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ExCLUSIvE LESSON!
Playing with
FINGERS
PLUS...
Theory questions
answered, learn to
read music, give
your chops a
workout, &
Ditch your pick and join a host more!
of great guitarists that have
turned on to Flesh Tone! CLASSICAL
MOZART
Play Eine Kleine
Nachtmusik for
YOUR ULTIMATE... solo guitar
COUNTRY WORKOUT
Get your country rhythm, lead and hybrid picking
chops up to speed with our comprehensive feature
PLAY LIkE
PAUL WELLER
CLASSIC TABBED! His mellow acoustic side
Welcome
you can
Just some of your regular buy !
GT technique experts...
shaun baxter
One of the UKs most respected music WHEN I LEARNT to play lead I had a cheap this months other big feature - Your Ultimate
educators, Shaun has taught many who acoustic and Id often lose my only plectrum Country Workout. If youre a regular reader
are now top tutors. His album Jazz Metal and have to resort to fingers. I soon developed youll know that no style is an island unto itself
was hailed as a milestone.
a method of using thumb and first finger that and that licks from one genre, or techniques
jon bishop sounded convincing, but different to the tone generally reserved for that genre, can be
Jon is one of those great all-rounders that emanated once Id retrieved my pick from succesfully transplanted into others.
who can turn his hand to almost any down the side of the sofa. Fingers also allowed With that in mind I dont know of ANY
style. No Jack of all trades and master of me to play things I couldnt with a bit of plastic. guitarist that wouldnt want a bit of Chet-style
none, he nails every one with ease!
It gave me another string to my bow within picking, Albert Lee-style pull-offs or Brad
pete Callard my relatively limited style, and its great to call Paisley-style machine gun lead in their
Petes credits include Lionel Richie, Gary on when looking for a softer type of attack, or a arsenal. So, even if youre a rock, blues or jazz
Barlow, Annie Lennox and Shpongle. He particular dynamic to suit a certain song. player, PLEASE give this one a go as Steve
can be seen and heard on numerous tv So successful has it been that a number of Laney has done the most thorough piece on
shows, recordings and film soundtracks.
great players have copied me and are now the subject - both rhythm and lead - weve ever
phil Capone doing the same thing themselves (joke, by seen. Its not for the faint-hearted, but if
Phil is a great guitarist who specialises in the way). Jeff Beck, Mark Knopfler, you glean just five ideas it will be worth
blues and jazz. He teaches at ICMP in Lindsey Buckingham, John Mayer, at least the cost of a years subscription.
London, writes for GT and Total Guitar Robby Krieger, Hubert Sumlin and a A quick note about the main song:
and has published 10 top tuition books.
host of others use the technique all the The Whos Baba ORiley is not their most
Charlie griffiths time, or simply bring it to bear guitar-heavy track, but its one of their
Guitar Institute tutor Charlie first came when the moment feels right. best so Steve Allsworth has tabbed
to fame in Total Guitars Challenge So Jon Bishop has come Pete Townshends synth
Charlie series. Hes also one of the UKs up with a feature that part for guitar, and also
top rock, metal and fusion guitarists.
focuses on playing lead Mr Bigs superb version.
phil hilborne guitar using flesh only. If Give it a go, have fun and
The UKs original magazine guitar tutor, youve not done this Ill see you next time.
Phils something of a legend. A great before, do get into it
player, he regularly plays guitar in the and I guarantee it will
Queen musical, We Will Rock You.
add a new dimension to
pat heath your existing style.
BIMM Brighton lecturer, ESP product While we were in
demonstrator and all-round busy a picking frame of Neville Marten, Editor
musician, Pat brings you six cool licks mind it prompted neville.marten@futurenet.com
each month in 30-Minute Lickbag.
bridget mermikides
Guildhall and Royal Academy trained,
Bridget is a Royal College of Music,
DONT MISS OUR AMAZING DIGITAL EDITION
examiner, a respected classical player
and award-winning blues guitarist.
Our digital edition for iPad, iPhone, Kindle Fire and Nook is now even better!
jaCob quistgaard
Royal Academy trained, Quist is a
superb player who can turn his hand to
any number of styles and topics. Hes
currently on tour with Bryan Ferry.
stuart ryan
Head of Guitar at BIMM Bristol, Stu is an
acoustic guitar virtuoso who performs
throughout the UK. His latest book/CD
The Tradition is available now.
andy saphir
A top teacher at the Guitar Institute
(ICMP), Andy is a phenomenal player in a
host of styles. He mixes just the right
degree of flash with consummate taste. Tap the links Animated tab & audio Play the videos
Finding your way around the Most songs and lessons have Certain of the articles have
tristan seume magazine is easy. Tapping the the audio built in, with a accompanying videos full of
One of ACM Guildfords leading tutors feature titles on the cover or moving cursor showing you useful insight and additional
Tristan is also mega busy on the folk the contents page, takes you exactly where you are in the information. Once again, tap
circuit playing with Jackie Oates. His straight to the relevant articles. music. Simply tap the play the play buttons to enjoy
brand-new CD, Middle Child, is out now! Any web and email links in the button then you can fast- video masterclasses on your
text are tappable too! forward or scroll back at will. iPad or smartphone.
john wheatCroft
A truly phenomenal guitarist, John
heads up the guitar facility at Tech Music PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition
Schools in London. Hes a master at all regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can
styles, but a legend in Gypsy Jazz. also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio).
Learning Zone
lessons introduction 55
Music editor Jason Sidwell muses over this
months full-as-ever lessons section.
30-minute lickbag 56
BIMMs Pat Heath with six new licks to try.
blues 58
John Wheatcroft looks at the bluesier side
of country picking wizard, Brad Paisley.
rock 62
Martin Cooper focuses on George Harrisons
post-Beatles playing style, including slide.
video 66
Carl Verheyen astounds us with his ability to
navigate the neck - luckily he shares his secrets.
creative rock 72
Shaun Baxter shows how to move cell shapes
conveniently up and down the fingerboard.
cHops sHop 78
Andy Saphir shows how string skipping can
make you sound a whole lot classier.
britisH r&b 80
Phil Capone examines a band that was way
ahead of its time - Steve Marriotts Small Faces.
jazz 86
Pete Callard examines Mike Sterns straighter
CoVer FeaTUre jazz side in this second in a two-part series.
scales in different keys it can seem a
little bewildering. But there is a system
b 4 . ..
and, once youve mastered it, youll & 4 .
find it becomes easier and easier to
1 2 b 3 4 5 b 6 b7 1
D E F G A Bb C D
traverse from one key to another. The
first thing you need is a chart of the E
B . 5 6 8
5 6 8 6 5
8 6 5 .
guitar neck that shows you where all
the notes are. Ive provided one in Ex 1,
G
D
A
. 5 7 8
5 7 8
5 7 7 5
8 7 5
8 7 5
.
E 8 6 5 6 8
but it would be better if you copy it out
onto a large sheet of paper and hang Ex 4 Ex 5 Ex 6
it somewhere that youll see every day.
Dont worry about the sharps and flats
for now; it makes things a lot clearer if
you notate only the whole notes and
remember that sharp means one fret to
the right and flat means one fret to the
left as you view the fretboard from the
playing position.
Next, Im assuming that you have
a book detailing the scales you want
to learn and Im hoping that, in all
instances, the root notes are clearly You can be amazingly economical with chords successfully and with relative
marked. Then, all you have to do is Economic Sanctions chord voicings, Jed. The basic major ease. I am now trying to move into
take a scale pattern, locate the relevant Dear Theory Godmother or minor chord comprises only three jazz and add 9ths but, apart from
root and play it. To begin with, youll I gave up the idea of ever becoming notes so its feasible to break the fuller the dominant 9th shape, I find the
have to perform this task slowly and a flashy lead player a long time ago. I chord shapes on the guitar neck down major 9th and minor 9th such a
methodically, but as you get more used can pull off a reasonable solo as long to root, 3rd and 5th (Ex 4). You can even finger-twister that I cant get to either
to the system youll find that matching as its short, sweet and fairly slow but go with root and 5th or root and 3rd. fast enough. I know practice makes
up a scale with any particular root note anything else is virtually out of the Dominant 7ths can be pruned down to perfect, but can you tell me if there is
takes no time at all. question. So Im turning my attention essentials, as in Ex 5 where were only an easier, finger-happy configuration
In Ex 2 Ive written out a couple of to rhythm, my goal being that I playing the 7th, 3rd and 5th. to play major and minor ninths?
examples of scale diagrams with the can one day join a band and play a Get a chord book to see where Andrew
root marked; one major scale, the other useful role as a solid accompanist. the intervals fall within the various
minor. If I wanted to play the major The trouble Im having is translating shapes, then try trimming them down Of the chord shapes you sent me (see
scale example in the key of B, all I have the chords I see in songbooks into and playing them in different songs Ex 6) the major version is a bit of a
to do is find a B on the sixth string at something that sounds right. If I to see if they sound more like what handful, but the minor shape is quite
the 7th fret match it to the root and play whole barre chords in some youre hearing on records. And get common and shouldnt be causing
play the shape in the diagram. rock songs, it just sounds wrong, too transcriptions of rhythm parts so you you too much of a problem. Regarding
Its very important that you begin crowded and not at all like the record. can see specifically what different the minor 9 chord, a lot of players
on the root, as Ive outlined in Ex 3. I know that rhythm players often play players do to trim their chords down. leave out the two lower bass strings
Even if there are a few spare notes at reduced versions of chords, but how and just play the top four strings as
either end of the scale, always begin do I know how much is enough? How Jazz Nines a barre with the 9th played by the
and end on the root note as this will economical can you be with a chord Dear Theory Godmother fourth finger. Its a lot easier and, in
go a long way towards tuning your ear and still get the point across? I have been playing guitar for a few context with bass and even keys, no
into the correct sound of each scale Jed years and can play open and barre one will hear any difference.
nightmare? guitar player that you really wish com. Further information:
rt: Playing to an empty room! you had played? www.trowerpower.com.
~~~~
E bass pedal (throughout)
E 7 6 5 4 6 9 10 7 9 12 14 11 12 15 17 14
B 5 7 8 10 12 13 15 15 17
G 4 6 7 9 11 12 14
D
A
E
1
April 2015 GuitarTechniques 11
That Was
The Year...
Presley, Cremona
and Kit Kat
hARMoNyS cReMoNA AcouSTic RANGe
gets a major overhaul with several new
models being introduced; from the H1263
Grand Concert version to the top of the range
H1307 Cremona VII with its distinctive Wine
Red Shaded carved spruce top, herringbone
top trim, flamed maple back and sides. The neck
has a soft-V profile, pearl inlays and a racing stripe on
the fingerboard. During wartime the whole range is modified
new gear unveiled at nAMM 2015!
with the tuners and tailpiece quality downgraded due to metal a lot of exciting new gear has been thing in the form of t-rexs new
shortages, but it remains a great series of guitars. shown for the first time at this replicator, which boasts an extra
iN ceLeBRATioN oF KiNG GeoRGe vs Silver Jubilee the London years naMM show in anaheim, tough proprietary cassette, two
North Eastern Railway introduces the Silver Jubilee streamliner including Fenders highly-awaited playback heads, chorus, plus
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Nigel Gresleys LNER Class A4 steam locomotives. The driving test is conjunction with Michael Landau control! Visit www.t-rex-effects.
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for the first time and cats eyes are introduced on British roads. based on the Fender hot rod and ehX have introduced cool
The FiRST DeMoNSTRATioN oF RADAR takes place in DeVille iii, with tube circuitry and new pedals including: super
Daventry conducted by Robert Watson-Watt; the new steelworks 60-watt output, two 12 speakers, Pulsar, a state of he art tremolo
at Corby begins production; and the Hawker Hurricane fighter spring reverb and an effects loop. with powerful controls; Octavix,
performs its maiden flight. Designed in the the ML version ups the ante by for that late 60s fuzzed-out, octave
International style the De La Warr Pavilion incorporating volume-switching up sound with great modern
opens in Bexhill-On-Sea; Penguin Books and boost capabilities. Visit www. enhancements; and Good Vibes, a
publishes paperbacks for the first time; and fender.com for further details. uni-Vibe-alike, blending chorus
Rowntree produces its Chocolate Crisp bar - those craving the warmth of old and vibrato into one little box.
soon to be renamed Kit Kat. tape echoes can now buy the real Visit www.ehx.com for more.
New TADpoLeS iN The poND include Elvis Presley, Jerry Lee
Lewis, Alex Harvey, Gene Vincent, Luciano Pavarotti, Barry
McGuire, Sonny Bono, Herb Alpert, Dudley Moore, Ronnie
See Satch play in (drums, percussion).
the dates are: Manchester O2
Hawkins, Jim Dale, John Phillips (Mamas & The Papas), Johnny november! apollo (sunday nov 1);
Mathis, Julie Andrews, television presenter Simon Dee, Rod Hull Joe satriani has announced his Birmingham symphony hall
(and Emu?) and actors Donald Sutherland, Woody Allen and Doug shockwave uK tour which will (Monday nov 2); Glasgow royal
McClure. Leaving the pond is The Sorcerers Apprentice composer take in nine dates from 1st concert hall (tuesday nov 3);
Paul Dukas.
november 2015 to promote Joes sheffield city hall (Wednesday
GiBSoNS New MoDeLS BRochuRe reveals the new Super next studio album. a nov 4); cardiff st.
400 archtop guitar, and in true Gibson fashion its named after ticket pre-sale has Davids hall (thursday
its sale price of $400. This is a truly staggering price during commenced via the 24hr nov 5); southend cliffs
these times of depression. No flat-tops are included in the Box Office: 0844 888 Pavilion (saturday nov
brochure but the small L-30 archtop is now presented with a
991 and www.ticketline. 7); Bristol colston hall
highly striking all-black finish.
co.uk/joe-satriani. (sunday nov 8);
BRiTAiN iS coNceRNeD by the German re-armament Joes band comprises Portsmouth Guildhall
and the countrys introduction of conscription, so the Bryan Beller (bass), (Monday nov 9); and
government responds with plans to increase the size of the Mike Keneally London eventim
JON LUINI
Royal Air Force. Somewhat surprisingly, Britain comes to an (keyboards, guitars) apollo (tuesday nov
agreement with Germany that allows it to increase its navy.
and Marco Minneman 10). Dont miss it!
epiphoNe iNTRoDuceS The MiGhTy eMpeRoR
acoustic archtop to take on its main rival for jazz
guitar supremecy Gibson, over in Kalamazoo. It HOT FOR TEaCHER yOUR RgT TUTOR
features a carved spruce top, maple back and NAMe: Jo Harlow TowN: Maidstone, Kent
sides, carved back and multi-bound body. The STyLeS: Jazz, rock, pop, soul, blues, folk, Latin
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headstock with a pearl vine logo inlay and QuALiFicATioN: BA (Hons) LeveLS: Beginner to
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materials provided (music paper, plectrums,
engraved trapeze tailpiece. The finish is leads), string changes TeL: 01732 490824
Cremona Brown Sunburst. eMAiL: joharlow.guitarmagic@yahoo.co.uk
playing lead with the fingers exclusively. Jeff will just need to know p = thumb, i = first
ABILITY RATING
favours a combination of down picking with finger, m = second finger and a = third finger.
moderate the thumb for a fat tone and plucking with the The ten examples are in a variety of keys,
fingers, which is all topped off with his expert styles and tempos and have been written to
Info WIll Improve your manipulation of the whammy bar and volume highlight a specific technique or famous
Key: Various Fingerstyle technique controls. Mark plays lead lines by plucking the players approach. The idea here is to practice
Tempo: Various Lead feel and phrasing strings with the thumb, first and second these examples at a slow tempo at first and
CD: TRACKS 4-7 Expression and tone fingers, with the remaining digits acting as an then work up to the performance tempo. A
separate backing track has been provided for
The phrase The tone is all in the fingers If you are new to playing Examples 1 to 5 and Examples 6 to 10 so you
can play along and practise your new skills.
is particularly relevant to this months feature.
The flesh and nails of your picking-hand electric lead guitar with the Theres also a full piece to learn, complete
fingers are full of great tone and can make the fingerstyle technique, why with its own backing track to play it over.
plectrum sound bland by comparison. The If you are new to playing lead guitar with
fingers also have great dexterity, and are not use this feature as an fingerstyle, why not use this feature as an
handy for playing ideas on adjacent strings
and also ideas that require string skipping. In
excuse to give it a go? excuse to give it a go. You may simply want to
use the technique occasionally, for a specific
contrast the plectrum is perfect for playing anchor on the pickguard. This technique is as sound or feel; or, as happened with Jeff Beck,
fast tremolo picking ideas and also provides a unique as it is unconventional, but you cant it could change the way you play forever!
uniform attack. Many players have combined argue with the results!
the plectrum and remaining fingers to great Other players such as Joe Pass, Eric
effect (referred to as hybrid picking and youll Clapton, George Benson and Ritchie Kotzen Get the tone
find a bunch of it in Steve Laneys Country dip into the fingerstyle approach as required.
Workout feature). Holding the plectrum puts Jazz legends Wes Montgomery and Jim
the first finger and thumb out of action, so Mullen use the flesh of the thumb exclusively 6 6 7 7 3
while hybrid picking is more versatile than to brush the strings with fabulous effect.
Gain Bass Middle TReBle ReveRB
pick alone, dexterity is still reduced when Whatever your style, its hard to ignore the
compared to pure fingerstyle. wonder of utilising the fingers for lead guitar A variety of guitars, pickup selections and
Another popular route is the use of a playing. This feature aims to identify some pedals were used to perform our examples
thumb pick. The thumb pick clips onto the core techniques and ideas that you can then and all the settings have been notated in
thumb and therefore doesnt require holding, use in your lead work. the tab. The Jam solo was recorded with a
thus maintaining full fingerstyle dexterity. For notation purposes the picking hand light, blues overdrive and a hint of
slap-back delay. To get the sound with your
The thumb pick ads definition to bass notes thumb and first three fingers are labelled as p,
own rig simply follow these directions, as
and is popular with country and acoustic i, m and a. The fourth finger (c) is rarely used
they will provide a good starting point for
fingerstyle players. due to its relative weakness, and most
your own efforts. The main ingredient of all
Electric guitar players like Mark Knopfler applications can be covered with the thumb the tones is of course the use of fingerstyle.
and Jeff Beck have made a career out of and three fingers approach. For this piece you
TRACK RECORD Jeff Becks acclaimed album Guitar Shop (1989) contains a fine selection of famous fingers only guitar playing, and also
showcases Jeffs innovative use of harmonics, gargles and the whammy bar. If you are looking for a fine selection of Mark Knopfler
guitar moments why not try the compilation Sultans Of Swing, The Very Best Of Dire Straits (1998).
Mark Knopfler:
using fingerstyle on
his Schecter T-type
C #m
2 .~~~~~
Count in
GUITAR TECHNIQUES MAGAZINE A B B
#### 4
241
j WITH FINGERS Ex 1 - 5
LEAD
& 1 - Mark4 Knopfler Style part
Example
1 J
A Bridge & middle pickup C #m
# Count 2 in
j clean
compressor
B
.~~~~~
B
# #4 with
~~~~~
& # 4
BU
E 9 J
B 9 12 9 9 9
13 Bridge
G 11 ( ) 11 11 9 9 11 8
D & middle pickup 11 9 11
A
~~~~~
clean with compressor
E
1 BUp i m p p i p p p i m p i
E 9
B 9 12 9 9 9
C #m
11 (13 ) 11 11 9 9 11 8
.
G
p i p p
A B B A
9 j 11 B
j
D 11
# # i m pj
A
& # # J i
E
1 p p i m p
C #m
.
A B B A B
j j
# ## BU
j
& # J
BU BD BU
E 9
B 12 9 9 9 12 (14 ) ( 12 ) (14 ) 12 9
G 9 8 11 9 11 9 11 (13 )
D 11 11
A
E
3 i p i p i p i p i pBU i m i iBU BD BU i i
E 9
B 12 9 9 9 12 (14 ) ( 12 ) (14 ) 12 9
C #m 9 #
11 Bj j . 11A B
G 8 11 9 G m 11 9 11 (13 )
D
# # p p i p i p i p i m i i i i
A
& # #
E
3 i i
# #
C m
Bj j . A B G m
# ## BU BD BU
E
B
& # 12 9 9 12 9 9 (14 ) ( ) (14 ) 12 9 12 9 12 9 7 9 7 9 7
12 12 5 7 5 7 5 2
5 4 5 4 2 0
G
D
A
E
6 i p i p pBU BD BU i i i i i i i i i i
E 12 9 12 9
B 9 9 12 (14 ) ( 12 ) (14 ) 12 9 12 9 12 9 7 9 7 9 7 5 7 5 7 5 2 5 4 5 4 2 0
G
Example 2 - Mark Knopfler Style Part 2
D
ExAMPlE 2 Mark knopfler Style part 2 TRACK 4
A
This
E
#4
6 example focuses
second i on pKnopflers
i later
p work
p and combines a medium
i i i provides
i
A5/E
j
plentyi of dynamic and tonal
i
j
E5
i nuances. Thei trick ~~
i to playingi this style of
A5/E
j
E5
~~
.
Drum break
overdrive with the same fingerstyle technique as example 1. Using the fingers
& 4
riff is to combine the rhythm and lead aspects into one seamlessj phrase.
Example 2 - Mark Knopfler Style Part 2 J
Drum break
A5/E E5
j ~~ A5/E E5
~~
#4 j j
Bridge pickup w/ith overdrive
. ~~ ~~
jBU
and mid boost
E
B
& 4 J
2 (4 )
G 2 4 4 2 4 4
D 2 2 2 2 2 2
A Bridge pickup w/ith overdrive
E
E
m
i
1
and mid boost
m
i
m
i
~~ ~~ i BU
B
G 2 4 4 2 4 4 2 (4 )
D 2 G5 A5 2 2 2 E5 2 2 A 5/E E5
# j j
A
mi i
E
j
&
m 1 m
i i
G5 A5 E5 A 5/E E5
# j j
E &
jBU
B 5 3 0
G
D
A
2 ( 4) 2 0
2 0 0
0
2
2 2
2 2
4 4 2 4 4
2 2 2
E 3 0 X X
3 m iBU p m p p p m
E i i
B 5 3 0
G 2 ( 4) 2 0 0 2 2 4 4 2 4 4
D 2 0 0 2 2 2 2 2 2
A
E 3 0 X X
3 m i p m p p p m
i i
~~
D5 E5
#
2 xxxxxxxxxx
j
&
j
J
2 xxxxxxxxxx
~~
~~
D5 E5
# 5 3 0 4 2 0
& 5 0 3
BU
E
j
2 (4) j
J 2 0 05 2 2
B
D
G
D
~~
E25
#
A 0 2
E
i i i ~~ m i p j pi
&
6 ij i i
BU
E
B 5 0 3
J 5 3 0
p
p
ExAMPlE 3 Jeff Beck Style
' '
Example
G 3 - Jeff Beck Style 2 (4 ) 4 2 0 TRACK 4
2
D 2 0 0 2 2
~~
Jeff Beck A mto great effect. This
A is another iconic guitarist who uses fingerstyle thescoops
hitting motion will momentarily raise
0 the2guitars pitch.
2 The rest of the
4
E BU
j
exampleE 6combines down picks of
i the thumb with use of the
i whammy bar -ma example i combines scoopsp of the whammy bari with legato.
i Jeff is a master
&4
i i i
.
real JeffB Beck trademark. The 5 first
0 phrase
3 is augmented by hitting the back 5of 3 of
0 improvised phrasing so once you have
p the pmain techniques
p under your
G 2 (4 ) 4 so to
2 speak,
0 branch out and create some of your own.
the vibrato unit with your hand. This will only work on a floating system, as fingers,
0
D 2 0 0 2 2
' '
A
Example 3 - Jeff Beck Style 2 2
2
6 Bridge pickup w/ith overdrive strike bridge
i i i Am i m i p i i i
' '.
scoops
4 scoops p p p
E
B
& 43 - Jeff Beck Style j
0 3 5 3 strike ' '
Example
G
4
E 5 3 0
j
1 bridge
&4
p i p
'
' ' ' ' '
scoops
scoop
E
B
scoops scoop
G
D
3 0#
G
D Bridge pickup w/ith overdrive
&
strike bridge
j 5 i scoops J
' ' scoop
A and mid boost 3 3 3
b
E 0 3 5
E
1
p p
' 'bridge
' strike ' '
G
# ' '
D scoop
A G D 3 3 3 scoop
'scoops' ' b j 0 5 7 scoop
E 0 3 5 scoop 5 3 0 scoop scoop
scoops
'
E
5') (5')
0 3 5 5' (strike
B 8 5 7 5 8 5
G 7 5 7 5 7 5
D scoop scoop
G D3
#
' ' J'
A 3 5 7 5 6 5
p scoop
E
& j
3 p i bridge i p p p
b
'
scoops
scoop
. ' scoop
E
B G 8 scoop
5 D7 5 8 5
strike bridge
( )
37 5 6 5
doop Gargle
' ~~~~~
B 5 7 5 8 5
'
7 5 7 5 7 5
# '
G
. '
D
G scoop D
'
A scoop 5 ( 5 ) (5 ) 3 5 7 5 6 5 3 w/bar
scoop 3 scoop w/bar
E 0 3 5 scoop
#
3 doop
doop scoop Gargle
Gargle
p i i 3 p p p p
E
B
&
'
7 5
5
' ~~~~~
. '
G 7 5 5 scoop 7 [ 7]
D scoop 7 5 G 7 5 4 D
w/bar
& '
scoop
#
A 3 7 5 3
' # ' ~~~~~
E doop Gargle
3
6 p p p p p p p w/bar
scoop scoop
doop scoop
Gargle
'
E
B
Example 7 Clapton
4 - Eric 5
7 Style
5
# # # 4'
1/4
n '
G 5 5 7 [ 7]
n
'
2
D 7 5 7 5 4
j ~~~~~
D9
A scoopshuffle 7 5 3
j j j
scoop
n w/bar
E doop scoop Gargle
6
& 4
E p p p p p p p
B 7 5
5
''
G 7 5 5 7 [ 7]
ExAMPlE 4 eric clapton Style
D 7 5 7 5 4 TRACK 4
Example 4 - Eric Clapton Style
A 7 5 3
3 3 3 1/4
Eric is
aEfamed for using a pick, but forw/fingers BridgeBaby
songs like Reconsider and middle pickup
he prefers playing across the strings and with string skipping. Also
1/4 you can get under the
6
### 4
p shuffle
the fingerstyle approach. 2
D9with light overdrive
You may find the dexterity of fingers can help with p p p p p p
n n
strings for super attack and this sounds very different to the tone of a pick.
5 5 5 5 n
j
BU j
BU j BD
BU j BU
& 4 - Eric
4 Clapton Style '
E 5 8 5
B
Example 5 8 5 1/4 8 5
G 7 (9 ) ( 9) (9) (7 ) 5
7 7 7 ( 9)
D
shuffle 2 D9 3
n
n '
### 4
A 3 3
j p Bridge j jp j
n i
E and middle pickup
w/fingers 1/4
1
withi light
overdrive
& 4
i p i i
BU BU BU BD BU
E 5 8 5
ExAMPlE
3 4 eric clapton Style ...CONTINUED TRACK 4
'
1/4
n ' ~~ b j n n j
A9
# #
1/4 j j ~~ j
j n n J
& # J
3 J
'
3 3 3 3
' ~~ '
1/4
BU 1/4
~~ 1/4 BU
# # # j n '
E 5 5 7 6 5 8 5 5
j ~~ j n
A9 5
n ~~ j
n j
B 10 8
8 5 8 5 8 5 5 8
7 (9 ) 5 1/4
j7 5 7 b 7 (9 )
n 7
5
G 9
J J
D
&
A
J
E
3 m i p
''
3 3 3 3
' ~~
1/4
~~
10 8 n j 5 n 7 j5 8 ~~~ 5
E9 D9 A9 E9
# # 5
BU 1/4
1/4 BU
j 3
& # J(9) 5 5 n (9 ) 5
E 8 5
8
5 6
J 5 8 5 8
B
G 7 7 5 7 5
9 7
D 7
A
E 3 3
'
3 m i p
BU BU 1/4
'
E 5
~~~
n j n 7j
B E59 5 8 5 5
~~~
D9 A9 E9
# #
1/4
G 7 (9 ) 7 ( 9) 7 5 7 5 7 3 5
j
& # J n
D 7
A
E
6
J 7
3 3
5
BU / 14
ExAMPlE
E freddie 2
shuffle kinG Style
to( 9ab) 7 to5pluck
5
5
Freddie King is a bblues ofb Freddies
~~~ guitar
14
Bridge
a metal thumb pick to augment his tone and used the thumb and first finger
6 snappy first finger plucking as used here. 3
'
w/fingers and middle pickup PB PB
with light overdrive 14 14
1/4 BD BD
'
Example 5 - Freddie King Style
b (16 ) (14 ) (16 ) (14 ) 12
shuffle
E 167
14 G 12 14
2 b
B
j 14 11 14
b b
G 1/4
& b b b b b 44 i
D
A
E
14 '
1 i i i i i i i
'
3
() D b7 /' '
A b7 1/4
Bridge and middle pickup
'
b BD
w/fingers PB PB 1/4
with light overdrive 14
~~~ j
(16 ) (14) (16 ) (14 ) 12
14 1/4 BD
bbb b b
1/4
J 14
3
b 14 16 12
14
E
& b 14 11
B
G
D
' ''
A 3
b '
E
'
1 i i i i i i i i
~~~
1/4 1/4
'
1/4
'
BU
b
1/4
()
'
b
1/4
D127 A 7 1/4
9
E 9 9 12 9
~~~
B 14 14 12 9 9 12
j
1/4
b
8 1/4 11 ( 13 )
b b
G 11
J
3
& b b bb
D
A
E
3 p i i i
' . '
3
G b7 D b7
' '
j b
~~~
b ~~/'
b 1/4 /A 7
14
9 b 9 b 12 9
/ 14
j BU j / 14
b
14
& b bbbb 9
E 12
B 14 14 12 9 9 12
G 11 8 (13 ) 11
D
A 3 3 3 3 3
'
E
3 p i i i
BU
~~ BU 9 1/4
b '
.
BU
G b7 12j (14 ) D b7 A b7
11 9
b 11~~ j (13 ) j(13 ) 11 b 9
E 12 9
B b 9 9 9 12 9 9 1/4
G
b
11 11
11 9
& b bbbb 11
D 11
A
E
6 p i i i m
3 3 3 3 3
E
B
BU
12 (14 ) 12 9
9 9
~~ BU
9
9
12 9
BU
9
'
1/4
G 11 9 11 ( 13 ) 11 (13 ) 11 9 11 9
D 11 11
A 11
E
6 p i i i m
j
Am
j b
j
LEAD WITH FINGERS
Latin
GUITAR TECHNIQUES MAGAZINE 2 4 1
4 6 - 10
Count in Jon Bishop's
b
& 4 6 - Wes Montgomery
Example
Exx
Latin j F Strum with thumb
Am j b
j
tone control on 4
8 10 8
Neck pickup with
4 10 8 12 10
Count in
b
E
B &4 10 11
10 8
G 9 5 9 7 8 7 5 7 5
F
D 7 7 5
A Neck pickup7 with Strum with thumb
E
1 tone control on 4
p p p p
E 8 10 12 11 10 8 10 8
B 10 10 8
G
7
9
7
5
#
j7 9
j 8
#
7j 5
5 7
7 5
D
p
A
& p p p # #
E
J
1
J j j j
#
15
#
& 10 10 10 #11 12 15
11 12
#11
J
12
J7
E
B 10
G 8 9 12 8 9 12 8 9
D 7 7 7
A
E
4
E 11 12 15 11 12 15 11 12
B 10 10 10 10
7 7
j
G 8 9 12 8 9 12 8 9
D 7 7
b
A
&
E
4
J J b
12 12 X 10
j
&
10 X 8 8 X bb
J 7 7 5 7 5
E
13 12
J 5 5 X 10
B
G 9 9 X 14 7 X 12 9 8
D 10 9 7
A 12 10 7 6 5 3 5 3
E
7
E 12 12 X 10 10 X 8 8 X
B 13 12 10
Example 7 - Joe Pass
G 9 9 X 14 7 7 X 12 5 5 X 9 8 7 5 7 5
ExAMPlE 7 Joe paSS
D 10 9 7 TRACK 5
A
2
12 C maj7
j
B maj7 C maj710
be
A m9 7
D7sus4 6 G56 3 5 3
4 #
7
# #
uses a I-VIm-IIm-V progression in the key of C (C-Am-Dm-G). These chords can which fingers to use when you give this one a go.
& 47 - Joe Pass
Example
G
Swing 2 With fingers CF
Drum break
j
maj7 B maj7 C maj7 A m9 D7sus4 6
3 3
Neck pickup with Dm7
4 #
5 # # 4 5
tone control on 4
7
E
&4
45 34 45 5
5
85 6 3 5 3 5
B
G 5 5
Drum break
With fingers F
D 5 7 7
A 3 Neck2pickup 3with 5
E
tone control on 4 3
1 a a i
E m 7 5 m p 3 3
B 5i 4 5 5 8i 6 3 5 3 5
G p
4 3 4 5 p
5 5
5 Eb 9 E b 13
b . .
D 5 4 5 5 7 6 76 6
Cmaj7
b a D m7
..
G
ab
B9 C9
# #n
A 3 2 3
m b
E 3
mi # J i
1 i
& j #
p
p p b
Eb E b 13
.. b b . .
6 6 6
b
3 3
Cmaj7 D m7 G 9 B9 C9
# J 11 # #n 8 8 b
E
B & j 10 9 8 7 8 12 10
10 13 12 11 # 77 8 8 b1312 13
G
3 9 10
3 10 6 7 7 12
D 10 11 12 10 6 7 7 11 11
A 3
E 11 11
3 a
E 10 9 8 7 12 10 m
11 7 8 8
B 8 10 13 12 i
11 7 8 8 13 13
G 9 10 p
10 6 7 7 12 12
D 10 11 12 10 6 7 7 11 11
A 3
E 11 11
3 a
m
i
p
April 2015 GuitarTechniques 19
play: fingerstyle ON THE CD TraCk 4-7
D b 13
. . b j
D7 Cm C Am7 Dm 7 G6
#
2 xxxxxxxxxx n b b n
& bb b
b G6
. . n b
# j
D7 D 13 Cm C Am7 Dm 7
b b n 3
E
& 13 b1011 8
8 5 b 65 3 5
13 11
b 55
3 5
B
G 11 11 10 9
D 10 10 9 9
A 6 5
E 10 10 9 9 8 6 5 5 3
6
i m p p i
E p 8 m 3
B 13 13 11 11 a
5 6 3 5 3 5
811 11 Style 10 10 8 9 5 5
G
Example - Brian May
~~~ 5 3 ~~~
D 10 10 9 9 5
ExAMPlE 8 Brian May
A 6 5 TRACK 5
E 10 Cmaj9
# 4 ww
10 9 9 Pluck8 over Fretboard E m 6 5j
j .
p withi the flesh of the first finger over thejfretboard.
j
Brian has used this
ww J
Brian May6 is famed for his use of a silversixpence for a pick
with first
i but he also used
finger m p string
RP
j PB j .
Cmaj9 Bridge pickup
Pluck overw/overdrive
Fretboard m
# 10
(12J ) (12 )~~~ 10 8 7 8 ( 10) (10~~~
& 44 www3 ww
& delay
with first finger
w42 ww
E
B ) 8 7 8 8
G
F
D
3 3
A 3 Bridge pickup w/overdrive
~~~ ~~~
E & delay PB PB
1 RP 8 RP
10
i i i i i
E
B 3 (12 ) (12 ) 10 8 7 8 8 ( 10) 8 (10 ) 8 7
~~~ #
G 4
~~~~ j j
D D 2 Em
A
# . 3
j i
J
J . i
E
&
1 i i i
~~~ #
3 3 3
3
j j
~~~~
D Em
# . BU
j
10J 7 10 7 7
~~~~ ~~~ 7 9
PB
E
& . J
10 RP
B 7 7 (12 ) (12 )
G
D
9 39 ( 11 ) 3 9 9 7
3 9
3
A
~~~~ ~~~
E PB
5 10 RP
BU
E 7 9
. j ~~~
B 7 7 10 7 10 7 7 (12 ) (12 )
. #
( 11 ) D
j 9 9 7
G 9 9
~~~
9
#
D
A
# j
J
E
&
5
. j ~~~ . #
3 D 3
j
# # PB
~~~
~~~ j BD
BU BU ~~~ 7 9
9
BD
BUJ
E
B & 9 (10 ) 9 7 10 ( 12 ) (10 ) ( 9) 7
10 7
G
3 3 9 ( 11 ) ( 9) 7
D 9 7
A PB 9 7 5
E
E
8 BU
9 (10 ) 9 7
BU
10 ( 12 )
~~~ 7 9
9
(10 )
BD
( 9) 7
~~~ BU BD
B 10 7
G 9 ( 11 ) ( 9) 7
D 9 7
A 9 7 5
E
8
ExAMPlE
3 9 ritchie kotzen TRACK 5
Richie Kotzen is a great hybrid picker and used to combine the fingers and a fingerstyle approach for most occasions. This example is augmented with
plectrum to great effect. Nowadays Ritchie seems to have gone for the full wah-wah and is fairly easy to play, but it cashes in on the tone of the fingers.
Example 9 - Ritchie Kotzen
~~~ E5 jF5
#
. D5 j D5
n .
### 6
& 8
With fingers Bridge pickup w/overdrive
3
~~~
& Wah Wah
BU
E 9 12 9 14 12 17 14
B 12 ( 14 ) 12 10 9 10 12 9 10
G 11 9 9 11 9 11
D 11 11 9 10 9 7
A 9
E
1
3 ~~~ j
() ~~~
E5 D5 E5
20 GuitarTechniques April 2015
j
### ~~~ n j # ~~~
.
~~~ E5 jF5
#
. D5 j D5
n .
### 6
& 8
With fingers
Bridge pickup w/overdrive Play3 lead with your fingers!
~~~
& Wah Wah
BU
E 9 12 9 14 12 17 14
B 12 ( 14 ) 12 10 9 10 12 9 10
ExAMPlE 9 ritchie kotzen ...CONTINUED
G
D
11 9
11
9 11 9
11 9 10 9 7
11 TRACK 5
A 9
E
1
3 ~~~ D5 j
() ~~~
E5 E5
j
### ~~~ n j # ~~~
& .
3 Hold
E 16
~~~ ~~~ ~~~ BU BD BU bend
12
RP
BD
14 16 12
~~~
B 17 (
12 14 ) ( ) (
12 14 ) ( 14 (12 ) 10
) 12
G 16 14 13 14 12 13
D 14 14 14
A 14 12 11 14 12 11
E
4
# #
F #5
j
'
1/4
j
6
& #
j j j
BU BU
'
1/4
BU BU BU
E 2 2 5 2 2
B 2 2 5 (7 ) 2 2 2 5 2 2
G 4 ( 6) 4 (6) 4 (6 ) 4 2 4 ( 6) 2
D 2 4 2
A 4 2 0
E
7
b
#4
Latin E m9
b b n n
& 4 . J
J J n J J J
Strum with thumb F Neck pickup with
tone control on 4
E 14 17 19 18 17 14 12
B 12 15 17 16 15 12
G 12 14 16 15 14 12
D 12 14 16 15 14 12
A
E
1 p p p p p p
# #
# ....
Bm 7 Em7
#
& . J
With fingers
E 10 9 12 9 12 9 9
B 10 10 10 7 10 10 10 12 9 12
G 12 12 9 9 7 7 11 11
D 12 12 9 9
A
E
3
# # # n
B m7
& J b j
E
B 9 9 10 7 10 7 7 8 7
G 9 9 7 7 7 9 10 9 7 9 7
D 11 9 8 7
A 10 9
E
6 m i m i p m i p p
~~ ~~~
A7
j j
# # # 12 . .
j
J
.
& 8
With fingers Neck and middle pickup
E
with light overdrive
BU BD BU ~~ 10 12
BU ~~~
B 10 12 12 ( 14 ) (12 ) (14 ) 12 (14 ) 10
G 9 11
D
A
E
1
j ~~~ ~~~
. n
D7 A7
j j
### n j
& J
E
BU ~~~ BU BD BU ~~~ 17
BU
B 13 (15 ) 13 10 10 10 12 (14 ) (12 ) (14 ) 12 ( 13 ) 12 10
G 11 9 11 11
D
A
E
4
n n . .
/ 14
j j j j
D7
j
# # . n n
J J J
& # J J
E
~~~~ BU BU BU BU BU
10 12
1/4
' '
1/4
j '
1/4
~~
' '
n
A7
1/4 1/4
### n
j
n # n
j
&
BU '
1/4
~~ ' '
1/4 1/4
BU
E 17 8 8 5
B 13 ( 15 ) 13 10 10 7 10 10 7 5 5
G 11 9 7 5 5 6 7 (9)
D 7 7 5
A
E
8
n . b n j j n '
~~ n j j /'
j
n
E7
j j j
### n 14 / 14
& J
3
E
B
BU
8 ( 10 ) 8
~~
5
8 5
BU
5
5
8 5
BU BD
'
1/4
5 7 5 7 5 7 6 5
8 5
8 5
8 5
BU
5
5
8 5
BU
'
1/4
G 7 ( 9) 7 ( 9) ( 7 ) 5 7 (9 ) 7 ( 9) 7 5
D
A
E
10
D7 j .~~
A7
.
j D7
n '
1/4
# #
n
j
& # .
E
BU
8 (10 ) 8 5 5 8 5 5
~~ BU
5
BU
8 (10 ) 8
'
1/4
5
B 5 5 5 5
G 7 ( 9)
D
A
E
12
n
A7 E7
j A7 j j j j
n ~~ n j
### .
~~~
& n . . J J .
E 5 8 5
~~ BU BD ~~~ BU
10 (12 )
BU BU
10 ( 12 ) 10 (12 ) 10
BU BU
8 10 (12 ) 10 (12 )
B 8 5
G 7 ( 9) (7) 5
D
A 7
E
14
j ~~~ n
~~~ . . . .
j
j j A7 n
D7
n
j . .
# # J
& #
BU BU
~~~ BU BU ~~ BU
E 10 (12 ) 8 ( 10 ) 8 10 ( 12 ) 10 10 ( 12 ) 12 (15 )
B 10 13
G
D
A
E
16
n .
D7
~~
j j ~~ n
j
~~
###
J
& .
BU BU BD ~~ BU BD ~~ ~~
E 12 10 10 12 17 17
B 13 10 10 12 (13 ) 12 (13 ) (12 ) 10 12 (13 ) ( 12 ) 10 10 10
G 11 11
D
A
E
18
# #
j
n
j
n n .
j j '
/
A7
'
/ n
j 14 14
n .
j j
& #
E
B
BU
5
5
5
BU
8 (10 ) 8 5
8 5
BU
5
5
8 5
BU
'
1/4
'
1/4
BU
8 (10 )
G 7 (9 ) 7 ( 9) 7 (9 ) 7 5 5 5 5 7 5 7 5 7 5
D 7 7
A
E
20
3
ExAMPlE 11 final JaM ...CONTINUED TRACK 6
~~ '
1/4
1/4
# # # n n j n ~~. b n n j
E7
j j j j
& n . n
n .
'
3 3
3
~~
1/4
~~
3
BU BU
E 8 5 5 5 7 5 7 5 7 5 7 6 5 8 5 5
B 8 5 5 8 5 8 5 5 8 5
G 7 ( 9) 5 7 (9 ) 7 5
D 7 5
A 7 5 3
E
22
D7
j j j j j j j
### n
& J J J
BU BU BU BU BU BU BU BD
E
B 13 (15 ) 13 ( 15 ) 13 ( 15 ) 13 (15 ) 13 (15 ) 13 ( 15 ) 13 (15 ) (13 ) 10
G 11
D
A
E
24
~~
A7
n
' 1/4
D7 ~~
j n j n
A7 E7
### J j n j ~~~ n
& J .
3
E
~~ '
1/4
10 12
BU BD
15
~~
12
BU BD ~~~
B 10 13 12 ( 13 ) (12 ) 10 15 13 15 (17 ) (15 ) 13
G 14 12 9 7 9 5 7 5 5 7 9 12
D
A 7
E
25
A7
### n b n j n
&
n .
3
BU BD BU BD
E
B
G 7 ( 8 ) (7 ) 5 7 (8 ) ( 7) 5 5
D 7 7 5
A 7 5 3
E
27
ABILITY RATING minimalist classical composer) that helped such as wont Get Fooled again, Bargain,
form the title Baba ORiley (often called Behind Blue eyes and Going Mobile, but also
Moderate Teenage wasteland), which became the sees him and his fellow bandmates, singer
opening track to the album Whos Next (1971). Roger Daltrey, bassist John entwistle and
Info WIll IMprove your Indian influences can be heard in homage to drummer Keith Moon deliver some of their
Key: F Stylistic range Baba in the songs outro violin solo (an idea of finest recorded performances.
Tempo: 116bpm Classic rock feel Keith Moon, apparently), which is played live Baba ORiley itself was derived from a
CD: TRACKS 8-11 Compositional flair as a harmonica solo by Roger Daltrey. nine-minute demo which the band helped to
The modal synth intro was inspired by rearrange. it was to be sung at the beginning
BaBa ORiley was originally planned as Terry Rileys minimalist composition style, of lifehouse by Ray, the scottish farmer, as he
part of a follow-up to Tommy, the 1969 rock and is one of the tracks most iconic features. gathers his wife and two children to embark
opera about a deaf, dumb and blind boy who The hypnotic marimba repeat pattern from on their exodus to london. The guitar work
develops an almost supernatural ability to the lowrey Berkshire Deluxe analogue synth on the original is minimal, so your task is to
play pinball, and eventually rises as a post sound is hugely modern-sounding. get the right tone and keep to Petes guitar
world war ii messiah. Pete Townshend part as closely as possible.
originally came up with the concept for Baba ORiley was named Mr Bigs cover of Baba ORiley offers a
Tommy after listening to the teachings of after two people who rockier, more guitar and bass-heavy
indian spiritual master Meher Baba. it was
this name, combined with another of
influenced Townshend: arrangement that can be useful if you dont
have the luxury of a keyboard player. ive
Townshends influences Terry Riley (a Indian spiritual master based this transcription on the version from
Meher Baba, and classical their Back To Budokan tour in 2009. The
TeChnique FoCus minimalist Terry Riley.
guitars are tuned down to eb, although their
Modal interchange also ahead of its time was Townshends
early versions were in e so ive kept it at
concert pitch for the GT version. apart from
The slightly folky/Indian influence towards the ultimately failed rock opera lighthouse. The the open-string tapping lick, its easy enough
back end of this song is largely due to the Eb chord.
convoluted storyline was part of its downfall, to transpose up a semitone if you want to play
This simple but effective idea creates a completely
different sound/colour and even hints at the Eb but the project was also plagued by along with the who original.
notes used for the F Mixolydian scale used in the technological issues. Townshend wanted the
violin solo. Its borrowed from the parallel tonality band to be accompanied by sequencer-driven
of F minor. If we look at the chords side by side, synths that would follow along with the music, Get the tone
youll be able to see the subtle differences: but unfortunately this technology didnt exist
I IIm IIIm IV V VIm VIIdim
for another 20 years. in the end the band
F major: F Gm Am Bb C Dm Edim played along to pre-recorded backing tracks 6 6 7 7 2
F minor: Fm Gdim Ab Bbm Cm Db Eb on Baba ORiley and wont Get Fooled again.
GAin BASS Middle TReBle ReveRB
Im IIdim bIII IVm Vm bVI bVII Regarding whos Next: although Pete
Petes tone is raw amp crunch, so shouldnt
The use of the bVII chord is really common (as is the Townshend was responsible for penning The
be difficult to dial in - he was using a
IVm) but any of the minor key chords could be used whos greatest hits such as My Generation,
as a substitute. This is only the tip of the iceberg, Gretsch 6120 and Fender Bandmaster amp
im a Boy, Pictures Of lily and i Can see For
however; if you really want to explore this further, at this time (cranked wide open!). Aim for
MICHAEL PUTLAND / RETNA / PHOTOSHOT
TRACK RECORD Most of The Whos albums are excellent, particularly Whos Next (1971) from which Baba ORiley comes. Live At
Leeds (1970) is regarded by some as the best live rock album of all time and features the band at the peak of its powers. A good
compilation is always worth having, and a great one to check out is Whos Better Whos Best: Very Best Of The Who (1988).
Pete Townshend
with one of his
numbered Les
Paul Deluxes
[Bars 1-8] The original versions synth intro lasts for a whopping 41 bars, chords based around a straightforward I-V-IV progression. The major 3rd
so Ive scaled it back here - you can extend it as you see fit. The feel of the in the C and Bb chords is more of a happy accident due to the barred third
shorter intro is 4/4, although its represented better as 2/4 in light of the finger, so youll notice some variation throughout. Watch out for your timing
original that has many cut bars of only two beats. (and form) on the C chords at the end of this section (the insistent synth on
[Bars 9-40] This is a really simple piano arrangement (should your fingers the backing track should help keep you in time).
get itchy to play). Ive left the piano on the backing as per the original [Bars 55-62] Pete sings this plaintive interlude section. Dont worry if you
version, but this will help with the slow and organic intro. get lost with the slightly confusing synth line, as theres a nice long drum fill
[BarsGUITAR TECHNIQUES
41-54] After MAGAZINE
Roger Daltreys 2 4 comes
verse, Pete 1 in with Steve Allworth's to bring you back in again for the next verse.
these powerful
BABA O'REILLY
8
THEME
.
b
..
b
..
b
4 .. ..
INTRO F C B F C B F C B
2 ww .. . ww .. . ww ..
Play 4 times Play 3 times
&b4 4 . ww . ww . ww
Synth
(orig. for 41 bars)
0:12
8
E
B . 10 . 10 . 1010 .
G
D
A
. 10
10
8
9
10
10
7
8
8
. 10
10
8
9
10
10
7
8
8
. 108 9
10
10
7
8
8
.
E 8 6 8 6 8 6
9, 11, 13, 15 17 19, 21, 23
b b b b
..
VERSE F C B F5 C B F5 C B F5 C5 B 5
ww ww ww j
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0:45 (Bass enters)
1:18
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10
8
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47
INTERLUDE VERSE 1, 2, 3 4
N.C.
7 F5 C5 B 5 b B 5 b
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73
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. . . . j j j
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.
. . .
28 GuitarTechniques
SOLO April 2015
j
b
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1:47
7
2:04
E
B . . 5 3
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Baba
D
1971
A
ORiley Music & Lyrics by Peter Townshend
Fabulous Music Ltd. Reproduced by kind permission of
3
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5
3
3
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1
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3
1 3 3 3 3
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3
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The Who BaBa oRiley
3
1
Fabulous Music Ltd. All Rights Reserved. International Copyright Secured.
E 1 1 1 1 1
55 63, 65, 67. 69 70
F5 C B b F5 C B b F5 C5 b
B 5
b tIPS
PLAYInG ww ww ww CD TRACK 8
& w major chords
w
AsSince
[Bars 63-78] withtheprevious
verse,w there are some extra
barre to its of the major
w 3rdin the key of F,
is F MajorandF major
Pentatonic.w Just be aware
of thethird string. It is tempting to revert to
rhythms
watch out for. these are basic power chords and major chords, at the 14th fret
worth putting your energy into striking the chord cleanly and hard, without the trusty F minor shape, since it falls under the fingers rather easily, but it
squeezing the strings sharp. This unfortunate by-product is easy to do if you just wont sound very good.
E have an aggressive picking hand, since the fretting hand often follows suit [Bars 87-90] Pete alters the rhythmic feel of the three chords slightly
5
B (Townshends tuning was always 3
impeccable, even when using notoriously 5 5towards 3the outro section. Although 8th notes would suggest alternate
G 5 C and 3Bb chords in particular. 5 5 5strumming, 5
3 he probably played them using downstrokes 3 for a more effective
D flappy-necked SGs). Watch
5 5
the 3 5 5 5 3 5 5 3
A [Bars 79-86]
3 The only logical
3 3 scale choice
1 for soloing over3three diatonic 3 3 3string mute.
1 Notice the V chord 3 at the end3of each
3 two-bar
1 cycle.
E 1 1 1
73
F C B b F C B b
. . . . j j j
j j j
. . . j
.
SOLO
b
j
&
2:37
3
BU BU BU BU BU BU
E 13 13 13 15 13 15 (17 ) 13 13
B 13 13 15 15 15 15 13 15 13 15 13
G
2 xxxxxxxxxx 15 ( 17 ) 15 (17 ) 15 ( 17 ) 15 ( 17 ) 15 (17 ) 15 (17 )
D
A
E
79
b b
j j . . .
F5 C5 B 5 C5 F5 C5 B 5 F5 C5
j j
&b J J J j j j j
3
BD BU BU BU BU
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B
G (17 ) (15 ) 15 ( 17 ) 15 ( 17 ) 15 (17 ) 15 (17 ) 15 14 15 15 14 5
D 15 15 15 3 X 3 X 3 5
A 15 13 3 X 3 X 3 3
E 1 X 1 X 1
83
OUTRO
b b b
j j j j j j j j
B 5 C5 F5 C5 B 5 C5 B 5
j j j j
&
b
3:02
E
B
G 3 X 3 X 3 5 5 3 X 3 X 3 5 5 5 3 3
D 3 X 3 X 3 5 3 X 3 X 3 5 3 X 3 X 3 5 5 5 3 3
A 1 X 1 X 1 3 3 X 3 X 3 3 1 X 1 X 1 3 3 3 1 1
E 1 X 1 X 1
88
OUTRO MELODY
b
C5 B 5 F5
& b
3:07
E 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15
B
G
D
A
E
93
b b
E5 C5 B 5
b
&b
E 11 13 15 11 13 15 11 13 15 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 12 13 12 13 12 13 12 13 12 13 12 13 15 12 13 13
B 13
G
D
b F5/C 14
j GuitarTechniques
j
F5 E 5
29
b b b
E 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15
E
B 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15
B
G
G
D
D
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Play: ROCK
A
E
E 93
93 ON THE CD TRACKs 8-11
E 5 bb C5 B 5 bb
bb
E 5 C5 B 5
b
&b
&
PLAYInG tIPS CD TRACK 8
[Bars 91-92] The change of tempo is notoriously tricky here, with even (dare I Eb needs to be targeted here rather than the E natural from F Major, which is
say it) the original lurching ever so slightly. Ive squared off the rhythm a little used for the other three chords. As with the previous section, use the synth
to make
E it easier, but
11 you
13 need
15 to 11
listen13
really
15carefully
11 13 to
15the12
pulsing
13 12 synth
13 12 13 12line
13 to
12help
13 12you
13 keep
12 13time,
12 especially
12 13 12on13
the
12longer
13 12 streams
13 12 13of
1216th notes.
13 15 12 13 13
E
B 11 13 15 11 13 15 11 13 15 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 15 12 13 13
line to
B
G
ground you in the new tempo. The final two bars can be 13
particularly challenging with regard to timing, as
[BarsG
D 93-104] Petes lovely melody borrows from the parallel key of F minor the rhythms are syncopated across the beat. So take your time with this,
D
F5/C ' //
A Eb chord that creates a really nice twist for the ears. This means the
for the clapping the rhythm first as necessary.
EA
E 96
96
E bb5
b b
b
F5/C 1
b
144
F5
j j
j j
F5 E 5
& b
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BU BU
E 11 13 11 13 15 13 15 13 15 13 15 13 15 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11
E
B 11 13 11 13 13 15 13 15 13 15 13 15 13 15 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13
B
G 13 13 15 ((17 )) 15 (( 17 ))
G
D 15 17 15 17
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E 99
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G 15 (( 17 )) (17 )((17 ))( 17 )( 17 ) (17 )(17 )(17 )(17 )(17 )(17 )( 17 )( 17 )(17 )(17 )(17 )(17 ) (( 17 )) (15 ) 14
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D 15 17 (17 ) 17 ( 17 )( 17 ) (17 )(17 )(17 )(17 )(17 )(17 )( 17 )( 17 )(17 )(17 )(17 )(17 ) 17 (15 ) 14 15 13 12
D3
A3 15 13 12 13 12
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A 13 12 13 11 10
E 102 13 11 10
102
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double-time
66 F
F55
violindouble-time
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b .. j j j j ..
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starts) times
& j . ..
(main violin melody starts) Play 6 times
&b
jj ww . j j j j .
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66
3:40
3:40 PM
PM
3:40 RP
RP PM
(drums enter)
.. .. .. ..
E
(drums enter)
E RP (drums enter)
B
.. .. .. ..
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B
G
B
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D
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D 3
3
A
D
A 3 1
1 3
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3 3
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E 105 8 1 1 13 13 13 13 13 13 13 13
E 105 8 ( 1) 115 --1120
115 120 1 1 1 121, 1
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33 3
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123, 125 127
E 123, 125 1 1 1 1 1 1 1 127 1 1 1 1 1 1 1 1 1 8 8 8 8
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...
Play 3 times
...
& b
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.. ..
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E
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E
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G 10
10 10
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A 8
8 8
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8 88
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33 j j j 44
j j j
30 GuitarTechniques April 2015
&
& . . 44 4
. .
E
E
E
B
B
. .
B
G
G
G
D 3
3 3
3 3
3 10 10
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3 3 3 3 3 3 3 3 3 3 3 3 3 3 8 8 10 10 10 10
10
8 88 8 8
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A
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3
1 3
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3
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3
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3
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E 123, 125 1
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The Who BaBa oRiley
123, 125
123, 125 127
127
127
Play
Play 3 times
Play 3
3 times
.
times
.
& b tIPS
.. .. CDTRACK
8
PLAYInG
[Bars 105-end] This song is perhaps best known for its frenetic ending. Ive with the ending cued by Pete, so theres no real method to the madness.
charted it as per the original, which means the bass movement from 5th to Just keep your eyes glued to the structure as charted here and watch out
. .
E root effectively turns around during the accelerando three-four bar. This for the rapid accelerando towards the end. Ive put the violin solo on the
E
E
B
B is probably unintentional since the structure is largely improvised. In some backing, but you could easily play a guitar solo over this section using a
.
B
.
G
G 10 10
10 10
10style root to 5th, 10 10 10
10 10
10
D live versions the bass 10
G falls on
10the side of typical
10 10
country similar F Mixolydian
10 approach. 10 10
D
D 10 10 10 10 10 10
10 10 10 1010 101010 10
10
10 10 10 10
10 10 10 10 10 10 10 10 10 10 10 10
A
A 8
8 8
8 8
8 8
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8 8
8 8 8 8
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8 8
8 8
8 8
8 8
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8 88
A
E 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
E 8
8 8
8 8
8 8
8 8 133 8
8 8 8
8 8
8 8 8 8 8
1348 8 8 8
E
130 131, 132,
130 131,
131, 132,
132, 133 134
130 133 134
j j
j j
b . .. j j j j jj j 343 jj j jj 444
& b ..
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E
E
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D 10
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10 10
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10
D
A 8 8 10
8 10
8 8 8 10
8 10
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8 8 10
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A 8
8 8
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E 8
8 8
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E 135, 136 8 8 8 8 137 8 8 8 8 8 8 8
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A 10
8 8 10
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8 8 8 10
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8 10 10 10 10
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A 8
8 8
8 8
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8 8
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8 8
8 8
8 8
8 8
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8 8
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E
E 140 8
8 8
8 8
8 8
8 8
8 8
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D 10 10 10 10 10 10 10 10 10
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10 10 10 10
10 10 10
10 10 10 10 10
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10 10 10 10 10
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8
E
E 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8 8 8
8 8
8 88
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8 8
8 8 8 8
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E 145
145 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
145
[pAuL GiLBeRTs GuiTAR] At 122bpm, the double-picking, combined with 100bpm to start with, as this will promote clean execution and avoid any
palm-muting can be challenging, particularly in maintaining fluency and cutting of corners. Paul tends to improvise with simple melodic ideas in and
stamina. Its best to perfect your co-ordination of the main figure at around around the E Major scale, so its worth checking out what he does live.
GUITAR TECHNIQUES MAGAZINE 2 4 1 Steve Allworth's
BABA O'RILEY - Paul Gilbert's Mr Big Version
#### 4 . .. ..
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& 4 .
PM PM
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B . . .
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etc 13, 15, 17
#### . April 2015 GuitarTechniques
1 2
31
& . .
.
# #
BABA O'RILEY - Paul Gilbert's Mr Big Version
# # 4 . Play
12 times . .
& 4 .
Steve Allworth's . .
O'RILEY -PlayPaul12 times Gilbert's Mr Big Version
GUITAR TECHNIQUES MAGAZINE 241
#### 4 .
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# # # # PM7 7 9 9 9 9 7 7 9 9 ~~~ ..PM7 7 9 9 9 9 7 7 9 9 Play 94 times 9 . . 9.
D
G 9 9 9 9 9 9 9
89times
. 9 9 9 9 .. .. 9 9 9 9 ..
A
D
E
&
E
A 12 7 7 7 7
9 9 9 9 ~~~
B 27 29, 30, 31
9 . . 9.
E
D 9 9 9 9 9 9 9 9 Play 89times
. PM 9 9 9 9 . . 9 9 9 9 ..
. .
A
E 7 7 7 7
E
B
G
D
& 32 PM
9 9 9 9 9 9 9 9 ~~~ 9
. 7 7 9 9 9 9 7 7 9 9 9 9 . . 7 7 9 9 9 9 7 7 9 9 9 9.
33 - 36 37 - 44
.PM . . .
A
E
7 7 7 7
E
B 33 - 36 37 - 44
9 9 . . 9 9.
32 PM
9 9 ~~~ .
G 9 9 9 9 9 9 9 9 9 9 9
D 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
7 7 7 7
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A
E
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B
. 7 7 9 9 9 9 7 7 9 9 9 9 . . 7 7 9 9 9 9 7 7 9 9 9 9.
32 33 - 36 37 - 44
G 9 9 9
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32 33 - 36 37 - 44
article is to hone your country skills. You may overwhelm from a learning perspective. so,
ABILITY RATING
have been asked to dep in a country outfit; or a instead I have targeted material that can be
easy/Advanced demanding bride and groom have requested heard regularly on country records - this will
your band learn some Nashville flavoured definitely help to get you up and running.
Info WIll Improve your numbers for their big day. Whatever the If you're new to country, you're likely to be
Key: Various Hybrid picking scenario, familiarising yourself with the pleasantly surprised by how much of a
Tempo: Various Soloing over chord changes information in this article will afford you a platform is granted for the musician to flex his
CD: TRACKS 12-40 Country lick vocabulary significant head start and, perhaps more or her musical muscles. In an age where
importantly, add some cool, country- celebrity has sometimes become more
I thInk It's fair to say that country music flavoured ideas to your technique repertoire important than ability, it's refreshing to find a
has received a bad rap in the Uk over the - pulling out a flashy country run in a rock or musical community that still shows respect
years. the very word 'country', for many, has blues situation can be a real eyebrow raiser! and admiration for the individuality and
tended to conjure up images of line dancing Over the following pages I will be talent of the musician. I hope the following
classes being held in run-down village halls introducing you to some of the scales, examples will enthuse you to delve even more
and social clubs. however, across the Atlantic deeply into the wonderful world of country
country is no laughing matter, but in fact the Country music is some music, and check out some of the simply
most popular musical genre, boasting a radio amazing players that populate the genre.
audience of 70,000,000 every day. In recent of the best-written music in
years we've seen country music grow in the world. So yeah, one day i Get the tone
popularity on this side of the pond, too. We're
now hearing more country on mainstream would keep my mind open to
radio; artists such as Lady Antebellum and doing a country record. 6 5 5 6 4
taylor swift spring to mind, not to mention
home-grown country stars such as the shires, Ed Sheeran Gain BaSS MiddLe TReBLe ReveRB
and Ward thomas. arpeggios, chords and techniques that feature A clean tone is very much the done thing in
With this in mind, the purpose of this frequently in this style of playing. country music and, more often than not, youll
It's important that you do lots of listening find the majority of country guitarists use a
TeChnique FoCus when learning a new genre. Doing so will single-coil equipped guitar. This is then often
played through a quality valve combo. A lack
Hybrid Picking ensure that its nuances become engrained on
your subconscious, and inevitably find their
of gain can lead to a lack of sustain and this is
Hybrid picking (pick and fingers) is the particularly noticeable when soloing.
way to your fingers. Or, to put it another way, Therefore many players will use a compressor
technique most commonly associated with if you are what you eat, then you are also what to give their notes added longevity; this can
country playing, although it can have some you listen to. With tools like spotify and also serve to temper the higher frequencies
benefits and interesting results when used in Youtube it's never been easier to source the often associated with single-coils. In recent
other genres such as rock - for example string years players have increasingly been driving
music of your persuasion - and they even
their amps as well, so a distorted sound is
skipping. When hybrid picking, your thumb make suggestions for other, related artists. becoming more acceptable (you can always
and first finger are committed to holding the this article is divided into three sections: turn down to clean things up). When playing
plectrum: this leaves you with three remaining a rhythm boot camp, a lead boot camp and acoustic, many players tend to favour a big
fingers with which to pick: these are your finally a full piece that combines the rhythm dreadnought, but considering acoustics are
second, third and fourth. These are named and the lead. I could wax lyrical about the often micd or DId, this is not such a pressing
concern. Instead, I would suggest that your
second (m), third (a) and fourth (c). Look out for theory, the many techniques and the truly
acoustic is actually playable above the 4th fret
my recommended hybrid picking directions fabulous players that make up the world of as, with country music, you never know when
throughout this article. country guitar, but that would go beyond the you might get the nod to take a solo.
limitations of this article and could potentially
Further reading albert Lees hiding contains his party piece Country Boy - a must learn for any aspiring country guitarist. Vince gills
albums always contain fantastic playing; check out his and Paul Franklins Bakersfield for traditional sounding country. Johnny hilands
self-titled album contains some exciting country-rock crossover and showcases the increasingly used overdriven country tone.
PREP FOR A COUNTRY GIG
F #dim
# PREP FOR A COUNTRY GIG
& # 44
G Am Bm C D Em G
GUITAR TECHNIQUES MAGAZINE 2 4 1 Steve Laney
G
C D
G
C
Ex 1 #
D
Ex 1 PREP FOR A COUNTRY GIG
&
4 G
Am
Bm
Em
F #dim
G
##
Am Bm Em F dim
Ex 1
44 G C D
G
& 44
Acoustic Gtr
#
& #
Gtr Am Bm Em F dim
Acoustic
33 01 2 01 2 00 33
E
4 30 02 3243 0 32 0 30
& 4 242
B
E
G
B
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Acoustic Gtr
Acoustic Gtr 3002 1220 44 12 30 0202 3002
G
A
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A
E 1 Acoustic Gtr 3
0
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32 30 1 020
E
G, C and D in the key singling out This technique is known as the
#
6
D 0 2 4G 2 2C 2 0
4
chord. AIn addition,2 were then walking
0 up the bass2 notes to the next
3 chord
..
country guitar circles.
2
2
 3
0 2 3
E
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.. GG
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&
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##
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Acoustic Gtr
A
E
B
1 3
3 3
3 3 3
3
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etc 0
1 0
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..
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0 3
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3 0
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common
practice
A 2
E
Ex &
Ex4 33:
eXAmpLe #4
3 DominAnT
3 3
7Th ChoRD pLACemenT Its
n
positions. Doing so helps create a joyous, playful sound. Refer to example 3
in country&
4 G
Ex 3 #
nn
for dominant 7th chords to be used G
in diatonically incorrect 1 G7
to see what the chords should be.
C
G7 C
& # 444
& # 4 3 3 3 3 n 10 1 1 1
01 01 01 01
G G7 C
E
4
330 330 330 330 0100 0100 0100 0 0 0 0
& 4 100
B
12 12 12 12
3 003 003 0 003 003
0 3
E
G
3 3
B
D 3
0 3
0 0 3
0 3
0
G
A 0 0 0 0 0 0 0 0
D
E
E 0
1 0
1 0 0
1 0
1 2
0 2
0 2
0 2
0
A 1 3
E
B
E
B
G 1
3 3330 3330 3330 3330 etc
3
1
0
0
0
1
0
0
0
1
0
0
0
1
0
0
0
0
1
1
0
0
1
1
0 3
0
1
1
0
0
1
1
0
G
D
D
E
A
0003 0003 00 0003 0003 etc 0
0
0
1
0
0
0
1
0
0
0
0
0
1
0
0
0
1 3
0
2
2
0
0
2
2
0
0
2
2
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2
2
0
A
B
E 3 3 3 3 3 3 0 0 0 0 3 1 1 3 1 1
E
G
D
1
1 3 00 00 0 00 00 3
etc
etc
0
0
0
0 0
0
0
0
0
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2
0
2
3 0
2
0
2
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E 3 3 3
1
etc
# # D7 n ww
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D
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0
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0 descending
E
E
5 0 ALTeReD
0 0 ChoRDs 2Capos
b use 2 are used 2 bass 2 note chords 2 helps 2 create 2 3 and ascending bass lines within
3
002 002
often in country, so be sure to
2 carry one2at all 2 times. B The 1 of1altered 1 a1progression (voice 1F/A
leading) and introduce harmonic interest.
2 1
# 3
B
b
A
& 4 2 2 ( )
B
E
G 5
D
b
2 2 0( G )
0
0
b 44 .. B b
A 0 0 2
Ex 4
&
E 0 0 2 3
5 Gtr
Acoustic F/A
G) 3rd fret ( D /F # )
Ex 4 ( Capo
0 2 3 2
E
b b 4
. . b
..
B F/A
#
& 4 0 0 0 0
B Acoustic Gtr 3 3 3
D /F
2 0 2 3 2 3
G ( Capo
G ) 3rd fret ( ) 2 2
b4 ... 3
D
&b 4
E
p 3rd0i fretm a
B 3 3
. Capo
E
G 1 Acoustic Gtr 0 0 0 2 2
D
A
m a m
p i a m i a m
. Capo 3 2
E
E 0 2 2
Acoustic Gtr
pE badd9 pb/D i E bmaj7 ib
B
1 1 3 3 2 3 3
3rdi fretm a m a Cm m7 a m a m
. (1C add90 )
G m7 B F/A B
( G /C b ) ( Cmaj7 ) D/G b )
G 0 0 0 2 2
E 0 2 2
b
A
2b
.
B 3 3
b .
. ( Am7 w
E
b
A
3
m .a 2 m a mF/A
& b (GE m7 p1Ebadd9i m a . Cm 7 (Bpb/Db i E bmaj7 Bw
E
m7
1
w
ib a m
b
w
)
( C add9 )
E badd9 0 0
( Am7 ) G
B b/D
/C ) ( Cmaj7 ) ( D/G
) G
b E bmaj7 Bb
1 2
3 . ( Am7 2 b ) Gw0
& b ( E m7 ) 2 0 3 0 0 ( Cadd90 ) 3 10 ) ( G30/C b ) (Cmaj7 00 ) ( D/G
E G m7 Cm 7 F/A
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G
b 0 2
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b 0 0
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00
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E
G 4 0
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p m 2i
3 m
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etc
2 3 m2i m
i .
E i 3i
E
4 0 0 p p p
B p i m 3 a m i m p i m 3 a a m 3 1a etc 3 0
G
0 0 0 0 0
. 2 m 0 0 0 m 2 m 0
. 100pi B7 302
Ex 5D 2 2 0 2 0i 0i
E 0 0
#
A 3 03
# # #p 4 2i m a
B 3 E 3 A 3 pE p
a m i .
E
G 0 0 0 0 0 0 0 2 2 0 3
A
a mrhythm guitarist
m0i B7is strumming. 2 Use aforceful
4
This example will prove string so that catch thethird string2i too.This
eXAmpLe A sTRiDe piAno EimiTATion imitating 3 m the
the left hand of #a stride
# a well min JohnnyCashs band. m m
E
# #onBridge
44a gig anddont want to just
useful you technique served
up what the Perkins
4
i i i
p i m a m i m p i a p etc p p
Ex & double
the lead guitarist
p E p
5
A
& middle pickup
# # # #Bridge
E p B7
Ex 5
E
& #
B 44 & middle pickup E 1 1 1 1 A 2 2 2 2 B7 2 2 2 2 E 1 1 1 1
G
## # 4 2 2 2 2 2 2 0 2 2 0 2 2 2 1 1 2 1 1 2 2 2 2 2 2
0 0
D
E
& Bridge
A
B
4 & middle pickup 12 12 12 12 etc 22 22 22 22
2
2 12 12 0 12 12
1
E 0 0 0
2 2
G 1 2 2 2 2
D
A
E
E 0
2
0
2 0 0 0 0 2
1
2 2 2
1 1
0 0
Ex 6
B
1 Bridge & middle pickup 1 E 61 1 1 etc 2 2 2 2 A213 2j 2 2
G
j2 2 2 0 2 2 0 2 2 2 1 1 2 1 1 1
2 2 2 2 . 2
1 1 1
#### 4 2
2
2
.
2
D
1
n0 22# 0 22 0 22 0 22 2 A2113 2n 21j 2 21 2 21 n #0 12 2 12 0 12 2 .12
E
Ex 6A
& 4
B
j
E 0 1 E6 1 0 1
2 etc
G 1
& 4 n # technique
E 0
pickup as it allows you
Ex 6 6: CounTRy/RoCKABiLLy
j
eXAmpLe 1
Bridge & middle Were notching
upthe difficulty
etc a very rewarding
0 2 0 . A13 5 7 n # 5 7 5 .
# # # # 4 Bridge & middle pickup E 6 0j 2
level with the hybrid picking here, but its vital you E 6 master this technique toAself-accompany
13 and truly play solo. Think Chet Atkins!
Ex 6
j
E
& # 4 02j 2 2 n 0 # 1 0 2 2 0 .2 n 55 7 5 5 6 5 5 7 5 .5
B
## # 4
G
2a n m0 # 10 c 2a c n 5 7 5 n 5 # 65 5 7 5
D
pickup 0 c
E
B
E 5
G 1
0 0c 2 a m 0 0c a 2 0c 5 5 7 5
D 2 2 2 2 etc
A 7
E
E
1 Bridge & middle pickup 5 5
B 2 2 etc 7 7
G
D
2 2 0 1 2 2 5 5
5 6
5 5
E
A 0 2 0 2 0 5 7 5 7 5
B
0 2 2 7 7
10 5 65
E
G 1 0 5
D 2c a 2 m c 2 a c 2 etc 5 5 5 5
A 2 2 7 7
E 0 0 5 5
1
c a m
c a c etc
B13 j E 6/ 9
ww
3
#### n # . ww
3
& w
j ww9
j
B13 E 6/ 9
# #
B13
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ww
3
& # ## # ## 7 nn ## ww
7
3
& j
8 ww99
E 7 E12
7j
B13 6/
.
B 9 9 12
## # ## # 7 n # 7 9 . 7 www
G B13 7 E11
6/
D 11
A
& # # 7
9
n # 7 7 77 11
ww0
&
E 7
E 4 12
88 ww to wrap my thumb over the top of the
E
B 7 9 7 9 12
12
B
G 9 7 9 12
11
G 7 7 7 7 11
string.9 For bars 277 and 4, I prefer 11
D
Ex 77: seLF-ACCompAnyinG
eXAmpLe D
A 7 BAss
9 Lines Go 7 out Honky Tonkin7 11
11
7 j
7 j times 12 j
A
on Nashvilles Lower Broadway
E 7 9
and its likely G 7 hear some
youll C/G 7rhythm G7 neck to 9 fret
C/Gthe notes Play 4onDthe 9 11 0sixth string, although D7 you can always barre if
# .. 99 b7 77n 88 7 7 99b n 7 7 .. 12121111 . . .
E 4 7 0
& 44
E
guitar akin to this.
4 Palm mute 7 accompanying bass notes on the
the 7
sixth you prefer.
B
77
E
G
Ex 7
j j
9
A 7 G7 7 7
D
. 0 jj . .. ..
G7
## 4 b n 7 j b n j times
E
A 7 9 7 C/G 7 G7 9 C/G Play 4 D 9 11 0 D7
4
E 7 & middle pickup
.
Bridge times
4 b n .. ## .
4
&
& 44
.. nb n
Ex 7
E
. G7 3 C/G n 55j G7 33 4 C/G 55j Play .4 D9 3 5 D7 3 5 3
## 4
Ex 7
. G7 33 4 C/G 4j
B
j 5 j .
.. 3 nb n 3 3 b n 3 .. 5 # j 5 .. 5 .. 5 ..
G
Bridge & middle pickup G7 C/G times4 D 9
Play D7
D Bridge & middle pickup 3 5 times
4 4 4
& 4
A
. 3 . G7 55 4 5 4 55 4 5 4
G
G
D Bridge & middle pickup
D
A Bridge & middle pickup 3 5 3 5
A
j
E C7 3 3 3
# . .
3 3 3 3
E
E
1
m3aa m5aa etc 3aa 5 mm 3aa mm 5 3aa
b .. . m33 44 . m55 5 33 44 . 55 5 .. b n n w34
1
B
E etc 3 5 j 3 5 3
G
B
& . 3 3 5 3 3 5 . G7 55 4 5 4 55 44 5 5 44 w
5
5 4
D
G
jj waa 5 mm aa mm 5 aa
A
D
E
A C7 3 3
##
1 C7 G7
E
3 maa 3 maa etc 3 3
bb .. m .. m .. j
bb j nn w
1
& w
etc
& C7 1 1 n
n ww
3 1
E
j w43
B G7
## 3
G 3
j
C7 3 G7
3 b .. .. 3 .. j
b j n w
D 2 2 2 2
& b nnw
A 3
E
& etc 1 b
n w
3
33 2 1 2 ww443
7
1
E
E a
B 1 1 m
B
G 1 3 3
G
D
D
Ex 8
A 3
2
2 2 3
2
2
3
2
3 3
A
E 3 3 Dm 3 3 Cadd9 3
1
E 3 3 3
7
4
E 7 etc a
b
etc a
B
E 1 1 m
G
B
& 43 1 3
2
1
2
3 1
3
m
4
D
G 2 3 2 2 3 2 3 3
4
Ex 8
A 3
D
Ex 8 2 2 3
E
A 3 3 Dm 3 3 Cadd9 3
4
Dm Cadd9
Acoustic Gtr
b
D 0 0
&
& b 44 3 00 11 3 3 00 11 3 3 00 3 3 00 3
A Acoustic Gtr 3 3
E
22 3 22 2 3 2 3 2
1
00 3 00 00 3 00 00 3 00 00 3 00
E
E
B
B
G 2 3
G
D Acoustic Gtr 0 2 0 2 2 2
D 0 0
B bsus2
A
Acoustic Gtr 3 3
A 3 3
www
E Gm C sus2 Dm
E 1
2
E 0 1 0 1 0 0
0 22 33
1
&b w00
B
E 0 1 3 3 3 0 1 3 3 0 3 0 3
G
B 2 3 2 3 2 2 3 0 3 0 0 3 0 3 0 0 3 0
3w
0
D
G 2 2 0 2 2 2 0 0 0 0 0 0 0
B bbsus2
A
D 0 3
3Dwwm
Gm C sus2 Dm
E
A
3
B sus2 Gm C sus2
1
ww
E
b
1
&
&b 3 3 3 ww5
E
B bsus2
1
1 3
3 3
1
Gm
3
Dw
Gm
w
1 1 1 3 3 C sus2 6m
B bsus2
B
G 3
3 3
3 3 3 3
3 3C sus2 5 5
5
3 ww75
5 D7m
w
bb 1 1 1 3
D
& 1 3 33 3 3 33 3 w556
A
E
& 11 etc1 1
33 3 33 33 3 33 55 3 55 55 3 55 w6777
E 4
33 33 33 1 3 3 1 3
E
B 1 1 1
B
G 3 1 3
G
D 3 3 3 3 3
D
A 1 1 3 7
5
A
E 1 1 3 3 5
E 4
1 etc 3
E 4 1 1 3 3 5
B
E etc
1 1 1 1 1 3 3 3 3 3 3 6
5
G
B 3 13 3 1 3 3 1 3 3 1 3 3 3 3 3 3 3 5 3 5 5 3 5 7
6
D
G 3 3 3 3 3 3 3 3 3 3 3 3 5 5 5 5 7
A
D 1 1 3 5
7
E
A 1 1 3 3 5
E 4
4
etc
etc
3
eXAmpLe4 9: RApiD FiRe 16Th noTes This is a challenging example, so of the fifth string is interspersed with double-stops on the second and
4
build the phrase up slowly, adding one note at a time. The constant drone third. The late, great Danny Gatton made great use of this technique.
Ex
4 9
Ex 9
j G /A j G /A
## # ## 4
A G /A A6 A5 A G /A A6 A5
& # 4
Ex 9
4 ..
4 & # # 4
. j n j j j jn # j n j j j .
& # Bridge
Ex 9 4
4 .. A G/An A6 A5 n # A # G/An A6 A5 ..
j n #
#
# 4 j
... A j G/An j A6j jA5 j # j G/A j A6j j A5 .
Ex 9 & middle pickup
& # # #Bridge
Bridge & middle pickup
#
B
E
& 4 .. 00 00 7 00 00 5 00 00 4 00 00 2 00 2 n 33 # 44 00 00 7 00 00 5 00 00 4 00 00 2 00 00 00 00 ..
B
G
D
G
E
D
A
B Bridge & middle pickup
. 0 0 m67aa 0 0 m45aa 0 0 m24aa 0 0 m22aa 0 m22aa 3 4 0 0 m67aa 0 0 m45aa 0 0 m24aa 0 0 m22aa 0 0 0 0 .
A
E
G
E 1
D 1
44 0 0 0 0 0 0 0 3 4
G5 C7
#
E
b m m
D 1 7 5 4 2 2 7 5 4 2
A
&
& 4
0 0
G5 m
a
m
a
m
a m
a a a a a a b a a a
a m
a 0 0
C7 m
a
0 0
a
m
0 0
a
0 0 a
0 0
#
E
4 m m m b m m m
1
& 4
m m m
Ex 10
Bridge & middle pickup G5 C7
Ex 10
#
4 pickup G5 3 3 3 C7 b 5 5 5
Bridge & middle pickup
E
E
B& # 44 Bridge & middle 3 00 5 00 5 3 00 5 3 00 5 00 4 5 b 33 5 5 33 5 33 5 5 33 5 5 33 5 33
& 4 Bridge & middle 4
5 0
0
4 5 5 5 5 5 5 5 5 5
B
G
G
D
E
5
A
D
pickup 4 5 5 5 5 5 5
B
A
E 3 3 3
G1
0 0 0 0 0 0 3 3 3 3 3 3
E
D 1
A
E
Bridge & middle pickup
m a m m a m a m m
4 5 m 5 a m 5 m 5 a m 5 a m 5 m 4 5 mm 5 aa mm 5 mm 5 aa mm 5 aa mm 5 aa
E
B
G
E
D
1
4 5 m0 5 3a m0 5 m0 5 3a m0 5 3a m0 5 m0 4 5 m3 5 5a m3 5 m3 5 5a m3 5 5a m3 5 3a
B G5 3 3 3 5 5 5
## G 5
A
G G5 0 0 0 0 0 0 3 3 3 3 3 3
m a m m a m a m m m a m m a m a m 5 a
E
D 1 4 5 5 5 5 5 5 4 5 5 5 5 5
&
& # m a m m a m a m m m ww a m m a m a m a
A
E
1
& G5 w
# G5
E
B
E& # 0 33 0 0 33 0 33 0 0 w
& 44 55 0 55 0 55 0 55 0 55 0 55 0 w55
B
G
D
G
E
D
A
B
A
E 3 3 3
G
E 4 0 0 0 0 0 0
D 4
A
E
4 5 mm 5 aa mm 5 mm 5 aa mm 5 aa mm 5 mm 5
3
5 m0 D 5 33a m0 E5 33a m0 5 Am0
E
B
4
3 /'
Ex 11
G
PARTEx211ExAMPLES
E 4 5 LeAD 0
m 5 BootCAMP
a m0 5
TRACKs 22-23
'Parts
D
B 3
Ex 11 # #4
A 14
G 0 0 0D 0 E /
0 A0
## #
eXAmpLe 11: #LeADinG 44 CounTRy
E 14
beyond jj thewith
root and 5th of theimplied
'
D 4 5 5 5 5 5 5 5
isa a m3 E youll
3
& j jj steel
m sTyLe a m Thismexample a 3 m were m
or fiddle.
A inTRo see that A really playing just
m a m m
If you
& 4 j
D
Ex 11 #
#
E
14 /
slightly busier version of Ex 5. look the pull-offs and bends chords. like this are often in unison the pedal
4
4
#
m a m a 3m
4 & middlepickup D E / j A j j
3
3 E 3/ /' A
& Bridge
#
# # 4 & middlepickup
14
/'' j
Ex 11
Bridge & middle pickup
' j j
D
& # # 44
14
E
#
Bridge
0 22 4 2 0 141 4
j 0j
2 2 '0 2
E
B 3 3
& 4 0 / j
2
B
G
4 0
2
14
0 2
G
D 2 2 2
0 2 4 2
00 2 2 / 0 2 0 2 00 2 0 00 22 44 0
E
A
D
B 4 0 0 2 0
Bridge & middle pickup 0
'
A
E
G1
E
D 1 0 4 2 0 14
Bridge & middle pickup
'
A
E 0 2 4 0 2 0 2 0 0 0
E
B
Ex 0 0 0 2 4
G 1 12 2
1/4
Ex
E 12
0 4 2 0 2 2 2
D
B
0 C2 4 01
## # 4 2 0
A
G 2 0 2 0 1 0
Ex 12 C
.. C2 4
E
D 1 0 4 2 0 0 2 2 0 2 0 2 4
44 CounTRy
3
& # 0 0 2 0 2 0 3 0 0
A
&12:#LeADinG
E . ii This
is a slightly
as this but
directions
0
Iprefer
nn picking
hybrid
0 1
(mthen ##down-pick)
for
0 2 4
the options
picking here
modern take on#a 4
1
eXAmpLe sTyLe inTRo more will help to get it sounding right. Ive provided two
.
Ex 12
.
3
& 4 Bridge & middle pickup C n
country intro. Take note of the picking
opening
notes.
3 1#
Ex 12 1
# #
4
Bridge & middle pickup
.
& # 44 .
... 0 0 0 0 n 3 # 0 0
C
E
& #4
B
E Bridge & middle pickup
B
G
.. 44 55 0 44 55 0 44 55 0 44 55 0 n 33 22 00 5 00 # 44 55 0 44 55 0 44 55
D
G
E
D
A
B Bridge & middle pickup
. 4 5 0 4 5 0 4 5 mm0 4 5 mm0 3 2 0 5 0 4 5 0 4 5 0 4 5
A
E
G
E 1
D 1
.
A
E Bridge & middle pickup
E
B 5
. 4 5 0 4 5 0 4 5 m0 4 5 m0 3 2 0 0 4 5 0 4 5 0 4 5
G 1
E
D
B
. 4 5 0 4 5 0 4 5 m0 4 5 m0 3 2 0 5 0 4 5 0 4 5 0 4 5
A
G
E
D 1
A
E 5
1
m m
##
1/4
' ..
2
'
1/4
5
& n # # n n w
5
j
n
5
/'
/ /' ''/
5
## # '
1
1/4 2
2 1
4 1//4
...
... # 3 # 4 5 0 nn 3 0 0 n ''/nnn j 5
1
14 4
2 4
&
& # # 0 nn 3 /' 0
14
2# #
E
jj ww
/ 14
B
14
G 14
& # n . # # n
D
A 3
n 5 5 3 1 n j w
/'
E
'useD00 sCALes
5
n
/'
// 1
..
14
3 ' used
B 4
.. Theguitar.
E
Ex 13
B 14
G
B
eXAmpLe 13: CommonLy
G scales shown below are
# 4 with their
some of the most commonly
ww . so that you can5 begin to3 0 555nBlues)
0 in country You should 0 memorise
0 scale555 (R-2-b3-3-5-6),
5-b7),0 major Pentatonic/ (R-2-3-5-6),
b n n and
Country scale (also known as major
Dorian
A
D
E
A 0 3 4 5
5 3
3 0
0 0 5
5 14 3
3
E
b b
A
B
E 5
their shapes, along scale spelling 5 3
mode (R-2-3-4-5-6-b7)
&why4they 3 or in0somewcases, . w
b 5 n 3 0 5 0 5 www 3 1 5 b b n n
E 5
G
ww
understand
D 5 0 work, dont
3 work,
4 with0certain mode (R-2-b3-4-5-6-b7).
wG
A 3
Ex
Ex 13
E13
5
Ex 13
1a)
1a) Minor
Minor Pentatonic G 1b)
1b) 'Blues'
'Blues' Scale
Ex 13 #
Bridge & middle pickup G Pentatonic G Scale
# 44 w
ww3
G 1a) Minor Pentatonic
n
bb 3 n 6 3 Gww33
G
w 1b) 'Blues' Scale
bb bb nn 3 nn 6 3
&
& # 4 nn 3 5 3 5 n ww00 bb nn nn 3 5 3 5 6 n
E
B
ww00 G
3
b
1a) Minor Pentatonic
b
1b) 'Blues' Scale
4 && middle w b
3 6 3 5 n b w b
3 6 3 4 5 n b b n
G
ww23 ww23
D
& Bridge
4 middlepickup
A
ww w b b n
b ww33
E Bridge pickup
w333
1
Bridge & middle pickup
E
E 3
3 3
3
B
E
B Bridge & middle pickup 3 3 6 3 3
6 3 3 3 6 3 6 3
G
B
G 0
3
0 3
3 5
5 3 6 0
3
0 3
3 5
5 6
6 3 6
D
G
D G 1c) Major
0 Pentatonic 3
3 5
5G 3 5 1d) 'Country/Major
0 Blues' Scale 3
3 5
5 G
3 5 6
# ww 6 3 5 ww 5 w5
A 2 3
3 5 2 3 5 4
36
D
E
A 0
3
2 5 3 5 3 0
3
2 3 5 4 3 5 3
3
3
3 6 3 3
3 6
3w
E
b n
A
B
E 1 2
3 3 6 2
3 6 3 4 3 6
E 1
G
D 1
& ww
3
0
0
ww 3 5
3 5 3
0
0
3 6
3 5 ww
6
A
E
1
ww
2
3 3 6
3 5
ww b n
2
3 3 6
3 4 5
ww
G 1c) Major
Major Pentatonic
Pentatonic G 1d) 'Country/Major
'Country/Major Blues'
Blues' Scale
Scale G
wwG w w
G 1c) G 1d) G
## 1c) Major Pentatonic
w
G 1d) 'Country/Major Blues' Scale
b n w
G
0 b 1 n 2 ww02
ww023
G
ww3 b n ww3
0 2
D
& ww
A
E
6
www
3 5
ww33
3
b n www
E
E 3
3 3
3 0
0 3
3 3
3
B
E
B 3
3 3
3 5
5 3 3
3 0
0 3
3 0 3 3
3
G
B
G 0
3
0 2
2 4
4 3 5 0
3
0 0
0 2
2 3
3 0 3 0
3
0
D
G
D 0 Mixolydian Modal Scale 2
1e)0 2 5
5 2 4 G 0
0 1f) Dorian Modal Scale0 2 0
0 2 2 3 G0
0
# n ww 0 3n ww
A
D
E
A 2
0
3
2 2 5
2 5 2 5 3 2
0
3
2 0 1
0 1 2 2 0 2 0 3 2
0
3
2
E 3 3 5 3 3 3
b
A
B
E 6 2
3 3 5 2 5 3 5 2
3 3 0 1 2 2
3
& ww ww
n n
E 6
G 3
0 3 5 2 4 3
0 3 0 2 3 3
0
b
D 6 0 2 5 0 0 2 0
A
E
6 1e) Mixolydian
2
3 3 5
2 5
ww 2
3
3
0 1 2 2
3ww
1e) Mixolydian ModalModal Scale G 1f)
1f) Dorian
Dorian Modal
Modal Scale G
3 5 nn 6 3 wwG nn 3 ww
Scale G Scale G
## 1e) Mixolydian Modal Scale
1f) Dorian Modal Scale
b
G
E
& n ww330G
n b 3 5 6 ww330
&# 2 3 5 2 n 3 5 2 4 5 n bb 1 3 5 2 n 3 5 2 b 3 5 n
B 1e) Mixolydian Modal Scale 1f) Dorian Modal Scale G
G
ww02 ww02
ww73 ww3
n n
D
&
A
E 3 5
ww 3 5
b ww
w333 w333
11
E
E 3
3 3
3
B
E
B 3
3 5
5 66 3 3 3 5 6
3 3 5 6 3
Ex
G 14
G 2
2 4
4 5
5 3 5 6 0
3 2 3
3 5
0
35 3 5 6
B 0 2 0
D
G
D 2
2 3
3 55 2 4 5 0
0 2
2 3
3 5
5 2 0
3 5
0
#4
A
D
E
A 2 3 5
2 3 5 2 3 5 3 2
0
3
2 1
1 3
3 5
5 2 3 5 3 2
0
3
2
.. b n
E 3 5 3
7 3 5 3
A
B
E 11 3 5 2 3 5 3 5 6 2
3
7 3 5 1 3 5 3 5 6 2
3
& 4
E 11
G 3 5 2 4 5 3
7
0 3 5 2 3 5 3
0
D 11 2 3 5 0 2 3 5 0
A 2 3 5 2 1 3 5 2
eXAmpLe
E
Ex 14: minoR
3 5 penTAToniC usinG open sTRinGs This
3 example
7 scale
3 here
5 (G-Bb-C-D-F). The key to mastering such3 licks is in ensuring
Ex1114
14
is reminiscent
Ex 14
of Brad Paisleys
Bridge &approach to incorporating open strings
middle pickup that your pull-offs are strong and positive. Take note of the picking
Ex 14 # 4
into his lead playing. Were using the notes of the G minor Pentatonic directions here, too.
& #4 ... bb 0 0 nn 0 0
& # ..
E
B
4 3
0 5 0 3
0 5 0
& 44 Bridge
G
.. b
5 3
5 3
D
n m m
A
E
1
Bridge & pickup
& middle
middle pickup
Bridge & middle pickup m m
E
E
B Bridge & middle pickup ..
.
E
B
G
B
G 3
3 0
0 0
0 3
3 0
0 0
0
..
D
G
D 3 0 5
5 0 3
3 0
0 0
0 3 0 5
5 0 3
3 0
0 0
0
A
D
E
A 5 3 0 5
5 0 5 3 0 5
5 0
E
A
B
E 1 5 5
E 1
G
D 1
A
. 3 0 5 0
m
m
m
3 0
5
m
m
0
m
3 0 5 0
m
m
m
3 0
5
m
m
0
m
E
1
m m m m
3
#
3
6 3
.. b n
3
& b n
3
# b
3
3
n .. b n
6 3
6
&
6 E
B . 3 0 0
0 .
3 3
3
# b 3
G 5 3 3 0 0 3 5 3 0 0 3
& m n 3 5 m 3 m 3 5 m .. b m n 5 m 5 m 3
D 5 5 33 0 0 5 5 3 0
3 5 3 0 0 3 0 0
A
# 5 3 0 0 5 3 0 0 .. 3 0 0
E
E 3
b 5 5 3 0 5 0 . b 5 n 3 0 5 0 3 0 5 0
B
&
G
D 5 5 n 3 0 5 0
3hybrid
A
Ex 15
eXAmpLe E 15: miXoLyiDiAn usinG open sTRinGs Here we have the second bar, so you may find it beneficial to keep your fretting hand thumb
5 3 n 0 m .
5 n w 5 3
E
# Bridge
E
G 3
5 &3 middle
0 0
5pickup
m
5 b n
0
5 3 0
0
m 5 3 0 m
4
3 m m 5 m
n
D
& 4
5
n m b n m n m 0 m 3 m
A
E
3
m 3 0 m
Ex 15
Ex 15
E
6 3 0 0 3 6
B
n b n w
Ex 15 # 4
n
G 5 3 4 0 0 2 5
n
D Bridge & middle pickup 5 3 0 0 3 5
& 4 5 0 1 2 0 3 7
3 n6 0a m3 0a m a n m a m b n a m a n m a m 0a m3 0a n6 m3 w
A
#4
E
E
3 7
1
5 b 3 n 4 5 0 n 3 0 2 n 5
B
m
& Bridge
G
D
Ex 16
A
4 & middle
Bridge &
middle pickup
pickup 5 0 b 1 n 2 3 0 7 3 0 7 n 3 5
0
E
& middle pickup m33 00a m a m a m a m
# Bridge n 66 33b5 00n 3b 4 0
1
E a m a m a m 00a m33 00a 66 m33
4
E
3 4 b 0
3 0 n
B
B
&16: hyBRiD
4 sCALes 5 3
n n
G 0 2 5
G
- DoRiAn/BLues/mAJoR 5 0 2 5
0 1 2 n 0 3 7# n
D 0 3 5
b n
Ex 16
D 5 0 0 3 5
5 n .
eXAmpLe E 3 0 penTAToniC 0 just 3 that. This uber scales
a solo. In this descending lick I have done
mm aa mmscale (allw 12and
A
A 5
5 0 1 2 0 3 7
B 6 3 0 0 3 6
E
Theres no rule that says we must exclusively use5one scale 3 4 at a 0 time while spelling 3 could 7 now be seen 0 as 2 (R-2-b3-3-4-b5-5-6-b7), you can see its
#Bridge n
E 3 7
G 1
4 of different m ina
b n b b n you may3 even7 prefer to view this lick as a chromatically derived one.
D 1
improvising; its perfectly acceptable
& middle pickup
m
(and m a
m
amany awaysm 5 aa mm3 5 to0aa mm0 1 just2 three
m preferable) a
anotes
m a m
a
m short
0 m3 a
of 5 mm aaachromatic
abeing semitones); and
& notes 4 a m a m n n n a m a# mn a b m n a m a m
A 0 3 7
combine the
Ex
E
1
scales and visit each one throughout
Ex 16 3m a m a m
. w
16
n 6 6 5 3 5 5 5 3 4 5 3 5 3 2 5 2 5 4 3 1 2 0 n
E
B 6 5 3 3
#4
G
Ex 16 Bridge & middle pickup
b n b b n
D
& 4 n n n m m # n m 3 m 1 3
A
#4 n
E
6 b n n . w
b 6 n b 6 5 b 3 5 3 n 4
E 1 3
B m
5 3 m 3 mm
&
G
D 4
Bridge &
pickup
middle pickup
5
5
5 n 3 n
n 5 5 5 # 4 n 3 b 1 n 2 3 0 1 3
3 2 2
m m m m n . w
Ex 17
A Bridge & middle
E
#Bridge n b n b
1
E
3
3
m m33 m m
& 44
E & middle pickup
5 b
B 6 55 3 3
5
B 6
3 3 2
G 6 6
6 55 3 5 3
3 4
5 55 55 44 33 11 22 3 00 1 3
G 6 3 5 4
3b n
D
Ex 17
D 5
5 5 5 3 3 2 2
2
6
E 3
A 5
A
B 6 5 3
#4
E
G 1 6 5 3 5 3 4 3 1 3
D 1 m
m mm 5 mm 5 mm b5 3 5 mm3 2 5 mm2 5 4 n 3 b mm1 n 2 b mm0
& 4 3 1 3
A
& 4 0 1 2
b
0 3 2 0 0 3 0 3 0 3 2 0 2 0 0 3
A
#4
E 2 3
b n
E 1
B
& 4 0 2 0
b 2 2 0 n b n b 2 2
0 1 2
G
D
b n
2 3
A
E
#
1
E
E 3
3
n b n b
B 3 0 0 0
2 00 22 00 22 22 00
B 3 0
&
G 0 3 2 0 0 3 3 2 0 2 0 0
n 2b 0 0
G 0 3 2 0 0 3 3 2 0 2 0 0
D
D 2
2 2
2
E
0 3
A
A
B 0 1 1 2 3 0 0
#
E
E 2 3
2 3
0 3 2 0 0 3 3 2 0
G 1
& 3 0 0 n b 2n 3b
1
D 0 2 0 2 2 0 2 2
A 0 1 2
n b
E
1
E
B 3 3 0 0
# n b n b
G 3 3 2 0 2 0 0 0 2 0
2 2 0 2 2 0 2 0
D
& # 3 0 3 0 3 0
2 1 0
A
E 3
n b 3 n 0 b 3 2 0 n b
E 4
2 2 0 2 0 0 2 0 2 0 2 0 2 2 0 1 0
B
&
G
n b 3
D
A
E
4
E
E 3 0
3 0 0 0
B
B 3
3 3
3 0
0 0
0
G
G 3
3 3
3 2
2 0
0 2
2 0
0 0
0 0
0 2
2 0
0
D
D 2
2 2
2 0
0 2
2 2
2 0
0 2
2 0
0
E
A 3 0 0 2 1 0
A
B 3 3 0 0 2 1 0
E
E 3
3
G 4
4 3 3 2 0 2 0 0 0 2 0
D 2 2 0 2 2 0 2 0
A 2 1 0
E 3
4 April 2015 GuitarTechniques 41
play: COUNTRy ON THE CD TraCk 12-40
eXAmpLe 18: CAGeD DeRiVeD ARpeGGios This example guides you shapes/arpeggios on the fretboard when soloing, so its important that
through
7 the arpeggios that can be extracted from the CAGED major
7 you familiarise yourself with them - you should be able to picture all five
chord shapes. Many country guitarists prefer to visualise these chord shapes (C-A-G-E-D) in every key, all over the neck.
Ex
Ex 18
18
C
C -- form A
A -- form G
G -- form
form form form
D D D
D D D
#
7
& # 44
7
7
Ex 18
Ex
Ex 18
18
C -
form AAA ---Dform G -
form
Bridge pickup C
CD-- form form G
form
G -Dform
-
## #
form form
D D D
D D D
# 44 Bridgepickup 22 22 55 22
E
E
B
B
G
&
& 44
3322 22 33 3
3 2
55777 7 77 55 77 7 10
10
7777 7 77 1010 1010 1010
G
4 4 2 4 7 7 4 7 7 7
4 7 7
7 4 7 7
D
D Bridge pickup 4 4 4 5 7 7 4 5 7 7
A Bridge 5 5 5 5 9 9
A
E Bridge pickup
pickup 5 5 5 5 5 5 9
10 10 9
E 1 10 10
1
E 2 2 5 2 5 5 10 10
E
B 2
3
2 3 2 5 2 3 5
7 7 5 7 10
7 7 10 10
10 10
3 2 5 2 3 5 7 5 7 10
E
B
G E 3
2 2 3 2 7
7 7 7 7 7 7
7 7 10
7 7 10
E -- form 3 3 7 D - form 7 10 10
B
G form 2
4 2
4 2 2 7 D - form
4 7 7 7 7 7 7
D 2 2 4 7 7 7 7 4 7 7
G D D
D
A D 4
5
4 5 4
4 4
4 5 7
5
7 5D4 4 7
7 7 4 5
7 4 7
9
7 9 7
7
D
A 5 5 5 5 5 5 9 10 9
##
E 5 5 5 5 5 5 10
9 10 9
A
w
E
E
1 10
10 10
1
& EE -- form
1
E - DDform
D - form
form
D
D -Dform
-
D
form
D
w
D
## # w
E
E
B
B
& # 77 10101010
& 11 1010 1010 1010 11 14
14
1515
14
15 14 15
15 15 14 11
G
G 7
7 7 11
11 11 11 14
14 11 14
11 14 14 11
D
D 7 9 12
12 12
12 12
12 12 12
12 12
12 12
12
A
A 9 10 12
12 9
9 12
12 12 9
9 10
E
E 6 10 10
10 10
10 10
E 6 10 10 14 14
E
B
E 19 7 10
10
10 10 10
10 10 14 14
15 14 15 15 14 15
eXAmpLeEx
B 1919: usinG
7 ChoRD
7 Tones11 AnD TheiR neiGhBouRinG
10 11 10 10 noTes
10 youre reacting
15 to the11chords
15 rather
14 15 than
11 harmonically predicting them.
Ex B
G 7 10 10 11 14
15 15 14
G
D 7 7
G around chord7 shapes 11
12
11 C - form 11
12 11 11
11 12 A 14
A -- form
12
14 12 11
11 14
14 14
14 11
11this 12
Soloing requires you
C - to
formhave one ear listening However, with
form practice and experience will pass. The examples here
D 7 12 9 12 12 12 12 12 12
n
A 7 9 12 D 12 12 12 9 D 12 12 12
n #
D
out forAEEA your 9
accompaniment, as 12
when theD 9
chords 12
change youll need to 12 9 showcase D how we can incorporate neighbouring notes to the chord tones
j
# nn j #
10
9 10 10
12 10 9 12 12 9 10
4
6 10 10 10
#
10 10 10 10 add chromatisism to our solos. Check out Vince Gills track, Take Your
formplaying to sound
E 6
alter the6 shape that youre soloing around. If youve never approached
3 to
jj a case study for soloing in this manner.
# like n
3 3
& 4 C -
3
soloing
Exin
19this way, its normal at first for your Memory With Youb as
Ex
Ex 19
19
A - form b
C - form A
A -- D
form
6 n
CD - form form
## # 4Bridge ##
6
5
3 6
n
D 3 D
n
6
4
Bridge pickup
pickup
22
bb j nn
jj
& # 44
& 2 3 #
E
E 332 1
1
2
# 5777 b 6 7 5
5 7
7 5
5 8 7 6 5
B
B 3 6 7 6 7 8 7 6 5
G
G 2 3 4 4 322 4 7 6 7 6
6
6 7
7
D
D 4
4 3 4 5 2 77 6
6
7
7 6 6
A Bridge pickup 5 3 3
3 5 5 6
A Bridge
Bridge pickup
pickup 5 5 2 5 5
E
E 5
5
1
1
E 2 1 2 5 5 7 5
E
B
E 2
3
2 1
1
2
2 3 5
7
5 6 7 5
5 7
7 5
5 8 7 6 5
B
G
B 3
2
3 3
3 4 2 7
7
7 6 7 6
6 7
7 8
8 7
7 6
6 5
5 7
G
G -- form 2 4 E
E -- form
4 2 7 7 6
6 7 7
G
D form 4 4 form 7 6
2 2 7 7
..
G
n
D 4 4 D 7 7
# n # n #
D 6
A D 5
4 4 5 2 D 5 5
7 7
# n ...
D 6
A 5 5
5 2 5 5
## # # n n b n J
E
A 6 5 2 5 5 5
E
E
1 6 5
5
1
G -Dform
Dform
E - form
E
E --Dform
.
D
... n
form
3 3 3 3 3
n
D 3 3 3 3 3
3 3 3
3
n
D 3 3
## # ## n bb #
# ... n ## nn ## nn ##
6
n n n JJ
6 6
& # ##101077 # n
6
&
# n
7 10 9 8 101010 ..
.
E 10
10 12 10 13 12 10
E
B
B
G 7 7 10
11 3 10
11
10
310 12 3 10 11 310 12 3 13 312 10 312 10 3 11
G 7 7 10 9 8 7 11 3 10 11 3
3 12 3 3 10 11 3 3
3 3
3 312 10 3
3 11 12
D 7 7 9 8 7
7 9 7 12 3 3 3
9 7 9 8 7 12 12
D 7 6
A
A 9
9 9 9 6
6 12
12
E
E 10
10 10
10 10
10
5
E
E
5
10
10
7
10
10
10 10
10
10 12 10
B
E 10
7 10
10 10 13 12 10
B
G
B 7 D 7 10 9 8 7 11
10 10 11 10 12 10 11 10 12
10 12 10 11 10 12 13
13 12
12 10
10 12 10 11
D7-- form
# n #
G
D 7
7 form
9 8 7 7 7
7 10
10 9
9 8
8 7
7 11
12
11 10
10 11
11 12 10 11 12
12 10
10 11
11 12
# w
G
9 7 D
7 7D 9 9 8 7 7 12 12
D 9
A 7 8 7 9 7 12 12
# n
D
A 9 9 9 12
#
E
A 10
9 10 9 9 10
12
& #
E 5 10
10 10
10 10
10
D - form
E 5
5
## DDform 33 n # 33
D
D --Dform
## n # ww
3 3 3 3
3 3
# n
3 3 3
## # # n
3
14
E
E
B & #
& 14
15
15 15 12
12
13 13 14 14
3 15
13 14 3 15 15
B
G 14
14 14 3
11 14
3 11 13 12 3 12 3 3
G
D 12 12 3 3 13
3 12 3
3 14 12 3 13 14 3
3 3 3
3 3
3
D
A 12 12 3 14
A
E
E 8
8
E 14 12 13 14
E
B
E 14
15
14 15 12
12 13
13 14
14 15
B
G
B 15
14
15 11 14 13 12 12 13 14 15
15 15
15
G
D
G 14
12
14 12 11
11 14
14 13
13 12
12 14 12
12 13
13 14
14
D
A
D 12
12 12
12 14
14
A
E
A
E 8
E 8
8
eXAmpLe 8 20: peDAL sTeeL/G-BenDeR imiTATion I was first introduced both worked at The Fender Soundhouse in London during the early 70s.
to this style
8 of bend by my teacher, Colin Pincott. This example is inspired Its tough, as the first finger has to pull the third string towards the floor.
by a tune
Ex that
20 Colin recalled playing with Seymour Duncan when they Check out Brad Paisleys albums to hear an actual G-bender in action.
Ex
8 20
E sus2 E E sus2 E7 E9 E7
8
# # # #
44
E sus2
E
E sus2 E7
n E7
E9
& # # # # E
n E
9 E7
Ex 20
Ex 20
& # # 4 E
E sus2 E sus2
E sus2
E7
E 7 E9 E7
Hold
8
# 4 n
E sus2
& # ## # # 4 Bridge
Ex 20 pickup
& middle
n
& 4 Bridge & middle E7
RP
pickup E sus2 BU E bend
Hold E sus2
BD BUE 9BD E 7
# # BU bend BD
RP
E
BU BD
& # # 44 Bridge & middle 14 1111 BU((1313Hold n12
B Bridge & middle pickup
E ) (13
G
B pickup RP) (11 ) 9 (11 ) ( 9)
D bend
Hold 14
G ) RP)BD(11 )
(13 9BU(11BD
) ( 9)
14
11
A
E
D
E
B
14 BU bend BD 14 12 BU BD
A 1
E 14 11
G
E 11 (13 ) (13 ) (11 ) 9 (11 ) ( 9)
B Bridge & middle pickup
D 1
G 14 11 (13Hold
) RP) (11 )
(13 14 12 9 (11 ) ( 9)
A
D 14 14 BU bend BD 14 11 12 BU BD
E
EA 1 14 11
BE Asus2 A A sus2 Csus2 C C sus2 E
# ## j # ww
G 1
14
( ) (13 ) (11 ) ( 9)
n
11
Csus213 (11 ) E9
Asus2 A A sus2 C C sus2 12
14
11
A # Ewww
E A sus2 Csus2
& # # Asus2 n C C sus2
1
j
#
n
A sus2 Csus2
j
& # ## # #Asus2
Hold
bend
Hold
BDA sus2
nn n C Csus2
nCsus2 #w
& BUA bend n BUw
RP
BU BD E
# # jBU# w
RP
E
BU Hold BU BD (13w)
& # # 7 n n10 n 7 (9) (7)
BD
7 4 BU(6bend (
w
B
E )
G Hold RP6) (4 ) 11
B
D bend 7 BD 14
G 4 ( 6) ( 6)
RP (4 ) 7 BU( 9)BD(7 ) 11 BU
(13
14 )
A
E
D
E
B
7 BU BD 7
10
10 BU BD BU14
A 4
E 7 Hold 10 14
G
E
B 4 ( 6) ( 6) ( 4 ) 7 ( 9) (7 ) 11 (13 )
D 4 7 4 ( 6bend
) ( 6) ( 4 ) 7 10 7 ( 9) (7 ) 11 (14
13 )
G
A 7 RP 10 14
Ex
E 21 7 7 10 14
D BU BD BU BD BU
n
eXAmpLe
EA 4 21: B-BenDeR 7 imiTATion BenDs This example begins with10 These are difficult at first - not helped by14the activity on the first string,
Ex 21
C
holding
the second
14
BE
an ascent up the C form arpeggio4shape. In the second bar we see one of which must all be executed while string bend. Ive
G 4
4
( 6) (6
C) (4 )
b n 7 ( 9) (7 )
n
11 (13 )
your performance.
the most
D common bends in7country guitar: the B-bender imitation bend. included fretting hand fingering numbers
14 to help
Ex 21 7 10
&
4 b n n
A 7 10
EEx 21
C
&
4 n
4
b n
C
Ex 21 4
&4 pickup
Bridge & middle
C
b n Hold
RP
&
4
bend
BUn bend
RP
Hold
BD
13 13
pickup
Bridge & middle
b13 n14 12
RP
E 15 13
4
RP
(17) BD(15 )
B 15 BU (17 ) Hold (17 )
Bridge & middle pickup
&4
E
G 14 15
bend 13
Hold (RP
17 ) (RP
17) (15 )
13 15 BU(17 ) bend 13
B Bridge & middle pickup
D 12
G
A 15 12 14 RP BD
E
D
E 12 13 14 BU 15 RP 13 BD
B
A 1 15 13 15 (17 ) (17 ) (17) (15 ) 13
E
G 12 14 15
Hold 13
E
B Bridge & middle pickup 13 15 (17 ) bend (17 ) (17) (15 ) 13
D 1
G 12 13 14 12 14 RP
A 15
12 13 14 BU RP BD
D
13
E
15
EA 1 15 13
12 14 w 17
( ) (17) (15 )
BE 15 (17 ) 13
G 1
15
13 14 w
D 12
&
A
E
&
w
1
w
& BU bend Hold
RP RP
Hold
& bend 15 RP
RP
bend
BD BD
RP RP
BU bend
Hold Hold
E 17 RP 15
(17 ) BD(15 ) 13 BU RP 13 BD w
B 15 BU(17 ) Hold (17 ) 15 Hold
(17 ) (17 ) (17 ) (15 ) 13 13
& 15 BU(17 ) Hold
E
G 17
bend 15 RP bend
Hold 15 13 RP
(RP) (17 ) BD(15 ) 13 15 BU(17 ) (RP
17 ) (17 ) BD(15 )
bend 17 13 13
B
D
G RP bend RP
A
E
D
E BU 17 RP 15 BD BU 15 RP 13 BD
B
A 4 15 (17 ) (17 ) (17 ) (15 ) 13 15 (17) (17 ) (17 ) (15 ) 13 13
E 17 15 15 13
G
E
B 15 (17 ) Hold (17 ) (17 ) (15 ) 13 15
Hold
(17) (17 ) (17 ) (15 ) 13 13
D 4
G bend RP bend RP
A RP RP
D
Ex 22 BU BD BU BD
E
EA 4 17 15 15 F 13
F C
Ex 22
BE (17 ) (17 ) C
(17 ) (15 ) (17) (17 ) (17 ) (15 ) C
15 13 15 13 13
G 4
AnD G-BenDeR n
and
C
eXAmpLe 22:4B-BenDeR then move firstwstrings to play a
D
onto
n to B-bender
Ex 22
&another,
4 perhaps approach
imiTATion ComBineD
lick. You could view this as being played
pulling it down. We the
second
Country lick around
A
Ex
E 22
Here we see
G-bender & 4 b
more conventional
Cthestring
C
n
than
F
shape
C
w either the
4
b n
Hold
pickup b n nn Hold Hold w
F scale C
& 44Bridge
imitation. Here were bending up, as opposed to C or the G form CAGED shape.
bend RP RP RPBD w
pickup C b n BU bendRP RPBD F BUbend RP RPBD CBUbend
Ex 22 & middle
& 4Bridge
bend RP bend
Hold Hold
10 ) 5 (10BD)(8) 5 BUHold8RP 5 RPBD
Hold
bend
& middle
E
BU Hold
n 5 BD 8BU(10 8
7 bend
( 9) ( 9) RP ( 9) (7)
& 44 Bridge & middle 5 7BU( 9)bend
8 RP 5 BD
( 9) ( 5w
B 8 RP ) (RP
Hold
5
E Bridge & middle pickup ( 9) RP 7) 5 8 5 RP
8 55 b 66 n 77 5 7 BU 8 RP 5 BD
G Hold Hold
B
D
G
A
pickup 7
5 7 ( 9)
Hold
bend( 9) RP
( 9) ( 7) 5
8BU(10 ) (10 ) (10 )( 8) 5
bend RP RP BD BU
7 bend
( 9 )
8 RP 5 BD
( 9 ) RP
( 9) (7 ) 5
E
D
E BU 8 RP 5 BD BU RP BD
B
A 1
E 8 (10 ) (10 ) (10 )( 8) 5
8 5 8 5
G
E
B 8 5 7 ( 9)Hold
( ) ( )( )
8 9 5 9 7 5
Hold (Hold
9) 8
8 (10 ) (10 ) (10 )( 8) 5 7 bend
( 9) ( )
5 9 (7 ) 5
D 1 Bridge & middle pickup 5 7 bend
( )bend( 9) RP( 9) ( 7) 5 RP 7 ( 9) ( 9) RP
( 9) (7 )
7 5 7 5 7BU9 5
G
A
D 5 6 RP BD BU RP BD BU RP BD
E
EA 1
8 5 6 7 8 5
BE 8 8 5 8 (10 ) (10 ) (10 )( 8) 5 8 5
G 1 5 7 ( 9) ( 9) ( 9) ( 7) 5 7 ( 9) ( 9) ( 9) (7 ) 5
D 5 7
A 5 6 7
E 8
1
eXAmpLe 23: LineAR mAJoR penTAToniC sCALe pATTeRn Using Brent Mason-inspired run based on G major Pentatonic, with additional
linear scale
9 patterns (going up and down the neck as opposed to chromatic notes. This is a great corridor to work your way up to the G
vertically across the strings) is a great way of escaping the Pentatonic major Pentatonic scale shape at the 15th fret. Aim to pop the first note
box and breaking out into other areas of the fretboard. This example is a of each beat.
n n #
Ex 23
b n
9
#4
3
9 3 3
b n b n
& 4
b n
n n 3 #
9 23
b 3 n
Ex
b n
9
Ex 23
Ex 23 #
nPM n #
3 3
4 b n
b 3 n PM b n PM b n
3
3
Bridge & middle pickup
& #
44 b 3 n nn12 nn13 ##14
3
Ex 23 PM 3 PM 3 PM
& ## 44 b 33 n b 3 n b 3 n 8 10 bb113 nn12 10
b 3 n 5
E
15
B
& 4 PM b n 7 bb 8 nn 9 7 PM7 b 83 n 9
3
5 bb 6 nn 7
G
5 b 6 n 7
D
PM
b n
A PM PM PM PM
E pickup 3 3 3
E 1 PM PM PM 3 10 PM12 13
3 14 15 PM 3
B Bridge & middle pickup
m m etc 10 11 12
3 8
E
G
Ex 24 Bridge & middle pickup PM PM PM 7 PM 7 8 9 PM 10 12
PM 13 14 15
#
.
B
D PM used 5 PM 7 8 9 8 PM
10 11 12
PMpickin is widely PMnotes on the PMto be played muted to create
eXAmpLe 24: ChiCKen piCKin 6Ths Chicken TheD pick
7 Eup G third string10need
A
G 5
Am 5 Bm
6 7 C m7 8 9
F dim
12 13 14 15
E G
3 here
5 6are7played in sympathy
5 7
8 clucking
9
.
D
among country players. The descending 6ths the sound that
8 gives the12technique its name:
14 15 you can either
E
B 10 11 10 12 13
#4 n #
A 1 5 5 6 7 m etc
B
G m 7 7 8 9 8 10 11 12
with the V7 and IV7 chords. The first run down 5of 6ths
6 7from D7 is implying palm
8 9 mute 7or fretting hand mute these. Its even acceptable if the pitch
7
E 3
G
D 5 7 7 8 9
& 4
1
D
Ex 24
A 3
D Mixolydian, whereas the 6ths descending from C7 imply m 5 6 7 m 5 etc
5 C Mixolydian. 7 5 8 the
of 9 notes isnt audible, as were aiming for a percussive sound here.
.
#
A 5 5 6 7 6
#
E
7 Am Bm mmCC
D Em F dim G
Bridge & middle pickup
Ex11 24
E 3
5 G6
.
m etc
Ex 24 #
G
m
Am Bm
etc
D
Em
F dim G
n #
3
& # 444
Ex 24
Em
F #dim
# .. n #
8
Am Bm C D Em G
7
G
3 5 ..
Am Bm C D F dim G
G
& ## 44 Bridge & middle 7 9
9 nn103 ##11
5 3
4
E
10 12 14 15
B
& 4
G
pickup 11 12 14 16
D
A
E
& 4 Bridge & middle pickup
E
B
1
Bridge & middle pickup
Bridge & middle pickup
3 5 7 8 10 12 14 15 33
E
G 4
3 5 7 9
8 11
10 12 14 16
15 9 10 11
B
D
A
G 4 5 7 9 11 12 14 16 9 10 11
E 3 5 7 8 10 12 14 15
n
D7 C7 G
b
D
E
B 3 5 7 8 10 12 14 15
# w 99
1
A
# b n
B
4 5 7 9 11 12 14 16 10 11
G
# n b n n # b n n
E
b n b nw
G
D 4 5 7 9 11 12 14 16 10 11
&
1
D
A
A
E
1
E
# DD 77 # 3
n 3 b
D7 C7 G
3
1
n
# 3
b n C7
3
n # b
C7
G
w
b n n b n n b n b nGGw
3 3
& # D107 # 8 # n 7 b n C7 nn 8 # bb 6
& ## 7 # 38 9 b n n
5
b n b n n 5 b n b 3 n ww3
5 ## 36 nn 7 5 ##36 7 bb 3 nn 43 nn 5 bb 1 nn 23 bb 3 nn www4
E
# 3
bb 3 nn 43 nn 5 7 b 83 n 9
B
&
G 3
D
A
E
& 3 3 3 3 3
E 5 10 3 8 7 5 3 8 6 5 3 3
B m etc 3 3 3 3 3 3 3
3 3 3 3
E
G 10 7 8 9 8 5 6 7 7 3 4 5 5 7 8 9 8 5 6 7 6 3 4 5 5 1 2
3 3 3 4
3
B
D
Ex 25
A
G
E 10 7 8 9 8 5 6 7 7 3 4 5 5 7 8 9 8 5 6 7 6 3 4 5 5 1 2 3 3 4
3
# 4
D
E
B 10 8 7 5 G 8 6 Am 5 3 Bm 3
A
B 5
G 7 8 9
m etc 5 6 3 4 7
8 9 5 7 5 6 7 3 4 5 1 2 3 4
E
G
D 7 8 9 5 6 3 4 7
8 9 5 7 5 6 7 3 4 5 1 2 3 4
eXAmpLe& 4 3RDs Along with 6ths, 3rd haveto bethe
D 5
A m etc
A 25: DouBLe-sTop
Ex 25
E
E 5
shapes so that you can use them spontaneously during your own
these
solos. Palm mute
around the triads
most commonly
5
Ex 25
m etc
used
m etc
double-stops in country guitar. Were climbing
G up the notes on the fourth string.
Am Bm I recommend you check
Ex 25 # 4
who has made of double-stops.
use
great
Am
of G major here and you would do well to memorise out EnglishmanAmRay Flacke
& # 44 Bm
Bridge & middle pickup G Bm
G
Ex 25
& ## 44 3
G
3 5 5 7
Am Bm
4 5 4
5 4 5 5 7 5 7 5 7 7 9 7 9
E
& 44
B
&
G
D pickup
Bridge & middle
m3a etc
A
Bridge & middle pickup
E
E 1
m3a
B Bridge & middle pickup 5 5 7
E
G Bridge & middle pickup 4 4 5 5 7
B
D 4 5 3 5 3 5 5 7 5 7 5 7 7 9 7 9
A
G 4 4 # 5 5 7
E
5 7 7 7 9
D C D 4 5 E3m 5 5 5 7F dim5 7 7 7G 9 9
44 55 55
E
B 3 5 7
#
A
B
G
1
a
3
4 a
3
4 etc 5 5 7
&
E
m
4 m
4 5 5 7
G
5 7 9
D
D
A
A
E
1
a
m
a
m
5 etc
5 7 7 7 7 9 9
#
E 1
Ea a etc
C D am F dim G
1 a etc
m m
# #
Em m
C D m F dim G
&#
C D Em
12
FF ##dim
G
G
15
& ## 7 13 13
C D Em dim
7 12
12 16 17
E
&
B 8 8 10 10
& 9 9 11 11 12 14 14 16
G
D 9 9 10 10 10 10 12 12 12 12 14 14 14 14 16 16 16
A
E
E 3
B 7 8 8 10 10 12 12 13 13
a
15
m
E
G 7 9 9 11 11 12 12 14 14 16
B
D 7 9 9 10 8 10 8 10 10 12 10 12 10 12 12 14 12 14 12 14 14 16 13 16 13 16 16 17 15
A
G
E 7 9 9 11 11 12 12 14 14 16
D
E
B 7 9 9 10 8 10 8 10 10 12 10 12 10 12 12 14 12 14 12 14 14 16 13 16 13 16 16 17 15
3
A
B
G
E
G
D
3
7
7 9 9 10
8
9
9 10
8
9
9 10 10
10
11
12 11 12
10
11
11 12 12 14
12
12 14
12
12 14 14 16
13
14
14 16
13
14
14 16
16 17
a
15
16
16
m
D
A
A
E
9 9 10 10 10 10 12 12 12 12 14 14 14 14 16 16 16
16 17 m
a
3
E
3 m
a
a
m
44 GuitarTechniques April 2015
ultimate country workout
eXAmpLe
10 26: DouBLe-sTop 3RDs WiTh ChiCKen piCKin Just like visualising the triads on the top three strings and chicken pickin on the
Example 25, were ascending the neck using double-stops, but here were fourth string - very Brent Mason.
Ex 26
# # C #m D #dim
# N.C. #
E F m G m A B E
N.C. N.C.
#
N.C. N.C. N.C.
n
N.C.
#
N.C.
#
#### 4 # # n # n # n # n # n #
b n
10
&
Ex 26 4 n# n # #
G #m C #m D #dim 3
# N.C. #
E F m A B E
N.C.3 N.C.3
N.C. N.C. N.C.3
n
N.C.3
#
N.C. 3
#
#
# # #Bridge # PM PM # PM
PM PM PM n # PM
n #
3 3
4 5 b n 7 n # 9 n # 11n # 12
& middle pickup
#4 PM
E
B
G
& 4 n # 5 n # 7 9 10 12 14
14
16
16
17
3 16 3
D 4 5 6 5 6 7 7 8 9 9 10
3 11 11 12
3 13 12 13
3 14 14 15 16 17 18
A 3 3 3
E Bridge & middle pickup
1 PM PM PM PM PM PM PM PM
E
a etc
m
4 5 7 9 11 12 14 16
B
Ex 27 5 7 9 10 12 14 16 17
G
eXAmpLe 27: DoTTeD 8Th ALBeRT Lee G DeLAy eFFeCT From my its engaged. Set the delay12so13 theres only one repeat, with Delay Volume
100%.
D 4 5 6 5 6 7 7 8 9 9 10 11 11 12 13 14 14 15 16 16 17 18
experience of teaching country, one of the first questions thats asked is
sointhis case
The maths works out as the number 45 divided by the tempo of the
A
E
#4 .. its:
as45
you 150
the lastnote. j Be sure
..
Can you show me the Albert Lee delay effect? So I ahad
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& 4
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m then on the repeat to switch off the delay pick
Ex 27
delay
G
onrepeat
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PART GUITAR PIeCe MAGAZINE
TECHNIQUES 241 Steve Laney
TRACK 39
GUITAR TECHNIQUES MAGAZINE 2 4 1 PREP FOR A COUNTRY GIG
Steve Laney
CompLeTe pieCe
GUITAR To wrap things
TECHNIQUES up we have
MAGAZINE 2 4 1 a full piecePREP
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Steve around
FOR then switches
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an 8-barCOMPLETE
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G that then modulates to Bb for thePREP
solo and
FOR a nice melody
A COUNTRY run incorporating open strings, before modulating into the key of
GIG
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lift. We start with some honky-tonk Gstyle
7 hybrid picking
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13 many techniques from the previous examples.
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10
3 3 3 3 3 April 2015 GuitarTechniques
5 45
G 13
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play: COUNTRy
E 3 3 3 3
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PART 3 fuLL PIeCe TRACK 39
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46 GuitarTechniques April 2015
E 34
34
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47 m m m m m
play: classical ON THE CD TraCk 41
Mozart
Eine Kleine Nachtmusik
This month Bridget Mermikides revisits perhaps the most
revered classical composer of all, Wolfgang Amadeus Mozart,
to arrange and transcribe his legendary Eine Kleine Nachtmusik.
[Bars 1-18] The opening octaves should be played nice and neatly without to bar 14. A barre is needed on beat 2 of bar 9 and beat 2 of bar 10. The
anyGUITAR TECHNIQUES
of the open MAGAZINE
strings ringing through.2 Suggested
41 fingering for both hands grace notes in bars 12 and 13 are played together with the bass notes and
MOZART'S EINE KLEINE NACHTMUSIK
is indicated. The main theme begins in bar 5 and I play this in 2nd position
arr. land on the beat. At bar 15 we go up an octave for tonal variety and then we
B Mermikides
and in fact the notes lie under the hand to stay in 2nd position right through have the repeated bass D notes at 18.
D
A7
j j
# # 4 j j
& 4
E 2 5 3 3 3
B 3 3 3 3 5 5 5 2 5
G 2 2 2 2 0 0 0 2
D 0 0 0 0 4 2 2 2 2
A 0 0 0 4 0
E
1 m i m i m i m i m m i m i a m i m i
p p p p p p p p p p p p p p p p p p
j j
# # j
D A7/D D A7/D
.
j
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E 2 0 0 3 0 2 0 0 3
B 3 3 3 5 3 2 2 2 3 3 3 5 3 2 2 2
G 0 0 0 0
D 4 4 0 0 0 5
0 0 0 0 0 0 4 4 0 0 0 5
0 0 0 0 0 0
A 5 5 5 5 5 5 5 5 5 5
E
5 a a m i m a a
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p p p p p p p p p p p p p p p p
D A/E D /F # A /C # D A/E D /F # G A7 Bm
# #
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13
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G
D 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A 0 0 5 5 5 5 5
E 3
17
[Bar 21] At bar 21 the ascending melody stays on the second string and then Picking hand fingering is indicated in bar 22 and I play the open E notes in
at 22 I find it helpful to land on the first A chord using a hinge barre this the melody with a light rest stroke. This puts the second finger onto the
2 xxxxxxxxxx
where the top A note is pressed down with the side of the first finger rather second string and therefore immediately ready to pluck the chord with no
than2 the
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tip. It makes the change from the previous chord shape easier. re-placing of the finger. Its a handy technique once you get the hang of it.
#
A/C D E 7/B A
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29
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32
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32
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35 m i m i
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50 GuitarTechniques April 2015 p
Mozart EinE KlEinE nachtMusiK
[Bars 28-53] Another section begins at bar 28 and has a tricky downwards proves too difficult. In 39 there is a bit of a jump for the fretting hand from
triplet slur in the melody. Do this slowly at first if necessary and work on the G# bass note back the A#. At bar 42 beat 2 I add a second finger two-
keeping the chords short and clear. At bar 35 we get a middle voice coming string barre across the third and fourth strings - the second finger remains
in and also a slightly awkward pull-off grace notes in the melody. The one on the second string. After the embellished singe line melody in the bars
at bar
3 36 is a bit of a stretch for the fretting hand and can be omitted if it 51-53 we reach the end of the first section.
# # #
j
E A F /A Bm E /G A D
. j . j #
j j
# # #
& # #
# # n #
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38
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70
[Bars 70 to end] Now we have an exact repeat of the first half but at bar Some little grace notes appear in the melody from bar 89 aim to keep
70 we do not go up an octave we get the full effect of the rising melody these neat and follow the fingering carefully in bar 92. The rest of the piece
line through the whole phrase. At bar 80 we resolve back to octave A notes as we near the end is fairly logical to approach. Isolate and work on areas
5
instead of E notes and then we continue with some new material. that you find problematical before putting the whole thing together.
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105
30-Minute Lickbag
easy LIcks exampLe
GUITAR 1 Bryan
TECHNIQUES aDams
MAGAZINE 241 Pat Heath's LICK BAG
cd track 42
GUITAR TECHNIQUES MAGAZINE 2 4 1
Using sus 4 and 2 chords around an open d major shape Pat has
Heath's
been LICK BAG change exemplifies this. In a band or when recording, try an overdriven
GUITAR
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BAG
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MAGAZINE 241 Pat Heath's LICK BAG
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E
BucKley cd track 43
Lick 2 Jeff Buckley style
Buckley was a formidable musician and many of his songs are chord shape thats easily shifted up and down in semitones. the 6/8 feel
Lick difficult
notoriously 2 Jeff Buckleyto play. styleBut this simple soundalike uses an e major and some phasing effect give it added authenticity.
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IntermedIate
E A 5
LIcks exampLe 4 DaviD Gilmour
cd track 45
5E
this pinkLick
Floyd5 lick showshow
style Gilmour plays
around the chords shimmering strat tone with analogue delay and stadium reverb can
4 David Gilmour style
in a progression - see how the melody outlines the changes? a help replicate the classic Gilmour sound.
b
j j
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b n
& b b 34 b
n
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56 GuitarTechniques April B2015
b #
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intermediate 1
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3 5 3 5 3 6
cd track 45
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adVanced LIcks exampLe 5 michael lee firKins
E
cd track 46
Lick 5 Michael Lee Firkin style but
michael Lee Firkins emerged in the early 90s on the shrapnel label, scary
rock guitar
with fingerstyle
red-hot country and bluegrass licks.
Lick 5
~~~~
was a little different to its usual fare. Firkins was a maestro who fused aggressive picking technique is key here.
Michael Lee Firkin style
# 4
&
Lick 5 Michael Lee Firkin style
4 ~~~~
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~~~~
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7
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adVanced LIcks exampLe 6 alex sKolnicK cd track 47
Lick 6 Alex Skolnick style
another great rock guitarist taught by Joe satriani (others include steve testament he fuses jazz ideas into his solos, but this example highlights
Vai andLick n
kirk6 Hammett),
Alex Skolnick style
skolnicks technique is legendary. In his band his earlier rock style, including fast picking, slides and legato.
# # # 4 n
& # # # 44
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G 16 16 16 16 14 16 14 14 13 13 11 11 9 9 7 7 6
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9 7 5 7 9 9 7 5 9 7 5 4 2
April 2015 GuitarTechniques 57
lesson: blues ON THE CD TraCks 48-51
Brad Paisley
Brought to you by... there are two complete 12-bar solos this
month, in the blues and country-endorsed
keys of A and e respectively. one of the things
i had to get my head around when
approaching learning some country-based
ideas was the concept of key-specific phrases,
John Wheatcroft brings you a big plate of hot meaning that a specific lick in the key of G
country with a generous helping of blues on may not necessarily have an identical version
in the key of A. there might be a similar idea,
the side, courtesy the Tele-toting Brad Paisley. but, due to the abundance of open strings,
certain ideas only work in one key; whereas in
jazz the concept of transposing each and every
country guitarist whos no idea through all 12 keys is accepted protocol,
mean blues picker either. and open strings only rarely make an
Brad Paisley has had a appearance. With this in mind, most country
remarkable career. the
42-year-old singer, coldplay, My chemical
songwriter and picker has romance, jazz, and
sold over 12 million albums,
gained three Grammys and instrumental music thats
is a bona fide member of the obscure - I have a very well-
Grand ole opry. if we also
take into consideration over
rounded iPod. Brad Paisley
30 top ten Billboard singles, players stockpile ideas and organise them
over a dozen CMA awards around their respective open chord, so an
and a stable family life with experienced player will have dozens of C, A, G,
film star wife Kimberley e and D form ideas. Country music is quite
Williams, its fair to say often a sharp key music, with loads of tunes
Brad has made quite a good found in G, D, A, e and so, whereas jazz is
job of things so far. most often associated with flat keys, F, Bb and
its not for no good the like. Of course, there are exceptions and
reason, either, as Brad is a many artists purposefully blur these
fantastic singer and an definitions. Remember that you can always
intelligent and prolific use a capo to access new keys and its not
songwriter. What were unknown for a player to completely retune the
interested in here though is guitar a half-step or more lower to facilitate
his guitar playing - hes no familiar finger shapes in new keys, so its good
slouch here either. to remember the old saying, necessity is the
Actually its not the first mother of invention. While were at it, another
time that weve looked at a good one is practice makes perfect, so what
country guitarist in this are you waiting for?
column. Players such as
Danny Gatton and Roy NeXT MoNTH: New blues tutor Les Davidson
Buchanan effortlessly move looks at Carlos Santanas bluesy side
between genres, sometimes
Brad Paisley with within the same song. in
one of his Bill Crooke fact you can often hear Get the tone
Tele style guitars country, blues, jazz,
rocknroll and rockabilly
ABILITY RATING influences all mixed up to create one huge 5 7 4 6 3
hybrid language. Brad is most definitely open
Moderate/Advanced to all of these influences. While his writing Gain Bass Middle TReBle ReveRB
Track record Moonshine In The Trunk (2014 Sony) is Brads most recent release, featuring some wonderful playing, super-sharp
vocals and witty lyrics. Play (2008 Sony) is worth the asking price just the Grammy winning track cluster Pluck, featuring a host of
guest soloists including albert Lee, Brent Mason and John Jorgenson. dont forget theres a track with BB king too.
Swing
[Bars 5-8] More pick and fingers hybrid-picking here. The combination
BLUES DUESof- BRAD repeated pattern
PAISLEY of pick, 1second and third fingers here.
- SOLO
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m a etc April 2015 GuitarTechniques 59
lesson: blues ON THE CD TraCks 48-51
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60 GuitarTechniques
11 April 2015
LOVE TO PLAY BLUES GUITAR?
Then this 100-page magazine with DVD-ROM is for you! Drawn from the best blues features in
Guitar Techniques magazine its packed with lessons on how to play like over 50 blues legends.
Pop the DVD-ROM into PC or Mac to hear brilliant audio synched to animated tab.
lesson: rock ON THE CD TraCks 52-53
George Harrison
Martin Cooper looks at the influential style
of the legendary Beatle guitarist and chart- Brought to you by...
CD: TRACKS 52-53 Ideas for recording during this time. of course, George was able
Track record Try Harrisons wonderful, critically acclaimed all Things Must Pass (1970), which features the classic My Sweet Lord,
What Is Life and Id Have You anytime (co-written with Bob dylan and with some of claptons best ever guitar). cloud Nine (1987)
features Got My Mind Set on You and When We Was Fab. There is also a Greatest Hits collection called Let It roll available.
GUITAR TECHNIQUES 2 4 1
Martin Cooper's BIMM ROCK COLUMN -
GEORGE HARRISON STYLE
GUITAR TECHNIQUES 2 4 1
RHYTHM GUITAR
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33
ABILITY RATING Steve Lukather, Jenifer Batten, Robben Ford, also associated chordal material for each of
Brad Praisley, Steve Morse, Scott Henderson the other two chords, turning this apparently
Moderate/Advanced and Albert Lee. simple three-chord track into a true study.
So it was a great pleasure to have Carl visit In Carls hands the familiar E minor
Info WIll IMprove your the Guitar Techniques studio during his Pentatonic or Blues scale is given an inventive
KEY: Various Playing over minor chords massive European tour, and in a couple of sophistication with the use of the 9th (F#) and
TEmpo: Various Chord melody voicings hours he had given us enough great material occasional Dorian implication with the major
CD: CD-ROM Pentatonic fluency for several video lessons. 6th (C#) (see bar 35). The familiar Pentatonic
For this article, Ive transcribed Carls shapes are also revitalised with the use of wide
CARL IS onE of the most respected guitarists improvisation over Jays Juke Joint, a minor intervallic string skipping (bars 19-20, bar
in the industry with a 40-year playing career key track by Jason Sidwell. His solo 66), and fast position changes using open
playing countless sessions on albums (with demonstrates a fluent improvisational knack, strings (bar 62) and slides (bars 26-27).
artists as divere as Dolly Parton and Allan stylistic versatility (including pop, country, Finally, Carls playing here is characterised
Holdsworth), innumerable film scores, as part blues, jazz and Latin influences) and a
of prog band Procol Harum and an active solo command over inventive chord voicing and carl has worked with
career. What sets Carl apart is his stylistic
mastery, melodic sensibility, educational
Pentatonic melodicism. In a few short
minutes Carl delivers a masterclass in minor
an amazing list of
generosity and, as John Jorgensen puts it, his chords and gives any guitarist ample material musicians in a hugely
transparent technique in that his technical
facility is only ever used in service of the track.
to improve their playing.
When presented with a track with a series diverse range of styles.
no wonder that hes still so much in demand of minor chords, many guitarists might by great rhythmic sophistication; theres a lot
and receives unadulterated praise from the commit to single-line soloing (perhaps based of syncopation on the semiquaver level which
lofty likes of Robben Ford, Joe Bonamassa, on the minor Pentatonic of the key), or to draws in stylistic reference from jazz (bars
familiar chord voicing strumming. However, 31-32), funk-rock (bar 26), folk (bars 46-47)
Carl Verheyen: Carls playing is a perfect fusion of effective to Latin rhythms (bars 55-57).
this months lead ideas, inventive chord-melody rhythmic This is a really rewarding solo to learn, not
solo is a real patterns and a mature and paced melodic only to build ones vocabulary, but also as a
masterclass sensibility. Theres much to learn here but source of instruction and inspiration of how
heres a rundown of the main characteristics... inventive one can be in a relatively simple
Carl effortlessly and intuitively switches harmonic context.
between pick and hybrid style (and even Wes
Montgomery-style thumb technique) so that NeXT MoNTH: Milton brings us more from
all manner of double-stops, spaced chords, this Carl Verheyen video series.
single-line fluency and conventional
strumming technique are at his disposal. This
allows a far, far greater range of expression Get the tone
during performance.
When faced with a single chord for
harmonic context (say Em7), rather than 7 6 6 7 4
having a couple of fixed chord shapes, Carl
Gain Bass Middle TReBle ReveRB
has at his disposal a host of associated small
Carl played his signature LSL CVS guitar
voicings, allowing a blended chord-melody
through a Marshall JTM45 head using mostly
approach with a satisfying harmonic fluidity.
his neck single coil pickup. The examples
This is evident throughout the track, but in
could be played on any style of guitar, but
just bars 13-16, 10 different voicings for Em7 single-coils sound great for this style. Go for
are used, which makes it an a clean tone but not too bright a sound and a
excellent passage to dash of reverb.
study in detail. Theres
Track record Theres bags of choice when it comes to carl, but for similar ideas
to this lesson check out diamonds on Slingshot (Mighty Tiger 1999) or the blistering
solos on Fusioneers disease (Mustang run, 2013 cranktone entertainment).
[Bars 1-4] Carl demonstrates a range of voicings over Em7. All the notes [Bar 9] Play the chord harmonics by brush-strumming over the 19th fret (12
derive from E minor Pentatonic with an added 9th (E-F#-G-A-B-D). These frets above the chord). The pick strums, the first finger touches the 19th fret.
work well over Em7 without any problematic tensions. In this way chords [Bars 13-16] Here we see a catalogue of voicings over an Em7 context. Again
can be freely constructed from this set of notes to form effective melodies. we see the use of the 6th-5th intervallic pattern built on E minor Pentatonic
GUITAR
Similarly TECHNIQUES
bars MAGAZINE
5-6 (over Am7) are built from Milton's
2 4 1A Dorian (A-B-C-D-E-F#-G) and a with an added 9th (E-F#-G-A-B-D), but also the slightly more angular stacked
CARL
hybrid-picked 6th-5th pattern is used in bars 6-8 (ie B-G-E, V.G-E-B).
C-A-E, 5th pattern (E-B-F# and D-A-E) in bars 14-15.
Slight shuffle
w ~~~~~
E m7
.
A m7
#4 w
& 4 w
..
.
w/bar
3
3
Let ring
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Let ring Let ring Let ring Let ring
E 10 7 5 5 5 3
B 8 5 7 8 7 8 7 5 3 3 3 1 3 5
G 0 7 7 7 4 4 0 4 2 0
D 9 5 5 5 5 0 4 2 2 4 4 5
A 0
E
1
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E m7 B m7
# ~~~ .
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& J
~~~ ~~~~
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~~~
w/bar NH w/bar
E
B
10 10 12 12 12
8 8 10 10 10
14
12
14
12
10
8
7
5
7
5 7
5
7 7
* 77 7
G 7 7 7 7
D 9 9 10 10 10 12 12 9 5 5 5 5 5 7 7
A
E 7
6
..
generating 19th fret harmonics
~~~ ~~~
A m7 E m7
#
& # . j
j
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. J
E
~~~ ~~~ 14 17
B 8 10 8 8 10 8 8 12 15 12 15
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E 7 10 12 12 12 12 12 7 10 7 10 10
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D 9 10 10 9 9 9 5 4 2
A 10 7 5 5 7 7 5 2 2 2 5 9 9 9 9
E 7 6 7
18
[Bars 19-20] Here Carl string skips the minor Pentatonic. He uses the first, with this passage, not only to learn the technique but to understand the
third and fifth strings of the A-shape E minor Pentatonic in quick succession theory behind Carls note selction.
before transforming into a jazzier minor Pentatonic with added 9th line. [Bars 31-32] This is reminiscent of Wes Montgomerys thumb octave style.
[Bars 26-28] Heres a challenging passage that rapidly moves through Its based around an E Blues scale, but every note is doubled in octaves.
2 xxxxxxxxxx
ascending minor Pentatonic (and minor Pentatonic with added 9th) positions Strum with your thumb for a mellow jazz tone, and mute the intervening
using connecting slides, culminating in a bluesy bent phrase. Take your time strings with the underside of your fretting hands first finger.
'
Am7 E m7
.. scoop
#
b .
&
n
'
Let ring
scoop
E 10 8
B 10 8 8 8 8 3 3 3 3 3
G 7 9 7
D 10 7 7 8 7 5 5
A 7 7 5 7 5 7 5 7 7 5 2 2 2 2 2
E 7 7 7 7
22
~~~ >
#
& b
j
n ...
b n
E
~~~
w/bar
X 7 10 12 14 15
B 3 X 5 7 8 12
G 0 3 2 0 X 4 7 9 11 12
D 2 2 0 2 5 9
A 2 1 0 2 7 5 7 10 9 10
E 0 3 0 0 0 3
25
j
~~
A m7 j
# .
& #
j
Let ring
E
BU RP BD
15 17 (19 )(19 ) 19 (17 ) 15 17
~~12 15 17 12 0 0 0
B 15 17 12 12 12
G 12 14 16 14 12 14 12
D 12 14 10 10
A 12 10 10 12
E 12 15 12 10 11 12
28
n b j
#
E m7 B m7
n
j
& J J b
J J
w/thumb
E 0 12 10 7 10 7 10 12
B 12 11 10 8 10 8 8 8 8 8 8 7 10 7 10 12
G 9 7 9 9 9 7 0 7 7 7 7 7 7 9 11
D 9 8 7 5 7 0 7
A 7 7 7 7 0 7 7 7 7 7
E 7
31
etc
A m7
n
E m7
# n #
& j
#
E 15 12 10 7 7
B 12 10 8 7 8 7 8
G 14 12 9 9 7 6 9 7
D 10 9 7 7 5 7 5 9 7
A 14 12 10 10 12 12 9 7 5 5
E 12 11 12
34
~~~
# . # ..
b
& . n n
b
w/bar
E
~~~ 14 12 10 7 0
B 12 10 8 5 7 5 5 3 5 3 0
G 4 2 4 4 3 2 0 4 7 7 7 7
D 12 11 9 5 2 2 2 5 5 5 5
A 7 5 2 1 0
E 3 0 3 7 7 7 7
37
# . . j .. .. . .. .. j
A m7 E m7
& .. .. . . .. . # .
J
E 14 12 10 7
B 8 8 8 8 12 15 12 10 8 5 7 5 3 5
G 9 9 9 9 12 12 12 5 5 5 7 9 12 4 2 0
D 5 5 5 7 10 10 10 12 11 9 5
A 7 7 7 7 10 14 7 5 2
E 8 8 8 8 12 12 12
41
..
~~~~
B m7 A m7 E m7 E m7
~~~
&
#
. .
Let ring w/bar
~~~ ~~~~
Let ring Let ring Let ring w/bar
E 17 17
B 7 7 8 8 8 10 10 10 12 12 12 15 15 15 15
G 4 5 5 5 7 7 9 9 9 12 12
D 16
A 5 7 7 10 10 10 12 12 12 14 14
E
45
. j
j
& J J . .
.
j
~~~ ~~~~~ ~~~
w/bar w/bar w/bar
E 14 14 0 5 8
B 12 12 15 12 10 8 7 5 3 3 5 3 0 0 5 8
G 12 9 7 7 4 2 0 4 2 5
D 12 12 5
A 14 10 10 7 7 5 2 2 3 7
E
50
E m7 B m7 Am7
# j
&
E 5 5 5 5 5 5 5 5 5 5 5 8 8 8 8 8 8
B 7 8 7 5 7 8 7 5 5 5 5 5 5 5 5 8 8 8 8 8 8
G 7 7 7 7 7 7 7 7 7 7 7 7 9 9 9 9 9 9
D 5 5 5 5 5 5 7 7 7 7 10 10 10 10 10 10
A
E
55
April 2015 GuitarTechniques 69
lesson: video VIDEO ON THE CD CD-rOm
[Bars 63-64] In these bars Carl demonstrates some lightning minor used based on each chord: B minor Pentatonic for Bm7; A minor Pentatonic
Pentatonic phrasing using semiquaver triplets. The final run, starting on for Am7; and E minor Pentatonic (with an added 9th) for the Em7. Here
the last beat of bar 63 is actually all picked, but you can employ legato though its used in a bluesier vibe with bent notes and flattened 5ths. Were
technique (slurs etc) if the tempo is too challenging initially. not sure if the G# was intended (major 3rd against E minor) but Carl did this
4 xxxxxxxxxx
[Bars 69-72] This final passage shows how the minor Pentatonic can be whole solo as a first take, not even learning the track first.
E m7
E m7 1/4
' .
#
j ..
J . J
& J
E
Let ring
5 5 5 5 0 10 10 14 14 14
BU
17 ( 19 ) 15
'
1/4
12 15 12 10
B 5 5 5 5 0 8 8 12 12 12 12
G 7 7 7 7 0
D 9 9 9 9 0 9 12 12 12 12
A 10 10 10 10 0
E
59
# b
3
3
n
6
3 3
&
n
>
E 0
B 11 11 10 8 10 8 3 3 5 3 0 3
G 9 9 9 0 4 4 2 4
D 7 7 5 5 5 5 7 5 5 2
A 7 7 7 5 7 5 7 5 2
E 7 7 5 3 0
62
a a a
A m7
b E m7
n
#
. # j
j
J n
& #
Switch neck-bridge-neck
pickup on slide down
BU
E 8 12 15 12 18 12 10
B 3 5 8 8 8 7
G 5 5 7 9 14 12 14 12 4 9
D 7 7 9 9 10 9 8 (9 ) 9
A 14 12 10 10 12
E 12 11 12
65
j
# b
B m7 A m7
j
& n
# J
BU
E 7
B 3 3 3 5 5 8 10 ( 11 ) 10 8 10
G 9 7 4 4 4 4 5 7 5 5 9 9 9
D 5 7 7 5 4 7 7
A 10 7 7 5 5 7 7
E 6 7
68
E m7
b
# n # J n .
&
BU BU BU
E 7 10 7 7 10 7 7 10 7 10 12 10
B 10 ( 12 ) 7 10 (12 ) 8 10 (12 ) 9 12 11 10 8 8
G 9 9 9 9
D
A
E
71
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Three-octave patterns
shapes in each of the CaGeD patterns of the
various scales that you know. establish the
possible note-configurations (cells) for each
musical entity (triads, arpeggios etc) and
audition each one against a backing track (for
This month Shaun Baxter starts a new PART 1 context), making a note of your favourites and
experimenting with employing them in the
series that reveals an approach that can most musical ways. But remember this:
you dont have to play something from the
seriously extend your range on the fretboard. root of the underlying chord or scale that you
are using. you can apply any formula from any
mode of that scale (so, for a Mixolydian, you
can use any mode of D Major).
The technique involves taking any musical you are not obliged to play all three octaves
entity (triad, arpeggio, Pentatonic scale, etc)
and compressing the information into a single Its the symmetry thats
string-pair, so that the same shape orcell can
be shifted up and down in octaves via the other
important: because its
string-pairs. This provides us with an easy consistent, the resultant shapes
means of taking an idea over three octaves - not
as impressive as a piano players seven octaves,
are easy to see and remember.
but very useful nonetheless. Its a great way of organising
For example, a minor pentatonic can be
arranged on the sixth and fifth strings like so:
notes on the fretboard.
Cell Notes on sixth string Fifth string each time, as this will severely limit your
(5 - 0) A, C, D, E, G - musical approach. instead, you might want to
(4 - 1) A, C, D, E G
use just two cells (or even one), but the idea
(3 - 2) A, C, D E, G
(2 - 3) A, C D, E, G might spring from the underlying concept of
(1 - 4) A C, D, E, G three-octave cells. Work out the inversions too
(0 - 5) - A, C, D, E, G (three-note entities have three inversions,
So, thats six possible configurations that four-note entities have four, etc)
can each be shifted up in octaves onto the you may need to use tapping for some
other string-pairs without having to shapes when they are played lower down the
change shape. its the symmetry thats neck, whereas you may be able to pick every
important: because its consistent, the note when playing higher up the neck (where
shapes are easy to remember - its a great the stretches are easier); so be prepared to
way of organising notes on the fretboard. adapt your approach accordingly.
Furthermore, each entity (in this case, a Dont just play fast ideas, or youll just sound
minor Pentatonic) can be played in different the same all the time. The point of learning any
inversions depending on the starting note. For new device is to use it expressively! .
example, its possible to play five different
inversions of a minor pentatonic by starting NeXT MoNTH: Shaun continues exploring
from a different note each time: A-C-D-E-G; the use of three-octave cells.
ABILITY RATING
C-D-e-G-a (a has been moved from the front
Advanced to the end); D-E-G-A-C (A and C have been
moved from the front to the end); E-G-A-C-D Get the tone
INFo WIll Improve your (a, C and D have been moved from the front to
Key: A minor Recognition of intervals the end); and G-A-C-D-E (A, C, D and E have
Tempo: 104 bpm Understanding of octaves been moved from the front, etc). 8 7 5 5 4
CD: TRACKS 54-55 General musical range and, like the original inversion, all of the
Gain BaSS Middle TReBle ReveRB
others can be configured in the same six
piano players have it easy! notation is different ways on each string-pair (5-0, 4-1 etc). Im keeping to a typical rock tone for this series. I
tailor-made for their instrument (the white Today we will look at playing two- and use a Fender Strat, so I always use a distortion
notes visually representing all the plain notes, three-note entities across three octaves. pedal to boost the signal before it gets to the amp.
Generally, try to go for 25% of your distortion from
and the black notes representing all the sharps Two-note entities (double-stops, intervals etc)
the pedal and 75% from the amp. Youll find that
and flats); furthermore, whatever they play can can be configured as follows within each the results are sweeter and more compressed
be shifted up, unchanged (same fingering) over string-pair: 1-1, 0-2 and 2-0. Three-note (even and tighter sounding) than when getting
many octaves, providing both physical and entities (triads) can be configured: 1-2, 2-1, 3-0, 100% of the distortion from the amp. Typically,
visual convenience when they play. The good and 0-3. Different ways of playing the same most amplifiers should be set as above. Finally,
news is that the latter approach can be used on thing will provide us with different possibilities. some delay will also added to the guitar track that
is in tempo with the track. This helps to give both
the guitar if we divide it into string-pairs: ie, once youve worked through the examples
size and smoothness to the guitar sound.
sixth-fifth, fourth-third, second-first. in this lesson, strive to establish some useful
dAvid lyTTleTon
Track record Many modern rock players use this three-octave approach, and many of our examples are reminiscent of Steve Vai. Vai
is somebody who challenges the orthodox approach to rock guitar playing; stretching the possibilities of many techniques in an effort to
find new and unclichd expression. If youre new to his music, try starting with his classic solo album Passion and Warfare.
Loco
' b ~~~
3
~~~~
& 44
3
'
3
3 Slow
~~~~ ~~~
bend
E 17 10 8 5 5
B 17 10 8 5 8 5
G 14 7 8 7 5
D 14 7
A 12 5
E 12 5 5
1
~~~ ~~~ ~~ 5
PB
E 12 10 8 5
BU
10
BD ~~~
B 10 8 8 5 8 10 (12 ) (12 ) (10 ) 8
G 9 9 8 7 5
D 7 7 7 5 5 7 9
A 7 7
E 5 3 5 7
5
Ex 5
April 2015 GuitarTechniques 73
0-2
~~~~
j .
b
& 44
'
3
3 Slow
~~~~ ~~~
bend
~~~
~~~ ~~.
exAmple
Ex 3 5 This final example employing a two-note entity, is arranged in a experiments,Exrather
4 than playing up and down each shape in full each time.
.
~~~
(0-2) configuration on each string-pair. like Ex2 and Ex3, it is based around a exAmple 8 And yet another musical variation of the same A minor triad
j two examples.
perfect 4th interval, only here its played on a single string each time using a
b
2 - 0 as used in the previous
note-configuration
3 examples saw the three notes of an A minor triad
&
wide stretch of the fretting hand.
exAmple 6 This is the first of three example using three-note entities in a
J
exAmple 9 The previous
j
arranged in a (1-2) note-configuration
(A-C-E). As mentioned earlier, it is
j
(1-2) configuration on each string-pair, and use the notes of an A minor triad
A-C-E). It is reminiscent of Steve Vai and, depending on the tempo, can be
possible to create different
taking the same approach
inversion of the same note configuration, by
from a different
3 note each time. So, in this case,
~~~ ~~~ ~~
PBcan be arranged
~~~
played using a combination of sweeps and legato, and even a slide using the following a (1-2) configuration, the notes of an A minor triad
10
first finger when travelling from one note to the other on the third string. as follows on each of the three different BU
string-pairs: (A-C-E),BD
(C-E-A), (E-A-C).
E
exAmple 12 possible
7 This example is just one 10 8
variation 5 the configuration
on 5 This example is based around the second of the above configurations, and
B 10 8 8 5 8 10 (12 ) (12 ) (10 ) 8
used
G in Ex6; it demonstrates
9 the9sort of idea that can be played if one 8 finished
7 5 off with a simple minor melody in the second bar.
D 7 7 7 5 5 7 9
A 7 7
E 5 3 5 7
5
Ex 5
0-2
~~~~
&
j .
E 15 15 10 10
BU ~~~~
B
G 12 12 7 7
D 5 7 9 7 (9 )
A 10 10 5 5 7
E
9
3 NOTE SHAPES
Ex 6 Ex 7
~~~
.
1-2 6
& 44
~~~
6
(Steve Vai)
BU (then decay)
E 8 12 8 8 12 10 8
B 10 10 10
G 5 9 9 5 5 9 5 9
D 7 7 7 7
A 3 7 7 3 3 7
E 5 5 5 3 (5 ) 5
11
Ex 8 Ex 9
Loco
~~~
~~~
&
E 8 12 8 17 12
~~~ 12 17 12
~~~
B 10 10 13 13 13
G 5 9 5 9 14 9 14 9 14 9
D 7 7 10 10
A 3 7 3 7 12 7 12 7 5 7
E
2 15 5 8 5 7 8
Ex 10
3-0
Em
Loco
~~~
&
E
(Paul Gilbert)
12 15 19 15 12
~~~
B
G
D 14 17 21 17 14 17 21 21 17 14
A 12 14 15 19 12
E 12 15 19 19 15 12 15
L
19
L L
Ex 11
~~~
~~~
74 GuitarTechniques April 2015
4
&4
Three-OcTave paTTerns Learning ZOne
2
on each string-pair (in other words, all notes are on the lowest string of
combination of left- and right-hand tapping which helps with the large
&
~~~
Ex 310- 0pair). The
each Em paul Gilbert-influenced line in this example demonstrates stretchesLoco
and creates an ear-catching legato effect due to the absence of
how, with any configuration that doesnt have any notes on the fifth string, picking. Finally, as with Examples 2 and 3, this particular example finishes off
&
~~~
Em
3 - 0is an option of shifting notes from the second string to the first Loco
there with some blues-based pentatonic vocabulary.
string. This helps to keep things in the same vicinity of the guitar neck. exAmple 12 Here weve simply re-interpreted the same notes to create a
& ~~~
Although shown
(Paul played as a wide stretch, it is also possible to play the
Gilbert) musical variation.
same thing using a combination of left- and right-hand taps (as in each of exAmple 13 And yet another variation on the same thing, only this time
~~~
E
the following examples)
(Paul Gilbert) 12 15 19 15 using 12 septuplets.
B
GexAmple 11 Here we have the first of three variations on the same theme. exAmple 14 This example follows the same E minor triad configuration as
E
D
B
A
E
(Paul Gilbert)
12 15 19
14 17 used
The (3-0) note-configuration/cell
Gused in Ex10 only, this time, its
21 here
played
17 is similar
seven
14 17to the
frets lower so
12 15
21 E minor
that
12it
triad 19 15Ex10,
becomes
15 19 15
12 but21executes
combination
12 of
17 it
left- and
19right-hand
15 12 15tapping).
~~~
14using the techniques employed in Examples 11-13 (a
12 14 15 19 12
D 14 17 21 17 14 17 21 21 17 14
L
B 19
A
G 12 14 15 19 12
E
D 12 15 19 14 17 21 17 14 17 21 21 17 14 19 15 12 15
L
L L
Ex1911
~~~
A 12 14 15 19 12
E 12 15 19 19 15 12 15
~~~
4 L L L L
19
4
Ex 11
&4
~~~
~~~ ~~~
L L
L
Ex 11
L L L
~~~
& 4 L
& 44
3 3
L
~~~ ~~~
LL LL LL L
BU BD 3 3
~~~ ~~~
E
( ) (13
3 ) 10 13 3
B 10 13 17 13
BU 15 BD 10 13 10
G
E
~~~ ~~~
12 9 7
L L ~~~ L L ~~~
D 7 10 14 10 7 10 14
B
A 10 13 17 BU ( 15 )BD
13 (13 ) 10 13 10 13 10
G
E 5 8 12 12 9 7
D
B 21 7 10 14 10 7 10 14 10 13 17 13 ( 15 ) (13 ) 10 13 10 13 10
A
G 12 9 7
E
D 5 8 12 7 10 14 10 7 10 14
Ex2112
L ~~~
A
E 5 8 12
L
6
L
21
L L
Ex 12
&
& L L ~~~ L
Ex 12
~~~
6
~~~
& L
LL ~~~~~~
6
L L
~~~
6
~~~
L L ~~~ LL L
E
~~~
6
LL L
B 10 13 17 13
G
E
D
B
A
G
E 5
8 12
7 10 14 10 7 10 14
6
10 13 17 13
D
B 23 7 10 14 10 7 10 14 10 13 17 13
A
G
L
E
D 5 8 12 7 10 14 10 7 10 14
L L L L L
A 23
Ex 13 Ex 14
E 5 8 12
L
~~~
L L
23 Loco
L L L L L
Ex 13
Ex 14
& L L L L L L L L ~~~
~~~
7
&
Loco Ex 14
Ex 13
L L L LL LL L ~~~
7
& L L
Loco
~~~
7
L L L L LL L L LL ~~~
E
7
7
7
7
5
LL LL L L
B 10 13 17 13 10 13 17 22 17 13 10
G 7 7 5 12 14
E
D 7 10 14 10 7 10 14
B
A 10 13 17 13 10 13 17 22 17 13 10
G
E 5 8 12 8 5 8 12 12 14 12 15
D
B 25 7 10 14 10 7
10 14 10 13 17 13 10 13 17 22 17 13 10
L
A 12 14
L
G
L
E
D 5 8 12 8 5 8 12 7 10 14 10 7 10 14 12 15
A 25
& L L L L L L L
~~~
E 5 8 12 8 5 8 12 12 15
25 Loco
L
& L L L L L
L ~~~ Loco
& L L L L L L L ~~~
~~~ Loco
LL LL LL LL
LL LLL
5
LL
7 7
5 BU BD
~~~
E 12 15 19 20 19 15 12
12BU ( 13 ) (12 )
L
B 7 7 5 15 BD
~~~
G 14
7 21 12 15 19 20 19 15 12
L
E
L
D 7 14 17 21 17 14 17
B
A 15 12BU ( 13 ) BD (12 )
G
E
E 19 15 12 15 19 12 15 19 20 19 15 12 14
D
B 27 14 17 21 17 14 17 21 15 12 ( 13 ) (12 )
A
G 14
E
D 19 15 12 15 19 14 17 21 17 14 17 21
A 27
E 19 15 12 15 19
27
L
L L L LL
Ex 15
L
3
7 7
L L L L L L LL
Ex 15
7
&
7 7
3
& L L
L
L L L L
Ex 15 7
LLL LLL
L
L L LL
7 7
L L L
7
L
Ex 15
& L L LLL
&
7
L L L
7 3 5 10 7
5 3 7
L
E
L L L
L
B
7
7
5
G
L
G
E 3 5 10 5 3 5 10 10 3
D 29 5 7 12 7 5 7 12 12 7 5 7 12 7 5
LLL LL
E
A 3 5 10 5
7 3
B
E 3 5 10 5 3 5 10 Gsus2 10 3
& L L
G 29
D 5 7 12 7 5 12
7 Gsus2 12 7 5 7 12 7 5
E
A 3 5 10 5 3 7
L L L L
L
B
E
G 29 3 5 10 5 3 5 10 10 3
L
7 7
D 5 7 12 7 5 7 12 12 7 5 7 12 7 5
L L
L LL
Gsus2
L
A
L L L
7
3 5 10 5 3 5 10 10 3
E
& 7
L
29
L LL LL LL L LL
L L LLL LL
Gsus2
7 7
7
& L
7
&
L L L L L L
E
7
5 7 12 7
7 5
LL LL
B
9 9 7
G
7
L L L
5 7 12 7 5
E
L
D
B 7 9 14 9 7 9 14 7 14 9 7 14
7
5
A
L L
G
E 5 7 12 7 5 7 12 12
L
D 30 7 9 14 9 7 9 14 14 9 7 9 14 9 7
L L L L LL LL
E
A 5 7 12 7
7 5
Asus2
B
L
5 7 12 7 5 7 12
L L
E 12 5
& L
L
G 30
D 7 9 14 9 7 9 14 14 9 7 9 14 9 7
Asus2
L L
E 5 7 12 7 5
L L
L
A
B
E 5 7 12 7 5
7 12
9 9
12 5
L
G 30 7
L L L L L
L
7 9 14 9 7 9 14 14 9 7 14 7
D
Asus2
L
L
A
5
7
E 5 7 12 7 5 7 12 12
L
&
30
L L
L L LL LL L LL LL
L
7 Asus2 7
7
7
& L L L LL
&
L L L LL LL LL L L
7
7
E 8 10 15 10 8
L
7
B 7
L L
E
D 10 12 17 12 10 12 17 8 10 15 10
7 8 17 12 10 12 17 12 10
8
B 7
A
L L L L L L L L L L
G
E 8 10 15 10 8 10 15 7 15
D 31 10 12 17 12 10 12 17 17 12 10 12 17 12 10
L L
E
A 7 8 10 15 10
7 8
B
E 8 10 15 10 8 10 15 Csus2 15 8
& LL L L L L
G 31 7
D 10 12 17 12 10 12 17 17 12 10 12 17 12 10
L L
L
E Csus2 8 10 15 10 8
~~~~
A
B
157 10
L
E
G 31 8 10 8 10 15 15 8
& L L L ~~~~
D 10 12 17 12 10 12 17 17 12 10 12 17 12 10
L L L
L L
L
A 7 Csus2
L
8 10 15 10 8 10 15 15 8
E
31
& L L L
~~~~
L LL LL LL LL LL LL LL
7 7
L L L
Csus2
7
& L
7 7 7
E 7
10 12 17 12 10
~~~~
L L L L L L L L
B 7
G
E
D
B
A
12 14 19 14
7 10
7 12 14 19 10 12 17 12 19 14 12 14 19 14 12
~~~~
L L L L L L L
G
E 10 12 17 12 10 12 17 7 17 10 12
D 32 12 14 19 14
7 12 14 19 10 12 17 12
7 10 19 14 12 14 19 14 12
12 ~~~~
E
A
B
E 10 12 17 12 10 12 17 Dsus2 17 10
L L L
G 32 7
12 14 19 14 12 14 Dsus2
19 19 14 12 14 19 14 12
12 ~~~~
D
E
A 10 12 17 12 10
B
E
G 32 10 12 17 12 10 12 17 17 10
D 12 14 19 14 12 14 19 19 14 12 14 19 14 12
A Dsus2
E 10 12 17 12 10 12 17 17 10 12
32
Dsus2
String Skipping This issue Andy Saphir is going to skip through his
PART 1
lesson, hopping from string to string in complete
musical abandon, all to make you a better guitarist!
In thIs months Chops shop were present some technical challenges, both with
looking at the technique of string skipping. the fretting hand and picking hand, so a
this is a useful approach that involves considered technical approach is necessary.
playing through non-consecutive strings (for In all of the following examples, Ive
example, playing the fourth string directly suggested alternate picking throughout, but
after the sixth string, missing out the fifth if you feel more comfortable using another
string). this can create some interesting approach thats fine (hybrid picking works
lines that deviate from the more predictable great for obvious reasons), as long as you
scalar types of phrases, thereby giving you a consider what might be appropriate for each
more varied vocabulary. string skipping can exercise and, ultimately, your own licks.
ExAmPlE 1 primer
GUITAR exercise
TECHNIQUES MAGAZINE 241 Andy Saphir's cD ROM
Chops Shop - STRING SKIPPING - Pt. 1
This is an open-string exercise to get your picking hand used to the physical picking hand to check accuracy, but after a while the muscle memory will
concept of string skipping. At first you may need to look down at your kick in and youll be able to try it without looking.
Ex 1
-
GUITAR TECHNIQUES MAGAZINE 2 4 1 Andy Saphir's
44
Chops Shop - STRING SKIPPING - Pt. 1
&
Ex 1
-
GUITAR TECHNIQUES MAGAZINE 2 4 1 Andy Saphir's
44 0 0
Chops Shop - STRING SKIPPING - Pt. 1
&
0 0 0 0 0 0
0 0
E
Ex 1
- 0 0 0 0
B 0 0
G 0 0 0 0
D 0 0 0 0
& 44 0 0 etc 0 0
A 0 0
E 0
0 0 0 0 0 0
E
B 0 0 0 0
G 0 0 0 0 0 0
Ex 2
D 0 0 0 0
A
E 0 - 0 etc
ExAmPlE 2 string-skipped pentatonic
0 0 scale
0 0
0
cD ROM
E
This exercise uses4
the
same string
pattern as
0 0 notesof the
Example 1 (so 0
A minor 0 0
your pick should 0 0
Pentatonic 0 pick
a legato 0approach:
scale (A-C-D-E-G). For
0 for each string
an altogether smoother sound, try this with
be familiar &
B
with4the mechanics),
0 0
0 0 0 0 0 0 0 0
G but incorporates 0 then hammer-on
0
0 -
D
Ex 2 0 0 0 0
etc
E 0 0
4
&4 5 8
- 5 7
E
Ex 2 5 8
B 5 8
G 5 7
5 7
5 7
5 7
D 5 7 5 7 5 7
4
& 4 5 8 etc
A 5 7 5 7
5
E
E
B
5 8
5 8
5 8
G 5 7 5 7 5 7 5 7
D
Ex 3 5 7 5 7 5 7 5 7
5 - 5 7
5 8
5 7
A
E 8 5
E
4
5 7 5 7 5 7 5 8 5 7
etc
8 5 7 5 7 5 7
&4 5
B
cD ROM
G 5 7
5 -
8 octaves
D
Ex 3
ExAmPlE 3 pentatonic
A 5 7 5 7
4 you
Note how when ascending skip toget toetcthe octave
onestring though!
hand movement as it means you stay within the
&4
when descending you skip two This could create some
strings.
8interesting Watch your picking
same fretboard area.
accuracy
- 7 7
E 8 8 5 5
Ex 3
B 8 5 5
G 7 7
5 5
5 5
7 7 8 8 5
D 5 5 7 7
& 44 5 5 etc
A 5 5
E
E
B
G 7 7
8 8
5 5
8 8 5 5
5 5
5 5
Ex 4 7 7 5 5 7 7
5- 5
D
A 5 5 7 7
E
8 8 5
4 8 b 5
E
etc 8 8 5 5
B
&4 5 8
7 5
b7 7 5 5
7 7 b 5 n 5
G 7 7 5 5
Ex 4
5 7
D
A
5- 5
E 8 8 5
b
& 44 b n
etc
b
E
Ex 4
8 5 8 5
-
8 5 8 5
B
78 GuitarTechniques
G April 20157 5 7 5
7 8
7 5 6 5 7 5
b
D 5 7 7
A
E
&4 4 5 8
6 7
8 5
E etc
-
etc
4
Ex &
3 4
-
4
To you By... & 4
BrouGhT
STRING SKIPPING
PT1
LeaRNING ZoNe
E
8 8 5 5
B 8 8 5 5
G 7 7 5 5 5 5
D 7 7 5 5 7 7
A 5 5 7 7
ExAmPlE 4 different strings, same fret
E 5 5 8 8 5 5 8 8 5 cD ROM
you may
B
G find the fretting hand a challenge 7
etc
here,7 where
8 8
you play a note
5 on5 finger, but dont let the notes ring into each5 other
5 5
5 and dont take your finger
D
a new string 7 7
at the same fret as on the previous 5 5
string. Try using the same off the string too7 early
7 or this will give a staccato feel.
A
Ex 4 5 5 7 7
-
5 5 8 8 5
b
E
etc
44
& b n
b
Ex 4
- b
4 b n
&4 b
E
B
8 5
8 5 8 5
8 5
G 7 5 7 8 7 5
D 7 5 5 7 7 5 7
A 6 7 6 5
E 5 8 8 5 8 5 8 5
B
G
7 5 etc 8 5
7 8
8 5
7 5
D 7 5 5 7 7 5 7
A 6 7 6 5
ExAmPlE 55 ascending
Ex line with descending sequence cD ROM
5 8 8 5
E
- etc
Ex &
5 4
4
This idea uses notes from the C major scale (C-D-E-F-G-A-B) and is an
The interval of major and minor 6ths are used in the string skipping parts
.
-
ascending phrase combining string skipping with consecutive scale notes. and this is the type of sound that country players use a lot.
.
& 44
E 7 10 8 7 8
B 8 10 8
G 9 7 10 9 7 10 9
D 7 10 9 7 10 9
A 10 8 7 10
E 8 7 10 8 7 8
B
G
etc
9 7
8
10 9 7
10 8
10 9
D 7 10 9 7 10 9
A 10 8 7 10
E 8
etc
2 xxxxxxxxxx
ExAmPlE 6 descending line with ascending sequence cD ROM
This is basically the same as Example 5, but descending. Try these types of ideas using different scales and positions.
Ex 6
2 -
2 xxxxxxxxxx
xxxxxxxxxx
4
Ex 6& 4
Ex 6
-
.
4
E
B
&4 10
8 10
7
8
.
G 10 7 9 10 7 9
D 9 10 7 9 10 7
A 10 7 8 10 7 8
E 8 10 7 8
E
E
B
8 10 77
10
10 etc
8
B 8 10 8
G
Ex
G 7 10
10 7
7 9
9 10
10 7
7 9
9
- Am G
C
C dim Am G
4
E &4 15 13 12 10
B 17 17 15 15 13 13 12 12
G 17 17 16 16 14 14 12 12
D 17 17 15 15 14 14 12 12
A 15 14 12 10
E
1
E
E
B
17 1515 17 etc
15
13
13
15 13
12
12
13 12
10
10
12
B 17 17 15 15 13 13 12 12
G
G 17
17 17
17 16
16 16
16 14
14 14
14 12
12 12
12
D
D 17
17 17
17 15
15 15
15 14
14 14
14 12
12 12
12
etc
15 E m14 12 10
A
A F 15 14 Dm
12 C
10
E
E
1
etc
&
F
F E
Emm Dm
Dm C
C
& 10 8 10 8
E
B
7
8 6
5
6 5
3
G 10 10 9 9 7 7 5 5
D 10 10 9 9 7 7 5 5
A 8 7 5 3
E
5
E
E 8
8 7
7 5
5 3
3
B
B 10
10 10
10 8
8 8
8 6
6 6
6 5
5
G
G 10
10 10
10 9
9 9
9 7
7 7
7 5
5 5
5
D
D 10
10 10
10 9
9 9
9 7
7 7
7 5
5 5
5
A
A 8
8 7
7 5
5 3
3
E
E
5
5
Track record While its the admittedly wonderful ogdens Nut Gone Flake that gets most column inches, this is a later album and a
more psychedelic approach than this column covers. That leaves us with the myriad compilations, the best of which is probably The
definitive anthology (1995) which contains almost all the tracks mentioned here plus the best singles and some of ogdens too.
# # 4based
Ex 1 Chord
.
.
riff MAGAZINE
2 41 BRIT
R. N B -THEn n SMALL FACES #
Capone # . ..
- Phil
&4
GUITAR TECHNIQUES
J n J G
n
D G F B A
# . n .
# 4based
. riff MAGAZINE 2 41 BRIT R N B - n # - Phil Capone #
& 4 D . J
n Let ring A ..
Ex 1 Chord
GUITAR TECHNIQUES THE SMALL FACES
G n F J G
Let ring
based2riff 2 30 2 .
# # 4 .. 32 Let ring3 2 0 2 . 334 n nn 112
B
#B44 Let ring 4 4 # G00 A22 ... 4 .
E
G
Ex 1 Chord
&4 .. D02 F
B 4 5 4
G
J
n 2 J 3 0
n
D 5 3
# # 4 . 2 . 2 . . 300 22 ...
5 3
n 2
A
2 0 2 3 1
# #
E
4 n
E 3 1
.. 0 position pentatoniC liCks
20 . 58
B 3 3 3 1 4 5 4 4
G
& 24open Let ring J 55 n 33 42 Let ring 4
4 4
J 0 cd track
3 n
D
ExAMplE
n 1 Allow the
A
. closer .
Ex
E 2 using
Try Open position
three fingers Em forPentatonic
the opening lickstone bend in this example; string 1 the 4th fret first, this will help you to hear the accuracy of 3your technique.
E 2 2 0 2 3 3
. 2 Em Pentatonic
3 nut3and your bending finger will need 3 all the1 4 double-stop 5 4 4 0 second 2 string
.
B
tension increases to the
Let ring to ring in bar 3 while re-picking the
~~~~0 j 23 53 ~~~ 31 3 3 2
G Shuffle 2 E m 2 4 2 4 Let ring 4 0 2
# 4 position
help it can get. Check also that your bends are in tune by playing the B on and the open first string simultaneously.
D 0 5 3 4 4 0 2
. 32 .. E m3 2 . 334 112 j j
2 ..
6
# #5 4
Ex 2 Open 2j licks 06
j
A
& 4 Shuffle 4
E 3
E
3
. J 0 2
.
B 4 4 0
~~~~ 5 ~~~3 3 3 2
G 4
# 0 5 3 4
3
4 0 2
D
4 position Em Pentatonic j
3
. . j
..
6
. J
06
j j j
A
& 4
Ex 2 Open
E licks 3 1 #
#Let ring 3
.. j (4) jlicks ..
Em
E
# 4 position Em Pentatonic ( 4) .
6
. .
Ex 2 Open 6
.
B 2
#
G
& 4 Shuffle E m BU ~~~~ BU BD
2
J ~~~~
2 2
( 4) (2 ) 0
~~~0 2 2 0 # 3
4 4
2 0
2 0 0 2 0 2 0 2 0 2
D BU 2 0
A
E
#4 . 3 ~~~ 3 3 0 j 3 33 3 j 0 0
..
. ( 4 ) j ( 4) .
E 3 6
. BUJ BU ~~~~ BU BD ~~~0 2 2 0 .
6
j j
.
B 2
#
G
& 4 2
2 2
( 4) (2 ) 0
# 3
Let 4
ring
4
2 0
2 0 0 2 0 2 0 2 0 2
D 2 0
A
3 0
. .
E
Ex 3 Major chords superimposed over tonic pedal
E 03 0
. ' . 60
B 2 3 3 3
BU BU ~~~~ BU BD
of then late~~~
Let ring
G ( 4 ) (
E4 ) ( 4 ) ( )
2 0 D /E 4 G /E 2 0 G/E
A/E E
ExAMplE 3 Major Chords superiMposed over toniC pedal cd track
.
D 2 0 2 0 0 2 0 2 0 2 0 2
4
14 /
. (4use . (E4) triad over( 4)pedal (2note /E and youll find0 that, by34bending 0atG/E
nG/Eyour finger ... youwill also...
the first joint,
A 0 2 2 0
) . this
Ex 3 Major
& 4 page would E
E
E Steve Marriots pioneering style was copied by many bands 60s barring with
3 your third finger across the second, third and fourth strings;
. n n
' 2.. 0 2 0 2 .
B 2 3 3
2 0 nmute J
G and early 70s; Jimmy ) 0 Dapproach 2
A/E
in several #Zeppelin tunes. The E and D barre chords n
2 2 2 3 4
D
# # 4 should
n
J
be fretted by 2
0
.
simultaneously
14
/ the first
n
string. 2 0 0 2 0
4 superimposed 3 0
n
E
Ex 3 Major over
n n . n / G3/E A/E J3 E .
. J '
' nG45/E A/E67 G/E45 E122 ... ... 00 .. .
E D /E G/E
E
B # # # #chords
Ex 3 Major
4 superimposed over tonic 9pedal
... E 99 99 D77/E 2 0
9
n
7
14
n n
3
5
5
3
& 4
14 /
. n 3 //' 0 n 33 55 J33
G
D
n n 000 .. .
#### 4 . 7
7
J
5
2 2 0
n n
E 14
...
E 0
99 99 77 2 0
B 9 9 7
& 4
14
G
D
7 7 n 5 n . n 3 0 3 5 J3
2 2 0
00 ..
J7
A
. 0 9 /' 4 6 4 01 .
Ex 4 Minor pentatonic lick with open string
E pull-offs
. .
B 9 3 5 3
. .
14
5
Am
3 0 33 55 33 0 .
D 9 9 7 2 0 5 7 5 2
4 .
. J
'
A 2 2 0 2
& 4 . Am
E
E 0 0 0
. . pull-offs . 62
B 9 9 7
4 applyinG 9 .
14 /
2 3 5 7 3 5 22 cd3 track
open strinG 7 double-stops
9 9 7 4 6 4 1
j 9j
G
5
D 7 0
AExAMplE
Ex
E
At&the4
4
4 Minor
. J
end.of bar 1 fret the G note on the second string (8th fret) with
pentatonic lick with open string
0 pull-offs
7 to 2 32 0
3
0
0
sure you maintain the shape while pulling off to the open strings. Releasing
.
your third finger
BU
j open 5. and
Am then slide the note up the neck to the 14th fret. Fret the BU
j fingers, 5.
defined pull-offs. 3 00 1512 003 1512 00 15123 00
your fingers with a sideways flicking or snapping motion will create more
4
5lick
using (fourth 15 0 15 0 15
E
B 8(10) 8 10) 8 12 0 12 0 12
G
.. J (10) (10) 8 j
A
4
E
E 5 5 5 15
& 4 ..
B 8 8 12
G
D
. J 5j (10). 5j (10). j5 8 .
A BU BU
E
E 15 0 15 0 15 0 15 0 15 0 15 0
j12 03 12 0 j 123 0 12 03 12 0 123 0
. 0 15 0 ..
& .
B 8 8
G
. J (10). (10). 8 .
D BU BU
5j j j
A
E 5 5 15 0 15 0 15 0 15 0 15
j12 0 12 0 j 12 0 12 0 12 0 12 0
. ..
E
.
B
8 8
&
G
D
..
E
(9 ) (7 ) 5
j j
E
B
G
& J 8 8 8
7
5 7
5
5 7. .. 81
BU
. BU
. BU
. BU BD 7 7
D
A
(10) (10 ) (10)
j j j
.
(9 ) (7 ) 5
j April 2015 GuitarTechniques
7 7 5 7 5 7. ...
E 5 5 5 5
j
J
E
B 8 8 8
G
D
A
& 7 5
&4 .
3 3 3 3
lesson:.. r&b
BU BU
E 5 5 5 15 0 15 0 15 ON0 THE
15 CD
0 15 TraCks
0 15 56-67
0
B 8 ( 10) 8 ( 10) 8 12 0 12 0 12 0 12 0 12 0 12 0
G
D
A
E
j .
j .
j .
j
j
& J . ..
BU BU BU BU BD
E 5 5 5 5
.
.
B 8 (10) 8 (10 ) 8 (10 )
G 7 (9 ) (7 ) 5 5 7 5
D 7 7 5 7
A
E
E 7
n # j
G A E7 G B
#### 4 . n ..
4 .
&
n n n n n n nn
Let ring (throughout)
E
. 3
.
. .
B 3 4
G 1 1 0 2 1 1 4 4
D 0 0 0 0 0 2 2 0 0 0 5 4
A 2 0 2 5 2
E 0 3 0 3
ExAMplE 6 final
GUITAR jaM
TECHNIQUES MAGAZINE 2 4 1 cd track 66
BRIT R N B - SMALL FACES - Phil Capone
Its important to keep the G# note fretted while sounding the lower notes phrases or simply changing wholesale between E major pentatonic (bars
GUITAR TECHNIQUES MAGAZINE 2 4 1
of the E7 in the first bar; removing your finger will unwittingly
BRIT create
R N Ban- SMALL
25 and 26) and
FACES - EPhil
minor pentatonic (bars 27 and 28). Notice also that the C#
Capone
Ex
E minor 6chord!
GUITAR FINAL JAM of the
TECHNIQUES
Be aware MAGAZINE 2 4 that
riff variations 1 occur in bars 12 and 14, is frequently added to the E minor pentatonic when playing over A7 chords
BRIT R N B - SMALL FACES - Phil Capone
before the B7#9 chord and after the A5. The solo phrases often switch (bar
E 727). As always, youll achieve the best results by working through this
D 5/E
#### 4
Ex 6 FINAL JAM 3 of 3 chunks.
between minor and major tonality by incorporating the G# at the end example slowly, so tackle the solo in manageable two or four-bar
Ex 6
FINAL JAM
j n 3 n nD5/E
j n 3
&
# # # # 44 nE7 # n n
E7
n 3 n .
nn 3 n . nD5/E
& #### 4 n # n j
j j
j n n .
n .
& 4 # n
n ring n
E
. Let
.
B 3 Let ring 3 3
G 2 4 4 2 0 Let0ring
1 2 2 4 4 2 0
E
D 2 0 X 0 0 2
B
A 3 2 X 2 3 3
E
G 2 4 4 2 0 0 1 2 2 4 4 2 0
E
B 3 0 X 3 3
D1 2 0 X 0 0 2
G
A 2 4 4 2 0 0 1 2 X 2 2 2 4 4 2 0
D
E 2 0 X
X 0 0 2
A 1 2 X 2
E 0 X
1 E7 D5/E E7 D 5/E
# # # # E7
3
# #
3 3
& ## ##
j n 3
nD5/E j n 3 n
n nE7 # n
E7
n 3 n .
n
& # ## # ## n # n nn 3 n .
D5/E
j
j j
n n . n j
& # n
n ring n .
. Let
.
E
B 3 Let ring 3 3
G 2 4 4 2 0 0 1 2 2 4 4 2 0
E
D 2 Let ring 0 X 0 0 2
B
A 3 2 X 2 3 3
E
G 2 4 4 2 0 0 1 2 2 4 4 2 0
E
B 3 0 X 3 3
D8 2 0 X 0 0 2
G
A 2 4 4 2 0 0 1 2 X 2 2 2 4 4 2 0
D
E 2 0 X
X 0 0 2
A 8 2 X 2
E
A5 G /A A5 0 X E7 D5/E
82 GuitarTechniques April
8
2015
####
3
&
A5
A5
nGG/A/A AA55
j n 3 n E7
nE7 # nD5/E
D5/E
#### n n n n
&
& # nn ## n n
j j
n . n n .
. .
Let ring
E
B
E
4
3
4
Let ring
3 THe SMaLL FaCeS3
4 4
Learning Zone
G
B 2 3 2 0 0 1 2
3 2 3 2 0
D
G 2 4 4 2 0 2 0 1 0 X 0 0
2 2 4 4 2 0 2
A
D 2 2
0 X 2
0 0 2
E
A 0
2 X
X 2
E 8 0 X
8
ExAMplE 6 final jaM ...CONTINUED cd track 66
A5 G /A A5 E7 D5/E
## # ## #
A5 G /A A5 3 E7 D5/E
n j nn n nn
3
& # #
& nn ## n
j
nn n n .
n
.
Let ring
E
Let ring
B
E 3 3
G
B 2 0 2 2 4 3 4 2 0 0 1 2
3
D
G 2 0 2 2 4 4 2 0 2 0 1 0 X 0 0
2
A
D 0
2 0 0
2 2 2
0 X 2
0 0
E
A 0 0 0 0
2 X 2
E 11 0 X
11
## # ## #
3
B7 9
B7 9
#
#
nn
A5
A5 ''
1/4
1/4
n
3
& # # j
3
3
& j
n .
j
j n
2 xxxxxxxxxx
. n
2 xxxxxxxxxx
''
E2 xxxxxxxxxx
B
E 3 3 3 3 1/4
'
G
B2 xxxxxxxxxx 2 SOLO 1 2 2 2
3 E 72 2 2 2
~~~~
N.C. 3 3 3 1/4
# # # # N.C.
D
G 2 4 2 4 2 0 1
2 1
2 1
2 1
2 2 2 2 2
0 1/4 0
. . . 2 . . n ~~~~
2 2 0 0 0 4 4 2 0
'
A 4 4 2 2
SOLO 1 1 1 1 E 71 2 2 2 2
j j ..
D 2
j 1 n
E 3
& # # # # N.C.
0 2 0 0 0 4 4 2 0
# .
A 2
n ' n J~~~~
E 14
n . .. . .
1/4 SOLO E7 3
& # # # # N.C. b j 1 . . .
14
n .jjSOLO
. RP nn Let ring # . n J~~~~
n '
1/4
E7
& # ## n b n # . n J ~~~~
& # jBU . . . . . BD
1/4
b n '
E
. BU(4)
RP
3 ~~~~
B BD
''
1/4 RP Let ring
G
E 2 ( 4) (4) ( 4) ( 4) ( 4 ) (2 ) 0 0 1 0
D
B 2 0 RP BD 2
3 ~~~~
( 4 ) (2 ) 0 Let ring
1/4
EA
G 2 1 0 (4 )2 ( 4) (4) ( 4) ( 4) RP 0 1 0
BE 0 2 0 3 14 0 RP
( 4 ) (2 ) 0 2
BU BD
'
D /
G 17
EA 2 1 0 2 (4 ) ( 4) (4) ( 4) ( 4) 0 1 0
D
BE 0 2 0 31 0 2 3
A 17
G 2 1 0 /4 2 (4 ) ( 4) (4) ( 4) ( 4) ( 4 ) (2 ) 0 0 1
E
D 17 0 2 0 3 0 2
A
# #
2 1 0
n n ~~~~
n j j j
j
& # ## # ## n
E 0 3 0
~~~~
17
n j
j jj jj jj nn n n .
n ~~~~
&# #
& # # # ## n n nn n .
n ~~~~ .
n BU
j jBU jBU jBU n n n .
n ~~~~
E & # 0 0 0 0 3 0 0 n n .
n ~~~~ ..
.
B (5 )
3BU (5)
3BU ( 5)
3BU ( 5)
3BU 3 3 0
0 2~~~~
G
E 0 BU 0 BU 0 BU 0 3 0 0 2 0
D BU 2 0
B 3 (5 ) 3 (5) 3 ( 5) 3 ( 5) 3 3 0
0 2~~~~
EA
G 0 0 0 0 3 0 0 2 0 2 0
BE
D (5 )
3BU (5)
3BU ( 5)
3BU ( 5)
3BU 3 3 0 2 0 0 9
G 21 2 0
EA 0 0 0 0 3 0 0 2 0
D
BE (
3 5 ) (
3 5 ) (
3 5 ) 3 ( 5) 3 3 0 2 0 0 2 0 9
A 21
G 2 0 2 0
E 0 9
~~
D 21 2 0 0 2
A7
#### nA7
A 2 0
j j j
E
0 j
j 9
~~
21
& #### j An 7
j j j ~~
j
j j
& #### nA7
j ~~
& # ## n
j j j
& #
~~
BU BU BU BD
E
5~~
7 BU( 8 ) (8 ) (7 ) 5
( 8)BD
5~~
B 5 7BU 7BU 5 7
G
E 4 4 4 4 6 6
D 2 2 2 4 6 BU BU BU BD
B 5 7 (8 ) 7 (8 ) 7 ( 8) ( 7 ) 5 5 7
5~~
EA
G 2 2 2 2 4 4 4 4 4 6 6
BE
D 0 0 2 4 2 2 2 4 6 5 7 BU( 8 ) (8 )
7BU 7BU (7 ) 5
( 8)BD 5 7
G 25 4 4 4 4 6 6
EA 2 2 2 2 4
D
BE 0 0 2 4 2 2 2 4 6 5 7 (8 ) 7 (8 ) 7 ( 8) ( 7 ) 5 5 7 5
A 25
G 2 2 2 2 4 4 4 4 4 6 6
E 0 0 2 4 2 E27 2 4 6
D 25
# # . n j ~~~
A 2 2 2 2 4
j
.
& # ## # ## nn j
E 0 0 2 4
j
E7
. j ~~~
25
j n
j
~~~ n # n
..
E7
& # ## . n j E j n #
& #### ring n j nLet #ring nn
7
. n j ~~~
j
.
& # ring n
Let
BU BU ~~~ Let nLet
#ring
Let 0 n
ring
5~~~
E 5
B 7 7 BU( 8 ) (8 )
7BU 7 2 Let ring 3 0
5~~~
G
E 5 2 4 4 2 0 1 0
D BU( ) BU 2 0
B 7 7 8 7 (8 ) 7 2 Let ring 3 Let ring 0
5~~~
EA
G 5 2 4 4 2 0 1 0
BE
D 7 7 BU( 8 ) (8 )
7BU 7 2 3 2 0 0
G 28 2 4 4 2 0 1
EA 5 0
D
BE 7 7 ( 8) 7 (8 ) 7 5 2 3 2 0 0
#
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48
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Mike Stern
celebrated Lifecycle. Big Neighbourhood
(2009) threw up a varied list of collaborators,
including steve Vai, Eric Johnson and
Medeski, Martin and Wood, and was recorded
PART 2 between New York, Austin and Los Angeles.
In early 2012 Guitar Player awarded Stern
Join Pete Callard as he uncovers some of the their Certified Legend Award, with the album
All Over The Place following later in the year.
greatest licks from the giants of jazz guitar. This Sterns latest recording, 2014s Eclectic, sees
month, a second look at Mike Stern... him again joining forces with Eric Johnson in
a stripped-back small group setting, and was
recorded primarily live in a period of three
Upside downside and Time in Place. The days at Johnsons Austin studio.
ABILITY RATING
acclaim of sterns debut recordings as leader Today we continue to examine sterns jazz
Advanced led to a steady stream of solo releases. His style and discuss his approaches on popular
third album, Jigsaw, was released in 1989, jazz sequences. The six examples take in long
Info WIll Improve your followed by Odds Or Evens in 1991; both saw
Key: Various Jazz soloing him further developing his distinctive angular I check out a lot of sax
Tempo: Various
CD: TRACKS 68-79
Bebop vocabulary
Picking technique
and emotive compositional style and unique
solo voice. The following year he became part
and trumpet players. I try
of the reformed Brecker Brothers band led by to get some of those ideas
As i sAid last month i thought it would be
illuminating to focus on Mike sterns more
saxophonist Michael and trumpeter Randy,
on the album Return Of The Brecker Brothers
on the guitar. Mike Stern
straight-ahead jazz style. Last time we and the live dVd spherical. 1992 also saw the and short ii-V-i ideas, bebop bridge, rhythm
discussed his development as a guitarist and release of an acclaimed album of primarily changes and jazz blues sequences, and focus
the early part of his career, culminating in the straight-ahead jazz standards (And Other in on his bebop vocabulary, substitutions,
release of his first two official solo albums, songs), leading to the award of Best Jazz outside ideas, intervallic patterns and use of
Guitarist of the Year from Guitar motifs. All the examples are uptempo, and
Player magazine. He followed this feature a torrent of amazing and inspiring
with is What is and Between The ideas. stern tends towards picking every note,
Lines in 1994 and 1996, both so the examples provide quite a picking hand
Grammy nominees. sterns 1997 workout, and he imbues everything with an
release Give And Take saw a return understated swing and subtle dynamics,
to straight-ahead jazz, featuring ghosting some notes and phrases while lightly
saxophonists Michael Brecker and accenting others to create real light and shade
david sanborn alongside bassist in his seemingly endless lines. its really worth
John Patitucci, drummer Jack spending some time with these and last
deJohnette and percussionist don months examples, as between them Mike
Alias, and won him the Orville W stern presents a genuine masterclass in the
Gibson award for Best Jazz art of contemporary jazz guitar.
Guitarist. 1999s Play teamed stern
with jazz guitarists Bill Frisell and NeXT MoNTH: Pete switches his focus to that
John Scofield, while Voices (2001) jazz-blues master, Robben Ford
saw him exploring world music,
with wordless vocals from Richard
Bona, Arto Tuncboyaciyan and Get the tone
Elisabeth Kontomanou. After 15
years with Atlantic, 2004s These
Times saw stern move to EsC 3 5 4 3 2
records, and again featured Richard
Gain Bass Middle TReBle ReveRB
Bona alongside guests including
saxophonist Kenny Garrett and Mike Stern plays a Yamaha PA511MS model and a
Michael Aronson custom guitar with a 50s Fender
banjo virtuoso Bela Fleck. Who Let Broadcaster neck, and Bill Lawrence and Seymour
The Cats Out (2006) saw Stern Duncan pickups, which he had built after his old
again move label, this time to Heads Tele, bought from Danny Gatton and previously
Up international, and won him owned by Roy Buchanan, was stolen in a mugging
another Grammy nomination. The in Boston. Stern uses Boss distortion and delay
following year he was awarded the pedals and a Yamaha SPX-90 which gives his
trademark chorused sound, through Fender Twin or
Miles davis award at the Montreal Yamaha G100-212 amps. Use the neck pickup and
Mike Stern: one
Jazz Festival, at which he performed roll the tone off, or take the treble down on your
of the modern
onstage with The Yellowjackets, an
ROB VERHORST / GETTY IMAGES
Track record Some listening recommendations for Mike Stern include Upside downside (1986), Time In Place (1988), Jigsaw (1989), Is
What It Is (1994) and Voices (2001). For Sterns more straight-ahead side, Id recommend Standards (and other Songs) (1992) and Give
and Take (1997), and his rittor Music guitr instructional video, intriguingly entitled Guitar Instructional Video!
GUITAR
bars, TECHNIQUES
suggesting MAGAZINE
Dm7 (or Fmaj7) and G72in4 bars
1 3 and 4 resolving to C7. In outlines F7b9 (bar 7) and F altered (bar 8) resolving to Bb in the final bar.
Ex 1 - Bebop
bridge
D7
n # n
The Pete Callard Jazz Club presents G7 C7
GUITAR TECHNIQUES MAGAZINE 2 4 1
b 4 n n n
# n j n
M I KPete
E SCallard
TERN Jazz(part
Club2)presents
& b b
GUITAR TECHNIQUES MAGAZINE 2 4 1 The
n
n
D7 The Pete Callard Jazz Club presents G 7 C7
44 M I K E S T E R N (part 2)
n n # n 7
# j n
Ex 1 - Bebop bridge M I K E S T E R N (part 2)
b
&- Bebop
4bridge n 7 n
Ex 1 - Bebop D7 G7 C
# n
Ex 1 bridge
b
4 # n n n j n 7
nn n
D G7 C7
& bb bb nn n # jj
n
D7 G7 C
44 # n nn 8
E
B &
& 44 b 7
10 8 7 7 n ## nn nn 11
G
E 7 9 7 9 7 7 7 10 9 8 11
D
B 10 8 7 7 9 7 7 10 7 8 9 9 10
A
G 9 7 9 7 10 8 9 7 8 7 7 10 9
E
D
E 1 7 9 7 7 10 7 8 9 9 10 8 11
A
B 10 8 7 7 10 8 9 7 8
E
E 7 8 11
G 1 9 7 9 7 7 7 10 9
E 7 10 8 7 7 8 11
n b b
B 9 7 7 10 7 8 9 9 10
b
D
10 8 7 9 7 7
B
9 7 7 7 10 9
G
A 10 8 9 7 8
F7 B
b
9 7 9 7 9 7 9 10 7 10 9
#
G
9 7 7 10 7 8
99n b b 77 88 7 10
D
E
b n b b b
D 1 9 7 10 8 7 8 9 9 10
A
& bb
10 8
b # #
A F7 B
b
E
# n b b
E
1
1
&b n b b #
F7
F
# # Bbb
B
b nn bb bb F7 b n b b
7
& bb bb ## bb nn bb b # #
B
& b ## #
&b
12 11 9 8
#
E
B 11 8 9 10
G
E 12 11 9 8 11 8 11 8 11 10 9 8 10 6
D
B 11 8 9 10 10 10 7 6
A
G 11 8 11 8 11 10 9 8 10 6 9 8
E
D
E 7 12 11 9 8 10 10 7 6
A
B 11 8 9 10 9 8
E
E 12 11 9 8
G 7 11 8 11 8 11 10 9 8 10 6
E
B
D 12 11 9 8 11 8 9
EXAMPLE 2 Bb rhythm chanGes line 10 10 10 7 6 cd track 70
B
G
Ex
A 2 - Rhythm changes line 11 8 9 10 11 8 11 8 11 10 9 8 10 6 9 8
G 11 8 11 8 11 9 G78with
10and 6 7 6 passing notes, resolving to the root of Bb. The final
10 chromatic
10 (B) of
10D7,
b
D moves up chromatically over the Bb to land on the 13th
E
Stern 10 Bthen
Ebm,
D7 10 7 6 9
bsequence.
Ex 2 - Rhythm
in superimposed
A changes line
arpeggios outlining Cmaj7, D7 - although he ends up on 9 launching
section starts slowly before 8 into 8th notes for the I-I7-IV-#IVdim
# #Ab7
E
b 44Am7 b
C Minorover the
E 7
b
4
BBbb
b bb nn bb nn n n n ## #
6
& b bb 44 3 n
E
B &
& 4 b 4 6 7 8
4 5 6 7
5 8 5 7 #
G
E 7 8 4 5 6 7 3 5 8 5 6
D
B
A 6 6 7 8 5 7
G
E 7 8 5 6
D
E
A
1 4 5 6 7 3 8 5
B
E
6 6 7 8 5 7
E 4 5 6 7 3 8 5
4
G 7 8 5 6
88n 66
1 5 6 7 3 8 5
E
6 7 8 C 75 7
n # n # # n
B
D G7
n 66
6 7 8 5 7
n
B
G
A 7 5
G 7 5
n
D
n # # n # #
E
b n
D G7 C7
n
A 1
& bb n
A
E
E 1
n # # n # # GG77 n
1
&b
G7
n n n
C7
C7
b n # # nn ## # n n
n nn nn
C7
& bb bb n # #
# 12 9 #11 13
n
E
B
G
&
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10 7
9
8
10
12
10 15 12
15 12
13
12
17 13 15 13 12
15 13 12 13 15
11 15 13 11 10
13
E
D 10 7 12 9 13 10 17 13 15 13 12 11 15 13 11 10
B
A 9 11 12 13 15 13 12 13 15 13
G
E 8 10 12
D
E
A
5 10 7 12 9 13 10 15 12 17 13 15 13 12 11 15 13 11 10
B
E
9 11 12 13 15 13 12 13 15 13
E
G 5 10 7 8 12 9 13 10 10 15 12 12 17 13 15 13 12 11 15 13 11 10
E
B
D 10 7 9 12 9 11 13 10 12 15 12 13 17 13 15 13 12 15 13 12 13 15 11 15 13 11 10 13
9 11 12 10 13 12 15 13 12 13 15 13
b
B
8
n
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A
b b
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D
E
b bF7
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n
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Bb
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b b
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n b b
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G7
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E
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b
B 12 10
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D
B 12 10 13 12 11 10 9 11 7 9 7 6 6
A
G 13 11 10 10 9 8 8 7 6 8 5
E
D 13 12 11 10 9 11 7 9 7 6 6 9 9 6
E 9
A
B 12 10 9 8 8 7 6 8 5
E
E
G 13 11 10 10 9 9 6
E 9
B
D 12 10 13 12 11 10 9 11 7 9 7 6 6
B
G
A 12 10 13 11 10 10 9 8 8 7 6 8 5
G
D
E 13 11 10 13 12 10 11 10 9 11 7 9 7 6 6 9 9 6
D
A 9 13 12 11 10 9 11 7 9 7 6 9 8 6 8 7 6 8 5
A
E 9 8 8 7 6 8 9 9 6 5
E 9 9 9 6
9
April 2015 GuitarTechniques 87
lesson: jazz ON THE CD TraCks 68-79
2 xxxxxxxxxx
2 xxxxxxxxxx
b b
Cm 7 F7 Dm 7 G7 Cm 7 F7
b b B 7
B
2 xxxxxxxxxx
b
2 xxxxxxxxxx
&b #
b b
Cm 7 F7 Dm 7 G7 Cm 7
F7
bb b b BBB bb777
B
b
bb bb #
Cm 7 F7 Dm 7 G7 Cm 7 F7 B
& b bb
b
Cm 7 F7 Dm 7 G7 Cm 7 F7 B
6 6 6 ##
E
& b
&
B 7 9 7 6
G 5 7 5 8 8 5 6
D 5 8 5 7 8
A 8 5 6
E
E 13 6
B 6 6 7 9 7 6
E 6
b 5 7 5
b 8 8 5 6
G
E 6
B 6 6 7 9 7 6
E dim7 5 8 5C m7 7 F 78
b n
D E 5B 6 6 7 9 7 6
B
G 5 7 8 8 5 6
b b n b
A
G 8 5 6 5 7 5 8 8 5 6
5 8 5 7 8
D
b
E 5 8 5 7 8
n b b
D
A 13 8 5 6
& b Eb
A
E 8 5 6
E 13
13
Bb
Ebdim7
E dim7 C m7 F7
E bb
E dim7n Cbm7 b n F7 b B bb
n
b
C m7 F7
b b
& bb bb 6 8 9 n 7 bb bb n b n b b
E B
n b nn 3 bb b
&b 7 6
& 7 4 5 6 4 3 b
E
B
5 4
G 5 4 5 3
D 7 4 3
A 6 5
E
E 17 6 8 9 7 5 4
B 6 7 4 5 6 4 3 3
E
7 6 8 9 7 5 4
G
E
B 6 6 8 9 7 5 4 7 4 5 6 4 3 5 4
3
5 3
EXAMPLE 3 BeBop line in Bb
D
B
Ex 3 - Long bebop
G 7 6 line in Bb 7 4 5 6 4 3 5 4 3 5 3
7 4 3 cd track 72
A
G 7 5 4 5 3 7 4 3 6 5
b b
D
E
D 7 then
4 Gb 3 and
Stern moves down the Bb Major scale with a chromatic passing note over Db over the Ab7, 6 Cb5 over the G7. Over the C7 he comes down
A 17
n b
A B maj7 6 5 E 7
b
theEEBb
b
major 7, then plays Eb Mixolydian over the Eb7 (although it could a couple of triads a tritone apart - E, Bb then E again - and over the Cm7
& b 44
17
J
17
equally be seen as suggesting Bbm7, Eb7 and Abmaj7), then moves into suggests Cm and G7, outlining Cm7 and F7b9 over the F7 and resolving to
Ex 3 - Long
a sequence of superimposed
bebop line in Bb
triads moving up in 4ths, outlining Ab and the 5th (F) on the Bbmaj7.
B bmaj7 b
Ex 3 - Long bebop line in Bb
BB bbmaj7
Ex 3 - Long bebop line in Bb E 7
bb
b 4
& bb bb 44 nnn bbb J b
E 7
maj7 E 7
11 J bb
& b 44
& 10 J
E
B
G
12
10
12 10 10
D 14 13 12 11 13 11 13 11 10
A
E
E 1
B
E
11 10
12 12 10 10 10
b
b 1212 1010nC147 13 1010 12
G
E
B 11 10
b
14 13 12 11 13 11 13 11 10
D 11 10
b
B A 7 G7
b 14n 13
12 10
# n b 12
G
b b
A 12 10
n n # #
G
D 11 13 11 13 11 10
b
E
D 11 13 11 13 11 10
A 1
b
A
& Ab b7
E
E 1
1
b b bbb nnCC77n
G7 C7
G7
b
A bb 7
A 7
b bbb b bb bb n n # n bb
G7
nn n ## ##
b b
& b bb b bb bb 11 14 X 12 n ## nn b n nn # 9 #
& b b
&
E
B 11 14 11 12 12 11
G 10 13 10 11 13 10 9 9 9 11 9
D 10 13 10 11 14 12 9
A 11 13
E
E 5 11 14 X 12
B 11 14 11 12 12 11 9
E
10 13 10 11 11 14 X 12
G
E
B 11 14 11 12 11 14 X 12 12 13 11
10 9 9
9
9 11 9
D 10 13 10 11 12 13 14 11 10 12 9
11 11 14 11 12 b 9
B
G
11 10 13 10 9 9 9 11 9
A
G Cm 7 10 13 10 11 10 13 10 11 F 7 13 14 7 10 12 13 9 9 9 11 9
b n b n b
B maj 9
D
E
11 10 13 10 11 14 12 13 9
D
A 5
b
A 11 13
& J
E
E 5
5
B bmaj 7
b
Cm 7 F7
b n FF77 b n 77
B bbmaj
& b bb n bb nn bb
b
Cm 7
J
Cm 7 B maj
E
B
& b 8 10 8 7 n 7
& 7
JJ
G 8 10
D 10 9 10 9 8 10 7 10
A
E
E 9
B
E 7
G
E 8 10 8 7 7 8 10
B
D 10 9 10 9 8 10 7 10 7
B
G 8 10 8 7 7 8 7 10
A
G 8 10 8 7 7 8 10
D
E 10 9 10 9 8 10 7 10
D
A 9 10 9 10 9 8 10 7 10
A
E
E 9
9
Bb7
Cm(maj7),
3 continuing into Cm(maj)9 (or F13#11) and F Lydian b7 over the F7 later, outlining Abm(maj9) then suggesting Em7 and A7 over Am7 and D7.
n n
Ex 4and
chord - Chorus
down of blues in
C Dorian F - out
over Cm7 andFF7.
the motifs 7 Over Bb7 he repeats the F7 On the Gm7 he moves between Gm7 F 7 and D7, then up G Minor over C7 and
b b
44 n b
phrase
Ex 4 down a tone, outlining out motifs and Bb Melodic minor then Bb b
in F - Bbm(maj9) back down C7b9 into a four-note chromatic motif over the final chords.
- Chorus of blues
& b
Ex 4 - Chorus of blues in F - out motifs
F7
bb
B 7
F7
n n
b b
4 nn nn b
F7 B 7 F7
& bb
n
F7 B 7 F7
44
bb bb bb nn
& b
& 4
E 10
B 8 8 12 12 8
G 10 8 8 8 8 7 7
E
D 7 7 10 10 10 10 9
B
A 8 8 8 12 12 8
E
G
E 10 8 8 8 10 8 7 7
B
E
D1 7 7 10 8 10 8 12 10 12 8 10 9
G
B
A 8 10 8 8 8 8 8 12 12 8 8 7 7
D
G
E 7 10 8 7 10 8 10 8 8 7 10 9 7
A 1
D 8 7 7 10 10 10 9
b
B 7 8
E
A
Cm 7 F7 Bdi m7 F7
E 1
1
Bb7 b b b
&b
Cm 7
FF77 b j BB bb77
F7
b
Bdi m7 F7
b
b b b b b
Cm 7 Bdi m7 F7
& bb
Cm 7
b jj b b
Bdi m7 F7
b b b
& b j b b b b b b b
&b b b b b b
E 8 5
b b 6 3
B 6 4
G 6 5 5 4 3
E
D 10 8 7 8 5 8 7 8 6 5 6 3 6
B
A 10 8 6 5 6 8 6 4 3 4
E
G
E 8 5 6 5 5 6 3 4 3
B
E
D5 10 8 7 8 5 6 8 7 8 6 5 6 3 4 6
G
B
A 10 8 6 5 6 6 5 5 8 6 4 3 4 4 3
D
G
E 10 8 7 6 5 8 7 5 8 6 5 4 3 6
A 5
D 10 8 7 10 8 6 5 8 7 8 6 5 8 6 4 3 6
E
A 10 8 6 5 8 6 4 3
E 5 Am 7 D7 G m7 C7 F7 D7
5
& b Am
7b # b b bDD77 #
n DD77 #
Am 7 D7 G m7 C7 F7
bb b
bbD7
G m7 C7 F7
& bb b nn # # b #
Am 7 G m7 C7 F7
& # b b #
E
& b bb n
# ## b #
B 2 3 2
G 2 5 3 2 2 3 5 3 2 1 4 3 2 3 2 1
E
D 5 4 3 5 2 5 2 3 5 4 4 5
B
A
E 2 3 2
G
E 2 5 3 2 2 3 5 3 2 1 4 3 2 3 2 1
B
E
D9 5 4 3 5 2 5 2 3 5 4 4 5 2 3 2
G
B
A 2 5 3 2 2 3 5 2 3 2 1 3 4 3 2 2 3 2 1
D
G
E 5 4 3 5 2 5 2 3 5 2 5 3 4 2 4 5 2 3 5 3 2 1 4 3 2 3 2 1
A 9
D 5 4 3 5 2 5 2 3 5 4 4 5
E
A
E 9 Gm 7 C7 F7
bC7
9
& b Gm7 b n n # F7 b # n n
bCC77
& bb bb
Gm 7
bb n n #
F7
b # n n
Gm 7 F7
nn nn ## bb ## nn nn
& b b
&
E
B 3 4 3 5 6
G 4 3 2 5 4 3 4 3 2 6 5 4
E
D
B
A
E 3 4 3 5 6
G
E 4 3 2 5 4 3 4 3 2 6 5 4
B
E
D 13 3 4 3 5 6
G
B
A 3 4 3 2 4 5 4 3 3 4 3 2 5 6 5 4 6
D
G
E 4 3 2 5 4 3 4 3 2 6 5 4
EXAMPLE 5 out motivic line over short and lonG ii-v-i
A 13
D cd track 76
Ex 5 - Out motivic line over short and long II-V-Is
E
A
E 13outlines A major over the Amaj7 and Bmaj7 over
Stern the Bm7 and E7, then (suggesting a II-V-I in F), then down a tone over the C7 to outline Bbmaj7,
13
A maj 7 Bm 7 then again to outline
E7 Abmaj7 overAmaj7
# #
moves
Ex 5the idea
- Out downline
motivic a tone,
overplaying around
short and long Amaj7
II-V-Is over the Amaj7 chord. the Fmaj7, moving into Cm7 and F7 on
He Ex
adapts
4
the pattern, starting a beat earlier
# long
and working
7 II-V-Is
5 - Out motivic line over short and long II-V-Is it around the Gm7 beats 3 and 4,
resolving
to F with a chromatic passing note.
# #E7 # #
& 4 ##
A maj Bm 7 Amaj7
Ex 5 - Out motivic line over short and
4
A maj 7
A maj 7
Bm 7
# #EE77 #
Amaj7
# #
&4 # Bm 7
# ## #
Amaj7
#
##
& 44
& # #
E 12 11 10 7 9
B X 12 12 10
G 6 6 9 6 7 11 9 8 9 7 6
E
D 7 12 11 X 10 7 9 7
B
A 7 X 12 12 10
E
G
E 6 6 9 6 7 12 11 11 9 8 10 7 9 9 7 6
B
E
D1 7 X 12 12 11 12 X 10 7 9 10 7
G
B
A 6 7 6 9 6 7 X 12 12 11 9 8 10 9 7 6
D
G
E 6 7 6 9 6 7 11 9 8 X 9 7 6 7
A
D1 7 7 X 7
E
A 7
E 1
1
EXAMPLE 5 out motivic line over short and lonG ii-v-is ...CONTINUED cd track 76
4 xxxxxxxxxx
G m7
b C7
b b
b b
& #
G m7
b C7
b b
b b
&
#
E 13 10 12 11 8 10 9 6
B 11
G 13 12 10 9 10 8 7
D
A 7 5 4
E 7
5
E 13 10 12 11 8 10 9 6
B 11
G 13 12 10 9 10 8 7
b 4 7
D Fmaj7
7 5
b b b
A
& b n
5
b
Fmaj7
b b b
& 8 9 b n
E
B
G 8 6 5 5
D 8 7 7 6 5 7
A 8 8 7 5
E 8
8
E 8
B 9
G 8 6 5 5
Ex
D 6 - Chorus of blues in F - intervallic
8 motifs
67 5
7 motifs 7
EXAMPLE 8 chorus of Blues in f - intervallic cd track 78
Bb7
A 8 8 7 5
E 8
chorus of F blues, Stern begins with aFrepeated
7 F7
For this three-note motif changing to B Diminished over the Bdim7,
with varying intervallic skips which he carries through the opening five bars, scale over the F7 and Am7. Over the rest of theb sequence
8
4 around to the
then straight down F Major
b
he returns
Bb7
F7 F7
b
E
B
& b 44 b b
J 8
G 7 5 7 8 5
D 5 8 5 7 7
A 6 6 8 8
E
1
E
B 8
b
b n #
7 5 7 8 5
6
G
8
Cm 7 F7 B 7 Bdi m7 5F 7 7 A m7 7 D7
b
D 5 8
j
A 6 8
b
E
&
1
b
Cm 7
F7 B 7
b Bdin m7 #
F7 A m7 D7
b b j
E
B
& 6 5
8 10
10
8 10
8 11 8 10 8 7 10 9 7 8
11 10 8
G 7 8 5 8 10 9 7
D 10 8 8 7
A
E
5
E 6 5 10 8 11 8 10 8 7 10 9 7 8
B 8 10 8 10 11 10 8
77 8 5 8 F 7 10 9 7
G
Gm C7 F7 D7 Gm 7 C7
D 10 8 8 7
A
&b
E
5
Gm 7 C7 F7
D7 Gm 7
C7
F7
E &b 10
12 17 15
B 10 8 10 11 11 10 11 13 15 17
G 7 9 9 12 15 15 17
D 8 10 10
A
E
10
E 10 12 17 15
B 10 8 10 11 11 10 11 13 15 17
G 7 9 9 12 15 15 17
D 8 10 10
A
E
10
Paul Weller This month Stuart Ryan shows how to nail the
acoustic guitar style of The Jams iconic frontman
and perrennial solo artist, the great Paul Weller.
Track record Weller really came of age with the 1993 release Wild Wood. Its crammed with innovative acoustic guitar writing (even
the heavier electric tracks sound great strummed on a flat-top); or try the live album days of Speed to hear how Paul re-works his
LIVEPIX
not insubstantial back catalogue for acoustic guitar. The greatest hits package, Modern classics tracks his post-Jam career to 1998.
& 4 0 12 12 12 2 2 2 2 2
D
0 0 0 0 0 0 0 0
E
A
B
E
0 021 0 0 0
G1
D
E 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0
A
B
E
1 1 1 1 1 1 1 3 3 3 3 3 3 3 3
G
1 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
D
Fmaj 7/C 2 2 2 2 2 2 2 2 C maj 7 2 2 2 2 2 2 2 2
A 0 0 0 0
E 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
&Fmaj 7/C0
E
B 1 1 1 1 1 1 1 1 3 3 3 3 3 3 3 3
G1
0
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
2 2 2Acoustic C maj 7
7/C
D 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0
C maj 7 0
A
&
E
1 Fmaj
&Fmaj012 7/C 012 01 01 01 01 01 01 01 Fmaj 0 C7/Cmaj0 7 00 00 00 00 00 00 00 00 00 b 5
23 123 002
E Dm7
B
3 3 23 23 23 23 23 23 02 0203 0203 02 02 02 0203 0203 02
013&013 003 0030 0030 0030 0030 0030b
G
#
E
# #
B 1 1 1 1 1 1 1 1 1 1 2 02 0 2 20 20 0 20 20 0
02 02 2 1 1 1
G
& #
G5 2 2 2 2 2 2 2 2 2 2 0 0
3 E 72 35 3 30 30 23 23
0 3 30 30 0 0 0 0
E 7# 5
E37 D
D 3 3 3 3 3 3 3 3 3 2 32 32 2 32 32 2
A 3 3 3 3 3 3 3 3
A
3 3 3 33 3 3 3 3 33 33 3 3 3 3 3
& E7 # #
E
E
# #
21
5
0 0 0 0 0 Cmaj7 0 0 0 0
E
& E7 # 001 01 01 01 # 001 01 01 01 E 7# 5 # 011 11 11 11 # 011 011 011 011A m
00 00 00 00 00 00 00 00 00 002 002 00 00 00 00 00
B
00 00 00 00 00 00
B
0 0201 0020
E
G9
0 0 211 0 211
D
E 0
A
B 2
0 2
0 2
0 2
0 2
0 2
0 2
1 2
1 2
1 2
1 2
1 2
1
E
G 1 1 1 1 1 1 1 1 1 1 1 1 1
D9 Am 0 0 0 0 0 0 0 0 0 0 0 0A9sus4 A m0 0 0 0
A 2 2 2 2 2 2 E 2 2 0 0 2 0 02 02 0 0
2 0 2 0 00
2 00
2 2 0
E 0 0 0 0 0 0 0 0 0 0 00 00 0 0
E 0 0 0 0 0 0 0 0
B
0 0 00 1 0 1 0 00 0 10 10 1
01 01 1 1
B
G 0 0 0 0 0 0 10 10 2
&
G9 1 1 1 1 1 1 1 1 1
Am 21 21 1A9sus4 A m1 1
0 0 0 0 0 0
D
0 0 2 2 0 2 2 2 2 02 02 2
30 30 0 3 0 0 0
D
A 3 3 3 3 3 23 23
0 0
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2
E
E 0 0
&
Am 25 A9sus4 A m
9
0
E
& A m 01
2
01
2
01
2
01
2
01
2 A m7 01
01
01
01
A7sus2
A9sus4 00 A 1m 01
2
01
2
01 01 Am
2 2
0 0 0 3 2 & 0 220 220 220 220 000 22 2001 2001 2001 2001
B
12 12 12 12 00 12
D
00
B
0
0 3 2
E
0 0 21
G 13
D
E 2
0 2
0 2
0 2
0
A
B 1 1 1 1 1 1 1 1 1 0
0 0
1 0
1 0
1 0
1
E
G 2 2 2 2 2 2 2 2 2 0 2 2 2 2 2
E0 7 # 5 0 2
D 13 2 2 2 2 2 2 2 2 0E 7 2 2 2 2 2
Am 00 00 00 0 0 00 0 0
A 0 0 E 2 0 0 0 0 0
0 3 #
E 0 0 0 0 0 10 11 11 11 0 0 0 0 0 0
1 10 0
E B
#
B 1 1 1 1 1 01 02 02 02 0 1
0 1 0 1 1
2 20 0
G
& A m0 # 0 2
G 13 2 2 2 2 2 2 0 2 2 2 2
0 3 2 E7 52 2
2 2 2 2 2
D 22 22 22 E7 2 2 22 2
00 2 2 2 2
D
A 0 0
A 0 0 0 0 0 0
E 7# 5
# #E7
E
E
& Am
29
13
0 0 0 0 0 0 0 0
E
& A m 01
2
01
2
01
2
01
2
01
2
01
2
01
2
01
2 E 7# 5 #
110 11 11 11 #E0017 01 01 01 01
0 0 00 00 00 00 00 April 2014
GuitarTechniques
B
201 201 201 201 201 201 201 201 0 # 201 201 02001 02001 02001
G
21 21 21
93
# 201
D
&
E
2 2 2 2 2 2 2 2
A
1 1 1 1
B
E
G 17
G 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
D 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
E 0 0 0 0
9
lesson: acoustic
Am
ON THE CDA m TraCks 80-81
A9sus4
&
WeLLeR ACoUStIC ...CONTINUED
EXAMPLE PAUL cd track
80
[Bar 23] Get your ears ready for this dark sounding Dm7b5 chord. If you are [Bar 30] Heres another useful change you can make to the open position A
new to the sound of this one it may take a while to adjust, but listen to it in minor chord, this A7sus2 (which you could also label Em/A) is neither major
E 0 0 0 0 0 0 0 0 0 0 0 0 0 0
theBcontext of the whole
1 piece and
1 it1sounds
1 wonderful 1 another example nor minor so
1 adds a nice
1 ambiguity
1 1 to proceedings.
0 1 1 1 1 1
2
G tension and release
of the 2
effect. 2 2 2 2 2 2 2 0 2 2 2 2 2
D 2 2 2 2 2 2 2 2 2 0 2 2 2 2 2
A 0 0 2 0 0 0 0 0 0
E 0 3
13
Am E7 5 # E7
& # #
E 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 1 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0
G 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1
D 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0
A 0 0 2 2 2 2 2 2 2 2 2
E 0
17
2 Acoustic
2 Acoustic
&Fmaj 7/C b b
Dm7 5 b
&Fmaj 7/C
0
0
0
0
0
0
0
0
b b 5
Dm7 b
0 0 1 1 1 1 1 1 1 00
& 12 12 1 1 1 1 1 1 1 1 b 111 11 11 11 11 b 111 11 11 11 0
E
B
G
D
E
A
303 303 0
3
23 0
3
23 0
3
23 0
3
23 0
3
23 0
3
23 0
3
23 0
3
23 0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
0
B
E 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 0
G 21 2 2 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1 0
D 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0
E
A 3
0 3
0 3
0 3
0 3
0 3
0 3
0 3
0 3
0 3
0 1 1 1 1 1 1 1 1 1 0
B
E 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 0
G 21 2 2 2 2 2 2 2 2 2 2
D Cmaj7
3 3 3 3 3 3 3 3 3 3 A1
0m
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
0
0
A
3
3
3
3
3
3
3
3
3
3
&Cmaj7
E
21
Am
&Cmaj7 Am
0 00 00 00 00 00 00 00 00 00 01 01 01 01 01 01 01 01
& 00 0 0 0 0 0 0 0 0 0
E
2 2 2 2 2 2 2 2
B
0 0
G
D 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
E
A 0
3 0
3 0
3 0
3 0
3 0
3 0
3 0
3 0
3 0
3 0 0 0 0 0 0 0 0
B
E 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1
G 25 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2
D 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
E
A 3
0 3
0 3
0 3
0 3
0 3
0 3
0 3
0 3
0 3
0 0 0 0 0 0 0 0 0 0 0
B
E 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1
G 25 0 0 0 0 0 0 0 0 0 0
D A m7
2 2 2 2 2 A7sus2
2 2 2 2 2 Am 2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
A 3 3
3
3
3
3 3
3
3
3
0
0
...
& A m7
E
.
25
A7sus2 Am
...
& A m7 A7sus2 Am
.
01 01 01 01 00 00 00 00 01 01 01 01 01 ...
& 0 0 0 0 0 0 0 0
E
2 2 2 2 22 .
B
0 0 0 0
G
D 2 2 2 2 2 2 2 2 2 2 2 2
E
A 0 0 0 0 0 0 0 0 0 0 0 0 0
B
E 1 1 1 1 0 0 0 0 1 1 1 1 1
G 29 0 0 0 0 0 0 0 0 2 2 2 2 2
D 2 2 2 2 2 2 2 2 2 2 2 2 2
E
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B
E 1 1 1 1 0 0 0 0 1 1 1 1 1
G 29 0 0 0 0 0 0 0 0 2 2 2 2 2
D 2 2 2 2 2 2 2 2 2 2 2 2 2
A 0 0 0 0
E
29
New Albums
Stewart and Billy Preston on keys. The
band performed five nights at the
Forum and this one opens up with a
rather raw version of Honky Tonk
Women. Things improve as the
concert moves on but this is still a raw
A selection of new and reissued guitar sounding era for the band. Keith
Richards seems very happy with
releases, including Album Of The Month... Ronnie in the band and both
guitarists do a great job on solos and great tracks and a bus-load of guitar
in recreating the recorded Stones solos. Taking a break in his heavy
Album of the month sounds - that said theres nothing but touring schedule earlier this year he
Angie from the earlier days. Still more slipped into the studio to record his
Jeff Beck blues influenced than soul at this 15th album. American Kids was
LIVE IN TOkYO point in time, this series is fantastic for released as a single in the States and
the hardened fan but will do little to sold wel,l and like much of this album
Eagle Vision HHHHH
encourage new listeners. However the shows a move to appeal to a younger
Shot at Tokyos Dome City Hall this comes restoration job on this is excellent so audience. It certainly works. The
with much expectation from Becks fans. its a very worthwhile project. material is strong with a lot more
Of his band Jeff comments Nicolas Meier emphasis on rock than ballads and we
is a great guitar player, more a jazzer but eChoSmith particularly like Save It For A Rainy
with an eastern flavour. Bassist Rhonda TAlking DreAms Day, the hard hitting Drink It Up and
Smith, shes my anchor, ex Prince and Parlophone HHH the stomping title track with its
funky as they come, and drummer Echosmith is a young quartet based in practiced guitar solo. While this will
Los Angeles and their video of Cool definitely appeal to the hardened fan
Jonathan Joseph has a bit of Billy Cobham and a bit of Vinnie; hes
Kids (included on the album) has had it also provides a great chance to
amazing! The concert kicks off with Loaded which demonstrates over nine million hits on YouTube and discover Kenny Chesney for yourself.
how much you can put into an instrumental that sits on one chord. that could well translate into a huge Yes hes been around for a while but
Jeff has an amazing ability to take songs like Little Wing and turn selling album. Fronted by female hes still a force to be reckoned with
them into his own instrumentals, full of emotion and laced with vocalist Sydney Sierota and when it comes to playing great guitar.
guitar trickery that leaves you spellbound. This video is imaginatively supported by her brothers Jamie, Give this one a listen.
shot from on and off stage with plenty of close-ups so you learn a Noah and Graham this is essentially
few things as you get drawn right into this stunning performance; mainstream pop but the difference StoneWire
its packed to the rafters with guitar expertise. We particularly like here is that they sound like a band When The CroW Flies
Hammerhead, Where Were You, A Day In The Life and the slide guitar 22:11 Records HHH
This debut album from StoneWire is a
on Angel (Footsteps) but its all brilliant. A setlist commentary and
cool mixture of Southern American
an interesting band-on-band interview are included. blues and good old-fashioned British
rock. This fusion is made possible by
Ice. If this does prove to be their very the vocal talents of Sky Hunter. Sky is a
last studio album then it stands as a great personality and at times sounds
solid testament to one of the greatest a bit like Robert Plant; she also has the
rock bands that has ever existed. They enviable ability to project her voice
will tour again in 2015 with Stevie but rather than the over-produced singles way over the hard delivery of the
whether the recently drugs busted that currently dominate the airwaves. band. Guitar duties fall to Gareth
Phil Rudd will also be involved, The songs are well constructed with a Annable, an accomplished player who
remains to be seen. slightly quirky element but can really punch out high-octane riffs
immediately catch the ears. They and solos, ably assisted by bassist
the rolling StoneS could be seen as an American Steve Briggs and drummer Rob
AC/DC lA Forum live in 1975 alternative to Denmarks Alphabeat or Glasner. This tight and powerful
roCk or BusT Eagle Vision HHH Sydney as a new Avril Lavigne, but British quartet released a self-titled EP
Columbia HHHH This is part of the new series of live their potential could be even greater in 2012, opened for Michael Schenker
Although itsbeen a rocky time for performances from The Stones that than both. Jamies guitar work is good during the Swedish section of his
the band this finds AC/DC still have been given a video and sound and he adopts some unusual sounds Temple Of Rock tour in 2013, and has
playing like they mean business, in makeover for this, their first official here and there and neatly finally produced this album of eleven
spite of saying that this is likely to be release. This is from their Tour Of The demonstrates that you can find a original songs. Try and get a listen to
their last album. Sadly Malcolm Americas 75 and its their first tour niche in music whatever age you are. the single pull Favourite Bitch - which
Young is not directly involved due to with Ronnie Wood who had recently If this is what our kids are going to is very representative of this album
his medical condition; however replaced Mick Taylor on guitar, with listen to then things arent all that bad. but by no means the best track in our
much of the material was drawn the rest of the band still intact from opinion. We suggest you check out
from earlier recording sessions so he the early days. There are other players Kenny CheSney Southern Honey for a better idea of
is actually on the record. Along with too; percussion, brass and both Ian The Big revivAl what the band is really capable of.
Angus, Brian, Cliff and Phil for this Sony Music HHHH
recording, second guitar was played Every now and again you just need to
by Stevie Young who is the nephew hear some down to earth country rock
REVIEWS BY ROGER NEWELL
of Angus and Malcolm, so theres guitar and for that this latest studio
plenty of Young DNA still present. album from Kenny Chesney has got to
The title track and Play Ball have be one of the best. Kenny has
both been released as singles and gradually been slipping away from his
serve well as a taster for this southern rock country roots but now
follow-up to their 2008 album, Black hes back loud and proud with eleven
Use of Ornaments
this month Charlie Griffiths continues his series
on sight reading with a look at special ornaments Brought to you by...
Track rEcOrd For perfect examples of trills, mordents and the like, look no further than Bachs Well Tempered clavier. Many great
recordings of this masterpiece exist, but we suggest try the piano versions performed by Sviatoslav richter (rca Victor), Glen Gould
(Sony) and the harpsichord version by Pieter-Jan Belder (Brilliant classics) are well worth checking out.
ExAmplE
GUITAR 1 Trills MAGAZINE 2 4 1
TECHNIQUES Charlie Griffiths cd tRack 82
For the notes marked with tr above, add the next highest adjacent trills use your first and third fingers. Use hammer-ons and pull-offs to
READING
note guided by the key signature of A minor [A-B-C-D-E-F-G]. For Part 9 alternate between the two notes as quickly and evenly as possible.
semitone trills use your first and second fingers, and for whole-tone Think of les paul for semitone trills and Hendrix for whole-tone trills.
Ex 1 Trills
~~ ~~ Charlie Griffiths ~~ ~~
& 44 ..
GUITAR TECHNIQUES MAGAZINE 2 4 1
..
READING Part 9
Ex 1 Trills
Mordants
Ex 2 ~~
& Inverted Mordants
~~ ~~ ~~
m
GUITAR 4TECHNIQUES m m m M M M
. m
& 4 . & inverTed
ExAmplE2 MordenTs
m
MAGAZINE MordenTs
241
m
Charlie m
Griffiths M
M
M Mcd tRack M ..
83
& 4
READING Part 9 the initial note to sustain. For the second two bars invert the mordent
For the first two bars add a mordent by quickly hammering-on and
Expulling-off
1 Trills to the next highest note from the key of A minor, then allow by pulling-off and hammering-on to the next lowest note.
m ~~
Ex 2 Mordants & Inverted Mordants
m ~~m m m M ~~M M M M ~~ M M M
Ex 3 Turns & Inverted Turns
GUITAR 4TECHNIQUES
mT m2T4 1
.. T mTMAGAZINE T T T T T .
& 44 T T T T
Charlie Griffiths
T T T .
&4
READING Part 9
Ex
Ex 1
Ex 23 Trills
Turns & Inverted
Mordants Turns
& Inverted Mordants
mT~~mT& Appoggiatura
Ex 4 Acciaccatura
mT m T mT ~~mT mT m T T ~~M
M T M T M T M T
~~ M T M T M T
GUITAR 4TECHNIQUES
. j
& inverTed
CharliejGriffiths ..
& 44 ..3Turns
& 4
ExAmplE
.
j
MAGAZINE
2 4 1
Turns READING
j
Part 9
; ; ; ; cd
tRack ..
84
For the first two bars add a turn to each note by hammering on to to create a five-note melody - again within the A minor scale. For the
the adjacent highest note, then pulling off to the adjacent lower note
Ex 1
second two bars invert the turn by playing the pattern in reverse.
3 Trills
Turns & Inverted Turns
T~~mT mT mT m
Ex
Ex 24 Acciaccatura
Mordants & Inverted Mordants
T ~~M
& Appoggiatura
m T ~~mT mT T M T T T T ~~ M
M T MT M T
j ~~j ~ m ; ~~~ M; M
Ex 5 Glissando
44
&
&4
... j j
.. ~~~~~~~~ ~~~~~~~~ ~~~~~~ ~ ~ ~ ~ ~~ ~~~~~ ~~~~~ ; ~~~~~~~~~~~~~~
;
...
& 44 ~~ ..
Ex
Ex 3 Turns & Inverted Turns
Ex 245 Acciaccatura
Mordants & Inverted Mordants
& Appoggiatura
T
Glissando
T M T T M T M
44 .
m mT mT mT m
~~~
T mT ~m~Tj ~ T
j ~~~~~~ ~m
~~~~~ ; ~~M~~~~~TM~; ~TM~~~~ ;M ~~~~~~~~~~~~~~
T M
T
; cd tRack
..
~ ~ ~~
j
&
ExAmplE
j
~~~
~~~~~~~ &~AppoggiATurA
& 44 . 4AcciAccATurA 85
The first bar here consists of acciaccaturas played just before the consists of appoggiaturas which are played on the downbeats and are
downbeats. play these as very quick hammer-ons. The second bar worth exactly half the value of the following note.
Ex
Ex 3
5
4 Turns & Inverted
Glissando
Acciaccatura Turns
& Appoggiatura
T T T T T T ~T T T T T T T ~~~~~~~~~~~~~~
T T T
4 ~~
& 4 .. ~~~~~~~~ ~~~~~~
j j j ~ ~~~
~~~
j ~~ ~ ~ ~ ~ ; ~~
~~~ ;
~ ~~~ ~~~~~~ ~; ; ..
Ex 5
4 Glissando
Acciaccatura & Appoggiatura
4 . ~ j ~~~~~j ~~
~~~~~~j ~~~~~~~ ; ~~~~~~~~; ~ ~~ ; ~~~~~~~~~~~~~~
; cd tRack 86..
~ ~~
~~~~ ~~
& 4 . 5 glissAndo
ExAmplE
j ~ ~~~ ~
play the notes in the first bar with your first finger and gradually blur notes in the second bar with your third finger and gradually blur the
the notes into each other with slow ascending slides. Next play the notes into each other with slow descending slides.
Ex 5 Glissando
~~~~~~~~~~~~~~
4 .. ~~~~~~~~ ~~~~~~~~ ~~~~~~~~ ~~~~~~~ ~~~~~~~~ ~~~~~~ ~ ..
&4
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