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F E B R U A R Y 2 0 1 4
TODDRUNDGRENTHE DRIVING FORCE IN ’70s-ERATECHNO ROCK TALKS ABOUTNFLUENCES, GEAR, AND RECORDING
TECHNIQUES IN THIS CLASSICNTERVIEW FROM 1977
LITTLE FEAT’S
LOWELL GEORGEAND PAUL BARRERE
GEORGE BENSONOCTAVE SOLOING LESSON
PLUS
3 FREE SONG TRANSCRIPTIONS
W
W
W.GUITARPLAYER.COM
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facebook: LexRecordingSchool
www.LexRecordingSchool.com
L e a r n a b o u t a l l
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i n o u r C o m p r e h e n s i v e
T w o - y e a r p r o g r a m !
C H E C K O U T B E H I N D
T H E
S C E N E S “ P E A K S ” O
N F A C E B O O K
AUDIO ENGINEERING
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ELEMENTS OF PRODUCTION
LIVE SOUND
STAGE LIGHTINGHISTORY OF R&R
MUSIC BUSINESS
The Lexington School forRecording Arts
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4 | February 2014 | GUITAR PLAYER VAULT
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GUITAR PLAYER VAULT | February 2014 | 7
nnFebruary 2014 · Volume 4, Number 2
from the vault
8 Classic Todd Rundgren InterviewA driving force behind ’70s-era techno rock,
Todd Rundgren talks about his influences, gear,and recording techniques in this classic
interview from October 1977.
12 Little Feat Guitarists Lowell George and Paul Barrere in this
feature from the August 1976 issue ofGP .
Gear
18 New Gear (from the February 2014 issue of Guitar Player ).
oN the NewsstaNd
20 GP February 2014 Table of Contents
lessoNs
22 George BensonOctave Soloing
(from the August 1976 issue of Guitar Player ).
26 SteelworkerJohnny Hiland’s Blast Furnace Bends
(from the August 2002 issue of Guitar Player ).
sessioNs
38 The ever-popular TrueFire Lessons
traNscriptioNs
40
“If You Talk Too Much (My Head WillExplode)” People in Planes
50 “Blue Moon” The Marcels
54 “Rue de la Guitare” Jimmy Buffett
Todd Rundgren - Page 8
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8 | February 2014 | GUITAR PLAYER VAULT
classic interview
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GUITAR PLAYER VAULT | February 2014 | 9
october 1977
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classic interviewoctober 1977
CLASSIC INTERVIEW
from the October 1977 issue
of Guitar Player magazine
RUNDGREN & UTOPIA PERFORM “INITIATION” IN 1977
Make Full Compass Your Source For Low Prices On The Best Gear.
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12 | February 2014 | GUITAR PLAYER VAULT
classic interview
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GUITAR PLAYER VAULT | February 2014 | 13
august 1976
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14 | February 2014 | GUITAR PLAYER VAULT
classic interview august 1976
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classic interview august 1976
16 | February 2014 | GUITAR PLAYER VAULT
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classic interviewaugust 1976
GUITAR PLAYER VAULT | February 2014 | 17
LITTLE FEAT PLAYS “SKIN IT BACK” LIVE IN 1976
CLASSIC INTERVIEW from the August 1976 issue
of Guitar Player magazine
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18 | February 2014 | GUITAR PLAYER VAULT
new gear
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GUITAR PLAYER VAULT | February 2014 | 19
S E Y M O U R D U N C A ND IR T Y D EED
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H U D S O N E L E C T R O N I C SS T R O LL O N
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Attack (fuzz intensity) and Level
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20 | February 2014 | GUITAR PLAYER VAULT
current issueHere’s what’s in the February 2014 issue of Guitar Player , on Newsstands Now!
RIFFS
Soren Hansen’s must-have touring gear; Craig Locicero’s top Spiral Arms guitar moments;
Steve Vai, Joe Perry, and Eric Johnson at the Rock and Roll Fantasy Camp; Jim Hall
remembered; and more!
COVER STORY
50 Badass Blues Solos You Must Hear!
The GP staff runs down our list of 50 classic—and soon-to-be classic—blues breaks.
Bonus! The all-time greats are also represented, with their no-brainerfamous tunes as well
as some lesser-known hidden gems.
ARTISTS
Dean DeLeo · Jim Campilongo · Henry Kaiser · Pete Anderson
LESSONS
Under Investigation
A thorough examination of a particular style or player. This month: King Crimson’s
“Elephant Talk.”
Guthrie Govan
An introduction to blindingly fast strumming.
You’re Playing It Wrong
You might think you know how to play classic riffs like “Satch Boogie.” Here’s the absolute
real deal.
Fretboard RecipesMajor Scales Pt. 2
Rhythm Workshop
Bending in Rhythm Pt. 2
GEAR
New Gear
Roundup! Three new Eastwood electrics
Ernie Ball M-Steel Strings
Andrew White Freja 1022 and Eos 110 acoustics
Musicvox MI-5 and Spaceranger MVX-30 Studio Custom ENGL Ironball
Stompbox Fever Spontaneous Audio Devices Son of Kong
Stompbox Fever TWA Great Divide
Whack Job 1967 Goya Rangemaster 116-SB
Fable Fighters What’s the Big Deal About Jumbo Frets?
ChATTER
Carl Verheyen on Performing
Craig Anderton on TechnologyA N E W B A Y M E D I A P U B L I C A T I O N
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B Y THE GP S TAFF
IN TH E IN TRO TO J IM H ALL’S MAY
1983 cover story, JimFerguson and ArnieBerle wrote, “While most jazz guitaristsarebebop-influenced and thereforesome-whatalikestylistically, JimHallhas man-aged to develop an approach rivalingthatof Django Reinhardt, Charlie Christian,and Wes Montgomery in individuality.Inspired by tenor sax men Lester Young,ColemanHawkins,andBenWebster,Hall’s
horn-likesolos areeither passionately lyr-icalor abstractand angular, butnever pre-dictable.Yethe’sequallyknowforthenoteshe doesn’t play—his work is unusuallysparse. And Hall’s playingalways reflectsthe gentle warmth and thoughtfulness of his own personality.”
Hall had an extraordinary career thatsaw him work his melodic magic withthegreatestjazzmusicians on theplanet,including Sonny Rollins, Bill Evans, EllaFitzgerald, OrnetteColeman, Ron Carter,
Chet Baker, Steve Gadd, and many, manyothers. Alongtheway hemadeaprofoundimpacton scores ofjazz guitarists such asPatMetheny,JohnScofield,JohnMcLaugh-lin,BillFrisell,andjustaboutanyonewho-ever played aliltingmelody.
Jim Hall passed away December 10,2013, less than a week after his 83rdbirthday and the world and the worldof music are poorer because of it. Hereare some of Hall’s thoughts from h is ’83cover story.
Jim Hall Remembered
Jim HallwithPatMetheny.
D E B OR A H F E I N G OL D
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Musicvox
MI-5 and Spaceranger MVX-30 Studio CustomTES TED BY TEJA GERKEN
IN A WORLD WHERE “VINTAGE-INSPIRED” TYPICALLY MEANS
thatsomethingis acopy of aclassicinstrument, Musicvox’s gui-tars and basses areabreath of fresh air. Whilepretty adventurousstylistically, the company successfully blends myriad influencesinto something totally coherent and functional. More recently,the company has ventured into amplifiers with the MVX-15 andMVX-30 combos. These stylish, tube-powered amps are a wel-come addition to the Musicvox line, so I was intrigued to checkoutthis new guitar/amp set.
MI-5
WhathappenswhenyoutakeafewpartsRickenbackerandMosrite,add agood doseofEko, and then sprinklea littleLes PaulJuniorontop?OneoutcomemightbesomethingliketheMusicvoxMI-5,which appears to have elements of all the aforementioned clas-sics. Let’s takealook: TheMI-5’s asymmetricalbody is madeoutofmahogany, and our review modelwas finished in acolor that’snotunlikeGibson’s “TV Yellow,” with painted-on blackbinding,acoupleofracingstripes, and atriangular pickguard addingto the
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February 2014 · Volume 48, Number 2
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22 | February 2014 | GUITAR PLAYER VAULT
lessons august 1976
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24 | February 2014 | GUITAR PLAYER VAULT
lessons august 1976
GEORGE BENSON TEARS IT UP LIVE ON “TAKE FIVE”
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26 | February 2014 | GUITAR PLAYER VAULT
lessons
“In his genre, this kid has more
control over the instrument than any
guitar player I have heard.”
—STEVE VAI ON HILAND.
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GUITAR PLAYER VAULT | February 2014 | 27
B L A
S T
- F U R N A C
E
B E N D
S
E X
P L O R E
J O HNN Y
H I L A N
D ’
S
B L A
S T
- F U R N A C
E
B E N D
S
E X
P L O R E
J O HNN Y
H I L A N
D ’
S
our nights a
week, thirsty
tourists who
stumble into Roberts
Western Wear—a
funky, fabled honky tonk
on Nashville’s infamous
Lower Broadway—get
a special treat. Bearing
down on what appears
to be a tiny Tele, a large
young man named
Johnny Hiland fills the
long, smoky room with
quicksilver runs and
whining bends.
august 2002
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28 | February 2014 | GUITAR PLAYER VAULT
Three years ago, when Redd Volkaert left the
Roberts house band to join Merle Haggard,
Hiland slipped into the lead guitar slot. Since
then, he has earned a reputation as one of the
hottest country pickers on the planet.
Hiland’s story is compelling. He’s legally
blind, but that didn’t stop him from drop-
ping his history studies at the University of
Southern Maine and making a nervy trek to
Music City with less than $100 in his jeans.
Though he hasn’t finished his first solo
album, Fender recently signed him to an
endorsement deal, and Hot Licks is releasing
two Hiland instructional videos.
“It’s great to hear people blow across
changes with fast pentatonic scales—I do it
myself—but my whole thing is imitating steel
guitar,” says Hiland. “I saw Ricky Skaggs per-
form when I was ten, and something clicked
in my mind—Ihad to get that twangy sound.
I was vaguely aware Ricky had a B-Bender
in his Tele, and Marty Stuart—who also had
a B-Bender—was another big influence, so
I spent my formative years learning to play
B-Bender licks with my fingers. I had a B-
Bender Tele for a while, but I found that I
overused it and my finger bends were getting
rusty. So I decided to play my steel licks with
my fingers. Danny Gatton is my number one
guy, and he never needed a Bender, so that’s
good enough for me.”
Yank the Chain According to Hiland, you can emulate a
steel by learning a few basic grips. “When
you’re bending a hig h note and holding
a low one—something steelers do all the
time—you have to pull the bend toward your
feet,” he explains. “These three moves [plays
Ex. 1a ] come in handy, because they let you
play across chord changes.”
The first bend implies an A triad with its 3
(C#) in the bass. As you stretch the third string
away from you, notice how the top note shifts
from the root ( A) to the 2 (B).
“Your 1st finger makes a whole-step
bend,” Hiland explains. “Steel players have a
lever or pedal assigned to this root-to-2 shift.”
The second bend suggests a D triad. This
time, the low note is the 5 ( A), the top note
is the 3 (F #), and the bend moves a half-step
from 3 to 4 (F #-G ). As before, pull the note
toward your feet.
“When you’re sliding this shape up or down
the fretboard,” says Hiland, referring to Ex.
1a’s final grip, “you sometimes need to bend a
whole-step to stay within the scale. This move
suggests an Em triad with its b3 (G ) and root
(E ). Harmonically, you’re shifting from the
root to the 2 (E toF #), and you get a dissonant
sound that begs to be resolved. Using these
grips, you can also work through a V-I change
in the key of D [plays Ex. 1b], and you can go
all the way down the neck, like this [plays Ex.
1c]. This is another V-I move, but now we’re in
the key of A, and the bends alternate between
grace-note and more rhythmic sixteenth-note
maneuvers. To be more melodic, stagger the
low and high notes [plays Ex. 2]. I love pretty
licks like this one in G [plays Ex. 3]. The open
string adds some sparkle.”
lessons august 2002
Ex. 1a
TAB
Freely
44 (
)( ())
1
31
2 2
1
14 (16) 11 (12) 9 (11)
101216
B B B
TAB
= 76-100
44 ( ) ( ) ( ) ( ) ( )
(V)A
(I)D
14 14
16
12 12
14
11 11
12
9 9
10
7 7
9
(9)(11)(12)(14)(16)
B R B R B R B R B R
1
3
1 1
22
Ex. 1b
T
A
B
= 76-100
44 ( ) ( ( ( ( ( ( ( (
) ) ) ) ) ) ) )
1
2 23
11
(V)E
(I)A
13 13
14
(14) 11 11
12
(13) 9 9(11)
10
7 7(9)
9
6 6(7)
7
4 4(6)
5
4 4(6) (6)
B R B R B RB R B R B R
B R B
0
2
Ex. 1c
“If there’s no beautiful melody flowing out of the solo,
than it’s all hogwash.” —Johnny Hiland
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lessons august 2002
Double TroubleHiland often bends two strings in har-
mony, as in Ex. 4. The phrase begins with
a pair of whole-step bends on the third and
second strings. Now that there’s no note
below the bends, stretch the strings toward
you. The key is to freeze your fretting-hand
fingers into a fixed grip, and then move them
as a unit. “I stole this from Reggie Young,”
admits Hiland. “He plays beautiful lines like
these in slow ballads. The last sus4 bend and
resolution on the fourth string is a classic
steel move.”
Ex. 5 also features harmony bends, but
this time the sus4 bend and release hap-pen on the fifth string. Try stringing both
examples into a V-IV-I pattern in the key of
A (E -D - A). First play Ex. 4 (V), then Ex. 5 (IV),
and finally slide Ex. 5 to the second position
to nail A (I).
Slip-Sliding“Steel players whip out these really fast licks
along two strings,” says Hiland, playing Ex. 6.
“To play them on guitar, you need to master
pre-bends. It also helps to understand the re-
peating dance that occurs in the first six beats.
After picking a note on the first string, drop to
the second string for a pre-bend, release, and
shift positions—all with a very fluid, almost
mechanical motion. Give yourself some time
with this one. Steelers just slide their bar frompoint to point and use a pedal for the bend and
release, but guitarists have to work a lot harder.”
Notice how each beat begins with piquant
major- or minor-second bends that release
into sweeter major or minor thirds. For maxi-
mum sustain and steel vibe, don’t lift your
fingers from the strings until you reach bar 2’s
third beat, and carefully observe the accents
and let ring markings.
“Do you like that behind-the-nut bend?”
asks Hiland. “Jerry Donahue owns that tech-
nique.”
TAB
= 92-112 44 ( ) ( ) 1
1
23
(V)E
(I)A
11 (11)
(11)9 9
9
7
7
6 6(7)
B R B R
Ex. 2
TAB
44
Country swing
( () )1
1
22
(IV)C
(I)G
0 2 2(3) 0 4 4
3 5
B R B R
33
= 3
(5)
= 84-100
i
Ex. 3
T
A
B
= 84-116
44
((
( )
))2
311
1
44
3
E
11 1199 9
996 6(7)
(12)(13) 11
11
B R B R
10 10
Ex. 4 Ex. 5
T
A
B
= 84-116
44 (
((
))
)
23
11
133
1
D
89
89
(10)(11)
77
799 9
7
(10)
B R B R
T
A
B
= 60-96 44
3( ( ( ( ( (
( )
))))))
*grad. B
*Bend behind nut
13 3
1
let ring - - l.r. - - - - - l.r. - - - - - l.r. - - - - - l.r. - - - - - l.r. - - - - -l.r. - - - - - - - - - - - - - - -
12(15) 14 12
10(14)12 10
9(12)10 8
778(10)
pre- B R
pre- B R
pre- B R
pre- B R
5(8) 7 5
3(7) 5 3 2 1 0
02
0
(2)
pre- B R
pre- B R
1 3
2 21
Ex. 6
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32 | February 2014 | GUITAR PLAYER VAULT
lessons august 2002
Cluck and Shift“I do my share of chicken pickin’,” says
Hiland, as he plays Ex. 7a . “And it’s more
than a cool effect, because you can use a
ghost note to get from one point to the next.”
In bar 1, notice the muted cluck on the
and of beats two and four. This is what Hi-
land uses to “mask” his shift from the twelfth
to the tenth position, and then from the tenthto the eighth position. If you use your 3rd
finger for the cluck—as shown—you’ll be
set up for the next series of notes.
Bar 1’s first pre-bend covers a half-step,
and the second spans a whole-step. Bar 2’s
closing moves are classic B -Bender fare. To
make those last G - A bends a bit easier, back
up your 2nd finger—the one that’s doing
the work—with your 1st finger. In Ex. 7b, we
adapt these moves toD7
. Play both examples with a country-swing feel.
Ex. 8 is another cluck-and-shift gem. This
fast E7 -D7 - A7 lick features three pre-bends
and releases, as well as two transitional
clucks. The clucks let you keep the rhythm
flowing as you first move from the tenth to
the eighth position, and then from the eighth
to the fifth position.
Notice bar 2’s pair of triplet eighth-notes.
Splitting a beat into three equal parts can pro-
vide a rhythmic source of tension. In this case,
tension builds in the middle of bar 2—across
beats two and three—and is then released
with beat four’s quarter-note.
“Triplets give you a rolling sensation,” Hi-
land elaborates. “They push the lick forward.”
Pull the final sus4 bends (bar 2, beat
three) toward the floor, and for maximum
twang, keep the G ringing below them.
Speedy Tricks“You can play fast without much fretting-
finger commotion,” asserts Hiland—who
proves it by playing Examples 9a and 9b. “If
you think about it, steel players don’t move
their bars for every note. They find a posi-
tion and pull several notes out of it. Withthis approach, your picking hand does the
quick moves.”
The secret lies in the left-hand setup.
In a single move, fret the first, second, and
third strings, and then instantly follow this
“clamp” with a smooth pre-bend. Once
you’re in place, the first four notes almost
play themselves. For a full-on honky tonk
sound, pick the treble strings with a reverse
roll (ring-middle-flatpick).
Ex. 10 lets you create a shower of notes
using essentially one fretting-hand grip per
measure. This sustained bend occurs in bothbars 1 and 2—first in the fifth position, and
then in the third position. In this lick, use
your 1st finger to play the ghosted clucks,
and don’t let the second-string bend go flat
while you’re holding it—it has to ring against
the higher tones.
In bar 3, you need to simultaneously grab
all three treble strings before launching into
beat one. It’s worth the effort: This clamp
yields six notes, including a prolonged bend
and a crying release.
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GUITAR PLAYER VAULT | February 2014 | 33
lessonsaugust 2002
TAB
44
= 120-160
Country swing
= 3
D7
( ) ( )
( )
( )1 2
21 2
2 24
3
24
10(12) 11 9
8(11) 9 7
7(7) 5
7
75 (7)
let r ing - - - - - - l .r . - - - - - - - - l .r . - - - - - - - -
pre- B R
pre- B R
pre- B R B
Ex. 7b
TAB
44
= 96-138
Country swing
= 3
( ) ( )
( )
3
( ) ( )
3
14
3 3
1
4 31 3
2
1
(V)E7
(IV)D7
(I)A7
let ring - - - - - l.r. - - - - - - - - -
pre- B - - -R
l.r. - - - - - - - - -
1012
(13) 11 9
810
(11) 9 7
pre- B - - -R
58
(9) 7 57
6 (7) (7)6 6
pre- B - -R B R B R
5
Ex. 8
TAB
44
= 120-160
Country swing
= 3
( ) ( ) ( ) 1 33
1 33
42
3
A7
let r ing - - - - - - l .r . - - - - - - - - l .r . - - - - - - - - - - - - -
12(15) 14 12
10(14) 12 10
9(10) 8
9
98 (10)
pre- B R
pre- B R
pre- B R B
Ex. 7a
TAB
44
= 116-138(I)A7
( ) 1 43
31 1
2
1
let ring - - - - - - - - - -
58
(9) 77
555 6
pre- B R
( ) 14
33
11
(IV)D7
810
(11) 977
77
10
l.r. - - - - - - - - - - - - -pre- B R
Ex. 9a Ex. 9b
HONKY TONK HANDS
Fig. 1
Fig. 2
Fig. 3
LIKE MOST HOT-ROD COUNTRY guitarists, Hiland uses a hybrid picking
technique (Fig. 1). He grips a Fendermedium flatpick, and uses acrylic nail
extensions on his middle and ring
fingers.
Hiland peppers his lines with two-
and three-string oblique bends. (In an
oblique bend, a note is bent against
one or more stationary pitches.) To give
his bending fingers maximum support,
Hiland parks his fretting-hand thumb be-
hind the neck (Fig. 2). Notice how he
momentarily mutes the unwanted bass
strings with his right-hand palm.
When stretching a high string and
holding a lower one, Hiland pulls the
bend toward his feet (Fig. 3). —AE
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lessons august 2002
34 | February 2014 | GUITAR PLAYER VAULT
“When steelers play a burst of fast notes
like this,” says Hiland, playing Ex. 11a , “it’s
often from a single position. Their bar stays
still, and the melodic moves come from
pedals or levers.”
Wh ethe r pl ay ed by fi ddle , st ee l, or
6-string, the sextuplet sixteenth-note
rhythm that powers this lick is a staple of
country shredding. Get your three-string
clamp and pre-bend in place before the
downbeat. Once you start picking, the
only fretting-hand movement occurs on
the third string as you alternately release
and bend.Ex. 11b is an inversion of this hot-rod
E7 lick. The technique is the same, only the
position changes. “You can play these back
to back in a run,” says Hiland. “And if you’re
playing a fast bluegrass tune, these licks will
turn a few heads. People expect the standard
flatpicking style, and this fast right-hand
plucking takes them by surprise. I love to
explore this angle because not many guitar
players do.”
Sweet and Sour“If I had to choose a favorite bending
lick, it would be this one,” says Hiland,
picking Ex. 12a . “I can picture Ricky Skaggs
standing on a P.A. speaker with his purpleTele, playing to me —a little kid in Maine.
It’s dissonant—you get a half-step between
the F # bend and G above it. But that’s where
your picking technique takes over, because
you altern ate between the G and F # . In
context, it sounds cool.”
To prove his point, Hiland plays Ex. 12b,
a snappy A7 -D7 - A7 phrase. In bar 1, hold
the F # bend for the entire measure. In bar 2,
adapt the notes slightly to fit D7 : C # moves
T
A
B
= 56-72 E7
44 ( )
( ) ( ) ( )
( ) ( ) 6 6
( ) ( ) ( )6
14
3
1012
(13)
1012
(13)11(13)
hold*pre- B - - - - - - R
1012
(13)
1012
(13)11(13)
1012
(13)
1012
(13)11(13)
1012
hold B - - - - - - - - - - - - R
hold B - - - - - - - - - - - - R B
*Pre-bend from 11th fret.
Ex. 11a
T
A
B
= 56-72
44
E7
( )
( ) ( )
6
( ) ( ) ( )
6
( ) ( )
6
1
3
12 121515
(16) (16) (16)14
hold*pre- B - - - - - - - - R
hold B - - - - - - - - - - - - - - R
12 121515
(16) (16) (16)14
12 121515
(16) (16) 14 1214
hold B - - - - - - - - - - - - - - R
4
*Pre-bend from 14th fret.
3
Ex. 11b
TAB
= 112-132 44
( ) ( )
( ) ( ) ( )
( ) ( ) ( ) 3
4 1
3
1 43
31
1
1
2
(V)E
(IV)D
(I)A7
hold B - - - - - - - - - - - - - - - - - - - - R
7 (9) (9)5
57(9) 55
(7) (7) (7) 5 33
hold B - - - - - - - - - - - - - - - - - - - - R
7 (9)
58
(9) 77
5 55
6
hold B - - - - - - - - - - - - - - - - - - - - R
7
1 1
Ex. 10
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lessonsaugust 2002
GUITAR PLAYER VAULT | February 2014 | 35
down to C, and G moves up to A. (Horn
sections use such contrary motion to cre-
ate their tight harmony.) One thing doesn’t
change—the F# bend sustains throughout
the measure.Ex. 13 shows another way Hiland bal-
ances the sweet and sour within a lick. “That
first bend and release is a total B-Bender
move,” he says. “Harmonically, you’re releas-
ing from G to G7 .” In the process, a sweet
major-third (G -B) drops to a tart tritone (F -
B). The next bend flips the process—a gnarly
major-second bend (D -E ) relaxes to a sunny
major third (C -E ).
Swing Shift“You get extra sustain and chime when
you work an open string into a lick,” says
Hiland, playing Ex. 14 with a relaxed swing
feel. “If you pick this carefully, the open E willring against the behind-the-nut G - A bend
and fatten up the sound.”
Here are some performance tips:
• As you change positions in bar 1 (and of
beat two), use the side of your picking-hand
thumb to briefly mute the strings while your
fretting fingers are airborne.
• Use your 1st and 2nd finger to push the
nut bend up a whole-step.
• As you bend the open G , lock in on the
target A before adding vibrato.
Ex. 15 combines several techniques we’ve
covered in this lesson. Check out the sly fin-
gering shift in the pickup notes: After playingthe harmonized bends and releases with your
2nd and 3rd fingers, slip into the seventh posi-
tion to fret E -G # with your 3rd and 4th fingers.
In bar 1, play both bends and releases
with your 1st finger while sustaining higher
tones above. Use two fingers for bar 2’s
repeated G - A bend, and for ultimate spank,
pluck all double-stops with your middle and
ring fingers.
TAB
Freely
44 ( ( ( () ) )
( ( () )
) ) ( ( () )
)
2
3
12
3
1 2
31 3
3 3
1
1 2
hold B - - - - - - - - - - -
hold B - - - - - - - - - - - - - - - - - - -
hold B - - - - - - - - - - - - - - - - - - -
hold B - - - - - - - - - - - - - - - - - - -
(I)A7
(I)A7
(IV)D7
= 138-184
9 (11)
98
9 (11)
98
(11)
98
(11)
98
9 (11)
8
(11)
8
(11)
810 10 10
9 (11) (11) (11)
98
98
98 8
877
55
7
77
7
55 6
( )
Ex. 12a Ex. 12b
TAB
44
= 96-138
Country swing
= 3
( ) ( ) ( ) ( )
24
3
3 4
11
3
2
1
(I)G7
(IV)C7
(I)G7
76 (8) 6
755 (7) 5
33
543
4(5)
B R B R B R
Ex. 13
TAB
44
= 104-126
Country swing
= 3
A7
l et ring - - - - - - - - - - l. r. - - - - - - - - - - -
pre- B R
( ) ( ) ( ) ( )
4
34
3
8(9) 7
5(6) 4
0
0 (2) (2)
pre- B R *B
*Bend behind nut.
Ex. 14
TAB
44
= 88-120
Country swing
= 3
3
( ) ( ) ( () )2 4
3
(( (
( )
))
23 3
4 1 4
)3
1
2
3
31
1011
(12)(13)
1011
99
97 (9) 7
976 (7) 6 7 9
97
B R B R B R
98 (10)
98 (10) 8
9
98 (10)
B B R B
(I)E7
(IV)A7
Ex. 15
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lessons august 2002
Solo Sense“A solo is more than just stringing licks
together,” says Hiland. “I have students
who try to play every lick they’ve learned
from every artist they’ve heard—all in four
bars. There’s no fluency there. Listen to the
vocal melody, and base your solo off it. It’s
important to make music , not just practice
riffs. Record yourself playing 10 minutes of a
I-IV-V rhythm pattern—maybe throw a VIm
in there—and then start soloing over it. See
if you can take yourself on a musical journey
beyond the average country solo. I’m always
thinking, ‘How can I spin this into something
beautiful? How can I tweak listeners’ ears?’
I want to give people something they don’t
expect. Instead of copying Brent Mason,
Vince Gill, Ricky Skaggs, and Steve Wariner,
I try to intertwine what I’ve learned from
them. It’s like braiding a rope.” g
36 | February 2014 | GUITAR PLAYER VAULT
“I HAVE TWO FENDER ’65 TWIN REVERB
reissues,” says Hiland, “and two Fender
Telecasters—a sunburst 1998 Collectors Edi-
tion, and a gold-sparkle 2001 Custom Shopmodel built by Jim DeCola. The sunburst Tele
has an ash body, two Joe Barden pickups,
and a vintage-style 3-saddle bridge. My gold
Tele has an ash body, a ‘C’ oval neck—
which is a little chunkier than a typical Tele
neck—three Barden pickups with a 5-way
switch, Jay Monterose large-knurl knobs,
and an American Standard 6-saddle bridge.
[Both Telecasters sport Fender Super Bullets,
gauged .009-.042.]
“My 5-way pickup selector is wired so
that position 1 is the bridge pickup; posi-
tion 2 is the bridge-plus-middle clucky Strat
sound; position 3 is the bridge-plus-neck
classic, dual-pickup Tele sound; position 4 is
the middle pickup; and position 5 is the neck
pickup. That Tele is my pride and joy—I get
an instant smile every time I strap it on. The
Monterose knobs and gold paint are my way
of saying that I’m a Danny Gatton fan.
“On my Pedal Train pedalboard, I have
a Boss TU-2 chromatic tuner, a Voodoo Lab
power supply, and three Visual Sound pedals:
a Jekyll & Hyde dual overdrive, a Route 66
overdrive/compressor, and an H20 chorus/
echo. I use the Route 66 for light compres-
sion—I don’t squeeze my tone—and set its
preamp to feed the Twin a nice, hot signal.
In the studio, I use a Shure ULX P4J1 wireless
system, so I can move around without getting
tangled in my cords.” —AE
HILAND ON HIS STEELWORKS
Featuring three dual-function Visual Sound stompboxes,
Hiland’s pedalboard is simple, yet flexible.
Waiting for a good spank: Hiland’s Twin, Custom Shop Tele,
and ’98 Collector’s Edition Tele.
JOHNNY HILAND THROWS DOWN ON
“ALL FIRED UP,” LIVE IN NASHVILLE,
TENNESSEE.
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Features: • Right- and left-hand technique
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38 | February 2014 | GUITAR PLAYER VAULT
sessions
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GUITAR PLAYER VAULT | February 2014 | 39
truefre
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40 | February 2014 | GUITAR PLAYER VAULT
transcriptions
Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.
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GUITAR PLAYER VAULT | February 2014 | 41Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.
people in planes
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transcriptions people in planes
42 | February 2014 | GUITAR PLAYER VAULT Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.
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transcriptionspeople in planes
GUITAR PLAYER VAULT | February 2014 | 43Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.
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transcriptions people in planes
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transcriptionspeople in planes
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transcriptions people in planes
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transcriptionspeople in planes
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transcriptions people in planes
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transcriptions
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GUITAR PLAYER VAULT | February 2014 | 51Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.
the marcels
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transcriptions the marcels
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transcriptions
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GUITAR PLAYER VAULT | February 2014 | 55Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.
jimmy buffett
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transcriptions jimmy buffett
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