guitar techniques magazine

260 SEPTEMBER 2016

amazing rhythm

steal motown’s tricks to play

Passion & Warfare 25 years on we honour Steve Vai’s finest album with in-depth style study

Discover new shapes and approaches Never be stuck for rhythm ideas again Perfect for almost any style of music!

Featuring: Scott Henderson, Kenny Wayne Shepherd, Dick Dale, Don McLean and more!

Learn the great licks of the greatest players!

Sound hot with cool new licks

soloing

Stacked triadS

classical

Edward Elgar Play his haunting

Salut d’Amour

YourStyle

Masterclasses 40 great blues...

intros & outrosGrab a huge new lickbag!Classic and modern, easy to advanced - sound like a pro!

Licks, chords and solos!

89Over

MORE MuSic Than any OThER guiTaR Mag!

PLAY BLuES • ROck • jazz • acOuSTic • LEad • RhyThM • and MORE!

September 2016 03

ISSUE 260 } September 2016

Just some of your regular GT technique experts...

Neville Marten, [email protected]

WElcoME

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

IaIN ScottFor over 25 years Iain has taught in the UK’s top schools and academies, as well as a stint at GIT in LA. He can also boast playing with the legend Brian Wilson!

StUart ryaNHead 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.

MIltoN MErMIkIdESOne of the country’s most respected music professors Milton’s list of credits is embarrassingly long. Go to miltonline.com to learn all about him.

phIl hIlborNEThe UK’s original magazine guitar tutor, Phil’s something of a legend. A great player, he’s currently touring Europe with the Champions Of Rock show.

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

ShaUN baxtErOne of the UK’s most respected music educators, Shaun has taught many who are now top tutors themselves. His Jazz Metal album is considered a milestone.

jUStIN SaNdErcoEOne of the most successful guitar teachers ever, justinguitar.com is a mine of information, and his YouTube channel boasts almost 500,000 subscribers!

pat hEathBIMM Brighton lecturer, ESP product demonstrator and all-round busy musician, Pat brings you six cool licks each month in 30-Minute Lickbag.

brIdgEt MErMIkIdESGuildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.

lES davIdSoNLes has worked with Mick Taylor, Rumer, Jon Anderson, Pete Townshend, Tina Turner & more. He also runs a recording studio and teaches at BIMM London.

rIchard barrEttOne of the best players around, Richard is adept at most styles but truly excels in the bluesier side of rock. He currently plays with Spandau’s Tony Hadley.

We’ve done a few features on rhythm guitar over the years, and they seem to go down really well. as we so often say, rhythm is what we guitarists spend most of our time doing, and yet it’s an area where many of us fall down. The reason could be simply that it’s not as sexy as playing lead so we don’t bother. and yet, if you want a job in a decent band, or wish to do sessions, the ability to come up with interesting, cohesive and complementary parts will be vital if you’re to survive.

one bunch of players that did just that was the three-guitar line-up of Robert White, eddie Willis and Joe Messina at Motown, in detroit. Said to have played on more number ones than The Beatles, The Beach Boys and elvis Presley combined, this trio powered innumerable hits with their ear-catching hooks and fascinating interplay. You may be thinking that Motown doesn’t exactly shriek ‘guitar’ at you, but do me a favour and Google the Jackson 5 doing I Want You

Back and you’ll see it’s a total guitar fest: octaves, sliding 3rds and single-note melodies woven together to really propel the number along.

Richard Barrett has examined the playing on decades of Motown hits – including after the company decamped to Los angeles and the line-up changed somewhat – to create some fabulous examples of how they created those groundbreaking tracks. It’s a lesson in part creation and musical interplay that we can all learn from.

now, I know the feature is labelled ‘Motown’ but these ideas are easily transferable to most

other styles and genres, since the principles are the

same for all. Simply change the tempo, the feel or even the

guitar tone and off you go. I hope you enjoy the issue – now

get strumming!

johN WhEatcroftA phenomenal guitarist, John is a master at all styles but a legend in Gypsy Jazz. His album Ensemble Futur is out now on iTunes and Amazon.

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plUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). * Note: Only the Apple version contains interactive tab and audio. Zinio and others do not.

Tap the linksFinding your way around the

magazine is easy. Tapping the feature titles on the cover or the contents

page, takes you straight to the relevant articles. Any web and email

links in the text are tappable too!

Animated tab & audioSongs and lessons have the audio

built in with a moving cursor showing you exactly where you are

in the music. Simply tap the ‘play’ button then you can fast-forward or

scroll back at will.

Play the videosCertain articles have accompanying

videos full of useful insight and additional information. Once again, tap the play buttons to enjoy video

masterclasses on your iPad or smartphone.

Guitar Techniques’ iPad* edition is now even better!

Disc auDio Sometimes the GT CD features some articles’ backing tracks as mp3 files due to space. These will be found in a folder on the CD-ROM section of the disc, accessible only via a computer and not a conventional CD player.

September 2016 5

CONTENTS

• CON T EN TS • SEP T EM BER 2 016 •

BRETT GARSEDVideo Masterclass 44In instalment #4 of his masterclass series Brett plays over a smooth but technically demanding fusion piece called Grasshopper.

40 BLUES INTROS & OUTROSTop and tail your solos 26 A good entrance and exit is vital if you are to leave your audience impressed. Richard Barrett reveals the secret to great intros and outros.

SPECIAL FEATURE

STEAL MOTOwN’S TRICkS fOR...Amazing Rhythm 14 Motown’s triple-guitar section powered 100s of hit tracks. Richard Barrett reveals their tricks of the trade and shows you how to introduce interest and movement to your own rhythm.

COVER FEATURE

EDwARD ELGARSalut d’Amour 52Bridget Mermikides arranges and transcribes another beautiful piece from one of the most typically ‘English’ of all the composers.

TRAnSCRIPTIOn

REGULAR FEATURES

LESSONS INTRODUCTION 57Jason Sidwell considers the use of dynamics to help the guitarist be heard but not be too loud; be confident but not be too ‘look at me’.

30-MINUTE LICkBAG 58Pat Heath has six more licks for you to play at easy, intermediate and advanced levels.

BLUES 60Les Davidson checks out the style of the incredibly gifted Kenny Wayne Shepherd.

ROCk 64Martin Cooper brushes up on his exotic scales to introduce legendary surf rocker, Dick Dale.

HARD ROCk 68Charlie Griffiths pays homage to Steve Vai on the 25th anniversary of Passion & Warfare.

jAzz 72John Wheatcroft examines the playing of a jazz-blues guitar titan, the great Scott Henderson.

ACOUSTIC 78Stuart Ryan brings you a study of American Pie and Vincent composer, Don McLean.

CREATIVE ROCk 82Shaun Baxter blends more bluesy ideas with the Mixolydian – this month, stacking triads.

IN THE wOODSHED 88Charlie Griffiths with exercises to strengthen your second, third and fourth fretting fingers.

CHORD CAMP 90Iain Scott has a selection of 7#5 and 7 b 5 chord shapes in a variety of useful styles.

fEATURES VIDEO TUTORIAL

LEARNING zONE

Using smaller chord shapes for bigger rhythm sounds!

wELCOME 3Nev salutes Motown’s triple-guitar threat.

TALkBACk 6Your comments and communications...

INTRO 8Justin Sandercoe’s new column; plus Session Shenanigans, Jam Tracks and more.

SUBSCRIPTIONS 24Save time and money – get GT delivered!

BACk ISSUES 94Missed a copy of GT in the last six months? See how you can get it here!

ALBUMS 95Reviews this month include: Eric Clapton, Clive Carroll, Oz Noy, Ralph McTell and Wizz Jones.

USER GUIDE 96Get more from GT by understanding our easy-to-follow musical terms and signs.

NExT MONTH 98Play Like The Shadows’ Hank and Bruce. Three Kings – Giants of Blues. Play Tchaikovsky’s Dance Of The Little Swans – and loads more.

TURN TO PAGE 24 NOW

FOR THE LATEST SUBSCRIPTION

OFFERS

Brett Garsed with another great video solo

6 September 2016

TalkBackPost Guitar Techniques, Future Publishing, Ivo Peters Road, Bath, BA2 3QS.

Email [email protected] using the header ‘Talkback’.

BACK TO THE FUTURAMA - 2 I recently read your Talkback page in issue 259 of GT, and I noticed a letter from a Mr George Stapley inquiring about a Futurama Coronado Guitar. I know someone who is currently selling one and I would be happy to put them in touch with you if required? It is currently for sale

in Twisty’s Music store in Liverpool and I have attached a photograph as evidence!Ian Ward

Thanks, Ian. The power of print in action! I’ve forwarded your email to Mr Stapley so he can take it from here if he wishes. Thanks for your keen-eyed spotting.

USE YOUR EARS! I absolutely loved John Wheatcroft’s Exotic Blues feature (GT259). Usually, when people start talking about ‘Altered’ scales or, heaven forfend, ‘Superlocrian’, my brain instantly shuts down and no more goes in. A bit like when my financial advisor starts talking about tax liabilities, annuities and so on.

I’d got the mag and saw the feature but, again, thought I wouldn’t understand it. So for a change I listened to John’s examples before I read the piece – and indeed the other audio tracks – to see if it might be within my ability range. I’d never done that before and, you know what? It’s the best thing! I usually look at the article’s title to work out if it’s for me or not, and have clearly missed loads of stuff that I

probably would have loved. In that issue I also did Creative Rock, the Lonnie Mack tribute, the John Mayer acoustic lesson (I didn’t think I liked him!), and the AC/DC rhythm and lead licks. So, to all those that assess a feature on its style, genre or whatever – I’d suggest you do what I did, and play every audio track first. You’ll definitely want to learn things that you’d otherwise dismiss as ‘not you’.John Goodman

I know that scenario, John – the very mention of certain words or phrases shuts my brain off from hearing any more. But your letter is genius! I wonder how many other readers simply look at a feature’s title, or see a musical style, and think, ‘Not for me’, when if they’d

listened to the audio tracks they’d have gone. ‘I really want to learn that’. So thanks for imparting that nugget

of wisdom – really obvious to some, I’m sure, but an eye-opener to others, I hope.

MAKING THE GRADE I’ve been avidly purchasing your mag every month since the first CD edition.

Although it’s always been great, I’m particularly enamoured with what Bridget’s going to have in store each month, and I have a wee suggestion based on difficulty rating.

I have a growing collection of ‘moderate’ pieces which fairly represents my classical ability at present. What to practise for maximum benefit first then? Would it be possible to include a grading for each piece, 1-8? Some

pieces, I’ve found, are definitely ‘more moderate’ than others and maybe this might offer me and others a better way of grouping them and approaching them in an order for personal study if I know that ‘this one’ is a Grade 3 and ‘that one’ is a Grade 5. Perhaps

this could be extended to other areas than just classical as well? Just a thought and wondering what say you on this idea?Nick Cebalo

To be honest, Nick, I think the fault is ours. We do put an ability rating next to every

article, but I’m beginning to suspect that, between all of us here that check these things, we’ve managed to let Bridget’s slip through the net. Some of hers are definitely harder than moderate, and others easier. We do usually double-check

these things, as some of the contributors underestimate something’s difficulty for mortals like us, so for now we’ll leave things as they are but be a little more on the ball as regards Bridget’s column.

DUSTY END Thanks for the Above The 12th Fret feature (GT258). I’d always used the dusty end as a ‘last resort’ in my playing. I’d get towards the climax of a solo and think, ‘I should go up an octave now, but I’ll only play the same old licks 12 frets up’. And that deterred me from wanting to do so. It had never occurred to me to use the smaller fret spaces to their advantage, and your article gave me heaps of ideas to be getting on with. I don’t usually do tapping, but a couple of those licks made me smile – and raised an eyebrow or

two from the other guitarist in my band. He wants the mag now, too - but he can buy his own! Thanks, guys.Si Farmer

Your comments definitely resonate with me and I’d bet loads of other readers, Si. It’s a confidence thing, I think: if you feel unsure of any area of the neck – like the bottom three strings or, indeed, above the 12th fret – you won’t feel comfortable there. Larry Carlton says he learns every lick or triad, in every position on the fretboard, including above the 12th fret on the lowest three strings. If we all did that, we’d increase our potential – and our confidence at playing in these ‘dusty’ areas – hugely. Glad you enjoyed the feature.

NOT-SO-HOLLOW PRAISE I wanted to write and let you know that I really enjoyed the four-part acoustic blues piece that Jon Bishop put together for the May 2016 issue. The series progressed nicely and took my blues playing to another level. In particular, I liked the fourth example which also works nicely on an electric hollow-body. In general, your magazine is very well written and a step above the other guitar publications I’ve read.Bob Kozdemba

Thanks, Bob. We’ve had a few similar letters about that feature. But you make

a good point that Jon’s examples do also sound great on electric. If anyone has that issue (GT256) and thought the article and music in it wasn’t for them, why not crank a dirty-ish tone from a semi-hollow or all-hollow electric, whack on some tremolo and a bit of slap-back

echo, and give it some welly. Do it and I guarantee you a new party-piece (or two, or three, or four!). And if you didn’t buy it then but fancy a crack at it now, zip over to our Back Issues page (p94) where you can order it now.

Jon Bishop: acoustic blues hero

USUALLY, WHEN PEOPLE START TALKING ABOUT ALTERED SCALES MY

BRAIN INSTANTLY SHUTS DOWN

Futurama on sale in Liverpool

8 September 2016

Intro

imagine your favourite solo in your mind. can you hear the notes,

the rhythm, the tone?

pick one at random and put my hand somewhere on the neck and try to play it. Sometimes I find that actually I can’t hear the melody clearly in my imagination so the problem is not with the hand/imagination connection but getting it right in my imagination to start off with. I’m also working on playing solos I know well in my imagination on the ‘wrong’ parts of the fretboard, for any of you that find basic melodies too easy.

There are quite a few things you can do to help this develop quickly. Transcribing is my favourite: you hear a note on the recording, find it on the neck, hear the next one, find it etc. So you’re playing what you hear in slow motion – but at the same time you are installing the music correctly into your imagination, which is important. After a while you’ll find you can transcribe whole phrases because you recognise them and

know where to make those sounds on the guitar neck. Doing ‘interval ear training’ is also something I highly recommend. You’ll find free courses on both on my site if you’re interested.

So please have a try at playing what you hear in your imagination. It’s a wonderful feeling when you can do it - and well worth the effort! Good luck!

food for thought

This month I want to delve into the mystical world of ‘playing what you hear’, what it really means, how

I think it might work and how you can develop it.

So to start with, what is hearing music? Think about your favourite guitar solo in your mind. Can you hear the notes? Can you hear the rhythm? Can you imagine the tone? Like most things I think the learning to ‘hear in your imagination’ is a skill that can be practiced by doing it; a little time each day imagining riffs, licks or lines is a great way to develop it. If you can sing what you hear in your imagination you can be sure it’s properly in there (and I highly recommend trying to sing, even if you’re not a confident vocalist).

So how does being able to ‘hear in your imagination’ help you play guitar better? I have a great little exercise I give to any new students you might like to try that will explain it. Put your first finger on the 8th fret, third string, then play Happy Birthday while staying in position (not going up and down one string). We all know how that song goes so if you can’t do it then there is a disconnect between your ‘imagination’ and your hand that could use some work! If you found that one easy, pick another song that is slightly more difficult (jazz standard melody?) and try again somewhere else on the neck. If you can play all the melodies you can think of, then you’re doing it for real – you’re playing what you imagine and I believe that to be the purest of expression – and, if you can, congratulations!

If you found it difficult or impossible, like most people do (and I did) then you can work on it. Again, the solution is practise. I start almost every practice session with 10 minutes of ‘playing my imagination’ and over the last few years, I have seen a great improvement, though I’m still far from perfect. I have a list of songs that I add to all the time, and I just

Every month, Justin Sandercoe of justinguitar.com lends GT his insight as one of the world’s most successful guitar teachers.

In his fourth column, Justin looks at playing what you hear.

NIC

K D

ELA

NEY

Justin says that imagining the music in your head is a great way to learn

Check out www.justinguitar.com/gtmag for some example routines and links to exercises you might like to try out for each section!

September 2016 9

Intro

T here must exist an area of psychiatric study that deals with childhood influences and consequent

life choices. In my case I refer not to the pathologically irrational and heartbreaking lure of Tottenham Hotspur FC. Or the uniquely challenging repercussions on my net worth that decades of season ticket renewals have engendered. However, this emotional scar is but an amuse bouche on the personal menu of mistakes if contrasted with the seismic aftershock that occurred during a family holiday to Bournemouth back in the mid-Jurassic era.

There was I, innocently vandalising the hotel’s one-armed bandit, when it happened. The adjacent juke box whirred into life. The room filled with a sound that might have emanated from Ursa Minor Seventh. What not-on-Earth was this? The twangy guitar? The echo? The drums? Apache’. That’s what it was.

And that’s when I became a professional guitarist, in my juvenile head at least. I nagged my parents. I got guitar lessons. I spent all my pocket money on the works of Hank and the boys. I can confidently lay claim to ownership of one of the finest collections of memorabilia featuring the UK’s premier Instrumental Combo. Yep. There’s obsessive. There’s sad. And then there’s the 11-year-old me. All of which serves to preface the weirdness that occurred when childhood hero worship met grown-up reality.

It got off to a false start, to be fair. There I was, sitting at home between marriages, when out of a clear blue telephone came the stuff of comic strip fantasy. “Hello? Is that Mitch Dalton? It’s Bruce Welch here. Could you come and play on a record I’m producing?” Cue the feather and a technical knock-down. But would you Adam-And-Eve it? I couldn’t. How could it be possible that I was just too busy? Suitably crushed, I spent the following week thinking I had hallucinated the call.

But all was not lost. Fast-forward a couple of years: “Hello? Is that Mitch Dalton? It’s Hank Marvin. Could you possibly come along and play on a record I’m producing?” “Er. Yes it is. And yes I can. Try stopping me this time!”

A few days later I found myself overdubbing in Hank B’s home studio, under the watchful ear of my childhood hero. Once the inconvenience of having to play the guitar was done with, I spent an unforgettable day talking instruments and band history. The great man fielded the questions from my outer eight-year-old with kindness, patience and no little humour. However, I noted that my new friend emigrated to Australia within a few short weeks of our meeting. Coincidence? You decide.

And then, some time later, came the enquiry “Hello. Is that Mitch Dalton? It’s Brian Bennett here. I wonder if you could play on a record I’m producing?”

Mr B is delightful man, a great drummer and a fine composer.

The nostalgia fest was under way almost from the start, as I lapped up the display of framed music, platinum discs and programmes on The Shadowbilia strewn studio walls. It came as a shock that I had retained considerably more Shad-info than he, and could spout more trivia per square metre than the owner himself. But that’s fandom for you, I guess.

I bumped into Hank again while deputising for him on Surprise Surprise. Due to the clue contained in the title of Cilla’s TV show it was essential for Mr Wonderful Land to be hidden until the big moment. So I spent three reverb-drenched hours rehearsing FBI with the house band.

And I met Bruce while playing at Shadowmania, the annual fest for electronically tagged middle-aged males at The Lakeside Club. Theme For Young Lovers. On a ’62 Strat. With the original drummer. Can it get better?

The last word must go to Brian, whom I have come to know well. “Mitch. I’ve had an incredible time. The band changed my career path and my life. But I don’t quite understand it all.” And as I replied, “Brian. You’d have to be eight years old to understand. And by the way – it didn’t just give you a job for life. It gave me one too.”

Out Of The Shadows* indeed.(*Er. Second album. 13 tracks.

Released in 1962. I need help).

This month’s lick contains three short melodic ideas or ‘cells’ that are moved in sequence down the neck. The lick will work great over Major or Dominant chords – here it’s played against D9. All the ‘cells’ are four notes long. The first

ascends chromatically from the 3rd (F#) to the 5th (A); the second

is a bluesy approach of R-2-b3- 3; and the final cell ascends from the 5th

(A) to the root (D) – 5-6-7-1. These cells are repeated an octave lower and then cells 1 and 2 are played another octave lower before coming to rest on the root note. With practise and re-application, this idea can propagate many other

interesting lines. So, experiment with these and other ‘cells’ in both ascending and descending directions. Have fun!

Phil hilBorne’s one-minute licK Cell combination lick

For more info on Mitch Dalton and his Studio Kings go to: www.mitchdalton.co.uk

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The studio guitarist’s guide to happiness and personal fulfilment. S is for Shadows.

Mitch Dalton’ssession shenanigans

10 September 2016

Intro

Instrumentals have supplied some of music’s most evocative and exciting moments. We asked some top guitarists for their take on this iconic movement. This month: Genesis guitarist and solo artist extraordinaire, Steve Hackett

it’s imPortant not to fall BacK on technique. a great melody should Be enough in itself

GT: What is it about guitar instrumentals that appeals to you?SH: If it’s nylon classical, it’s the self sufficiency. If it’s electric, it’s the excitement that it produces.GT: What can an instrumental provide that a vocal song can’t?SH: Sometimes a poetic title is all the lyrics you need to make the dream complete.GT: What do you embrace or avoid? SH: It’s important not to fall back on technique too much. A great melody should be enough in itself. I try to tailor the tone to fit the phrase and the line.GT: Is a typical song structure always relevant?SH: An instrumental doesn’t need to be limited by the same constrictions as a vocal work. I prefer not to get stuck with formulae. I like instrumentals to go off the map at times.GT: How useful is studying a vocalist’s approach?SH: The electric guitar is basically another voice. It can sound like a woman’s voice with the right amount of sustain, feedback and effect. But then some vocalists inform musical ideas. The power of Mario Lanza’s voice is an influence on my guitar playing when I hold really long notes with my Fernandes guitar.GT: How do you start writing one? SH: I sometimes start off with an acoustic melody, which I can arrange to fit the electric guitar, as we did many times with early Genesis melodies.GT: What do you aim for when your performance is centre stage?SH: The melody needs to be able to haunt me. I often capitulate to subject matter in the way Oscar Wilde so perceptively described – a certain amount of surrendering in order to be honest rather than trying to be fashionable.GT: Many songs feature a solo that starts low and slow, and finishes high and fast. Is this useful?SH: A climbing melody will often sound more and more emotional.

instrumental Inquisition!

MIC

HA

EL L

AM

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I’m as influenced by the soaring strings of Rachmaninov as by a Les Paul and a Marshall on full stun.GT: What type of guitar tone do you prefer for instrumentals?SH: I find a continuously changing tone is best. While in my early days I tended to play in one tone, I now allow the music to take me to areas I might have previously rejected.GT: Favourite keys or tempos?SH: I’m mostly known for slow solos but I also love the thrill of impossibly high-speed work. All keys that have open strings are interesting but the best thing is to

write in unfamiliar keys such as F# to get the best out of the pianist.GT: Are minor or major keys easier?SH: I find all keys equally difficult if you want to truly inspire and surprise yourself.GT: Any favourite modes?SH: Like all guitarists, the Dorian scale is perfect for firing off salvos that are none too careful but are thrilling. But I do enjoy Eastern sounding scales. There is a very interesting Bartok scale which comprises: E-G-Ab-B-C-C#-Eb. This sounds marvellously exotic and few people will know what the

hell you’re doing if you employ it!GT: And key modulations?SH: That can sound either very natural or really contrived. It’s fantastic when it works.GT: Do you view the backing band differently than on a vocal song?SH: I’ve come to realise that the humble triangle is just as important in an orchestral work as everything else. There is no such thing as the backing group for me. GT: What are your views on harmonising melodies?SH: Vocal harmonies can be incredibly moving. It’s what drove The Beatles on to world fame. Harmony guitar work can be really beautiful. I have a Boss Harmonist pedal, which does great three-part harmonies and works very well for recording or live work. Sometimes I add a 5th harmony to the straight 3rds from my Digitech Whammy pedal, which sounds more like the brass arrangements by William Walton than rock guitar. It’s perfect for heroic-sounding chords.GT: Name three guitar instrumentals have inspired you.SH: 1. Apache by the Shadows and The Ventures. A great melody, both romantic and descriptive. 2. Jigsaw Puzzle Blues by Fleetwood Mac, written by Danny Kirwan. This is in the style of blues guitar but with the influence of Django. 3. Concerto de Aranjuez by Rodrigo. A famous guitar piece that really captures the spirit of Spain. The melodies perfectly bridge the gap between flamenco and classical work. For me it’s both melancholic and uplifting. During the slow movement the rising fast arpeggio section sounds like the music from a thousand fountains...GT: What are you up to: gigs, tours?SH: There’s The Total Experience Live In Liverpool Digipak – solo numbers plus Genesis classics and documentary. And The Charisma Years – eight vinyl plus 12" EP box set; and Deluxe CD/5.1 DVD sets of Please Don’t Touch, Spectral Mornings and Defector…

Steve Hackett with his modified Les Paul Goldtop

September 2016 11

Intro

Calling all acoustic fans! Put the following dates and venue in your diary : 10th to 11th September, Olympia, London.

For anyone with a passion for acoustic instruments and playing, the London Acoustic Show aims to

tickle your tuners with a bespoke weekend of world-class talent and brands, plus there’s a widened scope this year for instruments including banjo, mandolin and ukulele. We caught up with Acoustic magazine editor Steve Harvey to discover what the September show has in store… What does the Acoustic Show offer for players? “The London Acoustic Show is unique because it’s a multi-feature event. There are principally three main areas. First, we have an exhibition hall that’s bunged tight with all the latest gear from some of the world’s best manufacturers and luthiers. We also have a 450-seater, purpose-built auditorium for our main stage where show visitors can watch some of the best acoustic bands, virtuosi and performers around today. Lastly, there’s a 300-seater masterclass room, which is more of an intimate clinic or workshop setup. Show visitors can learn from and question key educators and clinicians. Pretty much everywhere you turn there will either be acoustic guitars and related gear, or live music – not least of all at the Acoustic Cafe, which is a buskers-type stage where breaking artists play throughout both days.”Apart from the wider acoustic instrument scope, what else is new this year? “We’ve got a first for the Saturday of this year’s show, which we’re calling the ‘Acoustic Jam’. Acoustic and GT columnist and guitarist extraordinaire Chris Woods has composed a piece comprising four separate ‘layers’, ranging from very easy to fairly challenging. We’re encouraging readers of the magazine and show visitors to choose one of the four layers (see the July issue of Acoustic mag for tab), learn it, and come to the show with their own guitar to play it on the main stage with Chris for one big show performance.”Who is performing this year? “Following the release of their new album, Turin Brakes will be playing a special acoustic set

london acoustic show

on the main stage. Fingerstyle wizards Clive Carroll and Stuart Ryan are performing on the main stage, and GT’s Stuart is also holding an additional masterclass. The founder of percussive-style playing, Preston Reed, will be at the show on the Sunday for a

masterclass and a main stage performance. One of the UK’s best-kept secrets, singer-songwriter Zak Ford, will play the main stage and, in addition to his performance, Acoustic columnist and US-based virtuoso Richard Gilewitz is holding two

masterclasses: one on fingerstyle playing, the other on ukulele playing. Lastly, Rockschool will be holding a masterclass both days. For exact times of all performances and masterclasses, check www.londonacoustic show.com.”What age range does the show attract? “It’s literally everyone from children coming along to enjoy the show with their mum and dad, to middle-aged and older people, too. And it would be a mistake to think that all show visitors are men!”

Some of the most forward-thinking playing is now being done on acoustics, but do you think the world of acoustic guitar is also more diverse than ever? “I do, and in addition to its diversity, I think these are good times to be a buyer of acoustic guitars. Build standards and value for money has never been better. An acoustic purchased today for £500 will be vastly superior to one purchased for £500 say 10 years ago. The acoustic world is also embracing more readily ‘alternative’ instruments. We’re increasingly finding that readers of Acoustic own, not just a couple of acoustics, but are also venturing into the world of ukuleles, mandolins or something similar. Hence the thinking behind the London Acoustic Show, rather than the London Acoustic Guitar Show and including acts such as Turin Brakes who commonly feature such instruments.”

Turin Brakes will be performing at the London Acoustic Show

Preston Reed will be showcasing his percussive style

12 September 2016

Intro

➊ Slow Blues in E Here we have a slow blues in E at just

55bpm, which you can approach in a

variety of ways. E minor Pentatonic

scale (E-G-A-B-D) will work – and so

will E major Pentatonic (E-F#-G#-

B-C#), although the latter works best

on the I chord (E9) and V chord (B9).

Try mixing in some E Mixolydian

mode (E-F#-G#-A-B-C#-D) – this

works perfectly for the I chord (E9).

➋ Rockout in GHere’s a fun uptempo rock track in G.

Of course, you can use G minor

Pentatonic (G-Bb-C-D-F) and G minor

Blues scale (G-Bb-C-C#-D-F) as a

starting point, but the track works well

with quite a few more colourful scales.

The chord progression is: G-Bbmaj7-

Cadd9-Abmaj7. Try using G

Mixolydian (G-A-B-C-D-E-F) on G

chords, G Dorian (G-A-Bb-C-D-E-F)

on Bbmaj7 and Cadd9 and finally G

Phrygian (G Ab-Bb-C-D-Eb-F) on the

final Abmaj7 chord.

➌ 7/8 Groove in F#mCount the subdivisions of this 7/8

groove track as 2-3-2 (meaning

1-2-1-2-3-1-2). It’s in F#m, but

harmonically speaking it’s quite open,

so I suggest playing around with a

variety of scales. Try F# Dorian

(F#-G#-A-B-C#-D#-E), F# Minor

scale (F#-G#-A-B-C#-D-E),

F# Phrygian (F#-G-A-B-C#-D-E) and

even F# Mixolydian (F#-G#-A#-B-

C#-D#-E). F# Minor Pentatonic and

F# Blues scale also work great!

➍ C Jazz Blues – Medium SwingHere’s a standard jazz blues in C. Try

mixing C major Pentatonic

(C-D-E-G-A) with C minor

Pentatonic (C-Eb-F-G-Bb) for a start.

One additional jazzy colour to catch

is the A7 in bar 8 of the 12-bar blues

cycle. Perhaps have a go at outlining

an A7 arpeggio here (A-C#-E-G), or

use the D Harmonic minor scale

(D-E-F-G-A-Bb-C#), which also

works perfectly. Additionally, see if

you can whip out an F# Diminished

arpeggio (F#-A-C-Eb) in bar 6 for the

F# diminished chord.

Jam tracks tipsUse these tips to navigate our bonus backing tracks

hot for teacher your teacher

WHO? Denise Greenwood TOWN: Longfield, KentSTYLES TAUGHT: Rock, pop, blues, generalSPECIALITY: Acoustic and electric for children and adults. LEVELS: Casual, and also RGT tuition for help towards grades from beginner to intermediate.CHARGES: £20 per 1hr lesson, £10 for 30-min lesson, group lessons also availableSPECIAL: Fully-equipped music room, with amps, can also supply guitars if you’d like to try out first before you buy. TEL: 07789146769EMAIL: [email protected]

Jam tracks by Jacob Quistgaard. For free scale maps and hundreds more tracks, visit www.quistorama.com. You can also subscribe to www.youtube.com/QuistTV to get all the latest tracks and licks. Or find Quist and his jam tracks on Twitter, Instagram and Facebook.

GIBSON LAUNCHES THE L-50– an early dreadnought-shaped arched spruce top with a bound body and maple back and sides. It’s manufactured with a regular soundhole and pearl dot inlays in the ebony fingerboard but soon the body evolves into a regular dreadnought shape with f-holes and trapezoid shaped inlays. All are finished in dark mahogany sunburst with the scratchplate glued to the arched surface.

THE RADIO CITY MUSIC HALL (in all its Art Deco glory) is opened in New York allowing the public to see high-quality entertainment in beautiful surroundings. Best-selling records include All Of Me by Louis Armstrong and (appropriate for the time)

Brother Can You Spare A Dime by Bing Crosby. Buck Rogers of the 25th Century makes its debut on US Radio and in the UK the BBC begins a regular television service using the John Logie Baird system.

THE GREAT DEPRESSION IS AT ITS HEIGHT and affecting the whole world. In the UK unemployment reaches nearly three million and a series of National Hunger Marches take place. The largest is intercepted by a 70,000 strong Police presence to disperse the demonstrators. Soup kitchens become a way of life and 200,000 unemployed men are sent to work camps. In the USA 13 million are unemployed and shanty towns (termed Hoovervilles in disrespect to President Herbert Hoover) appear around the country. American loans to Germany to help rebuild their economy are terminated.

NEWLYBORNS INCLUDE LITTLE RICHARD, Petula Clark, Johnny Cash, Debbie Reynolds, Charlie Rich, Patsy Cline, Tiny Tim, Miriam Makeba, Loretta Lynn, Keely Smith, composer John Williams and Star Trek’s Lt Uhura, Nichelle Nichols.

SYDNEY HARBOUR BRIDGE opens in Australia; Amelia Earhart becomes the first woman to fly solo across the Atlantic Ocean;

Al Capone is convicted for Tax Evasion; and Mahatma Gandhi is arrested and interned. Months later he goes on hunger strike in protest against Britain’s new Caste Separation Laws.

MARTIN INTRODUCES THE TOP OF THErange C-3 acoustic with a carved spruce top, two-stripe bound body and rosette plus rosewood back and sides, in a lacquered finish. It has a bound headstock and neck with an ebony fingerboard featuring pearl snowflake inlay. The bridge is also ebony and the tailpiece and individual tuners are gold plated.

LUTHIER JOHN D’ANGELICO BEGINS making and selling classy looking (and sounding) archtop

guitars with a very high quality of manufacture. Designed in the image of Gibson’s L-5 model, D’Angelico uses a uniquely

shaped scratchplate, fine curving at the body end of the fingerboard, mother-of-pearl block inlays and a more substantial trapeze tailpiece. All metalwork is gold plated and the guitar is fully bound with the exception of the

two f-holes. It’s a real eye-catcher.

That Was The Year...

D’angelico, Deco And Depression1932

14 September 2016

Play } RHYTHM

Before we start, it’s worth pointing out that, although this feature is labelled ‘Motown’, these ideas are readily transferable (with perhaps a tweak

here and there) to many other styles of music. Set up by Berry Gordy in Detroit in 1959, Motown kick-started the career of a long list of artists, including Michael Jackson, Stevie Wonder, Marvin Gaye, Diana Ross and many more than we have room to list here. However, this article is more concerned with the guitarists that played on these discs and how they contributed to the song.

In the early days, most recordings from the Motown stable were played on by an in-house band of local musicians, known informally as the Funk Brothers. This included guitarists Joe Messina, Robert White and Eddie ‘Chank’ Willis, though it wasn’t common practice to

credit musicians in those days. These players came mainly from a jazz background and this is reflected in their chord voicings and rhythms, their overall swing as a unit and why these ideas are transferable back to blues, jazz, country, etc. Check out It’s A Shame by The Spinners if you need convincing.

As the 1960s drew to a close, Motown moved to Los Angeles, bringing new musicians into the fold (many of the original players stayed in Detroit). Guitarists like Tommy Tedesco, Melvin Ragin (aka Wah Wah Watson) and David Williams now had the chance to bring in their own ideas – in Williams’ case, the tight funk of Michael Jackson’s Billie Jean is a notable example.

Through the 70s and early 80s, players like Larry Carlton and Steve Lukather also made their mark. Tight, repetitive (almost subliminal) parts, processed with chorus and compression began to appear on tracks like Lionel Richie’s Can’t Slow Down. The guitar moved from providing chord ‘pads’ and rhythmic fills to a more percussive role.

To nail some of these parts, it’s a good idea to listen closely to where you ‘sit’ in context with the rhythm track and see what elements of your part coincide with the kick drum,

Amazing Rhythm Motown’s tricks!

Richard Barrett looks at Motown’s unsung guitar heroes with six fully tabbed example pieces, with playing tips and backing tracks – suitable for almost any style.

snare, hi-hats etc. Alternatively, you may find your part slots into a gap in the overall tapestry of instrumentation, in which case you’ll need to be super aware of when that gap is coming – it’s imperative to be constantly listening and reacting as you play.

This kind of focus and concentration requires stamina, so don’t be surprised if some of these apparently ‘easy’ parts take a bit of getting absolutely right. Our six examples are designed to give you a broad overview of the techniques and chord voicings that give this style its special sound. They aren’t particularly in chronological order, but you will recognise that some have the more ‘strummy’ approach, similar to Marvin Gaye’s What’s Going On, while others combine this with staccato chord ‘chanks’ like The Supremes’ You Can’t Hurry Love.

For some of these, we’ve arranged the guitar to cover both parts in one pass – something often asked of guitarists on the circuit these days. Some of the other examples are several different ideas condensed into one excerpt, so please bear this in mind when creating your own ideas.

ouR exAMples will give you An oveRview of the techniques And choRd voicings thAt give this style its speciAl sound

technique focus Funky rhythmPlaying funky rhythm guitar is about fitting into the overall mix of musicians – playing in some gaps, leaving a space in others while often playing off the main beat. This could mean anticipating with a ‘pushed’ beat, or picking up an accent a 16th note afterwards. One very effective way to get comfortable with this approach its to mute all six strings and use alternate down and up strokes to strum four notes per beat (16 in a 4/4 bar). Start by accenting the first downstroke of each beat – this sounds a little bit like a hi-hat pattern. Next, experiment with accenting the third beat in each group of four; this should fall on an upstroke. Combine this with small targeted strums on selected chord triads and you’re well on your way!

ABility RAting Moderate

Key Various Tempo 225 bpm CD TRACKS 3-14Info

Chord vocabulary Rhythmic creativityWill improve your… Fretboard knowledge

✪ ✪ ✪ ✪ ✪

The classic recordings were made using small valve combos and a clean tone. Humbuckers and single-coils both have their place, so any guitar can be right for this – but a Tele or Strat

will cover most ground. In the late 70s and early 80s pronounced compression, chorus,

distortion and even direct to the desk became more common, so feel free to experiment.

GaIN BaSS MIddle TreBle reverB

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ON THE CD TRACKs 3-14

September 2016 15

The RhyThms Of { Motown

Funk Brothers Robert White and

Joe Messina in Studio A at Hitsville

Tommy Tedesco and Carol Kaye

play in Motown’s new LA studio

tRAcK RecoRd These examples were inspired by artists like The Supremes, Smokey Robinson, Marvin Gaye, The Jackson 5, The Commodores and Rick James. Check out these albums; What’s Going On by Marvin Gaye, Street Songs by Rick James and any circa 1970 Jackson 5, such as ABC or Third Album. But listening to any early Motown record will reveal just how the guitar propelled these great tracks.

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16 September 2016

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Play } RHYTHM

Played only on the top four strings, this descending chord progression demonstrates a loose, strummy style, with contrasting short chord ‘chops’ on beats 2 and 4 of the bar. Back in detroit, there would usually be two

guitarists covering this, but it’s possible to get the effect of two using this technique. It doesn’t come easy (pun intended) but is great for filling space in a single guitar line-up.

EXAMPLE 1 Two in one


cd track 3

September 2016 17

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For the following E bm/B b use your second, third and fourth finger as shown

For the E b/B b chord use a partial third finger barre as shown


Continuing the thread from example 1, this chord progression combines looser strums with accented, staccato chops and a couple of double-stop details, all condensed into one guitar part. Note the emphasis is now on all four beats of the bar rather than just beats 2 and 4. Though there are some single notes in the transcription, there’s no need to be overly strict about this, as long as the dynamic is preserved. This is all about the feel and nothing else.

EXAMPLE 2 Chops and pushes cd track 5

18 September 2016

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Using the bridge pickup, this steamy Marvin Gaye-inspired example is about the chord progression as much as any technique, though the second section has some nice chord moves. Notice more ‘jazzy’ voicings coming into play here, like the minor 9ths and those minor 7ths with no 5th.

Though the chords are strummed fairly loosely, care should be taken not to allow the bass strings to dominate. You could turn the bass control down of course, but that can make things a bit thin. Most of the time these players would use smaller voicings and leave the bottom end to bass and piano.

EXAMPLE 3 sTRuMMinG

Play } RHYTHM ON THE CD TRACKs 3-14

cd track 7

September 2016 19

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For Gmaj7 (bar 13) use your fourth and third fingers with a partial first finger barre

Here is a tasty Am9 chord (bars 12 and 14) using just your first and third fingers

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20 September 2016

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Using a slightly chorused, heavily-compressed Strat in one of the famous ‘in between’ pickup selections, this part is meant as a demonstration of the transition between the choppy, small guitar hooks of the 70s and some of

the early 80s lines, which were as much about the rhythm as the notes. as such, this covers a lot more ground than you would expect to hear from a ‘real’ song from that period, so please bear this in mind.

EXAMPLE 4 dawn oF The 80s


cd track 9

September 2016 21

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Though there were often two guitars in the mix on these recordings (we’ve included a subtle second guitar on the backing track) some of the main parts were very distinctive. like ex 4, this condenses a lot of ideas into limited space, so keep this in mind when creating your own parts. We start with moving triads, then move to a more solo-style double-stop approach toward the end. again, this is played using the bridge pickup.

EXAMPLE 5 eaRly JaCksons Funk


cd track 11

22 September 2016

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Taking inspiration from rick James (and you’ll probably hear how Prince and lenny Kravitz were influenced by him here too) this distorted riff moves through a 12 bar-style progression to demonstrate a few variations.

Often, a distinctive feature of these riffs is their repetition without significant change, so take these ideas on board, but don’t feel you have to be playing this busily to play this style well.

EXAMPLE 6 RoCk sTyle RiFF

For bar 5’s ascending chromatics on the sixth string, use all four fingers

For the bluesy 1/4 tone bends (eg bar 3) bend the sixth string slightly towards the floor


cd track 13

24 September 2016

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26 September 2016

Play } BLUES

What do Chuck Berry, Jimmy Page, Eric Clapton, Gary Moore, Albert King, Jimi Hendrix and countless others have in common? No, there

isn’t a punchline: the answer is a knowledge of the basic blues format and the ability to blend it into their own contemporary styles.

The first thing you often hear on any blues record is a ‘taster’ of what is to come, courtesy of some fancy or soulful licks. Sometimes this is called a ‘turnaround’ – the bit at the end of a 12-bar progression when everything is gearing up to go round again. You could say it’s like starting with an ending.

Check out some of our intros and compare them with their outro counterparts. Often the only major difference is that the outro finishes with a very final I (‘home’) chord, as opposed to the intro, which usually features the V chord (for example, B major in the key of E), setting our ears up to believe – correctly – that there is more to come. There’s something rather compositionally elegant, too, about ‘book-ending’ a song in this way. It sounds more deliberate, rather than just bluffing through and coming up with whatever you fancy (that has its place too, but you know what I mean).

There are exceptions to every rule and some of these are featured in our extensive catalogue of examples. John Lee Hooker and Elmore James often ‘vamped’ on one chord or riff, beginning and ending a song in much the same way. Robert Johnson’s fingerstyle acoustic blues employed unusual diminished voicings and chromatic movements to lead from one place to another. And modern electric players, like Eric Johnson and Scott Henderson substitute unusual chords throughout the 12-bar progression, giving a jazzy feel to proceedings.

Whatever the territory, if you’re looking to improve your library of ‘stock’ licks and fills, there is something here for you. Starting with intros (of course), there are both easy and more advanced ideas in a variety of keys and styles, from acoustic to full-on distortion. The outros follow a similar template – first a simple idea, and then something a little more advanced over the same backing tracks, which are included for you to experiment over.

Some of these licks will be useful for general soloing vocabulary as well. So, whatever happened when you Woke Up This Morning, you will be able to express it far better in song. Good luck... one, two, three...

40 Blues Intros & Outros

Never be short of ideas again with this essential guide to opening and closing a blues solo with both panache and authority. Richard Barrett is your guide...

ROBeRt JOhnsOn’s fIngeRstyle acOustIc Blues emplOyed unusual dImInIshed vOIcIngs and chROmatIc mOvements tO lead fROm One place tO anOtheR

aBIlIty RatIng Easy to Advanced

Key Various Tempo Various CD TRACKS 15-48Info

Authority as a soloist Range of approaches Stylistic awarenessWill improve your…

✪ ✪ ✪ ✪ ✪

With so many styles on offer it’s impossible to describe one sound that will suit all these

examples. But a good generic blues sound is one without too much gain – the notes perhaps

just starting to break up naturally – a bit of a boost in the bass and treble, and maybe a nice splash of reverb or delay. Just jump on a drive

pedal when you want more gain.

Gain Bass Middle TreBle reverB

6 6 5 7 4


September 2016 27

40 BLUES{ INTROS &OUTROS

Joe Bonamassa certainly knows

how to start and finish a solo!

28 September 2016

Play } BLUES

This should sound familiar to anyone who’s ever listened to the blues. Using the open-string friendly key of e, this descending figure creeps back up to the v chord (B) ready for the first verse.

a fancier spin on the previous idea, the chord voicings here are expanded for a jazzier feel. Play with confidence for the best effect. Of course, there’s nothing to say that any of our acoustic examples couldn’t transfer nicely to electric – try a slightly dirty tone with a splash of tremolo effect.

This ascending turnaround leads to the v chord again (d in this case). Keep the feel swinging and bouncy and dig in confidently with thumb and fingers. a pick will give a more modern sound if desired.

Using the same basic idea but adding a few embellishments gives an interesting and harmonically ‘complete’ sounding intro. note that the ascending bassline is still very apparent, until we break away for the licks in bar 2.

INTRO 1 Easy acoustic iN E

INTRO 2 advaNcEd acoustic E

INTRO 3 Easy acoustic iN G

INTRO 4 advaNcEd acoustic iN G

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cd track 15

cd track 15

cd track 15

cd track 15

September 2016 29


starting on the v chord (e) means we’ve jumped in towards the end of the progression, just in time for the turnaround. The partial 7th chords lead to an ascending chromatic line, implying both 7th and diminished chords. The sudden stop for the vocals is also an essential in blues vocabulary.

letting a little rock and roll filter in here, these Pentatonic-based licks lead to another useful chromatic idea, loved by robben Ford among others. really dig in to the raked chords at the beginning and keep the attitude going from there.

This classic pattern is one of those that doesn’t need turnarounds or v chord tomfoolery – it is what it is. Though easy to play, it’s challenging to sound like you really mean it – so keep a close eye on timing and don’t lose the intensity.

INTRO 5 Easy acoustic iN a

INTRO 6 advaNcEd acoustic iN a

INTRO 7 Easy iN E

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cd trackS 16-17

cd trackS 16-17

cd trackS 18-19

30 September 2016

Play } BLUES

Turning up the gain and indulging in a few double-stop bends brings the idea forward a few years. Having established the riff, who could be blamed for allowing their fingers to slip up the neck for some Pentatonic indulgence? dig in to those low notes to make people pay attention.

Without the minor blues, many classic records would never have been heard. This idea focuses on wringing as much emotion out of as few notes as possible, making the most of bends and vibrato. These details are crucial if you are to really get the point across.

INTRO 7 Easy iN E

INTRO 8 advaNcEd iN E

INTRO 9 Easy iN Gm

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cd track 18-19

cd trackS 18-19

cd trackS 20-21

September 2016 31


Much more fiddly but no less intense, this idea is quite logical to play once you’ve teased your fingers through it once. From then on, it’s simply a matter of running through it to develop your ‘muscle memory’.

Using 7th and diminished chords (you get the diminished by simply dropping down a fret in this case) this intro is played with quite a heavy picking hand, to maximise its impact. remember, this would be your first and last chance to grab an audience’s attention.

Calling to mind a higher class of Beano reader, the gain is turned up here, though not quite to ‘rock’ levels. details like timing and quarter-tone bends are all important to give the right bluesy effect. Take your time developing these skills and you can’t lose.

INTRO 10 advaNcEd iN Gm

INTRO 11 Easy iN E (vErsioN 2)

INTRO 12 advaNcEd iN E (vErsioN 2)

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cd trackS 20-21

cd trackS 22-23

cd track 22-23

32 September 2016

Play } BLUES

Using the tried and tested descending line approach that we can see in 100 blues intros, this example should be played delicately but up front in the mix. add a little delay to create the right atmosphere.

Taking a more solo-based approach, this intro employs fragments of the original descending line, building into some Hendrix style double-stops. a little wobble with the vibrato bar (if you have one) can add some nice extra expressiveness.

a straight four to the bar instead of a swung or 12/8 feel will give a more ‘in your face’ result – especially if you play it aggressively with lots of gain. This Jimmy Page-style intro doubles the bass and is a good example of the symmetry often present in intros and outros.

This wailing solo-fest is a great way of letting the audience know you mean business before toning it down for the verse. Bends and vibrato are again the key to producing this feel. Take your time to work on both. Touch is all-important in blues.

INTRO 13 Easy iN B b

INTRO 14 advaNcEd iN B b

INTRO 15 Easy iN cm

INTRO 16 advaNcEd iN cm

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cd trackS 24-25

cd trackS 24-25

cd trackS 26-27

cd trackS 26-27

September 2016 33


Gary Moore: equally superb starter and

finisher of a solo

the fIRst thIng yOu Often heaR On any Blues RecORd Is a tasteR Of what Is tO cOme, cOuRtesy Of sOme fancy OR sOulful lIcks

34 September 2016

Play } BLUES

another intro identical to how you might play the body of the song, with no turnarounds or diminished chords. it’s deceptively tricky, so be patient with yourself. a little bit of gain is nice, but too much crosses over into rock territory and is harder to control.

slightly more gain for some edge and some bent double-stop licks give this intro a little more attitude. Bars 2 and 4 also double up on the fourth and fifth strings. not too much harder than the easy version, but to make it sound ‘right’ takes a little work.

rake through those 9th chords and wobble a little with the bar if you have one. Combined with a little reverb it gives a nice shimmer. a combination of descending line and spelling out the chords a little like eric Johnson and we’re ready for vocals...

INTRO 16 advaNcEd iN cm ...CONTINUED

INTRO 17 Easy iN a (vErsioN 2)

INTRO 18 advaNcEd iN a (vErsioN 2)

INTRO 19 Easy iN c

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cd trackS 26-27

cd trackS 28-29

cd trackS 28-29

cd trackS 30-31

September 2016 35


starting with a raked G9 chord, this intro quickly moves into Hendrix/srv territory with a series of double-stops. Take your time to find the most comfortable fingerings and don’t neglect the all-important quarter-tone ‘blues curl’...

This ascending line leads to the common and effective device of moving up a semitone (F7) to ‘resolve’ into the home key (e7). not too technically challenging, but you can never play something too beautifully, can you? so make that the object of this particular exercise...

Using a similar template to the easy version, we’ve opted for a descending figure this time, with a little double-stop trickery and some fancier 13th chords bringing things to a close. These are best played with thumb and fingers to sound all the notes simultaneously and avoid unwanted strings.

INTRO 20 advaNcEd iN c

OUTRO 1 Easy acoustic iN E

OUTRO 2 advaNcEd acoustic iN E

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cd trackS 30-31

cd track 32

cd track 32

36 September 2016

Play } BLUES

The concept of an ascending figure followed by the semitone chord movement is put to good use again here, this time in the key of G, a favourite of robert Johnson. let all the open strings ring together for some interesting implied chords...

Taking a more chordal approach, the ascending bass line is preserved, even when we reach the ‘surprise’ d11 chord. This is a great example of spicing up a classic progression. Use thumb and fingers for simultaneous notes and to avoid the unused strings on those 7#9 chords at the finish.

Jumping in at the e – or v chord – this example leads us back home with a descending line to the not entirely unexpected semitone chord movement. Tip: try moving down a semitone then up again too. in fact, you can amend any or all of these examples to suit your own style.

These rock ’n’ roll double-stops lead to a harmonised descending line on the second and third strings. remember, a lot of classic blues was made in that same era. The semitone movement is back again like an old friend, but we’re sure you won’t mind when you hear those lovely 13b5 chords.

OUTRO 3 Easy acoustic iN G

OUTRO 4 advaNcEd acoustic iN G

OUTRO 5 Easy iN a

OUTRO 6 advaNcEd iN a

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cd track 32

cd track 32

cd trackS 33-34

cd trackS 33-34

September 2016 37


This could be an early van Halen ending, but it has its roots in the classic descending line. note, the bass features an ascending line underneath, implying some interesting harmony. Take this as a starting point for more rock excess.

a more Clapton-esque affair, this outro is peppered with vibrato, whole- and quarter-tone bends, all of which require your strictest attention to detail. How many times have you heard the old adage, ‘it’s not what you play but the way you play it’? Well, that’s true here.

Using the v chord (d) to set up for the last Gm chord is an alternative to the semitone movement featured here. Watch out for the usual bending and vibrato issues. This is a simple Pentatonic phrase that can sound magnificent. Jumping into the chords at the very end gives a nice finish.

Busier and with a fair amount more gain, here is an alternative and advanced take on the same backing. after the pickup bar, really dig in to that first G for some stinging vibrato. We’ve opted again to follow the final chords, this time with two double-stops, like Peter Green.

OUTRO 7 Easy iN E

OUTRO 8 advaNcEd iN E

OUTRO 9 Easy iN Gm

OUTRO 10 advaNcEd iN Gm

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cd trackS 35-36

cd trackS 35-36

cd trackS 37-38

cd trackS 37-38

38 September 2016

Play } BLUES

Using a clean-ish tone, this example follows the v chord through the descending run and semitone movement to the home chord template. This will obviously be a familiar idea by now but ideas like this never stop being useful, as blues is often based on tried and trusted ideas.

Flicking to the bridge pickup, with a little more gain, this outro gives a few useful soloing ideas too, using the e major Pentatonic – which works especially well over the a chord. it’s another way of playing the classic descending pattern leads to the final chords.

similar to the earlier intro, this simple phrase takes in a couple of double-stops, to reflect its ‘finishing-the-song’ status. as a set-up for the final chord, we’ve opted for the v (eb) but as a minor chord, adding a little drama and demonstrating another sonic possibility.

OUTRO 11 Easy iN E (vErsioN 2)

OUTRO 12 advaNcEd iN E (vErsioN 2)

OUTRO 13 Easy iN B b

& bb 812

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cd trackS 39-40

cd trackS 39-40

cd trackS 41-42

September 2016 39


Robben Ford can play simple or complicated lines, but always with great touch and feel

mOdeRn electRIc playeRs suBstItute unusual chORds thROughOut the 12-BaR pROgRessIOn, gIvIng a Jazzy feel

40 September 2016

Play } BLUES

Taking a more srv or BB King approach, this Pentatonic phrasing is another example of the importance of string bending in the blues. even if the phrase is easy for you technically, there are always improvements you can make on these little details.

now we’re adding a bit of rock to the blues. This outro plays a slightly more fleshed out version of the bass part, pausing on the v (G7#9, but it could be a regular G chord if you prefer) before a big C finish.

staying firmly in lead guitar territory, this Gary Moore style finish really milks those string bends. although it launches into something of a Pentatonic flurry, it stops a little way short of ‘widdle’ territory and should fall under the fingers if you run through it a few times.

OUTRO 14 advaNcEd iN B b

OUTRO 15 Easy iN cm

OUTRO 16 advaNcEd iN cm

& bb b

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6 7

cd trackS 41-42

cd trackS 43-44

cd trackS 43-44


“Which musical megastar

contributed to the soundtracks

of (among others) Showgirls, Striptease

and Happy Feet?”

#SMARTERMOVIEMAG

42 September 2016

Play } BLUES

These double-stops are saved from simply doubling the bass by the quarter-tone bend in bar 1. sometimes, that’s all it takes. But in cases like this, make sure you have your timing razor-sharp too. Playing ahead of, or slightly behind, the beat makes a huge amount of difference.

another spin on a previously used idea using rapid-fire double-stops. as always, watch for the quarter-tone bends that are a classic blues fingerprint – and how about that delightful am/maj7 chord that creates a very sophisticated finish.

it’s nice to give these chords a little tremolo shimmer, but spelling them out in bar 3 gives an even nicer spin on the classic descending sequence. The 13th chords add a cool jazzy finishing touch.

Mixing double-stop and Pentatonic ideas, this outro is quite complex, so it deserves a bit of extra time. Work through slowly and absorb the bend and vibrato details, as well as the best fingerings for those double-stops. it should be fairly self-explanatory with a guitar in your hands.

OUTRO 17 Easy iN a (vErsioN 2)

OUTRO 18 advaNcEd iN a (vErsioN 2)

OUTRO 19 Easy iN c

OUTRO 20 advaNcEd iN c

& 812

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cd trackS 45-46

cd trackS 45-46

cd trackS 47-48

cd trackS 47-48


#SMARTERMOVIEMAG

www.gamesradar.com/new-totalfilm-quiz

Take the smart movie quiz...

44 September 2016

PLAY } LEAD

The complexity goes up yet another notch this month with a tricky backing track to navigate as we continue our six-part video masterclass series with

legato legend Brett Garsed. Here we are going to look at the fourth track by Jason Sidwell, entitled Grasshopper. As Brett explains, the track really keeps you on your toes and the chord changes are quite varied to solo over. The use of chord tones and target tones is key

to navigating these tricky changes and Brett will take you through the process of planning a fretboard roadmap and using these target tones and chord scales in the video. There are some long vamp sections to stretch out on and in this situation Brett relies on his musical ear, not just a series of scales, to guide his choices.

That said, three main tonalities are used and we have marked these on the chord sheet and written out fretboard fingerings to get you started. The first tonality is the B Natural Minor scale (B-C#-D-E-F#-G-A) and this fits for the majority of the verse sections. The second is the ever-versatile B Dorian mode (B-C#-D-E-F#-G#-A). The final scale in use is B Major (B-C#-D#-E-F#-G#-A#). To these core scales Brett adds colour tones and chromatic notes. The combination of

sophisticated phrasing, clever note choices and a modern-sounding, overdriven tone makes this another must-study piece. The backing track and chord chart is included for you to practise over in addition to a full transcription of Brett’s performance from the video.

Hopefully, there will be a new technique, lick or phrase in here somewhere for you to

perfect. If you find one you like then memorise it and use it in future, especially when the semiquaver or sextuplet feel is what’s required. Once you have mastered some of the concepts in Brett’s solo, why not try creating a solo of your own over the very same backing track. Check out the chord chart for the changes and, most importantly, use your ear – it’s your best friend in the long run. Have fun and see you next time.

Brett Garsed Masterclass Part 4

This month we look at the Aussie guitar legend’s improvised performance over a fusion-style track called Grasshopper. Jon Bishop is your guide.

TRACK RECORD Brett is best known for his live and recorded work with Australian rock star John Farnham, but his earlier albums with T J Helmerich are legendary for their technique and musical interplay. He also works with American rock band Nelson. To hear Brett playing his own music, check out his solo albums, Big Sky (2003) and Dark Matter (2011). For all things Brett Garsed go to www.brettgarsed.com.

Gain Bass Middle TreBle reverB

8

7 76

3

Brett used his Gibson sG’s bridge pickup into a rola JTM 45 amp and Carl Martin Plexitone

pedal. any guitar will work well for this month’s performance, just dial up a creamy, dynamic

overdrive and be prepared to experiment with the guitar’s controls to achieve the desired

settings. a bit of reverb or delay can, of course, be added for that professional touch.

ABILITY RATINGAdvanced

Key: B/BmTempo: 120 bpmCD: CD-ROM

Info Ability to switch between tonalities Rock and fusion lead work Use of 16th-note syncopation

Will improve your…

✪ ✪ ✪ ✪ ✪

NEXT MONTH Brett performs a charged solo over The Investigaton Of Johnny F

Brett navigates this month’s track with his usual panache

BRETT wILL TAKE YOu ThROuGh ThE pROCEss Of pLANNING A fRETBOARD ROADMAp usING TARGET NOTEs AND ChORD TONEs

ON THE CD TraCk CD-rOm

September 2016 45

BRETT GARSED PT4 VIDEO MASTERCLASS

&

##

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EXAMPLE CHORD CHART fOR GRASSHOPPER

Lick 1 Wide interval lick : Bar 14This lick is ear-grabbing due, in part, to the wide intervals leaps that are utilised. Thankfully, the fretting of the lick and the fact that it is in the higher register make it easier to play due to the frets being closer together. The upper fret access on the Gibson SG is superb, which is also a help.

Lick 2 Triplet feel lick: Bar 33This lick sounds great with the triplet phrasing and simple note choices. Sometimes a good old-fashioned Dorian lick can really release the tension created by scale and chromatic orientated lines. Brett is a master at building up the tension and excitement, then releasing it like this.

Lick 3 Blues scale repeat lick: Bars 59 and 60To mix up the interest this lick is phrased using two different rhythms. The b5 (F) is used as a passing note. The repetitive nature of this B blues lick allows the improviser to include it for as long as they want, and also play with the rhythmic subdivisions. Repeating a phrase is great for building tension and excitement.

ScALE ShAPES THREE SCAlES THAT bRETT uSES fOR GRASSHOPPER

TOP THREE lICKS IN THE PIECE

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[Bars 1-25] The track starts with a one-bar drum intro. Brett sets sail with some well-chosen lines that are constructed from B natural Minor scale. note how Brett navigates the F# chord and see if you can include this type of idea this in

your own solos. The lick in bar 14 is ear-grabbing due in part to the wide intervals leaps that are utilised. The fretting of the lick and the fact that it is in the higher register makes it easier to play due to the frets being closer together.

GRASShOPPER bRETT’S SOlO


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[Bars 18-25] Here Brett changes scale to fit the change to B Major. This scale choice fits in with the chords and also lifts the mood. To learn the long

semiquaver lines you will need to take it slowly and be sure to check out the way Brett frets and picks the notes as this, of course, is an important factor.

GRASShOPPER bRETT’S SOlO cd track cd-rom

48 September 2016

PLAY } LEAD

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[Bars 26-41] The tonality shifts back to B Minor but this time using the B dorian mode (B-C#-d-e-F#-G#-a). While Brett will be more than aware of the scale he’s

using at any give time, the scale is secondary to his musical ear, his sense of melody and where the underlying chords are going.

GRASShOPPER bRETT’S SOlO


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September 2016 49


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[Bar 42-46] This five-bar section takes us neatly into the final verse. Breaking tricky sections down into smaller chunks will help with the learning process.


50 September 2016

PLAY } LEAD

[Bar 47-54] The lick that starts in bar 49 is a bit of a finger twister. Check out where the pull-offs sit within the phrase as this really helps the flow. chorus [Bar 55-end] The final section is a licence to go wild with the B dorian

mode – a great mode for long, flowing minor licks. There are loads of great lines and phrases here to pilfer and dissect, so do get stuck in. as usual with Brett, the use of wide intervals, legato and string bending are at the fore.


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52 September 2016

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Play } CLASSICAL

Elgar: one of England’s most celebrated composers

In this instalment of our classical guitar series we return to the work of one of England’s most celebrated composers, Edward Elgar (1857-1934) whose Nimrod

(from the Enigma Variations) appeared in GT225. Elgar was inspired by the great romantic composers of continental Europe (including Brahms, Schumann and Wagner)

but somehow managed to develop this style into an individualistic – and now iconically English – musical voice.

Despite writing some of England’s most rousing and bombastic pieces such as the (very Proms-friendly) Pomp and Circumstance Marches, Elgar was, in fact, a deeply sensitive, humble and melancholic

character. This is reflected in many of his works, including the one we are looking at here, Salut d’Amour, Opus 12.

Written in Yorkshire for violin and piano in 1888 (and arranged for orchestra a year later), this piece was composed as an engagement present to his fiancée Caroline Alice Roberts (she had written him a poem in return). The piece had the dedication ‘à Carice’ – a contraction of her two first names and the title (originally written in German, Liebegruss) translates appropriately to ‘love’s greeting’. Incidentally, he also entered the piece for a composing competition and won £5 (£2,600 in today’s money). It was later published by Schott who changed the title to its current French version as they thought it would sell more.

Written in a lilting 2/4 rhythm this piece has an exquisite simplicity and lyrical

Edward Elgar Salut d’Amour

This month Bridget Mermikides arranges and transcribes Edward Elgar’s stunningly beautiful Salut D’Amour.

melody and has since been arranged successfully for a whole range of instrumental combinations, which made the possibility of adapting it for solo classical guitar so attractive. The original was written in E major, which is usually a great key for the guitar, but I’ve opted for D major in drop D tuning, which makes the frequent ‘root-V’ bass movements more idiomatic and adds an

appropriate warm resonance. The piece fits really well on the guitar, but like any solo guitar piece, has its share of challenges in the balancing of multiple voices and maintaining a smooth uninterrupted melody over the accompaniment. I’ve addressed the chief technical concerns in the tab captions to guide you through your practice sessions.

dESpitE writing SomE of our moSt rouSing And bombAStic piEcES, ElgAr wAS, in fAct, A humblE And mElAncholic chArActEr

AbilitY rAting Moderate/Advanced

Key D major Tempo 70 bpm CD TRACKS 49-50Info

Fretting hand precision Romantic solo repertoireWill improve your… Separation of melody and accompaniment

✪ ✪ ✪ ✪ ✪

trAcK rEcord In order to play this or any repertoire piece it can be useful to hear a range of performances and interpretations so that you can absorb it fully, and see how a variety of instrumentalists have approached it. I recommend the violinist Itzhak Perlman’s piano and violin version (Violin Encores EMI 2005) and an orchestral version: London Festival Orchestra’s Favourite Classics (Hyperion).

NEXT MONTH Bridget arranges and transcribes Tchaikovsky’s Dance Of The Little Swans

tEchniquE focuS Warming upIt’s always very good to warm up slowly when practising. Just 10-15 minutes of preparation can set you up for a really beneficial practice session, and protect you against injury. One (of many) possible approaches to warming up is to take a very small section of a piece you are working on, and play it extremely slowly, focusing on relaxed precision, clarity of tone and efficiency of motion. In this way you can improve your technique, warm up optimally and imprint a secure muscle memory in your repertoire.


September 2016 53

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Salut d’amour { Edward Elgar

[Bars 1-24] After a two-bar intro the main melody begins. The indicated picking hand fingering is how I played it on the demonstration recording. Wherever possible I use rest stroke on the melody notes to make them stand out and I use a light free stroke on all the non-melody notes. The use

of a half-barre is frequently needed to accommodate both the melody and accompaniment notes – for instance bars 3 and 4 and bars 11 and 12. Pay attention to the bass notes and make sure the two-beat notes get their full value. At bar 35 we move to F major.

PLAYING TIPS cd track 50

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[Bars 39-68] At bar 39 we need a 3rd-fret barre for two bars. From this point on there is more movement and shifting around the fretboard. At all times aim to maintain a smooth connection between the chord shapes and a seamless

melody line. Work on it slowly at first to make sure the notes do not get clipped short in any way. When the main melody recurs at bar 57, make sure that you’re thinking about expression, feel, touch and tone.



September 2016 55

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[Bars 69-end] The musical content is a bit more dramatic here so there’s some fretting-hand fingering ideas to help. Watch out for the G#dim7 chord at bar

80. It should fall under the hand okay but is a bit stretchy. Continue to work on keeping the melody smooth, allowing the music to flow and breathe.


56 September 2016

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September 2016 57

Brought to you by…

Learning ZoneLessons from the world’s greatest teachers and schools...

in Lessons GT #260

in THe WooDsHeD .......................... 88Charlie Griffiths aims to perfect your technique. This month, he says put aside your first fretting finger to strengthen the second, third and fourth.

creaTive rock ...............................82Shaun Baxter continues his series blending bluesy ideas with the Mixolydian mode – this month it’s all about stacking triads.

Watching George Benson on the second Sky Arts series of Guitar Star, he recalled a comment made by his early mentor, the organist Jack

McDuff. Jack thought he was too ‘mousey’, too quiet for him to assess his pupil’s musical quality. Turning up his amp’s volume made George’s playing count, improving not only his conviction but also how the other musicians could interact with him on stage. A win-win scenario. Volume and dynamics isn’t a hugely discussed topic in GT as we’re usually focused on technique, theory, etc. But volume is an issue that affects you, your band members and your audience. Too quiet and no one really clocks what you’re doing (if you’re not adding to a band’s sound, sooner or later you’ll be dismissed). Likewise, too loud a volume and you will appear either too ‘look at me’ driven, or just naive

to the requirements of the setting (again, on your way, son!). So that’s stage dynamics but what about in the music room? I’ve spoken to numerous guitarists who like to practise without an amp to check their clarity and conviction. If picked notes, hammer-ons and string bends are articulated crisply then an amp will further augment your excellence. Of course, now you will need to keep unwanted string noise in check with relevant

damping techniques – especially with overdrive. As you work through GT, consider adding dynamic aspects to everything you tackle; play a piece loud,

and quietly, amp’d, and unplugged. Go slower, faster;

pick less, pick more; play straight 16ths or

swung 8ths. Dig deep and get more dynamics out of the

issue – and your playing!

58 September 2016

lesson } 30-minute lickbag

30-Minute lickbagbrought to you by…

The Sunset Strip hellraisers always played with attitude and this riff is a good example. It’s all down strokes with syncopation between the bass note and the

upper 4th interval. Practise the movement between 3rd and 2nd frets on the fourth string to make the change flow smoothly.

The lead guitar arpeggio in this example needs to sound swinging and vibey with some funk in the notes that land on the groove – emphasise this with some extra weight on beats 1 and 3 in the lick. The chords above the notation shown would be the most typical for a line like this.

This group rose up during the 90s and is remembered for melancholic melodies and stunning harmonies. This chord change is a simple representation of an acoustic part they might employ. Take note of the controlled 6/8 movement and pick steadily.

Easy Licks ExampLE 1 Crash TesT Dummies

intErmEdiatE Licks ExampLE 3 John sCofielD

Easy Licks ExampLE 2 möTley Crüe

Pat Heath of BIMM Brighton brings you yet another varied selection of fresh licks to learn at easy, intermediate and advanced levels.

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ON THE CD TRACK 51

cd track 51

cd track 51

cd track 51

September 2016 59

30-minute lickbag learning zone

Alternate pick this Harmonic Minor lick in ascending 6ths with a triplet feel while adhering to the 3/4 time signature. A precise string-skipping technique is required to allow for a good execution of this part, so practise slowly and in shorter sections. Slow and mindful repetition will generate good results.

This ‘proud and glorious’ riff requires heavy down strokes and plenty of grit. A well overdriven Marshall-style and bridge humbucker tone would be ideal for the strong 7th fret slide-up, ferocious attack on the 7#9 chord and pinched harmonic to end.

This example is a way of moving a Pentatonic lick up and down by a semitone shift. This is quite unusual (certainly in blues rock!) so be careful to do this with confidence and an assured timing. The diminished 5th (here, G) and major 7th (here, C) are good ‘doorways’ in and out, as you will see in this C# minor example.

intErmEdiatE Licks ExampLE 4 Zakk WylDe

advancEd Licks ExampLE 5 al De meola

advancEd Licks ExampLE 6 GreG hoWe

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cd track 51

cd track 51

cd track 51

60 September 2016

lesson } blues

Kenny Wayne Shepherd (Kenny Wayne Brobst) was born on June 12, 1977 and grew up in Shreveport, Louisiana. His grandmother gave him his first guitar

around the age of four, but he says he really started working at his playing at the (still

tender!) age of seven. His inspiration at that time came after being taken to a Stevie Ray Vaughan gig by his dad who was promoting the event. He was left, in his words, “pretty mesmerised” by the experience. Kenny is a self-taught musician who cites his dad’s extensive record collection as his teacher. At the age of 13 he was invited up onstage to play with blues musician Bryan Lee and from then on he honed his playing. After making some demo tapes and a video, Irving Azoff of Giant Records who had represented Steely Dan, Bon Jovi and Van Halen, signed him to his record label.

Kenny has had huge success with his releases, notching up seven Top 10 Billboard singles and the longest-running album on the Billboard Blues Charts with Trouble Is…

A true blues music fan to the core, in 2007 Kenny released a DVD-CD project entitled 10 Days Out: Blues From The Backroads, which featured Kenny jamming with and interviewing some of the blues giants, including surviving members of both Muddy Waters and Howlin’ Wolf’s bands as well as other notables such as Clarence Gatemouth Brown and B B King. During his career, Kenny has been nominated for five Grammys and

received two Blues Music and two Orville Gibson awards. A recent successful side project is The Rides – a band with Stephen Stills and Barry Goldberg. His most notable legacy so far though is that Kenny Wayne Shepherd has kept the blues flag flying, thus connecting a younger audience to the huge canon of blues artists that came before him.

For both of these solos, I’m in regular tuning. I’m using a pick on both examples but occasionally I’ll also use my second and or third finger. Do whichever suits you and I hope you enjoy the piece.

Kenny Wayne ShepherdKeeping the blues alive and well is American blues-rock guitarist Kenny Wayne Shepherd. Les Davidson explores his incendiary style.

Kenny Wayne gives it some at the top of his Strat’s neck!

TRACK RECORD Kenny Wayne released his debut album Ledbetter Heights (1995) when he was just 18 years old. It was an instant smash hit and brought him to the attention of the blues world and the wider public. Trouble Is... came two years later and spawned the hit single Blue On Black. Supergroup The Rides have so far released two albums: Can’t Get Enough (2013) and Pierced Arrow (2016).

In 2008 Fender released the Kenny Wayne Shepherd Signature Series Stratocaster.

Although a long-time Strat player Kenny’s tone is heavier and less trebly than you might think. Use a valve-type gain and an overdrive pedal

(not distortion) to dial up a smooth and creamy tone. Use the bridge pickup and knock off any

harsh top end. A touch of delay is also fine.

GAIn BASS MIddle TreBle reverB

8

7 76

3

ABILITY RATINGModerate

Key: VariousTempo: Various CD: TRACKS 52-55

Info Minor Blues scale soloing Dominant 12/8 soloing Blues-rock feel and attitude

Will improve your✪ ✪ ✪ ✪ ✪

NEXT MONTH Les looks at the smooth but fiery blues style of the great Joe Bonamassa

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RESS

/ A

LAM

Y


ThAT’S ThE BIG pAY Off: TO WALK ONSTAGE EvERY NIGhT AND WATCh ThE fANS SING ALONG – IT’S TOTAL fuLfILmENT


September 2016 61

KENNY WAYNE SHEPHERD learning zone

ExamplE 1 d minor progression

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example 1 is not the usual I-Iv-v blues sequence but a chord progression in B Minor with some open ‘drone’ strings adding a nice ‘suspended’ quality. The obvious scale choices are d minor Pentatonic (d-F-G-A-C) and d Minor Blues scale ( d-F-G-Ab-A-C). It’s a great sequence to blow over, so why not try your own solo too?

cd track 52

62 September 2016

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This example takes us into major key territory and a 12/8 time signature. It mixes classic old-style blues licks with more modern ideas that show Kenny’s rocky side. Although in a major key, e Minor Blues scale (e-G-A-A#-B-d) is perfect – just remember to push the b3rd (G) slightly sharp, especially when on the e7 chord.

ExamplE 2 12/8 dominant blues-rock

lesson } blues ON THE CD TRACKs 52-55

cd track 54

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64 September 2016

lesson } ROCK

Dick Dale is an American guitarist known as the King of Surf guitar – and the man who pioneered surf style music in the 1960s. His fast staccato,

tremolo-picked guitar lines are often cited as being the precursor to heavy metal music. He is a guitar player who pushed the boundaries

of what technology could do at the time by starting to overdrive his amps into a distorted tone. Notably, he worked closely with Fender in designing the first ever 100-watt guitar amplifier. His playing is said to have influenced other rock guitar royalty, such as Jimi Hendrix and Eddie Van Halen.

Dale was born in Boston, USA, although some biographies list his birthplace as being Beirut. He is of Lebanese descent on his father’s side and Polish-Belarusian on his mother’s side of the family. His early musical ventures included learning how to play the tarabaki drum, which then went on to influence his rapid-fire guitar picking style.

Dale was a surfer and he wanted to write and play music that reflected the sounds he heard in his head while surfing. His song Let’s Go Trippin’ is regarded as the first surf rock song, and after the release of his debut album Surfer’s Choice, he became a regular on the Ed Sullivan Show. Although the ‘British invasion’ in the mid 60s started to take over from surf rock, Dale continued to record and perform and in 1994 the genre enjoyed a huge resurgence when Quentin Tarantino’s Pulp Fiction featured Dale’s song Miserlou in the film and its soundtrack. In 2005 The Black Eyed Peas sampled the same track in their hit Pump It. In 2009 Dale was inducted into the Musicians’ Hall Of Fame And Museum in Nashville. Dick Dale has also said that he never used alcohol or drugs, he has studied martial arts for 30 years, and he still puts on an energetic live show well into his 70s.

Our featured track this month features some fairly easy melodic lines on the fifth string, although the part is very exposed above the bass and drums. It also carries a lot of the rhythm and melody, so it will be more tricky to execute confidently than you may at first imagine.

We’re in the guitar-friendly key of A minor (A-B-C-D-E-F-G), but you’ll also encounter a G# note from the A Harmonic Minor scale (A-B-C-D-E-F-G#) and therefore an implied E major chord (E-G#-B) that gives the desired spaghetti western-type sound.

Dick DaleThis month Martin Cooper dons his wettie and waxes up his sled to check out the style of the King of Surf guitar, the picktastic Dick Dale.

Dick Dale with his, now legendary, gold Fender Strat

TRACK RECORD Dale’s debut album, Surfer’s Choice (1962) features Let’s Go Trippin’, while King Of The Surf Guitar (1963) includes the title track, plus Riders In The Sky and Dale’s take on Hava Nagila. There is also a hits collection called Guitar Legend: The Very Best Of Dick Dale. You’ll find these as well as Dale’s best-known track, Miserlou, on the compilation: Guitar Legend, The Best Of Dick Dale.

Dick Dale was one of the first artists to have a signature Fender Stratocaster (left handed). He

also uses extremely heavy strings: 16-58! He uses 100-watt Fender amps and has often

employed an ‘on the edge of break-up’ tone. There’s also a lot of reverb for a very wet sound. Go for a bridge single-coil, crank your amp to the edge of break-up and slap on the reverb!

Gain BaSS MiDDle TreBle reverB

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3 ABILITY RATINGEasy/Moderate

Key: A minorTempo: 147 bpmCD: TRACKS 56-57

Info Surf-style picking Exotic scale knowledge Playing along one string


✪ ✪ ✪ ✪ ✪

NEXT MONTH Martin examines the style of ELO’s main man and Glastonbury star Jeff Lynne

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DICK DALE’s pLAYING INfLuENCED OThER ROCK GuITAR ROYALTY, suCh As JImI hENDRIx AND EDDIE VAN hALEN



September 2016 65

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in terms of picking, this is not lightning-fast, Yngwie type shredding, but these 16th-note alternate picked lines could still catch you out. Play the faster phrases with alternate down-up pick strokes, and watch out for unwanted open strings ringing. There’s an aggressive attack to all the single-note lines and chords, so make sure that you stay in control but with some real attack to the playing. execute the G, F, e and am triads with a down-up motion as well.

cd track 56

66 September 2016

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ExamplE DICK DALE STYLE

lesson } ROCK

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cd track 56

lesson } hard rock

68 September 2016

This Grammy-nominated 1990 release came five years after Steve Vai’s debut solo album Flex-able. With its creative songwriting, pristine production and

jaw-dropping skill it’s hard to believe that Passion And Warfare was his second release.

Of course, Steve was already a seasoned live performer and session guitarist, having had a stint with Frank Zappa on the albums,

You Are What You Is, Ship Arriving Too Late To Save A Drowning Witch and Them Or Us – to name but a few. Steve’s David Lee Roth period began in 1986, when he recorded one of the greatest rock records of the decade, Eat ’Em And Smile. Steve is awe-inspiring, and arguably steals the limelight from one of rock’s most charismatic frontmen. Proving he could step into the shoes of Eddie Van Halen was a huge boost to Steve’s career and exposed him to a wider mainstream audience.

The audience was certainly listening in September 1990 when Passion And Warfare was unleashed on the world’s unsuspecting guitar nerds. Like Satriani’s Surfing With The Alien three years earlier, the album redefined what instrumental guitar music could be. Not

only was it heavy with tracks like Erotic Nightmares, but it was also fun and tongue in cheek with The Audience Is Listening. Of course, For The Love Of God was so packed full of emotion that it could make grown men weep into their fretboards.

With the following examples we look at some of the techniques and approaches used throughout the record, starting with a heavy syncopated riff that requires deft alternate picking and string-skipping chops, which combine to create a tight and punchy effect. Example 2’s contrary motion effect involves playing an ascending double-stop melody while simultaneously playing a descending bassline. Our next example emulates Steve’s ‘harmoniser’ sounds, adding major 6th and a perfect 4th, along with some delay to create a ping-pong effect - you’ll see instructions on

how to create the effect. Examples 4 and 5 focus on Steve’s clean and funky rhythm.

Finally, we have a big solo ballad piece with note choices shifting between F Lydian and E Dorian - both bright and positive sounding modes. Expressiveness is everything when it comes to delivering a Vai-style melody; every nuance from the vibrato, to pinched harmonics, to whammy bar scoops and gargles is carefully placed, but should never seem gimmicky. Practise the solo in short sections focusing on connecting the techniques together naturally and – as Steve would tell you – above all, musically.

Steve Vai

for the loVe of god waS So packed full of emotion it made grown men weep into their fretboardS!

On its silver anniversary Charlie Griffiths pays tribute to one of the greatest guitar albums of all time: Steve Vai’s epic Passion & Warfare.

Steve Vai: with his iconic seven string Ibanez Jem

abilitY ratingModerate

Key: Various Tempo: Various CD: TRACKS 58-69

Info Alternate picking String skipping Big ballad soloing


✪ ✪ ✪ ✪ ✪

track record Passion And Warfare is a real musical journey and deserves to be heard in one sitting, but stand-out tracks include The Audience Listening and Erotic Nightmares. However, it was the album’s big ballad For The Love Of God that defined Steve as one of the all-time greats with its amazing combination of beautiful melodies, technical prowess and passionate expression. An album not to miss!

Steve used tons of gear for this album, including Ibanez Jem and Universe guitars, Carvin X-100B

and Jose Arredondo modded Marshalls, plus ADA preamp and Roland JC120 amps. Use a modern humbucking guitar with a floating

vibrato. Set your amp with enough distortion to let the notes sustain smoothly, and add effects

such as delay, chorus and a pitch shifter.

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NEXT MONTH Charlie looks at US hard rock band Winger featuring Rob Beach


STEVE VAI learning zone

September 2016 69

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ExamplE 1 hard rock riff

ExamplE 2 syncopated chords

ExamplE 3 intervallic arpeggios with delay and pitch shifter effects

This riff features a descending bassline and ascending double-stops played in contrary motion. Chromatic notes add tension, but the tonality is Mixolydian (1-2-3-4-5-6-b7) with an added minor 3rd and bluesy b5. learn the double-stops using first, third and fourth fingers then add the bass notes with the fingers you have left.

The first two bars alternate between A and its 5th e, and the second two bars are exactly the same, only played a b3rd higher. For the effects, set 16th note with repeat so the repeated note lands in-between the played notes. Finally, feed the effect into a pitch-shifter set to a major 6th higher (play A to get F# too).

This riff is based in e Minor (e-F#-G-A-B-C-D) with the first three notes played on the sixth string with palm-muting. Play the 2nd-fret double-stop with a first-finger barre and lift off your palm to let the notes ring out. Keep the momentum of the riff up by keeping your pick moving in alternate down and up strokes.

cd track 58

cd track 60

cd track 62

lesson } hard rock

70 September 2016

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This riff relies on a loose, relaxed wrist when strumming these funky 16th notes. Turn your wrist outward away from the strings and move your hand by rotating your forearm. Hold your pick quite lightly so as not to attack the strings too harshly.

This riff shows Steve’s Hendrix influence using ringing arpeggiated chords combined with bluesy licks and even some natural harmonics. As you play the riff focus on making the different elements flow together smoothly and calmly.

The backing track for this solo alternates between two chords: Fmaj7#11 and em add9. For the first chord (Fmaj#7/11) the lydian mode (1-2-3-#4-5-6-7) is the best fit and for the second chord, emadd9) we lean towards e Dorian (1-2-b3-4-5-6-b7). Bars 1-4 are very melodic and lyrical and use the whammy bar to add expression such as scoops, vibrato and a gargle. Bar 5 features sweep picking on the top three strings followed by some flowing legato, which is phrased with odd groupings; focus on timing here and match the relevant notes with the downbeats. Finish the solo with a tapped melody which moves through the chord progression.

ExamplE 4 funky doublestops

ExamplE 5 hendrix-influenced chords

ExamplE 6 rock solo


cd track 64

cd track 66

cd track 68

STEVE VAI learning zone

September 2016 71

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ExamplE 6 solo ...CONTINUED cd track 68

72 September 2016

lesson } JAZZ

Scott Henderson combines the dynamic expression of Hendrix and SRV with the harmonic potential of Coltrane and Miles Davis. A typical performance

could contain Jimi-like Pentatonic blazing, huge Albert King style bends and Beck-style whammy bar antics. We might also hear chromatically-embellished chord tone action that wouldn’t sound out of place from the sax

of Michael Brecker. Not surprising really when you consider the time he spent with Chick Corea and Joe Zawinul, two of the most harmonically-advanced musicians of all time.

He first found fame in Corea’s 80s fusion project, The Elektric Band. After a stint with Mahavisnu violinist Jean-Luc Ponty, he continued to stake his claim as one of the most significant guitarists in fusion with his stellar contribution to Zawinul’s post Weather Report project, The Zawinul Syndicate. At the same time he achieved acclaim with his own progressive project, Tribal Tech, with virtuoso bassist Gary Willis. Since 1994 Scott has released a steady stream of solo albums, displaying his unique and uncompromising take on the blues. Henderson takes his

musical development very seriously and has been a member of the teaching faculty at The Musician’s Institute in Hollywood for well over 20 years. He has also released instruction books, videos and online lessons, all of which are well worthy of your attention.

We’ve taken a slightly different route this month, so rather than the usual collection of short lines and phrases we find two full solos. The first is based on a swinging 6/8 feel, while the second is a funky 4/4. Both are two choruses long and orientated around a 12-bar blues sequence, with some slight deviations from the norm; so 24 bars each in total, chock full of Henderson-ism. There’s a huge amount to be gained from learning these solos in their entirety but you can always divide them up

into bite-sized licks should you prefer – it’s good practice to identify the phrase structure of a solo. Are they four bars long? Just two? One? Do they move across the bar line? Imagine attempting to read this text with no punctuation and you’ll get some indication of just how significant these markers and musical divisions can be.

Scott is a master at creating an almost infinite amount of variation by toying with rhythm, note selection, dynamics and every other musical device in his improvisational toolbox. These solos could be viewed as just the beginning, so go on, jump in and enjoy.

I consIder myself more of a blues-rock player, but I borrow from jazz and I lIke the colour It brIngs to musIc Scott Henderson

scott hendersonIf you’re looking for inspiration but can’t decide between blues, rock or jazz, John Wheatcroft has the very player to answer your every need.

Scott Henderson playing one of his John Suhr guitars

track record One CD that encapsulates Scott’s stylistic hybrid approach is the fantastic Live (Mascot 2005). His playing is on fire from beginning to end. His most recent studio recording, the appropriately titled Vibe Station (CD Baby 2015) is equally impressive and we’d also suggest checking out his collaboration with fusion greats Jeff Berlin and Dennis Chambers entitled HBC (Music Theories Recordings 2012).

Henderson’s quest for organic tones has seen him simplify his rig, favouring a John Suhr S-style tuned

down a semitone, with a floating bridge to allow movement in both directions. A variety of drive

pedals run into his single-channel Suhr valve head and cab and he selects different combinations

depending upon which pickup he is using. Whatever your set-up, aim for a relatively high gain setting with plenty of bass and you’re good to go.

GAin BASS Middle TreBle reverB

8

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abIlIty ratIngAdvanced

Key: G blues/A bluesTempo: 130 bpmCD: TRACKS 70-73

Info Sophisticated vocabulary Vibrato arm expression Ability to ‘make the changes’


✪ ✪ ✪ ✪ ✪

NEXT MONTH John delves deeply into the playing of American jazz guitar legend Steve Khan

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ExamplE 1 Full Solo 1: BlueSy Swinging 6/8[Bars 1-5] While Scott tunes down a semitone, we remain in standard tuning for this blues solo in G. As all of the vibrato here is accomplished with the whammy bar, it’s a good idea to develop a technique where it’s close to hand at all times.Try lightly holding it between your third and fourth finger, so you can still use the side of your palm and unused fingers for muting, and pick the strings with a plectrum or second finger. We kick off with a hip G6/7#11 before heading into conventional blues vocabulary based on 3rd and 6th intervals, although the

6ths in bar 5 are derived from the G Half-Whole scale (r-b2-#2-3-4--b5-5-6--b7). [Bars 6-9] Here we see how Scott might use C (C-e-G) and Bb (Bb-d-F) major triad to outline C Mixolydian (C-d-e-F-G-A-Bb), followed by more blues phrasing. We step closer to the jazz side in bar 9 with a symmetrical line based on minor 3rds, once again derived from the Half-Whole scale but here against e7#9. As this scale replicates in minor 3rd intervals, these are actually the same notes, albeit with some enharmonic respelling, as our previous G Half-Whole.

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lesson } JAZZ

ExamplE 1 Full Solo 1: BlueSy Swinging 6/8[Bars 10-13] There’s a neat ‘five against three’ grouping to the Pentatonic line in bar 10, followed by a descending major 7th intervallic melodic cell in minor 3rds against d7#9 derived once again from Half-Whole. Henderson is a master at balancing language from opposite ends of the spectrum, so in bars 12-13 we see a basic Pentatonic line answered with hip d7 Altered phrase based

around the two major triads that inhabit the Altered scale from the b5th and b6th degrees (Ab and Bb respectively). [Bars 14-17] Our second chorus kicks off with a G9#11 arpeggio straight out of the lydian dominant mode (r-2-3-#4-5-6-b7), followed by more conventional chord tone-based ideas.


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ExamplE 1 Full Solo 1: BlueSy Swinging 6/8

ExamplE 2 Full Solo 2: Funky in 4/4 (Slightly Swinging 16thS)

[Bars 18-21] The arpeggios in bars 18 and 19 come straight from C Mixolydian (C-Bb-Am-Gm) with the open third string between to act as a technical connection device and also to add some sonic ‘glue’ between the shapes. For the e7 alt this time around we select the associated Altered or ‘Superlocrian’ scale (r-b2-#2-3-b5-#5-b7). notice how legato Scott’s phrasing is, with almost no instances of uninterrupted consecutive picking, using as many hammer-ons and pull-offs as possible.

[Bars 22-25] We finish this first solo with two cool concepts. The first combines string-skipped Pentatonics with superimposition, with e minor Pentatonic juxtaposed against Am (5-b7-r-2-4) and F minor against d Altered (#9-b5-#5-b7-b9). The second idea in bars 24 and 25 show how Scott turns a repetition idea around by repeating specific notes within a pattern rather like this: 123-123-123-112-312 etc, with the numbers in this example represented as notes grouped in triplets.

[Bars 1-4] More whammy bar action to begin with, so make sure you have the bar literally to hand. From a notes perspective, Scott is exploiting the minor 3rd symmetry between the A major Pentatonic and blues box shape found between the 2nd and 5th frets and the associated parallel A minor Pentatonic

and blues pattern found three frets higher. Scott being Scott, he pushes this association into implied Half-Whole symmetry by moving up a further three frets, as is customary with any vocabulary found within this scale. As Scott says, “i consider myself a blues-rock player but i borrow from jazz.”

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ExamplE 2 Full Solo 2: Funky 4/4 (Slightly Swinging 16thS)[Bars 5-8] We’re back to more conventional blues vocabulary in these bars, but just because the note content is more chord-tone based, don’t underestimate the delivery and articulation of these lines. Henderson plays everything with supreme commitment and with a real sense of intent. [Bars 9-12] Here we enter more harmonically sophisticated territory, choosing a chromatically decorated G Mixolydian (G-A-B-C-d-e-F) against G7, moving into d Blues scale with the added 6th (d-F-G-Ab-A-B-C) over d7, and a string skipped fragment from the A blues scale (A-C-d-eb-e-G) over A7, bringing the

phrase to a logical conclusion towards the v chord of e7#9 (e-G#-B-d-F#). [Bars 13-16] We get down and funky in the opening four bars of our second chorus. The muted ghost notes are not intended as a literal representation of exactly what you might play here, so don’t be afraid to loosen up and add any percussive strums in between the notes as you see fit. Your muting, however, needs to be right up to the mark, so ensure that all unwanted strings are taken care of with the unused parts of the fingers of your fretting hand and don’t allow any extraneous open strings to ring out.


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ExamplE 2 Complete Solo 2: Funky in 4/4 (Slightly Swinging 16thS)[Bars 17-20] We begin this section of the solo with yet more Half-Whole action, although this time we ascend this pattern using a partial chord shape and intervallic combination of major 6th/minor 3rd. notice how we break away from the pattern to add a chromatic connection in the first half of bar 18, simply a way to avoid hitting the targeted A6th interval earlier than intended. [Bars 21-24] Yet more chord-tone action to conclude, but this time there’s

more of a jazz feel to the line, due in no small part to the choice of connected semiquaver rhythms. Again, note the use of legato throughout and make sure that you don’t rush, the bane of many guitarists and not an attribute that will make you many friends with the rest of the band. After all the sophisticated melodic and harmonic shenanigans, it’s good to know that you can rely upon good old A minor Pentatonic (A-C-d-e-G) to bring things to a close.

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lesson } ACOUSTIC

Conjure an image of Don McLean and the first thing that comes to mind is probably his über-smash strumming tour de force American Pie, a modern

classic that topped the charts at the start of 1972. Listen to tracks like Vincent and Empty Chairs, however, where the guitar is playing a more prominent, fingerpicked role and you’ll

hear McLean’s full range on his favoured Martin. As with many other artists of his generation McLean started out in the folk singer-songwriter scene of America in the 1960s, performing alongside his friend and mentor, the legendary Pete Seeger. His first release was 1970’s Tapestry, which found favour in the folk market. However, it was his second album release, American Pie, that spawned the smash hits Vincent and the eponymous title track that made him into a global superstar.

Unlike many singer-songwriters McLean elevates the guitar beyond mere accompaniment and uses it as a device to augment his vocal lines – melodies and

counter-melodies flow alongside his voice to create an extra dimension to his writing that many artists wouldn’t think to add. This sounds more complex than it is – in essence McLean creates simple guitar arrangements of his own songs, against which he can then sing. It doesn’t involve any unusual chords; typically he will use standard open Major and Minor shapes, which he fingerpicks with the melody lines interspersed against common accompaniment patterns.

Take a track like Vincent, for example, where you hear a major Pentatonic-based melody (starting with the famous Starry Starry Night line) that re-enforces what the vocal is doing before creating a pattern to back up the following vocal melody. It’s a great way of writing as it re-enforces the hook and can

even give a singer a pitch reference to work against. In addition this can be a great way of writing as, if you know your instrument and scales well enough, a bit of noodling can quickly result in a great melody line and, if you have the lyrical prowess to match, a hit could be on the cards.

Although McLean’s style is not flash it does require a good control of the picking hand as you will often move from playing common arpeggiated melody lines to single-note melody figures. So if you want to develop in this style, some time spent working on Major and Minor scales in the open position will pay real dividends.

mclean started in the american folk singer-songwriter scene in the early 70s with pete seeger

don mcleanIn this month’s column Stuart Ryan serves up a slice of Acoustic Pie with this study of that fine singer-songwriter and picker, Don McLean.

Don McLean: picking on his glorious Martin signature model

track record You can’t go wrong with McLean’s second album, American Pie. It features the classic title track alongside Vincent and Empty Chairs, so it gives you a great overview of his style from the strumming approach to more delicate fingerpicking. Greatest Hits collections should also contain his excellent version of Roy Orbison’s Crying, plus And I Love Her So and Castles In The Air.

Don McLean is a Martin man through and through – watch most classic performances and you’ll see him playing a Martin D28. Latterly he can be seen with his Martin signature model, the Martin DM-40. I recorded this on a Gibson

J35 Collector’s Edition, although any good-sounding steel-string acoustic will see you

through. Have you changed your strings lately?

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Key: GTempo: 94 bpmCD: TRACK 74

Info Accompaniment Picking accuracy Open position scale ideas


✪ ✪ ✪ ✪ ✪

NEXT MONTH Stuart stays with the American folk scene as he assesses the playing of Joan Baez

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[Bar 1] never underestimate the importance of an intro! You’ll sometimes hear McLean play short, melodic licks or fills before starting a piece. It’s a great skill to develop and you’ll also hear it in the playing of that other master singer-songwriter and picker, James Taylor.[Bar 8] This particular section is worth committing to memory as you’ll hear this particular G to C/G movement in the playing of many other classic songwriter-guitarists, including a certain Paul simon.

[Bar 9] From this point on we see how McLean connects a simple chord sequence using standard open major and minor shapes but arpeggiating them and adding short melodic sequences to connect each chord. In order to do this, however, you’ll need to be confident with Major and Minor scales in each key in the open position. In addition, you need to be good with chord tones so your melody always falls on a note belonging to the chord itself when you come to play it.

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[Bar 18] There’s another classic songwriter’s trick here as you move from an E minor chord to a D major with the F# (the 3rd of the chord) in the bass. It’s a classic device as, although technically the chord progression is moving down (say, from E down to D) you get the ascending bass note, which then gets you smoothly into the next chord, the G major.

[Bar 22] and what goes up… Here again the bass movement makes the chord movement super smooth, in this case descending from G via D/F# to E minor.[Bar 28] You can put your melodic figures anywhere within the chord but they will always sound great on the higher strings where they really ring out against the bass note and can create the illusion of two voices playing at the same time.

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lesson } ACOUSTIC ON THE CD TRACK 74

cd track 74

Learn toplay like

your heroes

every lesson tabbed – plus quality audio on the free disc!

on sale noW

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This magazine/DVD-ROM is packed with all you need to become the next acoustic hero, with technique lessons, style studies of acoustic

guitar’s key players, plus three fantastic solo pieces. Just pop the DVD-ROM into your PC or Mac to hear top audio synched to animated tab.

lesson } CREATIVE RoCk

82 September 2016

In previous lessons, we’ve looked at ways of deriving triads from A Mixolydian to be used as the basis for new lines. Triads can introduce harmonic propulsion into your

lines by implying chord motion, creating results that sound ear-catching and powerful.

So far, we’ve looked at the ‘vertical’ use of triads whereby ideas have been confined to a single area of the neck; however, now we’re going to look at playing ‘lateral’ ideas: ones

that take us along the

neck. Rather than deal with all the potential triads within a scale, we’re just going to focus on the ‘parental’ triad: the one that stems from the root note. In A Mixolydian, the parental triad is A:

A-B-C#-D-E -F#-G1-2-3-4-5-6- b7

A Mixolydian:A-C#-E 1-3-5

Here, the A triad represents the most stable notes: the notes of rest as far as the ear is concerned; consequently, it should act as the backbone or basis when building lines.

Diagram 1 shows the various CAGED shapes of A Mixolydian and the dark notes represent the A triad notes in each shape. It is vital to start building your lines around these notes, so why not take your existing vocabulary in each shape and forge the two together in various ways.

Diagram 2 shows how all the CAGED shapes link together along the neck, and it’s this particular scheme that forms the basis of this lesson.

Most players who are new to using triads find it difficult to make music using leaps (intervals of a minor 3rd or greater) rather than steps (intervals of a tone or smaller); however, through perseverance it’ll soon become possible to use triads naturally. Because of their vertical nature (often featuring just one note per string), sweep picking is a recommended approach if you want to play triads (especially large ones) at speed.

Also, where consecutive notes on different strings occupy the same fret,

you will have to employ a barre roll. This technique involves using the

same finger to play two consecutive notes on

different strings within the same fret. When following a note on a thicker string with a note on a thinner string, you would fret the note on the thicker string with the tip of the finger

and then play the note on the thinner string by flattening the same finger against it. The pressure on the fingertip should be released so that you don’t end up holding both strings down at once: you should aim to make only one note sound out at any particular time.

Conversely, when following a note on a thinner string with a note on a thicker string, you would fret the note on the thinner string with the underside of the finger so that you have enough finger left over to play the following note on the thicker string by pushing the elbow forward so that the fingerprint part of the same finger can be flattened against it. Again, only one finger should be held down at any one time so that notes do not run into each other. This separation can be helped by using the side of picking hand to rest lightly on the bridge in order to slightly palm mute throughout.

Finally, when experimenting, you should work at establishing vocabulary that stems from each of the five CAGED shapes on, not just Mixolydian, but every other scale that you know – all these ideas are perfectly transferable to any other scale. Also, remember to work at creating ideas that have some form of rhythmic interest, as this is a great way help to make triads sound more musical and less mechanical. And seamlessly infiltrating triads into your regular scalic licks is definitely the way forward.

In the following lesson, we look at ways of taking the principles that we have used here with the parental triad and applying them to the other triads that exist within the scale.

many players new to using triads find it difficult to use intervals of a minor 3rd or greater

lateral use of mixolydian triads Pt 1

Shaun Baxter shows how to use inversions of the same triad in order to shift along the neck and create exciting new Mixolydian lines.

aBility ratingModerate/Advanced

Key: A (A7)Tempo: 120 bpmCD: TRACKS 75-77

Info Extracting triads from within a scale Incorporating triads in your solos Developing triad-based lines


✪ ✪ ✪ ✪ ✪

tracK record There are several aspects to Yngwie Malmsteen’s playing from which we can learn. He manages, via a ferocious technical approach coupled with an equally potent vibrato, to inject melodrama that elevates his ideas to epic proportions, often seamlessly integrating the parental triadic arpeggio. His first three solo albums, Rising Force, Marching Out and Trilogy are must-haves.

Triads will sound good either clean or distorted for single-note improvisation; however, as this is Creative Rock, all the examples were recorded

using a blues-rock sound: a Fender Strat through a Zendrive into a Cornford head. From that starting

point, for any given line, one just needs to consider which pickup to use (I used the bridge pickup

throughout) and where to apply a slight amount of palm muting in order to clean things up in places.

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GENERAL playinG tips

EXAMPLES lateral use of mixolyDian triaDs

DIAGRAM 1 CaGeD shapes for a mixolyDian

all of the recorded examples in this lesson are based on playing different inversions of the same parental triad (a) while travelling laterally along the length of the guitar neck. Within the transcription, some pick-stroke indications are given to reflect where I used sweep picking on the recording; however, where 16th-notes are used, you may prefer to use alternate picking instead. also, if following the pick-strokes recommended in the transcription, although some examples are shown starting with an upstroke, it’s often more natural to start most musical phrases with a down-stroke. So, if you play the first note using a down-stroke, that’s okay: it shouldn’t make much difference once you’re past that initial note; just play as written from that point onwards.

Furthermore, most of the musical examples start from CaGed shape #1 of a Mixolydian, but you should also try to create ideas that both ascend and descend from each of the other CaGed shapes too. In the backing track, a bridge part was inserted just to mix things up (to make it less monotonous). The chord-names may look a bit scary [Gmaj7 (no 5th)/e5 F#m7 (no 5th)/e5, dmaj7 (no 5th)/e5 and C#m7 (no 5th)/e5]; however, every note of each of these four bridge chords are to be found within a Mixolydian, so you’ll be able to continue to play a Mixolydian throughout. Finally, all of the examples have been ‘trimmed off’ with a bluesy ending, just to give you an idea of how the two approaches (triads and blues-rock) can be forged together.

examples 1-3 These employ two-string triad shapes. This first one features a four-note motif (note-order: highest note, middle note, lowest note, middle note) played to a 16th-note count and taken up along the length of the

neck stemming from CaGed shape #1 and shifting up through the various inversions before ending up an in the equivalent shape #1 an octave higher, where we top things off with a bluesy phrase.

cd track 76


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EXAMPLES lateral use of mixolyDian triaDsexample 2 next, we travel down the neck rather than up. also, the four-note motif in each beat is different (now the note-order is: middle, highest, middle, lowest). Finally, we finish with a melody derived from CaGed shape #2 of a Mixolydian mode.example 3 Our final example is devoted to two-stringed triad shapes and sees us cranking the speed up to 16th-note triplets. Here, we’re using a three-note motif (note-order: highest, middle, lowest), which is repeated before shifting laterally up the neck in a modified form to produce each inversion. as with every other line, aim to remain aware of the underlying scale territory; here, we’re starting in shape#1 and drifting up through the shapes to shape#4, before finishing high up the neck in shape#1 (an octave higher from where we started). apart from trying to shift this particular motif down the neck as well

as up, you should also try reversing the note-order (to lowest, middle, highest, as used by Yngwie Malmsteen during the main arpeggio theme in Trilogy Suite from his album Trilogy). example 4 now we move onto several examples (ex4-ex8) that use three-stringed triad shapes. This first one employs a four-note motif (note order: highest through to lowest) played to a 16th-note count. again, you should try to place everything that you play into some sort of visual context. Here, we’re ascending the neck, starting from shape #1 and travelling through the various positions until we arrive at shape #1 again (an octave higher than when we started), before finishing with a bluesy phrase within that same shape. note the use of a minor 3rd (C) as a form of minor tension that is ‘corrected’ back to a major 3rd (C#) in beat 4 of bar 14.


cd track 76


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EXAMPLES lateral use of mixolyDian triaDsexample 5 Here, effectively, we have the reverse equivalent of the four-note 16th-note motif featured in example 4 (the note order now going from lowest through to highest). In bar 17, the motif is shifted up the neck and is modified to encompass the various inversions encountered along the way. Finally, although a down-sweep is shown in the transcription for the first three notes of each four-note motif (as used on the recording), you may either want to use alternate picking (down, up, down, up) or a combination that adheres strictly to economy picking (up, down, down, up: where the pick always travels directly to each new string). example 6 This example features a combination of the two different four-note motifs from the previous two examples. We start with the descending motif from example 4, and this then alternates with the ascending motif from example 5. apart from taking this scheme down the neck as well as up, you

should also try reversing the trend so that you start with the ascending four-note motif first. example 7 This time we’re playing down and up each shape in order to produce a 16th-note triplet motif that, again, is typical of that used by Yngwie Malmsteen (listen to demon driver from his fifth album, eclipse).example 8 In this final three-string triad example, we see the reverse of the motif used in example 7. This time, we’re playing up and down each shape before finishing with a bluesy phrase within CaGed shape #1 (another one that features a shift from C natural to a C#). example 9 This is the first of two examples featuring four-string triad shapes. Here, we’re travelling down and back up each shape/inversion to create an eight-note motif that lends itself very well to a 16th-note count (it takes two beats to complete).

cd track 76


86 September 2016

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and we are moving down and up each shape. The pick directions in the transcription show one continuous sweep per beat, and you will benefit technically by focusing on ‘framing’ each shape with an upstroke for the highest note and a down-stroke for the lowest note.


cd track 76


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example 13 Finally, we have the first of two examples that feature six-string triad shapes. This first one, played to a 16th-note count, involves playing down one shape and ascending the next.example 14 and here’s the reverse: up one shape and down the next.

cd track 76

lesson } IN THE WOODSHED

88 September 2016

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This month we focus on fretting-finger dexterity with some exercises designed to test and improve control, independence and stamina between

your fingers. As an added challenge, we’ll concentrate our efforts on what is for most people the weaker side of the hand and use only the second, third and fourth fingers, taking the more naturally strong first digit out

of the equation. Players like George Lynch and Paul Gilbert actually favour using these fingers (certainly for practice regimes), but this could be because they have a huge amount of talent, remarkably long fourth fingers – or both!

The exercises use a combination of legato technique and picking, which should help give you a broader palette of sounds to work with. Feel free to experiment with how you apply the techniques. The legato technique is particularly good for developing the strength and uniformity of tone heard in players like Joe Satriani, Allen Hinds, Brett Garsed and Allan Holdsworth who all have phenomenally consistent fretting hands. A common problem for mere mortals is that each finger has its own hammer-on strength, making the flow of notes

sound uneven in volume (you might need to go more softly with your second finger and be more vigorous with your fourth, for example, so they meet somewhere in the middle). Practising legato is much more effective with a mid-gain overdrive that responds to finger dynamics, rather than a full-on saturated tone, which automatically compresses the note – masking any weaknesses you may have.

Examples 1 and 2 are chromatic-based shapes using the second, third and fourth fingers played on three adjacent frets. The first exercise uses hammer-ons throughout, while the second is based on pull-offs. In both cases, play the first bar three times, then for the fourth bar double the rate of notes. Speeding up in short bursts like this is a very effective way of increasing finger stamina.

Another common problem that needs attention is note-length consistency. The first two examples are based on a triplet subdivision but Example 3 is 16th notes; regardless of the chosen division, the important thing is that they are played evenly. Each triplet should be the same length as the next and all the 16th notes should be consistent. Sound simple? Well you might not find it so in practise, as it can be tricky to control the timing between the third and fourth fingers, so lazy pull-offs or early hammer-ons can disrupt the flow.

Example 4 is a Steve Morse-style string-skipping lick that will really help develop elasticity between your fingers when changing strings. As this is a bit trickier you can alternate-pick the notes to relieve some of the tension on your fretting hand. Until now we have only used chromatic-based shapes, so for example 5 we have a more scale-based shape using both tone and semitone spaces. Placing tone spaces between the second and third fingers and third and fourth fingers will help develop the stretch of your hand. Work through the examples slowly and stay relaxed so as to avoid hurting yourself.

Charlie Griffith says give your first finger a rest and treat the remaining three digits to a spot of fretboard fitness training.


Prepare to give those weaker digits a dose of circuit training!

ExamplE 1 chromatic-based shapes (ascEnding)Play the 10th fret with your second finger, hammer-on to the 11th fret with the third and onto the 12th fret with your fourth. Next, pull-off back to the 10th fret and repeat the three notes. Now move over to the first string and play the pattern again. Repeating the first bar three times and play the fourth at double speed.

In The Woodshed

ABILITY RATINGModerate

Key: VariousTempo: Various CD: TRACKS 78-87

Info Finger strength Fretting hand dexterity Finger stretch/reach


✪ ✪ ✪ ✪ ✪

NEXT MONTH Charlie examines the kind of sequential patterns used in modern blues

ON THE CD TRACK 78-87

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ExamplE 2 chromatic-based shapes (dEscEnding)

ExamplE 3 chromatic based shapes

ExamplE 4 string-skipping lick in the style of steve morse

ExamplE 5 diatonic g dorian lick

This example uses the same frets as the previous lick, only played in reverse order starting with your fourth finger at the 12th fret. Try playing the same lick on different string groups as the thicker wound strings will have a very different feel (and resistance) to the thinner treble strings.

This lick is a combination of Examples 1 and 2 as it involves hammer-ons on the way up and pull-offs on the way down. This time the notes are played in a 16th-note subdivision, which means that each finger has a chance of matching up with the downbeat, rather than just the second or fourth finger. Watch your timing.

Play this lick using one-finger per-fret with your second finger at the 15th fret and your fourth at the 17th. Use the same two fingers when jumping between the fourth and third strings; for the 17th fret notes, barre across the strings and use a little palm-muting to help keep the notes separate sounding.

G Dorian idea (1-2-b3-4-5-6-b7) starts with the first three scale notes: G-A-Bb. This puts a tone space between second and third fingers. The next position uses A,-Bb-C, which has a tone space between third and fourth fingers. The final position uses notes Bb-C-D which puts a tone space between all three fingers.

cd track 80

cd track 82

cd track 84

cd track 86

90 September 2016

lesson } CHORD CAMP

Welcome to this issue’s instalment of Chord Camp. As you expand your chord vocabulary you will find some chords are described as ‘altered’.

These are chords that have specific notes changed from their basic formulae.

Let’s start by looking at one of the most common and useful families: dominant 7th chords, and the ‘alterations’ of the 5th degree, the dominant 7th chord with a diminished (or flattened) 5th and the dominant 7th with an augmented (or sharpened) 5th. To clarify, the description

‘altered’ is being applied to specific notes (here the 5th) within the chord, not to the overall chord itself (ie: it’s not a 5 chord that’s being ‘altered’). This is another topic that will be discussed properly later on.

Let’s kick off this month’s lesson with a recap on the Dominant 7th chord shapes and then learn 7b5 and 7#5 ‘altered chord’, four-note voicings across the fretboard following CAGED shapes. The examples will then show typical usage of the more common shapes you are likely to encounter, or find useful in your day-to-day playing.

Chord campChord ranger Iain Scott goes off the beaten track with a look at Dominant 7 b 5 and 7#5 chords, applying them to various styles for a different feel.


Set 1. G Dominant 7th Chord Voicings (G7 – R-3-5-b7)G Dominant 7 contains the notes G-B-D-F (1-3-5-b7). Here we have G7 chords moving up the neck in five CAGED shapes. You should notice that shape 3 is not the conventional shape (based on a C major chord), it is another variation, and it will be very handy when you ‘alter’ the 5th degree for G7b5 and G7#5.Set 2. G7b5 Chord Voicings (R-3-b5-b7) Here we have G Dominant 7b5 chord voicings moving up the neck in five shapes in the CAGED system. You will see

that the G7b5 has a flattened 5th – G-B-Db-F (1-3-b5-b7). Compare G7 chords to G7b5 chords:. the D is flattened in each shape.Set 3. G7#5 Chord Voicings (R-3-#5-b7)Here we have G Dominant 7#5 voicings moving up the neck in five shapes in the CAGED system. G7#5 has an augmented 5th – G-B-D#-F (1-3-#5-b7). D is moved to D#. Again in each shape. The similarity of chord shapes in the CAGED system should make it easy for you to memorise them.

This example shows three uses of a 7b5 in a progression. First as a connecting chord between two minor 7th chords where Ab7b5 is acting as a substitute for D7 (‘b5 substitute’) so that the bassline is chromatic and smooth (A-Ab-G). Second, in a ‘II-V’ movement (Fm7-Bb7b5), the V chord has the alteration of

a b5th; and thirdly, as a Lydian Dominant in a I-IV progression, this would typically be Ebmaj7-Abmaj7 (I-IV) or Major to Lydian. Here the Lydian (Abmaj7) has been made Dominant (Ab7b5), retaining the b5 (D) of the Lydian position. If this has piqued your interest, we will be looking at ‘altered’ and ‘Lydian’ later.

ExamplE 1 Dominant 7th, 7b5 anD 7#5 ChoRD VoiCinGS

ExamplE 2 Dominant 7b5 ChoRDS in a Slow R&B GRooVe

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TRACK 88

TRACK 90

September 2016 91

Dominant 7 b 5 anD 7#5 chorDs learning zone

This R&B groove uses minor 9th and Dominant 11th chords. In Example 1, the 7#5 sounds challenging, but in a progression it’s fantastic, the dissonant flavour resolving nicely. This example uses Shape 1 in bars 4 and 8, Shape 3 in

bar 2 and shape 4 in bar 6. Shapes 2 and 4 are identical voicings (R-#5-b7-3) just played on different string sets. The shape I in bar 7 is another variation, really just shape 5 moved over a string set for a better sound.

Once you start using 7b5 and 7#5 chords you can add value by moving up in harmony to become a 9b5, 9#5, and 13b5, 13#5. The descriptors b5 and #11 are the same (#11 is the higher octave of b5: eg a high D# then a lower D#) as we

often use a flexible four-note voicing. This example uses the most common of these extended chords – 9b5, 9#11, 13#11. I used a ‘juicy’ phaser, so there’s lots of depth and resonance, with a bright tone from combined pickups.

ExamplE 3 Dominant 7#5 ChoRDS uSeD in a liGht FuSion GRooVe

ExamplE 4 extenDeD 7b5 ChoRDS in a Funk GRooVe.

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TRACK 92

TRACK 94

92 September 2016

lesson } CHORD CAMP

Here we have a tight, bouncy shuffle that has a hint of Killer Joe changes (Dominant chords moving down and back a tone) moving through a modern blues using 7b5 and 7#5 voicings. This could easily be a funk, R&B or jazz

progression as well. The handy first position 7b5 is used in bars 1, 8 and 12. The 7#5 chords are: S1 high variation in bar 3, S1 in bar 8 and S3 in bars 5 and 11. Use a clean, warm tone to help the voicings be balanced and clear.

ExamplE 5 ComBineD 7b5 anD 7#5 ChoRDS in a BounCy ShuFFle BlueS

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MAY GT256aCoustiC BLuesFour fantastic acoustic blues pieces for you to try – from simple to challenging. Learn BB King’s classic Three O’Clock Blues as re-imagined with Eric Clapton for Riding With The King. Plus, style studies in Mötley Crüe, Roy Buchanan, Jeff Buckley and Emily Remler.

APRIL GT254GeNius oF CLaPtoNWith nine pages of solos, riffs and licks, we explore the genius of Clapton! Plus, our tribute to David Bowie is a look at his personal style and an exploration of his stellar six-string sidekicks! Plus, video lessons from Allen Hinds and Chris Woods and more!

JuLY GT258aBove the 12th FretNew licks to play and a whole new lickbag for the ‘dusty end’. Plus, we pay tribute to the staggering talent of Prince; Derek And The Dominos’ Key To The Highway tabbed and style lessons in Otis Rush, Ratt, Freddie Green, Eva Cassidy and more!

JuNE GT257FaBuLous ChorDs!Instant inspiration from our cover feature, Fabulous Chords! Learn new shapes, get great music ammo and compose a classic. Plus, Steely Dan’s Don’t Take Me Alive tabbed and studies in Mike Bloomfield, Blue Öyster Cult, Wes Montgomery and Ben Harper.

SPRING GT255the eaGLesRemembering Glenn Frey and other Eagles six-stringers: Leadon, Walsh and Felder. Pantera’s Cemetery Gates tabbed, with a monster solo from Dimebag plus another great video lesson from Allen Hinds and style studies in The Pixies, Whitesnake and more.

AuGuST GT259eXotiC BLuesSpice up your playing, learn new notes to excite your sound and ditch those tired, predictable licks with our Exotic Blues feature! Learn the rhythm and lead styles of Angus and Malcolm Young, plus Gaspar Sanz’ Canarios transcribed and much more!

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September 2016 95

music } reviews

New AlbumsA selection of new and reissued guitar releases, including Album Of The Month

Album of the month

whAt our rAtiNgs meAN ✪ ✪ ✪ ✪ ✪ Buy it ✪ ✪ ✪ ✪ Excellent ✪ ✪ ✪ Good ✪ ✪ Average ✪ Bin it!

Wonderland ParkJUST GET IN (Wonderland Park Music) ✪ ✪ ✪ ✪ ✪Allen Hinds has two new albums coming, this one is from his new trio, Wonderland Park. Containing seven (mostly) instrumentals, they are fusion based with lashings of Americana, southern rock, blues, New Orleans grooves and ambient Joni Mitchell-esque sonics (think Hejira). Fans of Scott Henderson or Michael Landau will revel in this. Allen’s rich electric tones perfectly shape his diverse vocabulary; All Due Respect features a great crunchy Strat while the glassy toned picking, ambient slide lines and soaring lead on Just Get In show his chord and string bending savvy. With its wide open production, Wonderland Park is as much about sympathetic rhythmic interplay as a context for Allen to weave his magical chops. Wonderful indeed!

oz noy Who GIvES A FUNkAbstract Logix ✪ ✪ ✪ ✪ ✪Oz Noy’s style combines appealing grooves and harmonic complexity. This new release sees Oz continue his love of old-skool R&B, as four of the 10 tracks are classic covers with appealing tweaks; Little Wing (Eric Johnson style with great vocals by Living Color’s Corey Glover), I Got You (infectious melody), A Change Is Gonna Come (tasty blues licks with slide) and Five Spot Blues (uptempo stomp with killer solo by Joe Bonamassa). Oz’s own instrumentals brim with appeal; Come On is a fat, Prince-like groover with crisp chops while Ice Man resonates with bluesy guitar and horn section call-and-response banter, evoking Albert Collins’ funky 70s output (Robben Ford’s guest solo is right on it). There’s a strong Meters vibe throughout, no

more so than in Damn, This Groove that ripples with rasping organ and thick horns. If you like groove with your fusion chops, Oz is your man!

remi HarrisIN oN ThE 2Yardbird Arts ✪ ✪ ✪ ✪ ✪Upcoming jazz guitarist, Remi Harris sure has chops, as his second album clearly shows. With just acoustic guitar and upright bass, he recorded lead parts first then rhythm with bassist, Mike Green. An unusual process but the results sound real and organic with strong interplay. While all 11 tracks are covers, Remi has a lot of personality on his Flyde acoustic with strums, string bends and crisply-executed runs. Can’t Buy Me Love has an infectious swing rhythm and Cissy Strut has great rhythmic swagger; the bluesy bends and twisting chromatic phrases on the latter will surely raise a smile. Dhafer Youssef’s Odd Elegy is exotic both rhythmically and harmonically; the explosive strumming and biting

melodies grabbing the attention. Closer, Need Your Love So Bad is the only track featuring an electric melody. As famous as this blues standard is, Remi breathes new life into it as he stylistically straddles gyspy swing with a spring reverb-effected electric that swells, bites and bends with real panache.

Clive CarrollThE FUrThEST TrEEIndependent ✪ ✪ ✪ ✪ ✪Talk of acoustic virtuosi and Aussie genius Tommy Emmanuel always looms large. But we have our own amazing acoustic instrumentalist – the ‘acoustic Guthrie Govan’ as we at GT like to call Clive Carroll. The Furthest Tree is a gem of a record, and one that it’s easy to forget is a solo acoustic affair (they can be a bit ‘worthy’, or too much about the technique). But no, this is a feast of great music, including a heartfelt tribute to his Abbot Ale drinking

mentor John ‘The Abbot’ Renbourn: the bonkers A Winter Carol consists of two different melodies played at once (Clive conceived then had to learn it!). Also featured is a beautiful classical duet with John Williams, where the two duel (in the nicest possible way) on A Renaissance Suite. The technical mastery is staggering, yet never gets in the way of the music, which is sublime throughout. Support your local talent!

ralPH mCTell and Wizz JonesAboUT TImELeola Music ✪ ✪ ✪ ✪ ✪Stalwarts of the UK acoustic scene, McTell and Jones are fine pickers who know how to deliver a song. Their paths crossed 50 years ago when Wizz invited Ralph to perform at the legendary Folk Cottage in Cornwall. About Time is McTell paying his old buddy back – albeit half a century on. Packed full of trad songs, originals and covers of tunes from Dylan to Townes Van Zandt, this is clearly two good mates having fun. Honey Babe Blues sets the scene, the two guitars and voices gelling perfectly, while the country-folky Out Of The Snow continues the theme. In truth this is more blues than folk, with You’re Gonna Quit Me Baby and You Won’t Let Me Go full of authentic licks, and Tell Her You Love Her Right Now displaying the duo’s ragtime penchant. With just two acoustics, two voices and the occasional harmonica there’s not the dynamic range of a full band recording – some might miss that. But for us, it’s the very intimacy of the set-up is that makes About Time such an infectious listen.

eriC ClaPTonI STIll DoBushbranch/Surfdog ✪ ✪ ✪ ✪ ✪A new album from Clapton can arouse mixed feelings. Sometimes it’s like he’s doing what comes so naturally but without, it seems, a great deal of effort. Other times he’ll surprise us with the spirit that gave us All Your Love, Crossroads, Layla – and other assorted lovely songs. I Still Do is mostly the latter: it’s Clapton from the instant you hear his distorted bottleneck and moody vocal on Alabama Woman Blues. Can’t Let You Do It is one of those mid-tempo JJ Cale-style shuffles that EC does so well, its wah-wah slide and Stratty licks sitting perfectly in the mix. Eric’s Robert Johnson moment here is Stones In My Passway – more slide, plus great singing and fine support from a band that includes longtime cohorts Andy Fairweather-Low and Simon Climie. Eric swaggers into Skip James’s raunchy Cypress Grove with real style – and is ‘Angelo Mysterioso’ the same Ed Sheeran who guests with him onstage in Japan? If you like your EC on the raw side then this Glyn Johns production won’t disappoint. Old Slowhand, it seems, Still Does!

96 September 2016

x x

8

R 9 5 7

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

Chord example (with capo)the blue line represents a capo – for this a chord, place it at fret 2. capos change the fret number ordering – here, the original fret 5 now becomes fret 3, fret 7 now fret 5, etc.

Read music

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

a major scale

Tapping & harmoniCSthe left box shows an a minor pentatonic scale with added tapped notes signified by ‘t’s. above shows a cmaj9 (no 3rd) with harmonics at the 12th fret.

Relating tab to youR fRetboaRd

hand labellinghere are the abbreviations used for each finger:Fretting hand: 1, 2, 3, 4, (t) picking hand: p (thumb), i (first finger), m (second), a (third), c (fourth).

Guitar techniques: How tHey appeaR in wRitten music...

T

12

3

4

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every transcription or lesson in Gt is graded according to its level of difficulty, from easy to advanced. we’ll also let you know what aspect of your playing will benefit by attempting a lesson.

our raTing SySTem

advanced

moderate-advanced

moderate

easy-moderate

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muSiCal STaVe the five horizontal lines for music notation show note pitches and rhythms and are divided by bar lines.

nuT & freTboardthe fretbox diagram above represents the fretboard exactly, as seen in the accompanying photo. this is for ease of visualising a fretboard scale or chord shape quickly.

piCking variations anD alternativesup and down picking

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n play the notes of the chord by strumming across the relevant strings in the direction of the arrow head.

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rake

XX

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w

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pick rake

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

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

Tremolo picking

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5 4 7 8

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

Chord example the diagram represents the G chord in the photo. the ‘o’ symbol is an open string, and a circled number is a fretting finger. intervals are shown below.

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each transcription is broken down into two parts...

palm muting

September 2016 97

oTher TeChniqueS pick scrape right-hand tappingfinger numberingViolining pima directions

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

n tap (hammer-on) with a finger of the picking hand onto the fret marked with a circle. usually with ‘i’ or ‘m’.

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

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

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

freTTing hand hammer-on & pull-off fret-hand mutingSlides (glissando)note Trills

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5 7 7 5

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5 7 58

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left hand Tapping

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

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

n sound the notes marked with a square by hammering on/tapping with the fretting-hand fingers.

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

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

harmoniCS natural harmonics Touch harmonicspinched harmonicsartificial harmonics

&

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12 712 7

12 7

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AH16 AH17 AH19

4 75

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7 57

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TH17 TH19 TH17

45 7

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TCH

2 9

Tapped harmonics

n pick the note while lightly touching the string directly over the fret indicated. a harmonic results.

n a previously sounded note is touched above the fret marked tch (eg tch 9) to sound harmonic.

n Fret the note as shown, but sound it with a quick right-hand tap at the fret shown (th17) for a harmonic.

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

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

bending and VibraTo bend up/down Vibratopre bendre-pick bend quarter-tone bend

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

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

n pick the note and then bend up a quarter tone (a very small amount). sometimes referred to as a blues curl.

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

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

VibraTo arm (aka whammy Bar)Vibrato arm bends Capo notationdive bombScoop & doop gargle

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

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

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

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

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

Capo

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