Beruflich Dokumente
Kultur Dokumente
Top 10 playing
PROBLEMS 77
Solos, chords,
licks & jam
SOLVED!
tracks!
MUSE
Matt Bellamy’s prog
rock style in focus
WARREN
STEVE HAYNES
Play like Gov’t Mule’s
12 Fantastic Licks!
ISSUE 298 } AUGUST 2019 READY TO
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magazines.co.uk
Just a few of your regular
GT technique experts...
SIMON BARNARD
WELCOME
Simon is a graduate of ACM and The MANY YEARS AGO I was asked to teach one, and I think they still have weekend
Guitar Institute, holding a Masters Blues Level 3 at the International Guitar get-togethers where they swap musical
degree in music. He teaches, examines
and plays everything from rock to jazz. Festival (IGF) Summer School. It was based LGHDVÀRJHDFKRWKHUJXLWDUVRUVKRZRII
at Bath Spa University campus on the edge their latest GAS acquisitions).
SHAUN BAXTER of town, and so was local to where I lived. Many have said to me over the years that
One of the UK’s most respected music I’d never really contemplated teaching it was the best week of their life. They all got
educators, Shaun has taught many who
are now top tutors themselves. His Jazz
before. However, the various appeals to my to play at the student concert (the week’s
Metal album is considered a milestone. vanity worked and I found myself sitting ¿QDOHDQGPDQ\KDGQHYHUVWRRGRQDVWDJH
with my guitar in front of a class of 20 or so in their life. I used to love ‘conducting;’ my
RICHARD BARRETT people, of all types, ages, nationalities and class to rousing audience cheers, and us
One of the finest blues and rock guitarist
we know, Richard is a stalwart columnist abilities. I remember it vividly: I’d done doing the same when other classes got up.
for Total Guitar, Guitarist and GT. He’s some planning, obviously, but when it came Well. This year IGF returns to Bath and
also Tony Hadley’s touring six-stringer. down to facing the group I had literally no again GT is the primary source for teachers,
JON BISHOP
idea what to say. Then I opened my mouth to some past and many present. My class is
Jon is one of those great all-rounders VSHDNDQGLQDÀDVKWKHZKROHZHHNZDV about learning and playing Blues Songs. But
who can turn his hand to almost any gone. It was one of the best of my life and check this out: we have Jason Sidwell (Top
style. He’s also rock legend Shakin I enjoyed everything about it. 40, Funk & Beyond); Chris Corcoran (Jump
Stevens’ touring and recording guitarist.
I was editor of Guitarist at the time Blues); Gianluca Corona (Jazz); Jon Bishop
MARTIN GOULDING but other tutors included: Guthrie (Classic Rock); Stuart Ryan (Acoustic);
One of the world’s foremost rock and Govan, Dave Kilminster, the late Eric and a two-hour Gypsy Jazz masterclass
metal guitarists, Martin teaches for
dime-online.org and has written for
Roche, Shaun Baxter, David Mead, for everyone, with John Wheatcroft.
many of the world’s top guitar mags. Phil Hilborne, Lee Hodgson (all of The 2019 IGF Summer School
GT), Jimi Savage and Joe Bennett runs from 6-11 August. Find
CHARLIE GRIFFITHS (Total Guitar) and various visiting out more at www.igf.org.uk.
Guitar Institute tutor Charlie first came
to fame in Total Guitar’s Challenge artists and luminaries. Who knows, we maybe
Charlie series. He’s also guitarists with After a dozen or so years IGF even see you there?
top UK metal-fusion band Haken. moved out of Bath and I stopped
doing it. But some students had
PHIL HILBORNE
The UK’s original magazine guitar tutor, returned year after year, created
Phil’s something of a legend. A great great friendships with each other
player, he’s got the Phil Hilborne Band and the tutors (I’m still in touch Neville Marten, Editor
back together so catch them if you can. with guys that were there on year neville.marten@futurenet.com
PAT HEATH
BIMM Brighton lecturer, ESP product
demonstrator and all-round busy CHECK OUT OUR AMAZING DIGITAL EDITION
musician, Pat brings you six cool licks
each month in 30-Minute Lickbag. Guitar Techniques’ iPad* edition is now even better!
PHIL SHORT
You might recognise Phil from winning
the Guitar Idol comp. He also teaches at
BIMM in London and is currently touring
with chart-topping boy-band Westlife.
BRIDGET MERMIKIDES
Guildhall and Royal Academy trained,
Bridget is a Royal College of Music
examiner, a respected classical player
and award-winning blues guitarist.
STUART RYAN
Head of Guitar at BIMM Bristol, Stu is an
acoustic guitar virtuoso who performs
throughout the UK. His latest book/CD
Tap the links Animated tab & audio Play the videos
Finding your way around the All the mag’s main lessons have the Certain articles have accompanying
The Tradition is available now. magazine is easy. Tapping the feature audio built in with a moving cursor videos full of useful insight and
titles on the cover or the contents that shows you exactly where you additional information. Once again,
JUSTIN SANDERCOE page, takes you straight to the are in the music. Simply tap the ‘play’ tap the play buttons to enjoy
One of the most successful guitar relevant articles. Any web and email button and you’re off - you can fast- video masterclasses on your iPad
teachers ever, justinguitar.com is a mine links in the text are tappable too! forward or scroll back at will. (recommended) or smartphone.
of information, and his YouTube channel
boasts almost 500,000 subscribers! PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our
digital edition regularly, go to www.myfavouritemagazines.co.uk/GTQsubs
JOHN WHEATCROFT * PLEASE NOTE: Only the Apple version contains interactive tab and audio. Zinio and others do not.
A phenomenal guitarist, John is a
master at all styles but a legend in Gypsy DISC AUDIO PRINT VERSION ONLY Sometimes the GT CD features some of the backing
Jazz. His latest album Ensemble Futur is tracks as mp3 files due to space. These will be found in a folder on the CD-ROM section of
out now on iTunes and Amazon. the disc, accessible only via a computer, and will not work in a regular CD player.
August 2019 3
www.ukguitarshow.com
BU Y T I C K E T S
LIVE PERFORMANCE
MASTERCLASSES
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PAGE 38
LEARNING ZONE
LESSONS INTRODUCTION 55
COVER Jason Sidwell introduces another packed-to-
STORY the-gunnels GT lessons section.
30-MINUTE LICKBAG 56
Pat Heath has six new licks, from easy to
queasy! Can you knock them out of the park?
BLUES 58
Phil Short looks at the powerhouse that is Gov’t
Mule’s amazing guitarist, Warren Haynes.
ROCK 62
Martin Cooper examines the sound of Devon’s
pop-prog superstars, Matt Bellamy and Muse.
JAZZ 66
John Wheatcroft looks at the influence still felt
from bebop’s alto sax giant Charlie Parker.
NEW! WALKING BASSLINES 74
From the book Beyond Chord Melody from
Fundamental Changes, Martin Taylor brings
you Lesson 1 in playing walking basslines.
PSYCHEDELIC 78
Simon Barnard introduces San Fransisco’s
pioneers of psychedelic rock, Jefferson Airplane.
CREATIVE ROCK 82
Shaun Baxter continues his series on creating
mid-paced blues-rock solos in Mixolydian.
FRETBOARD FLUENCY 88
Martin Goulding looks at developing solos from
the various modes of Melodic Minor.
Jason Sidwell IN THE WOODSHED 92
playing his fab Charlie Griffiths shows how to develop better
Gibson ES-336 dynamics in your blues solos.
August 2019 5
Intro
FOOD FOR thought
Justin Sandercoe of justinguitar.com lends GT his insight as one of the
world’s most successful guitar teachers. This month: The Completist Error?
I
’ve always wanted to collect PLQXWHV,VWLOOGLGQ¶WWKLQN,¶G¿QG
all the cards, have the whole Justin asks: much use for the thicker strings in
set. But as I get older and Should we aim to be an improvised context, nor any
completist in our
wiser I’m thinking that guitar studies? VSHFL¿FWHFKQLFDOEHQH¿W«VR,
having only the things that make ditched it from my practice routine
me happiest is most important. and from the lesson series.
I’m working on a series of That’s not to say you should–
Legato Pentatonics (which may \RXPLJKW¿QGDQDZHVRPHOLFN
appear in next month’s column) using those notes that way, that
and I’ve hit a conundrum which I’m becomes a staple of your style, but I
still thrashing out, and thought it didn’t. It’s the thought process here
would make great food for thought that I think is useful, not the result.
for many of you who, like me, have I decided to keep the same
very limited practice time. thought process in mind as I took
Melodic Sequences are where the pattern through other Minor
you apply a number sequence to a Pentatonic shapes (most Melodic
scale and end up with a pleasing Sequences are generally easier in
sequence of notes that makes for shape 1 and more challenging in the
interesting melodic ideas or a others because of their physical
challenging exercise. These kind of shape). Sure enough, the ‘practical
patterns are used by almost use’ of this and other patterns in
everyone in one way or another. the other ‘boxes’ was more limited.
I’ll go into a bit of detail here Lately I’ve become much more
about this problem so you might into working on exercises that are
see some of the thought processes LATELY I’VE BECOME MUCH MORE INTO licks rather than just patterns. A
and so apply similar thinking to small phrase with some technical
your own problems, no matter
WORKING ON EXERCISES THAT ARE LICKS element I want to work on is much
what style you play. RATHER THAN JUST PATTERNS more effective as a practice tool – I
While working on a descending So, I got to thinking maybe I I might need it one day’. But do I get into it more and I can put it to
pattern (123,234,345,456) in shape didn’t need to go all the way down, have time to work on things ‘I work more or less immediately.
1 of the Minor Pentatonic (Ex 1), I why not just stop at the fourth might need one day’. Aren’t I better As I got to deciding just how I
QRWLFHGWKDWDIWHUUHDFKLQJWKH¿IWK string and turn it into a different off working on things I know I can would practise these things and
string my thumb migrated from its kind of lick? (Ex 2). I like the sound use, will use and like the sound of? WKHQWHDFKWKHP,FDPHWRWKH
usual spot on top of the neck to of it better too and a short phrase The proof of the pudding is most conclusion that I would spend time
around the back. This movement like that is much more likely to pop commonly found in the eating and on the ‘whole thing’, exploring each
happens all the time and is nothing into my playing. VR,WKRXJKW,¶GVSHQGD¿YHPLQXWH pattern using the full breadth of the
to worry about, but this is the kind I realised that I very rarely play jam session exploring the sequence neck and take note of the parts that
of lick I often use in blues and rock this kind of phrase on the thicker on just the thicker strings and see if sounded cool and that I might
where I’m likely to be using string VWULQJVDQ\ZD\VVRLVWKHUHEHQH¿W anything changed – maybe I’d section off as a ‘lick’ to work on. I
bending too, and for that I want my to practising it? Well yes, I said to make some kind of discovery that also kept in mind that there may be
thumb at the top, not the back. myself, I should work on it ‘because ZRXOGKHOSPHGHFLGH$IWHU¿YH WHFKQLFDOEHQH¿WVIURPDQ\SDWWHUQ
Ex 1 ©»¡ºº 3
3
another reason to work on it.
I really recommend thinking
.. ..
3 3 3
about everything you practise,
3 3 3 3 making sure you are working on
3
things that you will use and that
E
B . 8 5
8
5
8 5 8 5 5 .
you like the sound of. I wish
G
D . 7 7 5 7 5
7
5
7 5 7 5 5 . someone had shared this with me
A 7 7 5 7 5 5 so I wouldn’t have wasted so much
E
etc
8 8 5 5
time on things I never used or liked
Ex 2 ©»¡ºº 3 the sound of, because I thought I
should or someone said I should.
3 3
Or just to be a completist.
3 3 3
Safe travels my friends.
E
B . 8 5
8
5
8 5 8 5 5 . Get more info and links to related
G
D
A
. 7 7 5 7 5
7
5
7 5 7 . lessons on all Justin’s GT articles
E
etc at www.justinguitar.com/gtmag
6 August 2019
Intro
SESSION shenanigans
The studio guitarist’s guide to happiness and personal fulfilment, as related by
session ace Mitch Dalton. This month: Dance band dates and Dorchester day
I
n retrospect, I had the luck to DSSHDUHG DV D ODVWPLQXWH GHSXW\ that was our core audience. And it my career path. I happened to be
be a member of the last at The Terrace Restaurant at The was to our hip repertoire that they acquainted with that ditty and
generation of musicians that Dorchester one fateful evening. A dined and danced while partaking made a stab at it. George then
served their apprenticeship on softly spoken gentleman by the of the culinary creations of Maitre pulled out a Shearing thing from the
the stand and cut their teeth on the name of George De Souza greeted Chef des Cuisines, Anton pad and I read it down to the extent
date itself. While it’s true that I also me and introduced me to Tony Uter Mosimann. You can’t beat the that the piano and guitar unison
studied classical guitar with Carlos on congas (Georgie Fame), Hugh JXLQHD IRZO DW D WZRVWDU 0LFKHOLQ parts seemed to be as one on several
Bonell at The Royal College Of Music Ledigo on piano (Kenny Ball), Gary eaterie, my dear. Trust me. occasions. At which point, our
and have the piece of papyrus to -RQHV GUXPV DQG SDUWWLPH I donned my dinner jacket, esteemed band leader turned to me
prove it, that’s not strictly relevant to postman) and the interchangeably plugged my instrument into the and whispered,“You know he’s
the thrust of my argument. Because named ‘Cedric’ or ‘Pedro Manuel’ thoughtfully provided Roland leaving, don’t you? Do you want the
back then there were no jazz degrees job? It’s six days per week, eight
to be obtained at music colleges, no I STILL HAVE THE SCRAP OF PAPER until one, Monday to Saturday. But
established rock schools to provide a WITH THE DITTIES THAT PRINCESS you can dep it out whenever you
structure and not even much in the ZLVK /HW PH NQRZ WRPRUURZ«´
way of enlightenment from specialist MARGARET REQUESTED So I began my true pro musical
publications. Unless you include on tenor . I never discovered his JC120 and awaited further education. The band was fabulous.
Autocar and Men’s Health UK. true identity, presumably for tax instructions. “Do you know You And the deps they sent in were as
Basically, we had gigs. Gigs that planning purposes. George was a Stepped Out Of A Dream?” “Er, no.” good or better. Every night I would
were relatively plentiful, gigs that former saxophonist himself but had “Well, you will in about three take a note pad and pencil onto the
paid (just enough) money to pay the a heart condition which had forced PLQXWHV,W¶VLQ&«´)RUWKRVH stand and write down the names of
rent without teaching and gigs that him to switch to bass guitar, vocals LQWHUHVWHGWKH¿UVWWZREDUVDUH the tunes I didn’t know. The next
provided a musical awakening and, if DQGVRPHÀXWHZKHQDSSURSULDWH$ based on a very guessable Cmaj7th day I’d make sure I learned them.
you were smart, an education. They FKDUPLQJPDQZLWKDPHOOLÀXRXV chord. Sadly, the next two are based The band played the right changes
took on a variety of forms, too. At the voice remarkably similar to that of RQDGLVWLQFWO\XQLPDJLQDEOH'ÀDW to standards that I thought I knew,
time, London’s West End was the Nat King Cole, he had arranged and ,WWKHQPHDQGHUVWKURXJK$ÀDWDQG in my considerable ignorance. We
alluvial soil of function bands, hotel collated a pad containing the classic F, taking in some delightful scenic had some memorable times. I still
residencies and night clubs. Even George Shearing Quintet charts, harmonic stops en route. We have the scrap of paper with the
Soho strip joints. (“Hello, can you choice standards and sophisticated followed up with Don’t Get Around ditties that Princess Margaret
dep at The Carnival Revue Club pop stylings for the distinguished, Much Anymore, which I naturally requested. I recall playing Strangers
tonight? It’s twenty quid.” “Sorry and occasionally, Royal clientele took to be a prescient description of In The Night continuously for
mate, I can’t afford that much.”) Sheikh Yamani, the Saudi Oil
There were rational reasons Mitch recalls his Minister, on the night he closed the
EHKLQGWKLVURVHWLQWHGUHFROOHFWLRQ salad days of a restaurant for his private party. A
The Musicians’ Union, fearful that residency at The twenty pound note appeared each
Dorchester Hotel
the advent of the record industry time we repeated said ditty. Above
would decimate the profession, had all I remember my collection of
negotiated a remarkable agreement unopened bottles of Lowenbrau,
which imposed restrictions (‘needle bought for us most evenings and
time’) on the playing of records on taken home at close of play.
radio and the requirement to employ We lasted two years. The hotel
live musicians in establishments that dispensed with our services during
wished to do the same. This ran from a major revamp when the Sultan Of
1948 until it was swept away by Mrs Brunei purchased the place. The
M Thatcher and her band of free West End era was drawing to a close
HQWHUSULVH]HDORWV*LJ[LWSHUKDSV" and we were never replaced.
Clearly, there were other factors Postscript. The band limped on
at work. The synthesiser was barely for a while at a restaurant in Sidcup,
a gleam in Robert Moog’s analogue although I had declined the offer to
eye. There was no iMac Pro. There commute from North London. The
ZHUHQR0,',¿OHV:KHQWKHZRUG next time I saw George was at his
digital was mentioned it was in funeral, a couple of years later. His
UHIHUHQFHWR\RXU¿QJHUV%XWZH KHDUWKDG¿QDOO\JLYHQRXW
had stereo, thanks to Charles Thank you, my friend. I owe you.
Darwin and the provision of an ear
on each side of our heads! For more on Mitch and his musical
And so it was within the context exploits with the Studio Kings, go
RIWKLVEODFNDQGZKLWHZRUOGWKDW, to: www.mitchdalton.co.uk
August 2019 7
Intro
INSTRUMENTAL inquisition!
Guitar instrumentals have supplied some of music’s most evocative moments.
We asked some top guitarists for their take on this iconic movement. This month:
Hong Kong-based prog, rock and blues guitarist, Jason Kui.
GT:What is it about instrumentals
that appeals to you?
-. 7KH¿UVWJXLWDULQVWUXPHQWDO,
listened to was the ‘96 G3, with Joe
Satriani, Eric Johnson and Steve
9DL , ZDVEORZQDZD\E\6WHYH9DL
the way he speaks through the
guitar, expresses his emotions with
notes. I was like “Wow, I haven’t
heard anything like that before.
This is a new world to me!”
GT:What can an instrumental
provide that a vocal song can’t?
JK: It provides room for the
audience to imagine freely. The
audience feels instrumental music
GLIIHUHQWO\DQGLPDJLQDWLRQÀRZV
from the music alone. For example,
when you listen to a singer’s sad
EUHDNXSVRQJ\RXUPHQWDOSLFWXUH
is shaped by the words. If the
listener doesn’t identify with those
particular lyrics, the emotional
impact is limited. But when you
listen to Jeff Beck’s Cause We’ve
Ended As Lovers, you mentally
FRQVWUXFW\RXURZQEUHDNXSVWRU\
GT: Are there any tendencies that
you embrace or avoid?
JK: I always pay a lot attention to
arrangements, melody and tones.
When I listen to music I think tones
DUH WKH¿UVWWKLQJ,QRWLFH,DPQRW
a fan of jam instrumentals that have
no structure, so I don’t listen to
MD]]IXVLRQPXFK,ORVHLQWHUHVW
since I have no melody to grab onto.
GT: Is a typical song structure
always right for an instrumental?
JK: I don’t think structure is all that
necessary. A lot of instrumentals by
Dream Theater or Rush don’t apply
typical song structure. But I do like
songs that have a pretty solid and
obvious verse, chorus, bridge,
HVSHFLDOO\ZKHQ,DPZULWLQJ,FDQ
IHHO WKHEXLOGXSDQGWKH
development much better. Like
telling a story, you start with an
introduction, then tell a little bit
and a little bit more, and then it
reaches a climax and an ending.
Just how a storyline develops.
GT: How useful is studying a
Jason Kui with
his Dutch built
vocalist’s approach?
Aristides 060 JK: Extremely important. The vocal
articulation, vibrato and all the slur
8 August 2019
Intro
techniques give life to the guitar because no one wants to see a guy put content and emotion, intensity JK: From an audience’s perspective
melody. When I think of Andy just shred on his own. and variety into the passage. the vocalist creates the ‘art’, while
Timmons’s Cry For You, it’s like GT: Many guitar solos start low GT: Any favourite modes? the band is a canvas for the vocal
someone is singing to you through and slow and finish high and fast. JK: I like the Lydian mode. The painting. But with an instrumental,
the guitar melodies. You hear how Is this useful for instrumentals? second song of that ‘96 G3 show the audience is aware of the total
Andy plays the same melody with JK: I’m mindful of that structure for was Joe Satriani’s Flying In A Blue composition. It’s not a backing
different approaches – like when he the emotion and dynamics, but 'UHDP:KHQ,¿UVWKHDUGLW, band, we’re all the band.
bends the note or when he slides the density and layering are also thought, ‘Wow, this is so heavenly GT: And harmonising melodies?
note from that other note or the way important. John Petrucci seems to sounding. What does he play to JK: Harmonising enhances the
he picks the string. They all evoke like this structure a lot. The solo in make me feel like dreaming?’ I melody, makes it bolder and more
different feelings, just like vocals. The Spirit Carries On, starts with didn’t know anything about modes elegant. But you can’t do it all the
GT: How do you start writing one; lower notes and fewer notes, then back then (I was 13 years old), but I time –overuse can sound cheesy.
is there a typical approach? as the song progresses, more and could tell it wasn’t an ordinary GT: Name three instrumentals
-.,GRQ¶WKDYHDVSHFL¿FPHWKRG higher notes provide increasing Major or Minor scale. Petrucci is thet have inspired you..
for writing, but the inspiration emotional impact. Then after the the master of Phrygian Dominant. JK: Number one, Jeff Beck’s Cause
usually arises in two situations. The climax, it goes back down to lower It has a natural metal, exotic, even We’ve Ended As Lovers. It’s a very
¿UVWLVZKHQ,DPQRRGOLQJRQWKH and fewer notes. evil sound. I learned a lot of JP’s melodic song that melts your heart.
guitar: a rhythmic passage comes GT: What type of guitar tone do solos in Phrygian Dominant, like It’s the best example of the guitar
up, and I will start to develop it and you prefer for instrumentals? Dark Eternal Night and Home. My EHFRPLQJYRFDOOLNH,OHDUQHGDORW
make it into a riff or melody. If it of techniques from this song. Then
develops into a riff, I will jam over it STEVE VAI TAKES INSTRUMENTALS The Audience Is Listening from
and write melodies. For a melody, TO ANOTHER LEVEL. HE CAN TOTALLY Steve Vai’s Passion And Warfare.
I’ll work on the chord progression. Steve takes instrumentals to
The second situation is when a SPEAK THROUGH HIS GUITAR another level. He can totally speak
memorable melody pops into my JK: It depends very much on the song, Dance Of Awakening (The through his guitar. Dream Theater’s
mind while I’m driving or walking song. In Squeaky Switch there are Spirit) has Phrygian Dominant and Dance Of Eternity is number three.
on the street, or even in the shower. VRPHKHDY\VHYHQVWULQJJXLWDU Mixolydian elements and sound. ,W¶VDQLQVDQHSURJURFNHSLF,ZDV
Usually I will grab my phone and riffs, so I went for a hotter tone to Two modes changing back and WKH¿UVWWLPH,KHDUGLW,GLGQ¶W
voice record it. Then I will develop bring out the heaviness. That tone forth contribute to an adventurous quite get it at the time – I just
the ideas when I’m back in my doesn’t suit all my songs. There’s a and exotic sound, totally inspired thought there were so many notes,
studio. Actually, this is how I wrote ballad on the album called Morning by Petrucci and Vai. but as I see it now, it’s genius. It
PRVWRIP\VRQJV$QG,¿QGWKLV Breeze – it has mellow melodies so I GT: Modulations into new keys? demonstrates how to compose
way is more musical, natural and used a warmer, cleaner tone. JK: I learned a lot about key music with no limits. It has key
organic. GT: Any favourite keys or tempos? changes from The Beatles. In While changes, time signature changes
GT: What do you aim for when JK: For some reason, I’m especially My Guitar Gently Weeps, minor DQGWHPSRFKDQJHVIHDWXUHVPHWDO
your performance is centre stage ? drawn to C minor. When I am verse modulates into major chorus. riffs, a ripping solo and even
JK: My primary focus is keeping the noodling on guitar, C minor is The verse in Strawberry Fields is ragtime jazz. It taught me to think
audience entertained. I always where I start. Maybe because the C interesting in terms of modulations. out of the box because the song
create a smooth set list beforehand. minor scale box is near the middle And I have used quite a lot of doesn’t have verse, chorus or
I typically divide the set into three DUHDRIWKH¿QJHUERDUG,IHHOLWKDV modulations on my songs. Like the bridge. It’s simply a masterpiece.
parts, like a ‘heavy’ part, ‘funky’ part some ‘magic’, I don’t know. SUHFKRUXVRI0RUQLQJ%UHH]H7KH
DQGµFDOPPHORGLF¶SDUW3OD\LQJ GT: Do you find minor or major song is in A, but it modulates to D. For more on Jason, playing videos
wise, the band and I have a lot of keys easier to write in? It borrows the G from the D key. and his latest release on Prosthetic
interacting moments. This is quite JK: A minor key has a heavier feel GT: Do you view the backing band Records, Absence Of Words please
important for live performances, and bigger impact. It allows me to differently than on a vocal song? go to www.jasonkui.coms
August 2019 9
Intro
Try your best
Hendrix licks
over track #1
1963
SWEDISH MANUFACTURER HAGSTRÖM
produces 200 Futurama Coronado Automatic
guitars for the Selmer Company in London,
to their specification. It’s a curious guitar with
a Jazzmaster-like appearance, through-neck
construction and a striking orangey-red sunburst
finish. It sports a vibrato, three single-coil pickups
with individual edge-mounted volume controls,
plus a gang of 12 numbered switches on a chrome plate. The ‘Acrylite’
fingerboard features large white dot inlays, and the sealed-gear tuners
have distinctive ‘crown’-style plastic buttons.
www.quistorama.com. You can America as the Wild Dog (taken from the setting
also subscribe to www.youtube. named on the rotary tone selector). It’s a powerful
guitar with its unusual Split-Sound pickups,
com/QuistTV to get all the latest
offering a closer nod to Fender with a shorter
WUDFNVDQGOLFNV2U¿QG4XLVWDQG
scale and contoured body; it proves very
his jam tracks on Twitter, popular on both sides of the Atlantic.
Instagram and Facebook.
10 August 2019
Intro
UK GUITAR SHOW 2019
Gear, artists, workshops and much more for this coming September
A
fter last year’s success,
we’re delighted to
FRQ¿UPWKDWWKH8.
Guitar Show 2019 will
take place on 21 and 22 September.
Its new home is the fantastic Grade
II listed Business Design Centre in
the heart of Islington, London.
We’re building on last year’s
winning formula of amazing artist
performances, top tutorial lessons
and great gear, and will be unveiling
more in coming issues.
$VZHOODVKRVWLQJWKHOLYH¿QDOV
of the legendary Guitarist Of The
Year competition (past winners
including Guthrie Govan, Dave Check out Jackson
Kilminster, Paul Rose, Stuart Ryan and loads more at
and James Bell), the weekend will this year’s show
also include the Bass Guitar Show,
making it double the value for your
ticket price. Leading brands already
FRQ¿UPHGIRUWKLV\HDU¶VJHDUKDOO
include Fender, ESP LTD, Martin,
PRS, Blackstar, Warwick, Marshall,
Music Man, Dunlop, Charvel, EVH,
Jackson, Ibanez and Gretsch. We’ll
also be expanding the stunning
showcases of classic gear seen at
last year’s Vintage Zone (look out
for something particularly exciting
by way of a ‘celebrity’ guitar
collection). With electric, acoustic
and bass guitars and gear on show,
you can expect a diverse range of
workshops, performances and
Q&As by respected players too. Mick and Dan
Last year many of GT’s top tutors presenting That
Pedal Show Live!
including Richard Barrett, Justin
Sandercoe, Milton Mermikides,
Bridget Mermikides, Jon Bishop,
A clutch of vintage
John Wheatcroft and Steve Teles on the Seven
Allsworth, came along to offer Decades stand
exclusive and free tutorial seminars
in a host of styles. More on who’s
teaching this year in the next issue.
Tickets are on sale now at www.
ukguitarshow.com. See next issue
for more info and check the Guitar
Techniques Facebook page for
regular show updates.
THE WEEKEND
ALSO INCLUDES THE
BASS GUITAR SHOW,
MAKING IT DOUBLE
THE VALUE FOR YOUR
TICKET PRICE!
August 2019 11
GT User Guide
You can get more from GT by understanding our
easy-to-follow musical terms and signs...
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 of easy-moderate
i (first finger), m (second), a (third), c (fourth). visualising a fretboard scale or chord
shape quickly. easy
Read music
each transcription is broken down
into two parts...
œ œ œ œ
2nd string 2nd string 3rd string 4th string
3rd fret 1st fret 2nd fret Open
1E
2B 3 1
Chord example Chord example (with capo) 3G
4D
2
0
the diagram represents the G chord in the photo. the the blue line represents a capo – for this a chord, place it 5A
6E
‘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.
x x
a major scale C Em D7 A m7
8
œœ œœ # œœ œœ
œœœ œœ œœ œœ
œœ œ
1E 0 0 2 0
2B 1 0 1 1
3G 0 0 2 0
4D 2 2 0 2
R 9 5 7 5A
6E
3 2
0
0
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).
ggg 22 ggg
B B 8 8
B X
B 5
@ @ @ @
B
G G 5 4 7 8 G 7 7
G X 4
gg X2 gg
G
D 7 5 D D 6 6 D X D 4
A
≥ ≤
A A A 7 7 A 4
E E E 0 0 0 0 0 E E 5
n the first note is to be down- n each of the four notes are to n palm mute by resting the edge n Drag the pick across the n 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.
12 August 2019
freTTing hand
hammer-on & pull-off note Trills Slides (glissando) left hand Tapping fret-hand muting
~~~~~ nœ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿
œ œ œ œ # œœœ
6
œ œ œ œ ˙ (œ œ) b ˙ œ
tr
œ œ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿
œ
≠
E E
tr ~~~~~ E E E
(7 5)
B B B 5 B 8 X X X 8 X X
G 5 7 7 5 G 5 G 5 7 5 7 G 7 X X X 7 X X
D D 8 D 7 D 6 X X X 6 X X
A A A 7 A 7 X X X 7 X X
E E E E E
n pick 1st note and hammer n rapidly alternate between n pick 1st note and slide to n sound the notes marked n 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.
n Fret the start note (here, n Bend up to the pitch shown n Bend up from the 5th fret n pick the note and then bend n 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 a blues curl. uses the vibrato bar.
harmoniCS
natural harmonics artificial harmonics pinched harmonics Tapped harmonics Touch harmonics
‚ # ‚‚ ‚ ‚ ‚
‚ ‚ — — — ‚
‚ ‚ ‚ ‚
œ
NH AH16 AH17 AH19 PH TH17 TH19 TH17 TCH
E E E E E
B 12 7 B B B B
G 12 7 G 4 7 G G 4 G 2 9
D 12 7 D 5 D 7 5 D 5 7 D
A A A 7 A A
E E E E E
n pick the note while lightly n Fret the note as shown, n Fret the note as shown, n Fret the note as shown, but n 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.
n the note is picked, then the n scoop - depress the bar just n note sustained, then the vib n sound the note and ‘flick’ n 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.
oTher TeChniqueS
pick scrape Violining finger numbering pima directions right-hand tapping
n the edge of the pick is n turn volume control off, n the numbers after the n Fingerpicking requirements n 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’.
August 2019 13
14
August 2019
Many guitarists
notation below.
other musicians.
struggle to know
when it comes to
fret on the guitar.
its corresponding
This is vital if you
player - especially
Open Strings
A A#/Bb B C C#/Db D D#/Eb E F F#/G b G G#/Ab A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G
E F F#/Gb G G#/Ab A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B C C#/Db D
HOW TO
Open Strings
√
# bœ œ # b # b # bœ œ # b
œ œ œb œ œ œb
E 1
œ # b # b √
œ œ œb # bœ œ œ œb
B 2
# b # bœ œ #œ b
œ œ œb
G 3
œ œ œb # b
D 4
œ œ
A 5
# bœ œ #
E 6
# # œ œ œ
œ #œ b
...find all the notes on the fretboard
œ # bœ
PLAY } TECHNIQUE ON THE CD TRACKS 4-9
W
elcome to this month’s feature on either in dedicated practice time, at sound signature so you can clearly see the various
improving 10 common technique check or in band rehearsals; in fact anywhere note choices and chord/scale relationships.
problems. Few of us can own up to you have a few minutes with a guitar. The main focus of this feature is to work on
having no areas in their playing that 7KH¿UVW¿YHH[DPSOHVFRQFHQWUDWHRQWKH the technical areas we’ve highlighted, and
couldn’t be improved. What’s more, rather picking hand and feature common areas of then apply the improvements made over the
WKDQDGGUHVVLQJWKHVHWRHOLPLQDWHÀDZVZH GLI¿FXOW\VXFKDV¿QJHULQGHSHQGHQFHDQG backing track. For any technique, whether
brush problems under the carpet, where they strength, vibrato, string bending and legato. new or simply trying to improve weak areas,
stay hidden until we’re suddenly faced with it’s worth taking your time. Rushing forward
the need to use them. This can cause stress
and even embarrassment in front of fellow
THE FOCUS IS TO is usually a false economy in the long run, so
learn each example until you can play it
musicians. No one wants that, so in this article WORK ON THE AREAS perfectly at a slow tempo. Only then speed up!
we aim to address key techniques and WE’VE HIGHLIGHTED The tracks are fully tabbed with the lead
concepts that could do with a boost. performance muted on the backing, so you
To give you a chance to work on and AND THEN APPLY THE can play along. While it would be a challenge
practise these technique there are 10, IMPROVEMENTS OVER to learn all 10 examples and the solo note for
eight-bar examples to study, split into two note, using some of the techniques showcased
VHFWLRQVHDFKZLWK¿YHH[DPSOHV7KHVH
THE BACKING TRACK in this lesson alongside your own licks and
individual mini workouts are a brilliant way of 7KH VHFRQG ¿YH FRQFHQWUDWH RQ WKH IUHWWLQJ ideas, is a fun way to get problems sorted and
confronting any playing demons you may hand and feature other acknowledged areas of new ideas honed. Good luck!
have. This is because they are easy to manage GLI¿FXOW\VXFKDVFURVVLQJVWULQJVKDQG
synchronisation, timing and dynamics. 6
16 August 2019
Top 10 { Technique Problems
August 2019 17
Play } TECHNIQUE ON THE CD TRACKs 4-9
Finger independence is an area that is easy to address head on, and here we constructed with a view to attaining better finger independence and accuracy.
isolate some of the more challenging fingering combinations. This example is Players like Paul Gilbert and Guthrie Govan are legendarily good at this.
©»¡ºº
2 #
# ™œ # ¢œ n œ£ n œ œ # n b œ
Clean Neck Pick/Up ¡
E 2 2 4 3 1
B 2 4 3 1
G 2 4 3 1
D 2 4 3 1
A 2 4 3 1
≥ ≤ ≥ ≤
E 2 4 3 1
3
etc
#
œ #
# # #
E 5 3 2 4 5
B 5 3 2 4 5 4
G 5 3 2 4 5 4 3
D 5 3 2 4 4 3 2
A 5 3 2 4 3 2
E 5 3 2 4 2
6
Playing barre chords requires trength and stamina. This exercise is designed to 4ths which provides a continuous, ascending pattern. Continue this pattern for
get those fretting fingers changing smoothly. The chords are played in a cycle of the whole of the fretboard, then start again from a different fret/key.
Bb Eb Ab
©»¡ºº
A D G C F
2 # b b b
b
Clean Neck Pick/Up
E 2 5 5 7 8 5 6 6 8
B 5 7 8 5 6 6 8 9
G 6 7 7 5 5 7 8 8
D 7 7 5 5 7 8 8 6
A 7 5 7 8 8 6
E 5 8 6
3
Db Gb
b b
B E
#
A D G C
# #
E 9 6 7 7 9 10 7 8
B 6 7 7 9 10 7 8 8
G 6 6 8 9 9 7 7 9
D 6 8 9 9 7 7 9 10
A 8 9 9 7 9 10 10
E 9 7 10 8
7
18 August 2019
Top 10 { Technique Problems
Finger vibrato is a great way to add expression. The speed and width of the The key to a good vibrato is keeping the width and rate consistent. don’t try to
vibrato is personal preference and all part of establishing a signature sound. push the string straight up and down but adopt a rotary motion instead.
©»¡ºº Am
~~~~
2
E 2 BU BD BU BD BU BD BU BD BU BD BU ~~~~
B
G 5 (6 ) ( 5) ( 6) ( 5) ( 6) (5) (6) (5 ) (6) (5 ) (6)
D 7
A
E
3 ≥ ≥
~~~~
3 3 3 3 3 3
E
BU BD BU BD BU BD BU BD BU BD BU BU BD BU BD BU ~~~~
B
G 5 (6) (5) (6) ( 5) (6 ) (5 ) (6 ) (5) ( 6) ( 5) (6 ) 5 ( 6) (5 ) (6) (5 ) ( 6)
D 7
A
E
5
≥ ≥
~~~~
E
BU BD BU BD BU BD BU BD BU BD BU BD BU BD BU BD BU BD BU BD BU BD BU ~~~~
B
G 5 ( 6 ) ( 5 ) ( 6 ) ( 5 ) ( 6 ) ( 5 ) (6 ) ( 5 ) ( 6 ) ( 5 ) ( 6 ) ( 5 ) ( 6 ) ( 5 ) ( 6 ) (5 ) (6) (5 ) (6 ) (5) (6 ) (5) ( 6)
D 7
A
E
7
≥ ≥
ExAMPLE 4 string bending cd track 4
The key to attaining good string bending is the intonation of the target pitch. attempt to push the string up with a lone finger or you’re doomed to failure
Practise by fretting the target pitch then bending up to it. Each string and fret (and pain). instead, pivot the hand on the neck with the lower part of the first
will require a slightly different feel to get right. As with finger vibrato, don’t finger then rotate, supporting the bending finger with one or more others.
©»¡ºº Am
. . . .
2
E 2 8
BU
7 (8 )
BU
B 10 8 (10 )
G
D
A
E
3
≥ ≥ ≥ ≥
August 2019 19
PLAY } TECHNIQUE ON THE CD TRACKS 4-9
. . .
BU BU
E
B
G 9 7 (9 ) 7 6 (7 )
D
A
E
7
Hammer-ons and pull-offs are a great way to increase facility and create ascending. Once this idea is mastered, you can try it out all over the fretboard.
smooth, legato style phrases. This idea combines the A Minor Pentatonic scale It is challenging to get legato with an even time feel (we tend to rush) so
with a pattern that uses pull-offs when descending and hammer-ons when concentrate on moving your fingers in time and routine the idea slowly first.
©»¡º Am
2 œ œ
E
B
2 5
8 5 8 5 5
G 7 7 5 7 5 7 5 5
D 7 7 5 7 5 7 5
A 7 7 5
E
3
œ œ œ œ
E 8 10 12 10 8
B 8 10 10 8 10
G 5 7 9
D 5 5 7
A 7 5 7 5 3 5 3 3 5 7
E
6
8 5
5 3
5
Keeping the strumming hand going up and down is a great way to ensure down motion. The next step is to leave various strums out while maintaining
good timing from a mechanical point of view. Our exercise helps to develop the strumming motion. Once you’ve tried our example have a go at everything
the strumming hand’s ability to strum rhythms while keeping a steady up and from slinky three-note funk chords to big six-string acoustic strums.
©»•º
E9
# # 2
3 3
Clean Neck Pick/Up
E 2 12 12 12 12 12 12 12 12 12 12 12 12
B 12 12 12 12 12 12 12 12 12 12 12 12
G 11 11 11 11 11 11 11 11 11 11 11 11
D 12 12 12 12 12 12 12 12 12 12 12 12
A
≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≥ ≥ ≤ ≥
E
3
# #
3 3 3 3
E 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12
B 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12
G 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11
D 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12
A
E
6
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥
# #
Swung feel
E 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12
B 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12
G 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11
D 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12
A
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥
E
8
Synchronising the timing of the fretting hand with the attack of the pick results fingers low to the frets. Hold your finger down on the fret until it is required to
in clear and well-articulated notes. Our exercise ensures the fretting hand move to the next note. if you do this correctly a dissonance between the two
only moves when it’s required to and also develops efficiency by keeping the strings should ring out.
©»•º
2
# #œ bw nœ #
2
Clean Neck Pick/Up
E
B
G
D 1 2 3 4
A 1 2 3 4
≥
1
≤
2
≥
3
≤
4
E
3
etc
August 2019 21
Play } TECHNIQUE ON THE CD TRACKs 4-9
E 1 2 3 4
B 1 2 3 4
G 1 2 3 4
D
A
E
6
Moving between strings with the pick can be tricky. Using pick and fingers or crossing with a pick is many players’ big barrier to fluency. Our exercise helps
fingers only allows instantaneous picking of non-adjacent strings, but string to develop your ability to cross strings with outside/inside picking
©»¡™º 2
E
B
2
G 9 9 9 7 7 7
D 9 10 12 12 10 9 10 12 12 12 10 9 7 9 10 10 9 7 9 10 10 10 9 7
A
≥ ≤ ≥ ≤≥ ≤≥ ≤ ≥ ≤ ≥≤ ≥≤≥
E
≤ ≥≤ ≥≤ ≥≤ ≥ ≤ ≥ ≤≥ ≤ ≥≤
3
Outside picking : etc
Inside picking : etc
E
B
G 5 5 5 7 7 7
D 5 7 9 9 7 5 7 9 9 9 7 5 7 9 10 10 9 7 9 10 10 10 9 7
A
E
7
Switching between various rhythmic figures is well worth practicing. Many single-note line is used to help you establish a funky grove. The syncopations
guitarists ignore timing to the detriment of their playing, so here a funky (off beats) will be a challenge.
©»¡º∞ .
. .
C
2 .
‰ . ‰
Clean Neck Pick/Up
E
B
2
G 5 X 5 5 5 5 X 5 5 5 7 9 5
D 5 7 7 5 7 5 7 7
A
E
3
22 August 2019
Top 10 { Technique Problems
. ‰ . . ‰ . ‰ .
. . . .
E
B
G 5 X 5 5 5 5 X 5 5 X 5 5 5
D 5 7 7 5 7 7 5 7 5 7 7 5 7
A
E
5
. . . . . .
‰ ‰ ‰
E
B
G 5 X 5 5 5 7 9 5 5 X 5 5 5 5
D 5 7 7 5 7 7 5 7
A
E
8
internal dynamics are an essential ingredient for establishing feel and groove. generated music where all the notes are the same velocity). Our example
Without good dynamics the part can feel rigid and unmusical (think of Midi demonstrates dynamic shifts to help develop lyricism in your phrasing.
2
Am
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
E
3
etc
ƒ p
E
B
G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
D
A
E
6
August 2019 23
Play } TECHNIQUE ON THE CD TRACKs 4-9
We’ve come up with a full piece that takes elements from the 10 examples and so take your pick as to how to approach it: learn it wholesale, or take elements
puts them in a musical context. We’ve tried to make it hold together as a piece, that you need to improve and work on them over the full backing track.
#
©»¡™º Funky . .
C7 9
2 b .. b ..
. ‰ ⋲ . ‰ ⋲
Bridge Pick/Up W / Wah
ƒ
E 2 6 6 X X 6 6 X X 6 6 6 6 5 3 5
B 4 4 X X X 4 4 X X 4 4 X 4 4 4 4 4
G 3 3 X X X 3 3 X X 3 3 X 3 3 3 3 3
D
A
E
3
b .. . . b> # n> b. .
. ‰ ⋲ ‰ ‰ ‰ ‰ ⋲ ‰ ‰
E 6 6 X X 6 6 X 6 5 3 6 7 6 6 6 X 6 6
B 4 4 X X X 4 4 X 4 4 4 6 7 4 4 4 X 4 4
G 3 3 X X X 3 3 X 3 3 3 3 3 3 X 3 3
D
A
E
5
b . . . b .. . b . . > n>
. #
⋲ ‰ ⋲ ‰ ‰ ‰
E 6 6 X 6 6 6 5 3 5 6 6 6 6 6 6 6 X X 6 6 5 3 6 7
B 4 4 X 4 4 4 4 4 4 4 4 4 4 4 4 4 X X 4 4 4 4 6 7
G 3 3 X 3 3 3 3 3 3 3 3 3 3 3 3 3 X X 3 3 3 3
D
A
E
8
~~~ ~~~
⋲ ‰ ⋲ ⋲ ‰ .
E
~ ~~ ~~~~
B 4 6 8 4
G 3 5 3 5 3 5 5 3 3 5 3 5 3 5
D 5 3 4 3 1 1
A 3 3
E
11
~~ b . ~~~
⋲ ‰ ‰
E
~ ~~ BU ~~~
B 4 6 8 4 10 ( 11 ) 8 10 10 8 8
G 3 5 3 5 3 5 10 10 8
D 10 8
A 10 8 6
E
15
24 August 2019
Top 10 { Technique Problems
~~~~ ~~~~
b . b ~~ ~~ b .
‰ ‰
3 3 3 3 3
~~~~ ~~~~
PB
E
BU
8
BU
10
BD ~~~~~~ BU
8 8
B 11 (13 ) 11 8 12 (13 ) 8 11 (13 ) 11
G ( 11 ) (10 ) 8 10 8 10
D 10
A
E
19
~~~~
b ~~~~~
√ ~~~~~
. œ
3 3 3
E 10
~~~~ ~~~~~ BU ~~~~~ 13 13 13 15 13 15 13 15
B 11 17 (18 ) 16
G 8 7
D
A
E
22
(
. ~~~~ ~~~~ .~~~~
‰
3 3
3
E 13 15 13 11
BU
15
BU ~~~~ BU ~~~~ BU ~~~~
B 13 11 13 15 (16 ) 15 ( 16 ) 15 13 16 (18 ) 18 ( 20 )
G
D
A
E
25
( )
. b b ~~
E 18
BU
18
BU
18
BU
18
BU
18
BU
18
BU
18
BU
18
BU
18
BU ~~~~
B 18 ( 20 ) 18 ( 20) 18 (20 ) 18 ( 20 ) 18 ( 20 ) 18 ( 20) 18 ( 20) 18 ( 20 ) 18 ( 20 ) 18 16
G
D
A
E
28
b ~~
. b n.
⋲ ⋲ ⋲ ‰
E
~~
B 15 16 18 15 13 11 12 13
G 10 11 10 8 8
D 10
A 8 9 8 6 6
E 8 8 X
31
August 2019 25
PLAY } VIDEO ON THE CD CD-ROM & 10-13
Steve Luthather
and his cherished
Music Man L3
28 August 2019
INTERVIEW & MASTERCLASS { STEVE LUKATHER
ON VIDEO
Steve Lukather
Interview
From Toto to Michael Jackson’s Thriller, Steve Lukather has consistently
shown why he’s one of the finest guitarists on the planet. Here, he explains
frankly why drink and overdrive don’t mix, talks us through the full-fat tone
of his solo album, Transition – and gives us an exclusive masterclass on
soloing like a pro. With Jamie Dickson.
H
e’d be the last to suggest it, but if “I don’t want to go totally jazz muso – I’m more doing what I do best. That’s why I
anyone deserves the moniker ‘guitar not really a jazz musician, but I have jazz refrained a little on this album from super-
god’, it’s Steve Lukather. As well as sensibilities. It was the old joke: I’m too jazz IDVWV
W±,PHDQWKHUH¶VDÀXUU\RUWZREXW
fuelling Toto’s 35 million record sales, for rock and too rock for jazz, you know what then [makes an inclusive gesture] we can’t
his playing has featured on countless I mean? And I never understood why I can’t help it, we’re guitar players!
milestone sessions, including Michael just have a little bit of this and a little bit of “So, this album is about getting back to the
Jackson’s Thriller album. Heck, he even that. I’m not a straight-ahead bebop player original concept: one of my strongest points is
turned down jobs in Miles Davis’s and Elton like Larry Carlton can be, or John Pizzarelli playing melodically, with interesting phrasing
John’s band. or some of these guys who are just brilliant. and bending. Playing over an A minor, I won’t
With the release of his nuanced, I look around the room and go, ‘Yeah, I’m a just play a Dorian or Pentatonic thing; I’ll try
confessional album, Transition, Steve speaks rock guy who has big ears.’” to squeeze a G# out of it or something, or do a
frankly about how quitting booze helped him II-V-I turnaround or something that a rock
¿QGQHZIRFXVDQG¿UHRQJXLWDULQVSLULQJ What was your agenda for the album, guy would normally not do. And that’s playing
him to strip down his rig to the bare guitar-wise? to my strengths.
essentials: six strings, killer amp tone – and “I have all this extra energy because I cleaned “So, I took the gain down a little bit, got a
peerless playing, straight from the heart. the mind, body and soul out: it’s been years little more tone, went to passive pickups,
0RGHVWWRWKHSRLQWRIÀLSSDQF\DERXWKLV now since I quit drinking and smoking. And plugged into a Bogner with the volume pedal.
chops, Steve’s nonetheless one of the world’s you know, I can’t keep up with Guthrie and As my body became more organic, I wanted
SUHPLHUSOD\HUVZLWKDJLIWIRU¿QGLQJ the guys. My jaw drops when I hear them, and P\VRXQGWRIROORZDQGQRWMXVWEHÀDVKZLWK
effortless phrases that connect rock guitar to it makes me smile and laugh – and I think, no substance.”
jazz and pop without the joins ever showing. ‘That is astonishing!’ And I sort of lost my way,
In a masterclass tutorial, he demonstrates 12 man – I was so miserable in the mid-2000s There’s a lot to be said for creating some space
top-drawer licks to help you solo with more that I was just playing some bulls**t. I’m and savouring each note…
freedom and creativity. really ashamed of some of that. I was so empty “Sure, you can give it a little breath in between
inside, and angry at personal issues. I either phrases – sometimes, there’s a tendency that
You’re a formidable hard-rock player, but over-played or I was a little bit s**tfaced, once it [technical playing] is ‘on’, you don’t
Transition has subtler, more personal elements, because I was so miserable standing in the turn ‘off’ until the end of the song. But after
too… place where I was. WKH¿UVWWZRWUDFNV\RX¶YHKHDUGLWDOO±DQG
“Well, here’s the thing: some people hear it “I pulled myself into this ‘fastest gun in the you go, ‘Well, what else is there?’
and they go, ‘Love the record, but it seems like West’ bulls**t, and I’m really not cut out for it; “Like I said, I was kind of guilty of that for
a soft record,’ and I think that the I’m a little old to be trying to run as fast as a a bit. I was so lost in it, and I was distracted
misconception of it being a ‘soft’ record is 20-year-old guy. Let me play to my strengths, emotionally and chemically – not with drugs
because I avoided the powerchord at all costs. man: more tone, more meaningful playing, but with alcohol. I’d be pissed off because I
A lot of people’s perception of a rock record is
quadruple-tracked 5ths on both sides with a
slamming snare drum. I think that formula
I PULLED MYSELF INTO THIS ‘FASTEST GUN
has been used – overused, perhaps. At least IN THE WEST’ BULLS**T, AND I’M REALLY NOT
for a guy like me, who’s trying to put some
harmony back in the chords but still keep a
CUT OUT FOR IT; I’M A LITTLE OLD TO BE TRYING
rocking backbeat. TO RUN AS FAST AS A 20-YEAR-OLD GUY.
August 2019 29
PLAY } VIDEO ON THE CD CD-ROM & 10-13
30 August 2019
INTERVIEW MASTERCLA { STEVE LUKATHER
VIEW & MASTERCLASS
August 2019 31
PLAY } VIDEO ON THE CD CD-ROM & 10-13
ON VIDEO
Steve Lukather
Masterclass
Steve Allsworth takes a look at Steve’s whammy bar
technique, inspired by the mighty Jeff Beck and his
approach to improvising solos over static chords.
usual patterns and clichés. It’s important not
ABILITY RATING Moderate/Advanced -----
confuse this with using a straight D Minor
Info Will improve your… Whammy bar control
scale, since this will create a clash with the Bb
Key Various Tempo Various CD Rom & 10-13 Slide guitar emulation Use of chord tones
from D Minor (D-E-F-G-A-Bb-C) against A
minor (unless you want an unusual A
S
teve Lukather is an incredibly talented standard tuning or having to use a bottleneck. Phrygian vibe!) This last point is actually quite
and versatile musician who is the There’s huge scope for experimentation with important, since Steve’s assertion to just ‘go
epitome of the hardworking rock star. this technique, so don’t stop at Steve’s for it’ has a lot of merit. Scale knowledge is of
In his incredible career he has been Pentatonic licks; these ideas could be used for course important, but closing your eyes, using
known as an international pop and rock star, pedal steel ideas and many different scales your ears and letting your hand wander
gifted songwriter and arranger, prestigious Lukather’s incredible versatility made him around the neck can be a really refreshing way
record producer and A-list session player on an A-list session guitarist on countless albums to practise. There will of course be wrong
over 1000 albums. Steve’s outings with Toto, as well as gracing the soundtracks of many notes (or what we conceptually think of as
Paul McCartney, Michael Jackson, Eric ‘wrong notes’), but try not to limit yourself to
Clapton, Chicago, Don Henley, Lionel Richie, PLAYING OVER A ¿QJHUEDVHGSDWWHUQVLQVWHDGXVH\RXUHDUVWR
The Tubes, Cheap Trick, Randy Newman, STATIC CHORD CAN OFTEN inform your choices as to what sounds good.
Stevie Nicks, Boz Scaggs, and many others, $OWKRXJK,¶YHSXWLQVRPHVXJJHVWHG¿QJHULQJ
are testament to his tone, technique, time, LEAD TO MORE FREEDOM for certain passages, it’s worth noting that
taste, and touch. IN YOUR IMPROVISING, Steve often uses unfamiliar picking patterns,
The premise of Steve’s whammy bar so I haven’t put them in the transcription. His
technique - as used in this lesson - is getting to
PARTICULARLY WHEN IT’S upstrokes on the sixth string, for example,
JULSVZLWKDÀRDWLQJW\SHYLEUDWRV\VWHP³,W¶V AN AMIGUOUS CHORD DSSHDUWREHPRUHIRUWRQHUDWKHUWKDQVSHFL¿F
something I learned from watching Jeff Beck. blockbuster movies since the ‘80s. It’s this technical reasons. Similarly, when he plays an
He’s one of the greats, one of the best we’ve versatility and creative enthusiasm that has upstroke across two strings it’s usually a
ever had. As far as single-line, linear playing allowed him to maintain such longevity in his GHOLEHUDWHSLFNLQJPRWLRQUDWKHUWKDQVSHFL¿F
and melodies go, there’s no one better.” career. His seemingly limitless pool of ideas is ‘economy’ picking. Most of the faster passages
Jeff tends to have his guitars set up so they the source of much of this month’s lesson, lend themselves to straight alternate picking,
can bend upwards by up to a major 3rd on the where we’re focusing on static chord tied together by slides between various
third string, which requires some adjustment progressions (ie when you just need to positions. But, as Steve says, you should
to string height. As long as your bridge isn’t improvise over one chord). ultimately do what feels most natural.
locked to the body and allows some upward Playing over a static chord can often lead to
PRYHPHQW\RXVKRXOGEHDEOHWR¿QGDQLFH much more freedom in your improvising, 5
balance between vibrato arm set-up and the particularly when it’s an ambiguous chord 3 7 7
3
lower action required for more comfortable such as a powerchord containing no 3rd. Here
legato technique. The ‘scoop’ is Steve’s main though, Steve bases most of his ideas around
GAIN BASS MIDDLE TREBLE REVERB
technique of choice; grasping the arm with an Am9 chord, so you’re slightly more limited
VHYHUDOSLFNLQJKDQG¿QJHUVDOORZV\RXWR in your choices. Essentially, he stays diatonic
scoop up the bar (the ‘push down and release’ WRWKHNH\RI$PLQRUIRUWKH¿UVW¿YH
technique) without affecting your picking. examples, but ‘thinks’ in D Dorian. These
In the 80s Steve was one of the first to popularise
This tends to go hand in hand with whammy scales both contain the same pool of notes effects racks and was associated with Valley Arts
bar vibrato, where the same picking hand (A-B-C-D-E-F-G) and (D-E-F-G-A-B-C) since guitars. These days his rig is simpler, with his
¿QJHUVFXUODURXQGWKHEDUWRH[HFXWHDJHQWOH D Dorian is the second mode of C Major (the signature Music Man guitars into Marshall and
up and down movement. relative major of Am). Although you’re most recently Bogner amps. Although known for
One of the interesting techniques that playing the same set of notes, Steve’s idea a pretty gainy lead tone, he’s recently backed off
Steve demonstrates is slide guitar emulation, seems to be that you’ll ‘think’ using all the somewhat so any tone between mildly saturated
and full-on overdrive will work here. A nice
mimicking classic Walsh and Allman slide shapes and arpeggios associated with D
medium delay (350ms or so) will help it sing.
clichés without leaving the comfort of Dorian and therefore break away from the
32 August 2019
INTERVIEW & MASTERCLASS { STEVE LUKATHER
This is the basic scoop and vibrato as based around Jeff Beck’s style. The will give you that desired‘bendy’sound and is the basis behind much
main task here is to strike the string with the pick while simultaneously of luke’s whammy technique. You can hear variations of the idea in the
scooping upwards from a previously lowered whammy bar position. This playing of Allan Holdsworth, Alan Murphy, and dan Huff.
'œ
N.C. scoop
~~~
w/bar '
scoop
œ
scoop
~~~ œ . ~ ~~~
# œ
‰
E
scoop
~~~~
w/bar scoop
scoop
~~~ ~~~~~~
B 12 15 15 13 12
G 14 12 14 12 14 12
D 14 12
A
E
1
luke deviates from Jeff’s scoop technique with this chromatic blues idea. This intonation at first, since the act of whammy bar scooping will slacken the
involves a ‘double scoop’ so to speak, whereby you’ll scoop with the bar and string tension slightly and you’ll need to learn what kind of compensation your
also bend the string at the same time. it can be a little tricky to control your particular guitar requires to get it sounding in pitch. Great fun though!
' ~~~
scoop scoop scoop scoop
N.C.
n #
scoop
#
‰
scoop
'
3
'
scoop
BU
'
scoop
BU
scoop
'
BU
'
scoop
BU BU ~~~
E
B 8 10 8 10 12 (13 ) 10 13 (14 ) 10 14 (15 ) 12 15 (17 ) 15 (17 )
G
D
A
E
1
A combination of upward scoops and downward bends will hopefully give the marked as bracketed fret numbers, so you’ll need to practise these individually.
impression of a smooth sliding bottleneck. This technique works particularly each string and area of the neck will feel slightly different and require different
well between the b7 and root note of the Minor Pentatonic and also the whammy bar distances, just like traditional bending technique. Put aside 10
ambiguous major-minor 3rd that’s so vital to blues. Your downward bends are minutes a day to practising just this. it will come, believe me!
N.C.
scoop
n b
'
scoop scoop
1/4
n
scoop w/ r
n .
scoop
# n # w/ scoop
#
3
scoop
Neck pickup scoop scoop
w/bar scoop 1/4 scoop w/bar
BU BU BU scoop BU
E 15
B 15 ( 17) 15 (16) 15 13 15 13 (14 ) 20 (17) 17
G 14 (12) 14 14 17 19 (21) 17 19 17 17 18 18
D 14 14 16 19
A
E
1
n ~ scoop
'
w/b ar
# w/
~~~~
. .
w/bar
n .
Let ring Bridge pickup
~~~ ~~~
PB
w/bar 7
w/bar scoop w/bar w/bar
E
B 5 7 (8) 7 5
G 18 (17) 18 6 7 6 (5)
D 19 7 (5) 7 7 7
A 7 6 5 3 4
E
3
August 2019 33
PLAY } VIDEO ON THE CD CD-ROM & 10-13
Similar‘slide guitar’technique is combined with the added subtlety of quarter- around a blues jam in A, so you’ll get ammix of Mixolydian (R-2-3-4-5-6-b7), plus
note and semitone bends. As with the previous example, this idea is based Major and Minor Pentatonic.
N.C.
scoop
' scoop
' scoop 1/4
.. /
14
~
gargle
n #
1/4
scoop
n w/
#
scoop
3
scoop scoop 3
scoop
E
scoop scoop
BU BU
1/4
BU
12
1/4
w/bar ~~~
gargle
B b13 A 13
#
3
n
Let ring
3 AH
AH AH AH AH 19
17 17 18 19
E 7 7 7 7
B 8 7 7
G 14 7 6 6
D 17 14 14 6 5 5
A 17 17 14 14 14
E 15 17 6 5 5
3
This technique isn’t strictly speaking a flutter or‘gargle’as popularised by Steve warble without setting the floating trem bouncing, as with gargles. You
Vai and the like, but uses the body of the trem to produce a little ‘warble’. The can use your vibrato arm in the reverse position, as Satriani often does and
palm is used to hit the tailpiece in order to achieve a quick upward-downward Holdsworth sometimes did, but this technique can be a little less subtle.
N.C.
~
w/bar
~ w/bar
~~ .~~
~ ~~
w/bar
#
w/bar w/bar
3
PB
E
~~~
*w/bar ~~~
w/bar
~~~
w/bar
~~~
w/bar
~~~w/bar
BU BD ~~~ BU
17
BD
B
G 7 5 7 9 7 9 12 9 12 14 12 14 17 14 17 (21) (17 ) 14 17 14 17 ( 21) (21) (17 )
D 16
A
E
1
* bounce / warble technique
~~~~
.
# .
E
BU BU ~~~~
B
G 14 17 ( 21) 12 17 ( 21) 9 7 5 4
D 7 5 3 2
A 5 3 2 3 2 7
E 5 4 5 7 5
3
34 August2019
INTERVIEW & MASTERCLASS { STEVE LUKATHER
The doop technique is slightly different to the whammy downward movement and also use your picking fingers and thumb for maximum
bend, since you’re bending to an indefinite pitch. This should give you a ‘Beck’ effect (this use of flesh creates a more organic sound and of course
lilting, slightly ‘drunken’ sound. Try not to overdo the downward ‘doop’ allows you to pick several strings at once for chords or double-stops.
N.C.
~~~
. 1/4
1/4
w/bar
3
scoop
3
scoop scoop
3
#
w/fingers # 3
~~~
3
1/4 1/4
w/bar scoop scoop scoop
E
B 10 8
G 9 7 5 5 5 14
D 7 (5) 5 7
A 7 6 5 3 3 3 4
E 5 2 5
1
~~~~~ w/bar
op doop
doop doop doop ~~~~~ ~~
w/bar
E
~~~~~~ w/bar doop doop doop doop doop ~~~~~~~~~
w/bar
B
G 17 (14) 14
D 17 14 12
A 15 12
E
3
Steve explores the Am9 sound with some freedom here. Although Melodic Minor vibe, note that so called‘wrong notes’such as the eb in bar 2
the tonality is firmly minor, he weaves through several scales, hitting are used to travel towards a‘correct’note, ie the e natural in the following
chromatic passing notes along the way. Although there is a‘latin’ A bar, thus the ear will accept any temporary ‘outside’ sound.
U
Freetime throughout
Am9 N.C.
3
b ¡ # ¢œ ™ #œ #œ œ
3 3 3
E 0 4 7 5 4 5 7
B 0 4 7 5 5 7
G 5 7 5
D 5 7
A 0 5
E
1
# ~~
¢
# £ ~~~~
¢
™ ¡ n¢
¡ £
~~~~ ~~~~
E 10 8 7 7 12 17 12 16 12 15 12 14
B 10 9 10 8 13
G 9 7 9 7
D 10 9 7 14
A 12
E
4
August 2019 35
PLAY } VIDEO ON THE CD CD-ROM & 10-13
Using Steve’s D minor approach, the first arpeggio can be thought of as a the strong A Harmonic minor flavour. Steve will be thinking melodically
Dm9 leading into a descending D minor idea. The G# could also pinpoint though, rather than from a pure scale viewpoint.
¢ ™
¡ ¡ ~~~~ ~
Am9 N.C.
£ ¡ ™
™ ™
.
poco rall
E 0 8 12 10 8 7 7
~~~~~~~~~
B 0 10 10 9 10 8 6 5 5 6 5
G 5 10 7
D 5
A 0
E
1
This lick is useful for learning your Natural Minor scale through several essential for mastery, so you should obviously try this in different areas of
positions. Total freedom through all positions of any given scale is the neck and also with other scales you know.
¡ ¡ ¢ ™ ¡ 1/4
£ ¡
E 8 12 10 8 10 8 7 7
B 10 10 8 10 8 6 5 1/4
G 7 5 4
D 7 5
A 8 7 5 3 2
E 5 3 5
1
This lick is essentially an extension of the initial arpeggiated idea in the minor and playing them on adjacent strings in this way can help you reach
previous example. The Am, C and Dm7 arpeggios are all diatonic to A different and less predictable areas of the neck.
~~
~ œ~~ œ œ ¡ ¡ ¢ ¡ £œ ¡ .~~~ œ
.
E
~~ ~~ ~~ ~~~
8 12 12 15 13 17 20 19 17 17 13 15 12
B 10 13 15 20 18 17 17 20 18 17 15 13
G 14 12 9 7 5 4
D 7
A 0
E
1
Although the 6ths that Steve begins with, place us initially in D Minor, we Minor quality to the B and G# chord at the 4th fret hints at E7, thus
soon see that it’s part of a larger harmonised run in A Minor. The Harmonic strengthening the A Minor tonality.
™
£ ¡ ¡¡ ¡ ~~~ U
™ ¡ £ ¡ ™£ ™£ ™£
3
Lightly
E 10 10 12 12 13 12 10 8 7 5 4 7
~~~~5
tap bar
B 5
G 9 10 10 12 12 14 12 10 9 7 5 4 7 5
D 7
A
E
1
36 August2019
INTERVIEW & MASTERCLASS { STEVE LUKATHER
Steve’s final example is an extension of ideas we’ve looked at previously. example, A Dorian arpeggios target the important major 6th (F#), while
Although it’s not a static progression – basing its ideas around A7, F#7, F# Mixolydian b6 (F#-G#-A#-B-C#-D-E, 5th mode of Melodic Minor) hints at
Bm7 and E7 chord tones – it does reinforce the idea that your scale choices an altered F# dominant sound. In the penultimate bar E7#5 is spelled out
can have a direct bearing on the overall harmony and ‘sound’. In this with E Superlocrian (E-F-G-Ab-Bb-C-D), the 7th mode of Melodic Minor.
¡ ¢ U ¢ £
¡ ™
¡ ™
# ¡ £ ¡ b . ¢ ¡
1/4
3
£
#™ n
¡
1/4
E 8 12 7 10 5 8 6 7 5
B 8 10 7 8 5 7 8 6 7 5
G 5
D 7 4 7
A
E 5 4 3
1
#¢ ¢ # # n¡ £ ™
#¡
3
¡ £ ¡ 3
™ £ £ ™ #£ ¡ ¡
#¡ 6
6 1/4 1/4 1/4 1/4
6
1/4 ¡ Let ring
rall
E 9 10 12 10 9 9 10 12 12 12 12 12 10 8 8 10 8
B 11 12 12 10 7 7 10 3
G 3 2
D 2 11 4 2
A 9 2 4 5 5 6
E 2
3
™
™ ¡
3 œ ¡œ œ œ ~~~~
w/bar
.
.
3
PB
E
BU
12 15 13 (15) 13 12
12
BD
0
~~~~
w/bar
B 13 13 15
G 12 12 (13 ) (12 )
D 15 14 12 10 12 9 7 4 5 6
A 7
E 12
6
38 August 2019
SubSCribe tO
GuitarTechniques
worth
£40!
ON VIDEO
W
elcome to Mattias’s second GT Mattias tends to gravitate towards G Dorian
CHORD CHANGES
masterclass, as usual transcribed in (G-A-Bb-C-D-E-F) - same notes, different harmonics. He also explains that he likes to
full and analysed from a technique ordering - so that many of his phrases start, employ quintuplet phrasing, which is where
and theory point view. The idea is to end or include a G note. G Dorian’s major 6th WKHUK\WKPKDV¿YHQRWHVLQWKHVSDFHRIIRXU
learn some of the techniques (many of them interval is E (the root note of the piece) which - this sounds especially effective when played
unique) with a view to broadening your own G Natural Minor (G-A-Bb-C-D-Eb-F) doesn’t DVD¿QJHUWDSSLQJSDWWHUQ
have. That said, the F and Eb notes Mattias’s playing is both unique and
Mattias IA from this scale do occur in the solo, intriguing, so there’s bound to be a technique,
Eklundh and his adding further tension and ambiguity lick or phrase in this month’s improvisation
Caparison Apple to the results. You could simplify the ZKLFKZDV¿UVWWDNHE\WKHZD\IRU\RXWR
Horn guitar
tonal palette if you prefer, and use G take onboard wholesale, or twist and tweak to
Minor Pentatonic (G-Bb-C-D-F) suit your own soloing style. Then, once you
which will also work well. have mastered some of his stunning licks why
For the chorus sections, you’ll not try creating a solo of your own over
notice the angular sounding shifts between Jason’s excellent rock track?
Gm and Ebm chords; they don’t belong in the Have fun and see you next time!
same key (non diatonic) so it’s best to treat
them as two different ‘note pools’ where Gm NEXT MONTH Mattias takes another fantastic solo
emphasises G, Bb, D and F notes (Gm7 chord over Jason’s blues rock track Back On The Road
tones) and Ebm focuses on Eb, Gb, Bb and Db
(Ebm7 chord tones). Mattias improvises all of 5
6
this solo but he does gravitate towards chord 7 7
TRACK RECORD Mattias has released four studio albums entitled Sensually Primitive, Freak Guitar,
The Road Less Traveled and The Smorgasbord. His most recent album is Freak Kitchen’s 9th album,
Confusion To The Enemy, full of crazy rock guitar! Go to www.freakguitar.com for more info.
40 August 2019
MATTIAS IA EKLUNDH (PT2) VIDEO MASTERCLASS
CHORD DIAGRAMS
# ..
8, 16
Ebm Ebm
CHORUS 1
# . Gm Gm Gm
.
20, 28
1 2
Ebm Ebm Em7 b 5
# Gm
..
A7 D7
24, 32
BREAKDOWN / VERSE 2
# .
Em7 (E Locrian)
.
36, 44
# ..
40, 48
BRIDGE
# . Em7 Gm6
..
.
52, 56
VERSE 3
# . Em7 (E Locrian) ..
.
68, 72
OUTRO CHORUS
Ebm Ebm
# . Gm Gm
.
76, 84
Ebm Ebm
# Gm Gm
..
G5
92
80, 88
August 2019 41
LESSON } VIDEO ON THE CD CD-ROM & 14-17
>
E
B 4 4 4
G
D 4 4 5 5 4 5 5 4 5 5 4 5 5 4
A
E
1
VERSE 1
©»¡¢¢ #>
E m7 Locrian)
~~~~~~
# bœ
INTRO RIFF Scoop
3 3
E
Scoop
11 10 9
~~ ~~~ Doop
B 11 10 9 8
G
D
A
E
1
Scoop
b ~~~~ ~~~
. ~~~ .
#
w/bar
~~~ ~~~
PB
E
w/bar Scoop
12 8
~~~~ 10 8 10 8 10 8 10 8 10 8 12 10 8
B (4 ) 5 11
G
D
A
E
6
~~~
. # n b ~~~
.
# b .
3 3
~~~ ~~~
E 10 10 9 8 6 8 6 8 6 8 6 3 18 15
B 18 13 11 13 15 11
G
D
A
E
11
() ~~~~
# Scoop
Scoop ~~~
.
~~~ ~~~~
w/bar
Scoop BU BD BU BD BU BD Scoop
E 13 8 13 8 13 8
B
G 14 (15 ) ( 14) (15 ) (14 ) ( 15 ) (14 ) 9
D
A
E
14
42 August 2019
MATTIAS IA EKLUNDH (PT2) VIDEO MASTERCLASS
()
# ~~~
E
B
G
D
LL LL
15 10 15 10 15 10 15 10 15 10 15 10 15 10 15 10 15 10 15 10 15 10 15 10 L 15 10
15 9
15 10
15 9
15 10
15 8
~~~
A
E
17
CHORUS 1
E bm E bm
()
Gm Gm
#
Scoop ~~~~ Scoop b ~~~
. Doop Scoop ~~~~
3
E
Scoop ~~~~ Scoop ~~~ Doop Scoop ~~~~
15 10 6 8 15 8 6 8 13 15 18 15 13
B 15 8 15 6 16
G 15 7
D
A
E
20
E bm E bm
()
Gm Gm
.
Scoop
E
Scoop ~~~~ Scoop
15 18
~~~ 15 13
Scoop ~~~
B 15 13 15 13 16
G 15 14 12 13 12
D
A
E
24
E bm E bm
() Gm
~~~
Gm
~~~ ~~~
# b b Doop . .
Doop Scoop
‰ ‰
vol
E
~~~ Doop ~~~ ~~~ Doop Scoop
18 20 20 18 18 17 15 17 15 17
B 18 20
G
D
A
E
28
E bm E m7 b 5
() ~~~
Gm D7
# Doop
1/4
# n b Doop
.
3 NH
3
E 17 15
Doop
15 13
1/4
10 9 8 6 5
Doop ~~~
B 15 13 11 13 6
G 5 0 7
D
A
E
32
August 2019 43
LESSON } VIDEO ON THE CD CD-ROM & 14-17
BREAKDOWN / VERSE 2
~~~
E m7 (E Locrian)
# . .
‰
E
BU BD
~~~
B 17 5 17 5 17 5 17 5 17 5 17 5 17 5 17 5 17 5 5 6 5 3
G 5 5 ( 7 ) ( 5)
D
A
E
36
.
# ~~~
.
E
B
G
D 17 5
17 5
17 5 6 5
~~~
17 5
17 5
17 5
17 5
17 5
L17
3
Lœ
E
39
bœ ~~~
# . . œ . bœ œ œ
‰‰ ‰
E
B
G
D
L
5 17
17 3 5 3 5
LL L
13
5 7
15
9 10
17
10
11 13 6 13 5
17 12
17 8
LL
11
17
13 11
17
11 13
~~~
A
E
42
b b n
#
3 3 3 3 3 3 6
E 15 10 8 15 10 8 15 10 8 15 10 10 6 15 10 8 15 10 8 15 13 12 15 13 12
B 15 13 15 13 15 13 15 13 11 15 11 15 11 13 15 13 11
G
D
A
E
46
b
1/4
# ‰ ‰ ‰ . . . .
6 5 5 5 5 5
1/4
E
B 15 11 13
G 17 15 14 17 14 17 14 17 14 17 14 17 14 17 14
D 17 10 17 10 17 10 17 10 17
A
E
48
44 August 2019
MATTIAS IA EKLUNDH (PT2) VIDEO MASTERCLASS
PL AYING
TIPS
OTIP1 HOLDING THE WHAMMY BAR OTIP2 HOLDING THE WHAMMY BAR V2
Often subtle whammy manipulation is required; here Mattias has the For bigger dives, Mattias will stretch his fingers out to rest on the bar
bar cupped lightly between his first two fingers while still able to pick while still being close to the strings with his pick. Don’t assume always
and mute. grabbing the bar with your whole hand is the best option!
August 2019 45
LESSON } VIDEO ON THE CD CD-ROM & 14-17
# . . . . . . . .
5 5 5 5 5 5 5
E
B
G 17 12 17 12 17 12 17 9 17 12 17 14 17 12 17 9
D 8 17 8 17 8 17 8 17 5 17 8 17 10 17 8 17
A
E
50
BRIDGE
~~~~~~~~
E m7 G m6
# Scoop
. . ~~~
. . . .
E
~~~~~~~~ Scoop BU BD ~~~
B
G 17 9 17 9 17 9 17 7 8 ( 9) ( 8 ) 7 5
D 5 17 5 17 5 17 5
A
E
52
E m7 G m6
b b ~~~
. . . . . . . .
1/4 1/4 1/4 1/4
#
1/4 1/4 1/4 1/4
E
1/4 1/4 1/4 1/4 1/4 1/4 1/4 1/4 BU BU BU ~~~
B
G 3 5 5 5 5 5 5 5 5 5 17 17 17 (19 ) 17 15 17 (19 ) 17 15 17 (19 ) 17 15
D 5
A
E
56
b
Doop
# ‰ ‰
E
~~~ Doop ~~~ Doop
B 15 13 16 13 16 13 16 13 14 13 14 13 14 13 14 13
G 15 15 17
D 15 17
A
E
60
~~~ n
b b b ~~
Scoop Doop
b b . Scoop Doop
#
Doop
. ‰
Hit g
~~~ ~~~
in
Scoop Doop Doop
Scoop Doop
E 15 13 10 8 9 8 6 8 9 8 6 8 9 8 0
B 14 13
G 15 13 12 7 7 7 7
D
A
E
64
46 August 2019
MATTIAS IA EKLUNDH (PT2) VIDEO MASTERCLASS
VERSE 3
E m7 (E Locria
~~~ n ~~~
# Scoop b .
. ‰
3
E
Scoop ~~~ BU ~~~~
B 17 15 17 (18 ) 15
G 17 15
D
A
E
68
b b n . ~~. b
b . ~~ ~~
# ‰ ‰
E
BU BD BD ~~ ~~ ~~ 15 17 18
B 17 (18 ) 19 (18 ) 19 (18 ) 15 15 17
G 17 15 17 9 14 9
D
A
E
72
OUTRO CHORUS
b b
Gm E m7 Gm E m7
n
b ~~ ~~ ~~ ~~ b ~~ ~~ Scoop
b
# ‰ ‰
(18th fret, (consider
first string 18th fret,
~~ ~~ ~~ ~~ ~~ ~~
instead) second string
instead)
Scoop
E 18 17 18 17 20 18 20 18 22 25 18 25
B 23
G
D
A
E
76
b
()
Gm E m7 Gm
~~~ b
# b . b
. b
L
(use 18th
and 15th frets,
E 18
~~~
first string)
13 15 17 18 20 18 17 15 13 10
B 23 20 23 20 20 16
G 19 15 19 15 19 15
D
A
E
80
b
E m7 Gm
# b ~~ b
‰
E
~~
B
G 15 10 12 15 7 15 7 15 7 15 7 15 7 15 7 15 7 15 7 15 7 15 7 15 7
D
A
E
83
August 2019 47
LESSON } VIDEO ON THE CD CD-ROM & 14-17
E bm7 Gm
# b b œ
E
B
G 15 7 8 15 8 15 8 15 8 15 8 15 8 15 8 15 8 15 10 15 10 15 10 15 10 15 10 15 10 15 12 15
D
A
E
85
E bm7 E bm7
Gm
n ~~~ . nœ
b . ~~~
#
Let ring Let ring
E
~~~ ~~~
B 18 18
G 12 15 12 15 12 15 12 15 12 14 19 19
D
A
E
87
E bm7
Scoop
n .
Gm G5
Doop
# Doop
.
Let ring
Doop Sc Doop
E
B 18 0
G 19 19 17
D
A
E
90
Bridge Pickup Wi verdrive
E 15 10 15 10 15 10 15 10
B 15 13 13 15 13 13 15 13 13 15 13 13
G
D
A
E
1
E
B
G
D
A
15 13
15 10
13 15 13
15 10
11 15 11
15 10
13 15 13
15 10
11
E
2
48 August 2019
MATTIAS IA EKLUNDH (PT2) VIDEO MASTERCLASS
5
E
B
G
D
A
15 11
15 10
13 15 13
15 10
11 15 11
15 10
13 15 13
E
3
n
E
B
G
D
A
15 11
15 8
10 15 10
15 8
11 15 11
15 8
10 15 10
15 8
11
E
4
n
L L
5 5
E
B
G
D
A
15 11
15 8
13 15 13
15 8
11 15 11
15 8 10 15 13
15 8
11 15 11
15 8
13 15 13
E
5
Freetime
U ~~~ U U U n
‰
E
B
G
D
A
E
15 12
15 8
~~~
15 12
15 X
15 10
15 7
15 12
15 8
15 10
15 7
15 9
15 5
15 10
15 7
L15 12
15 8
15 14
15 10
œ n n œ ~~~
E
~~~~
B
G 15 12 15 14 15 10 15 12 15 14 15 12 15 10 15 9
D 15 8 15 10 15 7 15 8 15 10 15 8 15 7 15 5
A
E
4
August 2019 49
PLAY } CLASSICAL ON THE CD TRACKS 18-19
ON VIDEO
I
n this latest issue, I am arranging a hit recording, powered by Rick Wakeman’s THE MELODY HAS A
popular traditional hymn, most well unforgettable piano intro), there have been
known in its 1931 setting of Morning Has PDQ\RWKHUV7KHPHORG\¶V¿UVWGRFXPHQWHG UNIVERSALLY APPEALING
Broken with words by the English use is by Mary McDonald (Màiri ANCIENT CELTIC QUALITY
acclaimed poet and children’s author Eleanor Dhòmhnallach in Gaellic - 1789-1872) in her
Farjeon (1881-1965). Although this is the hymn Leanabh an àigh. When translated to
WITH ITS LILTING 3/4
version of the melody that has permeated English later, it was known as Bunessan - the MELODY AND HIGHLY
popular culture (helped by Cat Stevens’ 1971 author’s local village on the Isle of Mull’s east SINGABLE MELODY
coast, where a monument to her
can now be found. bar 33, Gmaj7/B in bar 39). There follows, in
The melody was heard in 1927 bars 49-72 an interpretation of the melodic
by the publisher Alexander Fraser form as a consistent series of quavers, which
and has since been published uses arpeggios, open strings and slurs to
widely, inspiring British create a cascading ‘campanella’ effect. The last
composers Vaughan-Williams rendition of the melody from bar 73, returns
and Martin Shaw. While it may be to the feel of the second iteration, but with
tempting to attribute the melody some added ‘celtic’ ornamentations. All these
to McDonald, it is documented technical challenges are addressed in the tab
that she used a ‘traditional captions, to help you get the most out of this
melody’ and the tune has timeless melody.
appeared in other hymn
collections, suggesting an earlier NEXT MONTH Bridget transcribes Mozart’s La
or ‘communal’ source that may Ci Darem la Mano from Don Giovanni
never be found, and thus is
treated as ‘traditional’. TECHNIQUE FOCUS
Indeed the melody has a
Campanella technique
universally appealing, ancient
Campanella, meaning ‘little bell’is the term
Celtic quality, with its lilting 3/4
used to describe the bell like effect when a scale
metre and simple yet effective,
(ascending or descending) is played with each
highly singable, diatonic melody.
note on a different string and the notes are
I’ve tried to capture this Celtic
allowed to ring over one another.The strings in
lyricism in an arrangement, question can be adjacent or non-adjacent and the
ZKLFK¿UVWSUHVHQWVWKHEDU use of open strings within the scale is essential.
melody very simply (bars 1-24), Consecutive notes must always over ring and
Cat Stevens had then with some more movement
his worldwide hit where possible to continue ringing beyond that.
in the accompaniment (bars
with Morning Has When executed properly, the sound should
RON HOWARD / GETTY IMAGES
Broken in 1971 25-48), as well as some emulate a cascading ‘peel’ of church bells.
‘shimmering’ chords (Cadd9 in
TRACK RECORD Cat Stevens’ version (with its legendary Rick Wakeman intro) from Teaser And The Firecat (1971) brught the hymn to a
worldwide audience. To hear it sung as atraditional hymn the Choir of Kings College performs it beautifully on 100 Best Hymns (EMI 2011.
Other modern vocal versions include those by Judy Collins, Neil Diamond, Art Garfunkel, Hayley Westernra and Anni-Frid Lyngstad (Abba).
50 August 2019
TRADITIONAL { MORNING HAS BROKEN
©»¡™º G Am
.
D
# .
. . .
. . .
E 3 5 2 0
B 0 3 0 3
G 0 5 2
D 0
A 0
E 3
1
C G Bm C
# . .. . .
.. . ..
. .
E 0 0
B 3 0 3
G 0 4 0 2 0
D 4
A 3 2 3
E 3
5
G D G/B C
# ..
... ... . .
. Œ .
E 3
B 3 0 3 0 3 5
G 4 0 2 0
D 4
A 5 2 3
E 3
10
G /B Em D G
# .
.. .. ... ..
. Œ .
E 0
B 3 0 0 0
G 0 0 0 0 2 2
D 2 4 0
A 3 2 5
E 0 3
15
Bm C D G
# . ..
.. .. . .
.
. .
E 0
B 3 0
G 0 2 2 0
D 4 4
A 2 3 5
E 3
20
August 2019 51
Play } CLASSICAL ON THE CD TRACKs 18-19
G Am D C add9 C
# ¢ . ¢ . ..
¡ ¡
¢ .
. . . .
™
E 3 5 2 0 0
B 0 3 0 0 0 3 3 3 1
G 0 2 5 5 0 0
D 0
A 0 3
E 3
25
G G/B Cadd9 G 3
# . . . ™
.. £
. . . .
¡
E 0
B 3 0 3 3 1 3 0 3 0
G 2 0 2 0 0 0 0 4 0
D 0 4
A 2 3
E 3 3
30
D sus4 D G/B C
# .. ..
.. . . .
.
E 3 0
B 3 0 3 5
G 2 2 0 5
D 5 5 4 5 5 5 5
A 5 5 2 3 3
E
35
Gmaj7/B Em D G Gmaj7/B
# .
. .. . ..
. Œ . .
E
B 3 0 0 0 3
G 0 0 0 2 2 0 0
D 4 4 2 4 0 4
A 2 5 2
E 0 0 2 3
40
C add9 D Gsus4
# .
. ... .
. .
E 0
B 3 1 0 0
G 2 2 0
D 4 0 0
A 3 5 3 0 3
E 3
45
52 August 2019
TRADITIONAL { MORNING HAS BROKEN
# £ ¢ . ¡
‰
¢ ™ . œ . . £ .
™
E 3 0 2 2 0 0
B 0 3 0 0 0 5 3 3 1
G 0 0 2 2 2 5 5 0 2 2 0 0
D 4 0 7 0
A 0 3
E 3
49
¢ £ ™
# ‰ ™ ¡ ¢ ¢
œ œ . Œ œ
. . ¡ ¢ ™ ™ . ¢
E 0 7 0 0
B 3 0 0 8 7 0 0 0
G 2 0 0 7 7 0 5 2 0 0
D 0 0 4 10 0 4
A 9
E 3 0 7 8 3
54
# œ
. . . .
E 0 0 5 7 5 0 0
B 3 3 7 7 8 0 0 0 0 0
G 2 2 7 0 7 7 0 0
D 0 0 10 10 10 10
A
E 8
59
G /B B E m add 9 Em D9 Gmaj7add6
¢ £ ™
# ‰ ™ £ £
¡
. . ¡ ¢
.¢
¡ . ™
E 7 0 0 0 0
B 8 7 7 0 0 7 0 0 3
G 7 8 0 0 5 2 0 0
D 0 4 4
A
E 7 0 3
64
# £
¡ . ¢ ™ . . .œ œ œ
E 0 0 0 2 2
B 3 3 3 3 3 5 5 0 0 0 0
G 0 0 0 2 2 2 2 2 2 2
D 4 0 0 0 0
A 2 3
E 3
68
August 2019 53
Play } CLASSICAL ON THE CD TRACKs 18-19
G Am D Cadd9 C
.
3
# .. ¢
¡
™ ¢ . ..
. . .
.
E 3 5 2 0 2 0 0
B 0 3 0 0 0 3 3 3 1
G 0 2 5 5 0 0
D 0
A 0 3
E 3
73
#
3
. . ..
.
. . .
E 0
B 3 0 3 3 1 3 0 3 0
G 2 0 2 0 0 0 0 4 0
D 0 4
A 2 3
E 3 3
78
# ¢
.. ..
.. . £ . . . Œ
E 3 0
B 3 0 3 5 3 0
G 2 2 0 5 0 0
D 5 5 4 3 5 5 5 5 4
A 5 5 2 3 3 2
E
83
Em D G Gmaj7/B Cadd9 C
# . .
. .. . .. .
. .
E 0
B 0 0 3 3 1
G 0 2 2 0 0 0
D 4 2 4 0 4
A 5 2 3
E 0 0 2 3
89
U.
D G sus4 G/D G
# ... ..
... .
. . œ .
rit
E
B 0 12
G 2 2 0 12
D 4 0 0 12
A 5 3 0 3
E 3 3
94
54 August 2019
LEARNING
ZONE
Lessons from the world’s greatest teachers and schools...
Brought to you by…
IN LESSONS
GT#298
his issue we’re happy to welcome Being able to harmonise G Major as a 10th,
begins a four-part series that draws on his best are very aware that often the best tuition is
selling book, Beyond Chord Melody. ZKDWVWLFNVLQWKHPLQGDQG¿QJHUVORQJDIWHU
While jazz can often seem to be about it’s learnt. Sometimes, this may result in a
involved technique and a wealth of theory lick or two being learnt and then played
chops, Martin has the ability to discuss almost to death (aren’t those licks from
the building blocks in a very accessible Luke’s earlier video lesson on page 30
way. That’s certainly the case this issue so more-ish?); or
where he spends most of the time playing it might be an
G Major on the sixth string before overview, a
adding higher notes on the upper concept that becomes
strings to create chords (10ths, pivotal to our music
to be precise). While there’s appreciation. So we hope
QRWKLQJUHPRWHO\GLI¿FXOW Martin’s early stages for bass
about what he’s playing lines and 10ths has a huge
(certainly when compared effect on you. NEW SERIES!
to much of this issue’s other Enjoy the issue!
WALKING BASSLINES ....................... 74
articles), it’s important to In this series from his Beyond Chord Melody
realise that often the simplest book, Martin Taylor looks at scales and intervals
material we learn has the most on the low strings to create inspiring basslines.
impact on our development.
August 2019 55
LESSON } 30-MINUTE LICKBAG ON THE CD TRACKS 20-25
30-Minute Lickbag
Pat Heath of BIMM Brighton brings you yet
Brought to you by…
another varied selection of fresh licks to learn
at easy, intermediate and advanced levels.
©»¶º E C Am E
. .
F
E
B 1 1 0
G 1 0 0 2 2 1
D 2 2 2 2 2 2
A 2 3 0 2
E 0 0
1
©»ª C A5 C A5 D A C A5
1/4
C A5 E /A D A5
# #
1/4
‰ ‰
n nœ n n
F
E
B 3 3 2 2 2 5 5 3 3
1/4 1/4
G 2 2 2 2 2 4 4 2 2 2
D 2 2 2 2 2 2 4 4 2 2 2 2 2 2 2 2 2 6 6 4 4 2
A 3 0 0 0 3 0 0 3 0 0 0 3 0 0 0 0
E 3 3
1
©»¡¡º N.C.
~~
œ
F PM PM PM PM PM PM
~~
E 8 8 8
B 8 10 8
G 5 5 7 5 9 7 5
D 5 5 7 5 7 7 7 7
A 3 3 5 3 7 7 7
5 5 5
E
1
56 August 2019
30-minute lickbag learning zone
. ⋲ ⋲ .
F PM PM PM PM PM PM PM PM
1/4
E
B
G 9 9 7 7 9 9 7 7 9 9
D 9 9 7 9 7 7 9 7 9 9 7 9 7 7
A 9 9 9 9 9
E
'
≤ 1 ≤ ≥≤ ≥ ≥≤ ≥≤ ≥ ≥≤ ≤ ≥≤ ≥ ≥ ≤ ≥≥ ≥ ≤
1/4
E
B
PM PM PM PM PM PM PM
'
1/4
G 9 7 7 9 9 7 7 9 11 9 7 9
D 9 9 7 9 7 7 9 7 9 9 7
A 9 9 9 9
E
3
≤ ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≤ ≥ ≤ ≥ ≥ ≤ ≤
advancEd Licks ExampLE 5 ricHie KoTzen cd track 24
A dirty Telecaster tone would be perfect for this example. Flicking the third and fourth fingers to replicate the tricky legato lick in bar 1. Pick hard on the descent
and take note of the wide stretch down on the fifth string, sliding up to the major 3rd to finish.
n
N.C.
©»¡™º ~~
# ‰
F
E 12 13 12 10 10
~~
B 12 12 10 12 10 10 7 7
G 11 11 9 9 7 9 7 7 8
D 9 9 7 9 7
A 9 5 6
E
1 ≥ ≥ ≤ ≥ ≥ ≤ ≥≤ ≥≤ ≥ ≤ ≥≤ ≥ ≤ ≥ ≥
advancEd Licks ExampLE 6 yngwie MalMSTeen cd track 25
Moving between the first two fretting fingers at the 12th-13th frets on the second string, use the other fingers to execute the 14th, 15th and 17th-fret pull-offs
respectively. Try a circular picking pattern using upstrokes and palm muted downstrokes to make the notes really punch out.
E
©»¡•º
#
F
PM
E 15 12 12 15 12 12 14 12 12 14 12 12 15 12 12 15 12 12 17 12 12 17 12 12
B 12 12 12 12 12 12 12 12
G
D
A
E
1
≤ ≥≥ ≤ ≥≥ ≤ ≥≥ ≤ ≥≥ ≤ ≥≥ ≤ ≥≥ ≤ ≥≥ ≤ ≥≥
(√)
C
PM
E 15 12 12 15 12 12 14 12 12 14 12 12 15 12 12 15 12 12 17 12 12 17
B 13 13 13 13 13 13 13
G
D
A
E
3
≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤
August 2019 57
LESSON } BLUES ON THE CD TRACKS 26-29
Warren Haynes
Join Phil Short as he delves into the richly
diverse music of Warren Haynes, guitarist with
The Allman Brothers, Gov’t Mule and The Dead.
ES-335, an instrument that can be heard on a
Warren Haynes multitude of his recordings and live
is a mighty, as performances. Haynes is a fantastic slide
well as mighty
fine bluesman guitar player as well as a phenomenal blues
soloist. He has a rich, melodic palette of
phrases as well as some serious speed under
KLV ¿QJHUV $ ORYHU RI DOO VW\OHV RI $PHULFDQ
music, Haynes has a rich vocabulary of not
just British blues (he cites Eric Clapton as a
PDMRU LQÀXHQFH EXW FRXQWU\ DQG HYHQ VRPH
A PHENOMENAL
SOLOIST, HAYNES HAS A
RICH, MELODIC PALETTE
OF PHRASES AS WELL AS
SOME SERIOUS SPEED
UNDER HIS FINGERS
IXQN DQG URRWV LQÀXHQFHV WR JLYH KLP DQ
eclectic back catalogue. He’s that rare
JXLWDULVW ZKR PDQDJHV WR FRPELQH ¿UHSRZHU
and attitude with utter taste and class.
Our two studies showcase his broad tastes
ZLWKLQ WKH EOXHV DQG URRWV ZRUOG 7KH ¿UVW
study has more of country feel to it, with a
lilting groove that leaves plenty of space for
some lyrical and melodic phrasing. Our
second study showcases more of his funky
roots sound, with a more uptempo feel, but
with equally melodic ideas. Have fun!
5
3 7 7 3
Info Will improve your David Allan Coe. He would tour and record
Key: Various Bending and accuracy with Coe for four years before forming his own
Tempo: Various Finger vibrato band. 1989 was the fateful year that Warren
CD: TRACKS 26-29 Blues-rock phrasing was asked to join the now legendary Allman Warren is a lover of Gibson humbucking guitars
Brothers Band, and from there he went on to through Diaz, Soldano and PRS amps. It’s a
G
mighty, no-nonsense sound that’s all about the
rammy Award winning guitarist have huge success not just with the Allman
power amp cranked hard. He uses little in the
Warren Haynes is one of the most Brothers, but also with his own bands
way of effects so go for a classic‘driven’tone
gifted blues musicians to come out of UHOHDVLQJKLVRZQ¿QHVRORPDWHULDO using humbuckers if you have them, but don’t
the American music scene, most loved Guitar wise, Haynes is best known for allow front-end fizz to deny the funamental
for his work in the Allman Brothers, Gov’t playing Gibson guitars, particularly his tone of guitar or amp. Add reverb to taste.
LARRY HULST / GETTY IMAGES
TRACK RECORD Haynes has recorded eight albums with The Allman Brothers, seven as a solo artist and whopping 23 releases with his
once ‘side’ outfit Gov’t Mule! He also appears on many records as a session guitarist, vocalist and songwriter. The new album Bring On The
Music, Live At The Capitol Theatre, shows Warren and his band in tremedous form and is a great place to start. Then work back from there!
58 August 2019
WARREN HAYNES learning zone
©»¶º
A7
. . ~ ~ ~~ ~~~
# . .
⋲ ⋲ ⋲
E 5
BU
7 ( 9) 7 5
~~~~ ~ ~~~~~ 5
B 5 8 7 8 7 5 5
G 6 7 97 9 5 6
D
A
E
1
. . ~~ . . 1/4
~~ .
#
⋲
3
E
BU
7 (9 ) 7 5
~~~~ BU BD
7
1/4
~~~~
B 8 8 7 7 ( 8) (7 ) 8 7 10 10 8 10 8 10
G 9
D
A
E
3
D7
. .
n ~ .~~
#
E
BU
12 (14 )
BU BD ~~~~~ BU
B 15 13 12 (13 ) (12 ) 10 10 10
G 10 11 7 7 9 11 9 11 7 7 9 10 9 7
D 9 9 9 (10 ) 9 7
A 9
E
5
~~ ~~~ n . ~~ ~~
A7 1/4 1/4
~~~ ~~~ ¿
1/4
# #
.
E
1/4
~~~ ~~~ ~~~~~~~ 1/4
~~~ 1/4
~~~~
B 13 13
G 9 11 12 X 14 12 14 12 14
D 9 7 9 11 14
A
E
7
D7
n
~~ ~~~~ . n
#
E
BU
12 (14 )
BD
( 12 ) 10
~~~~~~~ 14 12 10 8 8 8 8 7 8 7 7 7 7 7
B 13
G 12 14 12 11 9 9 9 9 7 9 9 7 7 7 7 7
D
A
E
9
August 2019 59
lesson } blues ON THE CD TRACKs 26-29
~~ œj #
A7
n œ
j
j ~~~
n nœ #
1/4
j
# ‰ ‰ ⋲
nœ
E
1/4
17 17
~~ BU( 21)
19 17 17
BU BD ~~~
B 13 20 19 ( 20 ) (19 ) 17
G 14 12 14 14 19 17 18
D 14 19 17 19 19
A 19
E
11
D #dim ~~~
.
j
D7
~ ~ n #
# nœ
E
~~~~ 8 11 14
~~~ 12
B 7 7 10 10 13
G 8 11 14
D 15 16 16
A 17 15 17 17 15
E X X 17
13
j
. ~~
E7 A7
œ j
# #œ j ~~~~~ œ
j
nœ
œ
j .
~~~~~ ~~~
RP
BU BD BU BD BU BD BU
E 14 (16 ) (14 ) (16 ) (16 )(14 ) 12
B 15 14 (15 ) (14 ) 12 8 12 (14 ) 10
G 14 12 13 9 9
D 14 12 14
A 14
E
15
©»¡ºº . ~~ . .~~
E7
Play with swagger
j . œ
j
j ~~ ~ j . œ
j
. œ
j
# nœ nœ œ
j
. nœ
⋲ ‰ ⋲ ‰
E
BU ~~~ ~~~~~~ BU ~~~ BU
B 12 14 (15 ) 14 12 14 12 14 ( 15 ) 14 12 14 14 ( 15 )
G 12 13 12 13 12 13
D 14 12
A
E
~~
1
n œ
j
. œ
j . ~~ . j ~ ~~
# ⋲
nœ œ
j
. œ
j
œ
j
.
60 August 2019
WARREN HAYNES learning zone
# ~~~ 3
. . ‰
.
E
BU BD BU BD ~~~
B
G 12 13
D 12 11 (12 ) (11 ) 12 11 (12 ) (11 ) 12 11 12 11 12 14 14 12 11
A 14 12 10 11 10 10 12
E 12 12
7
~~
~ ~~ n
~~~ n #
A7
# œ œ.
. ⋲ ⋲ . ‰
E
~~~ ~~~~~ BU
19 ( 21 )
BD
21 (19 ) 17
~~~~
B 13 14 20
G 14 12 12
D 10 11 10 11 14
A 12 10 12 10 10
E 12
9
n n # n #
E7
n # ~~~ n ~~~
.
#
n ¿
⋲ ⋲
E
BU ~~~ 15 16 15 16
~~~
B 20 19 ( 20 ) 19 17 17 15 17 17 15 15
G 19 17 18 16 X
D 19 17 19
A 19 18 17
E
12
# n ~ ~~
‰
E
BU BD
12
BU ~~~~~
B 14 (15 ) ( 14 ) 14 12 14 15 15 14 (15 ) 14 12
G 14 12 13
D 14 14 12 12
A 14 13 12 11 14
E
14
n. nE 7 n #
B7
n # n n #
# ⋲ ‰
E 15 16
B 15 16 15 16 15 14 15
G 16 14 16 14 16 14 16
D 16 X
A
E
16
August 2019 61
LESSON } ROCK ON THE CD TRACKS 30-32
MATT BELLAMY IS
ALSO AN ACCOMPLISHED
CLASSICAL PIANIST AND
MANY OF THE BAND’S
SONGS FEATURE VIRTUOSO
KEYBOARD PLAYING
minor (E-F#-G-A-B-C-D), but incorporates a
B major chord from the E Harmonic Minor
scale (E-F#-G-A-B-C-D#). This means we’re
temporarily in the Phrygian Dominant mode
(5th mode of Harmonic Minor) each time the
B major chord is played. You’ll also encounter
an A major chord in the progression, which
provides a ‘voice leading’ element to build the
descending chromatic E-D#-D-C# bassline.
There’s only one guitar part this month.
Built around the drums, bass and synths it’s
there to help build the drama and be part of
the ensemble. Have fun!
M
Bellamy endorses Manson Guitars, including signature
use is an English band from After touring for a few years playing local models some of which have effects such as fuzz built
Teignmouth in Devon, sporting clubs, Muse got a support slot on a tour with in. Amps include high-gain Diezel and Soldano among
the same line-up of Matt Bellamy on 6NXQN$QDQVLHDQGEHJDQWRWRXUIXUWKHUD¿HOG others.There are a lot of reverb, delay and modulation
guitar and lead vocals, Chris in cities such as Manchester and London, effects used on Muse songs, including the Digitech
Wolstenholme on bass, and drummer Dominic before gaining the attention of radio DJ Steve Whammy pedal and Line 6 DL4. Even if you don’t have
racks of effects you can play our piece with a powerful,
Howard since their inception in 1994. In the Lamacq and the NME. A moderately successful
gainy tone (experiment with bridge and neck pickups)
TIM MOSENFELDER / GETTY IMAGES
early 1990s each group member was involved debut EP helped gain the attention of the music with delay and reverb added for ambience.
in different bands in their local college, before industry and a fan base began to build. Muse
TRACK RECORD Muse’s debut, Showbiz features Muscle Museum and Sunburn, while the follow-up, Origin Of Symmetry includes the
rock classic Plug In Baby. The huge hit Black Holes And Revelations from 2006 features Time Is Running Out and of course the title track,
and the most recent album Simulation Theory came out in 2018 and blends electronic sounds with the three-piece rock ensemble.
62 August 2019
MUSE learning zone
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August 2019 63
LESSON } ROCK ON THE CD TRACKS 30-32
B/D # A/C #
#
Em D
# . .
‰
@ @ @ @ @ @ @ @ @ @ @
B 5 7 8 12 13 12 15 17 15 14 10
G
D
A
E
21
Em B/D #
E 7 7 7 7 7 7 7 7
B 8 8 8 8 8 8 7 7 7 7 7 7
G 9 9 9 9 8 8 8 8
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A
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25
eco
alt
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#
E 5 5 5 5 5 5 5 5
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27
Charlie Parker
crucially for us, the sound of jazz guitar.
Every great jazz guitarist has looked
beyond their instrument to see what might be
on offer on the other side of the fence. With
What has sax giant Charlie Parker got to do with Charlie Christian it was Lester Young; Django,
Louis Armstrong; Allan Holdsworth, Coltrane
jazz guitar? Quite a lot, as it happens. John and on it goes. Charlie Parker’s lines have
Wheatcroft explains the ‘Parker effect’. worked their way into the style of guitarists as
diverse as Jimmy Rainey to Steve Lukather,
Pat Martino to Scott Henderson, Lenny Breau
to Larry Carlton... the list goes on.
This following lesson can be divided into
WZRSDUWVWKH¿UVWRXWOLQLQJHLJKW3DUNHUOLQHV
transcribed for guitar against a selection of
popular jazz sequences. The second focuses
on how these ideas manifest in the vocabulary
of a various guitarists. Not just any guitarists,
mind; we’re talking Joe Pass, Emily Remler,
CD: TRACKS 33-58 Chromatic passing tones recording of any new music. Once this was
lifted in 1945, Parker, or ‘Bird’, as he was
B
ebop was a style of jazz pioneered in known, wasted no time in releasing a stream
The secret to getting close to a sax’s smooth and
New York throughout the 1940s and of groundbreaking recordings that showcased fluid tone is in the articulation of the notes. So pay
was characterised by rapid-tempo, the ‘new sound’ these young, hungry and careful attention to the rhythmic time-feel at
complex melodies and advanced immensely talented musicians had been differing tempos and the use of hammer-ons,
harmonic structures; syncopated rhythms, developing in clubs and after-hours jams. pull-offs and slides, all of which make a dramatic
virtuoso soloing and complex interplay. While While it’s debatable how long it took the difference to the‘bounce’of each line. Players like
Robben Ford might approach this from a bridge
artists such as trumpeter Dizzy Gillespie, SXEOLFWRFDWFKRQZKDW¶VGH¿QLWHO\LVQRWLQ
ELIOT ELISOFON / LIFE / GETTY IMAGES
TRACK RECORD There are lots of great compilations available. We’d suggest The Complete Savoy Masters (2018) and The Complete Dial
Masters (2018). Or try the two Charlie Parker With Strings albums recorded in 1950 for Mercury (re-released by Verve 1995). Bird (1988), the
biopic produced as a labour of love by Clint Eastwood, provides an incredible look at Parker’s troubled life and is essential viewing.
66 August 2019
CHARLIE PARKER learning zone
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August 2019 67
lesson } JAZZ ON THE CD TRACKs 33-58
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n b
C7
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A
E
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1
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68 August 2019
CHARLIE PARKER learning zone
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August 2019 69
lesson } JAZZ ON THE CD TRACKs 33-58
b
B maj7 G7 C m7 F7 b
B maj7 b
B 6
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1
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. ‰ ‰
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70 August 2019
CHARLIE PARKER learning zone
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August 2019 71
lesson } JAZZ ON THE CD TRACKs 33-58
b
E Dorian/Melodic Minor
over A 7b
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1
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E
2
72 August 2019
CHARLIE PARKER learning zone
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August 2019 73
LESSON } WALKING BASSLINES ON THE CD TRACKS 59-64
YRLFHVDQGPXFKPXFKPRUH
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than set rules and theory. In time, you will
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polyphonic, jazz arrangements.
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Most guitarists begin learning scales as
QRWHV EDVVOLQHV DQG FKRUGV DUH YLHZHG DV NEXT MONTH Martin looks at how to create
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----- Easy/Moderate stripped down to their essential components
Info Will improve your WRRSHQXSDIUHHGRPRIPRYHPHQWWKDWRIIHUV
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Key: Various Playing through changes many more musical options. 3 7
Tempo: Various Walking basslines I describe the way I play as a polyphonic 2
CD: TRACKS 59-64 Fretboard knowledge LPSURYLVHGDSSURDFKWRWKHJXLWDU%\
GAIN BASS MIDDLE TREBLE REVERB
polyphonic I mean that the three elements of
I
n this series of lessons you’ll learn a unique melody, chords and bass all operate
approach to solo guitar playing that will LQGHSHQGHQWO\0\DLPLVWRKHOS\RXGHYHORS
hopefully set a foundation for going a similar freedom and independence on the
beyond traditional chord melody playing. JXLWDUWKDWZLOODOORZ\RXWRGHYHORS\RXURZQ Martin uses a modern take on the traditional
Most chord melody teaching is based on YRLFHDQGEUHDNRXWRIWKHµER[HV¶LQZKLFKZH jazz tone.While he plays an archtop guitar built
by anyone from Eastman to Vanden or
traditional chords, with students being guitar players tend to get stuck.
Fibonacci, he always employs a little more top
encouraged to locate melody notes inside set 7KLVLVDJURXQGXSPHWKRGEHJLQQLQJ
end so there’s sparkle in the tone as well as
shapes. But this immediately limits the player ZLWKRQHVWULQJVFDOHVPRYLQJWKURXJK inherent mellowness. Try any guitar’s neck
to the geometry of the guitar and, in my VLPSOHFKRUGLQYHUVLRQV¿QGLQJWKHPRVW pickup with just a touch of tone rolled off the
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approach we’re looking is different. Melody PHORGLHVEDVVOLQHVPRYLQJLQWHUQDO
TRACK RECORD Martin Taylor has a back catalogue stretching back over decades. His many solo albums are where you’ll hear him
playing his signature ‘three or more parts at once’ style. Check out his fabulous album entitled simply Solo (2002), or the Best Of Martin
Taylor (2005). His Fundamental Changes books include Walking Bass for Jazz Guitar and Beyond Chord Melody.
74 August 2019
one-string scales and intervals learning zone
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August 2019 75
lesson } WALKING BASSLINES ON THE CD TRACKs 59-64
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76 August 2019
LESSON } PSYCHEDELIC ON THE CD TRACKS 65-66
J
7
efferson Airplane were America’s guitar and vocals), Jack Casady (bass) and
original pioneers of psychedelic rock in Spencer Dryden (drums).
GAIN BASS MIDDLE TREBLE REVERB
the late 1960s. They were formed in Their second album, the platinum-selling
1965 in San Francisco, California at the Surrealistic Pillow (1967) spawned two singles
forefront of the psychedelic movement and that made it onto Rolling Stone’s 500 Greatest
became one of the USA’s biggest musical Songs of All Time list: the legendary White
exports at the time. At the height of their Rabbit and Somebody To Love. Somebody to Kaukonen and Kantner played a plethora of
success, they headlined three of the biggest Love was covered by German electro act, instruments, from Les Pauls and ES345s
American festivals: Monterey Pop Festival %RRJLH3LPSVLQEHFRPLQJDKLWLQ (Kaukonen) to Rickenbacker 12s. (Kantner)
(1965), the legendary Woodstock (1969) and Europe and featuring a bizarre music video. We are looking for a classic Fender style
the Altamont Free Concert (1969). They also The band continued with their own style of amp tone with minimum front-end gain but
KHDGOLQHGWKH¿UVWHYHU,VOHRI:LJKW)HVWLYDO psychedelia with 1968’s Crown Of Creation enough power to produce a solid, grinding
in 1968. YouTube is a great resource for which repeated the success of Surrealistic sound. Add fuzz, reverb or delay to taste.
DAVID FENTON / GETTY IMAGES
TRACK RECORD This month’s track takes influence from Jefferson Airplane’s first four albums, Jefferson Airplane Takes Off, Surrealistic
Pillow, After Bathing At Baxter’s and Crown Of Creation. The final guitar solo is inspired by some of the band’s live improvised jams such as
those found on 1998’s Live At The Fillmore East which was recorded at the famous New York venue in 1968.
78 August 2019
JEFFERSON AIRPLANE learning zone
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August 2019 79
lesson } PSYCHEDELIC ON THE CD TRACKs 65-66
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80 August 2019
JEFFERSON AIRPLANE learning zone
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66
August 2019 81
LESSON } CREATIVE ROCK ON THE CD TRACKS 67-69
I
n this current series, we are looking at a Technically, this relatively unknown scale is notes in the following positions:
range of Mixolydian solo studies that are closer in sound to a dominant seventh chord D $ DW WKH WK IUHW RI WKH ¿UVW VWULQJ DQG $ RQ
medium-paced throughout so that you can than the more commonly-used Major or
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In this lesson, we are going to MORE EXPRESSIVE THAN
look at ways of incorporating
lateral motion using this scale, VERTICAL MOTION, BECAUSE
which involves moving along the IT IS POSSIBLE TO CREATE
length of the guitar neck, rather
than just staying in one area or
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short lick or line in a scale that WKHWKIUHWRIWKHVDPHVWULQJ
you know and then shift your ,W¶VWKHVDPHSLWFKGLVWDQFHEXWZKHQ
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neck to a new position, and play DVLQEWKHUH¶VDZKROHPDQQHURIQXDQFHV
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involves having to readjust the SDUWLFXODUVFDOHZKHUHDVLI\RXWDNHWKH¿UVW
various intervals of the original route, a), in playing terms, the same ‘musical’
idea in order to stay within the
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has several advantages: 7
TRACK RECORD One guitarist who is fond of lateral movement is Al Di Meola. Al was one of the pioneers of fusion guitar in the 1970s,
bringing to it a Latin edge. His flawless alternate picking technique, married to his use of the Harmonic Minor scale, was a big influence on
rock heroes like Yngwie Malmsteen. If you haven’t heard Al’s playing before, try his albums Elegant Gypsy, Casino and Splendido Hotel.
82 August 2019
Mixolydian solo learning zone
distance is covered in a flash. DIAGRAM 1 five caged shapes of a Mixolydian
To help you with the solo for this lesson,
Diagram 1 shows each of the CAGED shapes
of Mixolydian containing a corresponding
shape #1
two-notes-per-string Dominant Pentatonic
shape. The backing track requires you to play
through a series of dominant chords: A7, C7,
D7, F7 and G7 using Mixolydian from the root
of each.
C D E F G A Bb
C Mixolydian - 1 2 3 4 5 6 b7
shape #2
D E F# G A B C
D Mixolydian - 1 2 3 4 5 6 b7
F G A Bb C D Eb
F Mixolydian - 1 2 3 4 5 6 b7
G A B C D E F
shape #3
G Mixolydian - 1 2 3 4 5 6 b7
To establish the Dominant Pentatonic scale
within each Mixolydian scale, simply remove
the 4th and 6th notes.
Because the solo is labelled, much of it will
be self-explanatory; so, the accompanying
shape #4
©»ª¢ A7
~~~~~ ~~~
# . n œ
j
. ‰.
A dominant pentatonic with C natural passing note
~~~~~ ~~~~
E
B
G
D
9
12 10
9
12 13≠ 12 10 12 10 12 10 11
A
E
1
C7
. n b ~~~~~ ~~~~
#
C mixolydian
E
~~~~~ ~~~~
B 13 11 10 10 11 10 8 10 8
G 10 10 9 7 9
D 10 8 7 10 8
A 8 10
E
3
August 2019 83
lesson } CREATIVE RoCk ON THE CD TRACKS 67-69
D dominant pentatonic
E
B 7 10 7 10 13 10 13 15 13 15 17 15
G
D 7 10 10 10 7 10 12 12 12 10 12 14 14 14 12 14 16 16 16 14
A
E
5
~~~~~ n b
bœ n b ~~
F7
n .
#
F mixolydian
E
BU BD ~~~~~ 13
~~ BU
B 15 (16 ) (15 ) 15 16 15 13 16 13 13 ( 15 )
G 14 15 12
D 15
A
E
7
.
G7
# n
G mixolydian
PB
14
BD
E
B ( 15 ) ( 13 ) 12 13 12 10 12 10
G 12 10 9 12 10 9
D 10 12 10 12 10 9
A 12 12
E
9
A7 C7 (6) (6)
√
#
n œ œ ¡
¡
A mixolydian C dominant pentatonic
E
B 15 11 13 17 13 15 20 15
G
D 11 12 14 14 16 14 12 11 9 10 10 12 14 12 14 17 14 17
A
E
11
84 August 2019
Mixolydian solo learning zone
b n œ
# ¢
¢ œ
¢
D dominant pentatonic
C mixolydian C dominant pentatonic
E 15 18 20 15
B 17 18 17 15 17 18 17 15 13 7 13 15 10 13 17 19
G 15 12 9 9 11 14
D 12 7 12 14 10 12 16
A
E
14 ≥ ≥ ≥ ≤ ≤ ≥ ≥ ≥ ≤
(√) (5)
nœ ~~~ ~ n
F7
# ‰
D mixolydian F dominant pentatonic
E
BU BD ~~ ~~~ Hold – – | Hold – – |
B 15
G 17 17 17
D 19 16 (17 ) (16 ) 15 17 19 17 19
A 17
E
16
≤ ≤ ≥
b n ~~
G7
~~
#
‰.
œ
G mixolydian
E
~~~ ~~~~
B 16 13
G 14 12 7 5 4
D 15 13 13 15 5 7 9 7 5 7
A 15 12 15 5 12
E
18
A7 (10)
¡
(10) n
#
A dominant pentatonic
E 15 17 19 21 19 17
B 14 17 14 20 14 14 17 20 17
G 14 16 16 18
D 11 14 11 17 11 11 14 19 17
A 12 14 14 19
E
21
August 2019 85
lesson } CREATIVE RoCk ON THE CD TRACKS 67-69
C7 (8) (8)
#
√ b n b
bœ œ œ n¡ n
C dominant pentatonic
E 18 12 20 15 15 18 22 18 15
B 15 17
G 17 12 17 19 15 19 17 15 17
D 14 17 14 17 17
A 13 17 13 15 19 15 15
E
23
œ ~~~
D7
n ~~~~
# .
. ⋲
D mixolydian
E
~~~ 10 14
BU ~~~~ BD
B 19 10 10 12 (13 ) ( 12 ) 13 12 10 12 12
G 12
D
A
E
25
. n b
# b
⋲ ⋲
3
F mixolydian with E natural passing note
E 10 13 11 10
B 13 11 13 10 12 15
G 12 10 8 7 8 7 12
D 12 10 10 8 7
A 10 8 7 6
E
27
n> n>
G7
(11)
>
(11)
~~ ~~ ~~
# >
œ œ
G dominant pentatonic
E 13 15 13
~~ ~~ ~~
B 15 15 12
G 12 10 10 12 10 12 10
D 12 9 12 12 12 9 12 9
A 10 8 8 10 8
E 10 7 10
¤
29
86 August 2019
Mixolydian solo learning zone
A7 (9) (9)
n ~~~~~
√
# # ¡ ¡ œ ¡
⋲
A dominant pentatonic
E 9 15 9 17 12 15 19 15 21 17
PH
~~~~~
B 20
G 9 14 16 12 14 18 21 16 18
D
A 14
E
31
n
C7
# b
n
C dominant pentatonic Hold – – |
E
B
G 17 15 12 12 15 15 12 12 12 9 9 7 7 5 5 7 7 9
D
A 15 15 13 13 10 10 13 10 10 7 5 3 5 7
E
33
#
D7
~~~ . ~~~ nœ
j
⋲
3
D mixolydian with G sharp and F natural passing notes
E
~~~ BU BD ~~~~ BU
B 10 9 8 7 (8 ) (7)
G 11 9 10 9 7 (8)
D 7
A 9
E
35
F7 ~~~~
# j .
3
œ
3
F mixolydian
F dominant pentatonic
E
BD ~~~~ PM
B 8 10 8 8 8 10
G ( 7) 8 7 8 10 8 8 8 10
D 10 7 10 7 7 7 10
A 10 8 10 8 10
E
37
£ nœ n
œ œ œ
G7 A7
# # £ ~~~
~~~
Hold – – | Hold – – |
E 13
B 6 8 10 12 15 17 17 15 13 13
G 4 7 10 12 14 14 16 16 14 12
D 5 7 9 12 15 15 12
A 16
E
39
August 2019 87
LESSON } FRETBOARD FLUENCY ON THE CD TRACKS 70-76
Jimmy Raney:
his track Minor
is full of Altered
scale ideas
E7b9/Superlocrian. Shape 1
L
ast month, we looked at Melodic Minor’s resolve to the tonic I chord. In rock and pop
seventh mode – Superlocrian (also styles, and where altered dominant chords 6 6 6
known as the Altered scale), which is may form the basis for a groove, the main bulk 7 3
commonly applied over dominant of the vocabulary is usually drawn from the
chords with alterations to the 5th or 2nd (9th) Minor Pentatonic or Blues scale, which you
GAIN BASS MIDDLE TREBLE REVERB
degrees - or both at once. can hear on tracks such as Purple Haze by
Superlocrian – R-b2-#2-3-b5-#5-b7 Jimi Hendrix or Sexy M.F by Prince.
As we can see from the formula above, the This month, we’ll look at the V7alt chord
Superlocrian mode contains all the possible and Superlocrian mode in a ‘functional’
Set up a warm overdriven tone as it’s one of the
combinations of altered 5th and 2nd (9th) context as part of a Im7 IVm7 V7alt minor best ways to monitor the effectiveness of your
degrees, in addition to the root, 3rd, 5th and blues progression in A, as follows: muting techniques (any unplayed string noise will
b7th of the dominant chord. Typically found Am7/ / / / |Dm7/ / / / |E7b9/ / / / |Am7 / / / / often result in dissonant overtones, especially as
within jazz and blues progressions such as We’ll work through a selection of you ascend to the higher treble strings).The
the II-V-I and I-IV-V, altered dominant Superlocrian lines in the style of some of the overdriven sound is also the tone of choice for
many modern styles and will lend a more fusion
chords function as a means of creating great jazz players including Wes Montgomery,
orientated sound to the jazz-based concepts that
tension, which helps to guide the listener’s Jimmy Raney and Grant Green. We’ll start by
DAVID REDFERN / GETTY IMAGES
TRACK RECORD The Superlocrian mode or Altered scale is commonly used over altered dominant chords in jazz and blues progressions
is a favourite sound among jazz players such as Wes Montgomery, Jimmy Raney and Grant Green; as well as fusion players including John
Scofield, Scott Henderson and Robben Ford. Check out legendary jazzer Jimmy Raney’s track Minor, taken from his classic 1955 release – A.
88 August 2019
SUPERLOCRIAN MODE learning zone
ExamplE 1 cd track 70
Our first Superlocrian line is over the v7alt (E7b9), starting in bar 3 from the resolving Am7 chord. The Am7 and Dm7 in bars 1, 2, 5 and 6 are at rest. This
#9th degree (this is the same as the b3rd but referred to as a #9th as the scale allows us to place our full attention on the placement of the E7alt chord, as well
includes the major 3rd). The idea starts with an Fmadd 9 arpeggio in beats 1 as the execution of the line. On the second time around, the line is phrased as
and 2, which gives us the #9th, b9th, #5th and 3rd against our E7b9 chord. 16ths starting from beat 3, the more common application of such ideas, and
in beats 3 and 4 a chromatic enclosure targets the 5th on the first beat of the with the tension and release effect occurring towards the end of the bar.
Am7 D m7 E 7 b9 A m7
©»¡¡º ~~~~~
E 15 13
~~~~~
B 13
G 13 12
D 15 12 13 14
A
E
1
≥ ≤ ≤ ≤ ≥
E7b9 £œ ¡ œ
A m7 Dm7
¡œ ¡ A m7
¢ ¡ ™ ~~~~~
E 15 13
~~~~~
B 13
G 13 12
D 15 12 13 14
A
E
5
≥ ≤ ≤ ≤ ≥
ExamplE 2 cd track 71
Our second E Superlocrian line starts over the E7b9 in bar 3. At first, follow repeating the line for five minutes a day to a metronome at your base speed
the approach from our first example and isolate the E7b9, omitting the Am7 (your fastest while maintaining the feeling of full accuracy and control). After
and Dm7 chords until you are able to execute the line with good timing and a week or so, try applying an increase of 5-10bpm. Once you are comfortable,
accuracy as eighth notes. For the second time through the progression, it may try adding in some phrases over the Am7 and Dm7 chords using the A Minor
need regular ongoing practice to develop the idea as 16th notes so practise by Pentatonic or Blues scale.
E7b9 ¡
~~ ~ ¡ £ £
A m7 Dm7 Am7
©»¡¡º . .
£ ¡œ
£ ™ £ £ # n .¡ £ ¡ £ ~~ ¡ ¡ £ ~~~~
œ œ ¢
‰ ‰
E
~~~~ BU BD ~~ 12 15 13
~~~~
B 13 15 ( 16 ) ( 15 ) 13 15 13 15 13
G 12 14 14 14 13 12
D 14 15 14
A
E
1
≥ ≥ ≥ ≥≤ ≥ ≥≤ ≤ ≥ ≤ ≥ ≤ ≤ ≤
E 7 b9
. . ~~ ~ ~~ ¡ £ £ ¡ ¡ ¡
A m7 Dm7 A m7
£ ¡
£ ™ £ £ # n . ¡ £ ¡ £
¢ £ ~~~~
‰ ‰
E
~~~~ BU BD ~~ 12 15 13
~~~~
B 13 15 (16 ) (15 ) 13 15 13 15 13
G 12 14 14 14 13 12
D 14 15 14
A
E
5
≥ ≥ ≥ ≥≤ ≥ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≤ ≤
August 2019 89
lesson } FRETBOARD FLUENCY ON THE CD TRACKs 70-76
ExamplE 3 cd track 72
Again, moving directly to bar 3 – our next E Superlocrian line starts from the before working on the preceding im7- ivm7 phrase. Over the Am7 in bar 1, the
#5th degree and consists of an F minor triad, which gives us the #5th, 3rd 9th is incorporated into the melody, with the F targeted on beat 1 of bar 2 over
and b9th degrees in the order they are played. From here, we can identify the Dm7. Although F is the b3rd of our Dm7 chord, and an important target
an Abmaj7#5 arpeggio, which gives us an E7#5#9 sound. Practice this bar in note in outlining the im7-ivm7 change, viewing it as a b6th will allow us to stay
isolation along with the backing track until you are comfortable with the line based around our familiar A Minor Pentatonic or Blues scale framework.
E7b9
©»¡¡º ~~~ œ ¡ ™ ~~
A m7 Dm7
£ ¡ ¡
œ £ # ¡œ £ ¡œ £ ¢ ¡ ™ ~~~~
‰
3 3 ¡
E
BU BD ~~~ ~~~~ ~~~~
B 15 ( 17 ) ( 15 ) 13 12 14 15 13
G 12 13 12
D 14 15 15 14
A 15 11
E 13 12
1 ≥ ≥≤ ≥ ≥ ≤ ≤ ≥ ≤ ≤ ≤
E7b9
~~~ ™ ~~
Am7 D m7 A m7
£ ¡ ¡ £ # ~~~~
3 3
E
BU BD ~~~ ~~~~ ~~~~
B 15 ( 17 ) ( 15 ) 13 12 14 15 13
G 12 13 12
D 14 15 15 14
A 15 11
E 13 12
5
≥ ≥≤ ≥ ≥ ≤ ≤ ≥ ≤ ≤ ≤
ExamplE 4 cd track 73
Homing in on the third bar this line starts with an G#maj7#5 arpeggio over the this time there is a 16th-note lead-in to the Superlocrian line from the‘and’
first two beats. This is followed by a Bb (A#) major triad in beats 3 and 4, which of beat 4 in bar 2 which targets the 3rd (G#) of the E7b9 chord. On the repeat,
gives us an E7#5b9 sound. The line finishes by targeting the 5th degree over and where the Superlocrian line starts in bar 7 from beat 3, the 3rd degree (F)
the resolving tonic Am7 chord. Over the preceding Am7 and Dm7 chords in simply sustains over beat 1. This effectively outlines the change to the E7alt
bars 1 and 2 – some stock A Minor Pentatonic phrases set the scene; however chord before introducing tension later in the bar across beats 3 and 4.
E7b9
©»¡¡º
A m7
¡ ££ £ £ ¡ ™ ¡ ~~
Dm7
. ™ ¡ ¢ ¡ £ A m7
™ £ ¡ ™ #£ £ ~~~~
‰
E
BU BU ~~~~ 12 15 13
~~~~
B 13 15 15 ( 17 ) 15 ( 17 ) 15 13 13 13 15
G 14 14 14 12 13 15
D 15 14
A
E
1 ≥ ≥ ≥≥ ≥ ≥ ≤ ≥ ≥ ≥ ≥≥ ≤ ≤ ≤ ≤
E7b9
£ £ ¡ ~~~ .
A m7
£ Dm7
¡ ¢ Am7
¡ £ ¡ ™ ¡ £ £
™ £ ¡ ™ ™ # £ ~~~~
‰
E
BU BU ~~~~ 12 15 13
~~~~
B 13 15 15 ( 17 ) 15 ( 17 ) 15 13 13 13 15
G 14 14 14 12 13 13 15
D 15 14
A
E
5
≥ ≥ ≥ ≥ ≥ ≥ ≤ ≥ ≥ ≥ ≥≥ ≤ ≤ ≤ ≤
90 August 2019
SUPERLOCRIAN MODE learning zone
ExamplE 5 cd track 74
Moving directly to the Superlocrian line in bar 3, the idea starts on the b9th (F) Dm7 in bar 2. This leads seamlessly into our Superlocrian line. On the repeat,
and is based around the Abmaj7#5 (G#maj7#5) arpeggio superimposed for an and where our Superlocrian line is played as 16th notes from beat 3 of bar 7, the
E7#5#9 sound. The line finishes by targeting the 5th (E) of our resolving Am7 b9th (F) is targeted and sustained on beat 1. Break the whole example down bar
chord. Working backwards to the im7 and ivm7 chords – bar 1 features some A by bar. The pick follows the conventions of economy picking so remember to
Minor Blues phrases before a 16th-note, Am7 arpeggio line is played over the push through the strings in a single motion when moving from string to string.
E7b9
©»¡¡º
A m7 D m7
¡ £ £ ¡ A m7
~~~~
¡ ~ ~~ ~~~ ~ £ ¡œ ™œ ™
£ ¡ ¢ £ ¡ £ œ¡ £ ¡œ £ ¡ £
£ ¡ £
PB
E
12
BD ~~~~ ~ ~~~ 12 15 13 12
~~~~
B 13 15
G 12 14 14 12 12 12 13
D ( 13 ) ( 12 ) 10 14 14 14 12 14 15
A 12 10 12 12 15
E
1 ≥ ≥ ≥ ≥ ≥≥≤ ≥ ≤ ≥≤ ≥ ≥ ≥≥≤ ≥≤
E 7 b9
A m7 Dm7
¡ £ £ ¡ Am7
~~~~
¡ ~ ~~ ~~~ ~ £ ¡ ™ ™
£ ¡ ¢ £¡ £ ¡£ ¡ £ ¡ £
£ ¡ £
PB
E
12
BD ~~~~ ~ ~~~ 12 15 13 12
~~~~
B 13 15
G 12 14 14 12 12 12 13
D (13 )( 12 ) 10 14 14 14 12 14 15 15
A 12 10 12 12 15
E
5
≥ ≥ ≥ ≥ ≥≥≤ ≥ ≤≥≤ ≥ ≥ ≥≥≤ ≥≤
ExamplE 6 cd track 75
This Superlocrian lick starts in bar 3 from the b9th and is again based around line in bar 3; however, this time, on the repeat there is a different lead-in phrase
the Abmaj7#5 arpeggio superimposed for an E7#5#9 sound. The line finishes with the 3rd degree targeted to outline the change from Dm7 to E7b9. This
by targeting the 5th of our resolving Am7 chord. The preceding phrase over is another effective approach that you can try when improvising over the
the i (Am7) and iv (Dm7) chords in bars 1 and 2 is based around the A Minor backing track, with a chord tone enclosure used to target the change to the
Blues scale, with the b6th from the A Natural Minor added to the 16th-note v7alt, before the more ‘outside’ sounding altered intervals are then used to
triplet on beat 4 of bar 1. Again, there is a 16th-note lead-in to the Superlocrian heighten tension towards the end of the bar.
E7b9
©»¡¡º
A m7
b£ ~ ~¡ ™ ¡ ¡
Dm7
™ ¡ ¢ Am7
¡ £ £ ¡ £ ™ ¡
£ ¡ ~~ ™ £ ¡ ™ ¡
.
3 £ ¡ £
PB
~~~~
15
BD
E 12 15 12
B ( 16 ) ( 15 ) 13 12 13 12 12 13
G 14 14 12 12 13
D 14 13 12 10 12 14 15 14 15
A 12 10 12
E
1 ≥ ≥ ≤≥ ≤ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≥≥≤
E 7 b9
A m7
b£ ~ ~ ¡ ™ ¡ £ ¡
Dm7
™ ¡ ¢ Am7
~~~~
¡ £ ¡ £ ™ ¡
£ ¡ ~~~ ~~ £ ™ £¡
™ ¡
.
3 £ ¡ £ ™
PB
In The Woodshed
getting louder until the highest note you play
Got the blues for your lack of dynamics? Don’t sit is as loud as possible.
at the ‘piano’ crying, says Charlie Griffiths. Example 2 uses this same concept with a
Digest this article and it’ll soon be your ‘forte’! one-bar lick, but this time the switch between
VRIW DQG ORXG LV VXGGHQ 7KH ¿UVW EDU LV
marked ‘p’ for piano, which means softly;
signal will immediately limit your dynamic whereas the second bar is marked ‘f’ for forte,
ABILITY RATING
range. The perfect tone is one that reacts to which means loudly.
----- Moderate your playing, so it sounds dirty when you dig Other than playing the notes loudly or
Info Will improve your… into the strings and clean when you play the softly in volume, there are other ways to
Key: Various Playing dynamics strings softly. This way your picking hand control the dynamics. Example 3 shows the
Tempo: Various Breadth of style becomes a ‘distortion pedal’ which you can difference between shallow vibrato and wide
CD: TRACKS 77-86 Theory knowledge bring in and out at any time. vibrato. In both cases the notes are the same,
2XU ¿UVW WZR H[DPSOHV GHDO ZLWK EXW WKH ¿UVW EDU KDV D TXLFNHU UDWH RI YLEUDWR
T
his month we will be focusing on a controlling the volume of your notes by with shallow bends giving the phrase a more
variety of techniques to infuse your picking loudly or softly. You can warm up for chilled out BB King vibe, whereas in the
blues playing with better control over this by alternate picking one note very softly, second bar the note bends are much wider
dynamics. We guitarists have all been then gradually get louder and louder. You giving it a more passionate Gary Moore feel.
guilty of the old adage: “Dynamics? I’m can do this by physically hitting the string Next we can get different intensities by
playing as loud as I can already!” So it’s timely KDUGHU EXW \RX¶OO ¿QG GLJJLQJ PRUH RI \RXU choosing to either pick the notes or use legato.
to remind ourselves of the importance of this pick into the strings works too. Try going In Example 4 the same phrase can sound like
extremely expressive dimension of back and forth between light picking and Stevie Ray Vaughan or David Gilmour, just by
performing music. heavy picking for a few minutes without changing the articulation.
First we will think of dynamics in terms of speeding up or slowing down; this can be Not forgetting our all-important rhythm
controlling the volume of the notes coming deceptively tricky. Once you are warmed up guitar chops in Example 5; the difference
out of the guitar. To maximise the range of you can try the following examples. between strumming the chords with the pick
possible volume, make sure your amp is set to Example 1 shows an A Blues scale versus thumb is quite stark.
a moderate overdrive sound, or even a ascending and descending. Here you can
cranked up clean channel. Avoid saturated practise pick control by starting as softly as NEXT MONTH Charlie shows how to use the b5 or
distortion as the inherent compression of the you can with the lowest note and gradually #11, not just in passing but as a melody note
EXAMPLE 1 CD TRACK 77
Play up and down the A Blues scale in a triplet feel using consistent alternate picking; this will help you maintain good timing. Start as softly as you can using the
tip of the pick, then gradually increase the intensity and dig the pick into the strings for the louder notes.
_
qq=qce Throughout Am
3
.. ..
3 3 3
3 3 3
œ
p f
3
Play 4 times
E
. 5
.
. .
B 5 8 8 5
G 5 7 8 8 7 5
D 5 7 7 5
A 5 6 7 7 6 5
E 5 8 8
1, 3
5, 7 etc
EXAMPLE 2 CD TRACK 79
In the first bar play all of the notes at a consistently soft volume, then on the downbeat of bar 2 aim to double the volume at which you are playing. The challenge
here is to transition between the two dynamics without disrupting the timing. Not so easy!
Am
.. ..
3 3 3 3 3 3 3 3
p f Play 4 times
E
. .
. .
B 5 5 5 5
G 8 7 5 7 8 8 7 5 7 8 8 7 5 7 8 8 7 5 7 8
D
A
E
1, 3
5, 7
etc
92 August 2019
DEVELOPING DYNAMICS learning zone
ExamplE 3 cd track 81
Use your wrist in a turning motion to bend the string up and down to create the vibrato. The more you turn your wrist the wider the vibrato will be. Aim for a
shallow vibrato in bar 1 (think BB King) and a wide vibrato in bar 2 (think Gary Moore). See how dynamics can make the same lick sound quite different.
~~~~~ ~~~~
Am7
©»•º ~~~~~ ~~~~
.. . . ..
p f Play 4 times
ExamplE 4 cd track 83
In the first bar pick every note in a confident fashion, trying to make the string‘pop’with each attack. Playing slightly staccato can enhance the attack on each
note. In the second bar the aim is to remove as much attack as possible by using pull-offs (legato) instead of picked notes.
. . . . .
Am Am7
©»•º ~~~~ ~~~~~
.. .. .. ..
f 3
3 p 3
3
~~~~ PB
8 BD ~~~~~
. . .
BU
E
.
. . . .
B 8 (10 ) 8 5 ( 10 ) (8 ) 5
G 8 7 5 8 7 5
D 7 7
A
E
1, 2 3, 4
Am
. . . . . ~~~~
Am7
~~~~~
.. .. .. ..
f 3
3 p 3
3
~~~~ PB
8 BD ~~~~~
. . . .
BU
E
. . . .
B 8 ( 10 ) 8 5 ( 10 ) (8 ) 5
G 8 7 5 8 7 5
D 7 7
A
E
5, 6 7, 8
ExamplE 5 cd track 85
This blues backing riff uses dominant 9 chords throughout. Strum the chords in the first bar with your pick using downstrokes throughout; hold your pick loosely as
we do not want the attack to overpower. In the second bar, palm your pick and use the fleshy side of your thumb to brush the strings for a much mellower sound.
©»•º A9 D9
# ..
œ
f with pick
E
. 5 7 5 5 5
.
B 5 7 5 5 5 5 7 5 5 5
G 4 6 4 4 4 6 7 6 6 6
D 6 7 6 6 6 0 0 4 6 4 4 4
A 0 0 4 6 4 4 4 4 5 5 5
E
1, 5
A9 D9
# ..
p with thumb
E 5 7 5 5
.
.
B 5 7 5 5 5 7 5 5
G 4 6 4 4 6 7 6 6
D 6 7 6 6 0 0 4 6 4 4
A 0 0 4 6 4 4 4 5 5
E
3, 7
August 2019 93
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miss
aNother
issue
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94 August 2019
whAt our rAtiNgs meAN ✪ ✪ ✪ ✪ ✪ Buy it ✪ ✪ ✪ ✪ Excellent ✪ ✪ ✪ Good ✪ ✪ Average ✪ Bin it! music } reviews
New Albums
to appreciating Rocco’s musical
leanings. With 10 tracks there’s a lot
of variety including two Morricone
A selection of new and reissued guitar pieces; the beautifully rhythmic Le
Clan Des Siciliens (tasty jazz solo)
releases, including Album Of The Month and two versions of the arresting
opening theme to one of the ’80s’
Album of the month greatest movies, The Untouchables,
where Rocco gets pretty ‘out there’. incendiary blues-rock style. He’s
oZ noy He favours compressed clean tones successfully shaken off any SRV
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Abstract Logix JJJJJ It’s not all groove-rock though; one shadows as a performer in his own
Some artists get better with each album, of our favourite tracks is Aural - right. Much of the material on The
sparkling with new approaches, tones and Reprise which features two acoustic Traveler has that sort of earworm
richer arrangements. Virtuoso Oz Noy is no guitars. Beautifully sublime! quality that sticks in the brain –
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Imagine New Orleans tinged blues, BB King meets The Meters type Bucknall at Fylde Guitars in July – and if what we’re hearing
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will stagger you with Oz’s groove control; A Soul Thang is gorgeously intense email and phonecall session renderings will be an unmissable
’70s soul gospel while his take on The Beach Boys’ best track, God Only to the players of Fylde instruments experience. This is down and dirty
Knows is dressed as a deep south, gospel church spiritual. Part of Oz’s far and wide brought together 52 blues guitar that takes no prisoners!
success is the variety of A-list musicians that enrich his compositions; musicians contributing a track
drummers like Dave Weckl and Vinnie Colaiuta, bassists like Will Lee each, 20 of which were specially keB’ Mo’
and Jimmy Haslip keep coming back for his unique approach to making recorded and many having never oklAhoMA
music. Straight up, Booga Looga Loo is a GT album of the year! previously seen the light of day. The Snakefarm Records JJJJJ
CDs are presented as part of a “I’m more interested in pleasing
how drive an audience to the point myself and making records that
of ecstasy. If you want southern make me feel like I’ve done my best.
bluesy rock with a huge dollop of And if other people like it, that’s
metal, Sonic Brew is a must! gravy.” Four-time Grammy winner
Keb’ Mo’ delivers his latest release,
Rocco ZifaRelli the title of which was inspired by
MuSic uniteS visiting Oklahoma for a benefit
Zeta Records JJJJJ concert in 2013 after the state was
Rocco Zifarelli may be a new name lavishly illustrated 128-page devastated by a tornado. Special
Black laBel Society to you (though he was interviewed booklet which details each player guests include Taj Mahal, Rosanne
Sonic Brew (20th AnniverSAry) back in GT289), but to fans of and composition in great detail. The Cash and Robert Randolph for a
eOne JJJJJ Ennio Morricone’s cinema music assembled cast includes Gordon blues-driven album comprising 10
Precise brutality is the mantra for world tours, he’s the maestro’s Giltrap, Martin Simpson, Martin tracks full of narrative imagery. “I
Zakk Wylde; he knows how to make six-string chief. With over 20 years Carthy, Bireli Lagrene, Clive began to realise that it’s not just
metal guitar sound pulverising, and in that capacity, it’s great to hear Carroll, Fairport Convention and a about writing a good song with a
his picking chops are the engine Rocco step forward with a solo host of others, resulting in a trip good hook and good lyrics, but it’s
room for his ninja-like musicality. album that brims with style and through contemporary acoustic also about writing songs that have
To hear his early solo career music, sumptuous musicianship. Imagine music. The proceeds will be divided something going on inside…” he
away from his day job as Ozzy the Pat Metheny Group’s embracing between three charities: MIND, tells us. This is most prevalent in
Osbourne’s six string shredder, of jazzy world music with a groovy Help Musicians UK and The tracks like This Is My Home and the
remains as exciting as it did back in hip-hop type sound beloved of Woodland Trust so there really is plaintive The Way I (our favourite
the day. One of the secrets to Zakk’s musicians such as Miles Davis and little excuse not to order your very here), the latter accompanied by
Black Label Society is the embrace (especially) saxophonist Branford own copy, available exclusively at some driving acoustic fingerstyle.
of groove; like Pantera, if you can Marsalis’ project, Buckshot Le www.fyldeguitars.com. This one just might be a contender
grab an audience with infectious Fonque, and you’re on your way for Grammy number five.
rhythms then the rest of the music kenny Wayne
can almost take care of itself (do ShepheRd
marvel at the rich arrangements the trAveler
and guitar layering though). So with Mascot/Provogue JJJJJ
classics like Bored To Tears (head Since he appeared on the scene in
banging), Born To Lose (face the early ’90s, Kenny Wayne
grimacing) and the slamming Shepherd has matured into a
drop-tuned Low Down, Zakk knows serious songwriter with an
August 2019 95
INTErvIEw }
96 August 2019
SIXTY SECONDS WITH { TOm mONDa
deliberately. My main issue is my favourite players to listen to. If I that said, I can listen to Bill Frisell directions. The title track features
over-exertion. The goal of my had to pick other modern players play all day. the Vigier fretless guitar, which I’ve
warm-up routine is to elicit the how about Thundercat on bass, GT: Is there a song by someone else been using since the inception of
biggest tone with the smallest Justin Brown on drums, Chris you really wish you had played? the band, and the album features a
gesture. If I just jump in to a set of Potter on sax? These answers can TM: Too many to list. lot of fresh new techniques for that
challenging music cold, I tend to change on the hour. There are so GT: What’s the song of your own instrument. I’m proud to add to
play too hard. Part of it is due to many incredible players out there. that you’re most proud of? such a small canon of music
some tension injuries I had to work GT: Present company excluded, TM: I am actually most proud of recorded on that instrument.
through with my picking hand. who’s the greatest guitarist that’s our most recent work.
GT: If you could put together a ever lived? GT: What would you most like to be For more info on Tom and his band
fantasy band with you in it, who TM: I don’t really think there is a remembered for? Thank You Scientist, to purchase
would the other players be (either greatest guitarist, as there are so TM: My fresh minty scent. albums, find out about the UK tour
ADRIAN LOPEZ
past or present!)? many skills that different guitar GT: What are you up to currently? (14th to 18th August) and a whole
TM: TYS is kind of my fantasy band players have that are exclusive to TM: Our new album Terraformer lot more, please visit:
to begin with! They are all some of their respective idioms... With all has us pushing in new and exciting https://thankyouscientist.comw
August 2019 97
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