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Vernon Reid ‘Mistaken Identity’ The Living Colour guitarist strikes out on his own witha highly Individual solo project Easy Like... oy Orbison Oh Pretty Woman Jazz Standard ‘Skylark ‘A-Z Of Great Rifts E: Tho Eagles Unplugged Giuliani Andante In C Smash Hit Tha Knack My Sharona Pear! Jam Ave Shaun Baxter's Beyond Rock Sting La Belle Dame Sane Regrets Geoff's Blues Led Zeppelin Since I've Been Loving You Hot Country Putting The E” In Country Intro Trading Lines Readers’ letters Stay Tuned... News news news Cue & Review Ths latest atch of CDs, videos and books ‘Subscription Offer Suostibe to Grand weillsend you a video or Gultool Pet Sounds Robert Fripp Net News ron the internet Terms And Signs “Tho key 0 G72 music tab notation symbols No Pain No Gain? ng pain or discomfort A Traveler guitar ‘A Tribute To Stevie Ray Vaughan’ Videos tar erage audio 2 Intre And Tuning Notes (© 1996 Widela Music 8 Geoff's Blues: Led Zeppelin — Since I've Been Loving You P86 © 1996 Geof Whitehom 4 Geoff's Blues backing track P 86 © 1996 Geol Whitehorn 5 Phil Hilborne’s A-Z Of Great Riffs: The Eagles P 36 (© 1996 Widele Music 6 Easy Like... Roy Orhison/Van Halen versions — Oh Pretty Woman P16 Lesson by Guthrie Govan (© 1996 Guthrie Govan ~ this lesson (© 1996 Widdle Music ~ this recording 7 Jaz Standard: Skylark P30 (© 1996 Frank Evans (his arangement) 8 Pearl Jam — Alive P 64 Lesson by Dave Kiiminstor (© 1995 Akatsu Musio ths lesson (© 1995 Widele Musi — this recording 9 Alive backing track P 64 (© 1996 Widdle Musio 10 Hot Country P 90 Lesson by Lee Hodgson © 1996 Lee Hodgson ~ this recording (© 1998 Widela Musie~ this recording 11 Shaun Baxter's Beyond Rock: Sting — La Belle Dame Sans Regrets P 74 Lesson by Shaun Baxter (© 1996 Shaun Baxter this lesson (© 1996 Widele Music ~ this recording 12 Unplugged: Giuliani — Andante In G P.42 Lesson by bald Moad \© David Mead — ins lesson (© 1996 Widela Music — this reeoraing CCD produced, compiled and ecited by Phil Hiborne. Mastered by Eddie Allen, Recorded ‘and mixed by Phil Hibome at Widdle Music ‘Studios, Essex = iracks 2,5, 6,8, 9,10, 11 and 12 (© Widdle Music 1986; Loading Inetructone: 1 RAMP Directory: CD-ROM only Do not attempt to play this track on audio equipment! r Macintosh: cx on Ramp CD ion onthe desitop, Run te Pret Windows 3X: con Fle choose Pu om the Program anagor— {pe inet otyour CD-ROM ave Yoloned by AMPLE (og D:FAME EXE) then con OK SO) Wincows 95:ciekon START = hose RUN-jypein theft of your co i OWlve elovedy RAMPENE (e0D'\RAUPEXE) - hen cick OK ss Two distinctly different Oe CO En ora aoe ea versions of one of the classic guitar riffs of all time... Oh Pretty Woman | Pretty woman, walking down the street ratty woman, the kind | ke to meet Pretty woman | | don't believe you, youre notthe truth | No one could leok as good as you Pretty woman, won't you pardon me | Pretty woman, Icouicn't help but 86 | Pretty woman | ‘That you look lovely as can bo ‘re you lonely just ike me Ree Cae aes >is a ch mw Tenn aii ee ore | cartumnie ey sore eur | Pretty woman, don’t walk on by |e ee | ae oof ea oe Sitar we) foeabe oy eee ere mice are eae ca oats Is she walking back to me ‘Yea, she's walking back to me ‘Oh, oh, pretty wornan Glar Retaiget © Ootober 1096 oT rd re east Pease can ‘SONG STRUCTURE - Roy Orbison Version INTRO (in A major) ree fest = RIFF 2 tm ler | Z t VERSES 1 & 2 fi [ia Fam go je v. 1 5 Gi | RIFF Za eZ y a CHORUS (change to C major) (198) mg jeer [cc Am Dee Gmaaic (aera ES BA s BRIDGE (back to A major) [] ia Fim |Dm |E A Fim [Dm RIFFi] 7% Wa eZ VERSE 3 8] A Fim [A Fim [§ > [he ae Zi w 5 = meee ea ee ee ENDING (2as] 2) § RIFF 2 Lx I RIFF 1 L L L 7 a Th a a Z Vom GAS ve] = Iny-two seconds into Roy Orbison's version of this ong. 1o Papformmance Notes ‘makes the best suggestive ‘purring = which’ may have played some und evar commited to Vinyt In propeling the track to the top of the UK charts in 1964, amidst the full fervour of Beatlemania. Well, okay ~ maybe it was just a catchy song! taken the bulk of this month's examples from the orginal version, but tho final two, are cull trom Van Halon's cover of the tune, which can be heard on their 1982 album, ‘Diver Down’ October 1996. Gitar Testes Don't worry too much about equipment; the original Oh Pretty Wornan features an acoustic 12-sring guitar but the CD lesson was recorded using a regular 6-string electric with a clean sound ~ the main rift sounds instantly recognisable on vinually any guitar. Tho song structur is slightly unorthodox so I've writen it out in fl. 1 would suggest trst mastering the indvidual examples and then sloting ‘tham into the structura as indicated on the chant. 7 CASY IKE... On Pretty Woman - Roy Orbiion > Ex 1 features the two main ffs in the song. Fiff 2 outlines an E7 arpeggio, while aif 1 suggesis E9. In each caso tho G, atthe 3rd frets a grace note, soit should be played for a8 shor a time as possible ~ try to pick the G and immediately slide up to the G# at the: fourh et ext into {Gram count in i RIFF 2 Don't be alarmed by the 6/4 timo signature in bars 1-2 (labelled ‘Riff 2’); this simply ‘meane that the bar is six beats long rather than the more common four beats so just remember to hold the long D note for four ‘whole beats before going back tothe start of the rif. (The CD should help here.) RIFF VERSE ADDITIONAL CHORDS FOR BRIDGE Fem bm el 2a ALTERNATIVE CHORDS FOR VERSE, BASED ON PIANO PART a Caan Teciqes © October 1986, fe} IS > Ex 2 deals with the base verse part and Ive written out an appropriate strumming rhythm fo it based on the first verse ofthe orginal. Note that Ve 1 ends with four cycles of Rif 1 belore going ‘back to A for the second verse. Corre ee kaka x2 VERSE nae fen aed ‘ pono mong alos gies iss VERSE 2 mas cA Vs 2'ls much the same as its predecessor, but note thet it ends with three cycles of iff 1 and then a bar of major strums, to lead into the chorus. Ex 3 demonstrates this. x3 ENDING FOR VERSE 2 —cHorus (80) otss iss a 2 s s ch E (—bm) 10 Gitte Teaimue © October 1996 er een nial lla 5 3 has yet another ending, Dispensing with Ff 1 altogether, features three bars of sttummed major, then two bars of silence before leading back to iff2; sae Ex 4 x4 ENDING FOR VERSE 3 ia (FH) For bitofadlional interest, x5 is an adaptation ofthe plano part heard in the verse. Note that thase need to be played with particular attention to the timing, and they should be cut off by releasing the left hand's grip onthe strings, fora ‘stabbing’ sound, x5 ADAPTION OF PIANO PART FOR VERSE1 [eae] gh------- A Fim a Fim ‘THE ENTIRE LINE OF SKB CASES IS WORLD FAMOUS FOR LUNSURPASSED PROTECTION AND GREAT VALUE. SKB PROVIDE MAXIMUM. DURABILITY, SUPERIOR CCRAFISMANSHP, INPACT RESISTANCE AND AESTHETIC APPEAL SMe on = Gy Ex 6 takes us into the realms of the chorus part. On the original, these chords ave played with a tremolo effect ~ ie one that constantly raises and lowers the volume level of the instrument to Create a ‘wobbling’ sound. (The effect was featured on some vintage amps, often misleadingly dubbed ‘vibrato") However, the chords sound fine without tremolo and technically they present no real problems. in bar 40, simply hold own the © chord from the previous bar and try to let the picked notes ring info each other as much as possible. x6 CHORUS PART Tras] Dm or c or ‘The next two examples are alternative rythm ideas for the chorus ~ Ex7 is a strummed part and Ex 8 Is the same apart from tha percussive rake in the latter half of beat 1, which is best approached as a siowed-down strum, aiming to reach the high A note right at the start of beat 2 fora "idy’ sound, Ex7 ALTERNATIVE RHYTHM IDEA FOR CHORUS en nt Som or a cA Am Dm a (Fim har Twigs @ October 1996 e IKe On Pretty Woman - Koy Orbison > exe vanmrononex7 manny Sapa y Pine Sas eae Dm 7 Ex ie the bridge part for the song. Aside from the chord shapes this has much in common with Ex7, buti's worth trying the rhythmic ideas trom Ex 6-8 here to see which sounds best fo you. x9 BRIDGE PART [ae] a " = cA Ex 10 covers tha ending of the song. As you can see, this part requires an abundance of Fi 1 ‘and I've wien out the part in fll forthe sake of completeness. However, note that the CD lesson Cmts bars 77-85 and demonstrates the example from bar 6, to save space, & Cottar Techaiayes @ October 1986 ee ena mL ee x10 ENDING [as] é g| 5| 8 = ample starts here gis Now that we've dealt with all the component parts ofthe original version | thnk its ie to have @ look at some of the Van Halen version! This requires a heavily overdriven sound (with a splash of chorus it possible) and the band tuned down a semitone for the record: ‘he CD lesson, however, s at concert pitch, so these tial examples will make more sense in the contex of the earl ones. Ex 1 isa transcription of the intro and fist verse of Eiie's guitar pat. Note thet there are no 6!4 bars here ~ Ff 1 has been stretched to fil two normal bars of 4/4 giving a bit of ‘extra space (whichis filed in with some whammy bar histionics in bars 2 and 4), ‘The verse part starts at bar 8 and from this point to the end of the example you might ‘want to experiment witha softer pick attack or backing of the volume pot a itt to prevent things from sounding to cluttered, PERE OR AAER SERIES SOME e sol COTM ewe ey ee CLL October 1996 @ Chir Tecaget 16 CASY HIKE... On Pretty Woman - Van Haten > Ex 11 TYPICAL INTRO & VERSE PARTS. Nathame TA gle FROM VAN HALEN VERSION eth aise O° TA ghee 15125 feet 4 7 (Detuned 4 senitam| © snvecor MY———1_/ = CO, lighter MU ‘Aeuea Fmt ‘Asus2 Fimtt > Eo Finally, here's Ex 12 ~ the chorus part a la Van Halen. Note how Ede acds effective tits in bars 4 and 12, and how bar 3 features a 3-over-4 rhythmic displacement idea, landing on the Am chord ‘a beat early fora ‘pushed’ sound, > t Gitar Techaigyes @ October 1996 PRS V | COM cco cen CO tN > x12 TYPICAL CHORUS PART FROM VAN HALEN VERSION 8 HPOHPO Let ring throughout © Gsus4B Am(sus2) ass co MU co SHPO HM POH PO Dm GS Gsusw/e Am(sus2) lis \ MU S |[tobridge om Hopefully, these examples should glva you some ideas about how to come up with your own Interpretation ofthis classic song. Take care and I see you next month with something altogether diferent! EB Oh, Pretty Wornan Words and Music by Roy Orbison and Bill Dees Copyright © 1964 (renewed 1992) Barbara Orbison Music Company, (Orbi-Lee Music, F-Key Dargus Music and Acuf-Rose Music, In. Intemational copyright secured. Allrigts reserved. wa Cathar eciges @ October 1996 by Hoagy Carmichael and Johny Mercer Arranged. by Frank Evans Another perfectly Frank arrangement of a classic song! his is one of Hoagy Carmichael greatest songs. He was way ahead ‘of his time as @ pianistcomposer playing with such greats as Bix Beidorbacke and also appearing in feature films ofthe late 90s-40s. “The list of jazz people who have recorded this song is endless. However ‘one that comes to mind is a CD “Seven And Seven’ by George Van Eps and Howard Alden playing 7-string guitars (on Concord CCD 4584). If you get problems obtaining t try ‘Music Matters, a specialist jazz record shop. Tel: 01226 427404. Performance Notes This is the usual 32 bar song with some ‘adventurous twists of melody and harmony ~ just what one needs for arranging! The intro is fa whole tone scale starting on tho flattoned fith of 847 (le E). There are quite a few ways of fingering this run but | prefer three notes on teach siring moving the hand up through the positions. You may find using the third finger tather than the second as marked easier, but that's the way | prefer for extended fingering. Bart ‘These ‘close voiced’ chords are effective but ‘on the CD | used the following, adding an fextra note on the fourth string. As ifs quite a stretch | omitted them from the manuscript ‘See below the extra notes used: vat cord ae = Bord ‘The descending major chords are effective bout here again the A, Isa stretch If its too ‘much use this one: m Thane Bars ‘The Ey maj7 makes a nice substitute raising ‘chromatically to the F7. AS I've sald before ‘always look out for surprise changes. Letter B Bar 17 Here I've dispensed with two melody notes in favour of passing chords Fm7 Cm7 F749 leading nicely on to Bhm7 in Bar 18. The melody line here drops an octave falling easily under the fingers. Hold the E57 whilst playing the last three quavers, Bar19 Here again the use of passing chords adds colour tothe bar. The C7 in bar 20 takes the ‘melody lin back up to the original octave. Bar 2 ‘The triplet after the Fm9 should be played individually not as a held down chord. The 47 | think is the chord which Hoagy Carmichael would have played rather than the ones shown in the load shoot Bar 23 This raising of the key a major Sr from E> to G gave me a chance to play the melody Jn natural harmonics In positions 7 and 12 ‘making a pleasant change from ‘stopped’ notes. Another surprise in bar 32 using By maj? followed by a &maj scale in place of E. Letter D This section, based on the middle eight ot the song, Is intended to present some ideas ‘on how to follow the harmonies without 8ing the thread of the melody. Follow the fingering carefully, ital falls nicely under the hand. In bar 40 here was a chance to use parallel major 7ths in place of the original ere Pee) ie) ees a) Teed changes. Now back to $ at bar 25 to 91 then on tothe Coda, ‘Thanks again for your kind words on the Standards. | know I've pleased quite a tow ‘of you with thie one judging by the requests tor Caktnr Technigyes @ October 1906 ra ee eae: BR ef N37 LEAD SHEET ; ‘yun Concer pith Guitar pitch 1 le Blo & a eb am AD e wah eb F7 27 eb em7 Ab m7 BibT * eb Bir eb A eb Fm7 EF Ebr a Ab ebam als ob7 C7 Dam = c7 Fm Fam ob Fm_—sby_— Ab % eb Gm Ab eb oe FT by eb By eb October 1906 © Cattar Tecraigues u DU CYPRORRen ee eee ee ee A [il > SOLO ARRANGEMENT eS tno y fl q| 5| a x ee alsa Ebmej7 A Abmai7 Gm7 AG Eb6/9 Fz Ebmal7 m? | A FT Bi 6 Cmm(it) Cm? Fms. Fmit Bits els Blo v a a ee a6l9 Ebmaj7 Amaj7 Abmaj7 Gm7 Abs Ei6/9 Fm? Emal7 0 Guar Tewiqes © October 1996 oh aera at ee carton Fmt cm7—Fi3b9 Bb er Abmajt abe D>mal7 G7 = vu mt tx a cr cms C7 Fmo bir Fm? Ebt3 Eb7gs Alero MINK vt oxm xl x ot a 6 a9 ons eho alis ase ee Bio Ee abso Ebmaj7 Amal? Abmaj7 Gm v m m m1 w Sir eee els/9 Fmz7 Ehmaj7 °7 aly October 1996 © Cutter Tecnigges 33 the Re aed erence eel oceod a ym ierehae & § e — ee iris Bhs Bmaj7 [p] ap ue weas on [2] , 9 vim she 3 5 a aa C709) Fr ob7 Bal vu bens Hold shape Fm? ey Ab @ Gmaj7Glmaj7 Fmaj7 B13 BITS y CODA 29 oN CX FS tne Arrangement © 1998 Frenk Evans 44 Citar Temiges © Octoder 1996 ONAN MAN] LOYOLA asi 4 eRe eR ed eS MOCM CRT EO) AYR ad ne exampies i tls mons AZ athough no ove ut Bae ig mnie ace aes vecajncg .¢H Later on they added Don Faldar to become a triple guitar band and then in 1976 Joa Walsh ~ nim of the James Gang, Rocky Mountain Way and Funk 49 fame ~ replaced Bernie Leadon and thus created the best known and certainly the most suecessful Eagles line-up so far. Due to the fact thatthe band have recently layed in the UK this montis AZ would appear to be prety timely indeed. Have fun! Performance Notes In this frst example we kick off withthe acoust can be hoard on the loft hand side of the mix. T ‘open! sounding chord voicings that are played just ahead of each bar and are performed with up-stroke ‘rakes’ that cause the notes to ‘spread cout across the barne By way of acomploment othe pat just seen, the second guitar— Ex 2— itar part (Ex 1) that FIH channel ~ plays typical short R&B/Stax type ‘chinks’ le chords made up or twolthree notes that are played and then cutoff quickly to create a percussive/accent effect. Note how each af these falls on the snare drum beats of 2 & 4 ~ aim to keep these ‘tight’ and as even in duration as poseible throughout ~ this ien't always as easy as you might thik giss = |r ae ieee ‘Bb 46 9(n03) ©) Ne. Cutar Teint @ Ootober 1996 (G dorian) J = 96 [0190 Bz az e of (=) ¥ (D ¥ ete Gat | | Electr Gtr (an ahennet wt co co : "m7 D Ex and 4 Lyin’ Eyes — Veree coctionill idoa I Ex3 we see a very typical layering approach in which the guitar 1 part = RIM channel ~ plays a rhythm that is neary, but not exacly the same a tha opposing guitar 2 part on the left hand channel. Notice on the original version (and also on the &r GD version) how one of the parts (Gir 1) Is EQed so that tis lot mare ‘oppy’ than the other part. Ths is actually quite comman practice asi tends to accentuate the sound ofthe pick attack on the strings and thus makes the musie sound more criving and percussive. Incidentally, Lee Hodgson reliably infomms me that itis ‘ten vary common in country styles to overdub a guitar part that has no notes at all ~ the guitarist just strums with all the strings damped to achieve solely the percussive effect just mentioned — clever eh! 192 [77] 2 ‘ Tacet Ex 5 and 6 One Of These Nights — Verse Yet again, in these two examples wa see a couple of aiforent, yet complementary guitar pars. in Ex 5~ LH channel we have a part that contains long bass E string slides that are followed each time by shor accented chord ‘chinks’ similar to those seen earlier on in Ex 2. Aim to keep these as tight as you can. The opposing guitar part as sean in October 1996 0 Gitar Tedatges Gm7 Ex4 is a simple yet effective flea that appears during bars 4-5 of the Lyin' Eyes excerpt just seen in Ex 3, Notice how this Is based on the superimposition of the arpeggios of Em, D and C — against tho ‘accompanying chords of © and Am7 this creates a Gmal 7 ~ Bm7iC ~ ‘Am? effect. Also worthy of mention here is how ths ‘lls playod on ‘electric guitar and then doubled (nearly) by an acoustic gular this is 1 very good arranging device for guitar which incidentally also works \ell for those times when you want to add somo oxtra definition to highly distorted rock/metal chordal or rif type phrases ~ try It on your ‘own recordings it works great! ea ie jot on e fet | | Acouste cn nderaneeh, lm my mimi my i y 5 = e+} 8 5 : 3 T acoustic cue dpe dd 0 J aussi ess sad Jeeta saat é An? m7 _5 6G 07 Gote. d= 192[27] le Jaz Electric Gtr (R/H channep xe eso Em Bex | |.s's accuse Gr rt ranay esieeaea ee | Rese é t (maiz) (Bm7) (am7) > cG 07 Get, Ex 6 Is quite unky’ in its make-up. Actually it reminds me a bit of Dave Glimour's part from Pink Floyd's Another Brick in The Wall As you play through this you wil need to maintain a relaxed right hand strumming motion and of course aim to keep the timing as ‘in the pocket as you can, me 37 py a) eee E: The Eagues ea 5 a . = | | eecueaw at] | (oietomerg : ‘ NC. Em @ 4.109 [935] : Ua fe az a, | | elecne ou 2 Set | | (aricmme) coco coco Em Bm7ie x7 and 8 Life In The Fast Lane — Intro/main riffs This one is without doubt one of The Eagles’ best known rife! It is based throughout on notes taken from the E blues scale EG ABR BDE Tia 4 js 5574 What makes this rif particularly interesting is the way that in bar 2 there |s @ phrase that starts on the fist down-beat ofthe bar hat is repeated dorian 4.110[0:00) ss aS iss, Gis 1& 2 Electric s Hee E 18 Nc. throughout) 58 meperAvOe , omajzie Em {ater on using exactly the same notes and rhythmic phrasing, only this time its starting point is displaced so that it actually begins on the last Lp-baat of bar 3, This is a very good compositional tool as it ten tends to create a lot of listener interest without actualy using any new notes. In terms of sound for this one, you should try to use a moderately distorted tone with lots of compression added and also a litle touch ofrevert. gies = iss Gitar Teac ayes @ October 1996. dorian 1.110) 4 ates Gtr 3 —(cenire) We Tacet| fs Ex Life In The Fast Lane ~ Middle chordal rif phrase ‘The example kicks off in bar 1 with a one bar Hendtixtype chromatic phrase. Immediately after this in bars 2-3 is the very wall known ‘repeating chordal pul-ofhammer-on phrase. This may prove abit tricky taplay correct as itis essentially based on a t6th note rhythm that is 1.109 [227] az o ‘ Gust a2 Ne. (6) * tu. (throughout) ‘lis ES (Single nolo ~71h tet A string) played using a ‘three against four’ pelyrhythm. The bast approach for rmastaring this Is to work through it slowly along with @ metronome ‘making sure that you follow closely all of the accent markings (-) throughout Ex 10 and 10a Take It Easy ~ Intro section In this final example we see yet another common compositional davica, end to think ofthis as being a kind of musical false star. What actually ‘occurs is that for the first eight bars all of the accented chords are played on beat 4& of each bar before ewitching over 1 the down-beat of beet 1 from bar 9 onwards. Of course witnout a count to lead you in (such as the one at the start of the example on the &f CD) what happens is that you actually (wrongly) assume thal all ofthe accented ‘chores forthe fist eight bars are on ‘one’ and not 4& and so when the real ‘one’ reas its head in bar 8 you are caught unawares and a ite of October 1906 © uitar Reraigee {quard a lot of people who hear this sort of thing even wrongly assume ‘hat there is an odd-ime bar happening somewhere ~ which I quess 's What makes this effect so intoresting, It also tends to buggar up people who are tying to dance to the track as wel, which | would imagine can be quite amusing for the band to watch happen! The final example shown in Ex 10a isa typical county fil which uses G major pentatonic scale with an added 3 (B,), or you prefer the E blues scale aver G major. This fils actually fay univereal. Try using t {as afl or opening/ending lick in other keyssmusical situations. 49 eo ag. a Electic Gtr v4. dle o Eleotic Gtr BU 6 Next month in Phil's (extremely) creative alphabet we take a look at F for Vingent Fumier AKA Alice Cooper See you then. ER Sources: This month's examples ware al taken trom the ‘album ‘The Very Best Of The Eagles’ ~ Electra 9548-92375-2, This album is available on Electra Racords © Phi HilboraWvidala Music 1906, 40 a Acoustic Gtr —$: My ROR i les. Gtr plays Ex 108 FO) ot ranszripions ©1996 Phi Hilbome & Taka WEay itn by Jackson Browne Frey. Copyright 1972 Swallow Tum Muste For The Admiitorad by BG Music Publishing Limi the UK Eire. At ight reserved Used by permission, yn’ Eyes (© 1975 Benchmark Musi, Kokng Bear Music Warmer heppes tse Li, London W1Y 3FA Reprexdced by permission of emuaona Masic ubcatins Lid (One OF These Nonis (©1975 Bonet Musi, Kicking Boar Music ‘WamarChappa Musi Lid London WiY OFA -Roproduce by pormesono Inematona Muse Putieatons kta Lite i The Fat Lane (© 1978 Wowand Futtor Mus, Cass County, Red (Goud Muse, WB Music Go, USA WamerCheppet Music Lin, London WY SFA -Roprecuced ty permission of hiematonal Music PPbcatons lta Wy Woman | (© 1905 Kcsing Bear, Benchmark Music Wamodheppet Music Lia, London W/5Y 3FA ‘Repreaiced by permission of niemstonal Music beans Lid Gitar Tepes @ October 1996, 98g © 1w6uAdoo (or a frase from Tales Of The Riverbank) Transcribed. by David. Mead. This is one of C7’s most requested classical guitar pieces — which gives you some idea what many of our readers used to do in their youth around teatime on a weekday! Srey lot we aye cy Sova cnlioachig eecrenuneset Sra hey haan ose Toe Of The recent became epee inany peop’ cow. aang et Wareg nea pean vo ante ot tere pega nt ae tao yeu Miu Sula’ was pram fs fae sible for the ne of his only a pilecas to maka it on TV. Not surprising, | ‘suppose, when you consider thal he dled in 1829! Anyway, a lovely little ditty it undoubtedly is and so let's see if we can play it Performance Notes We've seen before when looking at nylon string pieces that your fingerstyle playing has to be pretty well up to scratch in order to play ‘he tune with the appropriate sense of flow. Ming you, having said all that, there is a lot here that wil elp you develop those skils i Until now they have managed to elude you. In brief, you wil need to use four out of the five fingers on your plucking hand and very loosely speaking the general rue is that the thumb looks afier notes played on the three bass stings (E, A & ) wile the index finger plays the G, the middle inger plays the 8 and the ring finger plays tho E. Now. | said this was @ flexible state of affairs and in practice its true to say that its the thumb, index and middle fingers which soe most of the action wth the ring finger providing essential back- Up as required. If you're sil in doubs, the fist few pages of any decent classical tutor should Ghar Teeter @ Ootobor 1006 help clear things up for you, The first section (which is the main theme from the TV) is mainly an arpegglo-based study of eight bars which is played twice. Note the differences, though: bars § and 6 may look very similar to bars 13 and 14 but there's a sneaky CF fo watch out for! The tempo | chose for the &f CD is around 66 BPM, but | found it helped if you doubled this and had a metronome cick on every beat (a good device for learning pieces at slower tempos). In other words, try 132 BPME Technically"‘andante’, as an indication of a Piece’s speed, is slightly faster (around 76- 108) but think if you play this piece too much faster, it loses ite effect. But Il leave it up to you to decide. Remember, start at a siow ‘tempo and work upwards ~ I don't care how many times you read us saying that in Gt ‘Another tin is to isolate the trouble spots. For instance, you might find that bar 7 gives you problems and so rather than have it go 351 1082 ctober 1996 © Guar eines wrong every time you ty to play through the piese asa wholo, tako it out and practise it Separately over and over until it starts to work. A classical player may have three or four trouble areas within a piece be oF she is learning and everybody I've spoken to solves thom this way. ‘The midcle section is lass well known (it dit make ito the telly), but its nico to play and gives the tune substance. Trouble spots here are in bars 26 and 27 whare the bass notes have to be pronounced but not boom ‘ult and the tempo has to remain intact. Just ‘pay extra attention to the metronome (you have got one, haven't you”) and be patient. The final section (which staris at bar 34) plunges us back into arpeggios and you't find that some ofthe right hand fingering is not so straightforward. I'm sorry to say that there is no easy way to deal with these extra demands put upon you as @ player. Slow everything right down, look at what you're pene oe ae Peas boing, isolate it and work with a metronome. Grim determination and patience will win through and just imagine the sel sattacion wien it bogins to work! The end ofthis secon is atte cadenza {the classical equivaiont of a guitar solo) which is the only time you find yourselt leaving the frst positon — abet vry bret Ite prety easy 20 no reason to nic. Glutan's orginal repeated the whole ofthe second section, but seeing as its really tho fst pat ofthe tune that wate interested i, | decided to finish it with a D.S. al Fine which 028 you playing this fest prt aga. hinkit works better, Out whether the composer would agree with me or not is open to speculation! That just about takes care of Tals Of The Riverbank ~ Incidental, one of the main reasons we decided to include this piece is wholy down to &7'5 reader request system, 1954 a UNPIULLEC Andante i C - Gidiant vas vas wae 650 ae Gitar Tetatges © Oatober 1995 (WORT nllrstsvaol = D.S. al Fine Guitar Fretboard Manuscript... Guitar Chord Chart Manuscript (as reviewed in July '96 issue of Guit ailabl Keyboard Chart Manuscript ... Bass Fretboard Chart Manuscript . To order, simply cut out or photocopy this form, write the number of books required in the boxes provided & send it to: Music Stationery Publications 23 Valley Court, Heraitiea Lanarkshire ML3 8! Lenclase a cheque or a postal order for 01698 ga ad made payable to MUSIC STATIONERY PUBLICATIONS oe vad Juding P&P) 4922123 aie ea r si Kirsty or (ctober 1996 @ Guar eemaaiee 4s Transeribed by Dave Kilminster Continuing C7's brief foray into one-hit-wonderland, here's a song that everyone remembers by the band that time forgot... The Knack was prevalent way back in the late 7Os/early 80s as popularised by such bands as Tom Petty And The Heartbreakers, ‘The Cars and Mink Do Vile. More recent hints of a revival wore heard with The Fembrandts (eee my transoriotion of 11 Be There For You back in @r December 95) athough their four minutes of fame seem to be just about up. Performance Notes Ex 1 and 2 are the intro guitar left and right. The guitar on the lef is clean but witha sight edge, something like a loud Fender twin, while tha guitar on the right sounds more tke ‘@ Marshall ticking over at half volume Distorted but not enough to mess up the chords too much, For the begining ofthe verse the left quar (Ex 2) site out and just plays the accents ‘whist the right gutar (Ex 4) uses palm muting 0 that the rif doesn’ get in the way of tho vocals (does anyone remember dynamics?) For the most part the chords used inthis song ‘are simple mejor barre chords and triads so i ‘you're just getting to grips with these shapes this ie a good tune to have a go at. Obviously you dont have to be too itera with sections 1: song typified an American sound that <6 such as bars 15-16 in Ex 5, Ive just writen ‘out what's on the record which would vary ‘everytime they played i. Ex 6 Is two guitar parts arranged for one ‘guitar. Bars 3 and 4 are the solo part followed by a phase based around the C, &} and F chords in bars 6 and 6. This idea continues throughout the section (two bars of solo, two bars of chord fis). The solo ideas are based around the G minor portatonie scale: 1434 57 GBCOF Ex 7 is the middle eight and rhythm guitar Under the outro solo (Ex 8). More distortion (work that Big Mut!) and switching to the ‘hythm pickup will help to approximate the sound. The scale used is C major (i you don't know this scale by now then it time to take up the drums!) with particular emphasis on the notes ofthe major pentatonic: co 12 aig Ac 61 It al pretty standard stuff unl bar 13 when it shifts up a gear. I've written the recommended picking strokes for this section but its stil pratty awkward at thi speed. Try to keep tha side of your picking hand in contact withthe bridge. You nead to keep a point of reference to stop the hand going all ‘ver the place. I use my litle finger which resis on the body/pickup for extra suppor. Bars 18-20 contain an idea similar to the outro section of Sultans OF Swing by Dire ‘Strats. Again Ive included my preference for the picking stokes, i's not actualy too aificut but it sounds very effective. It also makes a nice pull-off exercise. Try changing the intervals to fit other chord types, move it onto ifferont groups of stings, use open strings ete, You can get a lot of mileage from a simple idea Ika this. The solo finishes with fsome unison bends (see also Frankenstein fast issue) dropped in with a guitar on the tole pickup for extra bite. ‘Arrangement Intro» Veree = Chorus + Vorso + Chorus + 1st solo + Into + Versa * Chorus + Chorus «Intro vatition + Ouro solo + intro variation That's about it for this month, Keep those requests coming in and well ry our best to please everybody (a fulle though none the less honourable ambition). Gar Teaigiet © Ootaber 1998 Ex 1 INTRO ouitar Lett M6 p10 3 [ont] Drums only Drums only x3 VERSE & BRIDGE Left 3 om 3 ‘My Sharona (Fleger/Averre) (© 1979 Eights Music And Smal Hil Music (Chappell Music Limited, London W1Y SFA, ‘Reproduced by permission of International Music Publications Lt. October 1996 @ Glee Reigns s7 Ex4 VERSE & BRIDGE Right cD Guitar Techwiaes @ October 1996 ‘Ss 11S my Sharona - The Knacl > Ex 5 RHYTHM UNDER SOLO Left channel oust C(x es eb F Fe-Pick bends~ ~ Bu 60 Guar Teaiaet © October 1996 ifs Re-Pick bends BSF Bu EX7 MIDDLE EIGHT & 2ND SOLO Rhythm - Lott gliss x9 Sim gis = So a SS © 6 F c 6 F e Automatic Guitar & Bass Tuner QT1 i ‘More Features, Lower Cost, Superb Accuracy! ¢ LCD Meter and LED Lights. * Automatic Note Selection. ¢ In and Out Jacks. ‘* Tunes Any Acoustic, Electric or Bass Guitar. Accuracy. ¢ The creators of QWIK TUNE®, Have Made < and Sold Over 500,000 Tuners. sc A BREAKTHROUGH Thor's Expertise! Malian (ole a AVAILABLE FROM ALL GOOD MUSICAL INSTRUMENT SHOPS 7 Qetobor 1006 © Cuter Tchnigues a SMASN NITS My Sharona - The Knack >exe IDDLE EIGHT & 2ND SOLO - Right (zae] rake h (Pre-Bend) \D PO on Gatur Teceigns © Ostober 1096 POR RR Poot Drop in gts Bu su woe Bu Bu Bu su wl eu puto BU Ss é ne oe 5 CS SS RS ooertay op Geli laolaeaptuctes ‘ E Peer eerie t ind ein) Bocicn ed ny fee) THE ULTIMATE “EB.55) GUITAR TOOL , 7 3 TOOL 0 eee ae UAL Us Manufactured inthe US.A., th the highest quality components and workmanship the Roadie Rench™ puts ten tols inthe palm of your hand. Whether you'r inthe stuck, con stage, on the road oust in your ving room, the Reade Rench™ wil save you time when time maters most. Spend less time searching and more time playing with the ulate guitar tool ~The Roadie Rench™ TTR eee Ned Taft nc ned EAE oD RRTECION Jb ay ewe BCs eine Apron Gro, Les Sz5 2 UK October 1006 @ Citar Ttaiayes “a Sep eee . ee On the heels of their eagerly awaited latest release ‘No Code’ we take a look back at a Pear! Jam classic... Alive vocals, oblique lyrical references and a lot of energy went to make this a nit for the boys from Seattle (where elsel) back in 1991 ‘The intro guitar (Ex 1) shoulcn't cause you too many problems. I's essential though to keep it relaxed and loose, almost sloppy, to (98 that laid back teal. That goes for most of the guitar parts in fact. Playing this song ‘accurately wil just sound sterile so to this end all of the guitar parts on the G7 CD were recorded pretty roughly in an attempt to capture the onginal te ‘There's a clean guitar and an acoustic playing pretty much the same thing on the let channel so for Ex 2, 4 and 6 I've written them both as one guitar to maka it easiar (for you and for me). For the verse (2 and 3) the distorted guitar continues in a similar von as the intro, only this time with the volume backed off and some paim muting applied to the open A string. This gradually builds in intensity during bars 7 and 8 just betore the bridge, ‘There are a lot of open strings used in the chorus (Ex 5) which add a ringing, sustaining quality and an overall fatness which just isnt possible wih fretted strings, ‘At the ond of the chorus there's a guitar coverdub (bar 7) which again Ive arranges for cone guitar. Ex 6 uses the same basic chords H: haunting guitars, atmospheric 64 ‘as Ex 5 but this time they/re all playa in the ‘open position. ‘At the end of the second chorus (Ex 7 and 8) the band switch between playing in 4/4 and 7/8 (stop caweting behind the sofa, i's not that baal). | suggest that you learn it as a ‘musical phrase instead ot bothering with all that number stuf. don't count, pay! For the middle eight both left and right guitars turn down the volume and play similar figuros (see Ex 9) with some guitar fills overdubbed on the left channel (Ex 10). The Solo ext The solo contains a plethora of pentatonic patterns, some of which (if you haven't got any old Kiss or Hendrix records) you might not have heard before! Guitarist Mike McCready bashes his reissue Strat through a Marshall to get a Hendrix vibe going ‘Although he uses stock pickups he strings his guitars with 012s te get more punch and sustain (a Stevie Fay Vaughan influence) and also uses a wan pedal on certain phrases for tonal variety. I've divides the solo into sections as t's obviously pieced together this also makes it easier for learning purposes. The scale used could be considered a hybrid scale. its basically E dorian with the addition of ab: E FRG A&B CHD E 12 4 155 6 br Here's @ hangy fingering for it oe ¢ ¢ rYrryy) el Teee Most of th emphasis placed (as usual) on the notes ofthe minor pentatonic, though: EGABDE 1984 5 1 Unison bends are used towards the end of the solo for added intensity with the wah pedal boing employed on the last couple just 10 fake itover the top Finaly old you know that the band used to be called Mookie Blaylock after an American sports star who plays one of those games where everyone stops inexplicably every two minutes and nobody over here understands the rules. They changed their name to Peart Jam after Eddie Vedder's great granomotner Pearl's home-made hallucinogenic preserve. I! ‘anyone out there knows the recipe then please send a copy to me here at Gr (purely for um research purposes of course!). Jam ont Eft ‘hiigniaiciaaeeolainae Ex 1 INTRO - RIGHT SPEAKER 5 (80 x4 sim, aE gts iss x as Ex 2 INTRO - LEFT SPEAKER (ARR. FOR ONE GTR) (oa) | me Z oF Let ring A Asusa a a Asus4 October 1996 @ Gahis Teowiqies ss F 5 F e Ceus2 Ex 4 VERSE - LEFT SPEAKER Let ng > Iddd sud a RPT. SIM, = A Asus 4 car © Cadus ch OF © 6 Citar Teduriayes @ October 1905 Alive - Peart Jam TY ripfion 138 & o o A a Ex 7 END OF 2ND CHORUS - RIGHT SPEAKER October 1996 © Gitar Tediqes 7 “Turn volume down Ex 8 END OF 2ND CHORUS - LEFT SPEAKER, 228 BS (ei0#) FS x36im. sme Bs (B04) FAS Fs as Gitar Reawigyes @ October 1996 Auive - Peat Jom Tf Ex 9 MIDDLE 8 - LEFT & RIGHT GUITARS aa PT. SIM. AT A9{n0 3rd) Dsus? AT A9(n0 3rd) B7 B9{n0 3rd) Esus2 5 = 2 = = B7 B9(n0 3rd) ES. 87 BSE sus? 87 B9(n0 3rd) ES Ex 10 MIDDLE 8 - LEFT GUITAR FILLS Bae ake i 4 8 ¢| e Ex 11 GUITAR SOLO 8 we, [338] © 7 Change Pro-bend nyt Becup Lead pickup Lp Bs TFANSCHIPTION Ative - Peat Jam > (fu) oe eee Lovo Wal ‘hight MU BSF sal net 1 stouly_Lead pc 8 ie of ve — ake we iss glss Pro-band pss ‘SECOND GUITAR SOLO gtss ve = gise, gtss iss, iss ve, 70 Citar Techoiayes @ October 1996 Auive - Peart Jam TTANSCLIPTIO THIRD GuITaR soLO. [275 FOURTH GUITAR SOLO [<2] (3)- : Change syn picky eu LD FIFTH GUITAR SOLO iss olss (ge) a NN ee ah eee ae Rican A INL eee > (ge) (as soLo BU Slowly BU Siowly FQ pu PO BU PO BU nm GukMer Tetedsyet @ October 1906 iss a B —vanciedone 1008 Der Ave ‘Music by tone Gossard. Word by Edte Ved. (©1991 PRI Music incorporate, Wine Teataga Music and Imocent Bystander, USA. PolyGram Music Publshing Lnted 47 Britsh Grove ‘London W4(S0%Sony Music Pubshing, 10 Great Meboough Steet, Loandon Wi (5%). Used by pormission of Music Sales Limited. ‘Alights reserved, itematinal copyright secured emetic cr eves feueeant camer Rrestceteieieme icy au To take part in this interactive extravaganza, all you have to do is phone: 0891 221142 ETT BCR Toa se Ce Sting'’s La Belle Dame Sans Regrets Fiano solo by Kenny Kirtland. The benefits of learning solos from other instruments on guitar further explored with this great solo by pianist Kenny Kirkland T: solo appears on a song called La le Dame Sane Regrets and is taken, from Sting’s current album release, ‘Mercury Falling. Kenny Kirkland made his ‘mark witn those famous jazz brothers Wynton and Branford Marsalis, before joining Sting on Fis ‘Dream Of The Blue Turtles aloum. He is ‘now considered to be among the cream of Sine emmy a pres progression lore wees. Tis is « vey comon aac an, toushou teal, ‘arrived at tho simplified version ofthis month: cols shown ‘see doesn! contin any narmorie concepts hat havent already “Amm5 (i)/7 Dralt @)/ Lh, modern jazz musicians having also played ‘alongeide artiste euch ac Pat Metheny and (sax player) Michael Brecker. The leisurely pace, well considered note ‘choles and clean execution ofthis solo make it slmost sound like jazz "by numbers However, | say that more as an observation than a criticism. !'m sure Kenny had Sting Amr (i)/T/, Dralt(ylii, G7 (Ih ue Dralt (w)///, = ain? (1 Wh, ee) ‘Bmai7 one s 2nd Ending ae m7 (W) 7 rahi) a 700 avi {As you can see, tis monin’s soo progression is made exclusively of! V Is. A guitar player tend of mine called fain Scot, who went 10 GIT in Los Angeles, told me that they have a placard above the main entrance which says, ‘ILV 1 is God’, such is the infuence of this simple progression. In fact, some sad man ‘actually did a statistical analysis ofall the main azz standards and found that a massive "75% of their chords formed all or part ofa lV Ie, sometimes just al, aV, al allV,aV1 ora ful IV Fingering Final, belore we tackle the solo sel, you October 1996 8 dtu Tedwiaues ‘may find some of the fingerings strange, but Where possible I've tried to Keep all the solo activity within the teritory of each partoular Chota (hese are the fingerings | used on the Grc0), Bars 0-1 ‘The pick up tine in bar 0s based on the notes (of @ Gmin/ada8 arpeggio to coincide with the Gmin chor: Gminfadd9-G 8, 0 A 11359 This ine leads toa B, note at the start of bar 1 which isthe 7h interval of a G7 arpeggio (which is boing used over the Cm chord) 1 ‘Ams (i) (171 breathing down his neck with every note! When you're playing a solo on a pop record there is rarely any room for too much sel Indulgence. Short and sweet is usually the ‘order of the day and this economic and hhummabile solo certainly fits the bil. in oderto om7-0 8 GB 1 psy In the ‘simplified overview’ version of the chord progression, I've written Am7,5 in place of each Gm chord (Am7,5 = Cm/A) so that you can see that we're dealing with a progression of II V Is. However, as we have ‘seen many times before in practice I's often easier to see things from the perspective of tthe Gm chord as most players are more comfortable with C: dorian than they are with its harmonic equivalent, A locrian (both are ‘modes in the key of B,) Bars 24 ‘The 0749 in bar 2 is @ fully functional > 7s Loses [ote Ke) > dominant ie & V chord) lesding to the Gm!) chord. Here, Kenny uses a D phrygian ‘dominant seal: D phrygian dominant 1 Note how all of the strong arpeggio notes within he scale (e the notes of the D major triad) appear on the downbeat in this ine. ‘On many occasions in this solo, Kenny takes delight in bravely extending his note choice over a particular chord for maximum effect. In bar 3, ne resolves on a 6th interval (©), easily the most dissonant sounding nota in the G dovan scale against a Gmin? chord. in fact, Kenny uses a hybrid pentatonic over this particular chord which is often used by blues players because of its dark and angular ‘sound. It's simlar to a minor pontatonic except ‘hat thas a th interval instead ofa 7th FeG ABC 245 6 minor pentatonic G 8, CD F 4484547 Gming hybrid pentatonic -G 8, CDE 1y3 456 Th Gmin6 in bar 4 can be ignored as all ts notes are contained within G dorian (or our ‘new pentatonic hybrig). rs This bar starts off wih an E; which isnot only the 43 of the Gm chord, but the only note diferent between C dorian and the previously stated G dorian, thus accentuating the change In tonaity between the two chords “The last eur noes ofthis bara from an ‘arpeggio, which is a common thing to super- Impose over a Cm chow, a5 it gives us tho samo ‘oles as G9 (hereby extending the chord). Emal7-E, G 8 D 1367 Here, again, Kenny goes for the throat by Playing the most dissonant note to be found in, probably, the world’s most dissonant scale against the D749 chord (le, a 46 within superlocrian). Bars 7-8 Here, we have an example of ‘deceptive esoluton’. Up unt now our ears have come to expect @ Gm chord after the 07,9, but this time we are surprised by the @(7). Her Kenny plays some straighiforward arpegg! based stuff using G mixolydian: G moolydian—G ABC DEF 1234567 7% PLOT Crate Cot 3 Sting Bar 9-12 In these four bars we have yet another Il V1 movement. This time, however, the Il chord is ‘a dominant 7th (A7) and there is atritone ‘substitution (A,7) in place of the V chord (07,9). Remember that this particular form of ‘substitution works because A,7,9 and D7}5 have the same notes and therefore one is ‘cornmoniy used in place ofthe other ATS- 400 G Vai Dns - DAAC 13157 For the A7 chord in bar 9, Kenny uses A Iygian 7 scale: Alydianj7-A 8 HDB E F# G 129495 6 \7 Hopefully, you'll remember from our study of Larry Carlton's Breaking Ground solo that |ydian 7 can be used in place of mixolydian over static dominant chords (Ie, any dominant chord that is not acting as @ V ‘chord. Note how the frst note ofthe V4 not triplet ‘phrase in the second half of ber 9 has been layed by a Theth note. This is a common way of avoiding predictably when playing a phrase in jazz (especially at slow tempos) and Kenny uses exactly the same device ‘again in bars 12 and 27. In bar 10, the scale used for A,7 can also be seen as being A, Iyian 7. Keyboard chords shown in brackets when different to guitar > Aylyclan,7—A, 8, CD & FG 23 However, because this 7 is being used as a substitution for D7, it's probably more appropriate to think of these same notes as belonging to D superocrian (both A, lycan 7 and D superioorian are modes of E, molocic minor). D superiocian-D 6, FG, A, B,C 1282 3 |B a5 17 co 9) ‘As hopetully you have now come to expoct, the scale used over the Gm chords in bars 11 ‘and 12 G dotian, Gdoran-G AB, C DEF 12)3 4 56\7 Bar 13 The Gm(l) chord from the previous two bars can be sean to have been extended in this bar as Em7,5 has the same notes as Gmé: Em7,5-E 6 8, D 14356 ‘One possible scale choice over this inferred Gmé is G dorian, However the other is G melodic miner and I's this that Kenny uses: G melodic minor-G AB, CD E FF 12|3 456 7 Bars 1415 In these two bars we have @ rrodulation from the ‘Key of Gm to Bal. The Fa/D# Is acting as an F#13,9 chord (V or Bmaj7) and so Fil haltiwhole scale is the most appropriate altered dominant scale to use (unlike superiocrian or phrygian dominant, it has a natural 13 nete (e, 6) Fa haltiwhole scale © =FHG A At BW OF DFE 1\202 3 \6 5 6 U7 9) (#9) (ver the Bmai7 in bar 15, Kenny uses notes taken from a Braj arpeggio. Bmaj@-B DH FR AK CH 13579 These same notes could also be seen as belonging to Dé minor pentatonic scale {laying a minor pentatonic up @ maj 3rd from ‘a maj7 chord is vary common), D# minor pentatonic Da Fi Gt A# Ct 1p46y7 If wo take a briet look back to tho Em7,5 chord in bar 13, Its Interesting how this chord has been used to modulate from the original key of Gmin to Bma}. On the one hand, Em7,5 has the same notes as Gm6 7 and, yet, it also has the same notes as F#7;,988 and is therefore perfect for leading us from the Gmin chord in bar 12 to the DWF (ie, F#19,8) chord in bar 14. we) Em7s-E 1 progression modulates back to the original chord sequence (which, remember, was in the key of Gm and started with the Gm(IV) chord). Here, the FO Is an Inversion of Cmé, Consequently, the scale choice used for the 9 in bar 16 can be thought of as being ether F lydian7 or C melodic minor: F lycan|7 (IV mode of C melocie minor) -FGAB CDE, 129m56\7 Bars 17-20 {As when first playing over this Il V1 combination in bars 1-4, Kenny uses notes from a Cm7 arpeggio for the Cmi(ll) chord (which, remember, is being used in place of an Am7,5 chord), D phrygian dominant scale for the 07,9 (note the us of a Cf ‘side step’ note) and G dorian for the Gm chords in bars 19 and 20 (note how the #6 (E) has been saved for the {Gm6 in bar 20) Bars 21-24 Here we return to the deceptively resolved Il VI that we saw in bars 5-8. Kenny uses C ‘minor blues scale aver tho Cm (Ami7,5) C minor blues seale-C E, FG, GB, 1 [Bays 5y7 Again, D phnygian dominant sale used for the D7 (wth the inclusion of a ‘luesy #9 (F), before resolving to G milan for the {7} n bare 29 and 24. fact, Kenny uses & natural 7 ‘passing’ note between the reot and 57 in to octaves. Some peopl refer to his fs the ‘Bebop’ scale fe, mixolycian with 7 anda} Fe Bebop’ scale-G ABC DEF 1234567 Bar 25 ‘As in bar 8, Kenny uses A lydlan 57 for the ATIF chovd. Bars 26-28 ‘The line that Kenny plays in bar 26 proves that ne is choosing to view the A,7/B, chord ‘as a trtone substitution of D7, as his scale choice (D phrygian dominant) doesn't even contain an A, note. For the Gm chords in bars 27-28, wo soo a return to the pentatonic hybrid first used in bar 3. Bars 29-32 Yet another Il V | here. Again, the Cm? is played as an inversion of Ami7,5 only, this timo, the D7,9 is represented by two chords, Gm/D (which is a suspended version of D745). D7iSsusd—D G ABC 14 45)7 land Daug (whichis, basicaly, D746 without a bn Daug-D FH At 1345 ‘sin bar , Kenny uses notes from an E,mal7 ‘arpeggio over the Om7. As in bar 18, he uses D phrygian dominant with @ CF sidestep note in bar 80. However, Uniike bars 3-4 or 18:20, the progression 902s to Gm not Gm? betore moving to Gmé. Tris allows Kenny to play G harmonic minor over the G minor chord (which doesn’ have the restrictive {7 interval and therefore avoids the clash with the £7 Interval of G harmonic miner) G harmonio minor (game notes as D phrygian dominant) -G ABCD 5, FF 12)8 45 \67 Kenny then switches to G dorian for the second half of this triplet run in order to cortespond with the Gmé chord (the 6 of G hharmonie minor would clash with the #6 inthis chord), Bars 33.98 aly wo ooo a rpest ofthe IV payed in bars 25532 only ts tre an & mal chrd i Used as an iverson of Gr? (omamoer om ber ke te epeog, has he same noes asc) e Again, Kenny uses a CF side stp note ven isha © prin dominant scale forte yo in br 94 bore lnshing of wih a wo tctave Ge arpeggi fr te Gm chord inthe nae Seeyou ned mont El Guar Teeigues © October 1096 La Bee Dame Sans egrets a) Loco- Acoustic Guitar Drums-‘2timetest J=J | =74(142) ‘va Electric Gultar ge eileen, Electric Guitar 4 i Gmacaan La Bolle Dame Sans Regrets Words and Music by Sting and Dominic Miler (© 1995 Magnetic Publishing Limited, London W1. Used by permission of Music Sales Limite. Allrights reserved. Intemational copyright secured. October 1996 @ Gitar Tesiges 79 La Bette Dame Sans Regrets - Sting v Elee.ctr 30 Citar Tecaiges © October 1996 La Bette Dame Sans Regrets - Sting DEUONT FO 3 Sees ea v Eles.Gtr Gmaddg0 Sas | elec.ctr : s S = GUITAR, AMP & PRO-AUDIO CABLES <= i Cables to meet every application and every budget from the first time buyer YO 8) R S = i = to the professional user. CONNECTED What's more each cable 'g October 1996 @ Guitar Thchaiqyes a is covered by a5 year limited 3 warranty. eerie are oil Pncriea atc tei Steg eared eee eee entice Etre cess Man Creme accra a er Fecording technology, we tend to take great Se ear ety the pioneering days of hefty rock, ‘Zep I eee eee ete secure et eee enacts norte motes iy eats ee ar ieee Seer en anton c) Ce eRe rete er ia listening pleasure sil urthor. Winnie nee en Pree mean neem Cpe ete rte ee ee Raa Cee ete ee i) See wer et y —_ ws eee Ac eens a} Ramee ri ces anes cia consistently dumfounds archivists of guitar eee Seu pier uecho nen Ut Hands up everyone who oriinaly thought that the Stairway To Heaven solo was a Les Paul Sa sk Sea ear ona Chae erm acer yet, at that time, @ Telecaster was the last ineteument poopie agsociated with the new Te Whentuseie ih any event, change are the intro solo that we're looking at this month was a Les Pat Sere CS ee eres e et i Peete eek cont See en Geneon teh 05 eee Moe dese fede eee wie ‘hythmie daplacement. But take a lock atthe Ce a Ne eer it seems lke the notes are coming at you thick eee ren gar ~ pT Te ae ea e's stylish blues guitar It you've been following this column for a Rear fon One sighalure a few times in the past. In order to Pond sca Mus emote and say to yourself ‘One-and-ah Two-and-ah Three-and-ah Four-and-ah’ and things should start making sonse Re ea erent Graeeete tn ea MeN) CONC aia een Crnaiscetr mie teeter ioe oer Mineman mode) in blues without things beginning to Peers ens aon cane) a ogee aS Paeaig oo ake rene Co eae Oe co ReneS e Rien r ned the backing track just 10 give you more time (Cea. ORC (erica) ene eee nt Gerrit) Regie ean etc neo nse rune eye ucr ee > Cora eee teen Since Ive Been Loving You Deed aoe d.<3012 8PM a) BOB co FO spo oS 33 Citar Tewiges @ October 1908, o Wrridge PU |= Let Ring 1 PO Bu co SY Bu 4 com ov Dhmaj7 cm & Since I've Been Loving You (Page/Plant) (© 1970 WamedChappell Music Lio, W1Y 3FA. ‘Reproduced by permission of international Musio Publications ARPEGGIOS FOR GUITAR toy Cuff Dovee An essential reference book for all guitar ers! arean important part ot any etl ocala Thay oe toundtions of chord construction and aroused extensively inal kindof muse 'ARPEGCIOS FOR GUITAR i an excl introduction othe subject, covering the basic theory and including a comprehensive Selection of arpeapi08 with easy tofoow tinge dagrams te oe sn a mast, 4 las Fees (one a ald nant lee sly 4 ry Order Code TGMM 012 rt basal a CaF Davee is he ator Scales & Modes for Gtr, a See 8 ar Bas Gt TGs Bk of Gal Pag esmumesie Gat Gote Temperate, Ry TSiopnone the music waver oraenine ” Dial 01853 668850 or fax your order on 01383 66248910 ‘Music Maker Mall Order Services, Alexander House, For tober 1996 @ Ghar Teigee Putting The ‘E’ in Country! With Lee Hodgson This month we'll look at ideas for the Key of E — the last of the five major keys relating to open chord shapes and rune that ether () maich a specific chord or (i) may ft around the general key ~ cecasionaly the example connects two specie chords within the chosen key. Identity such contexts as you go and alvays relate @ scale of lick to its associated chord shape {and vice versa) ~ as of next month we'll Tetum to that process in more detail (July 64'3 Gr reterres to Albert Lee's approach so it's time fora recap), x 1 isa simple ri idoa that acis as the Gr CD accompaniment. Although absolute transposition is often proterable when the ‘chord changes, Ive opted forthe slightly more interesting alteration or permutation of the orginal idea ~ remember this isnot soloing es such. Ex 2 is @ solo fo fit over the repeat of Ex 1. Hybrid pleking, ie pick and fingers, should prove the best technique here because of several places where ‘grabs’ are possible (either on agjacent string groups or wider spaced pairs oF sts) Incidentally, realise that players such as Albert Lee and Arlen Rloth ~ and disciples including ma ~ instinctively switch between a grip and plactum only = R= that we've beon seeing licks 90 (ether eterate strokes or sweoping/economy picking as seen in bar 6). Peraps the epitome cof hybrid technique may be in the challenge of measures 25 as @ whole; I'm suggesting that ‘economy/eweep picking or altemate picking Just couldnt cope with the mechanics of the ‘otherwise straightforward music. Best 4 of measure 5 shows superimposition of a m746 against a dominant 7 chord, ceffectively creating a dominant 9th sound - ‘and extension in technical terms. Here I's Gtm736 (alias halt-diminished or 0) that is presented against E. Superimposing a biock ‘over an accompanying chord is potentially ‘okay but inthis ease the line occurs by way of ‘an arpeggio. iser play off the backing (dom 7)) ).1n other wor fe M75 arpeggio whose srd/4 semitor “The process is transposed straight afterwards whan Cém7$5 Is forced against A In bar 6. Romember that thore may only be a bass guitar note (eg A) where your C#2 ‘sound wil merely imply A8. Reread this section f necessary and listen to the resuls: it9 realy not that complex! From beat 2 of measure 7 there's @ tasty ick as shown to me 20 years ago bya guitarist | simply knew as ‘Gru’. He ‘was from the Danny Gatton school of Immaculate ignorance, if you know what | mean, Guys lke Gruff, Ian Pearce, Snails Pace Slim, Johnny Short, Mo Whitham, Gypio Mayo and Jerry Stevenson ~ some of whom { personally knew — were such an inspiration 10 ‘me and the points, they were my local heroes yet of world lass — whatever that i. Have you any local guitarists who blow your socks off? Be sure to follow them and wity not itroouee yourself; who knows whatit might lead to? Examples 3-6 are reminiscent ofthe siles of James Burion, Albert Lee and Damy Gatton Check out the chord diagrams too, some ‘of whieh relate to this month’s piace while the rest are chord vocabulary top-ups. Observe my suggested mantal associations which are surely salt-explanatory. | urge you to memorise a chord’s image/shape, fingering and sound the moment one presents fisell. Definitaly pause to consider ‘hare that sound might fit (2g does it sound like a candidate for the blues? Or mellow jazz or whatever?), I think it's a shame when. students put in hours of study yet cannot pull stuf! out of ine bag as they say when it ‘comas to real performances, Am I hitting any nerves here? | say again, store the sound (possibly in terms of tension or lack thereof) as you learn, intially. Also, be sure to transpose ideas and, if possible, understand the reasening or at least the mechanics of the music. Styles might influence us, licks might ‘challenge us yet we all neéd a ‘kick’ now and again. | got one back in June when | went to a John Berry gig. He's my favourlte country singer by far and | told him sol John’s solo performance was rivetting anc ‘exhilarating. Bold, powertul and unobtrusive self-accompaniment (on his Takamine tlectro-accustic) plus @ voice from heaven (on earth! I really must plan some articles on this subject and also write a song or two. ‘Thanks John Bt Guar Teaiqes © Ootober 1998 cians Siar {ale eellle carers BLUESV/ROCKABILLY 2 erate! eoitt 6/sadamay7 2 ‘sha/ “Oak }/ coMU_Bss Muu coMU_Bss comu_pss| co MU ass oa @ © ” an © © @ © october 1996 Glan Ties n OMG NIR Mice Nurse tr Ex2 SOLO Over rpt of Ext S00) st ; = eae 50) Ee 9 a ar ee aod id ead soul BU FOFO popg POPO POPO FOPO BSS |S S oe 708) a a NB Discretionary 120me delay (minimal feedback and mix) © ia ” Cuitar Techaiguts @ October 1996 ol) Pe LD Bu Bu. FPBLD BU SSS 44 (15) 2 e chicken pleking @ ne a we hen guitar players tke Bonnie Rat, 88 King, Robert Cray, Jimmie Vaughan, Budey Guy and Eric Clapton appear on stage together i's world news, Last year, this blues ele gathered togother to pay tibuto to the gonres lost son, ‘Stevie Ray Vaughan. Each player chose a track of Stavils to perform before the whole pary assembled on stage fora bluesfes fnale. And you missed it Never mind = so did we, but weve got ‘ur sticky paws on a crate of videos ofthe event and, being the decent coves we ‘are, weFe going to give one to the fret ei readare who can anewer a simple question, Here qoes: Stevie has recorded cover versions of Stevie Wonder's Superstition, Hendix's Voodoo Chile and The Beatles’ Taxman. True or falso? Got the answer? Well get yourself fo a phone and dial 0591 318 211 and tell us. You could soon be watching the blues event o the year in ‘the comfort of your favourite armchair! EA Fercompaton es 0 page ‘Cats ae carpe a 38 pnt meu cosp a, 49 prc per rungs aa termes ‘October 1996 @ Citar Rewigee 93