, Alex Harvey, Gene Vincent, Luciano Pavarotti, Barry McGuire, Sonny Bono, Herb Alpert, Dudley Moore, Ronnie Hawkins, Jim Dale, John Phillips (Mamas & The Papas), Johnny Mathis, Julie Andrews, television presenter Simon Dee, Rod Hull (and Emu?) and actors Donald Sutherland, Woody Allen and Doug McClure. Leaving the pond is The Sorcerer’s Apprentice composer Paul Dukas. GiBSoN’S ‘New MoDeLS’ BRochuRe reveals the new Super 400 archtop guitar, and in true Gibson fashion it’s named after its sale price of $400. This is a truly staggering price during these times of depression. No flat-tops are included in the brochure but the small L-30 archtop is now presented with a highly striking all-black finish. epiphoNe iNTRoDuceS The MiGhTy eMpeRoR acoustic archtop to take on its main rival for jazz guitar supremecy Gibson, over in Kalamazoo. It features a carved spruce top, maple back and sides, carved back and multi-bound body. The maple neck has a 20-fret bound ebony fretboard, split block pearl inlays, a bound headstock with a pearl vine logo inlay and gold tuners. The guitar also has a raised bound tortoiseshell scratchplate, an adjustable ebony bridge and an engraved trapeze tailpiece. The finish is Cremona Brown Sunburst. 12 GuitarTechniques April 2015 a lot of exciting new gear has been shown for the first time at this year’s naMM show in anaheim, including Fender’s highly-awaited hot rod DeVille ML. Designed in conjunction with Michael Landau himself, the new ML model is based on the Fender hot rod DeVille iii, with tube circuitry and 60-watt output, two 12” speakers, spring reverb and an effects loop. the ML version ups the ante by incorporating volume-switching and boost capabilities. Visit www. fender.com for further details. those craving the warmth of old tape echoes can now buy the real thing in the form of t-rex’s new replicator, which boasts an extra tough proprietary cassette, two playback heads, chorus, plus tap-tempo and expression-pedal control! Visit www.t-rex-effects. com for more. and ehX have introduced cool new pedals including: super Pulsar, a state of he art tremolo with powerful controls; Octavix, for that late 60s fuzzed-out, octave up sound with great modern enhancements; and Good Vibes, a uni-Vibe-alike, blending chorus and vibrato into one little box. Visit www.ehx.com for more. See Satch play in november! (drums, percussion). the dates are: Manchester O2 apollo (sunday nov 1); Birmingham symphony hall (Monday nov 2); Glasgow royal concert hall (tuesday nov 3); sheffield city hall (Wednesday nov 4); cardiff st. David’s hall (thursday nov 5); southend cliffs Pavilion (saturday nov 7); Bristol colston hall (sunday nov 8); Portsmouth Guildhall (Monday nov 9); and London eventim apollo (tuesday nov 10). Don’t miss it! Joe satriani has announced his ‘shockwave uK tour’ which will take in nine dates from 1st november 2015 to promote Joe’s next studio album. a ticket pre-sale has commenced via the 24hr Box Office: 0844 888 991 and www.ticketline. co.uk/joe-satriani. Joe’s band comprises Bryan Beller (bass), Mike Keneally (keyboards, guitars) and Marco Minneman HOT FOR TEaCHER yOUR RgT TUTOR NAMe: Jo Harlow TowN: Maidstone, Kent STyLeS: Jazz, rock, pop, soul, blues, folk, Latin jazz, classical SpeciALiTy: Chordal playing, chord-on-melody, fingerstyle, singing and playing QuALiFicATioN: BA (Hons) LeveLS: Beginner to advanced, RGT grades if desired SiGhTReADiNG: Reading taught chARGeS: £30 per hour SpeciAL: Can travel out to students; materials provided (music paper, plectrums, leads), string changes TeL: 01732 490824 eMAiL:
[email protected] JON LUINI BRiTAiN iS coNceRNeD by the German re-armament and the country’s introduction of conscription, so the government responds with plans to increase the size of the Royal Air Force. Somewhat surprisingly, Britain comes to an agreement with Germany that allows it to increase its navy. new gear unveiled at nAMM 2015! play: fingerstyle ON THE CD TraCk 4-7 Play lead with your fingers! Jon Bishop shows how you can boost your soloing potential with 10 examples inspired by some of the greatest fingerstyle lead guitarists of all time. ABILITY RATING moderate Info WIll Improve your Key: Various Tempo: Various CD: TRACKS 4-7 Fingerstyle technique Lead feel and phrasing Expression and tone The phrase ‘The tone is all in the fingers’ is particularly relevant to this month’s feature. The flesh and nails of your picking-hand fingers are full of great tone and can make the plectrum sound bland by comparison. The fingers also have great dexterity, and are handy for playing ideas on adjacent strings and also ideas that require string skipping. In contrast the plectrum is perfect for playing fast tremolo picking ideas and also provides a uniform attack. Many players have combined the plectrum and remaining fingers to great effect (referred to as hybrid picking and you’ll find a bunch of it in Steve Laney’s Country Workout feature). Holding the plectrum puts the first finger and thumb out of action, so while hybrid picking is more versatile than pick alone, dexterity is still reduced when compared to pure fingerstyle. Another popular route is the use of a thumb pick. The thumb pick clips onto the thumb and therefore doesn’t require holding, thus maintaining full fingerstyle dexterity. The thumb pick ads definition to bass notes and is popular with country and acoustic fingerstyle players. Electric guitar players like Mark Knopfler and Jeff Beck have made a career out of playing lead with the fingers exclusively. Jeff favours a combination of down picking with the thumb for a fat tone and plucking with the fingers, which is all topped off with his expert manipulation of the whammy bar and volume controls. Mark plays lead lines by plucking the strings with the thumb, first and second fingers, with the remaining digits acting as an If you are new to playing electric lead guitar with the fingerstyle technique, why not use this feature as an excuse to give it a go? anchor on the pickguard. This technique is as unique as it is unconventional, but you can’t argue with the results! Other players such as Joe Pass, Eric Clapton, George Benson and Ritchie Kotzen dip into the fingerstyle approach as required. Jazz legends Wes Montgomery and Jim Mullen use the flesh of the thumb exclusively to brush the strings with fabulous effect. Whatever your style, it’s hard to ignore the wonder of utilising the fingers for lead guitar playing. This feature aims to identify some core techniques and ideas that you can then use in your lead work. For notation purposes the picking hand thumb and first three fingers are labelled as p, i, m and a. The fourth finger (c) is rarely used due to its relative weakness, and most applications can be covered with the thumb and three fingers approach. For this piece you will just need to know p = thumb, i = first finger, m = second finger and a = third finger. The ten examples are in a variety of keys, styles and tempos and have been written to highlight a specific technique or famous player’s approach. The idea here is to practice these examples at a slow tempo at first and then work up to the performance tempo. A separate backing track has been provided for Examples 1 to 5 and Examples 6 to 10 so you can play along and practise your new skills. There’s also a full piece to learn, complete with its own backing track to play it over. If you are new to playing lead guitar with fingerstyle, why not use this feature as an excuse to give it a go. You may simply want to use the technique occasionally, for a specific sound or feel; or, as happened with Jeff Beck, it could change the way you play forever! Get the tone 6 6 7 7 3 Gain Bass Middle TReBle ReveRB A variety of guitars, pickup selections and pedals were used to perform our examples and all the settings have been notated in the tab. The Jam solo was recorded with a light, blues overdrive and a hint of slap-back delay. To get the sound with your own rig simply follow these directions, as they will provide a good starting point for your own efforts. The main ingredient of all the tones is of course the use of fingerstyle. TRACK RECORD Jeff Beck’s acclaimed album Guitar Shop (1989) contains a fine selection of famous ‘fingers only’ guitar playing, and also showcases Jeff’s innovative use of harmonics, gargles and the whammy bar. If you are looking for a fine selection of Mark Knopfler guitar moments why not try the compilation Sultans Of Swing, The Very Best Of Dire Straits (1998). 14 GuitarTechniques April 2015 TIM MOSENFELDER / GETTY IMAGES Play lead with your fingers! Mark Knopfler: using fingerstyle on his Schecter T-type April 2015 GuitarTechniques 15 . E B G D A E m i E B G D A E E B G D A E E B G D A E & & 3 # # œ œ œ œ œ œ œ œ 5 0 3 m 16 GuitarTechniques April 2015 0 ~~ 2 2 G5 j œ œ œ œ œ œ jBU œ œ 2 ( 4) œ œ œ œ 2 0 2 iBU m 5 3 3 2 2 Bridge pickup w/ith overdrive and mid boost 1 m m i i 2 i ( 4) 0 p 2 0 2 p m i œœ A5 1 j œœ ‰mi œœ G5 A5 œœ 0 2 0 4 2 j œœ ‰ œœ 2 2 2 0 0 m i 2 2 2 2 4 E5 2 ¿ ¿ E5 œ œ ¿ ¿ 2 X p X p 3 p 0 X p X p jBU œ œ ~~ 4 2 J 2 (4 ) i BU A 5/E E5 A 5/E E5 2 (4 ) j œœ ‰ œœ œœ œœ œœ 4 4 2 4 4 2 2 2 4 2 4 2 m i 4 2 2 2 2 œ J j œœ ‰ œœ œœ œœ i œœ œ œ 0 œ E5 j œœ œœ 2 m i ‰ ~~ œœ œœ œœ ~~ ‰ 4 4 A5/E 2 2 3 p m i 0 4 2 œœ œœ œœ m i 4 2 2 . œ j œ œ J ‰ 11 BU BD BU 9 m 9 i A 9 j 11 B 9 11 (13 ) 11 p 9 œ J ‰ . The first focuses on ready. Example 1 . All picking directions have been use of the thumb and first two fingers. Œ. which combined a snappy clean toneFINGERS and reference LEAD WITH Ex 1 . adjacent to the strings with the two fingers curled up and players and we have devoted two examples to him.~~~~~ j WITH FINGERS Ex 1 .~~~~~ ˙ ~~~~~ 11 1 A C #m ˙ .5 LEAD E B G D A E E B G D A E B œ œ œ œ œ œ œ œ œ œ œ œ œ œ A ƒ Bridge & middle pickup B œ compressor j œ clean œ with œ œ œ œ BU œ œ œ œ œ œ œ œ 9 9 12 9 9 9 ( ) 11 11 9 9 & middle pickup 11 9 11 ƒ13 Bridge clean with compressor A Count in GUITAR TECHNIQUES MAGAZINE 241 # 9 i i 12 9 G m œ œ 11 œ œ Bœj œ œj œ . 11Aœ œ œ B œ œp œ p i p i p i pœ œ iœ œm œ i œ œ iœ œ œ œ œ œ œ œ œ i œ œ i œ # # i i œ & # # # # C m G m œ œ œ œ Bœj œ œj œ .play: fingerstyle ON THE CD TraCk 4-7 ExAMPlE 1 Mark knopfler Style part 1 TRACK 4 Mark Knopfler is one of the best known.Mark Knopfler Style part 1 ©»¡¢• 2 #### 4 ∑ 1 & 1 .Mark4 Knopfler Style part Example in ©»¡¢• Count 2 # # #4 ∑ & # 4 œ B œ œ œ œ # # œ & # # œ œœŒ E B G D A E E B G D A E 9 3 i C #m 9 3 E B G D A E 8 11 p i 12 11 p 9 i 9 C #m m 9 p p 12 œ iœ mœ pœj C #m œ œ œ œ 12 i 9 p B # ## œ œ œ œ Œ & # BUp 11 (13 ) 1 A B C #m B œ œ œ 9 11 p i 9 i 11 p i 11 p p 9 11 œ pœ i œ p œ œp j œ BUœ B œ p œ œ œ œ 9 pBU i 9 9 A j œ œ 9 œ m p 9 11 B i m j œ œ.Mark Knopfler Style Part 2 A E 6 example focuses second on pKnopfler’s later and combines i i p work p ExAMPlE 2 Mark knopfler Style part 2 ©»¡£™ #4 ∑ Ó & 4 Example 2 . Position your picking hand thumb notated so use them and play the example through slowly a few times. œ B i 8 œ œ œ J i‰ p œ œ œ J ‰ 12 (14 ) ( 12 ) (14 ) 12 iBU BD BU i 12 (14 ) ( 12 ) (14 ) 9 8 ~~~~~ œ. exclusively fingerstyle electric guitar so it juts across. Aœ œ œ B œ œ œ BU BD BU œ œ œœ œ œœœ œ œ œœœœ œ œœœ œ # ## œ & # 12 9 9 12 9 9 (14 ) ( ) (14 ) 12 9 12 9 12 9 7 9 7 9 7 5 7 5 7 5 2 5 4 5 4 2 0 8 11 12 9 9 11 (13 ) 11 12 6 i p i p pBU BD BU E 12 9 12 9 B 9 9 12 (14 ) ( 12 ) (14 ) G D Example 2 . Œ. Using the fingers riff is to combine the rhythm and lead aspects into one seamlessj phrase. Thei trick i to playingi this style of Drum break overdrive with the same fingerstyle technique as example 1. Anchoring the remaining two fingers on the pickguard gives a point of GUITAR TECHNIQUES MAGAZINE 2 4 1 Mark’s early Dire Straits lead style.5for the hand and helps with control.Mark Knopfler Style Part 2 ©»¡£™ Drum break #4 ∑ Ó & 4 i 12 i i i 9 12 9 7 9 7 9 7 ~~ j œ ‰ œ œœ œ œ ‰ E5 Bridge pickup w/ith overdrive ~~ j and mid boost ~~ ‰ œ ‰ œ œœ œ œ 4 4 A5/E j œœ A5/E ƒ j œœ 2 2 ƒ i 9 12 E5 5 i i 7 5 7 5 2 A5/E i i 5 4 E5 j œœ œœ i 5 4 ~~ 2 0 TRACK 4 This a medium plentyi of dynamic and tonal i i i provides i i i nuances. œ' ⋲ ‰ Œ Œ œ œ ≠œ œ Æ 'œ œ ≠ ≠ ≠ Æ 2 œ œ œ œ œ œ œ œ n œ Œ' ∑ ≠ ≠ ≠ Æ 5 5 5 ( 5 ) (5 ) 3 i 7 5 3 7 i 5 5 6 5 3 G doop doop 3 5 7 5 3 7 5 G 3 doop p doop 3 E B 7 Clapton 5 Example 4 .Eric Clapton Style A 7 5 3 BridgeBaby and middle pickup aEfamed for using a pick. This A is another iconic guitarist who uses fingerstyle Jeff Beck E BU example of with use of the E 6combines down picks i i the thumb i i whammy bar -ma ExAMPlE 3 Jeff Beck Style TRACK 4 5 BU BD p i 7 (9) (7 ) 5 p BU 7 ( 9) 5 5 8 5 8 5 1/4 8 5 8 5 8 5 1/4 BU 7 ( 9) 5 8 5 8 5 1/4 BU 7 ( 9) 5 5 5 8 5 8 5 i April 2015 GuitarTechniques 17 .Play lead with your fingers! 2 xxxxxxxxxx ExAMPlE 2 Mark knopfler Style part 2 . scoop ' G D œ ' ' ' Bridge pickup w/ith overdrive ƒ strike bridge œ 3 3 3 and mid boost 0 3 ‰ œœœ j ‰5 Œ i ‰scoops & ‰ p œ b œ œœœ œ œ œ œ œ œ ' ' scoop œ œ œ scoops 3 3 3 ' G D scoop ' 'bridge ' strike 0 3 5 ' scoops œ p i 8 'scoopsœ' œ' œ œ œ œ œ b œ œ œj ‰ Œ ‰ ‰ œ0 œ5 œ7 scoop & ‰ œ ' G D3 5') (5') 7 5 6 5 3 5 œ0 œ3 œ5 5' (strike œ bridge p i i p ‰ Œ ‰ ‰ œp œ œscoop ' scoops j & ‰ œ b œ œ œ œ œ œ œ œ œ œ 8 G ' ' ' œ scoop œ 0 5 7 3 scoop œ' doop strike bridge 37 5 6 5 ( ) ( ) 5 5 5 5 3 3 # œ œ œ œ .Jeff Beck Style œ œ œ m 3scoops 3 ©»¡¡§ Bridge pickup œ0 œ3 œ5 3 strike 2 w/ith overdrive Aƒ ' ‰ ' bridge p i 4 and mid boost ∑ Œ scoops &4 scoops œ œ œ œ' œ'. i combines scoops p of the whammy i i Jeff is a master of the pmain techniques under your 0 improvised phrasing so once you have p p 4 so to 2 speak. as D A Example 3 . œ œ œ strike bridge real JeffB Beck trademark.Eric G 7 Style 5 D 7 5 D9 A 7 5 3 scoopshuffle E 6 E p B 7 5 G 7 5 D 7 5 3 3 Example 4 .Jeff Beck Style E Bridge pickup w/ith overdrive 6 Am i i i i m E B G D A E E B G D A E ' ' 4 E5 œœ œ œ5 œ3 œ0 œ4 œ2 œ0 œ2 œ0 œ mœ œ œ œi œ œ p œ œ 5 3 0 BU Œ D5 œ œ œ œ œ œ œ œ œ œ J E B G 2 (4 ) Example 3 . Eric is shuffle the fingerstyle approach.Jeff Beck Style D A mto great effect. 0 2 The rest of the example bari with legato. & 43 .. 0 branch out and create some of your own.Eric 4 Clapton Style∑ ©»ª• shuffle 2 ### 4 ∑ & 4 j œ 5 j œ 5 7 scoop p p scoop 7 scoop p 5 ƒ BU BU BU j j j BD œ œ œ5 œ5 œ œ œ5 œ5 œ œ œ n œ Œ ( 9) (9) (7 ) 5 (9 ) 7 w/fingers scoop scoop p 5 doop p 5 3 1 7 7 D9 3 3 3 and middle pickup j p Bridge j jp withi light overdrive i p i i œ œ œ BU BU BD BU ƒœ œ œ œ œ œ œ œ n œi Œ ƒ with light overdrive 5 3 5 5 3 5 3 9) 7 ( 9 )Bridge and 7 (middle 7 (9) (7 ) pickup w/fingers 1 BU p 7 (9 ) 1 p i 5 i 5 i i D5 BU p 7 ( 9) p i 5 i 5 i i E5 j ‰ œœ2 ˙˙2 E25 2 i j ‰ pi œœp ˙˙ œ05 Dœ 0 i p œœ 0 0 2 TRACK 4 2 p 7 p j ‰ œ0 œ œ p Œ i p Ó 2 2 i p i p Ó j ‰ Œ œ œ œ 3 0 5 p Ó j ‰ Œ scoop œ œ œscoop ' ' œ œ 3œ 0# œ œ œ œ œœœ œ⋲ œ ⋲ J œ 5 p ≠ ≠ ≠ ' ' œ œ ≠œ œ # œ' œ ≠œ œ œ' œ œ ≠œ œ ≠ ⋲ ' ≠ ⋲ J' ≠ œ œ ≠œ œ # œ œ ≠œ œ œ œ œ ≠œ œ ⋲ ' ⋲ J' ' ≠ ~~~~~ ≠ ≠ œ œ' ˙ ' Œ #œ ≠ ' ≠ ~~~~~ ≠ ' Œ œ #œ œ œ ˙ ' ~~~~~ œ ˙ Œ œ # œ' œ ~~~~~ 'œ n œ œ nœ œ œ œ œ j ~~~~~ Œ '‰ œ œ œ '' œ n œ œ nœ œ œ œ œ j Œ ‰œ œ œ 'œ n œ œ nœ œ ' œ œ œ j Œ ‰œ œ œ ' 5 7 7 5 5 8 scoop 7 5 scoop p scoop scoop 5 7 5w/bar D7 5 scoop p 7 7 5 w/bar w/bar 7 p p scoop p w/bar 5 4 p scoop p 5 4 w/bar 7 5 5 8 7 5 Gargle 5 5 7 5 scoop p 8 7 5 5 7 5 D p scoop 4 5 p scoop scoop scoop 5 scoop scoop scoop 0 scoop 3 5 p Gargle Gargle p [ 7] D Gargle Gargle 1/4 [ 7] 7 w/bar Gargle p [ 7] 7 TRACK 4 1/4 playing across the strings and with string skipping.. fingers. The 5 first 0 phrase 3 is augmented by hitting the back 5of G 2 (4 ) the vibrato unit with your hand. You may find the dexterity of fingers can help with E B G D A E E B G D A E ‰ 1 3 2 j œœ ‰ ˙˙ thescoops hitting motion will momentarily raise the2guitar’s pitch. but forw/fingers songs like Reconsider he prefers D9 6 with light overdrive p & 4 j œ ExAMPlE 4 eric clapton Style ©»ª• 2 ### 4 Example & 4 . Also 1/4 you can get under the p p p p p p strings for super attack and this sounds very different to the tone of a pick. This will only work on a floating system. œ' ⋲ ‰ Œ Œ ≠ ≠œ œ ≠≠œ œ œ Æ œ œ ≠œ œ ≠ œ . œ' scoop 0 3 5 œscoops ⋲ ⋲ ‰ Œ Œ & p i Æ 0p 5 œ7 8p' œ ' ' 'œ œ œi œ œ E B G Example D A E E B G D A E 2 œ œ œ. 2 0 0 2 2 1 E B G D A E E 3 B G D A E 3 E B G D A E 6 E B G D A E 0 ©»¡¡§ and mid boost 2 ' ' ‰ 4 ∑ ' '.CONTINUED # œ œ œ & œœ œ~~ ‰ j œ # œ & œœ 5 œ0 œ3 # œi œi œi & œœ 5 0 3 ~~ œ~~ ‰ j œ2 2 xxxxxxxxxx 2 xxxxxxxxxx E B G D A E 6 ~~ œ~~ ‰ ©»¡¡§ 4 &4 2 ∑ ~~ œ(4) J ij œ œ BU J ƒ Œ 3 i scoops scoops 1 ' & ⋲ ' #œ & ⋲ ' ©»ª• # # # 4' # œ' scoop scoop 0 3 p 7 scoop p scoop ≠ ≠ ≠ œ ≠œ œ ≠ œ . 12 b & b bbbb ‰ 14 i 1 ' œ' 11 i œi œ Bridge and middle pickup with light overdrive 14 16 i 1/4 12 ' œ' Œ 1/4 14 i Œ 12 9 3 11 œ œ œ j œ 11 Œ b & b bbbb ‰ œ. bœ 6 18 GuitarTechniques April 2015 œ ' 14 b ' œ ' i i Œ Œ p 9 9 i 1/4 A 7 1/4 12 œ œ œ j œ 11 ( 13 ) 14 ' b œBD œ BD œ (16 ) (14œ) (16 ) (14 ) 12 J ‰14 i i i i 3 PB A b7 1/4 14 œ œ œ 14 PB 1/4 '' bœ i i 1/4 œ œ9 9 12 1/4 i i œ J ‰ 9 b D b7 /A 7 œ~~~œ ' / / œ BU ' j j ' œ œ œ œ b œ ~~/' œ œ œ œ œ œ œ9 b œ œ œ9 b œ 12 9 œ 14 12 9 9 12 9œ œ œ Œ (13 ) 11 8 3 14 14 14 14 11 3 3 3 3 i i BU ~~ BU 9 9 9 9 12 9 œ œ 11 9 œ œ œ b œ 11~~ œj (13œ ) œ œ œ œ œj(13œ ) 11œ b œ9 œ 12 D b7 9 11 3 3 12 (14 ) i BU 8 1/4 BD (16 ) (14 ) 12 œ œ œ œ œ bœ œ 3 i 1/4 12 9 9 11 9 11 ~~ 9 11 BU 11 ( 13 ) 9 i 9 ' œ bœ ' 1/4 œ 11 p 9 i 9 9 11 (13 ) 11 œ 11œ œ i m 11 ' 1/4 BU 12 A b7 1/4 i 3 3 3 BU E B G D A E i 14 BD (16 ) (14 ) 14 p BU G b7 12j (14 ) 6 1/4 3 3 3 ƒ 1/4 12 œ œ œ œ ~~~ 14 14 ~~~ œ œ œ j b œ1/4 ' ' bœ b 14 G 167 9 11 p 9 i 9 i 11 i 11 m Œ .Freddie King Style ©»¡™• shuffle b & b b b b b 44 E B G D A E 2 ∑ √j œ 1 (√) D b7 /' ~~~ bbb b bœ œ œ œ b & b w/fingers 14 E B G D A E ' b ' bœ 1/4 E B G D A E E B G D A E E B G D A E 3 (√) b b & b b bb D127 1/4 G b7 ' œ. a lotwhile whole host& of blues of his tonal bite was courtesy of b b rock 4 7 a metal thumb pick to augment his tone and used the thumb and first finger snappy first finger plucking as used here. 5 œ Freddie King is a bblues guitar master and his style But the tone ofb Freddie’s ~~~ 4 guitarists.play: fingerstyle ON THE CD TraCk 4-7 3 ExAMPlE 4 eric clapton Style ...Freddie King Style E ExAMPlE 5©»¡™• freddie shuffle kinG Style B 2 G D A E 5 BU 7 14 5 5 14 7 6 Example 5 . 3 and middle pickup PB PB ƒ Bridge w/fingers with light overdrive 14 14 Example 5 . most∑notably Mr Clapton.CONTINUED # # & # 3 œ œ œ n œ '‰ ‰ J 3 A9 j œ 1/4 ' # # # œj œ œ œ n œ '‰ BU E B G D A E 3 & 1/4 5 A9 5 7 (9 ) 5 1/4 J 3 E9 BU E B G D A E # # œ 5 & # J(9) 5‰ Œ5 ' 1/4 7 j œ œ nœ œœœœ ~~ 10 8 j ~~ nœ œ œ ‰ J 8 6 Œ 3 5 7 œ ‰ J j œ 6 j bœ 5 œ nœ œ 8 5 ‰ j œ8 ~~ ~~ 3 œ10 œ 8 œ n œ œ œj 5œ œ n œ œ œ œ 7œ j5 œ 8 œ 7 5 7 5 J 7 5 ‰ 3 BU 5 8 5 A9 7 (9 ) 5 8 3 ~~~ 5 œ œ œ (9 ) 5 Œ BU 5 ' ' nœ p 8 5 E9 8 5 5 œ œ œ œj œ œ œ œ ⋲ '' nœ 8 5 8 7 1/4 œ œ œ n œ œ œj œ œ n œ œ œ œ œ 7j œ œ J 7 (9 ) j œ 6 BU 5 1/4 9 5 1/4 1/4 A9 3 D9 8 3 3 D9 ' ' nœ œ 3 1/4 9 m i # # œ & # J ‰ Œ œ b œj œ n œ œ n œ œ œ œ œ j œ œ œ œ ‰ J ⋲œ j œ ~~ 5 5 ~~ j7 5 7 œ œ nœ œ œ œ 7 œ Œ m i p 3 E59 ~~ 3 BU E B G D A E ' 1/4 œ~~ œ J j nœ TRACK 4 7 ( 9) 7 5 5 7 5 3 7 ~~~ ~~~ œ œ œ Œ E9 1/4 3 5 7 3 7 / ' œ œ œ TRACK 4 √8jG5b7 BU ' / 5 œ œ œ to( 9ab) œ 7 to5pluck ( 9 )was hugely influential œ œ guitar 7 the strings 5 7almost exclusively. Freddie used would œ be sharper 7 b b band œ because Œ7 of the pick. œ œœ œœ œ œ œ œ œ œ œ œ œ œ A m9 D7sus4 Gœ 6 Dm7 œœ œ œœ œ œœ7 œ œ œ œ3 œ œ œ3 5 œ œ 5 3 5 3 5 œ85 6 5 5 œ 5 7 7 5 A m9 7 5 5 5 5 4 5 D m7 3 10 13 12 10 12 a m 8i 6 p 5 6 7 5 Eb 9 bœ ab œ m œ ⋲i œ p Eb b b œœœ ⋲ 11œ 11 10 10 a m 11 i 11 p 10 10 a m i p 6 9 76 B9 5 3 i p 3 6 œœ œœ # #n œœœ # œ C9 B9 C9 6 6 7 7 6 # #n œœœ # œ77 7 7 6 6 6 œœ œœ8 8 8 8 7 7 5 3 3 E b 13 œœ œ. Example 6 ..Wes Montgomery Example ©»¡¡• Latin Count in 4 ∑ &4 Latin GUITAR TECHNIQUES MAGAZINE 2 4 1 Count in E B G D A E E B G D A E E B G D A E E B G D A E p 9 œ & œ Œ Ó œ & 10œ Œ Ó p 8 10 5 7 œ œ7 œ œ œp œ p ‰p J œ œ œ œ 10œ 10œ ‰ 10 J7 7 7 10 10 1 ‰ ‰ 7 7 4 & Œ & Œ œ œ ¿ œ œ œ œ ¿ œ ‰ œœ œ J œ œ ¿ œ œ œ12 12œ ¿X œ ‰ œ 10œ œ 13 J 7 9 9 X 14 10 10 œ 7 ¿ 7œ œ ¿ œ œ ¿ œ œ ¿ 10 X œ 12 7 X 12 5 7 5 11 10 8 10 8 œ œ j œ œ œ œ œ œ 15 j œ œ11 œ œ 12 œ œ œ 15œ 9 12 8 9 12 8 5 œ œ ‰ Ó J œ œ ‰ Ó 12 J 12 15 11 12 15 11 12 12 8 9 j7 #œ #œ œ œp j #œ #11œ œ œ 12 8 11 9 œ œ œ œ 8 7j 5 #œ #œ j #œ #11œ 7 7 5 10 8 7 5 9 9 10 7 œ œœ œœ ¿¿ ‰ œ J œ œœ œœ ¿¿ ‰ œ 8 8 X 12 J 5 5 X 9 8 10 j œ œ œ ‰ œ Œ j œ œ œ ‰ œ Œ 10 9 12 7 9 8 ‰ bœ œ œ œ œ bœ œ œ œ œ Œ ‰ bb œœ œ œ œ œ œ7 œ5 œ7 œ5 8 6 7 5 3 5 3 7 5 7 5 G56 3 5 3 Œ 7 ExAMPlE 7 Joe paSS 10 10 X 7 X 14 7 12 12 9 B maj7 C maj710 ©»¡¡º j 2 œ œ 4 # œ œœ # # œœ œœ ‰ & 47 .Joe Pass ∑ Example œ œ œ Drum break maj7 B maj7 C maj7 ©»¡¡º Swing 2 With fingers CF Neck pickup with j tone control on 4 œ œ 4 # œ ∑ œœ5 # # œœ4 œœ5 ‰ &4 œ45 œ34 œ45 Drum break 3 Neck2pickup 3with With fingers F tone control on 4 12 C maj7 Pass and without the pick. This example showcases hisExx trademark and the fast passages with a combination of down and up strums. œœ Œ b œœ bœ E b 13 œœ œœ. œœ8 Œ b œ 8 b1312œ 7 3 i p 7 8 8 7 7 5 3 11 œœ. œ œ œœ.10 use of exclusively to pluck the notes. œ œ œ œ J œ œ œœ . These chords can E B G D A E 1 E B G D A E E B G D A E 7 11 4 E 12 12 X B 13 Example 7 .Wes Montgomery ©»¡¡• 4 ∑ & 4 6 . It œœbe should beœfairly obvious which fingers to use when you give this one a go. both with 7 E B G D A E p 12 10 8 œ œ œ œ œ œ œ œ ‰ œœ œ œ œ œ œ œ œ 8 10œ œ8 ‰ œœ œ 10 œ œ8 10 j bœ bœ Œ 7 p j bœ bœ Œ 10 1 E B G D A E Am j œ œ j œ Jon Bishop's œ LEAD WITH FINGERS Exx Ó ‰ 6œœ . œ œ œ J 12 10 D m7 12 3 10 3 G 10 13 12 3 10 3 3 9 8 7 8 9 10 11 12 10 10 9 8 7 D7sus4 6 TRACK 5 changed and substituted Dm7in many ways and Pass was a master of this. This example uses a I-VIm-IIm-V progression in the key of C (C-Am-Dm-G). Play the eighth notes with down strums. œ 13 œ 12 11 11 13 12 11 13 12 11 11 11 11 April 2015 GuitarTechniques 19 .Play lead with your fingers! ExAMPlE 6 WeS MontGoMery TRACK 5 Wes hadGUITAR a unique approach to MAGAZINE playing the guitar octaves. 6 . Brush the strings with the flesh off your thumb. Wes used the thumb of his picking almostLEAD WITH mutingFINGERS to keep the octaves clean.Joe Pass G 9 9 X D 10 A E an incredibleSwing was guitarist..10œ œ œ œ Œ Ó Am j Neck pickup with j F œ œStrumœ with thumb tone control on 4 œ Ó ‰ œœ 10œ œ8 œ 12œ Œ Ó 9 5 9 7 7 with Neck pickup Strum with thumb F tone control on 4 a m 5i p 4 5 3 œ bœ œ œ œ a œ miœ # œ & œj ‰ p 3 Cmaj7 œ bœ œ œ œ œ œ #œ & œj ‰ 10 9 8 7 8 3 9 10 11 Cmaj7 1 3 4 3 4 2 8 8 X 5 5 X 7 5 G œ œœ . and use fretting hand TECHNIQUES 2 4 1 and the results he achieved Jon hand Bishop's were simply mind blowing. Brian w Cmaj9 ©»¡ºº # & 44 www3 w42 nœ nœ 8 ww ww bœ 6 p m 8 9 E B G D A E E B G D A E D 1 & # œ. Nowadays Ritchie seems to have gone for the full Example 9 . 5 ‰ 7 j œ ˙ ~~~~ œ 3 39 ( 11 ) 6 5 3 8 F ~~~ PB 10 i RP i (12 ) (12 ) œ iœ œ ‰ & # # j #œ 9 i 10 8 9 i i 7 8 Em Œ. 3 ~~~ ~~~ 12 10 D5 j œ 3 9 10 12 9 11 9 11 9 11 9 œ œ œ œ œ œ œ 11 9 10 9 7 j œ 11 10 9 12 9 14 12 17 14 9 œ œ œ œ n œj # œ œ E5 œ~~~ . œ œ Œ ‰ ‰ 3 3 EF m ~~~ j £PB j œ œ RP œ œ œ œ œ œ œj PBœ8 œj RPœ~~~ .. œ œ œ œœ œ i ‰ J ˙ ~~~~ ~~~~ j œ BUœ 5 i m a 5 5 5 BU & 8 ‰ œ 9 5 œ œœ TRACK 5 6 5 œ ~~~ œ œ œ œ 5 œ 3 œ œ~~~ . #œ œ œ ~~~ œ ˙~~~ BD (10 ) ( 9) 7 D PB 9 10 5 3 9 9 œ .»¢™ ### 6 ∑ & 8 # D5 √ œ œ~~~œ œ Eœ5 œ œ œ œ jFœ5 œ œ œ œ œ œ œ œ n œ œ ‰ œ œ œ œ œ. i i Em œ œ œ‰ 9 œ. This example is augmented with wah-wah and is fairly easy to play. but it cashes in on the tone of the fingers. œ œ œ 10 Œ ‰ (12J ) (12 )~~~ 10 8 7 8 ‰ ( 10) (10~~~ ) 8 7 5j Pluck8 over Fretboard E m 6 ww ww G6 œ œ œ œ œ ‰ œ œ G6œ Dm 7 œœ œ œ œ3 œ œ ‰ 3 5 œ 65 œ œ3 5 5 6 5 p Brian sixpence for a pick but he also used with first finger i m p p the first finger of the picking hand for a mellower lead tone.. 7 ‰ 3 œ œ~~~ œ œ BU ~~~ ‰ 7 9 ( 12 ) j œ 7 9 j œ i j œ 10 9 7 ~~~ BU 10 ( 12 ) 7 (10 ) 9 BD ( 9) 7 10 œ J RP 8 ( 10) 8 (10 ) œ J PB 10 8 7 j œ œ~~~ œ œ # œ j œ œ~~~ œ œ # œ RP ~~~ 7 9 3 (12 ) 3 ~~~ PB 10 RP (12 ) (12 ) 7 9 j œ BD œ œ œ ‰ œBUJ œ œ œ œ œ ( 9) 7 ( 11 ) 7 7 ~~~ PB 8 jœ œ œ œ œ ‰œ J œ œ œ œ 9 3 PB 9 8 (12 ) 7 3 3 BU 9 (10 ) 9 œ . 3 4 2 3 D E B G D A E E B G D A E E B G D A E E B G D A E Bridge pickup w/overdrive & delay 3 1 & # œ. b œ œœ n b œœ œ bbœ D 13 œœ.CONTINUED 11 10 D b 13 œ. Try brushing the Bridge pickup w/overdrive Pluck over Fretboard & delay with first finger Dm 7 œœ œ bœ œ Am7 œœ œ5 b œ œ 55 bœ 9 8 9 Am7 œ C 8 i p 11 10 9 ExAMPlE 8 Brian May œ C ~~~ BU 9 ( 11 ) 9 7 9 7 9 7 5 9 7 5 BD ( 9) 7 8 ExAMPlE 9 ritchie kotzen 3 TRACK 5 Richie Kotzen is a great hybrid picker and used to combine the fingers and a plectrum to great effect.Ritchie Kotzen ©.play: fingerstyle ON THE CD TraCk 4-7 2 xxxxxxxxxx ExAMPlE 7 Joe paSS . œ œ BU j #œ 9 (10 ) 9 7 7 10 7 D Œ. œ Brian has used this m techniquea on many tracks including the outro solo of Bohemian Rhapsody. œ œ ‰ œ œ D5 With fingers ƒ E B G D A E j œ Bridge pickup w/overdrive & Wah Wah BU 12 ( 14 ) 1 (√) ~~~ ### œ œ E5 20 GuitarTechniques April 2015 œ ~~~ fingerstyle approach for most occasions. # œœœ & 13œ D7 E B G D A E 6 TRACK 5 Cm E B 13 13 11 G 11 Style 10 Example 811 . n b œœ œ bœ 13 œ b1011œ 11 10 9 j œœ b œ œ ‰ œ œ Cm j œœ œ ‰ bœ 11 œ œ8 10 9 10 10 9 9 œ. . œ œ œj œ œ~~~ œ J £ 3 7 3 j string œp withi œthe flesh of the first finger over theœjfretboard.Brian May D 10 10 9 A E 10 Cmaj9 10 9 May6 is famed for his use of a silver ©»¡ºº # 4 ww & 4 w May Style Example 8 . 2 xxxxxxxxxx # œœ & œ D7 . #œ œ œ œ ˙~~~ œ œ 9 3 3 3 œ œ œ œ œ ‰ 10J 7 10 7 œ 7 10 3 5 j 3 3 ~~~~ 7 7 ( 11 ) œ . CONTINUED 9 10 12 9 11 9 11 9 11 9 ~~~ 16 17 TRACK 5 9 3 16 14 13 14 Hold RP BU BD BU bend BD 12 ( ) ( ) ( ) ( ) 12 14 12 14 14 (12 ) 10 ~~~ ~~~ œ œ œ œ n œj # œ œ ~~~ œ œ œ œ. j œ E5 16 12 14 ~~~ 12 14 12 13 14 12 11 14 14 14 12 11 4 F #5 # # & # ‰ œ œ j œ œ œ j œ ' 1/4 œ œ œ œ œ œ ' œ œ œ œj œ œ j œ œ œ œ 6 œ œ œ œ œ œ œ œ œ j œ 1/4 E B G D A E 10 1 3 ~~~ D5 E5 j (√) ~~~ œ œ œ œ œ œ œ œ œ ~~~ ### œ œ œ œ ⋲ ‰ œ œ œœ œ & E B G D A E 11 11 9 10 9 7 BU 2 4 ( 6) 2 BU 2 5 (7 ) 2 5 2 2 BU 2 4 (6) 2 2 BU 5 2 BU 4 (6 ) 4 2 4 ( 6) 2 2 2 4 2 4 0 2 7 ExAMPlE 10 GeorGe BenSon TRACK 5 George Benson is another player who is incredible both with and without 4 xxxxxxxxxx the pick... J ‰ Bm 7 # & Œ..# D5 √ œ œ~~~œ œ Eœ5 œ œ œ œ jFœ5 œ œ œ œ œ œ œ œ n œ œ œ ‰ œ œ œ œ œ. œ œ ‰ œ Play3 lead with your fingers! Bridge pickup w/overdrive With fingers ƒ & Wah Wah BU ~~~ 9 12 9 14 12 17 14 ©.. 14 12 12 12 17 15 14 14 19 17 16 16 18 16 15 15 p p p p œ ‰ œ œ œ œ œ œ œ œ œœ n œœœ œœ J ‰ œ 17 15 14 14 nœ J ‰ 14 12 12 12 12 p p #œ œ œ œ œ œ œ œ œ œ #œ œ Em7 With fingers E B G D A E 10 10 12 12 9 10 12 12 10 7 12 9 9 7 7 9 12 9 9 10 10 9 11 10 11 12 9 12 3 # #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ nœ œ & B m7 E B G D A E 9 9 6 m 9 i 9 m 9 i 10 11 p 7 10 7 7 7 7 9 7 9 10 9 œ ‰ J 7 Œ ⋲ œ œ œ œ b œ œ œ œj ‰ 8 m 7 9 i 7 8 p 7 10 9 p April 2015 GuitarTechniques 21 .. 1 œœœœ # œœœœ . Benson style chords and then Example 10 . C# minor and B minor Pentatonic scales. bœ b b œœ ‰ n œJ pickup with F Neck tone control on 4 Strum with thumb E B G D A E some typical lead lines.George Benson Style ©»¡™º Latin #4 ∑ & 4 œ œœ œœ œœ œ œœ œ œ ‰ ‰ J J J E m9 Œ. This example showcases some classic.»¢™ ### 6 ∑ & 8 E B G D A E D5 j œ 12 ( 14 ) 12 10 ExAMPlE 9 ritchie kotzen . The lead lines combine the F# minor. The tone and dexterity of are 12 quavers and these are grouped in four lots of three (3+3+3+3). JAM ©»•• # # # 12 & 8 j œ œ œ œ j œ Ó. The key signature is 12/8. D7 BU œ ~~~ 12 (14 ) (12 ) (14 ) 10 13 (15 ) 13 (15 ) 12 (14 ) 10 10 j nœ BU BU BU 13 10 11 10 13 œ œ œj œ œ j nœ œ œ #œ œ œ nœ ‰ ‰ œ œ œ œ 1/4 8 BU 10 7 9 7 5 7 5 6 7 7 (9) 5 5 5 5 8 & ### j nœ E7 j j j / œ œ~~œ n œ j œ œ j /' nœ œ œ œ œ œ œ œ œ n œ Œ Œ . œ œ œ œ œ œ # # ‰ ‰ & # E B G D A E 12 ( 14 ) (12 ) (14 ) 12 j œ 1 & E B G D A E ~~ BU BD BU 10 11 9 œ~~ œ œ œ œ œ A7 ~~ 8 ( 10 ) 8 10 22 GuitarTechniques April 2015 5 BU 8 5 7 ( 9) BU BD 5 5 8 5 7 ( 9) ( 7 ) 5 ' 1/4 5 7 5 7 5 7 6 5 8 5 8 5 BU BU 8 5 7 (9 ) 5 5 8 5 7 ( 9) 7 ' 1/4 5 . which means there canvas to try out some of our fingerstyle lead ideas. Œ.play: fingerstyle ON THE CD TraCk 4-7 ExAMPlE 11 final JaM TRACK 6 [General] For the final jam we have chosen a 12-bar blues in A as a familiar the start of the backing track. ƒ Neck and middle pickup ∑ With fingers with light overdrive E B G D A E ### j nœ D7 ‰ œ œ œ J œ œ œ~~~ ‰ 13 (15 ) 13 10 ~~~~ 11 9 . This key the fingers is great for electricMAGAZINE blues playing signature often makes the notation look more complex than it is. œ~~~ œ œ œ A7 BU BD BU 10 11 j œ 4 ### ‰ & E B G D A E j œ ~~~ BU j ~~~~ j nœ œ . ‰ œ œ œ œ œ œ b œ œ n œ œ œ œ œ œj œ œ œ œ œ œj œ œ n œ ' J 14 14 3 BU E B G D A E œ œ . œ . œ 'œ œ œ œ œ ' œ J J J J ‰ j nœ . so have a GUITAR TECHNIQUES 2 4. œ~~~ œ œ J ~~~ BU 10 12 12 (14 ) 6 œ ‰ j nœ 17 ~~ œ œ œœ ' ~~ 1/4 13 ( 15 ) 13 j nœ BU œ 'œ 1/4 œ œ 10 11 10 œ J 10 ' ' nœ œ A7 1/4 1/4 ' ' 1/4 7 10 8 ‰ œ œ œ BU 17 12 ( 13 ) 12 10 14 11 ' 14 10 12 13 ( 15 ) 13 ' 1/4 1/4 BU 13 ( 15 ) ‰ j œ nœ / / œ œ œ.1you might become addicted! LEAD WITH FINGERS [Bars 1 -14] There is a long two-bar count in to give you time to get ready for good listen to the demonstration solo before diving in. CONTINUED TRACK 6 [Bars 15 to end] In the second chorus the intensity builds. œ œ. Getting under the strings makes them ‘pop’ a little and this sounds particularly effective on the low strings. We haven’t notated the exact fingers to use for the picking. j j œ œ œ œ nœ ‰ Œ . D7 Œ. œ BU BU 10 (12 ) 8 ( 10 ) 8 ~~~ œ nœ œ j ~~~ œ . œ œ ~~~ . 10 ~~ BU BU 10 ( 12 ) 13 10 ‰ j œ nœ BU 12 (15 ) 10 ( 12 ) 16 œ œ nœ œ œ ### œ & j œ œ œ œ j œ BU 12 10 13 10 11 10 12 (13 ) œ œ œ~~ BU BD 10 12 œ. branch off and create your own solo once you have digested some of these licks and phrases.. œ. as this solo was improvised and the main focus was on choosing the 2 xxxxxxxxxx melody. BU BU 8 10 (12 ) 10 (12 ) 5 j A7 œ . so really dig in with the fingers. ‰ j nœ œ œ œ . ~~ Œ j œ nœ J œ œ œ œ œ~~ ‰ 12 (13 ) ( 12 ) 10 ~~ ~~ BU BD 17 12 (13 ) (12 ) 10 11 œ~~ 17 10 10 18 # # & # ‰ j œ œ j j A7 / / nœ œ œ œ nœ œ ' ' œ œ j j nœ œ œ œ œ œ œ œ œ œ nœ œ . all played with the fingers.Play lead with your fingers! ExAMPlE 11 final JaM .~~ œ œ œ œ œ A7 8 (10 ) 8 5 5 5 8 5 7 ( 9) j A7 œ œ E7 n œ ~~ n œ j ~~~ ### œ œ . The first chorus uses a mixture of BB King and Eric Clapton style phrases. ⋲ œ œ œ œ nœ œ . As ever. ‰ œ œ œ œ œ œ œ BU BU E B G D A E 5 ' 7 # # & # ‰ E B G D A E 5 8 14 D7 E B G D A E 5 œ œ 1/4 BU 8 (10 ) BU ' 1/4 nœ 12 A7 E B G D A E œ œ œ œ j œ ~~ 5 BU E B G D A E ‰ j D7 œ œ. So experiment and take note of the sound the various fingers make.. œ. & 5 ~~ 8 ~~~ BU BD 5 8 j œ œ œ J j nœ 5 (7) 7 ( 9) j œ BU œ J BU 10 (12 ) 5 5 j œ œ œ nœ BU 10 ( 12 ) 10 (12 ) 10 j œ œ j œ œ J Œ Œ. Œ . 7 (9 ) 5 5 5 8 (10 ) 8 BU 5 8 5 7 ( 9) 5 8 5 7 (9 ) 14 ' 1/4 1/4 BU 5 14 7 5 7 5 7 5 ' BU 8 (10 ) 5 7 5 7 5 7 5 20 April 2015 GuitarTechniques 23 . D7 # # & # Œ. 07 per issue (usual price $15..uk Or call +44 1604 251 045 TERMS AND CONDITIONS: This offer is for new North American subscribers only.. l That’s the equivalent of only $9. 3 1/4 ' œ BU BD 10 12 12 ( 13 ) (12 ) 10 ~~ 15 ~~~ BU BD 12 15 13 15 (17 ) (15 ) 13 14 12 9 7 9 5 7 5 5 7 9 12 7 25 A7 & ### nœ œ bœ œ nœ œ j œ œ œ ( 7) 5 œ 3 BU BU BD E B G D A E j œ BU A7 E B G D A E 8 5 ~~ 5 ' 1/4 22 & E B G D A E BU 5 TRACK 6 œ œ œ œ bœ œ nœ œ nœ œ œ œ j œ œ œ œ œ œ œnœ ‰ ‰ E7 œ œ nœ . oRdeR online: www.CONTINUED ~~ # # # n œ œ n œ œ œj œ œ œ n œ~~. ‰ ∑ BD 7 5 7 5 7 5 3 27 noRTh aMeRican suBscRipTion offeR Subscribe to Guitar Techniques today and save over $89 off the store price .50 by quarterly credit card. Minimum subscription term is 12 months. & j œ j œ j œ ' 3 3 1/4 3 5 7 5 7 5 7 5 7 5 7 5 7 6 5 BU 8 5 8 5 8 5 7 (9 ) 5 5 8 5 7 5 3 œ D7 j œ œ J j œ œ j œ œ J j œ œ œ J j œ j œ œ BU BU BU BU BU BU 13 (15 ) 13 ( 15 ) 13 ( 15 ) 13 (15 ) 13 (15 ) 13 ( 15 ) 13 (15 ) 'œ ~~ n œ ### œ J ~~ 10 1/4 13 œ œ BD (13 ) 10 11 D7 A7 E7 ~~ œ œ œj œ œ œ n œ œ œ œ œj œ œ œ œ n œ œ Œ œj œ n œj œ œ ~~~ ‰ œ œ œ n œ J œ.99)! l Struggle to find a copy of Guitar Techniques in stores? Then subscribe today and you’ll never miss another issue . You will receive 13 issues per year.imsnews.com/guitartechniques oR call TOll FREE on: 1-800-428-3003 24 GuitarTechniques April 2015 SAVE OVER 40% OVERSEAS ORDERS Excluding North America Order online at: www. you can save over 40% off the store price and pay just $29.it’s madness! l Yes. TraCk 4-7 7 ( 8 ) (7 ) 5 7 (8 ) œ œ nœ œ œ nœ . l Get your copy up to 3 weeks before they hit the stores. Your subscription will start with the next available issue.co.delivered by Airmail. direct to your home or workplace.myfavourite magazines. If at any time during 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. œ nœ & 3 E B G D A E ~~ 8 24 j nœ ### 7 ( 9) 5 5 ‰ Œ. Come and join the GT family! 1/4 .play: fingerstyle ON THE CD 3 ExAMPlE 11 final JaM . . Baba O’Riley itself was derived from a nine-minute demo which the band helped to rearrange. The guitar work on the original is minimal. minimalist classical composer) that helped form the title Baba O’Riley (often called Teenage wasteland). Regarding who’s Next: although Pete Townshend was responsible for penning The who’s greatest hits such as My Generation. as he gathers his wife and two children to embark on their exodus to london. plus full-scale rock operas such as Tommy and Quadrophenia. although their early versions were in e so i’ve kept it at concert pitch for the GT version. Pete Townshend originally came up with the concept for Tommy after listening to the teachings of indian spiritual master Meher Baba. The guitars are tuned down to eb. it’s easy enough to transpose up a semitone if you want to play along with the who original. combined with another of Townshend’s influences Terry Riley (a TeChnique FoCus Modal interchange The slightly folky/Indian influence towards the back end of this song is largely due to the Eb chord. Baba O’Riley was named after two people who influenced Townshend: Indian spiritual master Meher Baba. apart from the open-string tapping lick. and is one of the track’s most iconic features. The convoluted storyline was part of its downfall. The hypnotic marimba repeat pattern from the lowrey Berkshire Deluxe analogue synth sound is hugely modern-sounding. Steve Allsworth performs the ultimate mash-up. you’ll be able to see the subtle differences: I IIm IIIm IV V VIm VIIdim F major: F Gm Am Bb C Dm Edim F minor: Fm Gdim Ab Bbm Cm Db Eb Im IIdim bIII IVm Vm bVI bVII The use of the bVII chord is really common (as is the IVm) but any of the minor key chords could be used as a substitute. which became the opening track to the album Who’s Next (1971). Townshend wanted the band to be accompanied by sequencer-driven synths that would follow along with the music. Behind Blue eyes and Going Mobile. Indian influences can be heard in homage to Baba in the song’s outro violin solo (an idea of Keith Moon.he was using a Gretsch 6120 and Fender Bandmaster amp at this time (cranked wide open!). it’s full to the brim with some of his greatest songs such as won’t Get Fooled again. was then brilliantly covered by Mr Big. originally from The Who’s lost rock opera Lifehouse and also featuring on the band’s epic album Who’s Next. and classical minimalist Terry Riley. particularly Who’s Next (1971) from which Baba O’Riley comes. also ahead of its time was Townshend’s ultimately failed rock opera lighthouse.Play: ROCK ON THE CD TRACKs 8-11 The Who / Mr Big Baba O’Riley This cracking track. TRACK RECORD Most of The Who’s albums are excellent. so shouldn’t be difficult to dial in . It’s ‘borrowed’ from the parallel tonality of F minor. but unfortunately this technology didn’t exist for another 20 years. but the project was also plagued by technological issues. If we look at the chords side by side. i’m a Boy. apparently). however. singer Roger Daltrey. the 1969 rock opera about a deaf. but also sees him and his fellow bandmates. 26 GuitarTechniques April 2015 MICHAEL PUTLAND / RETNA / PHOTOSHOT ABILITY RATING . which is played live as a harmonica solo by Roger Daltrey. Get the tone 6 6 7 7 2 GAin BASS Middle TReBle ReveRB Pete’s tone is raw amp crunch. The modal synth intro was inspired by Terry Riley’s minimalist composition style. and a great one to check out is Who’s Better Who’s Best: Very Best Of The Who (1988). This simple but effective idea creates a completely different sound/colour and even hints at the Eb notes used for the F Mixolydian scale used in the violin solo. Moderate Info WIll IMprove your Key: F Tempo: 116bpm CD: TRACKS 8-11 Stylistic range Classic rock feel Compositional flair BaBa O’Riley was originally planned as part of a follow-up to Tommy. This is only the tip of the iceberg. more guitar and bass-heavy arrangement that can be useful if you don’t have the luxury of a keyboard player. A good compilation is always worth having. and eventually rises as a post world war ii messiah. if you really want to explore this further. and use your guitar’s bridge pickup (humbucker if possible). Bargain. bassist John entwistle and drummer Keith Moon deliver some of their finest recorded performances. so your task is to get the right tone and keep to Pete’s guitar part as closely as possible. in the end the band played along to pre-recorded backing tracks on Baba O’Riley and won’t Get Fooled again. the scottish farmer. Pictures Of lily and i Can see For Miles. Mr Big’s cover of Baba O’Riley offers a rockier. throwing up even more weird and wonderful chords that can be ‘borrowed’. Live At Leeds (1970) is regarded by some as the best live rock album of all time and features the band at the peak of its powers. his finest work is arguably best represented on this album. Aim for crunchy drive rather than saturated distortion. i’ve based this transcription on the version from their Back To Budokan tour in 2009. it was to be sung at the beginning of lifehouse by Ray. it was this name. parallel modes can also be used (instead of the parallel minor). dumb and blind boy who develops an almost supernatural ability to play pinball. The Who BaBa o’Riley Pete Townshend with one of his numbered Les Paul Deluxes April 2015 GuitarTechniques 27 . Play: ROCK ON THE CD TRACKs 8-11 PLAYInG tIPS CD TRACK 8 [Bars 1-8] The original version’s synth intro lasts for a whopping 41 bars, chords based around a straightforward I-V-IV progression. The major 3rd so I’ve scaled it back here - you can extend it as you see fit. The feel of the in the C and Bb chords is more of a happy accident due to the barred third shorter intro is 4/4, although it’s represented better as 2/4 in light of the finger, so you’ll notice some variation throughout. Watch out for your timing original that has many cut bars of only two beats. (and form) on the C chords at the end of this section (the insistent synth on [Bars 9-40] This is a really simple piano arrangement (should your fingers the backing track should help keep you in time). get itchy to play). I’ve left the piano on the backing as per the original [Bars 55-62] Pete sings this plaintive interlude section. Don’t worry if you version, but this will help with the slow and organic intro. get lost with the slightly confusing synth line, as there’s a nice long drum fill Allworth's to bring you back in again for the next verse. TECHNIQUES MAGAZINE 2 4 comes 1 [BarsGUITAR 41-54] After Roger Daltrey’s verse, Pete in with Steve these powerful BABA O'REILLY ©»¡¡§ 2 &b4 THEME F 8 INTRO Synth (orig. for 41 bars) ˙˙ .. & b .. ˙˙ .. F . . 0:45 . . C 10 10 10 8 9 10 10 8 F5 5 3 47 ww w w .. . . F5 C . . B œœ œ œ ˙˙ .. 41 F5 ww w b 5 5 5 3 3 3 1 INTERLUDE N.C. VERSE F5 7 ∑ ∑ .. ˙˙ .. 7 . . 1, 2, 3 B 5 5 5 3 3 3 1 &b ˙ ˙ C œœ œ œœ œ œœ C 28 GuitarTechniques April 2015 SOLO œ œ œ b ww ww 5 5 5 3 5 3 3 1 F √ b ˙ B 5 5 5 3 b .. ˙˙ .. ˙. . . 3 3 3 1 B b j œ 3 3 1 ˙˙ 5 5 3 3 1 . œ . œ œ œ œ. œ œ. F j œ œœ œœ œœ œœ 5 5 5 3 5 5 5 3 B . . 5 3 3 1 3 3 1 ww ww ww ww 5 5 3 3 C5 œ œœ œœ œœ ˙˙ 3 3 3 1 b œ œ. œ. œ. œ. œ œ œ œ 5 3 3 1 F5 ww ww ww w C/G 3 1 b B b B 5 5 5 3 F5 C j 3 œœ œœ œ œ œ œœ œœ œœ ˙˙ œœ œ œ 3 1 C 7 8 8 6 C5 3 1 5 5 5 3 ww w œ œœ œœ 3 3 3 1 3 3 1 4 B 5 9 10 10 8 .. j j œ œœ ˙˙ œœ œ œ ww w w 5 5 5 3 Play 3 times ww ww F5 ww w b C œœ œ œ b ww w w 70 F5 B ww w w 63, 65, 67. 69 F5 5 5 5 3 C b B œœ œœ 19, 21, 23 C 2:04 3 1 œœ œ œ C . 1010 . 108 b B 5 5 5 3 ˙ .. .. ˙˙ . ˙. F 7 8 8 6 5 5 3 3 1 C5 œœ œ 9 10 10 œœ ˙˙ œœ œ j j ¿ œœ œœ ¿ œ X X 8 b ww ww F5 3 3 3 1 3 1 B œœ œœ 17 C5 ˙˙ C 10 10 10 8 ww w w 5 5 5 3 3 1 b 55 73 7 8 8 6 ˙ .. .. ˙˙ . ˙. F Play 4 times 1:18 1:47 E B G D A E 9 10 10 8 B 5 jœ j œ œœ œœ œ œ ˙˙ b 7 8 8 6 C 3 1 &b E B G D A E 10 10 10 8 b ww ww Play 8 times (Bass enters) 25, 27, 29, 31, 33, 35, 37, 39 &b B œœ œ œ B œœ œœ 9, 11, 13, 15 VERSE E B G D A E C 0:12 8 E B G D A E E B G D A E ˙. 4 .. ˙˙ .. 4 ˙. 5 3 3 1 j œ œ j œ 5 5 3 B b ww ww 5 5 5 3 3 3 3 1 b B 5 ww w 3 3 1 œ œj œ œj œ œj œ j œ œ 1:47 7 . . 2:04 E B G Baba O’Riley Music & Lyrics by Peter Townshend D ©1971 Fabulous Music Ltd. Reproduced by kind permission of A 3 Fabulous Music Ltd. All Rights Reserved. International Copyright Secured. E 1 55 63, 65, 67. 69 F5 C B b 5 5 3 . . 3 3 1 F5 C squeezing the strings sharp. This unfortunate by-product is easy to do if you SOLO & C √ b ˙ . . . œ. œ œ œ œ œ œ 13 15 15 15 13 13 xxxxxxxxxx 13 79 œ œ ˙ &b j œ b 3 1 F5 BD (17 ) (15 ) The Who BaBa o’Riley b C5 B 5 C B b 1 œ œ. œ. œ. . œ œ œœœ œ j œ j œ œ œj œ œj œ œj œ b 15 B 5 j œ BU BU 15 ( 17 ) 15 ( 17 ) BU 15 13 15 13 15 C5 F5 C5 œ. œ. œ. œ œ œ œ œ œ j œ 3 13 BU BU j œ œ b j j j jœ b œ ¿ & œ ¿ œœ ¿¿ œœ œœ œ ¿ œ ¿ œ C5 X X X 3 3 1 X X X 3 3 1 15 (17 ) 15 (17 ) 15 14 15 15 14 15 15 b 15 b B 5 88 X X X BU ˙ F5 C5 j j j jœ œœ ¿¿ œœ ¿¿ œœ œœ œ ¿ œ ¿ œ Ó 3 3 1 13 j j j j œœ ¿¿ œœ ¿¿ œœ œœ œ ¿ œ ¿ œ œ C5 B 5 j j j jœ œœ ¿¿ œœ ¿¿ œœ œœ œ ¿ œ ¿ œ 3 3 1 BU BU BU F5 5 5 3 BU 15 ( 17 ) 15 (17 ) 15 ( 17 ) 15 ( 17 ) 15 (17 ) 15 (17 ) 83 3 3 1 3 3 3 1 just won’t sound very good. [Bars 87-90] Pete alters the rhythmic feel of the three chords slightly 5towards 3the outro section. Although 8th notes would suggest alternate 5 5strumming, 3 he probably played them using downstrokes 3 for a more effective 5 3 5 5 3 two-bar 3string mute. 1 Notice the V chord 3 at the end3of each 3 1 cycle. 15 (17 ) 13 13 13 15 13 œ œj œ œj œ ‰ J ‰ J ‰ J C5 B 5 E B G D A E F 3 1 5 5 5 3 3 F5 E B G D A E b j œ œ œ œ 2:37 E B G 2 D A E B B 3 1 5 3 œœ ww œœ ww CD TRACK 8 œmajor chords œ w key of F, ˙ is F MajorœandœF major œof the major œ Pentatonic. w 3rdin the w Just be aware at the 14th fret of theœthird string. It is tempting to revert to ˙ the trusty F minor shape, since it falls under the fingers rather easily, but it E have an aggressive picking hand, since the fretting hand often follows suit B (Townshend’s tuning was always 5 3 impeccable, even when using notoriously 5 G 5 5 5 C and 3Bb chords in particular. the D ‘flappy-necked’ SGs). Watch 5 5 3 5 5 A [Bars 79-86] 3 The only logical 3 3 scale choice 1 for soloing over3three diatonic 3 3 E 1 1 73 F 3 1 70 œœ ww œœ œœœ & œ œ w [Bars 63-78] withœtheœprevious rhythms ˙ AsSince œ verse,w there are some extra ˙ barre œ toœ it’sœ watch out for. these are basic power chords and major chords, ˙ œ ˙ œ worth putting your energy into striking the chord cleanly and hard, without PLAYInG b tIPS 3 3 1 3 3 1 OUTRO MELODY C5 √ œ œ œ⋲ ⋲ ⋲œ⋲œ⋲œ⋲œœœ b & 3 3 1 X X X 5 5 3 C5 X X X 3 3 1 3 3 1 X X X 3 3 1 ©»•• œœ Œ œœ Œ œ œ OUTRO 3:02 5 5 3 5 5 3 b œ⋲œ⋲œ⋲œ⋲œ⋲œ⋲œœœ F5 12 12 5 5 3 X X X 3 3 1 3 3 1 X X X 5 5 3 b B 5 œœ Œ œœ Œ œ œ 3 3 1 3 3 1 œ⋲œ⋲œ⋲œ⋲œ⋲œ⋲œœœ B 5 3:07 E B G D A E 12 93 13 15 12 13 15 12 13 15 13 15 12 13 15 12 13 15 b 13 15 12 13 15 12 13 15 b C5 B 5 √ E5 œ œ bœ œ œ œ œœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ &b ⋲ ⋲ ⋲ ⋲ ⋲ ⋲ E B G D A E 11 96 13 15 11 13 15 11 13 15 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 15 12 13 13 b œ ' / ˙ April 2015 29 √ œ œj GuitarTechniques œ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ b œ œ œ œ œ œ œ œ b ⋲œ F5 b E 5 F5/C 14 12 12 E E B B G G D D A A E E 93 93 13 13 15 15 12 12 13 13 15 15 12 13 15 12 13 15 Play: √√ROCK 12 12 13 13 15 15 12 12 13 13 15 15 12 13 15 12 13 15 12 12 13 13 15 15 12 12 ON THE CD bb E 5 E 5 15 15 12 13 15 12 13 15 TRACKs 8-11 bb C5 C5 13 13 B 5 B 5 bb œœ ⋲ œœ ⋲ œœ ⋲ œœ ⋲ œœ ⋲ œœ ⋲ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b & &b ⋲ ⋲ ⋲ ⋲ ⋲ ⋲ PLAYInG tIPS CD TRACK 8 [Bars 91-92] The change of tempo is notoriously tricky here, with even (dare I Eb needs to be targeted here rather than the E natural from F Major, which is say it) the original lurching ever so slightly. I’ve squared off the rhythm a little used for the other three chords. As with the previous section, use the synth E to make it easier, but listen13 really pulsing on13 the notes. 11 you 13 need 15 to 11 15carefully 11 13 to 15the12 13 12 synth 13 12 13 12line 13 to 12help 13 12you 13 keep 12 13time, 12 especially 12 13 12 12longer 13 12 streams 13 12 13of 1216th 13 15 12 13 13 E 11 13 15 11 13 15 11 13 15 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 15 12 13 13 B line to ground you in the new tempo. The final two bars can be 13 particularly challenging with regard to timing, as B G [BarsG the rhythms are syncopated across the beat. So take your time with this, D 93-104] Pete’s lovely melody borrows from the parallel key of F minor D A Eb chord that creates a really nice ‘twist’ for the ears. This means the for the clapping the rhythm first as necessary. A F5/C ' // F5 E bb5 F5 E 5 b b √ √b œ œ œ œ œœ œ œœ œ œœ œ œœ œ œœ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ ˙˙ b œ œ œ ⋲⋲ œœ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b b & & E E 96 96 F5/C 1 144 ' œœ j œœj 11 13 11 11 13 11 & & bb jj œœ 13 15 13 15 13 15 13 15 13 15 13 13 13 15 13 15 13 15 13 15 13 15 13 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 (17 )((17 ))( 17 )( 17 ) (17 )(17 )(17 )(17 )(17 )(17 )( 17 )( 17 )(17 )(17 )(17 )(17 ) (( 17 )) (15 ) (17 ) 17 ( 17 )( 17 ) (17 )(17 )(17 )(17 )(17 )(17 )( 17 )( 17 )(17 )(17 )(17 )(17 ) 17 (15 ) j œœj œœ .. 3:40 3:40 3:40 E E B E B G B G D G D A D A E A E 123, 125 E 123, 125 123, 125 b & &b E E B E B G B G D G D A D A E A E E 130 130 130 bb & & œœ œ 8 8 88 8 8 ∑∑ jj œœ j œ 66 ∑∑ ∑∑ ww 3 3 3 (( 1 )) 1 ( 1) œœ œ ‰ ‰ ‰ ‰ ‰. œœ ‰ œjj ‰ œjj ‰ œjj ‰ œjj ‰ ... œ œœ œœ œœ œœ 3 3 3 33 3 3 3 3 33 3 3 3 3 33 3 3 3 1 13 1 œœ œ 8 8 88 8 8 ... œ œ œœ . œ œ œ 3 3 1 13 1 œœ œ œœ œ 10 10 8 10 8 8 10 10 8 10 8 8 30 GuitarTechniques April 2015 œœ œ 8 8 88 8 8 œœ œ œ œœ œœ œ œ 3 3 1 13 1 œœ œ 8 8 88 8 8 œœ œ 3 3 1 13 1 3 3 1 13 1 œœ œ œœ œœ œœ œœ 10 10 8 10 8 8 10 10 10 10 10 8 10 8 8 10 10 10 10 10 8 10 8 8 .. .. 3 3 1 13 1 ... . œœ œ 127 127 127 œœ œ .. .. 8 8 8 8 88 88 8 8 131, 132, 133 8 133 8 131, 132, 131, 132, 133 ... œ œ œœ . œ œ œ œœ œ j œj ‰‰ œ 13 12 13 12 13 13 .. .. PM (drums enter) (drums enter) (drums enter) 3 3 1 13 3 3 1 13 3 3 1 13 1 .. .. 3 3 1 13 1 .. .. j‰ j‰ j‰ œœj ‰ œœj ‰ œœj ‰ œœ œ œ œ œ œœ œ 3 3 1 13 1 3 3 1 13 1 3 3 1 13 1 œœ œ œœ œ 10 10 8 10 8 8 10 10 8 10 8 8 3 3 1 13 1 œœ œ 8 8 88 8 8 3 3 1 13 1 œœ œ 8 8 88 8 8 3 3 1 13 1 Play Play 3 3 times times Play 3 times œœ œ œœ œ 10 10 8 10 8 8 10 10 8 10 8 8 j j œœj ‰ œjj ‰ œœj ‰ œ ‰ œ ‰ œ ‰ ... . .. .. 3 3 1 13 1 3 3 1 13 1 œœ œ œœ œ 8 8 88 8 134 134 8 8 8 88 8 8 ©»™º∞ jj jj ‰ ©»™º∞ œ œ ‰ œœ ‰‰ œ 134 33 44 3 3 1 13 121, 122 121, 1 122 121, 122 j‰ j‰ j‰ j‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œ œ œ œ 3 3 1 13 1 12 12 13 13 11 11 10 10 .. j ‰‰ j ‰‰ j ‰‰ j ‰‰ .. . œj œ j œj œj . œœ œœ œœ œœ Play Play 6 6 times times 115 115 --1120 120 1 115 - 120 j‰ j‰ j œœj ‰ œœj ‰ œœj œœœ œ œ œ 3 3 1 13 1 15 15 Play 6 times .. . . œ œ œ œ .. œœ œœ œœ œœ PM PM 3 3 3 1 1 1 14 14 F F5 5 F5 66 RP RP RP 8 8 8 .. .. 15 ((17 )) 15 (( 17 )) 15 17 15 17 BD BD ©»¡¶§ ©»¡¶§ b & &b ˙ ˙ ... . 13 13 BU BU b double-time double-time (main melody (main violin violindouble-time melody starts) starts) (main violin melody starts) b & &b BU BU E 5 15 (( 17 )) 15 17 E E B E B G B G D G D A D A E A E 105 E 105 105 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Eœœb5 œœ .. œœ œœ œœ œ . œ . bb œœ .. œœ œœ œœ œœ œ . œ . œœ .. bb œœ œœ œœ ˙˙ BU BU E E B B G G D 3 D A3 A E3 E 102 102 11 11 j œœj 3 3 1/4 1/4 E E B B G G D D A A E E 99 99 œœ 3 3 1 13 1 3 3 1 13 1 .. .. 3 3 1 13 1 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 8 8 8 88 8 œœ œ œœ œ 10 10 8 10 8 8 10 10 8 10 8 8 j œj ‰‰ œ 10 10 10 10 8 8 8 8 10 8 10 8 8 8 8 8 8 8 8 8 8 8 88 8 88 8 8 8 œœ œ œœ œ 8 8 88 8 8 8 8 88 8 8 j œœj ‰ œ ‰ 10 10 10 10 8 8 10 8 10 8 8 8 œœ œ œœ œœ œœ œœ 10 10 8 10 8 8 10 10 10 10 10 8 10 8 8 10 10 10 10 10 8 10 8 8 j œj ‰‰ œ 44 4 but you could easily play a guitar solo over this section using a B G 10 10 10 G 10 10 10style root to 5th. D live versions the bass 10 10 10 10 10 10 D 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 D A A A E E E 8 8 8 8 8 130 130 130 10 8 8 8 8 8 8 8 8 b .. .. the double-picking. 132. .. I’ve with the ending cued by Pete. particularly in maintaining fluency and stamina. .. œœ œœœ œœœ . 125 . 7 13. which means the bass movement from 5th to Just keep your eyes glued to the structure as charted here and watch out E root effectively ‘turns around’ during the accelerando three-four bar. . 15. . œœ œœœ œœœ œœ œœ œœœ 8 8 8 8 8 8 œœœ œœ œœœ œœ 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 10 10 10 8 8 8 œœ œœœ 10 10 10 8 8 8 8 8 8 8 8 8 œœ œœœ œœ œœœ œœ œœœ 10 10 10 8 8 8 8 8 8 8 8 8 œœ œœœ œœ œœœ œœ œœœ 10 10 10 10 10 8 8 8 10 10 10 10 10 8 8 8 10 10 10 10 10 8 8 8 10 10 10 10 10 8 8 8 >>œ œœœ ‰‰ ŒŒ ÓÓ œJ J F F F œœ œœœ 10 10 10 10 10 10 8 8 8 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 And now a chance to play Mr Big’s arrangement. . 133 133 ©»™∞¢ ©»™∞¢ jj jj j j j j œœ ‰‰ œj ‰‰ œœ ‰‰ œj ‰‰ œœj ‰‰ œjj ‰‰ œœj ‰‰ œjj ‰‰ œœ œœ œœ œœ j œ b ‰ & & b œœœœ ‰ E E E B B B G G G D D D A A A E E E 145 145 145 10 8 8 8 . 132... œœ œœ œ œ œ œœ œ 8 8 8 8 8 œœ œœ œœ œœ 10 10 10 10 10 10 10 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 The Who BaBa o’Riley œœ œ œ œœ œœœ œœ œœœ CDœœœTRACK œœ 8 œ 8 8 8 8 8 8 8 8 8 8 [Bars 105-end] This song is perhaps best known for its frenetic ending. This for the rapid accelerando towards the end. 131. œ œ œ œ œ œ œ œ œ œ œ œApril 2015 GuitarTechniques œ . 3 3 3 1 1 1 3 3 3 1 1 1 3 3 3 3 3 3 3 3 3 1 1 1 œœ œœ œ & b œœ tIPS PLAYInG œ œœ 3 3 3 3 3 3 œœ œœ 3 3 3 3 3 3 3 3 3 1 1 1 3 3 3 1 1 1 3 3 3 1 1 1 . . 10 8 8 8 8 8 8 8 1348 134 134 ©»™º∞ ©»™º∞ j jj ‰ œœj ‰ œœ ‰ œœ ‰ œ j œœj ‰‰ œœ j œœj ‰‰ œ 8 8 8 8 8 8 accel accel accel 10 10 10 8 8 8 10 8 8 8 8 8 8 8 8 10 8 8 8 10 10 8 8 8 8 8 8 j jj ‰ œœj ‰ jj ‰ 444 œœ ‰ œœ ‰ œœ ‰ 4 œ œ 343 4 10 10 10 8 8 8 8 8 8 8 8 8 10 8 8 8 10 10 10 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 ©»™£™ ©»™£™ jj jj jj jj CCCjj jj jj jj j‰ ‰ j‰ ‰ j‰ ‰ j‰ ‰ ‰ ‰ ‰ ‰ œœj ‰ œœ ‰ œœœj ‰ œœ ‰ œœj ‰ œœ ‰ œœj ‰ œœ ‰ œœœœ ‰ œœœœ ‰ œœœœ ‰ œœœœ ‰ œ œ œ œ œ œ œ 10 10 10 8 8 8 8 8 8 8 8 8 œœœ œœ 8 8 8 8 8 10 10 10 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 œœœ œœ 10 8 8 8 j œœj ‰‰ œœ j œœj ‰‰ œ œœ œœ 10 10 10 10 10 8 10 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 133 8 131. 17 7 9 9 9 9 9 9 7 7 9 9 9 9 9 9 œ œ œ œ 2 31 œ œ œ œ œ . . ..Paul Gilbert's Mr Big Version GUITAR TECHNIQUES MAGAZINE 2 4 1 ©»¡™™ Play 12 times #### 4 . as this will promote clean execution and avoid any cutting of corners. & & b . charted it as per the original. 3 3 3 1 1 1 127 127 127 3 3 3 1 1 1 3 3 3 1 1 1 œ œœ œœ . Steve Allworth's BABA O'RILEY .. I’ve put the violin solo on the E E B B is probably unintentional since the structure is largely improvised. œœ œœœ œœœ œœœ . In some backing. 10 10 10 10 10 8 8 10 8 8 8 8 8 8 8 8 8 8 137 137 137 8 8 8 8 8 8 œœ œœ 10 10 10 8 8 8 10 10 10 8 8 8 8 8 8 8 8 8 10 10 10 10 10 8 8 8 10 10 10 8 8 8 8 8 8 8 8 8 œœj ‰‰ œœœ œœj ‰‰ œœœ œœ œœœ 10 10 10 10 10 8 8 8 10 10 10 10 10 8 8 8 10 10 10 10 10 10 10 10 10 10 8 8 8 8 8 8 10 10 10 8 8 8 8 8 8 8 8 8 œœ œœœ œœ œœœ 10 8 8 8 8 8 8 8 10 8 8 8 8 8 8 8 8 . œœœ œœœ E E E B B B G G G D D D A A A E E E 135. œœ œ œ œœœ œ œ œ œ œ œ œ & 4 . 132. œœ . . . so there’s no real method to the madness. œ œ . 123. combined with palm-muting can be challenging. . so it’s worth checking out what he does live. 10 10 10 10 10 G 10 10 10 falls on the side of typical country similar F Mixolydian approach. .. Paul tends to improvise with simple melodic ideas in and around the E Major scale. . 131. 136 136 135. œœ œœ œ œ . b4 & & b 444 E E E B B B G G G D D D A A A E E 140 E 140 140 8 8 8 8 8 8 œœ œœ 10 10 10 8 8 8 8 8 8 8 8 8 8 8 8 8 8 œœ œœ œœ œœ œ œ 10 10 10 8 8 8 8 8 8 8 8 8 œœ œœ 10 8 8 8 8 8 8 8 8 10 10 8 8 8 8 8 8 œœ .. It’s best to perfect your co-ordination of the main figure at around 100bpm to start with. 1 . MR BIG VeRSIon CD TRACK 10 [pAuL GiLBeRT’s GuiTAR] At 122bpm.. œ œ œ œ œ œ œ œ œœ œ œ PM E B G D A E .E E E B B B G G G D D D A A A E E 125 E 123. 136 135. 125 123. œœ œœ œ œ œ œœ œ œœ œœ 3 3 3 1 1 1 3 3 3 1 1 1 3 3 3 1 1 1 3 3 3 1 1 1 3 3 3 1 1 1 3 3 3 1 1 1 3 3 3 1 1 1 Play 3 times Play Play 3 3 times times œœ œœ œ œ ... œ œ œ œ œ œ .12 & #### 1 7 PM 7 9 9 ≥ ≤ ≥ ≤ 9 9 etc œ œ œ œ œ œ 9 9 7 7 9 9 9 9 9 9 . . . 7 7 9 9 9 9 7 7 9 9 9 9. 17 1 . œ œ6 œ œ œ œ œ œ œ œ6 œ œ . . . œ œ œ œ 37 7 9 9 11 11 7 7 13 13 9 13 9 11 11 9 9 9 9 Play 5 times 9 9 9 9 9 9 9 9 9 9 9 9 9 9 ... 9 9 9 9 9 9 89times 9 .. 31 29.. œ œœœ œ œ œ œ & 11 11 9 9 . 7 7 œ œ œ œ œ œ 7 7 œ œ œ œ œ œ . # PM & œ œ 11 11 9 9 9 9 9 9 & # œ œ œ œ œ11œ11œ œ9 œ 9œ 11 11 œ9 œœ9 œœ7 œ7œ œ9 œ9 œ œœ7 œ7œ 9 9 œ œ 9œ 9 œ7 œœ7 9 9. & PM PM . .12 13. 1œ œ 9 9 # # # # PM7 7 ≥ 9 ≤9 ≥œ ≤œ etc9 9 7 7 9 9 œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ Play œ œ 4œtimes .. œ. 7 7 9 9 9 9 7 7 9 9 9 9 .. PM & TECHNIQUES 4©»¡™™ GUITAR MAGAZINE 2 4 1 œ œ œ œ O'RILEY9 -Play œ œœ 9 9 9 Paul Gilbert's œ 9 9 9 9 BABA 9 9 9 9 9 9 9 9 9 9 9 9 9 912 times 9 .36 37 . PM ≥œ œ≤ ≥œ9œ ≤œ9œ etc9 9 œ9 œ9 œ œœ œ9œ œœ9 œ 9œ 9œ œ9 2œ9œ .. 2PM9 ...36 37 . PM9 9œ œ œ œ œ œ œ œ œ œ œ œ .77 99 77 99 . 9 9 9 9 9 9 Play 89times 9. PM & 7 7 œ œ 7 711 13 11613 11 13 . 9 9 œ œ œ œ œ œ œ œ . œ œ œ œ9 9 œ œ œ œ œ œ Play 3œtimes # # # # PM œ œ œ œ œ œ œ œ œ œ . . .9 7 9 7 9 9 12œ 12œ 10 10 7 9 7 9 œ œ 12œ 12œ .12 13. 7 7 7 7 # # # # 7 7 œ œ œ œ œ œ 7 7 œ œ —~~~ .. 12~~~ œ œ 6 6 6 12 . . PMœ œ œ9 œ9 œ œ 12 12 10œ 10œ œ9 œ9 12 12 12 12 . 9 9 9 9 9 9 . 31 33 . . . œ . ..36 37 .BABA O'RILEY . œ œ . .PM7 7 œ9 œ9 œ œ œ9 œ9 7 7 œ9 œ9 œPlayœ œ94 times 7 7 7 7 œ œ œ œ 12 . .. . PM7œ 7œ œ œ œ œ œ œ 7œ7œ œ Play œ œ œ œ .. & 9 9 9 9 œ œ œ œ œ Play 39times 9 . 15. PMœ œ œœ œœ 9œ 9œ œœ œ œ œœœœœ œ9œ9 œœœœ . 17 1 . 0 9 12 9 7 12 0 9 12 9 7 12 0 9 12 9 7 œ œ œ œœœ œ œ œ œ œ œœ. . 31 29. 7Mr 7Big9 Version # # 4 . . 1œ œ 9 9 9 9 9 9 œ œ . . 7 79 9 9 9 9 9 7 7 9 9 Play . ... œ œ 9 9œ œ œœ ∑ PM 9 9 11 11œ œ œ 13 11 11 9 9 & PM œ 13œ œ9 13œ 9œ PM œ œ 9 9 9 9 9 9 9 9 œ œ 9 9 9 9 9 9 . . 30. . .. PM 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 ~~~ .. œ œ 9 9 œ œ 9 9 . 30. . 39times 9 ..23 L L LL LLL L LLLLLL ±L L L L L L ± ± ± ± 29. 30.. 7 7 7 7 . 17 1 ... . Play # œ œ œ 7 7 7 7 ## # # # œ œ œ œ 3 œ œ œ œ œ œ œ œ . 7 7 7 7 Play: ROCK E B G D E A B E G D A E E B G D A E E B G D A E E B G E D B A G E D E A B E G D A E E B G D A E E B G D A E E B E G B D G A D E E A B E G D A E E B G D A E E B G D A E E B G B D G A D E E A B E G D A E E B G D A E E B G D A E E B G B D G A D E E A B E G D A E E B G D A E E B G D A E E B G B D G A D E E A B E G D A E E B G D A E E B G D A E E B G D A E 1 ..612 9 7œ 12œ œ0 9œ 612œ œ9 7 12œ0œ9 6œ12œ9œ7œ12.. ~~~ # 7 7 7 7 7 7 7 7 ## # ~~~ œ œ — œ œ œ œ œ œ œ œ 12 12 0 9 12 9 7 12 0 9 12 9 7 12 0 9 12 9 7 . . 29 9 & 9 9 œ œ œ œ .44 33 . œ œ œ œ 9 9 œ œ œ œ œ œ 9 9 œ œ ... # # # #PM7 7 œ9 œ9 œ œ œ9 œ9 7 7 œ9 œ9 11œ 11œ . œ œ 37 7 & 6 7 7 œ œ Play 5 times 12 12 œ œ œ œ3 œ œ œ . œ œ œ œ œ œ œ œ œ œ Playœ4 times # # # #PM œ œ œ œ œ œ œ œ —12 0 9. 31 37 . PM9 9 9œ 9œ 9œ 9œ 12œ 12œ 10 10 9œ 9œ œ œPlay12œ 512times œ . œ œ œ œ œ œ Steve Allworth's œ œ œ œ œ œ . œ œ # œ œ œ œ œ œ œ 6 7 7 7 7 # 3 œ œ œ 12 12 œ œ œ œ œ œ . 15. 89times 9 . 9 œ9 œ7 œ67œ 9œ œ9 œ œ7œ67œ 9œ œ9 œ œ œ69œ œ9 œ7 7 9 9. . 77 99 77 99 . —œ œœ & .. .23 18 19 . 9 9 9 9 9 9 9 9 . 7 7 œ9 œ9 œ œ œ9 œ9 7 7 œ9 œ9 œPlayœ œ94 times œ œ œ œ ..44 .. œ œ œ œœ œœ 9 9œ œœ œœ œ œ œ œ 9 9∑ œ œ ..12 13.. . œ œ 9 9 œ œ œ œ œ œ 11 13 11 13 11 13 . .. 7 7 7 7 œ œ & # # 1 œ . 7 7 9 9 œ œ 9 9 7 7 9 9 œ Play œ œ œ œ9 9œ œœ œœ œ œœ œœ 9 9œ œœ œ & # # 4 . 30. PMœ œ 9 9 œ œ 9 9 œ .44 33 . . # # # # œ œ œ œ 11œ 11œ œ9 œ9 11 11 9 9 7 7 9 9 7 7 œ9 œ97 œ 7œ œ9 œ9 7 7 œ9 œ9 œ œ 7œ9 7œ9 ∑ PM & œœœœœœœœ œœ999999œœ999999 11 11 9 9 11 11 9 9 Play 3 times ## # ## # œ œ œ œ œ œ œ œ 11 11 9 œ9 7 œ 7œ 9œ œ9 œ 7œ 7œ œœ œ œœ œœ œœ œœ œ7 7 œ œ œ œ œ œ ∑ œ œ œ œ .9 œ9 œ 9 9 9 9 œ œ 9 9 9 9 9 9 9 9 .CONTINUED # #VeRSIon CD 10 MR BIG 7 7 7 7 7 œ œ œ œ œ œ œ œTRACK . œ œ œ œ 9 9 œ œ œ œ œ œ & 9 9 9 9 9 9 3 PM PM 7 7 7 7 #### .. . œ. 7 œ 7œ # # œœœœ œ œ7 7 & # # PM119 119 99 99 œ9 œ9 œ11œ11œ 9œ 9œ 13œ 13œ œ9 13œ 9œ 11 œ11 œ.œ PM œ œ œ 9 œ9 9 9 œ œ 9 9 9 9 œ . œ7 œ7 9 9 œ œ 9 9 œ7 œ7 9 9 œ œ # ## # œ œ œ œ œ œ œ œ œ œ œ œ . . . 9. PM 9 9 œ œ 12 12 10 10 9 9 œ œ 12 12 .36 37 . # # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 œ œ œ . .23 18 19 . . ...Paul Gilbert's Mr Big Version # # ©»¡™™ # œ œ œ Play œ œ12 times œœ œ œ œœœ œ 4 Steve Allworth's # . .. 17 1 . ≥ œ ≤œ ≥9œ ≤9œ etcœ9 œ9 9 9 œ œ œ 9œ œ96 œ 9œ 9œ . 9 9 9 9 9 9 9 9. œ7 œ7 9 9 œ œ 9 9 œ7 œ7 9 9 œ œ 9 9 # # # # 41 . .23 18 24 24 24 24 24 27 27 27 27 27 32 32 32 32 32 32 GuitarTechniques April 2015 L L LL LLL L L L LL LLL L L L LL LLL L L L LL LLL L L L LL LLL L 19 . . œ .44 33 .œ 7 œ 7œ ≥ etcœ œ œ œ œ 7 œ 7 œ œ œ œ . 15. . GUITAR TECHNIQUES MAGAZINE 241 œ œ œ œ œ œ œ œ œ œ œ .23 18 19 . œ œ # # # # .. & 4©»¡™™ 9 9 9 9 9 9 œ œ 912 times 9 .. PM7 7 œ9 œ9 œ œ œ9 œ9 7 7 œ9 œ9 Play œ œ œ œ 12 . ... œ. & 4©»¡™™ BABA Gilbert's œMr œBig Version œ œ O'RILEY -PlayPaul12 times œœ #### 4 . . œ œ 9 9 œ œ 9 9 œ . 2PM . & # # PM9 9 9 9 œ9 œ9 œ11œ11œ 9œ 9œ 13œ 13œ œ9 133œ 9œ PM . 7 7 9 9 œ œ 9 9 7 7 9 9 Play 8 times ## # ## # 7 7 9 9 œ œ 9 9 7 7 9 9 œ œ .. 9 12œ9 œ07 9œ6712œ 9œ9 7œ9 12œ œ079œ6712œ œ9 7œ 12œ œ0 œ9 612œ œ9 œ77 7 . .9 œ9 œ œ œ œ9 œ9 9 9 9 9 œ œ9 129 129 9 9œ 9. 15. PM & œ7 7œ9 œ9 œ9 99 99 9 œ7 œ7 9œ9 œ9 œ9 œ ~~~ 9 9 9 9 9 9 9 . ≥œ œ≤ ≥ ≤ etc9 9 . # # # # PM œ œ 9 9 œ œ 11 13 11 13 11 13 .œ 7 œ 7œ 9 9 œ œ œ9 œ9 œ 7 œ 7 9 9 œ œ 7 7 œ œ œ . œ œ9 œ9 œ œ œ œ œ Play œ œ & PMœ11œ 11 9 9 99 11 11œ œ9 9 9 9 12 0 9 12 9 7 12 0 9 12 99 79 129 099 129 99 7 œ 9 9. PM PM . 7 7 7 7 . . & 9 9 9 œ œ 9 9 9 9 œ œ 9 9 ~~~ 9 .9 . . 15. 7 7 9 9 9 9 7 7 9 9 9 9. PM & 9 œ œ 9 9 9 9 9 9 œ œ 9 9 ~~~ .. œ œ œ œ 9 9 œ œ œ œ œ œ 9 9 œ œ . 17 14 16 14 16 14 16 14 16 14 16 18 19 .. œ œ 9œ 9œ œ œ œ œ œ œ 11œ13œ3 11œ13œ11œ13 . 7 7 œ9 œ9 & # # 1PMœ .. 31 29.44 33 .12 13. 30. œ œ œ œ œ . 2 . 9 9 9œ 9œ 9œ 9œ 12œ 12œ 10 10 9œ 9œ 12œ 12œPlay12œ 512times œ œ œ . 7 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ PM PM . PM TRACKs GUITAR MAGAZINE 2 4 1 & TECHNIQUES 4©»¡™™ œ œ œ œ œ œ œ œ Play 12 times BABA O'RILEY Paul Gilbert's Mr Big Version #### 4 .36 29.12 13.. .. . œ œ œ œ œ œ œ œ œ œ Steve Allworth's œ œ œ œ . 9 9 9 9 9 9 9 9 9 . . œ œ & 13 13 9 13 9 11 11 9 9 11 11 9 9 9 9 3 9 9 9 9 9 9 9 9 9 9 œ œ 9 9 9 5 times 9 .PM . . . œ œ PM PM ≥ # œ œ œ œ œ œ œ ≤ ≤ # œ œ 6 9œ 9 .. . # # # # PM7 7 œ9 œ9 œ œ œ9 œ9 7 7 œ9 œ9 —~~~ . œ œ œ 9œ 9 9 9œ 9œ 9œ œ œ9œ9 9 9 œ9 œ9 . PMœ9œ 9 9 99 9 œ œ 9 9 œ œ . 9 9 9 9 9 9 9 9 & PM PM œ œ œ œ œ œ œ œ œ œ œ œ 9 9 9 9 9 9 9 9 9 9 9 9 Play 89times 9 . . PM œ œ ON THE œ CD œ œ œ œ œ 8-11 œ œ .œ .. . Play 4 times . œ 9 9 9œ œ9 œ 9 œ 9œ œ9 99 9 œ œ 9 9 9 9∑ 9 9 . 6 9 9 & PMœ11œ 11 9 9 11 11œ œ9 9 œ œœ œœ 3 times # # # # œ œ œ œ œ œ œ œ 11œ 11œ . PM œ œ œ œ œ œ œ œ œœœ œ . 7 7 9 9 9 9 7 7 9 9 9 9 . & # #PMœ7œ œ7œ9 œ9 œ9 9 9 9 œœ7 œ7 9œ9 œ9 œ9 œ ~~~ . . & # ## # ## PMœ œ œ9œ œ9œ 9œ 9œ œ9œ œ9œ œœ œœ œ9œ œ9œ 11œ13œ11œ13œ11œ13 . . PMœ œ œ œ œ œ œ œ œ œ œ œ . . this can also serve to temper the higher frequencies often associated with single-coils. chords and techniques that feature frequently in this style of playing. When playing acoustic. check out his and Paul Franklin’s Bakersfield for traditional sounding country. not to mention home-grown country stars such as the shires. Johnny hiland’s self-titled album contains some exciting country-rock crossover and showcases the increasingly used overdriven country tone. but in fact the most popular musical genre. perhaps more importantly. for many. you’ll find the majority of country guitarists use a single-coil equipped guitar. Ed Sheeran arpeggios. When hybrid picking. related artists.000. the purpose of this TeChnique FoCus Hybrid Picking Hybrid picking (pick and fingers) is the technique most commonly associated with country playing. add some cool.this will definitely help to get you up and running. instead I have targeted material that can be heard regularly on country records . this is not such a pressing concern. too. article is to hone your country skills. if you are what you eat. Get the tone 6 5 5 6 4 Gain BaSS MiddLe TReBLe ReveRB A clean tone is very much the done thing in country music and. So yeah. I would suggest that your acoustic is actually playable above the 4th fret as. I hope the following examples will enthuse you to delve even more deeply into the wonderful world of country music. third (a) and fourth (c). countryflavoured ideas to your technique repertoire . one day i would keep my mind open to doing a country record. but that would go beyond the limitations of this article and could potentially overwhelm from a learning perspective. With this in mind. This is then often played through a quality valve combo. it's refreshing to find a musical community that still shows respect and admiration for the individuality and talent of the musician. You may have been asked to dep in a country outfit. I could wax lyrical about the theory. artists such as Lady Antebellum and taylor swift spring to mind. and check out some of the simply amazing players that populate the genre.pulling out a flashy country run in a rock or blues situation can be a real eyebrow raiser! Over the following pages I will be introducing you to some of the scales. and inevitably find their way to your fingers. has tended to conjure up images of line dancing classes being held in run-down village halls and social clubs. Further reading albert Lee’s hiding contains his party piece Country Boy . more often than not. the many techniques and the truly fabulous players that make up the world of country guitar. your thumb and first finger are committed to holding the plectrum: this leaves you with three remaining fingers with which to pick: these are your second. boasting a radio audience of 70. In recent years players have increasingly been driving their amps as well.000 every day.a must learn for any aspiring country guitarist. Whatever the scenario. If you're new to country. and Ward thomas. familiarising yourself with the information in this article will afford you a significant head start and. Steve Laney reckons it’s time GT readers received a thorough preparation for that potentially imminent country gig. but considering acoustics are often mic’d or DI’d. then you are also what you listen to. 34 GuitarTechniques April 2015 . Instead. Vince gill’s albums always contain fantastic playing. We're now hearing more country on mainstream radio. to put it another way. Therefore many players will use a compressor to give their notes added longevity. across the Atlantic country is no laughing matter. In an age where celebrity has sometimes become more important than ability. so. In recent years we've seen country music grow in popularity on this side of the pond. third and fourth.play: COUNTRy ON THE CD TraCk 12-40 Ultimate Country Workout With country music’s popularity seeping into every corner of the music-loving world. A lack of gain can lead to a lack of sustain and this is particularly noticeable when soloing. with country music. Look out for my recommended hybrid picking directions throughout this article. a lead boot camp and finally a full piece that combines the rhythm and the lead. you're likely to be pleasantly surprised by how much of a platform is granted for the musician to flex his or her musical muscles. so a distorted sound is becoming more acceptable (you can always turn down to clean things up).for example string skipping. many players tend to favour a big dreadnought. With tools like spotify and Youtube it's never been easier to source the music of your persuasion .and they even make suggestions for other. Doing so will ensure that its nuances become engrained on your subconscious. It's important that you do lots of listening when learning a new genre. however. Or. this article is divided into three sections: a rhythm boot camp. you never know when you might get the nod to take a solo. or a demanding bride and groom have requested your band learn some Nashville flavoured numbers for their big day. the very word 'country'. ABILITY RATING easy/Advanced Info WIll Improve your Key: Various Tempo: Various CD: TRACKS 12-40 Hybrid picking Soloing over chord changes Country lick vocabulary I thInk It's fair to say that country music has received a bad rap in the Uk over the years. These are named second (m). Country music is some of the best-written music in the world. although it can have some benefits and interesting results when used in other genres such as rock . MArTin Philbey / GeTTy iMAGeS ultimate country workout Albert Lee: still playing fabulous country guitar April 2015 GuitarTechniques 35 . ... . . . ... E 3 Ex6 2 E G 3 0 of G. ≥3 . ≥ . you 0 2 2 0 2 0 2 2 2 your1 thumb to play203the single notes and then ‘brush’ 1 0 the higher notes 2 3 0C 2 3 0 ‘Carter Scratch’ in with20your first finger. .so...play: COUNTRy ON THE CD TraCk 12-40 PART 1 ExAMPLES RhYthM BootCAMP TRACKs 12-14 Steve Laney eXAmpLe 1: DiAToniC ChoRDs Here we chords pattern PREP FORfrom A COUNTRY GIGof major-minor-minor-major-major-minor-diminished is the same GUITAR TECHNIQUES MAGAZINE 2 4see 1 the diatonic Steve Laney the key of G major.2 we’re then walking up the bass2 notes to the next chord E 3 Ex6 2 Ex 2 ©»ª• # ©»ª• 4  & ©»ª• 4 Ex 2 ## ©»ª• 444 & & # ©»ª• 4 & 44 ˙˙ ˙ D˙ D˙ ˙ D˙ ˙˙ ˙˙2 ˙˙32 ˙30 ˙˙ C˙ C˙ ˙˙˙ C˙ ˙˙ ˙˙01 ˙˙0 ˙˙12 œœ œœ œœ œœ œœ œœ33 œœ3030 0 0 ≥33330 ≥0003 3 ≥≥00 ≥ œ œ œœ œ0 œœ œœ œœ œœ œœ œœ33 œœ3030 0 0 3 3 3 ≤ 3 0 0 0 ≤ 0 3 3 0 ≤≤ 0 œœ ≤œœœ œœ œœ œœ2 œœ32 œ302 0 2 2 3 3 2 2 0 0 2 0 0 3 G7 2 0 0G7 0 œ œ œœ œ0 ≥0 ≥0 0 ≥≥0 œœ ≥œœœ œœ œœ œœ2 œœ32 œ302 0 2 2 3 3 2 2 0 0 2 3 2 0 n œœ n œœ œ nn œœœ œ n œœœ10 œœ100 0 œ œ œœ œ2 ≥2 ≥2 2 ≥≥2 œ≥ œ œœ œ0 0 0 0 œœ œœ œœ œœœ œœ1 œœ0100 œ 0 œœ œœ œœ œœ œœ œœ01 œœ0 œ12 œ œ C œœ œ3 C C 0 2 0 0 1 1 0 0 2 2 0 1 0 2 3 etc etc 3 3 etc etc 3 œœ œœ œœ etcœœ œ œ œœ œœ œœ œœ œœ2 œœ2 œœ32 œœ32 œ30 œ30 2 0 2 2 3 3 2 2 0 0 2 3 2 0 œ œ œœ œ0 2 0 2 2 3 3 2 2 0 0 2 3 2 0 œœ œœ œœ œœ œœ œœ01 œœ0 œ12 0 2 0 0 1 1 0 0 2 2 0 1 0 2 œ œ œœ œ3 3 3 3 3 œ œ œœ œ0 0 œ œ œœ œ2 0 0 2 2 œœ0 œœ œœ œœœ œœ1 œœ0100 œ 2 œœ2 œœ œœ œœœ œœ1 œœ0100 œ œœ œœ œœ œœ œœ œœ01 œœ0 œ12 . Here we’re 0 2root and 5th of0 each G. V pRoGRession WiTh LeADinG BAss noTes D E Ex 2 0 2 4 2 0 A 2 0 2 3 A B 2 0 2 3 Many country tunes 0 are written on 1 the I. Memorising this pattern will enable you to and analyse PREP FOR Athe COUNTRY last four and better understand chord progressions and song construction. extended harmony equivalents. playful sound. .C . . C and D in the key singling out 6 D 0 2 4G 2 0 3 chord. Exbars 1 are their four-note.. V chords 3G of a major key 0 .C œ œ C œœ œ3 œœ œœ œœ œœ œœ œœ01 œœ0 œ12 0 0 2 0 2 0 0 1 0 1 1 0 1 0 0 2 0 2 2 0 2 0 1 G1 0 0 2 G2 ww w Gw G ww w Gw ww ww33 ww30 www3002 0 3 3 2 3 3 3 0 0 0 0 3 2 2 3 3 0 0 2 3 œœ œœ œœ œœ œœ œœ01 œœ0 œ12 œœ œœ œœ œœ œœ œœ01 œœ0 œ12 œ œ œœ œ3 œœ œœ œœ œœ œœ œœ01 œœ0 œ12 0 2 0 0 1 1 0 0 2 2 0 1 0 2 3 3 3 3 œœ œœ œœ œœ œœ œœ01 œœ0 œ12 0 2 0 0 1 1 0 0 2 2 0 1 0 2 œ œ œœ œ2 2 œ œ œœ œ0 2 2 0 0 2 0 œœ œœ œœ œœ œœ œœ01 œœ0 œ12 0 œœ œœ œœ œœ œœ œœ01 œœ0 œ12 positions. Doing so helps create a joyous. œœ . This technique is known as the 2C 2 0 2 2 country guitar circles. .. œ3 . œœ≥≥3 œœ œœ≥ œœ œœ œœ œœ œœ œœ œœ33 œœ33 œœ3030 œœ3030 0 0 0 3 3 3 3 0 0 0 0 3 3 0 G 0 G 0 3 3 3 3 0 0 0 0 3 3 0 0 œ œ œœ œ2 2 2 2 œœ œœ œœ œœ œœ œœ33 œœ3030 0 0 ≥33330 ≥0003 3 ≥≥00 ≥ œœ œœ œœ œœ œœ œœ33 œœ3030 0 0 3 3 3≤ 3 0 0 0≤ 0 3 3 0 0≤≤ œ≤ œ œœ œ3 3 3 3 œœ œ œ œœ œ œœ œ œœ œœœ3 œ33 œ0 œœ0300 0 0 ≥ 33330≥ ≥ 0003≥ 0 0 3 ≥≥ DD 00≥≥ 0 ≥ DDœ ≥ œ D œœ œ0 0 0 0 œœ œœ œœ œœ œœ œœ33 œœ3030 0 0 3 3 3≤ 3 0 0 0≤ 0 3 3 0 0≤≤ œœ œœ≤ œœ œœ œœœ2 œœ32 œ302 0 2 2 3 3 2 2 0 0 2 3 2 0 E B E G B D G A D E E A E B E B G G D D E A A B E E G D A E 1 1 1 1 1 36 GuitarTechniques April 2015 3 3 0 0 0 2 2 0 2 2 0 0 F # m7 b 5 2 # b 2 F m7 5 0 ˙˙ ˙˙˙ E m7 E m7 ˙˙ ˙˙˙˙ E m7 ˙˙0 ˙˙30˙ ˙˙32 ˙0220 ˙0203 ˙˙ F #dim F dim ˙˙ ˙˙ # F dim ˙˙ ˙˙˙ ˙˙242 ˙34 2 3 2 2 2 4 4 3 3 2 2 4 3 2 ˙ ˙ ˙˙˙ b 5 F # m7 ˙˙1 ˙˙212 ˙22 ˙˙ b 5 F ## m7 ˙ b5 F m7 ˙˙ ˙ G˙ G˙ ˙˙ G˙ ˙˙˙ ˙˙33 ˙˙30 ˙˙˙3002 0 3 3 2 3 3 3 0 0 0 0 3 2 2 3 Gmaj 7 3 0 0 Gmaj 7 2 3 ˙ ˙7 Gmaj ˙˙ 7 Gmaj ˙˙ ˙˙ 7 Gmaj ˙˙2 ˙˙020 ˙˙0 ˙˙0203 2 2 2 0 2 2 2 1 1 0 0 2 3 1 3 1 0 2 0 2 0 2 0 2 0 0 2 2 0 may prefer to use in the sequence. .. . Refer to example C 1 G7 to see what the chords ‘should’ be.. GG œ ... The first four bars are three-note chords whereas for allGIG major keys. Gœ . iV. Instead of using a pick for this. . 0 2 3 œ œ œœ œ3 ≥3 ≥ 3 ≥≥3 œ 3œ ≥œœœ œœ œœ œœ2 œœ32 œ302 0 2 2 3 3 2 2 0 0 2 3 2 0 ©»ª™ 0 œœ2 œœ3 0 œœ œœ # 4©»ª™ 3 3 œœ common œœ practice œ œ 7Th ∑ChoRD pLACemenT It’s #4 Ex & 3 DominAnT œ œœ œœ ∑ in country& for dominant 7th chords to be used G in diatonically ‘incorrect’ ©»ª™ Gœ 4 œ œ Ex 3 # ©»ª™ # 444 œ œœœœ œœœœ œ œœœœ œœœœ ∑ G & ∑ & # 4©»ª™ œœ3 œœ3 œœ œœ3 œœ3 œ 4 œœ330 œœ330 œ œœ330 œœ330 ∑ & 4 3 3 3 3 0 0 0 0 0 œ œ œ œ3 003 003 0 œ003 œ003 ≥3 ≥3330 ≤3330 ≥ ≥3330 ≤3330 ≥ ≥0003 ≤0003 ≥00 ≥0003 ≤0003 3 3 3 3 3 ≥≥3 ≥≥00 ≤≤00 ≥≥0 ≥≥00 ≤≤00 3 ≥ ≥ ≤ ≥ ≥ ≤ 3 3 ˙˙ ˙˙ Em Em ˙˙ ˙˙ Em ˙˙ ˙˙00 ˙˙0 ˙˙0202 ˙200200 2 0 2 2 3 3 2 2 0 0 2 3 E m7 2 0 E m7 ˙˙ ˙˙ D7 ˙˙ D7 ˙˙ D7 ˙˙˙2 ˙˙12 ˙10 E B E G B D G A 0 2 3 D 4 2 E E 2 2 0 6 A 2 0 2 3 E 0 B 0 1 3 0 E 3 B 0 1 3 0 G6 0 0 2 0 G 0 0 2 0 D 0 2 4 2 eXAmpLe 2: i. 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( C add9 ) & ( E m7 ) œ œ œ ) ( G2 œœ/C ) (Cmaj7 œœ ) ( D/G œ ) Gww œ œ œ œ œ œ .œ m œ m œ 44a gig and∑don’t want toœ just the lead guitarist # #onBridge œœ œœ i œ œ œ œ i œœ œœi œœ œœ œœ double œœ œ œœup what œœ the œœ œ œœPerkins Ex & 5 & middle pickup p B7 E Aœ ©»¡º™ œ œ œ œ œ œ œ œ œ œ p Eœ œ p œ œ œ œ œ œ œ # # # #Bridge Ex 5 44 & middle∑ pickup E œ1 œ1 œ1 œ1 A œ2 œ2 œ2 œ2 B7 œ2 œ2 œ2 œ2 E œ1 œ1 œ1 œ1 & # ©»¡º™ œ2 œ2 œ2 œ2 œ2 œ2 0 œ2 œ2 0 œ2 œ2 œ2 œ1 œ1 œ2 œ1 œ1 œ2 œ2 œ2 œ2 œ2 œ2 ## # 4 œ œ œ0 œ œ œ œ0 œ œ œ 0 0 2 œ 2 œ 0 ∑ œ œ œ œ œ & Bridge 4 & middle pickup ≥ œœ≥12 ≥ œœ≥12 ≥ œœ≥12 ≥ œœ≥12 etc œ22 œ22 œ22 œ22 œœ12 œœ12 œ0 œœ12 œœ12 2 2 2 2 œ œ œ 1 1 œ œ 1 1 œ œ œ œ2 œ œ2 œ0 œ0 œ0 œ0 2 2 2 œ2 2 œ2 œ œ œ 0 0 0 0 Ex 6 Bridge & middle pickup ≥ ≥1 ≥E 6≥1 ≥ ≥1 ≥ ≥1 etc 2 2 2 2 A213 2j 2 2 1 1 1 1 ©»¡º™ j2 2 2 0 2 2 0 2 2 2 1‰ œ1 2 œ1 œ 1 2 2 2 œ2 2 œ œ2 2œ . œ b b p i m a m a m p i a m i a m 0 b œ œ œ œ œ œ œ œ w . ( Am7 3 œ œ œ œ b œ œ œœa mF/A mœ . œœ02a œœ02 0 œœ00 œ20 ww003 p m 2i etc m m œm2i 3 0 2 3 œ0 i 3i 0 0 p p p 3 a 3 1 3 0 p i m 3 a m i m p i m a m i .œ12 2 ≥ ≥ 2 ≥ 2 ≥ ≥ 2 œ etc ≥ ≥ ≥ ©»¡º™ j œ 2 2 #### 4 ‰œ 0œ œ œ œ2 œ #0œœ œ0 œ 0 œœ0 œso. Think Chet Atkins! j œ ©»¡º™ Ex 6 œ œ0 œ2 œœ œ0 .. Ex 6 6: CounTRy/RoCKABiLLy œ0 œas it’sœ used ∑ pickup eXAmpLe We’re notching up≥the difficulty Thisœisn actually a very rewarding Bridge & middle etc ≥ ≥ ≥ ≥ ≥ ≥ ≥ & 4 n œ # œ œ œ œ technique œ œ œ œ œ E 6 master 13 level with the hybrid picking here.a 2 m ib a m œœœ œ œ œ œ p1Eœbadd9iœ m a . 2 2 & 4 œ0 0 œ œ 0 œ œ0 œ œ b4 œ2 œ œ0 2 œ3 œ œ 2 œ3 . 0 1 E6 1 0 1 1œ ∑ & 4 n0œ 22# œ0 22 œ0 œ22 œ0 22 œ 2 A2113 2n œœ21j 2 œ21 2 œ21 n œ #0œ 12 œ2 œ12 0 œ12 2œ . # 0 0 2 2 2 2 0 (2D /F ) (G ) 2 ©»¶§ 002 002 Ex 4 2 2 0 0 0 b 40 20 20 0∑ 020 020 . 3 3 3 # . & b ( E m7 ) œ2 œ0 3 œ0 ww0 2 2 2 0 . 2 Ex 6 2‰ #### 4 œ œ œ œ . . G7 55 4 5 4 55 4 5 4 . nb œ n œ œ œœ & ∑ b œœ n œ œ œœ . I prefer 7 7 out Honky Tonkin’7 11 9 Lines Go 11 9 9 fret G 7 hear some C/G C/Gthe notes 9 11 D7 Play 4onDthe 7 7rhythm G7 neck to 0sixth string.. m55 5 œ œ33 44œ .. œ œ œ . ≥ nb mœœ3a n œ ≥ m5a ≥œ etc b œ3 n œ 5 œ . # . m≥ œœ .. œ C7 3 3 œ C7 G7 3 3 ≥≥ waa ≥≥5 mm ≥≥ aa ≥≥ mm ≥≥5 aa ≥≥ ≥≥3 maa ≥≥ etc ≥≥3 maa jj œ ## ‰‰ j etc ≥≥ ≥≥ œœ œœ bb œœ . m≥≥33 œ44 .9 For bars 277 and 4.. Palm mute the sixth you prefer. 55 5 . 3 Bridge & middle pickup 3 3 3 C7 3 3 3 3 ≥≥ 3aa ≥≥5 mm ≥≥ 3aa ≥≥ mm ≥≥5 3aa ≥≥ ≥≥ m5aa ≥≥ etc ≥≥ m3aa j etc 3 5 . m œœ œœ œœ . œ œœ5 .. œœ ≥3333 44 œœ 555 5 œœ 3333 44 œœ 555 5 . Bridge & middle pickup . œœ œœ3 œœ . bb œœj nn w & w n œœ1 œœ ≥ œ1 œœ œ & C7œœ n ww G7 œ œœ 3 œœ 1 œ 3 w43 C7 G7 j 2 2 2 2 ## ‰‰3 j j 3 œœ œœ3 b œ . œ ## œœœ œ œ . œ œ œ ... ‰‰ 0 œjj œ œ . although on Nashville’s Lower Broadway and it’s likely you’ll you can always barre if 7 7 j 0 ©»¡£™ 7 accompanying bass notes on the 7 7 j times 12 j guitar akin to this. œœ œœ œœ œ œ œ œœ Ex 7 & 44 n œ Ex 7 œ3 5 œœ 3 .. ‰5 # œœœj œœ5 œœ .... Gœ7 3 C/G . œ ∑∑ & 4 . . œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ ≥ 0 1 0 1 0 0 Ex 8& œ 3 œ 3 œœ 3 œœ 3 3 œ 3 Cadd9 3 3 Ex 8 Dœm 2 2 2 2 2 2 0 0 0 0 0 0 0 0 ©»§§ Dm Cadd9 Acoustic Gtr 0 0 ©»§§ œ œ Acoustic Gtr œ œ œ œ 3 3 4 œ œ œ œ œ œ œ œ œ œ b ∑∑ & ≥œ ≥œœ ≤œ3 ≥œœ ≤œ00 11 ≥œœ ≤œ3 ≥œ œœ≥ ≤œ3 ≥œœ ≤œ00 11 ≥œœ œ≤3 ≥œ ≥œœ ≤œ3 ≥œœ ≤œ00 ≥œœ œ≤3 œœ≤ ≥œ ≥œœ ≤œ3 ≥œœ ≤œ00 ≥œœ œ3≤ œ≤œ & b 44 œ 22 3 22 œ 00 3 00 00 3 00 œ 00 3 00 00 3 00 2 3 œ 2 3 2 2 3 2 2 2 0 0 2 B13 3 3 E B G D A E E E B B G G D D A A E E E B E G B D G A D E A E E B G D A E E E B B G G D D A A E E E B E G B D G A D E A E E B G D A E E E B B G G D D A A E E E B E G B D G A D E A E E B G D A E E E B B G G D D A A E E E B E G B D G A D E A E E B G D A E E E B B G G D D A A E E E B E G B D G A D E A E 4 œ œ œœ œœ œœ 9 œœ œ E 6/ 9 œ.. ironically. 3 5 3 5 .œ inœ Exerciseœ 1 to their sus2 orœsus4 counterparts.. œœ .. # œ œ œ 3 ww # ‰ œ œ nn œœ ## œœ œ œ # ## # ## ‰ 3 œ œ ww & œœ 7 œ œ œ & 7 B13 E12 6/ œ œ 9 9 12 ww99 B13 E11 6/ œ œ8 œ 7 œ . 99‰ b7 œœ 77n œœ ⋲88 œœ œ7 ⋲ 7‰ 99b œœ n œœ ⋲ 7 œœ œ7 ⋲ .. The sus chords 3 3 3 etc a ©»§§ Acoustic Gtr œœ addressed œœ œ well onœan acoustic.& So bit’s4surprising to∑find very few country tunes in minor keys. .... # ‰ ... œ . ‰3 nb œ n œ ⋲3 œœœ œ ⋲ ‰3 b œœœ n œœ ⋲3 œœœ œ ⋲ . b œj n w 3 & bœ nnw b œ œœ œœ1 œ œ a & etcœœ œ w n 1 1 œ œ m œœ 33 2 œœ 1 2 ww443 1 œ1 3 3 ≥ 2 2 2 2 2 2 3 Ex 8 3 3 3 3 3 3 3 Dm Cadd9 3 3 3 ©»§§ etc a etc a 1 1œ œ 1 œ m œ œ œ 4 œ œ œ œ œ œœœœœœ m 3 3 4 1 1 1 b ∑ ≥ œ œ œ œ œ œ 2 2 2 2 3 & 43 œ œ œ œ œ 3 3 4 ≥ Ex 8 3 œ2 2 2 œ 2 3 œ œ Ex 8 Dm Cadd9 3 3 3 3 3 Djoyful m Cadd9 some minor ©»§§ eXAmpLe 8: minoR AnD sus ChoRDs The nature of country This example explores and sus chord usage. ∑ 4 œ œ œ œ . œ m music is often.. 4 4 4 4 1 1 1 1 1 3 7 3 3 7 7 3 3 7 7 1 1 1 1 1 4 4 4 4 4 &b b & &b Acoustic Gtr Acoustic Gtr B bsus2 œ œ œœœ œ B bbsus2 B sus2 œœ œœ œœ œœ œœ œœ 1 B bsus2 3 B bsus2 1 œ bb 1 œœ œœ œœ œ1 œœ & & ≥œ ≥ ≤11 ≥ etc1 œ 33 33 33 3 3 1 1 ≥≥ ≥≥ ≤≤1 ≥≥ etc 1 etc 1 3 3 3 1 1 3 1 3 ≥≥ ≥≥ ≤≤ ≥≥ 38 GuitarTechniques April 2015 3 etc etc 0 ≥≥ ≥≥ ≤ œ œ œ0 œ22 œ≤33 œ 0 ≥≥≤ œœ œœ œœ≥ œœ≥ œœ≤ œ 1 3 1 3 œ 3 œœ œ 1 œ œœ œ œœœ1 œ 1 1 3 œ 3 1 3 3 3 3 œ≥≥2 3 3 1 1 3 3 1 1 3 3 0 1 0 1 2 2 2 œ œœ œœ œœ 1 1 œœ œ œ œ 1 œ œ œ 1 1 3 3 3 1 1 1 1 0 Gm 1 1 1 3 3 3 1 1 3 3 Dm ≥ www≥≥ ≥ 3 3 3 3 3 2 3 2 2 3 0 3 0 0 3 0 3 w00 0 2 2 2 0 0 0 0 3 3w 0 Gm C sus2 Dm 3 Gm C sus2 ≥≥3Dwwm≥≥ ww ww5 3 œœ 3 3 3 3 3 C sus2 6m Gœm Dw 3 3 3 3 5 5 5 5 Gœm C sus2 D7m w œ œ w œ œ œ œœ œ 3 œ œœ œ œ œ œœ œ ww75 3 œ œ œ œ 3 œ 33 œ 3 œ œ œ 3 œ 33 œ 3 œ w556 œœ 33 3 33 33 3 33 œ 55 3 55 55 3 55 w6777 7 3 5 3 3 3 3 3 3 0 1 0 1 0 0 3 3 3 3 3 3 3 C sus2 ≤≤œ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥œ ≤≤ ≥≥ ≤≤ ≤≤ œœœ œœœ œœœ œ ≤≤œœ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥œœ ≤≤ ≥≥ ≤≤ ≤≤ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ≤≤ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥ œœœ œœœ œ œ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥ 3 3 3 3 3 3 3 3 3 3 3 3 3 3 5 5 3 3 5 5 3 3 5 5 3 3 5 5 5 5 6 5 7 6 7 5 7 5 ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ 3 3 0 0 0 0 0 0 3 3 0 0 ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ .. in stark contrast to the sombre issues workœ particularly Try converting etc aœ 4 œ œ œ œ œœ œtheœœ diatonic œœ œ chords œ œ œ b ∑ 4 œ œ œ œ œ œ m œ œ œ ≥ in its lyrics.. 11 œœ 7 n œ # œ œ 7 œœ œœ9 œ . œ œœ œœ5 œœ . ≥œœ # œ3a ≥œ m ≥œ œœ3a ≥œ m ≥œ 3a ≥œ & 4 ≥34 œ 55 4 ≥3 4 55 œ 3 4 . G7 55 4 5 4 55 44 5 5 44 . b œ n n w≥≥34 & 5 4 w œ œ 3 œ 3 œ5 3 3 œ 5 . œ . j ≥≥3 5 3 5 œ œ b œ. ‰ 12121111 œ œ œ . 7 ## # ## # ‰‰ www 11 7 œœ n œ # œ7 7 œœ œ # & ww0 # œœ 77 œ 12 & 7 12 9 9 12 œœ œ 9 9 12 7 11 œ88 ww to wrap my thumb over the top of the 7 11 7 7 7 11 Ex 77: seLF-ACCompAnyinG eXAmpLe BAss string.4 Dœ9 3 œœ 5 D7 œœ 55j G7 œœ 33 4 C/G œœ 55j Play G7 C/G D7 Play times4 D 9 Bridge & middle pickup 5 ⋲ ‰ 3 5 times 4j 4 4 4 . Gœ‰7 œ33 œ4 C/G j j Bridge & middle pickup ©»¡£™ ## 4©»¡£™ ⋲ ⋲ ⋲ ‰ . ∑ 77 Ex 7 & 44 n œ C/G œ 9 C/G 7Play 4 Dœ9 11# œ œ D7œ œ œ Ex 7 9 7 7 G7 7 G7 7 7 0 œ œ 9 9 C/G 11 Gœ 7 C/G G7 D 9 D7 Play 4 œ œ œ j j ©»¡£™ 7 & middle pickup Bridge times ## 4©»¡£™ ‰‰ b œ n œ ⋲⋲7 œœj ⋲⋲ ‰‰ b œ n œ ⋲⋲ œœj times ⋲⋲ .play: COUNTRy ON THE CD TraCk 12-40 PART31 ExAMPLES RhYthM BootCAMP j œ œ j œœj œœ7 j œœ7j œœ7 7 TRACKs 17-19 ww œ nœ #œ œ œ #### ‰ ww œ œ œ & w œ B13 E 6/ 9 œ œ B13 E 6/ ww9 œœ œœ . ∑ . ≥≥4 5 0≤≤ ≥≥4 5 ≤≤0 ≥≥4 5 mm0 ≥≥4 5 mm0 3 2 0 5 0 4 5 0 4 5 0 4 5 Bridge & middle pickup 5 . like this are often in unison the pedal œ œ ≥ ≥ ≥ ≥ ≥ ≥ m a m m œ ≥œ a œ œm a 3m m œ & 4 j œ ' # 3 œ œ œ œ œ œ œ œ Ex 11 # œ œ œ œ œ œ œ œ 4 œ œ # œ œ œ œ & Bridge©»¡™º 4 & middle∑pickup Œ œ œ Dœ œ œ œ œ œ Eœœ œ œ/ j Aœ œ œœ œ œj ‰ œœ œ œ œj ‰ Œ Ó Ex 11 Bridge & middle pickup # œ 3 Eœ œ 3/ œ/' œ Aœ œ œ œ œ œ œ # # ©»¡™º D 4 & middle∑pickup Œ œ œ /'' j œ Bridge & # # 44 j‰ Œ Ó 3 3 œ œ œ 'œ œ œ œ œ œj ‰‰ œ0 œ22 œ 4 œ2 œ0 œ # œ ∑ Œ œ œ / j 2 2 2 & 4 j œ œ œ 0j ‰ Œ Ó œ œ 0 2 œ 4 0 œ 0 œ 0 0 4 œ 2 œ 0 2 2 '0 2 2 œ œ 2 œ Bridge & middle pickup œ œ 0 œ0 œ2 4 2 œ œ00 2 2 / œ0 2 œ0 2 œ00 2 œ0 œ00 œ22 œ44 œ0 0 4 2 0 Bridge & middle pickup Ex 9 4 A A E B E B G D G E D A B A E G E 1 D 1 A E E B 1 G E D B A G E D 1 A E 1 E E B B G G D E A D B A E G1 E D 1 A E E B 1 G E D B A G E D 1 A E 1 E B E B G D G E D A B A E G E 4 D 4 A E E B 4 G E D B A G E D 4 A E 4 14 14 14 14 E E B B G G D E A D B A E G1 E D 1 A E E B Ex 1 12 G Ex E 12 D B A G Ex 12 E D 1 A E 1 14 141 4 14 0 2 4 0 2 0 2 ' ' 14 0 1/4 2 0 0 0 0 2 4 0 0 4 2 0 2 2 2 0 C2 4 2 0 2 0 01 0 ©»¡¶∞ 2 0 1 C 0 2 0 2 0 2 4 ©»¡¶∞ 3 0 4 2 0 2 ## # 4 0 0 2 0 2 0 3 0 0 .. Bridge & middle pickup . A‰‰ œœj˚ ⋲⋲ G⋲⋲/An œœj ‰‰ A6œ˚jj ‰‰ œ˚jjA⋲⋲5 œ˚jj ‰‰ . it’s a0great notes strings. ˚j ˚j ˚ œ˚ œ˚n œ # œ Aœ‰ œ ˚j œ⋲ Gœ⋲/A ˚j œ‰ œ A6œ˚j œ‰ œ œ˚j Aœœ5 œ œ œ . œ44 œ55 œ0 œ44 œ55 œ0 œ44 œ55 œ0 œ44 œ55 œ0 n œ33 œ22 œ00 œ5 œ00 # œ44 œ55 œ0 œ44 œ55 œ0 œ44 œ55 Bridge & middle pickup . Bridge & middle pickup . look the pull-offs and bends chords. Again. 4 5 0 4 5 0 4 5 m0 ≥4 5 m0 3 2 0 0 4 5 0 4 5 0 4 5 .. . Bridge & middle pickup & # 44 . œ œ œ0 œ œ œ0 œ œ œ0 œ œ œ0 n œ œ3 œ œ œ # œ œ œ0 œ œ œ0 œ œ ∑ & #4 . ≥≥0 0≤≤ m67aa ≥≥0 0≤≤ m45aa ≥≥0 0≤≤ m24aa ≥≥0 0≤≤ m22aa ≥≥0 m22aa ≥≥3 4≤≤ ≥≥0 0≤≤ m67aa ≥≥0 0≤≤ m45aa ≥≥0 0≤≤ m24aa ≥≥0 0 m22aa ≥≥0 0≤≤ ≥≥0 0≤≤ . . . Ex 10 # œ œ œ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤œ ≥0 0≤ œ.ultimate country workout PART 1 ExAMPLES RhYthM BootCAMP TRACKs 20-21 4 9: RApiD FiRe 16Th noTes This is a challenging example. ∑ œ œ œ . Aœ‰ œ œœ˚j œ⋲ Gœ⋲/An œœ˚j œ‰ œ A6œœœj˚ œ‰ œ œj˚Aœ⋲5 œj˚ ‰ # œœ˚j .... great Danny Gatton made great use of this technique. C2 4 ∑∑ 1 44 CounTRy 0 0 0 2 4 # ©»¡¶∞ & . ‰œ œ œœ667 ⋲œ ⋲œ n œœ445 ‰œ œ œ224j ‰œ œ œœ22j ⋲œ œœ22jn ‰œ # œ ‰œ œ# œœ667 ⋲œ ⋲œ nn œœœ445j ‰œ œ œœ224j ‰œ œ œœ22j œœ œ œ œ . a a a a a a a a a 44 0 0 0 0 œ 0 0 0œ 0 0 œ 3 4 0 0 0 0 0 0 0 0 0 0 # ©»¡™• ∑∑ b œ œ œ œ œ œ G5 m C7 m m mœ œ œ m œ œ m œ œ œ m mœ œ m œ & œ œ œ œ œ œ œ œ œ œ œœ≤ aœ ≥œ ≤œ a œ≥ œ≤ œ aœ ≥ ≤œa œ≥ a œ≥ œ ≤œ ≥œœ ≤ œa b ≥œ ≤œ a œ≥ œ≤ œ a œ ≥ œa œ ≥ ≤œ ≥œœ ≤ œ ≥ & 4 # m m m œ m m Ex 10 4 œ œm ∑ b œ œ mœ œ œ œmœ œ mœ œ œ œ œ œ G5 C7 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ Bridge & middle pickup œ œ ©»¡™• Ex 10 Bridge & middle pickup # ©»¡™• 4 ∑ pickup G5œ œ œ œ œ3 œ œ œ œ œ3 œ œ œ3 œ œ œ C7œ œ b œ œ œ5 œ œ œ œ œ5 œ œ œ5 œ œ œ & # 44 Bridge & middle œ3 œ00 œ5 œ00 œ5 œ3 œ00 œ5 œ3 œ00 œ5 œ00 4 œ5 b œ33 œ5 œ5 œ33 œ5 œ33 œ5 œ5 œ33 œ5 œ5 œ33 œ5 œ33 0 ∑ 0 œ 4 œ 5 œ 5 & 4 Bridge & middle œ œ4 5 5 5 5 5 5 5 5 5 4 5 5 5 5 5 5 pickup 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3 ≥ ≥ ≥ ≥ ≥ ≥ ≥ m a m m a m a m m Bridge & middle pickup ≥4 5 m ≥5 a m ≥5 m ≥5 a m ≥5 a m ≥5 m ≥4 5 mm ≥≥5 aa mm ≥≥5 mm ≥≥5 aa mm ≥≥5 aa mm ≥≥5 aa ≥4 5 m0 ≥5 3a m0 ≥5 m0 ≥5 3a m0 ≥5 3a m0 ≥5 m0 ≥4 5 m3 ≥5 5a m3 ≥5 m3 ≥5 5a m3 ≥5 5a m3 ≥5 3a G5 3 3 3 5 5 5 G5 0 0 0 0 0 0 3 3 3 3 3 3 4 4 5 5 5 5 5 5 5 5 5 5 5 ## G 5 œœ ≥ m ≥ a m ≥œœ m ≥ a m ≥œœ a m ≥ m ≥ m ≥ a m ≥ m ≥ a m ≥ a m ≥5 a & & # œœ œœ œœ œœ œ œœ ≥ œœ m œœ≥ aœœ m ≥œ m ≥œœ a œœm ≥œ a mœœ ≥ mœœ ≥œœ m ww≥ a m ≥ m ≥ a m ≥ a m ≥ a & Gœ5 œ œ œ œ œ œ œ œ œ œ œ œ w # G5 & # œ œ œ0 œ œœ33 œ0 œ œ0 œ œœ33 œ0 œ œœ33 œ0 œ œ0 w & œ44 œ55 œ0 œ55 œ0 œ55 œ0 œ55 œ0 œ55 œ0 œ55 œ0 w55 3 3 3 0 0 0 0 0 0 ≥≥4 5 mm ≥≥5 aa mm ≥≥5 mm ≥≥5 aa mm ≥≥5 aa mm ≥≥5 mm ≥≥5 3 Ex 11 0 0 ≥4 5 LeAD ≥5 BootCAMP ≥5 m0 D ≥5 33a m0 ≥E5 33a m0 ≥5 Am0 ≥5 m a m TRACKs 22-23 PARTEx211ExAMPLES 3 / ©»¡™º E A0 0 0 0D 0 0 3 /' 3 5 5 5 5 5 5 5 Ex 11 # #4 ©»¡™º ≥ sTyLe ≥ Thismexample ≥œ isa a m3 ≥E you’ll ≥ were ≥ 'Parts m a m a 3 m m 44 CounTRy eXAmpLe 11: #LeADinG inTRo see that root and 5th ‰of ŒtheÓimplied ## #≥ ©»¡™º D A really playing just ∑∑ If you ŒŒbeyond & j jj ‰‰ thewith jj ‰steel / Œ Óor fiddle. Ex 10 eXAmpLe 10: BAnJo RoLLs This example is≥ akin Albert Lee4may 2 your2hybrid picking up 4use them 2picking pattern. ≥4 5 0≤ ≥4 5 ≤0 ≥4 5 m0 ≥4 5 m0 3 2 0 5 0 4 5 0 4 5 0 4 5 5 ≥ ≤ ≥ ≤ ≥ m ≥ m E B E B G D G E D A B A E G E 1 D 1 A E E B 1 G E D B A G E D 1 A E 1 April 2015 GuitarTechniques 39 . œ œœii This eXAmpLe sTyLe inTRo isœ a slightly more will help to get it sounding right.. œ slightly busier version of Ex 5. œ˚ œ˚ œ˚ œ .. I’ve provided two œ œ œ œ œ œ œ œ œ œ œœ œoptions œœ here &12:#LeADinG Ex 12 3 œœ œ œ for œœ the œœ œ œ (mœthen ##down-pick) œ directions œ œ asœœ thisœ but œ Iœœprefer œ hybrid œ nn œœ picking œpicking œ œ œ modern take on#a 4 country intro. 1 & ©»¡¶∞ 4 Bridge & middle pickup Cœ œ œ œ œ œ œ œ œ œ œ œ n œ Ex 12 œ œ œ œ œ œ œ Bridge & middle pickup œ3 œ œ œ 1# œ # # ©»¡¶∞ C 4 .. 6 0 exercise 2 0 0 2 chord 2 0adjacent G5 C7 ©»¡™• 4 2 2 4 2 7 5 7 5 . ≤ m6a ≥ ≤ m4a ≥ ≤ m2a ≥ ≤ m2a ≥ m2a ≥ ≤ ≥ ≤ m6a ≥ ≤ m4a ≥ ≤ m2a ≥ m2a ≥ ≤ ≥ ≤ . œ00 œ00 7 œ00 œ00 5 œ00 œ00 œœ4 œ00 œ00 œ2 œ00 œ2 n œ33 # œ44 œ00 œ00 7 œ00 œ00 5 œ00 œ00 œœ4 œ00 œ00 œ2 œœ00 œ00 œ00 œ00 . ≥ ≤ ≥ ≤ ≥ .. œj n œ˚j œœ˚j œœ˚j œœ˚jn œ # œ œ˚j n œ˚j œœ˚j œœ˚j œœ . A6 A5 A A6 A5 ˚˚j GG /A/A ˚j˚ ˚˚j GG /A/A ˚j˚ A6˚ A5 ˚ A A6˚ A5 ˚ ˚ ‰A‰ ## œœj ⋲⋲ G⋲⋲/An œœj ‰‰ A6œ˚jj ‰‰ œ˚jj Aœ5 .. The late. The constant drone Ex 4 9 Ex 9 ©»¡ºº ## # ## 4©»¡ºº ∑ & # 4©»¡ºº ∑ 4 & # # 4 Ex 9 4 ∑ & # Bridge 4©»¡ºº & middle pickup Ex 9 Bridge & middle pickup # # 4©»¡ºº & # # #Bridge 44 & middle∑ pickup # ∑ & 4 of the fifth string is interspersed with double-stops on the second and third.. so eXAmpLe 4 build the phrase up slowly. adding one note at a time.. 5 You canm Ex 10 m m m m m m 0G5 0 4 0 for 0 getting 0 2 that 3 has 4 its0C7 0 6 positioned 0 0 4 0 on 0 three 02 0 0 0 0 grace a country ©»¡™• track with his skills... Take note of the picking opening notes. Aœ‰œ œœ œœ œ⋲œ Gœ⋲œ/An œœ œ‰œ œœ A6œœœ œ‰œ œœ œ Aœ⋲œ5 œ n œ‰ # œ Aœ‰œ œœ# œœ œ⋲œ Gœ⋲œ/An œœ œ‰œ œœ A6œœœ œ‰œ œœ œ Aœ5 œœ œœ œœ . .. over any 7 to how m 5 7 to speed... . / jj 2# œ # œ ww . &why4they œ w œ ww Ex b 5œ œ œ n œ3 0 5 0 5 www 3 1 œ5 b œ œ b œ n œ n œ Ex 13 13 wG œ Ex 13 1a) 1b) G 1a) Minor Minor Pentatonic Pentatonic 1b) 'Blues' 'Blues' Scale Scale Bridge & middle pickup G G ©»§º 1a) Minor Pentatonic 1b) 'Blues' Scale G G n œ Ex 13 # ©»§º w œ œ w ww3 # 44 ∑∑ bb œœ œœ œœ3 n œ6 œ3 œ Gww33 bb œœ œœ bb œœ nn œœ3 nn œœ6 œœ3 1a) Minor Pentatonic 1b) 'Blues' Scale & œ œ G 3 ww00 & # 4©»§º œœ œœ nn œœ3 œ5 3 5 n œ œ œ ww00 œœ bb œœ nn œœ nn œœ3 œ5 3 5 6 n œ œ b œ b œ œ œ w b œ w b œ 4 && middle ww23 œ3 6 3 5 n œ œ b œ œ œ ww23 œ3 6 3 4 5 n œ œ b œ œ b œ n œ Bridge pickup & Bridge 4 middle∑pickup Bridge & middle pickup ww œ w œ ww33 bœ œ bœ nœ w333 œ bœ œ 3 3 3 3 3 6 3 3 6 5 E B G D A E 14 5 E E B E B G B G D G D A D E A E A B E 5 E 5 G D 5 A E 5 E B G D A E 6 E E B E B G B G D G D A D E A E A B E 6 E 6 G D 6 A E 6 E B G D A E 14 3 1 14 4 14 1 14 4 14 14 14 3 3 3 3 Bridge & middle pickup & # ## & &# & & # ## & &# & 11 E E B E B G Ex B G 14 D G D A D E A E A B E 11 E 11 G D 11 A E eXAmpLe 14: Ex Ex1114 14 G ww ww ww G G wwG ww330G ww02 ww3 www 3 3 3 0 3 0 1c) Major Pentatonic 0 2 0 3 2 3 2 3 3 0 0 2 3 1c) Major Major Pentatonic Pentatonic 1c) 1c) Major Pentatonic 3 3 3 5 5 3 3 3 5 5G 3 5 3 5 3 3 5 3 5 3 3 5 5 3 ww 3 6 6œ 3œ 5 3œ6 œ œ œ œ ww 3 5 œœ ww 3 6 œœœ G G G œ œ w œ w œ œ œ 3 3 œ 1c) Major Pentatonic œœ œœ œœ2 œ4 œ3 œ5 œ œ www30G œ œ œ œœ œ œ2 œ5 2 5 œ œ ww023 œ œ 3 5 ww œœ ww33 œœœœ 3 3 3 3 0 2 3 0 2 2 5 0 Mixolydian Modal Scale 2 5 2 1e)0 2 2 5 2 5 0 3 2 2 5 3 3 5 2 3 3 5 2 5 3 3 5 0 2 2 5 0 2 2 5 3 3 5 3 3 5 5 3 4 4 3 5 4 3 3 5 4 œ œ nœ œ œ œ œ œ œ œ œ œ nœ œ1e) œMixolydian 1e) Mixolydian Modal Modal Scale Scale 1e) Mixolydian Modal Scale œœ œœ3 œœ5 nn œœ6 œœ3 œ œ œ 1e) Mixolydian Modal Scale œ nœ œ œ œœ œœ œœ2 œœ3 œœ5 œ2 n œ3 œ5 2 œ4 œ5 œ œ n œ œ 3 5 œ œ nœ œ œ œ œ œ œ 3 3 G ww ww ww G G wwG ww330G ww02 ww73 ww w333 3 3 0 3 0 0 0 2 0 3 2 3 2 3 3 0 0 2 3 ∑ ©»¡¢™ ©»¡¢™ Ex 14 # 4 #4 ∑∑ & & # ©»¡¢™ 4 ∑ pickup Bridge & & middle middle pickup & 44 Bridge Bridge & middle pickup 1 Bridge & middle pickup 40 GuitarTechniques April 2015 3 0 3 0 1d) 'Country/Major Blues' Scale 0 2 3 0 3 3 2 3 3 3 2 6 3 3 6 6 3 3 3 6 0 0 2 3 3 3 6 1d) 'Country/Major 'Country/Major Blues' Blues' Scale Scale 1d) 1d) 'Country/Major Blues' Scale 3 3 5 5 3 5 3 3 5 5 G 3 5 5 5 5 œ w5 œ 3w œ b œ n œ œ 3 5 œ ww 4 5 œœ ww œ œ bœ nœ G G G œ w œ w œ œ 0 3 3 b œ n œ 1d) 'Country/Major Blues' ww30G b œ3 n œ0 œ3 œ œœ œœ0 œœ2Scale œ b œ n œ œ ww02 œ 0 2 œœ œ0 b œ1 n œ2 œ œ œ ww3 b œ n œ œ 3 œ œ œ www œ œ bœ nœ 0 3 0 3 3 3 2 2 2 3 3 3 2 3 4 4 4 0 0 3 3 0 3 0 3 œ0 œ3n œ œ œ b œ œ œ nœ œ bœ œ œ œ œ 1f) 1f) Dorian Dorian Modal Modal Scale Scale 1f) Dorian Modal Scale œœ œœ nn œœ œœ3 b œ œ œ œ 1f) Dorian Modal Scale œ nœ œ bœ œ 3 5 6 œœ œœ bb œœ1 œœ3 œœ5 œ2 n œ3 œ5 2 b œ3 œ5 œ œ n œ œ 3 5 œ œ nœ œ œ œ b œ œ œ 3 3 3 5 6 0 3 6 3 3 6 3 6 3 6 . so that you can5 begin to3 0 œ œ555nBlues) œ0 œscale555 (R-2-b3-3-5-6). #œ #œ œ œ nœ œ œ œ ˙ /' ## # / /' ' & & # # œœ0 nn œœ3 /' ˙˙0 & # œ nœ ˙ // ' 1/4 œ œ nœ j nœ ˙ w ''/ . . Blues scale (R-b3-4-b50 3 3 4 0 .. Country scale (also known as major ©»§º 0 3 ' used 0 in country 3 4 0 memorise 5 3 0 0 major Pentatonic/ (R-2-3-5-6). 4 . .. nn œœ œ œ œ 3 œ0 œ5 œ0 n≥œ œ ≥œ mœ 3 3 3 ≥≥3 ≥ 0 0 0 0 5 5 5 ≥≥ 5 ≥ 0 0 0 m m 0 m m œœ 3 œ ≥ œœ0 œ 3 3 3 0 0 0 ≥≥3 ≥ 0 œœ 5 ≥œ 5 5 5 ≥≥5 ≥ œœ0 œ m 0 0 0 0 m m m m œœ œ œ œ 3 œ0 œ5 œ0 ≥œ œ ≥œ mœ 3 3 3 ≥≥3 ≥ 0 0 0 0 5 5 5 ≥≥ 5 ≥ 0 0 0 m m 0 m m . b œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ is reminiscent of Brad Paisley’s to incorporating open strings Ex 14 Bridge &approach middle pickup into his lead playing. # œ3 # œ4 œœ5 œœ0 nn œœ3 œœ0 œœ œœ0 œœ œ n œ ''/nnn œœœj ˙˙5 œ nœ . .. .. We’re using the notes of the G minor Pentatonic E E B E B G B G D G D A D E A E A B E 1 E 1 G D 1 A E 1 6 3 6 0 0 2 0 0 2 1f) Dorian Modal Scale0 0 1 2 0 2 0 1 2 3 3 0 1 2 3 0 0 2 0 1 2 3 3 3 3 5 5 6 6 3 2 0 3 2 4 4 5 5 3 5 6 0 2 0 2 3 3 5 5 2 4 5 0 2 3 5 2 0 3 3 2 3 5 2 3 5 2 3 5 3 7 2 3 5 6 3 3 5 2 3 5 7 3 5 3 7 2 4 5 0 2 3 5 0 2 3 5 2 minoR 3 5 penTAToniC usinG open sTRinGs This 3 example 7 ©»¡¢™ #4 & 4 E B G D A E 1 1//4 4 14 14 1 E E B E B G B G D G D A D E A E A B E 1 E 1 G D 1 A E 1 E B G D A E 2 2 2 1 1/4 4 1 14 4 that your pull-offs are strong and positive. They are minor'Pentatonic (R-b3-4-5-b7)... too. The key to mastering such3 licks is in ensuring 3 here 5 2 2 1 1 3 3 5 5 2 1 3 5 3 5 3 3 5 5 3 5 3 5 2 2 3 3 5 5 2 3 5 6 3 6 6 6 6 .. Take note of the picking directions here.... Theguitar. 3 work. ww 333 111 ' Mixolydian œ Dorian their shapes. 1b) 'Blues' Scale G G 0 3/ 3 1a) 4 Minor Pentatonic 0 5 3 0 0 5 some of the most commonly You should 5-b7).. 5 5 ww .. along scale spelling mode (R-2-3-4-5-6-b7) # 4 with their œ œ b œ n œ n œand ∑3 or in0somewcases. Ex 13 'useD00 sCALes /' eXAmpLe 13: CommonLy scales shown below are chords. .. #œ #œ œ œ n œ œ œ5 œ œ5 œ3 1 n œj ˙ w n œ /' / / .play: COUNTRy ON THE CD TraCk 12-40 PART 2 ExAMPLES LeAD BootCAMP TRACKs 23-25 5 & 5 5 5 ## ' 2 1/4 œ nœ . 0 work. . bb œœ 3 bœ ≥ œœ0 œ 3 3 3 0 0 0 ≥≥3 ≥ 0 œœ 5 ≥œ 5 5 5 ≥≥5 ≥ œœ0 œ m 0 0 0 0 m m m m 3 3 3 0 3 0 0 G0 2 0 3 2 3 2 3 3 0 0 2 3 ww ww ww G G G ww ww330 G ww02 ww3 ww w333 3 0 3 0 0 0 2 0 3 3 2 3 5 3 2 3 5 6 3 3 5 3 5 3 2 3 5 0 2 3 5 0 1 3 5 2 scale (G-Bb-C-D-F). b œ b œ understand don’t with0certain mode (R-2-b3-4-5-6-b7). . 3 0 0 3 0 0 5 5 5 5 5 # œ b 3œ & ≥ œ ≥œ mœ ≥œ n 3œ ≥5 m ≥œ œ3 œ ≥œ mœ ≥œ œ3 ≥5 m . and & middle pickup #Bridge n œ œ 0 3 7 4 of different œ b œ n œ b œ œ b œ œ œ n œ you may3 even7 prefer to view this lick as a chromatically derived one. b œ œ œ5 œ n œ3 œ0 œ5 œ0 œ3 œ0 œ5 œ0 Ex 15 eXAmpLe 15: miXoLyiDiAn usinG open sTRinGs Here we have the second bar. 3 0 0 œ œ œ œ œ œ œ # œ5 3 0 0 b œ œ & œ œ5 œ œ5 n œ3 œ0 œ5 œ0 œ œ5 œ œ5 œ3 œ0 œ5 œ0 .. b≥œ œ ≥œ mœ n≥œ ≥5 m ≥œ ≥5 m ≥3 œ œ œ œ5 3 0 0 œ œ œ . b œ œ œ œ n œ œ œ œ œ œ œ œ 6 .ultimate country workout PART6 2 ExAMPLES LeAD BootCAMP TRACKs 25-28 3 3 3 # œ œ b œ œ & œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ . œ œ3 œ0n œ 55œ œ0 œ n33œ œ00 55 00 33 00 55 00 Ex 15 œ b œ n œ œm0 œ œ ≥3 0 ≥5 mm0 ≥3 0 ≥ mm0 ≥3 0 ≥ mm0 ≥33 0 0 5 3 0 0 ©»¡ºº m ≥5 &3 middle ≥5pickup ≥ m ≥ m m ≥ 0 ≥ 5 œ3 n œ0 ≥ m 5 m 5 3 0 ≥ m . # Bridge œ 5œ œ œ b œ n œ 5 4 œ œ 5œ n œ œ w 5 3 ∑ n œ œ & 4 œ œ œ œ ≥ ≥ m ≥ 3 0≥ m ≥ ≥n œ mœ œ≥œ b œ n œ ≥ mœ œ œ ≥œ œ n œ≥ m ≥ ≥0 m 3≥ ≥ m ≥ Ex 15 15 Ex 6 3 0 0 3 6 œ 5 3 4 0 0 2 5 ©»¡ºº Bridge & middle pickup œ œ w 5 3 0 0 3 5 Ex 15 # 4 nœ œ œ œ œ bœ nœ 5 0 1 2 0 3 7 œ œ œ nœ ∑ n œ 3 7 & ©»¡ºº 4 œ œ œ œ œ m œ3 n≥œ6 œ0a mœ3 ≥ 0a m ≥ a n mœ ≥œ œa mœ b œ n œ ≥ œa ≥œ mœ œa ≥œ n mœ a ≥ m 0a ≥ mœ3 œ0a n≥œ6 mœ3 w #4 œ5 œ b œ3 n œ4 œ5 œ0 n œ3 0 0 œ ∑ œ2 n œ œ5 & Bridge 4 & middle Bridge & middle pickup pickup Ex 16 œ5 œ œ0 b œ1 n œ2 œ3 œ0 œ7 œ3 œ0 œ7 n œ3 œ œ5 ©»¡ºº& middle pickup m33 ≥ 00a m ≥ a m ≥ a m ≥ a m ≥ a ≥ m a ≥ m a ≥ m 00a ≥ m33 00a ≥66 m33 œ n œ66 œ œ33b5œ 00n œ 3b œ 4œ 0 œ # Bridge 0 2 5 4 5 3 4 b œ0 0 2 5 ∑ . In this descending lick I have done 5 0 1 2 0 3 7 œ œ œ 5 0 1 2 nœ 0 3 œ 7# œ n œ 6 3 0 0 3 6 b œ n œ 3 could 7 now be seen There’s no rule that says we must exclusively use5one scale spelling you can see it’s 3 7 ©»¡ºº 3 4 at a 0 time while 0 as 2 (R-2-b3-3-4-b5-5-6-b7). ≥ think ≤œ using œ≥ œm ≥the œm ≥ bluegrass ≤ œ≥ œmstyle 3 eXAmpLe bluegrass to the G Country (G A Bb B b œ≥ nlick 3 0 0 œ ©»¡ºº Country scale. 3 0 0 3 3 œ 3 5 3 3 0 0 5 3 0 0 3 3 3 0 33 0 0 3 0 . b œ œ œ œ n œ œ œ œ œ œ œ œ 3 3 œ 3 3 6 6 # œ bœ & œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ . use.. w ©»¡ºº œ n œ œ 6 6 œ5 3 5 œ5 5 3 4 5 3 5 3 2 5 2 5 4 3 1 2 0 n œ Ex 16 Bridge & middle pickup #4 œ bœ nœ bœ bœ œ œ œ nœ œ ∑ & ©»¡ºº 4 3 n œ n ≥œ n mœ œ ≥œ mœ ≥œ # ≤œ n œ m ≥3 mœ ≥1 3 m m≥m ≥ œ ≥ ≥ ≤ #4 n œ 6 œ 5 3 ≥ m 3 ≥≤ bœ nœ œ nœ œ . but it’s also0possibleœtoœ alternate pick every note.. It’s quite on the ascent of the directions I.. I’ve used alternate ‘flat’ picking here to help cement that0 3 D E) as the second mode of the E Blues scale (E G A Bb B D). so you may find it beneficial to keep your fretting hand thumb œ3hybrid ≥ ≥ ≥ ≥ ≥ m ≥ strings with m ≥ m on the m of≥the neck. This ‘uber’ scale’s n œ n œ eXAmpLe penTAToniC a solo. m m m a m a ≥ mm aa ≥ mmscale (allw 12and ≥5 mm aaachromatic ≥5 aa mm3 ≥5 to0aa mm0 1 just2 three m ≥ina amany m≥ a aways m preferable) anotes m short a≥ m m abeing 0 3 a œ ≥ ≥ improvising. w œ b œ6 n œ b œ6 œ5 b œ3 œ5 œ3 n œ4 ∑ pickup & 4 œ œ œ 5 5 5 nœ 3 3 2 2 Bridge & middle pickup n œ Bridge & middle Ex 17 n œ5 œ œ5 œ œ5 # œ4 n œ3 b œ1 n œ2 3 œ0 1 3 ©»¡ºº 3 m ≥ m33 ≥ ≤ ≥ m ≥ m ≥ ≥ m ≥ m ≥ ≤ m ≥œ m n ≥œ œ .DoRiAn/BLues/mAJoR 5 œ3 3 œœ 0 nœ œ 0 3 5 Ex 16 &16: hyBRiD 4 sCALes 5 0 0 3 5 3 0 0 just 3 that. it’s perfectly acceptable (and of semitones). w 3 ≥≤ & middle pickup 6 5 5 3 3 #Bridge 6 œ nœ bœ nœ bœ œ œ œ œ œ œ 6 6 5 3 6 6 5 5 3 3 5 3 4 4 ∑ 5 5 œ bœ 5 œ 3 œ 3œ 2 2 2 Ex 17 & 44 5 5 5 3 3 2 3 5 œœ œ55 œ 55 44 33 11 22 3 00 1 3œ œ 5œ 6 5 3 3b œ n œ œ 3 1 3 6 œ 6 5 3 5 3 4 ©»¡ºº œ œ m ≥ m œ ≤ ≥ mm ≥ ≤ ≥5 mm ≥5 mm b≥5œ 3 ≥5 mm3 2 ≥5 mm2 ≥5 ≤4œ n 3œ b mmœ1 n œ2 b≥œ mm0 ≥ #4 ∑ 3 œ 1œ 3 œ œ & 4 œ œ œ œ œ Ex œ≥ mœ≥You≤ may prefer œ scale Ex 17 1717: CounTRy sCALe Here is ma≥ m m ≥of œ ≥œ msound. ∑ scales and combine the visit each one throughout & notes 4 Ex ≥ a œ m ≥œ a m œ n œ n œ≥n œa œ≥œmœ aœ≥# œmn œa ≥b œm n œa ≥ mœ a ≥ m Ex 16 16 3m ≥ a m ≥ a m 6 5 3 3 œ œ. œ 3 0 0 5 3 0 0 3 0 & 4 3 0 ∑ 55 0 55 33 00 55 œ00œ b5œ n3œ œ0 œ 55n œ œ0 œ 55 33 00 55 00 . 2 0 0 3 3 2 0 2 0 0 Ex 17 œ 0 2 0 2 2 0 #4 0 1 2 œ nœ bœ nœ bœ œ œ 2 œ œ 2 œ œ ∑ b œ 2 3 & ©»¡ºº 4 œ œ œ œ œ œ 0 3 2 0 œ 0 œ œ œ3 0 3 0 3 2 0 œ 2 0 œ 0 œ3 #4 œ b œ n œ œ œ ∑ b œ œ œ œ2 œ œ2 0 n œ b œ n œ b œ œ œ œ2 œ œ œ2 œ & 4 0 2 0 œ œ 0 1 2 œ œ œ b œ n œ œ œ2 œ3 3 3 3 0 0 0 # œ œ œ œ œ 3 0 0 3 2 0 0 3 3 2 0 2 0 0 0 3 2 0 0 3 3 2 0 2 0 0 n œ b œ n œ b œ œ 2œ 00œ 22 œ00 œ œ œ 22 œ œ22 00œ œ œ œ œ 2 2 & 2 2 3 0 0 1 1 2 3 0 0 n œ œ œ 2b œ 0 œ 0œ 2 3 3 2 0 3 2 0 0 3 3 2 0 0 2 0 2 2 0 2 2 # œ œ œ 0 1 2 & 3 0 œ 0 œ n œ b œ 2n œ 3b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ bœ œ œ 3 3 0 0 3 3 2 0 2 0 0 0 2 0 2 2 0 2 2 0 2 0 # œ œ œ œ œ nœ bœ nœ bœ œ 2 1 0 œ œ 3 & # œ3 0 3 0 3 0 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ b œ3 n œ0 b œ3 œ2 0 œ n œ b œ & œ œ2 œ2 œ0 œ2 œ0 œ0 œ2 œ0 œ2 œ0 œ2 œ0 2 œ2 œ0 1 0 œ nœ b œ œ œ3 3 0 0 3 6 E B G D A E E B G D A E E E B B G G D D E A A B E E G D A E E B G D A E E B G D A E E E B B G G D D E A A B E E G D A E E B G D A E E B G D A E E E B B G G D D E A A B E E G D A E E B G D A E E B G D A E E E B B G G D D E A A B E E G D A E E B G D A E E B G D A E E E B B G G D D E A A B E E G D A E 3 3 3 3 3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 4 4 3 3 4 4 4 0 0 3 3 3 0 0 3 3 3 0 0 0 3 3 3 0 0 0 3 3 2 2 0 0 3 2 0 2 2 2 2 2 0 0 2 0 2 2 2 0 0 0 0 0 0 2 2 2 0 0 2 2 0 0 0 2 0 2 2 0 0 2 0 2 2 2 2 2 0 0 2 0 1 1 0 0 1 0 3 3 3 April 2015 GuitarTechniques 41 . m m ≥ ≥played using ≥ open ©»¡ºº Mixolydian mode the minor 3rd≥(Bb)m ≥ positioned lower≥half I’ve≥included the picking œ n œaœstretch œ w # 455 bluesy n œ thrown in for some colour. 5œ œ n œ œ . . Check out Vince Gill’s track.. E .form form D D ˙˙˙ œ œœ œ ˙˙22 œ œœ œœ œœ œ22 55 œ22 œœ 3 3 ˙3322 œ 22 33 4 4 ˙˙ ## œ œ ˙˙ œ œ EE -. 15 15 rather 15 14 14 14 14 A 12 12 11 14 11 14 14 11 11this 12 A -.. 7 11 7 11 12 ≥≥≥≤ ≥ ≤ ≥ ≥≥ ≤ ≥ ≤ ≥ 7 10 9 7 7 7 7 10 10 9 9 7 7 7 9 7 9 9 9 9 9 œ œœ œ œ œ œœ œœ œœ œ œœ œœ œ 14 15 14 15 15 14 14 12 12 15 11 14 11 14 12 12 14 14 15 7 7 9 9 10 10 7 9 9 10 10 10 10 7 10 7 7 7 7 7 7 9 7 9 10 9 10 10 œœ w 10 7 10 10 10 10 7 10 10 7 7 10 10 7 7 7 9 7 7 10 9 10 9 10 œœ œ w œ w 15 14 11 14 11 12 12 14 15 14 15 ˙ Œ ˙˙˙ A ..form form D D œ ˙˙ œœ œœ ˙ œ C -˙ ˙form œœ C CD-.form form However.form form 9 8 D 9 7 7D 9 9 8 8 9 10 9 10 10 8 8 8 # ˙˙ ≥≥ ≥≥ ≥≥˙˙≤≤ ≥≥ ≤≤ ≥≥ œ≥≥ ≥≥ œ≤≤ ≥≥œ ≤≤ # œ ≥≥n œ œ Œ D .form D D --Dform 3 3 3 3 ## D˙˙Dform 3 3 ˙˙ œ # œ n œ œœ œœ œ # œ n œ œœ ŒŒ 14˙˙ 14 8 8 8 8 8 42 GuitarTechniques April 2015 3 11 11 14 14 3 13 3 3 3 13 12 12 3 14 14 15 14 15 14 15 14 12 14 12 12 11 14 11 11 14 14 12 12 12 13 13 13 5 5 5 5 E E -. Take Your to jj a case study for soloing in this manner.form form D D ˙ # ˙˙ & GG #-. Memory With Youb œas 13 15 12 3 3 12 12 3 13 14 3 15 3 3 12 3 12 3 13 14 3 3 3 3 14 14 12 12 12 œœ 7 7 4 4 5 5 ˙˙ ˙ ˙ D . so it’s important that you familiarise yourself with them . all over the neck. it’s normal ∑ at first for your soloing ˙˙formplaying toœ sound œ # œ like & 4 Ex Ex 19 19 C -˙ œœ œ C form CD ..form form D D 1 1 1 A A -. If you’ve never approached 3 3 3 E E B B G G D D A A E E E E B E B G B G D G D A D A E A E E œ œœ œœœ œ œœ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œ 7 77 55 77 7 œ œœ œœ 7 7 7 7 5 5 4 5 5 G G -. E E --Dform D œ œœ . Many country guitarists prefer to visualise these chord Ex Ex 18 18 ©»§º 7 7 7 # Ex 18 ∑ Ex & # 44 Ex 18 18 ©»§ºBridge pickup ## # ©»§º 44 Bridge∑pickup # & ∑ & 44 E E B B G G D D A A E E E E B E B G B G D G D A D A E A E E Bridge pickup Bridge Bridge pickup pickup 1 1 C C -.D form D D ˙ ŒŒ ˙˙˙˙5 ˙˙5777 7 7 œ nœ #œ œ œ n œ bœ 6 6 n œœ ## œœ œœ jj œ n œ bb œœj nn œœ œ œ 5 bœ 6 7 5 6 7 6 7 7 5 5 5 5 7 5 7 7 7 7 7 7 5 7 5 5 ⋲ ⋲ n œJ 3 3 nœ ⋲⋲ ⋲⋲ n œJJ 3 10 3 10 3 10 10 10 10 10 11 10 11 12 11 12 12 12 10 12 10 10 10 10 10 6 6 6 7 6 7 6 7 6 6 6 6 6 7 7 6 6 7 7 7 7 6 6 6 6 6 6 5 7 5 7 5 7 5 7 7 5 5 8 7 8 7 8 7 7 310 12 3 10 11 310 12 3 11 3 11 3 3 3 12 3 3 10 11 3 3 7 7 6 5 6 6 5 5 7 7 7 13 312 10 312 10 3 11 3 312 10 3 3 3 11 12 3 12 10 10 10 12 10 12 10 10 13 10 12 13 11 10 12 10 11 10 11 10 12 10 11 10 12 13 12 12 10 10 12 11 12 11 12 10 11 12 10 10 11 11 12 12 12 3 3 3 3 œ 33 n œ # œ 33 œœ ## œœ œœ œœ œ n œ # œ œœ œœ 12 13 14 13 14 13 13 14 14 œ œ œ œ nœ œœ Œ 6 œœ œ œ6œ n œ œ œ œ œ n œ œ œœ Œ Œ 7 7 5 5 8 7 6 5 8 7 6 5 nœ #œ œ œ nœ #œ œ œ œ œ œ œ nœ #œ œ 3 3 3 3 3 3 3 3 3 3 3 3 3 3 œ n œ œ œ œ œ œ œ œ œ œ œ n œ ## œœ œ œ nn œœ ## œœ œ œ œ nn œœ ## œœ œœ 10 10 10 12 10 13 12 10 œ nœ #œ œ œ œ #œ œ œ 12 14 12 12 14 14 œ œœ œ œ œœœ œ œœ œœ œ œœ œ œœ œœ œœ œ 7 77 1010 1010 1010 7 14 14 15 15 you’re reacting to the than 14 11chords 14 15 11 harmonically predicting them.form 3 D 3 3 ©»§º D Bridge pickup pickup ## # 4©»§ºBridge ˙˙ nnn œœœjjj ## œœ œ œ 3 333 333 ∑ 4 ˙˙22 œ œ œ & 2 ∑ 2 3 œ œ# & # 44 ˙˙332 # œ œœ œœ œ 3 3 4 2 4 32 2 4 œ 4 3 4 4 5 2 3 3 Bridge pickup 5 3 E E B B G G D D A A E E E E B E B G B G D G D A D A E A E E E E B B G G D D A A E E E E B E B G B G D G D A D A E A E E Bridge Bridge pickup pickup 1 1 1 1 1 5 5 5 5 5 G G -.form ˙ & œ E ..you should be able to picture all five shapes (C-A-G-E-D) in every key. Œ 101010œ .. œ Œ # n œœœœ . as when the chords change you’ll need to 12 10 10 10 9 10 12 9 12 12 6 10 10 E 6 3 10 10 10 alter the6 shape that you’re soloing around.form œDform . œœ œ œ œœ 2 2 4 ˙˙ ˙ œ AAA ---˙˙Dform form form D D ˙˙˙ ˙ œœ ˙˙˙55777 7 2 2 2 4 4 4 5 5 5 5 5 7 5 7 7 7 7 7 7 5 7 5 5 œœœ ©»§º j # ˙ nn œœj # œ œ 4 ˙ # Exin 19this way.DDform ˙ form D˙ ˙˙ ## # œœ œ ˙˙ œ & & # 77 œœ œœ œœ 10101010˙˙˙ 7 11 7 7 11 12 4 5 5 4 5 5 2 2 3 2 3 2 3 2 4 2 4 5 4 5 5 2 5 2 5 2 3 3 2 3 2 5 2 3 2 3 3 2 4 2 5 4 4 5 5 shapes/arpeggios on the fretboard when soloing. The examples here 12 12 12 D 12 12 12 D how we can incorporate neighbouring showcase notes to the chord tones 10 10 10 add chromatisism to our solos.play: COUNTRy ON THE CD TraCk 12-40 PART 2 ExAMPLES LeAD BootCAMP TRACKs 29-30 eXAmpLe 18: ‘CAGeD’ DeRiVeD ARpeGGios This example guides you through 7 7 the arpeggios that can be ‘extracted’ from the CAGED major chord shapes.form ˙ A form A -.form form D D E E -.. with practice and experience will pass.form D D -Dform D ˙˙form D ˙˙ ˙˙ 14 14 15 9 9 10 10 œœ 1 1 4 4 7 7 5 5 ˙ ˙˙ ˙˙form G -˙ G G -Dform D ˙˙form D ˙˙˙ ˙˙ 10 10 ˙7777 7 œ 5 7 5 7 7 5 7 7 7 D form 7 7 D .form 7 4 7 7 4 7 7 7 D 7 7 4 5 D4 5 4 7 7 4 5 5 5 5 œ œœ œœœ œ œ œœ œœ œ œ œœ œœ œ œœ œœ œ œ œœ œœ œœ œœ œ 11 1010 1010 1010 11 œ œœ œœ 11 11 E E B B G G D 12 12 D 7 9 12 12 12 12 A 12 9 A 9 10 12 9 12 12 12 E 10 10 E 6 10 10 10 E 6 10 10 E 10 B 7 10 10 10 E 19 10 10 10 Ex B 7 10 10 eXAmpLe Tones G Ex 7 11 AnD TheiR neiGhBouRinG 11 10 11 B 1919: usinG 7 ChoRD 10 10 10 noTes G 7 11 11 11 D C form 7 12 12 11 G around chord7 shapes 11 11 12 C form Soloing requires you to have one ear listening D 7 12 12 A 9 12 9 12 12 D D 7 12 12 12 D 9 12 9 12 out forAEEA your accompaniment.form form D D 12 15 12 12 15 15 13 13 13 14 14 14 14 15 3 15 3 3 15 15 15 w ww .˙˙˙form G -Dform form D D˙ ˙ ## # ## ˙˙ & & # ##1010˙˙˙˙77 7 7 ## 7 7 9 9 10 10 10 10 7 10 7 7 7 7 7 9 7 9 10 9 10 10 # & # œ ## # œ & & # œ 5 2 5 2 2 3 2 3 2 3 2 4 2 4 5 4 5 5 1 1 1 2 2 2 3 3 2 3 4 4 4 2 2 œ #œ nœ œ œ œ nœ œ bœ œ œ œ 6 6 6 6 6 n œœ œœ bb œœ œ n œ œ œ # œ n œ œ œ œ œ œ # œ n œ œ œœ œ œ 7 10 9 8 7 10 9 8 6 6 7 9 9 7 9 9 10 10 8 8 7 7 9 7 7 9 6 6 6 4 4 2 4 5 5 5 2 2 D D7-.form form D D 5 5 5 5 5 5 12 12 12 10 10 7 7 7 15 15 14 14 12 12 œ œ . n # n œœ Œ # œœœ . 10 œ. ultimate country workout PART 2 ExAMPLES LeAD BootCAMP TRACKs 31-33 eXAmpLe 8 20: peDAL sTeeL/G-BenDeR imiTATion I was first introduced to this style of bend by my teacher. as the first finger has to pull the third string towards the floor. This example is inspired 8 Ex that 20 Colin recalled playing with Seymour Duncan when they by a tune ©»¡£™ # # # # ©»¡£™ 44 ∑ & # # # # ©»¡£™ ∑ & # # ©»¡£™ 4 # 4 & middle ∑ pickup Ex 20 & # ## # # 4 Bridge ∑ pickup & ©»¡£™ 4 Bridge & middle # # Bridge & middle pickup ∑ pickup & # # 44 Bridge & middle E sus2 Ex 8 20 8 Ex 20 Ex 20 8 E B E G B D G A E D E B A 1 E G E B D 1 G A D E EA 1 BE G 1 D A E 1 A Asus2 A # ## & # ## # #Asus2 œ & # # Asus2 £œ # £ & # ## # #Asus2 œ & £œ # # £ & # # œ7 £œ E sus2 14 ¡ ¡œ œ œ Aœœ œœ ¡œ A ¡œ œHold œ Hold œ œbend ¢œ ¡œ BUA bend ¢ ¡ BU Hold ) Hold œ œ7 œ4 BU(œ6bend bend A sus2 14 A sus2 A sus2 œ œ œ ¡ ¡œ œ RP œ BDA sus2 œ RP ¡ BD (œ (4 ) 6) RP œ BD ¡œ ¡œ 14 14 14 œ ¢œ ¢ œ ¢œ ¢ 11 11 £ ©»¡™º ©»¡™º 4 & ©»¡™º 4 & ©»¡™º 4 Ex 21 4 &4 &©»¡™º 4 4 &4 E B E G B D G A E D E B A 1 E G E B D 1 G A D E EA 1 BE G 1 D A E 1 ¢ ¡ œ œ œ Cœ ∑ ∑ ∑ pickup Bridge & middle ∑ pickup Bridge & middle C ∑ 15 15 Bridge & middle pickup 15 15 ¢œ ¢œ £œ œ £œ œ £œ œ ¡ œ £œ œ 15 ¡ œ £œ ¢ œ £œ œ & £œ œ ¢ £œ œ £œ œ ¡ œ & £œ œ ¡œ Hold RP & BU ¢ bend Hold œ ¢ £œRP œ £RP & £ œ œ bend œ BDœ ¡ œ 17 15 RP (17 ) BD(15 ) 13 15 BU(17 ) Hold (17 ) 17 15 bend RP (RP) (17 ) BD(15 ) 13 & 15 BU(17 ) Hold bend 17 RP 17 15 RP E B E G B D G A E D E B A 4 E G E B D 4 G A D Ex 22 E EA 4 Ex 22 BE G 4 £œ £œ ¢ ¢ BU (17 ) (17 ) 15 17 (17 ) Hold (17 ) 15 bend RP BU 17 (17 ) (17 ) 15 15 BD (17 ) (15 ) (17 ) (15 ) RP BD 15 C £ bœ bœ bœ bœ nœ nœ nœ nœ 13 13 12 13 14 12 12 13 13 14 14 12 C (13 ) C £11 14 C sus2 (11 ) C sus2 7 BU( 9)BD(7 ) BU BD 7 ( 9) (7 ) 7 ( 9) (7 ) BU BD 10 ¢ # ww # Eww # Ewww #w E BUw jBU# w œ (13w) w 11 11 ˙ (11 ) ( 9) 14 (13 11 BU 14 ) œ œ ¢œ ¢œ œ œ œ 14 œ £œ ¡ œ £œ ¡ œ Hold bend Hold ¢ œ RP £œ ¡ œ £œ BUn œ bend 15 13 RP BU nœ nœ nœ nœ œ œ £œ £œ ¡ second ¢ holding £ the £ £ which must all be executed while string bend. You could viewœ this either the &another. It’s tough. We the second firstwstrings to play a ©»¡™º ∑AnD G-BenDeR £œ ¡œthen £œ move ¡ onto œ œ œ œ £ œ œ £ œ ¢ ¡ £ ¡ ¢ £ œ ¡ œ œ œ ¡ £ Ex 22 C F C œ œ œ n œto œ œ œ B-bender Here we see more conventional than lick. 4 ©»¡™ºperhaps œ approach œ as œbeing œ œplayed œ Country œ lick œ around b œ n œ œ w ¢ œ shape Cœtheœstring F scale C ∑ £ £ ¡ ¡ œ G-bender & imitation. In the second bar we see one of G 4 ( 6) (6 (4 ) C) D common bends in7country guitar: the B-bender the most imitation bend. 7 Ex 21 A 7 10 EEx 21 C 4 œ E7 œ œ E sus2 ¡ œ E sus2 œ ¢ ¡ œ œ ¢œœ RP E sus2 BD RP ¡ œ BD œ ¢œ (13 RP) (11 ) BU bend (13 ) (13Hold ) BU bend Csus2 ( ) 11 Csus213 E sus2 ¡œ ¡œ E 14 14 14 14 A sus2 ¢œ ¢œ E œ œ œ Eœ œ£ ¢ ¡ Eœ œ E sus2 œ £œ ¢œœ ¡ œ œHold œ œ E sus2 BU E bend Hold ¢œ ¡ œ BU œbend œ £ ) œ 14 1111 BU((1313Hold bend Hold ) ¢œ ¢œ E sus2 £ Bridge & middle pickup Asus2 both worked at The Fender Soundhouse in London during the early ‘70s.not helped by14the activity on the first string. £ 4 ©»¡™º œ £ ¢œ ¡ £ œ œ œ œ ¢ ¡ £ ¡ £ œ œ œ ¡ ¢ b œ n œ œ £œ ¡œ £œ œ œ¡ £œ Hold œ ¢œ œ ¡œ œ œ£ w¡ ¢ œ œ ¡œ £œœ œ œ¡ £œ œHold Ex 22 ∑ pickup œ œ b œ n œ œ œ œœ £œœ nn œœHold & middle bend œ œ RPœ œRPœBDœ w bend RP & 44Bridge bendœ œ RP œ œ Hold Hold œ Hold ∑ pickup Cœ œ b œ n œ œ œ BU bendRP RPBD F BUbend¢ RP RPBD CBUbend & middle & 4Bridge œ 10£œ ) ¡5œ (10£œBD)(8œ) 5¡ £BUHold¢8œRP 5¡ RPBD £ ¡ ©»¡™º 8 œ œ £ BU ¢Hold œbend Hold œ ¡œ5 £œBD ¡ £8œBU(10 ) (RP 8 RP n œ œ œ 7œ bend Bridge & middle pickup 8 5 RP ( 9) RP ( 9) ( œ ( 9œ) ( 9œ) œRP ( 9œ) (7œ) 7) 5 5w Hold Hold œ5 œ7BU( 9)bend Hold ∑ pickup (10 ) (10 ) (10 )( 8) 5 8 RP 5 BD œ 8BU 8 RP 5 BD 5 œ 7 RP BD BU & 44 Bridge & middle œ bend bend RP RP RP bend ( ) ( ) ( ) ( ) ( ) ( ) ( 9) (7 ) 5 7 9 9 9 7 5 7 9 9 5 8 5 œ8 œ55 b œ66 n œ77 5 7 BU 8 RP 5 BD RP BD BU RP BD BU 8 (10 ) (10 ) (10 )( 8) 5 8 5 D A E C 4 E B E G B D G A E D E B A 1 E G E B D 1 G A D E EA 1 BE G 1 D A E 1 Bridge & middle pickup 8 8 8 8 5 5 5 6 6 6 ( ) ( )( ) 5 7 ( 9)Hold 8 9 5 9 7 5 5 7 ( )bend ( 9) RP ( 9) ( 7) 5 7 5 7 5 7BU9 BD RP 7 8 5 ( 9) ( 9) ( 7) 5 5 7 ( 9) 5 7 7 8 5 (Hold Hold 9) 8 8 (10 ) (10 ) (10 )( 8) 5 7 bend bend RP 7 ( 9) BU RP BD BU 8 5 8 (10 ) (10 ) (10 )( 8) 5 8 7 ( 9) ( 9) ( ) 5 9 (7 ) RP ( 9) ( 9) (7 ) RP BD ( 9) 5 ( 9) (7 ) 5 5 5 April 2015 GuitarTechniques 43 . Colin Pincott. £ included fretting hand fingering numbers 10 14 to help œ œ œ œ œ œ œ œ œ œ œ œ œ 13œ 14 12 14 12 12 14 14 ¢ œ £œ ¢ œ12 £œ14 ¢ œ £œ ¢ œ £œ Hold (17 ) 15 bend Hold ) 15 BU(17 bend 15 BU (17) 15 15 Hold (17) 15 bend BU 15 (17) 15 15 E E9 j 12œ j œ j œj œ ˙ ˙ ˙ ˙ BU14 14 11 (13 ) 10 ) 11 (14 13 14 10 14 BU These are difficult at first . Here we’re bending up. œ œ £œ £œ 15 13 15 13 13 15 15 ¡œ13 £œ ¡œ £œ ¡œ £œ ¡œ £œ (17 ) Hold 15 bend Hold BU(17 ) bend 15 BU (17 ) 15 Hold (17 ) bend BU 15 (17 ) 15 œ œ œ14 œ £œ œ œ £œ œ œ Hold bend RP Hold £œ ¡œ RP £œ BD œ œ ¢15œ RP £ œ BU bend 13 RP BD BU £œ £ œ13 12 12 11 11 E9 ) ( 9) 9BU(11BD BU BD 9 (11 ) ( 9) 9 (11 ) ( 9) BU BD 12 11 14 14 E7 œ Eœ7 Eœ 9 Eœ7 ¡œ Eœ9 Eœ7 ¡œ œ œ BUE 9BD E 7 ¡œBU œBD œ 9 (11 ) ( 9) œ nœ œ ¢ n¢œ £ œ nœ £Eœ7 £ ¢ œ n12œ E7 £E 7 E9 ¡œ ¡œ n¢¢œ E7 14 RP)BD(11 ) (13 BD (13 ) (11 ) RP) (11 ) (13 BD n ¡¡œ œ b13œ n14œ 12œ 12 œ Bridge & middle pickup Bridge & middle pickup œ œ ¢œ ¢œ œ œ œ œ ¢ ¢œ ¢œ E sus2 œ œ 14˙ Csus2 n œ nn œœ n œ Cœ Cœsus2 ˙ Csus2 n œ£ ¢ ¡ Cœ C sus2 nœ œ ˙ nCsus2 œ£ nn ¢œœ n ¡œ Cœ Cœsus2 ˙ BU BD n œ£ ¢ £ ¢ ¡ BU œ BD n œ n10œ n 7œ (9) (7œ) ˙ E B E G B D 7 G ( 6) ( 6) (4 ) 4 RP A 10 E D 7 7 BU BD E B A 4 7 10 E Hold G ( ) ( ) ( ) 4 6 6 4 E B D 4 bend 7 7 G ( ) ( ) ( ) 4 6 6 4 RP A 7 10 D 7 7 Ex BU BD E 21 eXAmpLe EA 4 21: B-BenDeR 7 imiTATion BenDs This example begins with10 Ex 21 C E B an ascent up the C form arpeggio4shape. as opposed to C or the G form CAGED shape. Check out Brad Paisley’s albums to hear an actual G-bender in action. I’ve 7 ( 9) (7 ) 11 (13 )¡ ¡ ¢ £ £ your performance. (17 ) (RP 17 ) RP (17 ) (17 ) 13 13 13 RP F 13 (17 ) (15 ) RP (17 ) BD(15 ) RP BD (17 ) (15 ) (17 ) (15 ) RP BD (17 ) (RP 17 ) 13 RP (17 ) (17 ) 13 13 RP ¡œ ¡œ ¡ w 17 ¡w ¡œ ¡w ¡œ ¡œ ( ) 13 œ RP œ œ œ œ œ ¡œ œ £ BD RP (17) BD(15 ) (RP 17) (15 ) RP BD BD (17) (15 ) (17) (15 ) RP BD (17) (15 ) ¡œ ¡œ ¡13œ 13 13 13 13 ¡w ¡w 13 13 13 13 13 13 13 13 (17 ) (15 ) (17 ) (17 ) (15 ) 13 13 13 ©»¡™º C £Fœ œ ¢¢ œ £œ ¡œ £œ œ ¡ C£ ¢œ £ ¢œ ¡ £ ¡ £ ¡ ¡œ œ and Ex 22 n œ œ œ œ œ œ œ œ eXAmpLe 22:4B-BenDeR imiTATion ComBineD pulling it down. ˙.play: COUNTRy ON THE CD TraCk 12-40 PART 2 ExAMPLES LeAD BootCAMP TRACKs 34-36 eXAmpLe 23: LineAR mAJoR penTAToniC sCALe pATTeRn Using linear scale patterns (going up and down the neck as opposed to 9 vertically across the strings) is a great way of escaping the ‘Pentatonic box’ and breaking out into other areas of the fretboard. œ bœ nœ œ œ b œ n œ œ bœ nœ œ œ 3 3 3 œ b œ n œ œœ œ 3 b œ n œ PM œ b œ3 n œ œœ PMœœ b œ n œ œ PMœ b œ n œ œ œ b œ3 n œ œ œ b œ3 n œ œœ8 10œœ bb11œœ3 nn12œœ 10œ 3 œœ7 bb œœ8 nn œœ9 œ7 PMœ7 b œ83 n œ9 PM PM 3 3 œ œ bœ nœ œ 3 œ b œ3 n œ œœ œ b œ3 n œ œ5 PM œœ5 bb œœ6 nn œœ7 œ PM ≥ ≤ ≥m œ œ œœ5 m PM 3 PM PM PM etc PM 7 PMpickin’ is widely PM used 5 PM eXAmpLe 24: ChiCKen piCKin’ 6Ths Chicken 5 5 Bm 6 7 C Am G 3 here 5 6are7played in sympathy 5 7 among country players. The first run down 3 5of 6ths 6 7from D7 is implying 5 7 5 etc 7 5 C Mixolydian.. ˙. with additional chromatic notes. œ œ œ œ 5 1 1 # D 7 7 C œ œ œ œ etc etc 5 6 3 4 8 9 5 6 3 4 8 9 # 4©»¡ºº œ ∑ eXAmpLe& 25: DouBLe-sTop 3RDs Along with 6ths. £ AmRay Flacke Bm ¡ who£ has¡ made ¡ use £ great 5 5 ≥ ™ £ ¡ œœ ¡ œœ £œ ™¡ œœ £ œ≥44™¡ œœ 55 £œ ¡œ £œ≥55 ™ ™ ¡ £ £ œ œ œ œ œ 8 9 œœ œœ œ 14 œ œ G œœœ G 15 œœ 16 G 10 D 10 # #œ œ F #dim # 9 8 4 3 4 E3m a 3 4 m 4 a m Ea am m Em m 9 F dim 8 ≤ ≥≥ ≤≤ ≥≥ œ œ ¡ ¡ £ ™ £ ¡ œœ £ ¡œ £ ¡ œ£ œ™ œ£ ™™¡ œœ £ œ ™™¡ œœœ £ œ ¡ œ ££œ ™™¡ œœœ £ œ ™™¡ œœœ œ£ œ¡ œ£œ œ££ œ™™ œ£ ¡ œœ £ œ ¡ œœ £ œ ¡ œ £œ ™¡¡ œœ £ œ ™¡¡ œœ œ£ œ¡ £œ œœ œœ £œœ ™™¡ œ ££ œœ ™™¡ œ ££ œœ ¡¡ œœ £œœ ™ œ ££ œœ ™ œ œ£œ œ¡œ £œ 9 œ œ Em Eœm œœ 12 œœ 12 F dim Em 7 Bridge & middle pickup ¡œ £ œ œ D D œœ 10 œœ 11 œ Em D 7 bœ nœ nœ 3 ˙. out Englishman ¡ £ of double-stops. ˙. This example is a Ex 23 9 ©»¡∞º 3 #4 ∑ 9 23 Ex & 4 9 Ex 23 œ œ b œ3 n œ ©»¡∞º Bridge & middle pickup Ex 23 # ©»¡∞º 4 PM 3 Ex 23 ∑ & # ©»¡∞º 44 ∑ ©»¡∞º & ## 44 œ œ b œ33 n œ ∑ 4 Bridge & middle pickup & œ PMœ b œ n œ ∑ & 4 Bridge & middle pickup 3 œ5 b œ6 n œ7 ≥œœ PM ≥œ b œ≤ n≥œ Bridge & middle pickup 9 E B G D A E E 1 B E G Ex 24 B D A G E D E B A 1 B G E G D 1 D A Ex 24 A E E Ex11 24 Bridge & middle pickup Brent Mason-inspired run based on G major Pentatonic. Aim to ‘pop’ the first note of each beat. We’re climbing up £ ™ Ex 25 m etc around the triads©»¡ºº of G major here and you would do well to memorise G Bridge & middle pickup Ex 25 # 4 Ex 25 ∑ G & # 44©»¡ºº œ ™¡¡ œœœ Gœ ©»¡ºº ∑ ™œ £œ ™ œ3 & ## 44©»¡ºº ∑∑ pickup ™4 £œ5 ™¡¡ œœœ4 Bridge & middle & œ ™ & 44 Bridge & middle pickup ™™œ ££œ ≥ ≤ m3a Bridge & middle pickup E B G D A E E B E G B D A G E D E B A B G E G D D A A E E 8 3 5 œbœ nœ 3 PM 3 PM 3 4 3 ¡ ™ £ ¢œ ˙ ˙ ˙˙ 15 n œ n œ3 # œ nPMœ n œ # œ nn12œœ nn13œœ ##14œœ 3 3 14 15 10 PM 12 13 10 11 12 7 PM 7 8 9 10 12 13 14 15 PM PM 8 PM 10 11 12 8 9 PMnotes on the PMto be played muted to create The 7 Eup’ 9 D ‘pick m7 8 F dim G third string10need 12 13 14 15 8 ‘clucking’ 9 10 12 13 14 15 you can either 8 gives 10 11 the sound that the12technique its name: 8 10 11 12 7 7 8 9 palm hand mute these. It’s even acceptable if the pitch 7 7or fretting 8 9 8 9 mute 8 the 9 notes isn’t audible.. 3rd haveœto beœthe ™¡ œ 4 m etc G most commonly used double-stops in country guitar. of PM 3 6 3 3 7 ≥ œ≤ ≥ œ≤ ≥≥ Bm ≤ Bm œ≤ œ Bm Bm œœ7 œœ7 œ nœ nœ #œ ˙ 12 14 12 14 12 14 12 14 12 14 4 3 4 3 a 3 4 m 4 a m a a m m 5 5 5 5 etc 5 etc 5 5 5 5 7F dim5 5 5 7 7 7 7 # 5 5 5 5 5 5 7 7 9 7 7G 9 7 7 7 7 7 7 ¡œ ¡ œœ £5œ ¡ œœ £œ ™œ ¢œ ™¡7œœ ¢œ ™¡ œœ7 ¢œ 7 ™œ 9£œ ™ œ 5 7 7 7 ≤ ≤ ≤≤ etc etc ¡ œœ £œ ¡ œœ ¡ œœ £œ ¡ œœ œœ £œ ¡12œœ ¡¡ 12 œ £œ ¡12œ 12 14 12 12 12 12 12 12 12 14 14 14 14 12 12 12 12 12 12 12 7 # £œ #™œ ¢œ £œ FF ##™dim œ ¢¢œ dim ™ ££œ ™œ ¢œ œ œ œ F dim F dim 14 14 16 14 14 16 14 14 16 14 14 14 14 16 16 ™¡ œœ ™¡ œœ œœ ™™¡¡ 13 œ 14 13 14 13 14 13 13 14 14 ¢œ ¢œ ¢¢œ œ 16 16 16 16 16 9 ™¡ œœ ™¡ œœ œœ ™™¡¡ 13 œ 14 13 14 13 14 13 13 14 14 ¢œ ¢œ ¢¢œ G ™œ ™ G Gœ ™™œ G £œ £œ ££œ œ 16œ 17œ 16 ≥ ≤ 16 16 17 16 16 17 16 16 16 16 17 17 ≥ ≥ ≥≥ ≤ ≤ ≤≤ ™¡ œœ ™¡ œœ œœ ™™¡¡ 15 œ 16 a 15 m 16 15 16 15 a 15 16 16 m a m a a m m 9 9 9 9 . ˙˙˙ . ˙˙ . whereas the 6ths descending from C7 imply 5 5 6 7 ©»¡™º ≥ #4 ≥3 ∑ & 4 3 ©»¡™ºBridge & middle pickup≥≥ Ex 24 Ex 24 # ©»¡™º ∑ & # 444©»¡™º ∑ ©»¡™º & ## 44 Bridge & middle ∑∑ pickup 4 & & 4 Bridge & middle pickup E B G D A E E B E G B D A G E D E B A B G E G D D A A E E 1 1 1 1 6 G6 œ G œ G œœ3 œœ4 œ G 3 Bridge & middle pickup Bridge & middle pickup 1 & # ¡œ D7 ¡ ™ ™ œ#œ œ ¡œ ¡ ™ £ œ #œ nœ ¡ ¡œ # DD¡ œ77 ¡œ # 3œ™ ™œ™ ¡œœ & # D¡¡10œ7 ¡œ # œ™ œ ¡¡œ8 & ## œ ¡œ¡7 # 3œ8™™ ™œ™9 œ œ # 3œ œ & & E B G D A E E 5 B E G B D Ex 25 A G E D E B 5 A B G E G D D 5 A A E Ex 25 E 5 5 D7 ¢œ ¢ ¡ ™3 £ ¢œ n œ œ¡ # ™œ £ œ œ¡ # ™œ n £œ ¢¢œœ7 ¡ ™ £ œœ5 ## œœ36 nn œœ7 3 3 10 8 m etc 3 10 7 8 9 8 5 10 7 8 9 8 10 8 7 8 9 m etc 7 8 9 m etc 5 ≥ œ ≥7 œ m ≥≥7 Am m Am œ Am œ Am œœ5 œœ5 œ œ≤ œ≤ ≤≤ ≥ ≥5 ≥≥5 ≥œ ≥œ ≥≥ mmCC œ œ C C œœ8 œœ9 œ E B G D A E E B E G B D A G E D E B A B G E G D D A A E E 1 1 1 3 3 3 # & œ œ ¡œ œ¡ œœ ¡œ¡7 # &# & ## œ7 & & œ 14 15 12 14 16 15 4 3 3 4 4 5 5 5 5 5 7 7 7 7 7 9 8 8 9 9 11 10 10 11 11 12 12 12 12 12 14 14 14 14 14 16 15 15 16 16 nœ C7 7 7 7 7 7 7 7 œ #œ œ ¢œ ¢œ ¢¢œ5 3 5 5 5 7 8 9 8 8 5 6 7 7 7 7 7 3 4 5 5 5 5 5 7 G 7 7 8 9 8 8 5 3 3 C D C D C C D D Em Em 9 9 10 9 9 10 9 9 9 9 10 10 3 3 44 GuitarTechniques April 2015 8 9 8 9 8 8 9 9 10 10 10 10 8 9 8 9 8 8 9 9 bœ nœ 3 bœ 3 C7 œ b œ n œ C7 nœ œ #œ œ bœ œ b œ n œ C7 nn œœ8 œ # œ œ bb œœ6 œ 3 b œ n œ œ œœ5 ##3œœ6 œœ7 bb œœ3 nn œœ43 nn œœ5 œ7 b œ83 n œ9 3 3 ¡ ™3 £ b ¡œ n ™œ n £œ b ¡¡œ n ™™œ n ££œ C7 3 4 8 9 F dim 14 12 3 10 G 11 10 4 5 4 5 ≥ ≤ 10 10 10 10 10 10 10 10 10 10 12 10 11 12 10 11 12 10 12 11 12 10 12 10 11 12 11 12 12 12 10 11 12 10 11 10 12 11 10 12 10 11 11 12 12 6 bœ nœ nœ œ bœ nœ bœ œ 9 10 11 9 10 11 w ≥≥99 nw G ≥≥ G w nGGw n ww3 nn www4 3 5 6 3 3 4 5 5 1 3 2 3 3 3 4 3 6 7 3 6 6 Am 3 3 4 5 5 5 5 5 1 2 3 3 3 3 3 4 3 Bm 3 4 4 3 ≥ 33≤ ≥ G œ 3 œ 3 bœ nœ nœ œ bœ nœ bœ œ b œ n œ n œ œœ5 b œ n œ b œ œ3 bb œœ3 nn œœ43 nn œœ5 bb œœ1 nn œœ23 bb œœ3 œ 3 3 3 n ™™œ # ™™œ n ™œ # œ 3 ™ œ9 nn10™œœ3 ##11™œœ ¡œ ¡œ ¡¡œ ‰ ‰ ‰‰ 6 7 3 3 ¡œ n ™œ # ™œ ‰ ≤ ≤ ≤≤ ≥ ≥ ≥≥ 10 11 10 11 3 œ¡ £ œ¡ £ ¡ £ œ¡ £ œ ¡ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ¡ £œ œœœ¡ œ£ œ ™¡¡ œœœ œ Am œ œ œœœ¡ œ£ œœœ¡ £œ Bm Am Bm £œ ™ œ3 £œ ¡œ £œ 5¡ œ£ 5¡ £œ œ¡ œ£ œ7¡¡ œ£ œ¡ œ £ ¡ £ £œ5 ™¡¡ œœœ4 £œ5 ¡œ5 £œ7 œœ5 œ7£ œœ5¡ £œ7 œ7 œœ9 œœ7 œœ9 œ œ œ œ ™ œ ¡œ £ £œ ¡ £ ≥£ m3a ≤££ etc 5 5 7 5 5 6 7 6 7 4 4 1 1 2 2 these ™ shapes so that you can use them spontaneously during your own Am Bm I recommend you check £solos. as we’re aiming for a percussive sound here. The descending 6ths 5 5 6 7 m etc m with the V7 and IV7 chords. Palm£ mute ¡ the£ notes on the fourth string. This is a great ‘corridor’ to work your way up to the G major Pentatonic scale shape at the 15th fret. 5 6 7 m m D Mixolydian. 3 4 5 3 4 5 5 5 3 5 5 3 . . N. m then on the repeat E B G D A E A ¡ # œ¡ # œ¡ n ™œ # œ£ œ ¡ œ n œ # œ n œ# œ ¢ œœ ™ £ ™ œ ¡ ™ £œ ¡ œ b ™œ n £œ œ ¡œ nœ#œ nœ #œ # E F m G #m A B C #m D #dim 3 E ¡™ N. 14 12 14 10 12 10 ©»¡∞º #4 ∑ & 4 Ex 27 Bridge & middle pickup ©»¡∞º #4 ∑ & 4 E B G D A E ¡ # ™œ 9 10 3 11 eXAmpLe 27: DoTTeD 8Th ‘ALBeRT Lee’ G DeLAy eFFeCT From my 4 5 6 5 6 7 7 8 9 experience of teaching country. œ œ œ œ ..œ œ œ œ 3 3 ≥ ≥3 ≥ œ œ œ œ œ œ 5 5 5 C7 C7 œ. visualising the triads on the top three strings and chicken pickin’ on the fourth string . œ nb œœ œ œ 3 . Bb for the uses ‰ G 13 ‰ ‰œ œ œ C /G 3 # & ## & & E B E G B D E G A B D E G A 7 D E A 7 E 7 Play 4 j G7 C/G j times ⋲ œœj Play ⋲ 4 times Play . ¡œ N.C. œ œœ # œ œ œœ . œœ œœ . whichG 13 many techniques from the previous examples.œ œ b œ .œ œ . before modulating into the key of FOR A COUNTRY GIG 241 GUITAR TECHNIQUES MAGAZINE 2 4 1 ©»¡£™ # ©»¡£™ 4 ∑ & ## ©»¡£™ ∑ & 44 ∑ & 4 Bridge & middle pickup COMPLETE PIECE 7 C /G harmonic lift.C. œ ‰ œ b œ . 4 5 3 4 5 5 5 3 5 5 .C. œ œ œ œ ‰ Œ .4 n œœœ C⋲⋲/G œœœœjjœ ⋲⋲ G‰‰7 b œœœ n œœœ C/G ⋲ ⋲ . .... 3 3 3 .. 3 3333 . with Delay Volume 9 10 11 11 12 13 14 14 15 16 16 17 18 œœœœœ œ The maths works out as the number 45 divided by the tempo of the œ œ œ œ œ œ100%. œœ œ . one of the first questions that’s asked is “Can you show me the Albert Lee delay effect”? So I ahad to include it here.C.3 # œœ¡ ¡ # œ 3 3 ¢ # œ # œ ¢ # œ œ ¡ ™ £ n œ œ ¡ ™ ¡œ n œ # œ œ PM ™ £ PM¡ ™ £ PM¡ n™œ # œ£ ¢ PM PM # œ PM ¢ œœPM # œPM ™ £ ™ œ4 ¡ ™ £œ 5¡ œ b ™œ n £œ 7 ¡ œ n ™œ # œ£ 9 ¡ œ n œ # œ 11n œ # œ œ 12 œ 14 16 n œ # œ n œ # œ ¡œ 5 7 9 10 12 14 16 17 10 E B G D A E # E N.C. = 0.œ ‰ n œœj œ b œ .3 N.C.œ œ œœ œ œ œ œ 6 C C 1 1 3 1 3 5 5 3 5 3 a 3 a 6 3 3 3 2 2 3 2 œ bœ nœ œ œ bœ nœ œ œ bœ nœ œ œ œ 3 3 3 3 3 œ œ œ œ œ 5 5 5 œ. œ b œ .œ œ G13 1 1 2 1 2 a 2 a 3 3 3 3 3 3 3 ≥ ≥ a ≥ œ œœ .C. 3 3 COMPLETE PIECE 3 3 4 4 3 4 3 3 G 13 6 œ œ œ œ œ œ 3 3 3 3 3 3c c 3 3 5 5 œ œ œœœ œœœ œ 3 3 5 5 3 5 5 5 5 œ œ œœ œ œ 5 5 3 3 3 5 5 5 5 5 5 5 5 5 4 5 4 4 3 3 3 m m G 13 G 13 3 2 3 2 3 2 3 3 3 1 1 2 1 2 2 3 3 3 C C 5 5 5 5 4 4 5 4 5 j j œ ‰ C G 13 œ bœ.C.œ œ 3 3 4 3 4 4 5 D7 D7 3 3 5 3 5 œ œ œ œ œ 5 4 5 4 5 4 œ œ œ œ œ 5 5 œ .C. we’re ascending the neck using double-stops. œ œ œ œœ .C. 3 4 3 5 3 4 3 5 5 3 5 . œ .. N. 15 12 14 12 œ œœ 15 13 15 12 13 12 .C. n œœ ⋲ œ œ ⋲ ‰ b œœ n œœ ⋲ œœœjœœtimes . Bridge & middle pickup 1 .C. # œ¡ # ™ œ # œ ¢œ ™ £ # œ¡ ™ £ ™œ œ ™ £ ¡ ™ £œ ¡œ n œ # œ ¢ œ n œ # œ PM 3 13 11 12 PM 5 7 PM 7 9 PM 9 10 3 3 16 14 15 3 14 12 13 16 17 18 PM 11 12 PM 12 14 14 16 16 17 it’s engaged.. N. ≥ ≤ ≥ œyou÷œ 150 to switch off the delay pick œ œtheœ lastœnote.or 300 milliseconds. 3 ¡œ N. œ œ œ 5 3 5 . œœ œ . 10 PART GUITAR 3 fuLL PIeCe MAGAZINE TECHNIQUES TRACK 39 Steve Laney PREP FOR A COUNTRY GIG Steve Laney CompLeTe pieCe To wrap things up we have basedLaney around then switches to a more rockabilly or Chet Atkins flavour.C.. Set the delay12so13 there’s only one repeat.. We start with some honky-tonk Gstyle hybrid picking that G 7 G7 Bridge & middle pickup E B E G B D E G A B D E G A 1 D E A 1 E 1 Bridge & middle pickup C9 C9 ‰ ‰ œ‰ œ œ C9 3 3 ≥3 ≥ ≥ G13 # G13 ‰ G13 & ## ‰‰ & œ & œ œ E B E G B D E G A B D E G A 10 D E A 10 E 10 3 3 3 G 13 G 13 j œj œj œ œ 3 3 2 3 2 a 2 a ≥ ≥a ≥j œj œœj œœ œ 3 3 3 3 3 3 j œ bœ ... We then have a FOR A COUNTRY GIG GUITAR TECHNIQUES MAGAZINE 2 4 1 a full piecePREP Steve an 8-barCOMPLETE sequence inPIECE G that then modulates to Bb for thePREP solo and a nice melody run incorporating open strings. œ œ œœ .3 . B C #m D #dim E ¡ N.œ œ .œ œ 3 3 3 5 5 c 5 c ≥ cc ≥5 aa ≥5 ≥ ≥3 ≥ ≥ ≥ ≥ c≥ a ≥ c≥ D7 œ .. n œ œœ œ œ œœ b œœ n œ œœ œ œ ⋲ . œ œ œ .C.œ œ .œ ‰ œjj œœ œœ . œ D7 D7 3 3 5 3 5 5 œ œœ œœ œ 5 4 5 4 5 4 œ .Engage delay on repeat .ultimate country workout PART 2 ExAMPLES LeAD BootCAMP TRACKs 37-38 eXAmpLe 10 26: DouBLe-sTop 3RDs WiTh ChiCKen piCKin’ Just like Example 25.3 ¡™ N. N.œ œœ . 8 PM ≥ ≤ ≥ PM a etc m 4 5 9 3 3 3 Bridge & middle pickup E B Ex 27 G D A E 1 # ¡¢ nœ F m N. G‰‰7 nb œœœ ..3 ¡ N.œ œ n œ œ œ œ œ œ œ œ nœ œ œ œ 3 3 3 3 3 ≥ ≥ ≥5 ≥ ≥3 ≥c ≥ ≥ ≥ D9≥ ≥ a ≥ m j œ . 3 3 .œ œ 5 5 3 5 3 3 4 4 3 4 3 œ œ œœœ œœœ œ 3 3 5 5 3 5 5 5 œ œ œœ œ œ 5 5 œ. œ œsoœinœthis case song.œ œ‰ œ œ œ . N. but here we’re Ex 26 ©»¡ºº #### 4 ∑ Ex 26 & 4 ©»¡ºº & middle pickup # # #Bridge #4 ∑ & 4 4 1 5 6 5 6 7 7 G m N.œ œœ . œ œ it’s: œas45 j Be sure . .C.œ œ ..œ œœ œ œ œ œ 3 ‰ ‰ œ‰ œ œ C9 5 3 5 5 3 3 5 3 G bGœ n œ œ œ œ œ œ œ j œj œj œ œ 3 3 2 3 2 2 3 œ bœ nœ œ œ bœ nœ œ œ bœ nœ œ œ œ 5 5 3 5 3 3 5 3 C9 C9 3 5 5 3 3 5 5 j œj œœj œœ œ j œj œœj œœ œ C/G solo.very Brent Mason. 14 12 14 11 12 11 14 12 14 10 12 10 . D9 ‰ œ D9 œ . œ œ . . 3 . ‰ nb œ .œ œ 3 3 4 3 4 4 5 April 2015 GuitarTechniques 45 . G œ œ delay Engage œ œonœrepeat œœœ œœœœœœœ PM œ œ œ œ œ œ œ œ œ œ œ j ‰ Œ . œ . ¡ N.C.. œ . œ œ œ œ œ œœ C7 1 1 3 1 3 a a 3 3 3 2 2 3 m 2 m 3 2 3 2 3 2 m m 3 3 ≥ ≥ ≥ ≥ ≥ ≥a ≥ ≥3 m≥ ≥ ≥m ≥ œ b œ n œ œœ œ œ œbœ nœ œ œ œ œ œbœ nœ œ œ œ œ œ œ 3 5 5 3 5 3 3 3 3 3 4 4 3 4 3 3 5 5 3 5 5 5 3 5 3 G13 G13 ‰ ‰ ‰œ œ œ œ. œ œ œ œ . # œ œ œ #œ D7 5 5 5 œ . œ . 1 14 PM 15 12 14 15 12 13 15 12 13 12 14 12 14 11 12 11 14 12 14 10 12 10 14 12 14 10 12 14 . etc The first cycle of this example is played without delay. ..œ œ œ œœ œ œ œ œœ œ œœ œœ œœ play: COUNTRy E E B B G G D D A A E E 10 10 3 3 5 5 3 3 3 3 5 5 3 3 3 3 3 3 4 4 5 5 3 3 3 3 5 5 5 5 5 5 3 3 2 2 3 3 1 1 3 3 2 2 3 3 3 2 3 2 3 3 nœ œ #œ œ œ œ œœ n œ œœ œ œœ # œ œœ œ 3 1 1 3 THE 5 CD ON 5 2 2 3 3 3 3 3 3 5 5 3 12-40 TraCk 3 5 3 3 3 3 4 5 4 5 5 4 4 5 5 PART 3 fuLL PIeCe j ## ‰‰ œœj & nœ & œœ n œ G 13 G 13 E E B B G G D D A A E E 13 13 œœ œ œ œ œ bb œœ nn œœ œ œ œœ œœ œ œœ œ 3 3 5 5 3 3 3 3 TRACK 39 5 5 3 3 3 3 4 4 3 3 3 3 3 5 3 5 5 5 3 3 G .œ œœ ..... . œ œ œ œ # œ n œ n œ œ œ bb œœ nn œœ œ nœ œ œ œœ œœ ... 3 3 5 5 C C bbGœœ nn œœ œ œ n œ œ œ œ . œœ œœ 6 6 14 14 22 22 7 0 7 8 0 8 m m 6 5 5 6 5 7 5 7 7 7 6 6 5 5 5 5 5 5 5 5 3 3 ≥≥ mm ≥≥ ≥≥ mm ≥≥ ≤≤ ≥≥ mm ≥≥ m m G D ## bb œœ nn œœ œœ nn œœ nn œœ œœ œ œœ œ # œ n œ œ #œ œ œ bb œœ nn œœ # œ œœ œœ œœ # œ œœ œ œœ œœ œœ œ œ œ œ # œ n œ œ & œ œ & œ œ #œ œ G E E B B G G 2 D D A 2 A E 2 E 16 2 16 24 24 ## & ## & & & E B E G B E D G B E A D B G E A D 19 G E D A 27 19 A E 27 E 19 27 19 27 ## & ## & & & E B E G B E D G E B A D B G E A G D 30 E A D 30 A E E 30 30 ## & ## & & & 0 0 6 5 5 6 5 7 5 7 7 7 etc C etc C C C œœ b œ œ œ œ # œ n œ œœ bb œœ œœ œœ œœ ## œœ nn œœ nn œœ bœ œ œ œ #œ nœ nœ nœ 5 5 5 5 3 3 3 5 3 5 5 3 3 5 3 5 3 5 5 5 bbCC™™œœ nn œœ bbC™™œœ nn œœ C BU BU 11BU(13 ) 11BU(13 ) 11 (13 ) 11 (13 ) C bbCCC™™œœ bb™™œœ bbGGœœ bbGœœ nn œœ nn œœ 6 6 6 6 7 7 7 7 G E B E G B E D G E B A D B G E A G D 34 E A D 34 A E E 34 34 ¢œ ¢œ ¢œ ¢œ 4 4 4 4 ™œ ™œ ™œ ™œ Hold bend Hold bend RP Hold Hold bend 12 RP bend RP) 12 (13 RP) 12 (13 12 (13) (13) œœ ¢¢ œœ œœ ¢¢ œœ BU BU 11BU(13 ) 11BU(13 ) 11 (13 ) 11 (13 ) E B E G B E D G B E A D B G E A D G 32 E D A 32 A E E 32 32 ## & ## & & & 7 7 8 8 12 12 12 12 œœ œœ 8 8 8 8 ™œ ™œ ™œ ™œ RP RP (RP 13) (RP 13) (13) (13) œœ œœ 0 0 0 0 3 3 3 3 ¡œ ¡œ ¡œ ¡œ 10 10 10 10 ¡œ ¡œ ¡œ ¡œ 10 10 10 10 6 6 œœ œœ 5 5 5 5 5 5 5 5 œœ bb œœ nn œœ œœ bb œœ nn œœ 3 3 3 3 3 3 3 3 3 3 3 3 ™œ ™œ ™œ ™œ œœ œœ œœ œœ RP RPBD RPBD RP)BD (13 (11 ) (13)BD (11 ) (13) (11 ) (13) (11 ) nn œœ nn œœ œœ œœ 6 6 6 6 5 5 5 5 œœ œœ 7 7 7 7 4 4 5 5 5 5 ≥≥ ≥≥ œœ œœ 3 3 3 3 0 3 0 0 5 3 0 5 5 0 3 0 5 0 5 3 0 5 5 m 5 m m m œœ œœ œœ œœ 10 10 10 10 11 11 11 11 10 10 10 12 10 10 12 10 10 12 10 12 ¡œ ¡œ ¡œ ¡œ œœ œœ œœ œœ 10 10 10 10 11 11 11 11 10 10 10 12 10 12 12 10 10 12 10 12 10 12 12 12 œœ œœ 5 5 5 5 œœ œœ œœ œœ œœ # œ œœ ## œœ #œ 7 7 7 7 6 6 7 7 ≥≥ mm ≥≥ aa mm ≥≥ mmD≥≥ aa D œœ b œ œ œ œ œ œ œ œ nDDœ œ œœ bb œœ œœ œœ œœ œœ œœ œœ œœ nn œœ œœ œœ œœ œœ œœ œœ bœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œœ œœœ 2 2 3 2 3 2 3 3 6 6 6 6 nn œœ nn œœ 5 5 5 5 œœ œœ œœ œœ 5 5 5 5 œœ œœ 12 12 12 12 œœ œœ œœ œœ 5 5 5 5 0 0 0 0 m m m m ≥≥ ≥≥ ≥≥ ≥≥ œœ nn œœ # œ œœ nn œœ ## œœ #œ 11 11 11 11 10 10 10 10 11 11 11 11 5 5 5 5 3 3 3 3 ≥≥ ≥≥ G G G G œœ œœ 12 12 12 12 D D D D œœ nn œœ œœ nn œœ œœ œœ ## œœ ## œœ 11 11 11 11 10 10 10 10 11 11 11 11 10 10 10 10 œœ bb œœ œœ bb œœ nn œœ nn œœ 3 3 3 3 4 4 4 4 5 5 5 5 C C C C 0 3 0 0 5 3 0 0 5 3 0 0 5 m 3 0 5 m m m ≥≥ ≥≥ ## œœ ## œœ œœ œœ 11 11 11 11 12 12 12 12 œœ œœ œœ œœ 10 10 10 10 œœ œœ bb œœ bb œœ 5 5 5 5 3 3 3 3 5 ≥≥55 ≥≥5 bb œœ bb œœ 12 12 12 12 œœ œœ 5 5 5 5 11 11 11 11 D D G G 3 3 3 3 3 3 3 3 m m 1 1 ≥≥ ≥≥ œœ œœ 3 3 3 3 j bœ bœ 6 5 5 6 5 7 5 7 7 7 G G G G œœ # œ n œ œœ ## œœ nn œœ #œ nœ 0 0 0 m 0 m m m 5 ≥≥555 ≥≥ 4 ≤≤444 ≤≤ œœ œœ 3 3 3 3 3 œœ œœ ≥≥33 ≥≥3 œœ œœ 10 10 10 10 12 12 12 12 10 10 10 10 œœ œœ nn œœ nn œœ 10 10 10 10 12 12 12 12 œœ # œ œœ ## œœ #œ nn œœ nn œœ 4 4 4 4 3 3 3 3 nn œœ nn œœ 12 12 12 12 nn œœ ## œœ nn œœ ## œœ 10 10 10 10 0 8 0 8 11 11 11 11 œœ œœ 5 5 5 5 46 GuitarTechniques April 2015 G G 4 4 2 2 3 3 ≥≥ m m G G G G G œœ œœ 3 3 3 5 3 5 5 5 ≥≥ ≥≥ mm ≥≥ ≤≤ 7 7 7 5 7 5 5 6 7 5 7 6 7 7 5 6 7 5 7 6 7 7 ¡œ ¡œ ¡œ ¡œ RP BD RP BD RP (RP ) (11 ) 13BD (13BD ) (11 ) (13) (11 ) (13) (11 ) ™œ ™œ ™œ ™œ 1 1 1 1 3 3 5 5 bbGœœ nn œœ n œ n œ n œ œœ n œ œœ œœ œœ œœ # œ n œ œ b œ n œ # œ n œ nn œœ œ œœ b œ n œ D 6 6 4 4 b œœ œœ 10 10 10 10 nn œœ nn œœ œb œ b œ B B 3 3 3 3 œœ œœ 3 3 m 3 m 3 m m 6 6 5 5 5 5 5 5 5 5 ŒŒ b œ n œ œœ b œ n œ œœ ŒŒ œœ bb œœ nn œœ œœ 1 1 m 1 m 1 m m 3 2 2 2 2 3 œœ œœ bb œœ bb œœ ≥≥33 ≥≥3 œœ œœ 13 13 13 13 12 12 12 12 11 11 11 11 10 10 10 10 nn œœ nn œœ œœ œœ œœ œœ 13 13 13 13 12 12 12 12 10 10 10 10 nn œœ nn œœ œœ œœ 3 3 3 3 ≥≥33 ≥≥3 œœ œœ 3 3 3 3 œœ œœ 12 12 12 12 bb œœ bb œœ nn œœ nn œœ 1 1 1 1 2 2 2 2 œœ œœ 12 12 12 12 œœ œœ 10 10 10 10 œœ œœ 3 3 3 3 3 3 4 4 . ... œ œ œ œ . .. œ n œ œ œœ œ œœ ## œœ nn œœ œ œœ œ bb œœ nn œœ œœ bb œœ œ œœ œ # œ n œ œ . .& & œœ œœ œœ b œ n œ œœ œœ œ œ b œ .. . . . œ.. œ nœ œœ n œ œ nn œœ 6 6 6 6 18 18 18 18 3 3 3 3 6 6 6 6 B B B B 6 (11 ) 3 b b b b œ œœ œ 8 6 8 6 8 6 8 6 8 8 8 8 2 B B B B 3 3 3 3 10 10 10 10 11 11 11 11 3 œ bb œœ nn œœ œœ b œ n œ œ bœ nœ œ . œ. œ.. 8 8 8 8 m m m m œ œœ œ 15 15 15 15 16 16 17 16 17 16 17 17 6 6 6 6 16 16 16 16 œ œœ œ 9 9 9 9 ≥ ≥≥ ≥ 6 6 6 6 b b n œbb nœ B B B B ≤ ≤≤ ≤ œ œ nn œœ œœ œ œœ œ 6 6 6 6 8 8 8 8 7 7 7 7 ≥ ≥≥ ≥ 8 8 8 8 ≤≤ ≤≤ 8 6 9 8 6 6 6 6 œ œœ œ 8 8 8 8 ≥ ≥≥ ≥ œ œœ œ œ bb œœ nn œœ œœ b œ n œ œ bœ nœ 6 8 8 6 8 8 8 8 8 8 8 8 8 œ œœ œ 9 9 9 9 10 10 10 10 14 14 14 14 7 15 15 15 15 15 15 15 15 œ œœ œ œ #œ nœ œœ # œ n œ œ ## œœ nn œœ3 3 3 3 6 6 6 6 œ œœ œ 8 8 8 8 8 8 8 m 8 m m m ≥ ≥≥ ≥ 9 9 9 9 8 8 8 8 œ nn œœ œœ n œ œ nœ 6 6 6 6 m m m m 7 7 7 7 10 12 10 12 10 12 10 12 12 12 12 12 8 8 8 8 10 10 10 10 3 3 11 11 11 11 œ œœ œ œ bb œœ nn œœ œœ b œ n œ œ b œ3 n œ 3 3 3 œ œœ œ 11 11 11 11 œ œœ œ 11 10 12 11 12 10 12 11 12 10 12 11 12 10 12 12 11 11 11 11 nœ nn œœ nœ œ bb œœ nn œœ œœ b œ n œ œ b œ3 n œ 3 3 3 3 13 13 13 13 œ œœ œ œ œœ œ œ b œ n œ bb œœ œœ b œ n œ b œ bb œœ nn œœ b œ œ b œ n œ bb œœ bb œœ nn œœ b œ b œ n œ3 b œ 3 10 10 10 10 13 13 13 13 nœ bœ #œ nn œœ bb œœ # œ n œ b œ ## œœ 9 9 9 9 9 6 3 3 3 3 œ bb œœ nn œœ œœ b œ n œ œ bœ nœ bœ bb œœ bœ #œ ## œœ #œ œ œœ œ 10 10 10 10 bœ œ bb œœ œœ b œ œ 6 6 6 6 œ œœ œ 9 9 9 9 œ nœ œœ nn œœ œ n œ3 3 3 3 11 11 11 11 9 9 9 9 œ bb œœ nn œœ œœ b œ n œ œ bœ nœ 3 3 3 b œœœ œ bb œœ bb œœœ œœ b œ b œ œ3 b œ œ. RP RPBD RPBD (RP ) (12 ) 14BD BD (14 ) (12 ) (14 ) (12 ) (14 ) (12 ) 3 œœ œœ œœ œœ œœ œœ œœ ⋲⋲ œ œœ œœ œœ œ ⋲⋲ b œœ œ bb œœœ œœ b œœ œ 11 11 11 11 6 6 6 6 3 0 œ œ œ œœ œ œ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ œ œœ œ œ œ 3 3 nœ nn œœ nœ b & bb bb & bb & &b 8 6 8 6 8 6 8 6 5 œ nœ œœ nn œœ œ n œ3 3 œ b œœœ b & b bb & bb & &b E B E G B E D G B E A D G B E A D 45 G E A D E 45 A E 45 45 b œ œ bœ œ œ œ nœbœ œ bœ œ œ œ nœ bb B J 9 0 b nEEœœbb nnEEœœb b & bb bb n œœ & bb & &b E B E G B E D G B E A D G B E A D 43 G E A D E 43 A E 43 43 j bœ bœ BU b b œœ & bb bb b œ œœ bb œœ & bb bœ œ bœ & & b bœ œ E B E G B E D G B E A D G B E A D G 47 E A D E 47 A E 47 47 G œ nœ œœ n œ œ nn œœ œ œœ œ 6 6 6 6 6 6 6 6 œ œJœ JœJ J 8 8 8 8 ≥ ≥≥ ≥ 9 9 9 9 ‰ ‰‰ ‰ 12 12 12 12 œ nn œœ œœ n œ œ nœ 13 13 13 13 13 13 13 13 œ œœ œ Hold bend Hold BU Hold bend Hold bend13 BU (bend 13BU 15 ) 13 (15 ) 13 13BU 13 (15 ) 13 13 (15 ) F F F F œ œœ œ 3 3 3 œ nn œœ œœ n œ œ nœ œ œœ œ œ œœ œ RP RP (RP 15 ) (RP 15 ) (15 ) (15 ) 11 11 11 11 œ œœ œ œ œœ œ Hold bend Hold Hold bendRP BU Hold bendRP BU 8 RP 8BU(10 ) bend 10 ) 8 (RP 8BU(10 ) 8 (10 ) 8 (10 ) 8 (10 ) (10 ) 8 (10 ) Bb Bb j Bœb n œj Bœb n œj œœ n œj œœ nœ œ œ BU BU BU (7 ) 5BU 5 (8 7) 8 8) 5 (7 5 (8 7) 8 8 6 6 6 6 15 15 15 15 16 16 16 16 17 17 17 17 œ œœ œ œ œœ œ œ œœ œ RP BD RP RP BD (RP ) (13 ) 15 BD (15 ) (13 ) BD (15 ) (13 ) (15 ) (13 ) œ œœ œ œ œœ œ RP BD RP RP BD (RP ) ( 8) 10BD (10BD ) ( 8) (10 ) ( 8) (10 ) ( 8) 11 11 11 11 œ œœ œ 6 6 6 6 ww ww www w April 2015 GuitarTechniques 47 . œœ . œœ .& E B G D A E œ bœ nœ œ 6 7 0 8 6 5 5 7 7 6 5 5 5 3 5 bœ œ œ œ #œ nœ nœ œ œ bœ nœ œ 4 5 3 ultimate country workout 3 5 4 5 3 3 3 1 3 2 3 34 PART 3 fuLL PIeCe TRACK 39 G & D # œ bœ œ œ œ œ œ œ œ nœ œ ‰ œ œ œ œ œ œ #œ nœ œ œ œ bœ nœ œ E B G3 D A3 E3 336 E B E G B E D G B E A D G B E A D 39 G E A D E 39 A E 39 39 b & bb bb & bb & &b E B E G B E D G B E A D G B E A D 41 G E A D E 41 A E 41 41 5 3 0 5 3 0 b b b b œb E E E E 6 6 6 6 F F F F œ œœ œ 8 8 8 8 œ œœ œ BU BU BU 12BU(14 ) 12 (14 ) 12 (14 ) 12 (14 ) œ œœ œ 13 13 13 13 5 3 0 15 16 15 16 15 16 15 16 13 13 13 13 13 13 13 13 12 12 12 12 bœ bb œœ bœ œ œœ œ 9 9 9 9 8 8 8 8 ≥ ≥≥ ≥ ≤ ≤≤ ≤ bœ bb œœ bœ 8 6 8 6 8 6 8 6 8 8 8 8 œ œœ œ 8 8 8 8 œ œœ œ RP RP RP RP) (14 (14 ) (14 ) (14 ) 5 0 5 10 10 10 10 6 6 6 6 œ œœ œ 8 6 8 6 8 6 8 6 8 8 8 8 œ œœ œ 5 4 8 6 8 6 8 6 8 6 8 8 8 8 8 8 8 8 13 14 13 14 14 15 13 14 13 14 15 14 14 15 14 15 11 13 11 13 11 12 13 13 11 12 13 13 12 13 12 13 nœ nn œœ nœ 14 14 14 14 œ bœ œœ b œ œ bb œœ 9 9 9 9 ≥ ≥≥ ≥ œ œœ œ 8 8 8 8 m m m m 10 10 10 10 œ œœ œ 6 6 6 6 6 6 6 6 17 17 17 17 b œœ b œ b œ n œ b œ bbb œœœœ bb œœ nn œœ b œ œ b œ n œ3 b œ bœ bb œœ bœ 3 3 3 œ œœ œ 11 11 11 11 œ œœ œ 9 9 9 9 ≥ ≥≥ ≥ œ œœ œ #œ ## œœ #œ nœ nn œœ nœ 12 12 12 12 11 11 11 11 10 10 10 10 œ #œ nœ œœ # œ n œ œ ## œœ nn œœ 6 6 6 6 m m m m 9 9 9 9 ≥ ≥≥ ≥ 3 1 3 8 8 8 8 œbbb œœb œ ≤ ≤≤ ≤ 18 18 18 18 19 19 19 19 nœ nn œœ nœ ≥ ≥≥ ≥ 8 8 8 8 9 9 9 9 9 11 9 11 9 10 11 11 9 10 11 11 10 11 10 11 œ. œœ . command of orchestration and creative force Sitting PoSture An important aspect of technique in classical guitar playing is adopting the correct sitting posture. and refer to the tab captions to guide you through some of the trickier passages. this arrangement will nonetheless present something of a challenge so be patient. hope you enjoy learning and playing this masterpiece of the classical repertoire. mozart had already written an amazing body of work. to arrange and transcribe his legendary Eine Kleine Nachtmusik. and edited some of the ornamentations and inner voices. Originally written for a string quartet. 48 GuitarTechniques April 2015 . bassoon. eine Kleine nachtmusik is now most often performed by string orchestras. two and three pianos. more commonly known as eine Kleine nachtmusik. at the time of its composition. Mozart: prolific and prodigious in equal measure NeXT MoNTH: Bridget arranges and transcribe’s Strauss’s famous waltz. try Fernando Sor’s Introduction and Variations on a Theme of Mozart. not surprisingly. 17 operas and hundreds of other works – so his technical prowess. and see you next month. The guitar should be positioned at an angle where the neck is pointing slightly upwards. eine Kleine nachtmusik is undoubtedly one of the best known pieces in the entire classical repertoire. and the right forearm rests on the larger bout of the instrument. we return (as. harp and horn. we have so often) to the work of that musical genius Wolfgang amadeus mozart (1756 – 1791). with an optional double bass. and why or for whom it was written is not known. and still very much embedded within popular culture. Wolfgang Amadeus Mozart. this piece was not published until decades after his death. violin. I’ve transposed the original key of G major down a 4th to D major. Despite the uncertainty of its origin. been used in both film and TV scores. The guitar is placed on the left thigh (for right-handed players). Blue Danube Track record karl Bohm’s conducting of the Berliner Philharmoniker (deutsche Grammophon. 1995) is splendid. to make the multiple parts playable on the guitar. 1993) is a classic. ABILITY RATING Moderate Info WIll IMprove your Key: D Tempo: 110 bpm CD: TRACK 41 Fretting-hand stretches Independence between parts Classical ornaments In thIs Installment of our ongoing Classical series. which is raised by placing the foot on a footstool or similar.play: classical ON THE CD TraCk 41 Mozart Eine Kleine Nachtmusik This month Bridget Mermikides revisits perhaps the most revered classical composer of all. were all clearly established.13 For strings In G major K525. This should hold the instrument securely in place and give ease of facility for both hands. In fact there is not a year in recent history when it hasn’t To make all the parts playable on the guitar the original’s key of G major has been transposed down a 4th to d. flute. break it up into sections for practice. To hear a famous adaptation of a Mozart piece for classical guitar. an 1821 set of variations based around a melody in Mozart’s The Magic Flute. The left knee should be pointing forwards and the right knee to the side so the guitar rests on the inside of the right thigh. this time we are going to adapt one of his best known pieces: the first movement from his serenade no. 37 concerti for one. and Julian Bream’s version (Gold Seal Music of Spain. this included: 38 symphonies. even having done that. Completed in 1787. At bar 15 we go up an octave for tonal variety and then we arr. A barre is needed on beat 2 of bar 9 and beat 2 of bar 10.2 Suggested fingering for both hands grace notes in bars 12 and 13 are played together with the bass notes and MOZART'S EINE KLEINE NACHTMUSIK is indicated. œ œ œ œ œ 3 3 4 5 5 4 5 p a i p a i p D p 5 p A/E 2 0 0 0 i p m p D /F i p 0 4 m p i p œ œ 5 3 2 0 m p i p D jœ œ œ œ œ œœ œ œœ . B Mermikides and in fact the notes lie under the hand to stay in 2nd position right through have the repeated bass D notes at 18. œ œ œ œ œ œ œ œ œœ œ j œ 2 0 3 0 5 0 i p m i p i 5 A /C 0 # 0 3 0 0 0 m i p i p m p i p D A/E 2 0 0 0 2 D /F 3 3 0 3 2 2 2 0 3 4 0 3 2 2 3 3 4 5 5 4 5 a i p m p a i p 5 5 2 0 0 0 # 2 & ## j œ 4 13 A D/F ˙˙ 2 4 4 2 2 0 3 3 5 4 2 5 A 0 4 A # D D/F ˙˙ j ‰ œj ‰ œj ‰ Œ œ ‰ œ ‰ œ ‰ Œ œ J J J œ œ œœ œ œœ œ œ œ E m/G 5 m p 2 2 4 i p 0 m p i p j œ œ œ œœ œ œœ . œ œ œ œ œ # # œ œ œ œ œ œ ™œ œ ¡œ œ œ œ œ œ œ œ œ œ œ Œ & œ œ £ £œ œ œ Œ œ œ E B G D A E 3 5 0 2 m p j œ œ œ œ œ ‰ Œ œ œ œ œ œ œ œ 3 5 A7/D 3 # 0 m p 2 3 2 0 0 D 5 3 2 0 0 # # ™œj ‰ & £ œœ œ ¢ E B G D A E 3 2 jœ œ ‰ œ œ A7 0 0 0 0 2 2 2 2 ˙ œ œ œ œ œ œ œ œ œ œ 2 3 0 5 0 0 0 0 0 0 0 0 0 2 0 0 0 April 2015 GuitarTechniques 49 . The main theme begins in bar 5 and I play this in 2nd position land on the beat. œœ .Mozart EinE KlEinE nachtMusiK PLAYING TIPS cd track 41 [Bars 1-18] The opening octaves should be played nice and neatly without to bar 14. œ œ œ œ œ œ œ œ A7/D j œ 3 5 0 3 0 5 0 2 0 2 0 0 A7 0 3 0 0 2 0 Bm ˙˙ j œ œ œ 0 0 2 0 0 ˙ ¢ œj œ £˙ œ 4 2 4 ¡ 5 0 2 0 2 # 5 7 G ˙˙ A7 7 8 5 2 17 3 0 0 0 3 4 5 0 0 0 2 3 3 5 2 2 3 4 5 0 0 0 0 5 5 5 5 3 3 3 3 0 D 2 Bm œ œ œ œ œ œ œ œ ˙ ˙ ## œ œ œ œ œ œ œ œ ˙ œœ œ œ œ œ œ ˙˙ œ œ & ˙œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ E B G D A E a p G 5 3 2 3 5 0 4 i p 2 2 9 E m/G E B G D A E 2 3 4 m p 5 0 2 œ œ œ œ.. œœ . ©»¡¡º D ¢œ # # 4 ™œ j ™œ j œ œ ¡œ ¡ œ Œ ‰ ‰ œ œ œ & 4 œ ¡ œ œ œ œ œ œ œ £ E B G D A E 3 0 1 m p 5 i p m p i p œ œ œ œ. The TECHNIQUES MAGAZINE 41 anyGUITAR of the open strings ringing through.. . It’s a handy technique once you get the hang of it.. œ œ œ. ‰ ‰‰ ‰ 4 œœœ œ œœ œ œœœ œ œœ œ œ Ó Ó 5 5 5 5 œ œœ ## œœ œ ‰ ‰ ‰ œ ‰ œJ J2 4 0 2 j œ œj œ œ œ œœ œ œ œ A A Œ Œ Œ Œ E E 0 j œj œ œ œ œ œ œ œœ œœ œœ œ œ œ A A 3 3 0 0 4 4 j œj œ j œj œœ œJ J D D 4 4 E /G E /G 0 0 0 0 jE # œj œ #œ œ 0 0 ¢ ™ ¡ j # œ ¢ œœ ™œœ ##¡œœ ¢¢œœJj # œ£ J £ Œ Bm Bm 0 0 3 3 ™œ..... j # œœ . œ œ. 1 1 0 0 # # # j# 5 5 6 6 0 a 0 ai pi p m m C /E C /E Œ # Œœ ‰ #œ ‰ œ œJ J F /A F /A 0 0 # # # # E E ‰ ‰ ‰ ‰ 4 4 4 4 0 a 0 ai pi p 32 A A E 7/A # ¡¡œ œ ™™œœ œ ¡¡œ œ œœ œ # œ œ œ œ œ #œ œ £œ œ ¡œ œ œ œ #œ œ œ œ œ œ £ ¡œ œ œœ œœ œœ œœ ‰ J ‰ œ œ œ œ œ J œ œ œ œ œ 0 a m 0 m a m p m p œ ‰‰ œ£ ‰ £ œJJ ‰ 3 2 0 3 2 0 2 2 4 4 2 2 E E 0 0 0 0 0 0 0 0 # œ. œœ # œ œ #œ 2 2 5 5 2 2 3 2 0 3 2 0 2 2 0 0 œ œ 4 4 ™œ ¡œ ™œ ¡œ ˙ n ˙œ nœ F m F m 5 5 3 3 A/E A/E A 0 0 0 1 0 1 0 0 Ó Ó 2 2 0 0 5 5 2 2 2 2 0 0 0 3 0 4 3 4 5 5 ¢œ . ™ œŒ . ‰ & œ ‰ œJ J # j# œj œœ #œ # œJ J E /G E /G 0 0 4 0 4 0 6 6 29 # & # ## & E B E G B D G A D E A 0 0 B m/A B m/A ‰ ‰ ‰ ‰ A A E B E G B D G A D E A 5 5 2 2 7 7 j E# 7/A œ .. It makes the change from the previous chord shape easier.. œ œ .. 1 1 Œ Œ nœ œ nœ œ 0 0 A /E 2 2 E j A /E E ™œj œ œ ‰ j £™œœ œœ ™ œœ ‰ ¡ j # ¡œ‰ £ œ‰ œœ ™ œ‰ ¡ œJ ‰ ¡ J ‰ œ # œ‰ œJ J 2 2 0 3 2 3 3 2 3 2 2 2 0 2 1 1 0 0 ‰ œjj œ œ œ œ ‰œœœ œ œ œ œ œ œ œ œ Ó Œ Ó Œ 3 4 3 4 0 0 5 2 5 2 4 4 2 2 2 2 0 0 . œ œœ . œ œ . œ œœ . œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ E 7/B E 7/B A A ¢œ #¢¢œ ¢œ #™ œ œ œ ™ œœ # & # ## œœ œ œ œ & œ œ¡œ œ œ œ¡ œ ¡ ¡œ œ ™œ ™œ ™ ™œ E B E G B D G A D E A E 3 3 0 0 5 5 4 4 0 0 21 7 7 0 0 4 4 0 0 21 j # # œœj œœ œœ & ## œ œ œ œ œ & £œ œ œ œ œ £ D D E B E G B D G A D E A E 25 E 5 5 4 4 j £™ œœj £™ œœ ¡œ ¡ œJ J Bm Bm E E j œj n œœ n œJ J 3 4 3 4 2 2 29 5 5 2 2 # j# ¡ œj ¡œ œ #œ œ # œ™ ™ B 7/D B 7/D 0 0 a i pi p p p 5 5 4 4 ‰ ‰ ‰ ‰ 4 4 32 3 3 n¢¢œ ™™œ n œ‰ œ ¡ œœ ‰ ¡J J 5 5 0 0 A/C A/C ¡œjj ¡œ # # 4 3 4 4 3 4 0 0a m a i m pi p E E 0 0 0 0 m m p p p p A A 0 4 0 3 4 4 3 4 0 0 0 0 a mm a pm m i p p p i p p A A A A 0 0 5 2 5 2 0 0 0 a 0 m a m p p E E 0 0m m p p 0 0 5 5 6 6 0 a 0 ai pi p 0 0 m m 35 Œ ¡ Œœ ¡ œœ œ 2 2 0 0 ‰ ™£ ‰œœ ™£ œœ Œ Œ 3 4 3 4 œœj œ #œ # œJ J 2 2 j œœj œœ œ œJ J ‰ ‰ ‰ ‰ 2 2 2 2 1 1 35 50 GuitarTechniques April 2015 j £ œj œœ ##£œœ ££œœ œ œ œ ™œ œ Ó ™ Ó 0 0 0 0 0 0 4 3 4 4 3 4 0 0 0 0 4 4 4 4 0 0 0 4 0 3 4 4 3 4 0 0 0 0 m m 4 4 3 3 ‰ ‰ ‰ ‰ B m/A B m/A j œj n œœ n œJ J 3 4 3 4 2 2 5 2 5 2 4 4 2 2 2 2 0 0 m p m p i i m p m p i i E 4 4 œ # œœ œ #œ œ œ 2 0 2 1 0 1 0 0a m a i m pi p 0 0 m m 0 0 0 0 0 0 7 7 7 7 7 7 7 7 # # F m F m 2 2 1 1 ‰ ‰ ‰ ‰ œ œœ #œ # œJ J ‰ ™¡ ‰œœœ ™¡ œ 2 2 2 2 i pi p ‰ ‰‰ ‰ # # 0 0 0 0 m m 0 0 0 0 0 0 a m a p m p i i a m a p m p i i 2 2 # # #œ #œ œ œJ J4 4 œ œ ‰ ‰ 5 5 £ j ¡A £# œj ¡œœ #œ ¡ œ ¡¡ œœ ¡ œ œ 4 4 2 2 2 2 2 2 0 0 0 0 2 2 0 0 œ ¡¡œjj œ œŒ Œ 0 0 D D ‰ ‰ œ œJ J 4 4 0 0 # # # j# F /A F /A ‰ ¢¢œj ‰ £ œœ £ ¡#œ ¡ # œJ J ‰ ‰ ‰ ‰ 2 2 2 2 1 1 œ ... A/C A/C # # D D j E# 7/A œ . ¢œ . œ œ œ. œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ E 7/A 5 5 6 6 0 0 a 25 # & # ## & E B E G B D G A D E A 5 5 2 2 œ œ œ œ 9 7 9 7 7 7 Picking hand fingering is indicated in bar 22 and I play the open E notes in the melody with a light rest stroke.... œ œ . j # œœ .. œ œ. This puts the second finger onto the second string and therefore immediately ready to pluck the chord with no re-placing of the finger.play: classical ON THE CD TraCk 41 PLAYING TIPS cd track 41 [Bar 21] At bar 21 the ascending melody stays on the second string and then at 22 I find it helpful to land on the first A chord using a hinge barre – this 2 xxxxxxxxxx where the top A note is pressed down with the side of the first finger rather 2 the xxxxxxxxxx than tip. & # ## œ . œ œ . Mozart EinE KlEinE nachtMusiK PLAYING TIPS cd track 41 [Bars 28-53] Another section begins at bar 28 and has a tricky downwards triplet slur in the melody. At bar 35 we get a middle voice coming in and also a slightly awkward pull-off grace notes in the melody. After the embellished singe line melody in the bars 51-53 we reach the end of the first section. œ œ œ œ œ œœ œœ œœ œ œ ‰ œ œ œ #œ œ #œ œ œ œ œ nœ #œ œ œ œ Œ œ œ J ¡ 0 1 œ #œ œ 7 6 2 # # 0 50 & E B G D A E 0 2 1 3 F /A 0 E7 E /G 0 0 46 2 2 0 A /E E B G D A E 2 0 3 4 2 0 42 Bm ‰œ œj œ # œ œ œ œ œ œ Œ Ó A Œ # # ¢£œœ œœ œ œœ œœ ™ œ ™ œ œ œ £ ¡ œ #œ œ & ˙™ ¡œ ¡ œ ˙ E B G D A E 0 4 A /E E B G D A E # # F /A Œ œ.. The one at bar 3 36 is a bit of a stretch for the fretting hand and can be omitted if it # & # E B G D A E œœ œ ‰œ œj œœœ œ œœ œ #œ œ œ œ Œ Ó j #œ E 4 2 0 1 0 0 2 2 0 3 4 0 0 0 1 0 j #œ A 4 2 2 2 E 7 A /E E 2 3 0 2 0 2 2 2 2 0 2 3 4 2 2 0 1 # & # œœ œ ‰œ œj œœœ œ œœ œ #œ œ œ œ Œ Ó j #œ E 4 2 0 1 0 0 2 2 0 3 4 0 0 0 1 0 j #œ A 4 2 2 2 A/E E # œ œ œ œ & # œ˙ œ œœ œ œ œœ œœ # œœ ˙ 2 3 2 0 2 2 2 0 2 ## œ œ 5 53 5 £¢ £ #œ œ 6 3 4 2 2 5 2 4 4 2 1 2 4 6 7 A 0 0 2 0 0 4 0 2 0 E 4 2 0 1 0 0 2 2 0 3 4 0 0 0 1 2 D 2 0 2 3 4 0 4 œ œ ‰œ œj œœ œ œ œ # œœ œ œ œœ œ Œ Ó j #œ 2 0 4 5 4 0 0 2 œœ œ ‰œ œj œœ œ œ œ œ œ œ œ Œ Ó j #œ A 4 2 2 2 0 2 3 0 0 3 4 5 2 4 2 0 2 0 Bm E /G # A D 2 4 2 1 2 4 2 3 1 2 0 0 2 0 4 0 0 2 2 2 3 4 0 2 0 4 2 3 4 5 4 2 0 0 œœ œ œ œ A £œ ™¢ 2 4 6 4 2 4 B m/D Œ œ œ œ œ # œ œ œ œ¡ œ ™ ¡ ™ œ œ ™ œ œ #œ Ó œ Œ 0 ¡ £ ¢ œ # j Œ œ. In 39 there is a bit of a jump for the fretting hand from the G# bass note back the A#. j œ œ œ œœ œœ # œ œ £œ £œ ™ j ™œ œœ œ Œ £œ . At bar 42 beat 2 I add a second finger twostring barre across the third and fourth strings . œ œ œ œ ‰ œ œ œ #œ œ #œ ¡ œ ¡ œ œ œ nœ #œ œ œ œ Œ œ œ œ J ¡ ™ ¢ 0 38 proves too difficult. Do this slowly at first if necessary and work on keeping the chords short and clear. n˙ 7 4 0 1 2 2 œ œ 2 4 jE œ œ #œ œ nœ ˙ n˙ 7 5 0 0 4 7 0 6 1 2 4 2 j ‰ ¡œœ ‰ ¡ ‰ œ œ ‰ J J A j ™œ £œ 10 11 0 9 9 0 2 3 5 3 2 3 j œ ‰ Œ œ œ ‰ Œ J 10 11 0 April 2015 GuitarTechniques 51 .the second finger remains on the second string. œœ . j #œ œ œ œ œœ œ Œ œ . .play: classical ON THE CD TraCk 41 PLAYING TIPS cd track 41 4 xxxxxxxxxx D E B G D A E # œ & # œ ‰ œj œ œ œ 3 3 2 0 œ ‰ œj œ œ œ œœ œ Œ œ œ œ œ 2 0 0 3 2 0 0 0 0 # # œj ‰ œ . œ œ œ œ œ œ œ œ 3 0 5 0 0 2 2 0 0 0 0 3 0 0 D œ œ œ œ œ œ. œœ œ œœ . œ œ œ œ œœ 3 3 4 5 4 5 5 5 5 2 0 0 0 j œ 3 ## j œ 5 2 0 3 5 0 0 2 3 5 0 2 2 2 5 2 2 4 0 j œ œ œ œœ œ œœ . œ œ & œœ œ œœ .. œœ œ œœ œ œ œ œ œ 3 0 5 0 2 2 0 0 0 0 0 0 3 0 0 D/F # A/E A/C # D D/F # A/E œ œ œœ œœœ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 3 0 0 3 3 2 0 2 2 3 2 3 4 0 3 0 2 2 5 0 4 3 2 3 Œ Œ 5 2 4 63 & ## G ˙˙ ˙˙ 0 0 2 4 A7 Bm j œ œ ˙ œ 2 0 0 0 E m/G ## D /F # ˙˙ 2 4 70 52 GuitarTechniques April 2015 G ˙˙ 0 0 A7 0 0 0 D 2 0 4 5 œ j œ œ œ œ œ œœ œ œœ œ j‰ j‰ j‰ Œ œ ‰ œœ ‰ œœ ‰ Œ œ J J J 5 4 2 4 4 2 2 0 0 3 3 5 Bm 0 A œ˙ E m/G œ œ œ œ œ œ œ œ ˙ ˙ 2 D /F # A j œ 66 & E B G D A E 3 60 & E B G D A E 5 j œ œ ‰ œ œ œœ œ œœ œ Œ œ œ A7/D 5 A7/D E B G D A E 4 œ œ 56 D E B G D A E 2 3 jœ œ ‰ œ œ A7 5 2 4 4 4 4 2 5 4 2 A D œ œ œ œ œ œ œ œ œ œ œœ ˙œ œ œ œ œ œ œœ œ 4 0 5 3 2 2 3 2 0 5 4 2 5 4 5 5 5 5 0 5 2 5 4 . œ œ œ œ œ 0 2 0 4 5 3 3 5 4 5 5 5 2 0 0 0 3 0 D j œ œ œ œ œ œ . .. œ # œœœ . œ œ. œ œœœ . At bar 80 we resolve back to octave A notes 5 instead of E notes and then we continue with some new material. Isolate and work on areas that you find problematical before putting the whole thing together.. œ # œœœ . œ œ œ j ‰ œ ‰ £™˙˙ œ Œ œ œ #œ nœ . œ & œ œ œ œ œ œ E B G D A E D œ œ œ # œœ œ œ ˙ ˙œ œ œ œ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ A E B G D A E Some little grace notes appear in the melody from bar 89 – aim to keep these neat and follow the fingering carefully in bar 92. & E B G D A E ## A /C # 4 5 5 5 5 4 5 5 0 2 5 5 0 2 5 5 E 7/A 5 2 0 5 5 2 0 0 0 3 0 5 0 0 0 0 4 3 4 0 0 œœ . œ œ œ œj ‰ # œœ ‰ œœ ‰ n œjœ ‰ Ó Œ J ‰ J ‰ J‰ 5 4 2 0 F #/A # Œ Œ D /A A j œ . œ œ œ œ œ œ œ œ E 7/B 74 j # # œœ . 0 2 A œœ 2 3 2 0 4 2 0 A/C # A /E j œ œ ‰ œ œ œ œ œ œ ‰ Jœ ‰ œJ ‰ œJ ‰ J 0 2 0 0 2 0 2 2 2 2 2 2 4 89 April 2015 GuitarTechniques 53 ... j œ nœ œ œ œ ‰ ‰ œ ‰ œ ‰ œ œ œ œ ## œ & œ ‰ œ ‰ œ ‰ #œ ‰ œ ‰ nœ ‰ œ ‰ ‰ J J J J J Jœ J J D 3 5 3 2 0 0 2 7 3 4 6 3 0 2 0 5 3 0 4 Bm G A œ ™œ A/C # A/E 2 2 0 3 2 j œ ™œ ‰ œ œ œ œ œ œ ‰ œJ ‰ ¡ Jœ ‰ ¢ œJ ‰ J 0 2 0 0 2 0 2 2 2 2 2 4 2 œ ™œ 0 0 0 2 2 2 3 4 2 0 0 2 2 2 3 0 0 D j œ ™ œ ‰ ™ œ ™œœ œ œ œ œ ‰ ¡ œJ ‰ £ J ‰ œ ‰ J J 0 2 0 D/F # D 0 3 D/F # D A D j œ œ ‰ œj œ œ ‰ œ œ ‰ œj œœ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œJ ‰ J ‰ œJ ‰ J J J J 85 # & # E B G D A E A 78 & E B G D A E j œ.Mozart EinE KlEinE nachtMusiK PLAYING TIPS cd track 41 [Bars 70 to end] Now we have an exact repeat of the first half but at bar 70 we do not go up an octave – we get the full effect of the rising melody line through the whole phrase.... œ #œ nœ œ Œ J ‰ Œ J ‰ nœ 0 2 1 2 2 5 G 3 5 3 2 3 4 Bm 3 2 0 2 A j œ ‰ Œ œ ‰ œ ‰ J J 3 4 2 3 0 0 0 2 2 1 0 2 0 81 B 7/D # # A/C A j E mj E m7/D j .. œ œ œ œ 0 4 3 4 0 A 0 7 4 0 4 0 0 E 7/A 5 9 7 0 4 3 4 0 0 6 7 A œ œ #œ œ œœ œœ œ œ œ œ 0 0 E 7/A 0 7 E 7/A 0 0 0 4 3 4 0 0 0 0 A œ œ œ œ œœ œœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ 5 2 2 0 4 3 4 0 5 2 2 0 4 3 4 0 5 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 ## B 7/D # D Em A/C # E m7/D j j œ . The rest of the piece as we near the end is fairly logical to approach. œ œ œ œ # œ œ œ œœ œœ œ œ n œ œ œ œ œ A 7/E œ ## œ œ œ œ œ œ œ œ & œ œ œ œ D/A £œ ¢œ ™œ œ œ 7 0 7 7 7 0 ¡œ 5 0 5 7 4 6 9 A 8 0 7 0 7 4 0 0 2 ## œ œ œ œ œ & œ œœ œ œ œ œœ œ 3 0 2 0 3 0 105 54 GuitarTechniques April 2015 2 0 5 0 2 0 2 0 D œœ œœ 3 2 4 5 j ¡œ £ ‰ œ ™œ œ œ œ œ œ œ œ œ œ 5 5 0 0 7 0 7 0 7 0 5 j œ. Œ œ Œ j œ œ œ œ œ. œ ¡ œœ ™œœ œ œ n œ œ œ œ œ œ œ œ £ ¡ £ ¢œ ¡ £ ¢ œ £ E B G D A E 0 2 0 0 5 0 2 0 4 2 6 7 92 9 D /F # D 5 7 4 6 0 7 D 7 0 3 2 2 2 0 4 2 0 ## A A 7/G 3 0 4 5 0 A 7/G 7 9 10 9 0 0 A 7/E 7 7 5 7 5 7 7 5 7 0 D/F # D 8 5 0 D j œœœ œ ‰ œ œ œ œ œ œ ™ ‰ œ ‰ œJ ‰ œ ‰ J J J 0 2 0 0 2 0 2 2 4 0 2 5 2 2 2 2 2 0 2 3 2 2 4 0 0 2 0 2 0 2 2 4 0 2 5 2 2 2 B/D # D 0 2 0 2 5 0 2 0 0 Em 4 2 6 7 99 2 G 2 3 0 5 7 9 10 9 0 0 A /C # j œ. œ œœ Œ œœ Œ œ œœ 10 7 7 0 3 2 4 5 3 3 2 4 5 2 5 . ## œ Œ Œ œ j & œ œœ ¡ œœ œ œ # œœ .play: classical ON THE CD TraCk 41 PLAYING TIPS cd track 41 6 xxxxxxxxxx B /D # D A/C # Em D G j œ œ œ œ œ œœœ œ ¢œ . œ œ œ œ œ œœ œ œœ œœ 5 7 0 0 0 0 ¢œ A 7 £œ ¡ ™œ ¡œ œ œ ™¢ œœ £ œ œ œ œ œ œ 15 0 14 0 15 0 4 D œ ¢œ £œ ¡œ œ œ 5 0 2 0 0 4 5 0 5 4 5 102 A7 E B G D A E 2 2 œ œ ¢œ £œ ¡œ œ œ j œ œ œ œ ‰ œ œœ œ œ œ ¡ œ œ ‰ £ J ‰ J ‰ œJ ‰ J j œ œ œ œ ‰ œ œœ œ œ œ œ œ œ ‰ J ‰ J ‰ J ‰ J D E B G D A E 0 2 ¢ œ ¡œ ¢ œ œ £œ 96 & E B G D A E 0 4 A # œ ‰ j œ & # £ œ œ œ œ‰ œ œ‰ œœ œ‰ J J J E B G D A E 0 0 D /A 14 17 0 0 9 8 9 0 D ¢œ ¡ ¡ œœ œœ . .............................. Closer to home.............. ACoUsTIC .................... 58 John Wheatcroft is in a blues-meets-country mood as he introduces the mighty Brad Paisley.. our mid and long-term development can suffer...... But we can apply this outlook to playing as well as buying.................. time is often as precious as money. REAdING MUsIC ................... So it’s easy to see how external ‘requires’ shape much of our practise time because they’re pressing and important... see how this ‘required or desired’ viewpoint shapes your practise time with this very issue – I hope it helps.............. 92 Stuart Ryan looks at the more contemplative acoustic style of the great Paul Weller....................... but we should always keep internal ‘desires’ burning even if we don’t get to them as often as we’d like..... BRITIsH R&B ....................... The bigger concern is that when there are no gigs.... Not ideal..................... We’re in danger of cultivating a jumble of isolated licks and half learnt scales that are musically homeless..... grade exams or other external goals on the horizon............... CHoPs sHoP ........... a ‘desired’ tapping Lydian dominant lick and how to perform it over a dominant 7th chord (tip: fire up one of GT’s backing tracks and experiment)................................................ Both have validity but ‘required’ purchases are much easier to justify than ‘desired’ purchases................first and only take! CREATIvE RoCK . Tackle those Pentatonic shapes and five CAGED shapes for all primary chords and use them when playing... say....... As I’ve stated in the past... say..... Not all internal demands should be categorised as ‘desires’ though........... it’s down to you to take an active part in what you practise........................... be it a guitar........................................... the Altered scale all over the fretboard in every key................... especially if the costs run high.................................................... 86 Pete Callard examines the more traditional jazz side of the incredible Mike Stern........... Typically............... 56 Pat Heath sets the challenge with six licks at easy....... so we all must consider what we’re focusing on when practising the guitar.................. BLUEs.. But do find a little time for.................... External/internal ‘requires’ like these will always earn their keep.. It seems there’s always something winking at one or both of us. eh? So.... 72 Shaun Baxter demonstrates how to navigate the fretboard in three octaves using ‘cells’....... Page 66 April 2015 GuitarTechniques 55 ........... Enjoy! Phil Capone enthuses about a band that paved the way for rock and metal: The Small Faces...................................... 96 Charlie Griffiths looks at ornaments such as trills.... vIdEo ............. Whatever level you’re at I’d recommend using the required/desired outlook to shape your practise time this year........ RoCK ..... intermediate and advanced levels.. this month he’s string skipping with a pick. Fundamental topics like ‘five shapes of the Pentatonic’ can be considered equally as internal or external ‘requires’... an amp or a pedal.............. I’ve maintained a distinction between required (needed for a specific musical scenario) and desired (I so want that!)... 80 REQUIRED OR DESIRED? I used this phrase recently while talking to Neville about gear we were both mulling over buying.............LEarNiNG ZONE LESSONS GT241 30-MINUTE LICKBAG ..... 66 Carl Verheyen shows what a studio pro can do over a blues backing ............. mordents............... appoggiatturas and more! On videO! Watch Carl Ver heyen navigate the fretboard in a stunning display of musical dex terity......................... 78 Andy Saphir wants to improve your technique........... What of internal though? Should it always play second fiddle to external? To an extent yes.. 62 Martin Cooper looks at the post Beatles stylings of the hugely inventive George Harrison........ JAZZ ........... when a gig comes in the external ‘require’ quickly demotes one’s internal ‘desire’ to learn.. To keep my music gear under control.................................................... .. F F F 2 3 2 0 2 2 3 2 0 2 F.... œ œœ œ œ œœ œ œ œœD sus2 œ œœ G6 G6œœ œœ Gmaj7 œGmaj7 œ . . #& 444. .'// you can mimicj BB’s ‘butterfly’ vibrato! œœœ ~~~~~ œœjj œœ ..... 3 3 3 3 3 3 3 3 3 3 .. try an overdriven GUITAR TECHNIQUES MAGAZINE 4 GUITAR TECHNIQUES MAGAZINE2from Pat Heath's Pat Heath's LICKBAG BAG GUITAR TECHNIQUES MAGAZINE 221 4411the 60s on. . & ˙ ‰ Ó #& 3 3 J33 J J33 J ‰ ..œœ. . œ œ œ œ j j 4 Œ ‰ ‰ Œ ‰ ‰ ¿ œ ' ~~~~~ œ œ ˙ œ œ ˙ # ~~~ ‰‰. But this simple soundalike uses an e major and some phasing effect give it added authenticity.. .. œJ¿¿ JJ..... 0 ..see how the melody outlines the changes? a ©»¡¢º b & b b 34 œ E E B G D A E b 1 3 ≥ ≥ 56 GuitarTechniques April B2015 b bbb œ œ œ œ .‰ . œœ œ œœœ œœ œ œ œ œœ œ œœ œ œœ œ œœœ œœ œ œœœ œœ œ œ œœœ œœ œ œ œ œ œœ œ œ œœ œ œœ œ œ œœœ œœ œ œ œœœ œœœ œœ . . && F œ œ œ œ œ œ œ & 44 . ¿ ¿ J J J ⋲ ⋲ ÓÓ && # # 3 3 J J BU ~~~~ ~~~~ BU3 3 BU3 3 ~~~ ~~~ BU ~~~~ ~~~~ BU BU ~~~ ~~~ BU (14 ) 12~~~~ 12 12~~~~ 12 BU BU ~~~ ~~~ BU (14 ) ~~~~ ~~~~ 12 12 12 12 (14 ) ( ) BU BU 10 X 14 10 ~~~ ~~~ 12 12 14 ) 12 12 (14 ) (14 ) 10 XBU ((14 10 ) ~~~~ ~~~~ 12 12 12 12 ( ) ( ) BU BU 14 10 X 14 10 ~~~ ~~~ BU ~~~~ ~~~~ BU (14 ) BU (14 ) ~~~ ~~~ 10 X (14 ) 10 1212 1212 1212 1212 (14 ) (14( ) ) (14( ) ) 10 X 10 14 10 X 14 10 ≥≥ ≥≥ ≥≥ ≥≥ ≥≥ ≤≤ ≥≥≥ ≤≤ ≥≥≥ ≥ ≥ ≤ ≥ 2 xxxxxxxxxx ≥ ≥≥ ≥≥ ≥≥ ≤ cd track 45 IntermedIate LIcks exampLe 4 ≥DaviD Gilmour ≤≤ ≥ ≥ ≥ ≥ with analogue ≥ ≥lick shows≥how ≥ ≥ strat tone ≥ ≥around the chords ≥ ≥ shimmering ≤ ≤ ≥ ≥ ≤ this pinkLick Floyd style Gilmour plays delay and stadium reverb can ≤ 4 David Gilmour style E B G D A E E B G D A E E B G D A E E B G D A E E E B B GE G E DB D B AG A G ED E D A A E E E E B BE G E GB D B DG A G AD E D EA AE E 14 14 14 14 14 14 E B G D A E E B G D A E E EE B BB G E GG D B DD A G AA E D EE 1 A E 11 1 13 13 13 13 E B G D A E 1 1 E B G D A 5E 14 14 14 114 4 14 12 12 12 12 12 12 12 12 13 13 12 12 12 12 E BE EB G E BG D B G AD G DA E D AE5 A E 5 E 5 5 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 5 in a progression ..J ⋲⋲⋲ ‰‰ œJJJœ œ~~~ & œ~~~ ŒŒŒ œj‰‰œ‰n œn œœ œœ œœ œœœœœ œ ˙~~~ & œ ˙˙ ˙ &### ##4# 4n44444œ n œ# œ# œ ŒŒŒ œ‰‰‰œ œ~~~~~ œ ‰ ‰ ¿ ⋲ #& œ ‰ ‰J J J ŒŒ ‰‰ ‰ . .≥ ≥ track 43 easy LIcks exampLe≥2≥Jeff ≥≤≥≤ ≤≤ ≤ ≥≤ ≥≤≥ ≤ ≤ ≤ ≤ ≥≤ ≥≤≥ ≤ ≤≤ ≤ ≥≤ ≥≤≥ ≤≤≤ ≤ ≥≤ ≥ ≥ ≥ ≥≤≥ ≤ ≤≤ ≤ ≥≤ ≥≤≥ ≤ ≤≤ ≤ ≥≤ ≥ ≥≤ ≤ ≤ ≤ ≤ ≥≤ ≥ ≥≤ ≤ ≤≤ ≤ ≥≤ ≥≤≥ ≤ ≤≤ ≤≥≤ ≥cd ≤ ≤≤ ≤ ≥≤BucKley ≥ ≤ Lick 2 Jeff Buckley style Buckley was a formidable musician and many of his songs are chord shape that’s easily shifted up and down in semitones.. jj# œ will help to reproduce ©»¡™º qq=qce – overdrive ~~~ j ~~~ n œ n œ ~~~~~ ~~~ ' œ œ œ œ œ j / j œ... œœ œ œœœœ œ œœœœ œ œœœœ œ œœœœ œ œ œœ œœœœ œ œœœœ œ œœœœ œ œœœ œ œœœ œ œ. .≤ . the 6/8 feel Lick difficult 2 Jeff Buckley style notoriously to play. . . & & nœ œ œ œ .œ JJ.. 3 3 3 3 3 2 2 2 2 2 0 0 0 0 0 0 2 3 2 0 2 2 3 2 0 2 2 2 2 2 2 0 0 0 0 0 0 2 3 2 0 2 2 3 2 0 2 2 3 2 0 2 2 3 2 0 2 0 .on whichever pickup combination you prefer . œœ œ œœ n œn œ œ n œ œ œ œœ œ œœ & nnnœœœn œn œ P œœ œ nnnœœœn œn œ œœ œ n œ œ n œ œ nœ P œP nœ œ 0 0 0 0 . œœ œœ œœ 4 5 4 3 4 5 ≤ ≥ œ œ œ bœ nœ bœ œ J œ E dim bœ nœ œ ≤ # ≤ ≥ F aug œ œ j œ BD (8 ) 6 3 2 œ BU 0 2 ≥ j œ nœ œ BU BD (6 ) ( 8) ≥ #œ œ œ . .. 2 ≥24≥2 4 ≥44≥ 4 ≥≥ ≤≤ ≥4≥ 4 ≥≥ 1 ≥1≥31 3 ≥3≥3 3 ≥≥ ≤≤ ≤≤3 3 ≤≤ 2 ≥24≥2 4 ≥44≥ 4 ≥≥ ≤≤ ≤4≤ 4 ≤≤ 3 ≥3≥53 5 ≥5≥5 5 ≥≥ ≤≤ ≤≤5 5 ≤. ©»¡™º ©»¡™º œsus2œœ Dœœ Dœ œœ Gœœmaj7 œ œ Gœ œ œG maj7 & 4 œ œ œ œ œ .. 22 444 404 0 3 3 3 44 11 333 303 0 2 2 2 33 22 444 404 0 3 3 3 44 33 555 505 0 4 4 4 5. ...00 . . ¿œ¿j œjœ . . 0 0 0 0 PP 2 4 3 2 3 4 0 3 0 0 3 0 . . ~~~ ©»¡™º qq=qce œ n œ # œ n œ œœœ œ œœœ~~~~~ ˙˙˙ ~~~~~ –# ~~~ œœj n œ œœ œœ œ œœ œœ ˙˙ ~~~ – n œj # œ ###qq=qce œœœ / œœœ/' ' œœœ~~~ # ©»¡™ºqq=qce œ œ ˙ j œjœœ . œ ~~~ 5 3 ≥ help replicate the classic Gilmour sound. ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ 2 ≥ ≥ ≥ ≤ ≤ track 44 ≥ ≥ BB≥ KinG Lick B style IntermedIate ≤ ≤ ≥ ≥ ≥≥ ≥ ≥1 ≥ ≥ ≥ ≥ ≥ ≤ ≤ ≤≤ ≤ ≤≤ ≤ ≤ ≥2 ≥ ≥ ≥≥ ≥ ≤ ≤ ≤≤ ≤ ≤≤ ≤ ≤ ≥3 ≥ ≥≥ ≥ ≥ ≥ ≤ ≤ ≤≤ ≤ ≤≤ ≤cd Lick 3 3 B BLIcks B King KingexampLe style≥ ≥ 3 ≥ Lick 3 B B King style a big humbucking . Lick Jeff Buckley style Lick 2 2 Jeff Buckley style ©»ª§ # # Fmaj7 11 F #add11 G Lick 2 Jeff Buckley style F add11 ©»ª§ # # F# add11 Fmaj7# 11 F##add11 G # ©»ª§ # Fadd11 add11 Fmaj7 11 Fadd11 add11 # ©»ª§ # # # # 6 F Fmaj7 11 F G ©»ª§ œ œ œFmaj7 # 11 n œ œ n œ œF #add11 œ œ œ œ G G n œ œ œ œ ..J ⋲⋲ ˙ ˙~~~~ œ œ j jœ œ œ œ œJJJ ˙˙ ~~~ ‰ ÓÓÓ j jœ ˙ œ œ J # # ˙ œ œ & ‰ # # ~~~ œ ~~~ ‰ ¿ ⋲ œ œ œ œ œ œ &## # J ˙˙ J ˙ ~~~ ~~~ J¿JJ J ⋲ . . . ˙˙˙~~~~ ~~~ œ œœœjj œœ œœœ ˙˙~~~ œœj œ . 0 0 0 0 4 4 3 3 4 4 5 5 3 4 2 3 4 4 .lesson: 30-Minute lickbag ON THE CD TraCks 42-47 30-Minute Lickbag easy LIcks exampLe 1 Bryan aDams GUITAR TECHNIQUES MAGAZINE 241 cd track 42 Pat Heath's LICK BAG GUITAR TECHNIQUES MAGAZINE 2 4 1 Pat has Heath's Using sus 4 and 2 chords around an open d major shape been LICK BAG change exemplifies this.. . œ œ œ ©»¡™º &# ##4444. . # 8 ... ¿ ¿ JJJ J J ⋲ ⋲ && # # 4 4 f ff Œ Œ ‰ ‰ J J BU / f BU ~~~~~ ~~~ ~~~ /'/ BU BU BU BU ~~~~~ ~~~ ffBU ' ~~~ BU BU ~~~~~ ~~~ (14 ) ~~~ 12 / BU ((14 (13 ) 12 10 BU BU(14 ) 10 12 12 ' 12~~~ 10 12 10~~~ X 12 10~~~~~ 14)) ((13 ))12 / ((14 )) / 10 10 12 12 10 10 12 10 X BU 11 11 BU 14 10 10 12 12 13 12 10 10 12 10 X (14 ) 12 BU BU ~~~~~ ~~~ BUBU ~~~~~ ' ~~~ ~~~ ' ~~~ 11 11 ( ) 11 11 (14 ) 1012 10 12 12 13 12 10 10 12 10 X (14(14 ) ) 12 1112 1110 (13(13 ) 12) 12 (14(14 ) ) 1010 1010 12 1212 1010 10 1212 1010 X X 11 11≥ 11 11 ≥≥≥ ≥≥≥ ≤≤ ≥≥≥ ≥ ≥≥≥ ≤≤ ≥≥≥ ≤≤ ≥≥≥ ≤≤ ≥≥≥ ≥≥≥ ≤ ≥ ≥ ≤ ≥ ≥≥≥ ≤≤ ≥≥≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≥~~~~ ≥ ≥ ≥ ≥ ≥ ≤ ≥ ≥ ≥ ≤ ≥ ≥~~~~ ≥ ≥ ≥ ~~~~ ≥ ≥ ≤ ≥ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≤ ≤ ≤ j ~~~~ œ jj œ ~~~~ œ jj œ ~~~~ ˙˙˙~~~~ œ œjj œœœ. œ œF œ œ œ œ œ . &# ############### F686#add11 œ #&# ### ### #6 68.and see if Lick 3 B B –King style –tone / j ©»¡™º qq=qce 3B B B King B King stylej –style qq=qce 3 ©»¡™º andLick a Lick touch of light the BB king sound..5 .œ œJ œ 4 ©»¡™º ~~~ # n œ # œ n œ j # .‰ .this example is all about getting a swing into the rhythm . a staple for 1pop andAdams rock songwriters this d to GLICK humbucker doubled with a single-coil for some great rock sparkle! Pat Heath's LICK BAG Lick Brian style Lick TECHNIQUES 1 Brian Adams style GUITAR MAGAZINE 241 D style Dsus4 D Lick Brian Adams style Lick 1 11Brian Adams Lick Brian Adams D style D sus4 D Lick 1 Brian Adams style D sus4 D DD Dsus4 D D sus4 DD D D sus4 D Pat Heath's LICK BAG Dsus2 D G maj7 G G maj7 G6 Gmaj7 ©»¡™º D sus2 D G maj7 G G maj7 G6 Gmaj7 ©»¡™º œ œ D sus2 D G maj7 G G maj7 G6 Gmaj7 # œ œ œ œ œ œ Dsus2 D G maj7 G G maj7 G6 Gmaj7 Dœ G maj7œ œ G œ œ G maj7 ©»¡™º # 44 .0 200 3 3 2 2 322 3 3 2 2 222 3 3 2 2 022 3 3 2 2 222 3 3 2 2 220 0 200 3 3 0 0 300 3 3 0 0 200 3 3 0 0 000 3 3 0 0 200 3 3 0 0 .œ . 3 3 3 3 3 3 3 3 3 3 . 0 ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≤≤ ≥. .. 4 3 3 4 5 5 .88. In a band or when recording. œ œœ œœ œ œœ œ œœ œœ n œ nnœœ nnœœ œ œœn œnnœœ œœ œ œœ œœ œ œœ œ œœ œœ n œ nnœœn œnnœœ œ œœ œ œœ œ œ. 22 33 33 33 22 33 00 33 22 33 3 3 3 3 3 . œ ~~~ ~~~ ~~~ #### ### ~~~~ ~~~ ˙~~~~ œœœ œœœœjj œœœ œJœœJ ˙˙˙˙~~~ œ ˙ œ ~~~~ . 7 7 7 m p 0 7 0 5 8 7 8 0 7 0 5 7 5 m p 7 m 5 0 p a 8 0 0 5 7 0 5 0 m m 4 5 4 0 m 4 5 4 0 4 5 4 0 m m ~~ ~~ 3 m 3 3 m m m 3 adVanced LIcks exampLe 6 alex sKolnicK Lick 6 cd track 47 Alex Skolnick style another great rock guitarist taught by Joe satriani (others include steve Alex Skolnick style Vai andLick kirk6 Hammett). was a little different to its usual fare. ©»¡∞∞ œ œ œ œ œ œ œ œ n œ œ œ œ ©»¡∞∞ # # # 4 œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œœ œ œ œ œ & # # # 44 & 4 F F 14 14 17 14 17 14 16 16 ≤ ≥ ≤ ≥ 17 14 17 14 ≥ ≤ ≥ ≤ 16 16 14 13 14 13 16 16 13 13 16 14 16 14 16 16 ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ 16 14 16 14 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ 16 16 ≥ ≤ ≥ ≤ 14 13 14 13 14 14 13 11 13 11 ≥ ≥ ≥ ≥ 12 12 11 9 11 9 ≥ ≥ # # œ & # ## # œ œ œ œœ œœ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœ œ œœœœœœœœœ œœœœ & œœœ œ œœœœœ Legato (to ending) Legato (to ending) 6 7 9 6 7 9 ≥ ≥ 6 7 9 7 6 6 7 9 7 6 ≥ ≥ 9 7 6 7 9 7 6 9 7 6 7 9 7 6 ≥ ≥ 9 7 5 7 9 ≥9 ≥ 7 5 7 9 6 7 9 7 6 6 7 9 7 6 ≥ ≥ 9 7 5 ≥9 ≥ 7 5 9 ≥9 ≥ 11 11 ≥ ≥ 9 7 9 7 9 9 ≥ ≥ 7 6 7 6 7 ≥7 ≥ w w 7 5 4 2 7 5 4 2 April 2015 GuitarTechniques 57 .xxxxxxxxxx 22 xxxxxxxxxx Lick 44 David David Gilmour Gilmour style style Lick 2 xxxxxxxxxx ©»¡¢º E bb ©»¡¢º b 3 œœ œœ œ œœœ œ & ©»¡¢º œ œ œ bb b bb 344 œb œ œ & œ œ œ œ œœ œœ 34 b b b Heath œ œœ brings &Pat œ œ Brighton œ ofœ BIMM more slick licks to the party.. including fast picking. but this example highlights his earlier rock style. Firkins was a maestro who fused Lick 5©»¡£∞ Michael Lee Firkin style Lick 5 Michael Lee Firkin style œœ œœ # 4 œœ œœ œœ œœ œœ œœ œœ &©»¡£∞ 4 ©»¡£∞ ## 4 œœ œœ œ œœ œ œœ œœ œ œœ œœ œ œœ œ œœ & œ œœ œ œ œ œ œœ œ œ œœ œ œ œ œ & 44 F œ œ œ œ œ F 7 5 7 7 5 7 5 8 8 F 5 5 5 5 5 5 5 5 5 Lick 5 Michael Lee Firkin style E B G D EA E BE B G 1 G D D AA EE 11 0 77 55 m a 55 55 m m 0 p 77 55 m a 00 pp m m pp 00 p # œœ aaœœ œœ aa & œ œ # œœ œœ œœ & & œ œ E B G D A E EE B BG 3 GD DA AE E 3 7 5 5 5 7 75 m 5a 5 55 5 m m a 3 3 7 75 m 5a p 0 0 p a 7 5 0 p 0 m m a a 0 77 55 m a p 0 p m m aa p 00 55 55 a 7 5 5 5 p 0 5 55 p 0 5 0 m m a p 77 55 m 8 8 5 m 5 p 0 0 p p a m p 7 5 5 5 7 75 m 5a 5 55 5 m m a 0 p p a m 8 5 0 p 0 5 5 p 0 0 m m a p a 5 5 7 7 5 m 5 p 0 0 5 5 5 5 a 7 5 0 7 75 m 5 p 0 0 7 5 5 5 7 75 m 5 5 55 5 0 p 00 a a p 00 ~~~~ ~~~~ 4 5 4 0 5 4 m 44 55 44 00 m 55 44 a 0 m p m p m p m p m m m ~~ aa œœ maa œœ p œ maa œ œ p maa œ p œ maa œ p m œ œ œ œ œ œ œ œ ~~ ~~ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ~~ œ 8 5 5 5 8 8 m 5 5 a 5 5 5 5 m m a p 7 5 0 5 5 5 5 a p p 0 8 8 m 5 5 a 8 8 5 m 5 p 0 0 a œœ œœœ œœ œ œœœœ œœ 0 p m p m œœ aa œœ aaœœ œœ œ œ œ œœ œœ œœ œœ œ œ œ œœ œœ 7 75 m 5a 0 55 55 0 ~~~~ œœ œœ œœ œœ œ œ œ œ œ œ~~~~ œœœ œ œœ œ œœ œœœ œ œ œ œ œ~~~~ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ ~~~~ aggressive picking technique is key here. œb~~~ & b b Bœb.. slides and legato. 3 5 3 5 1 3 5 Lick 4 E David Gilmour style E dim E dim nn œœ E E EB BG D G A D E E AB EG D A E 1 3 ≥ 3 4 5 4 3 4 5 ≥3 4 5 4 3 4 5 5 ≥ ≤ E dim ≥ ≥ b≥ ~~~ . & b b ~~~ B ~~~ E B G 3 ( 6) ~~~ E D BA E G E DB AG ED 3 ( 6) 3 ( 6) 6 3 6 3 3 6 ≥ ≤6 ≥3 A E 3 6 3 ≥ # ≥ ≥ œ œ œ œ œ œ œ œ œ 5 3 6 5 3 6 5 3 ≥ ≤ ≥ ≤ ≤ ≥ ≤ ##œ œ #œ 5 ≥4 #œ ≥ œ BU BD BU BD (6 ) ( 8) BD (8 ) (6 ) ( 8) BU BD (6 ) ( 8) cd track 45 œ œ œ #œ œ œ œ 2 2 3 2 ≥3 ≥3 4 BU ≥ #œ 3 3 (8 ) œœ Learning Zone ≥ œ 3 4 5 œ œ #œ 5 œ œ F aug 6 ≤ ≥ F aug ≤ ≥ ≤ ≥ ≤ ≥ 6 ≥3 F aug # j œ BD (8 ) 6 0 ≤ ≤ 2 6 3 BU 6 0 3 2 ≥ ≥ 0 2 2 j œœj Brought to you BU by. skolnick’s technique is legendary. In his band E B G E D B A G E D A E E B G E D B A G E D A E testament he fuses jazz ideas into his solos.. adVanced LIcks exampLe 5 michael lee firKins ≥ ≤ ≥ ≤ ≥ ≤ ≥but michael Lee Firkins emerged in the early 90s on the shrapnel label. & b bb œ~~~ . 4 4 4 intermediate and advanced levels..cOntInUed j 30-Minute œœj œœ nnœœ Lickbag œœ j œ œ n œ œ bbœœ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≥ ≥ cd track 46 ≥ rock guitar ≥ with ≥ fingerstyle ≥ country and bluegrass ≥ red-hot ≤ scary licks. BD 2 2 ≥ ≤ ≥ ≥ ≤ œ œ œ bœ nœ bœ œJ œ œ b œ n œ b œ Jœ œ œ bœ nœ bœ J B bb ≥ bœ nœ IntermedIate LIcks exampLe 4 DaviD 1 3 5 Gilmour . at easy. jazz. Remember that you can always use a capo to access new keys and it’s not unknown for a player to completely retune the guitar a half-step or more lower to facilitate familiar finger shapes in new keys. so what are you waiting for? NeXT MoNTH: New blues tutor Les Davidson looks at Carlos Santana’s bluesy side Get the tone 5 7 4 6 3 Gain Bass Middle TReBle ReveRB Ideally we’re looking at a Telecaster-style solidbody. sometimes within the same song. blues and rock in his Key: Various Double-stops and pull-offs playing . D. it’s fair to say Brad has made quite a good job of things so far. G.com/gear for a full lowdown on his equipment including minute details such as pedal settings. the 42-year-old singer. F. it’s not for no good reason. A. blues. gained three Grammys and is a bona fide member of the Grand ole opry.. Diary of about the blurred distinctions between genres A Player: How My Musical Heroes Made A Guitar Man out of Me. certain ideas only work in one key. in the blues and country-endorsed keys of A and e respectively. Actually it’s not the first time that we’ve looked at a country guitarist in this column.bradpaisley. songwriter and picker has sold over 12 million albums. While we’re at it. so an experienced player will have dozens of C. there are exceptions and many artists purposefully blur these definitions. courtesy the Tele-toting Brad Paisley. His open-minded approach is CD: TRACKS 48-51 Hybrid picking refreshing. image and much of his vocabulary Info WIll IMprove your comes from classic country. Brent Mason and John Jorgenson. What we’re interested in here though is his guitar playing . featuring a host of guest soloists including albert Lee. due to the abundance of open strings. My chemical romance. so it’s good to remember the old saying. Brad Paisley players stockpile ideas and organise them around their respective open chord. whereas in jazz the concept of transposing each and every idea through all 12 keys is accepted protocol. Of course. into a medium powered valve combo with a selection of stomp boxes for overdrive and delay. John Wheatcroft brings you a big plate of hot country with a generous helping of blues on the side. in Brad Paisley with one of his Bill Crooke fact you can often hear Tele style guitars country.he’s no slouch here either. jazz. With this in mind. Brad is most definitely open Moderate/Advanced to all of these influences. While his writing style. with loads of tunes found in G. if we also take into consideration over 30 top ten Billboard singles. and open strings only rarely make an appearance. A. Bb and the like. country guitarist who’s no mean blues picker either. meaning that a specific lick in the key of G may not necessarily have an identical version in the key of A. there might be a similar idea. and if you’d like to know more about the influences that make up his style to tie in perfectly with Steve Laney’s huge country feature.even the odd bit of tapping makes an Tempo: 105 bpm Incorporating open strings appearance. and to underline what he says you should check out his 2011 book. Brad Paisley has had a remarkable career. but.I have a very wellrounded iPod. necessity is the mother of invention. e and D form ideas. e and so. over a dozen CMA awards and a stable family life with film star wife Kimberley Williams. as Brad is a fantastic singer and an intelligent and prolific songwriter. whereas jazz is most often associated with flat keys. Visit www. and instrumental music that’s obscure . don’t forget there’s a track with BB king too. Brad favours classic Fender and custom-built Bill Crooke models. featuring some wonderful playing. Go easy on the gain and generally speaking you should select the bridge pickup and use pick and fingers to achieve that classic country cluck. Track record Moonshine In The Trunk (2014 Sony) is Brad’s most recent release. one of the things i had to get my head around when approaching learning some country-based ideas was the concept of key-specific phrases. these days. Country music is quite often a ‘sharp’ key music. Play (2008 Sony) is worth the asking price just the Grammy winning track cluster Pluck. either. another good one is practice makes perfect. Players such as Danny Gatton and Roy Buchanan effortlessly move between genres.. super-sharp vocals and witty lyrics. we thought we’d bring you a great TraCks 48-51 there are two complete 12-bar solos this month. rock’n’roll and rockabilly influences all mixed up to create one huge ABILITY RATING hybrid language.Brad Paisley ON THE CD Brought to you by. you can easily detect traces of jazz. most country coldplay. 58 GuitarTechniques April 2015 ZUMA PRESS / ALAMY lesson: blues . BRAD PAISLEY SOLO 1 wayGUITAR to approach string crossings is with 2a 4combination ofBLUES pick and second shape’ trickery --which literally means shifting the exact same motific idea John GUITAR MAGAZINE 2 4 1to really pluck BLUES DUES 1 third fingersTECHNIQUES throughout and don’t be afraid at theWheatcroft's strings for .BRAD PAISLEY . As MAGAZINE with much of2the here.BRAD PAISLEY . I’d suggest a John Wheatcroft's GUITAR TECHNIQUES BLUES DUES .LEARnIng ZonE BRAD PAISLEY EXAMPLE Solo 1: BRAD PAISleY StYle cd track 48 [Bars 1-4] We begin with some A Mixolydian mode action (A-B-C#-D-E-F#-G). From a picking perspective.SOLO ©»¡•º Swing Swing ## # ## ©»¡•º ©»¡•º Swing 4 Ó ©»¡•º & 4 # # ## # # ©»¡•º ÓÓ Swing Swing & 4 4 Ó & # # # & & # 44 Ó E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E E B E G B E D G B E A D G B E E A D G B E A D G E A D E A E ## # ## & ## ## ## & & ### & & # 3 3 3 3 3 6 6 6 6 6 9 9 9 9 9 œœ œœ œ 12 12 12 12 12 ## # ## & ## ## ## & & # ## # & & nn œœ nn œœ nœ 5 5 5 5 5 ## # ## & ## ## ## & & # ## # & & E7 E7 E 7j Eœ7j Eœ7j œj œj œ A7 11 11 11 11 11 5 5 5 5 5 ≥≥ ≥≥ ≥ nn œœ nn œœ nœ œœ œœ œ 9 9 9 9 9 œœ œœ œ 10 10 10 10 10 œœ œœ3 œ3 3 3 3 7 7 7 7 7 œœ œœ œ nn œœœ nn œœ nœ 5 5 5 5 5 5 œœ œœ œ 3 3 3 3 3 œœ œœ œ 6 6 6 m 6 m 6 m m m œœ œœ œ œœ œœ œ 11 11 11 11 11 œœ œœ œ 7 7 7 7 7 3 3 3 3 3 œœ œœ œ 5 5 5 5 5 œœ œœ œ 3 3 3 œœ n œ œœ œ nn œœ œ œœ nn œœ œœ a a a 4 4 etc 4 etc 4 etc 4 etc etc 7 7 7 7 7 5 5 5 5 5 ## œœ ## œœ #œ 11 11 11 11 11 1 1 1 1 1 7 7 7 7 7 7 (9 8) (9) œœ œœ œ3 nn œœ nn œœ nœ œœ œœ œ 11 11 11 11 11 10 10 10 10 10 5 5 5 5 5 3 3 3 3 3 8 8 8 8 8 3 3 3 3 3 nœ œœ nn œœ œœ nn œœ œ 4 4 4 4 4 5 5 5 5 5 9 10 9 10 9 10 9 10 9 10 8 9 8 9 8 9 8 9 8 9 3 3 3 3 3 œœ nnn œœœ œœ nn œœ œ 3 3 3 3 3 11 11 11 11 11 6 6 6 6 6 nn œœ nn œœ nœ nn œœ nn œœ nœ 8 8 8 8 8 7 7 7 7 7 5 5 5 5 5 œœ œœ œ 4 4 4 4 4 7 7 7 7 7 3 3 3 3 3 bœ œœ bb œœ œœ bb œœ œ 5 5 5 5 5 PM PM PM PM 7 7 7 7 7 3 3 3 6 6 6 6 6 ## œœ ## œœ #œ 8 8 8 8 8 œœ œœ œ 9 9 9 9 9 œœ œœ œœ nn œœ nn œœ nœ 7 7 7 7 7 7 5 5 5 5 5 3 œœ œ33 œœ œ œ33 œ œœ œœœ œœ 7 7 7 7 7 œœ œœ œ 10 10 10 10 10 BU BU 12BU ( 14 ) 12BU ( 14 ) 12BU ( 14 ) 12 ( 14 ) 12 ( 14 ) D7 D7 D7 D7 D7 ŒŒ ŒŒ Œ 3 3 3 3 3 4 4 4 4 4 5 5 5 5 5 œ œœ nn œœ œœ3 nn œœ œ3 n œ nn œœ nn œœ nœ 3 3 3 5 5 5 5 5 5 7 7 7 7 7 12 12 12 12 12 œœ œœ œ 7 7 7 7 7 5 5 5 5 5 7 7 7 7 7 3 3 3 3 3 3 3 3 3 3 œœ œœ œ nn œœ nn œœ nœ 7 7 7 7 7 5 5 5 5 5 3 3 3 3 3 œœ œœ œ 4 4 4 4 4 9 9 9 9 9 5 5 5 5 5 7 7 7 7 7 nn œœ nn œœ œ nn œœ n œ œœ nn œœ œœ n œ 2 2 2 2 2 10 10 10 10 10 œœ œœ œ 7 7 7 7 7 œœ œœ œ œœ œœ œ 5 5 5 5 5 7 7 7 7 7 3 3 3 3 3 3 3 3 œœ œœ œ 4 4 4 4 4 3 3 3 3 3 œœ œœ œ 5 5 5 5 5 bb œœ bb œœ bœ 7 7 7 7 7 A5 A5 A5 A5 A5 ˙˙ ˙˙ ˙˙ ˙ 6 6 6 6 6 œœ œœ œ RP RPBD RPBD (14 RP)BD(12 ) (14 RP)BD(12 ) (14 )BD(12 ) (14 ) (12 ) (14 ) (12 ) œœ œœ3 œ3 7 7 7 7 7 10 10 10 10 10 œœ œœ œ œœ œœ œ 3 3 3 3 3 5 5 5 5 5 RP RP RP) (14 RP) (14 RP) (14 (14 ) (14 ) œœ œœ œ œœ œœ œœ 7 7 7 7 7 7 10 10 10 10 10 3 3 3 3 3 œœ œœ œ œœ œœ œ 7 7 7 7 7 5 5 5 5 5 1/4 14 14 14 14 10 10 10 10 10 9 9 9 9 9 œœ œœ œ /' œœ œ /' œ œ œ n œ œ œ œœ n œ œ œ œ //''' œœ œ nn œœ œœ œœ œœ œœ nœ / ' œ œœ œœ nn œœ ## œœ nnn œœœ œ nnPMœœ ## œœ nn œœ nPMœ # œ PM PM PM 8 8 8 8 8 œœ œœ œ 3 3 3 3 3 œœ œœ œ 3 3 3 3 3 œœ œœ nn œœ œ nn œœ nœ 6 6 6 6 6 œœ œœ œ œœ œœ œ œœ œœ œ 5 5 5 5 5 œœ œœ PM œ œœ œœ3 œ3 12 12 12 12 12 ‰‰ ‰‰ ‰ 7 8 7 8 7 8 7 8 7 8 5 5 5 5 5 7 7 7 7 7 11 11 11 11 11 nn œœœ nn JœJœ n JœJ J nœ œœ nn œœ œœ nn œœ œ 3 3 3 3 3 œœ œœ œ3 3 3 3 3 5 5 5 5 5 2 2 2 2 2 b n œœ œœ bb nnn œœ œœ bb n œœ œ PM PM PM 5 5 5 5 5 0 0 0 0 0 12 12 12 12 12 œœ œœ œœ œœ ## œœ œœ ## œœ PM PM œ #œ 0 0 0 0 0 œœ œœ œ 11 11 11 11 11 A7 A7 A7 A7 A7 j œœjj œœjj œ 7 7 ## œœ ## œœ #œ 3 3 3 3 Let ring Let ring Let ring0 Let ring0 0 12 0 12 0 12 12 12 nn œœ nn œœ nœ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œœ œœ Let œ ringœ œœ~~ ~~ œœ~~ ~~ œœ~~ J ~~ BU BU ~~ ( 8 ) 7~~ BU (9 8 ) 7~~ BU (9 8 ) 7~~ BU (9 8) 7 œœ œœ nn œœ œ nn œœ nœ 6 6 6 6 6 9 9 9 9 9 A7 A7 A7 A7 A7 j œœj n œœ œœj n œJ œœj n œJ œœj n J œœ n œœJ 8 8 8 8 8 3 3 3 3 3 7 7 7 7 a 7 a œœ œœ œ œœ œœ œ 11 11 11 11 11 nn œœ nn œœ nœ 5 5 5 5 5 5 5 5 5 5 10 10 10 10 10 œœ œœ œ 10 10 10 10 10 9 9 9 9 9 œœ œœ3 œ3 BU BU BU ( 9) 7 BU ( 9) 7 BU 7 ( 9) 7 ( 9) 7 ( 9) ## # ## AAA 777 & ## ## ## Aœ7 & & # ## # œœ & œœ & ŒŒ ŒŒ Œ 3 3 3 3 3 '' '' 14 1/4 1/4 1/4 1/4 5 5 5 5 5 3 3 3 3 3 œœ œœ œ nn œœ nn œœ nœ 5 5 5 5 5 3 3 3 3 3 œœ œœ œ 7 7 7 7 7 3 3 3 3 3 œœ œœ œ œœ œœ œ 5 5 5 5 5 7 7 7 7 7 œœ œœ œ 0 0 0 0 0 ÓÓ ÓÓ Ó 2 2 0 2 0 2 0 2 0 2 0 April 2015 GuitarTechniques 59 . 1second and third fingers here.BRAD PAISLEY .MAGAZINE 2 4 1 musical resolution in bar 1 13. allowing each note to bleed through to create a harp or pedal-steel like [Bars 9-12] We bring our first solo to a conclusion with the combination of colourful ringing effect. mute and cluck in bar 7 is achieved by palm muting the notes on the fifth The country twist here is to replace all the notes that are possible with open string while twanging the note on the third string with the second finger. strings. BLUES DUESof.BRAD downPAISLEY and across. the best some rapid A Blues scale finger work (R-b3-4-b5-6-b7) and chromatic ‘sonic John Wheatcroft's GUITAR TECHNIQUES 4 1material presented John Wheatcroft's TECHNIQUES MAGAZINE 1 DUES or.SOLO 1 extra snap. The combination repeated pattern of pick.SOLO the fretboard one fret at a time until reaching a suitable John Wheatcroft's GUITAR TECHNIQUES MAGAZINE 2 4 1 BLUES DUES . crackle and pop.SOLO [Bars 5-8] More pick and fingers ‘hybrid-picking’ here. .BRAD PAISLEY . E 7 the tempo at ©»¡£• Swing ©»¡£• Swing ### # ### ## ©»¡£• ©»¡£• Swing 4 4 # # # & 4 # # & 4 Swing ©»¡£• & & # ## # ## 444 & 4 E E B E B G B E G D G B D A D G E A E A D B E E A G E D A E E E B E B G B E G D G B D A D G E A E A D B E E A G E D A E E E B E B G B E G D G B D A D G E A E A D B E E A G E D A E E E B E B G B E G D G B D A D G E A E A D B E E A G E D A E E E B E B G B E G D G B D A D G E A E A D B E E A G E D A E E7 E7 E7 ŒŒ7 EŒ Œ Œ ∑∑∑ ∑ ∑ œœœ œ œ ‰‰‰ ‰ ‰ 3 3 3 3 3 ### ## ### ### & # ## # # & & & #### & 6 6 6 6 6 ### # ### ## & # ### # ## & & & #### & 11 11 11 11 7 7 7 7 7 7 7 7 7 9 7 œœœ œ œ jj œœœjj œ j œ ( 6) 4 B 7 ## 9 B7#9 B7 9 B7#9 ‹‹ œœ B 7 # 9 b‹ œ œœœ œ œ œœœ œ œ 0 0 0 9 0 9 9 9 0 4 4 4 4 bb‹ œœ b‹ œœœ bœ 3 3 2 3 2 1 2 3 1 1 2 1 3 2 1 nnnEEEEœœœ7777 œœ n œ nEœ7 œœ nnn œœœ nœ œ nœ 2 ### # ### ## & # ### # ## & & & #### & œœœ œœœ . Reduce negotiate the nifty string changes. œœ . so go easy until those calluses begin to John Wheatcroft's GUITAR TECHNIQUES MAGAZINE 2 4 1 John GUITAR MAGAZINE 2 4 1 ringing open TECHNIQUES first string throughout. form. nnn œœœ œœ ..bars 5-8 has the lot.2harmonics and behind-the-nut (A-C#-E-G) and the-. We add a touch of country will enhance the twang. The sliding double-stops in bar 10 neatly define our underlying A7 John Wheatcroft's Wheatcroft's GUITAR TECHNIQUES MAGAZINE 2 4 1 BLUES DUES BRAD PAISLEY . 9 9 9 9 9 9 9 9 9 9 0 0 0 0 8 8 9 8 9 9 8 9 8 9 œœœ œ œ 0 0 0 0 0 0 0 0 0 0 BU BU BU BU 4 4 4BU 4 3 1 1 1 1 0 0 0 0 2 1 0 nnn nnn œœœœ nnœ n n œœ 11 11 11 11 11 11 11 11 œœœ œ œ 3 3 3 3 2 2 2 2 bb bbb œœœ 3 bbœ b œ œœœ b b œœ œ œ nnn nnn œœœœ nnœ n n œœ 7 7 8 7 8 8 7 8 7 8 œœœ œ œ œœœ bbb œœœjjjj œœ œ b œj œœ œ bœ œ 3 3 3 3 0 œœœ œ œ 3 3 3 3 (behind nut) BU(behind BD nut) (behind nut) 5 7 5 5 BU7 BD 5 5 7 5nut) 00 2 2 (behind 0 2 5 7 5 0 2 5 7 5 0 2 3 3 3 3 œœœ œ œ (6) 4 j nn œœjj œœœ n œj œ nœ j BU BD nœ œ BU(behind BD BU BD nut) (( (( ( 11 BU BU BU BU 4 (( 6 )) 4 (6) 4BU 6 4 (6) ‚‚‚ ‚ ‚ )) )) ) 11 11 11 11 œœœ œ œ œœœ œ œ 3 3 3 3 0 ‚‚‚ ‚ ‚ (( (( ( œœœ œ œ 3 A7 A7 A7 A7 BU Let4ring 4 4 BU 4 3 5 3 3 9 9 9 9 √ √ √ ‚‚‚ √‚‚‚ ‚‚‚ ‚ √‚ ‚ ‚ ‚ ‚333 7 œœœ œ œ 11 11 11 11 œœ ‰‰‰ œJJœJ Jœring ‰ Let ring LetJring BU ‰ Let BU Let ring BU 5 5 5 5 œœœ œ œ33 9 9 9 9 ÓÓÓ Ó ŒÓŒŒ Œ Œ 7 7 7 7 œœœ œ œ BU BU BU BU 11 ((13 )) 11 (13 ) 11BU13 11 (13 ) ························ ··· 3 ### œœœ #œ #œ BU BU BU BU 12 ((14 )) 12 (14 ) 12BU14 12 (14 ) 7 ‚‚‚ ‚ ‚ œœœ œ œ j nn œœjj n œj nœ j nœ œœœ œ œ j œœœjjj œœœ nn œœ œjœœœ œ nn œœ œ œ œ n œ333 œ 3 ‚‚‚ ‚ ‚333 0 0 0 0 œœœ bbb œœœ nnn œœœ bbb œœœ œ bœ nœ bœ œ bœ nœ bœ œœœ œ œ 9 ‚‚‚ E7 ‚ œœœ NH‚ 3 NH œ NH 3 œ NH NH nnn œœœ nœ nœ 12 12 12 15 12 12 15 12 12 15 12 15 15 12 12 15 9 œœœ . JJJœ œ . although it’s doubtful they would do John Wheatcroft's GUITAR TECHNIQUES MAGAZINE 2 4 1 with each for a little while to explore the sonic potential before attempting as I didPAISLEY here and opt for a combination of pick. J 0 0 0 ( ) 0 (6 ) (6 ) 6 ( 6) 0 2 2 2 2 9 9 9 9 9 œœœ œ œ j nn œœjj n œj nœ j nœ 3 3 3 3 œœœ nn œœ œ nn 3œœ œ nœ 2 2 2 2 2 0 0 0 0 0 œœœ œœœœ œœ œ j bb œœjj b œj bœ j bœ œœœ œ œ 9 9 9 9 8 8 8 8 9 8 7 0 0 0 0 0 2 3 3 3 3 œœœ œœ3 œœœ œ 3 3 2 3 2 1 2 3 1 1 2 1 3 2 1 œœœ œ œ 15 15 15 15 nnn œœœ nœ nœ 5 5 5 5 5 œœœ œ œ nnn œœœ nœ nœ 7 7 7 7 5 5 5 5 7 5 3 3 3 3 jj œœœjj### œœœ œœ œ # œ œœ bbb œœœ j bœ ring œ # œ Let Letœ ring 2 2 2 2 œœœ3 œ Let ring bœ œ Let ring 1 Let ring 1 2 1 2 1 1 2 1 1 2 1 1 2 1 œœœ œ œ 2 2 2 2 2 9 9 9 9 11 11 11 11 9 11 1 ˙˙œ˙ œœ˙ œ˙ œ 0 0 0 0 7 7 7 0 7 œœœ œ œ ‰‰‰ ‰ ‰ 15 12 12 15 12 15 12 12 15 12 15 12 12 15 12 15 12 12 15 12 15 12 12 15 12 11 60 GuitarTechniques April 2015 3 œœœ œ œ 3 1 1 1 1 ### # ### ## & # ### # ## & & & #### & œœœ œ œ333 œœœ œœ œœœ œ 12 12 12 15 12 12 15 12 12 15 12 15 15 12 12 15 0 œœœ œœ œœœ œ 3 3 2 3 2 1 2 3 1 1 2 1 3 2 1 œœœ bbb œœœ nnn œœœ œ bœ nœ œ bœ nœ 0 0 0 0 15 15 15 15 0 0 0 0 7 7 7 0 7 5 5 5 5 7 5 E7 E7 E7 E7 3 3 3 3 0 0 0 0 3 0 ‰‰‰ ‰ ‰ jj œœœjj œj œ 11 11 11 11 9 9 9 9 11 9 0 0 0 3 0 7 7 7 7 5 7 5 0 7 5 7 5 7 7 5 ‚‚‚ ‚ ‚ ‚‚‚ ‚ ‚333 j œœjj œj œ j œ 12 12 12 12 12 12 7 12 12 12 7 12 12 7 12 12 7 12 12 7 0 œœœ nn œœ œ nn œœ œ nœ 15 14 12 15 14 12 15 14 12 15 14 12 15 14 12 A7 A7 A7 A7 3 7 7 7 7 7 12 (14 ) 11 (13 ) 9 11 9 4 (6 ) ‚‚‚ ‚ ‚ ###Aœœœ7 # œœ # œœ œœœ œœ œœ333 3 5 5 6 5 6 6 5 6 5 6 6 6 7 6 7 7 6 7 6 7 3 5 5 nnn bbb œœœœ nbœ n b œœ ### nnn œœœœ #nœ # n œœ 4 4 5 4 5 5 4 5 4 5 5 5 6 5 6 6 5 6 5 6 3 œœœ nn œœ œ œ nn œœ œœœ nnnn œœœœ œ nœ œ nœ 5 5 5 5 5 5 5 5 j nn œœjj n œj nœ j nœ œœœ œ œ œœœ œ œ A7 (6 ) (6 ) (6 ) (6 ) nnn œœœ nœ nœ 0 0 0 0 3 ·· ·· ·· œœœ œœ œ œœ œœ 14 12 12 14 12 14 12 12 14 14 12 14 12 12 14 14 12 14 12 12 14 14 12 14 14 12 12 14 12 14 bbb bbb œœœœ bbœ œœœ b b œœ œ œ 3 0 0 0 0 œœœ bbb œœœ nnn œœœ œ bœ nœ œ bœ nœ 12 12 14 13 12 14 13 12 14 13 14 13 12 14 13 œœœ3 œ œ )) )) ) œœœ.. You’ll need to bring the picking hand fourth finger twang to the Blues scale line in bars 3 and 4 with the addition of a syncopated into play to achieve this.SOLO 2 the connect them togetherSwing in such close succession.BRAD BRAD PAISLEY SOLO 2 DUES . however.a lick that BB King would be proud of .BRAD .. œ. although hybrid picking 2-3-5-6) and minor (R-b3-4-5-b7) Pentatonic scales.. Take each idea and techniqueBLUES in turn and live of place in a Gary Moore or Slash solo. œ.rapid E Blues scale lick in bars 11-12 wouldn’t sound out GUITAR TECHNIQUES MAGAZINE 41 BLUES DUES -.[Bars 9-12] Jimi Hendrix goes country in bar 9..SOLO 2 BLUES DUES PAISLEY SOLO 2 John Wheatcroft's [Bars 5-8] Open strings. n œ œ nœ 3 3 2 3 2 1 2 3 1 1 2 1 3 2 1 œœœ œ œ 9 9 9 9 ~~ œœœ~~ ~~ œ~~ œ~~ ~~ ~~ ~~ ~~ 9 9 9~~ 9 4 3 3 3 3 nnn 3œœœ nœ nœ 3 3 3 3 0 0 0 0 3 0 12 12 12 12 12 12 12 12 0 œœœ œœœ œœ œœ 12 14 14 12 14 14 12 14 14 12 14 14 12 14 14 œœœ œ œ œœœ œœ œ œœ œœ 12 12 14 12 14 12 14 14 12 14 œœœ œ œ 12 12 14 12 14 12 14 14 12 14 j nn œœjj ## œœ n œjnn # œ nœ n#œ jn œ nœ #œ ŒŒŒ Œ n œ Œ 12 12 12 12 12 13 13 12 13 12 12 13 12 13 12 œœœ œ œ ÓÓÓ Ó Ó .coming from a combination of major (R.SOLO 2 bends . Jœ œ . held bent notes. .lesson: blues ON THE CD TraCks 48-51 EXAMPLE Solo 2: BRAD PAISleY StYle cd track 50 [Bars 1-4] We begin second solo number with some authentic blues vocabulary first and aim for a relaxed and seamless transition from idea to idea. second and third fingers to BLUES DUES . Pop the DVD-ROM into PC or Mac to hear brilliant audio synched to animated tab.LOVE TO PLAY BLUES GUITAR? Then this 100-page magazine with DVD-ROM is for you! Drawn from the best blues features in Guitar Techniques magazine it’s packed with lessons on how to play like over 50 blues legends. . . There is also a ‘Greatest Hits’ collection called Let It roll available. Harrison’s early influences ranged from Django reinhardt to Chet atkins and Carl Perkins. our example is in the key of B minor (B-C#-D-e-F#-G-a). and Lynne’s trademark lightly overdriven power chords similar to his work with eLo. Track record Try Harrison’s wonderful. Harrison was able to call on the very best players to join him on his albums including elton John and eric clapton. Harrison may have been the ‘quiet’ Beatle. Tom Petty and The wilburys from the late 80s and early 90s. There is a definite Jeff Lynne (ELO leader and producer for Harrison. George was able CD: TRACKS 52-53 Ideas for recording Brought to you by. including the likes of elton John and eric Clapton – not a bad session band to gather round you in the studio. Amps included Vox AC15. Today we’re looking at the mid-to-late 80s part of Harrison’s solo career. The parts aren’t difficult to play. The solo here also includes slide Key: B minor Use of non-diatonic chords guitar. and then some sparse minor Pentatonic phrases in the final eight. of course. He made Rickenbacker’s 360-12 and later moved on to Fender Teles and Strats. but you’ll need to focus on what is happening at each stage and also on the slide passages and any unusual chords. George Harrison. Use a clean and bright tone with a minimum of effects (George hated reverb!). as well as Gibson Les Pauls and SGs.lesson: rock ON THE CD TraCks 52-53 George Harrison Martin Cooper looks at the influential style of the legendary Beatle guitarist and charttopping solo artist. with roy orbison. He also had a successful solo career and was a founding member of the ‘multimillionaire’ supergroup. AC30 and AC100 and various Fenders. The Travelling wilburys. Petty and orbison) style sound this month. not Lennon and McCartney. Paul McCartney confessed that Harrison’s songs had become at least as George with a strong as those written by mid 80s Fender Stratocaster himself and Lennon. ABILITY RATING with a sprinkling of the more psychedelic 70s thrown in for good measure. but his contribution to the band’s output was nonetheless vital. cloud Nine (1987) features Got My Mind Set on You and When We Was Fab. and being a Harrison style song it also features non-diatonic chords (including augmented).. What Is Life and I’d Have You anytime (co-written with Bob dylan and with some of clapton’s best ever guitar). This was a time Easy/Moderate when albums like Cloud nine gave Harrison Info WIll IMprovE your commercial success on both sides of the atlantic. NeXT MoNTH: John looks at the playing of Robby Krieger from The Doors Get the tone 4 6 6 7 3 Gain Bass Middle TReBle ReveRB George Harrison used a Gretsch Duo Jet in the early Cavern Club days (featured on the front cover of Cloud Nine). The solo features slide for the first eight bars. Jeff Lynne and Tom Petty in the late 80s. with different tones used for each part. and his sense of melody and creative spark was present in almost every guitar part or song that he composed throughout his illustrious career. and George also played unforgettable intro parts and solos to countless great Beatles songs. re-painted in psychedelic colours and named Rocky. towards the end of The Beatles’ life as a band. while My Guitar Gently weeps and Here Comes The sun were all penned by Harrison. which permeated many of the songs Tempo: 124 bpm Creating cohesive parts during this time. . critically acclaimed all Things Must Pass (1970). 62 GuitarTechniques April 2015 PETER STILL / GETTY IMAGES GeorGe Harrison was a hugely important member of The Beatles and some of their best songs were written by him. Bob Dylan. to call on the very best players to join him on his records. in fact. His slide parts were mostly played on his original 1963 Sonic blue Strat. plus a B Mixolydian (B-C#-D#-e-F#-G#-a) run in bar 20. something. which features the classic My Sweet Lord. 5 œ œ œ œ œ œ # # .. 53 53 53 53 53 53 53 & . .. 33 G D E A B E G 21.. 13 D A E 9. Gœ. œ5 œ5 œ5 œ5 œ5 œ5 œ5 2. œœ6 5. œ20 Playœ20 4œ20 times œ20 . 42 42 21. . 25. . . 29. 3 3 3 3 3 3 3 œ œ œ œ œ œ œ .. œ42 œ42 . œœœœ.5 2 2 0 2 # & # .. œ œ4 œ4 3 2 4 7 2 B 2 0 0 1 G ˙˙ ˙ ˙˙˙ G ˙˙˙34 G 5 ˙˙˙3 4 œœ . 0 0 0 0 . 13 G D E A B E G 9. 25.. .. œœ . Bm j RHYTHM GUITAR œ . 0 0 0 0 . 5 D A E 1.. œœ A . 5 œ4 œ & . Bœ5 œ # # .. &©»¡™¢4 . . œœ6 5. . GUITAR TECHNIQUES &©»¡™¢ 4 . . œ2 œ0 œ2 . 4 B5 2 4 œœ œœ B5 œœ œœ Bœ5 œ œ42 œ42 œ4 œ4 œ2 œ2 2B 5 4 4 2 4 2 4 2 4 2 1 œ œ œœ œœ œ œ 1 2 Ó Ó Ó April 2015 GuitarTechniques 63 . Bm 2 j4 1 œ œ œ RHYTHM GUITAR œ . . œœ œœ . œ2 œ0 œ2 & 4 . 33 D A E 21. Roll the volume control of the guitar up and down to go from clean to crunch sounds for the rhythm parts. Gœ5 œ œ œ œ œ œ # œ5 œ5 œ5 œ5 œ5 œ5 œ5 & # . . œ2 . 13 D E A B E G 9. Bœ5 œ œœ # & # . œAœ6 5. . œ 2œ œ œ2 œ 0 œ 2œ & . .. . &©»¡™¢4 .. 13 E B G D A E E B 5 4 7 B5 # & # . so you may need to pick one of these at a time. œ . Gœ5 œ œ œ œ œ œ ## . . Bm j # # 4 . œœ D A Martin Cooper's BIMM ROCK COLUMN GEORGE HARRISON STYLE w D w5 w œ œ4 œ4 D D5 œœ œœ œœ5 3 œœ 4 5 3 G ˙˙˙ ˙˙ ˙ ˙˙34 G ˙5 ˙˙˙3 4 5 3 G 5 3 G 5 œ œ Dœ5 œ 5 œœ œœ D5 œœ7 œœ7 D5 5 5 œœ œœ 7 5 7 5 œœ œœ œœ7 5 œœ 7 5 œœ œœ œœ7 5 œœ 7 5 œœ œœ œœ7 5 œœ 7 5 œœ œœ œœ7 5 œœ 7 5 D/F 7 7 5 5 7 5 7 5 F 7 7 5 5 7 5 7 5 5 3 D5 4 5 œœ œœ Dœ5 œ œœ Dœ5 œ œ75 œ75 œœ œœ # ˙˙ # ˙7 7D/F 5 5 ˙˙ # D/F ˙ ˙˙32 # D/F ˙4 ˙˙3 ˙2 7 5 7 5 œœ œ œ œœ 7 5 œœ 7 7 5 5 œœ œ œ œœ 7 5 œœ 4 4 2 2 7 5 4 4 2 2 7 5 7 5 n n F˙˙˙ 7 5 4 n n F˙˙˙ 1 n n F˙˙˙23 n˙ n ˙˙123 3 2 4 1 A52 3 7 5 œœ œ œ œœ 7 5 œœ 7 5 œœ œ œ œœ 7 5 œœ 7 7 5 5 7 5 7 5 7 7 5 5 7 5 7 5 3 4 D5 5 œœ . œœ2 œœ2 œœ2 œœ2 . œœ6 5. 33 5 10 5 9 4 œ 5œ œœ œœ œœ œœ4 œœ4 2 2 œ4 œ4 œ2 œ2 œ œ œœ œœ4 2 œ4 œ2 > œ7 œ œ >œ œœ >œœ œœ4 >œœ4 2 2 œ4 œ4 œ2 œ2 4 2 4 2 4 2 4 2 4 2 4 2 10 5 12 7 œœ . G. 2 2 2 2 . . 29. . œœ6 5. œœPlayœœ2 4œœ4times œœ 1. 5 G D E A B E G 1. œœ . . .. œœ 3 2 4 > œ >œ >œœ >œœ75 œœ 7 7 5 5 1 2 A53 6 5 6 5 6 6 5 A5 5 œœ œœ œœ7 5 œœ œœ 65 œœ œœ7 5 œœ 7 5 7 5 7 5 œœ œœ œ20 œ œœ2 2 0 2 0 0 C /E ˙˙ 7 C˙/E 2 5 0 ˙C˙/E ˙ ˙10/E C˙ ˙2 ˙˙1 ˙0 7 5 6 5 œœ A5 œœ A5 œ20 œ œœ2 6 5 A5 6 5 0 2 0 2 1 0 2 œœ œœ A5 œœ œœ A5 œ20 œ20 œœ œœ2 œœ2 œœ œœ œ20 œ œœ2 0 0 0 7 7 5 5 2 0 7 7 5 5 2 0 1 œœ02 œœ œœ œœ œ20 œ20 œœ œœ2 œœ2 6 5 6 5 6 5 œœ œœ œ20 œ œœ2 6 5 0 6 5 6 5 œœ œœ œ20 œ œœ2 œœ œœ œ20 œ œœ2 6 5 0 0 # Baug/D 2 2 2 0 0 0 ‹ www20 20# #20Baug/D ‹ www # #Baug/D 0 ‹ www01 # #Baug/D w0 # ‹ ww01 6 5 6 5 6 5 œœ œœ œ20 œ œœ2 œœ œœ œ20 œ œœ2 2 0 2 0 2 0 2 0 6 5 0 6 5 0 œœ œœ œ20 œ œœ2 œœ œœ œ20 œ œœ2 0 œœ 01 œœ œ20 œ œœ2 0 0 œœ œœ œ20 œ œœ2 œœ œœ œ20 œ œœ2 œœ œœ œ20 œ œœ2 œœ œœ œ20 œ œœ2 0 6 5 0 0 0 0 0 0 2 2 0 0 2 0 2 2 0 0 2 2 0 0 2 0 2 2 0 0 2 0 2 2 0 0 2 0 2 2 0 0 2 2 0 0 2 0 2 2 0 0 2 0 D G D 5 4 œ œ œ œ 3 61 4 5 œ œ 5 œ œ 1 œœ œ œœ œ œ7 10 œ 9 1 œœ œœ œœ œ œ72 5 9 4 10 œ œ9 œ œ7 10 5 4 2 6 5 3 4 5 1 B 10 5 9 4 ˙˙ ˙ ˙˙ D ˙ ˙˙32 D ˙4 ˙˙3 ˙2 œ5 œ4# œ B œ œ #œ B œ2 œ4 # œ1 œ œ # œ1 4 1 Play times 2 44 . . œœ w œ œœ .. 29.. œœPlayœœ 4œœtimes œœ . . . and the octave parts in bars 12 and 16 were overdubbed. 5 E B G D A E E B 9. œœ œœ . The idea here GUITAR TECHNIQUES 2 4 1 Martin Cooper's BIMM ROCK COLUMN GEORGE HARRISON STYLE GUITAR TECHNIQUES 2 4 1 Martin Cooper's BIMM ROCK COLUMN GEORGE HARRISON STYLE RHYTHM GUITAR ©»¡™¢ ## 4 .. 6 5 5 4 E B G D A E E B 16 G D E A B E G 16 D E A B E G 16 D A E 16 A Martin Cooper's BIMM ROCK COLUMN GEORGE HARRISON STYLE RHYTHM GUITAR E B G D A E E B was to emulate the 12-string Rickenbacker type sound. Bœ45 œ4 œ2 œ2 # & # . œœ . œœ6 5. # # 2. œ2 . ## 4 . œ œ . 29. 25. .. œœ . 33 D E A B E G 21. . . œ œ œ œ œ œ œ & . œ3 œ3 œ3 œ3 œ3 œ3 œ3 . œœ . 2 2 2 2 .LEARNING ZONE GEORGE HARRISON ExAmPLE rhythm cd track 52 [General] There’s light damping on the chugging power chords (B5 D5 A5) every time these are played. œ œ œ ## 4 . œœ6 5. œœ œœ .œ œ œ œ œ œ œ # # 2 53 53 53 53 53 53 53 & œœ œœ œœ œœ œœ œœ œœ # 10 9 10 12 & # 2œœ œœ œœ œœ œœ œœ œœ # 105 49 105 127 & # œ œ œ 10œ œ 12œ œ 10 9 GUITAR TECHNIQUES 241 Bm D 1. œœ6 5. 0 0 0 0 2 4 Ó 4 œ œ œ 3 2 4 œ œœ œœ œ œœ5 œœ50 œ œœ œœ 5 0 œ œ œ50 œ œ2 œ # œ0 œ œ #œ œ2 œ4 # œ1 œ œ # œ1 2 œ œ2 œ2 . . 5 D E A B E G 1. . œœ . . 25. j . œœ ... œœ œœ . œœ . 42 42 ... 12 10 12 15 œ œ œ œ œ B5 D5 A5 w j˙ ~~~~~ œ j ˙ ˙ . 7 ~~~~~~~~~~~ œ œ7 7 œ w7 w w w 7 9 w ~~~~~~ 17 ~~~~~~ w ~~~~~~ ~~~~~~ ~~~~~~ w ~~~~~~ ~~~~~~ w B5 B5 ∑ ~~~~~~ ∑ B5 B5 ∑ ∑ . œ œ œ œ œ œ œ ~~~~~ 12 10 w BU BD D5 ~~~~~ j œ ~~~~~ œBU( 11) BD(œ9 ) œ7 w9 ~~~~~ D5 ) (9 ) 7 j ( 11 9 ~~~~~ œBUœ BD œ œ w ~~~~~ D5 ~~~~~ j( 11) ( 9 ) 7 ˙9 œ œ œ œ œ D5 BU BD ~~~~~ j ˙ ~~~~~ œ œ ( 11œ ) ( 9œ) 7œ 9 BU BD D5~~~~~ ~~~~~ œ j œ ( ) 10 ˙ ( ) œ BU11 BD œ9 œ7 ~~~~~ D5 10 ~~~~~ ) (9) 7 j (11 ˙ œ œ œ BU BD œ œ ~~~~~ 9 (11 ) œ B5 33 33 fine balance between pressing the slide down hard enough for the note to sing. 15 12 10 12 10 12 12 D5 12 10 12 10 12 œ 12 9 9 (11 ) 64 GuitarTechniques April 2015 12 9 BU A5 w ~~~~~ A5 œ w ~~~~~ Martin Cooper's BIMM ROCK COLUMN B5 A 5 ~~~~~ GEORGE HARRISON STYLE D5 ˙ œ 15œ ˙ œ 10œ 12œ 12 12 15 10 w ~~~~~ ~~~~~ B5 D5 A5 12 12 10 12 15 15 10 ˙ œ œ ˙ œ œ œ w ~~~~~ ~~~~~ B5 D5 A5 w j ˙ 15 œ œ10 œ j ˙12 ˙ . 12 10 12 10 12 15 ˙. and not pressing so hard as to ‘bottom out’ on the frets.lesson: rock ON THE CD TraCks 52-53 ExAmPLE lead cd track 52 There’s slide in the solo this month so make sure you place the slide directly above the fret wire and don’t press too hard on the string – it’s a GUITAR TECHNIQUES 2 4 1 Martin Cooper's BIMM ROCK COLUMN GEORGE HARRISON STYLE GUITAR TECHNIQUES 2 4 1 Martin Cooper's BIMM ROCK COLUMN GEORGE HARRISON STYLE LEAD GUITAR ©»¡™¢ GUITAR 241 LEAD GUITAR 20 # #TECHNIQUES 4 & ©»¡™¢ 4 20 # #TECHNIQUES 4 GUITAR 241 LEAD GUITAR & 4 20 ©»¡™¢ 20 ## 4 LEAD GUITAR 20 & 4 ©»¡™¢ 20 # 4 20 & # 4 ## œ œ œ œ œ œ & 20 ## œ œ œ œ œ œ & # # 10œ œ8 œ œ7 œ œ5 & 10 8 7 5 ## œ œ œ œ œ œ & B5 10 8 7 5 j ## œ œ Œ & BÓ5 # # 10Ó 8 Œ7 œj 5œ & E B G D A E E B G D A E E B G D A E E B G D A E B G D A E E B G D A E E B G D A E E B G D A E B G D A E E B G D A E E B G D A E E B G D A E B G D A E E B G D A E E B G D A E E B G D A E 24 24 24 # & # # & # ## & # & # 24 29 29 29 B5 Ó B5 Œ Ó B5 Œ Ó B5 Ó Œ B5 Œ B5 Œ # & # Ó 29 # & # Ó 33 33 Œ D5 ˙ œ ˙ œ œ œ Martin Cooper's BIMM ROCK COLUMN B5 GEORGE HARRISON STYLE D5 ˙ œ ˙ œ œ œ 21 21 œ œ 21 B5 j ˙ 10 œ 2112 œ j œ œ œ œ œ 10 B5 ˙ D5 w D5 œ œ œ œ œ œ D5 15 ~~~~~ 15 9 9 9 9 (9) 7 10 BD (9) 7 10 ~~~~~ œ A5 ˙ 15 œ œ œ œ œ œ9 10 œ œ9 10 10 10 œ œ9 17 7 A5 9 9 9 9 w œ j œ ˙ œ œ 9 17 12 7 9 9 17 œ œ œ 12 9 ~~~~~ ˙ œ œ A5~~~~~ ~~~~~ ˙9~~~~~ œ œ7 A5 9 ~~~~~ 7 ˙A5~~~~~ œ œ ~~~~~~~~~~~ w 9 7 A5 ~~~~~ ~~~~~~~~~~~ w 9 7 A5~~~~~~~~~~~ ~~~~~~~~~~~ w9 ~~~~~~~~~~~ A5 9 ~~~~~~~~~~~ w~~~~~~~~~~~ 9 w A5 9 j œ 7 ˙ 10 12 ~~~~~ A5 12 15 12 ˙. . What sets Carl apart is his stylistic mastery. Get the tone 7 6 6 7 4 Gain Bass Middle TReBle ReveRB Carl played his signature LSL ‘CVS’ guitar through a Marshall JTM45 head using mostly his neck single coil pickup. Carl has at his disposal a host of associated small voicings. single-line fluency and conventional strumming technique are at his disposal. Joe Bonamassa. Go for a clean tone but not too bright a sound and a dash of reverb. Carl’s playing is a perfect fusion of effective lead ideas. there’s a lot of syncopation on the semiquaver level which draws in stylistic reference from jazz (bars 31-32). a minor key track by Jason Sidwell. blues. ABILITY RATING Moderate/Advanced Info KEY: Various TEmpo: Various CD: CD-ROM WIll IMprove your Playing over minor chords Chord melody voicings Pentatonic fluency CARL IS onE of the most respected guitarists in the industry with a 40-year playing career playing countless sessions on albums (with artists as divere as Dolly Parton and Allan Holdsworth). inventive chord-melody rhythmic patterns and a mature and paced melodic sensibility. This is evident throughout the track. as part of prog band Procol Harum and an active solo career. many guitarists might commit to single-line soloing (perhaps based on the minor Pentatonic of the key). no wonder that he’s still so much in demand and receives unadulterated praise from the lofty likes of Robben Ford. In Carl’s hands the familiar E minor Pentatonic or Blues scale is given an inventive sophistication with the use of the 9th (F#) and occasional Dorian implication with the major 6th (C#) (see bar 35). innumerable film scores. 10 different voicings for Em7 are used. allowing a blended chord-melody approach with a satisfying harmonic fluidity. jazz and Latin influences) and a command over inventive chord voicing and Pentatonic melodicism. In a few short minutes Carl delivers a masterclass in minor chords and gives any guitarist ample material to improve their playing. stylistic versatility (including pop. far greater range of expression during performance. There’s much to learn here but here’s a rundown of the main characteristics. but also as a source of instruction and inspiration of how inventive one can be in a relatively simple harmonic context. turning this apparently simple three-chord track into a true study. his ‘transparent technique’ in that his technical facility is only ever used in service of the track.lesson: video VIDEO ON THE CD Carl Verheyen Masterclass CD-rOm PART 2 Join Milton Mermikides as he welcomes you to the second part of Carl Verheyen’s sensational video masterclass . as John Jorgensen puts it. There’s also associated chordal material for each of the other two chords. NeXT MoNTH: Milton brings us more from this Carl Verheyen video series. So it was a great pleasure to have Carl visit the Guitar Techniques studio during his massive European tour. Finally. or to familiar chord voicing strumming. I’ve transcribed Carl’s improvisation over Jay’s Juke Joint. Carl Verheyen: this month’s solo is a real masterclass Steve Lukather. His solo demonstrates a fluent improvisational knack. For this article. When presented with a track with a series of minor chords. rather than having a couple of fixed chord shapes. Jenifer Batten. 66 GuitarTechniques April 2015 . folk (bars 46-47) to Latin rhythms (bars 55-57). and in a couple of hours he had given us enough great material for several video lessons. Carl effortlessly and intuitively switches between pick and hybrid style (and even Wes Montgomery-style thumb technique) so that all manner of double-stops. and fast position changes using open strings (bar 62) and slides (bars 26-27). Brad Praisley. However.watch the man improvise and be amazed. bar 66). not only to build one’s vocabulary. by great rhythmic sophistication. This allows a far. The familiar Pentatonic shapes are also revitalised with the use of wide intervallic string skipping (bars 19-20. Steve Morse. but in just bars 13-16.. Carl’s playing here is characterised carl has worked with an amazing list of musicians in a hugely diverse range of styles. melodic sensibility. When faced with a single chord for harmonic context (say Em7). The examples could be played on any style of guitar. which makes it an excellent passage to study in detail. country. funk-rock (bar 26). 2013 cranktone entertainment). spaced chords. educational generosity and. Scott Henderson and Albert Lee. but single-coils sound great for this style. Robben Ford. but for similar ideas to this lesson check out diamonds on Slingshot (Mighty Tiger 1999) or the blistering solos on Fusioneer’s disease (Mustang run. This is a really rewarding solo to learn. Track record There’s bags of choice when it comes to carl.. œ œ œœ œ œ œ œ œœœ œœœ 1 œ œ œ . œœ . hybrid-picked 6th-5th pattern is used in bars 6-8 (ie B-G-E. Again we see the use of the 6th-5th intervallic pattern built on E minor Pentatonic with an added 9th (E-F#-G-A-B-D). œœ œœ œœ & ··· NH * ~~~ 9 ‚‚~~~ œ ‚‚ œ ‚ ‚‚ ‚‚ ‚ Let ring w/bar 6 & E B G D A E 8 5 w/bar E B G D A E Let ring Let ring Let ring Let ring œ œ . œ œœ n œœ œœ œœ # œ ⋲ œ œ œ œ œ œœ œœ œœ œœ .G-E-B). œœ œœ œœ œ. œ œ œ œ œ œ. but also the slightly more angular ‘stacked 5th’ pattern (E-B-F# and D-A-E) in bars 14-15. œ œ œ œ œ œ . œ 8 9 5 0 3 3 5 7 5 7 ~~~ 7 7 5 5 8 7 7 5 7 5 3 4 4 5 3 0 0 4 3 1 4 2 0 3 2 0 B m7 œœ . [Bars 13-16] Here we see a catalogue of voicings over an Em7 context. All the notes derive from E minor Pentatonic with an added 9th (E-F#-G-A-B-D). ©»¡ºº Slight shuffle E m7 w ~~~~~ #4 w & 4 w ‰ œœ œ w/bar E B G D A E œ. œj œœ . The pick strums. œ œ œ jbœ œ œ ⋲œ œœ œ . œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ w/bar Let ring Let ring ~~~~~~~ 5 7 4 5 2 7 4 8 7 7 4 5 2 7 5 7 7 7 5 3 0 2 2 2 3 2 0 2 0 3 2 0 5 5 4 0 14 E m7 B m7 œ . œœ œœ œœ œœ œœ # œ~~~ œ œ & J E B G D A E A m7 œœ œœ œ œ œœ œ œ œ œ œ œœ œ œ Let ring ~~~~~ 10 [Bar 9] Play the chord harmonics by ‘brush-strumming’ over the 19th fret (12 frets above the chord). C-A-E. œ œ . œ .. œœ œ œ . Milton's GUITAR TECHNIQUES MAGAZINE 2 4 1A Dorian (A-B-C-D-E-F#-G) Similarly bars 5-6 (over Am7) are built from and a CARL V. œ œ œ œ œ .Learning Zone CarL VerHeYen MaSTerCLaSS PT 2 ExAMPLE CARL VeRheYen MASteRCLASS cD -rOm [Bars 1-4] Carl demonstrates a range of voicings over Em7. œœ œœ œœœ .. œ œ œ œ . œ œ œœœ E m7 ~~~~ 3 5 4 5 2 4 10 10 12 12 12 8 8 10 10 10 14 12 14 12 10 8 9 12 12 9 9 10 10 10 5 7 5 7 5 5 5 # A m7 œ œ œ #œ ~~~ 7 10 10 ~~~ œœ œ œ œœ 8 9 8 10 8 5 7 7 5 7 7 7 7 5 14 12 15 12 10 8 12 9 7 7 7 4 5 2 14 12 10 7 7 5 ~~~ w/bar * 77 X 7 7 5 9 5 7 7 9 10 7 9 8 9 10 8 7 7 Strum with pick.. These work well over Em7 without any problematic tensions. E m7 8 œœ # œ œœ œœ œœ œœ . œœœ . œ œ œ œ œ œ. œ œ & œœœ œ œ œ œ œ nœ œ . œ~~~~ .. first finger generating 19th fret harmonics 8 9 5 7 7 5 10 7 7 5 7 5 7 7 7 ~~~ œ œœ œ j œ ¿ œ œ œ œ œ ... 7 œœ œ J œœ . œœ . œ œ œœ .... œ ⋲ œ ⋲ œ œ œ œ œ #œ œ œ œ œ.. In this way chords can be freely constructed from this set of notes to form effective melodies. œ. Œ ⋲ œœ . œ œ œ œ œ .. œ œ œ œ 12 15 9 12 10 14 14 12 17 15 12 16 12 A m7 ~~~~~~~j 3 œ. œœ œœ œ . the first finger touches the 19th fret.. œœ œœ œ œ œ œ .. œ. œ . œœ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj .. J J œœ œ œ Let ring E B G D A E 7 8 9 18 10 12 12 10 10 12 12 8 8 12 8 10 10 9 9 9 7 10 7 9 7 10 7 5 7 6 7 5 7 5 7 4 5 2 2 3 2 3 2 7 4 10 7 10 10 10 10 10 7 7 7 2 2 5 9 9 9 9 April 2015 GuitarTechniques 67 . & œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Am7 E B G D A E E B G D A E 10 10 ' Let ring scoop 8 8 8 8 8 7 9 7 10 7 7 8 7 5 7 3 5 7 5 7 22 3 0 2 2 0 25 # œ 0 2 0 1 0 X X 2 3 0 0 œœ œ œ œ œ jœ œ œ œ œ œ œœ 12 14 28 2 3 12 14 16 15 17 0 œ ~~ œ 7 7 2 7 œœ ~~12 17 4 5 5 7 7 5 7 2 7 j œ œ 5 7 œ œœ 3 2 3 2 2 9 12 10 9 7 11 10 8 10 ˚j œ œ ⋲ œ ⋲ œœ œœ œ œ 8 5 7 7 9 9 9 7 7 7 7 10 3 2 15 12 14 12 10 34 68 GuitarTechniques April 2015 12 11 12 10 12 10 12 9 Let ring 0 12 12 10 œœ œœ œœ œœ œœ œœ œ ⋲ œ ⋲ œ œ œ œ J J 8 8 7 0 7 0 7 0 7 12 8 7 8 8 7 7 8 7 7 7 7 7 12 10 11 12 10 12 10 œœœ œ œœ œœ œ B m7 7 7 7 7 10 7 7 0 0 12 12 10 7 10 j œ œ œ œ œœ œ 9 11 ≥ ≥≤ 10 12 10 12 ≥ etc œ œn œ œ œ œ œ œ œœ œ œn œ# œ œ ⋲ œ œ ⋲ œ œ œ œœ œœœ œœ œ E m7 12 10 14 12 j #œ 11 12 œœ œœ œœ œœ œ œ ..lesson: video VIDEO ON THE CD CD-rOm ExAMPLE CARL VeRheYen MASteRCLASS . Strum with your thumb for a mellow jazz tone. œ œœ œ 14 12 31 œ œ A m7 œœ # œœœ j œœœœœ & œ# œ œ 9 9 10 œœœœœ 15 w/thumb 8 15 17 12 12 0 12 7 9 5 14 12 œ nœ bœ œ œ œ # œœ œ nœ & œ ⋲ J ⋲ J ⋲ b œ œ ⋲ œ œ E B G D A E 3 A m7 BU RP BD 15 17 (19 )(19 ) 19 (17 ) 15 E m7 E B G D A E 7 5 3 œœ ~~~ > œœ œ œ œ œ # œ œ j œœ n ¿¿¿ . but every note is doubled in octaves. He uses the first. [Bars 26-28] Here’s a challenging passage that rapidly moves through 2 xxxxxxxxxx ascending minor Pentatonic (and minor Pentatonic with added 9th) positions using connecting slides. and mute the intervening strings with the underside of your fretting hand’s first finger. It’s based around an E Blues scale. [Bars 31-32] This is reminiscent of Wes Montgomery’s thumb octave style. culminating in a bluesy bent phrase. œ œ ' œ œ œ œ œ # œ œ œ œ œ œ bœ œ œ œ œ œ œ œ. scoop œœ .CONTINUED cD-rOm [Bars 19-20] Here Carl string skips the minor Pentatonic.... third and fifth strings of the A-shape E minor Pentatonic in quick succession before transforming into a jazzier minor Pentatonic with added 9th line. œœ œ & ˙˙˙ b œ œ œ œ œ œ œ œ œ œ œ œ ˙˙ bœ œ œ œ œ œ œ œ nœ w/bar ~~~ X 7 10 12 14 15 & E B G D A E E m7 10 7 8 7 9 8 7 9 7 6 7 9 9 7 7 5 5 7 5 5 9 7 7 8 7 . Take your time with this passage. not only to learn the technique but to understand the theory behind Carl’s note selction.. Carl uses hybrid 3 œ œ œ ~~~ # œ . 12 7 4 5 2 7 5 5 41 9 5 9 5 9 5 9 7 12 10 12 10 12 10 8 8 8 8 12 12 12 B m7 & # œ Let ring E B G D A E 4 4 3 2 0 2 3 œ 7 œ œ œ œ œ . œ œ œ œ . œ œ œ œ œ œ . but it’s a really stretchy voicing.CONTINUED cD-rOm [Bars 34-36] This is a tricky passage blending minor Pentatonic string skipping with jazzy Dorian lines.. œœ œœ œœ œœ . œœ œœ œœ & J J œ .Learning Zone CarL VerHeYen MaSTerCLaSS PT 2 ExAMPLE CARL VeRheYen MASteRCLASS . œ ˙ œœ œ ˚ œ œ ⋲ œj œ œ œ A m7 j œ ~~~~~ 5 ~~~ w/bar 0 2 2 5 w/bar 5 3 8 8 5 7 50 E m7 B m7 # œœ œ œœ œœ œ œœ œœ œ œœ œ œœ œ œœ œœ œ œœ œœ œ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ & œ œ œ œ œ œ œ œ œ œ 7 7 55 5 8 7 5 Am7 j œ Let ring Let ring E B G D A E 7 5 5 14 12 Let ring Let ring 7 5 œ J E m7 Let ring 3 7 5 œœ . Barre the top two strings at the 5th fret and keep your fretting hand as relaxed as possible to avoid injury. #œ œ. [Bar 59] Carl makes this lovely Em9/11 chord look easy..~~~ œ # œ ˙ . œœ œœ œ œ . Take your time as it’s a bit of a finger-twister! [Bars 46-48 and 55-57] Noticte how these small chord voicings can be played in a more over-ringing pop-Latin rhythmic fashion.œ ⋲ œ œ œ œ œ œ œ œ ˙ ~~~ w/bar 4 A m7 0 E m7 4 2 2 1 0 37 # œ . œ œ j œ . œœ œœ œœ & œ . ⋲ œ œJ œœ . œ œ . œ œ œ œ œ œ. œœ œœ œ œ œ... œ œ œ w/bar ~~~ 14 14 12 12 12 12 œœ œ œ œ . œ œ œ œ . œ œœ œœœ œ œ . œj œœ . œœ œœ œœ œœ ..see if it works for you too..... œ œ œj 15 12 12 9 10 8 7 7 7 4 5 2 3 0 10 10 7 7 5 2 14 5 3 0 3 0 4 ~~~ ~~~~~ . ‰ ⋲ œ œ # œœ œœ & œœ ... œ œ œ œ 7 ~~~ 8 5 8 5 8 5 8 7 12 15 9 12 7 7 7 7 10 14 8 5 5 5 8 8 5 7 10 7 7 10 10 7 10 12 10 10 7 5 7 7 7 7 12 10 10 8 7 5 12 11 9 5 œœ œ 7 4 5 2 3 0 7 5 2 œœ~~~~ œœ œœ . œ E m7 ~~~~ w/bar 9 12 12 12 9 12 17 17 15 15 15 15 12 12 9 16 14 14 12 45 œœ ˙˙ . œ œ œ œ . œ œ œ œ œ œ œ œ œ E B G D A E 3 0 2 A m7 E B G D A E 0 bœ œ œ œ œ œ œ œ n œ n œœ œœ œœ œœ œ œ œ 5 7 7 5 5 5 5 7 5 7 7 5 8 7 5 5 7 7 5 5 5 5 7 5 5 5 5 7 7 7 œœ œ œ œ œœœ œœœ œœœ œœœ Lightly strummed Let ring 5 5 5 7 5 7 7 5 5 5 7 7 10 9 8 œœ œœ œœ œœ ‰ 8 8 8 9 10 8 8 8 8 8 8 9 9 9 10 10 10 8 8 9 10 ≤ ≥≤ ≥≤ April 2015 GuitarTechniques 69 .. œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ . œœ œœ œœ œœ œ œ œ œ œ œ œ œbœ œ œ œ 14 12 10 12 10 8 7 5 3 5 11 9 5 w/bar E B G D A E ~~~ picking for technical fluency .. . A minor Pentatonic for Am7. œ Ó BU BU 7 10 7 5 9 10 9 . We’re not sure if the G# was intended (major 3rd against E minor) but Carl did this whole solo as a first take.lesson: video VIDEO ON THE CD CD-rOm ExAMPLE CARL VeRheYen MASteRCLASS .. 4 xxxxxxxxxx [Bars 69-72] This final passage shows how the minor Pentatonic can be œ œ œ œ œ œ œ œœ ‰ œ œ ⋲ œJ ⋲ œ œœ œœ œœ œœ J œ E m7 # j œ œ œœ . ‰ & œ œ œ œ œœœœ ⋲ œœœœ œœœœ Let ring E B G D A E 5 5 7 9 10 5 5 7 9 10 5 5 7 9 10 0 0 0 0 0 # bœ œ œ œ œ œ œ œ œ 10 8 9 14 12 14 12 14 12 12 12 12 12 ‰ ' œ œ œ œ.. Here though it’s used in a bluesier vibe with bent notes and flattened 5ths. not even learning the track first. starting on the last beat of bar 63 is actually all picked. The final run.CONTINUED cD-rOm [Bars 63-64] In these bars Carl demonstrates some lightning minor Pentatonic phrasing using semiquaver triplets. 10 12 12 11 12 8 (9 ) 9 4 8 7 10 9 9 j œ bœ œ œ œ œ œ œ œ œ œ jœ ⋲ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œœ œ œ œ œ œ J #œ œ œ œ B m7 A m7 BU E B G D A E 7 9 7 10 7 7 5 68 6 7 5 7 5 7 7 5 4 7 4 4 3 3 4 4 3 5 5 7 7 5 7 5 œ œ œ œ œ œ œ bœ œ nœ œ œ # œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ ⋲ J & E m7 BU E B G D A E 10 ( 12 ) 71 70 GuitarTechniques April 2015 9 7 10 (12 ) 8 9 10 ( 11 ) 10 8 7 10 7 9 8 10 (12 ) 7 10 7 9 10 12 10 12 11 10 8 9 8 9 œ œ. but you can employ legato technique (slurs etc) if the tempo is too challenging initially. J 1/4 BU 17 ( 19 ) 15 12 12 15 12 10 11 11 10 9 8 9 10 8 6 œ n œ œ Œ ⋲ œœœœœœœ œ œ œ œ œ œœ œœ œ œœ œ œœ œœ œ œœ nœ œ œœœ œ > 3 9 0 7 7 5 7 5 5 7 62 7 5 œ œ œ œ # œ œ œ œœœœœ ⋲ J œ œ & j œ 3 5 5 7 5 7 9 7 9 10 9 8 8 12 4 5 7 7 5 7 15 12 a 3 7 5 a & 4 2 7 3 5 5 2 œ #œ œ œ œ 3 0 4 3 5 3 0 ˚j œ œ œ œ n œ œ ‰ . and E minor Pentatonic (with an added 9th) for the Em7. #œ œ œ œ œ Switch neck-bridge-neck pickup on slide down BU 8 14 12 14 12 10 0 E m7 18 12 14 12 5 2 ≥ ≥≤ ≥≤≥ 65 # œœœ 3 3 3 ≥ ≥ ≥ ≥ œ bœ œ œœ œœ nœ œ œ a A m7 E B G D A E 10 8 ' œ E m7 1/4 59 & E B G D A E 7 9 10 5 5 used based on each chord: B minor Pentatonic for Bm7. œ ‰ . The iPad version also includes video with animated tab and audio Only £12. the best value for money. with delivery to your door and your device l Huge savings. and a money-back guarantee l Instant digital access when you subscribe today Only £35.99 every 6 months Your subscription will then continue at £12. You will receive 13 issues in a year. iPhone.99 every six months .SAVING 16% on the shop price and giving you a 65% DISCOuNT on a digital subscription.49 every 6 months Your subscription will then continue at £29. TwO easy ways Online myfavouritemagazines.subsCribe! CHOOse yOur PaCKaGe PrinT DiGiTal Every issue delivered to your door with a Guitar Techniques’ CD packed full of video and audio. or Android device. Call 0844 848 2852 (please quote PRINT15..49 every six months .ag/magterms. DIGITAL15.49 every 6 months Your subscription will then continue at £35. For full terms and conditions please visit:myfavm. Only £29. Offer ends 20/03/2015 April 2015 GuitarTechniques 71 . BUNDLE15) TERMS AND CONDITIONS Prices and savings quoted are compared to buying full priced UK print and digital issues.SAVING 24% on the shop price.co.uk/GTQsubs TO subsCribe. Instant digital access on your iPad. iPhone or Android device l Never miss an issue. GeT THe COMPleTe PaCKaGe PrinT + DiGiTal BEST VALUE l Receive a Guitar Techniques’ CD packed full of audio and video every issue l Every new issue in print and on iPad. If you are dissatisfied in any way you can write to us or call us to cancel your subscription at any time and we will refund you for all unmailed issues. Prices correct at point of print and subject to change.SAVING 33% on the shop price.49 every 6 months .. and many of our examples are reminiscent of Steve Vai. E. you are not obliged to play all three octaves It’s the symmetry that’s important: because it’s consistent. 3-0. try to go for 25% of your distortion from the pedal and 75% from the amp. Don’t just play fast ideas. making a note of your favourites and experimenting with employing them in the most musical ways. D-E-G-A-C (A and C have been moved from the front to the end). a minor Pentatonic) can be played in different inversions depending on the starting note. or you’ll just sound the same all the time. fourth-third. you can use any mode of D Major). intervals etc) can be configured as follows within each string-pair: 1-1. you can apply any formula from any mode of that scale (so.not as impressive as a piano player’s seven octaves. Typically. 0-2 and 2-0. C. sixth-fifth. Notes on sixth string A. some delay will also added to the guitar track that is in tempo with the track. C and D have been moved from the front to the end). C. It’s a great way of organising notes on the fretboard. Different ways of playing the same thing will provide us with different possibilities. and. each time.it’s a great way of organising notes on the fretboard. second-first. NeXT MoNTH: Shaun continues exploring the use of three-octave cells.3) (1 . whatever they play can be shifted up. you might want to use just two ‘cells’ (or even one). 4-1 etc). a minor pentatonic can be arranged on the sixth and fifth strings like so: Cell (5 . This provides us with an easy means of taking an idea over three octaves . If you’re new to his music. D. most amplifiers should be set as above. E A. E-G-A-C-D (a. G C. etc). Three-note entities (triads) can be configured: 1-2. G A. 72 GuitarTechniques April 2015 dAvid lyTTleTon lesson: creative rock . E. G So. each entity (in this case. the shapes are easy to remember . etc) you may need to use tapping for some shapes when they are played lower down the neck. E. G D. Furthermore. Work out the inversions too (three-note entities have three inversions. and the black notes representing all the sharps and flats). arpeggios etc) and audition each one against a backing track (for context). This helps to give both size and smoothness to the guitar sound. D. and G-A-C-D-E (A.2) (2 . arpeggio.1) (3 . it’s the symmetry that’s important: because it’s consistent. stretching the possibilities of many techniques in an effort to find new and unclichéd expression. The technique involves taking any musical entity (triad. instead. D and E have been moved from the front. Generally. strive to establish some useful TraCks 54-55 shapes in each of the CaGeD patterns of the various scales that you know. establish the possible note-configurations (cells) for each musical entity (triads. G A. Finally. so I always use a distortion pedal to boost the signal before it gets to the amp. C. Pentatonic scale.4) (0 .0) (4 . For example. for a Mixolydian. and 0-3. Vai is somebody who challenges the orthodox approach to rock guitar playing. that’s six possible configurations that can each be shifted up in octaves onto the other string-pairs without having to change shape. For example. unchanged (same fingering) over many octaves. furthermore. D A. 2-1. I use a Fender Strat. You’ll find that the results are sweeter and more compressed (even and tighter sounding) than when getting 100% of the distortion from the amp.and three-note entities across three octaves. whereas you may be able to pick every note when playing higher up the neck (where the stretches are easier). Track record Many modern rock players use this three-octave approach. Get the tone 8 7 5 5 4 Gain BaSS Middle TReBle ReveRB I’m keeping to a typical rock tone for this series. C. The good news is that the latter approach can be used on the guitar if we divide it into string-pairs: ie.5) ABILITY RATING Advanced INFo WIll Improve your Key: A minor Tempo: 104 bpm CD: TRACKS 54-55 Recognition of intervals Understanding of octaves General musical range piano players have it easy! notation is tailor-made for their instrument (the white notes visually representing all the ‘plain’ notes. so be prepared to adapt your approach accordingly. but the idea might spring from the underlying ‘concept’ of three-octave cells. once you’ve worked through the examples in this lesson. But remember this: you don’t have to play something from the root of the underlying chord or scale that you are using. but very useful nonetheless. C.ON THE CD Three-octave patterns PART 1 This month Shaun Baxter starts a new series that reveals an approach that can seriously extend your range on the fretboard. like the original inversion. Two-note entities (double-stops. try starting with his classic solo album Passion and Warfare. C-D-e-G-a (a has been moved from the front to the end). etc) and compressing the information into a single string-pair. all of the others can be configured in the same six different ways on each string-pair (5-0. The point of learning any new device is to use it expressively! . as this will severely limit your musical approach. so that the same shape or’cell’ can be shifted up and down in octaves via the other string-pairs. it’s possible to play five different inversions of a minor pentatonic by starting from a different note each time: A-C-D-E-G. E. four-note entities have four. C A - Fifth string G E. D. D. Today we will look at playing two. providing both physical and visual convenience when they play. the resultant shapes are easy to see and remember. not just fast ones.we don’t want to sound like we’re simply playing exercises. ˙ ~~~~ Œ . this line TECHNIQUES 2 4but 1 it’s coming the aGUITAR D note. This basic shape could be obscured The intention is to build up a useful repertoire of shapes and lines for you to as one doubles back and forth throughout the line. œ œ œ bœ œ œ œ J ‰ œ ~~~ 8 9 œ œ œ œ œ œ œ œ 5 ~~ 5 8 ¢ 8 5 8 7 5 ¡ œ 3 Slow bend 10 10 7 7 ' ¢ œ œ 8 ' œ œ œ œ œ œ b œ ~~~ œœ 5 8 5 5 8 5 ~~~ 8 7 5 Ex 4 2-0 3 j œ œœ j œ œ œ œ œ œ œ~~~ œ j Œ œœœ 3 PB 10 BD BU 5 7 7 5 3 5 ~~~ (12 ) (10 ) 8 8 10 (12 ) 9 7 April 2015 GuitarTechniques 73 j œ. a two-note entity (the major 3rd interval down to an E note. pattern in the Diagram on the previous page. 2 NOTE SHAPES Ex 1 Ex 2 1-1 ©»¡º¢ ¢ √ œ & 44 E B G D A E œ Loco ¡ ¢ œ 3 17 17 ¡ 14 œ ¢ 14 1 . between the notes G and B) is arranged in a (2-0) note-configuration on exAmple 2 Another perfect 4th idea . By using a combination of slides and bends.œ œ~~~ œ œ œ ‰ & œ œœ œ œ ~~~ Ex 3 E B G D A E 3 7 5 Ex 5 0-2 7 5 9 7 10 7 12 10 œ 12 ¡ œ ˙ ™ 12 ~~~~ Ó œ ¢ œ œ œ¡ 3 ¡ ~~~~ 5 5 5 œ~~~ œ œ œ~~. The use of slides makes this idea more ear-catching. other way CREATIVE demonstrates SHAUN'S GUITAR that the three-octave template is also useful as the basis for 2 & 3 (ascending). This example is balance . and can be taken over three-octaves via string-pairs. It’s similar to theMAGAZINE previous one. the second half of this exAmple 1 This is the first of three examples devoted to playing two-note line employs some standard blues-based vocabulary which provides musical entities using a (1-1) note-configuration on each string-pair. This example is topped off with some typical blues vocabulary. based around the perfect 4th interval created when travelling from an A note exAmple 4 In this example.and three-note ideas in cells ExAMplES NoTe SHApeS cd track 54 The following examples are all based around ‘cells’ that exist within A Natural exAmple 3 This line is based around the perfect 5th interval created when minor (A-B-C-D-E-F-G). so refer to the relevant be able to draw upon when improvising.this time between an A note and each string-pair. travelling from an A note up to an E note. slow ideas.Learning ZOne Three-OcTave paTTerns DIAGRAM two. Again. and (12 ) (10 ) 8 8 10 (12 ) finished off with a simple minor melody in the second bar. As mentioned earlier. (E-A-C). exAmple 6 This is the first of three example using three-note entities in a (1-2) configuration on each string-pair. by j œ taking the same approach from a different note each time.œ œ ™œ 5 5 3 (5 ) 5 3 7 7 5 9 7 5 9 10 Œ ∑ ~~~ 6 BU (then decay) Ex 8 E B G D A E 5 7 5 œ œ 7 10 8 5 7 9 7 5 BU 12 ~~~ TraCks 54-55 5 ~~~ 10 12 5 œ œ œ œ œ œ œ~~~ Œ œ œ 3 NOTE SHAPES E B G D A E 8 experiments. only here it’s played on a single string each time using a wide stretch of the fretting hand..CONTINUED ~~~ .œ œ œ œ œ ‰ & œ œœ œ œ ~~~ ™ ˙ ¡ ~~~~ 5 7 7 5 5 Ex 5 & 15 15 10 Slow bend 10 10 ON THE CD 8 5 œ œ 7 œ œ œ œ 10 5 8 7 5 j œ œ.. œ ˙ 5 5 7 7 9 ~~~~ Œ ~~~~ (9 ) 7 9 Ex 6 1-2 & 44 œœ œ œ œœ ™ ™œ œ œ œ œ Ex 7 ¢œ 6 œœ 5 11 7 3 7 5 9 10 8 12 8 10 9 5 7 Œ œ ¢ œ œ œ œ œ ˙ ¡ (Steve Vai) 7 3 œ œœœœ œ œ œœ ™ ~~~ œ œ . it is œ possible to create different inversion of the same note configuration. in this case. is arranged in a Ex 3 (0-2) configuration on each string-pair. it is based around a perfect 4th interval. This example is based around the second of the above configurations. E 12 possible 10 8 5 the configuration 5 exAmple 7 This example is just one variation on B 10 8 8 5 used the9sort of idea that can be played if one G in Ex6. note-configuration 3 examples sawœ the three notes of an A minor triad exAmple 9 The previous j arranged in a (1-2) note-configuration (A-C-E).0 as used in the previous j two examples. than playing up and down each shape in full each time. So. the notes of an A minor triad 10 as follows on each of the three different BU string-pairs: (A-C-E). can be played using a combination of sweeps and legato. it demonstrates 9 8 D A E œ œ œ œ¡ Ó 8 12 10 8 Ex 9 √ œ Locoœ œ œ œ œ √œ œ ~~~ ~~~ œœ œ œœ œœœ œ œœœœ œ œ Œ Ó œ œ œ œ œ & œ œœ œ ˙ œ œ œ œ œœœ œ œ ~~~ ~~~ 8 12 8 17 12 12 17 12 3 2 15 5 7 3 7 5 7 7 9 5 10 9 10 13 14 13 9 14 13 9 14 10 9 12 10 7 12 8 7 5 7 8 5 7 Ex 10 √ œ Loco œ œ œ œ œ ~~~ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ & œ œ œ œ œ œ Em 3-0 ~~~ (Paul Gilbert) E B G D A E 12 14 19 Ex 11 12 15 19 21 17 14 17 21 œ Lœ ≠ œ ≠œ œ Lœ œ œ œ Lœ 74 GuitarTechniques April 2015 4 &4 17 15 19 15 12 21 17 14 19 15 12 15 12 14 15 19 12 œ œ œ œ œ œ~~~ œ œ œ œ œ œ~~~ . and use the notes of an A minor triad – A-C-E). It is reminiscent of Steve Vai and. depending on the tempo. œ œ œ bœ œ œ œ J ‰ œ ~~ œ ' 3 7 7 5 5 ~~~ ¡ ¢ exAmple 5 This final example employing a two-note entity.& 44 œ ¡ 3 ¢ œ œ ¡ lesson: creative rock 17 E B G D A E 17 14 14 12 12 1 ExAMplES NoTe SHApeS . 7 5 3 œ œ œ œ œ œ œ œ 0-2 E B G D A E 7 7 œb œ œ œ cd track 54 œ~~~ œ œ œ~~. 3 PBcan be arranged following a (1-2) configuration. Exrather 4 exAmple 8 And yet another musical variation of the same A minor triad 2 . like Ex2 and Ex3.BD (C-E-A). and even a slide using the first finger when travelling from one note to the other on the third string. ratherLoco than shifted up to the first string. the following examples) (Paul Gilbert) B exAmple 14 This example follows the same E minor triad configuration as GexAmple 11 Here we have the first of three variations on the same theme. Finally. B A 19 12 12 14 15 only. all notes are on the lowest string of combination of left. string. This helps to keep things in the same vicinity of the guitar neck.Learning ZOne Three-OcTave paTTerns 2 2ExAMplE oNe-bAr 16TH-NoTe mixolyDiAN liNeS Ex 10 2exAmple 10 All of the following examples (Ex10-15) represent different cd track 54 A minor.and right-hand taps (as in each of exAmple 13 And yet another variation on the same thing. this time. √ œ œ œ œ œ œ œ œ œ œ √œ œ œ & œ œ œ œ œ œ œ œ œ œ √œ œ œ œ œœ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ D B 19 A G E D Ex1911 A E 19 ~~~ œ œ œ œ œ~~~œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ~~~œ œœ œ œ œ œ~~~œ œ ~~~ ~~~ 14 17 21 17 14 17 21 21 17 14 14 17 21 17 14 17 21 21 17 14 19 15 12 15 œ Lœ œ œ œ œ œ œ~~~ œ œ œ œ ≠ œ L œ œ œ œ Lœ œ Lœ œ œ~~~ 4 ~~~ œ œ œ œ œ œ œ ≠ œ &4 œ Lœ œ œ œ œœ œ~~~ œœ œ œœ œœ œ œ~~~ 4 ≠œ œ Lœ ≠œ œ Lœ œ œ œ Lœ ≠ œ œ ≠ œ & 44 L œ œ œ œ Lœ œ œ~~~ L œ œ œ ≠ œ ≠ & 4 œ œ Lœ ~~~ ~~~ ≠œ ≠ L L ≠ L ~~~ ~~~ L ≠ ~~~ ~~~ LL ≠≠ LL LL ≠ L L Lœ ~~~ Lœ ≠œ œ Lœ œ ~~~ œ ∑ œ Lœ œ ~~~ ≠ œ œ œ œ & ≠ œ ~~~ L œ L œ ~~~ L œ L œ œ œ ∑ œ œ Lœ ≠œ œ & ≠œ œ Lœ ≠œ œœ Lœ œœ~~~ œ ∑ ≠ œ œ & ≠œ œ Lœ ~~~ ~~~ ≠≠ LL ~~~~~~ ≠œ ~~~ L ≠ L ≠ L ≠ L ~~~ LL ≠ L ≠≠ LL ≠ L √ ~~~ L œ Lœ L œ L œ L œ L œ √ œ œ œ œ œ œ œ œ œ ≠ œ œ œ ≠œ ˙ ~~~ Œ ‰ ≠œ œ ≠ & L œ L œ L œ √ L œ L œ L œ L œ L œ œ œ œ & ≠œ œ Lœ œ œ œ Lœ ≠œ œœ Lœ œœ œ œœ Lœ ≠œ œœ Lœ œœ œ œœ Lœ Lœ Lœ œœ œ ≠œ ˙ ~~~ Œ ‰ ≠œ œ œ ≠ œ œ œ ≠œ ˙ ~~~ Œ ‰ ≠œ œ & ≠œ œ Lœ œ œ œ Lœ ≠œ ≠œ œ ≠ L L ≠ L LL LL L ≠ ~~~ ≠ L L ≠ L L ≠≠ LL L L LL ≠≠ ~~~ ≠ ≠≠ LL LL ≠ L L ≠ ≠ √ L œ ~~~ œ œ L œ√ œ Lœ ≠ œ ≠ œ œ ≠ œ œ œ œ œ œ~~~œ Œ & Lœ œ œ œ Lœ ≠œ œ √Lœ œ œ œ Lœ ≠œ œ Lœ Lœ Lœ œ œ ≠ œ L œ œ œ œ~~~œ Œ œ œ œ L œ œ & Lœ œ œ œ Lœ ≠œ œ Lœ œ œ œ Lœ ≠œ œ Lœ ≠ œ Lœ œ œ œ Lœ ≠ L L L ≠ œ œ œ œ œ~~~œ Œ & Lœ œ œ œ Lœ 12 15 19 12 15 19 19 15 12 15 12 14 15 19 12 12 14 15 19 12 Ex 11 Ex 11 BU E B G E D B A G E D B 21 A G E D Ex2112 A E 21 5 8 12 5 8 12 5 8 12 Ex 12 Ex 12 7 10 14 10 7 10 14 7 10 14 10 7 10 14 7 10 14 10 7 10 14 BD 3 3 3 3 10 13 17 ( ) 13 BU 15 BD 3 ) 10 13 (13 10 13 3 10 10 13 17 BU ( 15 )BD 13 (13 ) 10 13 10 13 10 10 13 17 13 (13 ) 10 13 10 13 10 ( 15 ) 12 9 7 12 9 7 12 9 7 6 6 6 6 E B G E D B A G E D B 23 A G E D 23 A Ex 13 E 23 6 6 5 8 12 5 8 12 5 8 12 Ex 13 7 10 14 10 7 10 14 7 10 14 10 7 10 14 7 10 14 10 7 10 14 13 17 13 10 13 17 13 10 13 17 13 Ex 14 Loco Ex 14 Loco Ex 14 Loco 7 Ex 13 7 7 7 7 E B G E D B A G E D B 25 A G E D A 25 E 25 10 7 7 5 8 12 8 5 8 12 5 8 12 8 5 8 12 5 8 12 8 5 8 12 7 5 5 10 13 17 13 10 13 17 22 17 7 7 10 14 10 7 10 14 10 13 17 13 10 13 17 22 7 10 14 10 7 10 14 10 13 17 13 10 13 17 22 7 10 14 10 7 10 14 13 10 17 13 10 17 13 10 5 12 14 12 14 12 14 12 15 12 15 12 15 Loco Loco E B G E D B A G E E D B 27 A G E D A 27 E 27 LL L 7 7 7 LL ≠≠≠ LLL L 19 15 12 15 19 LL ≠≠ LL LL LL ≠≠ L 7 5 12 15 19 20 19 5 15 12 7 21 12 15 19 14 17 21 17 14 17 20 19 15 12 12 15 19 20 19 15 12 7 14 17 21 17 14 17 21 19 15 12 15 19 14 17 21 17 14 17 21 19 15 12 15 19 Loco 5 BU BD 15 12BU ( 13 ) BD (12 ) 15 12BU ( 13 ) BD (12 ) 15 12 ( 13 ) (12 ) ~~~ ~~~ 14 14 14 April 2015 GuitarTechniques 75 . as with Examples 2 and 3. The how. it’s played seven frets lower so that it becomes combination of leftand Gused in Ex10 E 12 15 19 15 12 12 15 19 19right-hand 15 12 15tapping). (Paul Gilbert) same thing using a combination of left. (Paul Gilbert) E 12 15 12 but21executes D 14 17 used 21 here 17 is similar 14 17to the 21 E minor 17 it 14using the techniques employed in Examples 11-13 (a The (3-0) note-configuration/cell triad 19 15Ex10. only this time E 12 15 19 15 using 12 septuplets. exAmple 12 Here we’ve simply re-interpreted the same notes to create a Although shown played as a wide stretch.0is an option of shifting notes from the second string to the first there with some blues-based pentatonic vocabulary.and right-hand tapping which helps with the large Ex each stretchesLoco and creates an ear-catching legato effect due to the absence of Em paul Gilbert-influenced line in this example demonstrates 310. Examples 11-13 also all use a Em some three-note entities arranged in a (3-0) configuration 310. this particular example finishes off Loco Em 3 .0of playing Ex on each string-pair (in other words.0pair). with any configuration that doesn’t have any notes on the fifth string. and the note-arrangement on the second string kept where it ways is. it is also possible to play the musical variation. picking. whereby the notes that should be on the second string are shifted up to the first string each time. 3 3 œ Lœ œ œ œ ≠ œ œ œ œ Lœ œ œ œ Lœ œ œ L œ & ≠ œ œ L œ ≠ L œ L œ Lœ œ œ œ Lœ œ Lœ œ Lœ œ œ & ≠œ œ Lœ œ œ œ Lœ ≠œ œ œ œ Lœ ≠ œ œ œ ≠ œ œ L œ L œ ≠ L œ œ œ œ œ œ œ œ L & ≠ œ œ œ L œ L œ œ ≠ L œ œ œ Lœ œ œ œ ≠≠≠œ œ LLLœ œ œ œ LLLœ L & ≠≠œ L L L œ L œ ≠ L L ≠≠œ œ L œ œ œ L ≠ L ≠ L L ≠≠œ œ LLœ œ œ œ LLLœ ≠≠≠œœ œœ LLLœœ œœ œœ LLLœ œ œ &≠ L L œ œ œ œ L L œ L œ œ œ œ ≠ œ ≠ œ œ Lœ œ œ œ Lœ L œ & L œ L œ œ œ Lœ ≠ œ œ œ œ œ ≠ œ œ œ L œ L œ œ œ œ œ ≠ L L œ œ ≠ œ œ & œ L œ L œ ≠ œ œ ≠œ œ Lœ œ œ œ LLœ ≠œ œ LLœ œ œ œ LLœ L LLœ œ œ &≠ L L≠ L L ≠≠œ œ L œ œ œ L ≠ L ≠ L L L ≠ L L œ ≠ L L ≠ œ œ Lœ œ œ L œ œ œ œ œ L L ≠ L L œ œ œ œ œ L & ≠≠œ œ L L œ œ œ œ L L œ œ œ Lœ œ œ œ Lœ ≠œ œ L œ œ œ ≠ œ œ L œ & Lœ œ œ œ Lœ œ Lœ œ œ Lœ ≠œ œ œ œ Lœ œ ≠ œ œ L œ œ œ œ ≠ œ L & L œ œ L œ ≠œ œ œ œ œ ≠œ Lœ œ Lœ ≠œ œ LLœ œ œ œ LLœ ≠ L LLœ œ œ & ≠œ œ L œ œ œ L≠ L L ≠ L œ Lœ LLœ ≠≠ LL LL ≠ L ≠ L ≠œ Lœ L≠œ œ œLœ Lœ ≠≠œœ œ Lœ Lœ œœ Lœ œ œ œ Lœ œLœ L œ œ œ œ Lœ œ œ Lœ œ & ≠œ œ LœLœ œ œ Lœ ≠œ Lœ Lœ œ œ œ Lœ œ L L œ & ≠œ œ Lœ œ œ œ Lœ ≠ œ œ œ œ Lœ œ L œ L œ L œ œ œ œ œ œ œ œ L ≠ œ œ œ œ ≠ L œ œ œ œ L œ œ Lœ & ≠œ œ Lœ œ œ œ Lœ L œ L œ L œ Lœ œ œ œ LLœ ≠≠œ œ LL œ œ œ LL ≠≠ LL LL œ œ œ LL œ œ LLœ œ & ≠œ œ L Ex 15 3 Ex 15 7 7 3 Ex 15 7 7 7 7 Ex 15 E B G E D B A G E D 29 E A B E G 29 D E A B E G 29 D A E 29 7 7 3 3 3 3 5 5 5 5 10 10 10 10 5 5 5 7 7 5 3 5 3 5 3 5 3 5 7 5 3 3 5 10 5 7 3 10 12 3 Gsus2 5 10 5 7 3 12 7 5 7 5 7 12 7 5 7 5 7 12 7 5 12 7 Gsus2 5 7 12 7 5 7 10 12 3 5 10 5 3 12 7 5 12 7 5 12 7 5 12 7 5 10 12 Gsus2 10 Gsus2 7 7 7 5 7 12 7 7 5 5 7 12 7 7 5 7 12 7 7 5 7 5 7 12 7 5 7 12 5 7 12 7 5 7 12 5 5 7 7 12 12 7 7 7 7 5 7 5 7 7 9 14 9 7 7 9 7 9 14 9 7 9 14 5 Asus2 7 14 7 9 14 9 7 9 14 Asus2 5 7 9 14 9 7 9 14 Asus2 Asus2 7 8 8 10 10 10 15 15 10 10 157 10 8 8 8 10 10 10 15 10 15 10 8 10 10 12 17 12 7 10 12 17 10 12 17 12 10 12 17 15 7 Csus2 ≠L ≠L ≠L 5 14 9 7 14 9 7 14 9 7 7 7 8 10 15 10 8 8 10 15 10 7 8 8 10 15 7 10 8 10 15 10 8 10 12 17 12 10 12 17 Csus2 8 10 12 17 12 10 12 17 Csus2 15 7 9 œ9 œ œ œ 12 10 12 17 12 10 12 17 12 10 12 7 L≠ L L≠ L L L L L≠ L L L L L L L 7 7 19 19 14 12 14 19 14 12 12 14 19 14 12 14 Dsus2 10 12 17 12 10 10 12 17 12 10 12 17 76 GuitarTechniques April 2015 9 12 7 17 10 12 14 19 14 7 10 19 14 12 14 19 14 12 7 12 14 19 10 12 17 12 Dsus2 10 12 17 12 10 12 17 17 10 17 10 19 14 12 14 19 14 12 17 10 Dsus2 œ œ œ œ9 7 17 10 12 17 12 10 12 17 10 12 17 12 10 12 17 7 10 7 10 7 12 14 19 10 12 17 12 19 14 12 14 19 14 12 12 14 19 14 12 14 19 14 12 14 19 Dsus2 7 12 Csus2 10 12 17 12 10 œ œ œ œ7 17 7 7 7 7 7 7 15 7 8 12 9 12 7 8 7 14 12 7 7 E B G E D B A G E D 32 E A B E G 32 D E A B E G 32 D A E 32 10 7 7 E B G E D B A G E D 31 E A B E G 31 D E A B E G 31 D A E 31 5 5 7 E B G E D B A G E D 30 E A B E G 30 D E A B E G 30 D A E 30 3 7 LLœœ œ œ Lœ œ LLœ œ 7 12 7 12 7 œ œ œ œ5 12 7 7 5 œ œ7 œ7 œ9 œ œ œ œ7 9 7 œ9 œ œ7 œ7 12 œ œ œ œ 10 7 7 L L L LLL LL L LL LLL LL LL LL LL LL 7 œ œ œ œ 14 12 14 14 œ œ œ œ 14 L LL 7 7 9 5 5 7 7 10 3 10 3 10 3 œ œ œ œ 12 12 œ œ œ œ5 12 5 10 7 17 12 17 12 7 10 Ó Ó Ó Ó 5 L L LL 15 8 15 8 15 10 3 œ5 œ œ œ8 œ œ œ œ 15 12 L L L L L L 17 ~~~~ 17 12 ~~~~ ˙ ˙ ~~~~ ˙ ~~~~ ˙ ~~~~ 12 12 ~~~~ 12 ~~~~ 12 LLœœ œ œ Lœ œ LLLœ œ 8 10 . 12 and 13..CONTINUED cd track 54 exAmple 15 To finish. As you can see. 11.. because it’s an inversion of sus2) Note that each arpeggio uses the same note-arrangement as used in Ex 10.and right-hand tapping to play a succession of sus2 arpeggios to a septuplet rhythm.lesson: creative rock ON THE CD TraCks 54-55 ExAMplES NoTe SHApeS . there are lots of identical sus2 shapes within each key (and sus4 too. this final example uses left. 99 DownloaD the Digital magazine now .only £2. your own licks.Pt. 1 This is an open-string exercise to get your picking hand used to the physical picking hand to check accuracy. hopping from string to string in complete musical abandon. œ œWatch your œpicking &4 œ 8interesting 8 8 5 5 œ Ex 3 œ œ 8 5 5 œ œ ˙ œ 7 7 7 7 5 5 5 5 ©»•ºœ . but incorporates A minor 0œ 0 then hammer-on œ œ œ œ 0 0 œ œ œ 0 0 0 0 Ex 2 œ0 œ0 0 0 ˙ œ 0 0 œ0 0œ 0 0 ©»•º≥œ0 .STRING SKIPPING . missing out the fifth string).¡ººœ 0 0 0 0 0 0 0 0 0 0 œ œ 0 & 44 ≥0 ≤0 ≥œ œ≤ ≥ ≤ ≥œ ≤œ etcœ œ œ œ œ œ 0 0 œ œ œ œ œ œ œ œ œ œ 0 0 0 0 œ œ 0 0 0 0 0 0 œ œ 0 0 œ œ 0 0 0 0 ˙ 0 0 0 0 Ex 2 0 0 0 0 cD ROM ExAmPlE 2 string-skipped pentatonic scale 0 ©»•º0 .Pt.STRING SKIPPING .¡™º5 8 8 5 œ œ œ œ ≥ ≥ ≥ etc ≤ ≥ ≤ œ œ ≤ œ œ 8 8 5 5 ≤ 4 œ 8 8œ œ b œ 5 5œ œ œ œ œ 7œ 7 7 5 5 &4 œ 5œ b7œ 7œ 5 5 œ œ ˙ Ex 4 5 7 œ 7 7 b 5œ n 5œ œ 8 8 5 ©»•º5. this is a useful approach that involves playing through non-consecutive strings (for example. GUITAR TECHNIQUES MAGAZINE ExAmPlE 1 primer exercise 241 Andy Saphir's cD ROM Chops Shop .¡™º0 ≥ ≤ ≥ ≤ ≥ ≤ etc œ œ œ œ 0 0 ≥ ≤ This exercise uses the same string pattern as Example 1 (so your pick should Pentatonic scale (A-C-D-E-G).¡™º œ8 octaves 5 ©»•º œ œ œ less fretting ≥œ to≤œget toetcthe octave ≥ skip ≥ ≤ you ≤ ≥one≤string Note how when ascending hand movement as it means you stay within the œ œnote. 1 44 œ œ œ œ œ0 œ0 œ œ œ œ & œ œ œ œ Ex 1 œ œ œ œ 0 0 œ œ 0 0 0 0 œ œ 0 0 œ œ œ0 œ0 ˙ 0 0 0 0 ©»•ºœ. string skipping can present some technical challenges.¡™º œ œ 5 5 7 7 œ œ œ œ œ œ 5 5 œ œ 7 7 œ œ 8 8 5 œ œ & 44 ≥5 ≤5 ≥œ ≤œ ≥œ œ≤ ≥œ ≤œ etcœ œ 8 8 5 5 œ œ œ œ ˙ 8 8 5 5 œ œ 7 7 5 5 5 5 Ex 4 7 7 5 5 7 7 5 5 7 7 ©»•º5.¡™º œ ≤ ≥ ≤ ≥ ≤ ≥ ≤œ etc œ œ œ œ œ œ 4 œ œ œ &4 œ œ œ œ œ œ œ 5 8 œ œ œ œ œ œ 5 8 œ Ex 2 œ 5 8 œ ˙ 5 7 5 7 5 7 ©»•ºœ. thereby giving you a more varied vocabulary. try this with œ 0 4 œ a legato 0œapproach: œ 0œ pick 0 0 œ0 0œ notesœof the œ 0œ for each string be familiar & with4the mechanics). playing the fourth string directly after the sixth string.¡™º œ œ œ œ 7 5 œ 6 5 7 5 5 7 7 œ 6 7 œ b œ œ 4 œ œ œ 5 8 8 5 œ œ œ œ œ œ ˙ &4 œ œ E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E etc . but after a while the muscle memory will concept of string skipping.œ butœ licks andœinvolve œ œ 4 œ œ though! when descending you skip two same fretboard area. At first you may need to look down at your kick in and you’ll be able to try it without looking.¡™º œ5 œ8 œ œ etc ≥ ≥ ≥ œ œ ≤ ≤ ≤ ≤ œ œ 4 œ œ 5 œ5 œ7 œ œ 5 7 œ5 œ7 5 8 œ5 œ7 œ 8œ 5 7 5œ 7œ œ œ 5 7 5 7 &4 Ex 3 œ œ ˙ cD ROM 5 7 5 7 ExAmPlE 3 pentatonic œ5 .¡™º5 œ œ œ œ ≥ ≥ ≥ etc ≤ ≥ ≤ ≤ ≤ œ œ œ b œ œ œ œ œ œ œ bœ nœ œ œ œ œ œ œ ˙ & 44 8 5 8 5 Ex 4 b œ œ 8 5 8 5 œ œ œ œ 7 5 7 8 78 GuitarTechniques April 20157 5 ©»•º .¡™º 5 7 œ 5 7 5 7 5 7 5 7 œ œ œ 5 7 5 7 œ œ 4 œ œ œ œ œ œ & 4 ≥5 ≤œ8 ≥œ ≤œ ≥œ ≤œ ≥œ ≤ etcœ œ œ œ œ œ œ 5 5 8 œ œ 5 8 5 8 œ ˙ 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 Ex 3 5 7 5 7 8 5 ©»•º≥5 .STRING SKIPPING . For an altogether smoother sound. ultimately. as long as you consider what might be appropriate for each exercise and. this can create some interesting lines that deviate from the more predictable scalar types of phrases. Ex 1 GUITAR TECHNIQUES MAGAZINE 2 4 1 Andy Saphir's ©»•º . both with the fretting hand and picking hand. I’ve suggested alternate picking throughout. 1 44 œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ Ex 1 œ œ œ œ œ œ ˙ GUITAR TECHNIQUES MAGAZINE 2 4 1 Andy Saphir's ©»•ºœ. accuracy œ This could createœ some œ strings. so a considered technical approach is necessary.¡ºº Chops Shop .Pt.lesson: CHoPs sHoP VIDEO String Skipping ON THE CD CD-rOm TraCk PART 1 This issue Andy Saphir is going to skip through his lesson. In all of the following examples. but if you feel more comfortable using another approach that’s fine (hybrid picking works great for obvious reasons). all to make you a better guitarist! In thIs month’s Chops shop we’re looking at the technique of string skipping.¡ººœ Chops Shop . The interval of major and minor 6ths are used in the string skipping parts and this is the type of sound that country players use a lot. off the string too7 early 7 7 etc ≥ ≤ ≥ ≤ ≥ ≤ ≥7 ≤5 7 œ œ 8 œ œ œ œ 7 ExAmPlE 4 different strings. & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 E B 8 8 G 7 7 5 5 D 7 7 5 5 A 5 5 E 5 5 B 8 8 etc you may here..¡™º ≤ ≥ ≤ ≥ ≤ ≥ ≤ 4 œ œ œ œ œ œ Ex & 3 4 ©»•ºœ .¡™ºœ 4 œ œ bœ nœ œ œ &4 œ œ 7 5 5 8 7 6 5 6 5 8 œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ 8 5 5 7 8 etc 5 7 5 7 5 7 8 7 œ œ 8 5 7 8 10 8 7 10 9 7 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ 7 8 10 8 7 10 9 9 7 10 etc 7 10 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ 8 œ œ 8 cD ROM 5 6 5 6 5 7 5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 ˙ ˙ œ œ 5 7 5 8 œ œ œ œ bœ œ 5 8 7 8 5 8 5 7 5 7 œ cD ROM œ ˙.¡™º≤ ≥ ≤ ≥ ≤ ≥ ≤ 44 Ex 4 œ œ bœ nœ œ œ &©»•º œ.¡™º œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ &4 œ 15 13 12 10 17 17 15 15 13 13 12 12 ExAmPlE 7 descending chords C E B G D A E E E B B G G D D A A E E E B G D A E E E B B G G D D A A E E 15 1 17 17 17 17 17 17 etc 17 17 17 17 16 15 14 ≥ ≤ 17≥ ≤ 1515≥ ≤ 17≥ ≤ 17 17 13 13 15 15 16 16 15 15 16 15 12 15 15 15 15 8 15 15 10 10 5 10 10 8 8 10 10 10 10 8 8 10 10 7 10 10 10 10 E m14 14 9 9 8 8 10 10 7 7 9 9 7 7 9 9 9 9 9 9 12 Dm 12 œ Dm Dm 14 14 œ œ œ 5 8 8 14 14 13 13 16 16 ≥ ≤œ ≥œ ≤ œ ≥ ≤ œ ≥ œ ≤ etc œ œ œ œ œ etc œ œ œ & œ œ œ F E F Em m œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ 10 8 10 7 œ 8 8 F 1 1 17 17 5 5 13 13 14 14 6 6 7 7 5 5 7 7 10 C 10 œ C C 12 12 œ œ œ 3 6 6 7 7 7 12 12 12 12 14 14 œ œ œ œ œ œ 5 7 7 7 12 12 14 14 10 œ œ œ œ œ œ 6 6 9 9 14 14 3 3 12 12 12 12 12 12 œ œ œ œ œ 3 5 5 5 5 5 10 10 12 12 œ œ œ œ œ 5 5 7 7 12 12 5 5 3 3 5 5 5 5 5 5 5 5 April 2015 GuitarTechniques 79 . sound first andœwhen you feelœfamiliar enough. E B G D A E B G D A E 5 7 5 ExAmPlE 55 ascending line with descending sequence 5 8 ©»•º≥ ¡™º≤ ≥ ≤ ≥ ≤ ≥ ≤ 4 œ œ œ Ex & 5 4 œ œ ©»•ºœ. but descending. 7 8 9 9 9 7 9 10 7 9 10 10 7 Am 9 10 7 cD ROM B dim G7 10 7 8 8 10 7 8 10 10 7 8 œ through œ œ‘fifthœ stringœroot’œ chords œrather 8 10 7 8 œ œ 8 separate 10 7 œ 8 one very slowly at . Try using the same A 5 5 Ex 4 E 5 5 8 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ©»•º≥. Take this œ œ œ œ œ œ ≥ œ≤fret≥the≤full ≥chords œ ≤ as≥ this≤ will etc œ œ etc œ like a ringing œ the C major scale. 7 8 10 7 8 7 10 8 œ ˙. œ only then beginœ to up the tempo! 4 Don’t œ œ œ Ex 7 & 4 œ Ex 7 C Am G C dim œ œ œ œ œ BB dim œ œ œ œ œ Am œ œ œ œ œ G ©»•º . Try these types of ideas using different scales and positions. 9 7 10 9 7 10 9 7 7 8 10 8 bœ œ 5 5 8 8 10 5 7 8 œ œ œ œ 5 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 7 LeaRNING ZoNe œ œ ˙ 5 œ œ œ œ 7 œ 9 5 7 5 8 etc This idea uses notes from the C major scale (C-D-E-F-G-A-B) and is an ascending phrase combining string skipping with consecutive scale notes. Ex 6 ©»•º ¡™º œ œ œ œ œ œ œ œ 4 Ex Ex 6 6& 4 ©»•º .¡™º uses ©»•º œ œ This challenging exercise that descend arpeggiated chord than notes.©»•º≥ .. same fret E B G D A E B G D A Ex E œ œ etc 9 10 8 10 8 10 8 œ 7 œ ˙.¡™º œ BrouGhT 4 œ œ œ œ œ œ To you By.¡™º œ œ œ œ œ œ œ œ 4 &4 2 2 xxxxxxxxxx xxxxxxxxxx E B G D A E 10 E E B B G G Ex D D A A E E 10 10 10 8 10 œ œ 7 7 9 8 10 ≥ ≤ ≥8 10≤ ≥77 ≤ ≥ ≤ 8 10 10 10 7 7 7 9 9 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 9 10 7 10 7 10 etc 8 8 10 10 9 7 7 9 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.7 where you play a note G find the fretting hand a challenge 7 5 on5 D 7 7 5 5 a new string at the same fret as on the previous string. 8 10 9 10 8 7 8 10 9 etc 2 xxxxxxxxxx ExAmPlE 6 descending line with ascending sequence cD ROM This is basically the same as Example 5.¡™º œ œ œ œ œ œ œ œ œ & 44 œ 5 œ œ 5 8 7 œ œ ˙ œ œ œ œ œ œ STRING SKIPPING œ œ PT1 5 5 œ œ œ œ finger. but don’t let the notes ring into each5 other 5 and don’t take your finger 7 or this will give a staccato feel. and a recording deal with Decca swiftly followed. 80 GuitarTechniques April 2015 PICTORIAL PRESS / ALAMY lesson: r&b . turn your tone control up full. That leaves us with the myriad compilations. I’ve Got mine. marriott’s stunning vocal. ’66. legendary manager Don arden signed the Small Faces to a management contract. Remember. Tony Hicks of The Hollies Get the tone 6 5 5 10 5 Gain Bass Middle TReBle ReveRB Marriott played mostly Gretsch guitars in the Small Faces days. guitar sounds were very trebly during the early 60s. both of which were equipped with humbucking pickups as standard. The band toured the london clubs. marriott’s soulful voice. Steve Marriot and Ronnie Lane in full mod garb ABILITY RATING Moderate Info WIll IMprove your Key: Various Tempo: Various CD: TRACKS 56-67 R&B power playing Riffing from open chords Blues soloing vocabulary The Small FaceS emerged onto a changing london music scene early in 1965. vocals). a re-working of Willie Dixon’s You Need love (cheekily credited to marriott and lane) and you not only have the obvious inspiration for led Zeppelin’s Whole lotta love but a blueprint for the whole Zeppelin sound: crashing energetic drums. their B-sides and album tracks amply demonstrate his prowess. and Smokey Robinson. NeXT MoNTH: Phil profiles one of the 60s’ best guitarists. which was an instant success. listen to You Need loving. however. written by marriott and lane. Track record While it’s the admittedly wonderful ogden’s Nut Gone Flake that gets most column inches. only I like to think I'm better at it. marriott had one of the best blues voices outside of america. '66 only I like to think I'm better at it. He favoured semi-acoustic models like the 1620 and Country Gentleman. based on a riff similar to Solomon Burke’s classic everybody Need’s Somebody To love. it’s the B-sides and album cuts that define the band as one of the driving forces behind British blues. I'm just a rock’n’roller. including the chart-topping all Or Nothing. To reduce distortion for rhythm parts. this is a later album and a more psychedelic approach than this column covers. simply roll off your guitar’s volume control until the amp 'cleans up'. and Jimmy Winston (keys. Steve Marriott TraCks 56-67 the duo was forced to rethink its approach . their follow-up. says Phil Capone. vocals). the more you realise that this band defined the heavy blues-rock sound that would dominate the late 60s and early 70s scene. peaking at 14 in the UK. "It's just what I used to do in '65. Once marriott and lane realised this the hits just kept on coming.their debut single was. so select your neck pickup. Songs such as e Too D. as a guitarist marriott was no slouch either. that's what I'm best at.ON THE CD The Small Faces The Small Faces pioneered a new ‘heavy’ sound that would be adopted by blues-rock bands including The Who and Led Zeppelin. However this doesn’t mean that you won’t get close with single-coils. the best of which is probably The definitive anthology (1995) which contains almost all the tracks mentioned here plus the best singles and some of ogden’s too. When asked about his approach for this new band by Disc & music echo magazine in 1971 he replied. and dial in plenty of treble on your amp. just totally authentic. The deeper you delve into the Small Faces ‘hidden’ back catalogue. The original line-up was: Steve marriott (lead vocal. and last but not least. after all. that's what I'm best at". Grow Your Own. marriott and lane’s talent for writing infectious pop songs aside. Steve marriot quit the Small Faces in 1968 to form humble Pie with Peter Frampton. failed to chart so It's just what I used to do in ’65. although The Small Faces’ pop singles lacked solos. distorted e and D chords sounded over a low e pedal. I'm just a rock’n’roller. They released their first single Watcha Gonna Do about It in the summer of 65. Ben e King. proved to be an instant success on the emerging mod scene. as both the British blues boom and the mod scene were gaining momentum. Ronnie lane (bass. Kenney Jones (drums). performing their own versions of soul and R&B classics by artists like James Brown. and the bombastic Own Up Time are examples of how his heavy riffing style was way ahead of its time. guitar). backed by the band’s simple but effective grooves. his heart-wrenching vocal style never sounded ‘affected’ or gimmicky. .Phil Capone G F B G A ©»¡¡§ Ex 1 Chord # # 4based ˙˙riff MAGAZINE œ œ 2 41 œ BRIT œ œR. ∑ œœ99 œœ œœ99 ‰ œ77 ˙ œ2 0 & 4 7 7 5 2 2 0 n œ ˙ n œ Ex 4 Minor pentatonic lick with open string pull-offs œ. in several #Zeppelin tunes. j12 0 12 0 j 12 0 12 0 12 0 12 0 œ œ œ œ ‰ .. pull-offs . œ & 4 D˙ J œ nœ œ Aœœœ . . # # 4 . & # chords 4 superimposed n œ œ œ œ œ ˙˙ n œ ˙ n œ E D /E G/E Eœ .. j j (2 ) 0 ( 4 ) j ( 4) . BU E m BU ~~~~ BU BD J ~~~~ 0 0 3 œ œ 6 3 ~~~œ 3 œ3 œ ˙0 j œ3 œœ33 œœ3 j 6 . . œ œ /' œ 4 6œ 4 œ 01 œ 9 9 7 Am j j ©»¡™∞ . ˙˙ . ©»¡™∞ 5lick 5. ˙˙˙ . œ œ œ œ œ # œ 2 0 0 2 0 2 0 2 0 2 2 0 . œœ œœ .. so both chords should remain fretted until beat three of the change to the A chord.. œ œ n œ / œ G3/E A/E J3 5 J œ œ œœ00 . œ 5j 5 5 15 0 15 0 15 0 15 0 15 j j . œ 3 3 3 1 4 5 4 4 . . BU BU ~~~~ BU BD / œœ œ œœ of then œœlate~~~ œ œ 0 2 2 0 ' Ex 3 Major superimposed over tonicœ pedalœ # # # #chords ˙ 0n n 0 œ œ œ .. . N B -œœœTHEn n œœœSMALL FACES œ Capone œ œ # œ . ˙˙2 œ œ 2 œ œ œ n œ2 œ œ .. 9 9 7 2 0 5 7 5 2 .. by34bending œœthe first‰ joint. Ex 1 Chord 4based ˙˙riff MAGAZINE œ 2 41œ # ˙˙ .. ' n œœ45 œœ œœ67 ‰ œœ45 ‰ œœœ122 . Fret the j œopen j œ fingers. 5 5 5 5 April 2015 GuitarTechniques œ œ (œ10) œ œ (10œ ) œ œ (œ10) œ j j . œœ . . Releasing œ œ œ œ œ œ BU BU your third finger your fingers with a sideways ‘flicking’ or ‘snapping’ motion will create more Am then slide the note up the neck to the 14th fret. Marriott was great at pulling out instrantly catchy following bar. tonicœpedalœ œ ‰ œ ˙ Ex 3 Major over ∑ œœ œœ œœ ‰ œœ ‰ œœ . . œ œ œ œ œ # œ 2 0 0 2 0 2 0 2 0 2 2 0 ... J œ œ œ œ œ # 4 n œ ˙ n œ œ 3 0 . œJ œ5j œ (10)œ. this will help you to hear the accuracy of 2 2 0 2 3 3 n œ1 Allow the 3 3 all the1 4 double-stop 5 4 4 0 second 2 string . œj (œ10) œ5. œ œ (10)œ.Phil œ ˙ . 62 œ œ œ3 5 œ 7œ œ3 5 œ 22œ cdœ3 track œ open œ double-stops œ œ strinG 7œ œ 7 to 5 œ 2 32 0 ExAMplE œ œ Ex 4 Minor pentatonic lick with open string pull-offs 4 0 3 0 0 . ∑ &©»¡™º 4 œ œ œ œ 7 7 5 2 2 0 n œ ˙ n œ œ. œ œ œ œ œ œ œ. # œ ∑ œ œ œ œ œ œ œ Œ Let ring . ( 4) 4 2 0 # œ œ œ œ œ œ Œ œ .... . ˙˙ ... Check also that your bends are in tune by playing the B on and the open first string simultaneously. &©»¡™º 4 page∑ would nGœœ/Eyourœœ finger ) 0 Dapproach ) . Let ring ( ) ( ) ( ) ( ) 4 4 2 0 D /E 4 2 0 G/E E4 G /E A/E E ©»¡™º cd track ExAMplE 3 Major Chords superiMposed over toniC pedal 2 0 0 2 0 2 0 2 0 2 2 0 . 58 J 3 n œ 1 3your technique. œ E mœ3 œ œ2 . 60 .. œ œJ œ œ œ œ œ œ œ œ ˙ #Letœ ring & 4 œ œ œ œ œ œ œ œ œ œ œ BU BU ~~~~ BU BD 3 ~~~œ œ œ œ œ Em ©»¡£∞ Shuffle 6 ~~~~ j ~~~ 3 3 ˙ Letjringœ3 œœ033 œœ03 j 6 Ex 2 Open . 3 œ œ œ3 2œ 6 ~~~~ 5 ~~~œ3 3 06 j # 3 œ j œ ˙ j j j œ 4 position∑ Em Pentatonic œ œ 3 1 3 Ex 2 Open licks . # # # #chords œ ˙ œ œ œ œ / 4 n œ ˙ n œ œ œ . ‰ J œ œ œ œ œ œ At& the4 end.. œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ BU & 4 .THe SMaLL FaCeS ExAMplE 1 Chord based riff Learning Zone cd track 56 GUITAR TECHNIQUES MAGAZINE 2 41 BRIT RN B -B THE SMALL FACES The arpeggio patterns for this example are picked out of the D and a quick change -toPhil the F.. The E and D barre chords should be fretted by simultaneously string.. ˙˙32 Letœ ringœ3 2 œ0 œ œ2 . . Jimmy 2 A/E Eœ œ œ œ n œ ˙ n œ 2 0 0 2 0 2 0 . #### 4 œ ˙ J œ œ œ œ n œ ˙ n œ œ œ . ©»¡™º œ. . Œ .THE SMALL FACES . (4use ‰ œ/E ˙ œand you’ll find0 that... œœœ334 n nn œœœ112 œ #B˙˙44 Let ring œ 4 œ4 œ # œ Gœ00 Aœœ22 . (E4) ‘triadœ over( 4œ)pedalœ (2note’ œœ 0‰atG/E 3 3 . &©»¡£∞ 4 Shuffle œ ˙~~~0 2 œ 2 0 œ œ œ œœœœœœœœ . œœ Jœœ œ œ œ n œ œ 0 2 2 0œ œ ' # œ ˙ . & D E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B 2 2 2 2 3 4 G D A E E B G D A E E B 2 2 2 2 3 4 2 2 2 2 3 4 G D A E 2 14 2 2 3 2 E B G D A E E B 14 14 14 14 G D A E E B G D A E E B 14 14 G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E E B G D A 4 14 8 8 8 8 8 8 8 8 8 8 8 8 8 8 7 5 7 5 . . #4 . 0 0 5 3 4 4 2 . œ (œ9 ) (œ7 ) œ5 J ‰ œ7 œ œ7 œ5 œ7 œ5 œ7. third and fourth strings.Phil œCapone œ œ # œ GUITAR TECHNIQUES # . & ‰. œ # ˙ # œ 4 4 n œ 4 œ ˙ œ œ Let ring . ˙˙˙ . 5 5 5 15 œ œ003 1512œ œ00 1512œ3 œ00 1512œ œ003 1512œ œ00 1512œ3 œ00 12 . œ (œ9 ) (œ7 ) œ5 7 5 J œ œ ‰ Œ œ œ œ BU BU BU BU BD 7 7 & œ5 7. Notice that in bar 2 the full barre form of G is used to provide riffs from open and barre chords. œJ œ œ (10)œ. j j œ . 0 2 ˙˙0 2 .Capone but in bar 4 the open G form provides a smoother chord shapes. ˙ œ D G F B Gœ A &©»¡¡§4 ˙ J œœ n œ ˙ œ œ J œ n œ ˙ œ . ( 4) 4 2 0 . ˙0 position pentatoniC liCks & 24open J œœ55 n œ33 œœ0 cd track ExAMplE ˙˙42 Let ring œ4 œœ20 . n œ BRIT R N B -œ THE SMALL FACES œ œ Let ring . ˙˙ J7 œ0 9 9 3 5 3 . 2 Em Pentatonic 6 ~~~~0 j 23 53 ~~~ 31 3 3 2 Ex 2 Open licks 06 j # 4 position 2j 3 j œ œ j œ œ œ 3 4 4 0 2 Œ . string the 4th fret first... œj5 œ 8 œ. ˙ œ œ . œj (10œ ) œ5. œ œ n œ3 œ0 3 5 J3 œœ00 . BUJ BU ~~~~ BU BD œ ˙~~~0 2 œ 2 0 & 4 œ œ œ œœœœœœœœ . œ n œ œ œ ' 9pedalœ 9 7 3 5 3 Ex 3 Major superimposed over tonicœ . ˙ Let ring œ Gœ n Fœ B Gœ J ˙ ©»¡¡§based2riff 2 œœ30 œ2 . . ∑32 .... # # 4 .. BU BU 15 0 15 0 15 0 15 0 15 0 15 0 .. # œ œ œ œ œ Œ .. . œ3 œ00 1512œ œ003 1512œ œ00 1512œ3 œ00 3 double-stop on the 12th fretwith yourstring first making clearly Ex 4 Minor pentatonic pull-offs œ œ œ œ using œ (fourth œ (10) 10) 8 12 0 12 0 12 . Œ . ˙˙ ..... ˙ 4 ˙ œ œ œ Steve Marriot’s pioneering style was copied by many bands 60s barring with your third finger across the second..Am‰ J jBU j ©»¡™∞ . you˙˙˙will also. œ œ 8 œ. 3 . œ Gœ Fœ 5 3 &©»¡¡§4 . œ œ n œ3 //' œ0 n œ33 œ œœ55 Jœ33 œœ000 .. E œ99 œ œ99 ‰ Dœ77/E ˙ 2 0 ' nGœœ45/E œœ A/Eœœ67 ‰ G/Eœœ45 ‰ Eœœœ122 . j (œ4) jlicks # 4 position∑ Em Pentatonic . Ex 1 Chord based riff MAGAZINE 2 41 GUITAR TECHNIQUES BRIT R N B . 15 0 15 0 15 œ defined œpull-offs. Ex 2 using Open position Em Pentatonic licks œ œ Try three fingers for the opening tone bend in this example. J 9 9 7 . œ.. j12œ 03 12 0 j 123 0 12 03 12 0 123 0 œ œ œ œœ œ œ œ BU BU œ.... ‰ . / the first œ œ nmute œœ2. closer tension increases to the nut3and your bending finger will need to ring in bar 3 while re-picking the Let ring 4 0 2 2 4 2 4 2 Shuffle E m ©»¡£∞ Let ring help it can get. œ œ œ œ œ œ Ex 4 Minor pentatonicœlick with œ 7pull-offs œ œopen string œ œ 7 œ 5 œ 2 2 0 2 0 œœ 3 œœ 0 33 œœ 55 œœ33 œ0œ œœ . and 5. œ5j œ (10)œ. this and early 70s.. (2 ) 0 ( 4) . D˙˙02 J œ œœ3 œ0 n œ ˙2 œ 5 3 œ J 2 0 2 3 1 n œ ˙ 3 1 . Ex 1 Chord 4 5 4 4 .. 0 œ œ œ 9 9 7 . Am / œ œ œ œ œ œ & 4 9 9 7 4 6 4 1 ' j ©»¡™∞ 4 applyinG 9j 9 . ..of bar 1 fret the G note on the second string (8th fret) with sure you maintain the shape while pulling off to the open strings. œœ300 œœœ22 . œ œ œ œ œ œ 334˙ 112 œ # #5œœ œ4 &©»¡£∞ 4 Shuffle 4 œ œ œ 0œ œ 2 œ 4 œ J œ œ œ œ œ œ 0 0 5 3 4 4 2 . 81 j j j . 7 2 œ 0 .. 0 15Œ 0 .. # ˙ GUITAR TECHNIQUES . ‰ œJ œ (œ10) œ œ (œ10) œ œ8 4 œ œ œ œ œ œ & 4 . 4 0 0 . . & BU BU BU BU BD œ5 œj (œ10) œ5. œ œ œ œ œ3 ˙0 Ex 3 Major chords superimposed over tonic pedal 0 3 0 3 3 3 . œ œ # ˙ œ œ n œ œ œ œ . .. . is frequently added to the E minor pentatonic when playing over A7 chords BRIT R N B . . removing your finger will unwittingly create an. n œ œ œ œ.. Œ œ œ œ. 3 3 3 4 2 0 4 2 0 4 2 0 nEœ7 # œ 2 2 2 D 5/E nEœ7 # œ n œ n œ # œ n œœœ nLetœ ring # œ n œœ œ 2 ˙˙ ˙ ˙˙ ˙˙ E7 D5/E 0 1 Let ring ˙ X X X X X X X X X œ n œ œ œ3 n œ œ œ nn œœ œ œ3 n œ œ.Phil Capone It’s important to keep the G# note fretted while sounding the lower notes phrases or simply changing wholesale between E major pentatonic (bars GUITAR TECHNIQUES MAGAZINE 2 4 1 of the E7 in the first bar. r&b BU 5 E B G D A E œ 3 œ 3 3 BU 5 8 ( 10) 5 8 ( 10) 15 12 8 0 0 15 12 15 ON 0 THE 15 CD 0 12 0 12 0 0 0 15 TraCks 0 15 12 0 12 ExAMplE 4 applyinG open strinG pull-offs to double-stops œ J & ‰ j œ œ. so tackle the solo in manageable two or four-bar ©»¡™§ #### 4 ©»¡™§ & ©»¡™§ # # # # 44 & #### 4 & 4 Ex 6 E B G E D B A E G E B D1 G A D E A 1 E 1 E B G E D B A E G E B5 D G A D E A 5 E 5 E B G E D B A E G E B D8 G A D E A 8 E 8 FINAL JAM Ó Ó Ó ∑ ∑ ∑ j œ j œj œ 2 œ n œ œ œ3 n œ œ œ nn œœ œ œ3 n œ . Arpeggiated open chord riff G A E7 G B ©»¡¡§ E 7 n œœ # œj ˙ #### 4 . 3 3 3 G /A 4 2 0 4 2 0 4 2 0 2 Let ring 1 Let0ring 2 2 0 1 0 1 j œ j œj œ 2 4 2 4 2 4 3 3 3 4 2 0 4 2 0 4 2 0 0 1 0 1 0 2 0 0 2 0 2 0 ¿¿ ¿¿ ¿¿ ¿¿ X X X X X X X X X 3 j œ œ n œ œ œ3 n œ nDœœ5/E nDœœ5/E n œœ œ ‰ ‰ ‰ œœ œœ œœ 3 2 0 3 2 3 0 2 0 0 2 0 2 0 2 E7 Let ring 0 1 Let ring 2 2 0 1 0 1 œœ ˙˙ ‰ nD5/E D5/E œœ ‰ n œ ˙ œœ ‰ n œœœ ˙˙˙ œœ œ ˙ 3 2 0 3 2 3 0 2 0 0 2 0 2 0 2 E7 E7 j œ œ j œj œ œ œ 4 2 2 4 2 4 n œ œ œ3 nœ n œ œ œ3 n œ œ. . keep your third finger hovering above the 3rd fret while picking out the notes of the E7 chord.Phil Capone before the B7#9 chord and after the A5. or a mix of economy and alternate picking Ex 5 œ by playing the first four notes in bars 2 and 4 with ‘down’ picks. Let ring (throughout) ExAMplE 6 final jaM GUITAR TECHNIQUES 0 2 0 1 0 1 0 0 0 0 3 0 2 2 2 2 0 1 0 0 1 3 3 4 5 5 3 0 . you’ll achieve the D 5/E Ex 6 FINAL JAM 3 of 3 chunks.SMALL FACES . This can be played using regular alternate picking. . . E B G D A E . ‰ œ œ œ 3 lesson:. The solo phrases often switch (bar best results by working through this E 727).&4 .EPhil Capone Ex 6chord! FINAL JAM of the GUITAR TECHNIQUES MAGAZINE 2 4 that 1 E minor Be aware riff variations occur in bars 12 and 14. œ. BU BD . œ œ œ n œ œ. 4 4 4 2 cd track 66 MAGAZINE 2 4 1 BRIT R N B . Notice also that the C# BRIT R N B FACES . . œ œ œ n œ œ. nEœ7 # œ n œ œ n œ # œ n œœœ œœœ n œ ring # œ n œœ œœ Let œœ œœ Let ring 2 ¿¿ ¿¿ ¿¿ ¿¿ 3 E7 2 œœ œœ œœ œœ 0 2 0 0 2 0 2 0 E7 A5 ‰ nGGœ/A/A ‰ AAœ55 E7 2 ˙˙ ˙ ˙˙˙ ˙ 3 2 0 3 2 3 0 2 0 0 2 3 2 #### ¿¿ ¿¿ ¿¿ ¿ 0 1 Let ring 0 2 0 1 0 0 0 1 2 0 2 0 ˙˙ ˙ ˙˙˙ ˙ 4 2 D5/E # # # # E7 & # # nEœ7 # œ n œ œ & # ## # ## n œ # œ n œœœ œœœ & nLetœ #ringœ n œœ œœ œ Let ring œ # # & ## ## & # ## # ## & 3 nEœ7 # œ n œ n œ # œ n œœœ n œring # œ n œœ Let œœ 0 2 0 0 2 0 2 0 œœ œœ œœ œ ¿¿ ¿¿ ¿¿ ¿ œœ œœ œœ X X X X X X X X X nDœœ5/E nDœœ5/E n œœ œ ‰ ‰ ‰ 3 2 0 3 2 3 0 2 0 0 2 0 2 0 2 3 j œ j œj œ 2 œ n œ œ œ3 n œ œ œ nn œœ œ œ3 n œ œ. nœ œ œ œ œ œ nœ nœ nœ œ œ œ œ œ n œ œ œ œ œ œ n nn œœœ œ œ œ ˙ œ œ . n œ œ œ n œ œ. n œ ‰ œœ ˙˙ & 4 . As always.. amp tremolo or a tremolo pedal is ideal (but don’t set the depth too high).SMALL 25 and 26) and minor pentatonic (bars 27 and 28). between minor and major tonality by incorporating the G# at the end example slowly. nœ œ . œ j œ j œ œ BU 5 8 (10 ) 0 56-67 0 cd track 62 œ œ œ j œ œ œ 5 7 5 . œ œ. 4 2 4 2 4 3 3 3 4 2 0 4 2 0 4 2 0 2 2 2 D5/E œœ ‰ nD5/E D5/E . 5 8 (10 ) 7 (9 ) (7 ) 5 7 7 5 7 ExAMplE 5 arpeGGiated open Chord riff cd track 64 2 xxxxxxxxxx To facilitate a quick chord change. For an authentic 60s vibe. . œ œ œ n œ œœ. œ j œ BU 5 E B G D A E BU 5 8 (10) œ. 4 2 4 2 4 E7 A5 82 GuitarTechniques April 2015 & ˙ A5 A5 3 3 œœ œœ œœ X X X X X X X X X ‰ ‰ ‰ j œ œ j œj œ œ œ 4 2 4 2 4 0 4 2 0 4 2 0 nD5/E œœ D5/E n œœ n œœ œ 0 2 0 2 n œ œ œ3 nœ n œ œ œ3 n œ œ.SMALL FACES . C. œ. œ n œ œ~~~~ 0 2~~~~ 0 2~~~~ ˙ ˙ ˙ ˙ œ. œ. œ n œ œ~~~~ . œ. œ #œ œ . œ œ ( 8) œ œj œ œ jœ œ œœj œ œ œj œ 2 5 5 5 5 2 3 0 3 0 4 0 3 0 3 œœœ œœ 3 0 3 3 0 3 0 7 7 (8 ) 7 (8 ) 7BU 7 7 (8 ) 7 5 2 ‰ bœ A7 j 0 2 0 2 0 2 0 2 0 4 4 4 6 4 4 4 4 6 ‰ ‰ ‰ ‰ j œ œ nn œœ œj œ œ œ œj œ œ ringœ n œ œj œ Let Let œ ringœ n œ œ œ 2 2 Let ring 2 4 Let ring 2 4 2 2 4 2 4 N.#### ˙ & & # ˙˙ œj œ œœ n œ œœ œ n œ œ œ n œ œ. œ œ. œj œ 1 œ. . œ jBU . nn œœ ## œœ n œ n œœœ œ Let ring œœœ œœ Let ring E B E G B D G A D E A E 8 8 3 3 4 4 2 2 4 4 2 2 0 0 0 0 2 2 1 1 A5 A5 THe SMaLL FaCeS3 3 2 3 0 2 0 0 2 0 2 A5 A5 ‰‰ n œ ‰‰ œ œœ nn n œœ œ œ 2 2 0 2 0 ## # ## # & # # & 2 xxxxxxxxxx 2 xxxxxxxxxx E2 xxxxxxxxxx B E G B2 xxxxxxxxxx D G A D E A E 14 14 0 0 0 0 ˙˙ ˙˙ j œj œ N.CONTINUED ‰ œ œœœ ‰ n œœ œ ¿¿¿ ¿¿ 2 2 '' 1/4 1/4 0 0 Ó Ó Ó Ó 3 3 3 ~~~~ ~~~~ . œ.C.C.C. œ.œœ RP œ.n œ Œ j N. & # # # # N. œ #œ œ . 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BU(4) (4 ) 4 4 œœ œœ œœ œ œœ œ 3 3 SOLO 1 2 1 2 2 SOLO 1 1 2 j 1 SOLO œ 2 1/4 0 œ œj œ œ œjj œ œœ œ œ œjBUœ 0 (5) 3BU #### & #### & #### œ œ œ & # ## œ œ œ & # œ œ œ œ œ œ E B G E D B EA G BE D G 25 EA D BE A 25 G E D 25 A E 25 # # B7 9 B7 9 0 (5 ) 3BU 0 2 ' ' œ nœ ' œ nœ œ nœ ' œ nœ ' '' ' 2 2 1/4 1/4 œ bœ œ bœ œ bœ œ bœ 0 0 4 4 3 3 4 4 2 2 œœ œœ œœ œ n œ œ n œ œ. 2 0 0 2 0 0 2 0 j nœ œ j n œj œ nœ œ j n œ BUœ 0 œ œj œ œ œjj œ œœ œ œ œjBUœ # # & # ## # ## & # ## & #### & # #### 1 2 1 2 1 2 1 0 0 1/4 0 0 1/4 1/4 nn œœ œœ œœ 3 14 0 0 31 0 3 0 /4 œ œj œ œ œjj œ œœ œ œ œjBUœ 3 nn œœ ## œœ n œ n œœœ œ Let ring œ nœ œnœ œ nnœœ œ n œ œ œnœ œ nœ œnœ 0 0 2 4 0 0 2 4 0 0 2 4 œ œ œ œ 0 2 4 0 œ. œ.. œ n œ œ~~~~ . Œ Œ Œ Œ Œ Œ œ Œ œ Œ œ œ 0 9 0 2 0 9 0 2 A7 0 9 j œ nAœ7 j œj An 7œ œ nAœ7 j œ nœ j œ j œj œ j œ BU œ œ œ œ j œ j œj œ j œ œ œ œ œ œ 0œ œ œ œ œ œ œ BU BD BU 5 7 BU( 8 ) (8 ) 7BU (7 ) 5 ( 8)BD 7BU BU BD 7 ( 8) ( 7 ) 5 (7 ) 5 ( 8)BD 7BU 7 ( 8) ( 7 ) 5 5 BU 7 (8 ) 5 7 BU( 8 ) BU 7 (8 ) (8 ) 7BU 5 7 (8 ) 7 (8 ) œ œ œ œ j œ œj œœ œ œj œ œj œ œœ œ 6 6 6 6 œ nœ #œ œ œ œ nœ nœ #œ œ nLetœ #ringœ œ œœ œœ nnœœ Let ring nLet œ #ring œ 0 œ œ nœ 4 2 0 1 0 Let ring 0 1 0 4 2 4 2 0 1 4 2 0 1 0 5 7 5 7 5 7 5 7 ‰ ‰ ‰ ‰ ~~ œ~~ œ~~ œ~~ œ~~ 5~~ 5~~ 5~~ 9 5 œ œ œ œ 0 2 0 0 2 0 0 2 0 0 SOLO 2 2 0 j j 2015 j April GuitarTechniques 83 n œ SOLO 2œ œ œ œ œ #œ nœ œ œ œ œ œ œ n œ œ ~~n œjSOLO œ œ œ œ œ2 œjj œ œ œjj œ œ j .jjSOLO œ œ. œ #œ œ .. œ œ n œ ~~~~ .j œ BUœ œ. œ. 2 (4 ) BU 0 BU 0 BU 0 BU 0 BU 3 (5 ) 3 (5) 3 ( 5) 3 ( 5) 0 0 0 0 (5 ) (5) ( 5) ( 5) 3BU 3BU 3BU 3BU 0 0 0 0 ( ) ( ) ( ) 3 5 3 5 3 5 3 ( 5) œ œ œ œ œ. . & # # # # N. # # # # N.. œ nœ œ nœ œ nœ œ nœ 2 2 2 0 2 0 2 2 4 4 2 2 E7 E7 3 3 j œj œ ˙˙ ˙˙ 3 3 4 4 œœ n œ œœ œ n œ œ œ n œ œ.. . ( 4) (4) ( 4) ( 4) 3 0 œ œ œ œ œ. .C. . œœ.C. ritrit nn œœjBU BU BUœ ˙˙ .. 1/4 1/4 1/4 n œ '' œ >œ œ >œ >œ œ n œ œ œ nn œœ œ >œ œ œ // ' nœ >>œœ > œœ n œ '// œœ œœ nn œœBUœœ >œœ BU / BU BU 15 ( 17 ) 15 ( 17 ) 12 12 œœ œ . 12 14 15 ( 14 ) 12 14 N. 2 œœ œœ 1/4 1/4 1/4 1 1//4 4 A7 11 11 12 12 11 12 15 ( 14 ) 12 14 14 14 14 ( 15 ) ( 14 ) 12 14 14 BU BD BU BD œ œ œ nœ œ nœ œ œœ. œ . 12 12 œœ œœ 12 12 BU BU ( )) BU 15 15 (17 17 15 (17 ) BU BU 15 ((17 )) 15 17 œœœ n œœ nœ 14 14 14 14 14 14 14 14 14 14 14 14 14 14 14 14 14 14 12 12 12 12 12 12 14 14 14 14 14 14 14 14 14 14 14 14 12 12 12 12 12 12 ~~~~ ~~~~ jj nn œœ14 j nœ 14 14 œœ œœ ' ' 14 14 1/4 15 15 12 12 15 12 15 15 12 12 1/4 1/4 12 12 12 12 BU ( )) 12 15 15 (17 17 12 15 (17 ) 12 12 BU BU 12 15 ((17 )) 12 15 17 12 12 15 ( 17 ) 15 BU BU 15 (( 17 )) 15 15 17 15 12 12 12 12 12 15 14 12 15 15 14 14 12 12 14 14 14 14 14 15 15 ÓÓ Œ Œ ŒŒ 12 12 12 B9 12 B9 14 14 B9 œ œ œ œ œ œ œ œœ œœ œ B9 B9 Let ring Let Let ring œ œ Let ring ring œœ œ7 œ5 Letœœ ringœœ4 Let œœ ring 7 5 4 66 88 7 5 6 ring 8 Let Let ring 12 44 15 ( 17 ) 15 rit rit BU BU 15 ( 17 ) 15 15 ( 17 ) 15 44 66 4 6 2 12 1/4 1/4 12 12 4 4 2 2 4 6 4 6 4 4 1 1144 1 44 14 ' 4 œ ‰ œœ œ ‰ œœ œœ ‰ œ œ 22 ‰ œ œ 4 ring Let Let ring 7 5 7E 7 5 6 8 E7 6 811/4 /4 E 7 15 15 14 14 15 Ó Ó 14 15 15 15 15 ~~~~~ ~~~~~ 12 12 15 15 ŒŒ 1 14 4 12 12 12 Œ Œ œ œ œ œ 12 12 12 12 14 14 14 12 12 14 14 12 14 œ nœ œ œ œ n œ œ œ. ~~~~~ BU / œ J ŒŒ BU(17 ) 15 12 ŒŒ BU((J1717)) 1515 ' 1212JJ ~~~~~ (17 ) 15 12 N.C. œ 3 44 14 14 BU BU 14 ((16 )) 14 16 4 12 14 14 12 12 0 2 0 2 2 2 2 0 0 0 0 1/4 1/4 1/4 12 12 BU BD ) (14 ) 12 14 ((16 14 16 ) (14 ) 12 14 ( 16 ) (14 ) 12 12 1/4 1/4 1/4 1/4 1/4 12 12 14 14 12 12 12 12 12 œœœ 15 15 1/4 1/4 1/4 15 12 12 12 12 12 12 1/4 1/4 15 15 œœ. œ.C..CONTINUED # cd track 66 #### nœ ' . 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The acclaim of stern’s debut recordings as leader led to a steady stream of solo releases. and add a fairly heavy. and he imbues everything with an understated swing and subtle dynamics. and won him the Orville W Gibson award for Best Jazz Guitarist. Last time we release of an acclaimed album of primarily discussed his development as a guitarist and straight-ahead jazz standards (And Other the early part of his career.. Jigsaw. For Stern’s more straight-ahead side. outside ideas. Martin and Wood. Guitarist of the Year from Guitar Player magazine. Today we continue to examine stern’s jazz style and discuss his approaches on popular jazz sequences. Eric Johnson and Medeski. a second look at Mike Stern. The following year he became part CD: TRACKS 68-79 Picking technique of the reformed Brecker Brothers band led by saxophonist Michael and trumpeter Randy. His Advanced third album. slow chorus. Info WIll Improve your followed by Odds Or Evens in 1991. as between them Mike stern presents a genuine masterclass in the art of contemporary jazz guitar. Austin and Los Angeles. both saw him further developing his distinctive angular Key: Various Jazz soloing and emotive compositional style and unique Tempo: Various Bebop vocabulary solo voice. and was recorded primarily live in a period of three days at Johnson’s Austin studio. and his rittor Music guitr instructional video. stern’s 1997 release Give And Take saw a return to straight-ahead jazz. it’s really worth spending some time with these and last month’s examples. this time to Heads Up international. stern tends towards picking every note. Time In Place (1988). Big Neighbourhood (2009) threw up a varied list of collaborators. rhythm changes and jazz blues sequences. and again featured Richard Bona alongside guests including saxophonist Kenny Garrett and banjo virtuoso Bela Fleck. All the examples are uptempo. He followed this with is What is and Between The Lines in 1994 and 1996. Upside downside and Time in Place. intriguingly entitled Guitar Instructional Video! 86 GuitarTechniques April 2015 ROB VERHORST / GETTY IMAGES lesson: jazz . drummer Jack deJohnette and percussionist don Alias. Is What It Is (1994) and Voices (2001). at which he performed of the modern onstage with The Yellowjackets. through Fender Twin or Yamaha G100-212 amps. Who Let The Cats Out (2006) saw Stern again move label. Robben Ford Get the tone 3 5 4 3 2 Gain Bass Middle TReBle ReveRB Mike Stern plays a Yamaha PA511MS model and a Michael Aronson custom guitar with a ‘50s Fender Broadcaster neck. which he had built after his old Tele. Stern uses Boss distortion and delay pedals and a Yamaha SPX-90 which gives his trademark chorused sound. Stern’s latest recording. Jigsaw (1989). This month. was released in 1989. The six examples take in long I check out a lot of sax and trumpet players. and feature a torrent of amazing and inspiring ideas. both Grammy nominees. culminating in the songs). I’d recommend Standards (and other Songs) (1992) and Give and Take (1997). leading to the award of Best Jazz release of his first two official solo albums. and focus in on his bebop vocabulary. bebop bridge. was stolen in a mugging in Boston. 1999’s Play teamed stern with jazz guitarists Bill Frisell and John Scofield. sees him again joining forces with Eric Johnson in a stripped-back small group setting. Track record Some listening recommendations for Mike Stern include Upside downside (1986). After 15 years with Atlantic. so the examples provide quite a picking hand workout. As i sAid last month i thought it would be on the album Return Of The Brecker Brothers illuminating to focus on Mike stern’s more and the live dVd spherical. and was recorded between New York. Arto Tuncboyaciyan and Elisabeth Kontomanou. Mike Stern and short ii-V-i ideas. bought from Danny Gatton and previously owned by Roy Buchanan. 2004’s These Times saw stern move to EsC records. with wordless vocals from Richard Bona. I try to get some of those ideas on the guitar. including steve Vai. Use the neck pickup and roll the tone off. and Bill Lawrence and Seymour Duncan pickups.. featuring saxophonists Michael Brecker and david sanborn alongside bassist John Patitucci.Mike Stern ON THE CD PART 2 Join Pete Callard as he uncovers some of the greatest licks from the giants of jazz guitar. with the album All Over The Place following later in the year. or take the treble down on your amp. In early 2012 Guitar Player awarded Stern their Certified Legend Award. substitutions. while Voices (2001) saw him exploring world music. intervallic patterns and use of motifs. 1992 also saw the straight-ahead jazz style. The following year he was awarded the Miles davis award at the Montreal Mike Stern: one Jazz Festival. 2014’s Eclectic. an jazz greats association that led to 2008’s ABILITY RATING TraCks 68-79 celebrated Lifecycle. ghosting some notes and phrases while lightly accenting others to create real light and shade in his seemingly endless lines. and won him another Grammy nomination. NeXT MoNTH: Pete switches his focus to that jazz-blues master. n œ with substituted nDœ7 œ n œII-Vs. D7 G7 C7 The Pete Callard Jazz Club presents Ex 1 . suggesting Dm7 (or Fmaj7) and G72in4 bars 3 and 4 resolving to C7. D7 .Rhythm changes line G 11 8 11 8 11 D moves up chromatically over the Bb to land on the 13th 10 (B) of 10D7.Bebop bridge M I K E S T E R N (part 2) GUITAR TECHNIQUES MAGAZINE 1 bars.E7 (also with a maj 7th) and F#7 over the D7. In outlines F7b9 (bar 7) and F altered (bar 8) resolving to Bb in the final bar.Bebop b Ex 1 bridge &.LEaRNINg ZoNE MIKE STERN PT 2 GUITAR TECHNIQUES MAGAZINE 2 4 1 The Pete Callard Jazz Club presents cd track 68 M I K E S T E R N (part 2) The Pete Callard Jazz Club presents Stern begins around D Mixolydian and D major Pentatonic in the first two bars 5 and 6 he plays around C Half-Whole diminished resolving to F7. E Stern D7 10 10 Bthen A A Ex 2 Rhythm changes line in superimposed arpeggios outlining Cmaj7. Cm and F7Dresolving œ n œto theœ 3rd (D) on#theœ final 7 # œ Bb. Cm7 and œ n œ n œ b œ n œ œ bF7. œ b œ n œ b œ n œ œœ nn œœ nnDDœœ77 œ n œ œ œ œ # œ # œ bb œœ nn œœ bb œœ nn œœ œ n œ n œ œœ n œ œ œ œœ ## œœ # œ 4 5 6 7 3 nœ œ 8 5 7 #œ 7 8 5 15 12 œ nœ œ nœ œ nœ œœ nn œœ 7 8 B 7 8 7 8 B 9 7 10 œ œ œ œœ cd track 70 7 6 10 9 8 10 6 9 8 9 G78with 6 7 6 passing notes.Bebop bridge M I K E S T E R N (part 2) EXAMPLE BeBop BridGe in Bb GUITAR1 TECHNIQUES MAGAZINE ©»™§º b 4 & b b ©»™§º 44 Ex 1 . Over theBG7 he 7 b ©»™∞º œ b œb 44Am7 ©»™∞º outlines and and comes into C Minorœover the b Ó Œ Ex 2 .Rhythm changes line∑ œ œ BBœbb b ©»™∞º 4 ©»™∞º b ∑ Ó Œ & b bb 44 ∑∑ ÓÓ ŒŒ œœ6 œœ œœ & 4 b & 4 7 8 E B G E D B A G E D E A B E E G E B D B G A G D E D A A E E E B G E D B A G E D E A B E E G E B D B G A G D E D A A E E E B G E D B A G E D E A B E E G E B D B G A G D E D A A E E 6 1 1 1 1 1 œ œ nœ #œ nœ #œ #œ G7 œ nœ #œ #œ nœ #œ #œ ‰ œ G7 œ n œ # œ # œ n œ # œ # œ ‰ GGœœ77 œœ n œ # œ # œ nn œœ ## œœ # œ ‰ œ nœ #œ #œ 10 7 # œ 12 9 #11œ ‰‰ 13 9 8 b & bb &b b & bb bb & &b 7 5 10 7 5 10 10 7 7 nœ nœ nœ nn œœ œ bœ bœ œ bœ bœ œ bœ bœ œœ bb œœ bb œœ 5 5 9 9 9 9 9 6 6 G7 10 5 7 6 b & bb &b b & bb bb & &b 12 10 12 10 9 9 9 9 12 9 12 9 12 12 9 9 8 8 8 8 œ œ œ œœ 13 11 10 13 11 10 œ œ œ œœ 11 11 13 12 12 12 7 7 7 8 œ œ œ œœ œ œ œ œœ 10 10 œ 99n œ b œ œ nœ bœ œ nœ bœ œœ nn œœ bb œœ 8 8 10 6 œ œ œ œœ œ œ œ œœ œ œ œ œœ 8 6 7 8 7 7 8 8 13 13 12 7 6 7 6 9 10 9 10 7 9 7 10 9 7 10 9 9 10 7 7 10 9 7 9 10 7 10 9 9 10 Œ Œ Œ ŒŒ œb Bœbb B œ œœ B 9 8 11 8 11 8 8 11 11 9 9 Ó Ó Ó ÓÓ ∑ ∑ ∑ ∑∑ 8 9 8 5 6 7 3 4 5 6 7 3 4 œ œ œ œœ 6 6 7 7 3 3 5 5 œ œ œ œœ 15 13 nœ nœ nœ nn œœ 12 17 13 15 13 12 17 13 15 13 12 12 11 10 9 11 7 9 11 10 9 11 7 9 7 6 11 10 9 11 7 9 7 6 11 10 11 10 9 9 11 7 11 7 9 9 7 7 6 6 17 13 15 13 17 13 15 13 bœ bœ bœ bœ bœ bœ bb œœ bb œœ 6 12 10 13 11 10 10 12 10 13 12 12 10 13 11 10 10 13 11 10 13 12 10 13 12 7 10 9 4 œ 4œ œ œ œ œ œ œ œ œœ œœ œœ 17 13 œ œ œ œœ 7 b b 7 11 œ œ Ebm. œ n œ bItœgetsn œquiteœ ‘out’ # œ #Ab7 œ Bb over the Bb. resolving to the root of Bb.Rhythm line Bœb b b ©»™∞º Ó Œ œ œF Altered Ex 2& . B7 and Bb œ overœthe Edim7. outlining then bsequence. The final 10and 10 chromatic 7 6 9 8 D7 9 launching 8 section starts slowly before into 8th notes for the I-I7-IV-#IVdim 12 13 13 10 10 15 12 12 13 10 12 15 12 13 12 10 13 12 10 12 F7 bFœ7 bFœ7 bFFœ77 bb œœ 7 10 7 œ nœ Œ œ n œ7 Œ C œ C7 C n œ7 Œ œœ nn œœ Œ 8 Œ 9 8 10 6 7 10 7 8 œ b œ 77 88 7 10 œ bœ œ #œ #œ œ #œ #œ œ bœ œœ b œ œ # œ # œ b œ œœ ## œœ # œ #œ 10 6 10 9 6 10 15 12 7 10 7 8 10 9 6 15 12 7 8 7 8 9 œ88n œ 66 œ œ nœ œ œ nœ œ œœ n œ œ nœ œ 13 10 11 13 12 10 13 10 11 œ œ œ œœ œ nœ œ nœ œ nœ œœ n œ nœ 8 œ œ œ œœ œ nœ œ œ œ nœ œ œ œ n œ œ œœ œœ nn œœ œœ œ 7 10 7 8 10 9 EXAMPLE 2 Bb rhythm chanGes line Ó Ó G7 G7 Ó ÓÓ G7 œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ n œ œœ œ œœ œœ œœ œœ œœ nn œœ œ œœ œ œ 9 9 œ bœ œ bœ œ bb œœ œœ b œ 6 8 8 9 8 9 9 8 8 6 6 6 6 œ œ œ œœ œ nœ œ nœ œ nœ œœ nn œœ 7 6 8 7 6 8 8 7 6 8 8 8 7 7 6 6 8 8 8 9 œ œ œ œœ 13 15 15 13 12 12 12 15 13 12 15 13 12 8 œ œ C7 Cœ7 C7 œœ 13 15 15 13 12 œ bœ œ bœ œ bœ œœ b œ bœ C 75 5 8 5 8 5 6 7 5 5 C7 15 13 12 œ nœ bœ œ nœ bœ œ nœ bœ œœ nn œœ bb œœ 5 5 13 15 5 œ œ œ œœ 5 5 8 8 œ œ œ œœ 5 5 œ œ œ œœ 6 7 œ œ œ œœ 7 7 6 œ 66 œ œ œ œ œ œœ œœ 11 15 13 11 10 11 15 13 11 10 13 13 11 15 13 11 10 13 11 15 13 11 10 13 15 11 15 13 11 10 13 13 15 13 B G7 œ œ œ œœ 9 b Bb j‰ Bœbj ‰ Bœbb B j ‰‰ œjj ‰ œœ 6 9 9 6 9 9 6 9 9 9 9 6 6 Œ Œ Œ ŒŒ j‰ œj ‰ Gœ7 G7 j‰ œjj ‰‰ œœ G7 G7 Œ Œ Œ ŒŒ 5 5 5 5 5 April 2015 GuitarTechniques 87 .G7 Rhythm changes line∑ down G Mixolydian & C7 and C Diminished in the second bar.Bebop©»™§º 4bridge b ©»™§º 4 & bb bb ©»™§º 44 & b & 44 E B G E D B A G E D E A B E E G E B D B G A G D E D A A E E nœ nœ D7 n œ7 D D7 nn œœ ∑ ∑ ∑ ∑∑ 7 7 1 7 7 1 1 b & bb &b b & bb bb & &b nœ nœ nœ nn œœ bœ bœ bœ bœ bœ bœ bb œœ bb œœ œ œ œ œœ œ œ œ œœ œ œ #œ nœ œ œ œ #œ nœ œ œ œ œ œ #œ nœ œ œœ œœ # œ n œ œœ œ #œ nœ œ œ 10 8 7 7 nœ œ nœ j‰ œ œ œ # œ nœ œ nœ œ œ œ # œj ‰ nœ œ nœ j nn œœ œœ n œ œœ œ œ # œjj ‰‰ n œ œ œœ œœ ## œœ ‰ 9 7 9 7 7 1 1 241 10 8 7 10 8 7 10 8 10 8 7 7 F7 œ #œ œ #œ œ #œ œœ ## œœ 9 7 7 9 7 9 7 7 9 7 9 7 7 9 7 7 9 7 œ bœ œ bœ F7 Fœ 7 F7 bœ œœ bb œœ œ œ œ œœ F7 9 7 9 7 9 7 9 7 œ œ œ œœ œ œ œ œœ 10 8 9 10 8 9 10 8 œ œ œ œœ 9 7 9 7 10 8 10 8 œ œ œ œœ œ œ œ œœ E 12 11 9 8 B 11 8 9 10 G 11 8 11 8 11 E 12 11 9 8 D 10 10 B 11 8 9 10 A G 11 8 11 8 11 E D 10 10 E 7 12 11 9 8 A B 11 8 9 10 E E G 12 11 9 8 11 8 11 8 11 7 E 12 11 9 8 11 8 9 B D 10 10 10 B 11 8 9 10 11 8 G A 11 8 11 Ex 2 .œ then n œ suggesting G7.although he ends up on E E 7 the maj7th (C#) . Bb7 and Eb. then F#m.Bebop bridge GUITAR TECHNIQUES MAGAZINE 2 4 1 GUITAR TECHNIQUES MAGAZINE 2 4 1 M I KPete E SCallard TERN The Jazz(part Club2)presents D7 G 7 C7 The Pete Callard Jazz Club presents M I K E S T E R N (part 2) Ex 1 . then Ex 1 . Over the F7 he suggests 44 changes Ex 2 . Long bebop line in Bb ©»™∞º ©»™∞º b 4 & bb bb 44©»™∞º ∑∑ ∑ & & b 44 b œ œ Œ he comes down over the Cm7 suggests Cm and G7. Eb7 and Abmaj7).E.and 17 17 EXAMPLE 3 BeBop line in Bb ©»™∞º b ∑ & b 44 Ex 3 . outlining Ab and E B G D A E E 1 B E G E B D B G A G D E D A 1 A E E 1 1 E B G D A E E 5 B E G E B D B G A G D E D A 5 A E E 5 5 Ó ÓÓ 11 10 13 10 11 10 10 10 12 12 12 12 10 13 14 11 14 11 12 X X X b œ ‰ œœ œ œ œ n œ œ FFœ77 b œ œ n œ œ bœ b & b bb œœ ‰ œ œœ œœ œœ n œ œœ œœ bb œœ œ nn œœ œœ œœœ œœ bb œœ œ & 7 œ & b 8 ‰ 10 8 7 n œ 7 8 8 8 8 F7 10 10 10 88 GuitarTechniques April 2015 8 8 8 7 7 7 9 10 10 10 9 9 9 7 7 7 10 9 8 10 7 10 10 10 10 9 9 9 8 8 8 10 10 10 7 7 7 10 10 10 b bb E 7 E 7 E 7 b œ œœ œœ œ œœ œ œ bb œœ œ œ œœ œ œœ œœ 10 12 11 13 14 10 8 8 8 7 7 7 b 12 11 11 11 13 13 13 10 10 10 10 9 13 œJœ ‰‰ ŒŒ ÓÓ JJ ‰ Œ Ó 10 10 10 10 13 11 13 11 10 11 11 11 13 13 13 11 11 11 10 10 10 œ œ nn œœ ‰ n œ œœ œœ n œ ‰‰ nn œœ 9 œ ‰ Œ Ó J B bmaj 7 B bbmaj œ 77 B maj 11 œ œ nœ ‰ nœ œ #œ œ #œ œ 12 12 11 12 10 12 12 13 11 12 13 14 11 10 12 13 10 12 13 B maj 14 7 14 12 13 13 b œ ‰ œ œ œ œ nœ œ œ bœ œ nœ œ œ œ bœ b & 10 bœ œ œ œ œ œ œ 12 13 12 11 14 11 14 11 12 11 14 11 11 14 11 12 11 14 11 11 14 11 12 11 F 7 10 13 10 10 13 10 11 10 13 10 11 Cm 7 10 13 10 11 10 13 10 11 10 13 10 11 11 Cm 7 Cm 7 Cm 7 E B G D A E E 9 B E G E B D B G A G D E D A 9 A E E 9 9 11 11 11 G7 œ œ bœ œ bœ œ b œ b & Ab bœ7 A bb 7 A 7 b œ œ b œ œœ bbb œœœ œœ œ b b œ & b bb b œ œœ œœ œœ bb œœ œ œ & & b bœ 10 13 10 11 14 b œ 1212¿ 1010nCœ147 13 1010 12 œ b œ b œ 14n œ 13 bœ œ œ # œ n œ b œ12 œ G7 C7 b œ œ b œ œœ bbb œœœ ¿¿ nnCCœœ77n œ G7 G7 œ b œ œ bb œœ œ bb œœ œ ¿ n œ n œ # œ n œ bb œœ œ bb œœ œ œ 11 14 X 12 n œ ## œœ nn œœ b œ œœ b A 7 cd track 72 b œ œ œ nœ bœ œ œ J ‰ B bmaj7 œ œ BB bbmaj7 œ œ maj7 Œ œœ œœ œœ œœ œœœ nnn œœœ bbb œœœ œœœ œœJ ‰ œJ ‰‰ ŒŒ 11 10 12 12 10 10 J Ó ∑ ∑∑ 9 9 9 9 9 9 œ ## œœ œ ## œœ œ œœ # œ9 œœ # œ œœ 9 9 9 9 9 9 9 ∑ ∑ ∑∑ 9 11 9 9 9 9 11 9 11 9 11 9 .CONTINUED 2 xxxxxxxxxx Cm 7 2 xxxxxxxxxx 2 xxxxxxxxxx F7 b &b œ œ œ ‰ œ œ œ Cm 7 F7 Cm 7 F7 Cm 7 F7 b b & b bb œ œ œ ‰‰ œ œœ œ & b œœ œ œœ ‰ œœ œ œœ & œ E B G D A E E 13 B E G E B D B G A G D E D A 13 A E E 13 13 8 5 b 5 6 œ œ bœ nœ œ b œ & b Eb E dim7 œ E bb Ebdim7 œ E E dim7n œ œ b œ œ b b œ œœ n œ & bb bb œœœ œœ œ6 œ8 9 n œ7 & &b 7 6 E 8 8 8 5 5 5 E dim7 5 6 5 5 6 6 8 8 8 8 cd track 70 B œ œ œœœ œœ ‰ œœœ ‰ œœ œœ 6 œ ‰‰ 6 ‰‰ 6 5 8 B B B G7 Cm 7 Dm 7 Dm 7 Dm 7 G7 G7 G7 Cm 7 Cm 7 Cm 7 7 8 œ œœ œœ œœœ œœ œ œ 5 7 5C m7 7 5 7 5 7 5 5 5 7 7 7 F 78 8 8 F7 œ œ œ ‰ œ ‰ œ œ œ œ 5 œ Dm 7 5 5B 5 b œ bœ bœ œ nœ œ bœ œ œ nœ œ œ bœ œ bœ C m7 F7 Bb C m7 F7 B bb B œ Cbm7 œ b œ œ n œ Fœ7 b œ œ œœ bb œœ bb œœ œ n œ œœ b œ œ œ n œ œœ œ b œ œ b œ œ n œ b œ œ œ nn œœ œ3 œœ bb œœ œœ b œ 5 4 7 4 5 6 4 3 œ bœ b b 6 6 6 6 6 6 8 8 8 b œbb b œ b œ œ BBB bbœ777 œœ bb œœ bb œœ œœ œ œœ œ # œ œ œ œœ ## œœ 7 9 7 6 F7 F7 F7 6 6 6 b œ b œ b œ œ B œ7 œ œ #œ 7 7 7 9 9 9 7 7 7 6 6 6 8 5 6 8 8 8 5 5 5 6 6 6 œ œ œ Œ Ó ∑ œ œ œ ŒŒŒ ÓÓÓ œœ œœ œœ E B G 5 4 5 3 D 7 4 3 A 6 5 E E 17 6 8 9 7 5 4 B 6 7 4 5 6 4 3 3 E 6 8 9 7 5 4 G 7 4 5 3 E 7 5 4 7 4 5 6 4 3 5 B 6 6 8 9 3 D 7 4 3 B 6 7 4 5 6 4 3 G Ex 3 ... outlining Cm7 and F7b9 over the F7 and resolving to the 5th (F) on the Bbmaj7.Long bebop line in Bb Ex 3 . Over the C7 A 17 6 Cb5 over B maj7 A 6 5 E 7 theEEBb major 7. then moves into Ex 3 . equally be seen as suggesting Bbm7.Long bebop line in Bb a sequence of superimposed triads moving up in 4ths. Bb then E again .lesson: jazz ON THE CD TraCks 68-79 2 xxxxxxxxxx EXAMPLE 2 Bb rhythm chanGes line . the G7. then plays Eb Mixolydian over the Eb7 (although it could a couple of triads a tritone apart .Long bebop line in Bb 7 5 4 3 5 3 A 5 G 7 5 4 5 3 7 4 3 6 D E D 7 then 4 Gb 3 and Stern moves down the Bb Major scale with a chromatic passing note over Db over the Ab7. out chord down of C Dorian over the motifs Cm7 andFF7.Out motivic overplaying short and long Amaj7 II-V-Is over the Amaj7 chord.Chorus blues .Bbm(maj9) out motifs and Bb Melodic minor then Bb b ©»™∞º 44 & b ©»™∞º ©»™∞º 4 & bb ©»™∞º 44 & b & 4 Ex 4 . outlining Ex 4 down . Over F7 he moves the same phrase down a tone. F 7 and D7.LEaRNINg ZoNE MIKE STERN PT 2 3 EXAMPLE 4 chorus of Blues in f .Out motivic line over short and long II-V-Is E 13outlines A major over the Amaj7 and Bmaj7 over Stern 13 A maj 7 œ œ œœ œ #œ œ #œ œœ # œ #œ œ œ œœ 5 3 2 5 5 5 F7 nœ nœ nn œœ œ bœ œ bœ œœ b œ bœ œ œ œœ 8 5 8 8 8 6 6 6 5 5 5 3 3 3 3 4 3 3 3 2 2 2 4 4 4 bœ bœ bb œœ œ œ œœ œ œ œœ 4 3 2 4 4 4 3 3 3 2 2 2 œ œ œœ œ œ œœ C7 C7 C7 4 5 4 4 4 5 5 5 œ œ œœ 5 5 5 5 EXAMPLE 5 out motivic line over short and lonG ii-v-i œ bœ bœ œ bœ bœ œœ b œ b œ bœ bœ 6 4 3 8 8 8 6 6 6 4 4 4 3 3 3 œ œ œœ œ œ œœ #œ #œ ## œœ 3 2 1 5 nœ nœ nn œœ 6 5 4 6 6 6 5 5 5 4 4 4 8 12 12 12 8 8 8 2 2 2 2 3 3 3 2 2 2 œ œ œœ œ œ œœ 8 7 8 8 8 7 7 7 6 6 6 6 F7 œ bœ œ bœ œœ b œ bœ F7 F7 F7 3 3 3 3 1 1 1 Œ Œ ŒŒ bœ bœ bb œœ œ Œ œ Œ œœ ŒŒ œ œ œœ 8 3 nœ nœ nn œœ 12 12 12 œ œ œœ 12 F7 F7 F7 2 #œ #œ ## œœ 10 10 10 Bdi m7 Bdi m7 Bdi m7 œ bœ œ bb œœ œœ b œ 5 5 5 10 F7 œ œ œœ 3 3 3 nœ nœ nn œœ Bdi m7 œ œ œœ 2 2 2 F7 F7 F7 12 8 8 8 8 8 8 10 10 10 6 8 8 10 8 8 8 8 8 8 œ œ œœ œ œ œœ 8 8 C7 3 œ7 b œ & b Gm Gm 7 Gm 7 & bb œœ bb œœ & & b œ bœ 5 8 8 8 7 œ œ œœ œ œ nœ œ œ nœ œ œ œœ œ œœ œœ nn œœ œœ œ bœ bœ bb œœ œ œ œœ œœ œ œbb B 7 B 7 B 7 G m7 4 C7 œ bœ œ bœ œœ b œ bœ 5 5 5 5 Gm 7 œ œ œœ 8 8 8 10 10 10 7 7 7 8 8 B 7 8 œ F7 Bb7 œ FFœ77 b œ œj ‰ BB bbœœ77 œ œ b œ œjj ‰‰ œ œœ œ b œ œj ‰ œ bœ œ 8 Cm 7 Am 7 E B G E D B A E G E B E D9 G B A D G E A 9 D E A E 9 9 ∑ ∑ ∑∑ F7 F7 F7 Dorian. resolving to F with a chromatic passing note.Chorus of blues in F . then up G Minor over C7 and On the Gm7 he moves between Gm7 back down C7b9 into a four-note chromatic motif over the final chords.Chorus of blues in F . moving into Cm7 and F7 on Ex 5the .Out motivic line over short and long II-V-Is ©»™£º A maj Ex 5 . 4 4 4 4 œ œ œœ nœ nœ nn œœ 10 9 10 10 10 9 9 9 œ bœ bœ œ bœ bœ œœ b œ b œ bœ bœ 3 3 3 3 4 4 4 4 œ œ œœ 7 7 7 7 œ bœ œ bœ œœ b œ bœ 4 3 4 4 4 3 3 3 6 6 6 6 D7 œ œ œœ œ bDDœ77 œ bbDœœ7 œœ b œ œ œ œœ œ #œ œ #œ œœ # œ #œ 3 2 3 2 1 3 3 3 2 2 2 1 1 1 3 3 3 2 2 2 2 2 2 2 Ó Ó ÓÓ ∑ ∑ ∑∑ 6 6 6 6 cd track 76 the Bm7 and E7.Chorus blues in F . phrase a tone. starting a beat earlier and working it around the Gm7 beats 3 and 4.Out motivic line over short and 4 # long œ 7 II-V-Isœ ∑ A maj 7 & 4©»™£º A maj 7 œ ©»™£º 4 #œ œ ©»™£º ∑ &4 ## œœ œ œ ∑ & ∑ & 44 œœ œ E B G E D B A E G E B E D1 G B A D G E A D1 E A E 1 1 6 6 6 6 7 7 7 7 7 7 7 7 œ œ œœ 6 6 6 6 œ œ œœ 9 9 9 9 œ œ œœ œ œ œœ 6 7 6 6 6 7 7 7 ¿ ¿ ¿¿ X X X X œ œ œœ Bm 7 Bm 7 Bm 7 12 12 12 12 œ #œ œ #œ œœ # œ #œ 12 12 12 12 11 11 11 11 œ œ œœ 12 12 12 12 #Eœ7 #EEœ77 ## œœ 11 11 11 11 œ #œ œ #œ œœ # œ #œ 9 9 9 9 8 8 8 8 œ œ œœ œ #œ œ ## œœ œœ # œ ¿ ¿ ¿¿ Amaj7 Amaj7 Amaj7 10 7 9 X 10 10 10 7 7 7 9 9 9 X X X œ œ œœ 10 10 10 10 œ œ œœ œ #œ œ #œ œœ # œ #œ 9 7 6 9 9 9 7 7 7 6 6 6 œ œ œœ 7 7 7 7 April 2015 GuitarTechniques 89 . continuing into Cm(maj)9 (or F13#11) and F Lydian b7 over the F7 3 7 Over Bb7 he repeats the F7 Bb7 Ex 4and .out motifs cd track 74 3 Stern F7 of over thein F7Fchord. He Ex adapts the pattern. around Abmaj7 overAmaj7 the Fmaj7. Bm 7 then again to outline E7 moves idea downline a tone. then down a tone over the C7 to outline Bbmaj7. 5 .out motifs E B G E D B A E G E B E D1 G B A D G E A 1 D E A E 1 1 E B G E D B A E G E B E D5 G B A D G E A 5 D E A E 5 5 Ó Ó ÓÓ œ œ œ œ œ œ œ œœ œœ œ bœ bœ bb œœ 10 8 7 8 &b & bb & &b œ œ œœ Cm 7 Cm 7 Cm 7 10 10 10 10 b F7 œ œ œœ 8 8 8 8 œ œ œœ 7 7 7 7 Am 7 & b Am œ7b œ Am 7 & bb œ b œ & & b œœ bb œœ 10 8 6 5 10 10 10 8 8 8 D7 6 6 6 5 5 5 œ n œ DDœ77 œ nn œœ œ œœ n œ œ œ D7 œ œ œœ œ œ œœ G m7 G m7 G m7 œ œ œœ œ œ œœ 5 2 5 2 3 5 5 5 5 4 4 4 3 3 3 5 5 5 2 2 2 5 5 5 2 2 2 3 3 3 5 5 5 œ œ œœ œ œ œœ bCœ7 bCCœ77 bb œœ 6 6 6 6 6 6 6 6 œ œ œœ 5 5 5 5 œ œ œœ 10 7 7 7 10 10 10 8 5 7 8 8 8 5 5 5 7 7 7 nœ nœ nn œœ œ œ œœ 2 2 2 2 #œ #œ ## œœ œ œ œœ F7 F7 F7 E B 3 4 G 4 3 5 4 3 2 E D B 3 4 A E G 4 3 5 4 3 2 E B E 3 4 D 13 G B 4 3 5 4 3 2 3 4 A D G 4 3 5 4 3 2 E A 13 D E A Ex 5 .out motifs 3 outlines Cm(maj7). then (suggesting a II-V-I in F). and over the Bb7 outlines Abmaj7 and Ex 4 . outlining Abm(maj9) then suggesting Em7 and A7 over Am7 and D7. but starts a beat later. Stern begins with aFrepeated 11 cd track 78 8 Bb7 F7 three-note motif changing to B Diminished over the Bdim7.intervallic 7 Œ Ó ∑ Œ Ó ∑ 8 8 E 8 B 9 G 8 6 5 5 Ex D 6 . then straight down F Major ©»™∞º œ to the with varying intervallic skips which he carries through the opening five bars.intervallic motifs œ œ Ex 6& ..intervallic 8 motifs 7 A E 7 8 For this chorus of F blues.Chorus of blues in F . scale over the F7 and Am7.lesson: jazz ON THE CD TraCks 68-79 4 xxxxxxxxxx EXAMPLE 5 out motivic line over short and lonG ii-v-is . Over the rest of theb sequence he returns œ around 4 œ œ œ œ b ∑ Ó œ ‰ staying within F Mixolydian.CONTINUED œ œ 4 xxxxxxxxxx Œ & œ œ #œ œ E B G D A E E B G D A E E B G D A E œ œ Œ & œ œ #œ œ 7 5 4 œ G m7 13 œ 10 bœ œ bœ œ œ œ 12 13 12 10 9 13 12 10 9 œ bœ œ bœ œ 11 bœ œ C7 œ bœ œ bœ œ 10 bœ œ C7 8 11 10 8 7 10 8 7 9 6 9 6 7 5 13 10 12 œ bœ 4 7 bœ bœ œ bœ œ œ & Fmaj7 œ bœ bœ bœ œ bœ œ œ & 8 9 11 Fmaj7 7 5 5 bœ œ bœ œ œ œ G m7 cd track 76 8 6 5 8 5 7 8 10 œ bœ œ nœ œ œ œ œ œ œ bœ œ nœ œ œ œ œ œ 7 5 6 7 8 8 7 5 5 7 motifs 6 EXAMPLE 8 chorus of Blues in f .Chorus bœ œ J bœ œ F7 Bb7 F7 ©»™∞º œ bœ œ œ œ ∑ Ó bœ œ œ ‰ bœ œ œ œ œ œ & b 44 œ 8 J 7 5 7 8 5 E B G D A E E B G D A E E B G D A E E B G D A E E B G D A E 8 8 7 6 8 5 5 7 7 8 1 Cm 7 1 b bœ œ œ œ nœ œ #œ œ œ œ œ œ œ6 œ F7 B 7 bœ œ œ œ œ œ b & Cm 7 F7 œ bœ œ œ œ œ b 6 5 & 7 8 5 8 5 8 5 Bdi m7 6 8 8 7 b b œ œ œ œ Bdin œm7œ # œ œ œ œ œœ œœ 10 8 10 8 11 8 10 8 7 10 9 7 8 A m7 7 5 6 77 8 Gm 5 &b Ó œœ &b Ó œœ 5 œ œ 10 8 10 8 10 10 8 10 F7 7 A m7 10 9 C7 œ œœœ œœ C7 œœœ œ 7 9 7 9 8 œœ 10 11 10 8 11 8 10 8 7 10 œ œ œœ œœ Gm 7 D7 F7 9 D7 11 10 10 11 13 7 8 œ œœœ œ œ œ œ œœ œœ Gm 7 F7 9 C7 11 10 8 F 7 10 9 œ Cœ7 œ œ œ œ 12 12 15 7 17 15 17 7 œœœ œœœ F7 15 17 15 10 10 8 10 10 90 GuitarTechniques April 2015 8 10 11 10 9 11 10 10 11 13 12 12 15 8 D7 œœœœœ œ œ œ œ œ j‰ Ó œ 8 11 10 8 B 7 8 10 5 œ œ œ œ œ8 œ œ œ œ œ j‰ Ó œ 5F 7 7 D7 10 8 8 7 10 8 8 7 5 Gm 7 E B G D A E 5 6 8 17 15 17 15 17 15 Ó ∑ Ó ∑ . Over the Bb7 in bar 6 he stays in F Mixolydian. although this time playing C7/F Major. opening intervallic motif. œ œ 4 of blues in F .. Eric Satie’s Gnossienne No. Learn the Shadows instrumental classic Atlantis. Coldplay. Joe Bonamassa. We regret that we cannot photocopy transcriptions from back issues Each back issue costs (including postage and packing) n UK: £5. learn Bad Company’s Can’t Get Enough.50 n Rest of the world: £7. get one now while stocks last! MARCH GT240 FEBRUARY GT239 JANUARY GT238 Play better blues solos. Plus the styles of Mars Volta. BB King. Our huge cover feature celebrates the Strat’s 60th anniversary. Learn the chords that put Stax and Motown on the map. Plus: play Gary Moore’s Cold Day In Hell. Manfred Mann. Mile Stern and John Frusciante’s acoustic playing uncovered! Improve your soloing with 20 pro tips and sound better right now.50 April 2015 GuitarTechniques 91 .myfavouritemagazines.50 n Europe: £6.co. 4 LeveLs oF BLues hottest BLues ever! PLaY Better soLos toDaY! BLues WorKout BLues-roCK PoWer! PLaY 60 strat LiCKs to orDer BaCK issues: Call 0844 848 2852 or visit www. Learn Whitesnake’s classic. learn Bizet’s Habanera and watch classical guitarist Carlos Bonell’s video masterclass. master the art of adding passing chords to your progressions. James Taylor and many others.uk Please do not call or email the magazine directly as we cannot deal with subscriptions or back issues. And play in the styles of Eric Clapton. in a variety of classic and modern styles. and cop the styles of Neil Young. Prepare yourself for any blues gig with our Ultimate Blues Workout feature. Learn Django’s beautiful Nuages. Learn Every Breath You Take by The Police.2. Billy Gibbons and more! DECEMBER GT237 NOVEMBER GT236 OCTOBER GT 235 Play shred-style blues licks like the best electric virtuosi. Mark Knopfler and many more! Wonder how three-piece guitarists fill the space? They use tried and trusted tricks any player can employ. We reveal all! Discover Diminished & Augmented. and learn the styles of Neil Young. Master the sublime style of Bossa Nova. no matter what level you are.N e ve r miss aNother issue 71 Turn to page to subscribe! Back issues missed iT? grab iT now! Your copy of Guitar Techniques gone walkabout? Quick. Alexis Korner and Fleetwood Mac’s Lindsey Buckingham. with 60 licks in the style of 60 top Strat players. Fool For Your Loving (with extra Steve Vai solo!). play like Jimmy Page. however. his 1993 album wild wood is predominantly electric but features several great acoustic moments from the driving. you can also hear this in English Rose where a simple three-chord progression is made unique by the inclusion of a minor 7b5. warm-sounding guitar would be perfect but any acoustic attacked with gusto will produce the desired results.a track like 1980’s that’s Entertainment featured a driving acoustic at the fore. not a device you hear in mainstream writing every day. just make a shape you know and add or remove fingers until you hear the desired result. The ‘greatest hits’ package. NeXT MoNTH: Stuart tackles the acoustic blues style of Rory Gallagher Get the tone 3 7 6 6 3 Gain BaSS Middle TReBle ReveRB Given that we are mostly strumming for this style a large-bodied. it’s the eponymous title track that’s probably the most famous cut from the album. Paul Weller: in acoustic mode on Gibson J-45 ABILITY RATING Easy Info WIll ImprovE your Key: A minor Tempo: 148bpm CD: TRACKS 80-81 Use of m7b5 chords Chord embellishment Dynamic strumming Although synonymous with his spiky. For this study we see how a standard chord progression can be given some Paul wellerstyle colour by changing some of the chords from what your ear may be anticipating. or try the live album days of Speed to hear how Paul re-works his not insubstantial back catalogue for acoustic guitar.lesson: acoustic ON THE CD TraCks 80-81 Paul Weller This month Stuart Ryan shows how to nail the acoustic guitar style of The Jam’s iconic frontman and perrennial solo artist. though this served as stark contrast to much of the band’s other output at the time. post-mod electric guitar stylings with the Jam. 92 GuitarTechniques April 2014 LIVEPIX Track record Weller really came of age with the 1993 release Wild Wood. Beyond that you’ll also hear weller use the standard major and minor 7th chords – these will also add colour to your writing but the iV chord as a minor 7b5 is the one that really stands out (for theory buffs you can also view this as a V chord in which case it’s acting as the decidedly jazzy 7#5b9 – see what happens if you use that down at the folk club!). The above settings are a starting point should you have an acoustic amp. if you find yourself writing this way I wouldn’t get too hung up on the theory (chords can end up having very complicated names that confuse the issue). the heavier electric tracks sound great strummed on a flat-top). the great Paul Weller. it was when he started to develop his solo career that the acoustic became a more prominent voice in weller’s writing. weller often starts with conventional major or minor chords and then releases or moves some of his fingers to get a different voicing which provides colour. Paul Weller fretting some chords. Modern classics tracks his post-Jam career to 1998. you can hear this effect in wild wood as he starts off with a conventional B minor chord but then releases the fretted notes on the second and third strings for a more interesting Bm7sus2. it’s a liberating way of writing. riff-based All the Pictures on the wall to the strumming on hung up. Although i haven’t focused on this here. wild wood is a great example of how weller will set up a simple strummed or fingerpicked chord progression but add some unexpected twists – in the case of wild wood it’s his innovative use of the minor 7b5 chord. acoustic guitar has always featured strongly in Paul weller’s playing . Weller himself often favours a vintage Gibson J-45. It’s crammed with innovative acoustic guitar writing (even . it’s something that’s worth getting into your playing as it facilitates some chords that would be much harder to execute otherwise. Although weller uses conventional strumming and fingerstyle techniques he is a ‘thumb over the neck’ player when it comes to I rediscovered my guitar in the 1990s. [Bar 11] Here is a chord that you may not be expecting. but it’s important to pay attention to the syncopated rhythm as you play on the ‘and’ of beat 3. [Bar 14] For this second pass through the chord progression we’ll add some Weller-esque embellishments such as the hammer on figure at the end of this bar . [Bar 3] Rather than staying on an A minor chord a simple change of fingering yields this open sounding and James Taylor-esque A7sus4 chord.it’s a simple move but lifts the piece dramatically. This can be quite a tricky chord to grapple with so I’ve added a suggested fretting-hand fingering. 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œœœ œœœ œœœ œœœ œœœ œœ œ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ0 œ œ œ œ œ œœ11 œ # œœœ011 œœœ œœœ011 œœœ011 œœœ011A m œœ00 œ œ œ œœ00 œ œœ œœ00 œœ00 œœ00 œœ21 œœœ 0 œœœ # œœ21 œœœ œœ œœ21 œœ21 œœ21 œœ100 œ œ œœ100 œ œœ œ100œ œ100œ œœ100 œ 2 2 2 2 1 1 1 1 œ0 211 1 1 1 1 1 0 02 00 01 21 30 2 œœœ œœ œœ œœ œœ01 œ œœœœ220 œœœœ12 2 0 1 2 2 00 11 02 22 œœœ œœ œ œœ œœœ œ œœ030 œ203œ œ0 œœ0 2 0 œ0 3 œœ œœ œœ œœ œœ0 A7sus2 A9sus4 œœ00 œœ000 œœ00 œœ00 0 0 œœ œœ œœ œœ œœ0 œœ11 œœ00 œœ21 œ1 0 0E 7 0 0 0 0 E7 00 0 œ # œœœ œ #Eœœœ7 œ #Eœœœ0017 œœ00 # œœœ201 œœœ œœ œœ œœ Aœ œœ1m œœœ22 œœ12 œ21 2 2 0 0 1 0 2 2 2 œœœ œœ œœ œœ œœ01 œœ2 œœœ2001 œœœ œœ220 œ 0 1 2 2 0 0 1 2 2 0 0 0 0 2 3 œœœ œœ œœ œœ œœ œœ œœœœœœ œœœ 0 0 0 2 0 2 00 10 10 02 23 œœœ œœ œœ œœ œœ01 œœ2 œœœ2001œœœ œœ220œ 0 1 2 2 0 00 10 20 22 0 0 2 00 10 10 02 23 0 2 0 1 1 0 0 2 œœœ œœœ œœ œœ œœ œœ œœ œœ œœ01 œœ01 Am œœ2 œœ2 œœœ2001 œœœ œœœ2001 œœ220 œ œœ220 œ 0 0 1 1 2 2 0 0 1 2 2 0 0 0 0 2 2 2 0 0 1 2 2 0 œœ œ œ œœ œ œ 1 1 1 0 œœ œ œ 1 1 1 0 œœœ œ œœœ œ 0 1 2 2 œœœ œ 0 1 2 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 0 2 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ0 œœ œœ0 œœ0 œœ0 œœ01 œœ œœ01 œœ01 œœ01 œœ00 April 2014 œ œGuitarTechniques œ œ 93 œœ201 œœœ œœœ02001 œœœ02001 œœœ02001 œ œ œ œ œ œœœ œ . it’s a simple strummed A minor chord to get us going. The idea here is that this chord. the V chord of A (also favoured by John Lennon . can handle all this tension before releasing back to the much more settled I chord of A minor. the tense sounding E7#5 (also known as an E7 augmented).LEARning ZonE PAUL WELLER EXAMPLE PAUL WeLLeR ACoUStIC cd track 80 [Bar 1] Nothing to contend with here.a big influence on Weller). 0 1 1 1 1 1 new to the sound of this one it may take a while to adjust.. ˙˙˙ . but listen to it in E 0 0 0 0 0 theBcontext of the whole piece and 1 1 it1sounds 1 wonderful –1 another example G ‘tension and release’ 2 2 2 2 2 of the effect. ˙22 .. If you are œ 0 2 2 2 2 0 0 13 Am & E B G D A E 2 œ 0 œœœ œ œœœ œ 0 1 2 2 œœœ œ œœœ œ œœœ œ 0 1 2 2 0 1 2 2 0 1 2 2 œœœ œ œ œœœ œ 0 1 2 2 0 2 3 œœ œœ œœ œœ 1 0 2 1 0 2 1 0 2 0 1 0 2 1 0 2 1 0 2 ON THE CDA m TraCks 80-81 A9sus4 œœ œœ œœ œœ œœ œœ œ œœ œœ œ œœ œœ œ 0 0 0 2 2 2 2 0 œœ œœ œœ œœ œœ œœ œœ œœ cd œ track œ œ 80 œ [Bar 30] Here’s another useful change you can make to the open position A minor chord.. ˙˙˙01 .G D A E 0 9 1 0 2 1 0 2 1 0 2 1 0 2 1 0 2 0 1 0 2 1 0 2 1 0 2 1 0 2 0 lesson: acoustic œ œ œ œ œ Am œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ EXAMPLE PAUL œ WeLLeR ACoUStIC ... ˙. D A E œœ œœ 1 0 2 2 2 0 œœœ œ œœœ œ œœœ œ 0 1 2 2 0 1 2 2 0 1 2 2 # E7 5 œ # œœœ œ œ œœ œœ œ 0 1 1 0 2 0 17 2 2 2 2 2 2 E7 œœ œœ œ œœ œœ œ œœ œœ œ œ # œœœ œ œœ œœ œ 0 1 1 0 2 0 1 1 0 2 0 1 1 0 2 0 0 1 0 2 0 0 1 0 2 œ b œœœ œ b œœœ œ b œœœ111 0 1 œœ œœ œœ œœ œœ1 œœ11 œ œ œœœ œ œœœ œ œœœ01 œ2 2 2 0 œœ œœ œ 2 2 0 2 2 0 œœ œœ œ œœ œœ œ œœ œœ œ 0 0 1 0 2 0 0 1 0 2 0 0 1 0 2 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ1 œœ11 œœ œœ œœ œœ œœ1 œœ11 œœ œœ œœ œœ œœ00 œœ0 œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ01 œ2 œœœ œ œœœ œ œœœ01 œ2 œœœ œ œœœ œ œœœ01 œ2 2 Acoustic 2 Acoustic Fmaj 7/C 2 Acoustic œ œ &Fmajœœœœ 7/C œœœœ œ œ &Fmajœœœœ 7/C œœœœ œ0 œ0 & œœœ12 œœœ12 œ303 œ303 œœœ œœ œœ œœ œœ œœœ œ œœœ œœ œœ œœ œœ0 œœœ1 œ23 œœœ œœ œœ œœ œœ0 œœœ1 œ23 œœœ œœ œœ œœ œœ0 œœœ1 œ23 œœœ œœ œœ œœ œœ0 œœœ1 œ23 œœœ œœ œœ œœ œœ0 œœœ1 œ23 œœœ œœ œœ œœ œœ œœœ œ œœ &Cmaj7 œœœ œœ &Cmaj7 œœœ œ0 & œœœœ00 2 0 3 œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ00 œœœ0 2 œœ œœœ œœ œœœ œœ00 œœœ0 2 œœ œœœ œœ œœœ œœ00 œœœ0 2 œœ œœœ œœ œœœ œœ00 œœœ0 2 œœ œœœ œœ œœœ œœ00 œœœ0 2 œœ œœœ œœ œœœ œœ œœœ E B G D E A B E G 21 D E A B E G 21 D A E 21 E B G D E A B E G 25 D E A B E G 25 D A E 25 1 2 3 3 0 1 2 Cmaj7 3 3 0 0 2 3 0 0 0 A m7 2 3 & A m7 œ & A m7 œ & œ0 E B G D E A B E G 29 D E A B E G 29 D A E 29 0 0 1 2 3 3 0 1 2 3 3 œœ œœœ œœ œœœ œœ00 œœœ0 2 0 3 0 0 2 3 0 0 0 2 3 œœ œœ œœ œœ œœ01 œœ0 2 0 1 0 2 0 1 0 2 œœ œœ œœ œœ œœ œœ 94 GuitarTechniques April 2014 0 3 1 2 3 3 0 1 2 3 3 0 3 0 0 2 3 0 0 0 2 3 œœ œœ œœ œœ œœ01 œœ0 2 0 1 0 2 0 1 0 2 0 3 1 2 3 3 0 1 2 3 3 0 3 0 0 2 3 0 0 0 2 3 œœ œœ œœ œœ œœ01 œœ0 2 0 1 0 2 0 1 0 2 0 3 1 2 3 3 0 1 2 3 3 0 3 0 0 2 3 0 0 0 2 3 œœ œœ œœ œœ œœ01 œœ0 2 0 1 0 2 0 1 0 2 0 3 1 2 3 3 0 1 2 3 3 0 3 1 2 3 3 0 1 2 3 3 0 3 0 0 2 3 0 0 0 A7sus2 2 3 A7sus2 œ œ A7sus2 œ0 0 0 0 3 0 0 2 3 0 0 0 2 3 œœ œœ œœ œœ œœ00 œœ0 2 0 0 0 2 0 0 0 2 œœœ œœ œœ œœ œœ0 œœœ1 œ23 0 3 1 2 3 3 0 1 2 3 3 œœ œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœ0 œœœ1 œ23 œœ œœœ œœ œœœ œœ00 œœœ0 2 0 3 0 0 2 3 0 0 0 2 3 0 3 1 2 3 3 0 1 2 3 3 œœ œœ œœ œœ œœ00 œœ0 2 0 0 0 2 0 0 0 2 b Dm7 5 œ b œœœ b œ Dm7 b œœœ b 5 œ b œœœ111 0 1 œœœ œœ œœ œœ œœ0 œœœ1 œ23 œœ œœœ œœ œœœ œœ00 œœœ0 2 0 3 0 0 2 3 0 0 0 2 3 0 3 1 2 3 3 0 1 2 3 3 œœ œœ œœ œœ œœ00 œœ0 2 0 0 0 2 0 0 0 2 Dm7 5 1 1 0 1 1 A1 0m œœ œœœ œœ œœœ œœ00 œœœ0 2 0 3 0 0 2 3 0 0 0 2 3 Am œ œ Am œ0 œœ œœ œœ œœ œœ00 œœ0 2 0 0 0 2 0 0 0 2 œœ œœ œœ œœ œœ1 œœ11 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ1 œœ11 œœ œœ œœ œœ œœ1 œœ11 œœ œœ œœ œœ œœ1 œœ11 œœœ œ œœœ œ œœœ01 œ2 œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ01 œ2 œœœ œ œœœ œ œœœ01 œ2 œœœ œ œœœ œ œœœ01 œ2 0 1 1 1 0 1 1 1 0 2 0 1 2 2 0 0 1 Am 2 2 0 Am œ œ Am œ0 0 0 œœœ œ œœœ œ œœœ01 œ2 2 0 1 2 2 0 1 2 2 0 1 1 1 0 1 1 1 0 2 0 1 2 2 0 1 2 2 œœœ œ œœœ œ œœœ œ 0 1 1 1 0 1 1 1 0 2 0 1 2 2 0 1 2 2 œœœ œ œœœ œ œœœ01 œ2 2 0 1 2 2 0 1 2 2 0 1 1 1 0 1 1 1 0 2 0 1 2 2 0 1 2 2 œœœ œ œœœ œ œœœ01 œ2 2 0 1 2 2 0 1 2 2 0 1 1 1 0 1 1 1 0 1 1 0 1 1 1 0 œ0 2 0 1 2 2 0 1 2 2 0 œœœ œ œœœ œ œœœ01 œ2 2 0 1 2 2 0 1 2 2 0 œ œ œ0 0 0 ˙˙˙ . ˙. this A7sus2 (which you could also label Em/A) is neither major 0 0 0 0 0 0 0 0 0 nor minor so 1 adds a nice 1 ambiguity 1 1 to proceedings... 0 1 2 2 0 1 2 2 0 1 1 1 0 1 1 1 0 2 0 1 2 2 0 1 2 2 0 1 1 1 0 1 1 1 0 2 0 1 2 2 0 1 2 2 0 0 0 0 0 0 0 0 0 2 0 1 2 2 0 1 2 2 .CONTINUED œ & œ œ œ [Bar 23] Get your ears ready for this dark sounding Dm7b5 chord.. This fusion is made possible by the vocal talents of Sky Hunter. We particularly like Hammerhead. A Day In The Life and the slide guitar on Angel (Footsteps) but it’s all brilliant.Music Reviews WhAT our rATings meAn: HHHHH Buy it HHHH Excellent HHH Good HH Average H Bin it! New Albums A selection of new and reissued guitar releases. their first official release. this series is fantastic for the hardened fan but will do little to encourage new listeners. but their potential could be even greater than both. This video is imaginatively shot from on and off stage with plenty of close-ups so you learn a few things as you get drawn right into this stunning performance. The title track and Play Ball have both been released as singles and serve well as a taster for this follow-up to their 2008 album. The material is strong with a lot more emphasis on rock than ballads and we particularly like Save It For A Rainy Day.which is very representative of this album but by no means the best track in our opinion. ably assisted by bassist Steve Briggs and drummer Rob Glasner. the hard hitting Drink It Up and the stomping title track with its practiced guitar solo. including Album Of The Month. They will tour again in 2015 with Stevie but whether the recently drugs busted Phil Rudd will also be involved. so there’s plenty of Young DNA still present. he’s amazing!” The concert kicks off with Loaded which demonstrates how much you can put into an instrumental that sits on one chord.that said there’s nothing but Angie from the earlier days. Yes he’s been around for a while but he’s still a force to be reckoned with when it comes to playing great guitar. with the rest of the band still intact from the early days. Give this one a listen. Jeff has an amazing ability to take songs like Little Wing and turn them into his own instrumentals. Guitar duties fall to Gareth Annable. It certainly works. This tight and powerful British quartet released a self-titled EP in 2012. While this will definitely appeal to the hardened fan it also provides a great chance to discover Kenny Chesney for yourself. AC/DC REVIEWS BY ROGER NEWELL roCk or BusT Columbia HHHH Although it’sbeen a rocky time for the band this finds AC/DC still playing like they mean business. Keith Richards seems very happy with Ronnie in the band and both guitarists do a great job on solos and in recreating the recorded Stones sounds . StoneWire When The CroW Flies 22:11 Records HHH This debut album from StoneWire is a cool mixture of Southern American blues and good old-fashioned British rock. ex Prince and funky as they come. second guitar was played by Stevie Young who is the nephew of Angus and Malcolm. Of his band Jeff comments “Nicolas Meier is a great guitar player. Noah and Graham this is essentially mainstream pop but the difference here is that they sound like a band rather than the over-produced singles that currently dominate the airwaves. in spite of saying that this is likely to be their last album. Fronted by female vocalist Sydney Sierota and supported by her brothers Jamie. opened for Michael Schenker during the Swedish section of his Temple Of Rock tour in 2013. Kenny has gradually been slipping away from his southern rock country roots but now he’s back loud and proud with eleven April 2015 GuitarTechniques 95 . American Kids was released as a single in the States and sold wel. however much of the material was drawn from earlier recording sessions so he is actually on the record.. Brian. Ice. If this does prove to be their very last studio album then it stands as a solid testament to one of the greatest rock bands that has ever existed. she’s my anchor. This is from their Tour Of The Americas ’75 and it’s their first tour with Ronnie Wood who had recently replaced Mick Taylor on guitar. and has finally produced this album of eleven original songs. Jamie’s guitar work is good and he adopts some unusual sounds here and there and neatly demonstrates that you can find a niche in music whatever age you are. Sony Music HHHH Every now and again you just need to hear some down to earth country rock guitar and for that this latest studio album from Kenny Chesney has got to be one of the best. Bassist Rhonda Smith. Things improve as the concert moves on but this is still a raw sounding era for the band. Still more blues influenced than soul at this point in time. full of emotion and laced with guitar trickery that leaves you spellbound.. percussion.l and like much of this album shows a move to appeal to a younger audience. Along with Angus. However the restoration job on this is excellent so it’s a very worthwhile project. If this is what our kids are going to listen to then things aren’t all that bad. The band performed five nights at the Forum and this one opens up with a rather raw version of Honky Tonk Women. remains to be seen. A setlist commentary and an interesting band-on-band interview are included. eChoSmith TAlking DreAms Parlophone HHH Echosmith is a young quartet based in Los Angeles and their video of Cool Kids (included on the album) has had over nine million hits on YouTube and that could well translate into a huge selling album. Where Were You. Black the rolling StoneS lA Forum – live in 1975 Eagle Vision HHH This is part of the new series of live performances from The Stones that have been given a video and sound ‘makeover’ for this. We suggest you check out Southern Honey for a better idea of what the band is really capable of. an accomplished player who can really punch out high-octane riffs and solos. she also has the enviable ability to project her voice way over the hard delivery of the band. Try and get a listen to the single pull Favourite Bitch . Kenny CheSney The Big revivAl great tracks and a bus-load of guitar solos. it’s packed to the rafters with guitar expertise. more a jazzer but with an eastern flavour. There are other players too. brass and both Ian Stewart and Billy Preston on keys. Sky is a great personality and at times sounds a bit like Robert Plant. Sadly Malcolm Young is not directly involved due to his medical condition. Album of the month Jeff Beck LIVE IN TOkYO Eagle Vision HHHHH Shot at Tokyo’s Dome City Hall this comes with much expectation from Beck’s fans. They could be seen as an American alternative to Denmark’s Alphabeat or Sydney as a new Avril Lavigne. and drummer Jonathan Joseph has a bit of Billy Cobham and a bit of Vinnie. Taking a break in his heavy touring schedule earlier this year he slipped into the studio to record his 15th album. The songs are well constructed with a slightly quirky element but immediately catch the ears. Cliff and Phil for this recording. or hammering-on to. but only happens once at the beginning of the written pitch. This indicates a gradual. mordents and grace notes: common in guitar playing ABILITY RATING Easy/Moderate Info WIll IMprovE your Key: Various Tempo: 80 bpm CD: TRACKS 82-87 Notation reading Fretboard knowledge Employability! This monTh we will add some symbols which can be assigned to any note to add interest to melodies without necessarily having to write in more notes.. Finally we will use glissandos to slide smoothly between melody notes. then go down a scale note and finally return to where you started. The written pitch of the note is always assumed to be the lower note of the two trilled notes and the higher note is either a semitone or a tone. Glen Gould (Sony) and the harpsichord version by Pieter-Jan Belder (Brilliant classics) are well worth checking out. go up to the next scale tone. a note. A ‘turn’ is shown as a wavy horizontal line similar to an ’s’ and is essentially a more complex ‘mordent’. but the speed of alternation is essentially left to the musician to decide. secondly we will see how appoggiaturas and acciaccaturas are used to precede written melodic pitches with different types of grace notes. A ‘mordent’ is shown as a short horizontal zig-zag line above the note and is similar to a Brought to you by. 96 GuitarTechniques April 2015 . but we suggest try the piano versions performed by Sviatoslav richter (rca Victor). depending on what is diatonically appropriate. the grace note starts on the beat and lasts for exactly half the duration of the note it precedes. appropriately enough the idea is to squeeze in a quick extra note before an existing written one. Remember to test your reading skills by looking at other articles in GT too! NEXT MONTH: Charlie continues on his quest to get you Reading Music Track rEcOrd For perfect examples of trills.. we will start with three methods of embellishing melodies with trills. trill in that it involves a rapid alternation between the written pitch and an adjacent higher diatonic note. Many great recordings of this masterpiece exist. Finally we have the glissando symbol . written above the note to be trilled is the generally accepted method of indicating this technique. although technically they have no exact mathematical value. Trills. Trills are a common ornamentation on the guitar involving rapidly alternating between two notes. The duration of the trill is indicated by the note value itself. mordents and the like. after playing the initial note. this originates from classical composers such as Bach or Chopin who were prone to writing ornate melodies. then return to the original pitch. continuous glide from one note to the next . Trills are a common guitar ornamentation and involve rapidly alternating between two notes. but who developed a kind of short-hand to keep the page cleaner. Placing a short vertical line through the centre of the mordent and turn symbol reverses the sequence of notes. look no further than Bach’s Well Tempered clavier. in this case.a wavy line between two notes. in the case of a ‘turn’. on the guitar this is typically played as a quick hammer-on and pull-off. ‘Acciaccatura’ is from the italian verb ‘to crush’.slide a finger up or down the string. They are shown on the notation as small quaver notes with diagonal lines through them and are intended to be played a fraction of a beat before the main note. A simple tr.lesson: rockschool ON THE CD TraCk 82-87 Reading Music PArt 9 Use of Ornaments this month Charlie Griffiths continues his series on sight reading with a look at special ornaments used to add extra colour to musical phrases. A ‘gliss’ is slower and more deliberate than a slide which is a little quicker. mordents and turns. The ‘appoggiatura’ looks similarly small but does not have a diagonal line ‘crossing out’ the quaver note. or use the whammy bar to control the pitch. the single written note actually becomes a sequence of five adjacent notes. The next two ornamentations are commonly referred to as ‘grace’ notes on the guitar and are very commonly used when quickly sliding into. For the second two bars invert the mordent For the first two bars add a mordent by quickly hammering-on and Ex 2 Expulling-off 1 Trills to the next highest note from the key of A minor. mœŸ ~~m m m Tœ T Tœ T œ œ œœCharlieœœ Griffiths œ MŸ ~~M M M T œ œ œ Tœœ Tœœ Tœœ œ READING Part 9 Ÿ ~~ M M M M Tœœ T Tœ T .œœ jœ œœœ œœ œjœ œœœ ~ ~ ~ ~ ~~ . semitone trills use your first and second fingers. add the next highest adjacent trills use your first and third fingers. œ œ M .œ œ œ . œœ ~~~~~~~~ œ ~~~~~~~~œœ ~~~~~~ Ex 3 Turns & Inverted Turns Ex Mordants & Inverted Mordants & Appoggiatura Ex 245 Acciaccatura Glissando ©»•º T m mT mT mT m T mT ~m~Tjœ ~ T œœjœ ~œ~~œ~~~ œœ œ~m 4 œ ~œ~~~~ j œ œ j œ .œ3œTurns j . & 4 . . œ œ READING œ .. cdœ tRack ~~ œ 85 consists of ‘appoggiaturas’ which are played on the downbeats and are worth exactly half the value of the following note. &4 April 2015 GuitarTechniques 97 .. ~ 4 œ ~ œ ~ œ œ œ ~ ~ & ~~~ œ ~œ~~~~~~ œ &~AppoggiATurA & 44 . .. 4œœAcciAccATurA ExAmplE The first bar here consists of ‘acciaccaturas’ played just before the downbeats.. ©»•º ~~~~~~~~~~~~~~ 4 ..... œ jœ œ œ œœ & inverTed œ & 44 .again within the A minor scale. œœ œ ~œ~œ~~~~~~œ œ ~œ~~~~~ œ œ ©»•º ~~~~~œjœ ~œ~~~~~~ . ~~~~~~~~~~~~~~ ~ jœ œ ~~~~~œjœ ~~ 4 j . . cd tRack 84 ExAmplE Turns j œ œ œ . œ œ œ & 4 œ Part 9 For the first two bars add a ‘turn’ to each note by hammering on to to create a five-note melody . Ex 1 Trills ©»•º Ÿ~~ & 44 .œ ~œ ~~ . œ œ . 5 œglissAndo ExAmplE play the notes in the first bar with your first finger and gradually ‘blur’ the notes into each other with slow ascending slides. Tœ mTMAGAZINE GUITAR 4TECHNIQUES & 44 œ œ œ œ &4 œ œ by pulling-off and hammering-on to the next lowest note.. ~ ~ œ œ œ ~ j œ œ ~ œ œ ~~~ œ œ~~~~~~ ~. ~ ~ ~ ~~~ ~ ˙ œ œ ~œ~~~ œ ~~ & 4 . ©»•º T T T T T T ~Tœ T T T T T T ~~~~~~~~~~~~~~ T T T ~ ~ ~ ~ j ~ ~ ~ ~ œ œ j ~ ~ ~ . Ex Ex 1 Turns & Inverted Turns Ex 23 Trills Mordants & Inverted Mordants Ex 4 Acciaccatura ©»•º TŸ ~~M M mTŸ~~mT& Appoggiatura mTŸ ~~mT mT m T T M T M T M T T M T M Ÿ ~~ M m T T T m œ œ ©»•º œ œ œ œ œ . Use hammer-ons and pull-offs to READING note guided by the key signature of A minor [A-B-C-D-E-F-G]. œ œ œ& inverTed œ MordenTs œ œ ExAmplEœ2 MordenTs œ œ 83 œ & 4 READING Part 9 the initial note to sustain. Charlie Griffiths m M M m m m œ œ œ œ œ œ œœ Mœ Mœœcd tRack & 4 ... then allow Ex 2 Mordants & Inverted Mordants Ex 3 Turns & Inverted Turns ©»•º m Ÿ~~ mœTœ m2œT4 1 ©»•º . and for whole-tone Think of les paul for semitone trills and Hendrix for whole-tone trills. œ œ ~ 4 œ œ œ ~ ~ j ~ ~ œ œ ~ ..Mœ˙ ~~~~~~~~~~~~~~ œ œ œ . cdœ tRack 86.œ œœ ~œ~~œ Mœ..USE OF ORNAMENTS GUITAR TECHNIQUES ExAmplE 1 Trills MAGAZINE 2 4 1 LEARNiNg ZONE cd tRack 82 Charlie Griffiths For the notes marked with “tr” above.. The second bar Ex Ex 3 5 4 Turns & Inverted Turns Glissando Acciaccatura & Appoggiatura Ex 5 4 Glissando Acciaccatura & Appoggiatura TŸ ~~M M T T T .œ œ ~œ~M~œ~~~~TM~œ.. Trills & Inverted Mordants Ÿ~~ ©»•º Mordants Ÿ ~~ Ÿ ~~ Ÿ ~~ ©»•º M m m M œ GUITAR 4TECHNIQUES MAGAZINE 241 m m M . T M T T M T M T M T . For Part 9 alternate between the two notes as quickly and evenly as possible.. TŸ~~mT mT mT m TŸ ~~mT mT T m œjœ œ œ ~~œœjœœ ~œ mœ . œ œ GUITAR 4TECHNIQUES MAGAZINE 2 4 1 œ œ œ œ œ CharliejGriffiths œ œ œ œ . œ œ GUITAR TECHNIQUES MAGAZINE 2 4 1 Ex 1 Ÿ ~~ Charlie Griffiths œ œ Ÿ ~~ œ READING Part 9 œ Ÿ ~~ œ œ .. Next play the Ex 5 Glissando notes in the second bar with your third finger and gradually ‘blur’ the notes into each other with slow descending slides. œ œœ œ œœ ..œ ~œ~~~~~~~. œ œ ~~ ˙ .œ œMœ ~~~~~ œ ~~~~~ TŸ ~~ M T M T M T M œ œ œ œ . For the the adjacent highest note. play these as very quick hammer-ons. œ ~~~~~~~~ œ ~~~~~~~~ œ ~~~~~~~~ œ ~~~~~~~ œ ~~~~~~~~ œ ~~~~~~ ~ ˙ . then pulling off to the adjacent lower note Ex 1 3 Trills Turns & Inverted Turns Ex Mordants & Inverted Mordants Ex 24 Acciaccatura & Appoggiatura Ex 5 Glissando ©»•º ©»•º ©»•º44 & &4 & 44 second two bars ‘invert’ the turn by playing the pattern in reverse.œ ~~~~~~~~~~~~~~ œ .. œ œ~TM~œ~~~ .˙ œ œ . . œ ~ ~ . Film. don’t miss this fabulous guitar lesson! other great lessons Carlos Santana Learn how to play like this guitar legend The Doors Check out the cool style of Robby Krieger Robben Ford Cop the licks of the King of Jazz-Blues! Rory Gallagher The secrets of his amazing acoustic style plus all this… Mix alternate picking with string
[email protected]@futurenet.NextMoNth The wOrld’S beST guiTar leSSONS… transcription #1 feature QueeN rOCK’N’rOll rhyThMS Steve Allsworth tabs one of Queen’s greatest hits featuring some truly memorable Brian May guitar parts. david. The Ambury. BA1 1UA. All rights reserved. 25 ESSENTIAL LICKS! Add these indesposable licks to your lead guitar repertoire and take your playing to the next level. John Wheatcroft adverTiSiNg advertising enquiries: Alison
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