Sie sind auf Seite 1von 19

The John Petrucci

John Petrucci plays his


signature Ernie Ball Music
Man Monarchy Majesty
seven-string in Knight Black
Guitar Method
IN THE CONCLUSION OF OUR THREE-PART MASTER
CLASS SERIES, DREAM THEATER’S JOHN PETRUCCI
PRESENTS A WIDE-RANGING AND HIGHLY
PERSONAL LESSON, COVERING EVERYTHING FROM
GETTING STARTED ON THE GUITAR TO EFFECTIVE

T
APPROACHES TO DEVELOPING MONSTER CHOPS.
BY JO H N PE T RUCCI W I TH AN DY AL E DO RT

PH O T O G R AP H Y BY J E N R O SE NSTE I N

R LD PR
WO ES
HERE ARE CERTAIN R with Return to Forever and his own record-
people in the world that A ings, and Allan Holdsworth too. I ended up
EN
IT

gravitate toward cre- Learn combining all of these influences in my own


GU

ative outlets. You will TS playing. Two bands in particular that gave
find that a lot of musi- from the me those “wow” moments—like, “I really
cians also like to draw,
paint and write. There’s MASTERS need to learn how to do that!”—were Rush
and Yes. These bands, and especially their
a common thread that if ISSUE guitarists—Alex Lifeson and Steve Howe—
you are someone that not only has a “want,” 3 OF 3! became huge influences on my playing
but also a “need” to be creative, hopefully and songwriting style and on my approach
you’ll be lucky enough to find music as an to orchestrating guitar parts. If you look
outlet for expression. I was fortunate to find at Dream Theater now, we have the same
music at an early age, at a time when I was instrumentation as Yes, where the guitar
also interested in painting, drawing and the and keyboards are the essential parts of the
visual arts. I found that I gravitated toward pen. I’d hear the two guitar players in Iron bigger, orchestral, progressive rock sound.
the guitar, for whatever reason. Maiden playing harmony leads, but I didn’t
When I was growing up on Long Island, know how that worked. When I played, I’d
it seemed that just about everyone I knew think, Where’s the other part? I remember
FIRST RIFFS
played an instrument, and there were so hearing Eddie Van Halen employing dif-
many bands. You could literally walk down ferent playing techniques, like fretboard I remember that, when I first started play-
your street and hear garage bands playing, tapping, and thinking that it didn’t even ing the guitar, it was impossible for me to
and there would be “battle of the bands” sound like a guitar. I had no idea how that play even the simplest things. Many gui-
contests at school. There was a lot of guitar- was being done, but I was drawn to it. And tarists will tell you that it’s not necessarily
driven music on the radio; all the rock sta- I loved hard rock and heavy metal—it just an easy instrument to get started with. For
tions would always be playing Led Zeppe- hit me, and I loved it. I loved Maiden and I instance, when you play piano, you can just
lin, Boston, AC/DC, Ozzy and Black Sab- loved Metallica. lay your hands down on the keys and make
bath. I always knew I wanted to find a way As I became more proficient on the musical sounds. On guitar, there’s a learning
to channel my creativity, and the guitar and instrument, I began to investigate guitar- curve of developing hand coordination and
music became the way in which I was able ists that played outside of rock and metal strength; even playing basic barre chords is
to do that. styles, and that’s when I got into Steve a challenge at first.
When I was young, I had this recurring Morse and the Dixie Dregs, and Al Di Meola Everything that I played in the beginning
dream in which I was onstage playing gui- was not very complicated; I’d play licks like
tar. This was before I was ever in a band, this (FIGURE 1), based around the E minor
but it drew me in, even before I knew what pentatonic scale (E G A B D). The Zeppe-
TO WATCH THE ACCOMPANYING
was happening on the instrument. I’d hear lin and AC/DC stuff was in that zone, in the
VIDEO FOR THIS LESSON, GO TO
things on the radio and had no concept of basic keys (FIGURE 2). Early Rush is in the
how the musicians were making it hap- GuitarWorld.com/Apr2018 same bag (FIGURE 3). The first Rush album

guitarworld.com 45
Learn
from the
MASTERS
FIGURE
F I G U R E11 FIGURE
F I G U R E2 2

IS S U E
E5 1/2 E5 
3 OF 3!  
 
5 2 2 2 5
5 6 7 7 5 2 2 2 5 7 7 5 7
0 7 7 6 5 3 5 3 0 0 0 0 7 7

FIGURE
F I G U R E33
was all Zeppelin-inspired trio stuff  1/2
  E5 

with extended guitar solos and in


that vein—single-note bluesy rock.
I remember trying to emulate
 7
 5 7
5 5
7 5 6 7
2 2
2 2  7 7  5 7
some basic guitar solo stuff that Alex 0 07 7 5 6 7 3 5 3 0 0 0 0 0 3 3 5 7
Lifeson would do. It would sound
great if you simply kept repeating the FIGURE
F I G U R E 44

 ! 
same lick over and over (FIGURES 1/4 E5 1 1 1 1 1 1 1 1 1

  
4 and 5). There’s always room for 10 10 10 10 10 10 10 10 10


licks like that! I would try to perfect 10 10 10 10 10 10 10 10 10
things like this (FIGURES 6 and 7).
Even with something simple like this, 0

3 3 5 7
5
7
when I first learned it, I had slowed
down a guitar solo with my turnta- FIGURE
F I G U R E55

    


1/2 1
ble set to half speed (16 rpm), and I

/0 
E5 1/2 1/2 1 1
1
 
could hear the notes, but I’d think, 7 10 10 10 10 10 10


8 10 10 10 10 10 10 10
why don’t they sound right when I 9 7 9 9 7 
play them? It wasn’t until I discov-
ered that there were string bends
9
0
7 5
7
5 5
7
7
7
0

involved, and in fact ghost bends—
pre-bending and releasing notes— 4
1 1 1
 1/2 1
 

that made the lick sound right. And 10 10
10 10 10 8 10 8
why is there a growl sound when you 9 7
9 7 5 5 2 2
play the bent A note and the high D 7 7 5
7 6 5 3 5 3 3 0 0
together? You make these discover-
ies when you see someone else do it, 3 3
FIGURE

F I G U R E 66 1 1 1
or when you stumble upon it your- 1 1

  9  
self. 10


8 10 10 10 8 8 10 10 10 8 10 10 10 10 10 10
I remember trying to play “Par- 9 9
anoid” by Black Sabbath, and I saw
a garage band play the song and the
guitarist did this (FIGURE 8), ham-
FIGURE

F I G U R E 77 1 1
mering onto the note on the D string, 1 1 1
and I thought, Holy crap! That’s it! I
  9 8 10


10 10 8 8 10 10 10 8 8 10 10 10 8 8 10 10 10 10
was missing that hammer-on, and I 9 9 9


knew something didn’t sound right.
You discover those little secrets
that slowly begin to unlock how to 3 3 3
do these things on the guitar, and it FIGURE
F I G U R E88
becomes a little less mysterious, driv- E5

9  9 

ing you onward to learn more.
7 9 7 9
7 7 9 9 7 9 7 9 7 9 7 7 9 9 7 9
 
7 7 7 7 7 7 7 7

VIBR ATO
Vibrato was a technique I had to
learn in and of itself. I’d hear it, but
I didn’t know what it was or how to create vibrato, you bend up from one note to it, like I did with the Adrian Smith solo.
to perform it. I was learning an another note, back down and up, and that’s how Vibratos are like fingerprints—every-
Iron Maiden solo one day, with the to get that sound (FIGURE 10). one’s vibrato is a little different, and everyone
record slowed down to half speed, In the beginning, like when learning an approaches the technique a little differently. If
and Adrian Smith played something Angus Young solo in an AC/DC song, I’d have you try to mimic the signature vibrato of a cer-
like this (FIGURE 9). Slowed down, the right notes, but it was another thing to emu- tain player, just that is enough to bring to mind
the vibrato sounded like this huge, late Angus’ cool, distinctive vibrato. Either that player to those familiar with his sound.
repeated bend. Light bulbs went off! someone has to show it to you, or you have to You don’t think about vibrato too much when
That’s how you do it! I realized that, see someone do it, or you simply stumble upon starting out, though.

46 GU I TA R WOR L D • A PR I L 2018
F I G U R E9 9
FIGURE F I G U R E 10
FIGURE 10
1 1 1 1
E5
      16 15 17
 
12 15 15 15 15 15 15 15 15 articulation in order to make what
12 14
14 you play sound as good as possible.


When I’m moving from note to


note in a melodic line, I don’t want
1   the previous note to continue to ring.
And when using distortion, espe-
17 17 15 17 15
16 14 12 12  11 14 14 12 cially, the potential for unwanted
14 12 0 14 12
14 12 14 noise is that much greater. Even
5 12
when playing a simple scale (FIG-


3 3 3
 
URE 12), you have to be sure to pre-
1/2 1 1 1
3 vent the strings you aren’t playing
       from ringing. If I play a lick on the
11 (11 ) 9 9 9 G 9 9 G 9 9 !
9

lower strings (FIGURE 13), I’m using
13 12 the undersides of my fretting fingers
15 12 14 10 10 0
to mute the higher strings. And as I
3 3 move to the higher stings, the tips of
F I G U R E11
FIGURE 11 F I G U R E12
FIGURE 12 my fingers mute the adjacent lower
N.C.(Em)
  N.C.(Em) strings.

   
 
5
4 5 7 7 5 4
4 5 7 7 5 4 4 5 7 7 5 4
PA LM M U TIN G
!
7 5 7 7 7 5 7
7 0
Everyone holds their pick a little dif-
FIGURE
F I G U R E13
13 ferently, and I like to rest my pick-
N.C.(Em) hand pinkie on the higher strings
P.M. throughout
  
while laying the edge of the palm


4 5 4 across the lower strings near the
4 5 7 7 7 5 4 bridge saddles. In this way, I’m only
7 7 5 5 7
7 0 exposing the string that I am playing
on, and the strings around it cannot
FIGURE
F I G U R E14
14
ring. The opposite would be a “float-
N.C.(Em)

ing” technique, wherein the pick-



8 7 8 7 8 7 ing hand doesn’t touch the strings at
9 7 9 7 9 7 9 7
9 7 9 7 all, other than the pick striking the
9 7 7
10 8 10 7 8 0 strings (FIGURE 14). When I pick nor-
mally (FIGURE 15), I feel more in con-
F I G U R E15
FIGURE 15 trol over the strings that I’m not play-
N.C.(Em) ing. The physical technique is subtle,


8 7 but it will make a huge difference in
9 7 9 7 the sound. With metal and rock play-
9 7 9 7 9 7
9 7 9 7 7 ing, distortion is often at a high level,
10 8 10 7 8 0
so the danger of unwanted sounds is
FIGURE
F I G U R E16
16 that much greater. To take it a step
N.C.(Em) E5 further, when you’re recording with

 
10 7 headphones on, you become highly


8 7 8 7 conscious of every little detail (FIG-
9 7 9 7 9 7
9 7 9 7 URE 16).
9 8 7 2 2
10 7 0 5 7  7 0 0 0 0

P OW E R CH O RD S
From my perspective, there are two
conceptual approaches to playing
chords, one that addresses playing
ARTI C ULAT IO N
using vibrato when you should. If you play a with a clean tone and the other that
Another “learning curve” thing is “how do I simple line like this (FIGURE 11), you can make applies to using distortion. In regard
make what I play sound good?” There are so it sound boring by adding no inflections, articu- to playing with distortion, I took my
many things one can do to make it sound bad, lation or vibrato, and you can make it sound bad cues from two different sources and
such as pressing down too hard on the strings, by pulling the strings out of tune or allowing ultimately turned it into my own
making them sound out of tune, or slightly other strings to ring. The guitar is tricky that thing.
bending a string when you shouldn’t be, or not way. You really need to listen closely to your The first source was Rush and lis-

guitarworld.com 47
Learn
from the
MASTERS
F I G U R E17
FIGURE 17 F I G U R E 18
FIGURE 18 F I G U R E19
FIGURE 19

00 00
E5 Esus2 C5 Cm C Csus2
IS S U E

  
3 OF 3! 0 2 2 3 3









  
0 5 5 4 5 3 3
9 9 4 4 5 5 5 5 5 5 5
9 9 2 2 5 5 5 5 5 5 5
7 7 2 2 3 3 3 3 5 3 3
0 0 0 3 3

FFIGURE
I G U R E 20
20

 Csus2 Esus2
  10 10 Fsus2
Gsus2
 Csus2
 Dsus2

 
8 8
  10 10 8  8  
1
3 3 3 3 3 7 7 7 10 8 3 3 3 5 5 5
12 8  8





3 3 3 3 3 7 7 7 10 8 3 3 3 5 5 5
5
5
3
5
5
3

5
5
3
5
5
3
5
5
3
9
9
7
 9
9
7
9
9
7
12
12
10
 12
12 12 8  8
10 10 8  8
8
8
8
5
5
3
 5
5
3
5
5
3
7
7
5
 7
7
5
7
7
5
3 3 3 3 3 7 7 7 10 10 10 8 8 8 3 3 3 5 5 5


Bsus2
 Csus2
 Esus2
 Gsus2
 10 
Fsus2 Dsus2
 Bsus2

     10   
4
IN THE BEGINNING, 2
2
2

2
2
2
2
2
2
2
2
2

2
2
2
2
2
2
2
2
2
3
3
5

3
3
5
3
3
5
7
7
9

7
7
9
7
7
9
10
10
12
 12
10
10
12
8
8
8

8
8
8
8
8
8
5
5
7

5
5
7
5
5
7
2
2
4

WHEN LEARNING AN 2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
5
3
3
5
3
3
5
3
3
9
7
7
9
7
7
9
7
7
12
10
10
12
10
10
12
10
10
8
8
8
8
8
8
8
8
8
7
5
5
7
5
5
7
5
5
4
2
2

ANGUS YOUNG SOLO


    
Csus2 Esus2 F5 Esus2 Csus2 Fsus2 Gsus2 Dsus2
IN AN AC/DC SONG, 8
3
3  3
3
2
5
2
5
2
5
2
5
2
5
2
5
3
3  8
8  10
10  5
5 
I'D HAVE THE RIGHT 5
5
3
 5
5
3
4
2
2
4
2
2
3
3
4
2
2
4
2
2
4
2
2
4
2
2
5
5
3
 10
10
8
 12
12
10
 7
7
5

NOTES, BUT IT WAS
3 3 0 0 0 0 0 0 0 0 0 0 0 0 0 3 8 10 5

ANOTHER THING 
Esus2 Csus2

E
 
Bsus2
FIGURE
F I G U R E 21
21
E5 C/E E5 D G5(Dsus4)

TO EMULATE ANGUS' 7 3  2
7 3 2
12 1 P.M. P.M. P.M. P.M.

9 5  4


5
9 5 4
COOL, DISTINCTIVE 7
7
3
3
4
2
2
0
 2
2
9
7
10 10
7 7 7 7
10 9
7 7 7 7
0 0
4
5
4

5
5
5
0 0
VIBRATO." FIGURE
F I G U R E 22
22

   


E5 C5 *C(¨5) C5 E5 C/E G Dsus4 D Cadd2

 
3
1

0
sim.
3 3 3 2
 

3 3 3 3 3
9 10 10 10 5 4 4 5 9 9 10  0
0
2
0
2
0
2
0
0
2

7 7 7 7 3 3 3 3 7 7 7 2 3
00 00 00 00 00 3
tening to how Alex would play big,
*or D7/C
extended open chords that made the

    3 3
G5 Dsus4 D Dsus4 Csus2 G5

0
guitar sound huge in a trio setting.
3 3  3 3 3
let ring
   33 33 3 3 3  30 30
3 P.M. P.M. P.M.

3"
That could mean playing more notes 3 3 3
5 5 5,5 0
3 3 3 3
 5 5
than you’d usually play. When play- 0 0 0
3  03 03
ing an E5 power chord, Alex might 0 5 4 4 5 5 5 0 0
 
X 5 555 5 555 33 3 33
add the open strings to create a larger 3 33 3 3 3
sound (FIGURE 17). We can move
down to second position and add the Dsus4 D C5 Csus2 C5 Csus2 C5 G5

 
fifth, B, on the A string, and the ninth, 8 sim.
 
3 3
3 3
, 
Fs, on the high E string, to widen the
5 7 7 5 7 7 5 0 0
sound of an E power chord (FIGURE 5 4 4 5 5 5 5 5 5 5 5 0
18).
5 5 5 5 5 5 5 5 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3
The other concept is adding a sec-
ond, or ninth, on top of a basic barre
chord shape. If I play a C5 power
chord (FIGURE 19) and add my mid-
dle finger, I get Cm. If I barre my pin- with the index finger and strumming across approach involves double-stop chords played
kie across the D, G and B strings, I all six strings creates a huge-sounding, Rush- with distortion that serve to add more tonal-
get C major; but if I barre with my style Csus2 “power chord.” You’ll hear these ities to the chords than just root-fifth or
index finger, I get a “neutral” varia- chords on “2112.” Just moving this voicing root-fifth-ninth, such as a flatted fifth, or
tion that adds the second, or ninth, around the fretboard instantly yields a prog-y, a suspended fourth, or a major third. That
D, on top of the C5 voicing, resulting Rush-like sound (FIGURE 20). influence came from listening to early
in Csus2. Including the low fifth, G, The second influence on my chordal Queensrÿche (FIGURE 21). I employed this

48 GU I TA R WOR L D • A PR I L 2018

FIGURE
F I G U R E23
  
23
E5 E Esus4 E5
1
 

9 9 9 9 6 7 7 7 9 9 9 9
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
0 0 0 0 0 0 0 0 0 0

E 1/2

 E5 E Esus4 D5
 7 7 7
4


"  75 75 75
7
6 6 6 6 7 6 9 9 6 7 7 7 7
5 5 5
7 7 7 7 7 7 7 7 7 5
0 0 0 0 0 0 0 0 0 5 5 5

8
D

E5
 1/2

7  
7 4 4 5 9 6 6 76 6

5 5 5 5 7 9 7 9 7 9
5 0 0 0 0 0 0 9 2 2 0
3
F I G U R E24
FIGURE 24
E5
 E(¨5)
 E5
 E(¨5) E
 E(¨5) E5

 

9 9 9 9 8 8 8 8 9 9 9 9 8 6 6 8 9
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
00 00 00 00 00 00 00 00 00 00 00 00

FIGURE
F I G U R E 25
25


 77  77 77 
D D(#4)
1
7 7 7  97

7 7 7 7 10 9 9 9 9
7 7 7 7 7 7 7 7 7 7 7 7
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

FIGURE
F I G U R E26
26

4  
D5 D D5 E Esus4
99
1
 

9 9 10 7 3 3 3
7 7 7 7 7 7 2 2 2
00 00 00 0 0 0 0 6 6 6 6 7 7 7 7
0 0 0 7 7 7 7 7 7 7 7
00 00 00 00

    E 


E(¨5) E5 1/2 Esus4
3
approach in Dream Theater compo-
sitions like “Metropolis.” Using just 8 8 8 8 9 9 9 6 6 6 7 7 7 7
7 7 7 7 7 7 7 7 7 7 7 7 7 7
two notes, I can move from a root- 00 00 00 002 2 2 0 00 00 00 00 00
fifth E5 power chord to an Esus4
with an E and an A note. If the song 7 
E(¨5)
 E5 D5 E5
called for Dsus4 to D, instead of using
standard first-position open chords
   
8 8 9 9 7 2 2 2 2 2
to get that sound, I can achieve it 7 7 7 7 7 5 2 2 2 2 2
0 0 6 0 0 0 0 0 0 0 0 0 0 0
with two and three notes in “power
chord” fashion (FIGURE 22). I’m
implying the tonality in a sonically
economical way and don’t need any
other accompaniment.
I can create a two-note progres-
sion that moves between the fifth, the
fourth and the major third (FIGURE
23). We can now add the flatted fifth the major third, fourth, flatted fifth and fifth— a straight E5-C5-D5 progression can sound
to the mix, and you have all the ingre- in E, they occur in a chromatic sequence on much richer and more interesting (FIGURE
dients to create a heavy riff (FIGURE the D string, which could be a riff unto itself 27). It’s still a basic progression, but the gui-
24). Here’s a riff from “Metropolis” (FIGURE 26). tar sounds bigger while the part also provides
that illustrates this technique (FIG- Using the chords Em, D and C, I can incor- more harmony and musical information.
URE 25). porate those intervals to reflect this chord If I take the E root-fifth shape and move
If we look at these four pitches— progression. So now, something as simple as the fifth up a half step, it turns into C/E, with

guitarworld.com 49
Learn
from the
MASTERS
FIGURE
F I G U R E 27
27

IS S U E 1 
E5 C5
   
D5 E5
3 OF 3!      

9  7 7 7 7 9 9 9 9 9 9 9
7
0 5
3 75
3 3
5 5 5
3 3 3 3 5 5

5 5 5 5 7 7 7

7 7

7 7 7 75

6 C5 C(¨5) C5 D Dsus4 D   D5 


E5

5 4 4 5 4 5 5 4

9 9 9 7 7 9 9 9 9 
 00  0 0
3 333 3 333 35 5 555 5 555 7 7 7 5 5 7 7 7 7 75
00 00
the higher of the two notes now func-
tioning as the root and the lower note 10 C5 C(¨5) C5 D Dsus4   0 0
as the major third, what’s known as 
9 5 
0 0 
2
first inversion. There is some mys-
tery to this sound because the lower
5 4 4 5 4
3 333 3 333 35 5 555 5 55
5 5 4 54
75 7 7 7  2 0 0 03 0
of the two notes doesn’t change, cre-
ating a “pedal tone” type of sound FIGURE
F I G U R E 28
28 1. 2.
E5 C/E D B5 C5 E5
 
(FIGURES 28 and 29). This is such

    


 0 
a great technique, one that helps to
add more movement and tonality to a
rock/metal-type riff. For example, I
can move up and down the fretboard
09
7
0 0
10
7
0 0 09
7
0 0
4
5
5 5


5 5
4
5
0 0
4
2
5 5
3 3
3 3

2
2
0

FIGURE
F I G U R E 29
29

   


between C5 and E5 power chords by
using a series of different two-note E5 C/E D5 A/C# E5
shapes, like this (FIGURE 30), which      7 
 0
9  10  7  7 
gives you a Metallica-like sound.
7
0 0 0
7
0 0 05 5 5
04 5
9
7
9
7
2
2
0 0 0

E XT E N D E D POWE R C HORDS FIGURE


F I G U R E 30
30
1 C5 C(¨5) A7/C# A/C#
  43    74  
 
The culmination of all of this is how I

 0 0
expanded on these ideas to create my 5 5
own thing. To the big Rush chords 3 3 3 3 3 3 3 4 4 4 4 4 5 5
and the Queensrÿche interval idea, I
added a third note on a higher string. 5 D5 B/D# E5 etc.
Going back to the Rush sound of the
   7     7   
7  9 
0 0 0
sus2 chords sounded with an index-
9
finger barre (FIGURE 20), instead 5 5 5 5 5 5 6 6 6 6 6 6 6 6 7
of sounding the Fs over E5 on the B 0 0
string, it’s fretted on the G string with
the pinkie. I can then take this sym- FIGURE
F I G U R E 31
31
Esus2 Csus2 Gsus2 Asus2 Esus2 Csus2 Gsus2 Asus2

9
  
metrical three-string shape and move 1
 11  
0
7 

it all around (FIGURE 31). I use these 0
 5
0
11 7 11 11 7
root-fifth-ninth three-string shapes
all the time.
9
7
0
9 5
3
7
5
00 3
 00 9
7
5
9
7
9
7
0 0000 0000
5
3 33333
7
5
33 3 3333
7
9
7
5 55555 5

If I move my pinkie up one half
3 3
step, from Fs to G, I now have an Em
Esus2 Csus2 Esus2 D/F# E5

5
  
chord. If the progression goes from
7
5 
Em to Csus2, I can use these “spread- 11 11 7
voicing” shapes, which sound better 9 9 5 7 7 22 2 2 2
7 7 3 33333 5 5 5 5 22 2 2 X2
0 0000 0000 33 3 33333 00002 22222 00 00 0 0 X0

ANOTHER 'LEARNING CURVE' THING IS 'HOW DO I MAKE


WHAT I PLAY SOUND GOOD?' THERE ARE SO MANY THINGS
ONE CAN DO TO MAKE IT SOUND BAD."
50 GU I TA R WOR L D • A PR I L 2018
What Clients are saying about
the Stauer Guitar Watch


“This thing ROCKS.”
— N. FROM PHOENIX, AZ


“It keeps great time and
has stood up to band
practice very well!”
— E. FROM PHILADELPHIA, PA


“I was absolutely
blown away.”
— M. FROM LAS VEGAS, NV

0% Exclusively
TAKE 8 !
OFF INSTANTLY Through
our
When y
ou use y
ER
Stauer
INSID
CODE
OFFER

The Official Watch of Rock and Roll


Rock around the clock tonight with the exclusive Stauer Stainless Steel Guitar Watch for under $100!

A s a kid, I stood hypnotized in front of


the guitar shop window. I stared at the
Gibsons, Fenders, Rickenbackers and Les
strumming crowds into a frenzy. But it
should also reverberate with the spirit of the
world’s greatest rock guitar gods like Jimi,
with a genuine black leather band and is
water-resistant to 3 ATM.
Guaranteed to rock your world. If you
Pauls, lined up like lacquered mahogany and Eric and Keith (who was featured on the aren’t fully impressed by the performance
maple trophies. With their smooth curves, cover of Rolling Stone magazine wearing a and stage presence of the Stauer Guitar
each one could produce hot licks, reverb and Stauer watch). As you can see, the final Watch within 30 days, simply return the
a wailing solo. The six string guitar is the product is worthy of a standing ovation. watch for a full refund of the item price.
heart of rock and roll. I’m proud to say that It’s only rock and roll, but we like it. One Presently, we have only less than 200
today I feel the same way about the new look at the Stauer Guitar Watch’s volup- pieces in stock, so don’t hesitate to order!
Stauer Guitar Watch. tuous stainless steel body will bring you right Sorry, no Wah Wah pedal included!
We wanted to give our favorite vintage back to the glory days of 45 and 33 rpm Stauer Stainless Steel Guitar Watch—
electric guitars their due with an impressive records. The eye-catching shape of the case
$499* only $99 +S&P Save $400
timepiece that captures the excitement of the recalls the round-bottomed bodies of the
golden years of rock and roll. The Stauer
Guitar Watch is a legendary timepiece with
greatest vintage electric guitars.
The unique, ivory-colored face features blue
1-800-333-2045
bold, head-turning design and attitude to Offer Code: GUW216-07
Roman numerals on the left of the dial and You must use this offer code to get our
spare. It’s rebellious enough to feel like you’re bold Arabic numbers on the right. Blued,
getting away with something. special price.
Breguet-style hands keep time while *Discount is only for customers who use the offer
Meet your new favorite rock star. My additional complications mark the day, code versus the listed original Stauer.com price.
only advice to the designers was to make a
Stauer
date and month. A date window sits
watch that looks exactly like rock and roll at the 3 o’clock position. Inside, the ®
sounds. Big, bold and loud enough to wake 27-ruby-jewel movement utilizes an 14101 Southcross Drive W., Rating of A+
the neighbors. It should evoke images of Bill automatic self-winding mechanism that Dept. GUW216-07
Haley, Buddy Holly, The King and The Boss never needs batteries. The watch secures Burnsville, Minnesota 55337 www.stauer.com

• Stainless steel case • 27-jewel automatic movement • Date, day and 24-hour complications • Croc-embossed leather strap fits 6 3/4"–8 3/4" wrist

Stauer… Afford the Extraordinar y.™


Learn
from the
MASTERS
FFIGURE
I G U R E 332
2

 
Em (play 3 times) Csus2 Em (play 3 times) Dsus2
IS S U E
  12      12      
P.M. P.M.
3 OF 3! 0 0 5 7
7 7

0 0 5 7
 97  12
 5
3
5
3
 97  12 7
7
5
5
  2
2 
0 0 0 0 5 0

FIGURE
F I G U R E 33
33
E Bsus4 Amaj7

 13  
1
0 0

 70 
0 0 9 9 9 9
9  
11 11 13 13 13 13 8 9 9 9 9
9 9 9 9 9 9 9 7 7 7 7
7 7 7 7 7 7 7 7 9 0 0 0 0
than conventional barre chords (FIG- 0 0 0 0 0 7


URE 32). If you move the pinkie up
another half step, from G to Gs, you
Esus2 E Bsus4 Aadd2
C#m7  E5

  
3

0 0 0 0
9 9 9 9 
get a major third and can sound an E 0 0 0 0
major chord this way. In this exam-
ple (FIGURE 33), I’m combining these
11 11
9 9
7 7
13 13 13
9 9 9
7 7 7
13
9
7
8
9
9
 6
7
7
6
7
7
9 9 9"9 
 9  9 7 9 0  7 7 0 0 20
2
0 00 00 00 7 5 5 00 9
shapes to create a great-sounding
chord progression that has a built-in FFIGURE
I G U R E 34
34 F I G U R E35
35
FIGURE
melodic line while keeping the root
Em F#7/E Em F#7/E
           9  00
note in the bass. 0 0

  1297  1297  1297 


  0
0 0
      87 
Another cool twist is to change 12 12 9 9 9 9 12 12 12 9 9
the lower note to the flatted sev- 9 9 8 8 8 8 9 8 8
7 7 9 7 7 7 7 7 7
enth, what’s known as a third-inver- 00 00 00 00 000 00 00 00
sion chord: with the E note at the sev-
enth fret of the fifth string, I can add FIGURE
F I G U R E36
36
Am Asus2 B7/D# etc. E natural minor (Aeolian)
  
1

As, fourth string, eighth fret, and Fs, 8
  11  11 11  11 

8 10 12

 7  7 7  7 
third string, 11th fret, while keep- 7 9 11
ing the open low E in the bass (FIG-
URE 34). That sounds mysterious
10 10
7 7
9
7
5 5 5 5 5
 9
7
5 0 0
6 6 6 6 6 6
7 8 10
7 9 10
7 9 10

and creepy, and it has a metal, pro- 2


10 12 10 8
gressive sound to it that evokes a cer- 12 10 8 8 10
11 9 7 7 9 11
tain kind of emotion. Using these few 10 9 7 7 9 10
chord shapes, you can automatically 10 9 7 7 9 10
10 8 7 8 10
create riffs that sound cool (FIGURE
35), and in this example I’ve added a 4
8 10 12 10 8

B7/Ds chord to develop the musical 12 12 10 8
11 9 7
progression a bit further. 10 9 7
10 9 7
10 8 7

FIGURE
F I G U R E37
37
P O SITIONA L SCA L E NAVIGAT I O N D G C F#dim C G D

8 8


When I practice, I like to try and 8 10 10 8
7 9 11 11 9 7
cover as many bases as possible with 7 9 10 10 9 7
a single exercise. With this specific 9 10 10 9
10 10
approach, one can apply it to all dif-
3 3 3 3 3 3 3 3
ferent types of scales in all keys.
That’s the beauty of the guitar—all of
FIGURE 38
D7 Gmaj7 Cmaj7 F#m7¨5

these patterns are easily moveable. 8 12 10 8


These exercises get you familiar with 8 12 10 8 10
7 11 9 7 9 11
learning chord shapes while also 7 10 9 7 9 10
9 10
working on specific picking tech- 10 advancing your technique.
music while cept, you need to identify the arpeggiated tri-
niques. Let’s stay3 in E minor,
3 starting in
3 seventh 3 ads that
3 fall within
3 the scale
3 as played3in this
Steve Morse once said that when- position: set a metronome to a 16th-note click position, starting from the highest note on
ever he needed to work on a tech- and play the scale ascending and descend- the lowest string within each three-string
nique, he’d devise a piece of music ing, using alternate picking (FIGURE 36). Now group (FIGURE 37). I like to change it up a lit-
designed to address that tech- let’s move through the different patterns, tle bit to make it more interesting by add-
nique, in the same way that classi- starting with one note per string, followed by ing a fourth note on the highest string, a third
cal etudes are intended. This makes two, three and four notes per string. This will above the preceding note, followed by the two
the endeavor so much more interest- address most of the variables you will encoun- lower scale degrees, resulting in triplet pat-
ing: not only are you learning specific ter. terns that alternate between three ascend-
scale shapes, you are also playing To apply the one-note-per-string con- ing notes and three descending notes. Here

52 GU I TA R WOR L D • A PR I L 2018
THE BEST AMPS IN THE WORLD

THE PROFILER
With Profiling Kemper changed the world for all guitar players, making it a better place
indeed. Because all the best guitar amps in the world – thoroughly mic’ed and recorded
in the best studios – are available with the Profiler.

KEMPER-AMPS.COM

Profiler Head Profiler Head Preamp Profiler Rack Preamp


Preamp white or PowerHead black or PowerRack black Profiler Remote
D G C F#dim C G D

8 8


8 10 10 8
7 9 11 11 9 7
7 9 10 10 9 7
9 10 10 9
Learn 10 10

from the 3 3 3 3 3 3 3 3

MASTERS
FIGURE
F I G U R E38
38
D7 Gmaj7 Cmaj7 F#m7¨5
IS S U E

8 12 10 8
3 OF 3!


8 12 10 8 10
7 11 9 7 9 11
7 10 9 7 9 10
9 10
10
3 3 3 3 3 3 3 3

F I G U R E 39
FIGURE 39 


8 10 12 8


10 8 10 12 8
11 9 7 9 11 7
10 9 7 9 10 7
10 9
10
3 3 3 3 3 3 3 3
FIGURE
F I G U R E 40
40


8 12 10 8 8 10 12 8


8 12 10 8 10 10 8 10
7 11 9 7 9 12 11
7 10 9 7 9 10
9 10
10

FIGURE
F I G U R E 41
41
E Aeolian (natural minor)
 

12 8 58
9 7 911 7 4754 5
10 9 7 910 7 4754 5 7
10 9 5 7
10 7 7


5 8 7 5 5 7 8 5
7 5 7 7 5 7 8 5
7 7 5 4 5 7 4
7 5 4 5 7 4
it is in ascending form (FIGURE 38). 7 5
7 5 3 0
The progression of chords outlined is
D7-Gmaj7-Cmaj7-Fsm7f5, all chords
FIGURE
F I G U R E 42
42
living within the key of E minor. The
E Aeolian (natural minor)
descending form would be this (FIG-

12 15 14 12 12 14 15 12


12 15 13 12 13 13 12 13
URE 39). 11 14 12 11 12 14 14
You can play this pattern as 10 14 12 10 12 14
12 14
eighth–note triplets, but you also can 14
play it as straight 16th notes (FIGURE
40). It’s good to play through the pat-

15 12
tern both ways, “hearing” it as both 12 11 12 14 11
14 12 10 12 14 10 14 14 14
triplets and straight 16ths. Once you 14 12
have a grasp of this approach, be sure 14 12 10 0
to apply it to E natural minor (A Fs
G A B C D) in every position, and to F I G U R E 43
FIGURE 43


every other scale you know in a wide C F#dim Bm Em Am Cmaj7 F#m7¨5 Em7 Am7
variety of keys (FIGURES 41 and 42). Bm7
 
0
8 12 8  10  
8 12
 
The next incarnation of this idea


8 10 7 8 5
is built from a pattern with two notes 7 11 7 9 9 9 7 7 5
7 10 7 9 9 10 7 9 5
7 10 7 9 9 7

per string (FIGURE 43). This is played
7 8 8 7 5
in straight 16th notes, starting with a
one-note pickup, which is the major
F I G U R E 44
FIGURE 44
seventh of the chord. The progres-
sion outlined is Cmaj7-Fsm7f5-Bm7- Am7 Em7 Bm7 F#m7¨5 Cmaj7 Em Am D G
 
12 8



Em7-Am7. This is another great 10 8 12 8 12 15 12
alternate-picking exercise, and the 9 7 11 7 11 14 12 12
9 7 10 7 10 14 10 12
line has a nice melodic contour. The 9 7 10 7 10 14 10 12
8 7 7 12
cool thing is that all of these chords
are built from our parent E natu- C G G D7 Bm7 Em7 etc.
ral minor scale pattern in this posi- 12 15 15 12

13 13 12 15 12
tion, but arranging the notes in these 12 11 14 11
arpeggios describes a chord pro- 12 12 10 14 10
12 10 14 10
gression. Practice the reverse ver- 12 10
sion as well, and then play the pat-
tern ascending and descending (FIG-
URE 44).

54 GU I TA R WOR L D • A PR I L 2018
The all-new range from Bare Knuckle

3 output ranges 4 types of pickup

HANDWOUND IN THE UK

www.bareknucklepickups.co.uk/bootcamp
bareknucklepickups.co.uk
Learn
from the
MASTERS
IS S U E
3 OF 3!

Since this two-notes-per-string


pattern falls naturally into 16th-note
groupings, play it as eighth-note trip-
lets too (FIGURE 45) in order to get
the most out of the exercise.
The third approach involves three
notes per string, and this is a great
way to practice sequencing as you
move through a scale. Three-notes-
per-string is probably the most typ-
ical way guitarists like to practice
scales, but here we’re going to create
sequences of six notes (FIGURE 46).
Begin by playing the first six notes of
the scale in order, low to high, start-
ing on the bottom two strings. Then
move to the fifth and fourth strings,
playing these scale tones in the same
manner. Continue this approach
through all pairs of adjacent strings,
playing the patterns as 16th-note
triplets. You can try this pattern
played as straight 16th notes too.
One of two ways to move back
down through the string pairs is to
simply play the pattern backward,
starting on the highest note in each
string pair, which is the most logi-
cal. A great twist is to play the pairs
ascending, as we had done, but mov-
ing from the higher string pairs to the FFIGURE 455
IGURE 4


lower ones. 8 12 12 8


8 12 8 10 10 8
The fourth incarnation is built 7 11 7 9
7 10 7 9
from playing four notes per string 7 10 7 9
and, in order to keep this rooted in 7 8
a specific position, I incorporate an 3 3 3 3 3 3 3 3
extra note on each string, a passing

tone, that is outside the scale. Each of 12 8
9 7 11 7
these exercises forces you to sharpen 9 7 10 7


9 7 10 7
your alternate picking technique. 8 7 0
With one note per string, you will use 3 3 3 3 3 3
a downstroke on one string followed
FFIGURE
I G U R E 446
6
by an upstroke on the next, which is
  
8 10 12


the hardest technique to master. Two 8 10 12 8 10 12
notes per string is more evenly reg- 7 9 11 7 9 11
7 9 10 7 9 10
ulated, as you pick down-up on each 7 9 10 7 9 10
7 8 10
string as you move across the strings
3 3 3 3 3 3 3 3 3 3
and your pick ends up in the same
spot every time. The third version, FIGURE 47

three notes per string, is like the first 8 10 11 12


8 10 11 12
7 9 10 11
7 8 9 10
7 8 9 10
7 8 9 10
56 GU I TA R WOR L D • A PR I L 2018

FIGURE 48
1
12 11 10 8 10 11 12 11 10 8
DK24
ALL-NEW PRO-MOD

ELEVATE YOUR
PERFORMANCE

© 2018 JCMI. Charvel® and the distinctive headstock designs commonly found on Charvel® guitars are registered trademarks of
Fender Musical Instruments Corporation and used herein under license to JCMI. All rights reserved.
charvel.com
  
8 10 12


8 10 12 8 10 12
7 9 11 7 9 11
7 9 10 7 9 10
7 9 10 7 9 10
7 8 10
3 3 3 3 3 3 3 3 3 3

because there’s an uneven number of F I G U R E 47


FIGURE 47


notes on each string, so your picking 8 10 11 12


8 10 11 12
direction constantly reverses—down- 7 9 10 11
7 8 9 10
up-down, then up-down-up, etc. 7 8 9 10
7 8 9 10
This last incarnation—four notes
per string—is evenly picked down-
FFIGURE
I G U R E 48
48
up-down-up on each string, but with 1


more notes played per string. This 12 11 10 8 10 11 12 11 10 8


12 11 10 8 10 11 12 11 10 8
is easier than picking two notes per 11 10 9 7 9 10 11 10 9 7
string, because you’re not crossing
strings as frequently.
In adding the passing tone, in
4
 
the instances where the three scale
degrees fall between four frets, you
simply add the “in between” note. 10 9 8 7 8 9 10 9 8 7
10 9 8 7 8 9 10 9 8 7
On the sixth string, for example, the 10 9 8 7 8 9 10 9 8 7 0
scale degrees are B, C and D, so we
add the Cs that falls between C and FFIGURE
I G U R E 49
49
D. This holds true for the fifth and E natural minor
 
0 2 3 5 7 8 10 12 14 15 14 12 10 8 7 5 2 2 0


fourth strings as well. But on the top
three strings, where there are five
frets between the three scale degrees,
we have to choose which of the two
possible passing tones to use. I prefer FIGURE
F I G U R E 50 
 FIGURE
F I G U R E51

50 51

 0 
the higher of the two (FIGURE 47).


 
You can then descend through 1 3 5 7 8 10 12 13 15
the pattern in reverse order, but I

2 3 5 3 5 7 5 7 9 7 9 10
like to play it in a repeated descend-
ing/ascending/descending manner

3 3 3 3
that falls into a meter of 5/4 (FIGURE
48). What I like about this approach
is that the picking patterns remain 2 4 5 4 5 7 5 7 9 7 9 11 9 11 12 11 12 14 12 14 16 16
constant, down-up-down-up, as you 9 10 12 10 12 14 12 14 15 15
move from string to string. Practice
3 3 3 3 3 3 3 3 3 3
this in a ascending manner too. I rec-
ommend working on these patterns FIGURE
F I G U R E 52
52 


in repeated two-string pairs, or just


on a single string (!), before moving to
the sequence that carries the pattern 2 4 5 4 5 7 5 7 9 7 9 10 9 10 12 10 12 14 12 14 16 14 16 17
across all of the strings.
3 3 3 3 3 3 3 3


OTHER SCALE-PLAYING APPROACHES 2 4 5 4 5 7 5 7 9 7 9 11 9 11 12 11 12 14 12 14 16 14 16 17

In order to be able to apply every-


thing that we’ve covered to differ- 3 3 3 3 3 3 3 3
ent keys, you need to know where the
correct notes fall, where they lay on FIGURE 53


the fretboard. To me, the best way
to get a handle on this is to practice 2 4 5 4 5 7 5 7 9 7 9 11
2 4 5 4 5 7 5 7 9 7 9 10
playing scales on a single string. Start
on the high E and play all of the notes
of E natural minor, also known as the
E Aeolian mode: E Fs G A B C D (E Fs
strings. 3 3 3

As you move three-note shapes up and


3
strings3(FIGURE 513 ). The next3 step is to apply
these fingering patterns as you move from
3

G). This series of notes is the same as down the top pair 9 of11 12 (the B and 11
strings high12 14 12another,
one string to 14 16 which is exactly
14 16 17
what
9 10 12 10 12 14 12 14 16 14 16 17
the G major scale, with one note that E), you realize there are three fingering one does when playing solos or song riffs.
is sharp, Fs (FIGURE 49). You could sequences that repeat, such as index-middle- For example, if I’m sticking to the E natural
3 (1-3-4), or3

fret each note with the same finger if 3
pinkie (1-2-4), 3
index-ring-pinkie minor3 scale while
3 moving between
3 the3 D and
you like, but I prefer to use a three- FIGURE 54
index-middle-pinkie with a stretch (or index- G strings, I can see how these sequences work


finger approach that shifts posi- ring-pinkie with a stretch, when you are 12 14
together. Here’s the scale 15 15
on these two strings


12 13 15
tions up and down the neck. Then do higher up on the fretboard). 9 FIGURE
(11 12 52). If you play three notes on one
the same thing on the B string (FIG- You discover that this 9 10 12
7 applies
9 10 to the scale string and then three notes on the next before
URE 50), and then all the remaining as played7on any
8 10string, such as on the A and D shifting positions, you get a six-note pattern
3 3

3 3 3 3
FIGURE 55
 
58

GU I TA R WOR L D • A PR I L 2018 12 14 15 17


12 13 15
9 11 12 14
9 10 12
7 9 10 12
7 8 10
RELEASE
YOUR
ALTER EGO
EXPERIENCE NEW
TONAL FREEDOM.
Ever wanted an amp that plays to all
your styles? The DSL delivers everything
from bright, shimmering clean tones to
punchy, aggressive gain.


2 4 5 4 5 7 5 7 9 7 9 11 9 11 12 11 12 14 12 14 16 14 16 17

Learn
from the 3 3 3 3 3 3 3 3

MASTERS FIGURE
F I G U R E53
53

IS S U E 

3 OF 3! 2 4 5
2 4 5
4 5 7
4 5 7
5 7 9
5 7 9
7 9 10
7 9 11

3 3 3 3 3 3 3 3

9 11 12 11 12 14 12 14 16 14 16 17
9 10 12 10 12 14 12 14 16 14 16 17

3 3

3 3 3 3 3 3
FIGURE 54

12 14 15 15


12 13 15
9 11 12
9 10 12
7 9 10
7 8 10 (FIGURE 53).

FLORIDA’S PREMIER
3 3 Just3as there are 3three different fin-

3 3

 FIGURE 55

gering shapes on one string, there are


six different 12
two-string
14 15 17shapes, or

INDEPENDENT GUITAR
 STORE 

12 13 15
9 11 12 14 sequences, as we move up the D and
9 10 12 G strings, and these shapes repeat all
7 9 10 12
7 8 10 over the fretboard. The first is paral-
3 3 3 3 lel, 1-3-4
3 on each3 string. The second is
1-2-4, then 1-2-4 with a stretch. Then
1-3-4 followed by 1-3-4 with a stretch,
or 1-2-3 followed by 1-3-4 with a stretch.
s
tU!
The fifth shape is 1-2-4 followed by 1-3-

i s i
V line
4. The sixth is 1-2-4 with a stretch fol-
lowed by 1-2-4 without a stretch on the
On higher string. And the seventh shape is a
repeat of the third one, 1-3-4 followed by
1-3-4 with a stretch.
If you learn those six patterns, this is
all you need to know, as they repeat all
over the fretboard, and this is true for

HUGE ALL MAJOR


BRANDS
BUY • SELL
TRADE
SELECTION
We house an amazing selection of new, pre-owned, and vintage guitars,
amps, and accessories, so you can find the piece you have been dreaming
of. Our expert staff make buying easy with industry leading customer
service by phone, email, or chat directly on our site. You’ve experienced the
others, now experience why our independent store has the goods... so you
can get the best gear with the Replay Guitar Exchange Difference!

REPLAYGUITAR.COM
60 GU I TA R WOR L D

9 11 12 11 12 14 12 14 16 14 16 17
9 10 12 10 12 14 12 14 16 14 16 17

Learn
from the
3 3

3 3 3 3 3 3

MASTERS
FIGURE
F I G U R E 54
54


12 14 15 15
IS S U E


12 13 15
3 OF 3! 9 10 12
9 11 12
7 9 10
7 8 10
3 3

3 3 3 3
FIGURE
F I G U R E55
55
 

12 14 15 17


12 13 15
9 11 12 14
9 10 12
7 9 10 12
7 8 10
3 3 3 3 3 3

all of the diatonic modes. There is a slight


shift necessary when moving between the
G and B strings because these two strings
are tuned a major third apart, not a perfect
fourth, like all the other adjacent strings.
And remember that these fingering shapes
will apply to playing the scale, or any scale,
in the more conventional manner—within
a single fretboard position across all six
strings.
The most powerful way to utilize these
fingering concepts is to apply them to pat-
terns that ascend and descend the board,
enabling you to cover a lot of ground.
You’ll find that the specific shapes will
repeat when moving through three
octaves, which is something I take advan-
tage of all of the time in my playing. If
I start in seventh position on the low E
string and play 1-2-4, 1-3-4, I can move up
one octave and start on the D string, and
the fingering sequence is exactly the same.
If we move up one more time to the next
higher octave, as played on the B and high
E strings, it’s the same shape again (FIG-
URE 54).
It’s so valuable and important to be
aware of how each of these shapes repeats,
because if you learn it in one spot, you can
move up, and there it is again. Your mind
becomes very familiar with how the shapes
look and feel, as well as how they sound as
patterns played over chords.
These patterns consist of six notes, so
we’re leaving out one of the degrees in a
typical seven-note scale. If you’d like to
include every scale degree, what I do is
shift up one scale degree following the
sixth note in each sequence. This results in
seven-note patterns (FIGURE 55). Now you
have a scale pattern that ascends through
three octaves, wherein you can simply and
easily identify the shapes. This is a great
way to move up and down through scale
patterns in a seemingly effortless way
while also covering a lot of fretboard terri-
tory.

62 GU I TA R WOR L D