Guitar Techniques 2013 September - 221

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ISSUE 221 SEPTEMBER 2013

THE

Just some of your regular GT technique experts... SHAUN BAXTER One of the UK’s most respected music educators, Shaun has taught many who are now top tutors. His album Jazz Metal was hailed as a milestone.

PAUL BIELATOWICZ One of our greatest rock guitarists, Paul plays with prog legends Carl Palmer and Neal Morse, and is a most welcome regular contributor to GT.

JON BISHOP Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease!

PETE CALLARD Pete’s many credits include Lionel Richie, Annie Lennox, Chaka Khan and Shirley Bassey. He works regularly in the studio, on TV and in the West End.

CHARLIE GRIFFITHS Guitar Institute tutor Charlie first came to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s top rock, metal and fusion guitarists.

PHIL HILBORNE The UK’s original magazine guitar tutor Phil’s something of a legend. A great player he regularly plays guitar in the Queen musical, We Will Rock You.

TERRY LEWIS Terry has toured the world in support of a host of big name acts. He currently teaches at BIMM Brighton, writes with canny insight and plays superb guitar.

BRIDGET MERMIKIDES Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award winning blues guitarist.

Welcome I’VE NEVER BEEN the biggest user of effects combo - a Mark II, before the B or C - I swore that using any kind of ‘transistor’ distortion was sacrilege. I mean, why fork out vast sums for the best valve amp in the world at the time - mine cost £750 in 1980, when an annual UK salary was £6000 - and then put cheapo transistors in front of it? It seemed bonkers. I did have one of the early BOSS DM-2 analogue delays and CE-2 chorus pedals and they were fantastic. But mainly, I just plugged in, turned up and that was it. Some years later I fell foul of the rackmount thing, with Quadraverbs, multi-fx and a Boogie Tri-Axis MIDI preamp. But then one day I plugged back into the old mahogany and wicker Boogie and that was it. These days it’s still simplicity all the way, with a nice distortion (yes, I got over the transistor business - or perhaps overdrive pedals got better, one of the two), a delay and a chorus and tremolo pedal. What I’m getting round to, is the fact that I’ve never been a huge wah-wah user. In fact they used to so annoy me at gigs when other players wouldn’t get off the darned things, that I took a silent vow never

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to be sucked into it myself. Of course there’s always been one lurking somewhere in a drawer, cupboard or gig-bag, but there’s currently not one on my pedal board and hasn’t been for years. Because of that I now keep the board behind me on stage, butted up in front of my amp, so I just turn delays and drives off and on between numbers. However, that might all be about to change. Reading through Jon Bishop’s excellent wah-wah feature this month, has inspired me spot on the board so I can start to put some of Jon’s ideas into practice. I’m sure at this stage of the game my own wah-wah witterings are not going to change music forever. But I do think it’s time I stopped ignoring the wonderful - and very musical if you don’t overdo it - possibilities available. So, back on the treadle it is for me! See you next month...

Neville Marten, Editor [email protected]

DON’T MISS OUR AMAZING DIGITAL EDITION Our digital edition for iPad, iPhone, Kindle Fire and Nook is now even better!

JACOB QUISTGAARD Music Tech’s Jacob is a fantastic find. Not only is his writing great but he’s a superb player who can turn his hand to anything. Welcome aboard, Jacob!

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

ANDY SAPHIR A top teacher at the Guitar Institute (ICMP), Andy is a phenomenal player in a host of styles. He mixes just the right degree of flash with consummate taste.

TRISTAN SEUME One of ACM Guildford’s leading tutors Tristan is also mega busy on the folk circuit playing with Jackie Oates. His brand new CD Middle Child is out now!

JOHN WHEATCROFT A truly phenomenal guitarist John heads up the guitar facility at Tech Music Schools in London. He’s a master at all styles but a legend in Gypsy jazz.

Tap the links Finding your way around the magazine is easy. Tapping the feature titles on the cover or the contents page, takes you straight to the relevant articles. Any web and email links in the text are tappable too!

Animated tab & audio Most songs and lessons have the audio built in, with a moving cursor showing you exactly where you are in the music. Simply tap the ‘play’ button then you can fastforward or scroll back at will.

Play the videos Certain of the articles have accompanying videos full of useful insight and additional information. Once again, tap the play buttons to enjoy video masterclasses on your iPad or smartphone.

PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio).

September 2013 GuitarTechniques 5

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LEARNING ZONE

COVER FEATURE SOLO OVER CHORD PROGRESSIONS Nail those changes!

LESSONS INTRODUCTION

49

30MINUTE LICKBAG

50

Jason Sidwell ushers in our Lessons section

16

BIMM’s Terry Lewis has six great licks for you!

Do you get stuck beyond basic blues soloing? Learn how to play over different chord changes and be a more complete player!

BLUES

52

BLUES

56

ROCK

60

CREATIVE ROCK

68

HOT COUNTRY

72

PROG

76

JAZZ

80

ACOUSTIC

86

ROCKSCHOOL

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John Wheatcroft looks at the bluesier side of Pink Floyd’s legendary David Gilmour.

JW has even more blues for you, here in the style of the awesome Kenny Wayne Shepherd. Martin Cooper goes glam this month with a lesson on Mott The Hoople’s Mick Ralphs.

Shaun Baxter has looked at 2nds and 3rds. This month “it’s one more, isn’t it” - 4ths! Andy Saphir meets a modern country superstar, the one and only Alan Jackson. Paul Bielatowicz unveils the original and influential style of Patto’s Ollie Halsall.

Pete Callard visits the unmistakeably Latin jazz guitar style of Charlie Byrd. Stuart Ryan transcribes the gospel favourite Just A Closer Walk With Thee.

SIMON LEES

Many thanks to Jeff & Mark at World Guitars in Stonehouse, for the loan of this lovely Tom Anderson cover guitar

FEATURES 26

SPECIAL TRANSCRIPTION

5

THEORY GODMOTHER

8

David Mead addresses your technical, musical and theoretical issues.

TALKBACK

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Tell us your views... don’t hold back...

INTRO

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BACK ISSUES

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News, One-Minute Lick, 60 Seconds With, What Strings, That Was The Year and more...

34

Wanna learn some classic Bowie from the ‘70s? Now’s your chance with Jon Bishop’s great transcription of an iconic Ziggy masterpiece!

CLASSICAL TRANSCRIPTION JS BACH ‘Arioso’ from Cantata

WELCOME

Nev on the power of wah...

Check out the expressive wah guitar styles of Joe Walsh, Jimi Hendrix, Eric Clapton, Isaac Hayes, Thin Lizzy, Steve Vai and many more!

DAVID BOWIE: STARMAN Ziggy’s classic transcribed!

VIDEO MASTERCLASS

REGULAR FEATURES

SPECIAL FEATURE #2 WAH GUITAR! Express yourself

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

44

Bridget Mermikides excels herself this month with a truly beautiful solo guitar version of one of Bach’s classics. Learn it now!

Missed one? See how you can get it – here!

ALBUMS

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Top guitar CDs and DVDs reviewed and rated.

TAB GUIDE

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Our terms and signs explained.

SUBSCRIPTIONS

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Albert King and Stevie Ray Vaughan, T-Bone Walker, Johnny Thunders and Steve Hillage!

STEVE LUKATHER LESSON

64

Toto guitar hero and session ace Steve shares his guitar secrets with all of us.


Q&A Post your playing posers and technical teasers to: Theory Godmother, Guitar Techniques, 30 Monmouth Street, Bath, BA1 2BW; or email me at [email protected] - your wish is my command! Harmonia Mundi

Dear Theory Godmother

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EXAMPLES 1  8

I like to use harmonics in my playing, but so far the process has been a bit hit or miss! Could you tell me how to work out the pitches of the harmonics found at the 12th, 7th and 5th frets for each string to give me a bit more of an idea about what I’m doing? Greg The harmonics on a guitar always relate to the pitch of the open strings and so they’re fairly easy to remember. The 12th fret gives you the open string up one octave, the 7th fret is the 5th above that and the 5th fret harmonic is two octaves above the open string. I’ve mapped them out for you in Ex 1 to give a clear picture of which pitches are to be found at the frets you mention. If you want to explore the world of natural harmonics further, you can also find some more lurking around the 3rd and 4th frets. The actual positions of these harmonics don’t conveniently line up with the frets like the ones at the 12th, 7th and 5th, but if you touch the string lightly along its length between the 5th and 3rd frets while plucking, you should be able to find them. You might need a fresh set of strings to hear them clearly and I’d be inclined to try to find them on the bass strings first as these should ring a bit clearer than on the treble side. The pitches involved here include the major 3rd, 5th and b7th two octaves above the open string - in fact you can spell out a dominant 7th chord in harmonics with very little hand movement. There are more harmonics to be found - I’m told that the highest of them is around the middle of the 2nd fret on the first string, but you need quite a lot of gain on an amp (using the bridge pickup) to be able to get it to sustain. It’s a very high B and I’d be happy to notate it for you but I don’t think my music software actually goes up that far.

The Devil’s In The Detail Dear Theory Godmother

I’ve read that a dominant 7th chord contains a diminished 5th - the

8 GuitarTechniques September 2012

so-called ‘Devil’s Interval’ - but I can’t find it! Surely a 7th contains root, 3rd, 5th and flat 7th? So where is the diminished 5th in that lot? Peter

the resolution, too. In essence this is what happens whenever a chord arrangement calls for a V-I change; the devil is thwarted in his attempt to create musical chaos every time!

There’s a b5th in every dominant 7th, Peter - but it’s not related directly to the chord’s root; the devil is a bit more cunning than that! You’re absolutely right in that the formula for a dominant 7th is root, 3rd, 5th and b7th, but the b5th occurs inside the chord between the 3rd and 7th. So, if we take G7 we find the notes G, B, D and F (see Ex 2) and if we examine the intervallic relationship between the B and F, we find our b5th. The devilish dissonance created by this diabolic interval is resolved when the harmony moves to the tonic chord: in the case of G7, the note B moves up a semitone to C and the F moves down a semitone to E, creating the perfectly consonant major 3rd – C and E. A good way to hear this in isolation is to play Ex 3; you can clearly see the movement I’ve outlined on the fretboard and hear

Minor League?

Dear Theory Godmother I’ve been getting more into blues playing recently but one thing puzzles me; if someone suggests playing a minor blues I have been assuming that all the chords – the I, IV and V – would all be minor, but I’m told this isn’t so and that the V chord is still major. But how can this be? If you harmonise the natural minor scale (the scale many rock players would use to play a minor blues) then the V chord becomes a minor 7th – and furthermore, it actually sounds okay when I play it. So which rule of music determines that the V chord is still major? Nat Where I think the confusion might lay is that conventional harmony dictates that the harmonic minor scale is used

for forming chords and if you look at Ex 4 you’ll see that this gives us a straight V7. So the textbook minor blues would be Im-IVm-V7. The V chord has a special ability to signpost the tonic via the resolution of in-built tension but this resolution doesn’t exist in a V minor and so the movement between the V and I chord is less powerful. So classical music written in a minor key will nearly always employ the V7, whereas pop, folk, jazz and pretty much everything else, frequently avoid this convention, often choosing to harmonise using the natural minor scale instead. As the blues already breaks rules by employing three dominant chords in the course of its 12-bar run, taking an ‘anything goes’ attitude here is totally acceptable so either can be considered ‘right’. I would add that one of the most famous C minor blues in rock, Led Zeppelin’s Since I’ve Been Loving You, uses both the Gm7 and G7 – and if it works for Led Zep, who are we to argue?

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Write to: Guitar Techniques, 30 Monmouth Street, Bath BA1 2BW. Email: [email protected] using the header ‘Talkback’. STAR LETTER WRITE ONE AND WIN A PRIZE! LESS TECHNIQUE, MORE FEEL

Larry Carlton: an amazingly gifted player

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I’ve been reading Guitar Techniques for the last year and I can honestly say my playing has evolved leaps and bounds in that time. Through your magazine I have been turned onto the playing styles of Robben Ford and Larry Carlton, who I now love. I've heard them both mention the diminished scale - half-tone, whole-tone and whole-tone, half-tone. I understand how the scale is made, I just don't understand how to use it in a blues context to get that 'outside' playing style that sounds so unique. Any help would be greatly appreciated? Vincent, Colchester, Essex. That’s the problem with the “Use this scale over this chord” approach to teaching. It doesn’t really teach you much at all. As an example, the minor and major pentatonic scales have the same notes and so are ‘nominally’ interchangeable. That’s easy to say, but without explaining how the function of each note in the ‘shape’ changes in relation to the chord below, people can start landing on notes that are strong in the minor pentatonic, but weaker in major. I’ve discussed the topic with Jason and we will be running an article describing the differences between the half-whole and whole-half, and how to best employ them.

STEVE GILLETT/LIVEPIX

TO HAVE AND TO HOLD

One thing that many players the way in which we hold the guitar with our fretting hand. As I started to progress, I began noticing that when I tried to play fast and ‘scaly’,

steps. When I began taking lessons from my lecturer at university, he

Some excellent points there, Jonny. But there’s also a quote I felt inclined to write to tell you how much I am from Mahavishnu Orchestra guitarist John McLaughlin enjoying the August issue of Guitar Techniques. The that goes something like: “Technique is not the enemy of feature on Nile Rodgers is fantastic. I was fortunate expression; technique only allows you to express yourself enough to see Chic perform in Manchester in May better.” Perhaps therein lies the answer. For me there is (even shaking the man's hand as he definitely too much music out there left the stage!) in what was an that’s big on technique but small on incredible display of guitar playing. expression. I adore the playing of both Tony Dawkins letter (GT 220) Albert King and Allan Holdsworth: these makes a great point about punk. He two great guitarists brim with feel and name checks some great players expression; Allan does it with rather and I'd love to see something on more notes than Albert, but I defy Tom Verlaine and company. I know anyone to listen to Holdsworth’s music some playing of that era is less (with open ears) and not come to the 'technique' focused than your more same conclusion. But we do need to regularly featured artists, but I'd tackle the kind of player you mention, as love to read the theory behind the we get asked this question on a ideas of minimalist players such as relatively regular basis. Johnny Bernard Sumner, explained. Thunders is coming up soon, and it I came across a great quote by might be worth putting together an John Frusciante, where he states, overview of players that contribute “I'd rather hear someone play the hugely to the music, albeit with the best they’re capable of with the minimum of notes. Latest GT: we’re pretty Chic too! minimum amount of technique, than someone with a lot of technique who plays STAR LETTER PRIZE without feeling." I found this quite inspiring, and I'd Our friends at Sound Technology love to see you guys break down the ideas of some of are donating a fab DigiTech the less conventional and perhaps more avant-garde HardWire pedal to our Star Letter and reductive styles of guitar player out there. writer every month. Jonny Hughes pointed out that I should observe the way I hold the guitar and what He also suggested some grips that I could try depending on the musical situation and style at hand. He also suggested that I look at how other players hold their neck some pretty interesting things. Tom Kolb for instance will play a minor pentatonic scale using his fourth stretch but keeps his thumb resting Medium to low rock guitar strap height

very high on the neck, grasping it snuggly in the curve between his even when on the low strings. Steve Vai on the other hand keeps his thumb in the middle of the neck and approach, with a gap between the bottom of the neck and his palm; whereas Eric Johnson will start his runs in a positional grip but will alternate to a blues grip when he gets to the higher strings, often ; I believe guitarists should be aware of this. Unlike classical guitar, which has a set of rules with position, contemporary styles are less formal. These styles have different expressive qualities, so there’s a balance to be found between technique and expression. So my question is: what is good technique and where do you see the application of different grips and how we can approach certain lines and if so what are the trade offs? Ross Pirrelli, Sydney, Australia

That’s an interesting point, Ross. I think much of it hinges around how high or low we choose to wear our guitar on its strap. Somene once told me the ideal height is so the guitar hangs in the same place as it would if you were sitting down. This places it in the position of least stress for the arms, hands and fingers, and allows most techniques to be accessed easily. Now whether that’s true or not I don’t know. Like many players, I hang my guitar where it feels right on my body. Not as low as Jimmy Page but not as high as Guthrie Govan. If you do lots of playing with the thumb behind the neck, it pretty much demands you wear it a little higher. That said, while Eric Johnson has his guitar quite high by rock standards, Paul Gilbert slings his lower (and look at Larry, above left). As with most things guitar related, we all find the way that works best for us, dependant upon the styles we play and how the ‘comfort-tolooking-cool ratio relates to us. I couldn’t play the guitar where Page has it, but feel self-conscious with it as high as Guthrie. It’s probably up to us to find our own level; one that balances the styles we play, with comfort and safety - and that dreaded ‘cool’ factor.


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2013 Guitar Tutors Conference

Baker Street soloist Hugh Burns talks at RGT conference

Another packed Registry seminar

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PRS Video Competition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Laka concert ukulele with onboard tuner Laka adds a new concert-sized model to its extensive ukulele range. The VUC50 (£89.99) has a solid mahogany top with mahogany back and sides, in an open pore satin finish complemented by a nato neck and rosewood fretboard. The VUC50’s side-mounted chromatic tuner features an easy-read LCD display that flashes green when your note’s in tune and makes tuning the instrument incredibly simple, while the chrome machineheads with pearloid buttons increase tuning stability. As with all Laka ukes, the VUC50 comes fitted with premium grade Italian Aquila strings. The VUC50 is the big brother of the successful VUS50 soprano uke. Concert-sized models feature a 15” scale length, compared to a soprano’s 13”, with a correspondingly bigger sound. The VUC50 is aimed at students and more advanced players who require great tones and features in an affordable package. Visit www.jhs.co.uk/laka for further details about the VUC50 and all other Laka ukes.

The Laka VUC50’s onboard tuner

Red Box 5 has arrived Hughes & Kettner have updated their industry standard DI box with the new Red Box 5 (£89.99). H&K say: “The beauty of the Red Box 5 is that it does not sound like a mic’ed cab - it sounds like the cab itself! This makes it ideal for live and studio situations in any genre.” Red Box 5 boasts Ground Lift and Pad switches to adjust input gain, with three unique sound-shaping filters so you can mimic your favourite cab. Useful for home recording, studio and live shows, the Red Box 5 could be your key to an authentic cab sound. Without the cab! Visit www.hughes-and-kettner.com or nip over to www.jhs.co.uk/ hughesandkettner for more info.

Fender honours Brit rock legend Wilko with a signature Telecaster

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PHIL HILBORNE’S ONE-MINUTE LICK CHORDY ROCK LICK Chord-based licks such as this are essential to many musical styles and often serve to successfully bridge the gap between rhythm and lead playing. They are very adaptable and can be played straight, swung, dirty or clean. All of these approaches will work well with today’s lick, so please experiment - your primary aim should be to make it sound effortless and ‘slick’.

approach of the two. However, bars 3 and 4 are best played

at once’ sound. Ideas such as this can be heard in the work of guitarists such as Eric Johnson, Robben Ford, Jimi Hendrix and Steve Vai, so make sure you seek them out.


60Se

nds wi...

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

Steve Hillage playing Steinberger headless

GT: What was the first guitar you really lusted after? SH: Various Hofners in a music shop. I really loved the look of those guitars. GT: What was the single best gig you ever did? SH: Honestly, it’s really hard to say. There’s no such thing as a ‘perfect’ gig, and sometimes you might come off stage thinking you’ve done a fantastic gig but there’s a guy in the crowd who though the last time you played there was much better. Or there’s times when you think the gig was bad and some fan from the audience comes up all emotional and says they’ve had a sublime experience. I’ve had many gigs that I’ve really enjoyed with a magical vibe, but in the end I always say you’re only as good as your last gig. It’s best to try to stay as much as possible in the here and now and respond the best you can to the moment. GT: And how about your worst playing nightmare? SH: I did a gig on acid once and my guitar ‘disappeared’ while I was playing it. Not nice. I don’t recommend it. GT: What’s the most important musical lesson you ever learnt? SH: It’s important to use music as true self-expression and through that to try and reach your higher self. Or as Jimi Hendrix once said, “Stay with your thing, man”. GT: Do you still practice? SH: Yes most days I practise a bit. At intense times I practise a lot. GT: Do you have a pre-gig warm-up routine?


SH: I have a few scales and exercises that I generally do before going on stage, to get the muscles warmed up. GT: If you could put together a fantasy band with you in it, who would the other players be (dead or alive)? SH: I would love to have played some really tasteful haunting guitar with the Weather Report line-up that made the Mysterious Traveler album. GT: Present company accepted, who’s the greatest guitarist that’s ever lived? SH: Jimi Hendrix – who I was fortunate to see twice at the Marquee club in 1967 at the

tender age of 15, sitting just six feet from him. I was blitzed for life! GT: Is there a solo you really wish you had played? SH: Could I name two? Hendrix – Axis Bold as Love; Clapton with Cream – Badge. GT: What solo or song of yours are you most proud? SH: Aftaglid on the Fish Rising album – recently re-recorded live in Amsterdam in 2006 at the Gong Unconvention. The solo on Hurdy Gurdy Man is pretty good also. In terms of pure song I particularly like These Uncharted Lands. GT: What would you most like to be remembered for?

SH: Having my own distinctive style, and using music to bring positive energy into this troubled world. GT: And what are you up to at the moment – albums, tours, new equipment etc? SH: The current big thing is my collaboration with Japanese band Rovo, called Phoenix Rising. We have an album coming out in September, a Japan and Taiwan tour in November and a UK and Europe tour starting next March. I’m also doing a big concert in Tokyo with the synthesiser playing legend Tomita, so Japan figures heavily in my musical universe at the moment.

What Strings Do You Use? KENNY WAYNE SHEPHERD

We ask a great guitarist all those questions you really do want the answers to. This month, US blues legend Kenny Wayne Shepherd. GT: Do you have a type of pick that you can’t live without? ( *1"*6"(*6 "(0$ "(1"($( 0"6746"(.*+.*4&"&5"%%(!4 ($6#(/ "( 6" "+(-*76#($6*.5"+(!4 (.5$.(-""%&( 74."(.5"(&$1"'( 7++"6.%,(/ 1( 7&460( ("#4.4*6(5"$ ,(0$70"( !4 &(1$#"( ,( 76%*!' GT: You have to give up all your pedals except three. Which ones do you keep? ( ,(*+4046$%( * ( %,#"( *,( $5( " $7&"(/(&.4%%(5$ "6 .( -*76#($( $5(!"#$%(.5$.(&*76#&( ".."+'( ,(/ $6" ( ( 7 "( +"$1"+(5$&(( ""6(" "+, 5"+"( 4.5(1"($6#(5$&(6" "+(-$4%"#(.*( #"%4 "+(0+"$.(.*6"'()46$%%,8(1,( 6$%*0( $6( 460( -( *6"(!"#$%( (4. &($(-$6.$&.4 (&*76#460(* "+#+4 "( !"#$%(.5$.(/(7&"( *6&.$6.%,'( GT: Can you play any other musical instrument well enough to do so in a band? (/( *7%#(!%$,( $&&'(/($%&*( "%4" "(/( *7%#( "($(0**#(#+711"+( 4-(/( *7%#( 7&.(26#("6*705(.41"(.*( !+$ .4&"(.5"(46&.+71"6.'( GT: If a music chart were put in front of you, could you read it?

(*8(/ 1($-+$4#(6*.'( GT: Do guitar cables really make a difference? What make are yours? ( $ %"&( "+.$46%,(1$ "($( #4--"+"6 "'( *1"($+"(1*+"(+"%4$ %"( .5$6(*.5"+&($6#(&*1"(-$4%( 74 %,'( *(.5"(.+$46"#("$+8( $ %"&( $6(5$ "( $6("--" .(*6(,*7+(.*6"($&( "%%'(/( 5$ "( 7&.*1(1$#"( $ %"&($6#(/(7&"( $( $ %"(1$#"(*-(&*%4#(&4% "+(.5$.(/( 7&"(46(.5"(&.7#4*'( GT: Is there any guitarist’s playing (past or present) of which you’re slightly jealous?

(/(#*6 .(%4 "(.5"( *+#( "$%*7& '(/ #(&$,(.5"+"($+"($(%*.(*-( $+.4&.&( !$&.($6#(!+"&"6. ( 5* &( !%$,460(/(5$ "($(%*.(*-(+"&!" .(-*+'( 8( "6#+4 ($6#( * "+.( *56&*6( 7&.(.*(6$1"($(-" '( 6"(07,(/(+"$%%,( +" *11"6#(%4&."6460(.*(4&( *,%"( , "&'( " &( 7&.($6(46 +"#4 %"( $ *7&.4 (074.$+(!%$,"+' GT: Your house is burning down: which guitar do you salvage? ( ,( ( .+$.* $&."+'(/. &( 1,(671 "+(*6"(074.$+(.5$.(/( $6 .( %4 "( 4.5*7.'

GT: What’s your favourite guitar amp and how do you set it? (/(5$ "($(671 "+(*-(-$ *7+4."( $1!&8($%%(*-( 54 5( "+"( 74%.( ,( %" $6#"+( 71 %"'( 7++"6.%,(1,( -$ *7+4."(4&($( ()"6#"+( 3$6#1$&."+(5"(1*#42"#( $%%"#(.5"( %.+$ 5*64 '(/.(5$&(-$6.$&.4 ( %"$6&($6#(&7!"+4*+(&7&.$46( 4.5( "$7.4-7%(* "+.*6"&' GT: What kind of action do you have on your guitars? ( "#471(.*(5405($ .4*6( 4.5( 71 *(-+".&($6#(5"$ ,(0$70"8( +64"(3$%%(&.+460&' GT: What strings do you use? (/ 1( 7++"6.%,(7&460( +64"( 3$%%( * $%.(&.+460&'(' (' (' ( ' (' (' '( 5",(&*76#(0+"$.( 4.5(%*.&(*-($..$ ($6#(411"#4$."( +"&!*6&"'( "$ ,(&.+460&(#"264."%,( 5$ "($( 400"+(&*76#($6#( 7.( .5+*705(.5"(14 ( ".."+' GT: And finally, what are you up to at the moment? ( 5"(" 4.460(.5460($.(.5"( 1*1"6.(4&(.5"(6" ( $6#( 5"( 4#"&8($%&*(-"$.7+460( ."!5"6( .4%%&( $6#(3$++,( *%# "+0'( 7+(#" 7.( $% 718( $6 .( ".( 6*705( *1"&( *7.(*6( +* *07"( " *+#&(*6( 707&.( .5'( 6#( 5" (*7.( ' "66, $,6"&5"!5"+#'6".(-*+( 46-*+1$.4*6(*6( (040&8($% 71&( $6#(*.5"+(6" &'

Two new Canadian acoustics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

If mahogany’s your thing, why not join the Canadian Club!


That Was The Year...

Alligator: see you now, not later!

1973 Coal, Cod, Captain And Corr

Yamaha introduces the SG-30 based on the well-loved Gibson design featuring a Katsura-wood slab body, bolt-on neck with dot inlays and a pair of humbucking pickups. It’s a short-lived model but marks the beginning of a highly successful phase for the Japanese company’s electric guitar production. Last Of The Summer Wine and The Ascent of Man begin on BBC TV; the Open University awards its first degrees; the Dalai Lama visits the UK; Biba re-opens in Kensington; Princess Anne and Captain Mark Phillips get married in Westminster Abbey; and the Royal Navy protect British fishing boats during the Cod War with Iceland. Jan Akkerman of Focus is chosen as the Best Guitarist in The World by readers of a UK magazine, inspiring Framus to produce one of the first ever signature guitars the following year. However, Jan wasn’t happy with the prototype and was never seen using it on a gig. Brothers Malcolm and Angus Young put together AC/DC in Australia; Journey is formed in San Francisco; David Bowie ‘retires’ Ziggy Stardust at the end of his UK tour; Queen release their first album and Ian Gillan says it’s time to quit Deep Purple. Gibson releases the L-6S single-cut, the first model to be built with the help of designer Bill Lawrence. It features a maple body and 24-fret neck, pearl block inlays, black scratchplate and headstock facia, two covered humbuckers, two volumes, a tone control and a 6-way rotary switch, with a chicken head knob on the scratchplate. This switch was the key to the guitar’s sound as it offered coil tapping and various combinations. It was favoured by Carlos Santana and Rich Williams of Kansas. The Queen opens the new London Bridge; the Isle of Man issues its own postage stamps; The Bosporus Bridge in Istanbul is completed; the energy crisis begins following the Arab Oil Embargo on countries that support Israel; the Sears Tower in Chicago becomes the world’s tallest building; and coal shortages caused by industrial action in the UK instigate the Three-Day Week. Hamer Guitars is founded by guitar shop owners, John Montgomery, Paul Hamer and Jol Dantzig. Their early designs are based on Gibson’s Flying V and Explorer models. Making an entrance are: Caroline Corr, Peter Andre, Mick Thomson (Slipknot) and Anders and Jonas Björler (At The Gates). Departing are: Ron Pigpen McKernan (Grateful Dead), John Rostill (Shadows), Jim Croce, Bobby Darin, Gram Parsons, Noël Coward and Pablo Picasso.


Three cool new Danelectros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

)+*1(&7+-(46&.+71"6.$%&(.*( #* 6 .76"#(+* (+4--"+,8(.5"( ( 3$+4.*6"( (5$&(.5"(%* ("6#( * "+"#'( $4%$ %"(46(0%*&&(3%$ 8( .5"(&460%" 7.( (3$+4.*6"(.4 &($%%( .5"(" !" ."#( $6*( * "& (. *( 4!&.4 (&460%" *4%&8(1$!%"(6" ( 4.5(+*&" **#( *$+#8(6*(-7&&( *6.+*%&8(!%7&($1$ 460(%** &8( !%$,$ 4%4.,($6#(.*6"'( %%(.54&8(!%7&( (-+".&($6#($6(" ."6#"#(& $%"( %"60.5( (-*+($%%(.5"(%* (6*."&(,*7( *7%#(" "+( $6.( (1$ "(.54&(*6"( "+&$.4%"($ " ( 4&4.( '#$6"%" .+*' *1(*+( ' 5&' *'7 #$6"%" .+*074.$+&( -*+(-7+.5"+(46-*+1$.4*6'(

Free Rockschool music lessons! * & 5**%8(.5"(+"&!" ."#(+* ( $6#(!*!(" $146$.4*6( *$+#8(4&( 6* (*--"+460(-+""(17&4 (%"&&*6&( 4$( .5"(6" &(&" .4*6(*-(4.&( " &4."'(( $ 5(.7.*+4$%( *1"&( 4.5( .$ %$.7+"8( 4#"*8( $ 460(.+$ &( $6#($(%4&.(*-(+" *11"6#"#( %4&."6460( $&"#(*6(.5"(%"&&*6 &( &7 " .'( (6" (.7.*+4$%( 4%%($!!"$+( " "+,(1*6.58(-* 7&460(*6($(

#4--"+"6.($&!" .(*-(." 564 7"(*+( .5"*+,(-*+(074.$+8( $&&($6#(#+71&'( 5"(%$."&.(%"&&*6(4&(-*+(074.$+($6#( &5* &(5* (&.7#"6.&( $6(41!+* "( .5"4+(&.+460( "6#&( ,($41460(-*+( .$+0". (6*."&'( 5"(-7%%(.7.*+4$%(4&( $ $4%$ %"(.*( $. 5($6#(#* 6%*$#( -+*1(.5"( * & 5**%(&4."'( 4&4.( '+* & 5**%' *'7 (*+( *7 7 "( -*+(-7+.5"+(46-*+1$.4*6'(

HOT FOR TEACHER YOUR RGT TUTOR WHO? John Hardy TOWN: Preston STYLES TAUGHT: Rock, pop, metal, blues, folk, Celtic, jazz SPECIALITY: Classic rock and fingerstyle LEVELS: From beginner to advanced, lessons tailored for personal needs – RGT grades if desired READING: Beginner to intermediate CHARGES: £10 per 30-minute lesson, £20 per hour SPECIAL: Good teaching room and resources, can provide material to study at home TEL: 07713 622145 EMAIL: [email protected]

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PLAY: ROCK

ON THE CD

TRACKS 20-23

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

Moderate INFO

WILL IMPROVE YOUR

KEY: C minor TEMPO: 115 bpm CD: TRACKS 20-23

Wah operating skills Wah-wah ‘vocalisations’ Tone generating skills

THE WAH-WAH PEDAL is surely one of the most iconic and expressive of all guitar effects. While the arguably commoner overdrive and delay are fantastic too (and we’ll be studying these at a later date), step on your wah-wah

The wah’s circuit was invented in the late 1960s by Brad Plunket who was working for the Thomas Organ Company. Plunket was set Mid Range Boost switch on a Vox valve

(pot) that created a spike in the frequency range; this boosted a certain frequency and rotated, the frequency spike shifted back and fourth and the ‘wah-wah’ sound was produced. The last part of the puzzle was to

operation with a foot was possible. A few sleeples nights later and the wah-wah pedal as we know it was born. The president of the Thomas Organ Company pursued trumpet player Clyde McCoy as an endorsee for the pedal, as he felt the sound the wah-wah produced was reminiscent of McCoy’s ‘cup mute’ trumpet recordings. The original wah-wah pedals had both the Cry Baby and Clyde McCoy logos on, or the Vox logo. Both the Cry Baby and the Vox wah-wah were essentially the same pedal made by Thomas Organ, the only difference being the branding.

There have been many iconic guitar recordings created with the wah-wah over the years, ranging from numbers by Eric Clapton and Jimi Hendrix in the late 1960s, through the funk and disco classics of the 70s and on to the present day. The wah-wah is great for bringing vocal qualities to lead guitar work and it’s also handy for adding percussive elements to rhythm playing - think of the intro to Jimi Hendrix’s Voodoo Child (Slight Return). The

; ; ; ; left in one position (think of Micheal Schenker’s explosive soloing in his UFO days). It is worth experimenting with where you place the wah pedal in your chain of effects,

This month’s track offers ten riffs and licks in the style of ten featured players. Each idea is notated and there’s a space after each example for your own wah practice. too. It can be very effective to place your overdrive pedal before the wah for a ‘super wah’ tone. Using delay and echo in conjunction with the wah can also provide ; ; for some amazing Bowie or Floyd type sounds). And if you want to create really weird and wonderful sounds, plug your wah-wah in with the leads the wrong way round and then twist the volume and tone controls on your guitar. While not being the most musical or practical way of using the wah pedal, some extremely interesting sounds can be created. Be sure to have your amp turned down though

This month’s track contains an assortment of ten riffs and licks in the style of our ten featured players. Each four-bar idea has been notated, and the demonstration track has a space after each example for your own wah practice. In the interests of extra detailed study, the wah treadle position has also been notated above the tab where appropriate. An ‘O’ indicates the wah treadle was forward or ‘toe down’, while an ‘+’ means the treadle was rocked back or ‘heel down’. As a bonus there is also a jam track that places many of the ideas from the examples into a functioning performance piece. Many thanks to Pete Riley for recording the drums ;

GET THE TONE 7

6

7

7

4

GAIN

BASS

MIDDLE

TREBLE

REVERB

A basic wah-wah pedal and an amp is all you need to replicate the sounds demonstrated in this monthÕs feature. Some overdrive and delay will also help bring things to life. The pickup section and effect combinations have been notated next to the relevant examples in the tab. There is now a vast selection of wah-wah pedals available, in a seemingly endless range of colours, flavours and brands. The original wah set-up and sound has been tweaked and modified over the years, and many of the worldÕs top players now sport a signature pedal that reflects their own preferences. Regardless of which pedal you choose, good results will be reliant on your treadle control skills combined with your guitar playing so, as ever, the key here is plenty of practice.

TRACK RECORD Recordings that feature wah-wah span almost all genres since the late 1960s. Check out Electric Ladyland by Jimi Hendrix, Disraeli Gears by Cream, Shaft by Isaac Hayes and Jailbreak by Thin Lizzy for starters. For an overview of the history of the wah-wah pedal it is well worth tracking down the documentary film entitled Cry Baby: The Pedal That Rocked The World.


SIMON LEES

ABILITY RATING

GET MORE FROM YOUR WAH!

The wah-wah: surely the most expressive of all guitar effects pedals


PLAY: ROCK

ON THE CD

EXAMPLE 1 CURTIS MAYFIELD STYLE ‘WACKA CHICKA’ This first technique will help you to get used to working the treadle. Start by muting all of the strings with the fingers of your fretting hand. If you strum the muted low strings with the wah treadle back, a ‘wack’ sound is produced. Strumming the muted high strings with the treadle forward produces a ‘chick’ sound. By combining these two ideas it is possible to

CD TRACK 21

get the iconic 1970’s ‘wacka chicka’ funk sound as used in the bridge of Pusherman by Curtis Mayfield. There’s a plethora of sounds available with this technique, depending on how you hit the strings, where you place your muting fingers, and position and speed of wah usage. Hendrix was a master of improvising rhythmic phrases with this muted strumming approach.

EXAMPLE 2 ISSAC HAYES RHYTHM WITH SUSTAINED CHORDS This second example showcases a simple idea that is useful for creating a variety of parts. First click on the wah-wah pedal and then strum a chord. The more the chord rings out the better, so make sure your fretting is accurate and your tone is clean and fuss free. As soon as the chord is ringing out you can rock the wah-wah pedal back and forth in any rhythm you

CD TRACK 21

like. This rocking of the pedal adds a wah-wah rhythm to the sound. This example uses a crotchet triplet rhythm, which sounds interesting against the funky 4/4 drum pattern. You may need to put in a bit of practice to get the more complex rhythms perfectly in time, especially if you are new to this idea. Short on ideas for a rhythm track? This could be your answer!

EXAMPLE 3 CHARLES ‘SKIP’ PITTS ISSAC HAYES OCTAVE STRUMMING The intro to the theme from Shaft helped set the funk guitar template and is one of those classic moments. Octave strumming in a 16th note rhythm is great for funk, and adding wah is the icing on the cake! Rocking the pedal


TRACKS 20-23

CD TRACK 21

forward slowly it acts like a tone filter, pulling out certain frequencies and cutting the rest. This slow sweeping is effective on notes and chords alike. Check out the notation and take this one slowly as there is plenty going on.

. . . GET MORE FROM YOUR WAH!

EXAMPLE 4 ERIC CLAPTON STYLE LEAD Eric Clapton was one of the pioneers of using the wah-wah pedal in the early days and he recorded some great wah guitar riffs and solos throughout his career. This example combines some typical, early Clapton

EXAMPLE 5 STEVE VAI STYLE LEGATO Steve Vai is another wah master, and uses his Bad Horsie signature pedal to great effect. This lick starts with a large upward glissando (scoop) into the Bb. To play this, finger the note A (10th fret, second string) and depress the whammy bar. Now pick the note and release the bar slowly. When you have

CD TRACK 21

style phrases with the wah pedal. Clapton generally rocked the pedal in time with the music, but he also used it as an expression device by swelling into notes and string bends to give them a more vocal quality.

CD TRACK 21

fully released the pressure from the bar, you can bend the string up a further semitone to complete the effect. The second two bars feature a fast Vai style tapping run that’s superbly accentuated with the wah pedal. The trick here is to rock the treadle forward at the start of each descending phrase.


PLAY: ROCK

ON THE CD

EXAMPLE 6 THIN LIZZY STYLE LEAD Lizzy liked a bit of wah and used it to great effect in songs like Jailbreak and Don’t Believe A Word. This example sees the wah working as a filter

CD TRACK 21

in combination with fast tremolo picking and string bending. The string bending needs to be gradual to create exactly the right effect.

EXAMPLE 7 JIMI HENDRIX STYLE ‘WATCHTOWER’ LEAD Hendrix was a master of the wah-wah and recorded some iconic moments using one. This example takes its inspiration from the solo in All Along The

CD TRACK 21

Watchtower. The added delay accentuates the sound, and the semiquaver run benefits from the wah’s treadle being rocked in a quaver rhythm.

EXAMPLE 8 SLASH STYLE LEAD Slash is another rock player with a penchant for wah, and who can forget that change of gear in Sweet Child O’ Mine when the wah is clicked on? The wah sounds very effective when combined with double-stops and this example opens with some stock, rock style phrases. The double-stop bend

CD TRACK 21

in the first bar is played with a third finger barre. Clamp both notes with the third finger and bend them up. If you maintain the string spacing on your finger as you bend, the pitches will go up a full tone on the third string and a semitone on the second string, which is a happy coincidence!

EXAMPLE 9 MICHAEL SCHENKER STATIC WAH, ‘TONE FILTER’ STYLE LEAD Leaving the wah set in one position is a popular trick. Slowly rock the pedal back and forth as you play, until you find the ‘sweet spot’. This is partly down to personal taste, but you will find a place somewhere in the middle of the


TRACKS 20-23

CD TRACK 21

sweep where everything sounds particularly good. Certain pedal designs have the option of turning the wah on with a separate switch and this is particularly handy as you can pre-set the sweet spot before taking flight!

GET MORE FROM YOUR WAH!

EXAMPLE 10 KIRK HAMMETT STYLE LEAD The Kirk Hammett lead style is synonymous with the use of the wah-wah pedal, and many of Kirk’s most famous Metallica solos feature it heavily. The wild, double-stop bends that Kirk likes to augment with the wah-wah have become a Metallica trademark, as is the use of legato while using an

EXAMPLE 11 32BAR WAHWAH PARTY JAM Now it’s time to put those wah-wah pedal ideas to the test in our 32-bar jam track. The synth style chord swells that feature as part of the backing track have not been notated but are created by placing the wah pedal after all the effects. This means the wah pedal sounds super effective and filters everything in the signal path, including the delays and chorus. The result is a spacious, synth like sound and this idea is well worth checking out (once you’ve gone through all ten examples first, of course!). [Bars 1–8] These opening bars combine a 16th-note strumming rhythm

CD TRACK 21

open-string pedal tone. The natural harmonics in the final bar (played by lightly touching the strings at the 5th fret position) are particularly pleasing, and create a wonderful dissonance when combined with a dive-bombing whammy bar. Pure thrash metal!

CD TRACK 21

with delay and are inspired by players like U2’s The Edge. The wah is used as a tone filter, and the delay helps to accentuate the sweep across the frequencies. This sweeping tone filter with delay provides some spacious, synth style effects. Set your delay to a dotted 8th note, as this will help set up that classic Edge style delay sound. The wah sweep is easy to do and is notated above the tab. The semi-quaver strumming rhythm may take some practice to get, but this concept will work with many other semiquaver rhythms and is worth spending time exploring.


PLAY: ROCK EXAMPLE 11 32 BAR WAH PARTY JAM CONTINUED... [Bars 9Ð16] This section introduces a funk style single note line that is inspired by John Squire’s wah work in The Stone Roses seminal track Fools Gold. Keep the wah treadle rocking in a steady quaver rhythm. The mute strokes are all important as these work with the wah to create the ‘wacka chicka’. [Bars 17Ð24] It’s time to rock, and these lead lines are inspired by players


ON THE CD

TRACKS 20-23

CD TRACK 21

like George Lynch and Zakk Wylde. Dig in hard and keep the finger vibrato wide and pronounced. The wah-wah pedal helps to vocalise the notes and this is done by swelling the treadle forward as you hit the note. This technique is particularly effective on string bends. Bar 22 features the Hendrix style idea of playing a double-stop bend and then adding rhythm to it by rocking the pedal.

GET MORE FROM YOUR WAH! EXAMPLE 11 32 BAR WAH PARTY JAM CONTINUED... [Bars 25 to end] This section utilises the Steve Vai style idea we looked at earlier back in example 4 (page 29). This time it’s shifted up four frets to fit the E minor key of our 32 bar wah party jam.

CD TRACK 21

Bar 31 features the Hendrix style, clashing bends we looked at in example seven, and the piece ends with the dramatic dive bomb harmonics, from the Kirk Hammett Metallica style lick in example 7.


PLAY: ROCK

ON THE CD

TRACKS 24-26

David Bowie Starman

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

Easy INFO

WILL IMPROVE YOUR

KEY: F major TEMPO: 102 bpm CD: TRACKS 24-26

Barre chords and fretting String bending intonation Strumming technique

DAVID BOWIE IS a cultural icon whose career has spanned an amazing six decades. Starman was released in 1972, just three years In addition to being a superb songwriter and charismatic front man, Bowie is also a solid rhythm guitar player. He performed the 12-string acoustic guitar parts on hit songs like The Man Who Sold the World and Space Oddity, as well as this month’s featured track. These parts combine barre and open chord shapes with a nice sense of timing and groove. Mick Ronson was Bowie’s guitarist of choice during the early 1970s. Ronson was a

charismatic lead guitarist and a good all round musician and took care of the string arrangement for Starman. Starman uses chords from the harmonised F major scale: Fmaj7, Gm7, Am7, Bbmaj7, C7, Dm7 and Em7b5. A few extra chords are added here and there, to help the progression add to the tension and release factor. To act as a turnaround an Ab major chord is used on route to the Bb major chord at the end of verse one and three. These two chords are from the key of Eb major and provide a momentary lift back into the F chord in verse two. To take us into the chorus Am and Gm are changed to A and G major. These are from the key of D major and sound stronger than their minor counterparts for setting up the chorus. In the chorus Dm7 is changed to D7 and this sets up a perfect cadence to the G minor. This changing of chord type to a 7th is referred to as a secondary dominant and sounds very effective due to the tension and release factor

TECHNIQUE FOCUS

being heightened. The other extra chord in the chorus is where the Bb changes to a Bbm. This changing of chords from major to minor is a popular songwriting tool (think of the C to Cm in Radiohead’s Creep). The original Starman recording fades out, so to make the backing track more fun to play along to, I’ve created an ending. This is the same as the ending that Bowie’s band used to

live. This ending should make sense to the ear and is simple to play. Thanks to Pat Hughes, for playing bass, and to Charlie Rinks, for the violins. Have fun practicing and see you next time!

GET THE TONE

Rhythm strumming An important aspect of playing good rhythm guitar is to keep the strumming hand moving up and down in time, regardless of whether or not it is hitting the strings. It’s hopeless to try and nail a groove by guessing with single strums here and there. So using the strumming hand to ‘ghost’ the rhythmic sub-division is a far more mechanical way of making sure your timekeeping is sound - every great rhythm player does it. The electric guitar riff in the bridge section is particularly fun to play. This will sound best if played exclusively with down strokes of the pick as this evens the attack and adds weight to the sound. Playing quavers with down strokes is the way forward

Starman originally faded out, so to make the backing track more fun to play along to I have used the same ending that the band used live.

with rock rhythm guitar. The verse part relies on a muted strumming approach and this is governed by the pressure you apply with the fretting hand fingers. If you release the pressure of the fretting hand but leave the fingers in contact with the strings, the chord will not sound and the strings will be muted. This might feel strange if you are not used to doing it, but after a while it becomes a natural byproduct of your playing that you won’t even think about. With regards to the rhythm playing in particular, try treating the transcription as a guide only: in a live situation Bowie and the band would add extra nuances and rhythms so no two performances feel exactly the same.

6

7

8

7

3

GAIN

BASS

MIDDLE

TREBLE

REVERB

Bowie played his trusty12-string acoustic on Starman - as he did on so many great tracks. But since not that many players own one a six-string will work just fine - try a light pick for a slightly more shimmery tone. Mick Ronson would almost certainly have performed the electric parts on his Les Paul Custom, but any electric with a bridge pick up will work just fine (knock some treble off single-coils if you can). A bit of overdrive and phaser are the icing on the cake.

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


ILPO MUSTO/REX FEATURES

ABILITY RATING

DAVID BOWIE STARMAN

Ziggy played guitar! Here it’s a Swedishmade Hagstrom 12


PLAY: ROCK PLAYING TIPS [Intro: Bars 1-8] These opening bars combine interesting sounding chords with a galloping strumming rhythm. When changing positions, sound the open strings to keep the momentum going. Lifting your fretting hand off the strings when changing chord positions helps to eliminate handling noise, which on acoustic guitars can be unpleasant.


ON THE CD

TRACKS 24-26

CD TRACK 25

[Verse 1Ð2: Bars 9-23] The verse uses a semi-quaver strumming pattern with some mute strokes in it. To play the mute strokes, lift off your fretting hand pressure so the strings are off the frets. Keep your fretting fingers in contact with the strings so they are muted. A thinner pick will provide a bright, percussive attack sound, which is a key feature of the original part.

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

PLAYING TIPS [Chorus 1: Bars 24–34] The guitar part in the chorus changes to a simpler, quaver rhythm and this contrasts nicely with the busy verse strumming. If

DAVID BOWIE STARMAN CD TRACK 25

you are playing on a 12-string acoustic you may find the barre chords will take a bit of holding down so be careful not to strain your hands.


PLAY: ROCK PLAYING TIPS [Bridge: Bars 35-41] In the interests of extra study, the electric rhythm part has been notated here instead of the lead guitar melody. However, that has been tabbed in the outro so feel free to play this as a solo here, if you prefer.


ON THE CD

TRACKS 24-26

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A medium overdrive with a bridge pickup setting (humbucker preferably) should provide the required amount of rockiness. Picking with all down strokes will help the groove and feel.

DAVID BOWIE STARMAN PLAYING TIPS [Verse 3-4: Bar 42-56] This section is a repeat of verses 1 and 2. Live, David’s playing would often get more exuberant as the song progressed so

CD TRACK 25

feel free to do similar here. Bars 55 and 56 feature the funky high octave part that leads into the chorus. A bit of phaser will set this part off a treat.


PLAY: ROCK PLAYING TIPS [Chorus 2 and 3: Bars 57-78] This section is a repeat of chorus 1. This time the chorus is repeated to make one long, double chorus. [Outro/Guitar Solo: Bars 79-90] This section is the main, sing-a-long melody, which is played in unison with the strings. These four bars are


ON THE CD

TRACKS 24-26

CD TRACK 25

repeated three times. The main thing to concentrate on here is the bending intonation. Mick Ronson had a great bluesy-rock feel and the original recording has plenty of vibe. It will really come to life with a bit of mild, Marshall-esque overdrive and a touch of phaser.

DAVID BOWIE STARMAN PLAYING TIPS [Bars 91 to 102] The end solo has a nice contour and is relatively easy to play. The main scale in use here is F major pentatonic. There are some extra colour tones added in for extra flavour but again it’s all about the attitude and vibe here, as it’s technically quite straightforward.

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[Bar 103 to end] The original recording fades out, so in the interests of having a functioning backing track we’ve added the ending that David Bowie himself uses when he performs the track live. The ending is logical and uncomplicated and rounds a great track off nicely!


PLAY: CLASSICAL

ON THE CD

TRACKS 27-28

Johann S Bach The Arioso

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

Moderate/Advanced INFO

WILL IMPROVE YOUR

KEY: D TEMPO: 80 bpm CD: TRACKS 27-28

Melody and bass separation Baroque repertoire Rest stroke and free stroke

THIS MONTH WE are looking at a solo classical guitar arrangement of a wonderful piece of music by Johann Sebastian Bach (1685-1750) who, despite not receiving almost universally considered one of the greatest composers of all time. Bach’s enormous body of masterpieces has been hugely praised and adored by countless music-lovers and musicians through the ages. His incredible control of counterpoint (multiple simultaneous melodies) and complex harmony, coupled with the ability to express deeply the gamut of human emotions, of Western classical music and continues to inspire composers in almost any musical style

TECHNIQUE FOCUS Posture When playing classical guitar, posture is super important in order for both hands to work efficiently. The traditional method is to sit up straight on the front edge an upright chair and raise the left knee (right-handed players) by using a footstool. The guitar sits on the left thigh and the head of the guitar tilts upwards. For long hours of playing, many people prefer to have both feet on the floor keeping the pelvis level and good alternatives to the footstool are the Dynarette guitar cushion. The Gitano guitar rest and the ErgoPlay guitar support.

including modernism, metal, jazz, pop, electronica, tango and everything in between. This month I’ve made an arrangement of the sinfonia - also known as The Arioso - of his Cantata BWV156. Written in 1729 during his slavishly demanding teaching and composing position in Leipzig, this stunning

movement to a set of vocal pieces written in the cantata form (literally a vocal performance accompanied by instrumentation). Listening to the entire work and then learning that Johann Sebastian wrote over 200 other cantatas (among hundreds of other works) gives you an idea of his incredible - some would say unfathomable - productivity. The Arioso itself is not only well loved as a short piece in its own right, but Bach himself reused the theme as the middle movement in his Harpsichord Concerto in F minor (also played as the ‘reconstructed’ Violin Concerto in G minor) and also in the middle movement of his Oboe Concerto in F major. This is an indication of the portability of Bach’s sublime music between instruments, and it is no surprise that the Arioso is now

JS Bach would almost certainly have approved of us transposing his work for another instrument and amending it to suit the guitar’s requirements. performed so effectively on a range of instruments and within various ensembles – you can even hear strains of it in Carly Simon’s award-winning pop song Let The

Working Girl. It also helps us feel comfortable in the knowledge that JS Bach himself would almost certainly have approved of what we are doing here today - transposing his work for another instrument and amending it to suit that instrument’s musical vagaries and technical requirements. So, with that in mind, to make the piece more idiomatic on solo classical guitar I’ve transposed the original key of F major down to D and added a drop D tuning. This introduces a typically guitaristic resonance, which is also rather lovely and lends the piece breadth and, of course, depth. I’ve embellished the repeat of the melody with some Baroque ornamentation, as is perfectly appropriate to the style and is often used in instrumental reworkings of the Arioso. If you’ve not encountered a ‘cross-string trill’ before, the tab captions will explain how to execute them, as well as guide you through some of the piece’s trickier sections. Performing The Arioso with the ‘simplicity’ it demands is not easy at all, but you - and hopefully your listeners - are unlikely to tire of this beautiful work, so all the practice will hopefully be worthwhile.

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


ROGERVIOLLET/REX FEATURES

ABILITY RATING

J. S. BACH THE ARIOSO

JS Bach: wrote hundreds of glorious works


PLAY: CLASSICAL PLAYING TIPS [Bars 1-10] Follow the fingering carefully in bar 2 and listen to the audio to hear the timing on the cross-string trill in beat 4). Plucking hand fingering is indicated beneath the tab to show how this trill is played. Slow practice is necessary until it becomes a ‘reflex’ movement - and to find out which


ON THE CD

TRACKS 27-28

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fingering works best for you. This trill is optional and if it proves too difficult, no one will miss it! Follow the fingering guides as the piece becomes a little stretchy - the first half of bar 4, and bar 10 for example. Practice slowly and commit to memory as this makes it so much easier to focus on your hands.

J. S. BACH THE ARIOSO PLAYING TIPS [Bar 11 to end] On bar 11, beat 4 use a half barre and continue to use it into the next bar for a beat and a half. Work slowly and carefully through the next few bars. On bar 15 the main melody returns but this time with

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some simple embellishment (Baroque style ornamentation) - do refer to the recording to hear how these fit in rhythmically. I hope you enjoy learning this lovely piece of music!


LEARNING ZONE LESSONS GT221

30MINUTE LICKBAG

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BIMM’s Terry Lewis has six more licks to play, from beginner to advanced levels.

BLUES................................................................................................. 52

John Wheatcroft looks at the bluesier side of Pink Floyd’s ace axeman, David Gilmour.

BLUES 2 .......................................................................................... 56

JW has two bites of the cherry this month. Here he revisits the mighty Kenny Wayne Shepherd.

ROCK .................................................................................................. 60

Martin Cooper examines the rocky style of Mott The Hoople and Bad Company’s Mick Ralphs.

CREATIVE ROCK .......................................................... 68

Shaun Baxter highlights the open and modern sounds created by using 4ths in your playing.

COUNTRY ................................................................................... 72

Andy Saphir visits the music of Nashville star Alan Jackson and his top session buddies. WE HOPE YOU’RE enjoying the issue and in particular Jacob’s piece on soloing over chords. The premise is simple: when playing over chord progressions, what are the best approaches to take? And what do we do when some of the chords seem a little out of place? Playing solos on songs with twisty chord sequences can be tough (Midnight At The Oasis - yikes!). Sure, one can ‘whitewash’ a friend as long as you phrase well) but wouldn’t it be better to sound like you’re playing for the song rather than alongside it? So I suggest you tackle Jacob’s article over several sessions, to glean as much as possible from it. I’d also like to add a few extra pointers for you to take on board. First up, knowing where the notes are on your fretboard is a huge over the fretboard - without hesitation, with a metronome ticking away to keep you steady? Good fretboard knowledge makes chord and scale playing easier, plus it strengthens the bond between the two roles. Here’s another tip; get to know a single chord well by playing only chord tones over it (root, 3rd, 5th and 7ths onwards, if present in the chord). With this note-to-chord relationship you will learn where the important notes are within your scales. Your aim is to get chord tone savvy

with three chord types; a dominant 7th, a major 7th and a minor 7th as these are the commonest. Now add a second chord to create a short progression and see if one or more ; :4 # that are exclusive to each chord – these may well be game changers and help generate a very melodic solo. If you’ve chosen two related chords (say Am7-D7) go for two unrelated ones instead (Am7- F#m7). Can you solo in a way that pleasingly marries unrelated chords? Are any notes shared between the chords (A and E are found in both Am7 and PZ # : ;# soloing. This deepens your awareness of your harmonic environment; it’s like baking the cake before you add the icing and cherry on top! Then spend time on things like primary chord tones, extended arpeggios, pentatonics and modes, and you will be increasingly able to select the best approach from your ‘musical toolbox’. You’ll be ; ; you previously never had. Happy soloing!

PROG ................................................................................................... 76

Patto’s criminally undersung Ollie Halsall.

JAZZ ...................................................................................................... 80

Pete Callard focuses on the acoustic Latin style of the fabulous Charlie Byrd.

ACOUSTIC ................................................................................. 86

Stuart Ryan creates a soulful version of the gospel classic, A Closer Walk With Thee.

ROCK SCHOOL ................................................................ 90

over the A-Z of musical terms. This month: M.

ON VIDEO! In the first par

t of this Steve Lukather mastercla ss Luke shows how he plays ‘outside’ the blues. Page 64


LESSON: 30-MINUTE LICKBAG

30-Minute Lickbag

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

EASY LICKS EXAMPLE 1 DAVID GILMOUR If you’re still learning to cope with string bends then Gilmour licks are a great resource. A lot of his playing is rooted in blues so the minor pentatonic

EASY LICKS EXAMPLE 2 FUNKADELIC This lick uses the A blue scale (ACDEbEG) with a slightly swung feel to get the funk. It’ll sound best played through an envelope filter or auto wah

INTERMEDIATE LICKS EXAMPLE 3 NILE RODGERS Nile’s rhythm style defined a whole era of disco music and decades later his sound still pops up on tracks by other artists. A consistent strumming


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scale features often. This lick in B minor features Gilmour’s vocal like phrasing with some medium delay for ambience.

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but you can achieve a similar effect with a manual wah by closing it to emphasise each pick stroke.

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hand and good fretting hand muting skills are required to make this bouncy chord riff sound happening. Try neck or neck + middle pickups on a Strat.

ON THE CD

30-MINUTE LICKBAG

TRACKS 29-34

INTERMEDIATE LICKS EXAMPLE 4 RY COODER RHYTHM Here’s a swampy fingerpicked riff in G. Since it’s based around chords I and IV you can use this kind of idea to lend a rootsy flavour to a blues or folk

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track. A bridge pickup with a little dirt and some spring reverb and tremolo will help to set it off nicely.

ADVANCED LICKS EXAMPLE 5 MELODIC TAPPING Tapping is not just for high octane, Van Halen style rock. There are a host of players out there such as Stanley Jordan, Tosin Abasi and Wes Borland to name a few, who use tapping in a highly compositional way to create riffs or

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melody and chord parts. Playing this lick clean will reveal any imbalances in note volume and is a great way to practise tapping to even out the dynamic (volume) balance between your two hands.

ADVANCED LICKS EXAMPLE 6 SWEEP PICKED MINOR 7 FLAT 5 ARPEGGIOS Sweeping arpeggios can sound a lot like an exercise if you simply go straight up and down them. This lick is a way to practise changing between

LEARNING ZONE

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them mid pattern. Some players like to use the neck pickup to reduce picking harshness when they sweep pick.


ON THE CD

David Gilmour


This month John Wheatcroft looks at the bluesinspired playing of that king of touch, taste and tone - the legendary Pink Floyd axeman, David Gilmour.

David Gilmour: one of the true guitar greats ABILITY RATING Moderate INFO WILL IMPROVE YOUR KEY: Various Melodic blues phrasing TEMPO: Various Expression and delivery CD: TRACKS 35-44 Bending accuracy WE’VE GOT CAMBRIDGE to thank for one of has a magnitude, a sense of theatre almost, the greatest and most famous universities in

TRACKS 35-44

themselves are often straightforward enough long does he leave a note before going for the

I’m completely the antipurist. I was never going to dedicate my life to being BB King. My influences were all a complete hotchpotch. David Gilmour

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David’s Pete Cornish switching system allows him to access a smorgasbord of tones. Guitar-wise it’s Strat into a valve amp, usually Hi-Watt or sometimes a pair of Fenders, with a selection of stomp boxes and rack gear to achieve huge overdriven tone with all kinds of delay and modulation effects. For a good generic Gilmour tone set up a medium drive in front of a long delay with depth and feedback adjusted to taste.

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


PETER MAZEL / SUNSHINE / SUNSHIN

LESSON: BLUES

DAVID GILMOUR EXAMPLE 1 PLAYING OVER EM TO AM CHANGE Our first example outlines a harmonic shift between E minor and A minor, primarily derived from the E minor pentatonic scale (E G A B D) followed by A Dorian (A B C D E F# G). David is really comfortable with sparse rhythmic phrasing over both medium and slow tempos, sounding super-composed

EXAMPLE 2 LICKS IN TRIPLET RHYTHMS Much of Gilmour’s soloing vocabulary is pentatonic based and this example is no exception, outlining a Im V7alt progression in Bm (Bm-F#7#9) with carefully selected notes from the B minor pentatonic scale (B D E F# A). Again, triplet rhythms feature heavily here although in this instance we’re

LEARNING ZONE CD TRACK 35

and super-confident at all times. The triplet-based figures in bars 2 to 4 can be pulled back ever so slightly to emphasise the sense of drama and intent that is present in Gilmour’s playing on just about everything. This use of space is something we should all try to achieve.

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looking at the longer crotchet triplet, essentially spacing three notes evenly across two beats. If in doubt refer to the audio and make sure you can really hear where these notes should land before attempting this on your guitar. Again, it’s all about using available space wisely.


LESSON: BLUES EXAMPLE 3 BRINGING LIFE TO ARPEGGIOS David treats devices like these as he would the minor pentatonic by adding bends, slides, pick rakes and vibrato. Compare the melodies with the underlying harmony. It’s good to quantify what you play in terms of

EXAMPLE 4 EXPRESSIVENESS The theme for this example is mixing rhythms and adding expressive devices such as unison bends, slurs and vibrato. It’s often a good idea when practicing to select a prescribed selection of notes, even going so far as

EXAMPLE 5 ADDING CHROMATICISM We round off our study of David’s bluesy moments with a collection of neat descending phrases based around the E ‘blues’ scale (R b3 4 5 b7). Towards the end of bar 4 we add some chromatic colour with a pair of semitone ‘bridges’, basically filling in the gap between two notes usually a tone apart


ON THE CD

TRACKS 35-44

CD TRACK 39

intervals: so our first phrase would be 3, 5, 8 of G followed by a bend up to the 3rd from the 2nd. If you’re aware of this, changing a lick from major to minor or from one key to another becomes straightforward.

CD TRACK 41

to define a set rhythm but vary the end result by exploring all the possible dynamic, timbral and expressive devices you have at your disposal. Doing this gives even a single lick an almost infinite range of expression.

CD TRACK 43

with the associated passing tone. Here we see the connection between root and b7th (E to D) and 5th to 4th (B to A) although this is a device that you could employ in any instance where you find tone gaps - the great thing about it too, is that it will work over any harmony.

LESSON: BLUES

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ON THE CD

TRACKS 45-47

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

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

Kenny Wayne as the 90sÕ blues wunderkind

ABILITY RATING

Moderate/Advanced INFO

WILL IMPROVE YOUR

KEY: B TEMPO: 116 bpm CD: TRACKS 45-47

Phrasing and authenticity Dynamics and delivery Pentatonic vocabulary

KENNY WAYNE SHEPHERD picked up his

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With his beloved ’61 Strat currently retired from active use, Fender recently repaid Kenny’s lifelong devotion with a signature model. Unsurprisingly, Kenny’s rig is traditional all the way, utilising a bunch of different valve combos, as Kenny says, “All built by Alexander Dumble,” plus a selection of suitably retro overdrive and effect units between guitar and amp. You’ll always find a use for a good Strat, a quality overdrive and a medium output valve combo. Don’t go mad with front-end gain otherwise the personality of the guitar, amp - and player - won’t come through.

blistering guitar work. Recent CDs include 2011’s stunning How I Go, and The Rides release Can’t Get Enough - all come highly recommended.


R GRABOWSKI / RETNA

TRACK RECORD Kenny’s CD/DVD dual release, Ten Days Out: Blues From The Backroads (Colour 2007) is essential for anyone interested in blues. Two other CDs used in the preparation for this article were Live On (Giant 1999) and his debut, Ledbetter Heights (Giant 2003); both feature

KENNY WAYNE SHEPHERD STYLE EXAMPLE KENNY WAYNE SHEPHERD STYLE [Bars 1-4] We begin with some BB King-inspired bending action with the root on the second string. This type of phrasing is more about thinking of the individual quality of each note and its relative location to the root, but if you insist we could view it as minor pentatonic with an additional 2nd (C#) and 6th (G#). In bar 3 we see the first appearance of Kenny’s SRV-inspired rapid pull-off/slide combination move. He likes this a lot. [Bars 5-8] Over E7 we’re targeting the major 3rd (G#) before descending through a fragment of the B blues scale (R b3 4 b5 5 b7). We end this section of our solo with some piano inspired double-stops, again a feature


exploited heavily by Kenny’s primary early influence, Stevie Ray Vaughan. [Bars 9-12] There’s more repetition here. More repetition? Yes, more repetition! This conversational to-ing and fro-ing should not be underestimated within your soloing, as it gives your improvisational phrasing a logical ‘composed’ feel. Our first blues chorus draws to a close with a beautifully slippery phrase featuring hammer-ons, slides and doublestops. Did you spot Kenny’s favourite lick again in bar 11? Notice how the harmony is targeted with the choice selection of F# notes to coincide with our shift to F#7 in bar 12.


LESSON: BLUES EXAMPLE KENNY WAYNE SHEPHERD STYLE ...CONTINUED [Bars 13-16] Our second chorus starts with a combination of rhythm and soloing approaches, in question and answer form. The low B notes in these bars should be fretted with the edge of the thumb over the top of the fretboard, Jimi Hendrix-style. Speaking of which, the contrary motion bend in bar 16 is pure Jimi! The trick to this lick is to initially bend both strings up but only play the second string. Once we’re up to pitch, shift the pressure over to the third string, pick this note and then allow the bent string to fall down to its resting pitch - it’s fiddly but well worth the effort. [Bars 17-20] Occasionally more does actually mean more! In this instance we’re talking about the double-stop’s big brother, the triple-stop, another Stevie Ray trademark idea that Kenny has adopted and executes so well in his own way. The rapid pentatonic derived upstroke-rake/slide combination


ON THE CD

TRACKS 45-47

CD TRACK 46

in bar 20 can also be found extensively in the soloing style of sophisticated blues maestro Robben Ford and the UK’s very own Matt Schofield - and very tasty it is too. [Bars 21-25] Kenny is definitely a subscriber to the ‘heavy strings, high frets, high action, hit it hard’ approach to guitar playing, and one situation where this is most apparent is when he moves over onto the low strings. You really need to dig in here for these phrases to sound just right. In bar 21 we’re selecting the F# blues scale (F# A B C C# E), switching to E minor pentatonic (E G A B D) against E7 in bar 22, progressing to yet more double-stop action with a neat triplet-based phrase targeting the root of our F#7 and B7 chords respectively to close. It’s all straightforward enough, although highly effective, I’m sure you’ll agree - as we so often state, it’s all in the fingers.

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LESSON: CREATIVE ROCK

ON THE CD

TRACKS 51-53

Using fourths

Continuing his focus on intervals Shaun Baxter shows that using 4ths can create contemporary sounding phrases, riffs and lead lines.

between descending and ascending.

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When played as doublestops, 4ths form the basis of many classic rock riffs.

Purple and Rainbow.

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ABILITY RATING P

Advanced INFO

WILL IMPROVE YOUR

KEY: C (Am) TEMPO: 160bpm CD: TRACKS 51-53

Recognition of 4th intervals Use of 4th intervals in solos Contemporary solo style

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IN THIS SERIES, we've been looking at ways of using various scale intervals to create a your blues and rock vocabulary. So far, we've

fusion guitarists Scott Henderson, prefer to

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It’s a good policy to practise with as little distortion as you can. You may have to work harder, but there will be a core to your notes rather than the fizzy transparency that results from using too much gain. If your guitar has humbuckers, they will be powerful enough to get all the distortion you need from the amp; if using single-coils, you may need a drive pedal, with 75% of the gain coming from the amp and 25% from the pedal. Finally, some delay in tempo with the track will help to give both size and smoothness to the overall sound.

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


DAVID LYTTLETON

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FOURTHS EXAMPLE 1 ROCKY DOUBLESTOPS During this series, the object is to build up a variety of interval-based approaches over the same backing track using A Aeolian (A B C D E F

CD TRACK 52

G) in conjunction with the A minor blues scale (A C D Eb E G). Bars 1 and 2 start off with some typical rock-style double-stops.

EXAMPLE 2 DESCENDING SCALE 4THS Bar 11 features descending 4ths taken down through the same scale shape while staying within the same neck position (vertical motion, as opposed to lateral motion). Note that the first

CD TRACK 52

two 4ths (and the last one) in this bar are played using barré rolls, whereas as the ones across the third and second strings are played using individual fingers.

EXAMPLE 3 ACROSS AND UP THE FRETBOARD Bars 19 and 20 again highlight scale 4ths, this time alternating between descending and ascending directions, and played using a mixture of barré roll movements and individual fingers. Here though, instead of staying within the same

LEARNING ZONE

CD TRACK 52

scale shape, the fretting hand moves diagonally by shifting from the thin to the fatter strings whilst also simultaneously drifting up towards the bridge. Also note that pull-offs have been added for technical ease.


LESSON: CREATIVE ROCK EXAMPLE 4 STRETCHY 4THS In bars 25-27 many of the 4th intervals in this section are played on a single string, therefore requiring a large stretch in the fretting hand. Here, an equivalent of the initial nine-note musical motif is repeated further down the neck. Because this motif is three beats long, repetition creates a ‘three

EXAMPLE 5 THREENOTE 4TH MOTIFS Here, wide stretches and barré rolls are combined in order to play three-note 4th motifs that alternate between descending and ascending directions as they are taken down through the scale laterally along the

EXAMPLE 6 CHROMATIC APPROACH NOTES In bar 42 of this example, we see the inclusion of an Eb note from the A minor blues scale; however, many more chromatic notes are then added to the mix by approaching each note of the 4ths highlighted in bars 43 and 44 (descending 4ths shifted down through the neck in a lateral motion on the


ON THE CD

TRACKS 51-53

CD TRACK 52

against four’ feel. Note the mixture of technical approaches in the latter part of bar 26, whereby 4ths played using a wide stretch on the same string are juxtaposed by 4ths played on neighbouring strings: again, this has been done for technical ease. CD TRACK 52

length of the neck. In bar 36, note how unisons (the same note played either simultaneously or consecutively on different strings) are created when employing a succession of wide-stretch-style 4ths on neighbouring strings. CD TRACK 52

top two strings) via a chromatic note a semi-tone below. Finally, at the end of bar 44, note that there is another chromatic approach from a Bb note to the B note at the start of the following bar (in this case, the first note of a descending G triad).

FOURTHS EXAMPLE 7 WIDE INTERVALS AND STRING SKIPS This example starts off with a motion very similar to the principles used in Example 3, only in a different position of the sale. Then, in bars 51 and

EXAMPLE 8 COMBINING VARIOUS APPROACHES Using a combination of some of the principles featured in Examples 3, 4, 5 and 7, bars 57 and 58 feature a nine-note motif comprising both ascending

EXAMPLE 9 STACKED 4THS This final example features some 'stacked' 4ths whereby a succession of 4ths are played in one direction (either descending or ascending) on adjacent strings. Although many of the perfect 4ths in bar 65 are played within the space of one fret, they don't have to be played using a barré roll (although they could) because the tempo is relatively slow. Bar 67 sees a return to each 4th interval being played on a single string using a combination of wide


52, we see a succession of ascending 4ths using a combination of wide stretches (involving a hammer-on on the same string) and string skips. CD TRACK 52

and descending 4ths taken up through the scale using a combination of legato, wide stretches, unisons, string-skips and slides. CD TRACK 52

stretches, legato and string-skips. But for the first time here we also see a six-note motif taken down through the scale. Finally, in bar 68, we finish off with some more stacked 4ths within one fret (this time, across five strings); again, due to the moderate tempo, we can take advantage of the option to use separate fingers of the fretting hand or a barré roll movement. Now see how many of these ideas you can incorporate into your everyday playing.


LESSON: MODERN COUNTRY

ON THE CD

TRACKS 54-55

Alan Jackson style

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

such a huge variety of artists’ albums over the years that it’s probably true to say that his ; ; ; ; ; ; preference to this. I have therefore played and transcribed the electric guitar parts with this technique in mind. Of course, if you feel you’d ; ; all means go for it. As with most country songs, an open chord strummed steel-string acoustic is of utmost importance, as this underpins and acts a generic ‘pad’ throughout the song. It also ; verse or even throughout a ballad. So don’t ; ; ; guitar styles if you want to be an all-round country guitarist and, although it may seem basic, ensure you are familiar with those chords and can play them mean and clean.

Fortunately for we guitar players, country music gives plenty of opportunity to play tasty, technical stuff.

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If you’re a country fan you’ll probably own a T-style guitar, and that will give you best results here. A good, modern clean style ‘twang’ will often incorporate compression and even a degree of overdrive added to a short delay. The drive often comes from small studio amps cranked a little (or a lot) so please try to avoid wasp-like fizz at all costs. Acoustic guitar parts are often played on dreadnought sized flat-tops, and a thinner pick than your regular electric plectrum will add the required shimmer.

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


JASON L. NELSON/PHOTOSHOT

spanning the 80s to the present day. out the song, www.memory), his style is perhaps more traditional sounding than other modern country-pop or often use instruments associated with the talents of country music’s recording elite, such as Brent Mason

amazing Nashville players.

style song might feature a catchy the style of master session man Brent ‘verse’, which would underpin, but not get in the way of, the lead vocal; and a catchy solo, again in the style of things interesting. In proper session Alan Jackson: traditional yet style, of course, we always defer to the modern country feel of the song. Fortunately for we guitar players, country music gives plenty of opportunity to ABILITY RATING play some tasty and technical stuff. However, Moderate INFO WILL IMPROVE YOUR it is vital to consider this so that we always Hybrid/thumbpick technique play the appropriate parts. Great session KEY: A players in all styles are masters of their craft, TEMPO: 180 bpm Country vocabulary due to their ability to play the right thing at CD: TRACKS 54-55 General fretboard skills the right time and do it faultlessly, time after time after time! ALAN JACKSON IS a household name to Brent Mason has appeared on many of country music fans. Hailing from Georgia, ; USA, the singer-songwriter’s rich country truly amazing solos and riffs. Brent’s list of vocal style and great catchy songs have given recording credits is vast, and he has played on him numerous country hits in a career


ALAN JACKSON EXAMPLE 1 INTRO [Bars 1 and 2] For this electric intro part pay attention to the picking instructions if you’re using hybrid technique. For thumbpick players, use

EXAMPLE 2 RHYTHM GUITAR [Bars 6 to 13] Although this acoustic fingerpicked part is simple compared to the electric guitar intro, it still needs to be approached with care. Fret cleanly so all relevant strings ring clearly. Again, pay attention to picking directions, and pick smoothly and strictly in time – country players tend to be spot on the beat, not behind as you’ll commonly find in blues or jazz.


thumb instead of pick, and fingers ‘i’ and ‘m’ in place of ‘a’ and ‘m’. Ensure bends are accurate and double-stops are played staccato (clipped). CD TRACK 54

[Bars 14 to 23] Here’s the acoustic strumming part that’s played during the electric solo. It’s vital to ensure clean, accurate fretting and to keep the 1/8th note rhythm even and smooth, employing downstrokes on the beat and upstrokes on the off beat. A medium to light gauge pick is ideal for this kind of part as it lends a certain ‘shimmer’.


LESSON: MODERN COUNTRY EXAMPLE 3 LEAD GUITAR [Bars 13-14] The solo starts with an Em pentatonic (E G A B D) bend which needs to begin on ‘4&’ of bar 13. Try using the second finger of your fretting hand for the note of A on the second string. This helps you to reach the high E note on the first string with your fourth finger. Fret the last E note (9th fret, third string) of bar 14 with your third finger, as you need to play the G note (8th fret, second string) with your second finger and bend it up a tone as you bend the third string up to E. This gives you a ‘double bend’. When you pluck that bent second string with your second finger, and then the bent third string again with the pick, release the double bend, thus giving you the sound of two strings descending in pitch. Fretting hand stamina is required here - the pitches of the notes have to be accurate too.


ON THE CD

TRACKS 54-55

CD TRACK 54

[Bars 15-19] Here’s a typical Brent Mason double-stop lick. Make sure you pluck these notes with fingers ‘m’ and ‘a’. The bend on the third string in bar 18 is quite a challenge if you’re new to this style, as it can be tough to bend that string up a tone down at that end of the neck. So be careful! Pick the notes with the suggested instructions, as this will help to make the phrasing feel ‘in the pocket’. [Bars 20-22] This is a also challenging bending lick, not only due to the necessity of bending the strings accurately, but also because of the quick fretting hand shift that’s necessary in bar 22 between the high D note (10th fret, first string) and the next high G note (15th fret, first string). This lick needs to sound flowing and continuous, so practise slowly.

LESSON: PROG

ON THE CD

TRACKS 56-58

Patto’s Ollie Halsall

Some players are hugely influential among the guitar elite yet taste meagre success themselves. Paul Bielatowicz examines the criminally undersung genius, Ollie Halsall. ; ; ; ; ; ; ; ; ; ' '; ; ; prodigious talent and the high standards he set, meant he struggled to settle in any single ; ; ; ;

It wasn’t until he was 18 that Halsall finally took up the guitar. Within just three years of playing it he had become regarded as one of the world’s leading guitarists.

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The sound we’re trying to emulate is Halsall’s SG Custom going through a classic 70s valve amp (Fender). Ollie’s Custom was heavily modified and he later used an SG Standard, so as long as you aim for the classic rock sound, any humbucking guitar will put you in the right ballpark. Select the bridge pickup but go easy on the gain and treble, and check out the suggested settings for more detail. The tone we want is one that sustains the longer notes without losing the clarity of the sound.

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


MICK GOLD/REDFERNS

short list when they were ; Peter John 'Ollie' Halsall was ; ; moved to London to play the latter ; ; ; ; ; ; ; ; ; ; ;; ;; ;; ; Ollie Halsall with his three-pickup white SG Custom ; ABILITY RATING Moderate that Allan Holdsworth used a similar guitar in INFO WILL IMPROVE YOUR ; Legato phrases KEY: A ; ; TEMPO: 140bpm Rhythmic ideas CD: TRACKS 56-58 Use of dissonance ; ; THIS MONTH WE’RE looking at a hugely ; ; ; ; ; other household names; someone so well ; ;

OLLIE HALSALL EXAMPLE 1 DORIAN TONES


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

EXAMPLE 2 PUSHING AND PULLING THE TIMING

CD TRACK 57

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

EXAMPLE 3 RECURRING THEMES

CD TRACK 57

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

EXAMPLE 4 CHANGING GEAR

CD TRACK 57

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

EXAMPLE 5 CHROMATIC TENSION

CD TRACK 57

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


LESSON: PROG

ON THE CD

EXAMPLE 6 USING DISSONANCE

TRACKS 56-58

CD TRACK 57

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

EXAMPLE 7 REPEATED LEGATO IDEAS Here’s an example of Halsall’s repeated legato licks played on a single string. He had an uncanny ability to slip between this style of playing and stock

EXAMPLE 8 DOUBLING THE SPEED This lick uses the same notes as Example 4 only this time we’re playing it at twice the speed! Not only does it sound considerably more flash, but it also


CD TRACK 57

blues licks, making them sound like one and the same. Halsall pioneered this fluid approach later taken up by Holdsworth, Bill Nelson and others. CD TRACK 57

illustrates how Halsall could switch gears while playing the same line. Try this with a few of your own licks to see how effective it can be.

OLLIE HALSALL EXAMPLE 9 LEGATO AND OPEN STRINGS For this single-string legato and open-string lick, keep your pick strokes alternate (as directed in the notation) and you’ll soon have this one feeling

EXAMPLE 10 LEGATO, PENTATONICS AND CHROMATICS After the opening legato run the example switches to an ascending minor pentatonic sequence, based on the same repeated pattern seen in Example

EXAMPLE 11 MIXOLYDIAN ASCENDING RUN This final idea is a long A Mixolydian (A B C# D E F# G) legato run. We start by climbing the strings and end with a two-string ascending lick that moves up


completely natural. Ollie, like Holdsworth after him, endeavoured to make his legato notes sound as close as possible to his picked ones. CD TRACK 57

1. The example ends with a nice ascending chromatic run. Switching between ideas like these was a Halsall staple. CD TRACK 57

the neck in 16th-note triplets. From these brief examples you should get an idea of how advanced this sadly unsung player was for his time.


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LESSON: ACOUSTIC

ON THE CD

TRACK 73

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

ABILITY RATING

Moderate INFO

WILL IMPROVE YOUR

KEY: G TEMPO: 112 bpm CD: TRACK 73

Fretting hand barres Alternating bass lines Fluidity in open G tuning

AS WITH MANY great gospel songs, the author of this one is unknown. But in a way that’s the best thing possible since it allows us to work from a blank canvas, musically speaking. Presented with just a melody, the

given the arrangement a lilting, swing feel to keep things moving along. The picking thumb plucks the alternating bass notes throughout and while it’s common in these situations to palm mute the bass notes, I’ve elected to play them without muting all the way through – this just seems to help with the swing feel as these notes sustain and ring a bit more this thumb with or without a thumbpick, but in either case be careful not to hit the bass notes too hard as you don’t want them to overshadow the subtlety and simple beauty of the melody and chords. ; ; twisting moments in our arrangement (I don’t want to make things too easy for you!) but it’s mostly open strings, melody and some sparse chords so aim for that relaxed, lilting feel all the way through. If you’re a singing guitarist, why not wow your audience by introducing the song instrumentally, singing a couple of verses then adding a middle solo (this arrangement again), singing another verse or two before going out on the solo arrangement. Plus, you can always embellish my version with ideas of your own, as well as experimenting with capos (especially if you’re singing). Have fun!

Although you’ll often find Just A Closer Walk With Thee scored in the key of C, I’ve arranged it in G instead and used an open tuning - great for bluesy or soulful vibes.

GET THE TONE Any good acoustic will serve the purpose here though with us being in an altered tuning you’ll want to watch your string gauge – something around the medium size or heavier will be best (try 12 to 53). I recorded this on a Froggy Bottom model M.

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


MOVIESTORE COLLECTION/REX FEATURES

arranger must work up suitable and interesting harmony if their version is to be successful. Although you’ll often With Thee scored in the in the G instead, and used an open G major tuning (DGDGBD) for the job. Although common in slide, this is also a fantastic tuning for arranging anything with a bluesy or soulful vibe. For a start, you get the tonic note, G, on the strings, meaning that these can easily be accessed for both bass and melody duties. Next, you have the 3rd of a G major chord, B, located as the open second string; this again puts it in easy reach for either melody or harmony roles. Finally, you have the 5th of G major, which is of course D, located on the open sixth, fourth As we’ll see in this arrangement, the happenstance of these string tunings proves invaluable for many reasons. First, it allows for a simple but unbeatably effective alternating bass line on the I chord, G, which appears throughout. Next, we can also utilise the open D strings when we want to suggest the V chord, D major, again using the alternating bass line system. All these open strings also make it easy to play fragments of chords or hint at chordal extensions - for instance the note B is the 6th or 13th of D, and is a useful and attractive colour tone. Given the sparse nature of this melody I’ve

Johnny Cash in his pre ‘Man In Black’ period

JUST A CLOSER WALK WITH THEE PLAYING TIPS [Bar 2] The bluesy sliding double-stops are a typical phrasing device in songs such as this, but please make sure you time them so they are played just before the beat, as grace notes. [Bar 11] This barre at the 5th fret will sort the men from the boys! Although it may feel contrary, aim to keep the fretting hand quite relaxed when


playing barres like these; it doesn’t take too much pressure to hold down all the strings and a relaxed first finger barre will make it easier to fret the note at the 7th fret string, first string with the fourth finger. [Bar 17] From here the melody repeats but there are some subtle changes to the chords and bass lines to watch out for.


LESSON: ACOUSTIC

ON THE CD

PLAYING TIPS [Bar 21] There are some finger twists in this bar to accommodate the moving bass line – make sure you keep the chord on beat 1 sustaining against the bass line for three whole beats.

CD TRACK 73

[Bar 25] For the harmonics at the end of this bar, I’d use the third finger. [Bar 28] Here’s the obligatory gospel diminished passing chord! As with bar 11 this sequence will be a good work-out for your barring finger.

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TRACK 73

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LESSON: ROCKSCHOOL

ON THE CD

A-Z Of Music Theory: M

Charlie Griffiths mutters about movable chords, major pentatonics, modal interchange, multi-finger tapping and the Mixolydian mode. Mmmmm! notes are major pentatonic. This 4 either major or minor pentatonic, depending on which note is designated the root. On the guitar this means that the same scale shape can double up as either major or minor pentatonic.

TRACKS 74-78


major as an example, it contains the notes CDEFGAB. Starting from each note of the scale in sequence produces the following modes: C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian and B Locrian. Each of these modes contains the same notes, but start from different ‘root’ P P P on. Since the ‘parent scale’ note spacing is P each mode has its own unique structure.

Movable Major Chords

When chords are concerned the 4 4 ixolydian 4 : positions across the fretboard. The basis of parent major scale and has a similar : intervallic structure: 1 2 3 4 5 6 b7. the formulation of which is frequently As you can see, the intervals of attributed to jazz guitarist Joe Pass who was Mixolydian are almost exactly the

4 same as the major scale, except for 4 the 7th degree. The Mixolydian is the open chord shapes C, A, G, E and D. If you can only one of the seven modes to already play those open shapes, the next step contain both the notes of a major is to create movable versions that can be triad and a b7. This makes the scale : : perfect for playing over dominant 7th the entire fretboard. Essentially there is a chords. The scale not only contains the notes of a major triad, but also all

4 move the shape up the neck to the desired fret giving it a light and bright character, but the addition of the 4th and b7 intervals suggest a hint of minor pentatonic, without becoming too Angus Young dark. This scale is often found in ulti-Fingered Tapping mixes minor and blues, funk and soul music. This technique utilises two or more major pentatonic

: the fretboard. These extra digits allow for odes greater possibilities than the typical ‘oneSo far in this series we have ABILITY RATING

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

: minor is darker and sadder. The seven modes These two scales are the basis of every support your hand and keep your downward can be viewed in the same way, but with more guitarist’s toolkit. The two scales can be 4 viewed as relative major and minor. A minor possible. Try hammering-on and pulling-off mode is because each contains a unique set of pentatonic contains the notes A C D E G, notes and playing scale fragments until your intervals. The modes also relate to each other making the intervals 1 b3 4 5 b7. By starting

on a deeper level, as each one can be derived the same scale from the C we get C D E G A, from the same parent major scale. If we take C different the fret spacings. which changes the intervals to 1 2 3 5 6. These

M

M

M

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


ANGELA LUBRANO/LIVEPIX

M

A-Z OF MUSIC THEORY: M EXAMPLE 1 MAJOR AND MINOR PENTATONIC Play the A minor barre chord to give the scale context. Play up and down the scale use one-finger per-fret when ascending and descending. Next play the

EXAMPLE 2 MIXOLYDIAN Play the A7 chord to give your ear a musical reference point; this type of chord (dominant 7th) is synonymous with the Mixolydian mode. Play up and

EXAMPLE 3 MODES Here we have two modes C Ionian and D Dorian. Both modes contain the same notes, but from different starting points; C Ionian is CDEFGAB, while

EXAMPLE 4 MOVABLE MAJOR CHORDS Fret each chord shape as quickly as possible and hold the chord for as long as possible before moving to the next one. Some of these chords can be

EXAMPLE 5 MULTI FINGERED TAPPING This part is mostly tapped with the picking hand, so put your pick down. Play a full Emaj7 barre chord at the 7th fret and hold the position with your


C chord and repeat the same scale. Notice that each different chord changes the sound of the scale.

CD TRACK 75

down the scale naming the intervals as you go and be sure to use alternate picking throughout.

CD TRACK 76

D Dorian is DEFGABC. To fully appreciate a mode, it should be played repeatedly over a chord or root note for context.

CD TRACK 77

tricky if you are not used to playing a variety of barre chord shapes. Try playing in other keys by moving all the shapes up and down the neck.

CD TRACK 78

fretting hand. Use your picking hand fingers to tap the melody at the 12th fret and allow all the notes to sustain and ring together as much as possible.


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MUSIC REVIEWS

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

New Albums

The new guitar releases, including Album Of The Month and Classic Album... ALBUM OF THE MONTH

BRAD PAISLEY

WHEELHOUSE Arista +++++

Paisley’s country pickin’ ability has never ceased to amaze and yet again he pulls out some truly stunning six-string acrobatics, seemingly making use of every fret and note over the entire surface of his Telecaster’s fretboard. But this latest album is far from being just a demonstration of guitar prowess. It’s packed with grat songs, feels and evocative lyrics. Yes there are also the usual heartbreak and heartache themes associated with the country genre; but there’s humour too, like Harvey Bodine who’s reluctantly brought back to life after a heart attack. There’s a running theme of a radio dial tuning between the tracks which keeps things light hearted but there’s controversy too on Accidental Racist. What remains constant however is the impact of Brad’s guitar work and that’s apparent on every track. Check out Runaway Train, Tin Can On A String and Southern Comfort Zone, all offering something a little different. This is definitely a departure from Paisley’s previous albums but for us there’s extra excitement as a result. Three different versions are available too, two of which feature extra tracks and that’s never a bad thing with this amazing musician.

the musical world. Fronted by lead vocalist and bass player Jon Harvey, Monster Truck takes no time at all to pile on the pressure so the title seems highly appropriate. Guitar duties fall to Jeremy Widerman and he positively shines throughout this album. There’s a general blues-rock feel to the music but with that heavy hard rock element that’s both riffy and infectious. If there is any criticism then it is a bit short on light relief but what they offer here is consistently good on composition and performance. Sweet Mountain River is the well chosen single pull. It showcases the band rather well and has helped them achieve success in their homeland. We also love the slower paced My Love Is True: this borders on grunge but again comes with a strong riff acting as the DNA of the song - and once again featuring a great solo from Widerman. If you like things to be hot and heavy then make sure you listen to this.

WINGIN’ IT

FOR THE MANY

TRISTAN SEUME

REVIEWS BY ROGER NEWELL AND DAVID MEAD

MIDDLE CHILD

Download +++ It’s not often that we get the opportunity to review something from one of our contributors so we are delighted to bring this beautiful album from Tristan Seume to your attention. Tristan is an acoustic guitarist of some renown and teaches at the Academy of Contemporary Music as well as working with award winning folk singer Jackie Oates. This is his second solo album and offers a collection of ten instrumental tracks, some

originals and some standards but all played in the cleanly picked and imaginative style for which he is known. The title track is a niftily picked upbeat reel and we particularly like the Celtic elements that creep in. So be sure to check out Larry’s Favourite/Harper’s Reel, as well as his arrangements of Cyndi Lauper’s Time After Time, and the standard, Georgia, which are both superb. Those of you who regularly follow Tristan’s tuition will find this both informative and helpful as it illustrates his approach beautifully. More importantly it’s a listening delight to anyone that buys it. It’s download only at the moment but a CD is coming soon. Go to info@ tristanseume.co.uk to get it!

MONSTER TRUCK

FURIOSITY

Dine Alone Records ++++ Furiosity is the debut album for this tough Canadian four-piece and offers a mighty powerful entry into

Wingin’ It Records ++++ Acoustic guitar duos are few and far between and even rarer is a combination of players as well matched as these. Following a commission for ten minutes of original music for the Gordon Duncan Memorial Trust, the pair was asked to perform the music live in Perth Concert Hall. It was so well received that Adam Bulley and Chas Mackenzie realised they had the core element for this, their debut album. And what a captivating and evocative instrumental album it is, taking you through an exceptionally varied selection of predominantly

acoustic led pieces. It takes inspiration from a wide variety of music too with a bit of Celtic influence here and there mixed in with folk, a tad of country, a reel or two - it even gets a little funky in places. Highlights include Sidhean Mor and the stunning Raising The Bar which does exactly that. The feelgood factor created by this album is immense so it’s well worth taking a listen.

ZZ TOP

THE STUDIO ALBUMS 1970  1990

Rhino +++++ Following the current CD box set trend here we have the first ten albums from Texan blues-rockers ZZ Top. As you’d expect from one of the world’s biggest bands it comes nicely packaged, with each disc in its own slipcase complete with the original artwork, including the gatefolds for Tres Hombres and Tejas. This fantastic collection represents the band’s time with

Warner Brothers and sees Billy, Dusty and Frank (or Rube as he was known on their first album) develop from a home-grown blues-rock trio into an internationally acclaimed act. That said, their rough edges have never really gone away but there was certainly a lot more overdubbing, sequencing and more obvious production on the big selling albums like Eliminator, Afterburner and Recycler at the end of this set. Bill Ham was in charge of production on all ten of these albums and this has kept a continuity to the group’s sound throughout Top’s impressive career. Bill also shares writing credits on a great deal of the songs so could almost be considered the fourth member of the band. All in all this is a fantastic collection of American blues-rock, full of character and nostalgia but inspirational too. As simple as it all sounds there’s often a lot more going on than you might at first think, and this set is the perfect opportunity to appreciate ZZ Top if this immense band is not already evident in your record collection.


GT USER GUIDE

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

RELATING TAB TO YOUR FRETBOARD

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

Advanced Moderate-Advanced

NUT & FRETBOARD HAND LABELLING Here are the abbreviations used for each finger: Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), i (first finger), m (second), a (third), c (fourth)

Moderate

The fretbox diagram above represents the fretboard exactly, as seen in the accompanying photo. This is for ease of visualising a fretboard scale or chord quickly.

Easy-Moderate Easy

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

CHORD EXAMPLE

CHORD EXAMPLE WITH CAPO

The diagram represents the G chord in the photo. The ‘O’ symbol is an open string, and a circled number is a fretting finger. Intervals are shown below..

The blue line represents a capo – for this A chord, place it at fret 2. Capos change the fret number ordering – here, the original fret 5 now becomes fret 3, fret 7 now fret 5, etc.

MUSICAL STAVE The five horizontal lines for music notation show note pitches and rhythms and are divided by bar lines.

A major scale

TAPPING & HARMONICS

SCALE EXAMPLE

The left box shows an A minor pentatonic scale with added tapped notes signified by ‘T’s. Above shows a Cmaj9 (no 3rd) with harmonics at the 12th fret.

The diagram shows the fret-hand fingering for the A major scale (root notes in black). The photo shows part of the scale being played on the fourth string with first, third and fourth fingers.

TABBING Under the musical stave, Tab is an aid to show you where to put your fingers on the fretboard. The six horizontal lines represent the six strings on a guitar – the numbers on the strings are fret numbers. The two stave and tab examples show 4 notes and 4 chords; C (C major), Em (E minor), D7 (D dominant 7) and Am7 (A minor 7).

GUITAR TECHNIQUES: HOW THEY APPEAR IN WRITTEN MUSIC... PICKING VARIATIONS AND ALTERNATIVES Up and down picking

Q The first note is to be downpicked and the last note is to be up-picked.

Tremolo picking

Q Each of the four notes are to be alternate picked (down- & up-picked) very rapidly and continuously.


Palm muting

Q Palm mute by resting the edge of picking-hand’s palm on the strings near the bridge.

Pick rake

Q Drag the pick across the strings shown with a single sweep. Often used to augment a rake’s last note.

Appeggiate chord

Q Play the notes of the chord by strumming across the relevant strings in the direction of the arrow head.

Q Pick 1st note and hammer on with fretting hand for 2nd note. Then pick 3rd note and pull off for 4th note.

Q Rapidly alternate between the two notes indicated in brackets with hammer-ons and pull-offs.

Q Pick 1st note and slide to the 2nd note. The last two notes show a slide with the last note being re-picked.

Q Sound the notes marked with a square by hammering on/tapping with the frettinghand fingers.

Q X markings represent notes muted by the fretting hand when struck by the picking hand.

Q Fret the start note (here, the 5th fret) and bend up to the pitch of the bracketed note, before releasing.

Q Bend up to the pitch shown in the brackets, then re-pick the note while holding the bent note at the new pitch.

Q Bend up from the 5th fret to the pitch of the 7th fret note, then pick it and release to 5th fret note.

Q Pick the note and then bend up a quarter tone (a very small amount). Sometimes referred to as blues curl.

Q The fretting hand vibrates the note by small bend ups and releases. The last example uses the vibrato bar.

Q Pick the note while lightly touching the string directly over the fret indicated. A harmonic results.

Q Fret the note as shown, then lightly place the index finger over ‘x’ fret (AH ‘x’) and pick (with a pick, p or a).

Q Fret the note as shown, but dig into the string with the side of the thumb as you sound it with the pick.

Q Fret the note as shown, but sound it with a quick righthand tap at the fret shown (TH17) for a harmonic.

Q A previously sounded note is touched above the fret marked TCH (eg TCH 9) to sound harmonic.

Q The note is picked, then the whammy bar is raised and lowered to the pitches shown in brackets.

Q Scoop - depress the bar just before striking the note and release. Doop - lower the bar slightly after picking note.

Q Note sustained, then the vib is depressed to slack. Square bracket used if a long-held note has new articulation applied.

Q Sound the note and ‘flick’ the tremolo bar with picking hand so it ‘quivers’. Results in a ‘gargling’ sound!

Q A capo creates a new nut, so the above example has the guitar’s ‘literal’ 5th fret now as the 3rd fret.

Q The edge of the pick is dragged down or up along the lower strings to produce a scraped sound.

Q Turn volume control off, sound note(s) and then turn vol up for a smooth fade in. Called ‘violining’.

Q The numbers after the notes are the fingers required to play the fret numbers in the tab below.

Q Fingerpicking requirements are shown at the bottom of the tab notation.

Q Tap (hammer-on) with a finger of the picking hand onto the fret marked with a circle. Usually with ‘i’ or ‘m’.


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