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229 SPRING 2014

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seventh heaven! classical
Does your dominant soloing suck?
Spice it up with exotic scales! and folk
Mozart’s 40th &
Laura Marling
style study

play like…
Takin’ Care Ted nugent
Of Business Byrdland-toting rocker

FreddIE Each month chuck wayne

KING
Undersung jazz virtuoso
the best joe louis walker
guitar tuition San Francisco’s giant of blues
Learn a classic from the l i s t e n , l e a r n a n d p l ay !
most influential electric
bluesman of them all! blues, rock, Jazz & more
ISSUE 229 SPRING 2014

the
finest

Welcome
guitar tuition
Just some of your regular you can
GT technique experts... buy !

Shaun Baxter
One of the UK’s most respected music
educators, Shaun has taught many who Of the three blues Kings it seems to me honk and the licks are a pretty good match.
are now top tutors. His album Jazz Metal that Freddie comes off worst when it comes to Pile on extra guts and spite and it’s
was hailed as a milestone.
the reverence in which the trio of legends is Bluesbreakers Clapton again.
paul bielatowicz held. BB is of course the sweet-toned man of But have a listen to Stevie Ray Vaughan or
One of our greatest rock guitarists, taste and musical refinement, while Albert is Johnny Winter, and you’ll also hear big chunks
Paul Bielatowicz has a new solo album loved for his rawness and a seeming link of Freddie’s style coming out - even though in
Preludes & Etudes available from his directly to ‘the source’, whatever that source is. Stevie’s case he’s not the first King that springs
website www.paulbielatowicz.com.
But I think Freddie is rather too often to mind. And when you consider how hugely
jon bishop overlooked as the ‘one in the middle’. influential players like Clapton, Green and
Jon is one of those great all-rounders In reality his influence is probably the most Vaughan were in their turn, it’s fair to say we
who can turn his hand to almost any wide reaching. Yes, you can hear a touch of BB have a lot to thank Freddie’s fingers for.
style. No ‘Jack of all trades and master of in a ton of people’s playing, and Albert Taking Care Of Business is not the
none’, he nails every one with ease!
looms large as an influence in certain hardest Freddie track we could have
Phil Capone guitarists’ styles; but it’s difficult to find chosen. But it’s him in his more formative
Phil is a great guitarist who specialises in anyone who came after Freddie that years and we felt it was a good idea to bring
blues and jazz. He teaches at ICMP in doesn’t owe him a debt of sorts. you the
London, writes for GT and Total Guitar In a way, Freddie took the essence of this
and has published 10 top tuition books.
T-Bone Walker template, the giant of a man
charlie griffiths ‘shape’ system, ramped it up a and giant of a
Guitar Institute tutor Charlie first came few notches, added his own player. The backing track
to fame in Total Guitar’s Challenge brand of showmanship and will allow you fantastic leeway
Charlie series. He’s also one of the UK’s his own amazing songwriting to extend Freddie’s licks, add
top rock, metal and fusion guitarists.
skills, and became the perfect new ones of your own or perhaps
phil hilborne all-round blues machine. even practice that silky vocal style!
The UK’s original magazine guitar tutor, And let’s not forget that voice! Have fun... see you next month.
Phil’s something of a legend. A great Check out a few slow Freddie
player he regularly plays guitar in the songs and see if you can spot
Queen musical, We Will Rock You.
where a certain Ripley boy got his
terry lewis ‘rasp’. And listen to the original of
Terry has toured the world in support of this month’s transcription: could
a host of big name acts. He currently that not be Peter Green singing - and Neville Marten, Editor
teaches at BIMM Brighton, writes with playing? Add Greeny’s out-of-phase neville.marten@futurenet.com
canny insight and plays superb guitar.

bridget mermikides
Guildhall and Royal Academy trained,
Bridget is a Royal College of Music,
Don’t miss our amazing digital edition
examiner, a respected classical player
and award winning blues guitarist.
Our digital edition for iPad, iPhone, Kindle Fire and Nook is now even better!

jacob quistgaard
Royal Academy trained, Quist is a
superb player who can turn his hand to
any number of styles and topics. Look
out for his album Trigger in 2014!

Stuart Ryan
Head of Guitar at BIMM Bristol, Stu is an
acoustic guitar virtuoso who performs
throughout the UK. His latest book/CD
‘The Tradition’ is available now.

andy saphir
A top teacher at the Guitar Institute
(ICMP), Andy is a phenomenal player in a
host of styles. He mixes just the right
degree of flash with consummate taste. Tap the links Animated tab & audio Play the videos
Finding your way around the Most songs and lessons have Certain of the articles have
tristan seume magazine is easy. Tapping the the audio built in, with a accompanying videos full of
One of ACM Guildford’s leading tutors feature titles on the cover or moving cursor showing you useful insight and additional
Tristan is also mega busy on the folk the contents page, takes you exactly where you are in the information. Once again, tap
circuit playing with Jackie Oates. His straight to the relevant articles. music. Simply tap the ‘play’ the play buttons to enjoy
brand new CD Middle Child is out now! Any web and email links in the button then you can fast- video masterclasses on your
text are tappable too! forward or scroll back at will. iPad or smartphone.
john wheatcroft
A truly phenomenal guitarist John
heads up the guitar facility at Tech Music PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition
Schools in London. He’s a master at all regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can
styles but a legend in Gypsy jazz. also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio).

Spring 2014 GuitarTechniques 5


• C ON T E N T S • SPR I NG 201 4 •

Learning Zone
Lessons Introduction  55
Jason Sidwell introduces this month’s feature
packed Lessons section.
30-minute lickbag  56
BIMM’s Terry Lewis has six more licks for you at
easy, intermediate and advanced levels.
blues  58
Jim Clark looks at the electric guitar approach
of blues singer-songwriter Joe Louis Walker.
rock  62
Martin Cooper gets cat scratch fever while he
plays in the rock guitar style of Ted Nugent.
jazz-funk special  66
Jason Sidwell pays tribute to Ronny Jordan, a
great guitarist who recently passed away.
Creative Rock  70
Shaun Baxter combines sweeping and tapping
to produce exceptionally smooth arpeggios.
session  74
Andy Saphir turns to session country guitar
with a look at the extraordinarily gifted and
successful Brent Mason.
PROG  78
Paul Bielatowicz on the prog guitar style of Ty
COVER FEATURE Tabor from the hugely underrated Kings X.
jazz  82
complete rock workout Pete Callard looks at the soloing style of New
Be ready for that gig!  16 York based jazz virtuoso Chuck Wayne.
John Wheatcroft presents the ultimate rock Acoustic  88
guitar workout to make sure you hit that Stuart Ryan unveils the acoustic approach of
stage like a seasoned pro! singer-songwriter Laura Marling.
ROCKSCHOOL  92
Charlie Griffiths continues his A-Z with U for
FEATURES REGULAR FEATURES Ultra Locrian, Unisons, Unison bends, Upbeats
and Upstrokes. Until next month...
Welcome  5
transcripton #1 Nev talks about the influence of Freddie King. Laura Marling:
featured in
FREDDIE KING Theory Godmother  8 Acoustic this
Takin’ Care Of Business 30 David Mead addresses your technical, musical month (p88)
Jon Bishop transcribes a classic and hugely and theoretical issues.
influential track by a true titan of blues - the talkback  9
one and only Freddie King. Tell us your views... How are we doing?
Intro  10
special feature #2 News, One-Minute Lick, 60 Seconds With,
What Strings, That Was The Year and more...
EXOTIC scales... Subscriptions  87
...over a Dom 7 chord 38 Save time and money – get GT delivered!
Bored playing the same old things over a
dom 7 chord? Jacob Quistgaard shows six back issues  91
alternatives that sound fabulously exotic. Missed one? See how you can get it – here!

Albums  95
transcripton #2 Top guitar CDs and DVDs reviewed and rated.

MOZART TAB GUIDE  96


Symphony 40 (1st Mvt)  48 Our terms and signs explained.
Bridget Mermikides arranges and transcribes Next Month  98
one of Mozart’s most best-known pieces for Play extreme guitar and use the pentatonic in
LIVEPIX

classical acoustic guitar. different genres. Plus Chilis’ tab and more!

Spring 2014 GuitarTechniques 7


Q&A
E
R 2 3 4 5 6 7 R
B
E
G 1 2
B
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G
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A 2 4 5
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Theory Godmother
b3 b6 b7
b3 b6 b7
R 2 4 5 R
R 2 4 5 R
E 2
B 2 3 5
E
G 1 2 4 2
B
D 4 2 3 5
G
A 1 2 4
D
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A

Star LETTER PRIZE


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Ex 2
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Post your playing posers and technical teasers to: Theory Godmother,
&4 œ ## œœpedalsœœeach
Blackstar are giving our star TG letter

Guitar Techniques, 30 Monmouth Street, Bath, BA1 2BW; or email meœœ œœ œ œmonth.œœVisit www.blackstaramps.
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GUITAR TECHNIQUES MAGAZINE 2 2 9 Theory Godmother - David Mead B
D 0 2 3
G 1 2
GUITAR TECHNIQUES MAGAZINE 2 2 9 Theory Godmother - David Mead A
D 0 2 3 0 2 3
E
A 0 2 3
Breakdown On A6? GUITAR TECHNIQUES MAGAZINE 2 2 9
EXAMPLES 1 - 4
Ex 1
Theory Godmother - David Mead
E

# #
Ex 1 A major
Dear Theory Godmother
4
& ## ## ##
Ex 1 Ex 3
Ex 1 A major

œ œ œ
Ex
Ex 33
I’ve just bought the Play Guitar Now: 4 4
4 œ œ œœ œœ œœ œ œ œœ
A major
Rock & Roll and on Lick 1 of Danny & # & 4 # œ œœ œ œ œ œ œ œœ œ œ œ œ
& 4 Rœ œ2 3 œ4 œ5 œ6 œ7 R & 4 #œ œ œ œ œ œ œ œ œ œ
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Cedrone you have an A6 chord.
However, due to its shape, which is E
R
the same finger position as a open Dm B
E
R 2 3 4 5 6 7 R E
G
B 1 2 B
just five frets up, why isn’t it a F#m? D
E
G
A
B 2 4 5
2 4 1 2
E
G
B 1 2 1 1 2 1
D
5 2 4 1 2
D 3 2 3 3 2
Cynthia E
G
A
D 2 4 5 2 4
G
A
D
1 2 1
3 2 3
1 2 1
3 2
E
A 5 2 4 5
E
A
E 5 E

The reason behind this is that F# is the F # minor

# # F # minor
œ œ œ
Ex 4

& ## ## ## 44
œ œœ œœ œœ œœ œ œœ œœ
Ex
Ex 44
relative minor key to A major and A6 F # minor œ #œ œ bœ œ
& 44 œ # œ œ b œ œ œœ œœ œ œœ œ œœ ## œœ œœ
& # œ
and F#m share many of the same notes.
& 44 œ œ œ œ œ œ
Let’s look at the two scales (Ex 1): in A œ 2 b 3 4 5 b 6 b7 R
R
&4 œ
major, the triad is made up from the R 2 b3 4 5 b6 b7 R
notes A, C# and E - and if we add the E
R 2 b3 4 5 b6 b7 2
R
B
E 2 3 5 2 E
6th to turn it into a major 6th chord, we G
B
D
E 4
1 2 4 2 3 5 2
B
E 8 7 5
G
A
B 1 2 4 2 3 5
G 8 7 5 5 7 5 6
need the note F# as well. Now check D
E
G 4 1 2 4
B
D
G
8 7 5
8 7 5 7 5 5 7 5 6 7
A A
D 4 D 7 5 7
out F#m: once again we need the root, E
A
E
A
E E
3rd and 5th of the scale which adds up Ex 2
Ex
Ex 22

& 44
to F#, A and C#. So the two chords are Ex 2 using the tab and while the more
near as dammit the same thing to begin
œ œ œ ## œœ œ straightforward stuff doesn’t give
&4 œ œ œ œ œ œ
with. In fact, if we add the missing E to
& 4 Rœ œ œ œ me any problems, some of the more
œ2
œ2 b œ3 œ4 œ5 b œ6 #bœ7
the F#m we’ll produce F#m7, then the
two chords would be an exact match. œ
R b3 4 5 b6 b7
R
R
complex rhythms floor me every time.
I listen to the track, but sometimes
E
R 2 b3 4 5 b6 b7 R
In the case you’re quoting, a Dm B
E
G Old King Cole was a merry old soul 1 2
that’s just not enough to get it inside
B
shape at the 5th fret would produce the D
E
G 0 2 3 1 2 my head. I want to do things properly
A
B
D 0 2 3 0 2 3
E
G 1 2
notes C#, F# and A - the 3rd, 6th and A
D
E
0 2 3 0 2 3 and work the rhythm out from the
A 0 2 3
root of A, and just enough information E music, but I get easily flustered. Is
to confirm it as an A6 chord. I suspect I’veEx 3
been doing a little research and unless you played it at high speed, there a way around this situation?

& 44 # œ œœ œ œ œ œ œ œœ œ vibrato
Ex 3
there would be a prominent A in the found adding the Yng’s characteristically wide
Ex 3 that when Yngwie takes on either Ian
bass to confirm this so all would be well.
& 4 # œ œ œ œ œ œ œ œ œ œœ If œœyouatwant
straightforward rock or blues based œthe end
This sort of thing crops up many & 4 # œ œ œ œ œ œ œ œ œ œœ to use the harmonic
material, he doesn’t venture into the Ordinarily, I’d say that it’s a question of
times in music - we’ve only got 12 notes minor in your solos, find some
harmonic minor at all. He’s far more working out the maths of the situation
in the chromatic scale and thousands likely
B to leave that for his own material
E
transcriptions and backing tracks of and sitting there with a metronome,
E
of chords that can be made from them. G
where
B 1 2 1 chords call for
the underlying 1 it.2 1 Malmsteen material and practise that tapping rhythms out with a pencil. But
1 2 1 3 2 3 1 2 3 2
D
E
G
A
B 1
So it’s inevitable that many shapes are The
D
E
G
A
reason for
1 this
2 1is that the
3 2 3 1 2 1 until
3 2you can get it up to speed. And we live in modern times and these days
3 2 3
as3 far2 as that speed is concerned, I’m
D
either going to look similar or, as we’ve harmonic
E
A minor scale is an extremely there is help out there.
E
Ex 4
found here, exactly the same! awkward fit for a lot of pop or rock ’n’ afraid that there’s no quick solution. If you look around the net, you’ll
œ #œ œ bœ
Ex 4

& 44 œœ ## œœ œ b œ œœ œœ œœ œ œœ œœ œœ ## œœ œœ
roll.ExThe 4 two songs you mention are Playing scales and exercises against a find that there are free notation
Yngwie B Goode both in major keys and the harmonic metronome is really the only way and programmes with cut-down features
Dear Theory Godmother &4 œ bœ œ œ œ œ œ œ œ #œ œ
I’ve played for years and stuck to
&4
minor would just sound wrong unless
œ
you did a lot of re-arranging; you might
it takes time and patience. But if you
stick at it and do your speed-increasing
that will allow you to type in rhythms
and hear them played back to you. One
rock/blues type songs where I can be Eable to make it fit, but you’d have to exercises on a daily basis, you’ll see that I know of is Finale Notepad, but
B 8 7 out 5 of shape first.
bend 7results
5 6after a short period of time.
use the pentatonic or blues scales E both songs there are others and I’m sure a quick
8 7 5 8 7 5 7 5 5
G
B
D
E
7 So, 7
to improvise a solo. However, I want IfBAGD we look at 8 the
7 harmonic
5 8 7 minor
5 5 5 6 leave the harmonic minor for search will reveal them all. Then, when
E
G 8 7 5 7 5 5 7 5 6 7
to learn to play more like Yngwie scale
D (Ex 2), the thing that gives it7its 5
A
E
songs that7 are in a minor key, but when you find a rhythm that you have trouble
A
Malmsteen as I love the sound of the essential
E flavour - that ‘middle eastern playing the material you mention like with, copy it into the programme to
harmonic minor scale. sound’ - happens at the top end of the Johnny B Goode or All Right Now, stick hear it played back to you. I would
My problem comes in the songs scale, as detailed in Ex 3. This is going to your pentatonics or blues scales. recommend that you don’t bother
I play. I can’t play Malmsteen’s to clash terribly if you drop it into a solo about the pitches of the notes - copy it
style lightning fast so how would I over Johnny B Goode! Time On My Hands all onto a single line on the staff so that
incorporate his style licks into a solo What Yngwie tends to do is to make Dear Theory Godmother you can hear the rhythm of the phrase
to Johnny B Goode or All Right Now? use of the minor pentatonic or blues OK, I’ll admit it: my timing sucks. in isolation. After a while, you’ll begin
Please help, as I’d love to change my scale with some notes from the Dorian The problem isn’t actually playing to recognise rhythmic phrases at sight
solos to sound like his. or Aeolian modes thrown in (Ex 4). in time - that I can do. But when I’m as more and more of them become
Andy This would sound quite run-of-the-mill working out a transcription I’m mainly familiar to you.

8 GuitarTechniques Spring 2012


Write to: Guitar Techniques, 30 Monmouth Street, Bath BA1 2BW.
Email: neville.marten@futurenet.com using the header ‘Talkback’.

Star LEtter Write one and win a prize!


GREAT LESSONS come through them with your eyes opened. Like
I’ve got to tell you guys that issues 227 and 228 had me, you’ll probably feel quite a bit better about
two of the best music features I’ve ever seen in Guitar your guitar playing, too.
Techniques: Your Instant Guide Brian Wilkin
To Better Chords, and How
Good Are You? I’m glad that these features are
I’ve often watched great going down so well. In fact, several
guitarists, effortlessly running people have said the same to me.
JAM TRACK TAB their hands up and down the When tab became so expensive to
Is it possible to include the written neck, playing the kinds of do legally, we had to look at other
music for your jam tracks, even if it chordy rhythm stuff that I ways to reach our audience, while
was a PDF on the disk if you simply couldn’t comprehend! still giving them great tuition. It
couldn’t fit into the mag? There Well, although I still don’t get it quickly became apparent that
have been some real great all, your Better Chords feature these features should be on topics
accompaniments over time. I’m put so much information in one that people can’t simply Google.
not the greatest transposer by ear, place that it’s opened doors to While online tabs were pretty dire
although you would undoubtedly things I could never work out for back in the day, they are getting a
say I should develop that skill by myself. I’m still going through it lot better and, in this climate
using these! I’ve often thought bit by bit, and feel my technique where everyone seems to think
when listening to them, “I’d like to and knowledge are gaining everything should be free, we
be able play and practise that...” as ground simultaneously. needed a compelling proposition
they are very varied and could be The How Good Are You to retain our most loyal followers.
used to back a variety of music feature looked a bit scary at first. It was to that end that we began
genres. By the way, I’ve been buying I’ve never taken any exams and, the kind of lessons you are talking
and reading the mag since 1999. although I’ve been playing Did you take the Guitar Techniques about, Brian: they are incredibly
‘How Good Are You’ challenge?
David Newman, Tasmania guitar on and off for over 20 in-depth and insightful, packed
years, felt I wasn’t a contender for any such gongs. with nugget after nugget of information; they are written
At the moment, unfortunately we just But I did go through it (still am, actually) and quite by the country’s top tutors and you can’t get them
don’t have the resources to do that, honestly I’ve surprised myself. I’m not sure where anywhere else but here. So thanks for your appreciation
David. The backing tracks are made up I sit – it would seem somewhere around Grade 6 in of everyone’s work. More to come soon!
and played on the spot (mostly by me!) general terms – but I now have a goal to attain in a
and no music is ever written down. We whole variety of areas. Also, I downloaded the issue
should always make sure that the on my iPad as the tab’s moving cursor and synched-
STAR LETTER PRIZE
Our friends at Sound Technology
chords are written out (or spelled out if up audio helps enormously.
are donating a fab DigiTech
they are a bit weird) in the jam track I know I’m preaching to the converted, but if they
HardWire pedal to our Star Letter
notes at the front of the magazine, haven’t already, everyone really should go through
writer every month.
though, as that would certainly help. both of those brilliant articles – I guarantee you’ll
Also we are desperately short of jam
tracks as they take a lot of time to do always remembering that of my all-time best gigs, and like Yes it’s hard to convey to people who
and we have no budget for creating everything he plays must serve the most of us, I’ve seen a few bands in grew up in later decades, just what it
them. We are trying to sort something, song. And the intro to Look my time. Maybe you could do a tab was we had. I only scratched the
however, and if things work out there’s a Through Any Window is an all-time of Look Through Any Window at surface with my list of groups but
slim chance that we could even tab classic - as well as being fiendishly some time…. really they were exceptional times –
them too (no promises though). tricky to learn and play at pace. One Colin Gibbs even watching Clapton’s career grow
through The Yardbirds, John Mayall
THE HOLLIES and into Cream; and seeing The
I read your editorial welcome in the Beatles’ extraordinary development
February issue with interest and no from Yeah Yeah Yeah to the Golden
small amount of nostalgia - it Slumbers medley in six short years;
described exactly the musical witnessing the British R&B boom turn
environment I grew up in - talk into the blues boom, and then into all
about being spoilt! And then, I kinds of rock. There will never be times
unexpectedly had the chance to go like those again. Tony Hicks is a lovely
and see The Hollies play in man, a great player and a fine
Wellington last Saturday. I had ambassador for the music business.
forgotten just what a great guitarist Whether or not we tab Look Through
and exemplary professional Tony Any Window (it might have a rather
Hicks is, even in his, ahem, senior restricted fan base in this day and
years. He is an object lesson for us Graham Nash, Alan age), we will most certainly look at
Clarke and Tony
LFI / PHOTOSHOT

all - still capable of playing well Hicks fronting The


Tony’s playing style very soon, in a
constructed, at times blistering and Hollies mid 60s... new series from Phil Capone all about
technically excellent solos, but British guitar-driven pop/rock/R&B.

May 2014 GuitarTechniques 9


• G u i t a r T e c h n i q u e s • S P RIN G 2 0 1 4 •

Jam tracks tips


Use these tips to navigate
our bonus backing tracks.

1. T-Bone style slowie: A


A Mixolydian (A B C# D E F# G) will
be perfect for this. But when
playing the major 3rd (C#) either
hammer on to it from the b3rd (C)
below, or play the C and bend it
slightly sharp for a blues ‘curl’.

2. Neil Young style rocker: Am


Two approaches work well here:
A minor pentatonic will fit pretty
much all the chords; but A natural

KEVIN MAZUR / WIREIMAGE / GETTY IMAGES


minor (A B C D E F G) will sound
more authentically Neil Young -
especially with a searing tone
and manic tremolo picking.

3. Anthemic ballad: E
Brian Johnson The chords here are: E, G#aug, A,
and Angus Young: D9, then G# aug, A, D9, then
still rockin’ out! Eadd9/G#, G7add6, F#m11,
Esus4/B, B7 (the final two chords

Anniversaries galore!
2014 is a huge year for anniversary tour, comprising 40 of my earlier recordings re-
played in the space of the
previous one). E major
pentatonic (E F# G# B C#) is a
worthy starting point, but you’ll
need to adjust the scale to suit
anniversaries, with AC/DC very special gigs. released and celebrated in
the ‘out of key’ notes in many of
celebrating their 40th and Walter “It’s been 40 years of the band’s high-quality audio, is a thrill of the
the chords. Instead of trying to
Trout his 25th. Also Fender’s Strat existence,” explains frontman highest order,” says Trout. “I hope
jam it, why not create your own
and Gibson’s Les Paul Junior will Brian Johnson, “so I think we’re my friends and fans will enjoy this
rock instrumental anthem over
reach the almost pensionable age gonna try to do 40 shows to thank commemorative series as much as this interesting sequence?
of 60, while the Jackson Soloist is the fans for their undying loyalty. I will. There is something about
now a mature 30. Our fans are just the best in the re-hearing the music on vinyl. The 4. Brit style minor blues: G
AC/DC have already revealed world, and we Minor pentatonic and natural
plans to go in the studio to mark appreciate every It’s been 40 years of the band’s minor scales are your best friends
their anniversary and record a first one of them. So, existence, so I think we’re gonna here. Try mixing them up! But this
new album since Black Ice (2008). we’ll have to go out, time don’t sharpen G minor’s
They have also planned a 40th even though we’re try to do 40 shows to thank the minor 3rd (Bb) as it doesn’t
getting a bit long in fans for their undying loyalty. sound right in a minor context. Of
Walter the tooth. It’s been course the b5 ‘blue’ note (Db) can
Trout: 25th four years, and I’m
Brian Johnson, AC/DC be brought in to add nice
anniversary chromatic touches, and don’t
really looking forward to it.” warmth and the expansiveness of
Meanwhile the American blues the sound takes me right back to forget to target strong notes in
legend Walter Trout is celebrating the day it was recorded.” the chords, like the Eb in the Cm
his 25th anniversary as a solo The release dates are as follows: (IVm chord). Have fun!
artist, and in joyful celebration No More Fish Jokes (March 3),
Provogue will be releasing ten of Deep Trout (April 7), The Outsider
his classic back catalogue albums (May 5), Positively Beale Street
as a limited edition deluxe vinyl (July 7), Breakin’ The Rules
series throughout 2014. The high (August 18), Life In The Jungle
quality 180g vinyl editions will (Sept 8), Unspoiled By Progress
be limited to 2,000 copies per (Oct 6), Transition (Nov 3),
album (worldwide), and will have Prisoner Of A Dream (Dec 1), and
a maximum of 20 minutes of Face The Music (Dec 15).
music per side for enhanced Visit www.acdc.com and www.
sound quality. waltertrout.com for additional
“To have some of the best parts details and further updates.

10 GuitarTechniques Spring 2014


Paco de Lucia:
greatest flamenco
A new network for musicians!
guitarist of all time? A new site for musicians called wanting to meet and jam.
Meet & Jam has launched with the The free classified ads are a
intention of helping musicians to chance for bands and musicians to
find and connect with each other. connect; but also the perfect place
Musicians can put up profiles, list for music teachers and students to
their influences and instruments, get together. It’s a great place to get
post video and audio, and then noticed. Put up a profile (it doesn’t
connect with each other. The matter if you’re an engineer, a
videos mean you can have a good guitarist, a producer or a vocalist)
look at another musician’s level and you have a chance of being
and style before you contact them found - not just by other musicians,
- saving time and embarrassment or by bands looking for new
DALLE / IDOLS / PHOTOSHOT

in the studio. members, but also by the industry. 


The site is for all genres and Meet & Jam is also an online
levels of ability. There are booking system for rehearsal and
professional drummers on the recording studios. Bands and
site, looking for a new band, as musicians can browse through
well as enthusiastic amateurs dozens of UK studios, view their
Paco de Lucia 1947-2014 looking to play more. There are
singer-songwriters, violinists,
rooms and kit, and then book
online if they so choose.
It is with deep sadness that we Francisco (1981), with Al Di Meola trombonists, pianists, death metal Visit https://meetandjam.com
report the death of Paco de Lucia, and John McLaughlin, is one of guitarists, vocalists, rappers... all for further information.
regarded by many as the finest the most celebrated acoustic live
flamenco guitarist in the world. albums of all time.
Paco was born Francisco Sanchez Paco was an innovator who
Gomez in Algeciras, Spain. His took Flamenco guitar to new
father was the flamenco guitarist levels. However his biographer,
Antonio Sanchez, who encouraged Donn Pohren, described him as an
Paco to take up the guitar at an extremely shy and private person,
early age and practise 12 hours a who “was dismayed at the
day. Paco made his first public increased pressure fame placed
appearance on Radio Algeciras at upon his shoulders, demanding
age 11 in 1958, and had become an that he constantly innovate and
established flamenco solo artist work harder to achieve technical
by the late 1960s. and revolutionary perfection”.
Paco’s name reached a wider Paco died on February 26 while
audience via his collaborations on holiday in Mexico, of a heart
with jazz-fusion guitar virtuosos attack while playing with his
during the late 70s and the live children. He will be sorely missed
album Friday Night In San by the music world. RIP Señor!

PHIL HILBORNE’S ONE-MINUTE LICK DANNY GATTON STYLE CHORDAL LICK


Here’s a Danny Gatton influenced idea that’s played also the frequent chromatic approaches – played
around a standard chord fingering. The chord here as sliding double-stops. Technique-wise, pick
outlined is a 5th position A7 (A C# E G). However, and fingers or just plain fingerstyle would be the
the notes D and F# are also briefly added to imply a best approaches to use. Keep your timing ‘tight’ and
typical D-A7, or IV-I move. Licks
GUITAR TECHNIQUES MAGAZINE 2 2 9
like this have their attack the strings fairly hard so that the notes sound
ONE MINUTE LICK - by Phil Hilborne
origins in jazz and blues Hammond organ phrases percussive and ‘snappy’. After you have this mastered,
– this facet is particularly evident through the use
DANNY of
GATTON see if you
STYLE can develop
CHORDAL LICK licks of your own, around other
repeating pedal tone of A (on the fourth string) and chord types all over the neck.
©»™¢º Fast
©»¡™• Slow A7 (throughout)
œ
1
œ
2
~~~
## 4 # œœ œ n£œœ # ¡œ œœ # # œœ œ n œœ ¡œ œœ . n™œ # œ
¡ ¢
Moderate
¡
& 4 ∑ .
. £œ # £œ #
¡œ ™ œ £œ £ œ ™ £œ # œ . £œ ¡œ œ ˙ Ó

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F ~~~
T

E
B . 44 55 77 4 5
4 5
4 5 8 4 5 .
G
D
A
.7 7 7
5 6
7 7
6
7
5 6
. 7 54 65 0 54
E 5

Spring 2014 GuitarTechniques 11


60Seconds with...
Orange goes white!
Orange Amplification are
launching a limited edition white
finish of their Rockerverb guitar
amp heads and combos,
Thunderverb 200 and 50 heads,
legendary PPC412 and the more Half a minute’s all it takes to find out what makes a great guitarist tick.
compact PPC212 speaker
enclosures. For a limited time This month: First Lady of US AOR sensations, Heart, Nancy Wilson
only, these sought-after heads and
speaker cabinets will be available
finished, as never before, in a
prestigious white Levant covering
trimmed with traditional gold
piping and gold capped handles –
the ultimate in luxury!
The matching white PPC412
and lighter PPC212 speaker
enclosures are built to the usual
high standards and deliver the
distinct warm, midrange tones
synonymous with Orange. The
white limited edition ranges will
be available for general
distribution from April 2014.
Visit www.orangeamps.com
for further information.

Nancy Wilson:
always at the
heart of Heart!

GT: Who was your first musical lesson you ever learnt? who’s the greatest guitarist
influence to play the guitar? NW: When to shut up and not that’s ever lived?
NW: The Beatles! play. NW: Unanswerable. There are
too many great guitar players.
GT: What was the first guitar GT: Do you still practise?
you really lusted after? NW: Every night on stage! GT: Is there a solo you really
Dave Davies returns NW: The cheapest one in the GT: Do you have a pre-gig
wish you had played?
Dave Davies of The Kinks will be local music store. NW: The solo on Third World
warm-up routine?
performing his first UK concert for Man from Steely Dan’s Alive In
GT: What was the best gig you NW: Sometimes we have an
13 years at London’s Barbican America.
ever did? acoustic vocal session with the
Hall on Friday 11th April. This NW: Kennedy Center Honors. other band members - like a GT: What’s the solo/song of
concert will see him celebrating Hootenanny. your own that you’re most
the 50th Anniversary of the GT: And your worst playing
proud of?
revolutionary guitar sound he nightmare? GT: If you could put together a
NW: Can’t pick one.
created, which also launched The NW: When you’re asleep and fantasy band with you in it,
Kinks to international stardom.  you have a ‘Rockmare’ - you’re who would the other players GT: What would you most like
“As lead guitarist and co- nude on stage, don’t know be (dead or alive)? to be remembered for?
founder of the Kinks, Dave Davies the song and the show has NW: The current line-up of Heart NW: My music, my comedy, and
is one of the most unpredictable already started. is my fantasy band. my humanity.
and original forces in rock,” GT: What’s the most important GT: Present company excepted, GT: And what are you up to at
enthuses writer Bill Crowley. “His the moment?
distinctive guitar style went on to
have a major impact on several key
My worst nightmare would be a NW: Our new record, Fanatic
Live from Caesar’s Colosseum, is
guitar-rock styles, including heavy
metal and punk.”
‘Rockmare’, where you’re nude on released by Frontiers Records on
CD and DVD Deluxe Edition,
Tickets are already on sale from
the Barbican Hall box office, so
stage, don’t know the song and the DVD and Blu-Ray on 24th
February. Further info from:
contact www.barbican.org.uk or show has already started! www.heart-music.com
phone 0207 638 8891).

12 GuitarTechniques Spring 2014


What Strings Do You Use?
ZAKK WYLDE
We ask a great guitarist all Yes, good cables
those little questions you do indeed make a
really do want the
answers to… This month: big difference to
six-string rock legend, your guitar sound.
Zakk Wylde I use Monster
GT: Do you have a type of pick cables.
that you can’t live without? GT: Your house or studio is
ZW: Dunlop Ultex Picks, Super burning down: which guitar do
Heavy you salvage?
GT: If you had to give up all your ZW: The Grail and the Rebel.
pedals but three, what would GT: What’s your favourite amp
they be? and how do you set it?
ZW: Black Label Chorus, Zakk ZW: Marshall Zakk Wylde 2203,
Wylde Overdrive and Zakk Wylde 100-watt signature amp - I set it
wah pedal - all made by Dunlop. on low heat for 45 minutes so my
GT: Do you play another musical socks come out perfectly fluffy and
instrument well enough to do so warm for my footsies.
in a band? GT: What kind of action do you
ZW: Bass, piano and keyboards - have on your guitars?
I’ve jammed with people, but not as ZW: I set the action very low;
a band. although I can still play slide on
GT: If a music chart were put in the guitar. 
front of you, could you read it? GT: What strings do you use?
ZW: Yes. Dunlop Zakk Wylde Icon Series
GT: Do guitar cables really make a signature strings.
difference? What make are yours? GT: And what are you up to at
ZW: Yes, good cables make a the moment?
difference - I use Monster. ZW: Black Label Society’s new
GT: Is there anyone’s playing album, Catacombs
(past or present) that you’re Of The Black
slightly jealous of?
CLAY PATRICK MCBRIDE

Vatican, is released
ZW: Yes, there are many guitar by Mascot Records
players I get jealous of - especially if on Monday April
Zakk Wylde:
they have a nicer sock collection ‘sock’ legend! 7th. Further info at
than me! http://blacklabelsociety.com

An evening with Foreigner!


Alongside their fast-selling string of album. It will be available in both CD,
UK dates, Foreigner today add a and 2CD Special Edition-digipak
special ‘Evening With Foreigner: formats, with 200 exclusive signed
Unplugged’ show at O2 Shepherd’s copies available to purchase at the O2
Bush Empire, London on Saturday Shepherd’s Bush Empire show.
12th April. A Q&A session with the The April 2014 dates are as
band, hosted by Team Rock’s Kylie follows: Thursday 3 - O2 Apollo
Olsson (presenter of The AOR Manchester; Friday 4 - Newcastle City
Magazine Show), will also take place Hall; Saturday 5 - Glasgow Clyde
on the night with fans invited to Auditorium; Monday 7 - Nottingham
submit questions. Royal Centre; Tuesday 8 - Sheffield
The announcement of the City Hall; Wednesday 9 - Portsmouth
Unplugged show, comes ahead of the Guidhall; Friday 11 - Bristol Colston
release of the band’s new album, I Hall; Saturday 12 - O2 Shepherd’s
Want To Know What Love Is – The Bush Empire (Unplugged); Sunday 13
Ballads. The album features 14 of Hammersmith Apollo; and Tuesday
Foreigner: the Foreigner’s best and most timeless 15 - Wolverhampton Civic Hall. Visit
latest line-up ballads, never released before on one www.foreigneronline.com for more.

Spring 2014 GuitarTechniques 13


That Was
The Year...
1993
Artists, Anniversaries
& Nighthawks

MARK SELIGER
The Kenny Wayne
GIBSON INTRODUCES THE NIGHTHAWK with a radical Shepherd band!
new look. Although the basic body shape is similar
to a Les Paul it has a sharper cutaway, a nipped
in waist and through-body stringing. Available Shepherd is back! biggest influences, and it features
songs originally recorded by many
as the Custom, Standard or Special, (depending Five-time Grammy-nominated of his musical heroes, such as BB
on cosmetics), all three Nighthawks are fitted and multi-platinum-selling King, Albert King, Bo Diddley,
with two or three pickups. The covered blues-rock guitarist Kenny Wayne Stevie Ray Vaughan, Johnny
mini-humbucker at the neck and the Shepherd has confirmed that his Guitar Watson and Lee Dorsey.
slanted open humbucker at the bridge are new studio album, Goin’ Home, The album includes guest
common to all, while the third unit is an will be released on May 5th performances by some of Kenny
NSX single-coil situated between the two.
through the Mascot Label Group. Wayne’s closest friends including
THE BANK OF ENGLAND lowers the interest Kenny Wayne will also embark on Ringo Starr, Joe Walsh, Warren
rate to 6%, the lowest in 15 years; the a 15-date whistle-stop tour of Haynes, Keb’ Mo’, Robert
unemployment figure has fallen, inflation is down and with Europe to coincide with the album Randolph, Kim Wilson(Fabulous
the economy growing by 0.6% the government declares the release, including a concert at Thunderbirds), Pastor Brady
official end to the recession. Hospital waiting lists reach one London’s O2 Academy Islington Blade, Sr and the Rebirth Brass
million for the first time; although not fully operational until on Wednesday April 30. Band.Visit www.kennywayne
next year the first high-speed train successfully travels Goin’ Home is an exploration shepherd.net for further details
through the Channel Tunnel from France to England; British
into the music of Kenny Wayne’s and tickets.
Airways admits liability after a ‘dirty tricks’ campaign against
Virgin Atlantic is revealed; and the odds on the monarchy
being abolished by the year 2000 are shortened from 100 to 1 New Dunlop products unveiled
to 50 to 1 by bookmakers.
JHS has announced the release of size plectrum with the precision of
CREAM REFORMS BRIEFLY to perform at new accessory lines from the the sharp tip. The bright, familiar
their Rock And Roll Hall Of Fame induction award winning Jim Dunlop range. tone of Tortex has also been
ceremony; Depeche Mode reach number The brand new Primetone introduced to the Tortex Jazz III
one on the Billboard 200 with their Songs Of sculpted plectra are intended to XL series with five gauges
Faith And Devotion album; Suede’s
provide an effortless way for available to choose from.
eponymous first LP enters the UK charts at
guitarists to play For modern metal
number one, the fastest ever for a UK debut album; a concert
superfast runs and guitarists, the
at the Hollywood Bowl to celebrate Earth Day is headlined by
tight rhythm. Made Dunlop strings range
Paul McCartney and the bill includes Steve
Miller, Don Henley and Ringo Starr; from super-durable now includes 7 and 8
Susanna Hoffs of The Bangles gets Ultex, they are string nickel wound
married; and the US Postal Service available in three electric sets. With
introduces an Elvis Presley stamp. different shapes and tonal and tactile
New to the world are Zayn Malik, Liam a wide range of balance and a warm,
Payne and Niall Horan - all destined to gauges. The ever aggressive midrange,
become members One Direction. popular Jazz III pick they are intended for
series has some new a wide range of styles.
PRS GUITARS REPLACE the Artist Series I with Series II; it
has a figured carved maple top and a reduction of frets additions - getting the Ultex Visit www.jimdunlop.
from 24 to 22. The neck has a maple-bound rosewood treatment. The Ultex Jazz III com or www.jhs.co.uk for
‘board with abalone bird inlays; the pickups are PRS Artist XL adds the lightweight and further information about these
Series Humbuckers and the guitar features a wrapover smooth feel of Ultex to the larger and other Dunlop products.
bridge/tailpiece. Options include PRS vibrato system,
semi-hollow body and a quilted maple top.
HOT FOR TEACHER your RGT TUTOR
GRETSCH UNVEILS THE G6118 Anniversary,
WHO? Gordon Rivers (Rivers Way Guitar Tuition)
in glorious two-tone green. Originally
TOWN: Eastleigh, Hampshire STYLES TAUGHT:
introduced in 1958 to celebrate 75 years of the
Rock, metal, pop, electric and acoustic blues.
Company, the guitar is now reintroduced to
SPECIALITY: Songwriting, lead improvisation and
mark an amazing 110 years of Gretsch
popular music theory. LEVELS: Beginners to
instruments. The green comes from
intermediate; RGT electric guitar to Grade 5, and
Cadillac’s 1958 colours and with a
acoustic grades to Grade 2. READING: Beginner
laminated maple body and neck,
only. CHARGES: £15 per 45-minute lesson.
multiple body binding, a pair of
SPECIAL: Fully equipped music room/studio. TEL:
Filter’Tron pickups and a ‘G’ Tailpiece,
07584 32791 EMAIL: info@riverswayguitartuition.
this is one very smart cookie indeed.
co.uk WEBSITE: www.riverswayguitartuition.co.uk

14 GuitarTechniques Spring 2014


play: ROCK ON THE CD track 4-21

Complete Rock Workout


Been a long time since you rock and rolled? Fear not,
as John Wheatcroft takes you through all the steps
required to prepare you for that Big Rock Gig.

Think of learning a new idea as a process If you’ve ever witnessed Zakk Wylde or
ABILITY RATING
of ‘turning on’ various sounds that you are James Hetfield in action you’ll be aware of the
Easy/Advanced familiar with; this speeds up the intuitive side power, projection and sustain that a fully
of learning tremendously. distorted sound is capable of. The drawbacks
Info Will improve your Your approach to gig ‘etiquette’ can really are limited dynamic range and increased
Key: Various Musical confidence make a difference too. Other musicians notice handling noise. Techniques such as vibrato
Tempo: Various Technical headroom if you turn up to shows or rehearsals knowing need to be exaggerated as the gain increases, if
CD: TRACKS 4-21 General playing skills the tunes inside out, with the right equipment, they are to be truly effective.
on time and with a positive attitude - they Single-coil pickups produce a clear,
“The disgusting stink of a too loud notice the opposite, too. Make sure you have a bell-like tone. They are particularly good at
electric guitar: now that’s my idea of a good tuner, preferably one that allows you to tune reproducing picking dynamics and excel in
time”. So said Frank Zappa, an incredibly silently between songs; spare strings, valves, clean and moderately overdrive settings.
diverse and articulate musician who could fuses, leads and batteries if you need them. A Noise can be an issue with high gain though,
create in a wide variety of styles. Put an spare guitar is a good idea too - break a string prompting a number of makers to design
electric guitar in his hands, however, and and you can do an impressive quick change. hum-cancelling options. Full humbucking
it was time to rock and roll. It’s a great idea to record performances pickups produce a more strident, bold and
The purpose of this article is to hone a and rehearsals. It doesn’t need to be anything fatter sound that fills a lot of tonal space.
variety of techniques that you might wish to fancy; most phones have the facility to record The unit closest to the bridge produces the
develop when preparing for that big rock gig. and, for the purposes of reviewing your brightest sound while things get progressively
It’s no different whether it be for the start of a performance, the quality will be fine. It’s warmer, closer to the neck. Generally
30-date tour, or a Friday night pub gig where important to be kind but firm to yourself. speaking, the bridge pickup sees the most
you need to impress - your family is coming, While it’s good to be critical, you need to action in rock as overdrive and distortion
or perhaps other musicians will be there strike a balance between acknowledging the fatten the tone considerably, although the
(potential future bandmates?). The better areas that need work, and those aspects of neck pickup can sound particularly flute-like,
prepared you are, the more ‘headroom’ your your playing personality that you actually like and flatters a range of high-gain techniques
playing has. Play at the limit of your abilities and should aim to accentuate. such as sweep picking and string skipping.
and mistakes are much more likely to occur. Just watch any video of Yngwie Malmsteen
We have eight studies designed to develop Make your tone work for you and the number of pickup changes from
particular areas, such as open-string and Your choices regarding tone can make a bridge to neck and back again, is likely to run
moveable power chords, riffs and melodic dramatic difference to the way your guitar into double figures in every piece he plays!
hooks, all the way to bending in the pentatonic sounds and is perceived. Most rock players I hope you enjoy our ‘technique tune-up’,
scale, string skipping, tapping and so on. We agree that a quality valve amp turned up loud and remember to refer to it any time your
round the lesson off with a short piece that with a couple of select pedals is the way to go. playing needs a shot in the arm.
incorporates many of these concepts, with a We’re generally after one good tone, varying
couple of cool new ideas thrown in. the gain level by using the volume on your
Execute each study as written; then, once guitar and kicking an overdrive or distortion Get The Tone
you’re comfortable with them, it’s up to you to pedal in or out. The gain structure is the most
create equivalent studies using the same crucial factor in establishing your tone, and
concepts, but in your own way. We’ve aimed can have a dramatic effect on the playability 7 6 5 6 3
for mainstream techniques that you can hear and ‘feel’ of your guitar. Gain Bass Middle Treble Reverb
in action if you do some careful listening. In Here are some points to consider:
While it’s perfectly possibly to get a fantastic
fact, listening and absorbing is as important Moderately overdriven tones are particularly rock tone with single-coils, the general
as any other area of your practice routine. An expressive, especially at stage volume. The consensus is a good quality guitar with a top
actor, preparing for a role that requires a tone is rocky but still responsive to pickup class bridge position humbucker is the way to
specific dialect, would research by listening to changes and picking dynamics. Paul Kossoff go. Amp-wise we’re looking at a moderately
that accent, and maybe even visit the area for and Angus Young are two leading exponents driven valve head (find its sweet spot) or combo
for rhythm with an additional overdrive or even
a while. Likewise, you’re never going to be of this approach to tone production. Take care
a distortion pedal to push things over the brink
able to play convincing rock guitar if you’ve when mixing picked-notes and hammer-ons, for those moments of high-gain lead excess.
not absorbed it by listening - thoroughly. as volume imbalances can be apparent.

TRACK RECORD The world is your oyster in terms of listening, and with YouTube and Spotify you’ve never had it so good! But here are
five unmissable rock albums: Free - Fire & Water (1970 Island), AC/DC – High Voltage (1976 Sony), Thin Lizzy – Live And Dangerous (1978
Mercury), Van Halen – Women And Children First (1980 Mercury), Guns N’ Roses – Appetite For Destruction (1987 Geffen).

16 GuitarTechniques Spring 2014


COMPLETE ROCK WORKOUT

The better prepared you


are, the more headroom your
playing has. Play at the limit
of your abilities and mistakes
are more likely to occur.
ISTOCK

Spring 2014 GuitarTechniques 17


play: ROCK ON THE CD track 4-21

STUDY 1 Power Chords (Open/Moveable) TRACK 4


We begin our studies with root/5th power chords. The first half of this piece is overdriven tone without any risk of unwanted dissonance. For the second half
based around the five open-position CAGED shapes, although each has been we stack 5th on top of root to create moveable power chord shapes that form
modified to eliminate
GUITAR major or minor
TECHNIQUES 2 3rd,
2 9 allowing us to strum awayJohnwith an the backbone of many rock guitar player’s chordal vocabulary.
Wheatcroft's
GUITAR TECHNIQUES 2 2 9 PREPARING
John FOR A ROCK GIG
Wheatcroft's
GUITAR
STUDY 1 TECHNIQUES 229
Power Chords (Open/Moveable) PREPARING FOR A ROCK GIG
John Wheatcroft's
STUDY
©»¡™•
GUITAR1 TECHNIQUES 2 2 9A5
Power Chords (Open/Moveable) G5
j D5
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John E 5FORGA
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6 ROCK GIG
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STUDY©»¡™•
14 Power Chords
STUDY 1 A5
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0X 0 3 0
2 0
3 0 2
4 2
4 2
4
E
D
B 2 3
0 0
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0 0
2 2
5 2
5 2
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A 5
E
G 0
2 3
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2
X 3
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2 3
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2
X 2
4 2
4 2
4
B
E
D 2 3
0 3
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0 2 3
0 0
2 5
2 5
2 5
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A 5
G 2
0 0 2 X
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0 0 X
2 4
2 4
2 4
2
D
E 2 0
3 0 2
0 0
3 2 0
3 2
0 2 2 2 0

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A 5
F05 G5 2 A50 2 2 2 2
E 3 0 3 3 0 0

œœ œœ
5

œœ œœ œœ œœ œœ
F5 G5 A5
& œœ œœ œœ
&
F5
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G5
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A5
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&
F5
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G5
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& œ œ œ œ œ œ œ œ ¿
PM

œ œ œ œ œ œ œ ¿ œ œ œ œ œ œ œ ¿
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E
PM
œ œ œ œ œ œ œ ¿ œ œ œ œ œ œ œ ¿
B
G
E
D
B PM
A
G
E PM 3 3 3 5 5 5 0 0
2 0 0
2 0 0 0
2 0 0
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5 X
E
D
B 1 1 1 1 1 1 1 X 3 3 3 3 3 3 3 X 2 2 2 2 2 2
5 2
5
A 9 0
5 0
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E
G
B
E
D
≥31 ≥1 ≥31 ≥ etc
1 1
3
1 1 X
5
3 3
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2
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0
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A 9
F≥ 15 ≥ ≥31 ≥
1 etc
3 5 5 5 0 0 0 0 0 0 0 0 0 0 0 0 0

œœ
E 1 1 1 1 X G5
3 3 3 3 3 3 3 X E5

œœ œœ Œ
9
≥F 5 ≥ ≥ ≥ etc
& œœ
G5 E5

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& F5
Fœ5 œ
œœ œ œœ œ œ œœ œ ¿ Gœ
G5

œœ5 œ œœ œ œ œœ œ ¿
E5

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& œ œ œ ¿ œ œ œ œ ¿
E5
œœ œœ œœ Œ
&
PM
œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ
E
PM œ œ œ ¿ œ œ œ œ ¿ œ œ œ œ œ œ œ œ œœ œœ œœ4 œœ4 œœ54
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B
G
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D PM 2 2 2 2 2
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A
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PM 3 3 5 5 5 2 2 2
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4 2
4
E
D
B 1 1 1 1 1 1 1 X 3 3 3 3 3 3 3 X 0 0 0 0 0 0 0 0 0
2 0
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2 0
2 0
2
5
A 13
E
G 3 3 3 5 5 5 2 2 2 2 2 2 2 2 2 2 2
4 2
4 2
4
B
E
D 1 1 1 1 1 1 1 X 3 3 3 3 3 3 3 X 0 0 0 0 0 0 0 0 0
2 0
2 0
2 0
2 5
0
2
A 13
G 3 3 3 5 5 5 2 2 2 2 2 2 2 2 2 2 4
2 4
2 4
2
D
E 1 1 1 1 1 1 1 X 3 3 3 3 3 3 3 X 0 0 0 0 0 0 0 0 2
0 2
0 2
0 2
0 2
0
A 13 3 3 3 5 5 5 2 2 2 2 2 2 2 2 2 2 2 2 2
E 1 1 1 1 1 1 1 X 3 3 3 3 3 3 3 X 0 0 0 0 0 0 0 0 0 0 0 0 0
13

18 GuitarTechniques Spring 2014


COMPLETE ROCK WORKOUT

STUDY 2 Creating Riff and Hooks TRACK 6


2 This
Titlesection deals with the creation of strong riffs, and we’re restricting our for learning purposes, ‘hand-cuff’ exercises such as these can be productive
2 Title
variables to notes from the A minor pentatonic scale (A C D E G) and rhythmic and rewarding. Your task is to go on to create riffs/hooks using the same
2 values
Title based around quarter (crotchet), eighth (quaver) and eighth-note process. Notice the change in dynamics and feel between the first and second
STUDY 2 Creating
rest values. Riffs
Obviously, in and Hooks
the real world we need not be so prescriptive but repetition, where we shift from palm-muted to an open tone.
STUDY 2 Creating Riffs and Hooks
Ex 2a 2Basic
STUDY scale definition
Creating (A minor pentatonic)
Riffs and Hooks Ex 2b Rhythmic variables (Up to quavers)
©»¡™•
Ex 2a Basic scale definition (A minor pentatonic)
©»¡™•
Ex 2a Basic Amscale definition (A minor pentatonic)
Ex 2b Rhythmic variables (Up to quavers)
Ex 2b Rhythmic variables (Up to quavers)
©»¡™•
44 œ
œœ œœ œœœ œœ
Am

& ‰‰ jj ‰‰ jj ‰‰ jj ‰‰
& 44 œ œœ œœ œœ j
œœjj
Am

&4 œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ œœj ‰ œœj ‰ œœj ‰


œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
E
E
B
B 5 7
EG
G
BD 5 7 5 7
G
D
A 0 3 5 7 5 7 5 7 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
E 0 3 5 7 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D
E 5 7
A 0 3 5 7 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
E

Ex 2c Ex 2d
Ex 2c Ex 2d
Am Am

.. œœ œ œœœ œœ .... .. œ ‰‰ jj œ œ œ ŒŒ .
Ex 2c Am ExA2d
m

&
&
∑∑ ..
Am
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Am
œ
. œœ œœ œ œ œ œ œœ œœ œœ œœ œ œœ œ œœ œ . . œ œœœœœ
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E
.. . .. ..
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B 1st time only Palm Mute 1st time only Palm Mute

.. 77 7 55 7 55 77 .
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EG

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BD

. ≥00 0≤0 ≥7 ≤7 ≥5 5≤ ≥77 ≤77 00 00 55 77 5 77 7 . . 7 77 5 77 5 7 .


D
A
GA
E 7 7 7 3 0
D
E 5
A 7 7 7 3 0
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≥≤≥≤ ≥ ≤≥≤ Ex 2f
Ex 2e Ex 2f
Am Am

. jj œ œ œ œ .... .. Am j ‰‰ œ œœ œœ ....
Ex 2e Am Ex Am
2f
‰‰ ‰‰ jj ‰‰
& .... œ œœ œœ œœ œœ œœœ
& œ
... œ œœ œœœ œœ j
Am

& œ œ œ œ œ ‰ œœj œ œœ œœ œ . œ œ ‰ œœj ‰


œ
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.. .. 1st time only Palm Mute
..
. 00 3 5 7 55 77 . . 00 77 55 77 7 .
B
EG
G 5
BD

. 0 33 55 77 5 7 . . 0 7 5 7 7 .
G
D
A 0 3 5 7 3 0 0 7 5 7
A
E 0 3 5 7 3 0 0 7
D
E 5
A 0 3 5 7 3 0 0 7
E
STUDY 3 Clean Arpeggios TRACK 8
No self-respecting Metallica epic would be complete without the clean I’ve included some picking indications to help you out. We’re aiming to let
arpeggio section in E minor. Parts such as these are often deceptively difficult all notes ring as long as possible so go easy on muting/resting to achieve as
3
to play cleanly and evenly, maintaining picking accuracy and timing as we go. smooth and legato a tone as possible.

STUDY 3 Clean Arpeggios

©»∞• Half-time feel E m9 Gsus2 Am9 F6/ 9 E m9 Gsus2 Am9 Fadd9 11 #


#
& 44 ∑ ..
œ œ ¡œ
œ œ¡œ
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£
n ¡œ £œ œœ œœœ œ œ ™ £
Let ring throughout
E
B . 0 0 0 .
G
D
A
. 2
4
0
0
0
2
0
2
5
3
0
0
2
4
0
0
0
2
0
2
5
3
3
0
.
E 0 3 1 0 3
1
≥≥≥≤ etc

œ œ œ œ
œ œ
E m11 E m7
# œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
œ œ
œ
E 5 10
B 3 3 3 8 8 8
G 0 0 0 0 0 0 0 0
D 4 4 4 4 9 9 9 2014 GuitarTechniques
Spring 9 19
A 2 2 2 7 7 7
E 0 0
4
≥ ≥ ≥ ≥ ≤ ≤ ≤ ≥ ≤ ≤ ≤ ≥ ≤ ≤ ≤ ≤
# 4 .. ¢œ œ
& 4 ∑ œœ œ
¡œ
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play: ROCK
E
B .
Let ring throughout

0
ON THE CD track 4-21
0 0 .
G
D
A
. 2
4
0
0
0
2
0
2
5
3
0
0
2
4
0
0
0
2
0
2
5
3
3
0
.
E 0 3 1 0 3
STUDY1 3 Clean Arpeggios ...CONTINUED TRACK 8
≥≥≥≤ etc

E m11
œ E m7
œ œ œ œ
#
& œ œ œ œ œ œ
œ œ
œ
œ œ œ
œ œ œ œ œ œ œ œ œ œ
œ œ œ
œ œ
E 5 10
B 3 3 3 8 8 8
G 0 0 0 0 0 0 0 0
D 4 4 4 4 9 9 9 9
A 2 2 2 7 7 7
E 0 0
4
≥ ≥ ≥ ≥ ≤ ≤ ≤ ≥ ≤ ≤ ≤ ≥ ≤ ≤ ≤ ≤ etc

œ
E m11
œ œ œ E m7
œ œœ œ
# œ œ œ œ
& œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œœœ Œ Ó
œ œ œ
E 17 10
B 15 15 15 8 8 8
G 0 0 0 0 0 0 0 0
D 16 16 16 16 9 9 9 9
A 14 14 14 7 7 7
E 0 0 0
6

STUDY 4 Double-Stops/Mixing fingers with pick TRACK 10


The biggest challenge here is making the rapid transition between Section knuckle and with careful practice and a dash of sleight of hand you can do
1, which is played exclusively with the thumb, first and second fingers and this in a very short space of time. From a harmonic perspective most of the
4 Title
Section 2, which is all pick. I personally position the pick out of the way by material here is derived from D minor pentatonic (D F G A C), A natural minor
gripping between the first and second fingers between the hand and the (A B C D E F G) and D natural minor (D E F G A Bb C).

STUDY 4 Double Stops / Mixing Fingers with Pick

©»¡™º Dm
œ
& b 44 ∑ .. œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ
E
B . 6 8 6 6
G
D
A
. 5
5
5
7
7
5
5
5
5
5
7
7
5
5
5
7
7
5
7
5
5 7
7
5
5
5
7
7
5
5
5
5
5
7
7
E
1, 5
p m m p etc
i i

1
b œœ œœ œ œ
2

b b b œœ œœ œ Am 1/4 1/4

œ
& b œ œœ œ œ œ
œ œ .. œœ œ œ ‰ .. n œœ œœ œœ œœ n œœ œœ œœ
œ œ œ œ J
œ œœ œ œ œ œ œ œ œ
1/4 1/4
PM PM PM PM PM PM
E
B 9 8 6 . 9 8 6 .
G
D
A 5
5 7
5 7
5
8 7
5
5 7
7 . 5
5 7
5 7
5
8 7
5
5
. 0 0 0
4
5
0
5
7
0 0
4
5
0
5
7
0 0
7
9
0
4
5
5
7
E
4 8 9, 13 ≥≥≤ ≥≥ ≥≥ ≥ ≥≥ ≥
F5
. . . . . . . . . . . . . . . . Dm

&b n œœ œœ œœ œœ œœ œœ œœ œœ .. .. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œœ œ œ œ œ œ
PM PM PM PM PM
E
B . . 8 8 8 6 6 6 6 5 5 5 5 6 6 6 5 6
G
D
4
5
5
7
4
5
5
7
5
3
5
3
5
3 . . 7 7 7 5 5 5 5 5 5 5 5 5 5 5 5 5

20 GuitarTechniques0Spring
0 0 0 0 0 0 0
A
E 2014
11, 15 17, 21 m m m m etc
i i i i
œ b œ œ œœ œœ .. œ œœ b œ œ œœ ‰ .. n œœ œœ œœ
& b œ œœ œ œ œ œ œ œ œ J
n œœ œœ œœ œœ
œ œœ œ œ œ œ œ œ œ
PM PM PM PM PM PM
COMPLETE ROCK WORKOUT
1/4 1/4
E
B 9 8 6 . 9 8 6 .
G
D
A 5
5 7
5 7
5
8 7
5
5 7
7 . 5
5 7
5 7
5
8 7
5
5
. 0 0 0
4
5
0
5
7
0 0
4
5
0
5
7
0 0
7
9
0
4
5
5
7
E
STUDY
4 4 Double-Stops/Mixing fingers
8 with pick ...CONTINUED
9, 13 ≥≥≤ ≥≥ ≥≥ ≥ ≥≥ ≥ TRACK 10

F5
. . . . . . . . . . . . . . . . Dm

&b n œœ œœ œœ œœ œ œ œ œ .. .. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ
œ œœ œ œ œ œ œ
PM PM PM PM PM
E
B . . 8 8 8 6 6 6 6 5 5 5 5 6 6 6 5 6
G
D
A 0 0 0
4
5
0
5
7
0 0
4
5
0
5
7
0
5
3
5
3
5
3 . . 7 7 7 5 5 5 5 5 5 5 5 5 5 5 5 5

E
11, 15 17, 21 m m m m etc
i i i i

œœ. œœ. œœ. œ. œ. œ. œ. œ. .œœ œœ. œœ. œ j ~~ C/B. . .


1
C/B b b B 5B b5 b 2

&b œ œ œ œ œ œ ‰ œœ œœ .. œœ œœ œœ œœ œœ ‰ œœ œœ ‰
J
~~
E
B 8 8 8 6 6 6 6 5 5 5 5 3 . 5 5 5 3
G
D
A
7 7 7 5 5 5 5 5 5 5 5 3 5
5
3
3 . 5 5 5 3 3
3
3
3
E
19, 23
≥ ≤
STUDY 5 Five positions & minor pentatonic TRACK 12
This study encapsulates the five areas where you can find the minor Adding expression in this way turns dry, academic material into three-
pentatonic scale (R b3 4 5 b7) in the key of A minor (A C D E G) and introduces dimensional musical ideas. Explore each area further, to find out where all the
5a melodic phrase showcasing a selection of potential bends in each area. good bends, slides, hammer-ons etc, are available within each shape.

STUDY 5 Five Positions and Minor Pentatonic

©»•∞
Ex 5a

œ œ~~
j œ
œ œ œ œ œ œ~~
1/4
Am
j j j œ j
œ œ
œ œ œ
& 44 ∑ ‰ J œ œ œ
œ
Œ

E
BU 1/4 BU
8
BU ~~ BU
8 (10 ) 8 5
BU ~~
B 8 (10 ) 8 (10 ) 8 (10 )
G 7 (9) 7 5
D 7
A 7
E

œ. œ œ œ œ
Ex 5b
j
œ œj œ œ œ j ~~
1/4
œ
œ œ œ œ œ.
j
œ œ bœ œ œ œœ ˙
& ∑

~~
1/4
BU BU BD BU BD BU
E 10 (12 ) 8 10 8 8
B 10 8 10 10 (13 ) (10) 8 (10)
G 9 9 (12) (9) 7 8 7
D 10 7
A
E

œ œ œ œ œ œ œ b œ œ œ œ œj œ œ~~
Ex 5c
j œ ~~
œ œ œ œ œ œ nœ œ œ œ œ œ œ
j

& ∑
PB

E
12
BD BU ~~ BU BD
11 10
BU ~~
B 10 10 13 10 13 (17 ) (13 ) 10 10 13 13 10
G 9 12 (14 ) 12 12 12 (14 )
D ( 13 )(12) 10 12 10 12
A 12
E Spring 2014 GuitarTechniques 21

Ex 5d
œ œ œ œ œ œ œ œ. œ œ bœ œ œ œ ˙
& ∑ œ

play: ROCK ~~
1/4
BU BU BD ON BD
BU THE CD track BU
4-21
E 10 (12 ) 8 10 8 8
B 10 8 10 10 (13 ) (10) 8 (10)
G 9 9 (12) (9) 7 8 7
D 10 7
A
STUDY 5 Five positions & minor pentatonic ...CONTINUED
E TRACK 12

œ œ œ œ œ œ œ b œ œ œ œ œj œ œ~~
Ex 5c
j œ ~~
œ œ œ œ œ œ nœ œ œ œ œ œ œ
j

& ∑
PB

E
12
BD BU ~~ BU BD
11 10
BU ~~
B 10 10 13 10 13 (17 ) (13 ) 10 10 13 13 10
G 9 12 (14 ) 12 12 12 (14 )
D ( 13 )(12) 10 12 10 12
A 12
E

Ex 5d

~~ œ œ~~
j j
œ œ œj

j
œ œ œ œ œj œ œ œ œj œ œ œ œj œ œ œ œ j œ œ
1/4

& œ œ œ œ œœœ œœ
œ

PB

~~ BU ~~
15
BU BU BU BU 1/4 BU BU BD
E 12 15 12 15 12 15 12 15 (17 ) 15 (17 )
B 15 (17) 15 (17 ) 15 (17 ) 15 (17 ) 15 13 12 (13 ) 12 13 (17 )(15 ) 13
G 14 14 12 14 14
D 14
A
E

Ex 5e

œ ˙~~
√ j
œ œ œ œ œ œ œj œ œ œ œ œ
1/4 j
bœ nœ œ œ œj b œ œ œ
& ∑ œ œ œ

BU BD BU 1/4 BU BU BD BU ~~
E 15 17 15 (17 )
B 15 17 16 (17) 15 (16 ) (15 )
G 17 (21) (17 ) 14 14 16 (17) 17 14 17 14
D 14 17 14
A
E

STUDY 6 Hammer-Ons and Pull-Offs with String Skipping TRACK 14


This time we introduce string skipping, maintaining the two-notes-per-string pattern relocated slightly to spell out the notes of a major arpeggio while
feel from the pentatonics example. This is our way to incorporate arpeggios keeping the same picking, pull-offs, hammer-ons and identical rhythmic
into blues or pentatonic-based vocabulary. Examples 6a-c switch between bounce. The final example, 6d, takes the arpeggio idea one stage further by
a blues6 scale
Title based sequential idea (R b3 4 b5 5 b7) followed by the same spelling out a harmonic sequence in the key of B minor.

STUDY 6 Hammer-Ons-Pull Off with String Skipping


Ex 6a - 6c Exercises mixing Blues with Triad Arpeggio
D Blues D

# .. n œ œ n œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
& # 44 ∑
œ œ
E
B . 13 10
13 10 10 13
10 13 10
13 10 10 13
10 14 10 10 14 10 10
.
G
D
A
. 13 13 14 11
12
11 14 14 11
12
11 14
.
E

Ex 6b
D Blues D

## .. œ n œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
& ∑
œ œ œ
E
B . 10
13 10 10 13
10
13 10 10 13
10
13 10
10 10 10
.
G
D
22 GuitarTechniques Spring 2014
A
. 13 13 13 14 11
12
11 14 14 11
12
11 14 14 11
12 .
E

## 4 nDœBlues
œ n œ œ œ œ œ œ œ œ œ œ œ œ Dœ œ œ œœœœ
6 Title

. œ ..
Ex 6a - 6c Exercises mixing Blues with Triad Arpeggio

& 4 ∑
STUDY 6 Hammer-Ons-Pull
6 Title
.
Off with String
√ Skipping
#œ œ œ œ œ œ œ œ œ œ
# 4
STUDY 6 # Hammer-Ons-Pull
n œ
.. DSkipping œ nœ œ #œ œ œ œ œ
Ex 6a - 6c Exercises mixing Blues with Triad Arpeggio
œ œ œ
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Spring 2014 GuitarTechniques 23


play: ROCK ON THE CD track 4-21

STUDY 7 Tapping ‘Chop-builder’ TRACK 16


As soon as Van Halen’s debut album hit the shelves the rock guitar world went variations work for you. Ensure you mute idle bass strings with either the
triplet-tapping crazy! This study takes these triplet figures in the rock-friendly palm or the thumb and be sure your hammer-ons are crisp and firm. The final
key of A minor (pentatonic) and moves through the six possible permutations example takes variation 7d and places this is a more expansive setting. This
using three notes only and placing each note at each point in the sequence. example has been rhythmically displaced so that each three-note idea repeats
Taking ideas like this through each permutation is a great way to develop and against a 16th note (four events-per-beat) pulse. If your rhythm reading isn’t
expand, 7 as some will come easily and others less so and you can decide which up to scratch make sure you listen carefully to the GT audio.

L L
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STUDY 7 Tapping Chopbuilder
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& 44 ∑ J ‰ J ‰ J ‰

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STUDY 8 Legato Chop builder TRACK 18


Examples 8a to 8e are designed to even out our natural tendency to favour the so complete equality is impossible; but that doesn’t mean we should not strive
larger8and
Title
stronger fingers. The second finger is always going to be strongest, to redress the balance and get every finger in on the act.

STUDY 8 Legato Chopbuilder


Ex 8a Two finger combinations Ex 8b Ex 8c

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24 GuitarTechniques Spring 2014
E

Ex 8f E major / C# minor scale definition Ex 8g Rhythmic cell ideas


8 Title

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Spring 2014 GuitarTechniques 25


play: ROCK ON THE CD track 4-21

STUDY 9 full study TRACK 20


We have a little bit of everything to round things off, starting with clean and a half-picked descending scalar figure in bar 18. The trick to this is to
picked arpeggios, moving through palm muted open fifth string and power alternate between a legato string and a picked string to create a compromise
chord combinations, moving into a short lead section. I’ve managed to cram between all legato (smooth) and all picking (stiff) that many players prefer as it
a couple
9 of other concepts in too, namely sweep picking in bars 15 and 16 combines the best attributes of both.

STUDY 9 Contextualised Short Piece


A: Clean with chorus 1
Dadd9/F #
©»¡™§ A sus2 Fmaj9/A A sus2 Gsus2

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& 44 .. œ œ œ œ œ œ œ œ œ # œ œ œ ..
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C : Lead / Melody
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26 GuitarTechniques Spring 2014
Play: BLUES ON THE CD TRACKs 22-23

Freddie King
Takin’ Care Of Business
Jon Bishop breaks out the thumb and finger pick, and takes a look
at a seminal Freddie King blues recording. It’s easy to hear the Texan
Cannonball’s influence on many contemporary guitarists!

ABILITY RATING influence on the blues-rock guitarists to make the notation easier, we chose 4/4 with
that were to follow. Freddie, like so many all the quavers swung. That way it’s clearer to
Moderate bluesmen of the time, had very much his own see where the swung quavers, quaver triplets
approach to playing the electric guitar. He and crotchet triplet rhythms are, and how
Info Will improve your wore his strap over the picking hand shoulder they function in the track.
Key: Db Blues soloing and phrasing instead of around his neck. He also used metal The form consists of: 4 bars intro; 16 bars
Tempo: 128bpm Fingerstyle lead playing thumb and fingerpicks to attack the strings as vocal chorus 1; 16 bars vocal chorus 2; 12 bars
CD: TRACKS 22-23 Use of thumb and fingerpicks apposed to a flat pick or fingers alone. His use guitar solo 1; 12 bars guitar solo 2; 16 bars
of thumb and fingerpick was originally vocal chorus 3; and 12 bars outro.
Of the ‘Three Kings’, Freddie is often inspired by players like Jimmy Rogers. The The guitar tuning on the original recording
overlooked. He never quite achieved the metal picks provided a bright and biting tone is a little out of whack, and this is a feature
superstar status of BB or Albert King - due in that we have chosen not to replicate for the GT
Dbm Pentatonic Dbmajor Pentatonic
part to his untimely death at the age of 42. His version. Many popular 60s recordings
style, however, fused BB’s melodic lead lines featured slightly out of tune guitars, but
with Albert’s ferocious attack, and had a huge modern production values have established
the tuning of all instruments to be a key
Technique Focus element. The original track fades out, so to
make the backing track more fun to play along
Phrasing with, the GT version has a classic, blues style
Transcribing the solos of great musicians can unlock
ending attached.
the secrets of how the melodies were constructed.
Examine this month’s transcription and notice how For the GT recorded version, a live band
Freddie mostly starts his phrases on the off beat. was the only way to go, so many thanks to
If you count the quavers 1 + 2 + 3 + 4 + you’ll find James Compton for performing piano duties
most of the lines start on the ‘and of four’ and the and to Pete Riley for playing drums!
‘and of one’. This sounds less obvious than starting and when this was combined with a valve amp
on the downbeat and slightly more sophisticated.
on full volume with the treble turned right up,
The main rhythmic subdivisions are swung
quavers, quaver triplets and crotchet triplets. The Freddie’s signature lead tone was born. Get The Tone
note choices come from Db major pentatonic and Eric Clapton covered Freddie’s Top 40 hit,
Db minor pentatonic scales, mainly played in shape Hideaway, which served as lead guitar tour
1 which limits the decision making process further. de force on the John Mayall’s Bluesbreakers 4 0 0 10 3
restricting the rhythmic subdivisions and the tonal ‘Beano’ album, as well as live. In this track it’s
palette in this way helps to free up the creativity. Gain Bass Middle Treble Reverb
also easy to hear Freddie’s influence on other
The scale diagrams opposite will help you Freddie King was heavily associated with Gibson
visualise Freddie’s fretboard roadmaps. A general players, including Clapton, Peter Green and,
guitars; a Les Paul Goldtop with P90s in the early
rule is: Db major and Db minor pentatonic scales later on, fellow Texan, Stevie Ray Vaughan. days, then cherry ES-345 or 355. Takin’ Care Of
work over chord I (Db7); and Db minor pentatonic Takin’ Care Of Business was originally Business was probably recorded on the Les Paul,
will work over chords IV and V (Gb7 and Ab7). Any recorded in 1961. The song is in the key of Db plugged straight into a loud Fender valve amp.
note can be bent up to the next note in the scale but and is essentially a Db dominant blues. The Freddie favoured the biggest Fenders available
Freddie avoids any three-fret bends here and sticks at the time and was often pictured with a Dual
vocal verses are a slightly unconventional 16 Showman. The amp was set with the volume and
to the two-fret bending points exclusively.
Once you have studied Freddie’s licks, try bars long. This structure makes sense to the treble turned up full, and bass and middle on 0.
improvising your own solo using the scale shapes ear and is essentially a 12-bar blues with an To get the tone with your rig, select a crunchy
on this page, combining them with some simple extra four bars added. The solos are a tone with plenty of bite. Use the bridge pickup or
rhythms. Hopefully this approach of limiting the bridge and neck pickups together and go for a
standard 12-bar progression. The feel of the
parameters of the improvisation will free you up minimal overdrive setting - just enough to
track is a shuffle at 128bpm. This shuffle feel provide some sustain is the key here.
to be more expressive and creative.
can be written with a 12/8 time signature but

TRACK RECORD Takin’ Care Of Business was recorded in 1961 and was featured on the Freddie King Sings album. You may wish to check
out the 1993 compilation Hideaway as it includes 27 of Freddie’s best-loved tracks including Takin’ Care Of Business. There are also
many great live performances of him online, where you can watch his technique and see his guitars and amps close up.

30 GuitarTechniques April 2014


FREDDIE KING TAKIN’ CARE OF BUSINESS

Freddie King taught


me just about everything
I needed to know.
Eric Clapton
IDOLS / PHOTOSHOT

The fabulous
Freddie King,
here playing a
Gibson ES-355

April 2014 GuitarTechniques 31


Play: BLUES ON THE CD TRACKs 22-23

PLAYING TIPS CD TRACK 22

[Intro: Bars 1-4] The opening riff is something a slide player in open tuning This ‘question and answer’ phrasing harks back to the work songs of the
might play. Use down strokes and increase the attack as you progress. The deep South. If you are playing with a thumb and fingerpick like Freddie, it’s
9th chords in bar 4 make for a sweet sounding turnaround. just a case of working through and finding the most intuitive way to pluck
GUITAR TECHNIQUES 2 2 9 Jon Bishop's
[Chorus 1: Bars 5-20] The verses are a mixture of rhythm and lead lines. The the various notes. Of course most players will probably favour a plectrum
lead lines function as an answer to the vocal phrase Takin’ Care OfTAKING
Business.CARE
andOFyouBUSINESS
can get pretty- close
Freddie KIng tone with a metal pick or coin.
to Freddie’s

©»¡™• Db
Swung quavers œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ~~~~ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ Ó œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& b b b b 44
F f
3 3 3 3 3 3 3 3
Electric Guitar

E
Bridge pickup
with biting overdrive
9 9 9 9 9 9 9 9 9 9 9 9 9
~~~~ 9 9 9 9 9 9 9 9 9 9 9 9
B 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
G 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
D 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11
A
E
1
≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ etc

œœ.
A b9
œœ n nn œœœ b bb œœœ œœ
A9 CHORUS 1

œœ œœ œœ Db
. . . . . . . .
b
& b bbb J ‰
œ œ Œ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ «
FJ J J J J J J J
F 0:08
E 9 12 11 11
9 12 11 11 6 6 6 6 6 6 6 6
«
B
G 10 12 11 11 6 6 6 6 6 6 6 6
D 11 11 10 10 6 6 6 6 6 6 6 6
A
E
4
≤ ≤ ≤ ≤
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
Gb Db

b b
. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
œ
œ
& b b b ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ Jœ

E
B 7 7 7 7 7 7 7 7 6 6 6 6 6 6 6 6
G 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
D 8 8 8 8 8 8 8 8 6 6 6 6 6 6 6 6
A
E
9

b œ œ œ– œ~~~~œ
1/4
j
G b7
œ œ œ~~~ D b7
bœ œ œ œj n œ œ
J bœ œ bœ ‰
1/4

b
& b bbb Ó Œ. J Œ Ó Œ. J
ƒ
3 3

~~~ ~~~~
1/4
BU BU 1/4
E 12 9 11 9
B 9 11 12 (14 ) 9 9
G 11 (12 ) 9
D 11 9
A
E
13

œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. . œ œ œ nœ œ œ


Ab D b7 A b9
b œ œ b œ ~~~ Œ
j 1/4

b b œ œ œ œ
œ
J J
& b b b ‰ J ‰ J ‰ J ‰ J ‰ œJ ‰ œJ ‰ œJ ‰ œJ Œ œ œ
F
3 3

E
BU
9
1/4 ~~~
B 9 9 9 9 7 7 7 7 9 12 9
G 8 8 8 8 6 6 6 6 11 (13 ) 11 9
D 10 10 10 10 8 8 8 8 11 9
A 11
E
17

32 GuitarTechniques April 2014


Takin’ Care Of Business Music & Lyrics by Rudolph Toombs
©1985 Fort Knox Music Co, Trio Music Co Inc. Lark Music Ltd. UK/EU reproduced by kind permission of Carlin Music.
US/CAN reproduced by kind permission of Hal Leonard Corporation. All Rights Reserved. International Copyright Secured. FREDDIE KING TAKIN’ CARE OF BUSINESS

PLAYING TIPS CD TRACK 22

[Chorus 2: Bars 21-36] Clapton fans will recognise many of the licks in here, and really attack the strings. See if you can make your string bending and
especially the turnaround sections, since Freddie was a huge influence on finger vibrato aggressive and powerful. The phrasing in bar 42 is laid-back
guitarists like Eric Clapton and Peter Green.
2 Title so the rhythm here is just a guide. The phrase in bar 45 features some fast,
[Solo 1: Bars 37-48] And we’re off! Freddie takes flight with some classic three-note fall-offs. These are a popular device in blues soloing and act as
blues phrases in shape one of the Db minor pentatonic scale. Dig in hard a punctuation point.

b b b œœœ. ‰ ‰ œœœ. Ó œœ. œœ. . œœ. œœ. œœ. œœ. . œœ.


CHORUS 2
Db Gb

b
& b J œ ‰ ‰ œ Œ œ Œ. œ Ó œ ‰ ‰ œ Œ œ
J J J J J J J J
F
0:37

E
B 6 6 6 6 6 6 6 6 7
G 6 6 6 6 6 6 6 6 6
D 6 6 6 6 6 6 6 6 8
A
E
21 ≥ ≤ ≥ ≤ ≤ ≤ ≥ ≤ ≤
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
Db G b7
b b œ Œ. œ ‰ ‰ œ Œ. Œ.
& b b b ‰ œJ Œ œ œ Ó œ ‰ ‰ œ Œ. œ
J J J J J J J J
E
B 7 7 7 7 6 6 6 6 7
G 6 6 6 6 6 6 6 6 6
D 8 8 8 8 6 6 6 6 8
A
E
25 ≤ ≤ ≥ ≤ ≤ ≤ ≥ ≤ ≤
j j œ œ bœ œ
œ bœ œ œ œj œ œ j œ ~~ D b7 bœ
œ œbœ œ œ
b œ œ bœ œ œ bœ
& b bbb Ó Œ. J Ó Œ. J œ œ bœ œ
ƒ
3 3

E
BU
9
BU
9
BU BD ~~ BU
12 (14 ) 12 9
B 9 12 (14 ) 12 (14 ) 9
G 11 (13 ) ( 11 ) 9 11 9 9
D 11 9 11 11 9
A 11
E
29

j A b9 j D b7
œ nœ œ œ nœ œ œ
œœ. œœ. œœ. œœ. œœ. . œ b œœ œ b œ œ
Ab Gb D b7 1/4
œ œ
& bbbb b Ó ‰ œJ Œ ‰ œ ‰ œ ‰ œ ‰ œ Œ J ‰ J
J J J J
F ƒ 1/4 BU BU
E 9 11 (12 ) 9 12 (14) 12
B 9 7 7 7 7 9 9
G 8 6 6 6 6 9
D 10 8 8 8 8 11 11 9 9
A
E
33
≤ ≤ ≤ ≤ ≤
œ œ œ jœ
SOLO CHORUS 1

j ~~~
√ ~~
b œ bœ œ bœ ‰
‰ œj b œ œ œJ œ œ œ œ ‰
j j j œ~~ b œJ
& b bbb bœ œ œ œ œ œ
J
3 3 3
1:08

E 9
BU BU ~~ 9
BU ~~~ 9
BU
9 9
~~ 12
B 9 9 12 (14 ) 12 (14 ) 12 (14) 9 12 14
G 11 (13 ) 9
D 11 9
A
E
37

April 2014 GuitarTechniques 33


Play: BLUES ON THE CD TRACKs 22-23

PLAYING TIPS CD TRACK 22

[Solo 2: Bars 49-60] The second chorus of soloing starts with a simple yet of his soloing style. The turnaround lick in bar 59 is also recognisable to
very3 effective melody. The three-note repeating phrase in bar 51 is another Clapton fans as it forms the foundation for the turnaround lick EC uses in
idea that Eric Clapton would go onto develop into a show-stopping part Cream’s version of Crossroads.

b
(√) j j
G 7

œ œj œ œ j œ j œ– ~~~ j œ œ bœ œ
œ œ~~~ Œ
œ œ œ–
1/4

b b œ œ bœ œ œ
‰ Jœ
&b b b ‰ J ‰

3
Lay back

~~~ ~~~
1/4
BU BU BU BD BU BU
E 14 (16) 14 (16 ) 14 (16 ) 16 (14 ) 12 14 (16 ) 14 14 (16) 14 12 14 12
B 14 14
G
D
A
E
40

b b
(√) D 7 b Aœ 7œ b œ j
b b b œ . œ œ~~ b œ œ Œ
3 j
œ bœ œ œ œ œ œ œ bœ œ œ œ œ
b
& b ‰ œj œ œ œ J J bœ ‰
3 3 3 3
~~
3
BU BU
E 12 14 9 12 (14 ) 12 9
B 14 14 9 11 12 9
G 8 10 11 (13 ) 11 9 9
D 11 11 9
A
E
43

j G b7 œ~~~ œ œ œ
b b
bœ œ œ œ œ œ œ bœ
D 7 A 7
j œ œ bœ œ œ b œ n œœ œ j
œ œ b œ n œœ ‰
j
1/4

b œ
& b bbb ‰
J J œ
J
3 3

E
BU ~~~ 9
BU 1/4

B 12 (14 ) 12 9 9 9 11 9 14 14 14 14 14 12
G 11 (13) 9 9 10 11 9 10
D 11 11 11
A
E
46

SOLO CHORUS 2

œ bœ œ bœ œ œ œ œ
b
œ ~~ œ ~~ œ b œ œ œ
D 7
œ bœ œ œ œ œ œ œ œ œ œ œ
& bbbb b
3 3 3 3
1:30

E
~~ ~~ 12
B 14 14 14 12 14 12 14 14 12 14 12 14 12 14 12 14 12 14 12 14 12
G 13 13 13 13
D
A
E
49

G 7 b
j j
j j j j œ. j

bbb œ bœ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ ¿ œ œ œ
b
& b ‰
3 3

BU BU BU BU BD BU BD
E 12 14 14 (16) 14 (16 ) 14 (16 ) 14 (16 ) 16 (14 ) 12 14 14 (16 ) 16 (14 ) 12 14 12 14
B 14 X 14
G
D
A
E
52

34 GuitarTechniques April 2014


FREDDIE KING TAKIN’ CARE OF BUSINESS

PLAYING TIPS CD TRACK 22

[Chorus 3: Bars 61–76] The third vocal chorus is unsurprisigly similar in The double-stop idea in bar 76 is a classic R&B style lick that’s used by
4 Title
structure to choruses 1 and 2. Again the lead phrases are improvised around keyboard players and guitarist‘s alike. Combining vocals and lead fills is a
standard Freddie licks, and are in direct answer to the vocal phrases. fine art, and one at which all three Kings have excelled.

b b
(√) D 7 A 7

œ œ œ œ~~ œj œ
√ j j j
b b bœ œ bœ œ œ œ œ œ bœ bœ œ œ œ
1/4

&b b b ‰ œJ J
œ œ ‰ J J J
3 3

~~
1/4
BU BU BU BU
E 12 12 9 11 (12 ) 11 9 12 (14 ) 12 (14 ) 12 12 (14 )
B 14 12 14 9 11
G 8 10
D
A
E
55

b b b
(√) Gœ7 b œ œ œj œ œ œ
D 7
œ œ bœ œ j œ A 7
~~
b b b œ œ œ b œ œ œ n œ œ œ bœ œ bœ œ
&b b b J ‰ œ bœ œ œ Œ
3 3 3 3 3 3
3 3

E 12 9
BU
9
BU ~~
B 9 12 9 9 12 9
G 11 (13 ) 11 9 11 9 9 10 11 (13 ) 11 9 11 9
D 11 11 9
A 11
E
58

b b ‰ œœœ. ‰ œœœ. ‰ œœœ. ‰ œœœ. . . . . œœ. œœ. œœ. œœ.


CHORUS 3
b b
‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ
D G

b
& b b « ‰ œ ‰ œ ‰ œ ‰ œ
J J J J J J J J J J J J
F 1:53

E
6 6 6 6 6 6 6 6
« 7 7 7 7
B
G 6 6 6 6 6 6 6 6 6 6 6 6
D 6 6 6 6 6 6 6 6 8 8 8 8
A
E
61
≤ ≤ ≤ ≤
œœ. œœ. œœ. œœ.
b
D
. . . . . . . .
b b
& b b b ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ
J J J J J J J J
E
B 7 7 7 7 6 6 6 6 6 6 6 6
G 6 6 6 6 6 6 6 6 6 6 6 6
D 8 8 8 8 6 6 6 6 6 6 6 6
A
E
66

œ~~~ œ œ b œ œ œj œ œ
j
b
G 7
œ œ œ œ b œ œ ~~~
œ
b
D 7

j 1/4

bœ œ bœ ‰
& bbbb b Ó Œ. J Œ Ó Œ. J
ƒ
3 3

E 9 11
BU
(12 )
~~~ BU ~~~ 9
BU 1/4

B 9 9 11 12 (14 ) 12 9 9
G 11 (13 ) 9
D 11 9
A
E
69

April 2014 GuitarTechniques 35


Play: BLUES ON THE CD TRACKs 22-23

PLAYING TIPS CD TRACK 22

[Solo 3: Bar 77 to end] This final section features more simple yet effective as Freddie would do live. The phrases used for the ending are classic Freddie
5
‘question and answer’ phrases and the GT ending. The original track fades King style licks and fit in well with the rest of the song. You will need to
out but we have included a stock blues finish to make the piece complete - listen to the ending a few times to get the final hit perfectly in time.

. œ. œ. œ. œ. œ. œ. œ. D 7 b œj n œœ œœ
œ
A b b
b œ n œœ
j ~~~~
b
A 9

b b œ œ œ œ
& b b b ‰ Jœ ‰ œJ ‰ Jœ ‰ œJ ‰ œœJ ‰ œœJ ‰ Jœœ ‰ œœJ Œ . J
œ œ œ œ bœ œ œ Œ
F ƒ
E
~~~
B 9 9 9 9 7 7 7 7 9 11 9
G 8 8 8 8 6 6 6 6 9 10 11 9 10
D 10 10 10 10 8 8 8 8 11 11 11 11 9
A 11
E
73

SOLO CHORUS 3
b
œœ. œœ. œœ. . . . œ
j j
b b b ‰ ‰ ‰ ‰ œJ œ œ œ bœ œ œ œ œ bœ œ
1/4 1/4
D 9

b
& b œ œ œ
œ
œ œ œ ‰ œœœ ‰ œœœ ‰ œœœ ‰ J œ
œ œ
J J J J J J
F 2:22ƒ BU
F
1/4
ƒ BU 1/4
E
B 6 6 6 9 9 6 6 6 9 9
G 6 6 6 11 (13 ) 11 9 6 6 6 11 (13 ) 11 9
D 6 6 6 11 8 6 6 6 11 8
A 11
E
77

b
œ. œ ~~~~œ œ. œ.
j œ b œj œ œ œ œ Db
b œ œ œ b œ ‰ œœ. œœ. ‰ œœ. ‰ b œ

G 1/4

b
& b b b b ‰ œJ ‰ œJ ‰ Jœ ‰
œ œ œ J œ ‰ œ œ J
J J J
F ƒ 3 3
3
F ƒ
BU ~~~~ BU 1/4
E 9
B 7 7 7 12 (14) 12 (14 ) 9 9 6 6 6
G 6 6 6 11 9 6 6 6 9
D 8 8 8 11 9 6 6 6
A
E
81

œœ. b œ
b b
œ œ œ b œ ~~ œ. œ. œ œ œ b œ~~~œ œ
1/4 A G 7
j j
1/4

b œ œ œ Œ œ œ œ
& b bbb ‰ Jœ ‰ Jœ ‰ œJ ‰ J Œ
F ƒ
E
BU
9
1/4
~~~ BU
9
1/4 ~~~
B 9 9 11
G 11 (13 ) 11 9 8 8 8 9 11 (13 ) 11 9
D 11 10 10 10 11
A
E
84

bœ œ bœ
b b b j œ~~~ œ b
1/4
D 7
œ œ bœ nœ
A 7
nœ bœ œ .
D6 D 6
œ œ œœ
D sus2

œ œ J
b œ
b bbb ‰ J œ ‰ # n œœ n b œœ œœ .. bœ
J
œ
& b
3 3

~~~
1/4

E 12 9 9 9
B 12 9 12 11 9 11 12 14 9
G 11 9 10 11 10 9 10 8
D 11 12 11
A
E
87

36 GuitarTechniques April 2014


play: exotic scaleS ON THE CD tracks 24-41

Seventh Heaven!
Fancy giving your playing over dominant 7th based chords an
upgrade? Fancy no further, as Jacob Quistgaard looks at six
spicy scales that will add colour and tension to your playing.

ABILITY RATING 13th(b9), which - as you will see - is different Phrygian Dominant
from the altered chord in that it has a major 1 b2 3 4 5 b6 b7
Moderate/Advanced 6th (13th) interval in it. The symmetric The Phrygian Dominant has a recognisable
diminished scale is is most commonly used on sound and is common in many types of folk
Info Will improve your dominant V chords in a major key, leading to music, including Turkish, Jewish, Arab,
Key: A Exotic scale playing the resolution on a I chord. Try it over a Persian and Spanish. It is a common tool for
Tempo: Various Theory knowledge regular 7th chord and see how it sounds. the jazz guitarist, as a slightly less complicated
CD: TRACKS 24-41 Improvisation option than the altered scale, in the context of
Mixolydian b6 playing over a 7th chord leading back to the
This special feature will explore six 1 2 3 4 5 b6 b7 tonic. However, it is also quite common in
colourful scales, each of which you can apply Out of all of our exotic scales for dominant 7th rock, especially in prog, metal and various
to dominant chords in a variety of situations. chords, this is one of the closest to the most shred related genres, exemplified by Yngwie
The ‘bread and butter’ option for soloing over standard option favoured in this context: the Malmsteen. Great for 7b9 chords!
any dominant chord - 7th, 9th, 13th etc - is the Mixolydian mode. In fact only one single
Mixolydian mode, but there are more exciting alteration separates the Mixolydian b6 from Whole-tone Scale
colours at your disposal. These more ‘exotic’ standard Mixolydian, and that is the interval 1 2 3 #4 #5 b7
scales will come in handy when reaching out of the 6th, which is flattened. This means it Like the symmetric diminished, the whole-
for that extra bit of spice. tone scale is completely symmetrical, as it

Altered Scale
Obviously, the bread and consists of a series of whole tone steps only. It’s
our only hexatonic (six-note) scale of this
1 b2 b3 3 b5 b6 b7 butter option for soloing on feature. Some might say it’s a little awkward to
The altered scale, also known as Superlocrian,
is the 7th mode of the melodic minor scale.
any dominant chord is the blend it into your improvisational efforts, but
our examples will show how easy it is.
The altered scale features all of the possible Mixolydian mode, but there
alterations one could use in a dominant 7th
chord - b2, b3, b5 and b6 – hence the name.
are quite a few more exciting Some of these scales fit perfectly over dominant
chords such as 9ths, 13ths and so on, but they
As a result of these altered notes, the scale is colours at your disposal. will all sound spicy over a Dominant 7th too.
perfect for creating maximum tension on a Try them over all the dominant chords you
dominant chord, and for this reason it is the has both a perfect 5th and a b6th interval know and see which ones perk up your ears.
most common scale choice in modern jazz, in present, making it a nice tool to create
the context of a V7 dominant chord that moments of tension and release over chords
resolves onto a Im chord. such as 7#5 (#5 = b6). Get The Tone
Symmetric Diminished Scale Lydian Dominant
1 b2 b3 3 #4 5 6 b7 1 2 3 #4 5 6 b7 2 6 5 5 4
The symmetric diminished scale is also This is the fourth mode of the melodic minor Gain Bass Middle Treble Reverb
known as the half-whole scale, due to its scale, and an extremely important tool in the
As this article deals with fundamental musical
ongoing pattern of half step, whole step, half repertoire of any jazz guitarist, both as an
concepts rather than a certain style or artist you
step, whole step, etc. This results in an optional ‘hip’ colour to add to basic dominant can execute these ideas on any chosen guitar
eight-note scale that has a b9, #9 and #11 in chords, and as an essential way of navigating with any desired sound. Our examples were
its construction, making it the only octatonic common chord progressions within jazz and played on a vintage Strat, through a Fender Hot
(eight-note) scale in this feature. Because of blues. The Lydian Dominant scale is a good Rod amp and an MXR Dyna Comp, as well as
this list of alterations, a chord that would choice when you want to imply the sound of Wampler’s Faux Spring Reverb pedal.
prompt usage of this scale would be a chords such as 7b5 or 9#11.

TRACK RECORD For examples of the altered scale, check out the solos of George Benson, Wes Montgomery and Pat Martino. For the symmetrical
2 PHOTOS: LIVEPIX

scale try Jim Hall, Robben Ford and Mike Stern. The Mixolydian b6 has been employed by Joe Satriani, Frank Gambale and Larry Carlton. Lydian
dominant users include Scott Henderson, Joe Pass and Sonny Rollins. The Phrygian dominant is often favoured by Yngwie Malmsteen and Al Di
Meola. You can hear the whole tone scale extensively in solos by Frank Zappa and Robert Fripp, as well as in the music of Debussy.

38 GuitarTechniques Spring 2014


soloing over 7ths

George Benson:
intuitively plays
tasty scales over
dominant chords

Joe Satriani:
often adds exotic
scales over 7th
chords in rock

Spring 2014 GuitarTechniques 39


play: exotic scaleS ON THE CD tracks 24-41

CHORD DIAGRAMS

ExampleS TRACKs 24-41


Altered Scale Ex 1 Our first example of altered scale playing consists of a 16th- Altered Scale Ex 2 For this V7alt – Im9 progression the high C note (#9), which
note run, which primarily uses a three-notes-per-string shape (not on the second continues into the descending arpeggio along the top three strings at the 6th fret,
string). Remembering that you are playing the notes of Bb melodic minor might creates a classic jazz lick. You could sweep pick the three notes (Bb, F, C#), using your
help you see the shape quicker. Take your time working out a good fingering and first finger to barre the 6th fret, sliding to the 5th fret then continuing down the
feel freeGUITAR TECHNIQUES
to stray from 2 9could all be picked as well.Quist's
my use of legato2- this scale to resolve on F (b3rd of Dm9).
EXOTIC DOMINANT 7TH OPTIONS

Altered Scale Ex 1
©»•º Shuffle 16ths
#
A7 5
b œ œ œ œ œ œ #œ nœ œ œ œ
& 44 œ b œ œ œ bœ œ œ œ œ #œ œ œ œ bœ œ #œ
œ bœ œ # œ œ
E 5 7 8 9 8 7 5
B 6 8 8
G 5 6 5 5 6 8
D 5 8 5 7 8 8 7 8
A 4 8 4 6 8
E 5 6 8
1

œ #œ œ œ bœ œ œ œ œ œ œ œ nœ j
& ⋲ ⋲ bœ œ ‰ Œ Ó

E
B 6 10 8 8 6 6
G 6 8 6 8 6 6 5
D 8 7
A
E
3

Altered Scale Ex 2
©»¡¢º Shuffle 8ths
A 7 #Spring
5 # 9 2014
40 GuitarTechniques
œ œ bœ œ
4 œ œ #œ
D m9

œ nœ #œ #œ nœ bœ œ Ó
B
G G 5 6 55 6 55 6 8 65 86 8 8
G
D D 5 8 5 75 88 55 67 88 5 7 88 5 67 88
8 D
A A 4 8 4 64 88 54 86 58 7 8 8 7 8
GUITAR
A
E TECHNIQUES
5E 6 8 45 2862 948 6 8 Quist's
E 1 5 1 6 8
mmetric 1
Diminished Scale Ex 1 EXOTIC DOMINANT 7TH OPTIONS
©»¡ºº b
Altered Scale Ex 1 soloing over 7ths
œ b œ ©»•ºœ œ œ œ œœ œœ b œœ œ bœœœ œ œ œœ œ œ œ
A13 9 D maj7

# œ œ A 7###œœ5 & œ# œœ n œ⋲ b œœ # œ⋲ œ⋲b œ œœ œ œœ œœ œœ nn œœœ b œœ n œœj b œ ‰ œœjŒÓœ # œ‰ n œÓ Œœ


j
Shuffle 16ths
4 &
& 4 ExampleS
&4
# œ #

⋲ œ b œ ⋲ œ œ œ
# œ œ œ #œ œ bœœ bœœœ œ œ˙ ‰œ Œ Ó TRACKs œ œ Ó 24-41
& 4Scale Ex 3 This 12-barœ in 3/4btime b œ œ A7#9 œ # œ œ
œ a more œ #Symmetric
œ and œ œ # œ
œ n œœ#bœœ Diminished Ex 1 This example shows how the Symmetric
b œ œ # œ œ œ œ œ between
œ - A7#5#9. Starting at the 10th fret, play the first eight bars
Altered moves
elaborate version Diminished scale can be used on a V chord (A13b9) that resolves to a I chord (Dmaj7)
applying
E a one-finger-per-fret
E strategy, with your first finger on the 10th fret and in a major key – D major. This sequential pattern is a classic jazz pattern, heard more
8 your
E6
B fourth6 5 B 13th (and 6 14th).
10 The8 second 10half features
8 8 octaves
6 8 6 6 6
B
G 7 56 at the
G68 4 7
1065 8 8 4to mute unwanted
88 6
strummed
6 8 your 6 6
in other instruments
6 8 are6 some 56
groups like sax and piano and it’s a fairly challenging one.
6 5
with
G
E
D the pickingD hand
6 thumb,
6 so it’s essential
5 8 6 5 strings
3 6 with 82 There
6 6 5 major8 stretches
7
and8changes
5 77of position,
8 9 so make
8 7 sure
5 you take
D
B
fretting
A 8 7 5 4
hand fingers. I prefer using first and fourth finger to fret octaves on these
A 5 your time to settle on8 a5good
4 7 68
7 8 7 and stick with it as you build up8the speed.
fingering
A
G
E
sets E 57 (C#)
6 6 45 3 4 6 57 6 8
E 3 of strings. To 3finish, we touch upon a classic jazz
D
sound, playing the 3rd
5 8 5 7 8 8
After the initial descending sequence, we go back up the scale, to finish on the A
7 8
4 then
A 3 jumping up a major 7th4to the 8 #94 (C),6then8 the b9 (Bb), to finish on the root (A). note, which is the 5th of the Dmaj7 chord.
E 5 6 8
mmetric Diminished
Altered Scale
1 Ex
Ex 22 Scale Ex 2
Scale Altered
©»•∞ ©»¡¢º ©»¡¢º
Altered Scale Ex 2

# ©»¡¢º ## ##
Shuffle 8ths Shuffle 8ths Shuffle 8ths
# #
œœ œ bbbœœœ œœ# œ b œ œ œ
Shuffle 8ths
œ œ œœ
œ #œœ œ ⋲4 # œœœ3 œœ
œ
#bœœ nn œœœ⋲ œ###œœœœ
A13 9 A7 5 9 A7 5 9 D m9 D m9
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A7 5 9 D m9
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4 # œ n œ b #œœ b œœœ œ œœœ œ ˙˙Œ œ Œ ˙ ÓÓ
3
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& 34 &# œ44b œ &
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3
3 3 3 33 3
3 3 3

E 5E 5 8 8 6 6
18E
B 6 5B15 6 10 68 12 89 86 666 6 9 6 6
B
G 19 G 6
6 16 6 6813 5 6 10 5 66 8 7 6 6 6106 5 57 6 5
G
D 18 D 15 6 155 7 55
12 67 9 9 6 5 868 7 7 58 73 5 3
D
A 20 A 17 5 7 14 11 8 87 5 5 7 3
A
E E
E 5
3 5
7 5

mmetric Diminished
Altered 2 Shuffle 8ths
Scale 8ths
Ex 3
©»¡¢º ##œ ##
Shuffle
# # A7 # 9
©»™ºº A7 ## 9
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A7
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#
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A13 9 A7 5 9

4 ‰ &
& œ b œ Ó
& 4 j & 4œ # œ # œ œ # œ œœ œ J J J œ œ ˙
œ bœ 3
E E
E B 13 10 11 10
B
E 13
5G 8 6 10 11 10
B
G 13 126 12 10 12 10 10 12
10 13
12 1010 111210 12 10 12 10
B
G D 12 11 10 11 1011 11 6 101010
1111 12 11 1011 12 101111 13 14 12 10
D
G 11 610 11 5 6 8 8 11108 11 11 512
1096 12 11 12
D
A
D
A
5 7 7 8 10 11 10 11 10 12 10 11 8
11
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A
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A
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1 5

~~ œ bœ
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#
A7 9
A7 5 9
A7 5 9
1/4
A7 5 9
Shuffle 8ths

## œœ ‰‰ œœ ‰ bŒœ ‰ bœ œ
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& & œ #œ nœ œ jJJ œ # œJ œ J


# œ
J ‰ Œ Œ
&4 ‰ œ œ ‰ Œ
J
E
E
13 14 13 13 11 14
E ~~
10 13 11 10 10
1/4
10 11 10 10 11 10 13 11
13 11 13 11
10 11 10 12 10 10 10 11 10
B B 10 11 10
11 B 11
13 14
14 1113 121114 10
G 15 14 1012 12 10 12 1010 1112 10 11 10
10 8
13G
14 12 10 12 10 10 14 13 11 12 13 1010 12
10 11 13 10 10 10 8
G
2E
D Title D 12 10 12 10 10 11 12 11 10 12 11 10 8 8 7 8 7
D
B
A 13
A 11 11 12 1110 11 10 8 7
A
G
E E 12 10 12 10 12 10 11 12 10
E 13
D 13 11 10 11 10 11 11 11
A 13 10 12
5
E
8 # # #
bœ œ √
A7 9 A7 5 9

œ bœ œ œ œ #œ ~~
œ # œ n œ b œ œ œ œ œ œ b œ œ A7 # 5 # 9 œ # œ œ b œJ œ b œœ
& ‰ œ b œJ ‰ b œ œ œ‰ œJ #œœJ
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# œ œ J
‰œ b œ Œb œ Œœ
& J J
J J ‰ Œ ‰ bœ œ
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E 11 13 13 15 15 17 18 20
~~ 20 18 17
B 10 11 11 13 13 14
G
E 8 10 10 12 12 14 15 17 17 18 13 11
D
B 13 714 8 13 8 10
11 10 10 11 10 10 10 11 10 11 10
A
G 12 10 12 10 10 12 10 12 10 8
E
D 11 11 8 7
A 18
E
13
Symmetric Diminished Scale Ex 1
©»¡ºº b
œ bœ #œ
A13 9 D maj7

4 œ œ œ #œ #œ œ œ nœ bœ œ #œ œ
&4 œ œ bœ #œ œ œ œ #œ #œ nœ #œ œ œ œ œ œ œ ˙ Ó

E 8 6 5
B 7 5 8 4 7 5 4
G 6 5 6 5 3 2
D 8 7 5 4 5 4 5 7 8 7
A 7 6 4 3 4 6 7
E
24

Symmetric Diminished Scale Ex 2 Spring 2014 GuitarTechniques 41


©»•∞ Shuffle 8ths
#
D
E 7 8
J 8 10 10 11 11 13 JJ
13 15 15 17 18 20
~~ 20 18 17
A
17 ~~
B
E 10 11 11 13 13 14
G
18 8 10 10 12 12 14 15 17 18
D 7 8 8 10 10 11
E
A 11 13 13 15 15 17 18 20 20 18 17

play:©»¡ººexotic scaleS
B
E 10 11 11 13 13 14
Symmetric
G 18 Diminished Scale Ex 1 8 10 10 12 12 14 15 17 17 18
D 7 8 8 10 10 11 ON THE CD tracks 24-41
A
b
©»¡ºº œ bb œ # œ œ œ œ
E
Symmetric
18 Diminished
A13 9 Scale Ex 1 D maj7

4 A13 Scale Ex 1# œ # œ
œ œ nœ œ #œ œ Symmetric
ExampleS
& 4 œ b
9
œ bœ œ œ b œ # œ œDiminished
œ œ œ œ œ theD maj7
˙ Ó
TRACKs 24-41

œ œ
Symmetric Diminished
©»¡ºº
Symmetric Diminished
#fingers œ œ
œ œ forin three-fret œ œtriadnI prefer
Ex 2 Here we have a colourful sequence that essentially
# œ Ex 3 We
œ
# œUsen œfirst,# œsecond and fourth b3rd
start by ascending scale using a four-
4 A13
andbthird
consists of major triads descending
each# descending
œ # œintervals. œ b œ œwith# œsweep
œ
using first and
œ b œ œ
notes-per-string pattern.
œ œ Dintervals,
maj7 thisÓtime
˙
fingers and slide up another
& 4
picking (alternate orœhybrid
second, then first
b
9
œ œ
along
œ # œ
semitone
œ
with
œ # œ œ œ œ
your fourth. The second half moves in
œ
contains four notes, but the#rhythmic
œ œ œ œ œ (CAGED system), which#combines
œ n œ # œ
picking is possible though). Notice that the pattern adding a pull-off. We finish with more ‘snakey’ scale lines based around the E shape

& 4 8 6 7 5 5 8 # œ4 # œ6 7 5 n œ5 b œ œ4 # œ6 œ œ œ5 b œ3 # œ œ œ2 œ # œ
4 œ Ó
œœœœ ˙
grouping is triplets. picking and legato.
E
B
G
D 8 7 5 4 5
# œ n œ # œ œ 4 5 7 8 7
E
A 8 6 5 7 6 4 3 4 6 7
B
E 7 5 8 4 7 5 4
G
24 6 5 6 5 3 2
D 8 7 5 4 5 4 5 7 8 7
E
A 8 6 5 7 6 4 3 4 6 7
Symmetric
B Diminished7 Scale
5 Ex8 2 4 7 5 4
©»•∞
E
G 24 6 5 6 5 3 2
D Shuffle 8ths 8 7 5 4 5 4 5 7 8 7
# 7 6 4 3 4 6 7
A

œ œ
Symmetric Diminished Scale Ex 2
©»•∞√Shuffle #œ œ bœ #œ #œ œ œ œ 3
E A13 9
24
b œ # œ
8ths
œ œ
3 #œ œ œ œ
3
# #œ #œ #œ
b œ ## œ8ths b œ œ œ œ3 œ œ œ3 œ # œ3 œ b œ # œ3 # œ œ œ3 œ b œ3 œ œ Œ Œ
Symmetric Diminished Scale Ex 2
&√
©»•∞4 Shuffle
A13 9

3 A13 9 3 # œ b œ 3 # œ œ œ œ œ œ # œ3 œ
&√ 4 bœ
œ
œ3 œ œ # œ œ b œ # œ œ œ # œ b œ3 œ œ Œ Œ
3 # œ3 œ 3 œ œ # œ3 3 œ
& 4 18 19 #18œ b œ 153 #16œ 15œ œ 15œ 12 13 12 9 10 9 # œ3 9 6 7 9 10 6 7 # œ6 b œ œ œ Œ Œ
3
E
B
G
D 20 17 3 14 3 11 3 3 8 5 7
E
A 18 3 15
3 12 9 3 6 9 6
B
E 19 16 13 10 7 10 7
G
27 18 15 15 12 9 9 6
D 20 17 14 11 8 5 7
E
A 18 15 12 9 6 9 6
B
Symmetric
E 19
Diminished Scale Ex 316 13 10 7 10 7

©»™ºº #
G 27 18 15 15 12 9 9 6
D 20 17 14 11 8 5 7

œ #œ œ œ œ œ bœ œ #œ
A
SymmetricA13
Diminished ScaleEx 3
œ
E 9
©»™ºº # œ œ œ
& 44 A13 # œ # œ œ
27

j# 9‰ Scale bœ œ #œ nœ #œ J ‰
Symmetric

©»™ºº
Diminished

œ # 9‰ b œ œ # œ #œ
Ex 3
œ #œ œ œ # œ œ œ œ œ # œ œ œ œ œ bœ œ #œ
4 œ # œ # œ n œ # œ # œJ ‰ œ
&4 j A13

œ ‰ bœ œ #œ #œ œ #œ œ œ bœ # œ œ œ œ œ #œ œ œ œ œ bœ œ #œ
4 # œ
bœ œ #œ nœ #œ J ‰ # œ œ
&4 j œ #œ œ œ
E

œ b œ œ # œ # œ6
B 10 10 13 10 11 13 14
G 8 8 11 8 9 11 12 11 12
D
E 7 8 10 11 10 11
A
B 7 9 10 10 10 13 10 11 13 14
E
G 5 6 8 9 8 8 11 8 9 11 12 11 12
31
D 7 8 10 11 10 11

˙~~7
E
A 6 7 9 10
B
# 10 10 13 10 11 13 14

# œ œ # œ œ # œ œ6 œ7 9œ # œ 10 11 œ8# œ10 11 œ # œ8 n œ b11œ 8 9 œ 11 12


E 5 6 8 9
G 31 A7 9 11
1/4 12
D 8
œ œ œ œ œ œ
˙~~ #œ
A 10
A 7 # 95
& #œ œ #œ œ #œ œ œ œ # œJ ‰ œ # œ œ # œ n œ b œ œ œ ‰ œ œ œ œ #œ œ #œ
E 6 8 9
31 1/4

œ
A7#9
& #œ œ #œ œ #œ œ œ œ ˙~~ # œJ ‰ œ # œ œ # œ n œ b œ œ #œ
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1/4

~~ œ
J ‰ 12 11 ‰
1/4
œ #œ
E
B
G
& 11 13 14 11 14 11 12 14 15
~~
14
14 13 11 10 13 10 13
1/4
10 10
12 11
D
E 11 11 14 11 12 14 15 14 12 11 10 11

~~
A
B
E 13 14 14 13 11 10 13 10 13 10 10
G
35 1/4 12 11
D 10 11
E
A 11 11 14 11 12 14 15 14 12 11
B
E 13 14 14 13 11 10 13 10 13 10 10
G 35 12 11
D 10 11
A
E
3 35

#
A13 9
bœ #œ œ œ œ #œ #œ œ nœ bœ œ œ #œ œ #œ
#œ ‰ œ œ #œ #œ #œ nœ bœ
& Œ œ œ ‰ œ œ ‰

E 6 8 6 11 9 8 6 5
B 7 7 10 7 8 7 5
G 6 6 9 6 8 6 5
D 5 7 5 7 8
A
E
39

A7 # 9 Spring 2014
42 GuitarTechniques

œ œ œ bœ œ #œ #œ œ #œ nœ bœ œ œ œ œ ‰ ‰ Œ Ó
3
3
soloing over 7ths
3
3ExampleS #
A13 9
bœ #œ œ œ #œ #œ œ nœ bœ
TRACKs 24-41
œ œ #œ
#
bœ #œ #œ
Mixolydian b6 Ex 1 This example immediately touches on the two key colours,

Œ#
the b6A13
‰ ‰ ‰ œ œ œ œ #œ #œ œ nœ bœ #œ #œ
Mixolydian b6 Ex 3 The progression instantly sets the mood of Mixolydian b6,

œ
9 the major 3rd (G#). Use your fourth finger to fret the B (9th fret, fourth by way of the A and G13/A chords. The notes inherent in those two chords alone
œ œ #œ #œ nœ bœ
& œ œ
(C) and
œ œ œ œ nœ bœ #œ #œ œ #œ œ #œ #œ nœ bœ
Œ# ‰ ‰ bœ #œ #œ ‰ œ œ œ #œ #œ
string). The ascending run primarily uses a three-notes-per-string pattern, ending will cover all the notes of the Mixolydian b6 scale. We start by creating a pentatonic

& œ œ œ œ œ œ
A13 9
on a tension release moment, as you play the b6th (13th fret, first string) – the
œ œ nœ bœ #œ #œ
version of Mixolydian b6, taking five intervals of the scale (1, 2, 3, 5 and b6) and
œ #œ œ #œ #œ nœ bœ
Œ
tension

& œ œ
A13– following
9
‰ œ ‰ bœ #œ #œ
by the perfect 5th (12th fret, same string) – the release.

œ ‰ œ œ œ #œ #œ œ
moving this ‘box’ up through three octaves. For the high G on the first string (15th

œ #œ #œ œ œ #œ
œ œ #œ #œ nœ bœ
Mixolydian b6 Ex 2 This example consists entirely of octaves played with your fret), use your fourth finger and remain in the 10th position. Notice how the second

& Œ œ œ ‰ œ œ ‰ #œ
thumb. Use fretting hand muting to prevent unwanted notes from ringing. We
Eare playing with tension and release here; the 6 F note (b6th) and8the6Dm/A chord ‰ œ
half features a run of diatonic triads - Faug, Em, Dm, C#dim and B dim arpeggios. To
11 finish,
9 we are back8 in the6 E shape, working 5 with tension and release around the 5th
Bproviding the tension and the E note (5th) and C#7(the 3rd) providing the7 release. and b6th10 intervals and resolving
7 on the final 8E (5th).
7 5
E
G 6 6 8 6 6 11 9 9 8 6 6 5 8 6 5
B
D 5 7 5 7 7 7 10 7 8 7 5 8
G
A
E 6 6 8 6 6 11 9 9 8 6 6 5 8 6 5
D
E
B 5 7 5 7 7 7 10 7 8 7 5 8
G 39
A
E 6 6 8 6 6 11 9 9 8 6 6 5 8 6 5
E
D
B 5 7 5 7 7 7 10 7 8 7 5 8
A 39
G 6 6 9 6 8 6 5
E
D
A 39 #
A7 9
5 7 5 7 8

A7 # 9
œ #œ #œ
E
39

& œ œ bœ
œ œ #œ nœ bœ œ œ œ œ œ #œ ‰ j ‰‰ Œ Ó
&
A7 # 9
œ œ bœ
œ œ #œ #œ œ #œ nœ bœ œ œ œ œ œ #œ
œ #œ #œ nœ bœ ‰ œj Œ Ó
A7 # 9
œ #œ #œ œ #œ #œ nœ
& œ œœ œ b œ œ #œ #œ
œ #œ
œ #œ
nœ bœ
nœ bœ
œ œ
œ
œ œ œ #œ œ #œ #œ nœ
bœ ‰ œj ‰ Œ Ó
& œ œ bœ œ œ œ œ #œ œ bœ ‰ œj ‰ Œ Ó
#œ #œ nœ
E
B
E
G
B
D 7
5
7 8
5 6 8 5 6 5
8 7
5
8 7 5
bœ œ
G
A
E 5 5 6 8 5 6 5 5 9 7 6
D
E
B 7 7 8 8 7 8 7 5 9 8 6 5
A
G
E
43
5 5 6 8 5 6 5 5 9 7 6
E
D
B 7 7 8 8 7 8 7 5 9 8 6 5
A 43
G
Mixolydian
E b 5
7 6 Ex 1
5 6 8 5 6 5 5 9 7 6
9 8 6 5
©»•º b
D 7 8 8 7 8 7 5
b
œ œ5
A 43 9 7 6
œ
Mixolydian 6 Ex 1
©»•º A7b6œbEx6œ1 œ œ #œ
E 9 8 6
œ
A7 6
œ œ œ œ
43

œ œ #œ œ
& 444 A7b6œbEx6œ1 œ œ#œ. œ #œ œ
Mixolydian
©»•º œ#œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ŒŒ Ó
œ œ œ

œ #œ œ #œ
Mixolydian
©»•º
& 44 A7œb 6œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó
œ œ œ œ

œ#œ. œ œ œ œ œ œ #œ œ œ œ œ #œ Ó
& 44 œ œ œ œ#œ. œ œ
⋲ œ œ œ œ œ œ
&4 œ œ œ œ œ œ œ œ œ #œ Œ Ó
œ œ
E ⋲ 7 9 10 13 12
B 5 6 5 6 8 10
E
G 7 6 6 7 9 7 9 10 13 12
B
D 5 6 5 9 7 5 9 7 5 7 9 6 8 10
G
A
E 7 6 7 7 8 6 7 9 7 9 10 13 12
D
E
B 5 6 5 9 7 5 9 7 5 7 9 6 8 10
A
G
E
47
7 6 7 7 8 6 7 9 7 9 10 13 12
E
D
B 5 6 5 9 7 5 9 7 5 7 9 6 8 10
A 47
G 7 6 7 7 8 6 7 9
Mixolydian
E
D b6 Ex 2 9 7 5 9 7 5 7 9
©»¡£º # œ
A 47 7 7 8
b6 Ex
œ..
j A7
œ..
Mixolydian 2
œ œ j
E Dm/A A7
©»¡£º
47
œj
Mixolydian b6 Ex A7
4 #2œ œ œ œ œ ˙ œj œ
œ œ #œ .
Dm/A A7
‰ œ Œ Œ ‰ ‰ Ó
2

& 44 b6œExj #A7


©»¡£º œ œ œ œ œ ˙
œ.
œj œ
& 44 œj #A7œ œ.
Mixolydian

©»¡£º ‰ Jœ œ œ Œ Œ
Dm/A

œ3 œ
A7
‰ #œ . ‰ Ó
œ ˙
& 44 œ # œœ ‰ Jœ œ Œ Œ œ33. œ. ‰ œj œ #œ . ‰ Ó
Dm/A A7
œ œ3 œ œ ˙
&4 œ ‰ Jœ œ œ Œ Œ œ83 œ8 œ83 ‰ œ œ #œ . ‰ Ó
E
B
E
G
12 14 12 J 10 œ6 œ6 ˙5 œ7 œ # œ6 .
B
D 12
9 14
11 12
9 10
7 8
5
3 8
5 6
3 8
5 6
3 5
2
G
A
E
3 7
5 6
4
D
E
B 9
12 11
14 9
12 7
10 5
8 5
8 3
6 5
8 3
6 2
5
A
G
E
50 5
7 4
6
E
D
B
50 9
1211
14 9
12 7
10 5
8 5
8 3
6 5
8 3
6 2
5
A
G
Mixolydian
E
b6 Ex 3 5
7 4
6
D 9 11 9 7 5 5 3 5 3 2
b6AEx 3
©»¡¶º œ
œ..
A 50

œ Gœ13/Aœ œ œ œ œ
Mixolydian G 13/A A G 13/A 5 4 A G13/A
œ # Aœ
E

©»¡¶º
Mixolydian b6AEx 3
50
G 13/A
œ œ œ # Aœ œ Gœ13/Aœ œ œ œ œJ ‰ œ œ œ A G13/A

& 444 b6AAŒŒEx 3‰‰


©»¡¶º
Mixolydian
jGG‰‰13/A œ œ œ œ #œ
œ #œ œ œ œ œ
# Aœ œ Gœ13/Aœ œ œ œ Jœ ‰ œ
œ œ AÓ Œ
G13/A ‰ œJ
Jœ.
& 44
©»¡¶º œj 13/Aœ ## œœ œ œ œ œ œ œ œ AÓ Œ ‰
œJ.
œ œ #œ œ œ œ #œ œ œ œ œ œ œJ ‰ œ
G13/A

& 44 Œ ‰ œj ‰ œ œ œ œ œ œ œ J œ œ Ó Œ ‰
&4 Œ ‰ œj ‰ œ # œ œ œ œ œ #œ 10 ‰ 12 Ó Œ ‰ J
œ œ #œ
E 12 10 13 12
B 10 12 14 10 10 10
E
G 9 10 12 10 13 12 10 12
B
D 7 9 11 10 12 14 10 10 10
G
A
E 7 8 9 10 12 10 13 12 10 12
D
E
B 5 7 9 7 9 11 10 12 14 10 10 10
A
G
E
54 7 8 9 10 12 10 13 12 10 12
E
D
B 5 7 9 7 9 11 10 12 14 10 10 10
A 54
G 7 8 9 10
E
D 5 7 9 7 9 11
A 54 7 8
E 5 7 9
54

Spring 2014 GuitarTechniques 43


play: exotic scaleS ON THE CD tracks 24-41

ExampleS TRACKs 24-41


Lydian Dominant Ex 1 This first example uses arpeggios to really paint the picking this throughout, or alternatively adopt my more legato approach.
colours of Lydian Dominant, essentially outlining an A9 arpeggio and a B major Lydian Dominant Ex 3 The extended 12-bar Lydian Dominant example starts
triad. The last three notes are best played using either fourth, first and third in the E shape, with an ascending slightly sequential scale run, which follows a
fingers, or fourth, first and second. three-notes-per-string pattern up the fretboard. Then we play with moving a two-
Lydian Dominant Ex 2 This example moves up groups of four notes, one scale note legato figure around, using first and third fingers, and first and second fingers
step at4 aTitle
time. Crucially though, the Lydian Dominant has been converted into a respectively. This phrase culminates in a quick couple of pull-offs, from 4th, to 2nd
pentatonic
4 Titlescale, using intervals 1, 3, #4, 5, and b7. Make sure you devise a good fret to the open second string, which is promptly followed by a natural harmonic
plan for fingering and stick with it as you build up the speed here. Try alternate found an octave higher at the 12th fret of the same string. Then, halfway through,

œœ.. œœ œœ œœ œœ œœ œœ # œ G13/A
A A G13/A
œœ
# œ œœ œœ œœJ œœ œœ œ œœ œ œ
A G13/A A G13/A
œ
& JJ ‰
J‰‰ œ ‰ œ œ ÓÓ ‰‰ œ œœ œœ œœ œJJ ‰‰ JJ ‰‰
& ‰ ‰ œ
œœ ## œœ œ œ
E 10 15 10 15 13 12 10 12
B
E 10 15 10 15 13 12 10 14 12 10 12 12 10 12 12
G
B 14 12 10 12 12 10 12 9 9 10
D
G 9 7 9 9 10
A
D 7 8 7 9
E
A 5 9 7 8
E 59 5 9
59

œœ # œGGœ13/A
A
œ œ
A G 13/A A G13/A A

# œ œ œ œœ Jœ œœ œ œœ œ œœ œœ œœJ œ œ œœ # œ œ œœ œ œ œ œ # œ
A 13/A A G 13/A A G13/A A

& ‰‰ J œ œ ‰‰ J œ œ # œ œ œ œ œœ œ œ # œ œ œ œœ œ ‰‰ jj jj œ jj ÓÓ
& œ œ œ œœ œœ œœ œ œœ ˙˙
E 12 9 9
B
E 12 9 9 10 14 12 12 10 8 8 6 5
G
B 10 14 14 12 12 12 10 10 8 9 8 6 7 5 7 6
D
G 14 15 14 12 10 12 11 9 7 9 7 6 7 5 9 7
A
D 15 14 12 11 9 7 5 9 7 7 5 7 8 5 7
E
A 7 5 7 8 5 7
E 64
64

Lydian Dominant Ex 1
©»¡¡º
œœ.. œ
Lydian Dominant Ex 1
©»¡¡º A7
œ
B7/A A7

œ
44 œ # œ œ œ œ œœ ## œœ œœ œ ‰ ## Jœœ ## œœ œ
A7 B7/A A7

& # œ œ ‰ J œ œœ œœ ˙˙ ÓÓ
&4 œ
E
B
E
G
B 12 16 14
D
G 14 12 16 14 14 13 16 13
A
D 12 16 14 14 13 14 16 13 14 10 12
E
A 12 16 14 14 10 12
E 70
70
Lydian Dominant Ex 2
©»ªº
Lydian Dominant Ex 2
©»ªº #Shuffle 16ths

œœ œ œ œœ ## œœ
Shuffle 16ths
œ œ
A 9 11
#
4 ‰
A 9 11

œ œ # œ œ œ œ
## œœ œ œ œœ # œ œ œ œ œ œ œ œ
&
& 44 ‰ œj̊j̊ ⋲ ## œœ ## œœ œœ ⋲ œœ œœ œœ œœ œ œœ œœ œ
⋲ ⋲
œ œ
⋲⋲
œ
E 5 5 9
B
E 5 8 5 8 5 5 8 5 9
G
B 6 6 8 5 8 8 5 8 5 8
D
G 5 5 7 5 7 6 5 7 6 8 8
A
D 6 7 5 6 7 5 7 7 5 7 5 7
E
A 5 9 6 7 6 7 7
E 73 5 9
73

œœ œ œ œœ œ œ # œ
& œ œ œ œ # œ ## œœ ⋲ œ œ œœ œ œ œ œ œœ ŒŒ ÓÓ
& ⋲ œ œ œ œ œ œ
E 5 5
B
E 5 8 5 5 8 5
G
B 8 5 8 5 8 6 6
D
G 8 6 7 5 6 7 5 9 5 7
A
D 7 5 7 5 9 5 7
E
A
E 75
75

44 GuitarTechniques Spring 2014


soloing over 7ths

ExampleS TRACKs 24-41


we have a series of stacked 4th intervals (perfect and augmented 4ths), all of which the 3rd - C# on the 9th fret, plus the lower octave (the release); as well as the minor
remain diatonic to the scale at all times, creating a nice bit of colour. Using single 2nd - Bb on the 11th fret, plus the lower octave (the tension); and the root - A on the
fingers for each note makes it easier to achieve clarity. The run that spans the two 10th fret, plus the lower octave (the release). Be sure to mute unwanted strings!
bars before the final bar, demonstrates a really useful pattern, which clearly spells Phrygian Dominant Ex 2 We are in 3/4 time for this descending pattern that
out the scale, repeating the intervals 1, 3, #4 and b7. repeats in three octaves. Use your first finger for the slides. Notice how the final
Phrygian Dominant Ex 1 We start by exploiting the tension and release in the scale run up to the final A note constitutes another pentatonic scale, this one
5 namely the 4th - D on the 10th fret, plus the lower octave (the tension); and
scale, consisting of intervals 1, 3, 4, 5, and b7.

Lydian Dominant Ex 3
©»¡•º
#œ œ œ ‰ œ œ ‰ œ œ Œ
A7 A9 B aug9/A A7 A9 B aug9/A

œ
& 44 ‰ j‰ j ‰
#œ œ œ #œ œ œ œ # œ # œ œ # œ œ
œ œ #œ #œ œ

E
B 7 8 10 10 12 8 10
G 6 8 6 8 9
D 5 7 5 7 9 9
A 6 7 9 9
E 5 7 9
77

# œ œ ‰ œJ œ œ œ œ # œ # œ œ œ # œ œ · A7 A9 B aug9/A

œ #œ #œ œ ‰ #œ œ œ œ œ #œ ‰ œ #œ #œ
J ‰
& Ó

E
B
G
D
A
E
7 8 8 10 7 8 5 7 4 5 4 2 2 4 2 0 ·NH

12
4
4
4
5
4
4 5
6
7

82

œ#œ œ œ # œ œ œ œj œ A7œ œ œA9 Baug9/A


œœ
A

& œ‰œ œ #œ ‰ œ ‰ # œ ‰# œ# œ œ œ œ œ œ #œ #œ œ ‰ œ Œ
# œ# œ œ œ œ œ #œ #œ
E
B 8 10 12 12 10 12 10 8 10 8 5
G 8 9 11 11 8 8 6 8 6
D 7 9 11 11 75 5 7 5 7
A 6 4 4 6
E 5 3 3 5
87

Phrygian Dominant Ex 1

©»¡ºº Shuffle 8ths


œ œ # œ œ Ab 7œb 9 œ.
A7 A
. b œ # .
œ œ .
œ
b A7 A7 9 A

œ œ œ œ œ
& 44
œ œ #œ œ ‰ bœ œ Œ œ œ b œ # œ œ œ œ œ œœ Œ Œ œ œ œ # œ b œ œ œ œj ‰ Œ
3

3 3

E 12 10 9
B 11 10 8 10 11 14 11 14 10 8 6 8 6 5
G 9 7 6 7 6
D 8 7 5 7 8 11 8 11 7 5 3 8 7 5 7
A
E
93

Phrygian Dominant Ex 2
b
©»¡º∞ œ œ œ œ # œ b œ œ œ œ œ
A7 9

œ œ œ œ j
3
œ œ
& 43 œ#œbœ œ œ œ œ œ œ
œ œ œ œ œ #œ bœ œ œ œ œ œ ‰ Œ Œ
3 œ
E 12 13 12
B 15 14 11 10 10 11 10
G 12 12 10 9 10 9
D 12 11 8 7 7 8 7 5 7
A 10 10 8 7 8 7 5 7
E 10 9 6 5 9
97

Spring 2014 GuitarTechniques 45


play: exotic scaleS ON THE CD tracks 24-41

ExampleS TRACKs 24-41


Phrygian Dominant Ex 3 This extended 12-bar starts out by playing with gets used. We finish off with another series of triplets, again revolving around the
the same areas of tension and release as we saw in the first example, namely the root/b2nd and 3rd/4th intervals, as well as the 5th/b6th. Pay good attention to your
b2nd/root (tension/release) and 4th/3rd (tension/release). Then we embark on a picking technique while getting this final cascade of picked triplets up to speed.
descending 3rds sequence. Make sure you hatch a good plan for a fingering and Alternate picking should produce a great result.
stick with it, building up speed slowly. I recommend using fourth finger for the Whole-tone Scale Ex 1 Here we have a handy ascending sequence, which goes
9th fret on the first string, as well as the 8th fret on the second string, 8th fret on up six notes of the whole-tone scale at a time, while maintaining a three-notes-per-
fourth and fifth, and 9th fret on the sixth. Following this, we have a sequential series string pattern as it travels up the neck. I combine picking and hammer-ons in this
of pull-offs with the open first string as your anchor, which is a common type of example, but you could of course also try using hammer-ons exclusively or picking
6 Title
harmonic device for some of the kinds of styles in which the Phrygian Dominant every note in true shred guitar style.
6
6 Title
Title
Phrygian Dominant Ex 3

©»¡£º
Phrygian
Phrygian Dominant
©»¡£º
Dominant Ex
Ex 3
3
Shuffle 8ths
b b
œœ .. bb œœ œœbb~~
.. œ GGœmm. œ œ~~ ## œœ œœ bb œœ œ BBœbb œ œ œ œ œ
Shuffle 8ths
A7 ~~
Shuffle 8thsB
A Gm A A7 A B
~~ .. ~~
4 JJ œ œ œœ~~.. b œ ˙ .~~ ŒŒ JJ
A B A A7 A
œJ œ . Jœ œ~~ œœœœœœ
JœJ ## œœ .. œJJ
A B A A

& 4 J b œJ ˙ . Œ œ
&4 J Œ
J 3 3 3 3

~~
3 3
~~
3
~~ ~~
3 3 3 3
3
E
B
E 10 11 10
~~ ~~ ~~ ~~ 9
9
5
5
6
6 8
5
5 6 8 5 6
E
G
10 11 12 9 10 9 9 5 6 5 7
11 10 8 6 8 5 6
B
B
D
G 10 10 12 9 10 9 12 11 12 11 8 7 8 6 8 5 6 7
G
A 12 9 10 9 12 7
D
D
E 12 11
11 12
12 11
11 8
8 7
7
A
A 101
E
E

œœ œ œ BBœbb œ œ
101
101

œ œ Bœb œ œ
Gm A
Gm A
œœ # œ œ b œ œ œ œ œ œ œ
œ œœ œœ œœ œœ œœ
Gm 3 3 A

ŒŒ ‰‰ Jœ
3 3 3 3 3
& œ œ œ j
3
# œ œ œ œ
3 3
b œ œ œ œ
3 3
œ œ œ œ œ œ œ œœ œ # œ œœ b œ œ œ œ œ œ j œ œ
3 3 3 3
& 3 J
3 3 3 3 3

3 # œ b œ œ œ œ œœ œ œ œœ œ œ 3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
E 17 0 15 0 13 0 12 0 13 0 15 0
B 5 17
17 0 15 0 13 0 12 0 13 0 15 0
E
E
G
B 5 6 7 6 0 15 0 13 0 12 0 13 0 15 0
B
D
G 5 6 7 8 6 7 8 5 7 5
G
A
D 6 7 8 6 7 8 5 7 8 5 7 8 5 7 5
D
E 8 7 8 5 7 8 5 7 8 9 5 6 9 6 5 3 6 5 3 5
8 5
5 7
A
A 106 8 7 7 9 5 6
6 9 6
6 5 3
3 6 5 3 5
E
E
106 9 9 5 6 5 3 5
106
b
œœ œ œ # œ œ œ
A
œœ # œ b œ BBœbb œ œ
B
bb AAœœ œ œ œ ~~
A

œœ œ œœ œ œœ # œ œ œ œœ œ œœ œœ # œ œœ b œ œ œ œœ œ œ œ œœ œœ œ œ œ œœ œ ~~ ‰ Jœœ
A
A

&
& 3 œ œ œ œ ‰ J
3 3 3 3 3 3 3 3 3

~~
3 3 3 3
3 3 3
3 3
3 3
3 3
3 3
3 3
3 3
3
E 13 0 12 0 10 0 9 0 10 0 12 0 10 0 9 0 6 0 5 0 6 0 9 0 6 0 5 0 3 0 5 ~~
B
E
E 13
13 0
0 12
12 0
0 10
10 0
0 9
9 0
0 10
10 0
0 12
12 0
0 10
10 0
0 9
9 0
0 6
6 0
0 5
5 0
0 6
6 0
0 9
9 0
0 6 0 5 0 3 0 5
6 0 5 0 3 0 5
G
B 14
B
D
G
G
A
14
14
D
D
E
A
A
E 110
E
110
110
b b
bb œœ ## œœ œœ œœ œœ œ BBœœb œœ
b
B
œœ œœ
Gm œ # œ
Gm
œœ œ œ Gm œœ œœ œ œ œ œœ œ œ AAœ b œ
A B
bb
A7 A

œ œ œ # œ bb œœ œœ œ œ œœ œ œ œ
B A
A7 A

œ œ œ œ œ œbœ ## œœ œœ œœ œœ œjj ‰ Œ
B 7 A

œ œ œ œJ œ œ
&
& 3 3 3 3 3 3 3 3 3 3
J3 3
œ ‰Œ
3 3 3 33 3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3
E
B
E 14 15 14 14 17 14 18 15 17 14 15 14
E
G 15 14 15 14 15 14 15 14 17 14 15 14 18 15 17 14 15 14 15 14 15 14 15 14 14
B
B 14 15 14 15 14 15 14 17 14 15 14 18
18 15
15 18 15 17 14 15 14 15 14 15 14
D
G 15 15 15 14 15 14 14 15 14 12 11 12 14
G
A 15 15 14 15 15 14 18 15 15 14 15 14 15 14 14 15 14 12 12
D
D
E
15
15 15 14
15 14 15 14 12 11
11 12 14
12 14 12
A
A 113
E 12
E
113
113

Whole-tone Scale Ex 1
©»ª∞ b
œœ œ œ œ œ œœ œ ## œœ œ œ œœ œœ ~~
Whole-tone Scale Ex 1
©»ª∞ bb ..
Whole-toneA9
Scale
5 Ex 1
œ œ œ œ œœ œ œ ~~
4 Œ # œ œ # œ
## œœ # œ œ œ œ œ œ œ œ œ œ
A9 5

œœ œœ ## œœ # œ œ œ œœ œœ œ œ œ ‰‰ ÓÓ
A9 5

& 4
&4 Œ
E
~~
~~
B
E 4 6 8 6 8 10 8 10 12 10 12 14
E
G 2 4 6 4 6 8 6 8 10 8 10 12 8 10 12 10 12 14 10 12 14
B
B
D
4
4 6
6 8
8 6
6 8 10
8 10 8 10 12 8 10 12 10 12 14 10 12 14
G
G
A
2
2 4
4 6
6 4
4 6
6 8
8 6
6 8 10
8 10 8 10 12 10 12 14
D
D
E
A
A 117
E
E
117
117

46 GuitarTechniques Spring 2014


soloing over 7ths

ExampleS TRACKs 24-41


Whole-tone Scale Ex 2 This 3/4 time example shows how you can use the We start by travelling up the fretboard by way of a three-notes-per-string shape,
whole-tone scale to negotiate a V-I(m) progression, using it as dominant chord adding some sequence based scale ideas. We then land on an augmented A triad
tension, which resolves on the Im9 (Dm9). It is a descending sequence of pull-offs, at the 10th fret, which gets moved back down the neck in whole tone steps. I
with a logical fingering of fourth, second and first respectively. We end by landing recommend using first, second and third fingers, the third finger on the fifth string
on the final A note which, in the context of our Dm9 chord, is the 5th. and first finger on the 3rd. This idea is then repeated and further developed higher
Whole-tone Scale Ex 3 In our final example, the harmonic context is a G up the neck, starting from 17th fret. Logical fingering is: first finger on the first
augmented triad with A in the bass going to an F augmented triad with A in the string, third finger for the 2nd and second finger for notes on the third string. For
bass. The chords are written like this as it makes it easier to translate to the guitar the final phrases, your first finger can be used effectively to barre the second and
7 the nature of the whole-tone scale means chord names can be ambiguous.
since third strings (4th, 6th and 8th frets).

Whole-tone Scale Ex 2
#
©»¡º∞ œ œ œ œ œ # œ œ œ # œ
A7 5 Dm9

#œ #œ œ œ œ œ œ œ œ œ #œ œ œ œ
3 J ‰ Œ Œ
&4 ⋲ ⋲ ⋲ ⋲ ⋲ ⋲
4

E 17 15 13 15 13 11 13 11 9 11 9 7 9 7 5 7 5 3 5 9 7 3 5
B
G
D
A
E
120

Whole-tone Scale Ex 3
©»¡¶º
œ œ œ œ~~
Gaug/A Faug/A Gaug/A
œ œ
& 44 Œ ‰ j ‰ j ‰ # œj # œ œ # œ œ œ œ œ œ œ œ œ #œ #œ œ œ ‰ ‰
œ œ
E
~~
B 8 10 12 10
G 8 10 8 10
D 7 9 7 9 11 11
A 6 8 6 8 10 10
E 5 7 9 9
124

Gaug/A
#œ œ œ œ œ œ
Faug/A G aug/A

& Ó ‰ J #œ œ œ œ œ #œ
œ ‰ #œ œ
œ ‰ #œ œ ˙
œ œ

E
B 14 10 14 12 10
G 10 12 10 10 8 6 6
D 11 11 11 9 7 7
A 12 10 8
E
128

œ œ œ #œ
œ œ œ #œ œ
Gaug/A Faug/A G aug/A

œ #œ œ œ #œ œ œ œ œ œ
J J J œ #œ œ œ #œ
& Œ ‰ ‰ ‰ ‰

E 17 15 13 13 11 9 9 7 7 5
B 18 16 14 12 10 8 6
G 17 16 14 12 10 8 6
D
A
E
132

# œ œ ‰ œJ œ œ œ œ
Gaug/A F aug/A G aug/A
œ œ #œ œ œ œ #œ œ
& Œ ‰ J œ # œ ‰ œJ œ Œ Ó

E
B 8 6 6 4 10 8 8 8 6
G 6 4 8 10 10 8 8 6
D 9 7
A
E
136

Spring 2014 GuitarTechniques 47


play: classical ON THE CD tracks 42-43

Wolfgang Amadeus Mozart


Symphony 40 1st Movement
This month GT’s own classical diva Bridget Mermikedes
arranges and transcribes a piece by one of the genuine
daddies of any musical era, the genius that is Mozart.

ABILITY RATING for both hands to get you started. On the last
half beat of bar 9 I use a ‘hinge’ barre – the F
Moderate/Advanced pulls off onto the E note using the first finger
as a full barre but the tip of the finger stays
Info Will improve your off the sixth string so as not to mute the low
Key: D minor Melody-bass separation D. The finger is then in place to press down a
Tempo: 148 bpm Hinge barre technique full 5th fret barre at bar 10. Same thing
CD: TRACK 42-43 Classical repertoire happens on the last beat of bar 11 into bar 12.
The same kind of hinge barre is also used in
In this issue we return once again to a bar 15 but the other way round; the barre lifts
work of the musical genius Wolfgang off on beat 3 for the open E note but the tip of
Amadeus Mozart (1756 – 1791). By the time he the finger remains in place on the bass note
wrote his Symphony No. 40, completed in Bb to keep it sustained to the end of the bar.
1788, Mozart was in his early 30s and had This is typical technique on the classical
produced an enormous body of stunning guitar when we are dealing with polyphonic
works - including 40 symphonies (He writing, and simultaneous voices have
completed the 41st before his 40th), a similar different note lengths. It’s a struggle
number of concerti for one, two and three sometimes but we should always try to give
pianos, bassoon, violin, flute, harp and horn, notes their correct values in order for the
20 operas and hundreds of other works – so music to sound good and make sense!
his technical ability and creative force were at This is why finding the most effective
a peak. Symphony no.40 is an epic work in fingering is so important.
four movements whose popularity has Mozart: one I hope you enjoy learning this wonderful
of music’s
endured over centuries, and has had an finest ever piece of music, and I’ll see you next time with
influence on many composers, including composers another classical masterpiece arranged for
Beethoven. Here I’ve arranged the first (and solo guitar.
most famous) of the four movements with its
powerful and much admired tragic theme. A Symphony no.40 is an epic Technique Focus
core work of the Classical repertoire, work in four movements and Use your nails
Symphony No. 40 (and often the first
movement on its own) has been recorded and has influenced many All professional classical guitarists pluck the
strings using the fingernails. These need to be
performed countless times over the last two subsequent composers kept the right length and shaped correctly so
centuries, and is embedded in popular culture
appearing in many films and TV shows
including Beethoven. that they create a good plucking action and the
best possible tone. Every serious player keeps a
wherever that dark classical vibe is required. teeth into here. Incidentally, if you caught the
variety of nails files, buffers and a big favourite
I’ve changed the original key of G minor to Classical Harmony article in GT226 this
is very fine wet and dry
D minor with drop D tuning to help this piece provides an excellent case study to see all
sanding paper. This is
to work effectively on the guitar, and the low those concepts in action. As always, be patient
used to smooth off the
D nicely reinforces its sombre character. I’ve learning this arrangement, so you can get the edges of the nails and
also abbreviated the structure of the first technical control required. There are also keep them buffed to a
movement’s extended sonata form to make some awkward moments, so consult the tab fine polish. The better the
it more appropriate for a solo guitar captions to help you best approach them. nails the better the tone!
performance, but there’s plenty to get your In the first few bars fingering is indicated

Track record If you want to hear this piece in all its detailed glory you can’t do better than the Scottish Chamber Orchestra
conducted by Sir Charles Mackerras, Symphonies 38-41 (Linn, 2009). For a more sombre performance Emil Tchakarov and the Sofia
Soloists Chamber Orchestra do a fine job; you get several other glorious Mozart pieces as well on Best Of Mozart (Resonance, 2007).

48 GuitarTechniques Spring 2014


Wolfgang Amadeus Mozart Symphony 40

PLAYING TIPS cd track 43

[Bar 9] In the first few bars fingering is indicated for both hands to get you press down a full barre at bar 10. Same thing happens on the last beat of bar 11
started. On the last half beat of bar 9 I use a ‘hinge’ barre – the F pulls off onto into bar 12. The same kind of hinge barre is also used in bar 15 but the other way
GUITAR TECHNIQUES MAGAZINE 2 2 9 Bridget's
the E note using the first finger as a full barre but the tip of the finger- stays
MOZART'S
off 40th the
round; SYMPHONY
barre lifts off on beat 3 for the open E note but the tip of the finger
the sixth string so as not to mute the low D. The finger is then in ready place to remains in place on the bass note Bb to keep it sustained to the end of the bar.

©»¡¢• approx
Dm A 7/D
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D m/F Dm/E Dm Gm/B b Gm7 Gm7/F


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& b œ˙ œ œ œ˙ œ œ œ˙ ˙ œ œ œ
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A 1 1
D 0 0 5
21

Spring 2014 GuitarTechniques 49


play: classical ON THE CD tracks 42-43

PLAYING TIPS cd track 43

[Bars234
xxxxxxxxxx
to 76] The fingering for this passage is shown in bar 34. This little to sustain for two beats. It may seem a bit tricky at first but it works! On beat
scale passage is played with the use of the open second string (B) at the 3 of bar 39 I use another hinge barre and the same technique is used from
start of each bar and a clever fingering designed to enable the low G note bars 72 to 76.

C7 F C /E C B /Db
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Bdim/C C Am G C7/E
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E 1 1 3 5 6 3 10 9 8 7 6 5 3 6
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D 0 0 0 3
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46

50 GuitarTechniques Spring 2014


Wolfgang Amadeus Mozart Symphony 40

PLAYING TIPS cd track 43

F Am G C7/E F Dm G /B C7
j
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B 6 5 6 8 6
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51

Bb A D7 G C7 F B b7 F
˙. #œ œ nœ bœ œ bœ ˙ bœ Œ bœ Œ bœ
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56

Bb E /B F/C C

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& b bw ˙ bwœ œ œ œ œ œ œ œ b œ w wœ œ œ œ œ œ œ œ
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Bb C F Fsus4 B bsus2 F/A


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E 10 8 6 5 3 1 0 1 1
B 3 1 3 1 1 3 1 1 3 1 1 3 1 1 3 1
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D 3
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D 8 3
70

Spring 2014 GuitarTechniques 51


play: classical ON THE CD tracks 42-43

PLAYING TIPS cd track 43


4 xxxxxxxxxx
[Bars 77 to end] The chords at bar 77 are played with a downwards strum whichever works best! Throughout the rest of the piece there are various
with the back of the fingernail – either the first or second finger is fine, bits of fingering advice to help you and hopefully the rest will be fairly clear.

B bsus2 Gm/B b
j
F sus4 F/A A7 Dm

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jC
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B 6 6 5 3 1 6 10
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D 8 10 8 10 10
91 p i a m i

52 GuitarTechniques Spring 2014


Wolfgang Amadeus Mozart Symphony 40

PLAYING TIPS cd track 43

F C F C F C F C F C F

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95

A7 Dm/F Dm/E Dm A7/D

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A7/C # A Dm A 7/G

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D m/F A 7/G Dm/F Bm7 aug 6 B b7

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D 2 0 0 0 0 0 0 3
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115

Spring 2014 GuitarTechniques 53


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Learning Zone
LESSONS
GT229
30-MINUTE LICKBAG ...................................... 56
BIMM’s Terry Lewis has six more licks for you
at beginner, intermediate and advanced levels.
Blues................................................................................................. 5
 8
Jim Clark looks at the guitar style of respected
bluesman Joe Louis Walker.
Rock . . ................................................................................................. 62
Earplugs at the ready... Martin Cooper is hot on
the trail of ‘Motor City Madman’, Ted Nugent!
RONNY JORDAN ........................................................ 6
 6
Jason Sidwell remembers the great British jazz
and funk guitarist Ronny Jordan.
CREATIVE ROCK........................................................... 70
Shaun Baxter continues his series on advanced
soloing concepts. Try them if you dare!
session........................................................................................ 7
 4
Andy Saphir explores the studio guitar style of
country session monster Brent Mason!
prog.................................................................................................... 78
Paul Bielatowicz looks at the musical style of
Ty Tabor from spritual proggers Kings X.
I HOPE YOU enjoyed our two big features: speed, there’s much here to work on.
a complete rock workout and exotic scales Many of you have been in contact about our JAZZ....................................................................................................... 8
 2

to play over 7th chords. These are in direct new Session Secrets article, again appreciating Pete Callard has some great licks in the style of
response to your requests to illuminate the stylistic variety on tap. This month we look legendary jazz guitarist Chuck Wayne.
specific topics. Please keep them coming! at the Nashville chops that get Brent Mason so acoustic.................................................................................. 8
 8
Now you’ve arrived at the Lessons section, much A-list session work. Tasty double-stop Stuart Ryan continues his series on modern
we’ve more great articles that should appeal, bends, snaky chromaticism, strong chord acoustic minstrels with the style of English
regardless of your ability or musical leanings. tones and lots of hybrid picking - it’s a workout ‘nu-folk’ exponent Laura Marling.
It’s this broad variety that makes GT the most you’ll keep coming back to! a-z of music theory.. ............................... 92
thorough guitar tuition magazine there is. Prog rock has one of the most devout fan Charlie Griffiths Unzips the Ultra Locrian scale
If time is tight, 30-Minute Lickbag has bases around. Ty Tabor from the great King’s with Unisons, Unison bends, Upbeats and
six varied licks at easy, intermediate and X is considered on page 78, with examples Upstrokes. Unbelievable!
advanced levels. Tackle them all, or work on of his string bending, pentatonic ideas and a
one you particularly like; the choice is yours. liking for irregular note groupings.
This issue’s Blues lesson shines a spotlight Dial in a clean neck pickup and check out
on US legend Joe Louis Walker, with two solos the improvisations of jazzer, Chuck Wayne.
crammed full of tasty licks, stinging string He may not be a household name but his
bends and awesome phrasing. soloing over II-V-I progressions was highly
Upping the distortion, Rock features musical, and not a little scary at times.
the roaring chops of Ted Nugent. You’ll Acoustic and A-Z of Theory round
love the pounding power chord riffing things off, with the cool chords of singer-
and frenzied pentatonic licks that pay songwriter Laura Marling, and the letter U:
homage to this unique US rocker. Ultra Locrian,
Then it’s time for a complete Unison
change as we look at the UK bends and
groove jazzer, Ronny Jordan Upstrokes are
who recently passed away. among the topics
If you like mixing funk we... er... Uncover.
and jazz on a clean guitar As always, enjoy the
tone, this is for you. issue and I’ll see you next
Pull out the overdrive time with more guitar
pedal again, as Creative goodness.
Rock dives into the Brent Mason:
country ace
world of sweep picking and
and Nashville
tapping. If you want to boost
session giant
your chops and up your

Spring 2014 GuitarTechniques 55


lesson: 30-Minute Lickbag

30-Minute Lickbag BIMM Brighton instructor Terry Lewis has six


more cool licks for you at easy, intermediate and Brought to you by...

advanced levels. How many can you manage?

Easy Licks Example 1 Johnny Marr style cd track 44


This lick in the style of The Smiths’ guitarist shows how he weaves melodic notes ringing as you add in new notes. Set the sound to almost clean and
GUITAR TECHNIQUES MAGAZINE 2 2 9 Terry Lewis's LICK
hooks into chord parts. The challenge in this riff is keeping all the chord
BAG
colour with a little chorus and delay for an 80s indie jangle.

Lick 1
# #
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