Sie sind auf Seite 1von 100

ISSUE 221 SEPTEMBER 2013

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 I’VE NEVER BEEN the biggest user of effects to be sucked into it myself. Of course there’s
are now top tutors. His album Jazz Metal   
       always been one lurking somewhere in a
was hailed as a milestone.
combo - a Mark II, before the B or C - I swore drawer, cupboard or gig-bag, but there’s
PAUL BIELATOWICZ that using any kind of ‘transistor’ distortion currently not one on my pedal board and
One of our greatest rock guitarists, Paul was sacrilege. I mean, why fork out vast sums hasn’t been for years. Because of that I now
plays with prog legends Carl Palmer and for the best valve amp in the world at the time keep the board behind me on stage, butted up
Neal Morse, and is a most welcome - mine cost £750 in 1980, when an annual UK in front of my amp, so I just turn delays and
regular contributor to GT.
salary was £6000 - and then put cheapo drives off and on between numbers. However,
JON BISHOP transistors in front of it? It seemed bonkers. that might all be about to change.
Jon is one of those great all-rounders I did have one of the early BOSS DM-2 Reading through Jon Bishop’s excellent
who can turn his hand to almost any analogue delays and CE-2 chorus pedals and wah-wah feature this month, has inspired me
style. No ‘Jack of all trades and master of they were fantastic. But mainly, I just          
none’, he nails every one with ease!
plugged in, turned up and that was it. spot on the board so I can start to put some
PETE CALLARD Some years later I fell foul of the of Jon’s ideas into practice. I’m sure at this
Pete’s many credits include Lionel rackmount thing, with Quadraverbs, stage of the game my own wah-wah
Richie, Annie Lennox, Chaka Khan and multi-fx and a Boogie Tri-Axis MIDI witterings are
Shirley Bassey. He works regularly in the preamp. But then one day I plugged not going to
studio, on TV and in the West End.
back into the old mahogany and change music
CHARLIE GRIFFITHS wicker Boogie and that was it. forever. But I do
Guitar Institute tutor Charlie first came These days it’s still think it’s time I stopped
to fame in Total Guitar’s Challenge simplicity all the way, with a ignoring the wonderful - and
Charlie series. He’s also one of the UK’s nice distortion (yes, I got over very musical if you don’t overdo
top rock, metal and fusion guitarists.
the transistor business - or it - possibilities available. So,
PHIL HILBORNE perhaps overdrive pedals got back on the treadle it is for me!
The UK’s original magazine guitar tutor better, one of the two), a delay and See you next month...
Phil’s something of a legend. A great a chorus and tremolo pedal.
player he regularly plays guitar in the What I’m getting round to, is
Queen musical, We Will Rock You.
the fact that I’ve never been a huge
TERRY LEWIS wah-wah user. In fact they used to
Terry has toured the world in support of so annoy me at gigs when other
a host of big name acts. He currently players wouldn’t get off the darned Neville Marten, Editor
teaches at BIMM Brighton, writes with things, that I took a silent vow never 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
Music Tech’s Jacob is a fantastic find. Not
only is his writing great but he’s a superb
player who can turn his hand to
anything. Welcome aboard, Jacob!

STUART RYAN
Stuart is Head Of Guitar at BIMM Bristol,
teaches at Bath Spa University and is a
top solo acoustic guitar virtuoso. His
debut CD, The Coast Road, is out now.

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

September 2013 GuitarTechniques 5


9000
(  ( (   3 ( ( (

LEARNING ZONE
COVER FEATURE
LESSONS INTRODUCTION 49
SOLO OVER CHORD Jason Sidwell ushers in our Lessons section
PROGRESSIONS
Nail those changes! 16 30MINUTE LICKBAG 50
Do you get stuck beyond basic blues soloing? BIMM’s Terry Lewis has six great licks for you!
Learn how to play over different chord BLUES 52
changes and be a more complete player! John Wheatcroft looks at the bluesier side of
Pink Floyd’s legendary David Gilmour.
BLUES 56
JW has even more blues for you, here in the
style of the awesome Kenny Wayne Shepherd.
ROCK 60
Martin Cooper goes glam this month with a
lesson on Mott The Hoople’s Mick Ralphs.
CREATIVE ROCK 68
Shaun Baxter has looked at 2nds and 3rds. This
month “it’s one more, isn’t it” - 4ths!
HOT COUNTRY 72
Andy Saphir meets a modern country
superstar, the one and only Alan Jackson.
PROG 76
Paul Bielatowicz unveils the original and
influential style of Patto’s Ollie Halsall.
JAZZ 80
Pete Callard visits the unmistakeably Latin jazz
guitar style of Charlie Byrd.
ACOUSTIC 86
Many thanks to Jeff & Stuart Ryan transcribes the gospel favourite
Mark at World Guitars Just A Closer Walk With Thee.
in Stonehouse, for the
ROCKSCHOOL 90
SIMON LEES

loan of this lovely Tom


Anderson cover guitar Charlie Griffiths continues his A-Z of music
theory with a look at M for Modes and More!

FEATURES REGULAR FEATURES VIDEO MASTERCLASS


WELCOME 5
SPECIAL FEATURE #2 Nev on the power of wah...

WAH GUITAR! THEORY GODMOTHER 8


Express yourself 26 David Mead addresses your technical, musical
and theoretical issues.
Check out the expressive wah guitar styles
of Joe Walsh, Jimi Hendrix, Eric Clapton, Isaac TALKBACK 9
Hayes, Thin Lizzy, Steve Vai and many more! Tell us your views... don’t hold back...
INTRO 10
SPECIAL TRANSCRIPTION News, One-Minute Lick, 60 Seconds With,
What Strings, That Was The Year and more...
DAVID BOWIE: STARMAN BACK ISSUES 92
Ziggy’s classic transcribed! 34 Missed one? See how you can get it – here!
Wanna learn some classic Bowie from the ‘70s?
Now’s your chance with Jon Bishop’s great ALBUMS 93
transcription of an iconic Ziggy masterpiece! Top guitar CDs and DVDs reviewed and rated.

TAB GUIDE 94
CLASSICAL TRANSCRIPTION Our terms and signs explained.

JS BACH SUBSCRIPTIONS 96
Save time and money – get GT delivered!
‘Arioso’ from Cantata 44
Bridget Mermikides excels herself this month NEXT MONTH 98 STEVE LUKATHER LESSON 64
with a truly beautiful solo guitar version of Albert King and Stevie Ray Vaughan, T-Bone Toto guitar hero and session ace Steve shares
one of Bach’s classics. Learn it now! Walker, Johnny Thunders and Steve Hillage! his guitar secrets with all of us.

September 2013 GuitarTechniques 7


Q&A
Star LETTER PRIZE
Post your playing posers and technical teasers to: Theory Godmother, Blackstar are giving our star TG letter
one of their brilliant pedals each
Guitar Techniques, 30 Monmouth Street, Bath, BA1 2BW; or email me at month. Visit www.blackstaramps.
co.uk and tell us which you’d like,
guitartechniques@futurenet.com - your wish is my command! should your letter be the lucky one.

Harmonia Mundi EXAMPLES 1  8


Dear Theory Godmother
I like to use harmonics in my playing,
but so far the process has been a bit
hit or miss! Could you tell me how to
work out the pitches of the harmonics
found at the 12th, 7th and 5th frets for
each string to give me a bit more of an
idea about what I’m doing?
Greg

The harmonics on a guitar always relate


to the pitch of the open strings and
so they’re fairly easy to remember. The
12th fret gives you the open string
up one octave, the 7th fret is the 5th
above that and the 5th fret harmonic
is two octaves above the open string.
I’ve mapped them out for you in Ex 1 to
give a clear picture of which pitches are
to be found at the frets you mention.
If you want to explore the world of
natural harmonics further, you can also
find some more lurking around the 3rd
and 4th frets. The actual positions of
these harmonics don’t conveniently line
up with the frets like the ones at the
12th, 7th and 5th, but if you touch the so-called ‘Devil’s Interval’ - but I can’t the resolution, too. In essence this for forming chords and if you look at Ex
string lightly along its length between find it! Surely a 7th contains root, is what happens whenever a chord 4 you’ll see that this gives us a straight
the 5th and 3rd frets while plucking, you 3rd, 5th and flat 7th? So where is the arrangement calls for a V-I change; the V7. So the textbook minor blues would
should be able to find them. You might diminished 5th in that lot? devil is thwarted in his attempt to create be Im-IVm-V7. The V chord has a special
need a fresh set of strings to hear them Peter musical chaos every time! ability to signpost the tonic via the
clearly and I’d be inclined to try to find resolution of in-built tension but this
them on the bass strings first as these There’s a b5th in every dominant 7th, Minor League? resolution doesn’t exist in a V minor
should ring a bit clearer than on the Peter - but it’s not related directly to Dear Theory Godmother and so the movement between the V
treble side. The pitches involved here the chord’s root; the devil is a bit more I’ve been getting more into blues and I chord is less powerful. So classical
include the major 3rd, 5th and b7th cunning than that! playing recently but one thing puzzles music written in a minor key will nearly
two octaves above the open string - in You’re absolutely right in that the me; if someone suggests playing a always employ the V7, whereas pop,
fact you can spell out a dominant 7th formula for a dominant 7th is root, minor blues I have been assuming that folk, jazz and pretty much everything
chord in harmonics with very little hand 3rd, 5th and b7th, but the b5th occurs all the chords – the I, IV and V – would else, frequently avoid this convention,
movement. There are more harmonics inside the chord between the 3rd all be minor, but I’m told this isn’t so often choosing to harmonise using the
to be found - I’m told that the highest and 7th. So, if we take G7 we find the and that the V chord is still major. But natural minor scale instead.
of them is around the middle of the notes G, B, D and F (see Ex 2) and if we how can this be? If you harmonise the As the blues already breaks rules by
2nd fret on the first string, but you need examine the intervallic relationship natural minor scale (the scale many employing three dominant chords in
quite a lot of gain on an amp (using between the B and F, we find our b5th. rock players would use to play a minor the course of its 12-bar run, taking an
the bridge pickup) to be able to get it The devilish dissonance created by this blues) then the V chord becomes ‘anything goes’ attitude here is totally
to sustain. It’s a very high B and I’d be diabolic interval is resolved when the a minor 7th – and furthermore, it acceptable so either can be considered
happy to notate it for you but I don’t harmony moves to the tonic chord: in actually sounds okay when I play it. So ‘right’. I would add that one of the most
think my music software actually goes the case of G7, the note B moves up a which rule of music determines that famous C minor blues in rock, Led
up that far. semitone to C and the F moves down the V chord is still major? Zeppelin’s Since I’ve Been Loving You,
a semitone to E, creating the perfectly Nat uses both the Gm7 and G7 – and if it
The Devil’s In The Detail consonant major 3rd – C and E. A good works for Led Zep, who are we to argue?
Dear Theory Godmother way to hear this in isolation is to play Where I think the confusion might lay
I’ve read that a dominant 7th chord Ex 3; you can clearly see the movement is that conventional harmony dictates Visit www.davidmead.net to check out
contains a diminished 5th - the I’ve outlined on the fretboard and hear that the harmonic minor scale is used David’s books and solo CD...

8 GuitarTechniques September 2012


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

STAR LETTER WRITE ONE AND WIN A PRIZE!


LESS TECHNIQUE, MORE FEEL Some excellent points there, Jonny. But there’s also a quote
I felt inclined to write to tell you how much I am from Mahavishnu Orchestra guitarist John McLaughlin
enjoying the August issue of Guitar Techniques. The that goes something like: “Technique is not the enemy of
feature on Nile Rodgers is fantastic. I was fortunate expression; technique only allows you to express yourself
enough to see Chic perform in Manchester in May better.” Perhaps therein lies the answer. For me there is
(even shaking the man's hand as he definitely too much music out there
left the stage!) in what was an that’s big on technique but small on
incredible display of guitar playing. expression. I adore the playing of both
Tony Dawkins letter (GT 220) Albert King and Allan Holdsworth: these
Larry Carlton: makes a great point about punk. He two great guitarists brim with feel and
an amazingly name checks some great players expression; Allan does it with rather
gifted player and I'd love to see something on more notes than Albert, but I defy
Tom Verlaine and company. I know anyone to listen to Holdsworth’s music
DIMINISHED some playing of that era is less (with open ears) and not come to the
RESPONSIBILITY 'technique' focused than your more same conclusion. But we do need to
I’ve been reading Guitar regularly featured artists, but I'd tackle the kind of player you mention, as
Techniques for the last year and I love to read the theory behind the we get asked this question on a
can honestly say my playing has ideas of minimalist players such as relatively regular basis. Johnny
evolved leaps and bounds in that Bernard Sumner, explained. Thunders is coming up soon, and it
time. Through your magazine I I came across a great quote by might be worth putting together an
have been turned onto the playing John Frusciante, where he states, overview of players that contribute
styles of Robben Ford and Larry “I'd rather hear someone play the hugely to the music, albeit with the
Carlton, who I now love. I've heard best they’re capable of with the Latest GT: we’re pretty Chic too! minimum of notes.
them both mention the diminished minimum amount of technique,
scale - half-tone, whole-tone and than someone with a lot of technique who plays
whole-tone, half-tone. I understand without feeling." I found this quite inspiring, and I'd STAR LETTER PRIZE
how the scale is made, I just don't love to see you guys break down the ideas of some of Our friends at Sound Technology
understand how to use it in a blues the less conventional and perhaps more avant-garde are donating a fab DigiTech
context to get that 'outside' playing and reductive styles of guitar player out there. HardWire pedal to our Star Letter
style that sounds so unique. Any Jonny Hughes writer every month.
help would be greatly appreciated?
Vincent, Colchester, Essex. pointed out that I should observe very high on the neck, grasping it That’s an interesting point, Ross. I think
the way I hold the guitar and what snuggly in the curve between his much of it hinges around how high or
That’s the problem with the “Use this 
            
  
  low we choose to wear our guitar on its
scale over this chord” approach to He also suggested some grips that I even when on the low strings. Steve strap. Somene once told me the ideal
teaching. It doesn’t really teach you could try depending on the musical Vai on the other hand keeps his height is so the guitar hangs in the same
much at all. As an example, the minor situation and style at hand. thumb in the middle of the neck and place as it would if you were sitting
and major pentatonic scales have the He also suggested that I look at    
    down. This places it in the position of
same notes and so are ‘nominally’ how other players hold their neck approach, with a gap between the least stress for the arms, hands and
interchangeable. That’s easy to say, but     
     bottom of the neck and his palm; fingers, and allows most techniques to
without explaining how the function of some pretty interesting things. Tom whereas Eric Johnson will start his be accessed easily. Now whether that’s
each note in the ‘shape’ changes in Kolb for instance will play a minor runs in a positional grip but will true or not I don’t know. Like many
relation to the chord below, people can pentatonic scale using his fourth alternate to a blues grip when he players, I hang my guitar where it feels
start landing on notes that are strong in 
       gets to the higher strings, often right on my body. Not as low as Jimmy
the minor pentatonic, but weaker in stretch but keeps his thumb resting  
    
  Page but not as high as Guthrie Govan.
major. I’ve discussed the topic with       ; If you do lots of playing with the thumb
Jason and we will be running an article Medium to low I believe guitarists should be behind the neck, it pretty much
describing the differences between the rock guitar aware of this. Unlike classical demands you wear it a little higher. That
strap height
half-whole and whole-half, and how to guitar, which has a set of rules with said, while Eric Johnson has his guitar
best employ them. 
  
    quite high by rock standards, Paul
position, contemporary styles are Gilbert slings his lower (and look at
TO HAVE AND TO HOLD less formal. These styles have Larry, above left). As with most things
One thing that many players different expressive qualities, so guitar related, we all find the way that
       
 
   there’s a balance to be found works best for us, dependant upon the
the way in which we hold the guitar between technique and expression. styles we play and how the ‘comfort-to-
with our fretting hand. As I started So my question is: what is good looking-cool ratio relates to us. I
to progress, I began noticing that technique and where do you see the couldn’t play the guitar where Page has
 
      application of different grips and it, but feel self-conscious with it as high
STEVE GILLETT/LIVEPIX

when I tried to play fast and ‘scaly’, 


 
         as Guthrie. It’s probably up to us to find
  
   
   how we can approach certain lines our own level; one that balances the
steps. When I began taking lessons and if so what are the trade offs? styles we play, with comfort and safety
from my lecturer at university, he Ross Pirrelli, Sydney, Australia - and that dreaded ‘cool’ factor.

September 2013 GuitarTechniques 9


( / ( / ( ( 3 ( (

2013 Guitar
Tutors
Conference
3/ ( ( 5"(" "6.(*-(.5"(,"$+(-*+(074.$+(
."$ 5"+& 8(.5"( ( "04&.+,(*-( 74.$+( 7.*+&( (
667$%( 74.$+( 7.*+&( *6-"+"6 "8(&!*6&*+"#( ,(
)"6#"+8( 4%%( "(5"%#(*6( 76#$,( "!."1 "+( ($.(.5"(
64 "+&4.,(*-( "&.( *6#*6'( 5"+"( 4%%( "($6(" ."6&4 "(
!+*0+$11"(*-(&"146$+&( ,(.*!(17&4 ("#7 $.*+&8(
46 %7#460 ( "$ 5460( 74.$+(/6( 5"(/6."+6".( 0" (
"$ 5460( 4!%*1$& ( $4% $+"()*+( 74.$+4&.& (
Laka concert
* $ 4%%,8( *7&.4 ($6#( ".$%( 74.$+( %$,460( ukulele with
" 564 7"& ( " "%*!460( 6#( +*1*.460( *7+( 74.$+( onboard tuner
"$ 5460( " &4." ( * ( 74.$+( $1& (3"0466"+( Laka adds a new concert-sized
" "%( *7&.4 ( 74.$+( $1& ( 60%4&5()*% ( 76"&()*+( model to its extensive ukulele
Baker Street
74.$+ (3+"$ 6" (3+"$ #* 6 ( +$6&-"+$ %"( 4%%& ( range. The VUC50 (£89.99) has a
soloist Hugh # $6 "#( +$#"&( %" .+4 ( 74.$+( $1& ( *7&.4 ( solid mahogany top with
Burns talks at )460"+&.,%" ( %$&&4 $%( 74.$+( .,%"& ( %" .+4 ( 74.$+( mahogany back and sides, in an
RGT conference "+-*+1$6 "( 4!%*1$&'( open pore satin finish
( 4+" .*+( *6,( 466"+(&$,& ( 5"( ( complemented by a nato neck
*6-"+"6 "(*--"+&(074.$+(."$ 5"+&($( $%7$ %"( and rosewood fretboard. The
*!!*+.764.,(.*(0$46(!+*-"&&4*6$%(#" "%*!1"6.( VUC50’s side-mounted chromatic
.+$46460( 4.5(&!" 4$%4&.&(46(.5"(2"%#8($&( "%%($&($( tuner features an easy-read LCD
764 7"( 5$6 "(.*(1"".( 4.5(576#+"#&(*-(*.5"+(074.$+( display that flashes green when
."$ 5"+&' ( (5$&($.."6#"#(1$6,( ( *6-"+"6 "&( your note’s in tune and makes
$6#(4.(4&($% $,&($(+" $+#460($6#("6 *,$ %"(" !"+4"6 "( tuning the instrument incredibly
-*+($%%( *6 "+6"#($6#($(0+"$.(*!!*+.764.,(-*+( 7&,( simple, while the chrome
."$ 5"+&(.*(0".(.*0".5"+($6#(& $!(4#"$&'( machineheads with pearloid
buttons increase tuning stability.
.."6#$6 "(4&( ,($# $6 "#( ** 460(*6%,'( 5"( *&.(
Another packed As with all Laka ukes, the VUC50
Registry seminar -*+(.5"("6.4+"(" "6.(4&( ( *+( (-*+( (1"1 "+& '(
comes fitted with premium
4&4.( '+0.'*+0(-*+(-7+.5"+(#".$4%&'
grade Italian Aquila strings.
The VUC50 is the big brother of
PRS Video Competition the successful VUS50 soprano
uke. Concert-sized models
( 74.$+&(5$&(%$76 5"#($( *1!".4.4*6(.5$.(.7+6&( feature a 15” scale length,
.5"(&!*.%405.(*6(4.&( ( 60"%7&($ *7&.4 (1*#"%(.54&( compared to a soprano’s 13”, with
&711"+'( 7&.*1"+&( 7,460($6( ( 60"%7&( "-*+"( ( a correspondingly bigger sound.
"!."1 "+($+"(46 4."#(.*(&5$+"($( 4#"*(*-(.5"1&"% "&( The VUC50 is aimed at students
!%$,460(.5"4+(6" (074.$+(-*+(.5"( 5$6 "(.*( 46($( and more advanced players who
+" *+#460(&"&&4*6(46($(!+*(&.7#4*'( 460"+ &*60 +4."+&( require great tones and features
$6#( 4+.7*&*(!4 "+&($%4 "($+"("6 *7+$0"#(.*(&7 14.($( in an affordable package. Visit
4#"*( ,(7!%*$#460(.*( *7 7 "( *+(*.5"+( 4#"*( www.jhs.co.uk/laka for further
5*&.460(&4." ($6#(!*&.460($(%46 (.*( '-$ " ** ' details about the VUC50 and all
*1 !+&074.$+&"7+*!"(*+(. "".460(. 4.."+' *1 other Laka ukes.
!+&074.$+&"7+*'( " *+#460($6#(2%1460( 7$%4.,(4&6 .($&(
41!*+.$6.($&(.5"(!"+-*+1$6 "($6#(!$&&4*6( "546#(4.8(
&*(" "6(&41!%"( " $1 (%$!.*!( 4#"*&($+"( "% *1"#'(
6 &.$0"8(+"5"$+&$%(*+(&41!%"( "#+**1(!%$,.5+*705(
4#"*&($+"($%%(!"+-" .%,($ "!.$ %"'(
5"(&7 14.."#( 4#"*&( 4%%( "(5405%405."#(*6( (
74.$+&( 7+*!" &(&* 4$%(1"#4$( 5$66"%&8( 4.5(.5"(. *(
"&.( 466460($(+" *+#460(&"&&4*6($.(.5"( +*( **%&(
*-.(#"& " 74!!"#( "$#%46"( 7&4 ( .7#4*&(6"$+( Go on, video
$1 +4#0"'( 4&4.( '!+&074.$+&"7+*!"' *1(-*+( yourself and The Laka VUC50’s
win a PRS! onboard tuner
-7+.5"+(46-*+1$.4*6(*6(.54&(" 4.460( *1!".4.4*6'(

10 GuitarTechniques September 2013


Fender honours Brit
rock legend Wilko with
a signature Telecaster
Red Box 5
has arrived
Hughes & Kettner have updated Wilko’s Solid Fenders!
their industry standard DI box
with the new Red Box 5 (£89.99). / ( / ("%" .+4-,460(!+*.* ,*7+(5$6#&8( 4.5(-"$.7+"&(
H&K say: “The beauty of the Red !76 ( "%" $&."+( 5*!&8($607%$+( 46 %7#460($( %$ (264&5($6#(
Box 5 is that it does not sound like *6&.$0"(& $00"+($6#(!+" ,#*6( &460%" !%,(+"#(!4 07$+#8(1$!%"(
a mic’ed cab - it sounds like the .5*7&$6# ,$+#(&.$+"8( 4% *( 6" ( 4.5( *1-*+.$ %"( &5$!"#(
cab itself! This makes it ideal for *56&*6(4&($6(7614&.$ $ %"( ( !+*2%"8($6#(#7$%( 46.$0" &.,%"(
live and studio situations in any 074.$+(5"+*'( 4.5(!7 (+* ( &460%" *4%(!4 7!&'( .5"+(-"$.7+"&(
genre.” Red Box 5 boasts Ground 46&.4.7.4*6( +()""%0**#8( 4% *( 46 %7#"($( ' +$#47&(+*&" **#(
Lift and Pad switches to adjust $&($6(*+4046$%($+ 54." .(*-(.5"( 260"+ *$+#( 4.5( ( 46.$0" &.,%"(
input gain, with three unique +4#0"(-+*1(3+4.4&5( 3(.*( -+".&8(.5+"" $,(!4 7!(& 4. 54608(
sound-shaping filters so you can &6$+%460(5405 "6"+0,(!76 '( 4&( 46.$0" &.,%"(&.+460& .5+*705
mimic your favourite cab. Useful !"+ 7&&4 "%,( 5*!!,(260"+&.,%"( *#,( +4#0"( 4.5(.5+""( 5+*1" /(5$ "( ""6( *+ 460( %*&"%,(
for home recording, studio and *+ (*6($( ( "%"(-7+4*7&%,( $++"%(&$##%"&8($6#( 46.$0" &.,%"( 4.5()"6#"+(*6(.5"(#".$4%&(*-(1,(
live shows, the Red Box 5 could
-7&"#(+5,.51($6#(%"$#8(46&!4+460($( .76"+&'( !" 4$%(46 $&"(" .+$&( &406$.7+"( "%"8 (&$4#( *56&*6'(
be your key to an authentic cab
6" (0"6"+$.4*6(*-( (!76 8(6" ( 46 %7#"(. *( 4% *(!5*.*&($6#( /. &(0+"$.(.*( 6* (!"*!%"( 4%%( "(
sound. Without the cab! Visit
$ "($6#(!*&. !76 (074.$+4&.&'( -$ &414%"&(*-(.5"(6*." ** (!$0"&( $ %"(.*(!%$,($6(46&.+71"6.( 7&.(%4 "(
www.hughes-and-kettner.com
)"6#"+ &( 4% *( *56&*6( *6( 54 5(5"(!"66"#( +()""%0**#( .5"(*6"(.5$.(5$&(&"+ "#(1"(&*( "%%(
or nip over to www.jhs.co.uk/
hughesandkettner for more info. "%" $&."+(6* (!7.&(54&( 54.&( 5"( *"&(/.( 405.8(3$ (/6( 5"( .5+*705*7.(1,( $+""+' ( 4&4.( '
#4&.46 .4 " %** 460(46&.+71"6.(46( 405.($6#( * ".."' -"6#"+' *1(-*+(-7+.5"+(#".$4%&'(

PHIL HILBORNE’S ONE-MINUTE LICK CHORDY ROCK LICK


Chord-based licks such as this are essential to many musical    
 
   

styles and often serve to successfully bridge the gap between approach of the two. However, bars 3 and 4 are best played
rhythm and lead playing. They are very adaptable and can be 
   


    
played straight, swung, dirty or clean. All of these approaches at once’ sound. Ideas such as this can be heard in the work of
will work well with today’s lick, so please experiment - your guitarists such as Eric Johnson, Robben Ford, Jimi Hendrix
primary aim should be to make it sound effortless and ‘slick’. and Steve Vai, so make sure you seek them out.

September 2013 GuitarTechniques 11


60Se nds wi...
A minute’s all it takes to find out what makes a great guitarist tick. This month: one of
the greatest progressive guitarists of all time, the incredible Steve Hillage
GT: Who was your first Steve Hillage playing
influence to play the guitar? Steinberger headless
SH: Lonnie Donegan, Buddy
Holly, The Shadows.

GT: What was the first guitar


you really lusted after?
SH: Various Hofners in a music
shop. I really loved the look of
those guitars.

GT: What was the single best


gig you ever did?
SH: Honestly, it’s really hard to
say. There’s no such thing as a
‘perfect’ gig, and sometimes you
might come off stage thinking
you’ve done a fantastic gig but
there’s a guy in the crowd who
though the last time you played
there was much better. Or there’s
times when you think the gig
was bad and some fan from the
audience comes up all
emotional and says they’ve had
a sublime experience. I’ve had
many gigs that I’ve really
enjoyed with a magical vibe,
but in the end I always say you’re
only as good as your last gig.
It’s best to try to stay as much as
possible in the here and now
and respond the best you can to
the moment.

GT: And how about your worst SH: I have a few scales and tender age of 15, sitting just six SH: Having my own distinctive
playing nightmare? exercises that I generally do feet from him. I was blitzed for life! style, and using music to bring
SH: I did a gig on acid once and before going on stage, to get the positive energy into this
my guitar ‘disappeared’ while I muscles warmed up. GT: Is there a solo you really wish troubled world.
was playing it. Not nice. I don’t you had played?
recommend it. GT: If you could put together SH: Could I name two? Hendrix – GT: And what are you up to at
a fantasy band with you in it, Axis Bold as Love; Clapton with the moment – albums, tours,
GT: What’s the most important who would the other players Cream – Badge. new equipment etc?
musical lesson you ever learnt? be (dead or alive)? SH: The current big thing is my
SH: It’s important to use music as SH: I would love to have played GT: What solo or song of yours collaboration with Japanese
true self-expression and through some really tasteful haunting are you most proud? band Rovo, called Phoenix
that to try and reach your higher guitar with the Weather Report SH: Aftaglid on the Fish Rising Rising. We have an album
self. Or as Jimi Hendrix once said, line-up that made the Mysterious album – recently re-recorded live coming out in September, a
“Stay with your thing, man”. Traveler album. in Amsterdam in 2006 at the Gong Japan and Taiwan tour in
Unconvention. The solo on Hurdy November and a UK and Europe
GT: Do you still practice? GT: Present company accepted, Gurdy Man is pretty good also. In tour starting next March. I’m
SH: Yes most days I practise a bit. who’s the greatest guitarist terms of pure song I particularly also doing a big concert in
At intense times I practise a lot. that’s ever lived? like These Uncharted Lands. Tokyo with the synthesiser
SH: Jimi Hendrix – who I was playing legend Tomita, so Japan
GT: Do you have a pre-gig fortunate to see twice at the GT: What would you most like to figures heavily in my musical
warm-up routine? Marquee club in 1967 at the be remembered for? universe at the moment.

12 GuitarTechniques September 2013


What Strings Do You Use?
KENNY WAYNE SHEPHERD
We ask a great guitarist all those GT: What’s your favourite guitar
questions you really do want the amp and how do you set it?
answers to. This month, US blues (/(5$ "($(671 "+(*-(-$ *7+4."(
legend Kenny Wayne Shepherd. $1!&8($%%(*-( 54 5( "+"( 74%.( ,(
%" $6#"+( 71 %"'( 7++"6.%,(1,(
GT: Do you have a type of pick that -$ *7+4."(4&($( ()"6#"+(
you can’t live without? 3$6#1$&."+(5"(1*#42"#( $%%"#(.5"(
( *1"*6"(*6 "(0$ "(1"($( %.+$ 5*64 '(/.(5$&(-$6.$&.4 (
0"6746"(.*+.*4&"&5"%%(!4 ($6#(/ "( %"$6&($6#(&7!"+4*+(&7&.$46( 4.5(
6" "+(-*76#($6*.5"+(!4 (.5$.(-""%&( "$7.4-7%(* "+.*6"&'
74."(.5"(&$1"'( 7++"6.%,(/ 1( GT: What kind of action do you
7&460( ("#4.4*6(5"$ ,(0$70"( have on your guitars?
!4 &(1$#"( ,( 76%*!' ( "#471(.*(5405($ .4*6( 4.5(
GT: You have to give up all your 71 *(-+".&($6#(5"$ ,(0$70"8(
pedals except three. Which ones +64"(3$%%(&.+460&'
do you keep? GT: What strings do you use?
( ,(*+4046$%( * ( %,#"( (/ 1( 7++"6.%,(7&460( +64"(
*,( $5( " $7&"(/(&.4%%(5$ "6 .( 3$%%( * $%.(&.+460&'(' (' (' (
-*76#($( $5(!"#$%(.5$.(&*76#&( ' (' (' '( 5",(&*76#(0+"$.(
".."+'( ,(/ $6" ( ( 7 "( 4.5(%*.&(*-($..$ ($6#(411"#4$."(
+"$1"+(5$&(( ""6(" "+, 5"+"( +"&!*6&"'( "$ ,(&.+460&(#"264."%,(
4.5(1"($6#(5$&(6" "+(-$4%"#(.*( (*8(/ 1($-+$4#(6*.'( (/(#*6 .(%4 "(.5"( *+#( 5$ "($( 400"+(&*76#($6#( 7.(
#"%4 "+(0+"$.(.*6"'()46$%%,8(1,( GT: Do guitar cables really make a "$%*7& '(/ #(&$,(.5"+"($+"($(%*.(*-( .5+*705(.5"(14 ( ".."+'
6$%*0( $6( 460( -( *6"(!"#$%( difference? What make are yours? $+.4&.&( !$&.($6#(!+"&"6. ( 5* &( GT: And finally, what are you up to
(4. &($(-$6.$&.4 (&*76#460(* "+#+4 "( ( $ %"&( "+.$46%,(1$ "($( !%$,460(/(5$ "($(%*.(*-(+"&!" .(-*+'( at the moment?
!"#$%(.5$.(/(7&"( *6&.$6.%,'( #4--"+"6 "'( *1"($+"(1*+"(+"%4$ %"( 8( "6#+4 ($6#( * "+.( *56&*6( ( 5"(" 4.460(.5460($.(.5"(
GT: Can you play any other musical .5$6(*.5"+&($6#(&*1"(-$4%( 74 %,'( 7&.(.*(6$1"($(-" '( 6"(07,(/(+"$%%,( 1*1"6.(4&(.5"(6" ( $6#( 5"(
instrument well enough to do so *(.5"(.+$46"#("$+8( $ %"&( $6(5$ "( +" *11"6#(%4&."6460(.*(4&( *,%"( 4#"&8($%&*(-"$.7+460( ."!5"6( .4%%&(
in a band? $6("--" .(*6(,*7+(.*6"($&( "%%'(/( , "&'( " &( 7&.($6(46 +"#4 %"( $6#(3$++,( *%# "+0'( 7+(#" 7.(
(/( *7%#(!%$,( $&&'(/($%&*( 5$ "( 7&.*1(1$#"( $ %"&($6#(/(7&"( $ *7&.4 (074.$+(!%$,"+' $% 718( $6 .( ".( 6*705( *1"&(
"%4" "(/( *7%#( "($(0**#(#+711"+( $( $ %"(1$#"(*-(&*%4#(&4% "+(.5$.(/( GT: Your house is burning down: *7.(*6( +* *07"( " *+#&(*6(
4-(/( *7%#( 7&.(26#("6*705(.41"(.*( 7&"(46(.5"(&.7#4*'( which guitar do you salvage? 707&.( .5'( 6#( 5" (*7.( '
!+$ .4&"(.5"(46&.+71"6.'( GT: Is there any guitarist’s playing ( ,( ( .+$.* $&."+'(/. &( "66, $,6"&5"!5"+#'6".(-*+(
GT: If a music chart were put in (past or present) of which you’re 1,(671 "+(*6"(074.$+(.5$.(/( $6 .( 46-*+1$.4*6(*6( (040&8($% 71&(
front of you, could you read it? slightly jealous? %4 "( 4.5*7.' $6#(*.5"+(6" &'

Two new Canadian acoustics


*(%* "%,(6" (1$5*0$6,(074.$+&( $.+4 (%7.54"+&($+"(#" *."#( If mahogany’s your
5$ "(+" "6.%,( ""6(+"%"$&"#( ,( $+.4&$6&( 5*(%* "(.5"4+( +$-. (.5"&"( thing, why not join
the Canadian Club!
$6$#4$6(%7.54"+&'( 5"( "$07%%( & 4%%&($+"(+" " ."#( 4.546(.5"(6" &(
$+4.41"( ( $5*0$6,( ( *-(.5"( **#%$6#( +*( "+4"&8( 54 5(
( *$&.&($(!+"1471( $+"(&$6#"#($6#(264&5"#( ,(5$6#(.*(
1$5*0$6,( $ 8(&4#"&($6#(.*!'(( !+* 4#"(+"1$+ $ %"( *1-*+.($6#(
5"(5405(0%*&&( 7&.*1(264&5(4&($6( !%$,$ 4%4.,8(.5+*705*7.(.5"(&4% ,(
" .+"1"%,(%405.($6#("%$&.4 ( *$.4608( &1**.58( -+".(+*&" **#(
"&&"6.4$%(-*+(+$!4#(6*."(#"%4 "+,( 260"+ *$+#'(/6(.5"(.+7"( 5$+$ ."+(
$6#(6$.7+$%($0460(*-(.5"( **#&'( *-(*+4046$%(-*% (074.$+&8(.5"(&*%4#(
"$07%%(&$,& ( 4.5(4.&(0"6"+*7&( 1$5*0$6,(6" ( 4.5(5$6#
11( 4#.5($.(.5"(67.8(&7!"+ ( *6.*7+"#8(&%*.."#(5"$#&.* ($6#(
6*."(&"!$+$.4*68(" "!.4*6$%( *!"6 0"$+(.76"+&8( *46&(.5"( *#,($.(
$%$6 "(*-(.*6"($6#(.41 +"8(.5"( .5"( .5(-+".8( 54%"(.5"(46.+4 $."(
$+4.41"( ( $5*0$6,( (4&($( 46%$4#( **#(+*&".."8(%$,"+"#( *#,(
17&.(-*+(260"+!4 "+&($6#( 46#4608(+*&" **#( +4#0"8( 7& (
&.+711"+&($%4 "' ( 67.($6#( +$!5." 5(&$##%"($##(
41*6($6#( $.+4 &(6" ( &7 .%"8(,".("--" .4 "($!!*46.1"6.&'(
**#%$6#( +* )*% ( $5*0$6,( 4&4.( '&"$07%074.$+&' *18(
( (4&($(&1$%%( *#4"#( '&41*6$6#!$.+4 ' *1(*+(
$ *7&.4 (.5$.($%&*("1!%*,&( ' #4&.+4 7.4*6' *1(-*+(
1$5*0$6,(-*+(.5"(6" 8( $ 8(&4#"&( -7+.5"+(#".$4%&($ *7.(.5"&"( "+,(
$6#(&*76# *$+#'( 41*6($6#( .$&.,(%** 460($ *7&.4 (074.$+&'(

September 2013 GuitarTechniques 13


That Was Alligator: see you

The Year...
now, not later!

1973 Coal, Cod, Captain


And Corr

Yamaha introduces the SG-30 based on the well-loved Gibson


design featuring a Katsura-wood slab body, bolt-on neck with
dot inlays and a pair of humbucking pickups. It’s a short-lived
model but marks the beginning
of a highly successful phase for
the Japanese company’s
electric guitar production.
Last Of The Summer Wine
and The Ascent of Man begin
on BBC TV; the Open

Three cool new Danelectros!


University awards its first
degrees; the Dalai Lama visits the UK; Biba re-opens in
Kensington; Princess Anne and Captain Mark Phillips get
married in Westminster Abbey; and the Royal Navy protect $6"%" .+*(5$&(.5+""(6" (1*#"%&'( )+*1(&7+-(46&.+71"6.$%&(.*(
British fishing boats during the Cod War with Iceland. 5"( ( "$ "6(2+&.($!!"$+"#($&( #* 6 .76"#(+* (+4--"+,8(.5"( (
Jan Akkerman of Focus is chosen as the Best Guitarist in The .5"( $ ( $ (46( '( * (4.( 3$+4.*6"( (5$&(.5"(%* ("6#(
World by readers of a UK magazine, inspiring +".7+6&( 4.5($(0+"$.(6" ($6#( * "+"#'( $4%$ %"(46(0%*&&(3%$ 8(
Framus to produce one of the first ever signature 7 ".&(*-(.*6"'( 4.5(&*7!"# 7!( .5"(&460%" 7.( (3$+4.*6"(.4 &($%%(
guitars the following year. However, Jan wasn’t 4!&.4 (!4 7!&8($# 7&.$ %"( +4#0"( .5"(" !" ."#( $6*( * "& (. *(
happy with the prototype and was never seen $6#($%%40$.*+(264&58(,*7( $6( 5**&"( 4!&.4 (&460%" *4%&8(1$!%"(6" (
using it on a gig. Brothers Malcolm and Angus -+*1( "#8( +$60"8(3%7"8( +"1"( 4.5(+*&" **#( *$+#8(6*(-7&&(
Young put together AC/DC in Australia; Journey 8(*+( %*&&(3%$ ( ' *6.+*%&8(!%7&($1$ 460(%** &8(
is formed in San Francisco; David Bowie ‘retires’ $6* &(1*&.(-$1*7&(1*#"%($%&*( !%$,$ 4%4.,($6#(.*6"'( %%(.54&8(!%7&(
Ziggy Stardust at the end of his UK tour; Queen +" "4 "&($(&6$!!,(6" (!$46.( * ( (-+".&($6#($6(" ."6#"#(& $%"(
release their first album and Ian Gillan says it’s *!7%$+4&"#( ,( 411,( $0"8(.5"( %"60.5( (-*+($%%(.5"(%* (6*."&(,*7(
time to quit Deep Purple. #*7 %" 7.$ $,( (4&(-$ %"#(-*+(4.&( *7%#(" "+( $6.( (1$ "(.54&(*6"(
Gibson releases the L-6S single-cut, the first .*6"&8(!%$,$ 4%4.,($6#("--*+.%"&&( "+&$.4%"($ " (
model to be built with the help of designer Bill Lawrence. &"6&"(*-( **%'( * (4.(+".7+6&($&(.5"( 4&4.( '#$6"%" .+*' *1(*+(
It features a maple body and 24-fret neck, pearl block inlays, ( %%40$.*+(46( +$6#(6" ( +$60"8( ' 5&' *'7 #$6"%" .+*074.$+&(
black scratchplate and headstock facia, two covered "#(*+(3%7"(264&5"&( $%%( '( -*+(-7+.5"+(46-*+1$.4*6'(
humbuckers, two volumes, a tone control and a 6-way rotary

Free Rockschool music lessons!


switch, with a chicken head knob on the scratchplate.
This switch was the key to the
guitar’s sound as it offered
coil tapping and various
* & 5**%8(.5"(+"&!" ."#(+* ( #4--"+"6.($&!" .(*-(." 564 7"(*+(
combinations. It was
$6#(!*!(" $146$.4*6( *$+#8(4&( .5"*+,(-*+(074.$+8( $&&($6#(#+71&'(
favoured by Carlos
6* (*--"+460(-+""(17&4 (%"&&*6&( 4$( 5"(%$."&.(%"&&*6(4&(-*+(074.$+($6#(
Santana and Rich
.5"(6" &(&" .4*6(*-(4.&( " &4."'(( &5* &(5* (&.7#"6.&( $6(41!+* "(
Williams of Kansas.
$ 5(.7.*+4$%( *1"&( 4.5( .5"4+(&.+460( "6#&( ,($41460(-*+(
The Queen opens the new .$ %$.7+"8( 4#"*8( $ 460(.+$ &( .$+0". (6*."&'( 5"(-7%%(.7.*+4$%(4&(
London Bridge; the Isle of $6#($(%4&.(*-(+" *11"6#"#( $ $4%$ %"(.*( $. 5($6#(#* 6%*$#(
Man issues its own postage stamps; The Bosporus %4&."6460( $&"#(*6(.5"(%"&&*6 &( -+*1(.5"( * & 5**%(&4."'( 4&4.(
Bridge in Istanbul is completed; the energy crisis begins &7 " .'( (6" (.7.*+4$%( 4%%($!!"$+( '+* & 5**%' *'7 (*+( *7 7 "(
following the Arab Oil Embargo on countries that support Israel;
" "+,(1*6.58(-* 7&460(*6($( -*+(-7+.5"+(46-*+1$.4*6'(
the Sears Tower in Chicago becomes the world’s tallest building;
and coal shortages caused by industrial action in the UK
instigate the Three-Day Week. HOT FOR TEACHER YOUR RGT TUTOR
Hamer Guitars is founded by guitar shop owners, John WHO? John Hardy TOWN: Preston STYLES
Montgomery, Paul Hamer and Jol Dantzig. Their early designs TAUGHT: Rock, pop, metal, blues, folk, Celtic,
are based on Gibson’s Flying V and Explorer models. jazz SPECIALITY: Classic rock and fingerstyle
Making an entrance are: Caroline Corr, LEVELS: From beginner to advanced, lessons
Peter Andre, Mick Thomson (Slipknot) and tailored for personal needs – RGT grades if
Anders and Jonas Björler (At The Gates). desired READING: Beginner to intermediate
Departing are: Ron Pigpen McKernan CHARGES: £10 per 30-minute lesson,
£20 per hour SPECIAL: Good teaching
(Grateful Dead), John Rostill (Shadows),
room and resources, can provide material to
Jim Croce, Bobby Darin, Gram Parsons,
study at home TEL: 07713 622145
Noël Coward and Pablo Picasso.
EMAIL: jonashardy18@yahoo.co.uk

14 GuitarTechniques September 2013




     


  


  '%  , ' ' ''- $''- 
 - '+ %   "$ + *%* '"%  $ "-
+$  %'   "$ $%% %  $' *% $%#

  XQGHUVWDQG WKH ¿QHU PHFKDQLFV RI PXVLF $ PDNH FDQQ\ XVH RI FRPPRQ QRWHV EHWZHHQ WKH
JUDVS RI EDVLF PXVLF WKHRU\ ZLOO GHHSHQ \RXU FKRUGV WKH QRWHV WKDW VWD\ WKH VDPH  /DUU\
 NQRZOHGJH WR WKH H[WHQW WKDW LW ZLOO DOORZ \RX DQG -RH NQRZ WKHLU VWXII
WR VROR RQ PRUH FRPSOH[ SURJUHVVLRQV  DV $QRWKHU YLWDO LQJUHGLHQW LQ JUHDW VRORLQJ LV
     
IRXQG LQ MD]] DQG IXVLRQ IRU H[DPSOH ,W¶V DW WKH UK\WKPLF HOHPHQW $ VWURQJ UK\WKPLF

?+3I@  
   
WKLV OHYHO \RX FDQ VWDUW WR VHH WKH EURDGHU PRWLI RU LGHD FDQ VRPHWLPHV PDNH QRWH

?+3I@  



 SHUVSHFWLYH DQG QR ORQJHU IHDU XVLQJ WKH FKRLFHV EHFRPH VHFRQGDU\ :LWK D JUHDW


 '*41  
 
  µZURQJ¶ VFDOH LQ FHUWDLQ FRQWH[WV UK\WKPLF FRQFHSW ÀRZLQJ WKURXJK \RXU VROR
,W LV DOVR DW WKLV OHYHO \RX PD\ OLNH WR SOXV SXUH HQHUJ\ IURP WKH SOD\HU HYHQ µZURQJ¶
/(7¶6 )$&( ,7 VRORLQJ FDQ EH D ORW RI IXQ HPSOR\ D µSLWFK D[LV DSSURDFK¶  OLNH -RH QRWHV FDQ VRXQG JUHDW 6R H[SORUH DV PDQ\
:KHQ LW DOO µFOLFNV¶ DQG PHORG\ UK\WKP DQG 6DWULDQL ZRXOG  VHHLQJ HDFK SURJUHVVLRQ IURP GLIIHUHQW UK\WKPLF ¿JXUHV DV \RX FDQ WKLQN RI
FRQFHSW DOO FRPH WRJHWKHU LW FDQ IHHO XWWHUO\ RQH WRQDO SHUVSHFWLYH UDWKHU WKDQ D VXFFHVVLRQ $ JUHDW ZD\ RI H[SDQGLQJ \RXU UK\WKPLF
DPD]LQJ SOD\LQJ WKRVH VL[ VWULQJV 7KLV DUWLFOH RI FRPSOLFDWHG KDUGWRUHPHPEHU VFDOH ODQJXDJH LV WR FODS D RQH RU WZREDU SDWWHUQ
ZLOO DWWHPSW WR GHHSHQ \RXU DZDUHQHVV RI ZD\V SDWWHUQV )RU H[DPSOH LI \RX KDYH DQ $ GR WKLV \RXUVHOI RU JHW VRPHRQH HOVH WR GR LW
WKDW ZLOO LPSURYH \RXU VRORLQJ DQG RYHUDOO µKLW FKRUG IROORZHG E\ D ' FKRUG \RX PLJKW WKLQN DQG WKHQ UHSHDW WKH SKUDVH EXW WKLV WLPH RQ
UDWH¶ LQ WHUPV RI FUHDWLQJ EULOOLDQW PXVLFDO RI SOD\LQJ $ 0L[RO\GLDQ $ % & ' ( ) * WKH JXLWDU ZLWK QRWHV IURP D FKRVHQ VFDOH 7U\
PRPHQWV HYHU\ WLPH \RX VROR IROORZHG E\ ' 0L[RO\GLDQ ' ( ) * $ % &  DV FRQWLQXDOO\ JRLQJ EDFN DQG IRUWK EHWZHHQ
$ JUHDW ¿UVW VWHS WRZDUGV OHDUQLQJ KRZ WR FODSSLQJ DQG SOD\LQJ ,W¶V IXQ DQG \RX¶OO OHDUQ
FUHDWH PRUH PHORGLF VRORV LV WR JHW JRRG DW  8$4 ! /8 *  + / 2Q WKH IROORZLQJ SDJHV ZH ZLOO H[SORUH
LGHQWLI\LQJ WKH FKRUG WRQHV ZLWKLQ DQ\ JLYHQ HLJKW GLIIHUHQW H[DPSOHV RI VRORLQJ RYHU
FKRUG ,I \RX FDQ VD\ ³& ( *´ DV VRRQ DV , VD\
/$$! /  /8 * $. $.+ YDULRXV SURJUHVVLRQV 6SHQG WLPH DQDO\VLQJ
³& PDMRU FKRUG´ DQG ³) $ &´ DV VRRQ DV , ! *#  #+ / /$$! /  /8 WKH SKUDVHV DJDLQVW WKH SURJUHVVLRQV WR VHH LI
VD\ ³) PLQRU FKRUG´ WKDW¶V D JUHDW VWDUW 7KLV \RX FDQ VSRW IXUWKHU DSSURDFKHV LQ DGGLWLRQ WR
NQRZOHGJH ZLOO SURYH KHOSIXO QRW RQO\ DV D UXOH
*# !$. $.+ 33-/  WKRVH , KLJKOLJKW LQ WKH VXSSRUWLQJ WH[W
RI WKXPE ZLWK UHJDUGV WR ZKLFK QRWHV \RX FDQ .3 /3.3) $4 !-3 $ 7KH WKLQJ LV ZKLOH VRPHWLPHV \RX FDQ¶W SXW
µWUXVW¶ ZLOO ZRUN LQ FRQWH[W EXW DOVR DV D SRLQW
RI UHIHUHQFH LQ VLWXDWLRQV ZKHUH \RX DUH 6.$! 63 $. 3$!/)
XQVXUH ZKLFK VFDOH ZLOO ¿W ,I \RX NQRZ WKH WKH 0L[RO\GLDQ µIRUPXOD¶ FRUUHVSRQGV WR WKDW  
FKRUGV \RX FDQ¶W JR ZURQJ ZLWK WKH FKRUG RI D GRPLQDQW FKRUGV VXFK DV WKHVH +RZHYHU
WRQHV« VLPSOH DV WKDW 6DWULDQL ZRXOG UDWKHU VHH LW IURP WKH
$QRWKHU LPSRUWDQW VWHS  ZKLFK /DUU\ SHUVSHFWLYH RI $ DW DOO WLPHV WKXV WKLQNLQJ $     
&DUOWRQ KDV H[SODLQHG DQG VKRZFDVHG YHU\ 0L[RO\GLDQ IROORZHG E\ $ 'RULDQ $ % & ' (

     
FRQFLVHO\ RQ KLV WXLWLRQ '9'V  LV GHYHORSLQJ ) *  7KLV ZD\ \RX DUH PRUH OLNHO\ WR NHHS
WKH DELOLW\ WR LGHQWLI\ FRPPRQ WRQHV ZLWKLQ IRFXVHG RQ WKH IDFW WKDW WKH SLHFH LV LQ $ $OVR  ? .+0( K+F)  (0?. 305F )?
DQ\ SURJUHVVLRQ &RPPRQ WRQHV WKH VDPH FUXFLDOO\ \RX EHFRPH DZDUH RI ZKLFK QRWHV @3 M3I 0 @+..M (3 "3? 0M F30 M3I .+-8
J+0( @+ F)F .. 3" F) L/5.@ K3?-
QRWH IRXQG LQ GLIIHUHQW FKRUGV KHOS WLH D VROR FKDQJH LQ WKLV FDVH RQO\ RQH QRWH FKDQJHV DV
?..M K.. +" 5.M K+F)  @.+()F.M
WRJHWKHU PHORGLFDOO\ DQG JLYH LW WKH GLUHFWLRQ & EHFRPHV & QDWXUDO  %HLQJ DZDUH RI ZKLFK
3J??+J0 @3I0 * +/(+0 +0+@+J 30
DQG VWUHQJWK RI FRQFHSW LW QHHGV QRWHV FKDQJH DQG ZKLFK QRWHV UHPDLQ WKH
3? /F@ K?/ 0 L5?@@+J ??M
%HLQJ DEOH WR DQDO\VH DQG XQGHUVWDQG ZKDW VDPH DV WKH FKRUGV FKDQJH RSHQV XS ORWV RI ?.F308 )+@ K+.. (+J M3I? .+0@ (?+F 0
NH\ D SURJUHVVLRQ LV LQ ZKHUH WKH , KRPH RSSRUWXQLWLHV IRU FUHDWLQJ PRUH LQWHUHVW 7KLV @I@F+0 +0 FI?0 ).5+0( F3 ?F F) =J3.>
FKRUG LV DQG KRZ DOO WKH RWKHU FKRUGV ZRUN LQ ZD\ \RX ZLOO EH DEOH WR KLW WKH QRWHV WKDW FUHDWH 9I.+FM F)F F)+@ @FM. ?..M ?J@8
UHODWLRQ WR WKLV LV SDUDPRXQW LI \RX ZDQW WR WKH PRVW FRORXU WKH QRWHV WKDW FKDQJH DQG

     $43 !83! 8


..8 .3$! /&8 / .. 4 /
..8 .3$! '%"1( ! 3./ 6 '%"9()
..8



/ /$ &.$4 7!3 343$! / 6.  3/ ! &8/ 3.$4 !8 53 /$$! $!&3/ !  . ! 8 /4!3
!!.) $! $ /$ .$.  .3  $!  &.$5/3$! ! 3 %"9/ 6 8$4 ! 63 $! $44)

  
  "'$ ).!(


 
 


        
 
   
     
     

"'$ ).!(  


  


     


\RXU ¿QJHU RQ ZK\ D FHUWDLQ VROR ZRUNV


  
UHDOO\ ZHOO PRVW RI WKH WLPH \RX FDQ H[DPLQH     
DQ\ KDUPRQLF IUDPHZRUN DQG UK\WKPLF       
FRQFHSW DQG VHH KRZ WKLQJV ¿W WRJHWKHU <RX
FDQ WKHQ VHH WKH SOD\HU¶V LQWHQWLRQ EHKLQG
KLV FKRLFH RI QRWHV DQG UK\WKPV
2XU HLJKW H[DPSOHV DUH GLYLGHG LQWR IRXU
EDUV RI D SURJUHVVLRQ IROORZHG E\ IRXU WR ¿YH
EDUV WKDW WZHDN WKH VDPH SURJUHVVLRQ DQG
WDNH LW VRPHZKHUH HOVH PXVLFDOO\ :H VWDUW
RII ZLWK DUJXDEO\ WKH PRVW SRSXODU FKRUG
FRPELQDWLRQ RI DOO WLPH  WKH WRQLF , FKRUG 
VXEGRPLQDQW ,9 FKRUG DQG GRPLQDQW 9
FKRUG  )URP FODVVLFDO PXVLF WR WKH EOXHV
IURP '\ODQ WR PRGHUQ GD\ SRS DQG EH\RQG
WKH ,,99 LV DQ HVVHQWLDO WRRO DQG RIWHQ DOO
\RX QHHG WR FUHDWH D JUHDW VRQJ 7KHVH WKUHH
FKRUGV FRQWDLQ DOO WKH QRWHV RI WKH PDMRU
VFDOH DQG SURYLGH DOO WKH WHQVLRQ DQG UHOHDVH
D VRQJ FRXOG DVN IRU
)URP WKHUH ZH¶OO SURJUHVV WKURXJK D
YDULHW\ RI SURJUHVVLRQV H[SORULQJ FRQFHSWV
VXFK DV PRGDO LQWHUFKDQJH SLWFK D[LVVW\OH
FRPSRVLQJ DOWHUHG FKRUGV DQG VODVK FKRUGV
DV ZHOO DV VLQJOHOLQH FRQFHSWV OLNH IRUPLQJ
\RXU SKUDVHV DURXQG FKRUG WRQHV XVLQJ
FKURPDWLF DSSURDFK QRWHV GHYHORSLQJ D
UHSHWLWLYH PRWLI DQG XVLQJ WKH EOXHV VFDOH

 
      
DQG RWKHU µEOXH FRORXUV¶ LQ WDVW\ ZD\V
5HPHPEHU WKH H[DPSOHV DUH DOO
UHSUHVHQWHG DV DXGLR DORQJ ZLWK WKH EDFNLQJ
WUDFNV ,W¶V DOO WKHUH IRU \RX WR KDYH IXQ ZLWK
LQ \RXU TXHVW IRU PRUH PHORGLF DQG HIIHFWLYH
VRORV +DYH IXQ  VHH \RX QH[W WLPH

   4     

)+@ +@ +0  /,3? 0 I@@ F) F30+ 6 )3? 7 @I*3/+00F 6  )3? /.3+ 305F .. =/3. +0F?)0(> K)? K =3??3K> )3?@ "?3/
7 0 3/+00F 6 )3? 78 ) @3.3+0( +@ @ ?3I0 )3? F30@   +#?0F /3  +0 F)+@ @  3.+0 /3 6 0FI?. /+03? @.7 @+0
+0 5?F+I.? F) G? 3" ) 3" F) )3?@8  @F?F K+F) F) @+ * * F) )3?@ +0 9I@F+30 6/  7 .. ?+J "?3/ F)F 5?F+I.? @. 6 /
5?3(?@@+30 "3? F) $?@F "3I? ?@ IF F) )3?@ )0( ?/F+..M +0    +0  /+03?78 3 .. M3I )J F3 3 03K +@ @K+F) F3 F)  0FI?.
F) @30 )." 0 K 0  KM F3 0J+(F F)/8 3 )? K .33- F  /+03? @.  3? J0  /+03? 50FF30+  I?+0( F)@ ?@8

  
  "'$ ).!(


 
 


   H            

I? @9I0 @F?F@      F)0 @)+"F@ F3 / /  0 / "3? /78 +F) 5+F) L+@ K @FM F)+0-+0( +0 8  +L3.M+0 30F+0@  @3 K
)+0( - F3 8 ) / )3? @+(0.@ F) )0( @3 F3 ?+0( 3IF F) I@ +F F3 5+0F F) =3.3I?> 3" F) )0(8 ) $0. 5?3(?@@+30 3"  F3 / F3
@F?30(@F /.3+ =3.3I?> K @- ;)F 03F6@7 ? +0( +0F?3I F)F  3#?@ I5 03F)? .@@+ L/5. 3" /3. +0F?)0( *  /,3? @. 6
K?0>F +0 F) )?/30+ "?/K3?- 3"  /,3?:< ) 0@K? +@  6G? 3"      27 F3  /+03? 6      7 "3? ?@3.J+0( - F3  /,3?8

   G       

0 F)+@ .@@+ * * * 5?3(?@@+30 F) $?@F "3I? ?@ "FI? FM5+.  /,3? 3I. @F35@ /3J+0( F) 0?+LM $(I? 30 F)  )3? I5 F3 $F F) )3?
-M )3?@ 6 2/  7 IF F)0 K FI?0 F) F) $?@F F)? +0F3 3/+00F@ F30@ 3" F) 8  F)0 +/ "3? F) G? 3" F) 2B 67 "3? 3.3I? 0 &3K
6B 2B B7 0   )?3/F+ FK+@F +0 F) F+. K+F) 2B B 0 8 3.3* 0 0J+(F F) @0+0( BF)@ I@+0( )3? F30@ 0+0( F) G? F3 F)
K+@ K ? F)+0-+0(  /,3? 50FF30+ 62/ 50FF30+7 I@+0( F@FM %F) 6 F3 27 3" F) 2B 0 .0+0( 30 F) G?@ 3" F) B 0  6 0 278

"'$ ).!(  


  


     


   '             

FM+0( +0 F) -M 3"  )? K ? L5.3?+0( 3//30 F30@ 0 6?33F 3"  %F) 3" 2/ ?33F 3" 2/ 0 %F) 3" 7 30 +F@ KM 3K08 0 F)
J.35+0(  @+/5. + +0F3 @3/F)+0( F)F @3I0@ ?F)? (?08 J+0( .@F )." K)+) "FI?@ F) )3?@ 2B   0  F) 2B +@ 3IF.+0 J+
+0F+$ F)F F)  0 2 03F@ K+.. $F .. )3?@ +0 F) $?@F "3I? ?@ )3? F30@ 0 F)  F3  5?3(?@@+30 30@F+FIF@ 03F)? .3J.M /.3+
6)3?@   0  ?@5F+J.M7 K J.35 F)+@ .+FF. ?+#M /3F+" M .FF+0( L/5. 3" /3. +0F?)0( K)?  K3I.  @0 @ 3/+0( "?3/ F)
 @+0(. 03F @0 F)  /,3? @. @@0F+..M )+FF+0( )3? F30@ -M 3"  /+03? ?F)? F)0 /,3?8

   %          

 (+0 K+F)  .@@+ .I@M*535 / F3 B ?5F8 33- F F) 3/+0 @ @@0F+..M F)+@ +@  )?M(+0 @9I0 6 * /,B +0  )?M(+07 0 F)
03F@ 3" /B )3? 0 B 0 M3I K+.. @ F)F F)  3?+0 /3 6    /+03? 50FF30+ @. K3?-@ K.. +0 3?+0 3.+0 0 )?M(+0 30FLF@8
 2 7 $F@ IF+"I..M *  3?+0>@ /,3? CF) 6277 3/@ F) G? 3" B8 3? )+@ ?F@  (?F =.I@*K+F)**FK+@F J+>8 3? F) /+03? ** * /B%
F) "3..3K+0( B F3 B )3?@ K ?F+0 F) / 5?@5F+J IF /5)@+@ B2% F3 C +0 F) $0. FK3 ?@ K K0F F3 F?(F 03F@ K+F)+0 ) )3?
03F@ F)F 30>F .30( +0  3?+0 * F) BF) 67 3" F) B 0 F) G? +0 3?? F3 /- 3I? @3.3 0 30J+0+0(.M8 3I 3I. F)+0-  3?+0 F3
627 3" F) B )3? * "3? 3.3I? 0 +0F?@F8 ) @30 )." 3" F) )3?  )?/30+ /+03? F3  3?+0 6F) $0. /C )@ F)F ?I+. /,3? CF)
5?3(?@@+30 +@ /B /,B /B /,B /B% B2% 0 C8 ) 03F@ 27 IF +@0>F +F /I) FF? F3 J+K +F @  0+ /.3M F)F ?I0@ IF+"I..M
3" F) /+03? 50FF30+ @. K3?- K.. 3J? F) /B F3 /,B )3?@ F)?3I() F) )3?@:

"#  
  "'$ ).!(


 
 


   C           

)+@ L/5. +@ +0  /+03? K+F) F) )3?@ /    / +/ D /+03? * K)+) .@3 K3?-@ (?F "3? F)  +/+0+@) )3?8 3? F) "3..3K+0(
D /8 F @F?F@ M @)3K+0( )3K  @+/5. @F?30( + 0 K3?- 3J?  FK3 @.@) )3?@ * D 0 D K @+/5.M )0( 30 03F +0  0FI?.
)0(+0( )?/30+ "?/K3?- J0 +" K)0 M3I .33- F +F +F>@ 03F ?..M /+03? F3 F?(F F)  +0 F) D )3?8 )+@ (+J@  33. 3?+0 @3I08
"3I@ 30 )3? F30@ 3? +/5.M+0( 0M 3" F) )0(@8 ) /3F+" +@  3F+ F33 )3K F)  03F 3J? F) D +@  +F .I@M8 " M3I F)+0- 3" +F +0
.@@+ (I+F? $(I? 0 +F ?@+@F@ 0M FK-+0( I0F+. F)  )3? K)? K F) 30FLF 3" F)  )3? +F>@  9I+F =3IF@+> @3I0+0( 1A IF "?3/ F)
+0F?3I F)  03F 6G? 3" 7 0 @.+()F.M )0( 3I? @. F3  )?/30+ 3?+(+0.  /+03? 30FLF +F>@ ,I@F  %F) *  5?"F.M 0FI?. 3.3I? F3 !

"'$ ).!(  


  "


     


   B 
         

)+@ L/5. +@ "+?.M ,NNM K+F)  @K+0( ". F)?3I()3IF8 ? K ? F /3? 3? .@@ 0M 53+0F 0 @F+.. /- +F @3I0 (?F ?F)? F)0 @.J+@).M
+0( )?3/F++@/ 6$?@F 5)?@7 .I 03F@ 60LF 5)?@7 0 55?3) "3..3K+0( F) )3? F30@ ?3I0 F .. F+/@8 3F+ )3K F) J?M @/
03F@ 6/B )3?7 0 ? .33-+0( F3 ?+0( +0 F) 3@+30. =I55? /3J. @)5 30 F) "3I?F) F)+? 0 @30 @F?+0(@ 5?3J@ 3F) I@"I.
@F?IFI?> )3? F30 .+- 1F) 44F) 4GF) 0 218 ) 2 F3  0FI?. 0 0 LF?/.M 3.3I?"I. 30 F) B21 4G 4G 4G 0 B21 )3?@8 "
3J? F) /,B )3? /30@F?F@ )3K M3I 0 @+/5.M F)+0- =.I@ +0 > 3I?@ M3I @)3I. .@3  K? 3" K)F>@ (3+0( 30 F)3?F+..M F33!

""  
  "'$ ).!(


 
 


            

I? $0. L/5. @@ J?MF)+0( "?3/ 0 => 5?@5F+J8 M )0(+0( 3I? /D 5?"F.M8 3J+0( 30 F) 2D ..@ "3?  M+0 /3 6 2 2
03F@ +0 F)  /,3? @. K ?F J?+3I@  /,3? /3@ 0 J3+ F) 2  2 27 K)+) +@ @@0F+..M ,I@F  /,3? @. K+F)  ?+@ 'F) 6278 3
53F0F+. 30"I@+30 3" I@+0( /3@ K+F) 3F)? -M 0/@8 3? L/5. $0+@) D 0 D 0 3F)  3J? K+F)  3?+0 /3 6 2    2
"F? 3I? +0+F+. .I@M @F?F I@+0( F) G? 67 3J? F)  )3? 0  7 0 $0..M F) /,BD +@ 5?"F "3?  )?M(+0 /3 6      7 K+F)
+L3.M+0 6 2 2   2 7 3J? F) D F) /D )3? /+()F ?9I+? +F@  03F 6H0 +0 F) -M 3" 78 (+0 )? K )J 55?3) +F "?3/ F)
0  3?+0 55?3)8 ) 03F@ 3"  3?+0 ? F) @/ @  3.+0 6 2 .I@M 0(. /3J+0( .30( F) /+03? 50FF30+ @. K+F)  9I+- .I@M
    7 IF M3I 3I. .@3 (3 "3? F)  +L3.M+0 C @. 6%F) /3 3" 55?3)*03F F3 @F?F +0 F) @)5 3" F) %F) 678 3F+ )3K F) F+/+0(
 /.3+ /+03?  2 2    7 K)+) 30F+0@ 2  0  0 @3 @I+F 3/@ 0+ 0 .33@ 6?IF37 "3? F)+@ $0. F+. 3" )?M(+0 J+@8
3 / 3 3/ 5 8$4 !
/3.3 3$  &$8  ,&3 7/-
&&.$  $ 3.!0
/!  &.$.//$! .$
$! 3$! &./&35 .3.
3!  /4//$! $
$ &3 .3$
.  . / &33.!/)

"  
  "'$ ).!(
PLAY: ROCK ON THE CD TRACKS 20-23

Get More From Your Wah!


Jon Bishop takes a look at the wonderful wah-wah pedal
and examines the stylings of ten of its most famous users.
This will help you to get even more from this great pedal!

ABILITY RATING There have been many iconic guitar This month’s track contains an assortment of
recordings created with the wah-wah over the ten riffs and licks in the style of our ten
Moderate years, ranging from numbers by Eric Clapton featured players. Each four-bar idea has been
and Jimi Hendrix in the late 1960s, through notated, and the demonstration track has a
INFO WILL IMPROVE YOUR the funk and disco classics of the 70s and on to space after each example for your own wah
KEY: C minor Wah operating skills the present day. practice. In the interests of extra detailed
TEMPO: 115 bpm Wah-wah ‘vocalisations’ The wah-wah is great for bringing vocal study, the wah treadle position has also been
CD: TRACKS 20-23 Tone generating skills qualities to lead guitar work and it’s also notated above the tab where appropriate. An
handy for adding percussive elements to ‘O’ indicates the wah treadle was forward or
THE WAH-WAH PEDAL is surely one of the rhythm playing - think of the intro to Jimi ‘toe down’, while an ‘+’ means the treadle was
most iconic and expressive of all guitar effects. Hendrix’s Voodoo Child (Slight Return). The rocked back or ‘heel down’.
While the arguably commoner overdrive and             As a bonus there is also a jam track that
delay are fantastic too (and we’ll be studying  ; ;     ; ;    places many of the ideas from the examples
these at a later date), step on your wah-wah left in one position (think of Micheal into a functioning performance piece. Many
 
     
 Schenker’s explosive soloing in his UFO days). thanks to Pete Riley for recording the drums
The wah’s circuit was invented in the late It is worth experimenting with where you     ; 
1960s by Brad Plunket who was working for place the wah pedal in your chain of effects,
the Thomas Organ Company. Plunket was set
              This month’s track offers GET THE TONE
Mid Range Boost switch on a Vox valve

 
       
 
ten riffs and licks in the style
(pot) that created a spike in the frequency of ten featured players. Each 7 6 7 7 4
range; this boosted a certain frequency and
           
idea is notated and there’s a GAIN BASS MIDDLE TREBLE REVERB

rotated, the frequency spike shifted back and space after each example for A basic wah-wah pedal and an amp is all you
need to replicate the sounds demonstrated
fourth and the ‘wah-wah’ sound was
produced. The last part of the puzzle was to your own wah practice. in this monthÕs feature. Some overdrive and
delay will also help bring things to life. The
         too. It can be very effective to place your
pickup section and effect combinations
operation with a foot was possible. A few overdrive pedal before the wah for a ‘super
have been notated next to the relevant
sleeples nights later and the wah-wah pedal as wah’ tone. Using delay and echo in examples in the tab. There is now a vast
we know it was born. conjunction with the wah can also provide selection of wah-wah pedals available, in a
The president of the Thomas Organ  ;     ;       seemingly endless range of colours, flavours
Company pursued trumpet player Clyde for some amazing Bowie or Floyd type and brands. The original wah set-up and
McCoy as an endorsee for the pedal, as he felt sounds). And if you want to create really weird sound has been tweaked and modified over
the sound the wah-wah produced was and wonderful sounds, plug your wah-wah in the years, and many of the worldÕs top
reminiscent of McCoy’s ‘cup mute’ trumpet with the leads the wrong way round and then players now sport a signature pedal that
recordings. The original wah-wah pedals had twist the volume and tone controls on your reflects their own preferences. Regardless of
both the Cry Baby and Clyde McCoy logos on, guitar. While not being the most musical or which pedal you choose, good results will
or the Vox logo. Both the Cry Baby and the practical way of using the wah pedal, some be reliant on your treadle control skills
Vox wah-wah were essentially the same pedal extremely interesting sounds can be created. combined with your guitar playing so, as
made by Thomas Organ, the only difference Be sure to have your amp turned down though ever, the key here is plenty of practice.
being the branding.   
      

TRACK RECORD Recordings that feature wah-wah span almost all genres since the late 1960s. Check out Electric Ladyland by Jimi
SIMON LEES

Hendrix, Disraeli Gears by Cream, Shaft by Isaac Hayes and Jailbreak by Thin Lizzy for starters. For an overview of the history of the
wah-wah pedal it is well worth tracking down the documentary film entitled Cry Baby: The Pedal That Rocked The World.

26 GuitarTechniques September 2013


GET MORE FROM YOUR WAH!

The wah-wah: surely the


most expressive of all
guitar effects pedals

September 2013 GuitarTechniques 27


PLAY: ROCK ON THE CD TRACKS 20-23

EXAMPLE 1 CURTIS MAYFIELD STYLE ‘WACKA CHICKA’ CD TRACK 21

This first technique will help you to get used to working the treadle. Start get the iconic 1970’s ‘wacka chicka’ funk sound as used in the bridge of
by muting all of the strings with the fingers of your fretting hand. If you Pusherman by Curtis Mayfield. There’s a plethora of sounds available with
strum the muted low strings with the wah treadle back, a ‘wack’ sound this technique, depending on how you hit the strings, where you place your
is produced. Strumming the muted high strings with the treadle forward muting fingers, and position and speed of wah usage. Hendrix was a master
produces a ‘chick’ sound. By combining these two ideas it is possible to of improvising rhythmic phrases with this muted strumming approach.

EXAMPLE 2 ISSAC HAYES RHYTHM WITH SUSTAINED CHORDS CD TRACK 21

This second example showcases a simple idea that is useful for creating a like. This rocking of the pedal adds a wah-wah rhythm to the sound. This
variety of parts. First click on the wah-wah pedal and then strum a chord. example uses a crotchet triplet rhythm, which sounds interesting against
The more the chord rings out the better, so make sure your fretting is the funky 4/4 drum pattern. You may need to put in a bit of practice to get
accurate and your tone is clean and fuss free. As soon as the chord is ringing the more complex rhythms perfectly in time, especially if you are new to this
out you can rock the wah-wah pedal back and forth in any rhythm you idea. Short on ideas for a rhythm track? This could be your answer!

EXAMPLE 3 CHARLES ‘SKIP’ PITTS ISSAC HAYES OCTAVE STRUMMING CD TRACK 21

The intro to the theme from Shaft helped set the funk guitar template and forward slowly it acts like a tone filter, pulling out certain frequencies and
is one of those classic moments. Octave strumming in a 16th note rhythm is cutting the rest. This slow sweeping is effective on notes and chords alike.
great for funk, and adding wah is the icing on the cake! Rocking the pedal Check out the notation and take this one slowly as there is plenty going on.

28 GuitarTechniques September 2013


. . .

GET MORE FROM YOUR WAH!

EXAMPLE 4 ERIC CLAPTON STYLE LEAD CD TRACK 21

Eric Clapton was one of the pioneers of using the wah-wah pedal in style phrases with the wah pedal. Clapton generally rocked the pedal in
the early days and he recorded some great wah guitar riffs and solos time with the music, but he also used it as an expression device by swelling
throughout his career. This example combines some typical, early Clapton into notes and string bends to give them a more vocal quality.

EXAMPLE 5 STEVE VAI STYLE LEGATO CD TRACK 21

Steve Vai is another wah master, and uses his Bad Horsie signature pedal to fully released the pressure from the bar, you can bend the string up a further
great effect. This lick starts with a large upward glissando (scoop) into the semitone to complete the effect. The second two bars feature a fast Vai style
Bb. To play this, finger the note A (10th fret, second string) and depress the tapping run that’s superbly accentuated with the wah pedal. The trick here
whammy bar. Now pick the note and release the bar slowly. When you have is to rock the treadle forward at the start of each descending phrase.

September 2013 GuitarTechniques 29


PLAY: ROCK ON THE CD TRACKS 20-23

EXAMPLE 6 THIN LIZZY STYLE LEAD CD TRACK 21

Lizzy liked a bit of wah and used it to great effect in songs like Jailbreak in combination with fast tremolo picking and string bending. The string
and Don’t Believe A Word. This example sees the wah working as a filter bending needs to be gradual to create exactly the right effect.

EXAMPLE 7 JIMI HENDRIX STYLE ‘WATCHTOWER’ LEAD CD TRACK 21

Hendrix was a master of the wah-wah and recorded some iconic moments Watchtower. The added delay accentuates the sound, and the semiquaver
using one. This example takes its inspiration from the solo in All Along The run benefits from the wah’s treadle being rocked in a quaver rhythm.

EXAMPLE 8 SLASH STYLE LEAD CD TRACK 21

Slash is another rock player with a penchant for wah, and who can forget in the first bar is played with a third finger barre. Clamp both notes with the
that change of gear in Sweet Child O’ Mine when the wah is clicked on? third finger and bend them up. If you maintain the string spacing on your
The wah sounds very effective when combined with double-stops and this finger as you bend, the pitches will go up a full tone on the third string and a
example opens with some stock, rock style phrases. The double-stop bend semitone on the second string, which is a happy coincidence!

EXAMPLE 9 MICHAEL SCHENKER STATIC WAH, ‘TONE FILTER’ STYLE LEAD CD TRACK 21

Leaving the wah set in one position is a popular trick. Slowly rock the pedal sweep where everything sounds particularly good. Certain pedal designs
back and forth as you play, until you find the ‘sweet spot’. This is partly down have the option of turning the wah on with a separate switch and this is
to personal taste, but you will find a place somewhere in the middle of the particularly handy as you can pre-set the sweet spot before taking flight!

30 GuitarTechniques September 2013


GET MORE FROM YOUR WAH!

EXAMPLE 10 KIRK HAMMETT STYLE LEAD CD TRACK 21

The Kirk Hammett lead style is synonymous with the use of the wah-wah open-string pedal tone. The natural harmonics in the final bar (played by
pedal, and many of Kirk’s most famous Metallica solos feature it heavily. lightly touching the strings at the 5th fret position) are particularly pleasing,
The wild, double-stop bends that Kirk likes to augment with the wah-wah and create a wonderful dissonance when combined with a dive-bombing
have become a Metallica trademark, as is the use of legato while using an whammy bar. Pure thrash metal!

EXAMPLE 11 32BAR WAHWAH PARTY JAM CD TRACK 21

Now it’s time to put those wah-wah pedal ideas to the test in our 32-bar with delay and are inspired by players like U2’s The Edge. The wah is used
jam track. The synth style chord swells that feature as part of the backing as a tone filter, and the delay helps to accentuate the sweep across the
track have not been notated but are created by placing the wah pedal after frequencies. This sweeping tone filter with delay provides some spacious,
all the effects. This means the wah pedal sounds super effective and filters synth style effects. Set your delay to a dotted 8th note, as this will help set
everything in the signal path, including the delays and chorus. The result is up that classic Edge style delay sound. The wah sweep is easy to do and is
a spacious, synth like sound and this idea is well worth checking out (once notated above the tab. The semi-quaver strumming rhythm may take some
you’ve gone through all ten examples first, of course!). practice to get, but this concept will work with many other semiquaver
[Bars 1–8] These opening bars combine a 16th-note strumming rhythm rhythms and is worth spending time exploring.

September 2013 GuitarTechniques 31


PLAY: ROCK ON THE CD TRACKS 20-23

EXAMPLE 11 32 BAR WAH PARTY JAM CONTINUED... CD TRACK 21

[Bars 9Ð16] This section introduces a funk style single note line that is like George Lynch and Zakk Wylde. Dig in hard and keep the finger vibrato
inspired by John Squire’s wah work in The Stone Roses seminal track Fools wide and pronounced. The wah-wah pedal helps to vocalise the notes
Gold. Keep the wah treadle rocking in a steady quaver rhythm. The mute and this is done by swelling the treadle forward as you hit the note. This
strokes are all important as these work with the wah to create the ‘wacka technique is particularly effective on string bends. Bar 22 features the
chicka’. Hendrix style idea of playing a double-stop bend and then adding rhythm
[Bars 17Ð24] It’s time to rock, and these lead lines are inspired by players to it by rocking the pedal.

32 GuitarTechniques September 2013


GET MORE FROM YOUR WAH!

EXAMPLE 11 32 BAR WAH PARTY JAM CONTINUED... CD TRACK 21

[Bars 25 to end] This section utilises the Steve Vai style idea we looked at Bar 31 features the Hendrix style, clashing bends we looked at in example
earlier back in example 4 (page 29). This time it’s shifted up four frets to fit seven, and the piece ends with the dramatic dive bomb harmonics, from the
the E minor key of our 32 bar wah party jam. Kirk Hammett Metallica style lick in example 7.

September 2013 GuitarTechniques 33


PLAY: ROCK ON THE CD TRACKS 24-26

David Bowie
Starman Jon Bishop transcribes a classic David Bowie track
which is great fun to play and has nice lead and
rhythm ideas in which to sink your teeth (or pick).

ABILITY RATING charismatic lead guitarist and a good all


round musician and took care of the string Starman originally faded
Easy arrangement for Starman. out, so to make the backing
Starman uses chords from the harmonised
INFO WILL IMPROVE YOUR F major scale: Fmaj7, Gm7, Am7, Bbmaj7, C7, track more fun to play along
KEY: F major Barre chords and fretting Dm7 and Em7b5. A few extra chords are to I have used the same ending
TEMPO: 102 bpm String bending intonation added here and there, to help the progression
CD: TRACKS 24-26 Strumming technique             that the band used live.
add to the tension and release factor. To act as being heightened. The other extra chord in the
DAVID BOWIE IS a cultural icon whose a turnaround an Ab major chord is used on chorus is where the Bb changes to a Bbm. This
career has spanned an amazing six decades. route to the Bb major chord at the end of verse changing of chords from major to minor is a
Starman was released in 1972, just three years one and three. These two chords are from the popular songwriting tool (think of the C to Cm
key of Eb major and provide a momentary lift in Radiohead’s Creep).
In addition to being a superb songwriter back into the F chord in verse two. To take us The original Starman recording fades out,
and charismatic front man, Bowie is also a into the chorus Am and Gm are changed to A so to make the backing track more fun to play
solid rhythm guitar player. He performed the and G major. These are from the key of D along to, I’ve created an ending. This is the
12-string acoustic guitar parts on hit songs major and sound stronger than their minor same as the ending that Bowie’s band used to
like The Man Who Sold the World and Space counterparts for setting up the chorus. In the
          
Oddity, as well as this month’s featured track. chorus Dm7 is changed to D7 and this sets up live. This ending should make sense to the ear
These parts combine barre and open chord a perfect cadence to the G minor. This and is simple to play.
shapes with a nice sense of timing and groove. changing of chord type to a 7th is referred to Thanks to Pat Hughes, for playing bass,
Mick Ronson was Bowie’s guitarist of as a secondary dominant and sounds very and to Charlie Rinks, for the violins. Have fun
choice during the early 1970s. Ronson was a effective due to the tension and release factor practicing and see you next time!

TECHNIQUE FOCUS GET THE TONE


Rhythm strumming
An important aspect of playing good rhythm with rock rhythm guitar. The verse part relies on a
guitar is to keep the strumming hand moving up muted strumming approach and this is governed 6 7 8 7 3
and down in time, regardless of whether or not it by the pressure you apply with the fretting hand
GAIN BASS MIDDLE TREBLE REVERB
is hitting the strings. It’s hopeless to try and nail a fingers. If you release the pressure of the fretting
groove by guessing with single strums here and hand but leave the fingers in contact with the Bowie played his trusty12-string acoustic on
there. So using the strumming hand to ‘ghost’ the strings, the chord will not sound and the strings Starman - as he did on so many great tracks.
rhythmic sub-division is a far more mechanical will be muted. This might feel strange if you are But since not that many players own one a
way of making sure your timekeeping is sound not used to doing it, but after a while it becomes a six-string will work just fine - try a light pick
- every great rhythm player does it. The electric natural byproduct of your playing that you won’t for a slightly more shimmery tone. Mick
guitar riff in the bridge section is particularly fun even think about. With regards to the rhythm Ronson would almost certainly have
to play. This will sound best if played exclusively playing in particular, try treating the transcription performed the electric parts on his Les Paul
with down strokes of the pick as this evens the as a guide only: in a live situation Bowie and the Custom, but any electric with a bridge pick
attack and adds weight to the sound. Playing band would add extra nuances and rhythms so up will work just fine (knock some treble off
quavers with down strokes is the way forward no two performances feel exactly the same. single-coils if you can). A bit of overdrive
and phaser are the icing on the cake.
ILPO MUSTO/REX FEATURES

TRACK RECORD The original version of Starman appears on The Rise & Fall Of Ziggy Stardust & The Spiders From Mars (1972). This
album was the fifth released by David Bowie and followed up the hugely successful Hunky Dory. If you are looking for a career
overview, Starman appears on the compilation album Best Of Bowie (2002) along with many other classic tracks.

34 GuitarTechniques September 2013


DAVID BOWIE STARMAN

Ziggy played guitar!


Here it’s a Swedish-
made Hagstrom 12

September 2013 GuitarTechniques 35


PLAY: ROCK ON THE CD TRACKS 24-26

PLAYING TIPS CD TRACK 25

[Intro: Bars 1-8] These opening bars combine interesting sounding chords [Verse 1Ð2: Bars 9-23] The verse uses a semi-quaver strumming pattern
with a galloping strumming rhythm. When changing positions, sound the with some mute strokes in it. To play the mute strokes, lift off your fretting
open strings to keep the momentum going. Lifting your fretting hand off hand pressure so the strings are off the frets. Keep your fretting fingers in
the strings when changing chord positions helps to eliminate handling contact with the strings so they are muted. A thinner pick will provide a
noise, which on acoustic guitars can be unpleasant. bright, percussive attack sound, which is a key feature of the original part.

36 GuitarTechniques September 2013


Starman Music & Lyrics by David Bowie. ©1972 Tintoretto Music. RZO Music Inc, Chrysalis Music Ltd and
EMI Music Publishing Ltd. UK/EU reproduced by kind permission of Music Sales Ltd. US/CAN reproduced
by kind permission of Hal Leonard Corporation. All Rights Reserved. International Copyright Secured.
DAVID BOWIE STARMAN

PLAYING TIPS CD TRACK 25

[Chorus 1: Bars 24–34] The guitar part in the chorus changes to a simpler, you are playing on a 12-string acoustic you may find the barre chords will
quaver rhythm and this contrasts nicely with the busy verse strumming. If take a bit of holding down so be careful not to strain your hands.

September 2013 GuitarTechniques 37


PLAY: ROCK ON THE CD TRACKS 24-26

PLAYING TIPS CD TRACK 25

[Bridge: Bars 35-41] In the interests of extra study, the electric rhythm part A medium overdrive with a bridge pickup setting (humbucker preferably)
has been notated here instead of the lead guitar melody. However, that has should provide the required amount of rockiness. Picking with all down
been tabbed in the outro so feel free to play this as a solo here, if you prefer. strokes will help the groove and feel.

38 GuitarTechniques September 2013


DAVID BOWIE STARMAN

PLAYING TIPS CD TRACK 25

[Verse 3-4: Bar 42-56] This section is a repeat of verses 1 and 2. Live, feel free to do similar here. Bars 55 and 56 feature the funky high octave part
David’s playing would often get more exuberant as the song progressed so that leads into the chorus. A bit of phaser will set this part off a treat.

September 2013 GuitarTechniques 39


PLAY: ROCK ON THE CD TRACKS 24-26

PLAYING TIPS CD TRACK 25

[Chorus 2 and 3: Bars 57-78] This section is a repeat of chorus 1. This time repeated three times. The main thing to concentrate on here is the bending
the chorus is repeated to make one long, double chorus. intonation. Mick Ronson had a great bluesy-rock feel and the original
[Outro/Guitar Solo: Bars 79-90] This section is the main, sing-a-long recording has plenty of vibe. It will really come to life with a bit of mild,
melody, which is played in unison with the strings. These four bars are Marshall-esque overdrive and a touch of phaser.

40 GuitarTechniques September 2013


DAVID BOWIE STARMAN

PLAYING TIPS CD TRACK 25

[Bars 91 to 102] The end solo has a nice contour and is relatively easy to [Bar 103 to end] The original recording fades out, so in the interests of
play. The main scale in use here is F major pentatonic. There are some extra having a functioning backing track we’ve added the ending that David
colour tones added in for extra flavour but again it’s all about the attitude Bowie himself uses when he performs the track live. The ending is logical
and vibe here, as it’s technically quite straightforward. and uncomplicated and rounds a great track off nicely!

September 2013 GuitarTechniques 41


PLAY: CLASSICAL ON THE CD TRACKS 27-28

Johann S Bach
The Arioso In her ongoing quest to fill our classical repertoire with
timeless nuggets Bridget Mermikides arranges and
transcribes another great Bach piece for your delectation.

ABILITY RATING including modernism, metal, jazz, pop,


electronica, tango and everything in between. JS Bach would almost
Moderate/Advanced This month I’ve made an arrangement of certainly have approved of
the sinfonia - also known as The Arioso - of his
INFO WILL IMPROVE YOUR Cantata BWV156. Written in 1729 during his us transposing his work for
KEY: D Melody and bass separation slavishly demanding teaching and composing another instrument and
TEMPO: 80 bpm Baroque repertoire position in Leipzig, this stunning
CD: TRACKS 27-28 Rest stroke and free stroke
        
  amending it to suit the
movement to a set of vocal pieces written in guitar’s requirements.
THIS MONTH WE are looking at a solo the cantata form (literally a vocal performance
classical guitar arrangement of a wonderful accompanied by instrumentation). Listening performed so effectively on a range of
piece of music by Johann Sebastian Bach to the entire work and then learning that instruments and within various ensembles
(1685-1750) who, despite not receiving Johann Sebastian wrote over 200 other – you can even hear strains of it in Carly
cantatas (among hundreds of other works) Simon’s award-winning pop song Let The
almost universally considered one of the gives you an idea of his incredible - some
        
greatest composers of all time. Bach’s would say unfathomable - productivity. Working Girl. It also helps us feel comfortable
enormous body of masterpieces has been The Arioso itself is not only well loved as a in the knowledge that JS Bach himself would
hugely praised and adored by countless short piece in its own right, but Bach himself almost certainly have approved of what we are
music-lovers and musicians through the ages. reused the theme as the middle movement in doing here today - transposing his work for
His incredible control of counterpoint his Harpsichord Concerto in F minor (also another instrument and amending it to suit
(multiple simultaneous melodies) and played as the ‘reconstructed’ Violin Concerto that instrument’s musical vagaries and
complex harmony, coupled with the ability to in G minor) and also in the middle movement technical requirements.
express deeply the gamut of human emotions, of his Oboe Concerto in F major. So, with that in mind, to make the piece
    
      This is an indication of the portability of more idiomatic on solo classical guitar I’ve
of Western classical music and continues to Bach’s sublime music between instruments, transposed the original key of F major down
inspire composers in almost any musical style and it is no surprise that the Arioso is now to D and added a drop D tuning. This
introduces a typically guitaristic resonance,
TECHNIQUE FOCUS which is also rather lovely and lends the piece
breadth and, of course, depth. I’ve
Posture embellished the repeat of the melody with
When playing classical guitar, posture is super some Baroque ornamentation, as is perfectly
important in order for both hands to work appropriate to the style and is often used in
efficiently. The traditional method is to sit up instrumental reworkings of the Arioso.
straight on the front edge an upright chair and If you’ve not encountered a ‘cross-string
raise the left knee (right-handed players) by using
trill’ before, the tab captions will explain how
a footstool. The guitar sits on the left thigh and
to execute them, as well as guide you through
the head of the guitar tilts upwards. For long
some of the piece’s trickier sections.
hours of playing, many people prefer to have
Performing The Arioso with the ‘simplicity’ it
both feet on the floor keeping the pelvis level
and good alternatives to the footstool are the demands is not easy at all, but you - and
Dynarette guitar cushion. The Gitano guitar rest hopefully your listeners - are unlikely to tire
of this beautiful work, so all the practice will
ROGERVIOLLET/REX FEATURES

and the ErgoPlay guitar support.


hopefully be worthwhile.

TRACK RECORD To hear The Arioso in three of its countless incarnations, try the 1998 Teldec recording of the Bach Cantatas 154-157
under Nikolaus Harnoncourt; Edwin Fischer’s exquisite vintage recording of the Keyboard Concerto in F minor (Bach Concertos EMI
1989); and Alexei Ogrintchouk and the Swedish Chamber Orchestra’s Bach’s Oboe Concerto in D minor (Bach: Oboe Concertos 2010 BIS).

44 GuitarTechniques September 2013


J. S. BACH THE ARIOSO

JS Bach: wrote
hundreds of
glorious works

September 2013 GuitarTechniques 45


PLAY: CLASSICAL ON THE CD TRACKS 27-28

PLAYING TIPS CD TRACK 28

[Bars 1-10] Follow the fingering carefully in bar 2 and listen to the audio to fingering works best for you. This trill is optional and if it proves too difficult,
hear the timing on the cross-string trill in beat 4). Plucking hand fingering no one will miss it! Follow the fingering guides as the piece becomes a little
is indicated beneath the tab to show how this trill is played. Slow practice stretchy - the first half of bar 4, and bar 10 for example. Practice slowly and
is necessary until it becomes a ‘reflex’ movement - and to find out which commit to memory as this makes it so much easier to focus on your hands.

46 GuitarTechniques September 2013


J. S. BACH THE ARIOSO

PLAYING TIPS CD TRACK 28

[Bar 11 to end] On bar 11, beat 4 use a half barre and continue to use it some simple embellishment (Baroque style ornamentation) - do refer to the
into the next bar for a beat and a half. Work slowly and carefully through recording to hear how these fit in rhythmically. I hope you enjoy learning
the next few bars. On bar 15 the main melody returns but this time with this lovely piece of music!

September 2013 GuitarTechniques 47


LEARNING ZONE
LESSONS
GT221
30MINUTE LICKBAG ..................................... 50
BIMM’s Terry Lewis has six more licks to play,
from beginner to advanced levels.
BLUES................................................................................................. 52
John Wheatcroft looks at the bluesier side of
Pink Floyd’s ace axeman, David Gilmour.
BLUES 2 .......................................................................................... 56
JW has two bites of the cherry this month. Here
he revisits the mighty Kenny Wayne Shepherd.
ROCK .................................................................................................. 60
Martin Cooper examines the rocky style of Mott
The Hoople and Bad Company’s Mick Ralphs.
CREATIVE ROCK .......................................................... 68
Shaun Baxter highlights the open and modern
sounds created by using 4ths in your playing.
COUNTRY ................................................................................... 72
Andy Saphir visits the music of Nashville star
Alan Jackson and his top session buddies.
PROG ................................................................................................... 76
WE HOPE YOU’RE enjoying the issue and with three chord types; a dominant 7th, a Patto’s criminally undersung Ollie Halsall.
in particular Jacob’s piece on soloing over major 7th and a minor 7th as these are the
chords. The premise is simple: when playing commonest. Now add a second chord to create JAZZ ...................................................................................................... 80
over chord progressions, what are the best a short progression and see if one or more Pete Callard focuses on the acoustic Latin
approaches to take? And what do we do when ;    :4 
   #
 
 style of the fabulous Charlie Byrd.
some of the chords seem a little out of place? that are exclusive to each chord – these may
Playing solos on songs with twisty chord well be game changers and help generate a
ACOUSTIC ................................................................................. 86
Stuart Ryan creates a soulful version of the
sequences can be tough (Midnight At The very melodic solo. If you’ve chosen two related gospel classic, A Closer Walk With Thee.
Oasis - yikes!). Sure, one can ‘whitewash’ a chords (say Am7-D7) go for two unrelated


  
 
  

      ones instead (Am7- F#m7). Can you solo ROCK SCHOOL ................................................................ 90
friend as long as you phrase well) but wouldn’t in a way that pleasingly marries unrelated    
 
     
it be better to sound like you’re playing for the chords? Are any notes shared between the over the A-Z of musical terms. This month: M.
song rather than alongside it? So I suggest you chords (A and E are found in both Am7 and
tackle Jacob’s article over several sessions,  PZ #   
 :      
to glean as much as possible from it. I’d also        
 ;# 

 
like to add a few extra pointers for you to soloing. This deepens your awareness of your
take on board. First up, knowing where harmonic environment; it’s like baking
the notes are on your fretboard is a huge the cake before you add the icing and

    
  cherry on top! Then spend time on things
over the fretboard - without hesitation, like primary chord tones, extended
with a metronome ticking away to keep arpeggios, pentatonics and modes, and
you steady? Good fretboard knowledge you will be increasingly able to select
makes chord and scale playing the best
easier, plus it strengthens the approach
bond between the two roles. from your
Here’s another tip; get to ‘musical
know a single chord well toolbox’. You’ll be
by playing only chord
tones over it (root, 3rd,
  ;  ; 
you previously never had. ON
5th and 7ths onwards,
if present in the chord).
Happy soloing! VIDEO!
In the first par
t of this
With this note-to-chord Steve Lukather mastercla
relationship you will learn ss
Luke shows how he plays
where the important notes ‘outside’ the blues.
are within your scales. Your
Page 64
aim is to get chord tone savvy

September 2013 GuitarTechniques 49


LESSON: 30-MINUTE LICKBAG

30-Minute Lickbag
Top BIMM Brighton tutor Terry Lewis has six more
Brought to you by...
fabulous licks to play at easy, intermediate and
advanced levels. How many of them can you play?

EASY LICKS EXAMPLE 1 DAVID GILMOUR CD TRACK 29


If you’re still learning to cope with string bends then Gilmour licks are a scale features often. This lick in B minor features Gilmour’s vocal like
great resource. A lot of his playing is rooted in blues so the minor pentatonic phrasing with some medium delay for ambience.

EASY LICKS EXAMPLE 2 FUNKADELIC CD TRACK 30


This lick uses the A blue scale (ACDEbEG) with a slightly swung feel to get but you can achieve a similar effect with a manual wah by closing it to
the funk. It’ll sound best played through an envelope filter or auto wah emphasise each pick stroke.

INTERMEDIATE LICKS EXAMPLE 3 NILE RODGERS CD TRACK 31


Nile’s rhythm style defined a whole era of disco music and decades later hand and good fretting hand muting skills are required to make this bouncy
his sound still pops up on tracks by other artists. A consistent strumming chord riff sound happening. Try neck or neck + middle pickups on a Strat.

50 GuitarTechniques September 2013


ON THE CD TRACKS 29-34 30-MINUTE LICKBAG LEARNING ZONE

INTERMEDIATE LICKS EXAMPLE 4 RY COODER RHYTHM CD TRACK 32


Here’s a swampy fingerpicked riff in G. Since it’s based around chords I and track. A bridge pickup with a little dirt and some spring reverb and tremolo
IV you can use this kind of idea to lend a rootsy flavour to a blues or folk will help to set it off nicely.

ADVANCED LICKS EXAMPLE 5 MELODIC TAPPING CD TRACK 33


Tapping is not just for high octane, Van Halen style rock. There are a host melody and chord parts. Playing this lick clean will reveal any imbalances in
of players out there such as Stanley Jordan, Tosin Abasi and Wes Borland to note volume and is a great way to practise tapping to even out the dynamic
name a few, who use tapping in a highly compositional way to create riffs or (volume) balance between your two hands.

ADVANCED LICKS EXAMPLE 6 SWEEP PICKED MINOR 7 FLAT 5 ARPEGGIOS CD TRACK 34


Sweeping arpeggios can sound a lot like an exercise if you simply go them mid pattern. Some players like to use the neck pickup to reduce
straight up and down them. This lick is a way to practise changing between picking harshness when they sweep pick.

September 2013 GuitarTechniques 51


LESSON: BLUES ON THE CD TRACKS 35-44

David Gilmour This month John Wheatcroft looks at the blues-


Brought to you by...

inspired playing of that king of touch, taste and tone


- the legendary Pink Floyd axeman, David Gilmour.

                          


                   
  
                         
                     
                    
                     
   

                 


                   
        themselves are often straightforward enough
                       
                      
                      
                   
                       
                   
            long does he leave a note before going for the
                         
                 
                     
                  
                  
          
        
           I’m completely the anti-
      purist. I was never going to
        
             dedicate my life to being BB
           King. My influences were all
         
David Gilmour:         a complete hotchpotch.
one of the true            David Gilmour
guitar greats          
          
ABILITY RATING             GET THE TONE
           
Moderate             
             6 6 5 5 4
INFO WILL IMPROVE YOUR        
GAIN BASS MIDDLE TREBLE REVERB
KEY: Various Melodic blues phrasing            
TEMPO: Various Expression and delivery                   David’s Pete Cornish switching system
CD: TRACKS 35-44 Bending accuracy               allows him to access a smorgasbord of
tones. Guitar-wise it’s Strat into a valve amp,
          
usually Hi-Watt or sometimes a pair of
WE’VE GOT CAMBRIDGE to thank for one of has a magnitude, a sense of theatre almost,
Fenders, with a selection of stomp boxes
the greatest and most famous universities in             
and rack gear to achieve huge overdriven
                   tone with all kinds of delay and modulation
                       effects. For a good generic Gilmour tone set
                        
PETER MAZEL / SUNSHINE / SUNSHIN

up a medium drive in front of a long delay


                       with depth and feedback adjusted to taste.
                        

TRACK RECORD The Wall (EMI 1979) sees Gilmour playing his heart out on every track. Dark Side Of The Moon (EMI 1973) is equally well
conceived but arguably less guitar heavy. For something completely different try Paul McCartney’s Run Devil Run (MPL 1999) featuring
blistering Gilmour solos on Fender Esquire alongside Mick Green of Johnny Kidd & the Pirates, with Deep Purple’s Ian Paice on drums.

52 GuitarTechniques September 2013


DAVID GILMOUR LEARNING ZONE

EXAMPLE 1 PLAYING OVER EM TO AM CHANGE CD TRACK 35


Our first example outlines a harmonic shift between E minor and A minor, and super-confident at all times. The triplet-based figures in bars 2 to 4 can
primarily derived from the E minor pentatonic scale (E G A B D) followed by be pulled back ever so slightly to emphasise the sense of drama and intent
A Dorian (A B C D E F# G). David is really comfortable with sparse rhythmic that is present in Gilmour’s playing on just about everything. This use of
phrasing over both medium and slow tempos, sounding super-composed space is something we should all try to achieve.

EXAMPLE 2 LICKS IN TRIPLET RHYTHMS CD TRACK 37


Much of Gilmour’s soloing vocabulary is pentatonic based and this example looking at the longer crotchet triplet, essentially spacing three notes evenly
is no exception, outlining a Im V7alt progression in Bm (Bm-F#7#9) with across two beats. If in doubt refer to the audio and make sure you can really
carefully selected notes from the B minor pentatonic scale (B D E F# A). hear where these notes should land before attempting this on your guitar.
Again, triplet rhythms feature heavily here although in this instance we’re Again, it’s all about using available space wisely.

September 2013 GuitarTechniques 53


LESSON: BLUES ON THE CD TRACKS 35-44

EXAMPLE 3 BRINGING LIFE TO ARPEGGIOS CD TRACK 39


David treats devices like these as he would the minor pentatonic by intervals: so our first phrase would be 3, 5, 8 of G followed by a bend up to
adding bends, slides, pick rakes and vibrato. Compare the melodies with the 3rd from the 2nd. If you’re aware of this, changing a lick from major to
the underlying harmony. It’s good to quantify what you play in terms of minor or from one key to another becomes straightforward.

EXAMPLE 4 EXPRESSIVENESS CD TRACK 41


The theme for this example is mixing rhythms and adding expressive to define a set rhythm but vary the end result by exploring all the possible
devices such as unison bends, slurs and vibrato. It’s often a good idea when dynamic, timbral and expressive devices you have at your disposal. Doing
practicing to select a prescribed selection of notes, even going so far as this gives even a single lick an almost infinite range of expression.

EXAMPLE 5 ADDING CHROMATICISM CD TRACK 43


We round off our study of David’s bluesy moments with a collection of neat with the associated passing tone. Here we see the connection between root
descending phrases based around the E ‘blues’ scale (R b3 4 5 b7). Towards and b7th (E to D) and 5th to 4th (B to A) although this is a device that you
the end of bar 4 we add some chromatic colour with a pair of semitone could employ in any instance where you find tone gaps - the great thing
‘bridges’, basically filling in the gap between two notes usually a tone apart about it too, is that it will work over any harmony.

54 GuitarTechniques September 2013


LESSON: BLUES
BROUGHT TO YOU BY
ON THE CD TRACKS 45-47

Kenny Wayne Shepherd


We’re Louisiana bound as John Wheatcroft revisits
a one-time teenage phenomenon who has seriously
come of age: the incendiary Kenny Wayne Shepherd!

My first concert was


Muddy Waters with John Lee
Hooker when I was three
years old, so I hit the ground
running when it came to the
blues. Kenny Wayne Shepherd
GET THE TONE

7 6 6 5 2
GAIN BASS MIDDLE TREBLE REVERB
Kenny Wayne as
the 90sÕ blues With his beloved ’61 Strat currently retired
wunderkind from active use, Fender recently repaid
Kenny’s lifelong devotion with a signature
ABILITY RATING model. Unsurprisingly, Kenny’s rig is
traditional all the way, utilising a bunch
Moderate/Advanced of different valve combos, as Kenny says,
“All built by Alexander Dumble,” plus a
INFO WILL IMPROVE YOUR selection of suitably retro overdrive and
KEY: B Phrasing and authenticity effect units between guitar and amp. You’ll
TEMPO: 116 bpm Dynamics and delivery always find a use for a good Strat, a quality
CD: TRACKS 45-47 Pentatonic vocabulary overdrive and a medium output valve
combo. Don’t go mad with front-end gain
KENNY WAYNE SHEPHERD picked up his otherwise the personality of the guitar,
amp - and player - won’t come through.
R GRABOWSKI / RETNA

TRACK RECORD Kenny’s CD/DVD dual release, Ten Days Out: Blues From The Backroads (Colour 2007) is essential for anyone interested in blues.
Two other CDs used in the preparation for this article were Live On (Giant 1999) and his debut, Ledbetter Heights (Giant 2003); both feature
blistering guitar work. Recent CDs include 2011’s stunning How I Go, and The Rides release Can’t Get Enough - all come highly recommended.

56 GuitarTechniques September 2013


KENNY WAYNE SHEPHERD STYLE LEARNING ZONE

EXAMPLE KENNY WAYNE SHEPHERD STYLE CD TRACK 46

[Bars 1-4] We begin with some BB King-inspired bending action with the exploited heavily by Kenny’s primary early influence, Stevie Ray Vaughan.
root on the second string. This type of phrasing is more about thinking of [Bars 9-12] There’s more repetition here. More repetition? Yes, more
the individual quality of each note and its relative location to the root, but if repetition! This conversational to-ing and fro-ing should not be
you insist we could view it as minor pentatonic with an additional 2nd (C#) underestimated within your soloing, as it gives your improvisational
and 6th (G#). In bar 3 we see the first appearance of Kenny’s SRV-inspired phrasing a logical ‘composed’ feel. Our first blues chorus draws to a close
rapid pull-off/slide combination move. He likes this a lot. with a beautifully slippery phrase featuring hammer-ons, slides and double-
[Bars 5-8] Over E7 we’re targeting the major 3rd (G#) before descending stops. Did you spot Kenny’s favourite lick again in bar 11? Notice how the
through a fragment of the B blues scale (R b3 4 b5 5 b7). We end this harmony is targeted with the choice selection of F# notes to coincide with
section of our solo with some piano inspired double-stops, again a feature our shift to F#7 in bar 12.

September 2013 GuitarTechniques 57


LESSON: BLUES ON THE CD TRACKS 45-47

EXAMPLE KENNY WAYNE SHEPHERD STYLE ...CONTINUED CD TRACK 46

[Bars 13-16] Our second chorus starts with a combination of rhythm and in bar 20 can also be found extensively in the soloing style of sophisticated
soloing approaches, in question and answer form. The low B notes in these blues maestro Robben Ford and the UK’s very own Matt Schofield - and very
bars should be fretted with the edge of the thumb over the top of the tasty it is too.
fretboard, Jimi Hendrix-style. Speaking of which, the contrary motion bend [Bars 21-25] Kenny is definitely a subscriber to the ‘heavy strings, high frets,
in bar 16 is pure Jimi! The trick to this lick is to initially bend both strings up high action, hit it hard’ approach to guitar playing, and one situation where
but only play the second string. Once we’re up to pitch, shift the pressure this is most apparent is when he moves over onto the low strings. You really
over to the third string, pick this note and then allow the bent string to fall need to dig in here for these phrases to sound just right. In bar 21 we’re
down to its resting pitch - it’s fiddly but well worth the effort. selecting the F# blues scale (F# A B C C# E), switching to E minor pentatonic
[Bars 17-20] Occasionally more does actually mean more! In this instance (E G A B D) against E7 in bar 22, progressing to yet more double-stop action
we’re talking about the double-stop’s big brother, the triple-stop, another with a neat triplet-based phrase targeting the root of our F#7 and B7 chords
Stevie Ray trademark idea that Kenny has adopted and executes so well in respectively to close. It’s all straightforward enough, although highly
his own way. The rapid pentatonic derived upstroke-rake/slide combination effective, I’m sure you’ll agree - as we so often state, it’s all in the fingers.

58 GuitarTechniques September 2013



       
  

 !#% " "''   "$$$


# '$ '"$  *  
$ *' ' $$ *$, $', 
''     

     , +


  $!

7RXULQJ LQ ,WDO\ XQGHU WKH QDPH WKH 5DOSKV¶ SOD\LQJ LV DV \RX¶G H[SHFW LQ WKH
'RF 7KRPDV *URXS DQG LQ WKH 8. DV FODVVLF JODP URFN ULIIV DQG VRORV EDOOSDUN EXW
7KH 6KDNHGRZQ WKH\ DFWXDOO\ XQOLNH PDQ\ RI KLV FRQWHPSRUDULHV RQ WKH
UHFRUGHG WKHLU ¿UVW GHPR DV 6LOHQFH HOHFWULF JXLWDU KH H[SHULPHQWHG ZLWK WXQLQJV
7KH JURXS FDPH WR WKH DWWHQWLRQ RI VXFK DV RSHQ & & & * & ( * RQ WKH
,VODQG 5HFRUGV H[HFXWLYH *X\ DIRUHPHQWLRQHG &DQ¶W *HW (QRXJK
6WHYHQV ZKR OLNHG WKH EDQG EXW ZDV 7KLV PRQWK¶V WUDFN KDV URRWV LQ JODP DQG
QRW NHHQ RQ VLQJHU 7LSSLQ $UFKHW\SDO URFN µQ¶ UROO ZLWK &KXFN %HUU\ VW\OH FKRUG ULIIV
0RWW IURQWPDQ ,DQ +XQWHU UHSODFHG DQG D ERPEDVWLF OHDG JXLWDU VHFWLRQ 7KH NH\ LV
KLP 7LSSLQ EHFDPH WRXU PDQDJHU * PDMRU * $ % & ' ( )  DOWKRXJK WKH
DQG WKH EDQG UHOHDVHG WKHLU VHOIWLWOHG WRQDOLW\ RI WKH OHDG VHFWLRQ LV UHDOO\ PRUH &
GHEXW DOEXP LQ  7KLV ZDV D PL[ PDMRU GXH WR WKH ) FKRUG 7KH FKDUW LV OHIW LQ
RI FRYHUV DQG RULJLQDOV DQG EHJDQ WR WKH NH\ RI * VR \RX GRQ¶W QHHG WR WKLQN DERXW D
HDUQ WKHP D FXOW IROORZLQJ DOEHLW ZLWK NH\ FKDQJH 7KH VROR LV D EOHQG RI FODVVLFDO
PLQLPDO FRPPHUFLDO VXFFHVV 7KH VW\OH PHORG\ DQG SHQWDWRQLF URFN SKUDVHV
IROORZXS DOEXP 0DG 6KDGRZV DOVR DQG DOVR KDV D KDUPRQ\ SDUW LQFOXGHG IRU WKH
VROG GLVDSSRLQWLQJO\ ZLWK LWV ODVW KDOI RI WKH VROR 7KLV LV PRUH RI D
IROORZXS IDULQJ HYHQ ZRUVH EDFNJURXQG KDUPRQ\ UDWKHU WKDQ D 7KLQ
+XQWHU 5DOSKV DQG WKH EDQG /L]]\ VW\OH WZLQJXLWDU SDUW DQG LV WKHUHIRUH
VHHPHG VHW WR FDOO WLPH RQ WKHLU IDLOLQJ PL[HG PRUH TXLHWO\ RQ WKH WUDFN WKDQ WKH PDLQ
FDUHHUV ZKHQ WKH\ UHFHLYHG D VKRW LQ OHDG JXLWDU VROR 3OD\ ORXGO\ ZLWK D JHQHUDO
WKH DUP IURP D FHUWDLQ 'DYLG %RZLH VZDJJHU DQG DXWKRULW\ DQG FKHFN RXW WKH
%RZLH KDG EHHQ D IDQ VLQFH WKH HDUO\ SOD\LQJ WLSV IRU PRUH LQIRUPDWLRQ
GD\V DQG KDG KHDUG WKH\ ZHUH DERXW
WR FDOO WLPH RQ WKHLU PXVLFDO (55   ((*$/1 00
DGYHQWXUHV %RZLH RIIHUHG WKHP
6XIIUDJHWWH &LW\ ZKLFK WKH\
0"9  1 (5 "& 5  0%
LQH[SOLFDEO\ WXUQHG GRZQ LW HQGHG 0(% $(&5"% & 9" (:"
XS RQ %RZLH¶V FODVVLF =LJJ\ 6WDUGXVW
DOEXP  EXW KH WKHQ SHQQHG $OO 7KH
: ( :0(5 $$   (8& 81
    <RXQJ 'XGHV IRU 0RWW ZKLFK ZHQW RQ 1*"$$; (0 5  &-
 
WR EHFRPH WKHLU ELJJHVW KLW UHOHDVHG


  LQ  7KH VRQJ KDV VLQFH EHHQ
  
 FRYHUHG E\ WKH OLNHV RI ,URQ 0DLGHQ   
IURQWPDQ %UXFH 'LFNLQVRQ DQG
$HURVPLWK 'HI /HSSDUG DUH DOVR ORQJWLPH
     
IDQV RI 0RWW 7KH +RRSOH
 6R DQ DLOLQJ FDUHHU KDG EHHQ KHOSHG E\

    
%RZLH WKH URFN VWDU DQG 0RWW 7KH +RRSOH KDG
     
FRPH WR WKH IRUHIURQW RI WKH JODP URFN !# 81
'= .8!** 1
8$ ($5(*
PRYHPHQW ZLWK WKH *LEVRQ DQG )HQGHU & !0!0 (0 %8 ( !1 5!% :!5 (55

 %"(0 '#  '
 ((*$-  $1( *$<  &0 1.8!0

)6*%   $#  ! ZLHOGLQJ 5DOSKV D PDMRU IHDWXUH RI WKH EDQG
+1 *!580, & 9(80 01$$ )==

  = $#  # !# +H ZDV WR OHDYH LQ  WR MRLQ H[)UHH
%*1- !#/1 5(& 5 5!1 5!% !1 $11! 0(#
IURQWPDQ 3DXO 5RGJHUV LQ %DG &RPSDQ\ ZLWK
1( +1 : 1( (5& 1<,:0 ( 5(( %8
7+( 25,*,16 2) 0RWW 7KH +RRSOH EHJDQ LQ ZKRP KH DFKLHYHG FRQVLGHUDEOH FRPPHUFLDO *0%* !& 85 !$ !& 1 %8 (85*85
WKH HDUO\ V ZKHQ IRXQGLQJ JXLWDU SOD\LQJ DQG FULWLFDO VXFFHVV LQFOXGLQJ D GHEXW DOEXP 9($8% 1 <(8 & !& (00 5( (5!&  &!
PHPEHUV 3HWH 2YHUHQG :DWWV DQG 0LFN WKDW WRSSHG WKH 86 FKDUW LQ  DQG LQFOXGHG !5 0(% 5 *(:0 581- 1 0 1 51
5DOSKV GUXPPHU 'DOH *ULI¿Q DQG VLQJHU 6WDQ WKH 5DOSKV SHQQHG 7RS  KLW &DQ¶W *HW ( %!$ 090 (0 $< !1 $$ <(8 &-
   %   

7LSSLQ ZHUH SOD\LQJ WKH EHDW EDQG FLUFXLW (QRXJK  D SXE EDQG IDYRXULWH WR WKLV GD\

  (55   ((*$/1 $8% $8% $$   (8& 81 +)'27, 5801 5  5"5$ 50# *$81  (90 (   $95
&00(8&/1 :5
&-   ($$(:!8* 0$1 (55 +)'26, "&$81 $$   ; 0(% %* "1 & (&$(( " (("- 
(%*&;/1 *(&;%(81 85 1*:& &/5 5 &(8 : "$ 5  ($$(:!8* 50" 5  ((50 580 $ "# #"& (9-

  
   '# )-(
 

    


 )
    
85(0!5< !1 5 &% ( 5 % 5!1 %(&5-  (01 !& 5 *! 0 # 180 55 5 (01 0 $&$< ;85 :!5 &( ;50 0!&!&
&0$$< 5:( &(5 !01 & 50 0 $1( *$&5< ( 1!&$ &(51 !& 5 150!&1 & 5# ;50 0 55 1 <(8 %(9 0(% (& (0 5( 5 &;5
0<5% 8!50 *05- ( <(8/$$ & 5( *$< *055< 0 & $& 5( 0$$< <(8 05  (& 805$<- !1 5<* ( *05 !1 58$$<  $(5 %(0 !8$5
%# 5 *011 !5 (%- 5( *$< (&9!&!&$< 5& !51 **0&5 1!%*$!!5< %!5 !%*$<-

 '# )-(  


  

       
  


 7    
 5 !1 1$ ;*$&5(0< 1( (&&505 (& <(80 *!#8* &1 015 !5 01 0! *!#8*2 1:!5 5( &# 5 0 632 # 5( 0! 5 0 )-

 
 
   

 
VHPLQDO *UDPP\ZLQQLQJ OLYH DOEXP 1R
6XEVWLWXWLRQV   ,W ZDV UHFRUGHG ZLWK RQH
RI KLV FKLOGKRRG KHURHV /DUU\ &DUOWRQ ZKLFK
   GHPRQVWUDWHV WKH HDVH ZLWK ZKLFK KH FDQ PL[
LW ZLWK VRPH RI WKH EHVW JXLWDULVWV DURXQG
7KHUH DUH PDQ\ VLGHV WR 6WHYH¶V SOD\LQJ EXW
 % !"% 
%!
!%! % " %) (
%! WKLV DOEXP LQ SDUWLFXODU VKRZFDVHG PRUH RI
"%!
%" %   " 
**!  WKH JXLWDULVW¶V MD]]URFN YRFDEXODU\
6WHYH GHPRQVWUDWHV D WKRURXJK

!
 % " )!
(" "(  XQGHUVWDQGLQJ RI KDUPRQ\ WKHRU\ VFDOHV DQG
DERYH DOO SKUDVLQJ :KHQ DVNHG DERXW KRZ KH
DSSURDFKHV WKH EOXHV KH WDONHG H[WHQVLYHO\
DERXW PRYLQJ RXWVLGH VWDQGDUG SHQWDWRQLF
0LFKDHO -DFNVRQ 3DXO YRFDEXODU\ WR SURYLGH PRUH KDUPRQLF
0F&DUWQH\ %DUEUD LQWHUHVW :LWKLQ 6WHYH¶V YHUVDWLOH VW\OH DOO WKH
6WUHLVDQG 4XLQF\ -RQHV XVXDO EOXHV UHTXLUHPHQWV DUH WKHUH RI FRXUVH
(OWRQ -RKQ $UHWKD  YLEUDWR EHQGV FDOO DQG DQVZHU SKUDVLQJ DQG
)UDQNOLQ &KLFDJR DQG &KHU SHQWDWRQLF VFDOHV  EXW WKH\ DUH SOD\HG ZLWK D
³6RPH ZHUH JUHDW VHVVLRQV PRGHUQ WRQH DQG WKH RFFDVLRQDO EXUVW RI IDVW
SDUWLFXODUO\ LQ WKH ODWH V DOWHUQDWH SLFNLQJ 5HJDUGLQJ VFDOHV
DQG HDUO\ V´ KH UHFDOOV /XNDWKHU
V OHDG SOD\LQJ EOHQGV SHQWDWRQLFV
³7KLV LV D WLPH EHIRUH GUXP DQG PRGDO VFDOHV ZKLFK JLYHV KLV OLQHV D PRUH
PDFKLQHV DQG EHIRUH SHRSOH VRSKLVWLFDWHG VRXQG ZLWKRXW WUHVSDVVLQJ WRR
KDG VRSKLVWLFDWHG KRPH IDU LQWR MD]] WHUULWRU\
VWXGLRV 7KHUH ZRXOG EH D ,I \RX¶UH ORRNLQJ WR DGG VRPH µMD]]\¶ OLFNV
SLDQR DQG YRFDO GHPR RU LQWR \RXU EOXHV RU URFN SOD\LQJ WKLV LV D JUHDW
DFRXVWLF JXLWDU GHPR 2U VWDUW 7R GHYHORS \RXU RZQ VHQVH RI ZKHUH DQG
WKH\ ZRXOG SOD\ WKH VRQJ IRU KRZ WR XVH 6WHYH¶V GHYLFHV LQ D SOD\LQJ
\RX :H
G EDVLFDOO\ VLWXDWLRQ LW¶V LPSRUWDQW WR XQGHUVWDQG ZK\
UHDUUDQJH DQG UHZULWH WKH WKH\ ZRUN WKHRUHWLFDOO\ ,W¶V DOVR HTXDOO\
VRQJ IRU WKHP MXVW EHFDXVH LPSRUWDQW WR UHPHPEHU WR VSHQG SOHQW\ RI
ZH ZDQWHG WR JHW WKH KHOO RXW WLPH SOD\LQJ WKHVH LGHDV RYHU \RXU RZQ FKRUG
RI WKHUH 0RVW RI LW ZDV SURJUHVVLRQV DV \RX FDQ HDVLO\ JHW ERJJHG
SUHWW\ EDG PD\EH  RI GRZQ LQ WKH WKHRU\ ZLWKRXW XVLQJ \RXU HDUV
WKH VHVVLRQV ZHUH JUHDW EXW
WKH UHVW ZHUH IRUJHWWDEOH´
$V ZHOO DV WKHVH QRWDEOH
&$1 4- %# % %/%+-
VHVVLRQV /XNH DOVR "%-/ -2--2! 5,- 4#
FRQWULEXWHG WR WKH PXOWL
DZDUGZLQQLQJ SODWLQXP
/5 "  2 %#/,2/%#
DOEXPV WKDW 7RWR UHOHDVHG /% !  -%#+- ,!!,
IURP  RQZDUGV +H
MRLQHG WKH EDQG DW WKH
# %/%  ',%'!! / #
WHQGHU DJH RI  DQG KDG WKH /% '!/#2" -//2-*
    RSSRUWXQLW\ WR OHDUQ IURP


 WKH LQFUHGLEOH PXVLFLDQVKLS
    RI EDQG OHDGHUV -HII 3RUFDUR  
GUXPV DQG 'DYLG 3DLFK
NH\V YRFDOV  7RWR ZDV 'DYH DQG -HII
V EDQG
      
DQG YLVLRQ´ /XNH H[SODLQV ³, ZDV  DQG VR
 KRQRXUHG WR EH LQYLWHG LQ <RX JRWWD GLJ WKHVH   

 

JX\V ZHUH DQG VWLOO DUH P\ KHURHV , VWLOO FDQ
W
  
  
EHOLHYH WKH\ FKRVH PH´  ZDV RQH RI 7RWR¶V ' 7  @3 7; <3 *' * 7  "237 7*
PRVW VXFFHVVIXO SHULRGV ZKHQ WKH\ PDGH D ,*,:%2"3 : * 23 < 73 2$3

   

' *2  %*' 7"& <3 33*"7 <"7

2"*:3      
KXJH FRQWULEXWLRQ WR 0LFKDHO -DFNVRQ¶V
%%> 273 :"723/  3 >3 "3 2" "3

!        7KULOOHU DOEXP :KR FDQ IRUJHW 6WHYH¶V NLOOHU
3"&,%2 <"7 "3 3"'7:2
:$ -<"7  
ULII RQ WKH WLWOH WUDFN" $QG JXHVV ZKDW  KH
,"$:,3. '
:$ -" 2?"* ,"$:,3.
67(9( /8.$7+(5¶6 /(*(1'$5< JXLWDU SOD\HG WKH EDVV WRR  7KDW VDPH \HDU WKH 7RWR :3" ' :"723 "'7* 23 %% &,3/
SOD\LQJ KDV JUDFHG FRXQWOHVV WUDFNV IURP KLV ,9 DOEXP ZDV SURSHOOHG WR SODWLQXP VWDWXV E\ %7 *:  :33  2%7";%> 37:27 %
WLPH DV RQH RI WKH KRWWHVW /$ VHVVLRQ JXLWDULVWV KLWV VXFK DV 5RVDQQD DQG $IULFD 7*'  *7' :33 7  :"7213 ;*%:& 7*
RI WKH V µ/XNH¶ SOD\HG IRU WKH OLNHV RI 6WHYH IRUJHG KLV RZQ VROR FDUHHU %' :, 7  3*:' < 2 '332>/
*HRUJH %HQVRQ 'LDQD 5RVV %R] 6FDJJV WKURXJKRXW WKH V FXOPLQDWLQJ LQ WKH
  #

   %/%  (&$1) - /%  /%' % / !-/ 4/ /- 3,/2!!5 !4!-- /, !-/# #!2# %-## , #  %#+/ %!
%2  * /3+- %!!%,/%# 4/
,,5 ,!/%# %# % 2-//2/%#- (166&) -%4- %4 /4% ,#/ '!5,- # 4%, ,!#/!5
/%/,* - "%-/ ,#/ -%!% !2"- , !! ,/ 3, ## "- (166) !!+- !! / #- !! (16&6) # ,#-/%# (16&0)*

  
  % ! '+&
     



 + 

  
  237 %"$ 3,%%3 *:7 '  :&'7 2,"* 2*&  :,2%*2"' *2 < " "3 7  72"7*' 3:37"7:7 * 7  4  *2/   23:%7 * :3"' 7 "3 3%
%72 3% -      ./ 7 &$3 7  4 ,:%% 7*<23 ( 3 " "713  ' 2,"* ";3 :3 7 *3 "'7237"' *:73" *2 0%721 '*73 *  )
! "' 7  $> * / 7 %3* 3,%%3 *:7 7   *2 7*'3 * ( -    . ( ' )(/  *< 7; 23*%;3 7* 7  '"' &#*2 82 -). * 7  (/


 + 
     
' '> %:3 >*: '  3'3 * &*;&'7 2*& *'  *2 7* 7  '=7/ 4 - .  *23/   $> "'72;%3 "' 7 "3 "'37' 2 7  0:" 7*'1 82 '
7;13 &*% %:3 ,,2* &"=3 &#*2 ,'77*'" - 9 8  5. ' 47 -) '  * 4 ' ) '  * 4. < "% 7   :,2%*2"' '*73 *
"=*%>"' - 9 8   5 4. 3 ,3 7* %, ' 7  3*:' * 7  4 - . '   '  %, 7* ;%*, 7  3'3 * 7'3"*' *;2 7  4/

 
 
   


 9     
2"7*' 3:37"7:7"*' "3  *&&*'%> :3 ;" "' #??/ :3 * 7  * 4 "3 7  72"7*' 3:37"7:7 * ' 4  *2/ 2 7; 3,%%3 *:7 4
'7:2% 72"7*' *2  "'72;% "'  *&"''7 47  *2 7<' 7  82 ' *;2  377"  2**7 '*7 3* *'%> "&,%"3 7 "3 72"7*' 3:37"7:7"*'/ "' 7  
47  "713 ,*33"% 7* :"% '*7 2 *&"''7 47  *2 2*& 7   * '> :,2%*2"' 3% "3 :3 2*:' 7 "3  *2 7 "3 3:373  3"&,% 4 7* 4
:'7"*'"' *&"''7 47  *2 -7  82 ' 47 3"&,%> 3<, 2*:'./  *2 ,2*233"*' :3"' 7  4 3 7  72"7*' 3:37"7:7 *2 4/

  
  % ! '+&
     



 8 
       
 >*:12 7 %% &"%"2 <"7 7  %%&' 2*7 23 %33" 7*2&> *'> "';23"*'3 * '  :&'7  *2/  "';23"*' 3"&,%> 2"7273 7 
>*:1%% $'*< 7 7 ' :&'7  *2 '  :3 3  3" 3:37"7:7 *2 3&  *2 3,%%"' -+ 8 ). "'  "2'7 2 * 7  '$ ' "3  27 <>
7    *2/ 7; 7$3 7 "3 *' 37, :27 2 > 3,%%"' *:7 7 2 "2'7 * 2%%> &"%$"' 7  3*:' * 7 "3  *2/


    
  
7;13 &*% ,,2* 7* %:3 '  3' "' 7 "3 2*$"2 =&,%/ *2 "' %:3/ 2*& 7 8 "713 %%  "=*%>"' -  )    ./ 7 *:% 
7  &*; 7* ( 7; 7273 7  &#*2 57 *  -)./ 72"7%> 3,$"' "713 7 *: 7 * 3  *2"' :, :'7"% 2 9. 3* 7; "3 '"%"' 7  3*:' * 7  (
2%%>  &"'*2 ,'77*'" <"7 7   &#*2 57 < " "3 ;2> *&&*' 3> " %" 7"' 7  '"' 82 ' 47 < " 2 ,23'7 "' 7  3%/

% ! '+&  


  
LESSON: CREATIVE ROCK ON THE CD TRACKS 51-53

Using fourthsContinuing his focus on intervals Shaun Baxter


shows that using 4ths can create contemporary
sounding phrases, riffs and lead lines.
between descending and ascending.

P
P
P

P
P

When played as double-


stops, 4ths form the basis of
many classic rock riffs.
Purple and Rainbow.

GET THE TONE

7 7 5 5 5
P
GAIN BASS MIDDLE TREBLE REVERB
ABILITY RATING It’s a good policy to practise with as little
P distortion as you can. You may have to work
Advanced harder, but there will be a core to your notes
INFO WILL IMPROVE YOUR rather than the fizzy transparency that
results from using too much gain. If your
KEY: C (Am) Recognition of 4th intervals guitar has humbuckers, they will be
TEMPO: 160bpm Use of 4th intervals in solos powerful enough to get all the distortion
CD: TRACKS 51-53 Contemporary solo style P you need from the amp; if using single-coils,
you may need a drive pedal, with 75% of the
IN THIS SERIES, we've been looking at ways gain coming from the amp and 25% from
of using various scale intervals to create a the pedal. Finally, some delay in tempo with
the track will help to give both size and
your blues and rock vocabulary. So far, we've smoothness to the overall sound.
fusion guitarists Scott Henderson, prefer to
DAVID LYTTLETON

TRACK RECORD Fusion guitarists use 4ths a lot! Frank Gambale employs them extensively in his super-fast sweep-picked arpeggio
playing. If you don't know Frank's work try his early solo album, A Present To The Future. John Scofield also uses stacked 4ths from
each scale in order to construct interesting and open-sounding chords. Try his albums Still Warm, Blue Matter and Loud Jazz.

68 GuitarTechniques September 2013


FOURTHS LEARNING ZONE

EXAMPLE 1 ROCKY DOUBLESTOPS CD TRACK 52


During this series, the object is to build up a G) in conjunction with the A minor blues scale
variety of interval-based approaches over the (A C D Eb E G). Bars 1 and 2 start off with some
same backing track using A Aeolian (A B C D E F typical rock-style double-stops.

EXAMPLE 2 DESCENDING SCALE 4THS CD TRACK 52


Bar 11 features descending 4ths taken down two 4ths (and the last one) in this bar are played
through the same scale shape while staying using barré rolls, whereas as the ones across
within the same neck position (vertical motion, the third and second strings are played using
as opposed to lateral motion). Note that the first individual fingers.

EXAMPLE 3 ACROSS AND UP THE FRETBOARD CD TRACK 52


Bars 19 and 20 again highlight scale 4ths, this scale shape, the fretting hand moves diagonally
time alternating between descending and by shifting from the thin to the fatter strings
ascending directions, and played using a mixture whilst also simultaneously drifting up towards
of barré roll movements and individual fingers. the bridge. Also note that pull-offs have been
Here though, instead of staying within the same added for technical ease.

September 2013 GuitarTechniques 69


LESSON: CREATIVE ROCK ON THE CD TRACKS 51-53

EXAMPLE 4 STRETCHY 4THS CD TRACK 52


In bars 25-27 many of the 4th intervals in this section are played on a single against four’ feel. Note the mixture of technical approaches in the latter
string, therefore requiring a large stretch in the fretting hand. Here, an part of bar 26, whereby 4ths played using a wide stretch on the same string
equivalent of the initial nine-note musical motif is repeated further down are juxtaposed by 4ths played on neighbouring strings: again, this has been
the neck. Because this motif is three beats long, repetition creates a ‘three done for technical ease.

EXAMPLE 5 THREENOTE 4TH MOTIFS CD TRACK 52


Here, wide stretches and barré rolls are combined in order to play length of the neck. In bar 36, note how unisons (the same note played either
three-note 4th motifs that alternate between descending and ascending simultaneously or consecutively on different strings) are created when
directions as they are taken down through the scale laterally along the employing a succession of wide-stretch-style 4ths on neighbouring strings.

EXAMPLE 6 CHROMATIC APPROACH NOTES CD TRACK 52


In bar 42 of this example, we see the inclusion of an Eb note from the A top two strings) via a chromatic note a semi-tone below. Finally, at the end
minor blues scale; however, many more chromatic notes are then added to of bar 44, note that there is another chromatic approach from a Bb note to
the mix by approaching each note of the 4ths highlighted in bars 43 and 44 the B note at the start of the following bar (in this case, the first note of a
(descending 4ths shifted down through the neck in a lateral motion on the descending G triad).

70 GuitarTechniques September 2013


FOURTHS LEARNING ZONE

EXAMPLE 7 WIDE INTERVALS AND STRING SKIPS CD TRACK 52


This example starts off with a motion very similar to the principles used 52, we see a succession of ascending 4ths using a combination of wide
in Example 3, only in a different position of the sale. Then, in bars 51 and stretches (involving a hammer-on on the same string) and string skips.

EXAMPLE 8 COMBINING VARIOUS APPROACHES CD TRACK 52


Using a combination of some of the principles featured in Examples 3, 4, 5 and descending 4ths taken up through the scale using a combination of
and 7, bars 57 and 58 feature a nine-note motif comprising both ascending legato, wide stretches, unisons, string-skips and slides.

EXAMPLE 9 STACKED 4THS CD TRACK 52


This final example features some 'stacked' 4ths whereby a succession of 4ths stretches, legato and string-skips. But for the first time here we also see a
are played in one direction (either descending or ascending) on adjacent six-note motif taken down through the scale. Finally, in bar 68, we finish off
strings. Although many of the perfect 4ths in bar 65 are played within the with some more stacked 4ths within one fret (this time, across five strings);
space of one fret, they don't have to be played using a barré roll (although again, due to the moderate tempo, we can take advantage of the option to
they could) because the tempo is relatively slow. Bar 67 sees a return to each use separate fingers of the fretting hand or a barré roll movement. Now see
4th interval being played on a single string using a combination of wide how many of these ideas you can incorporate into your everyday playing.

September 2013 GuitarTechniques 71


LESSON: MODERN COUNTRY ON THE CD TRACKS 54-55

Alan Jackson style


One of modern countryÕs superstars is the focus of Brought to you by...
this monthÕs column, as Andy Saphir examines a
contemporary traditionalist, Alan Jackson.

spanning the 80s to the present day. such a huge variety of artists’ albums over the
         years that it’s probably true to say that his
out the song, www.memory), his style     ;     ; 
is perhaps more traditional sounding   ;      
than other modern country-pop or  ;           
             ;   ;     
often use instruments associated with preference to this. I have therefore played and
             transcribed the electric guitar parts with this
        technique in mind. Of course, if you feel you’d
                  ;   ; 
           all means go for it.
         As with most country songs, an open chord
       strummed steel-string acoustic is of utmost
the talents of country music’s importance, as this underpins and acts a
recording elite, such as Brent Mason generic ‘pad’ throughout the song. It also
                  ;    
         verse or even throughout a ballad. So don’t
                 ;  ; ;
         guitar styles if you want to be an all-round
           country guitarist and, although it may seem
amazing Nashville players. basic, ensure you are familiar with those

          chords and can play them mean and clean.
          
style song might feature a catchy
        
Fortunately for we guitar
the style of master session man Brent players, country music gives
        
‘verse’, which would underpin, but

plenty of opportunity to play
not get in the way of, the lead vocal; tasty, technical stuff.
and a catchy solo, again in the style of
            
Alan Jackson: things interesting. In proper session GET THE TONE
traditional yet style, of course, we always defer to the
modern country feel of the song.
Fortunately for we guitar players, 7 6 4 8 2
country music gives plenty of opportunity to
ABILITY RATING GAIN BASS MIDDLE TREBLE REVERB
play some tasty and technical stuff. However,
             If you’re a country fan you’ll probably own a
Moderate T-style guitar, and that will give you best
              
INFO WILL IMPROVE YOUR results here. A good, modern clean style
it is vital to consider this so that we always
‘twang’ will often incorporate compression
KEY: A Hybrid/thumbpick technique play the appropriate parts. Great session and even a degree of overdrive added to a
TEMPO: 180 bpm Country vocabulary players in all styles are masters of their craft,
short delay. The drive often comes from
CD: TRACKS 54-55 General fretboard skills due to their ability to play the right thing at small studio amps cranked a little (or a lot)
the right time and do it faultlessly, time after so please try to avoid wasp-like fizz at all
ALAN JACKSON IS a household name to time after time! costs. Acoustic guitar parts are often played
country music fans. Hailing from Georgia, Brent Mason has appeared on many of on dreadnought sized flat-tops, and a
USA, the singer-songwriter’s rich country  ;           thinner pick than your regular electric
vocal style and great catchy songs have given truly amazing solos and riffs. Brent’s list of plectrum will add the required shimmer.
JASON L. NELSON/PHOTOSHOT

him numerous country hits in a career recording credits is vast, and he has played on

TRACK RECORD Alan Jackson’s back catalogue will please any twang hungry guitarist. Check out I Don’t Even Know Your Name, with
great electric and acoustic soloing by Brent Mason. His classic hit, Gone Country (again with Brent on guitar) is the perfect example
of an open style country riff, whilst many songs feature acoustic playing by, among others, Bruce Watkins and Jimmy Capps.

72 GuitarTechniques September 2013


ALAN JACKSON LEARNING ZONE

EXAMPLE 1 INTRO CD TRACK 54


[Bars 1 and 2] For this electric intro part pay attention to the picking thumb instead of pick, and fingers ‘i’ and ‘m’ in place of ‘a’ and ‘m’. Ensure
instructions if you’re using hybrid technique. For thumbpick players, use bends are accurate and double-stops are played staccato (clipped).

EXAMPLE 2 RHYTHM GUITAR CD TRACK 54


[Bars 6 to 13] Although this acoustic fingerpicked part is simple compared [Bars 14 to 23] Here’s the acoustic strumming part that’s played during the
to the electric guitar intro, it still needs to be approached with care. Fret electric solo. It’s vital to ensure clean, accurate fretting and to keep the 1/8th
cleanly so all relevant strings ring clearly. Again, pay attention to picking note rhythm even and smooth, employing downstrokes on the beat and
directions, and pick smoothly and strictly in time – country players tend to upstrokes on the off beat. A medium to light gauge pick is ideal for this kind
be spot on the beat, not behind as you’ll commonly find in blues or jazz. of part as it lends a certain ‘shimmer’.

September 2013 GuitarTechniques 73


LESSON: MODERN COUNTRY ON THE CD TRACKS 54-55

EXAMPLE 3 LEAD GUITAR CD TRACK 54


[Bars 13-14] The solo starts with an Em pentatonic (E G A B D) bend which [Bars 15-19] Here’s a typical Brent Mason double-stop lick. Make sure you
needs to begin on ‘4&’ of bar 13. Try using the second finger of your fretting pluck these notes with fingers ‘m’ and ‘a’. The bend on the third string in bar
hand for the note of A on the second string. This helps you to reach the high 18 is quite a challenge if you’re new to this style, as it can be tough to bend
E note on the first string with your fourth finger. Fret the last E note (9th that string up a tone down at that end of the neck. So be careful! Pick the
fret, third string) of bar 14 with your third finger, as you need to play the G notes with the suggested instructions, as this will help to make the phrasing
note (8th fret, second string) with your second finger and bend it up a tone feel ‘in the pocket’.
as you bend the third string up to E. This gives you a ‘double bend’. When [Bars 20-22] This is a also challenging bending lick, not only due to the
you pluck that bent second string with your second finger, and then the necessity of bending the strings accurately, but also because of the quick
bent third string again with the pick, release the double bend, thus giving fretting hand shift that’s necessary in bar 22 between the high D note (10th
you the sound of two strings descending in pitch. Fretting hand stamina is fret, first string) and the next high G note (15th fret, first string). This lick
required here - the pitches of the notes have to be accurate too. needs to sound flowing and continuous, so practise slowly.

74 GuitarTechniques September 2013


LESSON: PROG ON THE CD TRACKS 56-58

Patto’s Ollie Halsall


Some players are hugely influential among the guitar elite
yet taste meagre success themselves. Paul Bielatowicz
examines the criminally undersung genius, Ollie Halsall.

short list when they were              


 ;                
      ;       ;       
           ;
  

Peter John 'Ollie' Halsall was  ;  ;        
 ;         ;        
                  
 ;           ;    ;     
                         ; 
moved to London to play the latter      '   '; ;   
   ;    
       ;    
              prodigious talent and the high standards he
      ;    set, meant he struggled to settle in any single
   ;            ;     
                 
                ; 
;            ;    ; 
                    
 ;                 
  ;      
         
  ;    
It wasn’t until he was 18
         that Halsall finally took up the
      ; 
   ; ; 
guitar. Within just three years
;;           of playing it he had become
       
     ;;  
regarded as one of the world’s
       leading guitarists.
 ;;    
 ;        
Ollie Halsall with           GET THE TONE
his three-pickup          
white SG Custom ;      
  
          6 7 6 5 1
         
ABILITY RATING GAIN BASS MIDDLE TREBLE REVERB
           
             The sound we’re trying to emulate is
Moderate Halsall’s SG Custom going through a classic
that Allan Holdsworth used a similar guitar in
INFO WILL IMPROVE YOUR 70s valve amp (Fender). Ollie’s Custom was
       ;    
heavily modified and he later used an SG
KEY: A Legato phrases           
Standard, so as long as you aim for the
TEMPO: 140bpm Rhythmic ideas        ;   ; 
classic rock sound, any humbucking guitar
CD: TRACKS 56-58 Use of dissonance               will put you in the right ballpark. Select the
        ;    bridge pickup but go easy on the gain and
THIS MONTH WE’RE looking at a hugely ;            treble, and check out the suggested
                 ;    settings for more detail. The tone we want is
                     ;   one that sustains the longer notes without
other household names; someone so well  ; ;       ;    losing the clarity of the sound.
  ;                      ;   
MICK GOLD/REDFERNS

TRACK RECORD Halsall’s innovative playing and experimental chord progressions on Patto’s 1970 self-titled debut caused an
underground stir. But if you’re looking for out-and-out wow factor then check out the band’s live album, Warts And All, released in
2000. As the name suggests, it’s not the best recording quality, but it captures Halsall’s raw talent perfectly.

76 GuitarTechniques September 2013


OLLIE HALSALL LEARNING ZONE

EXAMPLE 1 DORIAN TONES CD TRACK 57


Halsall mixed blues phrasing with fast repeated licks. This is minor pentatonic, with the exception of A Dorian F#s in the first bar (A B C D E F# G).

EXAMPLE 2 PUSHING AND PULLING THE TIMING CD TRACK 57


Here we start off with some Chuck Berry style bends, which then transform into straight 8th-note bends.

EXAMPLE 3 RECURRING THEMES CD TRACK 57


The phrase in beats 3 and 4 of the first bar is repeated in the second bar, after which the opening phrase of the example is repeated an octave lower.

EXAMPLE 4 CHANGING GEAR CD TRACK 57


Here’s another example of how Ollie might have changed the timing of a lick mid-flow, to add excitement.

EXAMPLE 5 CHROMATIC TENSION CD TRACK 57


Halsall would take phrases and move them chromatically to create tension – if you end on a strong chord tone this approach can be extremely effective.

September 2013 GuitarTechniques 77


LESSON: PROG ON THE CD TRACKS 56-58

EXAMPLE 6 USING DISSONANCE CD TRACK 57


This example is based on the same idea as the previous idea – taking a shape and moving it around the neck. Simple but effective!

EXAMPLE 7 REPEATED LEGATO IDEAS CD TRACK 57


Here’s an example of Halsall’s repeated legato licks played on a single string. blues licks, making them sound like one and the same. Halsall pioneered
He had an uncanny ability to slip between this style of playing and stock this fluid approach later taken up by Holdsworth, Bill Nelson and others.

EXAMPLE 8 DOUBLING THE SPEED CD TRACK 57


This lick uses the same notes as Example 4 only this time we’re playing it at illustrates how Halsall could switch gears while playing the same line. Try
twice the speed! Not only does it sound considerably more flash, but it also this with a few of your own licks to see how effective it can be.

78 GuitarTechniques September 2013


OLLIE HALSALL LEARNING ZONE

EXAMPLE 9 LEGATO AND OPEN STRINGS CD TRACK 57


For this single-string legato and open-string lick, keep your pick strokes completely natural. Ollie, like Holdsworth after him, endeavoured to make
alternate (as directed in the notation) and you’ll soon have this one feeling his legato notes sound as close as possible to his picked ones.

EXAMPLE 10 LEGATO, PENTATONICS AND CHROMATICS CD TRACK 57


After the opening legato run the example switches to an ascending minor 1. The example ends with a nice ascending chromatic run. Switching
pentatonic sequence, based on the same repeated pattern seen in Example between ideas like these was a Halsall staple.

EXAMPLE 11 MIXOLYDIAN ASCENDING RUN CD TRACK 57


This final idea is a long A Mixolydian (A B C# D E F# G) legato run. We start by the neck in 16th-note triplets. From these brief examples you should get an
climbing the strings and end with a two-string ascending lick that moves up idea of how advanced this sadly unsung player was for his time.

September 2013 GuitarTechniques 79



      
 

    $'! ! ) $  $


 $!$ !   $ $!  ++ '$ ($ 
 $ $  !* $ !$*    * 

ZDU %\UG UHWXUQHG WR WKH SURGXFHG VHYHUDO DOEXPV DQG FRQWLQXHG LQWR
86 WR VWXG\ FRPSRVLWLRQ WKH V
DQG MD]] WKHRU\ DW 1HZ %\UG FRQWLQXHG WR UHFRUG DQG SHUIRUP
<RUN
V +DUQHWW 1DWLRQDO XOWLPDWHO\ UHOHDVLQJ RYHU  DOEXPV DQG ZDV
0XVLF 6FKRRO ZKHUH KH VWLOO DFWLYH XS XQWLO D IHZ PRQWKV EHIRUH KLV
EHJDQ SOD\LQJ FODVVLFDO GHDWK RI OXQJ FDQFHU RQ 'HFHPEHU   DW
JXLWDU 5HWXUQLQJ WR KLV $QDSROLV KRPH
:DVKLQJWRQ LQ  KH &KDUOLH %\UG
V SOD\LQJ VW\OH LV D XQLTXH
FRQWLQXHG KLV FODVVLFDO EOHQG RI FODVVLFDO MD]] ERVVD QRYD DQG EOXHV
VWXGLHV ZLWK 6RSKRFOHV $OWKRXJK ZH
UH SULPDULO\ IRFXVLQJ RQ KLV
3DSDV WKHQ $QGUHV VLQJOHQRWH VRORLQJ KHUH FKRUGDO LGHDV ZHUH D
6HJRYLD LQ ,WDO\ RI ZKRP FHQWUDO SDUW RI KLV DSSURDFK DQG IHDWXUH LQ
%\UG UHFDOOHG ³,W ZDV OLNH HDFK RI WKH VHYHQ H[DPSOHV 7KH H[DPSOHV
SOD\LQJ ZLWK *RG´ %DFN LQ DOVR GLVSOD\ %\UG
V IDYRXULQJ RI PDMRU DQG
:DVKLQJWRQ %\UG IRUPHG PLQRU SHQWDWRQLFV WKH EOXHV VFDOH DQG
D WULR DQG EHJDQ SOD\LQJ LQ DUSHJJLR VKDSHV DV WKH EDVLV IRU KLV VRORV ZLWK
ORFDO FOXEV EXW FKRVH WR VRPH FKURPDWLF PRYHPHQW DQG HYHQ
HVFKHZ WKH FRQYHQWLRQDO RFFDVLRQDO EOXHV\ EHQGV GHVSLWH EHLQJ SOD\HG
KROORZERG\ MD]] ER[ LQ RQ Q\ORQVWULQJ JXLWDU +H DOVR XVHV WKH
IDYRXU RI KLV FODVVLFDO ¿QJHUV RQ KLV SLFNLQJ KDQG  FODVVLFDO VW\OH
JXLWDU ³, ZDQWHG WR DSSO\ SLPD  UDWKHU WKDQ D SLFN , KDYHQ¶W LQGLFDWHG
 
  ZKDW ,¶G OHDUQHG DERXW WKH WKHVH XQGHU WKH WDE VR IHHO IUHH WR XVH
     DFRXVWLF JXLWDU WR MD]]´ KH ZKDWHYHU GLJLWV \RX ZLVK WR SOD\ DOO RI WKH

  
 H[SODLQHG %\UG IRXQG WKH IROORZLQJ H[DPSOHV
WULR WKH LGHDO IRUPDW IRU
  KLP WR FRPELQH KLV ORYH RI MD]] EOXHV DQG  .( ( ,!  

FODVVLFDO UHOHDVLQJ KLV ¿UVW DOEXPV -D]]
5HFLWDO %OXHV )RU 1LJKW 3HRSOH LQ 
01 ,!  ( .( 
     

6HYHUDO UHFRUGLQJV IROORZHG EXW LW ZDV 
V (!, (#  ,'

4$,=5  

&KDUOLH %\UG $W 7KH 9LOODJH 9DQJXDUG WKDW
LQWURGXFHG KLP WR D ZLGHU DXGLHQFH ,W ZDV
(#',.1 !'  0,/'

4$,=5    DOVR LQ  WKDW KH XQGHUWRRN D 6WDWH 01  & &KDUOLH %\UG


 *#6<   
'HSDUWPHQW VSRQVRUHG WRXU WR 6RXWK $PHULFD
ZLWK KLV WULR JLYLQJ KLP WKH RSSRUWXQLW\ WR
7+,6 0217+ :(
5( JRLQJ WR EH H[SORULQJ YLVLW %UD]LO %ULQJLQJ EDFN UHFRUGLQJV RI -RmR  
WKH GHOLJKWIXO VRORLQJ VW\OH RI WKH OHJHQGDU\ *LOEHUWR DQG $QWRQLR &DUORV -RELP KH SOD\HG
&KDUOLH %\UG &KDUOLH /HH %\UG ZDV ERUQ LQ WKHP WR VD[RSKRQLVW 6WDQ *HW] DQG WKH\
6XIIRON 9LUJLQLD RQ 6HSWHPEHU WK  +H GHFLGHG WR PDNH D UHFRUGLQJ RI WKH VRQJV     
JUHZ XS LQ &KXFNDWXFN 9LUJLQLD DQG ZDV UHOHDVHG LQ  DV -D]] 6DPED 7KH DOEXP

     
WDXJKW WR SOD\ DFRXVWLF JXLWDU EDQMR DQG UHDFKHG QXPEHU  LQ WKH %LOOERDUG FKDUWV
PDQGROLQ DW WKH DJH RI  E\ KLV IDWKHU %\UG VWD\LQJ RQ WKH FKDUWV IRU  ZHHNV ODWHU DOVR ':",=!" "4'$ =5  '55$' !=$:4
SOD\HG LQ KLV VFKRRO RUFKHVWUD DW 9LUJLQLD WKH VXEMHFW RI D ODZVXLW ZKLFK VDZ %\UG /,)3: ,)=5 "$( ?$:" $''A A4 , $5,)
A4') (0 :"5 @(.'5 ?,4& !4:
3RO\WHFKQLF ,QVWLWXWH WKHQ ZDV GUDIWHG LQ DZDUGHG KDOI RI WKH UR\DOWLHV DQG VWDUWLQJ WKH
,) ':4$1 5 :" !=$:435 )& .$&=.
 DQG VDZ FRPEDW LQ WKH ::,, HQGLQJ XS µV ERVVD QRYD FUD]H LQ WKH 86 %\UG
?$:" :" :,) ,):4,' 4,'' , :, 4,=) ;
VWDWLRQHG LQ 3DULV LQ  DQG SOD\LQJ LQ DQ FRQWLQXHG WR WRXU DQG UHFRUG DQG LQ 
,4 /,4 :& :" :4' ,?) ,) :" (.0
$UP\ 6SHFLDO 6HUYLFHV EDQG PRYHG WR $QDSROLV 0DU\ODQG 7KH VDPH \HDU ) 5: =.  ?4( ') :,) ,) A,=4 (.1
:KLOH LQ 3DULV %\UG PHW DQG VDZ 'MDQJR KH DOVR KRRNHG XS ZLWK JXLWDULVWV %DUQH\ "$& 5:4$)!5 ?,4& ::4 5 ,5 ) #",'
5HLQKDUGW SHUIRUP 'MDQJR ZDV WR EHFRPH .HVVHO VHH *7 DQG +HUE (OOLV *7 WR 4":,. !=$:4 =: )$:"4 $5 55):$'1
RQH RI KLV JUHDWHVW LQÀXHQFHV )ROORZLQJ WKH IRUP 7KH *UHDW *XLWDUV DQ DVVRFLDWLRQ WKDW
   " 

 
 ' 1' (  ' (!'#1 !, ( (  ' ., (! '!'( ,! /(,, . 
.,' ',(,'1 ! ' 1' $" *3% 22  0, , ,2 $" *-%  ', .,'( $" )%   ', .,'( - $" )*%
0' ! !, .( ' #1( !( 22  !,#!''( '1 ((  ' (&

  
  $ &,%

  
    

   -          


>4  :$) 5:A' 5)$)! 52=) A4 5:A5 $)  5:4:$)! 4,=) ) " (,>5 :?)  (%,4 .)::,)$ )  ($),4 .)::,)$8'=5 5'
 (%,4 ",4 ,'',? A  "4,(:$ $ (,>$)! 4,( :" ;4 /0 :, :" ?$:" :" 5( "4,(:$ $ 4.:  ,=.' , :$(5 ) ',55 ,)
:" /0 ) (,>$)! $):, )  (%,4 .)::,)$ $1 ,4 :" 45: , :" '$) '=5A 2=4:4 :,) )51

"

   <       


,4 :"$5 ',>'A :$) :=4)4,=) $)  A4 .'A5 4,=) :" ",45 )!4.$& A,= (A '$& :, @.',4 "A4$ .$&$)! ,4 .$& ',) /':4): ,4
5=!!5:$)! 7 $) :" 45: 4 :") +6* $) 4 < ) (,>$)! $):,  ,),(A .$&$)!01 ):45.45$)! ",45 '$& :"$5 $5  ',>'A ?A :, (& A,=4
:$) 5:A' ",4' $ ,>4 :" (6 ) 6 ",451 "$' "4'$ ?,=' .'A$)! 5,=) 4$" ) (=5$''A $),4(1

   ;   
         
@(.' ; 5:4:5 $)  ($),4 '=5 5' ?$:"  *:" /0  $) 4 - )  (%,4 .)::,)$ ?$:"  "4,(:$ .55$)! ),: /0 :") 4:=4)5 :,  '=5
(%6:" /+0 $) 4 <1 >4 :" 6 A4 (,>5 :?) :" 4.!!$, )  5' ?$:" )  *:" )$)! ?$:"  ",4' $ (,>$)! 4,( -; :, *1

$ &,%  


  

      
 

             


A4 !$)5 $)  ($),4 '=5 5' :") (,>5 :?) :" :" /0 ) 6:"  5=!!5:5 "35 .4".5 :"$)&$)! (,4 $) :4(5 ,  '=5 5' ?$:" )
/0 ,) :" (6 ,4 4:=4)$)! :,  '=5 ,4 :" 5,) "' , :" 41  7:" /01 "4'$ )$5"5 =:$=''A 4,=)  '=5 ?$:"  *:" 
>4 :" 6 " 5=!!5:5 ( ) 6 ':",=!" :" 2=4:4 :,) ) ,) :" ?$:"  ), :, :" (6 $) :" )' 41

           


4 A4 5:4:5 A .'A$)! 4,=) :" ",45 (,>$)! $):,  ($),4 6 (,>$)! $):,  ($),4 .)::,)$ ,>4 :" (6 )  '=5 5' ?$:" )
.)::,)$ $) 45 ; ) )  ,4$) $) 4 1 >4 :" 6 " 5=!!5:5 6  *:" ,>4 :" 4($)$)! 451 5$)! .)::,)$ ) '=5 5' $5
) (6 :") 6 ) (6 ,>4 :" 6 ) (6 ) 6 ,>4 :" (6 ) 5,=) >4A %BBA ?") .'A ?$:" A435 (=5$'$:A ) ,)>$:$,)1

  
  $ &,%

  
    

   7       


>4 :"$5 ",4=5 , '=5 $)  A4 '4!'A .'A5 4,=)  ,4$)  (%,4 ",451 ,: :" ',>'A ",4' $ ,>4 :" 6 ) 6 ?"4 A4
.)::,)$ )  '=5 5' ?"$' 5:$'' )$'A "$):$)! : :" =)4'A$)! 5=.4$(.,55 * ) 6+* >,$$)!5 4($)$5): ,  ($),4 '=51

$ &,%  


  

      
 

   6          


>4 :"$5 :$) 5:A' '=5 ",4=5 :"$5 :$( $)  A4 5:4:5 4,=) 6 ) 6 ) (6 ,>4 :" ,445.,)$)! ",451 >4 :" 6 " 5=!!5:5
 ($),4 .)::,)$ (,>$)! $):,  "4,(:$''A 5)$)! :"5 $ ,>4 (%* :") ',55 ,)  ,55 5:A' ",4' $1 !$) ),: :" ($@$)! ,
:" 6 ) 6 ",451  :") 5)5 :" )& "4,(:$''A :, ,=:'$) .)::,)$5 ?$:" ",4 :,)5 ) :=' ",45 :, 4:  4,=) 5,',1

  
  $ &,%
LESSON: ACOUSTIC ON THE CD TRACK 73

Just A Closer Walk With Thee


This gospel standard has been covered by many great
artists including Johnny Cash, Martin Simpson and
Ella Fitzgerald. Here’s a Stuart Ryan solo arrangement.

arranger must work up given the arrangement a lilting, swing feel to


Johnny Cash in suitable and interesting keep things moving along. The picking thumb
his pre ‘Man In harmony if their version plucks the alternating bass notes throughout
Black’ period
is to be successful. and while it’s common in these situations to
Although you’ll often palm mute the bass notes, I’ve elected to play
       them without muting all the way through –
With Thee scored in the this just seems to help with the swing feel as
    
  these notes sustain and ring a bit more this
in the G instead, and    
        
used an open G major thumb with or without a thumbpick, but in
tuning (DGDGBD) for either case be careful not to hit the bass notes
the job. Although too hard as you don’t want them to
common in slide, this is overshadow the subtlety and simple beauty of
also a fantastic tuning the melody and chords.
for arranging anything  ;  ;   

with a bluesy or soulful twisting moments in our arrangement (I don’t
vibe. For a start, you get want to make things too easy for you!) but it’s
the tonic note, G, on the mostly open strings, melody and some sparse
        chords so aim for that relaxed, lilting feel all
strings, meaning that the way through.
these can easily be If you’re a singing guitarist, why not wow
accessed for both bass your audience by introducing the song
and melody duties. instrumentally, singing a couple of verses
Next, you have the 3rd then adding a middle solo (this arrangement
of a G major chord, B, again), singing another verse or two before
located as the open going out on the solo arrangement. Plus, you
second string; this can always embellish my version with ideas of
again puts it in easy your own, as well as experimenting with capos
reach for either melody (especially if you’re singing). Have fun!
or harmony roles.
Finally, you have the
5th of G major, which is
Although you’ll often find
of course D, located on Just A Closer Walk With Thee
the open sixth, fourth
   

scored in the key of C, I’ve
ABILITY RATING As we’ll see in this arrangement, the arranged it in G instead and
happenstance of these string tunings proves
Moderate invaluable for many reasons. First, it allows
used an open tuning - great
for a simple but unbeatably effective for bluesy or soulful vibes.
INFO WILL IMPROVE YOUR alternating bass line on the I chord, G, which
KEY: G Fretting hand barres appears throughout. Next, we can also utilise
TEMPO: 112 bpm Alternating bass lines the open D strings when we want to suggest GET THE TONE
CD: TRACK 73 Fluidity in open G tuning the V chord, D major, again using the Any good acoustic will serve the purpose
alternating bass line system. All these open here though with us being in an altered
AS WITH MANY great gospel songs, the strings also make it easy to play fragments of tuning you’ll want to watch your string
author of this one is unknown. But in a way chords or hint at chordal extensions - for
MOVIESTORE COLLECTION/REX FEATURES

gauge – something around the medium size


that’s the best thing possible since it allows us instance the note B is the 6th or 13th of D, and or heavier will be best (try 12 to 53). I
to work from a blank canvas, musically is a useful and attractive colour tone. recorded this on a Froggy Bottom model M.
speaking. Presented with just a melody, the Given the sparse nature of this melody I’ve

TRACK RECORD There are many great versions of this from legends including Johnny Cash and Bob Dylan, Patsy Cline and Willie Nelson,
a stunning one from Ella Fitzgerald and more. I love Martin Simpson’s version of this on his album A Closer Walk With Thee. Another
great version worth watching is that of Eric Clapton, Wynton Marsalis and Taj Mahal playing together – check it out on YouTube.

86 GuitarTechniques September 2013


JUST A CLOSER WALK WITH THEE LEARNING ZONE

PLAYING TIPS CD TRACK 73


[Bar 2] The bluesy sliding double-stops are a typical phrasing device in playing barres like these; it doesn’t take too much pressure to hold down all
songs such as this, but please make sure you time them so they are played the strings and a relaxed first finger barre will make it easier to fret the note
just before the beat, as grace notes. at the 7th fret string, first string with the fourth finger.
[Bar 11] This barre at the 5th fret will sort the men from the boys! Although [Bar 17] From here the melody repeats but there are some subtle changes
it may feel contrary, aim to keep the fretting hand quite relaxed when to the chords and bass lines to watch out for.

September 2013 GuitarTechniques 87


LESSON: ACOUSTIC ON THE CD TRACK 73

PLAYING TIPS CD TRACK 73


[Bar 21] There are some finger twists in this bar to accommodate the [Bar 25] For the harmonics at the end of this bar, I’d use the third finger.
moving bass line – make sure you keep the chord on beat 1 sustaining [Bar 28] Here’s the obligatory gospel diminished passing chord! As with bar
against the bass line for three whole beats. 11 this sequence will be a good work-out for your barring finger.

NORTH AMERICAN
SUBSCRIPTION OFFER
Subscribe to Guitar Techniques today and save
over $89 off the store price - it’s madness! SAVE
OVER
!""Yes, you can save over 40% off the store price and pay just $29.50 by
quarterly credit card. 40%
!""That’s the equivalent of only $9.07 per issue (usual price $15.99)!
!""Struggle to find a copy of Guitar Techniques in stores? Then OVERSEAS ORDERS Excluding North America
subscribe today and you’ll never miss another issue - delivered by Order online at: www.myfavourite magazines.co.uk
Airmail, direct to your home or workplace. Or call +44 1604 251 045
!""Get your copy up to three weeks before they hit the stores. TERMS AND CONDITIONS: This offer is for new North American subscribers
only. You will receive 13 issues per year. Your subscription will start with the next
ORDER ONLINE: www.imsnews.com/guitartechniques available issue. Minimum subscription term is 12 months. If at any time during

OR CALL TOLL FREE on: 1-800-428-3003


the first 60 days you are dissatisfied in any way please notify us in writing and
we will refund you for all un-mailed issues. Come and join the GT family!

88 GuitarTechniques September 2013


LESSON: ROCKSCHOOL ON THE CD TRACKS 74-78

A-Z Of Music Theory: M


Charlie Griffiths mutters about movable chords,
Brought to you by...

major as an example, it contains the notes


CDEFGAB. Starting from each note of the
major pentatonics, modal interchange, multi-finger scale in sequence produces the following
tapping and the Mixolydian mode. Mmmmm! modes: C Ionian, D Dorian, E Phrygian, F
Lydian, G Mixolydian, A Aeolian and B
Locrian. Each of these modes contains the
same notes, but start from different ‘root’
notes are major pentatonic. This    
   P   
      4       P       P  
either major or minor pentatonic, on. Since the ‘parent scale’ note spacing is
depending on which note is            P
designated the root. On the guitar each mode has its own unique structure.
this means that the same scale shape
can double up as either major or
minor pentatonic. Movable Major Chords
When chords are concerned the
      4    4 

M ixolydian
        
parent major scale and has a similar
            
       4    : 
positions across the fretboard. The basis of
intervallic structure: 1 2 3 4 5 6 b7.   :      
As you can see, the intervals of the formulation of which is frequently
Mixolydian are almost exactly the attributed to jazz guitarist Joe Pass who was
same as the major scale, except for           4 
the 7th degree. The Mixolydian is the              4 
only one of the seven modes to open chord shapes C, A, G, E and D. If you can
contain both the notes of a major already play those open shapes, the next step
triad and a b7. This makes the scale is to create movable versions that can be
perfect for playing over dominant 7th        :    : 
chords. The scale not only contains the entire fretboard. Essentially there is a
the notes of a major triad, but also all              
4                     
giving it a light and bright character, move the shape up the neck to the desired fret
but the addition of the 4th and b7            
intervals suggest a hint of minor       
pentatonic, without becoming too
Angus Young
mixes minor and
major pentatonic
dark. This scale is often found in
blues, funk and soul music. M ulti-Fingered Tapping
This technique utilises two or more
   :      

ABILITY RATING M odes


So far in this series we have
encountered six modes: Aeolian, Dorian,
the fretboard. These extra digits allow for
greater possibilities than the typical ‘one-
   :       
Moderate Ionian, Locrian, Lydian, and Mixolydian. In a inspiration from piano and Chapman Stick
few months we will look at one more called players. Guitarists like Joe Satriani, Tosin
INFO WILL IMPROVE YOUR Phrygian. These seven modes might better be Abasi, Bumblefoot and Stanley Jordan each
KEY: Various Musical knowledge thought of as ‘moods’, since each one has its  4           
TEMPO: Various Application of theory own unique atmosphere with which we can tapping, suggesting that there is still room for
CD: TRACKS 74-78 Overall understanding emotionally connect. When we hear the interpretation and innovation within this
pentatonic scales in Ex1, most people perceive              

M ajor and minor pentatonic the major as bright and happy, whereas the
These two scales are the basis of every
guitarist’s toolkit. The two scales can be
minor is darker and sadder. The seven modes
can be viewed in the same way, but with more
with your plectrum to free up all four of your
        : 
support your hand and keep your downward
viewed as relative major and minor. A minor   4                     
pentatonic contains the notes A C D E G, mode is because each contains a unique set of possible. Try hammering-on and pulling-off
making the intervals 1 b3 4 5 b7. By starting intervals. The modes also relate to each other notes and playing scale fragments until your
the same scale from the C we get C D E G A, on a deeper level, as each one can be derived          
which changes the intervals to 1 2 3 5 6. These from the same parent major scale. If we take C different the fret spacings.
ANGELA LUBRANO/LIVEPIX

TRACK RECORD Angus Young combines pentatonics in You Shook Me All Night Long. For Mixolydian mode try Norwegian Wood by The
Beatles. Norwegian Wood’s Dorian bridge shows how a change of mode creates a change in mood. Steve Vai uses CAGED’s movable
major shapes in Creamsicle Sunset. For multi-fingered tapping, Satriani’s Midnight is one the most influential pieces ever.

90 GuitarTechniques September 2013


A-Z OF MUSIC THEORY: M LEARNING ZONE

EXAMPLE 1 MAJOR AND MINOR PENTATONIC CD TRACK 74


Play the A minor barre chord to give the scale context. Play up and down the C chord and repeat the same scale. Notice that each different chord changes
scale use one-finger per-fret when ascending and descending. Next play the the sound of the scale.

EXAMPLE 2 MIXOLYDIAN CD TRACK 75


Play the A7 chord to give your ear a musical reference point; this type of down the scale naming the intervals as you go and be sure to use alternate
chord (dominant 7th) is synonymous with the Mixolydian mode. Play up and picking throughout.

EXAMPLE 3 MODES CD TRACK 76


Here we have two modes C Ionian and D Dorian. Both modes contain the D Dorian is DEFGABC. To fully appreciate a mode, it should be played
same notes, but from different starting points; C Ionian is CDEFGAB, while repeatedly over a chord or root note for context.

EXAMPLE 4 MOVABLE MAJOR CHORDS CD TRACK 77


Fret each chord shape as quickly as possible and hold the chord for as long tricky if you are not used to playing a variety of barre chord shapes. Try
as possible before moving to the next one. Some of these chords can be playing in other keys by moving all the shapes up and down the neck.

EXAMPLE 5 MULTI FINGERED TAPPING CD TRACK 78


This part is mostly tapped with the picking hand, so put your pick down. fretting hand. Use your picking hand fingers to tap the melody at the 12th
Play a full Emaj7 barre chord at the 7th fret and hold the position with your fret and allow all the notes to sustain and ring together as much as possible.

September 2013 GuitarTechniques 91


NEVER
MISS
ANOTHER

BACK ISSUES
ISSUE
96
Turn to page
to subscribe!

MISSED IT? GRAB IT NOW!


Your copy of Guitar Techniques gone walkabout? Quick, get one now while stocks last!

APRIL GT 215 SPRING GT 216 MAY GT 217


HARMONY GUITAR SOUTHERN BOOGIE ELECTRIC BLUES
Play multiple guitars like Thin Lizzy, Steve Play Southern Rock like Lynyrd Skynyrd, FINGERSTYLE
Vai, The Eagles and Queen with our Allman Brothers, Creedence Clearwater Learn why fingers is the only way for so
fabulous Harmony Guitar feature. Plus a full Revival, ZZ Top and more. Plus 20 Unique many great players. Play like James Taylor,
transcription of Scott Henderson’s awesome Guitar Sounds, Charlie Christian, Wilko Anthrax, Steve Morse, Eric Johnson and
Well To The Bone, and play like Eric Clapton, Johnson and an exclusive video masterclass Jimmy Raney. Plus a great instrumental
Gary Moore and Jimmy Page! with the legendary Larry Carlton! acoustic medley and banjo rolls!

JUNE GT 218 JULY GT 219 AUGUST GT 220


ALTERNATE PICKING UPGRADE YOUR BLUES FUNK UP YOUR BLUES
Gain more speed, dynamics and expression Add a note to the pentatonic scale and Make your blues groove with our fabulous
with our alternate picking masterclass. A full transform your world into Hexatonic funk-blues tutorial, and learn classic funk in
transcription of the Ten Years After classic Heaven! Plus a full guitar transcription of the style of Nile Rodgers. Master the art of
I’m Going Home. Plus the styles of Keith Dire Straits’ fabulous Lady Writer. Master odd eight-finger tapping and play in the styles of
Richards, Camel’s Andy Latimer and Alice In time signatures and play like Freddie King, Joe Satriani, Rory Gallagher, Joe Pass, Keith
Chains’ Jerry Cantrell. Jim Hall, Vince Gill and Mick Jones! Urban, Ty Tabor and Martin Barre!

TO ORDER BACK ISSUES: Call 0844 848 2852 or visit www.myfavouritemagazines.co.uk


Please do not call or email the magazine directly as we cannot deal with subscriptions or back issues. We regret that we cannot photocopy transcriptions from back issues
Each back issue costs (including postage and packing) QUK: £5.50 QEurope: £6.50 QRest of the world: £7.50

92 GuitarTechnique September 2013


MUSIC REVIEWS WHAT OUR RATINGS MEAN: +++++Buy it ++++Excellent +++Good ++Average +Bin it!

New Albums
acoustic led pieces. It takes
inspiration from a wide variety of
music too with a bit of Celtic
influence here and there mixed in
with folk, a tad of country, a reel or
two - it even gets a little funky in
The new guitar releases, including places. Highlights include Sidhean
Album Of The Month and Classic Album... Mor and the stunning Raising The
Bar which does exactly that. The
feelgood factor created by this
ALBUM OF THE MONTH the musical world. Fronted by lead album is immense so it’s well worth
vocalist and bass player Jon Harvey, taking a listen.
BRAD PAISLEY Monster Truck takes no time at all to
WHEELHOUSE pile on the pressure so the title ZZ TOP
Arista +++++ seems highly appropriate. Guitar THE STUDIO ALBUMS 1970  1990
duties fall to Jeremy Widerman and Rhino +++++
Paisley’s country pickin’ ability Following the current CD box set
he positively shines throughout this
has never ceased to amaze and album. There’s a general blues-rock trend here we have the first ten
yet again he pulls out some feel to the music but with that albums from Texan blues-rockers ZZ
truly stunning six-string heavy hard rock element that’s both Top. As you’d expect from one of the
acrobatics, seemingly making riffy and infectious. If there is any world’s biggest bands it comes
use of every fret and note over criticism then it is a bit short on light nicely packaged, with each disc in
the entire surface of his relief but what they offer here is its own slipcase complete with the
Telecaster’s fretboard. But this latest album is far from being just a consistently good on composition original artwork, including the
demonstration of guitar prowess. It’s packed with grat songs, feels and performance. Sweet Mountain gatefolds for Tres Hombres and
and evocative lyrics. Yes there are also the usual heartbreak and River is the well chosen single pull. It Tejas. This fantastic collection
heartache themes associated with the country genre; but there’s showcases the band rather well and represents the band’s time with
humour too, like Harvey Bodine who’s reluctantly brought back to has helped them achieve success in
life after a heart attack. There’s a running theme of a radio dial their homeland. We also love the
tuning between the tracks which keeps things light hearted but slower paced My Love Is True: this
there’s controversy too on Accidental Racist. What remains borders on grunge but again comes
constant however is the impact of Brad’s guitar work and that’s with a strong riff acting as the DNA
apparent on every track. Check out Runaway Train, Tin Can On A of the song - and once again
String and Southern Comfort Zone, all offering something a little featuring a great solo from
Widerman. If you like things to be
different. This is definitely a departure from Paisley’s previous
hot and heavy then make sure you
albums but for us there’s extra excitement as a result. Three
listen to this.
different versions are available too, two of which feature extra
Warner Brothers and sees Billy,
tracks and that’s never a bad thing with this amazing musician.
WINGIN’ IT Dusty and Frank (or Rube as he was
FOR THE MANY known on their first album) develop
originals and some standards but all Wingin’ It Records ++++ from a home-grown blues-rock trio
played in the cleanly picked and Acoustic guitar duos are few and far into an internationally acclaimed
imaginative style for which he is between and even rarer is a act. That said, their rough edges
known. The title track is a niftily combination of players as well have never really gone away but
picked upbeat reel and we matched as these. Following a there was certainly a lot more
particularly like the Celtic elements commission for ten minutes of overdubbing, sequencing and more
that creep in. So be sure to check original music for the Gordon obvious production on the big
out Larry’s Favourite/Harper’s Reel, Duncan Memorial Trust, the pair selling albums like Eliminator,
as well as his arrangements of Cyndi was asked to perform the music live Afterburner and Recycler at the end
Lauper’s Time After Time, and the in Perth Concert Hall. It was so well of this set. Bill Ham was in charge of
TRISTAN SEUME standard, Georgia, which are both received that Adam Bulley and Chas production on all ten of these
MIDDLE CHILD superb. Those of you who regularly Mackenzie realised they had the albums and this has kept a
Download +++ follow Tristan’s tuition will find this core element for this, their debut continuity to the group’s sound
It’s not often that we get the both informative and helpful as it album. And what a captivating and throughout Top’s impressive career.
opportunity to review something illustrates his approach beautifully. evocative instrumental album it is, Bill also shares writing credits on a
from one of our contributors so More importantly it’s a listening taking you through an exceptionally great deal of the songs so could
we are delighted to bring this delight to anyone that buys it. It’s varied selection of predominantly almost be considered the fourth
REVIEWS BY ROGER NEWELL AND DAVID MEAD

beautiful album from Tristan download only at the moment but a member of the band. All in all this is
Seume to your attention. Tristan is CD is coming soon. Go to info@ a fantastic collection of American
an acoustic guitarist of some tristanseume.co.uk to get it! blues-rock, full of character and
renown and teaches at the nostalgia but inspirational too. As
Academy of Contemporary Music MONSTER TRUCK simple as it all sounds there’s often a
as well as working with award FURIOSITY lot more going on than you might at
winning folk singer Jackie Oates. Dine Alone Records ++++ first think, and this set is the perfect
This is his second solo album and Furiosity is the debut album for this opportunity to appreciate ZZ Top if
offers a collection of ten tough Canadian four-piece and this immense band is not already
instrumental tracks, some offers a mighty powerful entry into evident in your record collection.

September 2013 GuitarTechniques 93


GT USER GUIDE
You can get more from GT by understanding our easy-to-follow musical terms and signs...

RELATING TAB TO YOUR FRETBOARD OUR RATING SYSTEM


Every transcription or lesson in GT is graded
according to its level of difficulty, from Easy to
Advanced. We’ll also let you know what aspect of
your playing will benefit by attempting a lesson.

Advanced

Moderate-Advanced
NUT & FRETBOARD
HAND LABELLING The fretbox diagram above represents Moderate
Here are the abbreviations used for each finger: the fretboard exactly, as seen in the
Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), accompanying photo. This is for ease Easy-Moderate
i (first finger), m (second), a (third), c (fourth) of visualising a fretboard scale or chord
quickly. Easy

READ MUSIC
Each transcription is broken down
into two parts...

CHORD EXAMPLE CHORD EXAMPLE WITH CAPO


The diagram represents the G chord in the photo. The The blue line represents a capo – for this A chord, place it
‘O’ symbol is an open string, and a circled number is a at fret 2. Capos change the fret number ordering – here,
fretting finger. Intervals are shown below.. the original fret 5 now becomes fret 3, fret 7 now fret 5, etc.
MUSICAL STAVE The five horizontal lines for
music notation show note pitches and rhythms
and are divided by bar lines.

A major scale

TAPPING & HARMONICS TABBING Under the musical stave, Tab is an aid
SCALE EXAMPLE The left box shows an A minor to show you where to put your fingers on the
The diagram shows the fret-hand fingering for pentatonic scale with added fretboard. The six horizontal lines represent the six
the A major scale (root notes in black). The photo tapped notes signified by ‘T’s. strings on a guitar – the numbers on the strings
shows part of the scale being played on the fourth Above shows a Cmaj9 (no 3rd) are fret numbers. The two stave and tab examples
string with first, third and fourth fingers. with harmonics at the 12th fret. show 4 notes and 4 chords; C (C major), Em (E
minor), D7 (D dominant 7) and Am7 (A minor 7).

GUITAR TECHNIQUES: HOW THEY APPEAR IN WRITTEN MUSIC...


PICKING VARIATIONS AND ALTERNATIVES
Up and down picking Tremolo picking Palm muting Pick rake Appeggiate chord

Q The first note is to be down- Q Each of the four notes are to Q Palm mute by resting the edge Q Drag the pick across the Q Play the notes of the chord by
picked and the last note is to be be alternate picked (down- & of picking-hand’s palm on the strings shown with a single strumming across the relevant
up-picked. up-picked) very rapidly and strings near the bridge. sweep. Often used to augment a strings in the direction of the
continuously. rake’s last note. arrow head.

94 GuitarTechniques September 2013


Q Pick 1st note and hammer Q Rapidly alternate between Q Pick 1st note and slide to Q Sound the notes marked Q X markings represent notes
on with fretting hand for 2nd the two notes indicated in the 2nd note. The last two with a square by hammering muted by the fretting hand
note. Then pick 3rd note and brackets with hammer-ons notes show a slide with the on/tapping with the fretting- when struck by the picking
pull off for 4th note. and pull-offs. last note being re-picked. hand fingers. hand.

Q Fret the start note (here, Q Bend up to the pitch shown Q Bend up from the 5th fret Q Pick the note and then bend Q The fretting hand vibrates
the 5th fret) and bend up to in the brackets, then re-pick to the pitch of the 7th fret up a quarter tone (a very small the note by small bend ups
the pitch of the bracketed the note while holding the note, then pick it and release amount). Sometimes referred and releases. The last example
note, before releasing. bent note at the new pitch. to 5th fret note. to as blues curl. uses the vibrato bar.

Q Pick the note while lightly Q Fret the note as shown, Q Fret the note as shown, Q Fret the note as shown, but Q A previously sounded note
touching the string directly then lightly place the index but dig into the string with sound it with a quick right- is touched above the fret
over the fret indicated. A finger over ‘x’ fret (AH ‘x’) and the side of the thumb as you hand tap at the fret shown marked TCH (eg TCH 9) to
harmonic results. pick (with a pick, p or a). sound it with the pick. (TH17) for a harmonic. sound harmonic.

Q The note is picked, then the Q Scoop - depress the bar just Q Note sustained, then the vib Q Sound the note and ‘flick’ Q A capo creates a new nut,
whammy bar is raised and before striking the note and is depressed to slack. Square the tremolo bar with picking so the above example has the
lowered to the pitches shown release. Doop - lower the bar bracket used if a long-held note hand so it ‘quivers’. Results in a guitar’s ‘literal’ 5th fret now as
in brackets. slightly after picking note. has new articulation applied. ‘gargling’ sound! the 3rd fret.

Q The edge of the pick is Q Turn volume control off, Q The numbers after the Q Fingerpicking requirements Q Tap (hammer-on) with a
dragged down or up along sound note(s) and then turn notes are the fingers required are shown at the bottom of finger of the picking hand
the lower strings to produce a vol up for a smooth fade in. to play the fret numbers in the tab notation. onto the fret marked with a
scraped sound. Called ‘violining’. the tab below. circle. Usually with ‘i’ or ‘m’.

September 2013 GuitarTechniques 95


NEXTMONTH
THE WORLD’S BEST GUITAR TUITION...
SUBSCRIPTION & BACK ISSUE ENQUIRIES
UK: 0844 848 2852
International Tel: +44 (0) 1604 251045
Email: guitartechniques@myfavouritemagazines.co.uk
Subscribe online at:
www.myfavouritemagazines.com
EDITORIAL
Editor: Neville Marten, neville.marten@futurenet.com
Art Editor: Carlton Hibbert, carlton.hibbert@futurenet.com
Production Editor: Cliff Douse, clifford.douse@futurenet.com
Senior Music Editor: Jason Sidwell, jason.sidwell@futurenet.com
Music engraving: Chris Francis
EXCLUSIVE FEATURE #1 EXCLUSIVE FEATURE #2 CD mastering: Adam Crute
CONTRIBUTORS

WHAMMY BAR BLUES 10 STEPS TO JAZZ Steve Allsworth, Shaun Baxter, Paul Bielatowicz, Jon Bishop,
Martin Cooper, Adam Crute, Cliff Douse, Charlie Griffiths, Phil Hilborne,
Make your guitar wail! The ultimate guide Martin Holmes, Simon Lees, Terry Lewis, David Lyttleton, David Mead,
Bridget Mermikides, Roger Newell, Jacob Quistgaard, Stuart Ryan, Andy
Jon Bishop shows you how to whammy Jazz isn’t as difficult as you think. Phil Saphir, Tristan Seume, John Wheatcroft
like Jeff Beck, Jimi Hendrix, Joe Satriani, Capone has devised a method to get Senior Art Editor: Mark Thomas
Scott Henderson, and other greats! you up and running in no time. Group Senior Editor: Julie Tolley
Editor-in-Chief: Mick Taylor
Group Art Director: Rodney Dive

TRANSCRIPTION STAR VIDEO LESSON Creative Director: Robin Abbott


Editorial Director: Jim Douglas
ADVERTISING
BEETHOVEN STEVE LUKATHER PT2 Advertising Sales Director: Clare Coleman-Straw,
Ode To Joy Scoops, doops and gargles clare.coleman-straw@futurenet.com
Advertising Sales Manager: Amanda Burns,
Bridget Mermikides arranges and Steve adds to our special whammy bar amanda.burns@futurenet.com
Account Sales Managers: James L’Esteve, james.l’esteve@futurenet.
transcribes that triumphant theme from feature with some of his own vibrato com; Alison Watson, alison.watson@futurenet.com
Beethoven’s mighty 9th Symphony. bar secrets. Don’t miss out! Sales Executive: Simon Rawle, simon.rawle@futurenet.com
MARKETING
Head Of Marketing: James Kick
TWO BLUES LEGENDS ON ONE BLUES CLASSIC! Marketing Executive: Sarah Jackson

ALBERT KING & SRV:


Direct Marketing Executive: Alex Moreton
CIRCULATION
Head of Trade Marketing: James Whittaker
Trade Marketing Manager: Daniel Foley, daniel.foley@futurenet.com

BORN UNDER A BAD SIGN


Direct Marketing Executive: Ryan Lewis
PRINT & PRODUCTION
Production Co-ordinator: Ian Wardle,
ian.wardle@futurenet.com
In 1983 Albert King and Stevie Ray Vaughan joined forces to perform the ultimate LICENSING
version of Albert’s blues classic Born Under A Bad Sign. Now you can learn what both Licensing & Syndication Director: Regina Erak,
players contributed to this seminal blues recording! regina.erak@futurenet.com
FUTURE PUBLISHING LIMITED
Managing Director: Andy Rice
Group Information Officer: Stuart Anderton
THESE GREAT LESSONS Head Of Music: Rob Last
Chief Executive: Mark Wood
A-Z of Theory Future Publishing Ltd, 30 Monmouth St, Bath, BA1 2BW.
Tel: +44 (0) 1225 442244 Fax: 01225 732275
This month it’s N for Ninth Email: guitar.techniques@futurenet.com
chords, Note values and the Printed in the UK by William Gibbons (covers printed by William Gibbons)
Neapolitan scale! Distributed in the UK by Seymour Distribution Ltd
2 East Poultry Avenue, London EC1A 9PT. Tel: 0207 429 4000
30-Minute Lickbag
Licks in the styles of Kurt Cobain,
The Eagles, Kenny Burrell and Member of the Audit
other great players... Bureau of Circulations.
20,468
Jan-Dec 2012
Play like...
T-Bone Walker, Steve Hillage, Future produces high-quality multimedia products which reach our
Brooks & Dunn, Johnny audiences online, on mobile and in print. Future attracts over 50
millions consumers to its brands every month across five core
Thunders and more! sectors: Technology, Entertainment, Music, Creative and Sports &
Auto. We export and license our publications.

Future plc is a public company Chief executive Mark Wood


AND THERE’S MORE... quoted on the London Stock
Exchange (symbol: FUTR).
Non-executive chairman Peter Allen
Chief financial officer Graham Harding
www.futureplc.com Tel +44 (0)207 042 4000 (London)
Contemporary Country, Tel +44 (0)1225 442 244 (Bath)
Gospel Acoustic, Creative
© Future Publishing Limited 2013. All rights reserved. No part of this magazine may be used
Rock... So just make sure or reproduced without the written permission of the publisher. Future Publishing Limited
(company number 2008885) is registered in England and Wales. The registered office of
you don’t miss GT222 - Future Publishing Limited is at Beauford Court, 30 Monmouth Street, Bath BA1 2BW. All
information contained in this magazine is for information only and is, as far as we are aware,
October issue! correct at the time of going to press. Future cannot accept any responsibility for errors or
will be happy
Your local newsagent inaccuracies in such information. Readers are advised to contact manufacturers and
ques for you retailers directly with regard to the price of products/services referred to in this magazine.
to order Guitar Techni If you submit unsolicited material to us, you automatically grant Future a licence to publish
t trip into
each month. Save tha your submission in whole or in part in all editions of the magazine, including licensed
fantastic
town and get to those
editions worldwide and in any physical or digital format throughout the world. Any
material you submit is sent at your risk and, although every care is taken, neither Future nor
and
transcriptions, lessons its employees, agents or subcontractors shall be liable for loss or damage.
exclusive video classes
even quicke r!

We are committed to only using magazine paper


which is derived from well managed, certified

OCTOBER 2013 ISSUE ON SALE FRIDAY 6TH SEPTEMBER


forestry and chlorine-free manufacture. Future
Publishing and its paper suppliers have been
independently certified in accordance with the
rules of the FSC (Forest Stewardship Council).
Please note: content is subject to change...
9001